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		<title>History of Translation Studies 8</title>
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		<summary type="html">&lt;p&gt;Song Jianru: /* III Comparison of Original and Translation of A Pale View of Hills Along House's Translation Quality Assessment Model */&lt;/p&gt;
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&lt;div&gt;这里是《翻译学史》的书稿第八部分(Part 8)。麻烦各位同学看一下已经存在的章回（样品），自己再加进去新的一个章回（就是你们的学期论文）。请也帮助同学们把他们的论文改正。这样多次修改，大家的论文会越来越好。&lt;br /&gt;
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学期论文（结合学期所学，撰写一篇5000以上单词的英文论文，按照专业杂志的格式，题目、摘要、关键词和参考文摘需要英中，文章英）。学期论文成绩占70%，平时成绩（含课堂表现、展示及作业）占30%。&lt;br /&gt;
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*Link back to course homepage: [https://bou.de/u/wiki/Introduction_to_Translation_Studies Course Homepage Intro. to TS]&lt;br /&gt;
*Link back to the final exam paper section of the course homepage: [https://bou.de/u/wiki/Introduction_to_Translation_Studies#Final_Exam_Papers Final Exam Papers]&lt;br /&gt;
*Link to other parts of the final exam papers' website: [https://bou.de/u/index.php?title=History_of_Translation_Studies_1 Part 1], [https://bou.de/u/index.php?title=History_of_Translation_Studies_2 Part 2], [https://bou.de/u/index.php?title=History_of_Translation_Studies_3 Part 3], [https://bou.de/u/index.php?title=History_of_Translation_Studies_4 Part 4]; [https://bou.de/u/index.php?title=History_of_Translation_Studies_5 Part 5], [https://bou.de/u/index.php?title=History_of_Translation_Studies_6 Part 6], [https://bou.de/u/index.php?title=History_of_Translation_Studies_7 Part 7], [https://bou.de/u/index.php?title=History_of_Translation_Studies_8 Part 8]; [https://bou.de/u/index.php?title=History_of_Translation_Studies_9 Part 9], [https://bou.de/u/index.php?title=History_of_Translation_Studies_10 Part 10].&lt;br /&gt;
&lt;br /&gt;
='''History of Translation'''=&lt;br /&gt;
&lt;br /&gt;
==A Comparative Study on the Translation History in Western Countries and China, 王煜	Wang Yu, MTI 英美文学==&lt;br /&gt;
&amp;lt;center&amp;gt;Wang Yu 王煜，202020080645.&amp;lt;/center&amp;gt;&lt;br /&gt;
===Abstract===&lt;br /&gt;
Translation is an intercultural communication activity. Translation activities have accelerated the development of human civilization and broken through the language barriers. As time goes by, things are in a state of flux and both the Western and Eastern countries have gradually formed their own histories of translation, the study of translation history is a basic project of discipline construction. Although there are many differences between the translation histories of the Western countries and of China, the two kinds of translation histories are still shining their own bright and unique lights and have a lasting influence and they contribute indelibly to translation activities. This chapter intends to make a brief comparison between the translation histories of Western countries and of China. It includes the origins, the stages, the representatives of the stages, the significance and influence as well as the differences of the two translation histories.&lt;br /&gt;
&lt;br /&gt;
===Key words===&lt;br /&gt;
translation history of the West; translation history of China; comparative study&lt;br /&gt;
&lt;br /&gt;
===中西翻译史对比研究===&lt;br /&gt;
&lt;br /&gt;
===摘要===&lt;br /&gt;
翻译是一种跨文化交流活动，翻译活动加快了人类文明发展步伐，减少了人们之间的沟通障碍。随着时代的变迁，中国和西方国家逐渐形成了各自的翻译史，翻译史的研究是学科建设的一项基础工程。尽管中西方翻译史在某些方面有所差异，但却都有着各自的独特性，并对人类的翻译活动产生了巨大的影响与贡献。文章将以中国和西方国家为主要对象，从二者翻译史起始，包含阶段和各阶段代表人物，影响意义，差异性出发，对二者的翻译史进行简略的对比研究。&lt;br /&gt;
&lt;br /&gt;
===关键词===&lt;br /&gt;
西方翻译史；中国翻译史；对比研究&lt;br /&gt;
&lt;br /&gt;
===1. Introduction===&lt;br /&gt;
&lt;br /&gt;
No matter where, in China or in the West, translation plays an important role in knowledge-spreading. As an indispensable part of translatology, the study of translation history had a huge impact on translation activities, it has gradually become the focus of literary and historical circles in recent years. Translation activities can be traced back to the origin of languages. The history of translation is almost as old as language itself, which is closely related to the changes in today's society. &lt;br /&gt;
&lt;br /&gt;
Since the 1980s, the translation studies in mainland China have made remarkable progress in the design of curricula of Chinese and Western translation history courses and the compilation of related works. In the early 1980s and 1990s, many related works appeared, one after the other, including ''A Brief History of Chinese Translation. Vol. &amp;quot;Until the May 4th Movement&amp;quot;''（《中国翻译简史-“五四”运动以前部分》） written by Ma Zuyi , ''A Historical Manuscript of Chinese Translated Literature'' （《中国翻译文学史稿》）edited by Chen Yugang, and also ''A Short History of Translation in the West''（《西方翻译简史》）, authored by Tan Zaixi. Thus, it opens the door for the compilation of works on Chinese and Western translation history. (Xie Tianzhen 2009, Ⅴ) &lt;br /&gt;
&lt;br /&gt;
The history of Western translation can be divided into five stages while the Chinese study of translation has a history of more than two thousand years and has experienced five climaxes in respect of volume. The comparative study of Chinese and Western translation history will help us to get a deeper understanding of Chinese and Western translation activities, thus to gather a general full view of it, which is a meaningful attempt.&lt;br /&gt;
&lt;br /&gt;
===2. The Translation History of Western Countries===&lt;br /&gt;
&lt;br /&gt;
Western translation activities have a rich and long history. The history of Western translation can be roughly divided into three stages: traditional, modern and contemporary. More specifically, it can be grouped into the ancient times, the middle ages, the Renaissance period and the time after WWⅡ.&lt;br /&gt;
&lt;br /&gt;
===2.1 The First Stage: Translation in Ancient Times===&lt;br /&gt;
In literature we often find wrong assessments. An example is Tan Zaixi's book about translation history: According to him, the translation history of Western countries began in the 3rd century BCE. In a broad sense, as Tan argues, the earliest translation in the West is the Old Testament translated by 72 Jewish scholars in Alexandria, ancient Egypt, between the 3rd and 2nd centuries BCE. Strictly speaking, in Tan's understanding, the first Western translation is the Greek Homer Epic ''Odyssey'' translated by Andronicus in Rome in the middle of the third century BCE. (Tan Zaixi 2000, 88-89) However, we know, the first evidences of translations date back 5000 years, i.e. 3000 BCE, e.g. the Gilgamesh Epos, the Rosetta Stone etc.&lt;br /&gt;
&lt;br /&gt;
At the end of the 4th century BCE, Greece began to decay and the Romans became stronger and stronger with their military expansion. With the expansion of the Roman Empire, it came into contact with the rich Greek culture, therefore, the Romans not only conquered Greek cities, but also inherited and developed the highest achievements of ancient Greek culture, and then their culture dominated the region after the Greek epoch. Soon large scale translation activities began. The activity of translating and introducing Greek classical works began in this period. (Liu Junping 2009, 8) &lt;br /&gt;
&lt;br /&gt;
At that time, many famous translation theorists began to make their presences, namely Cicero, Quentin, Jerome and so on, also the famous Roman litterateurs like Andronicus, Naevius, Ennius, these great writers used Latin language to translate or adapt Homer’s epic or other Greece dramas. It started the translation tradition and promoted the birth and development of Roman literature. (Tan Zaixi 2000, 89)&lt;br /&gt;
&lt;br /&gt;
===2.2 The Second Stage: Translation in the Middle Ages (4th-6th)===&lt;br /&gt;
&lt;br /&gt;
According to Tan's view, the second culmination occurred in the late Roman Empire in the early Middle Ages. In this period, translation was mainly related to the religious stuff. Religious forces have a broad-ranging influence in the West. Christianity strived to promote its own religion, thus, ''the Bible'', as a source and psychological weapon of the Christianism, naturally meant a lot to the people in religious world. Because the Old Testament of the Bible was written in Hebrew and Greek, it needed to be translated into Latin for effective circulation in Rome.(Tan Zaixi 2000, 89)&lt;br /&gt;
&lt;br /&gt;
&amp;quot;Jerome was a Latin Christian priest, he translated the Bible into Latin(Vulgute) according to the Hebrew version of the Bible. This version he translated had made impact on medieval theology and was the most widely circulated and authoritative translation in the Middle Ages, marking an unprecedented level of the development of the Western translation.&amp;quot;(Tan Zaixi 2000, 89)&lt;br /&gt;
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===2.3 The Third Stage: Translation in the Middle Ages (11th-12th)===&lt;br /&gt;
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This period can also be called &amp;quot;the period of the Arab Centennial Translation Movement&amp;quot;,(Liu Junping 2009, 9) which lasted over two hundred years. In order to consolidate the rule and promote socio-economic and cultural development, the medieval Arab Empire undertook a massive, organized academic activity to translate and introduce the scientific and cultural classics of ancient Greece and the East. Translators of this period actively translated some important works of Greek literature in all disciplines with an open mind and a strong desire for knowledge. &lt;br /&gt;
&lt;br /&gt;
Between the 11th and 12th centuries, Toledo became Europe’s academic center for its prosperous translation activities, the Western translators who gathered here translated many works from Arabic into Latin. Cultural patterns and religious ideas gradually converged here.(Tan Zaixi 2000, 90) &lt;br /&gt;
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Until nowadays, the positive influence of this movement still plays an inherent role: numerous proprietary names such as ‘concept’, ‘category' are gradually established in Arabic. This movement not only facilitated the integration of the inner Arab world, but also, in fact, promoted the integration of the Western and Persian worlds.&lt;br /&gt;
&lt;br /&gt;
===2.4 The Fourth Stage: Translation in the Renaissance Period===&lt;br /&gt;
&lt;br /&gt;
The Renaissance movement is a European ideological and cultural movement that took place from the 14th century to the 16th century, and reached its peak in the 16th century and inspired a cascade of the development of science, art and literature. A large number of famous translators shown up and a series of translation works had been produced. During this time, a quantity of ancient Greek and Roman classics had been rediscovered and translated into various European languages, which had brought about an impact on the European nation states. &lt;br /&gt;
&lt;br /&gt;
Leonardo Buruni, who was one of the most influential cultural translation practitioners in the Renaissance period, and he was also one of the earliest representatives of humanistic translators in the history of Western translation. He was famous for his translation of Plato's and Aristotle's works. Also, some humanists began to study the Bible with the method of studying classical literature, and translated the Bible into theie national language, which led to the rise of the religious reform movement. In Germany, Martin Luther, a religious reformer, translated the first mass Bible, which ushered in a new era in the development of modern German. In Britain, Chapman, a writer and translator, translated Homer's ''Iliad'' and ''Odyssey'' from 1958 to 1616, and the translation and publication of the King James Bible in 1611 marked the formation of modern English.(Liu Junping 2009, 9)&lt;br /&gt;
&lt;br /&gt;
From above examples we can see that the Renaissance movement played a very important role in the Western history of the development of translation, it marked the status of national language in the field of literature. Simultaneously, it showed that translation is playing a role in the formation and development of the national language, literature and thought.(Liu Junping 2009, 9)&lt;br /&gt;
&lt;br /&gt;
During the three hundred years lasted from the 17th century to the 19th century, translation activities at this time continued to move forward. Although the scale and influence of these activities could not be compared with that of the Renaissance movement, there were still many excellent translators and works they translated. The biggest feature of this period was that translators not only continued to translate classical works, but also became interested in modern and contemporary works. The works of Cervantes, Shakespeare, Balzac, Goethe and other great writers had been repeatedly translated into various languages, and translations of Eastern literature have also been published.(Liu Junping 2009, 9)&lt;br /&gt;
&lt;br /&gt;
===2.5 The Fifth Stage: Translation after WWⅡ===&lt;br /&gt;
&lt;br /&gt;
World War II has brought different degrees of blows to many Western countries, after the end of the war, some Western countries have used a large amount of capital to actively resume the production, developed various social fields and attached great importance to the person with ability. Western science and technology are changing with each passing day, driven by cybernetics, information theory and system theory. The world of knowledge and experience has been greatly expanded, and the social and cultural exchanges have become increasingly closee, all of these changes have provided a solid material foundation and ideological guarantee for the prosperity of the translation at this time. &lt;br /&gt;
&lt;br /&gt;
With the growth in number of translation activities, translation theory continues to develop, and the number of translation talents in various countries keeps on increasing. Translation has gradually expanded from traditional literary and religious translation to other fields, such as scientific and technical translation and business translation. Some professional translators appeared in international conferences which has shown that the influence of translation in international communication has become more and more obvious. (Liu Junping 2009, 9)&lt;br /&gt;
&lt;br /&gt;
===3. The Translation History of China===&lt;br /&gt;
&lt;br /&gt;
China has a long history with 5000 years of civilization. Since China is a multi-ethnic country, so translation plays an irreplaceable role in the communication between different nationalities. There is no reference to the history of translation in China, although there are some documents in the Xia and Shang Dynasties, we still can not discern the translation activities at that time from the existing records. &amp;quot;The song of the Yue Boatman can be regarded as the first poetry translation in Chinese history.&amp;quot;(Ma Zuyi1998,5) However, it was only an isolated translation activity and did not trigger a large-scale translation movement in China.&lt;br /&gt;
&lt;br /&gt;
===3.1 The First Stage：Translation of Ancient Buddhist Scriptures===&lt;br /&gt;
&lt;br /&gt;
The first climax of the Chinese translation history was the translation of ancient Buddhist scriptures. ''The Potala Sutra'' should be the earliest translation of Buddhist scriptures in China. It was also said that the ''Forty-Two Chapters Sutra'' is the earliest Chinese translation of the Buddha's sutras, however, the one that is proven to be reliable should be the book ''The Fifty Books of the Mingdu'' translated by An Shigao during the reign of Emperor Huan of the Eastern Han Dynasty.(Ma Zuyi1998,17)&lt;br /&gt;
&lt;br /&gt;
It has experienced four phases, each of which had its own features: the first was the starting period which was from the last year of emperor Huan in the Eastern Han Dynasty to the Western Jin Dynasty. Translators in this period were mainly Buddhist monks,(Ma Zuyi1998,33) However, the quality of the translated works depends on the ability of the translators’ understanding of Chinese, so the classics of the translated works are varied. Also, due to the shortage of learners' language knowledge , they usually used literal translation. &lt;br /&gt;
&lt;br /&gt;
The second period was the developing time, from the Eastern Jin Dynasty to the Sui Dynasty. The Buddhist scriptures continued to prevail under the rulers' advocacy and began to translated Buddhist scriptures in an organized way but still translated literally. During this period, Shi Daoan put forward the famous theory of ‘Five losses of source texts and three difficulties in translation’. &lt;br /&gt;
&lt;br /&gt;
Meanwhile, through the translation and interpretation of nearly 400 volumes of Buddhist classics, kumarajiva first introduced Indian Buddhism to the Chinese people, which played an important role in the prosperity of Chinese Buddhism at that time.(Ma Zuyi1998,40) The translation in this time had changed from individual translation into group translation which had improved the quality of translation and as well made some progress in translation theories and skills.(Ma Zuyi1998,55) &lt;br /&gt;
&lt;br /&gt;
The third period was the heyday of the translation history took place in Tang Dynasty.(Ma Zuyi1998,58) Xuanzang was an important figure in promoting Sino-Indian friendship and cultural exchanges in China's history，not only was he a great translator and organizer of translation, but he was also a great translation theorist whose contribution to translation studies still remains significant today. &lt;br /&gt;
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As for the last period, it was in the Northern Song Dynasty, the studying of translating scriptures gradually withered, and during this period, the translation mainly focused on the esoteric classics translations.(Ma Zuyi1998,82)&lt;br /&gt;
&lt;br /&gt;
As part of Chinese history, especially as the link of the cultural development, the translation of Chinese ancient Buddhist sutra has contributed more than a lot.  The spread of Buddhist ethics contributed to the formation of Taoism in China.&lt;br /&gt;
&lt;br /&gt;
===3.2 The Second Stage：Technical Translation during the Yuan and Ming Dynasties===&lt;br /&gt;
&lt;br /&gt;
The translation of Buddhist scriptures gradually declined during the two hundred years of the Ming Dynasty. With the arrival of Western Christian missionaries, China came into contact with Europe. In order to facilitate their relations with Chinese officials and intellectuals, the missionaries translated works of Western science and technology as well as Christian texts assisted by Chinese officials. They also introduced the Chinese classics to the West.(Ma Zuyi1998,263) &lt;br /&gt;
&lt;br /&gt;
Matteo Ricci came to China on a mission to introduce Western scientific and technological knowledge. He pioneered the history of combining Chinese and Western translation to introduce Western scientific and technical literature, and was the first to translate the ''Four Books'' into Latin, he was the first to introduce Chinese texts to the West.(Ma Zuyi1998,263) &lt;br /&gt;
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From the Wanli period of the Ming Dynasty to the &amp;quot;new learning&amp;quot; period of the Qing Dynasty, translators who introduced science, literature and philosophy in Western Europe, represented by Xu Guangqi, Lin Shu and Yan Fu appeared. Xu Guangqi was a patriotic scientist and organizer of the scientific and cultural movement in China at the end of the Ming Dynasty. He made outstanding achievements in introducing Western natural sciences and promoting the development of  science in China.&lt;br /&gt;
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===3.3 The Third Stage：Literary Translation in Late Qing Dynasty===&lt;br /&gt;
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After the Opium War, the Qing government organized a large number of scholars to translate books of western natural science. Under the influence of the thought of reform, a large number of translations introducing western political thoughts, scientific methods and some literary works appeared. ''The Records of Four Continents'', translated by Liang Jinde, asked by Lin Zexu, was the first systematic introduction to the geographical knowledge of western countries in modern China.（Ma Zuyi1998,329）&lt;br /&gt;
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After the Sino-Japanese War of 1894-1895, Yan Fu translated the theory of evolution and put forward the triple criteria of ‘faithfulness, fluency and elegance’, which has played a great guiding role in the translation practice of later generations, His translation promoted the development of &amp;quot;new learning&amp;quot; and enlightened the Chinese nation at that time.（Ma Zuyi1998,377）&lt;br /&gt;
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Another scholar Liang Qichao, who was a politician, thinker and encyclopedia scholar of that time, advocated that China needs to develop the translation career and cultivate translation talents at a full stretch. He has done fruitful research on the translation of Buddhist scriptures and the translation of science and technology between the Ming and Qing Dynasties.（Ma Zuyi1998,384）&lt;br /&gt;
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===3.4 The Fourth Stage：The Translation of Socialist and Communist Works===&lt;br /&gt;
&lt;br /&gt;
The May 4th Movement was a watershed in China's modern translation history, which made a significant contribution to the introduction of foreign literature to China and the development of literature in China. After the May 4th movement, China's translation industry has ushered in a new historical period. Translators in this period, compared with those during the late Qing dynasty, were more selective in source texts. Chinese translation scholars began to introduce the classic works of Marxism-Leninism and the literature of the proletariat. The translation of the Manifesto of the Communist Party was published during the May 4th movement. &lt;br /&gt;
&lt;br /&gt;
During this period, great changes have taken place in the content and form of translation work: vernacular began to replace classical Chinese, as a result, popular language becomes easy to understand and the excellent literary works of western countries have attracted more and more Chinese readers. &lt;br /&gt;
&lt;br /&gt;
Famous translators like Lu Xun, Mao Dun, Zheng Zhenduo, Guo Moruo, Zhu Shenghao, Lin Yutang had translated a large number of foreign masterpieces, which enriched the inner world of the Chinese people. Lu Xun once advocated that there should be an exotic atmosphere in the translated works which would familiarize the readers with the foreign cultures. He also believed that the literal translation of culturally loaded words was one of the important means of enriching the mother tongue. These scholars helped the Chinese people to know more about the outside world and laid a good foundation for the systematization and scientification of translation theory in China.&lt;br /&gt;
&lt;br /&gt;
===3.5 The Fifth Stage：The Translation after 1949===&lt;br /&gt;
&lt;br /&gt;
The founding of the People's Republic of China in 1949 enabled translation to enter a new era. With the founding of the new China, China's translation industry was also liberated. Translation became a very important part of the national, cultural and educational cause. National organizations for translators were established in order to protect the interests and benefits of translators. The quantity and quality of translated works have grown by leaps and bounds. &lt;br /&gt;
&lt;br /&gt;
Since then, translation work has been an important part of the new socialist culture, and has been developing rapidly, making great achievements and perfecting translation theory. The classical works of Marxism-Leninism, excellent foreign literature, scientific and technical literature and the like were systematically introduced. There are large-scale translations like the translation of Marx and Lenin's works. &lt;br /&gt;
&lt;br /&gt;
In the 1950s, scientific and technical works were translated to meet the demands of the national social and economic construction. In the 1970s, translation of United Nations documents after China was restored to its rightful seat in the United Nations. Also, literary translators became a very important part of China's literature and arts personnel. Qian Zhongshu He puts forward his &amp;quot;transmigration theory (化境说)&amp;quot; for literary translation. It is like the act of transmigration in which the soul, the spirit of the original text remain in the target text even although the carrier of them, the language, has changed. In 1978, two years after the end of disastrous &amp;quot;cultural revolution,&amp;quot; China adopted its &amp;quot;reform and open&amp;quot; policy. A new and dynamic atmosphere for translation emerged.&lt;br /&gt;
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===4.The Comparative Study Among the Two Kinds of Translation Histories===&lt;br /&gt;
&lt;br /&gt;
===4.1 The Similarities of the Western and Chinese Translation History===&lt;br /&gt;
&lt;br /&gt;
About the religious and translation, we can easily notice that in the history of Chinese and Western translation, almost all the early translation activities were the translation of religious classics. The translation of religious classics had opened the curtain of Chinese and Western translation history. The spread of religion is always accompanied by the translation of religious classics. It is not difficult for us to understand the reason: after the emergence of religion, in order to absorb more believers, it is necessary for the religion to spread widely across nations and countries. Therefore, from ancient times to the present, religion is always a kind of forms of various national beliefs and cultures. It keeps on influencing the spiritual belief and behavior of society.&lt;br /&gt;
&lt;br /&gt;
The translation activity has made great contributions to the establishment and development of national languages in various countries. For example, in the history of Western translation, Martin Luther's Bible translation played an important role in the unification and development of Tthe German language and the establishment of modern German. &lt;br /&gt;
&lt;br /&gt;
What’s more, the English version of the Bible enriched the English vocabulary and benefited the modernization of English a lot. The same in China, the Buddhist scripture translation also enriched the use of Chinese vocabulary. In the ideological field, it not only laid the foundation for the establishment of Taoism, but also paved the way for the formation of &amp;quot;New Confucianism&amp;quot; in the Song Dynasty. And we can not ignore the contribution of the literary translation in the first half of the 20th century to the establishment and development of modern vernacular Chinese. &lt;br /&gt;
&lt;br /&gt;
The translation activity helps to transmit cultural values and promote cultural exchange. Translation bears the mission of cultural exchange, the translation activities are trying to make a close connection between nations and countries and introduce the language and cultural habits of one nation to another. Such kind of efforts have enriched the vocabulary and promoted the exchange between areas. &lt;br /&gt;
&lt;br /&gt;
Jesuits who came to China in the late Ming and early Qing dynasties would translate Chinese classics and literary works into foreign languages, which, in a state of isolation between China and Europe, have become the middlemen for the exchange of Chinese and Western civilizations.(Tan Zaixi1999,26)&lt;br /&gt;
&lt;br /&gt;
===4.2 The Differences Between the Western and Chinese Translation History===&lt;br /&gt;
&lt;br /&gt;
First, time is different. Western translation predates Chinese translation by over 200 years. It is said that the reason is due to the differences in topography and geomorphology of the two parts. We all know that China possesses a great number of mountains and lakes, and in ancient times, it would take quite a few days to send messages from one place to another, especially when people in the remote areas, it would be a hard and long journey for them to head for a destination. So, there is a difficulty in communicating among the various peoples in different nations. There would be a delay in communication and connection. &lt;br /&gt;
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As for the West, there are numerous plains, so, it was much convenient and easier for the Western people to communicate and exchange their ideas with each other, which set a ideal environment for the development of translation activities.&lt;br /&gt;
&lt;br /&gt;
Also, the position of religion varies. The different tradition and culture of the West and China make the concept of religion of the two quite varied. Different religious cultures have different forms of expression and vocabularies of their own. In the West, the Bible is not only a religious classic but also an important mainstay of Western culture and the foundation of Christian faith. Buddhism was introduced into China from India in the early years of AD and became a very important part of Chinese traditional culture, in order to consolidate his ruling position, the rulers controlled the people spiritually. The doctrine of Buddhism satisfied to the ruler's appetite, so it was first spread among the ruling class and gradually gained its legal status.&lt;br /&gt;
&lt;br /&gt;
The tradition of Western and Chinese translation differs. One of the differences of them is between the single system and poly system. “The simplicity of Chinese translation tradition is mainly in the narrow sense，though there are different kinds of translations of national languages in China, most of them are still dominated by the tradition of Chinese language and culture translation, because they all occurred in the same environment of the language culture since ancient times, that is , the environment of Chinese language culture.”(Tan Zaixi2000,15) &lt;br /&gt;
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In contrast, in terms of space, the Western translation tradition did not always develop in the same region. In the later formation and development process, it spread throughout all ethnic regions in Europe；In terms of time, the western translation tradition began in ancient Rome, and then evolved into the ancient Latin language and culture system. In the later period of the middle ages, the system expanded and evolved into many relatively independent ethnic systems. So the system of the West is more like a kind of poly system instead of a single system like China.(Tan Zaixi2000,15)&lt;br /&gt;
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The concept of Chinese and Western translation is different. Meanwhile, the translation theory in China and the west varies. Chinese translation tradition pays more attention to practicality than to the theory. Like professor Tan Zaixi once said: “What Chinese translators and translation theorists most concerned about is how to deal with the difficulties in translation.” However, Western translation pays more attention to systematicness and theory.(Tan Zaixi2000,16) &lt;br /&gt;
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Secondly, the national characteristics of China and the West are also different. Relatively speaking, Western ideas are more open and Chinese more conservative. For a long time, the Chinese people advocate authority and accept fewer challenges. China's three cardinal principles and five constancies in religion are in sharp contrast to the religious reform in the West. Although the West also advocates authority and takes religion as its belief, it dares to break dogmatism, which brings a breakthrough to western translation studies to a certain extent.&lt;br /&gt;
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===Conclusion===&lt;br /&gt;
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History is a bridge connecting the past, the present and the future. Throughout the history of translation between China and the West, although the differences between them inevitably exist, the brilliant translation achievements made by both sides are remarkable: excellent translators, translation scholars, or outstanding  translation theory, translation works, all of these have opened up the way for our future translation research, they are leading people to pursue knowledge and to explore into the unknown field.&lt;br /&gt;
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Mastering the history of a discipline can help us to see the direction of its development, we then will be able to learn from the experience and lessons in the process and use this kind of method to guide the development of this subject. To have contact with the history of translation is helpful for us to understand and improve the level of translation and develop the translation career. The achievements of our predecessors have accumulated valuable cultural heritages for us. We should sum up our predecessors' translation experience and continue to make our efforts for our country's translation cause.&lt;br /&gt;
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===References===&lt;br /&gt;
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*Li Xuan. 李璇. (2012). 中西翻译高潮之对比 [Comparison of Translation Climax Between China and the West]. ''青年文学家'' Youth Literator(3) 131.&lt;br /&gt;
*Liu Junping. 刘军平. (2009). ''西方翻译理论通史'' [A General History of Western Translation Theory]. Wuhan: Wuhan University Press 武汉大学出版社.&lt;br /&gt;
*Ma Zuyi. 马祖毅. (1998). ''中国翻译简史-“五四”以前部分（修订本）'' [A Brief History of Chinese Translation: The Part Before the May 4th Movement] . China Translation Corporation 中国对外翻译出版公司. &lt;br /&gt;
*Qi Jian. 戚健. (2017). 古罗马时期翻译思想新探 [A New Probe Into the Translation Thoughts in Ancient Rome]. ''南昌航空大学学报：社会科学版'' Journal of Nanchang Hangkong University: Social Science (3) 68-74.&lt;br /&gt;
*Tan Zaixi. 谭载喜. (2000). ''翻译学'' [A Series of Translation Studies in China]. Wuhan: Hubei Education Press 湖北教育出版社.&lt;br /&gt;
*Tan Zaixi. 谭载喜. (1999). 中国翻译与西方翻译 [Chinese Translation and Western Translation].''中国翻译'' Chinese Translation Journal(5) 6-8.&lt;br /&gt;
*Tan Zaixi. 谭载喜. (2000). 中西译论的相异性 [The Differences Between the Chinese and Western Traditions of Translation Theories]. ''中国翻译'' Chinese Translation Journal (1) 15-21.&lt;br /&gt;
*Tan Zaixi. 谭载喜. (1999). 中西译论的相似性 [The Similarities Between the Chinese and Western Traditions of Translation Theories]. ''中国翻译'' Chinese Translation Journal (6) 25-28.&lt;br /&gt;
*Wang Yong. 汪勇. (2008). 翻译与宗教传播 [Translation and Religious Communication]. ''中国校外教育理论'' Education for Chinese After-school(26) 51-53.&lt;br /&gt;
*Xie Tianzhen. 谢天振. (2009). ''中西翻译简史'' [A Brief History of Translation in China and the  West]. Foreign Language Teaching and Research Press 外语教学与研究出版社.--[[User:Wang Yu|Wang Yu]] ([[User talk:Wang Yu|talk]]) 01:49, 21 December 2020 (UTC)&lt;br /&gt;
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==Comparison and Translation Studies Between Chinese and Western Color Terms	方洁玲	Fang Jieling==&lt;br /&gt;
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=== Abstract ===&lt;br /&gt;
Color terms are terms used to describe the external color characteristics of things, and are very common in our lives. We use them not only to describe the external image of an object, but also to express our inner psychological feelings. Color words contain rich cultural connotations, which should not be understood simply from their literal meanings when translated, but from the different cultural connotations and extended meanings contained in the color words to understand and choose the meanings of the words. This paper first introduces the composition of color words in Chinese and English and makes a comparative analysis of their characteristics, then discusses the different meanings given to the six colors in Chinese and English, and then provides different translation methods that should be used in different situations, providing a certain reference for the English-Chinese translation.&lt;br /&gt;
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===Key words ===&lt;br /&gt;
color terms, cultural difference , reason ,translation methods&lt;br /&gt;
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=== 摘要 ===&lt;br /&gt;
颜色词是用来描述事物外在颜色特征的词语，在我们生活中非常常见。我们不仅用它描绘物体的外在形象，也用它表达内在心理感受。颜色词包含了丰富的文化内涵，在翻译的时候不能简单地从字面意思上理解，应从颜色词所包含的不同文化内涵和引申意义来理解和选择词义。本文将首先介绍中英颜色词的构成并对其特点进行对比分析，然后具体论述六种颜色在中英文中被赋予的不同意义，接着提供了面对不同情况应该采用的不同翻译方法，为英汉互译提供了一定的参考。&lt;br /&gt;
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=== 关键词 ===&lt;br /&gt;
颜色词 文化差异 原因 翻译方法&lt;br /&gt;
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=== 1.Introduction ===&lt;br /&gt;
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Color is an indispensable part of human life,it is because of the colorfulness of colors that the world is much more varied and pleasant. Color words not only have an important impact on people's vision, but also have a great impact on people's inner feelings and emotional expression. As an important part of language, color words are frequently used by human beings in English, but due to different histories, cultures, customs and habits, in the long run, different people have given specific meanings to various colors. &lt;br /&gt;
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Analyzing and comparing the different connotations of color words in Chinese and Western cultures and exploring the cultural differences between English and Chinese will be of great help to the translation work between English and Chinese. At the same time, translators will inevitably meet a lot of problems in the translation work. In this paper, we mainly discuss the composition and cultural connotation of color words between Chinese and English. In addition, we also propose some translation methods and make a brief conclusion.&lt;br /&gt;
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=== 2.Characteristics of the Composition of Chinese and Western Color Words ===&lt;br /&gt;
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Color words are words used to describe the color of different things. And they are the symbols that exist in human languages to record a large number of colors, which are generally considered to be adjectives in grammar.&lt;br /&gt;
In the historical development of Chinese color words, there are three types.(Cai Xiaomin2020,65) &lt;br /&gt;
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(1) Basic words. These words are the most basic and objective, and are generally used to objectively describe the most direct external color state of an object. They are &amp;quot;white&amp;quot;, &amp;quot;black&amp;quot;, &amp;quot;red&amp;quot;, &amp;quot;yellow&amp;quot;, &amp;quot;blue &amp;quot;&amp;quot;Green&amp;quot; &amp;quot;Gray&amp;quot; &amp;quot;Purple&amp;quot; &amp;quot;Brown&amp;quot; and &amp;quot;orange&amp;quot;.&lt;br /&gt;
(2) Reference words. Reference words means that people specifically distinguish basic words to show different colors. These words are more detailed and specific than the basic words. For example, we tend to divide &amp;quot;green&amp;quot; into &amp;quot;dark green&amp;quot; &amp;quot;grass green&amp;quot; and so on.&lt;br /&gt;
(3)Descriptive words. Descriptive words comes from people's perception of nature. These words can not only distinguish colors, but also describe what they look like. Such color words are more literary and subjective.(Cai Xiaomin2020,65)&lt;br /&gt;
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Color words in English are mainly divided into basic color words and compound color words.&lt;br /&gt;
basic color words : (1) simple colors. For example, black, white. (2) Colors of plants. For example, orange, etc.&lt;br /&gt;
Compound color words : (1) the name of plant + simple color. For example, apple green. (2) Chemical name + simple color. For example, vermilion, etc(Cai Xiaomin2020,65)&lt;br /&gt;
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=== 3.The Different Understanding and Perception of Colors in China and the West ===&lt;br /&gt;
Nature is colorful and can be described with many words. Generally speaking, black symbolizes oppression, white symbolizes purity and innocence, and green symbolizes life force. However, due to different histories and cultures, the same color may have different meanings. After a careful study of color words, it is easy to see that color words create various associations that have a great impact on a person's emotions and behavior. This is the main reason why people use color words to explain their moral character, emotions, and perceptions of things.(Wang Yu2012,151) &lt;br /&gt;
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Different cultures and ways of thinking lead to different meanings of color words, and this disparity can affect people's understanding of the meaning of the same word. For example, in English-speaking countries, white symbolizes purity and beauty, which is why brides wear white wedding dresses in Western weddings. However, in China, white is often used to express grief, and a white funeral dress is worn at a funeral.(Du Tianyu2020,188) In this paper, we start with the six basic color words red, black, white, yellow, purple and blue, and compare their cultural connotations in English and Chinese, discussing the different understanding and cognition of colors in China and the West and the differences in cultural connotations between Chinese and Western cultures.&lt;br /&gt;
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====3.1 红and Red ====&lt;br /&gt;
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In traditional Chinese culture, &amp;quot;红&amp;quot; represents joy, happiness, good luck, and prosperity. &amp;quot;红&amp;quot; is a color that cannot be absent from important events in China, such as the red couplets(红包), red lanterns（红灯笼）, and red packets（红包） during Chinese New Year festivals, the red dress of the bride at weddings, and other festive ceremonies in China. Similarly, words combining the word &amp;quot;红&amp;quot; generally mean prosperity, such as “hongguangmanmian”（红光满面）、”dahongdazi”(大红大紫)、”honghuo”(红火)、”hongren”(红人)、”hongrun”(红润), etc. In addition, during the revolutionary era, the color red also symbolized the modern Chinese revolution and power, such as the“hongsezhengquan”(红色政权)、”hongjun”(红军)、”hongqi”(红旗)、”hongge”(红歌)、”hongsewenjian”(红头文件)、”hongseganglin”(红色纲领), etc.(	Zhao Fenyan2019,232)&lt;br /&gt;
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In the West, red refers to the color of blood, and when red is mentioned, it is generally associated with cruelty, violence, and bloodshed. For example, &amp;quot;red hands&amp;quot;, &amp;quot;red battle&amp;quot;, &amp;quot;the red rules&amp;quot; &amp;quot; red revenge&amp;quot;, the color red also symbolizes radical and violent revolution, as in &amp;quot;red activities&amp;quot;, but also danger and tension,such as &amp;quot;a red flag&amp;quot;. &amp;quot;red alert&amp;quot; &amp;quot;a red adventure story&amp;quot;,in addition to the above-mentioned symbolic meaning, the color red also has connotations of debauchery and obscenity.(Yan Wen2012,177)For example, red light district, a red waste of one's youth, and so on. The positive connotation of the color red in Western culture is due to the exchange and integration of different cultures, which is said to have been introduced to the West via Persia from the Far East. like red letter day、red envelope、the red carpet.&lt;br /&gt;
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====3.2 黑 and Black ====&lt;br /&gt;
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In Chinese history, “黑” is an honorable and dignified color, which had a high status in ancient times. During the Xia, Qin, and early Han dynasties, “黑” was the dress of emperors and officials, and the common people were only allowed to wear plain clothes, and then a restriction that was gradually relaxed after the Northern Song Dynasty. In China, the derivation of “黑” includes the positive meanings of stern, iron-faced, upright, and mysterious, such as in the art of theatrical masks, where the “黑脸” symbolizes the noble character of uprightness and selflessness. In addition to its positive connotations, “黑” sometimes symbolizes a derogatory meaning, indicating a counter-revolutionary, regressive, or stubborn party. For example, the ”阴曹地府” is said to be dark and sunless, and “黑”, as opposed to light, symbolizes darkness, death, terror, etc. (Wang Yu2012,150)&lt;br /&gt;
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In the West, black is the color of death, symbolizing death, suffering, and grief, hence the black color of Western mourning garments. black tidings means &amp;quot;bad news&amp;quot;，Jesus was crucified on the Friday before Easter, The Black Friday is considered to be a &amp;quot;dangerous and ominous day&amp;quot;. Black also symbolizes &amp;quot;anger&amp;quot; and &amp;quot;irritation&amp;quot;, such as: black in the face,to look black at sb，Other words that express negative meanings，such as black sheep, black dog, black eye, black list, black and blue, black art, and other black symbols.(Wang Yu2012,151)In addition, black also represents seriousness, discretion, and pomp. Black suit and black dress have always been the most revered traditional clothing in the West. In solemn formal occasions, people like to wear black clothing. Symphony orchestra performers almost always wear black suits. The term &amp;quot;black-ball&amp;quot; refers to a costume ball. In business English, &amp;quot;a company in black&amp;quot; refers to a profitable business, where“ in black” means profitable, because on financial statements, profit figures are written in black ink.&lt;br /&gt;
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====3.3 白 and White ====&lt;br /&gt;
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In Chinese, “白” is often used to represent death, such as at funerals with white decorations, white flowers, and white mourning clothes, but there are also many words containing “白” that do not represent color at all, but rather the name of something or have another meaning,[8]such as”baicai”(白菜), “baixiong”（白熊）、 “baiyi”(白蚁)、”baijuan” (白卷)、 “baichi”(白痴), White&amp;quot; also means &amp;quot;pure, or unadulterated, such as”baikaishui”(白开水)、”baizhi”(白纸)、”baiqierou”(白切肉)etc. &amp;quot;White&amp;quot; also often means &amp;quot;in vain&amp;quot; or &amp;quot;without cost&amp;quot;, such as”baifeishi”(白费事)、“baida”（白搭）、”baisong” (白送)、“baishouqijia” (白手起家) etc(Chen Yongye2005,425) &lt;br /&gt;
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and The Chinese word “白” is also not the same as the English word &amp;quot;white&amp;quot;, which we can say the white people (白人), but is better translated as: She has a fair skin. In addition, it is difficult to summarize the exact meaning of some of the“白” in Chinese, For example “baihua”(白话) vernacular, “tanbai”（坦白）: to confess, to make a clean breast of something, etc.(Yan Wen2012,176)&lt;br /&gt;
In the West, however, white is considered as a symbol of purity, and it is customary to wear white wedding dresses and gowns at weddings, hence there exist the expressions like white-handed，a white lie，a white day, they treated us white etc.&lt;br /&gt;
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====3.4 黄 and Yellow ====&lt;br /&gt;
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In traditional Chinese culture,”黄” is a symbol of power, honor, and nobility, in the Chinese feudal society, yellow is a symbol of imperial power and nobility, such as ”chonggao”(崇高)，”huangpao”(皇袍)、”huanggong”(皇宫)、”shengzhi”(圣旨) and so on. In modern Chinese, words such as “huangchengcheng”(黄澄澄),”huangcanvan”(黄灿灿)mean a good harvest and an auspicious day. ”黄” is a glorious color. And it is always associated with &amp;quot;honor&amp;quot;, &amp;quot;brilliance&amp;quot;, it is a symbol of &amp;quot;power&amp;quot; and &amp;quot;nobility&amp;quot;. To this day, ”黄” is still the symbol of ancient China, which is its positive meaning. Similarly, ”黄” has negative connotations, such as ”huangseshukan”(黄色书刊) , “huangseluxiang”(黄色录像) etc.(Yan Wen2012,178)&lt;br /&gt;
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but in the West, the term &amp;quot;the blue video&amp;quot;, &amp;quot;the blue talk&amp;quot; is used to describe the pornographic nature of the country. It means ”huangsedianying”(黄色电影)and ”huangsexinxi”(黄色信息)(Du Tianyu2020,188). In addition, ”黄” also means failure, sickness, or old age, such as ”huangji”(黄髫). The word ”黄” also means youth and ignorance.In the West, in Western Christianity, yellow is a symbol of shame. Because in the Bible, Judas betrayed Jesus by wearing a yellow dress. Therefore, &amp;quot;yellow&amp;quot; has the connotation of betrayal .And it also means sadness, sickness, cowardice, etc.(Chen Yongye2005,425) For example, &amp;quot;a yellow streak&amp;quot; means cowardice. &amp;quot;yellow&amp;quot; also has mean and vulgar semantics. In the 18th century, Americans often printed pornographic books on yellow paper. &lt;br /&gt;
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As a result, the low level of exaggeration and exaggerated distortion of facts used by newspapers and periodicals to attract readers was later extended to journalistic styles as well. For example, &amp;quot;yellow journalism&amp;quot; is a style of journalism that attempts to attract people in any way possible. In English, Yellow Pages is the &amp;quot;yellow phone book&amp;quot;, and yellow boy is a slang term for &amp;quot;gold coin. The English words for Chinese ”黄” would be: pornographic, filthy, vulgar, obscene, etc. In English, blue is often used to mean ”黄”, such as blue jokes(下流的玩笑)、blue revolution (性解放)、blue films (黄色影片)、blue software (黄色软件)etc.(Chen Yongye2005,425) Some Chinese words have nothing to do with the English word yellow, such as blue jokes(下流的玩笑)、blue revolution (性解放)、blue films (黄色影片)、blue software (黄色软件)and so on.&lt;br /&gt;
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====3.5 绿and Green ====&lt;br /&gt;
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In Chinese culture, “绿”represents vitality, and phrases related to”绿”express hope and vitality of people, such as“lüzhou”（绿洲）、“lvyiangran”（绿意盎然）. In today's China, ”绿”has a new symbolic meaning, such as: “lvseshipin”(绿色食品),”lvsechanye”(绿色产业), all referring to the concept of health, safety and non-pollution. The green light is also a signal for safe passage. In Chinese, a &amp;quot;lvmao&amp;quot; （绿帽）means that a man's wife is in an illicit relationship with someone else.(Hu Zongkang, Zhang Jun2019,153) However, in ancient Chinese culture, ”绿”means humbleness, because humble people wore green clothes. Also,”lvlinhaohan” (绿林好汉)means a barbarian who occupies a mountain and becomes king.&lt;br /&gt;
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In traditional British culture, &amp;quot;Green&amp;quot; is a symbol of youth and vitality. It reminds people of the harmony and tranquility of nature. The &amp;quot;Green Peace Organization&amp;quot; is an organization that protects animals and plants. A dove with a green olive branch in its beak is a symbol of peace, &amp;quot;green winter&amp;quot; refers to a warm winter, and &amp;quot;in a green wood&amp;quot; refers to when people are young and strong. Green also represents a sense of madness and despair, just as Satan's image in the Bible is green. In addition, green in English also has a derogatory meaning of jealousy, lack of training, and childishness, such as “as green as grass”，’a green eye”，”a green hand”.(Chen Yuan2020,49) In addition, greenback means U.S. currency in English, and since U.S. dollar bills are green in color, green also means &amp;quot;money,&amp;quot; &amp;quot;bills,&amp;quot; or &amp;quot;economic power&amp;quot; in the United States.&lt;br /&gt;
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====3.6 蓝 and Blue ====&lt;br /&gt;
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Blue is the color of the sea and clear skies, giving people a feeling of peace and tranquility. In Chinese, in addition to the color,”蓝” is often used together with other words to form phrases that have different meanings from the color. &lt;br /&gt;
For example, “蓝 青 官 话 “the standard Chinese spoken by the people with accent、“蓝本”script on which the works are based； model&lt;br /&gt;
“蓝图”（blue print）building plan、“蓝田生玉”the noble people usually come from the good family、“青出于蓝而胜于蓝 “the new coming from the old is better than the old .(Chen Yuan2020,49)&lt;br /&gt;
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But blue in English can be extended to depression, sadness, nervousness, immorality, obscenity, and pornography. For example :“feel blue“, ”be blue about future“,”Her mood is blue“,“be down with blues”,“sing the blues”,“blue devils”,“blue funk“,”blue revolution“, ”blue films“, ”blue jokes“, ”blue room” refers to a place in The White House where the president meets his friends and family. and the ”Blue Book“ refers to a book that contains the names of celebrities and important government officials.(Du Tianyu2020,187-188)&lt;br /&gt;
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=== 4.Reasons for the Difference in the English-Chinese Translation of Color Words ===&lt;br /&gt;
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Different countries and regions have different interpretations of color. The main reasons for this difference are geographical factors, historical factors, religious beliefs, and social systems, &lt;br /&gt;
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====4.1 Geographic Factors ====&lt;br /&gt;
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Chinese civilization originated in the Yellow River Basin. The rich water resources and flat land of the Yellow River Basin have nurtured several generations of Chinese people. This is the main reason why the Chinese people love yellow. For generations, we Chinese people are also known as the “yanhuangzisun”(炎黄子孙)(Cai Xiaomin2020,66).Western civilization originated in ancient Rome. The only way out for Greece was to expand abroad. Therefore, blue became the favorite color of the Greeks.&lt;br /&gt;
	&lt;br /&gt;
==== 4.2 Historical and Cultural Factors ====&lt;br /&gt;
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A large number of color words have been created in different historical backgrounds and conditions. Therefore, it is important to understand the differences in the historical background and culture of different countries. For example, during the War of Resistance Against Japanese Aggression, our Party was called the”hongjun”(红军), which gave rise to expressions like “hongsezhengquan”(红色政权)、”hongjun”(红军)、”hongqi”(红旗)、”hongge”(红歌)、”hongsewenjian”(红头文件)、”hongseganglin”(红色纲领),etc.(Li Dan2018,132) &lt;br /&gt;
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In addition to some basic meanings, the color “红” in China also has some special historical meanings, such as the heroic and fearless revolutionary spirit. This is also the main reason why our national flag adopts the color red. Also in ancient China, yellow was a symbol of power, a color reserved for the royal family, representing the supreme authority, which meant that yellow robes were added to the flag. In the West, purple is used as a metaphor for &amp;quot;throne&amp;quot; and &amp;quot;prominence,&amp;quot; and the addition of a purple robe means rising to a position of prominence, because Western emperors and bishops have a tradition of wearing purple robes,(Li Dan2018,132) such as :be born in the purple(生于皇室), be raised to the purple. &lt;br /&gt;
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In recent years, yellow has become more and more of a symbolic term in China for low taste, erotic vulgarity, and obscenity, such as”huangsedianying”(黄色电影)、”huangseshukan”(黄色书刊)、”huangseguangdie”(黄色光碟).etc. The &amp;quot;黄&amp;quot; in these names has nothing to do with the English &amp;quot;yellow&amp;quot;, these words in English are expressed like this pornographic, vulgar, obscene. (Chen Yongye2005,425)It is very different from the associations in Chinese culture. The color vocabulary is visually and psychologically positive and derogatory for people of different nationalities.&lt;br /&gt;
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==== 4.3 Religious beliefs ====&lt;br /&gt;
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In China, the Five Element Theory is widely spread. Since &amp;quot;gold&amp;quot; is at the core of the theory, yellow becomes noble. In contrast, in the West, because yellow is stigmatized in Christianity and most people are Christians, many people dislike yellow and often even use it to convey negative connotations, according to &amp;quot;the Gospels&amp;quot; in the Bible's, in which Jesus was willing to be crucified, bleed to death, and be sacrificed with the blood of the Gospels. The Bible has been a classic of Christianity, and most people in Europe and the United States believe in Christianity.(Chen Yongye2005,425) Since the Bible has always been a Christian classic, and most people in Europe and the United States are Christian, its influence on Western culture as a whole is immeasurable, and on English culture as well.&lt;br /&gt;
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Therefore, people think that &amp;quot;red&amp;quot; is associated with bloodshed, martyrdom, and bad things, and &amp;quot;red&amp;quot; makes them think of horrible things, such a“ red hand”( 沾 满 血 的 手 ),“ a red battle”( 血 战 ),“ to see the red light”(灾祸临头).&amp;quot;(Chen Yongye2005,425)In Chinese language, the color red is a symbol of honor, splendor, good fortune, and celebration. Such as: :“ 开门红”make/ get off to a good start,“ 满堂红”success in every field,“ 红 榜 ”honor roll,“ 红 运 ”goodluck,“ 红 事 ”wedding,“ 红 人 ”a favorite with someone in power etc.&amp;quot;.&lt;br /&gt;
&lt;br /&gt;
==== 4.4 Social System ====&lt;br /&gt;
&lt;br /&gt;
The use of different colors to represent political affiliations or national identities has long been a common practice among peoples of different social systems in China and the West due to their political, economic, and religious differences. In English, the true blue refers to the loyal members of a political party, especially the die-hard conservative members of the British party; White Paper or Blue Paper refers to a report or diplomatic document with blue or white covers issued by the British and American governments on a particular topic; Yellow Paper refers to the French and other countries. A government report of a country; Green Paper is a draft report for discussion by various committees; the Chinese use the term &amp;quot;红&amp;quot; to symbolizes the proletarian revolution, the meaning of which is derived from the book &amp;quot;Red Star Over China&amp;quot;(“红星照耀下的中国”,and is also translated into”西行漫记”) by American writer Edward Snow.(Li Dan2018,132)&lt;br /&gt;
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===5.Translation Methods of English-Chinese Color Words ===&lt;br /&gt;
 &lt;br /&gt;
From the above analysis, we can conclude that there are similarities and differences in the cultural connotations of Chinese and English color words. Therefore, in the translation of color words, it is impossible to generalize, so translators need to adapt to the local conditions and adopt an appropriate way to translate.&lt;br /&gt;
	&lt;br /&gt;
====5.1 Literal Translation ====&lt;br /&gt;
&lt;br /&gt;
Literal translation means that every effort should be made to maintain the linguistic style of the original work. At the same time, it requires that the target language should be fluent and easy to understand. There are similarities between English and Chinese languages and cultures. In the translation of English-Chinese color words, some color words can be found in the target language, while others have similar extended cultural meanings. Sometimes there is no similar extended meaning, but only a literal translation meaning, so the literal translation can also be used for translation.(Hu Zongkang, Zhang Jun,153)&lt;br /&gt;
&lt;br /&gt;
For example, when the word black remains in its original color in the corresponding language, i.e, it has the same connotation, a literal translation is usually used.black humor 黑色幽默 (an absurd, grotesque, or morbid humor in literature, especially in novels and plays)、&lt;br /&gt;
black Friday黑色的星期五 (the Friday on which any disaster occurs)、black hand黑手党 (a secret organization that originated in Sicily, Italy, and has spread to the United States to engage in criminal activities)black market 黑市、black- hearted 黑心的、blacklist 黑名单、black and white TV黑白电视, etc.(Chen Yuan2020,49）and red light district can be directly translated as“红灯区“, which refers to the neighborhoods where sex industries are concentrated in cities of certain countries and regions.(Hu Zongkang, Zhang Jun,152) &lt;br /&gt;
&lt;br /&gt;
Similarly, some color words in Chinese can be directly translated into English, for example:” 白露”, one of the 24 solar terms, is a culturally specific term in Chinese, which is completely unfamiliar to Western countries. Due to cultural exchanges, &amp;quot;white dew&amp;quot; is becoming more and more familiar to foreigners, and it has the same cultural meaning in English as &amp;quot;白露&amp;quot; in China. As another example, &amp;quot;绿油油&amp;quot; is a Chinese adjective used to describe the color of vibrant green leaves.(Hu Zongkang, Zhang Jun,153) We can translate it into English as &amp;quot;green and shiny&amp;quot; because the color words here are only used to describe objective points of view, and they have the same meaning.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
==== 5.2 Free Translation ====&lt;br /&gt;
&lt;br /&gt;
Free translation. When the meaning of a color word in the original language is different from the meaning of the color word in the target language, the translator has to translate the meaning of the color word in the original language into the customary expression in the target language. In some cases, color words appear in both Chinese and English, but they do not have any color meaning; some are customary object names, while others give new meaning to them. In this case, the color itself cannot be focused on, so the colorless translation should be abandoned.This kind of translation based on the cultural background of two languages to correspond to the meaning is called &amp;quot;free translation&amp;quot;.(Chen Yuan2020,49）&lt;br /&gt;
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Take black as an example, for instance, black lie--恶意的谎言、black and blue--青一块紫一块、black tea-- 红茶、black guard--恶棍、black coffee --不加牛奶的咖啡、pain somebody black-- 把某人描写成坏人、黑帮can be translated into “reactionary gang”、黑钱--ill-gotten money、黑面包 brown bread, and so on. Another example is that we often say &amp;quot;他是老师面前的“红人&amp;quot;, which is translated into English as &amp;quot;He is teacher's favourite student&amp;quot; ,”hongren”(红人)is an extended paraphrase of the Chinese, which does not mean literally, it means someone who is popular and be sought after by others,(Hu Zongkang, Zhang Jun,150) and the exact meaning needs to be contextualized. People from English-speaking countries will be confused if we translate it as &amp;quot;red people&amp;quot;. &lt;br /&gt;
&lt;br /&gt;
In English, the meaning of &amp;quot;one's favourite people&amp;quot; is somewhat similar to &amp;quot;红人&amp;quot;, so the phrase &amp;quot;one's favorite people&amp;quot; is appropriate. Another example is &amp;quot;a white elephant,&amp;quot; which is said to be a punishment given by the king of Thailand to his erring ministers in the past, as the cost of keeping white elephants is very high and would be a great financial burden. This word is very common in English, but a literal translation of &amp;quot;白象&amp;quot; would not have any connotation in Chinese, so it can be translated as &amp;quot;expensive and useless thing.（Jin Yan2012，130）&lt;br /&gt;
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===6. Conclusion ===&lt;br /&gt;
&lt;br /&gt;
This paper first discusses the construction of color words in Chinese and English, and then compares their compositional features. Secondly, six colors (red, black, yellow, white, green, blue) are taken as examples to analyze the cultural similarities and differences between Chinese and English color words. The reasons for the differences are divided into four main categories: geographical factors, historical factors, psychological factors, religious beliefs, and social systems,Finally, a solution to the problem is proposed, which provides a proper reference for translators when translating Chinese and English color words.(Hu Zongkang, Zhang Jun,153)&lt;br /&gt;
&lt;br /&gt;
When doing translation, translators can mainly use two different translation methods, namely, literal translation and free translation. When the Chinese cultural connotation of a color word in a sentence is the same as the English one, the literal translation can be used. When it is different from English, a free translation is appropriate.(Bao Dongjiao2005,106) With the continuous penetration of globalization, people's languages and cultures are gradually interwoven, so does the meaning of color words, and also the similarities are expanding gradually.&lt;br /&gt;
&lt;br /&gt;
 However, each nation-state has its own unique culture and customs, so the color words have completely different meanings in different regions and different languages. Therefore, when translating color terms, in order to translate the meaning of the text more accurately, the translator must have a deeper understanding of the color words.(Bao Dongjiao2005,107).In addition, the translator should not only learn translation skills, but also the history, geography, and culture of the country where the source and target language are located, which will help the accuracy of the translation. In short, the key to a good color word translation is the combination of translation skills and a deep understanding of the culture, as well as an accurate analysis of the color word.&lt;br /&gt;
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===7.Reference ===&lt;br /&gt;
&lt;br /&gt;
*Cai Xiaomin.蔡晓敏.( 2020).中英颜色词的对比与翻译研究[A comparative study of Chinese and English color words and their translation].海外英语[Overseas English],65-66.&lt;br /&gt;
&lt;br /&gt;
*Yan Wen.颜雯.(2012).翻译中颜色词的中西文化内涵差异[The difference between Chinese and Western cultural connotations of color words in translation].青年文学家·语言研究,[ Young Literati-Language Studies],177.&lt;br /&gt;
&lt;br /&gt;
*Jin Yan.金燕.(2012).浅析颜色词在中西文化下的翻译对比差异[An analysis of the contrasting differences in the translation of color words in Chinese and Western cultures].海外英语[Overseas English].&lt;br /&gt;
&lt;br /&gt;
*Zhao Fenyan.赵芬艳.(2019).试论中西颜色词的文化内涵及翻译策略[The cultural connotation of Chinese and Western color words and translation strategies].师资校企经验[Faculty school-enterprise experience],232-234.&lt;br /&gt;
&lt;br /&gt;
*Wang Yan, Zhang Bo.王艳,张博.(2012).谈中西文化对颜色的理解差异[Talking about the difference in the understanding of color between Chinese and Western cultures].教学实践[Teaching Practice],6-11.&lt;br /&gt;
&lt;br /&gt;
*Chen Yongye.陈永烨.(2005).英汉颜色词所表现的中西文化差异[The Chinese and Western cultural differences expressed by English and Chinese color words].辽宁工程技术大学学报[Journal of Liaoning University of Engineering and Technology],424-427.&lt;br /&gt;
&lt;br /&gt;
*Hu Zongkang, Zhang Jun.胡宗康,张军.(2019).英汉颜色词中“Green/绿”的对比与翻译方法研究[. Comparison and Translation of &amp;quot;Green/绿&amp;quot; in English and Chinese Color Words].文学教育[Literary Education],152-153.&lt;br /&gt;
&lt;br /&gt;
*Bao Dongjiao.鲍冬娇.(2015).中西红白颜色认知差异及翻译取向[Differences between Chinese and Western red and white color perception and translation orientation].湖北经济学院学报[Journal of Hubei University of Economics],106-107.&lt;br /&gt;
&lt;br /&gt;
*Li Dan.李丹.(2018).中西文化差异下的颜色词翻译[Translation of color words under the difference of Chinese and Western cultures].海外英语[Overseas English].&lt;br /&gt;
&lt;br /&gt;
*Li Hong.李虹.(2020).汉英颜色词翻译的差异性研究[A study of the differences between Chinese-English color word translations].文化长廊[Cultural Promenade].&lt;br /&gt;
&lt;br /&gt;
*Liu Mengqi, Chen Xingxing.刘梦琪,陈星星.(2020).浅谈颜色词的翻译[A brief discussion on the translation of color words].校园英语翻译研究[Campus English Translation Study].&lt;br /&gt;
&lt;br /&gt;
*Du Tianyu,杜恬雨.(2020).浅析文化差异对汉英颜色词翻译的影响[An analysis of the influence of cultural differences on the translation of Chinese-English color words].科教文汇[Science and Education],187-188.&lt;br /&gt;
&lt;br /&gt;
*Xu Yanping.许雁萍.(2009).中西文化中颜色词语的差异及其翻译[The Difference of Color Words in Chinese and Western Culture and Their Translation].文学语言学研究[Literary Linguistics Research],212-213.&lt;br /&gt;
&lt;br /&gt;
*Wang Yu.王羽.(2012).中西文化对比下颜色词的差异比较[Comparison of the differences in color words between Chinese and Western cultures].教育时空[Education Time],151.&lt;br /&gt;
&lt;br /&gt;
*Li Yun, Jia Aiguang.李云,贾爱光.(2020).大学英语教学中英汉基本颜色词翻译对比探讨[A Comparative Discussion on the Translation of English and Chinese Basic Color Words in University English Teaching].校园英语[Campus English],11-21.&lt;br /&gt;
&lt;br /&gt;
*Chen Yuan陈缘.(2020)英汉颜色词的文化差异与翻译[Cultural differences between English and Chinese color words and translation].海外英语[Overseas English],48-49.&lt;br /&gt;
&lt;br /&gt;
==Translation manipulated by ideology	许静	Xu Jing, 202070080614 英语笔译==&lt;br /&gt;
&lt;br /&gt;
&amp;lt;center&amp;gt; 许静 Xu Jing 202070080614 &amp;lt;/center&amp;gt;&lt;br /&gt;
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&lt;br /&gt;
===摘要===&lt;br /&gt;
传统翻译理论将研究重点放在原文与译文的对比上，遵循翻译的最高原则“忠”。本文将根据勒菲费尔的翻译改写理论，从历史角度探讨中国建国初期翻译活动的过程及其制约因素，旨在揭示这一阶段中国翻译活动的基本特点，为新时期翻译活动的良性发展提供一点借鉴。&lt;br /&gt;
&lt;br /&gt;
===关键词===&lt;br /&gt;
翻译；意识形态；操纵；赞助人&lt;br /&gt;
&lt;br /&gt;
===Abstract===&lt;br /&gt;
Traditional translation theory focuses on the comparison between the original text and the translated text, following the strict principle of translation, &amp;quot;fidelity&amp;quot;. This article will explore the process of translation activities and its constraints in the early years of China's founding from a historical perspective, based on Lefevere's theory of translation rewriting, with the aim of revealing the basic characteristics of Chinese translation activities at this stage and providing a little reference for the benign development of translation activities in the new era.&lt;br /&gt;
&lt;br /&gt;
Traditional translation theory focuses on the comparison between the original text and the translated text, following the strict principle of translation, &amp;quot;fidelity&amp;quot;. This article will explore from a historical perspective the process of translation activities and its constraints in the early years of China's founding, based on Lefevere's theory of translation rewriting, with the aim of revealing the basic characteristics of Chinese translation activities at this stage and providing a little reference for the benign development of translation activities in the new era.--[[User:Yang Yue|Yang Yue]] ([[User talk:Yang Yue|talk]]) 04:19, 19 December 2020 (UTC)&lt;br /&gt;
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===Key words===&lt;br /&gt;
Translating; Ideology; Manipulation; Patronage&lt;br /&gt;
&lt;br /&gt;
===Introduction===&lt;br /&gt;
Traditionally, translation studies have only focused on the linguistic level, confined to the conversion of two texts, and have not broken through the understanding of the &amp;quot;faithful&amp;quot; concept. Since the 1970s, leading translators from various countries have abandoned their original narrow thinking and begun to emphasize that &amp;quot;translation does not take place in the vacuum of two languages, but in the context of two literary and cultural traditions.&amp;quot; In the 1980s, the French translation studies scholar Antoine Berman stressed that the translation of literary works is driven by ideological choices. in the 1990s, the contemporary American translation theorist Lefevere suggested that in Translation, Rewriting and the Manipulation of Literary Fame (Translation, Rewriting and the Manipulation of Literary Fame) the Manipulation of Literary Fame), argues that translation takes into account several factors such as ideology, patronage, poetics and literary scholarship. Translation is the rewriting of an original text; it is a form of creating a text. Whatever the rewriting or the intention, it reflects a certain ideology and poetics and responds to the dominant ideology of the period. As a result, the intercultural activity of translation inevitably bears the mark of ideology.&lt;br /&gt;
&lt;br /&gt;
Traditionally, translation studies have only focused on the linguistic level, confined to the conversion of two texts, and have not broken through the understanding of the &amp;quot;faithful&amp;quot; concept. --[[User:Yang Yue|Yang Yue]] ([[User talk:Yang Yue|talk]]) 04:19, 19 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
Since the 1970s, leading translators from various countries have abandoned their original narrow thinking and begun to emphasize that &amp;quot;translation does not take place in the vacuum of two languages, but in the context of two literary and cultural traditions.&amp;quot; In the 1980s, the French translation studies scholar Antoine Berman stressed that the translation of literary works is driven by ideological choices. --[[User:Yang Yue|Yang Yue]] ([[User talk:Yang Yue|talk]]) 04:19, 19 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
In the 1990s, the contemporary American translation theorist Lefevere suggested that in Translation, Rewriting and the Manipulation of Literary Fame (Translation, Rewriting and the Manipulation of Literary Fame) the Manipulation of Literary Fame), argues that translation takes into account several factors such as ideology, patronage, poetics and literary scholarship. Translation is the rewriting of an original text; it is a form of creating a text. Whatever the rewriting or the intention, it reflects a certain ideology and poetics and responds to the dominant ideology of the period. As a result, the intercultural activity of translation inevitably bears the mark of ideology.--[[User:Yang Yue|Yang Yue]] ([[User talk:Yang Yue|talk]]) 04:19, 19 December 2020 (UTC)&lt;br /&gt;
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===Ideology===&lt;br /&gt;
The word “ideology”, derived from the Greek word “idea” and “logos”, literally means conceptual logos, i.e. the doctrine of ideas. It was a concept proposed by Destutt de Tracy at the end of the 18th century, initially as a world view and a body of philosophical thought, for a modern critique of religion, which encompassed the whole field of culture, including science, and was an essential intermediary between ourselves and the world. This is generally considered to be the positive use of this concept. &lt;br /&gt;
&lt;br /&gt;
The word “ideology”, derived from the Greek word “idea” and “logos”, literally means conceptual logos, i.e. the doctrine of ideas. It was a concept proposed by Destutt de Tracy at the end of the 18th century, initially as a world view and a body of philosophical thought, for a modern critique of religion, which encompassed the whole field of culture, including science, and was an essential intermediary between ourselves and the world. This is generally considered to be the positive use of this concept. --[[User:Yang Yue|Yang Yue]] ([[User talk:Yang Yue|talk]]) 04:19, 19 December 2020 (UTC)&lt;br /&gt;
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But there are also a number of scholars who recognise and use this concept in a negative or pejorative sense. In their view, ideology is a form of false-consciousness, a set of interconnected value judgements that guide social and political action but are not subject to rational scrutiny. These judgements, which contain prejudices and preconceptions, tend to distort our understanding of the world and are therefore necessarily unreliable. Ideology, in this context, includes religion and all distorted forms of consciousness, is the antithesis of science and functions politically as a specific element of the social superstructure. Both meanings of ideology, positive and negative, have long been used in the field of philosophical and cultural studies. The Dictionary of Modern Chinese (2002) gives the following summary of ideology:&lt;br /&gt;
&lt;br /&gt;
But there are also a number of scholars who recognise and use this concept in a negative or pejorative sense. In their view, ideology is a form of false-consciousness, a set of interconnected value judgements that guide social and political action but are not subject to rational scrutiny. These judgements, which contain prejudices and preconceptions, tend to distort our understanding of the world and are therefore necessarily unreliable. --[[User:Yang Yue|Yang Yue]] ([[User talk:Yang Yue|talk]]) 04:19, 19 December 2020 (UTC)&lt;br /&gt;
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Ideology, in this context, includes religion and all distorted forms of consciousness, is the antithesis of science and functions politically as a specific element of the social superstructure. Both meanings of ideology, positive and negative, have long been used in the field of philosophical and cultural studies. The Dictionary of Modern Chinese (2002) gives the following summary of ideology:--[[User:Yang Yue|Yang Yue]] ([[User talk:Yang Yue|talk]]) 04:19, 19 December 2020 (UTC)&lt;br /&gt;
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Ideology is a systematic view of the world and society, formed on the basis of a certain economic foundation. Ideology is a component of the superstructure and has a class character in a class society. It is also called conceptual form.&lt;br /&gt;
&lt;br /&gt;
Mkerriam-Webster's Collegiate Dictionary defines: &lt;br /&gt;
&lt;br /&gt;
1. especially the systematic sum of ideas about human life or culture; 2. the way of thinking or content specific to an individual, group, or culture; 3. the integrated claims, theories, and goals that shape a socio-political agenda. &lt;br /&gt;
&lt;br /&gt;
The two definitions are worded differently, but the substantive content is basically the same. The use of the concept of ideology in this paper will take its broad form, taking into account both positive and negative meanings, reflecting its narrow political connotation as well as covering its conceptual doctrine in its original sense. It is on this conceptual basis that our discussion will proceed.&lt;br /&gt;
===Ideology and Translation===&lt;br /&gt;
Traditional translation theory has always measured all translations with a yardstick of loyalty and infidelity, as if questioning a young daughter-in-law in a family shrine about her disobedience. In this small-minded ritualistic vision, the self-appointed patriarchal status of the commentator gives himself an unwarranted authority, so much so that some conclusions seem to be drawn without even bothering to fetch the ritualistic ruler: translators are like women, beautiful ones are unfaithful, faithful ones are not beautiful. &lt;br /&gt;
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Thus, we see in the clan shrine of translation Yan Fu, Lin Shu, Fu Donghua, etc., who were doubly condemned without being told; and the foreigner who did not know Chinese and dared to translate Tang poems, one by one, Pound. The crime: infidelity. Finally, in the 1980s, translation scholars began to pay attention to the pressure of ideology on the practice of translation. In the 1990s, the American translator Lefevere wrote a book entitled Translation, Rewriting, and the Manipulation of Literary Fame. In this book, he systematically described the two main factors that manipulate the translation process, namely ideology and poetics. According to his theories, it seems that we can offer another explanation for the 'infidelity' of Yan Fu and others.&lt;br /&gt;
&lt;br /&gt;
Thus, we see in the clan shrine of translation Yan Fu, Lin Shu, Fu Donghua, etc., who were condemned with few sensible reasons; and Pound, the foreigner who did not know Chinese and dared to translate Tang poems. The crimeexerted on them is infidelity. --[[User:Yang Yue|Yang Yue]] ([[User talk:Yang Yue|talk]]) 04:19, 19 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
Finally, in the 1980s, translation scholars began to pay attention to the pressure of ideology on the practice of translation. In the 1990s, the American translator Lefevere wrote a book entitled Translation, Rewriting, and the Manipulation of Literary Fame. In this book, he systematically described the two main factors that manipulate the translation process, namely ideology and poetics. According to his theories, it seems that we can offer another explanation for the 'infidelity'.--[[User:Yang Yue|Yang Yue]] ([[User talk:Yang Yue|talk]]) 04:19, 19 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
According to Lefevere, there are two factors that control literary creation and translation: internal and external. The internal factor is the so-called 'professionals', made up of critics, teachers, translators, etc., while the external factor is the 'people, institutions' who have the 'power to promote or prevent' literary creation and translation. &amp;quot;The term he uses is patronage. Here, 'the patronage is usually interested in the ideology of literature', while 'the literary scholars are concerned with poetics' (Lefevere, 1992a: 14-15). Thus, the two main factors governing the translation process are ultimately ideology and poetics. &lt;br /&gt;
&lt;br /&gt;
According to Lefevere, there are two factors that control literary creation and translation: internal factors and external factors. The internal factor is the so-called 'professionals', made up of critics, teachers, translators, etc., while the external factor is the 'people, institutions' who have the 'power to promote or prevent' literary creation and translation. &amp;quot;The term he uses is patronage. Here, 'the patronage is usually interested in the ideology of literature', while 'the literary scholars are concerned with poetics' (Lefevere, 1992a: 14-15). Thus, the two main factors governing the translation process are ultimately ideology and poetics. --[[User:Yang Yue|Yang Yue]] ([[User talk:Yang Yue|talk]]) 04:19, 19 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
Lefevere also points out that the endogenous factor (the literary person and his or her poetic conception) works within the parameters set by the exogenous factor (the patron and his or her ideology) (ibid). In other words, the patron representing the ideology of a culture or society establishes a set of decisive ideological value parameters within which literary scholars and translators accomplish their poetic pursuits. On the one hand, the patrons, as spokespersons of a certain ideology, use their discursive power to intervene directly in the translation process; on the other hand, the literary scholars and translators, who are familiar with this set of ideological value parameters, mostly consciously avoid violating the ideological tenets and manipulate their limited discursive power and poetic skills within the limits they deem permissible. Thus, when literary scholars and translators use discourse, both ideology and poetics come into play in their consciousness, influencing their compositions or 'rewriting' and 'determining the strategies of the translator' (op. cit: 48).&lt;br /&gt;
&lt;br /&gt;
Lefevere also points out that the endogenous factor (the literary person and his or her poetic conception) works within the parameters set by the exogenous factor (the patron and his or her ideology) (ibid). In other words, the patron representing the ideology of a culture or society establishes a set of decisive ideological value parameters within which literary scholars and translators accomplish their poetic pursuits. --[[User:Yang Yue|Yang Yue]] ([[User talk:Yang Yue|talk]]) 04:19, 19 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
On the one hand, the patrons, as spokespersons of a certain ideology, use their discursive power to intervene directly in the translation process; on the other hand, the literary scholars and translators, who are familiar with this set of ideological value parameters, mostly consciously avoid violating the ideological tenets and manipulate their limited discursive power and poetic skills within the limits they deem permissible. Thus, when literary scholars and translators use discourse, both ideology and poetics come into play in their consciousness, influencing their compositions or 'rewriting' and 'determining the strategies of the translator' (op. cit: 48).--[[User:Yang Yue|Yang Yue]] ([[User talk:Yang Yue|talk]]) 04:19, 19 December 2020 (UTC)&lt;br /&gt;
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The above distinction between ideology and poetics made by Lefevere is, in my view, logically debatable. In terms of the division of categories, poetics as a system of aesthetic ideas about literature and art still belongs to the realm of ideology, and therefore this paper will treat the poetic element as a category under ideology. It must be stated that the author only disagrees with the validity of the distinction between categories in Lefevere's theory, but agrees and admires his thesis on the influence of ideology and poetics on the translation process.&lt;br /&gt;
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The above distinction between ideology and poetics made by Lefevere is, in my view, some debatable points. In terms of the division of categories, poetics as a system of aesthetic ideas about literature and art still belongs to the realm of ideology, and therefore this paper will treat the poetic element as a category under ideology. It must be stated that the author only disagrees with the validity of the distinction between categories in Lefevere's theory, but agrees and admires his thesis on the influence of ideology and poetics on the translation process.--[[User:Yang Yue|Yang Yue]] ([[User talk:Yang Yue|talk]]) 04:19, 19 December 2020 (UTC)&lt;br /&gt;
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In the author's view, Lefevere's theory provides a justification for those &amp;quot;beautiful women&amp;quot; who have &amp;quot;lost their modesty&amp;quot;. Of course, the task of defending &amp;quot;them&amp;quot; is now left to our descendants.Ideology is a product of a certain society and culture. As societies emerge and cultures emerge, so do ideologies.&lt;br /&gt;
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In my understanding, Lefevere's theory provides a justification for those &amp;quot;beautiful women&amp;quot; who have &amp;quot;lost their modesty&amp;quot;. Of course, the task of defending &amp;quot;them&amp;quot; is now left to our descendants.Ideology is a product of a certain society and culture. As societies emerge and cultures emerge, so do ideologies.--[[User:Yang Yue|Yang Yue]] ([[User talk:Yang Yue|talk]]) 04:19, 19 December 2020 (UTC)&lt;br /&gt;
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Translation, as an act of cross-language and cross-cultural communication, is inevitably marked by ideology from the very beginning. When a translator introduces the ideas contained in the discourse of a foreign culture into the local culture, he or she will inevitably make his or her own value judgement on the values of the foreign culture, and then decide on the strategy to convey them: whether to be straightforward or to distort their meaning; whether to &amp;quot;pluck out the nose and cut the eyes&amp;quot; or to start a new one.&lt;br /&gt;
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Translation, as an act of cross-language and cross-cultural communication, is inevitably marked by ideology from the very beginning. When a translator introduces the ideas contained in the discourse of a foreign culture into the local culture, he or she will inevitably make his or her own judgement on the values of the foreign culture, and then decide on the strategy to convey them: whether to be straightforward or to distort their meaning; whether to &amp;quot;pluck out the nose and cut the eyes&amp;quot; or to start a new one.--[[User:Yang Yue|Yang Yue]] ([[User talk:Yang Yue|talk]]) 04:19, 19 December 2020 (UTC)&lt;br /&gt;
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Ideology is the expression of the will of patronage or power, and to go against this will is to be censured, or to lose the order to translate, or to lose one's head. Translators, as living human beings, are not willing to go against the will of power, except for those who are fighting for the 'truth'. To paraphrase the post-modern hipsterism of &amp;quot;Journey to the West&amp;quot;, we are all &amp;quot;translators&amp;quot;, so why take ourselves so seriously? This may sound ungrateful, but from a historical point of view, it's also very unhelpful.&lt;br /&gt;
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Ideology is the expression of the will of patronage or power, and to go against this will is to be censured, sometimes either to lose the rules to translate, or even to lose one's head. Translators, as living human beings, are not willing to go against the will of power, except for those who are fighting for the 'truth'. To paraphrase the post-modern hipsterism of &amp;quot;Journey to the West&amp;quot;, we are all &amp;quot;translators&amp;quot;, so why take ourselves so seriously? This may sound ungrateful, but from a historical point of view, it's also very unhelpful.--[[User:Yang Yue|Yang Yue]] ([[User talk:Yang Yue|talk]]) 04:19, 19 December 2020 (UTC)&lt;br /&gt;
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Lefevere quotes Foucault as saying:&lt;br /&gt;
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What makes power unbreakable, what makes it acceptable, is in fact a simple fact: power not only makes us feel a pressure to say no, but also transcends and produces things, provokes pleasure, forms knowledge, produces discourse. (See Lefevere, 1992a: 15)&lt;br /&gt;
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What makes power unbreakable, what makes it acceptable, is in fact a simple fact: power not only makes us feel a pressure to say no, but also transcends and produces things, provokes pleasure, forms knowledge, produces discourse. (See Lefevere, 1992a: 15)--[[User:Yang Yue|Yang Yue]] ([[User talk:Yang Yue|talk]]) 05:34, 21 December 2020 (UTC)&lt;br /&gt;
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In short, it means &amp;quot;those who obey me will prosper, those who disobey me will perish&amp;quot;. Every society has its own unique ideological system, with its own hidden or explicit ideological boundaries. Every thinking member of a society knows where that boundary is; and in general, is conscious of operating within it. You can go to the edge, but you must not go beyond it. This is the rule of the game in any society, and translators have to abide by it as well. Even the United States, which boasts freedom of speech, would not allow Bin Laden's writings (if he had them) to be translated and published in the United States, at least for now. For such an act would cross the line of the ideological &amp;quot;parameters&amp;quot; of the American power class.&lt;br /&gt;
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In short, it means &amp;quot;those who obey me will prosper, those who disobey me will perish&amp;quot;. Every society has its own unique ideological system, with its own hidden or explicit ideological boundaries. Every thinking member of a society knows where that boundary is; and in general, is conscious of operating within it. You can go to the edge, but you must not go beyond it. This is the rule of the game in any society, and translators have to abide by it as well. Even the United States, which boasts freedom of speech, would not allow Bin Laden's writings (if he had them) to be translated and published in the United States, at least for now. For such an act would cross the line of the ideological &amp;quot;parameters&amp;quot; of the American power class.--[[User:Yang Yue|Yang Yue]] ([[User talk:Yang Yue|talk]]) 05:34, 21 December 2020 (UTC)&lt;br /&gt;
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Translation involves the exchange of two cultures, which is a common expression these days. On the surface, &amp;quot;exchange&amp;quot; is a pleasant-sounding term, as it seems to imply equality and friendship. However, what is really implied behind such an exchange is a confrontation between two ideologies. The apparently 'equal and friendly' 'exchange' is in fact often the result of a confrontation followed by a compromise.&lt;br /&gt;
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Translation involves the exchange of two cultures, which is a common expression these days. On the surface, &amp;quot;exchange&amp;quot; is a pleasant-sounding term, as it seems to imply equality and friendship. However, what is really implied behind such an exchange is a confrontation between two ideologies. The apparently 'equal and friendly' 'exchange' is in fact often the result of a confrontation followed by a compromise.--[[User:Yang Yue|Yang Yue]] ([[User talk:Yang Yue|talk]]) 05:34, 21 December 2020 (UTC)&lt;br /&gt;
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Translation is the transfer of the ideology of the local culture to the ideology of the foreign culture. The ideology of the foreign culture. For the local value system, this is a foreign cultural penetration, which means destruction, subversion and therefore a test of the local culture. A strong superstructure will use its own power discourse to manipulate this foreign destructive force, just like in taijiquan, by using the force to its advantage; a weak superstructure will be helpless in the face of this foreign destructive force, and will either be assimilated or subverted by it. Those cultures that refuse to interact with foreign cultures are condemned to primitiveness, backwardness and, ultimately, extinction. Translators, as elite members of the superstructure, are faced with a complex choice of strategies: either to be rebellious or submissive, to seek conformity in the midst of rebellion, or to seek rebellion in the midst of conformity. Thus, among the superficial translation methods, we see &amp;quot;literary&amp;quot; and &amp;quot;qualitative&amp;quot; translations, &amp;quot;direct&amp;quot; and &amp;quot;meaningful&amp;quot; translations &amp;quot;, &amp;quot;naturalization&amp;quot; and '&amp;quot;dissimilation&amp;quot;, and the way of &amp;quot;the middle&amp;quot; (Huiyuan, 1984: 41), which strives for impartiality.&lt;br /&gt;
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Translation is the transfer of the ideology of the local culture to the ideology of the foreign culture. The ideology of the foreign culture. For the local value system, this is a foreign cultural penetration, which means destruction, subversion and therefore a test of the local culture. A strong superstructure will use its own power discourse to manipulate this foreign destructive force, just like in taijiquan, by using the force to its advantage; a weak superstructure will be helpless in the face of this foreign destructive force, and will either be assimilated or subverted by it. --[[User:Yang Yue|Yang Yue]] ([[User talk:Yang Yue|talk]]) 05:34, 21 December 2020 (UTC)&lt;br /&gt;
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Those cultures that refuse to interact with foreign cultures are condemned to primitiveness, backwardness and, ultimately, extinction. Translators, as elite members of the superstructure, are faced with a complex choice of strategies: either to be rebellious or submissive, to seek conformity in the midst of rebellion, or to seek rebellion in the midst of conformity. Thus, among the superficial translation methods, we see &amp;quot;literary&amp;quot; and &amp;quot;qualitative&amp;quot; translations, &amp;quot;direct&amp;quot; and &amp;quot;meaningful&amp;quot; translations &amp;quot;, &amp;quot;naturalization&amp;quot; and '&amp;quot;dissimilation&amp;quot;, and the way of &amp;quot;the middle&amp;quot; (Huiyuan, 1984: 41), which strives for impartiality.--[[User:Yang Yue|Yang Yue]] ([[User talk:Yang Yue|talk]]) 05:34, 21 December 2020 (UTC)&lt;br /&gt;
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Translation is always a purposeful act. In class society, when translation is inevitably related to the superstructure, it becomes part of elite culture. It is part of the culture of the elite. When the elites of society engage in translation activities, their aims are themselves strongly ideological. The translation activities in class society, including pseudo-translations, creative translations and forgeries, all came from the elite elements of society. It is no coincidence that their actions, either in line with the right path or deviating from it, are the result of a certain ideology.&lt;br /&gt;
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Translation is always a purposeful act. In class society, when translation is inevitably related to the superstructure, it becomes part of elite culture. It is part of the culture of the elite. When the elites of society engage in translation activities, their aims are themselves strongly ideological. The translation activities in class society, including pseudo-translations, creative translations and forgeries, all came from the elite elements of society. It is no coincidence that their actions, either in line with the right path or deviating from it, are the result of a certain ideology.--[[User:Yang Yue|Yang Yue]] ([[User talk:Yang Yue|talk]]) 05:34, 21 December 2020 (UTC)&lt;br /&gt;
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Since ancient times, Chinese and Western translation theory has attached great importance to the influence of ideology on translation practice. The significance of ideology in determining a translator's translation strategy can be seen in Zhi Qian's Preface to the Dharma Sutra, which has been called the &amp;quot;opening chapter of translation theory&amp;quot; in the history of Chinese translation. In his preface, he 'dislikes' Zhu Zhongyan's translation as 'indecent' (Zhiqian, 1984:22), showing the importance he attached to the aesthetic perception of the target audience. Similarly, the influence of the target language and aesthetic values on translation can also be seen in Dao An's 'Five Losses of the Text and Three Difficulties': 'One, the Hu language is inverted and made to follow the Qin, a loss of the text. The second is that the Hu scriptures are still of good quality, while the Qin people are good at writing, and the transmission can be done with the hearts of all people, but not with the text. (Dawan, 1984:24)&amp;quot;&lt;br /&gt;
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Since ancient times, Chinese and Western translation theory has attached great importance to the influence of ideology on translation practice. The significance of ideology in determining a translator's translation strategy can be seen in Zhi Qian's Preface to the Dharma Sutra, which has been called the &amp;quot;opening chapter of translation theory&amp;quot; in the history of Chinese translation. In his preface, he 'dislikes' Zhu Zhongyan's translation as 'indecent' (Zhiqian, 1984:22), showing the importance he attached to the aesthetic perception of the target audience. Similarly, the influence of the target language and aesthetic values on translation can also be seen in Dao An's 'Five Losses of the Text and Three Difficulties': 'One, the Hu language is inverted and made to follow the Qin, a loss of the text. The second is that the Hu scriptures are still of good quality, while the Qin people are good at writing, and the transmission can be done with the hearts of all people, but not with the text. (Dawan, 1984:24)&amp;quot;--[[User:Yang Yue|Yang Yue]] ([[User talk:Yang Yue|talk]]) 05:34, 21 December 2020 (UTC)&lt;br /&gt;
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Western translators have similarly valued the influence of ideology on translation. When the Roman poet and translator Horace spoke of the 'faithful translator', Lefevere argued that this already included an emphasis on ideology (Lefevere, 1992b: 15), but he did not say why. The famous French writer Victor Hugo also pointed out:&lt;br /&gt;
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Western translators have similarly valued the influence of ideology on translation. When the Roman poet and translator Horace spoke of the 'faithful translator', Lefevere argued that this already included an emphasis on ideology (Lefevere, 1992b: 15), but he did not say why. The famous French writer Victor Hugo also pointed out:--[[User:Yang Yue|Yang Yue]] ([[User talk:Yang Yue|talk]]) 05:34, 21 December 2020 (UTC)&lt;br /&gt;
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When you dedicate a translation to a country, that country almost always sees the translation as an act of violence against it... To translate the work of a foreign poet is to add his work to the poetry of your own country; but to open up in this way does not please those with vested interests, at least at first. Their first reaction is resistance.&amp;quot; (op. cit: 18)&lt;br /&gt;
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When you dedicate a translation to a country, that country almost always sees the translation as an act of violence against it... To translate the work of a foreign poet is to add his work to the poetry of your own country; but to open up in this way does not please those with vested interests, at least at first. Their first reaction is resistance.&amp;quot; (op. cit: 18)--[[User:Yang Yue|Yang Yue]] ([[User talk:Yang Yue|talk]]) 05:34, 21 December 2020 (UTC)&lt;br /&gt;
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Different cultures have different ideologies. History teaches us that exchanges between cultures are often, first and foremost, ideological. As Hugo asserts, such exchanges always begin with confrontation. What comes after confrontation? Successful exchanges often involve confrontation leading to compromise, and compromise leading to prosperity, as in the case of Buddhism and the flourishing of Chinese culture in China's history. Unsuccessful exchanges often lead to hostility and even war, as in the case of the clash between Islamic and Christian civilisations. In the case of translators, it was also often the case that those who obeyed me prospered, as in the case of the Chinese translator of the Buddhist scriptures Xuanzang, and those who disobeyed me died, as in the case of the English religious translator William Tyndale (1494-1536), who was burnt at the stake, and the French religious translator Etienne Dolet (1509- 1546). The literature shows that the influence of ideology on translation has long been of interest to translators and translation theorists, but they have not used the term 'ideology' when discussing this issue.&lt;br /&gt;
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Different cultures have different ideologies. History teaches us that exchanges between cultures are often, first and foremost, ideological. As Hugo asserts, such exchanges always begin with confrontation. What comes after confrontation? Successful exchanges often involve confrontation leading to compromise, and compromise leading to prosperity, as in the case of Buddhism and the flourishing of Chinese culture in China's history. Unsuccessful exchanges often lead to hostility and even war, as in the case of the clash between Islamic and Christian civilisations.--[[User:Yang Yue|Yang Yue]] ([[User talk:Yang Yue|talk]]) 05:34, 21 December 2020 (UTC)&lt;br /&gt;
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In the case of translators, it was also often the case that those who obeyed me prospered, as in the case of the Chinese translator of the Buddhist scriptures Xuanzang, and those who disobeyed me died, as in the case of the English religious translator William Tyndale (1494-1536), who was burnt at the stake, and the French religious translator Etienne Dolet (1509- 1546). The literature shows that the influence of ideology on translation has long been of interest to translators and translation theorists, but they have not used the term 'ideology' when discussing this issue.--[[User:Yang Yue|Yang Yue]] ([[User talk:Yang Yue|talk]]) 05:34, 21 December 2020 (UTC)&lt;br /&gt;
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===Translation activities under the control of power in the early stage of the PRC===&lt;br /&gt;
After the founding of the People's Republic of China, internationally, the Western powers tried their best to contain the new regime and obstructed other countries from establishing diplomatic relations with the new China, Mao Zedong put forward the three major diplomatic policies of &amp;quot;falling on one side&amp;quot;, &amp;quot;starting a new cooker&amp;quot; and &amp;quot;cleaning up the house before inviting guests &amp;quot;From a domestic perspective, the new regime was in urgent need of purging reactionary forces and propagating socialist and communist ideas in order to consolidate the proletarian regime. Taking into account the domestic and international political situation, the CPC, as the ruling party, strengthened its ideological. control, i.e.:vigorously propagating socialist and communist ideology. The translation activities were influenced by this and showed obvious ideological tendencies in terms of the choice of texts and translation strategies and even the patrons.&lt;br /&gt;
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After the founding of the People's Republic of China, internationally, the Western powers tried their best to contain the new regime and obstructed other countries from establishing diplomatic relations with the new China, Mao Zedong put forward the three major diplomatic policies of &amp;quot;falling on one side&amp;quot;, &amp;quot;starting a new cooker&amp;quot; and &amp;quot;cleaning up the house before inviting guests &amp;quot;From a domestic perspective, the new regime was in urgent need of purging reactionary forces and propagating socialist and communist ideas in order to consolidate the proletarian regime. Taking into account the domestic and international political situation, the CPC, as the ruling party, strengthened its ideological. control, i.e.:vigorously propagating socialist and communist ideology. The translation activities were influenced by this and showed obvious ideological tendencies in terms of the choice of texts and translation strategies and even the patrons.--[[User:Yang Yue|Yang Yue]] ([[User talk:Yang Yue|talk]]) 05:34, 21 December 2020 (UTC)&lt;br /&gt;
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====Ideological manipulation of translation activities====&lt;br /&gt;
Ideology is a product of a particular society and culture, and it accompanies the emergence of society and culture. Translation, as an act of intercultural communication, involves the exchange of two cultures. The essence of translation is to introduce the culture and ideology of the &amp;quot;other&amp;quot; into the local culture, and to assimilate it into the local value system and ideology. &lt;br /&gt;
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Ideology is a product of a particular society and culture, and it accompanies the emergence of society and culture. Translation, as an act of intercultural communication, involves the exchange of two cultures. The essence of translation is to introduce the culture and ideology of the &amp;quot;other&amp;quot; into the local culture, and to assimilate it into the local value system and ideology. --[[User:Yang Yue|Yang Yue]] ([[User talk:Yang Yue|talk]]) 05:34, 21 December 2020 (UTC)&lt;br /&gt;
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The translation activities in the seventeen years after the founding of the People's Republic of China have seen a phased peak in both Chinese to foreign and foreign to Chinese translation. From the perspective of Chinese to foreign translation, first of all, the new China set off a comprehensive wave of learning from the Soviet Union, as Zhou Yang pointed out in an article in the Soviet magazine Banner: &amp;quot;'Go the way of the Russians', politically. This is true in politics, but also in literature and art. Literary and artistic workers should study harder the creative experience and artistic techniques of Soviet writers, and in particular go deeper into their socialist realism which is the basis of their creativity.&amp;quot; Influenced by this idea, and in terms of text selection, socialist and realist literature from Soviet Russia was translated in large numbers, and this peak occurred mainly in the early decade of the founding of the country; according to statistics, from October 1949 to December 1958, a total of 3,526 Soviet and Russian literary works were translated and published, accounting for two-thirds of the entire foreign literature in translation.[8] &lt;br /&gt;
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The translation activities in the seventeen years after the founding of the People's Republic of China have seen a phased peak in both Chinese to foreign and foreign to Chinese translation. From the perspective of Chinese to foreign translation, first of all, the new China set off a comprehensive wave of learning from the Soviet Union, as Zhou Yang pointed out in an article in the Soviet magazine Banner: &amp;quot;'Go the way of the Russians', politically. This is true in politics, but also in literature and art. Literary and artistic workers should study harder the creative experience and artistic techniques of Soviet writers, and in particular go deeper into their socialist realism which is the basis of their creativity.&amp;quot; Influenced by this idea, and in terms of text selection, socialist and realist literature from Soviet Russia was translated in large numbers, and this peak occurred mainly in the early decade of the founding of the country; according to statistics, from October 1949 to December 1958, a total of 3,526 Soviet and Russian literary works were translated and published, accounting for two-thirds of the entire foreign literature in translation.[8] --[[User:Yang Yue|Yang Yue]] ([[User talk:Yang Yue|talk]]) 05:34, 21 December 2020 (UTC)&lt;br /&gt;
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However, from the late 1950s onwards, the Sino-Soviet relations began to fray, and the ideological confrontation between China and the Soviet Union severely affected Chinese translation and mediation activities into Soviet literature; between 1960 and 1966, a total of 11 single-volume translations of Soviet literature were publicly published in the first four years, and zero Soviet literary works were translated into Chinese in the latter three years. [8] &lt;br /&gt;
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However, from the late 1950s onwards, the Sino-Soviet relations began to fray, and the ideological confrontation between China and the Soviet Union severely affected Chinese translation and mediation activities into Soviet literature; between 1960 and 1966, a total of 11 single-volume translations of Soviet literature were publicly published in the first four years, and zero Soviet literary works were translated into Chinese in the latter three years. [8] --[[User:Yang Yue|Yang Yue]] ([[User talk:Yang Yue|talk]]) 05:34, 21 December 2020 (UTC)&lt;br /&gt;
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Secondly, scientific and technical works from the Soviet Union were translated in large numbers. Most of the scientific works translated in the early years of the founding of the state were originally from the Soviet Union, among which the most scientific works were translated from 1952 to 1960, reaching 911 titles in 1954 and the most in 1957, with a total of 2557 scientific works translated, more than two-thirds of which came from the Soviet Union. &lt;br /&gt;
The Soviet Union unilaterally withdrew its experts from China from 1960 onwards, and when Sino-Soviet relations broke down, there was a downturn in translations from the Soviet Union, especially in 1961, when only 126 original Soviet scientific and technical works were translated. [Ind.] Finally, the translation of political works. In order to further propagate proletarian ideology, in January 1953 the Party Central Committee set up the Central Bureau of Compilation and Translation with the task of translating the works of Marx, Engels, Lenin and Stalin in a systematic and planned manner. &lt;br /&gt;
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Secondly, scientific and technical works from the Soviet Union were translated in large numbers. Most of the scientific works translated in the early years of the founding of the state were originally from the Soviet Union, among which the most scientific works were translated from 1952 to 1960, reaching 911 titles in 1954 and the most in 1957, with a total of 2557 scientific works translated, more than two-thirds of which came from the Soviet Union. &lt;br /&gt;
The Soviet Union unilaterally withdrew its experts from China from 1960 onwards, and when Sino-Soviet relations broke down, there was a downturn in translations from the Soviet Union, especially in 1961, when only 126 original Soviet scientific and technical works were translated. [Ind.] Finally, the translation of political works. In order to further propagate proletarian ideology, in January 1953 the Party Central Committee set up the Central Bureau of Compilation and Translation with the task of translating the works of Marx, Engels, Lenin and Stalin in a systematic and planned manner. --[[User:Yang Yue|Yang Yue]] ([[User talk:Yang Yue|talk]]) 05:34, 21 December 2020 (UTC)&lt;br /&gt;
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Thus, for seventeen years, the works of Marx, Engels, Lenin and Stalin were translated from Russian into Chinese in large numbers and contributed to the spread of socialist and communist ideology and political consciousness in China.&lt;br /&gt;
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Thus, for seventeen years, the works of Marx, Engels, Lenin and Stalin were translated from Russian into Chinese in large numbers and contributed to the spread of socialist and communist ideology and political consciousness in China.--[[User:Yang Yue|Yang Yue]] ([[User talk:Yang Yue|talk]]) 05:34, 21 December 2020 (UTC)&lt;br /&gt;
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From 1956 to 1966, the Central Compilation Bureau of the Communist Party of China translated and published the first 22 volumes of the Complete Works of Marx and Engels (excluding volume 20) on the basis of the second Russian edition of the Complete Works of Marx and Engels; from 1955 to 1963, all 39 volumes of the Complete Works of Lenin were translated into Chinese from Russian, and all 13 volumes of the Complete Works of Stalin were translated from 1953 to 1956. The 13 volumes of Stalin's Complete Works were also translated between 1953 and 1956. [10] The translation and editing of Marx and Lenin's works was rapidly completed under the direction of the state, which provided a good political basis for the economic and cultural development of the new China.&lt;br /&gt;
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From 1956 to 1966, the Central Compilation Bureau of the Communist Party of China translated and published the first 22 volumes of the Complete Works of Marx and Engels (excluding volume 20) on the basis of the second Russian edition of the Complete Works of Marx and Engels; from 1955 to 1963, all 39 volumes of the Complete Works of Lenin were translated into Chinese from Russian, and all 13 volumes of the Complete Works of Stalin were translated from 1953 to 1956. The 13 volumes of Stalin's Complete Works were also translated between 1953 and 1956. [10] The translation and editing of Marx and Lenin's works was rapidly completed under the direction of the state, which provided a good political basis for the economic and cultural development of the new China.--[[User:Yang Yue|Yang Yue]] ([[User talk:Yang Yue|talk]]) 05:34, 21 December 2020 (UTC)&lt;br /&gt;
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In conclusion, the translation activities from foreign to Chinese in the early years of the founding of the state were subject to the constraints of various political, economic and cultural factors at the time and showed obvious characteristics: for one thing, Soviet works, both literary and scientific, were rapidly translated into Chinese and widely disseminated within a few short years, but at the same time, due to the influence of political consciousness, they fell from a high point to a low point within a very short time; for another, with the support of the state regime and the government, political classics were quickly translated into Chinese in large numbers via Russian, which to a certain extent contributed to the development of translation activities and the consolidation of the new regime.&lt;br /&gt;
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In conclusion, the translation activities from foreign to Chinese in the early years of the founding of the state were subject to the constraints of various political, economic and cultural factors at the time and showed obvious characteristics: for one thing, Soviet works, both literary and scientific, were rapidly translated into Chinese and widely disseminated within a few short years, but at the same time, due to the influence of political consciousness, they fell from a high point to a low point within a very short time; for another, with the support of the state regime and the government, political classics were quickly translated into Chinese in large numbers via Russian, which to a certain extent contributed to the development of translation activities and the consolidation of the new regime.--[[User:Yang Yue|Yang Yue]] ([[User talk:Yang Yue|talk]]) 05:34, 21 December 2020 (UTC)&lt;br /&gt;
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In terms of foreign translations into Chinese, very few Chinese books in Chinese history have been translated into foreign languages and widely disseminated in foreign countries. After the founding of New China, in order to let the world's proletarians know more about China and at the same time establish diplomatic relations with more countries, the Chinese Foreign Languages Bureau translated and published a large number of foreign language books under the name of Foreign Languages Publishing House. &lt;br /&gt;
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In terms of foreign translations into Chinese, very few Chinese books in Chinese history have been translated into foreign languages and widely disseminated in foreign countries. After the founding of New China, in order to let the world's proletarians know more about China and at the same time establish diplomatic relations with more countries, the Chinese Foreign Languages Bureau translated and published a large number of foreign language books under the name of Foreign Languages Publishing House.--[[User:Yang Yue|Yang Yue]] ([[User talk:Yang Yue|talk]]) 05:34, 21 December 2020 (UTC) &lt;br /&gt;
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Among them the translation of Mao Zedong's works was given top priority, especially the translation and publication of the fourth volume of the English edition of Mao Zedong's Selected Works. The Foreign Languages Publishing House decided to publish the forth volume, followed by the first, second and third volumes. &lt;br /&gt;
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Among them the translation of Mao Zedong's works was given top priority, especially the translation and publication of the fourth volume of the English edition of Mao Zedong's Selected Works. The Foreign Languages Publishing House decided to publish the forth volume, followed by the first, second and third volumes. --[[User:Yang Yue|Yang Yue]] ([[User talk:Yang Yue|talk]]) 05:34, 21 December 2020 (UTC)&lt;br /&gt;
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In 1961, the Ministry of Culture issued two written circulars on the publication and distribution of Mao's works, requiring local bookshops to consult the party and government leaders before starting distribution, and limiting the target audience and the number of copies to be distributed. This shows that the translation and publication of Mao's works was treated as a political task and drew a great deal of attention from all sectors of society. &lt;br /&gt;
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In 1961, the Ministry of Culture issued two written circulars on the publication and distribution of Mao's works, requiring local bookshops to consult the party and government leaders before starting distribution, and limiting the target audience and the number of copies to be distributed. This shows that the translation and publication of Mao's works was treated as a political task and drew a great deal of attention from all sectors of society. --[[User:Yang Yue|Yang Yue]] ([[User talk:Yang Yue|talk]]) 05:34, 21 December 2020 (UTC)&lt;br /&gt;
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According to statistics, between 1949 and 1965, more than 3,000 Chinese books were translated into more than 20 foreign languages and distributed abroad, of which 536 were Mao's writings.11 In addition, pamphlets introducing the leader's writings and the Chinese revolutionary experience were translated into several languages and distributed abroad, where they were well received and became an effective way for foreigners to learn about and study China. These pamphlets were well received abroad and became an effective way for foreigners to understand and study China.&lt;br /&gt;
 &lt;br /&gt;
According to statistics, between 1949 and 1965, more than 3,000 Chinese books were translated into more than 20 foreign languages and distributed abroad, of which 536 were Mao's writings.11 In addition, pamphlets introducing the leader's writings and the Chinese revolutionary experience were translated into several languages and distributed abroad, where they were well received and became an effective way for foreigners to learn about and study China. These pamphlets were well received abroad and became an effective way for foreigners to understand and study China.--[[User:Yang Yue|Yang Yue]] ([[User talk:Yang Yue|talk]]) 05:34, 21 December 2020 (UTC)&lt;br /&gt;
 &lt;br /&gt;
In short, this phase of Chinese to foreign translation activities was dominated by translations of Mao's writings and pamphlets of political literature, which had a clear ideological orientation. In order to consolidate the new proletarian regime, the new China used translations to propagate its political ideas in order to gain more support, and its targets were countries in Asia, Africa and Latin America fighting for national independence, as well as some leftist organisations and progressive people in developed countries in Europe and America. As a result, this phase of Chinese to foreign translation activity focused on the text itself while giving greater consideration to the political and social factors it contained.&lt;br /&gt;
&lt;br /&gt;
In short, this phase of Chinese to foreign translation activities was dominated by translations of Mao's writings and pamphlets of political literature, which had a clear ideological orientation. In order to consolidate the new proletarian regime, the new China used translations to propagate its political ideas in order to gain more support, and its targets were countries in Asia, Africa and Latin America fighting for national independence, as well as some leftist organisations and progressive people in developed countries in Europe and America. As a result, this phase of Chinese to foreign translation activity focused on the text itself while giving greater consideration to the political and social factors it contained.--[[User:Yang Yue|Yang Yue]] ([[User talk:Yang Yue|talk]]) 05:34, 21 December 2020 (UTC)&lt;br /&gt;
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====Patron manipulation of translation activities====&lt;br /&gt;
The patron's sense of power was another important factor in the manipulation of translation, one of the fundamental forces driving the progress of early modern society, far more influential than the influence of literature on society. The word 'patron' in English comes from the Latin patronus, meaning a person who gives financial support to a client for the achievement of a specific purpose. &lt;br /&gt;
&lt;br /&gt;
The patron's sense of power was another important factor in the manipulation of translation, one of the fundamental forces driving the progress of early modern society, far more influential than the influence of literature on society. The word 'patron' in English comes from the Latin patronus, meaning a person who gives financial support to a client for the achievement of a specific purpose. --[[User:Yang Yue|Yang Yue]] ([[User talk:Yang Yue|talk]]) 05:34, 21 December 2020 (UTC)&lt;br /&gt;
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Patrons control all aspects of the translation, including the content of the translation, the choice of material and even the strategy of the translation and its promotion. The patron may be an authoritative individual, a publisher, a government agency, etc., whose aim is to ensure that the translation conforms to a particular social norm or the interests of a particular class of people by providing the translator or author with a certain amount of financial support, social status or political patronage, so that his or her creation and translation are in line with the prevailing ideology.&lt;br /&gt;
&lt;br /&gt;
Patrons control all aspects of the translation, including the content of the translation, the choice of material and even the strategy of the translation and its promotion. The patron may be an authoritative individual, a publisher, a government agency, etc., whose aim is to ensure that the translation conforms to a particular social norm or the interests of a particular class of people by providing the translator or author with a certain amount of financial support, social status or political patronage, so that his or her creation and translation are in line with the prevailing ideology.--[[User:Yang Yue|Yang Yue]] ([[User talk:Yang Yue|talk]]) 05:34, 21 December 2020 (UTC)&lt;br /&gt;
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After the founding of New China, the patronage of translation activities as a whole was divided into two phases.&lt;br /&gt;
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The first stage lasted from the founding of New China in 1949 to the completion of the Three Great Transformations in 1956. The role of publishers as patrons was changing during this phase. At the beginning of the founding of the country, the publishing industry developed unevenly in different parts of the country, and state-owned and private publishers coexisted. According to statistics from March 1950, there were 244 private bookshops operating in 11 major cities across the country, and publishing houses became the main patrons during this period, possessing a certain degree of financial independence and sponsoring translation activities through financial support for translators. By the end of 1956, the socialist transformation of private publishing houses had basically been achieved, with the withdrawal of the private sector from the publishing houses and a simultaneous change in the composition of the patrons.&lt;br /&gt;
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The first stage lasted from the founding of New China in 1949 to the completion of the Three Great Transformations in 1956. The role of publishers as patrons was changing during this phase. At the beginning of the founding of the country, the publishing industry developed unevenly in different parts of the country, and state-owned and private publishers coexisted. According to statistics from March 1950, there were 244 private bookshops operating in 11 major cities across the country, and publishing houses became the main patrons during this period, possessing a certain degree of financial independence and sponsoring translation activities through financial support for translators. By the end of 1956, the socialist transformation of private publishing houses had basically been achieved, with the withdrawal of the private sector from the publishing houses and a simultaneous change in the composition of the patrons.--[[User:Yang Yue|Yang Yue]] ([[User talk:Yang Yue|talk]]) 05:34, 21 December 2020 (UTC)&lt;br /&gt;
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The second phase, from 1957 to 1966, saw the weakening of the power of publishing houses as independent sponsors, and the predominance of patronage by government agencies, such as the Ministry of Culture and the Central Propaganda Department, and by authoritative individuals, such as state leaders Mao Zedong and Zhou Enlai, in translation activities; the independence of publishing houses no longer existed, although they could decide what and how to translate in translation activities, when their ideology When their ideology contradicts that of government agencies or authoritative individuals, they must obey the latter. For example, in terms of the content of translations, some people advocated translating the foreign-language edition of People's Pictorial to introduce the experience of the Chinese revolution, but Chairman Mao disapproved of this, arguing that &amp;quot;it would be good to be able to introduce our lives in a realistic way. [12] For example, in the translation of the English version of the fourth volume of Mao Zedong's Selected Works, the Party Central Committee appointed Zhang Hanfu and Meng Yongqian to take charge of the specific leadership work.&lt;br /&gt;
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The second phase, from 1957 to 1966, saw the weakening of the power of publishing houses as independent sponsors, and the predominance of patronage by government agencies, such as the Ministry of Culture and the Central Propaganda Department, and by authoritative individuals, such as state leaders Mao Zedong and Zhou Enlai, in translation activities; the independence of publishing houses no longer existed, although they could decide what and how to translate in translation activities, when their ideology When their ideology contradicts that of government agencies or authoritative individuals, they must obey the latter. For example, in terms of the content of translations, some people advocated translating the foreign-language edition of People's Pictorial to introduce the experience of the Chinese revolution, but Chairman Mao disapproved of this, arguing that &amp;quot;it would be good to be able to introduce our lives in a realistic way. [12] For example, in the translation of the English version of the fourth volume of Mao Zedong's Selected Works, the Party Central Committee appointed Zhang Hanfu and Meng Yongqian to take charge of the specific leadership work.--[[User:Yang Yue|Yang Yue]] ([[User talk:Yang Yue|talk]]) 05:34, 21 December 2020 (UTC)&lt;br /&gt;
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The sponsor's control over the translation activities was also reflected in the choice of translation strategies. Different types of texts have different translation strategies. The translation of political texts should aim to express the content of the original text accurately and completely, and the editorial processing of such texts should be strictly reported; the translation of literary and artistic works should try to appreciate the style of the original text and make appropriate text processing when necessary, but should not alter the content of the original text at will; general reports should be more adapted to the habits of foreign reports and take into account the receptiveness of foreign readers, so there can be greater flexibility in translation, but However, the relevant guidelines, policies and important facts should not be changed at will.&lt;br /&gt;
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The sponsor's control over the translation activities was also reflected in the choice of translation strategies. Different types of texts have different translation strategies. The translation of political texts should aim to express the content of the original text accurately and completely, and the editorial processing of such texts should be strictly reported; the translation of literary and artistic works should try to appreciate the style of the original text and make appropriate text processing when necessary, but should not alter the content of the original text at will; general reports should be more adapted to the habits of foreign reports and take into account the receptiveness of foreign readers, so there can be greater flexibility in translation, but However, the relevant guidelines, policies and important facts should not be changed at will.--[[User:Yang Yue|Yang Yue]] ([[User talk:Yang Yue|talk]]) 05:34, 21 December 2020 (UTC)&lt;br /&gt;
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As Yang Xian Yi said, &amp;quot;Unfortunately, we were only hired translators, and it was not up to us to decide what to translate. ...... The selected work had to suit the political climate and the taste of the time. the political climate and the taste of the moment.&amp;quot; [13]&lt;br /&gt;
IV. Insights from the Translation Activities in the Early Stage of the PRC&lt;br /&gt;
The translation activities in the seventeen years after the founding of the state formed the fourth translation climax in China's history, and the key factor contributing to this climax was the government's unified leadership and planning of translation activities. In the early years of the founding of the country, the state strengthened its organisation and planning of the publishing industry and translation activities by convening a number of national conferences. Firstly, in order to rectify the chaotic state of the publishing industry and lead the nation's publishing work, the State General Administration of Publications convened the First National Conference on Publishing in September 1950 and the First National Conference on Publication Administration in August 1951, both of which stressed the quality of publications, especially the second conference, which made improving the quality of publications the top priority of the publishing industry, and stressed the importance of book review and the importance of conducting book reviews.&lt;br /&gt;
&lt;br /&gt;
As Yang Xian Yi said, &amp;quot;Unfortunately, we were only hired translators, and it was not up to us to decide what to translate. ...... The selected work had to suit the political climate and the taste of the time. the political climate and the taste of the moment.&amp;quot; [13]--[[User:Yang Yue|Yang Yue]] ([[User talk:Yang Yue|talk]]) 05:34, 21 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
IV. Insights from the Translation Activities in the Early Stage of the PRC&lt;br /&gt;
The translation activities in the seventeen years after the founding of the state formed the fourth translation climax in China's history, and the key factor contributing to this climax was the government's unified leadership and planning of translation activities. In the early years of the founding of the country, the state strengthened its organisation and planning of the publishing industry and translation activities by convening a number of national conferences. Firstly, in order to rectify the chaotic state of the publishing industry and lead the nation's publishing work, the State General Administration of Publications convened the First National Conference on Publishing in September 1950 and the First National Conference on Publication Administration in August 1951, both of which stressed the quality of publications, especially the second conference, which made improving the quality of publications the top priority of the publishing industry, and stressed the importance of book review and the importance of conducting book reviews.--[[User:Yang Yue|Yang Yue]] ([[User talk:Yang Yue|talk]]) 05:34, 21 December 2020 (UTC)&lt;br /&gt;
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Secondly, in order to improve the quality of translations and establish plans, the State General Administration of Publications convened the First National Conference on Translation Work in November 1951, at which the planning and institutionalisation of translation work was made a central task in the organisation of translation work, and emphasis was placed on the widespread development of criticism and self-criticism in the national academic and publishing community in order to improve and enhance the quality of translation work. Once again, in August 1954, the Chinese Writers' Association held the first national conference on literary translation work. At the meeting, Mao Dun proposed that literary translation work must be carried out in an organised and planned manner, and that criticism and self-criticism in literary translation work should be strengthened in order to improve the level of artistic creation in literary translation.&lt;br /&gt;
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Secondly, in order to improve the quality of translations and establish plans, the State General Administration of Publications convened the First National Conference on Translation Work in November 1951, at which the planning and institutionalisation of translation work was made a central task in the organisation of translation work, and emphasis was placed on the widespread development of criticism and self-criticism in the national academic and publishing community in order to improve and enhance the quality of translation work. Once again, in August 1954, the Chinese Writers' Association held the first national conference on literary translation work. At the meeting, Mao Dun proposed that literary translation work must be carried out in an organised and planned manner, and that criticism and self-criticism in literary translation work should be strengthened in order to improve the level of artistic creation in literary translation.--[[User:Yang Yue|Yang Yue]] ([[User talk:Yang Yue|talk]]) 05:34, 21 December 2020 (UTC)&lt;br /&gt;
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After these conferences, translation activities, especially translation criticism, were widely carried out in China, and both the quantity and quality of translated works improved greatly. According to statistics, a total of 6,680 translated works were published in China in the 30 years from 1919 to 1949, and from October 1949 to the end of 1958, more than 5,300 foreign literary works were translated and published nationwide, of which 65.5 per cent were translated from the Soviet Union. [8] And translations of popular science works during this period amounted to more than 3,600, most of which also came from the Soviet Union. From 1950 to 1952, 74 articles were published in the Translation Bulletin alone, and many translators not only dared to criticize, but also took the initiative to criticize themselves for the errors in their own translations. For example, in May 1952, Wang Feibai published 'Review of Jiang's translation of &amp;quot;Star&amp;quot;' in the Translation Bulletin, criticising Jiang Lu's translation, followed by 'Review of the translation of &amp;quot;Star&amp;quot;', in which Jiang Lu self-criticised the errors in his translation.&lt;br /&gt;
&lt;br /&gt;
After these conferences, translation activities, especially translation criticism, were widely carried out in China, and both the quantity and quality of translated works improved greatly. According to statistics, a total of 6,680 translated works were published in China in the 30 years from 1919 to 1949, and from October 1949 to the end of 1958, more than 5,300 foreign literary works were translated and published nationwide, of which 65.5 per cent were translated from the Soviet Union. [8] And translations of popular science works during this period amounted to more than 3,600, most of which also came from the Soviet Union. From 1950 to 1952, 74 articles were published in the Translation Bulletin alone, and many translators not only dared to criticize, but also took the initiative to criticize themselves for the errors in their own translations. For example, in May 1952, Wang Feibai published 'Review of Jiang's translation of &amp;quot;Star&amp;quot;' in the Translation Bulletin, criticising Jiang Lu's translation, followed by 'Review of the translation of &amp;quot;Star&amp;quot;', in which Jiang Lu self-criticised the errors in his translation.--[[User:Yang Yue|Yang Yue]] ([[User talk:Yang Yue|talk]]) 05:34, 21 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
Compared with the translation activities in the seventeen years after the founding of the state, the translation activities in China have become more prosperous and extensive since the 21st century, but at the same time, many problems have emerged. Firstly, the quality of translations has been low. In order to expand sales and pursue lucrative profits, many publishing houses have been competing to buy the rights to foreign bestsellers and organise translators to translate them into Chinese as quickly as possible in order to make maximum profits. Secondly, piracy is rampant. Pirated books are not only available in many editions but also at low prices and in beautiful packaging. Many publishers have even misrepresented the names of the compilers in order to avoid charges of piracy. In the case of Mr. Ye Junjian's translation of Hans Christian Andersen's Fairy Tales, for example, there are about 40 pirated editions known to him alone. [14] Another example is that almost all of the books translated and published by the People's Literature Publishing House in the past have been pirated. Similar examples abound, and piracy not only affects the rights of regular publishers, but also undermines the right of readers to enjoy fine translations.&lt;br /&gt;
&lt;br /&gt;
Compared with the translation activities in the seventeen years after the founding of the state, the translation activities in China have become more prosperous and extensive since the 21st century, but at the same time, many problems have emerged. Firstly, the quality of translations has been low. In order to expand sales and pursue lucrative profits, many publishing houses have been competing to buy the rights to foreign bestsellers and organise translators to translate them into Chinese as quickly as possible in order to make maximum profits. Secondly, piracy is rampant. Pirated books are not only available in many editions but also at low prices and in beautiful packaging. --[[User:Yang Yue|Yang Yue]] ([[User talk:Yang Yue|talk]]) 05:34, 21 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
Many publishers have even misrepresented the names of the compilers in order to avoid charges of piracy. In the case of Mr. Ye Junjian's translation of Hans Christian Andersen's Fairy Tales, for example, there are about 40 pirated editions known to him alone. [14] Another example is that almost all of the books translated and published by the People's Literature Publishing House in the past have been pirated. Similar examples abound, and piracy not only affects the rights of regular publishers, but also undermines the right of readers to enjoy fine translations.--[[User:Yang Yue|Yang Yue]] ([[User talk:Yang Yue|talk]]) 05:34, 21 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
In response to these problems, from a historical perspective, it is, first of all, essential to strengthen the leadership and organisation of translation activities by the government. So far, there is no government department in China specifically in charge of translation activities. While the market economy has promoted the extensive development of translation activities, its blindness and the pursuit of profits have made it difficult for the spirituality and culture of translation products to be well reflected. Therefore, the overall planning and guidance of the relevant government departments play an important role in the effective development of translation activities.&lt;br /&gt;
&lt;br /&gt;
In response to these problems, from a historical perspective, it is, first of all, essential to strengthen the leadership and organisation of translation activities by the government. So far, there is no government department in China specifically in charge of translation activities. While the market economy has promoted the extensive development of translation activities, its blindness and the pursuit of profits have made it difficult for the spirituality and culture of translation products to be well reflected. Therefore, the overall planning and guidance of the relevant government departments play an important role in the effective development of translation activities.--[[User:Yang Yue|Yang Yue]] ([[User talk:Yang Yue|talk]]) 05:34, 21 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
Secondly, vigorously carrying out criticism and self-criticism is an effective way to improve the quality of translations. To a certain extent, the low quality of translated works can be attributed to the lack of translation criticism. On the whole, the number of articles published on translation criticism in China is still relatively small and there are more practical studies than theoretical studies, for example, in 2011, there were 14 articles on translation criticism, accounting for only 2.2% of the total. [1 In terms of content, literary criticism dominates and is mostly of the appreciation type, especially focusing on the analysis of famous writers, praising translators more than criticizing them, and the theoretical construction of translation criticism is insufficient, lacking real substantive criticism. This is the case with translation criticism, and there is even less self-critical writing from translators. In short, as an important area of translation activity, translation criticism is indispensable.&lt;br /&gt;
&lt;br /&gt;
Secondly, vigorously carrying out criticism and self-criticism is an effective way to improve the quality of translations. To a certain extent, the low quality of translated works can be attributed to the lack of translation criticism. On the whole, the number of articles published on translation criticism in China is still relatively small and there are more practical studies than theoretical studies, for example, in 2011, there were 14 articles on translation criticism, accounting for only 2.2% of the total. [1 In terms of content, literary criticism dominates and is mostly of the appreciation type, especially focusing on the analysis of famous writers, praising translators more than criticizing them, and the theoretical construction of translation criticism is insufficient, lacking real substantive criticism. This is the case with translation criticism, and there is even less self-critical writing from translators. In short, as an important area of translation activity, translation criticism is indispensable.--[[User:Yang Yue|Yang Yue]] ([[User talk:Yang Yue|talk]]) 05:34, 21 December 2020 (UTC)&lt;br /&gt;
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===Conclusion===&lt;br /&gt;
Ever since translation inevitably entered our culture, the social ideology that is also inevitably present in our culture has almost never ceased to manipulate the further development of the movement. In short, the ideological manipulation of translation activities in the early years of the founding of the state has been a constant and pivotal role in translation activities, especially the leading role of the government and the widespread activities of criticism and self-criticism in the translation community have provided a certain historical mirror for the benign development of translation activities in the new era.&lt;br /&gt;
&lt;br /&gt;
Ever since translation inevitably entered our culture, the social ideology that is also inevitably present in our culture has almost never ceased to manipulate the further development of the movement. In short, the ideological manipulation of translation activities in the early years of the founding of the state has been a constant and pivotal role in translation activities, especially the leading role of the government and the widespread activities of criticism and self-criticism in the translation community have provided a certain historical mirror for the benign development of translation activities in the new era.--[[User:Yang Yue|Yang Yue]] ([[User talk:Yang Yue|talk]]) 05:34, 21 December 2020 (UTC)&lt;br /&gt;
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===Reference books===&lt;br /&gt;
*许宝强，袁伟．语言与翻译的政治[C]．北京:中央编译出社，2001:1-20.&lt;br /&gt;
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*吕俊．翻译研究:从文本理论到权利话语[J]．四川外语学院学报，2002，1 (18): 106-109.&lt;br /&gt;
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*Bassnett, S &amp;amp; Ledever, A. Constructing Cultures: Essays on Literary Translation [M]. Shanghai: Shanghai Foreign Language Education Press, 2001: 48.&lt;br /&gt;
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*Munday, J. Introducing Translation Studies Theories and Applications [M]. Shanghai: Shanghai Foreign Language Education Press, 2010: 127-129.&lt;br /&gt;
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*Lefevere, A. Translation, Rewriting and the Manipulation of Literary Fame [M]. Shanghai: Shanghai Foreign Language Education Press，2010: 1-70.&lt;br /&gt;
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*王东风. 一只看不见的手——论意识形态对翻译实践的操纵 [J]．中国翻译，2003，5 (24): 16-23.&lt;br /&gt;
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*周扬. 社会主义现实主义——中国文学前进的道路 [N].人民日报，1953-01-11 (1).&lt;br /&gt;
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*文记东. 1949~1966年的中苏文化交流[M]，哈尔滨:黑龙江大学出版社，2011: 101, 144.&lt;br /&gt;
&lt;br /&gt;
*马祖毅．中国翻译通史现当代部分（第三卷）[M].武汉﹔湖北教育出版社，2006: 207-225.&lt;br /&gt;
&lt;br /&gt;
*人民出版社马列著作编辑室．马克思恩格斯列宁斯大林著作中文本书目（1950~1983年）[Z]. 北京：人民出版社，1985.&lt;br /&gt;
&lt;br /&gt;
*周东元，亓文公．中国外文局五十年史料选编（1）[M]. 北京:新星出版社，1999: 399.&lt;br /&gt;
&lt;br /&gt;
*新星出版社编辑部．中国外文局五十年回忆录[M]. 北京:新星出版社，1999: 37, 420-421.&lt;br /&gt;
&lt;br /&gt;
*杨宪益，薛鸿时．漏船载酒译当年[M]. 北京:人民日报出版社，2001: 225.&lt;br /&gt;
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*杜萌．翻译市场滥译滥编侵权现状调查[N]. 法制日报，2009-03-02 (8).&lt;br /&gt;
&lt;br /&gt;
*中国翻译协会．中国翻译年鉴﹔2009~2010年[M]. 北京:外文出版社，2011: 241, 232.&lt;br /&gt;
&lt;br /&gt;
==Comparison between the History of Chinese and Western Translation   周书尧   Zhou Shuyao==&lt;br /&gt;
&lt;br /&gt;
&amp;lt;center&amp;gt; 周书尧 Zhou Shuyao 202020080672 &amp;lt;/center&amp;gt;&lt;br /&gt;
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===Abstract===&lt;br /&gt;
Translation has existed since historical records. Translation goes hand in hand with human history, even before historical records. Whether in my country or Western countries, the long tradition of translation has become the most dazzling pearl in the process of human civilization.In addition, translation plays an indelible role in promoting cross-cultural communication and cultural communication.This article first discusses the history of translation in China from four stages , then discusses the five stages of western translation history , and finally compares and analyzes the similarities and differences between Chinese and Western translation histories, and puts forward some of the author's own views.&lt;br /&gt;
&lt;br /&gt;
Translation has existed since historical records. Translation goes hand in hand with human history, even before historical records. Whether in China or in western countries, the long tradition of translation seems to be the most dazzling pearl in the process of human civilization. In addition, it plays an important role in promoting cross-cultural communication. This paper first discusses the history of translation in China from the four translation climaxes in China, then discusses the history of translation in the West from the five translation climaxes in the west, and finally makes a comparative analysis of the similarities and differences between Chinese and western translation history, and puts forward some views of the author.--[[User:Zhang Xueyi|Zhang Xueyi]] ([[User talk:Zhang Xueyi|talk]]) 15:45, 18 December 2020 (UTC)&lt;br /&gt;
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===Key words===&lt;br /&gt;
The history of Chinese,The history of Western,the stages of  translation history,comparison&lt;br /&gt;
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===摘要===&lt;br /&gt;
自历史记载以来,就存在翻译.翻译与人类的历史并道而驰,甚至先于历史记载.无论在我国,还是西方国家,悠久的翻译传统俨然成为人类文明进程中一颗最耀眼的明珠。此外，翻译在促进跨文化交流和文化传播上承担着不可磨灭的作用。本文首先从中国的四次翻译高潮论述中国的翻译史，再从西方的五次翻译高潮探讨西方的翻译史，最后对中西方翻译史的异同进行对比分析，提出一些笔者自己的看法。&lt;br /&gt;
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自历史记载以来，就存在翻译。翻译与人类的历史并道而驰，甚至先于历史记载。无论在我国，还是西方国家，悠久的翻译传统俨然成为人类文明进程中一颗最耀眼的明珠。此外，翻译在促进跨文化交流和文化传播上起着着不可忽视的作用。本文首先从中国的四次翻译高潮论述中国的翻译史，其次从西方的五次翻译高潮探讨西方的翻译史，最后对中西方翻译史的异同进行对比分析，提出一些笔者自己的看法。--[[User:Zhang Xueyi|Zhang Xueyi]] ([[User talk:Zhang Xueyi|talk]]) 15:40, 18 December 2020 (UTC)&lt;br /&gt;
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===关键词===&lt;br /&gt;
中国翻译史，西方翻译史，翻译高潮，对比&lt;br /&gt;
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===I.Introduction===&lt;br /&gt;
Since the 1980s, the Chinese translation studies community has made remarkable progress in the establishment of Chinese and Western translation history courses and the compilation of related works.In the 1980s and early 1990s,A Brief Introduction to the History of Translation in China from Ma Zuyi and other books of Chen Yugang and Tan Zaixi were published one after another,which raised the curtain for the compilation of Chinese and Western translation history works by the domestic translation scholars.The four stages in the history of Chinese translation have promoted the development of Chinese history, culture and society to varying degrees.(Xu 2018,5)&lt;br /&gt;
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Since the 1980s, Chinese translation studies have made remarkable progress in the curriculum design of Chinese and western translation history and the compilation of related works. In the 1980s and early 1990s, Ma Zuyi's A Brief Introduction to the History of Translation in China, and other books of Chen Yugang and Tan Zaixi were published one after another,which raised the curtain for the compilation of Chinese and Western translation history works by the domestic translation scholars. The four climaxes in Chinese translation history promoted the development of Chinese history, culture and society in varying degrees.(Xu 2018,5)--[[User:Zhang Xueyi|Zhang Xueyi]] ([[User talk:Zhang Xueyi|talk]]) 15:56, 18 December 2020 (UTC)&lt;br /&gt;
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The same as our country, Western translation has an age-old history.In a sense, the development of Western European civilization should first be attributed to the translators.The five stages in the history of European translation have promoted the exchanges of literature, art, science and trade between countries, and to a certain extent promoted the development of Chinese translation.In fact, when we examine the development trajectory of Chinese and Western translation activities and the evolution of translation concepts together, we find that there are some similarities between Chinese translation and Western translation.Especially in the evolution of Chinese and Western translation concepts, the two have very similar evolution laws.(Xie 2010,5)&lt;br /&gt;
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Like China, western translation has a long history. In a sense, the development of Western European civilization should be attributed to the translators. The five climaxes in the history of European translation have promoted the exchanges of literature, art, science and trade between countries, and promoted the development of Chinese translation to a certain extent. In fact, when we examine the development of translation activities and the evolution of translation concepts in China and the West together, we find that there are some similarities between them. Especially in the evolution of Chinese and western translation concepts, they have very similar evolution rules.(Xu 2018,5)--[[User:Zhang Xueyi|Zhang Xueyi]] ([[User talk:Zhang Xueyi|talk]]) 15:56, 18 December 2020 (UTC)&lt;br /&gt;
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===Ⅱ.The history of Chinese translation===&lt;br /&gt;
According to records, there have been four stages in China's long history of translation development, leaving behind many classic discussions.From these four translation climaxes, we can see the translators, translation theories and practices that emerged in different periods in China.And these translation stages have had varying degrees of impact on China's history, culture, society, and literature, including the development of Chinese translation.(Li 2016,132)&lt;br /&gt;
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In the traditional sense, there have been four translation climaxes in China's long history of translation development, leaving many classic comments. From the four translation climaxes, we can see the translators, translation theory and practice in different periods in China. Moreover, these translation climaxes have exerted different influences on the history, culture, society and literature of China, including the development of Chinese translation itself.(Li 2016,132)--[[User:Zhang Xueyi|Zhang Xueyi]] ([[User talk:Zhang Xueyi|talk]]) 16:06, 18 December 2020 (UTC)&lt;br /&gt;
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====2.1 The first stage: Ancient Translation History====&lt;br /&gt;
The translation of Buddhist scriptures from the Eastern Han Dynasty to the Tang and Song Dynasties (25-1279) can be regarded as the first important period in the history of Chinese translation, the initiation period of traditional Chinese translation theory, and the first large-scale, planned, Organized translation activities.A large number of Buddhist scriptures were introduced into our country from various countries in the Western Regions, which had a profound impact on our country's language, religious philosophy, painting, arts, etc.The Chinese translation of Buddhist scriptures with textual research should be translated by An Shigao（安室高） during the Eastern Han Dynasty (151 AD).(Liu 2016,147)&lt;br /&gt;
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The translation of Buddhist scriptures from the Eastern Han Dynasty to the Tang and Song Dynasties (25-1279) can be regarded as the first important period in the history of Chinese translation, and it is also the first large-scale, planned and organized translation activity in Chinese history.A large number of Buddhist scriptures were introduced into our country from various countries in the Western Regions, which had a profound impact on our country's language, religious philosophy, painting, arts, etc.The Chinese translation of Buddhist scriptures with textual research should be translated by An Shigao（安室高） during the Eastern Han Dynasty (151 AD).(Liu 2016,147)--[[User:Zhang Xueyi|Zhang Xueyi]] ([[User talk:Zhang Xueyi|talk]]) 16:30, 18 December 2020 (UTC)&lt;br /&gt;
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From 148 AD to 170 AD, he translated more than 30 Buddhist scriptures in Luoyang, making great contributions to Buddhist translation and the spread of Buddhist culture in China.The translation of Lokaksema（支娄迦谶）, who was at the same time as An Shigao, was basically a word-for-word translation, which was not easy to understand. The literal translation in the Chinese translation community probably started from this time.Zhi Loujiachen were the masters of the literal translation school. In addition to them, the major translators include Lokaksema and Dharmaraksha（竺法护）. And most of these translators were “foreigners”.(Liu 2016,147)&lt;br /&gt;
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From 148 AD to 170 AD, he translated more than 30 Buddhist scriptures in Luoyang, making great contributions to Buddhist translation and the spread of Buddhist culture in China.The translation of Lokaksema（支娄迦谶）, who was at the same time as An Shigao, was basically a word-for-word translation, which was not easy to understand. The literal translation in the Chinese translation community probably started from this time.Zhi Loujiachen were the masters of the literal translation school. In addition to them, the major translators include Lokaksema and Dharmaraksha（竺法护）. And most of these translators were “foreigners”.(Liu 2016,147)--[[User:Zhang Xueyi|Zhang Xueyi]] ([[User talk:Zhang Xueyi|talk]]) 16:30, 18 December 2020 (UTC)&lt;br /&gt;
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Shi Daoan (314-385), who was an eminent monk, set up a translation workshop, ushering in the period of translation on a large scale. And a State Translation School was founded for this purpose. Shi daoan put forward the famous &amp;quot;five instances of losing the source and three instances of difficulties&amp;quot;, which had a great influence on later translation studies.(Li 2016,132)The Sui and Tang Dynasties were the prosperous period of Chinese Buddhist translation.Xuan Zang（玄奘）, Kumarajiva（鸠摩罗什）, and Zhen Di（真谛） of the Tang Dynasty are collectively known as the three major translators of Chinese Buddhism.（Li 2016,132）&lt;br /&gt;
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Shi Daoan (314-385), who was an eminent monk, set up a translation workshop, ushering in the period of translation on a large scale. And a State Translation School was founded for this purpose. Shi daoan put forward the famous &amp;quot;five instances of losing the source and three instances of difficulties&amp;quot;, which had a great influence on later translation studies.(Li 2016,132)The Sui and Tang Dynasties were the prosperous period of Chinese Buddhist translation.Xuan Zang（玄奘）, Kumarajiva（鸠摩罗什）, and Zhen Di（真谛） of the Tang Dynasty are collectively known as the three major translators of Chinese Buddhism.（Li 2016,132）--[[User:Zhang Xueyi|Zhang Xueyi]] ([[User talk:Zhang Xueyi|talk]]) 16:30, 18 December 2020 (UTC)&lt;br /&gt;
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In the translation of Buddhist scriptures, he fumbled and summed up the famous &amp;quot;Five do not flip&amp;quot;(五不翻原则）and “six methods of translation”. &amp;quot;Five do not flip&amp;quot;means translators should employ transliteration facing mysterious words, polyseme, culture-loaded words, conventional transliterating words and words showing respect. And the core of his translation theory can be concluded in one sentence. That is: it is necessary to seek truth and be straightforward.（既须求真又须喻俗)&lt;br /&gt;
The Buddhist translation of this period enriched the religious beliefs of the people, became the spiritual support of the people at that time, promoted the exchange between China and the world at that time, and made Buddhist scriptures an inseparable part of our traditional culture.（Li 2016,132）&lt;br /&gt;
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In the translation of Buddhist scriptures, he fumbled and summed up the famous &amp;quot;Five do not flip&amp;quot;(五不翻原则）and “six methods of translation”. &amp;quot;Five do not flip&amp;quot;means translators should employ transliteration facing mysterious words, polyseme, culture-loaded words, conventional transliterating words and words showing respect. And the core of his translation theory can be concluded in one sentence. That is: it is necessary to seek truth and be straightforward.（既须求真又须喻俗)&lt;br /&gt;
The Buddhist translation in this period enriched the people's religious beliefs, became the spiritual support of the people at the bottom, promoted the communication between China and the world at that time, and made Buddhist classics an integral part of Chinese traditional culture.（Li 2016,132）--[[User:Zhang Xueyi|Zhang Xueyi]] ([[User talk:Zhang Xueyi|talk]]) 16:30, 18 December 2020 (UTC)&lt;br /&gt;
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====2.2 The stage two:Modern Translation History ====&lt;br /&gt;
During the Ming and Qing Dynasties (middle 14th to 19th centuries), there was a second stage of translation in Chinese history. During this period, the translation was mainly scientific and technological translation.This major shift was also decided by the Chinese and Western countries at the time in order to seek their own interests and finally reached an agreement on mutual terms.Western missionaries wanted to spread religious thought and culture in China, while Chinese scholars at that time were eager for knowledge and were keen on Western advanced science and technology in order to maintain the regime.（Li 2016,132）&lt;br /&gt;
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During the Ming and Qing Dynasties (from the middle of the 14th century to the 19th century), the second climax of translation appeared in Chinese history. This major turn was also decided by the agreement reached by the Chinese and Western countries at that time in order to seek their own interests. Western missionaries wanted to spread religious thoughts and culture in China. At that time, Chinese people with lofty ideals were eager for knowledge and were keen on western advanced science and technology in order to maintain political power.（Li 2016,132）--[[User:Zhang Xueyi|Zhang Xueyi]] ([[User talk:Zhang Xueyi|talk]]) 16:30, 18 December 2020 (UTC)&lt;br /&gt;
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In this way, the two needs complement each other, and the translation of Western scientific books is increasing. Increased, which promoted the great development of science and technology translation at that time.In 1868, the official translation and publishing organization of the Qing Dynasty, referred to as the Translation Museum, used the translation method from Western to Chinese, which means that foreign scholars interpret and Chinese scholars write and polish.(Liu 2016,148)The main representatives of translation activities in this period include Xu Guangqi（徐光启）, Li Zhizao （李之藻）, etc.Especially Xu Guangqi, known as the &amp;quot;Father of Western Translation&amp;quot;, does not understand foreign languages, and his translations are mainly through listening to narratives and co-translation and compilation.(Liu 2016,148)&lt;br /&gt;
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In this way, the mutual complementation of the two needs led to the gradual formation of the atmosphere of translation of Western science books, thus promoting the great development of science and technology translation at that time. In 1868, the official translation and publishing organization of the Qing Dynasty, referred to as the translation office, translated books by western translation and Chinese translation, that is, foreign scholars interpret, and Chinese scholars write and polish. During this period, the main representatives of translation activities were Xu Guangqi and Li Zhizao. Xu Guangqi, in particular, is known as &amp;quot;the father of translation of Western learning&amp;quot;. He does not understand foreign languages. His translation is mainly made by listening to people's dictation, co-translation and compilation with others.(Liu 2016,148)--[[User:Zhang Xueyi|Zhang Xueyi]] ([[User talk:Zhang Xueyi|talk]]) 16:30, 18 December 2020 (UTC)&lt;br /&gt;
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He proposed that the translation of Western history books should be prioritized and progressive，and put forward his own translation thought: &amp;quot;If you want to be superior, you must understand; before you can understand, you must first translate.&amp;quot;Although there were many translation achievements during this period, there was no systematic translation theory.Although the later translation museum had clear translation principles, its main purpose was to maintain its own rule by learning advanced Western technology.(Liu 2016,148)&lt;br /&gt;
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He put forward that the translation of western historical books should be prioritized and step by step. And put forward his own translation thought: &amp;quot;if you want to surpass, you must be able to understand; before you can feel pain, you must translate first.&amp;quot; Although there are many translation achievements in this period, there is no systematic translation theory. Although there were clear translation principles in the later period, their main purpose was to maintain their rule by learning advanced western technology.(Liu 2016,148)--[[User:Zhang Xueyi|Zhang Xueyi]] ([[User talk:Zhang Xueyi|talk]]) 16:30, 18 December 2020 (UTC)&lt;br /&gt;
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====2.3 The third stage: Contemporary Translation History ====&lt;br /&gt;
From the end of the 19th century to the beginning of the 20th century, China was in turmoil and internal and external troubles. Some rulers and intellectuals with capitalist ideas demanded to unite to resist the aggression of Western countries, and proposed reforms to strengthen themselves.Translation in this period is the boundary of modern Chinese translation history. Translation in the field of science and technology has gradually spread to the fields of literature, philosophy, economics, sociology, and ethics. China has entered a new stage of translation. The scale and influence of its translation activities all surpassed any period in modern times.（Li 2016,132）&lt;br /&gt;
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From the end of the 19th century to the beginning of the 20th century, China was in turmoil, internal and external troubles. Some rulers and intellectuals with capitalist thoughts demanded to unite to resist the invasion of western countries and proposed to strengthen through reform. Translation in this period is a watershed in the history of modern translation in China. Translation in the field of science and technology has gradually spread to the fields of literature, philosophy, economics, sociology and ethics. China has entered a new stage of translation, and the scale and influence of its translation activities have surpassed any other period in modern times.（Li 2016,132）--[[User:Zhang Xueyi|Zhang Xueyi]] ([[User talk:Zhang Xueyi|talk]]) 16:30, 18 December 2020 (UTC)&lt;br /&gt;
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At the end of the 19th century, Western academic translation represented by Ma Jianzhong （马建忠）and Yan Fu（严复）was a translation act driven by &amp;quot;national anxiety&amp;quot;, which promoted the expansion and deepening of foreign exchanges.(Liu 2016,148-149)In particular, Yan Fu's &amp;quot;faithfulness,expressiveness and elegance&amp;quot; translation standards have had a profound impact on translators' translation activities.&amp;quot;faithfulness&amp;quot; means loyalty, and &amp;quot;expressiveness&amp;quot; means unobstructed. In Yan Fu's interpretation, &amp;quot;elegance&amp;quot; means the translation strives to be elegant.The representative translator at that time was Lin Shu（林纾）. He proposed to pay attention to the purpose and function of translation, which meant that the translation should be able to achieve the expected goals and effects.&lt;br /&gt;
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At the end of the 19th century, western academic translation represented by Ma Jianzhong and Yan Fu was a translation behavior driven by the sense of national anxiety, which promoted the expansion and deepening of foreign exchange. In particular, Yan Fu's translation standard of faithfulness, expressiveness and elegance has a profound impact on translators' translation activities. &amp;quot;Faithfulness&amp;quot;, &amp;quot;expressiveness&amp;quot; and &amp;quot;elegance&amp;quot; in Yan Fu's interpretation refer to &amp;quot;using the pre Han Chinese grammar and syntax&amp;quot;. At that time, Lin Shu was also a representative translator. He proposed to pay attention to the purpose and function of translation, that is to say, the target and effect of translation should be achieved.--[[User:Zhang Xueyi|Zhang Xueyi]] ([[User talk:Zhang Xueyi|talk]]) 16:30, 18 December 2020 (UTC)&lt;br /&gt;
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When Lin Shu is translating, he emphasizes on subjective feelings, and the translator needs to communicate with the original author and the characters in the original work.A large number of translators, represented by Lin Shu, mostly adopt the principle of domestication and advocate free translation, which reflects the flexibility and openness of translation to a certain extent.During the May 4th Movement, the &amp;quot;New Youth&amp;quot; magazine was launched and began to translate western cultural thoughts and literary works. Representatives such as Chen Duxiu（陈独秀）, Hu Shi（胡适）, and Zhou Zuoren （周作人）all attached great importance to introducing foreign literature and foreign culture.(Liu 2016,149)&lt;br /&gt;
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In his translation, Lin Shu emphasizes the involvement of subjective feelings, and the translator needs to communicate with the original author and the characters in the original works. A large number of translators, represented by Lin Shu, mostly adopt the principle of domestication and advocate free translation, which reflects the flexibility and openness of translation to a certain extent. During the May 4th movement, New Youth magazine began to translate and introduce western cultural thoughts and literary works. Representative figures such as Chen Duxiu, Hu Shi and Zhou Zuoren attached great importance to introducing foreign literature and foreign culture.(Liu 2016,149)--[[User:Zhang Xueyi|Zhang Xueyi]] ([[User talk:Zhang Xueyi|talk]]) 16:30, 18 December 2020 (UTC)&lt;br /&gt;
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Translation activities during this period included the introduction of scientific and technological knowledge and the dissemination of advanced ideas. The scale and the number of works all showed its important position in the history of translation.Moreover, the audience in this period has also expanded from intellectuals to part of the people, broadening the horizons of the Chinese people, increasing their knowledge, and playing a good catalytic role in modern intellectual circles.(Liu 2016,149)&lt;br /&gt;
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The translation activities in this period, both the introduction of scientific and technological knowledge, and the dissemination of advanced ideas, show its important position in the history of translation. Moreover, the audience in this period also expanded from intellectuals to some people, broadened the vision of Chinese people, increased their insight, and played a good catalytic role in the modern ideological circle.(Liu 2016,149)--[[User:Zhang Xueyi|Zhang Xueyi]] ([[User talk:Zhang Xueyi|talk]]) 16:30, 18 December 2020 (UTC)&lt;br /&gt;
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====2.4 The fourth stage: Present Translation====&lt;br /&gt;
Since the reform and opening up, China and the Western world have had a broader space for communication, and the translation industry has achieved prosperity and development.In an open China, from the initial learning from modern and contemporary Western translation theories, to actively conducting cultural exchanges with other countries, learning and exploring research methods, and focusing on cross-disciplinary comprehensive innovation, translation practices and theories have achieved unprecedented development.(Xu 2018,5)For example, cultural schools, structuralism, post-colonialism, and other translation theories have been translated into China in large numbers. Literary works involve politics, economy, culture, literature, art and other fields, and the quantity and variety greatly exceed the previous generations.&lt;br /&gt;
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Since the Reform and Opening up, China and the western world have a broader space for communication, and the translation industry has achieved prosperity and development. From the beginning of learning from modern and contemporary western translation theories to actively conducting cultural exchanges with other countries, learning and exploring research methods, and paying attention to interdisciplinary comprehensive innovation, China has made unprecedented progress in translation practice and theory. For example, cultural schools, structuralism, postcolonialism and other translation theories have been translated into China, and literary works involve various fields such as politics, economy, culture, literature, art and so on.--[[User:Zhang Xueyi|Zhang Xueyi]] ([[User talk:Zhang Xueyi|talk]]) 16:30, 18 December 2020 (UTC)&lt;br /&gt;
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Representatives at this time include Liu Miqing（刘宓庆）, Tan Zaixi（谭载喜）, Huang Long（黄龙） and others. Among them, Tan Zaixi compiled the book &amp;quot;A Brief History of Western Translation&amp;quot;. The whole book pays attention to absorb the relevant research results at home and abroad. It is important for various historical periods, especially since the 20th century. The representative tasks in the western translation field, translation works, schools of thought, etc. are described and commented, and the mutual promotion, evolution and development of translation practice and translation theory are analyzed and discussed in a simple way, which promotes the formation of a systematic translation theory in China.(Xu 2018,5)&lt;br /&gt;
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The representative figures at this time include Liu Miqing, Tan Zaixi, Huang Long, etc. among them, Tan Zaixi compiled a brief history of western translation. The book absorbed the relevant research results at home and abroad, narrated and commented on the representative tasks, translated works and schools of thought in the field of western translation in various historical periods, especially since the 20th century, and the mutual relationship between translation practice and translation theory The process of promotion, evolution and development has been analyzed and discussed in simple terms, which has promoted the formation of systematic translation theories in China to a certain extent.(Xu 2018,5)--[[User:Zhang Xueyi|Zhang Xueyi]] ([[User talk:Zhang Xueyi|talk]]) 16:30, 18 December 2020 (UTC)&lt;br /&gt;
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During this period, our research is no longer limited to the summary of translation practices and abstract induction of translation principles, but from the generalization of subjective thoughts to the description and analysis of specific translation phenomena, translation events and processes.Translation studies have changed from a single-paradigm study to a multi-paradigm study. In short, the reform and opening up has created a new situation in China's translation industry, constantly expanding research fields, and effectively promoting the development of Chinese translation studies.&lt;br /&gt;
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In this period, our research is no longer limited to the summary of translation practice skills and translation principles, but from the generalization of subjective ideas to the description and analysis of specific translation phenomena, translation events and processes. Translation studies have changed from a single paradigm in the past to a multi paradigm study nowadays. In short, the reform and opening up has created a new situation in China's translation industry, constantly expanding the research field, and effectively promoting the development of China's translation research.--[[User:Zhang Xueyi|Zhang Xueyi]] ([[User talk:Zhang Xueyi|talk]]) 16:30, 18 December 2020 (UTC)&lt;br /&gt;
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===Ⅲ.The history of western translation===&lt;br /&gt;
The same as our country, Western translation has a long history.In a sense, the development of Western European civilization should first be attributed to the translators.From the ancient Roman Empire to the modern European Community, literary, artistic, scientific, and trade exchanges between countries are all carried out through the work of translators. Throughout the whole process, the history of Western translation can be divided into five major development stages.Broadly speaking, the earliest translation in the West is The Septuagint.Strictly speaking, the first translation is the Homer epic &amp;quot;Odyssey&amp;quot; translated in Latin by Andronicus .Both the former and the latter began in the third century BC, with a history of more than two thousand years, and are an important part of the entire European history of development.(Tan 1985,36)&lt;br /&gt;
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Like China, western translation has a long history. In a sense, the development of Western European civilization should be attributed to the translators. From the ancient Roman Empire to the modern European community, literary, artistic, scientific and trade exchanges between countries were carried out through the work of translators. Throughout the whole process, the history of western translation can be divided into five stages. In a broad sense, the earliest translation in the west is the Greek translation of the Old Testament by seventy people; strictly speaking, the first translation is Homer's epic Odyssey translated by Andronicus in Rome in Latin. Both the former and the latter began in the third century BC and has a history of more than 2000 years. It is an important part of the whole European development history.(Tan 1985,36)--[[User:Zhang Xueyi|Zhang Xueyi]] ([[User talk:Zhang Xueyi|talk]]) 04:14, 19 December 2020 (UTC)&lt;br /&gt;
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====3.1 The first stage : Ancient====&lt;br /&gt;
Ancient translation mainly revolved around the Greek translation and Latin translation of the &amp;quot;The Bible. Old Testament&amp;quot; from the third century BC to the sixth century AD. Translation in this period can be divided into the first stage of ancient Greek literature translation and the second stage of religious translation.At the end of the fourth century BC, the Greek slave society began to decline, while the relatively backward Rome gradually became stronger.At this time, Greece has a certain cultural foundation and is still superior to Roman culture. Therefore, Greek culture has a greater attraction to Roman culture. (Tan 1985,36)&lt;br /&gt;
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Ancient translation mainly revolves around the Greek translation and Latin translation of the Old Testament from the third century BC to the sixth century AD. Translation in this period can be divided into the first stage of ancient Greek literature translation and the second stage of religious translation. At the end of the fourth century B.C., the powerful Greek slave society began to decline, while the less developed Rome gradually became stronger. At this time, Greece had a certain cultural foundation and was still superior to Roman culture. Therefore, Greek culture has a greater attraction to Roman culture. (Tan 1985,36)--[[User:Zhang Xueyi|Zhang Xueyi]] ([[User talk:Zhang Xueyi|talk]]) 05:02, 19 December 2020 (UTC)&lt;br /&gt;
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The translation and introduction of Greek culture may begin in this period.It was only in the middle of the third century BC that recorded translations began to appear. Andronicus, Neveus, Ennius, and other excellent translators, who are known as the three ancestors of Roman literature, have translated a large number of Greek dramas in Latin.This large-scale translation first opened the situation of local translation in Europe. It spread Greek culture to Rome, promoted the development of Roman culture, and served as an important bridge for Rome and later generations to inherit ancient Greek literature.(Tan 1985,36)&lt;br /&gt;
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The introduction of Greek culture may have begun in this period. It was not until the middle of the third century B.C. that translation of written records began to appear. Andronicus, Nevius and enius, known as the three great originators of Roman literature, and other excellent translators have translated a large number of Greek drama works in Latin. This large-scale translation first opened up the situation of European local translation. It introduced Greek culture to Rome, promoted the development of Roman culture, and played an important role in the inheritance of ancient Greek literature by Rome and later generations of Europe.(Tan 1985,36)--[[User:Zhang Xueyi|Zhang Xueyi]] ([[User talk:Zhang Xueyi|talk]]) 05:02, 19 December 2020 (UTC)&lt;br /&gt;
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The translation activities in the fourth to sixth centuries AD were mainly religious translation.In Europe, religious forces have always been strong and stubborn. From the very beginning, the Christian Church was hostile to secular literature, and tried to develop a religious culture that served its own interests.As the source of Christian thought and spiritual weapon, the &amp;quot;Bible&amp;quot; has naturally become the most concerned classic in the religious world.In 384 AD, Jerome was entrusted by the Roman Pope to compile a translation called &amp;quot;The New Testament&amp;quot;, which marked that the translation of the &amp;quot;Bible&amp;quot; had achieved an important position on par with the translation of secular literature.As Europe entered feudal society, religious translation was popularized, and the Bible was translated into various languages one after another.（Tan 2004,79）&lt;br /&gt;
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The translation activities from the fourth century to the sixth century were mainly religious in nature. In Europe, religious forces have always been strong and stubborn. From the beginning, the Christian Church was hostile to secular literature and tried its best to develop religious culture serving its own interests. As the source and spiritual weapon of Christianity, the Bible has naturally become the most concerned classic in religious circles. In 384 A.D., Jerome, entrusted by the Pope, compiled a translation of the New Testament, that is, the universal Bible. This indicates that the translation of the Bible has achieved the same important status as the translation of secular literature. As Europe entered the feudal society, religious translation got more market, and the Bible was translated into various languages.（Tan 2004,79）--[[User:Zhang Xueyi|Zhang Xueyi]] ([[User talk:Zhang Xueyi|talk]]) 05:02, 19 December 2020 (UTC)&lt;br /&gt;
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====3.2 The second stage : Middle Ages====&lt;br /&gt;
In the Middle Ages, Latin translation was no longer limited to religious documents. Eastern literature was translated and introduced to the East. The achievements of Arabic academic research promoted the development of Western translation.At that time, Western translators gathered in Toledo, Spain, and translated a large number of works from Arabic to Latin. This is the rare closely contact between Christians and Muslims in history.(Tan 2004,64)In the ninth and tenth centuries, Syrian scholars went to Athens to translate a large number of Greek classics into Syrian and brought them back to Baghdad. Baghdad established an important translation center, and many Greek classical works were translated into Arabic.Later, in the eleventh century, a large number of Arabic works appeared in Toledo. Translators translated these works into Latin. Toledo gradually became an academic center and translation center, becoming a &amp;quot;Translation Museum&amp;quot; similar to Baghdad. His translation and academic activities lasted for a hundred years, and the impact was also great.&lt;br /&gt;
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In the middle ages, Latin translation was no longer limited to religious documents. Oriental literature was translated and introduced to the East. The achievements of Arab academic research promoted the development of western translation. At that time, western translators gathered in Toledo, Spain, and translated a large number of works from Arabic to Latin. This is a rare friendly contact between Christians and Muslims in history. In the ninth and tenth centuries, Syrian scholars went to Athens to translate a large number of Greek classics into ancient Syrian and brought them back to Bagdad. Bagdad became an important translation center, and many Greek classics were translated into Arabic. Later, in the 11th century, a large number of Arabic works appeared in Toledo. Translators translated these works into Latin. Toledo gradually became an academic and Translation Center, and became a &amp;quot;Translation Institute&amp;quot; similar to Bagdad. Its translation and academic activities lasted for a hundred years and had a great influence.--[[User:Zhang Xueyi|Zhang Xueyi]] ([[User talk:Zhang Xueyi|talk]]) 05:04, 19 December 2020 (UTC)&lt;br /&gt;
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====3.3 The third stage :The Renaissance Period====&lt;br /&gt;
In the 14-16th century, the Renaissance took place in Europe. It was a great movement of ideological and literary innovation, and a great development in the history of Western translation. The translation practice and theoretical research of Western countries did not make a real leap until the Renaissance.During the Renaissance, Western translators constantly discovered new literary fields, unearthed new cultural heritage, and transplanted new ideas to the mainland. Translation at this time went deep into various fields such as ideology, politics, philosophy, literature, and religion, and involved some major works in ancient, modern and contemporary times.Translation in this period played an important role in the formation of national languages, marking the consolidation of the status of national languages in translation.(Tan 1985,37)&lt;br /&gt;
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From the 14th to the 16th century, the Renaissance movement took place in Europe. It was a great movement of Ideological and literary innovation and a great development in the history of western translation. The translation practice and theoretical research of western countries did not make a real leap until the Renaissance. During the Renaissance, western translators constantly found new literary fields, excavated new cultural heritages and transplanted new ideas to their native land. At this time, translation went deep into the ideological, political, philosophical, literary, religious and other fields, involving some of the main works of ancient, modern and contemporary. Translation in this period played an important role in the formation of national languages, which marked the consolidation of the status of national languages in translation.(Tan 1985,37)--[[User:Zhang Xueyi|Zhang Xueyi]] ([[User talk:Zhang Xueyi|talk]]) 05:07, 19 December 2020 (UTC)&lt;br /&gt;
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In Germany, Martin Luther created a precedent for the Reformation. His translation of the &amp;quot;Bible&amp;quot; through the people's language laid the foundation for the later standardization and standardization of German and played an important role in the unification of German.In France, &amp;quot;Celebrity biography&amp;quot; translated by the writer Amyot became an immortal literary translation in the history of translation in France and the entire West.In the United Kingdom, the translation of Greco-Roman history and literary works provided important historical materials and new ideological resources for the formation of an autocratic monarchy in the United Kingdom, which promoted the occurrence of the British bourgeois revolution and promoted Britain to become a modern nationalized country earlier.(Tan 1985,37)&lt;br /&gt;
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In Germany, Martin Luther King pioneered the religious reform. He translated the Bible through the people's language, which laid the foundation for the standardization and standardization of German, and played an important role in the unification of German. In France, the famous man translated by amio became an immortal literary translation in French and even the whole western translation history The translation of the history and literary works of Greece and Rome provided important historical materials and new ideological resources for the formation of autocratic monarchy in Britain, contributed to the occurrence of the British bourgeois revolution and made Britain earlier embark on the road of modern nationalization.(Tan 1985,37)--[[User:Zhang Xueyi|Zhang Xueyi]] ([[User talk:Zhang Xueyi|talk]]) 05:07, 19 December 2020 (UTC)&lt;br /&gt;
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All in all, the ideological liberation movement of the Renaissance in Europe around 1500 had a profound and long-term impact on Europe, especially Western European society, and cultural translation played a crucial role as a bridge in this ideological liberation movement. It also shows that translation plays a huge role in the formation and development of national language, literature and thought.(Tan 1985,37)&lt;br /&gt;
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In a word, the Renaissance around 1500 AD had a profound and long-term impact on Europe, especially the Western European society. Cultural translation played an important role in the ideological liberation movement. At the same time, it also showed that translation played an important role in the formation and development of national language, literature and thought.(Tan 1985,37)--[[User:Zhang Xueyi|Zhang Xueyi]] ([[User talk:Zhang Xueyi|talk]]) 05:07, 19 December 2020 (UTC)&lt;br /&gt;
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====3.4 The fourth stage :Since the end of the Second World War====&lt;br /&gt;
After the Second World War, the West entered a relatively stable period of peace, the economy was restored, production was secured, and science and technology developed rapidly. These are important material foundations for the development and progress of translation.(Tan 1985,37)Compared with the past, translation in the new period has undergone great changes. First, the scope of translation has been expanded. Traditional translation mainly focused on literary and religious works, while translation during this period expanded to the fields of technology and business.Second, the scale of translation is much larger than before. In the past, translation was mainly the work of a few high-level intellectuals. &lt;br /&gt;
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After the Second World War, the West entered a relatively stable period of peace. The economy was restored, production was guaranteed, and science and technology developed rapidly. These are the important material basis for the development and progress of translation. Compared with the past, translation in the new era has changed a lot. First of all, the scope of translation has been expanded. Traditional translation mainly focused on literary and religious works, while translation in this period expanded to the fields of science and technology and commerce. Secondly, the scale of translation is much larger than before. In the past, translation was mainly the work of a few senior intellectuals.--[[User:Zhang Xueyi|Zhang Xueyi]] ([[User talk:Zhang Xueyi|talk]]) 05:11, 19 December 2020 (UTC)&lt;br /&gt;
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Nowadays, translation has become a profession, and there is even a professional team that has been specially trained.Third, the role of translation has also been enhanced, especially with the establishment of the European Community and the European Union, the process of globalization has accelerated, and the communication activities between countries are realized through translation. Therefore, translation plays a very important role in the economy, culture, science and technology of western countries.(Tan 2004,80)&lt;br /&gt;
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Nowadays, translation has become a profession, and there are even professional teams with special training. Moreover, the role of translation has also been enhanced, especially with the establishment of the European Community and the European Union, the process of globalization has been accelerated, and the communication activities between countries are realized through translation. Therefore, translation plays an important role in the economy, culture, science and technology of western countries.(Tan 2004,80)--[[User:Zhang Xueyi|Zhang Xueyi]] ([[User talk:Zhang Xueyi|talk]]) 05:11, 19 December 2020 (UTC)&lt;br /&gt;
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The form of translation during this period has also undergone great changes, such as the strengthening of the professionalization of the translation business, the establishment of higher translation education and the training of professional translators.Especially the way of translation has broken the tradition, and machine translation has been developed and popularized.Since English and American scholars first discussed the possibility of using computers for translation in 1946, the development and application of translation machines have increasingly shown vitality after nearly 40 years of tortuous development. It is a challenge to traditional manual translation for thousands of years, and it is also a revolution of far-reaching significance in the history of translation.(Tan 2004,80)&lt;br /&gt;
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During this period, the forms of translation also changed greatly, such as the enhancement of the degree of specialization in translation, the establishment of higher translation education and the cultivation of professional translators. In particular, the way of translation has broken the tradition, and machine translation has been developed and popularized. Since the British and American scholars first discussed the possibility of using computers for translation in 1946, the development and application of translation machines have gradually shown their vitality after nearly 40 years of tortuous process. It is not only a challenge to the traditional manual translation for thousands of years, but also a revolution with far-reaching significance in the history of translation.(Tan 2004,80)--[[User:Zhang Xueyi|Zhang Xueyi]] ([[User talk:Zhang Xueyi|talk]]) 05:11, 19 December 2020 (UTC)&lt;br /&gt;
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===Ⅳ.Comparison between the History of Chinese and Western Translation===&lt;br /&gt;
====4.1 Commonality====&lt;br /&gt;
Through the introduction of the Chinese translation history and the Western translation history in the above two chapters, it is not difficult to find that there are some similarities between the translation concepts and the evolution process of the two, especially the laws of evolution of the Chinese and Western translation concepts are very similar.&lt;br /&gt;
First of all, the initiation and development of large-scale Chinese and Western translation activities are closely related to the translation of religious documents.In the West it is the translation of the Bible, while in China it is the translation of Buddhist classics.(Xie 2010,5)&lt;br /&gt;
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Through the introduction of the history of Chinese translation and that of western translation in the above two chapters, it is not difficult to find that there are some similarities between the two in terms of translation concepts and the evolution process, especially the evolution laws of Chinese and western translation concepts are very similar.&lt;br /&gt;
First of all, the initiation and development of large-scale translation activities in China and the West are closely related to the translation of religious documents. In the west, it is the translation of the Bible, while in China it is the translation of Buddhist classics.(Xie 2010,5)--[[User:Zhang Xueyi|Zhang Xueyi]] ([[User talk:Zhang Xueyi|talk]]) 05:17, 19 December 2020 (UTC)&lt;br /&gt;
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In my opinion, this commonality is the origin of translation concepts such as &amp;quot;original supremacy&amp;quot; and &amp;quot;faithful original text&amp;quot; that have dominated the Chinese and Western translation circles for two thousand years.(Xie 2010,5)Looking back at history, when Chinese and Western ancient translators were translating these religious documents, they must be pious and absolutely faithful to the original text to translate word by word, lest they would distort the will of God and the teachings of the Buddha.Until the 1950s, due to the advent of the era of professional translation, the target of translation has evolved from religious documents and literary masterpieces to non-literary practical documents such as economy, technology, business, and entertainment. Since then, translation Views have been greatly changed.(Xie 2010,5)&lt;br /&gt;
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In my opinion, this commonality is the origin of the two thousand year old translation concepts of &amp;quot;the original is supreme&amp;quot; and &amp;quot;faithful to the original&amp;quot;. Looking back on history, when translators in ancient China and the West translated these religious documents, they must have a kind of piety and absolute loyalty to the original text to translate word for word, for fear of distorting God's will and Buddha's teachings. Until the 1950s, due to the advent of the era of professional translation, the target of translation has changed from religious literature and literary masterpieces to non literary practical literature, such as economy, science and technology, commerce, entertainment, etc. The focus of translation has changed from the original text to the reader.(Xie 2010,5)--[[User:Zhang Xueyi|Zhang Xueyi]] ([[User talk:Zhang Xueyi|talk]]) 05:17, 19 December 2020 (UTC)&lt;br /&gt;
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Secondly, both in China and in the West, translation has played an important role in disseminating knowledge.When we compare the contribution of Chinese and Western translation in spreading knowledge together, this effect is further demonstrated.In the West, backward Rome developed rapidly due to the absorption of advanced Greek culture and became the later Roman Empire.In the Middle Ages, after the Baghdad Translation Center, the translation activities of the &amp;quot;Translation Museum&amp;quot; in Toledo, Spain.The translators provided a source of learning for the Western world by translating ancient Greek and Roman natural science works, philosophy and other classics translated by the Arabs into Latin, as well as the Arabs' own academic works.(Xie 2009,47)&lt;br /&gt;
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Secondly, both in China and in the West, translation has played an important role in disseminating knowledge.When we compare the contribution of Chinese and Western translation in spreading knowledge together, this effect is further demonstrated.In the West, backward Rome developed rapidly due to the absorption of advanced Greek culture and became the later Roman Empire.In the Middle Ages, after the Baghdad Translation Center, the translation activities of the &amp;quot;Translation Museum&amp;quot; in Toledo, Spain.The translators provided a source of learning for the Western world by translating ancient Greek and Roman natural science works, philosophy and other classics translated by the Arabs into Latin, as well as the Arabs' own academic works.(Xie 2009,47)--[[User:Zhang Xueyi|Zhang Xueyi]] ([[User talk:Zhang Xueyi|talk]]) 05:17, 19 December 2020 (UTC)&lt;br /&gt;
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It is through these classical classics that Western talents began to come into contact with a large number of classical cultures and promoted the Renaissance. Its influence is reflected in all aspects of art, philosophy, literature, music, science and technology, politics, religion, and intellectual inquiry.For China, a large number of Buddhist scriptures from the Western Regions to China from the Han Dynasty to the Song Dynasty opened up the history of Chinese translation.The translation of science and technology at the end of the Ming Dynasty and the beginning of the Qing Dynasty was also influential in disseminating Western science and technology literature and promoting the development of China's natural science and engineering technology.(Xie 2009,47)&lt;br /&gt;
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It is through these classical classics that Western talents began to come into contact with a large number of classical cultures and promoted the Renaissance. Its influence is reflected in all aspects of art, philosophy, literature, music, science and technology, politics, religion, and intellectual inquiry.For China, a large number of Buddhist scriptures from the Western Regions to China from the Han Dynasty to the Song Dynasty opened up the history of Chinese translation.The translation of science and technology at the end of the Ming Dynasty and the beginning of the Qing Dynasty was also influential in disseminating Western science and technology literature and promoting the development of China's natural science and engineering technology.(Xie 2009,47)--[[User:Zhang Xueyi|Zhang Xueyi]] ([[User talk:Zhang Xueyi|talk]]) 05:17, 19 December 2020 (UTC)&lt;br /&gt;
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In particular, the literary translation from the Opium War to the &amp;quot;May 4th&amp;quot; period was the dividing line of modern translation history. The translation from the field of science and technology gradually spread to the fields of literature, philosophy, economics, sociology, ethics, etc. In the new stage of translation, the scale and influence of its translation activities have exceeded any period in modern times.Since China's reform and opening up, translation has played a role in promoting communication between China and various countries. The development of the globalization process cannot be separated from the bridge and hub of translation.(Xie 2010,5)&lt;br /&gt;
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In particular, the literary translation from the Opium War to the &amp;quot;May 4th&amp;quot; period was the dividing line of modern translation history. The translation from the field of science and technology gradually spread to the fields of literature, philosophy, economics, sociology, ethics, etc. In the new stage of translation, the scale and influence of its translation activities have exceeded any period in modern times.Since China's reform and opening up, translation has played a role in promoting communication between China and various countries. The development of the globalization process cannot be separated from the bridge and hub of translation.(Xie 2010,5)--[[User:Zhang Xueyi|Zhang Xueyi]] ([[User talk:Zhang Xueyi|talk]]) 05:17, 19 December 2020 (UTC)&lt;br /&gt;
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Third, the role of translation in the establishment and development of national languages in various countries has some obvious commonalities in both the West and China.In the West, Martin Luther's Bible translation has played a very important role in the unification and development of German and modern German.The English translation of the &amp;quot;Bible&amp;quot; also contributes significantly to enriching English vocabulary and expressive means.As for China, Buddhist translation has enriched Chinese vocabulary, especially literary translation during the May Fourth Movement, which promoted the establishment and development of modern Chinese vernacular.The translation in the new era has also enriched the vocabulary to a certain extent.For example, the Chinese &amp;quot;人山人海&amp;quot; translates into English as &amp;quot;people mountain people sea&amp;quot;, and it is even included in the English dictionary.(Xie 2010,5)&lt;br /&gt;
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Thirdly, the role of translation in the establishment and development of national languages of different countries has some obvious similarities in the West and China. In the west, Martin Luther's Bible translation plays a very important role in the unification and development of German as well as modern German. The English translation of the Bible also contributes significantly to enriching English vocabulary and means of expression. As for China, Buddhist translation enriched Chinese vocabulary, especially literary translation during the May 4th movement, and promoted the establishment and development of modern Chinese vernacular. And now the new era of translation, to a certain extent, has enriched the vocabulary. For example, the Chinese word &amp;quot;人山人海&amp;quot; is translated into English as &amp;quot;people mountain people sea&amp;quot;, even included in the English dictionary.(Xie 2010,5)--[[User:Zhang Xueyi|Zhang Xueyi]] ([[User talk:Zhang Xueyi|talk]]) 05:17, 19 December 2020 (UTC)&lt;br /&gt;
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Finally, regardless of Chinese and Western, translation also plays a vital role in conveying foreign social and cultural values.(Xie 2010,5)In the West, for example, the excavation, dissemination and development of the spirit of humanism during the Renaissance were largely due to the translation of ancient Greek and Roman classics.In China, Li Zhizao, Xu Guangqi and others' translations of Western social science masterpieces in the late Ming and early Qing dynasties broadened the horizons of the Chinese people and promoted the modernization of China.During the May Fourth Movement, Yan Fu, Lu Xun and others' translations of Western literature and dramas refreshed the Chinese worldview, increased the Chinese people's knowledge, and played a good catalytic role in modern intellectual circles.&lt;br /&gt;
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Finally, both Chinese and western, translation plays an important role in transmitting foreign social and cultural values. In the west, for example, during the Renaissance, the excavation, dissemination and development of humanistic spirit benefited greatly from the translation of ancient Greek and Roman classics. In China, Li Zhizao and Xu Guangqi's translation of western social science masterpieces at the end of Ming and early Qing Dynasty broadened the horizon of Chinese people and promoted the process of China's modernization. In addition, the translation of Western literature and drama works by Yan Fu and Lu Xun during the May 4th Movement refreshed the Chinese people's world outlook, increased the Chinese people's insight, and played a good catalytic role in the modern ideological circle.--[[User:Zhang Xueyi|Zhang Xueyi]] ([[User talk:Zhang Xueyi|talk]]) 05:17, 19 December 2020 (UTC)&lt;br /&gt;
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====4.2 Difference====&lt;br /&gt;
The last section elaborated from four aspects that the evolutionary laws of Chinese and Western translation history are very similar. Of course, the development of Chinese and Western translation history has its own unique performance, not only in the development period and nodes, but also in certain These aspects are even far apart.&lt;br /&gt;
Although the initiation and development of large-scale Chinese and Western translation activities are closely related to the translation of religious documents, the status of Buddhism in Chinese and Western social and political life is different.Religion plays an extremely important role in Western society.(Xie 2009,51)&lt;br /&gt;
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In the last section, the author expounds that the evolution of Chinese and western translation history is very similar from four aspects. Of course, the development of Chinese and western translation history has its own unique performance, not only in the development period and node, but also in some aspects it is quite different.&lt;br /&gt;
Although the initiation and development of large-scale translation activities in China and the West are closely related to the translation of religious documents, the status of Buddhism in Chinese and western social and political life is different. Religion plays an important role in western society.(Xie 2009,51)--[[User:Zhang Xueyi|Zhang Xueyi]] ([[User talk:Zhang Xueyi|talk]]) 05:24, 19 December 2020 (UTC)&lt;br /&gt;
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In Western Christian society, God is not only the creator and nurturer of the universe and mankind, but also the maker and arbitrator of the political and ethical order of the world. Is the primary source of Western moral standards.Therefore, the importance of &amp;quot;Bible&amp;quot; translation can be imagined.In China, imperial power is greater than divine power. Monarchs profess themselves to be the emperor, exercise power by the mandate of heaven, and enjoy supreme authority.Religion can only be spread and developed under the support and use of imperial power. Its essence is actually a tool to maintain rule, and it has never become a religious behavior for the whole people.(Xie 2009,51)&lt;br /&gt;
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In the Western Christian society, God is not only the creator and nurturer of the universe and human beings, but also the maker and arbiter of the political and ethical order of the world. The Bible is the primary source of western moral standards. Therefore, the importance of Bible translation can be imagined. In China, the imperial power is greater than the divine power. The monarch claims to be the son of heaven and exercises power according to the mandate of heaven and enjoys supreme authority. Religion can be spread and developed only when it is supported and utilized by the imperial power. Its essence is the tool to maintain the rule and has never become a religious act of the whole people.(Xie 2009,51)--[[User:Zhang Xueyi|Zhang Xueyi]] ([[User talk:Zhang Xueyi|talk]]) 05:24, 19 December 2020 (UTC)&lt;br /&gt;
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In Chinese history, religion was never allowed to harm the ethical principles of feudal rule. Once harm occurred, it would be banned and eliminated.The extermination of Buddhism in the history of Chinese Buddhism and the &amp;quot;Chinese Etiquette Controversy&amp;quot; in the history of modern Chinese Catholicism are typical features.Therefore, the influence of Chinese Buddhist scripture translation is more in folk culture, and the effect of its influence is more manifested in a subtle form.For example, the change of world outlook, the penetration of language, the borrowing of the plots of Buddhist classics in literary works, and so on.Moreover, Chinese society uses blood as a bond and family as a unit. It is the blood relationship that closely connects family members.Festivals and weddings and funerals are always carried out on a family or family basis, not under the auspices of the church as in the West.(Xie 2010,6)&lt;br /&gt;
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In Chinese history, religion was never allowed to do harm to the ethics of feudal rule. Once it did, it would be banned and eliminated. The &amp;quot;three martial arts and one sect&amp;quot; in the history of Chinese Buddhism and the &amp;quot;Chinese etiquette dispute&amp;quot; in the history of modern Chinese Catholicism are typical features. Therefore, the influence of Buddhist Scripture Translation in China exists more in folk culture, and its influence is more embodied in a subtle form, such as the change of world outlook, the infiltration of language, the borrowing of Buddhist Classic public viewing plot in literary works and so on. Moreover, Chinese society takes blood relationship as the link and family as the unit. It is blood relationship that closely connects family members. Festivals, weddings and funerals are always carried out in family or family units, rather than under the auspices of the church in the West.(Xie 2010,6)--[[User:Zhang Xueyi|Zhang Xueyi]] ([[User talk:Zhang Xueyi|talk]]) 05:24, 19 December 2020 (UTC)&lt;br /&gt;
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On the other hand, due to the differences in national characteristics between China and the West, the Chinese nation is more pragmatic, focusing on physical and mental cultivation, ethics and morality, paying attention to whether translation theory has practical effects, whether it can guide translation practice and solve various problems encountered in the translation process.(Xie 2010,6)The Western Christian culture and my country's Confucianism have formed a sharp contrast in this respect.Westerners influenced by Christian thought have a strong pioneering and innovative national character. They advocate speculation and pay more attention to the abstract, systematic and systematic nature of translation theories.&lt;br /&gt;
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On the other hand, due to the differences in national characteristics between China and the west, the Chinese nation is more pragmatic, focusing on physical and mental cultivation and ethics, focusing on whether translation theory has practical effect, whether it can guide translation practice and solve various problems encountered in the process of translation. The Western Christian culture has formed a sharp contrast with China's Confucianism in this respect. They are more thoughtful and systematic in their thinking and systematic in translation.--[[User:Zhang Xueyi|Zhang Xueyi]] ([[User talk:Zhang Xueyi|talk]]) 05:24, 19 December 2020 (UTC)&lt;br /&gt;
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They believe that the focus is on describing what kind of theory exists behind translation practice, and how to understand and interpret translation from a theoretical perspective.This makes the development path of the two translation theories different.If there were many similarities in the concepts and characteristics of Chinese and Western translation activities before the 1950s, then the differences in the development trends of the two translation theories in the later stages, especially from the end of the 19th century, became larger and larger.Western translation theories have been systematized earlier.(Xie 2010,6) &lt;br /&gt;
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They think that the key point is to describe what kind of theory exists behind the practice of translation, and how to understand translation and explain translation from the perspective of theory. This makes the development path of the two translation theories different. If there are still many similarities in the concepts and characteristics of translation activities between China and the west before the 1950s, the differences in the development trend of translation theories between the two countries will be more and more obvious in the later stage, especially from the end of the 19th century: the western translation theories have realized systematization earlier.(Xie 2010,6)--[[User:Zhang Xueyi|Zhang Xueyi]] ([[User talk:Zhang Xueyi|talk]]) 05:24, 19 December 2020 (UTC)&lt;br /&gt;
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Any research is carried out under the guidance of a certain theory, and the results of related disciplines are fully used to make the connotation (translation standard itself) and extension (research method) of translation standards become truly pluralistic. Which embodies a strong scientific spirit.However, Chinese translation theories have remained at the level of translation practice experience perception for a long time, which is largely subjective.In particular, the proponents of traditional translation theory pay attention to the unspoken artistic conception, giving people more space for association and comprehension, but they cannot make precise regulations for translation practice, which is implicit.(Xie 2010,6)&lt;br /&gt;
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Any research is carried out under the guidance of certain theories, and the achievements of relevant disciplines are fully utilized to make the connotation (translation standard itself) and extension (research method) of translation standards become truly diversified, which reflects the strong spirit of scientism. However, for a long time, Chinese translation theory has remained at the level of translation practice experience and perception, which makes subjective feelings to a great extent. In particular, the advocates of traditional translation theories pay attention to the artistic conception of &amp;quot;everything in silence&amp;quot; and give people more space for association and comprehension, but they can not make precise regulations for translation practice, which is implicit.(Xie 2010,6)--[[User:Zhang Xueyi|Zhang Xueyi]] ([[User talk:Zhang Xueyi|talk]]) 05:24, 19 December 2020 (UTC)&lt;br /&gt;
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===Ⅴ.conclusion===&lt;br /&gt;
It is precisely based on the above-mentioned understanding of the history of Chinese and Western translation from different aspects that &amp;quot;similarities have differences, and differences have similarities&amp;quot;, so I think that the history of Chinese and Western translation development should be described, analyzed and sorted in the same framework. It is possible.In this way, we can not only emphasize the common ground in the development of Chinese and Western translation, find the rules among them, but also show the uniqueness of the development of the two.&lt;br /&gt;
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Based on the above understanding of the history of Chinese and western translation from different aspects, I think it is possible to describe, analyze and sort out the history of Chinese and western translation in the same framework. By doing so, we can not only emphasize the common points in the development of Chinese and western translation, but also find out the rules of them. At the same time, we can show their own uniqueness in the process of development.--[[User:Zhang Xueyi|Zhang Xueyi]] ([[User talk:Zhang Xueyi|talk]]) 05:28, 19 December 2020 (UTC)&lt;br /&gt;
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This article adopts the method of compiling parallel narratives based on synchronic presentation, supplemented by diachronic combing, combining two seemingly unrelated development contexts in the history of Chinese and Western translation, and analyzing and describing them as a whole.And the development stages of Chinese and Western translation history are divided into stages according to the mainstream translation objects of the specific era, and then the internal laws of the evolution of Chinese and Western translation concepts are explored and revealed.&lt;br /&gt;
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This paper adopts the method of synchronic parallel narration and diachronic combing to combine the two seemingly unrelated development threads of Chinese and western translation history as a whole, analyzes and describes the development stages of Chinese and western translation history according to the mainstream translation objects in specific times, and explores and reveals them It shows the internal law of the evolution of Chinese and western translation concepts.--[[User:Zhang Xueyi|Zhang Xueyi]] ([[User talk:Zhang Xueyi|talk]]) 05:28, 19 December 2020 (UTC)&lt;br /&gt;
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Generally speaking, translation and culture are inseparable, whether religious, political, or literary, they all grow up in the soil of culture.(Chen 2016,1)In the process of understanding Chinese and Western translation history, people also feel the cultural collision.Not only in the long history of the past, but in the 21st century today, translation is a bridge and a link between countries, and an indispensable existence in people's social, political, and economic life. At the same time, translation is also an art. Through translating works, we not only understand the beauty of each country's culture, but also realize that translation is originally an art.&lt;br /&gt;
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Generally speaking, translation and culture are inseparable. Whether religious, political or literary, they all grow up in the soil of culture. In the process of understanding the history of Chinese and western translation, people also feel the cultural collision. Not only in the long history of the past, but also in today's 21st century, translation is a bridge and link between countries and an indispensable existence in people's social, political and economic life. At the same time, translation is also an art. Through translating works, we can not only understand the beauty of each country's culture, but also realize that translation is also an art.--[[User:Zhang Xueyi|Zhang Xueyi]] ([[User talk:Zhang Xueyi|talk]]) 05:28, 19 December 2020 (UTC)&lt;br /&gt;
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Translation is a rigorous and extensive academic science. Various forms of cultural exchanges between Chinese and Western languages, literature, philosophy, and religion require not only artistic performance, but also rigorous academic attitudes and systematic theories to support.Translators and scholars from different countries, languages and cultures have contributed their outstanding talents and wisdom in the field of translation. They have studied and published a wealth of academic theories and skills in translation studies from different perspectives, which have promoted the progress and development of society.&lt;br /&gt;
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Translation is a rigorous and extensive academic science. Chinese and western language, literature, philosophy, religion and other forms of cultural exchange, not only need artistic expression, but also need rigorous academic attitude and systematic theory to support. Translators and scholars from different countries, languages and cultures have contributed their outstanding talents and wisdom in the field of translation. They have studied and published a wealth of translation academic theories and skills from different perspectives, which has promoted the progress and development of society.--[[User:Zhang Xueyi|Zhang Xueyi]] ([[User talk:Zhang Xueyi|talk]]) 05:28, 19 December 2020 (UTC)&lt;br /&gt;
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===References===&lt;br /&gt;
Chen Fang 陈芳.(2016).西方翻译史的文化演进——评《西方翻译简史》[The Cultural Evolution of Western Translation History——A Review of &amp;quot;A short history of translation in the West&amp;quot;].当代教育学(06)Contemporary Education(2).&lt;br /&gt;
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Gong Yicai 龚亿财.(2020).论翻译在第三次翻译高潮中的特点及社会功能[On the features and social functions of translation in the third translation climax].吉林广播电视大学学报(Total No.217)Journal of Jilin Radio and TV University.&lt;br /&gt;
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Li Yin 李颖.(2016).从翻译史上的几个重要时期看中国翻译理论与实践的发展[Viewing the development of Chinese translation theory and practice from several important periods in the history of translation].湖北经济学院学报(Vol13 No.10)Journal of Hubei University of Economics.&lt;br /&gt;
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Liu Qiaoling 刘巧玲.(2016).从中国翻译史的四次高潮看主要译论及读者影响[Main translation theories and readers' influence from the four climaxes of Chinese translation history].黑龙江生态工程职业学院学报(Vol.29 No.5)Journal of Heilongjiang Vocational Institute of Ecological Engineering.&lt;br /&gt;
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Ma Zuyi. 马祖毅. (1998). 中国翻译简史-“五四”以前部分（修订本） [A Brief History of Chinese Translation: The Part Before the May 4th Movement] . China Translation Corporation中国对外翻译出版公司.&lt;br /&gt;
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Tan Zaixi 谭载喜.(1985).西方翻译史浅谈[On the history of Western translation].中国翻译(07)Chinese Translation(36-39).&lt;br /&gt;
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Tan Zaixi 谭载喜.(2004).西方翻译简史[A short history of translation in the West].商务印书馆The Commercial Press of Hongkong.&lt;br /&gt;
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Xu Jun许钧.(2018.06)改革开放以来中国翻译研究的发展之路[The development of Chinese translation studies since reform and opening up].Chinese Traslation Journal.&lt;br /&gt;
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Xie Tianzhen 谢天振.(2009)中西翻译简史[A brief history of Chinese and Western translation].外语教学与研究出版社Foreign Language Teaching and Research Press.&lt;br /&gt;
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Xie Tianzhen 谢天振.(2010)中西翻译史整体观探索[An exploration of the holistic view of Chinese and Western translation history].东方翻译(02)East Journal of Translation(4-8).&lt;br /&gt;
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='''Literal and Free Translation'''=&lt;br /&gt;
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==Rethink Literal and Free Translation	彭永亮	Peng Yongliang==&lt;br /&gt;
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&amp;lt;center&amp;gt; 彭永亮 Peng Yongliang 202020080634 &amp;lt;/center&amp;gt;&lt;br /&gt;
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===Abstract===&lt;br /&gt;
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Literal translation and free translation are a pair of very important concepts in translation studies, which run through the development of translation theory. Starting from Chinese and Western translation theories, this manuscript clarifies the similarities and differences between literal translation and free translation, and compares the differences in translation methods and strategies. Literal translation and free translation in translation strategies are connected with the concept of domestication and foreignization. Here, this manuscript introduces how the concept of domestication and foreignization enters Chinese translation theory from Western translation theories, and compares them. The nature and characteristics of these two pairs of concepts. This manuscript believes that literal translation and free translation are not only a question of translation methods or translation strategies, but at a strategic level, they have risen to a question of domestication and foreignization. In essence, there is no distinction between good and bad.&lt;br /&gt;
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=== Key Words===&lt;br /&gt;
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Literal translation;Free translation;Domestication;Foreignization&lt;br /&gt;
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===题目===&lt;br /&gt;
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直译与意译，归化与异化&lt;br /&gt;
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=== 摘 要 ===&lt;br /&gt;
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直译与意译是翻译学中非常重要的一对概念，贯穿翻译理论的发展过程。本稿从中西翻译理论出发，厘清直译与意译这对概念的异同，并比较了其在翻译方法和翻译策略中的区别。在翻译策略中的直译和意译又与归化和异化这一对概念产生了联系，在这里，本稿在介绍归化与异化这一对概念如何从西方翻译理论进入中国翻译理论的同时，比较了这两对概念的性质与特征。本稿认为，直译和意译不仅是翻译方法或翻译策略的问题，在战略层次上其上升为归化和异化的问题，它们本质上没有优劣之分。&lt;br /&gt;
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=== 关键词 ===&lt;br /&gt;
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直译；意译；归化；异化&lt;br /&gt;
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===0. Introduction===&lt;br /&gt;
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Literal translation and free translation are a pair of important terms in Chinese and Western translation theories. The discussion of literal translation and free translation is a common phenomenon in Chinese and Western translation theories, which runs through the entire process of translation theory. To a certain extent, literal translation and free translation seem to have become very natural categories, so there is no need to specifically define these two concepts in the discussion. Take the term &amp;quot;literal translation&amp;quot; used in Chinese translation theory as an example. From the &amp;quot;Six Examples of Scripture Translation&amp;quot; recorded in &amp;quot;Song Gaoseng Biography&amp;quot;, it can be seen that the concept of &amp;quot;literal translation&amp;quot; in traditional translation theories was first opposed to &amp;quot;retranslation&amp;quot; , Refers to the translation method of translating the scriptures directly from the Sanskrit version. The concept of &amp;quot;literal translation&amp;quot; that frequently appears in modern and contemporary translation theories is at least related to the following three different western translation theory terms, namely &amp;quot;word-for-word translation&amp;quot;, &amp;quot;literal translation&amp;quot; and &amp;quot;inter lineal translation&amp;quot;. In this way, there is a fundamental difference between &amp;quot;literal translation&amp;quot; as the concept of &amp;quot;implantation&amp;quot; and the concept of literal translation in traditional Chinese translation theories. Therefore, there are different understandings of the term &amp;quot;literal translation&amp;quot;.&lt;br /&gt;
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In fact, the understanding of the concept often limits the scope of the discussion itself, so the different understanding of literal translation and free translation may make the disputes about these two concepts often carried out on different levels. Therefore, when using the two terms literal translation and free translation to participate in discussions, it is particularly important to clarify the concept of literal translation and free translation and re-examine the scope of discussion.&lt;br /&gt;
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===1. Literal Translation and Free Translation===&lt;br /&gt;
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===1.1 Literal Translation and Free Translation in Translation Methods===&lt;br /&gt;
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From the perspective of etymology, &amp;quot;method&amp;quot; refers to the method of governance. It originally meant criminal law and regulations. Later it was used to refer to the sum of the ways, methods and procedures for people to understand and transform the objective world. It is a sign of wonderful deeds.&amp;quot; Similar to the &amp;quot;method&amp;quot; in Chinese, the &amp;quot;method&amp;quot; in English is derived from the Greek word &amp;quot;μ＇εθοδοζ&amp;quot;, which consists of two words &amp;quot;along&amp;quot; and &amp;quot;road&amp;quot;, meaning to proceed along the right path. Therefore, whether it is &amp;quot;method&amp;quot; in Chinese or &amp;quot;method&amp;quot; in English, it refers to the correct way to recognize and understand objective objects, focusing on &amp;quot;action&amp;quot;. Schleiermacher put forward in his far-reaching &amp;quot;On Two Methods of Translation&amp;quot;, &amp;quot;Bring the author to the reader&amp;quot; and &amp;quot;Bring the reader to the author&amp;quot; are just to place the original text, translator and target reader in the same At the level, discuss the real task that the translator must complete-shorten the distance between the original author and the target reader, and highlight the relationship between language, understanding and thinking. Therefore, Schleiermacher's two translation methods are actually the choice of two paths, and they are the decisions and actions taken by the translator in language conversion. If translation is defined as a conversion of language signs, the translation method can be regarded as a specific way for the translator to recognize the source text and carry out the conversion of language signs.&lt;br /&gt;
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British translation theorist Newmark summarized 13 different translation methods in Chapter 5 of the &amp;quot;Translation Tutorial&amp;quot;, among which word-for-word translation, literal translation, faithful translation, semantic translation, etc. are all defined as one translation method. Examining his definitions of the different translation methods mentioned above, we can summarize the common points of these translation methods as “reproduce” based on determining a fixed translation unit (such as morphemes, grammatical structure, contextual meaning, etc.) The meaning of the original text. In other words, although Newmark uses a prescriptive research method to associate translation methods with &amp;quot;equivalence&amp;quot;, and does not clearly define what translation methods are, the 13 translation methods he summarized illustrate the use of various Translation methods are all aimed at solving practical problems in the translation process. In this sense, &amp;quot;the translation method is related to the entire text&amp;quot; (Newmark, 2001:81). Translators will not be limited to a certain translation method in their translation process, but will adopt different translation methods according to actual problems. Both literal translation and free translation are one of them.&lt;br /&gt;
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Western translation theorist Steiner believes-&amp;quot;The ideal situation for translation is to not suffer any loss during conversion&amp;quot; (Steiner, 2001:319). It can be found that although the original text and the translated text cannot be completely equivalent , But the ideal state required by the translator is still consistent in all aspects of the original text and the target text. To achieve such an ideal state, the translator needs to use the most appropriate translation method to solve the actual problems in the translation process on the basis of correct understanding. In the specific process of the translator, it is difficult to clearly distinguish the &amp;quot;degree&amp;quot; between literal translation and free translation as a specific translation method, such as the &amp;quot;most natural and most appropriate&amp;quot; translation. Therefore, in the discourse of most theorists, the opposite of literal translation and free translation should be hard translation, dead translation, Hu translation, etc. If we look at the controversy of &amp;quot;literal translation and free translation, which is better?&amp;quot; from this perspective, it seems to be said that literal translation and free translation, as two translation methods, do not have the advantages and disadvantages. The two are not completely different and opposed to each other. Translation methods are specific methods used by the translator for different issues. Therefore, the discussion about literal translation and free translation not only includes the discussion of &amp;quot;how to translate&amp;quot;, but also involves the question of &amp;quot;what is the ideal state of translation&amp;quot;.&lt;br /&gt;
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In summary, in Chinese and Western translation theories, literal translation and free translation as translation methods are used to solve practical problems in translation, and these practical problems are closely related to the language structure of the source and target languages. Different issues have different levels of discussion. In this way, it is necessary to re-examine the actual translation issues behind the discussion to understand the dispute over literal translation and free translation. In any case, in Chinese translation theory, when literal translation and free translation are regarded as two translation methods, there is actually no so-called problem of which is better, and there is no substantial difference between the two, the difference is only the translator. The gap between its translation practice and its ideal translation target.&lt;br /&gt;
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===1.2 Literal Translation and Free Translation in Translation Strategies===&lt;br /&gt;
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From the perspective of etymology, strategy means &amp;quot;strategy and strategy&amp;quot; in Chinese. Like the word &amp;quot;strategy&amp;quot; in English, it is derived from military science and refers to specific methods, means, and methods used to achieve a certain goal. Sum. Translation strategy can be understood as the sum of specific methods, means and methods used by the translator to achieve a specific translation goal. Riitta Jaaskelainen, a researcher on the translation process of TAPs, defines translation strategy as &amp;quot;a process associated with ‘goal-oriented’ and ‘subjective optimality’, rather than a process of problem solving.&amp;quot; The American translation theorist Venuti distinguishes between translation methods and translation strategies in the definition of &amp;quot;translation strategy&amp;quot; under the term &amp;quot;translation strategy&amp;quot;(Bassnett, 2004). His so-called domesticating and foreignizing are translation strategies. Susan Bassnett also deliberately distinguishes between strategies and methods when discussing poetry translation-&amp;quot;When analyzing the many different translation methods used by the English translators of Catullus’ 64 Poems, Andrew Le Pfeiffer summarized seven different translation strategies.&amp;quot; (Bassnett, 2004:84) It should be said that in terms of the terms used by the above scholars, translation methods and translation strategies are not the same. Therefore, when literal translation is regarded as a translation method or strategy, the issues that the critics want to explain are not All the same.&lt;br /&gt;
It can be said that the translation method aims to solve the problems in translation practice and achieve the desired translation effect, and the translation strategy reflects how the translator strives to achieve its translation purpose under the constraints of various external factors. To some extent, when literal translation and free translation are used as two translation strategies, the understanding of literal translation and free translation cannot be separated from the investigation of the translation and the social and cultural context of the translator. The translation strategy adopted by the translator is not an abstract theoretical assumption that has nothing to do with the social context of the translator, but a decision made by the translator in the tension between language, history, and social culture. Hidden behind the decision are the various translation purposes of the initiators of translation activities. What needs special attention is that the translator’s translation goals are multiple, so the strategies adopted to achieve different translation goals are naturally different.&lt;br /&gt;
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===2. Domestication and Foreignization in Chinese===&lt;br /&gt;
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Domestication and foreignization can be regarded as the conceptual extension of literal translation and free translation, but they are not completely equivalent to literal translation and free translation. As the product of cultural shift, domestication and foreignization must contain profound cultural, literary and even political connotations. If literal translation and free translation are only discussions at the language level, domestication and foreignization are the continuation of the discussion at the language level to the cultural, poetic and political level. That is to say, the bullseye of the dispute between literal translation and free translation is the gain and loss of meaning and form, while the bullseye of the dispute between domestication and foreignization is the cultural identity in the vortex of the gain and loss of meaning and form, and literacy is the gain and loss of the power of pumping discourse. problem.&lt;br /&gt;
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===2.1 Assimilation and Alienation===&lt;br /&gt;
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Domestication and foreignization in Chinese correspond to two pairs of terms in English: the first pair is &amp;quot;assimilation, alienation&amp;quot;, and the second pair is &amp;quot;domestication, foreignization&amp;quot;.&lt;br /&gt;
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The connotation of Assimilation in translation studies should regard the original language and culture as &amp;quot;different traditional individuals or groups&amp;quot;, and try to make them &amp;quot;participate&amp;quot; in the target language and culture during translation. &amp;quot;Participate&amp;quot; here means to move closer to the other party, or even merge with it. The &amp;quot;language&amp;quot; mentioned here mainly refers to the way of expression of thoughts, sentence structure, and sometimes also includes style, text layout, etc. &amp;quot;Culture&amp;quot; refers to the national behavior and language expression (such as rhetoric, etc.), living environment, ideology and other things that reflect this national characteristic. In the process of translation, the original language and cultural characteristics disappear in the target language to satisfy the aesthetic and acceptance psychology of the target language readers. Alienation is the opposite. In the process of translation, it tries to maintain the characteristics of the original text, keep a distance from the target language and its culture, so that the target readers feel &amp;quot;unfamiliar&amp;quot; when reading and realize that they are reading a translation. The meaning of assimilation and alienation we are talking about here refers to how to treat the differences between the two languages and cultures on the basis of equal status, and how to make different strategic choices in translation.&lt;br /&gt;
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The meanings of the terms Domestication and Foreignization are related to the background in which they were produced. In the 1990s, translation has been placed in a large system of culture and society for research. Venuti was inspired by a so-called &amp;quot;fluency tendency&amp;quot; that has existed in the Western translation industry, especially the English and American translation circles for more than 40 years This pair of terms is proposed for the unequal relationship of literature in different cultures. It mainly refers to the translation from other foreign languages to English. Compared with assimilation and alienation, this pair of terms not only reflects the difference in meaning between language and culture. You can also see the deeper meaning of cultural inequality behind this different background. In this way, translation is placed in the context of culture, society, politics, and ideology, and the choice of translation strategies reflects the different positions of different cultures in the world today. Translation is used as a tool of struggle, and it is not equal. To fight against the phenomenon. It should be said that this is an improvement, and it is also the main difference between these two pairs of terms, or it is the reason why Venuti put forward this new pair of terms under the premise of assimilation and alienation.&lt;br /&gt;
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===2.2 Domestication and Foreignization===&lt;br /&gt;
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Domestication and foreignization in Chinese are the same as assimilation and alienation. They both discuss the differences between languages and cultures, and they are all based on the equality of different languages and cultures. Chinese &amp;quot;domestication&amp;quot; also focuses on the process from different to similar and identical, but the meaning of &amp;quot;domestication&amp;quot; in domestication is not included in &amp;quot;domestication&amp;quot;; and &amp;quot;foreignization&amp;quot; in Chinese also maintains the &amp;quot;different&amp;quot; component, which is reserved Difference, no cultural inequality, as a means of struggle and resistance to cultural colonization. &amp;quot;Naturalization&amp;quot; and &amp;quot;alienation&amp;quot; are closer to assimilation and alienation in meaning. When and who the term &amp;quot;domestication&amp;quot; and &amp;quot;foreignization&amp;quot; in Chinese were first used in translation studies in my country has not been ascertained. According to the materials we see now, &amp;quot;domestication&amp;quot; was used in translation research earlier than &amp;quot;foreignization&amp;quot;.&lt;br /&gt;
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Through the above-mentioned comparative analysis of the origin, extension and connotation of the categories of “domestication” and “foreignization”, we can now define them as follows: Domestication and foreignization are the differences between the two languages and cultures that the translator faces in translation Two different translation strategies are adopted due to differences in the target text type, author's intention and target language readers, etc., and their purpose is to guide the choice and application of specific translation methods and techniques. Domestication pursues the translation to comply with the target language and culture norms, and better meets the reading needs of the target language readers with less odor; the pursuit of foreignization retains the characteristics of the original language and culture, so as to enrich the target language and culture. It satisfies the reader’s demand for the &amp;quot;stranger&amp;quot; of the target text. The choice of these two strategies sometimes also refers to social, cultural, political and ideological regulations. Regardless of the strategy chosen, it should focus on the needs of readers and society.&lt;br /&gt;
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===3. Rethink===&lt;br /&gt;
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The choice of the translation strategy of domestication or foreignization will have a great impact on the translation, and even some meanings will be lost. But in literal translation, no matter which one is selected, the content of the original text will be faithfully expressed. For example, the works translated by Lin Xian, we can only say that it is a domesticated translation, and cannot be called a free translation, because he has rewritten and created a lot of the original text. This is one of the differences between the two pairs of terms. The second difference is that literal translation and free translation are translation methods, while domestication and foreignization are translation strategies. The two are not at the same level, and the latter guides the former. &amp;quot;Modern Chinese Dictionary&amp;quot;says that &amp;quot;methods&amp;quot; are &amp;quot;methods, procedures, etc. for solving problems such as thinking, speaking, actions, etc.&amp;quot;and &amp;quot;strategies&amp;quot; are &amp;quot;action policies and struggles formulated according to the development of the situation.&amp;quot; Method.” There is a certain connection between method and strategy. Method is the specific method under the guidance of strategy, and strategy is the policy and goal of guiding method. Under the guidance of domestication and foreignization, the translator chooses the appropriate translation method. In addition to literal translation and free translation, there are also multiple methods such as clip translation, transliteration, and compilation. Although domestication and foreignization are related to literal translation and free translation, there are also obvious differences. The mixed use of the two pairs of terms is not conducive to the standardization of the category, not conducive to theoretical research, nor is it used in translation practice.&lt;br /&gt;
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Liu Yingkai interpreted the concept of naturalization in this way: the so-called &amp;quot;naturalization&amp;quot;, according to the interpretation of &amp;quot;Cihai&amp;quot;, &amp;quot;is the old name of naturalization&amp;quot;. The &amp;quot;domestication&amp;quot; of translation refers to the fact that the starting language of the guest &amp;quot;ji&amp;quot; is incorporated into the &amp;quot;ji&amp;quot; of the home language in the translation process: English-Chinese translation spares no effort to Sinicize; Chinese-English translation will make every possible effort to Englishize...and so on There are always the theorists of &amp;quot;Ning Shun but not believing&amp;quot; in the translation circle, and the translation of &amp;quot;Nation&amp;quot; is familiar to the ears; after seeing it familiar, there is no sense of discomfort or resistance,...... (Liu Yingkai, 1987).&lt;br /&gt;
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According to the reality of the Chinese translation world, Liu Yingkai summarized the manifestations of naturalization into five types: 1. Abuse of four-character idioms; 2. Abuse of quaint words; 3. Abuse of &amp;quot;abstraction method&amp;quot;; 4. Abuse of &amp;quot;substitution method&amp;quot;; 5. To visualize or allusion without basis. Liu Yingkai has a negative attitude towards the translation method of domestication. He believes that domestication will &amp;quot;reform the objective facts of foreign countries, obliterate their national characteristics, force them to subdue, and assimilate them into the language of their destination, so it must be a distortion of the original text. &amp;quot;.&lt;br /&gt;
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Venuti's definition of domesticated translation is: abiding by the current mainstream values of the target language and culture, and openly adopting conservative assimilation methods to the original text to cater to the local canon, publishing trends and political needs.The Dictionary of Translation Studies published by St Jerome Press, UK, based on Venuti's deconstructionist insights, and defines domestication as: the use of a transparent and smooth style in translation to minimize the strangeness of the original text. Strategy. And the application of the domestication translation method has six steps: l carefully choose the original work suitable for domestication translation; 2. consciously adopt a smooth and natural target language style; 3. make the translation work Adapt to the type of target utterance; 4. Add explanatory materials; 5. Eliminate the geographical and historical colors in the original language; 6. Make the translation consistent with the prejudices and preferences of the monthly language.&lt;br /&gt;
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Venuti believes that fluent domestication translation not only conceals the translator’s work efforts and exposes the translator to the “invisible” unfair situation; it also conceals the differences between cultures and the sense of history of the original work, and integrates the contemporary values of mainstream culture. Impose on the original. Since the stylistic effect pursued by domestication translation is that the translation does not read like the translation, it is easy for readers to mistakenly believe that the translation that has been contaminated by the mainstream culture and language values of the target language is the original appearance of the original. A narcissistic experience that identifies with local culture&amp;quot;. (Venuti, 1995:15) Aiming at the tradition of Anglo-American domestication translation, Venuti pointed out that domestication translation is &amp;quot;a ethnocentric decomposition of the original text according to the cultural values of the target language, bringing the original author home&amp;quot;,Actual divination is a kind of imperialist cultural plunder. He also believes that the more domesticated the translation, the more invisible the translator; the more invisible the translator, the more concealed the fact that the original is maliciously naturalized, that is to say, the readers of the translation are more likely to be deceived. The post-colonial translation theory also makes a useful discussion on domestication and foreignization. In the discourse of post-colonial theory, domestication translation is related to the conquest and colonization of imperialism. Domestication is an indispensable content of conquest and colonization, and as a specific translation method, domestication is the violence, even rape, of the original text and the starting culture. (Robinson, 1997: 58)&lt;br /&gt;
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Canadian translator Robinson discussed the issue of domestication and foreignization from the perspective of post-colonial theory. His definition of domestication is: domestication translation is a term used by foreignization translation scholars to describe the worst translation. This kind of translation adopts the method of assimilating the original work into the target culture and language values, and domesticating the original work. Traditionally, people call this concept &amp;quot;paraphrase&amp;quot;; also known as &amp;quot;assimilative translation&amp;quot; (Robinson, 1997: 116). With regard to domestication translation, Robinson's views and Venuti have a consensus, but also have differences. Robinson expressed difficulty in accepting the tendency of Venuti and other alienationists to over-politicize the issue of domestication and alienation, and raised a discussion. At the same time, he also questioned the view that some post-colonial scholars believe that naturalized translation helps the process of colonization. In fact, the political factors in Robinson's post-colonial translation theory are more than that in Venuti, which is mainly related to his post-colonial vision.&lt;br /&gt;
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The concept of alienation has surpassed the linguistic level of literal translation and has risen to the level of culture, poetics and politics. Therefore, alienation cannot be simply equated with literal translation. Venuti's definition of alienation is summed up as deviating from the local mainstream values and retaining the language and cultural differences of the original text.Based on Venuti’s opinion, Dictionary of Translation Studies defines alienation as: To a certain extent, to preserve the foreignness of the original text and deliberately break the convention of the target language. Venuti suggests that foreignizing translation should be adopted in those &amp;quot;aggressive&amp;quot; monolingual cultures where domestication translation is prevalent (such as British and American cultures), which can carry out strategic cultural interventions in &amp;quot;current international affairs and challenge the hegemonic English-speaking countries and inequality.&amp;quot; The cultural exchanges,... the use of English for foreignization translation can also be a form of resisting our ethnocentrism and racism, cultural narcissism and cultural imperialism&amp;quot;. (Venuti, 1995:20) He believes that foreignization translation can impose &amp;quot;ethnodeviant pressure&amp;quot; on the cultural values of the target language, and has the effect of sending readers to a foreign land. He said: &amp;quot;Resistance translation can help preserve the language and cultural differences of the original text, and translate texts that have a sense of strangeness and alienation. These translations mark the limit of the mainstream values of the target language and culture, and prevent these values from affecting a certain culture. The other is the domestication of imperialism.”Specifically, the use of foreignized translation means that the translator can not only be free from the restriction of the target language and text habits, but also can use the non-fluency when appropriate. , Opaque speech style, deliberately retain the cultural color of the starting language, so as to give the target reader a different reading experience. However, because the preservation of the original text has to rely on local cultural materials, Venuti also admits that, just like domesticated translation, foreignized translation &amp;quot;is also one-sided when interpreting the original text, but it does not cover its one-sidedness, but instead Show off.&amp;quot; (Venuti, 1995:34)&lt;br /&gt;
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===4. Conclusion===&lt;br /&gt;
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The result of literal translation and free translation is not just the gain and loss of semantics and form. From a cultural perspective, it involves issues such as the equal exchange of cultural identity and a sense of history loaded in language forms; from a poetic perspective, it involves literary issues loaded in language forms; from politics From the angle of view, it involves the issues of colonization and decolonization, hegemony and anti-hegemony. Therefore, the dispute between literal translation and free translation has evolved into a dispute between domestication and foreignization at a new level. In the context of globalization, this level of controversy can be regarded as a confrontation between nationalism and cosmopolitanism, a confrontation between a weak culture and a powerful culture, or a confrontation between Orientalism and Western centralism.&lt;br /&gt;
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===References===&lt;br /&gt;
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［1］Bassnett，Susan．Translation Studies(3rd ed)［M］．Shanghai: Shanghai Foreign Language Education Press，2004．&lt;br /&gt;
［2］Newmark，Peter．The Textbook of Translation［M］．Shanghai:Shanghai Foreign Language Education Press，2001．&lt;br /&gt;
［3］Robinson，D.Translation and Empire:Posteolonial Theories Explained［M］.Manchester:St Jerome, 1997.&lt;br /&gt;
［4］Schleiermacher,A.On the Different Methods of Translating[A].Theories of Translation:An Anthologv of Essays from Drydento Derrida[C].Schulte,R.&amp;amp;Biguenet,J.Chicago and London:The University of Chicago Press,1992,36-54.&lt;br /&gt;
［5］Steiner，George．After Babel: Aspects of Language andTranslation［M］．Shanghai: Shanghai Foreign LanguageEducation Press，2001．&lt;br /&gt;
［6］Venuti，Lawrence．The Translator s Invisibility: [M]. London and NewYork: Routledge, 1995.&lt;br /&gt;
［7］Venuti，Lawrence．Translation Strategy［A］．in Baker，Mona，(ed．)Routledge Encyclopedia of TranslationStudies［C］．Shanghai:Shanghai Foreign Language Education Press，2004:240-244．&lt;br /&gt;
［8］方仪力．直译与意译：翻译方法、策略与元理论向度探讨［J］上海翻译，2012.&lt;br /&gt;
［9］李德超．TAPs 翻译过程研究二十年: 回顾与展望［J］．中国翻译，2005，(1):29-34&lt;br /&gt;
［10］刘英凯．归化--翻译的歧路［J］．现代外语,1987（2）&lt;br /&gt;
［11］刘艳丽、扬自俭．也谈“归化”与“异化”［J］．中国翻译，2002.&lt;br /&gt;
［12］王东风．归化与异化：矛与盾的交锋？［J］．中国翻译，2002.&lt;br /&gt;
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==On the Chinese Translation of ''A Pale View of Hills'' from House's Translation Quality Assessment Model	宋建茹	Song Jianru 202020080639 ==&lt;br /&gt;
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&amp;lt;center&amp;gt; 宋建茹 Song Jianru 202020080639 英美文学&amp;lt;/center&amp;gt;&lt;br /&gt;
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===Abstract===&lt;br /&gt;
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Translation quality assessment is an integral part of translation criticism. The first TQA model with comprehensive theories and practices Juliane House represented provides a significant reference for translation exercises. ''A Pale View of Hills'', as the first work of Kazuo Ishiguro, possesses a great research value on its narrative styles by virtue of memory and topics about migrants. As of 2011 when its Chinese translation was published, no scholar has evaluated it. This study applies House's TQA model to assess the Chinese translation of ''A Pale View of Hills'' with qualitative and quantitative analysis from lexical, syntactic and textual aspects, in a bid to examine validity of the model on novel translation, which turns out that it is an overt and high-quality translation.&lt;br /&gt;
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=== Key Words===&lt;br /&gt;
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''A Pale View of Hills''; House's TQA model; Novel translation&lt;br /&gt;
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===题目===&lt;br /&gt;
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从豪斯翻译质量评估模式谈《远山淡影》中文翻译&lt;br /&gt;
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=== 摘 要 ===&lt;br /&gt;
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翻译质量评估是翻译批评的核心课题。朱莉安·豪斯提出的第一个有完整的理论和实践的翻译质量评估模式，为翻译实践提供了重要参考。《远山淡影》是石黑一雄的处女作，其依托回忆的叙事风格和移民主题具有很高的研究价值。《远山淡影》中译本自2011年出版至今，尚未有学者对其进行评估研究。本文运用豪斯的翻译质量评估模式，采用定性与定量相结合的分析方式，从语场、语旨、语式等三个层面对原文和译文进行分析，开展《远山淡影》中译本的翻译质量评估研究，为豪斯翻译质量评估模式对小说翻译的运用进行进一步的探索和补充。通过分析，本文得出《远山淡影》中译本为显性翻译，翻译质量较高。&lt;br /&gt;
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=== 关键词 ===&lt;br /&gt;
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《远山淡影》；豪斯质量评估模式；小说翻译&lt;br /&gt;
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===Introduction===&lt;br /&gt;
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Translation criticism refers to the analysis and review of thoughts, activities and works of translation by virtue of relevant theories and views, in a bid to improve the overall quality of translators and translations. It is an integral part of translation studies. Translation quality assessment, as the integral and key part of translation criticism, plays a significant role in surveillance and promotion of translation quality. Among the extant translation quality assessment models, Juliane House's ''A Model for Translation Quality Assessment and Translation Quality Assessment: A Model Revised'', based on Halliday's systemic functional linguistics and discourse analysis, are systematic, scientific and rational with a relatively complete system of parameters, quantitative methods and steps adhering to specific procedures.(Wang Enmian 1999,7)&lt;br /&gt;
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''A Pale View of Hills'', as Kazuo Ishiguro's first full-length novel, tells the life of the people in Nagasaki after WWII through the memory of protagonist Etsuko and explores recovery of trauma, collision between the old and new ideas, and kinship after war. The first person narrative, memory, humor and satire and international perspectives in the book became his major writing styles in the future. The novel won the Winifred Holtby Memorial Prize from the Royal Society. Its only Chinese translation at present, from Zhang Xiaoyi, is still not analyzed by the scholars(Wang Fei 2017, 152).&lt;br /&gt;
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This paper uses House's translation quality assessment model, with combination of qualitative and quantitative analysis, from field, tenor and mode to analyze the mismatches between original and translation in an attempt to assess the Chinese translation quality of ''A Pale View of Hills'' and further explore the application of House's model in novel translation. The aim of the study is to promote scholars to regulate the behaviors of translation, to improve the quality of translation and translation evaluation, and to provide a reasonable way for establishing the interlingual conversion mechanism.&lt;br /&gt;
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The thesis consists of five chapters.&lt;br /&gt;
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After the Introduction, Chapter One gives a brief account of ''A Pale View of Hills'' and its research status, involving the author, background, content and influence. Chapter Two gives a brief introduction of House’s TQA model, including its theoretic basis, parameter setting, operation steps and feasibility. Chapter Three is a detailed analysis of original and translation of ''A Pale View of Hills'' based on House’s model. Chapter Four is the statement of translation quality assessment. Chapter Five draws a concise conclusion about this paper.&lt;br /&gt;
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===I Overview and Research Status of ''A Pale View of Hills''===&lt;br /&gt;
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''A Pale View of Hills'' is Kazuo Ishiguro's first novel, which laid a solid foundation for the formation of Ishiguro's writing style. The chapter mainly introduces the author, plot, theme and influence of the novel and analyzes its research status, in an attempt to master the material well and seek new perspectives for the paper.&lt;br /&gt;
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'''1.1 Overview of ''A Pale View of Hills'''''&lt;br /&gt;
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Kazuo Ishguro is a noble contemporary Japanese English writer, whose novels feature first person narrative, detailed depiction of loneliness, depression, self-deception and anxiety of characters' inner world and dual narrative strategy to deconstruct the narrator's self-identity, as well as discuss postwar trauma and migrant identity. He won Booker Prize, the British top literary prize, in 1989 and the Nobel Prize in literature in 2017. By virtue of his outstanding literary achievements, he is known as one of the Three Masters of English Migrant Literature together with Salman Rushdi and Naipaul(Liu Xiaoya 2015,5).&lt;br /&gt;
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''A Pale View of Hills'', published in 1982, is Ishiguro's debut. The story, with postwar Nagasaki as its background, enjoys two clues: one is what happened when Niki (Etsuko's little daughter) visited her mother after her sister Keiko died; the other is Etsuko's memory about people and events in Nagasaki after the war. The two lines integrated together during the narrative, forming the illusory and imaginary impression(Liu Xiaoya 2015,5). &lt;br /&gt;
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Many in-depth topics in this work are worth pondering: postwar trauma recovery, the collision between new and old ideas after war and discussion of family relations. Many marks in the work became his own styles: first-person narrative, memory, humor and satire, international perspectives. In addition, it won the Winifred Holtby Memorial Prize from the Royal Society and is still in print thirty years after its publication. This book, with its enormous emotion, unearths the abyss beneath the illusion of our connection to the world, whose artistic value and charm could be time-tested(Liu Xiaoya 2015,8).&lt;br /&gt;
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'''1.2 Research Status of ''A Pale View of Hills'''''&lt;br /&gt;
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There are 54 papers about A Pale View of Hills in domestic researches. According to the statistics from How Net, the number of studies on the work has been mounting, especially after Kazuo Ishiguro won the Nobel Prize for Literature in 2017. The perspectives of these researches are mainly from identity anxiety, unreliable narrative and post-war trauma. &lt;br /&gt;
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In &amp;quot;Identity Anxiety in Kazuo Ishiguro's A Pale View of Hills&amp;quot;, Wang Fei discusses the identity anxiety of migrants, exploring manifestations, causes and influence of such anxiety on the characters( Wang Fei 2017,152). In &amp;quot;Memory and Narrative Unreliability of ''A Pale View of Hills''&amp;quot;, He Xiaobing combined with the classical narratology to analyze how unreliable narration method is presented in the work and discussed the inner world of the characters(He Xiaobing 2018,3). In &amp;quot;Trauma in Kazuo Ishiguro's A Pale View of Hills&amp;quot;, Liu Xiaoya explores the protagonist's trauma by using Sigmund Freud’s psychoanalysis theory and trauma theory (including post-freudian psychological trauma theory), contemporary trauma culture theory along with rhetorical narrative theory(Liu Xiaoya 2015,3).&lt;br /&gt;
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At abroad there are more perspectives about the studies of A Pale View of Hills. In addition to the main research directions of domestic scholars, such as identity anxiety of characters, unreliable narrative research and post-war trauma, cultural displacement, family relationship and the influence of region on personality presented in the works are also analyzed. &lt;br /&gt;
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''The Impact of Place on Personality in Kazuo Ishiguro's A Pale View of Hills: An Eco-critical Study'' written by Awla, Y.N, from the perspective of ecocriticism, clarifies the fact that a place is able to define and guide the emotions and thoughts of characters, and analyzes the reasons why geography forms characters of people in order to draw people’s attention to the impact of surrounding environment on them. Ruth Forsythe's article ''Cultural Displacement and the Mother-daughter Relationship in Kazuo Ishiguro's A Pale View of Hills'' focuses more on the relationship between mother and daughter under cultural displacement. However, no scholars have analyzed the language itself from the perspective of systemic functional linguistics.( Awla,Y.N 2019,1)&lt;br /&gt;
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The Chinese translation of A Pale View of Hills, Zhang Xiaoyi's version, was published by Shanghai Translation Publishing House in 2011, and the bilingual version in 2019. Up to now, there has no translation criticism or discussion about this translation. Since 2011 when it was translated, it came to draw the attention of scholars and readers. Translation is a direct factor that affects the integrity of author's thought, the reader's perception and the accuracy of the scholar’s study, thus it is indispensable to use the House’s Translation Quality Assessment model to analyze the Chinese translation of ''A Pale View of Hills''.&lt;br /&gt;
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===II Introduction of House's Translation Quality Assessment Model===&lt;br /&gt;
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Juliane House's model was described as the first translation quality assessment model with complete theories and practices by international translation criticism, which could provide an important reference for translation learners and scholars. By introducing the theoretical basis, parameter system and operation steps of House's model, this chapter will discuss the feasibility of House’s model in the evaluation of the Chinese translation of ''A Pale View of Hills'', in an effort to foster the application of House's model in the quality evaluation of full-length novels.(Zhou Fenfen 2018,784)&lt;br /&gt;
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'''2.1 Theoretical Basis of House's Model'''&lt;br /&gt;
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The assessment of translation quality draws upon different translation standards, which are then embodied by the recognition about essence of translation. House deemed that crunch of the translation quality assessment lies in recognition of the nature of translation, namely that &amp;quot;translation is the replacement of a text in the source language by a semantically and pragmatically equivalent text in the target language.&amp;quot;(House 1977, 30)&lt;br /&gt;
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In House's initial model in 1977, she drew upon language behavior theory, language and text function and context to divide the source language text into two situational dimensions: dimension of language user and dimension of language use. The former includes three aspects: geographical origin, social class and time. The latter includes five aspects: medium, participation, social role relationship, social attitude and province(House 1977, 30). &lt;br /&gt;
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Based on myriad practice, House realized that the initial eight dimensions overlap in some parts. Therefore, in 1997, she revised the original model from the perspective of the context, unifying the previous eight parameters to field, tenor and mode. Field compares subject matter and social action of the original with that of translation. Tenor emphasizes the matching degree on the relationship of participants, time, region, position of author, social role relationship and social attitudes. Mode pays more attention to medium and participation. In addition, House incorporated &amp;quot;genre&amp;quot; into revision model in order to explain the deep structure of the text.(House 1977, 30)&lt;br /&gt;
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'''2.2 Operation Steps of House's Model'''&lt;br /&gt;
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When evaluating the translation quality of the text, House's model focuses on comparison between original text and translation from field, tenor, mode and genre, clarifies and summarizes mismatches found in the text, so as to obtain a quality report of the translation. The detailed steps presented as follows: (House 1997, 108)&lt;br /&gt;
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1) Analyze the register and genre of the original text to get its textual functional profile. The original text is analyzed from four dimensions: field, tenor, mode and genre. According to the analysis, “functional statement”, involving ideational and interpersonal functions, needs to be deduced.(House 1997, 108)&lt;br /&gt;
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2)Compare the target text and the source text to find differences or mismatches. Through the comparative analysis between original and translation along the dimensions on the model, mismatches or differences found in the comparison are sorted out by virtue of overt errors or covert errors and expounded in detail one by one.(House 1997, 108)&lt;br /&gt;
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3)Summarize the differences and mismatches demonstrated from the above steps in lexical, syntactic and textual aspects. Based on above statistics and statement, make the quality statement. The fewer the mismatches are, the better the translation quality is. If readers clearly realize the text a translation work, it is overt translation; while if not, it is covert translation.(House 1997, 108)&lt;br /&gt;
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'''2.3 Feasibility of the Model in Chinese Translation of ''A Pale View of Hills'''''&lt;br /&gt;
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At present, there are 78 relevant studies on House’s Translation Assessment model, which are mainly divided into three directions: interpretation of House Translation Assessment model and its revision, evaluating translation of literary works along the model and evaluating translation of applied text along the model. Among them, evaluation of the translation of literary works accounts for 29, which enjoys the following two characteristics:&lt;br /&gt;
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1)There are merely a few researches applying House model to Chinese translation of literary works. Among the 29 journals and papers evaluating translation of literary works, there are 25 studies that attach great importance to the English translation and 4 to Chinese translation, which signifies that we need more researches of Chinese translation to support the validity of the model on different languages. Therefore, the paper, with the Chinese translation of A Pale View of Hills as its corpus, intends to examine the feasibility of the application of House's model to Chinese translation.&lt;br /&gt;
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2)There are merely a few researches applying House model to the translation of full-length novels. Among the 29 journals and papers on evaluating translation of literary works, most of which focus on the evaluation of poems and prose, merely 5 studies are analysis of translation of full-length novels. English translation accounts for 3 and Chinese translation for 2, which demonstrates that we need more researches with full-length novels as corpus to support the validity of the model in different genres. Therefore, the paper, with the full-length novel A Pale View of Hills as its corpus, intends to examine the feasibility of the application of House’s model to full-length novels.&lt;br /&gt;
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In conclusion, given that the researches based on Chinese translation of full-length novels are insufficient, the paper will use the Chinese translation of A Pale View of Hills as its corpus to validate the feasibility of House's TQA model.&lt;br /&gt;
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===III Comparison of Original and Translation of ''A Pale View of Hills'' Along House's Translation Quality Assessment Model===&lt;br /&gt;
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''A Pale View of Hills'' is the debut of Kazuo Ishiguro, whose Chinese translation was published by Shanghai Translation Publishing House in 2011. House's Translation Quality Assessment model is the first objective model combining quantative analysis with qualitive analysis. The paper applies House's Translation Quality Assessment model to Chinese translation of ''A Pale View of Hill'', comparing the source text and target text in lexical, syntactic and textual aspects along the three dimensions of register and summarizing the mismatches on field, tenor and mode, in an effort to quantitatively assess the translation quality of ''A Pale View of Hills''.&lt;br /&gt;
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'''3.1 Comparison on Field'''&lt;br /&gt;
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Field refers to the content or the topic of the text. It is concerned with subject matter and social action which covers the specificity of lexical items. After comparison between the source text and target text on field, there are 18 mismatches, 12 of which are overt errors and 6 covert errors. Among them, there are 9 lexical errors, 1 textual error and 8 syntactic errors. The lexical and textual errors are mainly covert errors, so in general their translation is of high quality. Although most of syntactic errors are not in line with the grammar of target language system, they won’t influence the understanding of the text. Therefore, by and large, translation on field are high-quality.(Feng Yufang &amp;amp; Wang Feifei 2015,114)&lt;br /&gt;
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'''3.1.1 Lexical Field'''&lt;br /&gt;
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Lexical field means the immediate or possible scenes or events evoked in people's mind when they read or hear the words or lexical items. After the analysis of the original and target text, there are 9 mismatches, 4 of which are overt errors and 5 are covert ones. Most of them won't block readers to master the overall meanings. Therefore, the translation quality on lexical items are relatively high.(Feng Yufang &amp;amp; Wang Feifei 2015,115) &lt;br /&gt;
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Example 1：&lt;br /&gt;
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...and the soaked surfaces of brick and concrete were drying all around us.&lt;br /&gt;
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湿透了的砖头和水泥开始变干。(P8)&lt;br /&gt;
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Concrete refers to building material that is made by mixing together cement, sand, small stones and water according to Oxford Dictionary, which includes cement rather than equates it. So, it is not very accurate to translate in this way even if the two words are similar. It is obviously an overt error. &lt;br /&gt;
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Example 2：&lt;br /&gt;
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As far as I remember, that was the first occasion I spoke to Mariko.&lt;br /&gt;
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我印象那是我第一次跟万里子说话。(P11)&lt;br /&gt;
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In the translation, “印象” as a noun refers to a mental picture that you have of what somebody/something is like or looks like. In the light of the rules or grammar of Chinese, it is hardly used as a verb. Thus, it is an overt error. &lt;br /&gt;
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Example 3：&lt;br /&gt;
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It's such a shame.&lt;br /&gt;
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真不像话。(P16)&lt;br /&gt;
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A shame is used to say that somthing is a cause for feeling sad or disappointed. In the original, the sentence is to express Etsuko’s pity to the homeless dogs and cats around her community rather than her distaste or complaint. Here it is translated into its other meaning when ignoring the context, belonging to a covert error. &lt;br /&gt;
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Example 4：&lt;br /&gt;
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Why don't you go into the kitchen for a little while?&lt;br /&gt;
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你为什么不到厨房去一会儿呢？(P26)&lt;br /&gt;
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In the translation, “去” is not very appropriate on the basis of grammar of Chinese, since it is such an action verb that does not match with state phrases. In the course of translation, some prepositions in English need to be transferred into verb in Chinese, which are supposed to pay attention to the rules of target language. Here it is obviously an overt error.&lt;br /&gt;
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Example 5：&lt;br /&gt;
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It's not appreciated simply because the product disappears so quickly.&lt;br /&gt;
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不能因为它的产品很快就消失了而不懂得欣赏。(P34)&lt;br /&gt;
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According to the context, Ogata-San believes that cooking is “as noble as painting or poetry”. So here the product refers to food cooked. Given the concrete expression in Chinese, the product is supposed to be translated more concretely in accordance with the context. It is a covert error.&lt;br /&gt;
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Example 6：&lt;br /&gt;
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Perhaps it is just my fancy that I felt a cold touch of unease there on that bank, a feeling not unlike premonition. &lt;br /&gt;
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这也许只是我的想象，但是那时我在河边觉得凉飕飕的，很不自在，像是感觉有事要发生。(P44)&lt;br /&gt;
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“Unease” refers to the feeling of being worried or unhappy about something. Given the above-mentioned, Etsuko worried about the safety of Mariko when she was not at home. It differs from its translation that means the feeling of being ill at ease. It is an overt error. &lt;br /&gt;
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Example 7：&lt;br /&gt;
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You mustn't suppose, Etsuko, simply because you've seen her in these…in these present surroundings, that she's some peasant's child.&lt;br /&gt;
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悦子，你不能因为……因为眼前的事物就认为她是什么贫农的孩子。(P51)&lt;br /&gt;
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Sachiko is not rich according to the context, so “peasant” intimates the meaning of poverty. Its translation explicitly represents it, which is accessible and intelligible. However, “贫农” enjoys extra cultural meaning in China, which could date back to the Cultural Revolution when lands was apportioned based on people’s wealth, so it might mislead readers to its political implication. It is a covert error.&lt;br /&gt;
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Example 8：&lt;br /&gt;
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“I must have been such a burden to you in those days,” I said, quietly.&lt;br /&gt;
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“我那时肯定成了您的负担，”我静静地说。(P68)&lt;br /&gt;
&lt;br /&gt;
Here “quiet” refers to making very little noise, which coincides with the act of saying. According to the context, Etsuko lowered her noise out of guilt when she realized she bothered her family when she practiced violin before. However, its translation means the statement without any noise, which obviously contravenes the context, belonging to covert translation.&lt;br /&gt;
&lt;br /&gt;
Example 9：&lt;br /&gt;
&lt;br /&gt;
I could see something moving beside her in the shade.&lt;br /&gt;
&lt;br /&gt;
我看见她身旁的影子里有什么东西在动。(P14)&lt;br /&gt;
&lt;br /&gt;
“Shade” means an area that is dark and cool under or behind something, for example a tree or building, because the sun’s light does not get to it, rather than the shadow which the translator believed. As previously mentioned in the text, “Mariko was lying in the corner furthest from the sunlight”, which also signifies that it is impossible to exist dark shape under the light around Mariko. Thus, the translation of “shade” is not on a par with the context, belonging to a covert error.&lt;br /&gt;
&lt;br /&gt;
'''3.1.2 Syntactic Field'''&lt;br /&gt;
&lt;br /&gt;
Syntactic field means the immediate image appeared in people's mind when they read the sentences. The mismatches in syntactic field are usually for the violation of rules of target language or misinterpreting the source text. On syntactic field, there are 8 mismatches, seven of which are overt errors and one is covert. Among the overt errors, seven sentences are not in line with the rules of target language, which won't influence the ideational meaning. Therefore, the translation quality on syntactic field is high.(Feng Yufang &amp;amp; Wang Feifei 2015,116)&lt;br /&gt;
&lt;br /&gt;
Example 1：&lt;br /&gt;
&lt;br /&gt;
It did upset me, hearing about her.&lt;br /&gt;
&lt;br /&gt;
我真的很难过，听到她的死讯。(P4)&lt;br /&gt;
&lt;br /&gt;
Example 2：&lt;br /&gt;
&lt;br /&gt;
But I was sad though, when I heard.&lt;br /&gt;
&lt;br /&gt;
可是我真的很难过，听到她的消息。(P4)&lt;br /&gt;
&lt;br /&gt;
Example 3：&lt;br /&gt;
&lt;br /&gt;
It's certainly an amusing sort of experience, working in a noodle shop.&lt;br /&gt;
&lt;br /&gt;
这真是很有趣的经历，在面包店里工作。(P26)&lt;br /&gt;
&lt;br /&gt;
In English, the important or unknown information appeared firstly, and the second one follows. However, in Chinese, the second important presents at first, paving the foundation for the more pivotal or unknown one. In above three examples, their translation doesn't adjust the sequence in line with target language rules. These are overt errors.&lt;br /&gt;
&lt;br /&gt;
Example 4：&lt;br /&gt;
&lt;br /&gt;
…certain arrangements I made have not gone as planned.&lt;br /&gt;
&lt;br /&gt;
一些事情没有照我计划的那样。(P17)&lt;br /&gt;
&lt;br /&gt;
The translation is not complete as the predicate verb “have gone” is not translated, which does not conform with the grammar of Chinese. It is an overt error.&lt;br /&gt;
&lt;br /&gt;
Example 5：&lt;br /&gt;
&lt;br /&gt;
She appeared to know them, for as she walked across the forecourt, she gave them a familiar greeting.&lt;br /&gt;
&lt;br /&gt;
看来她认识她们，边走过水泥地，边熟识地跟她们打招呼。(P26)&lt;br /&gt;
&lt;br /&gt;
The original is a compound-complex sentence with &amp;quot;for&amp;quot; for causal relation and &amp;quot;as&amp;quot; for coordinate relation. In the translation, the former is represented but the later isn't, neither by conjunction words nor by clause sequence. It causes that the translation lacks of logic, belonging to an overt error.&lt;br /&gt;
&lt;br /&gt;
Example 6：&lt;br /&gt;
&lt;br /&gt;
It's an opportunity for a teacher to see the fruits of his work, and for the pupils to express their gratitude to him.&lt;br /&gt;
&lt;br /&gt;
这是一个机会让老师看看他的劳动成果，让学生们向他表示感谢。(P30)&lt;br /&gt;
&lt;br /&gt;
The translation adheres to the sequence of the original but ignores the fluency of the sentence. In English, attributives are at both ahead of and behind the objects; while in Chinese, they mostly are preceded. Therefore, the translation violates the grammar of the target language, belonging to an overt error.&lt;br /&gt;
&lt;br /&gt;
Example 7：&lt;br /&gt;
&lt;br /&gt;
There's nothing like a timely reminder of one's personal obligations.&lt;br /&gt;
&lt;br /&gt;
及时地提醒个人的责任之类的东西也没有。(P71)&lt;br /&gt;
&lt;br /&gt;
&amp;quot;There's nothing like&amp;quot; is a common sentence pattern in spoken English, meaning nothing else is able to match. The original would have expressed that &amp;quot;a timely reminder of one's personal obligations&amp;quot; is the most important. The translator misunderstood the meaning utterly, making an overt error.  &lt;br /&gt;
&lt;br /&gt;
Example 8：&lt;br /&gt;
&lt;br /&gt;
It amazes me, how things have changed so much so quickly.&lt;br /&gt;
&lt;br /&gt;
太让我吃惊了，世道变得如此之大，如此之快。(P195)&lt;br /&gt;
&lt;br /&gt;
The translation, by and large, is in accordance with the original. Yet there is possibility for readers to be confused about the accuracy of words collocation. Although &amp;quot;so much&amp;quot; and &amp;quot;so quickly&amp;quot; modify the verb &amp;quot;change&amp;quot;, we have to respectively choose the proper words to collocate. It is a covert error. &lt;br /&gt;
&lt;br /&gt;
'''3.1.3 Textual Field'''&lt;br /&gt;
&lt;br /&gt;
On textual field, there is only one error---overt error. It is caused by misconstruing what the pronoun refers to. By and large, the translation, through the comprehensive analysis on textual field, is high-quality. (Feng Yufang &amp;amp; Wang Feifei 2015,117)&lt;br /&gt;
&lt;br /&gt;
Example 1：&lt;br /&gt;
&lt;br /&gt;
That's just not how it was though.&lt;br /&gt;
&lt;br /&gt;
但是我和她根本不是这样。(P4)&lt;br /&gt;
&lt;br /&gt;
According to “Sisters are supposed to be people you're close to, aren't they. You may not like them much, but you're still close to them”, it refers to the whole view instead of certain relationship between me and my sister. The referential meaning does not accord with that of the original. It is an overt error.&lt;br /&gt;
&lt;br /&gt;
'''3.2 Comparison on Tenor'''&lt;br /&gt;
&lt;br /&gt;
Tenor refers to the nature of the participants, the addresser and the addressee, and the relationship between them in terms of social power and social distance. After comparing the original and the translation of A Pale View of Hills, there are 8 mismatches on social attitude and social role relationship, one of which is an overt error and the rest are covert. In general, the translation is highly in accordance with the original so the quality is high on tenor. (Feng Yufang &amp;amp; Wang Feifei 2015,118)&lt;br /&gt;
&lt;br /&gt;
'''3.2.1 Social Attitude'''&lt;br /&gt;
&lt;br /&gt;
Social attitude refers to the social distance between communicators and the degree of formality of discourse. The misunderstanding of social attitude in the translation process will affect the readers' understanding of the characters in the novel. Therefore, mistakes in representing social attitude of characters should be minimized and even avoided in the translation process. There are 4 mismatches on social attitude in the translation: one is an overt error and the rest are covert errors. By and large, the translation on displaying the social attitude of the original is great.(House 1997, 108)&lt;br /&gt;
&lt;br /&gt;
Example 1：&lt;br /&gt;
&lt;br /&gt;
The English are fond of their idea that our race has an instinct for suicide.&lt;br /&gt;
&lt;br /&gt;
英国人有个奇特的想法，觉得我们这个民族天生爱自杀。(P4)&lt;br /&gt;
&lt;br /&gt;
In the original text, the attitude of the character is relatively objective. However, in the translation, the attitude is represented overly by using an adjective, which might be translator's understanding on author's attitude. It limits different interpretation to the author's attitude from readers. It is an overt error. &lt;br /&gt;
&lt;br /&gt;
Example 2:&lt;br /&gt;
&lt;br /&gt;
“Which are you hoping for, Etsuko?” he asked, eventually. “A boy or a girl?”&lt;br /&gt;
&lt;br /&gt;
“你想是男孩还是女孩呢，悦子？”过了一会儿他问道。(P35)&lt;br /&gt;
&lt;br /&gt;
Ogata-San would like to know Etsuko's mind about the upcoming baby, but he is not sure if it is proper. At last, curiosity overpowers his hesitation. In the original text &amp;quot;eventually&amp;quot; signifies both time and emotion span. But the translation only manifests the time span. It is a covert error.&lt;br /&gt;
&lt;br /&gt;
Example 3:&lt;br /&gt;
&lt;br /&gt;
“Tell me, Etsuko,” he said, not looking up from his laces. “Have you met this Shigeo Matsuda?”&lt;br /&gt;
&lt;br /&gt;
“告诉我，悦子，”他头也不抬地说。“你见过这个松田重夫吗？”(P36-P37)&lt;br /&gt;
&lt;br /&gt;
Ogata-San, as Etsuko’s father-in-law and adopter after the war, gets along well with her. In the original text, Ogata-San is “not looking up” when speaking to Etsuko since he is lying his laces. The translation ignores the reason, which renders Ogata-San a cold man. It is a covert error.&lt;br /&gt;
&lt;br /&gt;
Example 4:&lt;br /&gt;
&lt;br /&gt;
I'm sure she'd be the first to agree with me about Kazuo mourning her like this.&lt;br /&gt;
&lt;br /&gt;
我肯定她会第一个同意我的观点，和夫不应该再这样想着他了。(P94)&lt;br /&gt;
&lt;br /&gt;
From the original, we can feel the love of Mrs. Fujiwara to her son. However, after reading its translation, we can feel nothing but her dominance. It signifies that the translation deviates from the original context. It is a covert error.&lt;br /&gt;
&lt;br /&gt;
'''3.2.2 Social Role Relationship'''&lt;br /&gt;
&lt;br /&gt;
Social role relationship refers to the social relation between the speaker and the receiver, that is, symmetry and asymmetry. The analysis on the social roles relationship in novels is generally from two aspects: relationship between the author and readers, and relationship between the various characters in the work. The former is remained utterly, while the latter is slightly different from that in the original. A total of 4 mismatches are found in the comparison, all of which are covert errors. In the full-text translation, the overall relationship between the characters is the same as that of the original text, and only a few mismatches are found. Therefore, on social role relationship, translation is of high quality.(Feng Yufang &amp;amp; Wang Feifei 2015,117)&lt;br /&gt;
&lt;br /&gt;
Example 1：&lt;br /&gt;
&lt;br /&gt;
She said it would be perfectly all right if you came and waited for her at my house.&lt;br /&gt;
&lt;br /&gt;
她说你可以到我家来等她。(P13)&lt;br /&gt;
&lt;br /&gt;
The translation omits &amp;quot;be perfectly all right if&amp;quot;, which takes the edge off the amiability from Etsuko to Mariko. Given the whole plot of the novel, Mariko is a phantom of Etsuko's old daughter Keiko. The obscure feelings between Mariko and Etsuko are very important to implicate their special emotion. Therefore, the translation ignores to take a consideration of the context. It is a covert error.&lt;br /&gt;
&lt;br /&gt;
Example 2：&lt;br /&gt;
&lt;br /&gt;
As I say, this order came into the office the day you arrived. A real nuisance.&lt;br /&gt;
&lt;br /&gt;
我说过了，订单刚好在您来的那天来了。真是讨厌。(P29)&lt;br /&gt;
&lt;br /&gt;
On the basis of the context, Jiro (Etsuko's husband) is explaining to his father Ogata-San that he is so busy that he could not accompany him. He feels apologetic about that. However, the tone of speaking in translation is impatient and a bit furious, which runs against that of the original. So, it is a covert error. &lt;br /&gt;
&lt;br /&gt;
Example 3：&lt;br /&gt;
&lt;br /&gt;
I should warn you, perhaps. My daughter has been in a somewhat difficult mood these past few days.&lt;br /&gt;
&lt;br /&gt;
也许我应该警告你。我女儿这几天情绪很不好。(P90)&lt;br /&gt;
&lt;br /&gt;
Warn enjoys two major meanings: to tell somebody about something, especially something dangerous or unpleasant that is likely to happen, so that they can avoid it; to strongly advise somebody to do or not to do something in order to avoid danger or punishment. In the original, Sachiko entrusts Etsuko to look after her daughter so the former one is appropriate. However, in the translation the later one is adopted, which is absolutely improper. It is a covert error. &lt;br /&gt;
&lt;br /&gt;
Example 4：&lt;br /&gt;
&lt;br /&gt;
Now listen carefully, or else you'll never find the noodle shop.&lt;br /&gt;
&lt;br /&gt;
现在您听好了，不然您永远也别想找到面馆。(P183)&lt;br /&gt;
&lt;br /&gt;
The sentence is said when Etsuko intends to tell Ogata-San the route to the restaurant of Mrs Fujiwara. On the basis of the context, Etsuko is very reverent to Ogata-San. However, the manner of translation is tough, which is not of a piece with the original. It doesn't take account of the context, so it is a covert error.&lt;br /&gt;
&lt;br /&gt;
'''3.3 Comparison on Mode'''&lt;br /&gt;
&lt;br /&gt;
Mode can be divided into medium and participation. In the course of analyzing both the original and the translation, a total of 6 mismatches are found on the two dimensions and all of them are covert errors, which manifests the translation are generally of a piece with the original. The translation on mode is of high quality.(Zhou Fenfen 2018,784)&lt;br /&gt;
&lt;br /&gt;
'''3.3.1 Language Medium'''&lt;br /&gt;
&lt;br /&gt;
Language medium mainly refers to whether the form of language is spoken or written, simple or complex. The contrast between the model of the source text and the target text is mainly reflected in the linguistic features and diction features of text rather than language types used. The language of A Pale View of Hills is simple, delicate and easy to understand, with short sentence, plenty of dialogues between characters and a high degree of colloquialism. The overall style of the translation is similar with that of the original, with only 4 stylistic covert mismatches. Therefore, on language medium, the translation quality is great.(House 1997, 108)&lt;br /&gt;
&lt;br /&gt;
Example 1：&lt;br /&gt;
&lt;br /&gt;
…on one side of the tracks at the foot of the hill could be seen a cluster of roofs.&lt;br /&gt;
&lt;br /&gt;
山脚下铁路的一侧是鳞次栉比的屋顶。(P8)&lt;br /&gt;
&lt;br /&gt;
Cluster means a group of things of the same type that grow or appear close together, whose translation accords with it in the ideational meaning. Nonetheless, “鳞次栉比” in Chinese is a four-character phrase that usually appears in formal written text. It is more complex than the style of the text. It is a covert error.&lt;br /&gt;
&lt;br /&gt;
Example 2：&lt;br /&gt;
&lt;br /&gt;
We're just rabble, like your husband says.Please don’t make a fuss, please sit down.&lt;br /&gt;
&lt;br /&gt;
正如您丈夫说的，我们只是两个混蛋。不用麻烦了，请坐下。(P74)&lt;br /&gt;
&lt;br /&gt;
The situation happens when Jiro's colleagues come round. From the conversation between Jiro and his colleagues, it is found that they are very familiar and intimate. So, words such as &amp;quot;rabble&amp;quot; and &amp;quot;like&amp;quot; are of high colloquialism. Nevertheless, in the translation &amp;quot;正如&amp;quot; is a formal expression, which is not in line with the original. Thus, it is a covert error.&lt;br /&gt;
&lt;br /&gt;
Example 3：&lt;br /&gt;
&lt;br /&gt;
Blankets and laundry hung from many of the balconies.&lt;br /&gt;
&lt;br /&gt;
很多阳台上挂着毯子啦、洗的衣服啦。(P181)&lt;br /&gt;
&lt;br /&gt;
Example 4：&lt;br /&gt;
&lt;br /&gt;
Young women these days are all so headstrong. And forever talking about washing-machines and American dresses.&lt;br /&gt;
&lt;br /&gt;
现在女孩子任性得很。而且整天在讲什么洗衣机啦、洋裙啦。(P195)&lt;br /&gt;
&lt;br /&gt;
The two sentences are the description of the street which Etsuko and Ogata-San pass by when they intend to visit Shigeo. Etsuko is a calm and composed Japanese woman, whose language style is the same. Modal particles used in translation render the language abrupt and frisky. So, it is a covert error.&lt;br /&gt;
&lt;br /&gt;
'''3.3.2 Participation'''&lt;br /&gt;
&lt;br /&gt;
Participation refers to whether the speech is a simple monologue or a complex form that prompts the listeners or readers to participate indirectly, for example, by the transition between statements and questions and the special use of pronouns. The whole plot of ''A Pale View of Hills'' is a soliloquy narrated in the first person, interleaved with dialogues between different characters. Readers hardly could participate indirectly in it. The translation is basically in the same style as the original, except for the two following examples. The two declarative sentences are translated into a rhetorical question, which does not require readers to answer as well. Therefore, the translation is of high quality in terms of participation.(House 1997, 108)&lt;br /&gt;
&lt;br /&gt;
Example 1：&lt;br /&gt;
&lt;br /&gt;
That’s no way to bring a child into the world, visiting the cemetery every week.&lt;br /&gt;
&lt;br /&gt;
这样怎么能把孩子带到这个世上呢？(P24)&lt;br /&gt;
&lt;br /&gt;
Example 2：&lt;br /&gt;
&lt;br /&gt;
It seems very disloyal.&lt;br /&gt;
&lt;br /&gt;
这不是忘恩负义吗？(P32)&lt;br /&gt;
&lt;br /&gt;
In conclusion, the quality statement of the Chinese Translation of A Pale View of Hills focuses on whether it is an overt transaltion or a covert translation and its matching degree. &lt;br /&gt;
&lt;br /&gt;
On the one hand, it is an overt translation. Accoring to above analysis, the translation is closely related to the culture of the sourse language text. From the translation, expressions with Japanese culture can be found clearly. On the other hand, it is of high quality. There are 32 mismatches in total, 18 mismatches on field, 8 on tenor and 6 on mode. Among them, there are 13 overt errors and 19 covert errors. Covert errors caused by ignoring the context and overt errors caused by violating the rules of target language inflict only a little ambiguity on ideational function, interpersonal function and the quality of the text.&lt;br /&gt;
&lt;br /&gt;
===IV Quality Statement of Chinese Translation of ''A Pale View of Hills''===&lt;br /&gt;
&lt;br /&gt;
The quality statement of the Chinese Translation of A Pale View of Hills focuses on its cultural participation degree and its matching degree. Based on the two aspects, this chapter will make a quality statement of the Chinese Translation of A Pale View of Hills.(House 1997, 108)&lt;br /&gt;
&lt;br /&gt;
'''4.1 Overt Translation'''&lt;br /&gt;
&lt;br /&gt;
Overt translation refers to the obvious translation rather than the second original. The translation is obviously not aimed at the readers with target language, because the original text, literary works, political speeches and religious sermons, is closely related to the culture it is rooted in. But covert translation can be used as the second text, that is, independent writing. &lt;br /&gt;
&lt;br /&gt;
House deems that texts requiring overt translation have no special connection with their culture, and they are not unique to their culture, such as academic papers and travel brochures. She also believes that in overt translation, equivalence can only be established at the level of language/text, register and genre, but it is difficult to achieve equivalence in function. In contrast, the purpose of covert translation is to achieve functional equivalence, and there will be some deficiencies in language, register.(House 1997,108)&lt;br /&gt;
&lt;br /&gt;
In the contrast reading between the original and the translation, the obvious traces of the original can be found, for example, “你想她们还在打吗？” and “呃，我想小孩子是会打架的。但是我想我应该告诉你一声。还有你看，我想你女儿不是要去上学。”. In English, words representing speculation, such as “suppose” and “think”, are used frequently, while in Chinese they are not. Thus, the target text which remains these words possesses obvious sighs of translation. Furthermore, other signs in the translation, such as “欠了欠身”，show the culture of Japan when greeting. In conclusion, the target text of A Pale View of Hills is overt translation.&lt;br /&gt;
&lt;br /&gt;
'''4.2 High-quality Translation'''&lt;br /&gt;
&lt;br /&gt;
This study applies House's TQA model to assess the Chinese translation of A Pale View of Hills on lexical, syntactic and textual aspects. On basis of analysis between the original and the translation, there are 18 mismatches on field, 8 on tenor and 6 on mode. Among them, there are 13 overt errors and 19 covert errors. Covert errors caused by ignoring the context and overt errors caused by violating the rules of target language inflict only a little ambiguity on ideational function, interpersonal function and the quality of the text.&lt;br /&gt;
&lt;br /&gt;
Chinese translation of ''A Pale View of Hills'', by and large, consisting with the original, is of high quality. On the field, the translation, which transmits the subject matter and social action which covers the specificity of linguistic items, is in accordance with the original on lexical, syntactic and textual dimension in general; on the tenor, the representation of social attitude and social role relationship of the Chinese text is consistent with the English text; on the mode, the language of the translation is as simple and delicate as that of the original and the participation is of low level as well. Therefore, Zhang Xiaoyi's Chinese translation of ''A Pale View of Hills'' is of high quality.&lt;br /&gt;
&lt;br /&gt;
===Conclusion===&lt;br /&gt;
&lt;br /&gt;
''A Pale View of Hills'', as the debut of Kazuo Ishiguro, involves many in-depth subjects, which initiates the development of author's peculiar writing style. House's model is the first scientific and objective translation quality assessment mode with the integration of both theory and practice. This study applies House's TQA model to assess the Chinese translation of ''A Pale View of Hills'' on lexical, syntactic and textual aspects. &lt;br /&gt;
&lt;br /&gt;
On basis of analysis between the original and the translation, there are 18 mismatches on field, 8 on tenor and 6 on mode. By and large, the Chinese translation of ''A Pale View of Hills'' is overt translation. Although a few mismatches can be found in the translation, they cause a little affect to the functions of the text and the presentation of the plot, role characters and role relationship of the whole novel. In conclusion, the translation is in line with the original on register and is of high quality.&lt;br /&gt;
&lt;br /&gt;
Different from the traditional evaluation methods, House's model, based on micro and macro criteria, both quantitative analysis and qualitative analysis, is the first scientific and objective translation quality assessment model with a complete theory and empirical evidence. It can be used as an auxiliary tool to find problems in translation so as to make modifications, which to some extent promotes the development of translation activities.(House 1997, 180)&lt;br /&gt;
&lt;br /&gt;
However, in the actual operation process, although the translation quality assessment can be carried out according to parameters, the comparison results still rely on subjective judgment, which cannot utterly guarantee the scientificity of the final evaluation results. In addition, due to the large number of parameters, it takes a lot of time to compare the differences in vocabulary, sentence structure and discourse between the original text and the translation in the evaluation of full-length novel, so the evaluation is not very efficient. Although there are still some shortcomings in the House's model, it is still worth applying in the practice of translation criticism as a relatively complete and objective theoretical model.(House 1997, 182)&lt;br /&gt;
&lt;br /&gt;
===References===&lt;br /&gt;
&lt;br /&gt;
*Awla, Y. N. (2019). The The Impact of Place on Personality in Kazuo Ishiguro's ''A Pale View of Hills'': An Eco-critical Study. ''Journal of University of Raparin''. 1-18.&lt;br /&gt;
&lt;br /&gt;
*House, J. (1977) ''A Model for Translation Quality Assessment''. Germany: Gunter Narr Verlag Tubingen.&lt;br /&gt;
&lt;br /&gt;
*House, J. (1997) ''Translation Quality Assessment: A Model Revised''. German: Gunter Narr Verlag Tubingen. &lt;br /&gt;
&lt;br /&gt;
*Newmark, P. (2001) ''A Textbook of Translation''. Shanghai: Shanghai Foreign Language Education Press.&lt;br /&gt;
&lt;br /&gt;
*Reiss, L. (2000) ''Translation Criticism, the potentials &amp;amp; Limitations''. Manchester: St. Jerome Publishing.&lt;br /&gt;
&lt;br /&gt;
*Forsythe, R. (2005)  Cultural Displacement and the Mother-Daughter Relationship in Kazuo Ishiguro's ''A Pale View of Hills''. ''West Virginia University Philological Papers''.&lt;br /&gt;
&lt;br /&gt;
*Jeremy M. (2001) ''Introduction Translation Studies: Theory and Applications''. London and New York: Routledge.&lt;br /&gt;
&lt;br /&gt;
*Feng Yufang &amp;amp; Wang Feifei丰玉芳, 王菲菲. (2015) 从豪斯的翻译质量评估模式看宋词翻译——以宋词《声声慢》和许渊冲英译本为例[Translation of Ci-poetry Based on J.House's TQA Model——A case study of ''Sheng Sheng Man'' and its English translation by Xu Yuanchong]. 扬州大学学报(人文社会科学版)[Journal of Yangzhou University(Humanities and Social Sciences Edition)]. 114-121.&lt;br /&gt;
&lt;br /&gt;
*He Xiaobing 贺晓冰. (2018) 论《远山淡影》的不可靠叙述与记忆[Memory and Narrative Unreliability in ''A Pale View of Hills'']. 西安外国语大学[Xi'an International Studies University].&lt;br /&gt;
&lt;br /&gt;
*Jiang Ruiping 姜睿萍. (2007) 豪斯翻译质量评估模式在英汉互译中的可行性分析[An Analysis on the Feasibility of House s TQA Model in CE Translation]. 哈尔滨工程大学[Harbin Engineering University]. &lt;br /&gt;
&lt;br /&gt;
*Li Xiaolin &amp;amp; He Shaobin 李晓林, 何绍斌. (2010) 朱莉安·豪斯的“翻译质量评估模式”运作过程可行性浅评[The Feasibility of House's Model of Translation Quality Assessment]. 哈尔滨学院学报[Journal of Harbin University]. 127-1.&lt;br /&gt;
&lt;br /&gt;
*Liu Xiaoya 刘晓亚. (2015) 《远山淡影》中的创伤研究[Trauma in Kazuo Ishiguro's ''A Pale View of Hills'']. 四川师范大学[Journal of Sichuan Normal University(Social Sciences Edition)].&lt;br /&gt;
&lt;br /&gt;
*Si Xianzhu 司显柱. (2005) 朱莉安·豪斯的“翻译质量评估模式”批评[Juliane House's Translation Quality Assessment Model:A Critique]. 外语教学[Foreign Language Education]. 79-84.&lt;br /&gt;
&lt;br /&gt;
*Tang Jun &amp;amp; Wang Yan 唐军, 王燕. (2011) 豪斯翻译质量评估模式在汉译英翻译中的应用——以朱自清《背影》的英译为例[Application of House＇s Translation Quality Assessment Model in C-E Translation—A Case Study of ''The Sight of Father's Back'' by Zhu Ziqing]. 合肥工业大学学报(社会科学版)[Journal of Hefei University of Technology(Social Sciences)]. 129-135.&lt;br /&gt;
&lt;br /&gt;
*Wang Lichuan 王丽川. (2019) 《远山淡影》中的反讽解读[A Study of the Irony in ''A Pale View of Hills'']. 河南: 郑州大学[Henan: Journal of Zhengzhou University].&lt;br /&gt;
&lt;br /&gt;
*Wang Fei 王飞. (2017) 石黑一雄中的身份焦虑[Identity Anxiety in Kazuo Ishiguro's ''A Pale View of Hills'']. 中南大学学报(社会科学版)[Journal of Central South University(Social Science)]. 152-157.&lt;br /&gt;
&lt;br /&gt;
*Zhou Fenfen 周芬芬. (2013) 豪斯翻译质量评估模式的实践应用——以《荷塘月色》英译本为例[The Application of Translation Quality Assessment Model by Julian House——A Case Study on Chinese-English Translation of ''Moonlight over the Lotus Pond'']. 山西农业大学学报(社会科学版)[Journal of Shanxi Agricultural University:Social Science Edition]. 782-786.&lt;br /&gt;
&lt;br /&gt;
==On the Relationship among Literal Translation, Free Translation, Domestication and Foreignization--Wei Honglang 韦洪朗,国别区域研究，202020080647==&lt;br /&gt;
&lt;br /&gt;
===Abstract===&lt;br /&gt;
Abstract&lt;br /&gt;
This paper makes a systematic discussion on the relationship among literal translation, free translation, domestication and foreignization,which have been always controversial in translation history. Based on the theories and contents of free translation, literal translation, domestication and foreignization, this paper analyzes the similarities and differences between literal translation and free translation, foreignization and foreignization respectively. After cross-contrast analysis between them, it comprehensively sorts out the relationship between translation methods of literal translation and free translation and translation strategies of domestication and foreignization, and discusses their comprehensive application on the basis that domestication and foreignization are the extension of literal translation and free translation to cultural level, which has certain reference significance for further enriching translation practice.&lt;br /&gt;
&lt;br /&gt;
===Key words===&lt;br /&gt;
Key Words: Literal Translation; Free Translation; Domestication; Foreignization&lt;br /&gt;
&lt;br /&gt;
===摘要===&lt;br /&gt;
摘 要&lt;br /&gt;
本文就翻译史上备受争论的归化、异化和意译、直译的关系问题进行了系统的讨论。基于意译、直译和归化、异化的理论及其内容，分别分析直译和意译、异化和归化两对概念之间的异同，在他们之间进行交叉对比分析后，综合整理直译、意译的翻译方法和归化、异化翻译策略的关系，在继承归化和异化是直译和意译向文化层面的延伸的基础关系上，具体讨论他们之间的综合运用，为进一步丰富翻译实践具有一定的借鉴意义。&lt;br /&gt;
&lt;br /&gt;
===关键字===&lt;br /&gt;
关键词：意译；直译；归化；异化&lt;br /&gt;
&lt;br /&gt;
===I.Introduction ===&lt;br /&gt;
&lt;br /&gt;
In the history, argues between literal translation and free translation have been lasting for so long. Since there existed so many countries and nations on the continent of Europe, communicating frequently with different languages, the skill and cognition of language translation naturally developed and achieved a lot. During those time, two main methods of translation called literal translation and free translation came into being and accompanied by the problem on choosing which of them. The earliest opinion of translating methods can go back to the period of Roman Empire, when Cicero put forward that free translation should be used in translating Greek texts into Latin, on account of that literal translation , “word for word translation”at that time, couldn’t reflect Roman way of expression and couldn’t be easy-understanding and fluent as free translation, “sense for sense translation”. (Lu Shu, Wang Jintang 2005,115-116)&lt;br /&gt;
&lt;br /&gt;
This view of point had a great and dominate influence at that time, which did not change until late Roman period, when Christianity was gradually in power and the necessity of spreading and translating Bible by the way “exactly what it is ” made literal translation become more popular. Then comes the renaissance, in which many linguisticians realized the importance of keeping the style and features of their own nations. Since then, the two translation methods have taken the lead and been debated endlessly in the translation field. By the 1960s and 1970s, when domesticating translation and foreignizing translation accordingly emerged with free translation and literal translation, reception theory, which upgraded the dominance of readers or we called receivers of translation, again made the domestic translating one-up. (Lu Shu, Wang Jintang 2005,115-116)&lt;br /&gt;
&lt;br /&gt;
This kind of method was criticized by Venuti on its aggressivity of different cultures, based on which he officially put forward the two concepts of domestication and foreignization, which have been two central strategies in translation. So it’s vital to get a better understanding of those four concepts and make their relationships clear, which is of guiding significance to promote translation in practice.(Lu Shu, Wang Jintang 2005,115-116)&lt;br /&gt;
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===II.Literal Translation and Free Translation===&lt;br /&gt;
&lt;br /&gt;
When seeing translation as shift of linguistic sign, the method of translating could be regarded as the specific approach used by the translator shifting the ST(Source Text) into TT(Target Text), especially the two methods mentioned before--literal translation and free translation.Peter Newmark, in his &amp;quot;A Textbook of Translation&amp;quot;, proposed that the only goal of translating should be repeating the meaning of ST, which means those translating methods exist for dealing with some problems happened during the process when translating.( Ma Shikui 2012,20)The meaning and structure of the ST might not be taken into account every time, so it’s important to search for a appropriate solution to deal with this kind of problem, that’s what literal translation and free translation do.&lt;br /&gt;
&lt;br /&gt;
===2.1 Literal translation ===&lt;br /&gt;
&lt;br /&gt;
Literal translation is the method chosen when the original structure and the meaning of ST could both be perfectly taken into account, by adhering to strict original meaning and style of the TT, including the structures of sentences and rhetorical devices. “Word for word translation” could be counted as the original way of literal translation, like the translation of &amp;quot;The Bible&amp;quot; in the middle Age I showed before. But as the argue and relevant theories developing  till modern age, more and more experts realize and have a common sense that “word for word translation” can’t be equal to literal translation, since there always exist more or less differences among different languages. Personally speaking, the way Professor Fan Zhongying explains that literal translation means keeping the linguistic form of the SL, such as the words, the sentence structures and the rhetorical means, fluently and easily understood at the same time comprehensively interprets literal translation.(Joe Zeng Rui 2000,249)&lt;br /&gt;
&lt;br /&gt;
===2.2 Free translation===&lt;br /&gt;
&lt;br /&gt;
It’s better if we can have langugage forms and meanings achieved both ways, which cannot happened all the time. Thus, free translation might be better when translator can’t follow with the exact structure of SL. Free translation, “sense for sense translation”, refers to a kind of method used to translate the exact sense of the SL into the TL without retaining the sentence structures or the expression way of the SL. The supporters of free translation believe that the purpose of translation is to transform and convey the sense of the SL to the recipient of the TL, so it’s worthy to adopt an expression way closer to the TL, which is easier for the recipient to understand. Free translation has certain flexibility, which means the position of words and sentences can be adjusted. In order to facilitate readers' understanding, even some necessary supplements can be added.(Joe Zeng Rui 2000,249)&lt;br /&gt;
&lt;br /&gt;
===2.3 Analysis with Examples of Literal translation and Free translation===&lt;br /&gt;
&lt;br /&gt;
Here are some specific examples of the contrast between literal translation and free translation：&lt;br /&gt;
&lt;br /&gt;
===2.3.1 On words===&lt;br /&gt;
&lt;br /&gt;
ST:&amp;quot;Why do men have an Adam's Apple but women don't? &amp;quot;&lt;br /&gt;
&lt;br /&gt;
Literal translating: 为什么男人有亚当的苹果而女人没有呢？&lt;br /&gt;
&lt;br /&gt;
Free translating: 为什么男人有喉结而女人没有呢？&lt;br /&gt;
&lt;br /&gt;
From above, the “Adam's apple” can be translated literally into &amp;quot;亚当的苹果&amp;quot;, but it can't reflect the original sense of the ST, because in the western world, &amp;quot;Adam's apple&amp;quot; refers to &amp;quot;喉结&amp;quot; in Chinese instead of literally meaning &amp;quot;亚当的苹果&amp;quot;, so free translation is more accurate here. In addition, it is worth mentioning that this example perfectly reflects the fit of sentence structure between Chinese and English. It also shows that translators should also be sure of the culture behind the SL.&lt;br /&gt;
&lt;br /&gt;
===2.3.2 On sentence structures===&lt;br /&gt;
&lt;br /&gt;
ST:&amp;quot;Here comes the bus!&amp;quot;&lt;br /&gt;
&lt;br /&gt;
Literal translating: 这来了巴士!&lt;br /&gt;
&lt;br /&gt;
Free translating: 巴士来了!&lt;br /&gt;
&lt;br /&gt;
According to the literal translating way, if following with the source structure of the English sentence, which is a inverted sentence in English by the way, the translation result is “这来了巴士”, which is obviously both incoherent and hard to understand in Chinese and even twist the sense of the ST. According to the sentence meaning, it should be translated into “巴士来了 ”, which is totally different from the ST in grammar though.&lt;br /&gt;
&lt;br /&gt;
===2.3.3 On rhetorical means===&lt;br /&gt;
&lt;br /&gt;
ST: &amp;quot;If Main Street didn' t understand this , Wall Street did.&amp;quot;(The Glory and the Dream, p .85)&lt;br /&gt;
&lt;br /&gt;
Literal translating: 如果主街不能理解这一点，华尔街可以。&lt;br /&gt;
&lt;br /&gt;
Free translating: 这一点, 一般人不理解, 华尔街那些大老板们却是明白的。(Professor Wang Zongyan, 1983 :10)&lt;br /&gt;
&lt;br /&gt;
From this example, the key information is that Professor Wang Zongyan translates “Wall Street” into “华尔街的那些大老板们”. In Literature Translation, free translation is evidently more popular, because some literary images are difficult to express accurately through literal translation. In fact, the “Wall Street” here does not mean “Wall Street” itself, but people in power in Wall Street, so it is more appropriate for Professor Wang to translate it into “华尔街的那些老板们” by free translation. The reason of “Main Street”translating into “一般人”is the same.&lt;br /&gt;
&lt;br /&gt;
===2.4 The Relationships between literal translation and free translation===&lt;br /&gt;
&lt;br /&gt;
According to those demonstrations above, we can see that literal translation is more partial to SL(Source Language) and free translation considers more about TL(Target Language) users. The advantage of literal translation is to keep the style of the source language(show how other people talk), which plays a certain role in spreading the source language culture; the disadvantage is that sometimes it might be too long and difficult to understand, which hinders the communication and understanding between the two sides. Because free translation is biased towards the expression of the nation of the TL, its advantage is that it is more fluent and easy to understand, but its disadvantage is that it conceals the style of the source language and loses the role of translation as a cultural bridge, in which the translator's position seem not that important. All in all, I think it is best to combine the two translation methods organically in the process of translation. Just as professor Lu Dianyang proposed: “ Translate literally, if possible, or appeal to free translation.”(Zhao Jing 2011,61)&lt;br /&gt;
&lt;br /&gt;
===III.Domestication and Foreignization===&lt;br /&gt;
&lt;br /&gt;
Through the above introduction, we can know that with the change of historical environment, a period of political opposition and cultural exchange encountering a new period after World War II, the dispute between literal translation and free translation has reached a deeper level of development, which is the arrival of Foreignization and Domestication. Although Foreignization and Domestication were first formally proposed by Lawrence Venuti in &amp;quot;The Translator's Invisibility&amp;quot; in 1995, the translation strategy later called Domestication actually can be seen from Nida's translation theory of &amp;quot;dynamic equivalence&amp;quot;in 1964, which seeks for an expression whose meaning is closest to the SL and conforms to the habit of the TL expression way.（Chen Ying 2009,42）&lt;br /&gt;
&lt;br /&gt;
Nida's theory has been strongly criticized by Venuti, who supports Deconstructivism, and holds that domesticating translation is an obliteration of the SL culture and a manifestation of cultural colonialism, which is manifested by its failure to comply with the expression of the source language culture. Based on this, on the contrary, Venuti shows strong support for foreignizating translation, and he thinks that this translation strategy of preserving the linguistic and cultural differences of the SL shows respect for the SL culture. The following part mainly clarifies the concepts and contents of these two translation strategies, which will helps to compare with literal translation and free translation mentioned above.（Chen Ying 2009,42）&lt;br /&gt;
&lt;br /&gt;
===3.1 Domestication ===&lt;br /&gt;
&lt;br /&gt;
Domestication refers to a translation strategy dealing with the language forms, customs and cultural traditions, such as proverbs, idioms and allusions when translating, which tends to serve the readers of the target language. According to Eugene A. Nida's concept of natural equivalence, the translation version should be close to the original sense and intention in a most natural expression, therefore, the behavior pattern of the source language should be brought into the cultural understanding category of the target language as much as possible, which means that the recipients of the target language can avoid accepting the cultural expression of the source language in order to better understand the original intention.(Zhu Yuanzhong 2013,54)&lt;br /&gt;
&lt;br /&gt;
===3.2 Foreignization===&lt;br /&gt;
&lt;br /&gt;
Venuti studies translation under the background of culture, society, politics and cultural consciousness, and reflects the different positions of different cultures in today's world through the choice of translation strategies, and regards translation as a tool to fight against inequality. From this, we can see the reason why he criticized domestication and vigorously advocated foreignization translation, which is used to advocate that the translation should adapt and consider more the culture of the source language and the original author's habit of choosing words as much as possible. Thus, foreignizing translation tends to serve the SL culture, because he thinks that the translation version should take the source language culture as its destination and guide the reader to approach the original author.(Jiang Cui 2015,71-71)&lt;br /&gt;
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===3.3 Analysis with Examples of Domestication and Foreignization===&lt;br /&gt;
&lt;br /&gt;
Examples for domesticating translation and foreignizing translation:&lt;br /&gt;
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===3.3.1 On Politics===&lt;br /&gt;
&lt;br /&gt;
Titles：동해 (donghae)&amp;amp; にほんかい(nihonkai)&lt;br /&gt;
&lt;br /&gt;
Since the 19th century, the world has experienced terrible periods of two world wars and the Cold War . During this long period, independent nation-states gradually chose their own country's &amp;quot;roads&amp;quot; and directions, different ideologies and political positions having a strong sense of existence in international relations, among which there were many translation contradictions caused by geopolitics. (Pan Wenxiao 2020，https://weibo.com/ttarticle/p/show?id=2309404578145859666401)&lt;br /&gt;
&lt;br /&gt;
For example, the title of the sea area between South Korea and Japan has caused controversy between those two countries. South Korea has always called the sea area &amp;quot;동해&amp;quot;(East Sea) in history, but Japan continues to use the European navigator's giving name &amp;quot;Japan Sea&amp;quot;(にほんかい) and gradually gained international recognition from the 19th century. However, South Korean believes that the title change was imposed on South Korea by Japan colonizing Korea, which is a title that violates South Korea's territorial waters and disrespects South Korea. Something similar has happened many times in the world, which is the political difference on domestication and foreignization.(Pan Wenxiao 2020，https://weibo.com/ttarticle/p/show?id=2309404578145859666401)&lt;br /&gt;
&lt;br /&gt;
===3.3.2 On Culture===&lt;br /&gt;
&lt;br /&gt;
ST:“情人眼里出西施。”&lt;br /&gt;
&lt;br /&gt;
Domesticating translation: Love is blind.&lt;br /&gt;
&lt;br /&gt;
Foreignizing translation: The beauty Xi Shi is in the eye of lovers.&lt;br /&gt;
&lt;br /&gt;
This example shows relevantly how different it could be between two cultures: the ST and the domesticating one of  TT express almost the same meaning in completely different ways, that is, lovers can only see each other's good thing. That is to say, if you want to convey the exact meaning of the original Chinese sentence to English speakers, then domesticating method is the best choice, although it will make the &amp;quot;translation results&amp;quot; look beyond recognition. However, if we choose foreignizing translation, especially retaining the word &amp;quot;Xi Shi&amp;quot;, it will give English speakers a chance to understand Chinese traditional culture (Xi Shi is a beautiful woman in the Spring and Autumn Period of China, and &amp;quot;西施&amp;quot; in &amp;quot;情人眼里出西施&amp;quot; means &amp;quot;beauty&amp;quot;), although such translating way may be difficult to understand at first.&lt;br /&gt;
&lt;br /&gt;
===3.4 The relationships between Domestication and Foreignization ===&lt;br /&gt;
&lt;br /&gt;
Through the above analysis, it can be concluded that domestication and foreignization also have their own merits and reasonable existence. Although these two translation strategies were born in different historical backgrounds, their struggles to a certain extent reflect the struggle between the dominant position of stronger culture and weaker culture with different identities, which, of course is just one of those aspects, also reflect the problems of cultural communication: domesticating translation is conducive to conveying the meaning of the source language to the target language recipients without obstacles, especially in the case of great cultural differences existing, but this localization behavior will make it difficult for readers to learn what differences the two sides culture have, and in fact cultural diffusion will not be achieved.(Zhu Yuanzhong 2013,54)&lt;br /&gt;
&lt;br /&gt;
On the contrary, foreignization translation conveys the target text to readers according to the discourse mode of the source language culture, which can not only make readers realize the charm of different cultures, but also increase the expression ways of their own nation, but it is very likely that the meaning of the target text is difficult to understand. This contradiction is particularly prominent in the political level. Therefore, in translation practice, we should decide which way to choose in different contexts and in the face of different groups of people, so that the two can complement each other and have unity of opposites under proper application.(Zhu Yuanzhong 2013,54)&lt;br /&gt;
&lt;br /&gt;
===IV.The relationship among Literal Translation, Free Translation, Domestication and Foreignization===&lt;br /&gt;
&lt;br /&gt;
Sun Zhili, a contemporary Chinese translator, said: &amp;quot;Historically, domestication and foreignization can be regarded as extensions of literal translation and free translation, but they are not completely equivalent to each other. The core issue of literal translation and free translation is how to deal with form and sense at the linguistic level, while domestication and foreignization break through the limitations of language factors and expand their horizons to language, culture and aesthetics.(Sun Zhili 2011,27) &amp;quot;  Even after the above introduction, the boundary between literal translation, free translation, foreignization and domestication seems to be very vague. In order to better clarify the relationship between the two pairs of concepts, the following will distinguish and compare them. &lt;br /&gt;
&lt;br /&gt;
===4.1 The comparison among Literal Translation and Free Translation, Domestication and Foreignization===&lt;br /&gt;
&lt;br /&gt;
These two pairs of conceptss have some points in common. First of all, foreignization and domestication are extensions of literal translation and free translation, so the two pairs of relations are all methods put forward to guide translation practice; Secondly, relatively speaking, the roles of the two pairs of relations are very similar, especially in linguistic form: literal translation and foreignization both emphasize following the expression of the source text; Both free translation and domestication believe that in order to convey the sense of the source text accurately, the expression of the source text can be sacrificed. However，they are not the same in the following aspect. The first point is that the scope is different, which leads to different objects: literal translation and free translation are proposed according to the different structures and characteristics of the source language and the target language, and their discussion focuses on the relationship between form and content, which belongs to the level of language conversion. (Zhao Jing 2011,62) &lt;br /&gt;
&lt;br /&gt;
Foreignization and domestication, as a product of cultural turn, is not only manifested in linguistic form, but also in cultural content. In other words, the emergence and development of foreignization and domestication raise the discussion of language level to the level of culture, poetics and politics. Obviously, the former is a micro translation method, while the latter is a macro translation strategy. Choosing specific translation methods under the guidance of the general direction of translation strategies can make good use of these two pairs of concepts when doing translation. Second, the condition is different: Because literal translation and free translation are aimed at figuring out the issue of the text itself and the language structure, those two translation methods rely heavily on the text on linguistics, and have little room for evolution, development and independence, which make them relatively being static; However, domestication and foreignization do not have such problems. Their appearances were largely influenced by external social factors and the background of times and history, moreover, they focus on the external factors of translation too. Therefore, these two translation strategies are actually unstable and present a relatively dynamic state.(Zhao Jing 2011,62) &lt;br /&gt;
&lt;br /&gt;
===4.2 The connection among Literal Translation and Free Translation, Domestication and Foreignization===&lt;br /&gt;
&lt;br /&gt;
It can be concluded that the basic relationship between these two pairs of concepts is that domestication and foreignization make the discussion of translation transition move from pure language level to cultural level, not only paying attention to the internal transformation of language, but also starting to study the political and cultural environment outside language and text, which makes the change of translation’s function happen--from micro-analysis of language to macro-control of the social function of translation.(Chen Ying 2009,42)&lt;br /&gt;
&lt;br /&gt;
===4.2.1 Foreignization and Literal translation===&lt;br /&gt;
&lt;br /&gt;
According to the comparative analysis in the previous section, we can conclude from their similarities that under normal circumstances, foreignization usually takes literal translation as method, or foreignizing translation usually includes literal translation methods, such as:(Lv Yinping 2007,138)&lt;br /&gt;
&lt;br /&gt;
(1)Pandora’s box 潘多拉的盒子 &lt;br /&gt;
&lt;br /&gt;
(2)the forbidden fruit 禁果&lt;br /&gt;
&lt;br /&gt;
The above two examples clearly show the way literal translation works out, which is also the result under the guidance of foreignizating translation strategy. &amp;quot;Pandora's box&amp;quot; comes from Greek mythology, which refers to the root of all evils, but the translation into Chinese, which is not “万恶之源”, has followed the European saying, and even be quoted in daily communication, which has played the purpose of &amp;quot;understanding other national cultures through translation&amp;quot;; Similarly, &amp;quot;forbidden fruit&amp;quot; comes from &amp;quot;The Bible&amp;quot;, which means something forbidden, but Chinese translation also follows the expression of the original way.&lt;br /&gt;
&lt;br /&gt;
===4.2.2 Domestication and Free translation===&lt;br /&gt;
&lt;br /&gt;
Similarly, free translation is visible in domesticating translation. For example:(Lv Yinping 2007,137)&lt;br /&gt;
&lt;br /&gt;
(1)drink like a fish 牛饮&lt;br /&gt;
&lt;br /&gt;
(2)a fool’s paradise 黄粱美梦&lt;br /&gt;
&lt;br /&gt;
As far as the first example is concerned, if literally translated into &amp;quot;像鱼一样喝水&amp;quot;, it is extremely out of line with the Chinese expression habit, because there is no such statement way in China, which leads to misunderstanding or confusion.. However, if we translate &amp;quot;drink like a fish&amp;quot; into “牛饮” in Chinese, which does exists in China and has the same meaning as &amp;quot;drink like a fish&amp;quot; in English. Then the translation effect is not only interesting but also easy to understand.&lt;br /&gt;
&lt;br /&gt;
However, in the process of actual translation practice, due to the variety and diversity of cultures, the methods and strategies used in text or language conversion are also comprehensive. We can find that the comprehensive and flexible use of literal translation and free translation, domestication and foreignization can make up for the regret of some traditional opposing ways(It is said that the two pairs of concepts are opposite and cannot coexist).&lt;br /&gt;
&lt;br /&gt;
===4.2.3 Domestication and Literal translation===&lt;br /&gt;
&lt;br /&gt;
Foreignizating translation is usually regarded as an extension of literal translation, which means that in general, literal translation methods are often used under the guidance of foreignization strategies, but in some special cases, literal translation can also coexist with domestication strategies. For instances:&lt;br /&gt;
&lt;br /&gt;
(1) 什么时候都要谦虚谨慎，把尾巴夹紧一些。（Jia Wenbo 2000,11）&lt;br /&gt;
&lt;br /&gt;
We must always be modest and prudent and must, so to speak, tuck our tail between our legs.&lt;br /&gt;
&lt;br /&gt;
The meaning of &amp;quot;把尾巴夹紧&amp;quot; in Chinese coincides with &amp;quot;tuck tail between our legs&amp;quot; in English. In this example, it can be said that literal translation is the most suitable choice, which keeps the form and cultural connotation of the source language to the maximum extent, and at the same time coincides with the meaning and culture of the target language.&lt;br /&gt;
&lt;br /&gt;
(2) 一石二鸟(Song Tianxi 2013,49)&lt;br /&gt;
&lt;br /&gt;
Kill two birds with one stone.&lt;br /&gt;
&lt;br /&gt;
Similarly, this is an example of having language structure and cultural meaning between China and Britain in both ways, which uses the method of literal translation but achieves the effect of domestication. But in Chinese, &amp;quot;一石二鸟&amp;quot; can also be synonymous with &amp;quot;一箭双雕&amp;quot; and &amp;quot;一举两得&amp;quot;, which can be chosen when translating &amp;quot;kill two birds with one stone&amp;quot; if you want, however, this way of using the method of free translation is not literal translation anymore.&lt;br /&gt;
&lt;br /&gt;
Domestication and literal translation can coexist under the situation when two sides of language structures and cultures can coincide at the same time, which exists by chance and cannot be forced; It is almost impossible to find examples of coexistence like foreignization and free translation. However, through the above argument, we can find that in translation practice, translators should practice the principle of &amp;quot;concrete analysis of specific problems&amp;quot;, flexibly and dialectically combine free translation and literal translation with domestication and foreignization, and avoid rigid translation methods, so as to better assume the responsibility of cultural exchange. &lt;br /&gt;
&lt;br /&gt;
===V.Conclusion===&lt;br /&gt;
&lt;br /&gt;
Through the analysis above of the concepts and intensions of literal translation and free translation, domestication and foreignization, we further arrive at and even deepen our understanding of the relationship between the two pairs of concepts, which is helpful for translators to approach a better version of translation result and effect as much as possible on the basis of understanding the culture and language of both sides and combining with the practice through rational choice of translation strategies and translation methods under the guidance of the theories. After all, translation is not only a linguistic transformation, whose fundamental task is to reach communication and cultural exchange. &lt;br /&gt;
&lt;br /&gt;
Therefore, to some extent, translation plays the role of cultural &amp;quot;fax&amp;quot;. In order to coordinate the spread of the source language culture and the acceptance of the target language side, and it is necessary to avoid rigid use of a single translation method and translation strategy, or solidifying the idea of translation guiding theory. After comprehensive consideration of translation purpose, target and recipient, it is a translator's duty to use translation method flexibly and dialectically, as being a &amp;quot;cultural bridge&amp;quot;.&lt;br /&gt;
&lt;br /&gt;
===References===&lt;br /&gt;
&lt;br /&gt;
Sun Zhili 孙致礼.(2011).新编英汉翻译教程[A New Coursebook on English-Chinese Translation].上海:上海外语教育出版社.Shanghai:Shanghai Foreign Language Education Press&lt;br /&gt;
&lt;br /&gt;
Sun Zhili 孙致礼.(2002).中国的文学翻译:从归化趋向异化[China’s Literary Translation: from Domestication to Foreignization].中国翻译Chinese Translators Journal(01):39-43.&lt;br /&gt;
&lt;br /&gt;
Jia Wenbo 贾文波.(1999).汉英时文翻译-政治经济汉译英300句析[On Practical C-E Translation in Political &amp;amp; Economic Practice].北京:中国对外翻译出版公司Beijing:China Translation and Publishing Corporation.&lt;br /&gt;
&lt;br /&gt;
Zhang Meifang 张美芳.(2004).翻译策略二分法透视[A dichotomous perspective in translation strategies].天津外国语学院学报Journal of Tianjin Foreign Studies University(03):1-6.&lt;br /&gt;
&lt;br /&gt;
Zhao Jing 赵静.(2011).直译、意译与归化、异化之比较[Comparison between literal translation and free translation and Domestication and Foreignization].河南农业Henan agriculture(22):61-62.&lt;br /&gt;
&lt;br /&gt;
Lv Yinping 吕银平.(2007).“直译与意译  归化与异化”译法之我见[My Opinion on Literal Translation, Free Translation, Domestication and Foreignization].宁夏师范学院学报Journal of Ningxia Teachers Univercity( Social Science)(04):136-138.&lt;br /&gt;
&lt;br /&gt;
Venuti Lawrence.(1995). The Translator’s Invisibility .London&amp;amp;New York: Routledge.&lt;br /&gt;
--[[User:Wei Honglang|Wei Honglang]] ([[User talk:Wei Honglang|talk]]) 05:54, 21 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
==On Chinese-to-English Translation of The Summer Palace from the Perspective of Functionalist Approaches to Translation - 魏亚菲 Wei Yafei,202020080648==&lt;br /&gt;
魏亚菲 Wei Yafei&lt;br /&gt;
&lt;br /&gt;
'''（建议题目改写成On C-E Translation of Tourist Text from the Perspective of Functionalist Approaches to Translation-Exemplified by Tourist Texts Translation of Summer Palace ）'''--[[User:Zhang Yinliu|Zhang Yinliu]] ([[User talk:Zhang Yinliu|talk]]) 14:00, 19 December 2020 (UTC)&lt;br /&gt;
魏亚菲 Wei Yafei&lt;br /&gt;
===Abstract===&lt;br /&gt;
The Chinese-English translation of tourist texts, as a window for the external publicity of national history and culture, plays an important role in promoting the development of local tourism. The Summer Palace is well known for its large and priceless collection of cultural relics, which is among the first group of historical and cultural heritage sites in China to be placed under special state protection. &lt;br /&gt;
&lt;br /&gt;
The Chinese-English translation of tourist texts, as a window for the external publicity of national history and culture, plays an important role in promoting the development of local tourism. The Summer Palace is well known for its large('''large 改成abundant适合一些)''' and priceless collection of cultural relics, which is among the first group of historical and cultural heritage sites in China to be '''(placed可删除)''' under special state protection. --[[User:Zhang Yinliu|Zhang Yinliu]] ([[User talk:Zhang Yinliu|talk]]) 14:00, 19 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
Based on the functionalist approach and the skopos rule, this paper discusses the problems existing in the translation of scenic spots in the Summer Palace from the perspectives of garden culture, historical culture and religious culture. Skopos theory holds that translation depends on communicative purpose. To achieve this goal, translators can choose different translation strategies. It is believed that the purpose of Chinese-English translation of scenic spots is to attract target readers and promote traditional culture. Therefore, when translating tourism materials, it is necessary not only to express the local cultural connotation, but also to consider the cross-cultural factors. The Chinese-English translation of the introduction of scenic spots guided by functionalist approach can make English readers have expectations of scenic spots and understand the cultural connotation of scenic spots. This paper aims to better promote the development and communication of Chinese culture and improve the level of tourism text translation in China by relying on the theory of functionalist approach.&lt;br /&gt;
&lt;br /&gt;
Based on the functionalist approach'''(add -es)'''and the skopos rule, this paper discusses the problems existing in the translation of scenic spots in the Summer Palace from the perspectives of garden culture, historical culture and religious culture. Skopos theory holds that translation depends on communicative purpose. To achieve this goal, translators can choose different translation strategies. It is believed that the purpose of Chinese-English translation of scenic spots is to attract target readers and promote traditional culture. Therefore, when translating tourism materials, it is necessary not only to express the local cultural connotation, but also to consider the cross-cultural factors. The Chinese-English translation of the introduction of scenic spots guided by functionalist approach'''(add -es)''' can make English readers have expectations of scenic spots and understand the cultural connotation of scenic spots. This paper aims to better promote the development and communication of Chinese culture and improve the level of tourism text translation in China by relying on('''relying on 改用applying好像好一些''') the theory of functionalist approach.--[[User:Zhang Yinliu|Zhang Yinliu]] ([[User talk:Zhang Yinliu|talk]]) 14:00, 19 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
===Key words===&lt;br /&gt;
functionalist approach，the Summer Palace，translation strategies&lt;br /&gt;
===题目===&lt;br /&gt;
从功能派翻译理论视角看旅游文本英译—以北京景点颐和园为例&lt;br /&gt;
===摘要===&lt;br /&gt;
旅游资料的英译作为民族历史文化对外宣传的一道窗口,对地方旅游业的发展有着不可低估的促进作用。颐和园作为中国著名的皇家园林，具有浓厚的中国园林特色及优美的风景，同时也蕴涵着深厚文化内涵。&lt;br /&gt;
本篇旅游文本英译的分析以功能派翻译理论作为理论指导，以目的法则为主要原则，从颐和园的园林文化、历史文化和宗教文化三个角度出发对颐和园景点英译中存在的问题进行探讨。目的论认为译文取决于翻译目的，这个目的通常指的是交际目的。为达到这个目的，译者可以选择不同的翻译策略。也就是说，译者的翻译策略必须由译文的预期目的或功能决定，即所谓的“目的法则”。笔者认为景点介绍的汉英翻译的目的就是吸引译文读者以及弘扬传统文化，因此在翻译旅游资料的时候不仅要把当地的文化内涵表达出来，而且要考虑到跨文化的因素。而以功能派翻译理论为指导的景点介绍的汉英翻译，可以使英语读者通过译文产生对旅游景点的期盼，以及对景点文化内涵的理解。以颐和园景区内的翻译文本为例本，依托功能翻译理论，通过“发现问题，指出问题，解决问题”，以期更好地促进中国文化的传播与交流，提高我国现阶段旅游文本翻译的水平。&lt;br /&gt;
===关键字===&lt;br /&gt;
功能翻译；颐和园；翻译目的；翻译策略&lt;br /&gt;
===Table of Contents===&lt;br /&gt;
'''(改成 Contents)'''--[[User:Zhang Yinliu|Zhang Yinliu]] ([[User talk:Zhang Yinliu|talk]]) 14:00, 19 December 2020 (UTC)&lt;br /&gt;
Outline '''(outline 可以去掉）'''--[[User:Zhang Yinliu|Zhang Yinliu]] ([[User talk:Zhang Yinliu|talk]]) 14:00, 19 December 2020 (UTC)&lt;br /&gt;
1.Introduction&lt;br /&gt;
2. Studies on Functionalist Approach&lt;br /&gt;
2.1 The Viewpoint of Functionalist Approach&lt;br /&gt;
2.1.1 Reiss’s Text Typology&lt;br /&gt;
2.1.2 Vermeer’s Skopos Theory&lt;br /&gt;
2.1.3 Manttari’s Theory of Translational Action&lt;br /&gt;
2.1.4 Nord’s Theory of Function plus Loyalty&lt;br /&gt;
2.2 The Application of Functionalist Approach &lt;br /&gt;
3.C-E Translation of the Summer Palace under Functionalist Approach&lt;br /&gt;
3.1 Garden Culture&lt;br /&gt;
3.2 Historical Culture &lt;br /&gt;
3.3 Religious Culture &lt;br /&gt;
4. Conclusion&lt;br /&gt;
References'''（5.References）'''--[[User:Zhang Yinliu|Zhang Yinliu]] ([[User talk:Zhang Yinliu|talk]]) 14:00, 19 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
===Outline===&lt;br /&gt;
&lt;br /&gt;
Thesis Statement: Based on the main viewpoints of functionalist approaches to translation, this paper aims to give an analysis to C-E translation of the Summer Palace from cultural, historical and religious aspects, hoping to provide some translation strategies for other cultural attractions.&lt;br /&gt;
&lt;br /&gt;
1. Introduction&lt;br /&gt;
2. Studies on Functionalist Approaches&lt;br /&gt;
2.1 The Viewpoint of Functionalist Approach&lt;br /&gt;
2.1 Reiss’s Text Typology&lt;br /&gt;
2.2 Vermeer’s Skopos Theory&lt;br /&gt;
2.3 Manttari’s Theory of Translational Action&lt;br /&gt;
2.4 Nord’s Theory of Function plus Loyalty&lt;br /&gt;
2.2 The Application of Functionalist Approach&lt;br /&gt;
3. C-E Translation of the Summer Palace under Functionalist Approach&lt;br /&gt;
3.1 Garden Culture&lt;br /&gt;
3.2 Historical Culture&lt;br /&gt;
3.3 Religious Culture&lt;br /&gt;
4. Conclusion'''（为啥重复了这段）'''--[[User:Zhang Yinliu|Zhang Yinliu]] ([[User talk:Zhang Yinliu|talk]]) 14:00, 19 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
===1. Introduction ===&lt;br /&gt;
The Chinese-English translation of tourist texts is a bridge to spread the culture of classical Chinese gardens, so the accuracy of it has a direct impact on foreigners' understanding of the specific history and culture. &lt;br /&gt;
Functionalist approach has made a pioneering contribution to the translation of non-literary genres. Functional translation theory emphasizes the function of discourse, and believes that different types of discourse have different functions, so translators should choose appropriate translation strategies according to the type of source text and corresponding functions. Functionalist approach is to take the &amp;quot;skopos rule&amp;quot; as the highest standard, and any translation activity is a purposeful behavior. The ultimate goal and main function of scenic spot translation is to help people understand the main content of the scenic spot.&lt;br /&gt;
&lt;br /&gt;
As a window for the publicity of national history and culture, the Chinese-to-English translation of tourist texts plays an important role in promoting the development of local tourism. Well known for its large and priceless collection of cultural relics, the Summer Palace was among the first group of historical and cultural heritage sites in China to be placed under special state protection. Based on the viewpoints of functionalist approach to translation, this paper aims to analyze C-E translation of the Summer Palace from cultural, historical and religious aspects, hoping to provide some translation strategies for other cultural attractions.&lt;br /&gt;
&lt;br /&gt;
As a window for the publicity of national history and culture, the Chinese-to-English translation of tourist texts plays an important role in promoting the development of local tourism. Well known for its large'''（建议large 改成 abundant or rich）''' and priceless collection of cultural relics, the Summer Palace was among the first group of historical and cultural heritage sites in China to be placed under special state protection. Based on the viewpoints of functionalist approach to translation, this paper aims to analyze C-E translation of the Summer Palace from cultural, historical and religious aspects, hoping to provide some translation strategies for other cultural attractions. --[[User:Zhang Yinliu|Zhang Yinliu]] ([[User talk:Zhang Yinliu|talk]]) 14:00, 19 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
===2. Studies on Functionalist Approaches===&lt;br /&gt;
Functionalism is a theory that advocates reader-centered translation, emphasizing the functions of texts and highlighting the communicative effects. It is believed that many unnecessary mistakes can be avoided and better results can be achieved by applying functionalist approach in Chinese-English translation of tourist text. &lt;br /&gt;
&lt;br /&gt;
===2.1 The Viewpoint of Functionalist Approaches===&lt;br /&gt;
Functionalist Translation Theory, also known as German Functionalist Translation Theory, was proposed by German scholars in the 1970s. It includes four main theories: Katharina Reiss’s Text Typology, Hans Vermeer’s Skopos Theory, Justa Holtz Manttari’s Theory of Translational Action and Christiane Nord’s Theory of Function plus Loyalty. This chapter aims to present the main ideas of this theory.&lt;br /&gt;
&lt;br /&gt;
===2.1.1 Reiss’s Text Typology===&lt;br /&gt;
In 1971, Reiss in her book Possibilities and Limitation of Translation Criticism first made text function as a standard of translation criticism, namely evaluate the translated text from the relationship between the functions of the original and the translated text. She insists on the original-centered equivalence theory and holds the view that the ideal translation is to achieve the equivalence between the target text and the source text in terms of ideological content, linguistic form and communicative function. However, translation practice makes her realize that it’s difficult to achieve equivalence sometimes and that sometimes equivalence cannot be pursued. Because of the particularity of translation requirements, the function of the target text is not always the same as that of the source text. Therefore, the translator should give priority to the functional role of the target text rather than the principle of equivalence.&lt;br /&gt;
&lt;br /&gt;
Reiss believes that in the normal situation the type of text decides the translator’s choice of a proper translation method (Reiss, 2004). Therefore, she divides text into four types: content-focused text, form-focused text, appeal-focused text and audio-media text. Content-focused text, also known as informative text, includes news reports, commercial correspondence, operating instructions, official documents, patent specifications, essays, treaties, etc. For this text, the main function is to convey information revealed in language itself to readers. The emphasis is on content and topic, so the choice of language and style should serve this function. If both the source text and target text belong to informative text, the translator should represent the content and information of source text accurately and completely (Reiss, 2004)&lt;br /&gt;
&lt;br /&gt;
Form-focused text, also known as expressive text, refers to literary works such as novels, poems and so on. “Distinct from ‘content’, which deals with what the author says, ‘form’ is concerned with how an author expresses himself” (Reiss, 2004). For expressive texts, information is only a supplement. What is dominant is the aesthetic factor. When translating such texts, the translator should pay attention to the aesthetic and artistic forms of the original text and to the differences between two cultural habits, trying to achieve the same effect as the source text. In a word, in a form-focused text, the linguistic form of the source text determines the form in the target language (Reiss, 2004).&lt;br /&gt;
&lt;br /&gt;
Appeal-focused text, also known as operative text, mainly includes notice, instruction manual, advertisement, publicity manual and so on. For operative texts, the primary task for the translator is to provoke a particular reaction on the hearers or readers to incite them to engage in specific actions, while content and form are subordinate. Therefore, to achieve the same effect, the translator need to change the content and stylistic features of the original text, try to keep the potential influential factors of the original text and seek functional equivalence (Reiss, 2004: 38-43). Audio-medial text, also known as multi-media text, refers to radio and television scripts, such as radio newscasts and reports, topical surveys and dramatic productions.&lt;br /&gt;
&lt;br /&gt;
It is distinctive in its dependence on non-linguistic media and on graphic, acoustic, and visual kinds of expression. Only in combination with them can the whole complex literary form realize its full potential (Reiss, 2004). In conclusion, different texts determine different translation focuses and methods. In many cases, however, a text may have more than one function, which means that translators should integrate different translation strategies skillfully to achieve different functions of texts.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
===2.1.2 Vermeer’s Skopos Theory===&lt;br /&gt;
Reiss’s student Vermeer, who broke the limitation of the theory of equivalent and took skopos to be the first criterion of translation process  proposed the key theory: Skopostheorie. According to Skopos Theory, when translating a text, the translator needs to consider the purpose of translation first and then choose the translation method according to the purpose, which means “the end justifies the means” (Nord, 2001). Vermeer believes that translation, like other human actions, is also a purposeful act. Translation often takes place in cultural backgrounds with different customs and values, so translation is not a simple equivalent transformation between languages. Skopos Theory does not focus on achieving the equivalence between the target text and the original text or the perfection of the target text, but on choosing the best translation strategy based on the analysis of the source text and the intended function of the target text. In a word, translation methods and strategies are determined by the intended purpose or function of the target text.&lt;br /&gt;
&lt;br /&gt;
According to Skopos Theory, the first rule that all translators must follow is the Skopos Rule. Translation purpose can be divided into three categories: (1) the purpose of the translator, such as earning a living; (2) the communicative purpose of the translation, such as instructing the reader; (3) the purpose of using a particular translation method, such as the literal translation according to its structure to illustrate the peculiarities of grammatical structure in a language (Nord, 2001). In general, the communicative purpose is more important than the other two. The communicative purpose is usually determined by the initiator of the translation act, but the translator can take part in deciding. The second rule is the Coherence Rule. Coherence Rule requires that the translation conform to the criterion of intratextual coherence, which means that the translation must be accessible to recipients and meaningful in the target culture and in the communicative environment (Nord, 2001). The third rule is the Fidelity Rule. It means that there should be intertextual coherence between the source text and the target text, which means being faithful to the source text. Nevertheless, the degree and form of faithfulness lie in the target text and the degree that the translator understands the original text. Normally “Intertexual coherence is considered subordinate to intratexual coherence and both are subordinate to the Skopos rule” (Nord, 2001).'''(建议这种可以分列成小标题)&lt;br /&gt;
'''--[[User:Zhang Yinliu|Zhang Yinliu]] ([[User talk:Zhang Yinliu|talk]]) 14:28, 19 December 2020 (UTC)&lt;br /&gt;
===2.1.3 Manttari’s Theory of Translational Action===&lt;br /&gt;
Following Vermeer, Manttari develops Vermeer’s Skopos Theory and puts forward the Theory of Translational Action. He emphasizes three aspects: the behavior of the translation process, the role of the participants (the initiator, the translator and the target reader, etc.) and the environment (time, place and media) in which the translation process takes places. It views translation as “purpose-driven, outcome-oriented human interaction and construes the process of translation as message-transmitter compounds that involve intercultural transfer” (Mundy, 2001). According to Manttari, translation is “ a complex act to achieve a particular purpose” &lt;br /&gt;
(Nord, 2001). It is not about translating words, sentences or texts but is about guiding the intended cooperation over cultural barriers and promoting functional communication. Cooperation here means “transcultural communication” by Manttari.&lt;br /&gt;
&lt;br /&gt;
The Theory of Translational Action attaches great importance to providing a functional communicative text for the recipient, a text suitable for the target culture in&lt;br /&gt;
form and style. Functional suitability is determined by the translator. The translator is an expert in translation, whose role is to ensure the successful completion of culturaltransformation. In producing the target text, the analysis of the source text is necessary so that the translator can find out its structural and functional characteristics, which can be described by content and form. The need of the recipient is the decisive factor for the target text.In short, “the value of Manttari’s work is the placing of translation (or at least the professional non-literary translation which she describes) within its sociocultural context, including the interplay between the translator and the initiating institution”(Mundy, 2001).&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
===2.1.4 Nord’s Theory of Function plus Loyalty===&lt;br /&gt;
&lt;br /&gt;
Though skopos rule changes the focus of translation from the source language text to the target language text and the target receivers, it has some limitations. One is that different readers have different expectations, and the translation purpose cannot satisfy all the expectations of the target reader. Another is that the translation purpose may sometimes be against the intention of the source language. Therefore, based on the skopos rule, Nord introduces the loyalty principle. The principle of loyalty is a supplementary principle proposed by Nord to make up for the deficiency of skopos rule. According to the explanation of Nord, it is not the relationship between the original text and the target text, nor the equivalence between the original text and the form of the target text, but the consistency between the author of the original text, the initiator of the translation, the translator and the reader of the target text, which is the principle of loyalty. The proposal of the loyalty principle makes up for the mistakes that some radical skopos translators usually make, such as omitting and rewriting, which makes skopos theory more perfect and makes skopos theory more likely to guide the translation of literary works.&lt;br /&gt;
&lt;br /&gt;
“Function” and “loyalty” are two pillars of Nord’s functionalist approach. “Function” refers to what a text means or is intended to mean from the receiver’s point of view”, while “loyalty” means that “target-text purpose should be compatible with the original author’s intention” (Nord,2001). It emphasizes the interpersonal relationship between the translator, the source-text sender, the target-text addresses and the initiator. Function plus loyalty enables the translator to avoid the limitations of skopos rule and try to achieve a balance between translation purpose and the source-text author’s intention”(Nord,2001). That is to say, when translating the original text, the translator should take into account the readers' cultural background, knowledge level and expectation of the translation, and choose the corresponding translation strategy according to the translation requirements. If the reader wants to read a word-for-word translation of the article, then the translator must meet the reader's requirements, otherwise he must explain to the reader why he chose his own translation method. The translator's job is to weigh two different cultures instead of imposing one culture on another. &lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
===2.2The Application of Functionalist Approach to the Tourist Texts.===&lt;br /&gt;
In the 1990s, Functionalist Translation Theory was introduced to China, and since then it has been applied to translation studies by Chinese translation scholars. In his article published in 1995, Zhang Nanfeng briefly introduces Skopos theory to China for the first time, and considers that Skopos theory is referential (Zhang Nanfeng, 1995). German Functionalist Translation Theory, a paper released in1999, is the first article in China which systematically introduces German Functionalist Translation Theory (Zhong Weihe &amp;amp; Zhong Yu, 1999). Based on an overview of Functionalist Translation Theory, Zhang Meifang focuses on introducing Nord’s theory, especially on the detailed analysis of Nord’s principle of loyalty (Zhang Meifang, 2005). Famous domestic scholars, such as Liu Junping (2009), Liu Miqing (2012) and Li Wenge (2004), also introduce this theory in their books. With the rise of Functionalist Translation Theory in China, someone has compared it with other theories. Zhu Haotong compares Skopos Theory with Functional Equivalence Theory to analyze the similarities and differences between them, and further reveals that Functionalist Translation Theory inherits the reasonable part of Nida’s Functional Equivalence Theory, which is an important breakthrough and supplement to solve the problems that Functional Equivalence Theory leaves (Zhu Haotong, 2006). Some scholars also combine theory with translation practice to explore the application of Functionalist Translation Theory to translation practice. Jia Yanli and Wang Hongjun point out that Skopos Theory has its limitations, but it is still of instruction and reference value for non-literary translation texts, such as advertisements and tourism materials (Jia Yanli &amp;amp; Wang Hongjun, 2012). Li Liangchen selects several famous tourist attractions in China to translate the on-site tour-guide commentary into English. Then he improves them under the guidance of Skopos Theory and sends out questionnaires to overseas tourists for further analysis. He argues that the translation of on-site tour-guide commentary which is guided by Skopos Theory is more favorable to conveying information to foreign visitors, to promoting cultural exchanges and to improving the image of China’s tourist destinations (Li Liangchen, 2013). In Pragmatic Translation: Theory &amp;amp; Practice, Wu Feng and He Qingji introduce Functionalist Translation Theory (Wu Feng &amp;amp; He Qingji, 2008) and the characteristics of tourism text and translation skills (Wu Feng &amp;amp; He Qingji, 2008). In this book, they also discuss the controversy over the Chinese name of Functionalist Translation Theory, and holds that “功能派翻译理论” is the most appropriate Chinese translation (Wu Feng &amp;amp; He Qingji, 2008).Based on his own translation practice and under the guidance of Functionalist Translation Theory, Wu Zixuan probes into some special phenomena in the English translation of CNN newsreels. The author believes that in the translation of external publicity, we should not stick to the standard of faithfulness to the original text, but should deal with the original text properly from the perspective of achieving the purpose of translation, such as rewriting, abridging. (Wu Zixuan, 2005).'''(段落过长，建议适当分段写）'''--[[User:Zhang Yinliu|Zhang Yinliu]] ([[User talk:Zhang Yinliu|talk]]) 14:23, 19 December 2020 (UTC)&lt;br /&gt;
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Functionalist approach establishes a theoretical system of diversified translation standards dominated by skopos rule. From the definition of Functionalist approach, it can be seen that the advantage of it is that the translator can get rid of the bondage of the original text, study the translation process with &amp;quot;translation purpose&amp;quot; as the starting point, and determine the translation strategies and methods. This can give full play to the translator's own initiative, flexible processing of the original text, in order to achieve the translation of the communicative function. In addition, functionalist approach requires the translation to be examined in the cultural context of the reader. The reader can accept the translation and understand the meaning of the original text through the translation, so the translation can realize the communicative function. On the basis of such advantages, functionalist approach can be used to guide the English translation of garden scenic spots, and the translator can choose a wider range of translation strategies and break out of the constraints of the original text. &lt;br /&gt;
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Only by clarifying the purpose of translation can we avoid these limitations in the English translation of garden attractions. When using functionalist approach to guide the English translation of Chinese classical garden scenic spots, it is necessary to flexibly choose translation strategies and methods, give full play to the advantages of skopos theory, and achieve the balance between &amp;quot;principle of purpose&amp;quot; and &amp;quot;principle of fidelity&amp;quot; as far as possible.&lt;br /&gt;
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With the deepening of globalization and cross-cultural communication, tourismis becoming a major industry in the 21st century. The development of tourism can not only promote the economic development of a country but also promote the external dissemination of national culture. Therefore, tourism translation deserves attention. Tourism text is a typical informative and operational text, and the language is unique. It is full of gorgeous words, such as four-character expressions, verses, proper nouns and so on.&lt;br /&gt;
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Tourism text materials include tourism advertising, tourism brochures, scenic spots signs and so on. In this paper, we focus on the introduction of Chinese gardens’ scenic spots, which is usually colorful in language and rich in literary style. Tourism text translation belongs to applied translation, which should play a series of practical functions to publicize the image and resources of the country or place and attract overseas tourists. Therefore, the translator of tourism text must be clear about the type and function of tourism text, and to grasp the ultimate purpose of the translation. &lt;br /&gt;
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On tourism text translation, the communicative purpose of the translation should be placed in a central position. Furthermore, the tourism text has both the information function and the calling function. The information function and the calling function complement each other. Only when the target language readers acquire the expected tourism information and cultural knowledge can the calling function be realized and the purpose of tourism text translation be achieved. With different translation strategies, the translated version should both expressed contains basic information, and make the tourists feel the profound of the Chinese culture from the beautiful scenery. &lt;br /&gt;
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Cultural tourism has long been the focus of international tourism, and understanding Chinese culture is the main purpose of inbound tourists, so the translation of tourism texts bears the mission of cultural transmission and cultural publicity. However, due to the great differences between Chinese and English culture and language, there are many difficulties in cultural transmission in tourism text translation. China has a long and splendid history and culture. When introducing the scenic spots of cultural relics and historic sites, we usually associate with many historical figures and stories. These terms are cultural blank for most foreign tourists, but this kind of cultural experience is also the most attractive place for foreign tourists. It is of great importance to pay attention to cultural differences in tourism translation and carry out cultural transmission effectively. Chinese and English languages have different logic views, and Chinese expressions in tourism texts value decoration. English expressions tend to be clear, concise and to the point. For example, Chinese tourism texts often use a four-character lattice, which is symmetrical, while there is no corresponding four-character lattice expression in English. Therefore, in Chinese-English translation of tourism texts with frequent use of four-character phrases, it is necessary to keep in mind the objective principle of functionalist approach and give priority to cultural communication instead of rigidly adhering to form.&lt;br /&gt;
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===3. C-E Translation of the Summer Palace under Functionalist Approach===&lt;br /&gt;
By studying the specific translation strategies made by predecessors, the following steps are also adopted in this paper: first, the translation strategies are determined according to the text type, such as faithful reproduction of the original information or rewriting; Secondly, the translation strategies are determined according to the potential purpose of the translation, such as paraphrasing or deleting poems, generalizing specific expressions and transliterating proper nouns. Thirdly, the translation strategies are defined with the tourists as the center, such as adding logical words, adding explanatory information and using plain English.&lt;br /&gt;
The Summer Palace epitomizes the philosophy and practice of Chinese garden design, which played a key role in the development of this cultural form throughout the east. It is an outstanding expression of the creative art of Chinese landscape garden design, incorporating the works of humankind and nature in a harmonious whole, which was once the most important place of political and diplomatic activity for the supreme rulers of the late Qing dynasty. Based on three aspects of the Summer Palace, namely, garden culture, historical culture and religious culture, this paper discusses the problems existing in the English translation of the scenic spots of the Summer Palace and puts forward corresponding countermeasures under the guidance of the skopos rule of functionalist translation theory.&lt;br /&gt;
===Approach===&lt;br /&gt;
By studying the specific translation strategies made by predecessors, the following steps are also adopted in this paper: first, the translation strategies are determined according to the text type, such as faithful reproduction of the original information or rewriting; Secondly, the translation strategies are determined according to the potential purpose of the translation, such as paraphrasing or deleting poems, generalizing specific expressions and transliterating proper nouns. Thirdly, the translation strategies are defined with the tourists as the center, such as adding logical words, adding explanatory information and using plain English.&lt;br /&gt;
The Summer Palace epitomizes the philosophy and practice of Chinese garden design, which played a key role in the development of this cultural form throughout the east. It is an outstanding expression of the creative art of Chinese landscape garden design, incorporating the works of humankind and nature in a harmonious whole, which was once the most important place of political and diplomatic activity for the supreme rulers of the late Qing dynasty. Based on three aspects of the Summer Palace, namely, garden culture, historical culture and religious culture, this paper discusses the problems existing in the English translation of the scenic spots of the Summer Palace and puts forward corresponding countermeasures under the guidance of the skopos rule of functionalist translation theory.&lt;br /&gt;
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===3.1 Garden culture.===&lt;br /&gt;
The Summer Palace is a classical garden famous for its magnificence and beauty. There are many temples in the garden, and the green waves of kunming lake ripple. Landscape and humanities complement each other, containing rich natural and cultural information, reflecting the characteristics of Chinese classical gardens. The garden cultural features of the three scenic spots, namely, the hall of clouds, the foxiang pavilion and the Wenchang courtyard, are particularly outstanding. Therefore, this paper takes these three scenic spots as examples to discuss the Chinese-English translation of the introduction of the Summer Palace.&lt;br /&gt;
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(1)排云殿、佛香阁景区是颐和园内建筑布局最完整、建筑形式最丰富的中轴建筑群体，殿、阁、廊、亭、桥、坊、碑等建筑约两万平方米。从临水的云辉玉宇牌坊至排云门、排云殿、德辉殿、佛香阁、众香界、智慧海、层层升高，排列有序，气势巍峨，金碧辉煌，将园林、寺庙和宫殿融为一体。&lt;br /&gt;
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Translation：This scenic spot covers an area of 20,000 square meters with an assortment of buildings such as palaces, towers, corridors, pavilions, walkways, bridges, archways and inscribed stone steles. It comprises a well-arranged group of structures, all diverse in style, located in the center of the Summer Palace garden. This complex of structures, ranging from the Glowing Clouds and Holy Land Archway on the waterside, the Gate that Dispels the Clouds, the Hall that Dispels the Clouds, the Hall of Moral Glory, and the Tower of the Fragrance of the Buddha, to the Realm of Popular Fragrance and the Sea of Wisdom Temple, were built in an orderly manner running from the foot of the hill to its top, with gardens, temples and palaces harmoniously integrated into the whole.&lt;br /&gt;
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Analysis：As we all know, the design style of ancient Chinese buildings is beautiful with &amp;quot;symmetry&amp;quot;. The &amp;quot;axis&amp;quot; in hall of clouds scenic spot refers to the layout of the Summer Palace from far to near and from top to bottom, which cannot be simply understood as the center. Simply translating &amp;quot;axis&amp;quot; as &amp;quot;center&amp;quot; cannot express accurately the meaning of &amp;quot;symmetry&amp;quot;. Comparatively speaking, &amp;quot;axis&amp;quot; can better reflect the architectural style of the scenic spot.&lt;br /&gt;
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(2)从临水的云辉玉宇牌坊至排云门、排云殿、德辉殿、佛香阁、众香界、智慧海，层层升高，排列有序，气势巍峨，金碧辉煌，将园林、寺庙和宫殿融为一体。&lt;br /&gt;
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Translation：These structures，including Glowing Clouds and Holy Land Archway at lake side，the Gate of Dispelling Clouds，the Hall of Dispelling Clouds，the Hall of moral Glory，and the Tower of Buddhist Incense，the Realm of Multitudinous Fragrance and the Sea of Wisdom Temple，were built in an orderly manner ranging up the hill with gardens，temples and palaces harmoniously integrated. This manifests beauty，grace and splendor，reminiscent of the loftingness and grandeur of a once mighty empire.&lt;br /&gt;
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Analysis：In terms of the characteristics of language, Chinese emphasizes parataxis and four-word antithesis. When describing and naming scenes, gorgeous words and poetic words are generally chosen in Chinese. But, English emphasizes hypotaxis, on the other hand, puts more emphasis on reproducing the original appearance of things, using simple and natural words and preferring direct description. In sign translation, the English translation pays more attention to accurate, concise and lively. In the above paragraph, &amp;quot;层层升高，排列有序，将园林、寺庙和宫殿融为一体&amp;quot; is an introduction to the architectural features of foxiang pavilion, in order to make tourists have a clear understanding of the overall layout and architectural features of the scenic spot. This information is essential and can be translated into detail. However, &amp;quot;气势巍峨，金碧辉煌&amp;quot; focuses on the subjective description, and its explicit translation needs more complicated words. If this paragraph is translated in detail, it is easy to drag the content and make the key information vague. Therefore, the deletion of the English translation of this sentence will not affect the basic information of the original text.&lt;br /&gt;
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(3)主阁（文昌阁）两层，内供铜铸文昌帝君和仙童、铜骑。文昌阁与万寿山西供武圣的宿云檐象征“文武辅弼”。&lt;br /&gt;
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Translation: A bronze statue of the God Wenchang, statues of gaeries, and a bronze steed were placed in the two-story pavilion. This tower is pared with the Tower of Cloud- Retaining Eaves, located to the west of the Longevity Hill, in which a statue of the Martial God was placed. The God Wenchang and the Martial God together symbolize reining of the emperor supported by scholars and warriors.&lt;br /&gt;
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Analysis: Two questions arise in Chinese-English translation. First, there are two translations of wenchang pavilion in the translation: pavilion and tower, which appear in the same sign. Two different translations of the same scenic spot name tend to make foreign tourists think that it refers to different scenic spots, which may cause difficulty in understanding. Second, the translation of Wenchang pavilion into &amp;quot;Wenchang Tower&amp;quot; is against the actual architectural characteristics. In fact, the meanings of &amp;quot;pavilion&amp;quot; and &amp;quot;tower&amp;quot; have both similarities and differences. According to the Oxford dictionary, Tower means &amp;quot;a tall narrow building or part of a building, especially of a church or castle&amp;quot;, mainly referring to the tower-shaped part of a building, usually a tall and slender structure, such as the Eiffel Tower. &amp;quot;Pavilion&amp;quot; means &amp;quot;a building that is meant to be more beautiful than usual, built as a shelter in a park or used for concerts and dances&amp;quot;. The top structure of the pavilion usually has rectangles, triangles, hexagons, etc. The common feature of them is that the top is supported by columns without walls. From the external structure of Wenchang pavilion, its bottom is solid and its top is supported by columns. Therefore, the pavilion can accurately reflect the architectural characteristics of Wenchang pavilion, so I think it should be translated as Wenchang pavilion.&lt;br /&gt;
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===3.2 Historical culture. ===&lt;br /&gt;
The accurate Chinese-English translation of the introduction of the Summer Palace not only enables foreign tourists to understand the characteristics of Chinese gardens, but also enables foreign tourists to understand the historical knowledge of a specific period of China. However, the Chinese-English translation of the Summer Palace still has problems in accurately conveying the historical background of the scenic spots, such as the English translation of Wenchang pavilion scenic spot:&lt;br /&gt;
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(4)此景区始建于清乾隆十五年，一八六零年被英法联军烧毁，光绪时按原样重建。阁结构为八面三层四重檐，通高36.44米，耸立于20米高的石造台基上，气势雄伟，是颐和园全园的构图中心。阁内供奉有铜铸金裹千手观世音菩萨站像。像高五米，重万斤，为明代万历年间所造，在八根贯通全阁上下的承重铁梨木擎天柱的衬托下，美妙庄严，熠熠生辉，有极高的文物和艺术价值。&lt;br /&gt;
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Translation: The Wenchang tower was first built in 1750 and rebuilt under Emperor Guangxu after  the Anglo-French Allied Forces builted it down in 1860. The octahedral tower has three stories with four-layered eaves, altogether 36.44 meters high. Standing upright on a 20 meter-high stone foundation, it constitutes the center of the Summer Palace landscape and serves to accentuate its magnificence. A statue of the thousand-handed Guanshiyin Buddha, cast in bronze and gilded with gold, stands inside the tower. The statue, five meters high and five tons in weight, was cast during the reign of Emperor Wanli of the Ming Dynasty. Set off by the eight imposing pillars which support the tower, it glows with beauty, grandeur and brilliance. Its historical, cultural and artistic value can hardly be overstated.&lt;br /&gt;
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Analysis: “始建于乾隆十五年”only was translated into “was first built in 1750” and the “光绪年间重建” was translated into “rebuilt under Emperor Guangxu”.The first sentence does not show that 1750 was the fifteenth year of the reign of emperor Qianlong, and the second sentence does not give foreign visitors the exact date of the reign of emperor Guangxu. The change of time concept and the disunity of expression easily make foreign tourists feel confused. Therefore, the translation of the time and the historical dynasties should be accurate and meticulous, and the supplementary method should be used to not only describe the dynasties clearly, but also supplement the corresponding years, so as to achieve the standardization of the translation. In this way, foreign tourists can not only be clear about the time of the event, but also understand the Chinese historical dynasties. Consider as follows: the Wenchang Pavilion was first built in 1750 during Emperor Qianlong’s reign（1735- 1795）and rebuilt in 1886 under Emperor Guangxu（1875- 1908）after the Anglo- French Allied Forces burned it down in 1860.&lt;br /&gt;
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===3.3 Religious culture. ===&lt;br /&gt;
Many scenic spots in the Summer Palace have a strong buddhist atmosphere. While visiting the scenic spots, foreign tourists can understand the profound buddhist culture. Wenchang pavilion in the Summer Palace is the representative of Chinese religious culture.&lt;br /&gt;
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(5)主阁两层，内供铜铸文昌帝君和仙童、铜特。文昌阁与万寿山西供武圣的宿云檐象征“文武辅弼”。&lt;br /&gt;
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Translation: A bronze statue of the god，Wenchang，and statues of two followers，the celestial boy，and the bronze steed，were placed in the two- storey pavilion. This tower is pared with the tower of Cloud- Retaining Eaves，located to the west of the Longevity Hill，in which a statue of the Martial God was placed. The two towers symbolize the support by both scholars and warriors to the ruling emperor.&lt;br /&gt;
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Analysis: It is well known that westerners believe in theism, which refers to god as supreme . In Chinese religious culture, people believe in atheism and do not believe in the existence of god. Therefore, it is inappropriate to translate &amp;quot;文昌帝军&amp;quot; and &amp;quot;武圣&amp;quot; into &amp;quot;the god, Wenchang&amp;quot; and &amp;quot;the Martial god&amp;quot; in the translation. In fact, the &amp;quot;文昌帝军&amp;quot; was Zhang yu, an emperor of Shu of Ning kang (374). And &amp;quot;武圣&amp;quot; refers to Guan yu in history. Therefore, the simple translation of  &amp;quot;God&amp;quot; is not in line with the traditional Chinese culture, which will not only cause western tourists to misunderstand that Chinese religious tradition also believes in God, but also fail to convey Chinese historical allusions and relevant historical figures. In contrast, if &amp;quot;文昌帝军&amp;quot; is translated as &amp;quot;the emperor, Wenchang&amp;quot; and &amp;quot;武圣&amp;quot; is translated as &amp;quot;the Martial Master (Guanyu)&amp;quot;, it can more faithfully convey the history and religious culture contained in the source language. &lt;br /&gt;
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===4. Conclusion===&lt;br /&gt;
To sum up, Under the guidance of the skopos rule of functionalist translation theory, translators should have a cross-cultural awareness, fully understand the reading psychology and cultural appreciation needs of target language readers, and use effective translation strategies and methods to achieve the purpose of tourism text translation. Functionalist approach has made a pioneering contribution to the translation of non-literary genres. Functional translation effectively eliminates the disadvantages of traditional word-for-word translation, improves the efficiency of translation, and helps readers to grasp the meaning of the original text.&lt;br /&gt;
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To sum up, Under the guidance of the skopos rule of functionalist translation theory, translators should '''have cross-cultural awareness''', fully understand the reading psychology and cultural appreciation needs of target language readers, and use effective translation strategies and methods to achieve the purpose of tourism text translation. Functionalist approach has made a pioneering contribution to the translation of non-literary genres. Functional translation effectively eliminates the disadvantages of traditional word-for-word translation, improves the efficiency of translation, and helps readers to grasp the meaning of the original text.--[[User:Zhang Yinliu|Zhang Yinliu]] ([[User talk:Zhang Yinliu|talk]]) 14:18, 19 December 2020 (UTC)&lt;br /&gt;
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The importance of the translation of the Summer Palace lies in the profound garden culture, historical culture and religious culture. The English translation is not only helpful for international friends to know more about the garden characteristics of the Summer Palace, but also helpful for spreading the long history and profound culture of China. In order to attract target readers and promote traditional Chinese culture, it is not only necessary to carefully explore Chinese culture and history, but also to use the fuctionalist approach appropriately. &lt;br /&gt;
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Translation is a complicated process. Functionalist approach stresses the function of the discourse, the purpose of translation. In the practice of translation, if the translator can get rid of the bondage of the original equivalence, actively playing to subjective initiative, fully understanding the original text, depending on the purpose of discourse and adopting different translation strategies, the effect and readability of translation can be improved.&lt;br /&gt;
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Translation is a complicated process. Functionalist approach stresses the function of the discourse '''and''' the purpose of translation. In the practice of translation, if the translator can get rid of the bondage of the original equivalence, actively playing to subjective initiative, fully understanding the original text, depending on the purpose of discourse and adopting different translation strategies, the effect and readability of translation can be improved.--[[User:Zhang Yinliu|Zhang Yinliu]] ([[User talk:Zhang Yinliu|talk]]) 14:18, 19 December 2020 (UTC)&lt;br /&gt;
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===References===&lt;br /&gt;
Hans Vermmer, “Skopos and Commission in Translation Action”, in the Translation Studies Reader,ed. Chesterman, London and Network:Routledge,p.221-232. 2000.   &lt;br /&gt;
Munday, Jeremy. Introducing Translation Studies: Theories and Applications. Routledge publishing.2001.&lt;br /&gt;
Mason, “Textual Practices and Audience Design: and Interactive View of the Tourist Brrochure”. In Navarro et al.(eds.). Pragmatics at Work: The Translation of Tourist Literature. Bern: Perter Lang. 157-176.2004.&lt;br /&gt;
Nord, Text Analysis in Translation: Theory, Methodology and Didactic Application of a Model for Translation-Oriented Text Analysis. Beijing: Foreign Language Teaching and Research Press. 2006.&lt;br /&gt;
Nord, Translating as a purposeful activity. Shanghai: SFLE PRESS, 2001:27,30,32,65,245.&lt;br /&gt;
Reiss, Katharina. Translation Criticism: The Potentials &amp;amp; Limitations. Shanghai Foreign Language Education Press. Shanghai. 2004.&lt;br /&gt;
Venuti, Lawrence. The Translator’s Invisibility: A History Translation. Routledge.1995.&lt;br /&gt;
方梦之、毛忠明， 英汉—汉英应用翻译教程，上海: 上海外语教育出版社，2004.&lt;br /&gt;
金惠康，跨文化旅游翻译，中国对外翻译出版公司，2004.  &lt;br /&gt;
贾文波，应用翻译功能论，北京：中国对外翻译出版公司，2004&lt;br /&gt;
孙艺风，文化翻译的困惑与挑战，中国翻译，2016年第3期.  &lt;br /&gt;
王宏志，翻译与创作，北京大学出版社，2000.&lt;br /&gt;
吴自选，德国功能派翻译理论与 CNN 新闻短片英译，中国科技翻译, 2005.&lt;br /&gt;
谢天振，当代国外翻译理论，天津：南开大学出版社，2005.&lt;br /&gt;
张南峰，走出死胡同建立翻译学. 中国翻译, 1995.&lt;br /&gt;
仲伟合，钟钰. 德国的功能派翻译理论. 中国翻译, 1999.&lt;br /&gt;
张美芳，功能加忠诚—介评克里丝汀· 诺德的功能翻译理论.上海外国语大学学报, 2005.&lt;br /&gt;
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'''(文献引用格式有点不对，忘了空格）&lt;br /&gt;
===References===&lt;br /&gt;
Hans Vermmer, “Skopos and Commission in Translation Action”, in the Translation Studies Reader,ed. Chesterman, London and Network:Routledge,p.221-232. 2000.   &lt;br /&gt;
&lt;br /&gt;
Munday, Jeremy. Introducing Translation Studies: Theories and Applications. Routledge publishing.2001.&lt;br /&gt;
&lt;br /&gt;
Mason, “Textual Practices and Audience Design: and Interactive View of the Tourist Brrochure”. In Navarro et al.(eds.). Pragmatics at Work: The Translation of Tourist Literature. Bern: Perter Lang. 157-176.2004.&lt;br /&gt;
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Nord, Text Analysis in Translation: Theory, Methodology and Didactic Application of a Model for Translation-Oriented Text Analysis. Beijing: Foreign Language Teaching and Research Press. 2006.&lt;br /&gt;
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Nord, Translating as a purposeful activity. Shanghai: SFLE PRESS, 2001:27,30,32,65,245.&lt;br /&gt;
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Reiss, Katharina. Translation Criticism: The Potentials &amp;amp; Limitations. Shanghai Foreign Language Education Press. Shanghai. 2004.&lt;br /&gt;
&lt;br /&gt;
Venuti, Lawrence. The Translator’s Invisibility: A History Translation. Routledge.1995.&lt;br /&gt;
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方梦之、毛忠明， 英汉—汉英应用翻译教程，上海: 上海外语教育出版社，2004.&lt;br /&gt;
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金惠康，跨文化旅游翻译，中国对外翻译出版公司，2004.  &lt;br /&gt;
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贾文波，应用翻译功能论，北京：中国对外翻译出版公司，2004&lt;br /&gt;
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孙艺风，文化翻译的困惑与挑战，中国翻译，2016年第3期.  &lt;br /&gt;
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王宏志，翻译与创作，北京大学出版社，2000.&lt;br /&gt;
&lt;br /&gt;
吴自选，德国功能派翻译理论与 CNN 新闻短片英译，中国科技翻译, 2005.&lt;br /&gt;
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谢天振，当代国外翻译理论，天津：南开大学出版社，2005.&lt;br /&gt;
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张南峰，走出死胡同建立翻译学. 中国翻译, 1995.&lt;br /&gt;
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仲伟合，钟钰. 德国的功能派翻译理论. 中国翻译, 1999.&lt;br /&gt;
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张美芳，功能加忠诚—介评克里丝汀· 诺德的功能翻译理论.上海外国语大学学报, 2005.&lt;br /&gt;
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'''--[[User:Zhang Yinliu|Zhang Yinliu]] ([[User talk:Zhang Yinliu|talk]]) 14:18, 19 December 2020 (UTC)&lt;br /&gt;
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==Contrast between Literal Translation and Free Translation	张雪仪	Zhang Xueyi==&lt;br /&gt;
&amp;lt;center&amp;gt;张雪仪 202020080668&amp;lt;/center&amp;gt;&lt;br /&gt;
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=== Abstract===&lt;br /&gt;
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The contrast between literal translation and free translation has always been the most discussed problem in translation studies. To compare these two translation methods, the basic point is to understand the purpose of translation. The ultimate goal of translation is to help different cultures communicate better, so that people who speak different languages can understand each other’s cultures. Due to the differences in social, historical and cultural backgrounds between languages, how to choose between the two translation strategies of literal translation and free translation requires translators to weigh the strengths and weaknesses of these two methods. This essay mainly compares literal translation and free translation between Chinese and Russian to help students and translators translate better.&lt;br /&gt;
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The contrast between literal translation and free translation has always been the most discussed issue in translation studies. The ultimate goal of translation is to help different cultures communicate better, so that people of different languages can understand each other's culture. Due to the differences of social, historical and cultural backgrounds between languages, translators need to compare the two methods and weigh their advantages and disadvantages. This paper mainly analyzes the literal translation and free translation of Russian Idioms and proverbs in the process of Chinese translation, and explores the differences of different idioms translated by different methods, so as to help students and translators better carry out translation practice.--[[User:Zhou Shuyao|Zhou Shuyao]] ([[User talk:Zhou Shuyao|talk]]) 05:34, 19 December 2020 (UTC)&lt;br /&gt;
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=== Key words ===&lt;br /&gt;
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Translation strategies, Literal translation,Free translation &lt;br /&gt;
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=== 摘要 ===&lt;br /&gt;
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直译与意译间的对比一直是翻译学中讨论度最高的问题。想要将这两种翻译方法进行对比，最基本的一点就是要明白翻译的目的是什么。翻译的最终目的在于帮助不同文化进行更好的交流，让使用不同语种的人相互理解彼此的文化。由于语种间社会历史文化背景的差异，如何在直译和意译这两种翻译策略中做出选择，就需要译者衡量两种方法的利弊。本文主要对汉语和俄语间直译和意译进行比较，以帮助学生和译者更好地进行翻译实践。&lt;br /&gt;
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直译与意译间的对比一直是翻译学中讨论度最高的问题。翻译的最终目的在于帮助不同文化进行更好的交流，让使用不同语种的人相互理解彼此的文化。由于语种间社会历史文化背景的差异，需要译者对这两种方法进行比较，衡量利弊。本文主要分析俄语成语和谚语在汉译过程中的直译和意译，探寻不同成语用不同方法翻译所产生的差别在以帮助学生和译者更好地进行翻译实践。--[[User:Zhou Shuyao|Zhou Shuyao]] ([[User talk:Zhou Shuyao|talk]]) 05:33, 19 December 2020 (UTC)&lt;br /&gt;
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=== 关键词 ===&lt;br /&gt;
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翻译策略，直译，意译&lt;br /&gt;
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=== Introduction ===&lt;br /&gt;
The former Soviet Union translation theorist Fedorov believes that “translation is an activity of expressing what has been used in one language as a unified whole of content and form, and accurately and completely expressed in another language.” Translation theorist Barhudaro The husband also wrote: &amp;quot;Translation is the process of changing the coherent discourse of one language into the coherent discourse of another language while maintaining its content and meaning.&amp;quot; Mr. Lu Xun once advocated &amp;quot;literal translation.&amp;quot; He said: &amp;quot;Translation must take both sides into consideration: (Cai Yi, Duan Jinghua 2000)&lt;br /&gt;
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Fedorov, a translation theorist of the former Soviet Union, believes that &amp;quot;translation is an activity that expresses something that has been expressed in one language as a unity of content and form, and expressed accurately and completely in another language.&amp;quot; Balhudarov, a translation theorist, once wrote: &amp;quot;translation is the process of changing the coherent discourse of one language into the coherent discourse of another language while maintaining its content, that is, meaning.&amp;quot; Lu Xun once advocated literal translation. He said, &amp;quot;translation must take both sides into consideration;(Cai Yi, Duan Jinghua 2000)--[[User:Zhou Shuyao|Zhou Shuyao]] ([[User talk:Zhou Shuyao|talk]]) 05:53, 19 December 2020 (UTC)&lt;br /&gt;
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One is of course to be easy to understand, the other is to maintain the fullness of the original.&amp;quot; The Chinese translator Zhang Peiji summed up the translation standard as &amp;quot;faithful and smooth.&amp;quot; To some extent, translation is a process of thinking re-creation, so certain standards and principles must be followed when translating. Translation standard is a measure of the quality of translation, it can guide translation practice, and it is a principle that must be followed in translation activities. (Gong Linjing 2015,192)&lt;br /&gt;
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One is of course to be easy to understand, the other is to maintain the fullness of the original.&amp;quot; The Chinese translator Zhang Peiji summed up the translation standard as &amp;quot;faithful and smooth.&amp;quot; To some extent, translation is a process of thinking re-creation, so certain standards and principles must be followed when translating. Translation standard is a measure of the quality of translation, it can guide translation practice, and it is a principle that must be followed in translation activities. (Gong Linjing 2015,192)--[[User:Zhou Shuyao|Zhou Shuyao]] ([[User talk:Zhou Shuyao|talk]]) 05:53, 19 December 2020 (UTC)&lt;br /&gt;
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Although each scholar has different opinions on the standard of translation, the final result he pursues is the same: the original text and the translated text express the same effect.In order to achieve the same effect, different translation methods have been derived from the translator's translation practice. The most basic and common ones are literal translation and free translation.(Gong Linjing 2015,192)&lt;br /&gt;
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Although each scholar has different opinions on the standard of translation, the final result he pursues is the same: the original text and the translated text express the same effect.In order to achieve the same effect, different translation methods have been derived from the translator's translation practice. The most basic and common ones are literal translation and free translation.(Gong Linjing 2015,192)--[[User:Zhou Shuyao|Zhou Shuyao]] ([[User talk:Zhou Shuyao|talk]]) 05:53, 19 December 2020 (UTC)&lt;br /&gt;
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Russian idioms and proverbs, as the crystallization of the wisdom of the Russian nation and the immortal fossils in the Russian language, are one of the best materials for the Chinese to understand and learn Russian history, culture, and society. Due to different geographical, historical and economic conditions, the Russian and Chinese ethnic groups have formed different cultural backgrounds. These distinctive backgrounds and characteristics have caused great difficulties for Chinese learning Russian to further understand Russia. This essay will take the Chinese translation of Russian idioms and proverbs as examples to study the basic definitions of literal translation and free translation, their respective advantages and disadvantages, and their relationships, in order to help students who learn Russian understand literal translation and free translation.(Gong Linjing 2015,192)&lt;br /&gt;
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Russian Idioms and proverbs, as the crystallization of Russian national wisdom and immortal fossils in Russian, are one of the best materials for China to understand and learn Russian history, culture and society. Due to different geographical, historical and economic conditions, Russian and Chinese have formed different cultural backgrounds, which have caused great difficulties for Russian people to further understand Russia. This paper will take the Chinese translation of Russian Idioms and proverbs as an example to study the basic definitions of literal translation and free translation, their advantages and disadvantages, and their relationship, so as to help Russian students better understand literal translation and free translation.(Gong Linjing 2015,192)--[[User:Zhou Shuyao|Zhou Shuyao]] ([[User talk:Zhou Shuyao|talk]]) 05:42, 19 December 2020 (UTC)&lt;br /&gt;
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=== Controversy between literal translation and free translation===&lt;br /&gt;
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In different periods and different countries, people's views on translation theory have changed a lot, but the debate about literal translation and free translation has always existed.&lt;br /&gt;
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In different periods and countries, people's views on translation theory have changed a lot, but the debate on literal translation and free translation has always existed.--[[User:Zhou Shuyao|Zhou Shuyao]] ([[User talk:Zhou Shuyao|talk]]) 05:51, 19 December 2020 (UTC)&lt;br /&gt;
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==== Controversy in Chinese Translation Community====&lt;br /&gt;
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Which is better, literal translation or free translation, has always been divided in Chinese translation community. This kind of controversy first occurred during the translation of Buddhist scriptures written in Sanskrit into Chinese. During the Wei, Jin, Southern and Northern Dynasties, the famous monk Dao An was the earliest representative of the literal translation in China. Dao An himself did not understand Sanskrit and was afraid that paraphrase would lose the maxims in Buddhist scriptures, so he advocated strict literal translation. (Wang Zhuan 1996,55)&lt;br /&gt;
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Which is better, literal translation or free translation, has always been divided in Chinese translation community. This kind of controversy first occurred during the translation of Buddhist scriptures written in Sanskrit into Chinese. During the Wei, Jin, Southern and Northern Dynasties, the famous monk Dao An was the earliest representative of the literal translation in China. Dao An himself did not understand Sanskrit and was afraid that paraphrase would lose the maxims in Buddhist scriptures, so he advocated strict literal translation. (Wang Zhuan 1996,55)--[[User:Zhou Shuyao|Zhou Shuyao]] ([[User talk:Zhou Shuyao|talk]]) 05:51, 19 December 2020 (UTC)&lt;br /&gt;
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However, Kumarajiva from India, who was invited by Dao An, advocated free translation. On the basis of fully understanding the original thought content and artistic style, the translation was appropriately deleted. Although Dao An and Kumarajiva are also engaged in the translation of Buddhist scriptures, the translation methods they adhere to were very different. This divergence continued into the Tang Dynasty. Xuan Zang, as the most famous monk in the Tang Dynasty, proposed a translation method that was completely different from the previous two translation methods—a combination of literal translation and free translation.(Wang Zhuan 1996,55)&lt;br /&gt;
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However, Kumarajiva from India, who was invited by Dao An, advocated free translation. On the basis of fully understanding the original thought content and artistic style, the translation was appropriately deleted. Although Dao An and Kumarajiva are also engaged in the translation of Buddhist scriptures, the translation methods they adhere to were very different. This divergence continued into the Tang Dynasty. Xuan Zang, as the most famous monk in the Tang Dynasty, proposed a translation method that was completely different from the previous two translation methods—a combination of literal translation and free translation.(Wang Zhuan 1996,55)--[[User:Zhou Shuyao|Zhou Shuyao]] ([[User talk:Zhou Shuyao|talk]]) 05:51, 19 December 2020 (UTC)&lt;br /&gt;
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The contradiction between modern literal translation and free translation may be due to the different understanding of these two translation methods. The translator Sun Guiding believes that: literal translation is stuck to the structure of the original text and does not consider whether the Chinese is fluent and natural; while free translation is to use the inherent Chinese idioms and the most natural words and sentences as much as possible to achieve the effect of conveying the meaning of the original text. (Feng Shujian 1993,44)&lt;br /&gt;
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The contradiction between literal translation and free translation may be due to the different understanding of the two translation methods. Sun guiding, a translator, believes that literal translation is rigidly based on the structure of the original words and sentences, without considering whether the Chinese language is smooth or natural; while free translation is to use Chinese idioms and the most natural words and sentences as far as possible in addition to specialized subject nouns, so as to achieve the effect of transmitting the meaning of the original text.(Feng Shujian 1993,44)--[[User:Zhou Shuyao|Zhou Shuyao]] ([[User talk:Zhou Shuyao|talk]]) 05:51, 19 December 2020 (UTC)&lt;br /&gt;
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Former President of Wuhan University, Du Zuozhou, believes that literal translation means translating word by word according to the original text; free translation means translating according to the meaning of the original text, and the translation is more suitable for the common grammar of the translated language. The educator Meng Xiancheng believes that literal translation is a translation technology with different degrees of correctness. Literal translation is a translation that is faithful and correct according to the original text; free translation is a translation that summarizes the original meaning. (Feng Shujian 1993,44)&lt;br /&gt;
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Du zuozhou, former president of Wuhan University, believes that literal translation is to translate word for word according to the original text; free translation is to translate according to the original meaning, and the translation is more appropriate to the common grammar of the translated language. Meng Xiancheng, an educator, believes that literal translation is a translation with different technical correctness. Literal translation refers to faithful and correct translation according to the original text; free translation refers to the translation of the general idea of the original text.(Feng Shujian 1993,44)--[[User:Zhou Shuyao|Zhou Shuyao]] ([[User talk:Zhou Shuyao|talk]]) 05:51, 19 December 2020 (UTC)&lt;br /&gt;
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Zhu Guangqian said: &amp;quot;The so-called 'literal translation' refers to the literal translation based on the original text. Every word and sentence are translated word by word, and the order of the words and sentences is not changed. The so-called ‘paraphrasing’ is to express the meaning of the original text in Chinese, and it does not have to be completely based on the literal and order of the original text. &amp;quot; Feng Shize believes that &amp;quot;translation and literal translation are up-and-down relations; between literal translation and free translation is the left-right relationship. If the reversal of word order and other methods are free translation, then the definition of free translation is equal to translation, and there is no other translation besides free translation. &amp;quot;(Feng Shize 1981,10) &lt;br /&gt;
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Zhu Guangqian said, &amp;quot;literal translation&amp;quot; refers to the literal translation of the original text. Every word is translated one word at a time, and the order of each sentence is not changed. The so-called &amp;quot;free translation&amp;quot; is to express the meaning of the original text in Chinese, without having to follow the literal and sequential order of the original text. &amp;quot; Feng Shize thinks that &amp;quot;the relationship between translation and literal translation is up-down, while that between literal translation and free translation is left-right relationship. They are involved in each other and must become a system. If the word order is reversed as free translation, the definition of free translation is equal to translation, and there is no other translation to speak of except free translation. &amp;quot;(Feng Shize 1981,10) --[[User:Zhou Shuyao|Zhou Shuyao]] ([[User talk:Zhou Shuyao|talk]]) 05:51, 19 December 2020 (UTC)&lt;br /&gt;
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The principle of &amp;quot;faithfulness, expressiveness and elegance&amp;quot; put forward by the modern Chinese translator Yan Fu has long been the basic principle guiding translation practice. A large number of beginners who learn foreign languages regard &amp;quot;faithfulness and expressiveness&amp;quot; as translations that are completely faithful to the original text when translating. In fact, Yan Fu's translation requirements are a guiding principle for translation based on semantics. When translating, if the structure and expression of the original text cannot be directly adopted, the sentence structure and expression must be changed according to the characteristics of the target language. (Feng Shujian 1993,44)&lt;br /&gt;
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The principle of &amp;quot;faithfulness, expressiveness and elegance&amp;quot; put forward by the modern Chinese translator Yan Fu has long been the basic principle guiding translation practice. A large number of beginners who learn foreign languages regard &amp;quot;faithfulness and expressiveness&amp;quot; as translations that are completely faithful to the original text when translating. In fact, Yan Fu's translation requirements are a guiding principle for translation based on semantics. When translating, if the structure and expression of the original text cannot be directly adopted, the sentence structure and expression must be changed according to the characteristics of the target language. (Feng Shujian 1993,44)--[[User:Zhou Shuyao|Zhou Shuyao]] ([[User talk:Zhou Shuyao|talk]]) 05:51, 19 December 2020 (UTC)&lt;br /&gt;
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In addition, there are many differences between the original language and the target language in the word order, grammar, variants and rhetoric in the translation process. In many cases, there is no direct corresponding word. This requires the translator to consider the actual semantics, background and other factors. On the basis of the original meaning of the sentence, use an appropriate method to convey the content of the original work and reproduce the language style of the original work.(Feng Shujian 1993,44)&lt;br /&gt;
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Moreover, in the process of translation, there are many differences between the source language and the target language in terms of word order, grammar, form change and rhetoric. In many cases, there is no direct corresponding word. Therefore, the translator should consider the actual semantic, background and other factors to convey the content of the original text and reproduce the language style of the original work in an appropriate way without losing the original meaning of the sentence.(Feng Shujian 1993,44)--[[User:Zhou Shuyao|Zhou Shuyao]] ([[User talk:Zhou Shuyao|talk]]) 05:51, 19 December 2020 (UTC)&lt;br /&gt;
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==== Controversy in Soviet Translation Community====&lt;br /&gt;
In the Soviet Union, under the influence of ideology, Western translation theories could not be widely disseminated, but within the Soviet Union, translation theories similar to Western translation theories have been formed and developed, and two main schools of translation theory have been further differentiated — Linguistic Translation School and Literary Translation School. To a certain extent, the dispute between these two schools also reflects the debate on literal translation and free translation among translators' groups. (Xie Yuncai 2002,99)&lt;br /&gt;
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In the Soviet Union, under the influence of ideology, western translation theories could not be widely spread. However, within the Soviet Union, translation theories similar to those of western translation theories were formed and developed, and two major translation theory schools, language school and literary school, were further divided. To some extent, the debate between the two schools reflects the debate between translators' groups on literal translation and free translation.(Xie Yuncai 2002,99)--[[User:Zhou Shuyao|Zhou Shuyao]] ([[User talk:Zhou Shuyao|talk]]) 05:51, 19 December 2020 (UTC)&lt;br /&gt;
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In terms of the principles or standards of translation, the linguistic translation school believes that an ideal translation should be an equivalent translation, first of all linguistic correspondence, that is, the translation should have the same meaning as the corresponding language or discourse unit of the original; the literary translation school believes that translation pursues artistic correspondence, and linguistic correspondence must be subordinate to artistic correspondence. Therefore, it proposes that the aesthetic standards of translation should reproduce the artistic reality reflected by the unity of the original content and form. (Xie Yuncai 2002,99)&lt;br /&gt;
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In terms of the principles or standards of translation, the linguistic translation school believes that an ideal translation should be an equivalent translation, first of all linguistic correspondence, that is, the translation should have the same meaning as the corresponding language or discourse unit of the original; the literary translation school believes that translation pursues artistic correspondence, and linguistic correspondence must be subordinate to artistic correspondence. Therefore, it proposes that the aesthetic standards of translation should reproduce the artistic reality reflected by the unity of the original content and form. (Xie Yuncai 2002,99)--[[User:Zhou Shuyao|Zhou Shuyao]] ([[User talk:Zhou Shuyao|talk]]) 05:51, 19 December 2020 (UTC)&lt;br /&gt;
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The characteristic is to use images to translate images, that is, to create the same image in different languages. In 1953, Andrei Venediktovich Fedorov, the leader of the linguistic translation school, published his work &amp;quot;Summary of Translation Theory&amp;quot;, which was the first monograph of the Soviet Union to study translation theory from the perspective of linguistics. The author proposes that translation theory is a branch of linguistics. Since the translation of any genre work must rely on the comparison of two languages, translation problems can only be solved in the field of language. (Xie Yuncai 2002,99)&lt;br /&gt;
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The characteristic is to use images to translate images, that is, to create the same image in different languages. In 1953, Andrei Venediktovich Fedorov, the leader of the linguistic translation school, published his work &amp;quot;Summary of Translation Theory&amp;quot;, which was the first monograph of the Soviet Union to study translation theory from the perspective of linguistics. The author proposes that translation theory is a branch of linguistics. Since the translation of any genre work must rely on the comparison of two languages, translation problems can only be solved in the field of language. (Xie Yuncai 2002,99)--[[User:Zhou Shuyao|Zhou Shuyao]] ([[User talk:Zhou Shuyao|talk]]) 05:51, 19 December 2020 (UTC)&lt;br /&gt;
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Fedorov’s view was refuted by the literary translation school represented by Ivan Alexandrovich Kashikin. The literary translation school believes that aesthetic issues are the core of literary translation theory, and translation should be regarded as a form of language art, that is, translation should be studied from the perspective of literature and art. In fact, the literary translation school emphasizes the translation of literary and artistic works, which belongs to the specific translation theory; while the research of the linguistic translation school focuses on the general translation theory, that is, the translation of all thematic works including literary works. The dispute between the two major translation theory schools of Russia and the Soviet Union provides another perspective for Chinese translators to explore the relationship between literal translation and free translation.(Xie Yuncai 2002,99)&lt;br /&gt;
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However, feodorov's view was refuted by the literary school represented by Kashin. The school of literature and art holds that aesthetics is the core of literary translation theory, and translation should be regarded as a form of language art, that is, translation should be studied from the perspective of literature and art. As a matter of fact, literature and art school emphasizes the translation of literary works, which belongs to the specific translation theory, while the study of language school focuses on the general translation theory, that is, the translation of works of all subjects including literary works. The debate between linguistic school and literary school provides another perspective for Chinese translators to explore the relationship between literal translation and free translation.(Xie Yuncai 2002,99)--[[User:Zhou Shuyao|Zhou Shuyao]] ([[User talk:Zhou Shuyao|talk]]) 05:51, 19 December 2020 (UTC)&lt;br /&gt;
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=== The application of literal translation and free translation in the Chinese translation of Russian idioms ===&lt;br /&gt;
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The idioms of different nationalities are the most dynamic and expressive units at the lexical level in different languages, and they are also the units that can best reflect the characteristics of national culture in languages. The number of Russian idioms is extremely rich, it records and reflects all aspects of Russian national life. (Feng Yongmei 1999,97)&lt;br /&gt;
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Idioms of different nationalities are not only the most dynamic and expressive units in different languages, but also the units that can best reflect the characteristics of national culture. The number of Russian idioms is extremely rich, which records and reflects all aspects of Russian national life.(Feng Yongmei 1999,97)--[[User:Zhou Shuyao|Zhou Shuyao]] ([[User talk:Zhou Shuyao|talk]]) 05:59, 19 December 2020 (UTC)&lt;br /&gt;
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Due to the great differences in geographical locations and living customs between China and Russia, the national cultures reflected in Chinese and Russian must be quite different. One of the difficulties in idiom translation is its imagery. When translating idioms, both the meaning and the image must be considered. Although the Chinese and Russian cultures are very different, many of the commonalities of mankind, such as emotion and natural environment, have created conditions for mutual communication, mutual understanding and idiom translation between different languages.(Feng Yongmei 1999,97)&lt;br /&gt;
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Due to the great differences in geographical location and customs between China and Russia, the national culture reflected in Chinese and Russian must be quite different. One of the difficulties in idiom translation is its image. When translating idioms, both meaning and image should be considered. Although there are great cultural differences between China and Russia, many commonalities of human beings, such as emotion and natural environment, have created conditions for mutual communication, mutual understanding and idiom translation between different languages.(Feng Yongmei 1999,97)--[[User:Zhou Shuyao|Zhou Shuyao]] ([[User talk:Zhou Shuyao|talk]]) 05:59, 19 December 2020 (UTC)&lt;br /&gt;
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==== Literal translation ====&lt;br /&gt;
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Generally speaking, the literal translation method refers to a translation method that directly translates the original text without changing the language characteristics and style of the original text on the basis of fully respecting the meaning of the original text. Chinese translation of Russian idioms by literal translation method has the advantage of being able to intuitively and faithfully express the meaning of the idiom, maintaining the unique style and imagery of the original text: the disadvantage is that the translated idiom may not be understood by the Chinese because of China and Russia have different historical, cultural backgrounds, grammatical structures, and language world landscapes, which can easily form obstacles in the process of understanding.(Zhou Changyu 2010,34)&lt;br /&gt;
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In short, literal translation refers to a method of translating the original text directly without changing the language features and styles of the original text on the basis of fully respecting the meaning of the original text. The advantage of literal translation in Chinese translation of Russian idioms is that it can express the meaning of idioms intuitively and faithfully, and maintain the unique style and image of the original text. However, the disadvantage is that the translated idioms may not be understood by the Chinese people. This is because the historical and cultural background, grammatical structure and language world picture of Chinese and Russian are different, and it is easy to form obstacles in the process of understanding.(Zhou Changyu 2010,34)--[[User:Zhou Shuyao|Zhou Shuyao]] ([[User talk:Zhou Shuyao|talk]]) 05:59, 19 December 2020 (UTC)&lt;br /&gt;
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Translating Russian idioms by literal translation is further divided into two methods — literal translation into Chinese idioms and literal translation into non-idiom sentences or words.(Zhou Changyu 2010,34)&lt;br /&gt;
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Translating Russian idioms by literal translation is further divided into two methods — literal translation into Chinese idioms and literal translation into non-idiom sentences or words.(Zhou Changyu 2010,34)--[[User:Zhou Shuyao|Zhou Shuyao]] ([[User talk:Zhou Shuyao|talk]]) 05:59, 19 December 2020 (UTC)&lt;br /&gt;
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Literal translation of Russian idioms into Chinese idioms is suitable for the translation of Russian and Chinese idioms that are completely equivalent in image, structure, and meaning. The advantage is that it is easy to understand, and the translation is simple and fast.(Feng Yongmei 1999,98) E.g:&lt;br /&gt;
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домашнего  (своего) вора не убережешься. 家贼难防&lt;br /&gt;
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знать как свои пять пальцев (видно, как на ладони) 了如指掌&lt;br /&gt;
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подлить масла в огонь 火上浇油&lt;br /&gt;
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как рыба в воде 如鱼得水&lt;br /&gt;
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как ножом по сердцу 心如刀割&lt;br /&gt;
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как гром среди ясного неба 晴天霹雳&lt;br /&gt;
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на добро отвечают добром 善有善报&lt;br /&gt;
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копейка рубль бережет 财从细起&lt;br /&gt;
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мечты сбываются 梦想成真&lt;br /&gt;
&lt;br /&gt;
курица всегда следует за петухом 嫁鸡随鸡&lt;br /&gt;
&lt;br /&gt;
чего мало, того и дорого  (дорого то, что мало) 物以稀为贵(12)&lt;br /&gt;
&lt;br /&gt;
изгонять яд с помощью яда 以毒攻毒&lt;br /&gt;
&lt;br /&gt;
сидеть как на иголках 如坐针毡&lt;br /&gt;
&lt;br /&gt;
действия громче слов 事实胜于雄辩&lt;br /&gt;
&lt;br /&gt;
зарыть талант в землю 埋没人才&lt;br /&gt;
&lt;br /&gt;
висеть на волоске 千钧一发&lt;br /&gt;
&lt;br /&gt;
лить как из ведра 倾盆大雨(Wang Fuxiang, Wu Hanying 2014)&lt;br /&gt;
&lt;br /&gt;
The idioms in the above examples are completely equivalent in image, structure or meaning in Russian and Chinese, so Chinese idioms can be used for literal translation.  &lt;br /&gt;
&lt;br /&gt;
In fact, in the two languages, idioms with the same image, structure, and meaning are still in the minority, so it is more common to translate Russian idioms into non-Chinese idiom sentences or vocabulary. E.g:   &lt;br /&gt;
&lt;br /&gt;
настоять на своем 坚持自己&lt;br /&gt;
&lt;br /&gt;
камень с души свалился 心里的一块石头落地&lt;br /&gt;
&lt;br /&gt;
связать свою судьбу 把自己的命运与……相连&lt;br /&gt;
&lt;br /&gt;
быть на голову 高出一头&lt;br /&gt;
&lt;br /&gt;
вбивать в голову 往脑子里灌&lt;br /&gt;
&lt;br /&gt;
блеснуть метеором 像流星一样一闪而过&lt;br /&gt;
&lt;br /&gt;
с мизинец 小拇指这么大(Wang Fuxiang, Wu Hanying 2014)&lt;br /&gt;
&lt;br /&gt;
It is not difficult to find that the literal translation method can completely retain the original appearance of the idiom, show the common concept of human understanding of the world, and be beneficial to the cultural exchange between China and Russia.&lt;br /&gt;
&lt;br /&gt;
==== Free translation ====&lt;br /&gt;
&lt;br /&gt;
Another method commonly used in the Chinese translation of Russian idioms is free translation. Vocabulary gaps between languages are a common phenomenon, causing many difficulties for translation. There are many reasons for the vacancy of vocabulary, such as cultural reasons such as life experience, customs, religious beliefs, and linguistic reasons. There are roughly two ways to fill the language gaps — paraphrasing by replacing the image.and discarding images for free translation.(Feng Yongmei 1999,98)&lt;br /&gt;
&lt;br /&gt;
Another method commonly used in Chinese translation of Russian idioms is free translation. The lexical gap between languages is a common phenomenon, which causes many difficulties in translation. The causes of lexical vacancy are various, such as life experience, customs, religious beliefs and other cultural reasons, as well as linguistic reasons. There are generally two ways to fill the gaps in language: replacing images for free translation and abandoning images for free translation.(Feng Yongmei 1999,98)--[[User:Zhou Shuyao|Zhou Shuyao]] ([[User talk:Zhou Shuyao|talk]]) 05:59, 19 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
Russian says &amp;quot;Два медведя в одной берлоге не уживутся (一个洞穴容不下两头熊).&amp;quot;, while Chinese says &amp;quot;一山不容二虎&amp;quot;. Another example is &amp;quot;Скатерть со стола, и дружба сплыла (桌布一收，友谊不再) &amp;quot; in Russian, and &amp;quot;人走茶凉&amp;quot; in Chinese. This method belongs to paraphrasing by replacing the image.(Wang Fuxiang, Wu Hanying 2014)&lt;br /&gt;
&lt;br /&gt;
For the &amp;quot;harmony&amp;quot; of the translation, sometimes the translator has to choose to abandon the image for free translation. This is determined by both cultural and linguistic factors. Some linguistic features cannot be translated, and some idioms themselves are not strong enough. In this case, if Choosing a literal translation method will make readers confused.(Hu Guming, Shen Man 2011,18) E.g:&lt;br /&gt;
&lt;br /&gt;
Как женился я на вашей матери да взял вот этот домишко в приданье, так думал, что богаче да лучше меня и людей нет, фертом ходил! (А. Островский)&lt;br /&gt;
我和你母亲一成亲，就得到了这栋作为陪嫁的屋子，当时我心想，再没有人比我更富足、更好的了。我那时可真是双手叉腰、得意洋洋的。&lt;br /&gt;
&lt;br /&gt;
“Фертом” is the name of the letter “Ф” in ancient times.Its shape is like a person with hands on hips, and “фертом ходить” is an idiom evolved from body language. The cultural meaning of this idiom is &amp;quot;神气十足、得意洋洋、威武自负的样子&amp;quot; . The translation uses other idioms to complement the missing images in Chinese, clarify the meaning of the idiom, and convey the emotional color contained in the original idiom.(Hu Guming, Shen Man 2011,19)&lt;br /&gt;
&lt;br /&gt;
The idioms in a certain language are fixed and unchanged after long-term use and tempering, but the frequency of each idiom is different. Some idioms are universally used by the whole people, spread and used in a wide range, while some idioms are only used in written styles. In Russian literature, there are improved precise and interesting idioms. For example, in the works of the famous Russian fable writer Krylov, there are reduced idioms, such as “ медвежья услуга”（直译：熊的帮忙；意译：帮倒忙）， “ сильнее кошки зверя нет”（直译：再没有比猫更厉害的野兽；意译：井底之蛙）， “зелен как виноград”（直译：葡萄还很青；意译：年轻人没经验). When translating literature, translators often need to learn cultural background knowledge, replace the image in the original idiom, and then convey it to Chinese readers.(Wang Fuxiang, Wu Hanying 2014)&lt;br /&gt;
&lt;br /&gt;
Crows are a very common animal, usually black and gray. The description of crows in Chinese idioms is &amp;quot;the crows in the world are generally black（天下乌鸦一般黑）&amp;quot;. It can be seen that white crows are rare. However, &amp;quot;белая ворона&amp;quot; often appears in Russian literary works, as a metaphor for people who are different from the masses in terms of external characteristics or ideological qualities. In the Chinese and Russian concepts, the crow is a nasty animal. (Wang Fuxiang, Wu Hanying 2014) &lt;br /&gt;
&lt;br /&gt;
Although white crows are rare, this Russian idiom is usually derogatory, expressing disdain, contempt, or ridicule against the person. In Chinese, animal images are also used as a metaphor for &amp;quot;different people&amp;quot;, such as idioms that stand out from the crowd and phoenix feathers are rare. &amp;quot;Crane&amp;quot; and &amp;quot;phoenix&amp;quot; have always been regarded as precious and noble animals in traditional Chinese culture, so they cannot be compared with &amp;quot; Corresponding to &amp;quot;White Crow&amp;quot;, it is not suitable for translating &amp;quot;белая ворона&amp;quot;.Examples are as follows:(Wang Fuxiang, Wu Hanying 2014) &lt;br /&gt;
&lt;br /&gt;
Он замкнулся, не вдается в разговоры — вот вам и белая ворона.（Сталин)&lt;br /&gt;
直译：他不与人交往，不与人交流，真是一只白乌鸦。&lt;br /&gt;
意译：他不与人交往，不与人交流，真是与众不同。&lt;br /&gt;
&lt;br /&gt;
Боишься, что они среди нас белой вороной окажется. Недосягаемым экземпляром.(Кожевников В “Корни и крона”)&lt;br /&gt;
直译：你是担心他们会变成我们中间的白乌鸦，一个无法达到的例子。&lt;br /&gt;
意译：你是担心他们会变成我们中间标新立异，望尘莫及的人。&lt;br /&gt;
&lt;br /&gt;
Most Chinese who come into contact with Russian are students majoring in Russian. The Russian idioms we usually encounter appear in textbooks. These idioms are often used by the Russian public and are easily understood and accepted by the Chinese. E.g:(Wang Fuxiang, Wu Hanying 2014)&lt;br /&gt;
&lt;br /&gt;
В Тулу со свим самоваром не ездят.&lt;br /&gt;
直译：去图拉不用带自己的茶炊。&lt;br /&gt;
意译：多此一举&lt;br /&gt;
&lt;br /&gt;
Честь лучше бесчестья.&lt;br /&gt;
直译：尊重比不尊重好。&lt;br /&gt;
意译：礼多人不怪。&lt;br /&gt;
&lt;br /&gt;
словно горя с плеч&lt;br /&gt;
直译：把山从肩膀下卸下&lt;br /&gt;
意译：如释重负&lt;br /&gt;
&lt;br /&gt;
выеденного яйца не стоит&lt;br /&gt;
直译：一个空蛋壳不值钱&lt;br /&gt;
意译：鸡毛蒜皮，一文不值&lt;br /&gt;
&lt;br /&gt;
чужими руками жар загребать&lt;br /&gt;
直译：用别人的手将红炭火拨成一堆&lt;br /&gt;
意译：坐享其成，不劳而获&lt;br /&gt;
&lt;br /&gt;
ни рыба, ни мясо&lt;br /&gt;
直译：没有鱼也没有肉&lt;br /&gt;
意译：不三不四，不伦不类&lt;br /&gt;
&lt;br /&gt;
лучше синица в руках, чем журавль в небе&lt;br /&gt;
直译：天上的仙鹤不如手中的山雀&lt;br /&gt;
意译：远亲不如近邻&lt;br /&gt;
&lt;br /&gt;
На языке мед, а под лед&lt;br /&gt;
直译：嘴上甜得像蜂蜜，心里冷得像冰&lt;br /&gt;
意译：笑里藏刀&lt;br /&gt;
&lt;br /&gt;
И на солнце есть пятна&lt;br /&gt;
直译：太阳上也有黑点&lt;br /&gt;
意译：人无完人&lt;br /&gt;
&lt;br /&gt;
семь раз отмерь, один раз отрежь&lt;br /&gt;
直译：测量了七次后再剪裁&lt;br /&gt;
意译：三思而后行(Wang Fuxiang, Wu Hanying 2014)&lt;br /&gt;
&lt;br /&gt;
Using free translation to translate Russian idioms requires the translator to accurately understand the meaning of the original text, because cultural differences make it impossible to literally translate. Only through the translator can an unobstructed bridge between Russian idioms and Chinese idioms be built.(Wang Fuxiang, Wu Hanying 2014)&lt;br /&gt;
&lt;br /&gt;
=== The application of literal translation and free translation in the Chinese translation of Russian proverbs ===&lt;br /&gt;
&lt;br /&gt;
There are often multiple translations of the same Russian proverb in Russian-Chinese dictionaries. On the one hand, because the translator uses different translation methods; on the other hand, because Russian proverbs have very rich connotations, a translation cannot perfectly interpret the inner meaning of the proverb. According to the context and the connotation of the proverbs, the most commonly used methods of Chinese translation of Russian proverbs are literal translation and free translation.(Feng Yongmei 1999,98)&lt;br /&gt;
&lt;br /&gt;
The same Russian proverb often has more than one translation in Russian Chinese dictionary. On the other hand, the translator can't translate the proverb because of its rich connotation. According to the context and the connotation of proverbs themselves, literal translation and free translation are the most commonly used methods of translating Russian proverbs into Chinese.(Feng Yongmei 1999,98)--[[User:Zhou Shuyao|Zhou Shuyao]] ([[User talk:Zhou Shuyao|talk]]) 06:03, 19 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
==== Literal translation ====&lt;br /&gt;
&lt;br /&gt;
In Russian and Chinese languages, some proverbs not only have the same meaning or implicit meaning, but also use the same or similar figurative images to express a certain kind of the same semantics, and they are completely consistent in content and form. In this case, the equivalent translation of synonymous Chinese proverbs can convey the information contained in the original image, which not only retains the rhetorical color of the original language, but also enables the reader to perfectly understand the original text. The other situation is the experience that the Russians summed up in their long labor and life, which has evolved into a proverb, but the Chinese have not summed up this experience, so translating Russian proverbs into Chinese literally, Chinese people can understand them at a glance and increase their knowledge of the world. E.g:(Feng Yongmei 1999,98)&lt;br /&gt;
&lt;br /&gt;
In Russian and Chinese, some proverbs not only have the same meaning or implied meaning, but also use the same or similar figurative images to express the same meaning, and they are completely consistent in content and form. In this case, the equivalent translation of Chinese proverbs with synonyms can convey the information contained in the image of the original language, which not only retains the rhetorical color of the original language, but also enables readers to understand the original text perfectly. The other is that the Russian people have summed up the experience in their long-term labor and life, which has evolved into a proverb. However, the Chinese have not summed up this experience. If the Russian proverbs are translated into Chinese, the Chinese can clearly understand it at a glance and increase their understanding of the world. E.g:(Feng Yongmei 1999,98)--[[User:Zhou Shuyao|Zhou Shuyao]] ([[User talk:Zhou Shuyao|talk]]) 06:03, 19 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
Беда не приходит одна. 祸不单行。&lt;br /&gt;
&lt;br /&gt;
Век живи, век учись. 活到老，学到老。&lt;br /&gt;
&lt;br /&gt;
Выше встанешь, дальше увидишь. 站得高，看得远。&lt;br /&gt;
&lt;br /&gt;
Лучше один раз увидеть, чем сто раз услышать. 百闻不如一见。&lt;br /&gt;
&lt;br /&gt;
Береги платье снову, а честь смолоду. 衣服要从新的时候爱惜，荣誉要从年轻时珍惜。&lt;br /&gt;
&lt;br /&gt;
Выше лба уши не растут. 耳朵高不过额头。&lt;br /&gt;
&lt;br /&gt;
Для милого друга семь верст не околица. 为了好友，多绕七里也不嫌远。&lt;br /&gt;
&lt;br /&gt;
Лучше умереть стоя, чем жить на коленях. 宁愿站着死，绝不站着生。&lt;br /&gt;
&lt;br /&gt;
Не имей сто рублей, а имей сто друзей. 宁要一百个朋友，不要一百个卢布。&lt;br /&gt;
&lt;br /&gt;
По одежке встречают, по уму провожают. 迎客时看衣，送客时看才智。(Jia Sufen 1996)&lt;br /&gt;
&lt;br /&gt;
There is another situation where the literal translation method can be used. Although the image in Russian proverbs is different from the commonly used images in Chinese, it is also easy to understand. For example, &amp;quot;Молодец против овец, а против молодца — сам овца.&amp;quot; In fact, this proverb can be paraphrased as &amp;quot;欺软怕硬 &amp;quot;, but in this way the translation discards the lively literal meaning of the original text. On the other hand, it is literally translated as &amp;quot;见到绵羊充好汉，碰到好汉成绵羊&amp;quot; , on the basis of retaining the original image, readers can easily understand the meaning of the original proverb.(Jia Sufen 1996)&lt;br /&gt;
&lt;br /&gt;
Another example is &amp;quot;Заяц от лисицы, а лягушка от зайца бежит. &amp;quot; can be translated as &amp;quot;一物降一物&amp;quot;, but the image in the original text was completely abandoned, if it is literally translated as &amp;quot;one thing drops one thing &amp;quot;狐惊兔，兔惊蛙&amp;quot;, this kind of translation is not only simple and clear, but also in line with the aesthetics of Chinese proverbs. In general, the literal translation not only retains the symmetrical rhetorical techniques in the original sentence, but also retains the symmetrical beauty of the original sentence structure. It not only conforms to the aesthetic characteristics of the original Russian text, but also shows the beauty of phonology and structure in Chinese.(Jia Sufen 1996)&lt;br /&gt;
&lt;br /&gt;
The translation of Russian proverbs by literal translation not only maintains the original language, but also transplants the unique image language of Russian proverbs into Chinese, which not only expands the horizons of Chinese readers, but also enriches the way of expression in Chinese.(Jia Sufen 1996)&lt;br /&gt;
&lt;br /&gt;
The literal translation of Russian proverbs not only keeps the style of the original language, but also transplants the unique figurative language of Russian proverbs into Chinese, which not only expands the vision of Chinese readers, but also enriches the expression of Chinese.(Jia Sufen 1996)--[[User:Zhou Shuyao|Zhou Shuyao]] ([[User talk:Zhou Shuyao|talk]]) 06:03, 19 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
==== Free translation ====&lt;br /&gt;
&lt;br /&gt;
Due to the influence of cultural factors, many Russian and Chinese proverbs expressing the same semantics use different metaphors. Some Russian proverbs are difficult to retain the original image in the process of translation into Chinese. If literally translated according to the original image, due to the different national and cultural backgrounds of China and Russia, the translation is difficult to be accepted by the Chinese, and even misunderstood may occur.(Jia Sufen 1996) &lt;br /&gt;
&lt;br /&gt;
Due to the influence of cultural factors, many Russian and Chinese proverbs with the same meaning use different figurative images. In the process of translating some Russian proverbs into Chinese, it is difficult to retain the image of the original text. If literal translation is made according to the original image, due to the different national and cultural backgrounds of China and Russia, the translated version is difficult to be accepted by Chinese people and even misread.(Jia Sufen 1996) --[[User:Zhou Shuyao|Zhou Shuyao]] ([[User talk:Zhou Shuyao|talk]]) 06:03, 19 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
In order to accurately convey the meaning of the original text to readers, we can readjust the structure of the original text on the basis of a correct understanding of the meaning of the original text, and use standard Chinese expressions to reproduce Russian proverbs to avoid ambiguity and misunderstanding.(Jia Sufen 1996)&lt;br /&gt;
&lt;br /&gt;
In order to convey the original meaning to readers accurately, we can explore the story behind the proverb. On the basis of correctly understanding the meaning of the original text, we can readjust the structure of the original text, and reproduce Russian proverbs with standard Chinese expression, so as to avoid ambiguity and misunderstanding.(Jia Sufen 1996)--[[User:Zhou Shuyao|Zhou Shuyao]] ([[User talk:Zhou Shuyao|talk]]) 06:03, 19 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
There are some elements used in proverbs that foreigners cannot understand. For example, the Russian proverb &amp;quot;В огороде бузина, а в Киеве дядька.&amp;quot; is literally translated as &amp;quot;菜园里长接骨木，而基辅里住叔叔&amp;quot;, which cannot be understood by the Chinese. The four elements “огород” “бузина” “Киева” “дядька”, which contained in this proverb are completely unrelated. In fact, this proverb means that there is no logical relationship between what someone says, and the translator can directly paraphrase it as &amp;quot;胡说八道&amp;quot;, &amp;quot;前言不搭后语&amp;quot; or more easily understood &amp;quot;满嘴跑火车&amp;quot;. (Jia Sufen 1996)&lt;br /&gt;
&lt;br /&gt;
Another example is &amp;quot;На воре шапка горит.&amp;quot; literally means &amp;quot;the hat on the thief's head is on fire&amp;quot;. In fact, this proverb originated from a short story in the Kievan Rus period: someone’s money bag disappeared and he shouted &amp;quot;Catch the thief&amp;quot;, but no one knew where the thief was. This man had an idea and shouted, &amp;quot;The thief's hat is on fire.&amp;quot; After hearing this, the thief touched his hat unconsciously and exposed himself. Therefore, &amp;quot;На воре шапка горит.&amp;quot; can be paraphrased as &amp;quot;不打自招&amp;quot; or &amp;quot;做贼心虚.&amp;quot;(Jia Sufen 1996)&lt;br /&gt;
&lt;br /&gt;
There are some Russian proverbs that are more suitable for free translation:&lt;br /&gt;
&lt;br /&gt;
От труда- радость, от безделья- усталость.&lt;br /&gt;
直译：快乐从劳动中来，疲劳从闲散中来。&lt;br /&gt;
意译：劳动使人快乐。&lt;br /&gt;
&lt;br /&gt;
Баба с возу- кобыле легче.&lt;br /&gt;
直译：农妇下了车，马儿就轻松。&lt;br /&gt;
意译：求之不得&lt;br /&gt;
&lt;br /&gt;
Герой не моего романа.&lt;br /&gt;
直译：不是我小说中的主人公。&lt;br /&gt;
意译：不是我的意中人。&lt;br /&gt;
&lt;br /&gt;
Терпенье (ученье\уменье) и труд всё перетрут.&lt;br /&gt;
直译：耐心和勤劳能克服一切。&lt;br /&gt;
意译：锲而不舍，金石可镂（只要功夫深，铁杵磨成针）。&lt;br /&gt;
&lt;br /&gt;
Чтобы узнать человека, надо с ним пуд соль съесть.&lt;br /&gt;
直译：想要了解一个人，应该和他吃一普特盐。&lt;br /&gt;
意译：日久见人心。&lt;br /&gt;
&lt;br /&gt;
Посади свинью за стол — она и ноги на стол.&lt;br /&gt;
直译：让猪入席，它会把爪子也伸上来。&lt;br /&gt;
意译：得寸进尺。&lt;br /&gt;
&lt;br /&gt;
Черного кобеля не отмоешь добела.&lt;br /&gt;
直译：黑色的狗洗不白。&lt;br /&gt;
意译：本性难改。&lt;br /&gt;
&lt;br /&gt;
Конь о четырех ногах, да спотыкается.&lt;br /&gt;
直译：马有四条腿，也会摔倒。&lt;br /&gt;
意译：聪明一世，糊涂一时。&lt;br /&gt;
&lt;br /&gt;
За что купил, за то и продаю.&lt;br /&gt;
直译：怎么买来，怎么卖出。&lt;br /&gt;
意译：人云亦云。&lt;br /&gt;
&lt;br /&gt;
Обжегшись на молоке, дуешь на воду.&lt;br /&gt;
直译：一旦被牛奶烫，喝水也要吹一吹。&lt;br /&gt;
意译：一种被蛇咬，十年怕井绳。(Jia Sufen 1996)&lt;br /&gt;
&lt;br /&gt;
=== Conclusion ===&lt;br /&gt;
 &lt;br /&gt;
In the process of translation, translators often feel that there are a lot of contradictions and differences between the two languages in terms of lexical structure, syntactic structure, expression methods and metaphors. In many cases, translators understand the original meaning but do not know how to express it in the target language, which leads to the debate about which is better, literal translation or free translation. When translators translate works that are more contradictory between bilinguals, translators often use free translation methods. When translating works that are consistent or have more common points than contradictions or conflicts between bilinguals, translators tend to choose literal translation .&lt;br /&gt;
&lt;br /&gt;
In the process of translation, translators often feel that there are a lot of contradictions and differences between the two languages in terms of vocabulary composition, syntactic structure, expression and metaphor. Most of the time, the translator understands the original meaning but does not know how to express it in the target language, which leads to the debate about which is better, literal translation or free translation. When translators translate works with more contradictions between bilinguals, they tend to use free translation. When there are more similarities or similarities between bilinguals than contradictions or conflicts, translators will tend to literal translation in order to be faithful to the original text.--[[User:Zhou Shuyao|Zhou Shuyao]] ([[User talk:Zhou Shuyao|talk]]) 06:04, 19 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
In fact, the relationship between literal translation and free translation is interdependent and inseparable. Therefore, when we translate an article or a book, it is not feasible to translate every sentence literally or freely. Only when the translator cleverly arranges the alternation of the two can it be possible to translate a better translation. When we comment on literal translation and free translation, we should consider the effects of the division of labor and cooperation between the two, and should not one-sidedly understand the advantages and disadvantages of literal translation and meaning.&lt;br /&gt;
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In fact, literal translation and free translation in the process of translation are interdependent and inseparable. Therefore, when translating an article or a book, it is not feasible to translate every sentence literally or freely. Only when the translator skillfully arranges the alternation of the two, can we translate a better translation. When we comment on literal translation and free translation, we should consider the effect of division of labor and cooperation between them, and should not one-sided understand the advantages and disadvantages of literal translation and meaning.--[[User:Zhou Shuyao|Zhou Shuyao]] ([[User talk:Zhou Shuyao|talk]]) 06:04, 19 December 2020 (UTC)&lt;br /&gt;
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=== References ===&lt;br /&gt;
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*Cai Yi, Duan Jinghua. 蔡毅，段京华. (2000). 苏联翻译理论. [Soviet Translation Theory]. 武汉: 湖北教育出版社[Wuhan: Hubei Education Press].&lt;br /&gt;
*Feng Shize. 冯世则. (1981). 直译、意译、逐字译. [Literal Translation, Free Translation, Verbatim Translation]. 中国翻译[Chinese Translators Journal] 7-10.&lt;br /&gt;
*Feng Shujian. 冯树鉴. (1993). 意译与直译笔谈. [Written Free Translation and Literal Translation]. 外语学刊[Foreign Language Research] 43-47.&lt;br /&gt;
*Feng Yongmei. 冯咏梅. (1999). 浅谈俄语成语翻译中民族文化特色的保留. [On the Preservation of National Cultural Characteristics in Russian Idiom Translation]. 解放军外国语学院学报[Journal of PLA Foreign Languages University] 97-100.&lt;br /&gt;
*Gong Linjing. 宫琳菁. (2015). 直译与意译——中国近现代代表人物观点之概述. [Literal Translation and Free Translation: An Overview of the Viewpoints of Representatives in Modern China]. 赤峰学院学报（汉文哲学社会科学版）[Journal of Chifeng University (Soc.Sci)] 192-193.&lt;br /&gt;
*Hu Guming, Shen Man. 胡谷明, 沈曼. (2011). 汉俄翻译中文化空缺词汇的翻译策略.[The Translation Strategies of Cultural Vacancies in Chinese-Russian Translation]. 中国俄语教学[Russian in China] 17-21.&lt;br /&gt;
*Jia Shufen. 贾淑芬. (1996). 简明俄汉谚语词典. [Concise Russian-Chinese Proverbs Dictionary]. 沈阳: 辽宁大学出版社[Shenyang: Liaoning University Publishing House].&lt;br /&gt;
*Li Quan’an. 李全安. (1990). 直译与意译之争是一场什么样的争论. [What kind of controversy is the dispute between literal translation and free translation]. 中国翻译[Chinese Translators Journal] 18-22.&lt;br /&gt;
*Tan Zaixi. 谭载喜. (1999). 中西译论的相似性.[Similarities between Chinese and Western Translation Theories]. 中国翻译[Chinese Translators Journal] 25-28.&lt;br /&gt;
*Wang Fuxiang, Wu Hanying. 王福祥,吴汉樱. (2014). 东方大学俄语系列：迷你俄语成语词典. [Oriental University Russian Series: Mini Dictionary of Russian Idioms]. 外语教学与研究出版社[Foreign Language Teaching and Research Press]&lt;br /&gt;
*Wang Zhuang. 王转. (1996). 直译与意译漫谈. [On Literal Translation and Free Translation]. 湖南教育学院学报[Journal of Educational Institute] 55-60.&lt;br /&gt;
*Xie Yuncai. 谢云才. (2002). 俄罗斯翻译理论的语言学派与文艺学派——两派文学翻译理论对比分析. [Linguistic Schools and Literary Schools of Russian Translation Theory: A Comparative Analysis of the Two Schools of Literary Translation Theories]. 外语学刊[Foreign Language Research] 97-101.&lt;br /&gt;
*Yang Shizhang. 杨仕章. (2002). 俄语现代翻译理论之概述. [An Overview of Russian Modern Translation Theory]. 解放军外国语学院学报[Journal of PLA Foreign Languages University] 62-65.&lt;br /&gt;
*Zhang Yi. 张艺. (2010). 从目的论看直译与意译之争. [The Controversy between Literal Translation and Free Translation from Skopos Theory]. 海外英语[Overseas English] 189-190.&lt;br /&gt;
*Zhou Changyu. 周长雨. (2010). 俄语谚语的翻译方法. [How to translate Russian proverbs]. 俄语学习[Russian Learning] 33-36.&lt;br /&gt;
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==Dialectical thinking in arguments between literal translation and free translation 	甘奉玉	Gan Fengyu  202070080584 英语笔译==&lt;br /&gt;
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===Abstract===&lt;br /&gt;
As two methods of translation, how to use literal translation and free translation has always been the focus of debate between Chinese and Western translation circles. Through the study of translation methods of literal translation and free translation at home and abroad, we can know that to some extent literal translation and free translation are two relative conceptions, so there will be word-for-word translation, that is, dead translation, and over free translation. However, these two are only two extremes of literal translation and free translation. In fact, although there are differences in definitions and application fields between literal translation and free translation, they are unified in common translation purpose, translation procedure and translation standard. Therefore, the two are contradictory and unified in translation activities. This is also a profound embodiment of the unity of opposites in materialist dialectics.&lt;br /&gt;
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===Key words===&lt;br /&gt;
literal translation, free translation, word-for-word translation, over free translation, unity of opposites&lt;br /&gt;
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===题目===&lt;br /&gt;
直译与意译之争中的辩证思维&lt;br /&gt;
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===摘要===&lt;br /&gt;
作为翻译方法，怎样使用直译(literal translation)与意译(free translation)一直是中西方翻译界争论不休的一个焦点。通过对国内外直译与意译的翻译方法的研究，我们可以得知，从某种程度而言，直译与意译是两个相对的概念, 所以才会有逐字翻译，即死译，与过度意译这两个完全对立的概念。但是，这两者只不过是直译与意译的两个极端点。其实，直译和意译虽然在定义，适用范围上有所差异，但却又统一于共同的翻译目的、翻译过程和翻译标准中，所以两者在翻译活动中应该是既对立又统一的矛盾体。而这也正是唯物辩证法中的对立统一矛盾观的深刻体现。&lt;br /&gt;
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===关键字===&lt;br /&gt;
直译； 意译； 死译； 过度意译； 对立统一&lt;br /&gt;
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===Introduction===&lt;br /&gt;
Throughout the translation history at home and abroad, the literal translation and free translation have always sparked a heated discussion in the translation circles. Someone absolutely approve literal translation and demean free translation, even pursue dead translation, which creates an translated text difficult to understand. While some people absolutely agree with free translation even advocate random translation, which means a random deletion in the translation practices and creates another entirely different text. However, there are also a few of translators who have recognized that these two translation methods are not totally opposite. So they adopt a dialectical and flexible way. That means they will choose the most appropriate one depending on the text's demand. Therefore, we can deduce from it that this dialectical translation is consistent with the Contradiction View of Unity of Opposite in Materialist Dialectics. In fact, literal translation and free translation are a set of contradictions which are both opposite and unified. They complement each other into an integral one.&lt;br /&gt;
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The dispute between free translation and literal translation in Chinese translation circle first appeared in the dispute of &amp;quot;text&amp;quot; and &amp;quot;quality&amp;quot; in the Eastern Han Dynasty. During this period, Shi Dao-an, a senior monk in the Eastern Jin Dynasty, advocated literal translation and put forward that the translation should not be added or deleted but only make some adjustments to the word order. In the post-Qin period opposed to the Eastern Jin Dynasty, the monk Hatoyama advocated that the Buddhist scriptures should be translated freely. He suggested the original text should be changed to adapt to the Chinese style. Subsequently, Xuanzang, a senior monk of the Tang Dynasty, drew lessons from former translation achievements and put forward that we should seek both loyalty and vulgarity.(Chen Fukang 2011, 14-38) In another word, literal translation should complement with free translation, not just using one method. At that time, some translators have noticed that literal translation and free translation are not completely opposite. &lt;br /&gt;
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After that, in modern times from the Opium War to the May 4th Movement, since Yan Fu has put forward the translation standard of faithfulness, smoothness and elegance, Lu Xun and Qu Qiubai ignited the dispute on faith and smoothness. Lu Xun is a representative of literal translation school. He insists faithfulness first and smoothness second and even tolerates incoherence. He adopts the method of dead translation. While Qu Qiubai believes that faithfulness and smoothness are not opposite. From the New Culture Movement(1915-1923) to the 1980s, Mao Dun also put forward that literal translation doesn't mean word-for-word translation without any addition or deletion. Since the reform and opening up, Xu Yuanchong has said that literal translation should be faithful to the original content first then to the original form and last to the smooth translated text. On the other hand, free translation should be faithful to the original text first then to the smooth translated text and last to the original form. Therefore, although there are differences in translation methods between literal translation and free translation, their ultimate goal is to be faithful to the original content and express the original meaning.（Chen Fukang 2011, 288-333）&lt;br /&gt;
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Since Cicero, the first translation theorist in the western world, has put forward that we should avoid word-by-word translation but perform as a speaker, the dispute between literal translation and free translation began to appear in the West. In ancient times, Perot insisted on dead translation in the translation of the Bible, which greatly affected the translation quality. Poitius in the Middle Ages also advocated word-by-word translation and strict formal correspondence. In modern times, French translator Abulangour aimed to cater to readers in a way of over free translation and arbitrary deletion. &lt;br /&gt;
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Even so, there are many translation theorists in the western translation world who advocated  dialectical and flexible translation. For example, in ancient times, Jerome advocated the flexible principle to apply in literary translation and religious translation differently. During the Renaissance, French Amyot emphasized the dialectical unity of content and form, free translation and literal translation. Moreover, some translators did not exercise their own translation ideas. During the Renaissance, Reichlin was one of them. Although he advocated word-by-word translation, he abandoned this method in his practice. This can also further explain that absolute promotion of literal translation or free translation is not desirable. In translation practice, we must take a suitable degree in the way of combining literal translation and free translation to better serve the target readers.(Tan Zaixi 2004, 5-15 )&lt;br /&gt;
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The purpose of this paper is to explore the dialectical thinking contained in the dispute between literal translation and free translation, that is, the viewpoint of unity of opposites between them. The first chapter is about the word-for-word translation, and the second chapter is about the over free translation. From these two parts, we can draw a conclusion that it is not advisable to regard literal translation and free translation as absolute opposites. The third chapter is about the dialectical translation, which is the correct method for us to learn and adopt. It is also a method that follows the view of unity of opposites. The fourth chapter will analyze the differences between literal translation and free translation from the view of definitions and application fields. Then the fifth chapter focuses on the unity of literal translation and free translation in translation goals, translation procedures and translation standards. Through the discussion of the whole article, we can clearly see the unity of opposites between literal translation and free translation and draw a conclusion that we should apply dialectical translation in our translation practice and adopt the point of view of unity of opposites in translation theory. (He Lirong 2018, 40)&lt;br /&gt;
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===1.Dialectical thinking of the Unity of opposites===&lt;br /&gt;
The theory of unity of opposites is the core content of materialist dialectics theory. (Xu Guoliang 2020, 75) In the history of philosophy, the German philosopher Hegel first expounded the basic thought of contradiction theory from the standpoint of objective idealism. Later, Marx, Engels and Lenin critically absorbed Hegel's theory and developed contradiction theory into the core content of materialist dialectics theory. The theory of contradiction contains two basic problems, and one is the relationship between unity and opposition, while the other is the universality and particularity of contradiction, which involves a series of basic concepts of contradiction theory, such as basic contradiction and non-basic contradiction, fundamental contradiction and non-fundamental contradiction, principal contradiction and non-principal contradiction. Understanding these basic concepts and their relationships is the key to understanding and grasping the contradiction theory completely and accurately and finally applying it to the practice of social life. (Yan Mengwei 2020, 41)&lt;br /&gt;
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The problem of unity and opposition of contradiction is actually about the nature of contradiction. We always know things from comparison. The so-called comparison is to find the similarities and differences between two things. The former is called unity and the latter is called opposition. The unity is relative and the opposition is absolute. It is worth emphasizing that the opposition of contradictions plays a key and decisive role in development, because development comes from the unity of opposites. This means that unity and opposition are two indispensable elements in the process of development. They complement and interact with each other.&lt;br /&gt;
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Literal translation and free translation are such a pair of contradictions. The opposition of the two is reflected in the absolute opposition between word-for-word translation and over free translation, while the unity is reflected in their commons. More clearly, there are differences in their definitions and applications and similarities in their translation goals, procedures and standards.(Yang Ying 2019,161)&lt;br /&gt;
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===2.Word-for-word translation===&lt;br /&gt;
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Literal translation is a method that not only maintains the original content, but also the original form.(Xu Yuanchong 1996,92) Fu Sinian and Zheng Zhenduo all advocate literal translation. In the history of modern Chinese translation, Lu Xun and his younger brother Zhou Zuoren's works of The Collection of Extraterritorial Fiction are regarded as the representatives of literal translation.&lt;br /&gt;
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In particular, literal translation is neither dead translation nor a mechanical verbatim translation. Because English and Chinese have different structures, it is impossible to translate word by word. From the perspective of linguistics, the biggest difference between them is that Chinese focuses parataxis while English focuses hypotaxis.(Zhu Xiaojia 2008, 1) In another word, in Chinese, a sentence is usually short with few modifiers and connected words, while in English, several meanings can be expressed by use of complicated structure with assorted clauses and connected words only in a sentence.&lt;br /&gt;
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Besides, the English is a more static language in which nouns and adjectives are always used, but the Chinese is the more dynamic one, and verbs are more active in it. Finally, the former has a systematic grammar but the latter seems free in its arrangement.(Cao Huoqun 2005, 40)&lt;br /&gt;
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Therefore, when we do some translating exercise, we should focus on their grammar structures. When the structure of the original text is inconsistent with that of the target language, adopting word-for-word translation will lead to formalism. Such a translated text is also not intelligible for readers. Literal translation must be readable without any misunderstanding or violation of expression.&lt;br /&gt;
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===3.Over free translation===&lt;br /&gt;
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Free translation refers to the method that maintains original content rather than original form. In the process of translation, in order to make the language clear and persuasive, the translator must try to conform to the language customs of target texts rather than adhere to the expressive pattern of the original work. Zhao Jingshen put forward that it is better to be smooth with some disloyalty instead of absolute loyalty. Obviously, Mr. Zhao Jingshen is in favor of free translation, and so does Mr. Yan Fu. Many of Yan Fu's classical works have adopted free translation, the Theory of Heaven is a typical example of free translation.&lt;br /&gt;
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When we translate English into Chinese, especially some idioms that are in closer ties with western culture, we have to move or change these cultural barriers so that Chinese readers could understand easily. It is also true when translating Chinese into English. Under this condition, free translation will be more suitable and effective.&lt;br /&gt;
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However, free translation does not mean random translation. Random translation means making up sentences by subjective imagination without analyzing the structure of the original text. It is also known as over free translation.(Wu Shuang 2018, 107) In fact, when we translate, we must master the thought and style of the original and regard them as the correspondence of the target language. In addition, the theory, fact and logic of the original work should also be corresponding in the target language. We can not replace these features of the original with our personal thoughts, styles, facts, theories and logic. Only in this way can the contents not be changed after translation.&lt;br /&gt;
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===4.Dialectical translation===&lt;br /&gt;
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Feng Qinghua put forward in the book of A Practical Translation Course that the so-called literal translation is a kind of translation method to maintain both the original content and the original form. If there are the same language form and expressive effect between original and target text, we should adopt literal translation to deliver the same contents. While the so-called free translation is a method to keep the original content and style only. So if there are different language forms and expressive effects between the two texts, we should adopt free translation mostly. (Feng Qinghua 1997, 12)&lt;br /&gt;
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Therefore, Literal translation and free translation have their own advantages and restrictions. The former is beneficial to the transplantation of culture, while the latter can avoid obscurity in literal translation.&lt;br /&gt;
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In literal translation, we will translate the sentence “mashing a mirror is no way to make an ugly person beautiful, nor is it a way to make social problem evaporate” into &amp;quot;砸镜子不能使丑八怪变漂亮,也不能使社会问题烟消云散&amp;quot;, while in free translation, we can turn it into &amp;quot;砸镜子并不能解决实际问题&amp;quot;. (Fan Zhongying 1994, 22) We can see the latter one is more concise and comprehensive to express the connotative meaning. Although the former is totally literal translation, we still feel it terrible.&lt;br /&gt;
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Therefore, a translator should use these two translation strategies according to the specific situation to express the surface structure and deep meaning of the original text. The use of literal or free translation depends on the rules of both English and Chinese. In translation, if we can not directly adopt the structure and expressive form of the original work, we must change the sentence structure and expressive way to convey the connotation of the original work. An excellent translated text is realized neither by simple literal translation nor by simple free translation but by the combination of two. We should adopt dialectical translation in our practice.&lt;br /&gt;
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===5.Opposition and unity between literal translatiuon and free translation===&lt;br /&gt;
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===5.1 Opposition===&lt;br /&gt;
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===5.1.1 Opposition in definition===&lt;br /&gt;
Qiao Zengrui defines literal translation in Chapter 4 of Translation Theory as a method that deliberately retains the original form to maintain the content and style of the original. At the same time, He also defines free translation as a method that keeps the original content and style by use of the same or similar expressions as the original text in the target language regardless of the two different languages. The first one regards form as the only way, content and style as targets, while the second directly takes no account of form. With this regard, the two totally opposite in definition.(Qiao Zengrui 2000,78)&lt;br /&gt;
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===5.1.2 Opposition in application fileld===&lt;br /&gt;
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Generally speaking, literal translation is used to translate some political books, laws, treaties, scientific and technological documents, terms, idioms, and some simple sentences. (Wu Shuang 2018,178) The early translation of Buddhist scriptures of early Chinese generally followed this theory. So do the Marxism-Leninism works and Mao Zedong's works. For example, &amp;quot;纸老虎&amp;quot; can only be translated as &amp;quot;paper tiger&amp;quot; but not &amp;quot;scarecrow&amp;quot;. The latter one was corrected by Mao Zedong when the interpreter translated it into &amp;quot;scarecrow&amp;quot;. Chairman Mao emphasized that this word had two characteristics and if it was translated into &amp;quot;scarecrow&amp;quot;, it will lose duality. Because &amp;quot;纸老虎&amp;quot; in China means imperialism and reactionary, which seems scary but no great power in it. Since it is made of paper, this tiger becomes soft in the damp and finally was washed away when it was rained. While scarecrow can scare away children and birds. So paper tiger is better than scarecrow.&lt;br /&gt;
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In the process of translation, there are many situations that literal translation can not be applied, so we must adopt the method of free translation, especially the translation of literary works.(Wu Shuang, 2018, 178) On the one hand, there are many common traditional Chinese words that reflect the unique cultural concepts and cultural phenomena of our country, which can't be translated directly into corresponding words in English. For instance, if we translate&amp;quot;初生牛犊不怕虎&amp;quot; into &amp;quot;A new born calf is not afraid of a tiger&amp;quot;, then our target readers in English-speaking countries will find it difficult to understand the substance of the literal meaning.(Yang Yin 2019, 161) So here &amp;quot;The more wit, the less courage&amp;quot; will be better. On the other hand, some certain maxims, idioms and puns in English have no choice but to use free translation.(He Lirong 2018,43) For example, &amp;quot;have a wolf in the stomach&amp;quot; means &amp;quot;饥肠辘辘&amp;quot; 饥饿难忍&amp;quot; rather than &amp;quot;肚子里有个豺狼&amp;quot;. Moreover, some exclusive English nouns should be freely translated such as &amp;quot;the heel of Achilles&amp;quot; into &amp;quot;致命的弱点&amp;quot; instead of &amp;quot;阿克琉斯的脚后跟&amp;quot;.&lt;br /&gt;
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===5.2 Unity===&lt;br /&gt;
===5.2.1 Unity in translation goal===&lt;br /&gt;
In literal translation, loyalty to the original form should be put first, followed by loyalty to the original content and last pursuit of fluency and popularity in target language. In free translation, loyalty to the original content should be put first, then the fluency and popularity of the translation language second, and the original form comes last. It is clear that loyalty to the original content is the common purpose of literal translation and free translation.(Wu Shuang 2018, 108)&lt;br /&gt;
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The unity of literal translation and free translation is also reflected in the fact that the translation must be smooth and fluent and conform to the expressive habits of target language. If the translated text is obscure and unreadable without conforming to the habits of the target language and culture, the two translation strategies have not achieved the true unity, so the purpose of communication has not been realized.&lt;br /&gt;
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Therefore, literal translation and free translation are two different translation methods used in translation. They are unified in the translation goal to accurately and faithfully convey the original meaning and intention.(He Lirong 2018, 41)&lt;br /&gt;
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===5.2.2 Unity in translation procedure===&lt;br /&gt;
The literal translation and free translation are unified in translation procedures. Both of them should conform to the following translation steps of understanding, expressing and verifying.&lt;br /&gt;
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Understanding is the first stage of translation process. It includes not only the understanding of language and cultural phenomena, but also logical relations. A translator should be good at analyzing ambiguous sentences and make correct judgments before translating. Expression is the process by which the translator reproduces the content of the original text into target language. Expressing is the result of understanding, but understanding correctly does not mean expressing right. Therefore, we must learn many specific methods and techniques, such as literal translation, free translation, literal translation plus free translation, literal translation plus annotation, and so on. The third stage is verifying. In this stage, we must check the translation at least twice. In the first time, we should check whether there is any missing translation or wrong translation. And in the second time, we should check whether it's smooth and intelligible out of the original text.&lt;br /&gt;
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Whether literal translation or free translation, we must follow the three steps of understanding, expressing and verifying in translation practice. Understanding is the premise of expression, but understanding and expressing are usually complementary and unified, which can not be separated completely. To understand the original text, the translator also chooses proper expression and further deepen his or her understanding.&lt;br /&gt;
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===5.2.3 Unity in translation standard===&lt;br /&gt;
On the establishment of translation standards, Chinese and foreign translation theorists in different historical periods put forward different views. In China, there are Ma Jianzhong's view of &amp;quot;good translation&amp;quot; on the basis of modern linguistic theory, Yan Fu's translation standards of &amp;quot;faithfulness, smoothness, and elegance&amp;quot;, Chen Xiying's theory of &amp;quot;similarities in shape, meaning and spirit&amp;quot;, Lin Yutang's translation standards of &amp;quot;loyalty, smoothness and beauty&amp;quot;. In the West, there are Twelve Translation Principles of Bart, Three Principles of Tettler, Seven principles of Luther, functional equivalence of Nida and so on. All these translation standards are based on different social needs, translation contents, translation objects and translation purposes.(He Lirong 2018, 42)&lt;br /&gt;
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No matter which translation standard we use, it is impossible to meet it only by literal translation or free translation. Therefore, the two translation methods are unified in any translation standard. Therefore, they are inseparable unity of opposites.&lt;br /&gt;
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===6.Conclusion===&lt;br /&gt;
Literal translation and free translation are two different translation methods. Although they are different in conceptual definitions and applicable fields, in order to achieve a unified translation standard and a common translation goal, they both follow the same three procedures of understanding, expressing and verifying.&lt;br /&gt;
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In the process of translation, if the target text has the same form and style as the original text, it can be translated literally. If there are different forms and styles, it should be translated freely. When the structure of the original text is inconsistent with that of the target language, sticking to word-for-word translation will cause stiff translation difficult to understand. In the same way, making up sentences through subjective assumption according to the literal meaning without analyzing original text will cause random translation disloyalty to the original one.&lt;br /&gt;
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Therefore, we can conclude that we should treat literal translation and free translation with a dialectical way and use these two translation methods flexibly to create wonderful translations in our concrete translation practice.&lt;br /&gt;
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Siyu Zou.(2017).Dialectical Relationship between Translation Theory and Practice[J].Proceedings of the 7th International Conference on Education, Management, Information and Mechanical Engineering (EMIM 2017).&lt;br /&gt;
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Chen Fukang 陈福康.(2011).中国译学史[History of translation studies in China].Shanghai: Shanghai Foreign Language Press.&lt;br /&gt;
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Cao Huoqun 曹火群.(2005).翻译中的辩证关系[Dialectic relationships in translation].孝感学院学报 Journal of Xiaogan University (05) 39-43.&lt;br /&gt;
&lt;br /&gt;
Feng Qinghua 冯庆华.(2002).实用翻译教程[Practical translation course].Shanghai：Shanghai Foreign Language Education Press.&lt;br /&gt;
&lt;br /&gt;
Fan Zhongying 范仲英.(1994).实用翻译教程[Practical Translation Course].Beijing:Foreign Language Teaching and Research Press.&lt;br /&gt;
&lt;br /&gt;
He Lirong 何历蓉.(2018).论“直译与意译”在英汉翻译中的对立与统一 [On the opposition and unity of literal translation and Free Translation in English-Chinese translation]. 宿州教育学院学报 journal of suzhou education institute 21(04):40-43.&lt;br /&gt;
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Qiao zengrui 乔曾锐.(2000).译论—翻译经验与翻译艺术的评论和探讨 [Translation theory: A review of translation experience and the art of translation]. Beijing: China Industry and Commerce Joint Press.&lt;br /&gt;
&lt;br /&gt;
Tan Zaixi 谭载喜.(2004).西方翻译简史[A Brief History of Western translation]. Beijing：Commercial press.&lt;br /&gt;
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Wu Shuang 吴爽.(2018).翻译的最高境界—直译与意译的完美统一[The highest level of translation - the perfect unity of literal translation and free translation].现代交际 Modern communication (08):107-108.&lt;br /&gt;
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Xu Guoliang 徐国亮.(2020).对立统一：唯物辩证法的核心与列宁的发展[Unity of opposites: The Core of Materialist Dialectics and The development of Lenin]. 中共中央党校（国家行政学院）学报 Journal of Party School of the CPC Central Committee (National Academy of Governance) 24(05):75-83.&lt;br /&gt;
&lt;br /&gt;
Xu Yuanchong 许渊冲.(1980).直译与意译[literal translation and free translation]. Journal of Foreign Languages (6).&lt;br /&gt;
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Xu Yuanchong 许渊冲.(1996).译家之言[The Word of the Translator].出版广角 View on Publishing(6):92-94.&lt;br /&gt;
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Yan Mengwei 阎孟伟.(2020).关于唯物辩证法矛盾学说的几个基本问题[Some basic questions about the contradiction theory of materialist dialectics]. 思想理论教育导刊 Journal of ideological and theoretical education (08):40-47.&lt;br /&gt;
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Yang Yin 杨颖.(2019).浅谈直译与意译的动态统一[On the dynamic unity of literal translation and free translation].海外英语 Overseas English (17):160-161.&lt;br /&gt;
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Zhu Xiaojia 朱晓嘉.(2008).形合、意合的辩证观与翻译策略 [Dialectic thinking and Translation strategies of hypotaxis and Parataxis].Nanjing: Nanjing Normal University.--[[User:Gan Fengyu|Gan Fengyu]] ([[User talk:Gan Fengyu|talk]]) 01:52, 21 December 2020 (UTC)&lt;br /&gt;
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== Peter Newmark’s Improved Views on Literal Translation and Free Translation 赵茜 Zhao Xi MTI 英语笔译==&lt;br /&gt;
                                                              赵茜, 202070080627&lt;br /&gt;
===Abstract===&lt;br /&gt;
The dispute over the two basic translation methods, literal translation and free translation, has never stopped since ancient times. In view of the basic problem of his argument, Peter Newmark, an English translation theorist divides the various translation methods into eight, points out that different translation methods should be taken according to different text characteristics and puts forward with semantic translation and communicative translation based on years of translation researches. Semantic translation focuses on maintaining the content of the original text, while communicative translation emphasizes the effect of the translation. The author of this paper expresses some views on literal translation and free translation. Peter Newmark's theory has taken a big step forward from the fragmented and one-sided view of literal translation and free translation in the past, which has brought people out of the struggle between them and made people see the direction of further development of translation research.&lt;br /&gt;
&lt;br /&gt;
===Key words=== &lt;br /&gt;
Free translation, Literal translation, Peter Newmark, Semantic translation, Communicative translation&lt;br /&gt;
&lt;br /&gt;
彼得·纽马克对直译和意译的改进观点&lt;br /&gt;
&lt;br /&gt;
===摘要===&lt;br /&gt;
直译与意译这两种翻译基本方法之争从古至今从未停止过。针对其争论的基本问题，英国翻译理论家彼得·纽马克把各种翻译方法分成了八种，指出应根据不同的文本特点釆取不同的翻译方法，并在多年翻译研究的基础上提出了语义翻译和交际翻译。语义翻译重点在强调保持原文的内容，而交际翻译更多强调的是译文的效果。本文作者也提出了对直译和意译的一些看法。彼得·纽马克的理论把人们以往对直译、意译的零散的、片面的观点向前推进了一大步，使人们从直译、意译之争中走出来并看到翻译研究进一步发展的方向。&lt;br /&gt;
&lt;br /&gt;
===关键词===&lt;br /&gt;
直译, 意译, 彼得·纽马克, 语义翻译, 交际翻译&lt;br /&gt;
&lt;br /&gt;
===Introduction===&lt;br /&gt;
According to Chinese and western translation history, no matter in China or in western countries, studies on translation theories and practice have been performed over two thousand years. Translation, as an ancient and extremely significant human thinking activity, is closely related to the development of language itself. And translation after more than two thousand years of development, has developed prosperously, appearing quantities of translation theories, translation schools and translators. However, the dispute between two translation methods, literal translation and free translation has been lasting from throughout history. The fundamental problem between literal translation and free translation is based on the relationship between content and form. To solve this fundamental problem of the dispute, Peter Newmark first points out that translation studies have been long beset by the time-honored theoretical debate over free and literal translation. A range of wider aspects of translation related to the contribution to the development of languages, its relation to meaning, the intention of translation, the readers' background, the type of discourse and the language universals have been long neglected. Therefore, according to Newmark's own translation practice, he puts forward right translation methods, word-for-word translation, literal translation, faithful translation, semantic translation, adaption, free translation, idiomatic translation and communicative translation, which provide to translators to consider and use. Although in the actual translation practice, translators have no necessity to distinguish such translation methods and even to use these methods, this proposal may help translators open their horizons and translate more appropriately. Among the eight translation methods, semantic translation and communicative translation proposed by Newmark own the advantages of other six methods, becoming the most ideal translation methods. Peter Newmark's semantic translation and communicative translation are highly valued and influence the practice of translation in general. (Li Minghan 2014, 3)&lt;br /&gt;
&lt;br /&gt;
According to Chinese and western translation history, no matter in China or in western countries, studies on translation theories and practice have been '''done''' over two thousand years. Translation, as an ancient and extremely significant human thinking activity, is closely related to the development of language itself. And translation after more than two thousand years of development, has developed prosperously, '''including''' quantities of translation theories, translation schools and translators. However, the dispute between two translation methods, literal translation and free translation has been lasting throughout history. The fundamental problem between literal translation and free translation is based on the relationship between content and form. To solve this fundamental problem of the dispute, Peter Newmark first points out that translation studies have been long beset by the time-honored theoretical debate over free and literal translation. A range of wider aspects of translation related to the contribution to the development of languages, its relation to meaning, the intention of translation, the readers' background, the type of discourse and the language universals have been long neglected. Therefore, according to Newmark's own translation practice, he puts forward right translation methods, word-for-word translation, literal translation, faithful translation, semantic translation, adaption, free translation, idiomatic translation and communicative translation, which provide to translators to consider and use. Although in the actual translation practice, translators have no necessity to distinguish such translation methods and even to use these methods, this proposal may help translators open their horizons and translate more appropriately. Among the eight translation methods, semantic translation and communicative translation proposed by Newmark own the advantages of other six methods, becoming the most ideal translation methods. Peter Newmark's semantic translation and communicative translation are highly valued and influence the practice of translation in general. (Li Minghan 2014, 3)--[[User:Zhang Peiwen|Zhang Peiwen]] ([[User talk:Zhang Peiwen|talk]]) 08:48, 19 December 2020 (UTC)&lt;br /&gt;
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===Literal Translation and Free Translation===&lt;br /&gt;
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====Brief Introduction of Literal Translation and Free Translation====&lt;br /&gt;
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From ancient times, translators hold various attitudes toward such two translation methods, literal translation and free translation. &lt;br /&gt;
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=====Literal Translation=====&lt;br /&gt;
&lt;br /&gt;
Literal translation is a translation method which not only keeps the substance of the original, but also keeps the form of the original. This definition implies that the translation version is expressing the content of the original and should spare no efforts to make every part of the translation version corresponding to every part in the original text including construction of sentence, meaning of the original words, metaphor of the original and so on. &lt;br /&gt;
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According to Liu Zhongde, literal translation can be summarized into &amp;quot;to reproduce both the ideological content and style of the entire literary work and retain as much as possible the figures of speech&amp;quot;. (Liu Zhongde 1991, 52) &lt;br /&gt;
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Xu Yuanchong defines literal translation as &amp;quot;the kind of translation which is faithful not only to the content but also to the form of the original.&amp;quot; (Xu Yuanchong 1984, 45)&lt;br /&gt;
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Newmark suggests that literal translation is like, &amp;quot;sometimes it is very difficult to define what is literal translation, it is believed that a translation can be regarded as the literal translation when the translator is not influenced but the foreign flavors.&amp;quot;(Newmark 2001, 46) &lt;br /&gt;
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Mr. Yang Xianyi holds that the translators should be as faithful as possible to the original image and too much explanation and creativity should be avoided. This means translators should try to use literal translation method to introduce imagery in the source language to the target language readers. The reason why those translators who insist on literal translation are that they think literal translation is the only way to keep faithful to the original. They endeavor to adopt from as similarly as possible to the original to show the original meaning, thinking that it's the truest reflection of the original. (Wang Zuoliang 1989, 43)&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
Literal translation is a translation method which not only keeps the substance of the original, but also keeps the form of the original. This definition implies that the translation version expresses the content of the original and should spare no efforts to make every part of the translation version corresponding to every part in the original text, including construction of sentence, meaning of the original words, metaphor of the original and so on.--[[User:Zhang Peiwen|Zhang Peiwen]] ([[User talk:Zhang Peiwen|talk]]) 08:57, 19 December 2020 (UTC)&lt;br /&gt;
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=====Free Translation=====&lt;br /&gt;
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Free translation is a translation method which only keeps the substance of the original, but not keeps the form the original. Target language and source language have different forms to show the same substance, and they could not produce the same result. Free translation does not mean to delete or add content to the original, though it does not pay much attention to the form of the original. Otherwise, the translation would not be faithful to the original. Translators always discover the meaning behind the forms in the source language and dose their best to produce the same meaning in the target language, using the forms and structures in the target language. Consequently, what is supposed to change is the form and the code, and what should remain unchanged is the meaning and the message. &lt;br /&gt;
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Shuttle worth and Cowie define free translation as &amp;quot;a type of translation in which more attention is paid to producing a natural target language than to preserving the source language wording intact.&amp;quot; (Shuttle worth&amp;amp;Cowie 2004, 62)&lt;br /&gt;
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Free translation is the conveying of the discourse meaning of the speaker is not restricted by the structure and linguistic and rhetoric styles of the original text. (Ren Wen 2012, 18)&lt;br /&gt;
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Liu Zhongde has given his definition to free translation. According to his definition, free translation aims at transmitting the meaning regardless of the sentence forms and rhetorical devices. If translators are not able to  make the translated text faithful to the original text through literal translation, they may use their own words to explain the meaning of the text without considering the words and forms in original text. (Liu Zhongde 1991, 53-54)&lt;br /&gt;
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====Disputes over Free Translation and Literal Translation====&lt;br /&gt;
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In the past, translators generally believed that language and thought were unified, and language was form while thought was content. However, it was impossible to realize the consistence between language forms and ideological content, producing the contradiction between form and content, which is the problem between literal translation and free translation. Modern science has proved that language and thought are not a unity and constitutes a relationship between form and content. Language is only a symbolic system to express thoughts. Translation expresses the same idea by using two different language signals. &lt;br /&gt;
 &lt;br /&gt;
Marcus Tullius Cicero is generously acknowledged to be the first person to put forward a systematic description of the practice of translation and he said &amp;quot;I did not translate them as an interpreter, but as an orator... I did not hold it necessary to render word for word, but I preserve the general style and force of language.&amp;quot; (Tan Zaixi 2018, 20) He puts forward mainly two viewpoints. Firstly, the translation should be as close as possible to the language habits of the target language. At that time, namely, the translation should correspond with Roman habits as much as possible to touch and resonate with the readers. What's more, he advocates free translation and opposes literal translation as he believes that free translation is superior to literal translation. The most important thing in translation is not the corresponding in form, but the meaning and thought in the source language. Cecero's thoughts have provided a guide for other translators and produced an effect on them. Since Cicero came up with his opinion, the disputes over literal translation and free translation has never been stopped. &lt;br /&gt;
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Eugene Nida holds that if all languages differ in form, then quite naturally the forms must be changed if one is to preserve the content. He is in favor of dynamic equivalence instead of formal correspondence, maintaining the original meanings. In this sense, Nida agrees with free translation, just as he expresses that translating means translating meaning. (Nida 1985, 119-125)&lt;br /&gt;
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Zhai Qiubai insists literal translation and claims that the correct translation is based on Chinese syntax and rhetoric and has its specific intentions. First of all, he regards translation as a part of Proletarian literature. Translation should systematically introduce proletarian revolution thoughts to Chinese readers. Furthermore, translation should help create modern Chinese language and literal translation is an approach. To preserve the spirit in the original text, some non-smoothness can be tolerated. (Cheng Yongsheng 2002, 65) &lt;br /&gt;
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Lu Xun defines clearly that translation must take into account of two sides: one is easy to understand, the other maintains the style of the original. This explanation refers that the translators must translate according to the original text rather than their own world view and aesthetic taste. The translators must try their best to maintain the style of the original author and inherit historic and national characters rather than imposing extrinsic aesthetic and social background culture of other people on the translation. (Chen Fukang 2000, 301)&lt;br /&gt;
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Mao Dun has pointed out that due to different language families of Chinese and English and different structures, word-by-word translation us almost impossible actually. Because word-by-word translation is difficult to achieve its ideal effect, any discussion related with literal translation and free translation is inevitably involved with the problem &amp;quot;what is the boundary between them?&amp;quot; He also holds that the so-called literal translation, superficially speaking, means not to alter the original words and sentences. (Xu Haiyan &amp;amp; Sun Weihong 2012, 80)&lt;br /&gt;
Mao Dun has pointed out that due to different language families of Chinese and English and different structures, word-by-word translation '''is''' almost impossible actually. Because word-by-word translation is difficult to achieve its ideal effect. '''Any''' discussion related with literal translation and free translation is inevitably involved with the problem &amp;quot;what is the boundary between them?&amp;quot; He also holds that the so-called literal translation, superficially speaking, means not to alter the original words and sentences. (Xu Haiyan &amp;amp; Sun Weihong 2012, 80)--[[User:Zhang Peiwen|Zhang Peiwen]] ([[User talk:Zhang Peiwen|talk]]) 09:12, 19 December 2020 (UTC)&lt;br /&gt;
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In Xu Yuanchong's opinion, the criteria to judge literal translation and free translation is whether the translation is faithful to the original. If a translation is faithful to both meaning and form of the original text, it is literal translation. If a translation is only faithful to meaning rather than form, it is free translation. If a translation is only faithful to form rather than content, it is mechanical translation. And the standard to judge faithfulness are form and content. For translation, content is more significant than form. Besides, translators should use both literal translation and free translation. However, sometimes it is difficult to use literal translation or free translation in a translation, so it is not necessary to define literal translation or free translation in those situations. Xu argues that literal translation is not only being faithful to the content of the original text but also being close to its form. When Xu discusses the situations using literal translation or free translation, he often mentions readers and contexts, among which readers are more important. No matter literal translation or free translation, translators should put faithfulness to the content of the original text first, smoothness of target text form second, faithfulness to the form of the source text third. In other words, on the premise of faithfulness to the source language, translation should strive for smoothness of form. On the premise of smoothness of translation, translators should try their best to realize faithfulness to form of the original. If there is a contradiction between the smoothness and faithfulness of the original form, it is of no necessity to stick to the original form. These are the relationships between content and form, and literal translation and free translation. (Cheng Yongsheng 2002, 66)&lt;br /&gt;
&lt;br /&gt;
In Xu Yuanchong's opinion, the criteria to judge literal translation and free translation is whether the translation is faithful to the original. If a translation is faithful to both meaning and form of the original text, it is literal translation. If a translation is only faithful to meaning rather than form, it is free translation. If a translation is only faithful to form rather than content, it is mechanical translation. '''Also, there is the standard to judge faithfulness are form and content.''' For translation, content is more significant than form. Besides, translators should use both literal translation and free translation. However, sometimes it is difficult to use literal translation or free translation in a translation, so it is not necessary to define literal translation or free translation in those situations. Xu argues that literal translation is not only being faithful to the content of the original text but also being close to its form. When Xu discusses the situations using literal translation or free translation, he often mentions readers and contexts, among which readers are more important. No matter literal translation or free translation, translators should put faithfulness to the content of the original text first, smoothness of target text form second, faithfulness to the form of the source text third. In other words, on the premise of faithfulness to the source language, translation should strive for smoothness of form. On the premise of smoothness of translation, translators should try their best to realize faithfulness to form of the original. If there is a contradiction between the smoothness and faithfulness of the original form, it is of no necessity to stick to the original form. These are the relationships between content and form, and literal translation and free translation. (Cheng Yongsheng 2002, 66)--[[User:Zhang Peiwen|Zhang Peiwen]] ([[User talk:Zhang Peiwen|talk]]) 09:12, 19 December 2020 (UTC)&lt;br /&gt;
Whether in Chinese translation circle or in western translation circle, the contradiction between content and form, and literal translation and free translation exists and arouses heated discussion.&lt;br /&gt;
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===Semantic Translation and Communicative Translation===&lt;br /&gt;
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To solve the fundamental problem of free translation and literal translation, Peter Newmark, a renowned western translation theorist, linguist and professor of translation at the University of Surrey, combining with years of translation experience, has concluded and summarized a corresponding theory, semantic translation and communicative translation, whose core is the problem of literal translation and free translation. Semantic translation and communicative translation have been put forward against the background that the majority of scholars have argued for a long time whether to translate literally or freely. The concepts of communicative and semantic translation represent Newmark’s main contribution to general translation theory. (Newmark 1991, 10)&lt;br /&gt;
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====Semantic Translation====&lt;br /&gt;
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Newmark puts the definition of semantic translation as &amp;quot;Semantic translation, attempts to render, as closely as the semantic and syntactic structures of the second language allow, the exact contextual meaning of the original. &amp;quot; As this version of definition indicates, communicative translation focuses essentially upon the comprehension and response of TL receptors. Semantic translation severs for the source language author and gives a high priority to reflecting his thought patterns and stylistics. (Shuttleworth and Cowie 2004, 22) Here is an example.&lt;br /&gt;
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E.g. 谋事在人，成事在天。&lt;br /&gt;
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Yang Hsien-yi and Gladys Yang's Version: Man Proposes, Heaven disposes.&lt;br /&gt;
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In this example, the Chinese idiom means that a man has done his or her best to do something and as to whether he or she can achieve the goal, it depends on the fortune. “天” refers to the master of nature in ancient Chinese culture. This word is semantically translated into “heaven” as the translation emphasizes the original information and tries to preserve the favor, style and culture maintained in the source language.&lt;br /&gt;
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====Communicative Translation====&lt;br /&gt;
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Communicative translation attempts to produce on its readers an effect as close as possible to that obtained on the readers of the original. As this version of definition indicates, communicative translation centers around the semantic aspects of the source language texts. To be specific, in communicative translation, the emphasis should be on conveying the message of the original in a form, which conforms to the linguistic, cultural and pragmatic conventions of target language. Both content and language are readily acceptable and comprehensible to the readership. (Chen Boyu 2003, 4)&lt;br /&gt;
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Communicative translation intends to present the main idea of the original text and emphasize the social value generated by the translation. Communicative translation highlights on conveying the message expressed in the original and form of the the source language. Due to different textual functions, content and form should have different focuses. Texts of informative function emphasize on the information beyond the language, while texts of vocative function center on readers. The primary intention of translators is to convey the message to the target readers, without paying much attention to the style of the original. If it is necessary, translators can adjust grammar and words to better transmit the information. The change of forms is not only allowed, but also encouraged. (Zhang Linlin 2010, 17)&lt;br /&gt;
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E.g. 谋事在人，成事在天。&lt;br /&gt;
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Hawkes's Version: Man Proposes, God disposes.&lt;br /&gt;
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This translation is communicative translation. Different from the version of Yang, Hawkes translated &amp;quot;天&amp;quot; into &amp;quot;God&amp;quot;. In western culture, people believe that &amp;quot;God&amp;quot; is the master of nature. It renders the contextual meaning of the original in such a way that both content and language are readily acceptable and comprehensible to the readers.&lt;br /&gt;
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====Comparison Between Semantic Translation and Communicative Translation====&lt;br /&gt;
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The fundamental difference between semantic translation and communicative translation is that semantic translation attaches more importance to the content rather than effect and communicative translation is just opposite. &lt;br /&gt;
  &lt;br /&gt;
Firstly, semantic translation is more objective, stresses accuracy and is submitted to the author, culture and meaning of the original. Communicative translation is more subjective, pays much attention to the readers' responses, and is submitted to the target language and its culture. Semantic translation and communicative translation have difference in expression form. &lt;br /&gt;
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Second, semantic translation make the translated text more close to the original form and retain the vocative effect as much as possible. If there is no much difference between the source and target language specifications, translation should maintain the length of sentences in the original text as well. Communicative translation will reorganize the syntax and utilize more common collocations or words to make translation more fluent, idiomatic and understandable. In the communicative translation, to make the translation brief and emphasize key information, translators should get rid of the bondage of the source language structure and make appropriate adjustments which are not allowed in the semantic translation, such as adjusting the logic relations in the original, making obscure concepts distinct, deleting repeated unnecessary details or redundant information, normalizing some peculiar expressions, and even correcting factual or writing mistakes. &lt;br /&gt;
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Thus, they have different functions. Semantic translation, performing expressive function, tries to preserve the language characteristics and unique expression forms of the source language to present thinking process of the author. Its translation judged by the target readers is likely to be smoother, simpler, clearer and more direct. While communicative translation is to convey message, performing vocative function. &lt;br /&gt;
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In addition, the key of communicative translation is immediacy which means the success of translation depends on the readers' responses. Semantic translation lays stress on faithfulness to the source text, but cannot neglect to convey the message contained in the source text. (Lin Xiaoqin 1987, 50)&lt;br /&gt;
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Here are some examples to better present the differences between semantic translation and communicative translation.&lt;br /&gt;
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E.g. 世人都晓神仙好。&lt;br /&gt;
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Yang Hsien-yi and Gladys Yang's Version: All men long to immortals.&lt;br /&gt;
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David Hawkes’s Version: All men knew that salvation should be won. &lt;br /&gt;
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In this example, “神仙” is the difficult point because there is no corresponding expression in English. In Chinese culture, “神仙” refers to transcendence and is a life with “supernatural forces” in human beings. Yang directly translated “神仙” as “immortals” because being an immortal is the highest ideal of Taoism. His translation is semantic translation. While Hawkes used “salvation” which is a concept in the Christianity. The creed of Christianity is to be saved from sins. And his translation is communicative translation. Yang chose to be faithful to the original text to preserve the concept in the Taoism. While Hawkes decided to pay more attention to religious background and mentality of the target readers. &lt;br /&gt;
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E.g. 真是“天有不测风云，人有旦夕祸福”。&lt;br /&gt;
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Yang Hsien-yi and Gladys Yang's Version: Truly, “storms gather without warning in nature, and had luck befalls men overnight.”&lt;br /&gt;
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David Hawkes’s Version: I know “the weather and human life are both unpredictable.”&lt;br /&gt;
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In this sentence, “天有不测风云，人有旦夕祸福” is a challenge in translation. It is a Chinese idiom which means the occurrences of some disasters are unpredictable in advance. According to antithesis habit in Chinese, Yang translated these two idioms into the corresponding English compound sentence, which adopted semantic translation. While Hawkes briefly translated into a single sentence, which adopted communicative translation. The former sentence may be appreciated by Chinese readers, and the simplified processing of the latter is easier for native English speakers to understand and accept because it conforms to the British and American expressions, especially in line with the habits of daily expression.&lt;br /&gt;
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E.g. Wet Paint!&lt;br /&gt;
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Version 1: 湿油漆&lt;br /&gt;
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Version 2: 油漆未干&lt;br /&gt;
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Version 3: 小心油漆&lt;br /&gt;
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Version 4: 勿触油漆&lt;br /&gt;
&lt;br /&gt;
This sentence is an official notice. From the four versions of the source text, there are differences among them. Version 1 is word-by-word translation, conveying an obscure message and not involving in any receptors. Version 2 just describes a fact that the paint is not dry but wet and does not present the informative function of the original. This notice aims to warn people not to do something and keep away from the paint. Version 3 and version 4 are free translations because they emphasize more on the content instead of form. The first and second version are semantic translation because they only describe the fact and tell readers the information that the paint is not dry. However, the third and fourth version are communicative translation which not only tell people the information but also play the warning function to notify readers not to touch the wet paint. &lt;br /&gt;
&lt;br /&gt;
However, semantic translation and communicative translation are not opposite. Newmark points out that the two should be viewed as a whole, instead of isolated or opposite parts. And a problem should be emphasized. Corresponding text-types can overlap. Semantic translation pays more attention to a mainly expressive text and communicative translation is more popular in mainly informative or vocative texts. In brief, translators should think the type of text over and ensure a good balance between them.&lt;br /&gt;
&lt;br /&gt;
====Text Typology====&lt;br /&gt;
&lt;br /&gt;
Language is a unique symbolic system, which has its own most important semantic system, as well as a functional system involving context. &lt;br /&gt;
&lt;br /&gt;
Newmark's text tppology theory is influenced by Reiss, Jacobson and other translators. In the book of Approaches to Translation, Newmark put forward three functional texts, including expressive text, informational text and vocative text. In accordance with these types of classification, Newmark summarized semantic translation and communicative translation. (Newmark 2001, 39)&lt;br /&gt;
&lt;br /&gt;
Expressive text mainly talks about the author's subjective emotions and his or her standpoints, which centers on the source language and the author regardless of the target readers' responses. Newmark points out that the expressive text includes three literary styles: &amp;quot;(1)serious imaginative literature such as poem, novels and dramas, (2) authoritative statements such as speech or statements from government officials or party's officials or party's leaders, documents and regulations and laws from government, and academic works from authorities, (3) autobiography, prose and personal correspondence without target readers.&amp;quot; (Newmark 2001, 55) Semantic translation is applicable to the expressive text, with a particular emphasis on the language features and language structure of the original language which is similar to literal translation.&lt;br /&gt;
&lt;br /&gt;
As for informative text, Newmark proposes that &amp;quot;typical informative texts are concerned with any topic of knowledge&amp;quot;. (Newmark 1988, 40) The informative text focuses on the information or the content provided in the text. According to Newmark, informative text includes textbooks, papers, reports, and minutes about science, industry, technology, economy, commerce and other areas of knowledge or events, which are mainly used to deliver information and reflect truth. In light of translation of informative text, Newmark proposes that communicative translation can be adopted to convey accurate meaning or the content of the source text to the target readers. (Newmark 2001, 67)&lt;br /&gt;
&lt;br /&gt;
&amp;quot;The function of vocative text is to call upon readers to act, to think, to feel and to react in the way intended by the text.&amp;quot; (Newmark 2001, 41) The vocative text includes all kinds of specifications, publicity materials, advertisements, notices and other persuasive words. Two factors must be emphasized in vocative text: one is the relationship between the author of the source text and readers of the source text and another is that translation is easy to be understood by the target readers, therefore, translators should take the source language and its cultural background into consideration in the course of translation practice. And communicative translation should also be used in the vocative text which means much attention should be paid on the target readers' understanding and reaction.&lt;br /&gt;
 &lt;br /&gt;
===Newmark's Improved Views on Literal Translation and Free Translation===&lt;br /&gt;
&lt;br /&gt;
It can be said that literal translation and free translation in the past were had their own disadvantages. Newmark agrees with literal translation and he holds that &amp;quot;translation means filling the blank between two languages and even explaining is translating.&amp;quot; (Newmark 1999, 33) This indicates that he does not neglect the importance of free translation. If the language and grammar structure of the original are not that important, the fidelity of the translation can be lowered, creating more room for translation. This situation can mainly adopts free translation. He even believes that translators can create better translation than the original one. Communicative translation and free translation resemble when it comes to the preference for the message to the manner, and the content to the form of the original. In his masterpiece ''Approaches To Translation'', he analyzes and discusses the loss of meaning. As long as the loss of meaning in the translation is inevitable, content cannot separate from form. And complete faithfulness to the original is almost impossible because the so-called preserving the original meaning is relative. What's more, the content of a text should not be equal to referent in language, but include referent, rhyme, genre, style and so on. As the slogan, being faithful to the original, was too empty, some translators advocating literal translation did free translation and even paraphrased the original in the practice. Newmark holds that translators need to notice the content in four layers, the original text level, referred level, coherent language level and natural tone level. In this way, he transforms the empty slogan into concrete requirements in the translation practice and meanwhile criticized the disadvantages of literal translation. (Newmark 1999, 33)&lt;br /&gt;
&lt;br /&gt;
Likewise, the viewpoints of free translation are not advisable as well. Newmark criticizes the basis of free translation school, making the target readers obtain feelings similar to that of the original readers. He thinks the goal is too difficult to achieve because translators had problem in completely knowing the feelings and responses of the original readers. He further puts forward some reasons why this goal cannot be realized. As long as the same feelings cannot be obtained by the source and target readers, there exists no reason or judging basis of great amending or creative rewriting.  Free translation produces the matter rather than the manner, or the content rather than the form. Newmark regards it as usually a paraphrase much longer than the original, often prolix and pretentious, and not translation at all. In free translation, &amp;quot;more translation is paid to producing a natural reading TL text than to preserving the ST wording intact.&amp;quot; (Shuttleworth and Cowie 2004, 62)&lt;br /&gt;
&lt;br /&gt;
Newmark criticizes that the argument is theoretical without taking other important facets of translator's purpose, the nature of readership and text typology into consideration. Newmark claims the argument could come to a compromise if translators deal with two sides with another visual angle. In 1981, he proposed semantic translation and communicative translation to replace the old terms. (Newmark 1988, 45)&lt;br /&gt;
&amp;quot;(a) communicative translation, where the translator attempts to produce the same effect of the target language readers as produced by the original on the source language readers, and (b) semantic translation, where the translator attempts, with the bare syntactic and semantic constraints of the TL, to reproduce the precise contextual meaning of the author.&amp;quot; (Newmark 1981, 22) In order to better explain these two methods, he designed the form of a flattened diagram. (Newmark 1988, 45)&lt;br /&gt;
&lt;br /&gt;
                SL emphasis                            TL emphasis&lt;br /&gt;
   word for word translation                        Adaption&lt;br /&gt;
          Literal translation                     Free translation&lt;br /&gt;
          Faithful translation                  Idiomatic translation&lt;br /&gt;
            Semantic translation               Communicative translation&lt;br /&gt;
&lt;br /&gt;
The diagram indicates that there is a hugest gap between the translation guided by word for word translation and the translation guided by adaption, then between literal translation and free translation, faithful translation and idiomatic translation and semantic translation and communicative translation last. These eight translation methods are a continuity, and they complement each other and cannot be completely separated. In Newmark's opinion, adaption is the freest translation method, and suitable for drama and poem translation. Free translation reproduces the main content of the original and pay more attention to interpret and expound. Target texts guided by idiomatic translation are more natural, more fluent and more coherent. But due to adopt some unknown expressions, the original meaning may be distorted.&lt;br /&gt;
&lt;br /&gt;
Communicative translation possesses the advantages of adaption, free translation, idiomatic translation and semantic translation maintains the advantages of word for word translation, literal translation and faithful translation. Newmark maintains only by combining semantic translation and communicative translation can achieve two aims of translation-accuracy and conciseness. By distinguishing these right methods, he gives further refinements to the above definition of semantic translation and communicative translation. He adds one more element &amp;quot;aesthetic value&amp;quot;. Meanwhile, he gives up emphasizing the &amp;quot;effect&amp;quot;, and refines communicative translation to be more specific, &amp;quot;communicative translation attempts to render the exact contextual meaning of the original in such a way that both content an language are readily acceptable and comprehensible to the readership.&amp;quot; (Newmark 1988, 47)&lt;br /&gt;
&lt;br /&gt;
===My Thoughts on Literal Translation and Free Translation===&lt;br /&gt;
&lt;br /&gt;
The two translation methods, literal translation and free translation, are useful in the translation practice. Taking English-Chinese translation for example, in the translating process, translators can use the method of literal translation when the pattern of sentence in original text is similar with the Chinese one, and we can find some Chinese words being equivalent in meaning to the words used in the sentence of original text. In some cases there are some complex sentences that can be translated with the method of literal translation as well. As long as these sentences are short and the pattern of these sentences is relatively simple compared with other complex sentences, they can be translated by literal translation method. In English, the using of some metaphors and similes is almost similar to the way that they are used by in Chinese. For instance, &amp;quot;time flies&amp;quot; in English can be directly translated into Chinese as &amp;quot;时间飞逝&amp;quot;, as the Chinese people also describe time passing very fast in this way, which accords with the expression habit of Chinese.&lt;br /&gt;
&lt;br /&gt;
As English and Chinese are two kinds of different languages, there are many differences in various aspects, such as different grammar and language habits. In English there are some words or phrases we cannot find the relative words or phrases in Chinese. In this cases, using using literal translation method would not be proper. Under this condition, if the translator insists on using literal translation, the translation text will be difficult to be understood by the target readers. So in order to make the translation text readable, translators should adopt free translation. Under the direction of literal translation, translators will try their best to keep the flavor of original work, no matter on the material or the form. Literal translation is the effective method to keep the cultural flavor of original language. Therefore, when there are some cultural differences affecting the translation of culture-loaded words between the source language and the target language, free translation can become one of the translation strategies which provide possibility in reducing or even removing the restrictive factors in translation process. &lt;br /&gt;
 &lt;br /&gt;
In the process of translation, it is an ideal way to combine literal translation and free translation because they mutually complement in many cases. When literal translation cannot express the original and basic content of the author and hinder readers to understand, it is crucial for the translator to use free translation to express the author's meaning. When free translation cannot meet the requirement of being faithful to the content of the original text, it is significant for the translation to use literal translation to show features ad the structure of the author's language.&lt;br /&gt;
&lt;br /&gt;
===Conclusion===&lt;br /&gt;
&lt;br /&gt;
The dispute between two translation methods, literal translation and free translation has been lasting from throughout history. The argument of them is based on the relationship between content and form. This paper attempts to introduce Peter Newmark's improved views on the literal translation and free translation. Newmark criticizes some disadvantages and proposes semantic translation and communicative translation. Semantic translation focuses on maintaining the content of the original text, while communicative translation emphasizes more on the effect of the translation. The author also shows opinions on literal translation and free translation. Peter Newmark's theory has taken a big step forward from one-sided view of literal translation and free translation in the past, which has provided the direction of further development of translation research.&lt;br /&gt;
&lt;br /&gt;
===References===&lt;br /&gt;
*Nida,E.A[尤金·A·奈达].(1985).''Translating means Translating meaning''《翻译即译意》.UNESCO: Publication of FIT. &lt;br /&gt;
&lt;br /&gt;
*Newmark, Peter[彼得·纽马克]. (1991). ''About Translation''《关于翻译》. North Somerset: Multilingual Matters&lt;br /&gt;
&lt;br /&gt;
*Newmark,Peter[彼得·纽马克].(1998). ''A Textbook of Translation''《翻译教科书》. London: Prentice-Hall International (UK) Ltd. &lt;br /&gt;
&lt;br /&gt;
*Newmark, Peter[彼得·纽马克]. (1981). ''Approaches to Translation''《翻译方法》. Oxford: Pergamon Press.&lt;br /&gt;
&lt;br /&gt;
*Shuttleworth &amp;amp; Cowie[沙特尔沃斯&amp;amp;考伊]. (2004). ''Dictionary of Translation Studies''《翻译研究词典》. Shanghai: Shanghai  Foreign Language Education Press.&lt;br /&gt;
&lt;br /&gt;
*陈伯雨 Chen Boyu. “翻译对等” 研究[Study on Translation Equivalence]. 辽宁师范大学[Liaoning Normal University]. 2003.&lt;br /&gt;
&lt;br /&gt;
*陈福康 Chen Fukang.《中国译学理论史稿（修订本）》[''Draft History of Chinese Translation Theory (Revised)'']. 上海：上海外语教育出版社[Shanghai Foreign Language Education Publishing House]. 2000.&lt;br /&gt;
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*程永生 Cheng Yongsheng.中国近现代直译与意译研究[Research on Modern Chinese Literal Translation and Free Translation]. 淮南工业学院学报(社会科学版)[Journal of Huainan Institute of Technology(Social Science)]. 2002.&lt;br /&gt;
&lt;br /&gt;
*李明瀚 Li Minghan.语义翻译和交际翻译在汉语政论文翻译中的应用[Semantic Translation and Communicative Translation in the Translation of Chinese Political Writings]. 辽宁大学[Liaoning University]. 2014.&lt;br /&gt;
&lt;br /&gt;
*林小芹 Lin Xiaoqin.纽马克论交际翻译与语义翻译[Newmark's Study on Communicative Translation and Semantic Translation]. 中国翻译[Chinese Translators Journal]. 1987. &lt;br /&gt;
&lt;br /&gt;
*刘重德 Liu Zhongde.文学翻译十讲[Ten Lectures on Literary Translation]. 北京：对外翻译出版社[Foreign Translation Press]. 1991.&lt;br /&gt;
&lt;br /&gt;
*任文 Ren Wen.交替传译[Consecutive Interpretation]. 北京：外语教学与研究出版社[Foreign Language Teaching and Research Press]. 2012.&lt;br /&gt;
&lt;br /&gt;
*谭载喜 Tan Zaixi.《西方翻译简史（增订版）》[''A Short History of Translation in the West(Updated Version)'']. 北京：商务印书馆[Commercial Press]. 2018.&lt;br /&gt;
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*王佐良 Wang Zuoliang.翻译：思考与试笔[Translation: Thinking and Writing]. 北京：外语教学与研究出版社 [Foreign Language Teaching and Research Press]. 1989.&lt;br /&gt;
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*许海燕,孙卫红.杨译本文化负载词的翻译——以《从百草园到三味书屋》为例[On C-E Translation of Culture-loaded Words by Yang Xianyi—A Case Study of From ''Hundred-plant Garden to Three-flavor Study''].陇东学院学报[Journal of Longdong University]. 2012.&lt;br /&gt;
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*许渊冲 Xu Yuanchong.翻译的艺术[The Art of Translation]. 北京：五洲传播出版社[China Intercontinental Press]. 1984.  &lt;br /&gt;
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*许渊冲Xuan Yuanchong.直译与意译[Literal Translation and Free Translation]. 上海外国语学院学报[Journal of Shanghai Institute of Foreign Languages]. 1980.&lt;br /&gt;
&lt;br /&gt;
='''Document Translation'''=&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
==On translation of official documents of CangNan County	吴恺	Wu Kai==&lt;br /&gt;
&lt;br /&gt;
On Translation of Official Documents of Cangnan County&lt;br /&gt;
&lt;br /&gt;
Japanese Language and Literature, School of Foreign Languages, Hunan Normal University, Wu Kai--[[User:Wu Kai|Wu Kai]] ([[User talk:Wu Kai|talk]]) 04:45, 2 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
==='''Abstract'''===&lt;br /&gt;
As one of the forefronts of Zhejiang’s opening-up cause, Cangnan County in Zhejiang Province has been enjoying a rapid development and an ever-growing degree of opening-up with lasting vitality as it’s supported by national policies and nourished by the dividends of economic globalization since China's reform and opening-up. As China has ushered in a period of major changes rarely seen in a century, Cangnan County is also facing new opportunities and challenges. Under the background of this era, Cangnan County is expected to make good use of its own advantages, especially the geographical ones—it is close to countries and regions including Japan, South Korea, and Taiwan—and should spare no efforts to achieve a higher level of opening-up, and, in turn, further promote its development. As an embodiment of the collective will of the people of Cangnan County, the official document is one of the best manifestations of its governance and stability control capabilities. For this reason, the research on how to translate official documents is of great significance for that it offers a great opportunity for Cangnan County to re-examine itself and to show the rest of the world its achievement in building a culture-enriched county.&lt;br /&gt;
&lt;br /&gt;
==='''Key words'''===&lt;br /&gt;
 official document translation, Cangnan County, opening-up, Japan, South Korea&lt;br /&gt;
&lt;br /&gt;
==='''摘要'''===&lt;br /&gt;
自中国改革开放以来，浙江省苍南县作为全浙江对外开放的前沿阵地之一，得到了国家政策支持和经济全球化红利的滋润，苍南县发展水平与对外开放程度日新月异，全县活力持久带劲。随着中国迎来“百年未有之大变局”，苍南县也面临着新的机遇和挑战，在此时代背景下，苍南县应该利用好自身优势，特别是临近日本、韩国、台湾等国家与地区的地理优势，努力开展更高层次、更高水平的对外开放事业，促进苍南更好的发展。为此，作为苍南县人民集体意志的体现，苍南县的公文就是对外展示其治理水平、稳控能力的最好的体现之一。而对于苍南县公文的如何翻译的研究，是促使苍南县重新审视自己、推进苍南人文县情传播海外的良机，意义重大。&lt;br /&gt;
&lt;br /&gt;
==='''关键词'''===&lt;br /&gt;
公文翻译  苍南县  对外开放  日本  韩国&lt;br /&gt;
&lt;br /&gt;
==='''I. System and Translation of Official Documents of Cangnan County'''===&lt;br /&gt;
&lt;br /&gt;
The unique official document system adopted by Chinese government agencies is a special integration of the thousands-of-years excellent political traditions in China and the essence of the organizational structure of the socialist regime. As a county-level unit in China's local administrative structure, Cangnan County has an official document system that is consistent with the national ones in general while has its own features. Official documents of Cangnan County can be basically divided into the following types of writing: resolutions, decisions, orders, bulletins, announcements, notifications, opinions, notices, reports, requests for instructions, approvals, proposals, letters, and minutes. Above-mentioned categories are collectively known as official documents. Besides, there are also some types of practical writing, including summaries, plans, notes, memos, briefings, speeches, manuals and so on, that are often used in our day-to-day work.&lt;br /&gt;
&lt;br /&gt;
In addition to those characteristics of the official documents that are commonly seen in China, official documents of Cangnan County also have its own features, which is mainly reflected in the aspect of proprietary terminology. Cangnan County, which used to be a part of Pingyang County in Zhejiang Province, was officially designated as a county in 1981 with the approval of the Central Government. It takes its name Cangnan, which means “on the south of the Yucang Mountain”, from its geographical location. As a relatively young county-level administrative unit in China’s administrative divisions, Cangnan County has a complex natural endowment and cultural environment, which is the reason why there are many special proprietary terms used in the official documents of Cangnan County, such as “Beautiful South Gate of Zhejiang Province”, “Southern Ouyue (an ancient kingdom in modern Wenzhou and Taizhou)” , “South Gate of Jiangsu-Zhejiang Region” and so on. Moreover, Cangnan is also the birthplace of the “Wenzhou Model”. Since the implementation of policy for the exchange of production materials and commercial grains in 1984, Cangnan has become an important base for the experiments and development of Wenzhou's private economy and market economy, and, thus, has made a significant contribution to the great cause of China's reform and opening-up.&lt;br /&gt;
&lt;br /&gt;
To conclude, the unity of the official document system viewed from the national scope of China and the uniqueness of the official document system viewed from the local scope of Cangnan area are both reflections of the integration of economic, political, and cultural elements. Therefore, when translating the terms and sentences in these official documents, obviously, it is almost impossible to follow general translation theories, such as Yan Fu’s “faithfulness, expressiveness and elegance” theory which applies to literature translation, and Christiane Nord’ Skopos theory which emphasizes schematic analysis. Due to the features of the official documents of Cangnan County, it is hard to imagine the consequence it will cause if those Cangnan and Chinese elements they contain are missed when translating them. Therefore, the starting point for the translation and research of Cangnan official documents should be analyzing the official document itself, but not choosing which translation theory to apply.&lt;br /&gt;
&lt;br /&gt;
The translation method focusing on the official documents themselves is undoubtably the one that emphasizes the content while manages to achieve a similarity in form. Thus, the translation theory that meets the requirements of official document translation in Cangnan County shall be the functional equivalence theory of the American linguist Eugene A. Nida. Eugene A. Nida argued in his theory that translation is to use the most appropriate, natural and equivalent language to reproduce the informational function of the source language both semantically and stylistically. Nida’s definition of translation specified that translation is seeking equivalence not only in lexical meaning, but also in semantics, style and literary form. Translation should convey both the denotative and connotative meaning of a message. Regarding the equivalence of translation, he believed that the equivalence consists of four parts: lexical equivalence, syntactic equivalence, textual equivalence, and stylistic equivalence. Among the four aspects, he emphasized that the meaning the core and most important part, followed by the form. The form of a text is likely to conceal the cultural connotation of the source language and may, therefore, hinder cultural exchanges. Based on the above, the reasons why the functional equivalence theory is applicable to official document translation in Cangnan County can be concluded as follows:&lt;br /&gt;
&lt;br /&gt;
First, the functional equivalence theory advocates that the target text should be equivalent to the source text both semantically and culturally. Official documents of Cangnan County are carriers of profound political culture with Chinese characteristics and the cultural environment in Cangnan. When translating them, in addition to showing the political consciousness and judicial authority of Cangnan government agencies, the local culture of Cangnan must also be reflected in the translations.&lt;br /&gt;
&lt;br /&gt;
Second, the functional equivalence theory suggests that if the lexical meanings and cultural elements cannot be taken into account at the same time, the translator then may give up the equivalence in form and try to reproduce the semantic and cultural meaning of the source text by changing the form of the sentence. There are many specialized terms with Chinese characteristics and Cangnan’s characteristics in official documents of Cangnan County. When translating them, once there is no corresponding expression in the target language, other forms of expression must be adopted to retain the meanings of those specialized terms as much as possible.&lt;br /&gt;
&lt;br /&gt;
Third, the functional equivalence theory proposes that if the change in form is still not enough to express the semantic and cultural meaning of the expression in the source language, the translation technique of “heavy damage” can be adopted to resolve cultural differences , so that the source language and the target language can achieve equivalence in semantic meaning. “Heavy damage” refers to the transformation of the deep structure of the source language into the surface structure of the target language, that is, expressing the cultural connotation of the source text with expressions of the target language. It cannot be ruled out that there are words and sentences in the official document of Cangnan County that cannot be translated, and when this happens, the translator can only rely on his translation techniques and understanding ability to process them creatively.&lt;br /&gt;
Above are simply macro analyses of the official document system in Cangnan County, and when it comes to specific analyses, challenges we face will only be severer.&lt;br /&gt;
&lt;br /&gt;
==='''II. Stylistic Features and Translation of Official Documents in Cangnan County'''===&lt;br /&gt;
&lt;br /&gt;
Looking at the official documents of Cangnan County from the micro level, we can work on the study of its translation based on the following characteristics.&lt;br /&gt;
&lt;br /&gt;
'''1. Details and Accurate'''&lt;br /&gt;
&lt;br /&gt;
As an officially-written document geared for the needs of our people, wording of the official documents of Cangnan County has a very specific orientation. Almost all content words have very clear meanings and connotations.&lt;br /&gt;
&lt;br /&gt;
For example, the sentence “经研究，县政府决定召开市对县安全生产巡查反馈会暨突出问题集中教育警示会，现将有关事宜通知如下。(As discussed, the county government decided to convene a feedback meeting on city-to-county inspections of production safety and a meeting for education and warning on outstanding issues. The relevant matters are hereby notified as follows.)” in the document 《苍南县人民政府办公室关于召开市对县安全生产巡查反馈会暨突出问题集中教育警示会的通知》(“Notice of the Office of the People's Government of Cangnan County on Convening a Feedback Meeting on City-to-County Inspections of Production Safety and A Meeting For Education and Warning On Outstanding Issues”) (the office of the People's Government of Cangnan County on June 8th, 2020) conveys several points very accurately and clearly, including the decision maker, the type, content and theme of the meeting. Therefore, special attention must be paid to the integrity of the information delivered when translating this sentence. For example, it is translated into Japanese as “討議を通じて、県政府は県の安全生産状況に対する市政府の巡査結果反映会及び顕著問題教育警告会を開催することが決定した。関連事項を以下のようにお知らせする。”&lt;br /&gt;
&lt;br /&gt;
'''2. Precise and Compact'''&lt;br /&gt;
&lt;br /&gt;
The role of official documents is to exchange formal information between the upper and the lower, the people and the officials, and the relevant departments. Therefore, the wording of the official documents must be rigorous. No slang and loose sentences should be used, and excessive use of parentheses and descriptive modifiers should be avoided. Official documents of Cangnan County follow this rule as well, in which there will never be informal expressions like daily spoken words.&lt;br /&gt;
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For example, the expression “三、决策目录施行动态管理，因工作需要增减或变更重大行政决策事项的，承办单位应按照相关规定程序提请调整。(Third, the decision catalogue shall be managed in a dynamic way, the undertaker shall submit application for adjustments in accordance with the relevant regulations if any increase/decrease or change shall be made to the major administrative decision-making matters because of the need of actual work.)” in the document《关于公布苍南县2020年度重大行政决策事项目录的通知》(“Notice on Issuing the 2020 Annual Catalogue of Major Administrative Decision-Making Matters of Cangnan County”) (the office of the People's Government of Cangnan County on Sept. 20th, 2020) When translating this sentence into Japanese, the translator shall fully considers the preciseness of the original expression, and translate it as “三つ目、戦略目録動的管理施行、仕事需要によっての増減または変更が必要な場合、請負機構は関連規定の手順に従って調整を提出しなければならない。”&lt;br /&gt;
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'''3. Programmed and Standardized'''&lt;br /&gt;
&lt;br /&gt;
The purpose of official documents requires a stable and routine writing program so that the official business can be conducted in an orderly manner. It is essential that the document writing is reasonably programmed. It allows the officer to know what it is and what to do at a glance if a standardized official document program is followed. The standardization of the official documents of Cangnan County can be regarded as a tricky feature in their translation.&lt;br /&gt;
&lt;br /&gt;
For example, the expression “各乡镇人民政府，县政府直属各单位 (the people's government of all townships and towns and all directly affiliated institutions of the people’s government of Cangnan County)” in the document《关于公布苍南县2020年度重大行政决策事项目录的通知》(“Notice on Issuing the 2020 Annual Catalogue of Major Administrative Decision-Making Matters of Cangnan County”) (the Office of the People's Government of Cangnan County on Sept. 20th, 2020) is obviously a standardized addressing of the receiving units of an official document, and it should be translated into Japanese as “各郷鎮人民政府、県政府直属の各部門”.&lt;br /&gt;
Viewing from a micro perspective, we may find that special attention should be paid to many precise details when translating those official documents. It is of great significance that, during the cause of reform and opening-up, we strike a balance between the macro level and the micro level in official document translation, which will serve as a stage for Cangnan County to show itself to Japan, South Korea and other East Asian countries and regions.&lt;br /&gt;
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==='''III. Translation of Official Documents of Cangnan County under the Context of the Japanese Language'''===&lt;br /&gt;
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Cangnan County is one of the nearest administrative units to Japan in China, and Okinawa Prefecture in Japan and Cangnan County are neighbors facing each other across the sea. Furthermore, Cangnan County itself has ports in Xiaguan, Pacao, Yanting, Dayu and other places, and has the basic conditions for conducting small transactions of freights with Okinawa. However, due to the inadequacy policies, laws and regulations, a large portion of Japan’s trade with China, especially with Zhejiang Province, is still conducted in the three port cities, namely Ningbo, Zhoushan, and Hangzhou. Cangnan’s geographical advantages have never been given to full play. To Japan, Cangnan is not a total stranger. Wenzhou City has a great influence upon Japanese culture and history. Special local products such as Wenzhou green tea and Wenzhou satsuma orange are very attractive to Japanese people. Many of the business exchanges during the Kamakura Bakufu in Japan were happened between Hakata merchants and Wenzhou people. As an important subordinate region of Wenzhou City, Cangnan County naturally has left an impression on Japanese people when it comes to China.&lt;br /&gt;
&lt;br /&gt;
If Cangnan hopes to lay a foundation for the future cooperation with Japan through its cause of opening up to the outside world, it is of great importance that we study the methods and techniques to make the translation of Cangnan’s official documents to meet the specific context of the Japanese language, which is also a part of the cultural exchanges that will facilitate economic and trade cooperation between Japan and China. The political status of Cangnan County is equivalent to the one of regular cities and special wards in Japan, but this does not mean that the official documents of Cangnan County can be regarded as equivalents to the official documents released by the governments of the regular cities and special wards in Japan, and there are huge differences between their respective official documents in form, wording, Cultural connotation and etc. To better translate Cangnan official documents under the context of Japanese language, the following aspects must be paid attention to:&lt;br /&gt;
&lt;br /&gt;
1. Detailed Comparison of Types&lt;br /&gt;
&lt;br /&gt;
In the Japanese official document system, the word “公文” is different in meaning from the word “公文” in Chinese official document system. In Chinese “公文” means government official documents, while in Japanese “公文” generally refer to legal documents that have the force of law and the term “公文書” is the one that refers to government official documents, which roughly includes “外交文書” and “起案文”, “通達” , “命令”, “許可”, “通知書” and so on . When translating official documents of Cangnan County into Japanese, attention should be paid to the transformation of the types of the official documents. The classifications of official documents in China and Japan are different from each other.&lt;br /&gt;
For example, when translating documents such as “proposal letter”, “report” and the like into Japanese, the title should be translated as “建言書” and “報告書”, while “命令(order)”, “通知(notice)”, “提案(Proposal)” and etc. need no translation and can be titled with the original characters directly as “命令”, “通知”, “提案”, and can also be further translated into “命令状”, “通知書”, “提案書”. Those reflect the characteristics of the division of the types of the official document system in Japan.&lt;br /&gt;
&lt;br /&gt;
2. Careful Consideration of the Translation of Chinese Characters&lt;br /&gt;
&lt;br /&gt;
There are a large number of Chinese characters in Japanese. This will for sure be an advantage when translating official documents of Cangnan County into Japanese, however, at the same time, this is also a huge disadvantage. After all, those Chinese characters are Japanized Chinese characters, and their meanings and usages are more or less different from the original ones in Chinese.&lt;br /&gt;
&lt;br /&gt;
For example, the expression “设定全县森林防火期(setting the season of forest fire prevention)” in the document 《苍南县应急管理局局长王再忠关于&amp;lt;苍南县人民政府关于做好森林防火期护林防火工作的通告&amp;gt;的政策解读》(“Policy Interpretation Of ‘Notice of Doing Forest Protection and Fire Prevention during the Season of Forest Fire Prevention by the People's Government Of Cangnan County’ by the Director of Cangnan Emergency Management Agency Wang Zaizhong”) in could be translated character by character into Japanese as “全県域森林防火期間設定”. However, expressions such as “野外火源如何管理” cannot be translated in the same way, and must be processed accordingly and translated into Japanese as “野外の火の元が如何に処理すること”. When translating official documents of Cangnan County into Japanese, the translators must reject the preconceived thinking and native Chinese thinking, or it will lead to irreversible misunderstandings and mistakes.&lt;br /&gt;
&lt;br /&gt;
3. Mastery of the Equivalence of Semantic Meaning&lt;br /&gt;
&lt;br /&gt;
Chinese is an isolating language, in which the grammatical meaning is reflected by the order of words, while Japanese is an agglutinative language, in which auxiliary words and flexible usages of vocabulary are adopted to reflect the grammatical meaning. This requires the translators to have mastery of the equivalence of semantic meanings when translating official documents of Cangnan County into Japanese and try to achieve perfect equivalence in official document translation.&lt;br /&gt;
&lt;br /&gt;
For example, there is a expression as “全体公民必须认真贯彻‘以人为本、预防为主、积极扑救、有效消灾’的森林防灭火工作方针，一旦发现森林火灾，要立即向当地人民政府或森林防灭火指挥部办公室报告(all citizens must seriously implement the working policy of forest fire prevention and firefighting ‘people-oriented, prevention-focused, active in firefighting, effective in disaster relief’, once a forest fire is detected, it must be reported to the local people’s government or the forest fire prevention and firefighting headquarters office immediately)” in the document 《苍南县应急管理局局长王再忠关于&amp;lt;苍南县人民政府关于做好森林防火期护林防火工作的通告&amp;gt;的政策解读》(“Policy Interpretation Of ‘Notice of Doing Forest Protection and Fire Prevention during the Season of Forest Fire Prevention by the People's Government Of Cangnan County’ by the Director of Cangnan Emergency Management Agency Wang Zaizhong”). When dealing with long and complex sentences, the translator must be flexible in using translation techniques to decompose the sentences and translate them step by step, focusing on the balance between the form of the sentence and its semantic meaning. Based on this principle, the abovementioned sentence could be translated into Japanese as “人間本位、予防軸化、積極救助、有効消災という森林防火作業方針は全県民が必ず強固に守らなければならない。林に火事が発見された際、直ちに所轄人民政府や森林防火指揮部執務室に報告すること。”&lt;br /&gt;
&lt;br /&gt;
There is no doubt that, in terms of four-character idioms, allusions, new words of the era and etc., the translation of official documents of Cangnan County under the context of the Japanese language still has a long way to go, but the part that we should pay most attention to in translation is always the differences in culture between the source language and the target language. Only by keeping this basic point in mind at all times, will there be no huge mistakes being made when translating official documents of Cangnan County into Japanese.&lt;br /&gt;
&lt;br /&gt;
==='''Ⅳ. Translation of Official Documents of Cangnan County under the Context of the Korean Language'''===&lt;br /&gt;
&lt;br /&gt;
Zhejiang Province and South Korea have laid a good foundation for economic and trade cooperation projects, and a framework that is comprehensive, wide-ranging, and multi-level has been established for Zhejiang-South Korea cooperation. The advantages of the two regions are obviously complementary and the development potential for both sides and in between is huge. In September 2016, the Zhejiang China-Korea (Quzhou) Industrial Cooperation Park was approved as the first batch of “Zhejiang International Industrial Cooperation Parks” in Zhejiang Province. The total planned area is about 3,000 acres and the total planned investment is 12 billion yuan. Represented by the Zhejiang China-Korea Industrial Cooperation Park, a large number of economic and trade cooperation projects has been carried out with South Korea by Zhejiang Province. As an indispensable part of Zhejiang Province, Cangnan County is facing a huge gap in the cultural exchanges and economic cooperation with South Korea. How to elevate the level of Cangnan’s opening up to the outside world and advancing Cangnan’s economic, trade and cultural cooperation with South Korea is a question that is well worth exploring. Although Cangnan is further away from South Korea compared with regions in the north of Zhejiang, geographic location should never be a factor that hindering Cangnan’s economic, trade and cultural cooperation with South Korea. In an era of ever-deepening globalization, it is of great significance that we think about how to develop and promote the economic and trade and cultural cooperation between Cangnan and South Korea.&lt;br /&gt;
&lt;br /&gt;
Northern Zhejiang is a key area for economic, trade and cultural cooperation with South Korea. As the south gate of Zhejiang Province, if Cangnan County could open the door of economic, trade and cultural cooperation to South Korea, then this will inevitably bring extraordinary development opportunities to southern Zhejiang and make the pattern of Zhejiang and South Korea’s economic and cultural cooperation more balanced and healthy. The political status of Cangnan County is equivalent to the one of si(city), gu (district), and gun(county) in South Korea. Because of some historical reasons, South Korea is greatly influenced by Chinese culture. From the Three Kingdoms era of Joseon, to the Unified Silla Dynasty, the Wang’s Goryeo Dynasty, and the Yi’s Joseon Dynasty, the basic system of administrative divisions in South Korea is almost the same as the one in China, so the official document system of cities, districts, and counties in South Korea can be regarded as basically equivalent to the official document system of Cangnan County with only slight differences originated from the localized political and cultural traditions and the basic social condition of South Korea. Therefore, there are relatively fewer difficulties of translation when translating official documents of Cangnan County into Korean, aside from the barriers caused by Korean Hangul words. The translation of official documents of Cangnan County under the context Korean language requires attention to the following aspects:&lt;br /&gt;
&lt;br /&gt;
1. The Combination of Chinese characters and Hangul&lt;br /&gt;
&lt;br /&gt;
Modern Korean uses Hangul as the main written characters, but this does not mean that there is no place for Chinese characters in the Korean system. Since the launch of the abolition of Chinese characters movement in South Korea in the 1970s, Hangul did exactly achieved an overall penetration of every aspect of their daily life, but when it comes to important documents, Chinese characters still reserve a seat in the arena of South Korea’s history. Furthermore, a higher level of talent training is required now to meet the need of South Korea’s economic and social development, and the mastery of sinology has become, among all the necessary skills, one of the most straightforward evaluation criteria to access the qualified personnel. Thus, South Korea has restarted the Chinese character teaching movement. Nowadays, the official document system in South Korea has become one in which Hangul serves as the main language and the mixed use of Chinese characters and Hangul serves as a supplement. Just as how the mixed use of kana and Chinese characters in Japanese official documents may help in its translation, the mixed use of Chinese characters and Hangul also greatly facilitate the translation of official documents of Cangnan County into Korean. However, because Chinese characters used in Korea are composed of traditional Chinese characters and a small number of Korean self-made Chinese characters, we can not take it for granted that it is advisable to translate them word by word.&lt;br /&gt;
&lt;br /&gt;
For example, the title of the document《苍干任〔2020〕18号 王再忠等同志的任命》(“Cangnan Cadre Appointment [2020] No. 18: Appointment of Wang Zaizhong and etc.”) (the Office of CPC Cangnan Party Committee on March 27th, 2020) can be translated with the mixed use of Chinese characters and Hangul into Korean as《蒼南縣의 幹部任命〔2020〕18號 王再忠등 同志의任命》. Also, it be translated into Korean with Hangul alone as《참남현의 간부임명〔2020〕18호 왕재충등 동지의임명》.&lt;br /&gt;
&lt;br /&gt;
2. The Usage of Refined Language&lt;br /&gt;
&lt;br /&gt;
In recent years, South Korea has carried out reforms of the official document system, urging that the South Korean government agencies at all levels should use “refined(or purified) language”, that is, to write and publish official documents with words that are easy for the public to understand and have explicit meanings, reducing the cost of communication between the government and the public and, in this way, building a closer relationship between the government and the people, so that civil servants can communicate with the people more effectively. Refined language is a kind of common vernacular that differs from the official language. Although this trend of the wording of Korean official documents is not unconditional, but when compared with official documents of Cangnan County, which emphasize the solemnity and formality of official documents, this trend is the part that the translator has to pay his attention to.&lt;br /&gt;
&lt;br /&gt;
For example, when translating the expression “为加强行政规范性文件管理，切实推进依法行政，加快法治政府建设 (To strengthen the management of administrative normative documents, promote the administration in accordance with law, and accelerate the construction of a government ruled by law)” in the document《苍南县人民政府关于公布县政府及县政府办公室行政规范性文件清理结果的通知（有效）》(“Notice of the Office of the People's Government of Cangnan County on the Announcement of the Results of the Cleanup of the Administrative Normative Documents of the County Government and the County Government Offices (Effective)”) (the Office of the People's Government of Cangnan County on October 23th, 2020) , blunt expressions may not be that applicable and this expression translated into Korean in a more public-friendly way as “행정 규범적인 문서관리를 강화하기 위해, 법에따라 행정을 철저히 추진하고 법치정부의 건설을 가속화시킨다.”&lt;br /&gt;
&lt;br /&gt;
3. Mastery of the Equivalence of Semantic Meaning&lt;br /&gt;
&lt;br /&gt;
Like Japanese, Korean is also a typical agglutinative language. A sentence is formed by connecting independent words with various auxiliary words, and with a subordinating conjunction at the end of the sentence. Auxiliary words are just like glues, they exist after every subject, predicate, and object component of a Korean sentence to them together. For that these auxiliary words have no substantial meaning themselves, they must stay close to the main body in front, and a space must be put after. Therefore, when translating Chinese, which is an isolated language, into Korean, which is an agglutinative language, it is necessary to have mastery of the equivalence of the semantic meaning of the expression.&lt;br /&gt;
&lt;br /&gt;
For example, when translating the expression “全面实施全民参保计划，做好参保情况清查，提升参保信息质量，清理重复参保，稳定持续参保，减少漏保断保，实现应保尽保。(Fully implement the national social security plan, do a good job in checking the coverage of the social security, improve the quality of the collection of the information of the insured, clean up repeated insureds, stabilize the renewal of the social security, reduce the interruption of the social security, and achieve full social security coverage.)” in the document《关于做好2021年度城乡居民基本医疗保障工作的通知》(“Notice on Doing a Good Job in Basic Medical Security for Urban and Rural Residents in 2021”)( the Office of Medical Security Bureau of Cangnan County on November 5th, 2020), the translator should pay attention to the equivalence of semantic meaning of this long sentence and translated it into Korean as “전국민기본의료보험가입계획을 전면적으로 실시하고 기본의료보험가입상황을 철저히 조사하며 기본의료보험가입 정보의 질을 향상시키고 중복기본의료보험가입을 청산하며 안정적이고 지속적인 기본의료보험가입을 하며 보험누락을 줄이고 기본의료보험가입 을 실현해야 한다.”&lt;br /&gt;
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==='''Ⅴ. Studies of Official Document Translation and the Cause of Opening-up in Cangnan County'''===&lt;br /&gt;
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Based on the abovementioned basic characteristics of the official document system of Cangnan County, the notes for official documents translation under the context of the Japanese language and the notes for official documents translation under the context of the Korean language, we can see that official documents of Cangnan County is not as difficult to handle as something untranslatable. Cangnan County enjoys a good geographic location: it is located in the coast of the East China Sea, and is close to both Japan and South Korea, two strong economies in East Asia. However, Cangnan County has not yet made use of these favorable conditions to the fullest to promote cultural cooperation and trade with the two countries. Cangnan’s opening up to the outside world requires innovative thinking and an elaborate layout. Studies on the translation of official documents of Cangnan County, especially the translation of official documents under the context of the Japanese and Korean language, will help to explore the cultural spirit of the government institutions, and play an important role in building a good image of Cangnan County in East Asia and laying a foundation for Cangnan's cooperation with major countries and regions in East Asia .&lt;br /&gt;
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The world today is undergoing profound changes rarely in a century, and so is China. The tide of history moves on and Cangnan shall not stay out of the matter, but must follow it courageously and strive to open new doors for Cangnan's opening up to the outside world through the study of the official document translation of its own.&lt;br /&gt;
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===References===&lt;br /&gt;
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[1]Ziqi LIU. The Application of Functional Equivalence Theory in Scientific Translation：A Case Study of the Translation of Shipbuilding English[J]. CREATIVITY AND INNOVATION,2019,1(3).&lt;br /&gt;
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[2]Mu Dan. Discussion on Translation Activities Under the Guidance of Functional Equivalence Theory[J]. International Journal of Education and Management,2018,3(2).&lt;br /&gt;
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[3]李琳琳. 功能对等翻译理论与关联翻译理论比较研究[D].辽宁师范大学,2006.&lt;br /&gt;
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[4]赵娟廷. 汉韩公文语体对比研究[D].复旦大学,2003. &lt;br /&gt;
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[5]周萱. 《中国共产党怎样解决民族问题》（节选）中韩翻译报告[D].青岛大学,2017.&lt;br /&gt;
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[6]张利军. 《教学的游戏性研究》的汉日翻译实践报告[D].广西师范大学,2019.&lt;br /&gt;
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[7]栾亚琼. 《2015年山东省政府工作报告》汉日翻译实践报告[D].曲阜师范大学,2016.&lt;br /&gt;
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[8]占丽华. 源流与演变—日本地方公文书馆发展路径研究[D].山东大学,2020.&lt;br /&gt;
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[9]任清萍. 功能翻译理论视角下政府工作报告日译研究[D].外交学院,2020.&lt;br /&gt;
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[10]孙慧. 产业竞争力与区域经济增长[D].苏州大学,2006.&lt;br /&gt;
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--[[User:Wu Kai|Wu Kai]] ([[User talk:Wu Kai|talk]]) 04:45, 2 December 2020 (UTC)&lt;br /&gt;
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==The Translation Process and Methods of Translating English Long Sentences - Zhou Yiwen 周艺文 202070080629 MTI 英语笔译==&lt;br /&gt;
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&amp;lt;center&amp;gt;Zhou Yiwen 周艺文， 202070080629.&amp;lt;/center&amp;gt;&lt;br /&gt;
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===Abstract===&lt;br /&gt;
&lt;br /&gt;
The translation of long English sentences is a difficult point in English-Chinese translation. It is very important to understand the features of sentence structure and the translation process and methods of long English sentences. This paper studies the translation process and methods of English long sentences through the comparative study of English and Chinese language characteristics and specific English-Chinese translation analysis. This paper is divided into five parts. The first part introduces the characteristics of English long sentences. The second part illustrates translation difficulties of English long sentences by making contrasts the language features of English with that of Chinese, which can be divided into three aspects: English sentences emphasize hypotaxis, Chinese sentences emphasize parataxis; English is a static language, while Chinese is a dynamic language; English prefers passive voice while Chinese prefers active voice. The third part expounds the translation principles for English long sentences from the perspective of Skopos theory, which are skopos rule, coherence rule and fidelity rule. The fourth part mainly analyzes the process of translating English long sentences through some examples. In the end, five translation methods are discussed, which are liner translation, reorganization translation, division, embedding and synthesis.&lt;br /&gt;
&lt;br /&gt;
===Key words===&lt;br /&gt;
&lt;br /&gt;
English long sentences; language characteristics; translation process; translation methods&lt;br /&gt;
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===英语长句翻译过程及翻译策略===&lt;br /&gt;
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===摘要===&lt;br /&gt;
&lt;br /&gt;
英语长句翻译是英汉翻译的难点，了解英语长句的句子结构特点和翻译过程及方法在英汉翻译中十分重要。本文通过对比研究英汉语言特点及具体英汉译本分析对英语长句翻译过程和方法进行研究。本文分为五个部分，第一部分介绍了英语长句的特点。第二部分分析了造成翻译英语长句困难的原因，即英汉两种语言在句子结构上的差异，即英语句子重形合，汉语句子重意合; 英语是静态语言，汉语是动态语言; 英语喜用被动语态，汉语喜用主动语态。第三部分运用目的论阐述了翻译英语长句的原则，即目的原则，连贯原则和忠实原则三个方面。第四部分主要通过具体的句子分析英语长句的翻译步骤及过程。最后探讨了英语长句汉译时采用的五种翻译方法，即顺序法、变序法、分译法、包孕法和综合法。&lt;br /&gt;
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===关键词===&lt;br /&gt;
&lt;br /&gt;
英语长句子；语言特点；翻译过程；翻译方法&lt;br /&gt;
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===1.Characteristics of English Long Sentences===&lt;br /&gt;
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The existence of long English sentences are usually caused by three elements. The first one is postmodifier, the second is the large number of joint components, the third one is the complex structure of long sentences. In general, long English sentences are more common in the literary text, discussion text and technical text (Wang, 2010 124).English and Chinese have many similarities in basic sentence structure. The main elements of sentence structure mainly include subject, predicate, object, predicative, attribute, adverbial modifier, and complement. In English, the sentence emphasizes the form and the sentence has a tree structure, and the Chinese sentence emphasizes the parataxis, and the sentence has a bamboo structure.(Wang, 2010 124)&lt;br /&gt;
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The main characteristics of English long and difficult sentences are as follows:&lt;br /&gt;
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(1) There are much more words, more complex sentence patterns, and more modifiers in these sense.&lt;br /&gt;
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(2) Compared with simple sentences, long and difficult sentences often use inversion structure, and there are phenomena of omission and word order inversion.&lt;br /&gt;
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(3) The reason for the formation of long and difficult sentences is that there are many long and difficult sentences with coordinate components, phrases, additional components, clauses, and coordinate sentences.&lt;br /&gt;
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(4) The language structure of long and difficult sentences is relatively complex and has a strong sense of hierarchy.&lt;br /&gt;
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===2.Translation difficulties of English long sentences===&lt;br /&gt;
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The difficulties of translation are mainly caused by the differences between the source language and target language. English and Chinese belong to different language systems, the former belongs to Indo-European language family, the latter belongs to Sino-Tibetan language family, so there are significant differences in syntax between them. In addition, the different cultures of English and Chinese will inevitably lead to the difference in sentence structure between the two languages, because language is the carrier and medium of culture. (Jiang, 2019, 62-65)&lt;br /&gt;
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===2.1Hypotaxis vs. parataxis===&lt;br /&gt;
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English syntactic structure is hypotaxis while Chinese syntactic structure is parataxis (Lian, 2010 73). Hypotaxis is that the words or clauses in a sentence are connected together by means of linguistic formal means (such as using related words) to express grammatical meaning and logical relations(Jia, 2002 101). English emphasizes explicit connection, emphasizes form and structure, and often helps with various means of connection. As a result, the sentence structure is rigorous and lacks elasticity. English sentences are often made with relatives (who, whom, whose, which, that, where, when, etc.), conjunctions (but, however, unless, because, since, so, and, if, etc. ), preposition (in, about, without, throughout, according to, along with, etc.), and other connective means. Parataxis means that words and clauses are not connected by means of linguistic forms, and the grammatical meaning and logical relation in a sentence are expressed by the meaning of words and clauses (Jia, 2002 101). Chinese sentences are made with little or no means of formal connection, with emphasis on invisible coherence, function and meaning, so the sentence structure is loose and flexible (Jia, 2002 101).&lt;br /&gt;
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Example 1: &lt;br /&gt;
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ST: Individuals develop within themselves an ability to persevere and tolerate things that are unexpected or bad, difficult to get through. &lt;br /&gt;
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TT: 人们在内心修炼一种能力，在面对意外、不幸或者挑战时也能继续坚持和忍耐。&lt;br /&gt;
&lt;br /&gt;
Analysis: In this sentence, “that...to get through” is a attributive clause to modify “things”, which is a kind of hypotaxis. The translation is not limited to the original sentence structure but follows Chinese expression habit, so the language is very smooth. &lt;br /&gt;
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===2.2Static language vs. dynamic language===&lt;br /&gt;
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English is static language and Chinese is dynamic language. The reason why English is a static language is that nouns and prepositions are frequently used and predominate in English. In English sentences, there can only be one predicate verb and other action words can only be nominal verbs. Therefore, nominalization has become a common phenomenon in English. (Wang, 2004 5) Prepositions are used to before nouns and noun phrases. They have no morphological changes and are very flexible in use. Therefore, the frequency of using prepositions in English is very high and the number of prepositions far exceeds that in Chinese. When translating Chinese to English, an important way to make the target text conform to the expression of English is to pay attention to the application of English prepositions. Since Chinese is parataxis language, verbs have no morphological changes, and the use of verbs makes the language more vivid, so verbs are frequently used in Chinese. In addition to a large number of verb-object structures, Chinese sentences can be more dynamic by using a series of verbs. In English-Chinese translation, we must pay attention to the conversion between static and dynamic. (Jiang, 2019 12:62-65)&lt;br /&gt;
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&lt;br /&gt;
Example 2:&lt;br /&gt;
&lt;br /&gt;
ST:This month, when earthquakes rocked Southern California on back-to-back days, it was a visceral reminder that we may one day experience the “Big One”, a quake with the power to kill and destroy.&lt;br /&gt;
&lt;br /&gt;
TT:本月南加州连遭地震，人们本能地联想到，我们某天可能会经历“一次大的”具有杀伤力和破坏力的地震。&lt;br /&gt;
&lt;br /&gt;
Analysis: The noun “reminder” is translated into a verb “联想”, which is a transformation from static language to dynamic language.&lt;br /&gt;
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===2.3Passive voice vs. active voice===&lt;br /&gt;
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Although both English and Chinese have active voice and passive voice, the frequency of English passive voice is much higher than that of Chinese, which is also one of the characteristics that distinguishes English from Chinese. Especially in English scientific technical text, the passive voice is much more used, almost becoming a expression habit, because the passive sentence does not have to point out the actor but highlight the target, which is more objective(Zhu 2004, 94). In English-Chinese translation, we must grasp this difference in language, so as to make the translation conform to the expression habit of the target language. (Zhu 2004, 94)&lt;br /&gt;
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Example 3:&lt;br /&gt;
&lt;br /&gt;
ST: At the heart of the system--known as the multi-lateral trading system--are the WTO’s agreements, negotiated and signed by a large majority of the world’s trading nations, and ratified in their parliaments.&lt;br /&gt;
&lt;br /&gt;
TT: 世界贸易组织的核心--多边贸易体系--是世界上大多数贸易国经协商谈判并签署的多个协议, 这些协议同时也经过成员国议会批准。&lt;br /&gt;
&lt;br /&gt;
Analysis: The sentence of the source text is passive, “negotiated”, “signed” and “ratified” are passive in meaning, while Chinese sentence was translated into active, “协商”, “谈判”, “签署” are verbs in active verb.&lt;br /&gt;
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===3.Translation principles for English long sentences===&lt;br /&gt;
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Skopos theory was put forward by Hans Vermeer, an outstanding contributor to the translation theory of the German functional school. Different from the traditional equivalence theory, Skopos theory is based on behaviorism and proposes that translation is a purposeful activity(Zhang, 2004 35). The purpose of translation determines the translation method(Reiss and Vermeer, 1984). According to teleology, translators should follow three general principles in the process of translation: skopos rule, coherence rule and fidelity rule(Liu, 2009 378).&lt;br /&gt;
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Of the three principles, the skopos rule is the most important. The “skopos” can be the translatorss purpose, the communicative purpose of the target text or the purpose to be achieved by using a particular translation method. It usually refers to the communicative purpose of the target text, that is, the communicative function of the target text for the target reader in the socio-cultural context of the target text (Venuti, 2001). Vermeer emphasizes that translation occurs in a cultural context, and translation is not a corresponding conversion of language due to the differences between cultures. The translator should not only accurately understand and interpret the author’s intention, but also make the translation acceptable to readers(Vermeer, 1989).&lt;br /&gt;
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Coherence rule refers to the fact that the target text must achieve intratextual coherence, making readers to understand and make sense in the communicative context of the target culture and target text. The fidelity rule means that the original text should be intertextually coherent, which is equivalent to being faithful to the original text in other translation theories. And the degree and form of fidelity to the original text depend on the purpose of the translation and the translator’s understanding of the original text. According to Skopos theory, the first one that all translations should follow is skopos rule, coherence and fidelity are subordinate to it. And fidelity is subordinate to coherence (Nord, 2001 32). There are many differences between English and Chinese in thinking and expression, and translation is a kind of cross-cultural communication behavior. Therefore, translators must not ignore the communicative purpose of translation. Guided by skopos rule, coherence rule and fidelity rule, and based on the full analysis of the original text, the most appropriate strategies can be chosen to deal with specific long English sentences with the communicative purpose of the target text (Nord, 2001 32).&lt;br /&gt;
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===4. Translation process of English long sentences===&lt;br /&gt;
 &lt;br /&gt;
Bell divided the cognitive process of translation into 3steps: first, analyze the semantic meaning and grammar of the source language as a universal representation, and then synthesize and reconstruct it to form a translation (Bell, 1991 5). This is also the case with the translation of long sentences, and the analysis of English long sentences is the first step. Since English long sentences focus on the expression of form, the basic methods of analyzing Long sentences based on characteristics are as follows: first understand the meaning of the sentence, analyze the grammatical structure of the long sentence, extract the main sentence, and then analyze the branches of the sentence. Finally, dividing long sentences according to the meaning group. (Bell, 1991 5) &lt;br /&gt;
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As for the translation process from a macro point of view, first, the translator used some translation tools to look up new words and polysemous words. Then the translator began to translate for the first time, aiming to get a faithful text, and did not add any subjective guess to prevent the misunderstanding and inaccurate translation. In the second translation, the translator began to check the wrong words, as well as inappropriate points, and combined the language features of the text, which aimed to achieve coherent and intelligible. Finally, in the third translation, the translator got rid of the source language, and only read the target language to check whether it conformed to the reading habits and thinking modes of Chinese readers. If not, the translator would revise inappropriate sentences from the perspective of the target readers.&lt;br /&gt;
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As for the translation steps from micro point of view, it can be divided into five steps: Find the main body of the sentence; Make clear the relationship between each modifier and the main sentence; Divide long sentences into several parts according to the expression requirements;Translate each part one by one; Adjust and polish the translation according to the Chinese expression habits.&lt;br /&gt;
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Example 4: &lt;br /&gt;
&lt;br /&gt;
ST: It has a mobile payments system that has been widely adopted in China, which allows people to shop，play games，pay utility bills and order meal deliveries all from within the app.&lt;br /&gt;
&lt;br /&gt;
To analyze and translate this sentence, the most important is to find the main structure. It's easy to find the main body of this sentence is “It has a mobile payments system”. And second it is necessary to analyze the relationship between the modifiers and the main components of the sentence. “That has been widely adopted in China” is a post-positive attributive clause to modify the object “mobile payments system”, and “which allows…within the app” is a non-restrictive attributive clause to further explain the “system”, making readers know more about the target. Third, divide it into several parts according to the meaning and expression requirements. So this sentence can be divided three parts: the main body “It has a mobile payments system” is one part; and the two modifiers “that has been widely adopted in China” and “which allows … within the app” are the other two parts. Forth, translate every part: “它有一个移动支付系统”; “在中国得到广泛应用”; “让人们在该应用内购物、玩游戏、支付水电费和订餐”. Finally, adjust and polish the translation according to the Chinese expression habits. So the original sentence could be translated into: “它的移动支付系统在中国得到了下广泛应用，人们可以在该应用内购物、玩游戏、支付水电费和订餐”.&lt;br /&gt;
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===5.Translation strategies for English long sentences===&lt;br /&gt;
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===5.1Liner translation===&lt;br /&gt;
&lt;br /&gt;
When the narrative level of English long sentences is basically the same as that of Chinese, that is, the sentences are narrated according to the time sequence or internal logic of the action, which is consistent with the expression habit of Chinese, and can be translated into Chinese in the same order as the original English. (Zeng 2010, 149-150)&lt;br /&gt;
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&lt;br /&gt;
Example 5:&lt;br /&gt;
&lt;br /&gt;
ST: They learned with stupefaction that there is another aspect from which human action might be viewed than that of good and bad, of fair and unfair, of just and unjust. In the course of social events there prevails a regularity of phenomena to which man must adjust his actions if he wishes to succeed. &lt;br /&gt;
&lt;br /&gt;
TT: 另一方面，他们茫然地想要了解到人类的哪些行为可以被看作是好的和坏的，公平的和不公平的，公正的和不公正的。在社会事件的过程中普遍存在着规律的现象，如果他希望成功，必须调整他的行动。 &lt;br /&gt;
&lt;br /&gt;
Analysis: There is an object clause in the first sentence. In the process of translation, the sentence can be simply translated in accordance with the order of the composition of the sentence. The translation is natural to read and can express the meaning of the original text by using liner translation.&lt;br /&gt;
&lt;br /&gt;
Example 6:&lt;br /&gt;
&lt;br /&gt;
ST: The joy and the tedium of labor are psychological phenomena which influence neither the individual’s subjective valuation of the disutility and the mediate gratification of labor nor the price paid for labor on the market. &lt;br /&gt;
&lt;br /&gt;
TT: 劳动的快乐或厌恶都是心理现象，既不影响个人对于劳动负效用和报酬的主观评价也不影响市场上的劳动力价格。 &lt;br /&gt;
&lt;br /&gt;
Analysis: Although this sentence has both an attributive clause and “neither... nor...” structure with a large number of vocabulary, but its logical thinking, sentence structure and temporal and spatial order are consistent with Chinese habits. Therefore, we can translate it by using the liner translation method.&lt;br /&gt;
&lt;br /&gt;
===5.2 Reorganization translation=== &lt;br /&gt;
&lt;br /&gt;
Reorganization is a way of changing the order of the original text, pushing forward from behind or from the middle. English is hypotaxis language, while Chinese is parataxis language. (Lian, 2010 73) In terms of word order, English pays attention to the use of various conjunctions, such as relation words, conjunctions, prepositions, etc., to express the logical relations among them. Chinese, on the other hand, is used to connecting words with logical relations. The logic of long sentences in Scientific English is often quite different from that in Chinese, sometimes even the opposite. According to the expression habits of Chinese, the word order can be adjusted by means of reverse translation, so as to make the translation expression standard and easy to be understood and accepted by readers.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
Example 7:&lt;br /&gt;
&lt;br /&gt;
ST: No technological improvement would have been possible if the additional capital goods required for the practical utilization of new inventions had not previously been made available by saving. &lt;br /&gt;
&lt;br /&gt;
TT: 实际利用新发明需要额外资本，如果以前没有通过储蓄获得这些额外资本, 就不可能有技术改进。&lt;br /&gt;
&lt;br /&gt;
Analysis: The “if-” clause contains a post-positive attributive “required for the practical utilization of new inventions”, which makes the clause look very complicated, if translated according to the word order, it would be misunderstood. Therefore, in order to better translate the sentence, the translator can reorganize the structure of the clause in the process of translation, and then translate the main sentence after a clear explanation, so that the meaning of the translated sentence is relatively clear.&lt;br /&gt;
&lt;br /&gt;
Example 8:&lt;br /&gt;
&lt;br /&gt;
ST: It may be useful to compare the doctrine of Marxism and the Prussian Historical School, according to which wage rates are a historical datum and not a catallactic phenomenon, with the regression theorem of money’s purchasing power. &lt;br /&gt;
&lt;br /&gt;
TT: 用货币的购买力的回归定理对马克思主义理论和普鲁士历史学派进行比较可能是比较有用的。普鲁士历史学派认为工资率是历史数据而不是交换现象。&lt;br /&gt;
&lt;br /&gt;
Analysis: In this sentence, “It” is the formal subject, and the real subject is “to compare the doctrine of Marxism and the Prussian Historical School”. Therefore, we should follow the Chinese expression habit and reorganize the sentences before translating them.&lt;br /&gt;
&lt;br /&gt;
===5.3Division===&lt;br /&gt;
&lt;br /&gt;
The so-called division in translation means separating the different parts of English sentences into a single component of Chinese, such as word group, phrases, sentences and even independent sentences (Wang, 2009 144). There are great differences between English and Chinese in syntax. English sentences are long, verbs are few, and balance is stressed, while Chinese is short, verbs are more, and symmetry is stressed. Therefore, when translating long English sentences, it is impossible to translate every sentence into a Chinese sentence, otherwise, the translation will appear bloated and stiff. In English, long sentences are mainly composed of compound and subordinate clauses. According to the habit of using short sentences in Chinese, sometimes the clauses or phrases in the original sentence can be translated separately, and the original sentence can be divided into two or more sentences, so as to make the translation clear and accurately. (Wang, 2009 144)&lt;br /&gt;
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&lt;br /&gt;
Example 9: &lt;br /&gt;
&lt;br /&gt;
ST: It may be useful to compare the doctrine of Marxism and the Prussian Historical School, according to which wage rates are a historical datum and not a catallactic phenomenon, with the regression theorem of money’s purchasing power. &lt;br /&gt;
&lt;br /&gt;
TT: 用货币的购买力的回归定理对马克思主义理论和普鲁士历史学派进行比较可能是比较有用的。普鲁士历史学派认为工资率是历史数据而不是交换现象。 &lt;br /&gt;
 &lt;br /&gt;
Analysis: In this sentence, “according to which ... money’s purchasing power” is not a independent sentence, but for the easy understanding to the meaning this part was translated into another complete sentence by adding and deleting some words.&lt;br /&gt;
&lt;br /&gt;
===5.4 Embedding===&lt;br /&gt;
 &lt;br /&gt;
Embedding means transforming the post modifiers of the center word in the source text into the premodifiers in the target text, which is suitable for the translation of long sentences with many post-modifiers and strong sense of sentence compactness(Liu, 1998 191).&lt;br /&gt;
&lt;br /&gt;
Example 10:&lt;br /&gt;
&lt;br /&gt;
ST: What brings us together is that we have common interests which transcend those differences. &lt;br /&gt;
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TT: 使我们走到一起的，是我们有超越这些分歧的共同利益。  &lt;br /&gt;
&lt;br /&gt;
Analysis: In this sentence, “which transcend those differences” is a attributive clause to modify the antecedent “common interests”. If we translate it according to the English word order, it must be tedious and difficult to understand. Therefore, we can use insertion to put the clause before the main word, which will be simple and easy to understand.&lt;br /&gt;
&lt;br /&gt;
Example 11:&lt;br /&gt;
&lt;br /&gt;
ST: This refined playing must not be confused with the simple games of children which are merely pleasure-producing.&lt;br /&gt;
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TT: 这细化的游戏一定不要和儿童仅仅为了快乐的简单游戏混淆。 &lt;br /&gt;
&lt;br /&gt;
Analysis: The post-positive attributive “which..” is a modifier used to explain “the simple games of children”. In order to make the sentence structure more compact, smooth and coherent, the modifier needs to be put before the noun “game”. This method is often used in the translation of attributive clauses or post-positive attributives in English.&lt;br /&gt;
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===5.5 Synthesis===&lt;br /&gt;
&lt;br /&gt;
Synthesis means to use the above methods to translate long English sentences. In fact, when translating long English sentences, it is rare to adopt only one translation method, and it is often necessary to combine several translation methods. The key to the synthesis method is to adjust the structure of the original text flexibly on the basis of accurate understanding of the original text, and to pursue the spirit likeness rather than the appearance likeness when expressing in Chinese (Jiang, 2019,11:62-65).&lt;br /&gt;
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Example12:&lt;br /&gt;
&lt;br /&gt;
ST: For all of our complaints about contemporary air- ports and flying, it might be a comfort to remember that thanks to the little Pacific island nation of Fiji, we are actually getting to our destinations faster and more safely than ever before.  &lt;br /&gt;
&lt;br /&gt;
TT: 对于如今的机场和乘机体验，尽管我们有诸多抱怨，但也多亏了斐济这个太平洋岛国，我们飞抵目的地已变得更快更安全，想到这一点，或许会让我们心里又感宽慰不少.&lt;br /&gt;
&lt;br /&gt;
Analysis: The main body of this sentence is “it might be a comfort”, among which “it”, is the formal subject, and “to remember that…ever before” is the real subject. We can not find such a sentence structure in Chinese. So in order to make the translation more authentic, the sentence order must be changed. Based on the understanding of the source text, it is appropriate to adopt both liner method and reorganization method to translate. &lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
===Conclusion===&lt;br /&gt;
&lt;br /&gt;
In the practice of the translation of long and difficult sentences, there is a higher requirement for translators’ English comprehension and expression ability. For the translation of long and difficult sentences in English, the translator should be familiar with the sentence structure and main ideas of long and difficult sentences in English, and make clear the main logical relationship with the content of the original text, so as to effectively analyze the structure of long and difficult sentences in English and choose the correct way of translation. In the specific translation practice, translators should, on the basis of understanding the grammatical features of English, choose reasonable translation methods and skills so as to achieve the accurate translation of long and difficult Sentences. Translation activities require a high level of English reading and comprehension, and the effective translation of long and difficult sentences requires translators to constantly improve their ability to summarize, update their English translation skills, and realize the summary and innovation of long and difficult sentences.&lt;br /&gt;
&lt;br /&gt;
===References===&lt;br /&gt;
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[1]Bell, R.T. (1991). ''Translation and Translating: Theory and Practice''. London and New York: Longman. &lt;br /&gt;
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[2]Nord, C. (2001). ''Translating as a Purposeful Activity--Functionalist Approaches Explained'' . Shanghai: Shanghai Foreign Language Education Press.&lt;br /&gt;
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[3]Reiss, Katharina &amp;amp; Vermeer, Hans J. (1984). ''Groundwork for a General Theory of Translation'' . Tubingen: Walter de Gruyter Press.&lt;br /&gt;
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[4]Venuti, L. (2001). ''Introducing Translation Studies: Theories and Applications'' . London: London and New York Routledge.&lt;br /&gt;
&lt;br /&gt;
[5]Vermeer, Hans J. (1989). ''Didactics of Translation. in Baker, Routledge Encyclopedia of Translation Studies'' . London: London and New York Routledge.&lt;br /&gt;
&lt;br /&gt;
[6]Jia Dejiang贾德江. (2002). 英汉语对比研究与翻译 [Contrastive Study and Translation of English and Chinese].''国防科技大学出版社'' Changsha: NUDT Press&lt;br /&gt;
&lt;br /&gt;
[7]Jiang Yuqin蒋玉琴. (2019). 从英汉对比角度解析英语长句的翻译 [Translation of English Long Sentences into Chinese: a Contrastive Study]. ''宜春学院学报'' Journal of Yichun University (11) 62-65.&lt;br /&gt;
&lt;br /&gt;
[8]Lian Shuneng连淑能. (2010). 英汉对比研究 [Contrastive Studies of English and Chinese]. ''高等教育出版社'' Beijing Higher Education Press&lt;br /&gt;
&lt;br /&gt;
[9]Liu Miqing刘宓庆. (1998). 文体与翻译 [English Varieties and Translation]. ''中国对外翻译出版公司'' Beijing: China Translation and Publishing Corporation&lt;br /&gt;
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[10]Liu Junping刘军平. (2009). 西方翻译理论通史 [A General History of Western Translation Theory]. ''武汉大学出版社'' Wuhan: Wuhan University Press&lt;br /&gt;
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[11]Wang Enmian王恩冕. (2009). 大学英汉翻译教程 [A College Textbook on English-Chinese Translation]. ''对外经济贸易大学出版社'' Beijing: University of International Business and Economics Press&lt;br /&gt;
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[12]Wang Shuwen王述文. (2010). 综合汉英翻译教程 [A Comprehensive Coursebook on Chinese-English Translation]. Beijing: National Defence Industry Press国防工业出版社.&lt;br /&gt;
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[13]Wang Wuxing王武兴. (2004). 英汉互译指导与篇章翻译 [A Guide to Essay Translation from Chinese into English and Vise Versa]. ''朝华出版社'' Beijing: Morning Glory Publishers&lt;br /&gt;
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[14]Zhang Jinlan张锦兰. (2004).目的论与翻译方法 [Skopos Theory and Translation Methods]. ''中国科技翻译'' Chinese Science &amp;amp; Technology Translators Journal (1) 35-37.&lt;br /&gt;
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[15]Zhu Wei朱微. (2004). 汉英翻译教程 [A Textbook of Chinese-English Translation]. ''重庆大学出版社'' Chongqing: Chongqing University Press.&lt;br /&gt;
--[[User:Zhou Yiwen|Zhou Yiwen]] ([[User talk:Zhou Yiwen|talk]]) 14:28, 20 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
==3.2Static language vs. dynamic language==&lt;br /&gt;
&lt;br /&gt;
==3.3 Passive voice vs. active voice==&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
==4.1Cross-cultural communication==&lt;br /&gt;
&lt;br /&gt;
==4.2Attaching great importance to form==&lt;br /&gt;
&lt;br /&gt;
==4.3Clearing language logic==&lt;br /&gt;
&lt;br /&gt;
===5.The process of translating long English sentences===&lt;br /&gt;
&lt;br /&gt;
===6.Methods of translating English long sentences===&lt;br /&gt;
&lt;br /&gt;
==6.1Liner translation==&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
==6.2Reorganization translation=&lt;br /&gt;
&lt;br /&gt;
==6.3Splitting translation==&lt;br /&gt;
&lt;br /&gt;
==6.4Synthesis==&lt;br /&gt;
&lt;br /&gt;
==6.5Insertion==&lt;br /&gt;
&lt;br /&gt;
===Conclusion===&lt;br /&gt;
&lt;br /&gt;
In the practice of the translation of long and difficult sentences, there is a higher requirement for translators’ English comprehension and expression ability. For the translation of long and difficult sentences in English, the translator should be familiar with the sentence structure and main ideas of long and difficult sentences in English, and make clear the main logical relationship with the content of the original text, so as to effectively analyze the structure of long and difficult sentences in English and choose the correct way of translation. In the specific translation practice, translators should, on the basis of understanding the grammatical features of English, choose reasonable translation methods and skills so as to achieve the accurate translation of long and difficult Sentences. Translation activities require a high level of English reading and comprehension, and the effective translation of long and difficult sentences requires translators to constantly improve their ability to summarize, update their English translation skills, and realize the summary and innovation of long and difficult sentences.&lt;br /&gt;
&lt;br /&gt;
===Bibliography===&lt;br /&gt;
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==Chinese-English Translation of News Headlines From the Perspective of Skopos Theory	张维虹	Zhang Weihong No.202070080648 MTI 英语口译 ==&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
===Abstract===&lt;br /&gt;
In recent years, with the rapid development of the society and economy, the exchanges between China and the rest of the world are increasingly frequent. In this process, massive information is transmitted through the translation of news reports. The translation quality of news headlines that serve as the eye of news, directly affects the effectiveness of its dissemination. Under the guidance of Skopos Theory of German Functionalist Translation School, this paper analyzes the characteristics of Chinese and English news headlines, illustrates the functions and translation criteria of news headlines, and puts forward corresponding translation strategies, aiming at retaining the conciseness of news and realizing dissemination and social value of news.&lt;br /&gt;
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===key words===&lt;br /&gt;
News headlines translation; Skopos theory; Translation strategies&lt;br /&gt;
&lt;br /&gt;
===题目===&lt;br /&gt;
目的论视角下中英新闻标题翻译研究&lt;br /&gt;
===摘要===&lt;br /&gt;
近年来，中国社会经济飞速发展，与外界交流日趋频繁，在此过程中大量信息传递需通过新闻报道翻译完成。而新闻标题作为新闻的眼睛，其翻译质量直接影响新闻传播的有效性。本文以德国功能翻译学派目的论为指导，分析中英新闻标题的特点，阐述新闻标题功能以及新闻标题翻译准则，并提出汉译英翻译策略，旨在还原新闻简明本色从而实现新闻传播目的和社会价值。&lt;br /&gt;
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===关键字===&lt;br /&gt;
新闻标题翻译；目的论；翻译策略&lt;br /&gt;
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===I. Introduction===&lt;br /&gt;
With the continuous development of culture and economy, news reporting is playing an increasingly important role in people's lives. We read news through TV, the Internet, or newspapers and magazines to keep abreast of current events. But thousands of pieces of news and the information they carry may confuse us, because we are in a world where massive information is flowing nonstop. There is no doubt that some news has been omitted or even ignored. Therefore, a clear-cut and intriguing headline is of great importance and can be considered as the only way to attract the target readers. (Chen Lizhao, 2002: 3-4)&lt;br /&gt;
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Headlines are compared to the eyes of news reports, in which clear, concise information must be contained to generate interests. (Hu Shuzhong, 2012: 199) That is to say, headlines are expected to be vivid and eye-catching in order to attract readers and provide reading guidance. So, translators must learn how to effectively extract and reconstruct the information in the Chinese-English translation of news headlines, so as to make it cater to the target language readers.&lt;br /&gt;
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In addition, news translation is playing a significant role in the promotion of cross-cultural communication and mutual understanding as China is having more and more exchanges with the rest of the world with the rapid development of society and economy brought about by the reform and opening-up policy and “go global” strategy. As the soul of news, headlines and their translation are what translators should pay attention to. (Liu Yunxi 2018(11):123-125.)&lt;br /&gt;
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There are many studies about E-C news translation and news headline translation. However, research on Chinese-English news headlines translation is very few. According to statistics from CNKI (China National Knowledge Infrastructure), there are only two pages of discussion on Chinese-English news headlines translation. Therefore, this paper is designed to provide further exploration and reference in the area.&lt;br /&gt;
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As functions for headlines are obvious, this paper takes Skopos as the theory guide to conduct the research. First, the paper illustrates the development and three rules of Skopos theory. Then it discusses the features and functions of news headlines. Later, the paper tells some translation methods of Chinese-English news headlines from a perspective of Skopos Theory. At last, it draws a conclusion.&lt;br /&gt;
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===II. Overview of the Skopos Theory ===&lt;br /&gt;
====2.1 Development of the Skopos Theory====&lt;br /&gt;
Skopos Theory was initially proposed by Katherina Reiss in her 1971 book ''Possibilities and Limits of Translation Criticism'', which formed the early theory. According to Reiss, the ideal translation would be “one in which the aim in the target language is equivalence as regards the conceptual content, linguistic form and communicative function of a source-language text” (Reiss 1977, translated in 1989: 112). Even though Reiss took the concept of equivalence as the main focus of her analysis, she realized that in some cases, equivalence is impossible and, in some situations, not even desired. Therefore, she indicated that the function of texts should be considered when translating.&lt;br /&gt;
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The idea of text typology including content-focused, form-focused and appeal-focused text put forward by Reiss, is another contribution of her to the Skopos theory. It is supposed to be the starting point for Skopos theory. &lt;br /&gt;
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Later, Hans Vermeer, the student of Reiss, made a major breakthrough in the limitations of equivalent theory and laid the theoretical foundation for it. He first mentioned the basic principles of Skopos Theory in 1978. He and Reiss jointly published ''Groundwork for a General Theory of Translation'' in 1984. In this book, Vermeer argued that translation should be seen as a fundamental action of the transformation of the source text. As all actions are generally purposeful, translation also has its own purposes which could have influences over the culture of the target language. (Groundwork for a General Theory of Translation, 1984)&lt;br /&gt;
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For Vermeer, translation cannot be treated as a one-to-one transfer between the source language and the target language. In his research, on the basis of the source text, translation is a form of action to which some of the other forms of translational action may relate. Every translation is directed at an intended audience since to translate means “to produce a text in a target setting for a target purpose and target addresses in target circumstances” (Vermeer, 1987a: 29). Vermeer’s Skopos Theory serves as the foundation for his general theory of translation.&lt;br /&gt;
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Later, two other German translators, Christiane Nord and Justa Holz Manttari, enriched and refined the Skopos theory. Mantarri’s theory is based on the rules of action theory and is intended to contain all forms of intercultural transmission, as well as those source or target texts which do not involve. (Nord, 2001: 12-13) Her theory reflects the role of the participants in the process of translation and the environment in which the process takes place. Nord, as the latest batch of German researchers, summarized the “Fidelity rule” and applied the Skopos theory extensively in the study of translation from multiple perspectives and related fields.&lt;br /&gt;
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In conclusion, Reiss laid the foundation of Skopos theory. Vermeer, who summarized and outlined the rules to be followed in the process of Skopos theory in practice, became the founding father of the theory. Manttari focused on the specific issues of translation behavior and context in the translation process, while Nord made many contributions to the refinement of the theory and greatly expanded the practical application of this theory.&lt;br /&gt;
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==== 2.2 Three Rules of Skopos theory ==== &lt;br /&gt;
There are three significant rules of Skopos theory including Skopos rule, coherence rule, and fidelity rule, which will be discussed respectively as follows.&lt;br /&gt;
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===== 2.2.1 Skopos Rule=====&lt;br /&gt;
The Skopos rule is the top-ranking rule for translation. That is to say, Skopos determines any translation action. “The translators should finish the task in a way that enables your translation to function in the situation in which it is used and with the people who want to use it and precisely in the way they want it to function. All in all, the end justifies the means.” (Nord, 2001:29).&lt;br /&gt;
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Translating is an international interaction as it is just said, and the Skopos rule has a stable position after it appeared. In Vermeer’s term, intention is thought of as an “aim-oriented plan of action” (Vermeer, 1983:41). &lt;br /&gt;
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According to Vermeer, Skopos rule is that “Each text is produced for a given purpose and should serve this purpose. The Skopos rule thus reads as follows: translate in a way that enables your text to function in the situation in which it is used and with the people who want to use it and precisely in the way they want it to function.” (Vermeer, 1989a: 20, translated by Luo Dan) Skopos theory is the foundation for Chinese-English news headlines translation. All efforts made are meant to achieve the Skopos of news headline translation because “the end justifies the means&amp;quot;.&lt;br /&gt;
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=====2.2.2 Coherence Rule=====&lt;br /&gt;
The coherence rule, another important rule of the Skpos theory indicates that “the target text must be interpretable as coherent with the target text receiver’s situation”. (Reiss and Vermeer, 1984: 113) It implies that the target text must be translated in a way that it is clearly understood by the target readers, taking into consideration of their existing knowledge and situation.&lt;br /&gt;
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===== 2.2.3 Fidelity Rule =====&lt;br /&gt;
Apart from the &amp;quot;intratextual coherence&amp;quot;, there is another intertextual coherence which refers to the relationship between the target text and the source text. It is presumed as a further principle, fidelity rule. The fidelity rule by Vermeer indicates that there has to be coherence between the target text and the source text. That means that the target text should be faithful to its source text in a certain level of features, such as grammatical features, special collocations, and rhetorical devices, or to some degree between a complete imitation and deviation. (Nord 2001: 31)&lt;br /&gt;
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In accordance with the Skopos theory, the source text is no longer considered as the “sacred original”, and it is up to the translator to determine the aspect and the degree of the fidelity. In Vermeer’s opinion, any text is just an offer of information, and that any target text is an offer of information formulated by a translator in a target culture and language about an offer of information formulated by someone else in the source culture and language. (Nord 2001: 32)&lt;br /&gt;
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Three principal rules of Skopos theory have been illustrated as above. As for the relationships between the three rules, Reiss and Vermeer believe that the fidelity rule is subordinate to the coherence rule and is included to the Skopos rule. If the skopos of the target text demands a change of function, the fidelity of the source text will no longer be taken as the only standard, but adequacy and appropriateness will be supplemented as the standard with regard to the skopos (Reiss and Vermeer, 1984: 139).&lt;br /&gt;
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====2.3 Summary ====&lt;br /&gt;
This chapter introduced the development of Skopos theory and its three main principles, laying a theoretical foundation for Chinese-English news headlines translation. The function and skopos of news headlines are to intrigue readers and convey information to them. Therefore, C-E news headlines translation, guided by Skopos theory, is a faithful re-creation.（Wang Chi, 2013: 33-34）&lt;br /&gt;
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===III. Overview of News Headlines===&lt;br /&gt;
A headline is an essential part of news. So, it is important for translators to know the features and functions of news headlines. (Liu Yunxi, 2018: 123-125) The previous chapter introduces the theoretical framework of Skopos theory, which lay a foundation for the practical translation of Chinese news headlines. In this chapter, the author will discuss features and functions of news headlines, in order to search for some strategies for the Chinese-English translation of news headlines. &lt;br /&gt;
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==== 3.1 Definition of News and News Headlines====  &lt;br /&gt;
News refers to the timeliest report of events that have just happened, are happening, or are going to happen. It is born to meet the need for propagation and communication of information in human society. (Xu Mingwu, 2003: 4) This definition prescribes the features and functions of news. News should be timely and share ideas and information.&lt;br /&gt;
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News headlines are compared to the “eye” of news. According to the dictionary, “A head of a newspaper story or article, usually printed in large type and devised to summarize, gives essential information about, or interests readers in reading the story or article that follows.” (Webster’s Third New International Dictionary, 1961: 1042) From the definition, we can see that news headlines tell the essence of the news; the function is to attract readers’ interests. The paper will discuss the features and functions of news headlines in detail in the following part.&lt;br /&gt;
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====3.2 Features of News Headlines==== &lt;br /&gt;
As a text genre, news headlines have their own features. Chinese and English news headlines share much in common, though they differ from each other in certain areas. Understandings about the differences and similarities of Chinese and English news headlines are important for translators. （Luo Dan, 2012: 30-31）So, this chapter will analyze the features of news headlines from the following aspects: grammar, rhetoric, culture, and structure.&lt;br /&gt;
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===== 3.2.1 Grammatical Features===== &lt;br /&gt;
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3.2.1.1 Lexical Feature&lt;br /&gt;
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a. Midget words&lt;br /&gt;
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A good headline must be clear to attract readers and be strong to save space. In other words, the headline should convey the intends of the news without confusion or ambiguity; the words should be powerful to persuade the headline consumer to read on. These two requirements determine the prevalence of powerful, or strong worlds – mostly verbs and nouns – in headlines. (Shen Jinbo, 1989:52) That is to say, powerful words are short, simple and concrete, for extensive or abstractive words can only lead to dullness and confusion. There are no such powerful words in Chinese, but Chinese headlines, on the premise of conveying the exact meanings also put emphasis on the shortness of words. &lt;br /&gt;
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[1]: Dancing '''gets''' Olympic status (China Daily Dec 9, 2020)&lt;br /&gt;
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[2]: 霹雳舞'''成'''巴黎奥运项目 (China Daily Dec 9, 2020)&lt;br /&gt;
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b. Numeral words&lt;br /&gt;
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Numbers are used in news headlines to highlight the key information, especially in economic and sports news. &lt;br /&gt;
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[3]: Pink diamond sold for '''$26.6M''' (China Daily Nov 23, 2020) &lt;br /&gt;
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[4]: 外储余额创'''4'''年多新高(China Daily Dec 9, 2020)&lt;br /&gt;
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c. Abbreviations &lt;br /&gt;
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The limitation of page space leads to the frequent use of abbreviations in headlines. English abbreviations, according to Lu Guoqiang (陆国强, 1984), consist of two major types: lipped words and initialisms or acronyms. The common types of abbreviations found in Chinese headlines, nevertheless, are mostly number-assisted summarizing, blending and substituting. (Chen Lizhao, 2002:36)&lt;br /&gt;
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[5]: '''Intl''' student enrollment falls (China Daily, Nov 19, 2020)&lt;br /&gt;
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[6]: 第二届'''“一带一路”'''国际合作高峰论坛举行圆桌峰会 (People’s Daily, April 28, 2019) &lt;br /&gt;
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d. Vogue words &lt;br /&gt;
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“Freshness” is the life of news, which lies in the contents of the report. As the gist of the news, headlines would certainly reveal some of the new ideas or hot topics in order to catch the reader’s attention. Therefore, vogue words are frequently seen in headlines. (Chen Lizhao, 2002: 4-5)  &lt;br /&gt;
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[7]: ''''Cooling-off period'''' added (China Daily Dec 8, 2020)&lt;br /&gt;
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[8]: '''“离婚冷静期”'''新规将施行 (China Daily Dec 8, 2020)&lt;br /&gt;
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3.2.1.2 Syntactical features&lt;br /&gt;
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a. Omission&lt;br /&gt;
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Omission appears in almost every headline. Eliminating meaningless words can shorten the length of a headline and highlight the core information. In English headlines, all articles and some auxiliary verbs, lexical verbs, pronouns, and the subject and the predicate are often omitted, as they weigh little in giving information. Chinese headlines also omit those unimportant words, including conjunctions, and auxiliary words as well. (Chen Lizhao, 2002: 4-5)  &lt;br /&gt;
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[9] Biden declares victory (China Daily, Nov 10, 2020)&lt;br /&gt;
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[10] 研究：医患“互粉”对治疗不利 (China Daily, Nov 25, 2014)&lt;br /&gt;
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b. Voice&lt;br /&gt;
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Active voice is frequently adopted in news headlines.&lt;br /&gt;
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[11] UK '''approves''' Pfizer vaccine (China Daily Dec 4, 2020)&lt;br /&gt;
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[12]英国'''批准'''辉瑞新冠疫苗 (China Daily Dec 4, 2020)&lt;br /&gt;
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[13] Biden '''unveils''' economic team (China Daily Dec 2, 2020)&lt;br /&gt;
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[14]拜登'''拟'''提名耶伦任财长 (China Daily Dec 2, 2020)&lt;br /&gt;
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c. Tense&lt;br /&gt;
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One of the distinct features of news headlines, particularly in English news headlines, is the wide use of present tense, which saves the space of “-ed” in the past tense. But sometimes past tense is used to indicate the timeline. While Chinese news headlines use different tenses, as they are not revealed by the different forms of verbs as in English. So, the auxiliary verbs or adverbs in Chinese news headlines tell the time of happening form. (Chen Lizhao, 2002: 4-5)&lt;br /&gt;
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[15] COVID vaccine distribution (China Daily Dec 1, 2020)&lt;br /&gt;
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[16] 英美'''即将'''启动疫苗分配 (China Daily Dec 1, 2020)&lt;br /&gt;
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=====3.2.2 Rhetorical Features =====&lt;br /&gt;
The figures of speech found in headlines, English and Chinese alike, include metaphor, simile, pun, alliteration and rhyme, repetition, allusion, etc. They are aimed at creating musical sound as well as vivid images to provide spiritual enjoyment to the readers. (Chen Lizhao, 2002: 4-5)&lt;br /&gt;
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[1] 苹果发新机加入5G'''战局''' (metaphor) (China Daily Oct 16, 2020) &lt;br /&gt;
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[2] 美国加州火灾蔓延 居民'''仿佛置身火星'''(simile)&lt;br /&gt;
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===== 3.2.3 Cultural Features=====&lt;br /&gt;
Language is the carrier of culture. News, as a practical genre, also bears cultural characteristics of a certain country or region. These cultural elements also appear in news headlines. (Fan Tengteng, 2006: 44-45)&lt;br /&gt;
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=====3.2.4 Structural Features =====&lt;br /&gt;
To achieve the headline’s distinctiveness and simplicity, certain punctuation marks are used in English news headlines, which are not often seen in Chinese news headlines. However, the pursuit of using punctuation marks shares a common destination—to make the news headlines clear and easily perceptible. The rule for headlines is that the fewer punctuation marks are, the better. (Fan Tengteng, 2006: 45-46)&lt;br /&gt;
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[1] 世界精神卫生日：超半数英国员工最担心就业问题 (China Daily Oct 16, 2020)&lt;br /&gt;
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[2] World Mental Health Day: More than half of UK workers worry about finding a job (China Daily Oct 16, 2020)&lt;br /&gt;
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====3.3 Functions of News Headlines ====&lt;br /&gt;
According to the theory of text-style function by Peter Newmark, new headlines fulfill the following four functions: informative function, expressive function, aesthetic function and vocative function, which will be illustrated in this section.  (Newmark 2001: 40) &lt;br /&gt;
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=====3.3.1 Informative Function =====&lt;br /&gt;
“The core of the informative function of language is external situation, the facts of a topic, reality outside language, including ideas or theories” (Newmark 2001: 40) That is to say, news headline tells readers the basic information and facts of the news.&lt;br /&gt;
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=====3.3.2 Expressive Function =====&lt;br /&gt;
“The core of the expressive function is the mind of the speaker, the writer, the originator of the utterance. He uses the utterance to express his feelings irrespective of any response” (Newmark 2001: 39) The expressive function of a news headline is to reveal the writer’s or the editor’s attitude toward the news by using commentary words or rhetoric devices.&lt;br /&gt;
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=====3.3.3 Aesthetic Function=====&lt;br /&gt;
“This is a language designed to please the sense, firstly through its actual or imagined sound, and secondly through its metaphors. The rhythm, balance, and contrast of sentences, clauses, and words also play their part.” (Newmark 2001: 42) As the eye of the news, headlines use elegant words, abbreviations, punctuations, and so on to strengthen their aesthetic function.&lt;br /&gt;
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=====3.3.4 Vocative Function=====&lt;br /&gt;
The vocative function is reader-oriented. Here, the term “vocative” is interpreted as “calling upon” the readers to act, think or feel, in fact, to “react” in the way intended by the text. (Newmark 2001: 41) Vocative words in news headlines can attract the readers to read the whole article, and in certain circumstances call upon the readers to take some actions after finishing the news.&lt;br /&gt;
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====3.3 Summary ====&lt;br /&gt;
This chapter discussed the features and functions of news headlines as well as differences between Chinese and English news headlines. It helps the author to seek for certain translation strategies and methods to retain the features and achieve the purposes of news headlines, which will be mentioned in the following chapter.&lt;br /&gt;
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===IV. Application of Skopos theory in Chinese-English Translation===&lt;br /&gt;
Many translation strategies and techniques can be adopted under the guidance of the Skopos theory. Based on the dominant informative function of news headlines, new information should be transferred with fidelity and clarity. Moreover, considering the aesthetical function of headlines, the source text should be aesthetically handled to the target readers. This chapter will explain how the Skopos theory is applied in the translation of Chinese-English news headlines. Before that, the criteria for C-E news headlines translation will be discussed. (Luo Dan, 2012）&lt;br /&gt;
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====4.1 Criteria of News Headline Translation ====&lt;br /&gt;
According to the basis of translation criteria, the author discussed four criteria for Chinese news headline translation, including fidelity, readability, adaptability, and rapidity. &lt;br /&gt;
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===== 4.1.1Fidelity =====&lt;br /&gt;
Fidelity means to accurately convey the message of the source text. The translation of news headlines from Chinese to English is a kind of intercultural communication in which messages should be transferred objectively and accurately by reflecting reality. Considering this point of view, fidelity can be acted as the main rule for translating news headlines. （Luo Dan, 2012: 45-46）&lt;br /&gt;
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=====4.1.2 Readability =====&lt;br /&gt;
Readability means the translation version is smooth as much as possible so that it is easier for readers or audiences to read and understand. According to a survey on ''Beijing citizens’ newspaper reading and willingness'' by Chinese People’s University, vividness and readability are the first to be considered while consumers buying and reading a newspaper. Therefore, the translation of news headlines should value readability. If the rule of fidelity concerns the content, then the rule of readability aims at the form. （Luo Dan, 2012: 46-47）&lt;br /&gt;
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=====4.1.3Adaptability =====&lt;br /&gt;
Adaptability means that the translated headline should be in an appropriate writing pattern in line with the features of news language. In other words, the style of the target language should be consistent with the source language. Style-maintaining is considered to be essential and important in translation, which is also true in the translation of news headlines. So, translators must deal with the grammar and diction of English seriously, and make sure the style of the original is mostly intact when translating a Chinese news headline. (Tang Ting, 2010: 35-36)&lt;br /&gt;
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===== 4.1.4Rapidity =====&lt;br /&gt;
Rapidity, as the fourth request of news headline translation, is the most indispensable one. It requires that the translation of a news headline should be completed at a given period of time without any delay. The news is more valuable if the time between happening and reporting is shorter. So, the timeliness of news decides the rapidity of news translation, especially the headlines. (Tang Ting, 2010: 36-37)&lt;br /&gt;
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====4.2 Strategies and Methods of Chinese-English News Headlines Translation ====&lt;br /&gt;
News headlines are considered to be the soul of the news. Since Chinese and English readers are different in thinking patterns, education systems, and cultural backgrounds, some proper translation strategies and methods should be taken into consideration to enable the readers to understand the news headlines easily. Under the guidance of Skopos theory, translation methods including literal translation, free translation, amplification, omission, amplification, restructuring, and adaptation are applied in news headlines translation. (Wang Jun, Chen Shiyue, 2017: 102-103) &lt;br /&gt;
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=====4.2.1 Literal Translation=====&lt;br /&gt;
Literal translation, also called word-for-word translation, is the basic approach used in Chinese news headline translation, since it can retain both the form and contents of the original to the maximum. Here are some examples: (Wang Jun, Chen Shiyue, 2017: 102-103) &lt;br /&gt;
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[1] 疫情致牛仔裤销量骤减&lt;br /&gt;
&lt;br /&gt;
Pandemic leads to jeans sales slump&lt;br /&gt;
(China Daily Aug 10, 2020)&lt;br /&gt;
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The headline introduces that Covid-19 pandemic has led to jeans sales slump. “疫情”was translated into “Pandemic”, “牛仔裤销量” was “jeans sales”, and “骤减” “slump”, which is exactly an example of literal translation. There’s no change in the form or style between the source text and the target text. &lt;br /&gt;
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[2] 新冠抗原检测试剂获批&lt;br /&gt;
&lt;br /&gt;
COVID antigen tests approved&lt;br /&gt;
(China Daily Nov 10, 2020)&lt;br /&gt;
&lt;br /&gt;
This example is a typical word-for-word translation. “新冠”, an abbreviation for “新冠病毒”, was translated into “COVID”, short for coronavirus. “抗原检测”was translated into “antigen tests”and“获批”,“approved”. We can see that in this example, literal translation was used so that the form, style, and even the tense and voice of the source text are all retained.&lt;br /&gt;
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[3] 成都将建首个大熊猫主题公园&lt;br /&gt;
&lt;br /&gt;
Chengdu Set to Get Unique Panda-themed Park &lt;br /&gt;
(China Daily, Jan 17, 2018) &lt;br /&gt;
&lt;br /&gt;
This is an example of literal translation, remaining the original form and style of the Chinese version. It uses midget words “set” and “get”, taking into consideration the style of English news headlines, in order to attract readers from different walks of life. At the same time, the Chinese noun “大熊猫主题” is converted to the English adjective “Panda-themed”, which is very concise and accurate.&lt;br /&gt;
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=====4.2.2 Free Translation =====&lt;br /&gt;
Free translation is applied when the news headline of the source text is obscure and difficult to understand or there are no equivalent words in the target language. Sometimes it is preferred because it adapts the original headlines to the target language. (Wang Jun, Chen Shiyue, 2017: 102-103) &lt;br /&gt;
&lt;br /&gt;
[4] 不要人夸颜色好，只留清气满乾坤&lt;br /&gt;
  &lt;br /&gt;
Xi: China Welcomes Constructive Suggestions&lt;br /&gt;
(China Daily, Oct 25, 2017) &lt;br /&gt;
&lt;br /&gt;
The source text is a poem, cited by President Xi at the press conference of 19th CPC Central Committee Political Bureau to hear constructive suggestions from people both at home and abroad. The poem, Ink Plum written by a famous Chinese ancient poet, Wang Mian, carries rich cultural connotations. If it is directly translated as “Not angling for compliments, we should be content that integrity fills the universe”, it will cause confusion to the target readers. Obviously, such a mechanical translation will discourage the reader from understanding the meaning of the poem. Therefore, the translation of this news headline should be based on the content of the news – Xi: Welcomes Constructive Suggestions. So, it is a typical example of free translation. &lt;br /&gt;
&lt;br /&gt;
[5]姜瑜：外资应凭实力在华竞争&lt;br /&gt;
 &lt;br /&gt;
Foreign investors told to sharpen edge&lt;br /&gt;
&lt;br /&gt;
This example takes into consideration of the reading habits and backgrounds of the target readers. “凭实力竞争” is translated to “sharpen one’s edge”, which is more understandable. “姜瑜”(Jiang Yu”, a heroic character in Chinese history is omitted. So, it is a free translation.&lt;br /&gt;
&lt;br /&gt;
=====4.2.3 Amplification =====&lt;br /&gt;
Most news headlines contain certain backgrounds that are familiar to the source language readers, but alien to those who read the target language. So, translators have the responsibility to turn information that is rich in cultural connotation into something understandable to target readers. This is particularly significant in translating news headlines from the perspective of Skopos theory because the purpose is to convey effective information to target readers. As mentioned in the chapter before, Chinese news headlines usually are culture-loaded. Therefore, amplification is frequently used in Chinese-English news headlines translation. （Fan Tengteng, 2006: 50-51）&lt;br /&gt;
&lt;br /&gt;
[6] 水陆两栖飞机AG600首飞成功&lt;br /&gt;
&lt;br /&gt;
China’s First Large Amphibious Aircraft Makes a Successful Maiden Flight&lt;br /&gt;
(China Daily, Dec 25, 2018) &lt;br /&gt;
&lt;br /&gt;
Amplification is used in this translation. AG600, as called Kun Lun600, is the world’s largest amphibious aircraft developed by China. The translator adds a modifier “China’s first large” as a supplement of background to better inform the targe readers. &lt;br /&gt;
&lt;br /&gt;
[7] 共享单车来到“世界屋脊”&lt;br /&gt;
&lt;br /&gt;
Shared Bikes Climb to the “Roof of the World” (Tibet)&lt;br /&gt;
&lt;br /&gt;
“Roof of the World” is confusing for some target readers, so the translator adds “(Tibet)” at the end of the sentence to avoid ambiguity.&lt;br /&gt;
&lt;br /&gt;
=====4.2.4 Omission =====&lt;br /&gt;
Omission is a translation method to make the news headline simple and concise by eliminating the redundant verbs, pronouns, and other words in the source text. As Chinese usually use unnecessary modifiers, this method can highlight the main point of the news. (Wang Jun, Chen Shiyue, 2017: 102-103)&lt;br /&gt;
&lt;br /&gt;
[8] 对外汉语专家齐聚京城 共议国际汉语教师缺口问题&lt;br /&gt;
&lt;br /&gt;
Beijing forum addresses Chinese teacher shortage&lt;br /&gt;
(China.org.cn, Jul 21, 2021) &lt;br /&gt;
&lt;br /&gt;
In this example, the first sentence is translated into a phrase, so as to shorten the length of the news headline and more it more concise. What’s more, redundant words like “齐聚”, “共议” “问题” are omitted to point out the main contents of the news. &lt;br /&gt;
&lt;br /&gt;
[9] '大流行病'当选年度词汇&lt;br /&gt;
&lt;br /&gt;
Word of the year: pandemic&lt;br /&gt;
&lt;br /&gt;
(China Daily, Dec 12, 2020)&lt;br /&gt;
&lt;br /&gt;
In the example, the verb “当选”(elected) in the source text is eliminated to save space.&lt;br /&gt;
&lt;br /&gt;
=====4.2.5 Restructuring =====&lt;br /&gt;
Restructuring refers to the rearranging of the words in logical order to make the translation more consistent and coherent. The target text should be acceptable and meaningful in a sense that it is coherent with the situation in which it is received. Once translated, the translator revises the order and rearranges all words into a perfect sentence. In doing so, the news is more logical and tuned with the habit of native readers’ thinking and reading. It is frequently used in translating news headlines from Chinese into English. (Tang Ting, 2010: 25-26) &lt;br /&gt;
[10] 疫情期间夫妻关系改善&lt;br /&gt;
&lt;br /&gt;
Marriages benefit from lockdown&lt;br /&gt;
(China Daily, Nov 23, 2020)&lt;br /&gt;
&lt;br /&gt;
The English version changes the structure of the Chinese news headline, and adds a preposition to show the logic of this sentence. By restructuring, English readers can better understand this news headline.&lt;br /&gt;
&lt;br /&gt;
=====4.2.6 Adaptation =====&lt;br /&gt;
Adaptation is a translation method, which refers to selecting, adding, deleting, and constructing cautiously instead of simply translating one word to another word. In order to make the translated version more proper to certain readers or audiences, adaptation always makes some essential changes for a special aim. Specific to C-E news headlines translation, the translator can take the Chinese news headlines as the basis and refer to the key news facts of the report, in order to offer as much information as possible to the target readers. (Wang Chi, 2013: 42-42) &lt;br /&gt;
&lt;br /&gt;
[11] 高考将不再是 “一考定终身”&lt;br /&gt;
&lt;br /&gt;
Changes to Uni Eligibility&lt;br /&gt;
（People’s Daily, 2014）&lt;br /&gt;
 &lt;br /&gt;
In this example, “高考” refers to the National College Entrance Examination in China, which is an expression with Chinese characteristics. Therefore, based on the main idea of the news, the translator translated it into “Uni Eligibility”&lt;br /&gt;
	&lt;br /&gt;
[12] 中国女性主导财务决策&lt;br /&gt;
&lt;br /&gt;
'She' to power wealth management&lt;br /&gt;
(China Daily, Nov 23, 2020)&lt;br /&gt;
&lt;br /&gt;
Adaptation is used in this translation. According to the contents of the news, women in different countries are mentioned. So, instead of translating “中国女性” into Chinese women, the English version adapted it into “she”, which adds interest and fun to the headline and thus can attract more readers.&lt;br /&gt;
&lt;br /&gt;
====4.3 Summary====&lt;br /&gt;
This chapter introduces criteria, and strategies and methods of Chinese-English news headlines translation. It is the main body of the paper, which can serve as guidelines for translators who translate Chinese news headlines into English ones.&lt;br /&gt;
&lt;br /&gt;
===V. Conclusion===&lt;br /&gt;
Based on Skopos theory, this paper discussed the features and functions of news headlines and their relevance to translation, summarized translation criteria, and strategies and methods adopted in actual C-E news headlines translation. &lt;br /&gt;
&lt;br /&gt;
News translation is a cultural transformation with certain purposes(skopos). While conveying the connotation of the information, news translation must also take into account the habits of target readers. The purpose-oriented approach helps translators to break the language barriers and helps to convey cultural connotations and facilitate communication. The purposes and functions of translation determine the translation methods. In translation, the standard of translation should not be how to be faithful to the source text, to highlight the main points of the news and attract English readers. Therefore, the paper, applying the Skopos theory to Chinese-English news headlines, is of significance.&lt;br /&gt;
&lt;br /&gt;
However, there are also limitations in the paper. The first problem is the complexity of the theoretical basis. The second one is that few data have been collected. And the last one is the capability of the author herself. So, there is still room for improvement.&lt;br /&gt;
&lt;br /&gt;
--[[User:Zhang Weihong|Zhang Weihong]] ([[User talk:Zhang Weihong|talk]]) 02:27, 21 December 2020 (UTC)Zhang Weihong&lt;br /&gt;
&lt;br /&gt;
===References===&lt;br /&gt;
* Munday, J. (2001). ''Introducing Translation Studies: Theories and Applications''. London and New York: Routledge, 77-78.&lt;br /&gt;
&lt;br /&gt;
* Newmark, P.A (2001). ''Textbook of Translation''. Shanghai: Shanghai Foreign Language Education Press, 40-42.&lt;br /&gt;
&lt;br /&gt;
* Nida, E. A. (2001). ''Language and Culture—Contexts in Translating''. Shanghai: Shanghai Foreign Language Education Press, 38-41.&lt;br /&gt;
&lt;br /&gt;
* Nida, E. A. (2001). ''Language, Culture and Translating''. Shanghai: Shanghai Foreign Language Education Press, 50-51. &lt;br /&gt;
&lt;br /&gt;
* Nord, Christiane. (2001). ''Translating as a Purposeful Activity''. Shanghai：Shanghai Foreign Language Education Press.&lt;br /&gt;
&lt;br /&gt;
* Schudson, M. (1995). ''The Power of News''. Cambridge, Mass: Harvard University Press.&lt;br /&gt;
&lt;br /&gt;
* Vermeer, H. J. (1989). ''Skopos and Translation Commission'' . Heidelberg: University.&lt;br /&gt;
&lt;br /&gt;
* Vermeer, H. J. (1989). ''Skopos and Translationsauftrag – Aufsatze''. Second Edition. Heidelberg: University. &lt;br /&gt;
&lt;br /&gt;
* Chen Lizhao. 陈丽昭. (2002). 中英新闻标题对比研究[A Comparative Study of Chinese and English News Headlines ]. Fujian: Fujian Normal University福建师范大学.&lt;br /&gt;
&lt;br /&gt;
* Fan Tengteng 樊腾腾. (2006). 从目的论角度论英语新闻标题的翻译[Translation of English News Headlines from Perspective of Skopos Theory ]. Guangdong: Guangdong University of Foreign Studies广东外语外贸大学.&lt;br /&gt;
&lt;br /&gt;
* Hu Shuzhong 胡曙中. (2012). ''语篇语言学导论'' [ Introduction to Discourse Linguistics ]. 上海: 上海外语教育出版社Shanghai: Shanghai Foreign Language Education Press.&lt;br /&gt;
&lt;br /&gt;
* Li Zhongqiang 李中强. (2012). 新媒体背景下的汉语新闻英译研究[A Study of English Translation of Chinese News in the Context of New Media]. Shanghai: Shanghai International Studies University上海外国语大学. &lt;br /&gt;
&lt;br /&gt;
* Liu Mixian 刘宓庆. (2003). ''当代翻译理论''[Contemporary Translation Theory ]. 中国对外翻译出版公司 China Foreign Translation and Publishing Corporation&lt;br /&gt;
&lt;br /&gt;
* Liu Yunxi 刘芸希. (2018). 目的论视角下新闻标题的英译研究[A Study of English Translation of News Headlines from the Perspective of Skopos Theory].''海外英语'' Overseas English, (11):123-125.&lt;br /&gt;
&lt;br /&gt;
* Luo Dan 罗丹. (2012). 目的论视角下的中国日报网英语新闻标题的翻译策略[Translation Strategies of English News Headlines in China Daily from the Perspective of Skopos Theory]. Wuhan: Wuhan University of Science and Technology武汉科技大学. &lt;br /&gt;
&lt;br /&gt;
* Shen Jinbo 沈金伯. (1989) 新闻英语文体探讨[Exploring the English Style of News ]. ''外国语'' Foreign Languages. (1): 52-55 &lt;br /&gt;
&lt;br /&gt;
* Tang Ting 唐婷. (2010) 从目的论看硬新闻标题的汉译英[Chinese-English translation of Hard News Headlines From Perspective of Skopos Thoery]. Hunan: University of South China南华大学.&lt;br /&gt;
&lt;br /&gt;
* Wang Chi 王驰. (2013). 目的论在经济新闻标题英汉翻译中的应用[The Application of Skopos Theory in the English-Chinese Translation of Economic News Headlines]. Hubei: Central China Normal University 华中师范大学.&lt;br /&gt;
&lt;br /&gt;
* Wang Jun, Chen Shiyue 王军,陈诗月. (2017). 翻译目的论研究综述[A Review of Translation Purpose Theory Research ].''现代交际'' Modern Intercourse (18):102-103.&lt;br /&gt;
&lt;br /&gt;
* Xu Mingwu 许明武. (2003)''新闻英语与翻译'' [News English and Translation]. 北京: 中国对外翻译出版公司Beijing: China Foreign Translation and Publishing Corporation.&lt;br /&gt;
&lt;br /&gt;
==On Chinese-English Translation of Public Service Advertisements From the Perspective of Text-type Theory 司妤  Si Yu  Student No.202070080606==&lt;br /&gt;
&amp;lt;center&amp;gt; 司妤  Si Yu  Student No.202070080606&amp;lt;/center&amp;gt;&lt;br /&gt;
&lt;br /&gt;
===Abstract===&lt;br /&gt;
&lt;br /&gt;
Public-service advertising is an advertising activity that provides free services to the community without the purpose of making profit. Since the founding of the People's Republic of China, public-service advertising activities have increased and played an important role in the moral and ideological education of society as a whole, such as fire and burglary prevention, forest protection, birth control, maintenance of public order, no spitting and so on, all of which are in the nature of public-service advertising.&lt;br /&gt;
&lt;br /&gt;
With the improvement of China's status in the international society, the accuracy of the translation of PSAs, as a medium to convey Chinese culture, is attracting more and more attention. Accurate translations help to showcase Chinese culture to foreigners and promote communication, while incorrect translations can be laughable.&lt;br /&gt;
&lt;br /&gt;
In some public occasions, I have noticed that there are many excellent PSAs, but there are also some &amp;quot;Chinglish&amp;quot; PSAs. This paper analyzes the text of PSAs by using the Text-type theory, gives suggestions to improve the messy translation phenomenon, and summarizes several translation methods, hoping to provide reference for the translators of PSAs.&lt;br /&gt;
&lt;br /&gt;
===key words===&lt;br /&gt;
&lt;br /&gt;
Public-service advertisement;Text typeTheory;Translation methods&lt;br /&gt;
&lt;br /&gt;
===文本理论视角下公益广告的中英翻译===&lt;br /&gt;
&lt;br /&gt;
===摘要===&lt;br /&gt;
&lt;br /&gt;
公益广告是不以营利为目的而为社会提供免费服务的广告活动。我国建国以后，公益性的广告活动日益增多，对全社会进行道德和思想教育发挥了重要作用，例如有关部门进行的防火防盗、保护森林、节制生育、维护公共秩序、不要随地吐痰等广告宣传，均属公益广告的性质。&lt;br /&gt;
&lt;br /&gt;
随着中国在国际社会地位的提高，公益广告作为一种传递中国文化的媒介，其翻译的准确性日益受到人们的关注，翻译准确有利于向外国友人展示中国文化，促进交流。而翻译错误则容易贻笑大方。&lt;br /&gt;
&lt;br /&gt;
笔者注意到在一些公众场合不乏优秀的公益广告翻译，同时也仍有一些“中式英语”公益广告存在。本文运用文本类型理论对公益广告文本进行分析，对乱译现象提出改进建议，总结了几点翻译方法，希望能够为公益文本译者提供借鉴。&lt;br /&gt;
&lt;br /&gt;
===关键字===&lt;br /&gt;
&lt;br /&gt;
公益广告；文本类型理论；翻译方法&lt;br /&gt;
&lt;br /&gt;
===Introduction===&lt;br /&gt;
&lt;br /&gt;
====Research Background====&lt;br /&gt;
&lt;br /&gt;
Economic and social development and the improvement of people's living standards have brought many unprecedented changes to people, making their lives more convenient and colorful. But along with it comes a series of social problems such as indiscriminate dumping of urban garbage, neglect of wildlife protection, lack of care for public property, smoking in public places, etc.These social problems have also been magnified by the advance of urbanization. At this time, public service advertisement (PSA)can offer help if we want to activate more people to solve them.&lt;br /&gt;
 &lt;br /&gt;
There are many forms of public service advertisements, such as public service advertisement (PSA) clips, public service messages, and public service slogans. Each of these PSAs has its own textual characteristics, such as the PSA short film in the form of a short video, using a fascinating plot to illustrate the concept of public welfare; public service messages are simple but informative; public service slogans are neat and thought-provoking. The translation of these texts should be done according to the characteristics of the text in order to achieve the public service effect of the text. &lt;br /&gt;
&lt;br /&gt;
With China playing an increasingly important role in the international community, a large number of international conferences are being held in China, and the number of foreign travelers arriving in the country is on the rise. The accuracy of the translation of public service advertisements is especially important at this time, not only to help foreigners in their travel work in China, but also to promote Chinese culture and to enhance their understanding of China.&lt;br /&gt;
&lt;br /&gt;
It is worth mentioning that the overall quality of the Chinese people has been significantly improved compared to a few years ago, and the appearance of more and more elites has made the society think more deeply about the accuracy of translation, which is conducive to building a good city image and improving the aesthetic level of city residents and tourists.&lt;br /&gt;
&lt;br /&gt;
Advertisements can be divided into commercial advertisements and public service advertisements according to content and purpose. Commercial advertisements are mostly published by enterprises, and their main purpose is to stimulate consumers and arouse their desire to consume, and their content is mostly product information.(Liu Xiaofang 2014)&lt;br /&gt;
&lt;br /&gt;
There are some definitions from different people. Berkowitz, a famous scholar, who makes a thorough study of advertisement for more than 25 years, states that PSA is generally sponsored by a non-profitable institution, civic group, religious organization, trade association, or political group with a central focus on public welfare (Berkowitz, 2004). In China, according to Zhang Minxin’s definition, PSA is a sub-branch of non-commercial advertisement whose purposes are to serve the public interests. This kind of advertisement can push the public to change their attitudes and behaviors (Zhang Mingxin, 2004). There are some researchers at home and abroad trying to discover how public service advertisements work, such as: Judie Lannon (2008), Nancy Lee (2006), Josephson (2005) and other scholars hoping to discover the secrets behind public service advertisements and society, such as Charles Atkin (2001) and Pan Zehong (2001).&lt;br /&gt;
&lt;br /&gt;
====Research Significance and Objectives====&lt;br /&gt;
&lt;br /&gt;
As the influence of Chinese culture increases internationally, more and more foreigners want to learn about China. Some want to learn Chinese, and others want to know more about the social situation. Public service advertisements (PSAs) provide such an opportunity for them to learn and better understand China.&lt;br /&gt;
&lt;br /&gt;
At the same time, some social problems, such as the Cov-19 epidemic, SARS, and AIDS, may not only be a problem for China, but also for the whole world, and the PSAs can provide a Chinese perspective and Chinese wisdom to solve these problems. In addition, when a disaster occurs, such as the Wenchuan earthquake, which aroused the attention and sympathy of the international community, and some friendly countries want to provide assistance, PSAs are extremely important. In this paper, the writer will analyze different public service advertisements from the perspective of text type theory and provide translation suggestions.&lt;br /&gt;
&lt;br /&gt;
Public service advertisement texts are common texts in daily life, and many scholars have discussed them from various perspectives, including the theory of purpose, aesthetic perspective, semantic translation and communicative translation perspective. However, no scholars have analyzed them from the perspective of text type theory. The writer boldly proposes to look at public-interest text translation from such a perspective, which may lead to new insights.&lt;br /&gt;
&lt;br /&gt;
====Methodology====&lt;br /&gt;
&lt;br /&gt;
The texts in this paper are mostly from public service advertisements released by CCTV, publicservice text messages received by the public, and public service slogans around them. This paper adopts a descriptive approach to analyze the content and purpose of the texts in detail, and also gives its own suggestions on how to translate the public service texts.&lt;br /&gt;
&lt;br /&gt;
====Framework of this paper====&lt;br /&gt;
&lt;br /&gt;
This paper is divided into seven chapters.&lt;br /&gt;
&lt;br /&gt;
Chapter 1 introduces the background, significance and purpose of the research, methodology, and general framework of this thesis.&lt;br /&gt;
&lt;br /&gt;
Chapter 2 introduces the theoretical perspective used in this paper.&lt;br /&gt;
&lt;br /&gt;
Chapter 3 analyzes the characteristics of public service texts from the perspective of content and text.&lt;br /&gt;
&lt;br /&gt;
Chapter 4 gives examples of texts according to the three categories of text type theory and analyzes the more appropriate translations.&lt;br /&gt;
&lt;br /&gt;
Chapter 5 lists the obvious mistranslations in PSAs and gives suggested versions of the translations.&lt;br /&gt;
&lt;br /&gt;
Chapter 6 summarizes the methods that can be used to translate PSA texts.&lt;br /&gt;
&lt;br /&gt;
Chapter 7 summarizes what has been discussed throughout the essay and reflects on the limitations of the essay.&lt;br /&gt;
&lt;br /&gt;
===Overview of Theoretical Foundation and Comparisons===&lt;br /&gt;
&lt;br /&gt;
====Reiss’s View of Text Type Theory====&lt;br /&gt;
&lt;br /&gt;
Katharina Reiss is the founder of the German functional school of translation, and in her book Possibilities and Limitations in Translation Criticism she presented the prototype of the functional school's theoretical ideas. Reiss's text types are divided into four main categories. She points out that content texts emphasize the depictive function, formal texts emphasize the expressive function, operative texts emphasize the persuasive function, and audio-visual texts emphasize the audio-visual function. function). Therefore, these text categories can also be referred to as informative text, expressive text, operative text, and audio-visual text, respectively. Correspondingly, there are four types of functions.(Reiss 1972)&lt;br /&gt;
&lt;br /&gt;
1. Content-based text&lt;br /&gt;
&lt;br /&gt;
This type of text is content-based, and the text can be used to convey information and so on. When translating, the content should be restored to the greatest extent possible. These texts mainly include news reports and commentaries, business letters, cargo lists, instructions for use, operating instructions, and other professional works in technical fields.&lt;br /&gt;
&lt;br /&gt;
2. Formal texts&lt;br /&gt;
&lt;br /&gt;
The focus of formal texts is on their aesthetic significance. When translating such texts, the translator should aim to create a similar text effect in the form. Formal texts include literary prose (short essays, biographies, pure literature), imaginative prose (anecdotes, short stories, novels, romances), and all forms of poetry (from didactic poetry to narrative poetry to purely emotional poetry).&lt;br /&gt;
If the form is not preserved in translation, the content of the text may be lost as a result.&lt;br /&gt;
&lt;br /&gt;
3. Operative texts&lt;br /&gt;
&lt;br /&gt;
Operative texts are concerned with the response of the recipient of the text. This type of text clearly appeals to the recipient of the text through a certain point of view and with a certain purpose, expecting to receive the desired response. The representative texts are all operative texts in which the appealing element predominates, using advertisements, propaganda, sermons, debates, agitation or satirical texts that have an expressive purpose or linguistic expression.&lt;br /&gt;
&lt;br /&gt;
4. Audiovisual texts&lt;br /&gt;
&lt;br /&gt;
Generally speaking, any text that requires some degree of non-verbal communication with the audience is an audio-visual text. This includes mainly radio and television scripts, such as radio news and reports, overviews of hot topics, and theater productions. In these texts, not only grammar and narration techniques, but also sound effects and visual devices (in television and film) play an important role.&lt;br /&gt;
&lt;br /&gt;
====Peter Newmark’s View of Text Type Theory====&lt;br /&gt;
&lt;br /&gt;
Peter Newmark is one of the leading figures in the linguistic school of British translation theory. Newmark also made a detailed classification of texts, and he summarized them into the following three types according to their contents.(Peter Newmark 2001)&lt;br /&gt;
&lt;br /&gt;
1. Expressive texts&lt;br /&gt;
&lt;br /&gt;
This type of text focuses on the content of the text and the author's own point of view. Newmark divides them into three types of texts. (1) serious and imaginative literature, including lyric poetry, short stories, long novels, and plays; (2) authoritative texts, including a variety of texts whose authority comes from the author's status or linguistic ability, such as speeches and statements by senior government officials and political party leaders, legal regulations, documents, and literary and academic works written by authorities; (3) autobiographies, essays, and private letters that are straightforward and have no direct readership.(Jia Heping 2015)&lt;br /&gt;
&lt;br /&gt;
2. Informative texts&lt;br /&gt;
&lt;br /&gt;
The text often contains some content that does not involve the emotional and opinion part, and this part of the content can have its practicality, which is the information function of the text. Typical informative texts include textbooks, technical reports, newspaper articles, scientific papers, conference proceedings, etc.&lt;br /&gt;
&lt;br /&gt;
3. Operative text&lt;br /&gt;
&lt;br /&gt;
The function focuses on the response of the text receiver, and the text is set to get the desired response from the receiver, to produce certain influence on them or even change their concepts and behaviors. Typical vocative texts include notices, advertising campaigns, instructions, and persuasive texts (such as requests, appeals, etc.).&lt;br /&gt;
&lt;br /&gt;
He classifies language functions into six categories, based on what the philosophers of language Bühler and Jacobson have said about language functions. He believes that a text may have one function or several functions, but that one of these functions is the main one, as explained below.&lt;br /&gt;
&lt;br /&gt;
1. Expressive function&lt;br /&gt;
&lt;br /&gt;
Expression is a fundamental property of language. Expression is the process by which people use language to express their feelings, attitudes, and opinions. Expression focuses on output of the writer, not on the other person's reaction and feelings.&lt;br /&gt;
&lt;br /&gt;
2. Informative function&lt;br /&gt;
&lt;br /&gt;
The content of the text is mainly fixed, not with emotion, can be used by people in certain situations.&lt;br /&gt;
&lt;br /&gt;
3. Operative function&lt;br /&gt;
&lt;br /&gt;
This function focuses on the reaction of the recipient of the text, and the writer envisages the reaction of the recipient of the text when writing, in order to achieve the corresponding purpose.&lt;br /&gt;
&lt;br /&gt;
4. Aesthetic function&lt;br /&gt;
&lt;br /&gt;
Language contains traces of history, which represents a certain aesthetic of people. The first means used for this function is sound, and the second is metaphor. In addition, the rhythm, balance and contrast of sentences and words also have a role. The aesthetic function is present in most of the text categories, moreover, it is indispensable for poems, nursery rhymes and some advertising campaigns.&lt;br /&gt;
&lt;br /&gt;
5. Interpersonal function&lt;br /&gt;
&lt;br /&gt;
The interpersonal function is reflected in people's daily interactions and conversations. That is, language helps people establish relationships with each other.&lt;br /&gt;
&lt;br /&gt;
6..Meta-linguistic function &lt;br /&gt;
&lt;br /&gt;
Meta-linguistic function is a special function of language, refers to the language of the language itself to explain, name, analyze, comment on the function. Some expressions in the text, such as “strictly speaking, literally, so called, so to speak, by definition, etc.”, are manifestations of the meta-linguistic function.&lt;br /&gt;
&lt;br /&gt;
Of the above six functions, the first three are the main ones, but within a text, there may be multiple functions, but the text itself has a focus, and rarely does textual knowledge contain purely one function.(Li Zhi 2008)&lt;br /&gt;
&lt;br /&gt;
====Similarities and Differences Between Reiss's and Newmark's View of Text Type Theory====&lt;br /&gt;
&lt;br /&gt;
=====Similarities=====&lt;br /&gt;
Both theories are based on Bühler's triadic approach to language function. &lt;br /&gt;
&lt;br /&gt;
Both have the same understanding of the division and characteristics of different kinds of texts.&lt;br /&gt;
&lt;br /&gt;
=====Differences=====&lt;br /&gt;
First of all, language used in lived interaction is the main basis for Rice's definition of text types, and these are classified as text types that value content. Newmark, on the other hand, regards such lived language as a special linguistic function, and many experts consider this understanding by Newmark problematic.&lt;br /&gt;
&lt;br /&gt;
Second, there is a significant difference in their views of instructions, with Rice classifying them as informative texts because of their ability to provide certain information to readers. Newmark, on the other hand, classifies it as a operative text because of its ability to guide people and thus change their behaviors. In my opinion, the text of instruction manuals is due to the nature of the product itself, and the readers have the will to act before reading the text, and the manuals only provide them with certain information, so they should belong to the information category.&lt;br /&gt;
&lt;br /&gt;
Furthermore, the language used in living interactions is the main basis for Rice's definition of text types, and these are classified as text types that value content. Newmark, however, regards this lived language as a special language function, and many experts think that this understanding of Newmark is problematic.(Jia Heping 2015)&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
===Features of Public Service Advertisements===&lt;br /&gt;
&lt;br /&gt;
As an advertising method, public service advertisements have their own characteristics in many aspects. By analyzing the characteristics, we can accurately convey the idea that the PSA is trying to convey.&lt;br /&gt;
&lt;br /&gt;
====Content Features====&lt;br /&gt;
&lt;br /&gt;
1. Public welfare. The public welfare nature of PSAs is their essential feature, which is concerned with the common interests of the entire society. By observing the theme and content of the PSAs in both China and abroad, it can be seen that the topics of PSAs cover ecological protection, care for the earth, quality birth and education, opposing cults, advocating science, opposing war, advocating polite social mores, patriotism, and so on.&lt;br /&gt;
&lt;br /&gt;
2. Non-Profit. Public service advertisements are non-profit in nature. It does not exist for an organization or a business entity, but rather to draw people’s attention to and activate action on social issues. Commercial advertising, on the other hand, exists for financial gain.&lt;br /&gt;
&lt;br /&gt;
3. Popularity. The public service advertisements are made for the general public. As the audience's cultural level, the ability to understand different, so public service advertisements must be easy to understand. It not only requires the spread of advertising content to have universal significance, but also the form of popular, concise, accessible language, easy to understand. Only in this way, the public service advertisement can really serve the purpose of the public.&lt;br /&gt;
&lt;br /&gt;
4. Creativity. The advertising market is so diverse that the only way to make advertisements spread to  the public is to design them in a creative and meaningful way that will make them known to&lt;br /&gt;
more people.&lt;br /&gt;
&lt;br /&gt;
====The Features of Text Forms====&lt;br /&gt;
&lt;br /&gt;
1.Advertising texts that we see in our daily lives include slogans, public service messages and public service videos, and so on. Advertising slogans are usually short and meaningful, with simple counterpoint sentences, and are operative texts. On the other hand,public service messages are mostly preventive messages issued by social organizations to help disseminate precautions and draw people’s attention to an unexpected situation in order to maintain social order. They are mostly informative texts. Most PSAs have a complete storyline, thought-provoking dialogue, and a short slogan that summarizes the message of the ad.&lt;br /&gt;
&lt;br /&gt;
2. Public service advertisements are often designed with certain rhetorical techniques to enhance the aesthetics of the ad, make it catchy to read, and ultimately leave a deep impression on the public.&lt;br /&gt;
&lt;br /&gt;
====Similarities and Differences Between Chinese and English PSA texts====&lt;br /&gt;
&lt;br /&gt;
=====Similarities=====&lt;br /&gt;
&lt;br /&gt;
1. Public service texts in both languages often use certain rhetorical techniques, such as personification, alliteration, and end-rhyme, in order to evoke a call to action.&lt;br /&gt;
&lt;br /&gt;
2. Public service texts in both languages often use short sentences, especially in public service slogans, which are easy to remember and achieve the desired effect.&lt;br /&gt;
&lt;br /&gt;
3. Both languages use idioms and sayings that have been around for a long time.&lt;br /&gt;
 &lt;br /&gt;
=====Differences=====&lt;br /&gt;
&lt;br /&gt;
1. Chinese public service texts are good at using strong words such as &amp;quot;forbidden&amp;quot;, while English texts use more euphemistic words such as &amp;quot;Please&amp;quot;. When translating, we should respect the habits of the translating countries in order to better play the role of public welfare texts.&lt;br /&gt;
&lt;br /&gt;
2. Chinese public service texts tend to use poetry-like forms, with seven or five characters in order to be neatly matched. In English, they mostly use phrases of the same number of words to match each other.&lt;br /&gt;
&lt;br /&gt;
3.The translation of advertising slogans also needs to respect certain cultural differences, as Western societies emphasize the individual while the Chinese value collectivism. For example:&lt;br /&gt;
&lt;br /&gt;
Example 1：保护生态环境，造福子孙后代。&lt;br /&gt;
&lt;br /&gt;
Translation 1:Leave a sound ecological environment to your children.&lt;br /&gt;
&lt;br /&gt;
Such a slogan in Chinese emphasizes the impact on future generations without specifying whose children and grandchildren it is, but in the translation, the translator translates it as &amp;quot;Leave a sound ecological environment to your children.” to call on people to protect the environment.&lt;br /&gt;
&lt;br /&gt;
4. Westerners focus on direct expressions, while Chinese expressions are more subtle. For example:&lt;br /&gt;
&lt;br /&gt;
Example 2: 司机一滴酒，亲人两行泪。 &lt;br /&gt;
&lt;br /&gt;
Translation:Drink and drive costs your life.&lt;br /&gt;
&lt;br /&gt;
The sentence contrasts the words &amp;quot;酒&amp;quot; and &amp;quot;泪&amp;quot; without directly pointing out the possible serious consequences, leaving the reader to think about them and take actions. Instead, the translator simply translates it as &amp;quot;Drink and drive costs your life.”(Li Qingxue, Wang Huaiwang 2019)&lt;br /&gt;
&lt;br /&gt;
===Examples of C-E Translation of Public Service Advertisements===&lt;br /&gt;
&lt;br /&gt;
====Operative Text====&lt;br /&gt;
&lt;br /&gt;
Most of the PSAs are operative texts, and the pupose of operative texts in PSAs is to affect the public in order to attain the desired response from the advertisers. PSAs are created to publicize something of common social interest in order to attract attention and action, so the creative design of the advertisement should take this into account and retain the appealing elements of the original text when designing the advertisement.&lt;br /&gt;
&lt;br /&gt;
Example 3: 爱心播散 希望萌芽&lt;br /&gt;
&lt;br /&gt;
Translation: Spread love Sow hope&lt;br /&gt;
&lt;br /&gt;
The public service advertisement slogan is from a public service advertisement released by CCTV in 2016, which tells the story of Zhao Xiaoting, a student from Wuhan University, who volunteered to go to Guizhou to teach in the mountains. It was her selfless love that sowed hope for the children in the mountains. The ad reflects the great power of ordinary people and promotes the core values of socialism. It shows the power that volunteering can bring. &lt;br /&gt;
&lt;br /&gt;
The ad is very short, with a neat counterpoint, and the verb and noun have been swapped in the translation, with the verb being in front of the noun, indicating a dynamic process that can arouse the public's recognition of the act and inspire them to join in and contribute to the poor areas. The second verb in the original text is &amp;quot;萌芽&amp;quot;, but the translation uses &amp;quot;sow&amp;quot; to indicate the growth of hope, which is similar to the original text.(Jin Haibing 2005)&lt;br /&gt;
In addition, the translation version capitalize these two verbs to emphasize these selfless behavior. Learning from this, we can also adopt this translation skill which originates from the difference between Chinese and English.&lt;br /&gt;
&lt;br /&gt;
Example 4: 有你在，就是家。&lt;br /&gt;
&lt;br /&gt;
Translation：You bring me warmth of home.&lt;br /&gt;
&lt;br /&gt;
In this short film, a father in a rural area has never been away from home, and because he misses his son, who has not been home for a long time, he sets out on his own to visit him. The father has to change various means of transportation to get to the city, and encounters many difficulties because his being unable to speak mandarin well. The helpless father finally gets help from the staff, through whom he contacts his son. Eventually they both cry, and the short film ends with the father sitting on his son's motorcycleand going home together. &lt;br /&gt;
&lt;br /&gt;
The short film is very touching, and through the process of going into the city to look for his son, it shows us how brave and gentle people can be for love. If we translate the text word by word in the original order, we can't express this meaning, so we use phrases like &amp;quot;bringing sb warmth&amp;quot; to express the meaning of the original Chinese.(Ye Qiuling 2020)&lt;br /&gt;
&lt;br /&gt;
====Informative Text====&lt;br /&gt;
&lt;br /&gt;
Public service messages are informatiive texts, mainly used to convey certain information, with straightforward and concise text content, and the translator only needs to express its literal meaning directly when translating.&lt;br /&gt;
&lt;br /&gt;
Example 5：请您收到来自境外、国内新冠疫情中高风险地区的邮件、包裹，先对物品表面进行消毒，或在阳台等室外空旷处放置一段时间再打开。处理完包裹、邮件后，应立即用肥皂或洗手液清洗双手，或用免洗手消毒剂进行消毒。洗手前双手不触碰口、鼻、眼等部位。疫情防控有您的参与才能胜利！&lt;br /&gt;
&lt;br /&gt;
Translation: If you receive mail or parcels from overseas or domestic areas at high risk of Cov-19 outbreak, please disinfect the suface of the items first, and leave them on the balcony or other outdoor open space for a period of time before opening them. Immediately after handling parcels and mail, wash your hands with soap and hand sanitizer, or disinfect them with hand sanitizer. Do not touch your mouth, nose, eyes or other parts of your body before washing your hands. Outbreak prevention and control can only be won with your participation!&lt;br /&gt;
&lt;br /&gt;
Example 6：应急公益短信:为严防新型冠状病毒感染的肺炎疫情，山东省严禁任何形式的野生动物交易活动，严禁野生动物对外扩散和转运贩卖。对于违反规定的经营者、经营场所将予以停业整顿、查封，涉嫌犯罪的，将移送公安机关。社会各界如有发现违法违规交易野生动物的，欢迎拔打12345等投诉举报。&lt;br /&gt;
&lt;br /&gt;
Translation: In order to prevent the outbreak of pneumonia due to new coronavirus infection, any form of wildlife trade is strictly prohibited in Shandong Province, and the proliferation and trafficking of wildlife is strictly prohibited. The company's main goal is to provide the best service to the public.&lt;br /&gt;
If you are suspected of committing a crime, you will be transferred to the public security organs. If any&lt;br /&gt;
illegal trade of wild animals is found, the community is welcome to call 12345 to report complaints.&lt;br /&gt;
&lt;br /&gt;
====Expressive Text====&lt;br /&gt;
&lt;br /&gt;
The purpose of an expressive text is to express emotions and attitudes, the language focuses on aesthetics, and the focus of the text is on the form of expression, which requires attention to equity in translation. With the development of the economy and society and the improvement of people's living standards, the aesthetic level of the masses is also improving, and accordingly, the translation of advertising slogans should also change to adapt to the improvement of people's aesthetics.&lt;br /&gt;
&lt;br /&gt;
Example 7：善行无痕 一种习惯的美丽&lt;br /&gt;
&lt;br /&gt;
Translation: Kindness is traceless. A habit of beauty.&lt;br /&gt;
&lt;br /&gt;
The slogan is from a public service advertisement by CCTV in 2016. In the short film, a wife walks into a room to rest after stopping on the balcony for a long time, and her husband comes back and intends to tum off the balcony light to save electricity. The wife stops the husband, and the camera turns to two elderly sanitation workers who are finishing their meal by the light of the lamp she left for them, which the young couple lit for them in the night.&lt;br /&gt;
&lt;br /&gt;
Such kindness is obviously not accidental,but has been a habit of the wife in the short film, and is therefore natural and touching. The ad is intended to call attention to good deeds and habit formation through a story like this one. The ad's slogan is a literal translation, with &amp;quot;善行&amp;quot; translated as &amp;quot;Kindness&amp;quot; and &amp;quot;无痕&amp;quot; as &amp;quot;traceless&amp;quot;.&amp;quot;The use of end-rhyme rhetoric, which pursues equivalence of expressions and enhances the rhythmic beauty of the language, impresses readers and influences their perceptions and habits of good deeds, serving as a public service advertisement.(LiQingxue, Wang Huaiwang 2019)&lt;br /&gt;
&lt;br /&gt;
Example 8：保护肺脏，珍爱生命。（禁烟广告）&lt;br /&gt;
&lt;br /&gt;
Translation: Save your lung, save your life.&lt;br /&gt;
&lt;br /&gt;
The slogan comes from an anti-smoking advertisement that uses the alliteration, “lung” and “life”, to emphasize that quitting smoking is about protecting your lungs and your life. The two “saves” remind people that smoking is harmful to their health and that they should quit smoking as soon as possible to save themselves.&lt;br /&gt;
&lt;br /&gt;
===Misinterpretation of Public Service Advertisments===&lt;br /&gt;
&lt;br /&gt;
====Chinglish====&lt;br /&gt;
Chinglish refers to word-for- word translations that do not consider translation strategies from the perspective of the receiving language and cultural differences, and often cause difficulties in comprehension for the receiving readers.&lt;br /&gt;
&lt;br /&gt;
Example 9：小心地滑&lt;br /&gt;
&lt;br /&gt;
Misinterpretation: Foot Care.&lt;br /&gt;
&lt;br /&gt;
Suggested translation: Mind your step.&lt;br /&gt;
&lt;br /&gt;
The above misinterpretation is translated word-for-word, which not only makes it difficult for the recipient readers to read, but also affects the image of the city as a whole, so more citizens are taking notice and taking action to reject &amp;quot;dead translation&amp;quot; and &amp;quot;Chinglish&amp;quot;. &lt;br /&gt;
&lt;br /&gt;
====Grammatical errors====&lt;br /&gt;
Most grammatical errors are caused by the translator's own incompetence, mainly in the use of articles, subject- predicate inconsistencies, mis-matching of verb phrases, and word confusion.&lt;br /&gt;
&lt;br /&gt;
Example 10：珍爱生命 远离毒品。&lt;br /&gt;
&lt;br /&gt;
Mistranslation: Yes to life, no to drugs.&lt;br /&gt;
&lt;br /&gt;
Suggested translation: Cherish life and avoid drugs.&lt;br /&gt;
&lt;br /&gt;
The public service advertisement came from an anti-drug advertisement, obviously the mistranslated structure of the translation does not fit English conventions.&lt;br /&gt;
&lt;br /&gt;
====Inappropriate Use of Words====&lt;br /&gt;
There are some words in English that are very similar to each other, and improper use of words means that the translator uses words haphazardly without clearly distinguishing between similar words, resulting in a misinterpretation.&lt;br /&gt;
&lt;br /&gt;
Example 11：关爱残障人士&lt;br /&gt;
&lt;br /&gt;
Improper translation: Care for the handicapped.&lt;br /&gt;
&lt;br /&gt;
Suggested translation: Care for the disabled.&lt;br /&gt;
&lt;br /&gt;
The slogan is from a public service advertisement in which the word &amp;quot;handicapped,&amp;quot; which translates to &amp;quot;the handicapped,&amp;quot; is now somewhat outdated and contains a certain amount of offensive language that sometimes causes people to be It would make more sense to change it to &amp;quot;the disabled&amp;quot;, relatively speaking.&lt;br /&gt;
&lt;br /&gt;
====Redundancy====&lt;br /&gt;
The redundancy is due to the fact that the translators do not fully understand the differences between Chinese and foreign cultures and the purpose of the text.&lt;br /&gt;
&lt;br /&gt;
Example12：一花一草皆生命 一枝一叶总关情&lt;br /&gt;
&lt;br /&gt;
Improper Translation: Alive as all living things each flower and leaf of grasses require our care.&lt;br /&gt;
&lt;br /&gt;
Suggested Translation: Please give me a chance to grow.&lt;br /&gt;
&lt;br /&gt;
The original translator intended to present a vivid description of the original slogan in front of people, but failed to consider that the slogan was intended to arouse people's love for flowers and plants. We suggest that the translation should start from the operative textual features of the slogan and combine it with the straightforward expression habits of foreigners to call on people to take care of flowers and plants in a more euphemistic way.&lt;br /&gt;
&lt;br /&gt;
===Methods of C-E Translation of Public Service Advertising===&lt;br /&gt;
&lt;br /&gt;
====Literal Translation====&lt;br /&gt;
&lt;br /&gt;
The main characteristics of literal translation are twofold: in the treatment of word meanings and rhetoric (e. g., metaphors), it does not use transitive techniques (this distinguishes &amp;quot;literal translation&amp;quot;from &amp;quot;free translation&amp;quot;); in the treatment of linguistic forms (i.e., lexical-syntactic structure), it allows appropriate changes and shifts (This distinguishes &amp;quot;literal translation&amp;quot; from &amp;quot;word- for-word translation&amp;quot;).(Xiong Bing 2013) For example.&lt;br /&gt;
&lt;br /&gt;
Example 13: 我的盛开需要你的关爱 &lt;br /&gt;
&lt;br /&gt;
Translation : Luxuriant flowers need your care.&lt;br /&gt;
&lt;br /&gt;
The translation retains the personification of the original, treating flowers as species with emotions, but directly specifies that &amp;quot;I&amp;quot; means &amp;quot;flower&amp;quot;, which is in line with the habit of expression of the target audience and serves as a reminder.&lt;br /&gt;
&lt;br /&gt;
Example 14: 节约用水就是珍爱生命&lt;br /&gt;
&lt;br /&gt;
Translation : To save water is to save life&lt;br /&gt;
&lt;br /&gt;
The original text translates &amp;quot;conserve water&amp;quot; and &amp;quot;cherish life&amp;quot; into a neat pairing, and the translation also translates them into a neat pairing, and the expression is in line with the habits of expression of the people in the receive language. Both the original text and the translation equate &amp;quot;conserve water&amp;quot; with &amp;quot;cherish life&amp;quot; to arouse the attention of the masses and advertise the importance of saving water.&lt;br /&gt;
&lt;br /&gt;
====Paraphrase====&lt;br /&gt;
&lt;br /&gt;
A paraphrase translation is one in which the translator does not stick to the details of the meaning of the original text, much less to its vocabulary and syntactic structure, but &amp;quot;uses the original text as a reference model&amp;quot; and either translates only the general meaning, gist or key information (or selectively some of it) by condensing it, or translates it into a text with more information compared to the original article. (Xiong Bing 2013) For example.&lt;br /&gt;
&lt;br /&gt;
Example 15:爱我,追我,千万别吻我。&lt;br /&gt;
&lt;br /&gt;
Translation: Drive carefully! &lt;br /&gt;
&lt;br /&gt;
The original text is from a public service advertisement advocating cautious driving. The translation does not follow the literal meaning, but rather the translator uses a paraphrasing technique after understanding the meaning of the sentence and chooses two words to express the meaning. It is short and serves as a warning to motorists.&lt;br /&gt;
&lt;br /&gt;
Example 16：手下留情花自香，脚下留意草如茵。&lt;br /&gt;
&lt;br /&gt;
Translation: Take care of grass and flowers, please.&lt;br /&gt;
&lt;br /&gt;
The original text is a public service slogan with Chinese cultural characteristics, but it is difficult to find a corresponding expression in English when translating. Here the translator uses an invocation to remind the masses.&lt;br /&gt;
&lt;br /&gt;
====Borrowing Translation====&lt;br /&gt;
&lt;br /&gt;
A borrowing Translation is an explanation that replaces the original word or phrase by borrowing the idiom of the target language. For example.&lt;br /&gt;
&lt;br /&gt;
Example 17: 爱心传递你我，文明就在身边。&lt;br /&gt;
&lt;br /&gt;
Translation: Where there is a love, there is a virtue.&lt;br /&gt;
&lt;br /&gt;
The original is a slogan from an advertisement for the Olympic Games, which is a medium for promoting the spirit of the Games and the country's outlook. The translator chose a well-known proverb from the translated country, &amp;quot;Where there is a will, there is a way,&amp;quot; to expand the publicity effect.&lt;br /&gt;
&lt;br /&gt;
Example 18: 让世界倾听我们的声音&lt;br /&gt;
&lt;br /&gt;
Translation : Let our voice be heard in the world.&lt;br /&gt;
&lt;br /&gt;
The original text was a slogan from a CCTV public service advertisement, which was based on the lyrics &amp;quot;Let our voice be heard.&lt;br /&gt;
&lt;br /&gt;
===Conclusion===&lt;br /&gt;
&lt;br /&gt;
In this paper, the writer divides and analyzes different texts and explain the approaches they take in translation. This perspective of using text type theory to analyze and discuss how to translate public service texts may be of some help to scholars.&lt;br /&gt;
&lt;br /&gt;
According to different texts, the text type theory has its own emphasis in translation, and different PSA texts are mostly operative texts, and sometimes one text has multiple textual characteristics, which translators can take into full consideration when choosing the emphasis and translation methods.&lt;br /&gt;
Public service translation is very different from commercial advertising translation, which is mainly used to educate the public, convey correct and positive values, encourage people to take actions to help others, and create a good social environment to resist bad behaviors. Generally speaking, it is necessary to consider the actual situation when translating the PSAs.&lt;br /&gt;
&lt;br /&gt;
Through analyzing the texts of PSAs, the author has made the following discoveries, and the translation of PSAs can be done according to the text type theory. Although there are some cultural differences between the two languages, the differences do not make translation difficult to achieve. If literal translation cannot translate the meaning of the source text, then paraphrase,borrowing translation and other translation methods can also be used.&lt;br /&gt;
&lt;br /&gt;
===Limitation===&lt;br /&gt;
&lt;br /&gt;
In this paper, I put forward some personal ideas, but in the final version, I can still find my own shortcomings. First of all, there is still a lack of richness of information due to the limitation of space. Secondly, the depth of my ideas is still insufficient, and I only hope that this article can provide some research ideas for researchers and contribute to the translation of public service texts.&lt;br /&gt;
&lt;br /&gt;
===References===&lt;br /&gt;
&lt;br /&gt;
Newmark .(2001).P.A Textbook of Translation .Shanghai :Shanghai Foreign Language Education Press.&lt;br /&gt;
&lt;br /&gt;
Reiss,Katherina.(2004).Translation Criticism: the potential &amp;amp; limitation . trans .by Erroll F.Rhodes .Shanghai :Shanghai Foreign Language Education Press.&lt;br /&gt;
&lt;br /&gt;
Chen Yanhong 陈燕红. (2012).  文化视角中汉英公益广告的翻译策略 [Translation Strategies of Chinese-English Public Service Advertisements in Cultural Perspective].&lt;br /&gt;
&lt;br /&gt;
Jin Haibing 金海兵. (2005). 试谈公益广告标语及其翻译 [On Analyzing Public Service Advertisements and Their Translation].&lt;br /&gt;
&lt;br /&gt;
Jia Heping 贾和平. (2019). 论纽马克与赖斯的文本分类比较研究 [A Comparative Study on Newmark’s and Reiss’s Text Type Classification ]. &lt;br /&gt;
&lt;br /&gt;
Li Zhi 李治. (2008). 论纽马克与赖斯的文本分类比较研究 [Newmark’s and Reiss’s Text Type Classification and A Comparative Analysis of Translation Methodology ].&lt;br /&gt;
&lt;br /&gt;
Li Qingxue, Wang Huaiwang 李庆学 王怀望. (2019). 接受美学视角下的公益广告翻译 [A Study of English Translation of Public Service Advertisements from the Perspective of Reception Aesthetics].&lt;br /&gt;
&lt;br /&gt;
Liu Xiaofang 刘晓芳. (2015). 目的论视角下《中国日报》公益广告英译的探析 [The English Translation of PSAs in China Daily from the Perspective of Skopos theorie].&lt;br /&gt;
&lt;br /&gt;
Xiong Bing 熊兵. (2013).  翻译研究中的概念混淆 [Conceptual Confusion in Translation Studies].&lt;br /&gt;
&lt;br /&gt;
Ye Qiuling 叶秋伶. (2020). 语义翻译和交际翻译理论视角下中文公益广告英译——以央视公益广告为例 [English Translation of Chinese Public Service Advertisements from the Perspective of Semantic Translation and Communicative Translation Theory - Taking CCTV Public Service Advertisements as an Example].&lt;/div&gt;</summary>
		<author><name>Song Jianru</name></author>
	</entry>
	<entry>
		<id>https://bou.de/u/index.php?title=History_of_Translation_Studies_8&amp;diff=117543</id>
		<title>History of Translation Studies 8</title>
		<link rel="alternate" type="text/html" href="https://bou.de/u/index.php?title=History_of_Translation_Studies_8&amp;diff=117543"/>
		<updated>2020-12-21T07:15:13Z</updated>

		<summary type="html">&lt;p&gt;Song Jianru: /* Introduction */&lt;/p&gt;
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&lt;div&gt;这里是《翻译学史》的书稿第八部分(Part 8)。麻烦各位同学看一下已经存在的章回（样品），自己再加进去新的一个章回（就是你们的学期论文）。请也帮助同学们把他们的论文改正。这样多次修改，大家的论文会越来越好。&lt;br /&gt;
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学期论文（结合学期所学，撰写一篇5000以上单词的英文论文，按照专业杂志的格式，题目、摘要、关键词和参考文摘需要英中，文章英）。学期论文成绩占70%，平时成绩（含课堂表现、展示及作业）占30%。&lt;br /&gt;
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*Link back to course homepage: [https://bou.de/u/wiki/Introduction_to_Translation_Studies Course Homepage Intro. to TS]&lt;br /&gt;
*Link back to the final exam paper section of the course homepage: [https://bou.de/u/wiki/Introduction_to_Translation_Studies#Final_Exam_Papers Final Exam Papers]&lt;br /&gt;
*Link to other parts of the final exam papers' website: [https://bou.de/u/index.php?title=History_of_Translation_Studies_1 Part 1], [https://bou.de/u/index.php?title=History_of_Translation_Studies_2 Part 2], [https://bou.de/u/index.php?title=History_of_Translation_Studies_3 Part 3], [https://bou.de/u/index.php?title=History_of_Translation_Studies_4 Part 4]; [https://bou.de/u/index.php?title=History_of_Translation_Studies_5 Part 5], [https://bou.de/u/index.php?title=History_of_Translation_Studies_6 Part 6], [https://bou.de/u/index.php?title=History_of_Translation_Studies_7 Part 7], [https://bou.de/u/index.php?title=History_of_Translation_Studies_8 Part 8]; [https://bou.de/u/index.php?title=History_of_Translation_Studies_9 Part 9], [https://bou.de/u/index.php?title=History_of_Translation_Studies_10 Part 10].&lt;br /&gt;
&lt;br /&gt;
='''History of Translation'''=&lt;br /&gt;
== Study on Brand Name Translation from the Perspective of Cultural Difference	谭鑫洁	Tan Xinjie==&lt;br /&gt;
&lt;br /&gt;
==='''Abstract'''===&lt;br /&gt;
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== Abstract: ==&lt;br /&gt;
&lt;br /&gt;
==='''key words'''===&lt;br /&gt;
&lt;br /&gt;
==='''摘要'''===&lt;br /&gt;
&lt;br /&gt;
==='''关键字'''===&lt;br /&gt;
&lt;br /&gt;
===Complete transcript of the content of the original work ===&lt;br /&gt;
&lt;br /&gt;
===Same style and manner of writing===&lt;br /&gt;
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===Equivalent effect===&lt;br /&gt;
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===Discussion===&lt;br /&gt;
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===Conclusion===&lt;br /&gt;
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===Bibliography===&lt;br /&gt;
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==A Comparative Study on the Translation History in Western Countries and China	王煜	Wang Yu 英美文学==&lt;br /&gt;
&amp;lt;center&amp;gt;王煜，202020080645.&amp;lt;/center&amp;gt;&lt;br /&gt;
===Abstract===&lt;br /&gt;
Translation is an intercultural communication activity. Translation activities have accelerated the development of human civilization and broken through the language barrier. As time goes by, things are in a state of flux and both the Western and Eastern countries have gradually formed their own histories of translation, the study of translation history is a basic project of discipline construction. Although there are many differences of the translation histories between the Western countries and China, the two kinds of translation histories are still shining their own bright and unique lights and have an indelible influence and contribution to translation activities. This paper intends to make a brief comparison of translation histories between Western countries and China, which includes the origins, the stages, the representatives of the stages, the significance and influence as well as the differences of the two translation histories.&lt;br /&gt;
&lt;br /&gt;
===Key words===&lt;br /&gt;
&lt;br /&gt;
Translation History of the West; Translation History of China; Comparative Study&lt;br /&gt;
&lt;br /&gt;
===中西翻译史对比研究===&lt;br /&gt;
&lt;br /&gt;
===摘要===&lt;br /&gt;
翻译是一种跨文化交流活动，翻译活动加快了人类文明发展步伐，减少了人们之间的沟通障碍。随着时代的变迁，中国和西方国家逐渐形成了各自的翻译史，翻译史的研究是学科建设的一项基础工程。尽管中西方翻译史在某些方面有所差异，但却都有着各自的独特性，并对人类的翻译活动产生了巨大的影响与贡献。文章将以中国和西方国家为主要对象，从二者翻译史起始，包含阶段和各阶段代表人物，影响意义，差异性出发，对二者的翻译史进行简略的对比研究。&lt;br /&gt;
&lt;br /&gt;
===关键词===&lt;br /&gt;
西方翻译史；中国翻译史；对比研究&lt;br /&gt;
&lt;br /&gt;
===1. Introduction===&lt;br /&gt;
&lt;br /&gt;
No matter in China or in the West, translation plays an important role in knowledge-spreading. As an indispensable part of translatology, the study of translation history has made a great influence on translation activities, it has gradually become the focus of the literary and historical circles in recent years. Translation activities can be traced back to the origin of language. The history of translation is almost as old as language itself, which is closely related to the changes in today's society. &lt;br /&gt;
&lt;br /&gt;
Since the 1980s, the translation studies in the mainland of China have made remarkable progress in the design of curriculum of Chinese and Western translation history and the compilation of related works. In the early 1980s and 1990s, there were many related works came out one after another including ''A Brief History of Chinese Translation: The Part Before the May 4th Movement''（《中国翻译简史-“五四”运动以前部分》） written by Ma Zuyi , ''A Historical Manuscript of Chinese Translated Literature'' （《中国翻译文学史稿》）edited by Chen Yugang, and also the ''A Short History of Translation in the West''（《西方翻译简史》）, the author of which is Tan Zaixi. Thus, it opens the gate for the compilation of Chinese and Western translation history works.(Xie Tianzhen2009,Ⅴ) &lt;br /&gt;
&lt;br /&gt;
The history of Western translation can be divided into five stages while the Chinese study of translation has a glorious history of more than two thousand years and has experienced five climaxes. Through the comparative study of Chinese and Western translation history, it will help us to have a deeper understanding of Chinese and Western translation activities, thus to gather a general full view of it, which will be a positive and meaningful attempt.&lt;br /&gt;
&lt;br /&gt;
===2. The Translation History of Western Countries===&lt;br /&gt;
&lt;br /&gt;
Western translation activities are rich in a long history. The history of Western translation can be roughly divided into three stages: the traditional stage, the modern times and the contemporary. More specifically, it can be grouped into the ancient times, the middle ages, the Renaissance period and the time after WWⅡ.&lt;br /&gt;
&lt;br /&gt;
===2.1 The First Stage: Translation in the Ancient Times===&lt;br /&gt;
 &lt;br /&gt;
The translation history of Western countries first began in the the 3rd century BC. In a broad sense, the earliest translation in the west is the Old Testament translated by 72 Jewish scholars in Alexandria, ancient Egypt, between the 3rd and 2nd centuries BC; Strictly speaking, the first western translation is the Greek Homer Epic ''Odyssey'' translated by Andronicus in Rome in the middle of the third century BC.(Tan Zaixi2000,88-89) &lt;br /&gt;
&lt;br /&gt;
At the end of the 4th BC, Greece began to decay and the Roman had became stronger and stronger with its military expansion. The expansion of the Roman Empire brought itself into contact with the splendid Greek culture, therefore, the Romans not only conquered the Greek city, but also inherited and developed the brilliant achievements of ancient Greek culture, and then created a  splendid cultural of its own era after Greece. So it soon began a large scale translation activities. The activity of translating and introducing Greek classical works probably began in this period.(Liu Junping2009,8) &lt;br /&gt;
&lt;br /&gt;
At that time, many famous translation theorists began to make their presences, namely Cicero, Quentin, Jerome and so on, also the famous Roman litterateurs like Andronicus, Naevius, Ennius, these great writers used Latin language to translate or adapt Homer’s epic or other Greece dramas. It started the translation tradition and promoted the birth and development of Roman literature.(Tan Zaixi2000, 89)&lt;br /&gt;
&lt;br /&gt;
===2.2 The Second Stage: Translation in the Middle Ages (4th-6th)===&lt;br /&gt;
&lt;br /&gt;
The second climax occurred in the late Roman Empire through the early Middle Ages and was concerned about religion. In this period, translation was mainly related to the religious stuff. Religious forces have great influence in the west, Christianity strived to promote its own religion, thus, the Bible, the source and psychological weapon of the Christianism naturally meant a lot in religious world. Since the Old Testament of the Bible was written in Hebrew and Greek, respectively, it needed to be translated into Latin for effective circulation in Rome.(Tan Zaixi2000, 89)&lt;br /&gt;
&lt;br /&gt;
&amp;quot;Jerome was a Latin Christian priest, he translated the Bible into Latin(Vulgute) according to the Hebrew version of the Bible. This version had a great influence on medieval theology and was the most widely circulated and authoritative translation of the Middle Ages, marking an unprecedented level of Western translation.&amp;quot;(Tan Zaixi2000, 89)&lt;br /&gt;
&lt;br /&gt;
===2.3 The Third Stage: Translation in the Middle Ages (11th-12th)===&lt;br /&gt;
&lt;br /&gt;
This period can also be called &amp;quot;the period of the Arab Centennial Translation Movement&amp;quot;,(Liu Junping2009,9) it lasted over two hundred years. In order to consolidate the rule and promote socio-economic and cultural development, the medieval Arab Empire undertook a massive, organized academic activity to translate and introduce the scientific and cultural classics of ancient Greece and the East. Translators of this period actively translated the most important works of Greek literature in all disciplines with an open mind and a strong desire for knowledge. &lt;br /&gt;
&lt;br /&gt;
Between the 11th and 12th centuries, Toledo became Europe’s academic center for its prosperous translation activities, the Western translators who gathered here translated many works from Arabic into Latin. Cultural patterns and religious ideas converged here.(Tan Zaixi2000, 90) &lt;br /&gt;
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Until nowadays, the positive influence of the movement still plays an inherent role: numerous proprietary names such as ‘concept’, ‘category' are gradually established in Arabic. This movement not only facilitated the integration of the inner Arab world, but also, in fact, promoted the integration of the Western and Persian worlds.&lt;br /&gt;
&lt;br /&gt;
===2.4 The Fourth Stage: Translation in the Renaissance Period===&lt;br /&gt;
&lt;br /&gt;
The Renaissance movement is a European ideological and cultural movement that took place from the 14th century to the 16th century, and reached its peak in the 16th century and inspired a cascade of the development of science, art and literature. A large number of outstanding translators shown up and a series of excellent translation works had been produced. During this time, a great quantity of ancient Greek and Roman classics had been rediscovered and translated into various European languages, which had brought about a profound impact on the European nation states. &lt;br /&gt;
&lt;br /&gt;
Leonardo Buruni, who was one of the most influential cultural translation practitioners in the Renaissance period and was also one of the earliest representatives of humanistic translators in the history of western translation. He was famous for his translation of Plato and Aristotle. Humanists began to study the Bible with the method of studying classical literature, and translated the Bible into the national language, which led to the rise of the religious reform movement. &lt;br /&gt;
&lt;br /&gt;
In Germany, Martin Luther, a religious reformer, translated the first mass Bible, which influenced most and ushered in a new era in the development of modern German; in Britain, Chapman, a writer and translator, translated Homer's ''Iliad'' and ''Odyssey'' from 1958 to 1616, and the translation and publication of the King James Bible in 1611 marked the formation of modern English.(Liu Junping2009,9)&lt;br /&gt;
&lt;br /&gt;
The Renaissance played a very important role in the Western history of the development of translation, it marked the status of national language in the field of literature and translation having finally been consolidated. Simultaneously, it showed that translation is playing a huge role in the formation and development of the national language, literature and thought.(Liu Junping2009,9)&lt;br /&gt;
&lt;br /&gt;
During the three hundred years that lasted from the 17th century to the 19th century, translation activities continued to move forward. Although its scale and influence could not be compared with that of the Renaissance, it still produced many excellent translators and translated works. The biggest feature was that translators not only continued to translate classical works, but also became interested in modern and contemporary works. The works of Cervantes, Shakespeare, Balzac, Goethe and other great writers had been repeatedly translated into various languages, and translations of Eastern literature have also been published.(Tan Zaixi2000,91)&lt;br /&gt;
&lt;br /&gt;
===2.5 The Fifth Stage: Translation after WWⅡ===&lt;br /&gt;
&lt;br /&gt;
Although World War II has brought different degrees of blows to many countries, some Western countries have used a large amount of capital to actively resume production, developed various social fields, and attached great importance to the person with ability. Western science and technology are changing with each passing day, driven by cybernetics, information theory and system theory. The world of knowledge and experience has been greatly expanded, and social and cultural exchanges have become increasingly close, which provided a solid material foundation and ideological guarantee for the prosperity of translation. &lt;br /&gt;
&lt;br /&gt;
With the growth in number or quantity of translation activities, translation theory continues to develop, and the number of translation talents in various countries keeps on increasing. Translation has gradually expanded from traditional literary and religious translation to other fields, such as scientific and technical translation and business translation, and with the emergence of professional translators, the influence of translation has become more and more obvious, playing an important practical role. Distinctive features in this time, from the scope to the scale, effect, and to the forms, are all different from any time in the past, having made tremendous progress, the translation scale has exceeded the past.(Tan Zaixi2000,92)&lt;br /&gt;
&lt;br /&gt;
There are a large number of outstanding translators and translation theorists in the West, who have put forward their different points from different angles in different periods, which made a brilliant contribution to the history of western translation. The Western translation activity promoted the cultural exchange and spread the ideas.(Tan Zaixi2000, 92)&lt;br /&gt;
&lt;br /&gt;
===3. The Translation History of China===&lt;br /&gt;
&lt;br /&gt;
China has a long history with 5000 years of civilization. Since China is a multi-ethnic country, so translation plays an irreplaceable role in the communication between different nationalities. There is no reference to the history of translation in China, although there are some documents in the Xia and Shang Dynasties, we still can not discern the translation activities at that time from the existing records. &amp;quot;The song of the Yue Boatman can be regarded as the first poetry translation in Chinese history.&amp;quot;(Ma Zuyi1998,5) However, it was only an isolated translation activity and did not trigger a large-scale translation movement in China.&lt;br /&gt;
&lt;br /&gt;
===3.1 The First Stage：Translation of Ancient Buddhist Scriptures===&lt;br /&gt;
&lt;br /&gt;
The first climax of the Chinese translation history was the translation of ancient Buddhist scriptures. ''The Potala Sutra'' should be the earliest translation of Buddhist scriptures in China. It was also said that the ''Forty-Two Chapters Sutra'' is the earliest Chinese translation of the Buddha's sutras, however, the one that is proven to be reliable should be the book ''The Fifty Books of the Mingdu'' translated by An Shigao during the reign of Emperor Huan of the Eastern Han Dynasty.(Ma Zuyi1998,17)&lt;br /&gt;
&lt;br /&gt;
It has experienced four phases, each of which had its own features: the first was the starting period which was from the last year of emperor Huan in the Eastern Han Dynasty to the Western Jin Dynasty. Translators in this period were mainly Buddhist monks,(Ma Zuyi1998,33) However, the quality of the translated works depends on the ability of the translators’ understanding of Chinese, so the classics of the translated works are varied. Also, due to the shortage of learners' language knowledge , they usually used literal translation. &lt;br /&gt;
&lt;br /&gt;
The second period was the developing time, from the Eastern Jin Dynasty to the Sui Dynasty. The Buddhist scriptures continued to prevail under the rulers' advocacy and began to translated Buddhist scriptures in an organized way but still translated literally. During this period, Shi Daoan put forward the famous theory of ‘Five losses of source texts and three difficulties in translation’. &lt;br /&gt;
&lt;br /&gt;
Meanwhile, through the translation and interpretation of nearly 400 volumes of Buddhist classics, kumarajiva first introduced Indian Buddhism to the Chinese people, which played an important role in the prosperity of Chinese Buddhism at that time.(Ma Zuyi1998,40) The translation in this time had changed from individual translation into group translation which had improved the quality of translation and as well made some progress in translation theories and skills.(Ma Zuyi1998,55) &lt;br /&gt;
&lt;br /&gt;
The third period was the heyday of the translation history took place in Tang Dynasty.(Ma Zuyi1998,58) Xuanzang was an important figure in promoting Sino-Indian friendship and cultural exchanges in China's history，not only was he a great translator and organizer of translation, but he was also a great translation theorist whose contribution to translation studies still remains significant today. &lt;br /&gt;
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As for the last period, it was in the Northern Song Dynasty, the studying of translating scriptures gradually withered, and during this period, the translation mainly focused on the esoteric classics translations.(Ma Zuyi1998,82)&lt;br /&gt;
&lt;br /&gt;
As part of Chinese history, especially as the link of the cultural development, the translation of Chinese ancient Buddhist sutra has contributed more than a lot.  The spread of Buddhist ethics contributed to the formation of Taoism in China.&lt;br /&gt;
&lt;br /&gt;
===3.2 The Second Stage：Technical Translation during the Yuan and Ming Dynasties===&lt;br /&gt;
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The translation of Buddhist scriptures gradually declined during the two hundred years of the Ming Dynasty. With the arrival of Western Christian missionaries, China came into contact with Europe. In order to facilitate their relations with Chinese officials and intellectuals, the missionaries translated works of Western science and technology as well as Christian texts assisted by Chinese officials. They also introduced the Chinese classics to the West.(Ma Zuyi1998,263) &lt;br /&gt;
&lt;br /&gt;
Matteo Ricci came to China on a mission to introduce Western scientific and technological knowledge. He pioneered the history of combining Chinese and Western translation to introduce Western scientific and technical literature, and was the first to translate the ''Four Books'' into Latin, he was the first to introduce Chinese texts to the West.(Ma Zuyi1998,263) &lt;br /&gt;
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From the Wanli period of the Ming Dynasty to the &amp;quot;new learning&amp;quot; period of the Qing Dynasty, translators who introduced science, literature and philosophy in Western Europe, represented by Xu Guangqi, Lin Shu and Yan Fu appeared. Xu Guangqi was a patriotic scientist and organizer of the scientific and cultural movement in China at the end of the Ming Dynasty. He made outstanding achievements in introducing Western natural sciences and promoting the development of  science in China.&lt;br /&gt;
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===3.3 The Third Stage：Literary Translation in Late Qing Dynasty===&lt;br /&gt;
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After the Opium War, the Qing government organized a large number of scholars to translate books of western natural science. Under the influence of the thought of reform, a large number of translations introducing western political thoughts, scientific methods and some literary works appeared. ''The Records of Four Continents'', translated by Liang Jinde, asked by Lin Zexu, was the first systematic introduction to the geographical knowledge of western countries in modern China.（Ma Zuyi1998,329）&lt;br /&gt;
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After the Sino-Japanese War of 1894-1895, Yan Fu translated the theory of evolution and put forward the triple criteria of ‘faithfulness, fluency and elegance’, which has played a great guiding role in the translation practice of later generations, His translation promoted the development of &amp;quot;new learning&amp;quot; and enlightened the Chinese nation at that time.（Ma Zuyi1998,377）&lt;br /&gt;
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Another scholar Liang Qichao, who was a politician, thinker and encyclopedia scholar of that time, advocated that China needs to develop the translation career and cultivate translation talents at a full stretch. He has done fruitful research on the translation of Buddhist scriptures and the translation of science and technology between the Ming and Qing Dynasties.（Ma Zuyi1998,384）&lt;br /&gt;
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===3.4 The Fourth Stage：The Translation of Socialist and Communist Works===&lt;br /&gt;
&lt;br /&gt;
The May 4th Movement was a watershed in China's modern translation history, which made a significant contribution to the introduction of foreign literature to China and the development of literature in China. After the May 4th movement, China's translation industry has ushered in a new historical period. Translators in this period, compared with those during the late Qing dynasty, were more selective in source texts. Chinese translation scholars began to introduce the classic works of Marxism-Leninism and the literature of the proletariat. The translation of the Manifesto of the Communist Party was published during the May 4th movement. &lt;br /&gt;
&lt;br /&gt;
During this period, great changes have taken place in the content and form of translation work: vernacular began to replace classical Chinese, as a result, popular language becomes easy to understand and the excellent literary works of western countries have attracted more and more Chinese readers. &lt;br /&gt;
&lt;br /&gt;
Famous translators like Lu Xun, Mao Dun, Zheng Zhenduo, Guo Moruo, Zhu Shenghao, Lin Yutang had translated a large number of foreign masterpieces, which enriched the inner world of the Chinese people. Lu Xun once advocated that there should be an exotic atmosphere in the translated works which would familiarize the readers with the foreign cultures. He also believed that the literal translation of culturally loaded words was one of the important means of enriching the mother tongue. These scholars helped the Chinese people to know more about the outside world and laid a good foundation for the systematization and scientification of translation theory in China.&lt;br /&gt;
&lt;br /&gt;
===3.5 The Fifth Stage：The Translation after 1949===&lt;br /&gt;
&lt;br /&gt;
The founding of the People's Republic of China in 1949 enabled translation to enter a new era. With the founding of the new China, China's translation industry was also liberated. Translation became a very important part of the national, cultural and educational cause. National organizations for translators were established in order to protect the interests and benefits of translators. The quantity and quality of translated works have grown by leaps and bounds. &lt;br /&gt;
&lt;br /&gt;
Since then, translation work has been an important part of the new socialist culture, and has been developing rapidly, making great achievements and perfecting translation theory. The classical works of Marxism-Leninism, excellent foreign literature, scientific and technical literature and the like were systematically introduced. There are large-scale translations like the translation of Marx and Lenin's works. &lt;br /&gt;
&lt;br /&gt;
In the 1950s, scientific and technical works were translated to meet the demands of the national social and economic construction. In the 1970s, translation of United Nations documents after China was restored to its rightful seat in the United Nations. Also, literary translators became a very important part of China's literature and arts personnel. Qian Zhongshu He puts forward his &amp;quot;transmigration theory (化境说)&amp;quot; for literary translation. It is like the act of transmigration in which the soul, the spirit of the original text remain in the target text even although the carrier of them, the language, has changed. In 1978, two years after the end of disastrous &amp;quot;cultural revolution,&amp;quot; China adopted its &amp;quot;reform and open&amp;quot; policy. A new and dynamic atmosphere for translation emerged.&lt;br /&gt;
&lt;br /&gt;
===4.The Comparative Study Among the Two Kinds of Translation Histories===&lt;br /&gt;
&lt;br /&gt;
===4.1 The Similarities of the Western and Chinese Translation History===&lt;br /&gt;
&lt;br /&gt;
About the religious and translation, we can easily notice that in the history of Chinese and Western translation, almost all the early translation activities were the translation of religious classics. The translation of religious classics had opened the curtain of Chinese and Western translation history. The spread of religion is always accompanied by the translation of religious classics. It is not difficult for us to understand the reason: after the emergence of religion, in order to absorb more believers, it is necessary for the religion to spread widely across nations and countries. Therefore, from ancient times to the present, religion is always a kind of forms of various national beliefs and cultures. It keeps on influencing the spiritual belief and behavior of society.&lt;br /&gt;
&lt;br /&gt;
The translation activity has made great contributions to the establishment and development of national languages in various countries. For example, in the history of Western translation, Martin Luther's Bible translation played an important role in the unification and development of Tthe German language and the establishment of modern German. &lt;br /&gt;
&lt;br /&gt;
What’s more, the English version of the Bible enriched the English vocabulary and benefited the modernization of English a lot. The same in China, the Buddhist scripture translation also enriched the use of Chinese vocabulary. In the ideological field, it not only laid the foundation for the establishment of Taoism, but also paved the way for the formation of &amp;quot;New Confucianism&amp;quot; in the Song Dynasty. And we can not ignore the contribution of the literary translation in the first half of the 20th century to the establishment and development of modern vernacular Chinese. &lt;br /&gt;
&lt;br /&gt;
The translation activity helps to transmit cultural values and promote cultural exchange. Translation bears the mission of cultural exchange, the translation activities are trying to make a close connection between nations and countries and introduce the language and cultural habits of one nation to another. Such kind of efforts have enriched the vocabulary and promoted the exchange between areas. &lt;br /&gt;
&lt;br /&gt;
Jesuits who came to China in the late Ming and early Qing dynasties would translate Chinese classics and literary works into foreign languages, which, in a state of isolation between China and Europe, have become the middlemen for the exchange of Chinese and Western civilizations.(Tan Zaixi1999,26)&lt;br /&gt;
&lt;br /&gt;
===4.2 The Differences Between the Western and Chinese Translation History===&lt;br /&gt;
&lt;br /&gt;
First, time is different. Western translation predates Chinese translation by over 200 years. It is said that the reason is due to the differences in topography and geomorphology of the two parts. We all know that China possesses a great number of mountains and lakes, and in ancient times, it would take quite a few days to send messages from one place to another, especially when people in the remote areas, it would be a hard and long journey for them to head for a destination. So, there is a difficulty in communicating among the various peoples in different nations. There would be a delay in communication and connection. &lt;br /&gt;
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As for the West, there are numerous plains, so, it was much convenient and easier for the Western people to communicate and exchange their ideas with each other, which set a ideal environment for the development of translation activities.&lt;br /&gt;
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Also, the position of religion varies. The different tradition and culture of the West and China make the concept of religion of the two quite varied. Different religious cultures have different forms of expression and vocabularies of their own. In the West, the Bible is not only a religious classic but also an important mainstay of Western culture and the foundation of Christian faith. Buddhism was introduced into China from India in the early years of AD and became a very important part of Chinese traditional culture, in order to consolidate his ruling position, the rulers controlled the people spiritually. The doctrine of Buddhism satisfied to the ruler's appetite, so it was first spread among the ruling class and gradually gained its legal status.&lt;br /&gt;
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The tradition of Western and Chinese translation differs. One of the differences of them is between the single system and poly system. “The simplicity of Chinese translation tradition is mainly in the narrow sense，though there are different kinds of translations of national languages in China, most of them are still dominated by the tradition of Chinese language and culture translation, because they all occurred in the same environment of the language culture since ancient times, that is , the environment of Chinese language culture.”(Tan Zaixi2000,15) &lt;br /&gt;
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In contrast, in terms of space, the Western translation tradition did not always develop in the same region. In the later formation and development process, it spread throughout all ethnic regions in Europe；In terms of time, the western translation tradition began in ancient Rome, and then evolved into the ancient Latin language and culture system. In the later period of the middle ages, the system expanded and evolved into many relatively independent ethnic systems. So the system of the West is more like a kind of poly system instead of a single system like China.(Tan Zaixi2000,15)&lt;br /&gt;
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The concept of Chinese and Western translation is different. Meanwhile, the translation theory in China and the west varies. Chinese translation tradition pays more attention to practicality than to the theory. Like professor Tan Zaixi once said: “What Chinese translators and translation theorists most concerned about is how to deal with the difficulties in translation.” However, Western translation pays more attention to systematicness and theory.(Tan Zaixi2000,16) &lt;br /&gt;
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Secondly, the national characteristics of China and the West are also different. Relatively speaking, Western ideas are more open and Chinese more conservative. For a long time, the Chinese people advocate authority and accept fewer challenges. China's three cardinal principles and five constancies in religion are in sharp contrast to the religious reform in the West. Although the West also advocates authority and takes religion as its belief, it dares to break dogmatism, which brings a breakthrough to western translation studies to a certain extent.&lt;br /&gt;
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===Conclusion===&lt;br /&gt;
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History is a bridge connecting the past, the present and the future. Throughout the history of translation between China and the West, although the differences between them inevitably exist, the brilliant translation achievements made by both sides are remarkable: excellent translators, translation scholars, or outstanding  translation theory, translation works, all of these have opened up the way for our future translation research, they are leading people to pursue knowledge and to explore into the unknown field.&lt;br /&gt;
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Mastering the history of a discipline can help us to see the direction of its development, we then will be able to learn from the experience and lessons in the process and use this kind of method to guide the development of this subject. To have contact with the history of translation is helpful for us to understand and improve the level of translation and develop the translation career. The achievements of our predecessors have accumulated valuable cultural heritages for us. We should sum up our predecessors' translation experience and continue to make our efforts for our country's translation cause.&lt;br /&gt;
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===References===&lt;br /&gt;
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*Li Xuan. 李璇. (2012). 中西翻译高潮之对比 [Comparison of Translation Climax Between China and the West]. ''青年文学家'' Youth Literator(3) 131.&lt;br /&gt;
*Liu Junping. 刘军平. (2009). ''西方翻译理论通史'' [A General History of Western Translation Theory]. Wuhan: Wuhan University Press 武汉大学出版社.&lt;br /&gt;
*Ma Zuyi. 马祖毅. (1998). ''中国翻译简史-“五四”以前部分（修订本）'' [A Brief History of Chinese Translation: The Part Before the May 4th Movement] . China Translation Corporation 中国对外翻译出版公司. &lt;br /&gt;
*Qi Jian. 戚健. (2017). 古罗马时期翻译思想新探 [A New Probe Into the Translation Thoughts in Ancient Rome]. ''南昌航空大学学报：社会科学版'' Journal of Nanchang Hangkong University: Social Science (3) 68-74.&lt;br /&gt;
*Tan Zaixi. 谭载喜. (2000). ''翻译学'' [A Series of Translation Studies in China]. Wuhan: Hubei Education Press 湖北教育出版社.&lt;br /&gt;
*Tan Zaixi. 谭载喜. (1999). 中国翻译与西方翻译 [Chinese Translation and Western Translation].''中国翻译'' Chinese Translation Journal(5) 6-8.&lt;br /&gt;
*Tan Zaixi. 谭载喜. (2000). 中西译论的相异性 [The Differences Between the Chinese and Western Traditions of Translation Theories]. ''中国翻译'' Chinese Translation Journal (1) 15-21.&lt;br /&gt;
*Tan Zaixi. 谭载喜. (1999). 中西译论的相似性 [The Similarities Between the Chinese and Western Traditions of Translation Theories]. ''中国翻译'' Chinese Translation Journal (6) 25-28.&lt;br /&gt;
*Wang Yong. 汪勇. (2008). 翻译与宗教传播 [Translation and Religious Communication]. ''中国校外教育理论'' Education for Chinese After-school(26) 51-53.&lt;br /&gt;
*Xie Tianzhen. 谢天振. (2009). ''中西翻译简史'' [A Brief History of Translation in China and the  West]. Foreign Language Teaching and Research Press 外语教学与研究出版社.--[[User:Wang Yu|Wang Yu]] ([[User talk:Wang Yu|talk]]) 01:49, 21 December 2020 (UTC)&lt;br /&gt;
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==Comparison and Translation Studies Between Chinese and Western Color Terms	方洁玲	Fang Jieling==&lt;br /&gt;
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=== Abstract ===&lt;br /&gt;
Color terms are terms used to describe the external color characteristics of things, and are very common in our lives. We use them not only to describe the external image of an object, but also to express our inner psychological feelings. Color words contain rich cultural connotations, which should not be understood simply from their literal meanings when translated, but from the different cultural connotations and extended meanings contained in the color words to understand and choose the meanings of the words. This paper first introduces the composition of color words in Chinese and English and makes a comparative analysis of their characteristics, then discusses the different meanings given to the six colors in Chinese and English, and then provides different translation methods that should be used in different situations, providing a certain reference for the English-Chinese translation.&lt;br /&gt;
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===Key words ===&lt;br /&gt;
color terms, cultural difference , reason ,translation methods&lt;br /&gt;
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=== 摘要 ===&lt;br /&gt;
颜色词是用来描述事物外在颜色特征的词语，在我们生活中非常常见。我们不仅用它描绘物体的外在形象，也用它表达内在心理感受。颜色词包含了丰富的文化内涵，在翻译的时候不能简单地从字面意思上理解，应从颜色词所包含的不同文化内涵和引申意义来理解和选择词义。本文将首先介绍中英颜色词的构成并对其特点进行对比分析，然后具体论述六种颜色在中英文中被赋予的不同意义，接着提供了面对不同情况应该采用的不同翻译方法，为英汉互译提供了一定的参考。&lt;br /&gt;
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=== 关键词 ===&lt;br /&gt;
颜色词 文化差异 原因 翻译方法&lt;br /&gt;
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=== 1.Introduction ===&lt;br /&gt;
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Color is an indispensable part of human life,it is because of the colorfulness of colors that the world is much more varied and pleasant. Color words not only have an important impact on people's vision, but also have a great impact on people's inner feelings and emotional expression. As an important part of language, color words are frequently used by human beings in English, but due to different histories, cultures, customs and habits, in the long run, different people have given specific meanings to various colors. &lt;br /&gt;
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Analyzing and comparing the different connotations of color words in Chinese and Western cultures and exploring the cultural differences between English and Chinese will be of great help to the translation work between English and Chinese. At the same time, translators will inevitably meet a lot of problems in the translation work. In this paper, we mainly discuss the composition and cultural connotation of color words between Chinese and English. In addition, we also propose some translation methods and make a brief conclusion.&lt;br /&gt;
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=== 2.Characteristics of the Composition of Chinese and Western Color Words ===&lt;br /&gt;
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Color words are words used to describe the color of different things. And they are the symbols that exist in human languages to record a large number of colors, which are generally considered to be adjectives in grammar.&lt;br /&gt;
In the historical development of Chinese color words, there are three types.(Cai Xiaomin2020,65) &lt;br /&gt;
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(1) Basic words. These words are the most basic and objective, and are generally used to objectively describe the most direct external color state of an object. They are &amp;quot;white&amp;quot;, &amp;quot;black&amp;quot;, &amp;quot;red&amp;quot;, &amp;quot;yellow&amp;quot;, &amp;quot;blue &amp;quot;&amp;quot;Green&amp;quot; &amp;quot;Gray&amp;quot; &amp;quot;Purple&amp;quot; &amp;quot;Brown&amp;quot; and &amp;quot;orange&amp;quot;.&lt;br /&gt;
(2) Reference words. Reference words means that people specifically distinguish basic words to show different colors. These words are more detailed and specific than the basic words. For example, we tend to divide &amp;quot;green&amp;quot; into &amp;quot;dark green&amp;quot; &amp;quot;grass green&amp;quot; and so on.&lt;br /&gt;
(3)Descriptive words. Descriptive words comes from people's perception of nature. These words can not only distinguish colors, but also describe what they look like. Such color words are more literary and subjective.(Cai Xiaomin2020,65)&lt;br /&gt;
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Color words in English are mainly divided into basic color words and compound color words.&lt;br /&gt;
basic color words : (1) simple colors. For example, black, white. (2) Colors of plants. For example, orange, etc.&lt;br /&gt;
Compound color words : (1) the name of plant + simple color. For example, apple green. (2) Chemical name + simple color. For example, vermilion, etc(Cai Xiaomin2020,65)&lt;br /&gt;
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=== 3.The Different Understanding and Perception of Colors in China and the West ===&lt;br /&gt;
Nature is colorful and can be described with many words. Generally speaking, black symbolizes oppression, white symbolizes purity and innocence, and green symbolizes life force. However, due to different histories and cultures, the same color may have different meanings. After a careful study of color words, it is easy to see that color words create various associations that have a great impact on a person's emotions and behavior. This is the main reason why people use color words to explain their moral character, emotions, and perceptions of things.(Wang Yu2012,151) &lt;br /&gt;
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Different cultures and ways of thinking lead to different meanings of color words, and this disparity can affect people's understanding of the meaning of the same word. For example, in English-speaking countries, white symbolizes purity and beauty, which is why brides wear white wedding dresses in Western weddings. However, in China, white is often used to express grief, and a white funeral dress is worn at a funeral.(Du Tianyu2020,188) In this paper, we start with the six basic color words red, black, white, yellow, purple and blue, and compare their cultural connotations in English and Chinese, discussing the different understanding and cognition of colors in China and the West and the differences in cultural connotations between Chinese and Western cultures.&lt;br /&gt;
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====3.1 红and Red ====&lt;br /&gt;
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In traditional Chinese culture, &amp;quot;红&amp;quot; represents joy, happiness, good luck, and prosperity. &amp;quot;红&amp;quot; is a color that cannot be absent from important events in China, such as the red couplets(红包), red lanterns（红灯笼）, and red packets（红包） during Chinese New Year festivals, the red dress of the bride at weddings, and other festive ceremonies in China. Similarly, words combining the word &amp;quot;红&amp;quot; generally mean prosperity, such as “hongguangmanmian”（红光满面）、”dahongdazi”(大红大紫)、”honghuo”(红火)、”hongren”(红人)、”hongrun”(红润), etc. In addition, during the revolutionary era, the color red also symbolized the modern Chinese revolution and power, such as the“hongsezhengquan”(红色政权)、”hongjun”(红军)、”hongqi”(红旗)、”hongge”(红歌)、”hongsewenjian”(红头文件)、”hongseganglin”(红色纲领), etc.(	Zhao Fenyan2019,232)&lt;br /&gt;
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In the West, red refers to the color of blood, and when red is mentioned, it is generally associated with cruelty, violence, and bloodshed. For example, &amp;quot;red hands&amp;quot;, &amp;quot;red battle&amp;quot;, &amp;quot;the red rules&amp;quot; &amp;quot; red revenge&amp;quot;, the color red also symbolizes radical and violent revolution, as in &amp;quot;red activities&amp;quot;, but also danger and tension,such as &amp;quot;a red flag&amp;quot;. &amp;quot;red alert&amp;quot; &amp;quot;a red adventure story&amp;quot;,in addition to the above-mentioned symbolic meaning, the color red also has connotations of debauchery and obscenity.(Yan Wen2012,177)For example, red light district, a red waste of one's youth, and so on. The positive connotation of the color red in Western culture is due to the exchange and integration of different cultures, which is said to have been introduced to the West via Persia from the Far East. like red letter day、red envelope、the red carpet.&lt;br /&gt;
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====3.2 黑 and Black ====&lt;br /&gt;
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In Chinese history, “黑” is an honorable and dignified color, which had a high status in ancient times. During the Xia, Qin, and early Han dynasties, “黑” was the dress of emperors and officials, and the common people were only allowed to wear plain clothes, and then a restriction that was gradually relaxed after the Northern Song Dynasty. In China, the derivation of “黑” includes the positive meanings of stern, iron-faced, upright, and mysterious, such as in the art of theatrical masks, where the “黑脸” symbolizes the noble character of uprightness and selflessness. In addition to its positive connotations, “黑” sometimes symbolizes a derogatory meaning, indicating a counter-revolutionary, regressive, or stubborn party. For example, the ”阴曹地府” is said to be dark and sunless, and “黑”, as opposed to light, symbolizes darkness, death, terror, etc. (Wang Yu2012,150)&lt;br /&gt;
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In the West, black is the color of death, symbolizing death, suffering, and grief, hence the black color of Western mourning garments. black tidings means &amp;quot;bad news&amp;quot;，Jesus was crucified on the Friday before Easter, The Black Friday is considered to be a &amp;quot;dangerous and ominous day&amp;quot;. Black also symbolizes &amp;quot;anger&amp;quot; and &amp;quot;irritation&amp;quot;, such as: black in the face,to look black at sb，Other words that express negative meanings，such as black sheep, black dog, black eye, black list, black and blue, black art, and other black symbols.(Wang Yu2012,151)In addition, black also represents seriousness, discretion, and pomp. Black suit and black dress have always been the most revered traditional clothing in the West. In solemn formal occasions, people like to wear black clothing. Symphony orchestra performers almost always wear black suits. The term &amp;quot;black-ball&amp;quot; refers to a costume ball. In business English, &amp;quot;a company in black&amp;quot; refers to a profitable business, where“ in black” means profitable, because on financial statements, profit figures are written in black ink.&lt;br /&gt;
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====3.3 白 and White ====&lt;br /&gt;
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In Chinese, “白” is often used to represent death, such as at funerals with white decorations, white flowers, and white mourning clothes, but there are also many words containing “白” that do not represent color at all, but rather the name of something or have another meaning,[8]such as”baicai”(白菜), “baixiong”（白熊）、 “baiyi”(白蚁)、”baijuan” (白卷)、 “baichi”(白痴), White&amp;quot; also means &amp;quot;pure, or unadulterated, such as”baikaishui”(白开水)、”baizhi”(白纸)、”baiqierou”(白切肉)etc. &amp;quot;White&amp;quot; also often means &amp;quot;in vain&amp;quot; or &amp;quot;without cost&amp;quot;, such as”baifeishi”(白费事)、“baida”（白搭）、”baisong” (白送)、“baishouqijia” (白手起家) etc(Chen Yongye2005,425) &lt;br /&gt;
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and The Chinese word “白” is also not the same as the English word &amp;quot;white&amp;quot;, which we can say the white people (白人), but is better translated as: She has a fair skin. In addition, it is difficult to summarize the exact meaning of some of the“白” in Chinese, For example “baihua”(白话) vernacular, “tanbai”（坦白）: to confess, to make a clean breast of something, etc.(Yan Wen2012,176)&lt;br /&gt;
In the West, however, white is considered as a symbol of purity, and it is customary to wear white wedding dresses and gowns at weddings, hence there exist the expressions like white-handed，a white lie，a white day, they treated us white etc.&lt;br /&gt;
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====3.4 黄 and Yellow ====&lt;br /&gt;
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In traditional Chinese culture,”黄” is a symbol of power, honor, and nobility, in the Chinese feudal society, yellow is a symbol of imperial power and nobility, such as ”chonggao”(崇高)，”huangpao”(皇袍)、”huanggong”(皇宫)、”shengzhi”(圣旨) and so on. In modern Chinese, words such as “huangchengcheng”(黄澄澄),”huangcanvan”(黄灿灿)mean a good harvest and an auspicious day. ”黄” is a glorious color. And it is always associated with &amp;quot;honor&amp;quot;, &amp;quot;brilliance&amp;quot;, it is a symbol of &amp;quot;power&amp;quot; and &amp;quot;nobility&amp;quot;. To this day, ”黄” is still the symbol of ancient China, which is its positive meaning. Similarly, ”黄” has negative connotations, such as ”huangseshukan”(黄色书刊) , “huangseluxiang”(黄色录像) etc.(Yan Wen2012,178)&lt;br /&gt;
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but in the West, the term &amp;quot;the blue video&amp;quot;, &amp;quot;the blue talk&amp;quot; is used to describe the pornographic nature of the country. It means ”huangsedianying”(黄色电影)and ”huangsexinxi”(黄色信息)(Du Tianyu2020,188). In addition, ”黄” also means failure, sickness, or old age, such as ”huangji”(黄髫). The word ”黄” also means youth and ignorance.In the West, in Western Christianity, yellow is a symbol of shame. Because in the Bible, Judas betrayed Jesus by wearing a yellow dress. Therefore, &amp;quot;yellow&amp;quot; has the connotation of betrayal .And it also means sadness, sickness, cowardice, etc.(Chen Yongye2005,425) For example, &amp;quot;a yellow streak&amp;quot; means cowardice. &amp;quot;yellow&amp;quot; also has mean and vulgar semantics. In the 18th century, Americans often printed pornographic books on yellow paper. &lt;br /&gt;
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As a result, the low level of exaggeration and exaggerated distortion of facts used by newspapers and periodicals to attract readers was later extended to journalistic styles as well. For example, &amp;quot;yellow journalism&amp;quot; is a style of journalism that attempts to attract people in any way possible. In English, Yellow Pages is the &amp;quot;yellow phone book&amp;quot;, and yellow boy is a slang term for &amp;quot;gold coin. The English words for Chinese ”黄” would be: pornographic, filthy, vulgar, obscene, etc. In English, blue is often used to mean ”黄”, such as blue jokes(下流的玩笑)、blue revolution (性解放)、blue films (黄色影片)、blue software (黄色软件)etc.(Chen Yongye2005,425) Some Chinese words have nothing to do with the English word yellow, such as blue jokes(下流的玩笑)、blue revolution (性解放)、blue films (黄色影片)、blue software (黄色软件)and so on.&lt;br /&gt;
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====3.5 绿and Green ====&lt;br /&gt;
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In Chinese culture, “绿”represents vitality, and phrases related to”绿”express hope and vitality of people, such as“lüzhou”（绿洲）、“lvyiangran”（绿意盎然）. In today's China, ”绿”has a new symbolic meaning, such as: “lvseshipin”(绿色食品),”lvsechanye”(绿色产业), all referring to the concept of health, safety and non-pollution. The green light is also a signal for safe passage. In Chinese, a &amp;quot;lvmao&amp;quot; （绿帽）means that a man's wife is in an illicit relationship with someone else.(Hu Zongkang, Zhang Jun2019,153) However, in ancient Chinese culture, ”绿”means humbleness, because humble people wore green clothes. Also,”lvlinhaohan” (绿林好汉)means a barbarian who occupies a mountain and becomes king.&lt;br /&gt;
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In traditional British culture, &amp;quot;Green&amp;quot; is a symbol of youth and vitality. It reminds people of the harmony and tranquility of nature. The &amp;quot;Green Peace Organization&amp;quot; is an organization that protects animals and plants. A dove with a green olive branch in its beak is a symbol of peace, &amp;quot;green winter&amp;quot; refers to a warm winter, and &amp;quot;in a green wood&amp;quot; refers to when people are young and strong. Green also represents a sense of madness and despair, just as Satan's image in the Bible is green. In addition, green in English also has a derogatory meaning of jealousy, lack of training, and childishness, such as “as green as grass”，’a green eye”，”a green hand”.(Chen Yuan2020,49) In addition, greenback means U.S. currency in English, and since U.S. dollar bills are green in color, green also means &amp;quot;money,&amp;quot; &amp;quot;bills,&amp;quot; or &amp;quot;economic power&amp;quot; in the United States.&lt;br /&gt;
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====3.6 蓝 and Blue ====&lt;br /&gt;
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Blue is the color of the sea and clear skies, giving people a feeling of peace and tranquility. In Chinese, in addition to the color,”蓝” is often used together with other words to form phrases that have different meanings from the color. &lt;br /&gt;
For example, “蓝 青 官 话 “the standard Chinese spoken by the people with accent、“蓝本”script on which the works are based； model&lt;br /&gt;
“蓝图”（blue print）building plan、“蓝田生玉”the noble people usually come from the good family、“青出于蓝而胜于蓝 “the new coming from the old is better than the old .(Chen Yuan2020,49)&lt;br /&gt;
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But blue in English can be extended to depression, sadness, nervousness, immorality, obscenity, and pornography. For example :“feel blue“, ”be blue about future“,”Her mood is blue“,“be down with blues”,“sing the blues”,“blue devils”,“blue funk“,”blue revolution“, ”blue films“, ”blue jokes“, ”blue room” refers to a place in The White House where the president meets his friends and family. and the ”Blue Book“ refers to a book that contains the names of celebrities and important government officials.(Du Tianyu2020,187-188)&lt;br /&gt;
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=== 4.Reasons for the Difference in the English-Chinese Translation of Color Words ===&lt;br /&gt;
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Different countries and regions have different interpretations of color. The main reasons for this difference are geographical factors, historical factors, religious beliefs, and social systems, &lt;br /&gt;
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====4.1 Geographic Factors ====&lt;br /&gt;
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Chinese civilization originated in the Yellow River Basin. The rich water resources and flat land of the Yellow River Basin have nurtured several generations of Chinese people. This is the main reason why the Chinese people love yellow. For generations, we Chinese people are also known as the “yanhuangzisun”(炎黄子孙)(Cai Xiaomin2020,66).Western civilization originated in ancient Rome. The only way out for Greece was to expand abroad. Therefore, blue became the favorite color of the Greeks.&lt;br /&gt;
	&lt;br /&gt;
==== 4.2 Historical and Cultural Factors ====&lt;br /&gt;
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A large number of color words have been created in different historical backgrounds and conditions. Therefore, it is important to understand the differences in the historical background and culture of different countries. For example, during the War of Resistance Against Japanese Aggression, our Party was called the”hongjun”(红军), which gave rise to expressions like “hongsezhengquan”(红色政权)、”hongjun”(红军)、”hongqi”(红旗)、”hongge”(红歌)、”hongsewenjian”(红头文件)、”hongseganglin”(红色纲领),etc.(Li Dan2018,132) &lt;br /&gt;
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In addition to some basic meanings, the color “红” in China also has some special historical meanings, such as the heroic and fearless revolutionary spirit. This is also the main reason why our national flag adopts the color red. Also in ancient China, yellow was a symbol of power, a color reserved for the royal family, representing the supreme authority, which meant that yellow robes were added to the flag. In the West, purple is used as a metaphor for &amp;quot;throne&amp;quot; and &amp;quot;prominence,&amp;quot; and the addition of a purple robe means rising to a position of prominence, because Western emperors and bishops have a tradition of wearing purple robes,(Li Dan2018,132) such as :be born in the purple(生于皇室), be raised to the purple. &lt;br /&gt;
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In recent years, yellow has become more and more of a symbolic term in China for low taste, erotic vulgarity, and obscenity, such as”huangsedianying”(黄色电影)、”huangseshukan”(黄色书刊)、”huangseguangdie”(黄色光碟).etc. The &amp;quot;黄&amp;quot; in these names has nothing to do with the English &amp;quot;yellow&amp;quot;, these words in English are expressed like this pornographic, vulgar, obscene. (Chen Yongye2005,425)It is very different from the associations in Chinese culture. The color vocabulary is visually and psychologically positive and derogatory for people of different nationalities.&lt;br /&gt;
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==== 4.3 Religious beliefs ====&lt;br /&gt;
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In China, the Five Element Theory is widely spread. Since &amp;quot;gold&amp;quot; is at the core of the theory, yellow becomes noble. In contrast, in the West, because yellow is stigmatized in Christianity and most people are Christians, many people dislike yellow and often even use it to convey negative connotations, according to &amp;quot;the Gospels&amp;quot; in the Bible's, in which Jesus was willing to be crucified, bleed to death, and be sacrificed with the blood of the Gospels. The Bible has been a classic of Christianity, and most people in Europe and the United States believe in Christianity.(Chen Yongye2005,425) Since the Bible has always been a Christian classic, and most people in Europe and the United States are Christian, its influence on Western culture as a whole is immeasurable, and on English culture as well.&lt;br /&gt;
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Therefore, people think that &amp;quot;red&amp;quot; is associated with bloodshed, martyrdom, and bad things, and &amp;quot;red&amp;quot; makes them think of horrible things, such a“ red hand”( 沾 满 血 的 手 ),“ a red battle”( 血 战 ),“ to see the red light”(灾祸临头).&amp;quot;(Chen Yongye2005,425)In Chinese language, the color red is a symbol of honor, splendor, good fortune, and celebration. Such as: :“ 开门红”make/ get off to a good start,“ 满堂红”success in every field,“ 红 榜 ”honor roll,“ 红 运 ”goodluck,“ 红 事 ”wedding,“ 红 人 ”a favorite with someone in power etc.&amp;quot;.&lt;br /&gt;
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==== 4.4 Social System ====&lt;br /&gt;
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The use of different colors to represent political affiliations or national identities has long been a common practice among peoples of different social systems in China and the West due to their political, economic, and religious differences. In English, the true blue refers to the loyal members of a political party, especially the die-hard conservative members of the British party; White Paper or Blue Paper refers to a report or diplomatic document with blue or white covers issued by the British and American governments on a particular topic; Yellow Paper refers to the French and other countries. A government report of a country; Green Paper is a draft report for discussion by various committees; the Chinese use the term &amp;quot;红&amp;quot; to symbolizes the proletarian revolution, the meaning of which is derived from the book &amp;quot;Red Star Over China&amp;quot;(“红星照耀下的中国”,and is also translated into”西行漫记”) by American writer Edward Snow.(Li Dan2018,132)&lt;br /&gt;
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===5.Translation Methods of English-Chinese Color Words ===&lt;br /&gt;
 &lt;br /&gt;
From the above analysis, we can conclude that there are similarities and differences in the cultural connotations of Chinese and English color words. Therefore, in the translation of color words, it is impossible to generalize, so translators need to adapt to the local conditions and adopt an appropriate way to translate.&lt;br /&gt;
	&lt;br /&gt;
====5.1 Literal Translation ====&lt;br /&gt;
&lt;br /&gt;
Literal translation means that every effort should be made to maintain the linguistic style of the original work. At the same time, it requires that the target language should be fluent and easy to understand. There are similarities between English and Chinese languages and cultures. In the translation of English-Chinese color words, some color words can be found in the target language, while others have similar extended cultural meanings. Sometimes there is no similar extended meaning, but only a literal translation meaning, so the literal translation can also be used for translation.(Hu Zongkang, Zhang Jun,153)&lt;br /&gt;
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For example, when the word black remains in its original color in the corresponding language, i.e, it has the same connotation, a literal translation is usually used.black humor 黑色幽默 (an absurd, grotesque, or morbid humor in literature, especially in novels and plays)、&lt;br /&gt;
black Friday黑色的星期五 (the Friday on which any disaster occurs)、black hand黑手党 (a secret organization that originated in Sicily, Italy, and has spread to the United States to engage in criminal activities)black market 黑市、black- hearted 黑心的、blacklist 黑名单、black and white TV黑白电视, etc.(Chen Yuan2020,49）and red light district can be directly translated as“红灯区“, which refers to the neighborhoods where sex industries are concentrated in cities of certain countries and regions.(Hu Zongkang, Zhang Jun,152) &lt;br /&gt;
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Similarly, some color words in Chinese can be directly translated into English, for example:” 白露”, one of the 24 solar terms, is a culturally specific term in Chinese, which is completely unfamiliar to Western countries. Due to cultural exchanges, &amp;quot;white dew&amp;quot; is becoming more and more familiar to foreigners, and it has the same cultural meaning in English as &amp;quot;白露&amp;quot; in China. As another example, &amp;quot;绿油油&amp;quot; is a Chinese adjective used to describe the color of vibrant green leaves.(Hu Zongkang, Zhang Jun,153) We can translate it into English as &amp;quot;green and shiny&amp;quot; because the color words here are only used to describe objective points of view, and they have the same meaning.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
==== 5.2 Free Translation ====&lt;br /&gt;
&lt;br /&gt;
Free translation. When the meaning of a color word in the original language is different from the meaning of the color word in the target language, the translator has to translate the meaning of the color word in the original language into the customary expression in the target language. In some cases, color words appear in both Chinese and English, but they do not have any color meaning; some are customary object names, while others give new meaning to them. In this case, the color itself cannot be focused on, so the colorless translation should be abandoned.This kind of translation based on the cultural background of two languages to correspond to the meaning is called &amp;quot;free translation&amp;quot;.(Chen Yuan2020,49）&lt;br /&gt;
&lt;br /&gt;
Take black as an example, for instance, black lie--恶意的谎言、black and blue--青一块紫一块、black tea-- 红茶、black guard--恶棍、black coffee --不加牛奶的咖啡、pain somebody black-- 把某人描写成坏人、黑帮can be translated into “reactionary gang”、黑钱--ill-gotten money、黑面包 brown bread, and so on. Another example is that we often say &amp;quot;他是老师面前的“红人&amp;quot;, which is translated into English as &amp;quot;He is teacher's favourite student&amp;quot; ,”hongren”(红人)is an extended paraphrase of the Chinese, which does not mean literally, it means someone who is popular and be sought after by others,(Hu Zongkang, Zhang Jun,150) and the exact meaning needs to be contextualized. People from English-speaking countries will be confused if we translate it as &amp;quot;red people&amp;quot;. &lt;br /&gt;
&lt;br /&gt;
In English, the meaning of &amp;quot;one's favourite people&amp;quot; is somewhat similar to &amp;quot;红人&amp;quot;, so the phrase &amp;quot;one's favorite people&amp;quot; is appropriate. Another example is &amp;quot;a white elephant,&amp;quot; which is said to be a punishment given by the king of Thailand to his erring ministers in the past, as the cost of keeping white elephants is very high and would be a great financial burden. This word is very common in English, but a literal translation of &amp;quot;白象&amp;quot; would not have any connotation in Chinese, so it can be translated as &amp;quot;expensive and useless thing.（Jin Yan2012，130）&lt;br /&gt;
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===6. Conclusion ===&lt;br /&gt;
&lt;br /&gt;
This paper first discusses the construction of color words in Chinese and English, and then compares their compositional features. Secondly, six colors (red, black, yellow, white, green, blue) are taken as examples to analyze the cultural similarities and differences between Chinese and English color words. The reasons for the differences are divided into four main categories: geographical factors, historical factors, psychological factors, religious beliefs, and social systems,Finally, a solution to the problem is proposed, which provides a proper reference for translators when translating Chinese and English color words.(Hu Zongkang, Zhang Jun,153)&lt;br /&gt;
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When doing translation, translators can mainly use two different translation methods, namely, literal translation and free translation. When the Chinese cultural connotation of a color word in a sentence is the same as the English one, the literal translation can be used. When it is different from English, a free translation is appropriate.(Bao Dongjiao2005,106) With the continuous penetration of globalization, people's languages and cultures are gradually interwoven, so does the meaning of color words, and also the similarities are expanding gradually.&lt;br /&gt;
&lt;br /&gt;
 However, each nation-state has its own unique culture and customs, so the color words have completely different meanings in different regions and different languages. Therefore, when translating color terms, in order to translate the meaning of the text more accurately, the translator must have a deeper understanding of the color words.(Bao Dongjiao2005,107).In addition, the translator should not only learn translation skills, but also the history, geography, and culture of the country where the source and target language are located, which will help the accuracy of the translation. In short, the key to a good color word translation is the combination of translation skills and a deep understanding of the culture, as well as an accurate analysis of the color word.&lt;br /&gt;
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===7.Reference ===&lt;br /&gt;
&lt;br /&gt;
*Cai Xiaomin.蔡晓敏.( 2020).中英颜色词的对比与翻译研究[A comparative study of Chinese and English color words and their translation].海外英语[Overseas English],65-66.&lt;br /&gt;
&lt;br /&gt;
*Yan Wen.颜雯.(2012).翻译中颜色词的中西文化内涵差异[The difference between Chinese and Western cultural connotations of color words in translation].青年文学家·语言研究,[ Young Literati-Language Studies],177.&lt;br /&gt;
&lt;br /&gt;
*Jin Yan.金燕.(2012).浅析颜色词在中西文化下的翻译对比差异[An analysis of the contrasting differences in the translation of color words in Chinese and Western cultures].海外英语[Overseas English].&lt;br /&gt;
&lt;br /&gt;
*Zhao Fenyan.赵芬艳.(2019).试论中西颜色词的文化内涵及翻译策略[The cultural connotation of Chinese and Western color words and translation strategies].师资校企经验[Faculty school-enterprise experience],232-234.&lt;br /&gt;
&lt;br /&gt;
*Wang Yan, Zhang Bo.王艳,张博.(2012).谈中西文化对颜色的理解差异[Talking about the difference in the understanding of color between Chinese and Western cultures].教学实践[Teaching Practice],6-11.&lt;br /&gt;
&lt;br /&gt;
*Chen Yongye.陈永烨.(2005).英汉颜色词所表现的中西文化差异[The Chinese and Western cultural differences expressed by English and Chinese color words].辽宁工程技术大学学报[Journal of Liaoning University of Engineering and Technology],424-427.&lt;br /&gt;
&lt;br /&gt;
*Hu Zongkang, Zhang Jun.胡宗康,张军.(2019).英汉颜色词中“Green/绿”的对比与翻译方法研究[. Comparison and Translation of &amp;quot;Green/绿&amp;quot; in English and Chinese Color Words].文学教育[Literary Education],152-153.&lt;br /&gt;
&lt;br /&gt;
*Bao Dongjiao.鲍冬娇.(2015).中西红白颜色认知差异及翻译取向[Differences between Chinese and Western red and white color perception and translation orientation].湖北经济学院学报[Journal of Hubei University of Economics],106-107.&lt;br /&gt;
&lt;br /&gt;
*Li Dan.李丹.(2018).中西文化差异下的颜色词翻译[Translation of color words under the difference of Chinese and Western cultures].海外英语[Overseas English].&lt;br /&gt;
&lt;br /&gt;
*Li Hong.李虹.(2020).汉英颜色词翻译的差异性研究[A study of the differences between Chinese-English color word translations].文化长廊[Cultural Promenade].&lt;br /&gt;
&lt;br /&gt;
*Liu Mengqi, Chen Xingxing.刘梦琪,陈星星.(2020).浅谈颜色词的翻译[A brief discussion on the translation of color words].校园英语翻译研究[Campus English Translation Study].&lt;br /&gt;
&lt;br /&gt;
*Du Tianyu,杜恬雨.(2020).浅析文化差异对汉英颜色词翻译的影响[An analysis of the influence of cultural differences on the translation of Chinese-English color words].科教文汇[Science and Education],187-188.&lt;br /&gt;
&lt;br /&gt;
*Xu Yanping.许雁萍.(2009).中西文化中颜色词语的差异及其翻译[The Difference of Color Words in Chinese and Western Culture and Their Translation].文学语言学研究[Literary Linguistics Research],212-213.&lt;br /&gt;
&lt;br /&gt;
*Wang Yu.王羽.(2012).中西文化对比下颜色词的差异比较[Comparison of the differences in color words between Chinese and Western cultures].教育时空[Education Time],151.&lt;br /&gt;
&lt;br /&gt;
*Li Yun, Jia Aiguang.李云,贾爱光.(2020).大学英语教学中英汉基本颜色词翻译对比探讨[A Comparative Discussion on the Translation of English and Chinese Basic Color Words in University English Teaching].校园英语[Campus English],11-21.&lt;br /&gt;
&lt;br /&gt;
*Chen Yuan陈缘.(2020)英汉颜色词的文化差异与翻译[Cultural differences between English and Chinese color words and translation].海外英语[Overseas English],48-49.&lt;br /&gt;
&lt;br /&gt;
==Translation manipulated by ideology	许静	Xu Jing, 202070080614 英语笔译==&lt;br /&gt;
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&amp;lt;center&amp;gt; 许静 Xu Jing 202070080614 &amp;lt;/center&amp;gt;&lt;br /&gt;
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===摘要===&lt;br /&gt;
传统翻译理论将研究重点放在原文与译文的对比上，遵循翻译的最高原则“忠”。本文将根据勒菲费尔的翻译改写理论，从历史角度探讨中国建国初期翻译活动的过程及其制约因素，旨在揭示这一阶段中国翻译活动的基本特点，为新时期翻译活动的良性发展提供一点借鉴。&lt;br /&gt;
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===关键词===&lt;br /&gt;
翻译；意识形态；操纵；赞助人&lt;br /&gt;
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===Abstract===&lt;br /&gt;
Traditional translation theory focuses on the comparison between the original text and the translated text, following the strict principle of translation, &amp;quot;fidelity&amp;quot;. This article will explore the process of translation activities and its constraints in the early years of China's founding from a historical perspective, based on Lefevere's theory of translation rewriting, with the aim of revealing the basic characteristics of Chinese translation activities at this stage and providing a little reference for the benign development of translation activities in the new era.&lt;br /&gt;
&lt;br /&gt;
Traditional translation theory focuses on the comparison between the original text and the translated text, following the strict principle of translation, &amp;quot;fidelity&amp;quot;. This article will explore from a historical perspective the process of translation activities and its constraints in the early years of China's founding, based on Lefevere's theory of translation rewriting, with the aim of revealing the basic characteristics of Chinese translation activities at this stage and providing a little reference for the benign development of translation activities in the new era.--[[User:Yang Yue|Yang Yue]] ([[User talk:Yang Yue|talk]]) 04:19, 19 December 2020 (UTC)&lt;br /&gt;
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===Key words===&lt;br /&gt;
Translating; Ideology; Manipulation; Patronage&lt;br /&gt;
&lt;br /&gt;
===Introduction===&lt;br /&gt;
Traditionally, translation studies have only focused on the linguistic level, confined to the conversion of two texts, and have not broken through the understanding of the &amp;quot;faithful&amp;quot; concept. Since the 1970s, leading translators from various countries have abandoned their original narrow thinking and begun to emphasize that &amp;quot;translation does not take place in the vacuum of two languages, but in the context of two literary and cultural traditions.&amp;quot; In the 1980s, the French translation studies scholar Antoine Berman stressed that the translation of literary works is driven by ideological choices. in the 1990s, the contemporary American translation theorist Lefevere suggested that in Translation, Rewriting and the Manipulation of Literary Fame (Translation, Rewriting and the Manipulation of Literary Fame) the Manipulation of Literary Fame), argues that translation takes into account several factors such as ideology, patronage, poetics and literary scholarship. Translation is the rewriting of an original text; it is a form of creating a text. Whatever the rewriting or the intention, it reflects a certain ideology and poetics and responds to the dominant ideology of the period. As a result, the intercultural activity of translation inevitably bears the mark of ideology.&lt;br /&gt;
&lt;br /&gt;
Traditionally, translation studies have only focused on the linguistic level, confined to the conversion of two texts, and have not broken through the understanding of the &amp;quot;faithful&amp;quot; concept. --[[User:Yang Yue|Yang Yue]] ([[User talk:Yang Yue|talk]]) 04:19, 19 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
Since the 1970s, leading translators from various countries have abandoned their original narrow thinking and begun to emphasize that &amp;quot;translation does not take place in the vacuum of two languages, but in the context of two literary and cultural traditions.&amp;quot; In the 1980s, the French translation studies scholar Antoine Berman stressed that the translation of literary works is driven by ideological choices. --[[User:Yang Yue|Yang Yue]] ([[User talk:Yang Yue|talk]]) 04:19, 19 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
In the 1990s, the contemporary American translation theorist Lefevere suggested that in Translation, Rewriting and the Manipulation of Literary Fame (Translation, Rewriting and the Manipulation of Literary Fame) the Manipulation of Literary Fame), argues that translation takes into account several factors such as ideology, patronage, poetics and literary scholarship. Translation is the rewriting of an original text; it is a form of creating a text. Whatever the rewriting or the intention, it reflects a certain ideology and poetics and responds to the dominant ideology of the period. As a result, the intercultural activity of translation inevitably bears the mark of ideology.--[[User:Yang Yue|Yang Yue]] ([[User talk:Yang Yue|talk]]) 04:19, 19 December 2020 (UTC)&lt;br /&gt;
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===Ideology===&lt;br /&gt;
The word “ideology”, derived from the Greek word “idea” and “logos”, literally means conceptual logos, i.e. the doctrine of ideas. It was a concept proposed by Destutt de Tracy at the end of the 18th century, initially as a world view and a body of philosophical thought, for a modern critique of religion, which encompassed the whole field of culture, including science, and was an essential intermediary between ourselves and the world. This is generally considered to be the positive use of this concept. &lt;br /&gt;
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The word “ideology”, derived from the Greek word “idea” and “logos”, literally means conceptual logos, i.e. the doctrine of ideas. It was a concept proposed by Destutt de Tracy at the end of the 18th century, initially as a world view and a body of philosophical thought, for a modern critique of religion, which encompassed the whole field of culture, including science, and was an essential intermediary between ourselves and the world. This is generally considered to be the positive use of this concept. --[[User:Yang Yue|Yang Yue]] ([[User talk:Yang Yue|talk]]) 04:19, 19 December 2020 (UTC)&lt;br /&gt;
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But there are also a number of scholars who recognise and use this concept in a negative or pejorative sense. In their view, ideology is a form of false-consciousness, a set of interconnected value judgements that guide social and political action but are not subject to rational scrutiny. These judgements, which contain prejudices and preconceptions, tend to distort our understanding of the world and are therefore necessarily unreliable. Ideology, in this context, includes religion and all distorted forms of consciousness, is the antithesis of science and functions politically as a specific element of the social superstructure. Both meanings of ideology, positive and negative, have long been used in the field of philosophical and cultural studies. The Dictionary of Modern Chinese (2002) gives the following summary of ideology:&lt;br /&gt;
&lt;br /&gt;
But there are also a number of scholars who recognise and use this concept in a negative or pejorative sense. In their view, ideology is a form of false-consciousness, a set of interconnected value judgements that guide social and political action but are not subject to rational scrutiny. These judgements, which contain prejudices and preconceptions, tend to distort our understanding of the world and are therefore necessarily unreliable. --[[User:Yang Yue|Yang Yue]] ([[User talk:Yang Yue|talk]]) 04:19, 19 December 2020 (UTC)&lt;br /&gt;
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Ideology, in this context, includes religion and all distorted forms of consciousness, is the antithesis of science and functions politically as a specific element of the social superstructure. Both meanings of ideology, positive and negative, have long been used in the field of philosophical and cultural studies. The Dictionary of Modern Chinese (2002) gives the following summary of ideology:--[[User:Yang Yue|Yang Yue]] ([[User talk:Yang Yue|talk]]) 04:19, 19 December 2020 (UTC)&lt;br /&gt;
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Ideology is a systematic view of the world and society, formed on the basis of a certain economic foundation. Ideology is a component of the superstructure and has a class character in a class society. It is also called conceptual form.&lt;br /&gt;
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Mkerriam-Webster's Collegiate Dictionary defines: &lt;br /&gt;
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1. especially the systematic sum of ideas about human life or culture; 2. the way of thinking or content specific to an individual, group, or culture; 3. the integrated claims, theories, and goals that shape a socio-political agenda. &lt;br /&gt;
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The two definitions are worded differently, but the substantive content is basically the same. The use of the concept of ideology in this paper will take its broad form, taking into account both positive and negative meanings, reflecting its narrow political connotation as well as covering its conceptual doctrine in its original sense. It is on this conceptual basis that our discussion will proceed.&lt;br /&gt;
===Ideology and Translation===&lt;br /&gt;
Traditional translation theory has always measured all translations with a yardstick of loyalty and infidelity, as if questioning a young daughter-in-law in a family shrine about her disobedience. In this small-minded ritualistic vision, the self-appointed patriarchal status of the commentator gives himself an unwarranted authority, so much so that some conclusions seem to be drawn without even bothering to fetch the ritualistic ruler: translators are like women, beautiful ones are unfaithful, faithful ones are not beautiful. &lt;br /&gt;
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Thus, we see in the clan shrine of translation Yan Fu, Lin Shu, Fu Donghua, etc., who were doubly condemned without being told; and the foreigner who did not know Chinese and dared to translate Tang poems, one by one, Pound. The crime: infidelity. Finally, in the 1980s, translation scholars began to pay attention to the pressure of ideology on the practice of translation. In the 1990s, the American translator Lefevere wrote a book entitled Translation, Rewriting, and the Manipulation of Literary Fame. In this book, he systematically described the two main factors that manipulate the translation process, namely ideology and poetics. According to his theories, it seems that we can offer another explanation for the 'infidelity' of Yan Fu and others.&lt;br /&gt;
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Thus, we see in the clan shrine of translation Yan Fu, Lin Shu, Fu Donghua, etc., who were condemned with few sensible reasons; and Pound, the foreigner who did not know Chinese and dared to translate Tang poems. The crimeexerted on them is infidelity. --[[User:Yang Yue|Yang Yue]] ([[User talk:Yang Yue|talk]]) 04:19, 19 December 2020 (UTC)&lt;br /&gt;
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Finally, in the 1980s, translation scholars began to pay attention to the pressure of ideology on the practice of translation. In the 1990s, the American translator Lefevere wrote a book entitled Translation, Rewriting, and the Manipulation of Literary Fame. In this book, he systematically described the two main factors that manipulate the translation process, namely ideology and poetics. According to his theories, it seems that we can offer another explanation for the 'infidelity'.--[[User:Yang Yue|Yang Yue]] ([[User talk:Yang Yue|talk]]) 04:19, 19 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
According to Lefevere, there are two factors that control literary creation and translation: internal and external. The internal factor is the so-called 'professionals', made up of critics, teachers, translators, etc., while the external factor is the 'people, institutions' who have the 'power to promote or prevent' literary creation and translation. &amp;quot;The term he uses is patronage. Here, 'the patronage is usually interested in the ideology of literature', while 'the literary scholars are concerned with poetics' (Lefevere, 1992a: 14-15). Thus, the two main factors governing the translation process are ultimately ideology and poetics. &lt;br /&gt;
&lt;br /&gt;
According to Lefevere, there are two factors that control literary creation and translation: internal factors and external factors. The internal factor is the so-called 'professionals', made up of critics, teachers, translators, etc., while the external factor is the 'people, institutions' who have the 'power to promote or prevent' literary creation and translation. &amp;quot;The term he uses is patronage. Here, 'the patronage is usually interested in the ideology of literature', while 'the literary scholars are concerned with poetics' (Lefevere, 1992a: 14-15). Thus, the two main factors governing the translation process are ultimately ideology and poetics. --[[User:Yang Yue|Yang Yue]] ([[User talk:Yang Yue|talk]]) 04:19, 19 December 2020 (UTC)&lt;br /&gt;
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Lefevere also points out that the endogenous factor (the literary person and his or her poetic conception) works within the parameters set by the exogenous factor (the patron and his or her ideology) (ibid). In other words, the patron representing the ideology of a culture or society establishes a set of decisive ideological value parameters within which literary scholars and translators accomplish their poetic pursuits. On the one hand, the patrons, as spokespersons of a certain ideology, use their discursive power to intervene directly in the translation process; on the other hand, the literary scholars and translators, who are familiar with this set of ideological value parameters, mostly consciously avoid violating the ideological tenets and manipulate their limited discursive power and poetic skills within the limits they deem permissible. Thus, when literary scholars and translators use discourse, both ideology and poetics come into play in their consciousness, influencing their compositions or 'rewriting' and 'determining the strategies of the translator' (op. cit: 48).&lt;br /&gt;
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Lefevere also points out that the endogenous factor (the literary person and his or her poetic conception) works within the parameters set by the exogenous factor (the patron and his or her ideology) (ibid). In other words, the patron representing the ideology of a culture or society establishes a set of decisive ideological value parameters within which literary scholars and translators accomplish their poetic pursuits. --[[User:Yang Yue|Yang Yue]] ([[User talk:Yang Yue|talk]]) 04:19, 19 December 2020 (UTC)&lt;br /&gt;
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On the one hand, the patrons, as spokespersons of a certain ideology, use their discursive power to intervene directly in the translation process; on the other hand, the literary scholars and translators, who are familiar with this set of ideological value parameters, mostly consciously avoid violating the ideological tenets and manipulate their limited discursive power and poetic skills within the limits they deem permissible. Thus, when literary scholars and translators use discourse, both ideology and poetics come into play in their consciousness, influencing their compositions or 'rewriting' and 'determining the strategies of the translator' (op. cit: 48).--[[User:Yang Yue|Yang Yue]] ([[User talk:Yang Yue|talk]]) 04:19, 19 December 2020 (UTC)&lt;br /&gt;
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The above distinction between ideology and poetics made by Lefevere is, in my view, logically debatable. In terms of the division of categories, poetics as a system of aesthetic ideas about literature and art still belongs to the realm of ideology, and therefore this paper will treat the poetic element as a category under ideology. It must be stated that the author only disagrees with the validity of the distinction between categories in Lefevere's theory, but agrees and admires his thesis on the influence of ideology and poetics on the translation process.&lt;br /&gt;
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The above distinction between ideology and poetics made by Lefevere is, in my view, some debatable points. In terms of the division of categories, poetics as a system of aesthetic ideas about literature and art still belongs to the realm of ideology, and therefore this paper will treat the poetic element as a category under ideology. It must be stated that the author only disagrees with the validity of the distinction between categories in Lefevere's theory, but agrees and admires his thesis on the influence of ideology and poetics on the translation process.--[[User:Yang Yue|Yang Yue]] ([[User talk:Yang Yue|talk]]) 04:19, 19 December 2020 (UTC)&lt;br /&gt;
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In the author's view, Lefevere's theory provides a justification for those &amp;quot;beautiful women&amp;quot; who have &amp;quot;lost their modesty&amp;quot;. Of course, the task of defending &amp;quot;them&amp;quot; is now left to our descendants.Ideology is a product of a certain society and culture. As societies emerge and cultures emerge, so do ideologies.&lt;br /&gt;
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In my understanding, Lefevere's theory provides a justification for those &amp;quot;beautiful women&amp;quot; who have &amp;quot;lost their modesty&amp;quot;. Of course, the task of defending &amp;quot;them&amp;quot; is now left to our descendants.Ideology is a product of a certain society and culture. As societies emerge and cultures emerge, so do ideologies.--[[User:Yang Yue|Yang Yue]] ([[User talk:Yang Yue|talk]]) 04:19, 19 December 2020 (UTC)&lt;br /&gt;
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Translation, as an act of cross-language and cross-cultural communication, is inevitably marked by ideology from the very beginning. When a translator introduces the ideas contained in the discourse of a foreign culture into the local culture, he or she will inevitably make his or her own value judgement on the values of the foreign culture, and then decide on the strategy to convey them: whether to be straightforward or to distort their meaning; whether to &amp;quot;pluck out the nose and cut the eyes&amp;quot; or to start a new one.&lt;br /&gt;
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Translation, as an act of cross-language and cross-cultural communication, is inevitably marked by ideology from the very beginning. When a translator introduces the ideas contained in the discourse of a foreign culture into the local culture, he or she will inevitably make his or her own judgement on the values of the foreign culture, and then decide on the strategy to convey them: whether to be straightforward or to distort their meaning; whether to &amp;quot;pluck out the nose and cut the eyes&amp;quot; or to start a new one.--[[User:Yang Yue|Yang Yue]] ([[User talk:Yang Yue|talk]]) 04:19, 19 December 2020 (UTC)&lt;br /&gt;
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Ideology is the expression of the will of patronage or power, and to go against this will is to be censured, or to lose the order to translate, or to lose one's head. Translators, as living human beings, are not willing to go against the will of power, except for those who are fighting for the 'truth'. To paraphrase the post-modern hipsterism of &amp;quot;Journey to the West&amp;quot;, we are all &amp;quot;translators&amp;quot;, so why take ourselves so seriously? This may sound ungrateful, but from a historical point of view, it's also very unhelpful.&lt;br /&gt;
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Ideology is the expression of the will of patronage or power, and to go against this will is to be censured, sometimes either to lose the rules to translate, or even to lose one's head. Translators, as living human beings, are not willing to go against the will of power, except for those who are fighting for the 'truth'. To paraphrase the post-modern hipsterism of &amp;quot;Journey to the West&amp;quot;, we are all &amp;quot;translators&amp;quot;, so why take ourselves so seriously? This may sound ungrateful, but from a historical point of view, it's also very unhelpful.--[[User:Yang Yue|Yang Yue]] ([[User talk:Yang Yue|talk]]) 04:19, 19 December 2020 (UTC)&lt;br /&gt;
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Lefevere quotes Foucault as saying:&lt;br /&gt;
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What makes power unbreakable, what makes it acceptable, is in fact a simple fact: power not only makes us feel a pressure to say no, but also transcends and produces things, provokes pleasure, forms knowledge, produces discourse. (See Lefevere, 1992a: 15)&lt;br /&gt;
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What makes power unbreakable, what makes it acceptable, is in fact a simple fact: power not only makes us feel a pressure to say no, but also transcends and produces things, provokes pleasure, forms knowledge, produces discourse. (See Lefevere, 1992a: 15)--[[User:Yang Yue|Yang Yue]] ([[User talk:Yang Yue|talk]]) 05:34, 21 December 2020 (UTC)&lt;br /&gt;
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In short, it means &amp;quot;those who obey me will prosper, those who disobey me will perish&amp;quot;. Every society has its own unique ideological system, with its own hidden or explicit ideological boundaries. Every thinking member of a society knows where that boundary is; and in general, is conscious of operating within it. You can go to the edge, but you must not go beyond it. This is the rule of the game in any society, and translators have to abide by it as well. Even the United States, which boasts freedom of speech, would not allow Bin Laden's writings (if he had them) to be translated and published in the United States, at least for now. For such an act would cross the line of the ideological &amp;quot;parameters&amp;quot; of the American power class.&lt;br /&gt;
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In short, it means &amp;quot;those who obey me will prosper, those who disobey me will perish&amp;quot;. Every society has its own unique ideological system, with its own hidden or explicit ideological boundaries. Every thinking member of a society knows where that boundary is; and in general, is conscious of operating within it. You can go to the edge, but you must not go beyond it. This is the rule of the game in any society, and translators have to abide by it as well. Even the United States, which boasts freedom of speech, would not allow Bin Laden's writings (if he had them) to be translated and published in the United States, at least for now. For such an act would cross the line of the ideological &amp;quot;parameters&amp;quot; of the American power class.--[[User:Yang Yue|Yang Yue]] ([[User talk:Yang Yue|talk]]) 05:34, 21 December 2020 (UTC)&lt;br /&gt;
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Translation involves the exchange of two cultures, which is a common expression these days. On the surface, &amp;quot;exchange&amp;quot; is a pleasant-sounding term, as it seems to imply equality and friendship. However, what is really implied behind such an exchange is a confrontation between two ideologies. The apparently 'equal and friendly' 'exchange' is in fact often the result of a confrontation followed by a compromise.&lt;br /&gt;
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Translation involves the exchange of two cultures, which is a common expression these days. On the surface, &amp;quot;exchange&amp;quot; is a pleasant-sounding term, as it seems to imply equality and friendship. However, what is really implied behind such an exchange is a confrontation between two ideologies. The apparently 'equal and friendly' 'exchange' is in fact often the result of a confrontation followed by a compromise.--[[User:Yang Yue|Yang Yue]] ([[User talk:Yang Yue|talk]]) 05:34, 21 December 2020 (UTC)&lt;br /&gt;
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Translation is the transfer of the ideology of the local culture to the ideology of the foreign culture. The ideology of the foreign culture. For the local value system, this is a foreign cultural penetration, which means destruction, subversion and therefore a test of the local culture. A strong superstructure will use its own power discourse to manipulate this foreign destructive force, just like in taijiquan, by using the force to its advantage; a weak superstructure will be helpless in the face of this foreign destructive force, and will either be assimilated or subverted by it. Those cultures that refuse to interact with foreign cultures are condemned to primitiveness, backwardness and, ultimately, extinction. Translators, as elite members of the superstructure, are faced with a complex choice of strategies: either to be rebellious or submissive, to seek conformity in the midst of rebellion, or to seek rebellion in the midst of conformity. Thus, among the superficial translation methods, we see &amp;quot;literary&amp;quot; and &amp;quot;qualitative&amp;quot; translations, &amp;quot;direct&amp;quot; and &amp;quot;meaningful&amp;quot; translations &amp;quot;, &amp;quot;naturalization&amp;quot; and '&amp;quot;dissimilation&amp;quot;, and the way of &amp;quot;the middle&amp;quot; (Huiyuan, 1984: 41), which strives for impartiality.&lt;br /&gt;
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Translation is the transfer of the ideology of the local culture to the ideology of the foreign culture. The ideology of the foreign culture. For the local value system, this is a foreign cultural penetration, which means destruction, subversion and therefore a test of the local culture. A strong superstructure will use its own power discourse to manipulate this foreign destructive force, just like in taijiquan, by using the force to its advantage; a weak superstructure will be helpless in the face of this foreign destructive force, and will either be assimilated or subverted by it. --[[User:Yang Yue|Yang Yue]] ([[User talk:Yang Yue|talk]]) 05:34, 21 December 2020 (UTC)&lt;br /&gt;
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Those cultures that refuse to interact with foreign cultures are condemned to primitiveness, backwardness and, ultimately, extinction. Translators, as elite members of the superstructure, are faced with a complex choice of strategies: either to be rebellious or submissive, to seek conformity in the midst of rebellion, or to seek rebellion in the midst of conformity. Thus, among the superficial translation methods, we see &amp;quot;literary&amp;quot; and &amp;quot;qualitative&amp;quot; translations, &amp;quot;direct&amp;quot; and &amp;quot;meaningful&amp;quot; translations &amp;quot;, &amp;quot;naturalization&amp;quot; and '&amp;quot;dissimilation&amp;quot;, and the way of &amp;quot;the middle&amp;quot; (Huiyuan, 1984: 41), which strives for impartiality.--[[User:Yang Yue|Yang Yue]] ([[User talk:Yang Yue|talk]]) 05:34, 21 December 2020 (UTC)&lt;br /&gt;
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Translation is always a purposeful act. In class society, when translation is inevitably related to the superstructure, it becomes part of elite culture. It is part of the culture of the elite. When the elites of society engage in translation activities, their aims are themselves strongly ideological. The translation activities in class society, including pseudo-translations, creative translations and forgeries, all came from the elite elements of society. It is no coincidence that their actions, either in line with the right path or deviating from it, are the result of a certain ideology.&lt;br /&gt;
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Translation is always a purposeful act. In class society, when translation is inevitably related to the superstructure, it becomes part of elite culture. It is part of the culture of the elite. When the elites of society engage in translation activities, their aims are themselves strongly ideological. The translation activities in class society, including pseudo-translations, creative translations and forgeries, all came from the elite elements of society. It is no coincidence that their actions, either in line with the right path or deviating from it, are the result of a certain ideology.--[[User:Yang Yue|Yang Yue]] ([[User talk:Yang Yue|talk]]) 05:34, 21 December 2020 (UTC)&lt;br /&gt;
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Since ancient times, Chinese and Western translation theory has attached great importance to the influence of ideology on translation practice. The significance of ideology in determining a translator's translation strategy can be seen in Zhi Qian's Preface to the Dharma Sutra, which has been called the &amp;quot;opening chapter of translation theory&amp;quot; in the history of Chinese translation. In his preface, he 'dislikes' Zhu Zhongyan's translation as 'indecent' (Zhiqian, 1984:22), showing the importance he attached to the aesthetic perception of the target audience. Similarly, the influence of the target language and aesthetic values on translation can also be seen in Dao An's 'Five Losses of the Text and Three Difficulties': 'One, the Hu language is inverted and made to follow the Qin, a loss of the text. The second is that the Hu scriptures are still of good quality, while the Qin people are good at writing, and the transmission can be done with the hearts of all people, but not with the text. (Dawan, 1984:24)&amp;quot;&lt;br /&gt;
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Since ancient times, Chinese and Western translation theory has attached great importance to the influence of ideology on translation practice. The significance of ideology in determining a translator's translation strategy can be seen in Zhi Qian's Preface to the Dharma Sutra, which has been called the &amp;quot;opening chapter of translation theory&amp;quot; in the history of Chinese translation. In his preface, he 'dislikes' Zhu Zhongyan's translation as 'indecent' (Zhiqian, 1984:22), showing the importance he attached to the aesthetic perception of the target audience. Similarly, the influence of the target language and aesthetic values on translation can also be seen in Dao An's 'Five Losses of the Text and Three Difficulties': 'One, the Hu language is inverted and made to follow the Qin, a loss of the text. The second is that the Hu scriptures are still of good quality, while the Qin people are good at writing, and the transmission can be done with the hearts of all people, but not with the text. (Dawan, 1984:24)&amp;quot;--[[User:Yang Yue|Yang Yue]] ([[User talk:Yang Yue|talk]]) 05:34, 21 December 2020 (UTC)&lt;br /&gt;
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Western translators have similarly valued the influence of ideology on translation. When the Roman poet and translator Horace spoke of the 'faithful translator', Lefevere argued that this already included an emphasis on ideology (Lefevere, 1992b: 15), but he did not say why. The famous French writer Victor Hugo also pointed out:&lt;br /&gt;
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Western translators have similarly valued the influence of ideology on translation. When the Roman poet and translator Horace spoke of the 'faithful translator', Lefevere argued that this already included an emphasis on ideology (Lefevere, 1992b: 15), but he did not say why. The famous French writer Victor Hugo also pointed out:--[[User:Yang Yue|Yang Yue]] ([[User talk:Yang Yue|talk]]) 05:34, 21 December 2020 (UTC)&lt;br /&gt;
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When you dedicate a translation to a country, that country almost always sees the translation as an act of violence against it... To translate the work of a foreign poet is to add his work to the poetry of your own country; but to open up in this way does not please those with vested interests, at least at first. Their first reaction is resistance.&amp;quot; (op. cit: 18)&lt;br /&gt;
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When you dedicate a translation to a country, that country almost always sees the translation as an act of violence against it... To translate the work of a foreign poet is to add his work to the poetry of your own country; but to open up in this way does not please those with vested interests, at least at first. Their first reaction is resistance.&amp;quot; (op. cit: 18)--[[User:Yang Yue|Yang Yue]] ([[User talk:Yang Yue|talk]]) 05:34, 21 December 2020 (UTC)&lt;br /&gt;
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Different cultures have different ideologies. History teaches us that exchanges between cultures are often, first and foremost, ideological. As Hugo asserts, such exchanges always begin with confrontation. What comes after confrontation? Successful exchanges often involve confrontation leading to compromise, and compromise leading to prosperity, as in the case of Buddhism and the flourishing of Chinese culture in China's history. Unsuccessful exchanges often lead to hostility and even war, as in the case of the clash between Islamic and Christian civilisations. In the case of translators, it was also often the case that those who obeyed me prospered, as in the case of the Chinese translator of the Buddhist scriptures Xuanzang, and those who disobeyed me died, as in the case of the English religious translator William Tyndale (1494-1536), who was burnt at the stake, and the French religious translator Etienne Dolet (1509- 1546). The literature shows that the influence of ideology on translation has long been of interest to translators and translation theorists, but they have not used the term 'ideology' when discussing this issue.&lt;br /&gt;
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Different cultures have different ideologies. History teaches us that exchanges between cultures are often, first and foremost, ideological. As Hugo asserts, such exchanges always begin with confrontation. What comes after confrontation? Successful exchanges often involve confrontation leading to compromise, and compromise leading to prosperity, as in the case of Buddhism and the flourishing of Chinese culture in China's history. Unsuccessful exchanges often lead to hostility and even war, as in the case of the clash between Islamic and Christian civilisations.--[[User:Yang Yue|Yang Yue]] ([[User talk:Yang Yue|talk]]) 05:34, 21 December 2020 (UTC)&lt;br /&gt;
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In the case of translators, it was also often the case that those who obeyed me prospered, as in the case of the Chinese translator of the Buddhist scriptures Xuanzang, and those who disobeyed me died, as in the case of the English religious translator William Tyndale (1494-1536), who was burnt at the stake, and the French religious translator Etienne Dolet (1509- 1546). The literature shows that the influence of ideology on translation has long been of interest to translators and translation theorists, but they have not used the term 'ideology' when discussing this issue.--[[User:Yang Yue|Yang Yue]] ([[User talk:Yang Yue|talk]]) 05:34, 21 December 2020 (UTC)&lt;br /&gt;
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===Translation activities under the control of power in the early stage of the PRC===&lt;br /&gt;
After the founding of the People's Republic of China, internationally, the Western powers tried their best to contain the new regime and obstructed other countries from establishing diplomatic relations with the new China, Mao Zedong put forward the three major diplomatic policies of &amp;quot;falling on one side&amp;quot;, &amp;quot;starting a new cooker&amp;quot; and &amp;quot;cleaning up the house before inviting guests &amp;quot;From a domestic perspective, the new regime was in urgent need of purging reactionary forces and propagating socialist and communist ideas in order to consolidate the proletarian regime. Taking into account the domestic and international political situation, the CPC, as the ruling party, strengthened its ideological. control, i.e.:vigorously propagating socialist and communist ideology. The translation activities were influenced by this and showed obvious ideological tendencies in terms of the choice of texts and translation strategies and even the patrons.&lt;br /&gt;
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After the founding of the People's Republic of China, internationally, the Western powers tried their best to contain the new regime and obstructed other countries from establishing diplomatic relations with the new China, Mao Zedong put forward the three major diplomatic policies of &amp;quot;falling on one side&amp;quot;, &amp;quot;starting a new cooker&amp;quot; and &amp;quot;cleaning up the house before inviting guests &amp;quot;From a domestic perspective, the new regime was in urgent need of purging reactionary forces and propagating socialist and communist ideas in order to consolidate the proletarian regime. Taking into account the domestic and international political situation, the CPC, as the ruling party, strengthened its ideological. control, i.e.:vigorously propagating socialist and communist ideology. The translation activities were influenced by this and showed obvious ideological tendencies in terms of the choice of texts and translation strategies and even the patrons.--[[User:Yang Yue|Yang Yue]] ([[User talk:Yang Yue|talk]]) 05:34, 21 December 2020 (UTC)&lt;br /&gt;
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====Ideological manipulation of translation activities====&lt;br /&gt;
Ideology is a product of a particular society and culture, and it accompanies the emergence of society and culture. Translation, as an act of intercultural communication, involves the exchange of two cultures. The essence of translation is to introduce the culture and ideology of the &amp;quot;other&amp;quot; into the local culture, and to assimilate it into the local value system and ideology. &lt;br /&gt;
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Ideology is a product of a particular society and culture, and it accompanies the emergence of society and culture. Translation, as an act of intercultural communication, involves the exchange of two cultures. The essence of translation is to introduce the culture and ideology of the &amp;quot;other&amp;quot; into the local culture, and to assimilate it into the local value system and ideology. --[[User:Yang Yue|Yang Yue]] ([[User talk:Yang Yue|talk]]) 05:34, 21 December 2020 (UTC)&lt;br /&gt;
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The translation activities in the seventeen years after the founding of the People's Republic of China have seen a phased peak in both Chinese to foreign and foreign to Chinese translation. From the perspective of Chinese to foreign translation, first of all, the new China set off a comprehensive wave of learning from the Soviet Union, as Zhou Yang pointed out in an article in the Soviet magazine Banner: &amp;quot;'Go the way of the Russians', politically. This is true in politics, but also in literature and art. Literary and artistic workers should study harder the creative experience and artistic techniques of Soviet writers, and in particular go deeper into their socialist realism which is the basis of their creativity.&amp;quot; Influenced by this idea, and in terms of text selection, socialist and realist literature from Soviet Russia was translated in large numbers, and this peak occurred mainly in the early decade of the founding of the country; according to statistics, from October 1949 to December 1958, a total of 3,526 Soviet and Russian literary works were translated and published, accounting for two-thirds of the entire foreign literature in translation.[8] &lt;br /&gt;
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The translation activities in the seventeen years after the founding of the People's Republic of China have seen a phased peak in both Chinese to foreign and foreign to Chinese translation. From the perspective of Chinese to foreign translation, first of all, the new China set off a comprehensive wave of learning from the Soviet Union, as Zhou Yang pointed out in an article in the Soviet magazine Banner: &amp;quot;'Go the way of the Russians', politically. This is true in politics, but also in literature and art. Literary and artistic workers should study harder the creative experience and artistic techniques of Soviet writers, and in particular go deeper into their socialist realism which is the basis of their creativity.&amp;quot; Influenced by this idea, and in terms of text selection, socialist and realist literature from Soviet Russia was translated in large numbers, and this peak occurred mainly in the early decade of the founding of the country; according to statistics, from October 1949 to December 1958, a total of 3,526 Soviet and Russian literary works were translated and published, accounting for two-thirds of the entire foreign literature in translation.[8] --[[User:Yang Yue|Yang Yue]] ([[User talk:Yang Yue|talk]]) 05:34, 21 December 2020 (UTC)&lt;br /&gt;
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However, from the late 1950s onwards, the Sino-Soviet relations began to fray, and the ideological confrontation between China and the Soviet Union severely affected Chinese translation and mediation activities into Soviet literature; between 1960 and 1966, a total of 11 single-volume translations of Soviet literature were publicly published in the first four years, and zero Soviet literary works were translated into Chinese in the latter three years. [8] &lt;br /&gt;
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However, from the late 1950s onwards, the Sino-Soviet relations began to fray, and the ideological confrontation between China and the Soviet Union severely affected Chinese translation and mediation activities into Soviet literature; between 1960 and 1966, a total of 11 single-volume translations of Soviet literature were publicly published in the first four years, and zero Soviet literary works were translated into Chinese in the latter three years. [8] --[[User:Yang Yue|Yang Yue]] ([[User talk:Yang Yue|talk]]) 05:34, 21 December 2020 (UTC)&lt;br /&gt;
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Secondly, scientific and technical works from the Soviet Union were translated in large numbers. Most of the scientific works translated in the early years of the founding of the state were originally from the Soviet Union, among which the most scientific works were translated from 1952 to 1960, reaching 911 titles in 1954 and the most in 1957, with a total of 2557 scientific works translated, more than two-thirds of which came from the Soviet Union. &lt;br /&gt;
The Soviet Union unilaterally withdrew its experts from China from 1960 onwards, and when Sino-Soviet relations broke down, there was a downturn in translations from the Soviet Union, especially in 1961, when only 126 original Soviet scientific and technical works were translated. [Ind.] Finally, the translation of political works. In order to further propagate proletarian ideology, in January 1953 the Party Central Committee set up the Central Bureau of Compilation and Translation with the task of translating the works of Marx, Engels, Lenin and Stalin in a systematic and planned manner. &lt;br /&gt;
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Secondly, scientific and technical works from the Soviet Union were translated in large numbers. Most of the scientific works translated in the early years of the founding of the state were originally from the Soviet Union, among which the most scientific works were translated from 1952 to 1960, reaching 911 titles in 1954 and the most in 1957, with a total of 2557 scientific works translated, more than two-thirds of which came from the Soviet Union. &lt;br /&gt;
The Soviet Union unilaterally withdrew its experts from China from 1960 onwards, and when Sino-Soviet relations broke down, there was a downturn in translations from the Soviet Union, especially in 1961, when only 126 original Soviet scientific and technical works were translated. [Ind.] Finally, the translation of political works. In order to further propagate proletarian ideology, in January 1953 the Party Central Committee set up the Central Bureau of Compilation and Translation with the task of translating the works of Marx, Engels, Lenin and Stalin in a systematic and planned manner. --[[User:Yang Yue|Yang Yue]] ([[User talk:Yang Yue|talk]]) 05:34, 21 December 2020 (UTC)&lt;br /&gt;
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Thus, for seventeen years, the works of Marx, Engels, Lenin and Stalin were translated from Russian into Chinese in large numbers and contributed to the spread of socialist and communist ideology and political consciousness in China.&lt;br /&gt;
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Thus, for seventeen years, the works of Marx, Engels, Lenin and Stalin were translated from Russian into Chinese in large numbers and contributed to the spread of socialist and communist ideology and political consciousness in China.--[[User:Yang Yue|Yang Yue]] ([[User talk:Yang Yue|talk]]) 05:34, 21 December 2020 (UTC)&lt;br /&gt;
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From 1956 to 1966, the Central Compilation Bureau of the Communist Party of China translated and published the first 22 volumes of the Complete Works of Marx and Engels (excluding volume 20) on the basis of the second Russian edition of the Complete Works of Marx and Engels; from 1955 to 1963, all 39 volumes of the Complete Works of Lenin were translated into Chinese from Russian, and all 13 volumes of the Complete Works of Stalin were translated from 1953 to 1956. The 13 volumes of Stalin's Complete Works were also translated between 1953 and 1956. [10] The translation and editing of Marx and Lenin's works was rapidly completed under the direction of the state, which provided a good political basis for the economic and cultural development of the new China.&lt;br /&gt;
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From 1956 to 1966, the Central Compilation Bureau of the Communist Party of China translated and published the first 22 volumes of the Complete Works of Marx and Engels (excluding volume 20) on the basis of the second Russian edition of the Complete Works of Marx and Engels; from 1955 to 1963, all 39 volumes of the Complete Works of Lenin were translated into Chinese from Russian, and all 13 volumes of the Complete Works of Stalin were translated from 1953 to 1956. The 13 volumes of Stalin's Complete Works were also translated between 1953 and 1956. [10] The translation and editing of Marx and Lenin's works was rapidly completed under the direction of the state, which provided a good political basis for the economic and cultural development of the new China.--[[User:Yang Yue|Yang Yue]] ([[User talk:Yang Yue|talk]]) 05:34, 21 December 2020 (UTC)&lt;br /&gt;
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In conclusion, the translation activities from foreign to Chinese in the early years of the founding of the state were subject to the constraints of various political, economic and cultural factors at the time and showed obvious characteristics: for one thing, Soviet works, both literary and scientific, were rapidly translated into Chinese and widely disseminated within a few short years, but at the same time, due to the influence of political consciousness, they fell from a high point to a low point within a very short time; for another, with the support of the state regime and the government, political classics were quickly translated into Chinese in large numbers via Russian, which to a certain extent contributed to the development of translation activities and the consolidation of the new regime.&lt;br /&gt;
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In conclusion, the translation activities from foreign to Chinese in the early years of the founding of the state were subject to the constraints of various political, economic and cultural factors at the time and showed obvious characteristics: for one thing, Soviet works, both literary and scientific, were rapidly translated into Chinese and widely disseminated within a few short years, but at the same time, due to the influence of political consciousness, they fell from a high point to a low point within a very short time; for another, with the support of the state regime and the government, political classics were quickly translated into Chinese in large numbers via Russian, which to a certain extent contributed to the development of translation activities and the consolidation of the new regime.--[[User:Yang Yue|Yang Yue]] ([[User talk:Yang Yue|talk]]) 05:34, 21 December 2020 (UTC)&lt;br /&gt;
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In terms of foreign translations into Chinese, very few Chinese books in Chinese history have been translated into foreign languages and widely disseminated in foreign countries. After the founding of New China, in order to let the world's proletarians know more about China and at the same time establish diplomatic relations with more countries, the Chinese Foreign Languages Bureau translated and published a large number of foreign language books under the name of Foreign Languages Publishing House. &lt;br /&gt;
&lt;br /&gt;
In terms of foreign translations into Chinese, very few Chinese books in Chinese history have been translated into foreign languages and widely disseminated in foreign countries. After the founding of New China, in order to let the world's proletarians know more about China and at the same time establish diplomatic relations with more countries, the Chinese Foreign Languages Bureau translated and published a large number of foreign language books under the name of Foreign Languages Publishing House.--[[User:Yang Yue|Yang Yue]] ([[User talk:Yang Yue|talk]]) 05:34, 21 December 2020 (UTC) &lt;br /&gt;
&lt;br /&gt;
Among them the translation of Mao Zedong's works was given top priority, especially the translation and publication of the fourth volume of the English edition of Mao Zedong's Selected Works. The Foreign Languages Publishing House decided to publish the forth volume, followed by the first, second and third volumes. &lt;br /&gt;
&lt;br /&gt;
Among them the translation of Mao Zedong's works was given top priority, especially the translation and publication of the fourth volume of the English edition of Mao Zedong's Selected Works. The Foreign Languages Publishing House decided to publish the forth volume, followed by the first, second and third volumes. --[[User:Yang Yue|Yang Yue]] ([[User talk:Yang Yue|talk]]) 05:34, 21 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
In 1961, the Ministry of Culture issued two written circulars on the publication and distribution of Mao's works, requiring local bookshops to consult the party and government leaders before starting distribution, and limiting the target audience and the number of copies to be distributed. This shows that the translation and publication of Mao's works was treated as a political task and drew a great deal of attention from all sectors of society. &lt;br /&gt;
&lt;br /&gt;
In 1961, the Ministry of Culture issued two written circulars on the publication and distribution of Mao's works, requiring local bookshops to consult the party and government leaders before starting distribution, and limiting the target audience and the number of copies to be distributed. This shows that the translation and publication of Mao's works was treated as a political task and drew a great deal of attention from all sectors of society. --[[User:Yang Yue|Yang Yue]] ([[User talk:Yang Yue|talk]]) 05:34, 21 December 2020 (UTC)&lt;br /&gt;
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According to statistics, between 1949 and 1965, more than 3,000 Chinese books were translated into more than 20 foreign languages and distributed abroad, of which 536 were Mao's writings.11 In addition, pamphlets introducing the leader's writings and the Chinese revolutionary experience were translated into several languages and distributed abroad, where they were well received and became an effective way for foreigners to learn about and study China. These pamphlets were well received abroad and became an effective way for foreigners to understand and study China.&lt;br /&gt;
 &lt;br /&gt;
According to statistics, between 1949 and 1965, more than 3,000 Chinese books were translated into more than 20 foreign languages and distributed abroad, of which 536 were Mao's writings.11 In addition, pamphlets introducing the leader's writings and the Chinese revolutionary experience were translated into several languages and distributed abroad, where they were well received and became an effective way for foreigners to learn about and study China. These pamphlets were well received abroad and became an effective way for foreigners to understand and study China.--[[User:Yang Yue|Yang Yue]] ([[User talk:Yang Yue|talk]]) 05:34, 21 December 2020 (UTC)&lt;br /&gt;
 &lt;br /&gt;
In short, this phase of Chinese to foreign translation activities was dominated by translations of Mao's writings and pamphlets of political literature, which had a clear ideological orientation. In order to consolidate the new proletarian regime, the new China used translations to propagate its political ideas in order to gain more support, and its targets were countries in Asia, Africa and Latin America fighting for national independence, as well as some leftist organisations and progressive people in developed countries in Europe and America. As a result, this phase of Chinese to foreign translation activity focused on the text itself while giving greater consideration to the political and social factors it contained.&lt;br /&gt;
&lt;br /&gt;
In short, this phase of Chinese to foreign translation activities was dominated by translations of Mao's writings and pamphlets of political literature, which had a clear ideological orientation. In order to consolidate the new proletarian regime, the new China used translations to propagate its political ideas in order to gain more support, and its targets were countries in Asia, Africa and Latin America fighting for national independence, as well as some leftist organisations and progressive people in developed countries in Europe and America. As a result, this phase of Chinese to foreign translation activity focused on the text itself while giving greater consideration to the political and social factors it contained.--[[User:Yang Yue|Yang Yue]] ([[User talk:Yang Yue|talk]]) 05:34, 21 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
====Patron manipulation of translation activities====&lt;br /&gt;
The patron's sense of power was another important factor in the manipulation of translation, one of the fundamental forces driving the progress of early modern society, far more influential than the influence of literature on society. The word 'patron' in English comes from the Latin patronus, meaning a person who gives financial support to a client for the achievement of a specific purpose. &lt;br /&gt;
&lt;br /&gt;
The patron's sense of power was another important factor in the manipulation of translation, one of the fundamental forces driving the progress of early modern society, far more influential than the influence of literature on society. The word 'patron' in English comes from the Latin patronus, meaning a person who gives financial support to a client for the achievement of a specific purpose. --[[User:Yang Yue|Yang Yue]] ([[User talk:Yang Yue|talk]]) 05:34, 21 December 2020 (UTC)&lt;br /&gt;
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Patrons control all aspects of the translation, including the content of the translation, the choice of material and even the strategy of the translation and its promotion. The patron may be an authoritative individual, a publisher, a government agency, etc., whose aim is to ensure that the translation conforms to a particular social norm or the interests of a particular class of people by providing the translator or author with a certain amount of financial support, social status or political patronage, so that his or her creation and translation are in line with the prevailing ideology.&lt;br /&gt;
&lt;br /&gt;
Patrons control all aspects of the translation, including the content of the translation, the choice of material and even the strategy of the translation and its promotion. The patron may be an authoritative individual, a publisher, a government agency, etc., whose aim is to ensure that the translation conforms to a particular social norm or the interests of a particular class of people by providing the translator or author with a certain amount of financial support, social status or political patronage, so that his or her creation and translation are in line with the prevailing ideology.--[[User:Yang Yue|Yang Yue]] ([[User talk:Yang Yue|talk]]) 05:34, 21 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
After the founding of New China, the patronage of translation activities as a whole was divided into two phases.&lt;br /&gt;
&lt;br /&gt;
The first stage lasted from the founding of New China in 1949 to the completion of the Three Great Transformations in 1956. The role of publishers as patrons was changing during this phase. At the beginning of the founding of the country, the publishing industry developed unevenly in different parts of the country, and state-owned and private publishers coexisted. According to statistics from March 1950, there were 244 private bookshops operating in 11 major cities across the country, and publishing houses became the main patrons during this period, possessing a certain degree of financial independence and sponsoring translation activities through financial support for translators. By the end of 1956, the socialist transformation of private publishing houses had basically been achieved, with the withdrawal of the private sector from the publishing houses and a simultaneous change in the composition of the patrons.&lt;br /&gt;
&lt;br /&gt;
The first stage lasted from the founding of New China in 1949 to the completion of the Three Great Transformations in 1956. The role of publishers as patrons was changing during this phase. At the beginning of the founding of the country, the publishing industry developed unevenly in different parts of the country, and state-owned and private publishers coexisted. According to statistics from March 1950, there were 244 private bookshops operating in 11 major cities across the country, and publishing houses became the main patrons during this period, possessing a certain degree of financial independence and sponsoring translation activities through financial support for translators. By the end of 1956, the socialist transformation of private publishing houses had basically been achieved, with the withdrawal of the private sector from the publishing houses and a simultaneous change in the composition of the patrons.--[[User:Yang Yue|Yang Yue]] ([[User talk:Yang Yue|talk]]) 05:34, 21 December 2020 (UTC)&lt;br /&gt;
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The second phase, from 1957 to 1966, saw the weakening of the power of publishing houses as independent sponsors, and the predominance of patronage by government agencies, such as the Ministry of Culture and the Central Propaganda Department, and by authoritative individuals, such as state leaders Mao Zedong and Zhou Enlai, in translation activities; the independence of publishing houses no longer existed, although they could decide what and how to translate in translation activities, when their ideology When their ideology contradicts that of government agencies or authoritative individuals, they must obey the latter. For example, in terms of the content of translations, some people advocated translating the foreign-language edition of People's Pictorial to introduce the experience of the Chinese revolution, but Chairman Mao disapproved of this, arguing that &amp;quot;it would be good to be able to introduce our lives in a realistic way. [12] For example, in the translation of the English version of the fourth volume of Mao Zedong's Selected Works, the Party Central Committee appointed Zhang Hanfu and Meng Yongqian to take charge of the specific leadership work.&lt;br /&gt;
&lt;br /&gt;
The second phase, from 1957 to 1966, saw the weakening of the power of publishing houses as independent sponsors, and the predominance of patronage by government agencies, such as the Ministry of Culture and the Central Propaganda Department, and by authoritative individuals, such as state leaders Mao Zedong and Zhou Enlai, in translation activities; the independence of publishing houses no longer existed, although they could decide what and how to translate in translation activities, when their ideology When their ideology contradicts that of government agencies or authoritative individuals, they must obey the latter. For example, in terms of the content of translations, some people advocated translating the foreign-language edition of People's Pictorial to introduce the experience of the Chinese revolution, but Chairman Mao disapproved of this, arguing that &amp;quot;it would be good to be able to introduce our lives in a realistic way. [12] For example, in the translation of the English version of the fourth volume of Mao Zedong's Selected Works, the Party Central Committee appointed Zhang Hanfu and Meng Yongqian to take charge of the specific leadership work.--[[User:Yang Yue|Yang Yue]] ([[User talk:Yang Yue|talk]]) 05:34, 21 December 2020 (UTC)&lt;br /&gt;
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The sponsor's control over the translation activities was also reflected in the choice of translation strategies. Different types of texts have different translation strategies. The translation of political texts should aim to express the content of the original text accurately and completely, and the editorial processing of such texts should be strictly reported; the translation of literary and artistic works should try to appreciate the style of the original text and make appropriate text processing when necessary, but should not alter the content of the original text at will; general reports should be more adapted to the habits of foreign reports and take into account the receptiveness of foreign readers, so there can be greater flexibility in translation, but However, the relevant guidelines, policies and important facts should not be changed at will.&lt;br /&gt;
&lt;br /&gt;
The sponsor's control over the translation activities was also reflected in the choice of translation strategies. Different types of texts have different translation strategies. The translation of political texts should aim to express the content of the original text accurately and completely, and the editorial processing of such texts should be strictly reported; the translation of literary and artistic works should try to appreciate the style of the original text and make appropriate text processing when necessary, but should not alter the content of the original text at will; general reports should be more adapted to the habits of foreign reports and take into account the receptiveness of foreign readers, so there can be greater flexibility in translation, but However, the relevant guidelines, policies and important facts should not be changed at will.--[[User:Yang Yue|Yang Yue]] ([[User talk:Yang Yue|talk]]) 05:34, 21 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
As Yang Xian Yi said, &amp;quot;Unfortunately, we were only hired translators, and it was not up to us to decide what to translate. ...... The selected work had to suit the political climate and the taste of the time. the political climate and the taste of the moment.&amp;quot; [13]&lt;br /&gt;
IV. Insights from the Translation Activities in the Early Stage of the PRC&lt;br /&gt;
The translation activities in the seventeen years after the founding of the state formed the fourth translation climax in China's history, and the key factor contributing to this climax was the government's unified leadership and planning of translation activities. In the early years of the founding of the country, the state strengthened its organisation and planning of the publishing industry and translation activities by convening a number of national conferences. Firstly, in order to rectify the chaotic state of the publishing industry and lead the nation's publishing work, the State General Administration of Publications convened the First National Conference on Publishing in September 1950 and the First National Conference on Publication Administration in August 1951, both of which stressed the quality of publications, especially the second conference, which made improving the quality of publications the top priority of the publishing industry, and stressed the importance of book review and the importance of conducting book reviews.&lt;br /&gt;
&lt;br /&gt;
As Yang Xian Yi said, &amp;quot;Unfortunately, we were only hired translators, and it was not up to us to decide what to translate. ...... The selected work had to suit the political climate and the taste of the time. the political climate and the taste of the moment.&amp;quot; [13]--[[User:Yang Yue|Yang Yue]] ([[User talk:Yang Yue|talk]]) 05:34, 21 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
IV. Insights from the Translation Activities in the Early Stage of the PRC&lt;br /&gt;
The translation activities in the seventeen years after the founding of the state formed the fourth translation climax in China's history, and the key factor contributing to this climax was the government's unified leadership and planning of translation activities. In the early years of the founding of the country, the state strengthened its organisation and planning of the publishing industry and translation activities by convening a number of national conferences. Firstly, in order to rectify the chaotic state of the publishing industry and lead the nation's publishing work, the State General Administration of Publications convened the First National Conference on Publishing in September 1950 and the First National Conference on Publication Administration in August 1951, both of which stressed the quality of publications, especially the second conference, which made improving the quality of publications the top priority of the publishing industry, and stressed the importance of book review and the importance of conducting book reviews.--[[User:Yang Yue|Yang Yue]] ([[User talk:Yang Yue|talk]]) 05:34, 21 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
Secondly, in order to improve the quality of translations and establish plans, the State General Administration of Publications convened the First National Conference on Translation Work in November 1951, at which the planning and institutionalisation of translation work was made a central task in the organisation of translation work, and emphasis was placed on the widespread development of criticism and self-criticism in the national academic and publishing community in order to improve and enhance the quality of translation work. Once again, in August 1954, the Chinese Writers' Association held the first national conference on literary translation work. At the meeting, Mao Dun proposed that literary translation work must be carried out in an organised and planned manner, and that criticism and self-criticism in literary translation work should be strengthened in order to improve the level of artistic creation in literary translation.&lt;br /&gt;
&lt;br /&gt;
Secondly, in order to improve the quality of translations and establish plans, the State General Administration of Publications convened the First National Conference on Translation Work in November 1951, at which the planning and institutionalisation of translation work was made a central task in the organisation of translation work, and emphasis was placed on the widespread development of criticism and self-criticism in the national academic and publishing community in order to improve and enhance the quality of translation work. Once again, in August 1954, the Chinese Writers' Association held the first national conference on literary translation work. At the meeting, Mao Dun proposed that literary translation work must be carried out in an organised and planned manner, and that criticism and self-criticism in literary translation work should be strengthened in order to improve the level of artistic creation in literary translation.--[[User:Yang Yue|Yang Yue]] ([[User talk:Yang Yue|talk]]) 05:34, 21 December 2020 (UTC)&lt;br /&gt;
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After these conferences, translation activities, especially translation criticism, were widely carried out in China, and both the quantity and quality of translated works improved greatly. According to statistics, a total of 6,680 translated works were published in China in the 30 years from 1919 to 1949, and from October 1949 to the end of 1958, more than 5,300 foreign literary works were translated and published nationwide, of which 65.5 per cent were translated from the Soviet Union. [8] And translations of popular science works during this period amounted to more than 3,600, most of which also came from the Soviet Union. From 1950 to 1952, 74 articles were published in the Translation Bulletin alone, and many translators not only dared to criticize, but also took the initiative to criticize themselves for the errors in their own translations. For example, in May 1952, Wang Feibai published 'Review of Jiang's translation of &amp;quot;Star&amp;quot;' in the Translation Bulletin, criticising Jiang Lu's translation, followed by 'Review of the translation of &amp;quot;Star&amp;quot;', in which Jiang Lu self-criticised the errors in his translation.&lt;br /&gt;
&lt;br /&gt;
After these conferences, translation activities, especially translation criticism, were widely carried out in China, and both the quantity and quality of translated works improved greatly. According to statistics, a total of 6,680 translated works were published in China in the 30 years from 1919 to 1949, and from October 1949 to the end of 1958, more than 5,300 foreign literary works were translated and published nationwide, of which 65.5 per cent were translated from the Soviet Union. [8] And translations of popular science works during this period amounted to more than 3,600, most of which also came from the Soviet Union. From 1950 to 1952, 74 articles were published in the Translation Bulletin alone, and many translators not only dared to criticize, but also took the initiative to criticize themselves for the errors in their own translations. For example, in May 1952, Wang Feibai published 'Review of Jiang's translation of &amp;quot;Star&amp;quot;' in the Translation Bulletin, criticising Jiang Lu's translation, followed by 'Review of the translation of &amp;quot;Star&amp;quot;', in which Jiang Lu self-criticised the errors in his translation.--[[User:Yang Yue|Yang Yue]] ([[User talk:Yang Yue|talk]]) 05:34, 21 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
Compared with the translation activities in the seventeen years after the founding of the state, the translation activities in China have become more prosperous and extensive since the 21st century, but at the same time, many problems have emerged. Firstly, the quality of translations has been low. In order to expand sales and pursue lucrative profits, many publishing houses have been competing to buy the rights to foreign bestsellers and organise translators to translate them into Chinese as quickly as possible in order to make maximum profits. Secondly, piracy is rampant. Pirated books are not only available in many editions but also at low prices and in beautiful packaging. Many publishers have even misrepresented the names of the compilers in order to avoid charges of piracy. In the case of Mr. Ye Junjian's translation of Hans Christian Andersen's Fairy Tales, for example, there are about 40 pirated editions known to him alone. [14] Another example is that almost all of the books translated and published by the People's Literature Publishing House in the past have been pirated. Similar examples abound, and piracy not only affects the rights of regular publishers, but also undermines the right of readers to enjoy fine translations.&lt;br /&gt;
&lt;br /&gt;
Compared with the translation activities in the seventeen years after the founding of the state, the translation activities in China have become more prosperous and extensive since the 21st century, but at the same time, many problems have emerged. Firstly, the quality of translations has been low. In order to expand sales and pursue lucrative profits, many publishing houses have been competing to buy the rights to foreign bestsellers and organise translators to translate them into Chinese as quickly as possible in order to make maximum profits. Secondly, piracy is rampant. Pirated books are not only available in many editions but also at low prices and in beautiful packaging. --[[User:Yang Yue|Yang Yue]] ([[User talk:Yang Yue|talk]]) 05:34, 21 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
Many publishers have even misrepresented the names of the compilers in order to avoid charges of piracy. In the case of Mr. Ye Junjian's translation of Hans Christian Andersen's Fairy Tales, for example, there are about 40 pirated editions known to him alone. [14] Another example is that almost all of the books translated and published by the People's Literature Publishing House in the past have been pirated. Similar examples abound, and piracy not only affects the rights of regular publishers, but also undermines the right of readers to enjoy fine translations.--[[User:Yang Yue|Yang Yue]] ([[User talk:Yang Yue|talk]]) 05:34, 21 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
In response to these problems, from a historical perspective, it is, first of all, essential to strengthen the leadership and organisation of translation activities by the government. So far, there is no government department in China specifically in charge of translation activities. While the market economy has promoted the extensive development of translation activities, its blindness and the pursuit of profits have made it difficult for the spirituality and culture of translation products to be well reflected. Therefore, the overall planning and guidance of the relevant government departments play an important role in the effective development of translation activities.&lt;br /&gt;
&lt;br /&gt;
In response to these problems, from a historical perspective, it is, first of all, essential to strengthen the leadership and organisation of translation activities by the government. So far, there is no government department in China specifically in charge of translation activities. While the market economy has promoted the extensive development of translation activities, its blindness and the pursuit of profits have made it difficult for the spirituality and culture of translation products to be well reflected. Therefore, the overall planning and guidance of the relevant government departments play an important role in the effective development of translation activities.--[[User:Yang Yue|Yang Yue]] ([[User talk:Yang Yue|talk]]) 05:34, 21 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
Secondly, vigorously carrying out criticism and self-criticism is an effective way to improve the quality of translations. To a certain extent, the low quality of translated works can be attributed to the lack of translation criticism. On the whole, the number of articles published on translation criticism in China is still relatively small and there are more practical studies than theoretical studies, for example, in 2011, there were 14 articles on translation criticism, accounting for only 2.2% of the total. [1 In terms of content, literary criticism dominates and is mostly of the appreciation type, especially focusing on the analysis of famous writers, praising translators more than criticizing them, and the theoretical construction of translation criticism is insufficient, lacking real substantive criticism. This is the case with translation criticism, and there is even less self-critical writing from translators. In short, as an important area of translation activity, translation criticism is indispensable.&lt;br /&gt;
&lt;br /&gt;
Secondly, vigorously carrying out criticism and self-criticism is an effective way to improve the quality of translations. To a certain extent, the low quality of translated works can be attributed to the lack of translation criticism. On the whole, the number of articles published on translation criticism in China is still relatively small and there are more practical studies than theoretical studies, for example, in 2011, there were 14 articles on translation criticism, accounting for only 2.2% of the total. [1 In terms of content, literary criticism dominates and is mostly of the appreciation type, especially focusing on the analysis of famous writers, praising translators more than criticizing them, and the theoretical construction of translation criticism is insufficient, lacking real substantive criticism. This is the case with translation criticism, and there is even less self-critical writing from translators. In short, as an important area of translation activity, translation criticism is indispensable.--[[User:Yang Yue|Yang Yue]] ([[User talk:Yang Yue|talk]]) 05:34, 21 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
===Conclusion===&lt;br /&gt;
Ever since translation inevitably entered our culture, the social ideology that is also inevitably present in our culture has almost never ceased to manipulate the further development of the movement. In short, the ideological manipulation of translation activities in the early years of the founding of the state has been a constant and pivotal role in translation activities, especially the leading role of the government and the widespread activities of criticism and self-criticism in the translation community have provided a certain historical mirror for the benign development of translation activities in the new era.&lt;br /&gt;
&lt;br /&gt;
Ever since translation inevitably entered our culture, the social ideology that is also inevitably present in our culture has almost never ceased to manipulate the further development of the movement. In short, the ideological manipulation of translation activities in the early years of the founding of the state has been a constant and pivotal role in translation activities, especially the leading role of the government and the widespread activities of criticism and self-criticism in the translation community have provided a certain historical mirror for the benign development of translation activities in the new era.--[[User:Yang Yue|Yang Yue]] ([[User talk:Yang Yue|talk]]) 05:34, 21 December 2020 (UTC)&lt;br /&gt;
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===Reference books===&lt;br /&gt;
*许宝强，袁伟．语言与翻译的政治[C]．北京:中央编译出社，2001:1-20.&lt;br /&gt;
&lt;br /&gt;
*吕俊．翻译研究:从文本理论到权利话语[J]．四川外语学院学报，2002，1 (18): 106-109.&lt;br /&gt;
&lt;br /&gt;
*Bassnett, S &amp;amp; Ledever, A. Constructing Cultures: Essays on Literary Translation [M]. Shanghai: Shanghai Foreign Language Education Press, 2001: 48.&lt;br /&gt;
&lt;br /&gt;
*Munday, J. Introducing Translation Studies Theories and Applications [M]. Shanghai: Shanghai Foreign Language Education Press, 2010: 127-129.&lt;br /&gt;
&lt;br /&gt;
*Lefevere, A. Translation, Rewriting and the Manipulation of Literary Fame [M]. Shanghai: Shanghai Foreign Language Education Press，2010: 1-70.&lt;br /&gt;
&lt;br /&gt;
*王东风. 一只看不见的手——论意识形态对翻译实践的操纵 [J]．中国翻译，2003，5 (24): 16-23.&lt;br /&gt;
&lt;br /&gt;
*周扬. 社会主义现实主义——中国文学前进的道路 [N].人民日报，1953-01-11 (1).&lt;br /&gt;
&lt;br /&gt;
*文记东. 1949~1966年的中苏文化交流[M]，哈尔滨:黑龙江大学出版社，2011: 101, 144.&lt;br /&gt;
&lt;br /&gt;
*马祖毅．中国翻译通史现当代部分（第三卷）[M].武汉﹔湖北教育出版社，2006: 207-225.&lt;br /&gt;
&lt;br /&gt;
*人民出版社马列著作编辑室．马克思恩格斯列宁斯大林著作中文本书目（1950~1983年）[Z]. 北京：人民出版社，1985.&lt;br /&gt;
&lt;br /&gt;
*周东元，亓文公．中国外文局五十年史料选编（1）[M]. 北京:新星出版社，1999: 399.&lt;br /&gt;
&lt;br /&gt;
*新星出版社编辑部．中国外文局五十年回忆录[M]. 北京:新星出版社，1999: 37, 420-421.&lt;br /&gt;
&lt;br /&gt;
*杨宪益，薛鸿时．漏船载酒译当年[M]. 北京:人民日报出版社，2001: 225.&lt;br /&gt;
&lt;br /&gt;
*杜萌．翻译市场滥译滥编侵权现状调查[N]. 法制日报，2009-03-02 (8).&lt;br /&gt;
&lt;br /&gt;
*中国翻译协会．中国翻译年鉴﹔2009~2010年[M]. 北京:外文出版社，2011: 241, 232.&lt;br /&gt;
&lt;br /&gt;
==Comparison between the History of Chinese and Western Translation   周书尧   Zhou Shuyao==&lt;br /&gt;
&lt;br /&gt;
&amp;lt;center&amp;gt; 周书尧 Zhou Shuyao 202020080672 &amp;lt;/center&amp;gt;&lt;br /&gt;
&lt;br /&gt;
===Abstract===&lt;br /&gt;
Translation has existed since historical records. Translation goes hand in hand with human history, even before historical records. Whether in my country or Western countries, the long tradition of translation has become the most dazzling pearl in the process of human civilization.In addition, translation plays an indelible role in promoting cross-cultural communication and cultural communication.This article first discusses the history of translation in China from four stages , then discusses the five stages of western translation history , and finally compares and analyzes the similarities and differences between Chinese and Western translation histories, and puts forward some of the author's own views.&lt;br /&gt;
&lt;br /&gt;
Translation has existed since historical records. Translation goes hand in hand with human history, even before historical records. Whether in China or in western countries, the long tradition of translation seems to be the most dazzling pearl in the process of human civilization. In addition, it plays an important role in promoting cross-cultural communication. This paper first discusses the history of translation in China from the four translation climaxes in China, then discusses the history of translation in the West from the five translation climaxes in the west, and finally makes a comparative analysis of the similarities and differences between Chinese and western translation history, and puts forward some views of the author.--[[User:Zhang Xueyi|Zhang Xueyi]] ([[User talk:Zhang Xueyi|talk]]) 15:45, 18 December 2020 (UTC)&lt;br /&gt;
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===Key words===&lt;br /&gt;
The history of Chinese,The history of Western,the stages of  translation history,comparison&lt;br /&gt;
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===摘要===&lt;br /&gt;
自历史记载以来,就存在翻译.翻译与人类的历史并道而驰,甚至先于历史记载.无论在我国,还是西方国家,悠久的翻译传统俨然成为人类文明进程中一颗最耀眼的明珠。此外，翻译在促进跨文化交流和文化传播上承担着不可磨灭的作用。本文首先从中国的四次翻译高潮论述中国的翻译史，再从西方的五次翻译高潮探讨西方的翻译史，最后对中西方翻译史的异同进行对比分析，提出一些笔者自己的看法。&lt;br /&gt;
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自历史记载以来，就存在翻译。翻译与人类的历史并道而驰，甚至先于历史记载。无论在我国，还是西方国家，悠久的翻译传统俨然成为人类文明进程中一颗最耀眼的明珠。此外，翻译在促进跨文化交流和文化传播上起着着不可忽视的作用。本文首先从中国的四次翻译高潮论述中国的翻译史，其次从西方的五次翻译高潮探讨西方的翻译史，最后对中西方翻译史的异同进行对比分析，提出一些笔者自己的看法。--[[User:Zhang Xueyi|Zhang Xueyi]] ([[User talk:Zhang Xueyi|talk]]) 15:40, 18 December 2020 (UTC)&lt;br /&gt;
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===关键词===&lt;br /&gt;
中国翻译史，西方翻译史，翻译高潮，对比&lt;br /&gt;
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===I.Introduction===&lt;br /&gt;
Since the 1980s, the Chinese translation studies community has made remarkable progress in the establishment of Chinese and Western translation history courses and the compilation of related works.In the 1980s and early 1990s,A Brief Introduction to the History of Translation in China from Ma Zuyi and other books of Chen Yugang and Tan Zaixi were published one after another,which raised the curtain for the compilation of Chinese and Western translation history works by the domestic translation scholars.The four stages in the history of Chinese translation have promoted the development of Chinese history, culture and society to varying degrees.(Xu 2018,5)&lt;br /&gt;
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Since the 1980s, Chinese translation studies have made remarkable progress in the curriculum design of Chinese and western translation history and the compilation of related works. In the 1980s and early 1990s, Ma Zuyi's A Brief Introduction to the History of Translation in China, and other books of Chen Yugang and Tan Zaixi were published one after another,which raised the curtain for the compilation of Chinese and Western translation history works by the domestic translation scholars. The four climaxes in Chinese translation history promoted the development of Chinese history, culture and society in varying degrees.(Xu 2018,5)--[[User:Zhang Xueyi|Zhang Xueyi]] ([[User talk:Zhang Xueyi|talk]]) 15:56, 18 December 2020 (UTC)&lt;br /&gt;
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The same as our country, Western translation has an age-old history.In a sense, the development of Western European civilization should first be attributed to the translators.The five stages in the history of European translation have promoted the exchanges of literature, art, science and trade between countries, and to a certain extent promoted the development of Chinese translation.In fact, when we examine the development trajectory of Chinese and Western translation activities and the evolution of translation concepts together, we find that there are some similarities between Chinese translation and Western translation.Especially in the evolution of Chinese and Western translation concepts, the two have very similar evolution laws.(Xie 2010,5)&lt;br /&gt;
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Like China, western translation has a long history. In a sense, the development of Western European civilization should be attributed to the translators. The five climaxes in the history of European translation have promoted the exchanges of literature, art, science and trade between countries, and promoted the development of Chinese translation to a certain extent. In fact, when we examine the development of translation activities and the evolution of translation concepts in China and the West together, we find that there are some similarities between them. Especially in the evolution of Chinese and western translation concepts, they have very similar evolution rules.(Xu 2018,5)--[[User:Zhang Xueyi|Zhang Xueyi]] ([[User talk:Zhang Xueyi|talk]]) 15:56, 18 December 2020 (UTC)&lt;br /&gt;
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===Ⅱ.The history of Chinese translation===&lt;br /&gt;
According to records, there have been four stages in China's long history of translation development, leaving behind many classic discussions.From these four translation climaxes, we can see the translators, translation theories and practices that emerged in different periods in China.And these translation stages have had varying degrees of impact on China's history, culture, society, and literature, including the development of Chinese translation.(Li 2016,132)&lt;br /&gt;
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In the traditional sense, there have been four translation climaxes in China's long history of translation development, leaving many classic comments. From the four translation climaxes, we can see the translators, translation theory and practice in different periods in China. Moreover, these translation climaxes have exerted different influences on the history, culture, society and literature of China, including the development of Chinese translation itself.(Li 2016,132)--[[User:Zhang Xueyi|Zhang Xueyi]] ([[User talk:Zhang Xueyi|talk]]) 16:06, 18 December 2020 (UTC)&lt;br /&gt;
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====2.1 The first stage: Ancient Translation History====&lt;br /&gt;
The translation of Buddhist scriptures from the Eastern Han Dynasty to the Tang and Song Dynasties (25-1279) can be regarded as the first important period in the history of Chinese translation, the initiation period of traditional Chinese translation theory, and the first large-scale, planned, Organized translation activities.A large number of Buddhist scriptures were introduced into our country from various countries in the Western Regions, which had a profound impact on our country's language, religious philosophy, painting, arts, etc.The Chinese translation of Buddhist scriptures with textual research should be translated by An Shigao（安室高） during the Eastern Han Dynasty (151 AD).(Liu 2016,147)&lt;br /&gt;
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The translation of Buddhist scriptures from the Eastern Han Dynasty to the Tang and Song Dynasties (25-1279) can be regarded as the first important period in the history of Chinese translation, and it is also the first large-scale, planned and organized translation activity in Chinese history.A large number of Buddhist scriptures were introduced into our country from various countries in the Western Regions, which had a profound impact on our country's language, religious philosophy, painting, arts, etc.The Chinese translation of Buddhist scriptures with textual research should be translated by An Shigao（安室高） during the Eastern Han Dynasty (151 AD).(Liu 2016,147)--[[User:Zhang Xueyi|Zhang Xueyi]] ([[User talk:Zhang Xueyi|talk]]) 16:30, 18 December 2020 (UTC)&lt;br /&gt;
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From 148 AD to 170 AD, he translated more than 30 Buddhist scriptures in Luoyang, making great contributions to Buddhist translation and the spread of Buddhist culture in China.The translation of Lokaksema（支娄迦谶）, who was at the same time as An Shigao, was basically a word-for-word translation, which was not easy to understand. The literal translation in the Chinese translation community probably started from this time.Zhi Loujiachen were the masters of the literal translation school. In addition to them, the major translators include Lokaksema and Dharmaraksha（竺法护）. And most of these translators were “foreigners”.(Liu 2016,147)&lt;br /&gt;
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From 148 AD to 170 AD, he translated more than 30 Buddhist scriptures in Luoyang, making great contributions to Buddhist translation and the spread of Buddhist culture in China.The translation of Lokaksema（支娄迦谶）, who was at the same time as An Shigao, was basically a word-for-word translation, which was not easy to understand. The literal translation in the Chinese translation community probably started from this time.Zhi Loujiachen were the masters of the literal translation school. In addition to them, the major translators include Lokaksema and Dharmaraksha（竺法护）. And most of these translators were “foreigners”.(Liu 2016,147)--[[User:Zhang Xueyi|Zhang Xueyi]] ([[User talk:Zhang Xueyi|talk]]) 16:30, 18 December 2020 (UTC)&lt;br /&gt;
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Shi Daoan (314-385), who was an eminent monk, set up a translation workshop, ushering in the period of translation on a large scale. And a State Translation School was founded for this purpose. Shi daoan put forward the famous &amp;quot;five instances of losing the source and three instances of difficulties&amp;quot;, which had a great influence on later translation studies.(Li 2016,132)The Sui and Tang Dynasties were the prosperous period of Chinese Buddhist translation.Xuan Zang（玄奘）, Kumarajiva（鸠摩罗什）, and Zhen Di（真谛） of the Tang Dynasty are collectively known as the three major translators of Chinese Buddhism.（Li 2016,132）&lt;br /&gt;
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Shi Daoan (314-385), who was an eminent monk, set up a translation workshop, ushering in the period of translation on a large scale. And a State Translation School was founded for this purpose. Shi daoan put forward the famous &amp;quot;five instances of losing the source and three instances of difficulties&amp;quot;, which had a great influence on later translation studies.(Li 2016,132)The Sui and Tang Dynasties were the prosperous period of Chinese Buddhist translation.Xuan Zang（玄奘）, Kumarajiva（鸠摩罗什）, and Zhen Di（真谛） of the Tang Dynasty are collectively known as the three major translators of Chinese Buddhism.（Li 2016,132）--[[User:Zhang Xueyi|Zhang Xueyi]] ([[User talk:Zhang Xueyi|talk]]) 16:30, 18 December 2020 (UTC)&lt;br /&gt;
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In the translation of Buddhist scriptures, he fumbled and summed up the famous &amp;quot;Five do not flip&amp;quot;(五不翻原则）and “six methods of translation”. &amp;quot;Five do not flip&amp;quot;means translators should employ transliteration facing mysterious words, polyseme, culture-loaded words, conventional transliterating words and words showing respect. And the core of his translation theory can be concluded in one sentence. That is: it is necessary to seek truth and be straightforward.（既须求真又须喻俗)&lt;br /&gt;
The Buddhist translation of this period enriched the religious beliefs of the people, became the spiritual support of the people at that time, promoted the exchange between China and the world at that time, and made Buddhist scriptures an inseparable part of our traditional culture.（Li 2016,132）&lt;br /&gt;
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In the translation of Buddhist scriptures, he fumbled and summed up the famous &amp;quot;Five do not flip&amp;quot;(五不翻原则）and “six methods of translation”. &amp;quot;Five do not flip&amp;quot;means translators should employ transliteration facing mysterious words, polyseme, culture-loaded words, conventional transliterating words and words showing respect. And the core of his translation theory can be concluded in one sentence. That is: it is necessary to seek truth and be straightforward.（既须求真又须喻俗)&lt;br /&gt;
The Buddhist translation in this period enriched the people's religious beliefs, became the spiritual support of the people at the bottom, promoted the communication between China and the world at that time, and made Buddhist classics an integral part of Chinese traditional culture.（Li 2016,132）--[[User:Zhang Xueyi|Zhang Xueyi]] ([[User talk:Zhang Xueyi|talk]]) 16:30, 18 December 2020 (UTC)&lt;br /&gt;
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====2.2 The stage two:Modern Translation History ====&lt;br /&gt;
During the Ming and Qing Dynasties (middle 14th to 19th centuries), there was a second stage of translation in Chinese history. During this period, the translation was mainly scientific and technological translation.This major shift was also decided by the Chinese and Western countries at the time in order to seek their own interests and finally reached an agreement on mutual terms.Western missionaries wanted to spread religious thought and culture in China, while Chinese scholars at that time were eager for knowledge and were keen on Western advanced science and technology in order to maintain the regime.（Li 2016,132）&lt;br /&gt;
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During the Ming and Qing Dynasties (from the middle of the 14th century to the 19th century), the second climax of translation appeared in Chinese history. This major turn was also decided by the agreement reached by the Chinese and Western countries at that time in order to seek their own interests. Western missionaries wanted to spread religious thoughts and culture in China. At that time, Chinese people with lofty ideals were eager for knowledge and were keen on western advanced science and technology in order to maintain political power.（Li 2016,132）--[[User:Zhang Xueyi|Zhang Xueyi]] ([[User talk:Zhang Xueyi|talk]]) 16:30, 18 December 2020 (UTC)&lt;br /&gt;
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In this way, the two needs complement each other, and the translation of Western scientific books is increasing. Increased, which promoted the great development of science and technology translation at that time.In 1868, the official translation and publishing organization of the Qing Dynasty, referred to as the Translation Museum, used the translation method from Western to Chinese, which means that foreign scholars interpret and Chinese scholars write and polish.(Liu 2016,148)The main representatives of translation activities in this period include Xu Guangqi（徐光启）, Li Zhizao （李之藻）, etc.Especially Xu Guangqi, known as the &amp;quot;Father of Western Translation&amp;quot;, does not understand foreign languages, and his translations are mainly through listening to narratives and co-translation and compilation.(Liu 2016,148)&lt;br /&gt;
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In this way, the mutual complementation of the two needs led to the gradual formation of the atmosphere of translation of Western science books, thus promoting the great development of science and technology translation at that time. In 1868, the official translation and publishing organization of the Qing Dynasty, referred to as the translation office, translated books by western translation and Chinese translation, that is, foreign scholars interpret, and Chinese scholars write and polish. During this period, the main representatives of translation activities were Xu Guangqi and Li Zhizao. Xu Guangqi, in particular, is known as &amp;quot;the father of translation of Western learning&amp;quot;. He does not understand foreign languages. His translation is mainly made by listening to people's dictation, co-translation and compilation with others.(Liu 2016,148)--[[User:Zhang Xueyi|Zhang Xueyi]] ([[User talk:Zhang Xueyi|talk]]) 16:30, 18 December 2020 (UTC)&lt;br /&gt;
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He proposed that the translation of Western history books should be prioritized and progressive，and put forward his own translation thought: &amp;quot;If you want to be superior, you must understand; before you can understand, you must first translate.&amp;quot;Although there were many translation achievements during this period, there was no systematic translation theory.Although the later translation museum had clear translation principles, its main purpose was to maintain its own rule by learning advanced Western technology.(Liu 2016,148)&lt;br /&gt;
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He put forward that the translation of western historical books should be prioritized and step by step. And put forward his own translation thought: &amp;quot;if you want to surpass, you must be able to understand; before you can feel pain, you must translate first.&amp;quot; Although there are many translation achievements in this period, there is no systematic translation theory. Although there were clear translation principles in the later period, their main purpose was to maintain their rule by learning advanced western technology.(Liu 2016,148)--[[User:Zhang Xueyi|Zhang Xueyi]] ([[User talk:Zhang Xueyi|talk]]) 16:30, 18 December 2020 (UTC)&lt;br /&gt;
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====2.3 The third stage: Contemporary Translation History ====&lt;br /&gt;
From the end of the 19th century to the beginning of the 20th century, China was in turmoil and internal and external troubles. Some rulers and intellectuals with capitalist ideas demanded to unite to resist the aggression of Western countries, and proposed reforms to strengthen themselves.Translation in this period is the boundary of modern Chinese translation history. Translation in the field of science and technology has gradually spread to the fields of literature, philosophy, economics, sociology, and ethics. China has entered a new stage of translation. The scale and influence of its translation activities all surpassed any period in modern times.（Li 2016,132）&lt;br /&gt;
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From the end of the 19th century to the beginning of the 20th century, China was in turmoil, internal and external troubles. Some rulers and intellectuals with capitalist thoughts demanded to unite to resist the invasion of western countries and proposed to strengthen through reform. Translation in this period is a watershed in the history of modern translation in China. Translation in the field of science and technology has gradually spread to the fields of literature, philosophy, economics, sociology and ethics. China has entered a new stage of translation, and the scale and influence of its translation activities have surpassed any other period in modern times.（Li 2016,132）--[[User:Zhang Xueyi|Zhang Xueyi]] ([[User talk:Zhang Xueyi|talk]]) 16:30, 18 December 2020 (UTC)&lt;br /&gt;
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At the end of the 19th century, Western academic translation represented by Ma Jianzhong （马建忠）and Yan Fu（严复）was a translation act driven by &amp;quot;national anxiety&amp;quot;, which promoted the expansion and deepening of foreign exchanges.(Liu 2016,148-149)In particular, Yan Fu's &amp;quot;faithfulness,expressiveness and elegance&amp;quot; translation standards have had a profound impact on translators' translation activities.&amp;quot;faithfulness&amp;quot; means loyalty, and &amp;quot;expressiveness&amp;quot; means unobstructed. In Yan Fu's interpretation, &amp;quot;elegance&amp;quot; means the translation strives to be elegant.The representative translator at that time was Lin Shu（林纾）. He proposed to pay attention to the purpose and function of translation, which meant that the translation should be able to achieve the expected goals and effects.&lt;br /&gt;
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At the end of the 19th century, western academic translation represented by Ma Jianzhong and Yan Fu was a translation behavior driven by the sense of national anxiety, which promoted the expansion and deepening of foreign exchange. In particular, Yan Fu's translation standard of faithfulness, expressiveness and elegance has a profound impact on translators' translation activities. &amp;quot;Faithfulness&amp;quot;, &amp;quot;expressiveness&amp;quot; and &amp;quot;elegance&amp;quot; in Yan Fu's interpretation refer to &amp;quot;using the pre Han Chinese grammar and syntax&amp;quot;. At that time, Lin Shu was also a representative translator. He proposed to pay attention to the purpose and function of translation, that is to say, the target and effect of translation should be achieved.--[[User:Zhang Xueyi|Zhang Xueyi]] ([[User talk:Zhang Xueyi|talk]]) 16:30, 18 December 2020 (UTC)&lt;br /&gt;
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When Lin Shu is translating, he emphasizes on subjective feelings, and the translator needs to communicate with the original author and the characters in the original work.A large number of translators, represented by Lin Shu, mostly adopt the principle of domestication and advocate free translation, which reflects the flexibility and openness of translation to a certain extent.During the May 4th Movement, the &amp;quot;New Youth&amp;quot; magazine was launched and began to translate western cultural thoughts and literary works. Representatives such as Chen Duxiu（陈独秀）, Hu Shi（胡适）, and Zhou Zuoren （周作人）all attached great importance to introducing foreign literature and foreign culture.(Liu 2016,149)&lt;br /&gt;
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In his translation, Lin Shu emphasizes the involvement of subjective feelings, and the translator needs to communicate with the original author and the characters in the original works. A large number of translators, represented by Lin Shu, mostly adopt the principle of domestication and advocate free translation, which reflects the flexibility and openness of translation to a certain extent. During the May 4th movement, New Youth magazine began to translate and introduce western cultural thoughts and literary works. Representative figures such as Chen Duxiu, Hu Shi and Zhou Zuoren attached great importance to introducing foreign literature and foreign culture.(Liu 2016,149)--[[User:Zhang Xueyi|Zhang Xueyi]] ([[User talk:Zhang Xueyi|talk]]) 16:30, 18 December 2020 (UTC)&lt;br /&gt;
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Translation activities during this period included the introduction of scientific and technological knowledge and the dissemination of advanced ideas. The scale and the number of works all showed its important position in the history of translation.Moreover, the audience in this period has also expanded from intellectuals to part of the people, broadening the horizons of the Chinese people, increasing their knowledge, and playing a good catalytic role in modern intellectual circles.(Liu 2016,149)&lt;br /&gt;
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The translation activities in this period, both the introduction of scientific and technological knowledge, and the dissemination of advanced ideas, show its important position in the history of translation. Moreover, the audience in this period also expanded from intellectuals to some people, broadened the vision of Chinese people, increased their insight, and played a good catalytic role in the modern ideological circle.(Liu 2016,149)--[[User:Zhang Xueyi|Zhang Xueyi]] ([[User talk:Zhang Xueyi|talk]]) 16:30, 18 December 2020 (UTC)&lt;br /&gt;
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====2.4 The fourth stage: Present Translation====&lt;br /&gt;
Since the reform and opening up, China and the Western world have had a broader space for communication, and the translation industry has achieved prosperity and development.In an open China, from the initial learning from modern and contemporary Western translation theories, to actively conducting cultural exchanges with other countries, learning and exploring research methods, and focusing on cross-disciplinary comprehensive innovation, translation practices and theories have achieved unprecedented development.(Xu 2018,5)For example, cultural schools, structuralism, post-colonialism, and other translation theories have been translated into China in large numbers. Literary works involve politics, economy, culture, literature, art and other fields, and the quantity and variety greatly exceed the previous generations.&lt;br /&gt;
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Since the Reform and Opening up, China and the western world have a broader space for communication, and the translation industry has achieved prosperity and development. From the beginning of learning from modern and contemporary western translation theories to actively conducting cultural exchanges with other countries, learning and exploring research methods, and paying attention to interdisciplinary comprehensive innovation, China has made unprecedented progress in translation practice and theory. For example, cultural schools, structuralism, postcolonialism and other translation theories have been translated into China, and literary works involve various fields such as politics, economy, culture, literature, art and so on.--[[User:Zhang Xueyi|Zhang Xueyi]] ([[User talk:Zhang Xueyi|talk]]) 16:30, 18 December 2020 (UTC)&lt;br /&gt;
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Representatives at this time include Liu Miqing（刘宓庆）, Tan Zaixi（谭载喜）, Huang Long（黄龙） and others. Among them, Tan Zaixi compiled the book &amp;quot;A Brief History of Western Translation&amp;quot;. The whole book pays attention to absorb the relevant research results at home and abroad. It is important for various historical periods, especially since the 20th century. The representative tasks in the western translation field, translation works, schools of thought, etc. are described and commented, and the mutual promotion, evolution and development of translation practice and translation theory are analyzed and discussed in a simple way, which promotes the formation of a systematic translation theory in China.(Xu 2018,5)&lt;br /&gt;
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The representative figures at this time include Liu Miqing, Tan Zaixi, Huang Long, etc. among them, Tan Zaixi compiled a brief history of western translation. The book absorbed the relevant research results at home and abroad, narrated and commented on the representative tasks, translated works and schools of thought in the field of western translation in various historical periods, especially since the 20th century, and the mutual relationship between translation practice and translation theory The process of promotion, evolution and development has been analyzed and discussed in simple terms, which has promoted the formation of systematic translation theories in China to a certain extent.(Xu 2018,5)--[[User:Zhang Xueyi|Zhang Xueyi]] ([[User talk:Zhang Xueyi|talk]]) 16:30, 18 December 2020 (UTC)&lt;br /&gt;
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During this period, our research is no longer limited to the summary of translation practices and abstract induction of translation principles, but from the generalization of subjective thoughts to the description and analysis of specific translation phenomena, translation events and processes.Translation studies have changed from a single-paradigm study to a multi-paradigm study. In short, the reform and opening up has created a new situation in China's translation industry, constantly expanding research fields, and effectively promoting the development of Chinese translation studies.&lt;br /&gt;
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In this period, our research is no longer limited to the summary of translation practice skills and translation principles, but from the generalization of subjective ideas to the description and analysis of specific translation phenomena, translation events and processes. Translation studies have changed from a single paradigm in the past to a multi paradigm study nowadays. In short, the reform and opening up has created a new situation in China's translation industry, constantly expanding the research field, and effectively promoting the development of China's translation research.--[[User:Zhang Xueyi|Zhang Xueyi]] ([[User talk:Zhang Xueyi|talk]]) 16:30, 18 December 2020 (UTC)&lt;br /&gt;
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===Ⅲ.The history of western translation===&lt;br /&gt;
The same as our country, Western translation has a long history.In a sense, the development of Western European civilization should first be attributed to the translators.From the ancient Roman Empire to the modern European Community, literary, artistic, scientific, and trade exchanges between countries are all carried out through the work of translators. Throughout the whole process, the history of Western translation can be divided into five major development stages.Broadly speaking, the earliest translation in the West is The Septuagint.Strictly speaking, the first translation is the Homer epic &amp;quot;Odyssey&amp;quot; translated in Latin by Andronicus .Both the former and the latter began in the third century BC, with a history of more than two thousand years, and are an important part of the entire European history of development.(Tan 1985,36)&lt;br /&gt;
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Like China, western translation has a long history. In a sense, the development of Western European civilization should be attributed to the translators. From the ancient Roman Empire to the modern European community, literary, artistic, scientific and trade exchanges between countries were carried out through the work of translators. Throughout the whole process, the history of western translation can be divided into five stages. In a broad sense, the earliest translation in the west is the Greek translation of the Old Testament by seventy people; strictly speaking, the first translation is Homer's epic Odyssey translated by Andronicus in Rome in Latin. Both the former and the latter began in the third century BC and has a history of more than 2000 years. It is an important part of the whole European development history.(Tan 1985,36)--[[User:Zhang Xueyi|Zhang Xueyi]] ([[User talk:Zhang Xueyi|talk]]) 04:14, 19 December 2020 (UTC)&lt;br /&gt;
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====3.1 The first stage : Ancient====&lt;br /&gt;
Ancient translation mainly revolved around the Greek translation and Latin translation of the &amp;quot;The Bible. Old Testament&amp;quot; from the third century BC to the sixth century AD. Translation in this period can be divided into the first stage of ancient Greek literature translation and the second stage of religious translation.At the end of the fourth century BC, the Greek slave society began to decline, while the relatively backward Rome gradually became stronger.At this time, Greece has a certain cultural foundation and is still superior to Roman culture. Therefore, Greek culture has a greater attraction to Roman culture. (Tan 1985,36)&lt;br /&gt;
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Ancient translation mainly revolves around the Greek translation and Latin translation of the Old Testament from the third century BC to the sixth century AD. Translation in this period can be divided into the first stage of ancient Greek literature translation and the second stage of religious translation. At the end of the fourth century B.C., the powerful Greek slave society began to decline, while the less developed Rome gradually became stronger. At this time, Greece had a certain cultural foundation and was still superior to Roman culture. Therefore, Greek culture has a greater attraction to Roman culture. (Tan 1985,36)--[[User:Zhang Xueyi|Zhang Xueyi]] ([[User talk:Zhang Xueyi|talk]]) 05:02, 19 December 2020 (UTC)&lt;br /&gt;
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The translation and introduction of Greek culture may begin in this period.It was only in the middle of the third century BC that recorded translations began to appear. Andronicus, Neveus, Ennius, and other excellent translators, who are known as the three ancestors of Roman literature, have translated a large number of Greek dramas in Latin.This large-scale translation first opened the situation of local translation in Europe. It spread Greek culture to Rome, promoted the development of Roman culture, and served as an important bridge for Rome and later generations to inherit ancient Greek literature.(Tan 1985,36)&lt;br /&gt;
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The introduction of Greek culture may have begun in this period. It was not until the middle of the third century B.C. that translation of written records began to appear. Andronicus, Nevius and enius, known as the three great originators of Roman literature, and other excellent translators have translated a large number of Greek drama works in Latin. This large-scale translation first opened up the situation of European local translation. It introduced Greek culture to Rome, promoted the development of Roman culture, and played an important role in the inheritance of ancient Greek literature by Rome and later generations of Europe.(Tan 1985,36)--[[User:Zhang Xueyi|Zhang Xueyi]] ([[User talk:Zhang Xueyi|talk]]) 05:02, 19 December 2020 (UTC)&lt;br /&gt;
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The translation activities in the fourth to sixth centuries AD were mainly religious translation.In Europe, religious forces have always been strong and stubborn. From the very beginning, the Christian Church was hostile to secular literature, and tried to develop a religious culture that served its own interests.As the source of Christian thought and spiritual weapon, the &amp;quot;Bible&amp;quot; has naturally become the most concerned classic in the religious world.In 384 AD, Jerome was entrusted by the Roman Pope to compile a translation called &amp;quot;The New Testament&amp;quot;, which marked that the translation of the &amp;quot;Bible&amp;quot; had achieved an important position on par with the translation of secular literature.As Europe entered feudal society, religious translation was popularized, and the Bible was translated into various languages one after another.（Tan 2004,79）&lt;br /&gt;
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The translation activities from the fourth century to the sixth century were mainly religious in nature. In Europe, religious forces have always been strong and stubborn. From the beginning, the Christian Church was hostile to secular literature and tried its best to develop religious culture serving its own interests. As the source and spiritual weapon of Christianity, the Bible has naturally become the most concerned classic in religious circles. In 384 A.D., Jerome, entrusted by the Pope, compiled a translation of the New Testament, that is, the universal Bible. This indicates that the translation of the Bible has achieved the same important status as the translation of secular literature. As Europe entered the feudal society, religious translation got more market, and the Bible was translated into various languages.（Tan 2004,79）--[[User:Zhang Xueyi|Zhang Xueyi]] ([[User talk:Zhang Xueyi|talk]]) 05:02, 19 December 2020 (UTC)&lt;br /&gt;
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====3.2 The second stage : Middle Ages====&lt;br /&gt;
In the Middle Ages, Latin translation was no longer limited to religious documents. Eastern literature was translated and introduced to the East. The achievements of Arabic academic research promoted the development of Western translation.At that time, Western translators gathered in Toledo, Spain, and translated a large number of works from Arabic to Latin. This is the rare closely contact between Christians and Muslims in history.(Tan 2004,64)In the ninth and tenth centuries, Syrian scholars went to Athens to translate a large number of Greek classics into Syrian and brought them back to Baghdad. Baghdad established an important translation center, and many Greek classical works were translated into Arabic.Later, in the eleventh century, a large number of Arabic works appeared in Toledo. Translators translated these works into Latin. Toledo gradually became an academic center and translation center, becoming a &amp;quot;Translation Museum&amp;quot; similar to Baghdad. His translation and academic activities lasted for a hundred years, and the impact was also great.&lt;br /&gt;
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In the middle ages, Latin translation was no longer limited to religious documents. Oriental literature was translated and introduced to the East. The achievements of Arab academic research promoted the development of western translation. At that time, western translators gathered in Toledo, Spain, and translated a large number of works from Arabic to Latin. This is a rare friendly contact between Christians and Muslims in history. In the ninth and tenth centuries, Syrian scholars went to Athens to translate a large number of Greek classics into ancient Syrian and brought them back to Bagdad. Bagdad became an important translation center, and many Greek classics were translated into Arabic. Later, in the 11th century, a large number of Arabic works appeared in Toledo. Translators translated these works into Latin. Toledo gradually became an academic and Translation Center, and became a &amp;quot;Translation Institute&amp;quot; similar to Bagdad. Its translation and academic activities lasted for a hundred years and had a great influence.--[[User:Zhang Xueyi|Zhang Xueyi]] ([[User talk:Zhang Xueyi|talk]]) 05:04, 19 December 2020 (UTC)&lt;br /&gt;
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====3.3 The third stage :The Renaissance Period====&lt;br /&gt;
In the 14-16th century, the Renaissance took place in Europe. It was a great movement of ideological and literary innovation, and a great development in the history of Western translation. The translation practice and theoretical research of Western countries did not make a real leap until the Renaissance.During the Renaissance, Western translators constantly discovered new literary fields, unearthed new cultural heritage, and transplanted new ideas to the mainland. Translation at this time went deep into various fields such as ideology, politics, philosophy, literature, and religion, and involved some major works in ancient, modern and contemporary times.Translation in this period played an important role in the formation of national languages, marking the consolidation of the status of national languages in translation.(Tan 1985,37)&lt;br /&gt;
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From the 14th to the 16th century, the Renaissance movement took place in Europe. It was a great movement of Ideological and literary innovation and a great development in the history of western translation. The translation practice and theoretical research of western countries did not make a real leap until the Renaissance. During the Renaissance, western translators constantly found new literary fields, excavated new cultural heritages and transplanted new ideas to their native land. At this time, translation went deep into the ideological, political, philosophical, literary, religious and other fields, involving some of the main works of ancient, modern and contemporary. Translation in this period played an important role in the formation of national languages, which marked the consolidation of the status of national languages in translation.(Tan 1985,37)--[[User:Zhang Xueyi|Zhang Xueyi]] ([[User talk:Zhang Xueyi|talk]]) 05:07, 19 December 2020 (UTC)&lt;br /&gt;
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In Germany, Martin Luther created a precedent for the Reformation. His translation of the &amp;quot;Bible&amp;quot; through the people's language laid the foundation for the later standardization and standardization of German and played an important role in the unification of German.In France, &amp;quot;Celebrity biography&amp;quot; translated by the writer Amyot became an immortal literary translation in the history of translation in France and the entire West.In the United Kingdom, the translation of Greco-Roman history and literary works provided important historical materials and new ideological resources for the formation of an autocratic monarchy in the United Kingdom, which promoted the occurrence of the British bourgeois revolution and promoted Britain to become a modern nationalized country earlier.(Tan 1985,37)&lt;br /&gt;
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In Germany, Martin Luther King pioneered the religious reform. He translated the Bible through the people's language, which laid the foundation for the standardization and standardization of German, and played an important role in the unification of German. In France, the famous man translated by amio became an immortal literary translation in French and even the whole western translation history The translation of the history and literary works of Greece and Rome provided important historical materials and new ideological resources for the formation of autocratic monarchy in Britain, contributed to the occurrence of the British bourgeois revolution and made Britain earlier embark on the road of modern nationalization.(Tan 1985,37)--[[User:Zhang Xueyi|Zhang Xueyi]] ([[User talk:Zhang Xueyi|talk]]) 05:07, 19 December 2020 (UTC)&lt;br /&gt;
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All in all, the ideological liberation movement of the Renaissance in Europe around 1500 had a profound and long-term impact on Europe, especially Western European society, and cultural translation played a crucial role as a bridge in this ideological liberation movement. It also shows that translation plays a huge role in the formation and development of national language, literature and thought.(Tan 1985,37)&lt;br /&gt;
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In a word, the Renaissance around 1500 AD had a profound and long-term impact on Europe, especially the Western European society. Cultural translation played an important role in the ideological liberation movement. At the same time, it also showed that translation played an important role in the formation and development of national language, literature and thought.(Tan 1985,37)--[[User:Zhang Xueyi|Zhang Xueyi]] ([[User talk:Zhang Xueyi|talk]]) 05:07, 19 December 2020 (UTC)&lt;br /&gt;
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====3.4 The fourth stage :Since the end of the Second World War====&lt;br /&gt;
After the Second World War, the West entered a relatively stable period of peace, the economy was restored, production was secured, and science and technology developed rapidly. These are important material foundations for the development and progress of translation.(Tan 1985,37)Compared with the past, translation in the new period has undergone great changes. First, the scope of translation has been expanded. Traditional translation mainly focused on literary and religious works, while translation during this period expanded to the fields of technology and business.Second, the scale of translation is much larger than before. In the past, translation was mainly the work of a few high-level intellectuals. &lt;br /&gt;
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After the Second World War, the West entered a relatively stable period of peace. The economy was restored, production was guaranteed, and science and technology developed rapidly. These are the important material basis for the development and progress of translation. Compared with the past, translation in the new era has changed a lot. First of all, the scope of translation has been expanded. Traditional translation mainly focused on literary and religious works, while translation in this period expanded to the fields of science and technology and commerce. Secondly, the scale of translation is much larger than before. In the past, translation was mainly the work of a few senior intellectuals.--[[User:Zhang Xueyi|Zhang Xueyi]] ([[User talk:Zhang Xueyi|talk]]) 05:11, 19 December 2020 (UTC)&lt;br /&gt;
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Nowadays, translation has become a profession, and there is even a professional team that has been specially trained.Third, the role of translation has also been enhanced, especially with the establishment of the European Community and the European Union, the process of globalization has accelerated, and the communication activities between countries are realized through translation. Therefore, translation plays a very important role in the economy, culture, science and technology of western countries.(Tan 2004,80)&lt;br /&gt;
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Nowadays, translation has become a profession, and there are even professional teams with special training. Moreover, the role of translation has also been enhanced, especially with the establishment of the European Community and the European Union, the process of globalization has been accelerated, and the communication activities between countries are realized through translation. Therefore, translation plays an important role in the economy, culture, science and technology of western countries.(Tan 2004,80)--[[User:Zhang Xueyi|Zhang Xueyi]] ([[User talk:Zhang Xueyi|talk]]) 05:11, 19 December 2020 (UTC)&lt;br /&gt;
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The form of translation during this period has also undergone great changes, such as the strengthening of the professionalization of the translation business, the establishment of higher translation education and the training of professional translators.Especially the way of translation has broken the tradition, and machine translation has been developed and popularized.Since English and American scholars first discussed the possibility of using computers for translation in 1946, the development and application of translation machines have increasingly shown vitality after nearly 40 years of tortuous development. It is a challenge to traditional manual translation for thousands of years, and it is also a revolution of far-reaching significance in the history of translation.(Tan 2004,80)&lt;br /&gt;
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During this period, the forms of translation also changed greatly, such as the enhancement of the degree of specialization in translation, the establishment of higher translation education and the cultivation of professional translators. In particular, the way of translation has broken the tradition, and machine translation has been developed and popularized. Since the British and American scholars first discussed the possibility of using computers for translation in 1946, the development and application of translation machines have gradually shown their vitality after nearly 40 years of tortuous process. It is not only a challenge to the traditional manual translation for thousands of years, but also a revolution with far-reaching significance in the history of translation.(Tan 2004,80)--[[User:Zhang Xueyi|Zhang Xueyi]] ([[User talk:Zhang Xueyi|talk]]) 05:11, 19 December 2020 (UTC)&lt;br /&gt;
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===Ⅳ.Comparison between the History of Chinese and Western Translation===&lt;br /&gt;
====4.1 Commonality====&lt;br /&gt;
Through the introduction of the Chinese translation history and the Western translation history in the above two chapters, it is not difficult to find that there are some similarities between the translation concepts and the evolution process of the two, especially the laws of evolution of the Chinese and Western translation concepts are very similar.&lt;br /&gt;
First of all, the initiation and development of large-scale Chinese and Western translation activities are closely related to the translation of religious documents.In the West it is the translation of the Bible, while in China it is the translation of Buddhist classics.(Xie 2010,5)&lt;br /&gt;
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Through the introduction of the history of Chinese translation and that of western translation in the above two chapters, it is not difficult to find that there are some similarities between the two in terms of translation concepts and the evolution process, especially the evolution laws of Chinese and western translation concepts are very similar.&lt;br /&gt;
First of all, the initiation and development of large-scale translation activities in China and the West are closely related to the translation of religious documents. In the west, it is the translation of the Bible, while in China it is the translation of Buddhist classics.(Xie 2010,5)--[[User:Zhang Xueyi|Zhang Xueyi]] ([[User talk:Zhang Xueyi|talk]]) 05:17, 19 December 2020 (UTC)&lt;br /&gt;
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In my opinion, this commonality is the origin of translation concepts such as &amp;quot;original supremacy&amp;quot; and &amp;quot;faithful original text&amp;quot; that have dominated the Chinese and Western translation circles for two thousand years.(Xie 2010,5)Looking back at history, when Chinese and Western ancient translators were translating these religious documents, they must be pious and absolutely faithful to the original text to translate word by word, lest they would distort the will of God and the teachings of the Buddha.Until the 1950s, due to the advent of the era of professional translation, the target of translation has evolved from religious documents and literary masterpieces to non-literary practical documents such as economy, technology, business, and entertainment. Since then, translation Views have been greatly changed.(Xie 2010,5)&lt;br /&gt;
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In my opinion, this commonality is the origin of the two thousand year old translation concepts of &amp;quot;the original is supreme&amp;quot; and &amp;quot;faithful to the original&amp;quot;. Looking back on history, when translators in ancient China and the West translated these religious documents, they must have a kind of piety and absolute loyalty to the original text to translate word for word, for fear of distorting God's will and Buddha's teachings. Until the 1950s, due to the advent of the era of professional translation, the target of translation has changed from religious literature and literary masterpieces to non literary practical literature, such as economy, science and technology, commerce, entertainment, etc. The focus of translation has changed from the original text to the reader.(Xie 2010,5)--[[User:Zhang Xueyi|Zhang Xueyi]] ([[User talk:Zhang Xueyi|talk]]) 05:17, 19 December 2020 (UTC)&lt;br /&gt;
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Secondly, both in China and in the West, translation has played an important role in disseminating knowledge.When we compare the contribution of Chinese and Western translation in spreading knowledge together, this effect is further demonstrated.In the West, backward Rome developed rapidly due to the absorption of advanced Greek culture and became the later Roman Empire.In the Middle Ages, after the Baghdad Translation Center, the translation activities of the &amp;quot;Translation Museum&amp;quot; in Toledo, Spain.The translators provided a source of learning for the Western world by translating ancient Greek and Roman natural science works, philosophy and other classics translated by the Arabs into Latin, as well as the Arabs' own academic works.(Xie 2009,47)&lt;br /&gt;
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Secondly, both in China and in the West, translation has played an important role in disseminating knowledge.When we compare the contribution of Chinese and Western translation in spreading knowledge together, this effect is further demonstrated.In the West, backward Rome developed rapidly due to the absorption of advanced Greek culture and became the later Roman Empire.In the Middle Ages, after the Baghdad Translation Center, the translation activities of the &amp;quot;Translation Museum&amp;quot; in Toledo, Spain.The translators provided a source of learning for the Western world by translating ancient Greek and Roman natural science works, philosophy and other classics translated by the Arabs into Latin, as well as the Arabs' own academic works.(Xie 2009,47)--[[User:Zhang Xueyi|Zhang Xueyi]] ([[User talk:Zhang Xueyi|talk]]) 05:17, 19 December 2020 (UTC)&lt;br /&gt;
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It is through these classical classics that Western talents began to come into contact with a large number of classical cultures and promoted the Renaissance. Its influence is reflected in all aspects of art, philosophy, literature, music, science and technology, politics, religion, and intellectual inquiry.For China, a large number of Buddhist scriptures from the Western Regions to China from the Han Dynasty to the Song Dynasty opened up the history of Chinese translation.The translation of science and technology at the end of the Ming Dynasty and the beginning of the Qing Dynasty was also influential in disseminating Western science and technology literature and promoting the development of China's natural science and engineering technology.(Xie 2009,47)&lt;br /&gt;
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It is through these classical classics that Western talents began to come into contact with a large number of classical cultures and promoted the Renaissance. Its influence is reflected in all aspects of art, philosophy, literature, music, science and technology, politics, religion, and intellectual inquiry.For China, a large number of Buddhist scriptures from the Western Regions to China from the Han Dynasty to the Song Dynasty opened up the history of Chinese translation.The translation of science and technology at the end of the Ming Dynasty and the beginning of the Qing Dynasty was also influential in disseminating Western science and technology literature and promoting the development of China's natural science and engineering technology.(Xie 2009,47)--[[User:Zhang Xueyi|Zhang Xueyi]] ([[User talk:Zhang Xueyi|talk]]) 05:17, 19 December 2020 (UTC)&lt;br /&gt;
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In particular, the literary translation from the Opium War to the &amp;quot;May 4th&amp;quot; period was the dividing line of modern translation history. The translation from the field of science and technology gradually spread to the fields of literature, philosophy, economics, sociology, ethics, etc. In the new stage of translation, the scale and influence of its translation activities have exceeded any period in modern times.Since China's reform and opening up, translation has played a role in promoting communication between China and various countries. The development of the globalization process cannot be separated from the bridge and hub of translation.(Xie 2010,5)&lt;br /&gt;
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In particular, the literary translation from the Opium War to the &amp;quot;May 4th&amp;quot; period was the dividing line of modern translation history. The translation from the field of science and technology gradually spread to the fields of literature, philosophy, economics, sociology, ethics, etc. In the new stage of translation, the scale and influence of its translation activities have exceeded any period in modern times.Since China's reform and opening up, translation has played a role in promoting communication between China and various countries. The development of the globalization process cannot be separated from the bridge and hub of translation.(Xie 2010,5)--[[User:Zhang Xueyi|Zhang Xueyi]] ([[User talk:Zhang Xueyi|talk]]) 05:17, 19 December 2020 (UTC)&lt;br /&gt;
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Third, the role of translation in the establishment and development of national languages in various countries has some obvious commonalities in both the West and China.In the West, Martin Luther's Bible translation has played a very important role in the unification and development of German and modern German.The English translation of the &amp;quot;Bible&amp;quot; also contributes significantly to enriching English vocabulary and expressive means.As for China, Buddhist translation has enriched Chinese vocabulary, especially literary translation during the May Fourth Movement, which promoted the establishment and development of modern Chinese vernacular.The translation in the new era has also enriched the vocabulary to a certain extent.For example, the Chinese &amp;quot;人山人海&amp;quot; translates into English as &amp;quot;people mountain people sea&amp;quot;, and it is even included in the English dictionary.(Xie 2010,5)&lt;br /&gt;
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Thirdly, the role of translation in the establishment and development of national languages of different countries has some obvious similarities in the West and China. In the west, Martin Luther's Bible translation plays a very important role in the unification and development of German as well as modern German. The English translation of the Bible also contributes significantly to enriching English vocabulary and means of expression. As for China, Buddhist translation enriched Chinese vocabulary, especially literary translation during the May 4th movement, and promoted the establishment and development of modern Chinese vernacular. And now the new era of translation, to a certain extent, has enriched the vocabulary. For example, the Chinese word &amp;quot;人山人海&amp;quot; is translated into English as &amp;quot;people mountain people sea&amp;quot;, even included in the English dictionary.(Xie 2010,5)--[[User:Zhang Xueyi|Zhang Xueyi]] ([[User talk:Zhang Xueyi|talk]]) 05:17, 19 December 2020 (UTC)&lt;br /&gt;
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Finally, regardless of Chinese and Western, translation also plays a vital role in conveying foreign social and cultural values.(Xie 2010,5)In the West, for example, the excavation, dissemination and development of the spirit of humanism during the Renaissance were largely due to the translation of ancient Greek and Roman classics.In China, Li Zhizao, Xu Guangqi and others' translations of Western social science masterpieces in the late Ming and early Qing dynasties broadened the horizons of the Chinese people and promoted the modernization of China.During the May Fourth Movement, Yan Fu, Lu Xun and others' translations of Western literature and dramas refreshed the Chinese worldview, increased the Chinese people's knowledge, and played a good catalytic role in modern intellectual circles.&lt;br /&gt;
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Finally, both Chinese and western, translation plays an important role in transmitting foreign social and cultural values. In the west, for example, during the Renaissance, the excavation, dissemination and development of humanistic spirit benefited greatly from the translation of ancient Greek and Roman classics. In China, Li Zhizao and Xu Guangqi's translation of western social science masterpieces at the end of Ming and early Qing Dynasty broadened the horizon of Chinese people and promoted the process of China's modernization. In addition, the translation of Western literature and drama works by Yan Fu and Lu Xun during the May 4th Movement refreshed the Chinese people's world outlook, increased the Chinese people's insight, and played a good catalytic role in the modern ideological circle.--[[User:Zhang Xueyi|Zhang Xueyi]] ([[User talk:Zhang Xueyi|talk]]) 05:17, 19 December 2020 (UTC)&lt;br /&gt;
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====4.2 Difference====&lt;br /&gt;
The last section elaborated from four aspects that the evolutionary laws of Chinese and Western translation history are very similar. Of course, the development of Chinese and Western translation history has its own unique performance, not only in the development period and nodes, but also in certain These aspects are even far apart.&lt;br /&gt;
Although the initiation and development of large-scale Chinese and Western translation activities are closely related to the translation of religious documents, the status of Buddhism in Chinese and Western social and political life is different.Religion plays an extremely important role in Western society.(Xie 2009,51)&lt;br /&gt;
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In the last section, the author expounds that the evolution of Chinese and western translation history is very similar from four aspects. Of course, the development of Chinese and western translation history has its own unique performance, not only in the development period and node, but also in some aspects it is quite different.&lt;br /&gt;
Although the initiation and development of large-scale translation activities in China and the West are closely related to the translation of religious documents, the status of Buddhism in Chinese and western social and political life is different. Religion plays an important role in western society.(Xie 2009,51)--[[User:Zhang Xueyi|Zhang Xueyi]] ([[User talk:Zhang Xueyi|talk]]) 05:24, 19 December 2020 (UTC)&lt;br /&gt;
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In Western Christian society, God is not only the creator and nurturer of the universe and mankind, but also the maker and arbitrator of the political and ethical order of the world. Is the primary source of Western moral standards.Therefore, the importance of &amp;quot;Bible&amp;quot; translation can be imagined.In China, imperial power is greater than divine power. Monarchs profess themselves to be the emperor, exercise power by the mandate of heaven, and enjoy supreme authority.Religion can only be spread and developed under the support and use of imperial power. Its essence is actually a tool to maintain rule, and it has never become a religious behavior for the whole people.(Xie 2009,51)&lt;br /&gt;
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In the Western Christian society, God is not only the creator and nurturer of the universe and human beings, but also the maker and arbiter of the political and ethical order of the world. The Bible is the primary source of western moral standards. Therefore, the importance of Bible translation can be imagined. In China, the imperial power is greater than the divine power. The monarch claims to be the son of heaven and exercises power according to the mandate of heaven and enjoys supreme authority. Religion can be spread and developed only when it is supported and utilized by the imperial power. Its essence is the tool to maintain the rule and has never become a religious act of the whole people.(Xie 2009,51)--[[User:Zhang Xueyi|Zhang Xueyi]] ([[User talk:Zhang Xueyi|talk]]) 05:24, 19 December 2020 (UTC)&lt;br /&gt;
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In Chinese history, religion was never allowed to harm the ethical principles of feudal rule. Once harm occurred, it would be banned and eliminated.The extermination of Buddhism in the history of Chinese Buddhism and the &amp;quot;Chinese Etiquette Controversy&amp;quot; in the history of modern Chinese Catholicism are typical features.Therefore, the influence of Chinese Buddhist scripture translation is more in folk culture, and the effect of its influence is more manifested in a subtle form.For example, the change of world outlook, the penetration of language, the borrowing of the plots of Buddhist classics in literary works, and so on.Moreover, Chinese society uses blood as a bond and family as a unit. It is the blood relationship that closely connects family members.Festivals and weddings and funerals are always carried out on a family or family basis, not under the auspices of the church as in the West.(Xie 2010,6)&lt;br /&gt;
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In Chinese history, religion was never allowed to do harm to the ethics of feudal rule. Once it did, it would be banned and eliminated. The &amp;quot;three martial arts and one sect&amp;quot; in the history of Chinese Buddhism and the &amp;quot;Chinese etiquette dispute&amp;quot; in the history of modern Chinese Catholicism are typical features. Therefore, the influence of Buddhist Scripture Translation in China exists more in folk culture, and its influence is more embodied in a subtle form, such as the change of world outlook, the infiltration of language, the borrowing of Buddhist Classic public viewing plot in literary works and so on. Moreover, Chinese society takes blood relationship as the link and family as the unit. It is blood relationship that closely connects family members. Festivals, weddings and funerals are always carried out in family or family units, rather than under the auspices of the church in the West.(Xie 2010,6)--[[User:Zhang Xueyi|Zhang Xueyi]] ([[User talk:Zhang Xueyi|talk]]) 05:24, 19 December 2020 (UTC)&lt;br /&gt;
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On the other hand, due to the differences in national characteristics between China and the West, the Chinese nation is more pragmatic, focusing on physical and mental cultivation, ethics and morality, paying attention to whether translation theory has practical effects, whether it can guide translation practice and solve various problems encountered in the translation process.(Xie 2010,6)The Western Christian culture and my country's Confucianism have formed a sharp contrast in this respect.Westerners influenced by Christian thought have a strong pioneering and innovative national character. They advocate speculation and pay more attention to the abstract, systematic and systematic nature of translation theories.&lt;br /&gt;
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On the other hand, due to the differences in national characteristics between China and the west, the Chinese nation is more pragmatic, focusing on physical and mental cultivation and ethics, focusing on whether translation theory has practical effect, whether it can guide translation practice and solve various problems encountered in the process of translation. The Western Christian culture has formed a sharp contrast with China's Confucianism in this respect. They are more thoughtful and systematic in their thinking and systematic in translation.--[[User:Zhang Xueyi|Zhang Xueyi]] ([[User talk:Zhang Xueyi|talk]]) 05:24, 19 December 2020 (UTC)&lt;br /&gt;
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They believe that the focus is on describing what kind of theory exists behind translation practice, and how to understand and interpret translation from a theoretical perspective.This makes the development path of the two translation theories different.If there were many similarities in the concepts and characteristics of Chinese and Western translation activities before the 1950s, then the differences in the development trends of the two translation theories in the later stages, especially from the end of the 19th century, became larger and larger.Western translation theories have been systematized earlier.(Xie 2010,6) &lt;br /&gt;
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They think that the key point is to describe what kind of theory exists behind the practice of translation, and how to understand translation and explain translation from the perspective of theory. This makes the development path of the two translation theories different. If there are still many similarities in the concepts and characteristics of translation activities between China and the west before the 1950s, the differences in the development trend of translation theories between the two countries will be more and more obvious in the later stage, especially from the end of the 19th century: the western translation theories have realized systematization earlier.(Xie 2010,6)--[[User:Zhang Xueyi|Zhang Xueyi]] ([[User talk:Zhang Xueyi|talk]]) 05:24, 19 December 2020 (UTC)&lt;br /&gt;
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Any research is carried out under the guidance of a certain theory, and the results of related disciplines are fully used to make the connotation (translation standard itself) and extension (research method) of translation standards become truly pluralistic. Which embodies a strong scientific spirit.However, Chinese translation theories have remained at the level of translation practice experience perception for a long time, which is largely subjective.In particular, the proponents of traditional translation theory pay attention to the unspoken artistic conception, giving people more space for association and comprehension, but they cannot make precise regulations for translation practice, which is implicit.(Xie 2010,6)&lt;br /&gt;
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Any research is carried out under the guidance of certain theories, and the achievements of relevant disciplines are fully utilized to make the connotation (translation standard itself) and extension (research method) of translation standards become truly diversified, which reflects the strong spirit of scientism. However, for a long time, Chinese translation theory has remained at the level of translation practice experience and perception, which makes subjective feelings to a great extent. In particular, the advocates of traditional translation theories pay attention to the artistic conception of &amp;quot;everything in silence&amp;quot; and give people more space for association and comprehension, but they can not make precise regulations for translation practice, which is implicit.(Xie 2010,6)--[[User:Zhang Xueyi|Zhang Xueyi]] ([[User talk:Zhang Xueyi|talk]]) 05:24, 19 December 2020 (UTC)&lt;br /&gt;
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===Ⅴ.conclusion===&lt;br /&gt;
It is precisely based on the above-mentioned understanding of the history of Chinese and Western translation from different aspects that &amp;quot;similarities have differences, and differences have similarities&amp;quot;, so I think that the history of Chinese and Western translation development should be described, analyzed and sorted in the same framework. It is possible.In this way, we can not only emphasize the common ground in the development of Chinese and Western translation, find the rules among them, but also show the uniqueness of the development of the two.&lt;br /&gt;
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Based on the above understanding of the history of Chinese and western translation from different aspects, I think it is possible to describe, analyze and sort out the history of Chinese and western translation in the same framework. By doing so, we can not only emphasize the common points in the development of Chinese and western translation, but also find out the rules of them. At the same time, we can show their own uniqueness in the process of development.--[[User:Zhang Xueyi|Zhang Xueyi]] ([[User talk:Zhang Xueyi|talk]]) 05:28, 19 December 2020 (UTC)&lt;br /&gt;
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This article adopts the method of compiling parallel narratives based on synchronic presentation, supplemented by diachronic combing, combining two seemingly unrelated development contexts in the history of Chinese and Western translation, and analyzing and describing them as a whole.And the development stages of Chinese and Western translation history are divided into stages according to the mainstream translation objects of the specific era, and then the internal laws of the evolution of Chinese and Western translation concepts are explored and revealed.&lt;br /&gt;
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This paper adopts the method of synchronic parallel narration and diachronic combing to combine the two seemingly unrelated development threads of Chinese and western translation history as a whole, analyzes and describes the development stages of Chinese and western translation history according to the mainstream translation objects in specific times, and explores and reveals them It shows the internal law of the evolution of Chinese and western translation concepts.--[[User:Zhang Xueyi|Zhang Xueyi]] ([[User talk:Zhang Xueyi|talk]]) 05:28, 19 December 2020 (UTC)&lt;br /&gt;
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Generally speaking, translation and culture are inseparable, whether religious, political, or literary, they all grow up in the soil of culture.(Chen 2016,1)In the process of understanding Chinese and Western translation history, people also feel the cultural collision.Not only in the long history of the past, but in the 21st century today, translation is a bridge and a link between countries, and an indispensable existence in people's social, political, and economic life. At the same time, translation is also an art. Through translating works, we not only understand the beauty of each country's culture, but also realize that translation is originally an art.&lt;br /&gt;
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Generally speaking, translation and culture are inseparable. Whether religious, political or literary, they all grow up in the soil of culture. In the process of understanding the history of Chinese and western translation, people also feel the cultural collision. Not only in the long history of the past, but also in today's 21st century, translation is a bridge and link between countries and an indispensable existence in people's social, political and economic life. At the same time, translation is also an art. Through translating works, we can not only understand the beauty of each country's culture, but also realize that translation is also an art.--[[User:Zhang Xueyi|Zhang Xueyi]] ([[User talk:Zhang Xueyi|talk]]) 05:28, 19 December 2020 (UTC)&lt;br /&gt;
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Translation is a rigorous and extensive academic science. Various forms of cultural exchanges between Chinese and Western languages, literature, philosophy, and religion require not only artistic performance, but also rigorous academic attitudes and systematic theories to support.Translators and scholars from different countries, languages and cultures have contributed their outstanding talents and wisdom in the field of translation. They have studied and published a wealth of academic theories and skills in translation studies from different perspectives, which have promoted the progress and development of society.&lt;br /&gt;
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Translation is a rigorous and extensive academic science. Chinese and western language, literature, philosophy, religion and other forms of cultural exchange, not only need artistic expression, but also need rigorous academic attitude and systematic theory to support. Translators and scholars from different countries, languages and cultures have contributed their outstanding talents and wisdom in the field of translation. They have studied and published a wealth of translation academic theories and skills from different perspectives, which has promoted the progress and development of society.--[[User:Zhang Xueyi|Zhang Xueyi]] ([[User talk:Zhang Xueyi|talk]]) 05:28, 19 December 2020 (UTC)&lt;br /&gt;
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===References===&lt;br /&gt;
Chen Fang 陈芳.(2016).西方翻译史的文化演进——评《西方翻译简史》[The Cultural Evolution of Western Translation History——A Review of &amp;quot;A short history of translation in the West&amp;quot;].当代教育学(06)Contemporary Education(2).&lt;br /&gt;
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Gong Yicai 龚亿财.(2020).论翻译在第三次翻译高潮中的特点及社会功能[On the features and social functions of translation in the third translation climax].吉林广播电视大学学报(Total No.217)Journal of Jilin Radio and TV University.&lt;br /&gt;
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Li Yin 李颖.(2016).从翻译史上的几个重要时期看中国翻译理论与实践的发展[Viewing the development of Chinese translation theory and practice from several important periods in the history of translation].湖北经济学院学报(Vol13 No.10)Journal of Hubei University of Economics.&lt;br /&gt;
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Liu Qiaoling 刘巧玲.(2016).从中国翻译史的四次高潮看主要译论及读者影响[Main translation theories and readers' influence from the four climaxes of Chinese translation history].黑龙江生态工程职业学院学报(Vol.29 No.5)Journal of Heilongjiang Vocational Institute of Ecological Engineering.&lt;br /&gt;
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Ma Zuyi. 马祖毅. (1998). 中国翻译简史-“五四”以前部分（修订本） [A Brief History of Chinese Translation: The Part Before the May 4th Movement] . China Translation Corporation中国对外翻译出版公司.&lt;br /&gt;
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Tan Zaixi 谭载喜.(1985).西方翻译史浅谈[On the history of Western translation].中国翻译(07)Chinese Translation(36-39).&lt;br /&gt;
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Tan Zaixi 谭载喜.(2004).西方翻译简史[A short history of translation in the West].商务印书馆The Commercial Press of Hongkong.&lt;br /&gt;
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Xu Jun许钧.(2018.06)改革开放以来中国翻译研究的发展之路[The development of Chinese translation studies since reform and opening up].Chinese Traslation Journal.&lt;br /&gt;
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Xie Tianzhen 谢天振.(2009)中西翻译简史[A brief history of Chinese and Western translation].外语教学与研究出版社Foreign Language Teaching and Research Press.&lt;br /&gt;
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Xie Tianzhen 谢天振.(2010)中西翻译史整体观探索[An exploration of the holistic view of Chinese and Western translation history].东方翻译(02)East Journal of Translation(4-8).&lt;br /&gt;
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='''Literal and Free Translation'''=&lt;br /&gt;
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==Rethink Literal and Free Translation	彭永亮	Peng Yongliang==&lt;br /&gt;
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&amp;lt;center&amp;gt; 彭永亮 Peng Yongliang 202020080634 &amp;lt;/center&amp;gt;&lt;br /&gt;
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===Abstract===&lt;br /&gt;
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Literal translation and free translation are a pair of very important concepts in translation studies, which run through the development of translation theory. Starting from Chinese and Western translation theories, this manuscript clarifies the similarities and differences between literal translation and free translation, and compares the differences in translation methods and strategies. Literal translation and free translation in translation strategies are connected with the concept of domestication and foreignization. Here, this manuscript introduces how the concept of domestication and foreignization enters Chinese translation theory from Western translation theories, and compares them. The nature and characteristics of these two pairs of concepts. This manuscript believes that literal translation and free translation are not only a question of translation methods or translation strategies, but at a strategic level, they have risen to a question of domestication and foreignization. In essence, there is no distinction between good and bad.&lt;br /&gt;
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=== Key Words===&lt;br /&gt;
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Literal translation;Free translation;Domestication;Foreignization&lt;br /&gt;
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===题目===&lt;br /&gt;
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直译与意译，归化与异化&lt;br /&gt;
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=== 摘 要 ===&lt;br /&gt;
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直译与意译是翻译学中非常重要的一对概念，贯穿翻译理论的发展过程。本稿从中西翻译理论出发，厘清直译与意译这对概念的异同，并比较了其在翻译方法和翻译策略中的区别。在翻译策略中的直译和意译又与归化和异化这一对概念产生了联系，在这里，本稿在介绍归化与异化这一对概念如何从西方翻译理论进入中国翻译理论的同时，比较了这两对概念的性质与特征。本稿认为，直译和意译不仅是翻译方法或翻译策略的问题，在战略层次上其上升为归化和异化的问题，它们本质上没有优劣之分。&lt;br /&gt;
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=== 关键词 ===&lt;br /&gt;
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直译；意译；归化；异化&lt;br /&gt;
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===0. Introduction===&lt;br /&gt;
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Literal translation and free translation are a pair of important terms in Chinese and Western translation theories. The discussion of literal translation and free translation is a common phenomenon in Chinese and Western translation theories, which runs through the entire process of translation theory. To a certain extent, literal translation and free translation seem to have become very natural categories, so there is no need to specifically define these two concepts in the discussion. Take the term &amp;quot;literal translation&amp;quot; used in Chinese translation theory as an example. From the &amp;quot;Six Examples of Scripture Translation&amp;quot; recorded in &amp;quot;Song Gaoseng Biography&amp;quot;, it can be seen that the concept of &amp;quot;literal translation&amp;quot; in traditional translation theories was first opposed to &amp;quot;retranslation&amp;quot; , Refers to the translation method of translating the scriptures directly from the Sanskrit version. The concept of &amp;quot;literal translation&amp;quot; that frequently appears in modern and contemporary translation theories is at least related to the following three different western translation theory terms, namely &amp;quot;word-for-word translation&amp;quot;, &amp;quot;literal translation&amp;quot; and &amp;quot;inter lineal translation&amp;quot;. In this way, there is a fundamental difference between &amp;quot;literal translation&amp;quot; as the concept of &amp;quot;implantation&amp;quot; and the concept of literal translation in traditional Chinese translation theories. Therefore, there are different understandings of the term &amp;quot;literal translation&amp;quot;.&lt;br /&gt;
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In fact, the understanding of the concept often limits the scope of the discussion itself, so the different understanding of literal translation and free translation may make the disputes about these two concepts often carried out on different levels. Therefore, when using the two terms literal translation and free translation to participate in discussions, it is particularly important to clarify the concept of literal translation and free translation and re-examine the scope of discussion.&lt;br /&gt;
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===1. Literal Translation and Free Translation===&lt;br /&gt;
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===1.1 Literal Translation and Free Translation in Translation Methods===&lt;br /&gt;
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From the perspective of etymology, &amp;quot;method&amp;quot; refers to the method of governance. It originally meant criminal law and regulations. Later it was used to refer to the sum of the ways, methods and procedures for people to understand and transform the objective world. It is a sign of wonderful deeds.&amp;quot; Similar to the &amp;quot;method&amp;quot; in Chinese, the &amp;quot;method&amp;quot; in English is derived from the Greek word &amp;quot;μ＇εθοδοζ&amp;quot;, which consists of two words &amp;quot;along&amp;quot; and &amp;quot;road&amp;quot;, meaning to proceed along the right path. Therefore, whether it is &amp;quot;method&amp;quot; in Chinese or &amp;quot;method&amp;quot; in English, it refers to the correct way to recognize and understand objective objects, focusing on &amp;quot;action&amp;quot;. Schleiermacher put forward in his far-reaching &amp;quot;On Two Methods of Translation&amp;quot;, &amp;quot;Bring the author to the reader&amp;quot; and &amp;quot;Bring the reader to the author&amp;quot; are just to place the original text, translator and target reader in the same At the level, discuss the real task that the translator must complete-shorten the distance between the original author and the target reader, and highlight the relationship between language, understanding and thinking. Therefore, Schleiermacher's two translation methods are actually the choice of two paths, and they are the decisions and actions taken by the translator in language conversion. If translation is defined as a conversion of language signs, the translation method can be regarded as a specific way for the translator to recognize the source text and carry out the conversion of language signs.&lt;br /&gt;
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British translation theorist Newmark summarized 13 different translation methods in Chapter 5 of the &amp;quot;Translation Tutorial&amp;quot;, among which word-for-word translation, literal translation, faithful translation, semantic translation, etc. are all defined as one translation method. Examining his definitions of the different translation methods mentioned above, we can summarize the common points of these translation methods as “reproduce” based on determining a fixed translation unit (such as morphemes, grammatical structure, contextual meaning, etc.) The meaning of the original text. In other words, although Newmark uses a prescriptive research method to associate translation methods with &amp;quot;equivalence&amp;quot;, and does not clearly define what translation methods are, the 13 translation methods he summarized illustrate the use of various Translation methods are all aimed at solving practical problems in the translation process. In this sense, &amp;quot;the translation method is related to the entire text&amp;quot; (Newmark, 2001:81). Translators will not be limited to a certain translation method in their translation process, but will adopt different translation methods according to actual problems. Both literal translation and free translation are one of them.&lt;br /&gt;
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Western translation theorist Steiner believes-&amp;quot;The ideal situation for translation is to not suffer any loss during conversion&amp;quot; (Steiner, 2001:319). It can be found that although the original text and the translated text cannot be completely equivalent , But the ideal state required by the translator is still consistent in all aspects of the original text and the target text. To achieve such an ideal state, the translator needs to use the most appropriate translation method to solve the actual problems in the translation process on the basis of correct understanding. In the specific process of the translator, it is difficult to clearly distinguish the &amp;quot;degree&amp;quot; between literal translation and free translation as a specific translation method, such as the &amp;quot;most natural and most appropriate&amp;quot; translation. Therefore, in the discourse of most theorists, the opposite of literal translation and free translation should be hard translation, dead translation, Hu translation, etc. If we look at the controversy of &amp;quot;literal translation and free translation, which is better?&amp;quot; from this perspective, it seems to be said that literal translation and free translation, as two translation methods, do not have the advantages and disadvantages. The two are not completely different and opposed to each other. Translation methods are specific methods used by the translator for different issues. Therefore, the discussion about literal translation and free translation not only includes the discussion of &amp;quot;how to translate&amp;quot;, but also involves the question of &amp;quot;what is the ideal state of translation&amp;quot;.&lt;br /&gt;
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In summary, in Chinese and Western translation theories, literal translation and free translation as translation methods are used to solve practical problems in translation, and these practical problems are closely related to the language structure of the source and target languages. Different issues have different levels of discussion. In this way, it is necessary to re-examine the actual translation issues behind the discussion to understand the dispute over literal translation and free translation. In any case, in Chinese translation theory, when literal translation and free translation are regarded as two translation methods, there is actually no so-called problem of which is better, and there is no substantial difference between the two, the difference is only the translator. The gap between its translation practice and its ideal translation target.&lt;br /&gt;
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===1.2 Literal Translation and Free Translation in Translation Strategies===&lt;br /&gt;
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From the perspective of etymology, strategy means &amp;quot;strategy and strategy&amp;quot; in Chinese. Like the word &amp;quot;strategy&amp;quot; in English, it is derived from military science and refers to specific methods, means, and methods used to achieve a certain goal. Sum. Translation strategy can be understood as the sum of specific methods, means and methods used by the translator to achieve a specific translation goal. Riitta Jaaskelainen, a researcher on the translation process of TAPs, defines translation strategy as &amp;quot;a process associated with ‘goal-oriented’ and ‘subjective optimality’, rather than a process of problem solving.&amp;quot; The American translation theorist Venuti distinguishes between translation methods and translation strategies in the definition of &amp;quot;translation strategy&amp;quot; under the term &amp;quot;translation strategy&amp;quot;(Bassnett, 2004). His so-called domesticating and foreignizing are translation strategies. Susan Bassnett also deliberately distinguishes between strategies and methods when discussing poetry translation-&amp;quot;When analyzing the many different translation methods used by the English translators of Catullus’ 64 Poems, Andrew Le Pfeiffer summarized seven different translation strategies.&amp;quot; (Bassnett, 2004:84) It should be said that in terms of the terms used by the above scholars, translation methods and translation strategies are not the same. Therefore, when literal translation is regarded as a translation method or strategy, the issues that the critics want to explain are not All the same.&lt;br /&gt;
It can be said that the translation method aims to solve the problems in translation practice and achieve the desired translation effect, and the translation strategy reflects how the translator strives to achieve its translation purpose under the constraints of various external factors. To some extent, when literal translation and free translation are used as two translation strategies, the understanding of literal translation and free translation cannot be separated from the investigation of the translation and the social and cultural context of the translator. The translation strategy adopted by the translator is not an abstract theoretical assumption that has nothing to do with the social context of the translator, but a decision made by the translator in the tension between language, history, and social culture. Hidden behind the decision are the various translation purposes of the initiators of translation activities. What needs special attention is that the translator’s translation goals are multiple, so the strategies adopted to achieve different translation goals are naturally different.&lt;br /&gt;
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===2. Domestication and Foreignization in Chinese===&lt;br /&gt;
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Domestication and foreignization can be regarded as the conceptual extension of literal translation and free translation, but they are not completely equivalent to literal translation and free translation. As the product of cultural shift, domestication and foreignization must contain profound cultural, literary and even political connotations. If literal translation and free translation are only discussions at the language level, domestication and foreignization are the continuation of the discussion at the language level to the cultural, poetic and political level. That is to say, the bullseye of the dispute between literal translation and free translation is the gain and loss of meaning and form, while the bullseye of the dispute between domestication and foreignization is the cultural identity in the vortex of the gain and loss of meaning and form, and literacy is the gain and loss of the power of pumping discourse. problem.&lt;br /&gt;
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===2.1 Assimilation and Alienation===&lt;br /&gt;
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Domestication and foreignization in Chinese correspond to two pairs of terms in English: the first pair is &amp;quot;assimilation, alienation&amp;quot;, and the second pair is &amp;quot;domestication, foreignization&amp;quot;.&lt;br /&gt;
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The connotation of Assimilation in translation studies should regard the original language and culture as &amp;quot;different traditional individuals or groups&amp;quot;, and try to make them &amp;quot;participate&amp;quot; in the target language and culture during translation. &amp;quot;Participate&amp;quot; here means to move closer to the other party, or even merge with it. The &amp;quot;language&amp;quot; mentioned here mainly refers to the way of expression of thoughts, sentence structure, and sometimes also includes style, text layout, etc. &amp;quot;Culture&amp;quot; refers to the national behavior and language expression (such as rhetoric, etc.), living environment, ideology and other things that reflect this national characteristic. In the process of translation, the original language and cultural characteristics disappear in the target language to satisfy the aesthetic and acceptance psychology of the target language readers. Alienation is the opposite. In the process of translation, it tries to maintain the characteristics of the original text, keep a distance from the target language and its culture, so that the target readers feel &amp;quot;unfamiliar&amp;quot; when reading and realize that they are reading a translation. The meaning of assimilation and alienation we are talking about here refers to how to treat the differences between the two languages and cultures on the basis of equal status, and how to make different strategic choices in translation.&lt;br /&gt;
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The meanings of the terms Domestication and Foreignization are related to the background in which they were produced. In the 1990s, translation has been placed in a large system of culture and society for research. Venuti was inspired by a so-called &amp;quot;fluency tendency&amp;quot; that has existed in the Western translation industry, especially the English and American translation circles for more than 40 years This pair of terms is proposed for the unequal relationship of literature in different cultures. It mainly refers to the translation from other foreign languages to English. Compared with assimilation and alienation, this pair of terms not only reflects the difference in meaning between language and culture. You can also see the deeper meaning of cultural inequality behind this different background. In this way, translation is placed in the context of culture, society, politics, and ideology, and the choice of translation strategies reflects the different positions of different cultures in the world today. Translation is used as a tool of struggle, and it is not equal. To fight against the phenomenon. It should be said that this is an improvement, and it is also the main difference between these two pairs of terms, or it is the reason why Venuti put forward this new pair of terms under the premise of assimilation and alienation.&lt;br /&gt;
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===2.2 Domestication and Foreignization===&lt;br /&gt;
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Domestication and foreignization in Chinese are the same as assimilation and alienation. They both discuss the differences between languages and cultures, and they are all based on the equality of different languages and cultures. Chinese &amp;quot;domestication&amp;quot; also focuses on the process from different to similar and identical, but the meaning of &amp;quot;domestication&amp;quot; in domestication is not included in &amp;quot;domestication&amp;quot;; and &amp;quot;foreignization&amp;quot; in Chinese also maintains the &amp;quot;different&amp;quot; component, which is reserved Difference, no cultural inequality, as a means of struggle and resistance to cultural colonization. &amp;quot;Naturalization&amp;quot; and &amp;quot;alienation&amp;quot; are closer to assimilation and alienation in meaning. When and who the term &amp;quot;domestication&amp;quot; and &amp;quot;foreignization&amp;quot; in Chinese were first used in translation studies in my country has not been ascertained. According to the materials we see now, &amp;quot;domestication&amp;quot; was used in translation research earlier than &amp;quot;foreignization&amp;quot;.&lt;br /&gt;
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Through the above-mentioned comparative analysis of the origin, extension and connotation of the categories of “domestication” and “foreignization”, we can now define them as follows: Domestication and foreignization are the differences between the two languages and cultures that the translator faces in translation Two different translation strategies are adopted due to differences in the target text type, author's intention and target language readers, etc., and their purpose is to guide the choice and application of specific translation methods and techniques. Domestication pursues the translation to comply with the target language and culture norms, and better meets the reading needs of the target language readers with less odor; the pursuit of foreignization retains the characteristics of the original language and culture, so as to enrich the target language and culture. It satisfies the reader’s demand for the &amp;quot;stranger&amp;quot; of the target text. The choice of these two strategies sometimes also refers to social, cultural, political and ideological regulations. Regardless of the strategy chosen, it should focus on the needs of readers and society.&lt;br /&gt;
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===3. Rethink===&lt;br /&gt;
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The choice of the translation strategy of domestication or foreignization will have a great impact on the translation, and even some meanings will be lost. But in literal translation, no matter which one is selected, the content of the original text will be faithfully expressed. For example, the works translated by Lin Xian, we can only say that it is a domesticated translation, and cannot be called a free translation, because he has rewritten and created a lot of the original text. This is one of the differences between the two pairs of terms. The second difference is that literal translation and free translation are translation methods, while domestication and foreignization are translation strategies. The two are not at the same level, and the latter guides the former. &amp;quot;Modern Chinese Dictionary&amp;quot;says that &amp;quot;methods&amp;quot; are &amp;quot;methods, procedures, etc. for solving problems such as thinking, speaking, actions, etc.&amp;quot;and &amp;quot;strategies&amp;quot; are &amp;quot;action policies and struggles formulated according to the development of the situation.&amp;quot; Method.” There is a certain connection between method and strategy. Method is the specific method under the guidance of strategy, and strategy is the policy and goal of guiding method. Under the guidance of domestication and foreignization, the translator chooses the appropriate translation method. In addition to literal translation and free translation, there are also multiple methods such as clip translation, transliteration, and compilation. Although domestication and foreignization are related to literal translation and free translation, there are also obvious differences. The mixed use of the two pairs of terms is not conducive to the standardization of the category, not conducive to theoretical research, nor is it used in translation practice.&lt;br /&gt;
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Liu Yingkai interpreted the concept of naturalization in this way: the so-called &amp;quot;naturalization&amp;quot;, according to the interpretation of &amp;quot;Cihai&amp;quot;, &amp;quot;is the old name of naturalization&amp;quot;. The &amp;quot;domestication&amp;quot; of translation refers to the fact that the starting language of the guest &amp;quot;ji&amp;quot; is incorporated into the &amp;quot;ji&amp;quot; of the home language in the translation process: English-Chinese translation spares no effort to Sinicize; Chinese-English translation will make every possible effort to Englishize...and so on There are always the theorists of &amp;quot;Ning Shun but not believing&amp;quot; in the translation circle, and the translation of &amp;quot;Nation&amp;quot; is familiar to the ears; after seeing it familiar, there is no sense of discomfort or resistance,...... (Liu Yingkai, 1987).&lt;br /&gt;
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According to the reality of the Chinese translation world, Liu Yingkai summarized the manifestations of naturalization into five types: 1. Abuse of four-character idioms; 2. Abuse of quaint words; 3. Abuse of &amp;quot;abstraction method&amp;quot;; 4. Abuse of &amp;quot;substitution method&amp;quot;; 5. To visualize or allusion without basis. Liu Yingkai has a negative attitude towards the translation method of domestication. He believes that domestication will &amp;quot;reform the objective facts of foreign countries, obliterate their national characteristics, force them to subdue, and assimilate them into the language of their destination, so it must be a distortion of the original text. &amp;quot;.&lt;br /&gt;
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Venuti's definition of domesticated translation is: abiding by the current mainstream values of the target language and culture, and openly adopting conservative assimilation methods to the original text to cater to the local canon, publishing trends and political needs.The Dictionary of Translation Studies published by St Jerome Press, UK, based on Venuti's deconstructionist insights, and defines domestication as: the use of a transparent and smooth style in translation to minimize the strangeness of the original text. Strategy. And the application of the domestication translation method has six steps: l carefully choose the original work suitable for domestication translation; 2. consciously adopt a smooth and natural target language style; 3. make the translation work Adapt to the type of target utterance; 4. Add explanatory materials; 5. Eliminate the geographical and historical colors in the original language; 6. Make the translation consistent with the prejudices and preferences of the monthly language.&lt;br /&gt;
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Venuti believes that fluent domestication translation not only conceals the translator’s work efforts and exposes the translator to the “invisible” unfair situation; it also conceals the differences between cultures and the sense of history of the original work, and integrates the contemporary values of mainstream culture. Impose on the original. Since the stylistic effect pursued by domestication translation is that the translation does not read like the translation, it is easy for readers to mistakenly believe that the translation that has been contaminated by the mainstream culture and language values of the target language is the original appearance of the original. A narcissistic experience that identifies with local culture&amp;quot;. (Venuti, 1995:15) Aiming at the tradition of Anglo-American domestication translation, Venuti pointed out that domestication translation is &amp;quot;a ethnocentric decomposition of the original text according to the cultural values of the target language, bringing the original author home&amp;quot;,Actual divination is a kind of imperialist cultural plunder. He also believes that the more domesticated the translation, the more invisible the translator; the more invisible the translator, the more concealed the fact that the original is maliciously naturalized, that is to say, the readers of the translation are more likely to be deceived. The post-colonial translation theory also makes a useful discussion on domestication and foreignization. In the discourse of post-colonial theory, domestication translation is related to the conquest and colonization of imperialism. Domestication is an indispensable content of conquest and colonization, and as a specific translation method, domestication is the violence, even rape, of the original text and the starting culture. (Robinson, 1997: 58)&lt;br /&gt;
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Canadian translator Robinson discussed the issue of domestication and foreignization from the perspective of post-colonial theory. His definition of domestication is: domestication translation is a term used by foreignization translation scholars to describe the worst translation. This kind of translation adopts the method of assimilating the original work into the target culture and language values, and domesticating the original work. Traditionally, people call this concept &amp;quot;paraphrase&amp;quot;; also known as &amp;quot;assimilative translation&amp;quot; (Robinson, 1997: 116). With regard to domestication translation, Robinson's views and Venuti have a consensus, but also have differences. Robinson expressed difficulty in accepting the tendency of Venuti and other alienationists to over-politicize the issue of domestication and alienation, and raised a discussion. At the same time, he also questioned the view that some post-colonial scholars believe that naturalized translation helps the process of colonization. In fact, the political factors in Robinson's post-colonial translation theory are more than that in Venuti, which is mainly related to his post-colonial vision.&lt;br /&gt;
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The concept of alienation has surpassed the linguistic level of literal translation and has risen to the level of culture, poetics and politics. Therefore, alienation cannot be simply equated with literal translation. Venuti's definition of alienation is summed up as deviating from the local mainstream values and retaining the language and cultural differences of the original text.Based on Venuti’s opinion, Dictionary of Translation Studies defines alienation as: To a certain extent, to preserve the foreignness of the original text and deliberately break the convention of the target language. Venuti suggests that foreignizing translation should be adopted in those &amp;quot;aggressive&amp;quot; monolingual cultures where domestication translation is prevalent (such as British and American cultures), which can carry out strategic cultural interventions in &amp;quot;current international affairs and challenge the hegemonic English-speaking countries and inequality.&amp;quot; The cultural exchanges,... the use of English for foreignization translation can also be a form of resisting our ethnocentrism and racism, cultural narcissism and cultural imperialism&amp;quot;. (Venuti, 1995:20) He believes that foreignization translation can impose &amp;quot;ethnodeviant pressure&amp;quot; on the cultural values of the target language, and has the effect of sending readers to a foreign land. He said: &amp;quot;Resistance translation can help preserve the language and cultural differences of the original text, and translate texts that have a sense of strangeness and alienation. These translations mark the limit of the mainstream values of the target language and culture, and prevent these values from affecting a certain culture. The other is the domestication of imperialism.”Specifically, the use of foreignized translation means that the translator can not only be free from the restriction of the target language and text habits, but also can use the non-fluency when appropriate. , Opaque speech style, deliberately retain the cultural color of the starting language, so as to give the target reader a different reading experience. However, because the preservation of the original text has to rely on local cultural materials, Venuti also admits that, just like domesticated translation, foreignized translation &amp;quot;is also one-sided when interpreting the original text, but it does not cover its one-sidedness, but instead Show off.&amp;quot; (Venuti, 1995:34)&lt;br /&gt;
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===4. Conclusion===&lt;br /&gt;
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The result of literal translation and free translation is not just the gain and loss of semantics and form. From a cultural perspective, it involves issues such as the equal exchange of cultural identity and a sense of history loaded in language forms; from a poetic perspective, it involves literary issues loaded in language forms; from politics From the angle of view, it involves the issues of colonization and decolonization, hegemony and anti-hegemony. Therefore, the dispute between literal translation and free translation has evolved into a dispute between domestication and foreignization at a new level. In the context of globalization, this level of controversy can be regarded as a confrontation between nationalism and cosmopolitanism, a confrontation between a weak culture and a powerful culture, or a confrontation between Orientalism and Western centralism.&lt;br /&gt;
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===References===&lt;br /&gt;
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［1］Bassnett，Susan．Translation Studies(3rd ed)［M］．Shanghai: Shanghai Foreign Language Education Press，2004．&lt;br /&gt;
［2］Newmark，Peter．The Textbook of Translation［M］．Shanghai:Shanghai Foreign Language Education Press，2001．&lt;br /&gt;
［3］Robinson，D.Translation and Empire:Posteolonial Theories Explained［M］.Manchester:St Jerome, 1997.&lt;br /&gt;
［4］Schleiermacher,A.On the Different Methods of Translating[A].Theories of Translation:An Anthologv of Essays from Drydento Derrida[C].Schulte,R.&amp;amp;Biguenet,J.Chicago and London:The University of Chicago Press,1992,36-54.&lt;br /&gt;
［5］Steiner，George．After Babel: Aspects of Language andTranslation［M］．Shanghai: Shanghai Foreign LanguageEducation Press，2001．&lt;br /&gt;
［6］Venuti，Lawrence．The Translator s Invisibility: [M]. London and NewYork: Routledge, 1995.&lt;br /&gt;
［7］Venuti，Lawrence．Translation Strategy［A］．in Baker，Mona，(ed．)Routledge Encyclopedia of TranslationStudies［C］．Shanghai:Shanghai Foreign Language Education Press，2004:240-244．&lt;br /&gt;
［8］方仪力．直译与意译：翻译方法、策略与元理论向度探讨［J］上海翻译，2012.&lt;br /&gt;
［9］李德超．TAPs 翻译过程研究二十年: 回顾与展望［J］．中国翻译，2005，(1):29-34&lt;br /&gt;
［10］刘英凯．归化--翻译的歧路［J］．现代外语,1987（2）&lt;br /&gt;
［11］刘艳丽、扬自俭．也谈“归化”与“异化”［J］．中国翻译，2002.&lt;br /&gt;
［12］王东风．归化与异化：矛与盾的交锋？［J］．中国翻译，2002.&lt;br /&gt;
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==On the Chinese Translation of ''A Pale View of Hills'' from House's Translation Quality Assessment Model	宋建茹	Song Jianru 202020080639 ==&lt;br /&gt;
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&amp;lt;center&amp;gt; 宋建茹 Song Jianru 202020080639 英美文学&amp;lt;/center&amp;gt;&lt;br /&gt;
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===Abstract===&lt;br /&gt;
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Translation quality assessment is an integral part of translation criticism. The first TQA model with comprehensive theories and practices Juliane House represented provides a significant reference for translation exercises. ''A Pale View of Hills'', as the first work of Kazuo Ishiguro, possesses a great research value on its narrative styles by virtue of memory and topics about migrants. As of 2011 when its Chinese translation was published, no scholar has evaluated it. This study applies House's TQA model to assess the Chinese translation of ''A Pale View of Hills'' with qualitative and quantitative analysis from lexical, syntactic and textual aspects, in a bid to examine validity of the model on novel translation, which turns out that it is an overt and high-quality translation.&lt;br /&gt;
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=== Key Words===&lt;br /&gt;
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''A Pale View of Hills''; House's TQA model; Novel translation&lt;br /&gt;
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===题目===&lt;br /&gt;
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从豪斯翻译质量评估模式谈《远山淡影》中文翻译&lt;br /&gt;
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=== 摘 要 ===&lt;br /&gt;
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翻译质量评估是翻译批评的核心课题。朱莉安·豪斯提出的第一个有完整的理论和实践的翻译质量评估模式，为翻译实践提供了重要参考。《远山淡影》是石黑一雄的处女作，其依托回忆的叙事风格和移民主题具有很高的研究价值。《远山淡影》中译本自2011年出版至今，尚未有学者对其进行评估研究。本文运用豪斯的翻译质量评估模式，采用定性与定量相结合的分析方式，从语场、语旨、语式等三个层面对原文和译文进行分析，开展《远山淡影》中译本的翻译质量评估研究，为豪斯翻译质量评估模式对小说翻译的运用进行进一步的探索和补充。通过分析，本文得出《远山淡影》中译本为显性翻译，翻译质量较高。&lt;br /&gt;
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=== 关键词 ===&lt;br /&gt;
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《远山淡影》；豪斯质量评估模式；小说翻译&lt;br /&gt;
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===Introduction===&lt;br /&gt;
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Translation criticism refers to the analysis and review of thoughts, activities and works of translation by virtue of relevant theories and views, in a bid to improve the overall quality of translators and translations. It is an integral part of translation studies. Translation quality assessment, as the integral and key part of translation criticism, plays a significant role in surveillance and promotion of translation quality. Among the extant translation quality assessment models, Juliane House's ''A Model for Translation Quality Assessment and Translation Quality Assessment: A Model Revised'', based on Halliday's systemic functional linguistics and discourse analysis, are systematic, scientific and rational with a relatively complete system of parameters, quantitative methods and steps adhering to specific procedures.(Wang Enmian 1999,7)&lt;br /&gt;
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''A Pale View of Hills'', as Kazuo Ishiguro's first full-length novel, tells the life of the people in Nagasaki after WWII through the memory of protagonist Etsuko and explores recovery of trauma, collision between the old and new ideas, and kinship after war. The first person narrative, memory, humor and satire and international perspectives in the book became his major writing styles in the future. The novel won the Winifred Holtby Memorial Prize from the Royal Society. Its only Chinese translation at present, from Zhang Xiaoyi, is still not analyzed by the scholars(Wang Fei 2017, 152).&lt;br /&gt;
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This paper uses House's translation quality assessment model, with combination of qualitative and quantitative analysis, from field, tenor and mode to analyze the mismatches between original and translation in an attempt to assess the Chinese translation quality of ''A Pale View of Hills'' and further explore the application of House's model in novel translation. The aim of the study is to promote scholars to regulate the behaviors of translation, to improve the quality of translation and translation evaluation, and to provide a reasonable way for establishing the interlingual conversion mechanism.&lt;br /&gt;
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The thesis consists of five chapters.&lt;br /&gt;
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After the Introduction, Chapter One gives a brief account of ''A Pale View of Hills'' and its research status, involving the author, background, content and influence. Chapter Two gives a brief introduction of House’s TQA model, including its theoretic basis, parameter setting, operation steps and feasibility. Chapter Three is a detailed analysis of original and translation of ''A Pale View of Hills'' based on House’s model. Chapter Four is the statement of translation quality assessment. Chapter Five draws a concise conclusion about this paper.&lt;br /&gt;
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===I Overview and Research Status of ''A Pale View of Hills''===&lt;br /&gt;
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''A Pale View of Hills'' is Kazuo Ishiguro's first novel, which laid a solid foundation for the formation of Ishiguro's writing style. The chapter mainly introduces the author, plot, theme and influence of the novel and analyzes its research status, in an attempt to master the material well and seek new perspectives for the paper.&lt;br /&gt;
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'''1.1 Overview of ''A Pale View of Hills'''''&lt;br /&gt;
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Kazuo Ishguro is a noble contemporary Japanese English writer, whose novels feature first person narrative, detailed depiction of loneliness, depression, self-deception and anxiety of characters' inner world and dual narrative strategy to deconstruct the narrator's self-identity, as well as discuss postwar trauma and migrant identity. He won Booker Prize, the British top literary prize, in 1989 and the Nobel Prize in literature in 2017. By virtue of his outstanding literary achievements, he is known as one of the Three Masters of English Migrant Literature together with Salman Rushdi and Naipaul(Liu Xiaoya 2015,5).&lt;br /&gt;
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''A Pale View of Hills'', published in 1982, is Ishiguro's debut. The story, with postwar Nagasaki as its background, enjoys two clues: one is what happened when Niki (Etsuko's little daughter) visited her mother after her sister Keiko died; the other is Etsuko's memory about people and events in Nagasaki after the war. The two lines integrated together during the narrative, forming the illusory and imaginary impression(Liu Xiaoya 2015,5). &lt;br /&gt;
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Many in-depth topics in this work are worth pondering: postwar trauma recovery, the collision between new and old ideas after war and discussion of family relations. Many marks in the work became his own styles: first-person narrative, memory, humor and satire, international perspectives. In addition, it won the Winifred Holtby Memorial Prize from the Royal Society and is still in print thirty years after its publication. This book, with its enormous emotion, unearths the abyss beneath the illusion of our connection to the world, whose artistic value and charm could be time-tested(Liu Xiaoya 2015,8).&lt;br /&gt;
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'''1.2 Research Status of ''A Pale View of Hills'''''&lt;br /&gt;
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There are 54 papers about A Pale View of Hills in domestic researches. According to the statistics from How Net, the number of studies on the work has been mounting, especially after Kazuo Ishiguro won the Nobel Prize for Literature in 2017. The perspectives of these researches are mainly from identity anxiety, unreliable narrative and post-war trauma. &lt;br /&gt;
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In &amp;quot;Identity Anxiety in Kazuo Ishiguro's A Pale View of Hills&amp;quot;, Wang Fei discusses the identity anxiety of migrants, exploring manifestations, causes and influence of such anxiety on the characters( Wang Fei 2017,152). In &amp;quot;Memory and Narrative Unreliability of ''A Pale View of Hills''&amp;quot;, He Xiaobing combined with the classical narratology to analyze how unreliable narration method is presented in the work and discussed the inner world of the characters(He Xiaobing 2018,3). In &amp;quot;Trauma in Kazuo Ishiguro's A Pale View of Hills&amp;quot;, Liu Xiaoya explores the protagonist's trauma by using Sigmund Freud’s psychoanalysis theory and trauma theory (including post-freudian psychological trauma theory), contemporary trauma culture theory along with rhetorical narrative theory(Liu Xiaoya 2015,3).&lt;br /&gt;
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At abroad there are more perspectives about the studies of A Pale View of Hills. In addition to the main research directions of domestic scholars, such as identity anxiety of characters, unreliable narrative research and post-war trauma, cultural displacement, family relationship and the influence of region on personality presented in the works are also analyzed. &lt;br /&gt;
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''The Impact of Place on Personality in Kazuo Ishiguro's A Pale View of Hills: An Eco-critical Study'' written by Awla, Y.N, from the perspective of ecocriticism, clarifies the fact that a place is able to define and guide the emotions and thoughts of characters, and analyzes the reasons why geography forms characters of people in order to draw people’s attention to the impact of surrounding environment on them. Ruth Forsythe's article ''Cultural Displacement and the Mother-daughter Relationship in Kazuo Ishiguro's A Pale View of Hills'' focuses more on the relationship between mother and daughter under cultural displacement. However, no scholars have analyzed the language itself from the perspective of systemic functional linguistics.( Awla,Y.N 2019,1)&lt;br /&gt;
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The Chinese translation of A Pale View of Hills, Zhang Xiaoyi's version, was published by Shanghai Translation Publishing House in 2011, and the bilingual version in 2019. Up to now, there has no translation criticism or discussion about this translation. Since 2011 when it was translated, it came to draw the attention of scholars and readers. Translation is a direct factor that affects the integrity of author's thought, the reader's perception and the accuracy of the scholar’s study, thus it is indispensable to use the House’s Translation Quality Assessment model to analyze the Chinese translation of ''A Pale View of Hills''.&lt;br /&gt;
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===II Introduction of House's Translation Quality Assessment Model===&lt;br /&gt;
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Juliane House's model was described as the first translation quality assessment model with complete theories and practices by international translation criticism, which could provide an important reference for translation learners and scholars. By introducing the theoretical basis, parameter system and operation steps of House's model, this chapter will discuss the feasibility of House’s model in the evaluation of the Chinese translation of ''A Pale View of Hills'', in an effort to foster the application of House's model in the quality evaluation of full-length novels.(Zhou Fenfen 2018,784)&lt;br /&gt;
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'''2.1 Theoretical Basis of House's Model'''&lt;br /&gt;
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The assessment of translation quality draws upon different translation standards, which are then embodied by the recognition about essence of translation. House deemed that crunch of the translation quality assessment lies in recognition of the nature of translation, namely that &amp;quot;translation is the replacement of a text in the source language by a semantically and pragmatically equivalent text in the target language.&amp;quot;(House 1977, 30)&lt;br /&gt;
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In House's initial model in 1977, she drew upon language behavior theory, language and text function and context to divide the source language text into two situational dimensions: dimension of language user and dimension of language use. The former includes three aspects: geographical origin, social class and time. The latter includes five aspects: medium, participation, social role relationship, social attitude and province(House 1977, 30). &lt;br /&gt;
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Based on myriad practice, House realized that the initial eight dimensions overlap in some parts. Therefore, in 1997, she revised the original model from the perspective of the context, unifying the previous eight parameters to field, tenor and mode. Field compares subject matter and social action of the original with that of translation. Tenor emphasizes the matching degree on the relationship of participants, time, region, position of author, social role relationship and social attitudes. Mode pays more attention to medium and participation. In addition, House incorporated &amp;quot;genre&amp;quot; into revision model in order to explain the deep structure of the text.(House 1977, 30)&lt;br /&gt;
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'''2.2 Operation Steps of House's Model'''&lt;br /&gt;
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When evaluating the translation quality of the text, House's model focuses on comparison between original text and translation from field, tenor, mode and genre, clarifies and summarizes mismatches found in the text, so as to obtain a quality report of the translation. The detailed steps presented as follows: (House 1997, 108)&lt;br /&gt;
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1) Analyze the register and genre of the original text to get its textual functional profile. The original text is analyzed from four dimensions: field, tenor, mode and genre. According to the analysis, “functional statement”, involving ideational and interpersonal functions, needs to be deduced.(House 1997, 108)&lt;br /&gt;
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2)Compare the target text and the source text to find differences or mismatches. Through the comparative analysis between original and translation along the dimensions on the model, mismatches or differences found in the comparison are sorted out by virtue of overt errors or covert errors and expounded in detail one by one.(House 1997, 108)&lt;br /&gt;
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3)Summarize the differences and mismatches demonstrated from the above steps in lexical, syntactic and textual aspects. Based on above statistics and statement, make the quality statement. The fewer the mismatches are, the better the translation quality is. If readers clearly realize the text a translation work, it is overt translation; while if not, it is covert translation.(House 1997, 108)&lt;br /&gt;
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'''2.3 Feasibility of the Model in Chinese Translation of ''A Pale View of Hills'''''&lt;br /&gt;
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At present, there are 78 relevant studies on House’s Translation Assessment model, which are mainly divided into three directions: interpretation of House Translation Assessment model and its revision, evaluating translation of literary works along the model and evaluating translation of applied text along the model. Among them, evaluation of the translation of literary works accounts for 29, which enjoys the following two characteristics:&lt;br /&gt;
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1)There are merely a few researches applying House model to Chinese translation of literary works. Among the 29 journals and papers evaluating translation of literary works, there are 25 studies that attach great importance to the English translation and 4 to Chinese translation, which signifies that we need more researches of Chinese translation to support the validity of the model on different languages. Therefore, the paper, with the Chinese translation of A Pale View of Hills as its corpus, intends to examine the feasibility of the application of House's model to Chinese translation.&lt;br /&gt;
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2)There are merely a few researches applying House model to the translation of full-length novels. Among the 29 journals and papers on evaluating translation of literary works, most of which focus on the evaluation of poems and prose, merely 5 studies are analysis of translation of full-length novels. English translation accounts for 3 and Chinese translation for 2, which demonstrates that we need more researches with full-length novels as corpus to support the validity of the model in different genres. Therefore, the paper, with the full-length novel A Pale View of Hills as its corpus, intends to examine the feasibility of the application of House’s model to full-length novels.&lt;br /&gt;
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In conclusion, given that the researches based on Chinese translation of full-length novels are insufficient, the paper will use the Chinese translation of A Pale View of Hills as its corpus to validate the feasibility of House's TQA model.&lt;br /&gt;
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===III Comparison of Original and Translation of ''A Pale View of Hills'' Along House's Translation Quality Assessment Model===&lt;br /&gt;
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''A Pale View of Hills'' is the debut of Kazuo Ishiguro, whose Chinese translation was published by Shanghai Translation Publishing House in 2011. House's Translation Quality Assessment model is the first objective model combining quantative analysis with qualitive analysis. The paper applies House's Translation Quality Assessment model to Chinese translation of ''A Pale View of Hill'', comparing the source text and target text in lexical, syntactic and textual aspects along the three dimensions of register and summarizing the mismatches on field, tenor and mode, in an effort to quantitatively assess the translation quality of ''A Pale View of Hills''.&lt;br /&gt;
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'''3.1 Comparison on Field'''&lt;br /&gt;
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Field refers to the content or the topic of the text. It is concerned with subject matter and social action which covers the specificity of lexical items. After comparison between the source text and target text on field, there are 18 mismatches, 12 of which are overt errors and 6 covert errors. Among them, there are 9 lexical errors, 1 textual error and 8 syntactic errors. The lexical and textual errors are mainly covert errors, so in general their translation is of high quality. Although most of syntactic errors are not in line with the grammar of target language system, they won’t influence the understanding of the text. Therefore, by and large, translation on field are high-quality.(Feng Yufang &amp;amp; Wang Feifei 2015,114)&lt;br /&gt;
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'''3.1.1 Lexical Field'''&lt;br /&gt;
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Lexical field means the immediate or possible scenes or events evoked in people's mind when they read or hear the words or lexical items. After the analysis of the original and target text, there are 9 mismatches, 4 of which are overt errors and 5 are covert ones. Most of them won't block readers to master the overall meanings. Therefore, the translation quality on lexical items are relatively high.(Feng Yufang &amp;amp; Wang Feifei 2015,115) &lt;br /&gt;
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Example 1：&lt;br /&gt;
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...and the soaked surfaces of brick and concrete were drying all around us.&lt;br /&gt;
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湿透了的砖头和水泥开始变干。(P8)&lt;br /&gt;
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Concrete refers to building material that is made by mixing together cement, sand, small stones and water according to Oxford Dictionary, which includes cement rather than equates it. So, it is not very accurate to translate in this way even if the two words are similar. It is obviously an overt error. &lt;br /&gt;
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Example 2：&lt;br /&gt;
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As far as I remember, that was the first occasion I spoke to Mariko.&lt;br /&gt;
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我印象那是我第一次跟万里子说话。(P11)&lt;br /&gt;
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In the translation, “印象” as a noun refers to a mental picture that you have of what somebody/something is like or looks like. In the light of the rules or grammar of Chinese, it is hardly used as a verb. Thus, it is an overt error. &lt;br /&gt;
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Example 3：&lt;br /&gt;
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It's such a shame.&lt;br /&gt;
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真不像话。(P16)&lt;br /&gt;
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A shame is used to say that somthing is a cause for feeling sad or disappointed. In the original, the sentence is to express Etsuko’s pity to the homeless dogs and cats around her community rather than her distaste or complaint. Here it is translated into its other meaning when ignoring the context, belonging to a covert error. &lt;br /&gt;
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Example 4：&lt;br /&gt;
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Why don't you go into the kitchen for a little while?&lt;br /&gt;
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你为什么不到厨房去一会儿呢？(P26)&lt;br /&gt;
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In the translation, “去” is not very appropriate on the basis of grammar of Chinese, since it is such an action verb that does not match with state phrases. In the course of translation, some prepositions in English need to be transferred into verb in Chinese, which are supposed to pay attention to the rules of target language. Here it is obviously an overt error.&lt;br /&gt;
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Example 5：&lt;br /&gt;
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It's not appreciated simply because the product disappears so quickly.&lt;br /&gt;
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不能因为它的产品很快就消失了而不懂得欣赏。(P34)&lt;br /&gt;
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According to the context, Ogata-San believes that cooking is “as noble as painting or poetry”. So here the product refers to food cooked. Given the concrete expression in Chinese, the product is supposed to be translated more concretely in accordance with the context. It is a covert error.&lt;br /&gt;
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Example 6：&lt;br /&gt;
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Perhaps it is just my fancy that I felt a cold touch of unease there on that bank, a feeling not unlike premonition. &lt;br /&gt;
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这也许只是我的想象，但是那时我在河边觉得凉飕飕的，很不自在，像是感觉有事要发生。(P44)&lt;br /&gt;
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“Unease” refers to the feeling of being worried or unhappy about something. Given the above-mentioned, Etsuko worried about the safety of Mariko when she was not at home. It differs from its translation that means the feeling of being ill at ease. It is an overt error. &lt;br /&gt;
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Example 7：&lt;br /&gt;
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You mustn't suppose, Etsuko, simply because you've seen her in these…in these present surroundings, that she's some peasant's child.&lt;br /&gt;
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悦子，你不能因为……因为眼前的事物就认为她是什么贫农的孩子。(P51)&lt;br /&gt;
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Sachiko is not rich according to the context, so “peasant” intimates the meaning of poverty. Its translation explicitly represents it, which is accessible and intelligible. However, “贫农” enjoys extra cultural meaning in China, which could date back to the Cultural Revolution when lands was apportioned based on people’s wealth, so it might mislead readers to its political implication. It is a covert error.&lt;br /&gt;
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Example 8：&lt;br /&gt;
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“I must have been such a burden to you in those days,” I said, quietly.&lt;br /&gt;
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“我那时肯定成了您的负担，”我静静地说。(P68)&lt;br /&gt;
&lt;br /&gt;
Here “quiet” refers to making very little noise, which coincides with the act of saying. According to the context, Etsuko lowered her noise out of guilt when she realized she bothered her family when she practiced violin before. However, its translation means the statement without any noise, which obviously contravenes the context, belonging to covert translation.&lt;br /&gt;
&lt;br /&gt;
Example 9：&lt;br /&gt;
&lt;br /&gt;
I could see something moving beside her in the shade.&lt;br /&gt;
&lt;br /&gt;
我看见她身旁的影子里有什么东西在动。(P14)&lt;br /&gt;
&lt;br /&gt;
“Shade” means an area that is dark and cool under or behind something, for example a tree or building, because the sun’s light does not get to it, rather than the shadow which the translator believed. As previously mentioned in the text, “Mariko was lying in the corner furthest from the sunlight”, which also signifies that it is impossible to exist dark shape under the light around Mariko. Thus, the translation of “shade” is not on a par with the context, belonging to a covert error.&lt;br /&gt;
&lt;br /&gt;
'''3.1.2 Syntactic Field'''&lt;br /&gt;
&lt;br /&gt;
Syntactic field means the immediate image appeared in people's mind when they read the sentences. The mismatches in syntactic field are usually for the violation of rules of target language or misinterpreting the source text. On syntactic field, there are 8 mismatches, seven of which are overt errors and one is covert. Among the overt errors, seven sentences are not in line with the rules of target language, which won't influence the ideational meaning. Therefore, the translation quality on syntactic field is high.(Feng Yufang &amp;amp; Wang Feifei 2015,116)&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
Example 1：&lt;br /&gt;
&lt;br /&gt;
It did upset me, hearing about her.&lt;br /&gt;
&lt;br /&gt;
我真的很难过，听到她的死讯。(P4)&lt;br /&gt;
&lt;br /&gt;
Example 2：&lt;br /&gt;
&lt;br /&gt;
But I was sad though, when I heard.&lt;br /&gt;
&lt;br /&gt;
可是我真的很难过，听到她的消息。(P4)&lt;br /&gt;
&lt;br /&gt;
Example 3：&lt;br /&gt;
&lt;br /&gt;
It's certainly an amusing sort of experience, working in a noodle shop.&lt;br /&gt;
&lt;br /&gt;
这真是很有趣的经历，在面包店里工作。(P26)&lt;br /&gt;
&lt;br /&gt;
In English, the important or unknown information appeared firstly, and the second one follows. However, in Chinese, the second important presents at first, paving the foundation for the more pivotal or unknown one. In above three examples, their translation doesn't adjust the sequence in line with target language rules. These are overt errors.&lt;br /&gt;
&lt;br /&gt;
Example 4：&lt;br /&gt;
&lt;br /&gt;
…certain arrangements I made have not gone as planned.&lt;br /&gt;
&lt;br /&gt;
一些事情没有照我计划的那样。(P17)&lt;br /&gt;
&lt;br /&gt;
The translation is not complete as the predicate verb “have gone” is not translated, which does not conform with the grammar of Chinese. It is an overt error.&lt;br /&gt;
&lt;br /&gt;
Example 5：&lt;br /&gt;
&lt;br /&gt;
She appeared to know them, for as she walked across the forecourt, she gave them a familiar greeting.&lt;br /&gt;
&lt;br /&gt;
看来她认识她们，边走过水泥地，边熟识地跟她们打招呼。(P26)&lt;br /&gt;
&lt;br /&gt;
The original is a compound-complex sentence with &amp;quot;for&amp;quot; for causal relation and &amp;quot;as&amp;quot; for coordinate relation. In the translation, the former is represented but the later isn't, neither by conjunction words nor by clause sequence. It causes that the translation lacks of logic, belonging to an overt error.&lt;br /&gt;
&lt;br /&gt;
Example 6：&lt;br /&gt;
&lt;br /&gt;
It's an opportunity for a teacher to see the fruits of his work, and for the pupils to express their gratitude to him.&lt;br /&gt;
&lt;br /&gt;
这是一个机会让老师看看他的劳动成果，让学生们向他表示感谢。(P30)&lt;br /&gt;
&lt;br /&gt;
The translation adheres to the sequence of the original but ignores the fluency of the sentence. In English, attributives are at both ahead of and behind the objects; while in Chinese, they mostly are preceded. Therefore, the translation violates the grammar of the target language, belonging to an overt error.&lt;br /&gt;
&lt;br /&gt;
Example 7：&lt;br /&gt;
&lt;br /&gt;
There's nothing like a timely reminder of one's personal obligations.&lt;br /&gt;
&lt;br /&gt;
及时地提醒个人的责任之类的东西也没有。(P71)&lt;br /&gt;
&lt;br /&gt;
&amp;quot;There's nothing like&amp;quot; is a common sentence pattern in spoken English, meaning nothing else is able to match. The original would have expressed that &amp;quot;a timely reminder of one's personal obligations&amp;quot; is the most important. The translator misunderstood the meaning utterly, making an overt error.  &lt;br /&gt;
&lt;br /&gt;
Example 8：&lt;br /&gt;
&lt;br /&gt;
It amazes me, how things have changed so much so quickly.&lt;br /&gt;
&lt;br /&gt;
太让我吃惊了，世道变得如此之大，如此之快。(P195)&lt;br /&gt;
&lt;br /&gt;
The translation, by and large, is in accordance with the original. Yet there is possibility for readers to be confused about the accuracy of words collocation. Although &amp;quot;so much&amp;quot; and &amp;quot;so quickly&amp;quot; modify the verb &amp;quot;change&amp;quot;, we have to respectively choose the proper words to collocate. It is a covert error. &lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
'''3.1.3 Textual Field'''&lt;br /&gt;
&lt;br /&gt;
On textual field, there is only one error---overt error. It is caused by misconstruing what the pronoun refers to. By and large, the translation, through the comprehensive analysis on textual field, is high-quality. (Feng Yufang &amp;amp; Wang Feifei 2015,117)&lt;br /&gt;
&lt;br /&gt;
Example 1：&lt;br /&gt;
&lt;br /&gt;
That's just not how it was though.&lt;br /&gt;
&lt;br /&gt;
但是我和她根本不是这样。(P4)&lt;br /&gt;
&lt;br /&gt;
According to “Sisters are supposed to be people you're close to, aren't they. You may not like them much, but you're still close to them”, it refers to the whole view instead of certain relationship between me and my sister. The referential meaning does not accord with that of the original. It is an overt error.&lt;br /&gt;
&lt;br /&gt;
'''3.2 Comparison on Tenor'''&lt;br /&gt;
&lt;br /&gt;
Tenor refers to the nature of the participants, the addresser and the addressee, and the relationship between them in terms of social power and social distance. After comparing the original and the translation of A Pale View of Hills, there are 8 mismatches on social attitude and social role relationship, one of which is an overt error and the rest are covert. In general, the translation is highly in accordance with the original so the quality is high on tenor. (Feng Yufang &amp;amp; Wang Feifei 2015,118)&lt;br /&gt;
&lt;br /&gt;
'''3.2.1 Social Attitude'''&lt;br /&gt;
&lt;br /&gt;
Social attitude refers to the social distance between communicators and the degree of formality of discourse. The misunderstanding of social attitude in the translation process will affect the readers' understanding of the characters in the novel. Therefore, mistakes in representing social attitude of characters should be minimized and even avoided in the translation process. There are 4 mismatches on social attitude in the translation: one is an overt error and the rest are covert errors. By and large, the translation on displaying the social attitude of the original is great.(House 1997, 108)&lt;br /&gt;
&lt;br /&gt;
Example 1：&lt;br /&gt;
&lt;br /&gt;
The English are fond of their idea that our race has an instinct for suicide.&lt;br /&gt;
&lt;br /&gt;
英国人有个奇特的想法，觉得我们这个民族天生爱自杀。(P4)&lt;br /&gt;
&lt;br /&gt;
In the original text, the attitude of the character is relatively objective. However, in the translation, the attitude is represented overly by using an adjective, which might be translator's understanding on author's attitude. It limits different interpretation to the author's attitude from readers. It is an overt error. &lt;br /&gt;
&lt;br /&gt;
Example 2:&lt;br /&gt;
&lt;br /&gt;
“Which are you hoping for, Etsuko?” he asked, eventually. “A boy or a girl?”&lt;br /&gt;
&lt;br /&gt;
“你想是男孩还是女孩呢，悦子？”过了一会儿他问道。(P35)&lt;br /&gt;
&lt;br /&gt;
Ogata-San would like to know Etsuko's mind about the upcoming baby, but he is not sure if it is proper. At last, curiosity overpowers his hesitation. In the original text &amp;quot;eventually&amp;quot; signifies both time and emotion span. But the translation only manifests the time span. It is a covert error.&lt;br /&gt;
&lt;br /&gt;
Example 3:&lt;br /&gt;
&lt;br /&gt;
“Tell me, Etsuko,” he said, not looking up from his laces. “Have you met this Shigeo Matsuda?”&lt;br /&gt;
&lt;br /&gt;
“告诉我，悦子，”他头也不抬地说。“你见过这个松田重夫吗？”(P36-P37)&lt;br /&gt;
&lt;br /&gt;
Ogata-San, as Etsuko’s father-in-law and adopter after the war, gets along well with her. In the original text, Ogata-San is “not looking up” when speaking to Etsuko since he is lying his laces. The translation ignores the reason, which renders Ogata-San a cold man. It is a covert error.&lt;br /&gt;
&lt;br /&gt;
Example 4:&lt;br /&gt;
&lt;br /&gt;
I'm sure she'd be the first to agree with me about Kazuo mourning her like this.&lt;br /&gt;
&lt;br /&gt;
我肯定她会第一个同意我的观点，和夫不应该再这样想着他了。(P94)&lt;br /&gt;
&lt;br /&gt;
From the original, we can feel the love of Mrs. Fujiwara to her son. However, after reading its translation, we can feel nothing but her dominance. It signifies that the translation deviates from the original context. It is a covert error.&lt;br /&gt;
&lt;br /&gt;
'''3.2.2 Social Role Relationship'''&lt;br /&gt;
&lt;br /&gt;
Social role relationship refers to the social relation between the speaker and the receiver, that is, symmetry and asymmetry. The analysis on the social roles relationship in novels is generally from two aspects: relationship between the author and readers, and relationship between the various characters in the work. The former is remained utterly, while the latter is slightly different from that in the original. A total of 4 mismatches are found in the comparison, all of which are covert errors. In the full-text translation, the overall relationship between the characters is the same as that of the original text, and only a few mismatches are found. Therefore, on social role relationship, translation is of high quality.(Feng Yufang &amp;amp; Wang Feifei 2015,117)&lt;br /&gt;
&lt;br /&gt;
Example 1：&lt;br /&gt;
&lt;br /&gt;
She said it would be perfectly all right if you came and waited for her at my house.&lt;br /&gt;
&lt;br /&gt;
她说你可以到我家来等她。(P13)&lt;br /&gt;
&lt;br /&gt;
The translation omits &amp;quot;be perfectly all right if&amp;quot;, which takes the edge off the amiability from Etsuko to Mariko. Given the whole plot of the novel, Mariko is a phantom of Etsuko's old daughter Keiko. The obscure feelings between Mariko and Etsuko are very important to implicate their special emotion. Therefore, the translation ignores to take a consideration of the context. It is a covert error.&lt;br /&gt;
&lt;br /&gt;
Example 2：&lt;br /&gt;
&lt;br /&gt;
As I say, this order came into the office the day you arrived. A real nuisance.&lt;br /&gt;
&lt;br /&gt;
我说过了，订单刚好在您来的那天来了。真是讨厌。(P29)&lt;br /&gt;
&lt;br /&gt;
On the basis of the context, Jiro (Etsuko's husband) is explaining to his father Ogata-San that he is so busy that he could not accompany him. He feels apologetic about that. However, the tone of speaking in translation is impatient and a bit furious, which runs against that of the original. So, it is a covert error. &lt;br /&gt;
&lt;br /&gt;
Example 3：&lt;br /&gt;
&lt;br /&gt;
I should warn you, perhaps. My daughter has been in a somewhat difficult mood these past few days.&lt;br /&gt;
&lt;br /&gt;
也许我应该警告你。我女儿这几天情绪很不好。(P90)&lt;br /&gt;
&lt;br /&gt;
Warn enjoys two major meanings: to tell somebody about something, especially something dangerous or unpleasant that is likely to happen, so that they can avoid it; to strongly advise somebody to do or not to do something in order to avoid danger or punishment. In the original, Sachiko entrusts Etsuko to look after her daughter so the former one is appropriate. However, in the translation the later one is adopted, which is absolutely improper. It is a covert error. &lt;br /&gt;
&lt;br /&gt;
Example 4：&lt;br /&gt;
&lt;br /&gt;
Now listen carefully, or else you'll never find the noodle shop.&lt;br /&gt;
&lt;br /&gt;
现在您听好了，不然您永远也别想找到面馆。(P183)&lt;br /&gt;
&lt;br /&gt;
The sentence is said when Etsuko intends to tell Ogata-San the route to the restaurant of Mrs Fujiwara. On the basis of the context, Etsuko is very reverent to Ogata-San. However, the manner of translation is tough, which is not of a piece with the original. It doesn't take account of the context, so it is a covert error.&lt;br /&gt;
&lt;br /&gt;
'''3.3 Comparison on Mode'''&lt;br /&gt;
&lt;br /&gt;
Mode can be divided into medium and participation. In the course of analyzing both the original and the translation, a total of 6 mismatches are found on the two dimensions and all of them are covert errors, which manifests the translation are generally of a piece with the original. The translation on mode is of high quality.(Zhou Fenfen 2018,784)&lt;br /&gt;
&lt;br /&gt;
'''3.3.1 Language Medium'''&lt;br /&gt;
&lt;br /&gt;
Language medium mainly refers to whether the form of language is spoken or written, simple or complex. The contrast between the model of the source text and the target text is mainly reflected in the linguistic features and diction features of text rather than language types used. The language of A Pale View of Hills is simple, delicate and easy to understand, with short sentence, plenty of dialogues between characters and a high degree of colloquialism. The overall style of the translation is similar with that of the original, with only 4 stylistic covert mismatches. Therefore, on language medium, the translation quality is great.(House 1997, 108)&lt;br /&gt;
&lt;br /&gt;
Example 1：&lt;br /&gt;
&lt;br /&gt;
…on one side of the tracks at the foot of the hill could be seen a cluster of roofs.&lt;br /&gt;
&lt;br /&gt;
山脚下铁路的一侧是鳞次栉比的屋顶。(P8)&lt;br /&gt;
&lt;br /&gt;
Cluster means a group of things of the same type that grow or appear close together, whose translation accords with it in the ideational meaning. Nonetheless, “鳞次栉比” in Chinese is a four-character phrase that usually appears in formal written text. It is more complex than the style of the text. It is a covert error.&lt;br /&gt;
&lt;br /&gt;
Example 2：&lt;br /&gt;
&lt;br /&gt;
We're just rabble, like your husband says.Please don’t make a fuss, please sit down.&lt;br /&gt;
&lt;br /&gt;
正如您丈夫说的，我们只是两个混蛋。不用麻烦了，请坐下。(P74)&lt;br /&gt;
&lt;br /&gt;
The situation happens when Jiro's colleagues come round. From the conversation between Jiro and his colleagues, it is found that they are very familiar and intimate. So, words such as &amp;quot;rabble&amp;quot; and &amp;quot;like&amp;quot; are of high colloquialism. Nevertheless, in the translation &amp;quot;正如&amp;quot; is a formal expression, which is not in line with the original. Thus, it is a covert error.&lt;br /&gt;
&lt;br /&gt;
Example 3：&lt;br /&gt;
&lt;br /&gt;
Blankets and laundry hung from many of the balconies.&lt;br /&gt;
&lt;br /&gt;
很多阳台上挂着毯子啦、洗的衣服啦。(P181)&lt;br /&gt;
&lt;br /&gt;
Example 4：&lt;br /&gt;
&lt;br /&gt;
Young women these days are all so headstrong. And forever talking about washing-machines and American dresses.&lt;br /&gt;
&lt;br /&gt;
现在女孩子任性得很。而且整天在讲什么洗衣机啦、洋裙啦。(P195)&lt;br /&gt;
&lt;br /&gt;
The two sentences are the description of the street which Etsuko and Ogata-San pass by when they intend to visit Shigeo. Etsuko is a calm and composed Japanese woman, whose language style is the same. Modal particles used in translation render the language abrupt and frisky. So, it is a covert error.&lt;br /&gt;
&lt;br /&gt;
'''3.3.2 Participation'''&lt;br /&gt;
&lt;br /&gt;
Participation refers to whether the speech is a simple monologue or a complex form that prompts the listeners or readers to participate indirectly, for example, by the transition between statements and questions and the special use of pronouns. The whole plot of ''A Pale View of Hills'' is a soliloquy narrated in the first person, interleaved with dialogues between different characters. Readers hardly could participate indirectly in it. The translation is basically in the same style as the original, except for the two following examples. The two declarative sentences are translated into a rhetorical question, which does not require readers to answer as well. Therefore, the translation is of high quality in terms of participation.(House 1997, 108)&lt;br /&gt;
&lt;br /&gt;
Example 1：&lt;br /&gt;
&lt;br /&gt;
That’s no way to bring a child into the world, visiting the cemetery every week.&lt;br /&gt;
&lt;br /&gt;
这样怎么能把孩子带到这个世上呢？(P24)&lt;br /&gt;
&lt;br /&gt;
Example 2：&lt;br /&gt;
&lt;br /&gt;
It seems very disloyal.&lt;br /&gt;
&lt;br /&gt;
这不是忘恩负义吗？(P32)&lt;br /&gt;
&lt;br /&gt;
In conclusion, the quality statement of the Chinese Translation of A Pale View of Hills focuses on whether it is an overt transaltion or a covert translation and its matching degree. &lt;br /&gt;
&lt;br /&gt;
On the one hand, it is an overt translation. Accoring to above analysis, the translation is closely related to the culture of the sourse language text. From the translation, expressions with Japanese culture can be found clearly. On the other hand, it is of high quality. There are 32 mismatches in total, 18 mismatches on field, 8 on tenor and 6 on mode. Among them, there are 13 overt errors and 19 covert errors. Covert errors caused by ignoring the context and overt errors caused by violating the rules of target language inflict only a little ambiguity on ideational function, interpersonal function and the quality of the text.&lt;br /&gt;
&lt;br /&gt;
===IV Quality Statement of Chinese Translation of ''A Pale View of Hills''===&lt;br /&gt;
&lt;br /&gt;
The quality statement of the Chinese Translation of A Pale View of Hills focuses on its cultural participation degree and its matching degree. Based on the two aspects, this chapter will make a quality statement of the Chinese Translation of A Pale View of Hills.(House 1997, 108)&lt;br /&gt;
&lt;br /&gt;
'''4.1 Overt Translation'''&lt;br /&gt;
&lt;br /&gt;
Overt translation refers to the obvious translation rather than the second original. The translation is obviously not aimed at the readers with target language, because the original text, literary works, political speeches and religious sermons, is closely related to the culture it is rooted in. But covert translation can be used as the second text, that is, independent writing. &lt;br /&gt;
&lt;br /&gt;
House deems that texts requiring overt translation have no special connection with their culture, and they are not unique to their culture, such as academic papers and travel brochures. She also believes that in overt translation, equivalence can only be established at the level of language/text, register and genre, but it is difficult to achieve equivalence in function. In contrast, the purpose of covert translation is to achieve functional equivalence, and there will be some deficiencies in language, register.(House 1997,108)&lt;br /&gt;
&lt;br /&gt;
In the contrast reading between the original and the translation, the obvious traces of the original can be found, for example, “你想她们还在打吗？” and “呃，我想小孩子是会打架的。但是我想我应该告诉你一声。还有你看，我想你女儿不是要去上学。”. In English, words representing speculation, such as “suppose” and “think”, are used frequently, while in Chinese they are not. Thus, the target text which remains these words possesses obvious sighs of translation. Furthermore, other signs in the translation, such as “欠了欠身”，show the culture of Japan when greeting. In conclusion, the target text of A Pale View of Hills is overt translation.&lt;br /&gt;
&lt;br /&gt;
'''4.2 High-quality Translation'''&lt;br /&gt;
&lt;br /&gt;
This study applies House's TQA model to assess the Chinese translation of A Pale View of Hills on lexical, syntactic and textual aspects. On basis of analysis between the original and the translation, there are 18 mismatches on field, 8 on tenor and 6 on mode. Among them, there are 13 overt errors and 19 covert errors. Covert errors caused by ignoring the context and overt errors caused by violating the rules of target language inflict only a little ambiguity on ideational function, interpersonal function and the quality of the text.&lt;br /&gt;
&lt;br /&gt;
Chinese translation of ''A Pale View of Hills'', by and large, consisting with the original, is of high quality. On the field, the translation, which transmits the subject matter and social action which covers the specificity of linguistic items, is in accordance with the original on lexical, syntactic and textual dimension in general; on the tenor, the representation of social attitude and social role relationship of the Chinese text is consistent with the English text; on the mode, the language of the translation is as simple and delicate as that of the original and the participation is of low level as well. Therefore, Zhang Xiaoyi's Chinese translation of ''A Pale View of Hills'' is of high quality.&lt;br /&gt;
&lt;br /&gt;
===Conclusion===&lt;br /&gt;
&lt;br /&gt;
''A Pale View of Hills'', as the debut of Kazuo Ishiguro, involves many in-depth subjects, which initiates the development of author's peculiar writing style. House's model is the first scientific and objective translation quality assessment mode with the integration of both theory and practice. This study applies House's TQA model to assess the Chinese translation of ''A Pale View of Hills'' on lexical, syntactic and textual aspects. &lt;br /&gt;
&lt;br /&gt;
On basis of analysis between the original and the translation, there are 18 mismatches on field, 8 on tenor and 6 on mode. By and large, the Chinese translation of ''A Pale View of Hills'' is overt translation. Although a few mismatches can be found in the translation, they cause a little affect to the functions of the text and the presentation of the plot, role characters and role relationship of the whole novel. In conclusion, the translation is in line with the original on register and is of high quality.&lt;br /&gt;
&lt;br /&gt;
Different from the traditional evaluation methods, House's model, based on micro and macro criteria, both quantitative analysis and qualitative analysis, is the first scientific and objective translation quality assessment model with a complete theory and empirical evidence. It can be used as an auxiliary tool to find problems in translation so as to make modifications, which to some extent promotes the development of translation activities.(House 1997, 180)&lt;br /&gt;
&lt;br /&gt;
However, in the actual operation process, although the translation quality assessment can be carried out according to parameters, the comparison results still rely on subjective judgment, which cannot utterly guarantee the scientificity of the final evaluation results. In addition, due to the large number of parameters, it takes a lot of time to compare the differences in vocabulary, sentence structure and discourse between the original text and the translation in the evaluation of full-length novel, so the evaluation is not very efficient. Although there are still some shortcomings in the House's model, it is still worth applying in the practice of translation criticism as a relatively complete and objective theoretical model.(House 1997, 182)&lt;br /&gt;
&lt;br /&gt;
===References===&lt;br /&gt;
&lt;br /&gt;
*Awla, Y. N. (2019). The The Impact of Place on Personality in Kazuo Ishiguro's ''A Pale View of Hills'': An Eco-critical Study. ''Journal of University of Raparin''. 1-18.&lt;br /&gt;
&lt;br /&gt;
*House, J. (1977) ''A Model for Translation Quality Assessment''. Germany: Gunter Narr Verlag Tubingen.&lt;br /&gt;
&lt;br /&gt;
*House, J. (1997) ''Translation Quality Assessment: A Model Revised''. German: Gunter Narr Verlag Tubingen. &lt;br /&gt;
&lt;br /&gt;
*Newmark, P. (2001) ''A Textbook of Translation''. Shanghai: Shanghai Foreign Language Education Press.&lt;br /&gt;
&lt;br /&gt;
*Reiss, L. (2000) ''Translation Criticism, the potentials &amp;amp; Limitations''. Manchester: St. Jerome Publishing.&lt;br /&gt;
&lt;br /&gt;
*Forsythe, R. (2005)  Cultural Displacement and the Mother-Daughter Relationship in Kazuo Ishiguro's ''A Pale View of Hills''. ''West Virginia University Philological Papers''.&lt;br /&gt;
&lt;br /&gt;
*Jeremy M. (2001) ''Introduction Translation Studies: Theory and Applications''. London and New York: Routledge.&lt;br /&gt;
&lt;br /&gt;
*Feng Yufang &amp;amp; Wang Feifei丰玉芳, 王菲菲. (2015) 从豪斯的翻译质量评估模式看宋词翻译——以宋词《声声慢》和许渊冲英译本为例[Translation of Ci-poetry Based on J.House's TQA Model——A case study of ''Sheng Sheng Man'' and its English translation by Xu Yuanchong]. 扬州大学学报(人文社会科学版)[Journal of Yangzhou University(Humanities and Social Sciences Edition)]. 114-121.&lt;br /&gt;
&lt;br /&gt;
*He Xiaobing 贺晓冰. (2018) 论《远山淡影》的不可靠叙述与记忆[Memory and Narrative Unreliability in ''A Pale View of Hills'']. 西安外国语大学[Xi'an International Studies University].&lt;br /&gt;
&lt;br /&gt;
*Jiang Ruiping 姜睿萍. (2007) 豪斯翻译质量评估模式在英汉互译中的可行性分析[An Analysis on the Feasibility of House s TQA Model in CE Translation]. 哈尔滨工程大学[Harbin Engineering University]. &lt;br /&gt;
&lt;br /&gt;
*Li Xiaolin &amp;amp; He Shaobin 李晓林, 何绍斌. (2010) 朱莉安·豪斯的“翻译质量评估模式”运作过程可行性浅评[The Feasibility of House's Model of Translation Quality Assessment]. 哈尔滨学院学报[Journal of Harbin University]. 127-1.&lt;br /&gt;
&lt;br /&gt;
*Liu Xiaoya 刘晓亚. (2015) 《远山淡影》中的创伤研究[Trauma in Kazuo Ishiguro's ''A Pale View of Hills'']. 四川师范大学[Journal of Sichuan Normal University(Social Sciences Edition)].&lt;br /&gt;
&lt;br /&gt;
*Si Xianzhu 司显柱. (2005) 朱莉安·豪斯的“翻译质量评估模式”批评[Juliane House's Translation Quality Assessment Model:A Critique]. 外语教学[Foreign Language Education]. 79-84.&lt;br /&gt;
&lt;br /&gt;
*Tang Jun &amp;amp; Wang Yan 唐军, 王燕. (2011) 豪斯翻译质量评估模式在汉译英翻译中的应用——以朱自清《背影》的英译为例[Application of House＇s Translation Quality Assessment Model in C-E Translation—A Case Study of ''The Sight of Father's Back'' by Zhu Ziqing]. 合肥工业大学学报(社会科学版)[Journal of Hefei University of Technology(Social Sciences)]. 129-135.&lt;br /&gt;
&lt;br /&gt;
*Wang Lichuan 王丽川. (2019) 《远山淡影》中的反讽解读[A Study of the Irony in ''A Pale View of Hills'']. 河南: 郑州大学[Henan: Journal of Zhengzhou University].&lt;br /&gt;
&lt;br /&gt;
*Wang Fei 王飞. (2017) 石黑一雄中的身份焦虑[Identity Anxiety in Kazuo Ishiguro's ''A Pale View of Hills'']. 中南大学学报(社会科学版)[Journal of Central South University(Social Science)]. 152-157.&lt;br /&gt;
&lt;br /&gt;
*Zhou Fenfen 周芬芬. (2013) 豪斯翻译质量评估模式的实践应用——以《荷塘月色》英译本为例[The Application of Translation Quality Assessment Model by Julian House——A Case Study on Chinese-English Translation of ''Moonlight over the Lotus Pond'']. 山西农业大学学报(社会科学版)[Journal of Shanxi Agricultural University:Social Science Edition]. 782-786.&lt;br /&gt;
&lt;br /&gt;
==On the Relationship among Literal Translation, Free Translation, Domestication and Foreignization--Wei Honglang 韦洪朗,国别区域研究，202020080647==&lt;br /&gt;
&lt;br /&gt;
===Abstract===&lt;br /&gt;
Abstract&lt;br /&gt;
This paper makes a systematic discussion on the relationship among literal translation, free translation, domestication and foreignization,which have been always controversial in translation history. Based on the theories and contents of free translation, literal translation, domestication and foreignization, this paper analyzes the similarities and differences between literal translation and free translation, foreignization and foreignization respectively. After cross-contrast analysis between them, it comprehensively sorts out the relationship between translation methods of literal translation and free translation and translation strategies of domestication and foreignization, and discusses their comprehensive application on the basis that domestication and foreignization are the extension of literal translation and free translation to cultural level, which has certain reference significance for further enriching translation practice.&lt;br /&gt;
&lt;br /&gt;
===Key words===&lt;br /&gt;
Key Words: Literal Translation; Free Translation; Domestication; Foreignization&lt;br /&gt;
&lt;br /&gt;
===摘要===&lt;br /&gt;
摘 要&lt;br /&gt;
本文就翻译史上备受争论的归化、异化和意译、直译的关系问题进行了系统的讨论。基于意译、直译和归化、异化的理论及其内容，分别分析直译和意译、异化和归化两对概念之间的异同，在他们之间进行交叉对比分析后，综合整理直译、意译的翻译方法和归化、异化翻译策略的关系，在继承归化和异化是直译和意译向文化层面的延伸的基础关系上，具体讨论他们之间的综合运用，为进一步丰富翻译实践具有一定的借鉴意义。&lt;br /&gt;
&lt;br /&gt;
===关键字===&lt;br /&gt;
关键词：意译；直译；归化；异化&lt;br /&gt;
&lt;br /&gt;
===I.Introduction ===&lt;br /&gt;
&lt;br /&gt;
In the history, argues between literal translation and free translation have been lasting for so long. Since there existed so many countries and nations on the continent of Europe, communicating frequently with different languages, the skill and cognition of language translation naturally developed and achieved a lot. During those time, two main methods of translation called literal translation and free translation came into being and accompanied by the problem on choosing which of them. The earliest opinion of translating methods can go back to the period of Roman Empire, when Cicero put forward that free translation should be used in translating Greek texts into Latin, on account of that literal translation , “word for word translation”at that time, couldn’t reflect Roman way of expression and couldn’t be easy-understanding and fluent as free translation, “sense for sense translation”. (Lu Shu, Wang Jintang 2005,115-116)&lt;br /&gt;
&lt;br /&gt;
This view of point had a great and dominate influence at that time, which did not change until late Roman period, when Christianity was gradually in power and the necessity of spreading and translating Bible by the way “exactly what it is ” made literal translation become more popular. Then comes the renaissance, in which many linguisticians realized the importance of keeping the style and features of their own nations. Since then, the two translation methods have taken the lead and been debated endlessly in the translation field. By the 1960s and 1970s, when domesticating translation and foreignizing translation accordingly emerged with free translation and literal translation, reception theory, which upgraded the dominance of readers or we called receivers of translation, again made the domestic translating one-up. (Lu Shu, Wang Jintang 2005,115-116)&lt;br /&gt;
&lt;br /&gt;
This kind of method was criticized by Venuti on its aggressivity of different cultures, based on which he officially put forward the two concepts of domestication and foreignization, which have been two central strategies in translation. So it’s vital to get a better understanding of those four concepts and make their relationships clear, which is of guiding significance to promote translation in practice.(Lu Shu, Wang Jintang 2005,115-116)&lt;br /&gt;
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===II.Literal Translation and Free Translation===&lt;br /&gt;
&lt;br /&gt;
When seeing translation as shift of linguistic sign, the method of translating could be regarded as the specific approach used by the translator shifting the ST(Source Text) into TT(Target Text), especially the two methods mentioned before--literal translation and free translation.Peter Newmark, in his &amp;quot;A Textbook of Translation&amp;quot;, proposed that the only goal of translating should be repeating the meaning of ST, which means those translating methods exist for dealing with some problems happened during the process when translating.( Ma Shikui 2012,20)The meaning and structure of the ST might not be taken into account every time, so it’s important to search for a appropriate solution to deal with this kind of problem, that’s what literal translation and free translation do.&lt;br /&gt;
&lt;br /&gt;
===2.1 Literal translation ===&lt;br /&gt;
&lt;br /&gt;
Literal translation is the method chosen when the original structure and the meaning of ST could both be perfectly taken into account, by adhering to strict original meaning and style of the TT, including the structures of sentences and rhetorical devices. “Word for word translation” could be counted as the original way of literal translation, like the translation of &amp;quot;The Bible&amp;quot; in the middle Age I showed before. But as the argue and relevant theories developing  till modern age, more and more experts realize and have a common sense that “word for word translation” can’t be equal to literal translation, since there always exist more or less differences among different languages. Personally speaking, the way Professor Fan Zhongying explains that literal translation means keeping the linguistic form of the SL, such as the words, the sentence structures and the rhetorical means, fluently and easily understood at the same time comprehensively interprets literal translation.(Joe Zeng Rui 2000,249)&lt;br /&gt;
&lt;br /&gt;
===2.2 Free translation===&lt;br /&gt;
&lt;br /&gt;
It’s better if we can have langugage forms and meanings achieved both ways, which cannot happened all the time. Thus, free translation might be better when translator can’t follow with the exact structure of SL. Free translation, “sense for sense translation”, refers to a kind of method used to translate the exact sense of the SL into the TL without retaining the sentence structures or the expression way of the SL. The supporters of free translation believe that the purpose of translation is to transform and convey the sense of the SL to the recipient of the TL, so it’s worthy to adopt an expression way closer to the TL, which is easier for the recipient to understand. Free translation has certain flexibility, which means the position of words and sentences can be adjusted. In order to facilitate readers' understanding, even some necessary supplements can be added.(Joe Zeng Rui 2000,249)&lt;br /&gt;
&lt;br /&gt;
===2.3 Analysis with Examples of Literal translation and Free translation===&lt;br /&gt;
&lt;br /&gt;
Here are some specific examples of the contrast between literal translation and free translation：&lt;br /&gt;
&lt;br /&gt;
===2.3.1 On words===&lt;br /&gt;
&lt;br /&gt;
ST:&amp;quot;Why do men have an Adam's Apple but women don't? &amp;quot;&lt;br /&gt;
&lt;br /&gt;
Literal translating: 为什么男人有亚当的苹果而女人没有呢？&lt;br /&gt;
&lt;br /&gt;
Free translating: 为什么男人有喉结而女人没有呢？&lt;br /&gt;
&lt;br /&gt;
From above, the “Adam's apple” can be translated literally into &amp;quot;亚当的苹果&amp;quot;, but it can't reflect the original sense of the ST, because in the western world, &amp;quot;Adam's apple&amp;quot; refers to &amp;quot;喉结&amp;quot; in Chinese instead of literally meaning &amp;quot;亚当的苹果&amp;quot;, so free translation is more accurate here. In addition, it is worth mentioning that this example perfectly reflects the fit of sentence structure between Chinese and English. It also shows that translators should also be sure of the culture behind the SL.&lt;br /&gt;
&lt;br /&gt;
===2.3.2 On sentence structures===&lt;br /&gt;
&lt;br /&gt;
ST:&amp;quot;Here comes the bus!&amp;quot;&lt;br /&gt;
&lt;br /&gt;
Literal translating: 这来了巴士!&lt;br /&gt;
&lt;br /&gt;
Free translating: 巴士来了!&lt;br /&gt;
&lt;br /&gt;
According to the literal translating way, if following with the source structure of the English sentence, which is a inverted sentence in English by the way, the translation result is “这来了巴士”, which is obviously both incoherent and hard to understand in Chinese and even twist the sense of the ST. According to the sentence meaning, it should be translated into “巴士来了 ”, which is totally different from the ST in grammar though.&lt;br /&gt;
&lt;br /&gt;
===2.3.3 On rhetorical means===&lt;br /&gt;
&lt;br /&gt;
ST: &amp;quot;If Main Street didn' t understand this , Wall Street did.&amp;quot;(The Glory and the Dream, p .85)&lt;br /&gt;
&lt;br /&gt;
Literal translating: 如果主街不能理解这一点，华尔街可以。&lt;br /&gt;
&lt;br /&gt;
Free translating: 这一点, 一般人不理解, 华尔街那些大老板们却是明白的。(Professor Wang Zongyan, 1983 :10)&lt;br /&gt;
&lt;br /&gt;
From this example, the key information is that Professor Wang Zongyan translates “Wall Street” into “华尔街的那些大老板们”. In Literature Translation, free translation is evidently more popular, because some literary images are difficult to express accurately through literal translation. In fact, the “Wall Street” here does not mean “Wall Street” itself, but people in power in Wall Street, so it is more appropriate for Professor Wang to translate it into “华尔街的那些老板们” by free translation. The reason of “Main Street”translating into “一般人”is the same.&lt;br /&gt;
&lt;br /&gt;
===2.4 The Relationships between literal translation and free translation===&lt;br /&gt;
&lt;br /&gt;
According to those demonstrations above, we can see that literal translation is more partial to SL(Source Language) and free translation considers more about TL(Target Language) users. The advantage of literal translation is to keep the style of the source language(show how other people talk), which plays a certain role in spreading the source language culture; the disadvantage is that sometimes it might be too long and difficult to understand, which hinders the communication and understanding between the two sides. Because free translation is biased towards the expression of the nation of the TL, its advantage is that it is more fluent and easy to understand, but its disadvantage is that it conceals the style of the source language and loses the role of translation as a cultural bridge, in which the translator's position seem not that important. All in all, I think it is best to combine the two translation methods organically in the process of translation. Just as professor Lu Dianyang proposed: “ Translate literally, if possible, or appeal to free translation.”(Zhao Jing 2011,61)&lt;br /&gt;
&lt;br /&gt;
===III.Domestication and Foreignization===&lt;br /&gt;
&lt;br /&gt;
Through the above introduction, we can know that with the change of historical environment, a period of political opposition and cultural exchange encountering a new period after World War II, the dispute between literal translation and free translation has reached a deeper level of development, which is the arrival of Foreignization and Domestication. Although Foreignization and Domestication were first formally proposed by Lawrence Venuti in &amp;quot;The Translator's Invisibility&amp;quot; in 1995, the translation strategy later called Domestication actually can be seen from Nida's translation theory of &amp;quot;dynamic equivalence&amp;quot;in 1964, which seeks for an expression whose meaning is closest to the SL and conforms to the habit of the TL expression way.（Chen Ying 2009,42）&lt;br /&gt;
&lt;br /&gt;
Nida's theory has been strongly criticized by Venuti, who supports Deconstructivism, and holds that domesticating translation is an obliteration of the SL culture and a manifestation of cultural colonialism, which is manifested by its failure to comply with the expression of the source language culture. Based on this, on the contrary, Venuti shows strong support for foreignizating translation, and he thinks that this translation strategy of preserving the linguistic and cultural differences of the SL shows respect for the SL culture. The following part mainly clarifies the concepts and contents of these two translation strategies, which will helps to compare with literal translation and free translation mentioned above.（Chen Ying 2009,42）&lt;br /&gt;
&lt;br /&gt;
===3.1 Domestication ===&lt;br /&gt;
&lt;br /&gt;
Domestication refers to a translation strategy dealing with the language forms, customs and cultural traditions, such as proverbs, idioms and allusions when translating, which tends to serve the readers of the target language. According to Eugene A. Nida's concept of natural equivalence, the translation version should be close to the original sense and intention in a most natural expression, therefore, the behavior pattern of the source language should be brought into the cultural understanding category of the target language as much as possible, which means that the recipients of the target language can avoid accepting the cultural expression of the source language in order to better understand the original intention.(Zhu Yuanzhong 2013,54)&lt;br /&gt;
&lt;br /&gt;
===3.2 Foreignization===&lt;br /&gt;
&lt;br /&gt;
Venuti studies translation under the background of culture, society, politics and cultural consciousness, and reflects the different positions of different cultures in today's world through the choice of translation strategies, and regards translation as a tool to fight against inequality. From this, we can see the reason why he criticized domestication and vigorously advocated foreignization translation, which is used to advocate that the translation should adapt and consider more the culture of the source language and the original author's habit of choosing words as much as possible. Thus, foreignizing translation tends to serve the SL culture, because he thinks that the translation version should take the source language culture as its destination and guide the reader to approach the original author.(Jiang Cui 2015,71-71)&lt;br /&gt;
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===3.3 Analysis with Examples of Domestication and Foreignization===&lt;br /&gt;
&lt;br /&gt;
Examples for domesticating translation and foreignizing translation:&lt;br /&gt;
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===3.3.1 On Politics===&lt;br /&gt;
&lt;br /&gt;
Titles：동해 (donghae)&amp;amp; にほんかい(nihonkai)&lt;br /&gt;
&lt;br /&gt;
Since the 19th century, the world has experienced terrible periods of two world wars and the Cold War . During this long period, independent nation-states gradually chose their own country's &amp;quot;roads&amp;quot; and directions, different ideologies and political positions having a strong sense of existence in international relations, among which there were many translation contradictions caused by geopolitics. (Pan Wenxiao 2020，https://weibo.com/ttarticle/p/show?id=2309404578145859666401)&lt;br /&gt;
&lt;br /&gt;
For example, the title of the sea area between South Korea and Japan has caused controversy between those two countries. South Korea has always called the sea area &amp;quot;동해&amp;quot;(East Sea) in history, but Japan continues to use the European navigator's giving name &amp;quot;Japan Sea&amp;quot;(にほんかい) and gradually gained international recognition from the 19th century. However, South Korean believes that the title change was imposed on South Korea by Japan colonizing Korea, which is a title that violates South Korea's territorial waters and disrespects South Korea. Something similar has happened many times in the world, which is the political difference on domestication and foreignization.(Pan Wenxiao 2020，https://weibo.com/ttarticle/p/show?id=2309404578145859666401)&lt;br /&gt;
&lt;br /&gt;
===3.3.2 On Culture===&lt;br /&gt;
&lt;br /&gt;
ST:“情人眼里出西施。”&lt;br /&gt;
&lt;br /&gt;
Domesticating translation: Love is blind.&lt;br /&gt;
&lt;br /&gt;
Foreignizing translation: The beauty Xi Shi is in the eye of lovers.&lt;br /&gt;
&lt;br /&gt;
This example shows relevantly how different it could be between two cultures: the ST and the domesticating one of  TT express almost the same meaning in completely different ways, that is, lovers can only see each other's good thing. That is to say, if you want to convey the exact meaning of the original Chinese sentence to English speakers, then domesticating method is the best choice, although it will make the &amp;quot;translation results&amp;quot; look beyond recognition. However, if we choose foreignizing translation, especially retaining the word &amp;quot;Xi Shi&amp;quot;, it will give English speakers a chance to understand Chinese traditional culture (Xi Shi is a beautiful woman in the Spring and Autumn Period of China, and &amp;quot;西施&amp;quot; in &amp;quot;情人眼里出西施&amp;quot; means &amp;quot;beauty&amp;quot;), although such translating way may be difficult to understand at first.&lt;br /&gt;
&lt;br /&gt;
===3.4 The relationships between Domestication and Foreignization ===&lt;br /&gt;
&lt;br /&gt;
Through the above analysis, it can be concluded that domestication and foreignization also have their own merits and reasonable existence. Although these two translation strategies were born in different historical backgrounds, their struggles to a certain extent reflect the struggle between the dominant position of stronger culture and weaker culture with different identities, which, of course is just one of those aspects, also reflect the problems of cultural communication: domesticating translation is conducive to conveying the meaning of the source language to the target language recipients without obstacles, especially in the case of great cultural differences existing, but this localization behavior will make it difficult for readers to learn what differences the two sides culture have, and in fact cultural diffusion will not be achieved.(Zhu Yuanzhong 2013,54)&lt;br /&gt;
&lt;br /&gt;
On the contrary, foreignization translation conveys the target text to readers according to the discourse mode of the source language culture, which can not only make readers realize the charm of different cultures, but also increase the expression ways of their own nation, but it is very likely that the meaning of the target text is difficult to understand. This contradiction is particularly prominent in the political level. Therefore, in translation practice, we should decide which way to choose in different contexts and in the face of different groups of people, so that the two can complement each other and have unity of opposites under proper application.(Zhu Yuanzhong 2013,54)&lt;br /&gt;
&lt;br /&gt;
===IV.The relationship among Literal Translation, Free Translation, Domestication and Foreignization===&lt;br /&gt;
&lt;br /&gt;
Sun Zhili, a contemporary Chinese translator, said: &amp;quot;Historically, domestication and foreignization can be regarded as extensions of literal translation and free translation, but they are not completely equivalent to each other. The core issue of literal translation and free translation is how to deal with form and sense at the linguistic level, while domestication and foreignization break through the limitations of language factors and expand their horizons to language, culture and aesthetics.(Sun Zhili 2011,27) &amp;quot;  Even after the above introduction, the boundary between literal translation, free translation, foreignization and domestication seems to be very vague. In order to better clarify the relationship between the two pairs of concepts, the following will distinguish and compare them. &lt;br /&gt;
&lt;br /&gt;
===4.1 The comparison among Literal Translation and Free Translation, Domestication and Foreignization===&lt;br /&gt;
&lt;br /&gt;
These two pairs of conceptss have some points in common. First of all, foreignization and domestication are extensions of literal translation and free translation, so the two pairs of relations are all methods put forward to guide translation practice; Secondly, relatively speaking, the roles of the two pairs of relations are very similar, especially in linguistic form: literal translation and foreignization both emphasize following the expression of the source text; Both free translation and domestication believe that in order to convey the sense of the source text accurately, the expression of the source text can be sacrificed. However，they are not the same in the following aspect. The first point is that the scope is different, which leads to different objects: literal translation and free translation are proposed according to the different structures and characteristics of the source language and the target language, and their discussion focuses on the relationship between form and content, which belongs to the level of language conversion. (Zhao Jing 2011,62) &lt;br /&gt;
&lt;br /&gt;
Foreignization and domestication, as a product of cultural turn, is not only manifested in linguistic form, but also in cultural content. In other words, the emergence and development of foreignization and domestication raise the discussion of language level to the level of culture, poetics and politics. Obviously, the former is a micro translation method, while the latter is a macro translation strategy. Choosing specific translation methods under the guidance of the general direction of translation strategies can make good use of these two pairs of concepts when doing translation. Second, the condition is different: Because literal translation and free translation are aimed at figuring out the issue of the text itself and the language structure, those two translation methods rely heavily on the text on linguistics, and have little room for evolution, development and independence, which make them relatively being static; However, domestication and foreignization do not have such problems. Their appearances were largely influenced by external social factors and the background of times and history, moreover, they focus on the external factors of translation too. Therefore, these two translation strategies are actually unstable and present a relatively dynamic state.(Zhao Jing 2011,62) &lt;br /&gt;
&lt;br /&gt;
===4.2 The connection among Literal Translation and Free Translation, Domestication and Foreignization===&lt;br /&gt;
&lt;br /&gt;
It can be concluded that the basic relationship between these two pairs of concepts is that domestication and foreignization make the discussion of translation transition move from pure language level to cultural level, not only paying attention to the internal transformation of language, but also starting to study the political and cultural environment outside language and text, which makes the change of translation’s function happen--from micro-analysis of language to macro-control of the social function of translation.(Chen Ying 2009,42)&lt;br /&gt;
&lt;br /&gt;
===4.2.1 Foreignization and Literal translation===&lt;br /&gt;
&lt;br /&gt;
According to the comparative analysis in the previous section, we can conclude from their similarities that under normal circumstances, foreignization usually takes literal translation as method, or foreignizing translation usually includes literal translation methods, such as:(Lv Yinping 2007,138)&lt;br /&gt;
&lt;br /&gt;
(1)Pandora’s box 潘多拉的盒子 &lt;br /&gt;
&lt;br /&gt;
(2)the forbidden fruit 禁果&lt;br /&gt;
&lt;br /&gt;
The above two examples clearly show the way literal translation works out, which is also the result under the guidance of foreignizating translation strategy. &amp;quot;Pandora's box&amp;quot; comes from Greek mythology, which refers to the root of all evils, but the translation into Chinese, which is not “万恶之源”, has followed the European saying, and even be quoted in daily communication, which has played the purpose of &amp;quot;understanding other national cultures through translation&amp;quot;; Similarly, &amp;quot;forbidden fruit&amp;quot; comes from &amp;quot;The Bible&amp;quot;, which means something forbidden, but Chinese translation also follows the expression of the original way.&lt;br /&gt;
&lt;br /&gt;
===4.2.2 Domestication and Free translation===&lt;br /&gt;
&lt;br /&gt;
Similarly, free translation is visible in domesticating translation. For example:(Lv Yinping 2007,137)&lt;br /&gt;
&lt;br /&gt;
(1)drink like a fish 牛饮&lt;br /&gt;
&lt;br /&gt;
(2)a fool’s paradise 黄粱美梦&lt;br /&gt;
&lt;br /&gt;
As far as the first example is concerned, if literally translated into &amp;quot;像鱼一样喝水&amp;quot;, it is extremely out of line with the Chinese expression habit, because there is no such statement way in China, which leads to misunderstanding or confusion.. However, if we translate &amp;quot;drink like a fish&amp;quot; into “牛饮” in Chinese, which does exists in China and has the same meaning as &amp;quot;drink like a fish&amp;quot; in English. Then the translation effect is not only interesting but also easy to understand.&lt;br /&gt;
&lt;br /&gt;
However, in the process of actual translation practice, due to the variety and diversity of cultures, the methods and strategies used in text or language conversion are also comprehensive. We can find that the comprehensive and flexible use of literal translation and free translation, domestication and foreignization can make up for the regret of some traditional opposing ways(It is said that the two pairs of concepts are opposite and cannot coexist).&lt;br /&gt;
&lt;br /&gt;
===4.2.3 Domestication and Literal translation===&lt;br /&gt;
&lt;br /&gt;
Foreignizating translation is usually regarded as an extension of literal translation, which means that in general, literal translation methods are often used under the guidance of foreignization strategies, but in some special cases, literal translation can also coexist with domestication strategies. For instances:&lt;br /&gt;
&lt;br /&gt;
(1) 什么时候都要谦虚谨慎，把尾巴夹紧一些。（Jia Wenbo 2000,11）&lt;br /&gt;
&lt;br /&gt;
We must always be modest and prudent and must, so to speak, tuck our tail between our legs.&lt;br /&gt;
&lt;br /&gt;
The meaning of &amp;quot;把尾巴夹紧&amp;quot; in Chinese coincides with &amp;quot;tuck tail between our legs&amp;quot; in English. In this example, it can be said that literal translation is the most suitable choice, which keeps the form and cultural connotation of the source language to the maximum extent, and at the same time coincides with the meaning and culture of the target language.&lt;br /&gt;
&lt;br /&gt;
(2) 一石二鸟(Song Tianxi 2013,49)&lt;br /&gt;
&lt;br /&gt;
Kill two birds with one stone.&lt;br /&gt;
&lt;br /&gt;
Similarly, this is an example of having language structure and cultural meaning between China and Britain in both ways, which uses the method of literal translation but achieves the effect of domestication. But in Chinese, &amp;quot;一石二鸟&amp;quot; can also be synonymous with &amp;quot;一箭双雕&amp;quot; and &amp;quot;一举两得&amp;quot;, which can be chosen when translating &amp;quot;kill two birds with one stone&amp;quot; if you want, however, this way of using the method of free translation is not literal translation anymore.&lt;br /&gt;
&lt;br /&gt;
Domestication and literal translation can coexist under the situation when two sides of language structures and cultures can coincide at the same time, which exists by chance and cannot be forced; It is almost impossible to find examples of coexistence like foreignization and free translation. However, through the above argument, we can find that in translation practice, translators should practice the principle of &amp;quot;concrete analysis of specific problems&amp;quot;, flexibly and dialectically combine free translation and literal translation with domestication and foreignization, and avoid rigid translation methods, so as to better assume the responsibility of cultural exchange. &lt;br /&gt;
&lt;br /&gt;
===V.Conclusion===&lt;br /&gt;
&lt;br /&gt;
Through the analysis above of the concepts and intensions of literal translation and free translation, domestication and foreignization, we further arrive at and even deepen our understanding of the relationship between the two pairs of concepts, which is helpful for translators to approach a better version of translation result and effect as much as possible on the basis of understanding the culture and language of both sides and combining with the practice through rational choice of translation strategies and translation methods under the guidance of the theories. After all, translation is not only a linguistic transformation, whose fundamental task is to reach communication and cultural exchange. &lt;br /&gt;
&lt;br /&gt;
Therefore, to some extent, translation plays the role of cultural &amp;quot;fax&amp;quot;. In order to coordinate the spread of the source language culture and the acceptance of the target language side, and it is necessary to avoid rigid use of a single translation method and translation strategy, or solidifying the idea of translation guiding theory. After comprehensive consideration of translation purpose, target and recipient, it is a translator's duty to use translation method flexibly and dialectically, as being a &amp;quot;cultural bridge&amp;quot;.&lt;br /&gt;
&lt;br /&gt;
===References===&lt;br /&gt;
&lt;br /&gt;
Sun Zhili 孙致礼.(2011).新编英汉翻译教程[A New Coursebook on English-Chinese Translation].上海:上海外语教育出版社.Shanghai:Shanghai Foreign Language Education Press&lt;br /&gt;
&lt;br /&gt;
Sun Zhili 孙致礼.(2002).中国的文学翻译:从归化趋向异化[China’s Literary Translation: from Domestication to Foreignization].中国翻译Chinese Translators Journal(01):39-43.&lt;br /&gt;
&lt;br /&gt;
Jia Wenbo 贾文波.(1999).汉英时文翻译-政治经济汉译英300句析[On Practical C-E Translation in Political &amp;amp; Economic Practice].北京:中国对外翻译出版公司Beijing:China Translation and Publishing Corporation.&lt;br /&gt;
&lt;br /&gt;
Zhang Meifang 张美芳.(2004).翻译策略二分法透视[A dichotomous perspective in translation strategies].天津外国语学院学报Journal of Tianjin Foreign Studies University(03):1-6.&lt;br /&gt;
&lt;br /&gt;
Zhao Jing 赵静.(2011).直译、意译与归化、异化之比较[Comparison between literal translation and free translation and Domestication and Foreignization].河南农业Henan agriculture(22):61-62.&lt;br /&gt;
&lt;br /&gt;
Lv Yinping 吕银平.(2007).“直译与意译  归化与异化”译法之我见[My Opinion on Literal Translation, Free Translation, Domestication and Foreignization].宁夏师范学院学报Journal of Ningxia Teachers Univercity( Social Science)(04):136-138.&lt;br /&gt;
&lt;br /&gt;
Venuti Lawrence.(1995). The Translator’s Invisibility .London&amp;amp;New York: Routledge.&lt;br /&gt;
--[[User:Wei Honglang|Wei Honglang]] ([[User talk:Wei Honglang|talk]]) 05:54, 21 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
==On Chinese-to-English Translation of The Summer Palace from the Perspective of Functionalist Approaches to Translation - 魏亚菲 Wei Yafei,202020080648==&lt;br /&gt;
魏亚菲 Wei Yafei&lt;br /&gt;
&lt;br /&gt;
'''（建议题目改写成On C-E Translation of Tourist Text from the Perspective of Functionalist Approaches to Translation-Exemplified by Tourist Texts Translation of Summer Palace ）'''--[[User:Zhang Yinliu|Zhang Yinliu]] ([[User talk:Zhang Yinliu|talk]]) 14:00, 19 December 2020 (UTC)&lt;br /&gt;
魏亚菲 Wei Yafei&lt;br /&gt;
===Abstract===&lt;br /&gt;
The Chinese-English translation of tourist texts, as a window for the external publicity of national history and culture, plays an important role in promoting the development of local tourism. The Summer Palace is well known for its large and priceless collection of cultural relics, which is among the first group of historical and cultural heritage sites in China to be placed under special state protection. &lt;br /&gt;
&lt;br /&gt;
The Chinese-English translation of tourist texts, as a window for the external publicity of national history and culture, plays an important role in promoting the development of local tourism. The Summer Palace is well known for its large('''large 改成abundant适合一些)''' and priceless collection of cultural relics, which is among the first group of historical and cultural heritage sites in China to be '''(placed可删除)''' under special state protection. --[[User:Zhang Yinliu|Zhang Yinliu]] ([[User talk:Zhang Yinliu|talk]]) 14:00, 19 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
Based on the functionalist approach and the skopos rule, this paper discusses the problems existing in the translation of scenic spots in the Summer Palace from the perspectives of garden culture, historical culture and religious culture. Skopos theory holds that translation depends on communicative purpose. To achieve this goal, translators can choose different translation strategies. It is believed that the purpose of Chinese-English translation of scenic spots is to attract target readers and promote traditional culture. Therefore, when translating tourism materials, it is necessary not only to express the local cultural connotation, but also to consider the cross-cultural factors. The Chinese-English translation of the introduction of scenic spots guided by functionalist approach can make English readers have expectations of scenic spots and understand the cultural connotation of scenic spots. This paper aims to better promote the development and communication of Chinese culture and improve the level of tourism text translation in China by relying on the theory of functionalist approach.&lt;br /&gt;
&lt;br /&gt;
Based on the functionalist approach'''(add -es)'''and the skopos rule, this paper discusses the problems existing in the translation of scenic spots in the Summer Palace from the perspectives of garden culture, historical culture and religious culture. Skopos theory holds that translation depends on communicative purpose. To achieve this goal, translators can choose different translation strategies. It is believed that the purpose of Chinese-English translation of scenic spots is to attract target readers and promote traditional culture. Therefore, when translating tourism materials, it is necessary not only to express the local cultural connotation, but also to consider the cross-cultural factors. The Chinese-English translation of the introduction of scenic spots guided by functionalist approach'''(add -es)''' can make English readers have expectations of scenic spots and understand the cultural connotation of scenic spots. This paper aims to better promote the development and communication of Chinese culture and improve the level of tourism text translation in China by relying on('''relying on 改用applying好像好一些''') the theory of functionalist approach.--[[User:Zhang Yinliu|Zhang Yinliu]] ([[User talk:Zhang Yinliu|talk]]) 14:00, 19 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
===Key words===&lt;br /&gt;
functionalist approach，the Summer Palace，translation strategies&lt;br /&gt;
===题目===&lt;br /&gt;
从功能派翻译理论视角看旅游文本英译—以北京景点颐和园为例&lt;br /&gt;
===摘要===&lt;br /&gt;
旅游资料的英译作为民族历史文化对外宣传的一道窗口,对地方旅游业的发展有着不可低估的促进作用。颐和园作为中国著名的皇家园林，具有浓厚的中国园林特色及优美的风景，同时也蕴涵着深厚文化内涵。&lt;br /&gt;
本篇旅游文本英译的分析以功能派翻译理论作为理论指导，以目的法则为主要原则，从颐和园的园林文化、历史文化和宗教文化三个角度出发对颐和园景点英译中存在的问题进行探讨。目的论认为译文取决于翻译目的，这个目的通常指的是交际目的。为达到这个目的，译者可以选择不同的翻译策略。也就是说，译者的翻译策略必须由译文的预期目的或功能决定，即所谓的“目的法则”。笔者认为景点介绍的汉英翻译的目的就是吸引译文读者以及弘扬传统文化，因此在翻译旅游资料的时候不仅要把当地的文化内涵表达出来，而且要考虑到跨文化的因素。而以功能派翻译理论为指导的景点介绍的汉英翻译，可以使英语读者通过译文产生对旅游景点的期盼，以及对景点文化内涵的理解。以颐和园景区内的翻译文本为例本，依托功能翻译理论，通过“发现问题，指出问题，解决问题”，以期更好地促进中国文化的传播与交流，提高我国现阶段旅游文本翻译的水平。&lt;br /&gt;
===关键字===&lt;br /&gt;
功能翻译；颐和园；翻译目的；翻译策略&lt;br /&gt;
===Table of Contents===&lt;br /&gt;
'''(改成 Contents)'''--[[User:Zhang Yinliu|Zhang Yinliu]] ([[User talk:Zhang Yinliu|talk]]) 14:00, 19 December 2020 (UTC)&lt;br /&gt;
Outline '''(outline 可以去掉）'''--[[User:Zhang Yinliu|Zhang Yinliu]] ([[User talk:Zhang Yinliu|talk]]) 14:00, 19 December 2020 (UTC)&lt;br /&gt;
1.Introduction&lt;br /&gt;
2. Studies on Functionalist Approach&lt;br /&gt;
2.1 The Viewpoint of Functionalist Approach&lt;br /&gt;
2.1.1 Reiss’s Text Typology&lt;br /&gt;
2.1.2 Vermeer’s Skopos Theory&lt;br /&gt;
2.1.3 Manttari’s Theory of Translational Action&lt;br /&gt;
2.1.4 Nord’s Theory of Function plus Loyalty&lt;br /&gt;
2.2 The Application of Functionalist Approach &lt;br /&gt;
3.C-E Translation of the Summer Palace under Functionalist Approach&lt;br /&gt;
3.1 Garden Culture&lt;br /&gt;
3.2 Historical Culture &lt;br /&gt;
3.3 Religious Culture &lt;br /&gt;
4. Conclusion&lt;br /&gt;
References'''（5.References）'''--[[User:Zhang Yinliu|Zhang Yinliu]] ([[User talk:Zhang Yinliu|talk]]) 14:00, 19 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
===Outline===&lt;br /&gt;
&lt;br /&gt;
Thesis Statement: Based on the main viewpoints of functionalist approaches to translation, this paper aims to give an analysis to C-E translation of the Summer Palace from cultural, historical and religious aspects, hoping to provide some translation strategies for other cultural attractions.&lt;br /&gt;
&lt;br /&gt;
1. Introduction&lt;br /&gt;
2. Studies on Functionalist Approaches&lt;br /&gt;
2.1 The Viewpoint of Functionalist Approach&lt;br /&gt;
2.1 Reiss’s Text Typology&lt;br /&gt;
2.2 Vermeer’s Skopos Theory&lt;br /&gt;
2.3 Manttari’s Theory of Translational Action&lt;br /&gt;
2.4 Nord’s Theory of Function plus Loyalty&lt;br /&gt;
2.2 The Application of Functionalist Approach&lt;br /&gt;
3. C-E Translation of the Summer Palace under Functionalist Approach&lt;br /&gt;
3.1 Garden Culture&lt;br /&gt;
3.2 Historical Culture&lt;br /&gt;
3.3 Religious Culture&lt;br /&gt;
4. Conclusion'''（为啥重复了这段）'''--[[User:Zhang Yinliu|Zhang Yinliu]] ([[User talk:Zhang Yinliu|talk]]) 14:00, 19 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
===1. Introduction ===&lt;br /&gt;
The Chinese-English translation of tourist texts is a bridge to spread the culture of classical Chinese gardens, so the accuracy of it has a direct impact on foreigners' understanding of the specific history and culture. &lt;br /&gt;
Functionalist approach has made a pioneering contribution to the translation of non-literary genres. Functional translation theory emphasizes the function of discourse, and believes that different types of discourse have different functions, so translators should choose appropriate translation strategies according to the type of source text and corresponding functions. Functionalist approach is to take the &amp;quot;skopos rule&amp;quot; as the highest standard, and any translation activity is a purposeful behavior. The ultimate goal and main function of scenic spot translation is to help people understand the main content of the scenic spot.&lt;br /&gt;
&lt;br /&gt;
As a window for the publicity of national history and culture, the Chinese-to-English translation of tourist texts plays an important role in promoting the development of local tourism. Well known for its large and priceless collection of cultural relics, the Summer Palace was among the first group of historical and cultural heritage sites in China to be placed under special state protection. Based on the viewpoints of functionalist approach to translation, this paper aims to analyze C-E translation of the Summer Palace from cultural, historical and religious aspects, hoping to provide some translation strategies for other cultural attractions.&lt;br /&gt;
&lt;br /&gt;
As a window for the publicity of national history and culture, the Chinese-to-English translation of tourist texts plays an important role in promoting the development of local tourism. Well known for its large'''（建议large 改成 abundant or rich）''' and priceless collection of cultural relics, the Summer Palace was among the first group of historical and cultural heritage sites in China to be placed under special state protection. Based on the viewpoints of functionalist approach to translation, this paper aims to analyze C-E translation of the Summer Palace from cultural, historical and religious aspects, hoping to provide some translation strategies for other cultural attractions. --[[User:Zhang Yinliu|Zhang Yinliu]] ([[User talk:Zhang Yinliu|talk]]) 14:00, 19 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
===2. Studies on Functionalist Approaches===&lt;br /&gt;
Functionalism is a theory that advocates reader-centered translation, emphasizing the functions of texts and highlighting the communicative effects. It is believed that many unnecessary mistakes can be avoided and better results can be achieved by applying functionalist approach in Chinese-English translation of tourist text. &lt;br /&gt;
&lt;br /&gt;
===2.1 The Viewpoint of Functionalist Approaches===&lt;br /&gt;
Functionalist Translation Theory, also known as German Functionalist Translation Theory, was proposed by German scholars in the 1970s. It includes four main theories: Katharina Reiss’s Text Typology, Hans Vermeer’s Skopos Theory, Justa Holtz Manttari’s Theory of Translational Action and Christiane Nord’s Theory of Function plus Loyalty. This chapter aims to present the main ideas of this theory.&lt;br /&gt;
&lt;br /&gt;
===2.1.1 Reiss’s Text Typology===&lt;br /&gt;
In 1971, Reiss in her book Possibilities and Limitation of Translation Criticism first made text function as a standard of translation criticism, namely evaluate the translated text from the relationship between the functions of the original and the translated text. She insists on the original-centered equivalence theory and holds the view that the ideal translation is to achieve the equivalence between the target text and the source text in terms of ideological content, linguistic form and communicative function. However, translation practice makes her realize that it’s difficult to achieve equivalence sometimes and that sometimes equivalence cannot be pursued. Because of the particularity of translation requirements, the function of the target text is not always the same as that of the source text. Therefore, the translator should give priority to the functional role of the target text rather than the principle of equivalence.&lt;br /&gt;
&lt;br /&gt;
Reiss believes that in the normal situation the type of text decides the translator’s choice of a proper translation method (Reiss, 2004). Therefore, she divides text into four types: content-focused text, form-focused text, appeal-focused text and audio-media text. Content-focused text, also known as informative text, includes news reports, commercial correspondence, operating instructions, official documents, patent specifications, essays, treaties, etc. For this text, the main function is to convey information revealed in language itself to readers. The emphasis is on content and topic, so the choice of language and style should serve this function. If both the source text and target text belong to informative text, the translator should represent the content and information of source text accurately and completely (Reiss, 2004)&lt;br /&gt;
&lt;br /&gt;
Form-focused text, also known as expressive text, refers to literary works such as novels, poems and so on. “Distinct from ‘content’, which deals with what the author says, ‘form’ is concerned with how an author expresses himself” (Reiss, 2004). For expressive texts, information is only a supplement. What is dominant is the aesthetic factor. When translating such texts, the translator should pay attention to the aesthetic and artistic forms of the original text and to the differences between two cultural habits, trying to achieve the same effect as the source text. In a word, in a form-focused text, the linguistic form of the source text determines the form in the target language (Reiss, 2004).&lt;br /&gt;
&lt;br /&gt;
Appeal-focused text, also known as operative text, mainly includes notice, instruction manual, advertisement, publicity manual and so on. For operative texts, the primary task for the translator is to provoke a particular reaction on the hearers or readers to incite them to engage in specific actions, while content and form are subordinate. Therefore, to achieve the same effect, the translator need to change the content and stylistic features of the original text, try to keep the potential influential factors of the original text and seek functional equivalence (Reiss, 2004: 38-43). Audio-medial text, also known as multi-media text, refers to radio and television scripts, such as radio newscasts and reports, topical surveys and dramatic productions.&lt;br /&gt;
&lt;br /&gt;
It is distinctive in its dependence on non-linguistic media and on graphic, acoustic, and visual kinds of expression. Only in combination with them can the whole complex literary form realize its full potential (Reiss, 2004). In conclusion, different texts determine different translation focuses and methods. In many cases, however, a text may have more than one function, which means that translators should integrate different translation strategies skillfully to achieve different functions of texts.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
===2.1.2 Vermeer’s Skopos Theory===&lt;br /&gt;
Reiss’s student Vermeer, who broke the limitation of the theory of equivalent and took skopos to be the first criterion of translation process  proposed the key theory: Skopostheorie. According to Skopos Theory, when translating a text, the translator needs to consider the purpose of translation first and then choose the translation method according to the purpose, which means “the end justifies the means” (Nord, 2001). Vermeer believes that translation, like other human actions, is also a purposeful act. Translation often takes place in cultural backgrounds with different customs and values, so translation is not a simple equivalent transformation between languages. Skopos Theory does not focus on achieving the equivalence between the target text and the original text or the perfection of the target text, but on choosing the best translation strategy based on the analysis of the source text and the intended function of the target text. In a word, translation methods and strategies are determined by the intended purpose or function of the target text.&lt;br /&gt;
&lt;br /&gt;
According to Skopos Theory, the first rule that all translators must follow is the Skopos Rule. Translation purpose can be divided into three categories: (1) the purpose of the translator, such as earning a living; (2) the communicative purpose of the translation, such as instructing the reader; (3) the purpose of using a particular translation method, such as the literal translation according to its structure to illustrate the peculiarities of grammatical structure in a language (Nord, 2001). In general, the communicative purpose is more important than the other two. The communicative purpose is usually determined by the initiator of the translation act, but the translator can take part in deciding. The second rule is the Coherence Rule. Coherence Rule requires that the translation conform to the criterion of intratextual coherence, which means that the translation must be accessible to recipients and meaningful in the target culture and in the communicative environment (Nord, 2001). The third rule is the Fidelity Rule. It means that there should be intertextual coherence between the source text and the target text, which means being faithful to the source text. Nevertheless, the degree and form of faithfulness lie in the target text and the degree that the translator understands the original text. Normally “Intertexual coherence is considered subordinate to intratexual coherence and both are subordinate to the Skopos rule” (Nord, 2001).'''(建议这种可以分列成小标题)&lt;br /&gt;
'''--[[User:Zhang Yinliu|Zhang Yinliu]] ([[User talk:Zhang Yinliu|talk]]) 14:28, 19 December 2020 (UTC)&lt;br /&gt;
===2.1.3 Manttari’s Theory of Translational Action===&lt;br /&gt;
Following Vermeer, Manttari develops Vermeer’s Skopos Theory and puts forward the Theory of Translational Action. He emphasizes three aspects: the behavior of the translation process, the role of the participants (the initiator, the translator and the target reader, etc.) and the environment (time, place and media) in which the translation process takes places. It views translation as “purpose-driven, outcome-oriented human interaction and construes the process of translation as message-transmitter compounds that involve intercultural transfer” (Mundy, 2001). According to Manttari, translation is “ a complex act to achieve a particular purpose” &lt;br /&gt;
(Nord, 2001). It is not about translating words, sentences or texts but is about guiding the intended cooperation over cultural barriers and promoting functional communication. Cooperation here means “transcultural communication” by Manttari.&lt;br /&gt;
&lt;br /&gt;
The Theory of Translational Action attaches great importance to providing a functional communicative text for the recipient, a text suitable for the target culture in&lt;br /&gt;
form and style. Functional suitability is determined by the translator. The translator is an expert in translation, whose role is to ensure the successful completion of culturaltransformation. In producing the target text, the analysis of the source text is necessary so that the translator can find out its structural and functional characteristics, which can be described by content and form. The need of the recipient is the decisive factor for the target text.In short, “the value of Manttari’s work is the placing of translation (or at least the professional non-literary translation which she describes) within its sociocultural context, including the interplay between the translator and the initiating institution”(Mundy, 2001).&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
===2.1.4 Nord’s Theory of Function plus Loyalty===&lt;br /&gt;
&lt;br /&gt;
Though skopos rule changes the focus of translation from the source language text to the target language text and the target receivers, it has some limitations. One is that different readers have different expectations, and the translation purpose cannot satisfy all the expectations of the target reader. Another is that the translation purpose may sometimes be against the intention of the source language. Therefore, based on the skopos rule, Nord introduces the loyalty principle. The principle of loyalty is a supplementary principle proposed by Nord to make up for the deficiency of skopos rule. According to the explanation of Nord, it is not the relationship between the original text and the target text, nor the equivalence between the original text and the form of the target text, but the consistency between the author of the original text, the initiator of the translation, the translator and the reader of the target text, which is the principle of loyalty. The proposal of the loyalty principle makes up for the mistakes that some radical skopos translators usually make, such as omitting and rewriting, which makes skopos theory more perfect and makes skopos theory more likely to guide the translation of literary works.&lt;br /&gt;
&lt;br /&gt;
“Function” and “loyalty” are two pillars of Nord’s functionalist approach. “Function” refers to what a text means or is intended to mean from the receiver’s point of view”, while “loyalty” means that “target-text purpose should be compatible with the original author’s intention” (Nord,2001). It emphasizes the interpersonal relationship between the translator, the source-text sender, the target-text addresses and the initiator. Function plus loyalty enables the translator to avoid the limitations of skopos rule and try to achieve a balance between translation purpose and the source-text author’s intention”(Nord,2001). That is to say, when translating the original text, the translator should take into account the readers' cultural background, knowledge level and expectation of the translation, and choose the corresponding translation strategy according to the translation requirements. If the reader wants to read a word-for-word translation of the article, then the translator must meet the reader's requirements, otherwise he must explain to the reader why he chose his own translation method. The translator's job is to weigh two different cultures instead of imposing one culture on another. &lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
===2.2The Application of Functionalist Approach to the Tourist Texts.===&lt;br /&gt;
In the 1990s, Functionalist Translation Theory was introduced to China, and since then it has been applied to translation studies by Chinese translation scholars. In his article published in 1995, Zhang Nanfeng briefly introduces Skopos theory to China for the first time, and considers that Skopos theory is referential (Zhang Nanfeng, 1995). German Functionalist Translation Theory, a paper released in1999, is the first article in China which systematically introduces German Functionalist Translation Theory (Zhong Weihe &amp;amp; Zhong Yu, 1999). Based on an overview of Functionalist Translation Theory, Zhang Meifang focuses on introducing Nord’s theory, especially on the detailed analysis of Nord’s principle of loyalty (Zhang Meifang, 2005). Famous domestic scholars, such as Liu Junping (2009), Liu Miqing (2012) and Li Wenge (2004), also introduce this theory in their books. With the rise of Functionalist Translation Theory in China, someone has compared it with other theories. Zhu Haotong compares Skopos Theory with Functional Equivalence Theory to analyze the similarities and differences between them, and further reveals that Functionalist Translation Theory inherits the reasonable part of Nida’s Functional Equivalence Theory, which is an important breakthrough and supplement to solve the problems that Functional Equivalence Theory leaves (Zhu Haotong, 2006). Some scholars also combine theory with translation practice to explore the application of Functionalist Translation Theory to translation practice. Jia Yanli and Wang Hongjun point out that Skopos Theory has its limitations, but it is still of instruction and reference value for non-literary translation texts, such as advertisements and tourism materials (Jia Yanli &amp;amp; Wang Hongjun, 2012). Li Liangchen selects several famous tourist attractions in China to translate the on-site tour-guide commentary into English. Then he improves them under the guidance of Skopos Theory and sends out questionnaires to overseas tourists for further analysis. He argues that the translation of on-site tour-guide commentary which is guided by Skopos Theory is more favorable to conveying information to foreign visitors, to promoting cultural exchanges and to improving the image of China’s tourist destinations (Li Liangchen, 2013). In Pragmatic Translation: Theory &amp;amp; Practice, Wu Feng and He Qingji introduce Functionalist Translation Theory (Wu Feng &amp;amp; He Qingji, 2008) and the characteristics of tourism text and translation skills (Wu Feng &amp;amp; He Qingji, 2008). In this book, they also discuss the controversy over the Chinese name of Functionalist Translation Theory, and holds that “功能派翻译理论” is the most appropriate Chinese translation (Wu Feng &amp;amp; He Qingji, 2008).Based on his own translation practice and under the guidance of Functionalist Translation Theory, Wu Zixuan probes into some special phenomena in the English translation of CNN newsreels. The author believes that in the translation of external publicity, we should not stick to the standard of faithfulness to the original text, but should deal with the original text properly from the perspective of achieving the purpose of translation, such as rewriting, abridging. (Wu Zixuan, 2005).'''(段落过长，建议适当分段写）'''--[[User:Zhang Yinliu|Zhang Yinliu]] ([[User talk:Zhang Yinliu|talk]]) 14:23, 19 December 2020 (UTC)&lt;br /&gt;
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Functionalist approach establishes a theoretical system of diversified translation standards dominated by skopos rule. From the definition of Functionalist approach, it can be seen that the advantage of it is that the translator can get rid of the bondage of the original text, study the translation process with &amp;quot;translation purpose&amp;quot; as the starting point, and determine the translation strategies and methods. This can give full play to the translator's own initiative, flexible processing of the original text, in order to achieve the translation of the communicative function. In addition, functionalist approach requires the translation to be examined in the cultural context of the reader. The reader can accept the translation and understand the meaning of the original text through the translation, so the translation can realize the communicative function. On the basis of such advantages, functionalist approach can be used to guide the English translation of garden scenic spots, and the translator can choose a wider range of translation strategies and break out of the constraints of the original text. &lt;br /&gt;
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Only by clarifying the purpose of translation can we avoid these limitations in the English translation of garden attractions. When using functionalist approach to guide the English translation of Chinese classical garden scenic spots, it is necessary to flexibly choose translation strategies and methods, give full play to the advantages of skopos theory, and achieve the balance between &amp;quot;principle of purpose&amp;quot; and &amp;quot;principle of fidelity&amp;quot; as far as possible.&lt;br /&gt;
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With the deepening of globalization and cross-cultural communication, tourismis becoming a major industry in the 21st century. The development of tourism can not only promote the economic development of a country but also promote the external dissemination of national culture. Therefore, tourism translation deserves attention. Tourism text is a typical informative and operational text, and the language is unique. It is full of gorgeous words, such as four-character expressions, verses, proper nouns and so on.&lt;br /&gt;
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Tourism text materials include tourism advertising, tourism brochures, scenic spots signs and so on. In this paper, we focus on the introduction of Chinese gardens’ scenic spots, which is usually colorful in language and rich in literary style. Tourism text translation belongs to applied translation, which should play a series of practical functions to publicize the image and resources of the country or place and attract overseas tourists. Therefore, the translator of tourism text must be clear about the type and function of tourism text, and to grasp the ultimate purpose of the translation. &lt;br /&gt;
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On tourism text translation, the communicative purpose of the translation should be placed in a central position. Furthermore, the tourism text has both the information function and the calling function. The information function and the calling function complement each other. Only when the target language readers acquire the expected tourism information and cultural knowledge can the calling function be realized and the purpose of tourism text translation be achieved. With different translation strategies, the translated version should both expressed contains basic information, and make the tourists feel the profound of the Chinese culture from the beautiful scenery. &lt;br /&gt;
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Cultural tourism has long been the focus of international tourism, and understanding Chinese culture is the main purpose of inbound tourists, so the translation of tourism texts bears the mission of cultural transmission and cultural publicity. However, due to the great differences between Chinese and English culture and language, there are many difficulties in cultural transmission in tourism text translation. China has a long and splendid history and culture. When introducing the scenic spots of cultural relics and historic sites, we usually associate with many historical figures and stories. These terms are cultural blank for most foreign tourists, but this kind of cultural experience is also the most attractive place for foreign tourists. It is of great importance to pay attention to cultural differences in tourism translation and carry out cultural transmission effectively. Chinese and English languages have different logic views, and Chinese expressions in tourism texts value decoration. English expressions tend to be clear, concise and to the point. For example, Chinese tourism texts often use a four-character lattice, which is symmetrical, while there is no corresponding four-character lattice expression in English. Therefore, in Chinese-English translation of tourism texts with frequent use of four-character phrases, it is necessary to keep in mind the objective principle of functionalist approach and give priority to cultural communication instead of rigidly adhering to form.&lt;br /&gt;
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===3. C-E Translation of the Summer Palace under Functionalist Approach===&lt;br /&gt;
By studying the specific translation strategies made by predecessors, the following steps are also adopted in this paper: first, the translation strategies are determined according to the text type, such as faithful reproduction of the original information or rewriting; Secondly, the translation strategies are determined according to the potential purpose of the translation, such as paraphrasing or deleting poems, generalizing specific expressions and transliterating proper nouns. Thirdly, the translation strategies are defined with the tourists as the center, such as adding logical words, adding explanatory information and using plain English.&lt;br /&gt;
The Summer Palace epitomizes the philosophy and practice of Chinese garden design, which played a key role in the development of this cultural form throughout the east. It is an outstanding expression of the creative art of Chinese landscape garden design, incorporating the works of humankind and nature in a harmonious whole, which was once the most important place of political and diplomatic activity for the supreme rulers of the late Qing dynasty. Based on three aspects of the Summer Palace, namely, garden culture, historical culture and religious culture, this paper discusses the problems existing in the English translation of the scenic spots of the Summer Palace and puts forward corresponding countermeasures under the guidance of the skopos rule of functionalist translation theory.&lt;br /&gt;
===Approach===&lt;br /&gt;
By studying the specific translation strategies made by predecessors, the following steps are also adopted in this paper: first, the translation strategies are determined according to the text type, such as faithful reproduction of the original information or rewriting; Secondly, the translation strategies are determined according to the potential purpose of the translation, such as paraphrasing or deleting poems, generalizing specific expressions and transliterating proper nouns. Thirdly, the translation strategies are defined with the tourists as the center, such as adding logical words, adding explanatory information and using plain English.&lt;br /&gt;
The Summer Palace epitomizes the philosophy and practice of Chinese garden design, which played a key role in the development of this cultural form throughout the east. It is an outstanding expression of the creative art of Chinese landscape garden design, incorporating the works of humankind and nature in a harmonious whole, which was once the most important place of political and diplomatic activity for the supreme rulers of the late Qing dynasty. Based on three aspects of the Summer Palace, namely, garden culture, historical culture and religious culture, this paper discusses the problems existing in the English translation of the scenic spots of the Summer Palace and puts forward corresponding countermeasures under the guidance of the skopos rule of functionalist translation theory.&lt;br /&gt;
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===3.1 Garden culture.===&lt;br /&gt;
The Summer Palace is a classical garden famous for its magnificence and beauty. There are many temples in the garden, and the green waves of kunming lake ripple. Landscape and humanities complement each other, containing rich natural and cultural information, reflecting the characteristics of Chinese classical gardens. The garden cultural features of the three scenic spots, namely, the hall of clouds, the foxiang pavilion and the Wenchang courtyard, are particularly outstanding. Therefore, this paper takes these three scenic spots as examples to discuss the Chinese-English translation of the introduction of the Summer Palace.&lt;br /&gt;
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(1)排云殿、佛香阁景区是颐和园内建筑布局最完整、建筑形式最丰富的中轴建筑群体，殿、阁、廊、亭、桥、坊、碑等建筑约两万平方米。从临水的云辉玉宇牌坊至排云门、排云殿、德辉殿、佛香阁、众香界、智慧海、层层升高，排列有序，气势巍峨，金碧辉煌，将园林、寺庙和宫殿融为一体。&lt;br /&gt;
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Translation：This scenic spot covers an area of 20,000 square meters with an assortment of buildings such as palaces, towers, corridors, pavilions, walkways, bridges, archways and inscribed stone steles. It comprises a well-arranged group of structures, all diverse in style, located in the center of the Summer Palace garden. This complex of structures, ranging from the Glowing Clouds and Holy Land Archway on the waterside, the Gate that Dispels the Clouds, the Hall that Dispels the Clouds, the Hall of Moral Glory, and the Tower of the Fragrance of the Buddha, to the Realm of Popular Fragrance and the Sea of Wisdom Temple, were built in an orderly manner running from the foot of the hill to its top, with gardens, temples and palaces harmoniously integrated into the whole.&lt;br /&gt;
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Analysis：As we all know, the design style of ancient Chinese buildings is beautiful with &amp;quot;symmetry&amp;quot;. The &amp;quot;axis&amp;quot; in hall of clouds scenic spot refers to the layout of the Summer Palace from far to near and from top to bottom, which cannot be simply understood as the center. Simply translating &amp;quot;axis&amp;quot; as &amp;quot;center&amp;quot; cannot express accurately the meaning of &amp;quot;symmetry&amp;quot;. Comparatively speaking, &amp;quot;axis&amp;quot; can better reflect the architectural style of the scenic spot.&lt;br /&gt;
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(2)从临水的云辉玉宇牌坊至排云门、排云殿、德辉殿、佛香阁、众香界、智慧海，层层升高，排列有序，气势巍峨，金碧辉煌，将园林、寺庙和宫殿融为一体。&lt;br /&gt;
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Translation：These structures，including Glowing Clouds and Holy Land Archway at lake side，the Gate of Dispelling Clouds，the Hall of Dispelling Clouds，the Hall of moral Glory，and the Tower of Buddhist Incense，the Realm of Multitudinous Fragrance and the Sea of Wisdom Temple，were built in an orderly manner ranging up the hill with gardens，temples and palaces harmoniously integrated. This manifests beauty，grace and splendor，reminiscent of the loftingness and grandeur of a once mighty empire.&lt;br /&gt;
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Analysis：In terms of the characteristics of language, Chinese emphasizes parataxis and four-word antithesis. When describing and naming scenes, gorgeous words and poetic words are generally chosen in Chinese. But, English emphasizes hypotaxis, on the other hand, puts more emphasis on reproducing the original appearance of things, using simple and natural words and preferring direct description. In sign translation, the English translation pays more attention to accurate, concise and lively. In the above paragraph, &amp;quot;层层升高，排列有序，将园林、寺庙和宫殿融为一体&amp;quot; is an introduction to the architectural features of foxiang pavilion, in order to make tourists have a clear understanding of the overall layout and architectural features of the scenic spot. This information is essential and can be translated into detail. However, &amp;quot;气势巍峨，金碧辉煌&amp;quot; focuses on the subjective description, and its explicit translation needs more complicated words. If this paragraph is translated in detail, it is easy to drag the content and make the key information vague. Therefore, the deletion of the English translation of this sentence will not affect the basic information of the original text.&lt;br /&gt;
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(3)主阁（文昌阁）两层，内供铜铸文昌帝君和仙童、铜骑。文昌阁与万寿山西供武圣的宿云檐象征“文武辅弼”。&lt;br /&gt;
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Translation: A bronze statue of the God Wenchang, statues of gaeries, and a bronze steed were placed in the two-story pavilion. This tower is pared with the Tower of Cloud- Retaining Eaves, located to the west of the Longevity Hill, in which a statue of the Martial God was placed. The God Wenchang and the Martial God together symbolize reining of the emperor supported by scholars and warriors.&lt;br /&gt;
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Analysis: Two questions arise in Chinese-English translation. First, there are two translations of wenchang pavilion in the translation: pavilion and tower, which appear in the same sign. Two different translations of the same scenic spot name tend to make foreign tourists think that it refers to different scenic spots, which may cause difficulty in understanding. Second, the translation of Wenchang pavilion into &amp;quot;Wenchang Tower&amp;quot; is against the actual architectural characteristics. In fact, the meanings of &amp;quot;pavilion&amp;quot; and &amp;quot;tower&amp;quot; have both similarities and differences. According to the Oxford dictionary, Tower means &amp;quot;a tall narrow building or part of a building, especially of a church or castle&amp;quot;, mainly referring to the tower-shaped part of a building, usually a tall and slender structure, such as the Eiffel Tower. &amp;quot;Pavilion&amp;quot; means &amp;quot;a building that is meant to be more beautiful than usual, built as a shelter in a park or used for concerts and dances&amp;quot;. The top structure of the pavilion usually has rectangles, triangles, hexagons, etc. The common feature of them is that the top is supported by columns without walls. From the external structure of Wenchang pavilion, its bottom is solid and its top is supported by columns. Therefore, the pavilion can accurately reflect the architectural characteristics of Wenchang pavilion, so I think it should be translated as Wenchang pavilion.&lt;br /&gt;
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===3.2 Historical culture. ===&lt;br /&gt;
The accurate Chinese-English translation of the introduction of the Summer Palace not only enables foreign tourists to understand the characteristics of Chinese gardens, but also enables foreign tourists to understand the historical knowledge of a specific period of China. However, the Chinese-English translation of the Summer Palace still has problems in accurately conveying the historical background of the scenic spots, such as the English translation of Wenchang pavilion scenic spot:&lt;br /&gt;
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(4)此景区始建于清乾隆十五年，一八六零年被英法联军烧毁，光绪时按原样重建。阁结构为八面三层四重檐，通高36.44米，耸立于20米高的石造台基上，气势雄伟，是颐和园全园的构图中心。阁内供奉有铜铸金裹千手观世音菩萨站像。像高五米，重万斤，为明代万历年间所造，在八根贯通全阁上下的承重铁梨木擎天柱的衬托下，美妙庄严，熠熠生辉，有极高的文物和艺术价值。&lt;br /&gt;
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Translation: The Wenchang tower was first built in 1750 and rebuilt under Emperor Guangxu after  the Anglo-French Allied Forces builted it down in 1860. The octahedral tower has three stories with four-layered eaves, altogether 36.44 meters high. Standing upright on a 20 meter-high stone foundation, it constitutes the center of the Summer Palace landscape and serves to accentuate its magnificence. A statue of the thousand-handed Guanshiyin Buddha, cast in bronze and gilded with gold, stands inside the tower. The statue, five meters high and five tons in weight, was cast during the reign of Emperor Wanli of the Ming Dynasty. Set off by the eight imposing pillars which support the tower, it glows with beauty, grandeur and brilliance. Its historical, cultural and artistic value can hardly be overstated.&lt;br /&gt;
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Analysis: “始建于乾隆十五年”only was translated into “was first built in 1750” and the “光绪年间重建” was translated into “rebuilt under Emperor Guangxu”.The first sentence does not show that 1750 was the fifteenth year of the reign of emperor Qianlong, and the second sentence does not give foreign visitors the exact date of the reign of emperor Guangxu. The change of time concept and the disunity of expression easily make foreign tourists feel confused. Therefore, the translation of the time and the historical dynasties should be accurate and meticulous, and the supplementary method should be used to not only describe the dynasties clearly, but also supplement the corresponding years, so as to achieve the standardization of the translation. In this way, foreign tourists can not only be clear about the time of the event, but also understand the Chinese historical dynasties. Consider as follows: the Wenchang Pavilion was first built in 1750 during Emperor Qianlong’s reign（1735- 1795）and rebuilt in 1886 under Emperor Guangxu（1875- 1908）after the Anglo- French Allied Forces burned it down in 1860.&lt;br /&gt;
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===3.3 Religious culture. ===&lt;br /&gt;
Many scenic spots in the Summer Palace have a strong buddhist atmosphere. While visiting the scenic spots, foreign tourists can understand the profound buddhist culture. Wenchang pavilion in the Summer Palace is the representative of Chinese religious culture.&lt;br /&gt;
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(5)主阁两层，内供铜铸文昌帝君和仙童、铜特。文昌阁与万寿山西供武圣的宿云檐象征“文武辅弼”。&lt;br /&gt;
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Translation: A bronze statue of the god，Wenchang，and statues of two followers，the celestial boy，and the bronze steed，were placed in the two- storey pavilion. This tower is pared with the tower of Cloud- Retaining Eaves，located to the west of the Longevity Hill，in which a statue of the Martial God was placed. The two towers symbolize the support by both scholars and warriors to the ruling emperor.&lt;br /&gt;
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Analysis: It is well known that westerners believe in theism, which refers to god as supreme . In Chinese religious culture, people believe in atheism and do not believe in the existence of god. Therefore, it is inappropriate to translate &amp;quot;文昌帝军&amp;quot; and &amp;quot;武圣&amp;quot; into &amp;quot;the god, Wenchang&amp;quot; and &amp;quot;the Martial god&amp;quot; in the translation. In fact, the &amp;quot;文昌帝军&amp;quot; was Zhang yu, an emperor of Shu of Ning kang (374). And &amp;quot;武圣&amp;quot; refers to Guan yu in history. Therefore, the simple translation of  &amp;quot;God&amp;quot; is not in line with the traditional Chinese culture, which will not only cause western tourists to misunderstand that Chinese religious tradition also believes in God, but also fail to convey Chinese historical allusions and relevant historical figures. In contrast, if &amp;quot;文昌帝军&amp;quot; is translated as &amp;quot;the emperor, Wenchang&amp;quot; and &amp;quot;武圣&amp;quot; is translated as &amp;quot;the Martial Master (Guanyu)&amp;quot;, it can more faithfully convey the history and religious culture contained in the source language. &lt;br /&gt;
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===4. Conclusion===&lt;br /&gt;
To sum up, Under the guidance of the skopos rule of functionalist translation theory, translators should have a cross-cultural awareness, fully understand the reading psychology and cultural appreciation needs of target language readers, and use effective translation strategies and methods to achieve the purpose of tourism text translation. Functionalist approach has made a pioneering contribution to the translation of non-literary genres. Functional translation effectively eliminates the disadvantages of traditional word-for-word translation, improves the efficiency of translation, and helps readers to grasp the meaning of the original text.&lt;br /&gt;
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To sum up, Under the guidance of the skopos rule of functionalist translation theory, translators should '''have cross-cultural awareness''', fully understand the reading psychology and cultural appreciation needs of target language readers, and use effective translation strategies and methods to achieve the purpose of tourism text translation. Functionalist approach has made a pioneering contribution to the translation of non-literary genres. Functional translation effectively eliminates the disadvantages of traditional word-for-word translation, improves the efficiency of translation, and helps readers to grasp the meaning of the original text.--[[User:Zhang Yinliu|Zhang Yinliu]] ([[User talk:Zhang Yinliu|talk]]) 14:18, 19 December 2020 (UTC)&lt;br /&gt;
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The importance of the translation of the Summer Palace lies in the profound garden culture, historical culture and religious culture. The English translation is not only helpful for international friends to know more about the garden characteristics of the Summer Palace, but also helpful for spreading the long history and profound culture of China. In order to attract target readers and promote traditional Chinese culture, it is not only necessary to carefully explore Chinese culture and history, but also to use the fuctionalist approach appropriately. &lt;br /&gt;
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Translation is a complicated process. Functionalist approach stresses the function of the discourse, the purpose of translation. In the practice of translation, if the translator can get rid of the bondage of the original equivalence, actively playing to subjective initiative, fully understanding the original text, depending on the purpose of discourse and adopting different translation strategies, the effect and readability of translation can be improved.&lt;br /&gt;
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Translation is a complicated process. Functionalist approach stresses the function of the discourse '''and''' the purpose of translation. In the practice of translation, if the translator can get rid of the bondage of the original equivalence, actively playing to subjective initiative, fully understanding the original text, depending on the purpose of discourse and adopting different translation strategies, the effect and readability of translation can be improved.--[[User:Zhang Yinliu|Zhang Yinliu]] ([[User talk:Zhang Yinliu|talk]]) 14:18, 19 December 2020 (UTC)&lt;br /&gt;
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===References===&lt;br /&gt;
Hans Vermmer, “Skopos and Commission in Translation Action”, in the Translation Studies Reader,ed. Chesterman, London and Network:Routledge,p.221-232. 2000.   &lt;br /&gt;
Munday, Jeremy. Introducing Translation Studies: Theories and Applications. Routledge publishing.2001.&lt;br /&gt;
Mason, “Textual Practices and Audience Design: and Interactive View of the Tourist Brrochure”. In Navarro et al.(eds.). Pragmatics at Work: The Translation of Tourist Literature. Bern: Perter Lang. 157-176.2004.&lt;br /&gt;
Nord, Text Analysis in Translation: Theory, Methodology and Didactic Application of a Model for Translation-Oriented Text Analysis. Beijing: Foreign Language Teaching and Research Press. 2006.&lt;br /&gt;
Nord, Translating as a purposeful activity. Shanghai: SFLE PRESS, 2001:27,30,32,65,245.&lt;br /&gt;
Reiss, Katharina. Translation Criticism: The Potentials &amp;amp; Limitations. Shanghai Foreign Language Education Press. Shanghai. 2004.&lt;br /&gt;
Venuti, Lawrence. The Translator’s Invisibility: A History Translation. Routledge.1995.&lt;br /&gt;
方梦之、毛忠明， 英汉—汉英应用翻译教程，上海: 上海外语教育出版社，2004.&lt;br /&gt;
金惠康，跨文化旅游翻译，中国对外翻译出版公司，2004.  &lt;br /&gt;
贾文波，应用翻译功能论，北京：中国对外翻译出版公司，2004&lt;br /&gt;
孙艺风，文化翻译的困惑与挑战，中国翻译，2016年第3期.  &lt;br /&gt;
王宏志，翻译与创作，北京大学出版社，2000.&lt;br /&gt;
吴自选，德国功能派翻译理论与 CNN 新闻短片英译，中国科技翻译, 2005.&lt;br /&gt;
谢天振，当代国外翻译理论，天津：南开大学出版社，2005.&lt;br /&gt;
张南峰，走出死胡同建立翻译学. 中国翻译, 1995.&lt;br /&gt;
仲伟合，钟钰. 德国的功能派翻译理论. 中国翻译, 1999.&lt;br /&gt;
张美芳，功能加忠诚—介评克里丝汀· 诺德的功能翻译理论.上海外国语大学学报, 2005.&lt;br /&gt;
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'''(文献引用格式有点不对，忘了空格）&lt;br /&gt;
===References===&lt;br /&gt;
Hans Vermmer, “Skopos and Commission in Translation Action”, in the Translation Studies Reader,ed. Chesterman, London and Network:Routledge,p.221-232. 2000.   &lt;br /&gt;
&lt;br /&gt;
Munday, Jeremy. Introducing Translation Studies: Theories and Applications. Routledge publishing.2001.&lt;br /&gt;
&lt;br /&gt;
Mason, “Textual Practices and Audience Design: and Interactive View of the Tourist Brrochure”. In Navarro et al.(eds.). Pragmatics at Work: The Translation of Tourist Literature. Bern: Perter Lang. 157-176.2004.&lt;br /&gt;
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Nord, Text Analysis in Translation: Theory, Methodology and Didactic Application of a Model for Translation-Oriented Text Analysis. Beijing: Foreign Language Teaching and Research Press. 2006.&lt;br /&gt;
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Nord, Translating as a purposeful activity. Shanghai: SFLE PRESS, 2001:27,30,32,65,245.&lt;br /&gt;
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Reiss, Katharina. Translation Criticism: The Potentials &amp;amp; Limitations. Shanghai Foreign Language Education Press. Shanghai. 2004.&lt;br /&gt;
&lt;br /&gt;
Venuti, Lawrence. The Translator’s Invisibility: A History Translation. Routledge.1995.&lt;br /&gt;
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方梦之、毛忠明， 英汉—汉英应用翻译教程，上海: 上海外语教育出版社，2004.&lt;br /&gt;
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金惠康，跨文化旅游翻译，中国对外翻译出版公司，2004.  &lt;br /&gt;
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贾文波，应用翻译功能论，北京：中国对外翻译出版公司，2004&lt;br /&gt;
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孙艺风，文化翻译的困惑与挑战，中国翻译，2016年第3期.  &lt;br /&gt;
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王宏志，翻译与创作，北京大学出版社，2000.&lt;br /&gt;
&lt;br /&gt;
吴自选，德国功能派翻译理论与 CNN 新闻短片英译，中国科技翻译, 2005.&lt;br /&gt;
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谢天振，当代国外翻译理论，天津：南开大学出版社，2005.&lt;br /&gt;
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张南峰，走出死胡同建立翻译学. 中国翻译, 1995.&lt;br /&gt;
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仲伟合，钟钰. 德国的功能派翻译理论. 中国翻译, 1999.&lt;br /&gt;
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张美芳，功能加忠诚—介评克里丝汀· 诺德的功能翻译理论.上海外国语大学学报, 2005.&lt;br /&gt;
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'''--[[User:Zhang Yinliu|Zhang Yinliu]] ([[User talk:Zhang Yinliu|talk]]) 14:18, 19 December 2020 (UTC)&lt;br /&gt;
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==Contrast between Literal Translation and Free Translation	张雪仪	Zhang Xueyi==&lt;br /&gt;
&amp;lt;center&amp;gt;张雪仪 202020080668&amp;lt;/center&amp;gt;&lt;br /&gt;
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=== Abstract===&lt;br /&gt;
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The contrast between literal translation and free translation has always been the most discussed problem in translation studies. To compare these two translation methods, the basic point is to understand the purpose of translation. The ultimate goal of translation is to help different cultures communicate better, so that people who speak different languages can understand each other’s cultures. Due to the differences in social, historical and cultural backgrounds between languages, how to choose between the two translation strategies of literal translation and free translation requires translators to weigh the strengths and weaknesses of these two methods. This essay mainly compares literal translation and free translation between Chinese and Russian to help students and translators translate better.&lt;br /&gt;
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The contrast between literal translation and free translation has always been the most discussed issue in translation studies. The ultimate goal of translation is to help different cultures communicate better, so that people of different languages can understand each other's culture. Due to the differences of social, historical and cultural backgrounds between languages, translators need to compare the two methods and weigh their advantages and disadvantages. This paper mainly analyzes the literal translation and free translation of Russian Idioms and proverbs in the process of Chinese translation, and explores the differences of different idioms translated by different methods, so as to help students and translators better carry out translation practice.--[[User:Zhou Shuyao|Zhou Shuyao]] ([[User talk:Zhou Shuyao|talk]]) 05:34, 19 December 2020 (UTC)&lt;br /&gt;
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=== Key words ===&lt;br /&gt;
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Translation strategies, Literal translation,Free translation &lt;br /&gt;
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=== 摘要 ===&lt;br /&gt;
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直译与意译间的对比一直是翻译学中讨论度最高的问题。想要将这两种翻译方法进行对比，最基本的一点就是要明白翻译的目的是什么。翻译的最终目的在于帮助不同文化进行更好的交流，让使用不同语种的人相互理解彼此的文化。由于语种间社会历史文化背景的差异，如何在直译和意译这两种翻译策略中做出选择，就需要译者衡量两种方法的利弊。本文主要对汉语和俄语间直译和意译进行比较，以帮助学生和译者更好地进行翻译实践。&lt;br /&gt;
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直译与意译间的对比一直是翻译学中讨论度最高的问题。翻译的最终目的在于帮助不同文化进行更好的交流，让使用不同语种的人相互理解彼此的文化。由于语种间社会历史文化背景的差异，需要译者对这两种方法进行比较，衡量利弊。本文主要分析俄语成语和谚语在汉译过程中的直译和意译，探寻不同成语用不同方法翻译所产生的差别在以帮助学生和译者更好地进行翻译实践。--[[User:Zhou Shuyao|Zhou Shuyao]] ([[User talk:Zhou Shuyao|talk]]) 05:33, 19 December 2020 (UTC)&lt;br /&gt;
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=== 关键词 ===&lt;br /&gt;
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翻译策略，直译，意译&lt;br /&gt;
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=== Introduction ===&lt;br /&gt;
The former Soviet Union translation theorist Fedorov believes that “translation is an activity of expressing what has been used in one language as a unified whole of content and form, and accurately and completely expressed in another language.” Translation theorist Barhudaro The husband also wrote: &amp;quot;Translation is the process of changing the coherent discourse of one language into the coherent discourse of another language while maintaining its content and meaning.&amp;quot; Mr. Lu Xun once advocated &amp;quot;literal translation.&amp;quot; He said: &amp;quot;Translation must take both sides into consideration: (Cai Yi, Duan Jinghua 2000)&lt;br /&gt;
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Fedorov, a translation theorist of the former Soviet Union, believes that &amp;quot;translation is an activity that expresses something that has been expressed in one language as a unity of content and form, and expressed accurately and completely in another language.&amp;quot; Balhudarov, a translation theorist, once wrote: &amp;quot;translation is the process of changing the coherent discourse of one language into the coherent discourse of another language while maintaining its content, that is, meaning.&amp;quot; Lu Xun once advocated literal translation. He said, &amp;quot;translation must take both sides into consideration;(Cai Yi, Duan Jinghua 2000)--[[User:Zhou Shuyao|Zhou Shuyao]] ([[User talk:Zhou Shuyao|talk]]) 05:53, 19 December 2020 (UTC)&lt;br /&gt;
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One is of course to be easy to understand, the other is to maintain the fullness of the original.&amp;quot; The Chinese translator Zhang Peiji summed up the translation standard as &amp;quot;faithful and smooth.&amp;quot; To some extent, translation is a process of thinking re-creation, so certain standards and principles must be followed when translating. Translation standard is a measure of the quality of translation, it can guide translation practice, and it is a principle that must be followed in translation activities. (Gong Linjing 2015,192)&lt;br /&gt;
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One is of course to be easy to understand, the other is to maintain the fullness of the original.&amp;quot; The Chinese translator Zhang Peiji summed up the translation standard as &amp;quot;faithful and smooth.&amp;quot; To some extent, translation is a process of thinking re-creation, so certain standards and principles must be followed when translating. Translation standard is a measure of the quality of translation, it can guide translation practice, and it is a principle that must be followed in translation activities. (Gong Linjing 2015,192)--[[User:Zhou Shuyao|Zhou Shuyao]] ([[User talk:Zhou Shuyao|talk]]) 05:53, 19 December 2020 (UTC)&lt;br /&gt;
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Although each scholar has different opinions on the standard of translation, the final result he pursues is the same: the original text and the translated text express the same effect.In order to achieve the same effect, different translation methods have been derived from the translator's translation practice. The most basic and common ones are literal translation and free translation.(Gong Linjing 2015,192)&lt;br /&gt;
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Although each scholar has different opinions on the standard of translation, the final result he pursues is the same: the original text and the translated text express the same effect.In order to achieve the same effect, different translation methods have been derived from the translator's translation practice. The most basic and common ones are literal translation and free translation.(Gong Linjing 2015,192)--[[User:Zhou Shuyao|Zhou Shuyao]] ([[User talk:Zhou Shuyao|talk]]) 05:53, 19 December 2020 (UTC)&lt;br /&gt;
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Russian idioms and proverbs, as the crystallization of the wisdom of the Russian nation and the immortal fossils in the Russian language, are one of the best materials for the Chinese to understand and learn Russian history, culture, and society. Due to different geographical, historical and economic conditions, the Russian and Chinese ethnic groups have formed different cultural backgrounds. These distinctive backgrounds and characteristics have caused great difficulties for Chinese learning Russian to further understand Russia. This essay will take the Chinese translation of Russian idioms and proverbs as examples to study the basic definitions of literal translation and free translation, their respective advantages and disadvantages, and their relationships, in order to help students who learn Russian understand literal translation and free translation.(Gong Linjing 2015,192)&lt;br /&gt;
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Russian Idioms and proverbs, as the crystallization of Russian national wisdom and immortal fossils in Russian, are one of the best materials for China to understand and learn Russian history, culture and society. Due to different geographical, historical and economic conditions, Russian and Chinese have formed different cultural backgrounds, which have caused great difficulties for Russian people to further understand Russia. This paper will take the Chinese translation of Russian Idioms and proverbs as an example to study the basic definitions of literal translation and free translation, their advantages and disadvantages, and their relationship, so as to help Russian students better understand literal translation and free translation.(Gong Linjing 2015,192)--[[User:Zhou Shuyao|Zhou Shuyao]] ([[User talk:Zhou Shuyao|talk]]) 05:42, 19 December 2020 (UTC)&lt;br /&gt;
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=== Controversy between literal translation and free translation===&lt;br /&gt;
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In different periods and different countries, people's views on translation theory have changed a lot, but the debate about literal translation and free translation has always existed.&lt;br /&gt;
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In different periods and countries, people's views on translation theory have changed a lot, but the debate on literal translation and free translation has always existed.--[[User:Zhou Shuyao|Zhou Shuyao]] ([[User talk:Zhou Shuyao|talk]]) 05:51, 19 December 2020 (UTC)&lt;br /&gt;
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==== Controversy in Chinese Translation Community====&lt;br /&gt;
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Which is better, literal translation or free translation, has always been divided in Chinese translation community. This kind of controversy first occurred during the translation of Buddhist scriptures written in Sanskrit into Chinese. During the Wei, Jin, Southern and Northern Dynasties, the famous monk Dao An was the earliest representative of the literal translation in China. Dao An himself did not understand Sanskrit and was afraid that paraphrase would lose the maxims in Buddhist scriptures, so he advocated strict literal translation. (Wang Zhuan 1996,55)&lt;br /&gt;
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Which is better, literal translation or free translation, has always been divided in Chinese translation community. This kind of controversy first occurred during the translation of Buddhist scriptures written in Sanskrit into Chinese. During the Wei, Jin, Southern and Northern Dynasties, the famous monk Dao An was the earliest representative of the literal translation in China. Dao An himself did not understand Sanskrit and was afraid that paraphrase would lose the maxims in Buddhist scriptures, so he advocated strict literal translation. (Wang Zhuan 1996,55)--[[User:Zhou Shuyao|Zhou Shuyao]] ([[User talk:Zhou Shuyao|talk]]) 05:51, 19 December 2020 (UTC)&lt;br /&gt;
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However, Kumarajiva from India, who was invited by Dao An, advocated free translation. On the basis of fully understanding the original thought content and artistic style, the translation was appropriately deleted. Although Dao An and Kumarajiva are also engaged in the translation of Buddhist scriptures, the translation methods they adhere to were very different. This divergence continued into the Tang Dynasty. Xuan Zang, as the most famous monk in the Tang Dynasty, proposed a translation method that was completely different from the previous two translation methods—a combination of literal translation and free translation.(Wang Zhuan 1996,55)&lt;br /&gt;
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However, Kumarajiva from India, who was invited by Dao An, advocated free translation. On the basis of fully understanding the original thought content and artistic style, the translation was appropriately deleted. Although Dao An and Kumarajiva are also engaged in the translation of Buddhist scriptures, the translation methods they adhere to were very different. This divergence continued into the Tang Dynasty. Xuan Zang, as the most famous monk in the Tang Dynasty, proposed a translation method that was completely different from the previous two translation methods—a combination of literal translation and free translation.(Wang Zhuan 1996,55)--[[User:Zhou Shuyao|Zhou Shuyao]] ([[User talk:Zhou Shuyao|talk]]) 05:51, 19 December 2020 (UTC)&lt;br /&gt;
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The contradiction between modern literal translation and free translation may be due to the different understanding of these two translation methods. The translator Sun Guiding believes that: literal translation is stuck to the structure of the original text and does not consider whether the Chinese is fluent and natural; while free translation is to use the inherent Chinese idioms and the most natural words and sentences as much as possible to achieve the effect of conveying the meaning of the original text. (Feng Shujian 1993,44)&lt;br /&gt;
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The contradiction between literal translation and free translation may be due to the different understanding of the two translation methods. Sun guiding, a translator, believes that literal translation is rigidly based on the structure of the original words and sentences, without considering whether the Chinese language is smooth or natural; while free translation is to use Chinese idioms and the most natural words and sentences as far as possible in addition to specialized subject nouns, so as to achieve the effect of transmitting the meaning of the original text.(Feng Shujian 1993,44)--[[User:Zhou Shuyao|Zhou Shuyao]] ([[User talk:Zhou Shuyao|talk]]) 05:51, 19 December 2020 (UTC)&lt;br /&gt;
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Former President of Wuhan University, Du Zuozhou, believes that literal translation means translating word by word according to the original text; free translation means translating according to the meaning of the original text, and the translation is more suitable for the common grammar of the translated language. The educator Meng Xiancheng believes that literal translation is a translation technology with different degrees of correctness. Literal translation is a translation that is faithful and correct according to the original text; free translation is a translation that summarizes the original meaning. (Feng Shujian 1993,44)&lt;br /&gt;
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Du zuozhou, former president of Wuhan University, believes that literal translation is to translate word for word according to the original text; free translation is to translate according to the original meaning, and the translation is more appropriate to the common grammar of the translated language. Meng Xiancheng, an educator, believes that literal translation is a translation with different technical correctness. Literal translation refers to faithful and correct translation according to the original text; free translation refers to the translation of the general idea of the original text.(Feng Shujian 1993,44)--[[User:Zhou Shuyao|Zhou Shuyao]] ([[User talk:Zhou Shuyao|talk]]) 05:51, 19 December 2020 (UTC)&lt;br /&gt;
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Zhu Guangqian said: &amp;quot;The so-called 'literal translation' refers to the literal translation based on the original text. Every word and sentence are translated word by word, and the order of the words and sentences is not changed. The so-called ‘paraphrasing’ is to express the meaning of the original text in Chinese, and it does not have to be completely based on the literal and order of the original text. &amp;quot; Feng Shize believes that &amp;quot;translation and literal translation are up-and-down relations; between literal translation and free translation is the left-right relationship. If the reversal of word order and other methods are free translation, then the definition of free translation is equal to translation, and there is no other translation besides free translation. &amp;quot;(Feng Shize 1981,10) &lt;br /&gt;
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Zhu Guangqian said, &amp;quot;literal translation&amp;quot; refers to the literal translation of the original text. Every word is translated one word at a time, and the order of each sentence is not changed. The so-called &amp;quot;free translation&amp;quot; is to express the meaning of the original text in Chinese, without having to follow the literal and sequential order of the original text. &amp;quot; Feng Shize thinks that &amp;quot;the relationship between translation and literal translation is up-down, while that between literal translation and free translation is left-right relationship. They are involved in each other and must become a system. If the word order is reversed as free translation, the definition of free translation is equal to translation, and there is no other translation to speak of except free translation. &amp;quot;(Feng Shize 1981,10) --[[User:Zhou Shuyao|Zhou Shuyao]] ([[User talk:Zhou Shuyao|talk]]) 05:51, 19 December 2020 (UTC)&lt;br /&gt;
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The principle of &amp;quot;faithfulness, expressiveness and elegance&amp;quot; put forward by the modern Chinese translator Yan Fu has long been the basic principle guiding translation practice. A large number of beginners who learn foreign languages regard &amp;quot;faithfulness and expressiveness&amp;quot; as translations that are completely faithful to the original text when translating. In fact, Yan Fu's translation requirements are a guiding principle for translation based on semantics. When translating, if the structure and expression of the original text cannot be directly adopted, the sentence structure and expression must be changed according to the characteristics of the target language. (Feng Shujian 1993,44)&lt;br /&gt;
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The principle of &amp;quot;faithfulness, expressiveness and elegance&amp;quot; put forward by the modern Chinese translator Yan Fu has long been the basic principle guiding translation practice. A large number of beginners who learn foreign languages regard &amp;quot;faithfulness and expressiveness&amp;quot; as translations that are completely faithful to the original text when translating. In fact, Yan Fu's translation requirements are a guiding principle for translation based on semantics. When translating, if the structure and expression of the original text cannot be directly adopted, the sentence structure and expression must be changed according to the characteristics of the target language. (Feng Shujian 1993,44)--[[User:Zhou Shuyao|Zhou Shuyao]] ([[User talk:Zhou Shuyao|talk]]) 05:51, 19 December 2020 (UTC)&lt;br /&gt;
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In addition, there are many differences between the original language and the target language in the word order, grammar, variants and rhetoric in the translation process. In many cases, there is no direct corresponding word. This requires the translator to consider the actual semantics, background and other factors. On the basis of the original meaning of the sentence, use an appropriate method to convey the content of the original work and reproduce the language style of the original work.(Feng Shujian 1993,44)&lt;br /&gt;
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Moreover, in the process of translation, there are many differences between the source language and the target language in terms of word order, grammar, form change and rhetoric. In many cases, there is no direct corresponding word. Therefore, the translator should consider the actual semantic, background and other factors to convey the content of the original text and reproduce the language style of the original work in an appropriate way without losing the original meaning of the sentence.(Feng Shujian 1993,44)--[[User:Zhou Shuyao|Zhou Shuyao]] ([[User talk:Zhou Shuyao|talk]]) 05:51, 19 December 2020 (UTC)&lt;br /&gt;
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==== Controversy in Soviet Translation Community====&lt;br /&gt;
In the Soviet Union, under the influence of ideology, Western translation theories could not be widely disseminated, but within the Soviet Union, translation theories similar to Western translation theories have been formed and developed, and two main schools of translation theory have been further differentiated — Linguistic Translation School and Literary Translation School. To a certain extent, the dispute between these two schools also reflects the debate on literal translation and free translation among translators' groups. (Xie Yuncai 2002,99)&lt;br /&gt;
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In the Soviet Union, under the influence of ideology, western translation theories could not be widely spread. However, within the Soviet Union, translation theories similar to those of western translation theories were formed and developed, and two major translation theory schools, language school and literary school, were further divided. To some extent, the debate between the two schools reflects the debate between translators' groups on literal translation and free translation.(Xie Yuncai 2002,99)--[[User:Zhou Shuyao|Zhou Shuyao]] ([[User talk:Zhou Shuyao|talk]]) 05:51, 19 December 2020 (UTC)&lt;br /&gt;
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In terms of the principles or standards of translation, the linguistic translation school believes that an ideal translation should be an equivalent translation, first of all linguistic correspondence, that is, the translation should have the same meaning as the corresponding language or discourse unit of the original; the literary translation school believes that translation pursues artistic correspondence, and linguistic correspondence must be subordinate to artistic correspondence. Therefore, it proposes that the aesthetic standards of translation should reproduce the artistic reality reflected by the unity of the original content and form. (Xie Yuncai 2002,99)&lt;br /&gt;
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In terms of the principles or standards of translation, the linguistic translation school believes that an ideal translation should be an equivalent translation, first of all linguistic correspondence, that is, the translation should have the same meaning as the corresponding language or discourse unit of the original; the literary translation school believes that translation pursues artistic correspondence, and linguistic correspondence must be subordinate to artistic correspondence. Therefore, it proposes that the aesthetic standards of translation should reproduce the artistic reality reflected by the unity of the original content and form. (Xie Yuncai 2002,99)--[[User:Zhou Shuyao|Zhou Shuyao]] ([[User talk:Zhou Shuyao|talk]]) 05:51, 19 December 2020 (UTC)&lt;br /&gt;
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The characteristic is to use images to translate images, that is, to create the same image in different languages. In 1953, Andrei Venediktovich Fedorov, the leader of the linguistic translation school, published his work &amp;quot;Summary of Translation Theory&amp;quot;, which was the first monograph of the Soviet Union to study translation theory from the perspective of linguistics. The author proposes that translation theory is a branch of linguistics. Since the translation of any genre work must rely on the comparison of two languages, translation problems can only be solved in the field of language. (Xie Yuncai 2002,99)&lt;br /&gt;
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The characteristic is to use images to translate images, that is, to create the same image in different languages. In 1953, Andrei Venediktovich Fedorov, the leader of the linguistic translation school, published his work &amp;quot;Summary of Translation Theory&amp;quot;, which was the first monograph of the Soviet Union to study translation theory from the perspective of linguistics. The author proposes that translation theory is a branch of linguistics. Since the translation of any genre work must rely on the comparison of two languages, translation problems can only be solved in the field of language. (Xie Yuncai 2002,99)--[[User:Zhou Shuyao|Zhou Shuyao]] ([[User talk:Zhou Shuyao|talk]]) 05:51, 19 December 2020 (UTC)&lt;br /&gt;
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Fedorov’s view was refuted by the literary translation school represented by Ivan Alexandrovich Kashikin. The literary translation school believes that aesthetic issues are the core of literary translation theory, and translation should be regarded as a form of language art, that is, translation should be studied from the perspective of literature and art. In fact, the literary translation school emphasizes the translation of literary and artistic works, which belongs to the specific translation theory; while the research of the linguistic translation school focuses on the general translation theory, that is, the translation of all thematic works including literary works. The dispute between the two major translation theory schools of Russia and the Soviet Union provides another perspective for Chinese translators to explore the relationship between literal translation and free translation.(Xie Yuncai 2002,99)&lt;br /&gt;
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However, feodorov's view was refuted by the literary school represented by Kashin. The school of literature and art holds that aesthetics is the core of literary translation theory, and translation should be regarded as a form of language art, that is, translation should be studied from the perspective of literature and art. As a matter of fact, literature and art school emphasizes the translation of literary works, which belongs to the specific translation theory, while the study of language school focuses on the general translation theory, that is, the translation of works of all subjects including literary works. The debate between linguistic school and literary school provides another perspective for Chinese translators to explore the relationship between literal translation and free translation.(Xie Yuncai 2002,99)--[[User:Zhou Shuyao|Zhou Shuyao]] ([[User talk:Zhou Shuyao|talk]]) 05:51, 19 December 2020 (UTC)&lt;br /&gt;
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=== The application of literal translation and free translation in the Chinese translation of Russian idioms ===&lt;br /&gt;
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The idioms of different nationalities are the most dynamic and expressive units at the lexical level in different languages, and they are also the units that can best reflect the characteristics of national culture in languages. The number of Russian idioms is extremely rich, it records and reflects all aspects of Russian national life. (Feng Yongmei 1999,97)&lt;br /&gt;
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Idioms of different nationalities are not only the most dynamic and expressive units in different languages, but also the units that can best reflect the characteristics of national culture. The number of Russian idioms is extremely rich, which records and reflects all aspects of Russian national life.(Feng Yongmei 1999,97)--[[User:Zhou Shuyao|Zhou Shuyao]] ([[User talk:Zhou Shuyao|talk]]) 05:59, 19 December 2020 (UTC)&lt;br /&gt;
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Due to the great differences in geographical locations and living customs between China and Russia, the national cultures reflected in Chinese and Russian must be quite different. One of the difficulties in idiom translation is its imagery. When translating idioms, both the meaning and the image must be considered. Although the Chinese and Russian cultures are very different, many of the commonalities of mankind, such as emotion and natural environment, have created conditions for mutual communication, mutual understanding and idiom translation between different languages.(Feng Yongmei 1999,97)&lt;br /&gt;
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Due to the great differences in geographical location and customs between China and Russia, the national culture reflected in Chinese and Russian must be quite different. One of the difficulties in idiom translation is its image. When translating idioms, both meaning and image should be considered. Although there are great cultural differences between China and Russia, many commonalities of human beings, such as emotion and natural environment, have created conditions for mutual communication, mutual understanding and idiom translation between different languages.(Feng Yongmei 1999,97)--[[User:Zhou Shuyao|Zhou Shuyao]] ([[User talk:Zhou Shuyao|talk]]) 05:59, 19 December 2020 (UTC)&lt;br /&gt;
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==== Literal translation ====&lt;br /&gt;
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Generally speaking, the literal translation method refers to a translation method that directly translates the original text without changing the language characteristics and style of the original text on the basis of fully respecting the meaning of the original text. Chinese translation of Russian idioms by literal translation method has the advantage of being able to intuitively and faithfully express the meaning of the idiom, maintaining the unique style and imagery of the original text: the disadvantage is that the translated idiom may not be understood by the Chinese because of China and Russia have different historical, cultural backgrounds, grammatical structures, and language world landscapes, which can easily form obstacles in the process of understanding.(Zhou Changyu 2010,34)&lt;br /&gt;
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In short, literal translation refers to a method of translating the original text directly without changing the language features and styles of the original text on the basis of fully respecting the meaning of the original text. The advantage of literal translation in Chinese translation of Russian idioms is that it can express the meaning of idioms intuitively and faithfully, and maintain the unique style and image of the original text. However, the disadvantage is that the translated idioms may not be understood by the Chinese people. This is because the historical and cultural background, grammatical structure and language world picture of Chinese and Russian are different, and it is easy to form obstacles in the process of understanding.(Zhou Changyu 2010,34)--[[User:Zhou Shuyao|Zhou Shuyao]] ([[User talk:Zhou Shuyao|talk]]) 05:59, 19 December 2020 (UTC)&lt;br /&gt;
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Translating Russian idioms by literal translation is further divided into two methods — literal translation into Chinese idioms and literal translation into non-idiom sentences or words.(Zhou Changyu 2010,34)&lt;br /&gt;
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Translating Russian idioms by literal translation is further divided into two methods — literal translation into Chinese idioms and literal translation into non-idiom sentences or words.(Zhou Changyu 2010,34)--[[User:Zhou Shuyao|Zhou Shuyao]] ([[User talk:Zhou Shuyao|talk]]) 05:59, 19 December 2020 (UTC)&lt;br /&gt;
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Literal translation of Russian idioms into Chinese idioms is suitable for the translation of Russian and Chinese idioms that are completely equivalent in image, structure, and meaning. The advantage is that it is easy to understand, and the translation is simple and fast.(Feng Yongmei 1999,98) E.g:&lt;br /&gt;
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домашнего  (своего) вора не убережешься. 家贼难防&lt;br /&gt;
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знать как свои пять пальцев (видно, как на ладони) 了如指掌&lt;br /&gt;
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подлить масла в огонь 火上浇油&lt;br /&gt;
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как рыба в воде 如鱼得水&lt;br /&gt;
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как ножом по сердцу 心如刀割&lt;br /&gt;
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как гром среди ясного неба 晴天霹雳&lt;br /&gt;
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на добро отвечают добром 善有善报&lt;br /&gt;
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копейка рубль бережет 财从细起&lt;br /&gt;
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мечты сбываются 梦想成真&lt;br /&gt;
&lt;br /&gt;
курица всегда следует за петухом 嫁鸡随鸡&lt;br /&gt;
&lt;br /&gt;
чего мало, того и дорого  (дорого то, что мало) 物以稀为贵(12)&lt;br /&gt;
&lt;br /&gt;
изгонять яд с помощью яда 以毒攻毒&lt;br /&gt;
&lt;br /&gt;
сидеть как на иголках 如坐针毡&lt;br /&gt;
&lt;br /&gt;
действия громче слов 事实胜于雄辩&lt;br /&gt;
&lt;br /&gt;
зарыть талант в землю 埋没人才&lt;br /&gt;
&lt;br /&gt;
висеть на волоске 千钧一发&lt;br /&gt;
&lt;br /&gt;
лить как из ведра 倾盆大雨(Wang Fuxiang, Wu Hanying 2014)&lt;br /&gt;
&lt;br /&gt;
The idioms in the above examples are completely equivalent in image, structure or meaning in Russian and Chinese, so Chinese idioms can be used for literal translation.  &lt;br /&gt;
&lt;br /&gt;
In fact, in the two languages, idioms with the same image, structure, and meaning are still in the minority, so it is more common to translate Russian idioms into non-Chinese idiom sentences or vocabulary. E.g:   &lt;br /&gt;
&lt;br /&gt;
настоять на своем 坚持自己&lt;br /&gt;
&lt;br /&gt;
камень с души свалился 心里的一块石头落地&lt;br /&gt;
&lt;br /&gt;
связать свою судьбу 把自己的命运与……相连&lt;br /&gt;
&lt;br /&gt;
быть на голову 高出一头&lt;br /&gt;
&lt;br /&gt;
вбивать в голову 往脑子里灌&lt;br /&gt;
&lt;br /&gt;
блеснуть метеором 像流星一样一闪而过&lt;br /&gt;
&lt;br /&gt;
с мизинец 小拇指这么大(Wang Fuxiang, Wu Hanying 2014)&lt;br /&gt;
&lt;br /&gt;
It is not difficult to find that the literal translation method can completely retain the original appearance of the idiom, show the common concept of human understanding of the world, and be beneficial to the cultural exchange between China and Russia.&lt;br /&gt;
&lt;br /&gt;
==== Free translation ====&lt;br /&gt;
&lt;br /&gt;
Another method commonly used in the Chinese translation of Russian idioms is free translation. Vocabulary gaps between languages are a common phenomenon, causing many difficulties for translation. There are many reasons for the vacancy of vocabulary, such as cultural reasons such as life experience, customs, religious beliefs, and linguistic reasons. There are roughly two ways to fill the language gaps — paraphrasing by replacing the image.and discarding images for free translation.(Feng Yongmei 1999,98)&lt;br /&gt;
&lt;br /&gt;
Another method commonly used in Chinese translation of Russian idioms is free translation. The lexical gap between languages is a common phenomenon, which causes many difficulties in translation. The causes of lexical vacancy are various, such as life experience, customs, religious beliefs and other cultural reasons, as well as linguistic reasons. There are generally two ways to fill the gaps in language: replacing images for free translation and abandoning images for free translation.(Feng Yongmei 1999,98)--[[User:Zhou Shuyao|Zhou Shuyao]] ([[User talk:Zhou Shuyao|talk]]) 05:59, 19 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
Russian says &amp;quot;Два медведя в одной берлоге не уживутся (一个洞穴容不下两头熊).&amp;quot;, while Chinese says &amp;quot;一山不容二虎&amp;quot;. Another example is &amp;quot;Скатерть со стола, и дружба сплыла (桌布一收，友谊不再) &amp;quot; in Russian, and &amp;quot;人走茶凉&amp;quot; in Chinese. This method belongs to paraphrasing by replacing the image.(Wang Fuxiang, Wu Hanying 2014)&lt;br /&gt;
&lt;br /&gt;
For the &amp;quot;harmony&amp;quot; of the translation, sometimes the translator has to choose to abandon the image for free translation. This is determined by both cultural and linguistic factors. Some linguistic features cannot be translated, and some idioms themselves are not strong enough. In this case, if Choosing a literal translation method will make readers confused.(Hu Guming, Shen Man 2011,18) E.g:&lt;br /&gt;
&lt;br /&gt;
Как женился я на вашей матери да взял вот этот домишко в приданье, так думал, что богаче да лучше меня и людей нет, фертом ходил! (А. Островский)&lt;br /&gt;
我和你母亲一成亲，就得到了这栋作为陪嫁的屋子，当时我心想，再没有人比我更富足、更好的了。我那时可真是双手叉腰、得意洋洋的。&lt;br /&gt;
&lt;br /&gt;
“Фертом” is the name of the letter “Ф” in ancient times.Its shape is like a person with hands on hips, and “фертом ходить” is an idiom evolved from body language. The cultural meaning of this idiom is &amp;quot;神气十足、得意洋洋、威武自负的样子&amp;quot; . The translation uses other idioms to complement the missing images in Chinese, clarify the meaning of the idiom, and convey the emotional color contained in the original idiom.(Hu Guming, Shen Man 2011,19)&lt;br /&gt;
&lt;br /&gt;
The idioms in a certain language are fixed and unchanged after long-term use and tempering, but the frequency of each idiom is different. Some idioms are universally used by the whole people, spread and used in a wide range, while some idioms are only used in written styles. In Russian literature, there are improved precise and interesting idioms. For example, in the works of the famous Russian fable writer Krylov, there are reduced idioms, such as “ медвежья услуга”（直译：熊的帮忙；意译：帮倒忙）， “ сильнее кошки зверя нет”（直译：再没有比猫更厉害的野兽；意译：井底之蛙）， “зелен как виноград”（直译：葡萄还很青；意译：年轻人没经验). When translating literature, translators often need to learn cultural background knowledge, replace the image in the original idiom, and then convey it to Chinese readers.(Wang Fuxiang, Wu Hanying 2014)&lt;br /&gt;
&lt;br /&gt;
Crows are a very common animal, usually black and gray. The description of crows in Chinese idioms is &amp;quot;the crows in the world are generally black（天下乌鸦一般黑）&amp;quot;. It can be seen that white crows are rare. However, &amp;quot;белая ворона&amp;quot; often appears in Russian literary works, as a metaphor for people who are different from the masses in terms of external characteristics or ideological qualities. In the Chinese and Russian concepts, the crow is a nasty animal. (Wang Fuxiang, Wu Hanying 2014) &lt;br /&gt;
&lt;br /&gt;
Although white crows are rare, this Russian idiom is usually derogatory, expressing disdain, contempt, or ridicule against the person. In Chinese, animal images are also used as a metaphor for &amp;quot;different people&amp;quot;, such as idioms that stand out from the crowd and phoenix feathers are rare. &amp;quot;Crane&amp;quot; and &amp;quot;phoenix&amp;quot; have always been regarded as precious and noble animals in traditional Chinese culture, so they cannot be compared with &amp;quot; Corresponding to &amp;quot;White Crow&amp;quot;, it is not suitable for translating &amp;quot;белая ворона&amp;quot;.Examples are as follows:(Wang Fuxiang, Wu Hanying 2014) &lt;br /&gt;
&lt;br /&gt;
Он замкнулся, не вдается в разговоры — вот вам и белая ворона.（Сталин)&lt;br /&gt;
直译：他不与人交往，不与人交流，真是一只白乌鸦。&lt;br /&gt;
意译：他不与人交往，不与人交流，真是与众不同。&lt;br /&gt;
&lt;br /&gt;
Боишься, что они среди нас белой вороной окажется. Недосягаемым экземпляром.(Кожевников В “Корни и крона”)&lt;br /&gt;
直译：你是担心他们会变成我们中间的白乌鸦，一个无法达到的例子。&lt;br /&gt;
意译：你是担心他们会变成我们中间标新立异，望尘莫及的人。&lt;br /&gt;
&lt;br /&gt;
Most Chinese who come into contact with Russian are students majoring in Russian. The Russian idioms we usually encounter appear in textbooks. These idioms are often used by the Russian public and are easily understood and accepted by the Chinese. E.g:(Wang Fuxiang, Wu Hanying 2014)&lt;br /&gt;
&lt;br /&gt;
В Тулу со свим самоваром не ездят.&lt;br /&gt;
直译：去图拉不用带自己的茶炊。&lt;br /&gt;
意译：多此一举&lt;br /&gt;
&lt;br /&gt;
Честь лучше бесчестья.&lt;br /&gt;
直译：尊重比不尊重好。&lt;br /&gt;
意译：礼多人不怪。&lt;br /&gt;
&lt;br /&gt;
словно горя с плеч&lt;br /&gt;
直译：把山从肩膀下卸下&lt;br /&gt;
意译：如释重负&lt;br /&gt;
&lt;br /&gt;
выеденного яйца не стоит&lt;br /&gt;
直译：一个空蛋壳不值钱&lt;br /&gt;
意译：鸡毛蒜皮，一文不值&lt;br /&gt;
&lt;br /&gt;
чужими руками жар загребать&lt;br /&gt;
直译：用别人的手将红炭火拨成一堆&lt;br /&gt;
意译：坐享其成，不劳而获&lt;br /&gt;
&lt;br /&gt;
ни рыба, ни мясо&lt;br /&gt;
直译：没有鱼也没有肉&lt;br /&gt;
意译：不三不四，不伦不类&lt;br /&gt;
&lt;br /&gt;
лучше синица в руках, чем журавль в небе&lt;br /&gt;
直译：天上的仙鹤不如手中的山雀&lt;br /&gt;
意译：远亲不如近邻&lt;br /&gt;
&lt;br /&gt;
На языке мед, а под лед&lt;br /&gt;
直译：嘴上甜得像蜂蜜，心里冷得像冰&lt;br /&gt;
意译：笑里藏刀&lt;br /&gt;
&lt;br /&gt;
И на солнце есть пятна&lt;br /&gt;
直译：太阳上也有黑点&lt;br /&gt;
意译：人无完人&lt;br /&gt;
&lt;br /&gt;
семь раз отмерь, один раз отрежь&lt;br /&gt;
直译：测量了七次后再剪裁&lt;br /&gt;
意译：三思而后行(Wang Fuxiang, Wu Hanying 2014)&lt;br /&gt;
&lt;br /&gt;
Using free translation to translate Russian idioms requires the translator to accurately understand the meaning of the original text, because cultural differences make it impossible to literally translate. Only through the translator can an unobstructed bridge between Russian idioms and Chinese idioms be built.(Wang Fuxiang, Wu Hanying 2014)&lt;br /&gt;
&lt;br /&gt;
=== The application of literal translation and free translation in the Chinese translation of Russian proverbs ===&lt;br /&gt;
&lt;br /&gt;
There are often multiple translations of the same Russian proverb in Russian-Chinese dictionaries. On the one hand, because the translator uses different translation methods; on the other hand, because Russian proverbs have very rich connotations, a translation cannot perfectly interpret the inner meaning of the proverb. According to the context and the connotation of the proverbs, the most commonly used methods of Chinese translation of Russian proverbs are literal translation and free translation.(Feng Yongmei 1999,98)&lt;br /&gt;
&lt;br /&gt;
The same Russian proverb often has more than one translation in Russian Chinese dictionary. On the other hand, the translator can't translate the proverb because of its rich connotation. According to the context and the connotation of proverbs themselves, literal translation and free translation are the most commonly used methods of translating Russian proverbs into Chinese.(Feng Yongmei 1999,98)--[[User:Zhou Shuyao|Zhou Shuyao]] ([[User talk:Zhou Shuyao|talk]]) 06:03, 19 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
==== Literal translation ====&lt;br /&gt;
&lt;br /&gt;
In Russian and Chinese languages, some proverbs not only have the same meaning or implicit meaning, but also use the same or similar figurative images to express a certain kind of the same semantics, and they are completely consistent in content and form. In this case, the equivalent translation of synonymous Chinese proverbs can convey the information contained in the original image, which not only retains the rhetorical color of the original language, but also enables the reader to perfectly understand the original text. The other situation is the experience that the Russians summed up in their long labor and life, which has evolved into a proverb, but the Chinese have not summed up this experience, so translating Russian proverbs into Chinese literally, Chinese people can understand them at a glance and increase their knowledge of the world. E.g:(Feng Yongmei 1999,98)&lt;br /&gt;
&lt;br /&gt;
In Russian and Chinese, some proverbs not only have the same meaning or implied meaning, but also use the same or similar figurative images to express the same meaning, and they are completely consistent in content and form. In this case, the equivalent translation of Chinese proverbs with synonyms can convey the information contained in the image of the original language, which not only retains the rhetorical color of the original language, but also enables readers to understand the original text perfectly. The other is that the Russian people have summed up the experience in their long-term labor and life, which has evolved into a proverb. However, the Chinese have not summed up this experience. If the Russian proverbs are translated into Chinese, the Chinese can clearly understand it at a glance and increase their understanding of the world. E.g:(Feng Yongmei 1999,98)--[[User:Zhou Shuyao|Zhou Shuyao]] ([[User talk:Zhou Shuyao|talk]]) 06:03, 19 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
Беда не приходит одна. 祸不单行。&lt;br /&gt;
&lt;br /&gt;
Век живи, век учись. 活到老，学到老。&lt;br /&gt;
&lt;br /&gt;
Выше встанешь, дальше увидишь. 站得高，看得远。&lt;br /&gt;
&lt;br /&gt;
Лучше один раз увидеть, чем сто раз услышать. 百闻不如一见。&lt;br /&gt;
&lt;br /&gt;
Береги платье снову, а честь смолоду. 衣服要从新的时候爱惜，荣誉要从年轻时珍惜。&lt;br /&gt;
&lt;br /&gt;
Выше лба уши не растут. 耳朵高不过额头。&lt;br /&gt;
&lt;br /&gt;
Для милого друга семь верст не околица. 为了好友，多绕七里也不嫌远。&lt;br /&gt;
&lt;br /&gt;
Лучше умереть стоя, чем жить на коленях. 宁愿站着死，绝不站着生。&lt;br /&gt;
&lt;br /&gt;
Не имей сто рублей, а имей сто друзей. 宁要一百个朋友，不要一百个卢布。&lt;br /&gt;
&lt;br /&gt;
По одежке встречают, по уму провожают. 迎客时看衣，送客时看才智。(Jia Sufen 1996)&lt;br /&gt;
&lt;br /&gt;
There is another situation where the literal translation method can be used. Although the image in Russian proverbs is different from the commonly used images in Chinese, it is also easy to understand. For example, &amp;quot;Молодец против овец, а против молодца — сам овца.&amp;quot; In fact, this proverb can be paraphrased as &amp;quot;欺软怕硬 &amp;quot;, but in this way the translation discards the lively literal meaning of the original text. On the other hand, it is literally translated as &amp;quot;见到绵羊充好汉，碰到好汉成绵羊&amp;quot; , on the basis of retaining the original image, readers can easily understand the meaning of the original proverb.(Jia Sufen 1996)&lt;br /&gt;
&lt;br /&gt;
Another example is &amp;quot;Заяц от лисицы, а лягушка от зайца бежит. &amp;quot; can be translated as &amp;quot;一物降一物&amp;quot;, but the image in the original text was completely abandoned, if it is literally translated as &amp;quot;one thing drops one thing &amp;quot;狐惊兔，兔惊蛙&amp;quot;, this kind of translation is not only simple and clear, but also in line with the aesthetics of Chinese proverbs. In general, the literal translation not only retains the symmetrical rhetorical techniques in the original sentence, but also retains the symmetrical beauty of the original sentence structure. It not only conforms to the aesthetic characteristics of the original Russian text, but also shows the beauty of phonology and structure in Chinese.(Jia Sufen 1996)&lt;br /&gt;
&lt;br /&gt;
The translation of Russian proverbs by literal translation not only maintains the original language, but also transplants the unique image language of Russian proverbs into Chinese, which not only expands the horizons of Chinese readers, but also enriches the way of expression in Chinese.(Jia Sufen 1996)&lt;br /&gt;
&lt;br /&gt;
The literal translation of Russian proverbs not only keeps the style of the original language, but also transplants the unique figurative language of Russian proverbs into Chinese, which not only expands the vision of Chinese readers, but also enriches the expression of Chinese.(Jia Sufen 1996)--[[User:Zhou Shuyao|Zhou Shuyao]] ([[User talk:Zhou Shuyao|talk]]) 06:03, 19 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
==== Free translation ====&lt;br /&gt;
&lt;br /&gt;
Due to the influence of cultural factors, many Russian and Chinese proverbs expressing the same semantics use different metaphors. Some Russian proverbs are difficult to retain the original image in the process of translation into Chinese. If literally translated according to the original image, due to the different national and cultural backgrounds of China and Russia, the translation is difficult to be accepted by the Chinese, and even misunderstood may occur.(Jia Sufen 1996) &lt;br /&gt;
&lt;br /&gt;
Due to the influence of cultural factors, many Russian and Chinese proverbs with the same meaning use different figurative images. In the process of translating some Russian proverbs into Chinese, it is difficult to retain the image of the original text. If literal translation is made according to the original image, due to the different national and cultural backgrounds of China and Russia, the translated version is difficult to be accepted by Chinese people and even misread.(Jia Sufen 1996) --[[User:Zhou Shuyao|Zhou Shuyao]] ([[User talk:Zhou Shuyao|talk]]) 06:03, 19 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
In order to accurately convey the meaning of the original text to readers, we can readjust the structure of the original text on the basis of a correct understanding of the meaning of the original text, and use standard Chinese expressions to reproduce Russian proverbs to avoid ambiguity and misunderstanding.(Jia Sufen 1996)&lt;br /&gt;
&lt;br /&gt;
In order to convey the original meaning to readers accurately, we can explore the story behind the proverb. On the basis of correctly understanding the meaning of the original text, we can readjust the structure of the original text, and reproduce Russian proverbs with standard Chinese expression, so as to avoid ambiguity and misunderstanding.(Jia Sufen 1996)--[[User:Zhou Shuyao|Zhou Shuyao]] ([[User talk:Zhou Shuyao|talk]]) 06:03, 19 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
There are some elements used in proverbs that foreigners cannot understand. For example, the Russian proverb &amp;quot;В огороде бузина, а в Киеве дядька.&amp;quot; is literally translated as &amp;quot;菜园里长接骨木，而基辅里住叔叔&amp;quot;, which cannot be understood by the Chinese. The four elements “огород” “бузина” “Киева” “дядька”, which contained in this proverb are completely unrelated. In fact, this proverb means that there is no logical relationship between what someone says, and the translator can directly paraphrase it as &amp;quot;胡说八道&amp;quot;, &amp;quot;前言不搭后语&amp;quot; or more easily understood &amp;quot;满嘴跑火车&amp;quot;. (Jia Sufen 1996)&lt;br /&gt;
&lt;br /&gt;
Another example is &amp;quot;На воре шапка горит.&amp;quot; literally means &amp;quot;the hat on the thief's head is on fire&amp;quot;. In fact, this proverb originated from a short story in the Kievan Rus period: someone’s money bag disappeared and he shouted &amp;quot;Catch the thief&amp;quot;, but no one knew where the thief was. This man had an idea and shouted, &amp;quot;The thief's hat is on fire.&amp;quot; After hearing this, the thief touched his hat unconsciously and exposed himself. Therefore, &amp;quot;На воре шапка горит.&amp;quot; can be paraphrased as &amp;quot;不打自招&amp;quot; or &amp;quot;做贼心虚.&amp;quot;(Jia Sufen 1996)&lt;br /&gt;
&lt;br /&gt;
There are some Russian proverbs that are more suitable for free translation:&lt;br /&gt;
&lt;br /&gt;
От труда- радость, от безделья- усталость.&lt;br /&gt;
直译：快乐从劳动中来，疲劳从闲散中来。&lt;br /&gt;
意译：劳动使人快乐。&lt;br /&gt;
&lt;br /&gt;
Баба с возу- кобыле легче.&lt;br /&gt;
直译：农妇下了车，马儿就轻松。&lt;br /&gt;
意译：求之不得&lt;br /&gt;
&lt;br /&gt;
Герой не моего романа.&lt;br /&gt;
直译：不是我小说中的主人公。&lt;br /&gt;
意译：不是我的意中人。&lt;br /&gt;
&lt;br /&gt;
Терпенье (ученье\уменье) и труд всё перетрут.&lt;br /&gt;
直译：耐心和勤劳能克服一切。&lt;br /&gt;
意译：锲而不舍，金石可镂（只要功夫深，铁杵磨成针）。&lt;br /&gt;
&lt;br /&gt;
Чтобы узнать человека, надо с ним пуд соль съесть.&lt;br /&gt;
直译：想要了解一个人，应该和他吃一普特盐。&lt;br /&gt;
意译：日久见人心。&lt;br /&gt;
&lt;br /&gt;
Посади свинью за стол — она и ноги на стол.&lt;br /&gt;
直译：让猪入席，它会把爪子也伸上来。&lt;br /&gt;
意译：得寸进尺。&lt;br /&gt;
&lt;br /&gt;
Черного кобеля не отмоешь добела.&lt;br /&gt;
直译：黑色的狗洗不白。&lt;br /&gt;
意译：本性难改。&lt;br /&gt;
&lt;br /&gt;
Конь о четырех ногах, да спотыкается.&lt;br /&gt;
直译：马有四条腿，也会摔倒。&lt;br /&gt;
意译：聪明一世，糊涂一时。&lt;br /&gt;
&lt;br /&gt;
За что купил, за то и продаю.&lt;br /&gt;
直译：怎么买来，怎么卖出。&lt;br /&gt;
意译：人云亦云。&lt;br /&gt;
&lt;br /&gt;
Обжегшись на молоке, дуешь на воду.&lt;br /&gt;
直译：一旦被牛奶烫，喝水也要吹一吹。&lt;br /&gt;
意译：一种被蛇咬，十年怕井绳。(Jia Sufen 1996)&lt;br /&gt;
&lt;br /&gt;
=== Conclusion ===&lt;br /&gt;
 &lt;br /&gt;
In the process of translation, translators often feel that there are a lot of contradictions and differences between the two languages in terms of lexical structure, syntactic structure, expression methods and metaphors. In many cases, translators understand the original meaning but do not know how to express it in the target language, which leads to the debate about which is better, literal translation or free translation. When translators translate works that are more contradictory between bilinguals, translators often use free translation methods. When translating works that are consistent or have more common points than contradictions or conflicts between bilinguals, translators tend to choose literal translation .&lt;br /&gt;
&lt;br /&gt;
In the process of translation, translators often feel that there are a lot of contradictions and differences between the two languages in terms of vocabulary composition, syntactic structure, expression and metaphor. Most of the time, the translator understands the original meaning but does not know how to express it in the target language, which leads to the debate about which is better, literal translation or free translation. When translators translate works with more contradictions between bilinguals, they tend to use free translation. When there are more similarities or similarities between bilinguals than contradictions or conflicts, translators will tend to literal translation in order to be faithful to the original text.--[[User:Zhou Shuyao|Zhou Shuyao]] ([[User talk:Zhou Shuyao|talk]]) 06:04, 19 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
In fact, the relationship between literal translation and free translation is interdependent and inseparable. Therefore, when we translate an article or a book, it is not feasible to translate every sentence literally or freely. Only when the translator cleverly arranges the alternation of the two can it be possible to translate a better translation. When we comment on literal translation and free translation, we should consider the effects of the division of labor and cooperation between the two, and should not one-sidedly understand the advantages and disadvantages of literal translation and meaning.&lt;br /&gt;
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In fact, literal translation and free translation in the process of translation are interdependent and inseparable. Therefore, when translating an article or a book, it is not feasible to translate every sentence literally or freely. Only when the translator skillfully arranges the alternation of the two, can we translate a better translation. When we comment on literal translation and free translation, we should consider the effect of division of labor and cooperation between them, and should not one-sided understand the advantages and disadvantages of literal translation and meaning.--[[User:Zhou Shuyao|Zhou Shuyao]] ([[User talk:Zhou Shuyao|talk]]) 06:04, 19 December 2020 (UTC)&lt;br /&gt;
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=== References ===&lt;br /&gt;
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*Cai Yi, Duan Jinghua. 蔡毅，段京华. (2000). 苏联翻译理论. [Soviet Translation Theory]. 武汉: 湖北教育出版社[Wuhan: Hubei Education Press].&lt;br /&gt;
*Feng Shize. 冯世则. (1981). 直译、意译、逐字译. [Literal Translation, Free Translation, Verbatim Translation]. 中国翻译[Chinese Translators Journal] 7-10.&lt;br /&gt;
*Feng Shujian. 冯树鉴. (1993). 意译与直译笔谈. [Written Free Translation and Literal Translation]. 外语学刊[Foreign Language Research] 43-47.&lt;br /&gt;
*Feng Yongmei. 冯咏梅. (1999). 浅谈俄语成语翻译中民族文化特色的保留. [On the Preservation of National Cultural Characteristics in Russian Idiom Translation]. 解放军外国语学院学报[Journal of PLA Foreign Languages University] 97-100.&lt;br /&gt;
*Gong Linjing. 宫琳菁. (2015). 直译与意译——中国近现代代表人物观点之概述. [Literal Translation and Free Translation: An Overview of the Viewpoints of Representatives in Modern China]. 赤峰学院学报（汉文哲学社会科学版）[Journal of Chifeng University (Soc.Sci)] 192-193.&lt;br /&gt;
*Hu Guming, Shen Man. 胡谷明, 沈曼. (2011). 汉俄翻译中文化空缺词汇的翻译策略.[The Translation Strategies of Cultural Vacancies in Chinese-Russian Translation]. 中国俄语教学[Russian in China] 17-21.&lt;br /&gt;
*Jia Shufen. 贾淑芬. (1996). 简明俄汉谚语词典. [Concise Russian-Chinese Proverbs Dictionary]. 沈阳: 辽宁大学出版社[Shenyang: Liaoning University Publishing House].&lt;br /&gt;
*Li Quan’an. 李全安. (1990). 直译与意译之争是一场什么样的争论. [What kind of controversy is the dispute between literal translation and free translation]. 中国翻译[Chinese Translators Journal] 18-22.&lt;br /&gt;
*Tan Zaixi. 谭载喜. (1999). 中西译论的相似性.[Similarities between Chinese and Western Translation Theories]. 中国翻译[Chinese Translators Journal] 25-28.&lt;br /&gt;
*Wang Fuxiang, Wu Hanying. 王福祥,吴汉樱. (2014). 东方大学俄语系列：迷你俄语成语词典. [Oriental University Russian Series: Mini Dictionary of Russian Idioms]. 外语教学与研究出版社[Foreign Language Teaching and Research Press]&lt;br /&gt;
*Wang Zhuang. 王转. (1996). 直译与意译漫谈. [On Literal Translation and Free Translation]. 湖南教育学院学报[Journal of Educational Institute] 55-60.&lt;br /&gt;
*Xie Yuncai. 谢云才. (2002). 俄罗斯翻译理论的语言学派与文艺学派——两派文学翻译理论对比分析. [Linguistic Schools and Literary Schools of Russian Translation Theory: A Comparative Analysis of the Two Schools of Literary Translation Theories]. 外语学刊[Foreign Language Research] 97-101.&lt;br /&gt;
*Yang Shizhang. 杨仕章. (2002). 俄语现代翻译理论之概述. [An Overview of Russian Modern Translation Theory]. 解放军外国语学院学报[Journal of PLA Foreign Languages University] 62-65.&lt;br /&gt;
*Zhang Yi. 张艺. (2010). 从目的论看直译与意译之争. [The Controversy between Literal Translation and Free Translation from Skopos Theory]. 海外英语[Overseas English] 189-190.&lt;br /&gt;
*Zhou Changyu. 周长雨. (2010). 俄语谚语的翻译方法. [How to translate Russian proverbs]. 俄语学习[Russian Learning] 33-36.&lt;br /&gt;
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==Dialectical thinking in arguments between literal translation and free translation 	甘奉玉	Gan Fengyu  202070080584 英语笔译==&lt;br /&gt;
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===Abstract===&lt;br /&gt;
As two methods of translation, how to use literal translation and free translation has always been the focus of debate between Chinese and Western translation circles. Through the study of translation methods of literal translation and free translation at home and abroad, we can know that to some extent literal translation and free translation are two relative conceptions, so there will be word-for-word translation, that is, dead translation, and over free translation. However, these two are only two extremes of literal translation and free translation. In fact, although there are differences in definitions and application fields between literal translation and free translation, they are unified in common translation purpose, translation procedure and translation standard. Therefore, the two are contradictory and unified in translation activities. This is also a profound embodiment of the unity of opposites in materialist dialectics.&lt;br /&gt;
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===Key words===&lt;br /&gt;
literal translation, free translation, word-for-word translation, over free translation, unity of opposites&lt;br /&gt;
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===题目===&lt;br /&gt;
直译与意译之争中的辩证思维&lt;br /&gt;
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===摘要===&lt;br /&gt;
作为翻译方法，怎样使用直译(literal translation)与意译(free translation)一直是中西方翻译界争论不休的一个焦点。通过对国内外直译与意译的翻译方法的研究，我们可以得知，从某种程度而言，直译与意译是两个相对的概念, 所以才会有逐字翻译，即死译，与过度意译这两个完全对立的概念。但是，这两者只不过是直译与意译的两个极端点。其实，直译和意译虽然在定义，适用范围上有所差异，但却又统一于共同的翻译目的、翻译过程和翻译标准中，所以两者在翻译活动中应该是既对立又统一的矛盾体。而这也正是唯物辩证法中的对立统一矛盾观的深刻体现。&lt;br /&gt;
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===关键字===&lt;br /&gt;
直译； 意译； 死译； 过度意译； 对立统一&lt;br /&gt;
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===Introduction===&lt;br /&gt;
Throughout the translation history at home and abroad, the literal translation and free translation have always sparked a heated discussion in the translation circles. Someone absolutely approve literal translation and demean free translation, even pursue dead translation, which creates an translated text difficult to understand. While some people absolutely agree with free translation even advocate random translation, which means a random deletion in the translation practices and creates another entirely different text. However, there are also a few of translators who have recognized that these two translation methods are not totally opposite. So they adopt a dialectical and flexible way. That means they will choose the most appropriate one depending on the text's demand. Therefore, we can deduce from it that this dialectical translation is consistent with the Contradiction View of Unity of Opposite in Materialist Dialectics. In fact, literal translation and free translation are a set of contradictions which are both opposite and unified. They complement each other into an integral one.&lt;br /&gt;
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The dispute between free translation and literal translation in Chinese translation circle first appeared in the dispute of &amp;quot;text&amp;quot; and &amp;quot;quality&amp;quot; in the Eastern Han Dynasty. During this period, Shi Dao-an, a senior monk in the Eastern Jin Dynasty, advocated literal translation and put forward that the translation should not be added or deleted but only make some adjustments to the word order. In the post-Qin period opposed to the Eastern Jin Dynasty, the monk Hatoyama advocated that the Buddhist scriptures should be translated freely. He suggested the original text should be changed to adapt to the Chinese style. Subsequently, Xuanzang, a senior monk of the Tang Dynasty, drew lessons from former translation achievements and put forward that we should seek both loyalty and vulgarity.(Chen Fukang 2011, 14-38) In another word, literal translation should complement with free translation, not just using one method. At that time, some translators have noticed that literal translation and free translation are not completely opposite. &lt;br /&gt;
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After that, in modern times from the Opium War to the May 4th Movement, since Yan Fu has put forward the translation standard of faithfulness, smoothness and elegance, Lu Xun and Qu Qiubai ignited the dispute on faith and smoothness. Lu Xun is a representative of literal translation school. He insists faithfulness first and smoothness second and even tolerates incoherence. He adopts the method of dead translation. While Qu Qiubai believes that faithfulness and smoothness are not opposite. From the New Culture Movement(1915-1923) to the 1980s, Mao Dun also put forward that literal translation doesn't mean word-for-word translation without any addition or deletion. Since the reform and opening up, Xu Yuanchong has said that literal translation should be faithful to the original content first then to the original form and last to the smooth translated text. On the other hand, free translation should be faithful to the original text first then to the smooth translated text and last to the original form. Therefore, although there are differences in translation methods between literal translation and free translation, their ultimate goal is to be faithful to the original content and express the original meaning.（Chen Fukang 2011, 288-333）&lt;br /&gt;
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Since Cicero, the first translation theorist in the western world, has put forward that we should avoid word-by-word translation but perform as a speaker, the dispute between literal translation and free translation began to appear in the West. In ancient times, Perot insisted on dead translation in the translation of the Bible, which greatly affected the translation quality. Poitius in the Middle Ages also advocated word-by-word translation and strict formal correspondence. In modern times, French translator Abulangour aimed to cater to readers in a way of over free translation and arbitrary deletion. &lt;br /&gt;
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Even so, there are many translation theorists in the western translation world who advocated  dialectical and flexible translation. For example, in ancient times, Jerome advocated the flexible principle to apply in literary translation and religious translation differently. During the Renaissance, French Amyot emphasized the dialectical unity of content and form, free translation and literal translation. Moreover, some translators did not exercise their own translation ideas. During the Renaissance, Reichlin was one of them. Although he advocated word-by-word translation, he abandoned this method in his practice. This can also further explain that absolute promotion of literal translation or free translation is not desirable. In translation practice, we must take a suitable degree in the way of combining literal translation and free translation to better serve the target readers.(Tan Zaixi 2004, 5-15 )&lt;br /&gt;
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The purpose of this paper is to explore the dialectical thinking contained in the dispute between literal translation and free translation, that is, the viewpoint of unity of opposites between them. The first chapter is about the word-for-word translation, and the second chapter is about the over free translation. From these two parts, we can draw a conclusion that it is not advisable to regard literal translation and free translation as absolute opposites. The third chapter is about the dialectical translation, which is the correct method for us to learn and adopt. It is also a method that follows the view of unity of opposites. The fourth chapter will analyze the differences between literal translation and free translation from the view of definitions and application fields. Then the fifth chapter focuses on the unity of literal translation and free translation in translation goals, translation procedures and translation standards. Through the discussion of the whole article, we can clearly see the unity of opposites between literal translation and free translation and draw a conclusion that we should apply dialectical translation in our translation practice and adopt the point of view of unity of opposites in translation theory. (He Lirong 2018, 40)&lt;br /&gt;
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===1.Dialectical thinking of the Unity of opposites===&lt;br /&gt;
The theory of unity of opposites is the core content of materialist dialectics theory. (Xu Guoliang 2020, 75) In the history of philosophy, the German philosopher Hegel first expounded the basic thought of contradiction theory from the standpoint of objective idealism. Later, Marx, Engels and Lenin critically absorbed Hegel's theory and developed contradiction theory into the core content of materialist dialectics theory. The theory of contradiction contains two basic problems, and one is the relationship between unity and opposition, while the other is the universality and particularity of contradiction, which involves a series of basic concepts of contradiction theory, such as basic contradiction and non-basic contradiction, fundamental contradiction and non-fundamental contradiction, principal contradiction and non-principal contradiction. Understanding these basic concepts and their relationships is the key to understanding and grasping the contradiction theory completely and accurately and finally applying it to the practice of social life. (Yan Mengwei 2020, 41)&lt;br /&gt;
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The problem of unity and opposition of contradiction is actually about the nature of contradiction. We always know things from comparison. The so-called comparison is to find the similarities and differences between two things. The former is called unity and the latter is called opposition. The unity is relative and the opposition is absolute. It is worth emphasizing that the opposition of contradictions plays a key and decisive role in development, because development comes from the unity of opposites. This means that unity and opposition are two indispensable elements in the process of development. They complement and interact with each other.&lt;br /&gt;
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Literal translation and free translation are such a pair of contradictions. The opposition of the two is reflected in the absolute opposition between word-for-word translation and over free translation, while the unity is reflected in their commons. More clearly, there are differences in their definitions and applications and similarities in their translation goals, procedures and standards.(Yang Ying 2019,161)&lt;br /&gt;
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===2.Word-for-word translation===&lt;br /&gt;
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Literal translation is a method that not only maintains the original content, but also the original form.(Xu Yuanchong 1996,92) Fu Sinian and Zheng Zhenduo all advocate literal translation. In the history of modern Chinese translation, Lu Xun and his younger brother Zhou Zuoren's works of The Collection of Extraterritorial Fiction are regarded as the representatives of literal translation.&lt;br /&gt;
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In particular, literal translation is neither dead translation nor a mechanical verbatim translation. Because English and Chinese have different structures, it is impossible to translate word by word. From the perspective of linguistics, the biggest difference between them is that Chinese focuses parataxis while English focuses hypotaxis.(Zhu Xiaojia 2008, 1) In another word, in Chinese, a sentence is usually short with few modifiers and connected words, while in English, several meanings can be expressed by use of complicated structure with assorted clauses and connected words only in a sentence.&lt;br /&gt;
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Besides, the English is a more static language in which nouns and adjectives are always used, but the Chinese is the more dynamic one, and verbs are more active in it. Finally, the former has a systematic grammar but the latter seems free in its arrangement.(Cao Huoqun 2005, 40)&lt;br /&gt;
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Therefore, when we do some translating exercise, we should focus on their grammar structures. When the structure of the original text is inconsistent with that of the target language, adopting word-for-word translation will lead to formalism. Such a translated text is also not intelligible for readers. Literal translation must be readable without any misunderstanding or violation of expression.&lt;br /&gt;
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===3.Over free translation===&lt;br /&gt;
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Free translation refers to the method that maintains original content rather than original form. In the process of translation, in order to make the language clear and persuasive, the translator must try to conform to the language customs of target texts rather than adhere to the expressive pattern of the original work. Zhao Jingshen put forward that it is better to be smooth with some disloyalty instead of absolute loyalty. Obviously, Mr. Zhao Jingshen is in favor of free translation, and so does Mr. Yan Fu. Many of Yan Fu's classical works have adopted free translation, the Theory of Heaven is a typical example of free translation.&lt;br /&gt;
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When we translate English into Chinese, especially some idioms that are in closer ties with western culture, we have to move or change these cultural barriers so that Chinese readers could understand easily. It is also true when translating Chinese into English. Under this condition, free translation will be more suitable and effective.&lt;br /&gt;
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However, free translation does not mean random translation. Random translation means making up sentences by subjective imagination without analyzing the structure of the original text. It is also known as over free translation.(Wu Shuang 2018, 107) In fact, when we translate, we must master the thought and style of the original and regard them as the correspondence of the target language. In addition, the theory, fact and logic of the original work should also be corresponding in the target language. We can not replace these features of the original with our personal thoughts, styles, facts, theories and logic. Only in this way can the contents not be changed after translation.&lt;br /&gt;
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===4.Dialectical translation===&lt;br /&gt;
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Feng Qinghua put forward in the book of A Practical Translation Course that the so-called literal translation is a kind of translation method to maintain both the original content and the original form. If there are the same language form and expressive effect between original and target text, we should adopt literal translation to deliver the same contents. While the so-called free translation is a method to keep the original content and style only. So if there are different language forms and expressive effects between the two texts, we should adopt free translation mostly. (Feng Qinghua 1997, 12)&lt;br /&gt;
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Therefore, Literal translation and free translation have their own advantages and restrictions. The former is beneficial to the transplantation of culture, while the latter can avoid obscurity in literal translation.&lt;br /&gt;
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In literal translation, we will translate the sentence “mashing a mirror is no way to make an ugly person beautiful, nor is it a way to make social problem evaporate” into &amp;quot;砸镜子不能使丑八怪变漂亮,也不能使社会问题烟消云散&amp;quot;, while in free translation, we can turn it into &amp;quot;砸镜子并不能解决实际问题&amp;quot;. (Fan Zhongying 1994, 22) We can see the latter one is more concise and comprehensive to express the connotative meaning. Although the former is totally literal translation, we still feel it terrible.&lt;br /&gt;
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Therefore, a translator should use these two translation strategies according to the specific situation to express the surface structure and deep meaning of the original text. The use of literal or free translation depends on the rules of both English and Chinese. In translation, if we can not directly adopt the structure and expressive form of the original work, we must change the sentence structure and expressive way to convey the connotation of the original work. An excellent translated text is realized neither by simple literal translation nor by simple free translation but by the combination of two. We should adopt dialectical translation in our practice.&lt;br /&gt;
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===5.Opposition and unity between literal translatiuon and free translation===&lt;br /&gt;
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===5.1 Opposition===&lt;br /&gt;
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===5.1.1 Opposition in definition===&lt;br /&gt;
Qiao Zengrui defines literal translation in Chapter 4 of Translation Theory as a method that deliberately retains the original form to maintain the content and style of the original. At the same time, He also defines free translation as a method that keeps the original content and style by use of the same or similar expressions as the original text in the target language regardless of the two different languages. The first one regards form as the only way, content and style as targets, while the second directly takes no account of form. With this regard, the two totally opposite in definition.(Qiao Zengrui 2000,78)&lt;br /&gt;
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===5.1.2 Opposition in application fileld===&lt;br /&gt;
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Generally speaking, literal translation is used to translate some political books, laws, treaties, scientific and technological documents, terms, idioms, and some simple sentences. (Wu Shuang 2018,178) The early translation of Buddhist scriptures of early Chinese generally followed this theory. So do the Marxism-Leninism works and Mao Zedong's works. For example, &amp;quot;纸老虎&amp;quot; can only be translated as &amp;quot;paper tiger&amp;quot; but not &amp;quot;scarecrow&amp;quot;. The latter one was corrected by Mao Zedong when the interpreter translated it into &amp;quot;scarecrow&amp;quot;. Chairman Mao emphasized that this word had two characteristics and if it was translated into &amp;quot;scarecrow&amp;quot;, it will lose duality. Because &amp;quot;纸老虎&amp;quot; in China means imperialism and reactionary, which seems scary but no great power in it. Since it is made of paper, this tiger becomes soft in the damp and finally was washed away when it was rained. While scarecrow can scare away children and birds. So paper tiger is better than scarecrow.&lt;br /&gt;
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In the process of translation, there are many situations that literal translation can not be applied, so we must adopt the method of free translation, especially the translation of literary works.(Wu Shuang, 2018, 178) On the one hand, there are many common traditional Chinese words that reflect the unique cultural concepts and cultural phenomena of our country, which can't be translated directly into corresponding words in English. For instance, if we translate&amp;quot;初生牛犊不怕虎&amp;quot; into &amp;quot;A new born calf is not afraid of a tiger&amp;quot;, then our target readers in English-speaking countries will find it difficult to understand the substance of the literal meaning.(Yang Yin 2019, 161) So here &amp;quot;The more wit, the less courage&amp;quot; will be better. On the other hand, some certain maxims, idioms and puns in English have no choice but to use free translation.(He Lirong 2018,43) For example, &amp;quot;have a wolf in the stomach&amp;quot; means &amp;quot;饥肠辘辘&amp;quot; 饥饿难忍&amp;quot; rather than &amp;quot;肚子里有个豺狼&amp;quot;. Moreover, some exclusive English nouns should be freely translated such as &amp;quot;the heel of Achilles&amp;quot; into &amp;quot;致命的弱点&amp;quot; instead of &amp;quot;阿克琉斯的脚后跟&amp;quot;.&lt;br /&gt;
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===5.2 Unity===&lt;br /&gt;
===5.2.1 Unity in translation goal===&lt;br /&gt;
In literal translation, loyalty to the original form should be put first, followed by loyalty to the original content and last pursuit of fluency and popularity in target language. In free translation, loyalty to the original content should be put first, then the fluency and popularity of the translation language second, and the original form comes last. It is clear that loyalty to the original content is the common purpose of literal translation and free translation.(Wu Shuang 2018, 108)&lt;br /&gt;
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The unity of literal translation and free translation is also reflected in the fact that the translation must be smooth and fluent and conform to the expressive habits of target language. If the translated text is obscure and unreadable without conforming to the habits of the target language and culture, the two translation strategies have not achieved the true unity, so the purpose of communication has not been realized.&lt;br /&gt;
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Therefore, literal translation and free translation are two different translation methods used in translation. They are unified in the translation goal to accurately and faithfully convey the original meaning and intention.(He Lirong 2018, 41)&lt;br /&gt;
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===5.2.2 Unity in translation procedure===&lt;br /&gt;
The literal translation and free translation are unified in translation procedures. Both of them should conform to the following translation steps of understanding, expressing and verifying.&lt;br /&gt;
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Understanding is the first stage of translation process. It includes not only the understanding of language and cultural phenomena, but also logical relations. A translator should be good at analyzing ambiguous sentences and make correct judgments before translating. Expression is the process by which the translator reproduces the content of the original text into target language. Expressing is the result of understanding, but understanding correctly does not mean expressing right. Therefore, we must learn many specific methods and techniques, such as literal translation, free translation, literal translation plus free translation, literal translation plus annotation, and so on. The third stage is verifying. In this stage, we must check the translation at least twice. In the first time, we should check whether there is any missing translation or wrong translation. And in the second time, we should check whether it's smooth and intelligible out of the original text.&lt;br /&gt;
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Whether literal translation or free translation, we must follow the three steps of understanding, expressing and verifying in translation practice. Understanding is the premise of expression, but understanding and expressing are usually complementary and unified, which can not be separated completely. To understand the original text, the translator also chooses proper expression and further deepen his or her understanding.&lt;br /&gt;
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===5.2.3 Unity in translation standard===&lt;br /&gt;
On the establishment of translation standards, Chinese and foreign translation theorists in different historical periods put forward different views. In China, there are Ma Jianzhong's view of &amp;quot;good translation&amp;quot; on the basis of modern linguistic theory, Yan Fu's translation standards of &amp;quot;faithfulness, smoothness, and elegance&amp;quot;, Chen Xiying's theory of &amp;quot;similarities in shape, meaning and spirit&amp;quot;, Lin Yutang's translation standards of &amp;quot;loyalty, smoothness and beauty&amp;quot;. In the West, there are Twelve Translation Principles of Bart, Three Principles of Tettler, Seven principles of Luther, functional equivalence of Nida and so on. All these translation standards are based on different social needs, translation contents, translation objects and translation purposes.(He Lirong 2018, 42)&lt;br /&gt;
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No matter which translation standard we use, it is impossible to meet it only by literal translation or free translation. Therefore, the two translation methods are unified in any translation standard. Therefore, they are inseparable unity of opposites.&lt;br /&gt;
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===6.Conclusion===&lt;br /&gt;
Literal translation and free translation are two different translation methods. Although they are different in conceptual definitions and applicable fields, in order to achieve a unified translation standard and a common translation goal, they both follow the same three procedures of understanding, expressing and verifying.&lt;br /&gt;
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In the process of translation, if the target text has the same form and style as the original text, it can be translated literally. If there are different forms and styles, it should be translated freely. When the structure of the original text is inconsistent with that of the target language, sticking to word-for-word translation will cause stiff translation difficult to understand. In the same way, making up sentences through subjective assumption according to the literal meaning without analyzing original text will cause random translation disloyalty to the original one.&lt;br /&gt;
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Therefore, we can conclude that we should treat literal translation and free translation with a dialectical way and use these two translation methods flexibly to create wonderful translations in our concrete translation practice.&lt;br /&gt;
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Siyu Zou.(2017).Dialectical Relationship between Translation Theory and Practice[J].Proceedings of the 7th International Conference on Education, Management, Information and Mechanical Engineering (EMIM 2017).&lt;br /&gt;
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Chen Fukang 陈福康.(2011).中国译学史[History of translation studies in China].Shanghai: Shanghai Foreign Language Press.&lt;br /&gt;
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Cao Huoqun 曹火群.(2005).翻译中的辩证关系[Dialectic relationships in translation].孝感学院学报 Journal of Xiaogan University (05) 39-43.&lt;br /&gt;
&lt;br /&gt;
Feng Qinghua 冯庆华.(2002).实用翻译教程[Practical translation course].Shanghai：Shanghai Foreign Language Education Press.&lt;br /&gt;
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Fan Zhongying 范仲英.(1994).实用翻译教程[Practical Translation Course].Beijing:Foreign Language Teaching and Research Press.&lt;br /&gt;
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He Lirong 何历蓉.(2018).论“直译与意译”在英汉翻译中的对立与统一 [On the opposition and unity of literal translation and Free Translation in English-Chinese translation]. 宿州教育学院学报 journal of suzhou education institute 21(04):40-43.&lt;br /&gt;
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Qiao zengrui 乔曾锐.(2000).译论—翻译经验与翻译艺术的评论和探讨 [Translation theory: A review of translation experience and the art of translation]. Beijing: China Industry and Commerce Joint Press.&lt;br /&gt;
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Tan Zaixi 谭载喜.(2004).西方翻译简史[A Brief History of Western translation]. Beijing：Commercial press.&lt;br /&gt;
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Wu Shuang 吴爽.(2018).翻译的最高境界—直译与意译的完美统一[The highest level of translation - the perfect unity of literal translation and free translation].现代交际 Modern communication (08):107-108.&lt;br /&gt;
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Xu Guoliang 徐国亮.(2020).对立统一：唯物辩证法的核心与列宁的发展[Unity of opposites: The Core of Materialist Dialectics and The development of Lenin]. 中共中央党校（国家行政学院）学报 Journal of Party School of the CPC Central Committee (National Academy of Governance) 24(05):75-83.&lt;br /&gt;
&lt;br /&gt;
Xu Yuanchong 许渊冲.(1980).直译与意译[literal translation and free translation]. Journal of Foreign Languages (6).&lt;br /&gt;
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Xu Yuanchong 许渊冲.(1996).译家之言[The Word of the Translator].出版广角 View on Publishing(6):92-94.&lt;br /&gt;
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Yan Mengwei 阎孟伟.(2020).关于唯物辩证法矛盾学说的几个基本问题[Some basic questions about the contradiction theory of materialist dialectics]. 思想理论教育导刊 Journal of ideological and theoretical education (08):40-47.&lt;br /&gt;
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Yang Yin 杨颖.(2019).浅谈直译与意译的动态统一[On the dynamic unity of literal translation and free translation].海外英语 Overseas English (17):160-161.&lt;br /&gt;
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Zhu Xiaojia 朱晓嘉.(2008).形合、意合的辩证观与翻译策略 [Dialectic thinking and Translation strategies of hypotaxis and Parataxis].Nanjing: Nanjing Normal University.--[[User:Gan Fengyu|Gan Fengyu]] ([[User talk:Gan Fengyu|talk]]) 01:52, 21 December 2020 (UTC)&lt;br /&gt;
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== Peter Newmark’s Improved Views on Literal Translation and Free Translation 赵茜 Zhao Xi,202070080627==&lt;br /&gt;
===Abstract===&lt;br /&gt;
The dispute over the two basic translation methods, literal translation and free translation, has never stopped since ancient times. In view of the basic problem of his argument, Peter Newmark, an English translation theorist divides the various translation methods into eight, points out that different translation methods should be taken according to different text characteristics and puts forward with semantic translation and communicative translation bases on years of translation researches. Semantic translation focuses on maintaining the content of the original text, while communicative translation emphasizes the effect of the translation. The author of this paper expresses some views on literal translation and free translation. Peter Newmark's theory has taken a big step forward from the fragmented and one-sided view of literal translation and free translation in the past, which has brought people out of the struggle between them and made people see the direction of further development of translation research.&lt;br /&gt;
&lt;br /&gt;
The dispute over the two basic translation methods, literal translation and free translation, has never stopped since ancient times. In view of the basic problem of his argument, Peter Newmark, an English translation theorist divides the various translation methods into eight, points out that different translation methods should be taken according to different text characteristics and puts forward with semantic translation and communicative translation base'''d''' on years of translation researches. Semantic translation focuses on maintaining the content of the original text, while communicative translation emphasizes the effect of the translation. The author of this paper expresses some views on literal translation and free translation. Peter Newmark's theory has taken a big step forward from the fragmented and one-sided view of literal translation and free translation in the past, which has brought people out of the struggle between them and made people see the direction of further development of translation research.--[[User:Zhang Peiwen|Zhang Peiwen]] ([[User talk:Zhang Peiwen|talk]]) 08:42, 19 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
===Key words=== &lt;br /&gt;
Free translation, Literal translation, Peter Newmark, Semantic translation, Communicative translation&lt;br /&gt;
&lt;br /&gt;
===摘要===&lt;br /&gt;
直译与意译这两种翻译基本方法之争从古至今从未停止过。针对其争论的基本问题，英国翻译理论家彼得·纽马克把各种翻译方法分成了八种，指出应根据不同的文本特点釆取不同的翻译方法，并在多年翻译研究的基础上提出了语义翻译和交际翻译。语义翻译重点在强调保持原文的内容，而交际翻译更多强调的是译文的效果。本文作者也提出了对直译和意译的一些看法。彼得·纽马克的理论把人们以往对直译、意译的零散的、片面的观点向前推进了一大步，使人们从直译、意译之争中走出来并看到翻译研究进一步发展的方向。&lt;br /&gt;
&lt;br /&gt;
===关键词===&lt;br /&gt;
直译, 意译, 彼得·纽马克, 语义翻译, 交际翻译&lt;br /&gt;
&lt;br /&gt;
===Introduction===&lt;br /&gt;
According to Chinese and western translation history, no matter in China or in western countries, studies on translation theories and practice have been performed over two thousand years. Translation, as an ancient and extremely significant human thinking activity, is closely related to the development of language itself. And translation after more than two thousand years of development, has developed prosperously, appearing quantities of translation theories, translation schools and translators. However, the dispute between two translation methods, literal translation and free translation has been lasting from throughout history. The fundamental problem between literal translation and free translation is based on the relationship between content and form. To solve this fundamental problem of the dispute, Peter Newmark first points out that translation studies have been long beset by the time-honored theoretical debate over free and literal translation. A range of wider aspects of translation related to the contribution to the development of languages, its relation to meaning, the intention of translation, the readers' background, the type of discourse and the language universals have been long neglected. Therefore, according to Newmark's own translation practice, he puts forward right translation methods, word-for-word translation, literal translation, faithful translation, semantic translation, adaption, free translation, idiomatic translation and communicative translation, which provide to translators to consider and use. Although in the actual translation practice, translators have no necessity to distinguish such translation methods and even to use these methods, this proposal may help translators open their horizons and translate more appropriately. Among the eight translation methods, semantic translation and communicative translation proposed by Newmark own the advantages of other six methods, becoming the most ideal translation methods. Peter Newmark's semantic translation and communicative translation are highly valued and influence the practice of translation in general. (Li Minghan 2014, 3)&lt;br /&gt;
&lt;br /&gt;
According to Chinese and western translation history, no matter in China or in western countries, studies on translation theories and practice have been '''done''' over two thousand years. Translation, as an ancient and extremely significant human thinking activity, is closely related to the development of language itself. And translation after more than two thousand years of development, has developed prosperously, '''including''' quantities of translation theories, translation schools and translators. However, the dispute between two translation methods, literal translation and free translation has been lasting throughout history. The fundamental problem between literal translation and free translation is based on the relationship between content and form. To solve this fundamental problem of the dispute, Peter Newmark first points out that translation studies have been long beset by the time-honored theoretical debate over free and literal translation. A range of wider aspects of translation related to the contribution to the development of languages, its relation to meaning, the intention of translation, the readers' background, the type of discourse and the language universals have been long neglected. Therefore, according to Newmark's own translation practice, he puts forward right translation methods, word-for-word translation, literal translation, faithful translation, semantic translation, adaption, free translation, idiomatic translation and communicative translation, which provide to translators to consider and use. Although in the actual translation practice, translators have no necessity to distinguish such translation methods and even to use these methods, this proposal may help translators open their horizons and translate more appropriately. Among the eight translation methods, semantic translation and communicative translation proposed by Newmark own the advantages of other six methods, becoming the most ideal translation methods. Peter Newmark's semantic translation and communicative translation are highly valued and influence the practice of translation in general. (Li Minghan 2014, 3)--[[User:Zhang Peiwen|Zhang Peiwen]] ([[User talk:Zhang Peiwen|talk]]) 08:48, 19 December 2020 (UTC)&lt;br /&gt;
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===Literal Translation and Free Translation===&lt;br /&gt;
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====Brief Introduction of Literal Translation and Free Translation====&lt;br /&gt;
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From ancient times, translators hold various attitudes toward such two translation methods, literal translation and free translation. &lt;br /&gt;
&lt;br /&gt;
=====Literal Translation=====&lt;br /&gt;
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Literal translation is a translation method which not only keeps the substance of the original, but also keeps the form of the original. This definition implies that the translation version is expressing the content of the original and should spare no efforts to make every part of the translation version corresponding to every part in the original text including construction of sentence, meaning of the original words, metaphor of the original and so on. &lt;br /&gt;
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According to Liu Zhongde, literal translation can be summarized into &amp;quot;to reproduce both the ideological content and style of the entire literary work and retain as much as possible the figures of speech&amp;quot;. (Liu Zhongde 1991, 52) &lt;br /&gt;
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Xu Yuanchong defines literal translation as &amp;quot;the kind of translation which is faithful not only to the content but also to the form of the original.&amp;quot; (Xu Yuanchong 1984, 45)&lt;br /&gt;
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Newmark suggests that literal translation is like, &amp;quot;sometimes it is very difficult to define what is literal translation, it is believed that a translation can be regarded as the literal translation when the translator is not influenced but the foreign flavors.&amp;quot;(Newmark 2001, 46) &lt;br /&gt;
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Mr. Yang Xianyi holds that the translators should be as faithful as possible to the original image and too much explanation and creativity should be avoided. This means translators should try to use literal translation method to introduce imagery in the source language to the target language readers. The reason why those translators who insist on literal translation are that they think literal translation is the only way to keep faithful to the original. They endeavor to adopt from as similarly as possible to the original to show the original meaning, thinking that it's the truest reflection of the original. (Wang Zuoliang 1989, 43)&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
Literal translation is a translation method which not only keeps the substance of the original, but also keeps the form of the original. This definition implies that the translation version expresses the content of the original and should spare no efforts to make every part of the translation version corresponding to every part in the original text, including construction of sentence, meaning of the original words, metaphor of the original and so on.--[[User:Zhang Peiwen|Zhang Peiwen]] ([[User talk:Zhang Peiwen|talk]]) 08:57, 19 December 2020 (UTC)&lt;br /&gt;
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=====Free Translation=====&lt;br /&gt;
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Free translation is a translation method which only keeps the substance of the original, but not keeps the form the original. Target language and source language have different forms to show the same substance, and they could not produce the same result. Free translation does not mean to delete or add content to the original, though it does not pay much attention to the form of the original. Otherwise, the translation would not be faithful to the original. Translators always discover the meaning behind the forms in the source language and dose their best to produce the same meaning in the target language, using the forms and structures in the target language. Consequently, what is supposed to change is the form and the code, and what should remain unchanged is the meaning and the message. &lt;br /&gt;
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Shuttle worth and Cowie define free translation as &amp;quot;a type of translation in which more attention is paid to producing a natural target language than to preserving the source language wording intact.&amp;quot; (Shuttle worth&amp;amp;Cowie 2004, 62)&lt;br /&gt;
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Free translation is the conveying of the discourse meaning of the speaker is not restricted by the structure and linguistic and rhetoric styles of the original text. (Ren Wen 2012, 18)&lt;br /&gt;
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Liu Zhongde has given his definition to free translation. According to his definition, free translation aims at transmitting the meaning regardless of the sentence forms and rhetorical devices. If translators are not able to  make the translated text faithful to the original text through literal translation, they may use their own words to explain the meaning of the text without considering the words and forms in original text. (Liu Zhongde 1991, 53-54)&lt;br /&gt;
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====Disputes over Free Translation and Literal Translation====&lt;br /&gt;
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In the past, translators generally believed that language and thought were unified, and language was form while thought was content. However, it was impossible to realize the consistence between language forms and ideological content, producing the contradiction between form and content, which is the problem between literal translation and free translation. Modern science has proved that language and thought are not a unity and constitutes a relationship between form and content. Language is only a symbolic system to express thoughts. Translation expresses the same idea by using two different language signals. &lt;br /&gt;
 &lt;br /&gt;
Marcus Tullius Cicero is generously acknowledged to be the first person to put forward a systematic description of the practice of translation and he said &amp;quot;I did not translate them as an interpreter, but as an orator... I did not hold it necessary to render word for word, but I preserve the general style and force of language.&amp;quot; (Tan Zaixi 2018, 20) He puts forward mainly two viewpoints. Firstly, the translation should be as close as possible to the language habits of the target language. At that time, namely, the translation should correspond with Roman habits as much as possible to touch and resonate with the readers. What's more, he advocates free translation and opposes literal translation as he believes that free translation is superior to literal translation. The most important thing in translation is not the corresponding in form, but the meaning and thought in the source language. Cecero's thoughts have provided a guide for other translators and produced an effect on them. Since Cicero came up with his opinion, the disputes over literal translation and free translation has never been stopped. &lt;br /&gt;
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Eugene Nida holds that if all languages differ in form, then quite naturally the forms must be changed if one is to preserve the content. He is in favor of dynamic equivalence instead of formal correspondence, maintaining the original meanings. In this sense, Nida agrees with free translation, just as he expresses that translating means translating meaning. (Nida 1985, 119-125)&lt;br /&gt;
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Zhai Qiubai insists literal translation and claims that the correct translation is based on Chinese syntax and rhetoric and has its specific intentions. First of all, he regards translation as a part of Proletarian literature. Translation should systematically introduce proletarian revolution thoughts to Chinese readers. Furthermore, translation should help create modern Chinese language and literal translation is an approach. To preserve the spirit in the original text, some non-smoothness can be tolerated. (Cheng Yongsheng 2002, 65) &lt;br /&gt;
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Lu Xun defines clearly that translation must take into account of two sides: one is easy to understand, the other maintains the style of the original. This explanation refers that the translators must translate according to the original text rather than their own world view and aesthetic taste. The translators must try their best to maintain the style of the original author and inherit historic and national characters rather than imposing extrinsic aesthetic and social background culture of other people on the translation. (Chen Fukang 2000, 301)&lt;br /&gt;
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Mao Dun has pointed out that due to different language families of Chinese and English and different structures, word-by-word translation us almost impossible actually. Because word-by-word translation is difficult to achieve its ideal effect, any discussion related with literal translation and free translation is inevitably involved with the problem &amp;quot;what is the boundary between them?&amp;quot; He also holds that the so-called literal translation, superficially speaking, means not to alter the original words and sentences. (Xu Haiyan &amp;amp; Sun Weihong 2012, 80)&lt;br /&gt;
Mao Dun has pointed out that due to different language families of Chinese and English and different structures, word-by-word translation '''is''' almost impossible actually. Because word-by-word translation is difficult to achieve its ideal effect. '''Any''' discussion related with literal translation and free translation is inevitably involved with the problem &amp;quot;what is the boundary between them?&amp;quot; He also holds that the so-called literal translation, superficially speaking, means not to alter the original words and sentences. (Xu Haiyan &amp;amp; Sun Weihong 2012, 80)--[[User:Zhang Peiwen|Zhang Peiwen]] ([[User talk:Zhang Peiwen|talk]]) 09:12, 19 December 2020 (UTC)&lt;br /&gt;
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In Xu Yuanchong's opinion, the criteria to judge literal translation and free translation is whether the translation is faithful to the original. If a translation is faithful to both meaning and form of the original text, it is literal translation. If a translation is only faithful to meaning rather than form, it is free translation. If a translation is only faithful to form rather than content, it is mechanical translation. And the standard to judge faithfulness are form and content. For translation, content is more significant than form. Besides, translators should use both literal translation and free translation. However, sometimes it is difficult to use literal translation or free translation in a translation, so it is not necessary to define literal translation or free translation in those situations. Xu argues that literal translation is not only being faithful to the content of the original text but also being close to its form. When Xu discusses the situations using literal translation or free translation, he often mentions readers and contexts, among which readers are more important. No matter literal translation or free translation, translators should put faithfulness to the content of the original text first, smoothness of target text form second, faithfulness to the form of the source text third. In other words, on the premise of faithfulness to the source language, translation should strive for smoothness of form. On the premise of smoothness of translation, translators should try their best to realize faithfulness to form of the original. If there is a contradiction between the smoothness and faithfulness of the original form, it is of no necessity to stick to the original form. These are the relationships between content and form, and literal translation and free translation. (Cheng Yongsheng 2002, 66)&lt;br /&gt;
&lt;br /&gt;
In Xu Yuanchong's opinion, the criteria to judge literal translation and free translation is whether the translation is faithful to the original. If a translation is faithful to both meaning and form of the original text, it is literal translation. If a translation is only faithful to meaning rather than form, it is free translation. If a translation is only faithful to form rather than content, it is mechanical translation. '''Also, there is the standard to judge faithfulness are form and content.''' For translation, content is more significant than form. Besides, translators should use both literal translation and free translation. However, sometimes it is difficult to use literal translation or free translation in a translation, so it is not necessary to define literal translation or free translation in those situations. Xu argues that literal translation is not only being faithful to the content of the original text but also being close to its form. When Xu discusses the situations using literal translation or free translation, he often mentions readers and contexts, among which readers are more important. No matter literal translation or free translation, translators should put faithfulness to the content of the original text first, smoothness of target text form second, faithfulness to the form of the source text third. In other words, on the premise of faithfulness to the source language, translation should strive for smoothness of form. On the premise of smoothness of translation, translators should try their best to realize faithfulness to form of the original. If there is a contradiction between the smoothness and faithfulness of the original form, it is of no necessity to stick to the original form. These are the relationships between content and form, and literal translation and free translation. (Cheng Yongsheng 2002, 66)--[[User:Zhang Peiwen|Zhang Peiwen]] ([[User talk:Zhang Peiwen|talk]]) 09:12, 19 December 2020 (UTC)&lt;br /&gt;
Whether in Chinese translation circle or in western translation circle, the contradiction between content and form, and literal translation and free translation exists and arouses heated discussion.&lt;br /&gt;
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===Semantic Translation and Communicative Translation===&lt;br /&gt;
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To solve the fundamental problem of free translation and literal translation, Peter Newmark, a renowned western translation theorist, linguist and professor of translation at the University of Surrey, combining with years of translation experience, has concluded and summarized a corresponding theory, semantic translation and communicative translation, whose core is the problem of literal translation and free translation. Semantic translation and communicative translation have been put forward against the background that the majority of scholars have argued for a long time whether to translate literally or freely. The concepts of communicative and semantic translation represent Newmark’s main contribution to general translation theory. (Newmark 1991, 10)&lt;br /&gt;
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====Semantic Translation====&lt;br /&gt;
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Newmark puts the definition of semantic translation as &amp;quot;Semantic translation, attempts to render, as closely as the semantic and syntactic structures of the second language allow, the exact contextual meaning of the original. &amp;quot; As this version of definition indicates, communicative translation focuses essentially upon the comprehension and response of TL receptors. Semantic translation severs for the source language author and gives a high priority to reflecting his thought patterns and stylistics. (Shuttleworth and Cowie 2004, 22) Here is an example.&lt;br /&gt;
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E.g. 谋事在人，成事在天。&lt;br /&gt;
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Yang Hsien-yi and Gladys Yang's Version: Man Proposes, Heaven disposes.&lt;br /&gt;
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In this example, the Chinese idiom means that a man has done his or her best to do something and as to whether he or she can achieve the goal, it depends on the fortune. “天” refers to the master of nature in ancient Chinese culture. This word is semantically translated into “heaven” as the translation emphasizes the original information and tries to preserve the favor, style and culture maintained in the source language.&lt;br /&gt;
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====Communicative Translation====&lt;br /&gt;
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Communicative translation attempts to produce on its readers an effect as close as possible to that obtained on the readers of the original. As this version of definition indicates, communicative translation centers around the semantic aspects of the source language texts. To be specific, in communicative translation, the emphasis should be on conveying the message of the original in a form, which conforms to the linguistic, cultural and pragmatic conventions of target language. Both content and language are readily acceptable and comprehensible to the readership. (Chen Boyu 2003, 4)&lt;br /&gt;
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Communicative translation intends to present the main idea of the original text and emphasize the social value generated by the translation. Communicative translation highlights on conveying the message expressed in the original and form of the the source language. Due to different textual functions, content and form should have different focuses. Texts of informative function emphasize on the information beyond the language, while texts of vocative function center on readers. The primary intention of translators is to convey the message to the target readers, without paying much attention to the style of the original. If it is necessary, translators can adjust grammar and words to better transmit the information. The change of forms is not only allowed, but also encouraged. (Zhang Linlin 2010, 17)&lt;br /&gt;
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E.g. 谋事在人，成事在天。&lt;br /&gt;
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Hawkes's Version: Man Proposes, God disposes.&lt;br /&gt;
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This translation is communicative translation. Different from the version of Yang, Hawkes translated &amp;quot;天&amp;quot; into &amp;quot;God&amp;quot;. In western culture, people believe that &amp;quot;God&amp;quot; is the master of nature. It renders the contextual meaning of the original in such a way that both content and language are readily acceptable and comprehensible to the readers.&lt;br /&gt;
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====Comparison Between Semantic Translation and Communicative Translation====&lt;br /&gt;
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The fundamental difference between semantic translation and communicative translation is that semantic translation attaches more importance to the content rather than effect and communicative translation is just opposite. &lt;br /&gt;
  &lt;br /&gt;
Firstly, semantic translation is more objective, stresses accuracy and is submitted to the author, culture and meaning of the original. Communicative translation is more subjective, pays much attention to the readers' responses, and is submitted to the target language and its culture. Semantic translation and communicative translation have difference in expression form. &lt;br /&gt;
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Second, semantic translation make the translated text more close to the original form and retain the vocative effect as much as possible. If there is no much difference between the source and target language specifications, translation should maintain the length of sentences in the original text as well. Communicative translation will reorganize the syntax and utilize more common collocations or words to make translation more fluent, idiomatic and understandable. In the communicative translation, to make the translation brief and emphasize key information, translators should get rid of the bondage of the source language structure and make appropriate adjustments which are not allowed in the semantic translation, such as adjusting the logic relations in the original, making obscure concepts distinct, deleting repeated unnecessary details or redundant information, normalizing some peculiar expressions, and even correcting factual or writing mistakes. &lt;br /&gt;
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Thus, they have different functions. Semantic translation, performing expressive function, tries to preserve the language characteristics and unique expression forms of the source language to present thinking process of the author. Its translation judged by the target readers is likely to be smoother, simpler, clearer and more direct. While communicative translation is to convey message, performing vocative function. &lt;br /&gt;
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In addition, the key of communicative translation is immediacy which means the success of translation depends on the readers' responses. Semantic translation lays stress on faithfulness to the source text, but cannot neglect to convey the message contained in the source text. (Lin Xiaoqin 1987, 50)&lt;br /&gt;
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Here are some examples to better present the differences between semantic translation and communicative translation.&lt;br /&gt;
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E.g. 世人都晓神仙好。&lt;br /&gt;
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Yang Hsien-yi and Gladys Yang's Version: All men long to immortals.&lt;br /&gt;
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David Hawkes’s Version: All men knew that salvation should be won. &lt;br /&gt;
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In this example, “神仙” is the difficult point because there is no corresponding expression in English. In Chinese culture, “神仙” refers to transcendence and is a life with “supernatural forces” in human beings. Yang directly translated “神仙” as “immortals” because being an immortal is the highest ideal of Taoism. His translation is semantic translation. While Hawkes used “salvation” which is a concept in the Christianity. The creed of Christianity is to be saved from sins. And his translation is communicative translation. Yang chose to be faithful to the original text to preserve the concept in the Taoism. While Hawkes decided to pay more attention to religious background and mentality of the target readers. &lt;br /&gt;
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E.g. 真是“天有不测风云，人有旦夕祸福”。&lt;br /&gt;
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Yang Hsien-yi and Gladys Yang's Version: Truly, “storms gather without warning in nature, and had luck befalls men overnight.”&lt;br /&gt;
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David Hawkes’s Version: I know “the weather and human life are both unpredictable.”&lt;br /&gt;
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In this sentence, “天有不测风云，人有旦夕祸福” is a challenge in translation. It is a Chinese idiom which means the occurrences of some disasters are unpredictable in advance. According to antithesis habit in Chinese, Yang translated these two idioms into the corresponding English compound sentence, which adopted semantic translation. While Hawkes briefly translated into a single sentence, which adopted communicative translation. The former sentence may be appreciated by Chinese readers, and the simplified processing of the latter is easier for native English speakers to understand and accept because it conforms to the British and American expressions, especially in line with the habits of daily expression.&lt;br /&gt;
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E.g. Wet Paint!&lt;br /&gt;
&lt;br /&gt;
Version 1: 湿油漆&lt;br /&gt;
&lt;br /&gt;
Version 2: 油漆未干&lt;br /&gt;
&lt;br /&gt;
Version 3: 小心油漆&lt;br /&gt;
&lt;br /&gt;
Version 4: 勿触油漆&lt;br /&gt;
&lt;br /&gt;
This sentence is an official notice. From the four versions of the source text, there are differences among them. Version 1 is word-by-word translation, conveying an obscure message and not involving in any receptors. Version 2 just describes a fact that the paint is not dry but wet and does not present the informative function of the original. This notice aims to warn people not to do something and keep away from the paint. Version 3 and version 4 are free translations because they emphasize more on the content instead of form. The first and second version are semantic translation because they only describe the fact and tell readers the information that the paint is not dry. However, the third and fourth version are communicative translation which not only tell people the information but also play the warning function to notify readers not to touch the wet paint. &lt;br /&gt;
&lt;br /&gt;
However, semantic translation and communicative translation are not opposite. Newmark points out that the two should be viewed as a whole, instead of isolated or opposite parts. And a problem should be emphasized. Corresponding text-types can overlap. Semantic translation pays more attention to a mainly expressive text and communicative translation is more popular in mainly informative or vocative texts. In brief, translators should think the type of text over and ensure a good balance between them.&lt;br /&gt;
&lt;br /&gt;
====Text Typology====&lt;br /&gt;
&lt;br /&gt;
Language is a unique symbolic system, which has its own most important semantic system, as well as a functional system involving context. &lt;br /&gt;
&lt;br /&gt;
Newmark's text tppology theory is influenced by Reiss, Jacobson and other translators. In the book of Approaches to Translation, Newmark put forward three functional texts, including expressive text, informational text and vocative text. In accordance with these types of classification, Newmark summarized semantic translation and communicative translation. (Newmark 2001, 39)&lt;br /&gt;
&lt;br /&gt;
Expressive text mainly talks about the author's subjective emotions and his or her standpoints, which centers on the source language and the author regardless of the target readers' responses. Newmark points out that the expressive text includes three literary styles: &amp;quot;(1)serious imaginative literature such as poem, novels and dramas, (2) authoritative statements such as speech or statements from government officials or party's officials or party's leaders, documents and regulations and laws from government, and academic works from authorities, (3) autobiography, prose and personal correspondence without target readers.&amp;quot; (Newmark 2001, 55) Semantic translation is applicable to the expressive text, with a particular emphasis on the language features and language structure of the original language which is similar to literal translation.&lt;br /&gt;
&lt;br /&gt;
As for informative text, Newmark proposes that &amp;quot;typical informative texts are concerned with any topic of knowledge&amp;quot;. (Newmark 1988, 40) The informative text focuses on the information or the content provided in the text. According to Newmark, informative text includes textbooks, papers, reports, and minutes about science, industry, technology, economy, commerce and other areas of knowledge or events, which are mainly used to deliver information and reflect truth. In light of translation of informative text, Newmark proposes that communicative translation can be adopted to convey accurate meaning or the content of the source text to the target readers. (Newmark 2001, 67)&lt;br /&gt;
&lt;br /&gt;
&amp;quot;The function of vocative text is to call upon readers to act, to think, to feel and to react in the way intended by the text.&amp;quot; (Newmark 2001, 41) The vocative text includes all kinds of specifications, publicity materials, advertisements, notices and other persuasive words. Two factors must be emphasized in vocative text: one is the relationship between the author of the source text and readers of the source text and another is that translation is easy to be understood by the target readers, therefore, translators should take the source language and its cultural background into consideration in the course of translation practice. And communicative translation should also be used in the vocative text which means much attention should be paid on the target readers' understanding and reaction.&lt;br /&gt;
 &lt;br /&gt;
===Newmark's Improved Views on Literal Translation and Free Translation===&lt;br /&gt;
&lt;br /&gt;
It can be said that literal translation and free translation in the past were had their own disadvantages. Newmark agrees with literal translation and he holds that &amp;quot;translation means filling the blank between two languages and even explaining is translating.&amp;quot; (Newmark 1999, 33) This indicates that he does not neglect the importance of free translation. If the language and grammar structure of the original are not that important, the fidelity of the translation can be lowered, creating more room for translation. This situation can mainly adopts free translation. He even believes that translators can create better translation than the original one. Communicative translation and free translation resemble when it comes to the preference for the message to the manner, and the content to the form of the original. In his masterpiece ''Approaches To Translation'', he analyzes and discusses the loss of meaning. As long as the loss of meaning in the translation is inevitable, content cannot separate from form. And complete faithfulness to the original is almost impossible because the so-called preserving the original meaning is relative. What's more, the content of a text should not be equal to referent in language, but include referent, rhyme, genre, style and so on. As the slogan, being faithful to the original, was too empty, some translators advocating literal translation did free translation and even paraphrased the original in the practice. Newmark holds that translators need to notice the content in four layers, the original text level, referred level, coherent language level and natural tone level. In this way, he transforms the empty slogan into concrete requirements in the translation practice and meanwhile criticized the disadvantages of literal translation. (Newmark 1999, 33)&lt;br /&gt;
&lt;br /&gt;
Likewise, the viewpoints of free translation are not advisable as well. Newmark criticizes the basis of free translation school, making the target readers obtain feelings similar to that of the original readers. He thinks the goal is too difficult to achieve because translators had problem in completely knowing the feelings and responses of the original readers. He further puts forward some reasons why this goal cannot be realized. As long as the same feelings cannot be obtained by the source and target readers, there exists no reason or judging basis of great amending or creative rewriting.  Free translation produces the matter rather than the manner, or the content rather than the form. Newmark regards it as usually a paraphrase much longer than the original, often prolix and pretentious, and not translation at all. In free translation, &amp;quot;more translation is paid to producing a natural reading TL text than to preserving the ST wording intact.&amp;quot; (Shuttleworth and Cowie 2004, 62)&lt;br /&gt;
&lt;br /&gt;
Newmark criticizes that the argument is theoretical without taking other important facets of translator's purpose, the nature of readership and text typology into consideration. Newmark claims the argument could come to a compromise if translators deal with two sides with another visual angle. In 1981, he proposed semantic translation and communicative translation to replace the old terms. (Newmark 1988, 45)&lt;br /&gt;
&amp;quot;(a) communicative translation, where the translator attempts to produce the same effect of the target language readers as produced by the original on the source language readers, and (b) semantic translation, where the translator attempts, with the bare syntactic and semantic constraints of the TL, to reproduce the precise contextual meaning of the author.&amp;quot; (Newmark 1981, 22) In order to better explain these two methods, he designed the form of a flattened diagram. (Newmark 1988, 45)&lt;br /&gt;
&lt;br /&gt;
                SL emphasis                            TL emphasis&lt;br /&gt;
   word for word translation                        Adaption&lt;br /&gt;
          Literal translation                     Free translation&lt;br /&gt;
          Faithful translation                  Idiomatic translation&lt;br /&gt;
            Semantic translation               Communicative translation&lt;br /&gt;
&lt;br /&gt;
The diagram indicates that there is a hugest gap between the translation guided by word for word translation and the translation guided by adaption, then between literal translation and free translation, faithful translation and idiomatic translation and semantic translation and communicative translation last. These eight translation methods are a continuity, and they complement each other and cannot be completely separated. In Newmark's opinion, adaption is the freest translation method, and suitable for drama and poem translation. Free translation reproduces the main content of the original and pay more attention to interpret and expound. Target texts guided by idiomatic translation are more natural, more fluent and more coherent. But due to adopt some unknown expressions, the original meaning may be distorted.&lt;br /&gt;
&lt;br /&gt;
Communicative translation possesses the advantages of adaption, free translation, idiomatic translation and semantic translation maintains the advantages of word for word translation, literal translation and faithful translation. Newmark maintains only by combining semantic translation and communicative translation can achieve two aims of translation-accuracy and conciseness. By distinguishing these right methods, he gives further refinements to the above definition of semantic translation and communicative translation. He adds one more element &amp;quot;aesthetic value&amp;quot;. Meanwhile, he gives up emphasizing the &amp;quot;effect&amp;quot;, and refines communicative translation to be more specific, &amp;quot;communicative translation attempts to render the exact contextual meaning of the original in such a way that both content an language are readily acceptable and comprehensible to the readership.&amp;quot; (Newmark 1988, 47)&lt;br /&gt;
&lt;br /&gt;
===My Thoughts on Literal Translation and Free Translation===&lt;br /&gt;
&lt;br /&gt;
The two translation methods, literal translation and free translation, are useful in the translation practice. Taking English-Chinese translation for example, in the translating process, translators can use the method of literal translation when the pattern of sentence in original text is similar with the Chinese one, and we can find some Chinese words being equivalent in meaning to the words used in the sentence of original text. In some cases there are some complex sentences that can be translated with the method of literal translation as well. As long as these sentences are short and the pattern of these sentences is relatively simple compared with other complex sentences, they can be translated by literal translation method. In English, the using of some metaphors and similes is almost similar to the way that they are used by in Chinese. For instance, &amp;quot;time flies&amp;quot; in English can be directly translated into Chinese as &amp;quot;时间飞逝&amp;quot;, as the Chinese people also describe time passing very fast in this way, which accords with the expression habit of Chinese.&lt;br /&gt;
&lt;br /&gt;
As English and Chinese are two kinds of different languages, there are many differences in various aspects, such as different grammar and language habits. In English there are some words or phrases we cannot find the relative words or phrases in Chinese. In this cases, using using literal translation method would not be proper. Under this condition, if the translator insists on using literal translation, the translation text will be difficult to be understood by the target readers. So in order to make the translation text readable, translators should adopt free translation. Under the direction of literal translation, translators will try their best to keep the flavor of original work, no matter on the material or the form. Literal translation is the effective method to keep the cultural flavor of original language. Therefore, when there are some cultural differences affecting the translation of culture-loaded words between the source language and the target language, free translation can become one of the translation strategies which provide possibility in reducing or even removing the restrictive factors in translation process. &lt;br /&gt;
 &lt;br /&gt;
In the process of translation, it is an ideal way to combine literal translation and free translation because they mutually complement in many cases. When literal translation cannot express the original and basic content of the author and hinder readers to understand, it is crucial for the translator to use free translation to express the author's meaning. When free translation cannot meet the requirement of being faithful to the content of the original text, it is significant for the translation to use literal translation to show features ad the structure of the author's language.&lt;br /&gt;
&lt;br /&gt;
===Conclusion===&lt;br /&gt;
&lt;br /&gt;
The dispute between two translation methods, literal translation and free translation has been lasting from throughout history. The argument of them is based on the relationship between content and form. This paper attempts to introduce Peter Newmark's improved views on the literal translation and free translation. Newmark criticizes some disadvantages and proposes semantic translation and communicative translation. Semantic translation focuses on maintaining the content of the original text, while communicative translation emphasizes more on the effect of the translation. The author also shows opinions on literal translation and free translation. Peter Newmark's theory has taken a big step forward from one-sided view of literal translation and free translation in the past, which has provided the direction of further development of translation research.&lt;br /&gt;
&lt;br /&gt;
===References===&lt;br /&gt;
*Nida,E.A[尤金·A·奈达].(1985).''Translating means Translating meaning''《翻译即译意》.UNESCO: Publication of FIT. &lt;br /&gt;
&lt;br /&gt;
*Newmark, Peter[彼得·纽马克]. (1991). ''About Translation''《关于翻译》. North Somerset: Multilingual Matters&lt;br /&gt;
&lt;br /&gt;
*Newmark,Peter[彼得·纽马克].(1998). ''A Textbook of Translation''《翻译教科书》. London: Prentice-Hall International (UK) Ltd. &lt;br /&gt;
&lt;br /&gt;
*Newmark, Peter[彼得·纽马克]. (1981). ''Approaches to Translation''《翻译方法》. Oxford: Pergamon Press.&lt;br /&gt;
&lt;br /&gt;
*Shuttleworth &amp;amp; Cowie[沙特尔沃斯&amp;amp;考伊]. (2004). ''Dictionary of Translation Studies''《翻译研究词典》. Shanghai: Shanghai  Foreign Language Education Press.&lt;br /&gt;
&lt;br /&gt;
*陈伯雨 Chen Boyu. “翻译对等” 研究[Study on Translation Equivalence]. 辽宁师范大学[Liaoning Normal University]. 2003.&lt;br /&gt;
&lt;br /&gt;
*陈福康 Chen Fukang.《中国译学理论史稿（修订本）》[''Draft History of Chinese Translation Theory (Revised)'']. 上海：上海外语教育出版社[Shanghai Foreign Language Education Publishing House]. 2000.&lt;br /&gt;
&lt;br /&gt;
*程永生 Cheng Yongsheng.中国近现代直译与意译研究[Research on Modern Chinese Literal Translation and Free Translation]. 淮南工业学院学报(社会科学版)[Journal of Huainan Institute of Technology(Social Science)]. 2002.&lt;br /&gt;
&lt;br /&gt;
*李明瀚 Li Minghan.语义翻译和交际翻译在汉语政论文翻译中的应用[Semantic Translation and Communicative Translation in the Translation of Chinese Political Writings]. 辽宁大学[Liaoning University]. 2014.&lt;br /&gt;
&lt;br /&gt;
*林小芹 Lin Xiaoqin.纽马克论交际翻译与语义翻译[Newmark's Study on Communicative Translation and Semantic Translation]. 中国翻译[Chinese Translators Journal]. 1987. &lt;br /&gt;
&lt;br /&gt;
*刘重德 Liu Zhongde.文学翻译十讲[Ten Lectures on Literary Translation]. 北京：对外翻译出版社[Foreign Translation Press]. 1991.&lt;br /&gt;
&lt;br /&gt;
*任文 Ren Wen.交替传译[Consecutive Interpretation]. 北京：外语教学与研究出版社[Foreign Language Teaching and Research Press]. 2012.&lt;br /&gt;
&lt;br /&gt;
*谭载喜 Tan Zaixi.《西方翻译简史（增订版）》[''A Short History of Translation in the West(Updated Version)'']. 北京：商务印书馆[Commercial Press]. 2018.&lt;br /&gt;
&lt;br /&gt;
*王佐良 Wang Zuoliang.翻译：思考与试笔[Translation: Thinking and Writing]. 北京：外语教学与研究出版社 [Foreign Language Teaching and Research Press]. 1989.&lt;br /&gt;
&lt;br /&gt;
*许海燕,孙卫红.杨译本文化负载词的翻译——以《从百草园到三味书屋》为例[On C-E Translation of Culture-loaded Words by Yang Xianyi—A Case Study of From ''Hundred-plant Garden to Three-flavor Study''].陇东学院学报[Journal of Longdong University]. 2012.&lt;br /&gt;
&lt;br /&gt;
*许渊冲 Xu Yuanchong.翻译的艺术[The Art of Translation]. 北京：五洲传播出版社[China Intercontinental Press]. 1984.  &lt;br /&gt;
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*许渊冲Xuan Yuanchong.直译与意译[Literal Translation and Free Translation]. 上海外国语学院学报[Journal of Shanghai Institute of Foreign Languages]. 1980.&lt;br /&gt;
&lt;br /&gt;
='''Document Translation'''=&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
==On translation of official documents of CangNan County	吴恺	Wu Kai==&lt;br /&gt;
&lt;br /&gt;
On Translation of Official Documents of Cangnan County&lt;br /&gt;
&lt;br /&gt;
Japanese Language and Literature, School of Foreign Languages, Hunan Normal University, Wu Kai--[[User:Wu Kai|Wu Kai]] ([[User talk:Wu Kai|talk]]) 04:45, 2 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
==='''Abstract'''===&lt;br /&gt;
As one of the forefronts of Zhejiang’s opening-up cause, Cangnan County in Zhejiang Province has been enjoying a rapid development and an ever-growing degree of opening-up with lasting vitality as it’s supported by national policies and nourished by the dividends of economic globalization since China's reform and opening-up. As China has ushered in a period of major changes rarely seen in a century, Cangnan County is also facing new opportunities and challenges. Under the background of this era, Cangnan County is expected to make good use of its own advantages, especially the geographical ones—it is close to countries and regions including Japan, South Korea, and Taiwan—and should spare no efforts to achieve a higher level of opening-up, and, in turn, further promote its development. As an embodiment of the collective will of the people of Cangnan County, the official document is one of the best manifestations of its governance and stability control capabilities. For this reason, the research on how to translate official documents is of great significance for that it offers a great opportunity for Cangnan County to re-examine itself and to show the rest of the world its achievement in building a culture-enriched county.&lt;br /&gt;
&lt;br /&gt;
==='''Key words'''===&lt;br /&gt;
 official document translation, Cangnan County, opening-up, Japan, South Korea&lt;br /&gt;
&lt;br /&gt;
==='''摘要'''===&lt;br /&gt;
自中国改革开放以来，浙江省苍南县作为全浙江对外开放的前沿阵地之一，得到了国家政策支持和经济全球化红利的滋润，苍南县发展水平与对外开放程度日新月异，全县活力持久带劲。随着中国迎来“百年未有之大变局”，苍南县也面临着新的机遇和挑战，在此时代背景下，苍南县应该利用好自身优势，特别是临近日本、韩国、台湾等国家与地区的地理优势，努力开展更高层次、更高水平的对外开放事业，促进苍南更好的发展。为此，作为苍南县人民集体意志的体现，苍南县的公文就是对外展示其治理水平、稳控能力的最好的体现之一。而对于苍南县公文的如何翻译的研究，是促使苍南县重新审视自己、推进苍南人文县情传播海外的良机，意义重大。&lt;br /&gt;
&lt;br /&gt;
==='''关键词'''===&lt;br /&gt;
公文翻译  苍南县  对外开放  日本  韩国&lt;br /&gt;
&lt;br /&gt;
==='''I. System and Translation of Official Documents of Cangnan County'''===&lt;br /&gt;
&lt;br /&gt;
The unique official document system adopted by Chinese government agencies is a special integration of the thousands-of-years excellent political traditions in China and the essence of the organizational structure of the socialist regime. As a county-level unit in China's local administrative structure, Cangnan County has an official document system that is consistent with the national ones in general while has its own features. Official documents of Cangnan County can be basically divided into the following types of writing: resolutions, decisions, orders, bulletins, announcements, notifications, opinions, notices, reports, requests for instructions, approvals, proposals, letters, and minutes. Above-mentioned categories are collectively known as official documents. Besides, there are also some types of practical writing, including summaries, plans, notes, memos, briefings, speeches, manuals and so on, that are often used in our day-to-day work.&lt;br /&gt;
&lt;br /&gt;
In addition to those characteristics of the official documents that are commonly seen in China, official documents of Cangnan County also have its own features, which is mainly reflected in the aspect of proprietary terminology. Cangnan County, which used to be a part of Pingyang County in Zhejiang Province, was officially designated as a county in 1981 with the approval of the Central Government. It takes its name Cangnan, which means “on the south of the Yucang Mountain”, from its geographical location. As a relatively young county-level administrative unit in China’s administrative divisions, Cangnan County has a complex natural endowment and cultural environment, which is the reason why there are many special proprietary terms used in the official documents of Cangnan County, such as “Beautiful South Gate of Zhejiang Province”, “Southern Ouyue (an ancient kingdom in modern Wenzhou and Taizhou)” , “South Gate of Jiangsu-Zhejiang Region” and so on. Moreover, Cangnan is also the birthplace of the “Wenzhou Model”. Since the implementation of policy for the exchange of production materials and commercial grains in 1984, Cangnan has become an important base for the experiments and development of Wenzhou's private economy and market economy, and, thus, has made a significant contribution to the great cause of China's reform and opening-up.&lt;br /&gt;
&lt;br /&gt;
To conclude, the unity of the official document system viewed from the national scope of China and the uniqueness of the official document system viewed from the local scope of Cangnan area are both reflections of the integration of economic, political, and cultural elements. Therefore, when translating the terms and sentences in these official documents, obviously, it is almost impossible to follow general translation theories, such as Yan Fu’s “faithfulness, expressiveness and elegance” theory which applies to literature translation, and Christiane Nord’ Skopos theory which emphasizes schematic analysis. Due to the features of the official documents of Cangnan County, it is hard to imagine the consequence it will cause if those Cangnan and Chinese elements they contain are missed when translating them. Therefore, the starting point for the translation and research of Cangnan official documents should be analyzing the official document itself, but not choosing which translation theory to apply.&lt;br /&gt;
&lt;br /&gt;
The translation method focusing on the official documents themselves is undoubtably the one that emphasizes the content while manages to achieve a similarity in form. Thus, the translation theory that meets the requirements of official document translation in Cangnan County shall be the functional equivalence theory of the American linguist Eugene A. Nida. Eugene A. Nida argued in his theory that translation is to use the most appropriate, natural and equivalent language to reproduce the informational function of the source language both semantically and stylistically. Nida’s definition of translation specified that translation is seeking equivalence not only in lexical meaning, but also in semantics, style and literary form. Translation should convey both the denotative and connotative meaning of a message. Regarding the equivalence of translation, he believed that the equivalence consists of four parts: lexical equivalence, syntactic equivalence, textual equivalence, and stylistic equivalence. Among the four aspects, he emphasized that the meaning the core and most important part, followed by the form. The form of a text is likely to conceal the cultural connotation of the source language and may, therefore, hinder cultural exchanges. Based on the above, the reasons why the functional equivalence theory is applicable to official document translation in Cangnan County can be concluded as follows:&lt;br /&gt;
&lt;br /&gt;
First, the functional equivalence theory advocates that the target text should be equivalent to the source text both semantically and culturally. Official documents of Cangnan County are carriers of profound political culture with Chinese characteristics and the cultural environment in Cangnan. When translating them, in addition to showing the political consciousness and judicial authority of Cangnan government agencies, the local culture of Cangnan must also be reflected in the translations.&lt;br /&gt;
&lt;br /&gt;
Second, the functional equivalence theory suggests that if the lexical meanings and cultural elements cannot be taken into account at the same time, the translator then may give up the equivalence in form and try to reproduce the semantic and cultural meaning of the source text by changing the form of the sentence. There are many specialized terms with Chinese characteristics and Cangnan’s characteristics in official documents of Cangnan County. When translating them, once there is no corresponding expression in the target language, other forms of expression must be adopted to retain the meanings of those specialized terms as much as possible.&lt;br /&gt;
&lt;br /&gt;
Third, the functional equivalence theory proposes that if the change in form is still not enough to express the semantic and cultural meaning of the expression in the source language, the translation technique of “heavy damage” can be adopted to resolve cultural differences , so that the source language and the target language can achieve equivalence in semantic meaning. “Heavy damage” refers to the transformation of the deep structure of the source language into the surface structure of the target language, that is, expressing the cultural connotation of the source text with expressions of the target language. It cannot be ruled out that there are words and sentences in the official document of Cangnan County that cannot be translated, and when this happens, the translator can only rely on his translation techniques and understanding ability to process them creatively.&lt;br /&gt;
Above are simply macro analyses of the official document system in Cangnan County, and when it comes to specific analyses, challenges we face will only be severer.&lt;br /&gt;
&lt;br /&gt;
==='''II. Stylistic Features and Translation of Official Documents in Cangnan County'''===&lt;br /&gt;
&lt;br /&gt;
Looking at the official documents of Cangnan County from the micro level, we can work on the study of its translation based on the following characteristics.&lt;br /&gt;
&lt;br /&gt;
'''1. Details and Accurate'''&lt;br /&gt;
&lt;br /&gt;
As an officially-written document geared for the needs of our people, wording of the official documents of Cangnan County has a very specific orientation. Almost all content words have very clear meanings and connotations.&lt;br /&gt;
&lt;br /&gt;
For example, the sentence “经研究，县政府决定召开市对县安全生产巡查反馈会暨突出问题集中教育警示会，现将有关事宜通知如下。(As discussed, the county government decided to convene a feedback meeting on city-to-county inspections of production safety and a meeting for education and warning on outstanding issues. The relevant matters are hereby notified as follows.)” in the document 《苍南县人民政府办公室关于召开市对县安全生产巡查反馈会暨突出问题集中教育警示会的通知》(“Notice of the Office of the People's Government of Cangnan County on Convening a Feedback Meeting on City-to-County Inspections of Production Safety and A Meeting For Education and Warning On Outstanding Issues”) (the office of the People's Government of Cangnan County on June 8th, 2020) conveys several points very accurately and clearly, including the decision maker, the type, content and theme of the meeting. Therefore, special attention must be paid to the integrity of the information delivered when translating this sentence. For example, it is translated into Japanese as “討議を通じて、県政府は県の安全生産状況に対する市政府の巡査結果反映会及び顕著問題教育警告会を開催することが決定した。関連事項を以下のようにお知らせする。”&lt;br /&gt;
&lt;br /&gt;
'''2. Precise and Compact'''&lt;br /&gt;
&lt;br /&gt;
The role of official documents is to exchange formal information between the upper and the lower, the people and the officials, and the relevant departments. Therefore, the wording of the official documents must be rigorous. No slang and loose sentences should be used, and excessive use of parentheses and descriptive modifiers should be avoided. Official documents of Cangnan County follow this rule as well, in which there will never be informal expressions like daily spoken words.&lt;br /&gt;
&lt;br /&gt;
For example, the expression “三、决策目录施行动态管理，因工作需要增减或变更重大行政决策事项的，承办单位应按照相关规定程序提请调整。(Third, the decision catalogue shall be managed in a dynamic way, the undertaker shall submit application for adjustments in accordance with the relevant regulations if any increase/decrease or change shall be made to the major administrative decision-making matters because of the need of actual work.)” in the document《关于公布苍南县2020年度重大行政决策事项目录的通知》(“Notice on Issuing the 2020 Annual Catalogue of Major Administrative Decision-Making Matters of Cangnan County”) (the office of the People's Government of Cangnan County on Sept. 20th, 2020) When translating this sentence into Japanese, the translator shall fully considers the preciseness of the original expression, and translate it as “三つ目、戦略目録動的管理施行、仕事需要によっての増減または変更が必要な場合、請負機構は関連規定の手順に従って調整を提出しなければならない。”&lt;br /&gt;
&lt;br /&gt;
'''3. Programmed and Standardized'''&lt;br /&gt;
&lt;br /&gt;
The purpose of official documents requires a stable and routine writing program so that the official business can be conducted in an orderly manner. It is essential that the document writing is reasonably programmed. It allows the officer to know what it is and what to do at a glance if a standardized official document program is followed. The standardization of the official documents of Cangnan County can be regarded as a tricky feature in their translation.&lt;br /&gt;
&lt;br /&gt;
For example, the expression “各乡镇人民政府，县政府直属各单位 (the people's government of all townships and towns and all directly affiliated institutions of the people’s government of Cangnan County)” in the document《关于公布苍南县2020年度重大行政决策事项目录的通知》(“Notice on Issuing the 2020 Annual Catalogue of Major Administrative Decision-Making Matters of Cangnan County”) (the Office of the People's Government of Cangnan County on Sept. 20th, 2020) is obviously a standardized addressing of the receiving units of an official document, and it should be translated into Japanese as “各郷鎮人民政府、県政府直属の各部門”.&lt;br /&gt;
Viewing from a micro perspective, we may find that special attention should be paid to many precise details when translating those official documents. It is of great significance that, during the cause of reform and opening-up, we strike a balance between the macro level and the micro level in official document translation, which will serve as a stage for Cangnan County to show itself to Japan, South Korea and other East Asian countries and regions.&lt;br /&gt;
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==='''III. Translation of Official Documents of Cangnan County under the Context of the Japanese Language'''===&lt;br /&gt;
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Cangnan County is one of the nearest administrative units to Japan in China, and Okinawa Prefecture in Japan and Cangnan County are neighbors facing each other across the sea. Furthermore, Cangnan County itself has ports in Xiaguan, Pacao, Yanting, Dayu and other places, and has the basic conditions for conducting small transactions of freights with Okinawa. However, due to the inadequacy policies, laws and regulations, a large portion of Japan’s trade with China, especially with Zhejiang Province, is still conducted in the three port cities, namely Ningbo, Zhoushan, and Hangzhou. Cangnan’s geographical advantages have never been given to full play. To Japan, Cangnan is not a total stranger. Wenzhou City has a great influence upon Japanese culture and history. Special local products such as Wenzhou green tea and Wenzhou satsuma orange are very attractive to Japanese people. Many of the business exchanges during the Kamakura Bakufu in Japan were happened between Hakata merchants and Wenzhou people. As an important subordinate region of Wenzhou City, Cangnan County naturally has left an impression on Japanese people when it comes to China.&lt;br /&gt;
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If Cangnan hopes to lay a foundation for the future cooperation with Japan through its cause of opening up to the outside world, it is of great importance that we study the methods and techniques to make the translation of Cangnan’s official documents to meet the specific context of the Japanese language, which is also a part of the cultural exchanges that will facilitate economic and trade cooperation between Japan and China. The political status of Cangnan County is equivalent to the one of regular cities and special wards in Japan, but this does not mean that the official documents of Cangnan County can be regarded as equivalents to the official documents released by the governments of the regular cities and special wards in Japan, and there are huge differences between their respective official documents in form, wording, Cultural connotation and etc. To better translate Cangnan official documents under the context of Japanese language, the following aspects must be paid attention to:&lt;br /&gt;
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1. Detailed Comparison of Types&lt;br /&gt;
&lt;br /&gt;
In the Japanese official document system, the word “公文” is different in meaning from the word “公文” in Chinese official document system. In Chinese “公文” means government official documents, while in Japanese “公文” generally refer to legal documents that have the force of law and the term “公文書” is the one that refers to government official documents, which roughly includes “外交文書” and “起案文”, “通達” , “命令”, “許可”, “通知書” and so on . When translating official documents of Cangnan County into Japanese, attention should be paid to the transformation of the types of the official documents. The classifications of official documents in China and Japan are different from each other.&lt;br /&gt;
For example, when translating documents such as “proposal letter”, “report” and the like into Japanese, the title should be translated as “建言書” and “報告書”, while “命令(order)”, “通知(notice)”, “提案(Proposal)” and etc. need no translation and can be titled with the original characters directly as “命令”, “通知”, “提案”, and can also be further translated into “命令状”, “通知書”, “提案書”. Those reflect the characteristics of the division of the types of the official document system in Japan.&lt;br /&gt;
&lt;br /&gt;
2. Careful Consideration of the Translation of Chinese Characters&lt;br /&gt;
&lt;br /&gt;
There are a large number of Chinese characters in Japanese. This will for sure be an advantage when translating official documents of Cangnan County into Japanese, however, at the same time, this is also a huge disadvantage. After all, those Chinese characters are Japanized Chinese characters, and their meanings and usages are more or less different from the original ones in Chinese.&lt;br /&gt;
&lt;br /&gt;
For example, the expression “设定全县森林防火期(setting the season of forest fire prevention)” in the document 《苍南县应急管理局局长王再忠关于&amp;lt;苍南县人民政府关于做好森林防火期护林防火工作的通告&amp;gt;的政策解读》(“Policy Interpretation Of ‘Notice of Doing Forest Protection and Fire Prevention during the Season of Forest Fire Prevention by the People's Government Of Cangnan County’ by the Director of Cangnan Emergency Management Agency Wang Zaizhong”) in could be translated character by character into Japanese as “全県域森林防火期間設定”. However, expressions such as “野外火源如何管理” cannot be translated in the same way, and must be processed accordingly and translated into Japanese as “野外の火の元が如何に処理すること”. When translating official documents of Cangnan County into Japanese, the translators must reject the preconceived thinking and native Chinese thinking, or it will lead to irreversible misunderstandings and mistakes.&lt;br /&gt;
&lt;br /&gt;
3. Mastery of the Equivalence of Semantic Meaning&lt;br /&gt;
&lt;br /&gt;
Chinese is an isolating language, in which the grammatical meaning is reflected by the order of words, while Japanese is an agglutinative language, in which auxiliary words and flexible usages of vocabulary are adopted to reflect the grammatical meaning. This requires the translators to have mastery of the equivalence of semantic meanings when translating official documents of Cangnan County into Japanese and try to achieve perfect equivalence in official document translation.&lt;br /&gt;
&lt;br /&gt;
For example, there is a expression as “全体公民必须认真贯彻‘以人为本、预防为主、积极扑救、有效消灾’的森林防灭火工作方针，一旦发现森林火灾，要立即向当地人民政府或森林防灭火指挥部办公室报告(all citizens must seriously implement the working policy of forest fire prevention and firefighting ‘people-oriented, prevention-focused, active in firefighting, effective in disaster relief’, once a forest fire is detected, it must be reported to the local people’s government or the forest fire prevention and firefighting headquarters office immediately)” in the document 《苍南县应急管理局局长王再忠关于&amp;lt;苍南县人民政府关于做好森林防火期护林防火工作的通告&amp;gt;的政策解读》(“Policy Interpretation Of ‘Notice of Doing Forest Protection and Fire Prevention during the Season of Forest Fire Prevention by the People's Government Of Cangnan County’ by the Director of Cangnan Emergency Management Agency Wang Zaizhong”). When dealing with long and complex sentences, the translator must be flexible in using translation techniques to decompose the sentences and translate them step by step, focusing on the balance between the form of the sentence and its semantic meaning. Based on this principle, the abovementioned sentence could be translated into Japanese as “人間本位、予防軸化、積極救助、有効消災という森林防火作業方針は全県民が必ず強固に守らなければならない。林に火事が発見された際、直ちに所轄人民政府や森林防火指揮部執務室に報告すること。”&lt;br /&gt;
&lt;br /&gt;
There is no doubt that, in terms of four-character idioms, allusions, new words of the era and etc., the translation of official documents of Cangnan County under the context of the Japanese language still has a long way to go, but the part that we should pay most attention to in translation is always the differences in culture between the source language and the target language. Only by keeping this basic point in mind at all times, will there be no huge mistakes being made when translating official documents of Cangnan County into Japanese.&lt;br /&gt;
&lt;br /&gt;
==='''Ⅳ. Translation of Official Documents of Cangnan County under the Context of the Korean Language'''===&lt;br /&gt;
&lt;br /&gt;
Zhejiang Province and South Korea have laid a good foundation for economic and trade cooperation projects, and a framework that is comprehensive, wide-ranging, and multi-level has been established for Zhejiang-South Korea cooperation. The advantages of the two regions are obviously complementary and the development potential for both sides and in between is huge. In September 2016, the Zhejiang China-Korea (Quzhou) Industrial Cooperation Park was approved as the first batch of “Zhejiang International Industrial Cooperation Parks” in Zhejiang Province. The total planned area is about 3,000 acres and the total planned investment is 12 billion yuan. Represented by the Zhejiang China-Korea Industrial Cooperation Park, a large number of economic and trade cooperation projects has been carried out with South Korea by Zhejiang Province. As an indispensable part of Zhejiang Province, Cangnan County is facing a huge gap in the cultural exchanges and economic cooperation with South Korea. How to elevate the level of Cangnan’s opening up to the outside world and advancing Cangnan’s economic, trade and cultural cooperation with South Korea is a question that is well worth exploring. Although Cangnan is further away from South Korea compared with regions in the north of Zhejiang, geographic location should never be a factor that hindering Cangnan’s economic, trade and cultural cooperation with South Korea. In an era of ever-deepening globalization, it is of great significance that we think about how to develop and promote the economic and trade and cultural cooperation between Cangnan and South Korea.&lt;br /&gt;
&lt;br /&gt;
Northern Zhejiang is a key area for economic, trade and cultural cooperation with South Korea. As the south gate of Zhejiang Province, if Cangnan County could open the door of economic, trade and cultural cooperation to South Korea, then this will inevitably bring extraordinary development opportunities to southern Zhejiang and make the pattern of Zhejiang and South Korea’s economic and cultural cooperation more balanced and healthy. The political status of Cangnan County is equivalent to the one of si(city), gu (district), and gun(county) in South Korea. Because of some historical reasons, South Korea is greatly influenced by Chinese culture. From the Three Kingdoms era of Joseon, to the Unified Silla Dynasty, the Wang’s Goryeo Dynasty, and the Yi’s Joseon Dynasty, the basic system of administrative divisions in South Korea is almost the same as the one in China, so the official document system of cities, districts, and counties in South Korea can be regarded as basically equivalent to the official document system of Cangnan County with only slight differences originated from the localized political and cultural traditions and the basic social condition of South Korea. Therefore, there are relatively fewer difficulties of translation when translating official documents of Cangnan County into Korean, aside from the barriers caused by Korean Hangul words. The translation of official documents of Cangnan County under the context Korean language requires attention to the following aspects:&lt;br /&gt;
&lt;br /&gt;
1. The Combination of Chinese characters and Hangul&lt;br /&gt;
&lt;br /&gt;
Modern Korean uses Hangul as the main written characters, but this does not mean that there is no place for Chinese characters in the Korean system. Since the launch of the abolition of Chinese characters movement in South Korea in the 1970s, Hangul did exactly achieved an overall penetration of every aspect of their daily life, but when it comes to important documents, Chinese characters still reserve a seat in the arena of South Korea’s history. Furthermore, a higher level of talent training is required now to meet the need of South Korea’s economic and social development, and the mastery of sinology has become, among all the necessary skills, one of the most straightforward evaluation criteria to access the qualified personnel. Thus, South Korea has restarted the Chinese character teaching movement. Nowadays, the official document system in South Korea has become one in which Hangul serves as the main language and the mixed use of Chinese characters and Hangul serves as a supplement. Just as how the mixed use of kana and Chinese characters in Japanese official documents may help in its translation, the mixed use of Chinese characters and Hangul also greatly facilitate the translation of official documents of Cangnan County into Korean. However, because Chinese characters used in Korea are composed of traditional Chinese characters and a small number of Korean self-made Chinese characters, we can not take it for granted that it is advisable to translate them word by word.&lt;br /&gt;
&lt;br /&gt;
For example, the title of the document《苍干任〔2020〕18号 王再忠等同志的任命》(“Cangnan Cadre Appointment [2020] No. 18: Appointment of Wang Zaizhong and etc.”) (the Office of CPC Cangnan Party Committee on March 27th, 2020) can be translated with the mixed use of Chinese characters and Hangul into Korean as《蒼南縣의 幹部任命〔2020〕18號 王再忠등 同志의任命》. Also, it be translated into Korean with Hangul alone as《참남현의 간부임명〔2020〕18호 왕재충등 동지의임명》.&lt;br /&gt;
&lt;br /&gt;
2. The Usage of Refined Language&lt;br /&gt;
&lt;br /&gt;
In recent years, South Korea has carried out reforms of the official document system, urging that the South Korean government agencies at all levels should use “refined(or purified) language”, that is, to write and publish official documents with words that are easy for the public to understand and have explicit meanings, reducing the cost of communication between the government and the public and, in this way, building a closer relationship between the government and the people, so that civil servants can communicate with the people more effectively. Refined language is a kind of common vernacular that differs from the official language. Although this trend of the wording of Korean official documents is not unconditional, but when compared with official documents of Cangnan County, which emphasize the solemnity and formality of official documents, this trend is the part that the translator has to pay his attention to.&lt;br /&gt;
&lt;br /&gt;
For example, when translating the expression “为加强行政规范性文件管理，切实推进依法行政，加快法治政府建设 (To strengthen the management of administrative normative documents, promote the administration in accordance with law, and accelerate the construction of a government ruled by law)” in the document《苍南县人民政府关于公布县政府及县政府办公室行政规范性文件清理结果的通知（有效）》(“Notice of the Office of the People's Government of Cangnan County on the Announcement of the Results of the Cleanup of the Administrative Normative Documents of the County Government and the County Government Offices (Effective)”) (the Office of the People's Government of Cangnan County on October 23th, 2020) , blunt expressions may not be that applicable and this expression translated into Korean in a more public-friendly way as “행정 규범적인 문서관리를 강화하기 위해, 법에따라 행정을 철저히 추진하고 법치정부의 건설을 가속화시킨다.”&lt;br /&gt;
&lt;br /&gt;
3. Mastery of the Equivalence of Semantic Meaning&lt;br /&gt;
&lt;br /&gt;
Like Japanese, Korean is also a typical agglutinative language. A sentence is formed by connecting independent words with various auxiliary words, and with a subordinating conjunction at the end of the sentence. Auxiliary words are just like glues, they exist after every subject, predicate, and object component of a Korean sentence to them together. For that these auxiliary words have no substantial meaning themselves, they must stay close to the main body in front, and a space must be put after. Therefore, when translating Chinese, which is an isolated language, into Korean, which is an agglutinative language, it is necessary to have mastery of the equivalence of the semantic meaning of the expression.&lt;br /&gt;
&lt;br /&gt;
For example, when translating the expression “全面实施全民参保计划，做好参保情况清查，提升参保信息质量，清理重复参保，稳定持续参保，减少漏保断保，实现应保尽保。(Fully implement the national social security plan, do a good job in checking the coverage of the social security, improve the quality of the collection of the information of the insured, clean up repeated insureds, stabilize the renewal of the social security, reduce the interruption of the social security, and achieve full social security coverage.)” in the document《关于做好2021年度城乡居民基本医疗保障工作的通知》(“Notice on Doing a Good Job in Basic Medical Security for Urban and Rural Residents in 2021”)( the Office of Medical Security Bureau of Cangnan County on November 5th, 2020), the translator should pay attention to the equivalence of semantic meaning of this long sentence and translated it into Korean as “전국민기본의료보험가입계획을 전면적으로 실시하고 기본의료보험가입상황을 철저히 조사하며 기본의료보험가입 정보의 질을 향상시키고 중복기본의료보험가입을 청산하며 안정적이고 지속적인 기본의료보험가입을 하며 보험누락을 줄이고 기본의료보험가입 을 실현해야 한다.”&lt;br /&gt;
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==='''Ⅴ. Studies of Official Document Translation and the Cause of Opening-up in Cangnan County'''===&lt;br /&gt;
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Based on the abovementioned basic characteristics of the official document system of Cangnan County, the notes for official documents translation under the context of the Japanese language and the notes for official documents translation under the context of the Korean language, we can see that official documents of Cangnan County is not as difficult to handle as something untranslatable. Cangnan County enjoys a good geographic location: it is located in the coast of the East China Sea, and is close to both Japan and South Korea, two strong economies in East Asia. However, Cangnan County has not yet made use of these favorable conditions to the fullest to promote cultural cooperation and trade with the two countries. Cangnan’s opening up to the outside world requires innovative thinking and an elaborate layout. Studies on the translation of official documents of Cangnan County, especially the translation of official documents under the context of the Japanese and Korean language, will help to explore the cultural spirit of the government institutions, and play an important role in building a good image of Cangnan County in East Asia and laying a foundation for Cangnan's cooperation with major countries and regions in East Asia .&lt;br /&gt;
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The world today is undergoing profound changes rarely in a century, and so is China. The tide of history moves on and Cangnan shall not stay out of the matter, but must follow it courageously and strive to open new doors for Cangnan's opening up to the outside world through the study of the official document translation of its own.&lt;br /&gt;
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===References===&lt;br /&gt;
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[1]Ziqi LIU. The Application of Functional Equivalence Theory in Scientific Translation：A Case Study of the Translation of Shipbuilding English[J]. CREATIVITY AND INNOVATION,2019,1(3).&lt;br /&gt;
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[2]Mu Dan. Discussion on Translation Activities Under the Guidance of Functional Equivalence Theory[J]. International Journal of Education and Management,2018,3(2).&lt;br /&gt;
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[3]李琳琳. 功能对等翻译理论与关联翻译理论比较研究[D].辽宁师范大学,2006.&lt;br /&gt;
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[4]赵娟廷. 汉韩公文语体对比研究[D].复旦大学,2003. &lt;br /&gt;
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[5]周萱. 《中国共产党怎样解决民族问题》（节选）中韩翻译报告[D].青岛大学,2017.&lt;br /&gt;
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[6]张利军. 《教学的游戏性研究》的汉日翻译实践报告[D].广西师范大学,2019.&lt;br /&gt;
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[7]栾亚琼. 《2015年山东省政府工作报告》汉日翻译实践报告[D].曲阜师范大学,2016.&lt;br /&gt;
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[8]占丽华. 源流与演变—日本地方公文书馆发展路径研究[D].山东大学,2020.&lt;br /&gt;
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[9]任清萍. 功能翻译理论视角下政府工作报告日译研究[D].外交学院,2020.&lt;br /&gt;
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[10]孙慧. 产业竞争力与区域经济增长[D].苏州大学,2006.&lt;br /&gt;
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--[[User:Wu Kai|Wu Kai]] ([[User talk:Wu Kai|talk]]) 04:45, 2 December 2020 (UTC)&lt;br /&gt;
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==The Translation Process and Methods of Translating English Long Sentences - Zhou Yiwen 周艺文 202070080629 英语笔译==&lt;br /&gt;
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===Abstract===&lt;br /&gt;
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The translation of long English sentences is a difficult point in English-Chinese translation. It is very important to understand the features of sentence structure and the translation process and methods of long English sentences. This paper studies the translation process and methods of English long sentences through the comparative study of English and Chinese language characteristics and specific English-Chinese translation analysis. This paper is divided into five parts. The first part introduces the characteristics of English long sentences. The second part illustrates translation difficulties of English long sentences by making contrasts the language features of English with that of Chinese, which can be divided into three aspects: English sentences emphasize hypotaxis, Chinese sentences emphasize parataxis; English is a static language, while Chinese is a dynamic language; English prefers passive voice while Chinese prefers active voice. The third part expounds the translation principles for English long sentences from the perspective of Skopos theory, which are skopos rule, coherence rule and fidelity rule. The fourth part mainly analyzes the process of translating English long sentences through some examples. In the end, five translation methods are discussed, which are liner translation, reorganization translation, division, embedding and synthesis.&lt;br /&gt;
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===Key words===&lt;br /&gt;
&lt;br /&gt;
English long sentences; language characteristics; translation process; translation methods&lt;br /&gt;
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===英语长句翻译过程及翻译策略===&lt;br /&gt;
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===摘要===&lt;br /&gt;
&lt;br /&gt;
英语长句翻译是英汉翻译的难点，了解英语长句的句子结构特点和翻译过程及方法在英汉翻译中十分重要。本文通过对比研究英汉语言特点及具体英汉译本分析对英语长句翻译过程和方法进行研究。本文分为五个部分，第一部分介绍了英语长句的特点。第二部分分析了造成翻译英语长句困难的原因，即英汉两种语言在句子结构上的差异，即英语句子重形合，汉语句子重意合; 英语是静态语言，汉语是动态语言; 英语喜用被动语态，汉语喜用主动语态。第三部分运用目的论阐述了翻译英语长句的原则，即目的原则，连贯原则和忠实原则三个方面。第四部分主要通过具体的句子分析英语长句的翻译步骤及过程。最后探讨了英语长句汉译时采用的五种翻译方法，即顺序法、变序法、分译法、包孕法和综合法。&lt;br /&gt;
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===关键词===&lt;br /&gt;
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英语长句子；语言特点；翻译过程；翻译方法&lt;br /&gt;
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===1.Characteristics of English Long Sentences===&lt;br /&gt;
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The existence of long English sentences are usually caused by three elements. The first one is postmodifier, the second is the large number of joint components, the third one is the complex structure of long sentences. In general, long English sentences are more common in the literary text, discussion text and technical text (Wang, 2010 124).English and Chinese have many similarities in basic sentence structure. The main elements of sentence structure mainly include subject, predicate, object, predicative, attribute, adverbial modifier, and complement. In English, the sentence emphasizes the form and the sentence has a tree structure, and the Chinese sentence emphasizes the parataxis, and the sentence has a bamboo structure.(Wang, 2010 124)&lt;br /&gt;
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The main characteristics of English long and difficult sentences are as follows:&lt;br /&gt;
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(1) There are much more words, more complex sentence patterns, and more modifiers in these sense.&lt;br /&gt;
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(2) Compared with simple sentences, long and difficult sentences often use inversion structure, and there are phenomena of omission and word order inversion.&lt;br /&gt;
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(3) The reason for the formation of long and difficult sentences is that there are many long and difficult sentences with coordinate components, phrases, additional components, clauses, and coordinate sentences.&lt;br /&gt;
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(4) The language structure of long and difficult sentences is relatively complex and has a strong sense of hierarchy.&lt;br /&gt;
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===2.Translation difficulties of English long sentences===&lt;br /&gt;
&lt;br /&gt;
The difficulties of translation are mainly caused by the differences between the source language and target language. English and Chinese belong to different language systems, the former belongs to Indo-European language family, the latter belongs to Sino-Tibetan language family, so there are significant differences in syntax between them. In addition, the different cultures of English and Chinese will inevitably lead to the difference in sentence structure between the two languages, because language is the carrier and medium of culture. (Jiang, 2019, 62-65)&lt;br /&gt;
&lt;br /&gt;
===2.1Hypotaxis vs. parataxis===&lt;br /&gt;
&lt;br /&gt;
English syntactic structure is hypotaxis while Chinese syntactic structure is parataxis (Lian, 2010 73). Hypotaxis is that the words or clauses in a sentence are connected together by means of linguistic formal means (such as using related words) to express grammatical meaning and logical relations(Jia, 2002 101). English emphasizes explicit connection, emphasizes form and structure, and often helps with various means of connection. As a result, the sentence structure is rigorous and lacks elasticity. English sentences are often made with relatives (who, whom, whose, which, that, where, when, etc.), conjunctions (but, however, unless, because, since, so, and, if, etc. ), preposition (in, about, without, throughout, according to, along with, etc.), and other connective means. Parataxis means that words and clauses are not connected by means of linguistic forms, and the grammatical meaning and logical relation in a sentence are expressed by the meaning of words and clauses (Jia, 2002 101). Chinese sentences are made with little or no means of formal connection, with emphasis on invisible coherence, function and meaning, so the sentence structure is loose and flexible (Jia, 2002 101).&lt;br /&gt;
&lt;br /&gt;
Example 1: &lt;br /&gt;
&lt;br /&gt;
ST: Individuals develop within themselves an ability to persevere and tolerate things that are unexpected or bad, difficult to get through. &lt;br /&gt;
&lt;br /&gt;
TT: 人们在内心修炼一种能力，在面对意外、不幸或者挑战时也能继续坚持和忍耐。&lt;br /&gt;
&lt;br /&gt;
Analysis: In this sentence, “that...to get through” is a attributive clause to modify “things”, which is a kind of hypotaxis. The translation is not limited to the original sentence structure but follows Chinese expression habit, so the language is very smooth. &lt;br /&gt;
&lt;br /&gt;
===2.2Static language vs. dynamic language===&lt;br /&gt;
&lt;br /&gt;
English is static language and Chinese is dynamic language. The reason why English is a static language is that nouns and prepositions are frequently used and predominate in English. In English sentences, there can only be one predicate verb and other action words can only be nominal verbs. Therefore, nominalization has become a common phenomenon in English. (Wang, 2004 5) Prepositions are used to before nouns and noun phrases. They have no morphological changes and are very flexible in use. Therefore, the frequency of using prepositions in English is very high and the number of prepositions far exceeds that in Chinese. When translating Chinese to English, an important way to make the target text conform to the expression of English is to pay attention to the application of English prepositions. Since Chinese is parataxis language, verbs have no morphological changes, and the use of verbs makes the language more vivid, so verbs are frequently used in Chinese. In addition to a large number of verb-object structures, Chinese sentences can be more dynamic by using a series of verbs. In English-Chinese translation, we must pay attention to the conversion between static and dynamic. (Jiang, 2019 12:62-65)&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
Example 2:&lt;br /&gt;
&lt;br /&gt;
ST:This month, when earthquakes rocked Southern California on back-to-back days, it was a visceral reminder that we may one day experience the “Big One”, a quake with the power to kill and destroy.&lt;br /&gt;
&lt;br /&gt;
TT:本月南加州连遭地震，人们本能地联想到，我们某天可能会经历“一次大的”具有杀伤力和破坏力的地震。&lt;br /&gt;
&lt;br /&gt;
Analysis: The noun “reminder” is translated into a verb “联想”, which is a transformation from static language to dynamic language.&lt;br /&gt;
&lt;br /&gt;
===2.3Passive voice vs. active voice===&lt;br /&gt;
&lt;br /&gt;
Although both English and Chinese have active voice and passive voice, the frequency of English passive voice is much higher than that of Chinese, which is also one of the characteristics that distinguishes English from Chinese. Especially in English scientific technical text, the passive voice is much more used, almost becoming a expression habit, because the passive sentence does not have to point out the actor but highlight the target, which is more objective(Zhu 2004, 94). In English-Chinese translation, we must grasp this difference in language, so as to make the translation conform to the expression habit of the target language. (Zhu 2004, 94)&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
Example 3:&lt;br /&gt;
&lt;br /&gt;
ST: At the heart of the system--known as the multi-lateral trading system--are the WTO’s agreements, negotiated and signed by a large majority of the world’s trading nations, and ratified in their parliaments.&lt;br /&gt;
&lt;br /&gt;
TT: 世界贸易组织的核心--多边贸易体系--是世界上大多数贸易国经协商谈判并签署的多个协议, 这些协议同时也经过成员国议会批准。&lt;br /&gt;
&lt;br /&gt;
Analysis: The sentence of the source text is passive, “negotiated”, “signed” and “ratified” are passive in meaning, while Chinese sentence was translated into active, “协商”, “谈判”, “签署” are verbs in active verb.&lt;br /&gt;
&lt;br /&gt;
===3.Translation principles for English long sentences===&lt;br /&gt;
&lt;br /&gt;
Skopos theory was put forward by Hans Vermeer, an outstanding contributor to the translation theory of the German functional school. Different from the traditional equivalence theory, Skopos theory is based on behaviorism and proposes that translation is a purposeful activity(Zhang, 2004 35). The purpose of translation determines the translation method(Reiss and Vermeer, 1984). According to teleology, translators should follow three general principles in the process of translation: skopos rule, coherence rule and fidelity rule(Liu, 2009 378).&lt;br /&gt;
&lt;br /&gt;
Of the three principles, the skopos rule is the most important. The “skopos” can be the translatorss purpose, the communicative purpose of the target text or the purpose to be achieved by using a particular translation method. It usually refers to the communicative purpose of the target text, that is, the communicative function of the target text for the target reader in the socio-cultural context of the target text (Venuti, 2001). Vermeer emphasizes that translation occurs in a cultural context, and translation is not a corresponding conversion of language due to the differences between cultures. The translator should not only accurately understand and interpret the author’s intention, but also make the translation acceptable to readers(Vermeer, 1989).&lt;br /&gt;
&lt;br /&gt;
Coherence rule refers to the fact that the target text must achieve intratextual coherence, making readers to understand and make sense in the communicative context of the target culture and target text. The fidelity rule means that the original text should be intertextually coherent, which is equivalent to being faithful to the original text in other translation theories. And the degree and form of fidelity to the original text depend on the purpose of the translation and the translator’s understanding of the original text. According to Skopos theory, the first one that all translations should follow is skopos rule, coherence and fidelity are subordinate to it. And fidelity is subordinate to coherence (Nord, 2001 32). There are many differences between English and Chinese in thinking and expression, and translation is a kind of cross-cultural communication behavior. Therefore, translators must not ignore the communicative purpose of translation. Guided by skopos rule, coherence rule and fidelity rule, and based on the full analysis of the original text, the most appropriate strategies can be chosen to deal with specific long English sentences with the communicative purpose of the target text (Nord, 2001 32).&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
===4. Translation process of English long sentences===&lt;br /&gt;
 &lt;br /&gt;
Bell divided the cognitive process of translation into 3steps: first, analyze the semantic meaning and grammar of the source language as a universal representation, and then synthesize and reconstruct it to form a translation (Bell, 1991 5). This is also the case with the translation of long sentences, and the analysis of English long sentences is the first step. Since English long sentences focus on the expression of form, the basic methods of analyzing Long sentences based on characteristics are as follows: first understand the meaning of the sentence, analyze the grammatical structure of the long sentence, extract the main sentence, and then analyze the branches of the sentence. Finally, dividing long sentences according to the meaning group. (Bell, 1991 5) &lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
As for the translation process from a macro point of view, first, the translator used some translation tools to look up new words and polysemous words. Then the translator began to translate for the first time, aiming to get a faithful text, and did not add any subjective guess to prevent the misunderstanding and inaccurate translation. In the second translation, the translator began to check the wrong words, as well as inappropriate points, and combined the language features of the text, which aimed to achieve coherent and intelligible. Finally, in the third translation, the translator got rid of the source language, and only read the target language to check whether it conformed to the reading habits and thinking modes of Chinese readers. If not, the translator would revise inappropriate sentences from the perspective of the target readers.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
As for the translation steps from micro point of view, it can be divided into five steps: Find the main body of the sentence; Make clear the relationship between each modifier and the main sentence; Divide long sentences into several parts according to the expression requirements;Translate each part one by one; Adjust and polish the translation according to the Chinese expression habits.&lt;br /&gt;
&lt;br /&gt;
Example 4: &lt;br /&gt;
&lt;br /&gt;
ST: It has a mobile payments system that has been widely adopted in China, which allows people to shop，play games，pay utility bills and order meal deliveries all from within the app.&lt;br /&gt;
&lt;br /&gt;
To analyze and translate this sentence, the most important is to find the main structure. It's easy to find the main body of this sentence is “It has a mobile payments system”. And second it is necessary to analyze the relationship between the modifiers and the main components of the sentence. “That has been widely adopted in China” is a post-positive attributive clause to modify the object “mobile payments system”, and “which allows…within the app” is a non-restrictive attributive clause to further explain the “system”, making readers know more about the target. Third, divide it into several parts according to the meaning and expression requirements. So this sentence can be divided three parts: the main body “It has a mobile payments system” is one part; and the two modifiers “that has been widely adopted in China” and “which allows … within the app” are the other two parts. Forth, translate every part: “它有一个移动支付系统”; “在中国得到广泛应用”; “让人们在该应用内购物、玩游戏、支付水电费和订餐”. Finally, adjust and polish the translation according to the Chinese expression habits. So the original sentence could be translated into: “它的移动支付系统在中国得到了下广泛应用，人们可以在该应用内购物、玩游戏、支付水电费和订餐”.&lt;br /&gt;
&lt;br /&gt;
===5.Translation strategies for English long sentences===&lt;br /&gt;
&lt;br /&gt;
===5.1Liner translation===&lt;br /&gt;
&lt;br /&gt;
When the narrative level of English long sentences is basically the same as that of Chinese, that is, the sentences are narrated according to the time sequence or internal logic of the action, which is consistent with the expression habit of Chinese, and can be translated into Chinese in the same order as the original English. (Zeng 2010, 149-150)&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
Example 5:&lt;br /&gt;
&lt;br /&gt;
ST: They learned with stupefaction that there is another aspect from which human action might be viewed than that of good and bad, of fair and unfair, of just and unjust. In the course of social events there prevails a regularity of phenomena to which man must adjust his actions if he wishes to succeed. &lt;br /&gt;
&lt;br /&gt;
TT: 另一方面，他们茫然地想要了解到人类的哪些行为可以被看作是好的和坏的，公平的和不公平的，公正的和不公正的。在社会事件的过程中普遍存在着规律的现象，如果他希望成功，必须调整他的行动。 &lt;br /&gt;
&lt;br /&gt;
Analysis: There is an object clause in the first sentence. In the process of translation, the sentence can be simply translated in accordance with the order of the composition of the sentence. The translation is natural to read and can express the meaning of the original text by using liner translation.&lt;br /&gt;
&lt;br /&gt;
Example 6:&lt;br /&gt;
&lt;br /&gt;
ST: The joy and the tedium of labor are psychological phenomena which influence neither the individual’s subjective valuation of the disutility and the mediate gratification of labor nor the price paid for labor on the market. &lt;br /&gt;
&lt;br /&gt;
TT: 劳动的快乐或厌恶都是心理现象，既不影响个人对于劳动负效用和报酬的主观评价也不影响市场上的劳动力价格。 &lt;br /&gt;
&lt;br /&gt;
Analysis: Although this sentence has both an attributive clause and “neither... nor...” structure with a large number of vocabulary, but its logical thinking, sentence structure and temporal and spatial order are consistent with Chinese habits. Therefore, we can translate it by using the liner translation method.&lt;br /&gt;
&lt;br /&gt;
===5.2 Reorganization translation=== &lt;br /&gt;
&lt;br /&gt;
Reorganization is a way of changing the order of the original text, pushing forward from behind or from the middle. English is hypotaxis language, while Chinese is parataxis language. (Lian, 2010 73) In terms of word order, English pays attention to the use of various conjunctions, such as relation words, conjunctions, prepositions, etc., to express the logical relations among them. Chinese, on the other hand, is used to connecting words with logical relations. The logic of long sentences in Scientific English is often quite different from that in Chinese, sometimes even the opposite. According to the expression habits of Chinese, the word order can be adjusted by means of reverse translation, so as to make the translation expression standard and easy to be understood and accepted by readers.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
Example 7:&lt;br /&gt;
&lt;br /&gt;
ST: No technological improvement would have been possible if the additional capital goods required for the practical utilization of new inventions had not previously been made available by saving. &lt;br /&gt;
&lt;br /&gt;
TT: 实际利用新发明需要额外资本，如果以前没有通过储蓄获得这些额外资本, 就不可能有技术改进。&lt;br /&gt;
&lt;br /&gt;
Analysis: The “if-” clause contains a post-positive attributive “required for the practical utilization of new inventions”, which makes the clause look very complicated, if translated according to the word order, it would be misunderstood. Therefore, in order to better translate the sentence, the translator can reorganize the structure of the clause in the process of translation, and then translate the main sentence after a clear explanation, so that the meaning of the translated sentence is relatively clear.&lt;br /&gt;
&lt;br /&gt;
Example 8:&lt;br /&gt;
&lt;br /&gt;
ST: It may be useful to compare the doctrine of Marxism and the Prussian Historical School, according to which wage rates are a historical datum and not a catallactic phenomenon, with the regression theorem of money’s purchasing power. &lt;br /&gt;
&lt;br /&gt;
TT: 用货币的购买力的回归定理对马克思主义理论和普鲁士历史学派进行比较可能是比较有用的。普鲁士历史学派认为工资率是历史数据而不是交换现象。&lt;br /&gt;
&lt;br /&gt;
Analysis: In this sentence, “It” is the formal subject, and the real subject is “to compare the doctrine of Marxism and the Prussian Historical School”. Therefore, we should follow the Chinese expression habit and reorganize the sentences before translating them.&lt;br /&gt;
&lt;br /&gt;
===5.3Division===&lt;br /&gt;
&lt;br /&gt;
The so-called division in translation means separating the different parts of English sentences into a single component of Chinese, such as word group, phrases, sentences and even independent sentences (Wang, 2009 144). There are great differences between English and Chinese in syntax. English sentences are long, verbs are few, and balance is stressed, while Chinese is short, verbs are more, and symmetry is stressed. Therefore, when translating long English sentences, it is impossible to translate every sentence into a Chinese sentence, otherwise, the translation will appear bloated and stiff. In English, long sentences are mainly composed of compound and subordinate clauses. According to the habit of using short sentences in Chinese, sometimes the clauses or phrases in the original sentence can be translated separately, and the original sentence can be divided into two or more sentences, so as to make the translation clear and accurately. (Wang, 2009 144)&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
Example 9: &lt;br /&gt;
&lt;br /&gt;
ST: It may be useful to compare the doctrine of Marxism and the Prussian Historical School, according to which wage rates are a historical datum and not a catallactic phenomenon, with the regression theorem of money’s purchasing power. &lt;br /&gt;
&lt;br /&gt;
TT: 用货币的购买力的回归定理对马克思主义理论和普鲁士历史学派进行比较可能是比较有用的。普鲁士历史学派认为工资率是历史数据而不是交换现象。 &lt;br /&gt;
 &lt;br /&gt;
Analysis: In this sentence, “according to which ... money’s purchasing power” is not a independent sentence, but for the easy understanding to the meaning this part was translated into another complete sentence by adding and deleting some words.&lt;br /&gt;
&lt;br /&gt;
===5.4 Embedding===&lt;br /&gt;
 &lt;br /&gt;
Embedding means transforming the post modifiers of the center word in the source text into the premodifiers in the target text, which is suitable for the translation of long sentences with many post-modifiers and strong sense of sentence compactness(Liu, 1998 191).&lt;br /&gt;
&lt;br /&gt;
Example 10:&lt;br /&gt;
&lt;br /&gt;
ST: What brings us together is that we have common interests which transcend those differences. &lt;br /&gt;
&lt;br /&gt;
TT: 使我们走到一起的，是我们有超越这些分歧的共同利益。  &lt;br /&gt;
&lt;br /&gt;
Analysis: In this sentence, “which transcend those differences” is a attributive clause to modify the antecedent “common interests”. If we translate it according to the English word order, it must be tedious and difficult to understand. Therefore, we can use insertion to put the clause before the main word, which will be simple and easy to understand.&lt;br /&gt;
&lt;br /&gt;
Example 11:&lt;br /&gt;
&lt;br /&gt;
ST: This refined playing must not be confused with the simple games of children which are merely pleasure-producing.&lt;br /&gt;
&lt;br /&gt;
TT: 这细化的游戏一定不要和儿童仅仅为了快乐的简单游戏混淆。 &lt;br /&gt;
&lt;br /&gt;
Analysis: The post-positive attributive “which..” is a modifier used to explain “the simple games of children”. In order to make the sentence structure more compact, smooth and coherent, the modifier needs to be put before the noun “game”. This method is often used in the translation of attributive clauses or post-positive attributives in English.&lt;br /&gt;
&lt;br /&gt;
===5.5 Synthesis===&lt;br /&gt;
&lt;br /&gt;
Synthesis means to use the above methods to translate long English sentences. In fact, when translating long English sentences, it is rare to adopt only one translation method, and it is often necessary to combine several translation methods. The key to the synthesis method is to adjust the structure of the original text flexibly on the basis of accurate understanding of the original text, and to pursue the spirit likeness rather than the appearance likeness when expressing in Chinese (Jiang, 2019,11:62-65).&lt;br /&gt;
&lt;br /&gt;
Example12:&lt;br /&gt;
&lt;br /&gt;
ST: For all of our complaints about contemporary air- ports and flying, it might be a comfort to remember that thanks to the little Pacific island nation of Fiji, we are actually getting to our destinations faster and more safely than ever before.  &lt;br /&gt;
&lt;br /&gt;
TT: 对于如今的机场和乘机体验，尽管我们有诸多抱怨，但也多亏了斐济这个太平洋岛国，我们飞抵目的地已变得更快更安全，想到这一点，或许会让我们心里又感宽慰不少.&lt;br /&gt;
&lt;br /&gt;
Analysis: The main body of this sentence is “it might be a comfort”, among which “it”, is the formal subject, and “to remember that…ever before” is the real subject. We can not find such a sentence structure in Chinese. So in order to make the translation more authentic, the sentence order must be changed. Based on the understanding of the source text, it is appropriate to adopt both liner method and reorganization method to translate. &lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
===Conclusion===&lt;br /&gt;
&lt;br /&gt;
In the practice of the translation of long and difficult sentences, there is a higher requirement for translators’ English comprehension and expression ability. For the translation of long and difficult sentences in English, the translator should be familiar with the sentence structure and main ideas of long and difficult sentences in English, and make clear the main logical relationship with the content of the original text, so as to effectively analyze the structure of long and difficult sentences in English and choose the correct way of translation. In the specific translation practice, translators should, on the basis of understanding the grammatical features of English, choose reasonable translation methods and skills so as to achieve the accurate translation of long and difficult Sentences. Translation activities require a high level of English reading and comprehension, and the effective translation of long and difficult sentences requires translators to constantly improve their ability to summarize, update their English translation skills, and realize the summary and innovation of long and difficult sentences.&lt;br /&gt;
&lt;br /&gt;
===References===&lt;br /&gt;
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[1]Bell, R.T. (1991). ''Translation and Translating: Theory and Practice''. London and New York: Longman. &lt;br /&gt;
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[2]Nord, C. (2001). ''Translating as a Purposeful Activity--Functionalist Approaches Explained'' . Shanghai: Shanghai Foreign Language Education Press.&lt;br /&gt;
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[3]Reiss, Katharina &amp;amp; Vermeer, Hans J. (1984). ''Groundwork for a General Theory of Translation'' . Tubingen: Walter de Gruyter Press.&lt;br /&gt;
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[4]Venuti, L. (2001). ''Introducing Translation Studies: Theories and Applications'' . London: London and New York Routledge.&lt;br /&gt;
&lt;br /&gt;
[5]Vermeer, Hans J. (1989). ''Didactics of Translation. in Baker, Routledge Encyclopedia of Translation Studies'' . London: London and New York Routledge.&lt;br /&gt;
&lt;br /&gt;
[6]Jia Dejiang贾德江. (2002). 英汉语对比研究与翻译 [Contrastive Study and Translation of English and Chinese].''国防科技大学出版社'' Changsha: NUDT Press&lt;br /&gt;
&lt;br /&gt;
[7]Jiang Yuqin蒋玉琴. (2019). 从英汉对比角度解析英语长句的翻译 [Translation of English Long Sentences into Chinese: a Contrastive Study]. ''宜春学院学报'' Journal of Yichun University (11) 62-65.&lt;br /&gt;
&lt;br /&gt;
[8]Lian Shuneng连淑能. (2010). 英汉对比研究 [Contrastive Studies of English and Chinese]. ''高等教育出版社'' Beijing Higher Education Press&lt;br /&gt;
&lt;br /&gt;
[9]Liu Miqing刘宓庆. (1998). 文体与翻译 [English Varieties and Translation]. ''中国对外翻译出版公司'' Beijing: China Translation and Publishing Corporation&lt;br /&gt;
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[10]Liu Junping刘军平. (2009). 西方翻译理论通史 [A General History of Western Translation Theory]. ''武汉大学出版社'' Wuhan: Wuhan University Press&lt;br /&gt;
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[11]Wang Enmian王恩冕. (2009). 大学英汉翻译教程 [A College Textbook on English-Chinese Translation]. ''对外经济贸易大学出版社'' Beijing: University of International Business and Economics Press&lt;br /&gt;
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[12]Wang Shuwen王述文. (2010). 综合汉英翻译教程 [A Comprehensive Coursebook on Chinese-English Translation]. Beijing: National Defence Industry Press国防工业出版社.&lt;br /&gt;
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[13]Wang Wuxing王武兴. (2004). 英汉互译指导与篇章翻译 [A Guide to Essay Translation from Chinese into English and Vise Versa]. ''朝华出版社'' Beijing: Morning Glory Publishers&lt;br /&gt;
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[14]Zhang Jinlan张锦兰. (2004).目的论与翻译方法 [Skopos Theory and Translation Methods]. ''中国科技翻译'' Chinese Science &amp;amp; Technology Translators Journal (1) 35-37.&lt;br /&gt;
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[15]Zhu Wei朱微. (2004). 汉英翻译教程 [A Textbook of Chinese-English Translation]. ''重庆大学出版社'' Chongqing: Chongqing University Press.&lt;br /&gt;
--[[User:Zhou Yiwen|Zhou Yiwen]] ([[User talk:Zhou Yiwen|talk]]) 14:28, 20 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
==3.2Static language vs. dynamic language==&lt;br /&gt;
&lt;br /&gt;
==3.3 Passive voice vs. active voice==&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
==4.1Cross-cultural communication==&lt;br /&gt;
&lt;br /&gt;
==4.2Attaching great importance to form==&lt;br /&gt;
&lt;br /&gt;
==4.3Clearing language logic==&lt;br /&gt;
&lt;br /&gt;
===5.The process of translating long English sentences===&lt;br /&gt;
&lt;br /&gt;
===6.Methods of translating English long sentences===&lt;br /&gt;
&lt;br /&gt;
==6.1Liner translation==&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
==6.2Reorganization translation=&lt;br /&gt;
&lt;br /&gt;
==6.3Splitting translation==&lt;br /&gt;
&lt;br /&gt;
==6.4Synthesis==&lt;br /&gt;
&lt;br /&gt;
==6.5Insertion==&lt;br /&gt;
&lt;br /&gt;
===Conclusion===&lt;br /&gt;
&lt;br /&gt;
In the practice of the translation of long and difficult sentences, there is a higher requirement for translators’ English comprehension and expression ability. For the translation of long and difficult sentences in English, the translator should be familiar with the sentence structure and main ideas of long and difficult sentences in English, and make clear the main logical relationship with the content of the original text, so as to effectively analyze the structure of long and difficult sentences in English and choose the correct way of translation. In the specific translation practice, translators should, on the basis of understanding the grammatical features of English, choose reasonable translation methods and skills so as to achieve the accurate translation of long and difficult Sentences. Translation activities require a high level of English reading and comprehension, and the effective translation of long and difficult sentences requires translators to constantly improve their ability to summarize, update their English translation skills, and realize the summary and innovation of long and difficult sentences.&lt;br /&gt;
&lt;br /&gt;
===Bibliography===&lt;br /&gt;
&lt;br /&gt;
==Chinese-English Translation of News Headlines From the Perspective of Skopos Theory	张维虹	Zhang Weihong No.202070080648 英语口译 ==&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
===Abstract===&lt;br /&gt;
In recent years, with the rapid development of the society and economy, the exchanges between China and the rest of the world are increasingly frequent. In this process, massive information is transmitted through the translation of news reports. The translation quality of news headlines that serve as the eye of news, directly affects the effectiveness of its dissemination. Under the guidance of Skopos Theory of German Functionalist Translation School, this paper analyzes the characteristics of Chinese and English news headlines, illustrates the functions and translation criteria of news headlines, and puts forward corresponding translation strategies, aiming at retaining the conciseness of news and realizing dissemination and social value of news.&lt;br /&gt;
&lt;br /&gt;
===key words===&lt;br /&gt;
News headlines translation; Skopos theory; Translation strategies&lt;br /&gt;
&lt;br /&gt;
===摘要===&lt;br /&gt;
近年来，中国社会经济飞速发展，与外界交流日趋频繁，在此过程中大量信息传递需通过新闻报道翻译完成。而新闻标题作为新闻的眼睛，其翻译质量直接影响新闻传播的有效性。本文以德国功能翻译学派目的论为指导，分析中英新闻标题的特点，阐述新闻标题功能以及新闻标题翻译准则，并提出汉译英翻译策略，旨在还原新闻简明本色从而实现新闻传播目的和社会价值。&lt;br /&gt;
&lt;br /&gt;
===关键字===&lt;br /&gt;
新闻标题翻译；目的论；翻译策略&lt;br /&gt;
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===I. Introduction===&lt;br /&gt;
With the continuous development of culture and economy, news reporting is playing an increasingly important role in people's lives. We read news through TV, the Internet, or newspapers and magazines to keep abreast of current events. But thousands of pieces of news and the information they carry may confuse us, because we are in a world where massive information is flowing nonstop. There is no doubt that some news has been omitted or even ignored. Therefore, a clear-cut and intriguing headline is of great importance and can be considered as the only way to attract the target readers. (Chen Lizhao, 2002: 3-4)&lt;br /&gt;
&lt;br /&gt;
Headlines are compared to the eyes of news reports, in which clear, concise information must be contained to generate interests. (Hu Shuzhong, 2012: 199) That is to say, headlines are expected to be vivid and eye-catching in order to attract readers and provide reading guidance. So, translators must learn how to effectively extract and reconstruct the information in the Chinese-English translation of news headlines, so as to make it cater to the target language readers.&lt;br /&gt;
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In addition, news translation is playing a significant role in the promotion of cross-cultural communication and mutual understanding as China is having more and more exchanges with the rest of the world with the rapid development of society and economy brought about by the reform and opening-up policy and “go global” strategy. As the soul of news, headlines and their translation are what translators should pay attention to. (Liu Yunxi 2018(11):123-125.)&lt;br /&gt;
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There are many studies about E-C news translation and news headline translation. However, research on Chinese-English news headlines translation is very few. According to statistics from CNKI, there are only two pages of discussion on Chinese-English news headlines translation. Therefore, this paper is designed to provide further exploration and reference in the area.&lt;br /&gt;
&lt;br /&gt;
As functions for headlines are obvious, this paper takes Skopos as the theory guide to conduct the research. First, the paper illustrates the development and three rules of Skopos theory. Then it discusses the features and functions of news headlines. Later, the paper tells some translation methods of Chinese-English news headlines from a perspective of Skopos Theory. At last, it draws a conclusion.&lt;br /&gt;
&lt;br /&gt;
===II. Overview of the Skopos Theory ===&lt;br /&gt;
====2.1 Development of the Skopos Theory====&lt;br /&gt;
Skopos Theory was initially proposed by Katherina Reiss in her 1971 book ''Possibilities and Limits of Translation Criticism'', which formed the early theory. According to Reiss, the ideal translation would be “one in which the aim in the target language is equivalence as regards the conceptual content, linguistic form and communicative function of a source-language text” (Reiss 1977, translated in 1989: 112). Even though Reiss took the concept of equivalence as the main focus of her analysis, she realized that in some cases, equivalence is impossible and, in some situations, not even desired. Therefore, she indicated that the function of texts should be considered when translating.&lt;br /&gt;
&lt;br /&gt;
The idea of text typology including content-focused, form-focused and appeal-focused text put forward by Reiss, is another contribution of her to the Skopos theory. It is supposed to be the starting point for Skopos theory. &lt;br /&gt;
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Later, Hans Vermeer, the student of Reiss, made a major breakthrough in the limitations of equivalent theory and laid the theoretical foundation for it. He first mentioned the basic principles of Skopos Theory in 1978. He and Reiss jointly published ''Groundwork for a General Theory of Translation'' in 1984. In this book, Vermeer argued that translation should be seen as a fundamental action of the transformation of the source text. As all actions are generally purposeful, translation also has its own purposes which could have influences over the culture of the target language. (Groundwork for a General Theory of Translation, 1984)&lt;br /&gt;
&lt;br /&gt;
For Vermeer, translation cannot be treated as a one-to-one transfer between the source language and the target language. In his research, on the basis of the source text, translation is a form of action to which some of the other forms of translational action may relate. Every translation is directed at an intended audience since to translate means “to produce a text in a target setting for a target purpose and target addresses in target circumstances” (Vermeer, 1987a: 29). Vermeer’s Skopos Theory serves as the foundation for his general theory of translation.&lt;br /&gt;
&lt;br /&gt;
Later, two other German translators, Christiane Nord and Justa Holz Manttari, enriched and refined the Skopos theory. Mantarri’s theory is based on the rules of action theory and is intended to contain all forms of intercultural transmission, as well as those source or target texts which do not involve. (Nord, 2001: 12-13) Her theory reflects the role of the participants in the process of translation and the environment in which the process takes place. Nord, as the latest batch of German researchers, summarized the “Fidelity rule” and applied the Skopos theory extensively in the study of translation from multiple perspectives and related fields.&lt;br /&gt;
&lt;br /&gt;
In conclusion, Reiss laid the foundation of Skopos theory. Vermeer, who summarized and outlined the rules to be followed in the process of Skopos theory in practice, became the founding father of the theory. Manttari focused on the specific issues of translation behavior and context in the translation process, while Nord made many contributions to the refinement of the theory and greatly expanded the practical application of this theory.&lt;br /&gt;
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==== 2.2 Three Rules of Skopos theory ==== &lt;br /&gt;
There are three significant rules of Skopos theory including Skopos rule, coherence rule, and fidelity rule, which will be discussed respectively as follows.&lt;br /&gt;
&lt;br /&gt;
===== 2.2.1 Skopos Rule=====&lt;br /&gt;
The Skopos rule is the top-ranking rule for translation. That is to say, Skopos determines any translation action. “The translators should finish the task in a way that enables your translation to function in the situation in which it is used and with the people who want to use it and precisely in the way they want it to function. All in all, the end justifies the means.” (Nord, 2001:29).&lt;br /&gt;
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Translating is an international interaction as it is just said, and the Skopos rule has a stable position after it appeared. In Vermeer’s term, intention is thought of as an “aim-oriented plan of action” (Vermeer, 1983:41). &lt;br /&gt;
&lt;br /&gt;
According to Vermeer, Skopos rule is that “Each text is produced for a given purpose and should serve this purpose. The Skopos rule thus reads as follows: translate in a way that enables your text to function in the situation in which it is used and with the people who want to use it and precisely in the way they want it to function.” (Vermeer, 1989a: 20, translated by Luo Dan) Skopos theory is the foundation for Chinese-English news headlines translation. All efforts made are meant to achieve the Skopos of news headline translation because “the end justifies the means&amp;quot;.&lt;br /&gt;
&lt;br /&gt;
=====2.2.2 Coherence Rule=====&lt;br /&gt;
The coherence rule, another important rule of the Skpos theory indicates that “the target text must be interpretable as coherent with the target text receiver’s situation”. (Reiss and Vermeer, 1984: 113) It implies that the target text must be translated in a way that it is clearly understood by the target readers, taking into consideration of their existing knowledge and situation.&lt;br /&gt;
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===== 2.2.3 Fidelity Rule =====&lt;br /&gt;
Apart from the &amp;quot;intratextual coherence&amp;quot;, there is another intertextual coherence which refers to the relationship between the target text and the source text. It is presumed as a further principle, fidelity rule. The fidelity rule by Vermeer indicates that there has to be coherence between the target text and the source text. That means that the target text should be faithful to its source text in a certain level of features, such as grammatical features, special collocations, and rhetorical devices, or to some degree between a complete imitation and deviation. (Nord 2001: 31)&lt;br /&gt;
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In accordance with the Skopos theory, the source text is no longer considered as the “sacred original”, and it is up to the translator to determine the aspect and the degree of the fidelity. In Vermeer’s opinion, any text is just an offer of information, and that any target text is an offer of information formulated by a translator in a target culture and language about an offer of information formulated by someone else in the source culture and language. (Nord 2001: 32)&lt;br /&gt;
&lt;br /&gt;
Three principal rules of Skopos theory have been illustrated as above. As for the relationships between the three rules, Reiss and Vermeer believe that the fidelity rule is subordinate to the coherence rule and is included to the Skopos rule. If the skopos of the target text demands a change of function, the fidelity of the source text will no longer be taken as the only standard, but adequacy and appropriateness will be supplemented as the standard with regard to the skopos (Reiss and Vermeer, 1984: 139).&lt;br /&gt;
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====2.3 Summary ====&lt;br /&gt;
This chapter introduced the development of Skopos theory and its three main principles, laying a theoretical foundation for Chinese-English news headlines translation. The function and skopos of news headlines are to intrigue readers and convey information to them. Therefore, C-E news headlines translation, guided by Skopos theory, is a faithful re-creation.（Wang Chi, 2013: 33-34）&lt;br /&gt;
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===III. Overview of News Headlines===&lt;br /&gt;
A headline is an essential part of news. So, it is important for translators to know the features and functions of news headlines. (Liu Yunxi, 2018: 123-125) The previous chapter introduces the theoretical framework of Skopos theory, which lay a foundation for the practical translation of Chinese news headlines. In this chapter, the author will discuss features and functions of news headlines, in order to search for some strategies for the Chinese-English translation of news headlines. &lt;br /&gt;
&lt;br /&gt;
==== 3.1 Definition of News and News Headlines====  &lt;br /&gt;
News refers to the timeliest report of events that have just happened, are happening, or are going to happen. It is born to meet the need for propagation and communication of information in human society. (Xu Mingwu, 2003: 4) This definition prescribes the features and functions of news. News should be timely and share ideas and information.&lt;br /&gt;
&lt;br /&gt;
News headlines are compared to the “eye” of news. According to the dictionary, “A head of a newspaper story or article, usually printed in large type and devised to summarize, gives essential information about, or interests readers in reading the story or article that follows.” (Webster’s Third New International Dictionary, 1961: 1042) From the definition, we can see that news headlines tell the essence of the news; the function is to attract readers’ interests. The paper will discuss the features and functions of news headlines in detail in the following part.&lt;br /&gt;
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====3.2 Features of News Headlines==== &lt;br /&gt;
As a text genre, news headlines have their own features. Chinese and English news headlines share much in common, though they differ from each other in certain areas. Understandings about the differences and similarities of Chinese and English news headlines are important for translators. （Luo Dan, 2012: 30-31）So, this chapter will analyze the features of news headlines from the following aspects: grammar, rhetoric, culture, and structure.&lt;br /&gt;
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===== 3.2.1 Grammatical features===== &lt;br /&gt;
&lt;br /&gt;
3.2.1.1 Lexical Feature&lt;br /&gt;
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a. Midget words&lt;br /&gt;
&lt;br /&gt;
A good headline must be clear to attract readers and be strong to save space. In other words, the headline should convey the intends of the news without confusion or ambiguity; the words should be powerful to persuade the headline consumer to read on. These two requirements determine the prevalence of powerful, or strong worlds – mostly verbs and nouns – in headlines. (Shen Jinbo, 1989:52) That is to say, powerful words are short, simple and concrete, for extensive or abstractive words can only lead to dullness and confusion. There are no such powerful words in Chinese, but Chinese headlines, on the premise of conveying the exact meanings also put emphasis on the shortness of words. &lt;br /&gt;
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[1]: Dancing '''gets''' Olympic status (China Daily Dec 9, 2020)&lt;br /&gt;
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[2]: 霹雳舞'''成'''巴黎奥运项目 (China Daily Dec 9, 2020)&lt;br /&gt;
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b. Numeral words&lt;br /&gt;
&lt;br /&gt;
Numbers are used in news headlines to highlight the key information, especially in economic and sports news. &lt;br /&gt;
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[3]: Pink diamond sold for '''$26.6M''' (China Daily Nov 23, 2020) &lt;br /&gt;
&lt;br /&gt;
[4]: 外储余额创'''4'''年多新高(China Daily Dec 9, 2020)&lt;br /&gt;
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c. Abbreviations &lt;br /&gt;
&lt;br /&gt;
The limitation of page space leads to the frequent use of abbreviations in headlines. English abbreviations, according to Lu Guoqiang (陆国强, 1984), consist of two major types: lipped words and initialisms or acronyms. The common types of abbreviations found in Chinese headlines, nevertheless, are mostly number-assisted summarizing, blending and substituting. (Chen Lizhao, 2002:36)&lt;br /&gt;
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[5]: '''Intl''' student enrollment falls (China Daily, Nov 19, 2020)&lt;br /&gt;
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[6]: 第二届'''“一带一路”'''国际合作高峰论坛举行圆桌峰会 (People’s Daily, April 28, 2019) &lt;br /&gt;
&lt;br /&gt;
d. Vogue words &lt;br /&gt;
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“Freshness” is the life of news, which lies in the contents of the report. As the gist of the news, headlines would certainly reveal some of the new ideas or hot topics in order to catch the reader’s attention. Therefore, vogue words are frequently seen in headlines. (Chen Lizhao, 2002: 4-5)  &lt;br /&gt;
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[7]: ''''Cooling-off period'''' added (China Daily Dec 8, 2020)&lt;br /&gt;
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[8]: '''“离婚冷静期”'''新规将施行 (China Daily Dec 8, 2020)&lt;br /&gt;
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3.2.1.2 Syntactical features&lt;br /&gt;
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a. Omission&lt;br /&gt;
&lt;br /&gt;
Omission appears in almost every headline. Eliminating meaningless words can shorten the length of a headline and highlight the core information. In English headlines, all articles and some auxiliary verbs, lexical verbs, pronouns, and the subject and the predicate are often omitted, as they weigh little in giving information. Chinese headlines also omit those unimportant words, including conjunctions, and auxiliary words as well. (Chen Lizhao, 2002: 4-5)  &lt;br /&gt;
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[9] Biden declares victory (China Daily, Nov 10, 2020)&lt;br /&gt;
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[10] 研究：医患“互粉”对治疗不利 (China Daily, Nov 25, 2014)&lt;br /&gt;
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b. Voice&lt;br /&gt;
&lt;br /&gt;
Active voice is frequently adopted in news headlines.&lt;br /&gt;
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[11] UK '''approves''' Pfizer vaccine (China Daily Dec 4, 2020)&lt;br /&gt;
&lt;br /&gt;
[12]英国'''批准'''辉瑞新冠疫苗 (China Daily Dec 4, 2020)&lt;br /&gt;
&lt;br /&gt;
[13] Biden '''unveils''' economic team (China Daily Dec 2, 2020)&lt;br /&gt;
&lt;br /&gt;
[14]拜登'''拟'''提名耶伦任财长 (China Daily Dec 2, 2020)&lt;br /&gt;
&lt;br /&gt;
c. Tense&lt;br /&gt;
&lt;br /&gt;
One of the distinct features of news headlines, particularly in English news headlines, is the wide use of present tense, which saves the space of “-ed” in the past tense. But sometimes past tense is used to indicate the timeline. While Chinese news headlines use different tenses, as they are not revealed by the different forms of verbs as in English. So, the auxiliary verbs or adverbs in Chinese news headlines tell the time of happening form. (Chen Lizhao, 2002: 4-5)&lt;br /&gt;
&lt;br /&gt;
[15] COVID vaccine distribution (China Daily Dec 1, 2020)&lt;br /&gt;
&lt;br /&gt;
[16] 英美'''即将'''启动疫苗分配 (China Daily Dec 1, 2020)&lt;br /&gt;
&lt;br /&gt;
=====3.2.2 Rhetorical Features =====&lt;br /&gt;
The figures of speech found in headlines, English and Chinese alike, include metaphor, simile, pun, alliteration and rhyme, repetition, allusion, etc. They are aimed at creating musical sound as well as vivid images to provide spiritual enjoyment to the readers. (Chen Lizhao, 2002: 4-5)&lt;br /&gt;
&lt;br /&gt;
[1] 苹果发新机加入5G'''战局''' (metaphor) (China Daily Oct 16, 2020) &lt;br /&gt;
&lt;br /&gt;
[2] 美国加州火灾蔓延 居民'''仿佛置身火星'''(simile)&lt;br /&gt;
&lt;br /&gt;
===== 3.2.3 Cultural Features=====&lt;br /&gt;
Language is the carrier of culture. News, as a practical genre, also bears cultural characteristics of a certain country or region. These cultural elements also appear in news headlines. (Fan Tengteng, 2006: 44-45)&lt;br /&gt;
&lt;br /&gt;
=====3.2.4 Structural features =====&lt;br /&gt;
To achieve the headline’s distinctiveness and simplicity, certain punctuation marks are used in English news headlines, which are not often seen in Chinese news headlines. However, the pursuit of using punctuation marks shares a common destination—to make the news headlines clear and easily perceptible. The rule for headlines is that the fewer punctuation marks are, the better. (Fan Tengteng, 2006: 45-46)&lt;br /&gt;
&lt;br /&gt;
[1] 世界精神卫生日：超半数英国员工最担心就业问题 (China Daily Oct 16, 2020)&lt;br /&gt;
&lt;br /&gt;
[2] World Mental Health Day: More than half of UK workers worry about finding a job (China Daily Oct 16, 2020)&lt;br /&gt;
&lt;br /&gt;
====3.3 Functions of news headlines ====&lt;br /&gt;
According to the theory of text-style function by Peter Newmark, new headlines fulfill the following four functions: informative function, expressive function, aesthetic function and vocative function, which will be illustrated in this section.  (Newmark 2001: 40) &lt;br /&gt;
&lt;br /&gt;
=====3.3.1 Informative Function =====&lt;br /&gt;
“The core of the informative function of language is external situation, the facts of a topic, reality outside language, including ideas or theories” (Newmark 2001: 40) That is to say, news headline tells readers the basic information and facts of the news.&lt;br /&gt;
&lt;br /&gt;
====3.3.2 Expressive Function ====&lt;br /&gt;
“The core of the expressive function is the mind of the speaker, the writer, the originator of the utterance. He uses the utterance to express his feelings irrespective of any response” (Newmark 2001: 39) The expressive function of a news headline is to reveal the writer’s or the editor’s attitude toward the news by using commentary words or rhetoric devices.&lt;br /&gt;
&lt;br /&gt;
=====3.3.3 Aesthetic function=====&lt;br /&gt;
“This is a language designed to please the sense, firstly through its actual or imagined sound, and secondly through its metaphors. The rhythm, balance, and contrast of sentences, clauses, and words also play their part.” (Newmark 2001: 42) As the eye of the news, headlines use elegant words, abbreviations, punctuations, and so on to strengthen their aesthetic function.&lt;br /&gt;
&lt;br /&gt;
=====3.3.4 Vocative function=====&lt;br /&gt;
The vocative function is reader-oriented. Here, the term “vocative” is interpreted as “calling upon” the readers to act, think or feel, in fact, to “react” in the way intended by the text. (Newmark 2001: 41) Vocative words in news headlines can attract the readers to read the whole article, and in certain circumstances call upon the readers to take some actions after finishing the news.&lt;br /&gt;
&lt;br /&gt;
====3.3 Summary ====&lt;br /&gt;
This chapter discussed the features and functions of news headlines as well as differences between Chinese and English news headlines. It helps the author to seek for certain translation strategies and methods to retain the features and achieve the purposes of news headlines, which will be mentioned in the following chapter.&lt;br /&gt;
&lt;br /&gt;
===IV. Application of Skopos theory in Chinese-English Translation===&lt;br /&gt;
Many translation strategies and techniques can be adopted under the guidance of the Skopos theory. Based on the dominant informative function of news headlines, new information should be transferred with fidelity and clarity. Moreover, considering the aesthetical function of headlines, the source text should be aesthetically handled to the target readers. This chapter will explain how the Skopos theory is applied in the translation of Chinese-English news headlines. Before that, the criteria for C-E news headlines translation will be discussed. (Luo Dan, 2012）&lt;br /&gt;
&lt;br /&gt;
====4.1 Criteria of News headline translation ====&lt;br /&gt;
According to the basis of translation criteria, the author discussed four criteria for Chinese news headline translation, including fidelity, readability, adaptability, and rapidity. &lt;br /&gt;
&lt;br /&gt;
===== 4.1.1Fidelity =====&lt;br /&gt;
Fidelity means to accurately convey the message of the source text. The translation of news headlines from Chinese to English is a kind of intercultural communication in which messages should be transferred objectively and accurately by reflecting reality. Considering this point of view, fidelity can be acted as the main rule for translating news headlines. （Luo Dan, 2012: 45-46）&lt;br /&gt;
&lt;br /&gt;
=====4.1.2 Readability =====&lt;br /&gt;
Readability means the translation version is smooth as much as possible so that it is easier for readers or audiences to read and understand. According to a survey on ''Beijing citizens’ newspaper reading and willingness'' by Chinese People’s University, vividness and readability are the first to be considered while consumers buying and reading a newspaper. Therefore, the translation of news headlines should value readability. If the rule of fidelity concerns the content, then the rule of readability aims at the form. （Luo Dan, 2012: 46-47）&lt;br /&gt;
&lt;br /&gt;
=====4.1.3Adaptability =====&lt;br /&gt;
Adaptability means that the translated headline should be in an appropriate writing pattern in line with the features of news language. In other words, the style of the target language should be consistent with the source language. Style-maintaining is considered to be essential and important in translation, which is also true in the translation of news headlines. So, translators must deal with the grammar and diction of English seriously, and make sure the style of the original is mostly intact when translating a Chinese news headline. (Tang Ting, 2010: 35-36)&lt;br /&gt;
&lt;br /&gt;
===== 4.1.4Rapidity =====&lt;br /&gt;
Rapidity, as the fourth request of news headline translation, is the most indispensable one. It requires that the translation of a news headline should be completed at a given period of time without any delay. The news is more valuable if the time between happening and reporting is shorter. So, the timeliness of news decides the rapidity of news translation, especially the headlines. (Tang Ting, 2010: 36-37)&lt;br /&gt;
&lt;br /&gt;
====4.2 Strategies and Methods of Chinese-English News Headlines Translation ====&lt;br /&gt;
News headlines are considered to be the soul of the news. Since Chinese and English readers are different in thinking patterns, education systems, and cultural backgrounds, some proper translation strategies and methods should be taken into consideration to enable the readers to understand the news headlines easily. Under the guidance of Skopos theory, translation methods including literal translation, free translation, amplification, omission, amplification, restructuring, and adaptation are applied in news headlines translation. (Wang Jun, Chen Shiyue, 2017: 102-103) &lt;br /&gt;
&lt;br /&gt;
=====4.2.1 Literal translation=====&lt;br /&gt;
Literal translation, also called word-for-word translation, is the basic approach used in Chinese news headline translation, since it can retain both the form and contents of the original to the maximum. Here are some examples: (Wang Jun, Chen Shiyue, 2017: 102-103) &lt;br /&gt;
&lt;br /&gt;
[1] 疫情致牛仔裤销量骤减&lt;br /&gt;
&lt;br /&gt;
Pandemic leads to jeans sales slump&lt;br /&gt;
(China Daily Aug 10, 2020)&lt;br /&gt;
&lt;br /&gt;
The headline introduces that Covid-19 pandemic has led to jeans sales slump. “疫情”was translated into “Pandemic”, “牛仔裤销量” was “jeans sales”, and “骤减” “slump”, which is exactly an example of literal translation. There’s no change in the form or style between the source text and the target text. &lt;br /&gt;
&lt;br /&gt;
[2] 新冠抗原检测试剂获批&lt;br /&gt;
&lt;br /&gt;
COVID antigen tests approved&lt;br /&gt;
(China Daily Nov 10, 2020)&lt;br /&gt;
&lt;br /&gt;
This example is a typical word-for-word translation. “新冠”, an abbreviation for “新冠病毒”, was translated into “COVID”, short for coronavirus. “抗原检测”was translated into “antigen tests”and“获批”,“approved”. We can see that in this example, literal translation was used so that the form, style, and even the tense and voice of the source text are all retained.&lt;br /&gt;
&lt;br /&gt;
[3] 成都将建首个大熊猫主题公园&lt;br /&gt;
&lt;br /&gt;
Chengdu Set to Get Unique Panda-themed Park &lt;br /&gt;
(China Daily, Jan 17, 2018) &lt;br /&gt;
&lt;br /&gt;
This is an example of literal translation, remaining the original form and style of the Chinese version. It uses midget words “set” and “get”, taking into consideration the style of English news headlines, in order to attract readers from different walks of life. At the same time, the Chinese noun “大熊猫主题” is converted to the English adjective “Panda-themed”, which is very concise and accurate.&lt;br /&gt;
&lt;br /&gt;
=====4.2.2 Free translation =====&lt;br /&gt;
Free translation is applied when the news headline of the source text is obscure and difficult to understand or there are no equivalent words in the target language. Sometimes it is preferred because it adapts the original headlines to the target language. (Wang Jun, Chen Shiyue, 2017: 102-103) &lt;br /&gt;
&lt;br /&gt;
[4] 不要人夸颜色好，只留清气满乾坤&lt;br /&gt;
  &lt;br /&gt;
Xi: China Welcomes Constructive Suggestions&lt;br /&gt;
(China Daily, Oct 25, 2017) &lt;br /&gt;
&lt;br /&gt;
The source text is a poem, cited by President Xi at the press conference of 19th CPC Central Committee Political Bureau to hear constructive suggestions from people both at home and abroad. The poem, Ink Plum written by a famous Chinese ancient poet, Wang Mian, carries rich cultural connotations. If it is directly translated as “Not angling for compliments, we should be content that integrity fills the universe”, it will cause confusion to the target readers. Obviously, such a mechanical translation will discourage the reader from understanding the meaning of the poem. Therefore, the translation of this news headline should be based on the content of the news – Xi: Welcomes Constructive Suggestions. So, it is a typical example of free translation. &lt;br /&gt;
&lt;br /&gt;
[5]姜瑜：外资应凭实力在华竞争&lt;br /&gt;
 &lt;br /&gt;
Foreign investors told to sharpen edge&lt;br /&gt;
&lt;br /&gt;
This example takes into consideration of the reading habits and backgrounds of the target readers. “凭实力竞争” is translated to “sharpen one’s edge”, which is more understandable. “姜瑜”(Jiang Yu”, a heroic character in Chinese history is omitted. So, it is a free translation.&lt;br /&gt;
&lt;br /&gt;
=====4.2.3 Amplification =====&lt;br /&gt;
Most news headlines contain certain backgrounds that are familiar to the source language readers, but alien to those who read the target language. So, translators have the responsibility to turn information that is rich in cultural connotation into something understandable to target readers. This is particularly significant in translating news headlines from the perspective of Skopos theory because the purpose is to convey effective information to target readers. As mentioned in the chapter before, Chinese news headlines usually are culture-loaded. Therefore, amplification is frequently used in Chinese-English news headlines translation. （Fan Tengteng, 2006: 50-51）&lt;br /&gt;
&lt;br /&gt;
[6] 水陆两栖飞机AG600首飞成功&lt;br /&gt;
&lt;br /&gt;
China’s First Large Amphibious Aircraft Makes a Successful Maiden Flight&lt;br /&gt;
(China Daily, Dec 25, 2018) &lt;br /&gt;
&lt;br /&gt;
Amplification is used in this translation. AG600, as called Kun Lun600, is the world’s largest amphibious aircraft developed by China. The translator adds a modifier “China’s first large” as a supplement of background to better inform the targe readers. &lt;br /&gt;
&lt;br /&gt;
[7] 共享单车来到“世界屋脊”&lt;br /&gt;
&lt;br /&gt;
Shared Bikes Climb to the “Roof of the World” (Tibet)&lt;br /&gt;
&lt;br /&gt;
“Roof of the World” is confusing for some target readers, so the translator adds “(Tibet)” at the end of the sentence to avoid ambiguity.&lt;br /&gt;
&lt;br /&gt;
=====4.2.4 Omission =====&lt;br /&gt;
Omission is a translation method to make the news headline simple and concise by eliminating the redundant verbs, pronouns, and other words in the source text. As Chinese usually use unnecessary modifiers, this method can highlight the main point of the news. (Wang Jun, Chen Shiyue, 2017: 102-103)&lt;br /&gt;
&lt;br /&gt;
[8] 对外汉语专家齐聚京城 共议国际汉语教师缺口问题&lt;br /&gt;
&lt;br /&gt;
Beijing forum addresses Chinese teacher shortage&lt;br /&gt;
(China.org.cn, Jul 21, 2021) &lt;br /&gt;
&lt;br /&gt;
In this example, the first sentence is translated into a phrase, so as to shorten the length of the news headline and more it more concise. What’s more, redundant words like “齐聚”, “共议” “问题” are omitted to point out the main contents of the news. &lt;br /&gt;
&lt;br /&gt;
[9] '大流行病'当选年度词汇&lt;br /&gt;
&lt;br /&gt;
Word of the year: pandemic&lt;br /&gt;
&lt;br /&gt;
(China Daily, Dec 12, 2020)&lt;br /&gt;
&lt;br /&gt;
In the example, the verb “当选”(elected) in the source text is eliminated to save space.&lt;br /&gt;
&lt;br /&gt;
=====4.2.5 Restructuring =====&lt;br /&gt;
Restructuring refers to the rearranging of the words in logical order to make the translation more consistent and coherent. The target text should be acceptable and meaningful in a sense that it is coherent with the situation in which it is received. Once translated, the translator revises the order and rearranges all words into a perfect sentence. In doing so, the news is more logical and tuned with the habit of native readers’ thinking and reading. It is frequently used in translating news headlines from Chinese into English. (Tang Ting, 2010: 25-26) &lt;br /&gt;
[10] 疫情期间夫妻关系改善&lt;br /&gt;
&lt;br /&gt;
Marriages benefit from lockdown&lt;br /&gt;
(China Daily, Nov 23, 2020)&lt;br /&gt;
&lt;br /&gt;
The English version changes the structure of the Chinese news headline, and adds a preposition to show the logic of this sentence. By restructuring, English readers can better understand this news headline.&lt;br /&gt;
&lt;br /&gt;
====4.2.6 Adaptation ====&lt;br /&gt;
Adaptation is a translation method, which refers to selecting, adding, deleting, and constructing cautiously instead of simply translating one word to another word. In order to make the translated version more proper to certain readers or audiences, adaptation always makes some essential changes for a special aim. Specific to C-E news headlines translation, the translator can take the Chinese news headlines as the basis and refer to the key news facts of the report, in order to offer as much information as possible to the target readers. (Wang Chi, 2013: 42-42) &lt;br /&gt;
&lt;br /&gt;
[11] 高考将不再是 “一考定终身”&lt;br /&gt;
&lt;br /&gt;
Changes to Uni Eligibility&lt;br /&gt;
（People’s Daily, 2014）&lt;br /&gt;
 &lt;br /&gt;
In this example, “高考” refers to the National College Entrance Examination in China, which is an expression with Chinese characteristics. Therefore, based on the main idea of the news, the translator translated it into “Uni Eligibility”&lt;br /&gt;
	&lt;br /&gt;
[12] 中国女性主导财务决策&lt;br /&gt;
&lt;br /&gt;
'She' to power wealth management&lt;br /&gt;
(China Daily, Nov 23, 2020)&lt;br /&gt;
&lt;br /&gt;
Adaptation is used in this translation. According to the contents of the news, women in different countries are mentioned. So, instead of translating “中国女性” into Chinese women, the English version adapted it into “she”, which adds interest and fun to the headline and thus can attract more readers.&lt;br /&gt;
&lt;br /&gt;
====4.3 Summary====&lt;br /&gt;
This chapter introduces criteria, and strategies and methods of Chinese-English news headlines translation. It is the main body of the paper, which can serve as guidelines for translators who translate Chinese news headlines into English ones.&lt;br /&gt;
&lt;br /&gt;
===V. Conclusion===&lt;br /&gt;
Based on Skopos theory, this paper discussed the features and functions of news headlines and their relevance to translation, summarized translation criteria, and strategies and methods adopted in actual C-E news headlines translation. &lt;br /&gt;
&lt;br /&gt;
News translation is a cultural transformation with certain purposes(skopos). While conveying the connotation of the information, news translation must also take into account the habits of target readers. The purpose-oriented approach helps translators to break the language barriers and helps to convey cultural connotations and facilitate communication. The purposes and functions of translation determine the translation methods. In translation, the standard of translation should not be how to be faithful to the source text, to highlight the main points of the news and attract English readers. Therefore, the paper, applying the Skopos theory to Chinese-English news headlines, is of significance.&lt;br /&gt;
&lt;br /&gt;
However, there are also limitations in the paper. The first problem is the complexity of the theoretical basis. The second one is that few data have been collected. And the last one is the capability of the author herself. So, there is still room for improvement.&lt;br /&gt;
&lt;br /&gt;
--[[User:Zhang Weihong|Zhang Weihong]] ([[User talk:Zhang Weihong|talk]]) 02:27, 21 December 2020 (UTC)Zhang Weihong&lt;br /&gt;
&lt;br /&gt;
===References===&lt;br /&gt;
* Munday, J. Introducing Translation Studies: Theories and Applications[M]. London and New York: Routledge, 2001: 77-78.&lt;br /&gt;
&lt;br /&gt;
* Newmark, P.A Textbook of Translation[M]. Shanghai: Shanghai Foreign Language Education Press, 2001: 40-42.&lt;br /&gt;
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* Nida, E. A. Language and Culture—Contexts in Translating[M]. Shanghai: Shanghai Foreign Language Education Press, 2001: 38-41.&lt;br /&gt;
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* Nida, E. A. Language, Culture and Translating[M]. Shanghai: Shanghai Foreign Language Education Press, 2001: 50-51. &lt;br /&gt;
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* Nord, Christiane. Translating as a Purposeful Activity [M]. Shanghai：Shanghai Foreign Language Education Press, 2001.&lt;br /&gt;
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* Schudson, M. The Power of News [M]. Cambridge, Mass: Harvard University Press, 1995&lt;br /&gt;
&lt;br /&gt;
* Vermeer, H. J. Skopos and Translation Commission [M]. Heidelberg: University, 1989.&lt;br /&gt;
&lt;br /&gt;
* Vermeer, H. J. Skopos and Translationsauftrag – Aufsatze [M]. Second Edition. Heidelberg: University, 1989. &lt;br /&gt;
&lt;br /&gt;
* Chen Lizhao. 陈丽昭. 中英新闻标题对比研究[A Comparative Study of Chinese and English News Headlines ][D].福建师范大学[Fujian Normal University],2002.&lt;br /&gt;
&lt;br /&gt;
* Fan Tengteng 樊腾腾. 从目的论角度论英语新闻标题的翻译[Translation of English News Headlines from Perspective of Skopos Theory ][D]. 广东外语外贸大学[Guangdong University of Foreign Studies], 2006.&lt;br /&gt;
&lt;br /&gt;
* Hu Shuzhong 胡曙中. 语篇语言学导论 [ Introduction to Discourse Linguistics ] [M]. 上海: 上海外语教育出版社Shanghai: Shanghai Foreign Language Education Press, 2012.&lt;br /&gt;
&lt;br /&gt;
* Li Zhongqiang 李中强. 新媒体背景下的汉语新闻英译研究[A Study of English Translation of Chinese News in the Context of New Media] [D].上海外国语大学[Shanghai International Studies University],2012.&lt;br /&gt;
&lt;br /&gt;
* Liu Mixian 刘宓庆. 当代翻译理论[Contemporary Translation Theory ][M]. 中国对外翻译出版公司[China Foreign Translation and Publishing Corporation], 2003.&lt;br /&gt;
&lt;br /&gt;
* Liu Yunxi 刘芸希.目的论视角下新闻标题的英译研究[A Study of English Translation of News Headlines from the Perspective of Skopos Theory] [J].海外英语[Overseas English], 2018(11):123-125.&lt;br /&gt;
&lt;br /&gt;
* Luo Dan 罗丹. 目的论视角下的中国日报网英语新闻标题的翻译策略[Translation Strategies of English News Headlines in China Daily from the Perspective of Skopos Theory ][D].武汉科技大学[Wuhan University of Science and Technology], 2012.&lt;br /&gt;
&lt;br /&gt;
* Shen Jinbo 沈金伯. 新闻英语文体探讨[Exploring the English Style of News ][J]. 《外国语》[Foreign Languages]. 1989(1): 52-55 &lt;br /&gt;
&lt;br /&gt;
* Tang Ting 唐婷. 从目的论看硬新闻标题的汉译英[Chinese-English translation of Hard News Headlines From Perspective of Skopos Thoery][D].南华大学[University of South China],2010.&lt;br /&gt;
&lt;br /&gt;
* Wang Chi 王驰. 目的论在经济新闻标题英汉翻译中的应用[The Application of Skopos Theory in the English-Chinese Translation of Economic News Headlines ][D].华中师范大学[Central China Normal University], 2013.&lt;br /&gt;
&lt;br /&gt;
* Wang Jun, Chen Shiyue 王军,陈诗月.翻译目的论研究综述[A Review of Translation Purpose Theory Research ] [J].现代交际[Modern Intercourse],2017(18):102-103.&lt;br /&gt;
&lt;br /&gt;
* Xu Mingwu 许明武. 新闻英语与翻译 [News English and Translation] [M]. 北京: 中国对外翻译出版公司[Beijing: China Foreign Translation and Publishing Corporation], 2003.&lt;br /&gt;
&lt;br /&gt;
==On Chinese-English Translation of Public Service Advertisements From the Perspective of Text-type Theory 司妤  Si Yu  Student No.202070080606==&lt;br /&gt;
&amp;lt;center&amp;gt; 司妤  Si Yu  Student No.202070080606&amp;lt;/center&amp;gt;&lt;br /&gt;
&lt;br /&gt;
===Abstract===&lt;br /&gt;
&lt;br /&gt;
Public-service advertising is an advertising activity that provides free services to the community without the purpose of making profit. Since the founding of the People's Republic of China, public-service advertising activities have increased and played an important role in the moral and ideological education of society as a whole, such as fire and burglary prevention, forest protection, birth control, maintenance of public order, no spitting and so on, all of which are in the nature of public-service advertising.&lt;br /&gt;
&lt;br /&gt;
With the improvement of China's status in the international society, the accuracy of the translation of PSAs, as a medium to convey Chinese culture, is attracting more and more attention. Accurate translations help to showcase Chinese culture to foreigners and promote communication, while incorrect translations can be laughable.&lt;br /&gt;
&lt;br /&gt;
In some public occasions, I have noticed that there are many excellent PSAs, but there are also some &amp;quot;Chinglish&amp;quot; PSAs. This paper analyzes the text of PSAs by using the Text-type theory, gives suggestions to improve the messy translation phenomenon, and summarizes several translation methods, hoping to provide reference for the translators of PSAs.&lt;br /&gt;
&lt;br /&gt;
===key words===&lt;br /&gt;
&lt;br /&gt;
Public-service advertisement;Text typeTheory;Translation methods&lt;br /&gt;
&lt;br /&gt;
===文本理论视角下公益广告的中英翻译===&lt;br /&gt;
&lt;br /&gt;
===摘要===&lt;br /&gt;
&lt;br /&gt;
公益广告是不以营利为目的而为社会提供免费服务的广告活动。我国建国以后，公益性的广告活动日益增多，对全社会进行道德和思想教育发挥了重要作用，例如有关部门进行的防火防盗、保护森林、节制生育、维护公共秩序、不要随地吐痰等广告宣传，均属公益广告的性质。&lt;br /&gt;
&lt;br /&gt;
随着中国在国际社会地位的提高，公益广告作为一种传递中国文化的媒介，其翻译的准确性日益受到人们的关注，翻译准确有利于向外国友人展示中国文化，促进交流。而翻译错误则容易贻笑大方。&lt;br /&gt;
&lt;br /&gt;
笔者注意到在一些公众场合不乏优秀的公益广告翻译，同时也仍有一些“中式英语”公益广告存在。本文运用文本类型理论对公益广告文本进行分析，对乱译现象提出改进建议，总结了几点翻译方法，希望能够为公益文本译者提供借鉴。&lt;br /&gt;
&lt;br /&gt;
===关键字===&lt;br /&gt;
&lt;br /&gt;
公益广告；文本类型理论；翻译方法&lt;br /&gt;
&lt;br /&gt;
===Introduction===&lt;br /&gt;
&lt;br /&gt;
====Research Background====&lt;br /&gt;
&lt;br /&gt;
Economic and social development and the improvement of people's living standards have brought many unprecedented changes to people, making their lives more convenient and colorful. But along with it comes a series of social problems such as indiscriminate dumping of urban garbage, neglect of wildlife protection, lack of care for public property, smoking in public places, etc.These social problems have also been magnified by the advance of urbanization. At this time, public service advertisement (PSA)can offer help if we want to activate more people to solve them.&lt;br /&gt;
 &lt;br /&gt;
There are many forms of public service advertisements, such as public service advertisement (PSA) clips, public service messages, and public service slogans. Each of these PSAs has its own textual characteristics, such as the PSA short film in the form of a short video, using a fascinating plot to illustrate the concept of public welfare; public service messages are simple but informative; public service slogans are neat and thought-provoking. The translation of these texts should be done according to the characteristics of the text in order to achieve the public service effect of the text. &lt;br /&gt;
&lt;br /&gt;
With China playing an increasingly important role in the international community, a large number of international conferences are being held in China, and the number of foreign travelers arriving in the country is on the rise. The accuracy of the translation of public service advertisements is especially important at this time, not only to help foreigners in their travel work in China, but also to promote Chinese culture and to enhance their understanding of China.&lt;br /&gt;
&lt;br /&gt;
It is worth mentioning that the overall quality of the Chinese people has been significantly improved compared to a few years ago, and the appearance of more and more elites has made the society think more deeply about the accuracy of translation, which is conducive to building a good city image and improving the aesthetic level of city residents and tourists.&lt;br /&gt;
&lt;br /&gt;
Advertisements can be divided into commercial advertisements and public service advertisements according to content and purpose. Commercial advertisements are mostly published by enterprises, and their main purpose is to stimulate consumers and arouse their desire to consume, and their content is mostly product information.(Liu Xiaofang 2014)&lt;br /&gt;
&lt;br /&gt;
There are some definitions from different people. Berkowitz, a famous scholar, who makes a thorough study of advertisement for more than 25 years, states that PSA is generally sponsored by a non-profitable institution, civic group, religious organization, trade association, or political group with a central focus on public welfare (Berkowitz, 2004). In China, according to Zhang Minxin’s definition, PSA is a sub-branch of non-commercial advertisement whose purposes are to serve the public interests. This kind of advertisement can push the public to change their attitudes and behaviors (Zhang Mingxin, 2004). There are some researchers at home and abroad trying to discover how public service advertisements work, such as: Judie Lannon (2008), Nancy Lee (2006), Josephson (2005) and other scholars hoping to discover the secrets behind public service advertisements and society, such as Charles Atkin (2001) and Pan Zehong (2001).&lt;br /&gt;
&lt;br /&gt;
====Research Significance and Objectives====&lt;br /&gt;
&lt;br /&gt;
As the influence of Chinese culture increases internationally, more and more foreigners want to learn about China. Some want to learn Chinese, and others want to know more about the social situation. Public service advertisements (PSAs) provide such an opportunity for them to learn and better understand China.&lt;br /&gt;
&lt;br /&gt;
At the same time, some social problems, such as the Cov-19 epidemic, SARS, and AIDS, may not only be a problem for China, but also for the whole world, and the PSAs can provide a Chinese perspective and Chinese wisdom to solve these problems. In addition, when a disaster occurs, such as the Wenchuan earthquake, which aroused the attention and sympathy of the international community, and some friendly countries want to provide assistance, PSAs are extremely important. In this paper, the writer will analyze different public service advertisements from the perspective of text type theory and provide translation suggestions.&lt;br /&gt;
&lt;br /&gt;
Public service advertisement texts are common texts in daily life, and many scholars have discussed them from various perspectives, including the theory of purpose, aesthetic perspective, semantic translation and communicative translation perspective. However, no scholars have analyzed them from the perspective of text type theory. The writer boldly proposes to look at public-interest text translation from such a perspective, which may lead to new insights.&lt;br /&gt;
&lt;br /&gt;
====Methodology====&lt;br /&gt;
&lt;br /&gt;
The texts in this paper are mostly from public service advertisements released by CCTV, publicservice text messages received by the public, and public service slogans around them. This paper adopts a descriptive approach to analyze the content and purpose of the texts in detail, and also gives its own suggestions on how to translate the public service texts.&lt;br /&gt;
&lt;br /&gt;
====Framework of this paper====&lt;br /&gt;
&lt;br /&gt;
This paper is divided into seven chapters.&lt;br /&gt;
&lt;br /&gt;
Chapter 1 introduces the background, significance and purpose of the research, methodology, and general framework of this thesis.&lt;br /&gt;
&lt;br /&gt;
Chapter 2 introduces the theoretical perspective used in this paper.&lt;br /&gt;
&lt;br /&gt;
Chapter 3 analyzes the characteristics of public service texts from the perspective of content and text.&lt;br /&gt;
&lt;br /&gt;
Chapter 4 gives examples of texts according to the three categories of text type theory and analyzes the more appropriate translations.&lt;br /&gt;
&lt;br /&gt;
Chapter 5 lists the obvious mistranslations in PSAs and gives suggested versions of the translations.&lt;br /&gt;
&lt;br /&gt;
Chapter 6 summarizes the methods that can be used to translate PSA texts.&lt;br /&gt;
&lt;br /&gt;
Chapter 7 summarizes what has been discussed throughout the essay and reflects on the limitations of the essay.&lt;br /&gt;
&lt;br /&gt;
===Overview of Theoretical Foundation and Comparisons===&lt;br /&gt;
&lt;br /&gt;
====Reiss’s View of Text Type Theory====&lt;br /&gt;
&lt;br /&gt;
Katharina Reiss is the founder of the German functional school of translation, and in her book Possibilities and Limitations in Translation Criticism she presented the prototype of the functional school's theoretical ideas. Reiss's text types are divided into four main categories. She points out that content texts emphasize the depictive function, formal texts emphasize the expressive function, operative texts emphasize the persuasive function, and audio-visual texts emphasize the audio-visual function. function). Therefore, these text categories can also be referred to as informative text, expressive text, operative text, and audio-visual text, respectively. Correspondingly, there are four types of functions.(Reiss 1972)&lt;br /&gt;
&lt;br /&gt;
1. Content-based text&lt;br /&gt;
&lt;br /&gt;
This type of text is content-based, and the text can be used to convey information and so on. When translating, the content should be restored to the greatest extent possible. These texts mainly include news reports and commentaries, business letters, cargo lists, instructions for use, operating instructions, and other professional works in technical fields.&lt;br /&gt;
&lt;br /&gt;
2. Formal texts&lt;br /&gt;
&lt;br /&gt;
The focus of formal texts is on their aesthetic significance. When translating such texts, the translator should aim to create a similar text effect in the form. Formal texts include literary prose (short essays, biographies, pure literature), imaginative prose (anecdotes, short stories, novels, romances), and all forms of poetry (from didactic poetry to narrative poetry to purely emotional poetry).&lt;br /&gt;
If the form is not preserved in translation, the content of the text may be lost as a result.&lt;br /&gt;
&lt;br /&gt;
3. Operative texts&lt;br /&gt;
&lt;br /&gt;
Operative texts are concerned with the response of the recipient of the text. This type of text clearly appeals to the recipient of the text through a certain point of view and with a certain purpose, expecting to receive the desired response. The representative texts are all operative texts in which the appealing element predominates, using advertisements, propaganda, sermons, debates, agitation or satirical texts that have an expressive purpose or linguistic expression.&lt;br /&gt;
&lt;br /&gt;
4. Audiovisual texts&lt;br /&gt;
&lt;br /&gt;
Generally speaking, any text that requires some degree of non-verbal communication with the audience is an audio-visual text. This includes mainly radio and television scripts, such as radio news and reports, overviews of hot topics, and theater productions. In these texts, not only grammar and narration techniques, but also sound effects and visual devices (in television and film) play an important role.&lt;br /&gt;
&lt;br /&gt;
====Peter Newmark’s View of Text Type Theory====&lt;br /&gt;
&lt;br /&gt;
Peter Newmark is one of the leading figures in the linguistic school of British translation theory. Newmark also made a detailed classification of texts, and he summarized them into the following three types according to their contents.(Peter Newmark 2001)&lt;br /&gt;
&lt;br /&gt;
1. Expressive texts&lt;br /&gt;
&lt;br /&gt;
This type of text focuses on the content of the text and the author's own point of view. Newmark divides them into three types of texts. (1) serious and imaginative literature, including lyric poetry, short stories, long novels, and plays; (2) authoritative texts, including a variety of texts whose authority comes from the author's status or linguistic ability, such as speeches and statements by senior government officials and political party leaders, legal regulations, documents, and literary and academic works written by authorities; (3) autobiographies, essays, and private letters that are straightforward and have no direct readership.(Jia Heping 2015)&lt;br /&gt;
&lt;br /&gt;
2. Informative texts&lt;br /&gt;
&lt;br /&gt;
The text often contains some content that does not involve the emotional and opinion part, and this part of the content can have its practicality, which is the information function of the text. Typical informative texts include textbooks, technical reports, newspaper articles, scientific papers, conference proceedings, etc.&lt;br /&gt;
&lt;br /&gt;
3. Operative text&lt;br /&gt;
&lt;br /&gt;
The function focuses on the response of the text receiver, and the text is set to get the desired response from the receiver, to produce certain influence on them or even change their concepts and behaviors. Typical vocative texts include notices, advertising campaigns, instructions, and persuasive texts (such as requests, appeals, etc.).&lt;br /&gt;
&lt;br /&gt;
He classifies language functions into six categories, based on what the philosophers of language Bühler and Jacobson have said about language functions. He believes that a text may have one function or several functions, but that one of these functions is the main one, as explained below.&lt;br /&gt;
&lt;br /&gt;
1. Expressive function&lt;br /&gt;
&lt;br /&gt;
Expression is a fundamental property of language. Expression is the process by which people use language to express their feelings, attitudes, and opinions. Expression focuses on output of the writer, not on the other person's reaction and feelings.&lt;br /&gt;
&lt;br /&gt;
2. Informative function&lt;br /&gt;
&lt;br /&gt;
The content of the text is mainly fixed, not with emotion, can be used by people in certain situations.&lt;br /&gt;
&lt;br /&gt;
3. Operative function&lt;br /&gt;
&lt;br /&gt;
This function focuses on the reaction of the recipient of the text, and the writer envisages the reaction of the recipient of the text when writing, in order to achieve the corresponding purpose.&lt;br /&gt;
&lt;br /&gt;
4. Aesthetic function&lt;br /&gt;
&lt;br /&gt;
Language contains traces of history, which represents a certain aesthetic of people. The first means used for this function is sound, and the second is metaphor. In addition, the rhythm, balance and contrast of sentences and words also have a role. The aesthetic function is present in most of the text categories, moreover, it is indispensable for poems, nursery rhymes and some advertising campaigns.&lt;br /&gt;
&lt;br /&gt;
5. Interpersonal function&lt;br /&gt;
&lt;br /&gt;
The interpersonal function is reflected in people's daily interactions and conversations. That is, language helps people establish relationships with each other.&lt;br /&gt;
&lt;br /&gt;
6..Meta-linguistic function &lt;br /&gt;
&lt;br /&gt;
Meta-linguistic function is a special function of language, refers to the language of the language itself to explain, name, analyze, comment on the function. Some expressions in the text, such as “strictly speaking, literally, so called, so to speak, by definition, etc.”, are manifestations of the meta-linguistic function.&lt;br /&gt;
&lt;br /&gt;
Of the above six functions, the first three are the main ones, but within a text, there may be multiple functions, but the text itself has a focus, and rarely does textual knowledge contain purely one function.(Li Zhi 2008)&lt;br /&gt;
&lt;br /&gt;
====Similarities and Differences Between Reiss's and Newmark's View of Text Type Theory====&lt;br /&gt;
&lt;br /&gt;
=====Similarities=====&lt;br /&gt;
Both theories are based on Bühler's triadic approach to language function. &lt;br /&gt;
&lt;br /&gt;
Both have the same understanding of the division and characteristics of different kinds of texts.&lt;br /&gt;
&lt;br /&gt;
=====Differences=====&lt;br /&gt;
First of all, language used in lived interaction is the main basis for Rice's definition of text types, and these are classified as text types that value content. Newmark, on the other hand, regards such lived language as a special linguistic function, and many experts consider this understanding by Newmark problematic.&lt;br /&gt;
&lt;br /&gt;
Second, there is a significant difference in their views of instructions, with Rice classifying them as informative texts because of their ability to provide certain information to readers. Newmark, on the other hand, classifies it as a operative text because of its ability to guide people and thus change their behaviors. In my opinion, the text of instruction manuals is due to the nature of the product itself, and the readers have the will to act before reading the text, and the manuals only provide them with certain information, so they should belong to the information category.&lt;br /&gt;
&lt;br /&gt;
Furthermore, the language used in living interactions is the main basis for Rice's definition of text types, and these are classified as text types that value content. Newmark, however, regards this lived language as a special language function, and many experts think that this understanding of Newmark is problematic.(Jia Heping 2015)&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
===Features of Public Service Advertisements===&lt;br /&gt;
&lt;br /&gt;
As an advertising method, public service advertisements have their own characteristics in many aspects. By analyzing the characteristics, we can accurately convey the idea that the PSA is trying to convey.&lt;br /&gt;
&lt;br /&gt;
====Content Features====&lt;br /&gt;
&lt;br /&gt;
1. Public welfare. The public welfare nature of PSAs is their essential feature, which is concerned with the common interests of the entire society. By observing the theme and content of the PSAs in both China and abroad, it can be seen that the topics of PSAs cover ecological protection, care for the earth, quality birth and education, opposing cults, advocating science, opposing war, advocating polite social mores, patriotism, and so on.&lt;br /&gt;
&lt;br /&gt;
2. Non-Profit. Public service advertisements are non-profit in nature. It does not exist for an organization or a business entity, but rather to draw people’s attention to and activate action on social issues. Commercial advertising, on the other hand, exists for financial gain.&lt;br /&gt;
&lt;br /&gt;
3. Popularity. The public service advertisements are made for the general public. As the audience's cultural level, the ability to understand different, so public service advertisements must be easy to understand. It not only requires the spread of advertising content to have universal significance, but also the form of popular, concise, accessible language, easy to understand. Only in this way, the public service advertisement can really serve the purpose of the public.&lt;br /&gt;
&lt;br /&gt;
4. Creativity. The advertising market is so diverse that the only way to make advertisements spread to  the public is to design them in a creative and meaningful way that will make them known to&lt;br /&gt;
more people.&lt;br /&gt;
&lt;br /&gt;
====The Features of Text Forms====&lt;br /&gt;
&lt;br /&gt;
1.Advertising texts that we see in our daily lives include slogans, public service messages and public service videos, and so on. Advertising slogans are usually short and meaningful, with simple counterpoint sentences, and are operative texts. On the other hand,public service messages are mostly preventive messages issued by social organizations to help disseminate precautions and draw people’s attention to an unexpected situation in order to maintain social order. They are mostly informative texts. Most PSAs have a complete storyline, thought-provoking dialogue, and a short slogan that summarizes the message of the ad.&lt;br /&gt;
&lt;br /&gt;
2. Public service advertisements are often designed with certain rhetorical techniques to enhance the aesthetics of the ad, make it catchy to read, and ultimately leave a deep impression on the public.&lt;br /&gt;
&lt;br /&gt;
====Similarities and Differences Between Chinese and English PSA texts====&lt;br /&gt;
&lt;br /&gt;
=====Similarities=====&lt;br /&gt;
&lt;br /&gt;
1. Public service texts in both languages often use certain rhetorical techniques, such as personification, alliteration, and end-rhyme, in order to evoke a call to action.&lt;br /&gt;
&lt;br /&gt;
2. Public service texts in both languages often use short sentences, especially in public service slogans, which are easy to remember and achieve the desired effect.&lt;br /&gt;
&lt;br /&gt;
3. Both languages use idioms and sayings that have been around for a long time.&lt;br /&gt;
 &lt;br /&gt;
=====Differences=====&lt;br /&gt;
&lt;br /&gt;
1. Chinese public service texts are good at using strong words such as &amp;quot;forbidden&amp;quot;, while English texts use more euphemistic words such as &amp;quot;Please&amp;quot;. When translating, we should respect the habits of the translating countries in order to better play the role of public welfare texts.&lt;br /&gt;
&lt;br /&gt;
2. Chinese public service texts tend to use poetry-like forms, with seven or five characters in order to be neatly matched. In English, they mostly use phrases of the same number of words to match each other.&lt;br /&gt;
&lt;br /&gt;
3.The translation of advertising slogans also needs to respect certain cultural differences, as Western societies emphasize the individual while the Chinese value collectivism. For example:&lt;br /&gt;
&lt;br /&gt;
Example 1：保护生态环境，造福子孙后代。&lt;br /&gt;
&lt;br /&gt;
Translation 1:Leave a sound ecological environment to your children.&lt;br /&gt;
&lt;br /&gt;
Such a slogan in Chinese emphasizes the impact on future generations without specifying whose children and grandchildren it is, but in the translation, the translator translates it as &amp;quot;Leave a sound ecological environment to your children.” to call on people to protect the environment.&lt;br /&gt;
&lt;br /&gt;
4. Westerners focus on direct expressions, while Chinese expressions are more subtle. For example:&lt;br /&gt;
&lt;br /&gt;
Example 2: 司机一滴酒，亲人两行泪。 &lt;br /&gt;
&lt;br /&gt;
Translation:Drink and drive costs your life.&lt;br /&gt;
&lt;br /&gt;
The sentence contrasts the words &amp;quot;酒&amp;quot; and &amp;quot;泪&amp;quot; without directly pointing out the possible serious consequences, leaving the reader to think about them and take actions. Instead, the translator simply translates it as &amp;quot;Drink and drive costs your life.”(Li Qingxue, Wang Huaiwang 2019)&lt;br /&gt;
&lt;br /&gt;
===Examples of C-E Translation of Public Service Advertisements===&lt;br /&gt;
&lt;br /&gt;
====Operative Text====&lt;br /&gt;
&lt;br /&gt;
Most of the PSAs are operative texts, and the pupose of operative texts in PSAs is to affect the public in order to attain the desired response from the advertisers. PSAs are created to publicize something of common social interest in order to attract attention and action, so the creative design of the advertisement should take this into account and retain the appealing elements of the original text when designing the advertisement.&lt;br /&gt;
&lt;br /&gt;
Example 3: 爱心播散 希望萌芽&lt;br /&gt;
&lt;br /&gt;
Translation: Spread love Sow hope&lt;br /&gt;
&lt;br /&gt;
The public service advertisement slogan is from a public service advertisement released by CCTV in 2016, which tells the story of Zhao Xiaoting, a student from Wuhan University, who volunteered to go to Guizhou to teach in the mountains. It was her selfless love that sowed hope for the children in the mountains. The ad reflects the great power of ordinary people and promotes the core values of socialism. It shows the power that volunteering can bring. &lt;br /&gt;
&lt;br /&gt;
The ad is very short, with a neat counterpoint, and the verb and noun have been swapped in the translation, with the verb being in front of the noun, indicating a dynamic process that can arouse the public's recognition of the act and inspire them to join in and contribute to the poor areas. The second verb in the original text is &amp;quot;萌芽&amp;quot;, but the translation uses &amp;quot;sow&amp;quot; to indicate the growth of hope, which is similar to the original text.(Jin Haibing 2005)&lt;br /&gt;
In addition, the translation version capitalize these two verbs to emphasize these selfless behavior. Learning from this, we can also adopt this translation skill which originates from the difference between Chinese and English.&lt;br /&gt;
&lt;br /&gt;
Example 4: 有你在，就是家。&lt;br /&gt;
&lt;br /&gt;
Translation：You bring me warmth of home.&lt;br /&gt;
&lt;br /&gt;
In this short film, a father in a rural area has never been away from home, and because he misses his son, who has not been home for a long time, he sets out on his own to visit him. The father has to change various means of transportation to get to the city, and encounters many difficulties because his being unable to speak mandarin well. The helpless father finally gets help from the staff, through whom he contacts his son. Eventually they both cry, and the short film ends with the father sitting on his son's motorcycleand going home together. &lt;br /&gt;
&lt;br /&gt;
The short film is very touching, and through the process of going into the city to look for his son, it shows us how brave and gentle people can be for love. If we translate the text word by word in the original order, we can't express this meaning, so we use phrases like &amp;quot;bringing sb warmth&amp;quot; to express the meaning of the original Chinese.(Ye Qiuling 2020)&lt;br /&gt;
&lt;br /&gt;
====Informative Text====&lt;br /&gt;
&lt;br /&gt;
Public service messages are informatiive texts, mainly used to convey certain information, with straightforward and concise text content, and the translator only needs to express its literal meaning directly when translating.&lt;br /&gt;
&lt;br /&gt;
Example 5：请您收到来自境外、国内新冠疫情中高风险地区的邮件、包裹，先对物品表面进行消毒，或在阳台等室外空旷处放置一段时间再打开。处理完包裹、邮件后，应立即用肥皂或洗手液清洗双手，或用免洗手消毒剂进行消毒。洗手前双手不触碰口、鼻、眼等部位。疫情防控有您的参与才能胜利！&lt;br /&gt;
&lt;br /&gt;
Translation: If you receive mail or parcels from overseas or domestic areas at high risk of Cov-19 outbreak, please disinfect the suface of the items first, and leave them on the balcony or other outdoor open space for a period of time before opening them. Immediately after handling parcels and mail, wash your hands with soap and hand sanitizer, or disinfect them with hand sanitizer. Do not touch your mouth, nose, eyes or other parts of your body before washing your hands. Outbreak prevention and control can only be won with your participation!&lt;br /&gt;
&lt;br /&gt;
Example 6：应急公益短信:为严防新型冠状病毒感染的肺炎疫情，山东省严禁任何形式的野生动物交易活动，严禁野生动物对外扩散和转运贩卖。对于违反规定的经营者、经营场所将予以停业整顿、查封，涉嫌犯罪的，将移送公安机关。社会各界如有发现违法违规交易野生动物的，欢迎拔打12345等投诉举报。&lt;br /&gt;
&lt;br /&gt;
Translation: In order to prevent the outbreak of pneumonia due to new coronavirus infection, any form of wildlife trade is strictly prohibited in Shandong Province, and the proliferation and trafficking of wildlife is strictly prohibited. The company's main goal is to provide the best service to the public.&lt;br /&gt;
If you are suspected of committing a crime, you will be transferred to the public security organs. If any&lt;br /&gt;
illegal trade of wild animals is found, the community is welcome to call 12345 to report complaints.&lt;br /&gt;
&lt;br /&gt;
====Expressive Text====&lt;br /&gt;
&lt;br /&gt;
The purpose of an expressive text is to express emotions and attitudes, the language focuses on aesthetics, and the focus of the text is on the form of expression, which requires attention to equity in translation. With the development of the economy and society and the improvement of people's living standards, the aesthetic level of the masses is also improving, and accordingly, the translation of advertising slogans should also change to adapt to the improvement of people's aesthetics.&lt;br /&gt;
&lt;br /&gt;
Example 7：善行无痕 一种习惯的美丽&lt;br /&gt;
&lt;br /&gt;
Translation: Kindness is traceless. A habit of beauty.&lt;br /&gt;
&lt;br /&gt;
The slogan is from a public service advertisement by CCTV in 2016. In the short film, a wife walks into a room to rest after stopping on the balcony for a long time, and her husband comes back and intends to tum off the balcony light to save electricity. The wife stops the husband, and the camera turns to two elderly sanitation workers who are finishing their meal by the light of the lamp she left for them, which the young couple lit for them in the night.&lt;br /&gt;
&lt;br /&gt;
Such kindness is obviously not accidental,but has been a habit of the wife in the short film, and is therefore natural and touching. The ad is intended to call attention to good deeds and habit formation through a story like this one. The ad's slogan is a literal translation, with &amp;quot;善行&amp;quot; translated as &amp;quot;Kindness&amp;quot; and &amp;quot;无痕&amp;quot; as &amp;quot;traceless&amp;quot;.&amp;quot;The use of end-rhyme rhetoric, which pursues equivalence of expressions and enhances the rhythmic beauty of the language, impresses readers and influences their perceptions and habits of good deeds, serving as a public service advertisement.(LiQingxue, Wang Huaiwang 2019)&lt;br /&gt;
&lt;br /&gt;
Example 8：保护肺脏，珍爱生命。（禁烟广告）&lt;br /&gt;
&lt;br /&gt;
Translation: Save your lung, save your life.&lt;br /&gt;
&lt;br /&gt;
The slogan comes from an anti-smoking advertisement that uses the alliteration, “lung” and “life”, to emphasize that quitting smoking is about protecting your lungs and your life. The two “saves” remind people that smoking is harmful to their health and that they should quit smoking as soon as possible to save themselves.&lt;br /&gt;
&lt;br /&gt;
===Misinterpretation of Public Service Advertisments===&lt;br /&gt;
&lt;br /&gt;
====Chinglish====&lt;br /&gt;
Chinglish refers to word-for- word translations that do not consider translation strategies from the perspective of the receiving language and cultural differences, and often cause difficulties in comprehension for the receiving readers.&lt;br /&gt;
&lt;br /&gt;
Example 9：小心地滑&lt;br /&gt;
&lt;br /&gt;
Misinterpretation: Foot Care.&lt;br /&gt;
&lt;br /&gt;
Suggested translation: Mind your step.&lt;br /&gt;
&lt;br /&gt;
The above misinterpretation is translated word-for-word, which not only makes it difficult for the recipient readers to read, but also affects the image of the city as a whole, so more citizens are taking notice and taking action to reject &amp;quot;dead translation&amp;quot; and &amp;quot;Chinglish&amp;quot;. &lt;br /&gt;
&lt;br /&gt;
====Grammatical errors====&lt;br /&gt;
Most grammatical errors are caused by the translator's own incompetence, mainly in the use of articles, subject- predicate inconsistencies, mis-matching of verb phrases, and word confusion.&lt;br /&gt;
&lt;br /&gt;
Example 10：珍爱生命 远离毒品。&lt;br /&gt;
&lt;br /&gt;
Mistranslation: Yes to life, no to drugs.&lt;br /&gt;
&lt;br /&gt;
Suggested translation: Cherish life and avoid drugs.&lt;br /&gt;
&lt;br /&gt;
The public service advertisement came from an anti-drug advertisement, obviously the mistranslated structure of the translation does not fit English conventions.&lt;br /&gt;
&lt;br /&gt;
====Inappropriate Use of Words====&lt;br /&gt;
There are some words in English that are very similar to each other, and improper use of words means that the translator uses words haphazardly without clearly distinguishing between similar words, resulting in a misinterpretation.&lt;br /&gt;
&lt;br /&gt;
Example 11：关爱残障人士&lt;br /&gt;
&lt;br /&gt;
Improper translation: Care for the handicapped.&lt;br /&gt;
&lt;br /&gt;
Suggested translation: Care for the disabled.&lt;br /&gt;
&lt;br /&gt;
The slogan is from a public service advertisement in which the word &amp;quot;handicapped,&amp;quot; which translates to &amp;quot;the handicapped,&amp;quot; is now somewhat outdated and contains a certain amount of offensive language that sometimes causes people to be It would make more sense to change it to &amp;quot;the disabled&amp;quot;, relatively speaking.&lt;br /&gt;
&lt;br /&gt;
====Redundancy====&lt;br /&gt;
The redundancy is due to the fact that the translators do not fully understand the differences between Chinese and foreign cultures and the purpose of the text.&lt;br /&gt;
&lt;br /&gt;
Example12：一花一草皆生命 一枝一叶总关情&lt;br /&gt;
&lt;br /&gt;
Improper Translation: Alive as all living things each flower and leaf of grasses require our care.&lt;br /&gt;
&lt;br /&gt;
Suggested Translation: Please give me a chance to grow.&lt;br /&gt;
&lt;br /&gt;
The original translator intended to present a vivid description of the original slogan in front of people, but failed to consider that the slogan was intended to arouse people's love for flowers and plants. We suggest that the translation should start from the operative textual features of the slogan and combine it with the straightforward expression habits of foreigners to call on people to take care of flowers and plants in a more euphemistic way.&lt;br /&gt;
&lt;br /&gt;
===Methods of C-E Translation of Public Service Advertising===&lt;br /&gt;
&lt;br /&gt;
====Literal Translation====&lt;br /&gt;
&lt;br /&gt;
The main characteristics of literal translation are twofold: in the treatment of word meanings and rhetoric (e. g., metaphors), it does not use transitive techniques (this distinguishes &amp;quot;literal translation&amp;quot;from &amp;quot;free translation&amp;quot;); in the treatment of linguistic forms (i.e., lexical-syntactic structure), it allows appropriate changes and shifts (This distinguishes &amp;quot;literal translation&amp;quot; from &amp;quot;word- for-word translation&amp;quot;).(Xiong Bing 2013) For example.&lt;br /&gt;
&lt;br /&gt;
Example 13: 我的盛开需要你的关爱 &lt;br /&gt;
&lt;br /&gt;
Translation : Luxuriant flowers need your care.&lt;br /&gt;
&lt;br /&gt;
The translation retains the personification of the original, treating flowers as species with emotions, but directly specifies that &amp;quot;I&amp;quot; means &amp;quot;flower&amp;quot;, which is in line with the habit of expression of the target audience and serves as a reminder.&lt;br /&gt;
&lt;br /&gt;
Example 14: 节约用水就是珍爱生命&lt;br /&gt;
&lt;br /&gt;
Translation : To save water is to save life&lt;br /&gt;
&lt;br /&gt;
The original text translates &amp;quot;conserve water&amp;quot; and &amp;quot;cherish life&amp;quot; into a neat pairing, and the translation also translates them into a neat pairing, and the expression is in line with the habits of expression of the people in the receive language. Both the original text and the translation equate &amp;quot;conserve water&amp;quot; with &amp;quot;cherish life&amp;quot; to arouse the attention of the masses and advertise the importance of saving water.&lt;br /&gt;
&lt;br /&gt;
====Paraphrase====&lt;br /&gt;
&lt;br /&gt;
A paraphrase translation is one in which the translator does not stick to the details of the meaning of the original text, much less to its vocabulary and syntactic structure, but &amp;quot;uses the original text as a reference model&amp;quot; and either translates only the general meaning, gist or key information (or selectively some of it) by condensing it, or translates it into a text with more information compared to the original article. (Xiong Bing 2013) For example.&lt;br /&gt;
&lt;br /&gt;
Example 15:爱我,追我,千万别吻我。&lt;br /&gt;
&lt;br /&gt;
Translation: Drive carefully! &lt;br /&gt;
&lt;br /&gt;
The original text is from a public service advertisement advocating cautious driving. The translation does not follow the literal meaning, but rather the translator uses a paraphrasing technique after understanding the meaning of the sentence and chooses two words to express the meaning. It is short and serves as a warning to motorists.&lt;br /&gt;
&lt;br /&gt;
Example 16：手下留情花自香，脚下留意草如茵。&lt;br /&gt;
&lt;br /&gt;
Translation: Take care of grass and flowers, please.&lt;br /&gt;
&lt;br /&gt;
The original text is a public service slogan with Chinese cultural characteristics, but it is difficult to find a corresponding expression in English when translating. Here the translator uses an invocation to remind the masses.&lt;br /&gt;
&lt;br /&gt;
====Borrowing Translation====&lt;br /&gt;
&lt;br /&gt;
A borrowing Translation is an explanation that replaces the original word or phrase by borrowing the idiom of the target language. For example.&lt;br /&gt;
&lt;br /&gt;
Example 17: 爱心传递你我，文明就在身边。&lt;br /&gt;
&lt;br /&gt;
Translation: Where there is a love, there is a virtue.&lt;br /&gt;
&lt;br /&gt;
The original is a slogan from an advertisement for the Olympic Games, which is a medium for promoting the spirit of the Games and the country's outlook. The translator chose a well-known proverb from the translated country, &amp;quot;Where there is a will, there is a way,&amp;quot; to expand the publicity effect.&lt;br /&gt;
&lt;br /&gt;
Example 18: 让世界倾听我们的声音&lt;br /&gt;
&lt;br /&gt;
Translation : Let our voice be heard in the world.&lt;br /&gt;
&lt;br /&gt;
The original text was a slogan from a CCTV public service advertisement, which was based on the lyrics &amp;quot;Let our voice be heard.&lt;br /&gt;
&lt;br /&gt;
===Conclusion===&lt;br /&gt;
&lt;br /&gt;
In this paper, the writer divides and analyzes different texts and explain the approaches they take in translation. This perspective of using text type theory to analyze and discuss how to translate public service texts may be of some help to scholars.&lt;br /&gt;
&lt;br /&gt;
According to different texts, the text type theory has its own emphasis in translation, and different PSA texts are mostly operative texts, and sometimes one text has multiple textual characteristics, which translators can take into full consideration when choosing the emphasis and translation methods.&lt;br /&gt;
Public service translation is very different from commercial advertising translation, which is mainly used to educate the public, convey correct and positive values, encourage people to take actions to help others, and create a good social environment to resist bad behaviors. Generally speaking, it is necessary to consider the actual situation when translating the PSAs.&lt;br /&gt;
&lt;br /&gt;
Through analyzing the texts of PSAs, the author has made the following discoveries, and the translation of PSAs can be done according to the text type theory. Although there are some cultural differences between the two languages, the differences do not make translation difficult to achieve. If literal translation cannot translate the meaning of the source text, then paraphrase,borrowing translation and other translation methods can also be used.&lt;br /&gt;
&lt;br /&gt;
===Limitation===&lt;br /&gt;
&lt;br /&gt;
In this paper, I put forward some personal ideas, but in the final version, I can still find my own shortcomings. First of all, there is still a lack of richness of information due to the limitation of space. Secondly, the depth of my ideas is still insufficient, and I only hope that this article can provide some research ideas for researchers and contribute to the translation of public service texts.&lt;br /&gt;
&lt;br /&gt;
===References===&lt;br /&gt;
&lt;br /&gt;
Newmark .(2001).P.A Textbook of Translation .Shanghai :Shanghai Foreign Language Education Press.&lt;br /&gt;
&lt;br /&gt;
Reiss,Katherina.(2004).Translation Criticism: the potential &amp;amp; limitation . trans .by Erroll F.Rhodes .Shanghai :Shanghai Foreign Language Education Press.&lt;br /&gt;
&lt;br /&gt;
Chen Yanhong 陈燕红. (2012).  文化视角中汉英公益广告的翻译策略 [Translation Strategies of Chinese-English Public Service Advertisements in Cultural Perspective].&lt;br /&gt;
&lt;br /&gt;
Jin Haibing 金海兵. (2005). 试谈公益广告标语及其翻译 [On Analyzing Public Service Advertisements and Their Translation].&lt;br /&gt;
&lt;br /&gt;
Jia Heping 贾和平. (2019). 论纽马克与赖斯的文本分类比较研究 [A Comparative Study on Newmark’s and Reiss’s Text Type Classification ]. &lt;br /&gt;
&lt;br /&gt;
Li Zhi 李治. (2008). 论纽马克与赖斯的文本分类比较研究 [Newmark’s and Reiss’s Text Type Classification and A Comparative Analysis of Translation Methodology ].&lt;br /&gt;
&lt;br /&gt;
Li Qingxue, Wang Huaiwang 李庆学 王怀望. (2019). 接受美学视角下的公益广告翻译 [A Study of English Translation of Public Service Advertisements from the Perspective of Reception Aesthetics].&lt;br /&gt;
&lt;br /&gt;
Liu Xiaofang 刘晓芳. (2015). 目的论视角下《中国日报》公益广告英译的探析 [The English Translation of PSAs in China Daily from the Perspective of Skopos theorie].&lt;br /&gt;
&lt;br /&gt;
Xiong Bing 熊兵. (2013).  翻译研究中的概念混淆 [Conceptual Confusion in Translation Studies].&lt;br /&gt;
&lt;br /&gt;
Ye Qiuling 叶秋伶. (2020). 语义翻译和交际翻译理论视角下中文公益广告英译——以央视公益广告为例 [English Translation of Chinese Public Service Advertisements from the Perspective of Semantic Translation and Communicative Translation Theory - Taking CCTV Public Service Advertisements as an Example].&lt;/div&gt;</summary>
		<author><name>Song Jianru</name></author>
	</entry>
	<entry>
		<id>https://bou.de/u/index.php?title=History_of_Translation_Studies_8&amp;diff=117534</id>
		<title>History of Translation Studies 8</title>
		<link rel="alternate" type="text/html" href="https://bou.de/u/index.php?title=History_of_Translation_Studies_8&amp;diff=117534"/>
		<updated>2020-12-21T07:06:53Z</updated>

		<summary type="html">&lt;p&gt;Song Jianru: /* On the Chinese Translation of A Pale View of Hills from House's Translation Quality Assessment Model	宋建茹	Song Jianru 202020080639 */&lt;/p&gt;
&lt;hr /&gt;
&lt;div&gt;这里是《翻译学史》的书稿第八部分(Part 8)。麻烦各位同学看一下已经存在的章回（样品），自己再加进去新的一个章回（就是你们的学期论文）。请也帮助同学们把他们的论文改正。这样多次修改，大家的论文会越来越好。&lt;br /&gt;
&lt;br /&gt;
学期论文（结合学期所学，撰写一篇5000以上单词的英文论文，按照专业杂志的格式，题目、摘要、关键词和参考文摘需要英中，文章英）。学期论文成绩占70%，平时成绩（含课堂表现、展示及作业）占30%。&lt;br /&gt;
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*Link back to course homepage: [https://bou.de/u/wiki/Introduction_to_Translation_Studies Course Homepage Intro. to TS]&lt;br /&gt;
*Link back to the final exam paper section of the course homepage: [https://bou.de/u/wiki/Introduction_to_Translation_Studies#Final_Exam_Papers Final Exam Papers]&lt;br /&gt;
*Link to other parts of the final exam papers' website: [https://bou.de/u/index.php?title=History_of_Translation_Studies_1 Part 1], [https://bou.de/u/index.php?title=History_of_Translation_Studies_2 Part 2], [https://bou.de/u/index.php?title=History_of_Translation_Studies_3 Part 3], [https://bou.de/u/index.php?title=History_of_Translation_Studies_4 Part 4]; [https://bou.de/u/index.php?title=History_of_Translation_Studies_5 Part 5], [https://bou.de/u/index.php?title=History_of_Translation_Studies_6 Part 6], [https://bou.de/u/index.php?title=History_of_Translation_Studies_7 Part 7], [https://bou.de/u/index.php?title=History_of_Translation_Studies_8 Part 8]; [https://bou.de/u/index.php?title=History_of_Translation_Studies_9 Part 9], [https://bou.de/u/index.php?title=History_of_Translation_Studies_10 Part 10].&lt;br /&gt;
&lt;br /&gt;
='''History of Translation'''=&lt;br /&gt;
== Study on Brand Name Translation from the Perspective of Cultural Difference	谭鑫洁	Tan Xinjie==&lt;br /&gt;
&lt;br /&gt;
==='''Abstract'''===&lt;br /&gt;
&lt;br /&gt;
== Abstract: ==&lt;br /&gt;
&lt;br /&gt;
==='''key words'''===&lt;br /&gt;
&lt;br /&gt;
==='''摘要'''===&lt;br /&gt;
&lt;br /&gt;
==='''关键字'''===&lt;br /&gt;
&lt;br /&gt;
===Complete transcript of the content of the original work ===&lt;br /&gt;
&lt;br /&gt;
===Same style and manner of writing===&lt;br /&gt;
&lt;br /&gt;
===Equivalent effect===&lt;br /&gt;
&lt;br /&gt;
===Discussion===&lt;br /&gt;
&lt;br /&gt;
===Conclusion===&lt;br /&gt;
&lt;br /&gt;
===Bibliography===&lt;br /&gt;
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==A Comparative Study on the Translation History in Western Countries and China	王煜	Wang Yu 英美文学==&lt;br /&gt;
&amp;lt;center&amp;gt;王煜，202020080645.&amp;lt;/center&amp;gt;&lt;br /&gt;
===Abstract===&lt;br /&gt;
Translation is an intercultural communication activity. Translation activities have accelerated the development of human civilization and broken through the language barrier. As time goes by, things are in a state of flux and both the Western and Eastern countries have gradually formed their own histories of translation, the study of translation history is a basic project of discipline construction. Although there are many differences of the translation histories between the Western countries and China, the two kinds of translation histories are still shining their own bright and unique lights and have an indelible influence and contribution to translation activities. This paper intends to make a brief comparison of translation histories between Western countries and China, which includes the origins, the stages, the representatives of the stages, the significance and influence as well as the differences of the two translation histories.&lt;br /&gt;
&lt;br /&gt;
===Key words===&lt;br /&gt;
&lt;br /&gt;
Translation History of the West; Translation History of China; Comparative Study&lt;br /&gt;
&lt;br /&gt;
===中西翻译史对比研究===&lt;br /&gt;
&lt;br /&gt;
===摘要===&lt;br /&gt;
翻译是一种跨文化交流活动，翻译活动加快了人类文明发展步伐，减少了人们之间的沟通障碍。随着时代的变迁，中国和西方国家逐渐形成了各自的翻译史，翻译史的研究是学科建设的一项基础工程。尽管中西方翻译史在某些方面有所差异，但却都有着各自的独特性，并对人类的翻译活动产生了巨大的影响与贡献。文章将以中国和西方国家为主要对象，从二者翻译史起始，包含阶段和各阶段代表人物，影响意义，差异性出发，对二者的翻译史进行简略的对比研究。&lt;br /&gt;
&lt;br /&gt;
===关键词===&lt;br /&gt;
西方翻译史；中国翻译史；对比研究&lt;br /&gt;
&lt;br /&gt;
===1. Introduction===&lt;br /&gt;
&lt;br /&gt;
No matter in China or in the West, translation plays an important role in knowledge-spreading. As an indispensable part of translatology, the study of translation history has made a great influence on translation activities, it has gradually become the focus of the literary and historical circles in recent years. Translation activities can be traced back to the origin of language. The history of translation is almost as old as language itself, which is closely related to the changes in today's society. &lt;br /&gt;
&lt;br /&gt;
Since the 1980s, the translation studies in the mainland of China have made remarkable progress in the design of curriculum of Chinese and Western translation history and the compilation of related works. In the early 1980s and 1990s, there were many related works came out one after another including ''A Brief History of Chinese Translation: The Part Before the May 4th Movement''（《中国翻译简史-“五四”运动以前部分》） written by Ma Zuyi , ''A Historical Manuscript of Chinese Translated Literature'' （《中国翻译文学史稿》）edited by Chen Yugang, and also the ''A Short History of Translation in the West''（《西方翻译简史》）, the author of which is Tan Zaixi. Thus, it opens the gate for the compilation of Chinese and Western translation history works.(Xie Tianzhen2009,Ⅴ) &lt;br /&gt;
&lt;br /&gt;
The history of Western translation can be divided into five stages while the Chinese study of translation has a glorious history of more than two thousand years and has experienced five climaxes. Through the comparative study of Chinese and Western translation history, it will help us to have a deeper understanding of Chinese and Western translation activities, thus to gather a general full view of it, which will be a positive and meaningful attempt.&lt;br /&gt;
&lt;br /&gt;
===2. The Translation History of Western Countries===&lt;br /&gt;
&lt;br /&gt;
Western translation activities are rich in a long history. The history of Western translation can be roughly divided into three stages: the traditional stage, the modern times and the contemporary. More specifically, it can be grouped into the ancient times, the middle ages, the Renaissance period and the time after WWⅡ.&lt;br /&gt;
&lt;br /&gt;
===2.1 The First Stage: Translation in the Ancient Times===&lt;br /&gt;
 &lt;br /&gt;
The translation history of Western countries first began in the the 3rd century BC. In a broad sense, the earliest translation in the west is the Old Testament translated by 72 Jewish scholars in Alexandria, ancient Egypt, between the 3rd and 2nd centuries BC; Strictly speaking, the first western translation is the Greek Homer Epic ''Odyssey'' translated by Andronicus in Rome in the middle of the third century BC.(Tan Zaixi2000,88-89) &lt;br /&gt;
&lt;br /&gt;
At the end of the 4th BC, Greece began to decay and the Roman had became stronger and stronger with its military expansion. The expansion of the Roman Empire brought itself into contact with the splendid Greek culture, therefore, the Romans not only conquered the Greek city, but also inherited and developed the brilliant achievements of ancient Greek culture, and then created a  splendid cultural of its own era after Greece. So it soon began a large scale translation activities. The activity of translating and introducing Greek classical works probably began in this period.(Liu Junping2009,8) &lt;br /&gt;
&lt;br /&gt;
At that time, many famous translation theorists began to make their presences, namely Cicero, Quentin, Jerome and so on, also the famous Roman litterateurs like Andronicus, Naevius, Ennius, these great writers used Latin language to translate or adapt Homer’s epic or other Greece dramas. It started the translation tradition and promoted the birth and development of Roman literature.(Tan Zaixi2000, 89)&lt;br /&gt;
&lt;br /&gt;
===2.2 The Second Stage: Translation in the Middle Ages (4th-6th)===&lt;br /&gt;
&lt;br /&gt;
The second climax occurred in the late Roman Empire through the early Middle Ages and was concerned about religion. In this period, translation was mainly related to the religious stuff. Religious forces have great influence in the west, Christianity strived to promote its own religion, thus, the Bible, the source and psychological weapon of the Christianism naturally meant a lot in religious world. Since the Old Testament of the Bible was written in Hebrew and Greek, respectively, it needed to be translated into Latin for effective circulation in Rome.(Tan Zaixi2000, 89)&lt;br /&gt;
&lt;br /&gt;
&amp;quot;Jerome was a Latin Christian priest, he translated the Bible into Latin(Vulgute) according to the Hebrew version of the Bible. This version had a great influence on medieval theology and was the most widely circulated and authoritative translation of the Middle Ages, marking an unprecedented level of Western translation.&amp;quot;(Tan Zaixi2000, 89)&lt;br /&gt;
&lt;br /&gt;
===2.3 The Third Stage: Translation in the Middle Ages (11th-12th)===&lt;br /&gt;
&lt;br /&gt;
This period can also be called &amp;quot;the period of the Arab Centennial Translation Movement&amp;quot;,(Liu Junping2009,9) it lasted over two hundred years. In order to consolidate the rule and promote socio-economic and cultural development, the medieval Arab Empire undertook a massive, organized academic activity to translate and introduce the scientific and cultural classics of ancient Greece and the East. Translators of this period actively translated the most important works of Greek literature in all disciplines with an open mind and a strong desire for knowledge. &lt;br /&gt;
&lt;br /&gt;
Between the 11th and 12th centuries, Toledo became Europe’s academic center for its prosperous translation activities, the Western translators who gathered here translated many works from Arabic into Latin. Cultural patterns and religious ideas converged here.(Tan Zaixi2000, 90) &lt;br /&gt;
&lt;br /&gt;
Until nowadays, the positive influence of the movement still plays an inherent role: numerous proprietary names such as ‘concept’, ‘category' are gradually established in Arabic. This movement not only facilitated the integration of the inner Arab world, but also, in fact, promoted the integration of the Western and Persian worlds.&lt;br /&gt;
&lt;br /&gt;
===2.4 The Fourth Stage: Translation in the Renaissance Period===&lt;br /&gt;
&lt;br /&gt;
The Renaissance movement is a European ideological and cultural movement that took place from the 14th century to the 16th century, and reached its peak in the 16th century and inspired a cascade of the development of science, art and literature. A large number of outstanding translators shown up and a series of excellent translation works had been produced. During this time, a great quantity of ancient Greek and Roman classics had been rediscovered and translated into various European languages, which had brought about a profound impact on the European nation states. &lt;br /&gt;
&lt;br /&gt;
Leonardo Buruni, who was one of the most influential cultural translation practitioners in the Renaissance period and was also one of the earliest representatives of humanistic translators in the history of western translation. He was famous for his translation of Plato and Aristotle. Humanists began to study the Bible with the method of studying classical literature, and translated the Bible into the national language, which led to the rise of the religious reform movement. &lt;br /&gt;
&lt;br /&gt;
In Germany, Martin Luther, a religious reformer, translated the first mass Bible, which influenced most and ushered in a new era in the development of modern German; in Britain, Chapman, a writer and translator, translated Homer's ''Iliad'' and ''Odyssey'' from 1958 to 1616, and the translation and publication of the King James Bible in 1611 marked the formation of modern English.(Liu Junping2009,9)&lt;br /&gt;
&lt;br /&gt;
The Renaissance played a very important role in the Western history of the development of translation, it marked the status of national language in the field of literature and translation having finally been consolidated. Simultaneously, it showed that translation is playing a huge role in the formation and development of the national language, literature and thought.(Liu Junping2009,9)&lt;br /&gt;
&lt;br /&gt;
During the three hundred years that lasted from the 17th century to the 19th century, translation activities continued to move forward. Although its scale and influence could not be compared with that of the Renaissance, it still produced many excellent translators and translated works. The biggest feature was that translators not only continued to translate classical works, but also became interested in modern and contemporary works. The works of Cervantes, Shakespeare, Balzac, Goethe and other great writers had been repeatedly translated into various languages, and translations of Eastern literature have also been published.(Tan Zaixi2000,91)&lt;br /&gt;
&lt;br /&gt;
===2.5 The Fifth Stage: Translation after WWⅡ===&lt;br /&gt;
&lt;br /&gt;
Although World War II has brought different degrees of blows to many countries, some Western countries have used a large amount of capital to actively resume production, developed various social fields, and attached great importance to the person with ability. Western science and technology are changing with each passing day, driven by cybernetics, information theory and system theory. The world of knowledge and experience has been greatly expanded, and social and cultural exchanges have become increasingly close, which provided a solid material foundation and ideological guarantee for the prosperity of translation. &lt;br /&gt;
&lt;br /&gt;
With the growth in number or quantity of translation activities, translation theory continues to develop, and the number of translation talents in various countries keeps on increasing. Translation has gradually expanded from traditional literary and religious translation to other fields, such as scientific and technical translation and business translation, and with the emergence of professional translators, the influence of translation has become more and more obvious, playing an important practical role. Distinctive features in this time, from the scope to the scale, effect, and to the forms, are all different from any time in the past, having made tremendous progress, the translation scale has exceeded the past.(Tan Zaixi2000,92)&lt;br /&gt;
&lt;br /&gt;
There are a large number of outstanding translators and translation theorists in the West, who have put forward their different points from different angles in different periods, which made a brilliant contribution to the history of western translation. The Western translation activity promoted the cultural exchange and spread the ideas.(Tan Zaixi2000, 92)&lt;br /&gt;
&lt;br /&gt;
===3. The Translation History of China===&lt;br /&gt;
&lt;br /&gt;
China has a long history with 5000 years of civilization. Since China is a multi-ethnic country, so translation plays an irreplaceable role in the communication between different nationalities. There is no reference to the history of translation in China, although there are some documents in the Xia and Shang Dynasties, we still can not discern the translation activities at that time from the existing records. &amp;quot;The song of the Yue Boatman can be regarded as the first poetry translation in Chinese history.&amp;quot;(Ma Zuyi1998,5) However, it was only an isolated translation activity and did not trigger a large-scale translation movement in China.&lt;br /&gt;
&lt;br /&gt;
===3.1 The First Stage：Translation of Ancient Buddhist Scriptures===&lt;br /&gt;
&lt;br /&gt;
The first climax of the Chinese translation history was the translation of ancient Buddhist scriptures. ''The Potala Sutra'' should be the earliest translation of Buddhist scriptures in China. It was also said that the ''Forty-Two Chapters Sutra'' is the earliest Chinese translation of the Buddha's sutras, however, the one that is proven to be reliable should be the book ''The Fifty Books of the Mingdu'' translated by An Shigao during the reign of Emperor Huan of the Eastern Han Dynasty.(Ma Zuyi1998,17)&lt;br /&gt;
&lt;br /&gt;
It has experienced four phases, each of which had its own features: the first was the starting period which was from the last year of emperor Huan in the Eastern Han Dynasty to the Western Jin Dynasty. Translators in this period were mainly Buddhist monks,(Ma Zuyi1998,33) However, the quality of the translated works depends on the ability of the translators’ understanding of Chinese, so the classics of the translated works are varied. Also, due to the shortage of learners' language knowledge , they usually used literal translation. &lt;br /&gt;
&lt;br /&gt;
The second period was the developing time, from the Eastern Jin Dynasty to the Sui Dynasty. The Buddhist scriptures continued to prevail under the rulers' advocacy and began to translated Buddhist scriptures in an organized way but still translated literally. During this period, Shi Daoan put forward the famous theory of ‘Five losses of source texts and three difficulties in translation’. &lt;br /&gt;
&lt;br /&gt;
Meanwhile, through the translation and interpretation of nearly 400 volumes of Buddhist classics, kumarajiva first introduced Indian Buddhism to the Chinese people, which played an important role in the prosperity of Chinese Buddhism at that time.(Ma Zuyi1998,40) The translation in this time had changed from individual translation into group translation which had improved the quality of translation and as well made some progress in translation theories and skills.(Ma Zuyi1998,55) &lt;br /&gt;
&lt;br /&gt;
The third period was the heyday of the translation history took place in Tang Dynasty.(Ma Zuyi1998,58) Xuanzang was an important figure in promoting Sino-Indian friendship and cultural exchanges in China's history，not only was he a great translator and organizer of translation, but he was also a great translation theorist whose contribution to translation studies still remains significant today. &lt;br /&gt;
&lt;br /&gt;
As for the last period, it was in the Northern Song Dynasty, the studying of translating scriptures gradually withered, and during this period, the translation mainly focused on the esoteric classics translations.(Ma Zuyi1998,82)&lt;br /&gt;
&lt;br /&gt;
As part of Chinese history, especially as the link of the cultural development, the translation of Chinese ancient Buddhist sutra has contributed more than a lot.  The spread of Buddhist ethics contributed to the formation of Taoism in China.&lt;br /&gt;
&lt;br /&gt;
===3.2 The Second Stage：Technical Translation during the Yuan and Ming Dynasties===&lt;br /&gt;
&lt;br /&gt;
The translation of Buddhist scriptures gradually declined during the two hundred years of the Ming Dynasty. With the arrival of Western Christian missionaries, China came into contact with Europe. In order to facilitate their relations with Chinese officials and intellectuals, the missionaries translated works of Western science and technology as well as Christian texts assisted by Chinese officials. They also introduced the Chinese classics to the West.(Ma Zuyi1998,263) &lt;br /&gt;
&lt;br /&gt;
Matteo Ricci came to China on a mission to introduce Western scientific and technological knowledge. He pioneered the history of combining Chinese and Western translation to introduce Western scientific and technical literature, and was the first to translate the ''Four Books'' into Latin, he was the first to introduce Chinese texts to the West.(Ma Zuyi1998,263) &lt;br /&gt;
&lt;br /&gt;
From the Wanli period of the Ming Dynasty to the &amp;quot;new learning&amp;quot; period of the Qing Dynasty, translators who introduced science, literature and philosophy in Western Europe, represented by Xu Guangqi, Lin Shu and Yan Fu appeared. Xu Guangqi was a patriotic scientist and organizer of the scientific and cultural movement in China at the end of the Ming Dynasty. He made outstanding achievements in introducing Western natural sciences and promoting the development of  science in China.&lt;br /&gt;
&lt;br /&gt;
===3.3 The Third Stage：Literary Translation in Late Qing Dynasty===&lt;br /&gt;
&lt;br /&gt;
After the Opium War, the Qing government organized a large number of scholars to translate books of western natural science. Under the influence of the thought of reform, a large number of translations introducing western political thoughts, scientific methods and some literary works appeared. ''The Records of Four Continents'', translated by Liang Jinde, asked by Lin Zexu, was the first systematic introduction to the geographical knowledge of western countries in modern China.（Ma Zuyi1998,329）&lt;br /&gt;
&lt;br /&gt;
After the Sino-Japanese War of 1894-1895, Yan Fu translated the theory of evolution and put forward the triple criteria of ‘faithfulness, fluency and elegance’, which has played a great guiding role in the translation practice of later generations, His translation promoted the development of &amp;quot;new learning&amp;quot; and enlightened the Chinese nation at that time.（Ma Zuyi1998,377）&lt;br /&gt;
&lt;br /&gt;
Another scholar Liang Qichao, who was a politician, thinker and encyclopedia scholar of that time, advocated that China needs to develop the translation career and cultivate translation talents at a full stretch. He has done fruitful research on the translation of Buddhist scriptures and the translation of science and technology between the Ming and Qing Dynasties.（Ma Zuyi1998,384）&lt;br /&gt;
&lt;br /&gt;
===3.4 The Fourth Stage：The Translation of Socialist and Communist Works===&lt;br /&gt;
&lt;br /&gt;
The May 4th Movement was a watershed in China's modern translation history, which made a significant contribution to the introduction of foreign literature to China and the development of literature in China. After the May 4th movement, China's translation industry has ushered in a new historical period. Translators in this period, compared with those during the late Qing dynasty, were more selective in source texts. Chinese translation scholars began to introduce the classic works of Marxism-Leninism and the literature of the proletariat. The translation of the Manifesto of the Communist Party was published during the May 4th movement. &lt;br /&gt;
&lt;br /&gt;
During this period, great changes have taken place in the content and form of translation work: vernacular began to replace classical Chinese, as a result, popular language becomes easy to understand and the excellent literary works of western countries have attracted more and more Chinese readers. &lt;br /&gt;
&lt;br /&gt;
Famous translators like Lu Xun, Mao Dun, Zheng Zhenduo, Guo Moruo, Zhu Shenghao, Lin Yutang had translated a large number of foreign masterpieces, which enriched the inner world of the Chinese people. Lu Xun once advocated that there should be an exotic atmosphere in the translated works which would familiarize the readers with the foreign cultures. He also believed that the literal translation of culturally loaded words was one of the important means of enriching the mother tongue. These scholars helped the Chinese people to know more about the outside world and laid a good foundation for the systematization and scientification of translation theory in China.&lt;br /&gt;
&lt;br /&gt;
===3.5 The Fifth Stage：The Translation after 1949===&lt;br /&gt;
&lt;br /&gt;
The founding of the People's Republic of China in 1949 enabled translation to enter a new era. With the founding of the new China, China's translation industry was also liberated. Translation became a very important part of the national, cultural and educational cause. National organizations for translators were established in order to protect the interests and benefits of translators. The quantity and quality of translated works have grown by leaps and bounds. &lt;br /&gt;
&lt;br /&gt;
Since then, translation work has been an important part of the new socialist culture, and has been developing rapidly, making great achievements and perfecting translation theory. The classical works of Marxism-Leninism, excellent foreign literature, scientific and technical literature and the like were systematically introduced. There are large-scale translations like the translation of Marx and Lenin's works. &lt;br /&gt;
&lt;br /&gt;
In the 1950s, scientific and technical works were translated to meet the demands of the national social and economic construction. In the 1970s, translation of United Nations documents after China was restored to its rightful seat in the United Nations. Also, literary translators became a very important part of China's literature and arts personnel. Qian Zhongshu He puts forward his &amp;quot;transmigration theory (化境说)&amp;quot; for literary translation. It is like the act of transmigration in which the soul, the spirit of the original text remain in the target text even although the carrier of them, the language, has changed. In 1978, two years after the end of disastrous &amp;quot;cultural revolution,&amp;quot; China adopted its &amp;quot;reform and open&amp;quot; policy. A new and dynamic atmosphere for translation emerged.&lt;br /&gt;
&lt;br /&gt;
===4.The Comparative Study Among the Two Kinds of Translation Histories===&lt;br /&gt;
&lt;br /&gt;
===4.1 The Similarities of the Western and Chinese Translation History===&lt;br /&gt;
&lt;br /&gt;
About the religious and translation, we can easily notice that in the history of Chinese and Western translation, almost all the early translation activities were the translation of religious classics. The translation of religious classics had opened the curtain of Chinese and Western translation history. The spread of religion is always accompanied by the translation of religious classics. It is not difficult for us to understand the reason: after the emergence of religion, in order to absorb more believers, it is necessary for the religion to spread widely across nations and countries. Therefore, from ancient times to the present, religion is always a kind of forms of various national beliefs and cultures. It keeps on influencing the spiritual belief and behavior of society.&lt;br /&gt;
&lt;br /&gt;
The translation activity has made great contributions to the establishment and development of national languages in various countries. For example, in the history of Western translation, Martin Luther's Bible translation played an important role in the unification and development of Tthe German language and the establishment of modern German. &lt;br /&gt;
&lt;br /&gt;
What’s more, the English version of the Bible enriched the English vocabulary and benefited the modernization of English a lot. The same in China, the Buddhist scripture translation also enriched the use of Chinese vocabulary. In the ideological field, it not only laid the foundation for the establishment of Taoism, but also paved the way for the formation of &amp;quot;New Confucianism&amp;quot; in the Song Dynasty. And we can not ignore the contribution of the literary translation in the first half of the 20th century to the establishment and development of modern vernacular Chinese. &lt;br /&gt;
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The translation activity helps to transmit cultural values and promote cultural exchange. Translation bears the mission of cultural exchange, the translation activities are trying to make a close connection between nations and countries and introduce the language and cultural habits of one nation to another. Such kind of efforts have enriched the vocabulary and promoted the exchange between areas. &lt;br /&gt;
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Jesuits who came to China in the late Ming and early Qing dynasties would translate Chinese classics and literary works into foreign languages, which, in a state of isolation between China and Europe, have become the middlemen for the exchange of Chinese and Western civilizations.(Tan Zaixi1999,26)&lt;br /&gt;
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===4.2 The Differences Between the Western and Chinese Translation History===&lt;br /&gt;
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First, time is different. Western translation predates Chinese translation by over 200 years. It is said that the reason is due to the differences in topography and geomorphology of the two parts. We all know that China possesses a great number of mountains and lakes, and in ancient times, it would take quite a few days to send messages from one place to another, especially when people in the remote areas, it would be a hard and long journey for them to head for a destination. So, there is a difficulty in communicating among the various peoples in different nations. There would be a delay in communication and connection. &lt;br /&gt;
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As for the West, there are numerous plains, so, it was much convenient and easier for the Western people to communicate and exchange their ideas with each other, which set a ideal environment for the development of translation activities.&lt;br /&gt;
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Also, the position of religion varies. The different tradition and culture of the West and China make the concept of religion of the two quite varied. Different religious cultures have different forms of expression and vocabularies of their own. In the West, the Bible is not only a religious classic but also an important mainstay of Western culture and the foundation of Christian faith. Buddhism was introduced into China from India in the early years of AD and became a very important part of Chinese traditional culture, in order to consolidate his ruling position, the rulers controlled the people spiritually. The doctrine of Buddhism satisfied to the ruler's appetite, so it was first spread among the ruling class and gradually gained its legal status.&lt;br /&gt;
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The tradition of Western and Chinese translation differs. One of the differences of them is between the single system and poly system. “The simplicity of Chinese translation tradition is mainly in the narrow sense，though there are different kinds of translations of national languages in China, most of them are still dominated by the tradition of Chinese language and culture translation, because they all occurred in the same environment of the language culture since ancient times, that is , the environment of Chinese language culture.”(Tan Zaixi2000,15) &lt;br /&gt;
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In contrast, in terms of space, the Western translation tradition did not always develop in the same region. In the later formation and development process, it spread throughout all ethnic regions in Europe；In terms of time, the western translation tradition began in ancient Rome, and then evolved into the ancient Latin language and culture system. In the later period of the middle ages, the system expanded and evolved into many relatively independent ethnic systems. So the system of the West is more like a kind of poly system instead of a single system like China.(Tan Zaixi2000,15)&lt;br /&gt;
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The concept of Chinese and Western translation is different. Meanwhile, the translation theory in China and the west varies. Chinese translation tradition pays more attention to practicality than to the theory. Like professor Tan Zaixi once said: “What Chinese translators and translation theorists most concerned about is how to deal with the difficulties in translation.” However, Western translation pays more attention to systematicness and theory.(Tan Zaixi2000,16) &lt;br /&gt;
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Secondly, the national characteristics of China and the West are also different. Relatively speaking, Western ideas are more open and Chinese more conservative. For a long time, the Chinese people advocate authority and accept fewer challenges. China's three cardinal principles and five constancies in religion are in sharp contrast to the religious reform in the West. Although the West also advocates authority and takes religion as its belief, it dares to break dogmatism, which brings a breakthrough to western translation studies to a certain extent.&lt;br /&gt;
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===Conclusion===&lt;br /&gt;
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History is a bridge connecting the past, the present and the future. Throughout the history of translation between China and the West, although the differences between them inevitably exist, the brilliant translation achievements made by both sides are remarkable: excellent translators, translation scholars, or outstanding  translation theory, translation works, all of these have opened up the way for our future translation research, they are leading people to pursue knowledge and to explore into the unknown field.&lt;br /&gt;
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Mastering the history of a discipline can help us to see the direction of its development, we then will be able to learn from the experience and lessons in the process and use this kind of method to guide the development of this subject. To have contact with the history of translation is helpful for us to understand and improve the level of translation and develop the translation career. The achievements of our predecessors have accumulated valuable cultural heritages for us. We should sum up our predecessors' translation experience and continue to make our efforts for our country's translation cause.&lt;br /&gt;
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===References===&lt;br /&gt;
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*Li Xuan. 李璇. (2012). 中西翻译高潮之对比 [Comparison of Translation Climax Between China and the West]. ''青年文学家'' Youth Literator(3) 131.&lt;br /&gt;
*Liu Junping. 刘军平. (2009). ''西方翻译理论通史'' [A General History of Western Translation Theory]. Wuhan: Wuhan University Press 武汉大学出版社.&lt;br /&gt;
*Ma Zuyi. 马祖毅. (1998). ''中国翻译简史-“五四”以前部分（修订本）'' [A Brief History of Chinese Translation: The Part Before the May 4th Movement] . China Translation Corporation 中国对外翻译出版公司. &lt;br /&gt;
*Qi Jian. 戚健. (2017). 古罗马时期翻译思想新探 [A New Probe Into the Translation Thoughts in Ancient Rome]. ''南昌航空大学学报：社会科学版'' Journal of Nanchang Hangkong University: Social Science (3) 68-74.&lt;br /&gt;
*Tan Zaixi. 谭载喜. (2000). ''翻译学'' [A Series of Translation Studies in China]. Wuhan: Hubei Education Press 湖北教育出版社.&lt;br /&gt;
*Tan Zaixi. 谭载喜. (1999). 中国翻译与西方翻译 [Chinese Translation and Western Translation].''中国翻译'' Chinese Translation Journal(5) 6-8.&lt;br /&gt;
*Tan Zaixi. 谭载喜. (2000). 中西译论的相异性 [The Differences Between the Chinese and Western Traditions of Translation Theories]. ''中国翻译'' Chinese Translation Journal (1) 15-21.&lt;br /&gt;
*Tan Zaixi. 谭载喜. (1999). 中西译论的相似性 [The Similarities Between the Chinese and Western Traditions of Translation Theories]. ''中国翻译'' Chinese Translation Journal (6) 25-28.&lt;br /&gt;
*Wang Yong. 汪勇. (2008). 翻译与宗教传播 [Translation and Religious Communication]. ''中国校外教育理论'' Education for Chinese After-school(26) 51-53.&lt;br /&gt;
*Xie Tianzhen. 谢天振. (2009). ''中西翻译简史'' [A Brief History of Translation in China and the  West]. Foreign Language Teaching and Research Press 外语教学与研究出版社.--[[User:Wang Yu|Wang Yu]] ([[User talk:Wang Yu|talk]]) 01:49, 21 December 2020 (UTC)&lt;br /&gt;
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==Comparison and Translation Studies Between Chinese and Western Color Terms	方洁玲	Fang Jieling==&lt;br /&gt;
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=== Abstract ===&lt;br /&gt;
Color terms are terms used to describe the external color characteristics of things, and are very common in our lives. We use them not only to describe the external image of an object, but also to express our inner psychological feelings. Color words contain rich cultural connotations, which should not be understood simply from their literal meanings when translated, but from the different cultural connotations and extended meanings contained in the color words to understand and choose the meanings of the words. This paper first introduces the composition of color words in Chinese and English and makes a comparative analysis of their characteristics, then discusses the different meanings given to the six colors in Chinese and English, and then provides different translation methods that should be used in different situations, providing a certain reference for the English-Chinese translation.&lt;br /&gt;
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===Key words ===&lt;br /&gt;
color terms, cultural difference , reason ,translation methods&lt;br /&gt;
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=== 摘要 ===&lt;br /&gt;
颜色词是用来描述事物外在颜色特征的词语，在我们生活中非常常见。我们不仅用它描绘物体的外在形象，也用它表达内在心理感受。颜色词包含了丰富的文化内涵，在翻译的时候不能简单地从字面意思上理解，应从颜色词所包含的不同文化内涵和引申意义来理解和选择词义。本文将首先介绍中英颜色词的构成并对其特点进行对比分析，然后具体论述六种颜色在中英文中被赋予的不同意义，接着提供了面对不同情况应该采用的不同翻译方法，为英汉互译提供了一定的参考。&lt;br /&gt;
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=== 关键词 ===&lt;br /&gt;
颜色词 文化差异 原因 翻译方法&lt;br /&gt;
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=== 1.Introduction ===&lt;br /&gt;
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Color is an indispensable part of human life,it is because of the colorfulness of colors that the world is much more varied and pleasant. Color words not only have an important impact on people's vision, but also have a great impact on people's inner feelings and emotional expression. As an important part of language, color words are frequently used by human beings in English, but due to different histories, cultures, customs and habits, in the long run, different people have given specific meanings to various colors. &lt;br /&gt;
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Analyzing and comparing the different connotations of color words in Chinese and Western cultures and exploring the cultural differences between English and Chinese will be of great help to the translation work between English and Chinese. At the same time, translators will inevitably meet a lot of problems in the translation work. In this paper, we mainly discuss the composition and cultural connotation of color words between Chinese and English. In addition, we also propose some translation methods and make a brief conclusion.&lt;br /&gt;
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=== 2.Characteristics of the Composition of Chinese and Western Color Words ===&lt;br /&gt;
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Color words are words used to describe the color of different things. And they are the symbols that exist in human languages to record a large number of colors, which are generally considered to be adjectives in grammar.&lt;br /&gt;
In the historical development of Chinese color words, there are three types.(Cai Xiaomin2020,65) &lt;br /&gt;
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(1) Basic words. These words are the most basic and objective, and are generally used to objectively describe the most direct external color state of an object. They are &amp;quot;white&amp;quot;, &amp;quot;black&amp;quot;, &amp;quot;red&amp;quot;, &amp;quot;yellow&amp;quot;, &amp;quot;blue &amp;quot;&amp;quot;Green&amp;quot; &amp;quot;Gray&amp;quot; &amp;quot;Purple&amp;quot; &amp;quot;Brown&amp;quot; and &amp;quot;orange&amp;quot;.&lt;br /&gt;
(2) Reference words. Reference words means that people specifically distinguish basic words to show different colors. These words are more detailed and specific than the basic words. For example, we tend to divide &amp;quot;green&amp;quot; into &amp;quot;dark green&amp;quot; &amp;quot;grass green&amp;quot; and so on.&lt;br /&gt;
(3)Descriptive words. Descriptive words comes from people's perception of nature. These words can not only distinguish colors, but also describe what they look like. Such color words are more literary and subjective.(Cai Xiaomin2020,65)&lt;br /&gt;
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Color words in English are mainly divided into basic color words and compound color words.&lt;br /&gt;
basic color words : (1) simple colors. For example, black, white. (2) Colors of plants. For example, orange, etc.&lt;br /&gt;
Compound color words : (1) the name of plant + simple color. For example, apple green. (2) Chemical name + simple color. For example, vermilion, etc(Cai Xiaomin2020,65)&lt;br /&gt;
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=== 3.The Different Understanding and Perception of Colors in China and the West ===&lt;br /&gt;
Nature is colorful and can be described with many words. Generally speaking, black symbolizes oppression, white symbolizes purity and innocence, and green symbolizes life force. However, due to different histories and cultures, the same color may have different meanings. After a careful study of color words, it is easy to see that color words create various associations that have a great impact on a person's emotions and behavior. This is the main reason why people use color words to explain their moral character, emotions, and perceptions of things.(Wang Yu2012,151) &lt;br /&gt;
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Different cultures and ways of thinking lead to different meanings of color words, and this disparity can affect people's understanding of the meaning of the same word. For example, in English-speaking countries, white symbolizes purity and beauty, which is why brides wear white wedding dresses in Western weddings. However, in China, white is often used to express grief, and a white funeral dress is worn at a funeral.(Du Tianyu2020,188) In this paper, we start with the six basic color words red, black, white, yellow, purple and blue, and compare their cultural connotations in English and Chinese, discussing the different understanding and cognition of colors in China and the West and the differences in cultural connotations between Chinese and Western cultures.&lt;br /&gt;
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====3.1 红and Red ====&lt;br /&gt;
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In traditional Chinese culture, &amp;quot;红&amp;quot; represents joy, happiness, good luck, and prosperity. &amp;quot;红&amp;quot; is a color that cannot be absent from important events in China, such as the red couplets(红包), red lanterns（红灯笼）, and red packets（红包） during Chinese New Year festivals, the red dress of the bride at weddings, and other festive ceremonies in China. Similarly, words combining the word &amp;quot;红&amp;quot; generally mean prosperity, such as “hongguangmanmian”（红光满面）、”dahongdazi”(大红大紫)、”honghuo”(红火)、”hongren”(红人)、”hongrun”(红润), etc. In addition, during the revolutionary era, the color red also symbolized the modern Chinese revolution and power, such as the“hongsezhengquan”(红色政权)、”hongjun”(红军)、”hongqi”(红旗)、”hongge”(红歌)、”hongsewenjian”(红头文件)、”hongseganglin”(红色纲领), etc.(	Zhao Fenyan2019,232)&lt;br /&gt;
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In the West, red refers to the color of blood, and when red is mentioned, it is generally associated with cruelty, violence, and bloodshed. For example, &amp;quot;red hands&amp;quot;, &amp;quot;red battle&amp;quot;, &amp;quot;the red rules&amp;quot; &amp;quot; red revenge&amp;quot;, the color red also symbolizes radical and violent revolution, as in &amp;quot;red activities&amp;quot;, but also danger and tension,such as &amp;quot;a red flag&amp;quot;. &amp;quot;red alert&amp;quot; &amp;quot;a red adventure story&amp;quot;,in addition to the above-mentioned symbolic meaning, the color red also has connotations of debauchery and obscenity.(Yan Wen2012,177)For example, red light district, a red waste of one's youth, and so on. The positive connotation of the color red in Western culture is due to the exchange and integration of different cultures, which is said to have been introduced to the West via Persia from the Far East. like red letter day、red envelope、the red carpet.&lt;br /&gt;
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====3.2 黑 and Black ====&lt;br /&gt;
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In Chinese history, “黑” is an honorable and dignified color, which had a high status in ancient times. During the Xia, Qin, and early Han dynasties, “黑” was the dress of emperors and officials, and the common people were only allowed to wear plain clothes, and then a restriction that was gradually relaxed after the Northern Song Dynasty. In China, the derivation of “黑” includes the positive meanings of stern, iron-faced, upright, and mysterious, such as in the art of theatrical masks, where the “黑脸” symbolizes the noble character of uprightness and selflessness. In addition to its positive connotations, “黑” sometimes symbolizes a derogatory meaning, indicating a counter-revolutionary, regressive, or stubborn party. For example, the ”阴曹地府” is said to be dark and sunless, and “黑”, as opposed to light, symbolizes darkness, death, terror, etc. (Wang Yu2012,150)&lt;br /&gt;
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In the West, black is the color of death, symbolizing death, suffering, and grief, hence the black color of Western mourning garments. black tidings means &amp;quot;bad news&amp;quot;，Jesus was crucified on the Friday before Easter, The Black Friday is considered to be a &amp;quot;dangerous and ominous day&amp;quot;. Black also symbolizes &amp;quot;anger&amp;quot; and &amp;quot;irritation&amp;quot;, such as: black in the face,to look black at sb，Other words that express negative meanings，such as black sheep, black dog, black eye, black list, black and blue, black art, and other black symbols.(Wang Yu2012,151)In addition, black also represents seriousness, discretion, and pomp. Black suit and black dress have always been the most revered traditional clothing in the West. In solemn formal occasions, people like to wear black clothing. Symphony orchestra performers almost always wear black suits. The term &amp;quot;black-ball&amp;quot; refers to a costume ball. In business English, &amp;quot;a company in black&amp;quot; refers to a profitable business, where“ in black” means profitable, because on financial statements, profit figures are written in black ink.&lt;br /&gt;
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====3.3 白 and White ====&lt;br /&gt;
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In Chinese, “白” is often used to represent death, such as at funerals with white decorations, white flowers, and white mourning clothes, but there are also many words containing “白” that do not represent color at all, but rather the name of something or have another meaning,[8]such as”baicai”(白菜), “baixiong”（白熊）、 “baiyi”(白蚁)、”baijuan” (白卷)、 “baichi”(白痴), White&amp;quot; also means &amp;quot;pure, or unadulterated, such as”baikaishui”(白开水)、”baizhi”(白纸)、”baiqierou”(白切肉)etc. &amp;quot;White&amp;quot; also often means &amp;quot;in vain&amp;quot; or &amp;quot;without cost&amp;quot;, such as”baifeishi”(白费事)、“baida”（白搭）、”baisong” (白送)、“baishouqijia” (白手起家) etc(Chen Yongye2005,425) &lt;br /&gt;
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and The Chinese word “白” is also not the same as the English word &amp;quot;white&amp;quot;, which we can say the white people (白人), but is better translated as: She has a fair skin. In addition, it is difficult to summarize the exact meaning of some of the“白” in Chinese, For example “baihua”(白话) vernacular, “tanbai”（坦白）: to confess, to make a clean breast of something, etc.(Yan Wen2012,176)&lt;br /&gt;
In the West, however, white is considered as a symbol of purity, and it is customary to wear white wedding dresses and gowns at weddings, hence there exist the expressions like white-handed，a white lie，a white day, they treated us white etc.&lt;br /&gt;
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====3.4 黄 and Yellow ====&lt;br /&gt;
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In traditional Chinese culture,”黄” is a symbol of power, honor, and nobility, in the Chinese feudal society, yellow is a symbol of imperial power and nobility, such as ”chonggao”(崇高)，”huangpao”(皇袍)、”huanggong”(皇宫)、”shengzhi”(圣旨) and so on. In modern Chinese, words such as “huangchengcheng”(黄澄澄),”huangcanvan”(黄灿灿)mean a good harvest and an auspicious day. ”黄” is a glorious color. And it is always associated with &amp;quot;honor&amp;quot;, &amp;quot;brilliance&amp;quot;, it is a symbol of &amp;quot;power&amp;quot; and &amp;quot;nobility&amp;quot;. To this day, ”黄” is still the symbol of ancient China, which is its positive meaning. Similarly, ”黄” has negative connotations, such as ”huangseshukan”(黄色书刊) , “huangseluxiang”(黄色录像) etc.(Yan Wen2012,178)&lt;br /&gt;
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but in the West, the term &amp;quot;the blue video&amp;quot;, &amp;quot;the blue talk&amp;quot; is used to describe the pornographic nature of the country. It means ”huangsedianying”(黄色电影)and ”huangsexinxi”(黄色信息)(Du Tianyu2020,188). In addition, ”黄” also means failure, sickness, or old age, such as ”huangji”(黄髫). The word ”黄” also means youth and ignorance.In the West, in Western Christianity, yellow is a symbol of shame. Because in the Bible, Judas betrayed Jesus by wearing a yellow dress. Therefore, &amp;quot;yellow&amp;quot; has the connotation of betrayal .And it also means sadness, sickness, cowardice, etc.(Chen Yongye2005,425) For example, &amp;quot;a yellow streak&amp;quot; means cowardice. &amp;quot;yellow&amp;quot; also has mean and vulgar semantics. In the 18th century, Americans often printed pornographic books on yellow paper. &lt;br /&gt;
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As a result, the low level of exaggeration and exaggerated distortion of facts used by newspapers and periodicals to attract readers was later extended to journalistic styles as well. For example, &amp;quot;yellow journalism&amp;quot; is a style of journalism that attempts to attract people in any way possible. In English, Yellow Pages is the &amp;quot;yellow phone book&amp;quot;, and yellow boy is a slang term for &amp;quot;gold coin. The English words for Chinese ”黄” would be: pornographic, filthy, vulgar, obscene, etc. In English, blue is often used to mean ”黄”, such as blue jokes(下流的玩笑)、blue revolution (性解放)、blue films (黄色影片)、blue software (黄色软件)etc.(Chen Yongye2005,425) Some Chinese words have nothing to do with the English word yellow, such as blue jokes(下流的玩笑)、blue revolution (性解放)、blue films (黄色影片)、blue software (黄色软件)and so on.&lt;br /&gt;
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====3.5 绿and Green ====&lt;br /&gt;
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In Chinese culture, “绿”represents vitality, and phrases related to”绿”express hope and vitality of people, such as“lüzhou”（绿洲）、“lvyiangran”（绿意盎然）. In today's China, ”绿”has a new symbolic meaning, such as: “lvseshipin”(绿色食品),”lvsechanye”(绿色产业), all referring to the concept of health, safety and non-pollution. The green light is also a signal for safe passage. In Chinese, a &amp;quot;lvmao&amp;quot; （绿帽）means that a man's wife is in an illicit relationship with someone else.(Hu Zongkang, Zhang Jun2019,153) However, in ancient Chinese culture, ”绿”means humbleness, because humble people wore green clothes. Also,”lvlinhaohan” (绿林好汉)means a barbarian who occupies a mountain and becomes king.&lt;br /&gt;
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In traditional British culture, &amp;quot;Green&amp;quot; is a symbol of youth and vitality. It reminds people of the harmony and tranquility of nature. The &amp;quot;Green Peace Organization&amp;quot; is an organization that protects animals and plants. A dove with a green olive branch in its beak is a symbol of peace, &amp;quot;green winter&amp;quot; refers to a warm winter, and &amp;quot;in a green wood&amp;quot; refers to when people are young and strong. Green also represents a sense of madness and despair, just as Satan's image in the Bible is green. In addition, green in English also has a derogatory meaning of jealousy, lack of training, and childishness, such as “as green as grass”，’a green eye”，”a green hand”.(Chen Yuan2020,49) In addition, greenback means U.S. currency in English, and since U.S. dollar bills are green in color, green also means &amp;quot;money,&amp;quot; &amp;quot;bills,&amp;quot; or &amp;quot;economic power&amp;quot; in the United States.&lt;br /&gt;
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====3.6 蓝 and Blue ====&lt;br /&gt;
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Blue is the color of the sea and clear skies, giving people a feeling of peace and tranquility. In Chinese, in addition to the color,”蓝” is often used together with other words to form phrases that have different meanings from the color. &lt;br /&gt;
For example, “蓝 青 官 话 “the standard Chinese spoken by the people with accent、“蓝本”script on which the works are based； model&lt;br /&gt;
“蓝图”（blue print）building plan、“蓝田生玉”the noble people usually come from the good family、“青出于蓝而胜于蓝 “the new coming from the old is better than the old .(Chen Yuan2020,49)&lt;br /&gt;
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But blue in English can be extended to depression, sadness, nervousness, immorality, obscenity, and pornography. For example :“feel blue“, ”be blue about future“,”Her mood is blue“,“be down with blues”,“sing the blues”,“blue devils”,“blue funk“,”blue revolution“, ”blue films“, ”blue jokes“, ”blue room” refers to a place in The White House where the president meets his friends and family. and the ”Blue Book“ refers to a book that contains the names of celebrities and important government officials.(Du Tianyu2020,187-188)&lt;br /&gt;
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=== 4.Reasons for the Difference in the English-Chinese Translation of Color Words ===&lt;br /&gt;
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Different countries and regions have different interpretations of color. The main reasons for this difference are geographical factors, historical factors, religious beliefs, and social systems, &lt;br /&gt;
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====4.1 Geographic Factors ====&lt;br /&gt;
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Chinese civilization originated in the Yellow River Basin. The rich water resources and flat land of the Yellow River Basin have nurtured several generations of Chinese people. This is the main reason why the Chinese people love yellow. For generations, we Chinese people are also known as the “yanhuangzisun”(炎黄子孙)(Cai Xiaomin2020,66).Western civilization originated in ancient Rome. The only way out for Greece was to expand abroad. Therefore, blue became the favorite color of the Greeks.&lt;br /&gt;
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==== 4.2 Historical and Cultural Factors ====&lt;br /&gt;
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A large number of color words have been created in different historical backgrounds and conditions. Therefore, it is important to understand the differences in the historical background and culture of different countries. For example, during the War of Resistance Against Japanese Aggression, our Party was called the”hongjun”(红军), which gave rise to expressions like “hongsezhengquan”(红色政权)、”hongjun”(红军)、”hongqi”(红旗)、”hongge”(红歌)、”hongsewenjian”(红头文件)、”hongseganglin”(红色纲领),etc.(Li Dan2018,132) &lt;br /&gt;
&lt;br /&gt;
In addition to some basic meanings, the color “红” in China also has some special historical meanings, such as the heroic and fearless revolutionary spirit. This is also the main reason why our national flag adopts the color red. Also in ancient China, yellow was a symbol of power, a color reserved for the royal family, representing the supreme authority, which meant that yellow robes were added to the flag. In the West, purple is used as a metaphor for &amp;quot;throne&amp;quot; and &amp;quot;prominence,&amp;quot; and the addition of a purple robe means rising to a position of prominence, because Western emperors and bishops have a tradition of wearing purple robes,(Li Dan2018,132) such as :be born in the purple(生于皇室), be raised to the purple. &lt;br /&gt;
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In recent years, yellow has become more and more of a symbolic term in China for low taste, erotic vulgarity, and obscenity, such as”huangsedianying”(黄色电影)、”huangseshukan”(黄色书刊)、”huangseguangdie”(黄色光碟).etc. The &amp;quot;黄&amp;quot; in these names has nothing to do with the English &amp;quot;yellow&amp;quot;, these words in English are expressed like this pornographic, vulgar, obscene. (Chen Yongye2005,425)It is very different from the associations in Chinese culture. The color vocabulary is visually and psychologically positive and derogatory for people of different nationalities.&lt;br /&gt;
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==== 4.3 Religious beliefs ====&lt;br /&gt;
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In China, the Five Element Theory is widely spread. Since &amp;quot;gold&amp;quot; is at the core of the theory, yellow becomes noble. In contrast, in the West, because yellow is stigmatized in Christianity and most people are Christians, many people dislike yellow and often even use it to convey negative connotations, according to &amp;quot;the Gospels&amp;quot; in the Bible's, in which Jesus was willing to be crucified, bleed to death, and be sacrificed with the blood of the Gospels. The Bible has been a classic of Christianity, and most people in Europe and the United States believe in Christianity.(Chen Yongye2005,425) Since the Bible has always been a Christian classic, and most people in Europe and the United States are Christian, its influence on Western culture as a whole is immeasurable, and on English culture as well.&lt;br /&gt;
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Therefore, people think that &amp;quot;red&amp;quot; is associated with bloodshed, martyrdom, and bad things, and &amp;quot;red&amp;quot; makes them think of horrible things, such a“ red hand”( 沾 满 血 的 手 ),“ a red battle”( 血 战 ),“ to see the red light”(灾祸临头).&amp;quot;(Chen Yongye2005,425)In Chinese language, the color red is a symbol of honor, splendor, good fortune, and celebration. Such as: :“ 开门红”make/ get off to a good start,“ 满堂红”success in every field,“ 红 榜 ”honor roll,“ 红 运 ”goodluck,“ 红 事 ”wedding,“ 红 人 ”a favorite with someone in power etc.&amp;quot;.&lt;br /&gt;
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==== 4.4 Social System ====&lt;br /&gt;
&lt;br /&gt;
The use of different colors to represent political affiliations or national identities has long been a common practice among peoples of different social systems in China and the West due to their political, economic, and religious differences. In English, the true blue refers to the loyal members of a political party, especially the die-hard conservative members of the British party; White Paper or Blue Paper refers to a report or diplomatic document with blue or white covers issued by the British and American governments on a particular topic; Yellow Paper refers to the French and other countries. A government report of a country; Green Paper is a draft report for discussion by various committees; the Chinese use the term &amp;quot;红&amp;quot; to symbolizes the proletarian revolution, the meaning of which is derived from the book &amp;quot;Red Star Over China&amp;quot;(“红星照耀下的中国”,and is also translated into”西行漫记”) by American writer Edward Snow.(Li Dan2018,132)&lt;br /&gt;
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===5.Translation Methods of English-Chinese Color Words ===&lt;br /&gt;
 &lt;br /&gt;
From the above analysis, we can conclude that there are similarities and differences in the cultural connotations of Chinese and English color words. Therefore, in the translation of color words, it is impossible to generalize, so translators need to adapt to the local conditions and adopt an appropriate way to translate.&lt;br /&gt;
	&lt;br /&gt;
====5.1 Literal Translation ====&lt;br /&gt;
&lt;br /&gt;
Literal translation means that every effort should be made to maintain the linguistic style of the original work. At the same time, it requires that the target language should be fluent and easy to understand. There are similarities between English and Chinese languages and cultures. In the translation of English-Chinese color words, some color words can be found in the target language, while others have similar extended cultural meanings. Sometimes there is no similar extended meaning, but only a literal translation meaning, so the literal translation can also be used for translation.(Hu Zongkang, Zhang Jun,153)&lt;br /&gt;
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For example, when the word black remains in its original color in the corresponding language, i.e, it has the same connotation, a literal translation is usually used.black humor 黑色幽默 (an absurd, grotesque, or morbid humor in literature, especially in novels and plays)、&lt;br /&gt;
black Friday黑色的星期五 (the Friday on which any disaster occurs)、black hand黑手党 (a secret organization that originated in Sicily, Italy, and has spread to the United States to engage in criminal activities)black market 黑市、black- hearted 黑心的、blacklist 黑名单、black and white TV黑白电视, etc.(Chen Yuan2020,49）and red light district can be directly translated as“红灯区“, which refers to the neighborhoods where sex industries are concentrated in cities of certain countries and regions.(Hu Zongkang, Zhang Jun,152) &lt;br /&gt;
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Similarly, some color words in Chinese can be directly translated into English, for example:” 白露”, one of the 24 solar terms, is a culturally specific term in Chinese, which is completely unfamiliar to Western countries. Due to cultural exchanges, &amp;quot;white dew&amp;quot; is becoming more and more familiar to foreigners, and it has the same cultural meaning in English as &amp;quot;白露&amp;quot; in China. As another example, &amp;quot;绿油油&amp;quot; is a Chinese adjective used to describe the color of vibrant green leaves.(Hu Zongkang, Zhang Jun,153) We can translate it into English as &amp;quot;green and shiny&amp;quot; because the color words here are only used to describe objective points of view, and they have the same meaning.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
==== 5.2 Free Translation ====&lt;br /&gt;
&lt;br /&gt;
Free translation. When the meaning of a color word in the original language is different from the meaning of the color word in the target language, the translator has to translate the meaning of the color word in the original language into the customary expression in the target language. In some cases, color words appear in both Chinese and English, but they do not have any color meaning; some are customary object names, while others give new meaning to them. In this case, the color itself cannot be focused on, so the colorless translation should be abandoned.This kind of translation based on the cultural background of two languages to correspond to the meaning is called &amp;quot;free translation&amp;quot;.(Chen Yuan2020,49）&lt;br /&gt;
&lt;br /&gt;
Take black as an example, for instance, black lie--恶意的谎言、black and blue--青一块紫一块、black tea-- 红茶、black guard--恶棍、black coffee --不加牛奶的咖啡、pain somebody black-- 把某人描写成坏人、黑帮can be translated into “reactionary gang”、黑钱--ill-gotten money、黑面包 brown bread, and so on. Another example is that we often say &amp;quot;他是老师面前的“红人&amp;quot;, which is translated into English as &amp;quot;He is teacher's favourite student&amp;quot; ,”hongren”(红人)is an extended paraphrase of the Chinese, which does not mean literally, it means someone who is popular and be sought after by others,(Hu Zongkang, Zhang Jun,150) and the exact meaning needs to be contextualized. People from English-speaking countries will be confused if we translate it as &amp;quot;red people&amp;quot;. &lt;br /&gt;
&lt;br /&gt;
In English, the meaning of &amp;quot;one's favourite people&amp;quot; is somewhat similar to &amp;quot;红人&amp;quot;, so the phrase &amp;quot;one's favorite people&amp;quot; is appropriate. Another example is &amp;quot;a white elephant,&amp;quot; which is said to be a punishment given by the king of Thailand to his erring ministers in the past, as the cost of keeping white elephants is very high and would be a great financial burden. This word is very common in English, but a literal translation of &amp;quot;白象&amp;quot; would not have any connotation in Chinese, so it can be translated as &amp;quot;expensive and useless thing.（Jin Yan2012，130）&lt;br /&gt;
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===6. Conclusion ===&lt;br /&gt;
&lt;br /&gt;
This paper first discusses the construction of color words in Chinese and English, and then compares their compositional features. Secondly, six colors (red, black, yellow, white, green, blue) are taken as examples to analyze the cultural similarities and differences between Chinese and English color words. The reasons for the differences are divided into four main categories: geographical factors, historical factors, psychological factors, religious beliefs, and social systems,Finally, a solution to the problem is proposed, which provides a proper reference for translators when translating Chinese and English color words.(Hu Zongkang, Zhang Jun,153)&lt;br /&gt;
&lt;br /&gt;
When doing translation, translators can mainly use two different translation methods, namely, literal translation and free translation. When the Chinese cultural connotation of a color word in a sentence is the same as the English one, the literal translation can be used. When it is different from English, a free translation is appropriate.(Bao Dongjiao2005,106) With the continuous penetration of globalization, people's languages and cultures are gradually interwoven, so does the meaning of color words, and also the similarities are expanding gradually.&lt;br /&gt;
&lt;br /&gt;
 However, each nation-state has its own unique culture and customs, so the color words have completely different meanings in different regions and different languages. Therefore, when translating color terms, in order to translate the meaning of the text more accurately, the translator must have a deeper understanding of the color words.(Bao Dongjiao2005,107).In addition, the translator should not only learn translation skills, but also the history, geography, and culture of the country where the source and target language are located, which will help the accuracy of the translation. In short, the key to a good color word translation is the combination of translation skills and a deep understanding of the culture, as well as an accurate analysis of the color word.&lt;br /&gt;
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===7.Reference ===&lt;br /&gt;
&lt;br /&gt;
*Cai Xiaomin.蔡晓敏.( 2020).中英颜色词的对比与翻译研究[A comparative study of Chinese and English color words and their translation].海外英语[Overseas English],65-66.&lt;br /&gt;
&lt;br /&gt;
*Yan Wen.颜雯.(2012).翻译中颜色词的中西文化内涵差异[The difference between Chinese and Western cultural connotations of color words in translation].青年文学家·语言研究,[ Young Literati-Language Studies],177.&lt;br /&gt;
&lt;br /&gt;
*Jin Yan.金燕.(2012).浅析颜色词在中西文化下的翻译对比差异[An analysis of the contrasting differences in the translation of color words in Chinese and Western cultures].海外英语[Overseas English].&lt;br /&gt;
&lt;br /&gt;
*Zhao Fenyan.赵芬艳.(2019).试论中西颜色词的文化内涵及翻译策略[The cultural connotation of Chinese and Western color words and translation strategies].师资校企经验[Faculty school-enterprise experience],232-234.&lt;br /&gt;
&lt;br /&gt;
*Wang Yan, Zhang Bo.王艳,张博.(2012).谈中西文化对颜色的理解差异[Talking about the difference in the understanding of color between Chinese and Western cultures].教学实践[Teaching Practice],6-11.&lt;br /&gt;
&lt;br /&gt;
*Chen Yongye.陈永烨.(2005).英汉颜色词所表现的中西文化差异[The Chinese and Western cultural differences expressed by English and Chinese color words].辽宁工程技术大学学报[Journal of Liaoning University of Engineering and Technology],424-427.&lt;br /&gt;
&lt;br /&gt;
*Hu Zongkang, Zhang Jun.胡宗康,张军.(2019).英汉颜色词中“Green/绿”的对比与翻译方法研究[. Comparison and Translation of &amp;quot;Green/绿&amp;quot; in English and Chinese Color Words].文学教育[Literary Education],152-153.&lt;br /&gt;
&lt;br /&gt;
*Bao Dongjiao.鲍冬娇.(2015).中西红白颜色认知差异及翻译取向[Differences between Chinese and Western red and white color perception and translation orientation].湖北经济学院学报[Journal of Hubei University of Economics],106-107.&lt;br /&gt;
&lt;br /&gt;
*Li Dan.李丹.(2018).中西文化差异下的颜色词翻译[Translation of color words under the difference of Chinese and Western cultures].海外英语[Overseas English].&lt;br /&gt;
&lt;br /&gt;
*Li Hong.李虹.(2020).汉英颜色词翻译的差异性研究[A study of the differences between Chinese-English color word translations].文化长廊[Cultural Promenade].&lt;br /&gt;
&lt;br /&gt;
*Liu Mengqi, Chen Xingxing.刘梦琪,陈星星.(2020).浅谈颜色词的翻译[A brief discussion on the translation of color words].校园英语翻译研究[Campus English Translation Study].&lt;br /&gt;
&lt;br /&gt;
*Du Tianyu,杜恬雨.(2020).浅析文化差异对汉英颜色词翻译的影响[An analysis of the influence of cultural differences on the translation of Chinese-English color words].科教文汇[Science and Education],187-188.&lt;br /&gt;
&lt;br /&gt;
*Xu Yanping.许雁萍.(2009).中西文化中颜色词语的差异及其翻译[The Difference of Color Words in Chinese and Western Culture and Their Translation].文学语言学研究[Literary Linguistics Research],212-213.&lt;br /&gt;
&lt;br /&gt;
*Wang Yu.王羽.(2012).中西文化对比下颜色词的差异比较[Comparison of the differences in color words between Chinese and Western cultures].教育时空[Education Time],151.&lt;br /&gt;
&lt;br /&gt;
*Li Yun, Jia Aiguang.李云,贾爱光.(2020).大学英语教学中英汉基本颜色词翻译对比探讨[A Comparative Discussion on the Translation of English and Chinese Basic Color Words in University English Teaching].校园英语[Campus English],11-21.&lt;br /&gt;
&lt;br /&gt;
*Chen Yuan陈缘.(2020)英汉颜色词的文化差异与翻译[Cultural differences between English and Chinese color words and translation].海外英语[Overseas English],48-49.&lt;br /&gt;
&lt;br /&gt;
==Translation manipulated by ideology	许静	Xu Jing, 202070080614 英语笔译==&lt;br /&gt;
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&amp;lt;center&amp;gt; 许静 Xu Jing 202070080614 &amp;lt;/center&amp;gt;&lt;br /&gt;
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===摘要===&lt;br /&gt;
传统翻译理论将研究重点放在原文与译文的对比上，遵循翻译的最高原则“忠”。本文将根据勒菲费尔的翻译改写理论，从历史角度探讨中国建国初期翻译活动的过程及其制约因素，旨在揭示这一阶段中国翻译活动的基本特点，为新时期翻译活动的良性发展提供一点借鉴。&lt;br /&gt;
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===关键词===&lt;br /&gt;
翻译；意识形态；操纵；赞助人&lt;br /&gt;
&lt;br /&gt;
===Abstract===&lt;br /&gt;
Traditional translation theory focuses on the comparison between the original text and the translated text, following the strict principle of translation, &amp;quot;fidelity&amp;quot;. This article will explore the process of translation activities and its constraints in the early years of China's founding from a historical perspective, based on Lefevere's theory of translation rewriting, with the aim of revealing the basic characteristics of Chinese translation activities at this stage and providing a little reference for the benign development of translation activities in the new era.&lt;br /&gt;
&lt;br /&gt;
Traditional translation theory focuses on the comparison between the original text and the translated text, following the strict principle of translation, &amp;quot;fidelity&amp;quot;. This article will explore from a historical perspective the process of translation activities and its constraints in the early years of China's founding, based on Lefevere's theory of translation rewriting, with the aim of revealing the basic characteristics of Chinese translation activities at this stage and providing a little reference for the benign development of translation activities in the new era.--[[User:Yang Yue|Yang Yue]] ([[User talk:Yang Yue|talk]]) 04:19, 19 December 2020 (UTC)&lt;br /&gt;
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===Key words===&lt;br /&gt;
Translating; Ideology; Manipulation; Patronage&lt;br /&gt;
&lt;br /&gt;
===Introduction===&lt;br /&gt;
Traditionally, translation studies have only focused on the linguistic level, confined to the conversion of two texts, and have not broken through the understanding of the &amp;quot;faithful&amp;quot; concept. Since the 1970s, leading translators from various countries have abandoned their original narrow thinking and begun to emphasize that &amp;quot;translation does not take place in the vacuum of two languages, but in the context of two literary and cultural traditions.&amp;quot; In the 1980s, the French translation studies scholar Antoine Berman stressed that the translation of literary works is driven by ideological choices. in the 1990s, the contemporary American translation theorist Lefevere suggested that in Translation, Rewriting and the Manipulation of Literary Fame (Translation, Rewriting and the Manipulation of Literary Fame) the Manipulation of Literary Fame), argues that translation takes into account several factors such as ideology, patronage, poetics and literary scholarship. Translation is the rewriting of an original text; it is a form of creating a text. Whatever the rewriting or the intention, it reflects a certain ideology and poetics and responds to the dominant ideology of the period. As a result, the intercultural activity of translation inevitably bears the mark of ideology.&lt;br /&gt;
&lt;br /&gt;
Traditionally, translation studies have only focused on the linguistic level, confined to the conversion of two texts, and have not broken through the understanding of the &amp;quot;faithful&amp;quot; concept. --[[User:Yang Yue|Yang Yue]] ([[User talk:Yang Yue|talk]]) 04:19, 19 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
Since the 1970s, leading translators from various countries have abandoned their original narrow thinking and begun to emphasize that &amp;quot;translation does not take place in the vacuum of two languages, but in the context of two literary and cultural traditions.&amp;quot; In the 1980s, the French translation studies scholar Antoine Berman stressed that the translation of literary works is driven by ideological choices. --[[User:Yang Yue|Yang Yue]] ([[User talk:Yang Yue|talk]]) 04:19, 19 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
In the 1990s, the contemporary American translation theorist Lefevere suggested that in Translation, Rewriting and the Manipulation of Literary Fame (Translation, Rewriting and the Manipulation of Literary Fame) the Manipulation of Literary Fame), argues that translation takes into account several factors such as ideology, patronage, poetics and literary scholarship. Translation is the rewriting of an original text; it is a form of creating a text. Whatever the rewriting or the intention, it reflects a certain ideology and poetics and responds to the dominant ideology of the period. As a result, the intercultural activity of translation inevitably bears the mark of ideology.--[[User:Yang Yue|Yang Yue]] ([[User talk:Yang Yue|talk]]) 04:19, 19 December 2020 (UTC)&lt;br /&gt;
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===Ideology===&lt;br /&gt;
The word “ideology”, derived from the Greek word “idea” and “logos”, literally means conceptual logos, i.e. the doctrine of ideas. It was a concept proposed by Destutt de Tracy at the end of the 18th century, initially as a world view and a body of philosophical thought, for a modern critique of religion, which encompassed the whole field of culture, including science, and was an essential intermediary between ourselves and the world. This is generally considered to be the positive use of this concept. &lt;br /&gt;
&lt;br /&gt;
The word “ideology”, derived from the Greek word “idea” and “logos”, literally means conceptual logos, i.e. the doctrine of ideas. It was a concept proposed by Destutt de Tracy at the end of the 18th century, initially as a world view and a body of philosophical thought, for a modern critique of religion, which encompassed the whole field of culture, including science, and was an essential intermediary between ourselves and the world. This is generally considered to be the positive use of this concept. --[[User:Yang Yue|Yang Yue]] ([[User talk:Yang Yue|talk]]) 04:19, 19 December 2020 (UTC)&lt;br /&gt;
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But there are also a number of scholars who recognise and use this concept in a negative or pejorative sense. In their view, ideology is a form of false-consciousness, a set of interconnected value judgements that guide social and political action but are not subject to rational scrutiny. These judgements, which contain prejudices and preconceptions, tend to distort our understanding of the world and are therefore necessarily unreliable. Ideology, in this context, includes religion and all distorted forms of consciousness, is the antithesis of science and functions politically as a specific element of the social superstructure. Both meanings of ideology, positive and negative, have long been used in the field of philosophical and cultural studies. The Dictionary of Modern Chinese (2002) gives the following summary of ideology:&lt;br /&gt;
&lt;br /&gt;
But there are also a number of scholars who recognise and use this concept in a negative or pejorative sense. In their view, ideology is a form of false-consciousness, a set of interconnected value judgements that guide social and political action but are not subject to rational scrutiny. These judgements, which contain prejudices and preconceptions, tend to distort our understanding of the world and are therefore necessarily unreliable. --[[User:Yang Yue|Yang Yue]] ([[User talk:Yang Yue|talk]]) 04:19, 19 December 2020 (UTC)&lt;br /&gt;
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Ideology, in this context, includes religion and all distorted forms of consciousness, is the antithesis of science and functions politically as a specific element of the social superstructure. Both meanings of ideology, positive and negative, have long been used in the field of philosophical and cultural studies. The Dictionary of Modern Chinese (2002) gives the following summary of ideology:--[[User:Yang Yue|Yang Yue]] ([[User talk:Yang Yue|talk]]) 04:19, 19 December 2020 (UTC)&lt;br /&gt;
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Ideology is a systematic view of the world and society, formed on the basis of a certain economic foundation. Ideology is a component of the superstructure and has a class character in a class society. It is also called conceptual form.&lt;br /&gt;
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Mkerriam-Webster's Collegiate Dictionary defines: &lt;br /&gt;
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1. especially the systematic sum of ideas about human life or culture; 2. the way of thinking or content specific to an individual, group, or culture; 3. the integrated claims, theories, and goals that shape a socio-political agenda. &lt;br /&gt;
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The two definitions are worded differently, but the substantive content is basically the same. The use of the concept of ideology in this paper will take its broad form, taking into account both positive and negative meanings, reflecting its narrow political connotation as well as covering its conceptual doctrine in its original sense. It is on this conceptual basis that our discussion will proceed.&lt;br /&gt;
===Ideology and Translation===&lt;br /&gt;
Traditional translation theory has always measured all translations with a yardstick of loyalty and infidelity, as if questioning a young daughter-in-law in a family shrine about her disobedience. In this small-minded ritualistic vision, the self-appointed patriarchal status of the commentator gives himself an unwarranted authority, so much so that some conclusions seem to be drawn without even bothering to fetch the ritualistic ruler: translators are like women, beautiful ones are unfaithful, faithful ones are not beautiful. &lt;br /&gt;
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Thus, we see in the clan shrine of translation Yan Fu, Lin Shu, Fu Donghua, etc., who were doubly condemned without being told; and the foreigner who did not know Chinese and dared to translate Tang poems, one by one, Pound. The crime: infidelity. Finally, in the 1980s, translation scholars began to pay attention to the pressure of ideology on the practice of translation. In the 1990s, the American translator Lefevere wrote a book entitled Translation, Rewriting, and the Manipulation of Literary Fame. In this book, he systematically described the two main factors that manipulate the translation process, namely ideology and poetics. According to his theories, it seems that we can offer another explanation for the 'infidelity' of Yan Fu and others.&lt;br /&gt;
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Thus, we see in the clan shrine of translation Yan Fu, Lin Shu, Fu Donghua, etc., who were condemned with few sensible reasons; and Pound, the foreigner who did not know Chinese and dared to translate Tang poems. The crimeexerted on them is infidelity. --[[User:Yang Yue|Yang Yue]] ([[User talk:Yang Yue|talk]]) 04:19, 19 December 2020 (UTC)&lt;br /&gt;
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Finally, in the 1980s, translation scholars began to pay attention to the pressure of ideology on the practice of translation. In the 1990s, the American translator Lefevere wrote a book entitled Translation, Rewriting, and the Manipulation of Literary Fame. In this book, he systematically described the two main factors that manipulate the translation process, namely ideology and poetics. According to his theories, it seems that we can offer another explanation for the 'infidelity'.--[[User:Yang Yue|Yang Yue]] ([[User talk:Yang Yue|talk]]) 04:19, 19 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
According to Lefevere, there are two factors that control literary creation and translation: internal and external. The internal factor is the so-called 'professionals', made up of critics, teachers, translators, etc., while the external factor is the 'people, institutions' who have the 'power to promote or prevent' literary creation and translation. &amp;quot;The term he uses is patronage. Here, 'the patronage is usually interested in the ideology of literature', while 'the literary scholars are concerned with poetics' (Lefevere, 1992a: 14-15). Thus, the two main factors governing the translation process are ultimately ideology and poetics. &lt;br /&gt;
&lt;br /&gt;
According to Lefevere, there are two factors that control literary creation and translation: internal factors and external factors. The internal factor is the so-called 'professionals', made up of critics, teachers, translators, etc., while the external factor is the 'people, institutions' who have the 'power to promote or prevent' literary creation and translation. &amp;quot;The term he uses is patronage. Here, 'the patronage is usually interested in the ideology of literature', while 'the literary scholars are concerned with poetics' (Lefevere, 1992a: 14-15). Thus, the two main factors governing the translation process are ultimately ideology and poetics. --[[User:Yang Yue|Yang Yue]] ([[User talk:Yang Yue|talk]]) 04:19, 19 December 2020 (UTC)&lt;br /&gt;
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Lefevere also points out that the endogenous factor (the literary person and his or her poetic conception) works within the parameters set by the exogenous factor (the patron and his or her ideology) (ibid). In other words, the patron representing the ideology of a culture or society establishes a set of decisive ideological value parameters within which literary scholars and translators accomplish their poetic pursuits. On the one hand, the patrons, as spokespersons of a certain ideology, use their discursive power to intervene directly in the translation process; on the other hand, the literary scholars and translators, who are familiar with this set of ideological value parameters, mostly consciously avoid violating the ideological tenets and manipulate their limited discursive power and poetic skills within the limits they deem permissible. Thus, when literary scholars and translators use discourse, both ideology and poetics come into play in their consciousness, influencing their compositions or 'rewriting' and 'determining the strategies of the translator' (op. cit: 48).&lt;br /&gt;
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Lefevere also points out that the endogenous factor (the literary person and his or her poetic conception) works within the parameters set by the exogenous factor (the patron and his or her ideology) (ibid). In other words, the patron representing the ideology of a culture or society establishes a set of decisive ideological value parameters within which literary scholars and translators accomplish their poetic pursuits. --[[User:Yang Yue|Yang Yue]] ([[User talk:Yang Yue|talk]]) 04:19, 19 December 2020 (UTC)&lt;br /&gt;
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On the one hand, the patrons, as spokespersons of a certain ideology, use their discursive power to intervene directly in the translation process; on the other hand, the literary scholars and translators, who are familiar with this set of ideological value parameters, mostly consciously avoid violating the ideological tenets and manipulate their limited discursive power and poetic skills within the limits they deem permissible. Thus, when literary scholars and translators use discourse, both ideology and poetics come into play in their consciousness, influencing their compositions or 'rewriting' and 'determining the strategies of the translator' (op. cit: 48).--[[User:Yang Yue|Yang Yue]] ([[User talk:Yang Yue|talk]]) 04:19, 19 December 2020 (UTC)&lt;br /&gt;
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The above distinction between ideology and poetics made by Lefevere is, in my view, logically debatable. In terms of the division of categories, poetics as a system of aesthetic ideas about literature and art still belongs to the realm of ideology, and therefore this paper will treat the poetic element as a category under ideology. It must be stated that the author only disagrees with the validity of the distinction between categories in Lefevere's theory, but agrees and admires his thesis on the influence of ideology and poetics on the translation process.&lt;br /&gt;
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The above distinction between ideology and poetics made by Lefevere is, in my view, some debatable points. In terms of the division of categories, poetics as a system of aesthetic ideas about literature and art still belongs to the realm of ideology, and therefore this paper will treat the poetic element as a category under ideology. It must be stated that the author only disagrees with the validity of the distinction between categories in Lefevere's theory, but agrees and admires his thesis on the influence of ideology and poetics on the translation process.--[[User:Yang Yue|Yang Yue]] ([[User talk:Yang Yue|talk]]) 04:19, 19 December 2020 (UTC)&lt;br /&gt;
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In the author's view, Lefevere's theory provides a justification for those &amp;quot;beautiful women&amp;quot; who have &amp;quot;lost their modesty&amp;quot;. Of course, the task of defending &amp;quot;them&amp;quot; is now left to our descendants.Ideology is a product of a certain society and culture. As societies emerge and cultures emerge, so do ideologies.&lt;br /&gt;
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In my understanding, Lefevere's theory provides a justification for those &amp;quot;beautiful women&amp;quot; who have &amp;quot;lost their modesty&amp;quot;. Of course, the task of defending &amp;quot;them&amp;quot; is now left to our descendants.Ideology is a product of a certain society and culture. As societies emerge and cultures emerge, so do ideologies.--[[User:Yang Yue|Yang Yue]] ([[User talk:Yang Yue|talk]]) 04:19, 19 December 2020 (UTC)&lt;br /&gt;
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Translation, as an act of cross-language and cross-cultural communication, is inevitably marked by ideology from the very beginning. When a translator introduces the ideas contained in the discourse of a foreign culture into the local culture, he or she will inevitably make his or her own value judgement on the values of the foreign culture, and then decide on the strategy to convey them: whether to be straightforward or to distort their meaning; whether to &amp;quot;pluck out the nose and cut the eyes&amp;quot; or to start a new one.&lt;br /&gt;
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Translation, as an act of cross-language and cross-cultural communication, is inevitably marked by ideology from the very beginning. When a translator introduces the ideas contained in the discourse of a foreign culture into the local culture, he or she will inevitably make his or her own judgement on the values of the foreign culture, and then decide on the strategy to convey them: whether to be straightforward or to distort their meaning; whether to &amp;quot;pluck out the nose and cut the eyes&amp;quot; or to start a new one.--[[User:Yang Yue|Yang Yue]] ([[User talk:Yang Yue|talk]]) 04:19, 19 December 2020 (UTC)&lt;br /&gt;
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Ideology is the expression of the will of patronage or power, and to go against this will is to be censured, or to lose the order to translate, or to lose one's head. Translators, as living human beings, are not willing to go against the will of power, except for those who are fighting for the 'truth'. To paraphrase the post-modern hipsterism of &amp;quot;Journey to the West&amp;quot;, we are all &amp;quot;translators&amp;quot;, so why take ourselves so seriously? This may sound ungrateful, but from a historical point of view, it's also very unhelpful.&lt;br /&gt;
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Ideology is the expression of the will of patronage or power, and to go against this will is to be censured, sometimes either to lose the rules to translate, or even to lose one's head. Translators, as living human beings, are not willing to go against the will of power, except for those who are fighting for the 'truth'. To paraphrase the post-modern hipsterism of &amp;quot;Journey to the West&amp;quot;, we are all &amp;quot;translators&amp;quot;, so why take ourselves so seriously? This may sound ungrateful, but from a historical point of view, it's also very unhelpful.--[[User:Yang Yue|Yang Yue]] ([[User talk:Yang Yue|talk]]) 04:19, 19 December 2020 (UTC)&lt;br /&gt;
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Lefevere quotes Foucault as saying:&lt;br /&gt;
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What makes power unbreakable, what makes it acceptable, is in fact a simple fact: power not only makes us feel a pressure to say no, but also transcends and produces things, provokes pleasure, forms knowledge, produces discourse. (See Lefevere, 1992a: 15)&lt;br /&gt;
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What makes power unbreakable, what makes it acceptable, is in fact a simple fact: power not only makes us feel a pressure to say no, but also transcends and produces things, provokes pleasure, forms knowledge, produces discourse. (See Lefevere, 1992a: 15)--[[User:Yang Yue|Yang Yue]] ([[User talk:Yang Yue|talk]]) 05:34, 21 December 2020 (UTC)&lt;br /&gt;
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In short, it means &amp;quot;those who obey me will prosper, those who disobey me will perish&amp;quot;. Every society has its own unique ideological system, with its own hidden or explicit ideological boundaries. Every thinking member of a society knows where that boundary is; and in general, is conscious of operating within it. You can go to the edge, but you must not go beyond it. This is the rule of the game in any society, and translators have to abide by it as well. Even the United States, which boasts freedom of speech, would not allow Bin Laden's writings (if he had them) to be translated and published in the United States, at least for now. For such an act would cross the line of the ideological &amp;quot;parameters&amp;quot; of the American power class.&lt;br /&gt;
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In short, it means &amp;quot;those who obey me will prosper, those who disobey me will perish&amp;quot;. Every society has its own unique ideological system, with its own hidden or explicit ideological boundaries. Every thinking member of a society knows where that boundary is; and in general, is conscious of operating within it. You can go to the edge, but you must not go beyond it. This is the rule of the game in any society, and translators have to abide by it as well. Even the United States, which boasts freedom of speech, would not allow Bin Laden's writings (if he had them) to be translated and published in the United States, at least for now. For such an act would cross the line of the ideological &amp;quot;parameters&amp;quot; of the American power class.--[[User:Yang Yue|Yang Yue]] ([[User talk:Yang Yue|talk]]) 05:34, 21 December 2020 (UTC)&lt;br /&gt;
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Translation involves the exchange of two cultures, which is a common expression these days. On the surface, &amp;quot;exchange&amp;quot; is a pleasant-sounding term, as it seems to imply equality and friendship. However, what is really implied behind such an exchange is a confrontation between two ideologies. The apparently 'equal and friendly' 'exchange' is in fact often the result of a confrontation followed by a compromise.&lt;br /&gt;
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Translation involves the exchange of two cultures, which is a common expression these days. On the surface, &amp;quot;exchange&amp;quot; is a pleasant-sounding term, as it seems to imply equality and friendship. However, what is really implied behind such an exchange is a confrontation between two ideologies. The apparently 'equal and friendly' 'exchange' is in fact often the result of a confrontation followed by a compromise.--[[User:Yang Yue|Yang Yue]] ([[User talk:Yang Yue|talk]]) 05:34, 21 December 2020 (UTC)&lt;br /&gt;
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Translation is the transfer of the ideology of the local culture to the ideology of the foreign culture. The ideology of the foreign culture. For the local value system, this is a foreign cultural penetration, which means destruction, subversion and therefore a test of the local culture. A strong superstructure will use its own power discourse to manipulate this foreign destructive force, just like in taijiquan, by using the force to its advantage; a weak superstructure will be helpless in the face of this foreign destructive force, and will either be assimilated or subverted by it. Those cultures that refuse to interact with foreign cultures are condemned to primitiveness, backwardness and, ultimately, extinction. Translators, as elite members of the superstructure, are faced with a complex choice of strategies: either to be rebellious or submissive, to seek conformity in the midst of rebellion, or to seek rebellion in the midst of conformity. Thus, among the superficial translation methods, we see &amp;quot;literary&amp;quot; and &amp;quot;qualitative&amp;quot; translations, &amp;quot;direct&amp;quot; and &amp;quot;meaningful&amp;quot; translations &amp;quot;, &amp;quot;naturalization&amp;quot; and '&amp;quot;dissimilation&amp;quot;, and the way of &amp;quot;the middle&amp;quot; (Huiyuan, 1984: 41), which strives for impartiality.&lt;br /&gt;
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Translation is the transfer of the ideology of the local culture to the ideology of the foreign culture. The ideology of the foreign culture. For the local value system, this is a foreign cultural penetration, which means destruction, subversion and therefore a test of the local culture. A strong superstructure will use its own power discourse to manipulate this foreign destructive force, just like in taijiquan, by using the force to its advantage; a weak superstructure will be helpless in the face of this foreign destructive force, and will either be assimilated or subverted by it. --[[User:Yang Yue|Yang Yue]] ([[User talk:Yang Yue|talk]]) 05:34, 21 December 2020 (UTC)&lt;br /&gt;
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Those cultures that refuse to interact with foreign cultures are condemned to primitiveness, backwardness and, ultimately, extinction. Translators, as elite members of the superstructure, are faced with a complex choice of strategies: either to be rebellious or submissive, to seek conformity in the midst of rebellion, or to seek rebellion in the midst of conformity. Thus, among the superficial translation methods, we see &amp;quot;literary&amp;quot; and &amp;quot;qualitative&amp;quot; translations, &amp;quot;direct&amp;quot; and &amp;quot;meaningful&amp;quot; translations &amp;quot;, &amp;quot;naturalization&amp;quot; and '&amp;quot;dissimilation&amp;quot;, and the way of &amp;quot;the middle&amp;quot; (Huiyuan, 1984: 41), which strives for impartiality.--[[User:Yang Yue|Yang Yue]] ([[User talk:Yang Yue|talk]]) 05:34, 21 December 2020 (UTC)&lt;br /&gt;
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Translation is always a purposeful act. In class society, when translation is inevitably related to the superstructure, it becomes part of elite culture. It is part of the culture of the elite. When the elites of society engage in translation activities, their aims are themselves strongly ideological. The translation activities in class society, including pseudo-translations, creative translations and forgeries, all came from the elite elements of society. It is no coincidence that their actions, either in line with the right path or deviating from it, are the result of a certain ideology.&lt;br /&gt;
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Translation is always a purposeful act. In class society, when translation is inevitably related to the superstructure, it becomes part of elite culture. It is part of the culture of the elite. When the elites of society engage in translation activities, their aims are themselves strongly ideological. The translation activities in class society, including pseudo-translations, creative translations and forgeries, all came from the elite elements of society. It is no coincidence that their actions, either in line with the right path or deviating from it, are the result of a certain ideology.--[[User:Yang Yue|Yang Yue]] ([[User talk:Yang Yue|talk]]) 05:34, 21 December 2020 (UTC)&lt;br /&gt;
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Since ancient times, Chinese and Western translation theory has attached great importance to the influence of ideology on translation practice. The significance of ideology in determining a translator's translation strategy can be seen in Zhi Qian's Preface to the Dharma Sutra, which has been called the &amp;quot;opening chapter of translation theory&amp;quot; in the history of Chinese translation. In his preface, he 'dislikes' Zhu Zhongyan's translation as 'indecent' (Zhiqian, 1984:22), showing the importance he attached to the aesthetic perception of the target audience. Similarly, the influence of the target language and aesthetic values on translation can also be seen in Dao An's 'Five Losses of the Text and Three Difficulties': 'One, the Hu language is inverted and made to follow the Qin, a loss of the text. The second is that the Hu scriptures are still of good quality, while the Qin people are good at writing, and the transmission can be done with the hearts of all people, but not with the text. (Dawan, 1984:24)&amp;quot;&lt;br /&gt;
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Since ancient times, Chinese and Western translation theory has attached great importance to the influence of ideology on translation practice. The significance of ideology in determining a translator's translation strategy can be seen in Zhi Qian's Preface to the Dharma Sutra, which has been called the &amp;quot;opening chapter of translation theory&amp;quot; in the history of Chinese translation. In his preface, he 'dislikes' Zhu Zhongyan's translation as 'indecent' (Zhiqian, 1984:22), showing the importance he attached to the aesthetic perception of the target audience. Similarly, the influence of the target language and aesthetic values on translation can also be seen in Dao An's 'Five Losses of the Text and Three Difficulties': 'One, the Hu language is inverted and made to follow the Qin, a loss of the text. The second is that the Hu scriptures are still of good quality, while the Qin people are good at writing, and the transmission can be done with the hearts of all people, but not with the text. (Dawan, 1984:24)&amp;quot;--[[User:Yang Yue|Yang Yue]] ([[User talk:Yang Yue|talk]]) 05:34, 21 December 2020 (UTC)&lt;br /&gt;
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Western translators have similarly valued the influence of ideology on translation. When the Roman poet and translator Horace spoke of the 'faithful translator', Lefevere argued that this already included an emphasis on ideology (Lefevere, 1992b: 15), but he did not say why. The famous French writer Victor Hugo also pointed out:&lt;br /&gt;
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Western translators have similarly valued the influence of ideology on translation. When the Roman poet and translator Horace spoke of the 'faithful translator', Lefevere argued that this already included an emphasis on ideology (Lefevere, 1992b: 15), but he did not say why. The famous French writer Victor Hugo also pointed out:--[[User:Yang Yue|Yang Yue]] ([[User talk:Yang Yue|talk]]) 05:34, 21 December 2020 (UTC)&lt;br /&gt;
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When you dedicate a translation to a country, that country almost always sees the translation as an act of violence against it... To translate the work of a foreign poet is to add his work to the poetry of your own country; but to open up in this way does not please those with vested interests, at least at first. Their first reaction is resistance.&amp;quot; (op. cit: 18)&lt;br /&gt;
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When you dedicate a translation to a country, that country almost always sees the translation as an act of violence against it... To translate the work of a foreign poet is to add his work to the poetry of your own country; but to open up in this way does not please those with vested interests, at least at first. Their first reaction is resistance.&amp;quot; (op. cit: 18)--[[User:Yang Yue|Yang Yue]] ([[User talk:Yang Yue|talk]]) 05:34, 21 December 2020 (UTC)&lt;br /&gt;
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Different cultures have different ideologies. History teaches us that exchanges between cultures are often, first and foremost, ideological. As Hugo asserts, such exchanges always begin with confrontation. What comes after confrontation? Successful exchanges often involve confrontation leading to compromise, and compromise leading to prosperity, as in the case of Buddhism and the flourishing of Chinese culture in China's history. Unsuccessful exchanges often lead to hostility and even war, as in the case of the clash between Islamic and Christian civilisations. In the case of translators, it was also often the case that those who obeyed me prospered, as in the case of the Chinese translator of the Buddhist scriptures Xuanzang, and those who disobeyed me died, as in the case of the English religious translator William Tyndale (1494-1536), who was burnt at the stake, and the French religious translator Etienne Dolet (1509- 1546). The literature shows that the influence of ideology on translation has long been of interest to translators and translation theorists, but they have not used the term 'ideology' when discussing this issue.&lt;br /&gt;
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Different cultures have different ideologies. History teaches us that exchanges between cultures are often, first and foremost, ideological. As Hugo asserts, such exchanges always begin with confrontation. What comes after confrontation? Successful exchanges often involve confrontation leading to compromise, and compromise leading to prosperity, as in the case of Buddhism and the flourishing of Chinese culture in China's history. Unsuccessful exchanges often lead to hostility and even war, as in the case of the clash between Islamic and Christian civilisations.--[[User:Yang Yue|Yang Yue]] ([[User talk:Yang Yue|talk]]) 05:34, 21 December 2020 (UTC)&lt;br /&gt;
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In the case of translators, it was also often the case that those who obeyed me prospered, as in the case of the Chinese translator of the Buddhist scriptures Xuanzang, and those who disobeyed me died, as in the case of the English religious translator William Tyndale (1494-1536), who was burnt at the stake, and the French religious translator Etienne Dolet (1509- 1546). The literature shows that the influence of ideology on translation has long been of interest to translators and translation theorists, but they have not used the term 'ideology' when discussing this issue.--[[User:Yang Yue|Yang Yue]] ([[User talk:Yang Yue|talk]]) 05:34, 21 December 2020 (UTC)&lt;br /&gt;
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===Translation activities under the control of power in the early stage of the PRC===&lt;br /&gt;
After the founding of the People's Republic of China, internationally, the Western powers tried their best to contain the new regime and obstructed other countries from establishing diplomatic relations with the new China, Mao Zedong put forward the three major diplomatic policies of &amp;quot;falling on one side&amp;quot;, &amp;quot;starting a new cooker&amp;quot; and &amp;quot;cleaning up the house before inviting guests &amp;quot;From a domestic perspective, the new regime was in urgent need of purging reactionary forces and propagating socialist and communist ideas in order to consolidate the proletarian regime. Taking into account the domestic and international political situation, the CPC, as the ruling party, strengthened its ideological. control, i.e.:vigorously propagating socialist and communist ideology. The translation activities were influenced by this and showed obvious ideological tendencies in terms of the choice of texts and translation strategies and even the patrons.&lt;br /&gt;
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After the founding of the People's Republic of China, internationally, the Western powers tried their best to contain the new regime and obstructed other countries from establishing diplomatic relations with the new China, Mao Zedong put forward the three major diplomatic policies of &amp;quot;falling on one side&amp;quot;, &amp;quot;starting a new cooker&amp;quot; and &amp;quot;cleaning up the house before inviting guests &amp;quot;From a domestic perspective, the new regime was in urgent need of purging reactionary forces and propagating socialist and communist ideas in order to consolidate the proletarian regime. Taking into account the domestic and international political situation, the CPC, as the ruling party, strengthened its ideological. control, i.e.:vigorously propagating socialist and communist ideology. The translation activities were influenced by this and showed obvious ideological tendencies in terms of the choice of texts and translation strategies and even the patrons.--[[User:Yang Yue|Yang Yue]] ([[User talk:Yang Yue|talk]]) 05:34, 21 December 2020 (UTC)&lt;br /&gt;
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====Ideological manipulation of translation activities====&lt;br /&gt;
Ideology is a product of a particular society and culture, and it accompanies the emergence of society and culture. Translation, as an act of intercultural communication, involves the exchange of two cultures. The essence of translation is to introduce the culture and ideology of the &amp;quot;other&amp;quot; into the local culture, and to assimilate it into the local value system and ideology. &lt;br /&gt;
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Ideology is a product of a particular society and culture, and it accompanies the emergence of society and culture. Translation, as an act of intercultural communication, involves the exchange of two cultures. The essence of translation is to introduce the culture and ideology of the &amp;quot;other&amp;quot; into the local culture, and to assimilate it into the local value system and ideology. --[[User:Yang Yue|Yang Yue]] ([[User talk:Yang Yue|talk]]) 05:34, 21 December 2020 (UTC)&lt;br /&gt;
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The translation activities in the seventeen years after the founding of the People's Republic of China have seen a phased peak in both Chinese to foreign and foreign to Chinese translation. From the perspective of Chinese to foreign translation, first of all, the new China set off a comprehensive wave of learning from the Soviet Union, as Zhou Yang pointed out in an article in the Soviet magazine Banner: &amp;quot;'Go the way of the Russians', politically. This is true in politics, but also in literature and art. Literary and artistic workers should study harder the creative experience and artistic techniques of Soviet writers, and in particular go deeper into their socialist realism which is the basis of their creativity.&amp;quot; Influenced by this idea, and in terms of text selection, socialist and realist literature from Soviet Russia was translated in large numbers, and this peak occurred mainly in the early decade of the founding of the country; according to statistics, from October 1949 to December 1958, a total of 3,526 Soviet and Russian literary works were translated and published, accounting for two-thirds of the entire foreign literature in translation.[8] &lt;br /&gt;
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The translation activities in the seventeen years after the founding of the People's Republic of China have seen a phased peak in both Chinese to foreign and foreign to Chinese translation. From the perspective of Chinese to foreign translation, first of all, the new China set off a comprehensive wave of learning from the Soviet Union, as Zhou Yang pointed out in an article in the Soviet magazine Banner: &amp;quot;'Go the way of the Russians', politically. This is true in politics, but also in literature and art. Literary and artistic workers should study harder the creative experience and artistic techniques of Soviet writers, and in particular go deeper into their socialist realism which is the basis of their creativity.&amp;quot; Influenced by this idea, and in terms of text selection, socialist and realist literature from Soviet Russia was translated in large numbers, and this peak occurred mainly in the early decade of the founding of the country; according to statistics, from October 1949 to December 1958, a total of 3,526 Soviet and Russian literary works were translated and published, accounting for two-thirds of the entire foreign literature in translation.[8] --[[User:Yang Yue|Yang Yue]] ([[User talk:Yang Yue|talk]]) 05:34, 21 December 2020 (UTC)&lt;br /&gt;
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However, from the late 1950s onwards, the Sino-Soviet relations began to fray, and the ideological confrontation between China and the Soviet Union severely affected Chinese translation and mediation activities into Soviet literature; between 1960 and 1966, a total of 11 single-volume translations of Soviet literature were publicly published in the first four years, and zero Soviet literary works were translated into Chinese in the latter three years. [8] &lt;br /&gt;
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However, from the late 1950s onwards, the Sino-Soviet relations began to fray, and the ideological confrontation between China and the Soviet Union severely affected Chinese translation and mediation activities into Soviet literature; between 1960 and 1966, a total of 11 single-volume translations of Soviet literature were publicly published in the first four years, and zero Soviet literary works were translated into Chinese in the latter three years. [8] --[[User:Yang Yue|Yang Yue]] ([[User talk:Yang Yue|talk]]) 05:34, 21 December 2020 (UTC)&lt;br /&gt;
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Secondly, scientific and technical works from the Soviet Union were translated in large numbers. Most of the scientific works translated in the early years of the founding of the state were originally from the Soviet Union, among which the most scientific works were translated from 1952 to 1960, reaching 911 titles in 1954 and the most in 1957, with a total of 2557 scientific works translated, more than two-thirds of which came from the Soviet Union. &lt;br /&gt;
The Soviet Union unilaterally withdrew its experts from China from 1960 onwards, and when Sino-Soviet relations broke down, there was a downturn in translations from the Soviet Union, especially in 1961, when only 126 original Soviet scientific and technical works were translated. [Ind.] Finally, the translation of political works. In order to further propagate proletarian ideology, in January 1953 the Party Central Committee set up the Central Bureau of Compilation and Translation with the task of translating the works of Marx, Engels, Lenin and Stalin in a systematic and planned manner. &lt;br /&gt;
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Secondly, scientific and technical works from the Soviet Union were translated in large numbers. Most of the scientific works translated in the early years of the founding of the state were originally from the Soviet Union, among which the most scientific works were translated from 1952 to 1960, reaching 911 titles in 1954 and the most in 1957, with a total of 2557 scientific works translated, more than two-thirds of which came from the Soviet Union. &lt;br /&gt;
The Soviet Union unilaterally withdrew its experts from China from 1960 onwards, and when Sino-Soviet relations broke down, there was a downturn in translations from the Soviet Union, especially in 1961, when only 126 original Soviet scientific and technical works were translated. [Ind.] Finally, the translation of political works. In order to further propagate proletarian ideology, in January 1953 the Party Central Committee set up the Central Bureau of Compilation and Translation with the task of translating the works of Marx, Engels, Lenin and Stalin in a systematic and planned manner. --[[User:Yang Yue|Yang Yue]] ([[User talk:Yang Yue|talk]]) 05:34, 21 December 2020 (UTC)&lt;br /&gt;
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Thus, for seventeen years, the works of Marx, Engels, Lenin and Stalin were translated from Russian into Chinese in large numbers and contributed to the spread of socialist and communist ideology and political consciousness in China.&lt;br /&gt;
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Thus, for seventeen years, the works of Marx, Engels, Lenin and Stalin were translated from Russian into Chinese in large numbers and contributed to the spread of socialist and communist ideology and political consciousness in China.--[[User:Yang Yue|Yang Yue]] ([[User talk:Yang Yue|talk]]) 05:34, 21 December 2020 (UTC)&lt;br /&gt;
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From 1956 to 1966, the Central Compilation Bureau of the Communist Party of China translated and published the first 22 volumes of the Complete Works of Marx and Engels (excluding volume 20) on the basis of the second Russian edition of the Complete Works of Marx and Engels; from 1955 to 1963, all 39 volumes of the Complete Works of Lenin were translated into Chinese from Russian, and all 13 volumes of the Complete Works of Stalin were translated from 1953 to 1956. The 13 volumes of Stalin's Complete Works were also translated between 1953 and 1956. [10] The translation and editing of Marx and Lenin's works was rapidly completed under the direction of the state, which provided a good political basis for the economic and cultural development of the new China.&lt;br /&gt;
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From 1956 to 1966, the Central Compilation Bureau of the Communist Party of China translated and published the first 22 volumes of the Complete Works of Marx and Engels (excluding volume 20) on the basis of the second Russian edition of the Complete Works of Marx and Engels; from 1955 to 1963, all 39 volumes of the Complete Works of Lenin were translated into Chinese from Russian, and all 13 volumes of the Complete Works of Stalin were translated from 1953 to 1956. The 13 volumes of Stalin's Complete Works were also translated between 1953 and 1956. [10] The translation and editing of Marx and Lenin's works was rapidly completed under the direction of the state, which provided a good political basis for the economic and cultural development of the new China.--[[User:Yang Yue|Yang Yue]] ([[User talk:Yang Yue|talk]]) 05:34, 21 December 2020 (UTC)&lt;br /&gt;
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In conclusion, the translation activities from foreign to Chinese in the early years of the founding of the state were subject to the constraints of various political, economic and cultural factors at the time and showed obvious characteristics: for one thing, Soviet works, both literary and scientific, were rapidly translated into Chinese and widely disseminated within a few short years, but at the same time, due to the influence of political consciousness, they fell from a high point to a low point within a very short time; for another, with the support of the state regime and the government, political classics were quickly translated into Chinese in large numbers via Russian, which to a certain extent contributed to the development of translation activities and the consolidation of the new regime.&lt;br /&gt;
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In conclusion, the translation activities from foreign to Chinese in the early years of the founding of the state were subject to the constraints of various political, economic and cultural factors at the time and showed obvious characteristics: for one thing, Soviet works, both literary and scientific, were rapidly translated into Chinese and widely disseminated within a few short years, but at the same time, due to the influence of political consciousness, they fell from a high point to a low point within a very short time; for another, with the support of the state regime and the government, political classics were quickly translated into Chinese in large numbers via Russian, which to a certain extent contributed to the development of translation activities and the consolidation of the new regime.--[[User:Yang Yue|Yang Yue]] ([[User talk:Yang Yue|talk]]) 05:34, 21 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
In terms of foreign translations into Chinese, very few Chinese books in Chinese history have been translated into foreign languages and widely disseminated in foreign countries. After the founding of New China, in order to let the world's proletarians know more about China and at the same time establish diplomatic relations with more countries, the Chinese Foreign Languages Bureau translated and published a large number of foreign language books under the name of Foreign Languages Publishing House. &lt;br /&gt;
&lt;br /&gt;
In terms of foreign translations into Chinese, very few Chinese books in Chinese history have been translated into foreign languages and widely disseminated in foreign countries. After the founding of New China, in order to let the world's proletarians know more about China and at the same time establish diplomatic relations with more countries, the Chinese Foreign Languages Bureau translated and published a large number of foreign language books under the name of Foreign Languages Publishing House.--[[User:Yang Yue|Yang Yue]] ([[User talk:Yang Yue|talk]]) 05:34, 21 December 2020 (UTC) &lt;br /&gt;
&lt;br /&gt;
Among them the translation of Mao Zedong's works was given top priority, especially the translation and publication of the fourth volume of the English edition of Mao Zedong's Selected Works. The Foreign Languages Publishing House decided to publish the forth volume, followed by the first, second and third volumes. &lt;br /&gt;
&lt;br /&gt;
Among them the translation of Mao Zedong's works was given top priority, especially the translation and publication of the fourth volume of the English edition of Mao Zedong's Selected Works. The Foreign Languages Publishing House decided to publish the forth volume, followed by the first, second and third volumes. --[[User:Yang Yue|Yang Yue]] ([[User talk:Yang Yue|talk]]) 05:34, 21 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
In 1961, the Ministry of Culture issued two written circulars on the publication and distribution of Mao's works, requiring local bookshops to consult the party and government leaders before starting distribution, and limiting the target audience and the number of copies to be distributed. This shows that the translation and publication of Mao's works was treated as a political task and drew a great deal of attention from all sectors of society. &lt;br /&gt;
&lt;br /&gt;
In 1961, the Ministry of Culture issued two written circulars on the publication and distribution of Mao's works, requiring local bookshops to consult the party and government leaders before starting distribution, and limiting the target audience and the number of copies to be distributed. This shows that the translation and publication of Mao's works was treated as a political task and drew a great deal of attention from all sectors of society. --[[User:Yang Yue|Yang Yue]] ([[User talk:Yang Yue|talk]]) 05:34, 21 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
According to statistics, between 1949 and 1965, more than 3,000 Chinese books were translated into more than 20 foreign languages and distributed abroad, of which 536 were Mao's writings.11 In addition, pamphlets introducing the leader's writings and the Chinese revolutionary experience were translated into several languages and distributed abroad, where they were well received and became an effective way for foreigners to learn about and study China. These pamphlets were well received abroad and became an effective way for foreigners to understand and study China.&lt;br /&gt;
 &lt;br /&gt;
According to statistics, between 1949 and 1965, more than 3,000 Chinese books were translated into more than 20 foreign languages and distributed abroad, of which 536 were Mao's writings.11 In addition, pamphlets introducing the leader's writings and the Chinese revolutionary experience were translated into several languages and distributed abroad, where they were well received and became an effective way for foreigners to learn about and study China. These pamphlets were well received abroad and became an effective way for foreigners to understand and study China.--[[User:Yang Yue|Yang Yue]] ([[User talk:Yang Yue|talk]]) 05:34, 21 December 2020 (UTC)&lt;br /&gt;
 &lt;br /&gt;
In short, this phase of Chinese to foreign translation activities was dominated by translations of Mao's writings and pamphlets of political literature, which had a clear ideological orientation. In order to consolidate the new proletarian regime, the new China used translations to propagate its political ideas in order to gain more support, and its targets were countries in Asia, Africa and Latin America fighting for national independence, as well as some leftist organisations and progressive people in developed countries in Europe and America. As a result, this phase of Chinese to foreign translation activity focused on the text itself while giving greater consideration to the political and social factors it contained.&lt;br /&gt;
&lt;br /&gt;
In short, this phase of Chinese to foreign translation activities was dominated by translations of Mao's writings and pamphlets of political literature, which had a clear ideological orientation. In order to consolidate the new proletarian regime, the new China used translations to propagate its political ideas in order to gain more support, and its targets were countries in Asia, Africa and Latin America fighting for national independence, as well as some leftist organisations and progressive people in developed countries in Europe and America. As a result, this phase of Chinese to foreign translation activity focused on the text itself while giving greater consideration to the political and social factors it contained.--[[User:Yang Yue|Yang Yue]] ([[User talk:Yang Yue|talk]]) 05:34, 21 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
====Patron manipulation of translation activities====&lt;br /&gt;
The patron's sense of power was another important factor in the manipulation of translation, one of the fundamental forces driving the progress of early modern society, far more influential than the influence of literature on society. The word 'patron' in English comes from the Latin patronus, meaning a person who gives financial support to a client for the achievement of a specific purpose. &lt;br /&gt;
&lt;br /&gt;
The patron's sense of power was another important factor in the manipulation of translation, one of the fundamental forces driving the progress of early modern society, far more influential than the influence of literature on society. The word 'patron' in English comes from the Latin patronus, meaning a person who gives financial support to a client for the achievement of a specific purpose. --[[User:Yang Yue|Yang Yue]] ([[User talk:Yang Yue|talk]]) 05:34, 21 December 2020 (UTC)&lt;br /&gt;
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Patrons control all aspects of the translation, including the content of the translation, the choice of material and even the strategy of the translation and its promotion. The patron may be an authoritative individual, a publisher, a government agency, etc., whose aim is to ensure that the translation conforms to a particular social norm or the interests of a particular class of people by providing the translator or author with a certain amount of financial support, social status or political patronage, so that his or her creation and translation are in line with the prevailing ideology.&lt;br /&gt;
&lt;br /&gt;
Patrons control all aspects of the translation, including the content of the translation, the choice of material and even the strategy of the translation and its promotion. The patron may be an authoritative individual, a publisher, a government agency, etc., whose aim is to ensure that the translation conforms to a particular social norm or the interests of a particular class of people by providing the translator or author with a certain amount of financial support, social status or political patronage, so that his or her creation and translation are in line with the prevailing ideology.--[[User:Yang Yue|Yang Yue]] ([[User talk:Yang Yue|talk]]) 05:34, 21 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
After the founding of New China, the patronage of translation activities as a whole was divided into two phases.&lt;br /&gt;
&lt;br /&gt;
The first stage lasted from the founding of New China in 1949 to the completion of the Three Great Transformations in 1956. The role of publishers as patrons was changing during this phase. At the beginning of the founding of the country, the publishing industry developed unevenly in different parts of the country, and state-owned and private publishers coexisted. According to statistics from March 1950, there were 244 private bookshops operating in 11 major cities across the country, and publishing houses became the main patrons during this period, possessing a certain degree of financial independence and sponsoring translation activities through financial support for translators. By the end of 1956, the socialist transformation of private publishing houses had basically been achieved, with the withdrawal of the private sector from the publishing houses and a simultaneous change in the composition of the patrons.&lt;br /&gt;
&lt;br /&gt;
The first stage lasted from the founding of New China in 1949 to the completion of the Three Great Transformations in 1956. The role of publishers as patrons was changing during this phase. At the beginning of the founding of the country, the publishing industry developed unevenly in different parts of the country, and state-owned and private publishers coexisted. According to statistics from March 1950, there were 244 private bookshops operating in 11 major cities across the country, and publishing houses became the main patrons during this period, possessing a certain degree of financial independence and sponsoring translation activities through financial support for translators. By the end of 1956, the socialist transformation of private publishing houses had basically been achieved, with the withdrawal of the private sector from the publishing houses and a simultaneous change in the composition of the patrons.--[[User:Yang Yue|Yang Yue]] ([[User talk:Yang Yue|talk]]) 05:34, 21 December 2020 (UTC)&lt;br /&gt;
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The second phase, from 1957 to 1966, saw the weakening of the power of publishing houses as independent sponsors, and the predominance of patronage by government agencies, such as the Ministry of Culture and the Central Propaganda Department, and by authoritative individuals, such as state leaders Mao Zedong and Zhou Enlai, in translation activities; the independence of publishing houses no longer existed, although they could decide what and how to translate in translation activities, when their ideology When their ideology contradicts that of government agencies or authoritative individuals, they must obey the latter. For example, in terms of the content of translations, some people advocated translating the foreign-language edition of People's Pictorial to introduce the experience of the Chinese revolution, but Chairman Mao disapproved of this, arguing that &amp;quot;it would be good to be able to introduce our lives in a realistic way. [12] For example, in the translation of the English version of the fourth volume of Mao Zedong's Selected Works, the Party Central Committee appointed Zhang Hanfu and Meng Yongqian to take charge of the specific leadership work.&lt;br /&gt;
&lt;br /&gt;
The second phase, from 1957 to 1966, saw the weakening of the power of publishing houses as independent sponsors, and the predominance of patronage by government agencies, such as the Ministry of Culture and the Central Propaganda Department, and by authoritative individuals, such as state leaders Mao Zedong and Zhou Enlai, in translation activities; the independence of publishing houses no longer existed, although they could decide what and how to translate in translation activities, when their ideology When their ideology contradicts that of government agencies or authoritative individuals, they must obey the latter. For example, in terms of the content of translations, some people advocated translating the foreign-language edition of People's Pictorial to introduce the experience of the Chinese revolution, but Chairman Mao disapproved of this, arguing that &amp;quot;it would be good to be able to introduce our lives in a realistic way. [12] For example, in the translation of the English version of the fourth volume of Mao Zedong's Selected Works, the Party Central Committee appointed Zhang Hanfu and Meng Yongqian to take charge of the specific leadership work.--[[User:Yang Yue|Yang Yue]] ([[User talk:Yang Yue|talk]]) 05:34, 21 December 2020 (UTC)&lt;br /&gt;
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The sponsor's control over the translation activities was also reflected in the choice of translation strategies. Different types of texts have different translation strategies. The translation of political texts should aim to express the content of the original text accurately and completely, and the editorial processing of such texts should be strictly reported; the translation of literary and artistic works should try to appreciate the style of the original text and make appropriate text processing when necessary, but should not alter the content of the original text at will; general reports should be more adapted to the habits of foreign reports and take into account the receptiveness of foreign readers, so there can be greater flexibility in translation, but However, the relevant guidelines, policies and important facts should not be changed at will.&lt;br /&gt;
&lt;br /&gt;
The sponsor's control over the translation activities was also reflected in the choice of translation strategies. Different types of texts have different translation strategies. The translation of political texts should aim to express the content of the original text accurately and completely, and the editorial processing of such texts should be strictly reported; the translation of literary and artistic works should try to appreciate the style of the original text and make appropriate text processing when necessary, but should not alter the content of the original text at will; general reports should be more adapted to the habits of foreign reports and take into account the receptiveness of foreign readers, so there can be greater flexibility in translation, but However, the relevant guidelines, policies and important facts should not be changed at will.--[[User:Yang Yue|Yang Yue]] ([[User talk:Yang Yue|talk]]) 05:34, 21 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
As Yang Xian Yi said, &amp;quot;Unfortunately, we were only hired translators, and it was not up to us to decide what to translate. ...... The selected work had to suit the political climate and the taste of the time. the political climate and the taste of the moment.&amp;quot; [13]&lt;br /&gt;
IV. Insights from the Translation Activities in the Early Stage of the PRC&lt;br /&gt;
The translation activities in the seventeen years after the founding of the state formed the fourth translation climax in China's history, and the key factor contributing to this climax was the government's unified leadership and planning of translation activities. In the early years of the founding of the country, the state strengthened its organisation and planning of the publishing industry and translation activities by convening a number of national conferences. Firstly, in order to rectify the chaotic state of the publishing industry and lead the nation's publishing work, the State General Administration of Publications convened the First National Conference on Publishing in September 1950 and the First National Conference on Publication Administration in August 1951, both of which stressed the quality of publications, especially the second conference, which made improving the quality of publications the top priority of the publishing industry, and stressed the importance of book review and the importance of conducting book reviews.&lt;br /&gt;
&lt;br /&gt;
As Yang Xian Yi said, &amp;quot;Unfortunately, we were only hired translators, and it was not up to us to decide what to translate. ...... The selected work had to suit the political climate and the taste of the time. the political climate and the taste of the moment.&amp;quot; [13]--[[User:Yang Yue|Yang Yue]] ([[User talk:Yang Yue|talk]]) 05:34, 21 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
IV. Insights from the Translation Activities in the Early Stage of the PRC&lt;br /&gt;
The translation activities in the seventeen years after the founding of the state formed the fourth translation climax in China's history, and the key factor contributing to this climax was the government's unified leadership and planning of translation activities. In the early years of the founding of the country, the state strengthened its organisation and planning of the publishing industry and translation activities by convening a number of national conferences. Firstly, in order to rectify the chaotic state of the publishing industry and lead the nation's publishing work, the State General Administration of Publications convened the First National Conference on Publishing in September 1950 and the First National Conference on Publication Administration in August 1951, both of which stressed the quality of publications, especially the second conference, which made improving the quality of publications the top priority of the publishing industry, and stressed the importance of book review and the importance of conducting book reviews.--[[User:Yang Yue|Yang Yue]] ([[User talk:Yang Yue|talk]]) 05:34, 21 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
Secondly, in order to improve the quality of translations and establish plans, the State General Administration of Publications convened the First National Conference on Translation Work in November 1951, at which the planning and institutionalisation of translation work was made a central task in the organisation of translation work, and emphasis was placed on the widespread development of criticism and self-criticism in the national academic and publishing community in order to improve and enhance the quality of translation work. Once again, in August 1954, the Chinese Writers' Association held the first national conference on literary translation work. At the meeting, Mao Dun proposed that literary translation work must be carried out in an organised and planned manner, and that criticism and self-criticism in literary translation work should be strengthened in order to improve the level of artistic creation in literary translation.&lt;br /&gt;
&lt;br /&gt;
Secondly, in order to improve the quality of translations and establish plans, the State General Administration of Publications convened the First National Conference on Translation Work in November 1951, at which the planning and institutionalisation of translation work was made a central task in the organisation of translation work, and emphasis was placed on the widespread development of criticism and self-criticism in the national academic and publishing community in order to improve and enhance the quality of translation work. Once again, in August 1954, the Chinese Writers' Association held the first national conference on literary translation work. At the meeting, Mao Dun proposed that literary translation work must be carried out in an organised and planned manner, and that criticism and self-criticism in literary translation work should be strengthened in order to improve the level of artistic creation in literary translation.--[[User:Yang Yue|Yang Yue]] ([[User talk:Yang Yue|talk]]) 05:34, 21 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
After these conferences, translation activities, especially translation criticism, were widely carried out in China, and both the quantity and quality of translated works improved greatly. According to statistics, a total of 6,680 translated works were published in China in the 30 years from 1919 to 1949, and from October 1949 to the end of 1958, more than 5,300 foreign literary works were translated and published nationwide, of which 65.5 per cent were translated from the Soviet Union. [8] And translations of popular science works during this period amounted to more than 3,600, most of which also came from the Soviet Union. From 1950 to 1952, 74 articles were published in the Translation Bulletin alone, and many translators not only dared to criticize, but also took the initiative to criticize themselves for the errors in their own translations. For example, in May 1952, Wang Feibai published 'Review of Jiang's translation of &amp;quot;Star&amp;quot;' in the Translation Bulletin, criticising Jiang Lu's translation, followed by 'Review of the translation of &amp;quot;Star&amp;quot;', in which Jiang Lu self-criticised the errors in his translation.&lt;br /&gt;
&lt;br /&gt;
After these conferences, translation activities, especially translation criticism, were widely carried out in China, and both the quantity and quality of translated works improved greatly. According to statistics, a total of 6,680 translated works were published in China in the 30 years from 1919 to 1949, and from October 1949 to the end of 1958, more than 5,300 foreign literary works were translated and published nationwide, of which 65.5 per cent were translated from the Soviet Union. [8] And translations of popular science works during this period amounted to more than 3,600, most of which also came from the Soviet Union. From 1950 to 1952, 74 articles were published in the Translation Bulletin alone, and many translators not only dared to criticize, but also took the initiative to criticize themselves for the errors in their own translations. For example, in May 1952, Wang Feibai published 'Review of Jiang's translation of &amp;quot;Star&amp;quot;' in the Translation Bulletin, criticising Jiang Lu's translation, followed by 'Review of the translation of &amp;quot;Star&amp;quot;', in which Jiang Lu self-criticised the errors in his translation.--[[User:Yang Yue|Yang Yue]] ([[User talk:Yang Yue|talk]]) 05:34, 21 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
Compared with the translation activities in the seventeen years after the founding of the state, the translation activities in China have become more prosperous and extensive since the 21st century, but at the same time, many problems have emerged. Firstly, the quality of translations has been low. In order to expand sales and pursue lucrative profits, many publishing houses have been competing to buy the rights to foreign bestsellers and organise translators to translate them into Chinese as quickly as possible in order to make maximum profits. Secondly, piracy is rampant. Pirated books are not only available in many editions but also at low prices and in beautiful packaging. Many publishers have even misrepresented the names of the compilers in order to avoid charges of piracy. In the case of Mr. Ye Junjian's translation of Hans Christian Andersen's Fairy Tales, for example, there are about 40 pirated editions known to him alone. [14] Another example is that almost all of the books translated and published by the People's Literature Publishing House in the past have been pirated. Similar examples abound, and piracy not only affects the rights of regular publishers, but also undermines the right of readers to enjoy fine translations.&lt;br /&gt;
&lt;br /&gt;
Compared with the translation activities in the seventeen years after the founding of the state, the translation activities in China have become more prosperous and extensive since the 21st century, but at the same time, many problems have emerged. Firstly, the quality of translations has been low. In order to expand sales and pursue lucrative profits, many publishing houses have been competing to buy the rights to foreign bestsellers and organise translators to translate them into Chinese as quickly as possible in order to make maximum profits. Secondly, piracy is rampant. Pirated books are not only available in many editions but also at low prices and in beautiful packaging. --[[User:Yang Yue|Yang Yue]] ([[User talk:Yang Yue|talk]]) 05:34, 21 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
Many publishers have even misrepresented the names of the compilers in order to avoid charges of piracy. In the case of Mr. Ye Junjian's translation of Hans Christian Andersen's Fairy Tales, for example, there are about 40 pirated editions known to him alone. [14] Another example is that almost all of the books translated and published by the People's Literature Publishing House in the past have been pirated. Similar examples abound, and piracy not only affects the rights of regular publishers, but also undermines the right of readers to enjoy fine translations.--[[User:Yang Yue|Yang Yue]] ([[User talk:Yang Yue|talk]]) 05:34, 21 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
In response to these problems, from a historical perspective, it is, first of all, essential to strengthen the leadership and organisation of translation activities by the government. So far, there is no government department in China specifically in charge of translation activities. While the market economy has promoted the extensive development of translation activities, its blindness and the pursuit of profits have made it difficult for the spirituality and culture of translation products to be well reflected. Therefore, the overall planning and guidance of the relevant government departments play an important role in the effective development of translation activities.&lt;br /&gt;
&lt;br /&gt;
In response to these problems, from a historical perspective, it is, first of all, essential to strengthen the leadership and organisation of translation activities by the government. So far, there is no government department in China specifically in charge of translation activities. While the market economy has promoted the extensive development of translation activities, its blindness and the pursuit of profits have made it difficult for the spirituality and culture of translation products to be well reflected. Therefore, the overall planning and guidance of the relevant government departments play an important role in the effective development of translation activities.--[[User:Yang Yue|Yang Yue]] ([[User talk:Yang Yue|talk]]) 05:34, 21 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
Secondly, vigorously carrying out criticism and self-criticism is an effective way to improve the quality of translations. To a certain extent, the low quality of translated works can be attributed to the lack of translation criticism. On the whole, the number of articles published on translation criticism in China is still relatively small and there are more practical studies than theoretical studies, for example, in 2011, there were 14 articles on translation criticism, accounting for only 2.2% of the total. [1 In terms of content, literary criticism dominates and is mostly of the appreciation type, especially focusing on the analysis of famous writers, praising translators more than criticizing them, and the theoretical construction of translation criticism is insufficient, lacking real substantive criticism. This is the case with translation criticism, and there is even less self-critical writing from translators. In short, as an important area of translation activity, translation criticism is indispensable.&lt;br /&gt;
&lt;br /&gt;
Secondly, vigorously carrying out criticism and self-criticism is an effective way to improve the quality of translations. To a certain extent, the low quality of translated works can be attributed to the lack of translation criticism. On the whole, the number of articles published on translation criticism in China is still relatively small and there are more practical studies than theoretical studies, for example, in 2011, there were 14 articles on translation criticism, accounting for only 2.2% of the total. [1 In terms of content, literary criticism dominates and is mostly of the appreciation type, especially focusing on the analysis of famous writers, praising translators more than criticizing them, and the theoretical construction of translation criticism is insufficient, lacking real substantive criticism. This is the case with translation criticism, and there is even less self-critical writing from translators. In short, as an important area of translation activity, translation criticism is indispensable.--[[User:Yang Yue|Yang Yue]] ([[User talk:Yang Yue|talk]]) 05:34, 21 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
===Conclusion===&lt;br /&gt;
Ever since translation inevitably entered our culture, the social ideology that is also inevitably present in our culture has almost never ceased to manipulate the further development of the movement. In short, the ideological manipulation of translation activities in the early years of the founding of the state has been a constant and pivotal role in translation activities, especially the leading role of the government and the widespread activities of criticism and self-criticism in the translation community have provided a certain historical mirror for the benign development of translation activities in the new era.&lt;br /&gt;
&lt;br /&gt;
Ever since translation inevitably entered our culture, the social ideology that is also inevitably present in our culture has almost never ceased to manipulate the further development of the movement. In short, the ideological manipulation of translation activities in the early years of the founding of the state has been a constant and pivotal role in translation activities, especially the leading role of the government and the widespread activities of criticism and self-criticism in the translation community have provided a certain historical mirror for the benign development of translation activities in the new era.--[[User:Yang Yue|Yang Yue]] ([[User talk:Yang Yue|talk]]) 05:34, 21 December 2020 (UTC)&lt;br /&gt;
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===Reference books===&lt;br /&gt;
*许宝强，袁伟．语言与翻译的政治[C]．北京:中央编译出社，2001:1-20.&lt;br /&gt;
&lt;br /&gt;
*吕俊．翻译研究:从文本理论到权利话语[J]．四川外语学院学报，2002，1 (18): 106-109.&lt;br /&gt;
&lt;br /&gt;
*Bassnett, S &amp;amp; Ledever, A. Constructing Cultures: Essays on Literary Translation [M]. Shanghai: Shanghai Foreign Language Education Press, 2001: 48.&lt;br /&gt;
&lt;br /&gt;
*Munday, J. Introducing Translation Studies Theories and Applications [M]. Shanghai: Shanghai Foreign Language Education Press, 2010: 127-129.&lt;br /&gt;
&lt;br /&gt;
*Lefevere, A. Translation, Rewriting and the Manipulation of Literary Fame [M]. Shanghai: Shanghai Foreign Language Education Press，2010: 1-70.&lt;br /&gt;
&lt;br /&gt;
*王东风. 一只看不见的手——论意识形态对翻译实践的操纵 [J]．中国翻译，2003，5 (24): 16-23.&lt;br /&gt;
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*周扬. 社会主义现实主义——中国文学前进的道路 [N].人民日报，1953-01-11 (1).&lt;br /&gt;
&lt;br /&gt;
*文记东. 1949~1966年的中苏文化交流[M]，哈尔滨:黑龙江大学出版社，2011: 101, 144.&lt;br /&gt;
&lt;br /&gt;
*马祖毅．中国翻译通史现当代部分（第三卷）[M].武汉﹔湖北教育出版社，2006: 207-225.&lt;br /&gt;
&lt;br /&gt;
*人民出版社马列著作编辑室．马克思恩格斯列宁斯大林著作中文本书目（1950~1983年）[Z]. 北京：人民出版社，1985.&lt;br /&gt;
&lt;br /&gt;
*周东元，亓文公．中国外文局五十年史料选编（1）[M]. 北京:新星出版社，1999: 399.&lt;br /&gt;
&lt;br /&gt;
*新星出版社编辑部．中国外文局五十年回忆录[M]. 北京:新星出版社，1999: 37, 420-421.&lt;br /&gt;
&lt;br /&gt;
*杨宪益，薛鸿时．漏船载酒译当年[M]. 北京:人民日报出版社，2001: 225.&lt;br /&gt;
&lt;br /&gt;
*杜萌．翻译市场滥译滥编侵权现状调查[N]. 法制日报，2009-03-02 (8).&lt;br /&gt;
&lt;br /&gt;
*中国翻译协会．中国翻译年鉴﹔2009~2010年[M]. 北京:外文出版社，2011: 241, 232.&lt;br /&gt;
&lt;br /&gt;
==Comparison between the History of Chinese and Western Translation   周书尧   Zhou Shuyao==&lt;br /&gt;
&lt;br /&gt;
&amp;lt;center&amp;gt; 周书尧 Zhou Shuyao 202020080672 &amp;lt;/center&amp;gt;&lt;br /&gt;
&lt;br /&gt;
===Abstract===&lt;br /&gt;
Translation has existed since historical records. Translation goes hand in hand with human history, even before historical records. Whether in my country or Western countries, the long tradition of translation has become the most dazzling pearl in the process of human civilization.In addition, translation plays an indelible role in promoting cross-cultural communication and cultural communication.This article first discusses the history of translation in China from four stages , then discusses the five stages of western translation history , and finally compares and analyzes the similarities and differences between Chinese and Western translation histories, and puts forward some of the author's own views.&lt;br /&gt;
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Translation has existed since historical records. Translation goes hand in hand with human history, even before historical records. Whether in China or in western countries, the long tradition of translation seems to be the most dazzling pearl in the process of human civilization. In addition, it plays an important role in promoting cross-cultural communication. This paper first discusses the history of translation in China from the four translation climaxes in China, then discusses the history of translation in the West from the five translation climaxes in the west, and finally makes a comparative analysis of the similarities and differences between Chinese and western translation history, and puts forward some views of the author.--[[User:Zhang Xueyi|Zhang Xueyi]] ([[User talk:Zhang Xueyi|talk]]) 15:45, 18 December 2020 (UTC)&lt;br /&gt;
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===Key words===&lt;br /&gt;
The history of Chinese,The history of Western,the stages of  translation history,comparison&lt;br /&gt;
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===摘要===&lt;br /&gt;
自历史记载以来,就存在翻译.翻译与人类的历史并道而驰,甚至先于历史记载.无论在我国,还是西方国家,悠久的翻译传统俨然成为人类文明进程中一颗最耀眼的明珠。此外，翻译在促进跨文化交流和文化传播上承担着不可磨灭的作用。本文首先从中国的四次翻译高潮论述中国的翻译史，再从西方的五次翻译高潮探讨西方的翻译史，最后对中西方翻译史的异同进行对比分析，提出一些笔者自己的看法。&lt;br /&gt;
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自历史记载以来，就存在翻译。翻译与人类的历史并道而驰，甚至先于历史记载。无论在我国，还是西方国家，悠久的翻译传统俨然成为人类文明进程中一颗最耀眼的明珠。此外，翻译在促进跨文化交流和文化传播上起着着不可忽视的作用。本文首先从中国的四次翻译高潮论述中国的翻译史，其次从西方的五次翻译高潮探讨西方的翻译史，最后对中西方翻译史的异同进行对比分析，提出一些笔者自己的看法。--[[User:Zhang Xueyi|Zhang Xueyi]] ([[User talk:Zhang Xueyi|talk]]) 15:40, 18 December 2020 (UTC)&lt;br /&gt;
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===关键词===&lt;br /&gt;
中国翻译史，西方翻译史，翻译高潮，对比&lt;br /&gt;
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===I.Introduction===&lt;br /&gt;
Since the 1980s, the Chinese translation studies community has made remarkable progress in the establishment of Chinese and Western translation history courses and the compilation of related works.In the 1980s and early 1990s,A Brief Introduction to the History of Translation in China from Ma Zuyi and other books of Chen Yugang and Tan Zaixi were published one after another,which raised the curtain for the compilation of Chinese and Western translation history works by the domestic translation scholars.The four stages in the history of Chinese translation have promoted the development of Chinese history, culture and society to varying degrees.(Xu 2018,5)&lt;br /&gt;
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Since the 1980s, Chinese translation studies have made remarkable progress in the curriculum design of Chinese and western translation history and the compilation of related works. In the 1980s and early 1990s, Ma Zuyi's A Brief Introduction to the History of Translation in China, and other books of Chen Yugang and Tan Zaixi were published one after another,which raised the curtain for the compilation of Chinese and Western translation history works by the domestic translation scholars. The four climaxes in Chinese translation history promoted the development of Chinese history, culture and society in varying degrees.(Xu 2018,5)--[[User:Zhang Xueyi|Zhang Xueyi]] ([[User talk:Zhang Xueyi|talk]]) 15:56, 18 December 2020 (UTC)&lt;br /&gt;
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The same as our country, Western translation has an age-old history.In a sense, the development of Western European civilization should first be attributed to the translators.The five stages in the history of European translation have promoted the exchanges of literature, art, science and trade between countries, and to a certain extent promoted the development of Chinese translation.In fact, when we examine the development trajectory of Chinese and Western translation activities and the evolution of translation concepts together, we find that there are some similarities between Chinese translation and Western translation.Especially in the evolution of Chinese and Western translation concepts, the two have very similar evolution laws.(Xie 2010,5)&lt;br /&gt;
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Like China, western translation has a long history. In a sense, the development of Western European civilization should be attributed to the translators. The five climaxes in the history of European translation have promoted the exchanges of literature, art, science and trade between countries, and promoted the development of Chinese translation to a certain extent. In fact, when we examine the development of translation activities and the evolution of translation concepts in China and the West together, we find that there are some similarities between them. Especially in the evolution of Chinese and western translation concepts, they have very similar evolution rules.(Xu 2018,5)--[[User:Zhang Xueyi|Zhang Xueyi]] ([[User talk:Zhang Xueyi|talk]]) 15:56, 18 December 2020 (UTC)&lt;br /&gt;
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===Ⅱ.The history of Chinese translation===&lt;br /&gt;
According to records, there have been four stages in China's long history of translation development, leaving behind many classic discussions.From these four translation climaxes, we can see the translators, translation theories and practices that emerged in different periods in China.And these translation stages have had varying degrees of impact on China's history, culture, society, and literature, including the development of Chinese translation.(Li 2016,132)&lt;br /&gt;
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In the traditional sense, there have been four translation climaxes in China's long history of translation development, leaving many classic comments. From the four translation climaxes, we can see the translators, translation theory and practice in different periods in China. Moreover, these translation climaxes have exerted different influences on the history, culture, society and literature of China, including the development of Chinese translation itself.(Li 2016,132)--[[User:Zhang Xueyi|Zhang Xueyi]] ([[User talk:Zhang Xueyi|talk]]) 16:06, 18 December 2020 (UTC)&lt;br /&gt;
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====2.1 The first stage: Ancient Translation History====&lt;br /&gt;
The translation of Buddhist scriptures from the Eastern Han Dynasty to the Tang and Song Dynasties (25-1279) can be regarded as the first important period in the history of Chinese translation, the initiation period of traditional Chinese translation theory, and the first large-scale, planned, Organized translation activities.A large number of Buddhist scriptures were introduced into our country from various countries in the Western Regions, which had a profound impact on our country's language, religious philosophy, painting, arts, etc.The Chinese translation of Buddhist scriptures with textual research should be translated by An Shigao（安室高） during the Eastern Han Dynasty (151 AD).(Liu 2016,147)&lt;br /&gt;
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The translation of Buddhist scriptures from the Eastern Han Dynasty to the Tang and Song Dynasties (25-1279) can be regarded as the first important period in the history of Chinese translation, and it is also the first large-scale, planned and organized translation activity in Chinese history.A large number of Buddhist scriptures were introduced into our country from various countries in the Western Regions, which had a profound impact on our country's language, religious philosophy, painting, arts, etc.The Chinese translation of Buddhist scriptures with textual research should be translated by An Shigao（安室高） during the Eastern Han Dynasty (151 AD).(Liu 2016,147)--[[User:Zhang Xueyi|Zhang Xueyi]] ([[User talk:Zhang Xueyi|talk]]) 16:30, 18 December 2020 (UTC)&lt;br /&gt;
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From 148 AD to 170 AD, he translated more than 30 Buddhist scriptures in Luoyang, making great contributions to Buddhist translation and the spread of Buddhist culture in China.The translation of Lokaksema（支娄迦谶）, who was at the same time as An Shigao, was basically a word-for-word translation, which was not easy to understand. The literal translation in the Chinese translation community probably started from this time.Zhi Loujiachen were the masters of the literal translation school. In addition to them, the major translators include Lokaksema and Dharmaraksha（竺法护）. And most of these translators were “foreigners”.(Liu 2016,147)&lt;br /&gt;
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From 148 AD to 170 AD, he translated more than 30 Buddhist scriptures in Luoyang, making great contributions to Buddhist translation and the spread of Buddhist culture in China.The translation of Lokaksema（支娄迦谶）, who was at the same time as An Shigao, was basically a word-for-word translation, which was not easy to understand. The literal translation in the Chinese translation community probably started from this time.Zhi Loujiachen were the masters of the literal translation school. In addition to them, the major translators include Lokaksema and Dharmaraksha（竺法护）. And most of these translators were “foreigners”.(Liu 2016,147)--[[User:Zhang Xueyi|Zhang Xueyi]] ([[User talk:Zhang Xueyi|talk]]) 16:30, 18 December 2020 (UTC)&lt;br /&gt;
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Shi Daoan (314-385), who was an eminent monk, set up a translation workshop, ushering in the period of translation on a large scale. And a State Translation School was founded for this purpose. Shi daoan put forward the famous &amp;quot;five instances of losing the source and three instances of difficulties&amp;quot;, which had a great influence on later translation studies.(Li 2016,132)The Sui and Tang Dynasties were the prosperous period of Chinese Buddhist translation.Xuan Zang（玄奘）, Kumarajiva（鸠摩罗什）, and Zhen Di（真谛） of the Tang Dynasty are collectively known as the three major translators of Chinese Buddhism.（Li 2016,132）&lt;br /&gt;
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Shi Daoan (314-385), who was an eminent monk, set up a translation workshop, ushering in the period of translation on a large scale. And a State Translation School was founded for this purpose. Shi daoan put forward the famous &amp;quot;five instances of losing the source and three instances of difficulties&amp;quot;, which had a great influence on later translation studies.(Li 2016,132)The Sui and Tang Dynasties were the prosperous period of Chinese Buddhist translation.Xuan Zang（玄奘）, Kumarajiva（鸠摩罗什）, and Zhen Di（真谛） of the Tang Dynasty are collectively known as the three major translators of Chinese Buddhism.（Li 2016,132）--[[User:Zhang Xueyi|Zhang Xueyi]] ([[User talk:Zhang Xueyi|talk]]) 16:30, 18 December 2020 (UTC)&lt;br /&gt;
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In the translation of Buddhist scriptures, he fumbled and summed up the famous &amp;quot;Five do not flip&amp;quot;(五不翻原则）and “six methods of translation”. &amp;quot;Five do not flip&amp;quot;means translators should employ transliteration facing mysterious words, polyseme, culture-loaded words, conventional transliterating words and words showing respect. And the core of his translation theory can be concluded in one sentence. That is: it is necessary to seek truth and be straightforward.（既须求真又须喻俗)&lt;br /&gt;
The Buddhist translation of this period enriched the religious beliefs of the people, became the spiritual support of the people at that time, promoted the exchange between China and the world at that time, and made Buddhist scriptures an inseparable part of our traditional culture.（Li 2016,132）&lt;br /&gt;
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In the translation of Buddhist scriptures, he fumbled and summed up the famous &amp;quot;Five do not flip&amp;quot;(五不翻原则）and “six methods of translation”. &amp;quot;Five do not flip&amp;quot;means translators should employ transliteration facing mysterious words, polyseme, culture-loaded words, conventional transliterating words and words showing respect. And the core of his translation theory can be concluded in one sentence. That is: it is necessary to seek truth and be straightforward.（既须求真又须喻俗)&lt;br /&gt;
The Buddhist translation in this period enriched the people's religious beliefs, became the spiritual support of the people at the bottom, promoted the communication between China and the world at that time, and made Buddhist classics an integral part of Chinese traditional culture.（Li 2016,132）--[[User:Zhang Xueyi|Zhang Xueyi]] ([[User talk:Zhang Xueyi|talk]]) 16:30, 18 December 2020 (UTC)&lt;br /&gt;
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====2.2 The stage two:Modern Translation History ====&lt;br /&gt;
During the Ming and Qing Dynasties (middle 14th to 19th centuries), there was a second stage of translation in Chinese history. During this period, the translation was mainly scientific and technological translation.This major shift was also decided by the Chinese and Western countries at the time in order to seek their own interests and finally reached an agreement on mutual terms.Western missionaries wanted to spread religious thought and culture in China, while Chinese scholars at that time were eager for knowledge and were keen on Western advanced science and technology in order to maintain the regime.（Li 2016,132）&lt;br /&gt;
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During the Ming and Qing Dynasties (from the middle of the 14th century to the 19th century), the second climax of translation appeared in Chinese history. This major turn was also decided by the agreement reached by the Chinese and Western countries at that time in order to seek their own interests. Western missionaries wanted to spread religious thoughts and culture in China. At that time, Chinese people with lofty ideals were eager for knowledge and were keen on western advanced science and technology in order to maintain political power.（Li 2016,132）--[[User:Zhang Xueyi|Zhang Xueyi]] ([[User talk:Zhang Xueyi|talk]]) 16:30, 18 December 2020 (UTC)&lt;br /&gt;
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In this way, the two needs complement each other, and the translation of Western scientific books is increasing. Increased, which promoted the great development of science and technology translation at that time.In 1868, the official translation and publishing organization of the Qing Dynasty, referred to as the Translation Museum, used the translation method from Western to Chinese, which means that foreign scholars interpret and Chinese scholars write and polish.(Liu 2016,148)The main representatives of translation activities in this period include Xu Guangqi（徐光启）, Li Zhizao （李之藻）, etc.Especially Xu Guangqi, known as the &amp;quot;Father of Western Translation&amp;quot;, does not understand foreign languages, and his translations are mainly through listening to narratives and co-translation and compilation.(Liu 2016,148)&lt;br /&gt;
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In this way, the mutual complementation of the two needs led to the gradual formation of the atmosphere of translation of Western science books, thus promoting the great development of science and technology translation at that time. In 1868, the official translation and publishing organization of the Qing Dynasty, referred to as the translation office, translated books by western translation and Chinese translation, that is, foreign scholars interpret, and Chinese scholars write and polish. During this period, the main representatives of translation activities were Xu Guangqi and Li Zhizao. Xu Guangqi, in particular, is known as &amp;quot;the father of translation of Western learning&amp;quot;. He does not understand foreign languages. His translation is mainly made by listening to people's dictation, co-translation and compilation with others.(Liu 2016,148)--[[User:Zhang Xueyi|Zhang Xueyi]] ([[User talk:Zhang Xueyi|talk]]) 16:30, 18 December 2020 (UTC)&lt;br /&gt;
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He proposed that the translation of Western history books should be prioritized and progressive，and put forward his own translation thought: &amp;quot;If you want to be superior, you must understand; before you can understand, you must first translate.&amp;quot;Although there were many translation achievements during this period, there was no systematic translation theory.Although the later translation museum had clear translation principles, its main purpose was to maintain its own rule by learning advanced Western technology.(Liu 2016,148)&lt;br /&gt;
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He put forward that the translation of western historical books should be prioritized and step by step. And put forward his own translation thought: &amp;quot;if you want to surpass, you must be able to understand; before you can feel pain, you must translate first.&amp;quot; Although there are many translation achievements in this period, there is no systematic translation theory. Although there were clear translation principles in the later period, their main purpose was to maintain their rule by learning advanced western technology.(Liu 2016,148)--[[User:Zhang Xueyi|Zhang Xueyi]] ([[User talk:Zhang Xueyi|talk]]) 16:30, 18 December 2020 (UTC)&lt;br /&gt;
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====2.3 The third stage: Contemporary Translation History ====&lt;br /&gt;
From the end of the 19th century to the beginning of the 20th century, China was in turmoil and internal and external troubles. Some rulers and intellectuals with capitalist ideas demanded to unite to resist the aggression of Western countries, and proposed reforms to strengthen themselves.Translation in this period is the boundary of modern Chinese translation history. Translation in the field of science and technology has gradually spread to the fields of literature, philosophy, economics, sociology, and ethics. China has entered a new stage of translation. The scale and influence of its translation activities all surpassed any period in modern times.（Li 2016,132）&lt;br /&gt;
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From the end of the 19th century to the beginning of the 20th century, China was in turmoil, internal and external troubles. Some rulers and intellectuals with capitalist thoughts demanded to unite to resist the invasion of western countries and proposed to strengthen through reform. Translation in this period is a watershed in the history of modern translation in China. Translation in the field of science and technology has gradually spread to the fields of literature, philosophy, economics, sociology and ethics. China has entered a new stage of translation, and the scale and influence of its translation activities have surpassed any other period in modern times.（Li 2016,132）--[[User:Zhang Xueyi|Zhang Xueyi]] ([[User talk:Zhang Xueyi|talk]]) 16:30, 18 December 2020 (UTC)&lt;br /&gt;
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At the end of the 19th century, Western academic translation represented by Ma Jianzhong （马建忠）and Yan Fu（严复）was a translation act driven by &amp;quot;national anxiety&amp;quot;, which promoted the expansion and deepening of foreign exchanges.(Liu 2016,148-149)In particular, Yan Fu's &amp;quot;faithfulness,expressiveness and elegance&amp;quot; translation standards have had a profound impact on translators' translation activities.&amp;quot;faithfulness&amp;quot; means loyalty, and &amp;quot;expressiveness&amp;quot; means unobstructed. In Yan Fu's interpretation, &amp;quot;elegance&amp;quot; means the translation strives to be elegant.The representative translator at that time was Lin Shu（林纾）. He proposed to pay attention to the purpose and function of translation, which meant that the translation should be able to achieve the expected goals and effects.&lt;br /&gt;
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At the end of the 19th century, western academic translation represented by Ma Jianzhong and Yan Fu was a translation behavior driven by the sense of national anxiety, which promoted the expansion and deepening of foreign exchange. In particular, Yan Fu's translation standard of faithfulness, expressiveness and elegance has a profound impact on translators' translation activities. &amp;quot;Faithfulness&amp;quot;, &amp;quot;expressiveness&amp;quot; and &amp;quot;elegance&amp;quot; in Yan Fu's interpretation refer to &amp;quot;using the pre Han Chinese grammar and syntax&amp;quot;. At that time, Lin Shu was also a representative translator. He proposed to pay attention to the purpose and function of translation, that is to say, the target and effect of translation should be achieved.--[[User:Zhang Xueyi|Zhang Xueyi]] ([[User talk:Zhang Xueyi|talk]]) 16:30, 18 December 2020 (UTC)&lt;br /&gt;
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When Lin Shu is translating, he emphasizes on subjective feelings, and the translator needs to communicate with the original author and the characters in the original work.A large number of translators, represented by Lin Shu, mostly adopt the principle of domestication and advocate free translation, which reflects the flexibility and openness of translation to a certain extent.During the May 4th Movement, the &amp;quot;New Youth&amp;quot; magazine was launched and began to translate western cultural thoughts and literary works. Representatives such as Chen Duxiu（陈独秀）, Hu Shi（胡适）, and Zhou Zuoren （周作人）all attached great importance to introducing foreign literature and foreign culture.(Liu 2016,149)&lt;br /&gt;
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In his translation, Lin Shu emphasizes the involvement of subjective feelings, and the translator needs to communicate with the original author and the characters in the original works. A large number of translators, represented by Lin Shu, mostly adopt the principle of domestication and advocate free translation, which reflects the flexibility and openness of translation to a certain extent. During the May 4th movement, New Youth magazine began to translate and introduce western cultural thoughts and literary works. Representative figures such as Chen Duxiu, Hu Shi and Zhou Zuoren attached great importance to introducing foreign literature and foreign culture.(Liu 2016,149)--[[User:Zhang Xueyi|Zhang Xueyi]] ([[User talk:Zhang Xueyi|talk]]) 16:30, 18 December 2020 (UTC)&lt;br /&gt;
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Translation activities during this period included the introduction of scientific and technological knowledge and the dissemination of advanced ideas. The scale and the number of works all showed its important position in the history of translation.Moreover, the audience in this period has also expanded from intellectuals to part of the people, broadening the horizons of the Chinese people, increasing their knowledge, and playing a good catalytic role in modern intellectual circles.(Liu 2016,149)&lt;br /&gt;
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The translation activities in this period, both the introduction of scientific and technological knowledge, and the dissemination of advanced ideas, show its important position in the history of translation. Moreover, the audience in this period also expanded from intellectuals to some people, broadened the vision of Chinese people, increased their insight, and played a good catalytic role in the modern ideological circle.(Liu 2016,149)--[[User:Zhang Xueyi|Zhang Xueyi]] ([[User talk:Zhang Xueyi|talk]]) 16:30, 18 December 2020 (UTC)&lt;br /&gt;
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====2.4 The fourth stage: Present Translation====&lt;br /&gt;
Since the reform and opening up, China and the Western world have had a broader space for communication, and the translation industry has achieved prosperity and development.In an open China, from the initial learning from modern and contemporary Western translation theories, to actively conducting cultural exchanges with other countries, learning and exploring research methods, and focusing on cross-disciplinary comprehensive innovation, translation practices and theories have achieved unprecedented development.(Xu 2018,5)For example, cultural schools, structuralism, post-colonialism, and other translation theories have been translated into China in large numbers. Literary works involve politics, economy, culture, literature, art and other fields, and the quantity and variety greatly exceed the previous generations.&lt;br /&gt;
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Since the Reform and Opening up, China and the western world have a broader space for communication, and the translation industry has achieved prosperity and development. From the beginning of learning from modern and contemporary western translation theories to actively conducting cultural exchanges with other countries, learning and exploring research methods, and paying attention to interdisciplinary comprehensive innovation, China has made unprecedented progress in translation practice and theory. For example, cultural schools, structuralism, postcolonialism and other translation theories have been translated into China, and literary works involve various fields such as politics, economy, culture, literature, art and so on.--[[User:Zhang Xueyi|Zhang Xueyi]] ([[User talk:Zhang Xueyi|talk]]) 16:30, 18 December 2020 (UTC)&lt;br /&gt;
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Representatives at this time include Liu Miqing（刘宓庆）, Tan Zaixi（谭载喜）, Huang Long（黄龙） and others. Among them, Tan Zaixi compiled the book &amp;quot;A Brief History of Western Translation&amp;quot;. The whole book pays attention to absorb the relevant research results at home and abroad. It is important for various historical periods, especially since the 20th century. The representative tasks in the western translation field, translation works, schools of thought, etc. are described and commented, and the mutual promotion, evolution and development of translation practice and translation theory are analyzed and discussed in a simple way, which promotes the formation of a systematic translation theory in China.(Xu 2018,5)&lt;br /&gt;
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The representative figures at this time include Liu Miqing, Tan Zaixi, Huang Long, etc. among them, Tan Zaixi compiled a brief history of western translation. The book absorbed the relevant research results at home and abroad, narrated and commented on the representative tasks, translated works and schools of thought in the field of western translation in various historical periods, especially since the 20th century, and the mutual relationship between translation practice and translation theory The process of promotion, evolution and development has been analyzed and discussed in simple terms, which has promoted the formation of systematic translation theories in China to a certain extent.(Xu 2018,5)--[[User:Zhang Xueyi|Zhang Xueyi]] ([[User talk:Zhang Xueyi|talk]]) 16:30, 18 December 2020 (UTC)&lt;br /&gt;
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During this period, our research is no longer limited to the summary of translation practices and abstract induction of translation principles, but from the generalization of subjective thoughts to the description and analysis of specific translation phenomena, translation events and processes.Translation studies have changed from a single-paradigm study to a multi-paradigm study. In short, the reform and opening up has created a new situation in China's translation industry, constantly expanding research fields, and effectively promoting the development of Chinese translation studies.&lt;br /&gt;
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In this period, our research is no longer limited to the summary of translation practice skills and translation principles, but from the generalization of subjective ideas to the description and analysis of specific translation phenomena, translation events and processes. Translation studies have changed from a single paradigm in the past to a multi paradigm study nowadays. In short, the reform and opening up has created a new situation in China's translation industry, constantly expanding the research field, and effectively promoting the development of China's translation research.--[[User:Zhang Xueyi|Zhang Xueyi]] ([[User talk:Zhang Xueyi|talk]]) 16:30, 18 December 2020 (UTC)&lt;br /&gt;
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===Ⅲ.The history of western translation===&lt;br /&gt;
The same as our country, Western translation has a long history.In a sense, the development of Western European civilization should first be attributed to the translators.From the ancient Roman Empire to the modern European Community, literary, artistic, scientific, and trade exchanges between countries are all carried out through the work of translators. Throughout the whole process, the history of Western translation can be divided into five major development stages.Broadly speaking, the earliest translation in the West is The Septuagint.Strictly speaking, the first translation is the Homer epic &amp;quot;Odyssey&amp;quot; translated in Latin by Andronicus .Both the former and the latter began in the third century BC, with a history of more than two thousand years, and are an important part of the entire European history of development.(Tan 1985,36)&lt;br /&gt;
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Like China, western translation has a long history. In a sense, the development of Western European civilization should be attributed to the translators. From the ancient Roman Empire to the modern European community, literary, artistic, scientific and trade exchanges between countries were carried out through the work of translators. Throughout the whole process, the history of western translation can be divided into five stages. In a broad sense, the earliest translation in the west is the Greek translation of the Old Testament by seventy people; strictly speaking, the first translation is Homer's epic Odyssey translated by Andronicus in Rome in Latin. Both the former and the latter began in the third century BC and has a history of more than 2000 years. It is an important part of the whole European development history.(Tan 1985,36)--[[User:Zhang Xueyi|Zhang Xueyi]] ([[User talk:Zhang Xueyi|talk]]) 04:14, 19 December 2020 (UTC)&lt;br /&gt;
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====3.1 The first stage : Ancient====&lt;br /&gt;
Ancient translation mainly revolved around the Greek translation and Latin translation of the &amp;quot;The Bible. Old Testament&amp;quot; from the third century BC to the sixth century AD. Translation in this period can be divided into the first stage of ancient Greek literature translation and the second stage of religious translation.At the end of the fourth century BC, the Greek slave society began to decline, while the relatively backward Rome gradually became stronger.At this time, Greece has a certain cultural foundation and is still superior to Roman culture. Therefore, Greek culture has a greater attraction to Roman culture. (Tan 1985,36)&lt;br /&gt;
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Ancient translation mainly revolves around the Greek translation and Latin translation of the Old Testament from the third century BC to the sixth century AD. Translation in this period can be divided into the first stage of ancient Greek literature translation and the second stage of religious translation. At the end of the fourth century B.C., the powerful Greek slave society began to decline, while the less developed Rome gradually became stronger. At this time, Greece had a certain cultural foundation and was still superior to Roman culture. Therefore, Greek culture has a greater attraction to Roman culture. (Tan 1985,36)--[[User:Zhang Xueyi|Zhang Xueyi]] ([[User talk:Zhang Xueyi|talk]]) 05:02, 19 December 2020 (UTC)&lt;br /&gt;
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The translation and introduction of Greek culture may begin in this period.It was only in the middle of the third century BC that recorded translations began to appear. Andronicus, Neveus, Ennius, and other excellent translators, who are known as the three ancestors of Roman literature, have translated a large number of Greek dramas in Latin.This large-scale translation first opened the situation of local translation in Europe. It spread Greek culture to Rome, promoted the development of Roman culture, and served as an important bridge for Rome and later generations to inherit ancient Greek literature.(Tan 1985,36)&lt;br /&gt;
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The introduction of Greek culture may have begun in this period. It was not until the middle of the third century B.C. that translation of written records began to appear. Andronicus, Nevius and enius, known as the three great originators of Roman literature, and other excellent translators have translated a large number of Greek drama works in Latin. This large-scale translation first opened up the situation of European local translation. It introduced Greek culture to Rome, promoted the development of Roman culture, and played an important role in the inheritance of ancient Greek literature by Rome and later generations of Europe.(Tan 1985,36)--[[User:Zhang Xueyi|Zhang Xueyi]] ([[User talk:Zhang Xueyi|talk]]) 05:02, 19 December 2020 (UTC)&lt;br /&gt;
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The translation activities in the fourth to sixth centuries AD were mainly religious translation.In Europe, religious forces have always been strong and stubborn. From the very beginning, the Christian Church was hostile to secular literature, and tried to develop a religious culture that served its own interests.As the source of Christian thought and spiritual weapon, the &amp;quot;Bible&amp;quot; has naturally become the most concerned classic in the religious world.In 384 AD, Jerome was entrusted by the Roman Pope to compile a translation called &amp;quot;The New Testament&amp;quot;, which marked that the translation of the &amp;quot;Bible&amp;quot; had achieved an important position on par with the translation of secular literature.As Europe entered feudal society, religious translation was popularized, and the Bible was translated into various languages one after another.（Tan 2004,79）&lt;br /&gt;
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The translation activities from the fourth century to the sixth century were mainly religious in nature. In Europe, religious forces have always been strong and stubborn. From the beginning, the Christian Church was hostile to secular literature and tried its best to develop religious culture serving its own interests. As the source and spiritual weapon of Christianity, the Bible has naturally become the most concerned classic in religious circles. In 384 A.D., Jerome, entrusted by the Pope, compiled a translation of the New Testament, that is, the universal Bible. This indicates that the translation of the Bible has achieved the same important status as the translation of secular literature. As Europe entered the feudal society, religious translation got more market, and the Bible was translated into various languages.（Tan 2004,79）--[[User:Zhang Xueyi|Zhang Xueyi]] ([[User talk:Zhang Xueyi|talk]]) 05:02, 19 December 2020 (UTC)&lt;br /&gt;
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====3.2 The second stage : Middle Ages====&lt;br /&gt;
In the Middle Ages, Latin translation was no longer limited to religious documents. Eastern literature was translated and introduced to the East. The achievements of Arabic academic research promoted the development of Western translation.At that time, Western translators gathered in Toledo, Spain, and translated a large number of works from Arabic to Latin. This is the rare closely contact between Christians and Muslims in history.(Tan 2004,64)In the ninth and tenth centuries, Syrian scholars went to Athens to translate a large number of Greek classics into Syrian and brought them back to Baghdad. Baghdad established an important translation center, and many Greek classical works were translated into Arabic.Later, in the eleventh century, a large number of Arabic works appeared in Toledo. Translators translated these works into Latin. Toledo gradually became an academic center and translation center, becoming a &amp;quot;Translation Museum&amp;quot; similar to Baghdad. His translation and academic activities lasted for a hundred years, and the impact was also great.&lt;br /&gt;
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In the middle ages, Latin translation was no longer limited to religious documents. Oriental literature was translated and introduced to the East. The achievements of Arab academic research promoted the development of western translation. At that time, western translators gathered in Toledo, Spain, and translated a large number of works from Arabic to Latin. This is a rare friendly contact between Christians and Muslims in history. In the ninth and tenth centuries, Syrian scholars went to Athens to translate a large number of Greek classics into ancient Syrian and brought them back to Bagdad. Bagdad became an important translation center, and many Greek classics were translated into Arabic. Later, in the 11th century, a large number of Arabic works appeared in Toledo. Translators translated these works into Latin. Toledo gradually became an academic and Translation Center, and became a &amp;quot;Translation Institute&amp;quot; similar to Bagdad. Its translation and academic activities lasted for a hundred years and had a great influence.--[[User:Zhang Xueyi|Zhang Xueyi]] ([[User talk:Zhang Xueyi|talk]]) 05:04, 19 December 2020 (UTC)&lt;br /&gt;
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====3.3 The third stage :The Renaissance Period====&lt;br /&gt;
In the 14-16th century, the Renaissance took place in Europe. It was a great movement of ideological and literary innovation, and a great development in the history of Western translation. The translation practice and theoretical research of Western countries did not make a real leap until the Renaissance.During the Renaissance, Western translators constantly discovered new literary fields, unearthed new cultural heritage, and transplanted new ideas to the mainland. Translation at this time went deep into various fields such as ideology, politics, philosophy, literature, and religion, and involved some major works in ancient, modern and contemporary times.Translation in this period played an important role in the formation of national languages, marking the consolidation of the status of national languages in translation.(Tan 1985,37)&lt;br /&gt;
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From the 14th to the 16th century, the Renaissance movement took place in Europe. It was a great movement of Ideological and literary innovation and a great development in the history of western translation. The translation practice and theoretical research of western countries did not make a real leap until the Renaissance. During the Renaissance, western translators constantly found new literary fields, excavated new cultural heritages and transplanted new ideas to their native land. At this time, translation went deep into the ideological, political, philosophical, literary, religious and other fields, involving some of the main works of ancient, modern and contemporary. Translation in this period played an important role in the formation of national languages, which marked the consolidation of the status of national languages in translation.(Tan 1985,37)--[[User:Zhang Xueyi|Zhang Xueyi]] ([[User talk:Zhang Xueyi|talk]]) 05:07, 19 December 2020 (UTC)&lt;br /&gt;
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In Germany, Martin Luther created a precedent for the Reformation. His translation of the &amp;quot;Bible&amp;quot; through the people's language laid the foundation for the later standardization and standardization of German and played an important role in the unification of German.In France, &amp;quot;Celebrity biography&amp;quot; translated by the writer Amyot became an immortal literary translation in the history of translation in France and the entire West.In the United Kingdom, the translation of Greco-Roman history and literary works provided important historical materials and new ideological resources for the formation of an autocratic monarchy in the United Kingdom, which promoted the occurrence of the British bourgeois revolution and promoted Britain to become a modern nationalized country earlier.(Tan 1985,37)&lt;br /&gt;
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In Germany, Martin Luther King pioneered the religious reform. He translated the Bible through the people's language, which laid the foundation for the standardization and standardization of German, and played an important role in the unification of German. In France, the famous man translated by amio became an immortal literary translation in French and even the whole western translation history The translation of the history and literary works of Greece and Rome provided important historical materials and new ideological resources for the formation of autocratic monarchy in Britain, contributed to the occurrence of the British bourgeois revolution and made Britain earlier embark on the road of modern nationalization.(Tan 1985,37)--[[User:Zhang Xueyi|Zhang Xueyi]] ([[User talk:Zhang Xueyi|talk]]) 05:07, 19 December 2020 (UTC)&lt;br /&gt;
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All in all, the ideological liberation movement of the Renaissance in Europe around 1500 had a profound and long-term impact on Europe, especially Western European society, and cultural translation played a crucial role as a bridge in this ideological liberation movement. It also shows that translation plays a huge role in the formation and development of national language, literature and thought.(Tan 1985,37)&lt;br /&gt;
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In a word, the Renaissance around 1500 AD had a profound and long-term impact on Europe, especially the Western European society. Cultural translation played an important role in the ideological liberation movement. At the same time, it also showed that translation played an important role in the formation and development of national language, literature and thought.(Tan 1985,37)--[[User:Zhang Xueyi|Zhang Xueyi]] ([[User talk:Zhang Xueyi|talk]]) 05:07, 19 December 2020 (UTC)&lt;br /&gt;
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====3.4 The fourth stage :Since the end of the Second World War====&lt;br /&gt;
After the Second World War, the West entered a relatively stable period of peace, the economy was restored, production was secured, and science and technology developed rapidly. These are important material foundations for the development and progress of translation.(Tan 1985,37)Compared with the past, translation in the new period has undergone great changes. First, the scope of translation has been expanded. Traditional translation mainly focused on literary and religious works, while translation during this period expanded to the fields of technology and business.Second, the scale of translation is much larger than before. In the past, translation was mainly the work of a few high-level intellectuals. &lt;br /&gt;
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After the Second World War, the West entered a relatively stable period of peace. The economy was restored, production was guaranteed, and science and technology developed rapidly. These are the important material basis for the development and progress of translation. Compared with the past, translation in the new era has changed a lot. First of all, the scope of translation has been expanded. Traditional translation mainly focused on literary and religious works, while translation in this period expanded to the fields of science and technology and commerce. Secondly, the scale of translation is much larger than before. In the past, translation was mainly the work of a few senior intellectuals.--[[User:Zhang Xueyi|Zhang Xueyi]] ([[User talk:Zhang Xueyi|talk]]) 05:11, 19 December 2020 (UTC)&lt;br /&gt;
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Nowadays, translation has become a profession, and there is even a professional team that has been specially trained.Third, the role of translation has also been enhanced, especially with the establishment of the European Community and the European Union, the process of globalization has accelerated, and the communication activities between countries are realized through translation. Therefore, translation plays a very important role in the economy, culture, science and technology of western countries.(Tan 2004,80)&lt;br /&gt;
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Nowadays, translation has become a profession, and there are even professional teams with special training. Moreover, the role of translation has also been enhanced, especially with the establishment of the European Community and the European Union, the process of globalization has been accelerated, and the communication activities between countries are realized through translation. Therefore, translation plays an important role in the economy, culture, science and technology of western countries.(Tan 2004,80)--[[User:Zhang Xueyi|Zhang Xueyi]] ([[User talk:Zhang Xueyi|talk]]) 05:11, 19 December 2020 (UTC)&lt;br /&gt;
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The form of translation during this period has also undergone great changes, such as the strengthening of the professionalization of the translation business, the establishment of higher translation education and the training of professional translators.Especially the way of translation has broken the tradition, and machine translation has been developed and popularized.Since English and American scholars first discussed the possibility of using computers for translation in 1946, the development and application of translation machines have increasingly shown vitality after nearly 40 years of tortuous development. It is a challenge to traditional manual translation for thousands of years, and it is also a revolution of far-reaching significance in the history of translation.(Tan 2004,80)&lt;br /&gt;
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During this period, the forms of translation also changed greatly, such as the enhancement of the degree of specialization in translation, the establishment of higher translation education and the cultivation of professional translators. In particular, the way of translation has broken the tradition, and machine translation has been developed and popularized. Since the British and American scholars first discussed the possibility of using computers for translation in 1946, the development and application of translation machines have gradually shown their vitality after nearly 40 years of tortuous process. It is not only a challenge to the traditional manual translation for thousands of years, but also a revolution with far-reaching significance in the history of translation.(Tan 2004,80)--[[User:Zhang Xueyi|Zhang Xueyi]] ([[User talk:Zhang Xueyi|talk]]) 05:11, 19 December 2020 (UTC)&lt;br /&gt;
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===Ⅳ.Comparison between the History of Chinese and Western Translation===&lt;br /&gt;
====4.1 Commonality====&lt;br /&gt;
Through the introduction of the Chinese translation history and the Western translation history in the above two chapters, it is not difficult to find that there are some similarities between the translation concepts and the evolution process of the two, especially the laws of evolution of the Chinese and Western translation concepts are very similar.&lt;br /&gt;
First of all, the initiation and development of large-scale Chinese and Western translation activities are closely related to the translation of religious documents.In the West it is the translation of the Bible, while in China it is the translation of Buddhist classics.(Xie 2010,5)&lt;br /&gt;
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Through the introduction of the history of Chinese translation and that of western translation in the above two chapters, it is not difficult to find that there are some similarities between the two in terms of translation concepts and the evolution process, especially the evolution laws of Chinese and western translation concepts are very similar.&lt;br /&gt;
First of all, the initiation and development of large-scale translation activities in China and the West are closely related to the translation of religious documents. In the west, it is the translation of the Bible, while in China it is the translation of Buddhist classics.(Xie 2010,5)--[[User:Zhang Xueyi|Zhang Xueyi]] ([[User talk:Zhang Xueyi|talk]]) 05:17, 19 December 2020 (UTC)&lt;br /&gt;
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In my opinion, this commonality is the origin of translation concepts such as &amp;quot;original supremacy&amp;quot; and &amp;quot;faithful original text&amp;quot; that have dominated the Chinese and Western translation circles for two thousand years.(Xie 2010,5)Looking back at history, when Chinese and Western ancient translators were translating these religious documents, they must be pious and absolutely faithful to the original text to translate word by word, lest they would distort the will of God and the teachings of the Buddha.Until the 1950s, due to the advent of the era of professional translation, the target of translation has evolved from religious documents and literary masterpieces to non-literary practical documents such as economy, technology, business, and entertainment. Since then, translation Views have been greatly changed.(Xie 2010,5)&lt;br /&gt;
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In my opinion, this commonality is the origin of the two thousand year old translation concepts of &amp;quot;the original is supreme&amp;quot; and &amp;quot;faithful to the original&amp;quot;. Looking back on history, when translators in ancient China and the West translated these religious documents, they must have a kind of piety and absolute loyalty to the original text to translate word for word, for fear of distorting God's will and Buddha's teachings. Until the 1950s, due to the advent of the era of professional translation, the target of translation has changed from religious literature and literary masterpieces to non literary practical literature, such as economy, science and technology, commerce, entertainment, etc. The focus of translation has changed from the original text to the reader.(Xie 2010,5)--[[User:Zhang Xueyi|Zhang Xueyi]] ([[User talk:Zhang Xueyi|talk]]) 05:17, 19 December 2020 (UTC)&lt;br /&gt;
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Secondly, both in China and in the West, translation has played an important role in disseminating knowledge.When we compare the contribution of Chinese and Western translation in spreading knowledge together, this effect is further demonstrated.In the West, backward Rome developed rapidly due to the absorption of advanced Greek culture and became the later Roman Empire.In the Middle Ages, after the Baghdad Translation Center, the translation activities of the &amp;quot;Translation Museum&amp;quot; in Toledo, Spain.The translators provided a source of learning for the Western world by translating ancient Greek and Roman natural science works, philosophy and other classics translated by the Arabs into Latin, as well as the Arabs' own academic works.(Xie 2009,47)&lt;br /&gt;
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Secondly, both in China and in the West, translation has played an important role in disseminating knowledge.When we compare the contribution of Chinese and Western translation in spreading knowledge together, this effect is further demonstrated.In the West, backward Rome developed rapidly due to the absorption of advanced Greek culture and became the later Roman Empire.In the Middle Ages, after the Baghdad Translation Center, the translation activities of the &amp;quot;Translation Museum&amp;quot; in Toledo, Spain.The translators provided a source of learning for the Western world by translating ancient Greek and Roman natural science works, philosophy and other classics translated by the Arabs into Latin, as well as the Arabs' own academic works.(Xie 2009,47)--[[User:Zhang Xueyi|Zhang Xueyi]] ([[User talk:Zhang Xueyi|talk]]) 05:17, 19 December 2020 (UTC)&lt;br /&gt;
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It is through these classical classics that Western talents began to come into contact with a large number of classical cultures and promoted the Renaissance. Its influence is reflected in all aspects of art, philosophy, literature, music, science and technology, politics, religion, and intellectual inquiry.For China, a large number of Buddhist scriptures from the Western Regions to China from the Han Dynasty to the Song Dynasty opened up the history of Chinese translation.The translation of science and technology at the end of the Ming Dynasty and the beginning of the Qing Dynasty was also influential in disseminating Western science and technology literature and promoting the development of China's natural science and engineering technology.(Xie 2009,47)&lt;br /&gt;
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It is through these classical classics that Western talents began to come into contact with a large number of classical cultures and promoted the Renaissance. Its influence is reflected in all aspects of art, philosophy, literature, music, science and technology, politics, religion, and intellectual inquiry.For China, a large number of Buddhist scriptures from the Western Regions to China from the Han Dynasty to the Song Dynasty opened up the history of Chinese translation.The translation of science and technology at the end of the Ming Dynasty and the beginning of the Qing Dynasty was also influential in disseminating Western science and technology literature and promoting the development of China's natural science and engineering technology.(Xie 2009,47)--[[User:Zhang Xueyi|Zhang Xueyi]] ([[User talk:Zhang Xueyi|talk]]) 05:17, 19 December 2020 (UTC)&lt;br /&gt;
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In particular, the literary translation from the Opium War to the &amp;quot;May 4th&amp;quot; period was the dividing line of modern translation history. The translation from the field of science and technology gradually spread to the fields of literature, philosophy, economics, sociology, ethics, etc. In the new stage of translation, the scale and influence of its translation activities have exceeded any period in modern times.Since China's reform and opening up, translation has played a role in promoting communication between China and various countries. The development of the globalization process cannot be separated from the bridge and hub of translation.(Xie 2010,5)&lt;br /&gt;
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In particular, the literary translation from the Opium War to the &amp;quot;May 4th&amp;quot; period was the dividing line of modern translation history. The translation from the field of science and technology gradually spread to the fields of literature, philosophy, economics, sociology, ethics, etc. In the new stage of translation, the scale and influence of its translation activities have exceeded any period in modern times.Since China's reform and opening up, translation has played a role in promoting communication between China and various countries. The development of the globalization process cannot be separated from the bridge and hub of translation.(Xie 2010,5)--[[User:Zhang Xueyi|Zhang Xueyi]] ([[User talk:Zhang Xueyi|talk]]) 05:17, 19 December 2020 (UTC)&lt;br /&gt;
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Third, the role of translation in the establishment and development of national languages in various countries has some obvious commonalities in both the West and China.In the West, Martin Luther's Bible translation has played a very important role in the unification and development of German and modern German.The English translation of the &amp;quot;Bible&amp;quot; also contributes significantly to enriching English vocabulary and expressive means.As for China, Buddhist translation has enriched Chinese vocabulary, especially literary translation during the May Fourth Movement, which promoted the establishment and development of modern Chinese vernacular.The translation in the new era has also enriched the vocabulary to a certain extent.For example, the Chinese &amp;quot;人山人海&amp;quot; translates into English as &amp;quot;people mountain people sea&amp;quot;, and it is even included in the English dictionary.(Xie 2010,5)&lt;br /&gt;
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Thirdly, the role of translation in the establishment and development of national languages of different countries has some obvious similarities in the West and China. In the west, Martin Luther's Bible translation plays a very important role in the unification and development of German as well as modern German. The English translation of the Bible also contributes significantly to enriching English vocabulary and means of expression. As for China, Buddhist translation enriched Chinese vocabulary, especially literary translation during the May 4th movement, and promoted the establishment and development of modern Chinese vernacular. And now the new era of translation, to a certain extent, has enriched the vocabulary. For example, the Chinese word &amp;quot;人山人海&amp;quot; is translated into English as &amp;quot;people mountain people sea&amp;quot;, even included in the English dictionary.(Xie 2010,5)--[[User:Zhang Xueyi|Zhang Xueyi]] ([[User talk:Zhang Xueyi|talk]]) 05:17, 19 December 2020 (UTC)&lt;br /&gt;
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Finally, regardless of Chinese and Western, translation also plays a vital role in conveying foreign social and cultural values.(Xie 2010,5)In the West, for example, the excavation, dissemination and development of the spirit of humanism during the Renaissance were largely due to the translation of ancient Greek and Roman classics.In China, Li Zhizao, Xu Guangqi and others' translations of Western social science masterpieces in the late Ming and early Qing dynasties broadened the horizons of the Chinese people and promoted the modernization of China.During the May Fourth Movement, Yan Fu, Lu Xun and others' translations of Western literature and dramas refreshed the Chinese worldview, increased the Chinese people's knowledge, and played a good catalytic role in modern intellectual circles.&lt;br /&gt;
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Finally, both Chinese and western, translation plays an important role in transmitting foreign social and cultural values. In the west, for example, during the Renaissance, the excavation, dissemination and development of humanistic spirit benefited greatly from the translation of ancient Greek and Roman classics. In China, Li Zhizao and Xu Guangqi's translation of western social science masterpieces at the end of Ming and early Qing Dynasty broadened the horizon of Chinese people and promoted the process of China's modernization. In addition, the translation of Western literature and drama works by Yan Fu and Lu Xun during the May 4th Movement refreshed the Chinese people's world outlook, increased the Chinese people's insight, and played a good catalytic role in the modern ideological circle.--[[User:Zhang Xueyi|Zhang Xueyi]] ([[User talk:Zhang Xueyi|talk]]) 05:17, 19 December 2020 (UTC)&lt;br /&gt;
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====4.2 Difference====&lt;br /&gt;
The last section elaborated from four aspects that the evolutionary laws of Chinese and Western translation history are very similar. Of course, the development of Chinese and Western translation history has its own unique performance, not only in the development period and nodes, but also in certain These aspects are even far apart.&lt;br /&gt;
Although the initiation and development of large-scale Chinese and Western translation activities are closely related to the translation of religious documents, the status of Buddhism in Chinese and Western social and political life is different.Religion plays an extremely important role in Western society.(Xie 2009,51)&lt;br /&gt;
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In the last section, the author expounds that the evolution of Chinese and western translation history is very similar from four aspects. Of course, the development of Chinese and western translation history has its own unique performance, not only in the development period and node, but also in some aspects it is quite different.&lt;br /&gt;
Although the initiation and development of large-scale translation activities in China and the West are closely related to the translation of religious documents, the status of Buddhism in Chinese and western social and political life is different. Religion plays an important role in western society.(Xie 2009,51)--[[User:Zhang Xueyi|Zhang Xueyi]] ([[User talk:Zhang Xueyi|talk]]) 05:24, 19 December 2020 (UTC)&lt;br /&gt;
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In Western Christian society, God is not only the creator and nurturer of the universe and mankind, but also the maker and arbitrator of the political and ethical order of the world. Is the primary source of Western moral standards.Therefore, the importance of &amp;quot;Bible&amp;quot; translation can be imagined.In China, imperial power is greater than divine power. Monarchs profess themselves to be the emperor, exercise power by the mandate of heaven, and enjoy supreme authority.Religion can only be spread and developed under the support and use of imperial power. Its essence is actually a tool to maintain rule, and it has never become a religious behavior for the whole people.(Xie 2009,51)&lt;br /&gt;
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In the Western Christian society, God is not only the creator and nurturer of the universe and human beings, but also the maker and arbiter of the political and ethical order of the world. The Bible is the primary source of western moral standards. Therefore, the importance of Bible translation can be imagined. In China, the imperial power is greater than the divine power. The monarch claims to be the son of heaven and exercises power according to the mandate of heaven and enjoys supreme authority. Religion can be spread and developed only when it is supported and utilized by the imperial power. Its essence is the tool to maintain the rule and has never become a religious act of the whole people.(Xie 2009,51)--[[User:Zhang Xueyi|Zhang Xueyi]] ([[User talk:Zhang Xueyi|talk]]) 05:24, 19 December 2020 (UTC)&lt;br /&gt;
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In Chinese history, religion was never allowed to harm the ethical principles of feudal rule. Once harm occurred, it would be banned and eliminated.The extermination of Buddhism in the history of Chinese Buddhism and the &amp;quot;Chinese Etiquette Controversy&amp;quot; in the history of modern Chinese Catholicism are typical features.Therefore, the influence of Chinese Buddhist scripture translation is more in folk culture, and the effect of its influence is more manifested in a subtle form.For example, the change of world outlook, the penetration of language, the borrowing of the plots of Buddhist classics in literary works, and so on.Moreover, Chinese society uses blood as a bond and family as a unit. It is the blood relationship that closely connects family members.Festivals and weddings and funerals are always carried out on a family or family basis, not under the auspices of the church as in the West.(Xie 2010,6)&lt;br /&gt;
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In Chinese history, religion was never allowed to do harm to the ethics of feudal rule. Once it did, it would be banned and eliminated. The &amp;quot;three martial arts and one sect&amp;quot; in the history of Chinese Buddhism and the &amp;quot;Chinese etiquette dispute&amp;quot; in the history of modern Chinese Catholicism are typical features. Therefore, the influence of Buddhist Scripture Translation in China exists more in folk culture, and its influence is more embodied in a subtle form, such as the change of world outlook, the infiltration of language, the borrowing of Buddhist Classic public viewing plot in literary works and so on. Moreover, Chinese society takes blood relationship as the link and family as the unit. It is blood relationship that closely connects family members. Festivals, weddings and funerals are always carried out in family or family units, rather than under the auspices of the church in the West.(Xie 2010,6)--[[User:Zhang Xueyi|Zhang Xueyi]] ([[User talk:Zhang Xueyi|talk]]) 05:24, 19 December 2020 (UTC)&lt;br /&gt;
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On the other hand, due to the differences in national characteristics between China and the West, the Chinese nation is more pragmatic, focusing on physical and mental cultivation, ethics and morality, paying attention to whether translation theory has practical effects, whether it can guide translation practice and solve various problems encountered in the translation process.(Xie 2010,6)The Western Christian culture and my country's Confucianism have formed a sharp contrast in this respect.Westerners influenced by Christian thought have a strong pioneering and innovative national character. They advocate speculation and pay more attention to the abstract, systematic and systematic nature of translation theories.&lt;br /&gt;
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On the other hand, due to the differences in national characteristics between China and the west, the Chinese nation is more pragmatic, focusing on physical and mental cultivation and ethics, focusing on whether translation theory has practical effect, whether it can guide translation practice and solve various problems encountered in the process of translation. The Western Christian culture has formed a sharp contrast with China's Confucianism in this respect. They are more thoughtful and systematic in their thinking and systematic in translation.--[[User:Zhang Xueyi|Zhang Xueyi]] ([[User talk:Zhang Xueyi|talk]]) 05:24, 19 December 2020 (UTC)&lt;br /&gt;
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They believe that the focus is on describing what kind of theory exists behind translation practice, and how to understand and interpret translation from a theoretical perspective.This makes the development path of the two translation theories different.If there were many similarities in the concepts and characteristics of Chinese and Western translation activities before the 1950s, then the differences in the development trends of the two translation theories in the later stages, especially from the end of the 19th century, became larger and larger.Western translation theories have been systematized earlier.(Xie 2010,6) &lt;br /&gt;
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They think that the key point is to describe what kind of theory exists behind the practice of translation, and how to understand translation and explain translation from the perspective of theory. This makes the development path of the two translation theories different. If there are still many similarities in the concepts and characteristics of translation activities between China and the west before the 1950s, the differences in the development trend of translation theories between the two countries will be more and more obvious in the later stage, especially from the end of the 19th century: the western translation theories have realized systematization earlier.(Xie 2010,6)--[[User:Zhang Xueyi|Zhang Xueyi]] ([[User talk:Zhang Xueyi|talk]]) 05:24, 19 December 2020 (UTC)&lt;br /&gt;
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Any research is carried out under the guidance of a certain theory, and the results of related disciplines are fully used to make the connotation (translation standard itself) and extension (research method) of translation standards become truly pluralistic. Which embodies a strong scientific spirit.However, Chinese translation theories have remained at the level of translation practice experience perception for a long time, which is largely subjective.In particular, the proponents of traditional translation theory pay attention to the unspoken artistic conception, giving people more space for association and comprehension, but they cannot make precise regulations for translation practice, which is implicit.(Xie 2010,6)&lt;br /&gt;
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Any research is carried out under the guidance of certain theories, and the achievements of relevant disciplines are fully utilized to make the connotation (translation standard itself) and extension (research method) of translation standards become truly diversified, which reflects the strong spirit of scientism. However, for a long time, Chinese translation theory has remained at the level of translation practice experience and perception, which makes subjective feelings to a great extent. In particular, the advocates of traditional translation theories pay attention to the artistic conception of &amp;quot;everything in silence&amp;quot; and give people more space for association and comprehension, but they can not make precise regulations for translation practice, which is implicit.(Xie 2010,6)--[[User:Zhang Xueyi|Zhang Xueyi]] ([[User talk:Zhang Xueyi|talk]]) 05:24, 19 December 2020 (UTC)&lt;br /&gt;
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===Ⅴ.conclusion===&lt;br /&gt;
It is precisely based on the above-mentioned understanding of the history of Chinese and Western translation from different aspects that &amp;quot;similarities have differences, and differences have similarities&amp;quot;, so I think that the history of Chinese and Western translation development should be described, analyzed and sorted in the same framework. It is possible.In this way, we can not only emphasize the common ground in the development of Chinese and Western translation, find the rules among them, but also show the uniqueness of the development of the two.&lt;br /&gt;
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Based on the above understanding of the history of Chinese and western translation from different aspects, I think it is possible to describe, analyze and sort out the history of Chinese and western translation in the same framework. By doing so, we can not only emphasize the common points in the development of Chinese and western translation, but also find out the rules of them. At the same time, we can show their own uniqueness in the process of development.--[[User:Zhang Xueyi|Zhang Xueyi]] ([[User talk:Zhang Xueyi|talk]]) 05:28, 19 December 2020 (UTC)&lt;br /&gt;
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This article adopts the method of compiling parallel narratives based on synchronic presentation, supplemented by diachronic combing, combining two seemingly unrelated development contexts in the history of Chinese and Western translation, and analyzing and describing them as a whole.And the development stages of Chinese and Western translation history are divided into stages according to the mainstream translation objects of the specific era, and then the internal laws of the evolution of Chinese and Western translation concepts are explored and revealed.&lt;br /&gt;
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This paper adopts the method of synchronic parallel narration and diachronic combing to combine the two seemingly unrelated development threads of Chinese and western translation history as a whole, analyzes and describes the development stages of Chinese and western translation history according to the mainstream translation objects in specific times, and explores and reveals them It shows the internal law of the evolution of Chinese and western translation concepts.--[[User:Zhang Xueyi|Zhang Xueyi]] ([[User talk:Zhang Xueyi|talk]]) 05:28, 19 December 2020 (UTC)&lt;br /&gt;
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Generally speaking, translation and culture are inseparable, whether religious, political, or literary, they all grow up in the soil of culture.(Chen 2016,1)In the process of understanding Chinese and Western translation history, people also feel the cultural collision.Not only in the long history of the past, but in the 21st century today, translation is a bridge and a link between countries, and an indispensable existence in people's social, political, and economic life. At the same time, translation is also an art. Through translating works, we not only understand the beauty of each country's culture, but also realize that translation is originally an art.&lt;br /&gt;
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Generally speaking, translation and culture are inseparable. Whether religious, political or literary, they all grow up in the soil of culture. In the process of understanding the history of Chinese and western translation, people also feel the cultural collision. Not only in the long history of the past, but also in today's 21st century, translation is a bridge and link between countries and an indispensable existence in people's social, political and economic life. At the same time, translation is also an art. Through translating works, we can not only understand the beauty of each country's culture, but also realize that translation is also an art.--[[User:Zhang Xueyi|Zhang Xueyi]] ([[User talk:Zhang Xueyi|talk]]) 05:28, 19 December 2020 (UTC)&lt;br /&gt;
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Translation is a rigorous and extensive academic science. Various forms of cultural exchanges between Chinese and Western languages, literature, philosophy, and religion require not only artistic performance, but also rigorous academic attitudes and systematic theories to support.Translators and scholars from different countries, languages and cultures have contributed their outstanding talents and wisdom in the field of translation. They have studied and published a wealth of academic theories and skills in translation studies from different perspectives, which have promoted the progress and development of society.&lt;br /&gt;
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Translation is a rigorous and extensive academic science. Chinese and western language, literature, philosophy, religion and other forms of cultural exchange, not only need artistic expression, but also need rigorous academic attitude and systematic theory to support. Translators and scholars from different countries, languages and cultures have contributed their outstanding talents and wisdom in the field of translation. They have studied and published a wealth of translation academic theories and skills from different perspectives, which has promoted the progress and development of society.--[[User:Zhang Xueyi|Zhang Xueyi]] ([[User talk:Zhang Xueyi|talk]]) 05:28, 19 December 2020 (UTC)&lt;br /&gt;
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===References===&lt;br /&gt;
Chen Fang 陈芳.(2016).西方翻译史的文化演进——评《西方翻译简史》[The Cultural Evolution of Western Translation History——A Review of &amp;quot;A short history of translation in the West&amp;quot;].当代教育学(06)Contemporary Education(2).&lt;br /&gt;
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Gong Yicai 龚亿财.(2020).论翻译在第三次翻译高潮中的特点及社会功能[On the features and social functions of translation in the third translation climax].吉林广播电视大学学报(Total No.217)Journal of Jilin Radio and TV University.&lt;br /&gt;
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Li Yin 李颖.(2016).从翻译史上的几个重要时期看中国翻译理论与实践的发展[Viewing the development of Chinese translation theory and practice from several important periods in the history of translation].湖北经济学院学报(Vol13 No.10)Journal of Hubei University of Economics.&lt;br /&gt;
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Liu Qiaoling 刘巧玲.(2016).从中国翻译史的四次高潮看主要译论及读者影响[Main translation theories and readers' influence from the four climaxes of Chinese translation history].黑龙江生态工程职业学院学报(Vol.29 No.5)Journal of Heilongjiang Vocational Institute of Ecological Engineering.&lt;br /&gt;
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Ma Zuyi. 马祖毅. (1998). 中国翻译简史-“五四”以前部分（修订本） [A Brief History of Chinese Translation: The Part Before the May 4th Movement] . China Translation Corporation中国对外翻译出版公司.&lt;br /&gt;
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Tan Zaixi 谭载喜.(1985).西方翻译史浅谈[On the history of Western translation].中国翻译(07)Chinese Translation(36-39).&lt;br /&gt;
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Tan Zaixi 谭载喜.(2004).西方翻译简史[A short history of translation in the West].商务印书馆The Commercial Press of Hongkong.&lt;br /&gt;
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Xu Jun许钧.(2018.06)改革开放以来中国翻译研究的发展之路[The development of Chinese translation studies since reform and opening up].Chinese Traslation Journal.&lt;br /&gt;
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Xie Tianzhen 谢天振.(2009)中西翻译简史[A brief history of Chinese and Western translation].外语教学与研究出版社Foreign Language Teaching and Research Press.&lt;br /&gt;
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Xie Tianzhen 谢天振.(2010)中西翻译史整体观探索[An exploration of the holistic view of Chinese and Western translation history].东方翻译(02)East Journal of Translation(4-8).&lt;br /&gt;
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='''Literal and Free Translation'''=&lt;br /&gt;
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==Rethink Literal and Free Translation	彭永亮	Peng Yongliang==&lt;br /&gt;
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&amp;lt;center&amp;gt; 彭永亮 Peng Yongliang 202020080634 &amp;lt;/center&amp;gt;&lt;br /&gt;
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===Abstract===&lt;br /&gt;
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Literal translation and free translation are a pair of very important concepts in translation studies, which run through the development of translation theory. Starting from Chinese and Western translation theories, this manuscript clarifies the similarities and differences between literal translation and free translation, and compares the differences in translation methods and strategies. Literal translation and free translation in translation strategies are connected with the concept of domestication and foreignization. Here, this manuscript introduces how the concept of domestication and foreignization enters Chinese translation theory from Western translation theories, and compares them. The nature and characteristics of these two pairs of concepts. This manuscript believes that literal translation and free translation are not only a question of translation methods or translation strategies, but at a strategic level, they have risen to a question of domestication and foreignization. In essence, there is no distinction between good and bad.&lt;br /&gt;
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=== Key Words===&lt;br /&gt;
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Literal translation;Free translation;Domestication;Foreignization&lt;br /&gt;
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===题目===&lt;br /&gt;
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直译与意译，归化与异化&lt;br /&gt;
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=== 摘 要 ===&lt;br /&gt;
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直译与意译是翻译学中非常重要的一对概念，贯穿翻译理论的发展过程。本稿从中西翻译理论出发，厘清直译与意译这对概念的异同，并比较了其在翻译方法和翻译策略中的区别。在翻译策略中的直译和意译又与归化和异化这一对概念产生了联系，在这里，本稿在介绍归化与异化这一对概念如何从西方翻译理论进入中国翻译理论的同时，比较了这两对概念的性质与特征。本稿认为，直译和意译不仅是翻译方法或翻译策略的问题，在战略层次上其上升为归化和异化的问题，它们本质上没有优劣之分。&lt;br /&gt;
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=== 关键词 ===&lt;br /&gt;
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直译；意译；归化；异化&lt;br /&gt;
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===0. Introduction===&lt;br /&gt;
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Literal translation and free translation are a pair of important terms in Chinese and Western translation theories. The discussion of literal translation and free translation is a common phenomenon in Chinese and Western translation theories, which runs through the entire process of translation theory. To a certain extent, literal translation and free translation seem to have become very natural categories, so there is no need to specifically define these two concepts in the discussion. Take the term &amp;quot;literal translation&amp;quot; used in Chinese translation theory as an example. From the &amp;quot;Six Examples of Scripture Translation&amp;quot; recorded in &amp;quot;Song Gaoseng Biography&amp;quot;, it can be seen that the concept of &amp;quot;literal translation&amp;quot; in traditional translation theories was first opposed to &amp;quot;retranslation&amp;quot; , Refers to the translation method of translating the scriptures directly from the Sanskrit version. The concept of &amp;quot;literal translation&amp;quot; that frequently appears in modern and contemporary translation theories is at least related to the following three different western translation theory terms, namely &amp;quot;word-for-word translation&amp;quot;, &amp;quot;literal translation&amp;quot; and &amp;quot;inter lineal translation&amp;quot;. In this way, there is a fundamental difference between &amp;quot;literal translation&amp;quot; as the concept of &amp;quot;implantation&amp;quot; and the concept of literal translation in traditional Chinese translation theories. Therefore, there are different understandings of the term &amp;quot;literal translation&amp;quot;.&lt;br /&gt;
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In fact, the understanding of the concept often limits the scope of the discussion itself, so the different understanding of literal translation and free translation may make the disputes about these two concepts often carried out on different levels. Therefore, when using the two terms literal translation and free translation to participate in discussions, it is particularly important to clarify the concept of literal translation and free translation and re-examine the scope of discussion.&lt;br /&gt;
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===1. Literal Translation and Free Translation===&lt;br /&gt;
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===1.1 Literal Translation and Free Translation in Translation Methods===&lt;br /&gt;
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From the perspective of etymology, &amp;quot;method&amp;quot; refers to the method of governance. It originally meant criminal law and regulations. Later it was used to refer to the sum of the ways, methods and procedures for people to understand and transform the objective world. It is a sign of wonderful deeds.&amp;quot; Similar to the &amp;quot;method&amp;quot; in Chinese, the &amp;quot;method&amp;quot; in English is derived from the Greek word &amp;quot;μ＇εθοδοζ&amp;quot;, which consists of two words &amp;quot;along&amp;quot; and &amp;quot;road&amp;quot;, meaning to proceed along the right path. Therefore, whether it is &amp;quot;method&amp;quot; in Chinese or &amp;quot;method&amp;quot; in English, it refers to the correct way to recognize and understand objective objects, focusing on &amp;quot;action&amp;quot;. Schleiermacher put forward in his far-reaching &amp;quot;On Two Methods of Translation&amp;quot;, &amp;quot;Bring the author to the reader&amp;quot; and &amp;quot;Bring the reader to the author&amp;quot; are just to place the original text, translator and target reader in the same At the level, discuss the real task that the translator must complete-shorten the distance between the original author and the target reader, and highlight the relationship between language, understanding and thinking. Therefore, Schleiermacher's two translation methods are actually the choice of two paths, and they are the decisions and actions taken by the translator in language conversion. If translation is defined as a conversion of language signs, the translation method can be regarded as a specific way for the translator to recognize the source text and carry out the conversion of language signs.&lt;br /&gt;
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British translation theorist Newmark summarized 13 different translation methods in Chapter 5 of the &amp;quot;Translation Tutorial&amp;quot;, among which word-for-word translation, literal translation, faithful translation, semantic translation, etc. are all defined as one translation method. Examining his definitions of the different translation methods mentioned above, we can summarize the common points of these translation methods as “reproduce” based on determining a fixed translation unit (such as morphemes, grammatical structure, contextual meaning, etc.) The meaning of the original text. In other words, although Newmark uses a prescriptive research method to associate translation methods with &amp;quot;equivalence&amp;quot;, and does not clearly define what translation methods are, the 13 translation methods he summarized illustrate the use of various Translation methods are all aimed at solving practical problems in the translation process. In this sense, &amp;quot;the translation method is related to the entire text&amp;quot; (Newmark, 2001:81). Translators will not be limited to a certain translation method in their translation process, but will adopt different translation methods according to actual problems. Both literal translation and free translation are one of them.&lt;br /&gt;
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Western translation theorist Steiner believes-&amp;quot;The ideal situation for translation is to not suffer any loss during conversion&amp;quot; (Steiner, 2001:319). It can be found that although the original text and the translated text cannot be completely equivalent , But the ideal state required by the translator is still consistent in all aspects of the original text and the target text. To achieve such an ideal state, the translator needs to use the most appropriate translation method to solve the actual problems in the translation process on the basis of correct understanding. In the specific process of the translator, it is difficult to clearly distinguish the &amp;quot;degree&amp;quot; between literal translation and free translation as a specific translation method, such as the &amp;quot;most natural and most appropriate&amp;quot; translation. Therefore, in the discourse of most theorists, the opposite of literal translation and free translation should be hard translation, dead translation, Hu translation, etc. If we look at the controversy of &amp;quot;literal translation and free translation, which is better?&amp;quot; from this perspective, it seems to be said that literal translation and free translation, as two translation methods, do not have the advantages and disadvantages. The two are not completely different and opposed to each other. Translation methods are specific methods used by the translator for different issues. Therefore, the discussion about literal translation and free translation not only includes the discussion of &amp;quot;how to translate&amp;quot;, but also involves the question of &amp;quot;what is the ideal state of translation&amp;quot;.&lt;br /&gt;
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In summary, in Chinese and Western translation theories, literal translation and free translation as translation methods are used to solve practical problems in translation, and these practical problems are closely related to the language structure of the source and target languages. Different issues have different levels of discussion. In this way, it is necessary to re-examine the actual translation issues behind the discussion to understand the dispute over literal translation and free translation. In any case, in Chinese translation theory, when literal translation and free translation are regarded as two translation methods, there is actually no so-called problem of which is better, and there is no substantial difference between the two, the difference is only the translator. The gap between its translation practice and its ideal translation target.&lt;br /&gt;
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===1.2 Literal Translation and Free Translation in Translation Strategies===&lt;br /&gt;
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From the perspective of etymology, strategy means &amp;quot;strategy and strategy&amp;quot; in Chinese. Like the word &amp;quot;strategy&amp;quot; in English, it is derived from military science and refers to specific methods, means, and methods used to achieve a certain goal. Sum. Translation strategy can be understood as the sum of specific methods, means and methods used by the translator to achieve a specific translation goal. Riitta Jaaskelainen, a researcher on the translation process of TAPs, defines translation strategy as &amp;quot;a process associated with ‘goal-oriented’ and ‘subjective optimality’, rather than a process of problem solving.&amp;quot; The American translation theorist Venuti distinguishes between translation methods and translation strategies in the definition of &amp;quot;translation strategy&amp;quot; under the term &amp;quot;translation strategy&amp;quot;(Bassnett, 2004). His so-called domesticating and foreignizing are translation strategies. Susan Bassnett also deliberately distinguishes between strategies and methods when discussing poetry translation-&amp;quot;When analyzing the many different translation methods used by the English translators of Catullus’ 64 Poems, Andrew Le Pfeiffer summarized seven different translation strategies.&amp;quot; (Bassnett, 2004:84) It should be said that in terms of the terms used by the above scholars, translation methods and translation strategies are not the same. Therefore, when literal translation is regarded as a translation method or strategy, the issues that the critics want to explain are not All the same.&lt;br /&gt;
It can be said that the translation method aims to solve the problems in translation practice and achieve the desired translation effect, and the translation strategy reflects how the translator strives to achieve its translation purpose under the constraints of various external factors. To some extent, when literal translation and free translation are used as two translation strategies, the understanding of literal translation and free translation cannot be separated from the investigation of the translation and the social and cultural context of the translator. The translation strategy adopted by the translator is not an abstract theoretical assumption that has nothing to do with the social context of the translator, but a decision made by the translator in the tension between language, history, and social culture. Hidden behind the decision are the various translation purposes of the initiators of translation activities. What needs special attention is that the translator’s translation goals are multiple, so the strategies adopted to achieve different translation goals are naturally different.&lt;br /&gt;
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===2. Domestication and Foreignization in Chinese===&lt;br /&gt;
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Domestication and foreignization can be regarded as the conceptual extension of literal translation and free translation, but they are not completely equivalent to literal translation and free translation. As the product of cultural shift, domestication and foreignization must contain profound cultural, literary and even political connotations. If literal translation and free translation are only discussions at the language level, domestication and foreignization are the continuation of the discussion at the language level to the cultural, poetic and political level. That is to say, the bullseye of the dispute between literal translation and free translation is the gain and loss of meaning and form, while the bullseye of the dispute between domestication and foreignization is the cultural identity in the vortex of the gain and loss of meaning and form, and literacy is the gain and loss of the power of pumping discourse. problem.&lt;br /&gt;
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===2.1 Assimilation and Alienation===&lt;br /&gt;
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Domestication and foreignization in Chinese correspond to two pairs of terms in English: the first pair is &amp;quot;assimilation, alienation&amp;quot;, and the second pair is &amp;quot;domestication, foreignization&amp;quot;.&lt;br /&gt;
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The connotation of Assimilation in translation studies should regard the original language and culture as &amp;quot;different traditional individuals or groups&amp;quot;, and try to make them &amp;quot;participate&amp;quot; in the target language and culture during translation. &amp;quot;Participate&amp;quot; here means to move closer to the other party, or even merge with it. The &amp;quot;language&amp;quot; mentioned here mainly refers to the way of expression of thoughts, sentence structure, and sometimes also includes style, text layout, etc. &amp;quot;Culture&amp;quot; refers to the national behavior and language expression (such as rhetoric, etc.), living environment, ideology and other things that reflect this national characteristic. In the process of translation, the original language and cultural characteristics disappear in the target language to satisfy the aesthetic and acceptance psychology of the target language readers. Alienation is the opposite. In the process of translation, it tries to maintain the characteristics of the original text, keep a distance from the target language and its culture, so that the target readers feel &amp;quot;unfamiliar&amp;quot; when reading and realize that they are reading a translation. The meaning of assimilation and alienation we are talking about here refers to how to treat the differences between the two languages and cultures on the basis of equal status, and how to make different strategic choices in translation.&lt;br /&gt;
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The meanings of the terms Domestication and Foreignization are related to the background in which they were produced. In the 1990s, translation has been placed in a large system of culture and society for research. Venuti was inspired by a so-called &amp;quot;fluency tendency&amp;quot; that has existed in the Western translation industry, especially the English and American translation circles for more than 40 years This pair of terms is proposed for the unequal relationship of literature in different cultures. It mainly refers to the translation from other foreign languages to English. Compared with assimilation and alienation, this pair of terms not only reflects the difference in meaning between language and culture. You can also see the deeper meaning of cultural inequality behind this different background. In this way, translation is placed in the context of culture, society, politics, and ideology, and the choice of translation strategies reflects the different positions of different cultures in the world today. Translation is used as a tool of struggle, and it is not equal. To fight against the phenomenon. It should be said that this is an improvement, and it is also the main difference between these two pairs of terms, or it is the reason why Venuti put forward this new pair of terms under the premise of assimilation and alienation.&lt;br /&gt;
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===2.2 Domestication and Foreignization===&lt;br /&gt;
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Domestication and foreignization in Chinese are the same as assimilation and alienation. They both discuss the differences between languages and cultures, and they are all based on the equality of different languages and cultures. Chinese &amp;quot;domestication&amp;quot; also focuses on the process from different to similar and identical, but the meaning of &amp;quot;domestication&amp;quot; in domestication is not included in &amp;quot;domestication&amp;quot;; and &amp;quot;foreignization&amp;quot; in Chinese also maintains the &amp;quot;different&amp;quot; component, which is reserved Difference, no cultural inequality, as a means of struggle and resistance to cultural colonization. &amp;quot;Naturalization&amp;quot; and &amp;quot;alienation&amp;quot; are closer to assimilation and alienation in meaning. When and who the term &amp;quot;domestication&amp;quot; and &amp;quot;foreignization&amp;quot; in Chinese were first used in translation studies in my country has not been ascertained. According to the materials we see now, &amp;quot;domestication&amp;quot; was used in translation research earlier than &amp;quot;foreignization&amp;quot;.&lt;br /&gt;
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Through the above-mentioned comparative analysis of the origin, extension and connotation of the categories of “domestication” and “foreignization”, we can now define them as follows: Domestication and foreignization are the differences between the two languages and cultures that the translator faces in translation Two different translation strategies are adopted due to differences in the target text type, author's intention and target language readers, etc., and their purpose is to guide the choice and application of specific translation methods and techniques. Domestication pursues the translation to comply with the target language and culture norms, and better meets the reading needs of the target language readers with less odor; the pursuit of foreignization retains the characteristics of the original language and culture, so as to enrich the target language and culture. It satisfies the reader’s demand for the &amp;quot;stranger&amp;quot; of the target text. The choice of these two strategies sometimes also refers to social, cultural, political and ideological regulations. Regardless of the strategy chosen, it should focus on the needs of readers and society.&lt;br /&gt;
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===3. Rethink===&lt;br /&gt;
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The choice of the translation strategy of domestication or foreignization will have a great impact on the translation, and even some meanings will be lost. But in literal translation, no matter which one is selected, the content of the original text will be faithfully expressed. For example, the works translated by Lin Xian, we can only say that it is a domesticated translation, and cannot be called a free translation, because he has rewritten and created a lot of the original text. This is one of the differences between the two pairs of terms. The second difference is that literal translation and free translation are translation methods, while domestication and foreignization are translation strategies. The two are not at the same level, and the latter guides the former. &amp;quot;Modern Chinese Dictionary&amp;quot;says that &amp;quot;methods&amp;quot; are &amp;quot;methods, procedures, etc. for solving problems such as thinking, speaking, actions, etc.&amp;quot;and &amp;quot;strategies&amp;quot; are &amp;quot;action policies and struggles formulated according to the development of the situation.&amp;quot; Method.” There is a certain connection between method and strategy. Method is the specific method under the guidance of strategy, and strategy is the policy and goal of guiding method. Under the guidance of domestication and foreignization, the translator chooses the appropriate translation method. In addition to literal translation and free translation, there are also multiple methods such as clip translation, transliteration, and compilation. Although domestication and foreignization are related to literal translation and free translation, there are also obvious differences. The mixed use of the two pairs of terms is not conducive to the standardization of the category, not conducive to theoretical research, nor is it used in translation practice.&lt;br /&gt;
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Liu Yingkai interpreted the concept of naturalization in this way: the so-called &amp;quot;naturalization&amp;quot;, according to the interpretation of &amp;quot;Cihai&amp;quot;, &amp;quot;is the old name of naturalization&amp;quot;. The &amp;quot;domestication&amp;quot; of translation refers to the fact that the starting language of the guest &amp;quot;ji&amp;quot; is incorporated into the &amp;quot;ji&amp;quot; of the home language in the translation process: English-Chinese translation spares no effort to Sinicize; Chinese-English translation will make every possible effort to Englishize...and so on There are always the theorists of &amp;quot;Ning Shun but not believing&amp;quot; in the translation circle, and the translation of &amp;quot;Nation&amp;quot; is familiar to the ears; after seeing it familiar, there is no sense of discomfort or resistance,...... (Liu Yingkai, 1987).&lt;br /&gt;
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According to the reality of the Chinese translation world, Liu Yingkai summarized the manifestations of naturalization into five types: 1. Abuse of four-character idioms; 2. Abuse of quaint words; 3. Abuse of &amp;quot;abstraction method&amp;quot;; 4. Abuse of &amp;quot;substitution method&amp;quot;; 5. To visualize or allusion without basis. Liu Yingkai has a negative attitude towards the translation method of domestication. He believes that domestication will &amp;quot;reform the objective facts of foreign countries, obliterate their national characteristics, force them to subdue, and assimilate them into the language of their destination, so it must be a distortion of the original text. &amp;quot;.&lt;br /&gt;
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Venuti's definition of domesticated translation is: abiding by the current mainstream values of the target language and culture, and openly adopting conservative assimilation methods to the original text to cater to the local canon, publishing trends and political needs.The Dictionary of Translation Studies published by St Jerome Press, UK, based on Venuti's deconstructionist insights, and defines domestication as: the use of a transparent and smooth style in translation to minimize the strangeness of the original text. Strategy. And the application of the domestication translation method has six steps: l carefully choose the original work suitable for domestication translation; 2. consciously adopt a smooth and natural target language style; 3. make the translation work Adapt to the type of target utterance; 4. Add explanatory materials; 5. Eliminate the geographical and historical colors in the original language; 6. Make the translation consistent with the prejudices and preferences of the monthly language.&lt;br /&gt;
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Venuti believes that fluent domestication translation not only conceals the translator’s work efforts and exposes the translator to the “invisible” unfair situation; it also conceals the differences between cultures and the sense of history of the original work, and integrates the contemporary values of mainstream culture. Impose on the original. Since the stylistic effect pursued by domestication translation is that the translation does not read like the translation, it is easy for readers to mistakenly believe that the translation that has been contaminated by the mainstream culture and language values of the target language is the original appearance of the original. A narcissistic experience that identifies with local culture&amp;quot;. (Venuti, 1995:15) Aiming at the tradition of Anglo-American domestication translation, Venuti pointed out that domestication translation is &amp;quot;a ethnocentric decomposition of the original text according to the cultural values of the target language, bringing the original author home&amp;quot;,Actual divination is a kind of imperialist cultural plunder. He also believes that the more domesticated the translation, the more invisible the translator; the more invisible the translator, the more concealed the fact that the original is maliciously naturalized, that is to say, the readers of the translation are more likely to be deceived. The post-colonial translation theory also makes a useful discussion on domestication and foreignization. In the discourse of post-colonial theory, domestication translation is related to the conquest and colonization of imperialism. Domestication is an indispensable content of conquest and colonization, and as a specific translation method, domestication is the violence, even rape, of the original text and the starting culture. (Robinson, 1997: 58)&lt;br /&gt;
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Canadian translator Robinson discussed the issue of domestication and foreignization from the perspective of post-colonial theory. His definition of domestication is: domestication translation is a term used by foreignization translation scholars to describe the worst translation. This kind of translation adopts the method of assimilating the original work into the target culture and language values, and domesticating the original work. Traditionally, people call this concept &amp;quot;paraphrase&amp;quot;; also known as &amp;quot;assimilative translation&amp;quot; (Robinson, 1997: 116). With regard to domestication translation, Robinson's views and Venuti have a consensus, but also have differences. Robinson expressed difficulty in accepting the tendency of Venuti and other alienationists to over-politicize the issue of domestication and alienation, and raised a discussion. At the same time, he also questioned the view that some post-colonial scholars believe that naturalized translation helps the process of colonization. In fact, the political factors in Robinson's post-colonial translation theory are more than that in Venuti, which is mainly related to his post-colonial vision.&lt;br /&gt;
&lt;br /&gt;
The concept of alienation has surpassed the linguistic level of literal translation and has risen to the level of culture, poetics and politics. Therefore, alienation cannot be simply equated with literal translation. Venuti's definition of alienation is summed up as deviating from the local mainstream values and retaining the language and cultural differences of the original text.Based on Venuti’s opinion, Dictionary of Translation Studies defines alienation as: To a certain extent, to preserve the foreignness of the original text and deliberately break the convention of the target language. Venuti suggests that foreignizing translation should be adopted in those &amp;quot;aggressive&amp;quot; monolingual cultures where domestication translation is prevalent (such as British and American cultures), which can carry out strategic cultural interventions in &amp;quot;current international affairs and challenge the hegemonic English-speaking countries and inequality.&amp;quot; The cultural exchanges,... the use of English for foreignization translation can also be a form of resisting our ethnocentrism and racism, cultural narcissism and cultural imperialism&amp;quot;. (Venuti, 1995:20) He believes that foreignization translation can impose &amp;quot;ethnodeviant pressure&amp;quot; on the cultural values of the target language, and has the effect of sending readers to a foreign land. He said: &amp;quot;Resistance translation can help preserve the language and cultural differences of the original text, and translate texts that have a sense of strangeness and alienation. These translations mark the limit of the mainstream values of the target language and culture, and prevent these values from affecting a certain culture. The other is the domestication of imperialism.”Specifically, the use of foreignized translation means that the translator can not only be free from the restriction of the target language and text habits, but also can use the non-fluency when appropriate. , Opaque speech style, deliberately retain the cultural color of the starting language, so as to give the target reader a different reading experience. However, because the preservation of the original text has to rely on local cultural materials, Venuti also admits that, just like domesticated translation, foreignized translation &amp;quot;is also one-sided when interpreting the original text, but it does not cover its one-sidedness, but instead Show off.&amp;quot; (Venuti, 1995:34)&lt;br /&gt;
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===4. Conclusion===&lt;br /&gt;
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The result of literal translation and free translation is not just the gain and loss of semantics and form. From a cultural perspective, it involves issues such as the equal exchange of cultural identity and a sense of history loaded in language forms; from a poetic perspective, it involves literary issues loaded in language forms; from politics From the angle of view, it involves the issues of colonization and decolonization, hegemony and anti-hegemony. Therefore, the dispute between literal translation and free translation has evolved into a dispute between domestication and foreignization at a new level. In the context of globalization, this level of controversy can be regarded as a confrontation between nationalism and cosmopolitanism, a confrontation between a weak culture and a powerful culture, or a confrontation between Orientalism and Western centralism.&lt;br /&gt;
&lt;br /&gt;
===References===&lt;br /&gt;
&lt;br /&gt;
［1］Bassnett，Susan．Translation Studies(3rd ed)［M］．Shanghai: Shanghai Foreign Language Education Press，2004．&lt;br /&gt;
［2］Newmark，Peter．The Textbook of Translation［M］．Shanghai:Shanghai Foreign Language Education Press，2001．&lt;br /&gt;
［3］Robinson，D.Translation and Empire:Posteolonial Theories Explained［M］.Manchester:St Jerome, 1997.&lt;br /&gt;
［4］Schleiermacher,A.On the Different Methods of Translating[A].Theories of Translation:An Anthologv of Essays from Drydento Derrida[C].Schulte,R.&amp;amp;Biguenet,J.Chicago and London:The University of Chicago Press,1992,36-54.&lt;br /&gt;
［5］Steiner，George．After Babel: Aspects of Language andTranslation［M］．Shanghai: Shanghai Foreign LanguageEducation Press，2001．&lt;br /&gt;
［6］Venuti，Lawrence．The Translator s Invisibility: [M]. London and NewYork: Routledge, 1995.&lt;br /&gt;
［7］Venuti，Lawrence．Translation Strategy［A］．in Baker，Mona，(ed．)Routledge Encyclopedia of TranslationStudies［C］．Shanghai:Shanghai Foreign Language Education Press，2004:240-244．&lt;br /&gt;
［8］方仪力．直译与意译：翻译方法、策略与元理论向度探讨［J］上海翻译，2012.&lt;br /&gt;
［9］李德超．TAPs 翻译过程研究二十年: 回顾与展望［J］．中国翻译，2005，(1):29-34&lt;br /&gt;
［10］刘英凯．归化--翻译的歧路［J］．现代外语,1987（2）&lt;br /&gt;
［11］刘艳丽、扬自俭．也谈“归化”与“异化”［J］．中国翻译，2002.&lt;br /&gt;
［12］王东风．归化与异化：矛与盾的交锋？［J］．中国翻译，2002.&lt;br /&gt;
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==On the Chinese Translation of ''A Pale View of Hills'' from House's Translation Quality Assessment Model	宋建茹	Song Jianru 202020080639 ==&lt;br /&gt;
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&amp;lt;center&amp;gt; 宋建茹 Song Jianru 202020080639 英美文学&amp;lt;/center&amp;gt;&lt;br /&gt;
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===Abstract===&lt;br /&gt;
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Translation quality assessment is an integral part of translation criticism. The first TQA model with comprehensive theories and practices Juliane House represented provides a significant reference for translation exercises. ''A Pale View of Hills'', as the first work of Kazuo Ishiguro, possesses a great research value on its narrative styles by virtue of memory and topics about migrants. As of 2011 when its Chinese translation was published, no scholar has evaluated it. This study applies House's TQA model to assess the Chinese translation of ''A Pale View of Hills'' with qualitative and quantitative analysis from lexical, syntactic and textual aspects, in a bid to examine validity of the model on novel translation, which turns out that it is an overt and high-quality translation.&lt;br /&gt;
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=== Key Words===&lt;br /&gt;
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''A Pale View of Hills''; House's TQA model; Novel translation&lt;br /&gt;
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===题目===&lt;br /&gt;
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从豪斯翻译质量评估模式谈《远山淡影》中文翻译&lt;br /&gt;
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=== 摘 要 ===&lt;br /&gt;
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翻译质量评估是翻译批评的核心课题。朱莉安·豪斯提出的第一个有完整的理论和实践的翻译质量评估模式，为翻译实践提供了重要参考。《远山淡影》是石黑一雄的处女作，其依托回忆的叙事风格和移民主题具有很高的研究价值。《远山淡影》中译本自2011年出版至今，尚未有学者对其进行评估研究。本文运用豪斯的翻译质量评估模式，采用定性与定量相结合的分析方式，从语场、语旨、语式等三个层面对原文和译文进行分析，开展《远山淡影》中译本的翻译质量评估研究，为豪斯翻译质量评估模式对小说翻译的运用进行进一步的探索和补充。通过分析，本文得出《远山淡影》中译本为显性翻译，翻译质量较高。&lt;br /&gt;
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=== 关键词 ===&lt;br /&gt;
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《远山淡影》；豪斯质量评估模式；小说翻译&lt;br /&gt;
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===Introduction===&lt;br /&gt;
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Translation criticism refers to the analysis and review of thoughts, activities and works of translation by virtue of relevant theories and views, in a bid to improve the overall quality of translators and translations. It is an integral part of translation studies. Translation quality assessment, as the integral and key part of translation criticism, plays a significant role in surveillance and promotion of translation quality. Among the extant translation quality assessment models, Juliane House's ''A Model for Translation Quality Assessment and Translation Quality Assessment: A Model Revised'', based on Halliday's systemic functional linguistics and discourse analysis, are systematic, scientific and rational with a relatively complete system of parameters, quantitative methods and steps adhering to specific procedures.(Wang Enmian 1999,7)&lt;br /&gt;
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''A Pale View of Hills'', as Kazuo Ishiguro's first full-length novel, tells the life of the people in Nagasaki after WWII through the memory of protagonist Etsuko and explores recovery of trauma, collision between the old and new ideas, and kinship after war. The first person narrative, memory, humor and satire and international perspectives in the book became his major writing styles in the future. The novel won the Winifred Holtby Memorial Prize from the Royal Society. Its only Chinese translation at present, from Zhang Xiaoyi, is still not analyzed by the scholars(Wang Fei 2017, 152)&lt;br /&gt;
. &lt;br /&gt;
This paper uses House's translation quality assessment model, with combination of qualitative and quantitative analysis, from field, tenor and mode to analyze the mismatches between original and translation in an attempt to assess the Chinese translation quality of ''A Pale View of Hills'' and further explore the application of House's model in novel translation. The aim of the study is to promote scholars to regulate the behaviors of translation, to improve the quality of translation and translation evaluation, and to provide a reasonable way for establishing the interlingual conversion mechanism.&lt;br /&gt;
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The thesis consists of five chapters.&lt;br /&gt;
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After the Introduction, Chapter One gives a brief account of ''A Pale View of Hills'' and its research status, involving the author, background, content and influence. Chapter Two gives a brief introduction of House’s TQA model, including its theoretic basis, parameter setting, operation steps and feasibility. Chapter Three is a detailed analysis of original and translation of ''A Pale View of Hills'' based on House’s model. Chapter Four is the statement of translation quality assessment. Chapter Five draws a concise conclusion about this paper. &lt;br /&gt;
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===I Overview and Research Status of ''A Pale View of Hills''===&lt;br /&gt;
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''A Pale View of Hills'' is Kazuo Ishiguro's first novel, which laid a solid foundation for the formation of Ishiguro's writing style. The chapter mainly introduces the author, plot, theme and influence of the novel and analyzes its research status, in an attempt to master the material well and seek new perspectives for the paper.&lt;br /&gt;
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'''1.1 Overview of ''A Pale View of Hills'''''&lt;br /&gt;
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Kazuo Ishguro is a noble contemporary Japanese English writer, whose novels feature first person narrative, detailed depiction of loneliness, depression, self-deception and anxiety of characters' inner world and dual narrative strategy to deconstruct the narrator's self-identity, as well as discuss postwar trauma and migrant identity. He won Booker Prize, the British top literary prize, in 1989 and the Nobel Prize in literature in 2017. By virtue of his outstanding literary achievements, he is known as one of the Three Masters of English Migrant Literature together with Salman Rushdi and Naipaul(Liu Xiaoya 2015,5).&lt;br /&gt;
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''A Pale View of Hills'', published in 1982, is Ishiguro's debut. The story, with postwar Nagasaki as its background, enjoys two clues: one is what happened when Niki (Etsuko's little daughter) visited her mother after her sister Keiko died; the other is Etsuko's memory about people and events in Nagasaki after the war. The two lines integrated together during the narrative, forming the illusory and imaginary impression(Liu Xiaoya 2015,5). &lt;br /&gt;
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Many in-depth topics in this work are worth pondering: postwar trauma recovery, the collision between new and old ideas after war and discussion of family relations. Many marks in the work became his own styles: first-person narrative, memory, humor and satire, international perspectives. In addition, it won the Winifred Holtby Memorial Prize from the Royal Society and is still in print thirty years after its publication. This book, with its enormous emotion, unearths the abyss beneath the illusion of our connection to the world, whose artistic value and charm could be time-tested(Liu Xiaoya 2015,8).&lt;br /&gt;
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'''1.2 Research Status of ''A Pale View of Hills'''''&lt;br /&gt;
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There are 54 papers about A Pale View of Hills in domestic researches. According to the statistics from How Net, the number of studies on the work has been mounting, especially after Kazuo Ishiguro won the Nobel Prize for Literature in 2017. The perspectives of these researches are mainly from identity anxiety, unreliable narrative and post-war trauma. &lt;br /&gt;
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In &amp;quot;Identity Anxiety in Kazuo Ishiguro's A Pale View of Hills&amp;quot;, Wang Fei discusses the identity anxiety of migrants, exploring manifestations, causes and influence of such anxiety on the characters( Wang Fei 2017,152). In &amp;quot;Memory and Narrative Unreliability of ''A Pale View of Hills''&amp;quot;, He Xiaobing combined with the classical narratology to analyze how unreliable narration method is presented in the work and discussed the inner world of the characters(He Xiaobing 2018,3). In &amp;quot;Trauma in Kazuo Ishiguro's A Pale View of Hills&amp;quot;, Liu Xiaoya explores the protagonist's trauma by using Sigmund Freud’s psychoanalysis theory and trauma theory (including post-freudian psychological trauma theory), contemporary trauma culture theory along with rhetorical narrative theory(Liu Xiaoya 2015,3).&lt;br /&gt;
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At abroad there are more perspectives about the studies of A Pale View of Hills. In addition to the main research directions of domestic scholars, such as identity anxiety of characters, unreliable narrative research and post-war trauma, cultural displacement, family relationship and the influence of region on personality presented in the works are also analyzed. &lt;br /&gt;
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''The Impact of Place on Personality in Kazuo Ishiguro's A Pale View of Hills: An Eco-critical Study'' written by Awla, Y.N, from the perspective of ecocriticism, clarifies the fact that a place is able to define and guide the emotions and thoughts of characters, and analyzes the reasons why geography forms characters of people in order to draw people’s attention to the impact of surrounding environment on them. Ruth Forsythe's article ''Cultural Displacement and the Mother-daughter Relationship in Kazuo Ishiguro's A Pale View of Hills'' focuses more on the relationship between mother and daughter under cultural displacement. However, no scholars have analyzed the language itself from the perspective of systemic functional linguistics.( Awla,Y.N 2019,1)&lt;br /&gt;
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The Chinese translation of A Pale View of Hills, Zhang Xiaoyi's version, was published by Shanghai Translation Publishing House in 2011, and the bilingual version in 2019. Up to now, there has no translation criticism or discussion about this translation. Since 2011 when it was translated, it came to draw the attention of scholars and readers. Translation is a direct factor that affects the integrity of author's thought, the reader's perception and the accuracy of the scholar’s study, thus it is indispensable to use the House’s Translation Quality Assessment model to analyze the Chinese translation of ''A Pale View of Hills''.&lt;br /&gt;
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===II Introduction of House's Translation Quality Assessment Model===&lt;br /&gt;
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Juliane House's model was described as the first translation quality assessment model with complete theories and practices by international translation criticism, which could provide an important reference for translation learners and scholars. By introducing the theoretical basis, parameter system and operation steps of House's model, this chapter will discuss the feasibility of House’s model in the evaluation of the Chinese translation of ''A Pale View of Hills'', in an effort to foster the application of House's model in the quality evaluation of full-length novels.(Zhou Fenfen 2018,784)&lt;br /&gt;
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'''2.1 Theoretical Basis of House's Model'''&lt;br /&gt;
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The assessment of translation quality draws upon different translation standards, which are then embodied by the recognition about essence of translation. House deemed that crunch of the translation quality assessment lies in recognition of the nature of translation, namely that &amp;quot;translation is the replacement of a text in the source language by a semantically and pragmatically equivalent text in the target language.&amp;quot;(House 1977, 30)&lt;br /&gt;
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In House's initial model in 1977, she drew upon language behavior theory, language and text function and context to divide the source language text into two situational dimensions: dimension of language user and dimension of language use. The former includes three aspects: geographical origin, social class and time. The latter includes five aspects: medium, participation, social role relationship, social attitude and province(House 1977, 30). &lt;br /&gt;
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Based on myriad practice, House realized that the initial eight dimensions overlap in some parts. Therefore, in 1997, she revised the original model from the perspective of the context, unifying the previous eight parameters to field, tenor and mode. Field compares subject matter and social action of the original with that of translation. Tenor emphasizes the matching degree on the relationship of participants, time, region, position of author, social role relationship and social attitudes. Mode pays more attention to medium and participation. In addition, House incorporated &amp;quot;genre&amp;quot; into revision model in order to explain the deep structure of the text.(House 1977, 30)&lt;br /&gt;
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'''2.2 Operation Steps of House's Model'''&lt;br /&gt;
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When evaluating the translation quality of the text, House's model focuses on comparison between original text and translation from field, tenor, mode and genre, clarifies and summarizes mismatches found in the text, so as to obtain a quality report of the translation. The detailed steps presented as follows: (House 1997, 108)&lt;br /&gt;
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1) Analyze the register and genre of the original text to get its textual functional profile. The original text is analyzed from four dimensions: field, tenor, mode and genre. According to the analysis, “functional statement”, involving ideational and interpersonal functions, needs to be deduced.(House 1997, 108)&lt;br /&gt;
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2)Compare the target text and the source text to find differences or mismatches. Through the comparative analysis between original and translation along the dimensions on the model, mismatches or differences found in the comparison are sorted out by virtue of overt errors or covert errors and expounded in detail one by one.(House 1997, 108)&lt;br /&gt;
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3)Summarize the differences and mismatches demonstrated from the above steps in lexical, syntactic and textual aspects. Based on above statistics and statement, make the quality statement. The fewer the mismatches are, the better the translation quality is. If readers clearly realize the text a translation work, it is overt translation; while if not, it is covert translation.(House 1997, 108)&lt;br /&gt;
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'''2.3 Feasibility of the Model in Chinese Translation of ''A Pale View of Hills'''''&lt;br /&gt;
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At present, there are 78 relevant studies on House’s Translation Assessment model, which are mainly divided into three directions: interpretation of House Translation Assessment model and its revision, evaluating translation of literary works along the model and evaluating translation of applied text along the model. Among them, evaluation of the translation of literary works accounts for 29, which enjoys the following two characteristics:&lt;br /&gt;
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1)There are merely a few researches applying House model to Chinese translation of literary works. Among the 29 journals and papers evaluating translation of literary works, there are 25 studies that attach great importance to the English translation and 4 to Chinese translation, which signifies that we need more researches of Chinese translation to support the validity of the model on different languages. Therefore, the paper, with the Chinese translation of A Pale View of Hills as its corpus, intends to examine the feasibility of the application of House's model to Chinese translation.&lt;br /&gt;
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2)There are merely a few researches applying House model to the translation of full-length novels. Among the 29 journals and papers on evaluating translation of literary works, most of which focus on the evaluation of poems and prose, merely 5 studies are analysis of translation of full-length novels. English translation accounts for 3 and Chinese translation for 2, which demonstrates that we need more researches with full-length novels as corpus to support the validity of the model in different genres. Therefore, the paper, with the full-length novel A Pale View of Hills as its corpus, intends to examine the feasibility of the application of House’s model to full-length novels.&lt;br /&gt;
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In conclusion, given that the researches based on Chinese translation of full-length novels are insufficient, the paper will use the Chinese translation of A Pale View of Hills as its corpus to validate the feasibility of House's TQA model.&lt;br /&gt;
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===III Comparison of Original and Translation of ''A Pale View of Hills'' Along House's Translation Quality Assessment Model===&lt;br /&gt;
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''A Pale View of Hills'' is the debut of Kazuo Ishiguro, whose Chinese translation was published by Shanghai Translation Publishing House in 2011. House's Translation Quality Assessment model is the first objective model combining quantative analysis with qualitive analysis. The paper applies House's Translation Quality Assessment model to Chinese translation of ''A Pale View of Hill'', comparing the source text and target text in lexical, syntactic and textual aspects along the three dimensions of register and summarizing the mismatches on field, tenor and mode, in an effort to quantitatively assess the translation quality of ''A Pale View of Hills''.&lt;br /&gt;
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'''3.1 Comparison on Field'''&lt;br /&gt;
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Field refers to the content or the topic of the text. It is concerned with subject matter and social action which covers the specificity of lexical items. After comparison between the source text and target text on field, there are 18 mismatches, 12 of which are overt errors and 6 covert errors. Among them, there are 9 lexical errors, 1 textual error and 8 syntactic errors. The lexical and textual errors are mainly covert errors, so in general their translation is of high quality. Although most of syntactic errors are not in line with the grammar of target language system, they won’t influence the understanding of the text. Therefore, by and large, translation on field are high-quality.(Feng Yufang &amp;amp; Wang Feifei 2015,114)&lt;br /&gt;
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'''3.1.1 Lexical Field'''&lt;br /&gt;
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Lexical field means the immediate or possible scenes or events evoked in people's mind when they read or hear the words or lexical items. After the analysis of the original and target text, there are 9 mismatches, 4 of which are overt errors and 5 are covert ones. Most of them won't block readers to master the overall meanings. Therefore, the translation quality on lexical items are relatively high.(Feng Yufang &amp;amp; Wang Feifei 2015,115) &lt;br /&gt;
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Example 1：&lt;br /&gt;
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...and the soaked surfaces of brick and concrete were drying all around us.&lt;br /&gt;
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湿透了的砖头和水泥开始变干。(P8)&lt;br /&gt;
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Concrete refers to building material that is made by mixing together cement, sand, small stones and water according to Oxford Dictionary, which includes cement rather than equates it. So, it is not very accurate to translate in this way even if the two words are similar. It is obviously an overt error. &lt;br /&gt;
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Example 2：&lt;br /&gt;
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As far as I remember, that was the first occasion I spoke to Mariko.&lt;br /&gt;
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我印象那是我第一次跟万里子说话。(P11)&lt;br /&gt;
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In the translation, “印象” as a noun refers to a mental picture that you have of what somebody/something is like or looks like. In the light of the rules or grammar of Chinese, it is hardly used as a verb. Thus, it is an overt error. &lt;br /&gt;
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Example 3：&lt;br /&gt;
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It's such a shame.&lt;br /&gt;
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真不像话。(P16)&lt;br /&gt;
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A shame is used to say that somthing is a cause for feeling sad or disappointed. In the original, the sentence is to express Etsuko’s pity to the homeless dogs and cats around her community rather than her distaste or complaint. Here it is translated into its other meaning when ignoring the context, belonging to a covert error. &lt;br /&gt;
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Example 4：&lt;br /&gt;
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Why don't you go into the kitchen for a little while?&lt;br /&gt;
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你为什么不到厨房去一会儿呢？(P26)&lt;br /&gt;
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In the translation, “去” is not very appropriate on the basis of grammar of Chinese, since it is such an action verb that does not match with state phrases. In the course of translation, some prepositions in English need to be transferred into verb in Chinese, which are supposed to pay attention to the rules of target language. Here it is obviously an overt error.&lt;br /&gt;
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Example 5：&lt;br /&gt;
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It's not appreciated simply because the product disappears so quickly.&lt;br /&gt;
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不能因为它的产品很快就消失了而不懂得欣赏。(P34)&lt;br /&gt;
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According to the context, Ogata-San believes that cooking is “as noble as painting or poetry”. So here the product refers to food cooked. Given the concrete expression in Chinese, the product is supposed to be translated more concretely in accordance with the context. It is a covert error.&lt;br /&gt;
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Example 6：&lt;br /&gt;
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Perhaps it is just my fancy that I felt a cold touch of unease there on that bank, a feeling not unlike premonition. &lt;br /&gt;
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这也许只是我的想象，但是那时我在河边觉得凉飕飕的，很不自在，像是感觉有事要发生。(P44)&lt;br /&gt;
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“Unease” refers to the feeling of being worried or unhappy about something. Given the above-mentioned, Etsuko worried about the safety of Mariko when she was not at home. It differs from its translation that means the feeling of being ill at ease. It is an overt error. &lt;br /&gt;
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Example 7：&lt;br /&gt;
&lt;br /&gt;
You mustn't suppose, Etsuko, simply because you've seen her in these…in these present surroundings, that she's some peasant's child.&lt;br /&gt;
&lt;br /&gt;
悦子，你不能因为……因为眼前的事物就认为她是什么贫农的孩子。(P51)&lt;br /&gt;
&lt;br /&gt;
Sachiko is not rich according to the context, so “peasant” intimates the meaning of poverty. Its translation explicitly represents it, which is accessible and intelligible. However, “贫农” enjoys extra cultural meaning in China, which could date back to the Cultural Revolution when lands was apportioned based on people’s wealth, so it might mislead readers to its political implication. It is a covert error.&lt;br /&gt;
&lt;br /&gt;
Example 8：&lt;br /&gt;
&lt;br /&gt;
“I must have been such a burden to you in those days,” I said, quietly.&lt;br /&gt;
&lt;br /&gt;
“我那时肯定成了您的负担，”我静静地说。(P68)&lt;br /&gt;
&lt;br /&gt;
Here “quiet” refers to making very little noise, which coincides with the act of saying. According to the context, Etsuko lowered her noise out of guilt when she realized she bothered her family when she practiced violin before. However, its translation means the statement without any noise, which obviously contravenes the context, belonging to covert translation.&lt;br /&gt;
&lt;br /&gt;
Example 9：&lt;br /&gt;
&lt;br /&gt;
I could see something moving beside her in the shade.&lt;br /&gt;
&lt;br /&gt;
我看见她身旁的影子里有什么东西在动。(P14)&lt;br /&gt;
&lt;br /&gt;
“Shade” means an area that is dark and cool under or behind something, for example a tree or building, because the sun’s light does not get to it, rather than the shadow which the translator believed. As previously mentioned in the text, “Mariko was lying in the corner furthest from the sunlight”, which also signifies that it is impossible to exist dark shape under the light around Mariko. Thus, the translation of “shade” is not on a par with the context, belonging to a covert error.&lt;br /&gt;
&lt;br /&gt;
'''3.1.2 Syntactic Field'''&lt;br /&gt;
&lt;br /&gt;
Syntactic field means the immediate image appeared in people's mind when they read the sentences. The mismatches in syntactic field are usually for the violation of rules of target language or misinterpreting the source text. On syntactic field, there are 8 mismatches, seven of which are overt errors and one is covert. Among the overt errors, seven sentences are not in line with the rules of target language, which won't influence the ideational meaning. Therefore, the translation quality on syntactic field is high.(Feng Yufang &amp;amp; Wang Feifei 2015,116)&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
Example 1：&lt;br /&gt;
&lt;br /&gt;
It did upset me, hearing about her.&lt;br /&gt;
&lt;br /&gt;
我真的很难过，听到她的死讯。(P4)&lt;br /&gt;
&lt;br /&gt;
Example 2：&lt;br /&gt;
&lt;br /&gt;
But I was sad though, when I heard.&lt;br /&gt;
&lt;br /&gt;
可是我真的很难过，听到她的消息。(P4)&lt;br /&gt;
&lt;br /&gt;
Example 3：&lt;br /&gt;
&lt;br /&gt;
It's certainly an amusing sort of experience, working in a noodle shop.&lt;br /&gt;
&lt;br /&gt;
这真是很有趣的经历，在面包店里工作。(P26)&lt;br /&gt;
&lt;br /&gt;
In English, the important or unknown information appeared firstly, and the second one follows. However, in Chinese, the second important presents at first, paving the foundation for the more pivotal or unknown one. In above three examples, their translation doesn't adjust the sequence in line with target language rules. These are overt errors.&lt;br /&gt;
&lt;br /&gt;
Example 4：&lt;br /&gt;
&lt;br /&gt;
…certain arrangements I made have not gone as planned.&lt;br /&gt;
&lt;br /&gt;
一些事情没有照我计划的那样。(P17)&lt;br /&gt;
&lt;br /&gt;
The translation is not complete as the predicate verb “have gone” is not translated, which does not conform with the grammar of Chinese. It is an overt error.&lt;br /&gt;
&lt;br /&gt;
Example 5：&lt;br /&gt;
&lt;br /&gt;
She appeared to know them, for as she walked across the forecourt, she gave them a familiar greeting.&lt;br /&gt;
&lt;br /&gt;
看来她认识她们，边走过水泥地，边熟识地跟她们打招呼。(P26)&lt;br /&gt;
&lt;br /&gt;
The original is a compound-complex sentence with &amp;quot;for&amp;quot; for causal relation and &amp;quot;as&amp;quot; for coordinate relation. In the translation, the former is represented but the later isn't, neither by conjunction words nor by clause sequence. It causes that the translation lacks of logic, belonging to an overt error.&lt;br /&gt;
&lt;br /&gt;
Example 6：&lt;br /&gt;
&lt;br /&gt;
It's an opportunity for a teacher to see the fruits of his work, and for the pupils to express their gratitude to him.&lt;br /&gt;
&lt;br /&gt;
这是一个机会让老师看看他的劳动成果，让学生们向他表示感谢。(P30)&lt;br /&gt;
&lt;br /&gt;
The translation adheres to the sequence of the original but ignores the fluency of the sentence. In English, attributives are at both ahead of and behind the objects; while in Chinese, they mostly are preceded. Therefore, the translation violates the grammar of the target language, belonging to an overt error.&lt;br /&gt;
&lt;br /&gt;
Example 7：&lt;br /&gt;
&lt;br /&gt;
There's nothing like a timely reminder of one's personal obligations.&lt;br /&gt;
&lt;br /&gt;
及时地提醒个人的责任之类的东西也没有。(P71)&lt;br /&gt;
&lt;br /&gt;
&amp;quot;There's nothing like&amp;quot; is a common sentence pattern in spoken English, meaning nothing else is able to match. The original would have expressed that &amp;quot;a timely reminder of one's personal obligations&amp;quot; is the most important. The translator misunderstood the meaning utterly, making an overt error.  &lt;br /&gt;
&lt;br /&gt;
Example 8：&lt;br /&gt;
&lt;br /&gt;
It amazes me, how things have changed so much so quickly.&lt;br /&gt;
&lt;br /&gt;
太让我吃惊了，世道变得如此之大，如此之快。(P195)&lt;br /&gt;
&lt;br /&gt;
The translation, by and large, is in accordance with the original. Yet there is possibility for readers to be confused about the accuracy of words collocation. Although &amp;quot;so much&amp;quot; and &amp;quot;so quickly&amp;quot; modify the verb &amp;quot;change&amp;quot;, we have to respectively choose the proper words to collocate. It is a covert error. &lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
'''3.1.3 Textual Field'''&lt;br /&gt;
&lt;br /&gt;
On textual field, there is only one error---overt error. It is caused by misconstruing what the pronoun refers to. By and large, the translation, through the comprehensive analysis on textual field, is high-quality. (Feng Yufang &amp;amp; Wang Feifei 2015,117)&lt;br /&gt;
&lt;br /&gt;
Example 1：&lt;br /&gt;
&lt;br /&gt;
That's just not how it was though.&lt;br /&gt;
&lt;br /&gt;
但是我和她根本不是这样。(P4)&lt;br /&gt;
&lt;br /&gt;
According to “Sisters are supposed to be people you're close to, aren't they. You may not like them much, but you're still close to them”, it refers to the whole view instead of certain relationship between me and my sister. The referential meaning does not accord with that of the original. It is an overt error.&lt;br /&gt;
&lt;br /&gt;
'''3.2 Comparison on Tenor'''&lt;br /&gt;
&lt;br /&gt;
Tenor refers to the nature of the participants, the addresser and the addressee, and the relationship between them in terms of social power and social distance. After comparing the original and the translation of A Pale View of Hills, there are 8 mismatches on social attitude and social role relationship, one of which is an overt error and the rest are covert. In general, the translation is highly in accordance with the original so the quality is high on tenor. (Feng Yufang &amp;amp; Wang Feifei 2015,118)&lt;br /&gt;
&lt;br /&gt;
'''3.2.1 Social Attitude'''&lt;br /&gt;
&lt;br /&gt;
Social attitude refers to the social distance between communicators and the degree of formality of discourse. The misunderstanding of social attitude in the translation process will affect the readers' understanding of the characters in the novel. Therefore, mistakes in representing social attitude of characters should be minimized and even avoided in the translation process. There are 4 mismatches on social attitude in the translation: one is an overt error and the rest are covert errors. By and large, the translation on displaying the social attitude of the original is great.(House 1997, 108)&lt;br /&gt;
&lt;br /&gt;
Example 1：&lt;br /&gt;
&lt;br /&gt;
The English are fond of their idea that our race has an instinct for suicide.&lt;br /&gt;
&lt;br /&gt;
英国人有个奇特的想法，觉得我们这个民族天生爱自杀。(P4)&lt;br /&gt;
&lt;br /&gt;
In the original text, the attitude of the character is relatively objective. However, in the translation, the attitude is represented overly by using an adjective, which might be translator's understanding on author's attitude. It limits different interpretation to the author's attitude from readers. It is an overt error. &lt;br /&gt;
&lt;br /&gt;
Example 2:&lt;br /&gt;
&lt;br /&gt;
“Which are you hoping for, Etsuko?” he asked, eventually. “A boy or a girl?”&lt;br /&gt;
&lt;br /&gt;
“你想是男孩还是女孩呢，悦子？”过了一会儿他问道。(P35)&lt;br /&gt;
&lt;br /&gt;
Ogata-San would like to know Etsuko's mind about the upcoming baby, but he is not sure if it is proper. At last, curiosity overpowers his hesitation. In the original text &amp;quot;eventually&amp;quot; signifies both time and emotion span. But the translation only manifests the time span. It is a covert error.&lt;br /&gt;
&lt;br /&gt;
Example 3:&lt;br /&gt;
&lt;br /&gt;
“Tell me, Etsuko,” he said, not looking up from his laces. “Have you met this Shigeo Matsuda?”&lt;br /&gt;
&lt;br /&gt;
“告诉我，悦子，”他头也不抬地说。“你见过这个松田重夫吗？”(P36-P37)&lt;br /&gt;
&lt;br /&gt;
Ogata-San, as Etsuko’s father-in-law and adopter after the war, gets along well with her. In the original text, Ogata-San is “not looking up” when speaking to Etsuko since he is lying his laces. The translation ignores the reason, which renders Ogata-San a cold man. It is a covert error.&lt;br /&gt;
&lt;br /&gt;
Example 4:&lt;br /&gt;
&lt;br /&gt;
I'm sure she'd be the first to agree with me about Kazuo mourning her like this.&lt;br /&gt;
&lt;br /&gt;
我肯定她会第一个同意我的观点，和夫不应该再这样想着他了。(P94)&lt;br /&gt;
&lt;br /&gt;
From the original, we can feel the love of Mrs. Fujiwara to her son. However, after reading its translation, we can feel nothing but her dominance. It signifies that the translation deviates from the original context. It is a covert error.&lt;br /&gt;
&lt;br /&gt;
'''3.2.2 Social Role Relationship'''&lt;br /&gt;
&lt;br /&gt;
Social role relationship refers to the social relation between the speaker and the receiver, that is, symmetry and asymmetry. The analysis on the social roles relationship in novels is generally from two aspects: relationship between the author and readers, and relationship between the various characters in the work. The former is remained utterly, while the latter is slightly different from that in the original. A total of 4 mismatches are found in the comparison, all of which are covert errors. In the full-text translation, the overall relationship between the characters is the same as that of the original text, and only a few mismatches are found. Therefore, on social role relationship, translation is of high quality.(Feng Yufang &amp;amp; Wang Feifei 2015,117)&lt;br /&gt;
&lt;br /&gt;
Example 1：&lt;br /&gt;
&lt;br /&gt;
She said it would be perfectly all right if you came and waited for her at my house.&lt;br /&gt;
&lt;br /&gt;
她说你可以到我家来等她。(P13)&lt;br /&gt;
&lt;br /&gt;
The translation omits &amp;quot;be perfectly all right if&amp;quot;, which takes the edge off the amiability from Etsuko to Mariko. Given the whole plot of the novel, Mariko is a phantom of Etsuko's old daughter Keiko. The obscure feelings between Mariko and Etsuko are very important to implicate their special emotion. Therefore, the translation ignores to take a consideration of the context. It is a covert error.&lt;br /&gt;
&lt;br /&gt;
Example 2：&lt;br /&gt;
&lt;br /&gt;
As I say, this order came into the office the day you arrived. A real nuisance.&lt;br /&gt;
&lt;br /&gt;
我说过了，订单刚好在您来的那天来了。真是讨厌。(P29)&lt;br /&gt;
&lt;br /&gt;
On the basis of the context, Jiro (Etsuko's husband) is explaining to his father Ogata-San that he is so busy that he could not accompany him. He feels apologetic about that. However, the tone of speaking in translation is impatient and a bit furious, which runs against that of the original. So, it is a covert error. &lt;br /&gt;
&lt;br /&gt;
Example 3：&lt;br /&gt;
&lt;br /&gt;
I should warn you, perhaps. My daughter has been in a somewhat difficult mood these past few days.&lt;br /&gt;
&lt;br /&gt;
也许我应该警告你。我女儿这几天情绪很不好。(P90)&lt;br /&gt;
&lt;br /&gt;
Warn enjoys two major meanings: to tell somebody about something, especially something dangerous or unpleasant that is likely to happen, so that they can avoid it; to strongly advise somebody to do or not to do something in order to avoid danger or punishment. In the original, Sachiko entrusts Etsuko to look after her daughter so the former one is appropriate. However, in the translation the later one is adopted, which is absolutely improper. It is a covert error. &lt;br /&gt;
&lt;br /&gt;
Example 4：&lt;br /&gt;
&lt;br /&gt;
Now listen carefully, or else you'll never find the noodle shop.&lt;br /&gt;
&lt;br /&gt;
现在您听好了，不然您永远也别想找到面馆。(P183)&lt;br /&gt;
&lt;br /&gt;
The sentence is said when Etsuko intends to tell Ogata-San the route to the restaurant of Mrs Fujiwara. On the basis of the context, Etsuko is very reverent to Ogata-San. However, the manner of translation is tough, which is not of a piece with the original. It doesn't take account of the context, so it is a covert error.&lt;br /&gt;
&lt;br /&gt;
'''3.3 Comparison on Mode'''&lt;br /&gt;
&lt;br /&gt;
Mode can be divided into medium and participation. In the course of analyzing both the original and the translation, a total of 6 mismatches are found on the two dimensions and all of them are covert errors, which manifests the translation are generally of a piece with the original. The translation on mode is of high quality.(Zhou Fenfen 2018,784)&lt;br /&gt;
&lt;br /&gt;
'''3.3.1 Language Medium'''&lt;br /&gt;
&lt;br /&gt;
Language medium mainly refers to whether the form of language is spoken or written, simple or complex. The contrast between the model of the source text and the target text is mainly reflected in the linguistic features and diction features of text rather than language types used. The language of A Pale View of Hills is simple, delicate and easy to understand, with short sentence, plenty of dialogues between characters and a high degree of colloquialism. The overall style of the translation is similar with that of the original, with only 4 stylistic covert mismatches. Therefore, on language medium, the translation quality is great.(House 1997, 108)&lt;br /&gt;
&lt;br /&gt;
Example 1：&lt;br /&gt;
&lt;br /&gt;
…on one side of the tracks at the foot of the hill could be seen a cluster of roofs.&lt;br /&gt;
&lt;br /&gt;
山脚下铁路的一侧是鳞次栉比的屋顶。(P8)&lt;br /&gt;
&lt;br /&gt;
Cluster means a group of things of the same type that grow or appear close together, whose translation accords with it in the ideational meaning. Nonetheless, “鳞次栉比” in Chinese is a four-character phrase that usually appears in formal written text. It is more complex than the style of the text. It is a covert error.&lt;br /&gt;
&lt;br /&gt;
Example 2：&lt;br /&gt;
&lt;br /&gt;
We're just rabble, like your husband says.Please don’t make a fuss, please sit down.&lt;br /&gt;
&lt;br /&gt;
正如您丈夫说的，我们只是两个混蛋。不用麻烦了，请坐下。(P74)&lt;br /&gt;
&lt;br /&gt;
The situation happens when Jiro's colleagues come round. From the conversation between Jiro and his colleagues, it is found that they are very familiar and intimate. So, words such as &amp;quot;rabble&amp;quot; and &amp;quot;like&amp;quot; are of high colloquialism. Nevertheless, in the translation &amp;quot;正如&amp;quot; is a formal expression, which is not in line with the original. Thus, it is a covert error.&lt;br /&gt;
&lt;br /&gt;
Example 3：&lt;br /&gt;
&lt;br /&gt;
Blankets and laundry hung from many of the balconies.&lt;br /&gt;
&lt;br /&gt;
很多阳台上挂着毯子啦、洗的衣服啦。(P181)&lt;br /&gt;
&lt;br /&gt;
Example 4：&lt;br /&gt;
&lt;br /&gt;
Young women these days are all so headstrong. And forever talking about washing-machines and American dresses.&lt;br /&gt;
&lt;br /&gt;
现在女孩子任性得很。而且整天在讲什么洗衣机啦、洋裙啦。(P195)&lt;br /&gt;
&lt;br /&gt;
The two sentences are the description of the street which Etsuko and Ogata-San pass by when they intend to visit Shigeo. Etsuko is a calm and composed Japanese woman, whose language style is the same. Modal particles used in translation render the language abrupt and frisky. So, it is a covert error.&lt;br /&gt;
&lt;br /&gt;
'''3.3.2 Participation'''&lt;br /&gt;
&lt;br /&gt;
Participation refers to whether the speech is a simple monologue or a complex form that prompts the listeners or readers to participate indirectly, for example, by the transition between statements and questions and the special use of pronouns. The whole plot of ''A Pale View of Hills'' is a soliloquy narrated in the first person, interleaved with dialogues between different characters. Readers hardly could participate indirectly in it. The translation is basically in the same style as the original, except for the two following examples. The two declarative sentences are translated into a rhetorical question, which does not require readers to answer as well. Therefore, the translation is of high quality in terms of participation.(House 1997, 108)&lt;br /&gt;
&lt;br /&gt;
Example 1：&lt;br /&gt;
&lt;br /&gt;
That’s no way to bring a child into the world, visiting the cemetery every week.&lt;br /&gt;
&lt;br /&gt;
这样怎么能把孩子带到这个世上呢？(P24)&lt;br /&gt;
&lt;br /&gt;
Example 2：&lt;br /&gt;
&lt;br /&gt;
It seems very disloyal.&lt;br /&gt;
&lt;br /&gt;
这不是忘恩负义吗？(P32)&lt;br /&gt;
&lt;br /&gt;
In conclusion, the quality statement of the Chinese Translation of A Pale View of Hills focuses on whether it is an overt transaltion or a covert translation and its matching degree. &lt;br /&gt;
&lt;br /&gt;
On the one hand, it is an overt translation. Accoring to above analysis, the translation is closely related to the culture of the sourse language text. From the translation, expressions with Japanese culture can be found clearly. On the other hand, it is of high quality. There are 32 mismatches in total, 18 mismatches on field, 8 on tenor and 6 on mode. Among them, there are 13 overt errors and 19 covert errors. Covert errors caused by ignoring the context and overt errors caused by violating the rules of target language inflict only a little ambiguity on ideational function, interpersonal function and the quality of the text.&lt;br /&gt;
&lt;br /&gt;
===IV Quality Statement of Chinese Translation of ''A Pale View of Hills''===&lt;br /&gt;
&lt;br /&gt;
The quality statement of the Chinese Translation of A Pale View of Hills focuses on its cultural participation degree and its matching degree. Based on the two aspects, this chapter will make a quality statement of the Chinese Translation of A Pale View of Hills.(House 1997, 108)&lt;br /&gt;
&lt;br /&gt;
'''4.1 Overt Translation'''&lt;br /&gt;
&lt;br /&gt;
Overt translation refers to the obvious translation rather than the second original. The translation is obviously not aimed at the readers with target language, because the original text, literary works, political speeches and religious sermons, is closely related to the culture it is rooted in. But covert translation can be used as the second text, that is, independent writing. &lt;br /&gt;
&lt;br /&gt;
House deems that texts requiring overt translation have no special connection with their culture, and they are not unique to their culture, such as academic papers and travel brochures. She also believes that in overt translation, equivalence can only be established at the level of language/text, register and genre, but it is difficult to achieve equivalence in function. In contrast, the purpose of covert translation is to achieve functional equivalence, and there will be some deficiencies in language, register.(House 1997,108)&lt;br /&gt;
&lt;br /&gt;
In the contrast reading between the original and the translation, the obvious traces of the original can be found, for example, “你想她们还在打吗？” and “呃，我想小孩子是会打架的。但是我想我应该告诉你一声。还有你看，我想你女儿不是要去上学。”. In English, words representing speculation, such as “suppose” and “think”, are used frequently, while in Chinese they are not. Thus, the target text which remains these words possesses obvious sighs of translation. Furthermore, other signs in the translation, such as “欠了欠身”，show the culture of Japan when greeting. In conclusion, the target text of A Pale View of Hills is overt translation.&lt;br /&gt;
&lt;br /&gt;
'''4.2 High-quality Translation'''&lt;br /&gt;
&lt;br /&gt;
This study applies House's TQA model to assess the Chinese translation of A Pale View of Hills on lexical, syntactic and textual aspects. On basis of analysis between the original and the translation, there are 18 mismatches on field, 8 on tenor and 6 on mode. Among them, there are 13 overt errors and 19 covert errors. Covert errors caused by ignoring the context and overt errors caused by violating the rules of target language inflict only a little ambiguity on ideational function, interpersonal function and the quality of the text.&lt;br /&gt;
&lt;br /&gt;
Chinese translation of ''A Pale View of Hills'', by and large, consisting with the original, is of high quality. On the field, the translation, which transmits the subject matter and social action which covers the specificity of linguistic items, is in accordance with the original on lexical, syntactic and textual dimension in general; on the tenor, the representation of social attitude and social role relationship of the Chinese text is consistent with the English text; on the mode, the language of the translation is as simple and delicate as that of the original and the participation is of low level as well. Therefore, Zhang Xiaoyi's Chinese translation of ''A Pale View of Hills'' is of high quality.&lt;br /&gt;
&lt;br /&gt;
===Conclusion===&lt;br /&gt;
&lt;br /&gt;
''A Pale View of Hills'', as the debut of Kazuo Ishiguro, involves many in-depth subjects, which initiates the development of author's peculiar writing style. House's model is the first scientific and objective translation quality assessment mode with the integration of both theory and practice. This study applies House's TQA model to assess the Chinese translation of ''A Pale View of Hills'' on lexical, syntactic and textual aspects. &lt;br /&gt;
&lt;br /&gt;
On basis of analysis between the original and the translation, there are 18 mismatches on field, 8 on tenor and 6 on mode. By and large, the Chinese translation of ''A Pale View of Hills'' is overt translation. Although a few mismatches can be found in the translation, they cause a little affect to the functions of the text and the presentation of the plot, role characters and role relationship of the whole novel. In conclusion, the translation is in line with the original on register and is of high quality.&lt;br /&gt;
&lt;br /&gt;
Different from the traditional evaluation methods, House's model, based on micro and macro criteria, both quantitative analysis and qualitative analysis, is the first scientific and objective translation quality assessment model with a complete theory and empirical evidence. It can be used as an auxiliary tool to find problems in translation so as to make modifications, which to some extent promotes the development of translation activities.(House 1997, 180)&lt;br /&gt;
&lt;br /&gt;
However, in the actual operation process, although the translation quality assessment can be carried out according to parameters, the comparison results still rely on subjective judgment, which cannot utterly guarantee the scientificity of the final evaluation results. In addition, due to the large number of parameters, it takes a lot of time to compare the differences in vocabulary, sentence structure and discourse between the original text and the translation in the evaluation of full-length novel, so the evaluation is not very efficient. Although there are still some shortcomings in the House's model, it is still worth applying in the practice of translation criticism as a relatively complete and objective theoretical model.(House 1997, 182)&lt;br /&gt;
&lt;br /&gt;
===References===&lt;br /&gt;
&lt;br /&gt;
*Awla, Y. N. (2019). The The Impact of Place on Personality in Kazuo Ishiguro's ''A Pale View of Hills'': An Eco-critical Study. ''Journal of University of Raparin''. 1-18.&lt;br /&gt;
&lt;br /&gt;
*House, J. (1977) ''A Model for Translation Quality Assessment''. Germany: Gunter Narr Verlag Tubingen.&lt;br /&gt;
&lt;br /&gt;
*House, J. (1997) ''Translation Quality Assessment: A Model Revised''. German: Gunter Narr Verlag Tubingen. &lt;br /&gt;
&lt;br /&gt;
*Newmark, P. (2001) ''A Textbook of Translation''. Shanghai: Shanghai Foreign Language Education Press.&lt;br /&gt;
&lt;br /&gt;
*Reiss, L. (2000) ''Translation Criticism, the potentials &amp;amp; Limitations''. Manchester: St. Jerome Publishing.&lt;br /&gt;
&lt;br /&gt;
*Forsythe, R. (2005)  Cultural Displacement and the Mother-Daughter Relationship in Kazuo Ishiguro's ''A Pale View of Hills''. ''West Virginia University Philological Papers''.&lt;br /&gt;
&lt;br /&gt;
*Jeremy M. (2001) ''Introduction Translation Studies: Theory and Applications''. London and New York: Routledge.&lt;br /&gt;
&lt;br /&gt;
*Feng Yufang &amp;amp; Wang Feifei丰玉芳, 王菲菲. (2015) 从豪斯的翻译质量评估模式看宋词翻译——以宋词《声声慢》和许渊冲英译本为例[Translation of Ci-poetry Based on J.House's TQA Model——A case study of ''Sheng Sheng Man'' and its English translation by Xu Yuanchong]. 扬州大学学报(人文社会科学版)[Journal of Yangzhou University(Humanities and Social Sciences Edition)]. 114-121.&lt;br /&gt;
&lt;br /&gt;
*He Xiaobing 贺晓冰. (2018) 论《远山淡影》的不可靠叙述与记忆[Memory and Narrative Unreliability in ''A Pale View of Hills'']. 西安外国语大学[Xi'an International Studies University].&lt;br /&gt;
&lt;br /&gt;
*Jiang Ruiping 姜睿萍. (2007) 豪斯翻译质量评估模式在英汉互译中的可行性分析[An Analysis on the Feasibility of House s TQA Model in CE Translation]. 哈尔滨工程大学[Harbin Engineering University]. &lt;br /&gt;
&lt;br /&gt;
*Li Xiaolin &amp;amp; He Shaobin 李晓林, 何绍斌. (2010) 朱莉安·豪斯的“翻译质量评估模式”运作过程可行性浅评[The Feasibility of House's Model of Translation Quality Assessment]. 哈尔滨学院学报[Journal of Harbin University]. 127-1.&lt;br /&gt;
&lt;br /&gt;
*Liu Xiaoya 刘晓亚. (2015) 《远山淡影》中的创伤研究[Trauma in Kazuo Ishiguro's ''A Pale View of Hills'']. 四川师范大学[Journal of Sichuan Normal University(Social Sciences Edition)].&lt;br /&gt;
&lt;br /&gt;
*Si Xianzhu 司显柱. (2005) 朱莉安·豪斯的“翻译质量评估模式”批评[Juliane House's Translation Quality Assessment Model:A Critique]. 外语教学[Foreign Language Education]. 79-84.&lt;br /&gt;
&lt;br /&gt;
*Tang Jun &amp;amp; Wang Yan 唐军, 王燕. (2011) 豪斯翻译质量评估模式在汉译英翻译中的应用——以朱自清《背影》的英译为例[Application of House＇s Translation Quality Assessment Model in C-E Translation—A Case Study of ''The Sight of Father's Back'' by Zhu Ziqing]. 合肥工业大学学报(社会科学版)[Journal of Hefei University of Technology(Social Sciences)]. 129-135.&lt;br /&gt;
&lt;br /&gt;
*Wang Lichuan 王丽川. (2019) 《远山淡影》中的反讽解读[A Study of the Irony in ''A Pale View of Hills'']. 河南: 郑州大学[Henan: Journal of Zhengzhou University].&lt;br /&gt;
&lt;br /&gt;
*Wang Fei 王飞. (2017) 石黑一雄中的身份焦虑[Identity Anxiety in Kazuo Ishiguro's ''A Pale View of Hills'']. 中南大学学报(社会科学版)[Journal of Central South University(Social Science)]. 152-157.&lt;br /&gt;
&lt;br /&gt;
*Zhou Fenfen 周芬芬. (2013) 豪斯翻译质量评估模式的实践应用——以《荷塘月色》英译本为例[The Application of Translation Quality Assessment Model by Julian House——A Case Study on Chinese-English Translation of ''Moonlight over the Lotus Pond'']. 山西农业大学学报(社会科学版)[Journal of Shanxi Agricultural University:Social Science Edition]. 782-786.&lt;br /&gt;
&lt;br /&gt;
==On the Relationship among Literal Translation, Free Translation, Domestication and Foreignization--Wei Honglang 韦洪朗,国别区域研究，202020080647==&lt;br /&gt;
&lt;br /&gt;
===Abstract===&lt;br /&gt;
Abstract&lt;br /&gt;
This paper makes a systematic discussion on the relationship among literal translation, free translation, domestication and foreignization,which have been always controversial in translation history. Based on the theories and contents of free translation, literal translation, domestication and foreignization, this paper analyzes the similarities and differences between literal translation and free translation, foreignization and foreignization respectively. After cross-contrast analysis between them, it comprehensively sorts out the relationship between translation methods of literal translation and free translation and translation strategies of domestication and foreignization, and discusses their comprehensive application on the basis that domestication and foreignization are the extension of literal translation and free translation to cultural level, which has certain reference significance for further enriching translation practice.&lt;br /&gt;
&lt;br /&gt;
===Key words===&lt;br /&gt;
Key Words: Literal Translation; Free Translation; Domestication; Foreignization&lt;br /&gt;
&lt;br /&gt;
===摘要===&lt;br /&gt;
摘 要&lt;br /&gt;
本文就翻译史上备受争论的归化、异化和意译、直译的关系问题进行了系统的讨论。基于意译、直译和归化、异化的理论及其内容，分别分析直译和意译、异化和归化两对概念之间的异同，在他们之间进行交叉对比分析后，综合整理直译、意译的翻译方法和归化、异化翻译策略的关系，在继承归化和异化是直译和意译向文化层面的延伸的基础关系上，具体讨论他们之间的综合运用，为进一步丰富翻译实践具有一定的借鉴意义。&lt;br /&gt;
&lt;br /&gt;
===关键字===&lt;br /&gt;
关键词：意译；直译；归化；异化&lt;br /&gt;
&lt;br /&gt;
===I.Introduction ===&lt;br /&gt;
&lt;br /&gt;
In the history, argues between literal translation and free translation have been lasting for so long. Since there existed so many countries and nations on the continent of Europe, communicating frequently with different languages, the skill and cognition of language translation naturally developed and achieved a lot. During those time, two main methods of translation called literal translation and free translation came into being and accompanied by the problem on choosing which of them. The earliest opinion of translating methods can go back to the period of Roman Empire, when Cicero put forward that free translation should be used in translating Greek texts into Latin, on account of that literal translation , “word for word translation”at that time, couldn’t reflect Roman way of expression and couldn’t be easy-understanding and fluent as free translation, “sense for sense translation”. (Lu Shu, Wang Jintang 2005,115-116)&lt;br /&gt;
&lt;br /&gt;
This view of point had a great and dominate influence at that time, which did not change until late Roman period, when Christianity was gradually in power and the necessity of spreading and translating Bible by the way “exactly what it is ” made literal translation become more popular. Then comes the renaissance, in which many linguisticians realized the importance of keeping the style and features of their own nations. Since then, the two translation methods have taken the lead and been debated endlessly in the translation field. By the 1960s and 1970s, when domesticating translation and foreignizing translation accordingly emerged with free translation and literal translation, reception theory, which upgraded the dominance of readers or we called receivers of translation, again made the domestic translating one-up. (Lu Shu, Wang Jintang 2005,115-116)&lt;br /&gt;
&lt;br /&gt;
This kind of method was criticized by Venuti on its aggressivity of different cultures, based on which he officially put forward the two concepts of domestication and foreignization, which have been two central strategies in translation. So it’s vital to get a better understanding of those four concepts and make their relationships clear, which is of guiding significance to promote translation in practice.(Lu Shu, Wang Jintang 2005,115-116)&lt;br /&gt;
&lt;br /&gt;
===II.Literal Translation and Free Translation===&lt;br /&gt;
&lt;br /&gt;
When seeing translation as shift of linguistic sign, the method of translating could be regarded as the specific approach used by the translator shifting the ST(Source Text) into TT(Target Text), especially the two methods mentioned before--literal translation and free translation.Peter Newmark, in his &amp;quot;A Textbook of Translation&amp;quot;, proposed that the only goal of translating should be repeating the meaning of ST, which means those translating methods exist for dealing with some problems happened during the process when translating.( Ma Shikui 2012,20)The meaning and structure of the ST might not be taken into account every time, so it’s important to search for a appropriate solution to deal with this kind of problem, that’s what literal translation and free translation do.&lt;br /&gt;
&lt;br /&gt;
===2.1 Literal translation ===&lt;br /&gt;
&lt;br /&gt;
Literal translation is the method chosen when the original structure and the meaning of ST could both be perfectly taken into account, by adhering to strict original meaning and style of the TT, including the structures of sentences and rhetorical devices. “Word for word translation” could be counted as the original way of literal translation, like the translation of &amp;quot;The Bible&amp;quot; in the middle Age I showed before. But as the argue and relevant theories developing  till modern age, more and more experts realize and have a common sense that “word for word translation” can’t be equal to literal translation, since there always exist more or less differences among different languages. Personally speaking, the way Professor Fan Zhongying explains that literal translation means keeping the linguistic form of the SL, such as the words, the sentence structures and the rhetorical means, fluently and easily understood at the same time comprehensively interprets literal translation.(Joe Zeng Rui 2000,249)&lt;br /&gt;
&lt;br /&gt;
===2.2 Free translation===&lt;br /&gt;
&lt;br /&gt;
It’s better if we can have langugage forms and meanings achieved both ways, which cannot happened all the time. Thus, free translation might be better when translator can’t follow with the exact structure of SL. Free translation, “sense for sense translation”, refers to a kind of method used to translate the exact sense of the SL into the TL without retaining the sentence structures or the expression way of the SL. The supporters of free translation believe that the purpose of translation is to transform and convey the sense of the SL to the recipient of the TL, so it’s worthy to adopt an expression way closer to the TL, which is easier for the recipient to understand. Free translation has certain flexibility, which means the position of words and sentences can be adjusted. In order to facilitate readers' understanding, even some necessary supplements can be added.(Joe Zeng Rui 2000,249)&lt;br /&gt;
&lt;br /&gt;
===2.3 Analysis with Examples of Literal translation and Free translation===&lt;br /&gt;
&lt;br /&gt;
Here are some specific examples of the contrast between literal translation and free translation：&lt;br /&gt;
&lt;br /&gt;
===2.3.1 On words===&lt;br /&gt;
&lt;br /&gt;
ST:&amp;quot;Why do men have an Adam's Apple but women don't? &amp;quot;&lt;br /&gt;
&lt;br /&gt;
Literal translating: 为什么男人有亚当的苹果而女人没有呢？&lt;br /&gt;
&lt;br /&gt;
Free translating: 为什么男人有喉结而女人没有呢？&lt;br /&gt;
&lt;br /&gt;
From above, the “Adam's apple” can be translated literally into &amp;quot;亚当的苹果&amp;quot;, but it can't reflect the original sense of the ST, because in the western world, &amp;quot;Adam's apple&amp;quot; refers to &amp;quot;喉结&amp;quot; in Chinese instead of literally meaning &amp;quot;亚当的苹果&amp;quot;, so free translation is more accurate here. In addition, it is worth mentioning that this example perfectly reflects the fit of sentence structure between Chinese and English. It also shows that translators should also be sure of the culture behind the SL.&lt;br /&gt;
&lt;br /&gt;
===2.3.2 On sentence structures===&lt;br /&gt;
&lt;br /&gt;
ST:&amp;quot;Here comes the bus!&amp;quot;&lt;br /&gt;
&lt;br /&gt;
Literal translating: 这来了巴士!&lt;br /&gt;
&lt;br /&gt;
Free translating: 巴士来了!&lt;br /&gt;
&lt;br /&gt;
According to the literal translating way, if following with the source structure of the English sentence, which is a inverted sentence in English by the way, the translation result is “这来了巴士”, which is obviously both incoherent and hard to understand in Chinese and even twist the sense of the ST. According to the sentence meaning, it should be translated into “巴士来了 ”, which is totally different from the ST in grammar though.&lt;br /&gt;
&lt;br /&gt;
===2.3.3 On rhetorical means===&lt;br /&gt;
&lt;br /&gt;
ST: &amp;quot;If Main Street didn' t understand this , Wall Street did.&amp;quot;(The Glory and the Dream, p .85)&lt;br /&gt;
&lt;br /&gt;
Literal translating: 如果主街不能理解这一点，华尔街可以。&lt;br /&gt;
&lt;br /&gt;
Free translating: 这一点, 一般人不理解, 华尔街那些大老板们却是明白的。(Professor Wang Zongyan, 1983 :10)&lt;br /&gt;
&lt;br /&gt;
From this example, the key information is that Professor Wang Zongyan translates “Wall Street” into “华尔街的那些大老板们”. In Literature Translation, free translation is evidently more popular, because some literary images are difficult to express accurately through literal translation. In fact, the “Wall Street” here does not mean “Wall Street” itself, but people in power in Wall Street, so it is more appropriate for Professor Wang to translate it into “华尔街的那些老板们” by free translation. The reason of “Main Street”translating into “一般人”is the same.&lt;br /&gt;
&lt;br /&gt;
===2.4 The Relationships between literal translation and free translation===&lt;br /&gt;
&lt;br /&gt;
According to those demonstrations above, we can see that literal translation is more partial to SL(Source Language) and free translation considers more about TL(Target Language) users. The advantage of literal translation is to keep the style of the source language(show how other people talk), which plays a certain role in spreading the source language culture; the disadvantage is that sometimes it might be too long and difficult to understand, which hinders the communication and understanding between the two sides. Because free translation is biased towards the expression of the nation of the TL, its advantage is that it is more fluent and easy to understand, but its disadvantage is that it conceals the style of the source language and loses the role of translation as a cultural bridge, in which the translator's position seem not that important. All in all, I think it is best to combine the two translation methods organically in the process of translation. Just as professor Lu Dianyang proposed: “ Translate literally, if possible, or appeal to free translation.”(Zhao Jing 2011,61)&lt;br /&gt;
&lt;br /&gt;
===III.Domestication and Foreignization===&lt;br /&gt;
&lt;br /&gt;
Through the above introduction, we can know that with the change of historical environment, a period of political opposition and cultural exchange encountering a new period after World War II, the dispute between literal translation and free translation has reached a deeper level of development, which is the arrival of Foreignization and Domestication. Although Foreignization and Domestication were first formally proposed by Lawrence Venuti in &amp;quot;The Translator's Invisibility&amp;quot; in 1995, the translation strategy later called Domestication actually can be seen from Nida's translation theory of &amp;quot;dynamic equivalence&amp;quot;in 1964, which seeks for an expression whose meaning is closest to the SL and conforms to the habit of the TL expression way.（Chen Ying 2009,42）&lt;br /&gt;
&lt;br /&gt;
Nida's theory has been strongly criticized by Venuti, who supports Deconstructivism, and holds that domesticating translation is an obliteration of the SL culture and a manifestation of cultural colonialism, which is manifested by its failure to comply with the expression of the source language culture. Based on this, on the contrary, Venuti shows strong support for foreignizating translation, and he thinks that this translation strategy of preserving the linguistic and cultural differences of the SL shows respect for the SL culture. The following part mainly clarifies the concepts and contents of these two translation strategies, which will helps to compare with literal translation and free translation mentioned above.（Chen Ying 2009,42）&lt;br /&gt;
&lt;br /&gt;
===3.1 Domestication ===&lt;br /&gt;
&lt;br /&gt;
Domestication refers to a translation strategy dealing with the language forms, customs and cultural traditions, such as proverbs, idioms and allusions when translating, which tends to serve the readers of the target language. According to Eugene A. Nida's concept of natural equivalence, the translation version should be close to the original sense and intention in a most natural expression, therefore, the behavior pattern of the source language should be brought into the cultural understanding category of the target language as much as possible, which means that the recipients of the target language can avoid accepting the cultural expression of the source language in order to better understand the original intention.(Zhu Yuanzhong 2013,54)&lt;br /&gt;
&lt;br /&gt;
===3.2 Foreignization===&lt;br /&gt;
&lt;br /&gt;
Venuti studies translation under the background of culture, society, politics and cultural consciousness, and reflects the different positions of different cultures in today's world through the choice of translation strategies, and regards translation as a tool to fight against inequality. From this, we can see the reason why he criticized domestication and vigorously advocated foreignization translation, which is used to advocate that the translation should adapt and consider more the culture of the source language and the original author's habit of choosing words as much as possible. Thus, foreignizing translation tends to serve the SL culture, because he thinks that the translation version should take the source language culture as its destination and guide the reader to approach the original author.(Jiang Cui 2015,71-71)&lt;br /&gt;
&lt;br /&gt;
===3.3 Analysis with Examples of Domestication and Foreignization===&lt;br /&gt;
&lt;br /&gt;
Examples for domesticating translation and foreignizing translation:&lt;br /&gt;
&lt;br /&gt;
===3.3.1 On Politics===&lt;br /&gt;
&lt;br /&gt;
Titles：동해 (donghae)&amp;amp; にほんかい(nihonkai)&lt;br /&gt;
&lt;br /&gt;
Since the 19th century, the world has experienced terrible periods of two world wars and the Cold War . During this long period, independent nation-states gradually chose their own country's &amp;quot;roads&amp;quot; and directions, different ideologies and political positions having a strong sense of existence in international relations, among which there were many translation contradictions caused by geopolitics. (Pan Wenxiao 2020，https://weibo.com/ttarticle/p/show?id=2309404578145859666401)&lt;br /&gt;
&lt;br /&gt;
For example, the title of the sea area between South Korea and Japan has caused controversy between those two countries. South Korea has always called the sea area &amp;quot;동해&amp;quot;(East Sea) in history, but Japan continues to use the European navigator's giving name &amp;quot;Japan Sea&amp;quot;(にほんかい) and gradually gained international recognition from the 19th century. However, South Korean believes that the title change was imposed on South Korea by Japan colonizing Korea, which is a title that violates South Korea's territorial waters and disrespects South Korea. Something similar has happened many times in the world, which is the political difference on domestication and foreignization.(Pan Wenxiao 2020，https://weibo.com/ttarticle/p/show?id=2309404578145859666401)&lt;br /&gt;
&lt;br /&gt;
===3.3.2 On Culture===&lt;br /&gt;
&lt;br /&gt;
ST:“情人眼里出西施。”&lt;br /&gt;
&lt;br /&gt;
Domesticating translation: Love is blind.&lt;br /&gt;
&lt;br /&gt;
Foreignizing translation: The beauty Xi Shi is in the eye of lovers.&lt;br /&gt;
&lt;br /&gt;
This example shows relevantly how different it could be between two cultures: the ST and the domesticating one of  TT express almost the same meaning in completely different ways, that is, lovers can only see each other's good thing. That is to say, if you want to convey the exact meaning of the original Chinese sentence to English speakers, then domesticating method is the best choice, although it will make the &amp;quot;translation results&amp;quot; look beyond recognition. However, if we choose foreignizing translation, especially retaining the word &amp;quot;Xi Shi&amp;quot;, it will give English speakers a chance to understand Chinese traditional culture (Xi Shi is a beautiful woman in the Spring and Autumn Period of China, and &amp;quot;西施&amp;quot; in &amp;quot;情人眼里出西施&amp;quot; means &amp;quot;beauty&amp;quot;), although such translating way may be difficult to understand at first.&lt;br /&gt;
&lt;br /&gt;
===3.4 The relationships between Domestication and Foreignization ===&lt;br /&gt;
&lt;br /&gt;
Through the above analysis, it can be concluded that domestication and foreignization also have their own merits and reasonable existence. Although these two translation strategies were born in different historical backgrounds, their struggles to a certain extent reflect the struggle between the dominant position of stronger culture and weaker culture with different identities, which, of course is just one of those aspects, also reflect the problems of cultural communication: domesticating translation is conducive to conveying the meaning of the source language to the target language recipients without obstacles, especially in the case of great cultural differences existing, but this localization behavior will make it difficult for readers to learn what differences the two sides culture have, and in fact cultural diffusion will not be achieved.(Zhu Yuanzhong 2013,54)&lt;br /&gt;
&lt;br /&gt;
On the contrary, foreignization translation conveys the target text to readers according to the discourse mode of the source language culture, which can not only make readers realize the charm of different cultures, but also increase the expression ways of their own nation, but it is very likely that the meaning of the target text is difficult to understand. This contradiction is particularly prominent in the political level. Therefore, in translation practice, we should decide which way to choose in different contexts and in the face of different groups of people, so that the two can complement each other and have unity of opposites under proper application.(Zhu Yuanzhong 2013,54)&lt;br /&gt;
&lt;br /&gt;
===IV.The relationship among Literal Translation, Free Translation, Domestication and Foreignization===&lt;br /&gt;
&lt;br /&gt;
Sun Zhili, a contemporary Chinese translator, said: &amp;quot;Historically, domestication and foreignization can be regarded as extensions of literal translation and free translation, but they are not completely equivalent to each other. The core issue of literal translation and free translation is how to deal with form and sense at the linguistic level, while domestication and foreignization break through the limitations of language factors and expand their horizons to language, culture and aesthetics.(Sun Zhili 2011,27) &amp;quot;  Even after the above introduction, the boundary between literal translation, free translation, foreignization and domestication seems to be very vague. In order to better clarify the relationship between the two pairs of concepts, the following will distinguish and compare them. &lt;br /&gt;
&lt;br /&gt;
===4.1 The comparison among Literal Translation and Free Translation, Domestication and Foreignization===&lt;br /&gt;
&lt;br /&gt;
These two pairs of conceptss have some points in common. First of all, foreignization and domestication are extensions of literal translation and free translation, so the two pairs of relations are all methods put forward to guide translation practice; Secondly, relatively speaking, the roles of the two pairs of relations are very similar, especially in linguistic form: literal translation and foreignization both emphasize following the expression of the source text; Both free translation and domestication believe that in order to convey the sense of the source text accurately, the expression of the source text can be sacrificed. However，they are not the same in the following aspect. The first point is that the scope is different, which leads to different objects: literal translation and free translation are proposed according to the different structures and characteristics of the source language and the target language, and their discussion focuses on the relationship between form and content, which belongs to the level of language conversion. (Zhao Jing 2011,62) &lt;br /&gt;
&lt;br /&gt;
Foreignization and domestication, as a product of cultural turn, is not only manifested in linguistic form, but also in cultural content. In other words, the emergence and development of foreignization and domestication raise the discussion of language level to the level of culture, poetics and politics. Obviously, the former is a micro translation method, while the latter is a macro translation strategy. Choosing specific translation methods under the guidance of the general direction of translation strategies can make good use of these two pairs of concepts when doing translation. Second, the condition is different: Because literal translation and free translation are aimed at figuring out the issue of the text itself and the language structure, those two translation methods rely heavily on the text on linguistics, and have little room for evolution, development and independence, which make them relatively being static; However, domestication and foreignization do not have such problems. Their appearances were largely influenced by external social factors and the background of times and history, moreover, they focus on the external factors of translation too. Therefore, these two translation strategies are actually unstable and present a relatively dynamic state.(Zhao Jing 2011,62) &lt;br /&gt;
&lt;br /&gt;
===4.2 The connection among Literal Translation and Free Translation, Domestication and Foreignization===&lt;br /&gt;
&lt;br /&gt;
It can be concluded that the basic relationship between these two pairs of concepts is that domestication and foreignization make the discussion of translation transition move from pure language level to cultural level, not only paying attention to the internal transformation of language, but also starting to study the political and cultural environment outside language and text, which makes the change of translation’s function happen--from micro-analysis of language to macro-control of the social function of translation.(Chen Ying 2009,42)&lt;br /&gt;
&lt;br /&gt;
===4.2.1 Foreignization and Literal translation===&lt;br /&gt;
&lt;br /&gt;
According to the comparative analysis in the previous section, we can conclude from their similarities that under normal circumstances, foreignization usually takes literal translation as method, or foreignizing translation usually includes literal translation methods, such as:(Lv Yinping 2007,138)&lt;br /&gt;
&lt;br /&gt;
(1)Pandora’s box 潘多拉的盒子 &lt;br /&gt;
&lt;br /&gt;
(2)the forbidden fruit 禁果&lt;br /&gt;
&lt;br /&gt;
The above two examples clearly show the way literal translation works out, which is also the result under the guidance of foreignizating translation strategy. &amp;quot;Pandora's box&amp;quot; comes from Greek mythology, which refers to the root of all evils, but the translation into Chinese, which is not “万恶之源”, has followed the European saying, and even be quoted in daily communication, which has played the purpose of &amp;quot;understanding other national cultures through translation&amp;quot;; Similarly, &amp;quot;forbidden fruit&amp;quot; comes from &amp;quot;The Bible&amp;quot;, which means something forbidden, but Chinese translation also follows the expression of the original way.&lt;br /&gt;
&lt;br /&gt;
===4.2.2 Domestication and Free translation===&lt;br /&gt;
&lt;br /&gt;
Similarly, free translation is visible in domesticating translation. For example:(Lv Yinping 2007,137)&lt;br /&gt;
&lt;br /&gt;
(1)drink like a fish 牛饮&lt;br /&gt;
&lt;br /&gt;
(2)a fool’s paradise 黄粱美梦&lt;br /&gt;
&lt;br /&gt;
As far as the first example is concerned, if literally translated into &amp;quot;像鱼一样喝水&amp;quot;, it is extremely out of line with the Chinese expression habit, because there is no such statement way in China, which leads to misunderstanding or confusion.. However, if we translate &amp;quot;drink like a fish&amp;quot; into “牛饮” in Chinese, which does exists in China and has the same meaning as &amp;quot;drink like a fish&amp;quot; in English. Then the translation effect is not only interesting but also easy to understand.&lt;br /&gt;
&lt;br /&gt;
However, in the process of actual translation practice, due to the variety and diversity of cultures, the methods and strategies used in text or language conversion are also comprehensive. We can find that the comprehensive and flexible use of literal translation and free translation, domestication and foreignization can make up for the regret of some traditional opposing ways(It is said that the two pairs of concepts are opposite and cannot coexist).&lt;br /&gt;
&lt;br /&gt;
===4.2.3 Domestication and Literal translation===&lt;br /&gt;
&lt;br /&gt;
Foreignizating translation is usually regarded as an extension of literal translation, which means that in general, literal translation methods are often used under the guidance of foreignization strategies, but in some special cases, literal translation can also coexist with domestication strategies. For instances:&lt;br /&gt;
&lt;br /&gt;
(1) 什么时候都要谦虚谨慎，把尾巴夹紧一些。（Jia Wenbo 2000,11）&lt;br /&gt;
&lt;br /&gt;
We must always be modest and prudent and must, so to speak, tuck our tail between our legs.&lt;br /&gt;
&lt;br /&gt;
The meaning of &amp;quot;把尾巴夹紧&amp;quot; in Chinese coincides with &amp;quot;tuck tail between our legs&amp;quot; in English. In this example, it can be said that literal translation is the most suitable choice, which keeps the form and cultural connotation of the source language to the maximum extent, and at the same time coincides with the meaning and culture of the target language.&lt;br /&gt;
&lt;br /&gt;
(2) 一石二鸟(Song Tianxi 2013,49)&lt;br /&gt;
&lt;br /&gt;
Kill two birds with one stone.&lt;br /&gt;
&lt;br /&gt;
Similarly, this is an example of having language structure and cultural meaning between China and Britain in both ways, which uses the method of literal translation but achieves the effect of domestication. But in Chinese, &amp;quot;一石二鸟&amp;quot; can also be synonymous with &amp;quot;一箭双雕&amp;quot; and &amp;quot;一举两得&amp;quot;, which can be chosen when translating &amp;quot;kill two birds with one stone&amp;quot; if you want, however, this way of using the method of free translation is not literal translation anymore.&lt;br /&gt;
&lt;br /&gt;
Domestication and literal translation can coexist under the situation when two sides of language structures and cultures can coincide at the same time, which exists by chance and cannot be forced; It is almost impossible to find examples of coexistence like foreignization and free translation. However, through the above argument, we can find that in translation practice, translators should practice the principle of &amp;quot;concrete analysis of specific problems&amp;quot;, flexibly and dialectically combine free translation and literal translation with domestication and foreignization, and avoid rigid translation methods, so as to better assume the responsibility of cultural exchange. &lt;br /&gt;
&lt;br /&gt;
===V.Conclusion===&lt;br /&gt;
&lt;br /&gt;
Through the analysis above of the concepts and intensions of literal translation and free translation, domestication and foreignization, we further arrive at and even deepen our understanding of the relationship between the two pairs of concepts, which is helpful for translators to approach a better version of translation result and effect as much as possible on the basis of understanding the culture and language of both sides and combining with the practice through rational choice of translation strategies and translation methods under the guidance of the theories. After all, translation is not only a linguistic transformation, whose fundamental task is to reach communication and cultural exchange. &lt;br /&gt;
&lt;br /&gt;
Therefore, to some extent, translation plays the role of cultural &amp;quot;fax&amp;quot;. In order to coordinate the spread of the source language culture and the acceptance of the target language side, and it is necessary to avoid rigid use of a single translation method and translation strategy, or solidifying the idea of translation guiding theory. After comprehensive consideration of translation purpose, target and recipient, it is a translator's duty to use translation method flexibly and dialectically, as being a &amp;quot;cultural bridge&amp;quot;.&lt;br /&gt;
&lt;br /&gt;
===References===&lt;br /&gt;
&lt;br /&gt;
Sun Zhili 孙致礼.(2011).新编英汉翻译教程[A New Coursebook on English-Chinese Translation].上海:上海外语教育出版社.Shanghai:Shanghai Foreign Language Education Press&lt;br /&gt;
&lt;br /&gt;
Sun Zhili 孙致礼.(2002).中国的文学翻译:从归化趋向异化[China’s Literary Translation: from Domestication to Foreignization].中国翻译Chinese Translators Journal(01):39-43.&lt;br /&gt;
&lt;br /&gt;
Jia Wenbo 贾文波.(1999).汉英时文翻译-政治经济汉译英300句析[On Practical C-E Translation in Political &amp;amp; Economic Practice].北京:中国对外翻译出版公司Beijing:China Translation and Publishing Corporation.&lt;br /&gt;
&lt;br /&gt;
Zhang Meifang 张美芳.(2004).翻译策略二分法透视[A dichotomous perspective in translation strategies].天津外国语学院学报Journal of Tianjin Foreign Studies University(03):1-6.&lt;br /&gt;
&lt;br /&gt;
Zhao Jing 赵静.(2011).直译、意译与归化、异化之比较[Comparison between literal translation and free translation and Domestication and Foreignization].河南农业Henan agriculture(22):61-62.&lt;br /&gt;
&lt;br /&gt;
Lv Yinping 吕银平.(2007).“直译与意译  归化与异化”译法之我见[My Opinion on Literal Translation, Free Translation, Domestication and Foreignization].宁夏师范学院学报Journal of Ningxia Teachers Univercity( Social Science)(04):136-138.&lt;br /&gt;
&lt;br /&gt;
Venuti Lawrence.(1995). The Translator’s Invisibility .London&amp;amp;New York: Routledge.&lt;br /&gt;
--[[User:Wei Honglang|Wei Honglang]] ([[User talk:Wei Honglang|talk]]) 05:54, 21 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
==On Chinese-to-English Translation of The Summer Palace from the Perspective of Functionalist Approaches to Translation - 魏亚菲 Wei Yafei,202020080648==&lt;br /&gt;
魏亚菲 Wei Yafei&lt;br /&gt;
&lt;br /&gt;
'''（建议题目改写成On C-E Translation of Tourist Text from the Perspective of Functionalist Approaches to Translation-Exemplified by Tourist Texts Translation of Summer Palace ）'''--[[User:Zhang Yinliu|Zhang Yinliu]] ([[User talk:Zhang Yinliu|talk]]) 14:00, 19 December 2020 (UTC)&lt;br /&gt;
魏亚菲 Wei Yafei&lt;br /&gt;
===Abstract===&lt;br /&gt;
The Chinese-English translation of tourist texts, as a window for the external publicity of national history and culture, plays an important role in promoting the development of local tourism. The Summer Palace is well known for its large and priceless collection of cultural relics, which is among the first group of historical and cultural heritage sites in China to be placed under special state protection. &lt;br /&gt;
&lt;br /&gt;
The Chinese-English translation of tourist texts, as a window for the external publicity of national history and culture, plays an important role in promoting the development of local tourism. The Summer Palace is well known for its large('''large 改成abundant适合一些)''' and priceless collection of cultural relics, which is among the first group of historical and cultural heritage sites in China to be '''(placed可删除)''' under special state protection. --[[User:Zhang Yinliu|Zhang Yinliu]] ([[User talk:Zhang Yinliu|talk]]) 14:00, 19 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
Based on the functionalist approach and the skopos rule, this paper discusses the problems existing in the translation of scenic spots in the Summer Palace from the perspectives of garden culture, historical culture and religious culture. Skopos theory holds that translation depends on communicative purpose. To achieve this goal, translators can choose different translation strategies. It is believed that the purpose of Chinese-English translation of scenic spots is to attract target readers and promote traditional culture. Therefore, when translating tourism materials, it is necessary not only to express the local cultural connotation, but also to consider the cross-cultural factors. The Chinese-English translation of the introduction of scenic spots guided by functionalist approach can make English readers have expectations of scenic spots and understand the cultural connotation of scenic spots. This paper aims to better promote the development and communication of Chinese culture and improve the level of tourism text translation in China by relying on the theory of functionalist approach.&lt;br /&gt;
&lt;br /&gt;
Based on the functionalist approach'''(add -es)'''and the skopos rule, this paper discusses the problems existing in the translation of scenic spots in the Summer Palace from the perspectives of garden culture, historical culture and religious culture. Skopos theory holds that translation depends on communicative purpose. To achieve this goal, translators can choose different translation strategies. It is believed that the purpose of Chinese-English translation of scenic spots is to attract target readers and promote traditional culture. Therefore, when translating tourism materials, it is necessary not only to express the local cultural connotation, but also to consider the cross-cultural factors. The Chinese-English translation of the introduction of scenic spots guided by functionalist approach'''(add -es)''' can make English readers have expectations of scenic spots and understand the cultural connotation of scenic spots. This paper aims to better promote the development and communication of Chinese culture and improve the level of tourism text translation in China by relying on('''relying on 改用applying好像好一些''') the theory of functionalist approach.--[[User:Zhang Yinliu|Zhang Yinliu]] ([[User talk:Zhang Yinliu|talk]]) 14:00, 19 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
===Key words===&lt;br /&gt;
functionalist approach，the Summer Palace，translation strategies&lt;br /&gt;
===题目===&lt;br /&gt;
从功能派翻译理论视角看旅游文本英译—以北京景点颐和园为例&lt;br /&gt;
===摘要===&lt;br /&gt;
旅游资料的英译作为民族历史文化对外宣传的一道窗口,对地方旅游业的发展有着不可低估的促进作用。颐和园作为中国著名的皇家园林，具有浓厚的中国园林特色及优美的风景，同时也蕴涵着深厚文化内涵。&lt;br /&gt;
本篇旅游文本英译的分析以功能派翻译理论作为理论指导，以目的法则为主要原则，从颐和园的园林文化、历史文化和宗教文化三个角度出发对颐和园景点英译中存在的问题进行探讨。目的论认为译文取决于翻译目的，这个目的通常指的是交际目的。为达到这个目的，译者可以选择不同的翻译策略。也就是说，译者的翻译策略必须由译文的预期目的或功能决定，即所谓的“目的法则”。笔者认为景点介绍的汉英翻译的目的就是吸引译文读者以及弘扬传统文化，因此在翻译旅游资料的时候不仅要把当地的文化内涵表达出来，而且要考虑到跨文化的因素。而以功能派翻译理论为指导的景点介绍的汉英翻译，可以使英语读者通过译文产生对旅游景点的期盼，以及对景点文化内涵的理解。以颐和园景区内的翻译文本为例本，依托功能翻译理论，通过“发现问题，指出问题，解决问题”，以期更好地促进中国文化的传播与交流，提高我国现阶段旅游文本翻译的水平。&lt;br /&gt;
===关键字===&lt;br /&gt;
功能翻译；颐和园；翻译目的；翻译策略&lt;br /&gt;
===Table of Contents===&lt;br /&gt;
'''(改成 Contents)'''--[[User:Zhang Yinliu|Zhang Yinliu]] ([[User talk:Zhang Yinliu|talk]]) 14:00, 19 December 2020 (UTC)&lt;br /&gt;
Outline '''(outline 可以去掉）'''--[[User:Zhang Yinliu|Zhang Yinliu]] ([[User talk:Zhang Yinliu|talk]]) 14:00, 19 December 2020 (UTC)&lt;br /&gt;
1.Introduction&lt;br /&gt;
2. Studies on Functionalist Approach&lt;br /&gt;
2.1 The Viewpoint of Functionalist Approach&lt;br /&gt;
2.1.1 Reiss’s Text Typology&lt;br /&gt;
2.1.2 Vermeer’s Skopos Theory&lt;br /&gt;
2.1.3 Manttari’s Theory of Translational Action&lt;br /&gt;
2.1.4 Nord’s Theory of Function plus Loyalty&lt;br /&gt;
2.2 The Application of Functionalist Approach &lt;br /&gt;
3.C-E Translation of the Summer Palace under Functionalist Approach&lt;br /&gt;
3.1 Garden Culture&lt;br /&gt;
3.2 Historical Culture &lt;br /&gt;
3.3 Religious Culture &lt;br /&gt;
4. Conclusion&lt;br /&gt;
References'''（5.References）'''--[[User:Zhang Yinliu|Zhang Yinliu]] ([[User talk:Zhang Yinliu|talk]]) 14:00, 19 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
===Outline===&lt;br /&gt;
&lt;br /&gt;
Thesis Statement: Based on the main viewpoints of functionalist approaches to translation, this paper aims to give an analysis to C-E translation of the Summer Palace from cultural, historical and religious aspects, hoping to provide some translation strategies for other cultural attractions.&lt;br /&gt;
&lt;br /&gt;
1. Introduction&lt;br /&gt;
2. Studies on Functionalist Approaches&lt;br /&gt;
2.1 The Viewpoint of Functionalist Approach&lt;br /&gt;
2.1 Reiss’s Text Typology&lt;br /&gt;
2.2 Vermeer’s Skopos Theory&lt;br /&gt;
2.3 Manttari’s Theory of Translational Action&lt;br /&gt;
2.4 Nord’s Theory of Function plus Loyalty&lt;br /&gt;
2.2 The Application of Functionalist Approach&lt;br /&gt;
3. C-E Translation of the Summer Palace under Functionalist Approach&lt;br /&gt;
3.1 Garden Culture&lt;br /&gt;
3.2 Historical Culture&lt;br /&gt;
3.3 Religious Culture&lt;br /&gt;
4. Conclusion'''（为啥重复了这段）'''--[[User:Zhang Yinliu|Zhang Yinliu]] ([[User talk:Zhang Yinliu|talk]]) 14:00, 19 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
===1. Introduction ===&lt;br /&gt;
The Chinese-English translation of tourist texts is a bridge to spread the culture of classical Chinese gardens, so the accuracy of it has a direct impact on foreigners' understanding of the specific history and culture. &lt;br /&gt;
Functionalist approach has made a pioneering contribution to the translation of non-literary genres. Functional translation theory emphasizes the function of discourse, and believes that different types of discourse have different functions, so translators should choose appropriate translation strategies according to the type of source text and corresponding functions. Functionalist approach is to take the &amp;quot;skopos rule&amp;quot; as the highest standard, and any translation activity is a purposeful behavior. The ultimate goal and main function of scenic spot translation is to help people understand the main content of the scenic spot.&lt;br /&gt;
&lt;br /&gt;
As a window for the publicity of national history and culture, the Chinese-to-English translation of tourist texts plays an important role in promoting the development of local tourism. Well known for its large and priceless collection of cultural relics, the Summer Palace was among the first group of historical and cultural heritage sites in China to be placed under special state protection. Based on the viewpoints of functionalist approach to translation, this paper aims to analyze C-E translation of the Summer Palace from cultural, historical and religious aspects, hoping to provide some translation strategies for other cultural attractions.&lt;br /&gt;
&lt;br /&gt;
As a window for the publicity of national history and culture, the Chinese-to-English translation of tourist texts plays an important role in promoting the development of local tourism. Well known for its large'''（建议large 改成 abundant or rich）''' and priceless collection of cultural relics, the Summer Palace was among the first group of historical and cultural heritage sites in China to be placed under special state protection. Based on the viewpoints of functionalist approach to translation, this paper aims to analyze C-E translation of the Summer Palace from cultural, historical and religious aspects, hoping to provide some translation strategies for other cultural attractions. --[[User:Zhang Yinliu|Zhang Yinliu]] ([[User talk:Zhang Yinliu|talk]]) 14:00, 19 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
===2. Studies on Functionalist Approaches===&lt;br /&gt;
Functionalism is a theory that advocates reader-centered translation, emphasizing the functions of texts and highlighting the communicative effects. It is believed that many unnecessary mistakes can be avoided and better results can be achieved by applying functionalist approach in Chinese-English translation of tourist text. &lt;br /&gt;
&lt;br /&gt;
===2.1 The Viewpoint of Functionalist Approaches===&lt;br /&gt;
Functionalist Translation Theory, also known as German Functionalist Translation Theory, was proposed by German scholars in the 1970s. It includes four main theories: Katharina Reiss’s Text Typology, Hans Vermeer’s Skopos Theory, Justa Holtz Manttari’s Theory of Translational Action and Christiane Nord’s Theory of Function plus Loyalty. This chapter aims to present the main ideas of this theory.&lt;br /&gt;
&lt;br /&gt;
===2.1.1 Reiss’s Text Typology===&lt;br /&gt;
In 1971, Reiss in her book Possibilities and Limitation of Translation Criticism first made text function as a standard of translation criticism, namely evaluate the translated text from the relationship between the functions of the original and the translated text. She insists on the original-centered equivalence theory and holds the view that the ideal translation is to achieve the equivalence between the target text and the source text in terms of ideological content, linguistic form and communicative function. However, translation practice makes her realize that it’s difficult to achieve equivalence sometimes and that sometimes equivalence cannot be pursued. Because of the particularity of translation requirements, the function of the target text is not always the same as that of the source text. Therefore, the translator should give priority to the functional role of the target text rather than the principle of equivalence.&lt;br /&gt;
&lt;br /&gt;
Reiss believes that in the normal situation the type of text decides the translator’s choice of a proper translation method (Reiss, 2004). Therefore, she divides text into four types: content-focused text, form-focused text, appeal-focused text and audio-media text. Content-focused text, also known as informative text, includes news reports, commercial correspondence, operating instructions, official documents, patent specifications, essays, treaties, etc. For this text, the main function is to convey information revealed in language itself to readers. The emphasis is on content and topic, so the choice of language and style should serve this function. If both the source text and target text belong to informative text, the translator should represent the content and information of source text accurately and completely (Reiss, 2004)&lt;br /&gt;
&lt;br /&gt;
Form-focused text, also known as expressive text, refers to literary works such as novels, poems and so on. “Distinct from ‘content’, which deals with what the author says, ‘form’ is concerned with how an author expresses himself” (Reiss, 2004). For expressive texts, information is only a supplement. What is dominant is the aesthetic factor. When translating such texts, the translator should pay attention to the aesthetic and artistic forms of the original text and to the differences between two cultural habits, trying to achieve the same effect as the source text. In a word, in a form-focused text, the linguistic form of the source text determines the form in the target language (Reiss, 2004).&lt;br /&gt;
&lt;br /&gt;
Appeal-focused text, also known as operative text, mainly includes notice, instruction manual, advertisement, publicity manual and so on. For operative texts, the primary task for the translator is to provoke a particular reaction on the hearers or readers to incite them to engage in specific actions, while content and form are subordinate. Therefore, to achieve the same effect, the translator need to change the content and stylistic features of the original text, try to keep the potential influential factors of the original text and seek functional equivalence (Reiss, 2004: 38-43). Audio-medial text, also known as multi-media text, refers to radio and television scripts, such as radio newscasts and reports, topical surveys and dramatic productions.&lt;br /&gt;
&lt;br /&gt;
It is distinctive in its dependence on non-linguistic media and on graphic, acoustic, and visual kinds of expression. Only in combination with them can the whole complex literary form realize its full potential (Reiss, 2004). In conclusion, different texts determine different translation focuses and methods. In many cases, however, a text may have more than one function, which means that translators should integrate different translation strategies skillfully to achieve different functions of texts.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
===2.1.2 Vermeer’s Skopos Theory===&lt;br /&gt;
Reiss’s student Vermeer, who broke the limitation of the theory of equivalent and took skopos to be the first criterion of translation process  proposed the key theory: Skopostheorie. According to Skopos Theory, when translating a text, the translator needs to consider the purpose of translation first and then choose the translation method according to the purpose, which means “the end justifies the means” (Nord, 2001). Vermeer believes that translation, like other human actions, is also a purposeful act. Translation often takes place in cultural backgrounds with different customs and values, so translation is not a simple equivalent transformation between languages. Skopos Theory does not focus on achieving the equivalence between the target text and the original text or the perfection of the target text, but on choosing the best translation strategy based on the analysis of the source text and the intended function of the target text. In a word, translation methods and strategies are determined by the intended purpose or function of the target text.&lt;br /&gt;
&lt;br /&gt;
According to Skopos Theory, the first rule that all translators must follow is the Skopos Rule. Translation purpose can be divided into three categories: (1) the purpose of the translator, such as earning a living; (2) the communicative purpose of the translation, such as instructing the reader; (3) the purpose of using a particular translation method, such as the literal translation according to its structure to illustrate the peculiarities of grammatical structure in a language (Nord, 2001). In general, the communicative purpose is more important than the other two. The communicative purpose is usually determined by the initiator of the translation act, but the translator can take part in deciding. The second rule is the Coherence Rule. Coherence Rule requires that the translation conform to the criterion of intratextual coherence, which means that the translation must be accessible to recipients and meaningful in the target culture and in the communicative environment (Nord, 2001). The third rule is the Fidelity Rule. It means that there should be intertextual coherence between the source text and the target text, which means being faithful to the source text. Nevertheless, the degree and form of faithfulness lie in the target text and the degree that the translator understands the original text. Normally “Intertexual coherence is considered subordinate to intratexual coherence and both are subordinate to the Skopos rule” (Nord, 2001).'''(建议这种可以分列成小标题)&lt;br /&gt;
'''--[[User:Zhang Yinliu|Zhang Yinliu]] ([[User talk:Zhang Yinliu|talk]]) 14:28, 19 December 2020 (UTC)&lt;br /&gt;
===2.1.3 Manttari’s Theory of Translational Action===&lt;br /&gt;
Following Vermeer, Manttari develops Vermeer’s Skopos Theory and puts forward the Theory of Translational Action. He emphasizes three aspects: the behavior of the translation process, the role of the participants (the initiator, the translator and the target reader, etc.) and the environment (time, place and media) in which the translation process takes places. It views translation as “purpose-driven, outcome-oriented human interaction and construes the process of translation as message-transmitter compounds that involve intercultural transfer” (Mundy, 2001). According to Manttari, translation is “ a complex act to achieve a particular purpose” &lt;br /&gt;
(Nord, 2001). It is not about translating words, sentences or texts but is about guiding the intended cooperation over cultural barriers and promoting functional communication. Cooperation here means “transcultural communication” by Manttari.&lt;br /&gt;
&lt;br /&gt;
The Theory of Translational Action attaches great importance to providing a functional communicative text for the recipient, a text suitable for the target culture in&lt;br /&gt;
form and style. Functional suitability is determined by the translator. The translator is an expert in translation, whose role is to ensure the successful completion of culturaltransformation. In producing the target text, the analysis of the source text is necessary so that the translator can find out its structural and functional characteristics, which can be described by content and form. The need of the recipient is the decisive factor for the target text.In short, “the value of Manttari’s work is the placing of translation (or at least the professional non-literary translation which she describes) within its sociocultural context, including the interplay between the translator and the initiating institution”(Mundy, 2001).&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
===2.1.4 Nord’s Theory of Function plus Loyalty===&lt;br /&gt;
&lt;br /&gt;
Though skopos rule changes the focus of translation from the source language text to the target language text and the target receivers, it has some limitations. One is that different readers have different expectations, and the translation purpose cannot satisfy all the expectations of the target reader. Another is that the translation purpose may sometimes be against the intention of the source language. Therefore, based on the skopos rule, Nord introduces the loyalty principle. The principle of loyalty is a supplementary principle proposed by Nord to make up for the deficiency of skopos rule. According to the explanation of Nord, it is not the relationship between the original text and the target text, nor the equivalence between the original text and the form of the target text, but the consistency between the author of the original text, the initiator of the translation, the translator and the reader of the target text, which is the principle of loyalty. The proposal of the loyalty principle makes up for the mistakes that some radical skopos translators usually make, such as omitting and rewriting, which makes skopos theory more perfect and makes skopos theory more likely to guide the translation of literary works.&lt;br /&gt;
&lt;br /&gt;
“Function” and “loyalty” are two pillars of Nord’s functionalist approach. “Function” refers to what a text means or is intended to mean from the receiver’s point of view”, while “loyalty” means that “target-text purpose should be compatible with the original author’s intention” (Nord,2001). It emphasizes the interpersonal relationship between the translator, the source-text sender, the target-text addresses and the initiator. Function plus loyalty enables the translator to avoid the limitations of skopos rule and try to achieve a balance between translation purpose and the source-text author’s intention”(Nord,2001). That is to say, when translating the original text, the translator should take into account the readers' cultural background, knowledge level and expectation of the translation, and choose the corresponding translation strategy according to the translation requirements. If the reader wants to read a word-for-word translation of the article, then the translator must meet the reader's requirements, otherwise he must explain to the reader why he chose his own translation method. The translator's job is to weigh two different cultures instead of imposing one culture on another. &lt;br /&gt;
&lt;br /&gt;
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===2.2The Application of Functionalist Approach to the Tourist Texts.===&lt;br /&gt;
In the 1990s, Functionalist Translation Theory was introduced to China, and since then it has been applied to translation studies by Chinese translation scholars. In his article published in 1995, Zhang Nanfeng briefly introduces Skopos theory to China for the first time, and considers that Skopos theory is referential (Zhang Nanfeng, 1995). German Functionalist Translation Theory, a paper released in1999, is the first article in China which systematically introduces German Functionalist Translation Theory (Zhong Weihe &amp;amp; Zhong Yu, 1999). Based on an overview of Functionalist Translation Theory, Zhang Meifang focuses on introducing Nord’s theory, especially on the detailed analysis of Nord’s principle of loyalty (Zhang Meifang, 2005). Famous domestic scholars, such as Liu Junping (2009), Liu Miqing (2012) and Li Wenge (2004), also introduce this theory in their books. With the rise of Functionalist Translation Theory in China, someone has compared it with other theories. Zhu Haotong compares Skopos Theory with Functional Equivalence Theory to analyze the similarities and differences between them, and further reveals that Functionalist Translation Theory inherits the reasonable part of Nida’s Functional Equivalence Theory, which is an important breakthrough and supplement to solve the problems that Functional Equivalence Theory leaves (Zhu Haotong, 2006). Some scholars also combine theory with translation practice to explore the application of Functionalist Translation Theory to translation practice. Jia Yanli and Wang Hongjun point out that Skopos Theory has its limitations, but it is still of instruction and reference value for non-literary translation texts, such as advertisements and tourism materials (Jia Yanli &amp;amp; Wang Hongjun, 2012). Li Liangchen selects several famous tourist attractions in China to translate the on-site tour-guide commentary into English. Then he improves them under the guidance of Skopos Theory and sends out questionnaires to overseas tourists for further analysis. He argues that the translation of on-site tour-guide commentary which is guided by Skopos Theory is more favorable to conveying information to foreign visitors, to promoting cultural exchanges and to improving the image of China’s tourist destinations (Li Liangchen, 2013). In Pragmatic Translation: Theory &amp;amp; Practice, Wu Feng and He Qingji introduce Functionalist Translation Theory (Wu Feng &amp;amp; He Qingji, 2008) and the characteristics of tourism text and translation skills (Wu Feng &amp;amp; He Qingji, 2008). In this book, they also discuss the controversy over the Chinese name of Functionalist Translation Theory, and holds that “功能派翻译理论” is the most appropriate Chinese translation (Wu Feng &amp;amp; He Qingji, 2008).Based on his own translation practice and under the guidance of Functionalist Translation Theory, Wu Zixuan probes into some special phenomena in the English translation of CNN newsreels. The author believes that in the translation of external publicity, we should not stick to the standard of faithfulness to the original text, but should deal with the original text properly from the perspective of achieving the purpose of translation, such as rewriting, abridging. (Wu Zixuan, 2005).'''(段落过长，建议适当分段写）'''--[[User:Zhang Yinliu|Zhang Yinliu]] ([[User talk:Zhang Yinliu|talk]]) 14:23, 19 December 2020 (UTC)&lt;br /&gt;
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Functionalist approach establishes a theoretical system of diversified translation standards dominated by skopos rule. From the definition of Functionalist approach, it can be seen that the advantage of it is that the translator can get rid of the bondage of the original text, study the translation process with &amp;quot;translation purpose&amp;quot; as the starting point, and determine the translation strategies and methods. This can give full play to the translator's own initiative, flexible processing of the original text, in order to achieve the translation of the communicative function. In addition, functionalist approach requires the translation to be examined in the cultural context of the reader. The reader can accept the translation and understand the meaning of the original text through the translation, so the translation can realize the communicative function. On the basis of such advantages, functionalist approach can be used to guide the English translation of garden scenic spots, and the translator can choose a wider range of translation strategies and break out of the constraints of the original text. &lt;br /&gt;
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Only by clarifying the purpose of translation can we avoid these limitations in the English translation of garden attractions. When using functionalist approach to guide the English translation of Chinese classical garden scenic spots, it is necessary to flexibly choose translation strategies and methods, give full play to the advantages of skopos theory, and achieve the balance between &amp;quot;principle of purpose&amp;quot; and &amp;quot;principle of fidelity&amp;quot; as far as possible.&lt;br /&gt;
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With the deepening of globalization and cross-cultural communication, tourismis becoming a major industry in the 21st century. The development of tourism can not only promote the economic development of a country but also promote the external dissemination of national culture. Therefore, tourism translation deserves attention. Tourism text is a typical informative and operational text, and the language is unique. It is full of gorgeous words, such as four-character expressions, verses, proper nouns and so on.&lt;br /&gt;
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Tourism text materials include tourism advertising, tourism brochures, scenic spots signs and so on. In this paper, we focus on the introduction of Chinese gardens’ scenic spots, which is usually colorful in language and rich in literary style. Tourism text translation belongs to applied translation, which should play a series of practical functions to publicize the image and resources of the country or place and attract overseas tourists. Therefore, the translator of tourism text must be clear about the type and function of tourism text, and to grasp the ultimate purpose of the translation. &lt;br /&gt;
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On tourism text translation, the communicative purpose of the translation should be placed in a central position. Furthermore, the tourism text has both the information function and the calling function. The information function and the calling function complement each other. Only when the target language readers acquire the expected tourism information and cultural knowledge can the calling function be realized and the purpose of tourism text translation be achieved. With different translation strategies, the translated version should both expressed contains basic information, and make the tourists feel the profound of the Chinese culture from the beautiful scenery. &lt;br /&gt;
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Cultural tourism has long been the focus of international tourism, and understanding Chinese culture is the main purpose of inbound tourists, so the translation of tourism texts bears the mission of cultural transmission and cultural publicity. However, due to the great differences between Chinese and English culture and language, there are many difficulties in cultural transmission in tourism text translation. China has a long and splendid history and culture. When introducing the scenic spots of cultural relics and historic sites, we usually associate with many historical figures and stories. These terms are cultural blank for most foreign tourists, but this kind of cultural experience is also the most attractive place for foreign tourists. It is of great importance to pay attention to cultural differences in tourism translation and carry out cultural transmission effectively. Chinese and English languages have different logic views, and Chinese expressions in tourism texts value decoration. English expressions tend to be clear, concise and to the point. For example, Chinese tourism texts often use a four-character lattice, which is symmetrical, while there is no corresponding four-character lattice expression in English. Therefore, in Chinese-English translation of tourism texts with frequent use of four-character phrases, it is necessary to keep in mind the objective principle of functionalist approach and give priority to cultural communication instead of rigidly adhering to form.&lt;br /&gt;
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===3. C-E Translation of the Summer Palace under Functionalist Approach===&lt;br /&gt;
By studying the specific translation strategies made by predecessors, the following steps are also adopted in this paper: first, the translation strategies are determined according to the text type, such as faithful reproduction of the original information or rewriting; Secondly, the translation strategies are determined according to the potential purpose of the translation, such as paraphrasing or deleting poems, generalizing specific expressions and transliterating proper nouns. Thirdly, the translation strategies are defined with the tourists as the center, such as adding logical words, adding explanatory information and using plain English.&lt;br /&gt;
The Summer Palace epitomizes the philosophy and practice of Chinese garden design, which played a key role in the development of this cultural form throughout the east. It is an outstanding expression of the creative art of Chinese landscape garden design, incorporating the works of humankind and nature in a harmonious whole, which was once the most important place of political and diplomatic activity for the supreme rulers of the late Qing dynasty. Based on three aspects of the Summer Palace, namely, garden culture, historical culture and religious culture, this paper discusses the problems existing in the English translation of the scenic spots of the Summer Palace and puts forward corresponding countermeasures under the guidance of the skopos rule of functionalist translation theory.&lt;br /&gt;
===Approach===&lt;br /&gt;
By studying the specific translation strategies made by predecessors, the following steps are also adopted in this paper: first, the translation strategies are determined according to the text type, such as faithful reproduction of the original information or rewriting; Secondly, the translation strategies are determined according to the potential purpose of the translation, such as paraphrasing or deleting poems, generalizing specific expressions and transliterating proper nouns. Thirdly, the translation strategies are defined with the tourists as the center, such as adding logical words, adding explanatory information and using plain English.&lt;br /&gt;
The Summer Palace epitomizes the philosophy and practice of Chinese garden design, which played a key role in the development of this cultural form throughout the east. It is an outstanding expression of the creative art of Chinese landscape garden design, incorporating the works of humankind and nature in a harmonious whole, which was once the most important place of political and diplomatic activity for the supreme rulers of the late Qing dynasty. Based on three aspects of the Summer Palace, namely, garden culture, historical culture and religious culture, this paper discusses the problems existing in the English translation of the scenic spots of the Summer Palace and puts forward corresponding countermeasures under the guidance of the skopos rule of functionalist translation theory.&lt;br /&gt;
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===3.1 Garden culture.===&lt;br /&gt;
The Summer Palace is a classical garden famous for its magnificence and beauty. There are many temples in the garden, and the green waves of kunming lake ripple. Landscape and humanities complement each other, containing rich natural and cultural information, reflecting the characteristics of Chinese classical gardens. The garden cultural features of the three scenic spots, namely, the hall of clouds, the foxiang pavilion and the Wenchang courtyard, are particularly outstanding. Therefore, this paper takes these three scenic spots as examples to discuss the Chinese-English translation of the introduction of the Summer Palace.&lt;br /&gt;
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(1)排云殿、佛香阁景区是颐和园内建筑布局最完整、建筑形式最丰富的中轴建筑群体，殿、阁、廊、亭、桥、坊、碑等建筑约两万平方米。从临水的云辉玉宇牌坊至排云门、排云殿、德辉殿、佛香阁、众香界、智慧海、层层升高，排列有序，气势巍峨，金碧辉煌，将园林、寺庙和宫殿融为一体。&lt;br /&gt;
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Translation：This scenic spot covers an area of 20,000 square meters with an assortment of buildings such as palaces, towers, corridors, pavilions, walkways, bridges, archways and inscribed stone steles. It comprises a well-arranged group of structures, all diverse in style, located in the center of the Summer Palace garden. This complex of structures, ranging from the Glowing Clouds and Holy Land Archway on the waterside, the Gate that Dispels the Clouds, the Hall that Dispels the Clouds, the Hall of Moral Glory, and the Tower of the Fragrance of the Buddha, to the Realm of Popular Fragrance and the Sea of Wisdom Temple, were built in an orderly manner running from the foot of the hill to its top, with gardens, temples and palaces harmoniously integrated into the whole.&lt;br /&gt;
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Analysis：As we all know, the design style of ancient Chinese buildings is beautiful with &amp;quot;symmetry&amp;quot;. The &amp;quot;axis&amp;quot; in hall of clouds scenic spot refers to the layout of the Summer Palace from far to near and from top to bottom, which cannot be simply understood as the center. Simply translating &amp;quot;axis&amp;quot; as &amp;quot;center&amp;quot; cannot express accurately the meaning of &amp;quot;symmetry&amp;quot;. Comparatively speaking, &amp;quot;axis&amp;quot; can better reflect the architectural style of the scenic spot.&lt;br /&gt;
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(2)从临水的云辉玉宇牌坊至排云门、排云殿、德辉殿、佛香阁、众香界、智慧海，层层升高，排列有序，气势巍峨，金碧辉煌，将园林、寺庙和宫殿融为一体。&lt;br /&gt;
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Translation：These structures，including Glowing Clouds and Holy Land Archway at lake side，the Gate of Dispelling Clouds，the Hall of Dispelling Clouds，the Hall of moral Glory，and the Tower of Buddhist Incense，the Realm of Multitudinous Fragrance and the Sea of Wisdom Temple，were built in an orderly manner ranging up the hill with gardens，temples and palaces harmoniously integrated. This manifests beauty，grace and splendor，reminiscent of the loftingness and grandeur of a once mighty empire.&lt;br /&gt;
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Analysis：In terms of the characteristics of language, Chinese emphasizes parataxis and four-word antithesis. When describing and naming scenes, gorgeous words and poetic words are generally chosen in Chinese. But, English emphasizes hypotaxis, on the other hand, puts more emphasis on reproducing the original appearance of things, using simple and natural words and preferring direct description. In sign translation, the English translation pays more attention to accurate, concise and lively. In the above paragraph, &amp;quot;层层升高，排列有序，将园林、寺庙和宫殿融为一体&amp;quot; is an introduction to the architectural features of foxiang pavilion, in order to make tourists have a clear understanding of the overall layout and architectural features of the scenic spot. This information is essential and can be translated into detail. However, &amp;quot;气势巍峨，金碧辉煌&amp;quot; focuses on the subjective description, and its explicit translation needs more complicated words. If this paragraph is translated in detail, it is easy to drag the content and make the key information vague. Therefore, the deletion of the English translation of this sentence will not affect the basic information of the original text.&lt;br /&gt;
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(3)主阁（文昌阁）两层，内供铜铸文昌帝君和仙童、铜骑。文昌阁与万寿山西供武圣的宿云檐象征“文武辅弼”。&lt;br /&gt;
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Translation: A bronze statue of the God Wenchang, statues of gaeries, and a bronze steed were placed in the two-story pavilion. This tower is pared with the Tower of Cloud- Retaining Eaves, located to the west of the Longevity Hill, in which a statue of the Martial God was placed. The God Wenchang and the Martial God together symbolize reining of the emperor supported by scholars and warriors.&lt;br /&gt;
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Analysis: Two questions arise in Chinese-English translation. First, there are two translations of wenchang pavilion in the translation: pavilion and tower, which appear in the same sign. Two different translations of the same scenic spot name tend to make foreign tourists think that it refers to different scenic spots, which may cause difficulty in understanding. Second, the translation of Wenchang pavilion into &amp;quot;Wenchang Tower&amp;quot; is against the actual architectural characteristics. In fact, the meanings of &amp;quot;pavilion&amp;quot; and &amp;quot;tower&amp;quot; have both similarities and differences. According to the Oxford dictionary, Tower means &amp;quot;a tall narrow building or part of a building, especially of a church or castle&amp;quot;, mainly referring to the tower-shaped part of a building, usually a tall and slender structure, such as the Eiffel Tower. &amp;quot;Pavilion&amp;quot; means &amp;quot;a building that is meant to be more beautiful than usual, built as a shelter in a park or used for concerts and dances&amp;quot;. The top structure of the pavilion usually has rectangles, triangles, hexagons, etc. The common feature of them is that the top is supported by columns without walls. From the external structure of Wenchang pavilion, its bottom is solid and its top is supported by columns. Therefore, the pavilion can accurately reflect the architectural characteristics of Wenchang pavilion, so I think it should be translated as Wenchang pavilion.&lt;br /&gt;
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===3.2 Historical culture. ===&lt;br /&gt;
The accurate Chinese-English translation of the introduction of the Summer Palace not only enables foreign tourists to understand the characteristics of Chinese gardens, but also enables foreign tourists to understand the historical knowledge of a specific period of China. However, the Chinese-English translation of the Summer Palace still has problems in accurately conveying the historical background of the scenic spots, such as the English translation of Wenchang pavilion scenic spot:&lt;br /&gt;
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(4)此景区始建于清乾隆十五年，一八六零年被英法联军烧毁，光绪时按原样重建。阁结构为八面三层四重檐，通高36.44米，耸立于20米高的石造台基上，气势雄伟，是颐和园全园的构图中心。阁内供奉有铜铸金裹千手观世音菩萨站像。像高五米，重万斤，为明代万历年间所造，在八根贯通全阁上下的承重铁梨木擎天柱的衬托下，美妙庄严，熠熠生辉，有极高的文物和艺术价值。&lt;br /&gt;
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Translation: The Wenchang tower was first built in 1750 and rebuilt under Emperor Guangxu after  the Anglo-French Allied Forces builted it down in 1860. The octahedral tower has three stories with four-layered eaves, altogether 36.44 meters high. Standing upright on a 20 meter-high stone foundation, it constitutes the center of the Summer Palace landscape and serves to accentuate its magnificence. A statue of the thousand-handed Guanshiyin Buddha, cast in bronze and gilded with gold, stands inside the tower. The statue, five meters high and five tons in weight, was cast during the reign of Emperor Wanli of the Ming Dynasty. Set off by the eight imposing pillars which support the tower, it glows with beauty, grandeur and brilliance. Its historical, cultural and artistic value can hardly be overstated.&lt;br /&gt;
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Analysis: “始建于乾隆十五年”only was translated into “was first built in 1750” and the “光绪年间重建” was translated into “rebuilt under Emperor Guangxu”.The first sentence does not show that 1750 was the fifteenth year of the reign of emperor Qianlong, and the second sentence does not give foreign visitors the exact date of the reign of emperor Guangxu. The change of time concept and the disunity of expression easily make foreign tourists feel confused. Therefore, the translation of the time and the historical dynasties should be accurate and meticulous, and the supplementary method should be used to not only describe the dynasties clearly, but also supplement the corresponding years, so as to achieve the standardization of the translation. In this way, foreign tourists can not only be clear about the time of the event, but also understand the Chinese historical dynasties. Consider as follows: the Wenchang Pavilion was first built in 1750 during Emperor Qianlong’s reign（1735- 1795）and rebuilt in 1886 under Emperor Guangxu（1875- 1908）after the Anglo- French Allied Forces burned it down in 1860.&lt;br /&gt;
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===3.3 Religious culture. ===&lt;br /&gt;
Many scenic spots in the Summer Palace have a strong buddhist atmosphere. While visiting the scenic spots, foreign tourists can understand the profound buddhist culture. Wenchang pavilion in the Summer Palace is the representative of Chinese religious culture.&lt;br /&gt;
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(5)主阁两层，内供铜铸文昌帝君和仙童、铜特。文昌阁与万寿山西供武圣的宿云檐象征“文武辅弼”。&lt;br /&gt;
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Translation: A bronze statue of the god，Wenchang，and statues of two followers，the celestial boy，and the bronze steed，were placed in the two- storey pavilion. This tower is pared with the tower of Cloud- Retaining Eaves，located to the west of the Longevity Hill，in which a statue of the Martial God was placed. The two towers symbolize the support by both scholars and warriors to the ruling emperor.&lt;br /&gt;
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Analysis: It is well known that westerners believe in theism, which refers to god as supreme . In Chinese religious culture, people believe in atheism and do not believe in the existence of god. Therefore, it is inappropriate to translate &amp;quot;文昌帝军&amp;quot; and &amp;quot;武圣&amp;quot; into &amp;quot;the god, Wenchang&amp;quot; and &amp;quot;the Martial god&amp;quot; in the translation. In fact, the &amp;quot;文昌帝军&amp;quot; was Zhang yu, an emperor of Shu of Ning kang (374). And &amp;quot;武圣&amp;quot; refers to Guan yu in history. Therefore, the simple translation of  &amp;quot;God&amp;quot; is not in line with the traditional Chinese culture, which will not only cause western tourists to misunderstand that Chinese religious tradition also believes in God, but also fail to convey Chinese historical allusions and relevant historical figures. In contrast, if &amp;quot;文昌帝军&amp;quot; is translated as &amp;quot;the emperor, Wenchang&amp;quot; and &amp;quot;武圣&amp;quot; is translated as &amp;quot;the Martial Master (Guanyu)&amp;quot;, it can more faithfully convey the history and religious culture contained in the source language. &lt;br /&gt;
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===4. Conclusion===&lt;br /&gt;
To sum up, Under the guidance of the skopos rule of functionalist translation theory, translators should have a cross-cultural awareness, fully understand the reading psychology and cultural appreciation needs of target language readers, and use effective translation strategies and methods to achieve the purpose of tourism text translation. Functionalist approach has made a pioneering contribution to the translation of non-literary genres. Functional translation effectively eliminates the disadvantages of traditional word-for-word translation, improves the efficiency of translation, and helps readers to grasp the meaning of the original text.&lt;br /&gt;
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To sum up, Under the guidance of the skopos rule of functionalist translation theory, translators should '''have cross-cultural awareness''', fully understand the reading psychology and cultural appreciation needs of target language readers, and use effective translation strategies and methods to achieve the purpose of tourism text translation. Functionalist approach has made a pioneering contribution to the translation of non-literary genres. Functional translation effectively eliminates the disadvantages of traditional word-for-word translation, improves the efficiency of translation, and helps readers to grasp the meaning of the original text.--[[User:Zhang Yinliu|Zhang Yinliu]] ([[User talk:Zhang Yinliu|talk]]) 14:18, 19 December 2020 (UTC)&lt;br /&gt;
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The importance of the translation of the Summer Palace lies in the profound garden culture, historical culture and religious culture. The English translation is not only helpful for international friends to know more about the garden characteristics of the Summer Palace, but also helpful for spreading the long history and profound culture of China. In order to attract target readers and promote traditional Chinese culture, it is not only necessary to carefully explore Chinese culture and history, but also to use the fuctionalist approach appropriately. &lt;br /&gt;
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Translation is a complicated process. Functionalist approach stresses the function of the discourse, the purpose of translation. In the practice of translation, if the translator can get rid of the bondage of the original equivalence, actively playing to subjective initiative, fully understanding the original text, depending on the purpose of discourse and adopting different translation strategies, the effect and readability of translation can be improved.&lt;br /&gt;
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Translation is a complicated process. Functionalist approach stresses the function of the discourse '''and''' the purpose of translation. In the practice of translation, if the translator can get rid of the bondage of the original equivalence, actively playing to subjective initiative, fully understanding the original text, depending on the purpose of discourse and adopting different translation strategies, the effect and readability of translation can be improved.--[[User:Zhang Yinliu|Zhang Yinliu]] ([[User talk:Zhang Yinliu|talk]]) 14:18, 19 December 2020 (UTC)&lt;br /&gt;
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===References===&lt;br /&gt;
Hans Vermmer, “Skopos and Commission in Translation Action”, in the Translation Studies Reader,ed. Chesterman, London and Network:Routledge,p.221-232. 2000.   &lt;br /&gt;
Munday, Jeremy. Introducing Translation Studies: Theories and Applications. Routledge publishing.2001.&lt;br /&gt;
Mason, “Textual Practices and Audience Design: and Interactive View of the Tourist Brrochure”. In Navarro et al.(eds.). Pragmatics at Work: The Translation of Tourist Literature. Bern: Perter Lang. 157-176.2004.&lt;br /&gt;
Nord, Text Analysis in Translation: Theory, Methodology and Didactic Application of a Model for Translation-Oriented Text Analysis. Beijing: Foreign Language Teaching and Research Press. 2006.&lt;br /&gt;
Nord, Translating as a purposeful activity. Shanghai: SFLE PRESS, 2001:27,30,32,65,245.&lt;br /&gt;
Reiss, Katharina. Translation Criticism: The Potentials &amp;amp; Limitations. Shanghai Foreign Language Education Press. Shanghai. 2004.&lt;br /&gt;
Venuti, Lawrence. The Translator’s Invisibility: A History Translation. Routledge.1995.&lt;br /&gt;
方梦之、毛忠明， 英汉—汉英应用翻译教程，上海: 上海外语教育出版社，2004.&lt;br /&gt;
金惠康，跨文化旅游翻译，中国对外翻译出版公司，2004.  &lt;br /&gt;
贾文波，应用翻译功能论，北京：中国对外翻译出版公司，2004&lt;br /&gt;
孙艺风，文化翻译的困惑与挑战，中国翻译，2016年第3期.  &lt;br /&gt;
王宏志，翻译与创作，北京大学出版社，2000.&lt;br /&gt;
吴自选，德国功能派翻译理论与 CNN 新闻短片英译，中国科技翻译, 2005.&lt;br /&gt;
谢天振，当代国外翻译理论，天津：南开大学出版社，2005.&lt;br /&gt;
张南峰，走出死胡同建立翻译学. 中国翻译, 1995.&lt;br /&gt;
仲伟合，钟钰. 德国的功能派翻译理论. 中国翻译, 1999.&lt;br /&gt;
张美芳，功能加忠诚—介评克里丝汀· 诺德的功能翻译理论.上海外国语大学学报, 2005.&lt;br /&gt;
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'''(文献引用格式有点不对，忘了空格）&lt;br /&gt;
===References===&lt;br /&gt;
Hans Vermmer, “Skopos and Commission in Translation Action”, in the Translation Studies Reader,ed. Chesterman, London and Network:Routledge,p.221-232. 2000.   &lt;br /&gt;
&lt;br /&gt;
Munday, Jeremy. Introducing Translation Studies: Theories and Applications. Routledge publishing.2001.&lt;br /&gt;
&lt;br /&gt;
Mason, “Textual Practices and Audience Design: and Interactive View of the Tourist Brrochure”. In Navarro et al.(eds.). Pragmatics at Work: The Translation of Tourist Literature. Bern: Perter Lang. 157-176.2004.&lt;br /&gt;
&lt;br /&gt;
Nord, Text Analysis in Translation: Theory, Methodology and Didactic Application of a Model for Translation-Oriented Text Analysis. Beijing: Foreign Language Teaching and Research Press. 2006.&lt;br /&gt;
&lt;br /&gt;
Nord, Translating as a purposeful activity. Shanghai: SFLE PRESS, 2001:27,30,32,65,245.&lt;br /&gt;
&lt;br /&gt;
Reiss, Katharina. Translation Criticism: The Potentials &amp;amp; Limitations. Shanghai Foreign Language Education Press. Shanghai. 2004.&lt;br /&gt;
&lt;br /&gt;
Venuti, Lawrence. The Translator’s Invisibility: A History Translation. Routledge.1995.&lt;br /&gt;
&lt;br /&gt;
方梦之、毛忠明， 英汉—汉英应用翻译教程，上海: 上海外语教育出版社，2004.&lt;br /&gt;
&lt;br /&gt;
金惠康，跨文化旅游翻译，中国对外翻译出版公司，2004.  &lt;br /&gt;
&lt;br /&gt;
贾文波，应用翻译功能论，北京：中国对外翻译出版公司，2004&lt;br /&gt;
&lt;br /&gt;
孙艺风，文化翻译的困惑与挑战，中国翻译，2016年第3期.  &lt;br /&gt;
&lt;br /&gt;
王宏志，翻译与创作，北京大学出版社，2000.&lt;br /&gt;
&lt;br /&gt;
吴自选，德国功能派翻译理论与 CNN 新闻短片英译，中国科技翻译, 2005.&lt;br /&gt;
&lt;br /&gt;
谢天振，当代国外翻译理论，天津：南开大学出版社，2005.&lt;br /&gt;
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张南峰，走出死胡同建立翻译学. 中国翻译, 1995.&lt;br /&gt;
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仲伟合，钟钰. 德国的功能派翻译理论. 中国翻译, 1999.&lt;br /&gt;
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张美芳，功能加忠诚—介评克里丝汀· 诺德的功能翻译理论.上海外国语大学学报, 2005.&lt;br /&gt;
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'''--[[User:Zhang Yinliu|Zhang Yinliu]] ([[User talk:Zhang Yinliu|talk]]) 14:18, 19 December 2020 (UTC)&lt;br /&gt;
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==Contrast between Literal Translation and Free Translation	张雪仪	Zhang Xueyi==&lt;br /&gt;
&amp;lt;center&amp;gt;张雪仪 202020080668&amp;lt;/center&amp;gt;&lt;br /&gt;
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=== Abstract===&lt;br /&gt;
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The contrast between literal translation and free translation has always been the most discussed problem in translation studies. To compare these two translation methods, the basic point is to understand the purpose of translation. The ultimate goal of translation is to help different cultures communicate better, so that people who speak different languages can understand each other’s cultures. Due to the differences in social, historical and cultural backgrounds between languages, how to choose between the two translation strategies of literal translation and free translation requires translators to weigh the strengths and weaknesses of these two methods. This essay mainly compares literal translation and free translation between Chinese and Russian to help students and translators translate better.&lt;br /&gt;
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The contrast between literal translation and free translation has always been the most discussed issue in translation studies. The ultimate goal of translation is to help different cultures communicate better, so that people of different languages can understand each other's culture. Due to the differences of social, historical and cultural backgrounds between languages, translators need to compare the two methods and weigh their advantages and disadvantages. This paper mainly analyzes the literal translation and free translation of Russian Idioms and proverbs in the process of Chinese translation, and explores the differences of different idioms translated by different methods, so as to help students and translators better carry out translation practice.--[[User:Zhou Shuyao|Zhou Shuyao]] ([[User talk:Zhou Shuyao|talk]]) 05:34, 19 December 2020 (UTC)&lt;br /&gt;
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=== Key words ===&lt;br /&gt;
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Translation strategies, Literal translation,Free translation &lt;br /&gt;
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=== 摘要 ===&lt;br /&gt;
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直译与意译间的对比一直是翻译学中讨论度最高的问题。想要将这两种翻译方法进行对比，最基本的一点就是要明白翻译的目的是什么。翻译的最终目的在于帮助不同文化进行更好的交流，让使用不同语种的人相互理解彼此的文化。由于语种间社会历史文化背景的差异，如何在直译和意译这两种翻译策略中做出选择，就需要译者衡量两种方法的利弊。本文主要对汉语和俄语间直译和意译进行比较，以帮助学生和译者更好地进行翻译实践。&lt;br /&gt;
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直译与意译间的对比一直是翻译学中讨论度最高的问题。翻译的最终目的在于帮助不同文化进行更好的交流，让使用不同语种的人相互理解彼此的文化。由于语种间社会历史文化背景的差异，需要译者对这两种方法进行比较，衡量利弊。本文主要分析俄语成语和谚语在汉译过程中的直译和意译，探寻不同成语用不同方法翻译所产生的差别在以帮助学生和译者更好地进行翻译实践。--[[User:Zhou Shuyao|Zhou Shuyao]] ([[User talk:Zhou Shuyao|talk]]) 05:33, 19 December 2020 (UTC)&lt;br /&gt;
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=== 关键词 ===&lt;br /&gt;
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翻译策略，直译，意译&lt;br /&gt;
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=== Introduction ===&lt;br /&gt;
The former Soviet Union translation theorist Fedorov believes that “translation is an activity of expressing what has been used in one language as a unified whole of content and form, and accurately and completely expressed in another language.” Translation theorist Barhudaro The husband also wrote: &amp;quot;Translation is the process of changing the coherent discourse of one language into the coherent discourse of another language while maintaining its content and meaning.&amp;quot; Mr. Lu Xun once advocated &amp;quot;literal translation.&amp;quot; He said: &amp;quot;Translation must take both sides into consideration: (Cai Yi, Duan Jinghua 2000)&lt;br /&gt;
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Fedorov, a translation theorist of the former Soviet Union, believes that &amp;quot;translation is an activity that expresses something that has been expressed in one language as a unity of content and form, and expressed accurately and completely in another language.&amp;quot; Balhudarov, a translation theorist, once wrote: &amp;quot;translation is the process of changing the coherent discourse of one language into the coherent discourse of another language while maintaining its content, that is, meaning.&amp;quot; Lu Xun once advocated literal translation. He said, &amp;quot;translation must take both sides into consideration;(Cai Yi, Duan Jinghua 2000)--[[User:Zhou Shuyao|Zhou Shuyao]] ([[User talk:Zhou Shuyao|talk]]) 05:53, 19 December 2020 (UTC)&lt;br /&gt;
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One is of course to be easy to understand, the other is to maintain the fullness of the original.&amp;quot; The Chinese translator Zhang Peiji summed up the translation standard as &amp;quot;faithful and smooth.&amp;quot; To some extent, translation is a process of thinking re-creation, so certain standards and principles must be followed when translating. Translation standard is a measure of the quality of translation, it can guide translation practice, and it is a principle that must be followed in translation activities. (Gong Linjing 2015,192)&lt;br /&gt;
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One is of course to be easy to understand, the other is to maintain the fullness of the original.&amp;quot; The Chinese translator Zhang Peiji summed up the translation standard as &amp;quot;faithful and smooth.&amp;quot; To some extent, translation is a process of thinking re-creation, so certain standards and principles must be followed when translating. Translation standard is a measure of the quality of translation, it can guide translation practice, and it is a principle that must be followed in translation activities. (Gong Linjing 2015,192)--[[User:Zhou Shuyao|Zhou Shuyao]] ([[User talk:Zhou Shuyao|talk]]) 05:53, 19 December 2020 (UTC)&lt;br /&gt;
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Although each scholar has different opinions on the standard of translation, the final result he pursues is the same: the original text and the translated text express the same effect.In order to achieve the same effect, different translation methods have been derived from the translator's translation practice. The most basic and common ones are literal translation and free translation.(Gong Linjing 2015,192)&lt;br /&gt;
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Although each scholar has different opinions on the standard of translation, the final result he pursues is the same: the original text and the translated text express the same effect.In order to achieve the same effect, different translation methods have been derived from the translator's translation practice. The most basic and common ones are literal translation and free translation.(Gong Linjing 2015,192)--[[User:Zhou Shuyao|Zhou Shuyao]] ([[User talk:Zhou Shuyao|talk]]) 05:53, 19 December 2020 (UTC)&lt;br /&gt;
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Russian idioms and proverbs, as the crystallization of the wisdom of the Russian nation and the immortal fossils in the Russian language, are one of the best materials for the Chinese to understand and learn Russian history, culture, and society. Due to different geographical, historical and economic conditions, the Russian and Chinese ethnic groups have formed different cultural backgrounds. These distinctive backgrounds and characteristics have caused great difficulties for Chinese learning Russian to further understand Russia. This essay will take the Chinese translation of Russian idioms and proverbs as examples to study the basic definitions of literal translation and free translation, their respective advantages and disadvantages, and their relationships, in order to help students who learn Russian understand literal translation and free translation.(Gong Linjing 2015,192)&lt;br /&gt;
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Russian Idioms and proverbs, as the crystallization of Russian national wisdom and immortal fossils in Russian, are one of the best materials for China to understand and learn Russian history, culture and society. Due to different geographical, historical and economic conditions, Russian and Chinese have formed different cultural backgrounds, which have caused great difficulties for Russian people to further understand Russia. This paper will take the Chinese translation of Russian Idioms and proverbs as an example to study the basic definitions of literal translation and free translation, their advantages and disadvantages, and their relationship, so as to help Russian students better understand literal translation and free translation.(Gong Linjing 2015,192)--[[User:Zhou Shuyao|Zhou Shuyao]] ([[User talk:Zhou Shuyao|talk]]) 05:42, 19 December 2020 (UTC)&lt;br /&gt;
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=== Controversy between literal translation and free translation===&lt;br /&gt;
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In different periods and different countries, people's views on translation theory have changed a lot, but the debate about literal translation and free translation has always existed.&lt;br /&gt;
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In different periods and countries, people's views on translation theory have changed a lot, but the debate on literal translation and free translation has always existed.--[[User:Zhou Shuyao|Zhou Shuyao]] ([[User talk:Zhou Shuyao|talk]]) 05:51, 19 December 2020 (UTC)&lt;br /&gt;
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==== Controversy in Chinese Translation Community====&lt;br /&gt;
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Which is better, literal translation or free translation, has always been divided in Chinese translation community. This kind of controversy first occurred during the translation of Buddhist scriptures written in Sanskrit into Chinese. During the Wei, Jin, Southern and Northern Dynasties, the famous monk Dao An was the earliest representative of the literal translation in China. Dao An himself did not understand Sanskrit and was afraid that paraphrase would lose the maxims in Buddhist scriptures, so he advocated strict literal translation. (Wang Zhuan 1996,55)&lt;br /&gt;
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Which is better, literal translation or free translation, has always been divided in Chinese translation community. This kind of controversy first occurred during the translation of Buddhist scriptures written in Sanskrit into Chinese. During the Wei, Jin, Southern and Northern Dynasties, the famous monk Dao An was the earliest representative of the literal translation in China. Dao An himself did not understand Sanskrit and was afraid that paraphrase would lose the maxims in Buddhist scriptures, so he advocated strict literal translation. (Wang Zhuan 1996,55)--[[User:Zhou Shuyao|Zhou Shuyao]] ([[User talk:Zhou Shuyao|talk]]) 05:51, 19 December 2020 (UTC)&lt;br /&gt;
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However, Kumarajiva from India, who was invited by Dao An, advocated free translation. On the basis of fully understanding the original thought content and artistic style, the translation was appropriately deleted. Although Dao An and Kumarajiva are also engaged in the translation of Buddhist scriptures, the translation methods they adhere to were very different. This divergence continued into the Tang Dynasty. Xuan Zang, as the most famous monk in the Tang Dynasty, proposed a translation method that was completely different from the previous two translation methods—a combination of literal translation and free translation.(Wang Zhuan 1996,55)&lt;br /&gt;
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However, Kumarajiva from India, who was invited by Dao An, advocated free translation. On the basis of fully understanding the original thought content and artistic style, the translation was appropriately deleted. Although Dao An and Kumarajiva are also engaged in the translation of Buddhist scriptures, the translation methods they adhere to were very different. This divergence continued into the Tang Dynasty. Xuan Zang, as the most famous monk in the Tang Dynasty, proposed a translation method that was completely different from the previous two translation methods—a combination of literal translation and free translation.(Wang Zhuan 1996,55)--[[User:Zhou Shuyao|Zhou Shuyao]] ([[User talk:Zhou Shuyao|talk]]) 05:51, 19 December 2020 (UTC)&lt;br /&gt;
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The contradiction between modern literal translation and free translation may be due to the different understanding of these two translation methods. The translator Sun Guiding believes that: literal translation is stuck to the structure of the original text and does not consider whether the Chinese is fluent and natural; while free translation is to use the inherent Chinese idioms and the most natural words and sentences as much as possible to achieve the effect of conveying the meaning of the original text. (Feng Shujian 1993,44)&lt;br /&gt;
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The contradiction between literal translation and free translation may be due to the different understanding of the two translation methods. Sun guiding, a translator, believes that literal translation is rigidly based on the structure of the original words and sentences, without considering whether the Chinese language is smooth or natural; while free translation is to use Chinese idioms and the most natural words and sentences as far as possible in addition to specialized subject nouns, so as to achieve the effect of transmitting the meaning of the original text.(Feng Shujian 1993,44)--[[User:Zhou Shuyao|Zhou Shuyao]] ([[User talk:Zhou Shuyao|talk]]) 05:51, 19 December 2020 (UTC)&lt;br /&gt;
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Former President of Wuhan University, Du Zuozhou, believes that literal translation means translating word by word according to the original text; free translation means translating according to the meaning of the original text, and the translation is more suitable for the common grammar of the translated language. The educator Meng Xiancheng believes that literal translation is a translation technology with different degrees of correctness. Literal translation is a translation that is faithful and correct according to the original text; free translation is a translation that summarizes the original meaning. (Feng Shujian 1993,44)&lt;br /&gt;
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Du zuozhou, former president of Wuhan University, believes that literal translation is to translate word for word according to the original text; free translation is to translate according to the original meaning, and the translation is more appropriate to the common grammar of the translated language. Meng Xiancheng, an educator, believes that literal translation is a translation with different technical correctness. Literal translation refers to faithful and correct translation according to the original text; free translation refers to the translation of the general idea of the original text.(Feng Shujian 1993,44)--[[User:Zhou Shuyao|Zhou Shuyao]] ([[User talk:Zhou Shuyao|talk]]) 05:51, 19 December 2020 (UTC)&lt;br /&gt;
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Zhu Guangqian said: &amp;quot;The so-called 'literal translation' refers to the literal translation based on the original text. Every word and sentence are translated word by word, and the order of the words and sentences is not changed. The so-called ‘paraphrasing’ is to express the meaning of the original text in Chinese, and it does not have to be completely based on the literal and order of the original text. &amp;quot; Feng Shize believes that &amp;quot;translation and literal translation are up-and-down relations; between literal translation and free translation is the left-right relationship. If the reversal of word order and other methods are free translation, then the definition of free translation is equal to translation, and there is no other translation besides free translation. &amp;quot;(Feng Shize 1981,10) &lt;br /&gt;
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Zhu Guangqian said, &amp;quot;literal translation&amp;quot; refers to the literal translation of the original text. Every word is translated one word at a time, and the order of each sentence is not changed. The so-called &amp;quot;free translation&amp;quot; is to express the meaning of the original text in Chinese, without having to follow the literal and sequential order of the original text. &amp;quot; Feng Shize thinks that &amp;quot;the relationship between translation and literal translation is up-down, while that between literal translation and free translation is left-right relationship. They are involved in each other and must become a system. If the word order is reversed as free translation, the definition of free translation is equal to translation, and there is no other translation to speak of except free translation. &amp;quot;(Feng Shize 1981,10) --[[User:Zhou Shuyao|Zhou Shuyao]] ([[User talk:Zhou Shuyao|talk]]) 05:51, 19 December 2020 (UTC)&lt;br /&gt;
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The principle of &amp;quot;faithfulness, expressiveness and elegance&amp;quot; put forward by the modern Chinese translator Yan Fu has long been the basic principle guiding translation practice. A large number of beginners who learn foreign languages regard &amp;quot;faithfulness and expressiveness&amp;quot; as translations that are completely faithful to the original text when translating. In fact, Yan Fu's translation requirements are a guiding principle for translation based on semantics. When translating, if the structure and expression of the original text cannot be directly adopted, the sentence structure and expression must be changed according to the characteristics of the target language. (Feng Shujian 1993,44)&lt;br /&gt;
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The principle of &amp;quot;faithfulness, expressiveness and elegance&amp;quot; put forward by the modern Chinese translator Yan Fu has long been the basic principle guiding translation practice. A large number of beginners who learn foreign languages regard &amp;quot;faithfulness and expressiveness&amp;quot; as translations that are completely faithful to the original text when translating. In fact, Yan Fu's translation requirements are a guiding principle for translation based on semantics. When translating, if the structure and expression of the original text cannot be directly adopted, the sentence structure and expression must be changed according to the characteristics of the target language. (Feng Shujian 1993,44)--[[User:Zhou Shuyao|Zhou Shuyao]] ([[User talk:Zhou Shuyao|talk]]) 05:51, 19 December 2020 (UTC)&lt;br /&gt;
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In addition, there are many differences between the original language and the target language in the word order, grammar, variants and rhetoric in the translation process. In many cases, there is no direct corresponding word. This requires the translator to consider the actual semantics, background and other factors. On the basis of the original meaning of the sentence, use an appropriate method to convey the content of the original work and reproduce the language style of the original work.(Feng Shujian 1993,44)&lt;br /&gt;
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Moreover, in the process of translation, there are many differences between the source language and the target language in terms of word order, grammar, form change and rhetoric. In many cases, there is no direct corresponding word. Therefore, the translator should consider the actual semantic, background and other factors to convey the content of the original text and reproduce the language style of the original work in an appropriate way without losing the original meaning of the sentence.(Feng Shujian 1993,44)--[[User:Zhou Shuyao|Zhou Shuyao]] ([[User talk:Zhou Shuyao|talk]]) 05:51, 19 December 2020 (UTC)&lt;br /&gt;
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==== Controversy in Soviet Translation Community====&lt;br /&gt;
In the Soviet Union, under the influence of ideology, Western translation theories could not be widely disseminated, but within the Soviet Union, translation theories similar to Western translation theories have been formed and developed, and two main schools of translation theory have been further differentiated — Linguistic Translation School and Literary Translation School. To a certain extent, the dispute between these two schools also reflects the debate on literal translation and free translation among translators' groups. (Xie Yuncai 2002,99)&lt;br /&gt;
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In the Soviet Union, under the influence of ideology, western translation theories could not be widely spread. However, within the Soviet Union, translation theories similar to those of western translation theories were formed and developed, and two major translation theory schools, language school and literary school, were further divided. To some extent, the debate between the two schools reflects the debate between translators' groups on literal translation and free translation.(Xie Yuncai 2002,99)--[[User:Zhou Shuyao|Zhou Shuyao]] ([[User talk:Zhou Shuyao|talk]]) 05:51, 19 December 2020 (UTC)&lt;br /&gt;
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In terms of the principles or standards of translation, the linguistic translation school believes that an ideal translation should be an equivalent translation, first of all linguistic correspondence, that is, the translation should have the same meaning as the corresponding language or discourse unit of the original; the literary translation school believes that translation pursues artistic correspondence, and linguistic correspondence must be subordinate to artistic correspondence. Therefore, it proposes that the aesthetic standards of translation should reproduce the artistic reality reflected by the unity of the original content and form. (Xie Yuncai 2002,99)&lt;br /&gt;
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In terms of the principles or standards of translation, the linguistic translation school believes that an ideal translation should be an equivalent translation, first of all linguistic correspondence, that is, the translation should have the same meaning as the corresponding language or discourse unit of the original; the literary translation school believes that translation pursues artistic correspondence, and linguistic correspondence must be subordinate to artistic correspondence. Therefore, it proposes that the aesthetic standards of translation should reproduce the artistic reality reflected by the unity of the original content and form. (Xie Yuncai 2002,99)--[[User:Zhou Shuyao|Zhou Shuyao]] ([[User talk:Zhou Shuyao|talk]]) 05:51, 19 December 2020 (UTC)&lt;br /&gt;
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The characteristic is to use images to translate images, that is, to create the same image in different languages. In 1953, Andrei Venediktovich Fedorov, the leader of the linguistic translation school, published his work &amp;quot;Summary of Translation Theory&amp;quot;, which was the first monograph of the Soviet Union to study translation theory from the perspective of linguistics. The author proposes that translation theory is a branch of linguistics. Since the translation of any genre work must rely on the comparison of two languages, translation problems can only be solved in the field of language. (Xie Yuncai 2002,99)&lt;br /&gt;
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The characteristic is to use images to translate images, that is, to create the same image in different languages. In 1953, Andrei Venediktovich Fedorov, the leader of the linguistic translation school, published his work &amp;quot;Summary of Translation Theory&amp;quot;, which was the first monograph of the Soviet Union to study translation theory from the perspective of linguistics. The author proposes that translation theory is a branch of linguistics. Since the translation of any genre work must rely on the comparison of two languages, translation problems can only be solved in the field of language. (Xie Yuncai 2002,99)--[[User:Zhou Shuyao|Zhou Shuyao]] ([[User talk:Zhou Shuyao|talk]]) 05:51, 19 December 2020 (UTC)&lt;br /&gt;
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Fedorov’s view was refuted by the literary translation school represented by Ivan Alexandrovich Kashikin. The literary translation school believes that aesthetic issues are the core of literary translation theory, and translation should be regarded as a form of language art, that is, translation should be studied from the perspective of literature and art. In fact, the literary translation school emphasizes the translation of literary and artistic works, which belongs to the specific translation theory; while the research of the linguistic translation school focuses on the general translation theory, that is, the translation of all thematic works including literary works. The dispute between the two major translation theory schools of Russia and the Soviet Union provides another perspective for Chinese translators to explore the relationship between literal translation and free translation.(Xie Yuncai 2002,99)&lt;br /&gt;
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However, feodorov's view was refuted by the literary school represented by Kashin. The school of literature and art holds that aesthetics is the core of literary translation theory, and translation should be regarded as a form of language art, that is, translation should be studied from the perspective of literature and art. As a matter of fact, literature and art school emphasizes the translation of literary works, which belongs to the specific translation theory, while the study of language school focuses on the general translation theory, that is, the translation of works of all subjects including literary works. The debate between linguistic school and literary school provides another perspective for Chinese translators to explore the relationship between literal translation and free translation.(Xie Yuncai 2002,99)--[[User:Zhou Shuyao|Zhou Shuyao]] ([[User talk:Zhou Shuyao|talk]]) 05:51, 19 December 2020 (UTC)&lt;br /&gt;
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=== The application of literal translation and free translation in the Chinese translation of Russian idioms ===&lt;br /&gt;
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The idioms of different nationalities are the most dynamic and expressive units at the lexical level in different languages, and they are also the units that can best reflect the characteristics of national culture in languages. The number of Russian idioms is extremely rich, it records and reflects all aspects of Russian national life. (Feng Yongmei 1999,97)&lt;br /&gt;
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Idioms of different nationalities are not only the most dynamic and expressive units in different languages, but also the units that can best reflect the characteristics of national culture. The number of Russian idioms is extremely rich, which records and reflects all aspects of Russian national life.(Feng Yongmei 1999,97)--[[User:Zhou Shuyao|Zhou Shuyao]] ([[User talk:Zhou Shuyao|talk]]) 05:59, 19 December 2020 (UTC)&lt;br /&gt;
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Due to the great differences in geographical locations and living customs between China and Russia, the national cultures reflected in Chinese and Russian must be quite different. One of the difficulties in idiom translation is its imagery. When translating idioms, both the meaning and the image must be considered. Although the Chinese and Russian cultures are very different, many of the commonalities of mankind, such as emotion and natural environment, have created conditions for mutual communication, mutual understanding and idiom translation between different languages.(Feng Yongmei 1999,97)&lt;br /&gt;
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Due to the great differences in geographical location and customs between China and Russia, the national culture reflected in Chinese and Russian must be quite different. One of the difficulties in idiom translation is its image. When translating idioms, both meaning and image should be considered. Although there are great cultural differences between China and Russia, many commonalities of human beings, such as emotion and natural environment, have created conditions for mutual communication, mutual understanding and idiom translation between different languages.(Feng Yongmei 1999,97)--[[User:Zhou Shuyao|Zhou Shuyao]] ([[User talk:Zhou Shuyao|talk]]) 05:59, 19 December 2020 (UTC)&lt;br /&gt;
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==== Literal translation ====&lt;br /&gt;
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Generally speaking, the literal translation method refers to a translation method that directly translates the original text without changing the language characteristics and style of the original text on the basis of fully respecting the meaning of the original text. Chinese translation of Russian idioms by literal translation method has the advantage of being able to intuitively and faithfully express the meaning of the idiom, maintaining the unique style and imagery of the original text: the disadvantage is that the translated idiom may not be understood by the Chinese because of China and Russia have different historical, cultural backgrounds, grammatical structures, and language world landscapes, which can easily form obstacles in the process of understanding.(Zhou Changyu 2010,34)&lt;br /&gt;
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In short, literal translation refers to a method of translating the original text directly without changing the language features and styles of the original text on the basis of fully respecting the meaning of the original text. The advantage of literal translation in Chinese translation of Russian idioms is that it can express the meaning of idioms intuitively and faithfully, and maintain the unique style and image of the original text. However, the disadvantage is that the translated idioms may not be understood by the Chinese people. This is because the historical and cultural background, grammatical structure and language world picture of Chinese and Russian are different, and it is easy to form obstacles in the process of understanding.(Zhou Changyu 2010,34)--[[User:Zhou Shuyao|Zhou Shuyao]] ([[User talk:Zhou Shuyao|talk]]) 05:59, 19 December 2020 (UTC)&lt;br /&gt;
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Translating Russian idioms by literal translation is further divided into two methods — literal translation into Chinese idioms and literal translation into non-idiom sentences or words.(Zhou Changyu 2010,34)&lt;br /&gt;
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Translating Russian idioms by literal translation is further divided into two methods — literal translation into Chinese idioms and literal translation into non-idiom sentences or words.(Zhou Changyu 2010,34)--[[User:Zhou Shuyao|Zhou Shuyao]] ([[User talk:Zhou Shuyao|talk]]) 05:59, 19 December 2020 (UTC)&lt;br /&gt;
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Literal translation of Russian idioms into Chinese idioms is suitable for the translation of Russian and Chinese idioms that are completely equivalent in image, structure, and meaning. The advantage is that it is easy to understand, and the translation is simple and fast.(Feng Yongmei 1999,98) E.g:&lt;br /&gt;
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домашнего  (своего) вора не убережешься. 家贼难防&lt;br /&gt;
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знать как свои пять пальцев (видно, как на ладони) 了如指掌&lt;br /&gt;
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подлить масла в огонь 火上浇油&lt;br /&gt;
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как рыба в воде 如鱼得水&lt;br /&gt;
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как ножом по сердцу 心如刀割&lt;br /&gt;
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как гром среди ясного неба 晴天霹雳&lt;br /&gt;
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на добро отвечают добром 善有善报&lt;br /&gt;
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копейка рубль бережет 财从细起&lt;br /&gt;
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мечты сбываются 梦想成真&lt;br /&gt;
&lt;br /&gt;
курица всегда следует за петухом 嫁鸡随鸡&lt;br /&gt;
&lt;br /&gt;
чего мало, того и дорого  (дорого то, что мало) 物以稀为贵(12)&lt;br /&gt;
&lt;br /&gt;
изгонять яд с помощью яда 以毒攻毒&lt;br /&gt;
&lt;br /&gt;
сидеть как на иголках 如坐针毡&lt;br /&gt;
&lt;br /&gt;
действия громче слов 事实胜于雄辩&lt;br /&gt;
&lt;br /&gt;
зарыть талант в землю 埋没人才&lt;br /&gt;
&lt;br /&gt;
висеть на волоске 千钧一发&lt;br /&gt;
&lt;br /&gt;
лить как из ведра 倾盆大雨(Wang Fuxiang, Wu Hanying 2014)&lt;br /&gt;
&lt;br /&gt;
The idioms in the above examples are completely equivalent in image, structure or meaning in Russian and Chinese, so Chinese idioms can be used for literal translation.  &lt;br /&gt;
&lt;br /&gt;
In fact, in the two languages, idioms with the same image, structure, and meaning are still in the minority, so it is more common to translate Russian idioms into non-Chinese idiom sentences or vocabulary. E.g:   &lt;br /&gt;
&lt;br /&gt;
настоять на своем 坚持自己&lt;br /&gt;
&lt;br /&gt;
камень с души свалился 心里的一块石头落地&lt;br /&gt;
&lt;br /&gt;
связать свою судьбу 把自己的命运与……相连&lt;br /&gt;
&lt;br /&gt;
быть на голову 高出一头&lt;br /&gt;
&lt;br /&gt;
вбивать в голову 往脑子里灌&lt;br /&gt;
&lt;br /&gt;
блеснуть метеором 像流星一样一闪而过&lt;br /&gt;
&lt;br /&gt;
с мизинец 小拇指这么大(Wang Fuxiang, Wu Hanying 2014)&lt;br /&gt;
&lt;br /&gt;
It is not difficult to find that the literal translation method can completely retain the original appearance of the idiom, show the common concept of human understanding of the world, and be beneficial to the cultural exchange between China and Russia.&lt;br /&gt;
&lt;br /&gt;
==== Free translation ====&lt;br /&gt;
&lt;br /&gt;
Another method commonly used in the Chinese translation of Russian idioms is free translation. Vocabulary gaps between languages are a common phenomenon, causing many difficulties for translation. There are many reasons for the vacancy of vocabulary, such as cultural reasons such as life experience, customs, religious beliefs, and linguistic reasons. There are roughly two ways to fill the language gaps — paraphrasing by replacing the image.and discarding images for free translation.(Feng Yongmei 1999,98)&lt;br /&gt;
&lt;br /&gt;
Another method commonly used in Chinese translation of Russian idioms is free translation. The lexical gap between languages is a common phenomenon, which causes many difficulties in translation. The causes of lexical vacancy are various, such as life experience, customs, religious beliefs and other cultural reasons, as well as linguistic reasons. There are generally two ways to fill the gaps in language: replacing images for free translation and abandoning images for free translation.(Feng Yongmei 1999,98)--[[User:Zhou Shuyao|Zhou Shuyao]] ([[User talk:Zhou Shuyao|talk]]) 05:59, 19 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
Russian says &amp;quot;Два медведя в одной берлоге не уживутся (一个洞穴容不下两头熊).&amp;quot;, while Chinese says &amp;quot;一山不容二虎&amp;quot;. Another example is &amp;quot;Скатерть со стола, и дружба сплыла (桌布一收，友谊不再) &amp;quot; in Russian, and &amp;quot;人走茶凉&amp;quot; in Chinese. This method belongs to paraphrasing by replacing the image.(Wang Fuxiang, Wu Hanying 2014)&lt;br /&gt;
&lt;br /&gt;
For the &amp;quot;harmony&amp;quot; of the translation, sometimes the translator has to choose to abandon the image for free translation. This is determined by both cultural and linguistic factors. Some linguistic features cannot be translated, and some idioms themselves are not strong enough. In this case, if Choosing a literal translation method will make readers confused.(Hu Guming, Shen Man 2011,18) E.g:&lt;br /&gt;
&lt;br /&gt;
Как женился я на вашей матери да взял вот этот домишко в приданье, так думал, что богаче да лучше меня и людей нет, фертом ходил! (А. Островский)&lt;br /&gt;
我和你母亲一成亲，就得到了这栋作为陪嫁的屋子，当时我心想，再没有人比我更富足、更好的了。我那时可真是双手叉腰、得意洋洋的。&lt;br /&gt;
&lt;br /&gt;
“Фертом” is the name of the letter “Ф” in ancient times.Its shape is like a person with hands on hips, and “фертом ходить” is an idiom evolved from body language. The cultural meaning of this idiom is &amp;quot;神气十足、得意洋洋、威武自负的样子&amp;quot; . The translation uses other idioms to complement the missing images in Chinese, clarify the meaning of the idiom, and convey the emotional color contained in the original idiom.(Hu Guming, Shen Man 2011,19)&lt;br /&gt;
&lt;br /&gt;
The idioms in a certain language are fixed and unchanged after long-term use and tempering, but the frequency of each idiom is different. Some idioms are universally used by the whole people, spread and used in a wide range, while some idioms are only used in written styles. In Russian literature, there are improved precise and interesting idioms. For example, in the works of the famous Russian fable writer Krylov, there are reduced idioms, such as “ медвежья услуга”（直译：熊的帮忙；意译：帮倒忙）， “ сильнее кошки зверя нет”（直译：再没有比猫更厉害的野兽；意译：井底之蛙）， “зелен как виноград”（直译：葡萄还很青；意译：年轻人没经验). When translating literature, translators often need to learn cultural background knowledge, replace the image in the original idiom, and then convey it to Chinese readers.(Wang Fuxiang, Wu Hanying 2014)&lt;br /&gt;
&lt;br /&gt;
Crows are a very common animal, usually black and gray. The description of crows in Chinese idioms is &amp;quot;the crows in the world are generally black（天下乌鸦一般黑）&amp;quot;. It can be seen that white crows are rare. However, &amp;quot;белая ворона&amp;quot; often appears in Russian literary works, as a metaphor for people who are different from the masses in terms of external characteristics or ideological qualities. In the Chinese and Russian concepts, the crow is a nasty animal. (Wang Fuxiang, Wu Hanying 2014) &lt;br /&gt;
&lt;br /&gt;
Although white crows are rare, this Russian idiom is usually derogatory, expressing disdain, contempt, or ridicule against the person. In Chinese, animal images are also used as a metaphor for &amp;quot;different people&amp;quot;, such as idioms that stand out from the crowd and phoenix feathers are rare. &amp;quot;Crane&amp;quot; and &amp;quot;phoenix&amp;quot; have always been regarded as precious and noble animals in traditional Chinese culture, so they cannot be compared with &amp;quot; Corresponding to &amp;quot;White Crow&amp;quot;, it is not suitable for translating &amp;quot;белая ворона&amp;quot;.Examples are as follows:(Wang Fuxiang, Wu Hanying 2014) &lt;br /&gt;
&lt;br /&gt;
Он замкнулся, не вдается в разговоры — вот вам и белая ворона.（Сталин)&lt;br /&gt;
直译：他不与人交往，不与人交流，真是一只白乌鸦。&lt;br /&gt;
意译：他不与人交往，不与人交流，真是与众不同。&lt;br /&gt;
&lt;br /&gt;
Боишься, что они среди нас белой вороной окажется. Недосягаемым экземпляром.(Кожевников В “Корни и крона”)&lt;br /&gt;
直译：你是担心他们会变成我们中间的白乌鸦，一个无法达到的例子。&lt;br /&gt;
意译：你是担心他们会变成我们中间标新立异，望尘莫及的人。&lt;br /&gt;
&lt;br /&gt;
Most Chinese who come into contact with Russian are students majoring in Russian. The Russian idioms we usually encounter appear in textbooks. These idioms are often used by the Russian public and are easily understood and accepted by the Chinese. E.g:(Wang Fuxiang, Wu Hanying 2014)&lt;br /&gt;
&lt;br /&gt;
В Тулу со свим самоваром не ездят.&lt;br /&gt;
直译：去图拉不用带自己的茶炊。&lt;br /&gt;
意译：多此一举&lt;br /&gt;
&lt;br /&gt;
Честь лучше бесчестья.&lt;br /&gt;
直译：尊重比不尊重好。&lt;br /&gt;
意译：礼多人不怪。&lt;br /&gt;
&lt;br /&gt;
словно горя с плеч&lt;br /&gt;
直译：把山从肩膀下卸下&lt;br /&gt;
意译：如释重负&lt;br /&gt;
&lt;br /&gt;
выеденного яйца не стоит&lt;br /&gt;
直译：一个空蛋壳不值钱&lt;br /&gt;
意译：鸡毛蒜皮，一文不值&lt;br /&gt;
&lt;br /&gt;
чужими руками жар загребать&lt;br /&gt;
直译：用别人的手将红炭火拨成一堆&lt;br /&gt;
意译：坐享其成，不劳而获&lt;br /&gt;
&lt;br /&gt;
ни рыба, ни мясо&lt;br /&gt;
直译：没有鱼也没有肉&lt;br /&gt;
意译：不三不四，不伦不类&lt;br /&gt;
&lt;br /&gt;
лучше синица в руках, чем журавль в небе&lt;br /&gt;
直译：天上的仙鹤不如手中的山雀&lt;br /&gt;
意译：远亲不如近邻&lt;br /&gt;
&lt;br /&gt;
На языке мед, а под лед&lt;br /&gt;
直译：嘴上甜得像蜂蜜，心里冷得像冰&lt;br /&gt;
意译：笑里藏刀&lt;br /&gt;
&lt;br /&gt;
И на солнце есть пятна&lt;br /&gt;
直译：太阳上也有黑点&lt;br /&gt;
意译：人无完人&lt;br /&gt;
&lt;br /&gt;
семь раз отмерь, один раз отрежь&lt;br /&gt;
直译：测量了七次后再剪裁&lt;br /&gt;
意译：三思而后行(Wang Fuxiang, Wu Hanying 2014)&lt;br /&gt;
&lt;br /&gt;
Using free translation to translate Russian idioms requires the translator to accurately understand the meaning of the original text, because cultural differences make it impossible to literally translate. Only through the translator can an unobstructed bridge between Russian idioms and Chinese idioms be built.(Wang Fuxiang, Wu Hanying 2014)&lt;br /&gt;
&lt;br /&gt;
=== The application of literal translation and free translation in the Chinese translation of Russian proverbs ===&lt;br /&gt;
&lt;br /&gt;
There are often multiple translations of the same Russian proverb in Russian-Chinese dictionaries. On the one hand, because the translator uses different translation methods; on the other hand, because Russian proverbs have very rich connotations, a translation cannot perfectly interpret the inner meaning of the proverb. According to the context and the connotation of the proverbs, the most commonly used methods of Chinese translation of Russian proverbs are literal translation and free translation.(Feng Yongmei 1999,98)&lt;br /&gt;
&lt;br /&gt;
The same Russian proverb often has more than one translation in Russian Chinese dictionary. On the other hand, the translator can't translate the proverb because of its rich connotation. According to the context and the connotation of proverbs themselves, literal translation and free translation are the most commonly used methods of translating Russian proverbs into Chinese.(Feng Yongmei 1999,98)--[[User:Zhou Shuyao|Zhou Shuyao]] ([[User talk:Zhou Shuyao|talk]]) 06:03, 19 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
==== Literal translation ====&lt;br /&gt;
&lt;br /&gt;
In Russian and Chinese languages, some proverbs not only have the same meaning or implicit meaning, but also use the same or similar figurative images to express a certain kind of the same semantics, and they are completely consistent in content and form. In this case, the equivalent translation of synonymous Chinese proverbs can convey the information contained in the original image, which not only retains the rhetorical color of the original language, but also enables the reader to perfectly understand the original text. The other situation is the experience that the Russians summed up in their long labor and life, which has evolved into a proverb, but the Chinese have not summed up this experience, so translating Russian proverbs into Chinese literally, Chinese people can understand them at a glance and increase their knowledge of the world. E.g:(Feng Yongmei 1999,98)&lt;br /&gt;
&lt;br /&gt;
In Russian and Chinese, some proverbs not only have the same meaning or implied meaning, but also use the same or similar figurative images to express the same meaning, and they are completely consistent in content and form. In this case, the equivalent translation of Chinese proverbs with synonyms can convey the information contained in the image of the original language, which not only retains the rhetorical color of the original language, but also enables readers to understand the original text perfectly. The other is that the Russian people have summed up the experience in their long-term labor and life, which has evolved into a proverb. However, the Chinese have not summed up this experience. If the Russian proverbs are translated into Chinese, the Chinese can clearly understand it at a glance and increase their understanding of the world. E.g:(Feng Yongmei 1999,98)--[[User:Zhou Shuyao|Zhou Shuyao]] ([[User talk:Zhou Shuyao|talk]]) 06:03, 19 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
Беда не приходит одна. 祸不单行。&lt;br /&gt;
&lt;br /&gt;
Век живи, век учись. 活到老，学到老。&lt;br /&gt;
&lt;br /&gt;
Выше встанешь, дальше увидишь. 站得高，看得远。&lt;br /&gt;
&lt;br /&gt;
Лучше один раз увидеть, чем сто раз услышать. 百闻不如一见。&lt;br /&gt;
&lt;br /&gt;
Береги платье снову, а честь смолоду. 衣服要从新的时候爱惜，荣誉要从年轻时珍惜。&lt;br /&gt;
&lt;br /&gt;
Выше лба уши не растут. 耳朵高不过额头。&lt;br /&gt;
&lt;br /&gt;
Для милого друга семь верст не околица. 为了好友，多绕七里也不嫌远。&lt;br /&gt;
&lt;br /&gt;
Лучше умереть стоя, чем жить на коленях. 宁愿站着死，绝不站着生。&lt;br /&gt;
&lt;br /&gt;
Не имей сто рублей, а имей сто друзей. 宁要一百个朋友，不要一百个卢布。&lt;br /&gt;
&lt;br /&gt;
По одежке встречают, по уму провожают. 迎客时看衣，送客时看才智。(Jia Sufen 1996)&lt;br /&gt;
&lt;br /&gt;
There is another situation where the literal translation method can be used. Although the image in Russian proverbs is different from the commonly used images in Chinese, it is also easy to understand. For example, &amp;quot;Молодец против овец, а против молодца — сам овца.&amp;quot; In fact, this proverb can be paraphrased as &amp;quot;欺软怕硬 &amp;quot;, but in this way the translation discards the lively literal meaning of the original text. On the other hand, it is literally translated as &amp;quot;见到绵羊充好汉，碰到好汉成绵羊&amp;quot; , on the basis of retaining the original image, readers can easily understand the meaning of the original proverb.(Jia Sufen 1996)&lt;br /&gt;
&lt;br /&gt;
Another example is &amp;quot;Заяц от лисицы, а лягушка от зайца бежит. &amp;quot; can be translated as &amp;quot;一物降一物&amp;quot;, but the image in the original text was completely abandoned, if it is literally translated as &amp;quot;one thing drops one thing &amp;quot;狐惊兔，兔惊蛙&amp;quot;, this kind of translation is not only simple and clear, but also in line with the aesthetics of Chinese proverbs. In general, the literal translation not only retains the symmetrical rhetorical techniques in the original sentence, but also retains the symmetrical beauty of the original sentence structure. It not only conforms to the aesthetic characteristics of the original Russian text, but also shows the beauty of phonology and structure in Chinese.(Jia Sufen 1996)&lt;br /&gt;
&lt;br /&gt;
The translation of Russian proverbs by literal translation not only maintains the original language, but also transplants the unique image language of Russian proverbs into Chinese, which not only expands the horizons of Chinese readers, but also enriches the way of expression in Chinese.(Jia Sufen 1996)&lt;br /&gt;
&lt;br /&gt;
The literal translation of Russian proverbs not only keeps the style of the original language, but also transplants the unique figurative language of Russian proverbs into Chinese, which not only expands the vision of Chinese readers, but also enriches the expression of Chinese.(Jia Sufen 1996)--[[User:Zhou Shuyao|Zhou Shuyao]] ([[User talk:Zhou Shuyao|talk]]) 06:03, 19 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
==== Free translation ====&lt;br /&gt;
&lt;br /&gt;
Due to the influence of cultural factors, many Russian and Chinese proverbs expressing the same semantics use different metaphors. Some Russian proverbs are difficult to retain the original image in the process of translation into Chinese. If literally translated according to the original image, due to the different national and cultural backgrounds of China and Russia, the translation is difficult to be accepted by the Chinese, and even misunderstood may occur.(Jia Sufen 1996) &lt;br /&gt;
&lt;br /&gt;
Due to the influence of cultural factors, many Russian and Chinese proverbs with the same meaning use different figurative images. In the process of translating some Russian proverbs into Chinese, it is difficult to retain the image of the original text. If literal translation is made according to the original image, due to the different national and cultural backgrounds of China and Russia, the translated version is difficult to be accepted by Chinese people and even misread.(Jia Sufen 1996) --[[User:Zhou Shuyao|Zhou Shuyao]] ([[User talk:Zhou Shuyao|talk]]) 06:03, 19 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
In order to accurately convey the meaning of the original text to readers, we can readjust the structure of the original text on the basis of a correct understanding of the meaning of the original text, and use standard Chinese expressions to reproduce Russian proverbs to avoid ambiguity and misunderstanding.(Jia Sufen 1996)&lt;br /&gt;
&lt;br /&gt;
In order to convey the original meaning to readers accurately, we can explore the story behind the proverb. On the basis of correctly understanding the meaning of the original text, we can readjust the structure of the original text, and reproduce Russian proverbs with standard Chinese expression, so as to avoid ambiguity and misunderstanding.(Jia Sufen 1996)--[[User:Zhou Shuyao|Zhou Shuyao]] ([[User talk:Zhou Shuyao|talk]]) 06:03, 19 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
There are some elements used in proverbs that foreigners cannot understand. For example, the Russian proverb &amp;quot;В огороде бузина, а в Киеве дядька.&amp;quot; is literally translated as &amp;quot;菜园里长接骨木，而基辅里住叔叔&amp;quot;, which cannot be understood by the Chinese. The four elements “огород” “бузина” “Киева” “дядька”, which contained in this proverb are completely unrelated. In fact, this proverb means that there is no logical relationship between what someone says, and the translator can directly paraphrase it as &amp;quot;胡说八道&amp;quot;, &amp;quot;前言不搭后语&amp;quot; or more easily understood &amp;quot;满嘴跑火车&amp;quot;. (Jia Sufen 1996)&lt;br /&gt;
&lt;br /&gt;
Another example is &amp;quot;На воре шапка горит.&amp;quot; literally means &amp;quot;the hat on the thief's head is on fire&amp;quot;. In fact, this proverb originated from a short story in the Kievan Rus period: someone’s money bag disappeared and he shouted &amp;quot;Catch the thief&amp;quot;, but no one knew where the thief was. This man had an idea and shouted, &amp;quot;The thief's hat is on fire.&amp;quot; After hearing this, the thief touched his hat unconsciously and exposed himself. Therefore, &amp;quot;На воре шапка горит.&amp;quot; can be paraphrased as &amp;quot;不打自招&amp;quot; or &amp;quot;做贼心虚.&amp;quot;(Jia Sufen 1996)&lt;br /&gt;
&lt;br /&gt;
There are some Russian proverbs that are more suitable for free translation:&lt;br /&gt;
&lt;br /&gt;
От труда- радость, от безделья- усталость.&lt;br /&gt;
直译：快乐从劳动中来，疲劳从闲散中来。&lt;br /&gt;
意译：劳动使人快乐。&lt;br /&gt;
&lt;br /&gt;
Баба с возу- кобыле легче.&lt;br /&gt;
直译：农妇下了车，马儿就轻松。&lt;br /&gt;
意译：求之不得&lt;br /&gt;
&lt;br /&gt;
Герой не моего романа.&lt;br /&gt;
直译：不是我小说中的主人公。&lt;br /&gt;
意译：不是我的意中人。&lt;br /&gt;
&lt;br /&gt;
Терпенье (ученье\уменье) и труд всё перетрут.&lt;br /&gt;
直译：耐心和勤劳能克服一切。&lt;br /&gt;
意译：锲而不舍，金石可镂（只要功夫深，铁杵磨成针）。&lt;br /&gt;
&lt;br /&gt;
Чтобы узнать человека, надо с ним пуд соль съесть.&lt;br /&gt;
直译：想要了解一个人，应该和他吃一普特盐。&lt;br /&gt;
意译：日久见人心。&lt;br /&gt;
&lt;br /&gt;
Посади свинью за стол — она и ноги на стол.&lt;br /&gt;
直译：让猪入席，它会把爪子也伸上来。&lt;br /&gt;
意译：得寸进尺。&lt;br /&gt;
&lt;br /&gt;
Черного кобеля не отмоешь добела.&lt;br /&gt;
直译：黑色的狗洗不白。&lt;br /&gt;
意译：本性难改。&lt;br /&gt;
&lt;br /&gt;
Конь о четырех ногах, да спотыкается.&lt;br /&gt;
直译：马有四条腿，也会摔倒。&lt;br /&gt;
意译：聪明一世，糊涂一时。&lt;br /&gt;
&lt;br /&gt;
За что купил, за то и продаю.&lt;br /&gt;
直译：怎么买来，怎么卖出。&lt;br /&gt;
意译：人云亦云。&lt;br /&gt;
&lt;br /&gt;
Обжегшись на молоке, дуешь на воду.&lt;br /&gt;
直译：一旦被牛奶烫，喝水也要吹一吹。&lt;br /&gt;
意译：一种被蛇咬，十年怕井绳。(Jia Sufen 1996)&lt;br /&gt;
&lt;br /&gt;
=== Conclusion ===&lt;br /&gt;
 &lt;br /&gt;
In the process of translation, translators often feel that there are a lot of contradictions and differences between the two languages in terms of lexical structure, syntactic structure, expression methods and metaphors. In many cases, translators understand the original meaning but do not know how to express it in the target language, which leads to the debate about which is better, literal translation or free translation. When translators translate works that are more contradictory between bilinguals, translators often use free translation methods. When translating works that are consistent or have more common points than contradictions or conflicts between bilinguals, translators tend to choose literal translation .&lt;br /&gt;
&lt;br /&gt;
In the process of translation, translators often feel that there are a lot of contradictions and differences between the two languages in terms of vocabulary composition, syntactic structure, expression and metaphor. Most of the time, the translator understands the original meaning but does not know how to express it in the target language, which leads to the debate about which is better, literal translation or free translation. When translators translate works with more contradictions between bilinguals, they tend to use free translation. When there are more similarities or similarities between bilinguals than contradictions or conflicts, translators will tend to literal translation in order to be faithful to the original text.--[[User:Zhou Shuyao|Zhou Shuyao]] ([[User talk:Zhou Shuyao|talk]]) 06:04, 19 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
In fact, the relationship between literal translation and free translation is interdependent and inseparable. Therefore, when we translate an article or a book, it is not feasible to translate every sentence literally or freely. Only when the translator cleverly arranges the alternation of the two can it be possible to translate a better translation. When we comment on literal translation and free translation, we should consider the effects of the division of labor and cooperation between the two, and should not one-sidedly understand the advantages and disadvantages of literal translation and meaning.&lt;br /&gt;
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In fact, literal translation and free translation in the process of translation are interdependent and inseparable. Therefore, when translating an article or a book, it is not feasible to translate every sentence literally or freely. Only when the translator skillfully arranges the alternation of the two, can we translate a better translation. When we comment on literal translation and free translation, we should consider the effect of division of labor and cooperation between them, and should not one-sided understand the advantages and disadvantages of literal translation and meaning.--[[User:Zhou Shuyao|Zhou Shuyao]] ([[User talk:Zhou Shuyao|talk]]) 06:04, 19 December 2020 (UTC)&lt;br /&gt;
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=== References ===&lt;br /&gt;
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*Cai Yi, Duan Jinghua. 蔡毅，段京华. (2000). 苏联翻译理论. [Soviet Translation Theory]. 武汉: 湖北教育出版社[Wuhan: Hubei Education Press].&lt;br /&gt;
*Feng Shize. 冯世则. (1981). 直译、意译、逐字译. [Literal Translation, Free Translation, Verbatim Translation]. 中国翻译[Chinese Translators Journal] 7-10.&lt;br /&gt;
*Feng Shujian. 冯树鉴. (1993). 意译与直译笔谈. [Written Free Translation and Literal Translation]. 外语学刊[Foreign Language Research] 43-47.&lt;br /&gt;
*Feng Yongmei. 冯咏梅. (1999). 浅谈俄语成语翻译中民族文化特色的保留. [On the Preservation of National Cultural Characteristics in Russian Idiom Translation]. 解放军外国语学院学报[Journal of PLA Foreign Languages University] 97-100.&lt;br /&gt;
*Gong Linjing. 宫琳菁. (2015). 直译与意译——中国近现代代表人物观点之概述. [Literal Translation and Free Translation: An Overview of the Viewpoints of Representatives in Modern China]. 赤峰学院学报（汉文哲学社会科学版）[Journal of Chifeng University (Soc.Sci)] 192-193.&lt;br /&gt;
*Hu Guming, Shen Man. 胡谷明, 沈曼. (2011). 汉俄翻译中文化空缺词汇的翻译策略.[The Translation Strategies of Cultural Vacancies in Chinese-Russian Translation]. 中国俄语教学[Russian in China] 17-21.&lt;br /&gt;
*Jia Shufen. 贾淑芬. (1996). 简明俄汉谚语词典. [Concise Russian-Chinese Proverbs Dictionary]. 沈阳: 辽宁大学出版社[Shenyang: Liaoning University Publishing House].&lt;br /&gt;
*Li Quan’an. 李全安. (1990). 直译与意译之争是一场什么样的争论. [What kind of controversy is the dispute between literal translation and free translation]. 中国翻译[Chinese Translators Journal] 18-22.&lt;br /&gt;
*Tan Zaixi. 谭载喜. (1999). 中西译论的相似性.[Similarities between Chinese and Western Translation Theories]. 中国翻译[Chinese Translators Journal] 25-28.&lt;br /&gt;
*Wang Fuxiang, Wu Hanying. 王福祥,吴汉樱. (2014). 东方大学俄语系列：迷你俄语成语词典. [Oriental University Russian Series: Mini Dictionary of Russian Idioms]. 外语教学与研究出版社[Foreign Language Teaching and Research Press]&lt;br /&gt;
*Wang Zhuang. 王转. (1996). 直译与意译漫谈. [On Literal Translation and Free Translation]. 湖南教育学院学报[Journal of Educational Institute] 55-60.&lt;br /&gt;
*Xie Yuncai. 谢云才. (2002). 俄罗斯翻译理论的语言学派与文艺学派——两派文学翻译理论对比分析. [Linguistic Schools and Literary Schools of Russian Translation Theory: A Comparative Analysis of the Two Schools of Literary Translation Theories]. 外语学刊[Foreign Language Research] 97-101.&lt;br /&gt;
*Yang Shizhang. 杨仕章. (2002). 俄语现代翻译理论之概述. [An Overview of Russian Modern Translation Theory]. 解放军外国语学院学报[Journal of PLA Foreign Languages University] 62-65.&lt;br /&gt;
*Zhang Yi. 张艺. (2010). 从目的论看直译与意译之争. [The Controversy between Literal Translation and Free Translation from Skopos Theory]. 海外英语[Overseas English] 189-190.&lt;br /&gt;
*Zhou Changyu. 周长雨. (2010). 俄语谚语的翻译方法. [How to translate Russian proverbs]. 俄语学习[Russian Learning] 33-36.&lt;br /&gt;
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==Dialectical thinking in arguments between literal translation and free translation 	甘奉玉	Gan Fengyu  202070080584 英语笔译==&lt;br /&gt;
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===Abstract===&lt;br /&gt;
As two methods of translation, how to use literal translation and free translation has always been the focus of debate between Chinese and Western translation circles. Through the study of translation methods of literal translation and free translation at home and abroad, we can know that to some extent literal translation and free translation are two relative conceptions, so there will be word-for-word translation, that is, dead translation, and over free translation. However, these two are only two extremes of literal translation and free translation. In fact, although there are differences in definitions and application fields between literal translation and free translation, they are unified in common translation purpose, translation procedure and translation standard. Therefore, the two are contradictory and unified in translation activities. This is also a profound embodiment of the unity of opposites in materialist dialectics.&lt;br /&gt;
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===Key words===&lt;br /&gt;
literal translation, free translation, word-for-word translation, over free translation, unity of opposites&lt;br /&gt;
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===题目===&lt;br /&gt;
直译与意译之争中的辩证思维&lt;br /&gt;
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===摘要===&lt;br /&gt;
作为翻译方法，怎样使用直译(literal translation)与意译(free translation)一直是中西方翻译界争论不休的一个焦点。通过对国内外直译与意译的翻译方法的研究，我们可以得知，从某种程度而言，直译与意译是两个相对的概念, 所以才会有逐字翻译，即死译，与过度意译这两个完全对立的概念。但是，这两者只不过是直译与意译的两个极端点。其实，直译和意译虽然在定义，适用范围上有所差异，但却又统一于共同的翻译目的、翻译过程和翻译标准中，所以两者在翻译活动中应该是既对立又统一的矛盾体。而这也正是唯物辩证法中的对立统一矛盾观的深刻体现。&lt;br /&gt;
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===关键字===&lt;br /&gt;
直译； 意译； 死译； 过度意译； 对立统一&lt;br /&gt;
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===Introduction===&lt;br /&gt;
Throughout the translation history at home and abroad, the literal translation and free translation have always sparked a heated discussion in the translation circles. Someone absolutely approve literal translation and demean free translation, even pursue dead translation, which creates an translated text difficult to understand. While some people absolutely agree with free translation even advocate random translation, which means a random deletion in the translation practices and creates another entirely different text. However, there are also a few of translators who have recognized that these two translation methods are not totally opposite. So they adopt a dialectical and flexible way. That means they will choose the most appropriate one depending on the text's demand. Therefore, we can deduce from it that this dialectical translation is consistent with the Contradiction View of Unity of Opposite in Materialist Dialectics. In fact, literal translation and free translation are a set of contradictions which are both opposite and unified. They complement each other into an integral one.&lt;br /&gt;
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The dispute between free translation and literal translation in Chinese translation circle first appeared in the dispute of &amp;quot;text&amp;quot; and &amp;quot;quality&amp;quot; in the Eastern Han Dynasty. During this period, Shi Dao-an, a senior monk in the Eastern Jin Dynasty, advocated literal translation and put forward that the translation should not be added or deleted but only make some adjustments to the word order. In the post-Qin period opposed to the Eastern Jin Dynasty, the monk Hatoyama advocated that the Buddhist scriptures should be translated freely. He suggested the original text should be changed to adapt to the Chinese style. Subsequently, Xuanzang, a senior monk of the Tang Dynasty, drew lessons from former translation achievements and put forward that we should seek both loyalty and vulgarity.(Chen Fukang 2011, 14-38) In another word, literal translation should complement with free translation, not just using one method. At that time, some translators have noticed that literal translation and free translation are not completely opposite. &lt;br /&gt;
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After that, in modern times from the Opium War to the May 4th Movement, since Yan Fu has put forward the translation standard of faithfulness, smoothness and elegance, Lu Xun and Qu Qiubai ignited the dispute on faith and smoothness. Lu Xun is a representative of literal translation school. He insists faithfulness first and smoothness second and even tolerates incoherence. He adopts the method of dead translation. While Qu Qiubai believes that faithfulness and smoothness are not opposite. From the New Culture Movement(1915-1923) to the 1980s, Mao Dun also put forward that literal translation doesn't mean word-for-word translation without any addition or deletion. Since the reform and opening up, Xu Yuanchong has said that literal translation should be faithful to the original content first then to the original form and last to the smooth translated text. On the other hand, free translation should be faithful to the original text first then to the smooth translated text and last to the original form. Therefore, although there are differences in translation methods between literal translation and free translation, their ultimate goal is to be faithful to the original content and express the original meaning.（Chen Fukang 2011, 288-333）&lt;br /&gt;
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Since Cicero, the first translation theorist in the western world, has put forward that we should avoid word-by-word translation but perform as a speaker, the dispute between literal translation and free translation began to appear in the West. In ancient times, Perot insisted on dead translation in the translation of the Bible, which greatly affected the translation quality. Poitius in the Middle Ages also advocated word-by-word translation and strict formal correspondence. In modern times, French translator Abulangour aimed to cater to readers in a way of over free translation and arbitrary deletion. &lt;br /&gt;
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Even so, there are many translation theorists in the western translation world who advocated  dialectical and flexible translation. For example, in ancient times, Jerome advocated the flexible principle to apply in literary translation and religious translation differently. During the Renaissance, French Amyot emphasized the dialectical unity of content and form, free translation and literal translation. Moreover, some translators did not exercise their own translation ideas. During the Renaissance, Reichlin was one of them. Although he advocated word-by-word translation, he abandoned this method in his practice. This can also further explain that absolute promotion of literal translation or free translation is not desirable. In translation practice, we must take a suitable degree in the way of combining literal translation and free translation to better serve the target readers.(Tan Zaixi 2004, 5-15 )&lt;br /&gt;
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The purpose of this paper is to explore the dialectical thinking contained in the dispute between literal translation and free translation, that is, the viewpoint of unity of opposites between them. The first chapter is about the word-for-word translation, and the second chapter is about the over free translation. From these two parts, we can draw a conclusion that it is not advisable to regard literal translation and free translation as absolute opposites. The third chapter is about the dialectical translation, which is the correct method for us to learn and adopt. It is also a method that follows the view of unity of opposites. The fourth chapter will analyze the differences between literal translation and free translation from the view of definitions and application fields. Then the fifth chapter focuses on the unity of literal translation and free translation in translation goals, translation procedures and translation standards. Through the discussion of the whole article, we can clearly see the unity of opposites between literal translation and free translation and draw a conclusion that we should apply dialectical translation in our translation practice and adopt the point of view of unity of opposites in translation theory. (He Lirong 2018, 40)&lt;br /&gt;
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===1.Dialectical thinking of the Unity of opposites===&lt;br /&gt;
The theory of unity of opposites is the core content of materialist dialectics theory. (Xu Guoliang 2020, 75) In the history of philosophy, the German philosopher Hegel first expounded the basic thought of contradiction theory from the standpoint of objective idealism. Later, Marx, Engels and Lenin critically absorbed Hegel's theory and developed contradiction theory into the core content of materialist dialectics theory. The theory of contradiction contains two basic problems, and one is the relationship between unity and opposition, while the other is the universality and particularity of contradiction, which involves a series of basic concepts of contradiction theory, such as basic contradiction and non-basic contradiction, fundamental contradiction and non-fundamental contradiction, principal contradiction and non-principal contradiction. Understanding these basic concepts and their relationships is the key to understanding and grasping the contradiction theory completely and accurately and finally applying it to the practice of social life. (Yan Mengwei 2020, 41)&lt;br /&gt;
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The problem of unity and opposition of contradiction is actually about the nature of contradiction. We always know things from comparison. The so-called comparison is to find the similarities and differences between two things. The former is called unity and the latter is called opposition. The unity is relative and the opposition is absolute. It is worth emphasizing that the opposition of contradictions plays a key and decisive role in development, because development comes from the unity of opposites. This means that unity and opposition are two indispensable elements in the process of development. They complement and interact with each other.&lt;br /&gt;
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Literal translation and free translation are such a pair of contradictions. The opposition of the two is reflected in the absolute opposition between word-for-word translation and over free translation, while the unity is reflected in their commons. More clearly, there are differences in their definitions and applications and similarities in their translation goals, procedures and standards.(Yang Ying 2019,161)&lt;br /&gt;
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===2.Word-for-word translation===&lt;br /&gt;
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Literal translation is a method that not only maintains the original content, but also the original form.(Xu Yuanchong 1996,92) Fu Sinian and Zheng Zhenduo all advocate literal translation. In the history of modern Chinese translation, Lu Xun and his younger brother Zhou Zuoren's works of The Collection of Extraterritorial Fiction are regarded as the representatives of literal translation.&lt;br /&gt;
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In particular, literal translation is neither dead translation nor a mechanical verbatim translation. Because English and Chinese have different structures, it is impossible to translate word by word. From the perspective of linguistics, the biggest difference between them is that Chinese focuses parataxis while English focuses hypotaxis.(Zhu Xiaojia 2008, 1) In another word, in Chinese, a sentence is usually short with few modifiers and connected words, while in English, several meanings can be expressed by use of complicated structure with assorted clauses and connected words only in a sentence.&lt;br /&gt;
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Besides, the English is a more static language in which nouns and adjectives are always used, but the Chinese is the more dynamic one, and verbs are more active in it. Finally, the former has a systematic grammar but the latter seems free in its arrangement.(Cao Huoqun 2005, 40)&lt;br /&gt;
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Therefore, when we do some translating exercise, we should focus on their grammar structures. When the structure of the original text is inconsistent with that of the target language, adopting word-for-word translation will lead to formalism. Such a translated text is also not intelligible for readers. Literal translation must be readable without any misunderstanding or violation of expression.&lt;br /&gt;
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===3.Over free translation===&lt;br /&gt;
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Free translation refers to the method that maintains original content rather than original form. In the process of translation, in order to make the language clear and persuasive, the translator must try to conform to the language customs of target texts rather than adhere to the expressive pattern of the original work. Zhao Jingshen put forward that it is better to be smooth with some disloyalty instead of absolute loyalty. Obviously, Mr. Zhao Jingshen is in favor of free translation, and so does Mr. Yan Fu. Many of Yan Fu's classical works have adopted free translation, the Theory of Heaven is a typical example of free translation.&lt;br /&gt;
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When we translate English into Chinese, especially some idioms that are in closer ties with western culture, we have to move or change these cultural barriers so that Chinese readers could understand easily. It is also true when translating Chinese into English. Under this condition, free translation will be more suitable and effective.&lt;br /&gt;
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However, free translation does not mean random translation. Random translation means making up sentences by subjective imagination without analyzing the structure of the original text. It is also known as over free translation.(Wu Shuang 2018, 107) In fact, when we translate, we must master the thought and style of the original and regard them as the correspondence of the target language. In addition, the theory, fact and logic of the original work should also be corresponding in the target language. We can not replace these features of the original with our personal thoughts, styles, facts, theories and logic. Only in this way can the contents not be changed after translation.&lt;br /&gt;
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===4.Dialectical translation===&lt;br /&gt;
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Feng Qinghua put forward in the book of A Practical Translation Course that the so-called literal translation is a kind of translation method to maintain both the original content and the original form. If there are the same language form and expressive effect between original and target text, we should adopt literal translation to deliver the same contents. While the so-called free translation is a method to keep the original content and style only. So if there are different language forms and expressive effects between the two texts, we should adopt free translation mostly. (Feng Qinghua 1997, 12)&lt;br /&gt;
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Therefore, Literal translation and free translation have their own advantages and restrictions. The former is beneficial to the transplantation of culture, while the latter can avoid obscurity in literal translation.&lt;br /&gt;
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In literal translation, we will translate the sentence “mashing a mirror is no way to make an ugly person beautiful, nor is it a way to make social problem evaporate” into &amp;quot;砸镜子不能使丑八怪变漂亮,也不能使社会问题烟消云散&amp;quot;, while in free translation, we can turn it into &amp;quot;砸镜子并不能解决实际问题&amp;quot;. (Fan Zhongying 1994, 22) We can see the latter one is more concise and comprehensive to express the connotative meaning. Although the former is totally literal translation, we still feel it terrible.&lt;br /&gt;
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Therefore, a translator should use these two translation strategies according to the specific situation to express the surface structure and deep meaning of the original text. The use of literal or free translation depends on the rules of both English and Chinese. In translation, if we can not directly adopt the structure and expressive form of the original work, we must change the sentence structure and expressive way to convey the connotation of the original work. An excellent translated text is realized neither by simple literal translation nor by simple free translation but by the combination of two. We should adopt dialectical translation in our practice.&lt;br /&gt;
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===5.Opposition and unity between literal translatiuon and free translation===&lt;br /&gt;
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===5.1 Opposition===&lt;br /&gt;
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===5.1.1 Opposition in definition===&lt;br /&gt;
Qiao Zengrui defines literal translation in Chapter 4 of Translation Theory as a method that deliberately retains the original form to maintain the content and style of the original. At the same time, He also defines free translation as a method that keeps the original content and style by use of the same or similar expressions as the original text in the target language regardless of the two different languages. The first one regards form as the only way, content and style as targets, while the second directly takes no account of form. With this regard, the two totally opposite in definition.(Qiao Zengrui 2000,78)&lt;br /&gt;
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===5.1.2 Opposition in application fileld===&lt;br /&gt;
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Generally speaking, literal translation is used to translate some political books, laws, treaties, scientific and technological documents, terms, idioms, and some simple sentences. (Wu Shuang 2018,178) The early translation of Buddhist scriptures of early Chinese generally followed this theory. So do the Marxism-Leninism works and Mao Zedong's works. For example, &amp;quot;纸老虎&amp;quot; can only be translated as &amp;quot;paper tiger&amp;quot; but not &amp;quot;scarecrow&amp;quot;. The latter one was corrected by Mao Zedong when the interpreter translated it into &amp;quot;scarecrow&amp;quot;. Chairman Mao emphasized that this word had two characteristics and if it was translated into &amp;quot;scarecrow&amp;quot;, it will lose duality. Because &amp;quot;纸老虎&amp;quot; in China means imperialism and reactionary, which seems scary but no great power in it. Since it is made of paper, this tiger becomes soft in the damp and finally was washed away when it was rained. While scarecrow can scare away children and birds. So paper tiger is better than scarecrow.&lt;br /&gt;
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In the process of translation, there are many situations that literal translation can not be applied, so we must adopt the method of free translation, especially the translation of literary works.(Wu Shuang, 2018, 178) On the one hand, there are many common traditional Chinese words that reflect the unique cultural concepts and cultural phenomena of our country, which can't be translated directly into corresponding words in English. For instance, if we translate&amp;quot;初生牛犊不怕虎&amp;quot; into &amp;quot;A new born calf is not afraid of a tiger&amp;quot;, then our target readers in English-speaking countries will find it difficult to understand the substance of the literal meaning.(Yang Yin 2019, 161) So here &amp;quot;The more wit, the less courage&amp;quot; will be better. On the other hand, some certain maxims, idioms and puns in English have no choice but to use free translation.(He Lirong 2018,43) For example, &amp;quot;have a wolf in the stomach&amp;quot; means &amp;quot;饥肠辘辘&amp;quot; 饥饿难忍&amp;quot; rather than &amp;quot;肚子里有个豺狼&amp;quot;. Moreover, some exclusive English nouns should be freely translated such as &amp;quot;the heel of Achilles&amp;quot; into &amp;quot;致命的弱点&amp;quot; instead of &amp;quot;阿克琉斯的脚后跟&amp;quot;.&lt;br /&gt;
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===5.2 Unity===&lt;br /&gt;
===5.2.1 Unity in translation goal===&lt;br /&gt;
In literal translation, loyalty to the original form should be put first, followed by loyalty to the original content and last pursuit of fluency and popularity in target language. In free translation, loyalty to the original content should be put first, then the fluency and popularity of the translation language second, and the original form comes last. It is clear that loyalty to the original content is the common purpose of literal translation and free translation.(Wu Shuang 2018, 108)&lt;br /&gt;
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The unity of literal translation and free translation is also reflected in the fact that the translation must be smooth and fluent and conform to the expressive habits of target language. If the translated text is obscure and unreadable without conforming to the habits of the target language and culture, the two translation strategies have not achieved the true unity, so the purpose of communication has not been realized.&lt;br /&gt;
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Therefore, literal translation and free translation are two different translation methods used in translation. They are unified in the translation goal to accurately and faithfully convey the original meaning and intention.(He Lirong 2018, 41)&lt;br /&gt;
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===5.2.2 Unity in translation procedure===&lt;br /&gt;
The literal translation and free translation are unified in translation procedures. Both of them should conform to the following translation steps of understanding, expressing and verifying.&lt;br /&gt;
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Understanding is the first stage of translation process. It includes not only the understanding of language and cultural phenomena, but also logical relations. A translator should be good at analyzing ambiguous sentences and make correct judgments before translating. Expression is the process by which the translator reproduces the content of the original text into target language. Expressing is the result of understanding, but understanding correctly does not mean expressing right. Therefore, we must learn many specific methods and techniques, such as literal translation, free translation, literal translation plus free translation, literal translation plus annotation, and so on. The third stage is verifying. In this stage, we must check the translation at least twice. In the first time, we should check whether there is any missing translation or wrong translation. And in the second time, we should check whether it's smooth and intelligible out of the original text.&lt;br /&gt;
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Whether literal translation or free translation, we must follow the three steps of understanding, expressing and verifying in translation practice. Understanding is the premise of expression, but understanding and expressing are usually complementary and unified, which can not be separated completely. To understand the original text, the translator also chooses proper expression and further deepen his or her understanding.&lt;br /&gt;
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===5.2.3 Unity in translation standard===&lt;br /&gt;
On the establishment of translation standards, Chinese and foreign translation theorists in different historical periods put forward different views. In China, there are Ma Jianzhong's view of &amp;quot;good translation&amp;quot; on the basis of modern linguistic theory, Yan Fu's translation standards of &amp;quot;faithfulness, smoothness, and elegance&amp;quot;, Chen Xiying's theory of &amp;quot;similarities in shape, meaning and spirit&amp;quot;, Lin Yutang's translation standards of &amp;quot;loyalty, smoothness and beauty&amp;quot;. In the West, there are Twelve Translation Principles of Bart, Three Principles of Tettler, Seven principles of Luther, functional equivalence of Nida and so on. All these translation standards are based on different social needs, translation contents, translation objects and translation purposes.(He Lirong 2018, 42)&lt;br /&gt;
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No matter which translation standard we use, it is impossible to meet it only by literal translation or free translation. Therefore, the two translation methods are unified in any translation standard. Therefore, they are inseparable unity of opposites.&lt;br /&gt;
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===6.Conclusion===&lt;br /&gt;
Literal translation and free translation are two different translation methods. Although they are different in conceptual definitions and applicable fields, in order to achieve a unified translation standard and a common translation goal, they both follow the same three procedures of understanding, expressing and verifying.&lt;br /&gt;
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In the process of translation, if the target text has the same form and style as the original text, it can be translated literally. If there are different forms and styles, it should be translated freely. When the structure of the original text is inconsistent with that of the target language, sticking to word-for-word translation will cause stiff translation difficult to understand. In the same way, making up sentences through subjective assumption according to the literal meaning without analyzing original text will cause random translation disloyalty to the original one.&lt;br /&gt;
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Therefore, we can conclude that we should treat literal translation and free translation with a dialectical way and use these two translation methods flexibly to create wonderful translations in our concrete translation practice.&lt;br /&gt;
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Siyu Zou.(2017).Dialectical Relationship between Translation Theory and Practice[J].Proceedings of the 7th International Conference on Education, Management, Information and Mechanical Engineering (EMIM 2017).&lt;br /&gt;
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Chen Fukang 陈福康.(2011).中国译学史[History of translation studies in China].Shanghai: Shanghai Foreign Language Press.&lt;br /&gt;
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Cao Huoqun 曹火群.(2005).翻译中的辩证关系[Dialectic relationships in translation].孝感学院学报 Journal of Xiaogan University (05) 39-43.&lt;br /&gt;
&lt;br /&gt;
Feng Qinghua 冯庆华.(2002).实用翻译教程[Practical translation course].Shanghai：Shanghai Foreign Language Education Press.&lt;br /&gt;
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Fan Zhongying 范仲英.(1994).实用翻译教程[Practical Translation Course].Beijing:Foreign Language Teaching and Research Press.&lt;br /&gt;
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He Lirong 何历蓉.(2018).论“直译与意译”在英汉翻译中的对立与统一 [On the opposition and unity of literal translation and Free Translation in English-Chinese translation]. 宿州教育学院学报 journal of suzhou education institute 21(04):40-43.&lt;br /&gt;
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Qiao zengrui 乔曾锐.(2000).译论—翻译经验与翻译艺术的评论和探讨 [Translation theory: A review of translation experience and the art of translation]. Beijing: China Industry and Commerce Joint Press.&lt;br /&gt;
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Tan Zaixi 谭载喜.(2004).西方翻译简史[A Brief History of Western translation]. Beijing：Commercial press.&lt;br /&gt;
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Wu Shuang 吴爽.(2018).翻译的最高境界—直译与意译的完美统一[The highest level of translation - the perfect unity of literal translation and free translation].现代交际 Modern communication (08):107-108.&lt;br /&gt;
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Xu Guoliang 徐国亮.(2020).对立统一：唯物辩证法的核心与列宁的发展[Unity of opposites: The Core of Materialist Dialectics and The development of Lenin]. 中共中央党校（国家行政学院）学报 Journal of Party School of the CPC Central Committee (National Academy of Governance) 24(05):75-83.&lt;br /&gt;
&lt;br /&gt;
Xu Yuanchong 许渊冲.(1980).直译与意译[literal translation and free translation]. Journal of Foreign Languages (6).&lt;br /&gt;
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Xu Yuanchong 许渊冲.(1996).译家之言[The Word of the Translator].出版广角 View on Publishing(6):92-94.&lt;br /&gt;
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Yan Mengwei 阎孟伟.(2020).关于唯物辩证法矛盾学说的几个基本问题[Some basic questions about the contradiction theory of materialist dialectics]. 思想理论教育导刊 Journal of ideological and theoretical education (08):40-47.&lt;br /&gt;
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Yang Yin 杨颖.(2019).浅谈直译与意译的动态统一[On the dynamic unity of literal translation and free translation].海外英语 Overseas English (17):160-161.&lt;br /&gt;
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Zhu Xiaojia 朱晓嘉.(2008).形合、意合的辩证观与翻译策略 [Dialectic thinking and Translation strategies of hypotaxis and Parataxis].Nanjing: Nanjing Normal University.--[[User:Gan Fengyu|Gan Fengyu]] ([[User talk:Gan Fengyu|talk]]) 01:52, 21 December 2020 (UTC)&lt;br /&gt;
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== Peter Newmark’s Improved Views on Literal Translation and Free Translation 赵茜 Zhao Xi,202070080627==&lt;br /&gt;
===Abstract===&lt;br /&gt;
The dispute over the two basic translation methods, literal translation and free translation, has never stopped since ancient times. In view of the basic problem of his argument, Peter Newmark, an English translation theorist divides the various translation methods into eight, points out that different translation methods should be taken according to different text characteristics and puts forward with semantic translation and communicative translation bases on years of translation researches. Semantic translation focuses on maintaining the content of the original text, while communicative translation emphasizes the effect of the translation. The author of this paper expresses some views on literal translation and free translation. Peter Newmark's theory has taken a big step forward from the fragmented and one-sided view of literal translation and free translation in the past, which has brought people out of the struggle between them and made people see the direction of further development of translation research.&lt;br /&gt;
&lt;br /&gt;
The dispute over the two basic translation methods, literal translation and free translation, has never stopped since ancient times. In view of the basic problem of his argument, Peter Newmark, an English translation theorist divides the various translation methods into eight, points out that different translation methods should be taken according to different text characteristics and puts forward with semantic translation and communicative translation base'''d''' on years of translation researches. Semantic translation focuses on maintaining the content of the original text, while communicative translation emphasizes the effect of the translation. The author of this paper expresses some views on literal translation and free translation. Peter Newmark's theory has taken a big step forward from the fragmented and one-sided view of literal translation and free translation in the past, which has brought people out of the struggle between them and made people see the direction of further development of translation research.--[[User:Zhang Peiwen|Zhang Peiwen]] ([[User talk:Zhang Peiwen|talk]]) 08:42, 19 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
===Key words=== &lt;br /&gt;
Free translation, Literal translation, Peter Newmark, Semantic translation, Communicative translation&lt;br /&gt;
&lt;br /&gt;
===摘要===&lt;br /&gt;
直译与意译这两种翻译基本方法之争从古至今从未停止过。针对其争论的基本问题，英国翻译理论家彼得·纽马克把各种翻译方法分成了八种，指出应根据不同的文本特点釆取不同的翻译方法，并在多年翻译研究的基础上提出了语义翻译和交际翻译。语义翻译重点在强调保持原文的内容，而交际翻译更多强调的是译文的效果。本文作者也提出了对直译和意译的一些看法。彼得·纽马克的理论把人们以往对直译、意译的零散的、片面的观点向前推进了一大步，使人们从直译、意译之争中走出来并看到翻译研究进一步发展的方向。&lt;br /&gt;
&lt;br /&gt;
===关键词===&lt;br /&gt;
直译, 意译, 彼得·纽马克, 语义翻译, 交际翻译&lt;br /&gt;
&lt;br /&gt;
===Introduction===&lt;br /&gt;
According to Chinese and western translation history, no matter in China or in western countries, studies on translation theories and practice have been performed over two thousand years. Translation, as an ancient and extremely significant human thinking activity, is closely related to the development of language itself. And translation after more than two thousand years of development, has developed prosperously, appearing quantities of translation theories, translation schools and translators. However, the dispute between two translation methods, literal translation and free translation has been lasting from throughout history. The fundamental problem between literal translation and free translation is based on the relationship between content and form. To solve this fundamental problem of the dispute, Peter Newmark first points out that translation studies have been long beset by the time-honored theoretical debate over free and literal translation. A range of wider aspects of translation related to the contribution to the development of languages, its relation to meaning, the intention of translation, the readers' background, the type of discourse and the language universals have been long neglected. Therefore, according to Newmark's own translation practice, he puts forward right translation methods, word-for-word translation, literal translation, faithful translation, semantic translation, adaption, free translation, idiomatic translation and communicative translation, which provide to translators to consider and use. Although in the actual translation practice, translators have no necessity to distinguish such translation methods and even to use these methods, this proposal may help translators open their horizons and translate more appropriately. Among the eight translation methods, semantic translation and communicative translation proposed by Newmark own the advantages of other six methods, becoming the most ideal translation methods. Peter Newmark's semantic translation and communicative translation are highly valued and influence the practice of translation in general. (Li Minghan 2014, 3)&lt;br /&gt;
&lt;br /&gt;
According to Chinese and western translation history, no matter in China or in western countries, studies on translation theories and practice have been '''done''' over two thousand years. Translation, as an ancient and extremely significant human thinking activity, is closely related to the development of language itself. And translation after more than two thousand years of development, has developed prosperously, '''including''' quantities of translation theories, translation schools and translators. However, the dispute between two translation methods, literal translation and free translation has been lasting throughout history. The fundamental problem between literal translation and free translation is based on the relationship between content and form. To solve this fundamental problem of the dispute, Peter Newmark first points out that translation studies have been long beset by the time-honored theoretical debate over free and literal translation. A range of wider aspects of translation related to the contribution to the development of languages, its relation to meaning, the intention of translation, the readers' background, the type of discourse and the language universals have been long neglected. Therefore, according to Newmark's own translation practice, he puts forward right translation methods, word-for-word translation, literal translation, faithful translation, semantic translation, adaption, free translation, idiomatic translation and communicative translation, which provide to translators to consider and use. Although in the actual translation practice, translators have no necessity to distinguish such translation methods and even to use these methods, this proposal may help translators open their horizons and translate more appropriately. Among the eight translation methods, semantic translation and communicative translation proposed by Newmark own the advantages of other six methods, becoming the most ideal translation methods. Peter Newmark's semantic translation and communicative translation are highly valued and influence the practice of translation in general. (Li Minghan 2014, 3)--[[User:Zhang Peiwen|Zhang Peiwen]] ([[User talk:Zhang Peiwen|talk]]) 08:48, 19 December 2020 (UTC)&lt;br /&gt;
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===Literal Translation and Free Translation===&lt;br /&gt;
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====Brief Introduction of Literal Translation and Free Translation====&lt;br /&gt;
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From ancient times, translators hold various attitudes toward such two translation methods, literal translation and free translation. &lt;br /&gt;
&lt;br /&gt;
=====Literal Translation=====&lt;br /&gt;
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Literal translation is a translation method which not only keeps the substance of the original, but also keeps the form of the original. This definition implies that the translation version is expressing the content of the original and should spare no efforts to make every part of the translation version corresponding to every part in the original text including construction of sentence, meaning of the original words, metaphor of the original and so on. &lt;br /&gt;
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According to Liu Zhongde, literal translation can be summarized into &amp;quot;to reproduce both the ideological content and style of the entire literary work and retain as much as possible the figures of speech&amp;quot;. (Liu Zhongde 1991, 52) &lt;br /&gt;
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Xu Yuanchong defines literal translation as &amp;quot;the kind of translation which is faithful not only to the content but also to the form of the original.&amp;quot; (Xu Yuanchong 1984, 45)&lt;br /&gt;
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Newmark suggests that literal translation is like, &amp;quot;sometimes it is very difficult to define what is literal translation, it is believed that a translation can be regarded as the literal translation when the translator is not influenced but the foreign flavors.&amp;quot;(Newmark 2001, 46) &lt;br /&gt;
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Mr. Yang Xianyi holds that the translators should be as faithful as possible to the original image and too much explanation and creativity should be avoided. This means translators should try to use literal translation method to introduce imagery in the source language to the target language readers. The reason why those translators who insist on literal translation are that they think literal translation is the only way to keep faithful to the original. They endeavor to adopt from as similarly as possible to the original to show the original meaning, thinking that it's the truest reflection of the original. (Wang Zuoliang 1989, 43)&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
Literal translation is a translation method which not only keeps the substance of the original, but also keeps the form of the original. This definition implies that the translation version expresses the content of the original and should spare no efforts to make every part of the translation version corresponding to every part in the original text, including construction of sentence, meaning of the original words, metaphor of the original and so on.--[[User:Zhang Peiwen|Zhang Peiwen]] ([[User talk:Zhang Peiwen|talk]]) 08:57, 19 December 2020 (UTC)&lt;br /&gt;
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=====Free Translation=====&lt;br /&gt;
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Free translation is a translation method which only keeps the substance of the original, but not keeps the form the original. Target language and source language have different forms to show the same substance, and they could not produce the same result. Free translation does not mean to delete or add content to the original, though it does not pay much attention to the form of the original. Otherwise, the translation would not be faithful to the original. Translators always discover the meaning behind the forms in the source language and dose their best to produce the same meaning in the target language, using the forms and structures in the target language. Consequently, what is supposed to change is the form and the code, and what should remain unchanged is the meaning and the message. &lt;br /&gt;
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Shuttle worth and Cowie define free translation as &amp;quot;a type of translation in which more attention is paid to producing a natural target language than to preserving the source language wording intact.&amp;quot; (Shuttle worth&amp;amp;Cowie 2004, 62)&lt;br /&gt;
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Free translation is the conveying of the discourse meaning of the speaker is not restricted by the structure and linguistic and rhetoric styles of the original text. (Ren Wen 2012, 18)&lt;br /&gt;
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Liu Zhongde has given his definition to free translation. According to his definition, free translation aims at transmitting the meaning regardless of the sentence forms and rhetorical devices. If translators are not able to  make the translated text faithful to the original text through literal translation, they may use their own words to explain the meaning of the text without considering the words and forms in original text. (Liu Zhongde 1991, 53-54)&lt;br /&gt;
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====Disputes over Free Translation and Literal Translation====&lt;br /&gt;
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In the past, translators generally believed that language and thought were unified, and language was form while thought was content. However, it was impossible to realize the consistence between language forms and ideological content, producing the contradiction between form and content, which is the problem between literal translation and free translation. Modern science has proved that language and thought are not a unity and constitutes a relationship between form and content. Language is only a symbolic system to express thoughts. Translation expresses the same idea by using two different language signals. &lt;br /&gt;
 &lt;br /&gt;
Marcus Tullius Cicero is generously acknowledged to be the first person to put forward a systematic description of the practice of translation and he said &amp;quot;I did not translate them as an interpreter, but as an orator... I did not hold it necessary to render word for word, but I preserve the general style and force of language.&amp;quot; (Tan Zaixi 2018, 20) He puts forward mainly two viewpoints. Firstly, the translation should be as close as possible to the language habits of the target language. At that time, namely, the translation should correspond with Roman habits as much as possible to touch and resonate with the readers. What's more, he advocates free translation and opposes literal translation as he believes that free translation is superior to literal translation. The most important thing in translation is not the corresponding in form, but the meaning and thought in the source language. Cecero's thoughts have provided a guide for other translators and produced an effect on them. Since Cicero came up with his opinion, the disputes over literal translation and free translation has never been stopped. &lt;br /&gt;
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Eugene Nida holds that if all languages differ in form, then quite naturally the forms must be changed if one is to preserve the content. He is in favor of dynamic equivalence instead of formal correspondence, maintaining the original meanings. In this sense, Nida agrees with free translation, just as he expresses that translating means translating meaning. (Nida 1985, 119-125)&lt;br /&gt;
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Zhai Qiubai insists literal translation and claims that the correct translation is based on Chinese syntax and rhetoric and has its specific intentions. First of all, he regards translation as a part of Proletarian literature. Translation should systematically introduce proletarian revolution thoughts to Chinese readers. Furthermore, translation should help create modern Chinese language and literal translation is an approach. To preserve the spirit in the original text, some non-smoothness can be tolerated. (Cheng Yongsheng 2002, 65) &lt;br /&gt;
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Lu Xun defines clearly that translation must take into account of two sides: one is easy to understand, the other maintains the style of the original. This explanation refers that the translators must translate according to the original text rather than their own world view and aesthetic taste. The translators must try their best to maintain the style of the original author and inherit historic and national characters rather than imposing extrinsic aesthetic and social background culture of other people on the translation. (Chen Fukang 2000, 301)&lt;br /&gt;
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Mao Dun has pointed out that due to different language families of Chinese and English and different structures, word-by-word translation us almost impossible actually. Because word-by-word translation is difficult to achieve its ideal effect, any discussion related with literal translation and free translation is inevitably involved with the problem &amp;quot;what is the boundary between them?&amp;quot; He also holds that the so-called literal translation, superficially speaking, means not to alter the original words and sentences. (Xu Haiyan &amp;amp; Sun Weihong 2012, 80)&lt;br /&gt;
Mao Dun has pointed out that due to different language families of Chinese and English and different structures, word-by-word translation '''is''' almost impossible actually. Because word-by-word translation is difficult to achieve its ideal effect. '''Any''' discussion related with literal translation and free translation is inevitably involved with the problem &amp;quot;what is the boundary between them?&amp;quot; He also holds that the so-called literal translation, superficially speaking, means not to alter the original words and sentences. (Xu Haiyan &amp;amp; Sun Weihong 2012, 80)--[[User:Zhang Peiwen|Zhang Peiwen]] ([[User talk:Zhang Peiwen|talk]]) 09:12, 19 December 2020 (UTC)&lt;br /&gt;
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In Xu Yuanchong's opinion, the criteria to judge literal translation and free translation is whether the translation is faithful to the original. If a translation is faithful to both meaning and form of the original text, it is literal translation. If a translation is only faithful to meaning rather than form, it is free translation. If a translation is only faithful to form rather than content, it is mechanical translation. And the standard to judge faithfulness are form and content. For translation, content is more significant than form. Besides, translators should use both literal translation and free translation. However, sometimes it is difficult to use literal translation or free translation in a translation, so it is not necessary to define literal translation or free translation in those situations. Xu argues that literal translation is not only being faithful to the content of the original text but also being close to its form. When Xu discusses the situations using literal translation or free translation, he often mentions readers and contexts, among which readers are more important. No matter literal translation or free translation, translators should put faithfulness to the content of the original text first, smoothness of target text form second, faithfulness to the form of the source text third. In other words, on the premise of faithfulness to the source language, translation should strive for smoothness of form. On the premise of smoothness of translation, translators should try their best to realize faithfulness to form of the original. If there is a contradiction between the smoothness and faithfulness of the original form, it is of no necessity to stick to the original form. These are the relationships between content and form, and literal translation and free translation. (Cheng Yongsheng 2002, 66)&lt;br /&gt;
&lt;br /&gt;
In Xu Yuanchong's opinion, the criteria to judge literal translation and free translation is whether the translation is faithful to the original. If a translation is faithful to both meaning and form of the original text, it is literal translation. If a translation is only faithful to meaning rather than form, it is free translation. If a translation is only faithful to form rather than content, it is mechanical translation. '''Also, there is the standard to judge faithfulness are form and content.''' For translation, content is more significant than form. Besides, translators should use both literal translation and free translation. However, sometimes it is difficult to use literal translation or free translation in a translation, so it is not necessary to define literal translation or free translation in those situations. Xu argues that literal translation is not only being faithful to the content of the original text but also being close to its form. When Xu discusses the situations using literal translation or free translation, he often mentions readers and contexts, among which readers are more important. No matter literal translation or free translation, translators should put faithfulness to the content of the original text first, smoothness of target text form second, faithfulness to the form of the source text third. In other words, on the premise of faithfulness to the source language, translation should strive for smoothness of form. On the premise of smoothness of translation, translators should try their best to realize faithfulness to form of the original. If there is a contradiction between the smoothness and faithfulness of the original form, it is of no necessity to stick to the original form. These are the relationships between content and form, and literal translation and free translation. (Cheng Yongsheng 2002, 66)--[[User:Zhang Peiwen|Zhang Peiwen]] ([[User talk:Zhang Peiwen|talk]]) 09:12, 19 December 2020 (UTC)&lt;br /&gt;
Whether in Chinese translation circle or in western translation circle, the contradiction between content and form, and literal translation and free translation exists and arouses heated discussion.&lt;br /&gt;
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===Semantic Translation and Communicative Translation===&lt;br /&gt;
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To solve the fundamental problem of free translation and literal translation, Peter Newmark, a renowned western translation theorist, linguist and professor of translation at the University of Surrey, combining with years of translation experience, has concluded and summarized a corresponding theory, semantic translation and communicative translation, whose core is the problem of literal translation and free translation. Semantic translation and communicative translation have been put forward against the background that the majority of scholars have argued for a long time whether to translate literally or freely. The concepts of communicative and semantic translation represent Newmark’s main contribution to general translation theory. (Newmark 1991, 10)&lt;br /&gt;
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====Semantic Translation====&lt;br /&gt;
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Newmark puts the definition of semantic translation as &amp;quot;Semantic translation, attempts to render, as closely as the semantic and syntactic structures of the second language allow, the exact contextual meaning of the original. &amp;quot; As this version of definition indicates, communicative translation focuses essentially upon the comprehension and response of TL receptors. Semantic translation severs for the source language author and gives a high priority to reflecting his thought patterns and stylistics. (Shuttleworth and Cowie 2004, 22) Here is an example.&lt;br /&gt;
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E.g. 谋事在人，成事在天。&lt;br /&gt;
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Yang Hsien-yi and Gladys Yang's Version: Man Proposes, Heaven disposes.&lt;br /&gt;
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In this example, the Chinese idiom means that a man has done his or her best to do something and as to whether he or she can achieve the goal, it depends on the fortune. “天” refers to the master of nature in ancient Chinese culture. This word is semantically translated into “heaven” as the translation emphasizes the original information and tries to preserve the favor, style and culture maintained in the source language.&lt;br /&gt;
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====Communicative Translation====&lt;br /&gt;
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Communicative translation attempts to produce on its readers an effect as close as possible to that obtained on the readers of the original. As this version of definition indicates, communicative translation centers around the semantic aspects of the source language texts. To be specific, in communicative translation, the emphasis should be on conveying the message of the original in a form, which conforms to the linguistic, cultural and pragmatic conventions of target language. Both content and language are readily acceptable and comprehensible to the readership. (Chen Boyu 2003, 4)&lt;br /&gt;
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Communicative translation intends to present the main idea of the original text and emphasize the social value generated by the translation. Communicative translation highlights on conveying the message expressed in the original and form of the the source language. Due to different textual functions, content and form should have different focuses. Texts of informative function emphasize on the information beyond the language, while texts of vocative function center on readers. The primary intention of translators is to convey the message to the target readers, without paying much attention to the style of the original. If it is necessary, translators can adjust grammar and words to better transmit the information. The change of forms is not only allowed, but also encouraged. (Zhang Linlin 2010, 17)&lt;br /&gt;
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E.g. 谋事在人，成事在天。&lt;br /&gt;
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Hawkes's Version: Man Proposes, God disposes.&lt;br /&gt;
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This translation is communicative translation. Different from the version of Yang, Hawkes translated &amp;quot;天&amp;quot; into &amp;quot;God&amp;quot;. In western culture, people believe that &amp;quot;God&amp;quot; is the master of nature. It renders the contextual meaning of the original in such a way that both content and language are readily acceptable and comprehensible to the readers.&lt;br /&gt;
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====Comparison Between Semantic Translation and Communicative Translation====&lt;br /&gt;
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The fundamental difference between semantic translation and communicative translation is that semantic translation attaches more importance to the content rather than effect and communicative translation is just opposite. &lt;br /&gt;
  &lt;br /&gt;
Firstly, semantic translation is more objective, stresses accuracy and is submitted to the author, culture and meaning of the original. Communicative translation is more subjective, pays much attention to the readers' responses, and is submitted to the target language and its culture. Semantic translation and communicative translation have difference in expression form. &lt;br /&gt;
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Second, semantic translation make the translated text more close to the original form and retain the vocative effect as much as possible. If there is no much difference between the source and target language specifications, translation should maintain the length of sentences in the original text as well. Communicative translation will reorganize the syntax and utilize more common collocations or words to make translation more fluent, idiomatic and understandable. In the communicative translation, to make the translation brief and emphasize key information, translators should get rid of the bondage of the source language structure and make appropriate adjustments which are not allowed in the semantic translation, such as adjusting the logic relations in the original, making obscure concepts distinct, deleting repeated unnecessary details or redundant information, normalizing some peculiar expressions, and even correcting factual or writing mistakes. &lt;br /&gt;
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Thus, they have different functions. Semantic translation, performing expressive function, tries to preserve the language characteristics and unique expression forms of the source language to present thinking process of the author. Its translation judged by the target readers is likely to be smoother, simpler, clearer and more direct. While communicative translation is to convey message, performing vocative function. &lt;br /&gt;
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In addition, the key of communicative translation is immediacy which means the success of translation depends on the readers' responses. Semantic translation lays stress on faithfulness to the source text, but cannot neglect to convey the message contained in the source text. (Lin Xiaoqin 1987, 50)&lt;br /&gt;
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Here are some examples to better present the differences between semantic translation and communicative translation.&lt;br /&gt;
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E.g. 世人都晓神仙好。&lt;br /&gt;
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Yang Hsien-yi and Gladys Yang's Version: All men long to immortals.&lt;br /&gt;
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David Hawkes’s Version: All men knew that salvation should be won. &lt;br /&gt;
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In this example, “神仙” is the difficult point because there is no corresponding expression in English. In Chinese culture, “神仙” refers to transcendence and is a life with “supernatural forces” in human beings. Yang directly translated “神仙” as “immortals” because being an immortal is the highest ideal of Taoism. His translation is semantic translation. While Hawkes used “salvation” which is a concept in the Christianity. The creed of Christianity is to be saved from sins. And his translation is communicative translation. Yang chose to be faithful to the original text to preserve the concept in the Taoism. While Hawkes decided to pay more attention to religious background and mentality of the target readers. &lt;br /&gt;
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E.g. 真是“天有不测风云，人有旦夕祸福”。&lt;br /&gt;
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Yang Hsien-yi and Gladys Yang's Version: Truly, “storms gather without warning in nature, and had luck befalls men overnight.”&lt;br /&gt;
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David Hawkes’s Version: I know “the weather and human life are both unpredictable.”&lt;br /&gt;
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In this sentence, “天有不测风云，人有旦夕祸福” is a challenge in translation. It is a Chinese idiom which means the occurrences of some disasters are unpredictable in advance. According to antithesis habit in Chinese, Yang translated these two idioms into the corresponding English compound sentence, which adopted semantic translation. While Hawkes briefly translated into a single sentence, which adopted communicative translation. The former sentence may be appreciated by Chinese readers, and the simplified processing of the latter is easier for native English speakers to understand and accept because it conforms to the British and American expressions, especially in line with the habits of daily expression.&lt;br /&gt;
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E.g. Wet Paint!&lt;br /&gt;
&lt;br /&gt;
Version 1: 湿油漆&lt;br /&gt;
&lt;br /&gt;
Version 2: 油漆未干&lt;br /&gt;
&lt;br /&gt;
Version 3: 小心油漆&lt;br /&gt;
&lt;br /&gt;
Version 4: 勿触油漆&lt;br /&gt;
&lt;br /&gt;
This sentence is an official notice. From the four versions of the source text, there are differences among them. Version 1 is word-by-word translation, conveying an obscure message and not involving in any receptors. Version 2 just describes a fact that the paint is not dry but wet and does not present the informative function of the original. This notice aims to warn people not to do something and keep away from the paint. Version 3 and version 4 are free translations because they emphasize more on the content instead of form. The first and second version are semantic translation because they only describe the fact and tell readers the information that the paint is not dry. However, the third and fourth version are communicative translation which not only tell people the information but also play the warning function to notify readers not to touch the wet paint. &lt;br /&gt;
&lt;br /&gt;
However, semantic translation and communicative translation are not opposite. Newmark points out that the two should be viewed as a whole, instead of isolated or opposite parts. And a problem should be emphasized. Corresponding text-types can overlap. Semantic translation pays more attention to a mainly expressive text and communicative translation is more popular in mainly informative or vocative texts. In brief, translators should think the type of text over and ensure a good balance between them.&lt;br /&gt;
&lt;br /&gt;
====Text Typology====&lt;br /&gt;
&lt;br /&gt;
Language is a unique symbolic system, which has its own most important semantic system, as well as a functional system involving context. &lt;br /&gt;
&lt;br /&gt;
Newmark's text tppology theory is influenced by Reiss, Jacobson and other translators. In the book of Approaches to Translation, Newmark put forward three functional texts, including expressive text, informational text and vocative text. In accordance with these types of classification, Newmark summarized semantic translation and communicative translation. (Newmark 2001, 39)&lt;br /&gt;
&lt;br /&gt;
Expressive text mainly talks about the author's subjective emotions and his or her standpoints, which centers on the source language and the author regardless of the target readers' responses. Newmark points out that the expressive text includes three literary styles: &amp;quot;(1)serious imaginative literature such as poem, novels and dramas, (2) authoritative statements such as speech or statements from government officials or party's officials or party's leaders, documents and regulations and laws from government, and academic works from authorities, (3) autobiography, prose and personal correspondence without target readers.&amp;quot; (Newmark 2001, 55) Semantic translation is applicable to the expressive text, with a particular emphasis on the language features and language structure of the original language which is similar to literal translation.&lt;br /&gt;
&lt;br /&gt;
As for informative text, Newmark proposes that &amp;quot;typical informative texts are concerned with any topic of knowledge&amp;quot;. (Newmark 1988, 40) The informative text focuses on the information or the content provided in the text. According to Newmark, informative text includes textbooks, papers, reports, and minutes about science, industry, technology, economy, commerce and other areas of knowledge or events, which are mainly used to deliver information and reflect truth. In light of translation of informative text, Newmark proposes that communicative translation can be adopted to convey accurate meaning or the content of the source text to the target readers. (Newmark 2001, 67)&lt;br /&gt;
&lt;br /&gt;
&amp;quot;The function of vocative text is to call upon readers to act, to think, to feel and to react in the way intended by the text.&amp;quot; (Newmark 2001, 41) The vocative text includes all kinds of specifications, publicity materials, advertisements, notices and other persuasive words. Two factors must be emphasized in vocative text: one is the relationship between the author of the source text and readers of the source text and another is that translation is easy to be understood by the target readers, therefore, translators should take the source language and its cultural background into consideration in the course of translation practice. And communicative translation should also be used in the vocative text which means much attention should be paid on the target readers' understanding and reaction.&lt;br /&gt;
 &lt;br /&gt;
===Newmark's Improved Views on Literal Translation and Free Translation===&lt;br /&gt;
&lt;br /&gt;
It can be said that literal translation and free translation in the past were had their own disadvantages. Newmark agrees with literal translation and he holds that &amp;quot;translation means filling the blank between two languages and even explaining is translating.&amp;quot; (Newmark 1999, 33) This indicates that he does not neglect the importance of free translation. If the language and grammar structure of the original are not that important, the fidelity of the translation can be lowered, creating more room for translation. This situation can mainly adopts free translation. He even believes that translators can create better translation than the original one. Communicative translation and free translation resemble when it comes to the preference for the message to the manner, and the content to the form of the original. In his masterpiece ''Approaches To Translation'', he analyzes and discusses the loss of meaning. As long as the loss of meaning in the translation is inevitable, content cannot separate from form. And complete faithfulness to the original is almost impossible because the so-called preserving the original meaning is relative. What's more, the content of a text should not be equal to referent in language, but include referent, rhyme, genre, style and so on. As the slogan, being faithful to the original, was too empty, some translators advocating literal translation did free translation and even paraphrased the original in the practice. Newmark holds that translators need to notice the content in four layers, the original text level, referred level, coherent language level and natural tone level. In this way, he transforms the empty slogan into concrete requirements in the translation practice and meanwhile criticized the disadvantages of literal translation. (Newmark 1999, 33)&lt;br /&gt;
&lt;br /&gt;
Likewise, the viewpoints of free translation are not advisable as well. Newmark criticizes the basis of free translation school, making the target readers obtain feelings similar to that of the original readers. He thinks the goal is too difficult to achieve because translators had problem in completely knowing the feelings and responses of the original readers. He further puts forward some reasons why this goal cannot be realized. As long as the same feelings cannot be obtained by the source and target readers, there exists no reason or judging basis of great amending or creative rewriting.  Free translation produces the matter rather than the manner, or the content rather than the form. Newmark regards it as usually a paraphrase much longer than the original, often prolix and pretentious, and not translation at all. In free translation, &amp;quot;more translation is paid to producing a natural reading TL text than to preserving the ST wording intact.&amp;quot; (Shuttleworth and Cowie 2004, 62)&lt;br /&gt;
&lt;br /&gt;
Newmark criticizes that the argument is theoretical without taking other important facets of translator's purpose, the nature of readership and text typology into consideration. Newmark claims the argument could come to a compromise if translators deal with two sides with another visual angle. In 1981, he proposed semantic translation and communicative translation to replace the old terms. (Newmark 1988, 45)&lt;br /&gt;
&amp;quot;(a) communicative translation, where the translator attempts to produce the same effect of the target language readers as produced by the original on the source language readers, and (b) semantic translation, where the translator attempts, with the bare syntactic and semantic constraints of the TL, to reproduce the precise contextual meaning of the author.&amp;quot; (Newmark 1981, 22) In order to better explain these two methods, he designed the form of a flattened diagram. (Newmark 1988, 45)&lt;br /&gt;
&lt;br /&gt;
                SL emphasis                            TL emphasis&lt;br /&gt;
   word for word translation                        Adaption&lt;br /&gt;
          Literal translation                     Free translation&lt;br /&gt;
          Faithful translation                  Idiomatic translation&lt;br /&gt;
            Semantic translation               Communicative translation&lt;br /&gt;
&lt;br /&gt;
The diagram indicates that there is a hugest gap between the translation guided by word for word translation and the translation guided by adaption, then between literal translation and free translation, faithful translation and idiomatic translation and semantic translation and communicative translation last. These eight translation methods are a continuity, and they complement each other and cannot be completely separated. In Newmark's opinion, adaption is the freest translation method, and suitable for drama and poem translation. Free translation reproduces the main content of the original and pay more attention to interpret and expound. Target texts guided by idiomatic translation are more natural, more fluent and more coherent. But due to adopt some unknown expressions, the original meaning may be distorted.&lt;br /&gt;
&lt;br /&gt;
Communicative translation possesses the advantages of adaption, free translation, idiomatic translation and semantic translation maintains the advantages of word for word translation, literal translation and faithful translation. Newmark maintains only by combining semantic translation and communicative translation can achieve two aims of translation-accuracy and conciseness. By distinguishing these right methods, he gives further refinements to the above definition of semantic translation and communicative translation. He adds one more element &amp;quot;aesthetic value&amp;quot;. Meanwhile, he gives up emphasizing the &amp;quot;effect&amp;quot;, and refines communicative translation to be more specific, &amp;quot;communicative translation attempts to render the exact contextual meaning of the original in such a way that both content an language are readily acceptable and comprehensible to the readership.&amp;quot; (Newmark 1988, 47)&lt;br /&gt;
&lt;br /&gt;
===My Thoughts on Literal Translation and Free Translation===&lt;br /&gt;
&lt;br /&gt;
The two translation methods, literal translation and free translation, are useful in the translation practice. Taking English-Chinese translation for example, in the translating process, translators can use the method of literal translation when the pattern of sentence in original text is similar with the Chinese one, and we can find some Chinese words being equivalent in meaning to the words used in the sentence of original text. In some cases there are some complex sentences that can be translated with the method of literal translation as well. As long as these sentences are short and the pattern of these sentences is relatively simple compared with other complex sentences, they can be translated by literal translation method. In English, the using of some metaphors and similes is almost similar to the way that they are used by in Chinese. For instance, &amp;quot;time flies&amp;quot; in English can be directly translated into Chinese as &amp;quot;时间飞逝&amp;quot;, as the Chinese people also describe time passing very fast in this way, which accords with the expression habit of Chinese.&lt;br /&gt;
&lt;br /&gt;
As English and Chinese are two kinds of different languages, there are many differences in various aspects, such as different grammar and language habits. In English there are some words or phrases we cannot find the relative words or phrases in Chinese. In this cases, using using literal translation method would not be proper. Under this condition, if the translator insists on using literal translation, the translation text will be difficult to be understood by the target readers. So in order to make the translation text readable, translators should adopt free translation. Under the direction of literal translation, translators will try their best to keep the flavor of original work, no matter on the material or the form. Literal translation is the effective method to keep the cultural flavor of original language. Therefore, when there are some cultural differences affecting the translation of culture-loaded words between the source language and the target language, free translation can become one of the translation strategies which provide possibility in reducing or even removing the restrictive factors in translation process. &lt;br /&gt;
 &lt;br /&gt;
In the process of translation, it is an ideal way to combine literal translation and free translation because they mutually complement in many cases. When literal translation cannot express the original and basic content of the author and hinder readers to understand, it is crucial for the translator to use free translation to express the author's meaning. When free translation cannot meet the requirement of being faithful to the content of the original text, it is significant for the translation to use literal translation to show features ad the structure of the author's language.&lt;br /&gt;
&lt;br /&gt;
===Conclusion===&lt;br /&gt;
&lt;br /&gt;
The dispute between two translation methods, literal translation and free translation has been lasting from throughout history. The argument of them is based on the relationship between content and form. This paper attempts to introduce Peter Newmark's improved views on the literal translation and free translation. Newmark criticizes some disadvantages and proposes semantic translation and communicative translation. Semantic translation focuses on maintaining the content of the original text, while communicative translation emphasizes more on the effect of the translation. The author also shows opinions on literal translation and free translation. Peter Newmark's theory has taken a big step forward from one-sided view of literal translation and free translation in the past, which has provided the direction of further development of translation research.&lt;br /&gt;
&lt;br /&gt;
===References===&lt;br /&gt;
*Nida,E.A[尤金·A·奈达].(1985).''Translating means Translating meaning''《翻译即译意》.UNESCO: Publication of FIT. &lt;br /&gt;
&lt;br /&gt;
*Newmark, Peter[彼得·纽马克]. (1991). ''About Translation''《关于翻译》. North Somerset: Multilingual Matters&lt;br /&gt;
&lt;br /&gt;
*Newmark,Peter[彼得·纽马克].(1998). ''A Textbook of Translation''《翻译教科书》. London: Prentice-Hall International (UK) Ltd. &lt;br /&gt;
&lt;br /&gt;
*Newmark, Peter[彼得·纽马克]. (1981). ''Approaches to Translation''《翻译方法》. Oxford: Pergamon Press.&lt;br /&gt;
&lt;br /&gt;
*Shuttleworth &amp;amp; Cowie[沙特尔沃斯&amp;amp;考伊]. (2004). ''Dictionary of Translation Studies''《翻译研究词典》. Shanghai: Shanghai  Foreign Language Education Press.&lt;br /&gt;
&lt;br /&gt;
*陈伯雨 Chen Boyu. “翻译对等” 研究[Study on Translation Equivalence]. 辽宁师范大学[Liaoning Normal University]. 2003.&lt;br /&gt;
&lt;br /&gt;
*陈福康 Chen Fukang.《中国译学理论史稿（修订本）》[''Draft History of Chinese Translation Theory (Revised)'']. 上海：上海外语教育出版社[Shanghai Foreign Language Education Publishing House]. 2000.&lt;br /&gt;
&lt;br /&gt;
*程永生 Cheng Yongsheng.中国近现代直译与意译研究[Research on Modern Chinese Literal Translation and Free Translation]. 淮南工业学院学报(社会科学版)[Journal of Huainan Institute of Technology(Social Science)]. 2002.&lt;br /&gt;
&lt;br /&gt;
*李明瀚 Li Minghan.语义翻译和交际翻译在汉语政论文翻译中的应用[Semantic Translation and Communicative Translation in the Translation of Chinese Political Writings]. 辽宁大学[Liaoning University]. 2014.&lt;br /&gt;
&lt;br /&gt;
*林小芹 Lin Xiaoqin.纽马克论交际翻译与语义翻译[Newmark's Study on Communicative Translation and Semantic Translation]. 中国翻译[Chinese Translators Journal]. 1987. &lt;br /&gt;
&lt;br /&gt;
*刘重德 Liu Zhongde.文学翻译十讲[Ten Lectures on Literary Translation]. 北京：对外翻译出版社[Foreign Translation Press]. 1991.&lt;br /&gt;
&lt;br /&gt;
*任文 Ren Wen.交替传译[Consecutive Interpretation]. 北京：外语教学与研究出版社[Foreign Language Teaching and Research Press]. 2012.&lt;br /&gt;
&lt;br /&gt;
*谭载喜 Tan Zaixi.《西方翻译简史（增订版）》[''A Short History of Translation in the West(Updated Version)'']. 北京：商务印书馆[Commercial Press]. 2018.&lt;br /&gt;
&lt;br /&gt;
*王佐良 Wang Zuoliang.翻译：思考与试笔[Translation: Thinking and Writing]. 北京：外语教学与研究出版社 [Foreign Language Teaching and Research Press]. 1989.&lt;br /&gt;
&lt;br /&gt;
*许海燕,孙卫红.杨译本文化负载词的翻译——以《从百草园到三味书屋》为例[On C-E Translation of Culture-loaded Words by Yang Xianyi—A Case Study of From ''Hundred-plant Garden to Three-flavor Study''].陇东学院学报[Journal of Longdong University]. 2012.&lt;br /&gt;
&lt;br /&gt;
*许渊冲 Xu Yuanchong.翻译的艺术[The Art of Translation]. 北京：五洲传播出版社[China Intercontinental Press]. 1984.  &lt;br /&gt;
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*许渊冲Xuan Yuanchong.直译与意译[Literal Translation and Free Translation]. 上海外国语学院学报[Journal of Shanghai Institute of Foreign Languages]. 1980.&lt;br /&gt;
&lt;br /&gt;
='''Document Translation'''=&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
==On translation of official documents of CangNan County	吴恺	Wu Kai==&lt;br /&gt;
&lt;br /&gt;
On Translation of Official Documents of Cangnan County&lt;br /&gt;
&lt;br /&gt;
Japanese Language and Literature, School of Foreign Languages, Hunan Normal University, Wu Kai--[[User:Wu Kai|Wu Kai]] ([[User talk:Wu Kai|talk]]) 04:45, 2 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
==='''Abstract'''===&lt;br /&gt;
As one of the forefronts of Zhejiang’s opening-up cause, Cangnan County in Zhejiang Province has been enjoying a rapid development and an ever-growing degree of opening-up with lasting vitality as it’s supported by national policies and nourished by the dividends of economic globalization since China's reform and opening-up. As China has ushered in a period of major changes rarely seen in a century, Cangnan County is also facing new opportunities and challenges. Under the background of this era, Cangnan County is expected to make good use of its own advantages, especially the geographical ones—it is close to countries and regions including Japan, South Korea, and Taiwan—and should spare no efforts to achieve a higher level of opening-up, and, in turn, further promote its development. As an embodiment of the collective will of the people of Cangnan County, the official document is one of the best manifestations of its governance and stability control capabilities. For this reason, the research on how to translate official documents is of great significance for that it offers a great opportunity for Cangnan County to re-examine itself and to show the rest of the world its achievement in building a culture-enriched county.&lt;br /&gt;
&lt;br /&gt;
==='''Key words'''===&lt;br /&gt;
 official document translation, Cangnan County, opening-up, Japan, South Korea&lt;br /&gt;
&lt;br /&gt;
==='''摘要'''===&lt;br /&gt;
自中国改革开放以来，浙江省苍南县作为全浙江对外开放的前沿阵地之一，得到了国家政策支持和经济全球化红利的滋润，苍南县发展水平与对外开放程度日新月异，全县活力持久带劲。随着中国迎来“百年未有之大变局”，苍南县也面临着新的机遇和挑战，在此时代背景下，苍南县应该利用好自身优势，特别是临近日本、韩国、台湾等国家与地区的地理优势，努力开展更高层次、更高水平的对外开放事业，促进苍南更好的发展。为此，作为苍南县人民集体意志的体现，苍南县的公文就是对外展示其治理水平、稳控能力的最好的体现之一。而对于苍南县公文的如何翻译的研究，是促使苍南县重新审视自己、推进苍南人文县情传播海外的良机，意义重大。&lt;br /&gt;
&lt;br /&gt;
==='''关键词'''===&lt;br /&gt;
公文翻译  苍南县  对外开放  日本  韩国&lt;br /&gt;
&lt;br /&gt;
==='''I. System and Translation of Official Documents of Cangnan County'''===&lt;br /&gt;
&lt;br /&gt;
The unique official document system adopted by Chinese government agencies is a special integration of the thousands-of-years excellent political traditions in China and the essence of the organizational structure of the socialist regime. As a county-level unit in China's local administrative structure, Cangnan County has an official document system that is consistent with the national ones in general while has its own features. Official documents of Cangnan County can be basically divided into the following types of writing: resolutions, decisions, orders, bulletins, announcements, notifications, opinions, notices, reports, requests for instructions, approvals, proposals, letters, and minutes. Above-mentioned categories are collectively known as official documents. Besides, there are also some types of practical writing, including summaries, plans, notes, memos, briefings, speeches, manuals and so on, that are often used in our day-to-day work.&lt;br /&gt;
&lt;br /&gt;
In addition to those characteristics of the official documents that are commonly seen in China, official documents of Cangnan County also have its own features, which is mainly reflected in the aspect of proprietary terminology. Cangnan County, which used to be a part of Pingyang County in Zhejiang Province, was officially designated as a county in 1981 with the approval of the Central Government. It takes its name Cangnan, which means “on the south of the Yucang Mountain”, from its geographical location. As a relatively young county-level administrative unit in China’s administrative divisions, Cangnan County has a complex natural endowment and cultural environment, which is the reason why there are many special proprietary terms used in the official documents of Cangnan County, such as “Beautiful South Gate of Zhejiang Province”, “Southern Ouyue (an ancient kingdom in modern Wenzhou and Taizhou)” , “South Gate of Jiangsu-Zhejiang Region” and so on. Moreover, Cangnan is also the birthplace of the “Wenzhou Model”. Since the implementation of policy for the exchange of production materials and commercial grains in 1984, Cangnan has become an important base for the experiments and development of Wenzhou's private economy and market economy, and, thus, has made a significant contribution to the great cause of China's reform and opening-up.&lt;br /&gt;
&lt;br /&gt;
To conclude, the unity of the official document system viewed from the national scope of China and the uniqueness of the official document system viewed from the local scope of Cangnan area are both reflections of the integration of economic, political, and cultural elements. Therefore, when translating the terms and sentences in these official documents, obviously, it is almost impossible to follow general translation theories, such as Yan Fu’s “faithfulness, expressiveness and elegance” theory which applies to literature translation, and Christiane Nord’ Skopos theory which emphasizes schematic analysis. Due to the features of the official documents of Cangnan County, it is hard to imagine the consequence it will cause if those Cangnan and Chinese elements they contain are missed when translating them. Therefore, the starting point for the translation and research of Cangnan official documents should be analyzing the official document itself, but not choosing which translation theory to apply.&lt;br /&gt;
&lt;br /&gt;
The translation method focusing on the official documents themselves is undoubtably the one that emphasizes the content while manages to achieve a similarity in form. Thus, the translation theory that meets the requirements of official document translation in Cangnan County shall be the functional equivalence theory of the American linguist Eugene A. Nida. Eugene A. Nida argued in his theory that translation is to use the most appropriate, natural and equivalent language to reproduce the informational function of the source language both semantically and stylistically. Nida’s definition of translation specified that translation is seeking equivalence not only in lexical meaning, but also in semantics, style and literary form. Translation should convey both the denotative and connotative meaning of a message. Regarding the equivalence of translation, he believed that the equivalence consists of four parts: lexical equivalence, syntactic equivalence, textual equivalence, and stylistic equivalence. Among the four aspects, he emphasized that the meaning the core and most important part, followed by the form. The form of a text is likely to conceal the cultural connotation of the source language and may, therefore, hinder cultural exchanges. Based on the above, the reasons why the functional equivalence theory is applicable to official document translation in Cangnan County can be concluded as follows:&lt;br /&gt;
&lt;br /&gt;
First, the functional equivalence theory advocates that the target text should be equivalent to the source text both semantically and culturally. Official documents of Cangnan County are carriers of profound political culture with Chinese characteristics and the cultural environment in Cangnan. When translating them, in addition to showing the political consciousness and judicial authority of Cangnan government agencies, the local culture of Cangnan must also be reflected in the translations.&lt;br /&gt;
&lt;br /&gt;
Second, the functional equivalence theory suggests that if the lexical meanings and cultural elements cannot be taken into account at the same time, the translator then may give up the equivalence in form and try to reproduce the semantic and cultural meaning of the source text by changing the form of the sentence. There are many specialized terms with Chinese characteristics and Cangnan’s characteristics in official documents of Cangnan County. When translating them, once there is no corresponding expression in the target language, other forms of expression must be adopted to retain the meanings of those specialized terms as much as possible.&lt;br /&gt;
&lt;br /&gt;
Third, the functional equivalence theory proposes that if the change in form is still not enough to express the semantic and cultural meaning of the expression in the source language, the translation technique of “heavy damage” can be adopted to resolve cultural differences , so that the source language and the target language can achieve equivalence in semantic meaning. “Heavy damage” refers to the transformation of the deep structure of the source language into the surface structure of the target language, that is, expressing the cultural connotation of the source text with expressions of the target language. It cannot be ruled out that there are words and sentences in the official document of Cangnan County that cannot be translated, and when this happens, the translator can only rely on his translation techniques and understanding ability to process them creatively.&lt;br /&gt;
Above are simply macro analyses of the official document system in Cangnan County, and when it comes to specific analyses, challenges we face will only be severer.&lt;br /&gt;
&lt;br /&gt;
==='''II. Stylistic Features and Translation of Official Documents in Cangnan County'''===&lt;br /&gt;
&lt;br /&gt;
Looking at the official documents of Cangnan County from the micro level, we can work on the study of its translation based on the following characteristics.&lt;br /&gt;
&lt;br /&gt;
'''1. Details and Accurate'''&lt;br /&gt;
&lt;br /&gt;
As an officially-written document geared for the needs of our people, wording of the official documents of Cangnan County has a very specific orientation. Almost all content words have very clear meanings and connotations.&lt;br /&gt;
&lt;br /&gt;
For example, the sentence “经研究，县政府决定召开市对县安全生产巡查反馈会暨突出问题集中教育警示会，现将有关事宜通知如下。(As discussed, the county government decided to convene a feedback meeting on city-to-county inspections of production safety and a meeting for education and warning on outstanding issues. The relevant matters are hereby notified as follows.)” in the document 《苍南县人民政府办公室关于召开市对县安全生产巡查反馈会暨突出问题集中教育警示会的通知》(“Notice of the Office of the People's Government of Cangnan County on Convening a Feedback Meeting on City-to-County Inspections of Production Safety and A Meeting For Education and Warning On Outstanding Issues”) (the office of the People's Government of Cangnan County on June 8th, 2020) conveys several points very accurately and clearly, including the decision maker, the type, content and theme of the meeting. Therefore, special attention must be paid to the integrity of the information delivered when translating this sentence. For example, it is translated into Japanese as “討議を通じて、県政府は県の安全生産状況に対する市政府の巡査結果反映会及び顕著問題教育警告会を開催することが決定した。関連事項を以下のようにお知らせする。”&lt;br /&gt;
&lt;br /&gt;
'''2. Precise and Compact'''&lt;br /&gt;
&lt;br /&gt;
The role of official documents is to exchange formal information between the upper and the lower, the people and the officials, and the relevant departments. Therefore, the wording of the official documents must be rigorous. No slang and loose sentences should be used, and excessive use of parentheses and descriptive modifiers should be avoided. Official documents of Cangnan County follow this rule as well, in which there will never be informal expressions like daily spoken words.&lt;br /&gt;
&lt;br /&gt;
For example, the expression “三、决策目录施行动态管理，因工作需要增减或变更重大行政决策事项的，承办单位应按照相关规定程序提请调整。(Third, the decision catalogue shall be managed in a dynamic way, the undertaker shall submit application for adjustments in accordance with the relevant regulations if any increase/decrease or change shall be made to the major administrative decision-making matters because of the need of actual work.)” in the document《关于公布苍南县2020年度重大行政决策事项目录的通知》(“Notice on Issuing the 2020 Annual Catalogue of Major Administrative Decision-Making Matters of Cangnan County”) (the office of the People's Government of Cangnan County on Sept. 20th, 2020) When translating this sentence into Japanese, the translator shall fully considers the preciseness of the original expression, and translate it as “三つ目、戦略目録動的管理施行、仕事需要によっての増減または変更が必要な場合、請負機構は関連規定の手順に従って調整を提出しなければならない。”&lt;br /&gt;
&lt;br /&gt;
'''3. Programmed and Standardized'''&lt;br /&gt;
&lt;br /&gt;
The purpose of official documents requires a stable and routine writing program so that the official business can be conducted in an orderly manner. It is essential that the document writing is reasonably programmed. It allows the officer to know what it is and what to do at a glance if a standardized official document program is followed. The standardization of the official documents of Cangnan County can be regarded as a tricky feature in their translation.&lt;br /&gt;
&lt;br /&gt;
For example, the expression “各乡镇人民政府，县政府直属各单位 (the people's government of all townships and towns and all directly affiliated institutions of the people’s government of Cangnan County)” in the document《关于公布苍南县2020年度重大行政决策事项目录的通知》(“Notice on Issuing the 2020 Annual Catalogue of Major Administrative Decision-Making Matters of Cangnan County”) (the Office of the People's Government of Cangnan County on Sept. 20th, 2020) is obviously a standardized addressing of the receiving units of an official document, and it should be translated into Japanese as “各郷鎮人民政府、県政府直属の各部門”.&lt;br /&gt;
Viewing from a micro perspective, we may find that special attention should be paid to many precise details when translating those official documents. It is of great significance that, during the cause of reform and opening-up, we strike a balance between the macro level and the micro level in official document translation, which will serve as a stage for Cangnan County to show itself to Japan, South Korea and other East Asian countries and regions.&lt;br /&gt;
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==='''III. Translation of Official Documents of Cangnan County under the Context of the Japanese Language'''===&lt;br /&gt;
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Cangnan County is one of the nearest administrative units to Japan in China, and Okinawa Prefecture in Japan and Cangnan County are neighbors facing each other across the sea. Furthermore, Cangnan County itself has ports in Xiaguan, Pacao, Yanting, Dayu and other places, and has the basic conditions for conducting small transactions of freights with Okinawa. However, due to the inadequacy policies, laws and regulations, a large portion of Japan’s trade with China, especially with Zhejiang Province, is still conducted in the three port cities, namely Ningbo, Zhoushan, and Hangzhou. Cangnan’s geographical advantages have never been given to full play. To Japan, Cangnan is not a total stranger. Wenzhou City has a great influence upon Japanese culture and history. Special local products such as Wenzhou green tea and Wenzhou satsuma orange are very attractive to Japanese people. Many of the business exchanges during the Kamakura Bakufu in Japan were happened between Hakata merchants and Wenzhou people. As an important subordinate region of Wenzhou City, Cangnan County naturally has left an impression on Japanese people when it comes to China.&lt;br /&gt;
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If Cangnan hopes to lay a foundation for the future cooperation with Japan through its cause of opening up to the outside world, it is of great importance that we study the methods and techniques to make the translation of Cangnan’s official documents to meet the specific context of the Japanese language, which is also a part of the cultural exchanges that will facilitate economic and trade cooperation between Japan and China. The political status of Cangnan County is equivalent to the one of regular cities and special wards in Japan, but this does not mean that the official documents of Cangnan County can be regarded as equivalents to the official documents released by the governments of the regular cities and special wards in Japan, and there are huge differences between their respective official documents in form, wording, Cultural connotation and etc. To better translate Cangnan official documents under the context of Japanese language, the following aspects must be paid attention to:&lt;br /&gt;
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1. Detailed Comparison of Types&lt;br /&gt;
&lt;br /&gt;
In the Japanese official document system, the word “公文” is different in meaning from the word “公文” in Chinese official document system. In Chinese “公文” means government official documents, while in Japanese “公文” generally refer to legal documents that have the force of law and the term “公文書” is the one that refers to government official documents, which roughly includes “外交文書” and “起案文”, “通達” , “命令”, “許可”, “通知書” and so on . When translating official documents of Cangnan County into Japanese, attention should be paid to the transformation of the types of the official documents. The classifications of official documents in China and Japan are different from each other.&lt;br /&gt;
For example, when translating documents such as “proposal letter”, “report” and the like into Japanese, the title should be translated as “建言書” and “報告書”, while “命令(order)”, “通知(notice)”, “提案(Proposal)” and etc. need no translation and can be titled with the original characters directly as “命令”, “通知”, “提案”, and can also be further translated into “命令状”, “通知書”, “提案書”. Those reflect the characteristics of the division of the types of the official document system in Japan.&lt;br /&gt;
&lt;br /&gt;
2. Careful Consideration of the Translation of Chinese Characters&lt;br /&gt;
&lt;br /&gt;
There are a large number of Chinese characters in Japanese. This will for sure be an advantage when translating official documents of Cangnan County into Japanese, however, at the same time, this is also a huge disadvantage. After all, those Chinese characters are Japanized Chinese characters, and their meanings and usages are more or less different from the original ones in Chinese.&lt;br /&gt;
&lt;br /&gt;
For example, the expression “设定全县森林防火期(setting the season of forest fire prevention)” in the document 《苍南县应急管理局局长王再忠关于&amp;lt;苍南县人民政府关于做好森林防火期护林防火工作的通告&amp;gt;的政策解读》(“Policy Interpretation Of ‘Notice of Doing Forest Protection and Fire Prevention during the Season of Forest Fire Prevention by the People's Government Of Cangnan County’ by the Director of Cangnan Emergency Management Agency Wang Zaizhong”) in could be translated character by character into Japanese as “全県域森林防火期間設定”. However, expressions such as “野外火源如何管理” cannot be translated in the same way, and must be processed accordingly and translated into Japanese as “野外の火の元が如何に処理すること”. When translating official documents of Cangnan County into Japanese, the translators must reject the preconceived thinking and native Chinese thinking, or it will lead to irreversible misunderstandings and mistakes.&lt;br /&gt;
&lt;br /&gt;
3. Mastery of the Equivalence of Semantic Meaning&lt;br /&gt;
&lt;br /&gt;
Chinese is an isolating language, in which the grammatical meaning is reflected by the order of words, while Japanese is an agglutinative language, in which auxiliary words and flexible usages of vocabulary are adopted to reflect the grammatical meaning. This requires the translators to have mastery of the equivalence of semantic meanings when translating official documents of Cangnan County into Japanese and try to achieve perfect equivalence in official document translation.&lt;br /&gt;
&lt;br /&gt;
For example, there is a expression as “全体公民必须认真贯彻‘以人为本、预防为主、积极扑救、有效消灾’的森林防灭火工作方针，一旦发现森林火灾，要立即向当地人民政府或森林防灭火指挥部办公室报告(all citizens must seriously implement the working policy of forest fire prevention and firefighting ‘people-oriented, prevention-focused, active in firefighting, effective in disaster relief’, once a forest fire is detected, it must be reported to the local people’s government or the forest fire prevention and firefighting headquarters office immediately)” in the document 《苍南县应急管理局局长王再忠关于&amp;lt;苍南县人民政府关于做好森林防火期护林防火工作的通告&amp;gt;的政策解读》(“Policy Interpretation Of ‘Notice of Doing Forest Protection and Fire Prevention during the Season of Forest Fire Prevention by the People's Government Of Cangnan County’ by the Director of Cangnan Emergency Management Agency Wang Zaizhong”). When dealing with long and complex sentences, the translator must be flexible in using translation techniques to decompose the sentences and translate them step by step, focusing on the balance between the form of the sentence and its semantic meaning. Based on this principle, the abovementioned sentence could be translated into Japanese as “人間本位、予防軸化、積極救助、有効消災という森林防火作業方針は全県民が必ず強固に守らなければならない。林に火事が発見された際、直ちに所轄人民政府や森林防火指揮部執務室に報告すること。”&lt;br /&gt;
&lt;br /&gt;
There is no doubt that, in terms of four-character idioms, allusions, new words of the era and etc., the translation of official documents of Cangnan County under the context of the Japanese language still has a long way to go, but the part that we should pay most attention to in translation is always the differences in culture between the source language and the target language. Only by keeping this basic point in mind at all times, will there be no huge mistakes being made when translating official documents of Cangnan County into Japanese.&lt;br /&gt;
&lt;br /&gt;
==='''Ⅳ. Translation of Official Documents of Cangnan County under the Context of the Korean Language'''===&lt;br /&gt;
&lt;br /&gt;
Zhejiang Province and South Korea have laid a good foundation for economic and trade cooperation projects, and a framework that is comprehensive, wide-ranging, and multi-level has been established for Zhejiang-South Korea cooperation. The advantages of the two regions are obviously complementary and the development potential for both sides and in between is huge. In September 2016, the Zhejiang China-Korea (Quzhou) Industrial Cooperation Park was approved as the first batch of “Zhejiang International Industrial Cooperation Parks” in Zhejiang Province. The total planned area is about 3,000 acres and the total planned investment is 12 billion yuan. Represented by the Zhejiang China-Korea Industrial Cooperation Park, a large number of economic and trade cooperation projects has been carried out with South Korea by Zhejiang Province. As an indispensable part of Zhejiang Province, Cangnan County is facing a huge gap in the cultural exchanges and economic cooperation with South Korea. How to elevate the level of Cangnan’s opening up to the outside world and advancing Cangnan’s economic, trade and cultural cooperation with South Korea is a question that is well worth exploring. Although Cangnan is further away from South Korea compared with regions in the north of Zhejiang, geographic location should never be a factor that hindering Cangnan’s economic, trade and cultural cooperation with South Korea. In an era of ever-deepening globalization, it is of great significance that we think about how to develop and promote the economic and trade and cultural cooperation between Cangnan and South Korea.&lt;br /&gt;
&lt;br /&gt;
Northern Zhejiang is a key area for economic, trade and cultural cooperation with South Korea. As the south gate of Zhejiang Province, if Cangnan County could open the door of economic, trade and cultural cooperation to South Korea, then this will inevitably bring extraordinary development opportunities to southern Zhejiang and make the pattern of Zhejiang and South Korea’s economic and cultural cooperation more balanced and healthy. The political status of Cangnan County is equivalent to the one of si(city), gu (district), and gun(county) in South Korea. Because of some historical reasons, South Korea is greatly influenced by Chinese culture. From the Three Kingdoms era of Joseon, to the Unified Silla Dynasty, the Wang’s Goryeo Dynasty, and the Yi’s Joseon Dynasty, the basic system of administrative divisions in South Korea is almost the same as the one in China, so the official document system of cities, districts, and counties in South Korea can be regarded as basically equivalent to the official document system of Cangnan County with only slight differences originated from the localized political and cultural traditions and the basic social condition of South Korea. Therefore, there are relatively fewer difficulties of translation when translating official documents of Cangnan County into Korean, aside from the barriers caused by Korean Hangul words. The translation of official documents of Cangnan County under the context Korean language requires attention to the following aspects:&lt;br /&gt;
&lt;br /&gt;
1. The Combination of Chinese characters and Hangul&lt;br /&gt;
&lt;br /&gt;
Modern Korean uses Hangul as the main written characters, but this does not mean that there is no place for Chinese characters in the Korean system. Since the launch of the abolition of Chinese characters movement in South Korea in the 1970s, Hangul did exactly achieved an overall penetration of every aspect of their daily life, but when it comes to important documents, Chinese characters still reserve a seat in the arena of South Korea’s history. Furthermore, a higher level of talent training is required now to meet the need of South Korea’s economic and social development, and the mastery of sinology has become, among all the necessary skills, one of the most straightforward evaluation criteria to access the qualified personnel. Thus, South Korea has restarted the Chinese character teaching movement. Nowadays, the official document system in South Korea has become one in which Hangul serves as the main language and the mixed use of Chinese characters and Hangul serves as a supplement. Just as how the mixed use of kana and Chinese characters in Japanese official documents may help in its translation, the mixed use of Chinese characters and Hangul also greatly facilitate the translation of official documents of Cangnan County into Korean. However, because Chinese characters used in Korea are composed of traditional Chinese characters and a small number of Korean self-made Chinese characters, we can not take it for granted that it is advisable to translate them word by word.&lt;br /&gt;
&lt;br /&gt;
For example, the title of the document《苍干任〔2020〕18号 王再忠等同志的任命》(“Cangnan Cadre Appointment [2020] No. 18: Appointment of Wang Zaizhong and etc.”) (the Office of CPC Cangnan Party Committee on March 27th, 2020) can be translated with the mixed use of Chinese characters and Hangul into Korean as《蒼南縣의 幹部任命〔2020〕18號 王再忠등 同志의任命》. Also, it be translated into Korean with Hangul alone as《참남현의 간부임명〔2020〕18호 왕재충등 동지의임명》.&lt;br /&gt;
&lt;br /&gt;
2. The Usage of Refined Language&lt;br /&gt;
&lt;br /&gt;
In recent years, South Korea has carried out reforms of the official document system, urging that the South Korean government agencies at all levels should use “refined(or purified) language”, that is, to write and publish official documents with words that are easy for the public to understand and have explicit meanings, reducing the cost of communication between the government and the public and, in this way, building a closer relationship between the government and the people, so that civil servants can communicate with the people more effectively. Refined language is a kind of common vernacular that differs from the official language. Although this trend of the wording of Korean official documents is not unconditional, but when compared with official documents of Cangnan County, which emphasize the solemnity and formality of official documents, this trend is the part that the translator has to pay his attention to.&lt;br /&gt;
&lt;br /&gt;
For example, when translating the expression “为加强行政规范性文件管理，切实推进依法行政，加快法治政府建设 (To strengthen the management of administrative normative documents, promote the administration in accordance with law, and accelerate the construction of a government ruled by law)” in the document《苍南县人民政府关于公布县政府及县政府办公室行政规范性文件清理结果的通知（有效）》(“Notice of the Office of the People's Government of Cangnan County on the Announcement of the Results of the Cleanup of the Administrative Normative Documents of the County Government and the County Government Offices (Effective)”) (the Office of the People's Government of Cangnan County on October 23th, 2020) , blunt expressions may not be that applicable and this expression translated into Korean in a more public-friendly way as “행정 규범적인 문서관리를 강화하기 위해, 법에따라 행정을 철저히 추진하고 법치정부의 건설을 가속화시킨다.”&lt;br /&gt;
&lt;br /&gt;
3. Mastery of the Equivalence of Semantic Meaning&lt;br /&gt;
&lt;br /&gt;
Like Japanese, Korean is also a typical agglutinative language. A sentence is formed by connecting independent words with various auxiliary words, and with a subordinating conjunction at the end of the sentence. Auxiliary words are just like glues, they exist after every subject, predicate, and object component of a Korean sentence to them together. For that these auxiliary words have no substantial meaning themselves, they must stay close to the main body in front, and a space must be put after. Therefore, when translating Chinese, which is an isolated language, into Korean, which is an agglutinative language, it is necessary to have mastery of the equivalence of the semantic meaning of the expression.&lt;br /&gt;
&lt;br /&gt;
For example, when translating the expression “全面实施全民参保计划，做好参保情况清查，提升参保信息质量，清理重复参保，稳定持续参保，减少漏保断保，实现应保尽保。(Fully implement the national social security plan, do a good job in checking the coverage of the social security, improve the quality of the collection of the information of the insured, clean up repeated insureds, stabilize the renewal of the social security, reduce the interruption of the social security, and achieve full social security coverage.)” in the document《关于做好2021年度城乡居民基本医疗保障工作的通知》(“Notice on Doing a Good Job in Basic Medical Security for Urban and Rural Residents in 2021”)( the Office of Medical Security Bureau of Cangnan County on November 5th, 2020), the translator should pay attention to the equivalence of semantic meaning of this long sentence and translated it into Korean as “전국민기본의료보험가입계획을 전면적으로 실시하고 기본의료보험가입상황을 철저히 조사하며 기본의료보험가입 정보의 질을 향상시키고 중복기본의료보험가입을 청산하며 안정적이고 지속적인 기본의료보험가입을 하며 보험누락을 줄이고 기본의료보험가입 을 실현해야 한다.”&lt;br /&gt;
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==='''Ⅴ. Studies of Official Document Translation and the Cause of Opening-up in Cangnan County'''===&lt;br /&gt;
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Based on the abovementioned basic characteristics of the official document system of Cangnan County, the notes for official documents translation under the context of the Japanese language and the notes for official documents translation under the context of the Korean language, we can see that official documents of Cangnan County is not as difficult to handle as something untranslatable. Cangnan County enjoys a good geographic location: it is located in the coast of the East China Sea, and is close to both Japan and South Korea, two strong economies in East Asia. However, Cangnan County has not yet made use of these favorable conditions to the fullest to promote cultural cooperation and trade with the two countries. Cangnan’s opening up to the outside world requires innovative thinking and an elaborate layout. Studies on the translation of official documents of Cangnan County, especially the translation of official documents under the context of the Japanese and Korean language, will help to explore the cultural spirit of the government institutions, and play an important role in building a good image of Cangnan County in East Asia and laying a foundation for Cangnan's cooperation with major countries and regions in East Asia .&lt;br /&gt;
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The world today is undergoing profound changes rarely in a century, and so is China. The tide of history moves on and Cangnan shall not stay out of the matter, but must follow it courageously and strive to open new doors for Cangnan's opening up to the outside world through the study of the official document translation of its own.&lt;br /&gt;
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===References===&lt;br /&gt;
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[1]Ziqi LIU. The Application of Functional Equivalence Theory in Scientific Translation：A Case Study of the Translation of Shipbuilding English[J]. CREATIVITY AND INNOVATION,2019,1(3).&lt;br /&gt;
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[2]Mu Dan. Discussion on Translation Activities Under the Guidance of Functional Equivalence Theory[J]. International Journal of Education and Management,2018,3(2).&lt;br /&gt;
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[3]李琳琳. 功能对等翻译理论与关联翻译理论比较研究[D].辽宁师范大学,2006.&lt;br /&gt;
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[4]赵娟廷. 汉韩公文语体对比研究[D].复旦大学,2003. &lt;br /&gt;
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[5]周萱. 《中国共产党怎样解决民族问题》（节选）中韩翻译报告[D].青岛大学,2017.&lt;br /&gt;
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[6]张利军. 《教学的游戏性研究》的汉日翻译实践报告[D].广西师范大学,2019.&lt;br /&gt;
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[7]栾亚琼. 《2015年山东省政府工作报告》汉日翻译实践报告[D].曲阜师范大学,2016.&lt;br /&gt;
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[8]占丽华. 源流与演变—日本地方公文书馆发展路径研究[D].山东大学,2020.&lt;br /&gt;
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[9]任清萍. 功能翻译理论视角下政府工作报告日译研究[D].外交学院,2020.&lt;br /&gt;
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[10]孙慧. 产业竞争力与区域经济增长[D].苏州大学,2006.&lt;br /&gt;
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--[[User:Wu Kai|Wu Kai]] ([[User talk:Wu Kai|talk]]) 04:45, 2 December 2020 (UTC)&lt;br /&gt;
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==The Translation Process and Methods of Translating English Long Sentences - Zhou Yiwen 周艺文 202070080629 英语笔译==&lt;br /&gt;
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===Abstract===&lt;br /&gt;
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The translation of long English sentences is a difficult point in English-Chinese translation. It is very important to understand the features of sentence structure and the translation process and methods of long English sentences. This paper studies the translation process and methods of English long sentences through the comparative study of English and Chinese language characteristics and specific English-Chinese translation analysis. This paper is divided into five parts. The first part introduces the characteristics of English long sentences. The second part illustrates translation difficulties of English long sentences by making contrasts the language features of English with that of Chinese, which can be divided into three aspects: English sentences emphasize hypotaxis, Chinese sentences emphasize parataxis; English is a static language, while Chinese is a dynamic language; English prefers passive voice while Chinese prefers active voice. The third part expounds the translation principles for English long sentences from the perspective of Skopos theory, which are skopos rule, coherence rule and fidelity rule. The fourth part mainly analyzes the process of translating English long sentences through some examples. In the end, five translation methods are discussed, which are liner translation, reorganization translation, division, embedding and synthesis.&lt;br /&gt;
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===Key words===&lt;br /&gt;
&lt;br /&gt;
English long sentences; language characteristics; translation process; translation methods&lt;br /&gt;
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===英语长句翻译过程及翻译策略===&lt;br /&gt;
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===摘要===&lt;br /&gt;
&lt;br /&gt;
英语长句翻译是英汉翻译的难点，了解英语长句的句子结构特点和翻译过程及方法在英汉翻译中十分重要。本文通过对比研究英汉语言特点及具体英汉译本分析对英语长句翻译过程和方法进行研究。本文分为五个部分，第一部分介绍了英语长句的特点。第二部分分析了造成翻译英语长句困难的原因，即英汉两种语言在句子结构上的差异，即英语句子重形合，汉语句子重意合; 英语是静态语言，汉语是动态语言; 英语喜用被动语态，汉语喜用主动语态。第三部分运用目的论阐述了翻译英语长句的原则，即目的原则，连贯原则和忠实原则三个方面。第四部分主要通过具体的句子分析英语长句的翻译步骤及过程。最后探讨了英语长句汉译时采用的五种翻译方法，即顺序法、变序法、分译法、包孕法和综合法。&lt;br /&gt;
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===关键词===&lt;br /&gt;
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英语长句子；语言特点；翻译过程；翻译方法&lt;br /&gt;
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===1.Characteristics of English Long Sentences===&lt;br /&gt;
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The existence of long English sentences are usually caused by three elements. The first one is postmodifier, the second is the large number of joint components, the third one is the complex structure of long sentences. In general, long English sentences are more common in the literary text, discussion text and technical text (Wang, 2010 124).English and Chinese have many similarities in basic sentence structure. The main elements of sentence structure mainly include subject, predicate, object, predicative, attribute, adverbial modifier, and complement. In English, the sentence emphasizes the form and the sentence has a tree structure, and the Chinese sentence emphasizes the parataxis, and the sentence has a bamboo structure.(Wang, 2010 124)&lt;br /&gt;
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The main characteristics of English long and difficult sentences are as follows:&lt;br /&gt;
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(1) There are much more words, more complex sentence patterns, and more modifiers in these sense.&lt;br /&gt;
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(2) Compared with simple sentences, long and difficult sentences often use inversion structure, and there are phenomena of omission and word order inversion.&lt;br /&gt;
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(3) The reason for the formation of long and difficult sentences is that there are many long and difficult sentences with coordinate components, phrases, additional components, clauses, and coordinate sentences.&lt;br /&gt;
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(4) The language structure of long and difficult sentences is relatively complex and has a strong sense of hierarchy.&lt;br /&gt;
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===2.Translation difficulties of English long sentences===&lt;br /&gt;
&lt;br /&gt;
The difficulties of translation are mainly caused by the differences between the source language and target language. English and Chinese belong to different language systems, the former belongs to Indo-European language family, the latter belongs to Sino-Tibetan language family, so there are significant differences in syntax between them. In addition, the different cultures of English and Chinese will inevitably lead to the difference in sentence structure between the two languages, because language is the carrier and medium of culture. (Jiang, 2019, 62-65)&lt;br /&gt;
&lt;br /&gt;
===2.1Hypotaxis vs. parataxis===&lt;br /&gt;
&lt;br /&gt;
English syntactic structure is hypotaxis while Chinese syntactic structure is parataxis (Lian, 2010 73). Hypotaxis is that the words or clauses in a sentence are connected together by means of linguistic formal means (such as using related words) to express grammatical meaning and logical relations(Jia, 2002 101). English emphasizes explicit connection, emphasizes form and structure, and often helps with various means of connection. As a result, the sentence structure is rigorous and lacks elasticity. English sentences are often made with relatives (who, whom, whose, which, that, where, when, etc.), conjunctions (but, however, unless, because, since, so, and, if, etc. ), preposition (in, about, without, throughout, according to, along with, etc.), and other connective means. Parataxis means that words and clauses are not connected by means of linguistic forms, and the grammatical meaning and logical relation in a sentence are expressed by the meaning of words and clauses (Jia, 2002 101). Chinese sentences are made with little or no means of formal connection, with emphasis on invisible coherence, function and meaning, so the sentence structure is loose and flexible (Jia, 2002 101).&lt;br /&gt;
&lt;br /&gt;
Example 1: &lt;br /&gt;
&lt;br /&gt;
ST: Individuals develop within themselves an ability to persevere and tolerate things that are unexpected or bad, difficult to get through. &lt;br /&gt;
&lt;br /&gt;
TT: 人们在内心修炼一种能力，在面对意外、不幸或者挑战时也能继续坚持和忍耐。&lt;br /&gt;
&lt;br /&gt;
Analysis: In this sentence, “that...to get through” is a attributive clause to modify “things”, which is a kind of hypotaxis. The translation is not limited to the original sentence structure but follows Chinese expression habit, so the language is very smooth. &lt;br /&gt;
&lt;br /&gt;
===2.2Static language vs. dynamic language===&lt;br /&gt;
&lt;br /&gt;
English is static language and Chinese is dynamic language. The reason why English is a static language is that nouns and prepositions are frequently used and predominate in English. In English sentences, there can only be one predicate verb and other action words can only be nominal verbs. Therefore, nominalization has become a common phenomenon in English. (Wang, 2004 5) Prepositions are used to before nouns and noun phrases. They have no morphological changes and are very flexible in use. Therefore, the frequency of using prepositions in English is very high and the number of prepositions far exceeds that in Chinese. When translating Chinese to English, an important way to make the target text conform to the expression of English is to pay attention to the application of English prepositions. Since Chinese is parataxis language, verbs have no morphological changes, and the use of verbs makes the language more vivid, so verbs are frequently used in Chinese. In addition to a large number of verb-object structures, Chinese sentences can be more dynamic by using a series of verbs. In English-Chinese translation, we must pay attention to the conversion between static and dynamic. (Jiang, 2019 12:62-65)&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
Example 2:&lt;br /&gt;
&lt;br /&gt;
ST:This month, when earthquakes rocked Southern California on back-to-back days, it was a visceral reminder that we may one day experience the “Big One”, a quake with the power to kill and destroy.&lt;br /&gt;
&lt;br /&gt;
TT:本月南加州连遭地震，人们本能地联想到，我们某天可能会经历“一次大的”具有杀伤力和破坏力的地震。&lt;br /&gt;
&lt;br /&gt;
Analysis: The noun “reminder” is translated into a verb “联想”, which is a transformation from static language to dynamic language.&lt;br /&gt;
&lt;br /&gt;
===2.3Passive voice vs. active voice===&lt;br /&gt;
&lt;br /&gt;
Although both English and Chinese have active voice and passive voice, the frequency of English passive voice is much higher than that of Chinese, which is also one of the characteristics that distinguishes English from Chinese. Especially in English scientific technical text, the passive voice is much more used, almost becoming a expression habit, because the passive sentence does not have to point out the actor but highlight the target, which is more objective(Zhu 2004, 94). In English-Chinese translation, we must grasp this difference in language, so as to make the translation conform to the expression habit of the target language. (Zhu 2004, 94)&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
Example 3:&lt;br /&gt;
&lt;br /&gt;
ST: At the heart of the system--known as the multi-lateral trading system--are the WTO’s agreements, negotiated and signed by a large majority of the world’s trading nations, and ratified in their parliaments.&lt;br /&gt;
&lt;br /&gt;
TT: 世界贸易组织的核心--多边贸易体系--是世界上大多数贸易国经协商谈判并签署的多个协议, 这些协议同时也经过成员国议会批准。&lt;br /&gt;
&lt;br /&gt;
Analysis: The sentence of the source text is passive, “negotiated”, “signed” and “ratified” are passive in meaning, while Chinese sentence was translated into active, “协商”, “谈判”, “签署” are verbs in active verb.&lt;br /&gt;
&lt;br /&gt;
===3.Translation principles for English long sentences===&lt;br /&gt;
&lt;br /&gt;
Skopos theory was put forward by Hans Vermeer, an outstanding contributor to the translation theory of the German functional school. Different from the traditional equivalence theory, Skopos theory is based on behaviorism and proposes that translation is a purposeful activity(Zhang, 2004 35). The purpose of translation determines the translation method(Reiss and Vermeer, 1984). According to teleology, translators should follow three general principles in the process of translation: skopos rule, coherence rule and fidelity rule(Liu, 2009 378).&lt;br /&gt;
&lt;br /&gt;
Of the three principles, the skopos rule is the most important. The “skopos” can be the translatorss purpose, the communicative purpose of the target text or the purpose to be achieved by using a particular translation method. It usually refers to the communicative purpose of the target text, that is, the communicative function of the target text for the target reader in the socio-cultural context of the target text (Venuti, 2001). Vermeer emphasizes that translation occurs in a cultural context, and translation is not a corresponding conversion of language due to the differences between cultures. The translator should not only accurately understand and interpret the author’s intention, but also make the translation acceptable to readers(Vermeer, 1989).&lt;br /&gt;
&lt;br /&gt;
Coherence rule refers to the fact that the target text must achieve intratextual coherence, making readers to understand and make sense in the communicative context of the target culture and target text. The fidelity rule means that the original text should be intertextually coherent, which is equivalent to being faithful to the original text in other translation theories. And the degree and form of fidelity to the original text depend on the purpose of the translation and the translator’s understanding of the original text. According to Skopos theory, the first one that all translations should follow is skopos rule, coherence and fidelity are subordinate to it. And fidelity is subordinate to coherence (Nord, 2001 32). There are many differences between English and Chinese in thinking and expression, and translation is a kind of cross-cultural communication behavior. Therefore, translators must not ignore the communicative purpose of translation. Guided by skopos rule, coherence rule and fidelity rule, and based on the full analysis of the original text, the most appropriate strategies can be chosen to deal with specific long English sentences with the communicative purpose of the target text (Nord, 2001 32).&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
===4. Translation process of English long sentences===&lt;br /&gt;
 &lt;br /&gt;
Bell divided the cognitive process of translation into 3steps: first, analyze the semantic meaning and grammar of the source language as a universal representation, and then synthesize and reconstruct it to form a translation (Bell, 1991 5). This is also the case with the translation of long sentences, and the analysis of English long sentences is the first step. Since English long sentences focus on the expression of form, the basic methods of analyzing Long sentences based on characteristics are as follows: first understand the meaning of the sentence, analyze the grammatical structure of the long sentence, extract the main sentence, and then analyze the branches of the sentence. Finally, dividing long sentences according to the meaning group. (Bell, 1991 5) &lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
As for the translation process from a macro point of view, first, the translator used some translation tools to look up new words and polysemous words. Then the translator began to translate for the first time, aiming to get a faithful text, and did not add any subjective guess to prevent the misunderstanding and inaccurate translation. In the second translation, the translator began to check the wrong words, as well as inappropriate points, and combined the language features of the text, which aimed to achieve coherent and intelligible. Finally, in the third translation, the translator got rid of the source language, and only read the target language to check whether it conformed to the reading habits and thinking modes of Chinese readers. If not, the translator would revise inappropriate sentences from the perspective of the target readers.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
As for the translation steps from micro point of view, it can be divided into five steps: Find the main body of the sentence; Make clear the relationship between each modifier and the main sentence; Divide long sentences into several parts according to the expression requirements;Translate each part one by one; Adjust and polish the translation according to the Chinese expression habits.&lt;br /&gt;
&lt;br /&gt;
Example 4: &lt;br /&gt;
&lt;br /&gt;
ST: It has a mobile payments system that has been widely adopted in China, which allows people to shop，play games，pay utility bills and order meal deliveries all from within the app.&lt;br /&gt;
&lt;br /&gt;
To analyze and translate this sentence, the most important is to find the main structure. It's easy to find the main body of this sentence is “It has a mobile payments system”. And second it is necessary to analyze the relationship between the modifiers and the main components of the sentence. “That has been widely adopted in China” is a post-positive attributive clause to modify the object “mobile payments system”, and “which allows…within the app” is a non-restrictive attributive clause to further explain the “system”, making readers know more about the target. Third, divide it into several parts according to the meaning and expression requirements. So this sentence can be divided three parts: the main body “It has a mobile payments system” is one part; and the two modifiers “that has been widely adopted in China” and “which allows … within the app” are the other two parts. Forth, translate every part: “它有一个移动支付系统”; “在中国得到广泛应用”; “让人们在该应用内购物、玩游戏、支付水电费和订餐”. Finally, adjust and polish the translation according to the Chinese expression habits. So the original sentence could be translated into: “它的移动支付系统在中国得到了下广泛应用，人们可以在该应用内购物、玩游戏、支付水电费和订餐”.&lt;br /&gt;
&lt;br /&gt;
===5.Translation strategies for English long sentences===&lt;br /&gt;
&lt;br /&gt;
===5.1Liner translation===&lt;br /&gt;
&lt;br /&gt;
When the narrative level of English long sentences is basically the same as that of Chinese, that is, the sentences are narrated according to the time sequence or internal logic of the action, which is consistent with the expression habit of Chinese, and can be translated into Chinese in the same order as the original English. (Zeng 2010, 149-150)&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
Example 5:&lt;br /&gt;
&lt;br /&gt;
ST: They learned with stupefaction that there is another aspect from which human action might be viewed than that of good and bad, of fair and unfair, of just and unjust. In the course of social events there prevails a regularity of phenomena to which man must adjust his actions if he wishes to succeed. &lt;br /&gt;
&lt;br /&gt;
TT: 另一方面，他们茫然地想要了解到人类的哪些行为可以被看作是好的和坏的，公平的和不公平的，公正的和不公正的。在社会事件的过程中普遍存在着规律的现象，如果他希望成功，必须调整他的行动。 &lt;br /&gt;
&lt;br /&gt;
Analysis: There is an object clause in the first sentence. In the process of translation, the sentence can be simply translated in accordance with the order of the composition of the sentence. The translation is natural to read and can express the meaning of the original text by using liner translation.&lt;br /&gt;
&lt;br /&gt;
Example 6:&lt;br /&gt;
&lt;br /&gt;
ST: The joy and the tedium of labor are psychological phenomena which influence neither the individual’s subjective valuation of the disutility and the mediate gratification of labor nor the price paid for labor on the market. &lt;br /&gt;
&lt;br /&gt;
TT: 劳动的快乐或厌恶都是心理现象，既不影响个人对于劳动负效用和报酬的主观评价也不影响市场上的劳动力价格。 &lt;br /&gt;
&lt;br /&gt;
Analysis: Although this sentence has both an attributive clause and “neither... nor...” structure with a large number of vocabulary, but its logical thinking, sentence structure and temporal and spatial order are consistent with Chinese habits. Therefore, we can translate it by using the liner translation method.&lt;br /&gt;
&lt;br /&gt;
===5.2 Reorganization translation=== &lt;br /&gt;
&lt;br /&gt;
Reorganization is a way of changing the order of the original text, pushing forward from behind or from the middle. English is hypotaxis language, while Chinese is parataxis language. (Lian, 2010 73) In terms of word order, English pays attention to the use of various conjunctions, such as relation words, conjunctions, prepositions, etc., to express the logical relations among them. Chinese, on the other hand, is used to connecting words with logical relations. The logic of long sentences in Scientific English is often quite different from that in Chinese, sometimes even the opposite. According to the expression habits of Chinese, the word order can be adjusted by means of reverse translation, so as to make the translation expression standard and easy to be understood and accepted by readers.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
Example 7:&lt;br /&gt;
&lt;br /&gt;
ST: No technological improvement would have been possible if the additional capital goods required for the practical utilization of new inventions had not previously been made available by saving. &lt;br /&gt;
&lt;br /&gt;
TT: 实际利用新发明需要额外资本，如果以前没有通过储蓄获得这些额外资本, 就不可能有技术改进。&lt;br /&gt;
&lt;br /&gt;
Analysis: The “if-” clause contains a post-positive attributive “required for the practical utilization of new inventions”, which makes the clause look very complicated, if translated according to the word order, it would be misunderstood. Therefore, in order to better translate the sentence, the translator can reorganize the structure of the clause in the process of translation, and then translate the main sentence after a clear explanation, so that the meaning of the translated sentence is relatively clear.&lt;br /&gt;
&lt;br /&gt;
Example 8:&lt;br /&gt;
&lt;br /&gt;
ST: It may be useful to compare the doctrine of Marxism and the Prussian Historical School, according to which wage rates are a historical datum and not a catallactic phenomenon, with the regression theorem of money’s purchasing power. &lt;br /&gt;
&lt;br /&gt;
TT: 用货币的购买力的回归定理对马克思主义理论和普鲁士历史学派进行比较可能是比较有用的。普鲁士历史学派认为工资率是历史数据而不是交换现象。&lt;br /&gt;
&lt;br /&gt;
Analysis: In this sentence, “It” is the formal subject, and the real subject is “to compare the doctrine of Marxism and the Prussian Historical School”. Therefore, we should follow the Chinese expression habit and reorganize the sentences before translating them.&lt;br /&gt;
&lt;br /&gt;
===5.3Division===&lt;br /&gt;
&lt;br /&gt;
The so-called division in translation means separating the different parts of English sentences into a single component of Chinese, such as word group, phrases, sentences and even independent sentences (Wang, 2009 144). There are great differences between English and Chinese in syntax. English sentences are long, verbs are few, and balance is stressed, while Chinese is short, verbs are more, and symmetry is stressed. Therefore, when translating long English sentences, it is impossible to translate every sentence into a Chinese sentence, otherwise, the translation will appear bloated and stiff. In English, long sentences are mainly composed of compound and subordinate clauses. According to the habit of using short sentences in Chinese, sometimes the clauses or phrases in the original sentence can be translated separately, and the original sentence can be divided into two or more sentences, so as to make the translation clear and accurately. (Wang, 2009 144)&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
Example 9: &lt;br /&gt;
&lt;br /&gt;
ST: It may be useful to compare the doctrine of Marxism and the Prussian Historical School, according to which wage rates are a historical datum and not a catallactic phenomenon, with the regression theorem of money’s purchasing power. &lt;br /&gt;
&lt;br /&gt;
TT: 用货币的购买力的回归定理对马克思主义理论和普鲁士历史学派进行比较可能是比较有用的。普鲁士历史学派认为工资率是历史数据而不是交换现象。 &lt;br /&gt;
 &lt;br /&gt;
Analysis: In this sentence, “according to which ... money’s purchasing power” is not a independent sentence, but for the easy understanding to the meaning this part was translated into another complete sentence by adding and deleting some words.&lt;br /&gt;
&lt;br /&gt;
===5.4 Embedding===&lt;br /&gt;
 &lt;br /&gt;
Embedding means transforming the post modifiers of the center word in the source text into the premodifiers in the target text, which is suitable for the translation of long sentences with many post-modifiers and strong sense of sentence compactness(Liu, 1998 191).&lt;br /&gt;
&lt;br /&gt;
Example 10:&lt;br /&gt;
&lt;br /&gt;
ST: What brings us together is that we have common interests which transcend those differences. &lt;br /&gt;
&lt;br /&gt;
TT: 使我们走到一起的，是我们有超越这些分歧的共同利益。  &lt;br /&gt;
&lt;br /&gt;
Analysis: In this sentence, “which transcend those differences” is a attributive clause to modify the antecedent “common interests”. If we translate it according to the English word order, it must be tedious and difficult to understand. Therefore, we can use insertion to put the clause before the main word, which will be simple and easy to understand.&lt;br /&gt;
&lt;br /&gt;
Example 11:&lt;br /&gt;
&lt;br /&gt;
ST: This refined playing must not be confused with the simple games of children which are merely pleasure-producing.&lt;br /&gt;
&lt;br /&gt;
TT: 这细化的游戏一定不要和儿童仅仅为了快乐的简单游戏混淆。 &lt;br /&gt;
&lt;br /&gt;
Analysis: The post-positive attributive “which..” is a modifier used to explain “the simple games of children”. In order to make the sentence structure more compact, smooth and coherent, the modifier needs to be put before the noun “game”. This method is often used in the translation of attributive clauses or post-positive attributives in English.&lt;br /&gt;
&lt;br /&gt;
===5.5 Synthesis===&lt;br /&gt;
&lt;br /&gt;
Synthesis means to use the above methods to translate long English sentences. In fact, when translating long English sentences, it is rare to adopt only one translation method, and it is often necessary to combine several translation methods. The key to the synthesis method is to adjust the structure of the original text flexibly on the basis of accurate understanding of the original text, and to pursue the spirit likeness rather than the appearance likeness when expressing in Chinese (Jiang, 2019,11:62-65).&lt;br /&gt;
&lt;br /&gt;
Example12:&lt;br /&gt;
&lt;br /&gt;
ST: For all of our complaints about contemporary air- ports and flying, it might be a comfort to remember that thanks to the little Pacific island nation of Fiji, we are actually getting to our destinations faster and more safely than ever before.  &lt;br /&gt;
&lt;br /&gt;
TT: 对于如今的机场和乘机体验，尽管我们有诸多抱怨，但也多亏了斐济这个太平洋岛国，我们飞抵目的地已变得更快更安全，想到这一点，或许会让我们心里又感宽慰不少.&lt;br /&gt;
&lt;br /&gt;
Analysis: The main body of this sentence is “it might be a comfort”, among which “it”, is the formal subject, and “to remember that…ever before” is the real subject. We can not find such a sentence structure in Chinese. So in order to make the translation more authentic, the sentence order must be changed. Based on the understanding of the source text, it is appropriate to adopt both liner method and reorganization method to translate. &lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
===Conclusion===&lt;br /&gt;
&lt;br /&gt;
In the practice of the translation of long and difficult sentences, there is a higher requirement for translators’ English comprehension and expression ability. For the translation of long and difficult sentences in English, the translator should be familiar with the sentence structure and main ideas of long and difficult sentences in English, and make clear the main logical relationship with the content of the original text, so as to effectively analyze the structure of long and difficult sentences in English and choose the correct way of translation. In the specific translation practice, translators should, on the basis of understanding the grammatical features of English, choose reasonable translation methods and skills so as to achieve the accurate translation of long and difficult Sentences. Translation activities require a high level of English reading and comprehension, and the effective translation of long and difficult sentences requires translators to constantly improve their ability to summarize, update their English translation skills, and realize the summary and innovation of long and difficult sentences.&lt;br /&gt;
&lt;br /&gt;
===References===&lt;br /&gt;
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[1]Bell, R.T. (1991). ''Translation and Translating: Theory and Practice''. London and New York: Longman. &lt;br /&gt;
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[2]Nord, C. (2001). ''Translating as a Purposeful Activity--Functionalist Approaches Explained'' . Shanghai: Shanghai Foreign Language Education Press.&lt;br /&gt;
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[3]Reiss, Katharina &amp;amp; Vermeer, Hans J. (1984). ''Groundwork for a General Theory of Translation'' . Tubingen: Walter de Gruyter Press.&lt;br /&gt;
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[4]Venuti, L. (2001). ''Introducing Translation Studies: Theories and Applications'' . London: London and New York Routledge.&lt;br /&gt;
&lt;br /&gt;
[5]Vermeer, Hans J. (1989). ''Didactics of Translation. in Baker, Routledge Encyclopedia of Translation Studies'' . London: London and New York Routledge.&lt;br /&gt;
&lt;br /&gt;
[6]Jia Dejiang贾德江. (2002). 英汉语对比研究与翻译 [Contrastive Study and Translation of English and Chinese].''国防科技大学出版社'' Changsha: NUDT Press&lt;br /&gt;
&lt;br /&gt;
[7]Jiang Yuqin蒋玉琴. (2019). 从英汉对比角度解析英语长句的翻译 [Translation of English Long Sentences into Chinese: a Contrastive Study]. ''宜春学院学报'' Journal of Yichun University (11) 62-65.&lt;br /&gt;
&lt;br /&gt;
[8]Lian Shuneng连淑能. (2010). 英汉对比研究 [Contrastive Studies of English and Chinese]. ''高等教育出版社'' Beijing Higher Education Press&lt;br /&gt;
&lt;br /&gt;
[9]Liu Miqing刘宓庆. (1998). 文体与翻译 [English Varieties and Translation]. ''中国对外翻译出版公司'' Beijing: China Translation and Publishing Corporation&lt;br /&gt;
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[10]Liu Junping刘军平. (2009). 西方翻译理论通史 [A General History of Western Translation Theory]. ''武汉大学出版社'' Wuhan: Wuhan University Press&lt;br /&gt;
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[11]Wang Enmian王恩冕. (2009). 大学英汉翻译教程 [A College Textbook on English-Chinese Translation]. ''对外经济贸易大学出版社'' Beijing: University of International Business and Economics Press&lt;br /&gt;
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[12]Wang Shuwen王述文. (2010). 综合汉英翻译教程 [A Comprehensive Coursebook on Chinese-English Translation]. Beijing: National Defence Industry Press国防工业出版社.&lt;br /&gt;
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[13]Wang Wuxing王武兴. (2004). 英汉互译指导与篇章翻译 [A Guide to Essay Translation from Chinese into English and Vise Versa]. ''朝华出版社'' Beijing: Morning Glory Publishers&lt;br /&gt;
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[14]Zhang Jinlan张锦兰. (2004).目的论与翻译方法 [Skopos Theory and Translation Methods]. ''中国科技翻译'' Chinese Science &amp;amp; Technology Translators Journal (1) 35-37.&lt;br /&gt;
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[15]Zhu Wei朱微. (2004). 汉英翻译教程 [A Textbook of Chinese-English Translation]. ''重庆大学出版社'' Chongqing: Chongqing University Press.&lt;br /&gt;
--[[User:Zhou Yiwen|Zhou Yiwen]] ([[User talk:Zhou Yiwen|talk]]) 14:28, 20 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
==3.2Static language vs. dynamic language==&lt;br /&gt;
&lt;br /&gt;
==3.3 Passive voice vs. active voice==&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
==4.1Cross-cultural communication==&lt;br /&gt;
&lt;br /&gt;
==4.2Attaching great importance to form==&lt;br /&gt;
&lt;br /&gt;
==4.3Clearing language logic==&lt;br /&gt;
&lt;br /&gt;
===5.The process of translating long English sentences===&lt;br /&gt;
&lt;br /&gt;
===6.Methods of translating English long sentences===&lt;br /&gt;
&lt;br /&gt;
==6.1Liner translation==&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
==6.2Reorganization translation=&lt;br /&gt;
&lt;br /&gt;
==6.3Splitting translation==&lt;br /&gt;
&lt;br /&gt;
==6.4Synthesis==&lt;br /&gt;
&lt;br /&gt;
==6.5Insertion==&lt;br /&gt;
&lt;br /&gt;
===Conclusion===&lt;br /&gt;
&lt;br /&gt;
In the practice of the translation of long and difficult sentences, there is a higher requirement for translators’ English comprehension and expression ability. For the translation of long and difficult sentences in English, the translator should be familiar with the sentence structure and main ideas of long and difficult sentences in English, and make clear the main logical relationship with the content of the original text, so as to effectively analyze the structure of long and difficult sentences in English and choose the correct way of translation. In the specific translation practice, translators should, on the basis of understanding the grammatical features of English, choose reasonable translation methods and skills so as to achieve the accurate translation of long and difficult Sentences. Translation activities require a high level of English reading and comprehension, and the effective translation of long and difficult sentences requires translators to constantly improve their ability to summarize, update their English translation skills, and realize the summary and innovation of long and difficult sentences.&lt;br /&gt;
&lt;br /&gt;
===Bibliography===&lt;br /&gt;
&lt;br /&gt;
==Chinese-English Translation of News Headlines From the Perspective of Skopos Theory	张维虹	Zhang Weihong No.202070080648 英语口译 ==&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
===Abstract===&lt;br /&gt;
In recent years, with the rapid development of the society and economy, the exchanges between China and the rest of the world are increasingly frequent. In this process, massive information is transmitted through the translation of news reports. The translation quality of news headlines that serve as the eye of news, directly affects the effectiveness of its dissemination. Under the guidance of Skopos Theory of German Functionalist Translation School, this paper analyzes the characteristics of Chinese and English news headlines, illustrates the functions and translation criteria of news headlines, and puts forward corresponding translation strategies, aiming at retaining the conciseness of news and realizing dissemination and social value of news.&lt;br /&gt;
&lt;br /&gt;
===key words===&lt;br /&gt;
News headlines translation; Skopos theory; Translation strategies&lt;br /&gt;
&lt;br /&gt;
===摘要===&lt;br /&gt;
近年来，中国社会经济飞速发展，与外界交流日趋频繁，在此过程中大量信息传递需通过新闻报道翻译完成。而新闻标题作为新闻的眼睛，其翻译质量直接影响新闻传播的有效性。本文以德国功能翻译学派目的论为指导，分析中英新闻标题的特点，阐述新闻标题功能以及新闻标题翻译准则，并提出汉译英翻译策略，旨在还原新闻简明本色从而实现新闻传播目的和社会价值。&lt;br /&gt;
&lt;br /&gt;
===关键字===&lt;br /&gt;
新闻标题翻译；目的论；翻译策略&lt;br /&gt;
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===I. Introduction===&lt;br /&gt;
With the continuous development of culture and economy, news reporting is playing an increasingly important role in people's lives. We read news through TV, the Internet, or newspapers and magazines to keep abreast of current events. But thousands of pieces of news and the information they carry may confuse us, because we are in a world where massive information is flowing nonstop. There is no doubt that some news has been omitted or even ignored. Therefore, a clear-cut and intriguing headline is of great importance and can be considered as the only way to attract the target readers. (Chen Lizhao, 2002: 3-4)&lt;br /&gt;
&lt;br /&gt;
Headlines are compared to the eyes of news reports, in which clear, concise information must be contained to generate interests. (Hu Shuzhong, 2012: 199) That is to say, headlines are expected to be vivid and eye-catching in order to attract readers and provide reading guidance. So, translators must learn how to effectively extract and reconstruct the information in the Chinese-English translation of news headlines, so as to make it cater to the target language readers.&lt;br /&gt;
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In addition, news translation is playing a significant role in the promotion of cross-cultural communication and mutual understanding as China is having more and more exchanges with the rest of the world with the rapid development of society and economy brought about by the reform and opening-up policy and “go global” strategy. As the soul of news, headlines and their translation are what translators should pay attention to. (Liu Yunxi 2018(11):123-125.)&lt;br /&gt;
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There are many studies about E-C news translation and news headline translation. However, research on Chinese-English news headlines translation is very few. According to statistics from CNKI, there are only two pages of discussion on Chinese-English news headlines translation. Therefore, this paper is designed to provide further exploration and reference in the area.&lt;br /&gt;
&lt;br /&gt;
As functions for headlines are obvious, this paper takes Skopos as the theory guide to conduct the research. First, the paper illustrates the development and three rules of Skopos theory. Then it discusses the features and functions of news headlines. Later, the paper tells some translation methods of Chinese-English news headlines from a perspective of Skopos Theory. At last, it draws a conclusion.&lt;br /&gt;
&lt;br /&gt;
===II. Overview of the Skopos Theory ===&lt;br /&gt;
====2.1 Development of the Skopos Theory====&lt;br /&gt;
Skopos Theory was initially proposed by Katherina Reiss in her 1971 book ''Possibilities and Limits of Translation Criticism'', which formed the early theory. According to Reiss, the ideal translation would be “one in which the aim in the target language is equivalence as regards the conceptual content, linguistic form and communicative function of a source-language text” (Reiss 1977, translated in 1989: 112). Even though Reiss took the concept of equivalence as the main focus of her analysis, she realized that in some cases, equivalence is impossible and, in some situations, not even desired. Therefore, she indicated that the function of texts should be considered when translating.&lt;br /&gt;
&lt;br /&gt;
The idea of text typology including content-focused, form-focused and appeal-focused text put forward by Reiss, is another contribution of her to the Skopos theory. It is supposed to be the starting point for Skopos theory. &lt;br /&gt;
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Later, Hans Vermeer, the student of Reiss, made a major breakthrough in the limitations of equivalent theory and laid the theoretical foundation for it. He first mentioned the basic principles of Skopos Theory in 1978. He and Reiss jointly published ''Groundwork for a General Theory of Translation'' in 1984. In this book, Vermeer argued that translation should be seen as a fundamental action of the transformation of the source text. As all actions are generally purposeful, translation also has its own purposes which could have influences over the culture of the target language. (Groundwork for a General Theory of Translation, 1984)&lt;br /&gt;
&lt;br /&gt;
For Vermeer, translation cannot be treated as a one-to-one transfer between the source language and the target language. In his research, on the basis of the source text, translation is a form of action to which some of the other forms of translational action may relate. Every translation is directed at an intended audience since to translate means “to produce a text in a target setting for a target purpose and target addresses in target circumstances” (Vermeer, 1987a: 29). Vermeer’s Skopos Theory serves as the foundation for his general theory of translation.&lt;br /&gt;
&lt;br /&gt;
Later, two other German translators, Christiane Nord and Justa Holz Manttari, enriched and refined the Skopos theory. Mantarri’s theory is based on the rules of action theory and is intended to contain all forms of intercultural transmission, as well as those source or target texts which do not involve. (Nord, 2001: 12-13) Her theory reflects the role of the participants in the process of translation and the environment in which the process takes place. Nord, as the latest batch of German researchers, summarized the “Fidelity rule” and applied the Skopos theory extensively in the study of translation from multiple perspectives and related fields.&lt;br /&gt;
&lt;br /&gt;
In conclusion, Reiss laid the foundation of Skopos theory. Vermeer, who summarized and outlined the rules to be followed in the process of Skopos theory in practice, became the founding father of the theory. Manttari focused on the specific issues of translation behavior and context in the translation process, while Nord made many contributions to the refinement of the theory and greatly expanded the practical application of this theory.&lt;br /&gt;
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==== 2.2 Three Rules of Skopos theory ==== &lt;br /&gt;
There are three significant rules of Skopos theory including Skopos rule, coherence rule, and fidelity rule, which will be discussed respectively as follows.&lt;br /&gt;
&lt;br /&gt;
===== 2.2.1 Skopos Rule=====&lt;br /&gt;
The Skopos rule is the top-ranking rule for translation. That is to say, Skopos determines any translation action. “The translators should finish the task in a way that enables your translation to function in the situation in which it is used and with the people who want to use it and precisely in the way they want it to function. All in all, the end justifies the means.” (Nord, 2001:29).&lt;br /&gt;
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Translating is an international interaction as it is just said, and the Skopos rule has a stable position after it appeared. In Vermeer’s term, intention is thought of as an “aim-oriented plan of action” (Vermeer, 1983:41). &lt;br /&gt;
&lt;br /&gt;
According to Vermeer, Skopos rule is that “Each text is produced for a given purpose and should serve this purpose. The Skopos rule thus reads as follows: translate in a way that enables your text to function in the situation in which it is used and with the people who want to use it and precisely in the way they want it to function.” (Vermeer, 1989a: 20, translated by Luo Dan) Skopos theory is the foundation for Chinese-English news headlines translation. All efforts made are meant to achieve the Skopos of news headline translation because “the end justifies the means&amp;quot;.&lt;br /&gt;
&lt;br /&gt;
=====2.2.2 Coherence Rule=====&lt;br /&gt;
The coherence rule, another important rule of the Skpos theory indicates that “the target text must be interpretable as coherent with the target text receiver’s situation”. (Reiss and Vermeer, 1984: 113) It implies that the target text must be translated in a way that it is clearly understood by the target readers, taking into consideration of their existing knowledge and situation.&lt;br /&gt;
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===== 2.2.3 Fidelity Rule =====&lt;br /&gt;
Apart from the &amp;quot;intratextual coherence&amp;quot;, there is another intertextual coherence which refers to the relationship between the target text and the source text. It is presumed as a further principle, fidelity rule. The fidelity rule by Vermeer indicates that there has to be coherence between the target text and the source text. That means that the target text should be faithful to its source text in a certain level of features, such as grammatical features, special collocations, and rhetorical devices, or to some degree between a complete imitation and deviation. (Nord 2001: 31)&lt;br /&gt;
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In accordance with the Skopos theory, the source text is no longer considered as the “sacred original”, and it is up to the translator to determine the aspect and the degree of the fidelity. In Vermeer’s opinion, any text is just an offer of information, and that any target text is an offer of information formulated by a translator in a target culture and language about an offer of information formulated by someone else in the source culture and language. (Nord 2001: 32)&lt;br /&gt;
&lt;br /&gt;
Three principal rules of Skopos theory have been illustrated as above. As for the relationships between the three rules, Reiss and Vermeer believe that the fidelity rule is subordinate to the coherence rule and is included to the Skopos rule. If the skopos of the target text demands a change of function, the fidelity of the source text will no longer be taken as the only standard, but adequacy and appropriateness will be supplemented as the standard with regard to the skopos (Reiss and Vermeer, 1984: 139).&lt;br /&gt;
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====2.3 Summary ====&lt;br /&gt;
This chapter introduced the development of Skopos theory and its three main principles, laying a theoretical foundation for Chinese-English news headlines translation. The function and skopos of news headlines are to intrigue readers and convey information to them. Therefore, C-E news headlines translation, guided by Skopos theory, is a faithful re-creation.（Wang Chi, 2013: 33-34）&lt;br /&gt;
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===III. Overview of News Headlines===&lt;br /&gt;
A headline is an essential part of news. So, it is important for translators to know the features and functions of news headlines. (Liu Yunxi, 2018: 123-125) The previous chapter introduces the theoretical framework of Skopos theory, which lay a foundation for the practical translation of Chinese news headlines. In this chapter, the author will discuss features and functions of news headlines, in order to search for some strategies for the Chinese-English translation of news headlines. &lt;br /&gt;
&lt;br /&gt;
==== 3.1 Definition of News and News Headlines====  &lt;br /&gt;
News refers to the timeliest report of events that have just happened, are happening, or are going to happen. It is born to meet the need for propagation and communication of information in human society. (Xu Mingwu, 2003: 4) This definition prescribes the features and functions of news. News should be timely and share ideas and information.&lt;br /&gt;
&lt;br /&gt;
News headlines are compared to the “eye” of news. According to the dictionary, “A head of a newspaper story or article, usually printed in large type and devised to summarize, gives essential information about, or interests readers in reading the story or article that follows.” (Webster’s Third New International Dictionary, 1961: 1042) From the definition, we can see that news headlines tell the essence of the news; the function is to attract readers’ interests. The paper will discuss the features and functions of news headlines in detail in the following part.&lt;br /&gt;
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====3.2 Features of News Headlines==== &lt;br /&gt;
As a text genre, news headlines have their own features. Chinese and English news headlines share much in common, though they differ from each other in certain areas. Understandings about the differences and similarities of Chinese and English news headlines are important for translators. （Luo Dan, 2012: 30-31）So, this chapter will analyze the features of news headlines from the following aspects: grammar, rhetoric, culture, and structure.&lt;br /&gt;
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===== 3.2.1 Grammatical features===== &lt;br /&gt;
&lt;br /&gt;
3.2.1.1 Lexical Feature&lt;br /&gt;
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a. Midget words&lt;br /&gt;
&lt;br /&gt;
A good headline must be clear to attract readers and be strong to save space. In other words, the headline should convey the intends of the news without confusion or ambiguity; the words should be powerful to persuade the headline consumer to read on. These two requirements determine the prevalence of powerful, or strong worlds – mostly verbs and nouns – in headlines. (Shen Jinbo, 1989:52) That is to say, powerful words are short, simple and concrete, for extensive or abstractive words can only lead to dullness and confusion. There are no such powerful words in Chinese, but Chinese headlines, on the premise of conveying the exact meanings also put emphasis on the shortness of words. &lt;br /&gt;
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[1]: Dancing '''gets''' Olympic status (China Daily Dec 9, 2020)&lt;br /&gt;
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[2]: 霹雳舞'''成'''巴黎奥运项目 (China Daily Dec 9, 2020)&lt;br /&gt;
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b. Numeral words&lt;br /&gt;
&lt;br /&gt;
Numbers are used in news headlines to highlight the key information, especially in economic and sports news. &lt;br /&gt;
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[3]: Pink diamond sold for '''$26.6M''' (China Daily Nov 23, 2020) &lt;br /&gt;
&lt;br /&gt;
[4]: 外储余额创'''4'''年多新高(China Daily Dec 9, 2020)&lt;br /&gt;
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c. Abbreviations &lt;br /&gt;
&lt;br /&gt;
The limitation of page space leads to the frequent use of abbreviations in headlines. English abbreviations, according to Lu Guoqiang (陆国强, 1984), consist of two major types: lipped words and initialisms or acronyms. The common types of abbreviations found in Chinese headlines, nevertheless, are mostly number-assisted summarizing, blending and substituting. (Chen Lizhao, 2002:36)&lt;br /&gt;
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[5]: '''Intl''' student enrollment falls (China Daily, Nov 19, 2020)&lt;br /&gt;
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[6]: 第二届'''“一带一路”'''国际合作高峰论坛举行圆桌峰会 (People’s Daily, April 28, 2019) &lt;br /&gt;
&lt;br /&gt;
d. Vogue words &lt;br /&gt;
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“Freshness” is the life of news, which lies in the contents of the report. As the gist of the news, headlines would certainly reveal some of the new ideas or hot topics in order to catch the reader’s attention. Therefore, vogue words are frequently seen in headlines. (Chen Lizhao, 2002: 4-5)  &lt;br /&gt;
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[7]: ''''Cooling-off period'''' added (China Daily Dec 8, 2020)&lt;br /&gt;
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[8]: '''“离婚冷静期”'''新规将施行 (China Daily Dec 8, 2020)&lt;br /&gt;
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3.2.1.2 Syntactical features&lt;br /&gt;
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a. Omission&lt;br /&gt;
&lt;br /&gt;
Omission appears in almost every headline. Eliminating meaningless words can shorten the length of a headline and highlight the core information. In English headlines, all articles and some auxiliary verbs, lexical verbs, pronouns, and the subject and the predicate are often omitted, as they weigh little in giving information. Chinese headlines also omit those unimportant words, including conjunctions, and auxiliary words as well. (Chen Lizhao, 2002: 4-5)  &lt;br /&gt;
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[9] Biden declares victory (China Daily, Nov 10, 2020)&lt;br /&gt;
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[10] 研究：医患“互粉”对治疗不利 (China Daily, Nov 25, 2014)&lt;br /&gt;
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b. Voice&lt;br /&gt;
&lt;br /&gt;
Active voice is frequently adopted in news headlines.&lt;br /&gt;
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[11] UK '''approves''' Pfizer vaccine (China Daily Dec 4, 2020)&lt;br /&gt;
&lt;br /&gt;
[12]英国'''批准'''辉瑞新冠疫苗 (China Daily Dec 4, 2020)&lt;br /&gt;
&lt;br /&gt;
[13] Biden '''unveils''' economic team (China Daily Dec 2, 2020)&lt;br /&gt;
&lt;br /&gt;
[14]拜登'''拟'''提名耶伦任财长 (China Daily Dec 2, 2020)&lt;br /&gt;
&lt;br /&gt;
c. Tense&lt;br /&gt;
&lt;br /&gt;
One of the distinct features of news headlines, particularly in English news headlines, is the wide use of present tense, which saves the space of “-ed” in the past tense. But sometimes past tense is used to indicate the timeline. While Chinese news headlines use different tenses, as they are not revealed by the different forms of verbs as in English. So, the auxiliary verbs or adverbs in Chinese news headlines tell the time of happening form. (Chen Lizhao, 2002: 4-5)&lt;br /&gt;
&lt;br /&gt;
[15] COVID vaccine distribution (China Daily Dec 1, 2020)&lt;br /&gt;
&lt;br /&gt;
[16] 英美'''即将'''启动疫苗分配 (China Daily Dec 1, 2020)&lt;br /&gt;
&lt;br /&gt;
=====3.2.2 Rhetorical Features =====&lt;br /&gt;
The figures of speech found in headlines, English and Chinese alike, include metaphor, simile, pun, alliteration and rhyme, repetition, allusion, etc. They are aimed at creating musical sound as well as vivid images to provide spiritual enjoyment to the readers. (Chen Lizhao, 2002: 4-5)&lt;br /&gt;
&lt;br /&gt;
[1] 苹果发新机加入5G'''战局''' (metaphor) (China Daily Oct 16, 2020) &lt;br /&gt;
&lt;br /&gt;
[2] 美国加州火灾蔓延 居民'''仿佛置身火星'''(simile)&lt;br /&gt;
&lt;br /&gt;
===== 3.2.3 Cultural Features=====&lt;br /&gt;
Language is the carrier of culture. News, as a practical genre, also bears cultural characteristics of a certain country or region. These cultural elements also appear in news headlines. (Fan Tengteng, 2006: 44-45)&lt;br /&gt;
&lt;br /&gt;
=====3.2.4 Structural features =====&lt;br /&gt;
To achieve the headline’s distinctiveness and simplicity, certain punctuation marks are used in English news headlines, which are not often seen in Chinese news headlines. However, the pursuit of using punctuation marks shares a common destination—to make the news headlines clear and easily perceptible. The rule for headlines is that the fewer punctuation marks are, the better. (Fan Tengteng, 2006: 45-46)&lt;br /&gt;
&lt;br /&gt;
[1] 世界精神卫生日：超半数英国员工最担心就业问题 (China Daily Oct 16, 2020)&lt;br /&gt;
&lt;br /&gt;
[2] World Mental Health Day: More than half of UK workers worry about finding a job (China Daily Oct 16, 2020)&lt;br /&gt;
&lt;br /&gt;
====3.3 Functions of news headlines ====&lt;br /&gt;
According to the theory of text-style function by Peter Newmark, new headlines fulfill the following four functions: informative function, expressive function, aesthetic function and vocative function, which will be illustrated in this section.  (Newmark 2001: 40) &lt;br /&gt;
&lt;br /&gt;
=====3.3.1 Informative Function =====&lt;br /&gt;
“The core of the informative function of language is external situation, the facts of a topic, reality outside language, including ideas or theories” (Newmark 2001: 40) That is to say, news headline tells readers the basic information and facts of the news.&lt;br /&gt;
&lt;br /&gt;
====3.3.2 Expressive Function ====&lt;br /&gt;
“The core of the expressive function is the mind of the speaker, the writer, the originator of the utterance. He uses the utterance to express his feelings irrespective of any response” (Newmark 2001: 39) The expressive function of a news headline is to reveal the writer’s or the editor’s attitude toward the news by using commentary words or rhetoric devices.&lt;br /&gt;
&lt;br /&gt;
=====3.3.3 Aesthetic function=====&lt;br /&gt;
“This is a language designed to please the sense, firstly through its actual or imagined sound, and secondly through its metaphors. The rhythm, balance, and contrast of sentences, clauses, and words also play their part.” (Newmark 2001: 42) As the eye of the news, headlines use elegant words, abbreviations, punctuations, and so on to strengthen their aesthetic function.&lt;br /&gt;
&lt;br /&gt;
=====3.3.4 Vocative function=====&lt;br /&gt;
The vocative function is reader-oriented. Here, the term “vocative” is interpreted as “calling upon” the readers to act, think or feel, in fact, to “react” in the way intended by the text. (Newmark 2001: 41) Vocative words in news headlines can attract the readers to read the whole article, and in certain circumstances call upon the readers to take some actions after finishing the news.&lt;br /&gt;
&lt;br /&gt;
====3.3 Summary ====&lt;br /&gt;
This chapter discussed the features and functions of news headlines as well as differences between Chinese and English news headlines. It helps the author to seek for certain translation strategies and methods to retain the features and achieve the purposes of news headlines, which will be mentioned in the following chapter.&lt;br /&gt;
&lt;br /&gt;
===IV. Application of Skopos theory in Chinese-English Translation===&lt;br /&gt;
Many translation strategies and techniques can be adopted under the guidance of the Skopos theory. Based on the dominant informative function of news headlines, new information should be transferred with fidelity and clarity. Moreover, considering the aesthetical function of headlines, the source text should be aesthetically handled to the target readers. This chapter will explain how the Skopos theory is applied in the translation of Chinese-English news headlines. Before that, the criteria for C-E news headlines translation will be discussed. (Luo Dan, 2012）&lt;br /&gt;
&lt;br /&gt;
====4.1 Criteria of News headline translation ====&lt;br /&gt;
According to the basis of translation criteria, the author discussed four criteria for Chinese news headline translation, including fidelity, readability, adaptability, and rapidity. &lt;br /&gt;
&lt;br /&gt;
===== 4.1.1Fidelity =====&lt;br /&gt;
Fidelity means to accurately convey the message of the source text. The translation of news headlines from Chinese to English is a kind of intercultural communication in which messages should be transferred objectively and accurately by reflecting reality. Considering this point of view, fidelity can be acted as the main rule for translating news headlines. （Luo Dan, 2012: 45-46）&lt;br /&gt;
&lt;br /&gt;
=====4.1.2 Readability =====&lt;br /&gt;
Readability means the translation version is smooth as much as possible so that it is easier for readers or audiences to read and understand. According to a survey on ''Beijing citizens’ newspaper reading and willingness'' by Chinese People’s University, vividness and readability are the first to be considered while consumers buying and reading a newspaper. Therefore, the translation of news headlines should value readability. If the rule of fidelity concerns the content, then the rule of readability aims at the form. （Luo Dan, 2012: 46-47）&lt;br /&gt;
&lt;br /&gt;
=====4.1.3Adaptability =====&lt;br /&gt;
Adaptability means that the translated headline should be in an appropriate writing pattern in line with the features of news language. In other words, the style of the target language should be consistent with the source language. Style-maintaining is considered to be essential and important in translation, which is also true in the translation of news headlines. So, translators must deal with the grammar and diction of English seriously, and make sure the style of the original is mostly intact when translating a Chinese news headline. (Tang Ting, 2010: 35-36)&lt;br /&gt;
&lt;br /&gt;
===== 4.1.4Rapidity =====&lt;br /&gt;
Rapidity, as the fourth request of news headline translation, is the most indispensable one. It requires that the translation of a news headline should be completed at a given period of time without any delay. The news is more valuable if the time between happening and reporting is shorter. So, the timeliness of news decides the rapidity of news translation, especially the headlines. (Tang Ting, 2010: 36-37)&lt;br /&gt;
&lt;br /&gt;
====4.2 Strategies and Methods of Chinese-English News Headlines Translation ====&lt;br /&gt;
News headlines are considered to be the soul of the news. Since Chinese and English readers are different in thinking patterns, education systems, and cultural backgrounds, some proper translation strategies and methods should be taken into consideration to enable the readers to understand the news headlines easily. Under the guidance of Skopos theory, translation methods including literal translation, free translation, amplification, omission, amplification, restructuring, and adaptation are applied in news headlines translation. (Wang Jun, Chen Shiyue, 2017: 102-103) &lt;br /&gt;
&lt;br /&gt;
=====4.2.1 Literal translation=====&lt;br /&gt;
Literal translation, also called word-for-word translation, is the basic approach used in Chinese news headline translation, since it can retain both the form and contents of the original to the maximum. Here are some examples: (Wang Jun, Chen Shiyue, 2017: 102-103) &lt;br /&gt;
&lt;br /&gt;
[1] 疫情致牛仔裤销量骤减&lt;br /&gt;
&lt;br /&gt;
Pandemic leads to jeans sales slump&lt;br /&gt;
(China Daily Aug 10, 2020)&lt;br /&gt;
&lt;br /&gt;
The headline introduces that Covid-19 pandemic has led to jeans sales slump. “疫情”was translated into “Pandemic”, “牛仔裤销量” was “jeans sales”, and “骤减” “slump”, which is exactly an example of literal translation. There’s no change in the form or style between the source text and the target text. &lt;br /&gt;
&lt;br /&gt;
[2] 新冠抗原检测试剂获批&lt;br /&gt;
&lt;br /&gt;
COVID antigen tests approved&lt;br /&gt;
(China Daily Nov 10, 2020)&lt;br /&gt;
&lt;br /&gt;
This example is a typical word-for-word translation. “新冠”, an abbreviation for “新冠病毒”, was translated into “COVID”, short for coronavirus. “抗原检测”was translated into “antigen tests”and“获批”,“approved”. We can see that in this example, literal translation was used so that the form, style, and even the tense and voice of the source text are all retained.&lt;br /&gt;
&lt;br /&gt;
[3] 成都将建首个大熊猫主题公园&lt;br /&gt;
&lt;br /&gt;
Chengdu Set to Get Unique Panda-themed Park &lt;br /&gt;
(China Daily, Jan 17, 2018) &lt;br /&gt;
&lt;br /&gt;
This is an example of literal translation, remaining the original form and style of the Chinese version. It uses midget words “set” and “get”, taking into consideration the style of English news headlines, in order to attract readers from different walks of life. At the same time, the Chinese noun “大熊猫主题” is converted to the English adjective “Panda-themed”, which is very concise and accurate.&lt;br /&gt;
&lt;br /&gt;
=====4.2.2 Free translation =====&lt;br /&gt;
Free translation is applied when the news headline of the source text is obscure and difficult to understand or there are no equivalent words in the target language. Sometimes it is preferred because it adapts the original headlines to the target language. (Wang Jun, Chen Shiyue, 2017: 102-103) &lt;br /&gt;
&lt;br /&gt;
[4] 不要人夸颜色好，只留清气满乾坤&lt;br /&gt;
  &lt;br /&gt;
Xi: China Welcomes Constructive Suggestions&lt;br /&gt;
(China Daily, Oct 25, 2017) &lt;br /&gt;
&lt;br /&gt;
The source text is a poem, cited by President Xi at the press conference of 19th CPC Central Committee Political Bureau to hear constructive suggestions from people both at home and abroad. The poem, Ink Plum written by a famous Chinese ancient poet, Wang Mian, carries rich cultural connotations. If it is directly translated as “Not angling for compliments, we should be content that integrity fills the universe”, it will cause confusion to the target readers. Obviously, such a mechanical translation will discourage the reader from understanding the meaning of the poem. Therefore, the translation of this news headline should be based on the content of the news – Xi: Welcomes Constructive Suggestions. So, it is a typical example of free translation. &lt;br /&gt;
&lt;br /&gt;
[5]姜瑜：外资应凭实力在华竞争&lt;br /&gt;
 &lt;br /&gt;
Foreign investors told to sharpen edge&lt;br /&gt;
&lt;br /&gt;
This example takes into consideration of the reading habits and backgrounds of the target readers. “凭实力竞争” is translated to “sharpen one’s edge”, which is more understandable. “姜瑜”(Jiang Yu”, a heroic character in Chinese history is omitted. So, it is a free translation.&lt;br /&gt;
&lt;br /&gt;
=====4.2.3 Amplification =====&lt;br /&gt;
Most news headlines contain certain backgrounds that are familiar to the source language readers, but alien to those who read the target language. So, translators have the responsibility to turn information that is rich in cultural connotation into something understandable to target readers. This is particularly significant in translating news headlines from the perspective of Skopos theory because the purpose is to convey effective information to target readers. As mentioned in the chapter before, Chinese news headlines usually are culture-loaded. Therefore, amplification is frequently used in Chinese-English news headlines translation. （Fan Tengteng, 2006: 50-51）&lt;br /&gt;
&lt;br /&gt;
[6] 水陆两栖飞机AG600首飞成功&lt;br /&gt;
&lt;br /&gt;
China’s First Large Amphibious Aircraft Makes a Successful Maiden Flight&lt;br /&gt;
(China Daily, Dec 25, 2018) &lt;br /&gt;
&lt;br /&gt;
Amplification is used in this translation. AG600, as called Kun Lun600, is the world’s largest amphibious aircraft developed by China. The translator adds a modifier “China’s first large” as a supplement of background to better inform the targe readers. &lt;br /&gt;
&lt;br /&gt;
[7] 共享单车来到“世界屋脊”&lt;br /&gt;
&lt;br /&gt;
Shared Bikes Climb to the “Roof of the World” (Tibet)&lt;br /&gt;
&lt;br /&gt;
“Roof of the World” is confusing for some target readers, so the translator adds “(Tibet)” at the end of the sentence to avoid ambiguity.&lt;br /&gt;
&lt;br /&gt;
=====4.2.4 Omission =====&lt;br /&gt;
Omission is a translation method to make the news headline simple and concise by eliminating the redundant verbs, pronouns, and other words in the source text. As Chinese usually use unnecessary modifiers, this method can highlight the main point of the news. (Wang Jun, Chen Shiyue, 2017: 102-103)&lt;br /&gt;
&lt;br /&gt;
[8] 对外汉语专家齐聚京城 共议国际汉语教师缺口问题&lt;br /&gt;
&lt;br /&gt;
Beijing forum addresses Chinese teacher shortage&lt;br /&gt;
(China.org.cn, Jul 21, 2021) &lt;br /&gt;
&lt;br /&gt;
In this example, the first sentence is translated into a phrase, so as to shorten the length of the news headline and more it more concise. What’s more, redundant words like “齐聚”, “共议” “问题” are omitted to point out the main contents of the news. &lt;br /&gt;
&lt;br /&gt;
[9] '大流行病'当选年度词汇&lt;br /&gt;
&lt;br /&gt;
Word of the year: pandemic&lt;br /&gt;
&lt;br /&gt;
(China Daily, Dec 12, 2020)&lt;br /&gt;
&lt;br /&gt;
In the example, the verb “当选”(elected) in the source text is eliminated to save space.&lt;br /&gt;
&lt;br /&gt;
=====4.2.5 Restructuring =====&lt;br /&gt;
Restructuring refers to the rearranging of the words in logical order to make the translation more consistent and coherent. The target text should be acceptable and meaningful in a sense that it is coherent with the situation in which it is received. Once translated, the translator revises the order and rearranges all words into a perfect sentence. In doing so, the news is more logical and tuned with the habit of native readers’ thinking and reading. It is frequently used in translating news headlines from Chinese into English. (Tang Ting, 2010: 25-26) &lt;br /&gt;
[10] 疫情期间夫妻关系改善&lt;br /&gt;
&lt;br /&gt;
Marriages benefit from lockdown&lt;br /&gt;
(China Daily, Nov 23, 2020)&lt;br /&gt;
&lt;br /&gt;
The English version changes the structure of the Chinese news headline, and adds a preposition to show the logic of this sentence. By restructuring, English readers can better understand this news headline.&lt;br /&gt;
&lt;br /&gt;
====4.2.6 Adaptation ====&lt;br /&gt;
Adaptation is a translation method, which refers to selecting, adding, deleting, and constructing cautiously instead of simply translating one word to another word. In order to make the translated version more proper to certain readers or audiences, adaptation always makes some essential changes for a special aim. Specific to C-E news headlines translation, the translator can take the Chinese news headlines as the basis and refer to the key news facts of the report, in order to offer as much information as possible to the target readers. (Wang Chi, 2013: 42-42) &lt;br /&gt;
&lt;br /&gt;
[11] 高考将不再是 “一考定终身”&lt;br /&gt;
&lt;br /&gt;
Changes to Uni Eligibility&lt;br /&gt;
（People’s Daily, 2014）&lt;br /&gt;
 &lt;br /&gt;
In this example, “高考” refers to the National College Entrance Examination in China, which is an expression with Chinese characteristics. Therefore, based on the main idea of the news, the translator translated it into “Uni Eligibility”&lt;br /&gt;
	&lt;br /&gt;
[12] 中国女性主导财务决策&lt;br /&gt;
&lt;br /&gt;
'She' to power wealth management&lt;br /&gt;
(China Daily, Nov 23, 2020)&lt;br /&gt;
&lt;br /&gt;
Adaptation is used in this translation. According to the contents of the news, women in different countries are mentioned. So, instead of translating “中国女性” into Chinese women, the English version adapted it into “she”, which adds interest and fun to the headline and thus can attract more readers.&lt;br /&gt;
&lt;br /&gt;
====4.3 Summary====&lt;br /&gt;
This chapter introduces criteria, and strategies and methods of Chinese-English news headlines translation. It is the main body of the paper, which can serve as guidelines for translators who translate Chinese news headlines into English ones.&lt;br /&gt;
&lt;br /&gt;
===V. Conclusion===&lt;br /&gt;
Based on Skopos theory, this paper discussed the features and functions of news headlines and their relevance to translation, summarized translation criteria, and strategies and methods adopted in actual C-E news headlines translation. &lt;br /&gt;
&lt;br /&gt;
News translation is a cultural transformation with certain purposes(skopos). While conveying the connotation of the information, news translation must also take into account the habits of target readers. The purpose-oriented approach helps translators to break the language barriers and helps to convey cultural connotations and facilitate communication. The purposes and functions of translation determine the translation methods. In translation, the standard of translation should not be how to be faithful to the source text, to highlight the main points of the news and attract English readers. Therefore, the paper, applying the Skopos theory to Chinese-English news headlines, is of significance.&lt;br /&gt;
&lt;br /&gt;
However, there are also limitations in the paper. The first problem is the complexity of the theoretical basis. The second one is that few data have been collected. And the last one is the capability of the author herself. So, there is still room for improvement.&lt;br /&gt;
&lt;br /&gt;
--[[User:Zhang Weihong|Zhang Weihong]] ([[User talk:Zhang Weihong|talk]]) 02:27, 21 December 2020 (UTC)Zhang Weihong&lt;br /&gt;
&lt;br /&gt;
===References===&lt;br /&gt;
* Munday, J. Introducing Translation Studies: Theories and Applications[M]. London and New York: Routledge, 2001: 77-78.&lt;br /&gt;
&lt;br /&gt;
* Newmark, P.A Textbook of Translation[M]. Shanghai: Shanghai Foreign Language Education Press, 2001: 40-42.&lt;br /&gt;
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* Nida, E. A. Language and Culture—Contexts in Translating[M]. Shanghai: Shanghai Foreign Language Education Press, 2001: 38-41.&lt;br /&gt;
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* Nida, E. A. Language, Culture and Translating[M]. Shanghai: Shanghai Foreign Language Education Press, 2001: 50-51. &lt;br /&gt;
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* Nord, Christiane. Translating as a Purposeful Activity [M]. Shanghai：Shanghai Foreign Language Education Press, 2001.&lt;br /&gt;
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* Schudson, M. The Power of News [M]. Cambridge, Mass: Harvard University Press, 1995&lt;br /&gt;
&lt;br /&gt;
* Vermeer, H. J. Skopos and Translation Commission [M]. Heidelberg: University, 1989.&lt;br /&gt;
&lt;br /&gt;
* Vermeer, H. J. Skopos and Translationsauftrag – Aufsatze [M]. Second Edition. Heidelberg: University, 1989. &lt;br /&gt;
&lt;br /&gt;
* Chen Lizhao. 陈丽昭. 中英新闻标题对比研究[A Comparative Study of Chinese and English News Headlines ][D].福建师范大学[Fujian Normal University],2002.&lt;br /&gt;
&lt;br /&gt;
* Fan Tengteng 樊腾腾. 从目的论角度论英语新闻标题的翻译[Translation of English News Headlines from Perspective of Skopos Theory ][D]. 广东外语外贸大学[Guangdong University of Foreign Studies], 2006.&lt;br /&gt;
&lt;br /&gt;
* Hu Shuzhong 胡曙中. 语篇语言学导论 [ Introduction to Discourse Linguistics ] [M]. 上海: 上海外语教育出版社Shanghai: Shanghai Foreign Language Education Press, 2012.&lt;br /&gt;
&lt;br /&gt;
* Li Zhongqiang 李中强. 新媒体背景下的汉语新闻英译研究[A Study of English Translation of Chinese News in the Context of New Media] [D].上海外国语大学[Shanghai International Studies University],2012.&lt;br /&gt;
&lt;br /&gt;
* Liu Mixian 刘宓庆. 当代翻译理论[Contemporary Translation Theory ][M]. 中国对外翻译出版公司[China Foreign Translation and Publishing Corporation], 2003.&lt;br /&gt;
&lt;br /&gt;
* Liu Yunxi 刘芸希.目的论视角下新闻标题的英译研究[A Study of English Translation of News Headlines from the Perspective of Skopos Theory] [J].海外英语[Overseas English], 2018(11):123-125.&lt;br /&gt;
&lt;br /&gt;
* Luo Dan 罗丹. 目的论视角下的中国日报网英语新闻标题的翻译策略[Translation Strategies of English News Headlines in China Daily from the Perspective of Skopos Theory ][D].武汉科技大学[Wuhan University of Science and Technology], 2012.&lt;br /&gt;
&lt;br /&gt;
* Shen Jinbo 沈金伯. 新闻英语文体探讨[Exploring the English Style of News ][J]. 《外国语》[Foreign Languages]. 1989(1): 52-55 &lt;br /&gt;
&lt;br /&gt;
* Tang Ting 唐婷. 从目的论看硬新闻标题的汉译英[Chinese-English translation of Hard News Headlines From Perspective of Skopos Thoery][D].南华大学[University of South China],2010.&lt;br /&gt;
&lt;br /&gt;
* Wang Chi 王驰. 目的论在经济新闻标题英汉翻译中的应用[The Application of Skopos Theory in the English-Chinese Translation of Economic News Headlines ][D].华中师范大学[Central China Normal University], 2013.&lt;br /&gt;
&lt;br /&gt;
* Wang Jun, Chen Shiyue 王军,陈诗月.翻译目的论研究综述[A Review of Translation Purpose Theory Research ] [J].现代交际[Modern Intercourse],2017(18):102-103.&lt;br /&gt;
&lt;br /&gt;
* Xu Mingwu 许明武. 新闻英语与翻译 [News English and Translation] [M]. 北京: 中国对外翻译出版公司[Beijing: China Foreign Translation and Publishing Corporation], 2003.&lt;br /&gt;
&lt;br /&gt;
==On Chinese-English Translation of Public Service Advertisements From the Perspective of Text-type Theory 司妤  Si Yu  Student No.202070080606==&lt;br /&gt;
&amp;lt;center&amp;gt; 司妤  Si Yu  Student No.202070080606&amp;lt;/center&amp;gt;&lt;br /&gt;
&lt;br /&gt;
===Abstract===&lt;br /&gt;
&lt;br /&gt;
Public-service advertising is an advertising activity that provides free services to the community without the purpose of making profit. Since the founding of the People's Republic of China, public-service advertising activities have increased and played an important role in the moral and ideological education of society as a whole, such as fire and burglary prevention, forest protection, birth control, maintenance of public order, no spitting and so on, all of which are in the nature of public-service advertising.&lt;br /&gt;
&lt;br /&gt;
With the improvement of China's status in the international society, the accuracy of the translation of PSAs, as a medium to convey Chinese culture, is attracting more and more attention. Accurate translations help to showcase Chinese culture to foreigners and promote communication, while incorrect translations can be laughable.&lt;br /&gt;
&lt;br /&gt;
In some public occasions, I have noticed that there are many excellent PSAs, but there are also some &amp;quot;Chinglish&amp;quot; PSAs. This paper analyzes the text of PSAs by using the Text-type theory, gives suggestions to improve the messy translation phenomenon, and summarizes several translation methods, hoping to provide reference for the translators of PSAs.&lt;br /&gt;
&lt;br /&gt;
===key words===&lt;br /&gt;
&lt;br /&gt;
Public-service advertisement;Text typeTheory;Translation methods&lt;br /&gt;
&lt;br /&gt;
===文本理论视角下公益广告的中英翻译===&lt;br /&gt;
&lt;br /&gt;
===摘要===&lt;br /&gt;
&lt;br /&gt;
公益广告是不以营利为目的而为社会提供免费服务的广告活动。我国建国以后，公益性的广告活动日益增多，对全社会进行道德和思想教育发挥了重要作用，例如有关部门进行的防火防盗、保护森林、节制生育、维护公共秩序、不要随地吐痰等广告宣传，均属公益广告的性质。&lt;br /&gt;
&lt;br /&gt;
随着中国在国际社会地位的提高，公益广告作为一种传递中国文化的媒介，其翻译的准确性日益受到人们的关注，翻译准确有利于向外国友人展示中国文化，促进交流。而翻译错误则容易贻笑大方。&lt;br /&gt;
&lt;br /&gt;
笔者注意到在一些公众场合不乏优秀的公益广告翻译，同时也仍有一些“中式英语”公益广告存在。本文运用文本类型理论对公益广告文本进行分析，对乱译现象提出改进建议，总结了几点翻译方法，希望能够为公益文本译者提供借鉴。&lt;br /&gt;
&lt;br /&gt;
===关键字===&lt;br /&gt;
&lt;br /&gt;
公益广告；文本类型理论；翻译方法&lt;br /&gt;
&lt;br /&gt;
===Introduction===&lt;br /&gt;
&lt;br /&gt;
====Research Background====&lt;br /&gt;
&lt;br /&gt;
Economic and social development and the improvement of people's living standards have brought many unprecedented changes to people, making their lives more convenient and colorful. But along with it comes a series of social problems such as indiscriminate dumping of urban garbage, neglect of wildlife protection, lack of care for public property, smoking in public places, etc.These social problems have also been magnified by the advance of urbanization. At this time, public service advertisement (PSA)can offer help if we want to activate more people to solve them.&lt;br /&gt;
 &lt;br /&gt;
There are many forms of public service advertisements, such as public service advertisement (PSA) clips, public service messages, and public service slogans. Each of these PSAs has its own textual characteristics, such as the PSA short film in the form of a short video, using a fascinating plot to illustrate the concept of public welfare; public service messages are simple but informative; public service slogans are neat and thought-provoking. The translation of these texts should be done according to the characteristics of the text in order to achieve the public service effect of the text. &lt;br /&gt;
&lt;br /&gt;
With China playing an increasingly important role in the international community, a large number of international conferences are being held in China, and the number of foreign travelers arriving in the country is on the rise. The accuracy of the translation of public service advertisements is especially important at this time, not only to help foreigners in their travel work in China, but also to promote Chinese culture and to enhance their understanding of China.&lt;br /&gt;
&lt;br /&gt;
It is worth mentioning that the overall quality of the Chinese people has been significantly improved compared to a few years ago, and the appearance of more and more elites has made the society think more deeply about the accuracy of translation, which is conducive to building a good city image and improving the aesthetic level of city residents and tourists.&lt;br /&gt;
&lt;br /&gt;
Advertisements can be divided into commercial advertisements and public service advertisements according to content and purpose. Commercial advertisements are mostly published by enterprises, and their main purpose is to stimulate consumers and arouse their desire to consume, and their content is mostly product information.(Liu Xiaofang 2014)&lt;br /&gt;
&lt;br /&gt;
There are some definitions from different people. Berkowitz, a famous scholar, who makes a thorough study of advertisement for more than 25 years, states that PSA is generally sponsored by a non-profitable institution, civic group, religious organization, trade association, or political group with a central focus on public welfare (Berkowitz, 2004). In China, according to Zhang Minxin’s definition, PSA is a sub-branch of non-commercial advertisement whose purposes are to serve the public interests. This kind of advertisement can push the public to change their attitudes and behaviors (Zhang Mingxin, 2004). There are some researchers at home and abroad trying to discover how public service advertisements work, such as: Judie Lannon (2008), Nancy Lee (2006), Josephson (2005) and other scholars hoping to discover the secrets behind public service advertisements and society, such as Charles Atkin (2001) and Pan Zehong (2001).&lt;br /&gt;
&lt;br /&gt;
====Research Significance and Objectives====&lt;br /&gt;
&lt;br /&gt;
As the influence of Chinese culture increases internationally, more and more foreigners want to learn about China. Some want to learn Chinese, and others want to know more about the social situation. Public service advertisements (PSAs) provide such an opportunity for them to learn and better understand China.&lt;br /&gt;
&lt;br /&gt;
At the same time, some social problems, such as the Cov-19 epidemic, SARS, and AIDS, may not only be a problem for China, but also for the whole world, and the PSAs can provide a Chinese perspective and Chinese wisdom to solve these problems. In addition, when a disaster occurs, such as the Wenchuan earthquake, which aroused the attention and sympathy of the international community, and some friendly countries want to provide assistance, PSAs are extremely important. In this paper, the writer will analyze different public service advertisements from the perspective of text type theory and provide translation suggestions.&lt;br /&gt;
&lt;br /&gt;
Public service advertisement texts are common texts in daily life, and many scholars have discussed them from various perspectives, including the theory of purpose, aesthetic perspective, semantic translation and communicative translation perspective. However, no scholars have analyzed them from the perspective of text type theory. The writer boldly proposes to look at public-interest text translation from such a perspective, which may lead to new insights.&lt;br /&gt;
&lt;br /&gt;
====Methodology====&lt;br /&gt;
&lt;br /&gt;
The texts in this paper are mostly from public service advertisements released by CCTV, publicservice text messages received by the public, and public service slogans around them. This paper adopts a descriptive approach to analyze the content and purpose of the texts in detail, and also gives its own suggestions on how to translate the public service texts.&lt;br /&gt;
&lt;br /&gt;
====Framework of this paper====&lt;br /&gt;
&lt;br /&gt;
This paper is divided into seven chapters.&lt;br /&gt;
&lt;br /&gt;
Chapter 1 introduces the background, significance and purpose of the research, methodology, and general framework of this thesis.&lt;br /&gt;
&lt;br /&gt;
Chapter 2 introduces the theoretical perspective used in this paper.&lt;br /&gt;
&lt;br /&gt;
Chapter 3 analyzes the characteristics of public service texts from the perspective of content and text.&lt;br /&gt;
&lt;br /&gt;
Chapter 4 gives examples of texts according to the three categories of text type theory and analyzes the more appropriate translations.&lt;br /&gt;
&lt;br /&gt;
Chapter 5 lists the obvious mistranslations in PSAs and gives suggested versions of the translations.&lt;br /&gt;
&lt;br /&gt;
Chapter 6 summarizes the methods that can be used to translate PSA texts.&lt;br /&gt;
&lt;br /&gt;
Chapter 7 summarizes what has been discussed throughout the essay and reflects on the limitations of the essay.&lt;br /&gt;
&lt;br /&gt;
===Overview of Theoretical Foundation and Comparisons===&lt;br /&gt;
&lt;br /&gt;
====Reiss’s View of Text Type Theory====&lt;br /&gt;
&lt;br /&gt;
Katharina Reiss is the founder of the German functional school of translation, and in her book Possibilities and Limitations in Translation Criticism she presented the prototype of the functional school's theoretical ideas. Reiss's text types are divided into four main categories. She points out that content texts emphasize the depictive function, formal texts emphasize the expressive function, operative texts emphasize the persuasive function, and audio-visual texts emphasize the audio-visual function. function). Therefore, these text categories can also be referred to as informative text, expressive text, operative text, and audio-visual text, respectively. Correspondingly, there are four types of functions.(Reiss 1972)&lt;br /&gt;
&lt;br /&gt;
1. Content-based text&lt;br /&gt;
&lt;br /&gt;
This type of text is content-based, and the text can be used to convey information and so on. When translating, the content should be restored to the greatest extent possible. These texts mainly include news reports and commentaries, business letters, cargo lists, instructions for use, operating instructions, and other professional works in technical fields.&lt;br /&gt;
&lt;br /&gt;
2. Formal texts&lt;br /&gt;
&lt;br /&gt;
The focus of formal texts is on their aesthetic significance. When translating such texts, the translator should aim to create a similar text effect in the form. Formal texts include literary prose (short essays, biographies, pure literature), imaginative prose (anecdotes, short stories, novels, romances), and all forms of poetry (from didactic poetry to narrative poetry to purely emotional poetry).&lt;br /&gt;
If the form is not preserved in translation, the content of the text may be lost as a result.&lt;br /&gt;
&lt;br /&gt;
3. Operative texts&lt;br /&gt;
&lt;br /&gt;
Operative texts are concerned with the response of the recipient of the text. This type of text clearly appeals to the recipient of the text through a certain point of view and with a certain purpose, expecting to receive the desired response. The representative texts are all operative texts in which the appealing element predominates, using advertisements, propaganda, sermons, debates, agitation or satirical texts that have an expressive purpose or linguistic expression.&lt;br /&gt;
&lt;br /&gt;
4. Audiovisual texts&lt;br /&gt;
&lt;br /&gt;
Generally speaking, any text that requires some degree of non-verbal communication with the audience is an audio-visual text. This includes mainly radio and television scripts, such as radio news and reports, overviews of hot topics, and theater productions. In these texts, not only grammar and narration techniques, but also sound effects and visual devices (in television and film) play an important role.&lt;br /&gt;
&lt;br /&gt;
====Peter Newmark’s View of Text Type Theory====&lt;br /&gt;
&lt;br /&gt;
Peter Newmark is one of the leading figures in the linguistic school of British translation theory. Newmark also made a detailed classification of texts, and he summarized them into the following three types according to their contents.(Peter Newmark 2001)&lt;br /&gt;
&lt;br /&gt;
1. Expressive texts&lt;br /&gt;
&lt;br /&gt;
This type of text focuses on the content of the text and the author's own point of view. Newmark divides them into three types of texts. (1) serious and imaginative literature, including lyric poetry, short stories, long novels, and plays; (2) authoritative texts, including a variety of texts whose authority comes from the author's status or linguistic ability, such as speeches and statements by senior government officials and political party leaders, legal regulations, documents, and literary and academic works written by authorities; (3) autobiographies, essays, and private letters that are straightforward and have no direct readership.(Jia Heping 2015)&lt;br /&gt;
&lt;br /&gt;
2. Informative texts&lt;br /&gt;
&lt;br /&gt;
The text often contains some content that does not involve the emotional and opinion part, and this part of the content can have its practicality, which is the information function of the text. Typical informative texts include textbooks, technical reports, newspaper articles, scientific papers, conference proceedings, etc.&lt;br /&gt;
&lt;br /&gt;
3. Operative text&lt;br /&gt;
&lt;br /&gt;
The function focuses on the response of the text receiver, and the text is set to get the desired response from the receiver, to produce certain influence on them or even change their concepts and behaviors. Typical vocative texts include notices, advertising campaigns, instructions, and persuasive texts (such as requests, appeals, etc.).&lt;br /&gt;
&lt;br /&gt;
He classifies language functions into six categories, based on what the philosophers of language Bühler and Jacobson have said about language functions. He believes that a text may have one function or several functions, but that one of these functions is the main one, as explained below.&lt;br /&gt;
&lt;br /&gt;
1. Expressive function&lt;br /&gt;
&lt;br /&gt;
Expression is a fundamental property of language. Expression is the process by which people use language to express their feelings, attitudes, and opinions. Expression focuses on output of the writer, not on the other person's reaction and feelings.&lt;br /&gt;
&lt;br /&gt;
2. Informative function&lt;br /&gt;
&lt;br /&gt;
The content of the text is mainly fixed, not with emotion, can be used by people in certain situations.&lt;br /&gt;
&lt;br /&gt;
3. Operative function&lt;br /&gt;
&lt;br /&gt;
This function focuses on the reaction of the recipient of the text, and the writer envisages the reaction of the recipient of the text when writing, in order to achieve the corresponding purpose.&lt;br /&gt;
&lt;br /&gt;
4. Aesthetic function&lt;br /&gt;
&lt;br /&gt;
Language contains traces of history, which represents a certain aesthetic of people. The first means used for this function is sound, and the second is metaphor. In addition, the rhythm, balance and contrast of sentences and words also have a role. The aesthetic function is present in most of the text categories, moreover, it is indispensable for poems, nursery rhymes and some advertising campaigns.&lt;br /&gt;
&lt;br /&gt;
5. Interpersonal function&lt;br /&gt;
&lt;br /&gt;
The interpersonal function is reflected in people's daily interactions and conversations. That is, language helps people establish relationships with each other.&lt;br /&gt;
&lt;br /&gt;
6..Meta-linguistic function &lt;br /&gt;
&lt;br /&gt;
Meta-linguistic function is a special function of language, refers to the language of the language itself to explain, name, analyze, comment on the function. Some expressions in the text, such as “strictly speaking, literally, so called, so to speak, by definition, etc.”, are manifestations of the meta-linguistic function.&lt;br /&gt;
&lt;br /&gt;
Of the above six functions, the first three are the main ones, but within a text, there may be multiple functions, but the text itself has a focus, and rarely does textual knowledge contain purely one function.(Li Zhi 2008)&lt;br /&gt;
&lt;br /&gt;
====Similarities and Differences Between Reiss's and Newmark's View of Text Type Theory====&lt;br /&gt;
&lt;br /&gt;
=====Similarities=====&lt;br /&gt;
Both theories are based on Bühler's triadic approach to language function. &lt;br /&gt;
&lt;br /&gt;
Both have the same understanding of the division and characteristics of different kinds of texts.&lt;br /&gt;
&lt;br /&gt;
=====Differences=====&lt;br /&gt;
First of all, language used in lived interaction is the main basis for Rice's definition of text types, and these are classified as text types that value content. Newmark, on the other hand, regards such lived language as a special linguistic function, and many experts consider this understanding by Newmark problematic.&lt;br /&gt;
&lt;br /&gt;
Second, there is a significant difference in their views of instructions, with Rice classifying them as informative texts because of their ability to provide certain information to readers. Newmark, on the other hand, classifies it as a operative text because of its ability to guide people and thus change their behaviors. In my opinion, the text of instruction manuals is due to the nature of the product itself, and the readers have the will to act before reading the text, and the manuals only provide them with certain information, so they should belong to the information category.&lt;br /&gt;
&lt;br /&gt;
Furthermore, the language used in living interactions is the main basis for Rice's definition of text types, and these are classified as text types that value content. Newmark, however, regards this lived language as a special language function, and many experts think that this understanding of Newmark is problematic.(Jia Heping 2015)&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
===Features of Public Service Advertisements===&lt;br /&gt;
&lt;br /&gt;
As an advertising method, public service advertisements have their own characteristics in many aspects. By analyzing the characteristics, we can accurately convey the idea that the PSA is trying to convey.&lt;br /&gt;
&lt;br /&gt;
====Content Features====&lt;br /&gt;
&lt;br /&gt;
1. Public welfare. The public welfare nature of PSAs is their essential feature, which is concerned with the common interests of the entire society. By observing the theme and content of the PSAs in both China and abroad, it can be seen that the topics of PSAs cover ecological protection, care for the earth, quality birth and education, opposing cults, advocating science, opposing war, advocating polite social mores, patriotism, and so on.&lt;br /&gt;
&lt;br /&gt;
2. Non-Profit. Public service advertisements are non-profit in nature. It does not exist for an organization or a business entity, but rather to draw people’s attention to and activate action on social issues. Commercial advertising, on the other hand, exists for financial gain.&lt;br /&gt;
&lt;br /&gt;
3. Popularity. The public service advertisements are made for the general public. As the audience's cultural level, the ability to understand different, so public service advertisements must be easy to understand. It not only requires the spread of advertising content to have universal significance, but also the form of popular, concise, accessible language, easy to understand. Only in this way, the public service advertisement can really serve the purpose of the public.&lt;br /&gt;
&lt;br /&gt;
4. Creativity. The advertising market is so diverse that the only way to make advertisements spread to  the public is to design them in a creative and meaningful way that will make them known to&lt;br /&gt;
more people.&lt;br /&gt;
&lt;br /&gt;
====The Features of Text Forms====&lt;br /&gt;
&lt;br /&gt;
1.Advertising texts that we see in our daily lives include slogans, public service messages and public service videos, and so on. Advertising slogans are usually short and meaningful, with simple counterpoint sentences, and are operative texts. On the other hand,public service messages are mostly preventive messages issued by social organizations to help disseminate precautions and draw people’s attention to an unexpected situation in order to maintain social order. They are mostly informative texts. Most PSAs have a complete storyline, thought-provoking dialogue, and a short slogan that summarizes the message of the ad.&lt;br /&gt;
&lt;br /&gt;
2. Public service advertisements are often designed with certain rhetorical techniques to enhance the aesthetics of the ad, make it catchy to read, and ultimately leave a deep impression on the public.&lt;br /&gt;
&lt;br /&gt;
====Similarities and Differences Between Chinese and English PSA texts====&lt;br /&gt;
&lt;br /&gt;
=====Similarities=====&lt;br /&gt;
&lt;br /&gt;
1. Public service texts in both languages often use certain rhetorical techniques, such as personification, alliteration, and end-rhyme, in order to evoke a call to action.&lt;br /&gt;
&lt;br /&gt;
2. Public service texts in both languages often use short sentences, especially in public service slogans, which are easy to remember and achieve the desired effect.&lt;br /&gt;
&lt;br /&gt;
3. Both languages use idioms and sayings that have been around for a long time.&lt;br /&gt;
 &lt;br /&gt;
=====Differences=====&lt;br /&gt;
&lt;br /&gt;
1. Chinese public service texts are good at using strong words such as &amp;quot;forbidden&amp;quot;, while English texts use more euphemistic words such as &amp;quot;Please&amp;quot;. When translating, we should respect the habits of the translating countries in order to better play the role of public welfare texts.&lt;br /&gt;
&lt;br /&gt;
2. Chinese public service texts tend to use poetry-like forms, with seven or five characters in order to be neatly matched. In English, they mostly use phrases of the same number of words to match each other.&lt;br /&gt;
&lt;br /&gt;
3.The translation of advertising slogans also needs to respect certain cultural differences, as Western societies emphasize the individual while the Chinese value collectivism. For example:&lt;br /&gt;
&lt;br /&gt;
Example 1：保护生态环境，造福子孙后代。&lt;br /&gt;
&lt;br /&gt;
Translation 1:Leave a sound ecological environment to your children.&lt;br /&gt;
&lt;br /&gt;
Such a slogan in Chinese emphasizes the impact on future generations without specifying whose children and grandchildren it is, but in the translation, the translator translates it as &amp;quot;Leave a sound ecological environment to your children.” to call on people to protect the environment.&lt;br /&gt;
&lt;br /&gt;
4. Westerners focus on direct expressions, while Chinese expressions are more subtle. For example:&lt;br /&gt;
&lt;br /&gt;
Example 2: 司机一滴酒，亲人两行泪。 &lt;br /&gt;
&lt;br /&gt;
Translation:Drink and drive costs your life.&lt;br /&gt;
&lt;br /&gt;
The sentence contrasts the words &amp;quot;酒&amp;quot; and &amp;quot;泪&amp;quot; without directly pointing out the possible serious consequences, leaving the reader to think about them and take actions. Instead, the translator simply translates it as &amp;quot;Drink and drive costs your life.”(Li Qingxue, Wang Huaiwang 2019)&lt;br /&gt;
&lt;br /&gt;
===Examples of C-E Translation of Public Service Advertisements===&lt;br /&gt;
&lt;br /&gt;
====Operative Text====&lt;br /&gt;
&lt;br /&gt;
Most of the PSAs are operative texts, and the pupose of operative texts in PSAs is to affect the public in order to attain the desired response from the advertisers. PSAs are created to publicize something of common social interest in order to attract attention and action, so the creative design of the advertisement should take this into account and retain the appealing elements of the original text when designing the advertisement.&lt;br /&gt;
&lt;br /&gt;
Example 3: 爱心播散 希望萌芽&lt;br /&gt;
&lt;br /&gt;
Translation: Spread love Sow hope&lt;br /&gt;
&lt;br /&gt;
The public service advertisement slogan is from a public service advertisement released by CCTV in 2016, which tells the story of Zhao Xiaoting, a student from Wuhan University, who volunteered to go to Guizhou to teach in the mountains. It was her selfless love that sowed hope for the children in the mountains. The ad reflects the great power of ordinary people and promotes the core values of socialism. It shows the power that volunteering can bring. &lt;br /&gt;
&lt;br /&gt;
The ad is very short, with a neat counterpoint, and the verb and noun have been swapped in the translation, with the verb being in front of the noun, indicating a dynamic process that can arouse the public's recognition of the act and inspire them to join in and contribute to the poor areas. The second verb in the original text is &amp;quot;萌芽&amp;quot;, but the translation uses &amp;quot;sow&amp;quot; to indicate the growth of hope, which is similar to the original text.(Jin Haibing 2005)&lt;br /&gt;
In addition, the translation version capitalize these two verbs to emphasize these selfless behavior. Learning from this, we can also adopt this translation skill which originates from the difference between Chinese and English.&lt;br /&gt;
&lt;br /&gt;
Example 4: 有你在，就是家。&lt;br /&gt;
&lt;br /&gt;
Translation：You bring me warmth of home.&lt;br /&gt;
&lt;br /&gt;
In this short film, a father in a rural area has never been away from home, and because he misses his son, who has not been home for a long time, he sets out on his own to visit him. The father has to change various means of transportation to get to the city, and encounters many difficulties because his being unable to speak mandarin well. The helpless father finally gets help from the staff, through whom he contacts his son. Eventually they both cry, and the short film ends with the father sitting on his son's motorcycleand going home together. &lt;br /&gt;
&lt;br /&gt;
The short film is very touching, and through the process of going into the city to look for his son, it shows us how brave and gentle people can be for love. If we translate the text word by word in the original order, we can't express this meaning, so we use phrases like &amp;quot;bringing sb warmth&amp;quot; to express the meaning of the original Chinese.(Ye Qiuling 2020)&lt;br /&gt;
&lt;br /&gt;
====Informative Text====&lt;br /&gt;
&lt;br /&gt;
Public service messages are informatiive texts, mainly used to convey certain information, with straightforward and concise text content, and the translator only needs to express its literal meaning directly when translating.&lt;br /&gt;
&lt;br /&gt;
Example 5：请您收到来自境外、国内新冠疫情中高风险地区的邮件、包裹，先对物品表面进行消毒，或在阳台等室外空旷处放置一段时间再打开。处理完包裹、邮件后，应立即用肥皂或洗手液清洗双手，或用免洗手消毒剂进行消毒。洗手前双手不触碰口、鼻、眼等部位。疫情防控有您的参与才能胜利！&lt;br /&gt;
&lt;br /&gt;
Translation: If you receive mail or parcels from overseas or domestic areas at high risk of Cov-19 outbreak, please disinfect the suface of the items first, and leave them on the balcony or other outdoor open space for a period of time before opening them. Immediately after handling parcels and mail, wash your hands with soap and hand sanitizer, or disinfect them with hand sanitizer. Do not touch your mouth, nose, eyes or other parts of your body before washing your hands. Outbreak prevention and control can only be won with your participation!&lt;br /&gt;
&lt;br /&gt;
Example 6：应急公益短信:为严防新型冠状病毒感染的肺炎疫情，山东省严禁任何形式的野生动物交易活动，严禁野生动物对外扩散和转运贩卖。对于违反规定的经营者、经营场所将予以停业整顿、查封，涉嫌犯罪的，将移送公安机关。社会各界如有发现违法违规交易野生动物的，欢迎拔打12345等投诉举报。&lt;br /&gt;
&lt;br /&gt;
Translation: In order to prevent the outbreak of pneumonia due to new coronavirus infection, any form of wildlife trade is strictly prohibited in Shandong Province, and the proliferation and trafficking of wildlife is strictly prohibited. The company's main goal is to provide the best service to the public.&lt;br /&gt;
If you are suspected of committing a crime, you will be transferred to the public security organs. If any&lt;br /&gt;
illegal trade of wild animals is found, the community is welcome to call 12345 to report complaints.&lt;br /&gt;
&lt;br /&gt;
====Expressive Text====&lt;br /&gt;
&lt;br /&gt;
The purpose of an expressive text is to express emotions and attitudes, the language focuses on aesthetics, and the focus of the text is on the form of expression, which requires attention to equity in translation. With the development of the economy and society and the improvement of people's living standards, the aesthetic level of the masses is also improving, and accordingly, the translation of advertising slogans should also change to adapt to the improvement of people's aesthetics.&lt;br /&gt;
&lt;br /&gt;
Example 7：善行无痕 一种习惯的美丽&lt;br /&gt;
&lt;br /&gt;
Translation: Kindness is traceless. A habit of beauty.&lt;br /&gt;
&lt;br /&gt;
The slogan is from a public service advertisement by CCTV in 2016. In the short film, a wife walks into a room to rest after stopping on the balcony for a long time, and her husband comes back and intends to tum off the balcony light to save electricity. The wife stops the husband, and the camera turns to two elderly sanitation workers who are finishing their meal by the light of the lamp she left for them, which the young couple lit for them in the night.&lt;br /&gt;
&lt;br /&gt;
Such kindness is obviously not accidental,but has been a habit of the wife in the short film, and is therefore natural and touching. The ad is intended to call attention to good deeds and habit formation through a story like this one. The ad's slogan is a literal translation, with &amp;quot;善行&amp;quot; translated as &amp;quot;Kindness&amp;quot; and &amp;quot;无痕&amp;quot; as &amp;quot;traceless&amp;quot;.&amp;quot;The use of end-rhyme rhetoric, which pursues equivalence of expressions and enhances the rhythmic beauty of the language, impresses readers and influences their perceptions and habits of good deeds, serving as a public service advertisement.(LiQingxue, Wang Huaiwang 2019)&lt;br /&gt;
&lt;br /&gt;
Example 8：保护肺脏，珍爱生命。（禁烟广告）&lt;br /&gt;
&lt;br /&gt;
Translation: Save your lung, save your life.&lt;br /&gt;
&lt;br /&gt;
The slogan comes from an anti-smoking advertisement that uses the alliteration, “lung” and “life”, to emphasize that quitting smoking is about protecting your lungs and your life. The two “saves” remind people that smoking is harmful to their health and that they should quit smoking as soon as possible to save themselves.&lt;br /&gt;
&lt;br /&gt;
===Misinterpretation of Public Service Advertisments===&lt;br /&gt;
&lt;br /&gt;
====Chinglish====&lt;br /&gt;
Chinglish refers to word-for- word translations that do not consider translation strategies from the perspective of the receiving language and cultural differences, and often cause difficulties in comprehension for the receiving readers.&lt;br /&gt;
&lt;br /&gt;
Example 9：小心地滑&lt;br /&gt;
&lt;br /&gt;
Misinterpretation: Foot Care.&lt;br /&gt;
&lt;br /&gt;
Suggested translation: Mind your step.&lt;br /&gt;
&lt;br /&gt;
The above misinterpretation is translated word-for-word, which not only makes it difficult for the recipient readers to read, but also affects the image of the city as a whole, so more citizens are taking notice and taking action to reject &amp;quot;dead translation&amp;quot; and &amp;quot;Chinglish&amp;quot;. &lt;br /&gt;
&lt;br /&gt;
====Grammatical errors====&lt;br /&gt;
Most grammatical errors are caused by the translator's own incompetence, mainly in the use of articles, subject- predicate inconsistencies, mis-matching of verb phrases, and word confusion.&lt;br /&gt;
&lt;br /&gt;
Example 10：珍爱生命 远离毒品。&lt;br /&gt;
&lt;br /&gt;
Mistranslation: Yes to life, no to drugs.&lt;br /&gt;
&lt;br /&gt;
Suggested translation: Cherish life and avoid drugs.&lt;br /&gt;
&lt;br /&gt;
The public service advertisement came from an anti-drug advertisement, obviously the mistranslated structure of the translation does not fit English conventions.&lt;br /&gt;
&lt;br /&gt;
====Inappropriate Use of Words====&lt;br /&gt;
There are some words in English that are very similar to each other, and improper use of words means that the translator uses words haphazardly without clearly distinguishing between similar words, resulting in a misinterpretation.&lt;br /&gt;
&lt;br /&gt;
Example 11：关爱残障人士&lt;br /&gt;
&lt;br /&gt;
Improper translation: Care for the handicapped.&lt;br /&gt;
&lt;br /&gt;
Suggested translation: Care for the disabled.&lt;br /&gt;
&lt;br /&gt;
The slogan is from a public service advertisement in which the word &amp;quot;handicapped,&amp;quot; which translates to &amp;quot;the handicapped,&amp;quot; is now somewhat outdated and contains a certain amount of offensive language that sometimes causes people to be It would make more sense to change it to &amp;quot;the disabled&amp;quot;, relatively speaking.&lt;br /&gt;
&lt;br /&gt;
====Redundancy====&lt;br /&gt;
The redundancy is due to the fact that the translators do not fully understand the differences between Chinese and foreign cultures and the purpose of the text.&lt;br /&gt;
&lt;br /&gt;
Example12：一花一草皆生命 一枝一叶总关情&lt;br /&gt;
&lt;br /&gt;
Improper Translation: Alive as all living things each flower and leaf of grasses require our care.&lt;br /&gt;
&lt;br /&gt;
Suggested Translation: Please give me a chance to grow.&lt;br /&gt;
&lt;br /&gt;
The original translator intended to present a vivid description of the original slogan in front of people, but failed to consider that the slogan was intended to arouse people's love for flowers and plants. We suggest that the translation should start from the operative textual features of the slogan and combine it with the straightforward expression habits of foreigners to call on people to take care of flowers and plants in a more euphemistic way.&lt;br /&gt;
&lt;br /&gt;
===Methods of C-E Translation of Public Service Advertising===&lt;br /&gt;
&lt;br /&gt;
====Literal Translation====&lt;br /&gt;
&lt;br /&gt;
The main characteristics of literal translation are twofold: in the treatment of word meanings and rhetoric (e. g., metaphors), it does not use transitive techniques (this distinguishes &amp;quot;literal translation&amp;quot;from &amp;quot;free translation&amp;quot;); in the treatment of linguistic forms (i.e., lexical-syntactic structure), it allows appropriate changes and shifts (This distinguishes &amp;quot;literal translation&amp;quot; from &amp;quot;word- for-word translation&amp;quot;).(Xiong Bing 2013) For example.&lt;br /&gt;
&lt;br /&gt;
Example 13: 我的盛开需要你的关爱 &lt;br /&gt;
&lt;br /&gt;
Translation : Luxuriant flowers need your care.&lt;br /&gt;
&lt;br /&gt;
The translation retains the personification of the original, treating flowers as species with emotions, but directly specifies that &amp;quot;I&amp;quot; means &amp;quot;flower&amp;quot;, which is in line with the habit of expression of the target audience and serves as a reminder.&lt;br /&gt;
&lt;br /&gt;
Example 14: 节约用水就是珍爱生命&lt;br /&gt;
&lt;br /&gt;
Translation : To save water is to save life&lt;br /&gt;
&lt;br /&gt;
The original text translates &amp;quot;conserve water&amp;quot; and &amp;quot;cherish life&amp;quot; into a neat pairing, and the translation also translates them into a neat pairing, and the expression is in line with the habits of expression of the people in the receive language. Both the original text and the translation equate &amp;quot;conserve water&amp;quot; with &amp;quot;cherish life&amp;quot; to arouse the attention of the masses and advertise the importance of saving water.&lt;br /&gt;
&lt;br /&gt;
====Paraphrase====&lt;br /&gt;
&lt;br /&gt;
A paraphrase translation is one in which the translator does not stick to the details of the meaning of the original text, much less to its vocabulary and syntactic structure, but &amp;quot;uses the original text as a reference model&amp;quot; and either translates only the general meaning, gist or key information (or selectively some of it) by condensing it, or translates it into a text with more information compared to the original article. (Xiong Bing 2013) For example.&lt;br /&gt;
&lt;br /&gt;
Example 15:爱我,追我,千万别吻我。&lt;br /&gt;
&lt;br /&gt;
Translation: Drive carefully! &lt;br /&gt;
&lt;br /&gt;
The original text is from a public service advertisement advocating cautious driving. The translation does not follow the literal meaning, but rather the translator uses a paraphrasing technique after understanding the meaning of the sentence and chooses two words to express the meaning. It is short and serves as a warning to motorists.&lt;br /&gt;
&lt;br /&gt;
Example 16：手下留情花自香，脚下留意草如茵。&lt;br /&gt;
&lt;br /&gt;
Translation: Take care of grass and flowers, please.&lt;br /&gt;
&lt;br /&gt;
The original text is a public service slogan with Chinese cultural characteristics, but it is difficult to find a corresponding expression in English when translating. Here the translator uses an invocation to remind the masses.&lt;br /&gt;
&lt;br /&gt;
====Borrowing Translation====&lt;br /&gt;
&lt;br /&gt;
A borrowing Translation is an explanation that replaces the original word or phrase by borrowing the idiom of the target language. For example.&lt;br /&gt;
&lt;br /&gt;
Example 17: 爱心传递你我，文明就在身边。&lt;br /&gt;
&lt;br /&gt;
Translation: Where there is a love, there is a virtue.&lt;br /&gt;
&lt;br /&gt;
The original is a slogan from an advertisement for the Olympic Games, which is a medium for promoting the spirit of the Games and the country's outlook. The translator chose a well-known proverb from the translated country, &amp;quot;Where there is a will, there is a way,&amp;quot; to expand the publicity effect.&lt;br /&gt;
&lt;br /&gt;
Example 18: 让世界倾听我们的声音&lt;br /&gt;
&lt;br /&gt;
Translation : Let our voice be heard in the world.&lt;br /&gt;
&lt;br /&gt;
The original text was a slogan from a CCTV public service advertisement, which was based on the lyrics &amp;quot;Let our voice be heard.&lt;br /&gt;
&lt;br /&gt;
===Conclusion===&lt;br /&gt;
&lt;br /&gt;
In this paper, the writer divides and analyzes different texts and explain the approaches they take in translation. This perspective of using text type theory to analyze and discuss how to translate public service texts may be of some help to scholars.&lt;br /&gt;
&lt;br /&gt;
According to different texts, the text type theory has its own emphasis in translation, and different PSA texts are mostly operative texts, and sometimes one text has multiple textual characteristics, which translators can take into full consideration when choosing the emphasis and translation methods.&lt;br /&gt;
Public service translation is very different from commercial advertising translation, which is mainly used to educate the public, convey correct and positive values, encourage people to take actions to help others, and create a good social environment to resist bad behaviors. Generally speaking, it is necessary to consider the actual situation when translating the PSAs.&lt;br /&gt;
&lt;br /&gt;
Through analyzing the texts of PSAs, the author has made the following discoveries, and the translation of PSAs can be done according to the text type theory. Although there are some cultural differences between the two languages, the differences do not make translation difficult to achieve. If literal translation cannot translate the meaning of the source text, then paraphrase,borrowing translation and other translation methods can also be used.&lt;br /&gt;
&lt;br /&gt;
===Limitation===&lt;br /&gt;
&lt;br /&gt;
In this paper, I put forward some personal ideas, but in the final version, I can still find my own shortcomings. First of all, there is still a lack of richness of information due to the limitation of space. Secondly, the depth of my ideas is still insufficient, and I only hope that this article can provide some research ideas for researchers and contribute to the translation of public service texts.&lt;br /&gt;
&lt;br /&gt;
===References===&lt;br /&gt;
&lt;br /&gt;
Newmark .(2001).P.A Textbook of Translation .Shanghai :Shanghai Foreign Language Education Press.&lt;br /&gt;
&lt;br /&gt;
Reiss,Katherina.(2004).Translation Criticism: the potential &amp;amp; limitation . trans .by Erroll F.Rhodes .Shanghai :Shanghai Foreign Language Education Press.&lt;br /&gt;
&lt;br /&gt;
Chen Yanhong 陈燕红. (2012).  文化视角中汉英公益广告的翻译策略 [Translation Strategies of Chinese-English Public Service Advertisements in Cultural Perspective].&lt;br /&gt;
&lt;br /&gt;
Jin Haibing 金海兵. (2005). 试谈公益广告标语及其翻译 [On Analyzing Public Service Advertisements and Their Translation].&lt;br /&gt;
&lt;br /&gt;
Jia Heping 贾和平. (2019). 论纽马克与赖斯的文本分类比较研究 [A Comparative Study on Newmark’s and Reiss’s Text Type Classification ]. &lt;br /&gt;
&lt;br /&gt;
Li Zhi 李治. (2008). 论纽马克与赖斯的文本分类比较研究 [Newmark’s and Reiss’s Text Type Classification and A Comparative Analysis of Translation Methodology ].&lt;br /&gt;
&lt;br /&gt;
Li Qingxue, Wang Huaiwang 李庆学 王怀望. (2019). 接受美学视角下的公益广告翻译 [A Study of English Translation of Public Service Advertisements from the Perspective of Reception Aesthetics].&lt;br /&gt;
&lt;br /&gt;
Liu Xiaofang 刘晓芳. (2015). 目的论视角下《中国日报》公益广告英译的探析 [The English Translation of PSAs in China Daily from the Perspective of Skopos theorie].&lt;br /&gt;
&lt;br /&gt;
Xiong Bing 熊兵. (2013).  翻译研究中的概念混淆 [Conceptual Confusion in Translation Studies].&lt;br /&gt;
&lt;br /&gt;
Ye Qiuling 叶秋伶. (2020). 语义翻译和交际翻译理论视角下中文公益广告英译——以央视公益广告为例 [English Translation of Chinese Public Service Advertisements from the Perspective of Semantic Translation and Communicative Translation Theory - Taking CCTV Public Service Advertisements as an Example].&lt;/div&gt;</summary>
		<author><name>Song Jianru</name></author>
	</entry>
	<entry>
		<id>https://bou.de/u/index.php?title=History_of_Translation_Studies_8&amp;diff=117485</id>
		<title>History of Translation Studies 8</title>
		<link rel="alternate" type="text/html" href="https://bou.de/u/index.php?title=History_of_Translation_Studies_8&amp;diff=117485"/>
		<updated>2020-12-21T06:38:14Z</updated>

		<summary type="html">&lt;p&gt;Song Jianru: /* Key Words */&lt;/p&gt;
&lt;hr /&gt;
&lt;div&gt;这里是《翻译学史》的书稿第八部分(Part 8)。麻烦各位同学看一下已经存在的章回（样品），自己再加进去新的一个章回（就是你们的学期论文）。请也帮助同学们把他们的论文改正。这样多次修改，大家的论文会越来越好。&lt;br /&gt;
&lt;br /&gt;
学期论文（结合学期所学，撰写一篇5000以上单词的英文论文，按照专业杂志的格式，题目、摘要、关键词和参考文摘需要英中，文章英）。学期论文成绩占70%，平时成绩（含课堂表现、展示及作业）占30%。&lt;br /&gt;
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*Link back to course homepage: [https://bou.de/u/wiki/Introduction_to_Translation_Studies Course Homepage Intro. to TS]&lt;br /&gt;
*Link back to the final exam paper section of the course homepage: [https://bou.de/u/wiki/Introduction_to_Translation_Studies#Final_Exam_Papers Final Exam Papers]&lt;br /&gt;
*Link to other parts of the final exam papers' website: [https://bou.de/u/index.php?title=History_of_Translation_Studies_1 Part 1], [https://bou.de/u/index.php?title=History_of_Translation_Studies_2 Part 2], [https://bou.de/u/index.php?title=History_of_Translation_Studies_3 Part 3], [https://bou.de/u/index.php?title=History_of_Translation_Studies_4 Part 4]; [https://bou.de/u/index.php?title=History_of_Translation_Studies_5 Part 5], [https://bou.de/u/index.php?title=History_of_Translation_Studies_6 Part 6], [https://bou.de/u/index.php?title=History_of_Translation_Studies_7 Part 7], [https://bou.de/u/index.php?title=History_of_Translation_Studies_8 Part 8]; [https://bou.de/u/index.php?title=History_of_Translation_Studies_9 Part 9], [https://bou.de/u/index.php?title=History_of_Translation_Studies_10 Part 10].&lt;br /&gt;
&lt;br /&gt;
='''History of Translation'''=&lt;br /&gt;
== Study on Brand Name Translation from the Perspective of Cultural Difference	谭鑫洁	Tan Xinjie==&lt;br /&gt;
&lt;br /&gt;
==='''Abstract'''===&lt;br /&gt;
&lt;br /&gt;
== Abstract: ==&lt;br /&gt;
&lt;br /&gt;
==='''key words'''===&lt;br /&gt;
&lt;br /&gt;
==='''摘要'''===&lt;br /&gt;
&lt;br /&gt;
==='''关键字'''===&lt;br /&gt;
&lt;br /&gt;
===Complete transcript of the content of the original work ===&lt;br /&gt;
&lt;br /&gt;
===Same style and manner of writing===&lt;br /&gt;
&lt;br /&gt;
===Equivalent effect===&lt;br /&gt;
&lt;br /&gt;
===Discussion===&lt;br /&gt;
&lt;br /&gt;
===Conclusion===&lt;br /&gt;
&lt;br /&gt;
===Bibliography===&lt;br /&gt;
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==A Comparative Study on the Translation History in Western Countries and China	王煜	Wang Yu 英美文学==&lt;br /&gt;
&amp;lt;center&amp;gt;王煜，202020080645.&amp;lt;/center&amp;gt;&lt;br /&gt;
===Abstract===&lt;br /&gt;
Translation is an intercultural communication activity. Translation activities have accelerated the development of human civilization and broken through the language barrier. As time goes by, things are in a state of flux and both the Western and Eastern countries have gradually formed their own histories of translation, the study of translation history is a basic project of discipline construction. Although there are many differences of the translation histories between the Western countries and China, the two kinds of translation histories are still shining their own bright and unique lights and have an indelible influence and contribution to translation activities. This paper intends to make a brief comparison of translation histories between Western countries and China, which includes the origins, the stages, the representatives of the stages, the significance and influence as well as the differences of the two translation histories.&lt;br /&gt;
&lt;br /&gt;
===Key words===&lt;br /&gt;
&lt;br /&gt;
Translation History of the West; Translation History of China; Comparative Study&lt;br /&gt;
&lt;br /&gt;
===中西翻译史对比研究===&lt;br /&gt;
&lt;br /&gt;
===摘要===&lt;br /&gt;
翻译是一种跨文化交流活动，翻译活动加快了人类文明发展步伐，减少了人们之间的沟通障碍。随着时代的变迁，中国和西方国家逐渐形成了各自的翻译史，翻译史的研究是学科建设的一项基础工程。尽管中西方翻译史在某些方面有所差异，但却都有着各自的独特性，并对人类的翻译活动产生了巨大的影响与贡献。文章将以中国和西方国家为主要对象，从二者翻译史起始，包含阶段和各阶段代表人物，影响意义，差异性出发，对二者的翻译史进行简略的对比研究。&lt;br /&gt;
&lt;br /&gt;
===关键词===&lt;br /&gt;
西方翻译史；中国翻译史；对比研究&lt;br /&gt;
&lt;br /&gt;
===1. Introduction===&lt;br /&gt;
&lt;br /&gt;
No matter in China or in the West, translation plays an important role in knowledge-spreading. As an indispensable part of translatology, the study of translation history has made a great influence on translation activities, it has gradually become the focus of the literary and historical circles in recent years. Translation activities can be traced back to the origin of language. The history of translation is almost as old as language itself, which is closely related to the changes in today's society. &lt;br /&gt;
&lt;br /&gt;
Since the 1980s, the translation studies in the mainland of China have made remarkable progress in the design of curriculum of Chinese and Western translation history and the compilation of related works. In the early 1980s and 1990s, there were many related works came out one after another including ''A Brief History of Chinese Translation: The Part Before the May 4th Movement''（《中国翻译简史-“五四”运动以前部分》） written by Ma Zuyi , ''A Historical Manuscript of Chinese Translated Literature'' （《中国翻译文学史稿》）edited by Chen Yugang, and also the ''A Short History of Translation in the West''（《西方翻译简史》）, the author of which is Tan Zaixi. Thus, it opens the gate for the compilation of Chinese and Western translation history works.(Xie Tianzhen2009,Ⅴ) &lt;br /&gt;
&lt;br /&gt;
The history of Western translation can be divided into five stages while the Chinese study of translation has a glorious history of more than two thousand years and has experienced five climaxes. Through the comparative study of Chinese and Western translation history, it will help us to have a deeper understanding of Chinese and Western translation activities, thus to gather a general full view of it, which will be a positive and meaningful attempt.&lt;br /&gt;
&lt;br /&gt;
===2. The Translation History of Western Countries===&lt;br /&gt;
&lt;br /&gt;
Western translation activities are rich in a long history. The history of Western translation can be roughly divided into three stages: the traditional stage, the modern times and the contemporary. More specifically, it can be grouped into the ancient times, the middle ages, the Renaissance period and the time after WWⅡ.&lt;br /&gt;
&lt;br /&gt;
===2.1 The First Stage: Translation in the Ancient Times===&lt;br /&gt;
 &lt;br /&gt;
The translation history of Western countries first began in the the 3rd century BC. In a broad sense, the earliest translation in the west is the Old Testament translated by 72 Jewish scholars in Alexandria, ancient Egypt, between the 3rd and 2nd centuries BC; Strictly speaking, the first western translation is the Greek Homer Epic ''Odyssey'' translated by Andronicus in Rome in the middle of the third century BC.(Tan Zaixi2000,88-89) &lt;br /&gt;
&lt;br /&gt;
At the end of the 4th BC, Greece began to decay and the Roman had became stronger and stronger with its military expansion. The expansion of the Roman Empire brought itself into contact with the splendid Greek culture, therefore, the Romans not only conquered the Greek city, but also inherited and developed the brilliant achievements of ancient Greek culture, and then created a  splendid cultural of its own era after Greece. So it soon began a large scale translation activities. The activity of translating and introducing Greek classical works probably began in this period.(Liu Junping2009,8) &lt;br /&gt;
&lt;br /&gt;
At that time, many famous translation theorists began to make their presences, namely Cicero, Quentin, Jerome and so on, also the famous Roman litterateurs like Andronicus, Naevius, Ennius, these great writers used Latin language to translate or adapt Homer’s epic or other Greece dramas. It started the translation tradition and promoted the birth and development of Roman literature.(Tan Zaixi2000, 89)&lt;br /&gt;
&lt;br /&gt;
===2.2 The Second Stage: Translation in the Middle Ages (4th-6th)===&lt;br /&gt;
&lt;br /&gt;
The second climax occurred in the late Roman Empire through the early Middle Ages and was concerned about religion. In this period, translation was mainly related to the religious stuff. Religious forces have great influence in the west, Christianity strived to promote its own religion, thus, the Bible, the source and psychological weapon of the Christianism naturally meant a lot in religious world. Since the Old Testament of the Bible was written in Hebrew and Greek, respectively, it needed to be translated into Latin for effective circulation in Rome.(Tan Zaixi2000, 89)&lt;br /&gt;
&lt;br /&gt;
&amp;quot;Jerome was a Latin Christian priest, he translated the Bible into Latin(Vulgute) according to the Hebrew version of the Bible. This version had a great influence on medieval theology and was the most widely circulated and authoritative translation of the Middle Ages, marking an unprecedented level of Western translation.&amp;quot;(Tan Zaixi2000, 89)&lt;br /&gt;
&lt;br /&gt;
===2.3 The Third Stage: Translation in the Middle Ages (11th-12th)===&lt;br /&gt;
&lt;br /&gt;
This period can also be called &amp;quot;the period of the Arab Centennial Translation Movement&amp;quot;,(Liu Junping2009,9) it lasted over two hundred years. In order to consolidate the rule and promote socio-economic and cultural development, the medieval Arab Empire undertook a massive, organized academic activity to translate and introduce the scientific and cultural classics of ancient Greece and the East. Translators of this period actively translated the most important works of Greek literature in all disciplines with an open mind and a strong desire for knowledge. &lt;br /&gt;
&lt;br /&gt;
Between the 11th and 12th centuries, Toledo became Europe’s academic center for its prosperous translation activities, the Western translators who gathered here translated many works from Arabic into Latin. Cultural patterns and religious ideas converged here.(Tan Zaixi2000, 90) &lt;br /&gt;
&lt;br /&gt;
Until nowadays, the positive influence of the movement still plays an inherent role: numerous proprietary names such as ‘concept’, ‘category' are gradually established in Arabic. This movement not only facilitated the integration of the inner Arab world, but also, in fact, promoted the integration of the Western and Persian worlds.&lt;br /&gt;
&lt;br /&gt;
===2.4 The Fourth Stage: Translation in the Renaissance Period===&lt;br /&gt;
&lt;br /&gt;
The Renaissance movement is a European ideological and cultural movement that took place from the 14th century to the 16th century, and reached its peak in the 16th century and inspired a cascade of the development of science, art and literature. A large number of outstanding translators shown up and a series of excellent translation works had been produced. During this time, a great quantity of ancient Greek and Roman classics had been rediscovered and translated into various European languages, which had brought about a profound impact on the European nation states. &lt;br /&gt;
&lt;br /&gt;
Leonardo Buruni, who was one of the most influential cultural translation practitioners in the Renaissance period and was also one of the earliest representatives of humanistic translators in the history of western translation. He was famous for his translation of Plato and Aristotle. Humanists began to study the Bible with the method of studying classical literature, and translated the Bible into the national language, which led to the rise of the religious reform movement. &lt;br /&gt;
&lt;br /&gt;
In Germany, Martin Luther, a religious reformer, translated the first mass Bible, which influenced most and ushered in a new era in the development of modern German; in Britain, Chapman, a writer and translator, translated Homer's ''Iliad'' and ''Odyssey'' from 1958 to 1616, and the translation and publication of the King James Bible in 1611 marked the formation of modern English.(Liu Junping2009,9)&lt;br /&gt;
&lt;br /&gt;
The Renaissance played a very important role in the Western history of the development of translation, it marked the status of national language in the field of literature and translation having finally been consolidated. Simultaneously, it showed that translation is playing a huge role in the formation and development of the national language, literature and thought.(Liu Junping2009,9)&lt;br /&gt;
&lt;br /&gt;
During the three hundred years that lasted from the 17th century to the 19th century, translation activities continued to move forward. Although its scale and influence could not be compared with that of the Renaissance, it still produced many excellent translators and translated works. The biggest feature was that translators not only continued to translate classical works, but also became interested in modern and contemporary works. The works of Cervantes, Shakespeare, Balzac, Goethe and other great writers had been repeatedly translated into various languages, and translations of Eastern literature have also been published.(Tan Zaixi2000,91)&lt;br /&gt;
&lt;br /&gt;
===2.5 The Fifth Stage: Translation after WWⅡ===&lt;br /&gt;
&lt;br /&gt;
Although World War II has brought different degrees of blows to many countries, some Western countries have used a large amount of capital to actively resume production, developed various social fields, and attached great importance to the person with ability. Western science and technology are changing with each passing day, driven by cybernetics, information theory and system theory. The world of knowledge and experience has been greatly expanded, and social and cultural exchanges have become increasingly close, which provided a solid material foundation and ideological guarantee for the prosperity of translation. &lt;br /&gt;
&lt;br /&gt;
With the growth in number or quantity of translation activities, translation theory continues to develop, and the number of translation talents in various countries keeps on increasing. Translation has gradually expanded from traditional literary and religious translation to other fields, such as scientific and technical translation and business translation, and with the emergence of professional translators, the influence of translation has become more and more obvious, playing an important practical role. Distinctive features in this time, from the scope to the scale, effect, and to the forms, are all different from any time in the past, having made tremendous progress, the translation scale has exceeded the past.(Tan Zaixi2000,92)&lt;br /&gt;
&lt;br /&gt;
There are a large number of outstanding translators and translation theorists in the West, who have put forward their different points from different angles in different periods, which made a brilliant contribution to the history of western translation. The Western translation activity promoted the cultural exchange and spread the ideas.(Tan Zaixi2000, 92)&lt;br /&gt;
&lt;br /&gt;
===3. The Translation History of China===&lt;br /&gt;
&lt;br /&gt;
China has a long history with 5000 years of civilization. Since China is a multi-ethnic country, so translation plays an irreplaceable role in the communication between different nationalities. There is no reference to the history of translation in China, although there are some documents in the Xia and Shang Dynasties, we still can not discern the translation activities at that time from the existing records. &amp;quot;The song of the Yue Boatman can be regarded as the first poetry translation in Chinese history.&amp;quot;(Ma Zuyi1998,5) However, it was only an isolated translation activity and did not trigger a large-scale translation movement in China.&lt;br /&gt;
&lt;br /&gt;
===3.1 The First Stage：Translation of Ancient Buddhist Scriptures===&lt;br /&gt;
&lt;br /&gt;
The first climax of the Chinese translation history was the translation of ancient Buddhist scriptures. ''The Potala Sutra'' should be the earliest translation of Buddhist scriptures in China. It was also said that the ''Forty-Two Chapters Sutra'' is the earliest Chinese translation of the Buddha's sutras, however, the one that is proven to be reliable should be the book ''The Fifty Books of the Mingdu'' translated by An Shigao during the reign of Emperor Huan of the Eastern Han Dynasty.(Ma Zuyi1998,17)&lt;br /&gt;
&lt;br /&gt;
It has experienced four phases, each of which had its own features: the first was the starting period which was from the last year of emperor Huan in the Eastern Han Dynasty to the Western Jin Dynasty. Translators in this period were mainly Buddhist monks,(Ma Zuyi1998,33) However, the quality of the translated works depends on the ability of the translators’ understanding of Chinese, so the classics of the translated works are varied. Also, due to the shortage of learners' language knowledge , they usually used literal translation. &lt;br /&gt;
&lt;br /&gt;
The second period was the developing time, from the Eastern Jin Dynasty to the Sui Dynasty. The Buddhist scriptures continued to prevail under the rulers' advocacy and began to translated Buddhist scriptures in an organized way but still translated literally. During this period, Shi Daoan put forward the famous theory of ‘Five losses of source texts and three difficulties in translation’. &lt;br /&gt;
&lt;br /&gt;
Meanwhile, through the translation and interpretation of nearly 400 volumes of Buddhist classics, kumarajiva first introduced Indian Buddhism to the Chinese people, which played an important role in the prosperity of Chinese Buddhism at that time.(Ma Zuyi1998,40) The translation in this time had changed from individual translation into group translation which had improved the quality of translation and as well made some progress in translation theories and skills.(Ma Zuyi1998,55) &lt;br /&gt;
&lt;br /&gt;
The third period was the heyday of the translation history took place in Tang Dynasty.(Ma Zuyi1998,58) Xuanzang was an important figure in promoting Sino-Indian friendship and cultural exchanges in China's history，not only was he a great translator and organizer of translation, but he was also a great translation theorist whose contribution to translation studies still remains significant today. &lt;br /&gt;
&lt;br /&gt;
As for the last period, it was in the Northern Song Dynasty, the studying of translating scriptures gradually withered, and during this period, the translation mainly focused on the esoteric classics translations.(Ma Zuyi1998,82)&lt;br /&gt;
&lt;br /&gt;
As part of Chinese history, especially as the link of the cultural development, the translation of Chinese ancient Buddhist sutra has contributed more than a lot.  The spread of Buddhist ethics contributed to the formation of Taoism in China.&lt;br /&gt;
&lt;br /&gt;
===3.2 The Second Stage：Technical Translation during the Yuan and Ming Dynasties===&lt;br /&gt;
&lt;br /&gt;
The translation of Buddhist scriptures gradually declined during the two hundred years of the Ming Dynasty. With the arrival of Western Christian missionaries, China came into contact with Europe. In order to facilitate their relations with Chinese officials and intellectuals, the missionaries translated works of Western science and technology as well as Christian texts assisted by Chinese officials. They also introduced the Chinese classics to the West.(Ma Zuyi1998,263) &lt;br /&gt;
&lt;br /&gt;
Matteo Ricci came to China on a mission to introduce Western scientific and technological knowledge. He pioneered the history of combining Chinese and Western translation to introduce Western scientific and technical literature, and was the first to translate the ''Four Books'' into Latin, he was the first to introduce Chinese texts to the West.(Ma Zuyi1998,263) &lt;br /&gt;
&lt;br /&gt;
From the Wanli period of the Ming Dynasty to the &amp;quot;new learning&amp;quot; period of the Qing Dynasty, translators who introduced science, literature and philosophy in Western Europe, represented by Xu Guangqi, Lin Shu and Yan Fu appeared. Xu Guangqi was a patriotic scientist and organizer of the scientific and cultural movement in China at the end of the Ming Dynasty. He made outstanding achievements in introducing Western natural sciences and promoting the development of  science in China.&lt;br /&gt;
&lt;br /&gt;
===3.3 The Third Stage：Literary Translation in Late Qing Dynasty===&lt;br /&gt;
&lt;br /&gt;
After the Opium War, the Qing government organized a large number of scholars to translate books of western natural science. Under the influence of the thought of reform, a large number of translations introducing western political thoughts, scientific methods and some literary works appeared. ''The Records of Four Continents'', translated by Liang Jinde, asked by Lin Zexu, was the first systematic introduction to the geographical knowledge of western countries in modern China.（Ma Zuyi1998,329）&lt;br /&gt;
&lt;br /&gt;
After the Sino-Japanese War of 1894-1895, Yan Fu translated the theory of evolution and put forward the triple criteria of ‘faithfulness, fluency and elegance’, which has played a great guiding role in the translation practice of later generations, His translation promoted the development of &amp;quot;new learning&amp;quot; and enlightened the Chinese nation at that time.（Ma Zuyi1998,377）&lt;br /&gt;
&lt;br /&gt;
Another scholar Liang Qichao, who was a politician, thinker and encyclopedia scholar of that time, advocated that China needs to develop the translation career and cultivate translation talents at a full stretch. He has done fruitful research on the translation of Buddhist scriptures and the translation of science and technology between the Ming and Qing Dynasties.（Ma Zuyi1998,384）&lt;br /&gt;
&lt;br /&gt;
===3.4 The Fourth Stage：The Translation of Socialist and Communist Works===&lt;br /&gt;
&lt;br /&gt;
The May 4th Movement was a watershed in China's modern translation history, which made a significant contribution to the introduction of foreign literature to China and the development of literature in China. After the May 4th movement, China's translation industry has ushered in a new historical period. Translators in this period, compared with those during the late Qing dynasty, were more selective in source texts. Chinese translation scholars began to introduce the classic works of Marxism-Leninism and the literature of the proletariat. The translation of the Manifesto of the Communist Party was published during the May 4th movement. &lt;br /&gt;
&lt;br /&gt;
During this period, great changes have taken place in the content and form of translation work: vernacular began to replace classical Chinese, as a result, popular language becomes easy to understand and the excellent literary works of western countries have attracted more and more Chinese readers. &lt;br /&gt;
&lt;br /&gt;
Famous translators like Lu Xun, Mao Dun, Zheng Zhenduo, Guo Moruo, Zhu Shenghao, Lin Yutang had translated a large number of foreign masterpieces, which enriched the inner world of the Chinese people. Lu Xun once advocated that there should be an exotic atmosphere in the translated works which would familiarize the readers with the foreign cultures. He also believed that the literal translation of culturally loaded words was one of the important means of enriching the mother tongue. These scholars helped the Chinese people to know more about the outside world and laid a good foundation for the systematization and scientification of translation theory in China.&lt;br /&gt;
&lt;br /&gt;
===3.5 The Fifth Stage：The Translation after 1949===&lt;br /&gt;
&lt;br /&gt;
The founding of the People's Republic of China in 1949 enabled translation to enter a new era. With the founding of the new China, China's translation industry was also liberated. Translation became a very important part of the national, cultural and educational cause. National organizations for translators were established in order to protect the interests and benefits of translators. The quantity and quality of translated works have grown by leaps and bounds. &lt;br /&gt;
&lt;br /&gt;
Since then, translation work has been an important part of the new socialist culture, and has been developing rapidly, making great achievements and perfecting translation theory. The classical works of Marxism-Leninism, excellent foreign literature, scientific and technical literature and the like were systematically introduced. There are large-scale translations like the translation of Marx and Lenin's works. &lt;br /&gt;
&lt;br /&gt;
In the 1950s, scientific and technical works were translated to meet the demands of the national social and economic construction. In the 1970s, translation of United Nations documents after China was restored to its rightful seat in the United Nations. Also, literary translators became a very important part of China's literature and arts personnel. Qian Zhongshu He puts forward his &amp;quot;transmigration theory (化境说)&amp;quot; for literary translation. It is like the act of transmigration in which the soul, the spirit of the original text remain in the target text even although the carrier of them, the language, has changed. In 1978, two years after the end of disastrous &amp;quot;cultural revolution,&amp;quot; China adopted its &amp;quot;reform and open&amp;quot; policy. A new and dynamic atmosphere for translation emerged.&lt;br /&gt;
&lt;br /&gt;
===4.The Comparative Study Among the Two Kinds of Translation Histories===&lt;br /&gt;
&lt;br /&gt;
===4.1 The Similarities of the Western and Chinese Translation History===&lt;br /&gt;
&lt;br /&gt;
About the religious and translation, we can easily notice that in the history of Chinese and Western translation, almost all the early translation activities were the translation of religious classics. The translation of religious classics had opened the curtain of Chinese and Western translation history. The spread of religion is always accompanied by the translation of religious classics. It is not difficult for us to understand the reason: after the emergence of religion, in order to absorb more believers, it is necessary for the religion to spread widely across nations and countries. Therefore, from ancient times to the present, religion is always a kind of forms of various national beliefs and cultures. It keeps on influencing the spiritual belief and behavior of society.&lt;br /&gt;
&lt;br /&gt;
The translation activity has made great contributions to the establishment and development of national languages in various countries. For example, in the history of Western translation, Martin Luther's Bible translation played an important role in the unification and development of Tthe German language and the establishment of modern German. &lt;br /&gt;
&lt;br /&gt;
What’s more, the English version of the Bible enriched the English vocabulary and benefited the modernization of English a lot. The same in China, the Buddhist scripture translation also enriched the use of Chinese vocabulary. In the ideological field, it not only laid the foundation for the establishment of Taoism, but also paved the way for the formation of &amp;quot;New Confucianism&amp;quot; in the Song Dynasty. And we can not ignore the contribution of the literary translation in the first half of the 20th century to the establishment and development of modern vernacular Chinese. &lt;br /&gt;
&lt;br /&gt;
The translation activity helps to transmit cultural values and promote cultural exchange. Translation bears the mission of cultural exchange, the translation activities are trying to make a close connection between nations and countries and introduce the language and cultural habits of one nation to another. Such kind of efforts have enriched the vocabulary and promoted the exchange between areas. &lt;br /&gt;
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Jesuits who came to China in the late Ming and early Qing dynasties would translate Chinese classics and literary works into foreign languages, which, in a state of isolation between China and Europe, have become the middlemen for the exchange of Chinese and Western civilizations.(Tan Zaixi1999,26)&lt;br /&gt;
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===4.2 The Differences Between the Western and Chinese Translation History===&lt;br /&gt;
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First, time is different. Western translation predates Chinese translation by over 200 years. It is said that the reason is due to the differences in topography and geomorphology of the two parts. We all know that China possesses a great number of mountains and lakes, and in ancient times, it would take quite a few days to send messages from one place to another, especially when people in the remote areas, it would be a hard and long journey for them to head for a destination. So, there is a difficulty in communicating among the various peoples in different nations. There would be a delay in communication and connection. &lt;br /&gt;
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As for the West, there are numerous plains, so, it was much convenient and easier for the Western people to communicate and exchange their ideas with each other, which set a ideal environment for the development of translation activities.&lt;br /&gt;
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Also, the position of religion varies. The different tradition and culture of the West and China make the concept of religion of the two quite varied. Different religious cultures have different forms of expression and vocabularies of their own. In the West, the Bible is not only a religious classic but also an important mainstay of Western culture and the foundation of Christian faith. Buddhism was introduced into China from India in the early years of AD and became a very important part of Chinese traditional culture, in order to consolidate his ruling position, the rulers controlled the people spiritually. The doctrine of Buddhism satisfied to the ruler's appetite, so it was first spread among the ruling class and gradually gained its legal status.&lt;br /&gt;
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The tradition of Western and Chinese translation differs. One of the differences of them is between the single system and poly system. “The simplicity of Chinese translation tradition is mainly in the narrow sense，though there are different kinds of translations of national languages in China, most of them are still dominated by the tradition of Chinese language and culture translation, because they all occurred in the same environment of the language culture since ancient times, that is , the environment of Chinese language culture.”(Tan Zaixi2000,15) &lt;br /&gt;
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In contrast, in terms of space, the Western translation tradition did not always develop in the same region. In the later formation and development process, it spread throughout all ethnic regions in Europe；In terms of time, the western translation tradition began in ancient Rome, and then evolved into the ancient Latin language and culture system. In the later period of the middle ages, the system expanded and evolved into many relatively independent ethnic systems. So the system of the West is more like a kind of poly system instead of a single system like China.(Tan Zaixi2000,15)&lt;br /&gt;
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The concept of Chinese and Western translation is different. Meanwhile, the translation theory in China and the west varies. Chinese translation tradition pays more attention to practicality than to the theory. Like professor Tan Zaixi once said: “What Chinese translators and translation theorists most concerned about is how to deal with the difficulties in translation.” However, Western translation pays more attention to systematicness and theory.(Tan Zaixi2000,16) &lt;br /&gt;
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Secondly, the national characteristics of China and the West are also different. Relatively speaking, Western ideas are more open and Chinese more conservative. For a long time, the Chinese people advocate authority and accept fewer challenges. China's three cardinal principles and five constancies in religion are in sharp contrast to the religious reform in the West. Although the West also advocates authority and takes religion as its belief, it dares to break dogmatism, which brings a breakthrough to western translation studies to a certain extent.&lt;br /&gt;
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===Conclusion===&lt;br /&gt;
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History is a bridge connecting the past, the present and the future. Throughout the history of translation between China and the West, although the differences between them inevitably exist, the brilliant translation achievements made by both sides are remarkable: excellent translators, translation scholars, or outstanding  translation theory, translation works, all of these have opened up the way for our future translation research, they are leading people to pursue knowledge and to explore into the unknown field.&lt;br /&gt;
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Mastering the history of a discipline can help us to see the direction of its development, we then will be able to learn from the experience and lessons in the process and use this kind of method to guide the development of this subject. To have contact with the history of translation is helpful for us to understand and improve the level of translation and develop the translation career. The achievements of our predecessors have accumulated valuable cultural heritages for us. We should sum up our predecessors' translation experience and continue to make our efforts for our country's translation cause.&lt;br /&gt;
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===References===&lt;br /&gt;
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*Li Xuan. 李璇. (2012). 中西翻译高潮之对比 [Comparison of Translation Climax Between China and the West]. ''青年文学家'' Youth Literator(3) 131.&lt;br /&gt;
*Liu Junping. 刘军平. (2009). ''西方翻译理论通史'' [A General History of Western Translation Theory]. Wuhan: Wuhan University Press 武汉大学出版社.&lt;br /&gt;
*Ma Zuyi. 马祖毅. (1998). ''中国翻译简史-“五四”以前部分（修订本）'' [A Brief History of Chinese Translation: The Part Before the May 4th Movement] . China Translation Corporation 中国对外翻译出版公司. &lt;br /&gt;
*Qi Jian. 戚健. (2017). 古罗马时期翻译思想新探 [A New Probe Into the Translation Thoughts in Ancient Rome]. ''南昌航空大学学报：社会科学版'' Journal of Nanchang Hangkong University: Social Science (3) 68-74.&lt;br /&gt;
*Tan Zaixi. 谭载喜. (2000). ''翻译学'' [A Series of Translation Studies in China]. Wuhan: Hubei Education Press 湖北教育出版社.&lt;br /&gt;
*Tan Zaixi. 谭载喜. (1999). 中国翻译与西方翻译 [Chinese Translation and Western Translation].''中国翻译'' Chinese Translation Journal(5) 6-8.&lt;br /&gt;
*Tan Zaixi. 谭载喜. (2000). 中西译论的相异性 [The Differences Between the Chinese and Western Traditions of Translation Theories]. ''中国翻译'' Chinese Translation Journal (1) 15-21.&lt;br /&gt;
*Tan Zaixi. 谭载喜. (1999). 中西译论的相似性 [The Similarities Between the Chinese and Western Traditions of Translation Theories]. ''中国翻译'' Chinese Translation Journal (6) 25-28.&lt;br /&gt;
*Wang Yong. 汪勇. (2008). 翻译与宗教传播 [Translation and Religious Communication]. ''中国校外教育理论'' Education for Chinese After-school(26) 51-53.&lt;br /&gt;
*Xie Tianzhen. 谢天振. (2009). ''中西翻译简史'' [A Brief History of Translation in China and the  West]. Foreign Language Teaching and Research Press 外语教学与研究出版社.--[[User:Wang Yu|Wang Yu]] ([[User talk:Wang Yu|talk]]) 01:49, 21 December 2020 (UTC)&lt;br /&gt;
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==Comparison and Translation Studies Between Chinese and Western Color Terms	方洁玲	Fang Jieling==&lt;br /&gt;
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=== Abstract ===&lt;br /&gt;
Color terms are terms used to describe the external color characteristics of things, and are very common in our lives. We use them not only to describe the external image of an object, but also to express our inner psychological feelings. Color words contain rich cultural connotations, which should not be understood simply from their literal meanings when translated, but from the different cultural connotations and extended meanings contained in the color words to understand and choose the meanings of the words. This paper first introduces the composition of color words in Chinese and English and makes a comparative analysis of their characteristics, then discusses the different meanings given to the six colors in Chinese and English, and then provides different translation methods that should be used in different situations, providing a certain reference for the English-Chinese translation.&lt;br /&gt;
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===Key words ===&lt;br /&gt;
color terms, cultural difference , reason ,translation methods&lt;br /&gt;
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=== 摘要 ===&lt;br /&gt;
颜色词是用来描述事物外在颜色特征的词语，在我们生活中非常常见。我们不仅用它描绘物体的外在形象，也用它表达内在心理感受。颜色词包含了丰富的文化内涵，在翻译的时候不能简单地从字面意思上理解，应从颜色词所包含的不同文化内涵和引申意义来理解和选择词义。本文将首先介绍中英颜色词的构成并对其特点进行对比分析，然后具体论述六种颜色在中英文中被赋予的不同意义，接着提供了面对不同情况应该采用的不同翻译方法，为英汉互译提供了一定的参考。&lt;br /&gt;
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=== 关键词 ===&lt;br /&gt;
颜色词 文化差异 原因 翻译方法&lt;br /&gt;
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=== 1.Introduction ===&lt;br /&gt;
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Color is an indispensable part of human life,it is because of the colorfulness of colors that the world is much more varied and pleasant. Color words not only have an important impact on people's vision, but also have a great impact on people's inner feelings and emotional expression. As an important part of language, color words are frequently used by human beings in English, but due to different histories, cultures, customs and habits, in the long run, different people have given specific meanings to various colors. &lt;br /&gt;
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Analyzing and comparing the different connotations of color words in Chinese and Western cultures and exploring the cultural differences between English and Chinese will be of great help to the translation work between English and Chinese. At the same time, translators will inevitably meet a lot of problems in the translation work. In this paper, we mainly discuss the composition and cultural connotation of color words between Chinese and English. In addition, we also propose some translation methods and make a brief conclusion.&lt;br /&gt;
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=== 2.Characteristics of the Composition of Chinese and Western Color Words ===&lt;br /&gt;
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Color words are words used to describe the color of different things. And they are the symbols that exist in human languages to record a large number of colors, which are generally considered to be adjectives in grammar.&lt;br /&gt;
In the historical development of Chinese color words, there are three types.(Cai Xiaomin2020,65) &lt;br /&gt;
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(1) Basic words. These words are the most basic and objective, and are generally used to objectively describe the most direct external color state of an object. They are &amp;quot;white&amp;quot;, &amp;quot;black&amp;quot;, &amp;quot;red&amp;quot;, &amp;quot;yellow&amp;quot;, &amp;quot;blue &amp;quot;&amp;quot;Green&amp;quot; &amp;quot;Gray&amp;quot; &amp;quot;Purple&amp;quot; &amp;quot;Brown&amp;quot; and &amp;quot;orange&amp;quot;.&lt;br /&gt;
(2) Reference words. Reference words means that people specifically distinguish basic words to show different colors. These words are more detailed and specific than the basic words. For example, we tend to divide &amp;quot;green&amp;quot; into &amp;quot;dark green&amp;quot; &amp;quot;grass green&amp;quot; and so on.&lt;br /&gt;
(3)Descriptive words. Descriptive words comes from people's perception of nature. These words can not only distinguish colors, but also describe what they look like. Such color words are more literary and subjective.(Cai Xiaomin2020,65)&lt;br /&gt;
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Color words in English are mainly divided into basic color words and compound color words.&lt;br /&gt;
basic color words : (1) simple colors. For example, black, white. (2) Colors of plants. For example, orange, etc.&lt;br /&gt;
Compound color words : (1) the name of plant + simple color. For example, apple green. (2) Chemical name + simple color. For example, vermilion, etc(Cai Xiaomin2020,65)&lt;br /&gt;
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=== 3.The Different Understanding and Perception of Colors in China and the West ===&lt;br /&gt;
Nature is colorful and can be described with many words. Generally speaking, black symbolizes oppression, white symbolizes purity and innocence, and green symbolizes life force. However, due to different histories and cultures, the same color may have different meanings. After a careful study of color words, it is easy to see that color words create various associations that have a great impact on a person's emotions and behavior. This is the main reason why people use color words to explain their moral character, emotions, and perceptions of things.(Wang Yu2012,151) &lt;br /&gt;
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Different cultures and ways of thinking lead to different meanings of color words, and this disparity can affect people's understanding of the meaning of the same word. For example, in English-speaking countries, white symbolizes purity and beauty, which is why brides wear white wedding dresses in Western weddings. However, in China, white is often used to express grief, and a white funeral dress is worn at a funeral.(Du Tianyu2020,188) In this paper, we start with the six basic color words red, black, white, yellow, purple and blue, and compare their cultural connotations in English and Chinese, discussing the different understanding and cognition of colors in China and the West and the differences in cultural connotations between Chinese and Western cultures.&lt;br /&gt;
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====3.1 红and Red ====&lt;br /&gt;
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In traditional Chinese culture, &amp;quot;红&amp;quot; represents joy, happiness, good luck, and prosperity. &amp;quot;红&amp;quot; is a color that cannot be absent from important events in China, such as the red couplets(红包), red lanterns（红灯笼）, and red packets（红包） during Chinese New Year festivals, the red dress of the bride at weddings, and other festive ceremonies in China. Similarly, words combining the word &amp;quot;红&amp;quot; generally mean prosperity, such as “hongguangmanmian”（红光满面）、”dahongdazi”(大红大紫)、”honghuo”(红火)、”hongren”(红人)、”hongrun”(红润), etc. In addition, during the revolutionary era, the color red also symbolized the modern Chinese revolution and power, such as the“hongsezhengquan”(红色政权)、”hongjun”(红军)、”hongqi”(红旗)、”hongge”(红歌)、”hongsewenjian”(红头文件)、”hongseganglin”(红色纲领), etc.(	Zhao Fenyan2019,232)&lt;br /&gt;
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In the West, red refers to the color of blood, and when red is mentioned, it is generally associated with cruelty, violence, and bloodshed. For example, &amp;quot;red hands&amp;quot;, &amp;quot;red battle&amp;quot;, &amp;quot;the red rules&amp;quot; &amp;quot; red revenge&amp;quot;, the color red also symbolizes radical and violent revolution, as in &amp;quot;red activities&amp;quot;, but also danger and tension,such as &amp;quot;a red flag&amp;quot;. &amp;quot;red alert&amp;quot; &amp;quot;a red adventure story&amp;quot;,in addition to the above-mentioned symbolic meaning, the color red also has connotations of debauchery and obscenity.(Yan Wen2012,177)For example, red light district, a red waste of one's youth, and so on. The positive connotation of the color red in Western culture is due to the exchange and integration of different cultures, which is said to have been introduced to the West via Persia from the Far East. like red letter day、red envelope、the red carpet.&lt;br /&gt;
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====3.2 黑 and Black ====&lt;br /&gt;
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In Chinese history, “黑” is an honorable and dignified color, which had a high status in ancient times. During the Xia, Qin, and early Han dynasties, “黑” was the dress of emperors and officials, and the common people were only allowed to wear plain clothes, and then a restriction that was gradually relaxed after the Northern Song Dynasty. In China, the derivation of “黑” includes the positive meanings of stern, iron-faced, upright, and mysterious, such as in the art of theatrical masks, where the “黑脸” symbolizes the noble character of uprightness and selflessness. In addition to its positive connotations, “黑” sometimes symbolizes a derogatory meaning, indicating a counter-revolutionary, regressive, or stubborn party. For example, the ”阴曹地府” is said to be dark and sunless, and “黑”, as opposed to light, symbolizes darkness, death, terror, etc. (Wang Yu2012,150)&lt;br /&gt;
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In the West, black is the color of death, symbolizing death, suffering, and grief, hence the black color of Western mourning garments. black tidings means &amp;quot;bad news&amp;quot;，Jesus was crucified on the Friday before Easter, The Black Friday is considered to be a &amp;quot;dangerous and ominous day&amp;quot;. Black also symbolizes &amp;quot;anger&amp;quot; and &amp;quot;irritation&amp;quot;, such as: black in the face,to look black at sb，Other words that express negative meanings，such as black sheep, black dog, black eye, black list, black and blue, black art, and other black symbols.(Wang Yu2012,151)In addition, black also represents seriousness, discretion, and pomp. Black suit and black dress have always been the most revered traditional clothing in the West. In solemn formal occasions, people like to wear black clothing. Symphony orchestra performers almost always wear black suits. The term &amp;quot;black-ball&amp;quot; refers to a costume ball. In business English, &amp;quot;a company in black&amp;quot; refers to a profitable business, where“ in black” means profitable, because on financial statements, profit figures are written in black ink.&lt;br /&gt;
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====3.3 白 and White ====&lt;br /&gt;
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In Chinese, “白” is often used to represent death, such as at funerals with white decorations, white flowers, and white mourning clothes, but there are also many words containing “白” that do not represent color at all, but rather the name of something or have another meaning,[8]such as”baicai”(白菜), “baixiong”（白熊）、 “baiyi”(白蚁)、”baijuan” (白卷)、 “baichi”(白痴), White&amp;quot; also means &amp;quot;pure, or unadulterated, such as”baikaishui”(白开水)、”baizhi”(白纸)、”baiqierou”(白切肉)etc. &amp;quot;White&amp;quot; also often means &amp;quot;in vain&amp;quot; or &amp;quot;without cost&amp;quot;, such as”baifeishi”(白费事)、“baida”（白搭）、”baisong” (白送)、“baishouqijia” (白手起家) etc(Chen Yongye2005,425) &lt;br /&gt;
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and The Chinese word “白” is also not the same as the English word &amp;quot;white&amp;quot;, which we can say the white people (白人), but is better translated as: She has a fair skin. In addition, it is difficult to summarize the exact meaning of some of the“白” in Chinese, For example “baihua”(白话) vernacular, “tanbai”（坦白）: to confess, to make a clean breast of something, etc.(Yan Wen2012,176)&lt;br /&gt;
In the West, however, white is considered as a symbol of purity, and it is customary to wear white wedding dresses and gowns at weddings, hence there exist the expressions like white-handed，a white lie，a white day, they treated us white etc.&lt;br /&gt;
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====3.4 黄 and Yellow ====&lt;br /&gt;
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In traditional Chinese culture,”黄” is a symbol of power, honor, and nobility, in the Chinese feudal society, yellow is a symbol of imperial power and nobility, such as ”chonggao”(崇高)，”huangpao”(皇袍)、”huanggong”(皇宫)、”shengzhi”(圣旨) and so on. In modern Chinese, words such as “huangchengcheng”(黄澄澄),”huangcanvan”(黄灿灿)mean a good harvest and an auspicious day. ”黄” is a glorious color. And it is always associated with &amp;quot;honor&amp;quot;, &amp;quot;brilliance&amp;quot;, it is a symbol of &amp;quot;power&amp;quot; and &amp;quot;nobility&amp;quot;. To this day, ”黄” is still the symbol of ancient China, which is its positive meaning. Similarly, ”黄” has negative connotations, such as ”huangseshukan”(黄色书刊) , “huangseluxiang”(黄色录像) etc.(Yan Wen2012,178)&lt;br /&gt;
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but in the West, the term &amp;quot;the blue video&amp;quot;, &amp;quot;the blue talk&amp;quot; is used to describe the pornographic nature of the country. It means ”huangsedianying”(黄色电影)and ”huangsexinxi”(黄色信息)(Du Tianyu2020,188). In addition, ”黄” also means failure, sickness, or old age, such as ”huangji”(黄髫). The word ”黄” also means youth and ignorance.In the West, in Western Christianity, yellow is a symbol of shame. Because in the Bible, Judas betrayed Jesus by wearing a yellow dress. Therefore, &amp;quot;yellow&amp;quot; has the connotation of betrayal .And it also means sadness, sickness, cowardice, etc.(Chen Yongye2005,425) For example, &amp;quot;a yellow streak&amp;quot; means cowardice. &amp;quot;yellow&amp;quot; also has mean and vulgar semantics. In the 18th century, Americans often printed pornographic books on yellow paper. &lt;br /&gt;
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As a result, the low level of exaggeration and exaggerated distortion of facts used by newspapers and periodicals to attract readers was later extended to journalistic styles as well. For example, &amp;quot;yellow journalism&amp;quot; is a style of journalism that attempts to attract people in any way possible. In English, Yellow Pages is the &amp;quot;yellow phone book&amp;quot;, and yellow boy is a slang term for &amp;quot;gold coin. The English words for Chinese ”黄” would be: pornographic, filthy, vulgar, obscene, etc. In English, blue is often used to mean ”黄”, such as blue jokes(下流的玩笑)、blue revolution (性解放)、blue films (黄色影片)、blue software (黄色软件)etc.(Chen Yongye2005,425) Some Chinese words have nothing to do with the English word yellow, such as blue jokes(下流的玩笑)、blue revolution (性解放)、blue films (黄色影片)、blue software (黄色软件)and so on.&lt;br /&gt;
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====3.5 绿and Green ====&lt;br /&gt;
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In Chinese culture, “绿”represents vitality, and phrases related to”绿”express hope and vitality of people, such as“lüzhou”（绿洲）、“lvyiangran”（绿意盎然）. In today's China, ”绿”has a new symbolic meaning, such as: “lvseshipin”(绿色食品),”lvsechanye”(绿色产业), all referring to the concept of health, safety and non-pollution. The green light is also a signal for safe passage. In Chinese, a &amp;quot;lvmao&amp;quot; （绿帽）means that a man's wife is in an illicit relationship with someone else.(Hu Zongkang, Zhang Jun2019,153) However, in ancient Chinese culture, ”绿”means humbleness, because humble people wore green clothes. Also,”lvlinhaohan” (绿林好汉)means a barbarian who occupies a mountain and becomes king.&lt;br /&gt;
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In traditional British culture, &amp;quot;Green&amp;quot; is a symbol of youth and vitality. It reminds people of the harmony and tranquility of nature. The &amp;quot;Green Peace Organization&amp;quot; is an organization that protects animals and plants. A dove with a green olive branch in its beak is a symbol of peace, &amp;quot;green winter&amp;quot; refers to a warm winter, and &amp;quot;in a green wood&amp;quot; refers to when people are young and strong. Green also represents a sense of madness and despair, just as Satan's image in the Bible is green. In addition, green in English also has a derogatory meaning of jealousy, lack of training, and childishness, such as “as green as grass”，’a green eye”，”a green hand”.(Chen Yuan2020,49) In addition, greenback means U.S. currency in English, and since U.S. dollar bills are green in color, green also means &amp;quot;money,&amp;quot; &amp;quot;bills,&amp;quot; or &amp;quot;economic power&amp;quot; in the United States.&lt;br /&gt;
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====3.6 蓝 and Blue ====&lt;br /&gt;
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Blue is the color of the sea and clear skies, giving people a feeling of peace and tranquility. In Chinese, in addition to the color,”蓝” is often used together with other words to form phrases that have different meanings from the color. &lt;br /&gt;
For example, “蓝 青 官 话 “the standard Chinese spoken by the people with accent、“蓝本”script on which the works are based； model&lt;br /&gt;
“蓝图”（blue print）building plan、“蓝田生玉”the noble people usually come from the good family、“青出于蓝而胜于蓝 “the new coming from the old is better than the old .(Chen Yuan2020,49)&lt;br /&gt;
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But blue in English can be extended to depression, sadness, nervousness, immorality, obscenity, and pornography. For example :“feel blue“, ”be blue about future“,”Her mood is blue“,“be down with blues”,“sing the blues”,“blue devils”,“blue funk“,”blue revolution“, ”blue films“, ”blue jokes“, ”blue room” refers to a place in The White House where the president meets his friends and family. and the ”Blue Book“ refers to a book that contains the names of celebrities and important government officials.(Du Tianyu2020,187-188)&lt;br /&gt;
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=== 4.Reasons for the Difference in the English-Chinese Translation of Color Words ===&lt;br /&gt;
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Different countries and regions have different interpretations of color. The main reasons for this difference are geographical factors, historical factors, religious beliefs, and social systems, &lt;br /&gt;
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====4.1 Geographic Factors ====&lt;br /&gt;
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Chinese civilization originated in the Yellow River Basin. The rich water resources and flat land of the Yellow River Basin have nurtured several generations of Chinese people. This is the main reason why the Chinese people love yellow. For generations, we Chinese people are also known as the “yanhuangzisun”(炎黄子孙)(Cai Xiaomin2020,66).Western civilization originated in ancient Rome. The only way out for Greece was to expand abroad. Therefore, blue became the favorite color of the Greeks.&lt;br /&gt;
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==== 4.2 Historical and Cultural Factors ====&lt;br /&gt;
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A large number of color words have been created in different historical backgrounds and conditions. Therefore, it is important to understand the differences in the historical background and culture of different countries. For example, during the War of Resistance Against Japanese Aggression, our Party was called the”hongjun”(红军), which gave rise to expressions like “hongsezhengquan”(红色政权)、”hongjun”(红军)、”hongqi”(红旗)、”hongge”(红歌)、”hongsewenjian”(红头文件)、”hongseganglin”(红色纲领),etc.(Li Dan2018,132) &lt;br /&gt;
&lt;br /&gt;
In addition to some basic meanings, the color “红” in China also has some special historical meanings, such as the heroic and fearless revolutionary spirit. This is also the main reason why our national flag adopts the color red. Also in ancient China, yellow was a symbol of power, a color reserved for the royal family, representing the supreme authority, which meant that yellow robes were added to the flag. In the West, purple is used as a metaphor for &amp;quot;throne&amp;quot; and &amp;quot;prominence,&amp;quot; and the addition of a purple robe means rising to a position of prominence, because Western emperors and bishops have a tradition of wearing purple robes,(Li Dan2018,132) such as :be born in the purple(生于皇室), be raised to the purple. &lt;br /&gt;
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In recent years, yellow has become more and more of a symbolic term in China for low taste, erotic vulgarity, and obscenity, such as”huangsedianying”(黄色电影)、”huangseshukan”(黄色书刊)、”huangseguangdie”(黄色光碟).etc. The &amp;quot;黄&amp;quot; in these names has nothing to do with the English &amp;quot;yellow&amp;quot;, these words in English are expressed like this pornographic, vulgar, obscene. (Chen Yongye2005,425)It is very different from the associations in Chinese culture. The color vocabulary is visually and psychologically positive and derogatory for people of different nationalities.&lt;br /&gt;
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==== 4.3 Religious beliefs ====&lt;br /&gt;
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In China, the Five Element Theory is widely spread. Since &amp;quot;gold&amp;quot; is at the core of the theory, yellow becomes noble. In contrast, in the West, because yellow is stigmatized in Christianity and most people are Christians, many people dislike yellow and often even use it to convey negative connotations, according to &amp;quot;the Gospels&amp;quot; in the Bible's, in which Jesus was willing to be crucified, bleed to death, and be sacrificed with the blood of the Gospels. The Bible has been a classic of Christianity, and most people in Europe and the United States believe in Christianity.(Chen Yongye2005,425) Since the Bible has always been a Christian classic, and most people in Europe and the United States are Christian, its influence on Western culture as a whole is immeasurable, and on English culture as well.&lt;br /&gt;
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Therefore, people think that &amp;quot;red&amp;quot; is associated with bloodshed, martyrdom, and bad things, and &amp;quot;red&amp;quot; makes them think of horrible things, such a“ red hand”( 沾 满 血 的 手 ),“ a red battle”( 血 战 ),“ to see the red light”(灾祸临头).&amp;quot;(Chen Yongye2005,425)In Chinese language, the color red is a symbol of honor, splendor, good fortune, and celebration. Such as: :“ 开门红”make/ get off to a good start,“ 满堂红”success in every field,“ 红 榜 ”honor roll,“ 红 运 ”goodluck,“ 红 事 ”wedding,“ 红 人 ”a favorite with someone in power etc.&amp;quot;.&lt;br /&gt;
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==== 4.4 Social System ====&lt;br /&gt;
&lt;br /&gt;
The use of different colors to represent political affiliations or national identities has long been a common practice among peoples of different social systems in China and the West due to their political, economic, and religious differences. In English, the true blue refers to the loyal members of a political party, especially the die-hard conservative members of the British party; White Paper or Blue Paper refers to a report or diplomatic document with blue or white covers issued by the British and American governments on a particular topic; Yellow Paper refers to the French and other countries. A government report of a country; Green Paper is a draft report for discussion by various committees; the Chinese use the term &amp;quot;红&amp;quot; to symbolizes the proletarian revolution, the meaning of which is derived from the book &amp;quot;Red Star Over China&amp;quot;(“红星照耀下的中国”,and is also translated into”西行漫记”) by American writer Edward Snow.(Li Dan2018,132)&lt;br /&gt;
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===5.Translation Methods of English-Chinese Color Words ===&lt;br /&gt;
 &lt;br /&gt;
From the above analysis, we can conclude that there are similarities and differences in the cultural connotations of Chinese and English color words. Therefore, in the translation of color words, it is impossible to generalize, so translators need to adapt to the local conditions and adopt an appropriate way to translate.&lt;br /&gt;
	&lt;br /&gt;
====5.1 Literal Translation ====&lt;br /&gt;
&lt;br /&gt;
Literal translation means that every effort should be made to maintain the linguistic style of the original work. At the same time, it requires that the target language should be fluent and easy to understand. There are similarities between English and Chinese languages and cultures. In the translation of English-Chinese color words, some color words can be found in the target language, while others have similar extended cultural meanings. Sometimes there is no similar extended meaning, but only a literal translation meaning, so the literal translation can also be used for translation.(Hu Zongkang, Zhang Jun,153)&lt;br /&gt;
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For example, when the word black remains in its original color in the corresponding language, i.e, it has the same connotation, a literal translation is usually used.black humor 黑色幽默 (an absurd, grotesque, or morbid humor in literature, especially in novels and plays)、&lt;br /&gt;
black Friday黑色的星期五 (the Friday on which any disaster occurs)、black hand黑手党 (a secret organization that originated in Sicily, Italy, and has spread to the United States to engage in criminal activities)black market 黑市、black- hearted 黑心的、blacklist 黑名单、black and white TV黑白电视, etc.(Chen Yuan2020,49）and red light district can be directly translated as“红灯区“, which refers to the neighborhoods where sex industries are concentrated in cities of certain countries and regions.(Hu Zongkang, Zhang Jun,152) &lt;br /&gt;
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Similarly, some color words in Chinese can be directly translated into English, for example:” 白露”, one of the 24 solar terms, is a culturally specific term in Chinese, which is completely unfamiliar to Western countries. Due to cultural exchanges, &amp;quot;white dew&amp;quot; is becoming more and more familiar to foreigners, and it has the same cultural meaning in English as &amp;quot;白露&amp;quot; in China. As another example, &amp;quot;绿油油&amp;quot; is a Chinese adjective used to describe the color of vibrant green leaves.(Hu Zongkang, Zhang Jun,153) We can translate it into English as &amp;quot;green and shiny&amp;quot; because the color words here are only used to describe objective points of view, and they have the same meaning.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
==== 5.2 Free Translation ====&lt;br /&gt;
&lt;br /&gt;
Free translation. When the meaning of a color word in the original language is different from the meaning of the color word in the target language, the translator has to translate the meaning of the color word in the original language into the customary expression in the target language. In some cases, color words appear in both Chinese and English, but they do not have any color meaning; some are customary object names, while others give new meaning to them. In this case, the color itself cannot be focused on, so the colorless translation should be abandoned.This kind of translation based on the cultural background of two languages to correspond to the meaning is called &amp;quot;free translation&amp;quot;.(Chen Yuan2020,49）&lt;br /&gt;
&lt;br /&gt;
Take black as an example, for instance, black lie--恶意的谎言、black and blue--青一块紫一块、black tea-- 红茶、black guard--恶棍、black coffee --不加牛奶的咖啡、pain somebody black-- 把某人描写成坏人、黑帮can be translated into “reactionary gang”、黑钱--ill-gotten money、黑面包 brown bread, and so on. Another example is that we often say &amp;quot;他是老师面前的“红人&amp;quot;, which is translated into English as &amp;quot;He is teacher's favourite student&amp;quot; ,”hongren”(红人)is an extended paraphrase of the Chinese, which does not mean literally, it means someone who is popular and be sought after by others,(Hu Zongkang, Zhang Jun,150) and the exact meaning needs to be contextualized. People from English-speaking countries will be confused if we translate it as &amp;quot;red people&amp;quot;. &lt;br /&gt;
&lt;br /&gt;
In English, the meaning of &amp;quot;one's favourite people&amp;quot; is somewhat similar to &amp;quot;红人&amp;quot;, so the phrase &amp;quot;one's favorite people&amp;quot; is appropriate. Another example is &amp;quot;a white elephant,&amp;quot; which is said to be a punishment given by the king of Thailand to his erring ministers in the past, as the cost of keeping white elephants is very high and would be a great financial burden. This word is very common in English, but a literal translation of &amp;quot;白象&amp;quot; would not have any connotation in Chinese, so it can be translated as &amp;quot;expensive and useless thing.（Jin Yan2012，130）&lt;br /&gt;
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===6. Conclusion ===&lt;br /&gt;
&lt;br /&gt;
This paper first discusses the construction of color words in Chinese and English, and then compares their compositional features. Secondly, six colors (red, black, yellow, white, green, blue) are taken as examples to analyze the cultural similarities and differences between Chinese and English color words. The reasons for the differences are divided into four main categories: geographical factors, historical factors, psychological factors, religious beliefs, and social systems,Finally, a solution to the problem is proposed, which provides a proper reference for translators when translating Chinese and English color words.(Hu Zongkang, Zhang Jun,153)&lt;br /&gt;
&lt;br /&gt;
When doing translation, translators can mainly use two different translation methods, namely, literal translation and free translation. When the Chinese cultural connotation of a color word in a sentence is the same as the English one, the literal translation can be used. When it is different from English, a free translation is appropriate.(Bao Dongjiao2005,106) With the continuous penetration of globalization, people's languages and cultures are gradually interwoven, so does the meaning of color words, and also the similarities are expanding gradually.&lt;br /&gt;
&lt;br /&gt;
 However, each nation-state has its own unique culture and customs, so the color words have completely different meanings in different regions and different languages. Therefore, when translating color terms, in order to translate the meaning of the text more accurately, the translator must have a deeper understanding of the color words.(Bao Dongjiao2005,107).In addition, the translator should not only learn translation skills, but also the history, geography, and culture of the country where the source and target language are located, which will help the accuracy of the translation. In short, the key to a good color word translation is the combination of translation skills and a deep understanding of the culture, as well as an accurate analysis of the color word.&lt;br /&gt;
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===7.Reference ===&lt;br /&gt;
&lt;br /&gt;
*Cai Xiaomin.蔡晓敏.( 2020).中英颜色词的对比与翻译研究[A comparative study of Chinese and English color words and their translation].海外英语[Overseas English],65-66.&lt;br /&gt;
&lt;br /&gt;
*Yan Wen.颜雯.(2012).翻译中颜色词的中西文化内涵差异[The difference between Chinese and Western cultural connotations of color words in translation].青年文学家·语言研究,[ Young Literati-Language Studies],177.&lt;br /&gt;
&lt;br /&gt;
*Jin Yan.金燕.(2012).浅析颜色词在中西文化下的翻译对比差异[An analysis of the contrasting differences in the translation of color words in Chinese and Western cultures].海外英语[Overseas English].&lt;br /&gt;
&lt;br /&gt;
*Zhao Fenyan.赵芬艳.(2019).试论中西颜色词的文化内涵及翻译策略[The cultural connotation of Chinese and Western color words and translation strategies].师资校企经验[Faculty school-enterprise experience],232-234.&lt;br /&gt;
&lt;br /&gt;
*Wang Yan, Zhang Bo.王艳,张博.(2012).谈中西文化对颜色的理解差异[Talking about the difference in the understanding of color between Chinese and Western cultures].教学实践[Teaching Practice],6-11.&lt;br /&gt;
&lt;br /&gt;
*Chen Yongye.陈永烨.(2005).英汉颜色词所表现的中西文化差异[The Chinese and Western cultural differences expressed by English and Chinese color words].辽宁工程技术大学学报[Journal of Liaoning University of Engineering and Technology],424-427.&lt;br /&gt;
&lt;br /&gt;
*Hu Zongkang, Zhang Jun.胡宗康,张军.(2019).英汉颜色词中“Green/绿”的对比与翻译方法研究[. Comparison and Translation of &amp;quot;Green/绿&amp;quot; in English and Chinese Color Words].文学教育[Literary Education],152-153.&lt;br /&gt;
&lt;br /&gt;
*Bao Dongjiao.鲍冬娇.(2015).中西红白颜色认知差异及翻译取向[Differences between Chinese and Western red and white color perception and translation orientation].湖北经济学院学报[Journal of Hubei University of Economics],106-107.&lt;br /&gt;
&lt;br /&gt;
*Li Dan.李丹.(2018).中西文化差异下的颜色词翻译[Translation of color words under the difference of Chinese and Western cultures].海外英语[Overseas English].&lt;br /&gt;
&lt;br /&gt;
*Li Hong.李虹.(2020).汉英颜色词翻译的差异性研究[A study of the differences between Chinese-English color word translations].文化长廊[Cultural Promenade].&lt;br /&gt;
&lt;br /&gt;
*Liu Mengqi, Chen Xingxing.刘梦琪,陈星星.(2020).浅谈颜色词的翻译[A brief discussion on the translation of color words].校园英语翻译研究[Campus English Translation Study].&lt;br /&gt;
&lt;br /&gt;
*Du Tianyu,杜恬雨.(2020).浅析文化差异对汉英颜色词翻译的影响[An analysis of the influence of cultural differences on the translation of Chinese-English color words].科教文汇[Science and Education],187-188.&lt;br /&gt;
&lt;br /&gt;
*Xu Yanping.许雁萍.(2009).中西文化中颜色词语的差异及其翻译[The Difference of Color Words in Chinese and Western Culture and Their Translation].文学语言学研究[Literary Linguistics Research],212-213.&lt;br /&gt;
&lt;br /&gt;
*Wang Yu.王羽.(2012).中西文化对比下颜色词的差异比较[Comparison of the differences in color words between Chinese and Western cultures].教育时空[Education Time],151.&lt;br /&gt;
&lt;br /&gt;
*Li Yun, Jia Aiguang.李云,贾爱光.(2020).大学英语教学中英汉基本颜色词翻译对比探讨[A Comparative Discussion on the Translation of English and Chinese Basic Color Words in University English Teaching].校园英语[Campus English],11-21.&lt;br /&gt;
&lt;br /&gt;
*Chen Yuan陈缘.(2020)英汉颜色词的文化差异与翻译[Cultural differences between English and Chinese color words and translation].海外英语[Overseas English],48-49.&lt;br /&gt;
&lt;br /&gt;
==Translation manipulated by ideology	许静	Xu Jing, 202070080614 英语笔译==&lt;br /&gt;
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&amp;lt;center&amp;gt; 许静 Xu Jing 202070080614 &amp;lt;/center&amp;gt;&lt;br /&gt;
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===摘要===&lt;br /&gt;
传统翻译理论将研究重点放在原文与译文的对比上，遵循翻译的最高原则“忠”。本文将根据勒菲费尔的翻译改写理论，从历史角度探讨中国建国初期翻译活动的过程及其制约因素，旨在揭示这一阶段中国翻译活动的基本特点，为新时期翻译活动的良性发展提供一点借鉴。&lt;br /&gt;
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===关键词===&lt;br /&gt;
翻译；意识形态；操纵；赞助人&lt;br /&gt;
&lt;br /&gt;
===Abstract===&lt;br /&gt;
Traditional translation theory focuses on the comparison between the original text and the translated text, following the strict principle of translation, &amp;quot;fidelity&amp;quot;. This article will explore the process of translation activities and its constraints in the early years of China's founding from a historical perspective, based on Lefevere's theory of translation rewriting, with the aim of revealing the basic characteristics of Chinese translation activities at this stage and providing a little reference for the benign development of translation activities in the new era.&lt;br /&gt;
&lt;br /&gt;
Traditional translation theory focuses on the comparison between the original text and the translated text, following the strict principle of translation, &amp;quot;fidelity&amp;quot;. This article will explore from a historical perspective the process of translation activities and its constraints in the early years of China's founding, based on Lefevere's theory of translation rewriting, with the aim of revealing the basic characteristics of Chinese translation activities at this stage and providing a little reference for the benign development of translation activities in the new era.--[[User:Yang Yue|Yang Yue]] ([[User talk:Yang Yue|talk]]) 04:19, 19 December 2020 (UTC)&lt;br /&gt;
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===Key words===&lt;br /&gt;
Translating; Ideology; Manipulation; Patronage&lt;br /&gt;
&lt;br /&gt;
===Introduction===&lt;br /&gt;
Traditionally, translation studies have only focused on the linguistic level, confined to the conversion of two texts, and have not broken through the understanding of the &amp;quot;faithful&amp;quot; concept. Since the 1970s, leading translators from various countries have abandoned their original narrow thinking and begun to emphasize that &amp;quot;translation does not take place in the vacuum of two languages, but in the context of two literary and cultural traditions.&amp;quot; In the 1980s, the French translation studies scholar Antoine Berman stressed that the translation of literary works is driven by ideological choices. in the 1990s, the contemporary American translation theorist Lefevere suggested that in Translation, Rewriting and the Manipulation of Literary Fame (Translation, Rewriting and the Manipulation of Literary Fame) the Manipulation of Literary Fame), argues that translation takes into account several factors such as ideology, patronage, poetics and literary scholarship. Translation is the rewriting of an original text; it is a form of creating a text. Whatever the rewriting or the intention, it reflects a certain ideology and poetics and responds to the dominant ideology of the period. As a result, the intercultural activity of translation inevitably bears the mark of ideology.&lt;br /&gt;
&lt;br /&gt;
Traditionally, translation studies have only focused on the linguistic level, confined to the conversion of two texts, and have not broken through the understanding of the &amp;quot;faithful&amp;quot; concept. --[[User:Yang Yue|Yang Yue]] ([[User talk:Yang Yue|talk]]) 04:19, 19 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
Since the 1970s, leading translators from various countries have abandoned their original narrow thinking and begun to emphasize that &amp;quot;translation does not take place in the vacuum of two languages, but in the context of two literary and cultural traditions.&amp;quot; In the 1980s, the French translation studies scholar Antoine Berman stressed that the translation of literary works is driven by ideological choices. --[[User:Yang Yue|Yang Yue]] ([[User talk:Yang Yue|talk]]) 04:19, 19 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
In the 1990s, the contemporary American translation theorist Lefevere suggested that in Translation, Rewriting and the Manipulation of Literary Fame (Translation, Rewriting and the Manipulation of Literary Fame) the Manipulation of Literary Fame), argues that translation takes into account several factors such as ideology, patronage, poetics and literary scholarship. Translation is the rewriting of an original text; it is a form of creating a text. Whatever the rewriting or the intention, it reflects a certain ideology and poetics and responds to the dominant ideology of the period. As a result, the intercultural activity of translation inevitably bears the mark of ideology.--[[User:Yang Yue|Yang Yue]] ([[User talk:Yang Yue|talk]]) 04:19, 19 December 2020 (UTC)&lt;br /&gt;
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===Ideology===&lt;br /&gt;
The word “ideology”, derived from the Greek word “idea” and “logos”, literally means conceptual logos, i.e. the doctrine of ideas. It was a concept proposed by Destutt de Tracy at the end of the 18th century, initially as a world view and a body of philosophical thought, for a modern critique of religion, which encompassed the whole field of culture, including science, and was an essential intermediary between ourselves and the world. This is generally considered to be the positive use of this concept. &lt;br /&gt;
&lt;br /&gt;
The word “ideology”, derived from the Greek word “idea” and “logos”, literally means conceptual logos, i.e. the doctrine of ideas. It was a concept proposed by Destutt de Tracy at the end of the 18th century, initially as a world view and a body of philosophical thought, for a modern critique of religion, which encompassed the whole field of culture, including science, and was an essential intermediary between ourselves and the world. This is generally considered to be the positive use of this concept. --[[User:Yang Yue|Yang Yue]] ([[User talk:Yang Yue|talk]]) 04:19, 19 December 2020 (UTC)&lt;br /&gt;
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But there are also a number of scholars who recognise and use this concept in a negative or pejorative sense. In their view, ideology is a form of false-consciousness, a set of interconnected value judgements that guide social and political action but are not subject to rational scrutiny. These judgements, which contain prejudices and preconceptions, tend to distort our understanding of the world and are therefore necessarily unreliable. Ideology, in this context, includes religion and all distorted forms of consciousness, is the antithesis of science and functions politically as a specific element of the social superstructure. Both meanings of ideology, positive and negative, have long been used in the field of philosophical and cultural studies. The Dictionary of Modern Chinese (2002) gives the following summary of ideology:&lt;br /&gt;
&lt;br /&gt;
But there are also a number of scholars who recognise and use this concept in a negative or pejorative sense. In their view, ideology is a form of false-consciousness, a set of interconnected value judgements that guide social and political action but are not subject to rational scrutiny. These judgements, which contain prejudices and preconceptions, tend to distort our understanding of the world and are therefore necessarily unreliable. --[[User:Yang Yue|Yang Yue]] ([[User talk:Yang Yue|talk]]) 04:19, 19 December 2020 (UTC)&lt;br /&gt;
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Ideology, in this context, includes religion and all distorted forms of consciousness, is the antithesis of science and functions politically as a specific element of the social superstructure. Both meanings of ideology, positive and negative, have long been used in the field of philosophical and cultural studies. The Dictionary of Modern Chinese (2002) gives the following summary of ideology:--[[User:Yang Yue|Yang Yue]] ([[User talk:Yang Yue|talk]]) 04:19, 19 December 2020 (UTC)&lt;br /&gt;
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Ideology is a systematic view of the world and society, formed on the basis of a certain economic foundation. Ideology is a component of the superstructure and has a class character in a class society. It is also called conceptual form.&lt;br /&gt;
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Mkerriam-Webster's Collegiate Dictionary defines: &lt;br /&gt;
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1. especially the systematic sum of ideas about human life or culture; 2. the way of thinking or content specific to an individual, group, or culture; 3. the integrated claims, theories, and goals that shape a socio-political agenda. &lt;br /&gt;
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The two definitions are worded differently, but the substantive content is basically the same. The use of the concept of ideology in this paper will take its broad form, taking into account both positive and negative meanings, reflecting its narrow political connotation as well as covering its conceptual doctrine in its original sense. It is on this conceptual basis that our discussion will proceed.&lt;br /&gt;
===Ideology and Translation===&lt;br /&gt;
Traditional translation theory has always measured all translations with a yardstick of loyalty and infidelity, as if questioning a young daughter-in-law in a family shrine about her disobedience. In this small-minded ritualistic vision, the self-appointed patriarchal status of the commentator gives himself an unwarranted authority, so much so that some conclusions seem to be drawn without even bothering to fetch the ritualistic ruler: translators are like women, beautiful ones are unfaithful, faithful ones are not beautiful. &lt;br /&gt;
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Thus, we see in the clan shrine of translation Yan Fu, Lin Shu, Fu Donghua, etc., who were doubly condemned without being told; and the foreigner who did not know Chinese and dared to translate Tang poems, one by one, Pound. The crime: infidelity. Finally, in the 1980s, translation scholars began to pay attention to the pressure of ideology on the practice of translation. In the 1990s, the American translator Lefevere wrote a book entitled Translation, Rewriting, and the Manipulation of Literary Fame. In this book, he systematically described the two main factors that manipulate the translation process, namely ideology and poetics. According to his theories, it seems that we can offer another explanation for the 'infidelity' of Yan Fu and others.&lt;br /&gt;
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Thus, we see in the clan shrine of translation Yan Fu, Lin Shu, Fu Donghua, etc., who were condemned with few sensible reasons; and Pound, the foreigner who did not know Chinese and dared to translate Tang poems. The crimeexerted on them is infidelity. --[[User:Yang Yue|Yang Yue]] ([[User talk:Yang Yue|talk]]) 04:19, 19 December 2020 (UTC)&lt;br /&gt;
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Finally, in the 1980s, translation scholars began to pay attention to the pressure of ideology on the practice of translation. In the 1990s, the American translator Lefevere wrote a book entitled Translation, Rewriting, and the Manipulation of Literary Fame. In this book, he systematically described the two main factors that manipulate the translation process, namely ideology and poetics. According to his theories, it seems that we can offer another explanation for the 'infidelity'.--[[User:Yang Yue|Yang Yue]] ([[User talk:Yang Yue|talk]]) 04:19, 19 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
According to Lefevere, there are two factors that control literary creation and translation: internal and external. The internal factor is the so-called 'professionals', made up of critics, teachers, translators, etc., while the external factor is the 'people, institutions' who have the 'power to promote or prevent' literary creation and translation. &amp;quot;The term he uses is patronage. Here, 'the patronage is usually interested in the ideology of literature', while 'the literary scholars are concerned with poetics' (Lefevere, 1992a: 14-15). Thus, the two main factors governing the translation process are ultimately ideology and poetics. &lt;br /&gt;
&lt;br /&gt;
According to Lefevere, there are two factors that control literary creation and translation: internal factors and external factors. The internal factor is the so-called 'professionals', made up of critics, teachers, translators, etc., while the external factor is the 'people, institutions' who have the 'power to promote or prevent' literary creation and translation. &amp;quot;The term he uses is patronage. Here, 'the patronage is usually interested in the ideology of literature', while 'the literary scholars are concerned with poetics' (Lefevere, 1992a: 14-15). Thus, the two main factors governing the translation process are ultimately ideology and poetics. --[[User:Yang Yue|Yang Yue]] ([[User talk:Yang Yue|talk]]) 04:19, 19 December 2020 (UTC)&lt;br /&gt;
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Lefevere also points out that the endogenous factor (the literary person and his or her poetic conception) works within the parameters set by the exogenous factor (the patron and his or her ideology) (ibid). In other words, the patron representing the ideology of a culture or society establishes a set of decisive ideological value parameters within which literary scholars and translators accomplish their poetic pursuits. On the one hand, the patrons, as spokespersons of a certain ideology, use their discursive power to intervene directly in the translation process; on the other hand, the literary scholars and translators, who are familiar with this set of ideological value parameters, mostly consciously avoid violating the ideological tenets and manipulate their limited discursive power and poetic skills within the limits they deem permissible. Thus, when literary scholars and translators use discourse, both ideology and poetics come into play in their consciousness, influencing their compositions or 'rewriting' and 'determining the strategies of the translator' (op. cit: 48).&lt;br /&gt;
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Lefevere also points out that the endogenous factor (the literary person and his or her poetic conception) works within the parameters set by the exogenous factor (the patron and his or her ideology) (ibid). In other words, the patron representing the ideology of a culture or society establishes a set of decisive ideological value parameters within which literary scholars and translators accomplish their poetic pursuits. --[[User:Yang Yue|Yang Yue]] ([[User talk:Yang Yue|talk]]) 04:19, 19 December 2020 (UTC)&lt;br /&gt;
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On the one hand, the patrons, as spokespersons of a certain ideology, use their discursive power to intervene directly in the translation process; on the other hand, the literary scholars and translators, who are familiar with this set of ideological value parameters, mostly consciously avoid violating the ideological tenets and manipulate their limited discursive power and poetic skills within the limits they deem permissible. Thus, when literary scholars and translators use discourse, both ideology and poetics come into play in their consciousness, influencing their compositions or 'rewriting' and 'determining the strategies of the translator' (op. cit: 48).--[[User:Yang Yue|Yang Yue]] ([[User talk:Yang Yue|talk]]) 04:19, 19 December 2020 (UTC)&lt;br /&gt;
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The above distinction between ideology and poetics made by Lefevere is, in my view, logically debatable. In terms of the division of categories, poetics as a system of aesthetic ideas about literature and art still belongs to the realm of ideology, and therefore this paper will treat the poetic element as a category under ideology. It must be stated that the author only disagrees with the validity of the distinction between categories in Lefevere's theory, but agrees and admires his thesis on the influence of ideology and poetics on the translation process.&lt;br /&gt;
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The above distinction between ideology and poetics made by Lefevere is, in my view, some debatable points. In terms of the division of categories, poetics as a system of aesthetic ideas about literature and art still belongs to the realm of ideology, and therefore this paper will treat the poetic element as a category under ideology. It must be stated that the author only disagrees with the validity of the distinction between categories in Lefevere's theory, but agrees and admires his thesis on the influence of ideology and poetics on the translation process.--[[User:Yang Yue|Yang Yue]] ([[User talk:Yang Yue|talk]]) 04:19, 19 December 2020 (UTC)&lt;br /&gt;
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In the author's view, Lefevere's theory provides a justification for those &amp;quot;beautiful women&amp;quot; who have &amp;quot;lost their modesty&amp;quot;. Of course, the task of defending &amp;quot;them&amp;quot; is now left to our descendants.Ideology is a product of a certain society and culture. As societies emerge and cultures emerge, so do ideologies.&lt;br /&gt;
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In my understanding, Lefevere's theory provides a justification for those &amp;quot;beautiful women&amp;quot; who have &amp;quot;lost their modesty&amp;quot;. Of course, the task of defending &amp;quot;them&amp;quot; is now left to our descendants.Ideology is a product of a certain society and culture. As societies emerge and cultures emerge, so do ideologies.--[[User:Yang Yue|Yang Yue]] ([[User talk:Yang Yue|talk]]) 04:19, 19 December 2020 (UTC)&lt;br /&gt;
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Translation, as an act of cross-language and cross-cultural communication, is inevitably marked by ideology from the very beginning. When a translator introduces the ideas contained in the discourse of a foreign culture into the local culture, he or she will inevitably make his or her own value judgement on the values of the foreign culture, and then decide on the strategy to convey them: whether to be straightforward or to distort their meaning; whether to &amp;quot;pluck out the nose and cut the eyes&amp;quot; or to start a new one.&lt;br /&gt;
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Translation, as an act of cross-language and cross-cultural communication, is inevitably marked by ideology from the very beginning. When a translator introduces the ideas contained in the discourse of a foreign culture into the local culture, he or she will inevitably make his or her own judgement on the values of the foreign culture, and then decide on the strategy to convey them: whether to be straightforward or to distort their meaning; whether to &amp;quot;pluck out the nose and cut the eyes&amp;quot; or to start a new one.--[[User:Yang Yue|Yang Yue]] ([[User talk:Yang Yue|talk]]) 04:19, 19 December 2020 (UTC)&lt;br /&gt;
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Ideology is the expression of the will of patronage or power, and to go against this will is to be censured, or to lose the order to translate, or to lose one's head. Translators, as living human beings, are not willing to go against the will of power, except for those who are fighting for the 'truth'. To paraphrase the post-modern hipsterism of &amp;quot;Journey to the West&amp;quot;, we are all &amp;quot;translators&amp;quot;, so why take ourselves so seriously? This may sound ungrateful, but from a historical point of view, it's also very unhelpful.&lt;br /&gt;
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Ideology is the expression of the will of patronage or power, and to go against this will is to be censured, sometimes either to lose the rules to translate, or even to lose one's head. Translators, as living human beings, are not willing to go against the will of power, except for those who are fighting for the 'truth'. To paraphrase the post-modern hipsterism of &amp;quot;Journey to the West&amp;quot;, we are all &amp;quot;translators&amp;quot;, so why take ourselves so seriously? This may sound ungrateful, but from a historical point of view, it's also very unhelpful.--[[User:Yang Yue|Yang Yue]] ([[User talk:Yang Yue|talk]]) 04:19, 19 December 2020 (UTC)&lt;br /&gt;
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Lefevere quotes Foucault as saying:&lt;br /&gt;
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What makes power unbreakable, what makes it acceptable, is in fact a simple fact: power not only makes us feel a pressure to say no, but also transcends and produces things, provokes pleasure, forms knowledge, produces discourse. (See Lefevere, 1992a: 15)&lt;br /&gt;
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What makes power unbreakable, what makes it acceptable, is in fact a simple fact: power not only makes us feel a pressure to say no, but also transcends and produces things, provokes pleasure, forms knowledge, produces discourse. (See Lefevere, 1992a: 15)--[[User:Yang Yue|Yang Yue]] ([[User talk:Yang Yue|talk]]) 05:34, 21 December 2020 (UTC)&lt;br /&gt;
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In short, it means &amp;quot;those who obey me will prosper, those who disobey me will perish&amp;quot;. Every society has its own unique ideological system, with its own hidden or explicit ideological boundaries. Every thinking member of a society knows where that boundary is; and in general, is conscious of operating within it. You can go to the edge, but you must not go beyond it. This is the rule of the game in any society, and translators have to abide by it as well. Even the United States, which boasts freedom of speech, would not allow Bin Laden's writings (if he had them) to be translated and published in the United States, at least for now. For such an act would cross the line of the ideological &amp;quot;parameters&amp;quot; of the American power class.&lt;br /&gt;
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In short, it means &amp;quot;those who obey me will prosper, those who disobey me will perish&amp;quot;. Every society has its own unique ideological system, with its own hidden or explicit ideological boundaries. Every thinking member of a society knows where that boundary is; and in general, is conscious of operating within it. You can go to the edge, but you must not go beyond it. This is the rule of the game in any society, and translators have to abide by it as well. Even the United States, which boasts freedom of speech, would not allow Bin Laden's writings (if he had them) to be translated and published in the United States, at least for now. For such an act would cross the line of the ideological &amp;quot;parameters&amp;quot; of the American power class.--[[User:Yang Yue|Yang Yue]] ([[User talk:Yang Yue|talk]]) 05:34, 21 December 2020 (UTC)&lt;br /&gt;
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Translation involves the exchange of two cultures, which is a common expression these days. On the surface, &amp;quot;exchange&amp;quot; is a pleasant-sounding term, as it seems to imply equality and friendship. However, what is really implied behind such an exchange is a confrontation between two ideologies. The apparently 'equal and friendly' 'exchange' is in fact often the result of a confrontation followed by a compromise.&lt;br /&gt;
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Translation involves the exchange of two cultures, which is a common expression these days. On the surface, &amp;quot;exchange&amp;quot; is a pleasant-sounding term, as it seems to imply equality and friendship. However, what is really implied behind such an exchange is a confrontation between two ideologies. The apparently 'equal and friendly' 'exchange' is in fact often the result of a confrontation followed by a compromise.--[[User:Yang Yue|Yang Yue]] ([[User talk:Yang Yue|talk]]) 05:34, 21 December 2020 (UTC)&lt;br /&gt;
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Translation is the transfer of the ideology of the local culture to the ideology of the foreign culture. The ideology of the foreign culture. For the local value system, this is a foreign cultural penetration, which means destruction, subversion and therefore a test of the local culture. A strong superstructure will use its own power discourse to manipulate this foreign destructive force, just like in taijiquan, by using the force to its advantage; a weak superstructure will be helpless in the face of this foreign destructive force, and will either be assimilated or subverted by it. Those cultures that refuse to interact with foreign cultures are condemned to primitiveness, backwardness and, ultimately, extinction. Translators, as elite members of the superstructure, are faced with a complex choice of strategies: either to be rebellious or submissive, to seek conformity in the midst of rebellion, or to seek rebellion in the midst of conformity. Thus, among the superficial translation methods, we see &amp;quot;literary&amp;quot; and &amp;quot;qualitative&amp;quot; translations, &amp;quot;direct&amp;quot; and &amp;quot;meaningful&amp;quot; translations &amp;quot;, &amp;quot;naturalization&amp;quot; and '&amp;quot;dissimilation&amp;quot;, and the way of &amp;quot;the middle&amp;quot; (Huiyuan, 1984: 41), which strives for impartiality.&lt;br /&gt;
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Translation is the transfer of the ideology of the local culture to the ideology of the foreign culture. The ideology of the foreign culture. For the local value system, this is a foreign cultural penetration, which means destruction, subversion and therefore a test of the local culture. A strong superstructure will use its own power discourse to manipulate this foreign destructive force, just like in taijiquan, by using the force to its advantage; a weak superstructure will be helpless in the face of this foreign destructive force, and will either be assimilated or subverted by it. --[[User:Yang Yue|Yang Yue]] ([[User talk:Yang Yue|talk]]) 05:34, 21 December 2020 (UTC)&lt;br /&gt;
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Those cultures that refuse to interact with foreign cultures are condemned to primitiveness, backwardness and, ultimately, extinction. Translators, as elite members of the superstructure, are faced with a complex choice of strategies: either to be rebellious or submissive, to seek conformity in the midst of rebellion, or to seek rebellion in the midst of conformity. Thus, among the superficial translation methods, we see &amp;quot;literary&amp;quot; and &amp;quot;qualitative&amp;quot; translations, &amp;quot;direct&amp;quot; and &amp;quot;meaningful&amp;quot; translations &amp;quot;, &amp;quot;naturalization&amp;quot; and '&amp;quot;dissimilation&amp;quot;, and the way of &amp;quot;the middle&amp;quot; (Huiyuan, 1984: 41), which strives for impartiality.--[[User:Yang Yue|Yang Yue]] ([[User talk:Yang Yue|talk]]) 05:34, 21 December 2020 (UTC)&lt;br /&gt;
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Translation is always a purposeful act. In class society, when translation is inevitably related to the superstructure, it becomes part of elite culture. It is part of the culture of the elite. When the elites of society engage in translation activities, their aims are themselves strongly ideological. The translation activities in class society, including pseudo-translations, creative translations and forgeries, all came from the elite elements of society. It is no coincidence that their actions, either in line with the right path or deviating from it, are the result of a certain ideology.&lt;br /&gt;
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Translation is always a purposeful act. In class society, when translation is inevitably related to the superstructure, it becomes part of elite culture. It is part of the culture of the elite. When the elites of society engage in translation activities, their aims are themselves strongly ideological. The translation activities in class society, including pseudo-translations, creative translations and forgeries, all came from the elite elements of society. It is no coincidence that their actions, either in line with the right path or deviating from it, are the result of a certain ideology.--[[User:Yang Yue|Yang Yue]] ([[User talk:Yang Yue|talk]]) 05:34, 21 December 2020 (UTC)&lt;br /&gt;
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Since ancient times, Chinese and Western translation theory has attached great importance to the influence of ideology on translation practice. The significance of ideology in determining a translator's translation strategy can be seen in Zhi Qian's Preface to the Dharma Sutra, which has been called the &amp;quot;opening chapter of translation theory&amp;quot; in the history of Chinese translation. In his preface, he 'dislikes' Zhu Zhongyan's translation as 'indecent' (Zhiqian, 1984:22), showing the importance he attached to the aesthetic perception of the target audience. Similarly, the influence of the target language and aesthetic values on translation can also be seen in Dao An's 'Five Losses of the Text and Three Difficulties': 'One, the Hu language is inverted and made to follow the Qin, a loss of the text. The second is that the Hu scriptures are still of good quality, while the Qin people are good at writing, and the transmission can be done with the hearts of all people, but not with the text. (Dawan, 1984:24)&amp;quot;&lt;br /&gt;
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Since ancient times, Chinese and Western translation theory has attached great importance to the influence of ideology on translation practice. The significance of ideology in determining a translator's translation strategy can be seen in Zhi Qian's Preface to the Dharma Sutra, which has been called the &amp;quot;opening chapter of translation theory&amp;quot; in the history of Chinese translation. In his preface, he 'dislikes' Zhu Zhongyan's translation as 'indecent' (Zhiqian, 1984:22), showing the importance he attached to the aesthetic perception of the target audience. Similarly, the influence of the target language and aesthetic values on translation can also be seen in Dao An's 'Five Losses of the Text and Three Difficulties': 'One, the Hu language is inverted and made to follow the Qin, a loss of the text. The second is that the Hu scriptures are still of good quality, while the Qin people are good at writing, and the transmission can be done with the hearts of all people, but not with the text. (Dawan, 1984:24)&amp;quot;--[[User:Yang Yue|Yang Yue]] ([[User talk:Yang Yue|talk]]) 05:34, 21 December 2020 (UTC)&lt;br /&gt;
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Western translators have similarly valued the influence of ideology on translation. When the Roman poet and translator Horace spoke of the 'faithful translator', Lefevere argued that this already included an emphasis on ideology (Lefevere, 1992b: 15), but he did not say why. The famous French writer Victor Hugo also pointed out:&lt;br /&gt;
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Western translators have similarly valued the influence of ideology on translation. When the Roman poet and translator Horace spoke of the 'faithful translator', Lefevere argued that this already included an emphasis on ideology (Lefevere, 1992b: 15), but he did not say why. The famous French writer Victor Hugo also pointed out:--[[User:Yang Yue|Yang Yue]] ([[User talk:Yang Yue|talk]]) 05:34, 21 December 2020 (UTC)&lt;br /&gt;
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When you dedicate a translation to a country, that country almost always sees the translation as an act of violence against it... To translate the work of a foreign poet is to add his work to the poetry of your own country; but to open up in this way does not please those with vested interests, at least at first. Their first reaction is resistance.&amp;quot; (op. cit: 18)&lt;br /&gt;
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When you dedicate a translation to a country, that country almost always sees the translation as an act of violence against it... To translate the work of a foreign poet is to add his work to the poetry of your own country; but to open up in this way does not please those with vested interests, at least at first. Their first reaction is resistance.&amp;quot; (op. cit: 18)--[[User:Yang Yue|Yang Yue]] ([[User talk:Yang Yue|talk]]) 05:34, 21 December 2020 (UTC)&lt;br /&gt;
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Different cultures have different ideologies. History teaches us that exchanges between cultures are often, first and foremost, ideological. As Hugo asserts, such exchanges always begin with confrontation. What comes after confrontation? Successful exchanges often involve confrontation leading to compromise, and compromise leading to prosperity, as in the case of Buddhism and the flourishing of Chinese culture in China's history. Unsuccessful exchanges often lead to hostility and even war, as in the case of the clash between Islamic and Christian civilisations. In the case of translators, it was also often the case that those who obeyed me prospered, as in the case of the Chinese translator of the Buddhist scriptures Xuanzang, and those who disobeyed me died, as in the case of the English religious translator William Tyndale (1494-1536), who was burnt at the stake, and the French religious translator Etienne Dolet (1509- 1546). The literature shows that the influence of ideology on translation has long been of interest to translators and translation theorists, but they have not used the term 'ideology' when discussing this issue.&lt;br /&gt;
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Different cultures have different ideologies. History teaches us that exchanges between cultures are often, first and foremost, ideological. As Hugo asserts, such exchanges always begin with confrontation. What comes after confrontation? Successful exchanges often involve confrontation leading to compromise, and compromise leading to prosperity, as in the case of Buddhism and the flourishing of Chinese culture in China's history. Unsuccessful exchanges often lead to hostility and even war, as in the case of the clash between Islamic and Christian civilisations.--[[User:Yang Yue|Yang Yue]] ([[User talk:Yang Yue|talk]]) 05:34, 21 December 2020 (UTC)&lt;br /&gt;
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In the case of translators, it was also often the case that those who obeyed me prospered, as in the case of the Chinese translator of the Buddhist scriptures Xuanzang, and those who disobeyed me died, as in the case of the English religious translator William Tyndale (1494-1536), who was burnt at the stake, and the French religious translator Etienne Dolet (1509- 1546). The literature shows that the influence of ideology on translation has long been of interest to translators and translation theorists, but they have not used the term 'ideology' when discussing this issue.--[[User:Yang Yue|Yang Yue]] ([[User talk:Yang Yue|talk]]) 05:34, 21 December 2020 (UTC)&lt;br /&gt;
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===Translation activities under the control of power in the early stage of the PRC===&lt;br /&gt;
After the founding of the People's Republic of China, internationally, the Western powers tried their best to contain the new regime and obstructed other countries from establishing diplomatic relations with the new China, Mao Zedong put forward the three major diplomatic policies of &amp;quot;falling on one side&amp;quot;, &amp;quot;starting a new cooker&amp;quot; and &amp;quot;cleaning up the house before inviting guests &amp;quot;From a domestic perspective, the new regime was in urgent need of purging reactionary forces and propagating socialist and communist ideas in order to consolidate the proletarian regime. Taking into account the domestic and international political situation, the CPC, as the ruling party, strengthened its ideological. control, i.e.:vigorously propagating socialist and communist ideology. The translation activities were influenced by this and showed obvious ideological tendencies in terms of the choice of texts and translation strategies and even the patrons.&lt;br /&gt;
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After the founding of the People's Republic of China, internationally, the Western powers tried their best to contain the new regime and obstructed other countries from establishing diplomatic relations with the new China, Mao Zedong put forward the three major diplomatic policies of &amp;quot;falling on one side&amp;quot;, &amp;quot;starting a new cooker&amp;quot; and &amp;quot;cleaning up the house before inviting guests &amp;quot;From a domestic perspective, the new regime was in urgent need of purging reactionary forces and propagating socialist and communist ideas in order to consolidate the proletarian regime. Taking into account the domestic and international political situation, the CPC, as the ruling party, strengthened its ideological. control, i.e.:vigorously propagating socialist and communist ideology. The translation activities were influenced by this and showed obvious ideological tendencies in terms of the choice of texts and translation strategies and even the patrons.--[[User:Yang Yue|Yang Yue]] ([[User talk:Yang Yue|talk]]) 05:34, 21 December 2020 (UTC)&lt;br /&gt;
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====Ideological manipulation of translation activities====&lt;br /&gt;
Ideology is a product of a particular society and culture, and it accompanies the emergence of society and culture. Translation, as an act of intercultural communication, involves the exchange of two cultures. The essence of translation is to introduce the culture and ideology of the &amp;quot;other&amp;quot; into the local culture, and to assimilate it into the local value system and ideology. &lt;br /&gt;
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Ideology is a product of a particular society and culture, and it accompanies the emergence of society and culture. Translation, as an act of intercultural communication, involves the exchange of two cultures. The essence of translation is to introduce the culture and ideology of the &amp;quot;other&amp;quot; into the local culture, and to assimilate it into the local value system and ideology. --[[User:Yang Yue|Yang Yue]] ([[User talk:Yang Yue|talk]]) 05:34, 21 December 2020 (UTC)&lt;br /&gt;
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The translation activities in the seventeen years after the founding of the People's Republic of China have seen a phased peak in both Chinese to foreign and foreign to Chinese translation. From the perspective of Chinese to foreign translation, first of all, the new China set off a comprehensive wave of learning from the Soviet Union, as Zhou Yang pointed out in an article in the Soviet magazine Banner: &amp;quot;'Go the way of the Russians', politically. This is true in politics, but also in literature and art. Literary and artistic workers should study harder the creative experience and artistic techniques of Soviet writers, and in particular go deeper into their socialist realism which is the basis of their creativity.&amp;quot; Influenced by this idea, and in terms of text selection, socialist and realist literature from Soviet Russia was translated in large numbers, and this peak occurred mainly in the early decade of the founding of the country; according to statistics, from October 1949 to December 1958, a total of 3,526 Soviet and Russian literary works were translated and published, accounting for two-thirds of the entire foreign literature in translation.[8] &lt;br /&gt;
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The translation activities in the seventeen years after the founding of the People's Republic of China have seen a phased peak in both Chinese to foreign and foreign to Chinese translation. From the perspective of Chinese to foreign translation, first of all, the new China set off a comprehensive wave of learning from the Soviet Union, as Zhou Yang pointed out in an article in the Soviet magazine Banner: &amp;quot;'Go the way of the Russians', politically. This is true in politics, but also in literature and art. Literary and artistic workers should study harder the creative experience and artistic techniques of Soviet writers, and in particular go deeper into their socialist realism which is the basis of their creativity.&amp;quot; Influenced by this idea, and in terms of text selection, socialist and realist literature from Soviet Russia was translated in large numbers, and this peak occurred mainly in the early decade of the founding of the country; according to statistics, from October 1949 to December 1958, a total of 3,526 Soviet and Russian literary works were translated and published, accounting for two-thirds of the entire foreign literature in translation.[8] --[[User:Yang Yue|Yang Yue]] ([[User talk:Yang Yue|talk]]) 05:34, 21 December 2020 (UTC)&lt;br /&gt;
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However, from the late 1950s onwards, the Sino-Soviet relations began to fray, and the ideological confrontation between China and the Soviet Union severely affected Chinese translation and mediation activities into Soviet literature; between 1960 and 1966, a total of 11 single-volume translations of Soviet literature were publicly published in the first four years, and zero Soviet literary works were translated into Chinese in the latter three years. [8] &lt;br /&gt;
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However, from the late 1950s onwards, the Sino-Soviet relations began to fray, and the ideological confrontation between China and the Soviet Union severely affected Chinese translation and mediation activities into Soviet literature; between 1960 and 1966, a total of 11 single-volume translations of Soviet literature were publicly published in the first four years, and zero Soviet literary works were translated into Chinese in the latter three years. [8] --[[User:Yang Yue|Yang Yue]] ([[User talk:Yang Yue|talk]]) 05:34, 21 December 2020 (UTC)&lt;br /&gt;
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Secondly, scientific and technical works from the Soviet Union were translated in large numbers. Most of the scientific works translated in the early years of the founding of the state were originally from the Soviet Union, among which the most scientific works were translated from 1952 to 1960, reaching 911 titles in 1954 and the most in 1957, with a total of 2557 scientific works translated, more than two-thirds of which came from the Soviet Union. &lt;br /&gt;
The Soviet Union unilaterally withdrew its experts from China from 1960 onwards, and when Sino-Soviet relations broke down, there was a downturn in translations from the Soviet Union, especially in 1961, when only 126 original Soviet scientific and technical works were translated. [Ind.] Finally, the translation of political works. In order to further propagate proletarian ideology, in January 1953 the Party Central Committee set up the Central Bureau of Compilation and Translation with the task of translating the works of Marx, Engels, Lenin and Stalin in a systematic and planned manner. &lt;br /&gt;
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Secondly, scientific and technical works from the Soviet Union were translated in large numbers. Most of the scientific works translated in the early years of the founding of the state were originally from the Soviet Union, among which the most scientific works were translated from 1952 to 1960, reaching 911 titles in 1954 and the most in 1957, with a total of 2557 scientific works translated, more than two-thirds of which came from the Soviet Union. &lt;br /&gt;
The Soviet Union unilaterally withdrew its experts from China from 1960 onwards, and when Sino-Soviet relations broke down, there was a downturn in translations from the Soviet Union, especially in 1961, when only 126 original Soviet scientific and technical works were translated. [Ind.] Finally, the translation of political works. In order to further propagate proletarian ideology, in January 1953 the Party Central Committee set up the Central Bureau of Compilation and Translation with the task of translating the works of Marx, Engels, Lenin and Stalin in a systematic and planned manner. --[[User:Yang Yue|Yang Yue]] ([[User talk:Yang Yue|talk]]) 05:34, 21 December 2020 (UTC)&lt;br /&gt;
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Thus, for seventeen years, the works of Marx, Engels, Lenin and Stalin were translated from Russian into Chinese in large numbers and contributed to the spread of socialist and communist ideology and political consciousness in China.&lt;br /&gt;
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Thus, for seventeen years, the works of Marx, Engels, Lenin and Stalin were translated from Russian into Chinese in large numbers and contributed to the spread of socialist and communist ideology and political consciousness in China.--[[User:Yang Yue|Yang Yue]] ([[User talk:Yang Yue|talk]]) 05:34, 21 December 2020 (UTC)&lt;br /&gt;
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From 1956 to 1966, the Central Compilation Bureau of the Communist Party of China translated and published the first 22 volumes of the Complete Works of Marx and Engels (excluding volume 20) on the basis of the second Russian edition of the Complete Works of Marx and Engels; from 1955 to 1963, all 39 volumes of the Complete Works of Lenin were translated into Chinese from Russian, and all 13 volumes of the Complete Works of Stalin were translated from 1953 to 1956. The 13 volumes of Stalin's Complete Works were also translated between 1953 and 1956. [10] The translation and editing of Marx and Lenin's works was rapidly completed under the direction of the state, which provided a good political basis for the economic and cultural development of the new China.&lt;br /&gt;
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From 1956 to 1966, the Central Compilation Bureau of the Communist Party of China translated and published the first 22 volumes of the Complete Works of Marx and Engels (excluding volume 20) on the basis of the second Russian edition of the Complete Works of Marx and Engels; from 1955 to 1963, all 39 volumes of the Complete Works of Lenin were translated into Chinese from Russian, and all 13 volumes of the Complete Works of Stalin were translated from 1953 to 1956. The 13 volumes of Stalin's Complete Works were also translated between 1953 and 1956. [10] The translation and editing of Marx and Lenin's works was rapidly completed under the direction of the state, which provided a good political basis for the economic and cultural development of the new China.--[[User:Yang Yue|Yang Yue]] ([[User talk:Yang Yue|talk]]) 05:34, 21 December 2020 (UTC)&lt;br /&gt;
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In conclusion, the translation activities from foreign to Chinese in the early years of the founding of the state were subject to the constraints of various political, economic and cultural factors at the time and showed obvious characteristics: for one thing, Soviet works, both literary and scientific, were rapidly translated into Chinese and widely disseminated within a few short years, but at the same time, due to the influence of political consciousness, they fell from a high point to a low point within a very short time; for another, with the support of the state regime and the government, political classics were quickly translated into Chinese in large numbers via Russian, which to a certain extent contributed to the development of translation activities and the consolidation of the new regime.&lt;br /&gt;
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In conclusion, the translation activities from foreign to Chinese in the early years of the founding of the state were subject to the constraints of various political, economic and cultural factors at the time and showed obvious characteristics: for one thing, Soviet works, both literary and scientific, were rapidly translated into Chinese and widely disseminated within a few short years, but at the same time, due to the influence of political consciousness, they fell from a high point to a low point within a very short time; for another, with the support of the state regime and the government, political classics were quickly translated into Chinese in large numbers via Russian, which to a certain extent contributed to the development of translation activities and the consolidation of the new regime.--[[User:Yang Yue|Yang Yue]] ([[User talk:Yang Yue|talk]]) 05:34, 21 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
In terms of foreign translations into Chinese, very few Chinese books in Chinese history have been translated into foreign languages and widely disseminated in foreign countries. After the founding of New China, in order to let the world's proletarians know more about China and at the same time establish diplomatic relations with more countries, the Chinese Foreign Languages Bureau translated and published a large number of foreign language books under the name of Foreign Languages Publishing House. &lt;br /&gt;
&lt;br /&gt;
In terms of foreign translations into Chinese, very few Chinese books in Chinese history have been translated into foreign languages and widely disseminated in foreign countries. After the founding of New China, in order to let the world's proletarians know more about China and at the same time establish diplomatic relations with more countries, the Chinese Foreign Languages Bureau translated and published a large number of foreign language books under the name of Foreign Languages Publishing House.--[[User:Yang Yue|Yang Yue]] ([[User talk:Yang Yue|talk]]) 05:34, 21 December 2020 (UTC) &lt;br /&gt;
&lt;br /&gt;
Among them the translation of Mao Zedong's works was given top priority, especially the translation and publication of the fourth volume of the English edition of Mao Zedong's Selected Works. The Foreign Languages Publishing House decided to publish the forth volume, followed by the first, second and third volumes. &lt;br /&gt;
&lt;br /&gt;
Among them the translation of Mao Zedong's works was given top priority, especially the translation and publication of the fourth volume of the English edition of Mao Zedong's Selected Works. The Foreign Languages Publishing House decided to publish the forth volume, followed by the first, second and third volumes. --[[User:Yang Yue|Yang Yue]] ([[User talk:Yang Yue|talk]]) 05:34, 21 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
In 1961, the Ministry of Culture issued two written circulars on the publication and distribution of Mao's works, requiring local bookshops to consult the party and government leaders before starting distribution, and limiting the target audience and the number of copies to be distributed. This shows that the translation and publication of Mao's works was treated as a political task and drew a great deal of attention from all sectors of society. &lt;br /&gt;
&lt;br /&gt;
In 1961, the Ministry of Culture issued two written circulars on the publication and distribution of Mao's works, requiring local bookshops to consult the party and government leaders before starting distribution, and limiting the target audience and the number of copies to be distributed. This shows that the translation and publication of Mao's works was treated as a political task and drew a great deal of attention from all sectors of society. --[[User:Yang Yue|Yang Yue]] ([[User talk:Yang Yue|talk]]) 05:34, 21 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
According to statistics, between 1949 and 1965, more than 3,000 Chinese books were translated into more than 20 foreign languages and distributed abroad, of which 536 were Mao's writings.11 In addition, pamphlets introducing the leader's writings and the Chinese revolutionary experience were translated into several languages and distributed abroad, where they were well received and became an effective way for foreigners to learn about and study China. These pamphlets were well received abroad and became an effective way for foreigners to understand and study China.&lt;br /&gt;
 &lt;br /&gt;
According to statistics, between 1949 and 1965, more than 3,000 Chinese books were translated into more than 20 foreign languages and distributed abroad, of which 536 were Mao's writings.11 In addition, pamphlets introducing the leader's writings and the Chinese revolutionary experience were translated into several languages and distributed abroad, where they were well received and became an effective way for foreigners to learn about and study China. These pamphlets were well received abroad and became an effective way for foreigners to understand and study China.--[[User:Yang Yue|Yang Yue]] ([[User talk:Yang Yue|talk]]) 05:34, 21 December 2020 (UTC)&lt;br /&gt;
 &lt;br /&gt;
In short, this phase of Chinese to foreign translation activities was dominated by translations of Mao's writings and pamphlets of political literature, which had a clear ideological orientation. In order to consolidate the new proletarian regime, the new China used translations to propagate its political ideas in order to gain more support, and its targets were countries in Asia, Africa and Latin America fighting for national independence, as well as some leftist organisations and progressive people in developed countries in Europe and America. As a result, this phase of Chinese to foreign translation activity focused on the text itself while giving greater consideration to the political and social factors it contained.&lt;br /&gt;
&lt;br /&gt;
In short, this phase of Chinese to foreign translation activities was dominated by translations of Mao's writings and pamphlets of political literature, which had a clear ideological orientation. In order to consolidate the new proletarian regime, the new China used translations to propagate its political ideas in order to gain more support, and its targets were countries in Asia, Africa and Latin America fighting for national independence, as well as some leftist organisations and progressive people in developed countries in Europe and America. As a result, this phase of Chinese to foreign translation activity focused on the text itself while giving greater consideration to the political and social factors it contained.--[[User:Yang Yue|Yang Yue]] ([[User talk:Yang Yue|talk]]) 05:34, 21 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
====Patron manipulation of translation activities====&lt;br /&gt;
The patron's sense of power was another important factor in the manipulation of translation, one of the fundamental forces driving the progress of early modern society, far more influential than the influence of literature on society. The word 'patron' in English comes from the Latin patronus, meaning a person who gives financial support to a client for the achievement of a specific purpose. &lt;br /&gt;
&lt;br /&gt;
The patron's sense of power was another important factor in the manipulation of translation, one of the fundamental forces driving the progress of early modern society, far more influential than the influence of literature on society. The word 'patron' in English comes from the Latin patronus, meaning a person who gives financial support to a client for the achievement of a specific purpose. --[[User:Yang Yue|Yang Yue]] ([[User talk:Yang Yue|talk]]) 05:34, 21 December 2020 (UTC)&lt;br /&gt;
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Patrons control all aspects of the translation, including the content of the translation, the choice of material and even the strategy of the translation and its promotion. The patron may be an authoritative individual, a publisher, a government agency, etc., whose aim is to ensure that the translation conforms to a particular social norm or the interests of a particular class of people by providing the translator or author with a certain amount of financial support, social status or political patronage, so that his or her creation and translation are in line with the prevailing ideology.&lt;br /&gt;
&lt;br /&gt;
Patrons control all aspects of the translation, including the content of the translation, the choice of material and even the strategy of the translation and its promotion. The patron may be an authoritative individual, a publisher, a government agency, etc., whose aim is to ensure that the translation conforms to a particular social norm or the interests of a particular class of people by providing the translator or author with a certain amount of financial support, social status or political patronage, so that his or her creation and translation are in line with the prevailing ideology.--[[User:Yang Yue|Yang Yue]] ([[User talk:Yang Yue|talk]]) 05:34, 21 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
After the founding of New China, the patronage of translation activities as a whole was divided into two phases.&lt;br /&gt;
&lt;br /&gt;
The first stage lasted from the founding of New China in 1949 to the completion of the Three Great Transformations in 1956. The role of publishers as patrons was changing during this phase. At the beginning of the founding of the country, the publishing industry developed unevenly in different parts of the country, and state-owned and private publishers coexisted. According to statistics from March 1950, there were 244 private bookshops operating in 11 major cities across the country, and publishing houses became the main patrons during this period, possessing a certain degree of financial independence and sponsoring translation activities through financial support for translators. By the end of 1956, the socialist transformation of private publishing houses had basically been achieved, with the withdrawal of the private sector from the publishing houses and a simultaneous change in the composition of the patrons.&lt;br /&gt;
&lt;br /&gt;
The first stage lasted from the founding of New China in 1949 to the completion of the Three Great Transformations in 1956. The role of publishers as patrons was changing during this phase. At the beginning of the founding of the country, the publishing industry developed unevenly in different parts of the country, and state-owned and private publishers coexisted. According to statistics from March 1950, there were 244 private bookshops operating in 11 major cities across the country, and publishing houses became the main patrons during this period, possessing a certain degree of financial independence and sponsoring translation activities through financial support for translators. By the end of 1956, the socialist transformation of private publishing houses had basically been achieved, with the withdrawal of the private sector from the publishing houses and a simultaneous change in the composition of the patrons.--[[User:Yang Yue|Yang Yue]] ([[User talk:Yang Yue|talk]]) 05:34, 21 December 2020 (UTC)&lt;br /&gt;
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The second phase, from 1957 to 1966, saw the weakening of the power of publishing houses as independent sponsors, and the predominance of patronage by government agencies, such as the Ministry of Culture and the Central Propaganda Department, and by authoritative individuals, such as state leaders Mao Zedong and Zhou Enlai, in translation activities; the independence of publishing houses no longer existed, although they could decide what and how to translate in translation activities, when their ideology When their ideology contradicts that of government agencies or authoritative individuals, they must obey the latter. For example, in terms of the content of translations, some people advocated translating the foreign-language edition of People's Pictorial to introduce the experience of the Chinese revolution, but Chairman Mao disapproved of this, arguing that &amp;quot;it would be good to be able to introduce our lives in a realistic way. [12] For example, in the translation of the English version of the fourth volume of Mao Zedong's Selected Works, the Party Central Committee appointed Zhang Hanfu and Meng Yongqian to take charge of the specific leadership work.&lt;br /&gt;
&lt;br /&gt;
The second phase, from 1957 to 1966, saw the weakening of the power of publishing houses as independent sponsors, and the predominance of patronage by government agencies, such as the Ministry of Culture and the Central Propaganda Department, and by authoritative individuals, such as state leaders Mao Zedong and Zhou Enlai, in translation activities; the independence of publishing houses no longer existed, although they could decide what and how to translate in translation activities, when their ideology When their ideology contradicts that of government agencies or authoritative individuals, they must obey the latter. For example, in terms of the content of translations, some people advocated translating the foreign-language edition of People's Pictorial to introduce the experience of the Chinese revolution, but Chairman Mao disapproved of this, arguing that &amp;quot;it would be good to be able to introduce our lives in a realistic way. [12] For example, in the translation of the English version of the fourth volume of Mao Zedong's Selected Works, the Party Central Committee appointed Zhang Hanfu and Meng Yongqian to take charge of the specific leadership work.--[[User:Yang Yue|Yang Yue]] ([[User talk:Yang Yue|talk]]) 05:34, 21 December 2020 (UTC)&lt;br /&gt;
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The sponsor's control over the translation activities was also reflected in the choice of translation strategies. Different types of texts have different translation strategies. The translation of political texts should aim to express the content of the original text accurately and completely, and the editorial processing of such texts should be strictly reported; the translation of literary and artistic works should try to appreciate the style of the original text and make appropriate text processing when necessary, but should not alter the content of the original text at will; general reports should be more adapted to the habits of foreign reports and take into account the receptiveness of foreign readers, so there can be greater flexibility in translation, but However, the relevant guidelines, policies and important facts should not be changed at will.&lt;br /&gt;
&lt;br /&gt;
The sponsor's control over the translation activities was also reflected in the choice of translation strategies. Different types of texts have different translation strategies. The translation of political texts should aim to express the content of the original text accurately and completely, and the editorial processing of such texts should be strictly reported; the translation of literary and artistic works should try to appreciate the style of the original text and make appropriate text processing when necessary, but should not alter the content of the original text at will; general reports should be more adapted to the habits of foreign reports and take into account the receptiveness of foreign readers, so there can be greater flexibility in translation, but However, the relevant guidelines, policies and important facts should not be changed at will.--[[User:Yang Yue|Yang Yue]] ([[User talk:Yang Yue|talk]]) 05:34, 21 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
As Yang Xian Yi said, &amp;quot;Unfortunately, we were only hired translators, and it was not up to us to decide what to translate. ...... The selected work had to suit the political climate and the taste of the time. the political climate and the taste of the moment.&amp;quot; [13]&lt;br /&gt;
IV. Insights from the Translation Activities in the Early Stage of the PRC&lt;br /&gt;
The translation activities in the seventeen years after the founding of the state formed the fourth translation climax in China's history, and the key factor contributing to this climax was the government's unified leadership and planning of translation activities. In the early years of the founding of the country, the state strengthened its organisation and planning of the publishing industry and translation activities by convening a number of national conferences. Firstly, in order to rectify the chaotic state of the publishing industry and lead the nation's publishing work, the State General Administration of Publications convened the First National Conference on Publishing in September 1950 and the First National Conference on Publication Administration in August 1951, both of which stressed the quality of publications, especially the second conference, which made improving the quality of publications the top priority of the publishing industry, and stressed the importance of book review and the importance of conducting book reviews.&lt;br /&gt;
&lt;br /&gt;
As Yang Xian Yi said, &amp;quot;Unfortunately, we were only hired translators, and it was not up to us to decide what to translate. ...... The selected work had to suit the political climate and the taste of the time. the political climate and the taste of the moment.&amp;quot; [13]--[[User:Yang Yue|Yang Yue]] ([[User talk:Yang Yue|talk]]) 05:34, 21 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
IV. Insights from the Translation Activities in the Early Stage of the PRC&lt;br /&gt;
The translation activities in the seventeen years after the founding of the state formed the fourth translation climax in China's history, and the key factor contributing to this climax was the government's unified leadership and planning of translation activities. In the early years of the founding of the country, the state strengthened its organisation and planning of the publishing industry and translation activities by convening a number of national conferences. Firstly, in order to rectify the chaotic state of the publishing industry and lead the nation's publishing work, the State General Administration of Publications convened the First National Conference on Publishing in September 1950 and the First National Conference on Publication Administration in August 1951, both of which stressed the quality of publications, especially the second conference, which made improving the quality of publications the top priority of the publishing industry, and stressed the importance of book review and the importance of conducting book reviews.--[[User:Yang Yue|Yang Yue]] ([[User talk:Yang Yue|talk]]) 05:34, 21 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
Secondly, in order to improve the quality of translations and establish plans, the State General Administration of Publications convened the First National Conference on Translation Work in November 1951, at which the planning and institutionalisation of translation work was made a central task in the organisation of translation work, and emphasis was placed on the widespread development of criticism and self-criticism in the national academic and publishing community in order to improve and enhance the quality of translation work. Once again, in August 1954, the Chinese Writers' Association held the first national conference on literary translation work. At the meeting, Mao Dun proposed that literary translation work must be carried out in an organised and planned manner, and that criticism and self-criticism in literary translation work should be strengthened in order to improve the level of artistic creation in literary translation.&lt;br /&gt;
&lt;br /&gt;
Secondly, in order to improve the quality of translations and establish plans, the State General Administration of Publications convened the First National Conference on Translation Work in November 1951, at which the planning and institutionalisation of translation work was made a central task in the organisation of translation work, and emphasis was placed on the widespread development of criticism and self-criticism in the national academic and publishing community in order to improve and enhance the quality of translation work. Once again, in August 1954, the Chinese Writers' Association held the first national conference on literary translation work. At the meeting, Mao Dun proposed that literary translation work must be carried out in an organised and planned manner, and that criticism and self-criticism in literary translation work should be strengthened in order to improve the level of artistic creation in literary translation.--[[User:Yang Yue|Yang Yue]] ([[User talk:Yang Yue|talk]]) 05:34, 21 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
After these conferences, translation activities, especially translation criticism, were widely carried out in China, and both the quantity and quality of translated works improved greatly. According to statistics, a total of 6,680 translated works were published in China in the 30 years from 1919 to 1949, and from October 1949 to the end of 1958, more than 5,300 foreign literary works were translated and published nationwide, of which 65.5 per cent were translated from the Soviet Union. [8] And translations of popular science works during this period amounted to more than 3,600, most of which also came from the Soviet Union. From 1950 to 1952, 74 articles were published in the Translation Bulletin alone, and many translators not only dared to criticize, but also took the initiative to criticize themselves for the errors in their own translations. For example, in May 1952, Wang Feibai published 'Review of Jiang's translation of &amp;quot;Star&amp;quot;' in the Translation Bulletin, criticising Jiang Lu's translation, followed by 'Review of the translation of &amp;quot;Star&amp;quot;', in which Jiang Lu self-criticised the errors in his translation.&lt;br /&gt;
&lt;br /&gt;
After these conferences, translation activities, especially translation criticism, were widely carried out in China, and both the quantity and quality of translated works improved greatly. According to statistics, a total of 6,680 translated works were published in China in the 30 years from 1919 to 1949, and from October 1949 to the end of 1958, more than 5,300 foreign literary works were translated and published nationwide, of which 65.5 per cent were translated from the Soviet Union. [8] And translations of popular science works during this period amounted to more than 3,600, most of which also came from the Soviet Union. From 1950 to 1952, 74 articles were published in the Translation Bulletin alone, and many translators not only dared to criticize, but also took the initiative to criticize themselves for the errors in their own translations. For example, in May 1952, Wang Feibai published 'Review of Jiang's translation of &amp;quot;Star&amp;quot;' in the Translation Bulletin, criticising Jiang Lu's translation, followed by 'Review of the translation of &amp;quot;Star&amp;quot;', in which Jiang Lu self-criticised the errors in his translation.--[[User:Yang Yue|Yang Yue]] ([[User talk:Yang Yue|talk]]) 05:34, 21 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
Compared with the translation activities in the seventeen years after the founding of the state, the translation activities in China have become more prosperous and extensive since the 21st century, but at the same time, many problems have emerged. Firstly, the quality of translations has been low. In order to expand sales and pursue lucrative profits, many publishing houses have been competing to buy the rights to foreign bestsellers and organise translators to translate them into Chinese as quickly as possible in order to make maximum profits. Secondly, piracy is rampant. Pirated books are not only available in many editions but also at low prices and in beautiful packaging. Many publishers have even misrepresented the names of the compilers in order to avoid charges of piracy. In the case of Mr. Ye Junjian's translation of Hans Christian Andersen's Fairy Tales, for example, there are about 40 pirated editions known to him alone. [14] Another example is that almost all of the books translated and published by the People's Literature Publishing House in the past have been pirated. Similar examples abound, and piracy not only affects the rights of regular publishers, but also undermines the right of readers to enjoy fine translations.&lt;br /&gt;
&lt;br /&gt;
Compared with the translation activities in the seventeen years after the founding of the state, the translation activities in China have become more prosperous and extensive since the 21st century, but at the same time, many problems have emerged. Firstly, the quality of translations has been low. In order to expand sales and pursue lucrative profits, many publishing houses have been competing to buy the rights to foreign bestsellers and organise translators to translate them into Chinese as quickly as possible in order to make maximum profits. Secondly, piracy is rampant. Pirated books are not only available in many editions but also at low prices and in beautiful packaging. --[[User:Yang Yue|Yang Yue]] ([[User talk:Yang Yue|talk]]) 05:34, 21 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
Many publishers have even misrepresented the names of the compilers in order to avoid charges of piracy. In the case of Mr. Ye Junjian's translation of Hans Christian Andersen's Fairy Tales, for example, there are about 40 pirated editions known to him alone. [14] Another example is that almost all of the books translated and published by the People's Literature Publishing House in the past have been pirated. Similar examples abound, and piracy not only affects the rights of regular publishers, but also undermines the right of readers to enjoy fine translations.--[[User:Yang Yue|Yang Yue]] ([[User talk:Yang Yue|talk]]) 05:34, 21 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
In response to these problems, from a historical perspective, it is, first of all, essential to strengthen the leadership and organisation of translation activities by the government. So far, there is no government department in China specifically in charge of translation activities. While the market economy has promoted the extensive development of translation activities, its blindness and the pursuit of profits have made it difficult for the spirituality and culture of translation products to be well reflected. Therefore, the overall planning and guidance of the relevant government departments play an important role in the effective development of translation activities.&lt;br /&gt;
&lt;br /&gt;
In response to these problems, from a historical perspective, it is, first of all, essential to strengthen the leadership and organisation of translation activities by the government. So far, there is no government department in China specifically in charge of translation activities. While the market economy has promoted the extensive development of translation activities, its blindness and the pursuit of profits have made it difficult for the spirituality and culture of translation products to be well reflected. Therefore, the overall planning and guidance of the relevant government departments play an important role in the effective development of translation activities.--[[User:Yang Yue|Yang Yue]] ([[User talk:Yang Yue|talk]]) 05:34, 21 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
Secondly, vigorously carrying out criticism and self-criticism is an effective way to improve the quality of translations. To a certain extent, the low quality of translated works can be attributed to the lack of translation criticism. On the whole, the number of articles published on translation criticism in China is still relatively small and there are more practical studies than theoretical studies, for example, in 2011, there were 14 articles on translation criticism, accounting for only 2.2% of the total. [1 In terms of content, literary criticism dominates and is mostly of the appreciation type, especially focusing on the analysis of famous writers, praising translators more than criticizing them, and the theoretical construction of translation criticism is insufficient, lacking real substantive criticism. This is the case with translation criticism, and there is even less self-critical writing from translators. In short, as an important area of translation activity, translation criticism is indispensable.&lt;br /&gt;
&lt;br /&gt;
Secondly, vigorously carrying out criticism and self-criticism is an effective way to improve the quality of translations. To a certain extent, the low quality of translated works can be attributed to the lack of translation criticism. On the whole, the number of articles published on translation criticism in China is still relatively small and there are more practical studies than theoretical studies, for example, in 2011, there were 14 articles on translation criticism, accounting for only 2.2% of the total. [1 In terms of content, literary criticism dominates and is mostly of the appreciation type, especially focusing on the analysis of famous writers, praising translators more than criticizing them, and the theoretical construction of translation criticism is insufficient, lacking real substantive criticism. This is the case with translation criticism, and there is even less self-critical writing from translators. In short, as an important area of translation activity, translation criticism is indispensable.--[[User:Yang Yue|Yang Yue]] ([[User talk:Yang Yue|talk]]) 05:34, 21 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
===Conclusion===&lt;br /&gt;
Ever since translation inevitably entered our culture, the social ideology that is also inevitably present in our culture has almost never ceased to manipulate the further development of the movement. In short, the ideological manipulation of translation activities in the early years of the founding of the state has been a constant and pivotal role in translation activities, especially the leading role of the government and the widespread activities of criticism and self-criticism in the translation community have provided a certain historical mirror for the benign development of translation activities in the new era.&lt;br /&gt;
&lt;br /&gt;
Ever since translation inevitably entered our culture, the social ideology that is also inevitably present in our culture has almost never ceased to manipulate the further development of the movement. In short, the ideological manipulation of translation activities in the early years of the founding of the state has been a constant and pivotal role in translation activities, especially the leading role of the government and the widespread activities of criticism and self-criticism in the translation community have provided a certain historical mirror for the benign development of translation activities in the new era.--[[User:Yang Yue|Yang Yue]] ([[User talk:Yang Yue|talk]]) 05:34, 21 December 2020 (UTC)&lt;br /&gt;
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===Reference books===&lt;br /&gt;
*许宝强，袁伟．语言与翻译的政治[C]．北京:中央编译出社，2001:1-20.&lt;br /&gt;
&lt;br /&gt;
*吕俊．翻译研究:从文本理论到权利话语[J]．四川外语学院学报，2002，1 (18): 106-109.&lt;br /&gt;
&lt;br /&gt;
*Bassnett, S &amp;amp; Ledever, A. Constructing Cultures: Essays on Literary Translation [M]. Shanghai: Shanghai Foreign Language Education Press, 2001: 48.&lt;br /&gt;
&lt;br /&gt;
*Munday, J. Introducing Translation Studies Theories and Applications [M]. Shanghai: Shanghai Foreign Language Education Press, 2010: 127-129.&lt;br /&gt;
&lt;br /&gt;
*Lefevere, A. Translation, Rewriting and the Manipulation of Literary Fame [M]. Shanghai: Shanghai Foreign Language Education Press，2010: 1-70.&lt;br /&gt;
&lt;br /&gt;
*王东风. 一只看不见的手——论意识形态对翻译实践的操纵 [J]．中国翻译，2003，5 (24): 16-23.&lt;br /&gt;
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*周扬. 社会主义现实主义——中国文学前进的道路 [N].人民日报，1953-01-11 (1).&lt;br /&gt;
&lt;br /&gt;
*文记东. 1949~1966年的中苏文化交流[M]，哈尔滨:黑龙江大学出版社，2011: 101, 144.&lt;br /&gt;
&lt;br /&gt;
*马祖毅．中国翻译通史现当代部分（第三卷）[M].武汉﹔湖北教育出版社，2006: 207-225.&lt;br /&gt;
&lt;br /&gt;
*人民出版社马列著作编辑室．马克思恩格斯列宁斯大林著作中文本书目（1950~1983年）[Z]. 北京：人民出版社，1985.&lt;br /&gt;
&lt;br /&gt;
*周东元，亓文公．中国外文局五十年史料选编（1）[M]. 北京:新星出版社，1999: 399.&lt;br /&gt;
&lt;br /&gt;
*新星出版社编辑部．中国外文局五十年回忆录[M]. 北京:新星出版社，1999: 37, 420-421.&lt;br /&gt;
&lt;br /&gt;
*杨宪益，薛鸿时．漏船载酒译当年[M]. 北京:人民日报出版社，2001: 225.&lt;br /&gt;
&lt;br /&gt;
*杜萌．翻译市场滥译滥编侵权现状调查[N]. 法制日报，2009-03-02 (8).&lt;br /&gt;
&lt;br /&gt;
*中国翻译协会．中国翻译年鉴﹔2009~2010年[M]. 北京:外文出版社，2011: 241, 232.&lt;br /&gt;
&lt;br /&gt;
==Comparison between the History of Chinese and Western Translation   周书尧   Zhou Shuyao==&lt;br /&gt;
&lt;br /&gt;
&amp;lt;center&amp;gt; 周书尧 Zhou Shuyao 202020080672 &amp;lt;/center&amp;gt;&lt;br /&gt;
&lt;br /&gt;
===Abstract===&lt;br /&gt;
Translation has existed since historical records. Translation goes hand in hand with human history, even before historical records. Whether in my country or Western countries, the long tradition of translation has become the most dazzling pearl in the process of human civilization.In addition, translation plays an indelible role in promoting cross-cultural communication and cultural communication.This article first discusses the history of translation in China from four stages , then discusses the five stages of western translation history , and finally compares and analyzes the similarities and differences between Chinese and Western translation histories, and puts forward some of the author's own views.&lt;br /&gt;
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Translation has existed since historical records. Translation goes hand in hand with human history, even before historical records. Whether in China or in western countries, the long tradition of translation seems to be the most dazzling pearl in the process of human civilization. In addition, it plays an important role in promoting cross-cultural communication. This paper first discusses the history of translation in China from the four translation climaxes in China, then discusses the history of translation in the West from the five translation climaxes in the west, and finally makes a comparative analysis of the similarities and differences between Chinese and western translation history, and puts forward some views of the author.--[[User:Zhang Xueyi|Zhang Xueyi]] ([[User talk:Zhang Xueyi|talk]]) 15:45, 18 December 2020 (UTC)&lt;br /&gt;
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===Key words===&lt;br /&gt;
The history of Chinese,The history of Western,the stages of  translation history,comparison&lt;br /&gt;
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===摘要===&lt;br /&gt;
自历史记载以来,就存在翻译.翻译与人类的历史并道而驰,甚至先于历史记载.无论在我国,还是西方国家,悠久的翻译传统俨然成为人类文明进程中一颗最耀眼的明珠。此外，翻译在促进跨文化交流和文化传播上承担着不可磨灭的作用。本文首先从中国的四次翻译高潮论述中国的翻译史，再从西方的五次翻译高潮探讨西方的翻译史，最后对中西方翻译史的异同进行对比分析，提出一些笔者自己的看法。&lt;br /&gt;
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自历史记载以来，就存在翻译。翻译与人类的历史并道而驰，甚至先于历史记载。无论在我国，还是西方国家，悠久的翻译传统俨然成为人类文明进程中一颗最耀眼的明珠。此外，翻译在促进跨文化交流和文化传播上起着着不可忽视的作用。本文首先从中国的四次翻译高潮论述中国的翻译史，其次从西方的五次翻译高潮探讨西方的翻译史，最后对中西方翻译史的异同进行对比分析，提出一些笔者自己的看法。--[[User:Zhang Xueyi|Zhang Xueyi]] ([[User talk:Zhang Xueyi|talk]]) 15:40, 18 December 2020 (UTC)&lt;br /&gt;
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===关键词===&lt;br /&gt;
中国翻译史，西方翻译史，翻译高潮，对比&lt;br /&gt;
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===I.Introduction===&lt;br /&gt;
Since the 1980s, the Chinese translation studies community has made remarkable progress in the establishment of Chinese and Western translation history courses and the compilation of related works.In the 1980s and early 1990s,A Brief Introduction to the History of Translation in China from Ma Zuyi and other books of Chen Yugang and Tan Zaixi were published one after another,which raised the curtain for the compilation of Chinese and Western translation history works by the domestic translation scholars.The four stages in the history of Chinese translation have promoted the development of Chinese history, culture and society to varying degrees.(Xu 2018,5)&lt;br /&gt;
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Since the 1980s, Chinese translation studies have made remarkable progress in the curriculum design of Chinese and western translation history and the compilation of related works. In the 1980s and early 1990s, Ma Zuyi's A Brief Introduction to the History of Translation in China, and other books of Chen Yugang and Tan Zaixi were published one after another,which raised the curtain for the compilation of Chinese and Western translation history works by the domestic translation scholars. The four climaxes in Chinese translation history promoted the development of Chinese history, culture and society in varying degrees.(Xu 2018,5)--[[User:Zhang Xueyi|Zhang Xueyi]] ([[User talk:Zhang Xueyi|talk]]) 15:56, 18 December 2020 (UTC)&lt;br /&gt;
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The same as our country, Western translation has an age-old history.In a sense, the development of Western European civilization should first be attributed to the translators.The five stages in the history of European translation have promoted the exchanges of literature, art, science and trade between countries, and to a certain extent promoted the development of Chinese translation.In fact, when we examine the development trajectory of Chinese and Western translation activities and the evolution of translation concepts together, we find that there are some similarities between Chinese translation and Western translation.Especially in the evolution of Chinese and Western translation concepts, the two have very similar evolution laws.(Xie 2010,5)&lt;br /&gt;
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Like China, western translation has a long history. In a sense, the development of Western European civilization should be attributed to the translators. The five climaxes in the history of European translation have promoted the exchanges of literature, art, science and trade between countries, and promoted the development of Chinese translation to a certain extent. In fact, when we examine the development of translation activities and the evolution of translation concepts in China and the West together, we find that there are some similarities between them. Especially in the evolution of Chinese and western translation concepts, they have very similar evolution rules.(Xu 2018,5)--[[User:Zhang Xueyi|Zhang Xueyi]] ([[User talk:Zhang Xueyi|talk]]) 15:56, 18 December 2020 (UTC)&lt;br /&gt;
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===Ⅱ.The history of Chinese translation===&lt;br /&gt;
According to records, there have been four stages in China's long history of translation development, leaving behind many classic discussions.From these four translation climaxes, we can see the translators, translation theories and practices that emerged in different periods in China.And these translation stages have had varying degrees of impact on China's history, culture, society, and literature, including the development of Chinese translation.(Li 2016,132)&lt;br /&gt;
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In the traditional sense, there have been four translation climaxes in China's long history of translation development, leaving many classic comments. From the four translation climaxes, we can see the translators, translation theory and practice in different periods in China. Moreover, these translation climaxes have exerted different influences on the history, culture, society and literature of China, including the development of Chinese translation itself.(Li 2016,132)--[[User:Zhang Xueyi|Zhang Xueyi]] ([[User talk:Zhang Xueyi|talk]]) 16:06, 18 December 2020 (UTC)&lt;br /&gt;
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====2.1 The first stage: Ancient Translation History====&lt;br /&gt;
The translation of Buddhist scriptures from the Eastern Han Dynasty to the Tang and Song Dynasties (25-1279) can be regarded as the first important period in the history of Chinese translation, the initiation period of traditional Chinese translation theory, and the first large-scale, planned, Organized translation activities.A large number of Buddhist scriptures were introduced into our country from various countries in the Western Regions, which had a profound impact on our country's language, religious philosophy, painting, arts, etc.The Chinese translation of Buddhist scriptures with textual research should be translated by An Shigao（安室高） during the Eastern Han Dynasty (151 AD).(Liu 2016,147)&lt;br /&gt;
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The translation of Buddhist scriptures from the Eastern Han Dynasty to the Tang and Song Dynasties (25-1279) can be regarded as the first important period in the history of Chinese translation, and it is also the first large-scale, planned and organized translation activity in Chinese history.A large number of Buddhist scriptures were introduced into our country from various countries in the Western Regions, which had a profound impact on our country's language, religious philosophy, painting, arts, etc.The Chinese translation of Buddhist scriptures with textual research should be translated by An Shigao（安室高） during the Eastern Han Dynasty (151 AD).(Liu 2016,147)--[[User:Zhang Xueyi|Zhang Xueyi]] ([[User talk:Zhang Xueyi|talk]]) 16:30, 18 December 2020 (UTC)&lt;br /&gt;
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From 148 AD to 170 AD, he translated more than 30 Buddhist scriptures in Luoyang, making great contributions to Buddhist translation and the spread of Buddhist culture in China.The translation of Lokaksema（支娄迦谶）, who was at the same time as An Shigao, was basically a word-for-word translation, which was not easy to understand. The literal translation in the Chinese translation community probably started from this time.Zhi Loujiachen were the masters of the literal translation school. In addition to them, the major translators include Lokaksema and Dharmaraksha（竺法护）. And most of these translators were “foreigners”.(Liu 2016,147)&lt;br /&gt;
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From 148 AD to 170 AD, he translated more than 30 Buddhist scriptures in Luoyang, making great contributions to Buddhist translation and the spread of Buddhist culture in China.The translation of Lokaksema（支娄迦谶）, who was at the same time as An Shigao, was basically a word-for-word translation, which was not easy to understand. The literal translation in the Chinese translation community probably started from this time.Zhi Loujiachen were the masters of the literal translation school. In addition to them, the major translators include Lokaksema and Dharmaraksha（竺法护）. And most of these translators were “foreigners”.(Liu 2016,147)--[[User:Zhang Xueyi|Zhang Xueyi]] ([[User talk:Zhang Xueyi|talk]]) 16:30, 18 December 2020 (UTC)&lt;br /&gt;
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Shi Daoan (314-385), who was an eminent monk, set up a translation workshop, ushering in the period of translation on a large scale. And a State Translation School was founded for this purpose. Shi daoan put forward the famous &amp;quot;five instances of losing the source and three instances of difficulties&amp;quot;, which had a great influence on later translation studies.(Li 2016,132)The Sui and Tang Dynasties were the prosperous period of Chinese Buddhist translation.Xuan Zang（玄奘）, Kumarajiva（鸠摩罗什）, and Zhen Di（真谛） of the Tang Dynasty are collectively known as the three major translators of Chinese Buddhism.（Li 2016,132）&lt;br /&gt;
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Shi Daoan (314-385), who was an eminent monk, set up a translation workshop, ushering in the period of translation on a large scale. And a State Translation School was founded for this purpose. Shi daoan put forward the famous &amp;quot;five instances of losing the source and three instances of difficulties&amp;quot;, which had a great influence on later translation studies.(Li 2016,132)The Sui and Tang Dynasties were the prosperous period of Chinese Buddhist translation.Xuan Zang（玄奘）, Kumarajiva（鸠摩罗什）, and Zhen Di（真谛） of the Tang Dynasty are collectively known as the three major translators of Chinese Buddhism.（Li 2016,132）--[[User:Zhang Xueyi|Zhang Xueyi]] ([[User talk:Zhang Xueyi|talk]]) 16:30, 18 December 2020 (UTC)&lt;br /&gt;
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In the translation of Buddhist scriptures, he fumbled and summed up the famous &amp;quot;Five do not flip&amp;quot;(五不翻原则）and “six methods of translation”. &amp;quot;Five do not flip&amp;quot;means translators should employ transliteration facing mysterious words, polyseme, culture-loaded words, conventional transliterating words and words showing respect. And the core of his translation theory can be concluded in one sentence. That is: it is necessary to seek truth and be straightforward.（既须求真又须喻俗)&lt;br /&gt;
The Buddhist translation of this period enriched the religious beliefs of the people, became the spiritual support of the people at that time, promoted the exchange between China and the world at that time, and made Buddhist scriptures an inseparable part of our traditional culture.（Li 2016,132）&lt;br /&gt;
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In the translation of Buddhist scriptures, he fumbled and summed up the famous &amp;quot;Five do not flip&amp;quot;(五不翻原则）and “six methods of translation”. &amp;quot;Five do not flip&amp;quot;means translators should employ transliteration facing mysterious words, polyseme, culture-loaded words, conventional transliterating words and words showing respect. And the core of his translation theory can be concluded in one sentence. That is: it is necessary to seek truth and be straightforward.（既须求真又须喻俗)&lt;br /&gt;
The Buddhist translation in this period enriched the people's religious beliefs, became the spiritual support of the people at the bottom, promoted the communication between China and the world at that time, and made Buddhist classics an integral part of Chinese traditional culture.（Li 2016,132）--[[User:Zhang Xueyi|Zhang Xueyi]] ([[User talk:Zhang Xueyi|talk]]) 16:30, 18 December 2020 (UTC)&lt;br /&gt;
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====2.2 The stage two:Modern Translation History ====&lt;br /&gt;
During the Ming and Qing Dynasties (middle 14th to 19th centuries), there was a second stage of translation in Chinese history. During this period, the translation was mainly scientific and technological translation.This major shift was also decided by the Chinese and Western countries at the time in order to seek their own interests and finally reached an agreement on mutual terms.Western missionaries wanted to spread religious thought and culture in China, while Chinese scholars at that time were eager for knowledge and were keen on Western advanced science and technology in order to maintain the regime.（Li 2016,132）&lt;br /&gt;
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During the Ming and Qing Dynasties (from the middle of the 14th century to the 19th century), the second climax of translation appeared in Chinese history. This major turn was also decided by the agreement reached by the Chinese and Western countries at that time in order to seek their own interests. Western missionaries wanted to spread religious thoughts and culture in China. At that time, Chinese people with lofty ideals were eager for knowledge and were keen on western advanced science and technology in order to maintain political power.（Li 2016,132）--[[User:Zhang Xueyi|Zhang Xueyi]] ([[User talk:Zhang Xueyi|talk]]) 16:30, 18 December 2020 (UTC)&lt;br /&gt;
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In this way, the two needs complement each other, and the translation of Western scientific books is increasing. Increased, which promoted the great development of science and technology translation at that time.In 1868, the official translation and publishing organization of the Qing Dynasty, referred to as the Translation Museum, used the translation method from Western to Chinese, which means that foreign scholars interpret and Chinese scholars write and polish.(Liu 2016,148)The main representatives of translation activities in this period include Xu Guangqi（徐光启）, Li Zhizao （李之藻）, etc.Especially Xu Guangqi, known as the &amp;quot;Father of Western Translation&amp;quot;, does not understand foreign languages, and his translations are mainly through listening to narratives and co-translation and compilation.(Liu 2016,148)&lt;br /&gt;
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In this way, the mutual complementation of the two needs led to the gradual formation of the atmosphere of translation of Western science books, thus promoting the great development of science and technology translation at that time. In 1868, the official translation and publishing organization of the Qing Dynasty, referred to as the translation office, translated books by western translation and Chinese translation, that is, foreign scholars interpret, and Chinese scholars write and polish. During this period, the main representatives of translation activities were Xu Guangqi and Li Zhizao. Xu Guangqi, in particular, is known as &amp;quot;the father of translation of Western learning&amp;quot;. He does not understand foreign languages. His translation is mainly made by listening to people's dictation, co-translation and compilation with others.(Liu 2016,148)--[[User:Zhang Xueyi|Zhang Xueyi]] ([[User talk:Zhang Xueyi|talk]]) 16:30, 18 December 2020 (UTC)&lt;br /&gt;
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He proposed that the translation of Western history books should be prioritized and progressive，and put forward his own translation thought: &amp;quot;If you want to be superior, you must understand; before you can understand, you must first translate.&amp;quot;Although there were many translation achievements during this period, there was no systematic translation theory.Although the later translation museum had clear translation principles, its main purpose was to maintain its own rule by learning advanced Western technology.(Liu 2016,148)&lt;br /&gt;
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He put forward that the translation of western historical books should be prioritized and step by step. And put forward his own translation thought: &amp;quot;if you want to surpass, you must be able to understand; before you can feel pain, you must translate first.&amp;quot; Although there are many translation achievements in this period, there is no systematic translation theory. Although there were clear translation principles in the later period, their main purpose was to maintain their rule by learning advanced western technology.(Liu 2016,148)--[[User:Zhang Xueyi|Zhang Xueyi]] ([[User talk:Zhang Xueyi|talk]]) 16:30, 18 December 2020 (UTC)&lt;br /&gt;
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====2.3 The third stage: Contemporary Translation History ====&lt;br /&gt;
From the end of the 19th century to the beginning of the 20th century, China was in turmoil and internal and external troubles. Some rulers and intellectuals with capitalist ideas demanded to unite to resist the aggression of Western countries, and proposed reforms to strengthen themselves.Translation in this period is the boundary of modern Chinese translation history. Translation in the field of science and technology has gradually spread to the fields of literature, philosophy, economics, sociology, and ethics. China has entered a new stage of translation. The scale and influence of its translation activities all surpassed any period in modern times.（Li 2016,132）&lt;br /&gt;
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From the end of the 19th century to the beginning of the 20th century, China was in turmoil, internal and external troubles. Some rulers and intellectuals with capitalist thoughts demanded to unite to resist the invasion of western countries and proposed to strengthen through reform. Translation in this period is a watershed in the history of modern translation in China. Translation in the field of science and technology has gradually spread to the fields of literature, philosophy, economics, sociology and ethics. China has entered a new stage of translation, and the scale and influence of its translation activities have surpassed any other period in modern times.（Li 2016,132）--[[User:Zhang Xueyi|Zhang Xueyi]] ([[User talk:Zhang Xueyi|talk]]) 16:30, 18 December 2020 (UTC)&lt;br /&gt;
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At the end of the 19th century, Western academic translation represented by Ma Jianzhong （马建忠）and Yan Fu（严复）was a translation act driven by &amp;quot;national anxiety&amp;quot;, which promoted the expansion and deepening of foreign exchanges.(Liu 2016,148-149)In particular, Yan Fu's &amp;quot;faithfulness,expressiveness and elegance&amp;quot; translation standards have had a profound impact on translators' translation activities.&amp;quot;faithfulness&amp;quot; means loyalty, and &amp;quot;expressiveness&amp;quot; means unobstructed. In Yan Fu's interpretation, &amp;quot;elegance&amp;quot; means the translation strives to be elegant.The representative translator at that time was Lin Shu（林纾）. He proposed to pay attention to the purpose and function of translation, which meant that the translation should be able to achieve the expected goals and effects.&lt;br /&gt;
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At the end of the 19th century, western academic translation represented by Ma Jianzhong and Yan Fu was a translation behavior driven by the sense of national anxiety, which promoted the expansion and deepening of foreign exchange. In particular, Yan Fu's translation standard of faithfulness, expressiveness and elegance has a profound impact on translators' translation activities. &amp;quot;Faithfulness&amp;quot;, &amp;quot;expressiveness&amp;quot; and &amp;quot;elegance&amp;quot; in Yan Fu's interpretation refer to &amp;quot;using the pre Han Chinese grammar and syntax&amp;quot;. At that time, Lin Shu was also a representative translator. He proposed to pay attention to the purpose and function of translation, that is to say, the target and effect of translation should be achieved.--[[User:Zhang Xueyi|Zhang Xueyi]] ([[User talk:Zhang Xueyi|talk]]) 16:30, 18 December 2020 (UTC)&lt;br /&gt;
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When Lin Shu is translating, he emphasizes on subjective feelings, and the translator needs to communicate with the original author and the characters in the original work.A large number of translators, represented by Lin Shu, mostly adopt the principle of domestication and advocate free translation, which reflects the flexibility and openness of translation to a certain extent.During the May 4th Movement, the &amp;quot;New Youth&amp;quot; magazine was launched and began to translate western cultural thoughts and literary works. Representatives such as Chen Duxiu（陈独秀）, Hu Shi（胡适）, and Zhou Zuoren （周作人）all attached great importance to introducing foreign literature and foreign culture.(Liu 2016,149)&lt;br /&gt;
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In his translation, Lin Shu emphasizes the involvement of subjective feelings, and the translator needs to communicate with the original author and the characters in the original works. A large number of translators, represented by Lin Shu, mostly adopt the principle of domestication and advocate free translation, which reflects the flexibility and openness of translation to a certain extent. During the May 4th movement, New Youth magazine began to translate and introduce western cultural thoughts and literary works. Representative figures such as Chen Duxiu, Hu Shi and Zhou Zuoren attached great importance to introducing foreign literature and foreign culture.(Liu 2016,149)--[[User:Zhang Xueyi|Zhang Xueyi]] ([[User talk:Zhang Xueyi|talk]]) 16:30, 18 December 2020 (UTC)&lt;br /&gt;
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Translation activities during this period included the introduction of scientific and technological knowledge and the dissemination of advanced ideas. The scale and the number of works all showed its important position in the history of translation.Moreover, the audience in this period has also expanded from intellectuals to part of the people, broadening the horizons of the Chinese people, increasing their knowledge, and playing a good catalytic role in modern intellectual circles.(Liu 2016,149)&lt;br /&gt;
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The translation activities in this period, both the introduction of scientific and technological knowledge, and the dissemination of advanced ideas, show its important position in the history of translation. Moreover, the audience in this period also expanded from intellectuals to some people, broadened the vision of Chinese people, increased their insight, and played a good catalytic role in the modern ideological circle.(Liu 2016,149)--[[User:Zhang Xueyi|Zhang Xueyi]] ([[User talk:Zhang Xueyi|talk]]) 16:30, 18 December 2020 (UTC)&lt;br /&gt;
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====2.4 The fourth stage: Present Translation====&lt;br /&gt;
Since the reform and opening up, China and the Western world have had a broader space for communication, and the translation industry has achieved prosperity and development.In an open China, from the initial learning from modern and contemporary Western translation theories, to actively conducting cultural exchanges with other countries, learning and exploring research methods, and focusing on cross-disciplinary comprehensive innovation, translation practices and theories have achieved unprecedented development.(Xu 2018,5)For example, cultural schools, structuralism, post-colonialism, and other translation theories have been translated into China in large numbers. Literary works involve politics, economy, culture, literature, art and other fields, and the quantity and variety greatly exceed the previous generations.&lt;br /&gt;
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Since the Reform and Opening up, China and the western world have a broader space for communication, and the translation industry has achieved prosperity and development. From the beginning of learning from modern and contemporary western translation theories to actively conducting cultural exchanges with other countries, learning and exploring research methods, and paying attention to interdisciplinary comprehensive innovation, China has made unprecedented progress in translation practice and theory. For example, cultural schools, structuralism, postcolonialism and other translation theories have been translated into China, and literary works involve various fields such as politics, economy, culture, literature, art and so on.--[[User:Zhang Xueyi|Zhang Xueyi]] ([[User talk:Zhang Xueyi|talk]]) 16:30, 18 December 2020 (UTC)&lt;br /&gt;
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Representatives at this time include Liu Miqing（刘宓庆）, Tan Zaixi（谭载喜）, Huang Long（黄龙） and others. Among them, Tan Zaixi compiled the book &amp;quot;A Brief History of Western Translation&amp;quot;. The whole book pays attention to absorb the relevant research results at home and abroad. It is important for various historical periods, especially since the 20th century. The representative tasks in the western translation field, translation works, schools of thought, etc. are described and commented, and the mutual promotion, evolution and development of translation practice and translation theory are analyzed and discussed in a simple way, which promotes the formation of a systematic translation theory in China.(Xu 2018,5)&lt;br /&gt;
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The representative figures at this time include Liu Miqing, Tan Zaixi, Huang Long, etc. among them, Tan Zaixi compiled a brief history of western translation. The book absorbed the relevant research results at home and abroad, narrated and commented on the representative tasks, translated works and schools of thought in the field of western translation in various historical periods, especially since the 20th century, and the mutual relationship between translation practice and translation theory The process of promotion, evolution and development has been analyzed and discussed in simple terms, which has promoted the formation of systematic translation theories in China to a certain extent.(Xu 2018,5)--[[User:Zhang Xueyi|Zhang Xueyi]] ([[User talk:Zhang Xueyi|talk]]) 16:30, 18 December 2020 (UTC)&lt;br /&gt;
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During this period, our research is no longer limited to the summary of translation practices and abstract induction of translation principles, but from the generalization of subjective thoughts to the description and analysis of specific translation phenomena, translation events and processes.Translation studies have changed from a single-paradigm study to a multi-paradigm study. In short, the reform and opening up has created a new situation in China's translation industry, constantly expanding research fields, and effectively promoting the development of Chinese translation studies.&lt;br /&gt;
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In this period, our research is no longer limited to the summary of translation practice skills and translation principles, but from the generalization of subjective ideas to the description and analysis of specific translation phenomena, translation events and processes. Translation studies have changed from a single paradigm in the past to a multi paradigm study nowadays. In short, the reform and opening up has created a new situation in China's translation industry, constantly expanding the research field, and effectively promoting the development of China's translation research.--[[User:Zhang Xueyi|Zhang Xueyi]] ([[User talk:Zhang Xueyi|talk]]) 16:30, 18 December 2020 (UTC)&lt;br /&gt;
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===Ⅲ.The history of western translation===&lt;br /&gt;
The same as our country, Western translation has a long history.In a sense, the development of Western European civilization should first be attributed to the translators.From the ancient Roman Empire to the modern European Community, literary, artistic, scientific, and trade exchanges between countries are all carried out through the work of translators. Throughout the whole process, the history of Western translation can be divided into five major development stages.Broadly speaking, the earliest translation in the West is The Septuagint.Strictly speaking, the first translation is the Homer epic &amp;quot;Odyssey&amp;quot; translated in Latin by Andronicus .Both the former and the latter began in the third century BC, with a history of more than two thousand years, and are an important part of the entire European history of development.(Tan 1985,36)&lt;br /&gt;
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Like China, western translation has a long history. In a sense, the development of Western European civilization should be attributed to the translators. From the ancient Roman Empire to the modern European community, literary, artistic, scientific and trade exchanges between countries were carried out through the work of translators. Throughout the whole process, the history of western translation can be divided into five stages. In a broad sense, the earliest translation in the west is the Greek translation of the Old Testament by seventy people; strictly speaking, the first translation is Homer's epic Odyssey translated by Andronicus in Rome in Latin. Both the former and the latter began in the third century BC and has a history of more than 2000 years. It is an important part of the whole European development history.(Tan 1985,36)--[[User:Zhang Xueyi|Zhang Xueyi]] ([[User talk:Zhang Xueyi|talk]]) 04:14, 19 December 2020 (UTC)&lt;br /&gt;
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====3.1 The first stage : Ancient====&lt;br /&gt;
Ancient translation mainly revolved around the Greek translation and Latin translation of the &amp;quot;The Bible. Old Testament&amp;quot; from the third century BC to the sixth century AD. Translation in this period can be divided into the first stage of ancient Greek literature translation and the second stage of religious translation.At the end of the fourth century BC, the Greek slave society began to decline, while the relatively backward Rome gradually became stronger.At this time, Greece has a certain cultural foundation and is still superior to Roman culture. Therefore, Greek culture has a greater attraction to Roman culture. (Tan 1985,36)&lt;br /&gt;
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Ancient translation mainly revolves around the Greek translation and Latin translation of the Old Testament from the third century BC to the sixth century AD. Translation in this period can be divided into the first stage of ancient Greek literature translation and the second stage of religious translation. At the end of the fourth century B.C., the powerful Greek slave society began to decline, while the less developed Rome gradually became stronger. At this time, Greece had a certain cultural foundation and was still superior to Roman culture. Therefore, Greek culture has a greater attraction to Roman culture. (Tan 1985,36)--[[User:Zhang Xueyi|Zhang Xueyi]] ([[User talk:Zhang Xueyi|talk]]) 05:02, 19 December 2020 (UTC)&lt;br /&gt;
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The translation and introduction of Greek culture may begin in this period.It was only in the middle of the third century BC that recorded translations began to appear. Andronicus, Neveus, Ennius, and other excellent translators, who are known as the three ancestors of Roman literature, have translated a large number of Greek dramas in Latin.This large-scale translation first opened the situation of local translation in Europe. It spread Greek culture to Rome, promoted the development of Roman culture, and served as an important bridge for Rome and later generations to inherit ancient Greek literature.(Tan 1985,36)&lt;br /&gt;
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The introduction of Greek culture may have begun in this period. It was not until the middle of the third century B.C. that translation of written records began to appear. Andronicus, Nevius and enius, known as the three great originators of Roman literature, and other excellent translators have translated a large number of Greek drama works in Latin. This large-scale translation first opened up the situation of European local translation. It introduced Greek culture to Rome, promoted the development of Roman culture, and played an important role in the inheritance of ancient Greek literature by Rome and later generations of Europe.(Tan 1985,36)--[[User:Zhang Xueyi|Zhang Xueyi]] ([[User talk:Zhang Xueyi|talk]]) 05:02, 19 December 2020 (UTC)&lt;br /&gt;
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The translation activities in the fourth to sixth centuries AD were mainly religious translation.In Europe, religious forces have always been strong and stubborn. From the very beginning, the Christian Church was hostile to secular literature, and tried to develop a religious culture that served its own interests.As the source of Christian thought and spiritual weapon, the &amp;quot;Bible&amp;quot; has naturally become the most concerned classic in the religious world.In 384 AD, Jerome was entrusted by the Roman Pope to compile a translation called &amp;quot;The New Testament&amp;quot;, which marked that the translation of the &amp;quot;Bible&amp;quot; had achieved an important position on par with the translation of secular literature.As Europe entered feudal society, religious translation was popularized, and the Bible was translated into various languages one after another.（Tan 2004,79）&lt;br /&gt;
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The translation activities from the fourth century to the sixth century were mainly religious in nature. In Europe, religious forces have always been strong and stubborn. From the beginning, the Christian Church was hostile to secular literature and tried its best to develop religious culture serving its own interests. As the source and spiritual weapon of Christianity, the Bible has naturally become the most concerned classic in religious circles. In 384 A.D., Jerome, entrusted by the Pope, compiled a translation of the New Testament, that is, the universal Bible. This indicates that the translation of the Bible has achieved the same important status as the translation of secular literature. As Europe entered the feudal society, religious translation got more market, and the Bible was translated into various languages.（Tan 2004,79）--[[User:Zhang Xueyi|Zhang Xueyi]] ([[User talk:Zhang Xueyi|talk]]) 05:02, 19 December 2020 (UTC)&lt;br /&gt;
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====3.2 The second stage : Middle Ages====&lt;br /&gt;
In the Middle Ages, Latin translation was no longer limited to religious documents. Eastern literature was translated and introduced to the East. The achievements of Arabic academic research promoted the development of Western translation.At that time, Western translators gathered in Toledo, Spain, and translated a large number of works from Arabic to Latin. This is the rare closely contact between Christians and Muslims in history.(Tan 2004,64)In the ninth and tenth centuries, Syrian scholars went to Athens to translate a large number of Greek classics into Syrian and brought them back to Baghdad. Baghdad established an important translation center, and many Greek classical works were translated into Arabic.Later, in the eleventh century, a large number of Arabic works appeared in Toledo. Translators translated these works into Latin. Toledo gradually became an academic center and translation center, becoming a &amp;quot;Translation Museum&amp;quot; similar to Baghdad. His translation and academic activities lasted for a hundred years, and the impact was also great.&lt;br /&gt;
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In the middle ages, Latin translation was no longer limited to religious documents. Oriental literature was translated and introduced to the East. The achievements of Arab academic research promoted the development of western translation. At that time, western translators gathered in Toledo, Spain, and translated a large number of works from Arabic to Latin. This is a rare friendly contact between Christians and Muslims in history. In the ninth and tenth centuries, Syrian scholars went to Athens to translate a large number of Greek classics into ancient Syrian and brought them back to Bagdad. Bagdad became an important translation center, and many Greek classics were translated into Arabic. Later, in the 11th century, a large number of Arabic works appeared in Toledo. Translators translated these works into Latin. Toledo gradually became an academic and Translation Center, and became a &amp;quot;Translation Institute&amp;quot; similar to Bagdad. Its translation and academic activities lasted for a hundred years and had a great influence.--[[User:Zhang Xueyi|Zhang Xueyi]] ([[User talk:Zhang Xueyi|talk]]) 05:04, 19 December 2020 (UTC)&lt;br /&gt;
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====3.3 The third stage :The Renaissance Period====&lt;br /&gt;
In the 14-16th century, the Renaissance took place in Europe. It was a great movement of ideological and literary innovation, and a great development in the history of Western translation. The translation practice and theoretical research of Western countries did not make a real leap until the Renaissance.During the Renaissance, Western translators constantly discovered new literary fields, unearthed new cultural heritage, and transplanted new ideas to the mainland. Translation at this time went deep into various fields such as ideology, politics, philosophy, literature, and religion, and involved some major works in ancient, modern and contemporary times.Translation in this period played an important role in the formation of national languages, marking the consolidation of the status of national languages in translation.(Tan 1985,37)&lt;br /&gt;
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From the 14th to the 16th century, the Renaissance movement took place in Europe. It was a great movement of Ideological and literary innovation and a great development in the history of western translation. The translation practice and theoretical research of western countries did not make a real leap until the Renaissance. During the Renaissance, western translators constantly found new literary fields, excavated new cultural heritages and transplanted new ideas to their native land. At this time, translation went deep into the ideological, political, philosophical, literary, religious and other fields, involving some of the main works of ancient, modern and contemporary. Translation in this period played an important role in the formation of national languages, which marked the consolidation of the status of national languages in translation.(Tan 1985,37)--[[User:Zhang Xueyi|Zhang Xueyi]] ([[User talk:Zhang Xueyi|talk]]) 05:07, 19 December 2020 (UTC)&lt;br /&gt;
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In Germany, Martin Luther created a precedent for the Reformation. His translation of the &amp;quot;Bible&amp;quot; through the people's language laid the foundation for the later standardization and standardization of German and played an important role in the unification of German.In France, &amp;quot;Celebrity biography&amp;quot; translated by the writer Amyot became an immortal literary translation in the history of translation in France and the entire West.In the United Kingdom, the translation of Greco-Roman history and literary works provided important historical materials and new ideological resources for the formation of an autocratic monarchy in the United Kingdom, which promoted the occurrence of the British bourgeois revolution and promoted Britain to become a modern nationalized country earlier.(Tan 1985,37)&lt;br /&gt;
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In Germany, Martin Luther King pioneered the religious reform. He translated the Bible through the people's language, which laid the foundation for the standardization and standardization of German, and played an important role in the unification of German. In France, the famous man translated by amio became an immortal literary translation in French and even the whole western translation history The translation of the history and literary works of Greece and Rome provided important historical materials and new ideological resources for the formation of autocratic monarchy in Britain, contributed to the occurrence of the British bourgeois revolution and made Britain earlier embark on the road of modern nationalization.(Tan 1985,37)--[[User:Zhang Xueyi|Zhang Xueyi]] ([[User talk:Zhang Xueyi|talk]]) 05:07, 19 December 2020 (UTC)&lt;br /&gt;
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All in all, the ideological liberation movement of the Renaissance in Europe around 1500 had a profound and long-term impact on Europe, especially Western European society, and cultural translation played a crucial role as a bridge in this ideological liberation movement. It also shows that translation plays a huge role in the formation and development of national language, literature and thought.(Tan 1985,37)&lt;br /&gt;
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In a word, the Renaissance around 1500 AD had a profound and long-term impact on Europe, especially the Western European society. Cultural translation played an important role in the ideological liberation movement. At the same time, it also showed that translation played an important role in the formation and development of national language, literature and thought.(Tan 1985,37)--[[User:Zhang Xueyi|Zhang Xueyi]] ([[User talk:Zhang Xueyi|talk]]) 05:07, 19 December 2020 (UTC)&lt;br /&gt;
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====3.4 The fourth stage :Since the end of the Second World War====&lt;br /&gt;
After the Second World War, the West entered a relatively stable period of peace, the economy was restored, production was secured, and science and technology developed rapidly. These are important material foundations for the development and progress of translation.(Tan 1985,37)Compared with the past, translation in the new period has undergone great changes. First, the scope of translation has been expanded. Traditional translation mainly focused on literary and religious works, while translation during this period expanded to the fields of technology and business.Second, the scale of translation is much larger than before. In the past, translation was mainly the work of a few high-level intellectuals. &lt;br /&gt;
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After the Second World War, the West entered a relatively stable period of peace. The economy was restored, production was guaranteed, and science and technology developed rapidly. These are the important material basis for the development and progress of translation. Compared with the past, translation in the new era has changed a lot. First of all, the scope of translation has been expanded. Traditional translation mainly focused on literary and religious works, while translation in this period expanded to the fields of science and technology and commerce. Secondly, the scale of translation is much larger than before. In the past, translation was mainly the work of a few senior intellectuals.--[[User:Zhang Xueyi|Zhang Xueyi]] ([[User talk:Zhang Xueyi|talk]]) 05:11, 19 December 2020 (UTC)&lt;br /&gt;
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Nowadays, translation has become a profession, and there is even a professional team that has been specially trained.Third, the role of translation has also been enhanced, especially with the establishment of the European Community and the European Union, the process of globalization has accelerated, and the communication activities between countries are realized through translation. Therefore, translation plays a very important role in the economy, culture, science and technology of western countries.(Tan 2004,80)&lt;br /&gt;
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Nowadays, translation has become a profession, and there are even professional teams with special training. Moreover, the role of translation has also been enhanced, especially with the establishment of the European Community and the European Union, the process of globalization has been accelerated, and the communication activities between countries are realized through translation. Therefore, translation plays an important role in the economy, culture, science and technology of western countries.(Tan 2004,80)--[[User:Zhang Xueyi|Zhang Xueyi]] ([[User talk:Zhang Xueyi|talk]]) 05:11, 19 December 2020 (UTC)&lt;br /&gt;
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The form of translation during this period has also undergone great changes, such as the strengthening of the professionalization of the translation business, the establishment of higher translation education and the training of professional translators.Especially the way of translation has broken the tradition, and machine translation has been developed and popularized.Since English and American scholars first discussed the possibility of using computers for translation in 1946, the development and application of translation machines have increasingly shown vitality after nearly 40 years of tortuous development. It is a challenge to traditional manual translation for thousands of years, and it is also a revolution of far-reaching significance in the history of translation.(Tan 2004,80)&lt;br /&gt;
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During this period, the forms of translation also changed greatly, such as the enhancement of the degree of specialization in translation, the establishment of higher translation education and the cultivation of professional translators. In particular, the way of translation has broken the tradition, and machine translation has been developed and popularized. Since the British and American scholars first discussed the possibility of using computers for translation in 1946, the development and application of translation machines have gradually shown their vitality after nearly 40 years of tortuous process. It is not only a challenge to the traditional manual translation for thousands of years, but also a revolution with far-reaching significance in the history of translation.(Tan 2004,80)--[[User:Zhang Xueyi|Zhang Xueyi]] ([[User talk:Zhang Xueyi|talk]]) 05:11, 19 December 2020 (UTC)&lt;br /&gt;
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===Ⅳ.Comparison between the History of Chinese and Western Translation===&lt;br /&gt;
====4.1 Commonality====&lt;br /&gt;
Through the introduction of the Chinese translation history and the Western translation history in the above two chapters, it is not difficult to find that there are some similarities between the translation concepts and the evolution process of the two, especially the laws of evolution of the Chinese and Western translation concepts are very similar.&lt;br /&gt;
First of all, the initiation and development of large-scale Chinese and Western translation activities are closely related to the translation of religious documents.In the West it is the translation of the Bible, while in China it is the translation of Buddhist classics.(Xie 2010,5)&lt;br /&gt;
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Through the introduction of the history of Chinese translation and that of western translation in the above two chapters, it is not difficult to find that there are some similarities between the two in terms of translation concepts and the evolution process, especially the evolution laws of Chinese and western translation concepts are very similar.&lt;br /&gt;
First of all, the initiation and development of large-scale translation activities in China and the West are closely related to the translation of religious documents. In the west, it is the translation of the Bible, while in China it is the translation of Buddhist classics.(Xie 2010,5)--[[User:Zhang Xueyi|Zhang Xueyi]] ([[User talk:Zhang Xueyi|talk]]) 05:17, 19 December 2020 (UTC)&lt;br /&gt;
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In my opinion, this commonality is the origin of translation concepts such as &amp;quot;original supremacy&amp;quot; and &amp;quot;faithful original text&amp;quot; that have dominated the Chinese and Western translation circles for two thousand years.(Xie 2010,5)Looking back at history, when Chinese and Western ancient translators were translating these religious documents, they must be pious and absolutely faithful to the original text to translate word by word, lest they would distort the will of God and the teachings of the Buddha.Until the 1950s, due to the advent of the era of professional translation, the target of translation has evolved from religious documents and literary masterpieces to non-literary practical documents such as economy, technology, business, and entertainment. Since then, translation Views have been greatly changed.(Xie 2010,5)&lt;br /&gt;
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In my opinion, this commonality is the origin of the two thousand year old translation concepts of &amp;quot;the original is supreme&amp;quot; and &amp;quot;faithful to the original&amp;quot;. Looking back on history, when translators in ancient China and the West translated these religious documents, they must have a kind of piety and absolute loyalty to the original text to translate word for word, for fear of distorting God's will and Buddha's teachings. Until the 1950s, due to the advent of the era of professional translation, the target of translation has changed from religious literature and literary masterpieces to non literary practical literature, such as economy, science and technology, commerce, entertainment, etc. The focus of translation has changed from the original text to the reader.(Xie 2010,5)--[[User:Zhang Xueyi|Zhang Xueyi]] ([[User talk:Zhang Xueyi|talk]]) 05:17, 19 December 2020 (UTC)&lt;br /&gt;
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Secondly, both in China and in the West, translation has played an important role in disseminating knowledge.When we compare the contribution of Chinese and Western translation in spreading knowledge together, this effect is further demonstrated.In the West, backward Rome developed rapidly due to the absorption of advanced Greek culture and became the later Roman Empire.In the Middle Ages, after the Baghdad Translation Center, the translation activities of the &amp;quot;Translation Museum&amp;quot; in Toledo, Spain.The translators provided a source of learning for the Western world by translating ancient Greek and Roman natural science works, philosophy and other classics translated by the Arabs into Latin, as well as the Arabs' own academic works.(Xie 2009,47)&lt;br /&gt;
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Secondly, both in China and in the West, translation has played an important role in disseminating knowledge.When we compare the contribution of Chinese and Western translation in spreading knowledge together, this effect is further demonstrated.In the West, backward Rome developed rapidly due to the absorption of advanced Greek culture and became the later Roman Empire.In the Middle Ages, after the Baghdad Translation Center, the translation activities of the &amp;quot;Translation Museum&amp;quot; in Toledo, Spain.The translators provided a source of learning for the Western world by translating ancient Greek and Roman natural science works, philosophy and other classics translated by the Arabs into Latin, as well as the Arabs' own academic works.(Xie 2009,47)--[[User:Zhang Xueyi|Zhang Xueyi]] ([[User talk:Zhang Xueyi|talk]]) 05:17, 19 December 2020 (UTC)&lt;br /&gt;
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It is through these classical classics that Western talents began to come into contact with a large number of classical cultures and promoted the Renaissance. Its influence is reflected in all aspects of art, philosophy, literature, music, science and technology, politics, religion, and intellectual inquiry.For China, a large number of Buddhist scriptures from the Western Regions to China from the Han Dynasty to the Song Dynasty opened up the history of Chinese translation.The translation of science and technology at the end of the Ming Dynasty and the beginning of the Qing Dynasty was also influential in disseminating Western science and technology literature and promoting the development of China's natural science and engineering technology.(Xie 2009,47)&lt;br /&gt;
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It is through these classical classics that Western talents began to come into contact with a large number of classical cultures and promoted the Renaissance. Its influence is reflected in all aspects of art, philosophy, literature, music, science and technology, politics, religion, and intellectual inquiry.For China, a large number of Buddhist scriptures from the Western Regions to China from the Han Dynasty to the Song Dynasty opened up the history of Chinese translation.The translation of science and technology at the end of the Ming Dynasty and the beginning of the Qing Dynasty was also influential in disseminating Western science and technology literature and promoting the development of China's natural science and engineering technology.(Xie 2009,47)--[[User:Zhang Xueyi|Zhang Xueyi]] ([[User talk:Zhang Xueyi|talk]]) 05:17, 19 December 2020 (UTC)&lt;br /&gt;
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In particular, the literary translation from the Opium War to the &amp;quot;May 4th&amp;quot; period was the dividing line of modern translation history. The translation from the field of science and technology gradually spread to the fields of literature, philosophy, economics, sociology, ethics, etc. In the new stage of translation, the scale and influence of its translation activities have exceeded any period in modern times.Since China's reform and opening up, translation has played a role in promoting communication between China and various countries. The development of the globalization process cannot be separated from the bridge and hub of translation.(Xie 2010,5)&lt;br /&gt;
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In particular, the literary translation from the Opium War to the &amp;quot;May 4th&amp;quot; period was the dividing line of modern translation history. The translation from the field of science and technology gradually spread to the fields of literature, philosophy, economics, sociology, ethics, etc. In the new stage of translation, the scale and influence of its translation activities have exceeded any period in modern times.Since China's reform and opening up, translation has played a role in promoting communication between China and various countries. The development of the globalization process cannot be separated from the bridge and hub of translation.(Xie 2010,5)--[[User:Zhang Xueyi|Zhang Xueyi]] ([[User talk:Zhang Xueyi|talk]]) 05:17, 19 December 2020 (UTC)&lt;br /&gt;
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Third, the role of translation in the establishment and development of national languages in various countries has some obvious commonalities in both the West and China.In the West, Martin Luther's Bible translation has played a very important role in the unification and development of German and modern German.The English translation of the &amp;quot;Bible&amp;quot; also contributes significantly to enriching English vocabulary and expressive means.As for China, Buddhist translation has enriched Chinese vocabulary, especially literary translation during the May Fourth Movement, which promoted the establishment and development of modern Chinese vernacular.The translation in the new era has also enriched the vocabulary to a certain extent.For example, the Chinese &amp;quot;人山人海&amp;quot; translates into English as &amp;quot;people mountain people sea&amp;quot;, and it is even included in the English dictionary.(Xie 2010,5)&lt;br /&gt;
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Thirdly, the role of translation in the establishment and development of national languages of different countries has some obvious similarities in the West and China. In the west, Martin Luther's Bible translation plays a very important role in the unification and development of German as well as modern German. The English translation of the Bible also contributes significantly to enriching English vocabulary and means of expression. As for China, Buddhist translation enriched Chinese vocabulary, especially literary translation during the May 4th movement, and promoted the establishment and development of modern Chinese vernacular. And now the new era of translation, to a certain extent, has enriched the vocabulary. For example, the Chinese word &amp;quot;人山人海&amp;quot; is translated into English as &amp;quot;people mountain people sea&amp;quot;, even included in the English dictionary.(Xie 2010,5)--[[User:Zhang Xueyi|Zhang Xueyi]] ([[User talk:Zhang Xueyi|talk]]) 05:17, 19 December 2020 (UTC)&lt;br /&gt;
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Finally, regardless of Chinese and Western, translation also plays a vital role in conveying foreign social and cultural values.(Xie 2010,5)In the West, for example, the excavation, dissemination and development of the spirit of humanism during the Renaissance were largely due to the translation of ancient Greek and Roman classics.In China, Li Zhizao, Xu Guangqi and others' translations of Western social science masterpieces in the late Ming and early Qing dynasties broadened the horizons of the Chinese people and promoted the modernization of China.During the May Fourth Movement, Yan Fu, Lu Xun and others' translations of Western literature and dramas refreshed the Chinese worldview, increased the Chinese people's knowledge, and played a good catalytic role in modern intellectual circles.&lt;br /&gt;
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Finally, both Chinese and western, translation plays an important role in transmitting foreign social and cultural values. In the west, for example, during the Renaissance, the excavation, dissemination and development of humanistic spirit benefited greatly from the translation of ancient Greek and Roman classics. In China, Li Zhizao and Xu Guangqi's translation of western social science masterpieces at the end of Ming and early Qing Dynasty broadened the horizon of Chinese people and promoted the process of China's modernization. In addition, the translation of Western literature and drama works by Yan Fu and Lu Xun during the May 4th Movement refreshed the Chinese people's world outlook, increased the Chinese people's insight, and played a good catalytic role in the modern ideological circle.--[[User:Zhang Xueyi|Zhang Xueyi]] ([[User talk:Zhang Xueyi|talk]]) 05:17, 19 December 2020 (UTC)&lt;br /&gt;
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====4.2 Difference====&lt;br /&gt;
The last section elaborated from four aspects that the evolutionary laws of Chinese and Western translation history are very similar. Of course, the development of Chinese and Western translation history has its own unique performance, not only in the development period and nodes, but also in certain These aspects are even far apart.&lt;br /&gt;
Although the initiation and development of large-scale Chinese and Western translation activities are closely related to the translation of religious documents, the status of Buddhism in Chinese and Western social and political life is different.Religion plays an extremely important role in Western society.(Xie 2009,51)&lt;br /&gt;
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In the last section, the author expounds that the evolution of Chinese and western translation history is very similar from four aspects. Of course, the development of Chinese and western translation history has its own unique performance, not only in the development period and node, but also in some aspects it is quite different.&lt;br /&gt;
Although the initiation and development of large-scale translation activities in China and the West are closely related to the translation of religious documents, the status of Buddhism in Chinese and western social and political life is different. Religion plays an important role in western society.(Xie 2009,51)--[[User:Zhang Xueyi|Zhang Xueyi]] ([[User talk:Zhang Xueyi|talk]]) 05:24, 19 December 2020 (UTC)&lt;br /&gt;
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In Western Christian society, God is not only the creator and nurturer of the universe and mankind, but also the maker and arbitrator of the political and ethical order of the world. Is the primary source of Western moral standards.Therefore, the importance of &amp;quot;Bible&amp;quot; translation can be imagined.In China, imperial power is greater than divine power. Monarchs profess themselves to be the emperor, exercise power by the mandate of heaven, and enjoy supreme authority.Religion can only be spread and developed under the support and use of imperial power. Its essence is actually a tool to maintain rule, and it has never become a religious behavior for the whole people.(Xie 2009,51)&lt;br /&gt;
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In the Western Christian society, God is not only the creator and nurturer of the universe and human beings, but also the maker and arbiter of the political and ethical order of the world. The Bible is the primary source of western moral standards. Therefore, the importance of Bible translation can be imagined. In China, the imperial power is greater than the divine power. The monarch claims to be the son of heaven and exercises power according to the mandate of heaven and enjoys supreme authority. Religion can be spread and developed only when it is supported and utilized by the imperial power. Its essence is the tool to maintain the rule and has never become a religious act of the whole people.(Xie 2009,51)--[[User:Zhang Xueyi|Zhang Xueyi]] ([[User talk:Zhang Xueyi|talk]]) 05:24, 19 December 2020 (UTC)&lt;br /&gt;
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In Chinese history, religion was never allowed to harm the ethical principles of feudal rule. Once harm occurred, it would be banned and eliminated.The extermination of Buddhism in the history of Chinese Buddhism and the &amp;quot;Chinese Etiquette Controversy&amp;quot; in the history of modern Chinese Catholicism are typical features.Therefore, the influence of Chinese Buddhist scripture translation is more in folk culture, and the effect of its influence is more manifested in a subtle form.For example, the change of world outlook, the penetration of language, the borrowing of the plots of Buddhist classics in literary works, and so on.Moreover, Chinese society uses blood as a bond and family as a unit. It is the blood relationship that closely connects family members.Festivals and weddings and funerals are always carried out on a family or family basis, not under the auspices of the church as in the West.(Xie 2010,6)&lt;br /&gt;
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In Chinese history, religion was never allowed to do harm to the ethics of feudal rule. Once it did, it would be banned and eliminated. The &amp;quot;three martial arts and one sect&amp;quot; in the history of Chinese Buddhism and the &amp;quot;Chinese etiquette dispute&amp;quot; in the history of modern Chinese Catholicism are typical features. Therefore, the influence of Buddhist Scripture Translation in China exists more in folk culture, and its influence is more embodied in a subtle form, such as the change of world outlook, the infiltration of language, the borrowing of Buddhist Classic public viewing plot in literary works and so on. Moreover, Chinese society takes blood relationship as the link and family as the unit. It is blood relationship that closely connects family members. Festivals, weddings and funerals are always carried out in family or family units, rather than under the auspices of the church in the West.(Xie 2010,6)--[[User:Zhang Xueyi|Zhang Xueyi]] ([[User talk:Zhang Xueyi|talk]]) 05:24, 19 December 2020 (UTC)&lt;br /&gt;
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On the other hand, due to the differences in national characteristics between China and the West, the Chinese nation is more pragmatic, focusing on physical and mental cultivation, ethics and morality, paying attention to whether translation theory has practical effects, whether it can guide translation practice and solve various problems encountered in the translation process.(Xie 2010,6)The Western Christian culture and my country's Confucianism have formed a sharp contrast in this respect.Westerners influenced by Christian thought have a strong pioneering and innovative national character. They advocate speculation and pay more attention to the abstract, systematic and systematic nature of translation theories.&lt;br /&gt;
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On the other hand, due to the differences in national characteristics between China and the west, the Chinese nation is more pragmatic, focusing on physical and mental cultivation and ethics, focusing on whether translation theory has practical effect, whether it can guide translation practice and solve various problems encountered in the process of translation. The Western Christian culture has formed a sharp contrast with China's Confucianism in this respect. They are more thoughtful and systematic in their thinking and systematic in translation.--[[User:Zhang Xueyi|Zhang Xueyi]] ([[User talk:Zhang Xueyi|talk]]) 05:24, 19 December 2020 (UTC)&lt;br /&gt;
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They believe that the focus is on describing what kind of theory exists behind translation practice, and how to understand and interpret translation from a theoretical perspective.This makes the development path of the two translation theories different.If there were many similarities in the concepts and characteristics of Chinese and Western translation activities before the 1950s, then the differences in the development trends of the two translation theories in the later stages, especially from the end of the 19th century, became larger and larger.Western translation theories have been systematized earlier.(Xie 2010,6) &lt;br /&gt;
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They think that the key point is to describe what kind of theory exists behind the practice of translation, and how to understand translation and explain translation from the perspective of theory. This makes the development path of the two translation theories different. If there are still many similarities in the concepts and characteristics of translation activities between China and the west before the 1950s, the differences in the development trend of translation theories between the two countries will be more and more obvious in the later stage, especially from the end of the 19th century: the western translation theories have realized systematization earlier.(Xie 2010,6)--[[User:Zhang Xueyi|Zhang Xueyi]] ([[User talk:Zhang Xueyi|talk]]) 05:24, 19 December 2020 (UTC)&lt;br /&gt;
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Any research is carried out under the guidance of a certain theory, and the results of related disciplines are fully used to make the connotation (translation standard itself) and extension (research method) of translation standards become truly pluralistic. Which embodies a strong scientific spirit.However, Chinese translation theories have remained at the level of translation practice experience perception for a long time, which is largely subjective.In particular, the proponents of traditional translation theory pay attention to the unspoken artistic conception, giving people more space for association and comprehension, but they cannot make precise regulations for translation practice, which is implicit.(Xie 2010,6)&lt;br /&gt;
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Any research is carried out under the guidance of certain theories, and the achievements of relevant disciplines are fully utilized to make the connotation (translation standard itself) and extension (research method) of translation standards become truly diversified, which reflects the strong spirit of scientism. However, for a long time, Chinese translation theory has remained at the level of translation practice experience and perception, which makes subjective feelings to a great extent. In particular, the advocates of traditional translation theories pay attention to the artistic conception of &amp;quot;everything in silence&amp;quot; and give people more space for association and comprehension, but they can not make precise regulations for translation practice, which is implicit.(Xie 2010,6)--[[User:Zhang Xueyi|Zhang Xueyi]] ([[User talk:Zhang Xueyi|talk]]) 05:24, 19 December 2020 (UTC)&lt;br /&gt;
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===Ⅴ.conclusion===&lt;br /&gt;
It is precisely based on the above-mentioned understanding of the history of Chinese and Western translation from different aspects that &amp;quot;similarities have differences, and differences have similarities&amp;quot;, so I think that the history of Chinese and Western translation development should be described, analyzed and sorted in the same framework. It is possible.In this way, we can not only emphasize the common ground in the development of Chinese and Western translation, find the rules among them, but also show the uniqueness of the development of the two.&lt;br /&gt;
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Based on the above understanding of the history of Chinese and western translation from different aspects, I think it is possible to describe, analyze and sort out the history of Chinese and western translation in the same framework. By doing so, we can not only emphasize the common points in the development of Chinese and western translation, but also find out the rules of them. At the same time, we can show their own uniqueness in the process of development.--[[User:Zhang Xueyi|Zhang Xueyi]] ([[User talk:Zhang Xueyi|talk]]) 05:28, 19 December 2020 (UTC)&lt;br /&gt;
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This article adopts the method of compiling parallel narratives based on synchronic presentation, supplemented by diachronic combing, combining two seemingly unrelated development contexts in the history of Chinese and Western translation, and analyzing and describing them as a whole.And the development stages of Chinese and Western translation history are divided into stages according to the mainstream translation objects of the specific era, and then the internal laws of the evolution of Chinese and Western translation concepts are explored and revealed.&lt;br /&gt;
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This paper adopts the method of synchronic parallel narration and diachronic combing to combine the two seemingly unrelated development threads of Chinese and western translation history as a whole, analyzes and describes the development stages of Chinese and western translation history according to the mainstream translation objects in specific times, and explores and reveals them It shows the internal law of the evolution of Chinese and western translation concepts.--[[User:Zhang Xueyi|Zhang Xueyi]] ([[User talk:Zhang Xueyi|talk]]) 05:28, 19 December 2020 (UTC)&lt;br /&gt;
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Generally speaking, translation and culture are inseparable, whether religious, political, or literary, they all grow up in the soil of culture.(Chen 2016,1)In the process of understanding Chinese and Western translation history, people also feel the cultural collision.Not only in the long history of the past, but in the 21st century today, translation is a bridge and a link between countries, and an indispensable existence in people's social, political, and economic life. At the same time, translation is also an art. Through translating works, we not only understand the beauty of each country's culture, but also realize that translation is originally an art.&lt;br /&gt;
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Generally speaking, translation and culture are inseparable. Whether religious, political or literary, they all grow up in the soil of culture. In the process of understanding the history of Chinese and western translation, people also feel the cultural collision. Not only in the long history of the past, but also in today's 21st century, translation is a bridge and link between countries and an indispensable existence in people's social, political and economic life. At the same time, translation is also an art. Through translating works, we can not only understand the beauty of each country's culture, but also realize that translation is also an art.--[[User:Zhang Xueyi|Zhang Xueyi]] ([[User talk:Zhang Xueyi|talk]]) 05:28, 19 December 2020 (UTC)&lt;br /&gt;
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Translation is a rigorous and extensive academic science. Various forms of cultural exchanges between Chinese and Western languages, literature, philosophy, and religion require not only artistic performance, but also rigorous academic attitudes and systematic theories to support.Translators and scholars from different countries, languages and cultures have contributed their outstanding talents and wisdom in the field of translation. They have studied and published a wealth of academic theories and skills in translation studies from different perspectives, which have promoted the progress and development of society.&lt;br /&gt;
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Translation is a rigorous and extensive academic science. Chinese and western language, literature, philosophy, religion and other forms of cultural exchange, not only need artistic expression, but also need rigorous academic attitude and systematic theory to support. Translators and scholars from different countries, languages and cultures have contributed their outstanding talents and wisdom in the field of translation. They have studied and published a wealth of translation academic theories and skills from different perspectives, which has promoted the progress and development of society.--[[User:Zhang Xueyi|Zhang Xueyi]] ([[User talk:Zhang Xueyi|talk]]) 05:28, 19 December 2020 (UTC)&lt;br /&gt;
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===References===&lt;br /&gt;
Chen Fang 陈芳.(2016).西方翻译史的文化演进——评《西方翻译简史》[The Cultural Evolution of Western Translation History——A Review of &amp;quot;A short history of translation in the West&amp;quot;].当代教育学(06)Contemporary Education(2).&lt;br /&gt;
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Gong Yicai 龚亿财.(2020).论翻译在第三次翻译高潮中的特点及社会功能[On the features and social functions of translation in the third translation climax].吉林广播电视大学学报(Total No.217)Journal of Jilin Radio and TV University.&lt;br /&gt;
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Li Yin 李颖.(2016).从翻译史上的几个重要时期看中国翻译理论与实践的发展[Viewing the development of Chinese translation theory and practice from several important periods in the history of translation].湖北经济学院学报(Vol13 No.10)Journal of Hubei University of Economics.&lt;br /&gt;
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Liu Qiaoling 刘巧玲.(2016).从中国翻译史的四次高潮看主要译论及读者影响[Main translation theories and readers' influence from the four climaxes of Chinese translation history].黑龙江生态工程职业学院学报(Vol.29 No.5)Journal of Heilongjiang Vocational Institute of Ecological Engineering.&lt;br /&gt;
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Ma Zuyi. 马祖毅. (1998). 中国翻译简史-“五四”以前部分（修订本） [A Brief History of Chinese Translation: The Part Before the May 4th Movement] . China Translation Corporation中国对外翻译出版公司.&lt;br /&gt;
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Tan Zaixi 谭载喜.(1985).西方翻译史浅谈[On the history of Western translation].中国翻译(07)Chinese Translation(36-39).&lt;br /&gt;
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Tan Zaixi 谭载喜.(2004).西方翻译简史[A short history of translation in the West].商务印书馆The Commercial Press of Hongkong.&lt;br /&gt;
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Xu Jun许钧.(2018.06)改革开放以来中国翻译研究的发展之路[The development of Chinese translation studies since reform and opening up].Chinese Traslation Journal.&lt;br /&gt;
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Xie Tianzhen 谢天振.(2009)中西翻译简史[A brief history of Chinese and Western translation].外语教学与研究出版社Foreign Language Teaching and Research Press.&lt;br /&gt;
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Xie Tianzhen 谢天振.(2010)中西翻译史整体观探索[An exploration of the holistic view of Chinese and Western translation history].东方翻译(02)East Journal of Translation(4-8).&lt;br /&gt;
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='''Literal and Free Translation'''=&lt;br /&gt;
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==Rethink Literal and Free Translation	彭永亮	Peng Yongliang==&lt;br /&gt;
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&amp;lt;center&amp;gt; 彭永亮 Peng Yongliang 202020080634 &amp;lt;/center&amp;gt;&lt;br /&gt;
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===Abstract===&lt;br /&gt;
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Literal translation and free translation are a pair of very important concepts in translation studies, which run through the development of translation theory. Starting from Chinese and Western translation theories, this manuscript clarifies the similarities and differences between literal translation and free translation, and compares the differences in translation methods and strategies. Literal translation and free translation in translation strategies are connected with the concept of domestication and foreignization. Here, this manuscript introduces how the concept of domestication and foreignization enters Chinese translation theory from Western translation theories, and compares them. The nature and characteristics of these two pairs of concepts. This manuscript believes that literal translation and free translation are not only a question of translation methods or translation strategies, but at a strategic level, they have risen to a question of domestication and foreignization. In essence, there is no distinction between good and bad.&lt;br /&gt;
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=== Key Words===&lt;br /&gt;
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Literal translation;Free translation;Domestication;Foreignization&lt;br /&gt;
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===题目===&lt;br /&gt;
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直译与意译，归化与异化&lt;br /&gt;
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=== 摘 要 ===&lt;br /&gt;
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直译与意译是翻译学中非常重要的一对概念，贯穿翻译理论的发展过程。本稿从中西翻译理论出发，厘清直译与意译这对概念的异同，并比较了其在翻译方法和翻译策略中的区别。在翻译策略中的直译和意译又与归化和异化这一对概念产生了联系，在这里，本稿在介绍归化与异化这一对概念如何从西方翻译理论进入中国翻译理论的同时，比较了这两对概念的性质与特征。本稿认为，直译和意译不仅是翻译方法或翻译策略的问题，在战略层次上其上升为归化和异化的问题，它们本质上没有优劣之分。&lt;br /&gt;
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=== 关键词 ===&lt;br /&gt;
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直译；意译；归化；异化&lt;br /&gt;
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===0. Introduction===&lt;br /&gt;
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Literal translation and free translation are a pair of important terms in Chinese and Western translation theories. The discussion of literal translation and free translation is a common phenomenon in Chinese and Western translation theories, which runs through the entire process of translation theory. To a certain extent, literal translation and free translation seem to have become very natural categories, so there is no need to specifically define these two concepts in the discussion. Take the term &amp;quot;literal translation&amp;quot; used in Chinese translation theory as an example. From the &amp;quot;Six Examples of Scripture Translation&amp;quot; recorded in &amp;quot;Song Gaoseng Biography&amp;quot;, it can be seen that the concept of &amp;quot;literal translation&amp;quot; in traditional translation theories was first opposed to &amp;quot;retranslation&amp;quot; , Refers to the translation method of translating the scriptures directly from the Sanskrit version. The concept of &amp;quot;literal translation&amp;quot; that frequently appears in modern and contemporary translation theories is at least related to the following three different western translation theory terms, namely &amp;quot;word-for-word translation&amp;quot;, &amp;quot;literal translation&amp;quot; and &amp;quot;inter lineal translation&amp;quot;. In this way, there is a fundamental difference between &amp;quot;literal translation&amp;quot; as the concept of &amp;quot;implantation&amp;quot; and the concept of literal translation in traditional Chinese translation theories. Therefore, there are different understandings of the term &amp;quot;literal translation&amp;quot;.&lt;br /&gt;
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In fact, the understanding of the concept often limits the scope of the discussion itself, so the different understanding of literal translation and free translation may make the disputes about these two concepts often carried out on different levels. Therefore, when using the two terms literal translation and free translation to participate in discussions, it is particularly important to clarify the concept of literal translation and free translation and re-examine the scope of discussion.&lt;br /&gt;
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===1. Literal Translation and Free Translation===&lt;br /&gt;
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===1.1 Literal Translation and Free Translation in Translation Methods===&lt;br /&gt;
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From the perspective of etymology, &amp;quot;method&amp;quot; refers to the method of governance. It originally meant criminal law and regulations. Later it was used to refer to the sum of the ways, methods and procedures for people to understand and transform the objective world. It is a sign of wonderful deeds.&amp;quot; Similar to the &amp;quot;method&amp;quot; in Chinese, the &amp;quot;method&amp;quot; in English is derived from the Greek word &amp;quot;μ＇εθοδοζ&amp;quot;, which consists of two words &amp;quot;along&amp;quot; and &amp;quot;road&amp;quot;, meaning to proceed along the right path. Therefore, whether it is &amp;quot;method&amp;quot; in Chinese or &amp;quot;method&amp;quot; in English, it refers to the correct way to recognize and understand objective objects, focusing on &amp;quot;action&amp;quot;. Schleiermacher put forward in his far-reaching &amp;quot;On Two Methods of Translation&amp;quot;, &amp;quot;Bring the author to the reader&amp;quot; and &amp;quot;Bring the reader to the author&amp;quot; are just to place the original text, translator and target reader in the same At the level, discuss the real task that the translator must complete-shorten the distance between the original author and the target reader, and highlight the relationship between language, understanding and thinking. Therefore, Schleiermacher's two translation methods are actually the choice of two paths, and they are the decisions and actions taken by the translator in language conversion. If translation is defined as a conversion of language signs, the translation method can be regarded as a specific way for the translator to recognize the source text and carry out the conversion of language signs.&lt;br /&gt;
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British translation theorist Newmark summarized 13 different translation methods in Chapter 5 of the &amp;quot;Translation Tutorial&amp;quot;, among which word-for-word translation, literal translation, faithful translation, semantic translation, etc. are all defined as one translation method. Examining his definitions of the different translation methods mentioned above, we can summarize the common points of these translation methods as “reproduce” based on determining a fixed translation unit (such as morphemes, grammatical structure, contextual meaning, etc.) The meaning of the original text. In other words, although Newmark uses a prescriptive research method to associate translation methods with &amp;quot;equivalence&amp;quot;, and does not clearly define what translation methods are, the 13 translation methods he summarized illustrate the use of various Translation methods are all aimed at solving practical problems in the translation process. In this sense, &amp;quot;the translation method is related to the entire text&amp;quot; (Newmark, 2001:81). Translators will not be limited to a certain translation method in their translation process, but will adopt different translation methods according to actual problems. Both literal translation and free translation are one of them.&lt;br /&gt;
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Western translation theorist Steiner believes-&amp;quot;The ideal situation for translation is to not suffer any loss during conversion&amp;quot; (Steiner, 2001:319). It can be found that although the original text and the translated text cannot be completely equivalent , But the ideal state required by the translator is still consistent in all aspects of the original text and the target text. To achieve such an ideal state, the translator needs to use the most appropriate translation method to solve the actual problems in the translation process on the basis of correct understanding. In the specific process of the translator, it is difficult to clearly distinguish the &amp;quot;degree&amp;quot; between literal translation and free translation as a specific translation method, such as the &amp;quot;most natural and most appropriate&amp;quot; translation. Therefore, in the discourse of most theorists, the opposite of literal translation and free translation should be hard translation, dead translation, Hu translation, etc. If we look at the controversy of &amp;quot;literal translation and free translation, which is better?&amp;quot; from this perspective, it seems to be said that literal translation and free translation, as two translation methods, do not have the advantages and disadvantages. The two are not completely different and opposed to each other. Translation methods are specific methods used by the translator for different issues. Therefore, the discussion about literal translation and free translation not only includes the discussion of &amp;quot;how to translate&amp;quot;, but also involves the question of &amp;quot;what is the ideal state of translation&amp;quot;.&lt;br /&gt;
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In summary, in Chinese and Western translation theories, literal translation and free translation as translation methods are used to solve practical problems in translation, and these practical problems are closely related to the language structure of the source and target languages. Different issues have different levels of discussion. In this way, it is necessary to re-examine the actual translation issues behind the discussion to understand the dispute over literal translation and free translation. In any case, in Chinese translation theory, when literal translation and free translation are regarded as two translation methods, there is actually no so-called problem of which is better, and there is no substantial difference between the two, the difference is only the translator. The gap between its translation practice and its ideal translation target.&lt;br /&gt;
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===1.2 Literal Translation and Free Translation in Translation Strategies===&lt;br /&gt;
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From the perspective of etymology, strategy means &amp;quot;strategy and strategy&amp;quot; in Chinese. Like the word &amp;quot;strategy&amp;quot; in English, it is derived from military science and refers to specific methods, means, and methods used to achieve a certain goal. Sum. Translation strategy can be understood as the sum of specific methods, means and methods used by the translator to achieve a specific translation goal. Riitta Jaaskelainen, a researcher on the translation process of TAPs, defines translation strategy as &amp;quot;a process associated with ‘goal-oriented’ and ‘subjective optimality’, rather than a process of problem solving.&amp;quot; The American translation theorist Venuti distinguishes between translation methods and translation strategies in the definition of &amp;quot;translation strategy&amp;quot; under the term &amp;quot;translation strategy&amp;quot;(Bassnett, 2004). His so-called domesticating and foreignizing are translation strategies. Susan Bassnett also deliberately distinguishes between strategies and methods when discussing poetry translation-&amp;quot;When analyzing the many different translation methods used by the English translators of Catullus’ 64 Poems, Andrew Le Pfeiffer summarized seven different translation strategies.&amp;quot; (Bassnett, 2004:84) It should be said that in terms of the terms used by the above scholars, translation methods and translation strategies are not the same. Therefore, when literal translation is regarded as a translation method or strategy, the issues that the critics want to explain are not All the same.&lt;br /&gt;
It can be said that the translation method aims to solve the problems in translation practice and achieve the desired translation effect, and the translation strategy reflects how the translator strives to achieve its translation purpose under the constraints of various external factors. To some extent, when literal translation and free translation are used as two translation strategies, the understanding of literal translation and free translation cannot be separated from the investigation of the translation and the social and cultural context of the translator. The translation strategy adopted by the translator is not an abstract theoretical assumption that has nothing to do with the social context of the translator, but a decision made by the translator in the tension between language, history, and social culture. Hidden behind the decision are the various translation purposes of the initiators of translation activities. What needs special attention is that the translator’s translation goals are multiple, so the strategies adopted to achieve different translation goals are naturally different.&lt;br /&gt;
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===2. Domestication and Foreignization in Chinese===&lt;br /&gt;
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Domestication and foreignization can be regarded as the conceptual extension of literal translation and free translation, but they are not completely equivalent to literal translation and free translation. As the product of cultural shift, domestication and foreignization must contain profound cultural, literary and even political connotations. If literal translation and free translation are only discussions at the language level, domestication and foreignization are the continuation of the discussion at the language level to the cultural, poetic and political level. That is to say, the bullseye of the dispute between literal translation and free translation is the gain and loss of meaning and form, while the bullseye of the dispute between domestication and foreignization is the cultural identity in the vortex of the gain and loss of meaning and form, and literacy is the gain and loss of the power of pumping discourse. problem.&lt;br /&gt;
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===2.1 Assimilation and Alienation===&lt;br /&gt;
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Domestication and foreignization in Chinese correspond to two pairs of terms in English: the first pair is &amp;quot;assimilation, alienation&amp;quot;, and the second pair is &amp;quot;domestication, foreignization&amp;quot;.&lt;br /&gt;
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The connotation of Assimilation in translation studies should regard the original language and culture as &amp;quot;different traditional individuals or groups&amp;quot;, and try to make them &amp;quot;participate&amp;quot; in the target language and culture during translation. &amp;quot;Participate&amp;quot; here means to move closer to the other party, or even merge with it. The &amp;quot;language&amp;quot; mentioned here mainly refers to the way of expression of thoughts, sentence structure, and sometimes also includes style, text layout, etc. &amp;quot;Culture&amp;quot; refers to the national behavior and language expression (such as rhetoric, etc.), living environment, ideology and other things that reflect this national characteristic. In the process of translation, the original language and cultural characteristics disappear in the target language to satisfy the aesthetic and acceptance psychology of the target language readers. Alienation is the opposite. In the process of translation, it tries to maintain the characteristics of the original text, keep a distance from the target language and its culture, so that the target readers feel &amp;quot;unfamiliar&amp;quot; when reading and realize that they are reading a translation. The meaning of assimilation and alienation we are talking about here refers to how to treat the differences between the two languages and cultures on the basis of equal status, and how to make different strategic choices in translation.&lt;br /&gt;
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The meanings of the terms Domestication and Foreignization are related to the background in which they were produced. In the 1990s, translation has been placed in a large system of culture and society for research. Venuti was inspired by a so-called &amp;quot;fluency tendency&amp;quot; that has existed in the Western translation industry, especially the English and American translation circles for more than 40 years This pair of terms is proposed for the unequal relationship of literature in different cultures. It mainly refers to the translation from other foreign languages to English. Compared with assimilation and alienation, this pair of terms not only reflects the difference in meaning between language and culture. You can also see the deeper meaning of cultural inequality behind this different background. In this way, translation is placed in the context of culture, society, politics, and ideology, and the choice of translation strategies reflects the different positions of different cultures in the world today. Translation is used as a tool of struggle, and it is not equal. To fight against the phenomenon. It should be said that this is an improvement, and it is also the main difference between these two pairs of terms, or it is the reason why Venuti put forward this new pair of terms under the premise of assimilation and alienation.&lt;br /&gt;
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===2.2 Domestication and Foreignization===&lt;br /&gt;
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Domestication and foreignization in Chinese are the same as assimilation and alienation. They both discuss the differences between languages and cultures, and they are all based on the equality of different languages and cultures. Chinese &amp;quot;domestication&amp;quot; also focuses on the process from different to similar and identical, but the meaning of &amp;quot;domestication&amp;quot; in domestication is not included in &amp;quot;domestication&amp;quot;; and &amp;quot;foreignization&amp;quot; in Chinese also maintains the &amp;quot;different&amp;quot; component, which is reserved Difference, no cultural inequality, as a means of struggle and resistance to cultural colonization. &amp;quot;Naturalization&amp;quot; and &amp;quot;alienation&amp;quot; are closer to assimilation and alienation in meaning. When and who the term &amp;quot;domestication&amp;quot; and &amp;quot;foreignization&amp;quot; in Chinese were first used in translation studies in my country has not been ascertained. According to the materials we see now, &amp;quot;domestication&amp;quot; was used in translation research earlier than &amp;quot;foreignization&amp;quot;.&lt;br /&gt;
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Through the above-mentioned comparative analysis of the origin, extension and connotation of the categories of “domestication” and “foreignization”, we can now define them as follows: Domestication and foreignization are the differences between the two languages and cultures that the translator faces in translation Two different translation strategies are adopted due to differences in the target text type, author's intention and target language readers, etc., and their purpose is to guide the choice and application of specific translation methods and techniques. Domestication pursues the translation to comply with the target language and culture norms, and better meets the reading needs of the target language readers with less odor; the pursuit of foreignization retains the characteristics of the original language and culture, so as to enrich the target language and culture. It satisfies the reader’s demand for the &amp;quot;stranger&amp;quot; of the target text. The choice of these two strategies sometimes also refers to social, cultural, political and ideological regulations. Regardless of the strategy chosen, it should focus on the needs of readers and society.&lt;br /&gt;
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===3. Rethink===&lt;br /&gt;
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The choice of the translation strategy of domestication or foreignization will have a great impact on the translation, and even some meanings will be lost. But in literal translation, no matter which one is selected, the content of the original text will be faithfully expressed. For example, the works translated by Lin Xian, we can only say that it is a domesticated translation, and cannot be called a free translation, because he has rewritten and created a lot of the original text. This is one of the differences between the two pairs of terms. The second difference is that literal translation and free translation are translation methods, while domestication and foreignization are translation strategies. The two are not at the same level, and the latter guides the former. &amp;quot;Modern Chinese Dictionary&amp;quot;says that &amp;quot;methods&amp;quot; are &amp;quot;methods, procedures, etc. for solving problems such as thinking, speaking, actions, etc.&amp;quot;and &amp;quot;strategies&amp;quot; are &amp;quot;action policies and struggles formulated according to the development of the situation.&amp;quot; Method.” There is a certain connection between method and strategy. Method is the specific method under the guidance of strategy, and strategy is the policy and goal of guiding method. Under the guidance of domestication and foreignization, the translator chooses the appropriate translation method. In addition to literal translation and free translation, there are also multiple methods such as clip translation, transliteration, and compilation. Although domestication and foreignization are related to literal translation and free translation, there are also obvious differences. The mixed use of the two pairs of terms is not conducive to the standardization of the category, not conducive to theoretical research, nor is it used in translation practice.&lt;br /&gt;
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Liu Yingkai interpreted the concept of naturalization in this way: the so-called &amp;quot;naturalization&amp;quot;, according to the interpretation of &amp;quot;Cihai&amp;quot;, &amp;quot;is the old name of naturalization&amp;quot;. The &amp;quot;domestication&amp;quot; of translation refers to the fact that the starting language of the guest &amp;quot;ji&amp;quot; is incorporated into the &amp;quot;ji&amp;quot; of the home language in the translation process: English-Chinese translation spares no effort to Sinicize; Chinese-English translation will make every possible effort to Englishize...and so on There are always the theorists of &amp;quot;Ning Shun but not believing&amp;quot; in the translation circle, and the translation of &amp;quot;Nation&amp;quot; is familiar to the ears; after seeing it familiar, there is no sense of discomfort or resistance,...... (Liu Yingkai, 1987).&lt;br /&gt;
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According to the reality of the Chinese translation world, Liu Yingkai summarized the manifestations of naturalization into five types: 1. Abuse of four-character idioms; 2. Abuse of quaint words; 3. Abuse of &amp;quot;abstraction method&amp;quot;; 4. Abuse of &amp;quot;substitution method&amp;quot;; 5. To visualize or allusion without basis. Liu Yingkai has a negative attitude towards the translation method of domestication. He believes that domestication will &amp;quot;reform the objective facts of foreign countries, obliterate their national characteristics, force them to subdue, and assimilate them into the language of their destination, so it must be a distortion of the original text. &amp;quot;.&lt;br /&gt;
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Venuti's definition of domesticated translation is: abiding by the current mainstream values of the target language and culture, and openly adopting conservative assimilation methods to the original text to cater to the local canon, publishing trends and political needs.The Dictionary of Translation Studies published by St Jerome Press, UK, based on Venuti's deconstructionist insights, and defines domestication as: the use of a transparent and smooth style in translation to minimize the strangeness of the original text. Strategy. And the application of the domestication translation method has six steps: l carefully choose the original work suitable for domestication translation; 2. consciously adopt a smooth and natural target language style; 3. make the translation work Adapt to the type of target utterance; 4. Add explanatory materials; 5. Eliminate the geographical and historical colors in the original language; 6. Make the translation consistent with the prejudices and preferences of the monthly language.&lt;br /&gt;
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Venuti believes that fluent domestication translation not only conceals the translator’s work efforts and exposes the translator to the “invisible” unfair situation; it also conceals the differences between cultures and the sense of history of the original work, and integrates the contemporary values of mainstream culture. Impose on the original. Since the stylistic effect pursued by domestication translation is that the translation does not read like the translation, it is easy for readers to mistakenly believe that the translation that has been contaminated by the mainstream culture and language values of the target language is the original appearance of the original. A narcissistic experience that identifies with local culture&amp;quot;. (Venuti, 1995:15) Aiming at the tradition of Anglo-American domestication translation, Venuti pointed out that domestication translation is &amp;quot;a ethnocentric decomposition of the original text according to the cultural values of the target language, bringing the original author home&amp;quot;,Actual divination is a kind of imperialist cultural plunder. He also believes that the more domesticated the translation, the more invisible the translator; the more invisible the translator, the more concealed the fact that the original is maliciously naturalized, that is to say, the readers of the translation are more likely to be deceived. The post-colonial translation theory also makes a useful discussion on domestication and foreignization. In the discourse of post-colonial theory, domestication translation is related to the conquest and colonization of imperialism. Domestication is an indispensable content of conquest and colonization, and as a specific translation method, domestication is the violence, even rape, of the original text and the starting culture. (Robinson, 1997: 58)&lt;br /&gt;
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Canadian translator Robinson discussed the issue of domestication and foreignization from the perspective of post-colonial theory. His definition of domestication is: domestication translation is a term used by foreignization translation scholars to describe the worst translation. This kind of translation adopts the method of assimilating the original work into the target culture and language values, and domesticating the original work. Traditionally, people call this concept &amp;quot;paraphrase&amp;quot;; also known as &amp;quot;assimilative translation&amp;quot; (Robinson, 1997: 116). With regard to domestication translation, Robinson's views and Venuti have a consensus, but also have differences. Robinson expressed difficulty in accepting the tendency of Venuti and other alienationists to over-politicize the issue of domestication and alienation, and raised a discussion. At the same time, he also questioned the view that some post-colonial scholars believe that naturalized translation helps the process of colonization. In fact, the political factors in Robinson's post-colonial translation theory are more than that in Venuti, which is mainly related to his post-colonial vision.&lt;br /&gt;
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The concept of alienation has surpassed the linguistic level of literal translation and has risen to the level of culture, poetics and politics. Therefore, alienation cannot be simply equated with literal translation. Venuti's definition of alienation is summed up as deviating from the local mainstream values and retaining the language and cultural differences of the original text.Based on Venuti’s opinion, Dictionary of Translation Studies defines alienation as: To a certain extent, to preserve the foreignness of the original text and deliberately break the convention of the target language. Venuti suggests that foreignizing translation should be adopted in those &amp;quot;aggressive&amp;quot; monolingual cultures where domestication translation is prevalent (such as British and American cultures), which can carry out strategic cultural interventions in &amp;quot;current international affairs and challenge the hegemonic English-speaking countries and inequality.&amp;quot; The cultural exchanges,... the use of English for foreignization translation can also be a form of resisting our ethnocentrism and racism, cultural narcissism and cultural imperialism&amp;quot;. (Venuti, 1995:20) He believes that foreignization translation can impose &amp;quot;ethnodeviant pressure&amp;quot; on the cultural values of the target language, and has the effect of sending readers to a foreign land. He said: &amp;quot;Resistance translation can help preserve the language and cultural differences of the original text, and translate texts that have a sense of strangeness and alienation. These translations mark the limit of the mainstream values of the target language and culture, and prevent these values from affecting a certain culture. The other is the domestication of imperialism.”Specifically, the use of foreignized translation means that the translator can not only be free from the restriction of the target language and text habits, but also can use the non-fluency when appropriate. , Opaque speech style, deliberately retain the cultural color of the starting language, so as to give the target reader a different reading experience. However, because the preservation of the original text has to rely on local cultural materials, Venuti also admits that, just like domesticated translation, foreignized translation &amp;quot;is also one-sided when interpreting the original text, but it does not cover its one-sidedness, but instead Show off.&amp;quot; (Venuti, 1995:34)&lt;br /&gt;
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===4. Conclusion===&lt;br /&gt;
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The result of literal translation and free translation is not just the gain and loss of semantics and form. From a cultural perspective, it involves issues such as the equal exchange of cultural identity and a sense of history loaded in language forms; from a poetic perspective, it involves literary issues loaded in language forms; from politics From the angle of view, it involves the issues of colonization and decolonization, hegemony and anti-hegemony. Therefore, the dispute between literal translation and free translation has evolved into a dispute between domestication and foreignization at a new level. In the context of globalization, this level of controversy can be regarded as a confrontation between nationalism and cosmopolitanism, a confrontation between a weak culture and a powerful culture, or a confrontation between Orientalism and Western centralism.&lt;br /&gt;
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===References===&lt;br /&gt;
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［1］Bassnett，Susan．Translation Studies(3rd ed)［M］．Shanghai: Shanghai Foreign Language Education Press，2004．&lt;br /&gt;
［2］Newmark，Peter．The Textbook of Translation［M］．Shanghai:Shanghai Foreign Language Education Press，2001．&lt;br /&gt;
［3］Robinson，D.Translation and Empire:Posteolonial Theories Explained［M］.Manchester:St Jerome, 1997.&lt;br /&gt;
［4］Schleiermacher,A.On the Different Methods of Translating[A].Theories of Translation:An Anthologv of Essays from Drydento Derrida[C].Schulte,R.&amp;amp;Biguenet,J.Chicago and London:The University of Chicago Press,1992,36-54.&lt;br /&gt;
［5］Steiner，George．After Babel: Aspects of Language andTranslation［M］．Shanghai: Shanghai Foreign LanguageEducation Press，2001．&lt;br /&gt;
［6］Venuti，Lawrence．The Translator s Invisibility: [M]. London and NewYork: Routledge, 1995.&lt;br /&gt;
［7］Venuti，Lawrence．Translation Strategy［A］．in Baker，Mona，(ed．)Routledge Encyclopedia of TranslationStudies［C］．Shanghai:Shanghai Foreign Language Education Press，2004:240-244．&lt;br /&gt;
［8］方仪力．直译与意译：翻译方法、策略与元理论向度探讨［J］上海翻译，2012.&lt;br /&gt;
［9］李德超．TAPs 翻译过程研究二十年: 回顾与展望［J］．中国翻译，2005，(1):29-34&lt;br /&gt;
［10］刘英凯．归化--翻译的歧路［J］．现代外语,1987（2）&lt;br /&gt;
［11］刘艳丽、扬自俭．也谈“归化”与“异化”［J］．中国翻译，2002.&lt;br /&gt;
［12］王东风．归化与异化：矛与盾的交锋？［J］．中国翻译，2002.&lt;br /&gt;
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==On the Chinese Translation of ''A Pale View of Hills'' from House's Translation Quality Assessment Model	宋建茹	Song Jianru 202020080639 ==&lt;br /&gt;
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&amp;lt;center&amp;gt; 宋建茹 Song Jianru 202020080639 英美文学&amp;lt;/center&amp;gt;&lt;br /&gt;
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===Abstract===&lt;br /&gt;
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Translation quality assessment is an integral part of translation criticism. The first TQA model with comprehensive theories and practices Juliane House represented provides a significant reference for translation exercises. ''A Pale View of Hills'', as the first work of Kazuo Ishiguro, possesses a great research value on its narrative styles by virtue of memory and topics about migrants. As of 2011 when its Chinese translation was published, no scholar has evaluated it. This study applies House's TQA model to assess the Chinese translation of ''A Pale View of Hills'' with qualitative and quantitative analysis from lexical, syntactic and textual aspects, in a bid to examine validity of the model on novel translation, which turns out that it is an overt and high-quality translation.&lt;br /&gt;
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=== Key Words===&lt;br /&gt;
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''A Pale View of Hills''; House's TQA model; Novel translation&lt;br /&gt;
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===题目===&lt;br /&gt;
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从豪斯翻译质量评估模式谈《远山淡影》中文翻译&lt;br /&gt;
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=== 摘 要 ===&lt;br /&gt;
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翻译质量评估是翻译批评的核心课题。朱莉安·豪斯提出的第一个有完整的理论和实践的翻译质量评估模式，为翻译实践提供了重要参考。《远山淡影》是石黑一雄的处女作，其依托回忆的叙事风格和移民主题具有很高的研究价值。《远山淡影》中译本自2011年出版至今，尚未有学者对其进行评估研究。本文运用豪斯的翻译质量评估模式，采用定性与定量相结合的分析方式，从语场、语旨、语式等三个层面对原文和译文进行分析，开展《远山淡影》中译本的翻译质量评估研究，为豪斯翻译质量评估模式对小说翻译的运用进行进一步的探索和补充。通过分析，得出《远山淡影》中译本为显性翻译，翻译质量较高。&lt;br /&gt;
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翻译质量评估是翻译批评的核心课题。朱莉安·豪斯提出的第一个有完整的理论和实践的翻译质量评估模式，为翻译实践提供了重要参考。《远山淡影》是石黑一雄的处女作，其依托回忆的叙事风格和移民主题具有很高的研究价值。《远山淡影》中译本自2011年出版至今，尚未有学者对其进行评估研究。本文运用豪斯的翻译质量评估模式，采用定性与定量相结合的分析方式，从语场、语旨、语式等三个层面对原文和译文进行分析，开展《远山淡影》中译本的翻译质量评估研究，为豪斯翻译质量评估模式对小说翻译的运用进行进一步的探索和补充。通过分析，本文得出《远山淡影》中译本为显性翻译，翻译质量较高。--[[User:Quan Meixin|Quan Meixin]] ([[User talk:Quan Meixin|talk]]) 12:14, 19 December 2020 (UTC)&lt;br /&gt;
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=== 关键词 ===&lt;br /&gt;
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《远山淡影》；豪斯质量评估模式；小说翻译&lt;br /&gt;
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《远山淡影》；豪斯质量评估模式；定性和定量分析；小说翻译--[[User:Quan Meixin|Quan Meixin]] ([[User talk:Quan Meixin|talk]]) 12:17, 19 December 2020 (UTC)&lt;br /&gt;
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===Introduction===&lt;br /&gt;
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Translation criticism refers to the analysis and review of thoughts, activities and works of translation by virtue of relevant theories and views, in a bid to improve the overall quality of translators and translations. It is an integral part of translation studies. Translation quality assessment, as the integral and key part of translation criticism, plays a significant role in surveillance and promotion of translation quality. Among the extant translation quality assessment models, Juliane House's ''A Model for Translation Quality Assessment and Translation Quality Assessment: A Model Revised'', based on Halliday's systemic functional linguistics and discourse analysis, are systematic, scientific and rational with a relatively complete system of parameters, quantitative methods and steps adhering to specific procedures.(Wang Enmian 1999,7)&lt;br /&gt;
&lt;br /&gt;
Translation criticism refers to the analysis and review of thoughts, activities and works of translation by virtue of relevant theories and views, in a bid to improve the overall quality of translators and translations. It is an integral part of translation studies. Translation quality assessment, as the integral and key part of translation criticism, plays a significant role in surveillance and promotion of translation quality. Among the extant translation quality assessment models, Juliane House's ''A Model for Translation Quality Assessment and Translation Quality Assessment: A Model Revised'', based on Halliday's systemic functional linguistics and discourse analysis, are systematic, scientific and rational with a relatively complete system of parameters, quantitative methods and steps adhering to specific procedures.(Wang Enmian,1999:7)(你原来的引用格式不太对)--[[User:Quan Meixin|Quan Meixin]] ([[User talk:Quan Meixin|talk]]) 12:43, 19 December 2020 (UTC)&lt;br /&gt;
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''A Pale View of Hills'', as Kazuo Ishiguro's first full-length novel, tells the life of the people in Nagasaki after WWII through the memory of protagonist Etsuko and explores recovery of trauma, collision between the old and new ideas, and kinship after war. The first person narrative, memory, humor and satire and international perspectives in the book became his major writing styles in the future. The novel won the Winifred Holtby Memorial Prize from the Royal Society. Its only Chinese translation at present, from Zhang Xiaoyi, is still not analyzed by the scholars. &lt;br /&gt;
&lt;br /&gt;
''A Pale View of Hills'', as Kazuo Ishiguro's first full-length novel, tells the life of the people in Nagasaki after WWII through the memory of protagonist Etsuko and explores recovery of trauma, collision between the old and new ideas, and kinship after war. The first person narrative, memory, humor and satire and international perspectives in the book became his major writing styles in the future. The novel won the Winifred Holtby Memorial Prize from the Royal Society. Its only Chinese translation at present, from Zhang Xiaoyi, is still not analyzed by the scholars. (缺resource)--[[User:Quan Meixin|Quan Meixin]] ([[User talk:Quan Meixin|talk]]) 12:43, 19 December 2020 (UTC)&lt;br /&gt;
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This paper uses House's translation quality assessment model, with combination of qualitative and quantitative analysis, from field, tenor and mode to analyze the mismatches between original and translation in an attempt to assess the Chinese translation quality of ''A Pale View of Hills'' and further explore the application of House's model in novel translation. The aim of the study is to promote scholars to regulate the behaviors of translation, to improve the quality of translation and translation evaluation, and to provide a reasonable way for establishing the interlingual conversion mechanism.&lt;br /&gt;
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The thesis consists of four chapters.&lt;br /&gt;
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The thesis consists of five chapters.--[[User:Quan Meixin|Quan Meixin]] ([[User talk:Quan Meixin|talk]]) 12:43, 19 December 2020 (UTC)&lt;br /&gt;
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After the Introduction, Chapter One gives a brief account of ''A Pale View of Hills'' and its research status, involving the author, background, content and influence. Chapter Two is a brief introduction of House’s TQA model, including its theoretic basis, parameter setting, operation steps and feasibility. Chapter Three is a detailed analysis of original and translation of ''A Pale View of Hills'' based on House’s model. Chapter Four is statement of translation quality assessment. Then we come to the last part, Conclusion.&lt;br /&gt;
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After the Introduction, Chapter One gives a brief account of ''A Pale View of Hills'' and its research status, involving the author, background, content and influence. Chapter Two gives a brief introduction of House’s TQA model, including its theoretic basis, parameter setting, operation steps and feasibility. Chapter Three is a detailed analysis of original and translation of ''A Pale View of Hills'' based on House’s model. Chapter Four is the statement of translation quality assessment. Chapter Five draws a concise conclusion about this paper. --[[User:Quan Meixin|Quan Meixin]] ([[User talk:Quan Meixin|talk]]) 12:43, 19 December 2020 (UTC)&lt;br /&gt;
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===I Overview and Research Status of ''A Pale View of Hills''===&lt;br /&gt;
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''A Pale View of Hills'' is Kazuo Ishiguro's first novel, which laid a solid foundation for the formation of Ishiguro's writing style. The chapter mainly introduces the author, plot, theme and influence of the novel and analyzes its research status, in an attempt to master the material well and seek new perspectives for the paper.&lt;br /&gt;
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'''1.1 Overview of ''A Pale View of Hills'''''&lt;br /&gt;
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Kazuo Ishguro is a noble contemporary Japanese English writer, whose novels feature first person narrative, detailed depiction of loneliness, depression, self-deception and anxiety of characters' inner world and dual narrative strategy to deconstruct the narrator's self-identity, as well as discuss postwar trauma and migrant identity. He won Booker Prize, the British top literary prize, in 1989 and the Nobel Prize in literature in 2017. By virtue of his outstanding literary achievements, he is known as one of the Three Masters of English Migrant Literature together with Salman Rushdi and Naipaul.&lt;br /&gt;
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Kazuo Ishguro is a noble contemporary Japanese English writer, whose novels feature first person narrative, detailed depiction of loneliness, depression, self-deception and anxiety of characters' inner world and dual narrative strategy to deconstruct the narrator's self-identity, as well as discuss postwar trauma and migrant identity. He won Booker Prize(the British top literary prize) in 1989 and the Nobel Prize in literature in 2017. By virtue of his outstanding literary achievements, he is known as one of the Three Masters of English Migrant Literature together with Salman Rushdi and Naipaul. (缺resource)--[[User:Quan Meixin|Quan Meixin]] ([[User talk:Quan Meixin|talk]]) 13:15, 19 December 2020 (UTC)&lt;br /&gt;
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''A Pale View of Hills'', published in 1982, is Ishiguro's debut. The story, with postwar Nagasaki as its background, enjoys two clues: one is what happened when Niki (Etsuko's little daughter) visited her mother after her sister Keiko died; the other is Etsuko's memory about people and events in Nagasaki after the war. The two lines integrated together during the narrative, forming the illusory and imaginary impression. &lt;br /&gt;
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Many in-depth topics in this work are worth pondering: postwar trauma recovery, the collision between new and old ideas after war and discussion of family relations. Many marks in the work became his own styles: first-person narrative, memory, humor and satire, international perspectives. In addition, it won the Winifred Holtby Memorial Prize from the Royal Society and is still in print thirty years after its publication. This book, with its enormous emotion, unearths the abyss beneath the illusion of our connection to the world, whose artistic value and charm could be time-tested.&lt;br /&gt;
&lt;br /&gt;
Many in-depth topics in this work are worth pondering: postwar trauma recovery, the collision between new and old ideas after war and discussion of family relations. Many marks in the work became his own styles: first-person narrative, memory, humor and satire, international perspectives. In addition, it won the Winifred Holtby Memorial Prize from the Royal Society and is still in print thirty years after its publication. This book, with its enormous emotion, unearths the abyss beneath the illusion of our connection to the world, whose artistic value and charm could be time-tested.(缺resource)&lt;br /&gt;
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'''1.2 Research Status of ''A Pale View of Hills'''''&lt;br /&gt;
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There are 54 papers about A Pale View of Hills in domestic researches. According to the statistics from HowNet, the number of studies on the work has been mounting, especially after Kazuo Ishiguro won the Nobel Prize for Literature in 2017. The perspectives of these researches are mainly from identity anxiety, unreliable narrative and post-war trauma. &lt;br /&gt;
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In &amp;quot;Identity Anxiety in Kazuo Ishiguro's A Pale View of Hills&amp;quot;, Wang Fei discusses the identity anxiety of migrants, exploring manifestations, causes and influence of such anxiety on the characters(2017). In &amp;quot;Memory and Narrative Unreliability of ''A Pale View of Hills''&amp;quot;, He Xiaobing combined with the classical narratology to analyze how unreliable narration method is presented in the work and discussed the inner world of the characters(2018). In &amp;quot;Trauma in Kazuo Ishiguro's A Pale View of Hills&amp;quot;, Liu Xiaoya explores the protagonist's trauma by using Sigmund Freud’s psychoanalysis theory and trauma theory (including post-freudian psychological trauma theory), contemporary trauma culture theory along with rhetorical narrative theory(2015).&lt;br /&gt;
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In &amp;quot;Identity Anxiety in Kazuo Ishiguro's A Pale View of Hills&amp;quot;, Wang Fei discusses the identity anxiety of migrants, exploring manifestations, causes and influence of such anxiety on the characters(???). In &amp;quot;Memory and Narrative Unreliability of ''A Pale View of Hills''&amp;quot;, He Xiaobing combined with the classical narratology to analyze how unreliable narration method is presented in the work and discussed the inner world of the characters(这是引用的吗). In &amp;quot;Trauma in Kazuo Ishiguro's A Pale View of Hills&amp;quot;, Liu Xiaoya explores the protagonist's trauma by using Sigmund Freud’s psychoanalysis theory and trauma theory (including post-freudian psychological trauma theory), contemporary trauma culture theory along with rhetorical narrative theory(2015是啥).--[[User:Quan Meixin|Quan Meixin]] ([[User talk:Quan Meixin|talk]]) 13:15, 19 December 2020 (UTC)&lt;br /&gt;
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At abroad there are more perspectives about the studies of A Pale View of Hills. In addition to the main research directions of domestic scholars, such as identity anxiety of characters, unreliable narrative research and post-war trauma, cultural displacement, family relationship and the influence of region on personality presented in the works are also analyzed. &lt;br /&gt;
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''The Impact of Place on Personality in Kazuo Ishiguro's A Pale View of Hills: An Eco-critical Study'' written by Awla, Y.N, from the perspective of ecocriticism, clarifies the fact that a place is able to define and guide the emotions and thoughts of characters, and analyzes the reasons why geography forms characters of people in order to draw people’s attention to the impact of surrounding environment on them. Ruth Forsythe's article ''Cultural Displacement and the Mother-daughter Relationship in Kazuo Ishiguro's A Pale View of Hills'' focuses more on the relationship between mother and daughter under cultural displacement. However, no scholars have analyzed the language itself from the perspective of systemic functional linguistics.( Awla,Y.N 2019,1)&lt;br /&gt;
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''The Impact of Place on Personality in Kazuo Ishiguro's A Pale View of Hills: An Eco-critical Study'' written by Awla, Y.N, from the perspective of ecocriticism, clarifies the fact that a place is able to define and guide the emotions and thoughts of characters, and analyzes the reasons why geography forms characters of people in order to draw people's attention to the impact of surrounding environment on them. Ruth Forsythe's article ''Cultural Displacement and the Mother-daughter Relationship in Kazuo Ishiguro's A Pale View of Hills'' focuses more on the relationship between mother and daughter under cultural displacement. However, no scholars have analyzed the language itself from the perspective of systemic functional linguistics.( Awla,Y.N,2019:1)--[[User:Quan Meixin|Quan Meixin]] ([[User talk:Quan Meixin|talk]]) 13:15, 19 December 2020 (UTC)&lt;br /&gt;
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The Chinese translation of A Pale View of Hills, Zhang Xiaoyi's version, was published by Shanghai Translation Publishing House in 2011, and the bilingual version in 2019. Up to now, there has no translation criticism or discussion about this translation. Since 2011 when it was translated, it came to draw the attention of scholars and readers. Translation is a direct factor that affects the integrity of autho’s thought, the reader's perception and the accuracy of the scholar’s study, thus it is indispensable to use the House’s Translation Quality Assessment model to analyze the Chinese translation of ''A Pale View of Hills''.&lt;br /&gt;
&lt;br /&gt;
The Chinese translation of A Pale View of Hills, Zhang Xiaoyi's version, was published by Shanghai Translation Publishing House in 2011, and the bilingual version in 2019. Up to now, there has no translation criticism or discussion about this translation. Since 2011 when it was translated, it came to draw the attention of scholars and readers. Translation is a direct factor that affects the integrity of author's thought, the reader's perception and the accuracy of the scholar’s study, thus it is indispensable to use the House's Translation Quality Assessment model to analyze the Chinese translation of ''A Pale View of Hills''.(缺resource)--[[User:Quan Meixin|Quan Meixin]] ([[User talk:Quan Meixin|talk]]) 13:15, 19 December 2020 (UTC)&lt;br /&gt;
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===II Introduction of House's Translation Quality Assessment Model===&lt;br /&gt;
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Juliane House's model was described as the first translation quality assessment model with complete theories and practices by international translation criticism, which could provide an important reference for translation learners and scholars. By introducing the theoretical basis, parameter system and operation steps of House's model, this chapter will discuss the feasibility of House’s model in the evaluation of the Chinese translation of A Pale View of Hills, in an effort to foster the application of House’s model in the quality evaluation of full-length novels.&lt;br /&gt;
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'''2.1 Theoretical Basis of House's Model'''&lt;br /&gt;
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The assessment of translation quality draws upon different translation standards, which are then embodied by the recognition about essence of translation. House deemed that crunch of the translation quality assessment lies in recognition of the nature of translation, namely that &amp;quot;translation is the replacement of a text in the source language by a semantically and pragmatically equivalent text in the target language.&amp;quot;(House 1977, 30)&lt;br /&gt;
&lt;br /&gt;
The assessment of translation quality draws upon different translation standards, which are then embodied by the recognition about essence of translation. House deemed that crunch of the translation quality assessment lies in recognition of the nature of translation, namely that &amp;quot;translation is the replacement of a text in the source language by a semantically and pragmatically equivalent text in the target language.&amp;quot;(House,1977:30)--[[User:Quan Meixin|Quan Meixin]] ([[User talk:Quan Meixin|talk]]) 14:14, 19 December 2020 (UTC)&lt;br /&gt;
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In House's initial model in 1977, she drew upon language behavior theory, language and text function and context to divide the source language text into two situational dimensions: dimension of language user and dimension of language use. The former includes three aspects: geographical origin, social class and time. The latter includes five aspects: medium, participation, social role relationship, social attitude and province. &lt;br /&gt;
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Based on myriad practice, House realized that the initial eight dimensions overlap in some parts. Therefore, in 1997, she revised the original model from the perspective of the context, unifying the previous eight parameters to field, tenor and mode. Field compares subject matter and social action of the original with that of translation. Tenor emphasizes the matching degree on the relationship of participants, time, region, position of author, social role relationship and social attitudes. Mode pays more attention to medium and participation. In addition, House incorporated &amp;quot;genre&amp;quot; into revision model in order to explain the deep structure of the text.(House 1977, 30)&lt;br /&gt;
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Based on myriad practice, House realized that the initial eight dimensions overlap in some parts. Therefore, in 1997, she revised the original model from the perspective of the context, unifying the previous eight parameters to field, tenor and mode. Field compares subject matter and social action of the original with that of translation. Tenor emphasizes the matching degree on the relationship of participants, time, region, position of author, social role and social attitudes. Mode pays more attention to medium and participation. In addition, House incorporated &amp;quot;genre&amp;quot; into revision model in order to explain the deep structure of the text.(House,1977:30)--[[User:Quan Meixin|Quan Meixin]] ([[User talk:Quan Meixin|talk]]) 14:14, 19 December 2020 (UTC)&lt;br /&gt;
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'''2.2 Operation Steps of House's Model'''&lt;br /&gt;
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When evaluating the translation quality of the text, House's model focuses on comparison between original text and translation from field, tenor, mode and genre, clarifies and summarizes mismatches found in the text, so as to obtain a quality report of the translation. The detailed steps presented as follows: (House 1997, 108)&lt;br /&gt;
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1) Analyze the register and genre of the original text to get its textual functional profile. The original text is analyzed from four dimensions: field, tenor, mode and genre. According to the analysis, “functional statement”, involving ideational and interpersonal functions, needs to be deduced.(House 1997, 108)&lt;br /&gt;
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2)Compare the target text and the source text to find differences or mismatches. Through the comparative analysis between original and translation along the dimensions on the model, mismatches or differences found in the comparison are sorted out by virtue of overt errors or covert errors and expounded in detail one by one.(House 1997, 108)&lt;br /&gt;
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3)Summarize the differences and mismatches demonstrated from the above steps in lexical, syntactic and textual aspects. Based on above statistics and statement, make the quality statement. The fewer the mismatches are, the better the translation quality is. If readers clearly realize the text a translation work, it is overt translation; while if not, it is covert translation.(House 1997, 108)&lt;br /&gt;
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3)Summarize the differences and mismatches demonstrated from the above steps in lexical, syntactic and textual aspects. Based on above statistics and statement, make the quality statement. The fewer the mismatches are, the better the translation quality is. If readers clearly realize the text is a translation work, it is overt translation; while if not, it is covert translation.(House,1997:108)--[[User:Quan Meixin|Quan Meixin]] ([[User talk:Quan Meixin|talk]]) 14:14, 19 December 2020 (UTC)&lt;br /&gt;
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'''2.3 Feasibility of the Model in Chinese Translation of ''A Pale View of Hills'''''&lt;br /&gt;
&lt;br /&gt;
At present, there are 78 relevant studies on House’s Translation Assessment model, which are mainly divided into three directions: interpretation of House Translation Assessment model and its revision, evaluating translation of literary works along the model and evaluating translation of applied text along the model. Among them, evaluation of the translation of literary works accounts for 29, which enjoys the following two characteristics:&lt;br /&gt;
&lt;br /&gt;
At present, there are 78 relevant studies on House's Translation Assessment model, which are mainly divided into three directions: interpretation of House Translation Assessment model and its revision, evaluating translation of literary works along the model and evaluating translation of applied text along the model. Among them, evaluation of the translation of literary works accounts for 29, which enjoys the following two characteristics:--[[User:Quan Meixin|Quan Meixin]] ([[User talk:Quan Meixin|talk]]) 14:14, 19 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
1)There are merely a few researches applying House model to Chinese translation of literary works. Among the 29 journals and papers evaluating translation of literary works, there are 25 studies that attach great importance to the English translation and 4 to Chinese translation, which signifies that we need more researches of Chinese translation to support the validity of the model on different languages. Therefore, the paper, with the Chinese translation of A Pale View of Hills as its corpus, intends to examine the feasibility of the application of House’s model to Chinese translation.&lt;br /&gt;
&lt;br /&gt;
2)There are merely a few researches applying House model to the translation of full-length novels. Among the 29 journals and papers on evaluating translation of literary works, most of which focus on the evaluation of poems and prose, merely 5 studies are analysis of translation of full-length novels. English translation accounts for 3 and Chinese translation for 2, which demonstrates that we need more researches with full-length novels as corpus to support the validity of the model in different genres. Therefore, the paper, with the full-length novel A Pale View of Hills as its corpus, intends to examine the feasibility of the application of House’s model to full-length novels.&lt;br /&gt;
&lt;br /&gt;
2)There are merely a few researches applying House model to the translation of full-length novels. Among the 29 journals and papers on evaluating translation of literary works, most of which focus on the evaluation of poems and prose, merely 5 studies are analysis of translation of full-length novels. English translation accounts for 3 and Chinese translation for 2, which demonstrates that we need more researches with full-length novels as corpus to support the validity of the model in different genres. Therefore, the paper, with the full-length novel A Pale View of Hills as its corpus, intends to examine the feasibility of the application of House's model to full-length novels.(缺resource)--[[User:Quan Meixin|Quan Meixin]] ([[User talk:Quan Meixin|talk]]) 14:21, 19 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
In conclusion, given that the researches based on Chinese translation of full-length novels are insufficient, the paper will use the Chinese translation of A Pale View of Hills as its corpus to validate the feasibility of House's TQA model.&lt;br /&gt;
&lt;br /&gt;
===III Comparison of Original and Translation of ''A Pale View of Hills'' Along House's Translation Quality Assessment Model===&lt;br /&gt;
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''A Pale View of Hills'' is the debut of Kazuo Ishiguro, whose Chinese translation was published by Shanghai Translation Publishing House in 2011. House's Translation Quality Assessment model is the first objective model combining quantative analysis with qualitive analysis. The paper applies House's Translation Quality Assessment model to Chinese translation of ''A Pale View of Hill'', comparing the source text and target text in lexical, syntactic and textual aspects along the three dimensions of register and summarizing the mismatches on field, tenor and mode, in an effort to quantitatively assess the translation quality of ''A Pale View of Hills''.&lt;br /&gt;
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'''3.1 Comparison on Field'''&lt;br /&gt;
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Field refers to the content or the topic of the text. It is concerned with subject matter and social action which covers the specificity of lexical items. After comparison between the source text and target text on field, there are 18 mismatches, 12 of which are overt errors and 6 covert errors. Among them, there are 9 lexical errors, 1 textual error and 8 syntactic errors. The lexical and textual errors are mainly covert errors, so in general their translation is of high quality. Although most of syntactic errors are not in line with the grammar of target language system, they won’t influence the understanding of the text. Therefore, by and large, translation on field are high-quality.(Feng Yufang &amp;amp; Wang Feifei 2015,114)&lt;br /&gt;
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'''3.1.1 Lexical Field'''&lt;br /&gt;
&lt;br /&gt;
Lexical field means the immediate or possible scenes or events evoked in people’s mind when they read or hear the words or lexical items. After the analysis of the original and target text, there are 9 mismatches, 4 of which are overt errors and 5 are covert ones. Most of them won’t block readers to master the overall meanings. Therefore, the translation quality on lexical items are relatively high.(Feng Yufang &amp;amp; Wang Feifei 2015,115) &lt;br /&gt;
&lt;br /&gt;
Lexical field means the immediate or possible scenes or events evoked in people's mind when they read or hear the words or lexical items. After the analysis of the original and target text, there are 9 mismatches, 4 of which are overt errors and 5 are covert ones. Most of them won't block readers to master the overall meanings. Therefore, the translation quality on lexical items are relatively high.(Feng Yufang &amp;amp; Wang Feifei 2015,115) (只改了符号’)--[[User:Quan Meixin|Quan Meixin]] ([[User talk:Quan Meixin|talk]]) 15:17, 19 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
Example 1：&lt;br /&gt;
&lt;br /&gt;
...and the soaked surfaces of brick and concrete were drying all around us.&lt;br /&gt;
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湿透了的砖头和水泥开始变干。(P8)&lt;br /&gt;
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Concrete refers to building material that is made by mixing together cement, sand, small stones and water according to Oxford Dictionary, which includes cement rather than equates it. So, it is not very accurate to translate in this way even if the two words are similar. It is obviously an overt error. &lt;br /&gt;
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Example 2：&lt;br /&gt;
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As far as I remember, that was the first occasion I spoke to Mariko.&lt;br /&gt;
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我印象那是我第一次跟万里子说话。(P11)&lt;br /&gt;
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In the translation, “印象” as a noun refers to a mental picture that you have of what somebody/something is like or looks like. In the light of the rules or grammar of Chinese, it is hardly used as a verb. Thus, it is an overt error. &lt;br /&gt;
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Example 3：&lt;br /&gt;
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It's such a shame.&lt;br /&gt;
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真不像话。(P16)&lt;br /&gt;
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A shame is used to say that somthing is a cause for feeling sad or disappointed. In the original, the sentence is to express Etsuko’s pity to the homeless dogs and cats around her community rather than her distaste or complaint. Here it is translated into its other meaning when ignoring the context, belonging to a covert error. &lt;br /&gt;
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Example 4：&lt;br /&gt;
&lt;br /&gt;
Why don't you go into the kitchen for a little while?&lt;br /&gt;
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你为什么不到厨房去一会儿呢？(P26)&lt;br /&gt;
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In the translation, “去” is not very appropriate on the basis of grammar of Chinese, since it is such an action verb that does not match with state phrases. In the course of translation, some prepositions in English need to be transferred into verb in Chinese, which are supposed to pay attention to the rules of target language. Here it is obviously an overt error.&lt;br /&gt;
&lt;br /&gt;
Example 5：&lt;br /&gt;
&lt;br /&gt;
It's not appreciated simply because the product disappears so quickly.&lt;br /&gt;
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不能因为它的产品很快就消失了而不懂得欣赏。(P34)&lt;br /&gt;
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According to the context, Ogata-San believes that cooking is “as noble as painting or poetry”. So here the product refers to food cooked. Given the concrete expression in Chinese, the product is supposed to be translated more concretely in accordance with the context. It is a covert error.&lt;br /&gt;
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Example 6：&lt;br /&gt;
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Perhaps it is just my fancy that I felt a cold touch of unease there on that bank, a feeling not unlike premonition. &lt;br /&gt;
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这也许只是我的想象，但是那时我在河边觉得凉飕飕的，很不自在，像是感觉有事要发生。(P44)&lt;br /&gt;
&lt;br /&gt;
“Unease” refers to the feeling of being worried or unhappy about something. Given the above-mentioned, Etsuko worried about the safety of Mariko when she was not at home. It differs from its translation that means the feeling of being ill at ease. It is an overt error. &lt;br /&gt;
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Example 7：&lt;br /&gt;
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You mustn't suppose, Etsuko, simply because you've seen her in these…in these present surroundings, that she's some peasant's child.&lt;br /&gt;
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悦子，你不能因为……因为眼前的事物就认为她是什么贫农的孩子。(P51)&lt;br /&gt;
&lt;br /&gt;
Sachiko is not rich according to the context, so “peasant” intimates the meaning of poverty. Its translation explicitly represents it, which is accessible and intelligible. However, “贫农” enjoys extra cultural meaning in China, which could date back to the Cultural Revolution when lands was apportioned based on people’s wealth, so it might mislead readers to its political implication. It is a covert error.&lt;br /&gt;
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Example 8：&lt;br /&gt;
&lt;br /&gt;
“I must have been such a burden to you in those days,” I said, quietly.&lt;br /&gt;
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“我那时肯定成了您的负担，”我静静地说。(P68)&lt;br /&gt;
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Here “quiet” refers to making very little noise, which coincides with the act of saying. According to the context, Etsuko lowered her noise out of guilt when she realized she bothered her family when she practised violin before. However, its translation means the statement without any noise, which obviously contravenes the context, belonging to covert translation.&lt;br /&gt;
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Example 9：&lt;br /&gt;
&lt;br /&gt;
I could see something moving beside her in the shade.&lt;br /&gt;
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我看见她身旁的影子里有什么东西在动。(P14)&lt;br /&gt;
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“Shade” means an area that is dark and cool under or behind something, for example a tree or building, because the sun’s light does not get to it, rather than the shadow which the translator believed. As previously mentioned in the text, “Mariko was lying in the corner furthest from the sunlight”, which also signifies that it is impossible to exist dark shape under the light around Mariko. Thus, the translation of “shade” is not on a par with the context, belonging to a covert error.&lt;br /&gt;
&lt;br /&gt;
'''3.1.2 Syntactic Field'''&lt;br /&gt;
&lt;br /&gt;
Syntactic field means the immediate image appeared in people’s mind when they read the sentences. The mismatches in syntactic field are usually for the violation of rules of target language or misinterpreting the source text. On syntactic field, there are 8 mismatches, seven of which are overt errors and one is covert. Among the overt errors, seven sentences are not in line with the rules of target language, which won’t influence the ideational meaning. Therefore, the translation quality on syntactic field is high.(Feng Yufang &amp;amp; Wang Feifei 2015,116)&lt;br /&gt;
&lt;br /&gt;
Syntactic field means the immediate image appeared in people's mind when they read the sentences. The mismatches in syntactic field are usually for the violation of rules of target language or misinterpreting the source text. On syntactic field, there are 8 mismatches, seven of which are overt errors and one is covert. Among the overt errors, seven sentences are not in line with the rules of target language, which won't influence the ideational meaning. Therefore, the translation quality on syntactic field is high.(Feng Yufang &amp;amp; Wang Feifei 2015,116)--[[User:Quan Meixin|Quan Meixin]] ([[User talk:Quan Meixin|talk]]) 15:17, 19 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
Example 1：&lt;br /&gt;
&lt;br /&gt;
It did upset me, hearing about her.&lt;br /&gt;
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我真的很难过，听到她的死讯。(P4)&lt;br /&gt;
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Example 2：&lt;br /&gt;
&lt;br /&gt;
But I was sad though, when I heard.&lt;br /&gt;
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可是我真的很难过，听到她的消息。(P4)&lt;br /&gt;
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Example 3：&lt;br /&gt;
&lt;br /&gt;
It's certainly an amusing sort of experience, working in a noodle shop.&lt;br /&gt;
&lt;br /&gt;
这真是很有趣的经历，在面包店里工作。(P26)&lt;br /&gt;
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In English, the important or unknown information appeared firstly, and the second one follows. However, in Chinese, the second important presents at first, paving the foundation for the more pivotal or unknown one. In above three examples, their translation doesn't adjust the sequence in line with target language rules. These are overt errors.&lt;br /&gt;
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Example 4：&lt;br /&gt;
&lt;br /&gt;
…certain arrangements I made have not gone as planned.&lt;br /&gt;
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一些事情没有照我计划的那样。(P17)&lt;br /&gt;
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The translation is not complete as the predicate verb “have gone” is not translated, which does not conform with the grammar of Chinese. It is an overt error.&lt;br /&gt;
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Example 5：&lt;br /&gt;
&lt;br /&gt;
She appeared to know them, for as she walked across the forecourt, she gave them a familiar greeting.&lt;br /&gt;
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看来她认识她们，边走过水泥地，边熟识地跟她们打招呼。(P26)&lt;br /&gt;
&lt;br /&gt;
The original is a compound-complex sentence with “for” for causal relation and “as” for coordinate relation. In the translation, the former is represented but the later isn't, neither by conjunction words nor by clause sequence. It causes that the translation lacks of logic, belonging to an overt error.&lt;br /&gt;
&lt;br /&gt;
The original is a compound-complex sentence with &amp;quot;for&amp;quot; for causal relation and &amp;quot;as&amp;quot; for coordinate relation. In the translation, the former is represented but the later isn't, neither by conjunction words nor by clause sequence. It causes that the translation lacks of logic, belonging to an overt error.--[[User:Quan Meixin|Quan Meixin]] ([[User talk:Quan Meixin|talk]]) 15:17, 19 December 2020 (UTC)&lt;br /&gt;
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Example 6：&lt;br /&gt;
&lt;br /&gt;
It's an opportunity for a teacher to see the fruits of his work, and for the pupils to express their gratitude to him.&lt;br /&gt;
&lt;br /&gt;
这是一个机会让老师看看他的劳动成果，让学生们向他表示感谢。(P30)&lt;br /&gt;
&lt;br /&gt;
The translation adheres to the sequence of the original but ignores the fluency of the sentence. In English, attributives are at both ahead of and behind the objects; while in Chinese, they mostly are preceded. Therefore, the translation violates the grammar of the target language, belonging to an overt error.&lt;br /&gt;
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Example 7：&lt;br /&gt;
&lt;br /&gt;
There's nothing like a timely reminder of one's personal obligations.&lt;br /&gt;
&lt;br /&gt;
及时地提醒个人的责任之类的东西也没有。(P71)&lt;br /&gt;
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“There's nothing like” is a common sentence pattern in spoken English, meaning nothing else is able to match. The original would have expressed that “a timely reminder of one’s personal obligations” is the most important. The translator misunderstood the meaning utterly, making an overt error.  &lt;br /&gt;
&lt;br /&gt;
&amp;quot;There's nothing like&amp;quot; is a common sentence pattern in spoken English, meaning nothing else is able to match. The original would have expressed that &amp;quot;a timely reminder of one's personal obligations&amp;quot; is the most important. The translator misunderstood the meaning utterly, making an overt error.  --[[User:Quan Meixin|Quan Meixin]] ([[User talk:Quan Meixin|talk]]) 15:17, 19 December 2020 (UTC)&lt;br /&gt;
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Example 8：&lt;br /&gt;
&lt;br /&gt;
It amazes me, how things have changed so much so quickly.&lt;br /&gt;
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太让我吃惊了，世道变得如此之大，如此之快。(P195)&lt;br /&gt;
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The translation, by and large, is in accordance with the original. Yet there is possibility for readers to be confused about the accuracy of words collocation. Although “so much” and “so quickly” modify the verb “change”, we have to respectively choose the proper words to collocate. It is a covert error. &lt;br /&gt;
&lt;br /&gt;
The translation, by and large, is in accordance with the original. Yet there is possibility for readers to be confused about the accuracy of words collocation. Although &amp;quot;so much&amp;quot; and &amp;quot;so quickly&amp;quot; modify the verb &amp;quot;change&amp;quot;, we have to respectively choose the proper words to collocate. It is a covert error. --[[User:Quan Meixin|Quan Meixin]] ([[User talk:Quan Meixin|talk]]) 15:17, 19 December 2020 (UTC)&lt;br /&gt;
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'''3.1.3 Textual Field'''&lt;br /&gt;
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On textual field, there is only one error---overt error. It is caused by misconstruing what the pronoun refers to. By and large, the translation, through the comprehensive analysis on textual field, is high-quality. (Feng Yufang &amp;amp; Wang Feifei 2015,117)&lt;br /&gt;
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Example 1：&lt;br /&gt;
&lt;br /&gt;
That's just not how it was though.&lt;br /&gt;
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但是我和她根本不是这样。(P4)&lt;br /&gt;
&lt;br /&gt;
According to “Sisters are supposed to be people you're close to, aren't they. You may not like them much, but you're still close to them”, it refers to the whole view instead of certain relationship between me and my sister. The referential meaning does not accord with that of the original. It is an overt error.&lt;br /&gt;
&lt;br /&gt;
'''3.2 Comparison on Tenor'''&lt;br /&gt;
&lt;br /&gt;
Tenor refers to the nature of the participants, the addresser and the addressee, and the relationship between them in terms of social power and social distance. After comparing the original and the translation of A Pale View of Hills, there are 8 mismatches on social attitude and social role relationship, one of which is an overt error and the rest are covert. In general, the translation is highly in accordance with the original so the quality is high on tenor. (Feng Yufang &amp;amp; Wang Feifei 2015,118)&lt;br /&gt;
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'''3.2.1 Social Attitude'''&lt;br /&gt;
&lt;br /&gt;
Social attitude refers to the social distance between communicators and the degree of formality of discourse. The misunderstanding of social attitude in the translation process will affect the readers' understanding of the characters in the novel. Therefore, mistakes in representing social attitude of characters should be minimized and even avoided in the translation process. There are 4 mismatches on social attitude in the translation: one is an overt error and the rest are covert errors. By and large, the translation on displaying the social attitude of the original is great.(House 1997, 108)&lt;br /&gt;
&lt;br /&gt;
Social attitude refers to the social distance between communicators and the degree of formality of discourse. The misunderstanding of social attitude in the translation process will affect the readers'understanding of the characters in the novel. Therefore, mistakes in representing social attitude of characters should be minimized and even avoided in the translation process. There are 4 mismatches on social attitude in the translation: one is an overt error and the rest are covert errors. By and large, the translation on displaying the social attitude of the original is great.(House 1997, 108)--[[User:Quan Meixin|Quan Meixin]] ([[User talk:Quan Meixin|talk]]) 15:17, 19 December 2020 (UTC)&lt;br /&gt;
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Example 1：&lt;br /&gt;
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The English are fond of their idea that our race has an instinct for suicide.&lt;br /&gt;
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英国人有个奇特的想法，觉得我们这个民族天生爱自杀。(P4)&lt;br /&gt;
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In the original text, the attitude of the character is relatively objective. However, in the translation, the attitude is represented overly by using an adjective, which might be translator’s understanding on author’s attitude. It limits different interpretation to the author’s attitude from readers. It is an overt error. &lt;br /&gt;
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In the original text, the attitude of the character is relatively objective. However, in the translation, the attitude is represented overly by using an adjective, which might be translator's understanding on author's attitude. It limits different interpretation to the author's attitude from readers. It is an overt error. --[[User:Quan Meixin|Quan Meixin]] ([[User talk:Quan Meixin|talk]]) 15:17, 19 December 2020 (UTC)&lt;br /&gt;
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Example 2：&lt;br /&gt;
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“Which are you hoping for, Etsuko?” he asked, eventually. “A boy or a girl?”&lt;br /&gt;
&lt;br /&gt;
“你想是男孩还是女孩呢，悦子？”过了一会儿他问道。(P35)&lt;br /&gt;
&lt;br /&gt;
Ogata-San would like to know Etsuko’s mind about the upcoming baby, but he is not sure if it is proper. At last, curiosity overpowers his hesitation. In the original text “eventually” signifies both time and emotion span. But the translation only manifests the time span. It is a covert error.&lt;br /&gt;
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Example 3：&lt;br /&gt;
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“Tell me, Etsuko,” he said, not looking up from his laces. “Have you met this Shigeo Matsuda?”&lt;br /&gt;
&lt;br /&gt;
“告诉我，悦子，”他头也不抬地说。“你见过这个松田重夫吗？”(P36-P37)&lt;br /&gt;
&lt;br /&gt;
Ogata-San, as Etsuko’s father-in-law and adopter after the war, gets along well with her. In the original text, Ogata-San is “not looking up” when speaking to Etsuko since he is lying his laces. The translation ignores the reason, which renders Ogata-San a cold man. It is a covert error.&lt;br /&gt;
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Example 4:&lt;br /&gt;
&lt;br /&gt;
I'm sure she'd be the first to agree with me about Kazuo mourning her like this.&lt;br /&gt;
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我肯定她会第一个同意我的观点，和夫不应该再这样想着他了。(P94)&lt;br /&gt;
&lt;br /&gt;
From the original, we can feel the love of Mrs. Fujiwara to her son. However, after reading its translation, we can feel nothing but her dominance. It signifies that the translation deviates from the original context. It is a covert error.&lt;br /&gt;
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'''3.2.2 Social Role Relationship'''&lt;br /&gt;
&lt;br /&gt;
Social role relationship refers to the social relation between the speaker and the receiver, that is, symmetry and asymmetry. The analysis on the social roles relationship in novels is generally from two aspects: relationship between the author and readers, and relationship between the various characters in the work. The former is remained utterly, while the latter is slightly different from that in the original. A total of 4 mismatches are found in the comparison, all of which are covert errors. In the full-text translation, the overall relationship between the characters is the same as that of the original text, and only a few mismatches are found. Therefore, on social role relationship, translation is of high quality.(Feng Yufang &amp;amp; Wang Feifei 2015,117)&lt;br /&gt;
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Example 1：&lt;br /&gt;
&lt;br /&gt;
She said it would be perfectly all right if you came and waited for her at my house.&lt;br /&gt;
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她说你可以到我家来等她。(P13)&lt;br /&gt;
&lt;br /&gt;
The translation omits “be perfectly all right if”, which takes the edge off the amiability from Etsuko to Mariko. Given the whole plot of the novel, Mariko is a phantom of Etsuko’s old daughter Keiko. The obscure feelings between Mariko and Etsuko are very important to implicate their special emotion. Therefore, the translation ignores to take a consideration of the context. It is a covert error.&lt;br /&gt;
&lt;br /&gt;
The translation omits &amp;quot;be perfectly all right if&amp;quot;, which takes the edge off the amiability from Etsuko to Mariko. Given the whole plot of the novel, Mariko is a phantom of Etsuko's old daughter Keiko. The obscure feelings between Mariko and Etsuko are very important to implicate their special emotion. Therefore, the translation ignores to take a consideration of the context. It is a covert error.--[[User:Quan Meixin|Quan Meixin]] ([[User talk:Quan Meixin|talk]]) 15:17, 19 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
Example 2：&lt;br /&gt;
&lt;br /&gt;
As I say, this order came into the office the day you arrived. A real nuisance.&lt;br /&gt;
&lt;br /&gt;
我说过了，订单刚好在您来的那天来了。真是讨厌。(P29)&lt;br /&gt;
&lt;br /&gt;
On the basis of the context, Jiro (Etsuko’s husband) is explaining to his father Ogata-San that he is so busy that he could not accompany him. He feels apologetic about that. However, the tone of speaking in translation is impatient and a bit furious, which runs against that of the original. So, it is a covert error. &lt;br /&gt;
&lt;br /&gt;
On the basis of the context, Jiro (Etsuko's husband) is explaining to his father Ogata-San that he is so busy that he could not accompany him. He feels apologetic about that. However, the tone of speaking in translation is impatient and a bit furious, which runs against that of the original. So, it is a covert error. &lt;br /&gt;
&lt;br /&gt;
Example 3：&lt;br /&gt;
&lt;br /&gt;
I should warn you, perhaps. My daughter has been in a somewhat difficult mood these past few days.&lt;br /&gt;
&lt;br /&gt;
也许我应该警告你。我女儿这几天情绪很不好。(P90)&lt;br /&gt;
&lt;br /&gt;
Warn enjoys two major meanings: to tell somebody about something, especially something dangerous or unpleasant that is likely to happen, so that they can avoid it; to strongly advise somebody to do or not to do something in order to avoid danger or punishment. In the original, Sachiko entrusts Etsuko to look after her daughter so the former one is appropriate. However, in the translation the later one is adopted, which is absolutely improper. It is a covert error. &lt;br /&gt;
&lt;br /&gt;
Example 4：&lt;br /&gt;
&lt;br /&gt;
Now listen carefully, or else you'll never find the noodle shop.&lt;br /&gt;
&lt;br /&gt;
现在您听好了，不然您永远也别想找到面馆。(P183)&lt;br /&gt;
&lt;br /&gt;
The sentence is said when Etsuko intends to tell Ogata-San the route to the restaurant of Mrs Fujiwara. On the basis of the context, Etsuko is very reverent to Ogata-San. However, the manner of translation is tough, which is not of a piece with the original. It doesn’t take account of the context, so it is a covert error.&lt;br /&gt;
&lt;br /&gt;
The sentence is said when Etsuko intends to tell Ogata-San the route to the restaurant of Mrs Fujiwara. On the basis of the context, Etsuko is very reverent to Ogata-San. However, the manner of translation is tough, which is not of a piece with the original. It doesn't take account of the context, so it is a covert error.--[[User:Quan Meixin|Quan Meixin]] ([[User talk:Quan Meixin|talk]]) 15:17, 19 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
'''3.3 Comparison on Mode'''&lt;br /&gt;
&lt;br /&gt;
Mode can be divided into medium and participation. In the course of analyzing both the original and the translation, a total of 6 mismatches are found on the two dimensions and all of them are covert errors, which manifests the translation are generally of a piece with the original. The translation on mode is of high quality.&lt;br /&gt;
&lt;br /&gt;
'''3.3.1 Language Medium'''&lt;br /&gt;
&lt;br /&gt;
Language medium mainly refers to whether the form of language is spoken or written, simple or complex. The contrast between the model of the source text and the target text is mainly reflected in the linguistic features and diction features of text rather than language types used. The language of A Pale View of Hills is simple, delicate and easy to understand, with short sentence, plenty of dialogues between characters and a high degree of colloquialism. The overall style of the translation is similar with that of the original, with only 4 stylistic covert mismatches. Therefore, on language medium, the translation quality is great.&lt;br /&gt;
&lt;br /&gt;
Example 1：&lt;br /&gt;
&lt;br /&gt;
…on one side of the tracks at the foot of the hill could be seen a cluster of roofs.&lt;br /&gt;
&lt;br /&gt;
山脚下铁路的一侧是鳞次栉比的屋顶。(P8)&lt;br /&gt;
&lt;br /&gt;
Cluster means a group of things of the same type that grow or appear close together, whose translation accords with it in the ideational meaning. Nonetheless, “鳞次栉比” in Chinese is a four-character phrase that usually appears in formal written text. It is more complex than the style of the text. It is a covert error.&lt;br /&gt;
&lt;br /&gt;
Example 2：&lt;br /&gt;
&lt;br /&gt;
原文误删了--[[User:Quan Meixin|Quan Meixin]] ([[User talk:Quan Meixin|talk]]) 15:17, 19 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
正如您丈夫说的，我们只是两个混蛋。不用麻烦了，请坐下。(P74)&lt;br /&gt;
&lt;br /&gt;
The situation happens when Jiro’s colleagues come round. From the conversation between Jiro and his colleagues, it is found that they are very familiar and intimate. So, words such as “rabble” and “like” are of high colloquialism. Nevertheless, in the translation “正如” is a formal expression, which is not in line with the original. Thus, it is a covert error.&lt;br /&gt;
&lt;br /&gt;
Example 3：&lt;br /&gt;
&lt;br /&gt;
Blankets and laundry hung from many of the balconies.&lt;br /&gt;
&lt;br /&gt;
很多阳台上挂着毯子啦、洗的衣服啦。(P181)&lt;br /&gt;
&lt;br /&gt;
Example 4：&lt;br /&gt;
&lt;br /&gt;
Young women these days are all so headstrong. And forever talking about washing-machines and American dresses.&lt;br /&gt;
&lt;br /&gt;
现在女孩子任性得很。而且整天在讲什么洗衣机啦、洋裙啦。(P195)&lt;br /&gt;
&lt;br /&gt;
The two sentences are the description of the street which Etsuko and Ogata-San pass by when they intend to visit Shigeo. Etsuko is a calm and composed Japanese woman, whose language style is the same. Modal particles used in translation render the language abrupt and frisky. So, it is a covert error.&lt;br /&gt;
&lt;br /&gt;
'''3.3.2 Participation'''&lt;br /&gt;
&lt;br /&gt;
Participation refers to whether the speech is a simple monologue or a complex form that prompts the listeners or readers to participate indirectly, for example, by the transition between statements and questions and the special use of pronouns. The whole plot of ''A Pale View of Hills'' is a soliloquy narrated in the first person, interleaved with dialogues between different characters. Readers hardly could participate indirectly in it. The translation is basically in the same style as the original, except for the two following examples. The two declarative sentences are translated into a rhetorical question, which does not require readers to answer as well. Therefore, the translation is of high quality in terms of participation.(House 1997, 108)&lt;br /&gt;
&lt;br /&gt;
Example 1：&lt;br /&gt;
&lt;br /&gt;
That’s no way to bring a child into the world, visiting the cemetery every week.&lt;br /&gt;
&lt;br /&gt;
这样怎么能把孩子带到这个世上呢？(P24)&lt;br /&gt;
&lt;br /&gt;
Example 2：&lt;br /&gt;
&lt;br /&gt;
It seems very disloyal.&lt;br /&gt;
&lt;br /&gt;
这不是忘恩负义吗？(P32)&lt;br /&gt;
&lt;br /&gt;
In conclusion, the quality statement of the Chinese Translation of A Pale View of Hills focuses on whether it is an overt transaltion or a covert translation and its matching degree. &lt;br /&gt;
&lt;br /&gt;
On the one hand, it is an overt translation. Accoring to above analysis, the translation is closely related to the culture of the sourse language text. From the translation, expressions with Japanese culture can be found clearly. On the other hand, it is of high quality. There are 32 mismatches in total, 18 mismatches on field, 8 on tenor and 6 on mode. Among them, there are 13 overt errors and 19 covert errors. Covert errors caused by ignoring the context and overt errors caused by violating the rules of target language inflict only a little ambiguity on ideational function, interpersonal function and the quality of the text.&lt;br /&gt;
&lt;br /&gt;
===IV Quality Statement of Chinese Translation of ''A Pale View of Hills''===&lt;br /&gt;
The quality statement of the Chinese Translation of A Pale View of Hills focuses on its cultural participation degree and its matching degree. Based on the two aspects, this chapter will make a quality statement of the Chinese Translation of A Pale View of Hills.&lt;br /&gt;
&lt;br /&gt;
'''4.1 Overt Translation'''&lt;br /&gt;
&lt;br /&gt;
Overt translation refers to the obvious translation rather than the second original. The translation is obviously not aimed at the readers with target language, because the original text, literary works, political speeches and religious sermons, is closely related to the culture it is rooted in. But covert translation can be used as the second text, that is, independent writing. &lt;br /&gt;
&lt;br /&gt;
House deems that texts requiring overt translation have no special connection with their culture, and they are not unique to their culture, such as academic papers and travel brochures. She also believes that in overt translation, equivalence can only be established at the level of language/text, register and genre, but it is difficult to achieve equivalence in function. In contrast, the purpose of covert translation is to achieve functional equivalence, and there will be some deficiencies in language, register.(House 1997,108)&lt;br /&gt;
&lt;br /&gt;
In the contrast reading between the original and the translation, the obvious traces of the original can be found, for example, “你想她们还在打吗？” and “呃，我想小孩子是会打架的。但是我想我应该告诉你一声。还有你看，我想你女儿不是要去上学。”. In English, words representing speculation, such as “suppose” and “think”, are used frequently, while in Chinese they are not. Thus, the target text which remains these words possesses obvious sighs of translation. Furthermore, other signs in the translation, such as “欠了欠身”，show the culture of Japan when greeting. In conclusion, the target text of A Pale View of Hills is overt translation.&lt;br /&gt;
&lt;br /&gt;
'''4.2 High-quality Translation'''&lt;br /&gt;
&lt;br /&gt;
This study applies House’s TQA model to assess the Chinese translation of A Pale View of Hills on lexical, syntactic and textual aspects. On basis of analysis between the original and the translation, there are 18 mismatches on field, 8 on tenor and 6 on mode. Among them, there are 13 overt errors and 19 covert errors. Covert errors caused by ignoring the context and overt errors caused by violating the rules of target language inflict only a little ambiguity on ideational function, interpersonal function and the quality of the text. &lt;br /&gt;
&lt;br /&gt;
This study applies House's TQA model to assess the Chinese translation of A Pale View of Hills on lexical, syntactic and textual aspects. On basis of analysis between the original and the translation, there are 18 mismatches on field, 8 on tenor and 6 on mode. Among them, there are 13 overt errors and 19 covert errors. Covert errors caused by ignoring the context and overt errors caused by violating the rules of target language inflict only a little ambiguity on ideational function, interpersonal function and the quality of the text.--[[User:Quan Meixin|Quan Meixin]] ([[User talk:Quan Meixin|talk]]) 15:44, 19 December 2020 (UTC) &lt;br /&gt;
&lt;br /&gt;
Chinese translation of A Pale View of Hills, by and large, consisting with the original, is of high quality. On the field, the translation, which transmits the subject matter and social action which covers the specificity of linguistic items, is in accordance with the original on lexical, syntactic and textual dimension in general; on the tenor, the representation of social attitude and social role relationship of the Chinese text is consistent with the English text; on the mode, the language of the translation is as simple and delicate as that of the original and the participation is of low level as well. Therefore, Zhang Xiaoyi’s Chinese translation of A Pale View of Hills is of high quality.&lt;br /&gt;
&lt;br /&gt;
Chinese translation of ''A Pale View of Hills'', by and large, consisting with the original, is of high quality. On the field, the translation, which transmits the subject matter and social action which covers the specificity of linguistic items, is in accordance with the original on lexical, syntactic and textual dimension in general; on the tenor, the representation of social attitude and social role relationship of the Chinese text is consistent with the English text; on the mode, the language of the translation is as simple and delicate as that of the original and the participation is of low level as well. Therefore, Zhang Xiaoyi's Chinese translation of ''A Pale View of Hills'' is of high quality.--[[User:Quan Meixin|Quan Meixin]] ([[User talk:Quan Meixin|talk]]) 15:44, 19 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
===Conclusion===&lt;br /&gt;
&lt;br /&gt;
''A Pale View of Hills'', as the debut of Kazuo Ishiguro, involves many in-depth subjects, which initiates the development of author's peculiar writing style. House’s model is the first scientific and objective translation quality assessment mode with the integration of both theory and practice. This study applies House’s TQA model to assess the Chinese translation of ''A Pale View of Hills'' on lexical, syntactic and textual aspects. &lt;br /&gt;
&lt;br /&gt;
''A Pale View of Hills'', as the debut of Kazuo Ishiguro, involves many in-depth subjects, which initiates the development of author's peculiar writing style. House's model is the first scientific and objective translation quality assessment mode with the integration of both theory and practice. This study applies House's TQA model to assess the Chinese translation of ''A Pale View of Hills'' on lexical, syntactic and textual aspects. --[[User:Quan Meixin|Quan Meixin]] ([[User talk:Quan Meixin|talk]]) 15:47, 19 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
On basis of analysis between the original and the translation, there are 18 mismatches on field, 8 on tenor and 6 on mode. By and large, the Chinese translation of ''A Pale View of Hills'' is overt translation. Although a few mismatches can be found in the translation, they cause a little affect to the functions of the text and the presentation of the plot, role characters and role relationship of the whole novel. In conclusion, the translation is in line with the original on register and is of high quality.&lt;br /&gt;
&lt;br /&gt;
Different from the traditional evaluation methods, House's model, based on micro and macro criteria, both quantitative analysis and qualitative analysis, is the first scientific and objective translation quality assessment model with a complete theory and empirical evidence. It can be used as an auxiliary tool to find problems in translation so as to make modifications, which to some extent promotes the development of translation activities.&lt;br /&gt;
&lt;br /&gt;
However, in the actual operation process, although the translation quality assessment can be carried out according to parameters, the comparison results still rely on subjective judgment, which cannot utterly guarantee the scientificity of the final evaluation results. In addition, due to the large number of parameters, it takes a lot of time to compare the differences in vocabulary, sentence structure and discourse between the original text and the translation in the evaluation of full-length novel, so the evaluation is not very efficient. Although there are still some shortcomings in the House's model, it is still worth applying in the practice of translation criticism as a relatively complete and objective theoretical model.&lt;br /&gt;
&lt;br /&gt;
===References===&lt;br /&gt;
&lt;br /&gt;
*Awla, Y. N. (2019). The The Impact of Place on Personality in Kazuo Ishiguro's ''A Pale View of Hills'': An Eco-critical Study. ''Journal of University of Raparin''. 1-18.&lt;br /&gt;
&lt;br /&gt;
*House, J. (1977) ''A Model for Translation Quality Assessment''. Germany: Gunter Narr Verlag Tubingen.&lt;br /&gt;
&lt;br /&gt;
*House, J. (1997) ''Translation Quality Assessment: A Model Revised''. German: Gunter Narr Verlag Tubingen. &lt;br /&gt;
&lt;br /&gt;
*Newmark, P. (2001) ''A Textbook of Translation''. Shanghai: Shanghai Foreign Language Education Press.&lt;br /&gt;
&lt;br /&gt;
*Reiss, L. (2000) ''Translation Criticism, the potentials &amp;amp; Limitations''. Manchester: St. Jerome Publishing.&lt;br /&gt;
&lt;br /&gt;
*Forsythe, R. (2005)  Cultural Displacement and the Mother-Daughter Relationship in Kazuo Ishiguro's ''A Pale View of Hills''. ''West Virginia University Philological Papers''.&lt;br /&gt;
&lt;br /&gt;
*Jeremy M. (2001) ''Introduction Translation Studies: Theory and Applications''. London and New York: Routledge.&lt;br /&gt;
&lt;br /&gt;
*Feng Yufang &amp;amp; Wang Feifei丰玉芳, 王菲菲. (2015) 从豪斯的翻译质量评估模式看宋词翻译——以宋词《声声慢》和许渊冲英译本为例[Translation of Ci-poetry Based on J.House's TQA Model——A case study of ''Sheng Sheng Man'' and its English translation by Xu Yuanchong]. 扬州大学学报(人文社会科学版)[Journal of Yangzhou University(Humanities and Social Sciences Edition)]. 114-121.&lt;br /&gt;
&lt;br /&gt;
*He Xiaobing 贺晓冰. (2018) 论《远山淡影》的不可靠叙述与记忆[Memory and Narrative Unreliability in ''A Pale View of Hills'']. 西安外国语大学[Xi'an International Studies University].&lt;br /&gt;
&lt;br /&gt;
*Jiang Ruiping 姜睿萍. (2007) 豪斯翻译质量评估模式在英汉互译中的可行性分析[An Analysis on the Feasibility of House s TQA Model in CE Translation]. 哈尔滨工程大学[Harbin Engineering University]. &lt;br /&gt;
&lt;br /&gt;
*Li Xiaolin &amp;amp; He Shaobin 李晓林, 何绍斌. (2010) 朱莉安·豪斯的“翻译质量评估模式”运作过程可行性浅评[The Feasibility of House's Model of Translation Quality Assessment]. 哈尔滨学院学报[Journal of Harbin University]. 127-1.&lt;br /&gt;
&lt;br /&gt;
*Liu Xiaoya 刘晓亚. (2015) 《远山淡影》中的创伤研究[Trauma in Kazuo Ishiguro's ''A Pale View of Hills'']. 四川师范大学[Journal of Sichuan Normal University(Social Sciences Edition)].&lt;br /&gt;
&lt;br /&gt;
*Si Xianzhu 司显柱. (2005) 朱莉安·豪斯的“翻译质量评估模式”批评[Juliane House's Translation Quality Assessment Model:A Critique]. 外语教学[Foreign Language Education]. 79-84.&lt;br /&gt;
&lt;br /&gt;
*Tang Jun &amp;amp; Wang Yan 唐军, 王燕. (2011) 豪斯翻译质量评估模式在汉译英翻译中的应用——以朱自清《背影》的英译为例[Application of House＇s Translation Quality Assessment Model in C-E Translation—A Case Study of ''The Sight of Father's Back'' by Zhu Ziqing]. 合肥工业大学学报(社会科学版)[Journal of Hefei University of Technology(Social Sciences)]. 129-135.&lt;br /&gt;
&lt;br /&gt;
*Wang Lichuan 王丽川. (2019) 《远山淡影》中的反讽解读[A Study of the Irony in ''A Pale View of Hills'']. 河南: 郑州大学[Henan: Journal of Zhengzhou University].&lt;br /&gt;
&lt;br /&gt;
*Wang Fei 王飞. (2017) 石黑一雄中的身份焦虑[Identity Anxiety in Kazuo Ishiguro's ''A Pale View of Hills'']. 中南大学学报(社会科学版)[Journal of Central South University(Social Science)]. 152-157.&lt;br /&gt;
&lt;br /&gt;
*Zhou Fenfen 周芬芬. (2013) 豪斯翻译质量评估模式的实践应用——以《荷塘月色》英译本为例[The Application of Translation Quality Assessment Model by Julian House——A Case Study on Chinese-English Translation of ''Moonlight over the Lotus Pond'']. 山西农业大学学报(社会科学版)[Journal of Shanxi Agricultural University:Social Science Edition]. 782-786.&lt;br /&gt;
&lt;br /&gt;
==On the Relationship among Literal Translation, Free Translation, Domestication and Foreignization--Wei Honglang 韦洪朗,国别区域研究，202020080647==&lt;br /&gt;
&lt;br /&gt;
===Abstract===&lt;br /&gt;
Abstract&lt;br /&gt;
This paper makes a systematic discussion on the relationship among literal translation, free translation, domestication and foreignization,which have been always controversial in translation history. Based on the theories and contents of free translation, literal translation, domestication and foreignization, this paper analyzes the similarities and differences between literal translation and free translation, foreignization and foreignization respectively. After cross-contrast analysis between them, it comprehensively sorts out the relationship between translation methods of literal translation and free translation and translation strategies of domestication and foreignization, and discusses their comprehensive application on the basis that domestication and foreignization are the extension of literal translation and free translation to cultural level, which has certain reference significance for further enriching translation practice.&lt;br /&gt;
&lt;br /&gt;
===Key words===&lt;br /&gt;
Key Words: Literal Translation; Free Translation; Domestication; Foreignization&lt;br /&gt;
&lt;br /&gt;
===摘要===&lt;br /&gt;
摘 要&lt;br /&gt;
本文就翻译史上备受争论的归化、异化和意译、直译的关系问题进行了系统的讨论。基于意译、直译和归化、异化的理论及其内容，分别分析直译和意译、异化和归化两对概念之间的异同，在他们之间进行交叉对比分析后，综合整理直译、意译的翻译方法和归化、异化翻译策略的关系，在继承归化和异化是直译和意译向文化层面的延伸的基础关系上，具体讨论他们之间的综合运用，为进一步丰富翻译实践具有一定的借鉴意义。&lt;br /&gt;
&lt;br /&gt;
===关键字===&lt;br /&gt;
关键词：意译；直译；归化；异化&lt;br /&gt;
&lt;br /&gt;
===I.Introduction ===&lt;br /&gt;
&lt;br /&gt;
In the history, argues between literal translation and free translation have been lasting for so long. Since there existed so many countries and nations on the continent of Europe, communicating frequently with different languages, the skill and cognition of language translation naturally developed and achieved a lot. During those time, two main methods of translation called literal translation and free translation came into being and accompanied by the problem on choosing which of them. The earliest opinion of translating methods can go back to the period of Roman Empire, when Cicero put forward that free translation should be used in translating Greek texts into Latin, on account of that literal translation , “word for word translation”at that time, couldn’t reflect Roman way of expression and couldn’t be easy-understanding and fluent as free translation, “sense for sense translation”. (Lu Shu, Wang Jintang 2005,115-116)&lt;br /&gt;
&lt;br /&gt;
This view of point had a great and dominate influence at that time, which did not change until late Roman period, when Christianity was gradually in power and the necessity of spreading and translating Bible by the way “exactly what it is ” made literal translation become more popular. Then comes the renaissance, in which many linguisticians realized the importance of keeping the style and features of their own nations. Since then, the two translation methods have taken the lead and been debated endlessly in the translation field. By the 1960s and 1970s, when domesticating translation and foreignizing translation accordingly emerged with free translation and literal translation, reception theory, which upgraded the dominance of readers or we called receivers of translation, again made the domestic translating one-up. (Lu Shu, Wang Jintang 2005,115-116)&lt;br /&gt;
&lt;br /&gt;
This kind of method was criticized by Venuti on its aggressivity of different cultures, based on which he officially put forward the two concepts of domestication and foreignization, which have been two central strategies in translation. So it’s vital to get a better understanding of those four concepts and make their relationships clear, which is of guiding significance to promote translation in practice.(Lu Shu, Wang Jintang 2005,115-116)&lt;br /&gt;
&lt;br /&gt;
===II.Literal Translation and Free Translation===&lt;br /&gt;
&lt;br /&gt;
When seeing translation as shift of linguistic sign, the method of translating could be regarded as the specific approach used by the translator shifting the ST(Source Text) into TT(Target Text), especially the two methods mentioned before--literal translation and free translation.Peter Newmark, in his &amp;quot;A Textbook of Translation&amp;quot;, proposed that the only goal of translating should be repeating the meaning of ST, which means those translating methods exist for dealing with some problems happened during the process when translating.( Ma Shikui 2012,20)The meaning and structure of the ST might not be taken into account every time, so it’s important to search for a appropriate solution to deal with this kind of problem, that’s what literal translation and free translation do.&lt;br /&gt;
&lt;br /&gt;
===2.1 Literal translation ===&lt;br /&gt;
&lt;br /&gt;
Literal translation is the method chosen when the original structure and the meaning of ST could both be perfectly taken into account, by adhering to strict original meaning and style of the TT, including the structures of sentences and rhetorical devices. “Word for word translation” could be counted as the original way of literal translation, like the translation of &amp;quot;The Bible&amp;quot; in the middle Age I showed before. But as the argue and relevant theories developing  till modern age, more and more experts realize and have a common sense that “word for word translation” can’t be equal to literal translation, since there always exist more or less differences among different languages. Personally speaking, the way Professor Fan Zhongying explains that literal translation means keeping the linguistic form of the SL, such as the words, the sentence structures and the rhetorical means, fluently and easily understood at the same time comprehensively interprets literal translation.(Joe Zeng Rui 2000,249)&lt;br /&gt;
&lt;br /&gt;
===2.2 Free translation===&lt;br /&gt;
&lt;br /&gt;
It’s better if we can have langugage forms and meanings achieved both ways, which cannot happened all the time. Thus, free translation might be better when translator can’t follow with the exact structure of SL. Free translation, “sense for sense translation”, refers to a kind of method used to translate the exact sense of the SL into the TL without retaining the sentence structures or the expression way of the SL. The supporters of free translation believe that the purpose of translation is to transform and convey the sense of the SL to the recipient of the TL, so it’s worthy to adopt an expression way closer to the TL, which is easier for the recipient to understand. Free translation has certain flexibility, which means the position of words and sentences can be adjusted. In order to facilitate readers' understanding, even some necessary supplements can be added.(Joe Zeng Rui 2000,249)&lt;br /&gt;
&lt;br /&gt;
===2.3 Analysis with Examples of Literal translation and Free translation===&lt;br /&gt;
&lt;br /&gt;
Here are some specific examples of the contrast between literal translation and free translation：&lt;br /&gt;
&lt;br /&gt;
===2.3.1 On words===&lt;br /&gt;
&lt;br /&gt;
ST:&amp;quot;Why do men have an Adam's Apple but women don't? &amp;quot;&lt;br /&gt;
&lt;br /&gt;
Literal translating: 为什么男人有亚当的苹果而女人没有呢？&lt;br /&gt;
&lt;br /&gt;
Free translating: 为什么男人有喉结而女人没有呢？&lt;br /&gt;
&lt;br /&gt;
From above, the “Adam's apple” can be translated literally into &amp;quot;亚当的苹果&amp;quot;, but it can't reflect the original sense of the ST, because in the western world, &amp;quot;Adam's apple&amp;quot; refers to &amp;quot;喉结&amp;quot; in Chinese instead of literally meaning &amp;quot;亚当的苹果&amp;quot;, so free translation is more accurate here. In addition, it is worth mentioning that this example perfectly reflects the fit of sentence structure between Chinese and English. It also shows that translators should also be sure of the culture behind the SL.&lt;br /&gt;
&lt;br /&gt;
===2.3.2 On sentence structures===&lt;br /&gt;
&lt;br /&gt;
ST:&amp;quot;Here comes the bus!&amp;quot;&lt;br /&gt;
&lt;br /&gt;
Literal translating: 这来了巴士!&lt;br /&gt;
&lt;br /&gt;
Free translating: 巴士来了!&lt;br /&gt;
&lt;br /&gt;
According to the literal translating way, if following with the source structure of the English sentence, which is a inverted sentence in English by the way, the translation result is “这来了巴士”, which is obviously both incoherent and hard to understand in Chinese and even twist the sense of the ST. According to the sentence meaning, it should be translated into “巴士来了 ”, which is totally different from the ST in grammar though.&lt;br /&gt;
&lt;br /&gt;
===2.3.3 On rhetorical means===&lt;br /&gt;
&lt;br /&gt;
ST: &amp;quot;If Main Street didn' t understand this , Wall Street did.&amp;quot;(The Glory and the Dream, p .85)&lt;br /&gt;
&lt;br /&gt;
Literal translating: 如果主街不能理解这一点，华尔街可以。&lt;br /&gt;
&lt;br /&gt;
Free translating: 这一点, 一般人不理解, 华尔街那些大老板们却是明白的。(Professor Wang Zongyan, 1983 :10)&lt;br /&gt;
&lt;br /&gt;
From this example, the key information is that Professor Wang Zongyan translates “Wall Street” into “华尔街的那些大老板们”. In Literature Translation, free translation is evidently more popular, because some literary images are difficult to express accurately through literal translation. In fact, the “Wall Street” here does not mean “Wall Street” itself, but people in power in Wall Street, so it is more appropriate for Professor Wang to translate it into “华尔街的那些老板们” by free translation. The reason of “Main Street”translating into “一般人”is the same.&lt;br /&gt;
&lt;br /&gt;
===2.4 The Relationships between literal translation and free translation===&lt;br /&gt;
&lt;br /&gt;
According to those demonstrations above, we can see that literal translation is more partial to SL(Source Language) and free translation considers more about TL(Target Language) users. The advantage of literal translation is to keep the style of the source language(show how other people talk), which plays a certain role in spreading the source language culture; the disadvantage is that sometimes it might be too long and difficult to understand, which hinders the communication and understanding between the two sides. Because free translation is biased towards the expression of the nation of the TL, its advantage is that it is more fluent and easy to understand, but its disadvantage is that it conceals the style of the source language and loses the role of translation as a cultural bridge, in which the translator's position seem not that important. All in all, I think it is best to combine the two translation methods organically in the process of translation. Just as professor Lu Dianyang proposed: “ Translate literally, if possible, or appeal to free translation.”(Zhao Jing 2011,61)&lt;br /&gt;
&lt;br /&gt;
===III.Domestication and Foreignization===&lt;br /&gt;
&lt;br /&gt;
Through the above introduction, we can know that with the change of historical environment, a period of political opposition and cultural exchange encountering a new period after World War II, the dispute between literal translation and free translation has reached a deeper level of development, which is the arrival of Foreignization and Domestication. Although Foreignization and Domestication were first formally proposed by Lawrence Venuti in &amp;quot;The Translator's Invisibility&amp;quot; in 1995, the translation strategy later called Domestication actually can be seen from Nida's translation theory of &amp;quot;dynamic equivalence&amp;quot;in 1964, which seeks for an expression whose meaning is closest to the SL and conforms to the habit of the TL expression way.（Chen Ying 2009,42）&lt;br /&gt;
&lt;br /&gt;
Nida's theory has been strongly criticized by Venuti, who supports Deconstructivism, and holds that domesticating translation is an obliteration of the SL culture and a manifestation of cultural colonialism, which is manifested by its failure to comply with the expression of the source language culture. Based on this, on the contrary, Venuti shows strong support for foreignizating translation, and he thinks that this translation strategy of preserving the linguistic and cultural differences of the SL shows respect for the SL culture. The following part mainly clarifies the concepts and contents of these two translation strategies, which will helps to compare with literal translation and free translation mentioned above.（Chen Ying 2009,42）&lt;br /&gt;
&lt;br /&gt;
===3.1 Domestication ===&lt;br /&gt;
&lt;br /&gt;
Domestication refers to a translation strategy dealing with the language forms, customs and cultural traditions, such as proverbs, idioms and allusions when translating, which tends to serve the readers of the target language. According to Eugene A. Nida's concept of natural equivalence, the translation version should be close to the original sense and intention in a most natural expression, therefore, the behavior pattern of the source language should be brought into the cultural understanding category of the target language as much as possible, which means that the recipients of the target language can avoid accepting the cultural expression of the source language in order to better understand the original intention.(Zhu Yuanzhong 2013,54)&lt;br /&gt;
&lt;br /&gt;
===3.2 Foreignization===&lt;br /&gt;
&lt;br /&gt;
Venuti studies translation under the background of culture, society, politics and cultural consciousness, and reflects the different positions of different cultures in today's world through the choice of translation strategies, and regards translation as a tool to fight against inequality. From this, we can see the reason why he criticized domestication and vigorously advocated foreignization translation, which is used to advocate that the translation should adapt and consider more the culture of the source language and the original author's habit of choosing words as much as possible. Thus, foreignizing translation tends to serve the SL culture, because he thinks that the translation version should take the source language culture as its destination and guide the reader to approach the original author.(Jiang Cui 2015,71-71)&lt;br /&gt;
&lt;br /&gt;
===3.3 Analysis with Examples of Domestication and Foreignization===&lt;br /&gt;
&lt;br /&gt;
Examples for domesticating translation and foreignizing translation:&lt;br /&gt;
&lt;br /&gt;
===3.3.1 On Politics===&lt;br /&gt;
&lt;br /&gt;
Titles：동해 (donghae)&amp;amp; にほんかい(nihonkai)&lt;br /&gt;
&lt;br /&gt;
Since the 19th century, the world has experienced terrible periods of two world wars and the Cold War . During this long period, independent nation-states gradually chose their own country's &amp;quot;roads&amp;quot; and directions, different ideologies and political positions having a strong sense of existence in international relations, among which there were many translation contradictions caused by geopolitics. (Pan Wenxiao 2020，https://weibo.com/ttarticle/p/show?id=2309404578145859666401)&lt;br /&gt;
&lt;br /&gt;
For example, the title of the sea area between South Korea and Japan has caused controversy between those two countries. South Korea has always called the sea area &amp;quot;동해&amp;quot;(East Sea) in history, but Japan continues to use the European navigator's giving name &amp;quot;Japan Sea&amp;quot;(にほんかい) and gradually gained international recognition from the 19th century. However, South Korean believes that the title change was imposed on South Korea by Japan colonizing Korea, which is a title that violates South Korea's territorial waters and disrespects South Korea. Something similar has happened many times in the world, which is the political difference on domestication and foreignization.(Pan Wenxiao 2020，https://weibo.com/ttarticle/p/show?id=2309404578145859666401)&lt;br /&gt;
&lt;br /&gt;
===3.3.2 On Culture===&lt;br /&gt;
&lt;br /&gt;
ST:“情人眼里出西施。”&lt;br /&gt;
&lt;br /&gt;
Domesticating translation: Love is blind.&lt;br /&gt;
&lt;br /&gt;
Foreignizing translation: The beauty Xi Shi is in the eye of lovers.&lt;br /&gt;
&lt;br /&gt;
This example shows relevantly how different it could be between two cultures: the ST and the domesticating one of  TT express almost the same meaning in completely different ways, that is, lovers can only see each other's good thing. That is to say, if you want to convey the exact meaning of the original Chinese sentence to English speakers, then domesticating method is the best choice, although it will make the &amp;quot;translation results&amp;quot; look beyond recognition. However, if we choose foreignizing translation, especially retaining the word &amp;quot;Xi Shi&amp;quot;, it will give English speakers a chance to understand Chinese traditional culture (Xi Shi is a beautiful woman in the Spring and Autumn Period of China, and &amp;quot;西施&amp;quot; in &amp;quot;情人眼里出西施&amp;quot; means &amp;quot;beauty&amp;quot;), although such translating way may be difficult to understand at first.&lt;br /&gt;
&lt;br /&gt;
===3.4 The relationships between Domestication and Foreignization ===&lt;br /&gt;
&lt;br /&gt;
Through the above analysis, it can be concluded that domestication and foreignization also have their own merits and reasonable existence. Although these two translation strategies were born in different historical backgrounds, their struggles to a certain extent reflect the struggle between the dominant position of stronger culture and weaker culture with different identities, which, of course is just one of those aspects, also reflect the problems of cultural communication: domesticating translation is conducive to conveying the meaning of the source language to the target language recipients without obstacles, especially in the case of great cultural differences existing, but this localization behavior will make it difficult for readers to learn what differences the two sides culture have, and in fact cultural diffusion will not be achieved.(Zhu Yuanzhong 2013,54)&lt;br /&gt;
&lt;br /&gt;
On the contrary, foreignization translation conveys the target text to readers according to the discourse mode of the source language culture, which can not only make readers realize the charm of different cultures, but also increase the expression ways of their own nation, but it is very likely that the meaning of the target text is difficult to understand. This contradiction is particularly prominent in the political level. Therefore, in translation practice, we should decide which way to choose in different contexts and in the face of different groups of people, so that the two can complement each other and have unity of opposites under proper application.(Zhu Yuanzhong 2013,54)&lt;br /&gt;
&lt;br /&gt;
===IV.The relationship among Literal Translation, Free Translation, Domestication and Foreignization===&lt;br /&gt;
&lt;br /&gt;
Sun Zhili, a contemporary Chinese translator, said: &amp;quot;Historically, domestication and foreignization can be regarded as extensions of literal translation and free translation, but they are not completely equivalent to each other. The core issue of literal translation and free translation is how to deal with form and sense at the linguistic level, while domestication and foreignization break through the limitations of language factors and expand their horizons to language, culture and aesthetics.(Sun Zhili 2011,27) &amp;quot;  Even after the above introduction, the boundary between literal translation, free translation, foreignization and domestication seems to be very vague. In order to better clarify the relationship between the two pairs of concepts, the following will distinguish and compare them. &lt;br /&gt;
&lt;br /&gt;
===4.1 The comparison among Literal Translation and Free Translation, Domestication and Foreignization===&lt;br /&gt;
&lt;br /&gt;
These two pairs of conceptss have some points in common. First of all, foreignization and domestication are extensions of literal translation and free translation, so the two pairs of relations are all methods put forward to guide translation practice; Secondly, relatively speaking, the roles of the two pairs of relations are very similar, especially in linguistic form: literal translation and foreignization both emphasize following the expression of the source text; Both free translation and domestication believe that in order to convey the sense of the source text accurately, the expression of the source text can be sacrificed. However，they are not the same in the following aspect. The first point is that the scope is different, which leads to different objects: literal translation and free translation are proposed according to the different structures and characteristics of the source language and the target language, and their discussion focuses on the relationship between form and content, which belongs to the level of language conversion. (Zhao Jing 2011,62) &lt;br /&gt;
&lt;br /&gt;
Foreignization and domestication, as a product of cultural turn, is not only manifested in linguistic form, but also in cultural content. In other words, the emergence and development of foreignization and domestication raise the discussion of language level to the level of culture, poetics and politics. Obviously, the former is a micro translation method, while the latter is a macro translation strategy. Choosing specific translation methods under the guidance of the general direction of translation strategies can make good use of these two pairs of concepts when doing translation. Second, the condition is different: Because literal translation and free translation are aimed at figuring out the issue of the text itself and the language structure, those two translation methods rely heavily on the text on linguistics, and have little room for evolution, development and independence, which make them relatively being static; However, domestication and foreignization do not have such problems. Their appearances were largely influenced by external social factors and the background of times and history, moreover, they focus on the external factors of translation too. Therefore, these two translation strategies are actually unstable and present a relatively dynamic state.(Zhao Jing 2011,62) &lt;br /&gt;
&lt;br /&gt;
===4.2 The connection among Literal Translation and Free Translation, Domestication and Foreignization===&lt;br /&gt;
&lt;br /&gt;
It can be concluded that the basic relationship between these two pairs of concepts is that domestication and foreignization make the discussion of translation transition move from pure language level to cultural level, not only paying attention to the internal transformation of language, but also starting to study the political and cultural environment outside language and text, which makes the change of translation’s function happen--from micro-analysis of language to macro-control of the social function of translation.(Chen Ying 2009,42)&lt;br /&gt;
&lt;br /&gt;
===4.2.1 Foreignization and Literal translation===&lt;br /&gt;
&lt;br /&gt;
According to the comparative analysis in the previous section, we can conclude from their similarities that under normal circumstances, foreignization usually takes literal translation as method, or foreignizing translation usually includes literal translation methods, such as:(Lv Yinping 2007,138)&lt;br /&gt;
&lt;br /&gt;
(1)Pandora’s box 潘多拉的盒子 &lt;br /&gt;
&lt;br /&gt;
(2)the forbidden fruit 禁果&lt;br /&gt;
&lt;br /&gt;
The above two examples clearly show the way literal translation works out, which is also the result under the guidance of foreignizating translation strategy. &amp;quot;Pandora's box&amp;quot; comes from Greek mythology, which refers to the root of all evils, but the translation into Chinese, which is not “万恶之源”, has followed the European saying, and even be quoted in daily communication, which has played the purpose of &amp;quot;understanding other national cultures through translation&amp;quot;; Similarly, &amp;quot;forbidden fruit&amp;quot; comes from &amp;quot;The Bible&amp;quot;, which means something forbidden, but Chinese translation also follows the expression of the original way.&lt;br /&gt;
&lt;br /&gt;
===4.2.2 Domestication and Free translation===&lt;br /&gt;
&lt;br /&gt;
Similarly, free translation is visible in domesticating translation. For example:(Lv Yinping 2007,137)&lt;br /&gt;
&lt;br /&gt;
(1)drink like a fish 牛饮&lt;br /&gt;
&lt;br /&gt;
(2)a fool’s paradise 黄粱美梦&lt;br /&gt;
&lt;br /&gt;
As far as the first example is concerned, if literally translated into &amp;quot;像鱼一样喝水&amp;quot;, it is extremely out of line with the Chinese expression habit, because there is no such statement way in China, which leads to misunderstanding or confusion.. However, if we translate &amp;quot;drink like a fish&amp;quot; into “牛饮” in Chinese, which does exists in China and has the same meaning as &amp;quot;drink like a fish&amp;quot; in English. Then the translation effect is not only interesting but also easy to understand.&lt;br /&gt;
&lt;br /&gt;
However, in the process of actual translation practice, due to the variety and diversity of cultures, the methods and strategies used in text or language conversion are also comprehensive. We can find that the comprehensive and flexible use of literal translation and free translation, domestication and foreignization can make up for the regret of some traditional opposing ways(It is said that the two pairs of concepts are opposite and cannot coexist).&lt;br /&gt;
&lt;br /&gt;
===4.2.3 Domestication and Literal translation===&lt;br /&gt;
&lt;br /&gt;
Foreignizating translation is usually regarded as an extension of literal translation, which means that in general, literal translation methods are often used under the guidance of foreignization strategies, but in some special cases, literal translation can also coexist with domestication strategies. For instances:&lt;br /&gt;
&lt;br /&gt;
(1) 什么时候都要谦虚谨慎，把尾巴夹紧一些。（Jia Wenbo 2000,11）&lt;br /&gt;
&lt;br /&gt;
We must always be modest and prudent and must, so to speak, tuck our tail between our legs.&lt;br /&gt;
&lt;br /&gt;
The meaning of &amp;quot;把尾巴夹紧&amp;quot; in Chinese coincides with &amp;quot;tuck tail between our legs&amp;quot; in English. In this example, it can be said that literal translation is the most suitable choice, which keeps the form and cultural connotation of the source language to the maximum extent, and at the same time coincides with the meaning and culture of the target language.&lt;br /&gt;
&lt;br /&gt;
(2) 一石二鸟(Song Tianxi 2013,49)&lt;br /&gt;
&lt;br /&gt;
Kill two birds with one stone.&lt;br /&gt;
&lt;br /&gt;
Similarly, this is an example of having language structure and cultural meaning between China and Britain in both ways, which uses the method of literal translation but achieves the effect of domestication. But in Chinese, &amp;quot;一石二鸟&amp;quot; can also be synonymous with &amp;quot;一箭双雕&amp;quot; and &amp;quot;一举两得&amp;quot;, which can be chosen when translating &amp;quot;kill two birds with one stone&amp;quot; if you want, however, this way of using the method of free translation is not literal translation anymore.&lt;br /&gt;
&lt;br /&gt;
Domestication and literal translation can coexist under the situation when two sides of language structures and cultures can coincide at the same time, which exists by chance and cannot be forced; It is almost impossible to find examples of coexistence like foreignization and free translation. However, through the above argument, we can find that in translation practice, translators should practice the principle of &amp;quot;concrete analysis of specific problems&amp;quot;, flexibly and dialectically combine free translation and literal translation with domestication and foreignization, and avoid rigid translation methods, so as to better assume the responsibility of cultural exchange. &lt;br /&gt;
&lt;br /&gt;
===V.Conclusion===&lt;br /&gt;
&lt;br /&gt;
Through the analysis above of the concepts and intensions of literal translation and free translation, domestication and foreignization, we further arrive at and even deepen our understanding of the relationship between the two pairs of concepts, which is helpful for translators to approach a better version of translation result and effect as much as possible on the basis of understanding the culture and language of both sides and combining with the practice through rational choice of translation strategies and translation methods under the guidance of the theories. After all, translation is not only a linguistic transformation, whose fundamental task is to reach communication and cultural exchange. &lt;br /&gt;
&lt;br /&gt;
Therefore, to some extent, translation plays the role of cultural &amp;quot;fax&amp;quot;. In order to coordinate the spread of the source language culture and the acceptance of the target language side, and it is necessary to avoid rigid use of a single translation method and translation strategy, or solidifying the idea of translation guiding theory. After comprehensive consideration of translation purpose, target and recipient, it is a translator's duty to use translation method flexibly and dialectically, as being a &amp;quot;cultural bridge&amp;quot;.&lt;br /&gt;
&lt;br /&gt;
===References===&lt;br /&gt;
&lt;br /&gt;
Sun Zhili 孙致礼.(2011).新编英汉翻译教程[A New Coursebook on English-Chinese Translation].上海:上海外语教育出版社.Shanghai:Shanghai Foreign Language Education Press&lt;br /&gt;
&lt;br /&gt;
Sun Zhili 孙致礼.(2002).中国的文学翻译:从归化趋向异化[China’s Literary Translation: from Domestication to Foreignization].中国翻译Chinese Translators Journal(01):39-43.&lt;br /&gt;
&lt;br /&gt;
Jia Wenbo 贾文波.(1999).汉英时文翻译-政治经济汉译英300句析[On Practical C-E Translation in Political &amp;amp; Economic Practice].北京:中国对外翻译出版公司Beijing:China Translation and Publishing Corporation.&lt;br /&gt;
&lt;br /&gt;
Zhang Meifang 张美芳.(2004).翻译策略二分法透视[A dichotomous perspective in translation strategies].天津外国语学院学报Journal of Tianjin Foreign Studies University(03):1-6.&lt;br /&gt;
&lt;br /&gt;
Zhao Jing 赵静.(2011).直译、意译与归化、异化之比较[Comparison between literal translation and free translation and Domestication and Foreignization].河南农业Henan agriculture(22):61-62.&lt;br /&gt;
&lt;br /&gt;
Lv Yinping 吕银平.(2007).“直译与意译  归化与异化”译法之我见[My Opinion on Literal Translation, Free Translation, Domestication and Foreignization].宁夏师范学院学报Journal of Ningxia Teachers Univercity( Social Science)(04):136-138.&lt;br /&gt;
&lt;br /&gt;
Venuti Lawrence.(1995). The Translator’s Invisibility .London&amp;amp;New York: Routledge.&lt;br /&gt;
--[[User:Wei Honglang|Wei Honglang]] ([[User talk:Wei Honglang|talk]]) 05:54, 21 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
==On Chinese-to-English Translation of The Summer Palace from the Perspective of Functionalist Approaches to Translation - 魏亚菲 Wei Yafei,202020080648==&lt;br /&gt;
魏亚菲 Wei Yafei&lt;br /&gt;
&lt;br /&gt;
'''（建议题目改写成On C-E Translation of Tourist Text from the Perspective of Functionalist Approaches to Translation-Exemplified by Tourist Texts Translation of Summer Palace ）'''--[[User:Zhang Yinliu|Zhang Yinliu]] ([[User talk:Zhang Yinliu|talk]]) 14:00, 19 December 2020 (UTC)&lt;br /&gt;
魏亚菲 Wei Yafei&lt;br /&gt;
===Abstract===&lt;br /&gt;
The Chinese-English translation of tourist texts, as a window for the external publicity of national history and culture, plays an important role in promoting the development of local tourism. The Summer Palace is well known for its large and priceless collection of cultural relics, which is among the first group of historical and cultural heritage sites in China to be placed under special state protection. &lt;br /&gt;
&lt;br /&gt;
The Chinese-English translation of tourist texts, as a window for the external publicity of national history and culture, plays an important role in promoting the development of local tourism. The Summer Palace is well known for its large('''large 改成abundant适合一些)''' and priceless collection of cultural relics, which is among the first group of historical and cultural heritage sites in China to be '''(placed可删除)''' under special state protection. --[[User:Zhang Yinliu|Zhang Yinliu]] ([[User talk:Zhang Yinliu|talk]]) 14:00, 19 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
Based on the functionalist approach and the skopos rule, this paper discusses the problems existing in the translation of scenic spots in the Summer Palace from the perspectives of garden culture, historical culture and religious culture. Skopos theory holds that translation depends on communicative purpose. To achieve this goal, translators can choose different translation strategies. It is believed that the purpose of Chinese-English translation of scenic spots is to attract target readers and promote traditional culture. Therefore, when translating tourism materials, it is necessary not only to express the local cultural connotation, but also to consider the cross-cultural factors. The Chinese-English translation of the introduction of scenic spots guided by functionalist approach can make English readers have expectations of scenic spots and understand the cultural connotation of scenic spots. This paper aims to better promote the development and communication of Chinese culture and improve the level of tourism text translation in China by relying on the theory of functionalist approach.&lt;br /&gt;
&lt;br /&gt;
Based on the functionalist approach'''(add -es)'''and the skopos rule, this paper discusses the problems existing in the translation of scenic spots in the Summer Palace from the perspectives of garden culture, historical culture and religious culture. Skopos theory holds that translation depends on communicative purpose. To achieve this goal, translators can choose different translation strategies. It is believed that the purpose of Chinese-English translation of scenic spots is to attract target readers and promote traditional culture. Therefore, when translating tourism materials, it is necessary not only to express the local cultural connotation, but also to consider the cross-cultural factors. The Chinese-English translation of the introduction of scenic spots guided by functionalist approach'''(add -es)''' can make English readers have expectations of scenic spots and understand the cultural connotation of scenic spots. This paper aims to better promote the development and communication of Chinese culture and improve the level of tourism text translation in China by relying on('''relying on 改用applying好像好一些''') the theory of functionalist approach.--[[User:Zhang Yinliu|Zhang Yinliu]] ([[User talk:Zhang Yinliu|talk]]) 14:00, 19 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
===Key words===&lt;br /&gt;
functionalist approach，the Summer Palace，translation strategies&lt;br /&gt;
===题目===&lt;br /&gt;
从功能派翻译理论视角看旅游文本英译—以北京景点颐和园为例&lt;br /&gt;
===摘要===&lt;br /&gt;
旅游资料的英译作为民族历史文化对外宣传的一道窗口,对地方旅游业的发展有着不可低估的促进作用。颐和园作为中国著名的皇家园林，具有浓厚的中国园林特色及优美的风景，同时也蕴涵着深厚文化内涵。&lt;br /&gt;
本篇旅游文本英译的分析以功能派翻译理论作为理论指导，以目的法则为主要原则，从颐和园的园林文化、历史文化和宗教文化三个角度出发对颐和园景点英译中存在的问题进行探讨。目的论认为译文取决于翻译目的，这个目的通常指的是交际目的。为达到这个目的，译者可以选择不同的翻译策略。也就是说，译者的翻译策略必须由译文的预期目的或功能决定，即所谓的“目的法则”。笔者认为景点介绍的汉英翻译的目的就是吸引译文读者以及弘扬传统文化，因此在翻译旅游资料的时候不仅要把当地的文化内涵表达出来，而且要考虑到跨文化的因素。而以功能派翻译理论为指导的景点介绍的汉英翻译，可以使英语读者通过译文产生对旅游景点的期盼，以及对景点文化内涵的理解。以颐和园景区内的翻译文本为例本，依托功能翻译理论，通过“发现问题，指出问题，解决问题”，以期更好地促进中国文化的传播与交流，提高我国现阶段旅游文本翻译的水平。&lt;br /&gt;
===关键字===&lt;br /&gt;
功能翻译；颐和园；翻译目的；翻译策略&lt;br /&gt;
===Table of Contents===&lt;br /&gt;
'''(改成 Contents)'''--[[User:Zhang Yinliu|Zhang Yinliu]] ([[User talk:Zhang Yinliu|talk]]) 14:00, 19 December 2020 (UTC)&lt;br /&gt;
Outline '''(outline 可以去掉）'''--[[User:Zhang Yinliu|Zhang Yinliu]] ([[User talk:Zhang Yinliu|talk]]) 14:00, 19 December 2020 (UTC)&lt;br /&gt;
1.Introduction&lt;br /&gt;
2. Studies on Functionalist Approach&lt;br /&gt;
2.1 The Viewpoint of Functionalist Approach&lt;br /&gt;
2.1.1 Reiss’s Text Typology&lt;br /&gt;
2.1.2 Vermeer’s Skopos Theory&lt;br /&gt;
2.1.3 Manttari’s Theory of Translational Action&lt;br /&gt;
2.1.4 Nord’s Theory of Function plus Loyalty&lt;br /&gt;
2.2 The Application of Functionalist Approach &lt;br /&gt;
3.C-E Translation of the Summer Palace under Functionalist Approach&lt;br /&gt;
3.1 Garden Culture&lt;br /&gt;
3.2 Historical Culture &lt;br /&gt;
3.3 Religious Culture &lt;br /&gt;
4. Conclusion&lt;br /&gt;
References'''（5.References）'''--[[User:Zhang Yinliu|Zhang Yinliu]] ([[User talk:Zhang Yinliu|talk]]) 14:00, 19 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
===Outline===&lt;br /&gt;
&lt;br /&gt;
Thesis Statement: Based on the main viewpoints of functionalist approaches to translation, this paper aims to give an analysis to C-E translation of the Summer Palace from cultural, historical and religious aspects, hoping to provide some translation strategies for other cultural attractions.&lt;br /&gt;
&lt;br /&gt;
1. Introduction&lt;br /&gt;
2. Studies on Functionalist Approaches&lt;br /&gt;
2.1 The Viewpoint of Functionalist Approach&lt;br /&gt;
2.1 Reiss’s Text Typology&lt;br /&gt;
2.2 Vermeer’s Skopos Theory&lt;br /&gt;
2.3 Manttari’s Theory of Translational Action&lt;br /&gt;
2.4 Nord’s Theory of Function plus Loyalty&lt;br /&gt;
2.2 The Application of Functionalist Approach&lt;br /&gt;
3. C-E Translation of the Summer Palace under Functionalist Approach&lt;br /&gt;
3.1 Garden Culture&lt;br /&gt;
3.2 Historical Culture&lt;br /&gt;
3.3 Religious Culture&lt;br /&gt;
4. Conclusion'''（为啥重复了这段）'''--[[User:Zhang Yinliu|Zhang Yinliu]] ([[User talk:Zhang Yinliu|talk]]) 14:00, 19 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
===1. Introduction ===&lt;br /&gt;
The Chinese-English translation of tourist texts is a bridge to spread the culture of classical Chinese gardens, so the accuracy of it has a direct impact on foreigners' understanding of the specific history and culture. &lt;br /&gt;
Functionalist approach has made a pioneering contribution to the translation of non-literary genres. Functional translation theory emphasizes the function of discourse, and believes that different types of discourse have different functions, so translators should choose appropriate translation strategies according to the type of source text and corresponding functions. Functionalist approach is to take the &amp;quot;skopos rule&amp;quot; as the highest standard, and any translation activity is a purposeful behavior. The ultimate goal and main function of scenic spot translation is to help people understand the main content of the scenic spot.&lt;br /&gt;
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As a window for the publicity of national history and culture, the Chinese-to-English translation of tourist texts plays an important role in promoting the development of local tourism. Well known for its large and priceless collection of cultural relics, the Summer Palace was among the first group of historical and cultural heritage sites in China to be placed under special state protection. Based on the viewpoints of functionalist approach to translation, this paper aims to analyze C-E translation of the Summer Palace from cultural, historical and religious aspects, hoping to provide some translation strategies for other cultural attractions.&lt;br /&gt;
&lt;br /&gt;
As a window for the publicity of national history and culture, the Chinese-to-English translation of tourist texts plays an important role in promoting the development of local tourism. Well known for its large'''（建议large 改成 abundant or rich）''' and priceless collection of cultural relics, the Summer Palace was among the first group of historical and cultural heritage sites in China to be placed under special state protection. Based on the viewpoints of functionalist approach to translation, this paper aims to analyze C-E translation of the Summer Palace from cultural, historical and religious aspects, hoping to provide some translation strategies for other cultural attractions. --[[User:Zhang Yinliu|Zhang Yinliu]] ([[User talk:Zhang Yinliu|talk]]) 14:00, 19 December 2020 (UTC)&lt;br /&gt;
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===2. Studies on Functionalist Approaches===&lt;br /&gt;
Functionalism is a theory that advocates reader-centered translation, emphasizing the functions of texts and highlighting the communicative effects. It is believed that many unnecessary mistakes can be avoided and better results can be achieved by applying functionalist approach in Chinese-English translation of tourist text. &lt;br /&gt;
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===2.1 The Viewpoint of Functionalist Approaches===&lt;br /&gt;
Functionalist Translation Theory, also known as German Functionalist Translation Theory, was proposed by German scholars in the 1970s. It includes four main theories: Katharina Reiss’s Text Typology, Hans Vermeer’s Skopos Theory, Justa Holtz Manttari’s Theory of Translational Action and Christiane Nord’s Theory of Function plus Loyalty. This chapter aims to present the main ideas of this theory.&lt;br /&gt;
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===2.1.1 Reiss’s Text Typology===&lt;br /&gt;
In 1971, Reiss in her book Possibilities and Limitation of Translation Criticism first made text function as a standard of translation criticism, namely evaluate the translated text from the relationship between the functions of the original and the translated text. She insists on the original-centered equivalence theory and holds the view that the ideal translation is to achieve the equivalence between the target text and the source text in terms of ideological content, linguistic form and communicative function. However, translation practice makes her realize that it’s difficult to achieve equivalence sometimes and that sometimes equivalence cannot be pursued. Because of the particularity of translation requirements, the function of the target text is not always the same as that of the source text. Therefore, the translator should give priority to the functional role of the target text rather than the principle of equivalence.&lt;br /&gt;
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Reiss believes that in the normal situation the type of text decides the translator’s choice of a proper translation method (Reiss, 2004). Therefore, she divides text into four types: content-focused text, form-focused text, appeal-focused text and audio-media text. Content-focused text, also known as informative text, includes news reports, commercial correspondence, operating instructions, official documents, patent specifications, essays, treaties, etc. For this text, the main function is to convey information revealed in language itself to readers. The emphasis is on content and topic, so the choice of language and style should serve this function. If both the source text and target text belong to informative text, the translator should represent the content and information of source text accurately and completely (Reiss, 2004)&lt;br /&gt;
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Form-focused text, also known as expressive text, refers to literary works such as novels, poems and so on. “Distinct from ‘content’, which deals with what the author says, ‘form’ is concerned with how an author expresses himself” (Reiss, 2004). For expressive texts, information is only a supplement. What is dominant is the aesthetic factor. When translating such texts, the translator should pay attention to the aesthetic and artistic forms of the original text and to the differences between two cultural habits, trying to achieve the same effect as the source text. In a word, in a form-focused text, the linguistic form of the source text determines the form in the target language (Reiss, 2004).&lt;br /&gt;
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Appeal-focused text, also known as operative text, mainly includes notice, instruction manual, advertisement, publicity manual and so on. For operative texts, the primary task for the translator is to provoke a particular reaction on the hearers or readers to incite them to engage in specific actions, while content and form are subordinate. Therefore, to achieve the same effect, the translator need to change the content and stylistic features of the original text, try to keep the potential influential factors of the original text and seek functional equivalence (Reiss, 2004: 38-43). Audio-medial text, also known as multi-media text, refers to radio and television scripts, such as radio newscasts and reports, topical surveys and dramatic productions.&lt;br /&gt;
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It is distinctive in its dependence on non-linguistic media and on graphic, acoustic, and visual kinds of expression. Only in combination with them can the whole complex literary form realize its full potential (Reiss, 2004). In conclusion, different texts determine different translation focuses and methods. In many cases, however, a text may have more than one function, which means that translators should integrate different translation strategies skillfully to achieve different functions of texts.&lt;br /&gt;
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===2.1.2 Vermeer’s Skopos Theory===&lt;br /&gt;
Reiss’s student Vermeer, who broke the limitation of the theory of equivalent and took skopos to be the first criterion of translation process  proposed the key theory: Skopostheorie. According to Skopos Theory, when translating a text, the translator needs to consider the purpose of translation first and then choose the translation method according to the purpose, which means “the end justifies the means” (Nord, 2001). Vermeer believes that translation, like other human actions, is also a purposeful act. Translation often takes place in cultural backgrounds with different customs and values, so translation is not a simple equivalent transformation between languages. Skopos Theory does not focus on achieving the equivalence between the target text and the original text or the perfection of the target text, but on choosing the best translation strategy based on the analysis of the source text and the intended function of the target text. In a word, translation methods and strategies are determined by the intended purpose or function of the target text.&lt;br /&gt;
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According to Skopos Theory, the first rule that all translators must follow is the Skopos Rule. Translation purpose can be divided into three categories: (1) the purpose of the translator, such as earning a living; (2) the communicative purpose of the translation, such as instructing the reader; (3) the purpose of using a particular translation method, such as the literal translation according to its structure to illustrate the peculiarities of grammatical structure in a language (Nord, 2001). In general, the communicative purpose is more important than the other two. The communicative purpose is usually determined by the initiator of the translation act, but the translator can take part in deciding. The second rule is the Coherence Rule. Coherence Rule requires that the translation conform to the criterion of intratextual coherence, which means that the translation must be accessible to recipients and meaningful in the target culture and in the communicative environment (Nord, 2001). The third rule is the Fidelity Rule. It means that there should be intertextual coherence between the source text and the target text, which means being faithful to the source text. Nevertheless, the degree and form of faithfulness lie in the target text and the degree that the translator understands the original text. Normally “Intertexual coherence is considered subordinate to intratexual coherence and both are subordinate to the Skopos rule” (Nord, 2001).'''(建议这种可以分列成小标题)&lt;br /&gt;
'''--[[User:Zhang Yinliu|Zhang Yinliu]] ([[User talk:Zhang Yinliu|talk]]) 14:28, 19 December 2020 (UTC)&lt;br /&gt;
===2.1.3 Manttari’s Theory of Translational Action===&lt;br /&gt;
Following Vermeer, Manttari develops Vermeer’s Skopos Theory and puts forward the Theory of Translational Action. He emphasizes three aspects: the behavior of the translation process, the role of the participants (the initiator, the translator and the target reader, etc.) and the environment (time, place and media) in which the translation process takes places. It views translation as “purpose-driven, outcome-oriented human interaction and construes the process of translation as message-transmitter compounds that involve intercultural transfer” (Mundy, 2001). According to Manttari, translation is “ a complex act to achieve a particular purpose” &lt;br /&gt;
(Nord, 2001). It is not about translating words, sentences or texts but is about guiding the intended cooperation over cultural barriers and promoting functional communication. Cooperation here means “transcultural communication” by Manttari.&lt;br /&gt;
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The Theory of Translational Action attaches great importance to providing a functional communicative text for the recipient, a text suitable for the target culture in&lt;br /&gt;
form and style. Functional suitability is determined by the translator. The translator is an expert in translation, whose role is to ensure the successful completion of culturaltransformation. In producing the target text, the analysis of the source text is necessary so that the translator can find out its structural and functional characteristics, which can be described by content and form. The need of the recipient is the decisive factor for the target text.In short, “the value of Manttari’s work is the placing of translation (or at least the professional non-literary translation which she describes) within its sociocultural context, including the interplay between the translator and the initiating institution”(Mundy, 2001).&lt;br /&gt;
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===2.1.4 Nord’s Theory of Function plus Loyalty===&lt;br /&gt;
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Though skopos rule changes the focus of translation from the source language text to the target language text and the target receivers, it has some limitations. One is that different readers have different expectations, and the translation purpose cannot satisfy all the expectations of the target reader. Another is that the translation purpose may sometimes be against the intention of the source language. Therefore, based on the skopos rule, Nord introduces the loyalty principle. The principle of loyalty is a supplementary principle proposed by Nord to make up for the deficiency of skopos rule. According to the explanation of Nord, it is not the relationship between the original text and the target text, nor the equivalence between the original text and the form of the target text, but the consistency between the author of the original text, the initiator of the translation, the translator and the reader of the target text, which is the principle of loyalty. The proposal of the loyalty principle makes up for the mistakes that some radical skopos translators usually make, such as omitting and rewriting, which makes skopos theory more perfect and makes skopos theory more likely to guide the translation of literary works.&lt;br /&gt;
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“Function” and “loyalty” are two pillars of Nord’s functionalist approach. “Function” refers to what a text means or is intended to mean from the receiver’s point of view”, while “loyalty” means that “target-text purpose should be compatible with the original author’s intention” (Nord,2001). It emphasizes the interpersonal relationship between the translator, the source-text sender, the target-text addresses and the initiator. Function plus loyalty enables the translator to avoid the limitations of skopos rule and try to achieve a balance between translation purpose and the source-text author’s intention”(Nord,2001). That is to say, when translating the original text, the translator should take into account the readers' cultural background, knowledge level and expectation of the translation, and choose the corresponding translation strategy according to the translation requirements. If the reader wants to read a word-for-word translation of the article, then the translator must meet the reader's requirements, otherwise he must explain to the reader why he chose his own translation method. The translator's job is to weigh two different cultures instead of imposing one culture on another. &lt;br /&gt;
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===2.2The Application of Functionalist Approach to the Tourist Texts.===&lt;br /&gt;
In the 1990s, Functionalist Translation Theory was introduced to China, and since then it has been applied to translation studies by Chinese translation scholars. In his article published in 1995, Zhang Nanfeng briefly introduces Skopos theory to China for the first time, and considers that Skopos theory is referential (Zhang Nanfeng, 1995). German Functionalist Translation Theory, a paper released in1999, is the first article in China which systematically introduces German Functionalist Translation Theory (Zhong Weihe &amp;amp; Zhong Yu, 1999). Based on an overview of Functionalist Translation Theory, Zhang Meifang focuses on introducing Nord’s theory, especially on the detailed analysis of Nord’s principle of loyalty (Zhang Meifang, 2005). Famous domestic scholars, such as Liu Junping (2009), Liu Miqing (2012) and Li Wenge (2004), also introduce this theory in their books. With the rise of Functionalist Translation Theory in China, someone has compared it with other theories. Zhu Haotong compares Skopos Theory with Functional Equivalence Theory to analyze the similarities and differences between them, and further reveals that Functionalist Translation Theory inherits the reasonable part of Nida’s Functional Equivalence Theory, which is an important breakthrough and supplement to solve the problems that Functional Equivalence Theory leaves (Zhu Haotong, 2006). Some scholars also combine theory with translation practice to explore the application of Functionalist Translation Theory to translation practice. Jia Yanli and Wang Hongjun point out that Skopos Theory has its limitations, but it is still of instruction and reference value for non-literary translation texts, such as advertisements and tourism materials (Jia Yanli &amp;amp; Wang Hongjun, 2012). Li Liangchen selects several famous tourist attractions in China to translate the on-site tour-guide commentary into English. Then he improves them under the guidance of Skopos Theory and sends out questionnaires to overseas tourists for further analysis. He argues that the translation of on-site tour-guide commentary which is guided by Skopos Theory is more favorable to conveying information to foreign visitors, to promoting cultural exchanges and to improving the image of China’s tourist destinations (Li Liangchen, 2013). In Pragmatic Translation: Theory &amp;amp; Practice, Wu Feng and He Qingji introduce Functionalist Translation Theory (Wu Feng &amp;amp; He Qingji, 2008) and the characteristics of tourism text and translation skills (Wu Feng &amp;amp; He Qingji, 2008). In this book, they also discuss the controversy over the Chinese name of Functionalist Translation Theory, and holds that “功能派翻译理论” is the most appropriate Chinese translation (Wu Feng &amp;amp; He Qingji, 2008).Based on his own translation practice and under the guidance of Functionalist Translation Theory, Wu Zixuan probes into some special phenomena in the English translation of CNN newsreels. The author believes that in the translation of external publicity, we should not stick to the standard of faithfulness to the original text, but should deal with the original text properly from the perspective of achieving the purpose of translation, such as rewriting, abridging. (Wu Zixuan, 2005).'''(段落过长，建议适当分段写）'''--[[User:Zhang Yinliu|Zhang Yinliu]] ([[User talk:Zhang Yinliu|talk]]) 14:23, 19 December 2020 (UTC)&lt;br /&gt;
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Functionalist approach establishes a theoretical system of diversified translation standards dominated by skopos rule. From the definition of Functionalist approach, it can be seen that the advantage of it is that the translator can get rid of the bondage of the original text, study the translation process with &amp;quot;translation purpose&amp;quot; as the starting point, and determine the translation strategies and methods. This can give full play to the translator's own initiative, flexible processing of the original text, in order to achieve the translation of the communicative function. In addition, functionalist approach requires the translation to be examined in the cultural context of the reader. The reader can accept the translation and understand the meaning of the original text through the translation, so the translation can realize the communicative function. On the basis of such advantages, functionalist approach can be used to guide the English translation of garden scenic spots, and the translator can choose a wider range of translation strategies and break out of the constraints of the original text. &lt;br /&gt;
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Only by clarifying the purpose of translation can we avoid these limitations in the English translation of garden attractions. When using functionalist approach to guide the English translation of Chinese classical garden scenic spots, it is necessary to flexibly choose translation strategies and methods, give full play to the advantages of skopos theory, and achieve the balance between &amp;quot;principle of purpose&amp;quot; and &amp;quot;principle of fidelity&amp;quot; as far as possible.&lt;br /&gt;
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With the deepening of globalization and cross-cultural communication, tourismis becoming a major industry in the 21st century. The development of tourism can not only promote the economic development of a country but also promote the external dissemination of national culture. Therefore, tourism translation deserves attention. Tourism text is a typical informative and operational text, and the language is unique. It is full of gorgeous words, such as four-character expressions, verses, proper nouns and so on.&lt;br /&gt;
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Tourism text materials include tourism advertising, tourism brochures, scenic spots signs and so on. In this paper, we focus on the introduction of Chinese gardens’ scenic spots, which is usually colorful in language and rich in literary style. Tourism text translation belongs to applied translation, which should play a series of practical functions to publicize the image and resources of the country or place and attract overseas tourists. Therefore, the translator of tourism text must be clear about the type and function of tourism text, and to grasp the ultimate purpose of the translation. &lt;br /&gt;
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On tourism text translation, the communicative purpose of the translation should be placed in a central position. Furthermore, the tourism text has both the information function and the calling function. The information function and the calling function complement each other. Only when the target language readers acquire the expected tourism information and cultural knowledge can the calling function be realized and the purpose of tourism text translation be achieved. With different translation strategies, the translated version should both expressed contains basic information, and make the tourists feel the profound of the Chinese culture from the beautiful scenery. &lt;br /&gt;
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Cultural tourism has long been the focus of international tourism, and understanding Chinese culture is the main purpose of inbound tourists, so the translation of tourism texts bears the mission of cultural transmission and cultural publicity. However, due to the great differences between Chinese and English culture and language, there are many difficulties in cultural transmission in tourism text translation. China has a long and splendid history and culture. When introducing the scenic spots of cultural relics and historic sites, we usually associate with many historical figures and stories. These terms are cultural blank for most foreign tourists, but this kind of cultural experience is also the most attractive place for foreign tourists. It is of great importance to pay attention to cultural differences in tourism translation and carry out cultural transmission effectively. Chinese and English languages have different logic views, and Chinese expressions in tourism texts value decoration. English expressions tend to be clear, concise and to the point. For example, Chinese tourism texts often use a four-character lattice, which is symmetrical, while there is no corresponding four-character lattice expression in English. Therefore, in Chinese-English translation of tourism texts with frequent use of four-character phrases, it is necessary to keep in mind the objective principle of functionalist approach and give priority to cultural communication instead of rigidly adhering to form.&lt;br /&gt;
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===3. C-E Translation of the Summer Palace under Functionalist Approach===&lt;br /&gt;
By studying the specific translation strategies made by predecessors, the following steps are also adopted in this paper: first, the translation strategies are determined according to the text type, such as faithful reproduction of the original information or rewriting; Secondly, the translation strategies are determined according to the potential purpose of the translation, such as paraphrasing or deleting poems, generalizing specific expressions and transliterating proper nouns. Thirdly, the translation strategies are defined with the tourists as the center, such as adding logical words, adding explanatory information and using plain English.&lt;br /&gt;
The Summer Palace epitomizes the philosophy and practice of Chinese garden design, which played a key role in the development of this cultural form throughout the east. It is an outstanding expression of the creative art of Chinese landscape garden design, incorporating the works of humankind and nature in a harmonious whole, which was once the most important place of political and diplomatic activity for the supreme rulers of the late Qing dynasty. Based on three aspects of the Summer Palace, namely, garden culture, historical culture and religious culture, this paper discusses the problems existing in the English translation of the scenic spots of the Summer Palace and puts forward corresponding countermeasures under the guidance of the skopos rule of functionalist translation theory.&lt;br /&gt;
===Approach===&lt;br /&gt;
By studying the specific translation strategies made by predecessors, the following steps are also adopted in this paper: first, the translation strategies are determined according to the text type, such as faithful reproduction of the original information or rewriting; Secondly, the translation strategies are determined according to the potential purpose of the translation, such as paraphrasing or deleting poems, generalizing specific expressions and transliterating proper nouns. Thirdly, the translation strategies are defined with the tourists as the center, such as adding logical words, adding explanatory information and using plain English.&lt;br /&gt;
The Summer Palace epitomizes the philosophy and practice of Chinese garden design, which played a key role in the development of this cultural form throughout the east. It is an outstanding expression of the creative art of Chinese landscape garden design, incorporating the works of humankind and nature in a harmonious whole, which was once the most important place of political and diplomatic activity for the supreme rulers of the late Qing dynasty. Based on three aspects of the Summer Palace, namely, garden culture, historical culture and religious culture, this paper discusses the problems existing in the English translation of the scenic spots of the Summer Palace and puts forward corresponding countermeasures under the guidance of the skopos rule of functionalist translation theory.&lt;br /&gt;
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===3.1 Garden culture.===&lt;br /&gt;
The Summer Palace is a classical garden famous for its magnificence and beauty. There are many temples in the garden, and the green waves of kunming lake ripple. Landscape and humanities complement each other, containing rich natural and cultural information, reflecting the characteristics of Chinese classical gardens. The garden cultural features of the three scenic spots, namely, the hall of clouds, the foxiang pavilion and the Wenchang courtyard, are particularly outstanding. Therefore, this paper takes these three scenic spots as examples to discuss the Chinese-English translation of the introduction of the Summer Palace.&lt;br /&gt;
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(1)排云殿、佛香阁景区是颐和园内建筑布局最完整、建筑形式最丰富的中轴建筑群体，殿、阁、廊、亭、桥、坊、碑等建筑约两万平方米。从临水的云辉玉宇牌坊至排云门、排云殿、德辉殿、佛香阁、众香界、智慧海、层层升高，排列有序，气势巍峨，金碧辉煌，将园林、寺庙和宫殿融为一体。&lt;br /&gt;
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Translation：This scenic spot covers an area of 20,000 square meters with an assortment of buildings such as palaces, towers, corridors, pavilions, walkways, bridges, archways and inscribed stone steles. It comprises a well-arranged group of structures, all diverse in style, located in the center of the Summer Palace garden. This complex of structures, ranging from the Glowing Clouds and Holy Land Archway on the waterside, the Gate that Dispels the Clouds, the Hall that Dispels the Clouds, the Hall of Moral Glory, and the Tower of the Fragrance of the Buddha, to the Realm of Popular Fragrance and the Sea of Wisdom Temple, were built in an orderly manner running from the foot of the hill to its top, with gardens, temples and palaces harmoniously integrated into the whole.&lt;br /&gt;
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Analysis：As we all know, the design style of ancient Chinese buildings is beautiful with &amp;quot;symmetry&amp;quot;. The &amp;quot;axis&amp;quot; in hall of clouds scenic spot refers to the layout of the Summer Palace from far to near and from top to bottom, which cannot be simply understood as the center. Simply translating &amp;quot;axis&amp;quot; as &amp;quot;center&amp;quot; cannot express accurately the meaning of &amp;quot;symmetry&amp;quot;. Comparatively speaking, &amp;quot;axis&amp;quot; can better reflect the architectural style of the scenic spot.&lt;br /&gt;
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(2)从临水的云辉玉宇牌坊至排云门、排云殿、德辉殿、佛香阁、众香界、智慧海，层层升高，排列有序，气势巍峨，金碧辉煌，将园林、寺庙和宫殿融为一体。&lt;br /&gt;
&lt;br /&gt;
Translation：These structures，including Glowing Clouds and Holy Land Archway at lake side，the Gate of Dispelling Clouds，the Hall of Dispelling Clouds，the Hall of moral Glory，and the Tower of Buddhist Incense，the Realm of Multitudinous Fragrance and the Sea of Wisdom Temple，were built in an orderly manner ranging up the hill with gardens，temples and palaces harmoniously integrated. This manifests beauty，grace and splendor，reminiscent of the loftingness and grandeur of a once mighty empire.&lt;br /&gt;
&lt;br /&gt;
Analysis：In terms of the characteristics of language, Chinese emphasizes parataxis and four-word antithesis. When describing and naming scenes, gorgeous words and poetic words are generally chosen in Chinese. But, English emphasizes hypotaxis, on the other hand, puts more emphasis on reproducing the original appearance of things, using simple and natural words and preferring direct description. In sign translation, the English translation pays more attention to accurate, concise and lively. In the above paragraph, &amp;quot;层层升高，排列有序，将园林、寺庙和宫殿融为一体&amp;quot; is an introduction to the architectural features of foxiang pavilion, in order to make tourists have a clear understanding of the overall layout and architectural features of the scenic spot. This information is essential and can be translated into detail. However, &amp;quot;气势巍峨，金碧辉煌&amp;quot; focuses on the subjective description, and its explicit translation needs more complicated words. If this paragraph is translated in detail, it is easy to drag the content and make the key information vague. Therefore, the deletion of the English translation of this sentence will not affect the basic information of the original text.&lt;br /&gt;
&lt;br /&gt;
(3)主阁（文昌阁）两层，内供铜铸文昌帝君和仙童、铜骑。文昌阁与万寿山西供武圣的宿云檐象征“文武辅弼”。&lt;br /&gt;
&lt;br /&gt;
Translation: A bronze statue of the God Wenchang, statues of gaeries, and a bronze steed were placed in the two-story pavilion. This tower is pared with the Tower of Cloud- Retaining Eaves, located to the west of the Longevity Hill, in which a statue of the Martial God was placed. The God Wenchang and the Martial God together symbolize reining of the emperor supported by scholars and warriors.&lt;br /&gt;
&lt;br /&gt;
Analysis: Two questions arise in Chinese-English translation. First, there are two translations of wenchang pavilion in the translation: pavilion and tower, which appear in the same sign. Two different translations of the same scenic spot name tend to make foreign tourists think that it refers to different scenic spots, which may cause difficulty in understanding. Second, the translation of Wenchang pavilion into &amp;quot;Wenchang Tower&amp;quot; is against the actual architectural characteristics. In fact, the meanings of &amp;quot;pavilion&amp;quot; and &amp;quot;tower&amp;quot; have both similarities and differences. According to the Oxford dictionary, Tower means &amp;quot;a tall narrow building or part of a building, especially of a church or castle&amp;quot;, mainly referring to the tower-shaped part of a building, usually a tall and slender structure, such as the Eiffel Tower. &amp;quot;Pavilion&amp;quot; means &amp;quot;a building that is meant to be more beautiful than usual, built as a shelter in a park or used for concerts and dances&amp;quot;. The top structure of the pavilion usually has rectangles, triangles, hexagons, etc. The common feature of them is that the top is supported by columns without walls. From the external structure of Wenchang pavilion, its bottom is solid and its top is supported by columns. Therefore, the pavilion can accurately reflect the architectural characteristics of Wenchang pavilion, so I think it should be translated as Wenchang pavilion.&lt;br /&gt;
&lt;br /&gt;
===3.2 Historical culture. ===&lt;br /&gt;
The accurate Chinese-English translation of the introduction of the Summer Palace not only enables foreign tourists to understand the characteristics of Chinese gardens, but also enables foreign tourists to understand the historical knowledge of a specific period of China. However, the Chinese-English translation of the Summer Palace still has problems in accurately conveying the historical background of the scenic spots, such as the English translation of Wenchang pavilion scenic spot:&lt;br /&gt;
&lt;br /&gt;
(4)此景区始建于清乾隆十五年，一八六零年被英法联军烧毁，光绪时按原样重建。阁结构为八面三层四重檐，通高36.44米，耸立于20米高的石造台基上，气势雄伟，是颐和园全园的构图中心。阁内供奉有铜铸金裹千手观世音菩萨站像。像高五米，重万斤，为明代万历年间所造，在八根贯通全阁上下的承重铁梨木擎天柱的衬托下，美妙庄严，熠熠生辉，有极高的文物和艺术价值。&lt;br /&gt;
&lt;br /&gt;
Translation: The Wenchang tower was first built in 1750 and rebuilt under Emperor Guangxu after  the Anglo-French Allied Forces builted it down in 1860. The octahedral tower has three stories with four-layered eaves, altogether 36.44 meters high. Standing upright on a 20 meter-high stone foundation, it constitutes the center of the Summer Palace landscape and serves to accentuate its magnificence. A statue of the thousand-handed Guanshiyin Buddha, cast in bronze and gilded with gold, stands inside the tower. The statue, five meters high and five tons in weight, was cast during the reign of Emperor Wanli of the Ming Dynasty. Set off by the eight imposing pillars which support the tower, it glows with beauty, grandeur and brilliance. Its historical, cultural and artistic value can hardly be overstated.&lt;br /&gt;
&lt;br /&gt;
Analysis: “始建于乾隆十五年”only was translated into “was first built in 1750” and the “光绪年间重建” was translated into “rebuilt under Emperor Guangxu”.The first sentence does not show that 1750 was the fifteenth year of the reign of emperor Qianlong, and the second sentence does not give foreign visitors the exact date of the reign of emperor Guangxu. The change of time concept and the disunity of expression easily make foreign tourists feel confused. Therefore, the translation of the time and the historical dynasties should be accurate and meticulous, and the supplementary method should be used to not only describe the dynasties clearly, but also supplement the corresponding years, so as to achieve the standardization of the translation. In this way, foreign tourists can not only be clear about the time of the event, but also understand the Chinese historical dynasties. Consider as follows: the Wenchang Pavilion was first built in 1750 during Emperor Qianlong’s reign（1735- 1795）and rebuilt in 1886 under Emperor Guangxu（1875- 1908）after the Anglo- French Allied Forces burned it down in 1860.&lt;br /&gt;
&lt;br /&gt;
===3.3 Religious culture. ===&lt;br /&gt;
Many scenic spots in the Summer Palace have a strong buddhist atmosphere. While visiting the scenic spots, foreign tourists can understand the profound buddhist culture. Wenchang pavilion in the Summer Palace is the representative of Chinese religious culture.&lt;br /&gt;
&lt;br /&gt;
(5)主阁两层，内供铜铸文昌帝君和仙童、铜特。文昌阁与万寿山西供武圣的宿云檐象征“文武辅弼”。&lt;br /&gt;
&lt;br /&gt;
Translation: A bronze statue of the god，Wenchang，and statues of two followers，the celestial boy，and the bronze steed，were placed in the two- storey pavilion. This tower is pared with the tower of Cloud- Retaining Eaves，located to the west of the Longevity Hill，in which a statue of the Martial God was placed. The two towers symbolize the support by both scholars and warriors to the ruling emperor.&lt;br /&gt;
&lt;br /&gt;
Analysis: It is well known that westerners believe in theism, which refers to god as supreme . In Chinese religious culture, people believe in atheism and do not believe in the existence of god. Therefore, it is inappropriate to translate &amp;quot;文昌帝军&amp;quot; and &amp;quot;武圣&amp;quot; into &amp;quot;the god, Wenchang&amp;quot; and &amp;quot;the Martial god&amp;quot; in the translation. In fact, the &amp;quot;文昌帝军&amp;quot; was Zhang yu, an emperor of Shu of Ning kang (374). And &amp;quot;武圣&amp;quot; refers to Guan yu in history. Therefore, the simple translation of  &amp;quot;God&amp;quot; is not in line with the traditional Chinese culture, which will not only cause western tourists to misunderstand that Chinese religious tradition also believes in God, but also fail to convey Chinese historical allusions and relevant historical figures. In contrast, if &amp;quot;文昌帝军&amp;quot; is translated as &amp;quot;the emperor, Wenchang&amp;quot; and &amp;quot;武圣&amp;quot; is translated as &amp;quot;the Martial Master (Guanyu)&amp;quot;, it can more faithfully convey the history and religious culture contained in the source language. &lt;br /&gt;
&lt;br /&gt;
===4. Conclusion===&lt;br /&gt;
To sum up, Under the guidance of the skopos rule of functionalist translation theory, translators should have a cross-cultural awareness, fully understand the reading psychology and cultural appreciation needs of target language readers, and use effective translation strategies and methods to achieve the purpose of tourism text translation. Functionalist approach has made a pioneering contribution to the translation of non-literary genres. Functional translation effectively eliminates the disadvantages of traditional word-for-word translation, improves the efficiency of translation, and helps readers to grasp the meaning of the original text.&lt;br /&gt;
&lt;br /&gt;
To sum up, Under the guidance of the skopos rule of functionalist translation theory, translators should '''have cross-cultural awareness''', fully understand the reading psychology and cultural appreciation needs of target language readers, and use effective translation strategies and methods to achieve the purpose of tourism text translation. Functionalist approach has made a pioneering contribution to the translation of non-literary genres. Functional translation effectively eliminates the disadvantages of traditional word-for-word translation, improves the efficiency of translation, and helps readers to grasp the meaning of the original text.--[[User:Zhang Yinliu|Zhang Yinliu]] ([[User talk:Zhang Yinliu|talk]]) 14:18, 19 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
The importance of the translation of the Summer Palace lies in the profound garden culture, historical culture and religious culture. The English translation is not only helpful for international friends to know more about the garden characteristics of the Summer Palace, but also helpful for spreading the long history and profound culture of China. In order to attract target readers and promote traditional Chinese culture, it is not only necessary to carefully explore Chinese culture and history, but also to use the fuctionalist approach appropriately. &lt;br /&gt;
&lt;br /&gt;
Translation is a complicated process. Functionalist approach stresses the function of the discourse, the purpose of translation. In the practice of translation, if the translator can get rid of the bondage of the original equivalence, actively playing to subjective initiative, fully understanding the original text, depending on the purpose of discourse and adopting different translation strategies, the effect and readability of translation can be improved.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
Translation is a complicated process. Functionalist approach stresses the function of the discourse '''and''' the purpose of translation. In the practice of translation, if the translator can get rid of the bondage of the original equivalence, actively playing to subjective initiative, fully understanding the original text, depending on the purpose of discourse and adopting different translation strategies, the effect and readability of translation can be improved.--[[User:Zhang Yinliu|Zhang Yinliu]] ([[User talk:Zhang Yinliu|talk]]) 14:18, 19 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
===References===&lt;br /&gt;
Hans Vermmer, “Skopos and Commission in Translation Action”, in the Translation Studies Reader,ed. Chesterman, London and Network:Routledge,p.221-232. 2000.   &lt;br /&gt;
Munday, Jeremy. Introducing Translation Studies: Theories and Applications. Routledge publishing.2001.&lt;br /&gt;
Mason, “Textual Practices and Audience Design: and Interactive View of the Tourist Brrochure”. In Navarro et al.(eds.). Pragmatics at Work: The Translation of Tourist Literature. Bern: Perter Lang. 157-176.2004.&lt;br /&gt;
Nord, Text Analysis in Translation: Theory, Methodology and Didactic Application of a Model for Translation-Oriented Text Analysis. Beijing: Foreign Language Teaching and Research Press. 2006.&lt;br /&gt;
Nord, Translating as a purposeful activity. Shanghai: SFLE PRESS, 2001:27,30,32,65,245.&lt;br /&gt;
Reiss, Katharina. Translation Criticism: The Potentials &amp;amp; Limitations. Shanghai Foreign Language Education Press. Shanghai. 2004.&lt;br /&gt;
Venuti, Lawrence. The Translator’s Invisibility: A History Translation. Routledge.1995.&lt;br /&gt;
方梦之、毛忠明， 英汉—汉英应用翻译教程，上海: 上海外语教育出版社，2004.&lt;br /&gt;
金惠康，跨文化旅游翻译，中国对外翻译出版公司，2004.  &lt;br /&gt;
贾文波，应用翻译功能论，北京：中国对外翻译出版公司，2004&lt;br /&gt;
孙艺风，文化翻译的困惑与挑战，中国翻译，2016年第3期.  &lt;br /&gt;
王宏志，翻译与创作，北京大学出版社，2000.&lt;br /&gt;
吴自选，德国功能派翻译理论与 CNN 新闻短片英译，中国科技翻译, 2005.&lt;br /&gt;
谢天振，当代国外翻译理论，天津：南开大学出版社，2005.&lt;br /&gt;
张南峰，走出死胡同建立翻译学. 中国翻译, 1995.&lt;br /&gt;
仲伟合，钟钰. 德国的功能派翻译理论. 中国翻译, 1999.&lt;br /&gt;
张美芳，功能加忠诚—介评克里丝汀· 诺德的功能翻译理论.上海外国语大学学报, 2005.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
'''(文献引用格式有点不对，忘了空格）&lt;br /&gt;
===References===&lt;br /&gt;
Hans Vermmer, “Skopos and Commission in Translation Action”, in the Translation Studies Reader,ed. Chesterman, London and Network:Routledge,p.221-232. 2000.   &lt;br /&gt;
&lt;br /&gt;
Munday, Jeremy. Introducing Translation Studies: Theories and Applications. Routledge publishing.2001.&lt;br /&gt;
&lt;br /&gt;
Mason, “Textual Practices and Audience Design: and Interactive View of the Tourist Brrochure”. In Navarro et al.(eds.). Pragmatics at Work: The Translation of Tourist Literature. Bern: Perter Lang. 157-176.2004.&lt;br /&gt;
&lt;br /&gt;
Nord, Text Analysis in Translation: Theory, Methodology and Didactic Application of a Model for Translation-Oriented Text Analysis. Beijing: Foreign Language Teaching and Research Press. 2006.&lt;br /&gt;
&lt;br /&gt;
Nord, Translating as a purposeful activity. Shanghai: SFLE PRESS, 2001:27,30,32,65,245.&lt;br /&gt;
&lt;br /&gt;
Reiss, Katharina. Translation Criticism: The Potentials &amp;amp; Limitations. Shanghai Foreign Language Education Press. Shanghai. 2004.&lt;br /&gt;
&lt;br /&gt;
Venuti, Lawrence. The Translator’s Invisibility: A History Translation. Routledge.1995.&lt;br /&gt;
&lt;br /&gt;
方梦之、毛忠明， 英汉—汉英应用翻译教程，上海: 上海外语教育出版社，2004.&lt;br /&gt;
&lt;br /&gt;
金惠康，跨文化旅游翻译，中国对外翻译出版公司，2004.  &lt;br /&gt;
&lt;br /&gt;
贾文波，应用翻译功能论，北京：中国对外翻译出版公司，2004&lt;br /&gt;
&lt;br /&gt;
孙艺风，文化翻译的困惑与挑战，中国翻译，2016年第3期.  &lt;br /&gt;
&lt;br /&gt;
王宏志，翻译与创作，北京大学出版社，2000.&lt;br /&gt;
&lt;br /&gt;
吴自选，德国功能派翻译理论与 CNN 新闻短片英译，中国科技翻译, 2005.&lt;br /&gt;
&lt;br /&gt;
谢天振，当代国外翻译理论，天津：南开大学出版社，2005.&lt;br /&gt;
&lt;br /&gt;
张南峰，走出死胡同建立翻译学. 中国翻译, 1995.&lt;br /&gt;
&lt;br /&gt;
仲伟合，钟钰. 德国的功能派翻译理论. 中国翻译, 1999.&lt;br /&gt;
&lt;br /&gt;
张美芳，功能加忠诚—介评克里丝汀· 诺德的功能翻译理论.上海外国语大学学报, 2005.&lt;br /&gt;
&lt;br /&gt;
'''--[[User:Zhang Yinliu|Zhang Yinliu]] ([[User talk:Zhang Yinliu|talk]]) 14:18, 19 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
==Contrast between Literal Translation and Free Translation	张雪仪	Zhang Xueyi==&lt;br /&gt;
&amp;lt;center&amp;gt;张雪仪 202020080668&amp;lt;/center&amp;gt;&lt;br /&gt;
&lt;br /&gt;
=== Abstract===&lt;br /&gt;
&lt;br /&gt;
The contrast between literal translation and free translation has always been the most discussed problem in translation studies. To compare these two translation methods, the basic point is to understand the purpose of translation. The ultimate goal of translation is to help different cultures communicate better, so that people who speak different languages can understand each other’s cultures. Due to the differences in social, historical and cultural backgrounds between languages, how to choose between the two translation strategies of literal translation and free translation requires translators to weigh the strengths and weaknesses of these two methods. This essay mainly compares literal translation and free translation between Chinese and Russian to help students and translators translate better.&lt;br /&gt;
&lt;br /&gt;
The contrast between literal translation and free translation has always been the most discussed issue in translation studies. The ultimate goal of translation is to help different cultures communicate better, so that people of different languages can understand each other's culture. Due to the differences of social, historical and cultural backgrounds between languages, translators need to compare the two methods and weigh their advantages and disadvantages. This paper mainly analyzes the literal translation and free translation of Russian Idioms and proverbs in the process of Chinese translation, and explores the differences of different idioms translated by different methods, so as to help students and translators better carry out translation practice.--[[User:Zhou Shuyao|Zhou Shuyao]] ([[User talk:Zhou Shuyao|talk]]) 05:34, 19 December 2020 (UTC)&lt;br /&gt;
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=== Key words ===&lt;br /&gt;
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Translation strategies, Literal translation,Free translation &lt;br /&gt;
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=== 摘要 ===&lt;br /&gt;
&lt;br /&gt;
直译与意译间的对比一直是翻译学中讨论度最高的问题。想要将这两种翻译方法进行对比，最基本的一点就是要明白翻译的目的是什么。翻译的最终目的在于帮助不同文化进行更好的交流，让使用不同语种的人相互理解彼此的文化。由于语种间社会历史文化背景的差异，如何在直译和意译这两种翻译策略中做出选择，就需要译者衡量两种方法的利弊。本文主要对汉语和俄语间直译和意译进行比较，以帮助学生和译者更好地进行翻译实践。&lt;br /&gt;
&lt;br /&gt;
直译与意译间的对比一直是翻译学中讨论度最高的问题。翻译的最终目的在于帮助不同文化进行更好的交流，让使用不同语种的人相互理解彼此的文化。由于语种间社会历史文化背景的差异，需要译者对这两种方法进行比较，衡量利弊。本文主要分析俄语成语和谚语在汉译过程中的直译和意译，探寻不同成语用不同方法翻译所产生的差别在以帮助学生和译者更好地进行翻译实践。--[[User:Zhou Shuyao|Zhou Shuyao]] ([[User talk:Zhou Shuyao|talk]]) 05:33, 19 December 2020 (UTC)&lt;br /&gt;
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=== 关键词 ===&lt;br /&gt;
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翻译策略，直译，意译&lt;br /&gt;
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=== Introduction ===&lt;br /&gt;
The former Soviet Union translation theorist Fedorov believes that “translation is an activity of expressing what has been used in one language as a unified whole of content and form, and accurately and completely expressed in another language.” Translation theorist Barhudaro The husband also wrote: &amp;quot;Translation is the process of changing the coherent discourse of one language into the coherent discourse of another language while maintaining its content and meaning.&amp;quot; Mr. Lu Xun once advocated &amp;quot;literal translation.&amp;quot; He said: &amp;quot;Translation must take both sides into consideration: (Cai Yi, Duan Jinghua 2000)&lt;br /&gt;
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Fedorov, a translation theorist of the former Soviet Union, believes that &amp;quot;translation is an activity that expresses something that has been expressed in one language as a unity of content and form, and expressed accurately and completely in another language.&amp;quot; Balhudarov, a translation theorist, once wrote: &amp;quot;translation is the process of changing the coherent discourse of one language into the coherent discourse of another language while maintaining its content, that is, meaning.&amp;quot; Lu Xun once advocated literal translation. He said, &amp;quot;translation must take both sides into consideration;(Cai Yi, Duan Jinghua 2000)--[[User:Zhou Shuyao|Zhou Shuyao]] ([[User talk:Zhou Shuyao|talk]]) 05:53, 19 December 2020 (UTC)&lt;br /&gt;
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One is of course to be easy to understand, the other is to maintain the fullness of the original.&amp;quot; The Chinese translator Zhang Peiji summed up the translation standard as &amp;quot;faithful and smooth.&amp;quot; To some extent, translation is a process of thinking re-creation, so certain standards and principles must be followed when translating. Translation standard is a measure of the quality of translation, it can guide translation practice, and it is a principle that must be followed in translation activities. (Gong Linjing 2015,192)&lt;br /&gt;
&lt;br /&gt;
One is of course to be easy to understand, the other is to maintain the fullness of the original.&amp;quot; The Chinese translator Zhang Peiji summed up the translation standard as &amp;quot;faithful and smooth.&amp;quot; To some extent, translation is a process of thinking re-creation, so certain standards and principles must be followed when translating. Translation standard is a measure of the quality of translation, it can guide translation practice, and it is a principle that must be followed in translation activities. (Gong Linjing 2015,192)--[[User:Zhou Shuyao|Zhou Shuyao]] ([[User talk:Zhou Shuyao|talk]]) 05:53, 19 December 2020 (UTC)&lt;br /&gt;
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Although each scholar has different opinions on the standard of translation, the final result he pursues is the same: the original text and the translated text express the same effect.In order to achieve the same effect, different translation methods have been derived from the translator's translation practice. The most basic and common ones are literal translation and free translation.(Gong Linjing 2015,192)&lt;br /&gt;
&lt;br /&gt;
Although each scholar has different opinions on the standard of translation, the final result he pursues is the same: the original text and the translated text express the same effect.In order to achieve the same effect, different translation methods have been derived from the translator's translation practice. The most basic and common ones are literal translation and free translation.(Gong Linjing 2015,192)--[[User:Zhou Shuyao|Zhou Shuyao]] ([[User talk:Zhou Shuyao|talk]]) 05:53, 19 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
Russian idioms and proverbs, as the crystallization of the wisdom of the Russian nation and the immortal fossils in the Russian language, are one of the best materials for the Chinese to understand and learn Russian history, culture, and society. Due to different geographical, historical and economic conditions, the Russian and Chinese ethnic groups have formed different cultural backgrounds. These distinctive backgrounds and characteristics have caused great difficulties for Chinese learning Russian to further understand Russia. This essay will take the Chinese translation of Russian idioms and proverbs as examples to study the basic definitions of literal translation and free translation, their respective advantages and disadvantages, and their relationships, in order to help students who learn Russian understand literal translation and free translation.(Gong Linjing 2015,192)&lt;br /&gt;
&lt;br /&gt;
Russian Idioms and proverbs, as the crystallization of Russian national wisdom and immortal fossils in Russian, are one of the best materials for China to understand and learn Russian history, culture and society. Due to different geographical, historical and economic conditions, Russian and Chinese have formed different cultural backgrounds, which have caused great difficulties for Russian people to further understand Russia. This paper will take the Chinese translation of Russian Idioms and proverbs as an example to study the basic definitions of literal translation and free translation, their advantages and disadvantages, and their relationship, so as to help Russian students better understand literal translation and free translation.(Gong Linjing 2015,192)--[[User:Zhou Shuyao|Zhou Shuyao]] ([[User talk:Zhou Shuyao|talk]]) 05:42, 19 December 2020 (UTC)&lt;br /&gt;
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=== Controversy between literal translation and free translation===&lt;br /&gt;
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In different periods and different countries, people's views on translation theory have changed a lot, but the debate about literal translation and free translation has always existed.&lt;br /&gt;
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In different periods and countries, people's views on translation theory have changed a lot, but the debate on literal translation and free translation has always existed.--[[User:Zhou Shuyao|Zhou Shuyao]] ([[User talk:Zhou Shuyao|talk]]) 05:51, 19 December 2020 (UTC)&lt;br /&gt;
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==== Controversy in Chinese Translation Community====&lt;br /&gt;
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Which is better, literal translation or free translation, has always been divided in Chinese translation community. This kind of controversy first occurred during the translation of Buddhist scriptures written in Sanskrit into Chinese. During the Wei, Jin, Southern and Northern Dynasties, the famous monk Dao An was the earliest representative of the literal translation in China. Dao An himself did not understand Sanskrit and was afraid that paraphrase would lose the maxims in Buddhist scriptures, so he advocated strict literal translation. (Wang Zhuan 1996,55)&lt;br /&gt;
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Which is better, literal translation or free translation, has always been divided in Chinese translation community. This kind of controversy first occurred during the translation of Buddhist scriptures written in Sanskrit into Chinese. During the Wei, Jin, Southern and Northern Dynasties, the famous monk Dao An was the earliest representative of the literal translation in China. Dao An himself did not understand Sanskrit and was afraid that paraphrase would lose the maxims in Buddhist scriptures, so he advocated strict literal translation. (Wang Zhuan 1996,55)--[[User:Zhou Shuyao|Zhou Shuyao]] ([[User talk:Zhou Shuyao|talk]]) 05:51, 19 December 2020 (UTC)&lt;br /&gt;
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However, Kumarajiva from India, who was invited by Dao An, advocated free translation. On the basis of fully understanding the original thought content and artistic style, the translation was appropriately deleted. Although Dao An and Kumarajiva are also engaged in the translation of Buddhist scriptures, the translation methods they adhere to were very different. This divergence continued into the Tang Dynasty. Xuan Zang, as the most famous monk in the Tang Dynasty, proposed a translation method that was completely different from the previous two translation methods—a combination of literal translation and free translation.(Wang Zhuan 1996,55)&lt;br /&gt;
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However, Kumarajiva from India, who was invited by Dao An, advocated free translation. On the basis of fully understanding the original thought content and artistic style, the translation was appropriately deleted. Although Dao An and Kumarajiva are also engaged in the translation of Buddhist scriptures, the translation methods they adhere to were very different. This divergence continued into the Tang Dynasty. Xuan Zang, as the most famous monk in the Tang Dynasty, proposed a translation method that was completely different from the previous two translation methods—a combination of literal translation and free translation.(Wang Zhuan 1996,55)--[[User:Zhou Shuyao|Zhou Shuyao]] ([[User talk:Zhou Shuyao|talk]]) 05:51, 19 December 2020 (UTC)&lt;br /&gt;
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The contradiction between modern literal translation and free translation may be due to the different understanding of these two translation methods. The translator Sun Guiding believes that: literal translation is stuck to the structure of the original text and does not consider whether the Chinese is fluent and natural; while free translation is to use the inherent Chinese idioms and the most natural words and sentences as much as possible to achieve the effect of conveying the meaning of the original text. (Feng Shujian 1993,44)&lt;br /&gt;
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The contradiction between literal translation and free translation may be due to the different understanding of the two translation methods. Sun guiding, a translator, believes that literal translation is rigidly based on the structure of the original words and sentences, without considering whether the Chinese language is smooth or natural; while free translation is to use Chinese idioms and the most natural words and sentences as far as possible in addition to specialized subject nouns, so as to achieve the effect of transmitting the meaning of the original text.(Feng Shujian 1993,44)--[[User:Zhou Shuyao|Zhou Shuyao]] ([[User talk:Zhou Shuyao|talk]]) 05:51, 19 December 2020 (UTC)&lt;br /&gt;
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Former President of Wuhan University, Du Zuozhou, believes that literal translation means translating word by word according to the original text; free translation means translating according to the meaning of the original text, and the translation is more suitable for the common grammar of the translated language. The educator Meng Xiancheng believes that literal translation is a translation technology with different degrees of correctness. Literal translation is a translation that is faithful and correct according to the original text; free translation is a translation that summarizes the original meaning. (Feng Shujian 1993,44)&lt;br /&gt;
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Du zuozhou, former president of Wuhan University, believes that literal translation is to translate word for word according to the original text; free translation is to translate according to the original meaning, and the translation is more appropriate to the common grammar of the translated language. Meng Xiancheng, an educator, believes that literal translation is a translation with different technical correctness. Literal translation refers to faithful and correct translation according to the original text; free translation refers to the translation of the general idea of the original text.(Feng Shujian 1993,44)--[[User:Zhou Shuyao|Zhou Shuyao]] ([[User talk:Zhou Shuyao|talk]]) 05:51, 19 December 2020 (UTC)&lt;br /&gt;
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Zhu Guangqian said: &amp;quot;The so-called 'literal translation' refers to the literal translation based on the original text. Every word and sentence are translated word by word, and the order of the words and sentences is not changed. The so-called ‘paraphrasing’ is to express the meaning of the original text in Chinese, and it does not have to be completely based on the literal and order of the original text. &amp;quot; Feng Shize believes that &amp;quot;translation and literal translation are up-and-down relations; between literal translation and free translation is the left-right relationship. If the reversal of word order and other methods are free translation, then the definition of free translation is equal to translation, and there is no other translation besides free translation. &amp;quot;(Feng Shize 1981,10) &lt;br /&gt;
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Zhu Guangqian said, &amp;quot;literal translation&amp;quot; refers to the literal translation of the original text. Every word is translated one word at a time, and the order of each sentence is not changed. The so-called &amp;quot;free translation&amp;quot; is to express the meaning of the original text in Chinese, without having to follow the literal and sequential order of the original text. &amp;quot; Feng Shize thinks that &amp;quot;the relationship between translation and literal translation is up-down, while that between literal translation and free translation is left-right relationship. They are involved in each other and must become a system. If the word order is reversed as free translation, the definition of free translation is equal to translation, and there is no other translation to speak of except free translation. &amp;quot;(Feng Shize 1981,10) --[[User:Zhou Shuyao|Zhou Shuyao]] ([[User talk:Zhou Shuyao|talk]]) 05:51, 19 December 2020 (UTC)&lt;br /&gt;
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The principle of &amp;quot;faithfulness, expressiveness and elegance&amp;quot; put forward by the modern Chinese translator Yan Fu has long been the basic principle guiding translation practice. A large number of beginners who learn foreign languages regard &amp;quot;faithfulness and expressiveness&amp;quot; as translations that are completely faithful to the original text when translating. In fact, Yan Fu's translation requirements are a guiding principle for translation based on semantics. When translating, if the structure and expression of the original text cannot be directly adopted, the sentence structure and expression must be changed according to the characteristics of the target language. (Feng Shujian 1993,44)&lt;br /&gt;
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The principle of &amp;quot;faithfulness, expressiveness and elegance&amp;quot; put forward by the modern Chinese translator Yan Fu has long been the basic principle guiding translation practice. A large number of beginners who learn foreign languages regard &amp;quot;faithfulness and expressiveness&amp;quot; as translations that are completely faithful to the original text when translating. In fact, Yan Fu's translation requirements are a guiding principle for translation based on semantics. When translating, if the structure and expression of the original text cannot be directly adopted, the sentence structure and expression must be changed according to the characteristics of the target language. (Feng Shujian 1993,44)--[[User:Zhou Shuyao|Zhou Shuyao]] ([[User talk:Zhou Shuyao|talk]]) 05:51, 19 December 2020 (UTC)&lt;br /&gt;
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In addition, there are many differences between the original language and the target language in the word order, grammar, variants and rhetoric in the translation process. In many cases, there is no direct corresponding word. This requires the translator to consider the actual semantics, background and other factors. On the basis of the original meaning of the sentence, use an appropriate method to convey the content of the original work and reproduce the language style of the original work.(Feng Shujian 1993,44)&lt;br /&gt;
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Moreover, in the process of translation, there are many differences between the source language and the target language in terms of word order, grammar, form change and rhetoric. In many cases, there is no direct corresponding word. Therefore, the translator should consider the actual semantic, background and other factors to convey the content of the original text and reproduce the language style of the original work in an appropriate way without losing the original meaning of the sentence.(Feng Shujian 1993,44)--[[User:Zhou Shuyao|Zhou Shuyao]] ([[User talk:Zhou Shuyao|talk]]) 05:51, 19 December 2020 (UTC)&lt;br /&gt;
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==== Controversy in Soviet Translation Community====&lt;br /&gt;
In the Soviet Union, under the influence of ideology, Western translation theories could not be widely disseminated, but within the Soviet Union, translation theories similar to Western translation theories have been formed and developed, and two main schools of translation theory have been further differentiated — Linguistic Translation School and Literary Translation School. To a certain extent, the dispute between these two schools also reflects the debate on literal translation and free translation among translators' groups. (Xie Yuncai 2002,99)&lt;br /&gt;
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In the Soviet Union, under the influence of ideology, western translation theories could not be widely spread. However, within the Soviet Union, translation theories similar to those of western translation theories were formed and developed, and two major translation theory schools, language school and literary school, were further divided. To some extent, the debate between the two schools reflects the debate between translators' groups on literal translation and free translation.(Xie Yuncai 2002,99)--[[User:Zhou Shuyao|Zhou Shuyao]] ([[User talk:Zhou Shuyao|talk]]) 05:51, 19 December 2020 (UTC)&lt;br /&gt;
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In terms of the principles or standards of translation, the linguistic translation school believes that an ideal translation should be an equivalent translation, first of all linguistic correspondence, that is, the translation should have the same meaning as the corresponding language or discourse unit of the original; the literary translation school believes that translation pursues artistic correspondence, and linguistic correspondence must be subordinate to artistic correspondence. Therefore, it proposes that the aesthetic standards of translation should reproduce the artistic reality reflected by the unity of the original content and form. (Xie Yuncai 2002,99)&lt;br /&gt;
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In terms of the principles or standards of translation, the linguistic translation school believes that an ideal translation should be an equivalent translation, first of all linguistic correspondence, that is, the translation should have the same meaning as the corresponding language or discourse unit of the original; the literary translation school believes that translation pursues artistic correspondence, and linguistic correspondence must be subordinate to artistic correspondence. Therefore, it proposes that the aesthetic standards of translation should reproduce the artistic reality reflected by the unity of the original content and form. (Xie Yuncai 2002,99)--[[User:Zhou Shuyao|Zhou Shuyao]] ([[User talk:Zhou Shuyao|talk]]) 05:51, 19 December 2020 (UTC)&lt;br /&gt;
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The characteristic is to use images to translate images, that is, to create the same image in different languages. In 1953, Andrei Venediktovich Fedorov, the leader of the linguistic translation school, published his work &amp;quot;Summary of Translation Theory&amp;quot;, which was the first monograph of the Soviet Union to study translation theory from the perspective of linguistics. The author proposes that translation theory is a branch of linguistics. Since the translation of any genre work must rely on the comparison of two languages, translation problems can only be solved in the field of language. (Xie Yuncai 2002,99)&lt;br /&gt;
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The characteristic is to use images to translate images, that is, to create the same image in different languages. In 1953, Andrei Venediktovich Fedorov, the leader of the linguistic translation school, published his work &amp;quot;Summary of Translation Theory&amp;quot;, which was the first monograph of the Soviet Union to study translation theory from the perspective of linguistics. The author proposes that translation theory is a branch of linguistics. Since the translation of any genre work must rely on the comparison of two languages, translation problems can only be solved in the field of language. (Xie Yuncai 2002,99)--[[User:Zhou Shuyao|Zhou Shuyao]] ([[User talk:Zhou Shuyao|talk]]) 05:51, 19 December 2020 (UTC)&lt;br /&gt;
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Fedorov’s view was refuted by the literary translation school represented by Ivan Alexandrovich Kashikin. The literary translation school believes that aesthetic issues are the core of literary translation theory, and translation should be regarded as a form of language art, that is, translation should be studied from the perspective of literature and art. In fact, the literary translation school emphasizes the translation of literary and artistic works, which belongs to the specific translation theory; while the research of the linguistic translation school focuses on the general translation theory, that is, the translation of all thematic works including literary works. The dispute between the two major translation theory schools of Russia and the Soviet Union provides another perspective for Chinese translators to explore the relationship between literal translation and free translation.(Xie Yuncai 2002,99)&lt;br /&gt;
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However, feodorov's view was refuted by the literary school represented by Kashin. The school of literature and art holds that aesthetics is the core of literary translation theory, and translation should be regarded as a form of language art, that is, translation should be studied from the perspective of literature and art. As a matter of fact, literature and art school emphasizes the translation of literary works, which belongs to the specific translation theory, while the study of language school focuses on the general translation theory, that is, the translation of works of all subjects including literary works. The debate between linguistic school and literary school provides another perspective for Chinese translators to explore the relationship between literal translation and free translation.(Xie Yuncai 2002,99)--[[User:Zhou Shuyao|Zhou Shuyao]] ([[User talk:Zhou Shuyao|talk]]) 05:51, 19 December 2020 (UTC)&lt;br /&gt;
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=== The application of literal translation and free translation in the Chinese translation of Russian idioms ===&lt;br /&gt;
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The idioms of different nationalities are the most dynamic and expressive units at the lexical level in different languages, and they are also the units that can best reflect the characteristics of national culture in languages. The number of Russian idioms is extremely rich, it records and reflects all aspects of Russian national life. (Feng Yongmei 1999,97)&lt;br /&gt;
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Idioms of different nationalities are not only the most dynamic and expressive units in different languages, but also the units that can best reflect the characteristics of national culture. The number of Russian idioms is extremely rich, which records and reflects all aspects of Russian national life.(Feng Yongmei 1999,97)--[[User:Zhou Shuyao|Zhou Shuyao]] ([[User talk:Zhou Shuyao|talk]]) 05:59, 19 December 2020 (UTC)&lt;br /&gt;
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Due to the great differences in geographical locations and living customs between China and Russia, the national cultures reflected in Chinese and Russian must be quite different. One of the difficulties in idiom translation is its imagery. When translating idioms, both the meaning and the image must be considered. Although the Chinese and Russian cultures are very different, many of the commonalities of mankind, such as emotion and natural environment, have created conditions for mutual communication, mutual understanding and idiom translation between different languages.(Feng Yongmei 1999,97)&lt;br /&gt;
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Due to the great differences in geographical location and customs between China and Russia, the national culture reflected in Chinese and Russian must be quite different. One of the difficulties in idiom translation is its image. When translating idioms, both meaning and image should be considered. Although there are great cultural differences between China and Russia, many commonalities of human beings, such as emotion and natural environment, have created conditions for mutual communication, mutual understanding and idiom translation between different languages.(Feng Yongmei 1999,97)--[[User:Zhou Shuyao|Zhou Shuyao]] ([[User talk:Zhou Shuyao|talk]]) 05:59, 19 December 2020 (UTC)&lt;br /&gt;
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==== Literal translation ====&lt;br /&gt;
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Generally speaking, the literal translation method refers to a translation method that directly translates the original text without changing the language characteristics and style of the original text on the basis of fully respecting the meaning of the original text. Chinese translation of Russian idioms by literal translation method has the advantage of being able to intuitively and faithfully express the meaning of the idiom, maintaining the unique style and imagery of the original text: the disadvantage is that the translated idiom may not be understood by the Chinese because of China and Russia have different historical, cultural backgrounds, grammatical structures, and language world landscapes, which can easily form obstacles in the process of understanding.(Zhou Changyu 2010,34)&lt;br /&gt;
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In short, literal translation refers to a method of translating the original text directly without changing the language features and styles of the original text on the basis of fully respecting the meaning of the original text. The advantage of literal translation in Chinese translation of Russian idioms is that it can express the meaning of idioms intuitively and faithfully, and maintain the unique style and image of the original text. However, the disadvantage is that the translated idioms may not be understood by the Chinese people. This is because the historical and cultural background, grammatical structure and language world picture of Chinese and Russian are different, and it is easy to form obstacles in the process of understanding.(Zhou Changyu 2010,34)--[[User:Zhou Shuyao|Zhou Shuyao]] ([[User talk:Zhou Shuyao|talk]]) 05:59, 19 December 2020 (UTC)&lt;br /&gt;
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Translating Russian idioms by literal translation is further divided into two methods — literal translation into Chinese idioms and literal translation into non-idiom sentences or words.(Zhou Changyu 2010,34)&lt;br /&gt;
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Translating Russian idioms by literal translation is further divided into two methods — literal translation into Chinese idioms and literal translation into non-idiom sentences or words.(Zhou Changyu 2010,34)--[[User:Zhou Shuyao|Zhou Shuyao]] ([[User talk:Zhou Shuyao|talk]]) 05:59, 19 December 2020 (UTC)&lt;br /&gt;
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Literal translation of Russian idioms into Chinese idioms is suitable for the translation of Russian and Chinese idioms that are completely equivalent in image, structure, and meaning. The advantage is that it is easy to understand, and the translation is simple and fast.(Feng Yongmei 1999,98) E.g:&lt;br /&gt;
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домашнего  (своего) вора не убережешься. 家贼难防&lt;br /&gt;
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знать как свои пять пальцев (видно, как на ладони) 了如指掌&lt;br /&gt;
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подлить масла в огонь 火上浇油&lt;br /&gt;
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как рыба в воде 如鱼得水&lt;br /&gt;
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как ножом по сердцу 心如刀割&lt;br /&gt;
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как гром среди ясного неба 晴天霹雳&lt;br /&gt;
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на добро отвечают добром 善有善报&lt;br /&gt;
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копейка рубль бережет 财从细起&lt;br /&gt;
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мечты сбываются 梦想成真&lt;br /&gt;
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курица всегда следует за петухом 嫁鸡随鸡&lt;br /&gt;
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чего мало, того и дорого  (дорого то, что мало) 物以稀为贵(12)&lt;br /&gt;
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изгонять яд с помощью яда 以毒攻毒&lt;br /&gt;
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сидеть как на иголках 如坐针毡&lt;br /&gt;
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действия громче слов 事实胜于雄辩&lt;br /&gt;
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зарыть талант в землю 埋没人才&lt;br /&gt;
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висеть на волоске 千钧一发&lt;br /&gt;
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лить как из ведра 倾盆大雨(Wang Fuxiang, Wu Hanying 2014)&lt;br /&gt;
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The idioms in the above examples are completely equivalent in image, structure or meaning in Russian and Chinese, so Chinese idioms can be used for literal translation.  &lt;br /&gt;
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In fact, in the two languages, idioms with the same image, structure, and meaning are still in the minority, so it is more common to translate Russian idioms into non-Chinese idiom sentences or vocabulary. E.g:   &lt;br /&gt;
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настоять на своем 坚持自己&lt;br /&gt;
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камень с души свалился 心里的一块石头落地&lt;br /&gt;
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связать свою судьбу 把自己的命运与……相连&lt;br /&gt;
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быть на голову 高出一头&lt;br /&gt;
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вбивать в голову 往脑子里灌&lt;br /&gt;
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блеснуть метеором 像流星一样一闪而过&lt;br /&gt;
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с мизинец 小拇指这么大(Wang Fuxiang, Wu Hanying 2014)&lt;br /&gt;
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It is not difficult to find that the literal translation method can completely retain the original appearance of the idiom, show the common concept of human understanding of the world, and be beneficial to the cultural exchange between China and Russia.&lt;br /&gt;
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==== Free translation ====&lt;br /&gt;
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Another method commonly used in the Chinese translation of Russian idioms is free translation. Vocabulary gaps between languages are a common phenomenon, causing many difficulties for translation. There are many reasons for the vacancy of vocabulary, such as cultural reasons such as life experience, customs, religious beliefs, and linguistic reasons. There are roughly two ways to fill the language gaps — paraphrasing by replacing the image.and discarding images for free translation.(Feng Yongmei 1999,98)&lt;br /&gt;
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Another method commonly used in Chinese translation of Russian idioms is free translation. The lexical gap between languages is a common phenomenon, which causes many difficulties in translation. The causes of lexical vacancy are various, such as life experience, customs, religious beliefs and other cultural reasons, as well as linguistic reasons. There are generally two ways to fill the gaps in language: replacing images for free translation and abandoning images for free translation.(Feng Yongmei 1999,98)--[[User:Zhou Shuyao|Zhou Shuyao]] ([[User talk:Zhou Shuyao|talk]]) 05:59, 19 December 2020 (UTC)&lt;br /&gt;
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Russian says &amp;quot;Два медведя в одной берлоге не уживутся (一个洞穴容不下两头熊).&amp;quot;, while Chinese says &amp;quot;一山不容二虎&amp;quot;. Another example is &amp;quot;Скатерть со стола, и дружба сплыла (桌布一收，友谊不再) &amp;quot; in Russian, and &amp;quot;人走茶凉&amp;quot; in Chinese. This method belongs to paraphrasing by replacing the image.(Wang Fuxiang, Wu Hanying 2014)&lt;br /&gt;
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For the &amp;quot;harmony&amp;quot; of the translation, sometimes the translator has to choose to abandon the image for free translation. This is determined by both cultural and linguistic factors. Some linguistic features cannot be translated, and some idioms themselves are not strong enough. In this case, if Choosing a literal translation method will make readers confused.(Hu Guming, Shen Man 2011,18) E.g:&lt;br /&gt;
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Как женился я на вашей матери да взял вот этот домишко в приданье, так думал, что богаче да лучше меня и людей нет, фертом ходил! (А. Островский)&lt;br /&gt;
我和你母亲一成亲，就得到了这栋作为陪嫁的屋子，当时我心想，再没有人比我更富足、更好的了。我那时可真是双手叉腰、得意洋洋的。&lt;br /&gt;
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“Фертом” is the name of the letter “Ф” in ancient times.Its shape is like a person with hands on hips, and “фертом ходить” is an idiom evolved from body language. The cultural meaning of this idiom is &amp;quot;神气十足、得意洋洋、威武自负的样子&amp;quot; . The translation uses other idioms to complement the missing images in Chinese, clarify the meaning of the idiom, and convey the emotional color contained in the original idiom.(Hu Guming, Shen Man 2011,19)&lt;br /&gt;
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The idioms in a certain language are fixed and unchanged after long-term use and tempering, but the frequency of each idiom is different. Some idioms are universally used by the whole people, spread and used in a wide range, while some idioms are only used in written styles. In Russian literature, there are improved precise and interesting idioms. For example, in the works of the famous Russian fable writer Krylov, there are reduced idioms, such as “ медвежья услуга”（直译：熊的帮忙；意译：帮倒忙）， “ сильнее кошки зверя нет”（直译：再没有比猫更厉害的野兽；意译：井底之蛙）， “зелен как виноград”（直译：葡萄还很青；意译：年轻人没经验). When translating literature, translators often need to learn cultural background knowledge, replace the image in the original idiom, and then convey it to Chinese readers.(Wang Fuxiang, Wu Hanying 2014)&lt;br /&gt;
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Crows are a very common animal, usually black and gray. The description of crows in Chinese idioms is &amp;quot;the crows in the world are generally black（天下乌鸦一般黑）&amp;quot;. It can be seen that white crows are rare. However, &amp;quot;белая ворона&amp;quot; often appears in Russian literary works, as a metaphor for people who are different from the masses in terms of external characteristics or ideological qualities. In the Chinese and Russian concepts, the crow is a nasty animal. (Wang Fuxiang, Wu Hanying 2014) &lt;br /&gt;
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Although white crows are rare, this Russian idiom is usually derogatory, expressing disdain, contempt, or ridicule against the person. In Chinese, animal images are also used as a metaphor for &amp;quot;different people&amp;quot;, such as idioms that stand out from the crowd and phoenix feathers are rare. &amp;quot;Crane&amp;quot; and &amp;quot;phoenix&amp;quot; have always been regarded as precious and noble animals in traditional Chinese culture, so they cannot be compared with &amp;quot; Corresponding to &amp;quot;White Crow&amp;quot;, it is not suitable for translating &amp;quot;белая ворона&amp;quot;.Examples are as follows:(Wang Fuxiang, Wu Hanying 2014) &lt;br /&gt;
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Он замкнулся, не вдается в разговоры — вот вам и белая ворона.（Сталин)&lt;br /&gt;
直译：他不与人交往，不与人交流，真是一只白乌鸦。&lt;br /&gt;
意译：他不与人交往，不与人交流，真是与众不同。&lt;br /&gt;
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Боишься, что они среди нас белой вороной окажется. Недосягаемым экземпляром.(Кожевников В “Корни и крона”)&lt;br /&gt;
直译：你是担心他们会变成我们中间的白乌鸦，一个无法达到的例子。&lt;br /&gt;
意译：你是担心他们会变成我们中间标新立异，望尘莫及的人。&lt;br /&gt;
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Most Chinese who come into contact with Russian are students majoring in Russian. The Russian idioms we usually encounter appear in textbooks. These idioms are often used by the Russian public and are easily understood and accepted by the Chinese. E.g:(Wang Fuxiang, Wu Hanying 2014)&lt;br /&gt;
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В Тулу со свим самоваром не ездят.&lt;br /&gt;
直译：去图拉不用带自己的茶炊。&lt;br /&gt;
意译：多此一举&lt;br /&gt;
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Честь лучше бесчестья.&lt;br /&gt;
直译：尊重比不尊重好。&lt;br /&gt;
意译：礼多人不怪。&lt;br /&gt;
&lt;br /&gt;
словно горя с плеч&lt;br /&gt;
直译：把山从肩膀下卸下&lt;br /&gt;
意译：如释重负&lt;br /&gt;
&lt;br /&gt;
выеденного яйца не стоит&lt;br /&gt;
直译：一个空蛋壳不值钱&lt;br /&gt;
意译：鸡毛蒜皮，一文不值&lt;br /&gt;
&lt;br /&gt;
чужими руками жар загребать&lt;br /&gt;
直译：用别人的手将红炭火拨成一堆&lt;br /&gt;
意译：坐享其成，不劳而获&lt;br /&gt;
&lt;br /&gt;
ни рыба, ни мясо&lt;br /&gt;
直译：没有鱼也没有肉&lt;br /&gt;
意译：不三不四，不伦不类&lt;br /&gt;
&lt;br /&gt;
лучше синица в руках, чем журавль в небе&lt;br /&gt;
直译：天上的仙鹤不如手中的山雀&lt;br /&gt;
意译：远亲不如近邻&lt;br /&gt;
&lt;br /&gt;
На языке мед, а под лед&lt;br /&gt;
直译：嘴上甜得像蜂蜜，心里冷得像冰&lt;br /&gt;
意译：笑里藏刀&lt;br /&gt;
&lt;br /&gt;
И на солнце есть пятна&lt;br /&gt;
直译：太阳上也有黑点&lt;br /&gt;
意译：人无完人&lt;br /&gt;
&lt;br /&gt;
семь раз отмерь, один раз отрежь&lt;br /&gt;
直译：测量了七次后再剪裁&lt;br /&gt;
意译：三思而后行(Wang Fuxiang, Wu Hanying 2014)&lt;br /&gt;
&lt;br /&gt;
Using free translation to translate Russian idioms requires the translator to accurately understand the meaning of the original text, because cultural differences make it impossible to literally translate. Only through the translator can an unobstructed bridge between Russian idioms and Chinese idioms be built.(Wang Fuxiang, Wu Hanying 2014)&lt;br /&gt;
&lt;br /&gt;
=== The application of literal translation and free translation in the Chinese translation of Russian proverbs ===&lt;br /&gt;
&lt;br /&gt;
There are often multiple translations of the same Russian proverb in Russian-Chinese dictionaries. On the one hand, because the translator uses different translation methods; on the other hand, because Russian proverbs have very rich connotations, a translation cannot perfectly interpret the inner meaning of the proverb. According to the context and the connotation of the proverbs, the most commonly used methods of Chinese translation of Russian proverbs are literal translation and free translation.(Feng Yongmei 1999,98)&lt;br /&gt;
&lt;br /&gt;
The same Russian proverb often has more than one translation in Russian Chinese dictionary. On the other hand, the translator can't translate the proverb because of its rich connotation. According to the context and the connotation of proverbs themselves, literal translation and free translation are the most commonly used methods of translating Russian proverbs into Chinese.(Feng Yongmei 1999,98)--[[User:Zhou Shuyao|Zhou Shuyao]] ([[User talk:Zhou Shuyao|talk]]) 06:03, 19 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
==== Literal translation ====&lt;br /&gt;
&lt;br /&gt;
In Russian and Chinese languages, some proverbs not only have the same meaning or implicit meaning, but also use the same or similar figurative images to express a certain kind of the same semantics, and they are completely consistent in content and form. In this case, the equivalent translation of synonymous Chinese proverbs can convey the information contained in the original image, which not only retains the rhetorical color of the original language, but also enables the reader to perfectly understand the original text. The other situation is the experience that the Russians summed up in their long labor and life, which has evolved into a proverb, but the Chinese have not summed up this experience, so translating Russian proverbs into Chinese literally, Chinese people can understand them at a glance and increase their knowledge of the world. E.g:(Feng Yongmei 1999,98)&lt;br /&gt;
&lt;br /&gt;
In Russian and Chinese, some proverbs not only have the same meaning or implied meaning, but also use the same or similar figurative images to express the same meaning, and they are completely consistent in content and form. In this case, the equivalent translation of Chinese proverbs with synonyms can convey the information contained in the image of the original language, which not only retains the rhetorical color of the original language, but also enables readers to understand the original text perfectly. The other is that the Russian people have summed up the experience in their long-term labor and life, which has evolved into a proverb. However, the Chinese have not summed up this experience. If the Russian proverbs are translated into Chinese, the Chinese can clearly understand it at a glance and increase their understanding of the world. E.g:(Feng Yongmei 1999,98)--[[User:Zhou Shuyao|Zhou Shuyao]] ([[User talk:Zhou Shuyao|talk]]) 06:03, 19 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
Беда не приходит одна. 祸不单行。&lt;br /&gt;
&lt;br /&gt;
Век живи, век учись. 活到老，学到老。&lt;br /&gt;
&lt;br /&gt;
Выше встанешь, дальше увидишь. 站得高，看得远。&lt;br /&gt;
&lt;br /&gt;
Лучше один раз увидеть, чем сто раз услышать. 百闻不如一见。&lt;br /&gt;
&lt;br /&gt;
Береги платье снову, а честь смолоду. 衣服要从新的时候爱惜，荣誉要从年轻时珍惜。&lt;br /&gt;
&lt;br /&gt;
Выше лба уши не растут. 耳朵高不过额头。&lt;br /&gt;
&lt;br /&gt;
Для милого друга семь верст не околица. 为了好友，多绕七里也不嫌远。&lt;br /&gt;
&lt;br /&gt;
Лучше умереть стоя, чем жить на коленях. 宁愿站着死，绝不站着生。&lt;br /&gt;
&lt;br /&gt;
Не имей сто рублей, а имей сто друзей. 宁要一百个朋友，不要一百个卢布。&lt;br /&gt;
&lt;br /&gt;
По одежке встречают, по уму провожают. 迎客时看衣，送客时看才智。(Jia Sufen 1996)&lt;br /&gt;
&lt;br /&gt;
There is another situation where the literal translation method can be used. Although the image in Russian proverbs is different from the commonly used images in Chinese, it is also easy to understand. For example, &amp;quot;Молодец против овец, а против молодца — сам овца.&amp;quot; In fact, this proverb can be paraphrased as &amp;quot;欺软怕硬 &amp;quot;, but in this way the translation discards the lively literal meaning of the original text. On the other hand, it is literally translated as &amp;quot;见到绵羊充好汉，碰到好汉成绵羊&amp;quot; , on the basis of retaining the original image, readers can easily understand the meaning of the original proverb.(Jia Sufen 1996)&lt;br /&gt;
&lt;br /&gt;
Another example is &amp;quot;Заяц от лисицы, а лягушка от зайца бежит. &amp;quot; can be translated as &amp;quot;一物降一物&amp;quot;, but the image in the original text was completely abandoned, if it is literally translated as &amp;quot;one thing drops one thing &amp;quot;狐惊兔，兔惊蛙&amp;quot;, this kind of translation is not only simple and clear, but also in line with the aesthetics of Chinese proverbs. In general, the literal translation not only retains the symmetrical rhetorical techniques in the original sentence, but also retains the symmetrical beauty of the original sentence structure. It not only conforms to the aesthetic characteristics of the original Russian text, but also shows the beauty of phonology and structure in Chinese.(Jia Sufen 1996)&lt;br /&gt;
&lt;br /&gt;
The translation of Russian proverbs by literal translation not only maintains the original language, but also transplants the unique image language of Russian proverbs into Chinese, which not only expands the horizons of Chinese readers, but also enriches the way of expression in Chinese.(Jia Sufen 1996)&lt;br /&gt;
&lt;br /&gt;
The literal translation of Russian proverbs not only keeps the style of the original language, but also transplants the unique figurative language of Russian proverbs into Chinese, which not only expands the vision of Chinese readers, but also enriches the expression of Chinese.(Jia Sufen 1996)--[[User:Zhou Shuyao|Zhou Shuyao]] ([[User talk:Zhou Shuyao|talk]]) 06:03, 19 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
==== Free translation ====&lt;br /&gt;
&lt;br /&gt;
Due to the influence of cultural factors, many Russian and Chinese proverbs expressing the same semantics use different metaphors. Some Russian proverbs are difficult to retain the original image in the process of translation into Chinese. If literally translated according to the original image, due to the different national and cultural backgrounds of China and Russia, the translation is difficult to be accepted by the Chinese, and even misunderstood may occur.(Jia Sufen 1996) &lt;br /&gt;
&lt;br /&gt;
Due to the influence of cultural factors, many Russian and Chinese proverbs with the same meaning use different figurative images. In the process of translating some Russian proverbs into Chinese, it is difficult to retain the image of the original text. If literal translation is made according to the original image, due to the different national and cultural backgrounds of China and Russia, the translated version is difficult to be accepted by Chinese people and even misread.(Jia Sufen 1996) --[[User:Zhou Shuyao|Zhou Shuyao]] ([[User talk:Zhou Shuyao|talk]]) 06:03, 19 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
In order to accurately convey the meaning of the original text to readers, we can readjust the structure of the original text on the basis of a correct understanding of the meaning of the original text, and use standard Chinese expressions to reproduce Russian proverbs to avoid ambiguity and misunderstanding.(Jia Sufen 1996)&lt;br /&gt;
&lt;br /&gt;
In order to convey the original meaning to readers accurately, we can explore the story behind the proverb. On the basis of correctly understanding the meaning of the original text, we can readjust the structure of the original text, and reproduce Russian proverbs with standard Chinese expression, so as to avoid ambiguity and misunderstanding.(Jia Sufen 1996)--[[User:Zhou Shuyao|Zhou Shuyao]] ([[User talk:Zhou Shuyao|talk]]) 06:03, 19 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
There are some elements used in proverbs that foreigners cannot understand. For example, the Russian proverb &amp;quot;В огороде бузина, а в Киеве дядька.&amp;quot; is literally translated as &amp;quot;菜园里长接骨木，而基辅里住叔叔&amp;quot;, which cannot be understood by the Chinese. The four elements “огород” “бузина” “Киева” “дядька”, which contained in this proverb are completely unrelated. In fact, this proverb means that there is no logical relationship between what someone says, and the translator can directly paraphrase it as &amp;quot;胡说八道&amp;quot;, &amp;quot;前言不搭后语&amp;quot; or more easily understood &amp;quot;满嘴跑火车&amp;quot;. (Jia Sufen 1996)&lt;br /&gt;
&lt;br /&gt;
Another example is &amp;quot;На воре шапка горит.&amp;quot; literally means &amp;quot;the hat on the thief's head is on fire&amp;quot;. In fact, this proverb originated from a short story in the Kievan Rus period: someone’s money bag disappeared and he shouted &amp;quot;Catch the thief&amp;quot;, but no one knew where the thief was. This man had an idea and shouted, &amp;quot;The thief's hat is on fire.&amp;quot; After hearing this, the thief touched his hat unconsciously and exposed himself. Therefore, &amp;quot;На воре шапка горит.&amp;quot; can be paraphrased as &amp;quot;不打自招&amp;quot; or &amp;quot;做贼心虚.&amp;quot;(Jia Sufen 1996)&lt;br /&gt;
&lt;br /&gt;
There are some Russian proverbs that are more suitable for free translation:&lt;br /&gt;
&lt;br /&gt;
От труда- радость, от безделья- усталость.&lt;br /&gt;
直译：快乐从劳动中来，疲劳从闲散中来。&lt;br /&gt;
意译：劳动使人快乐。&lt;br /&gt;
&lt;br /&gt;
Баба с возу- кобыле легче.&lt;br /&gt;
直译：农妇下了车，马儿就轻松。&lt;br /&gt;
意译：求之不得&lt;br /&gt;
&lt;br /&gt;
Герой не моего романа.&lt;br /&gt;
直译：不是我小说中的主人公。&lt;br /&gt;
意译：不是我的意中人。&lt;br /&gt;
&lt;br /&gt;
Терпенье (ученье\уменье) и труд всё перетрут.&lt;br /&gt;
直译：耐心和勤劳能克服一切。&lt;br /&gt;
意译：锲而不舍，金石可镂（只要功夫深，铁杵磨成针）。&lt;br /&gt;
&lt;br /&gt;
Чтобы узнать человека, надо с ним пуд соль съесть.&lt;br /&gt;
直译：想要了解一个人，应该和他吃一普特盐。&lt;br /&gt;
意译：日久见人心。&lt;br /&gt;
&lt;br /&gt;
Посади свинью за стол — она и ноги на стол.&lt;br /&gt;
直译：让猪入席，它会把爪子也伸上来。&lt;br /&gt;
意译：得寸进尺。&lt;br /&gt;
&lt;br /&gt;
Черного кобеля не отмоешь добела.&lt;br /&gt;
直译：黑色的狗洗不白。&lt;br /&gt;
意译：本性难改。&lt;br /&gt;
&lt;br /&gt;
Конь о четырех ногах, да спотыкается.&lt;br /&gt;
直译：马有四条腿，也会摔倒。&lt;br /&gt;
意译：聪明一世，糊涂一时。&lt;br /&gt;
&lt;br /&gt;
За что купил, за то и продаю.&lt;br /&gt;
直译：怎么买来，怎么卖出。&lt;br /&gt;
意译：人云亦云。&lt;br /&gt;
&lt;br /&gt;
Обжегшись на молоке, дуешь на воду.&lt;br /&gt;
直译：一旦被牛奶烫，喝水也要吹一吹。&lt;br /&gt;
意译：一种被蛇咬，十年怕井绳。(Jia Sufen 1996)&lt;br /&gt;
&lt;br /&gt;
=== Conclusion ===&lt;br /&gt;
 &lt;br /&gt;
In the process of translation, translators often feel that there are a lot of contradictions and differences between the two languages in terms of lexical structure, syntactic structure, expression methods and metaphors. In many cases, translators understand the original meaning but do not know how to express it in the target language, which leads to the debate about which is better, literal translation or free translation. When translators translate works that are more contradictory between bilinguals, translators often use free translation methods. When translating works that are consistent or have more common points than contradictions or conflicts between bilinguals, translators tend to choose literal translation .&lt;br /&gt;
&lt;br /&gt;
In the process of translation, translators often feel that there are a lot of contradictions and differences between the two languages in terms of vocabulary composition, syntactic structure, expression and metaphor. Most of the time, the translator understands the original meaning but does not know how to express it in the target language, which leads to the debate about which is better, literal translation or free translation. When translators translate works with more contradictions between bilinguals, they tend to use free translation. When there are more similarities or similarities between bilinguals than contradictions or conflicts, translators will tend to literal translation in order to be faithful to the original text.--[[User:Zhou Shuyao|Zhou Shuyao]] ([[User talk:Zhou Shuyao|talk]]) 06:04, 19 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
In fact, the relationship between literal translation and free translation is interdependent and inseparable. Therefore, when we translate an article or a book, it is not feasible to translate every sentence literally or freely. Only when the translator cleverly arranges the alternation of the two can it be possible to translate a better translation. When we comment on literal translation and free translation, we should consider the effects of the division of labor and cooperation between the two, and should not one-sidedly understand the advantages and disadvantages of literal translation and meaning.&lt;br /&gt;
&lt;br /&gt;
In fact, literal translation and free translation in the process of translation are interdependent and inseparable. Therefore, when translating an article or a book, it is not feasible to translate every sentence literally or freely. Only when the translator skillfully arranges the alternation of the two, can we translate a better translation. When we comment on literal translation and free translation, we should consider the effect of division of labor and cooperation between them, and should not one-sided understand the advantages and disadvantages of literal translation and meaning.--[[User:Zhou Shuyao|Zhou Shuyao]] ([[User talk:Zhou Shuyao|talk]]) 06:04, 19 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
=== References ===&lt;br /&gt;
&lt;br /&gt;
*Cai Yi, Duan Jinghua. 蔡毅，段京华. (2000). 苏联翻译理论. [Soviet Translation Theory]. 武汉: 湖北教育出版社[Wuhan: Hubei Education Press].&lt;br /&gt;
*Feng Shize. 冯世则. (1981). 直译、意译、逐字译. [Literal Translation, Free Translation, Verbatim Translation]. 中国翻译[Chinese Translators Journal] 7-10.&lt;br /&gt;
*Feng Shujian. 冯树鉴. (1993). 意译与直译笔谈. [Written Free Translation and Literal Translation]. 外语学刊[Foreign Language Research] 43-47.&lt;br /&gt;
*Feng Yongmei. 冯咏梅. (1999). 浅谈俄语成语翻译中民族文化特色的保留. [On the Preservation of National Cultural Characteristics in Russian Idiom Translation]. 解放军外国语学院学报[Journal of PLA Foreign Languages University] 97-100.&lt;br /&gt;
*Gong Linjing. 宫琳菁. (2015). 直译与意译——中国近现代代表人物观点之概述. [Literal Translation and Free Translation: An Overview of the Viewpoints of Representatives in Modern China]. 赤峰学院学报（汉文哲学社会科学版）[Journal of Chifeng University (Soc.Sci)] 192-193.&lt;br /&gt;
*Hu Guming, Shen Man. 胡谷明, 沈曼. (2011). 汉俄翻译中文化空缺词汇的翻译策略.[The Translation Strategies of Cultural Vacancies in Chinese-Russian Translation]. 中国俄语教学[Russian in China] 17-21.&lt;br /&gt;
*Jia Shufen. 贾淑芬. (1996). 简明俄汉谚语词典. [Concise Russian-Chinese Proverbs Dictionary]. 沈阳: 辽宁大学出版社[Shenyang: Liaoning University Publishing House].&lt;br /&gt;
*Li Quan’an. 李全安. (1990). 直译与意译之争是一场什么样的争论. [What kind of controversy is the dispute between literal translation and free translation]. 中国翻译[Chinese Translators Journal] 18-22.&lt;br /&gt;
*Tan Zaixi. 谭载喜. (1999). 中西译论的相似性.[Similarities between Chinese and Western Translation Theories]. 中国翻译[Chinese Translators Journal] 25-28.&lt;br /&gt;
*Wang Fuxiang, Wu Hanying. 王福祥,吴汉樱. (2014). 东方大学俄语系列：迷你俄语成语词典. [Oriental University Russian Series: Mini Dictionary of Russian Idioms]. 外语教学与研究出版社[Foreign Language Teaching and Research Press]&lt;br /&gt;
*Wang Zhuang. 王转. (1996). 直译与意译漫谈. [On Literal Translation and Free Translation]. 湖南教育学院学报[Journal of Educational Institute] 55-60.&lt;br /&gt;
*Xie Yuncai. 谢云才. (2002). 俄罗斯翻译理论的语言学派与文艺学派——两派文学翻译理论对比分析. [Linguistic Schools and Literary Schools of Russian Translation Theory: A Comparative Analysis of the Two Schools of Literary Translation Theories]. 外语学刊[Foreign Language Research] 97-101.&lt;br /&gt;
*Yang Shizhang. 杨仕章. (2002). 俄语现代翻译理论之概述. [An Overview of Russian Modern Translation Theory]. 解放军外国语学院学报[Journal of PLA Foreign Languages University] 62-65.&lt;br /&gt;
*Zhang Yi. 张艺. (2010). 从目的论看直译与意译之争. [The Controversy between Literal Translation and Free Translation from Skopos Theory]. 海外英语[Overseas English] 189-190.&lt;br /&gt;
*Zhou Changyu. 周长雨. (2010). 俄语谚语的翻译方法. [How to translate Russian proverbs]. 俄语学习[Russian Learning] 33-36.&lt;br /&gt;
&lt;br /&gt;
==Dialectical thinking in arguments between literal translation and free translation 	甘奉玉	Gan Fengyu  202070080584 英语笔译==&lt;br /&gt;
&lt;br /&gt;
===Abstract===&lt;br /&gt;
As two methods of translation, how to use literal translation and free translation has always been the focus of debate between Chinese and Western translation circles. Through the study of translation methods of literal translation and free translation at home and abroad, we can know that to some extent literal translation and free translation are two relative conceptions, so there will be word-for-word translation, that is, dead translation, and over free translation. However, these two are only two extremes of literal translation and free translation. In fact, although there are differences in definitions and application fields between literal translation and free translation, they are unified in common translation purpose, translation procedure and translation standard. Therefore, the two are contradictory and unified in translation activities. This is also a profound embodiment of the unity of opposites in materialist dialectics.&lt;br /&gt;
&lt;br /&gt;
===Key words===&lt;br /&gt;
literal translation, free translation, word-for-word translation, over free translation, unity of opposites&lt;br /&gt;
&lt;br /&gt;
===题目===&lt;br /&gt;
直译与意译之争中的辩证思维&lt;br /&gt;
&lt;br /&gt;
===摘要===&lt;br /&gt;
作为翻译方法，怎样使用直译(literal translation)与意译(free translation)一直是中西方翻译界争论不休的一个焦点。通过对国内外直译与意译的翻译方法的研究，我们可以得知，从某种程度而言，直译与意译是两个相对的概念, 所以才会有逐字翻译，即死译，与过度意译这两个完全对立的概念。但是，这两者只不过是直译与意译的两个极端点。其实，直译和意译虽然在定义，适用范围上有所差异，但却又统一于共同的翻译目的、翻译过程和翻译标准中，所以两者在翻译活动中应该是既对立又统一的矛盾体。而这也正是唯物辩证法中的对立统一矛盾观的深刻体现。&lt;br /&gt;
&lt;br /&gt;
===关键字===&lt;br /&gt;
直译； 意译； 死译； 过度意译； 对立统一&lt;br /&gt;
&lt;br /&gt;
===Introduction===&lt;br /&gt;
Throughout the translation history at home and abroad, the literal translation and free translation have always sparked a heated discussion in the translation circles. Someone absolutely approve literal translation and demean free translation, even pursue dead translation, which creates an translated text difficult to understand. While some people absolutely agree with free translation even advocate random translation, which means a random deletion in the translation practices and creates another entirely different text. However, there are also a few of translators who have recognized that these two translation methods are not totally opposite. So they adopt a dialectical and flexible way. That means they will choose the most appropriate one depending on the text's demand. Therefore, we can deduce from it that this dialectical translation is consistent with the Contradiction View of Unity of Opposite in Materialist Dialectics. In fact, literal translation and free translation are a set of contradictions which are both opposite and unified. They complement each other into an integral one.&lt;br /&gt;
&lt;br /&gt;
The dispute between free translation and literal translation in Chinese translation circle first appeared in the dispute of &amp;quot;text&amp;quot; and &amp;quot;quality&amp;quot; in the Eastern Han Dynasty. During this period, Shi Dao-an, a senior monk in the Eastern Jin Dynasty, advocated literal translation and put forward that the translation should not be added or deleted but only make some adjustments to the word order. In the post-Qin period opposed to the Eastern Jin Dynasty, the monk Hatoyama advocated that the Buddhist scriptures should be translated freely. He suggested the original text should be changed to adapt to the Chinese style. Subsequently, Xuanzang, a senior monk of the Tang Dynasty, drew lessons from former translation achievements and put forward that we should seek both loyalty and vulgarity.(Chen Fukang 2011, 14-38) In another word, literal translation should complement with free translation, not just using one method. At that time, some translators have noticed that literal translation and free translation are not completely opposite. &lt;br /&gt;
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After that, in modern times from the Opium War to the May 4th Movement, since Yan Fu has put forward the translation standard of faithfulness, smoothness and elegance, Lu Xun and Qu Qiubai ignited the dispute on faith and smoothness. Lu Xun is a representative of literal translation school. He insists faithfulness first and smoothness second and even tolerates incoherence. He adopts the method of dead translation. While Qu Qiubai believes that faithfulness and smoothness are not opposite. From the New Culture Movement(1915-1923) to the 1980s, Mao Dun also put forward that literal translation doesn't mean word-for-word translation without any addition or deletion. Since the reform and opening up, Xu Yuanchong has said that literal translation should be faithful to the original content first then to the original form and last to the smooth translated text. On the other hand, free translation should be faithful to the original text first then to the smooth translated text and last to the original form. Therefore, although there are differences in translation methods between literal translation and free translation, their ultimate goal is to be faithful to the original content and express the original meaning.（Chen Fukang 2011, 288-333）&lt;br /&gt;
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Since Cicero, the first translation theorist in the western world, has put forward that we should avoid word-by-word translation but perform as a speaker, the dispute between literal translation and free translation began to appear in the West. In ancient times, Perot insisted on dead translation in the translation of the Bible, which greatly affected the translation quality. Poitius in the Middle Ages also advocated word-by-word translation and strict formal correspondence. In modern times, French translator Abulangour aimed to cater to readers in a way of over free translation and arbitrary deletion. &lt;br /&gt;
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Even so, there are many translation theorists in the western translation world who advocated  dialectical and flexible translation. For example, in ancient times, Jerome advocated the flexible principle to apply in literary translation and religious translation differently. During the Renaissance, French Amyot emphasized the dialectical unity of content and form, free translation and literal translation. Moreover, some translators did not exercise their own translation ideas. During the Renaissance, Reichlin was one of them. Although he advocated word-by-word translation, he abandoned this method in his practice. This can also further explain that absolute promotion of literal translation or free translation is not desirable. In translation practice, we must take a suitable degree in the way of combining literal translation and free translation to better serve the target readers.(Tan Zaixi 2004, 5-15 )&lt;br /&gt;
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The purpose of this paper is to explore the dialectical thinking contained in the dispute between literal translation and free translation, that is, the viewpoint of unity of opposites between them. The first chapter is about the word-for-word translation, and the second chapter is about the over free translation. From these two parts, we can draw a conclusion that it is not advisable to regard literal translation and free translation as absolute opposites. The third chapter is about the dialectical translation, which is the correct method for us to learn and adopt. It is also a method that follows the view of unity of opposites. The fourth chapter will analyze the differences between literal translation and free translation from the view of definitions and application fields. Then the fifth chapter focuses on the unity of literal translation and free translation in translation goals, translation procedures and translation standards. Through the discussion of the whole article, we can clearly see the unity of opposites between literal translation and free translation and draw a conclusion that we should apply dialectical translation in our translation practice and adopt the point of view of unity of opposites in translation theory. (He Lirong 2018, 40)&lt;br /&gt;
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===1.Dialectical thinking of the Unity of opposites===&lt;br /&gt;
The theory of unity of opposites is the core content of materialist dialectics theory. (Xu Guoliang 2020, 75) In the history of philosophy, the German philosopher Hegel first expounded the basic thought of contradiction theory from the standpoint of objective idealism. Later, Marx, Engels and Lenin critically absorbed Hegel's theory and developed contradiction theory into the core content of materialist dialectics theory. The theory of contradiction contains two basic problems, and one is the relationship between unity and opposition, while the other is the universality and particularity of contradiction, which involves a series of basic concepts of contradiction theory, such as basic contradiction and non-basic contradiction, fundamental contradiction and non-fundamental contradiction, principal contradiction and non-principal contradiction. Understanding these basic concepts and their relationships is the key to understanding and grasping the contradiction theory completely and accurately and finally applying it to the practice of social life. (Yan Mengwei 2020, 41)&lt;br /&gt;
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The problem of unity and opposition of contradiction is actually about the nature of contradiction. We always know things from comparison. The so-called comparison is to find the similarities and differences between two things. The former is called unity and the latter is called opposition. The unity is relative and the opposition is absolute. It is worth emphasizing that the opposition of contradictions plays a key and decisive role in development, because development comes from the unity of opposites. This means that unity and opposition are two indispensable elements in the process of development. They complement and interact with each other.&lt;br /&gt;
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Literal translation and free translation are such a pair of contradictions. The opposition of the two is reflected in the absolute opposition between word-for-word translation and over free translation, while the unity is reflected in their commons. More clearly, there are differences in their definitions and applications and similarities in their translation goals, procedures and standards.(Yang Ying 2019,161)&lt;br /&gt;
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===2.Word-for-word translation===&lt;br /&gt;
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Literal translation is a method that not only maintains the original content, but also the original form.(Xu Yuanchong 1996,92) Fu Sinian and Zheng Zhenduo all advocate literal translation. In the history of modern Chinese translation, Lu Xun and his younger brother Zhou Zuoren's works of The Collection of Extraterritorial Fiction are regarded as the representatives of literal translation.&lt;br /&gt;
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In particular, literal translation is neither dead translation nor a mechanical verbatim translation. Because English and Chinese have different structures, it is impossible to translate word by word. From the perspective of linguistics, the biggest difference between them is that Chinese focuses parataxis while English focuses hypotaxis.(Zhu Xiaojia 2008, 1) In another word, in Chinese, a sentence is usually short with few modifiers and connected words, while in English, several meanings can be expressed by use of complicated structure with assorted clauses and connected words only in a sentence.&lt;br /&gt;
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Besides, the English is a more static language in which nouns and adjectives are always used, but the Chinese is the more dynamic one, and verbs are more active in it. Finally, the former has a systematic grammar but the latter seems free in its arrangement.(Cao Huoqun 2005, 40)&lt;br /&gt;
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Therefore, when we do some translating exercise, we should focus on their grammar structures. When the structure of the original text is inconsistent with that of the target language, adopting word-for-word translation will lead to formalism. Such a translated text is also not intelligible for readers. Literal translation must be readable without any misunderstanding or violation of expression.&lt;br /&gt;
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===3.Over free translation===&lt;br /&gt;
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Free translation refers to the method that maintains original content rather than original form. In the process of translation, in order to make the language clear and persuasive, the translator must try to conform to the language customs of target texts rather than adhere to the expressive pattern of the original work. Zhao Jingshen put forward that it is better to be smooth with some disloyalty instead of absolute loyalty. Obviously, Mr. Zhao Jingshen is in favor of free translation, and so does Mr. Yan Fu. Many of Yan Fu's classical works have adopted free translation, the Theory of Heaven is a typical example of free translation.&lt;br /&gt;
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When we translate English into Chinese, especially some idioms that are in closer ties with western culture, we have to move or change these cultural barriers so that Chinese readers could understand easily. It is also true when translating Chinese into English. Under this condition, free translation will be more suitable and effective.&lt;br /&gt;
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However, free translation does not mean random translation. Random translation means making up sentences by subjective imagination without analyzing the structure of the original text. It is also known as over free translation.(Wu Shuang 2018, 107) In fact, when we translate, we must master the thought and style of the original and regard them as the correspondence of the target language. In addition, the theory, fact and logic of the original work should also be corresponding in the target language. We can not replace these features of the original with our personal thoughts, styles, facts, theories and logic. Only in this way can the contents not be changed after translation.&lt;br /&gt;
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===4.Dialectical translation===&lt;br /&gt;
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Feng Qinghua put forward in the book of A Practical Translation Course that the so-called literal translation is a kind of translation method to maintain both the original content and the original form. If there are the same language form and expressive effect between original and target text, we should adopt literal translation to deliver the same contents. While the so-called free translation is a method to keep the original content and style only. So if there are different language forms and expressive effects between the two texts, we should adopt free translation mostly. (Feng Qinghua 1997, 12)&lt;br /&gt;
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Therefore, Literal translation and free translation have their own advantages and restrictions. The former is beneficial to the transplantation of culture, while the latter can avoid obscurity in literal translation.&lt;br /&gt;
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In literal translation, we will translate the sentence “mashing a mirror is no way to make an ugly person beautiful, nor is it a way to make social problem evaporate” into &amp;quot;砸镜子不能使丑八怪变漂亮,也不能使社会问题烟消云散&amp;quot;, while in free translation, we can turn it into &amp;quot;砸镜子并不能解决实际问题&amp;quot;. (Fan Zhongying 1994, 22) We can see the latter one is more concise and comprehensive to express the connotative meaning. Although the former is totally literal translation, we still feel it terrible.&lt;br /&gt;
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Therefore, a translator should use these two translation strategies according to the specific situation to express the surface structure and deep meaning of the original text. The use of literal or free translation depends on the rules of both English and Chinese. In translation, if we can not directly adopt the structure and expressive form of the original work, we must change the sentence structure and expressive way to convey the connotation of the original work. An excellent translated text is realized neither by simple literal translation nor by simple free translation but by the combination of two. We should adopt dialectical translation in our practice.&lt;br /&gt;
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===5.Opposition and unity between literal translatiuon and free translation===&lt;br /&gt;
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===5.1 Opposition===&lt;br /&gt;
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===5.1.1 Opposition in definition===&lt;br /&gt;
Qiao Zengrui defines literal translation in Chapter 4 of Translation Theory as a method that deliberately retains the original form to maintain the content and style of the original. At the same time, He also defines free translation as a method that keeps the original content and style by use of the same or similar expressions as the original text in the target language regardless of the two different languages. The first one regards form as the only way, content and style as targets, while the second directly takes no account of form. With this regard, the two totally opposite in definition.(Qiao Zengrui 2000,78)&lt;br /&gt;
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===5.1.2 Opposition in application fileld===&lt;br /&gt;
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Generally speaking, literal translation is used to translate some political books, laws, treaties, scientific and technological documents, terms, idioms, and some simple sentences. (Wu Shuang 2018,178) The early translation of Buddhist scriptures of early Chinese generally followed this theory. So do the Marxism-Leninism works and Mao Zedong's works. For example, &amp;quot;纸老虎&amp;quot; can only be translated as &amp;quot;paper tiger&amp;quot; but not &amp;quot;scarecrow&amp;quot;. The latter one was corrected by Mao Zedong when the interpreter translated it into &amp;quot;scarecrow&amp;quot;. Chairman Mao emphasized that this word had two characteristics and if it was translated into &amp;quot;scarecrow&amp;quot;, it will lose duality. Because &amp;quot;纸老虎&amp;quot; in China means imperialism and reactionary, which seems scary but no great power in it. Since it is made of paper, this tiger becomes soft in the damp and finally was washed away when it was rained. While scarecrow can scare away children and birds. So paper tiger is better than scarecrow.&lt;br /&gt;
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In the process of translation, there are many situations that literal translation can not be applied, so we must adopt the method of free translation, especially the translation of literary works.(Wu Shuang, 2018, 178) On the one hand, there are many common traditional Chinese words that reflect the unique cultural concepts and cultural phenomena of our country, which can't be translated directly into corresponding words in English. For instance, if we translate&amp;quot;初生牛犊不怕虎&amp;quot; into &amp;quot;A new born calf is not afraid of a tiger&amp;quot;, then our target readers in English-speaking countries will find it difficult to understand the substance of the literal meaning.(Yang Yin 2019, 161) So here &amp;quot;The more wit, the less courage&amp;quot; will be better. On the other hand, some certain maxims, idioms and puns in English have no choice but to use free translation.(He Lirong 2018,43) For example, &amp;quot;have a wolf in the stomach&amp;quot; means &amp;quot;饥肠辘辘&amp;quot; 饥饿难忍&amp;quot; rather than &amp;quot;肚子里有个豺狼&amp;quot;. Moreover, some exclusive English nouns should be freely translated such as &amp;quot;the heel of Achilles&amp;quot; into &amp;quot;致命的弱点&amp;quot; instead of &amp;quot;阿克琉斯的脚后跟&amp;quot;.&lt;br /&gt;
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===5.2 Unity===&lt;br /&gt;
===5.2.1 Unity in translation goal===&lt;br /&gt;
In literal translation, loyalty to the original form should be put first, followed by loyalty to the original content and last pursuit of fluency and popularity in target language. In free translation, loyalty to the original content should be put first, then the fluency and popularity of the translation language second, and the original form comes last. It can be seen that loyalty to the original content is the common purpose of literal translation and free translation.(Wu Shuang 2018, 108)&lt;br /&gt;
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The unity of literal translation and free translation is also reflected in the fact that the translation must be smooth and fluent and conform to the expressive habits of target language. If the translated text is obscure and unreadable without conforming to the habits of the target language and culture, the two translation strategies have not achieved the true unity, so the purpose of communication has not been achieved.&lt;br /&gt;
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Therefore, literal translation and free translation are two different translation methods used in translation. They are unified in the translation purpose to accurately and faithfully convey the original meaning and intention with the same form and spirit as the original text.(He Lirong 2018, 41)&lt;br /&gt;
===5.2.2 Unity in translation procedure===&lt;br /&gt;
The literal translation and free translation are unified in translation procedures. Both of them should conform to the following translation steps of understanding, expression and verification.&lt;br /&gt;
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Understanding is the first stage of translation process. It includes not only the understanding of language and cultural phenomena, but also logical relations. A translator should be good at analyzing ambiguous sentences and make correct judgments before translating. Expression is the process by which the translator reproduces the content of the original text into target language. Expression is the result of understanding, but understanding correctly does not mean expressing right. Therefore, we must learn many specific methods and techniques, such as literal translation, free translation, literal translation plus free translation, literal translation plus annotation, and so on.&lt;br /&gt;
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The third stage is verification. In this stage, we must check the translation at least twice. In the first time, we should check whether there is any missing translation or wrong translation. And in the second time, we should check whether it's smooth and intelligible out of the original text.&lt;br /&gt;
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Whether literal translation or free translation, we must follow the three steps of understanding, expression and verification in translation practice. Understanding is the premise of expression, but understanding and expression are usually complementary and unified, which can not be separated completely. To understand the original text, the translator also chooses the expressive way and further deepen his or her understanding.&lt;br /&gt;
===5.2.3 Unity in translation standard===&lt;br /&gt;
On the establishment of translation standards, Chinese and foreign translation theorists in different historical periods put forward different views. In China, there are Ma Jianzhong's view of &amp;quot;good translation&amp;quot; on the basis of modern linguistic theory, Yan Fu's translation standards of &amp;quot;faith, smoothness, and elegance&amp;quot;, Chen Xiying's theory of “similarities in shape, meaning and spirit”, Lin Yutang's translation standards of “loyalty, smoothness and beauty”. In the West, there are Twelve Translation Principles of Bart, Three Principles of Tettler, Seven principles of Luther, and functional equivalence of Nida and so on. All these translation standards are based on different social needs, translation contents, translation objects and translation purposes.(He Lirong 2018, 42)&lt;br /&gt;
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No matter which translation standard we use, it is impossible to meet only by literal translation or free translation. Therefore, the two translation methods are unified in any translation standard. Therefore, they are inseparable unity of opposites.&lt;br /&gt;
===6.Conclusion===&lt;br /&gt;
Literal translation and free translation are two different translation methods. Although they are different in conceptual definition and applicable field, in order to achieve a unified translation standard and a common translation purpose, they both follow the same three steps of understanding, expression and verification.&lt;br /&gt;
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In the process of translation, if the target text has the same form and style as the original text, it can be translated literally. If there are different forms and styles, it should be translated freely. When the structure of the original text is inconsistent with that of the target language, sticking to word-for-word translation will cause stiff translation difficult to understand. In the same way, making up sentences through subjective assumption according to the literal meaning without analysis of original text will cause random translation disloyalty to the original one.&lt;br /&gt;
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Therefore, we can conclude that we should treat literal translation and free translation with a dialectical way and use these two translation methods flexibly to create wonderful translations in our concrete translation practice.&lt;br /&gt;
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Siyu Zou. (2017). Dialectical Relationship between Translation Theory and Practice[P]. Proceedings of the 7th International Conference on Education, Management, Information and Mechanical Engineering (EMIM 2017).&lt;br /&gt;
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Chen Fukang 陈福康. (2011). 中国译学史 [History of translation studies in China]. Shanghai: Shanghai Foreign Language Press.&lt;br /&gt;
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Cao Huoqun 曹火群. (2005). 翻译中的辩证关系 [Dialectic relationships in translation]. 孝感学院学报 Journal of Xiaogan University (05) 39-43.&lt;br /&gt;
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Feng Qinghua 冯庆华. (2002). 实用翻译教程 [Practical translation course]. Shanghai：Shanghai Foreign Language Education Press.&lt;br /&gt;
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Fan Zhongying 范仲英. (1994). 实用翻译教程 [Practical Translation Course]. Beijing:Foreign Language Teaching and Research Press.&lt;br /&gt;
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He Lirong 何历蓉. (2018). 论“直译与意译”在英汉翻译中的对立与统一 [On the opposition and unity of literal translation and Free Translation in English-Chinese translation]. 宿州教育学院学报 journal of suzhou education institute 21(04):40-43.&lt;br /&gt;
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Qiao zengrui 乔曾锐. (2000). 译论—翻译经验与翻译艺术的评论和探讨 [Translation theory: A review of translation experience and the art of translation]. Beijing: China Industry and Commerce Joint Press.&lt;br /&gt;
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Tan Zaixi 谭载喜. (2004). 西方翻译简史 [A Brief History of Western translation]. Beijing：Commercial press.&lt;br /&gt;
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Wu Shuang 吴爽. (2018). 翻译的最高境界—直译与意译的完美统一[The highest level of translation - the perfect unity of literal translation and free translation].现代交际 Modern communication (08):107-108.&lt;br /&gt;
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Xu Guoliang 徐国亮. (2020). 对立统一：唯物辩证法的核心与列宁的发展 [Unity of opposites: The Core of Materialist Dialectics and The development of Lenin]. 中共中央党校（国家行政学院）学报 Journal of Party School of the CPC Central Committee (National Academy of Governance) 24(05):75-83.&lt;br /&gt;
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Xu Yuanchong 许渊冲. (1980). 直译与意译 [literal translation and free translation]. Journal of Foreign Languages (6).&lt;br /&gt;
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Xu Yuanchong 许渊冲. (1996). 译家之言 [The Word of the Translator].出版广角 View on Publishing(6):92-94.&lt;br /&gt;
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Yan Mengwei 阎孟伟. (2020). 关于唯物辩证法矛盾学说的几个基本问题 [Some basic questions about the contradiction theory of materialist dialectics]. 思想理论教育导刊 Journal of ideological and theoretical education (08):40-47.&lt;br /&gt;
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Yang Yin 杨颖. (2019).  浅谈直译与意译的动态统一 [On the dynamic unity of literal translation and free translation]. 海外英语 Overseas English (17):160-161.&lt;br /&gt;
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Zhu Xiaojia 朱晓嘉. (2008). 形合、意合的辩证观与翻译策略 [Dialectic thinking and Translation strategies of hypotaxis and Parataxis]. Nanjing: Nanjing Normal University.--[[User:Gan Fengyu|Gan Fengyu]] ([[User talk:Gan Fengyu|talk]]) 01:52, 21 December 2020 (UTC)&lt;br /&gt;
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== Peter Newmark’s Improved Views on Literal Translation and Free Translation 赵茜 Zhao Xi,202070080627==&lt;br /&gt;
===Abstract===&lt;br /&gt;
The dispute over the two basic translation methods, literal translation and free translation, has never stopped since ancient times. In view of the basic problem of his argument, Peter Newmark, an English translation theorist divides the various translation methods into eight, points out that different translation methods should be taken according to different text characteristics and puts forward with semantic translation and communicative translation bases on years of translation researches. Semantic translation focuses on maintaining the content of the original text, while communicative translation emphasizes the effect of the translation. The author of this paper expresses some views on literal translation and free translation. Peter Newmark's theory has taken a big step forward from the fragmented and one-sided view of literal translation and free translation in the past, which has brought people out of the struggle between them and made people see the direction of further development of translation research.&lt;br /&gt;
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The dispute over the two basic translation methods, literal translation and free translation, has never stopped since ancient times. In view of the basic problem of his argument, Peter Newmark, an English translation theorist divides the various translation methods into eight, points out that different translation methods should be taken according to different text characteristics and puts forward with semantic translation and communicative translation base'''d''' on years of translation researches. Semantic translation focuses on maintaining the content of the original text, while communicative translation emphasizes the effect of the translation. The author of this paper expresses some views on literal translation and free translation. Peter Newmark's theory has taken a big step forward from the fragmented and one-sided view of literal translation and free translation in the past, which has brought people out of the struggle between them and made people see the direction of further development of translation research.--[[User:Zhang Peiwen|Zhang Peiwen]] ([[User talk:Zhang Peiwen|talk]]) 08:42, 19 December 2020 (UTC)&lt;br /&gt;
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===Key words=== &lt;br /&gt;
Free translation, Literal translation, Peter Newmark, Semantic translation, Communicative translation&lt;br /&gt;
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===摘要===&lt;br /&gt;
直译与意译这两种翻译基本方法之争从古至今从未停止过。针对其争论的基本问题，英国翻译理论家彼得·纽马克把各种翻译方法分成了八种，指出应根据不同的文本特点釆取不同的翻译方法，并在多年翻译研究的基础上提出了语义翻译和交际翻译。语义翻译重点在强调保持原文的内容，而交际翻译更多强调的是译文的效果。本文作者也提出了对直译和意译的一些看法。彼得·纽马克的理论把人们以往对直译、意译的零散的、片面的观点向前推进了一大步，使人们从直译、意译之争中走出来并看到翻译研究进一步发展的方向。&lt;br /&gt;
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===关键词===&lt;br /&gt;
直译, 意译, 彼得·纽马克, 语义翻译, 交际翻译&lt;br /&gt;
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===Introduction===&lt;br /&gt;
According to Chinese and western translation history, no matter in China or in western countries, studies on translation theories and practice have been performed over two thousand years. Translation, as an ancient and extremely significant human thinking activity, is closely related to the development of language itself. And translation after more than two thousand years of development, has developed prosperously, appearing quantities of translation theories, translation schools and translators. However, the dispute between two translation methods, literal translation and free translation has been lasting from throughout history. The fundamental problem between literal translation and free translation is based on the relationship between content and form. To solve this fundamental problem of the dispute, Peter Newmark first points out that translation studies have been long beset by the time-honored theoretical debate over free and literal translation. A range of wider aspects of translation related to the contribution to the development of languages, its relation to meaning, the intention of translation, the readers' background, the type of discourse and the language universals have been long neglected. Therefore, according to Newmark's own translation practice, he puts forward right translation methods, word-for-word translation, literal translation, faithful translation, semantic translation, adaption, free translation, idiomatic translation and communicative translation, which provide to translators to consider and use. Although in the actual translation practice, translators have no necessity to distinguish such translation methods and even to use these methods, this proposal may help translators open their horizons and translate more appropriately. Among the eight translation methods, semantic translation and communicative translation proposed by Newmark own the advantages of other six methods, becoming the most ideal translation methods. Peter Newmark's semantic translation and communicative translation are highly valued and influence the practice of translation in general. (Li Minghan 2014, 3)&lt;br /&gt;
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According to Chinese and western translation history, no matter in China or in western countries, studies on translation theories and practice have been '''done''' over two thousand years. Translation, as an ancient and extremely significant human thinking activity, is closely related to the development of language itself. And translation after more than two thousand years of development, has developed prosperously, '''including''' quantities of translation theories, translation schools and translators. However, the dispute between two translation methods, literal translation and free translation has been lasting throughout history. The fundamental problem between literal translation and free translation is based on the relationship between content and form. To solve this fundamental problem of the dispute, Peter Newmark first points out that translation studies have been long beset by the time-honored theoretical debate over free and literal translation. A range of wider aspects of translation related to the contribution to the development of languages, its relation to meaning, the intention of translation, the readers' background, the type of discourse and the language universals have been long neglected. Therefore, according to Newmark's own translation practice, he puts forward right translation methods, word-for-word translation, literal translation, faithful translation, semantic translation, adaption, free translation, idiomatic translation and communicative translation, which provide to translators to consider and use. Although in the actual translation practice, translators have no necessity to distinguish such translation methods and even to use these methods, this proposal may help translators open their horizons and translate more appropriately. Among the eight translation methods, semantic translation and communicative translation proposed by Newmark own the advantages of other six methods, becoming the most ideal translation methods. Peter Newmark's semantic translation and communicative translation are highly valued and influence the practice of translation in general. (Li Minghan 2014, 3)--[[User:Zhang Peiwen|Zhang Peiwen]] ([[User talk:Zhang Peiwen|talk]]) 08:48, 19 December 2020 (UTC)&lt;br /&gt;
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===Literal Translation and Free Translation===&lt;br /&gt;
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====Brief Introduction of Literal Translation and Free Translation====&lt;br /&gt;
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From ancient times, translators hold various attitudes toward such two translation methods, literal translation and free translation. &lt;br /&gt;
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=====Literal Translation=====&lt;br /&gt;
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Literal translation is a translation method which not only keeps the substance of the original, but also keeps the form of the original. This definition implies that the translation version is expressing the content of the original and should spare no efforts to make every part of the translation version corresponding to every part in the original text including construction of sentence, meaning of the original words, metaphor of the original and so on. &lt;br /&gt;
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According to Liu Zhongde, literal translation can be summarized into &amp;quot;to reproduce both the ideological content and style of the entire literary work and retain as much as possible the figures of speech&amp;quot;. (Liu Zhongde 1991, 52) &lt;br /&gt;
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Xu Yuanchong defines literal translation as &amp;quot;the kind of translation which is faithful not only to the content but also to the form of the original.&amp;quot; (Xu Yuanchong 1984, 45)&lt;br /&gt;
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Newmark suggests that literal translation is like, &amp;quot;sometimes it is very difficult to define what is literal translation, it is believed that a translation can be regarded as the literal translation when the translator is not influenced but the foreign flavors.&amp;quot;(Newmark 2001, 46) &lt;br /&gt;
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Mr. Yang Xianyi holds that the translators should be as faithful as possible to the original image and too much explanation and creativity should be avoided. This means translators should try to use literal translation method to introduce imagery in the source language to the target language readers. The reason why those translators who insist on literal translation are that they think literal translation is the only way to keep faithful to the original. They endeavor to adopt from as similarly as possible to the original to show the original meaning, thinking that it's the truest reflection of the original. (Wang Zuoliang 1989, 43)&lt;br /&gt;
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Literal translation is a translation method which not only keeps the substance of the original, but also keeps the form of the original. This definition implies that the translation version expresses the content of the original and should spare no efforts to make every part of the translation version corresponding to every part in the original text, including construction of sentence, meaning of the original words, metaphor of the original and so on.--[[User:Zhang Peiwen|Zhang Peiwen]] ([[User talk:Zhang Peiwen|talk]]) 08:57, 19 December 2020 (UTC)&lt;br /&gt;
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=====Free Translation=====&lt;br /&gt;
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Free translation is a translation method which only keeps the substance of the original, but not keeps the form the original. Target language and source language have different forms to show the same substance, and they could not produce the same result. Free translation does not mean to delete or add content to the original, though it does not pay much attention to the form of the original. Otherwise, the translation would not be faithful to the original. Translators always discover the meaning behind the forms in the source language and dose their best to produce the same meaning in the target language, using the forms and structures in the target language. Consequently, what is supposed to change is the form and the code, and what should remain unchanged is the meaning and the message. &lt;br /&gt;
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Shuttle worth and Cowie define free translation as &amp;quot;a type of translation in which more attention is paid to producing a natural target language than to preserving the source language wording intact.&amp;quot; (Shuttle worth&amp;amp;Cowie 2004, 62)&lt;br /&gt;
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Free translation is the conveying of the discourse meaning of the speaker is not restricted by the structure and linguistic and rhetoric styles of the original text. (Ren Wen 2012, 18)&lt;br /&gt;
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Liu Zhongde has given his definition to free translation. According to his definition, free translation aims at transmitting the meaning regardless of the sentence forms and rhetorical devices. If translators are not able to  make the translated text faithful to the original text through literal translation, they may use their own words to explain the meaning of the text without considering the words and forms in original text. (Liu Zhongde 1991, 53-54)&lt;br /&gt;
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====Disputes over Free Translation and Literal Translation====&lt;br /&gt;
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In the past, translators generally believed that language and thought were unified, and language was form while thought was content. However, it was impossible to realize the consistence between language forms and ideological content, producing the contradiction between form and content, which is the problem between literal translation and free translation. Modern science has proved that language and thought are not a unity and constitutes a relationship between form and content. Language is only a symbolic system to express thoughts. Translation expresses the same idea by using two different language signals. &lt;br /&gt;
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Marcus Tullius Cicero is generously acknowledged to be the first person to put forward a systematic description of the practice of translation and he said &amp;quot;I did not translate them as an interpreter, but as an orator... I did not hold it necessary to render word for word, but I preserve the general style and force of language.&amp;quot; (Tan Zaixi 2018, 20) He puts forward mainly two viewpoints. Firstly, the translation should be as close as possible to the language habits of the target language. At that time, namely, the translation should correspond with Roman habits as much as possible to touch and resonate with the readers. What's more, he advocates free translation and opposes literal translation as he believes that free translation is superior to literal translation. The most important thing in translation is not the corresponding in form, but the meaning and thought in the source language. Cecero's thoughts have provided a guide for other translators and produced an effect on them. Since Cicero came up with his opinion, the disputes over literal translation and free translation has never been stopped. &lt;br /&gt;
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Eugene Nida holds that if all languages differ in form, then quite naturally the forms must be changed if one is to preserve the content. He is in favor of dynamic equivalence instead of formal correspondence, maintaining the original meanings. In this sense, Nida agrees with free translation, just as he expresses that translating means translating meaning. (Nida 1985, 119-125)&lt;br /&gt;
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Zhai Qiubai insists literal translation and claims that the correct translation is based on Chinese syntax and rhetoric and has its specific intentions. First of all, he regards translation as a part of Proletarian literature. Translation should systematically introduce proletarian revolution thoughts to Chinese readers. Furthermore, translation should help create modern Chinese language and literal translation is an approach. To preserve the spirit in the original text, some non-smoothness can be tolerated. (Cheng Yongsheng 2002, 65) &lt;br /&gt;
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Lu Xun defines clearly that translation must take into account of two sides: one is easy to understand, the other maintains the style of the original. This explanation refers that the translators must translate according to the original text rather than their own world view and aesthetic taste. The translators must try their best to maintain the style of the original author and inherit historic and national characters rather than imposing extrinsic aesthetic and social background culture of other people on the translation. (Chen Fukang 2000, 301)&lt;br /&gt;
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Mao Dun has pointed out that due to different language families of Chinese and English and different structures, word-by-word translation us almost impossible actually. Because word-by-word translation is difficult to achieve its ideal effect, any discussion related with literal translation and free translation is inevitably involved with the problem &amp;quot;what is the boundary between them?&amp;quot; He also holds that the so-called literal translation, superficially speaking, means not to alter the original words and sentences. (Xu Haiyan &amp;amp; Sun Weihong 2012, 80)&lt;br /&gt;
Mao Dun has pointed out that due to different language families of Chinese and English and different structures, word-by-word translation '''is''' almost impossible actually. Because word-by-word translation is difficult to achieve its ideal effect. '''Any''' discussion related with literal translation and free translation is inevitably involved with the problem &amp;quot;what is the boundary between them?&amp;quot; He also holds that the so-called literal translation, superficially speaking, means not to alter the original words and sentences. (Xu Haiyan &amp;amp; Sun Weihong 2012, 80)--[[User:Zhang Peiwen|Zhang Peiwen]] ([[User talk:Zhang Peiwen|talk]]) 09:12, 19 December 2020 (UTC)&lt;br /&gt;
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In Xu Yuanchong's opinion, the criteria to judge literal translation and free translation is whether the translation is faithful to the original. If a translation is faithful to both meaning and form of the original text, it is literal translation. If a translation is only faithful to meaning rather than form, it is free translation. If a translation is only faithful to form rather than content, it is mechanical translation. And the standard to judge faithfulness are form and content. For translation, content is more significant than form. Besides, translators should use both literal translation and free translation. However, sometimes it is difficult to use literal translation or free translation in a translation, so it is not necessary to define literal translation or free translation in those situations. Xu argues that literal translation is not only being faithful to the content of the original text but also being close to its form. When Xu discusses the situations using literal translation or free translation, he often mentions readers and contexts, among which readers are more important. No matter literal translation or free translation, translators should put faithfulness to the content of the original text first, smoothness of target text form second, faithfulness to the form of the source text third. In other words, on the premise of faithfulness to the source language, translation should strive for smoothness of form. On the premise of smoothness of translation, translators should try their best to realize faithfulness to form of the original. If there is a contradiction between the smoothness and faithfulness of the original form, it is of no necessity to stick to the original form. These are the relationships between content and form, and literal translation and free translation. (Cheng Yongsheng 2002, 66)&lt;br /&gt;
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In Xu Yuanchong's opinion, the criteria to judge literal translation and free translation is whether the translation is faithful to the original. If a translation is faithful to both meaning and form of the original text, it is literal translation. If a translation is only faithful to meaning rather than form, it is free translation. If a translation is only faithful to form rather than content, it is mechanical translation. '''Also, there is the standard to judge faithfulness are form and content.''' For translation, content is more significant than form. Besides, translators should use both literal translation and free translation. However, sometimes it is difficult to use literal translation or free translation in a translation, so it is not necessary to define literal translation or free translation in those situations. Xu argues that literal translation is not only being faithful to the content of the original text but also being close to its form. When Xu discusses the situations using literal translation or free translation, he often mentions readers and contexts, among which readers are more important. No matter literal translation or free translation, translators should put faithfulness to the content of the original text first, smoothness of target text form second, faithfulness to the form of the source text third. In other words, on the premise of faithfulness to the source language, translation should strive for smoothness of form. On the premise of smoothness of translation, translators should try their best to realize faithfulness to form of the original. If there is a contradiction between the smoothness and faithfulness of the original form, it is of no necessity to stick to the original form. These are the relationships between content and form, and literal translation and free translation. (Cheng Yongsheng 2002, 66)--[[User:Zhang Peiwen|Zhang Peiwen]] ([[User talk:Zhang Peiwen|talk]]) 09:12, 19 December 2020 (UTC)&lt;br /&gt;
Whether in Chinese translation circle or in western translation circle, the contradiction between content and form, and literal translation and free translation exists and arouses heated discussion.&lt;br /&gt;
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===Semantic Translation and Communicative Translation===&lt;br /&gt;
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To solve the fundamental problem of free translation and literal translation, Peter Newmark, a renowned western translation theorist, linguist and professor of translation at the University of Surrey, combining with years of translation experience, has concluded and summarized a corresponding theory, semantic translation and communicative translation, whose core is the problem of literal translation and free translation. Semantic translation and communicative translation have been put forward against the background that the majority of scholars have argued for a long time whether to translate literally or freely. The concepts of communicative and semantic translation represent Newmark’s main contribution to general translation theory. (Newmark 1991, 10)&lt;br /&gt;
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====Semantic Translation====&lt;br /&gt;
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Newmark puts the definition of semantic translation as &amp;quot;Semantic translation, attempts to render, as closely as the semantic and syntactic structures of the second language allow, the exact contextual meaning of the original. &amp;quot; As this version of definition indicates, communicative translation focuses essentially upon the comprehension and response of TL receptors. Semantic translation severs for the source language author and gives a high priority to reflecting his thought patterns and stylistics. (Shuttleworth and Cowie 2004, 22) Here is an example.&lt;br /&gt;
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E.g. 谋事在人，成事在天。&lt;br /&gt;
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Yang Hsien-yi and Gladys Yang's Version: Man Proposes, Heaven disposes.&lt;br /&gt;
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In this example, the Chinese idiom means that a man has done his or her best to do something and as to whether he or she can achieve the goal, it depends on the fortune. “天” refers to the master of nature in ancient Chinese culture. This word is semantically translated into “heaven” as the translation emphasizes the original information and tries to preserve the favor, style and culture maintained in the source language.&lt;br /&gt;
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====Communicative Translation====&lt;br /&gt;
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Communicative translation attempts to produce on its readers an effect as close as possible to that obtained on the readers of the original. As this version of definition indicates, communicative translation centers around the semantic aspects of the source language texts. To be specific, in communicative translation, the emphasis should be on conveying the message of the original in a form, which conforms to the linguistic, cultural and pragmatic conventions of target language. Both content and language are readily acceptable and comprehensible to the readership. (Chen Boyu 2003, 4)&lt;br /&gt;
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Communicative translation intends to present the main idea of the original text and emphasize the social value generated by the translation. Communicative translation highlights on conveying the message expressed in the original and form of the the source language. Due to different textual functions, content and form should have different focuses. Texts of informative function emphasize on the information beyond the language, while texts of vocative function center on readers. The primary intention of translators is to convey the message to the target readers, without paying much attention to the style of the original. If it is necessary, translators can adjust grammar and words to better transmit the information. The change of forms is not only allowed, but also encouraged. (Zhang Linlin 2010, 17)&lt;br /&gt;
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E.g. 谋事在人，成事在天。&lt;br /&gt;
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Hawkes's Version: Man Proposes, God disposes.&lt;br /&gt;
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This translation is communicative translation. Different from the version of Yang, Hawkes translated &amp;quot;天&amp;quot; into &amp;quot;God&amp;quot;. In western culture, people believe that &amp;quot;God&amp;quot; is the master of nature. It renders the contextual meaning of the original in such a way that both content and language are readily acceptable and comprehensible to the readers.&lt;br /&gt;
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====Comparison Between Semantic Translation and Communicative Translation====&lt;br /&gt;
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The fundamental difference between semantic translation and communicative translation is that semantic translation attaches more importance to the content rather than effect and communicative translation is just opposite. &lt;br /&gt;
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Firstly, semantic translation is more objective, stresses accuracy and is submitted to the author, culture and meaning of the original. Communicative translation is more subjective, pays much attention to the readers' responses, and is submitted to the target language and its culture. Semantic translation and communicative translation have difference in expression form. &lt;br /&gt;
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Second, semantic translation make the translated text more close to the original form and retain the vocative effect as much as possible. If there is no much difference between the source and target language specifications, translation should maintain the length of sentences in the original text as well. Communicative translation will reorganize the syntax and utilize more common collocations or words to make translation more fluent, idiomatic and understandable. In the communicative translation, to make the translation brief and emphasize key information, translators should get rid of the bondage of the source language structure and make appropriate adjustments which are not allowed in the semantic translation, such as adjusting the logic relations in the original, making obscure concepts distinct, deleting repeated unnecessary details or redundant information, normalizing some peculiar expressions, and even correcting factual or writing mistakes. &lt;br /&gt;
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Thus, they have different functions. Semantic translation, performing expressive function, tries to preserve the language characteristics and unique expression forms of the source language to present thinking process of the author. Its translation judged by the target readers is likely to be smoother, simpler, clearer and more direct. While communicative translation is to convey message, performing vocative function. &lt;br /&gt;
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In addition, the key of communicative translation is immediacy which means the success of translation depends on the readers' responses. Semantic translation lays stress on faithfulness to the source text, but cannot neglect to convey the message contained in the source text. (Lin Xiaoqin 1987, 50)&lt;br /&gt;
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Here are some examples to better present the differences between semantic translation and communicative translation.&lt;br /&gt;
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E.g. 世人都晓神仙好。&lt;br /&gt;
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Yang Hsien-yi and Gladys Yang's Version: All men long to immortals.&lt;br /&gt;
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David Hawkes’s Version: All men knew that salvation should be won. &lt;br /&gt;
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In this example, “神仙” is the difficult point because there is no corresponding expression in English. In Chinese culture, “神仙” refers to transcendence and is a life with “supernatural forces” in human beings. Yang directly translated “神仙” as “immortals” because being an immortal is the highest ideal of Taoism. His translation is semantic translation. While Hawkes used “salvation” which is a concept in the Christianity. The creed of Christianity is to be saved from sins. And his translation is communicative translation. Yang chose to be faithful to the original text to preserve the concept in the Taoism. While Hawkes decided to pay more attention to religious background and mentality of the target readers. &lt;br /&gt;
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E.g. 真是“天有不测风云，人有旦夕祸福”。&lt;br /&gt;
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Yang Hsien-yi and Gladys Yang's Version: Truly, “storms gather without warning in nature, and had luck befalls men overnight.”&lt;br /&gt;
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David Hawkes’s Version: I know “the weather and human life are both unpredictable.”&lt;br /&gt;
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In this sentence, “天有不测风云，人有旦夕祸福” is a challenge in translation. It is a Chinese idiom which means the occurrences of some disasters are unpredictable in advance. According to antithesis habit in Chinese, Yang translated these two idioms into the corresponding English compound sentence, which adopted semantic translation. While Hawkes briefly translated into a single sentence, which adopted communicative translation. The former sentence may be appreciated by Chinese readers, and the simplified processing of the latter is easier for native English speakers to understand and accept because it conforms to the British and American expressions, especially in line with the habits of daily expression.&lt;br /&gt;
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E.g. Wet Paint!&lt;br /&gt;
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Version 1: 湿油漆&lt;br /&gt;
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Version 2: 油漆未干&lt;br /&gt;
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Version 3: 小心油漆&lt;br /&gt;
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Version 4: 勿触油漆&lt;br /&gt;
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This sentence is an official notice. From the four versions of the source text, there are differences among them. Version 1 is word-by-word translation, conveying an obscure message and not involving in any receptors. Version 2 just describes a fact that the paint is not dry but wet and does not present the informative function of the original. This notice aims to warn people not to do something and keep away from the paint. Version 3 and version 4 are free translations because they emphasize more on the content instead of form. The first and second version are semantic translation because they only describe the fact and tell readers the information that the paint is not dry. However, the third and fourth version are communicative translation which not only tell people the information but also play the warning function to notify readers not to touch the wet paint. &lt;br /&gt;
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However, semantic translation and communicative translation are not opposite. Newmark points out that the two should be viewed as a whole, instead of isolated or opposite parts. And a problem should be emphasized. Corresponding text-types can overlap. Semantic translation pays more attention to a mainly expressive text and communicative translation is more popular in mainly informative or vocative texts. In brief, translators should think the type of text over and ensure a good balance between them.&lt;br /&gt;
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====Text Typology====&lt;br /&gt;
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Language is a unique symbolic system, which has its own most important semantic system, as well as a functional system involving context. &lt;br /&gt;
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Newmark's text tppology theory is influenced by Reiss, Jacobson and other translators. In the book of Approaches to Translation, Newmark put forward three functional texts, including expressive text, informational text and vocative text. In accordance with these types of classification, Newmark summarized semantic translation and communicative translation. (Newmark 2001, 39)&lt;br /&gt;
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Expressive text mainly talks about the author's subjective emotions and his or her standpoints, which centers on the source language and the author regardless of the target readers' responses. Newmark points out that the expressive text includes three literary styles: &amp;quot;(1)serious imaginative literature such as poem, novels and dramas, (2) authoritative statements such as speech or statements from government officials or party's officials or party's leaders, documents and regulations and laws from government, and academic works from authorities, (3) autobiography, prose and personal correspondence without target readers.&amp;quot; (Newmark 2001, 55) Semantic translation is applicable to the expressive text, with a particular emphasis on the language features and language structure of the original language which is similar to literal translation.&lt;br /&gt;
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As for informative text, Newmark proposes that &amp;quot;typical informative texts are concerned with any topic of knowledge&amp;quot;. (Newmark 1988, 40) The informative text focuses on the information or the content provided in the text. According to Newmark, informative text includes textbooks, papers, reports, and minutes about science, industry, technology, economy, commerce and other areas of knowledge or events, which are mainly used to deliver information and reflect truth. In light of translation of informative text, Newmark proposes that communicative translation can be adopted to convey accurate meaning or the content of the source text to the target readers. (Newmark 2001, 67)&lt;br /&gt;
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&amp;quot;The function of vocative text is to call upon readers to act, to think, to feel and to react in the way intended by the text.&amp;quot; (Newmark 2001, 41) The vocative text includes all kinds of specifications, publicity materials, advertisements, notices and other persuasive words. Two factors must be emphasized in vocative text: one is the relationship between the author of the source text and readers of the source text and another is that translation is easy to be understood by the target readers, therefore, translators should take the source language and its cultural background into consideration in the course of translation practice. And communicative translation should also be used in the vocative text which means much attention should be paid on the target readers' understanding and reaction.&lt;br /&gt;
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===Newmark's Improved Views on Literal Translation and Free Translation===&lt;br /&gt;
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It can be said that literal translation and free translation in the past were had their own disadvantages. Newmark agrees with literal translation and he holds that &amp;quot;translation means filling the blank between two languages and even explaining is translating.&amp;quot; (Newmark 1999, 33) This indicates that he does not neglect the importance of free translation. If the language and grammar structure of the original are not that important, the fidelity of the translation can be lowered, creating more room for translation. This situation can mainly adopts free translation. He even believes that translators can create better translation than the original one. Communicative translation and free translation resemble when it comes to the preference for the message to the manner, and the content to the form of the original. In his masterpiece ''Approaches To Translation'', he analyzes and discusses the loss of meaning. As long as the loss of meaning in the translation is inevitable, content cannot separate from form. And complete faithfulness to the original is almost impossible because the so-called preserving the original meaning is relative. What's more, the content of a text should not be equal to referent in language, but include referent, rhyme, genre, style and so on. As the slogan, being faithful to the original, was too empty, some translators advocating literal translation did free translation and even paraphrased the original in the practice. Newmark holds that translators need to notice the content in four layers, the original text level, referred level, coherent language level and natural tone level. In this way, he transforms the empty slogan into concrete requirements in the translation practice and meanwhile criticized the disadvantages of literal translation. (Newmark 1999, 33)&lt;br /&gt;
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Likewise, the viewpoints of free translation are not advisable as well. Newmark criticizes the basis of free translation school, making the target readers obtain feelings similar to that of the original readers. He thinks the goal is too difficult to achieve because translators had problem in completely knowing the feelings and responses of the original readers. He further puts forward some reasons why this goal cannot be realized. As long as the same feelings cannot be obtained by the source and target readers, there exists no reason or judging basis of great amending or creative rewriting.  Free translation produces the matter rather than the manner, or the content rather than the form. Newmark regards it as usually a paraphrase much longer than the original, often prolix and pretentious, and not translation at all. In free translation, &amp;quot;more translation is paid to producing a natural reading TL text than to preserving the ST wording intact.&amp;quot; (Shuttleworth and Cowie 2004, 62)&lt;br /&gt;
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Newmark criticizes that the argument is theoretical without taking other important facets of translator's purpose, the nature of readership and text typology into consideration. Newmark claims the argument could come to a compromise if translators deal with two sides with another visual angle. In 1981, he proposed semantic translation and communicative translation to replace the old terms. (Newmark 1988, 45)&lt;br /&gt;
&amp;quot;(a) communicative translation, where the translator attempts to produce the same effect of the target language readers as produced by the original on the source language readers, and (b) semantic translation, where the translator attempts, with the bare syntactic and semantic constraints of the TL, to reproduce the precise contextual meaning of the author.&amp;quot; (Newmark 1981, 22) In order to better explain these two methods, he designed the form of a flattened diagram. (Newmark 1988, 45)&lt;br /&gt;
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                SL emphasis                            TL emphasis&lt;br /&gt;
   word for word translation                        Adaption&lt;br /&gt;
          Literal translation                     Free translation&lt;br /&gt;
          Faithful translation                  Idiomatic translation&lt;br /&gt;
            Semantic translation               Communicative translation&lt;br /&gt;
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The diagram indicates that there is a hugest gap between the translation guided by word for word translation and the translation guided by adaption, then between literal translation and free translation, faithful translation and idiomatic translation and semantic translation and communicative translation last. These eight translation methods are a continuity, and they complement each other and cannot be completely separated. In Newmark's opinion, adaption is the freest translation method, and suitable for drama and poem translation. Free translation reproduces the main content of the original and pay more attention to interpret and expound. Target texts guided by idiomatic translation are more natural, more fluent and more coherent. But due to adopt some unknown expressions, the original meaning may be distorted.&lt;br /&gt;
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Communicative translation possesses the advantages of adaption, free translation, idiomatic translation and semantic translation maintains the advantages of word for word translation, literal translation and faithful translation. Newmark maintains only by combining semantic translation and communicative translation can achieve two aims of translation-accuracy and conciseness. By distinguishing these right methods, he gives further refinements to the above definition of semantic translation and communicative translation. He adds one more element &amp;quot;aesthetic value&amp;quot;. Meanwhile, he gives up emphasizing the &amp;quot;effect&amp;quot;, and refines communicative translation to be more specific, &amp;quot;communicative translation attempts to render the exact contextual meaning of the original in such a way that both content an language are readily acceptable and comprehensible to the readership.&amp;quot; (Newmark 1988, 47)&lt;br /&gt;
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===My Thoughts on Literal Translation and Free Translation===&lt;br /&gt;
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The two translation methods, literal translation and free translation, are useful in the translation practice. Taking English-Chinese translation for example, in the translating process, translators can use the method of literal translation when the pattern of sentence in original text is similar with the Chinese one, and we can find some Chinese words being equivalent in meaning to the words used in the sentence of original text. In some cases there are some complex sentences that can be translated with the method of literal translation as well. As long as these sentences are short and the pattern of these sentences is relatively simple compared with other complex sentences, they can be translated by literal translation method. In English, the using of some metaphors and similes is almost similar to the way that they are used by in Chinese. For instance, &amp;quot;time flies&amp;quot; in English can be directly translated into Chinese as &amp;quot;时间飞逝&amp;quot;, as the Chinese people also describe time passing very fast in this way, which accords with the expression habit of Chinese.&lt;br /&gt;
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As English and Chinese are two kinds of different languages, there are many differences in various aspects, such as different grammar and language habits. In English there are some words or phrases we cannot find the relative words or phrases in Chinese. In this cases, using using literal translation method would not be proper. Under this condition, if the translator insists on using literal translation, the translation text will be difficult to be understood by the target readers. So in order to make the translation text readable, translators should adopt free translation. Under the direction of literal translation, translators will try their best to keep the flavor of original work, no matter on the material or the form. Literal translation is the effective method to keep the cultural flavor of original language. Therefore, when there are some cultural differences affecting the translation of culture-loaded words between the source language and the target language, free translation can become one of the translation strategies which provide possibility in reducing or even removing the restrictive factors in translation process. &lt;br /&gt;
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In the process of translation, it is an ideal way to combine literal translation and free translation because they mutually complement in many cases. When literal translation cannot express the original and basic content of the author and hinder readers to understand, it is crucial for the translator to use free translation to express the author's meaning. When free translation cannot meet the requirement of being faithful to the content of the original text, it is significant for the translation to use literal translation to show features ad the structure of the author's language.&lt;br /&gt;
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===Conclusion===&lt;br /&gt;
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The dispute between two translation methods, literal translation and free translation has been lasting from throughout history. The argument of them is based on the relationship between content and form. This paper attempts to introduce Peter Newmark's improved views on the literal translation and free translation. Newmark criticizes some disadvantages and proposes semantic translation and communicative translation. Semantic translation focuses on maintaining the content of the original text, while communicative translation emphasizes more on the effect of the translation. The author also shows opinions on literal translation and free translation. Peter Newmark's theory has taken a big step forward from one-sided view of literal translation and free translation in the past, which has provided the direction of further development of translation research.&lt;br /&gt;
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===References===&lt;br /&gt;
*Nida,E.A[尤金·A·奈达].(1985).''Translating means Translating meaning''《翻译即译意》.UNESCO: Publication of FIT. &lt;br /&gt;
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*Newmark, Peter[彼得·纽马克]. (1991). ''About Translation''《关于翻译》. North Somerset: Multilingual Matters&lt;br /&gt;
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*Newmark,Peter[彼得·纽马克].(1998). ''A Textbook of Translation''《翻译教科书》. London: Prentice-Hall International (UK) Ltd. &lt;br /&gt;
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*Newmark, Peter[彼得·纽马克]. (1981). ''Approaches to Translation''《翻译方法》. Oxford: Pergamon Press.&lt;br /&gt;
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*Shuttleworth &amp;amp; Cowie[沙特尔沃斯&amp;amp;考伊]. (2004). ''Dictionary of Translation Studies''《翻译研究词典》. Shanghai: Shanghai  Foreign Language Education Press.&lt;br /&gt;
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*陈伯雨 Chen Boyu. “翻译对等” 研究[Study on Translation Equivalence]. 辽宁师范大学[Liaoning Normal University]. 2003.&lt;br /&gt;
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*陈福康 Chen Fukang.《中国译学理论史稿（修订本）》[''Draft History of Chinese Translation Theory (Revised)'']. 上海：上海外语教育出版社[Shanghai Foreign Language Education Publishing House]. 2000.&lt;br /&gt;
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*程永生 Cheng Yongsheng.中国近现代直译与意译研究[Research on Modern Chinese Literal Translation and Free Translation]. 淮南工业学院学报(社会科学版)[Journal of Huainan Institute of Technology(Social Science)]. 2002.&lt;br /&gt;
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*李明瀚 Li Minghan.语义翻译和交际翻译在汉语政论文翻译中的应用[Semantic Translation and Communicative Translation in the Translation of Chinese Political Writings]. 辽宁大学[Liaoning University]. 2014.&lt;br /&gt;
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*林小芹 Lin Xiaoqin.纽马克论交际翻译与语义翻译[Newmark's Study on Communicative Translation and Semantic Translation]. 中国翻译[Chinese Translators Journal]. 1987. &lt;br /&gt;
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*刘重德 Liu Zhongde.文学翻译十讲[Ten Lectures on Literary Translation]. 北京：对外翻译出版社[Foreign Translation Press]. 1991.&lt;br /&gt;
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*任文 Ren Wen.交替传译[Consecutive Interpretation]. 北京：外语教学与研究出版社[Foreign Language Teaching and Research Press]. 2012.&lt;br /&gt;
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*谭载喜 Tan Zaixi.《西方翻译简史（增订版）》[''A Short History of Translation in the West(Updated Version)'']. 北京：商务印书馆[Commercial Press]. 2018.&lt;br /&gt;
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*王佐良 Wang Zuoliang.翻译：思考与试笔[Translation: Thinking and Writing]. 北京：外语教学与研究出版社 [Foreign Language Teaching and Research Press]. 1989.&lt;br /&gt;
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*许海燕,孙卫红.杨译本文化负载词的翻译——以《从百草园到三味书屋》为例[On C-E Translation of Culture-loaded Words by Yang Xianyi—A Case Study of From ''Hundred-plant Garden to Three-flavor Study''].陇东学院学报[Journal of Longdong University]. 2012.&lt;br /&gt;
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*许渊冲 Xu Yuanchong.翻译的艺术[The Art of Translation]. 北京：五洲传播出版社[China Intercontinental Press]. 1984.  &lt;br /&gt;
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*许渊冲Xuan Yuanchong.直译与意译[Literal Translation and Free Translation]. 上海外国语学院学报[Journal of Shanghai Institute of Foreign Languages]. 1980.&lt;br /&gt;
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='''Document Translation'''=&lt;br /&gt;
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==On translation of official documents of CangNan County	吴恺	Wu Kai==&lt;br /&gt;
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On Translation of Official Documents of Cangnan County&lt;br /&gt;
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Japanese Language and Literature, School of Foreign Languages, Hunan Normal University, Wu Kai--[[User:Wu Kai|Wu Kai]] ([[User talk:Wu Kai|talk]]) 04:45, 2 December 2020 (UTC)&lt;br /&gt;
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==='''Abstract'''===&lt;br /&gt;
As one of the forefronts of Zhejiang’s opening-up cause, Cangnan County in Zhejiang Province has been enjoying a rapid development and an ever-growing degree of opening-up with lasting vitality as it’s supported by national policies and nourished by the dividends of economic globalization since China's reform and opening-up. As China has ushered in a period of major changes rarely seen in a century, Cangnan County is also facing new opportunities and challenges. Under the background of this era, Cangnan County is expected to make good use of its own advantages, especially the geographical ones—it is close to countries and regions including Japan, South Korea, and Taiwan—and should spare no efforts to achieve a higher level of opening-up, and, in turn, further promote its development. As an embodiment of the collective will of the people of Cangnan County, the official document is one of the best manifestations of its governance and stability control capabilities. For this reason, the research on how to translate official documents is of great significance for that it offers a great opportunity for Cangnan County to re-examine itself and to show the rest of the world its achievement in building a culture-enriched county.&lt;br /&gt;
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==='''Key words'''===&lt;br /&gt;
 official document translation, Cangnan County, opening-up, Japan, South Korea&lt;br /&gt;
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==='''摘要'''===&lt;br /&gt;
自中国改革开放以来，浙江省苍南县作为全浙江对外开放的前沿阵地之一，得到了国家政策支持和经济全球化红利的滋润，苍南县发展水平与对外开放程度日新月异，全县活力持久带劲。随着中国迎来“百年未有之大变局”，苍南县也面临着新的机遇和挑战，在此时代背景下，苍南县应该利用好自身优势，特别是临近日本、韩国、台湾等国家与地区的地理优势，努力开展更高层次、更高水平的对外开放事业，促进苍南更好的发展。为此，作为苍南县人民集体意志的体现，苍南县的公文就是对外展示其治理水平、稳控能力的最好的体现之一。而对于苍南县公文的如何翻译的研究，是促使苍南县重新审视自己、推进苍南人文县情传播海外的良机，意义重大。&lt;br /&gt;
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==='''关键词'''===&lt;br /&gt;
公文翻译  苍南县  对外开放  日本  韩国&lt;br /&gt;
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==='''I. System and Translation of Official Documents of Cangnan County'''===&lt;br /&gt;
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The unique official document system adopted by Chinese government agencies is a special integration of the thousands-of-years excellent political traditions in China and the essence of the organizational structure of the socialist regime. As a county-level unit in China's local administrative structure, Cangnan County has an official document system that is consistent with the national ones in general while has its own features. Official documents of Cangnan County can be basically divided into the following types of writing: resolutions, decisions, orders, bulletins, announcements, notifications, opinions, notices, reports, requests for instructions, approvals, proposals, letters, and minutes. Above-mentioned categories are collectively known as official documents. Besides, there are also some types of practical writing, including summaries, plans, notes, memos, briefings, speeches, manuals and so on, that are often used in our day-to-day work.&lt;br /&gt;
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In addition to those characteristics of the official documents that are commonly seen in China, official documents of Cangnan County also have its own features, which is mainly reflected in the aspect of proprietary terminology. Cangnan County, which used to be a part of Pingyang County in Zhejiang Province, was officially designated as a county in 1981 with the approval of the Central Government. It takes its name Cangnan, which means “on the south of the Yucang Mountain”, from its geographical location. As a relatively young county-level administrative unit in China’s administrative divisions, Cangnan County has a complex natural endowment and cultural environment, which is the reason why there are many special proprietary terms used in the official documents of Cangnan County, such as “Beautiful South Gate of Zhejiang Province”, “Southern Ouyue (an ancient kingdom in modern Wenzhou and Taizhou)” , “South Gate of Jiangsu-Zhejiang Region” and so on. Moreover, Cangnan is also the birthplace of the “Wenzhou Model”. Since the implementation of policy for the exchange of production materials and commercial grains in 1984, Cangnan has become an important base for the experiments and development of Wenzhou's private economy and market economy, and, thus, has made a significant contribution to the great cause of China's reform and opening-up.&lt;br /&gt;
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To conclude, the unity of the official document system viewed from the national scope of China and the uniqueness of the official document system viewed from the local scope of Cangnan area are both reflections of the integration of economic, political, and cultural elements. Therefore, when translating the terms and sentences in these official documents, obviously, it is almost impossible to follow general translation theories, such as Yan Fu’s “faithfulness, expressiveness and elegance” theory which applies to literature translation, and Christiane Nord’ Skopos theory which emphasizes schematic analysis. Due to the features of the official documents of Cangnan County, it is hard to imagine the consequence it will cause if those Cangnan and Chinese elements they contain are missed when translating them. Therefore, the starting point for the translation and research of Cangnan official documents should be analyzing the official document itself, but not choosing which translation theory to apply.&lt;br /&gt;
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The translation method focusing on the official documents themselves is undoubtably the one that emphasizes the content while manages to achieve a similarity in form. Thus, the translation theory that meets the requirements of official document translation in Cangnan County shall be the functional equivalence theory of the American linguist Eugene A. Nida. Eugene A. Nida argued in his theory that translation is to use the most appropriate, natural and equivalent language to reproduce the informational function of the source language both semantically and stylistically. Nida’s definition of translation specified that translation is seeking equivalence not only in lexical meaning, but also in semantics, style and literary form. Translation should convey both the denotative and connotative meaning of a message. Regarding the equivalence of translation, he believed that the equivalence consists of four parts: lexical equivalence, syntactic equivalence, textual equivalence, and stylistic equivalence. Among the four aspects, he emphasized that the meaning the core and most important part, followed by the form. The form of a text is likely to conceal the cultural connotation of the source language and may, therefore, hinder cultural exchanges. Based on the above, the reasons why the functional equivalence theory is applicable to official document translation in Cangnan County can be concluded as follows:&lt;br /&gt;
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First, the functional equivalence theory advocates that the target text should be equivalent to the source text both semantically and culturally. Official documents of Cangnan County are carriers of profound political culture with Chinese characteristics and the cultural environment in Cangnan. When translating them, in addition to showing the political consciousness and judicial authority of Cangnan government agencies, the local culture of Cangnan must also be reflected in the translations.&lt;br /&gt;
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Second, the functional equivalence theory suggests that if the lexical meanings and cultural elements cannot be taken into account at the same time, the translator then may give up the equivalence in form and try to reproduce the semantic and cultural meaning of the source text by changing the form of the sentence. There are many specialized terms with Chinese characteristics and Cangnan’s characteristics in official documents of Cangnan County. When translating them, once there is no corresponding expression in the target language, other forms of expression must be adopted to retain the meanings of those specialized terms as much as possible.&lt;br /&gt;
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Third, the functional equivalence theory proposes that if the change in form is still not enough to express the semantic and cultural meaning of the expression in the source language, the translation technique of “heavy damage” can be adopted to resolve cultural differences , so that the source language and the target language can achieve equivalence in semantic meaning. “Heavy damage” refers to the transformation of the deep structure of the source language into the surface structure of the target language, that is, expressing the cultural connotation of the source text with expressions of the target language. It cannot be ruled out that there are words and sentences in the official document of Cangnan County that cannot be translated, and when this happens, the translator can only rely on his translation techniques and understanding ability to process them creatively.&lt;br /&gt;
Above are simply macro analyses of the official document system in Cangnan County, and when it comes to specific analyses, challenges we face will only be severer.&lt;br /&gt;
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==='''II. Stylistic Features and Translation of Official Documents in Cangnan County'''===&lt;br /&gt;
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Looking at the official documents of Cangnan County from the micro level, we can work on the study of its translation based on the following characteristics.&lt;br /&gt;
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'''1. Details and Accurate'''&lt;br /&gt;
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As an officially-written document geared for the needs of our people, wording of the official documents of Cangnan County has a very specific orientation. Almost all content words have very clear meanings and connotations.&lt;br /&gt;
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For example, the sentence “经研究，县政府决定召开市对县安全生产巡查反馈会暨突出问题集中教育警示会，现将有关事宜通知如下。(As discussed, the county government decided to convene a feedback meeting on city-to-county inspections of production safety and a meeting for education and warning on outstanding issues. The relevant matters are hereby notified as follows.)” in the document 《苍南县人民政府办公室关于召开市对县安全生产巡查反馈会暨突出问题集中教育警示会的通知》(“Notice of the Office of the People's Government of Cangnan County on Convening a Feedback Meeting on City-to-County Inspections of Production Safety and A Meeting For Education and Warning On Outstanding Issues”) (the office of the People's Government of Cangnan County on June 8th, 2020) conveys several points very accurately and clearly, including the decision maker, the type, content and theme of the meeting. Therefore, special attention must be paid to the integrity of the information delivered when translating this sentence. For example, it is translated into Japanese as “討議を通じて、県政府は県の安全生産状況に対する市政府の巡査結果反映会及び顕著問題教育警告会を開催することが決定した。関連事項を以下のようにお知らせする。”&lt;br /&gt;
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'''2. Precise and Compact'''&lt;br /&gt;
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The role of official documents is to exchange formal information between the upper and the lower, the people and the officials, and the relevant departments. Therefore, the wording of the official documents must be rigorous. No slang and loose sentences should be used, and excessive use of parentheses and descriptive modifiers should be avoided. Official documents of Cangnan County follow this rule as well, in which there will never be informal expressions like daily spoken words.&lt;br /&gt;
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For example, the expression “三、决策目录施行动态管理，因工作需要增减或变更重大行政决策事项的，承办单位应按照相关规定程序提请调整。(Third, the decision catalogue shall be managed in a dynamic way, the undertaker shall submit application for adjustments in accordance with the relevant regulations if any increase/decrease or change shall be made to the major administrative decision-making matters because of the need of actual work.)” in the document《关于公布苍南县2020年度重大行政决策事项目录的通知》(“Notice on Issuing the 2020 Annual Catalogue of Major Administrative Decision-Making Matters of Cangnan County”) (the office of the People's Government of Cangnan County on Sept. 20th, 2020) When translating this sentence into Japanese, the translator shall fully considers the preciseness of the original expression, and translate it as “三つ目、戦略目録動的管理施行、仕事需要によっての増減または変更が必要な場合、請負機構は関連規定の手順に従って調整を提出しなければならない。”&lt;br /&gt;
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'''3. Programmed and Standardized'''&lt;br /&gt;
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The purpose of official documents requires a stable and routine writing program so that the official business can be conducted in an orderly manner. It is essential that the document writing is reasonably programmed. It allows the officer to know what it is and what to do at a glance if a standardized official document program is followed. The standardization of the official documents of Cangnan County can be regarded as a tricky feature in their translation.&lt;br /&gt;
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For example, the expression “各乡镇人民政府，县政府直属各单位 (the people's government of all townships and towns and all directly affiliated institutions of the people’s government of Cangnan County)” in the document《关于公布苍南县2020年度重大行政决策事项目录的通知》(“Notice on Issuing the 2020 Annual Catalogue of Major Administrative Decision-Making Matters of Cangnan County”) (the Office of the People's Government of Cangnan County on Sept. 20th, 2020) is obviously a standardized addressing of the receiving units of an official document, and it should be translated into Japanese as “各郷鎮人民政府、県政府直属の各部門”.&lt;br /&gt;
Viewing from a micro perspective, we may find that special attention should be paid to many precise details when translating those official documents. It is of great significance that, during the cause of reform and opening-up, we strike a balance between the macro level and the micro level in official document translation, which will serve as a stage for Cangnan County to show itself to Japan, South Korea and other East Asian countries and regions.&lt;br /&gt;
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==='''III. Translation of Official Documents of Cangnan County under the Context of the Japanese Language'''===&lt;br /&gt;
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Cangnan County is one of the nearest administrative units to Japan in China, and Okinawa Prefecture in Japan and Cangnan County are neighbors facing each other across the sea. Furthermore, Cangnan County itself has ports in Xiaguan, Pacao, Yanting, Dayu and other places, and has the basic conditions for conducting small transactions of freights with Okinawa. However, due to the inadequacy policies, laws and regulations, a large portion of Japan’s trade with China, especially with Zhejiang Province, is still conducted in the three port cities, namely Ningbo, Zhoushan, and Hangzhou. Cangnan’s geographical advantages have never been given to full play. To Japan, Cangnan is not a total stranger. Wenzhou City has a great influence upon Japanese culture and history. Special local products such as Wenzhou green tea and Wenzhou satsuma orange are very attractive to Japanese people. Many of the business exchanges during the Kamakura Bakufu in Japan were happened between Hakata merchants and Wenzhou people. As an important subordinate region of Wenzhou City, Cangnan County naturally has left an impression on Japanese people when it comes to China.&lt;br /&gt;
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If Cangnan hopes to lay a foundation for the future cooperation with Japan through its cause of opening up to the outside world, it is of great importance that we study the methods and techniques to make the translation of Cangnan’s official documents to meet the specific context of the Japanese language, which is also a part of the cultural exchanges that will facilitate economic and trade cooperation between Japan and China. The political status of Cangnan County is equivalent to the one of regular cities and special wards in Japan, but this does not mean that the official documents of Cangnan County can be regarded as equivalents to the official documents released by the governments of the regular cities and special wards in Japan, and there are huge differences between their respective official documents in form, wording, Cultural connotation and etc. To better translate Cangnan official documents under the context of Japanese language, the following aspects must be paid attention to:&lt;br /&gt;
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1. Detailed Comparison of Types&lt;br /&gt;
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In the Japanese official document system, the word “公文” is different in meaning from the word “公文” in Chinese official document system. In Chinese “公文” means government official documents, while in Japanese “公文” generally refer to legal documents that have the force of law and the term “公文書” is the one that refers to government official documents, which roughly includes “外交文書” and “起案文”, “通達” , “命令”, “許可”, “通知書” and so on . When translating official documents of Cangnan County into Japanese, attention should be paid to the transformation of the types of the official documents. The classifications of official documents in China and Japan are different from each other.&lt;br /&gt;
For example, when translating documents such as “proposal letter”, “report” and the like into Japanese, the title should be translated as “建言書” and “報告書”, while “命令(order)”, “通知(notice)”, “提案(Proposal)” and etc. need no translation and can be titled with the original characters directly as “命令”, “通知”, “提案”, and can also be further translated into “命令状”, “通知書”, “提案書”. Those reflect the characteristics of the division of the types of the official document system in Japan.&lt;br /&gt;
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2. Careful Consideration of the Translation of Chinese Characters&lt;br /&gt;
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There are a large number of Chinese characters in Japanese. This will for sure be an advantage when translating official documents of Cangnan County into Japanese, however, at the same time, this is also a huge disadvantage. After all, those Chinese characters are Japanized Chinese characters, and their meanings and usages are more or less different from the original ones in Chinese.&lt;br /&gt;
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For example, the expression “设定全县森林防火期(setting the season of forest fire prevention)” in the document 《苍南县应急管理局局长王再忠关于&amp;lt;苍南县人民政府关于做好森林防火期护林防火工作的通告&amp;gt;的政策解读》(“Policy Interpretation Of ‘Notice of Doing Forest Protection and Fire Prevention during the Season of Forest Fire Prevention by the People's Government Of Cangnan County’ by the Director of Cangnan Emergency Management Agency Wang Zaizhong”) in could be translated character by character into Japanese as “全県域森林防火期間設定”. However, expressions such as “野外火源如何管理” cannot be translated in the same way, and must be processed accordingly and translated into Japanese as “野外の火の元が如何に処理すること”. When translating official documents of Cangnan County into Japanese, the translators must reject the preconceived thinking and native Chinese thinking, or it will lead to irreversible misunderstandings and mistakes.&lt;br /&gt;
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3. Mastery of the Equivalence of Semantic Meaning&lt;br /&gt;
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Chinese is an isolating language, in which the grammatical meaning is reflected by the order of words, while Japanese is an agglutinative language, in which auxiliary words and flexible usages of vocabulary are adopted to reflect the grammatical meaning. This requires the translators to have mastery of the equivalence of semantic meanings when translating official documents of Cangnan County into Japanese and try to achieve perfect equivalence in official document translation.&lt;br /&gt;
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For example, there is a expression as “全体公民必须认真贯彻‘以人为本、预防为主、积极扑救、有效消灾’的森林防灭火工作方针，一旦发现森林火灾，要立即向当地人民政府或森林防灭火指挥部办公室报告(all citizens must seriously implement the working policy of forest fire prevention and firefighting ‘people-oriented, prevention-focused, active in firefighting, effective in disaster relief’, once a forest fire is detected, it must be reported to the local people’s government or the forest fire prevention and firefighting headquarters office immediately)” in the document 《苍南县应急管理局局长王再忠关于&amp;lt;苍南县人民政府关于做好森林防火期护林防火工作的通告&amp;gt;的政策解读》(“Policy Interpretation Of ‘Notice of Doing Forest Protection and Fire Prevention during the Season of Forest Fire Prevention by the People's Government Of Cangnan County’ by the Director of Cangnan Emergency Management Agency Wang Zaizhong”). When dealing with long and complex sentences, the translator must be flexible in using translation techniques to decompose the sentences and translate them step by step, focusing on the balance between the form of the sentence and its semantic meaning. Based on this principle, the abovementioned sentence could be translated into Japanese as “人間本位、予防軸化、積極救助、有効消災という森林防火作業方針は全県民が必ず強固に守らなければならない。林に火事が発見された際、直ちに所轄人民政府や森林防火指揮部執務室に報告すること。”&lt;br /&gt;
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There is no doubt that, in terms of four-character idioms, allusions, new words of the era and etc., the translation of official documents of Cangnan County under the context of the Japanese language still has a long way to go, but the part that we should pay most attention to in translation is always the differences in culture between the source language and the target language. Only by keeping this basic point in mind at all times, will there be no huge mistakes being made when translating official documents of Cangnan County into Japanese.&lt;br /&gt;
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==='''Ⅳ. Translation of Official Documents of Cangnan County under the Context of the Korean Language'''===&lt;br /&gt;
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Zhejiang Province and South Korea have laid a good foundation for economic and trade cooperation projects, and a framework that is comprehensive, wide-ranging, and multi-level has been established for Zhejiang-South Korea cooperation. The advantages of the two regions are obviously complementary and the development potential for both sides and in between is huge. In September 2016, the Zhejiang China-Korea (Quzhou) Industrial Cooperation Park was approved as the first batch of “Zhejiang International Industrial Cooperation Parks” in Zhejiang Province. The total planned area is about 3,000 acres and the total planned investment is 12 billion yuan. Represented by the Zhejiang China-Korea Industrial Cooperation Park, a large number of economic and trade cooperation projects has been carried out with South Korea by Zhejiang Province. As an indispensable part of Zhejiang Province, Cangnan County is facing a huge gap in the cultural exchanges and economic cooperation with South Korea. How to elevate the level of Cangnan’s opening up to the outside world and advancing Cangnan’s economic, trade and cultural cooperation with South Korea is a question that is well worth exploring. Although Cangnan is further away from South Korea compared with regions in the north of Zhejiang, geographic location should never be a factor that hindering Cangnan’s economic, trade and cultural cooperation with South Korea. In an era of ever-deepening globalization, it is of great significance that we think about how to develop and promote the economic and trade and cultural cooperation between Cangnan and South Korea.&lt;br /&gt;
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Northern Zhejiang is a key area for economic, trade and cultural cooperation with South Korea. As the south gate of Zhejiang Province, if Cangnan County could open the door of economic, trade and cultural cooperation to South Korea, then this will inevitably bring extraordinary development opportunities to southern Zhejiang and make the pattern of Zhejiang and South Korea’s economic and cultural cooperation more balanced and healthy. The political status of Cangnan County is equivalent to the one of si(city), gu (district), and gun(county) in South Korea. Because of some historical reasons, South Korea is greatly influenced by Chinese culture. From the Three Kingdoms era of Joseon, to the Unified Silla Dynasty, the Wang’s Goryeo Dynasty, and the Yi’s Joseon Dynasty, the basic system of administrative divisions in South Korea is almost the same as the one in China, so the official document system of cities, districts, and counties in South Korea can be regarded as basically equivalent to the official document system of Cangnan County with only slight differences originated from the localized political and cultural traditions and the basic social condition of South Korea. Therefore, there are relatively fewer difficulties of translation when translating official documents of Cangnan County into Korean, aside from the barriers caused by Korean Hangul words. The translation of official documents of Cangnan County under the context Korean language requires attention to the following aspects:&lt;br /&gt;
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1. The Combination of Chinese characters and Hangul&lt;br /&gt;
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Modern Korean uses Hangul as the main written characters, but this does not mean that there is no place for Chinese characters in the Korean system. Since the launch of the abolition of Chinese characters movement in South Korea in the 1970s, Hangul did exactly achieved an overall penetration of every aspect of their daily life, but when it comes to important documents, Chinese characters still reserve a seat in the arena of South Korea’s history. Furthermore, a higher level of talent training is required now to meet the need of South Korea’s economic and social development, and the mastery of sinology has become, among all the necessary skills, one of the most straightforward evaluation criteria to access the qualified personnel. Thus, South Korea has restarted the Chinese character teaching movement. Nowadays, the official document system in South Korea has become one in which Hangul serves as the main language and the mixed use of Chinese characters and Hangul serves as a supplement. Just as how the mixed use of kana and Chinese characters in Japanese official documents may help in its translation, the mixed use of Chinese characters and Hangul also greatly facilitate the translation of official documents of Cangnan County into Korean. However, because Chinese characters used in Korea are composed of traditional Chinese characters and a small number of Korean self-made Chinese characters, we can not take it for granted that it is advisable to translate them word by word.&lt;br /&gt;
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For example, the title of the document《苍干任〔2020〕18号 王再忠等同志的任命》(“Cangnan Cadre Appointment [2020] No. 18: Appointment of Wang Zaizhong and etc.”) (the Office of CPC Cangnan Party Committee on March 27th, 2020) can be translated with the mixed use of Chinese characters and Hangul into Korean as《蒼南縣의 幹部任命〔2020〕18號 王再忠등 同志의任命》. Also, it be translated into Korean with Hangul alone as《참남현의 간부임명〔2020〕18호 왕재충등 동지의임명》.&lt;br /&gt;
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2. The Usage of Refined Language&lt;br /&gt;
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In recent years, South Korea has carried out reforms of the official document system, urging that the South Korean government agencies at all levels should use “refined(or purified) language”, that is, to write and publish official documents with words that are easy for the public to understand and have explicit meanings, reducing the cost of communication between the government and the public and, in this way, building a closer relationship between the government and the people, so that civil servants can communicate with the people more effectively. Refined language is a kind of common vernacular that differs from the official language. Although this trend of the wording of Korean official documents is not unconditional, but when compared with official documents of Cangnan County, which emphasize the solemnity and formality of official documents, this trend is the part that the translator has to pay his attention to.&lt;br /&gt;
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For example, when translating the expression “为加强行政规范性文件管理，切实推进依法行政，加快法治政府建设 (To strengthen the management of administrative normative documents, promote the administration in accordance with law, and accelerate the construction of a government ruled by law)” in the document《苍南县人民政府关于公布县政府及县政府办公室行政规范性文件清理结果的通知（有效）》(“Notice of the Office of the People's Government of Cangnan County on the Announcement of the Results of the Cleanup of the Administrative Normative Documents of the County Government and the County Government Offices (Effective)”) (the Office of the People's Government of Cangnan County on October 23th, 2020) , blunt expressions may not be that applicable and this expression translated into Korean in a more public-friendly way as “행정 규범적인 문서관리를 강화하기 위해, 법에따라 행정을 철저히 추진하고 법치정부의 건설을 가속화시킨다.”&lt;br /&gt;
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3. Mastery of the Equivalence of Semantic Meaning&lt;br /&gt;
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Like Japanese, Korean is also a typical agglutinative language. A sentence is formed by connecting independent words with various auxiliary words, and with a subordinating conjunction at the end of the sentence. Auxiliary words are just like glues, they exist after every subject, predicate, and object component of a Korean sentence to them together. For that these auxiliary words have no substantial meaning themselves, they must stay close to the main body in front, and a space must be put after. Therefore, when translating Chinese, which is an isolated language, into Korean, which is an agglutinative language, it is necessary to have mastery of the equivalence of the semantic meaning of the expression.&lt;br /&gt;
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For example, when translating the expression “全面实施全民参保计划，做好参保情况清查，提升参保信息质量，清理重复参保，稳定持续参保，减少漏保断保，实现应保尽保。(Fully implement the national social security plan, do a good job in checking the coverage of the social security, improve the quality of the collection of the information of the insured, clean up repeated insureds, stabilize the renewal of the social security, reduce the interruption of the social security, and achieve full social security coverage.)” in the document《关于做好2021年度城乡居民基本医疗保障工作的通知》(“Notice on Doing a Good Job in Basic Medical Security for Urban and Rural Residents in 2021”)( the Office of Medical Security Bureau of Cangnan County on November 5th, 2020), the translator should pay attention to the equivalence of semantic meaning of this long sentence and translated it into Korean as “전국민기본의료보험가입계획을 전면적으로 실시하고 기본의료보험가입상황을 철저히 조사하며 기본의료보험가입 정보의 질을 향상시키고 중복기본의료보험가입을 청산하며 안정적이고 지속적인 기본의료보험가입을 하며 보험누락을 줄이고 기본의료보험가입 을 실현해야 한다.”&lt;br /&gt;
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==='''Ⅴ. Studies of Official Document Translation and the Cause of Opening-up in Cangnan County'''===&lt;br /&gt;
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Based on the abovementioned basic characteristics of the official document system of Cangnan County, the notes for official documents translation under the context of the Japanese language and the notes for official documents translation under the context of the Korean language, we can see that official documents of Cangnan County is not as difficult to handle as something untranslatable. Cangnan County enjoys a good geographic location: it is located in the coast of the East China Sea, and is close to both Japan and South Korea, two strong economies in East Asia. However, Cangnan County has not yet made use of these favorable conditions to the fullest to promote cultural cooperation and trade with the two countries. Cangnan’s opening up to the outside world requires innovative thinking and an elaborate layout. Studies on the translation of official documents of Cangnan County, especially the translation of official documents under the context of the Japanese and Korean language, will help to explore the cultural spirit of the government institutions, and play an important role in building a good image of Cangnan County in East Asia and laying a foundation for Cangnan's cooperation with major countries and regions in East Asia .&lt;br /&gt;
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The world today is undergoing profound changes rarely in a century, and so is China. The tide of history moves on and Cangnan shall not stay out of the matter, but must follow it courageously and strive to open new doors for Cangnan's opening up to the outside world through the study of the official document translation of its own.&lt;br /&gt;
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===References===&lt;br /&gt;
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[1]Ziqi LIU. The Application of Functional Equivalence Theory in Scientific Translation：A Case Study of the Translation of Shipbuilding English[J]. CREATIVITY AND INNOVATION,2019,1(3).&lt;br /&gt;
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[2]Mu Dan. Discussion on Translation Activities Under the Guidance of Functional Equivalence Theory[J]. International Journal of Education and Management,2018,3(2).&lt;br /&gt;
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[3]李琳琳. 功能对等翻译理论与关联翻译理论比较研究[D].辽宁师范大学,2006.&lt;br /&gt;
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[4]赵娟廷. 汉韩公文语体对比研究[D].复旦大学,2003. &lt;br /&gt;
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[5]周萱. 《中国共产党怎样解决民族问题》（节选）中韩翻译报告[D].青岛大学,2017.&lt;br /&gt;
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[6]张利军. 《教学的游戏性研究》的汉日翻译实践报告[D].广西师范大学,2019.&lt;br /&gt;
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[7]栾亚琼. 《2015年山东省政府工作报告》汉日翻译实践报告[D].曲阜师范大学,2016.&lt;br /&gt;
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[8]占丽华. 源流与演变—日本地方公文书馆发展路径研究[D].山东大学,2020.&lt;br /&gt;
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[9]任清萍. 功能翻译理论视角下政府工作报告日译研究[D].外交学院,2020.&lt;br /&gt;
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[10]孙慧. 产业竞争力与区域经济增长[D].苏州大学,2006.&lt;br /&gt;
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--[[User:Wu Kai|Wu Kai]] ([[User talk:Wu Kai|talk]]) 04:45, 2 December 2020 (UTC)&lt;br /&gt;
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==The Translation Process and Methods of Translating English Long Sentences - Zhou Yiwen 周艺文 202070080629 英语笔译==&lt;br /&gt;
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===Abstract===&lt;br /&gt;
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The translation of long English sentences is a difficult point in English-Chinese translation. It is very important to understand the features of sentence structure and the translation process and methods of long English sentences. This paper studies the translation process and methods of English long sentences through the comparative study of English and Chinese language characteristics and specific English-Chinese translation analysis. This paper is divided into five parts. The first part introduces the characteristics of English long sentences. The second part illustrates translation difficulties of English long sentences by making contrasts the language features of English with that of Chinese, which can be divided into three aspects: English sentences emphasize hypotaxis, Chinese sentences emphasize parataxis; English is a static language, while Chinese is a dynamic language; English prefers passive voice while Chinese prefers active voice. The third part expounds the translation principles for English long sentences from the perspective of Skopos theory, which are skopos rule, coherence rule and fidelity rule. The fourth part mainly analyzes the process of translating English long sentences through some examples. In the end, five translation methods are discussed, which are liner translation, reorganization translation, division, embedding and synthesis.&lt;br /&gt;
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===Key words===&lt;br /&gt;
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English long sentences; language characteristics; translation process; translation methods&lt;br /&gt;
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===英语长句翻译过程及翻译策略===&lt;br /&gt;
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===摘要===&lt;br /&gt;
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英语长句翻译是英汉翻译的难点，了解英语长句的句子结构特点和翻译过程及方法在英汉翻译中十分重要。本文通过对比研究英汉语言特点及具体英汉译本分析对英语长句翻译过程和方法进行研究。本文分为五个部分，第一部分介绍了英语长句的特点。第二部分分析了造成翻译英语长句困难的原因，即英汉两种语言在句子结构上的差异，即英语句子重形合，汉语句子重意合; 英语是静态语言，汉语是动态语言; 英语喜用被动语态，汉语喜用主动语态。第三部分运用目的论阐述了翻译英语长句的原则，即目的原则，连贯原则和忠实原则三个方面。第四部分主要通过具体的句子分析英语长句的翻译步骤及过程。最后探讨了英语长句汉译时采用的五种翻译方法，即顺序法、变序法、分译法、包孕法和综合法。&lt;br /&gt;
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===关键词===&lt;br /&gt;
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英语长句子；语言特点；翻译过程；翻译方法&lt;br /&gt;
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===1.Characteristics of English Long Sentences===&lt;br /&gt;
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The existence of long English sentences are usually caused by three elements. The first one is postmodifier, the second is the large number of joint components, the third one is the complex structure of long sentences. In general, long English sentences are more common in the literary text, discussion text and technical text (Wang, 2010 124).English and Chinese have many similarities in basic sentence structure. The main elements of sentence structure mainly include subject, predicate, object, predicative, attribute, adverbial modifier, and complement. In English, the sentence emphasizes the form and the sentence has a tree structure, and the Chinese sentence emphasizes the parataxis, and the sentence has a bamboo structure.(Wang, 2010 124)&lt;br /&gt;
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The main characteristics of English long and difficult sentences are as follows:&lt;br /&gt;
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(1) There are much more words, more complex sentence patterns, and more modifiers in these sense.&lt;br /&gt;
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(2) Compared with simple sentences, long and difficult sentences often use inversion structure, and there are phenomena of omission and word order inversion.&lt;br /&gt;
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(3) The reason for the formation of long and difficult sentences is that there are many long and difficult sentences with coordinate components, phrases, additional components, clauses, and coordinate sentences.&lt;br /&gt;
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(4) The language structure of long and difficult sentences is relatively complex and has a strong sense of hierarchy.&lt;br /&gt;
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===2.Translation difficulties of English long sentences===&lt;br /&gt;
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The difficulties of translation are mainly caused by the differences between the source language and target language. English and Chinese belong to different language systems, the former belongs to Indo-European language family, the latter belongs to Sino-Tibetan language family, so there are significant differences in syntax between them. In addition, the different cultures of English and Chinese will inevitably lead to the difference in sentence structure between the two languages, because language is the carrier and medium of culture. (Jiang, 2019, 62-65)&lt;br /&gt;
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===2.1Hypotaxis vs. parataxis===&lt;br /&gt;
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English syntactic structure is hypotaxis while Chinese syntactic structure is parataxis (Lian, 2010 73). Hypotaxis is that the words or clauses in a sentence are connected together by means of linguistic formal means (such as using related words) to express grammatical meaning and logical relations(Jia, 2002 101). English emphasizes explicit connection, emphasizes form and structure, and often helps with various means of connection. As a result, the sentence structure is rigorous and lacks elasticity. English sentences are often made with relatives (who, whom, whose, which, that, where, when, etc.), conjunctions (but, however, unless, because, since, so, and, if, etc. ), preposition (in, about, without, throughout, according to, along with, etc.), and other connective means. Parataxis means that words and clauses are not connected by means of linguistic forms, and the grammatical meaning and logical relation in a sentence are expressed by the meaning of words and clauses (Jia, 2002 101). Chinese sentences are made with little or no means of formal connection, with emphasis on invisible coherence, function and meaning, so the sentence structure is loose and flexible (Jia, 2002 101).&lt;br /&gt;
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Example 1: &lt;br /&gt;
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ST: Individuals develop within themselves an ability to persevere and tolerate things that are unexpected or bad, difficult to get through. &lt;br /&gt;
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TT: 人们在内心修炼一种能力，在面对意外、不幸或者挑战时也能继续坚持和忍耐。&lt;br /&gt;
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Analysis: In this sentence, “that...to get through” is a attributive clause to modify “things”, which is a kind of hypotaxis. The translation is not limited to the original sentence structure but follows Chinese expression habit, so the language is very smooth. &lt;br /&gt;
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===2.2Static language vs. dynamic language===&lt;br /&gt;
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English is static language and Chinese is dynamic language. The reason why English is a static language is that nouns and prepositions are frequently used and predominate in English. In English sentences, there can only be one predicate verb and other action words can only be nominal verbs. Therefore, nominalization has become a common phenomenon in English. (Wang, 2004 5) Prepositions are used to before nouns and noun phrases. They have no morphological changes and are very flexible in use. Therefore, the frequency of using prepositions in English is very high and the number of prepositions far exceeds that in Chinese. When translating Chinese to English, an important way to make the target text conform to the expression of English is to pay attention to the application of English prepositions. Since Chinese is parataxis language, verbs have no morphological changes, and the use of verbs makes the language more vivid, so verbs are frequently used in Chinese. In addition to a large number of verb-object structures, Chinese sentences can be more dynamic by using a series of verbs. In English-Chinese translation, we must pay attention to the conversion between static and dynamic. (Jiang, 2019 12:62-65)&lt;br /&gt;
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Example 2:&lt;br /&gt;
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ST:This month, when earthquakes rocked Southern California on back-to-back days, it was a visceral reminder that we may one day experience the “Big One”, a quake with the power to kill and destroy.&lt;br /&gt;
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TT:本月南加州连遭地震，人们本能地联想到，我们某天可能会经历“一次大的”具有杀伤力和破坏力的地震。&lt;br /&gt;
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Analysis: The noun “reminder” is translated into a verb “联想”, which is a transformation from static language to dynamic language.&lt;br /&gt;
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===2.3Passive voice vs. active voice===&lt;br /&gt;
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Although both English and Chinese have active voice and passive voice, the frequency of English passive voice is much higher than that of Chinese, which is also one of the characteristics that distinguishes English from Chinese. Especially in English scientific technical text, the passive voice is much more used, almost becoming a expression habit, because the passive sentence does not have to point out the actor but highlight the target, which is more objective(Zhu 2004, 94). In English-Chinese translation, we must grasp this difference in language, so as to make the translation conform to the expression habit of the target language. (Zhu 2004, 94)&lt;br /&gt;
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Example 3:&lt;br /&gt;
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ST: At the heart of the system--known as the multi-lateral trading system--are the WTO’s agreements, negotiated and signed by a large majority of the world’s trading nations, and ratified in their parliaments.&lt;br /&gt;
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TT: 世界贸易组织的核心--多边贸易体系--是世界上大多数贸易国经协商谈判并签署的多个协议, 这些协议同时也经过成员国议会批准。&lt;br /&gt;
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Analysis: The sentence of the source text is passive, “negotiated”, “signed” and “ratified” are passive in meaning, while Chinese sentence was translated into active, “协商”, “谈判”, “签署” are verbs in active verb.&lt;br /&gt;
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===3.Translation principles for English long sentences===&lt;br /&gt;
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Skopos theory was put forward by Hans Vermeer, an outstanding contributor to the translation theory of the German functional school. Different from the traditional equivalence theory, Skopos theory is based on behaviorism and proposes that translation is a purposeful activity(Zhang, 2004 35). The purpose of translation determines the translation method(Reiss and Vermeer, 1984). According to teleology, translators should follow three general principles in the process of translation: skopos rule, coherence rule and fidelity rule(Liu, 2009 378).&lt;br /&gt;
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Of the three principles, the skopos rule is the most important. The “skopos” can be the translatorss purpose, the communicative purpose of the target text or the purpose to be achieved by using a particular translation method. It usually refers to the communicative purpose of the target text, that is, the communicative function of the target text for the target reader in the socio-cultural context of the target text (Venuti, 2001). Vermeer emphasizes that translation occurs in a cultural context, and translation is not a corresponding conversion of language due to the differences between cultures. The translator should not only accurately understand and interpret the author’s intention, but also make the translation acceptable to readers(Vermeer, 1989).&lt;br /&gt;
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Coherence rule refers to the fact that the target text must achieve intratextual coherence, making readers to understand and make sense in the communicative context of the target culture and target text. The fidelity rule means that the original text should be intertextually coherent, which is equivalent to being faithful to the original text in other translation theories. And the degree and form of fidelity to the original text depend on the purpose of the translation and the translator’s understanding of the original text. According to Skopos theory, the first one that all translations should follow is skopos rule, coherence and fidelity are subordinate to it. And fidelity is subordinate to coherence (Nord, 2001 32). There are many differences between English and Chinese in thinking and expression, and translation is a kind of cross-cultural communication behavior. Therefore, translators must not ignore the communicative purpose of translation. Guided by skopos rule, coherence rule and fidelity rule, and based on the full analysis of the original text, the most appropriate strategies can be chosen to deal with specific long English sentences with the communicative purpose of the target text (Nord, 2001 32).&lt;br /&gt;
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===4. Translation process of English long sentences===&lt;br /&gt;
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Bell divided the cognitive process of translation into 3steps: first, analyze the semantic meaning and grammar of the source language as a universal representation, and then synthesize and reconstruct it to form a translation (Bell, 1991 5). This is also the case with the translation of long sentences, and the analysis of English long sentences is the first step. Since English long sentences focus on the expression of form, the basic methods of analyzing Long sentences based on characteristics are as follows: first understand the meaning of the sentence, analyze the grammatical structure of the long sentence, extract the main sentence, and then analyze the branches of the sentence. Finally, dividing long sentences according to the meaning group. (Bell, 1991 5) &lt;br /&gt;
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As for the translation process from a macro point of view, first, the translator used some translation tools to look up new words and polysemous words. Then the translator began to translate for the first time, aiming to get a faithful text, and did not add any subjective guess to prevent the misunderstanding and inaccurate translation. In the second translation, the translator began to check the wrong words, as well as inappropriate points, and combined the language features of the text, which aimed to achieve coherent and intelligible. Finally, in the third translation, the translator got rid of the source language, and only read the target language to check whether it conformed to the reading habits and thinking modes of Chinese readers. If not, the translator would revise inappropriate sentences from the perspective of the target readers.&lt;br /&gt;
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As for the translation steps from micro point of view, it can be divided into five steps: Find the main body of the sentence; Make clear the relationship between each modifier and the main sentence; Divide long sentences into several parts according to the expression requirements;Translate each part one by one; Adjust and polish the translation according to the Chinese expression habits.&lt;br /&gt;
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Example 4: &lt;br /&gt;
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ST: It has a mobile payments system that has been widely adopted in China, which allows people to shop，play games，pay utility bills and order meal deliveries all from within the app.&lt;br /&gt;
&lt;br /&gt;
To analyze and translate this sentence, the most important is to find the main structure. It's easy to find the main body of this sentence is “It has a mobile payments system”. And second it is necessary to analyze the relationship between the modifiers and the main components of the sentence. “That has been widely adopted in China” is a post-positive attributive clause to modify the object “mobile payments system”, and “which allows…within the app” is a non-restrictive attributive clause to further explain the “system”, making readers know more about the target. Third, divide it into several parts according to the meaning and expression requirements. So this sentence can be divided three parts: the main body “It has a mobile payments system” is one part; and the two modifiers “that has been widely adopted in China” and “which allows … within the app” are the other two parts. Forth, translate every part: “它有一个移动支付系统”; “在中国得到广泛应用”; “让人们在该应用内购物、玩游戏、支付水电费和订餐”. Finally, adjust and polish the translation according to the Chinese expression habits. So the original sentence could be translated into: “它的移动支付系统在中国得到了下广泛应用，人们可以在该应用内购物、玩游戏、支付水电费和订餐”.&lt;br /&gt;
&lt;br /&gt;
===5.Translation strategies for English long sentences===&lt;br /&gt;
&lt;br /&gt;
===5.1Liner translation===&lt;br /&gt;
&lt;br /&gt;
When the narrative level of English long sentences is basically the same as that of Chinese, that is, the sentences are narrated according to the time sequence or internal logic of the action, which is consistent with the expression habit of Chinese, and can be translated into Chinese in the same order as the original English. (Zeng 2010, 149-150)&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
Example 5:&lt;br /&gt;
&lt;br /&gt;
ST: They learned with stupefaction that there is another aspect from which human action might be viewed than that of good and bad, of fair and unfair, of just and unjust. In the course of social events there prevails a regularity of phenomena to which man must adjust his actions if he wishes to succeed. &lt;br /&gt;
&lt;br /&gt;
TT: 另一方面，他们茫然地想要了解到人类的哪些行为可以被看作是好的和坏的，公平的和不公平的，公正的和不公正的。在社会事件的过程中普遍存在着规律的现象，如果他希望成功，必须调整他的行动。 &lt;br /&gt;
&lt;br /&gt;
Analysis: There is an object clause in the first sentence. In the process of translation, the sentence can be simply translated in accordance with the order of the composition of the sentence. The translation is natural to read and can express the meaning of the original text by using liner translation.&lt;br /&gt;
&lt;br /&gt;
Example 6:&lt;br /&gt;
&lt;br /&gt;
ST: The joy and the tedium of labor are psychological phenomena which influence neither the individual’s subjective valuation of the disutility and the mediate gratification of labor nor the price paid for labor on the market. &lt;br /&gt;
&lt;br /&gt;
TT: 劳动的快乐或厌恶都是心理现象，既不影响个人对于劳动负效用和报酬的主观评价也不影响市场上的劳动力价格。 &lt;br /&gt;
&lt;br /&gt;
Analysis: Although this sentence has both an attributive clause and “neither... nor...” structure with a large number of vocabulary, but its logical thinking, sentence structure and temporal and spatial order are consistent with Chinese habits. Therefore, we can translate it by using the liner translation method.&lt;br /&gt;
&lt;br /&gt;
===5.2 Reorganization translation=== &lt;br /&gt;
&lt;br /&gt;
Reorganization is a way of changing the order of the original text, pushing forward from behind or from the middle. English is hypotaxis language, while Chinese is parataxis language. (Lian, 2010 73) In terms of word order, English pays attention to the use of various conjunctions, such as relation words, conjunctions, prepositions, etc., to express the logical relations among them. Chinese, on the other hand, is used to connecting words with logical relations. The logic of long sentences in Scientific English is often quite different from that in Chinese, sometimes even the opposite. According to the expression habits of Chinese, the word order can be adjusted by means of reverse translation, so as to make the translation expression standard and easy to be understood and accepted by readers.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
Example 7:&lt;br /&gt;
&lt;br /&gt;
ST: No technological improvement would have been possible if the additional capital goods required for the practical utilization of new inventions had not previously been made available by saving. &lt;br /&gt;
&lt;br /&gt;
TT: 实际利用新发明需要额外资本，如果以前没有通过储蓄获得这些额外资本, 就不可能有技术改进。&lt;br /&gt;
&lt;br /&gt;
Analysis: The “if-” clause contains a post-positive attributive “required for the practical utilization of new inventions”, which makes the clause look very complicated, if translated according to the word order, it would be misunderstood. Therefore, in order to better translate the sentence, the translator can reorganize the structure of the clause in the process of translation, and then translate the main sentence after a clear explanation, so that the meaning of the translated sentence is relatively clear.&lt;br /&gt;
&lt;br /&gt;
Example 8:&lt;br /&gt;
&lt;br /&gt;
ST: It may be useful to compare the doctrine of Marxism and the Prussian Historical School, according to which wage rates are a historical datum and not a catallactic phenomenon, with the regression theorem of money’s purchasing power. &lt;br /&gt;
&lt;br /&gt;
TT: 用货币的购买力的回归定理对马克思主义理论和普鲁士历史学派进行比较可能是比较有用的。普鲁士历史学派认为工资率是历史数据而不是交换现象。&lt;br /&gt;
&lt;br /&gt;
Analysis: In this sentence, “It” is the formal subject, and the real subject is “to compare the doctrine of Marxism and the Prussian Historical School”. Therefore, we should follow the Chinese expression habit and reorganize the sentences before translating them.&lt;br /&gt;
&lt;br /&gt;
===5.3Division===&lt;br /&gt;
&lt;br /&gt;
The so-called division in translation means separating the different parts of English sentences into a single component of Chinese, such as word group, phrases, sentences and even independent sentences (Wang, 2009 144). There are great differences between English and Chinese in syntax. English sentences are long, verbs are few, and balance is stressed, while Chinese is short, verbs are more, and symmetry is stressed. Therefore, when translating long English sentences, it is impossible to translate every sentence into a Chinese sentence, otherwise, the translation will appear bloated and stiff. In English, long sentences are mainly composed of compound and subordinate clauses. According to the habit of using short sentences in Chinese, sometimes the clauses or phrases in the original sentence can be translated separately, and the original sentence can be divided into two or more sentences, so as to make the translation clear and accurately. (Wang, 2009 144)&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
Example 9: &lt;br /&gt;
&lt;br /&gt;
ST: It may be useful to compare the doctrine of Marxism and the Prussian Historical School, according to which wage rates are a historical datum and not a catallactic phenomenon, with the regression theorem of money’s purchasing power. &lt;br /&gt;
&lt;br /&gt;
TT: 用货币的购买力的回归定理对马克思主义理论和普鲁士历史学派进行比较可能是比较有用的。普鲁士历史学派认为工资率是历史数据而不是交换现象。 &lt;br /&gt;
 &lt;br /&gt;
Analysis: In this sentence, “according to which ... money’s purchasing power” is not a independent sentence, but for the easy understanding to the meaning this part was translated into another complete sentence by adding and deleting some words.&lt;br /&gt;
&lt;br /&gt;
===5.4 Embedding===&lt;br /&gt;
 &lt;br /&gt;
Embedding means transforming the post modifiers of the center word in the source text into the premodifiers in the target text, which is suitable for the translation of long sentences with many post-modifiers and strong sense of sentence compactness(Liu, 1998 191).&lt;br /&gt;
&lt;br /&gt;
Example 10:&lt;br /&gt;
&lt;br /&gt;
ST: What brings us together is that we have common interests which transcend those differences. &lt;br /&gt;
&lt;br /&gt;
TT: 使我们走到一起的，是我们有超越这些分歧的共同利益。  &lt;br /&gt;
&lt;br /&gt;
Analysis: In this sentence, “which transcend those differences” is a attributive clause to modify the antecedent “common interests”. If we translate it according to the English word order, it must be tedious and difficult to understand. Therefore, we can use insertion to put the clause before the main word, which will be simple and easy to understand.&lt;br /&gt;
&lt;br /&gt;
Example 11:&lt;br /&gt;
&lt;br /&gt;
ST: This refined playing must not be confused with the simple games of children which are merely pleasure-producing.&lt;br /&gt;
&lt;br /&gt;
TT: 这细化的游戏一定不要和儿童仅仅为了快乐的简单游戏混淆。 &lt;br /&gt;
&lt;br /&gt;
Analysis: The post-positive attributive “which..” is a modifier used to explain “the simple games of children”. In order to make the sentence structure more compact, smooth and coherent, the modifier needs to be put before the noun “game”. This method is often used in the translation of attributive clauses or post-positive attributives in English.&lt;br /&gt;
&lt;br /&gt;
===5.5 Synthesis===&lt;br /&gt;
&lt;br /&gt;
Synthesis means to use the above methods to translate long English sentences. In fact, when translating long English sentences, it is rare to adopt only one translation method, and it is often necessary to combine several translation methods. The key to the synthesis method is to adjust the structure of the original text flexibly on the basis of accurate understanding of the original text, and to pursue the spirit likeness rather than the appearance likeness when expressing in Chinese (Jiang, 2019,11:62-65).&lt;br /&gt;
&lt;br /&gt;
Example12:&lt;br /&gt;
&lt;br /&gt;
ST: For all of our complaints about contemporary air- ports and flying, it might be a comfort to remember that thanks to the little Pacific island nation of Fiji, we are actually getting to our destinations faster and more safely than ever before.  &lt;br /&gt;
&lt;br /&gt;
TT: 对于如今的机场和乘机体验，尽管我们有诸多抱怨，但也多亏了斐济这个太平洋岛国，我们飞抵目的地已变得更快更安全，想到这一点，或许会让我们心里又感宽慰不少.&lt;br /&gt;
&lt;br /&gt;
Analysis: The main body of this sentence is “it might be a comfort”, among which “it”, is the formal subject, and “to remember that…ever before” is the real subject. We can not find such a sentence structure in Chinese. So in order to make the translation more authentic, the sentence order must be changed. Based on the understanding of the source text, it is appropriate to adopt both liner method and reorganization method to translate. &lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
===Conclusion===&lt;br /&gt;
&lt;br /&gt;
In the practice of the translation of long and difficult sentences, there is a higher requirement for translators’ English comprehension and expression ability. For the translation of long and difficult sentences in English, the translator should be familiar with the sentence structure and main ideas of long and difficult sentences in English, and make clear the main logical relationship with the content of the original text, so as to effectively analyze the structure of long and difficult sentences in English and choose the correct way of translation. In the specific translation practice, translators should, on the basis of understanding the grammatical features of English, choose reasonable translation methods and skills so as to achieve the accurate translation of long and difficult Sentences. Translation activities require a high level of English reading and comprehension, and the effective translation of long and difficult sentences requires translators to constantly improve their ability to summarize, update their English translation skills, and realize the summary and innovation of long and difficult sentences.&lt;br /&gt;
&lt;br /&gt;
===References===&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
[1]Bell, R.T. (1991). ''Translation and Translating: Theory and Practice''. London and New York: Longman. &lt;br /&gt;
&lt;br /&gt;
[2]Nord, C. (2001). ''Translating as a Purposeful Activity--Functionalist Approaches Explained'' . Shanghai: Shanghai Foreign Language Education Press.&lt;br /&gt;
&lt;br /&gt;
[3]Reiss, Katharina &amp;amp; Vermeer, Hans J. (1984). ''Groundwork for a General Theory of Translation'' . Tubingen: Walter de Gruyter Press.&lt;br /&gt;
&lt;br /&gt;
[4]Venuti, L. (2001). ''Introducing Translation Studies: Theories and Applications'' . London: London and New York Routledge.&lt;br /&gt;
&lt;br /&gt;
[5]Vermeer, Hans J. (1989). ''Didactics of Translation. in Baker, Routledge Encyclopedia of Translation Studies'' . London: London and New York Routledge.&lt;br /&gt;
&lt;br /&gt;
[6]Jia Dejiang贾德江. (2002). 英汉语对比研究与翻译 [Contrastive Study and Translation of English and Chinese].''国防科技大学出版社'' Changsha: NUDT Press&lt;br /&gt;
&lt;br /&gt;
[7]Jiang Yuqin蒋玉琴. (2019). 从英汉对比角度解析英语长句的翻译 [Translation of English Long Sentences into Chinese: a Contrastive Study]. ''宜春学院学报'' Journal of Yichun University (11) 62-65.&lt;br /&gt;
&lt;br /&gt;
[8]Lian Shuneng连淑能. (2010). 英汉对比研究 [Contrastive Studies of English and Chinese]. ''高等教育出版社'' Beijing Higher Education Press&lt;br /&gt;
&lt;br /&gt;
[9]Liu Miqing刘宓庆. (1998). 文体与翻译 [English Varieties and Translation]. ''中国对外翻译出版公司'' Beijing: China Translation and Publishing Corporation&lt;br /&gt;
&lt;br /&gt;
[10]Liu Junping刘军平. (2009). 西方翻译理论通史 [A General History of Western Translation Theory]. ''武汉大学出版社'' Wuhan: Wuhan University Press&lt;br /&gt;
&lt;br /&gt;
[11]Wang Enmian王恩冕. (2009). 大学英汉翻译教程 [A College Textbook on English-Chinese Translation]. ''对外经济贸易大学出版社'' Beijing: University of International Business and Economics Press&lt;br /&gt;
&lt;br /&gt;
[12]Wang Shuwen王述文. (2010). 综合汉英翻译教程 [A Comprehensive Coursebook on Chinese-English Translation]. Beijing: National Defence Industry Press国防工业出版社.&lt;br /&gt;
&lt;br /&gt;
[13]Wang Wuxing王武兴. (2004). 英汉互译指导与篇章翻译 [A Guide to Essay Translation from Chinese into English and Vise Versa]. ''朝华出版社'' Beijing: Morning Glory Publishers&lt;br /&gt;
&lt;br /&gt;
[14]Zhang Jinlan张锦兰. (2004).目的论与翻译方法 [Skopos Theory and Translation Methods]. ''中国科技翻译'' Chinese Science &amp;amp; Technology Translators Journal (1) 35-37.&lt;br /&gt;
&lt;br /&gt;
[15]Zhu Wei朱微. (2004). 汉英翻译教程 [A Textbook of Chinese-English Translation]. ''重庆大学出版社'' Chongqing: Chongqing University Press.&lt;br /&gt;
--[[User:Zhou Yiwen|Zhou Yiwen]] ([[User talk:Zhou Yiwen|talk]]) 14:28, 20 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
==3.2Static language vs. dynamic language==&lt;br /&gt;
&lt;br /&gt;
==3.3 Passive voice vs. active voice==&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
==4.1Cross-cultural communication==&lt;br /&gt;
&lt;br /&gt;
==4.2Attaching great importance to form==&lt;br /&gt;
&lt;br /&gt;
==4.3Clearing language logic==&lt;br /&gt;
&lt;br /&gt;
===5.The process of translating long English sentences===&lt;br /&gt;
&lt;br /&gt;
===6.Methods of translating English long sentences===&lt;br /&gt;
&lt;br /&gt;
==6.1Liner translation==&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
==6.2Reorganization translation=&lt;br /&gt;
&lt;br /&gt;
==6.3Splitting translation==&lt;br /&gt;
&lt;br /&gt;
==6.4Synthesis==&lt;br /&gt;
&lt;br /&gt;
==6.5Insertion==&lt;br /&gt;
&lt;br /&gt;
===Conclusion===&lt;br /&gt;
&lt;br /&gt;
In the practice of the translation of long and difficult sentences, there is a higher requirement for translators’ English comprehension and expression ability. For the translation of long and difficult sentences in English, the translator should be familiar with the sentence structure and main ideas of long and difficult sentences in English, and make clear the main logical relationship with the content of the original text, so as to effectively analyze the structure of long and difficult sentences in English and choose the correct way of translation. In the specific translation practice, translators should, on the basis of understanding the grammatical features of English, choose reasonable translation methods and skills so as to achieve the accurate translation of long and difficult Sentences. Translation activities require a high level of English reading and comprehension, and the effective translation of long and difficult sentences requires translators to constantly improve their ability to summarize, update their English translation skills, and realize the summary and innovation of long and difficult sentences.&lt;br /&gt;
&lt;br /&gt;
===Bibliography===&lt;br /&gt;
&lt;br /&gt;
==Chinese-English Translation of News Headlines From the Perspective of Skopos Theory	张维虹	Zhang Weihong No.202070080648 英语口译 ==&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
===Abstract===&lt;br /&gt;
In recent years, with the rapid development of the society and economy, the exchanges between China and the rest of the world are increasingly frequent. In this process, massive information is transmitted through the translation of news reports. The translation quality of news headlines that serve as the eye of news, directly affects the effectiveness of its dissemination. Under the guidance of Skopos Theory of German Functionalist Translation School, this paper analyzes the characteristics of Chinese and English news headlines, illustrates the functions and translation criteria of news headlines, and puts forward corresponding translation strategies, aiming at retaining the conciseness of news and realizing dissemination and social value of news.&lt;br /&gt;
&lt;br /&gt;
===key words===&lt;br /&gt;
News headlines translation; Skopos theory; Translation strategies&lt;br /&gt;
&lt;br /&gt;
===摘要===&lt;br /&gt;
近年来，中国社会经济飞速发展，与外界交流日趋频繁，在此过程中大量信息传递需通过新闻报道翻译完成。而新闻标题作为新闻的眼睛，其翻译质量直接影响新闻传播的有效性。本文以德国功能翻译学派目的论为指导，分析中英新闻标题的特点，阐述新闻标题功能以及新闻标题翻译准则，并提出汉译英翻译策略，旨在还原新闻简明本色从而实现新闻传播目的和社会价值。&lt;br /&gt;
&lt;br /&gt;
===关键字===&lt;br /&gt;
新闻标题翻译；目的论；翻译策略&lt;br /&gt;
&lt;br /&gt;
===I. Introduction===&lt;br /&gt;
With the continuous development of culture and economy, news reporting is playing an increasingly important role in people's lives. We read news through TV, the Internet, or newspapers and magazines to keep abreast of current events. But thousands of pieces of news and the information they carry may confuse us, because we are in a world where massive information is flowing nonstop. There is no doubt that some news has been omitted or even ignored. Therefore, a clear-cut and intriguing headline is of great importance and can be considered as the only way to attract the target readers. (Chen Lizhao, 2002: 3-4)&lt;br /&gt;
&lt;br /&gt;
Headlines are compared to the eyes of news reports, in which clear, concise information must be contained to generate interests. (Hu Shuzhong, 2012: 199) That is to say, headlines are expected to be vivid and eye-catching in order to attract readers and provide reading guidance. So, translators must learn how to effectively extract and reconstruct the information in the Chinese-English translation of news headlines, so as to make it cater to the target language readers.&lt;br /&gt;
&lt;br /&gt;
In addition, news translation is playing a significant role in the promotion of cross-cultural communication and mutual understanding as China is having more and more exchanges with the rest of the world with the rapid development of society and economy brought about by the reform and opening-up policy and “go global” strategy. As the soul of news, headlines and their translation are what translators should pay attention to. (Liu Yunxi 2018(11):123-125.)&lt;br /&gt;
&lt;br /&gt;
There are many studies about E-C news translation and news headline translation. However, research on Chinese-English news headlines translation is very few. According to statistics from CNKI, there are only two pages of discussion on Chinese-English news headlines translation. Therefore, this paper is designed to provide further exploration and reference in the area.&lt;br /&gt;
&lt;br /&gt;
As functions for headlines are obvious, this paper takes Skopos as the theory guide to conduct the research. First, the paper illustrates the development and three rules of Skopos theory. Then it discusses the features and functions of news headlines. Later, the paper tells some translation methods of Chinese-English news headlines from a perspective of Skopos Theory. At last, it draws a conclusion.&lt;br /&gt;
&lt;br /&gt;
===II. Overview of the Skopos Theory ===&lt;br /&gt;
====2.1 Development of the Skopos Theory====&lt;br /&gt;
Skopos Theory was initially proposed by Katherina Reiss in her 1971 book ''Possibilities and Limits of Translation Criticism'', which formed the early theory. According to Reiss, the ideal translation would be “one in which the aim in the target language is equivalence as regards the conceptual content, linguistic form and communicative function of a source-language text” (Reiss 1977, translated in 1989: 112). Even though Reiss took the concept of equivalence as the main focus of her analysis, she realized that in some cases, equivalence is impossible and, in some situations, not even desired. Therefore, she indicated that the function of texts should be considered when translating.&lt;br /&gt;
&lt;br /&gt;
The idea of text typology including content-focused, form-focused and appeal-focused text put forward by Reiss, is another contribution of her to the Skopos theory. It is supposed to be the starting point for Skopos theory. &lt;br /&gt;
&lt;br /&gt;
Later, Hans Vermeer, the student of Reiss, made a major breakthrough in the limitations of equivalent theory and laid the theoretical foundation for it. He first mentioned the basic principles of Skopos Theory in 1978. He and Reiss jointly published ''Groundwork for a General Theory of Translation'' in 1984. In this book, Vermeer argued that translation should be seen as a fundamental action of the transformation of the source text. As all actions are generally purposeful, translation also has its own purposes which could have influences over the culture of the target language. (Groundwork for a General Theory of Translation, 1984)&lt;br /&gt;
&lt;br /&gt;
For Vermeer, translation cannot be treated as a one-to-one transfer between the source language and the target language. In his research, on the basis of the source text, translation is a form of action to which some of the other forms of translational action may relate. Every translation is directed at an intended audience since to translate means “to produce a text in a target setting for a target purpose and target addresses in target circumstances” (Vermeer, 1987a: 29). Vermeer’s Skopos Theory serves as the foundation for his general theory of translation.&lt;br /&gt;
&lt;br /&gt;
Later, two other German translators, Christiane Nord and Justa Holz Manttari, enriched and refined the Skopos theory. Mantarri’s theory is based on the rules of action theory and is intended to contain all forms of intercultural transmission, as well as those source or target texts which do not involve. (Nord, 2001: 12-13) Her theory reflects the role of the participants in the process of translation and the environment in which the process takes place. Nord, as the latest batch of German researchers, summarized the “Fidelity rule” and applied the Skopos theory extensively in the study of translation from multiple perspectives and related fields.&lt;br /&gt;
&lt;br /&gt;
In conclusion, Reiss laid the foundation of Skopos theory. Vermeer, who summarized and outlined the rules to be followed in the process of Skopos theory in practice, became the founding father of the theory. Manttari focused on the specific issues of translation behavior and context in the translation process, while Nord made many contributions to the refinement of the theory and greatly expanded the practical application of this theory.&lt;br /&gt;
&lt;br /&gt;
==== 2.2 Three Rules of Skopos theory ==== &lt;br /&gt;
There are three significant rules of Skopos theory including Skopos rule, coherence rule, and fidelity rule, which will be discussed respectively as follows.&lt;br /&gt;
&lt;br /&gt;
===== 2.2.1 Skopos Rule=====&lt;br /&gt;
The Skopos rule is the top-ranking rule for translation. That is to say, Skopos determines any translation action. “The translators should finish the task in a way that enables your translation to function in the situation in which it is used and with the people who want to use it and precisely in the way they want it to function. All in all, the end justifies the means.” (Nord, 2001:29).&lt;br /&gt;
&lt;br /&gt;
Translating is an international interaction as it is just said, and the Skopos rule has a stable position after it appeared. In Vermeer’s term, intention is thought of as an “aim-oriented plan of action” (Vermeer, 1983:41). &lt;br /&gt;
&lt;br /&gt;
According to Vermeer, Skopos rule is that “Each text is produced for a given purpose and should serve this purpose. The Skopos rule thus reads as follows: translate in a way that enables your text to function in the situation in which it is used and with the people who want to use it and precisely in the way they want it to function.” (Vermeer, 1989a: 20, translated by Luo Dan) Skopos theory is the foundation for Chinese-English news headlines translation. All efforts made are meant to achieve the Skopos of news headline translation because “the end justifies the means&amp;quot;.&lt;br /&gt;
&lt;br /&gt;
=====2.2.2 Coherence Rule=====&lt;br /&gt;
The coherence rule, another important rule of the Skpos theory indicates that “the target text must be interpretable as coherent with the target text receiver’s situation”. (Reiss and Vermeer, 1984: 113) It implies that the target text must be translated in a way that it is clearly understood by the target readers, taking into consideration of their existing knowledge and situation.&lt;br /&gt;
&lt;br /&gt;
===== 2.2.3 Fidelity Rule =====&lt;br /&gt;
Apart from the &amp;quot;intratextual coherence&amp;quot;, there is another intertextual coherence which refers to the relationship between the target text and the source text. It is presumed as a further principle, fidelity rule. The fidelity rule by Vermeer indicates that there has to be coherence between the target text and the source text. That means that the target text should be faithful to its source text in a certain level of features, such as grammatical features, special collocations, and rhetorical devices, or to some degree between a complete imitation and deviation. (Nord 2001: 31)&lt;br /&gt;
&lt;br /&gt;
In accordance with the Skopos theory, the source text is no longer considered as the “sacred original”, and it is up to the translator to determine the aspect and the degree of the fidelity. In Vermeer’s opinion, any text is just an offer of information, and that any target text is an offer of information formulated by a translator in a target culture and language about an offer of information formulated by someone else in the source culture and language. (Nord 2001: 32)&lt;br /&gt;
&lt;br /&gt;
Three principal rules of Skopos theory have been illustrated as above. As for the relationships between the three rules, Reiss and Vermeer believe that the fidelity rule is subordinate to the coherence rule and is included to the Skopos rule. If the skopos of the target text demands a change of function, the fidelity of the source text will no longer be taken as the only standard, but adequacy and appropriateness will be supplemented as the standard with regard to the skopos (Reiss and Vermeer, 1984: 139).&lt;br /&gt;
&lt;br /&gt;
====2.3 Summary ====&lt;br /&gt;
This chapter introduced the development of Skopos theory and its three main principles, laying a theoretical foundation for Chinese-English news headlines translation. The function and skopos of news headlines are to intrigue readers and convey information to them. Therefore, C-E news headlines translation, guided by Skopos theory, is a faithful re-creation.（Wang Chi, 2013: 33-34）&lt;br /&gt;
&lt;br /&gt;
===III. Overview of News Headlines===&lt;br /&gt;
A headline is an essential part of news. So, it is important for translators to know the features and functions of news headlines. (Liu Yunxi, 2018: 123-125) The previous chapter introduces the theoretical framework of Skopos theory, which lay a foundation for the practical translation of Chinese news headlines. In this chapter, the author will discuss features and functions of news headlines, in order to search for some strategies for the Chinese-English translation of news headlines. &lt;br /&gt;
&lt;br /&gt;
==== 3.1 Definition of News and News Headlines====  &lt;br /&gt;
News refers to the timeliest report of events that have just happened, are happening, or are going to happen. It is born to meet the need for propagation and communication of information in human society. (Xu Mingwu, 2003: 4) This definition prescribes the features and functions of news. News should be timely and share ideas and information.&lt;br /&gt;
&lt;br /&gt;
News headlines are compared to the “eye” of news. According to the dictionary, “A head of a newspaper story or article, usually printed in large type and devised to summarize, gives essential information about, or interests readers in reading the story or article that follows.” (Webster’s Third New International Dictionary, 1961: 1042) From the definition, we can see that news headlines tell the essence of the news; the function is to attract readers’ interests. The paper will discuss the features and functions of news headlines in detail in the following part.&lt;br /&gt;
&lt;br /&gt;
====3.2 Features of News Headlines==== &lt;br /&gt;
As a text genre, news headlines have their own features. Chinese and English news headlines share much in common, though they differ from each other in certain areas. Understandings about the differences and similarities of Chinese and English news headlines are important for translators. （Luo Dan, 2012: 30-31）So, this chapter will analyze the features of news headlines from the following aspects: grammar, rhetoric, culture, and structure.&lt;br /&gt;
&lt;br /&gt;
===== 3.2.1 Grammatical features===== &lt;br /&gt;
&lt;br /&gt;
3.2.1.1 Lexical Feature&lt;br /&gt;
&lt;br /&gt;
a. Midget words&lt;br /&gt;
&lt;br /&gt;
A good headline must be clear to attract readers and be strong to save space. In other words, the headline should convey the intends of the news without confusion or ambiguity; the words should be powerful to persuade the headline consumer to read on. These two requirements determine the prevalence of powerful, or strong worlds – mostly verbs and nouns – in headlines. (Shen Jinbo, 1989:52) That is to say, powerful words are short, simple and concrete, for extensive or abstractive words can only lead to dullness and confusion. There are no such powerful words in Chinese, but Chinese headlines, on the premise of conveying the exact meanings also put emphasis on the shortness of words. &lt;br /&gt;
&lt;br /&gt;
[1]: Dancing '''gets''' Olympic status (China Daily Dec 9, 2020)&lt;br /&gt;
&lt;br /&gt;
[2]: 霹雳舞'''成'''巴黎奥运项目 (China Daily Dec 9, 2020)&lt;br /&gt;
&lt;br /&gt;
b. Numeral words&lt;br /&gt;
&lt;br /&gt;
Numbers are used in news headlines to highlight the key information, especially in economic and sports news. &lt;br /&gt;
&lt;br /&gt;
[3]: Pink diamond sold for '''$26.6M''' (China Daily Nov 23, 2020) &lt;br /&gt;
&lt;br /&gt;
[4]: 外储余额创'''4'''年多新高(China Daily Dec 9, 2020)&lt;br /&gt;
&lt;br /&gt;
c. Abbreviations &lt;br /&gt;
&lt;br /&gt;
The limitation of page space leads to the frequent use of abbreviations in headlines. English abbreviations, according to Lu Guoqiang (陆国强, 1984), consist of two major types: lipped words and initialisms or acronyms. The common types of abbreviations found in Chinese headlines, nevertheless, are mostly number-assisted summarizing, blending and substituting. (Chen Lizhao, 2002:36)&lt;br /&gt;
&lt;br /&gt;
[5]: '''Intl''' student enrollment falls (China Daily, Nov 19, 2020)&lt;br /&gt;
&lt;br /&gt;
[6]: 第二届'''“一带一路”'''国际合作高峰论坛举行圆桌峰会 (People’s Daily, April 28, 2019) &lt;br /&gt;
&lt;br /&gt;
d. Vogue words &lt;br /&gt;
&lt;br /&gt;
“Freshness” is the life of news, which lies in the contents of the report. As the gist of the news, headlines would certainly reveal some of the new ideas or hot topics in order to catch the reader’s attention. Therefore, vogue words are frequently seen in headlines. (Chen Lizhao, 2002: 4-5)  &lt;br /&gt;
&lt;br /&gt;
[7]: ''''Cooling-off period'''' added (China Daily Dec 8, 2020)&lt;br /&gt;
&lt;br /&gt;
[8]: '''“离婚冷静期”'''新规将施行 (China Daily Dec 8, 2020)&lt;br /&gt;
&lt;br /&gt;
3.2.1.2 Syntactical features&lt;br /&gt;
&lt;br /&gt;
a. Omission&lt;br /&gt;
&lt;br /&gt;
Omission appears in almost every headline. Eliminating meaningless words can shorten the length of a headline and highlight the core information. In English headlines, all articles and some auxiliary verbs, lexical verbs, pronouns, and the subject and the predicate are often omitted, as they weigh little in giving information. Chinese headlines also omit those unimportant words, including conjunctions, and auxiliary words as well. (Chen Lizhao, 2002: 4-5)  &lt;br /&gt;
&lt;br /&gt;
[9] Biden declares victory (China Daily, Nov 10, 2020)&lt;br /&gt;
&lt;br /&gt;
[10] 研究：医患“互粉”对治疗不利 (China Daily, Nov 25, 2014)&lt;br /&gt;
&lt;br /&gt;
b. Voice&lt;br /&gt;
&lt;br /&gt;
Active voice is frequently adopted in news headlines.&lt;br /&gt;
&lt;br /&gt;
[11] UK '''approves''' Pfizer vaccine (China Daily Dec 4, 2020)&lt;br /&gt;
&lt;br /&gt;
[12]英国'''批准'''辉瑞新冠疫苗 (China Daily Dec 4, 2020)&lt;br /&gt;
&lt;br /&gt;
[13] Biden '''unveils''' economic team (China Daily Dec 2, 2020)&lt;br /&gt;
&lt;br /&gt;
[14]拜登'''拟'''提名耶伦任财长 (China Daily Dec 2, 2020)&lt;br /&gt;
&lt;br /&gt;
c. Tense&lt;br /&gt;
&lt;br /&gt;
One of the distinct features of news headlines, particularly in English news headlines, is the wide use of present tense, which saves the space of “-ed” in the past tense. But sometimes past tense is used to indicate the timeline. While Chinese news headlines use different tenses, as they are not revealed by the different forms of verbs as in English. So, the auxiliary verbs or adverbs in Chinese news headlines tell the time of happening form. (Chen Lizhao, 2002: 4-5)&lt;br /&gt;
&lt;br /&gt;
[15] COVID vaccine distribution (China Daily Dec 1, 2020)&lt;br /&gt;
&lt;br /&gt;
[16] 英美'''即将'''启动疫苗分配 (China Daily Dec 1, 2020)&lt;br /&gt;
&lt;br /&gt;
=====3.2.2 Rhetorical Features =====&lt;br /&gt;
The figures of speech found in headlines, English and Chinese alike, include metaphor, simile, pun, alliteration and rhyme, repetition, allusion, etc. They are aimed at creating musical sound as well as vivid images to provide spiritual enjoyment to the readers. (Chen Lizhao, 2002: 4-5)&lt;br /&gt;
&lt;br /&gt;
[1] 苹果发新机加入5G'''战局''' (metaphor) (China Daily Oct 16, 2020) &lt;br /&gt;
&lt;br /&gt;
[2] 美国加州火灾蔓延 居民'''仿佛置身火星'''(simile)&lt;br /&gt;
&lt;br /&gt;
===== 3.2.3 Cultural Features=====&lt;br /&gt;
Language is the carrier of culture. News, as a practical genre, also bears cultural characteristics of a certain country or region. These cultural elements also appear in news headlines. (Fan Tengteng, 2006: 44-45)&lt;br /&gt;
&lt;br /&gt;
=====3.2.4 Structural features =====&lt;br /&gt;
To achieve the headline’s distinctiveness and simplicity, certain punctuation marks are used in English news headlines, which are not often seen in Chinese news headlines. However, the pursuit of using punctuation marks shares a common destination—to make the news headlines clear and easily perceptible. The rule for headlines is that the fewer punctuation marks are, the better. (Fan Tengteng, 2006: 45-46)&lt;br /&gt;
&lt;br /&gt;
[1] 世界精神卫生日：超半数英国员工最担心就业问题 (China Daily Oct 16, 2020)&lt;br /&gt;
&lt;br /&gt;
[2] World Mental Health Day: More than half of UK workers worry about finding a job (China Daily Oct 16, 2020)&lt;br /&gt;
&lt;br /&gt;
====3.3 Functions of news headlines ====&lt;br /&gt;
According to the theory of text-style function by Peter Newmark, new headlines fulfill the following four functions: informative function, expressive function, aesthetic function and vocative function, which will be illustrated in this section.  (Newmark 2001: 40) &lt;br /&gt;
&lt;br /&gt;
=====3.3.1 Informative Function =====&lt;br /&gt;
“The core of the informative function of language is external situation, the facts of a topic, reality outside language, including ideas or theories” (Newmark 2001: 40) That is to say, news headline tells readers the basic information and facts of the news.&lt;br /&gt;
&lt;br /&gt;
====3.3.2 Expressive Function ====&lt;br /&gt;
“The core of the expressive function is the mind of the speaker, the writer, the originator of the utterance. He uses the utterance to express his feelings irrespective of any response” (Newmark 2001: 39) The expressive function of a news headline is to reveal the writer’s or the editor’s attitude toward the news by using commentary words or rhetoric devices.&lt;br /&gt;
&lt;br /&gt;
=====3.3.3 Aesthetic function=====&lt;br /&gt;
“This is a language designed to please the sense, firstly through its actual or imagined sound, and secondly through its metaphors. The rhythm, balance, and contrast of sentences, clauses, and words also play their part.” (Newmark 2001: 42) As the eye of the news, headlines use elegant words, abbreviations, punctuations, and so on to strengthen their aesthetic function.&lt;br /&gt;
&lt;br /&gt;
=====3.3.4 Vocative function=====&lt;br /&gt;
The vocative function is reader-oriented. Here, the term “vocative” is interpreted as “calling upon” the readers to act, think or feel, in fact, to “react” in the way intended by the text. (Newmark 2001: 41) Vocative words in news headlines can attract the readers to read the whole article, and in certain circumstances call upon the readers to take some actions after finishing the news.&lt;br /&gt;
&lt;br /&gt;
====3.3 Summary ====&lt;br /&gt;
This chapter discussed the features and functions of news headlines as well as differences between Chinese and English news headlines. It helps the author to seek for certain translation strategies and methods to retain the features and achieve the purposes of news headlines, which will be mentioned in the following chapter.&lt;br /&gt;
&lt;br /&gt;
===IV. Application of Skopos theory in Chinese-English Translation===&lt;br /&gt;
Many translation strategies and techniques can be adopted under the guidance of the Skopos theory. Based on the dominant informative function of news headlines, new information should be transferred with fidelity and clarity. Moreover, considering the aesthetical function of headlines, the source text should be aesthetically handled to the target readers. This chapter will explain how the Skopos theory is applied in the translation of Chinese-English news headlines. Before that, the criteria for C-E news headlines translation will be discussed. (Luo Dan, 2012）&lt;br /&gt;
&lt;br /&gt;
====4.1 Criteria of News headline translation ====&lt;br /&gt;
According to the basis of translation criteria, the author discussed four criteria for Chinese news headline translation, including fidelity, readability, adaptability, and rapidity. &lt;br /&gt;
&lt;br /&gt;
===== 4.1.1Fidelity =====&lt;br /&gt;
Fidelity means to accurately convey the message of the source text. The translation of news headlines from Chinese to English is a kind of intercultural communication in which messages should be transferred objectively and accurately by reflecting reality. Considering this point of view, fidelity can be acted as the main rule for translating news headlines. （Luo Dan, 2012: 45-46）&lt;br /&gt;
&lt;br /&gt;
=====4.1.2 Readability =====&lt;br /&gt;
Readability means the translation version is smooth as much as possible so that it is easier for readers or audiences to read and understand. According to a survey on ''Beijing citizens’ newspaper reading and willingness'' by Chinese People’s University, vividness and readability are the first to be considered while consumers buying and reading a newspaper. Therefore, the translation of news headlines should value readability. If the rule of fidelity concerns the content, then the rule of readability aims at the form. （Luo Dan, 2012: 46-47）&lt;br /&gt;
&lt;br /&gt;
=====4.1.3Adaptability =====&lt;br /&gt;
Adaptability means that the translated headline should be in an appropriate writing pattern in line with the features of news language. In other words, the style of the target language should be consistent with the source language. Style-maintaining is considered to be essential and important in translation, which is also true in the translation of news headlines. So, translators must deal with the grammar and diction of English seriously, and make sure the style of the original is mostly intact when translating a Chinese news headline. (Tang Ting, 2010: 35-36)&lt;br /&gt;
&lt;br /&gt;
===== 4.1.4Rapidity =====&lt;br /&gt;
Rapidity, as the fourth request of news headline translation, is the most indispensable one. It requires that the translation of a news headline should be completed at a given period of time without any delay. The news is more valuable if the time between happening and reporting is shorter. So, the timeliness of news decides the rapidity of news translation, especially the headlines. (Tang Ting, 2010: 36-37)&lt;br /&gt;
&lt;br /&gt;
====4.2 Strategies and Methods of Chinese-English News Headlines Translation ====&lt;br /&gt;
News headlines are considered to be the soul of the news. Since Chinese and English readers are different in thinking patterns, education systems, and cultural backgrounds, some proper translation strategies and methods should be taken into consideration to enable the readers to understand the news headlines easily. Under the guidance of Skopos theory, translation methods including literal translation, free translation, amplification, omission, amplification, restructuring, and adaptation are applied in news headlines translation. (Wang Jun, Chen Shiyue, 2017: 102-103) &lt;br /&gt;
&lt;br /&gt;
=====4.2.1 Literal translation=====&lt;br /&gt;
Literal translation, also called word-for-word translation, is the basic approach used in Chinese news headline translation, since it can retain both the form and contents of the original to the maximum. Here are some examples: (Wang Jun, Chen Shiyue, 2017: 102-103) &lt;br /&gt;
&lt;br /&gt;
[1] 疫情致牛仔裤销量骤减&lt;br /&gt;
&lt;br /&gt;
Pandemic leads to jeans sales slump&lt;br /&gt;
(China Daily Aug 10, 2020)&lt;br /&gt;
&lt;br /&gt;
The headline introduces that Covid-19 pandemic has led to jeans sales slump. “疫情”was translated into “Pandemic”, “牛仔裤销量” was “jeans sales”, and “骤减” “slump”, which is exactly an example of literal translation. There’s no change in the form or style between the source text and the target text. &lt;br /&gt;
&lt;br /&gt;
[2] 新冠抗原检测试剂获批&lt;br /&gt;
&lt;br /&gt;
COVID antigen tests approved&lt;br /&gt;
(China Daily Nov 10, 2020)&lt;br /&gt;
&lt;br /&gt;
This example is a typical word-for-word translation. “新冠”, an abbreviation for “新冠病毒”, was translated into “COVID”, short for coronavirus. “抗原检测”was translated into “antigen tests”and“获批”,“approved”. We can see that in this example, literal translation was used so that the form, style, and even the tense and voice of the source text are all retained.&lt;br /&gt;
&lt;br /&gt;
[3] 成都将建首个大熊猫主题公园&lt;br /&gt;
&lt;br /&gt;
Chengdu Set to Get Unique Panda-themed Park &lt;br /&gt;
(China Daily, Jan 17, 2018) &lt;br /&gt;
&lt;br /&gt;
This is an example of literal translation, remaining the original form and style of the Chinese version. It uses midget words “set” and “get”, taking into consideration the style of English news headlines, in order to attract readers from different walks of life. At the same time, the Chinese noun “大熊猫主题” is converted to the English adjective “Panda-themed”, which is very concise and accurate.&lt;br /&gt;
&lt;br /&gt;
=====4.2.2 Free translation =====&lt;br /&gt;
Free translation is applied when the news headline of the source text is obscure and difficult to understand or there are no equivalent words in the target language. Sometimes it is preferred because it adapts the original headlines to the target language. (Wang Jun, Chen Shiyue, 2017: 102-103) &lt;br /&gt;
&lt;br /&gt;
[4] 不要人夸颜色好，只留清气满乾坤&lt;br /&gt;
  &lt;br /&gt;
Xi: China Welcomes Constructive Suggestions&lt;br /&gt;
(China Daily, Oct 25, 2017) &lt;br /&gt;
&lt;br /&gt;
The source text is a poem, cited by President Xi at the press conference of 19th CPC Central Committee Political Bureau to hear constructive suggestions from people both at home and abroad. The poem, Ink Plum written by a famous Chinese ancient poet, Wang Mian, carries rich cultural connotations. If it is directly translated as “Not angling for compliments, we should be content that integrity fills the universe”, it will cause confusion to the target readers. Obviously, such a mechanical translation will discourage the reader from understanding the meaning of the poem. Therefore, the translation of this news headline should be based on the content of the news – Xi: Welcomes Constructive Suggestions. So, it is a typical example of free translation. &lt;br /&gt;
&lt;br /&gt;
[5]姜瑜：外资应凭实力在华竞争&lt;br /&gt;
 &lt;br /&gt;
Foreign investors told to sharpen edge&lt;br /&gt;
&lt;br /&gt;
This example takes into consideration of the reading habits and backgrounds of the target readers. “凭实力竞争” is translated to “sharpen one’s edge”, which is more understandable. “姜瑜”(Jiang Yu”, a heroic character in Chinese history is omitted. So, it is a free translation.&lt;br /&gt;
&lt;br /&gt;
=====4.2.3 Amplification =====&lt;br /&gt;
Most news headlines contain certain backgrounds that are familiar to the source language readers, but alien to those who read the target language. So, translators have the responsibility to turn information that is rich in cultural connotation into something understandable to target readers. This is particularly significant in translating news headlines from the perspective of Skopos theory because the purpose is to convey effective information to target readers. As mentioned in the chapter before, Chinese news headlines usually are culture-loaded. Therefore, amplification is frequently used in Chinese-English news headlines translation. （Fan Tengteng, 2006: 50-51）&lt;br /&gt;
&lt;br /&gt;
[6] 水陆两栖飞机AG600首飞成功&lt;br /&gt;
&lt;br /&gt;
China’s First Large Amphibious Aircraft Makes a Successful Maiden Flight&lt;br /&gt;
(China Daily, Dec 25, 2018) &lt;br /&gt;
&lt;br /&gt;
Amplification is used in this translation. AG600, as called Kun Lun600, is the world’s largest amphibious aircraft developed by China. The translator adds a modifier “China’s first large” as a supplement of background to better inform the targe readers. &lt;br /&gt;
&lt;br /&gt;
[7] 共享单车来到“世界屋脊”&lt;br /&gt;
&lt;br /&gt;
Shared Bikes Climb to the “Roof of the World” (Tibet)&lt;br /&gt;
&lt;br /&gt;
“Roof of the World” is confusing for some target readers, so the translator adds “(Tibet)” at the end of the sentence to avoid ambiguity.&lt;br /&gt;
&lt;br /&gt;
=====4.2.4 Omission =====&lt;br /&gt;
Omission is a translation method to make the news headline simple and concise by eliminating the redundant verbs, pronouns, and other words in the source text. As Chinese usually use unnecessary modifiers, this method can highlight the main point of the news. (Wang Jun, Chen Shiyue, 2017: 102-103)&lt;br /&gt;
&lt;br /&gt;
[8] 对外汉语专家齐聚京城 共议国际汉语教师缺口问题&lt;br /&gt;
&lt;br /&gt;
Beijing forum addresses Chinese teacher shortage&lt;br /&gt;
(China.org.cn, Jul 21, 2021) &lt;br /&gt;
&lt;br /&gt;
In this example, the first sentence is translated into a phrase, so as to shorten the length of the news headline and more it more concise. What’s more, redundant words like “齐聚”, “共议” “问题” are omitted to point out the main contents of the news. &lt;br /&gt;
&lt;br /&gt;
[9] '大流行病'当选年度词汇&lt;br /&gt;
&lt;br /&gt;
Word of the year: pandemic&lt;br /&gt;
&lt;br /&gt;
(China Daily, Dec 12, 2020)&lt;br /&gt;
&lt;br /&gt;
In the example, the verb “当选”(elected) in the source text is eliminated to save space.&lt;br /&gt;
&lt;br /&gt;
=====4.2.5 Restructuring =====&lt;br /&gt;
Restructuring refers to the rearranging of the words in logical order to make the translation more consistent and coherent. The target text should be acceptable and meaningful in a sense that it is coherent with the situation in which it is received. Once translated, the translator revises the order and rearranges all words into a perfect sentence. In doing so, the news is more logical and tuned with the habit of native readers’ thinking and reading. It is frequently used in translating news headlines from Chinese into English. (Tang Ting, 2010: 25-26) &lt;br /&gt;
[10] 疫情期间夫妻关系改善&lt;br /&gt;
&lt;br /&gt;
Marriages benefit from lockdown&lt;br /&gt;
(China Daily, Nov 23, 2020)&lt;br /&gt;
&lt;br /&gt;
The English version changes the structure of the Chinese news headline, and adds a preposition to show the logic of this sentence. By restructuring, English readers can better understand this news headline.&lt;br /&gt;
&lt;br /&gt;
====4.2.6 Adaptation ====&lt;br /&gt;
Adaptation is a translation method, which refers to selecting, adding, deleting, and constructing cautiously instead of simply translating one word to another word. In order to make the translated version more proper to certain readers or audiences, adaptation always makes some essential changes for a special aim. Specific to C-E news headlines translation, the translator can take the Chinese news headlines as the basis and refer to the key news facts of the report, in order to offer as much information as possible to the target readers. (Wang Chi, 2013: 42-42) &lt;br /&gt;
&lt;br /&gt;
[11] 高考将不再是 “一考定终身”&lt;br /&gt;
&lt;br /&gt;
Changes to Uni Eligibility&lt;br /&gt;
（People’s Daily, 2014）&lt;br /&gt;
 &lt;br /&gt;
In this example, “高考” refers to the National College Entrance Examination in China, which is an expression with Chinese characteristics. Therefore, based on the main idea of the news, the translator translated it into “Uni Eligibility”&lt;br /&gt;
	&lt;br /&gt;
[12] 中国女性主导财务决策&lt;br /&gt;
&lt;br /&gt;
'She' to power wealth management&lt;br /&gt;
(China Daily, Nov 23, 2020)&lt;br /&gt;
&lt;br /&gt;
Adaptation is used in this translation. According to the contents of the news, women in different countries are mentioned. So, instead of translating “中国女性” into Chinese women, the English version adapted it into “she”, which adds interest and fun to the headline and thus can attract more readers.&lt;br /&gt;
&lt;br /&gt;
====4.3 Summary====&lt;br /&gt;
This chapter introduces criteria, and strategies and methods of Chinese-English news headlines translation. It is the main body of the paper, which can serve as guidelines for translators who translate Chinese news headlines into English ones.&lt;br /&gt;
&lt;br /&gt;
===V. Conclusion===&lt;br /&gt;
Based on Skopos theory, this paper discussed the features and functions of news headlines and their relevance to translation, summarized translation criteria, and strategies and methods adopted in actual C-E news headlines translation. &lt;br /&gt;
&lt;br /&gt;
News translation is a cultural transformation with certain purposes(skopos). While conveying the connotation of the information, news translation must also take into account the habits of target readers. The purpose-oriented approach helps translators to break the language barriers and helps to convey cultural connotations and facilitate communication. The purposes and functions of translation determine the translation methods. In translation, the standard of translation should not be how to be faithful to the source text, to highlight the main points of the news and attract English readers. Therefore, the paper, applying the Skopos theory to Chinese-English news headlines, is of significance.&lt;br /&gt;
&lt;br /&gt;
However, there are also limitations in the paper. The first problem is the complexity of the theoretical basis. The second one is that few data have been collected. And the last one is the capability of the author herself. So, there is still room for improvement.&lt;br /&gt;
&lt;br /&gt;
--[[User:Zhang Weihong|Zhang Weihong]] ([[User talk:Zhang Weihong|talk]]) 02:27, 21 December 2020 (UTC)Zhang Weihong&lt;br /&gt;
&lt;br /&gt;
===References===&lt;br /&gt;
* Munday, J. Introducing Translation Studies: Theories and Applications[M]. London and New York: Routledge, 2001: 77-78.&lt;br /&gt;
&lt;br /&gt;
* Newmark, P.A Textbook of Translation[M]. Shanghai: Shanghai Foreign Language Education Press, 2001: 40-42.&lt;br /&gt;
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* Nida, E. A. Language and Culture—Contexts in Translating[M]. Shanghai: Shanghai Foreign Language Education Press, 2001: 38-41.&lt;br /&gt;
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* Nida, E. A. Language, Culture and Translating[M]. Shanghai: Shanghai Foreign Language Education Press, 2001: 50-51. &lt;br /&gt;
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* Nord, Christiane. Translating as a Purposeful Activity [M]. Shanghai：Shanghai Foreign Language Education Press, 2001.&lt;br /&gt;
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* Schudson, M. The Power of News [M]. Cambridge, Mass: Harvard University Press, 1995&lt;br /&gt;
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* Vermeer, H. J. Skopos and Translation Commission [M]. Heidelberg: University, 1989.&lt;br /&gt;
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* Vermeer, H. J. Skopos and Translationsauftrag – Aufsatze [M]. Second Edition. Heidelberg: University, 1989. &lt;br /&gt;
&lt;br /&gt;
* Chen Lizhao. 陈丽昭. 中英新闻标题对比研究[A Comparative Study of Chinese and English News Headlines ][D].福建师范大学[Fujian Normal University],2002.&lt;br /&gt;
&lt;br /&gt;
* Fan Tengteng 樊腾腾. 从目的论角度论英语新闻标题的翻译[Translation of English News Headlines from Perspective of Skopos Theory ][D]. 广东外语外贸大学[Guangdong University of Foreign Studies], 2006.&lt;br /&gt;
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* Hu Shuzhong 胡曙中. 语篇语言学导论 [ Introduction to Discourse Linguistics ] [M]. 上海: 上海外语教育出版社Shanghai: Shanghai Foreign Language Education Press, 2012.&lt;br /&gt;
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* Li Zhongqiang 李中强. 新媒体背景下的汉语新闻英译研究[A Study of English Translation of Chinese News in the Context of New Media] [D].上海外国语大学[Shanghai International Studies University],2012.&lt;br /&gt;
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* Liu Mixian 刘宓庆. 当代翻译理论[Contemporary Translation Theory ][M]. 中国对外翻译出版公司[China Foreign Translation and Publishing Corporation], 2003.&lt;br /&gt;
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* Liu Yunxi 刘芸希.目的论视角下新闻标题的英译研究[A Study of English Translation of News Headlines from the Perspective of Skopos Theory] [J].海外英语[Overseas English], 2018(11):123-125.&lt;br /&gt;
&lt;br /&gt;
* Luo Dan 罗丹. 目的论视角下的中国日报网英语新闻标题的翻译策略[Translation Strategies of English News Headlines in China Daily from the Perspective of Skopos Theory ][D].武汉科技大学[Wuhan University of Science and Technology], 2012.&lt;br /&gt;
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* Shen Jinbo 沈金伯. 新闻英语文体探讨[Exploring the English Style of News ][J]. 《外国语》[Foreign Languages]. 1989(1): 52-55 &lt;br /&gt;
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* Tang Ting 唐婷. 从目的论看硬新闻标题的汉译英[Chinese-English translation of Hard News Headlines From Perspective of Skopos Thoery][D].南华大学[University of South China],2010.&lt;br /&gt;
&lt;br /&gt;
* Wang Chi 王驰. 目的论在经济新闻标题英汉翻译中的应用[The Application of Skopos Theory in the English-Chinese Translation of Economic News Headlines ][D].华中师范大学[Central China Normal University], 2013.&lt;br /&gt;
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* Xu Mingwu 许明武. 新闻英语与翻译 [News English and Translation] [M]. 北京: 中国对外翻译出版公司[Beijing: China Foreign Translation and Publishing Corporation], 2003.&lt;br /&gt;
&lt;br /&gt;
==On Chinese-English Translation of Public Service Advertisements From the Perspective of Text-type Theory 司妤  Si Yu  Student No.202070080606==&lt;br /&gt;
&amp;lt;center&amp;gt; 司妤  Si Yu  Student No.202070080606&amp;lt;/center&amp;gt;&lt;br /&gt;
&lt;br /&gt;
===Abstract===&lt;br /&gt;
&lt;br /&gt;
Public-service advertising is an advertising activity that provides free services to the community without the purpose of making profit. Since the founding of the People's Republic of China, public-service advertising activities have increased and played an important role in the moral and ideological education of society as a whole, such as fire and burglary prevention, forest protection, birth control, maintenance of public order, no spitting and so on, all of which are in the nature of public-service advertising.&lt;br /&gt;
&lt;br /&gt;
With the improvement of China's status in the international society, the accuracy of the translation of PSAs, as a medium to convey Chinese culture, is attracting more and more attention. Accurate translations help to showcase Chinese culture to foreigners and promote communication, while incorrect translations can be laughable.&lt;br /&gt;
&lt;br /&gt;
In some public occasions, I have noticed that there are many excellent PSAs, but there are also some &amp;quot;Chinglish&amp;quot; PSAs. This paper analyzes the text of PSAs by using the Text-type theory, gives suggestions to improve the messy translation phenomenon, and summarizes several translation methods, hoping to provide reference for the translators of PSAs.&lt;br /&gt;
&lt;br /&gt;
===key words===&lt;br /&gt;
&lt;br /&gt;
Public-service advertisement;Text typeTheory;Translation methods&lt;br /&gt;
&lt;br /&gt;
===文本理论视角下公益广告的中英翻译===&lt;br /&gt;
&lt;br /&gt;
===摘要===&lt;br /&gt;
&lt;br /&gt;
公益广告是不以营利为目的而为社会提供免费服务的广告活动。我国建国以后，公益性的广告活动日益增多，对全社会进行道德和思想教育发挥了重要作用，例如有关部门进行的防火防盗、保护森林、节制生育、维护公共秩序、不要随地吐痰等广告宣传，均属公益广告的性质。&lt;br /&gt;
&lt;br /&gt;
随着中国在国际社会地位的提高，公益广告作为一种传递中国文化的媒介，其翻译的准确性日益受到人们的关注，翻译准确有利于向外国友人展示中国文化，促进交流。而翻译错误则容易贻笑大方。&lt;br /&gt;
&lt;br /&gt;
笔者注意到在一些公众场合不乏优秀的公益广告翻译，同时也仍有一些“中式英语”公益广告存在。本文运用文本类型理论对公益广告文本进行分析，对乱译现象提出改进建议，总结了几点翻译方法，希望能够为公益文本译者提供借鉴。&lt;br /&gt;
&lt;br /&gt;
===关键字===&lt;br /&gt;
&lt;br /&gt;
公益广告；文本类型理论；翻译方法&lt;br /&gt;
&lt;br /&gt;
===Introduction===&lt;br /&gt;
&lt;br /&gt;
====Research Background====&lt;br /&gt;
&lt;br /&gt;
Economic and social development and the improvement of people's living standards have brought many unprecedented changes to people, making their lives more convenient and colorful. But along with it comes a series of social problems such as indiscriminate dumping of urban garbage, neglect of wildlife protection, lack of care for public property, smoking in public places, etc.These social problems have also been magnified by the advance of urbanization. At this time, public service advertisement (PSA)can offer help if we want to activate more people to solve them.&lt;br /&gt;
 &lt;br /&gt;
There are many forms of public service advertisements, such as public service advertisement (PSA) clips, public service messages, and public service slogans. Each of these PSAs has its own textual characteristics, such as the PSA short film in the form of a short video, using a fascinating plot to illustrate the concept of public welfare; public service messages are simple but informative; public service slogans are neat and thought-provoking. The translation of these texts should be done according to the characteristics of the text in order to achieve the public service effect of the text. &lt;br /&gt;
&lt;br /&gt;
With China playing an increasingly important role in the international community, a large number of international conferences are being held in China, and the number of foreign travelers arriving in the country is on the rise. The accuracy of the translation of public service advertisements is especially important at this time, not only to help foreigners in their travel work in China, but also to promote Chinese culture and to enhance their understanding of China.&lt;br /&gt;
&lt;br /&gt;
It is worth mentioning that the overall quality of the Chinese people has been significantly improved compared to a few years ago, and the appearance of more and more elites has made the society think more deeply about the accuracy of translation, which is conducive to building a good city image and improving the aesthetic level of city residents and tourists.&lt;br /&gt;
&lt;br /&gt;
Advertisements can be divided into commercial advertisements and public service advertisements according to content and purpose. Commercial advertisements are mostly published by enterprises, and their main purpose is to stimulate consumers and arouse their desire to consume, and their content is mostly product information.(Liu Xiaofang 2014)&lt;br /&gt;
&lt;br /&gt;
There are some definitions from different people. Berkowitz, a famous scholar, who makes a thorough study of advertisement for more than 25 years, states that PSA is generally sponsored by a non-profitable institution, civic group, religious organization, trade association, or political group with a central focus on public welfare (Berkowitz, 2004). In China, according to Zhang Minxin’s definition, PSA is a sub-branch of non-commercial advertisement whose purposes are to serve the public interests. This kind of advertisement can push the public to change their attitudes and behaviors (Zhang Mingxin, 2004). There are some researchers at home and abroad trying to discover how public service advertisements work, such as: Judie Lannon (2008), Nancy Lee (2006), Josephson (2005) and other scholars hoping to discover the secrets behind public service advertisements and society, such as Charles Atkin (2001) and Pan Zehong (2001).&lt;br /&gt;
&lt;br /&gt;
====Research Significance and Objectives====&lt;br /&gt;
&lt;br /&gt;
As the influence of Chinese culture increases internationally, more and more foreigners want to learn about China. Some want to learn Chinese, and others want to know more about the social situation. Public service advertisements (PSAs) provide such an opportunity for them to learn and better understand China.&lt;br /&gt;
&lt;br /&gt;
At the same time, some social problems, such as the Cov-19 epidemic, SARS, and AIDS, may not only be a problem for China, but also for the whole world, and the PSAs can provide a Chinese perspective and Chinese wisdom to solve these problems. In addition, when a disaster occurs, such as the Wenchuan earthquake, which aroused the attention and sympathy of the international community, and some friendly countries want to provide assistance, PSAs are extremely important. In this paper, the writer will analyze different public service advertisements from the perspective of text type theory and provide translation suggestions.&lt;br /&gt;
&lt;br /&gt;
Public service advertisement texts are common texts in daily life, and many scholars have discussed them from various perspectives, including the theory of purpose, aesthetic perspective, semantic translation and communicative translation perspective. However, no scholars have analyzed them from the perspective of text type theory. The writer boldly proposes to look at public-interest text translation from such a perspective, which may lead to new insights.&lt;br /&gt;
&lt;br /&gt;
====Methodology====&lt;br /&gt;
&lt;br /&gt;
The texts in this paper are mostly from public service advertisements released by CCTV, publicservice text messages received by the public, and public service slogans around them. This paper adopts a descriptive approach to analyze the content and purpose of the texts in detail, and also gives its own suggestions on how to translate the public service texts.&lt;br /&gt;
&lt;br /&gt;
====Framework of this paper====&lt;br /&gt;
&lt;br /&gt;
This paper is divided into seven chapters.&lt;br /&gt;
&lt;br /&gt;
Chapter 1 introduces the background, significance and purpose of the research, methodology, and general framework of this thesis.&lt;br /&gt;
&lt;br /&gt;
Chapter 2 introduces the theoretical perspective used in this paper.&lt;br /&gt;
&lt;br /&gt;
Chapter 3 analyzes the characteristics of public service texts from the perspective of content and text.&lt;br /&gt;
&lt;br /&gt;
Chapter 4 gives examples of texts according to the three categories of text type theory and analyzes the more appropriate translations.&lt;br /&gt;
&lt;br /&gt;
Chapter 5 lists the obvious mistranslations in PSAs and gives suggested versions of the translations.&lt;br /&gt;
&lt;br /&gt;
Chapter 6 summarizes the methods that can be used to translate PSA texts.&lt;br /&gt;
&lt;br /&gt;
Chapter 7 summarizes what has been discussed throughout the essay and reflects on the limitations of the essay.&lt;br /&gt;
&lt;br /&gt;
===Overview of Theoretical Foundation and Comparisons===&lt;br /&gt;
&lt;br /&gt;
====Reiss’s View of Text Type Theory====&lt;br /&gt;
&lt;br /&gt;
Katharina Reiss is the founder of the German functional school of translation, and in her book Possibilities and Limitations in Translation Criticism she presented the prototype of the functional school's theoretical ideas. Reiss's text types are divided into four main categories. She points out that content texts emphasize the depictive function, formal texts emphasize the expressive function, operative texts emphasize the persuasive function, and audio-visual texts emphasize the audio-visual function. function). Therefore, these text categories can also be referred to as informative text, expressive text, operative text, and audio-visual text, respectively. Correspondingly, there are four types of functions.(Reiss 1972)&lt;br /&gt;
&lt;br /&gt;
1. Content-based text&lt;br /&gt;
&lt;br /&gt;
This type of text is content-based, and the text can be used to convey information and so on. When translating, the content should be restored to the greatest extent possible. These texts mainly include news reports and commentaries, business letters, cargo lists, instructions for use, operating instructions, and other professional works in technical fields.&lt;br /&gt;
&lt;br /&gt;
2. Formal texts&lt;br /&gt;
&lt;br /&gt;
The focus of formal texts is on their aesthetic significance. When translating such texts, the translator should aim to create a similar text effect in the form. Formal texts include literary prose (short essays, biographies, pure literature), imaginative prose (anecdotes, short stories, novels, romances), and all forms of poetry (from didactic poetry to narrative poetry to purely emotional poetry).&lt;br /&gt;
If the form is not preserved in translation, the content of the text may be lost as a result.&lt;br /&gt;
&lt;br /&gt;
3. Operative texts&lt;br /&gt;
&lt;br /&gt;
Operative texts are concerned with the response of the recipient of the text. This type of text clearly appeals to the recipient of the text through a certain point of view and with a certain purpose, expecting to receive the desired response. The representative texts are all operative texts in which the appealing element predominates, using advertisements, propaganda, sermons, debates, agitation or satirical texts that have an expressive purpose or linguistic expression.&lt;br /&gt;
&lt;br /&gt;
4. Audiovisual texts&lt;br /&gt;
&lt;br /&gt;
Generally speaking, any text that requires some degree of non-verbal communication with the audience is an audio-visual text. This includes mainly radio and television scripts, such as radio news and reports, overviews of hot topics, and theater productions. In these texts, not only grammar and narration techniques, but also sound effects and visual devices (in television and film) play an important role.&lt;br /&gt;
&lt;br /&gt;
====Peter Newmark’s View of Text Type Theory====&lt;br /&gt;
&lt;br /&gt;
Peter Newmark is one of the leading figures in the linguistic school of British translation theory. Newmark also made a detailed classification of texts, and he summarized them into the following three types according to their contents.(Peter Newmark 2001)&lt;br /&gt;
&lt;br /&gt;
1. Expressive texts&lt;br /&gt;
&lt;br /&gt;
This type of text focuses on the content of the text and the author's own point of view. Newmark divides them into three types of texts. (1) serious and imaginative literature, including lyric poetry, short stories, long novels, and plays; (2) authoritative texts, including a variety of texts whose authority comes from the author's status or linguistic ability, such as speeches and statements by senior government officials and political party leaders, legal regulations, documents, and literary and academic works written by authorities; (3) autobiographies, essays, and private letters that are straightforward and have no direct readership.(Jia Heping 2015)&lt;br /&gt;
&lt;br /&gt;
2. Informative texts&lt;br /&gt;
&lt;br /&gt;
The text often contains some content that does not involve the emotional and opinion part, and this part of the content can have its practicality, which is the information function of the text. Typical informative texts include textbooks, technical reports, newspaper articles, scientific papers, conference proceedings, etc.&lt;br /&gt;
&lt;br /&gt;
3. Operative text&lt;br /&gt;
&lt;br /&gt;
The function focuses on the response of the text receiver, and the text is set to get the desired response from the receiver, to produce certain influence on them or even change their concepts and behaviors. Typical vocative texts include notices, advertising campaigns, instructions, and persuasive texts (such as requests, appeals, etc.).&lt;br /&gt;
&lt;br /&gt;
He classifies language functions into six categories, based on what the philosophers of language Bühler and Jacobson have said about language functions. He believes that a text may have one function or several functions, but that one of these functions is the main one, as explained below.&lt;br /&gt;
&lt;br /&gt;
1. Expressive function&lt;br /&gt;
&lt;br /&gt;
Expression is a fundamental property of language. Expression is the process by which people use language to express their feelings, attitudes, and opinions. Expression focuses on output of the writer, not on the other person's reaction and feelings.&lt;br /&gt;
&lt;br /&gt;
2. Informative function&lt;br /&gt;
&lt;br /&gt;
The content of the text is mainly fixed, not with emotion, can be used by people in certain situations.&lt;br /&gt;
&lt;br /&gt;
3. Operative function&lt;br /&gt;
&lt;br /&gt;
This function focuses on the reaction of the recipient of the text, and the writer envisages the reaction of the recipient of the text when writing, in order to achieve the corresponding purpose.&lt;br /&gt;
&lt;br /&gt;
4. Aesthetic function&lt;br /&gt;
&lt;br /&gt;
Language contains traces of history, which represents a certain aesthetic of people. The first means used for this function is sound, and the second is metaphor. In addition, the rhythm, balance and contrast of sentences and words also have a role. The aesthetic function is present in most of the text categories, moreover, it is indispensable for poems, nursery rhymes and some advertising campaigns.&lt;br /&gt;
&lt;br /&gt;
5. Interpersonal function&lt;br /&gt;
&lt;br /&gt;
The interpersonal function is reflected in people's daily interactions and conversations. That is, language helps people establish relationships with each other.&lt;br /&gt;
&lt;br /&gt;
6..Meta-linguistic function &lt;br /&gt;
&lt;br /&gt;
Meta-linguistic function is a special function of language, refers to the language of the language itself to explain, name, analyze, comment on the function. Some expressions in the text, such as “strictly speaking, literally, so called, so to speak, by definition, etc.”, are manifestations of the meta-linguistic function.&lt;br /&gt;
&lt;br /&gt;
Of the above six functions, the first three are the main ones, but within a text, there may be multiple functions, but the text itself has a focus, and rarely does textual knowledge contain purely one function.(Li Zhi 2008)&lt;br /&gt;
&lt;br /&gt;
====Similarities and Differences Between Reiss's and Newmark's View of Text Type Theory====&lt;br /&gt;
&lt;br /&gt;
=====Similarities=====&lt;br /&gt;
Both theories are based on Bühler's triadic approach to language function. &lt;br /&gt;
&lt;br /&gt;
Both have the same understanding of the division and characteristics of different kinds of texts.&lt;br /&gt;
&lt;br /&gt;
=====Differences=====&lt;br /&gt;
First of all, language used in lived interaction is the main basis for Rice's definition of text types, and these are classified as text types that value content. Newmark, on the other hand, regards such lived language as a special linguistic function, and many experts consider this understanding by Newmark problematic.&lt;br /&gt;
&lt;br /&gt;
Second, there is a significant difference in their views of instructions, with Rice classifying them as informative texts because of their ability to provide certain information to readers. Newmark, on the other hand, classifies it as a operative text because of its ability to guide people and thus change their behaviors. In my opinion, the text of instruction manuals is due to the nature of the product itself, and the readers have the will to act before reading the text, and the manuals only provide them with certain information, so they should belong to the information category.&lt;br /&gt;
&lt;br /&gt;
Furthermore, the language used in living interactions is the main basis for Rice's definition of text types, and these are classified as text types that value content. Newmark, however, regards this lived language as a special language function, and many experts think that this understanding of Newmark is problematic.(Jia Heping 2015)&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
===Features of Public Service Advertisements===&lt;br /&gt;
&lt;br /&gt;
As an advertising method, public service advertisements have their own characteristics in many aspects. By analyzing the characteristics, we can accurately convey the idea that the PSA is trying to convey.&lt;br /&gt;
&lt;br /&gt;
====Content Features====&lt;br /&gt;
&lt;br /&gt;
1. Public welfare. The public welfare nature of PSAs is their essential feature, which is concerned with the common interests of the entire society. By observing the theme and content of the PSAs in both China and abroad, it can be seen that the topics of PSAs cover ecological protection, care for the earth, quality birth and education, opposing cults, advocating science, opposing war, advocating polite social mores, patriotism, and so on.&lt;br /&gt;
&lt;br /&gt;
2. Non-Profit. Public service advertisements are non-profit in nature. It does not exist for an organization or a business entity, but rather to draw people’s attention to and activate action on social issues. Commercial advertising, on the other hand, exists for financial gain.&lt;br /&gt;
&lt;br /&gt;
3. Popularity. The public service advertisements are made for the general public. As the audience's cultural level, the ability to understand different, so public service advertisements must be easy to understand. It not only requires the spread of advertising content to have universal significance, but also the form of popular, concise, accessible language, easy to understand. Only in this way, the public service advertisement can really serve the purpose of the public.&lt;br /&gt;
&lt;br /&gt;
4. Creativity. The advertising market is so diverse that the only way to make advertisements spread to  the public is to design them in a creative and meaningful way that will make them known to&lt;br /&gt;
more people.&lt;br /&gt;
&lt;br /&gt;
====The Features of Text Forms====&lt;br /&gt;
&lt;br /&gt;
1.Advertising texts that we see in our daily lives include slogans, public service messages and public service videos, and so on. Advertising slogans are usually short and meaningful, with simple counterpoint sentences, and are operative texts. On the other hand,public service messages are mostly preventive messages issued by social organizations to help disseminate precautions and draw people’s attention to an unexpected situation in order to maintain social order. They are mostly informative texts. Most PSAs have a complete storyline, thought-provoking dialogue, and a short slogan that summarizes the message of the ad.&lt;br /&gt;
&lt;br /&gt;
2. Public service advertisements are often designed with certain rhetorical techniques to enhance the aesthetics of the ad, make it catchy to read, and ultimately leave a deep impression on the public.&lt;br /&gt;
&lt;br /&gt;
====Similarities and Differences Between Chinese and English PSA texts====&lt;br /&gt;
&lt;br /&gt;
=====Similarities=====&lt;br /&gt;
&lt;br /&gt;
1. Public service texts in both languages often use certain rhetorical techniques, such as personification, alliteration, and end-rhyme, in order to evoke a call to action.&lt;br /&gt;
&lt;br /&gt;
2. Public service texts in both languages often use short sentences, especially in public service slogans, which are easy to remember and achieve the desired effect.&lt;br /&gt;
&lt;br /&gt;
3. Both languages use idioms and sayings that have been around for a long time.&lt;br /&gt;
 &lt;br /&gt;
=====Differences=====&lt;br /&gt;
&lt;br /&gt;
1. Chinese public service texts are good at using strong words such as &amp;quot;forbidden&amp;quot;, while English texts use more euphemistic words such as &amp;quot;Please&amp;quot;. When translating, we should respect the habits of the translating countries in order to better play the role of public welfare texts.&lt;br /&gt;
&lt;br /&gt;
2. Chinese public service texts tend to use poetry-like forms, with seven or five characters in order to be neatly matched. In English, they mostly use phrases of the same number of words to match each other.&lt;br /&gt;
&lt;br /&gt;
3.The translation of advertising slogans also needs to respect certain cultural differences, as Western societies emphasize the individual while the Chinese value collectivism. For example:&lt;br /&gt;
&lt;br /&gt;
Example 1：保护生态环境，造福子孙后代。&lt;br /&gt;
&lt;br /&gt;
Translation 1:Leave a sound ecological environment to your children.&lt;br /&gt;
&lt;br /&gt;
Such a slogan in Chinese emphasizes the impact on future generations without specifying whose children and grandchildren it is, but in the translation, the translator translates it as &amp;quot;Leave a sound ecological environment to your children.” to call on people to protect the environment.&lt;br /&gt;
&lt;br /&gt;
4. Westerners focus on direct expressions, while Chinese expressions are more subtle. For example:&lt;br /&gt;
&lt;br /&gt;
Example 2: 司机一滴酒，亲人两行泪。 &lt;br /&gt;
&lt;br /&gt;
Translation:Drink and drive costs your life.&lt;br /&gt;
&lt;br /&gt;
The sentence contrasts the words &amp;quot;酒&amp;quot; and &amp;quot;泪&amp;quot; without directly pointing out the possible serious consequences, leaving the reader to think about them and take actions. Instead, the translator simply translates it as &amp;quot;Drink and drive costs your life.”(Li Qingxue, Wang Huaiwang 2019)&lt;br /&gt;
&lt;br /&gt;
===Examples of C-E Translation of Public Service Advertisements===&lt;br /&gt;
&lt;br /&gt;
====Operative Text====&lt;br /&gt;
&lt;br /&gt;
Most of the PSAs are operative texts, and the pupose of operative texts in PSAs is to affect the public in order to attain the desired response from the advertisers. PSAs are created to publicize something of common social interest in order to attract attention and action, so the creative design of the advertisement should take this into account and retain the appealing elements of the original text when designing the advertisement.&lt;br /&gt;
&lt;br /&gt;
Example 3: 爱心播散 希望萌芽&lt;br /&gt;
&lt;br /&gt;
Translation: Spread love Sow hope&lt;br /&gt;
&lt;br /&gt;
The public service advertisement slogan is from a public service advertisement released by CCTV in 2016, which tells the story of Zhao Xiaoting, a student from Wuhan University, who volunteered to go to Guizhou to teach in the mountains. It was her selfless love that sowed hope for the children in the mountains. The ad reflects the great power of ordinary people and promotes the core values of socialism. It shows the power that volunteering can bring. &lt;br /&gt;
&lt;br /&gt;
The ad is very short, with a neat counterpoint, and the verb and noun have been swapped in the translation, with the verb being in front of the noun, indicating a dynamic process that can arouse the public's recognition of the act and inspire them to join in and contribute to the poor areas. The second verb in the original text is &amp;quot;萌芽&amp;quot;, but the translation uses &amp;quot;sow&amp;quot; to indicate the growth of hope, which is similar to the original text.(Jin Haibing 2005)&lt;br /&gt;
In addition, the translation version capitalize these two verbs to emphasize these selfless behavior. Learning from this, we can also adopt this translation skill which originates from the difference between Chinese and English.&lt;br /&gt;
&lt;br /&gt;
Example 4: 有你在，就是家。&lt;br /&gt;
&lt;br /&gt;
Translation：You bring me warmth of home.&lt;br /&gt;
&lt;br /&gt;
In this short film, a father in a rural area has never been away from home, and because he misses his son, who has not been home for a long time, he sets out on his own to visit him. The father has to change various means of transportation to get to the city, and encounters many difficulties because his being unable to speak mandarin well. The helpless father finally gets help from the staff, through whom he contacts his son. Eventually they both cry, and the short film ends with the father sitting on his son's motorcycleand going home together. &lt;br /&gt;
&lt;br /&gt;
The short film is very touching, and through the process of going into the city to look for his son, it shows us how brave and gentle people can be for love. If we translate the text word by word in the original order, we can't express this meaning, so we use phrases like &amp;quot;bringing sb warmth&amp;quot; to express the meaning of the original Chinese.(Ye Qiuling 2020)&lt;br /&gt;
&lt;br /&gt;
====Informative Text====&lt;br /&gt;
&lt;br /&gt;
Public service messages are informatiive texts, mainly used to convey certain information, with straightforward and concise text content, and the translator only needs to express its literal meaning directly when translating.&lt;br /&gt;
&lt;br /&gt;
Example 5：请您收到来自境外、国内新冠疫情中高风险地区的邮件、包裹，先对物品表面进行消毒，或在阳台等室外空旷处放置一段时间再打开。处理完包裹、邮件后，应立即用肥皂或洗手液清洗双手，或用免洗手消毒剂进行消毒。洗手前双手不触碰口、鼻、眼等部位。疫情防控有您的参与才能胜利！&lt;br /&gt;
&lt;br /&gt;
Translation: If you receive mail or parcels from overseas or domestic areas at high risk of Cov-19 outbreak, please disinfect the suface of the items first, and leave them on the balcony or other outdoor open space for a period of time before opening them. Immediately after handling parcels and mail, wash your hands with soap and hand sanitizer, or disinfect them with hand sanitizer. Do not touch your mouth, nose, eyes or other parts of your body before washing your hands. Outbreak prevention and control can only be won with your participation!&lt;br /&gt;
&lt;br /&gt;
Example 6：应急公益短信:为严防新型冠状病毒感染的肺炎疫情，山东省严禁任何形式的野生动物交易活动，严禁野生动物对外扩散和转运贩卖。对于违反规定的经营者、经营场所将予以停业整顿、查封，涉嫌犯罪的，将移送公安机关。社会各界如有发现违法违规交易野生动物的，欢迎拔打12345等投诉举报。&lt;br /&gt;
&lt;br /&gt;
Translation: In order to prevent the outbreak of pneumonia due to new coronavirus infection, any form of wildlife trade is strictly prohibited in Shandong Province, and the proliferation and trafficking of wildlife is strictly prohibited. The company's main goal is to provide the best service to the public.&lt;br /&gt;
If you are suspected of committing a crime, you will be transferred to the public security organs. If any&lt;br /&gt;
illegal trade of wild animals is found, the community is welcome to call 12345 to report complaints.&lt;br /&gt;
&lt;br /&gt;
====Expressive Text====&lt;br /&gt;
&lt;br /&gt;
The purpose of an expressive text is to express emotions and attitudes, the language focuses on aesthetics, and the focus of the text is on the form of expression, which requires attention to equity in translation. With the development of the economy and society and the improvement of people's living standards, the aesthetic level of the masses is also improving, and accordingly, the translation of advertising slogans should also change to adapt to the improvement of people's aesthetics.&lt;br /&gt;
&lt;br /&gt;
Example 7：善行无痕 一种习惯的美丽&lt;br /&gt;
&lt;br /&gt;
Translation: Kindness is traceless. A habit of beauty.&lt;br /&gt;
&lt;br /&gt;
The slogan is from a public service advertisement by CCTV in 2016. In the short film, a wife walks into a room to rest after stopping on the balcony for a long time, and her husband comes back and intends to tum off the balcony light to save electricity. The wife stops the husband, and the camera turns to two elderly sanitation workers who are finishing their meal by the light of the lamp she left for them, which the young couple lit for them in the night.&lt;br /&gt;
&lt;br /&gt;
Such kindness is obviously not accidental,but has been a habit of the wife in the short film, and is therefore natural and touching. The ad is intended to call attention to good deeds and habit formation through a story like this one. The ad's slogan is a literal translation, with &amp;quot;善行&amp;quot; translated as &amp;quot;Kindness&amp;quot; and &amp;quot;无痕&amp;quot; as &amp;quot;traceless&amp;quot;.&amp;quot;The use of end-rhyme rhetoric, which pursues equivalence of expressions and enhances the rhythmic beauty of the language, impresses readers and influences their perceptions and habits of good deeds, serving as a public service advertisement.(LiQingxue, Wang Huaiwang 2019)&lt;br /&gt;
&lt;br /&gt;
Example 8：保护肺脏，珍爱生命。（禁烟广告）&lt;br /&gt;
&lt;br /&gt;
Translation: Save your lung, save your life.&lt;br /&gt;
&lt;br /&gt;
The slogan comes from an anti-smoking advertisement that uses the alliteration, “lung” and “life”, to emphasize that quitting smoking is about protecting your lungs and your life. The two “saves” remind people that smoking is harmful to their health and that they should quit smoking as soon as possible to save themselves.&lt;br /&gt;
&lt;br /&gt;
===Misinterpretation of Public Service Advertisments===&lt;br /&gt;
&lt;br /&gt;
====Chinglish====&lt;br /&gt;
Chinglish refers to word-for- word translations that do not consider translation strategies from the perspective of the receiving language and cultural differences, and often cause difficulties in comprehension for the receiving readers.&lt;br /&gt;
&lt;br /&gt;
Example 9：小心地滑&lt;br /&gt;
&lt;br /&gt;
Misinterpretation: Foot Care.&lt;br /&gt;
&lt;br /&gt;
Suggested translation: Mind your step.&lt;br /&gt;
&lt;br /&gt;
The above misinterpretation is translated word-for-word, which not only makes it difficult for the recipient readers to read, but also affects the image of the city as a whole, so more citizens are taking notice and taking action to reject &amp;quot;dead translation&amp;quot; and &amp;quot;Chinglish&amp;quot;. &lt;br /&gt;
&lt;br /&gt;
====Grammatical errors====&lt;br /&gt;
Most grammatical errors are caused by the translator's own incompetence, mainly in the use of articles, subject- predicate inconsistencies, mis-matching of verb phrases, and word confusion.&lt;br /&gt;
&lt;br /&gt;
Example 10：珍爱生命 远离毒品。&lt;br /&gt;
&lt;br /&gt;
Mistranslation: Yes to life, no to drugs.&lt;br /&gt;
&lt;br /&gt;
Suggested translation: Cherish life and avoid drugs.&lt;br /&gt;
&lt;br /&gt;
The public service advertisement came from an anti-drug advertisement, obviously the mistranslated structure of the translation does not fit English conventions.&lt;br /&gt;
&lt;br /&gt;
====Inappropriate Use of Words====&lt;br /&gt;
There are some words in English that are very similar to each other, and improper use of words means that the translator uses words haphazardly without clearly distinguishing between similar words, resulting in a misinterpretation.&lt;br /&gt;
&lt;br /&gt;
Example 11：关爱残障人士&lt;br /&gt;
&lt;br /&gt;
Improper translation: Care for the handicapped.&lt;br /&gt;
&lt;br /&gt;
Suggested translation: Care for the disabled.&lt;br /&gt;
&lt;br /&gt;
The slogan is from a public service advertisement in which the word &amp;quot;handicapped,&amp;quot; which translates to &amp;quot;the handicapped,&amp;quot; is now somewhat outdated and contains a certain amount of offensive language that sometimes causes people to be It would make more sense to change it to &amp;quot;the disabled&amp;quot;, relatively speaking.&lt;br /&gt;
&lt;br /&gt;
====Redundancy====&lt;br /&gt;
The redundancy is due to the fact that the translators do not fully understand the differences between Chinese and foreign cultures and the purpose of the text.&lt;br /&gt;
&lt;br /&gt;
Example12：一花一草皆生命 一枝一叶总关情&lt;br /&gt;
&lt;br /&gt;
Improper Translation: Alive as all living things each flower and leaf of grasses require our care.&lt;br /&gt;
&lt;br /&gt;
Suggested Translation: Please give me a chance to grow.&lt;br /&gt;
&lt;br /&gt;
The original translator intended to present a vivid description of the original slogan in front of people, but failed to consider that the slogan was intended to arouse people's love for flowers and plants. We suggest that the translation should start from the operative textual features of the slogan and combine it with the straightforward expression habits of foreigners to call on people to take care of flowers and plants in a more euphemistic way.&lt;br /&gt;
&lt;br /&gt;
===Methods of C-E Translation of Public Service Advertising===&lt;br /&gt;
&lt;br /&gt;
====Literal Translation====&lt;br /&gt;
&lt;br /&gt;
The main characteristics of literal translation are twofold: in the treatment of word meanings and rhetoric (e. g., metaphors), it does not use transitive techniques (this distinguishes &amp;quot;literal translation&amp;quot;from &amp;quot;free translation&amp;quot;); in the treatment of linguistic forms (i.e., lexical-syntactic structure), it allows appropriate changes and shifts (This distinguishes &amp;quot;literal translation&amp;quot; from &amp;quot;word- for-word translation&amp;quot;).(Xiong Bing 2013) For example.&lt;br /&gt;
&lt;br /&gt;
Example 13: 我的盛开需要你的关爱 &lt;br /&gt;
&lt;br /&gt;
Translation : Luxuriant flowers need your care.&lt;br /&gt;
&lt;br /&gt;
The translation retains the personification of the original, treating flowers as species with emotions, but directly specifies that &amp;quot;I&amp;quot; means &amp;quot;flower&amp;quot;, which is in line with the habit of expression of the target audience and serves as a reminder.&lt;br /&gt;
&lt;br /&gt;
Example 14: 节约用水就是珍爱生命&lt;br /&gt;
&lt;br /&gt;
Translation : To save water is to save life&lt;br /&gt;
&lt;br /&gt;
The original text translates &amp;quot;conserve water&amp;quot; and &amp;quot;cherish life&amp;quot; into a neat pairing, and the translation also translates them into a neat pairing, and the expression is in line with the habits of expression of the people in the receive language. Both the original text and the translation equate &amp;quot;conserve water&amp;quot; with &amp;quot;cherish life&amp;quot; to arouse the attention of the masses and advertise the importance of saving water.&lt;br /&gt;
&lt;br /&gt;
====Paraphrase====&lt;br /&gt;
&lt;br /&gt;
A paraphrase translation is one in which the translator does not stick to the details of the meaning of the original text, much less to its vocabulary and syntactic structure, but &amp;quot;uses the original text as a reference model&amp;quot; and either translates only the general meaning, gist or key information (or selectively some of it) by condensing it, or translates it into a text with more information compared to the original article. (Xiong Bing 2013) For example.&lt;br /&gt;
&lt;br /&gt;
Example 15:爱我,追我,千万别吻我。&lt;br /&gt;
&lt;br /&gt;
Translation: Drive carefully! &lt;br /&gt;
&lt;br /&gt;
The original text is from a public service advertisement advocating cautious driving. The translation does not follow the literal meaning, but rather the translator uses a paraphrasing technique after understanding the meaning of the sentence and chooses two words to express the meaning. It is short and serves as a warning to motorists.&lt;br /&gt;
&lt;br /&gt;
Example 16：手下留情花自香，脚下留意草如茵。&lt;br /&gt;
&lt;br /&gt;
Translation: Take care of grass and flowers, please.&lt;br /&gt;
&lt;br /&gt;
The original text is a public service slogan with Chinese cultural characteristics, but it is difficult to find a corresponding expression in English when translating. Here the translator uses an invocation to remind the masses.&lt;br /&gt;
&lt;br /&gt;
====Borrowing Translation====&lt;br /&gt;
&lt;br /&gt;
A borrowing Translation is an explanation that replaces the original word or phrase by borrowing the idiom of the target language. For example.&lt;br /&gt;
&lt;br /&gt;
Example 17: 爱心传递你我，文明就在身边。&lt;br /&gt;
&lt;br /&gt;
Translation: Where there is a love, there is a virtue.&lt;br /&gt;
&lt;br /&gt;
The original is a slogan from an advertisement for the Olympic Games, which is a medium for promoting the spirit of the Games and the country's outlook. The translator chose a well-known proverb from the translated country, &amp;quot;Where there is a will, there is a way,&amp;quot; to expand the publicity effect.&lt;br /&gt;
&lt;br /&gt;
Example 18: 让世界倾听我们的声音&lt;br /&gt;
&lt;br /&gt;
Translation : Let our voice be heard in the world.&lt;br /&gt;
&lt;br /&gt;
The original text was a slogan from a CCTV public service advertisement, which was based on the lyrics &amp;quot;Let our voice be heard.&lt;br /&gt;
&lt;br /&gt;
===Conclusion===&lt;br /&gt;
&lt;br /&gt;
In this paper, the writer divides and analyzes different texts and explain the approaches they take in translation. This perspective of using text type theory to analyze and discuss how to translate public service texts may be of some help to scholars.&lt;br /&gt;
&lt;br /&gt;
According to different texts, the text type theory has its own emphasis in translation, and different PSA texts are mostly operative texts, and sometimes one text has multiple textual characteristics, which translators can take into full consideration when choosing the emphasis and translation methods.&lt;br /&gt;
Public service translation is very different from commercial advertising translation, which is mainly used to educate the public, convey correct and positive values, encourage people to take actions to help others, and create a good social environment to resist bad behaviors. Generally speaking, it is necessary to consider the actual situation when translating the PSAs.&lt;br /&gt;
&lt;br /&gt;
Through analyzing the texts of PSAs, the author has made the following discoveries, and the translation of PSAs can be done according to the text type theory. Although there are some cultural differences between the two languages, the differences do not make translation difficult to achieve. If literal translation cannot translate the meaning of the source text, then paraphrase,borrowing translation and other translation methods can also be used.&lt;br /&gt;
&lt;br /&gt;
===Limitation===&lt;br /&gt;
&lt;br /&gt;
In this paper, I put forward some personal ideas, but in the final version, I can still find my own shortcomings. First of all, there is still a lack of richness of information due to the limitation of space. Secondly, the depth of my ideas is still insufficient, and I only hope that this article can provide some research ideas for researchers and contribute to the translation of public service texts.&lt;br /&gt;
&lt;br /&gt;
===References===&lt;br /&gt;
&lt;br /&gt;
Newmark .(2001).P.A Textbook of Translation .Shanghai :Shanghai Foreign Language Education Press.&lt;br /&gt;
&lt;br /&gt;
Reiss,Katherina.(2004).Translation Criticism: the potential &amp;amp; limitation . trans .by Erroll F.Rhodes .Shanghai :Shanghai Foreign Language Education Press.&lt;br /&gt;
&lt;br /&gt;
Chen Yanhong 陈燕红. (2012).  文化视角中汉英公益广告的翻译策略 [Translation Strategies of Chinese-English Public Service Advertisements in Cultural Perspective].&lt;br /&gt;
&lt;br /&gt;
Jin Haibing 金海兵. (2005). 试谈公益广告标语及其翻译 [On Analyzing Public Service Advertisements and Their Translation].&lt;br /&gt;
&lt;br /&gt;
Jia Heping 贾和平. (2019). 论纽马克与赖斯的文本分类比较研究 [A Comparative Study on Newmark’s and Reiss’s Text Type Classification ]. &lt;br /&gt;
&lt;br /&gt;
Li Zhi 李治. (2008). 论纽马克与赖斯的文本分类比较研究 [Newmark’s and Reiss’s Text Type Classification and A Comparative Analysis of Translation Methodology ].&lt;br /&gt;
&lt;br /&gt;
Li Qingxue, Wang Huaiwang 李庆学 王怀望. (2019). 接受美学视角下的公益广告翻译 [A Study of English Translation of Public Service Advertisements from the Perspective of Reception Aesthetics].&lt;br /&gt;
&lt;br /&gt;
Liu Xiaofang 刘晓芳. (2015). 目的论视角下《中国日报》公益广告英译的探析 [The English Translation of PSAs in China Daily from the Perspective of Skopos theorie].&lt;br /&gt;
&lt;br /&gt;
Xiong Bing 熊兵. (2013).  翻译研究中的概念混淆 [Conceptual Confusion in Translation Studies].&lt;br /&gt;
&lt;br /&gt;
Ye Qiuling 叶秋伶. (2020). 语义翻译和交际翻译理论视角下中文公益广告英译——以央视公益广告为例 [English Translation of Chinese Public Service Advertisements from the Perspective of Semantic Translation and Communicative Translation Theory - Taking CCTV Public Service Advertisements as an Example].&lt;/div&gt;</summary>
		<author><name>Song Jianru</name></author>
	</entry>
	<entry>
		<id>https://bou.de/u/index.php?title=20201221_trans&amp;diff=117479</id>
		<title>20201221 trans</title>
		<link rel="alternate" type="text/html" href="https://bou.de/u/index.php?title=20201221_trans&amp;diff=117479"/>
		<updated>2020-12-21T06:33:41Z</updated>

		<summary type="html">&lt;p&gt;Song Jianru: /* Song Jianru 宋建茹 */&lt;/p&gt;
&lt;hr /&gt;
&lt;div&gt;==Cao Runxin 曹润鑫==&lt;br /&gt;
The idea that tones discerned in verbal art will reflect the mood of the relationship between the people and the state makes frequent appearances through Chinese literary philosophy, and it frequently enters the world of modern politics, as work on the modern Chinese folklore movement will attest (Hung).   &lt;br /&gt;
&lt;br /&gt;
Another more recent sample is the expression “setting the tone” [定調子]  describes the degree of condemnation in a Cultural Revolution era Big Character poster.  This modern example displays a relatively cynical view of the function of tone; the power to set tone is in the hands of the accuser, but its strength reflects the crime of the victim.In the world of literature and arts policy, “New Tone” 新基調 became the standard Chinese socialist line against precisely such works as our “provincial leader” above castigated as “pei pei pei-ing”.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
在言语艺术中辨别出的音调会反映出人民与国家关系的情绪，这一观点通过中国文艺哲学频繁出现，并且频繁进入现代政治的世界，关于中国现代民俗运动的工作将证明这一点。--[[User:Cao Runxin|Cao Runxin]] ([[User talk:Cao Runxin|talk]]) 12:20, 20 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
==Chang Huiyue 常慧月==&lt;br /&gt;
The term “tone” (particularly as diao) has acquired negative connotations over the past two of decades, at least in part because of its role in politicoliterary battles. Even editors sympathetic to “new tone” values distance themselves from the term (Yang, Zhu).  In a parallel strategy, contemporary zawen are written in covert form, more like  “East Station,” than like “Pei pei pei!”?, which so revealingly displays the mechanics of the declamatory modal trope.   In contrast to the late 1980's, contemporary zawen have in recent years receded to hide in other types of writing. This strategy is a familiar one in the context of zawen history; the necessity to hide only increases the effect the “involuntarily” discordant tone, which is held to be, biting and kicking, reflecting the truth.&lt;br /&gt;
&lt;br /&gt;
在过去的二十年中，“语调”这个词（特别是调）具有负面含义，至少部分是因为其在政治文学斗争中的作用。即使编辑赞同“新调”的重要性，也将两者拉开距离。（杨，朱）。在类似的策略中，当代杂文以一种隐蔽的形式创作的，比起“呸呸呸”类的文章，更像“东站”类的文章吗？ 这明显地揭示了演说式的情感修辞。与20世纪80年代后期相比，近些年的杂文隐退在其他类型文章中。这种在杂文历史的背景中是非常熟悉的一种策略；隐藏的必要性只会增加“无意识地”不和谐的语调，它会被控制，又咬又踢，反映事实。--[[User:Chang Huiyue|Chang Huiyue]] ([[User talk:Chang Huiyue|talk]]) 13:45, 20 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
==Chen Han 陈涵==&lt;br /&gt;
When zawen were first fashioned as a modern genre, it was the involuntary expression of responsive emotions that were explicitly invoked as zawen's purpose.  When Hu Shih published the first major newspaper column devoted to the serial publication of zawen in 1918, the “Record of Spontaneous Feeling,” the introductory essay was entitled “什麼話,” literally “What speech.” This title also provides a demonstration of a modal trope on the level of syntax.  In this original title there was no punctuation, as “shenme” already indicates the question “what” in the standard form, before European punctuation was imported as a regular feature of written vernacular Chinese.&lt;br /&gt;
&lt;br /&gt;
杂文首次作为一种现代文体出现时，明确是为了不自主地表达随即反应的情感、感想。1918年，胡适发表了首个专门连载杂文的主要报刊专栏《随感录》，他将导论的标题命名为“什么话”，字面意思是“什么讲话”。这个标题也在句法层面上提供了一个模态修辞的范例。在原题中，并没有标点符号，因为在引入欧洲标点符号作为白话文的一般特征之前，&amp;quot;什么&amp;quot;已经在标准形式中表达了&amp;quot;what&amp;quot;的意思。--[[User:Chen Han|Chen Han]] ([[User talk:Chen Han|talk]]) 08:30, 19 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
当杂文最开始作为一种现代文体流行起来时，其明确的目的是为了无意识地表达随即反应的情感。1918年，胡适发行了首个专门连载杂文的主要报刊专栏《随感录》，他将导论的标题命名为“什么话”，字面意思是“什么讲话”。这个标题也在句法层面上提供了一个模态修辞的范例。在原题中，并没有标点符号，因为在引入欧洲标点符号作为白话文的一般特征之前，&amp;quot;什么&amp;quot;已经在标准形式中表达了&amp;quot;what&amp;quot;的意思。--[[User:Mo Ling|Mo Ling]] ([[User talk:Mo Ling|talk]]) 10:54, 20 December 2020 (UTC)Mo Ling&lt;br /&gt;
&lt;br /&gt;
==Chen Hui 陈惠==&lt;br /&gt;
Beyond the interrogative function, however, “hua,” [“speech” or “talk”] has the declamatory effect of objectifying speech, and holding it up for dramatic examination. For an idiomatic English translation I would offer “What!?” including both exclamation and question mark.  The contents of essay describe the purpose of zawen as a venue for explosive emotional responses, linked to the other, “regular” items printed in newspapers everyday.  This ordinary newspaper fare “gives people goose flesh [disgusts them] makes them sigh, or elicits a cold smile or an outright laugh” (Hu Shih, Shen Bao 1918). Zawen were thus launched in the early modern Chinese newspaper as the nearly physical expression of these feelings or moods in the form of literary essays. &lt;br /&gt;
==Chen Jiangning 陈江宁==&lt;br /&gt;
Hu Shih's formulation emphasizes zawen's role as a response to “life itself.” Like most poetry, but unlike most fiction and drama, zawen is itself a first person voice, not a representation of voices.  Yet unlike poetry, which may need to be at least imagined to be read out loud, repeated and savored for full effect, zawen's ideal is to appear for a fleeting moment on the back page of a newspaper, to be received with the accompaniment of an enigmatic laugh, sigh or snort from the reader, and then thrown away quickly, before anyone can “find their seat and sit in it,” or take offence.&lt;br /&gt;
胡适在其阐述中强调说杂文这一角色是对生活本身的一种回应。像大多数的诗歌，而不是小说或戏剧那样，杂文本身就是先发者的声音，而非是各种声音的再现。但它不像诗歌那样，可能会需要想象一下大声读出来的场景，不断重复并推敲，才能充分发挥作用。杂文能够达到的理想效果只显现在报纸背面的那一瞬间，在任何人可以“在杂文里找到座位然后坐下来”或因为杂文而冒犯他人之前，伴随着读者神秘莫测的笑声、叹气声或是不屑地发出哼声，人们早就将其抛诸脑后了。&lt;br /&gt;
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胡适的表述强调了杂文对“生活本身”的回应。 像大多数诗歌一样，但与大多数小说和戏剧不同的是，杂文本身就是第一人称的声音，而不是声音的代表。 然而，与诗歌不同的是，诗歌是在大声朗读，重复和品尝中才能充分发挥作用，而杂文则是在报纸的背面短暂地出现，并伴随着诗歌的出现。 在任何人都可以“找到自己的座位并坐在座位上”或冒犯他人之前，令人迷惑不解的笑声，叹息声或打喷嚏然后迅速被扔掉。--[[User:Zhangqi|Zhangqi]] ([[User talk:Zhangqi|talk]]) 05:57, 20 December 2020 (UTC)&lt;br /&gt;
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==Chen Jiaxin 陈佳欣==&lt;br /&gt;
Generic categories are not the only aspect that zawen tend to mix; they characteristically contain sudden shifts in tone, style and voice, moving from a snippet of stray “overheard” conversation to an elegant, classical allusion. Echoing Hu Shih's 1918 idea of zawen as a “response” to the articles on other pages of the newspaper, the zawen, still characteristically the back page of most newspapers, nearly always contains a “foil” in the form of a direct quote from the author has read or heard.  In addition to creating a microcosmic social dialogue, this split between two voices, the writer's and that of the “foil” also allows for dizzying clashes of style and voice that enclose unlikely combinations of syntax and grammar, as well as ideas, a single text.&lt;br /&gt;
通用类别不是杂文倾向于混合的唯一方面；它们的特征通常是音调，风格和声音的突然变化，从一连串的窃窃私语转变为优雅，古典的谈话。与胡适（1918）的杂文思想是对报纸其他页面文章的“回应”一样，杂文仍然是大多数报纸的特色，几乎总是以直接引用作者读过或听过的东西的形式包含“箔”。除了创建微观的社会对话外，在作者和“箔纸”两种声音之间进行的这种划分还使样式和声音产生了令人头晕目眩的冲突，使句法，语法以及思想不可能包含在一个文本中。--[[User:Jessie Chen|Jessie Chen]] ([[User talk:Jessie Chen|talk]]) 05:40, 21 December 2020 (UTC)&lt;br /&gt;
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==Chen Jingjing 陈静静==&lt;br /&gt;
Tone in an essay is an ironic figure of speech; how can you channel that which is carried in sound through the ink of print?  In this paper I have tried to illustrate the trope of tone through the “sonorous” work, particularly that of ShaoYanxiang, an official poet who in retirement is better known for the essays in which he collapses poetry into polemic, his zawen.  The distinct and beleaguered social and cultural space for zawen in contemporary China reveals the mechanics, ideology and significance of tone in Chinese writing.  Even more than other literary genres, zawen depends upon something within the earthy noise of moody, mulish voices to carry its messages.&lt;br /&gt;
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文章中的语调是一种讽刺性的表达手法；你如何通过印刷油墨来传达声音中所承载的一切?在本文中，我试图通过“铿锵的”作品来说明语调的隐喻，特别是邵燕祥的作品，他是一位诗人，退休后他将诗歌化为论战的杂文即他的杂文并因此闻名。在当代中国，杂文所处的独特而饱受困扰的社会和文化空间揭示了中文写作语调的体系，意识形态和意义。比其他文学体裁相比，杂文更依赖于用喜怒无常，固执己见的声音中蕴含的某种东西来传达其信息。--[[User:Chen Jingjing|Chen Jingjing]] ([[User talk:Chen Jingjing|talk]]) 10:23, 20 December 2020 (UTC)Chen Jingjing&lt;br /&gt;
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文章中的语调是讽刺的手法；你如何传达纸上的笔墨所承载的声音。本文中我尝试通过“浑厚的”作品解释语调的修辞，尤其是邵燕祥的作品，他是一位公认的诗人，退休后，他将诗歌分解成辩论文章，即他的杂文而闻名。在当代中国，这种区分和杂文处于受到社会和文化围困的空间揭示了中国文章语调的技巧、思想和意义。比起其他文学类型，杂文更依赖于喜怒无常的朴实的声音和固执的声音来传达信息。--[[User:Chang Huiyue|Chang Huiyue]] ([[User talk:Chang Huiyue|talk]]) 14:04, 20 December 2020 (UTC)&lt;br /&gt;
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==Chen Sha 陈莎==&lt;br /&gt;
While readers love to hate their morally and politically provocative zawen-of-the-moment, writers string zawen across stretches of time and publishing organs to construct heavily intertextualized conversations.  Eventually they even preserve zawen, long after the dizzying minutia of allusions, jokes and digs are forgotten, often compiling a career's worth of them into small print runs of volumes that they give away to friends and admirers as discursive portraits of themselves.  Lu Xun's genre of the “dagger and spear” is thus not only a sly political weapon, but also a complex sculpture of the culturally shaped self, chiseled by the cantankerous tones of contentious social dialogue.&lt;br /&gt;
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虽然读者讨厌当下具有道德挑衅性和政治挑衅性的杂文，但作家们却将这些跨越时间和出版机构的杂文串联起来以构建大量互文性的对话。最终，他们甚至保存了这些杂文，并在这些令人眼花缭乱的典故、笑话和挖苦被人遗忘很久之后，将这些具有职业价值的杂文汇编成小册，送给朋友和仰慕者，作为他们自己的散漫画像。因此，鲁迅像“匕首和矛”一样的文风不仅是一种狡猾的政治武器，也是一种复杂的文化自我雕塑，而这一雕塑是通过有争议且刺耳的社会对话凿刻出来。--[[User:Chen Sha|Chen Sha]] ([[User talk:Chen Sha|talk]]) 01:28, 21 December 2020 (UTC)&lt;br /&gt;
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==Chen Sunfu 谌孙福==&lt;br /&gt;
'''Appendix: Translations of two primary texts: “'Pei Pei Pei!'? ” and “East Station”'''&lt;br /&gt;
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'''“Pei Pei Pei! ”?'''&lt;br /&gt;
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A friend from outside literary circles asked me to find him some “pei pei pei!” essays to read, and I had to stare at him blankly with nothing to say.  He then explained that he had read in a newspaper that a certain provincial leader had announced at a banquet that there must not be “pei pei pei – ing” all over the place, and so clearly there must be pei pei pei-ing all over the place.&lt;br /&gt;
Have I gotten so insensitive?  Out of self-abrogation, and also out of curiosity, I rushed to seek it out.And so it was, what had been said was “there must not be pei pei pei -ing all over the place, it must not always be the language of mockery, sarcasm and scornful dismissal that is used to write  about the party, the nation and the people, dispersing a gray mood that makes people pessimistic and disappointed.”  It is like this all over the place, and not in just in one particular place, things are always this way, and not just at a certain time, you can see how widespread and serious the problem is.&lt;br /&gt;
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附录：两大文本的翻译：《呸呸呸！？》和《东站》&lt;br /&gt;
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《呸呸呸！？》&lt;br /&gt;
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文坛外的一个朋友让我帮他找些关于“呸呸呸”的文章看。我呆呆地望着他，一言不发。接着，他解释说他在报纸上看到某地领导人举行了一场宴会，宴会上绝不能出现“呸呸呸”这样的话。可显而易见，当时的宴会上到处都是“呸呸呸”的声音。&lt;br /&gt;
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是我太迟钝了吗？我有点怀疑，又有点好奇，于是就想弄清楚这件事。结果确实是人们在哪都不能说“呸呸呸”。这绝不能成为一种过去常用来描述党派、国家和人们，并散布消极情绪的嘲弄、讥讽和鄙视性话语。就好像到处都能看到问题有多普遍，有多严重，并不限于某个特定的时间和某个特定的地方。--[[User:Chen Sunfu|Chen Sunfu]] ([[User talk:Chen Sunfu|talk]]) 13:35, 20 December 2020 (UTC)&lt;br /&gt;
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==Chen Yongxiang 陈永相==&lt;br /&gt;
A long time ago in the liberated areas, it was advocated that the entire party should publish newspapers.  After the establishment of the nation, when everything was “operated on a large scale with the entire people” I did not pay attention to whether or not it was advocated that all the people should publish the newspapers.   But getting all  people to read the newspapers is the goal of all those who follow the newspaper profession.  In that way, newspapers are not merely published for leading institutions and leaders to read, but rather at the same time (actually this should be primary) for the masses to read.  They are published for all the people -- among the people there are illiterates and partially literate, but through listening to the newspapers being read, the broadcasters and televisions have accepted the responsibility of getting the newspaper read, and this segment of the masses also figures as indirect readers of the newspapers.&lt;br /&gt;
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很久以前，在解放区，有人主张全党应该出版报纸。 建国后，当一切都“与全体人民一起大规模地运转起来”时，我没留意是不是所有人都主张出版报纸。 但是，让所有人阅读报纸是所有从事报纸行业的人的目标。 这样，出版报纸不只是供给领导机构和领导人阅读，还能同时供群众阅读（实际上这应该是主要的）。 报纸是为所有人出版的—包括文盲和半文盲，通过听来阅读报纸。广播公司和电视承担了阅读报纸的责任，这部分群众也是报纸的间接读者。--[[User:Chen Yongxiang|Chen Yongxiang]] ([[User talk:Chen Yongxiang|talk]]) 12:30, 19 December 2020 (UTC)&lt;br /&gt;
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很久以前，在解放区，有人主张全党应该出版报纸。 建国后，当一切都“与全体人民一起大规模地运转起来”时，我没留意是不是所有人都主张出版报纸。 但是，让所有人阅读报纸是所有从事报纸行业的人的目标。 这样，出版报纸不只是供给领导机构和领导人阅读，还能同时供群众阅读（实际上这应该是主要的）。 报纸是为所有人出版的—包括文盲和半文盲，通过听来阅读报纸。广播公司和电视承担了朗读报纸的责任，这部分群众也是报纸的间接读者。--[[User:Lin Min|Lin Min]] ([[User talk:Lin Min|talk]]) 13:40, 19 December 2020 (UTC)&lt;br /&gt;
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==Cheng Yusi  成于思==&lt;br /&gt;
The readers have the greatest right of criticizing the newspapers, and I wonder how many readers have discovered this phenomenon of there being “pei pei pei -ing” all over the place. &lt;br /&gt;
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I am one of these readers, subscribing on my own to several “large” newspapers (newspaper publications have not been classified as large or small, but I follow convention here) there are in addition a few newspapers that people send to me; as to “small” newspapers, I have not the leisure nor the money to buy the papers in the Beijing area, not to mention nearby Tianjin and Hebei.  Even so, just taking the 10 to 20 different newspapers I often look over, including the cultural newspapers, I have not discovered these “always using the language of mockery, sarcasm and scornful dismissal to write  about the party, the nation and the people” sorts of “pei pei pei” pieces.&lt;br /&gt;
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读者拥有最大的权力对报纸进行批评，我想有多少读者发现了某个地区遍地都是“呸呸呸”的现象。&lt;br /&gt;
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作为一名读者，我订阅了许多大型报纸（报社并没有大小之分，我只是遵循的一般传统作出的判断），此外，还有一些其他人寄的报纸。至于小型报纸，即使是北京区的报纸，我也无闲心和闲钱去购买，，更不用说天津和河北附近。即使如此，看看我常翻阅的十到二十种不同的报纸，包括文化报，我也未曾发现这些“总是使用嘲笑，讥讽，轻蔑驳斥的语言描写党，国家和人民”的“呸呸呸”的文章。--[[User:Cheng Yusi|Cheng Yusi]] ([[User talk:Cheng Yusi|talk]]) 14:52, 19 December 2020 (UTC)&lt;br /&gt;
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作为一名读者，我订阅了许多大型报纸（报社并没有大小之分，我只是按照约定俗成的惯例），此外，还有一些其他人寄的报纸。至于小型报纸，即使是北京区的报纸，我也无闲心和闲钱去购买，更不用说天津和河北一带。即使如此，看看我常翻阅的十到二十种不同的报纸，包括文化报，我也未曾发现这些“总是使用嘲笑，讥讽，轻蔑驳斥的语言描写党，国家和人民”的“呸呸呸”的文章。--[[User:Xu Jing2|Xu Jing2]] ([[User talk:Xu Jing2|talk]]) 13:44, 20 December 2020 (UTC)&lt;br /&gt;
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读者手握对报纸的最大批判权。我很好奇到底有多少读者发现某地区遍地都是“呸呸呸”文章。&lt;br /&gt;
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作为一名读者，我订阅了几种大型报纸（那时报纸规模不分大小，可我却依然保留着这一习惯）此外，别人也寄些报纸给我看。我既没有闲情也没有闲钱在北京买小报看，更别说在天津河北哪些地方了。即便如此，看看我常翻阅的十到二十种不同的报纸，包括文化报，我也未曾发现这些“总是使用嘲笑，讥讽，轻蔑驳斥的语言描写党，国家和人民”的“呸呸呸”的文章。--[[User:Chen Sunfu|Chen Sunfu]] ([[User talk:Chen Sunfu|talk]]) 13:50, 20 December 2020 (UTC)&lt;br /&gt;
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==Deng Jinxia 邓锦霞==&lt;br /&gt;
I could only hand back to my friend a blank report.  But naturally my not having seen them does not mean they do not exist. What one person can see is limited. I hope that the extra sensitive speaker on this matter can openly point them out, or even offer examples of eight or ten articles, or even hold up just three to five articles as models of this kind of work, so as to allow us to be enlightened and improve our discriminating ability in seeing which essays are those called “pei pei pei,” perhaps at the same time clearing up a related matter by analogy, that of understanding what kind of essays constitute “ba ba ba” as well.&lt;br /&gt;
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我只能把空白的报告交给我的朋友。 但是当然，我没有看到它们并不意味着它们不存在。 一个人只能看到有限的内容。 我希望对此事特别敏感的发言人可以公开指出，甚至提供八到十篇文章的示例，或者只举三到五篇文章作为此类工作的典范，以启发我们并提高我们的辨别能力，以了解哪些论文被称为“呸呸呸”，或者同时通过类推来清理相关问题，即理解哪种论文也构成“ 叭叭叭”。--[[User:Deng Jinxia|Deng Jinxia]] ([[User talk:Deng Jinxia|talk]]) 13:32, 16 December 2020 (UTC)&lt;br /&gt;
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我只能把空白的报告交给我的朋友。 但是当然，我没看到它们不等于它们不存在。 一个人能看到内容有限。 我希望对此事特别敏感的发言人可以公开指出，甚至提供八到十篇文章的示例，或者只举三到五篇文章作为此类工作的典范，以启发我们并提高我们的辨别能力，以了解哪些论文被称为“呸呸呸”，或者同时通过类推来清理相关问题，即理解哪种论文也构成“ 叭叭叭”。--[[User:Yao Cheng|Yao Cheng]] ([[User talk:Yao Cheng|talk]]) 13:40, 16 December 2020 (UTC)&lt;br /&gt;
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我只能向朋友交回一份空白报告。当然，我没有见过他们并不代表他们不存在。一个人所能看到的是有限的。我希望在这个问题上特别敏感的发言者能公开指出它们，甚至举出八篇、十篇的文章示例，或者只举出三五篇作为这类作品的范本，让我们提高我们的辨别能力，为我们区分哪些文章是那些所谓的 &amp;quot;呸呸呸&amp;quot;的文章是提供启发，或许同时也能通过类比澄清相关的问题，就是让人明白构成 &amp;quot;叭叭叭&amp;quot;的文章是什么样的。--[[User:Zheng Huajun|Zheng Huajun]] ([[User talk:Zheng Huajun|talk]]) 13:44, 16 December 2020 (UTC)&lt;br /&gt;
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==Ding Daifeng 丁代凤==&lt;br /&gt;
This suggestion is sincere, not just the usual politeness.  In order for literary arts, newspaper publications and literary publications to develop better social effects and to help unite the ways of our times with the people's hearts, newspaper editors, newspaper readers, and those in charge of this occupation should all be able to directly express their own views, and upon making mistakes should help each correct and make up for them, nobody needs to be polite about this.&lt;br /&gt;
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这个建议很真诚，不仅仅是平时的礼貌。为了使文学艺术、报纸出版物和文学出版物发挥更好的社会效果，同时将我们这个时代的生活方式与人民的心灵结合起来，报纸编辑、报纸读者和负责这一领域的人都应该能够直接表达自己的观点，在犯错误时，他们应该相互帮助纠正和弥补错误，没有人需要对此保持礼貌。--[[User:Ding Daifeng|Ding Daifeng]] ([[User talk:Ding Daifeng|talk]]) 03:07, 17 December 2020 (UTC)&lt;br /&gt;
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这个建议是真诚的，而不是出于寻常的客套。为了使文学艺术、报纸出版物和文学出版物发挥更好的社会效应，同时将我们这个时代的生活方式与人民的心灵结合起来，报纸编辑、报纸读者和负责这一领域的人都应该要能直接表达观点，在犯错误时，他们应相互帮助纠正和弥补错误，不必维持客套。--[[User:Ouyang Ling|Ouyang Ling]] ([[User talk:Ouyang Ling|talk]]) 08:11, 17 December 2020 (UTC)&lt;br /&gt;
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这一建议是真诚的，而不是出于礼貌的客套话。为了使文艺、报刊、文学作品发挥更好的社会价值，将时代特性与人民内心相连，报社编辑和读者，以及该领域的负责人应该直截了当地表达自己的观点。在犯错误时，各方应互相帮助，纠正和弥补错误，在这一过程中无需礼貌的客套话。--[[User:Zeng Fangyuan|Zeng Fangyuan]] ([[User talk:Zeng Fangyuan|talk]]) 08:49, 17 December 2020 (UTC)&lt;br /&gt;
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这个建议很真诚，不仅仅是出于礼貌客套。为了让文学艺术，报纸刊物和文学作品发挥更好的社会效果，也为了将时代特性与群众心灵结合起来，报纸编辑，读者，以及那些该领域的负责人应该直接表达自身观点，犯错误时，彼此应该互相纠正并弥补，这时谁也没必要客套了。--[[User:Gan Fengyu|Gan Fengyu]] ([[User talk:Gan Fengyu|talk]]) 06:17, 20 December 2020 (UTC)&lt;br /&gt;
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==Fang Jieling 方洁玲==&lt;br /&gt;
After reading this speaker's comments, there is another matter that mystifies me.  According to what was said, “from the next (meaning this and next) two years of discipline and rectification, there will be more new challenges and problems, and literary publications should be of assistance in stabilizing the people's minds, increasing faith, and not demoralizing the people's will.”  In reading all these newspapers, this is the first time I have seen  this “stabilize the peoples mind” proposition.  If there is a need to stabilize the people's hearts, it must proceed from the assumption that the peoples hearts are not stable.  As for the reason why people's minds are not stable, it comes back to the “discipline and rectification and the new challenges and problems” of these two years.&lt;br /&gt;
&lt;br /&gt;
看了这位发言者的评论，还有一件事让我感到疑惑。 按照这个说法，&amp;quot;从接下来的两年（指今明两年）的纪律和整改来看，会有更多的新挑战、新问题，文艺刊物应该对稳定人心、增强信心有所帮助，而不是消磨人民的意志&amp;quot;。 看了这么多报纸，我还是第一次看到这个 &amp;quot;稳定民心 &amp;quot;的命题。 如果说要稳定民心，那就必须从民心不稳的假设出发。 至于民心不稳的原因，又回到了这两年的 &amp;quot;纪律整顿和新挑战、新问题 &amp;quot;上。--[[User:Fang Jieling|Fang Jieling]] ([[User talk:Fang Jieling|talk]]) 04:07, 21 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
==Gan Fengyu 甘奉玉==&lt;br /&gt;
I am confused again.  These “challenges and problems” that so vex people, do they result from the “discipline and rectification” or is it because of these “challenges and problems” that the need arises to “discipline and rectify”?  If the more you “discipline and rectify” the more you provoke “many new challenges and problems” in people's minds, then why do all this “discipline and rectifying”?  Moreover, I do not understand what “discipline and rectification” refers to nor what the “new challenges and problems” are, and I cannot figure out what “stabilize people minds” means very precisely, nor can I see what concrete request is being made.  This is my request for instruction.&lt;br /&gt;
&lt;br /&gt;
我又困惑了。这些令人恼火的“挑战和问题”是由于“纪律和纠正”产生的，还是正因为“挑战和问题”的需要才产生了“纪律和纠正”。如果你“纪律和纠正”越多，脑子里的“诸多新挑战和新问题”也越多，那为什么所有人还要去“纪律和纠正呢”？而且，我不明白“纪律和纠正”到底是什么，也不知道“新挑战和新问题”又是什么，我还特别搞不懂“稳定人们思想”到底具体指什么，我也看不到提了什么具体要求。这就是我的要求，需要得到指导。--[[User:Gan Fengyu|Gan Fengyu]] ([[User talk:Gan Fengyu|talk]]) 06:39, 20 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
我又困惑了。这些令人恼火的“挑战和问题”是由于“纪律和纠正”产生的，还是正因为“挑战和问题”的需要才产生了“纪律和纠正”。人们总是认为如果“纪律和纠正”越多，“新挑战和新问题”也就越多，那为什么所有人还要去做“纪律和纠正呢”？而且，我不明白“纪律和纠正”到底是什么，也不知道“新挑战和新问题”又是什么，我搞不懂“稳定人们的思想”具体指什么，我也看不到任何具体要求。所以，我需要指导。--[[User:Gao Mingzhu|Gao Mingzhu]] ([[User talk:Gao Mingzhu|talk]]) 11:47, 20 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
==Gao Mingzhu 高明珠==&lt;br /&gt;
The Literature Journal column “Literature and the People's Lives” has been asking for a manuscript from me many times, but I have never been able to take up the assignment.  As I write to this point, I suddenly thought that this piece should be called “Literature and the Peoples' Minds”? But that is a big topic, something that a thousand characters can not manage to capture.  1989.2.21.&lt;br /&gt;
Shao Yanxiang 1993 in 自己的酒 [My Own Wine] pages 181-183, 群眾出版社&lt;br /&gt;
&lt;br /&gt;
文学期刊《文学与人民生活》向我讨要了很多次我的手稿，但我一直没有答应。写到这里，我突然想到这一部分是不是应该叫做“文学与人民思想”？但这是一个很大的话题，一千个字都没办法讲完。（1989.2.21，邵燕祥1993年发表在群众出版社的文章“自己的酒”，181-183页）--[[User:Gao Mingzhu|Gao Mingzhu]] ([[User talk:Gao Mingzhu|talk]]) 01:51, 20 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
文学报《文学与人民生活》向我讨要了很多次我的手稿，但我一直没有答应他们的请求。写到这里，我突然觉得，这一部分是不是应该叫做“文学与人民思想”？但这是一个很大的话题，一千个字是无法叙述完的。（1989.2.21，邵燕祥1993年发表在群众出版社的文章“自己的酒”，181-183页）--[[User:Fang Jieling|Fang Jieling]] ([[User talk:Fang Jieling|talk]]) 04:19, 21 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
'''East Station'''&lt;br /&gt;
&lt;br /&gt;
Thirty years ago in Beijing, if you mentioned “East Station,” everybody would know that referred to the Beijing East Station that lies to the outer east side Front City Gate.  Today this unremarkable construction, built in a half-westernized architectural style and sandwiched between the tall buildings of this noisy and busy city, supports a little sign that reads “Railway Workers Club.”  It is already an “ancient artifact,” long gone are the prosperous and glorious days of old.&lt;br /&gt;
&lt;br /&gt;
'''东站'''&lt;br /&gt;
&lt;br /&gt;
在30年前的北京，如果你提到“东站”，大家都会知道你指的是建在北京前城门东边外缘的北京东站。今天，这个不起眼的带有半西式风格的，矗立在喧闹的高楼大厦之间的建筑，挂着一个小牌子，上面写道：“铁路工人俱乐部”。它俨然已是一件“过时的老物件”了，而它过去那些繁荣与光辉也不在了。--[[User:Gao Mingzhu|Gao Mingzhu]] ([[User talk:Gao Mingzhu|talk]]) 01:51, 20 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
在30年前的北京，如果你提到“东站”，大家都会知道，指的是建在北京前城门东边外缘的北京东站。今天，这个不起眼的带有半西式风格的，矗立在喧闹的高楼大厦之间的建筑，挂着一个小牌子，上面写着：“铁路工人俱乐部”。它俨然已是一件“古物”了，早已没有了往日的繁华与辉煌。--[[User:Fang Jieling|Fang Jieling]] ([[User talk:Fang Jieling|talk]]) 04:19, 21 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
==Gong Yumian 龚钰冕==&lt;br /&gt;
This train station was once a symbol of bustling urgency, day and night swallowing and spewing out the many different hues of travelers who come to and leave the old capitol.  Outsiders that have been to Beijing may not have wandered on Fragrant Mountain or not even have visited the Imperial Museum, but none would not remember this railway station.  &lt;br /&gt;
&lt;br /&gt;
This train station, like any other place in Beijng, has experienced everything, cycles of prosperity and demise passing before its watch.  It has greeted both the voluntary and the involuntary travelers to Beijing, and also the powerful it welcomed, as well as those it did not welcome.  It sent off the happy people on their first [train] voyages, and also the broken hearted people who were departing; how many of them left this place never to come back?&lt;br /&gt;
&lt;br /&gt;
曾经，这个火车站象征着热闹繁华，也象征着赶火车的紧迫，无论是在白天还是黑夜，火车站里都是人来人往，有来自不同国家的旅客来到这座古都，也有旅客离开。到过北京的外地人，也许没有在香山漫步过，甚至没有参观过故宫博物院，但没有人会不记得这个火车站。&lt;br /&gt;
&lt;br /&gt;
这个火车站，和北京其他地方一样，经历了一切，见证了繁荣和衰败的循环。它既欢迎自愿来北京的旅客，也欢迎被迫来北京的旅客，它欢迎有权有势的人，也欢迎那些它不欢迎的人。它送走了第一次来旅行的快乐的人，也送走了那些离去时伤心欲绝的人；他们中有多少人离开了这里，再也没有回来过？--[[User:Gong Yumian|Gong Yumian]] ([[User talk:Gong Yumian|talk]]) 14:38, 20 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
==Gu Dongfang 顾东方==&lt;br /&gt;
When 20-year-old Shen Congwen arrived in Beijing after his roundabout journey from Phoenix in Hunan Province, he may have walked out of the station and stood for a while at the square in front of it.  He would have seen, because in those years there was still a space in front, first the uniformly arranged buildings, and the colorfully carved gate of Zhengyang tower.  His senses would have been struck with awe at the deep and solemn beauty.  Did he think of the way Kang (youwei) and Liang (qiqiao) were in the depths of an inescapable trap when they embarked their train to flee, in the midst of their hurry without even the time to look back upon the winged palace roofs of their beloved capitol?&lt;br /&gt;
&lt;br /&gt;
当20岁的沈从文从湖南凤凰绕道来到北京时，他可能走出车站，在车站前的广场站了一会儿。 他一定会看到，先是统一排列的建筑，还有正阳塔的彩雕大门,因为在那些年，前面还有一个空间。 他的感官会被这深邃而庄严的美感所震撼。 他是否会想到，康（有为）和梁（七巧）在踏上逃亡的列车时，在匆忙中连回望心爱的都城的翼宫屋顶的时间都没有，就陷入了不可自拔的陷阱深处？&lt;br /&gt;
&lt;br /&gt;
==Guan Qinqing 管钦清==&lt;br /&gt;
That year in July the canons sounded at Lugou Bridge.  When the railroad was restored between Beiping and Tianjin, the first trainload was the “four thousand refugee reds fleeing to Tianjin,” that was how the Tianjin newspaper put it.  When those travelers entered East Station, they took their first step on the road of flight; were there any among them that that could predict that long after their own “fortuitous rescue,” in 1958 there would be another group making their unseemly departure from the Beijing station, submitting their fates to the unpredictable road.&lt;br /&gt;
&lt;br /&gt;
那年七月，卢沟桥炮火连天。据天津报纸报道，从天津前往北平的铁路刚恢复通车，搭载的便是四千名红军战士。火车一到达北平东站，他们便踏上了流亡之路。不知在这群人中，是否有人预料到，经历了这段“幸运营救”很久以后的1958年，他们其中还有一部分人将悄然离开北京，踏上一段未知的旅程？--[[User:Guan Qinqing|Guan Qinqing]] ([[User talk:Guan Qinqing|talk]]) 03:08, 21 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
==Gui Yizhi 桂一枝==&lt;br /&gt;
Recently I looked through Liu Meng's “Reminiscences on a Rainy Day” in which he writes of the rainy day April of 1958, when [he along with] a group was sent to the great northern wilderness.  The platform in the rainy day, the locomotive in the rainy day; he deliberately reminisced calmly, saying it was like this memory had also been washed clean by the rainy rain.  At that time Liu Meng had been young, but traveling along with him were many people who had fallen into this hardship in their old age, certainly each of them had their own earlier “at that time.”&lt;br /&gt;
&lt;br /&gt;
Head hanging, walking upon the rain-wet road; this is someone who has far to travel.  Every window is weeping; this is someone reminiscing in the rain.&lt;br /&gt;
==Guo Lu 郭露==&lt;br /&gt;
And in March of 1949, when Guo Moruo and his democrats gathered together and arrived in Beijing, they were received with grand ceremonious welcome; the tears they wept were of joy.  At the time he composed a poem “How much of the people's blood was spilled for this honor.  Thinking of it, the tears fall, and happy laughter is unable to articulate in sound.”  -- I don't know why, but this poem was not collected in any of his later collections.&lt;br /&gt;
&lt;br /&gt;
The platform of Beijing East Station, from the end of the last century to the middle of this century, has been a stage of constantly revolving action, no matter whether the security forces patrolling the edges of the stage were armed police of the North Coast Warlords, or the Japanese Army Police, or the Nationalist soldiers, police, M.P.’s or special agents, or the “People's Traffic Police.”&lt;br /&gt;
&lt;br /&gt;
而在1949年3月，当郭沫若和他的民主人士到达北京时，他们受到了隆重的欢迎仪式，他们流的是喜悦的泪水。 当时郭沫若作了一首诗：&amp;quot;为了这个荣誉，洒了多少人民的血。 想着想着，眼泪就掉下来了，幸福的笑声无法用声音来表达。&amp;quot;  --不知道为什么，这首诗在他后来的作品集里都没有收录。&lt;br /&gt;
&lt;br /&gt;
北京东站的站台，从上世纪末到本世纪中，不管在舞台边缘巡逻的保安部队是北洋军阀的武警还是日本军警，又或者是国民党的士兵、警察、宪兵或特务，还是 &amp;quot;人民交通警察&amp;quot;，它一直是一个不断变幻的舞台。--[[User:Guo Lu|Guo Lu]] ([[User talk:Guo Lu|talk]]) 03:23, 17 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
1943年3月，当郭沫若和他的民主人士到达北京时，他们收到了隆重的欢迎仪式，他们流的是喜悦的泪水。当时郭沫若作了一首诗：“为了这个荣誉，洒了多少人民的血。想着想着，眼泪就掉下来了，幸福的笑声无法用言语来表达。”--我不知道为什么，但是这首诗在他后来的作品里都没有收录。&lt;br /&gt;
&lt;br /&gt;
从上世纪末到本世纪中，北京东站的站台已然成为一个不断轮回的舞台，在那里有边界巡逻的保安部队不论是武装的北洋军阀还是日本军警，又或者是国民党的士兵、警察、宪兵或者是特务，还是“人民交通警察。”&lt;br /&gt;
&lt;br /&gt;
==Han Haiyang 韩海洋==&lt;br /&gt;
But because nearly everybody “performed” there in one way or another, at least having passed across that stage, everything about it was forgotten.  Literary works pass through it with a single stroke, only the ending of the novel “Golden Powder Dynasty” provided a scene for it.  This leftover architectural structure does not even rate a “district preservation unit” marker.  This is because there are too many ancient traces in Beijing, how could an object merely one hundred years of age be considered antique?  &lt;br /&gt;
&lt;br /&gt;
Today will also become history.  And every inch of Beijing earth will provide proof of its history.  &lt;br /&gt;
&lt;br /&gt;
1989. 9. 13 &lt;br /&gt;
&lt;br /&gt;
Please don't cut or change this date.  The new railway station began operation in 1959, and this fits in parallel with “more that thirty years ago” at the beginning of the essay.&lt;br /&gt;
&lt;br /&gt;
但是因为几乎所有人不管怎样都在那“表演过”，最起码从那个舞台上经过，于关于它的一切全部都被遗忘。文学作品在这个舞台上浮光一掠，只有小说《金粉世家》的结局算作是上演了一幕。遗留的建筑结构都没有被评为“保护区”的标志。这是因为在北京像这样的古老残留建筑有很多，才拥有一百多年历史又怎么能被算作是古老建筑呢？&lt;br /&gt;
&lt;br /&gt;
今天也依然会成为历史。北京的每一寸土地都可以为此证明。&lt;br /&gt;
&lt;br /&gt;
1989.9.13&lt;br /&gt;
&lt;br /&gt;
请不要删除或改变这个日子。 这个新的火车站于1959年开始工作，同时，也是这部散文的开始之言“三十年之前”。&lt;br /&gt;
&lt;br /&gt;
但因为几乎每个人都在那里或多或少地 &amp;quot;表演 &amp;quot;过，至少是经过了那个舞台，关于它的一切都被遗忘了。 文学作品一气呵成地经过它，只有小说《金粉王朝》的结局为它提供了一个场景。 这座遗留下来的建筑结构，连 &amp;quot;区级保护单位 &amp;quot;的标志都评不上。 这是因为北京的古迹太多，仅仅百年的物件怎么能算作古董呢？ &lt;br /&gt;
&lt;br /&gt;
今天也将成为历史。 而北京大地的每一寸土地都将为其历史提供证明。 &lt;br /&gt;
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1989. 9. 13 &lt;br /&gt;
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请不要删减或更改这个日期。 新火车站于1959年开始运营，这与文章开头的 &amp;quot;三十多年前 &amp;quot;相吻合。--[[User:Han Wanzhen|Han Wanzhen]] ([[User talk:Han Wanzhen|talk]]) 07:34, 17 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
==Han Wanzhen 韩宛真==&lt;br /&gt;
'''Nostalgia without Memory: Reading Zhang Wei’s Essays &lt;br /&gt;
In the Context of Fable of September''' &lt;br /&gt;
&lt;br /&gt;
Jie Lu&lt;br /&gt;
&lt;br /&gt;
'''Abstract'''&lt;br /&gt;
&lt;br /&gt;
In this paper I will discuss what can be called agrarian nostalgia in Zhang Wei's essays collected in his Anxious and Indignant Homeward Journey, published in 1995 as a part of Resisting Compromise Book Series. I will examine his nostalgia as a critical and moral stance in the literary context of his highly claimed novel The Fable of September. In the novel, history is mythologized, essentialized, and therefore erased to embody an agrarian being associated with land. If land in Zhang's novel represents an idealized existence, then in his essays, it becomes both a social and literary metaphor to symbolize moral purity and literary elitism. It is posed as a means to achieve individual, social and literary salvation, and an absolute standard to critique social reality and popular culture in the age of commercialization.&lt;br /&gt;
&lt;br /&gt;
'''没有记忆的怀恋：阅读张炜的散文集&lt;br /&gt;
以九月寓言为背景'''&lt;br /&gt;
&lt;br /&gt;
吕杰&lt;br /&gt;
&lt;br /&gt;
'''摘要'''&lt;br /&gt;
&lt;br /&gt;
在本文中，我将讨论张炜的散文中可以被称为农业乡愁的东西，这些散文收录在他的《焦急而愤懑的归途》中，该书于1995年出版，是《抗妥协书系》的一部分。我将在他备受称道的小说《九月寓言》的文学语境中，考察他作为一种批判和道德立场的乡愁。在小说中，历史被神话化、本质化，从而被抹杀，体现出一种与土地相关的农业存在。如果说土地在张的小说中代表了一种理想化的存在，那么在他的文章中，土地就成为一种社会和文学的隐喻，象征着道德的纯洁和文学的精英。它被摆在了实现个人、社会和文学救赎的手段上，也是商业化时代批判社会现实和大众文化的绝对标准。--[[User:Han Wanzhen|Han Wanzhen]] ([[User talk:Han Wanzhen|talk]]) 07:23, 17 December 2020 (UTC)&lt;br /&gt;
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==He Changqi 何长琦==&lt;br /&gt;
Nostalgia as an indication of fundamental condition of human estrangement or alienation has been exacerbated by the speeds and scopes of modernization and globalization in contemporary China. This nostalgic sentiment is intensely experienced by intellectual elites who wish to maintain their traditional role as society's moral guardians or as society's conscience, and by literary writers who wish to sustain the distinction between pure and popular literature. It is exactly this moral absolutism and literary elitism that have been undermined by cultural and socioeconomic changes. What nostalgia in Zhang's writings reveals is not so much a resistance to modernization process as incapability of deep understanding the complexity of Chinese modernity.&lt;br /&gt;
==Hu Baihui 胡百辉==&lt;br /&gt;
At the turn of the twenty-first century in China, with modernization and globalization gaining full momentum, it is interesting to find many writers turning their gaze backward to the past rather than singing the praises of this new global age. Among writers such as Liang Xiaosheng, Zhang Chengzhi, and Zhang Wei, nostalgia has become their dominant literary mode, through which to both critique commercialism and globalism and express the authors’ moral and literary ideals. In this paper I wish to focus on the moral and literary implications of nostalgia in Zhang Wei’s essays, as collected in his Anxious and Indignant Homeward Journey (youfen de guitu), published in 1995 as a part of the Resisting Compromise Book Series (dikang touxiang shuxi). [*	Jie Lu is an Assistant Professor of Chinese at the University of the Pacific. The author is grateful to Martin Woesler, the organizer of the conference on The Modern Chinese Literary Essays (August, 2000, Germany) where this paper was presented, and Michelle DiBello for her insightful comments and careful editing of the whole text. &lt;br /&gt;
	Resisting Compromise Book Series (Dikang touxiang shuxi) includes collections of essays by Zhang Chengzhi, Zhang Wei, Han Shaogong, Yu Qiuyu, Li Ri, and Shi Tiesheng respectively. ]&lt;br /&gt;
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在二十一世纪之交的中国，随着现代化和全球化的全面推进，许多作家将目光转向过去，而不是歌颂这个新的全球化时代，这是一个有趣的现象。在梁晓声、张承志、张炜等作家中，怀旧已成为他们的主流文学模式，通过它既批判商业主义，又批判全球化，表达作家的道德理想和文学理想。本文旨在探讨张炜散文中怀旧的道德和文学意蕴，这是1995年出版的《反抗妥协丛书》（迪康头像书西）的一部分。（陆洁是太平洋大学中文系助理教授。本文作者感谢2000年8月在德国举行的中国现代文学随笔会议的组织者马丁·韦斯勒和米歇尔·迪贝洛对全文的深刻评论和精心编辑。《抗争妥协丛书》（迪康头像书西）收录了张承志、张炜、韩少功、余秋雨、李日、史铁生的散文集。）--[[User:Hu Baihui|Hu Baihui]] ([[User talk:Hu Baihui|talk]]) 08:17, 18 December 2020 (UTC)&lt;br /&gt;
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在二十一世纪之交的中国，随着现代化和全球化的全面推进，出现了一个有趣的现象，许多作家没有歌颂这个全球化的新时代，反而将目光转向过去。如梁晓声、张承志、张炜等作家，怀旧已成为他们的主流文学模式，通过这种文学模式他们既批判商业主义，又批判全球化，表达作家的道德理想和文学理想。本文旨在探讨1995年出版的《反抗妥协丛书》（迪康头像书西）一书中的怀旧的道德和文学意蕴。（陆洁是太平洋大学中文系助理教授。本文作者感谢2000年8月在德国举行的中国现代文学随笔会议的组织者马丁·韦斯勒和米歇尔·迪贝洛对全文的深刻评论和精心编辑。《抗争妥协丛书》（迪康头像书西）收录了张承志、张炜、韩少功、余秋雨、李日、史铁生的散文集。）--[[User:Jiang Fengyi|Jiang Fengyi]] ([[User talk:Jiang Fengyi|talk]]) 02:54, 19 December 2020 (UTC)&lt;br /&gt;
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==Hu Huifang 胡慧芳==&lt;br /&gt;
Instead of putting Zhang’s writings in the larger context of contemporary intellectual debates over radicalism (radical intellectual/cultural discourse) and (new) conservatism (anti-radical),[	Regarding the major theoretical discourses in contemporary intellectual debates in China, see Xu Ben’s “Contesting Memory for Intellectual Self-Positing: The 1990s’ New Cultural Conservatism in China” in Modern Chinese Literature and Culture, Vol.11 (Spring, 1999) 157-193; Jianhua Chen’s “Local and Global in Narrative Contestation: Liberalism and the New Left in Late-1990s China” in Journal of Asian Pacific Communication, Vol. 9 113-129; Intellectuals’ Positions (Zhishi fenzi lichang) in three volumes, edited by Li Shitao, published by Shidai wenyi chubanshe, 2000.  ] I will examine it in the literary context of his highly acclaimed novel Fable of September published in 1992. &lt;br /&gt;
Fable of September represents history in a way that mythologizes, essentializes, and therefore erases it in the name of an idealized agrarian existence. Indeed, the idea of “the land” (tudi) is a transcending and all-encompassing concept in Zhang Wei writings, representing an idealized pure state uncontaminated by industrialization and modernization. In his essays, the land is transformed into a social and literary metaphor that symbolizes moral purity and literary elitism against what the author perceives as the contemporary backdrop of general moral decadence and literary chaos. This ideal is posed as a means to achieve nothing less than social, moral and literary salvation, raised as a kind of absolute standard to critique social reality and popular culture.&lt;br /&gt;
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而不是将张的作品在当代知识争论激进主义的大背景(激进知识/文化话语)和(新)保守主义(anti-radical),(关于当代知识辩论的主要理论话语在中国,看到徐本的“争夺记忆知识Self-Positing: 1990年代在中国的新的文化保守主义”在中国现代文学和文化,Vol.11(春天,1999)157 - 193;陈建华“叙事论争的本土与全球:90年代末中国的自由主义与新左派”，载于《亚太传播》第9卷113-129;李世涛主编《知识分子的地位》三卷，《时代文艺社》2000年出版。我将从他1992年出版的广受赞誉的小说《九月寓言》的文学背景来探讨这个问题。&lt;br /&gt;
《九月寓言》以一种神话化、本质化的方式展现了历史，并因此以理想化的农业存在的名义抹去了历史。实际上，“土”在张维的著述中是一个超越的、包罗万象的概念，代表着一种理想化的、未受工业化和现代化污染的纯净状态。在他的文章中，这片土地被转化为一种社会和文学隐喻，象征着道德纯洁和文学精英主义，而不是作者所认为的普遍道德颓废和文学混乱的当代背景。这一理想被认为是实现社会、道德和文学救赎的一种手段，被提升为一种批判社会现实和大众文化的绝对标准。--[[User:Hu Huifang|Hu Huifang]] ([[User talk:Hu Huifang|talk]]) 11:23, 18 December 2020 (UTC)&lt;br /&gt;
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==Hu Jin 胡瑾==&lt;br /&gt;
My argument, however, is that Zhang’s reification of “land” as a transcendental metaphor in his essays only betrays the author’s lack of any profound historically informed understanding of the complexity of Chinese modernity. He simply refuses to accept social and cultural dilemmas and contradictions as permanent fixtures of the intellectual and cultural landscape. At the same time, Zhang’s outright criticism of consumerism and globalism suggests an underlying ambivalence about modernization. As China’s post-socialist social reality grows more complex and demanding, with more diversified and unstructured cultural formation, any clear-cut moral solution to social evils based on pre-modern social relationship and norms (positing the utopian vision of a transcendental realm) can no longer be effective. Nor is it sufficient to solve the sense of cultural crisis brought on by the progression of both modernization and globalization.&lt;br /&gt;
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然而，在我看来，张炜在他的散文中把“土地”具化为一个先验的隐喻，这只能暴露出作者对中国现代化的复杂程度缺乏深刻的认识。他只是拒绝接受社会和文化困境和矛盾作为知识和文化领域的永久固定装置。与此同时，张炜对消费主义和全球主义的直接批判表明了他对现代化的矛盾心理。随着中国后社会主义的社会现实变得越来越复杂和越来越严苛，文化形态也越来越多样化和无组织化，任何明确的道德解决方案，不管是基于前现代社会关系和规范(设想一个先验领域的乌托邦愿景)还是针对社会罪恶，都不再有效。也不足以解决现代化和全球化进程带来的文化危机。--[[User:Hu Jin|Hu Jin]] ([[User talk:Hu Jin|talk]]) 06:05, 18 December 2020 (UTC)&lt;br /&gt;
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然而，在我看来，张炜在他的散文中将“土地”具体化为一个先验隐喻，这只能说明作者对中国现代性的复杂性缺乏深刻的历史见解。他只是拒绝接受社会和文化的困境和矛盾作为永久固定的知识和文化景观。与此同时，张炜对消费主义和全球主义的直接批判也表明了他对现代化的矛盾心理。随着中国的后社会主义社会现实变得更加复杂和苛刻，文化形态更加多样化和无组织化，任何基于前现代社会关系和规范的明确的道德解决方案(假定一个先验领域的乌托邦愿景)都不再有效。也不足以解决现代化和全球化进程所带来的文化危机感。--[[User:Tang Bei|Tang Bei]] ([[User talk:Tang Bei|talk]]) 06:00, 21 December 2020 (UTC)&lt;br /&gt;
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==Ji Tiantian 纪甜甜==&lt;br /&gt;
The contemporary Chinese intellectual and cultural scene is a complex one, with major conflicting trends – one toward the commercialization of knowledge/literature and another in strong resistance to the very same. A new diversity of voices can be heard in intellectual debates at the more abstract conceptual level, and a number of Chinese writers have also joined the scene – whether consciously or unconsciously -- with their own distinct literary voices. The Resisting Compromise Book Series in fact embodies these writers’ own effort of resistance to commercialism and globalism, which they perceive as corrosive forces in their culture and society.&lt;br /&gt;
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当代中国的知识文化环境是复杂的，其主要冲突趋势有两种，一种是知识/文化的商业化，另一种是对该商业化的强烈抵制。在更抽象的概念层面的知识分子的辩论中，可以听见各种不同的新声音，许多中国作家也加入了这一环境中——有意或无意地——带着他们自己独特的文学声音。《抵抗妥协》系列实际上体现了这些作家反对商业主义和全球主义的努力，他们认为商业主义和全球主义侵蚀了他们的文化和社会。--[[User:Ji Tiantian|Ji Tiantian]] ([[User talk:Ji Tiantian|talk]]) 13:51, 16 December 2020 (UTC)&lt;br /&gt;
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当代中国的知识文化环境是复杂的，主要的冲突趋势——一种是走向知识/文学商业化的趋势和另一种对知识/文学商业化的强烈抵制趋势。在更抽象的概念层面的知识分子辩论中，可以听到新的多元化的声音，许多中国作家也加入了这个舞台——有意或无意地——带着他们自己独特的文学声音。《抵抗妥协》系列丛书实际上体现了这些作家反对商业主义和全球主义的努力，他们认为商业主义和全球主义侵蚀了他们的文化和社会。--[[User:Li Luyi|Li Luyi]] ([[User talk:Li Luyi|talk]]) 14:24, 16 December 2020 (UTC)&lt;br /&gt;
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==Jiang Fengyi 蒋凤仪==&lt;br /&gt;
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As the series’ editor-in-chief states in the preface, the work is devoted to those contemporary “literary heroes” (Xiao 1995, II), that is, certain literary idealists such as Zhang Wei, Zhang Chenzhi, Han Shaogong, Yu Qiuyu, Shi Tiesheng, and Li Rui. These literary heroes are recognized for daring to stand up and raise the banner of “literature of resistance” (Xiao 1995, II), attacking the literary degeneration and moral decay of the times.&lt;br /&gt;
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正如丛书主编在序言中所说，这部作品是专门写给那些当代 &amp;quot;文学英雄 &amp;quot;的（萧 1995，二），即某些文学理想主义者，如张炜、张震之、韩少功、余秋雨、史铁生、李锐等。他们之所以被认可，是因为他们敢于站出来，高举 &amp;quot;反抗文学 &amp;quot;的大旗（萧 1995，二），抨击当代的文学堕落和道德沦丧。--[[User:Jiang Fengyi|Jiang Fengyi]] ([[User talk:Jiang Fengyi|talk]]) 09:29, 18 December 2020 (UTC)&lt;br /&gt;
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正如丛书主编在序言中所说，该作品是专门写给那些当代 &amp;quot;文学英雄 &amp;quot;的（萧 1995，二），即某些文学理想主义者，如张炜、张震之、韩少功、余秋雨、史铁生、李锐等。这些文学英雄之所以被认可，是因为他们敢于站出来，高举 &amp;quot;反抗文学 &amp;quot;的旗帜（萧 1995，二），抨击了当时的文学堕落和道德沦丧。--[[User:Li Haiquan|Li Haiquan]] ([[User talk:Li Haiquan|talk]]) 12:57, 20 December 2020 (UTC)&lt;br /&gt;
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==Jiang Hao 姜好==&lt;br /&gt;
In publishing the Resisting Comprises series, its creators were responding to a growing domination of the literary arena by a so-called “Hooligan Movement.” According to the editor, literary hooliganism, as it were, is essentially a “language game” -- represented first and foremost by the irreverent writer Wang Shuo – with its various forms of “literary trash” including “literature of sexual promiscuity” (xingluan), “literature of leisure” (xianshi), “hack literature” (bangxian) and “sneezing literature” (penti) (Xiao 1995, II).&lt;br /&gt;
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在出版《反抗》系列时，它的创作者是在回应所谓的流氓运动对文学领域日益增长的统治。编者认为，文学流氓，实质上是一种 “语言游戏”——首先以不敬的作家王朔为代表——其形式多样的 “文学垃圾 ”包括 “性乱文学”、“闲适文学”、“黑客文学”和 “喷嚏文学”（萧1995，二）。--[[User:Jiang Hao|Jiang Hao]] ([[User talk:Jiang Hao|talk]]) 12:19, 17 December 2020 (UTC)&lt;br /&gt;
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通过出版《反抗》系列，创作者回应了所谓的“流氓运动”对文学领域日益增长的统治。编者认为，文学流氓主义的实质是一种 “语言游戏”——首先以不敬的作家王朔为代表，他有形式多样的 “文学垃圾 ”，包括 “性乱文学”、“闲适文学”、“黑客文学”和 “喷嚏文学”（萧 1995，二）。--[[User:Jiang Qiwei|Jiang Qiwei]] ([[User talk:Jiang Qiwei|talk]]) 03:21, 18 December 2020 (UTC)&lt;br /&gt;
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==Jiang Qiwei 蒋淇玮==&lt;br /&gt;
But there are several larger social and literary issues that this project essentially addresses, namely: the loss of literary/cultural/social dominance by the intellectual elite to mass/commercial culture; the commercialization of knowledge/literature; erosion of the “humanist spirit;” abandonment of ultimate human concerns; desertion of idealism, enlightenment and such modernist projects. In the face of such upheaval, the editor describes the contemporary cultural/literary scene in China as dark and degenerate. The age is “cursed,” “tragic,” an age of “betrayal” and “surrender” (Xiao 1995, IV). And the targets of the literary/moral resistance are postmodernism, commercialism, and mass culture.&lt;br /&gt;
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但本质上，这个计划旨在设法解决几个更重要的社会和文学问题，即文学、文化、社会的主导地位由知识精英转移到大众及商业文化;知识文学的商业化;对“人文精神”的侵蚀;对人类终极关怀的抛弃;对理想主义、启蒙主义和诸如此类的现代主义计划的放弃。面对这样的剧变，编者将中国当代文坛描述为黑暗和堕落的。这个时代是“被诅咒的”、“悲剧性的”，是一个“背叛”和“投降”的时代(肖，1995，IV)。文学和道德反抗的对象是后现代主义、商业主义和大众文化。--[[User:Jiang Qiwei|Jiang Qiwei]] ([[User talk:Jiang Qiwei|talk]]) 03:09, 18 December 2020 (UTC)&lt;br /&gt;
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但本质上，这个计划旨在设法解决几个更重要的社会和文学问题，即文学、文化、社会的主导地位由知识精英转移到大众及商业文化;知识文学的商业化;对“人文精神”的侵蚀;对人类终极关怀的抛弃;对理想主义、启蒙主义和诸如此类的现代主义计划的放弃。面对这样的剧变，编者将中国当代文坛描述为黑暗又堕落的时期。这个时代是“被诅咒的”、“悲剧性的”，是一个“背叛”和“投降”的时代(肖，1995，IV)。文学和道德反抗的对象是后现代主义、商业主义和大众文化。--[[User:Yang Hairong|Yang Hairong]] ([[User talk:Yang Hairong|talk]]) 04:31, 18 December 2020 (UTC)&lt;br /&gt;
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==Kang Haoyu 康浩宇==&lt;br /&gt;
Zhang Wei is primarily known as a novelist. His major novels include Ancient Boat, Fable of September, My Countryside, Clan, and novelle include Meditation in Autumn, Anger in Autumn, and Vineyard. [	Ancient Boat (Guchuan), Fable of September (Jiuyu yuyan), My Countryside (Wode tianyuan), Clan (Jiazu), Meditation in Autumn (Qiutian de sisuo), Anger in Autumn (Qiutian de fennu), and Vineyard (Putaoyuan) are all included in Zhang Wei wenji (Collected Writings of Zhang Wei) (Shanghai: Shanghai wenyi chubanshe, 1997).] He has also published many collections of essays.  His writings collected in Anxious and Indignant Homeward Journey include essays, talks, and interviews. These essays do not express this uncompromising stance in such a strong voice and straightforward manner. Instead, Zhang poses a literary persona of moral integrity as a kind of self-representation. He appears as an idealized individual, embodying in every way pure moral qualities of both a human being and artist/writer. This idealized individual is a fighter, fighting a lonely and heroic battle against fashionable trends and any and all forms of evil (Xiao 1995, 6).[	Anxious and Indignant Homeward Journey includes both Zhang Wei’s essays as well as critical articles by various critics. In this paper I will use Xiao Xialin, the editor of this collection as the reference to provide in-text citations to essays by both Zhang Wei and other critics.  ]&lt;br /&gt;
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张炜主要以小说家闻名。他的主要小说包括《古船》、《九月寓言》、《我的田园》、《家族》、《秋天的思索》、《秋天的愤怒》和《葡萄园》。【《古船》、《九月寓言》、《我的田园》、《家族》、《秋天的思索》、《秋天的愤怒》和《葡萄园》均收录于《张炜文集》(上海:上海文艺出版社，1997)。]他还出版了许多散文集。他在《焦虑和愤怒的归途》中收集的作品包括散文、谈话和采访。这些文章没有用如此强烈的声音和直白的方式表达这种不妥协的立场。相反，张提出了以一个文学人格作为一种自我表现。他表现为一个理想化的个体，在各方面都体现了一个人和艺术家或作家的纯粹道德品质。这个理想化的人是一个战士，与时尚潮流和各种邪恶势力进行着孤独而英勇的斗争(肖 1995，6)。【《焦虑和愤怒的归途》既包括张炜的散文，也包括各种评论家的评论文章。在这篇论文中，我将使用这本文集的编辑萧夏林作为参考，为张炜和其他评论家的文章提供文本内引文。]--[[User:Kang Haoyu|Kang Haoyu]] ([[User talk:Kang Haoyu|talk]]) 04:09, 19 December 2020 (UTC)&lt;br /&gt;
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==Kang Lingfeng 康灵凤==&lt;br /&gt;
As a generous humanitarian, he loves and helps all good people. As a socially committed artist, he takes upon himself a great responsibility to all humanity. And as a serious writer, he self-consciously pursues high literature. He is also represented as an honest laborer, making a living through hard labor and sweat. As part of this self-representation, Zhang criticizes those who succumbed to moral and artistic degradation, such as those writers who choose to “enter the commercial world” (xiahai), or cater to popular low-brow tastes by writing “trash literature.”&lt;br /&gt;
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作为一个慷慨的人道主义者，他热爱并帮助所有善良的人。作为一名致力于社会事业的艺术家，他主动承担起对人类的重大责任。作为一个严肃的作家，他自觉地追求高雅文学。他也被描绘成一个务实的劳动者，辛勤劳作、挥洒汗水维持生活。作为自我表现的一部分，张批评了那些屈从于道德和艺术堕落的人，比如那些选择“走进商业世界”(夏海)的作家，或者为了迎合大众低级趣味而写“垃圾文学”的作家。--[[User:Kang Lingfeng|Kang Lingfeng]] ([[User talk:Kang Lingfeng|talk]]) 09:14, 17 December 2020 (UTC)&lt;br /&gt;
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作为一个慷慨的人道主义者，他热爱并帮助所有善良的人。作为一名致力于社会事业的艺术家，他主动承担起对人类的重大责任。作为一个严肃的作家，他自觉地追求高雅文学。他也是务实的劳动者的代表，他辛勤劳作挥洒汗水来维持生活。作为自我表现的一部分，张批评了那些屈从于道德和艺术堕落的人，比如那些选择“走进商业世界”(夏海)的作家，或者为了迎合大众低级趣味而写“垃圾文学”的作家。--[[User:Kong Xianghui|Kong Xianghui]] ([[User talk:Kong Xianghui|talk]]) 02:56, 18 December 2020 (UTC)&lt;br /&gt;
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==Kong Xianghui 孔祥慧==&lt;br /&gt;
He points out in his essay “Anxious and Indignant Homeward Journey” several “lacks” in many contemporary writers. First, many of today’s writers lack “self-reflexivity” (which really refers more to moral “self-reflection” or “self-consciousness” rather than intellectual self-reflexivity). They lack “conservatism,” an ability to hold to a certain kind of spirit, in which he also sees as a lack of real avant-guard spirit. They lack  “intolerance,” meaning they are overly tolerant of vices and decadent practices, and rarely engage in serious, genuine, and frank criticism and debate. Finally, they lack “stable emotions” -- the definition of which is rather ambiguous.&lt;br /&gt;
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张炜在散文《忧愤的归途》中指出了当代很多作家存在的一些“缺憾”。首先，如今的很多作家缺乏“自我反思”(实际上更多地是指道德上的“自我反思”或“自我意识”，而非理智上的自我反思)。其次他们缺乏“守旧精神”，即坚持某种精神的能力，于此张炜还看到当代作家前卫精神的缺失。他们也还不够“偏执”，过度容忍恶习和堕落的行为，很少进行严肃、真诚和坦率的批评和辩论。最后，他们缺乏“稳定的情绪”——尽管这种情绪的定义相当模糊。--[[User:Kong Xianghui|Kong Xianghui]] ([[User talk:Kong Xianghui|talk]]) 02:43, 18 December 2020 (UTC)&lt;br /&gt;
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他在《焦急愤懑的回家之旅》一文中指出了许多当代作家的“不足”。首先，当今许多作家缺乏“自我反省性”（这实际上更多指的是道德上的“自我反省”或“自我意识”，而不是智力上的自我反省）。他们缺乏“保守精神”，这是一种坚持某种精神的能力；并且他认为作家缺乏真正的前卫精神。他们不能够坚持自我，这意味着他们对恶习和腐朽行径过于宽容，很少进行严肃、真诚和坦率的批评和辩论。最后，他们缺乏“稳定的情绪”——尽管他对于稳定这一定义相当模糊。--[[User:Hu Baihui|Hu Baihui]] ([[User talk:Hu Baihui|talk]]) 08:22, 18 December 2020 (UTC)&lt;br /&gt;
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==Kong Yanan 孔亚楠==&lt;br /&gt;
Zhang’s self-representation, then, is also a form of self-legitimization. It endows him with legitimacy through a kind of literary aura and the staking out of high moral ground. From this privileged stance, he proceeds to interpret, represent, articulate, define and judge the essence, meaning and criteria of literature, society, and human life. Throughout his essays, including interviews, talks, and lectures, we find Zhang, like a self-styled guru, constantly giving advice to college students, young writers, and literature fans on what to read, how to write, and how to live. This advice is based exclusively on a clear distinction between high and popular literature, and on his unabashed criticism of mass culture (represented by television).&lt;br /&gt;
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接着，张炜的自我体现也是一种自我合法化形式，这种形式赋予他一种文学氛围和声明高尚的道德立场的合法性。从这个特权立场的立场出发，他继续诠释、再现、明确表达、定义以及评价了文学、社会和人类生活的本质、意义和标准。通过他全部的文章包括采访、会谈和讲座，我们可以发现，张炜就像一位有自我风格的专家，不断地给大学学生、年轻作家和讲座迷关于写什么、如何写以及怎样生活的问题提供建议。这些建议完全基于高雅文学和通俗文学之间鲜明的区别以及他对大众文学（以电视节目为代表）的毫不掩饰的批判。--[[User:Kong Yanan|Kong Yanan]] ([[User talk:Kong Yanan|talk]]) 05:40, 20 December 2020 (UTC)&lt;br /&gt;
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==Lei Fangyuan 雷方圆==&lt;br /&gt;
In a broader sense, we can see his self-representation as an essential reaffirmation of the traditional role that Chinese intellectuals played in society. The claim to an authoritative voice is fundamental to maintaining the privileged position of the intellectual elite within a structure of knowledge and power. Zhang’s self-representation, then, is nothing less than an attempt to reestablish the intellectual elite’s role in literature and society based on a clear distinction between high and popular literature. This power struggle for cultural dominance and hegemony in the ongoing reformation of intellectual/cultural discourse largely defines China’s socio-cultural condition in the wake of socialism.&lt;br /&gt;
从广义上讲，我们可以看到他的自我表现是对中国知识分子在社会中扮演的传统角色的重要重申。要求权威声音是在知识和权力结构内维持知识分子精英阶层特权地位的基础。 因此，张的自我表象无非是试图根据对高级文学和通俗文学之间的明显区分来重新确立知识分子精英在文学和社会中的作用。在不断进行的知识/文化话语改革中，这场争夺文化优势和霸权的权力斗争在很大程度上定义了社会主义之后中国的社会文化条件。--[[User:Lei Fangyuan|Lei Fangyuan]] ([[User talk:Lei Fangyuan|talk]]) 01:37, 21 December 2020 (UTC)&lt;br /&gt;
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==Lei Kuangxi 雷旷溪==&lt;br /&gt;
Perhaps the most important part of Zhang’s essays is his use and development of the concept of “land” (tudi), which strongly conveys his self-representation as a simple yet serious “rural intellectual” (xiangcun zhishi fenzi). In his well-known essay “Immersion in the Wild Field” (rongru yiedi), the land in fact functions as a transcending metaphor. As a signifier of nature – wild fields, mountains, bushes, green crops, the ocean -- the land symbolizes all that is morally good in social and cultural realms as well as in individual’s life. The land represents a mother figure, where one can always find comfort, wisdom and inspiration. As an eternal backdrop, the land embodies eternity itself. It serves as an aesthetic standard through which the author defines the social and aesthetic functions of “pure literature,” and criticizes various aspects of cultural reality.&lt;br /&gt;
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在张炜的文章中，最重要的部分可能是他对 &amp;quot;土地 &amp;quot;概念的使用和发展，这强烈地表达了他作为一个朴素而严肃的 &amp;quot;农村知识分子 &amp;quot;的自我形象。在他的名篇《融入野地》中，土地实际上是一个超越性的隐喻。作为自然的象征--野地、山川、灌木、绿色的庄稼、海洋--土地象征着社会、文化领域和个人生活中所有道德上的美好事物。土地代表着母亲的形象，在那里人们总能找到安慰、智慧和灵感。作为一个永恒的背景，土地体现了永恒本身。它作为一种审美标准，作者通过它来界定 &amp;quot;纯文学 &amp;quot;的社会功能和审美功能，对文化现实的各个方面进行批判。--[[User:Lei kuangxi|Lei kuangxi]] ([[User talk:Lei kuangxi|talk]]) 08:22, 18 December 2020 (UTC)Lei Kuangxi&lt;br /&gt;
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在张炜的文章中，最重要的部分可能是他对 &amp;quot;土地 &amp;quot;概念的使用和发展，这强烈地表达了他作为一个朴素而严肃的 &amp;quot;农村知识分子 &amp;quot;的自我形象。在他的名篇《融入野地》中，土地实际上是一个超越性的隐喻。野地、山川、灌木、绿色的庄稼、海洋是自然的象征，而土地象征着社会、文化领域和个人生活中所有道德上的美好事物。土地代表着母亲的形象，在那里人们总能找到安慰、智慧和灵感。作为一个永恒的背景，土地体现了永恒本身。它作为一种审美标准，作者通过它来界定 &amp;quot;纯文学 &amp;quot;的社会功能和审美功能，对文化现实的各个方面进行批判。--[[User:Kang Haoyu|Kang Haoyu]] ([[User talk:Kang Haoyu|talk]]) 04:12, 19 December 2020 (UTC)&lt;br /&gt;
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==Li Haiquan 李海泉==&lt;br /&gt;
Zhang associates popular literature and TV culture with low class and uneducated tastes, and criticizes current literary Chinese criticism for being overly influenced by foreign literary jargons. His concept of the land is even a moral criterion through which he criticizes many aspects of contemporary modern society -- from commercialization in which money is the source of all evils, to globalization marked by domination of transnational corporations and bad influence of some foreign literature, as well as modernization represented by cellular phones, cars, and high technology.&lt;br /&gt;
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张将通俗文学与电视文化这种低级的和未受过教育的品味联系在一起，并批评当前中国文学评论过度受到了外国文学术语的影响。他的领域概念甚至是一种道德标准。通过这种道德标准，他批判了现当代社会的各个方面——从金钱是万恶之源的商业化，到以跨国公司统治的和一些外国文学的不良影响为标志的全球化，以及以手机、汽车和高科技为代表的现代化。--[[User:Li Haiquan|Li Haiquan]] ([[User talk:Li Haiquan|talk]]) 12:41, 16 December 2020 (UTC)&lt;br /&gt;
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张将通俗文学与低级、无文化品位的影视文化联系在一起，并批评当代中国文学批评过度受外国文学术语影响。他的领域概念甚至是一种道德标准，他运用这种道德标准批判了现当代社会的方方面面——从商金钱是万恶之源的商业化，到以跨国公司统治的和一些外国文学的不良影响为标志的全球化，以及以手机、汽车和科技为代表的现代化。--[[User:Ji Tiantian|Ji Tiantian]] ([[User talk:Ji Tiantian|talk]]) 14:56, 16 December 2020 (UTC)&lt;br /&gt;
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张将大众文学和电视文化与低级趣味和没有文化的品味联系在一起，并批评当前中国的文学批评过于受外国文学术语的影响。他的领域观念甚至是一种道德标准，通过这种标准，他批评了现当代社会的许多方面——从以金钱为万恶之源的商业化，到以跨国公司的支配和一些外国文学的不良影响为标志的全球化，以及以手机、汽车和高科技为代表的现代化。--[[User:Jiang Hao|Jiang Hao]] ([[User talk:Jiang Hao|talk]]) 12:21, 17 December 2020 (UTC)&lt;br /&gt;
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张将通俗文学与低级、无文化品位的影视文化联系在一起，批评当前的中国文学批评过分受外国文学术语的影响。他的领域观甚至是一种道德标准，他的领域概念甚至是一种道德标准。通过这种道德标准，他批判了现当代社会的各个方面——从金钱是万恶之源的商业化，到以跨国公司统治的和一些外国文学的不良影响为标志的全球化，以及以手机、汽车和高科技为代表的现代化。--[[User:Li Lingyue|Li Lingyue]] ([[User talk:Li Lingyue|talk]]) 05:28, 20 December 2020 (UTC)&lt;br /&gt;
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==Li Lili 李丽丽==&lt;br /&gt;
But most of all, Zhang’s concept of land symbolizes an ideal based on ages old dichotomy between city and countryside. At the beginning of the essay, he tells us: “[The] city is a willfully and recklessly modified wild field, and I will eventually leave it” (Xiao 1995, 19). Later he claims that a real artist should be “a worshiper of land” (Xiao 1995, 60). To Zhang, the spirit of “land” should be the spirit of the age (Xiao 1995, 241). Seen in the context of his criticism of modernization, it is evident that this dichotomy is built around the moral distrust of the city – a psychological complex that traces back to Chinese agrarian tradition and Mao’s revolutionary heritage. At the same time, it reveals a profound nostalgia for a pre-modern rural existence.&lt;br /&gt;
但最重要的是，张先生对于土地的概念象征着一种古老的城乡对立的观念。在文章的开头，他告诉我们。&amp;quot;[城市]是一片被肆意改造的野地，我终将离开它&amp;quot;（萧1995，19）。后来他声称，一个真正的艺术家应该是 &amp;quot;土地的崇拜者&amp;quot;（萧1995，60）。在张先生看来，&amp;quot;土地 &amp;quot;的精神应该是时代的精神（萧1995，241）。从他对现代化的批判来看，这种二元对立显然是基于对城市道德不信任而建立起来的--这种心理情结可以追溯到中国的农耕传统和毛泽东的革命传统。同时，它也透露出对现代社会以前农村生活的深刻怀念。--[[User:Li LIli|Li LIli]] ([[User talk:Li LIli|talk]]) 15:07, 16 December 2020 (UTC)Li Lili&lt;br /&gt;
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但最重要的是，张先生的土地概念象征着一种基于古老的城乡对立的理想。在文章的开头，他告诉我们。&amp;quot;[城市]是一片被肆意改造的野地，我终将离它而去&amp;quot;（萧1995，19）。后来他声称，一个真正的艺术家应该是 &amp;quot;土地的崇拜者&amp;quot;（萧1995，60）。在张先生看来，&amp;quot;土地 &amp;quot;精神就是时代精神（萧1995，241）。从他对现代化的批判来看，这种二元对立显然是围绕着对城市的道德不信任建立起来的--这种心理情结可以追溯到中国的农耕传统和毛泽东的革命传统。同时，也透露出对先前农村生活的的深刻怀念。--[[User:ZHOUYUJUAN|ZHOUYUJUAN]] ([[User talk:ZHOUYUJUAN|talk]]) 00:57, 17 December 2020 (UTC)&lt;br /&gt;
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==Li Lingyue 李凌月==&lt;br /&gt;
The Land, then, points to an ideal transcendent realm, closed to contamination by the modern world. But represented only in highly literary, allusive, emotive language and nature images and analogies, the idea of the Land only comes across as very abstract and unreal. The author himself asks: “What exactly is the wild field? Where does it exist? Does it really contain my innocent world I imagine?” (Xiao 1995, 30). Indeed, as an all-encompassing and pervasive metaphor, The Land is never once in his essays clearly and objectively defined. Whether expressed as a personification of the mother figure, an embodiment of eternal being, or as a constellation of various ideal qualities and values, Zhang’s “land” lacks the substantial tour-de-force as a moral and social metaphor. But if we are to discover an ontological anchoring for this concept, it can only be found, I would argue, in his well-known novel Fable of September.&lt;br /&gt;
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于是，这片土地指向了一个理想的超然境界，不受现代世界的污染。但只有在高度文学化、暗示性、情感化的语言和自然意象和类比中，土地的概念才显得非常抽象和不真实。作者自己问：“野地到底是什么？它在哪里存在？它真的包含了我想象中的纯真世界吗？”（肖1995，30）。事实上，作为一个无所不包、无所不在的隐喻，土地在他的散文中从来没有一次被清晰、客观地定义过。无论是表现为母亲形象的人格化、永恒存在的化身，还是各种理想品质和价值观的组合，张的“土地”缺乏作为道德和社会隐喻的实质性的力量。但是，如果我们要为这个概念找到一个本体论的锚定，只能在他著名的小说《九月寓言》中找到。&lt;br /&gt;
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==Li Liqin 李丽琴==&lt;br /&gt;
In reading this novel, I will focus on the dialectic between its strikingly postmodernist form -- which he criticizes and whose influences he constantly denies --and its pre-modern content (in terms of the primitive agrarian existence represented and the mode of storytelling used). I find nothing to criticize in Zhang’s use of magic realism and certain postmodernist techniques to recapture the so-called original world of pre-modern existence. I do find a glaring contradiction, however, in the author’s repeated denial of any positive influence of postmodernism. This, together with his unqualified valorization of “The Land” as a metonymy of a primitive utopia, only betray not so much his literary hypocrisy as his limited ability to understand modernity, postmodernism and even history itself.&lt;br /&gt;
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阅读此书时，我将重点关注后现代主义形式——虽然他一直予以批判并极力否认其影响——与前现代主义内容之间的辩证关系（主要从其所代表的原始农业生活与文章使用的叙事模式这两个方向进行阐述）。张炜运用魔幻现实主义和某些后现代主义的手法再现了所谓的现代以前的原始世界，这一点无可厚非。然而，作者一再否认后现代主义的积极影响，这是我觉得矛盾点所在。这一矛盾点，再加上他毫无保留地将《远河远山》隐喻为原始乌托邦这一行为，与其说暴露了他的文学虚伪性，不如说这暴露了他在理解现代性、后现代主义乃至历史本身的不足。--[[User:Li Liqin|Li Liqin]] ([[User talk:Li Liqin|talk]]) 14:41, 16 December 2020 (UTC)&lt;br /&gt;
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在读这本书的过程中，我将重点关注后现代主义的形式——虽然他一直对其予以批判并极力否认其影响——与前现代主义内容之间的辩证关系（主要从其所代表的原始农业生活与文章使用的叙事模式这两个方向进行阐述）。张炜运用魔幻现实主义和某些后现代主义的手法再现了所谓的原始世界，这一点无可厚非。然而，作者一再否认后现代主义的积极影响，这就是矛盾所在。这一矛盾之处，再加上他毫无保留地将《远河远山》隐喻为原始乌托邦的行为，与其说暴露了他的文学虚伪性，不如说这暴露了他在理解现代性、后现代主义乃至历史本身的不足。--[[User:Guo Lu|Guo Lu]] ([[User talk:Guo Lu|talk]]) 03:26, 17 December 2020 (UTC)&lt;br /&gt;
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==Li Luyi 李璐伊==&lt;br /&gt;
In contrast to his essays, which tend to be didactic, long-winded, condescending, and full of literary clichés, Zhang’s novel ''Fable of September'' is a fascinating and imaginative piece of writing. It is best situated in the genre of fictional history -- not a fictionalized account of real historical figures and events, but a pure fiction, written in a historical mode. Other examples of this way of, say, tracing the fictional history of a person, a family, or a village, include Su Tong’s Maple Tree Village series, or Ge Fei’s fictional biography, ''Marginality.'' Given its fragmented, incoherent story and sophisticated narrative plot, it is a challenge to give the novel a concise, accurate description.&lt;br /&gt;
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与说教、长篇大论、屈尊俯就、充满文学陈词滥调的散文不同，张炜的小说《九月寓言》是一篇引人入胜、富于想象力的作品。这是一篇典型的虚构历史类型的文学作品——不是对真实历史人物和事件的虚构叙述，而是以历史的模式写成的纯粹虚构的作品。运用这种方法的其他例子，如追溯一个人、一个家庭或一个村庄的虚构历史，包括苏童的“枫杨树村”系列和格非的虚构传记小说《边缘》。考虑到小说中支离破碎、不连贯的故事和复杂的叙事情节，给这部小说一个简洁、准确的描述是一个挑战。--[[User:Li Luyi|Li Luyi]] ([[User talk:Li Luyi|talk]]) 14:08, 16 December 2020 (UTC)&lt;br /&gt;
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与他那些倾向于说教、长篇大论、屈尊俯就、陈词滥调的散文不同，《九月寓言》这部小说引人入胜。这是一篇典型的虚构历史文学作品——不对真实的历史人物和事件进行虚构叙述，而是一篇以历史的模式写成的虚构作品。这种手法同样运用于追溯某个人、某个家庭或某个村庄的虚构历史，包括苏童的“枫杨树”系列作品与格非的虚构传记小说《边缘》。由于这部小说故事叙述支离破碎、叙事情节复杂，因此简洁准确地描述它着实是一个挑战。--[[User:Li Liqin|Li Liqin]] ([[User talk:Li Liqin|talk]]) 14:58, 16 December 2020 (UTC)&lt;br /&gt;
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==Li Meng 李梦==&lt;br /&gt;
In general, the novel depicts a “historical” picture in which a small pre-modern, self-contained village is obliterated by industrialization. But what the novel really focuses on, instead of village’s fall itself, are certain memorable events and people that are part of the last 30-40 years of its existence (though the exact length of time remains questionable and unclear).  &lt;br /&gt;
The novel is divided into seven parts, each focusing on stories of a single character or family. These stories are mutually connected, and at the same time intermingled with myths, legends, anecdotes and magical or strange occurrences, which in turn map out a sort of  “history” of the village. &lt;br /&gt;
==Li Yongshan 李泳珊==&lt;br /&gt;
Ironically, however, history is not quite the right term here to describe the village’s temporal contour, for what stand out as the central features in the life of the village are “land”/food (more specifically sweet potatoes), the tradition of staying with the village, and a certain mode of storytelling used in the village to recall past suffering. As quintessential indexes in the village’s existence, these features mark not a temporal movement but an eternal being. Centered on these three essentials, life in the village is hard, simple, unchanging, and close to the archetypal. The only way for the young to use up their abundant and restless energy is to run and play in the wild fields at night, and the married to beat their wives and do “cupping” (''ba huoguan'').&lt;br /&gt;
然而,具有讽刺意味的是,在描述村庄的时间轮廓时,历史并不是太正确的术语。因为突出村庄生活的主要特征是“土地” /食物（更具体地说是地瓜） 与村庄在一起，并在村庄中使用某种讲故事的方式来回忆过去的苦难。 这些特征作为村庄存在的精要指标，不是暂时的运动，而是永恒的存在。 围绕这三个要素，村庄的生活艰苦，简单，不变且与原型亲密。 年轻人要用尽他们充沛而烦躁的精力的唯一方法是晚上在野外奔跑和嬉戏，已婚夫妇殴打妻子并做“托杯”（“ ba houguan”）。--[[User:Li Yongshan|Li Yongshan]] ([[User talk:Li Yongshan|talk]]) 15:42, 19 December 2020 (UTC)&lt;br /&gt;
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讽刺的是，历史并不是一个描述村庄时间轮廓的正确术语，因为村庄生活突出的中心特征是“土地”/食物（更确切地说是番薯）、留在村子里的传统想法和一种村里常用的回忆过往苦难的特殊的讲故事的方式。就像村庄得以存在的典型标志，这些特征标志的是一个永恒的存在，而不是一个暂时的运动。以这三个要素为中心，村里的生活艰苦、简单、始终如一、并接近典型的村庄生活。夜里，在野外奔跑、玩耍成了年轻人将充沛且静不下来的精力耗尽的唯一的方法，而已经结婚的人则是通过殴打他们的妻子以及拔火罐来消耗其精力。--[[User:Kong Yanan|Kong Yanan]] ([[User talk:Kong Yanan|talk]]) 06:03, 20 December 2020 (UTC)&lt;br /&gt;
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==Li Yu 李玉==&lt;br /&gt;
Thus what Zhang Wei aims to represent in this novel is a pure, simple, close-to-primitive life, uncontaminated by modern civilization. But he is also representing a sense of eternal being, long lost as it may be in our modern age.   &lt;br /&gt;
The novel is undoubtedly imaginative and fascinating. My sense of fascination as a reader, however, is derived largely from its mode of literary representation than from what is actually depicted in Zhang’s fictional world. Part reality, part myth, part legend, the story is at once mythical and real. It is a synthesis of straightforwardness and artifice, primitivism and mannerism, thematic simplicity and formal sophistication. In other words, in order to represent a pre-modern agrarian existence – Zhang’s utopian vision of pure being – he relies on quite sophisticated modernist/postmodernist literary devices. &lt;br /&gt;
==Lin Min 林敏==&lt;br /&gt;
Perhaps the most striking feature of the novel, as many critics have noted, is its formal manipulation of temporality, or to be more specific, the narrative negation of temporality. It is almost impossible for the reader to discern the actual timeline of the village’s history.  Even the time span running from the 1930s to 1970s and temporal progression within the narrated world (which can only be pieced together after repeated readings), are unreliable, full of unexplainable loopholes. [	For the full discussion on the novel’s temporal scheme, see Chen Sihe’s “Huanyuan minjian: tan Zhang Wei ''Jiuyue Yuyan''”(Returning to the people: on Zhang Wei’s ''Fable of September'') collected in Youfen de guitu (Indignant Homeward Journey) 260-267.] &lt;br /&gt;
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This unusual narrative stance achieves a number of thematic effects. First, it cuts the village off from the larger movement of history. The novel mentions no political movements, significant historical events, or chronology of dates other than “September.”&lt;br /&gt;
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正如许多批评家所指出的那样，可能这部小说最引人注目的特征是对时间性的形式化操纵，或更具体地说，是对按时间叙事的否定。读者几乎不可能分辨出该村历史的实际时间表。即使是从三十年代到七十年代的时间跨度，以及叙述世界中的时间进展（只能在反复阅读后才能拼凑起来）也是不可靠的，充满了无法解释的漏洞。 [有关小说的时间安排的完整讨论，请参见陈四河的 《还原民间：谈张炜的〈九月寓言〉》，收录于《忧愤的归途》260-267 ]&lt;br /&gt;
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这种不寻常的叙事手法实现了许多主题效果。首先，它使村庄脱离了更大的历史潮流。小说没有提及“九月”以外的任何政治运动，重大历史事件或日期顺序。--[[User:Lin Min|Lin Min]] ([[User talk:Lin Min|talk]]) 13:35, 19 December 2020 (UTC)&lt;br /&gt;
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正如许多批评家所指出的那样，可能这部小说最引人注目的特征是对时间性的形式化操纵，或更具体地说，是对时间性的叙事否定。读者几乎无法了解到该村历史发展的实际进程。即使是从二十世纪三十年代到七十年代的时间跨度，以及所叙述的世界中的时间进展（只能在反复阅读后才能拼凑起来）也是不可靠的，充满了无法解释的漏洞。 [有关小说的时间线索布局的详尽讨论，请参见陈四河的 《还原民间：谈张炜的〈九月寓言〉》，收录于《忧愤的归途》260-267 ]&lt;br /&gt;
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这种不寻常的叙事手法实现了许多主题效果。首先，它使村庄脱离了更大的历史潮流。小说没有提及“九月”以外的任何政治运动，重大历史事件或日期顺序。--[[User:Cheng Yusi|Cheng Yusi]] ([[User talk:Cheng Yusi|talk]]) 01:19, 20 December 2020 (UTC)&lt;br /&gt;
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==Lin Xin 林鑫==&lt;br /&gt;
The only other temporal indicators are rainy seasons, or periods of winter when the snow is as sharp as strong acid, or autumn when the field is abundant with sweet potatoes and beans. These seasonal markers indicate changes more in nature than in the human world where chronological dates mark time. These markers of nature serve to draw the story further away from a real historical framework and closer to the pre-modern agrarian mode of existence, as if human life was “timed” by nature itself. Furthermore, this kind of temporal negation also foregrounds eternity in the land itself. Wherever any historical hint or political implication may crop up in the story, it is immediately dissolved into one of many village legends.&lt;br /&gt;
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唯一的时间指标是雨季，抑或是冬季鹅毛大雪，或者是秋季田野里盛产红薯和豆子的时期。这些季节性标志比人类世界中的时间标志，比如年、月、日，更能在本质上表明变化。这些自然界的标志物的作用是使故事进一步远离真实的历史框架，而更接近于前现代的农业生存模式，仿佛人类的生活是由自然本身&amp;quot;定时&amp;quot;的。此外，这种时间性的否定也预示着土地本身的永恒性。凡是故事中可能出现的任何历史暗示或政治意味，都会立即被消解为众多乡村传说中的一种。--[[User:Lin Xin|Lin Xin]] ([[User talk:Lin Xin|talk]]) 13:11, 18 December 2020 (UTC)&lt;br /&gt;
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唯一的时间指标是雨季，或是下起鹅毛大雪的冬季，或田野里红薯和豆子丰收的秋季。这些季节性标志比人类世界中的时间顺序标志，更能在本质上表明变化。这些自然界的标志物使故事进一步远离真实的历史框架，而更加接近前现代的农业生存模式，仿佛人类的生活由自然本身“定时”。此外，这种时间性的否定也预示着土地本身的永恒性。凡是故事中可能出现的任何历史暗示或政治意味，都会立即隐入为众多乡村传说中的一种。 --[[User:Chen Han|Chen Han]] ([[User talk:Chen Han|talk]]) 08:54, 19 December 2020 (UTC)&lt;br /&gt;
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==Ling Zijin 凌子瑾==&lt;br /&gt;
For instance, “recalling past suffering” (yiku), an important collective activity of the village, is transformed from a political discourse used during the Cultural Revolution into a form of storytelling for binding the village community together, and for producing oral history and creating legends. In essence, history is  erased from the village’s background all together. &lt;br /&gt;
The novel’s detachment from historical background also means a metaphysical negation of historical paradigm of interpretation and signification, characterized by such notions as causality, progress and teleology. This allows the author to have a larger space for interaction of diverse configurations. As critic Chen Sihe points out, Zhang’s village exists in three forms: in reality, in legend/myth, and in oral storytelling (Xiao 1995, 265).&lt;br /&gt;
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如“忆苦”，作为村落重要的集体活动，从“文革”时期的政治话语，转变为凝聚村落社群、口述历史、创造传说的叙事形式。从本质上说，历史被从村庄的背景中抹去了。&lt;br /&gt;
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小说脱离历史背景也意味着形而上学地否定解释和意义的历史范式，其特征是诸如因果关系、进步和目的论等概念。这使得作者有更大的空间进行不同配置的交互。正如评论家陈思和指出的那样，张的村庄存在三种形式:现实中的，传说/神话中的，口头讲故事的(Xiao 1995,265)。--[[User:Ling Zijin|Ling Zijin]] ([[User talk:Ling Zijin|talk]]) 14:41, 16 December 2020 (UTC)&lt;br /&gt;
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如“忆苦”，作为村落重要的集体活动，从“文革”时期的政治话语，转变成为了凝聚村落社群、口述历史、创造传说的叙事形式。本质上，人们将历史完全从村庄的背景中抹去了。&lt;br /&gt;
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小说脱离历史背景也意味着形而上学地否定了解释和意义的历史范式，其特征是诸如因果关系、进步和目的论等概念。这使得作者有更大的空间进行不同配置的交互。正如评论家陈思和指出的那样，张的村庄以三种形式存在着:现实中的，传说和神话中的，口头故事中的(Xiao 1995,265)。--[[User:Ding Daifeng|Ding Daifeng]] ([[User talk:Ding Daifeng|talk]]) 03:21, 17 December 2020 (UTC)&lt;br /&gt;
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例如，“忆往昔”这一重要的村集体活动，由文革时期的政治话语，转变为凝聚村社、创造历史、创造传奇的叙事形式。从本质上说，人们把历史从村庄的背景中全部抹去。小说对历史背景的超脱也意味着对历史解释和意义范式的形而上否定，其特征是因果、进步、目的论等概念。这使得作者有更大的空间进行不同配置的交互。正如评论家陈思和所指出的，张的村庄以三种形式存在：现实中的、传说或神话中的以及口述故事中的。--[[User:Liubo|Liubo]] ([[User talk:Liubo|talk]]) 01:41, 21 December 2020 (UTC)&lt;br /&gt;
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==Liu Bo 刘博==&lt;br /&gt;
However, the absence of a clear-cut time framework only blurs and transgresses the ontological boundaries among reality, myths, legends, the magic and storytelling. The novel abounds with magical, mythical, and supernatural figures and events: Niugan’s body was air-dried for a period of time before his actual death.  A man named Jinyou can squeeze milk from his breasts. Another man’s eyeball jumps out and changes into a frog, disappearing into grass. The mother of Longran does not die after drinking pesticide; instead, her hairs have become darker, and skin softer. Very much like in Gabriel Garcia Marquez’s ''One Hundred Years of Solitude'', these magical events are presented in a realistic mode on the same ontological level as other “real” events.&lt;br /&gt;
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然而，缺乏一个明确的时间框架，只会模糊和超越现实，神话，传说，魔术和故事之间的本体论界限。小说中充满了神奇的、神话的、超自然的人物和事件：牛干的尸体在他真正死亡前被风干了一段时间。一个叫金友的人可以从他的乳房里挤出牛奶。另一个人的眼球跳出来，变成了青蛙，消失在草丛中。龙然的母亲并没有因为喝农药而死，相反，她的头发变黑了，皮肤变软了。就像加西亚马尔克斯的《百年孤独》一样，这些神奇的事件在本体论的层面上以现实主义的方式呈现，就像其他“真实”事件一样。--[[User:Liubo|Liubo]] ([[User talk:Liubo|talk]]) 01:36, 21 December 2020 (UTC)&lt;br /&gt;
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==Liu Jinxingqi 刘金惺琦==&lt;br /&gt;
In other words, the magic is approached through the everyday. And the transgression of ontological levels of representation thus further negates historical temporality.  &lt;br /&gt;
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The absence of historical time in the novel also negates historical interpretation. Instead, myths and legends assume the function of historical explanation. The origin of the small village is explained in a myth about a group of vagrants who, exhausted after a long journey, stopped, and settled on a piece of land that could provide them with food. The story of the monkey spirit with the ability to carry things becomes a mythic explanation of social stratification and exploitation, a further departure from historical and positive discourses.&lt;br /&gt;
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换句话说，魔法是每天都有的。 因此,本体论表示形式进一步否定了历史的时间性。&lt;br /&gt;
小说中缺少的历史时间也否定了历史解释。相反，神话和传说承担着历史解释的功能。神话中解释了这个小村庄的起源，这个神话是关于一群流浪者的，这些流浪者经过漫长的旅程已经精疲力尽了，他们停下来，然后定居在一块可以为他们提供食物的土地上。具有承载能力的猴子精神的故事成为对社会分层和剥削的神话解释，这进一步背离了历史语境。--[[User:Liu Jinxingqi|Liu Jinxingqi]] ([[User talk:Liu Jinxingqi|talk]]) 10:37, 20 December 2020 (UTC)&lt;br /&gt;
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换句话说，魔法每天都有，而本体论表征层面的越轨，进一步否定了历史时间性。&lt;br /&gt;
小说中历史时间的缺失也否定了历史解释。相反，神话和传说承担了历史解释的功能。小村子的由来在一个神话中得到了解释，这个神话讲述了一群流浪汉经过长途跋涉后疲惫不堪，停了下来，在一块可以为他们提供食物的土地上定居下来。故事中具有承载能力的猴子精神成为社会分层和剥削的神话阐释，这进一步背离了历史和正面的论述。--[[User:Liu Yangnuo|Liu Yangnuo]] ([[User talk:Liu Yangnuo|talk]]) 12:42, 20 December 2020 (UTC)&lt;br /&gt;
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==Liu Liu 刘柳==&lt;br /&gt;
These myths and legends are presented as part of the village’s everyday reality. Thus different ontological levels within the text – reality and myth/legend/oral storytelling/magical events -- in which the village exists collapse into one. It is a world in which past and present become all-at-once. In other words, the past is the present, the myth is reality, and vice versa. The timeless place is like a sentence without tense. And herein lies the author’s profound sense of nostalgia for a fundamental, archetypal existence in its complete nakedness, beyond modern historical and rational configurations. &lt;br /&gt;
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As Nan Fan points out, though the temporal span of the novel is not long, its content is massive, filled as it is with various stories (Xiao 1995, 253).&lt;br /&gt;
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这些神话和传说是作为村庄日常现实的一部分呈现的。因此，文本中不同的本体论层面—现实和神话/传说/口头故事/神奇事件—村庄存在于其中，合二为一。这是一个过去和现在都成为一体的世界。换句话说，过去就是现在，神话就是现实，反之亦然。永恒的地方就像一个没有时态的句子。而作者对一种完全赤裸裸的、超越现代历史和理性配置的根本性、原型性存在的深刻怀念感就在于此。&lt;br /&gt;
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正如南帆所指出的，虽然小说的时间跨度不长，但其内容却是庞大的，充满了各种故事（萧1995，253）。--[[User:Liu Liu|Liu Liu]] ([[User talk:Liu Liu|talk]]) 13:37, 16 December 2020 (UTC)&lt;br /&gt;
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这些神话和传说作为村庄日常现实的一部分呈现出来。因此，文本中不同的本体论层次——现实和神话/传说/口头讲故事/魔法事件——村落的存在瓦解为一个整体。这是一个过去和现在同时成为一切的世界。换句话说，过去就是现在，神话就是现实，反之亦然。永恒的地方就像一个没有时态的句子。在这里，作者对一种基本的、原型的、完全赤裸的、超越现代历史和理性结构的存在有着深刻的怀旧之情。&lt;br /&gt;
南帆指出，小说的时间跨度虽然不长，但内容却很宏大，充满了各种各样的故事(肖1995,253)。--[[User:Ling Zijin|Ling Zijin]] ([[User talk:Ling Zijin|talk]]) 14:43, 16 December 2020 (UTC)&lt;br /&gt;
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==Liu Ou 刘欧==&lt;br /&gt;
If the macro-structure of the novel is characterized by narrative strategies of postmodernist fragmentation and transgression, then at the micro-structure of individual stories the pre-modern form of Benjaminian storytelling becomes the dominant mode of narrative. “Recalling past suffering” is in fact in the typical mode of storytelling. The narrative tells us that in those long and cold winter nights when rain turned into snow, when there were nothing else to do for the rural folks, all villagers of the Small Village would gather together to listen to Jinxiang, one of the principal storytellers in the village, to recall past suffering. Here Jinxiang functions in the role that Water Benjamin describes: the giver of stories, of counsel, the link to a mythic but necessary past.&lt;br /&gt;
==Liu Yangnuo 刘洋诺==&lt;br /&gt;
Through storytelling, the storyteller’s personal experiences mixed with the mythic and magic become the collective experiences of the village, binding the village together, and providing it not only with a sense of community but also a sense of identity. Interestingly, the villagers prefer only the storytellers in their own village to tell of past. Thus, in relating his own experience and that reported by others, the storyteller in turns makes it the experience of those who are listening to his tale (Benjamin 1968, 87). In a way, Jinxiang perfectly embodies Benjaminian storyteller as the one who, in his storytelling, also gives counsels to the listeners -- the young in this context -- to value the happiness of the present and therefore stay with the tradition.&lt;br /&gt;
通过讲故事，叙述者个人经历与神话、魔法混合在一起，与村子紧密联系，成为村民的共同经历，这样增添了社区感和认同感。有趣的是，村民们只喜欢自己村子里的叙述者讲述过去。因此，叙述者在讲述他自己的经历和别人的经历时，同样也在讲述那些听他讲故事的人的经历（Benjamin 1968，87）。在某种程度上，金祥完美地运用了本雅明式的叙述者，他在讲故事的同时，也劝告听故事的人--在此背景下的年轻人--珍惜当下的幸福，从而保持传统。--[[User:Liu Yangnuo|Liu Yangnuo]] ([[User talk:Liu Yangnuo|talk]]) 12:34, 20 December 2020 (UTC)&lt;br /&gt;
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通过讲故事，将叙述者的个人经历融合了神话、魔法，与村子紧密联系，成为村民的共同经历，这样增添了社区感和认同感。有趣的是，村民们只喜欢自己村子里的人讲述过去的经历。因此，叙述者在讲述自己的经历和别人讲述的经历时，反过来也成为那些听他讲故事的人的经历，讲述那些听他讲故事的人的经历（Benjamin 1968，87）。在某种程度上，金祥完美地运用了本雅明式的叙述者，他在讲故事的同时，也劝告听故事的人--在此背景下的年轻人--珍惜当下的幸福，保持传统。--[[User:Gong Yumian|Gong Yumian]] ([[User talk:Gong Yumian|talk]]) 15:23, 20 December 2020 (UTC)&lt;br /&gt;
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==Liu Yi 刘艺==&lt;br /&gt;
Jinxiang’s story telling demonstrates the power of the oral, in that his performance has potential for moving beyond rational control. He tells stories spontaneously and with great emotion, often with tears and slobbers and shouts at each stop. His dynamic orality controls the whole atmosphere of the meeting and carries the listeners to multiple emotional climaxes. Thus in the highly emotionally charged atmosphere of telling and listening marked by crying and shouting, the teller and listeners identify completely with one another. As a storyteller “in his living immediacy” (Benjamin 1968, 83), Jinxiang is thus an integrate part of the pre-modern rural existence based on its closely-knit community, the shareable experiences, and a fund of stories and lore.&lt;br /&gt;
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金祥的讲故事展现了口述的力量，他的表演具有超越理性控制的潜力。他讲故事时自然而然，感情充沛，每到一站，往往泪流满面，口水直流，大呼小叫。他的动态口述控制了整个会场的气氛，并将听众带入多个情感高潮。因此，在以哭和喊为标志的高度情绪化的讲和听的氛围中，讲者和听者完全相互认同。作为一个 &amp;quot;活生生的即时性 &amp;quot;的讲故事的人（Benjamin 1968, 83），金乡是前现代农村生活的一个组成部分，其基础是其紧密联系的社区、可分享的经验以及故事和传说的基金。--[[User:Liu Yi|Liu Yi]] ([[User talk:Liu Yi|talk]]) 14:37, 16 December 2020 (UTC)&lt;br /&gt;
金祥的故事讲述展现了口述的力量，他的表演具有超越理性控制的潜力。他很自然地讲述故事，感情充沛，一停下来，往往泪流满面，口水直流，大呼小叫。他那充满活力的口述控制了整个会场的气氛，并将听众带入多个情感高潮。因此，在以哭和喊为标志的高度情绪化的讲和听的氛围中，讲者和听者完全相互认同。作为一个 &amp;quot;活生生的即时性 &amp;quot;的讲故事的人（Benjamin 1968, 83），金乡是现代以前农村生活的一个组成部分，以前的农村整个乡村紧密联系、人们互相交流经历，还流传着大量的传说和故事。--[[User:Li LIli|Li LIli]] ([[User talk:Li LIli|talk]]) 15:24, 16 December 2020 (UTC)Li Lili&lt;br /&gt;
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==Liu Yiyu 刘怡瑜==&lt;br /&gt;
And this pre-modern rural existence can only be narrated and made sense of through the mode of storytelling, for the specific sense of historicity and experience of reality as mixed with myth, legend, the magical transgress normal parameters of our modern and rational paradigm of representation.  &lt;br /&gt;
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Thus the synthesis of the pre-modern, marked by both its existence and the mode of storytelling, and postmodernist mannerism with its sophisticated narrative strategies also points to an irony, in that this natural, pre-modern world can only be re-presented in very stylized devices. Here Zhang Wei encounters a similar paradox as the famous Taoist icon, Zhuang Zi. In spite of his distrust of language, Zhuang Zi could only envision the ineffable Way through language.&lt;br /&gt;
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而这种前现代的乡村只有通过故事的方式才能被叙述和理解，因为与神话、传说、魔幻混杂在一起的特定的历史感和现实体验，超过了我们现代和理性表述模式的正常感受。 &lt;br /&gt;
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因此，前现代的存在和故事模式，以这两者为标志的前现代与后现代主义方式主义以其复杂的叙事策略综合，也偏向了讽刺，即这个自然的、前现代的世界只能用非常风格化的手段来重新呈现。在这里，张炜遇到了与著名道教代表人物庄子类似的悖论。庄子尽管怀疑语言，但他只能通过语言来设想不可言说的道。--[[User:Liu Yiyu|Liu Yiyu]] ([[User talk:Liu Yiyu|talk]]) 08:06, 18 December 2020 (UTC)&lt;br /&gt;
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这种前现代的乡村生活只有通过讲故事的方式来进行叙述，因为与神话、传说、还有魔幻的事物混杂在一起的历史感和现实体验超越了我们现代化和理性表达模式下的正常感受。&lt;br /&gt;
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因此，前现代主义以生活和讲述模式为特点，后现代主义方式拥有复杂叙事策略，这两者的结合也指向了讽刺，而只有通过讽刺才能通过风格化的手段重新呈现这个自然的前现代世界。这里张玮遇到了与著名道教代表人物庄子类似的悖论。尽管庄子怀疑语言，但是他也只能通过语言来想象一些又不能言表的道。--[[User:Liu Zhiwei|Liu Zhiwei]] ([[User talk:Liu Zhiwei|talk]]) 08:00, 20 December 2020 (UTC)&lt;br /&gt;
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==Liu Zhiwei 刘智伟==&lt;br /&gt;
In other words, it was through language, given humanity’s permanent separation and alienation from nature, that Zhuang Zi could imagine the existence of something beyond. Zhang Wei’s pre-modern being is by no means ineffable. Yet, its “otherness” and its alterity vis a vis the modern world can only be perceived in our modern world, and represented through sophisticated devices of modernism/postmodernism. The absolute irony that the primitive or the pre-modern cannot be envisioned and represented except in our modern cultural condition in fact exists in the very center of this utopian text, though unrealized by the author himself as he repeatedly criticizes postmodernism and denies its inevitable influence.&lt;br /&gt;
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换句话说，语言将人类和自然区别开来，而庄子也是通过语言想象了一些超验的东西。张玮前现代主义绝不是不可言表的。然而，它的“他者性”及其对现代世界的另类性，只能在我们的现代世界中被感知，并通过现代主义或后现代主义的复杂手段来表现。乌托邦文本中心存在着一种绝对的讽刺，即原始的或前现代的东西，它只在我们的现代文化条件下无法被想象和表现。尽管作者本人在反复批判后现代主义、否认后现代主义的必然影响时，仍没有意识到这一点。--[[User:Liu Zhiwei|Liu Zhiwei]] ([[User talk:Liu Zhiwei|talk]]) 01:46, 21 December 2020 (UTC)&lt;br /&gt;
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==Lou Cancan 娄灿灿==&lt;br /&gt;
So the natural or the pre-modern state of being as eulogized by the author is no longer the first order of naturalness, but the second order, for it is only through an elaborate narrative architecture that such primitivism and naturalness can be re-enacted. To put it in another way, in resurrecting the primitive in our postmodernist age, the author in fact brings out, though unconsciously, a fundamental truth about primitivism. The natural, organic and a-temporal world of agrarian existence represented by the Small Village is not, in fact, a utopia from which we have fallen. Rather, it derives its meaning only through its opposition to a temporal world of modern civilization. Only in contrast to this temporal world can the primordial, the timeless take on meaning as negation of historical time.&lt;br /&gt;
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因此，作者所赞颂的自然或现代化之前的存在状态不再是自然的第一阶，而是第二阶，因为只有通过一种精心设计的叙述架构，这种原始主义和自然才能重现。换句话说，在后现代主义时代，作者在复活原始事物的过程中，实际上无意识地揭示了原始主义的一个基本真理。事实上，以小村所代表的自然的、有机的、非时间的农业世界的存在并不是我们所堕落的乌托邦。相反，它之所以有意义，是因为它与现代文明的现世世界是对立的。只有与这个短暂的世界相对比，原始的、不受时间限制的事物才能被赋予否定历史时间的意义。--[[User:Lou Cancan|Lou Cancan]] ([[User talk:Lou Cancan|talk]]) 11:37, 19 December 2020 (UTC)&lt;br /&gt;
所以，作者所赞颂的自然或现代化之前的存在状态不再是自然的第一阶，而是第二阶，因为只有通过一种精心设计的叙述架构，这种原始主义和自然才能重现。换句话说，在后现代主义时代，作者在复活原始事物的过程中，实际上无意识地揭示了原始主义的一个基本真理。事实上，以小村所代表的自然的、有机的、非时间的农业世界的存在并不是我们所降临的乌托邦。相反，它之所以有意义，是因为它与现代文明的现世世界是对立的。只有与这个短暂的世界相对比，原始的、不受时间限制的事物才能被赋予否定历史时间的意义。--[[User:Mo Nan|Mo Nan]] ([[User talk:Mo Nan|talk]]) 11:37, 19 December 2020 (UTC)&lt;br /&gt;
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==Luo Weijia 罗维嘉==&lt;br /&gt;
Thus the ideal of a timeless, primordial rural past beyond modern civilization is only an ideal created in our modern times.&lt;br /&gt;
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In my discussion of modernist/postmodernist literary devices, I do not mean to label and categorize Zhang’s text as a modernist/postmodernist. Nevertheless, as seen in the above analysis, his formal strategies do share some strong features of postmodernism, or to be specific, magical realism. These features include boundary transgression, fusion and coexistence of different ontological worlds, and atemporal narrative structure. There is no doubt that Zhang Wei has succeeded in creating a world, a state of being beyond the reach of modern civilization. But his “world,” in the final analysis, can only be represented through modernist/postmodernist techniques.   &lt;br /&gt;
==Luo Yuqing 罗雨晴==&lt;br /&gt;
It is evident that the creation of this archetypal village embodies the author’s profound nostalgia for the pre-modern past and his utopian search for an ideal state of being. And this timeless place represents the author’s attempt to re-orient geographical and cultural nostalgia in China’s contemporary times from commercially stimulated nostalgia to the rural past as the fundamental Chinese root. Yet the lack of direct temporal and spatial references in the presentation of the Small Village makes his nostalgia closer to imagination, or to what David Wang called, imaginary nostalgia (1993, 107). In other words, his nostalgic representation of the Small Village is devoid of actual memory. This is particularly demonstrated in his deliberately designed a-temporal narrative structure, his foregounding of myth, legends and those magical events.&lt;br /&gt;
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显而易见的是，这一原型村落的创作体现了作者对前现代过去的深切怀旧和对理想存在状态的乌托邦式追求。这个永恒的地方代表了作者试图从商业刺激性的怀旧到作为根本的中国根的农村的过去，重新定位中国当代的地理和文化怀旧。然而，在小村庄的表现中缺乏直接的时空参照，使得他的怀旧更接近于想象，或者更接近王大卫所说的想象怀旧（1993，107）。换言之，他对这个小村庄的怀旧表现缺乏真实的记忆。这一点在他精心设计的一种时间叙事结构、对神话传说和那些神奇事件的预言上表现得尤为明显。--[[User:Luo Yuqing|Luo Yuqing]] ([[User talk:Luo Yuqing|talk]]) 13:53, 19 December 2020 (UTC)&lt;br /&gt;
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很明显，这个原型村的创建体现了作者对前现代历史的深刻怀旧和他对理想状态的空想。这个永恒的地方代表了作者试图重新定位中国当代地理和文化怀旧情怀，从商业刺激的怀旧情怀到农村作为中国人的根本根基。然而，在《小村庄》的呈现中缺乏直接的时空参考，使他的怀旧感更接近于想象，或者更接近于大卫·王所说的虚构怀旧（1993：107）。换句话说，他对小村庄的怀旧表现缺乏实际记忆。在他精心设计的时空叙事结构，对神话，传说和那些神奇事件的预言中，这尤其得到了证明。--[[User:Ou Rong|Ou Rong]] ([[User talk:Ou Rong|talk]]) 12:28, 20 December 2020 (UTC)Ou Rong&lt;br /&gt;
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==Ma Juan 马娟==&lt;br /&gt;
Moreover, as the title indicates, the whole novel is intended by the author as a fable, rather than a history, even though it is written in a historical mode. The village’s mythic origin, its lack of sense of time, and its sudden and catastrophic ending all point to the negation of historical progression. The elaborate narrative structure betrays the imaginative and fantastic construction of this mythic past. Thus Zhang Wei’s Small Village is less a historical object of nostalgia than a topographical/textual locus where imagination and utopian discourse intermingle. In other words, as a literary construction, this phantom village comes less from the actual yearning for what has been lost than from the desire for what has never been there (Wang 1993, 130). &lt;br /&gt;
==Ma Shuya 马淑雅==&lt;br /&gt;
The striking incongruity indicates the nature of nostalgia as both a textural stance as well as a structure of feeling. &lt;br /&gt;
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Nevertheless, the incongruity between formal sophistication and primitive existence is a very hallmark of literary and cultural production in our postmodernist China. In discussing the Fifth Generation Films, Rey Chow points out that primitivism is often associated with modernism/postmodernism. The “primitive passion,” according to Chow’s definition, emerges at “a moment of cultural crisis.” It is an invented fact,  fabrication of a sense of the primordial, rural rootedness that occurs in the post-construction (1995, 22-23). Chow’s theory of primitive passion is based on her study of new Chinese cinema.&lt;br /&gt;
==Ma Zhixing 马智星==&lt;br /&gt;
However it does shed light on our discussion of Zhang’s profound nostalgia for the rural past at the age of globalization, and on the ironic rupture between postmodernist sophistication and the pre-modern/primordial world presented in his novel. Read in intertextual relation with his essays, it is more than clear that Zhang’s re-imagining of the primordial Chinese rural past is meant to correct what he perceives as the diseased modernity and to rejuvenate Chinese culture. As a response to the cultural crisis in our globalized age, Zhang Wei has chosen the past to measure the present. &lt;br /&gt;
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The nostalgic return in Zhang Wei’s writings is in fact a kind of self-exile. Zhang Wei actually spent five years in a rustic country house (soon to be torn down) near his hometown to write this novel. &lt;br /&gt;
==Meng Ying 孟莹==&lt;br /&gt;
There he was literally cut off from the outside world, expecting that this exile away from modern cities would get him spiritually closer to the land and nature so as to feel anew the vitality of the Chinese people, and rediscover the historical/rural root of Chinese culture. As agreed by all critics, this novel’s representation of the primordial past succeeds in bringing out a native naiveté and simplicity, a sense of gushing life force and animal virility -- the ideal form of being. However, in de-historicizing the past in order to re-imagine the golden age of the rural innocence and plenitude of meaning, the author had no alternatives but to simply let narrative play out its historical inevitability.&lt;br /&gt;
==Mo Ling 莫玲==&lt;br /&gt;
The pre-modern agrarian existence embodied by the Small Village is ultimately destroyed by modern industrialization. History then, though negated and erased by the narrative form of the novel, reasserts itself at the end. This leaves us not with a story about the slow decline of this pre-modern agrarian existence, but of its catastrophic fall. The structure of the village’s existence was in no way able to change and transform itself. This is demonstrated by the villagers’ strong resistance to outside influences represented by coal mining industry. As a result, rather than gradual transformation, the village is suddenly destroyed by industrial machine power.&lt;br /&gt;
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最终，现代工业化抹杀了小村庄所展现出的前现代农业文化。那时的历史虽因小说的叙事形式而遭否定和抹去，但在结尾时又重新跃然纸上。它为我们展现的并不是前现代农业文化缓慢地销声匿迹，而是其灾难性的衰落。这个村庄的存在结构决定了它无法自变，村民强烈抵制受到来自外界煤矿业的影响就是一个很好的证明。结果，这个村庄并没有逐步转型，而是突然摧毁于工业机器的动力。--[[User:Mo Ling|Mo Ling]] ([[User talk:Mo Ling|talk]]) 07:26, 17 December 2020 (UTC)Mo Ling&lt;br /&gt;
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小村庄所体现的前现代农业生存最终被现代工业化所摧毁。那么，历史虽然被小说的叙事形式所否定和抹杀，但却在结尾处重新出现。这给我们留下的不是这个前现代农业缓慢衰落的故事，而是它灾难性的崩溃。村庄的生存结构是无论如何无法自变的，这表现在村民对以采煤业为代表的外界影响的强烈抵制。结果，这个村子不是逐步转型，而是突然被工业机器力量所摧毁。--[[User:Liu Yiyu|Liu Yiyu]] ([[User talk:Liu Yiyu|talk]]) 08:10, 18 December 2020 (UTC)&lt;br /&gt;
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==Mo Nan 莫南==&lt;br /&gt;
The moral dilemma Zhang faces in re-enacting of the Chinese rural past is similar to those encountered by root-seeking writers: the quest for the essence of “Chineseness” also leads to the discovery of unpleasant aspects in its society and cultural tradition. This moral dilemma is also reflected in the novel’s narrative form. While magical events serve to deconstruct the realist paradigm of historical representation, they at the same time also create a picture of rural life as something exotic. As David Wang points out, the object of nostalgia is also easily associated with the exotic (1993, 109).   &lt;br /&gt;
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So if we have found some substance in Zhang’s novel to support his transcendent, yet empty metaphor of “land,” this “substance” remains less than compelling and appealing.&lt;br /&gt;
张艺谋在再现中国乡村历史时所面临的道德困境，与寻根作家所面临的困境相似:在追寻“中国性”实质的同时，也发现了中国社会和文化传统中令人不悦一面。这种道德困境在小说的叙事中也有反映。奇幻事件在解构历史表象的现实主义范式的同时，也创造了一幅具有异域风情的乡村生活画面。正如王大卫指出的那样，怀旧的对象也很容易与异国情调联系在一起(1993,109)。&lt;br /&gt;
因此，如果我们在张大千的小说中找到某种物质来支持他超然而空洞的“土地”隐喻，那么这种“物质”仍然不够具有吸引力和吸引力。--[[User:Mo Nan|Mo Nan]] ([[User talk:Mo Nan|talk]]) 07:26, 17 December 2020 (UTC)Mo Nan&lt;br /&gt;
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==Nie Xiaolou 聂晓楼==&lt;br /&gt;
A primitivistic village life can be little more than that: it is basic and instinctual, centering on food and sex. The meaning of land is closely related to food; indeed the reason the villagers stick to this land is because it can produce rich food enough to preserve their community. The carnivalesque scenes describing the village young romping in the wild fields at night, while highly acclaimed by many Chinese critics, do not, to my mind, represent an infinite solitude or a simple form of joy as much as the poverty of these lives in an extremely closed and impoverished world. This strikes an even more pathetic chord when knowing that this form of exercise will soon be transformed into wife beating and cupping when these young people grow into adulthood.&lt;br /&gt;
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原始的村庄生活也不过如此：它是基础的、本能的，以食物和性为中心。土地的意义与食物密切相关，事实上，村民们坚守在这片土地上的原因是这片土地可以生产出足够的食物来维持他们的群落。对年轻村民夜游野地的狂欢场面的描写得到了众多中国评论家的高度赞扬，然而在我看来，它代表的是一种无限的孤独或一种简单的快乐——这些人生活在一个极端封闭、贫穷的世界里。这些年轻人长大成人后，这种锻炼形式很快就变成了毒打老婆，这令人更觉悲哀了。--[[User:Nie Xiaolou|Nie Xiaolou]] ([[User talk:Nie Xiaolou|talk]]) 01:14, 21 December 2020 (UTC)Nie Xiaolou&lt;br /&gt;
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原始的乡村生活仅此而已：它是基础的、本能的，以食物和性为中心。 土地的含义与食物息息相关；事实上，村民坚守这片土地的原因是它能生产出足够的食物来保护他们的。 狂欢节般的场面描绘了村里的年轻人在夜晚狂野地嬉戏，尽管许多中国评论家都赞不绝口，但在我看来，这并不代表无限的孤独或一种简单的喜悦，这些人生活在极其贫困、封闭的世界里。这些年轻人长大成人后，这种锻炼形式很快就变成了毒打老婆，这令人更觉悲哀了。--[[User:Lei Fangyuan|Lei Fangyuan]] ([[User talk:Lei Fangyuan|talk]]) 01:50, 21 December 2020 (UTC)&lt;br /&gt;
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==Ou Rong 欧蓉==&lt;br /&gt;
The extremely stable pattern of the village’s social customs, mindset, and traditions is incapable of absorbing new things, or initiating any transformation. So the static and cyclical form of existence is simply erased by the outside forces of industrialization. In a broader sense, the history of the Small Village, or rather, its fate can be seen as an allegory for Chinese traditional society which was also forced into fundamental change from the outside. Thus the Small Village reflects the broader historical impotence and lack of cultural flexibility in traditional rural China. Many critics, including the author himself, argue that the idea of Land is meant to represent a certain spirit. Nevertheless, unless located somewhere, this spirit can only remain an empty structure.&lt;br /&gt;
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村庄的社会习俗，思维方式和传统极为稳定，无法吸收新事物或发起任何转变。因此，工业化的外在力量简单地消除了静态和周期性的存在形式。从广义上讲，小村庄的历史，或者说它的命运，可以看作是中国传统社会的寓言，中国传统社会也被迫从外部进行了根本性的改变。因此，小村庄反映了中国传统农村地区更广泛的历史影响力和缺乏文化灵活性。许多批评家，包括作者本人在内，都认为土地的意思是代表某种精神。但是，除非位于某个地方，否则这种精神只能保持一种空洞的结构。--[[User:Ou Rong|Ou Rong]] ([[User talk:Ou Rong|talk]]) 12:25, 20 December 2020 (UTC)Ou Rong&lt;br /&gt;
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村庄的社会习俗、思维方式及传统极为稳定，无法吸收新事物或发起任何转变。因此，工业化的外在力量很容易便消除了这种静态、周期性的生存方式。从广义上讲，小村庄的历史，或者说它的命运，可以看作是中国传统社会的寓言，中国传统社会也被迫从外部进行了根本性的改变。因此，小村庄反映了中国传统乡村地区更为广泛的历史影响力以及缺失的文化灵活性。许多批评家，包括作者本人在内，都认为土地代表着某种精神。但是，倘若精神无处安置， 这种精神只是一种空洞的存在。--[[User:Nie Xiaolou|Nie Xiaolou]] ([[User talk:Nie Xiaolou|talk]]) 01:25, 21 December 2020 (UTC)Nie Xiaolou&lt;br /&gt;
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==Ouyang Jinglan 欧阳静兰==&lt;br /&gt;
Nevertheless, it is precisely this structural emptiness that enables Zhang Wei to fill in many meanings throughout his essays. &lt;br /&gt;
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''Fable of September'', as well as Zhang’s essays, embody his search for truth and a moral ground based not on the rationally constructed modern world of scientific knowledge and market economy represented by urban centers, but on the simplicity of rural life. This search is rooted in the author’s disenchantment with certain aspects of modern civilization. To Zhang Wei, “Modern industrial civilization represents a form of beauty; yet this form is prone to hurt another more fundamental, more eternal beauty. Idealists all hope that these two forms of beauty can exist in harmony, without much conflict.&lt;br /&gt;
==Ouyang Ling 欧阳玲==&lt;br /&gt;
But of course, this hope is only a dream” (Xiao 1995, 193). This distrust of modern civilization also reflects in him what Raymond Williams called “rural-intellectual radicalism” (1973, 36). Indeed, as a rural intellectual (as many critics have labeled him), Zhang demonstrates many aspects of rural-intellectual mentality: hostile to modern capitalism, opposed to commercialism, and attached to country ways and feelings (Williams 1973, 36). Without doubt, ''Fable of September'' is a fascinating novel and has uttered our deepest longings and profoundest nostalgia for a pre-modern simplicity of existence free of modern-day ills like alienation and corruption.&lt;br /&gt;
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......当然，这份希望只是幻梦一场”（萧夏林 1995,193）。张炜的作品也体现了对现代文明的不信任，雷蒙德·威廉姆斯称之为“乡村知识分子激进主义”(威廉姆斯 1973, 36)。确实，张炜作为一名乡村知识分子（许多批评家如此标榜他），在作品中展现了乡村知识分子的多个心理面貌：对现代资本主义的敌意，对商业主义的反抗，对乡村风情的依恋(威廉姆斯 1973, 36)。毋庸置疑，《九月寓言》是一部引人入胜的小说，它表达出了现代人对过去的那种简单生活浓浓的渴望和怀旧之情，那个时候不像现代社会这样，存在人与人之间的疏离和腐败。--[[User:Ouyang Ling|Ouyang Ling]] ([[User talk:Ouyang Ling|talk]]) 07:00, 17 December 2020 (UTC)&lt;br /&gt;
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但当然，这种希望只是一个梦想“（萧夏林 1995，193）。 这种对现代文明的不信任也反映了雷蒙德·威廉姆斯所谓的“农村-知识分子激进主义”（威廉姆斯 1973，36）。 事实上，作为一名农村知识分子（正如许多评论家给他贴上的标签），张炜展示了农村知识分子心态的多个方面：敌视现代资本主义，反对商业主义，对乡村风情的依恋(威廉姆斯 1973，36)。 毫无疑问，《九月寓言》是一部引人入胜的小说，它表达出了现代人对过去的那种简单生活深切的渴望与怀念，那个时候不像现代社会这样，存在人与人之间的疏离和腐败。--[[User:Peng Dan|Peng Dan]] ([[User talk:Peng Dan|talk]]) 11:54, 17 December 2020 (UTC)&lt;br /&gt;
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==Peng Dan 彭丹==&lt;br /&gt;
Nevertheless, Zhang’s use of the central concept of  “land” (referring to an idealized being) as the basis for his critique of modern civilization – decrying moral decay, consumerism, dominance of popular literature and commercialization of knowledge – and his rural intellectual mentality this concept reveals betray the author’s simple-minded, essentialist, and absolutist approach to the complexity of an ever changing social and cultural reality. The reification of land in his essays lacks a broad and deep historical perspective on Chinese modernity. Commercialism and its culture have by all means contributed to the general moral decay and erosion of basic humanistic values in society, and global cultural effects lead to profounder cultural crisis.&lt;br /&gt;
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然而，张使用“土地”的中心概念（指理想化的存在）作为他批判现代文明的基础-谴责道德沦丧、消费主义、大众文学的主导地位和知识的商业化-以及他的知识分子心态-这一概念揭示了作者对不断变化的社会和文化现实的复杂性的朴素、本质主义和绝对主义的态度。 在他的散文中，土地的再化缺乏对中国现代性的广泛而深刻的历史视角。 商业主义及其文化通过各种手段促成了社会基本人文价值的普遍道德沦丧和侵蚀，全球文化效应导致了严重的文化危机。--[[User:Peng Dan|Peng Dan]] ([[User talk:Peng Dan|talk]]) 11:46, 17 December 2020 (UTC)&lt;br /&gt;
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然而，张把“土地”（指理想化的存在）的中心概念作为他批评现代文明的基础——谴责道德沦丧，消费主义盛行，流行文学盛行，知识商业化——这一概念揭示了他作为农村知识分子的心态，思想单纯，本质主义，以及对不断变化的社会和文化现实的复杂性采用绝对主义方法。他散文中土地的物化缺乏对中国现代性采用广阔而深刻的历史视角。商业主义和它的文化无疑导致了道德上的沦丧，也侵蚀了社会中基本的人文价值，全球文化效应导致了更深层次的文化危机。--[[User:Xu Mengdie|Xu Mengdie]] ([[User talk:Xu Mengdie|talk]]) 01:10, 18 December 2020 (UTC)Xu Mengdie&lt;br /&gt;
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==Peng Juan 彭娟==&lt;br /&gt;
However, the absolute rejection of consumerism, globalism, and postmodernism fails to recognize their power and inevitability in restructuring contemporary Chinese society. The problems created by these developments have already moved the issue of solution beyond a discourse on morality. China’s ever more complex and changing social and cultural reality requires a more sophisticated and mature understanding. And finally, I would suggest that in today’s post-Cold War age in which socialism-capitalism antithesis has lost its relevance and meaning, the intellectual paradigm of confrontation must be replaced by one of negotiation. Nostalgia may always be pulling at us, and we may always be willing to indulge in a trip to the imagined past with stories like ''Fable of September.'' But as a critical stance, it does not equip us to effectively address the complex process of cultural reformation happening in contemporary Chinese and the world.&lt;br /&gt;
然而，对消费主义、全球主义和后现代主义的绝对排斥，未能认识到它们在当代中国社会重构中的力量和必然性。这些发展所造成的问题已经使得解决问题超越了道德论述的范畴。中国日益复杂和不断变化的社会和文化现实需要更加深刻和成熟的理解。最后，我认为，在今天的后冷战时代，社会主义与资本主义的对立，已经失去了其相关性和意义，对抗的思想范式必须被谈判的范式所取代。怀旧之情也许总是在吸引着我们，我们也许总是愿意沉浸在想象中的过去之旅中，讲一些像“九月寓言”这样的故事但作为一个批判的立场，它并没有装备我们有效地处理复杂的进程，文化改革发生在当代中国和世界。--[[User:Pengjuan|Pengjuan]] ([[User talk:Pengjuan|talk]]) 12:29, 20 December 2020 (UTC)penguan&lt;br /&gt;
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Works Cited（不用翻）&lt;br /&gt;
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Chow, Rey, Primitive Passions, (New York: Columbia University Press, 1995)&lt;br /&gt;
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Benjamin, Walter, Illuminations, (New York: Schocken Books, 1968) &lt;br /&gt;
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Widmer, Ellen, and Wang, David Der-Wei, ed., From May Fourth to June Fourth, (Cambridge: Harvard University Press, 1993)&lt;br /&gt;
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Williams, Raymond, The Country and the City (New York: Oxford University Press, 1973)&lt;br /&gt;
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Xiao Xialin, Youfen de guitu (Anxious and indignant homeward journey) (Beijing: Huayi chubanshe, 1995)&lt;br /&gt;
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Zhang Chengzhi 1991, History of the Soul (Guangzhou: Huacheng chubanshe, 1991) 311.&lt;br /&gt;
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Zhang Chengzhi 1994a, The Heroes’ Paths in Wilderness (Shanghai: Zhishi Publishing House, 1994)&lt;br /&gt;
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Zhang Chengzhi 1994b, “Poets, Why aren’t you indignant?”, in Wenhui Bao (Wenhui Daily, Shanghai) (August 7, 1994) &lt;br /&gt;
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Zhang Chengzhi 1999a, Wuyuan de sixiang (Unassisted Thoughts) (Human wenyi chubanshe, 1999)&lt;br /&gt;
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Zhang Chengzhi 1999b, “My Method of Tearing up those Business Cards,” in Zhang 1999a&lt;br /&gt;
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Zhang Chengzhi 1999c, “Zaizhi xiansheng,” in Zhang 1999a 100-105&lt;br /&gt;
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Zhang Wei, Jiuyue yuyan (Fable of September), in Zhang Wei wenji (Collected works of Zhang Wei). Vol. 2 (Shanghai: Shanghai wenyi chubenshe, 1992)&lt;br /&gt;
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==Peng Ruihong 彭锐宏==&lt;br /&gt;
'''Deciphering the Populist Gadfly: Cultural Polemic around Zhang Chengzhi's &amp;quot;Religious Sublime&amp;quot;''' &lt;br /&gt;
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''Xinmin Liu&lt;br /&gt;
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''&lt;br /&gt;
'''Abstract&lt;br /&gt;
'''&lt;br /&gt;
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Since mid-1990s the Chinese Sanwen has witnessed an upsurge by way of frantic polemics over social and cultural issues in journals, newspaper fueillton, book series and forums.  In this &amp;quot;war of words,&amp;quot; no writer has been as prolific, as provocative and as problematic as Zhang Chengzhi. &lt;br /&gt;
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Zhang's essays feature a scathing critique of Chinese intellectuals' lack of spiritual faith, their surrender to global consumerism and the postmodern.  Driven by a populist zeal, Zhang extols Chinese muslims' devotion to their religious faith, defiance of material affluence and bond to their harsh yet unsullied habitat.  His populist approach to religious transcendence in opposition to what he perceives as today's intellectual disenchantment is ambiguous and ambivalent.&lt;br /&gt;
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“”破译民粹：围绕张承志“宗教崇高”的文化论战”&lt;br /&gt;
&lt;br /&gt;
  刘新民&lt;br /&gt;
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''&lt;br /&gt;
 '''摘要&lt;br /&gt;
 '''&lt;br /&gt;
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自1990年代中期以来，中国三文通过在期刊，富尔登报纸，系列丛书和论坛上对社会和文化问题的激烈争论而目睹了高涨。 在这场“口水战”中，没有哪个作家像张承志那样多产，挑衅和有问题。&lt;br /&gt;
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张的文章对中国知识分子缺乏精神信仰，他们屈服于全球消费主义和后现代主义提出了严厉的批评。 在民粹主义热心的推动下，张赞赞扬中国穆斯林对宗教信仰的热爱，对物质富足的蔑视，并与他们生硬但未受污染的生境联系在一起。 他的民粹主义对宗教超越的态度与他认为今天的知识界的对立是模棱两可和矛盾的。&lt;br /&gt;
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==Peng Xiaoling 彭小玲==&lt;br /&gt;
It wavers between subaltern politics and religious fundamentalism.  It  falls short of the prospect of constructing a ethnic pluralism that protects cultural differences without yielding to cultural positions that claim unique access to truth.&lt;br /&gt;
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In a polyglot age in which all has to be contested and negotiated anew, boundary- violating is the rule rather than the exception.  Before the last millennium closed out, the Chinese essay thrived in an upsurge of cultural polemics, but in terms of aesthetic and ontological norms, the essayists could ill afford to stay within secure and clear-cut boundaries for long, because they often found themselves bombarded and displaced by a plethora of slippery issues, wacky themes and “roguish dilettantes.”&lt;br /&gt;
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它在次要政治和宗教原教旨主义之间摇摆。它没有建立一种可以保护文化差异而又不屈服于声称通过独特途径获得真理的文化立场的民族多元主义前景。&lt;br /&gt;
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在一个必须重新竞争和协商的多语言时代，违反边界是规则而不是例外。在上个千禧年结束之前，中国散文在文化争论中兴起。但就美学和本体论规范而言，由于经常被众多滑溜的问题，古怪的主题和“肮脏的弱势分子”轰炸而流离失所，散文家们无法长期在安全和明确的边界内停留。--[[User:Peng Xiaoling|Peng Xiaoling]] ([[User talk:Peng Xiaoling|talk]]) 11:51, 17 December 2020 (UTC)&lt;br /&gt;
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它在低级政治和宗教原教旨主义之间摇摆不定。它未能构建一个保护文化差异，并不屈服于声称有独特途径了解真相的文化立场的民族多元化的前景。&lt;br /&gt;
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在一个多语言的时代，一切都必须重新竞争和谈判，打破边界是规则而不是例外。在上一个千禧年结束前，中国散文在文化论战的热潮中蓬勃发展，但就美学和本体论规范而言，散文家们无法长期呆在安全和明确的界限内，因为他们常发现自己被一大堆难以捉摸的问题、古怪的主题和“无赖的业余爱好者。”驱逐出去--[[User:Xu Pengfei|Xu Pengfei]] ([[User talk:Xu Pengfei|talk]]) 14:45, 17 December 2020 (UTC)Xu Pengfei&lt;br /&gt;
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==Peng Yongliang 彭永亮==&lt;br /&gt;
With battle lines frequently redrawn and growing ever so fuzzy, this round of cultural polemics took on the characteristics of a wild slugfest, no-holds-barred wrestling and elusive shadow boxing.  But true to its essaying (or, alternatively, assaying) role, the essay form rose to the challenge with the right mix of mercurial, discordant and yet self-assured mettle.  Thus, it proved most capable of lending expression to chaos, fracture and trivia of the postmodern world.  One need not search far to bring this point home: the essay has lately swamped the public media with its newfangled offshoots: in addition to the common literary and political essays appeared the licai (personal financing) essay, the xiuxian (leisure/recreation) essay, the photo essay, the cyber essay and so forth. But it is with the cultural polemics of the 1990s that the readers witnessed the essay form in most amazing novelty, deftness and verve.&lt;br /&gt;
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随着战线的频繁重新划分和日益模糊，这一轮的文化论战呈现出狂野的搏击、毫无保留的摔跤和难以捉摸的影子拳击的特点。 但是，文章的形式忠实于它的论文（或者说，论断）角色，以适当的多情、不和谐而又自信的姿态迎接挑战。 因此，事实证明，它最能表达后现代世界的混乱、断裂和琐事。我们不需要深入研究就能发现这一点：近来，论文以其新奇的分支淹没了公共媒体：除了常见的文学和政治论文外，还出现了理财论文、休闲论文、摄影论文、网络论文等。但正是有了上世纪90年代的文化论战，读者才见证了论文形式最惊人的新奇、灵巧和魄力。&lt;br /&gt;
--[[User:Peng Yongliang|Peng Yongliang]] ([[User talk:Peng Yongliang|talk]]) 03:21, 21 December 2020 (UTC)&lt;br /&gt;
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由于战线不断被重新划定，并变得越来越模糊，这一轮的文化论战呈现出一种狂野的猛击、毫无保留的摔跤和难以捉摸的太极拳的特点。但文章的形式忠实于它的论文（或者，也可以说是分析性的）的作用，这篇文章以其多变、不和谐和自信的姿态迎接了挑战。因此，它最能表现后现代世界的混乱、断裂和琐事。我们不需要深入研究就能发现这一点：最近，论文以其新奇的分支充斥着公共媒体：除了常见的文学和政治文章外，还出现了理财论文、休闲论文、摄影论文、网络随笔等等。但是，正是有了20世纪90年代的文化论战，读者才见证了论文最令人惊叹的新奇、灵巧和神韵式。--[[User:Zhang Xueyi|Zhang Xueyi]] ([[User talk:Zhang Xueyi|talk]]) 03:59, 21 December 2020 (UTC)&lt;br /&gt;
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==Peng Yuzhi 彭育志==&lt;br /&gt;
One way to make sense of what essay form enabled the writers to achieve amid the “wars of words” (pizhan) is to take it to task by way of its intrinsic bond with cultural dialogics, i.e. to see how approaches of writing essays lead to the laying of grounds for a dialogic relationship that intersects even the most incendiary issues and dissimilar views of this discursive maze.  To that end,  we will focus on Zhang Chengzhi’s essays published after mid-1990s to see why a radical intellectual figure like Zhang, considered an intractable loose cannon by most, often contests and mediates, by virtue of his border-violating politics, what the cultural mainstream considers to be polemical and divisive.  At once belletristic and carnivalesque, Zhang Chengzhi’s essays stood out with striking clarity and urgency, if also with unnerving uproar.&lt;br /&gt;
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想要理解散文这一形式让作家们在“文字之战”中做到了什么，一种方法是通过它与文化对话的内在联系来批判它，比如去检视散文的写作方式是如何为一种对话关系打下基础，这一关系甚至贯穿了这一纷乱迷宫的最具煽动性的议题和最具分歧的观点。为此，我们将聚焦张承志在1990年代中期后发表的散文，试图探索何以张承志这样的知识分子，多数人视他为难以控制的麻烦人物，常常通过他过界的策略来抗议和调解主流文化认为是挑起争端和分裂的东西。张承志的散文曾经是纯文艺的，狂欢的，凸显的特点是其令人惊异的明晰和急迫或许还有让人焦虑的骚乱。--[[User:Peng YuZhi|Peng YuZhi]] ([[User talk:Peng YuZhi|talk]]) 08:34, 19 December 2020 (UTC)&lt;br /&gt;
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想要理解散文这一形式让作家们在“文字之战”中获得了什么，一种方法是通过它与文化对话的内在联系来批判它，比如去检视散文的写作方式是如何为一种对话关系打下基础，这一关系甚至贯穿了这一纷乱迷宫的最具煽动性的议题和最具分歧的观点。为此，我们将聚焦张承志在1990年代中期后发表的散文，试图探索何以张承志这样的知识分子，多数人视他为难以控制的麻烦人物，常常通过他过界的策略来抗议和调解主流文化认为是挑起争端和分裂的东西。张承志的散文曾经是纯文艺的，狂欢的，凸显的特点是其令人惊异的明晰和急迫或许还有让人焦虑的骚乱。--[[User:Lou Cancan|Lou Cancan]] ([[User talk:Lou Cancan|talk]]) 11:44, 19 December 2020 (UTC)&lt;br /&gt;
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==Qi Kai 漆凯==&lt;br /&gt;
Extolled by some as the author whose one book single-handedly redeemed Chinese writing of the entire twentieth century, Zhang was riding high on the tailwind of his enormously popular Xinling shi (History of the Soul, 1992) and seemed to have returned to the public forum with his discursive buoyancy revived and his sense of the “sacred” mission renewed.  At first glance, this does not seem the same Zhang Chengzhi who was overwhelmed by the spiritual loftiness he had ascended to upon completing ''Xinling shi'' and pleaded to his readers in all earnest, “there will no longer be this “me” from now on.  Please banish me from your memory.  … I have even taken myself by surprise that with this book I could bring myself to such a screeching halt.”[	Zhang Chengzhi, ''History of the Soul'' (Guangzhou: Huacheng chubanshe, 1991) 311.]  But did Zhang ever quit the public forum and banish his voice from the on-going dialogue with his readers afterwards?&lt;br /&gt;
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称赞为一本书的作者一手救赎整个二十世纪中国写作,张风头正劲的顺风非常受欢迎的新陵史(历史的灵魂,1992)和似乎已经回到了公共论坛和他东拉西扯的浮力重新和他的“神圣”的使命感再次。乍一看，这似乎不是当年的张承志，他在完成《新灵诗》后，因精神上的崇高而狂喜，并真诚地向读者祈祷:“从今以后，不会再有这个‘我’了。”请把我从你的记忆中抹去。……我甚至连自己都感到惊讶，有了这本书，我竟然能让自己停下来。张承志:《灵魂史》(广州:花城初社1991)311。但是章子怡有没有退出公共论坛，在随后与读者进行的对话中抹掉自己的声音呢?--[[User:QiKai|QiKai]] ([[User talk:QiKai|talk]]) 11:20, 19 December 2020 (UTC)Qi Kai&lt;br /&gt;
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张承志被一些人赞誉为一本书拯救了整个二十世纪的中国写作，他乘着《心灵史》（《灵魂史》，1992年）大受欢迎的顺风，似乎又回到了公共论坛，他的话语权又恢复了，他的 &amp;quot;神圣 &amp;quot;使命感又重新被唤醒。 乍一看，这似乎不是那个完成《心灵史》后被自己升华到的精神境界所折服，向读者诚恳恳地恳求：&amp;quot;从今以后，不再有这个'我'了 &amp;quot;的张承志。请把我从你们的记忆中驱逐出去。......我甚至已经把自己吓了一跳，有了这本书，我可以让自己如此戛然而止。&amp;quot;[张承志，“心灵史”（广州：花城出版社，1991）311。但是，张承志在此后与读者的持续对话中，是否曾退出公共论坛，放逐自己的声音？--[[User:Peng Yongliang|Peng Yongliang]] ([[User talk:Peng Yongliang|talk]]) 03:25, 21 December 2020 (UTC)&lt;br /&gt;
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==Qu Miao 瞿淼==&lt;br /&gt;
And did he accidentally join the ranks of those escapist intellectuals who self-righteously beat a retreat in the face of social repression and identity dislocation of the early 1990s?  &lt;br /&gt;
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Indeed, at the height of his unexpected fame in 1992,[	Zhang Chengzhi made repeated statements in his essays written around this time that he had voluntarily terminated his career as a professional writer out of his desire to be embraced by the Muslim community and out of his disgust for what writers and intellectuals in general had failed to do in the face of rampant consumerist values.] Zhang did not hesitate to declare that his career as a professional writer had come to an end, and that he would retreat to the Muslim communities in the barren loess in Northwest China to begin his new life.  While it is true that he verbally renounced his faith in and severed his tie with the mainstream intelligentsia, reality has proved otherwise: he could neither disinherit the dialogic potential of his earlier essays the same way as he allegedly cast off his ''Han'' Chinese upbringing, nor disown the intellectual milieu of his growth as though it were those business cards he symbolically tore up in disgust.[	This symbolic act is given an elaborate defense in one of his “position-statement” essays, “My Method of Tearing up those Business Cards,” published in Wuyuan de sixiang (Unassisted Thoughts) (Human wenyi chubanshe, 1999).]  &lt;br /&gt;
==Quan Meixin 全美欣==&lt;br /&gt;
Zhang cannot give up the act of writing through which he once defied the false sanctity of official histories and celebrated the purity and incorruptibility of the ''Jahriyya'' Muslims,[	A sect Chinese Muslims who are often considered the inheritor of mystical Sufis of the religion of Islam.] and to which he owed the stage for exhibiting his extraordinary discursive power as well as his reinvented ethnic identity.  While still pursuing his spiritual pilgrimage as a lone warrior, he could hardly remain an intellectual recluse in an imagined sanctuary.  Although his views often turned hard-edged due to his combative and self-aggrandizing tone, we need not necessarily be put off by his ill-advised posturing, which is far more rhetorical than substantive.  Rather we are urged to see beyond his argumentative mode and detect that ineluctable draw of cultural dialogics that lured him to charge right back to the frontline of the discursive war zones.  &lt;br /&gt;
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张先生不能抛弃他的写作形式，其通过写作蔑视官方历史的虚假神圣性并赞扬“贾赫里亚”穆斯林的纯正和廉洁行为。（中国穆斯林的一个教派，通常被认为是伊斯兰宗教的苏菲派的继承者。）在这中展现出非凡的话语权和重塑的种族身份帮助他重回舞台。 虽然他仍然作为一个孤独的战士追求精神朝圣，但他几乎无法在一个想象的避难所中维持知识分子的隐居。 尽管由于他的好斗和自我骄傲的语气常常使他的观点变得难以接受，但我们不一定非要因他不明智的姿态而推迟，这种姿态要比实质性的要夸张得多。 相反，我们受其敦促来超越他的论证模式，并发现不可避免的文化对话吸引他，使他重新回到话语战区的前线。--[[User:Quan Meixin|Quan Meixin]] ([[User talk:Quan Meixin|talk]]) 01:55, 21 December 2020 (UTC)&lt;br /&gt;
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Zhang’s essays published since mid-1990s prove most intriguing and forceful when they give vent to his critical views that deliberately blur the boundary between personal commitment with public conscience.&lt;br /&gt;
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自1990年代中期以来，张发表的论文产生了极大的吸引力和影响力，他的批判观点故意模糊了个人承诺与公众良心之间的界限。--[[User:Quan Meixin|Quan Meixin]] ([[User talk:Quan Meixin|talk]]) 01:55, 21 December 2020 (UTC)&lt;br /&gt;
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==Sagara Seydou ==&lt;br /&gt;
Seldom a believer of easy cultural synthesis, Zhang thrives in getting caught in the crossfire of public debates and wreaking havoc for the intellectual mainstream whose social legitimacy has fed off a complicitous liaison with the official and the ideological center.  In a sense, what constituted the identity of his previous self, i.e., the “I” who nimbly narrated a hidden history of a suppressed people in ''History of the Soul'', was a persona already poised on the borders between public outcry and personal misgiving, between official histories and popular memoirs, between discourses of cultural criticism and identity politics.  Akin to the self/other-conscious tone of Martin Buber’s ''I and Thou'', Zhang’s resort to “You” side by side with “I” as his discursive partner not only denotes the presence of a dialogic partner cued up by intersubjectivity, but interjects a critical awareness to set off the “unanimous intellectual escapism.”[	Here I am quoting the phrase from Dai Jinhua’s journal article “Hidden Narratives: The Politics of Mass Culture in the 1990s.”  Her view is critically assessed by Chen Jianhua in his “Local and Global in Narrative Contestation: Liberalism and the New Left in Late-1990s China” carried in Journal of Asian Pacific Communication, vol. 9, Nos. 1 &amp;amp; 2, 113-29.  ]&lt;br /&gt;
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很少有人相信简单的文化综合，他在公共辩论的交火中fire壮成长，并对知识分子主流人士造成严重破坏，他们的社会合法性已经与官员和意识形态中心进行了复杂的联络。从某种意义上说，构成他以前的自我的身份（即“我”）已经在公开抗议的边界上蓄势待发，该人在“灵魂历史”中灵活地讲述了一个被压迫者的隐藏历史。在官方历史和大众回忆录之间，在文化批评和认同政治的话语之间，还有个人的疑虑。类似于马丁•布伯（Martin Buber）的《我和你》 的自我/其他意识语气，张以“我”作为他的话语伴侣并肩地诉诸于“你”，不仅表示存在被主体间性暗示的对话性伴侣. ，但插入了引发“一致的知识逃避现实主义”的批判意识。[在这里，我引用戴金华的期刊文章“隐藏的叙事：1990年代的大众文化政治”这一短语。陈建华在《亚洲及太平洋通讯》第一卷中发表的“叙事竞赛中的本地和全球：自由主义和新左派在1990年代后期的中国”中对她的观点进行了严格的评估. 9号1和2，113-29. ]--[[User:Sagara Seydou 3|Sagara Seydou 3]] ([[User talk:Sagara Seydou 3|talk]]) 08:20, 19 December 2020 (UTC)&lt;br /&gt;
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==Shi Diwen 石迪文==&lt;br /&gt;
Initially a survival tactic to avert political repression in post-1989 China, this latter movement gained popular currency in the early 1990s as some intellectuals and professionals who used to pursue political activism now withdrew into enclosed fields of specialist researches where they could claim professional excellence as their new moral high grounds and practice professional elitism as a testimony to their personal spiritual faith.   These so-called “New Scholars” valorized scholarly research as “not just a matter of knowledge or profession, but more fundamentally, a form of life choice and value inquiry.”[	Chen Pingyuan, “Thoughts on Research of Scholarship History,” Xueren I, 2-6. ]  Alongside this process of self-authorization, they also sported a sweeping disdain toward mass culture or other nonprofessional cultures.  Was this a covert strategy of resisting moral degeneration, or a “club-spirit” rally of collective escapism in the guise of professional disinterest? &lt;br /&gt;
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==Shi Haiyao 石海瑶==&lt;br /&gt;
Zhang’s answer rebukes the latter.  Long before the first public debate over such issues took place, his own self-authorization in writing ''History of the Soul'' brought the “impartial” search for historical truth under critical scrutiny.  Positing his ethnic unconscious as the testing site, Zhang launched an assault on the falsely fixed standards in writing ''Hui'' histories whose authority had been complicitous with the chauvinistic State ideology.  He berated the methodological status quo in Chinese Muslim scholars’ historiography for tailoring local and ethnic memories to cater to the legitimacy of its hegemonic control.  In the same vein, he called into question the validity of collecting and editing historical documents according to empiricist standards, chastising its total submission to a positivist view of historical development in the name of scholarly objectivity.&lt;br /&gt;
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张承志的回答斥责了后者。早在第一次公开讨论这些问题之前，他自己写《灵魂史》的自我授权就让 &amp;quot;公正 &amp;quot;的历史真相的探索受到了批判。他以自己的民族无意识为试验场，对那些权威与沙文主义国家意识形态同流合污的''回族''史写作中错误的固定标准进行了抨击。 他痛斥中国穆斯林学者史学的方法论现状，即为迎合其霸权控制的合法性，而对地方和民族记忆进行裁剪。 同样，他对按照经验主义标准收集和编辑历史文献的有效性提出质疑，责备其以学术客观性为名，完全屈从于实证主义的历史发展观。&lt;br /&gt;
--[[User:Shi Haiyao|Shi Haiyao]] ([[User talk:Shi Haiyao|talk]]) 02:20, 21 December 2020 (UTC)&lt;br /&gt;
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==Si Yu 司妤==&lt;br /&gt;
He specifically targeted the renowned Hui historian Yang Huaizhong whose investigation of ''munafeles'', ''Hui'' collaborators with ''Manchu'' and ''Han'' rulers, had, in Zhang’s view, internalized the reigning codes of power-knowledge alliance.  Despite of his fine appraisal and extensive research, Zhang reproves Yang’s aloof stand:&lt;br /&gt;
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On the one hand, you try to reflect critically yourself and your tradition, on the other, you want to bring to light the suppression and violation committed against the human soul.  How can the kind of subject you’re studying still be the same historiography? &lt;br /&gt;
If Yang had yet to shake off the false sense of ethnic anonymity, Zhang does not make it any easier for himself when faced with the historical injustice inflicted upon the ''Huis''.&lt;br /&gt;
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他特别针对著名的回族史学家杨怀忠，他对回族与满汉统治者合作的穆纳菲尔斯的调查，在张先生看来，已经内化了权力知识联盟的统治密码。尽管张先生对此评价优良，研究也很广泛，但他斥责杨先生的冷漠立场。&lt;br /&gt;
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一方面，你试图批判性地反思你自己和你的传统，另一方面，你又想把对人类灵魂的压抑和侵犯公之于众。你所研究的那种课题，怎么可能还是同样的历史学？如果说杨振宁还没有摆脱虚伪的民族匿名感，那么，面对历史上对胡人的不公正待遇，张先生也不会让自己轻松。--[[User:Si Yu|Si Yu]] ([[User talk:Si Yu|talk]]) 04:57, 21 December 2020 (UTC)&lt;br /&gt;
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==Song Jianru 宋建茹==&lt;br /&gt;
At the Jinji Bao, a historical site of many quelled ''Hui'' uprisings in 19th century, he could hardly help chiding himself for not “avenging the historical wrongs” as a professional historian.  He confesses in a 1996 essay entitled “Odes to Waves”: &lt;br /&gt;
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在19世纪多次镇压回族起义的遗址金积堡，他不由得斥责自己身为专业的历史学者却没有为历史错误报仇。他在1996年发表的一篇名为《海浪颂》的文章中坦言道。&lt;br /&gt;
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It so happened that I have the fortune of being a full-fledged academic historian, yet I examined every single detail (of official records) critically but could not offer any rebuttal.  It so happened that I was born of ''Hui'' parentage, yet I attempted to skirt around it but could not escape this historical site---the wintry mist shrouding Jinji Bao pounded me wave after wave, pressing me to make a pledge, to declare a ''nietie'',   to make good the pledge of being dedicated to the people I took rather casually years ago. &lt;br /&gt;
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碰巧我有幸成为一名经过全面训练的历史学家，但一丝不苟地检查了每一处官方记载都没能提供任何反驳。碰巧我是“回族”出身，虽然我试图绕过这一点，但无法逃脱这个历史遗址——笼罩在金积堡的冬季薄雾一波又一波地敲打着我，迫使我作出承诺，宣布“nietie”，以履行我多年前随意作出要奉献给人民的承诺。&lt;br /&gt;
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Yang Huizhong, also known as Yang Mohammed Usiar, is a well-known Hui historian who has done crucial research on 18th Century Jahriyya Muslim uprisings.  Zhang’s critical comments appear in T''he Heroes’ Paths in Wilderness'' (Shanghai: Zhishi Publishing House, 1994) 125.（文献无需翻译）&lt;br /&gt;
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杨怀忠， 也叫杨·默罕默德·乌斯拉尔，是一名知名的回族史学者，对18世纪哲合忍耶穆斯林起义做了重要的研究。张先生在《英雄的野性之路》评论道。--[[User:Song Jianru|Song Jianru]] ([[User talk:Song Jianru|talk]]) 06:33, 21 December 2020 (UTC)&lt;br /&gt;
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==Su Lin  苏琳==&lt;br /&gt;
This is not an occasional outburst of emotions for the sake of letting off his own guilt.  This is sincere self-reproach to prod himself into keeping his ethnic memory and affective empathy from being worn thin by his years of academic studies, field work and research.  Unlike the New Scholars’ chase of  “disinterest” and neutrality, Zhang opts  valiantly for the direction of racial and social activism: to knock down posts erected by “objective” histories, penetrate the walls of political and religious phobias and uncover the buried truths of ethnic repression and violence.  One might query Zhang’s view of historical scholarship as emotive and skewed, thus running the risk of demeaning historiography into personal misgivings.&lt;br /&gt;
这并不是为了发泄自己的负罪感而偶尔爆发的情感。多年的学术研究、田野工作和研究，使自己的民族记忆和情感同理心不那么淡薄，这是一种真诚的自责。与新学者对“无兴趣”和中立的追求不同，张勇敢地选择了种族主义和社会激进主义的方向:推倒“客观”历史竖起的柱子，穿透政治和宗教恐惧的墙壁，揭开被掩埋的种族压迫和暴力的真相。有人可能会质疑张对历史学术的看法过于情绪化和偏颇，从而冒着将史学贬低为个人疑虑的风险。--[[User:Su Lin|Su Lin]] ([[User talk:Su Lin|talk]]) 05:46, 21 December 2020 (UTC)&lt;br /&gt;
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==Tan Xingyue 谭星越==&lt;br /&gt;
But in the era of cultural pluralism and ethnic identities, it is precisely the affective and personal that keep our ethnic awareness alive and urge us not to take boundaries of power and knowledge for granted.    &lt;br /&gt;
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No doubt, Zhang enters the debate of “the ultimate concern” of the mid-1990s, but he does so on his terms.  He puts forward an ethnographical approach consisted of a person’s affective propensities (''qinggan''), ethnic lineage (''xuetong'') and a “prefigured destiny” (''qianding'').  These are interlocked and reciprocal in variety of ways to enmesh a person in a nexus of cultural dialogics.  He then probes the illusion of professionalism in the form of an “originary question” (''yuanchu zhiwen'').&lt;br /&gt;
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但在文化多元化和民族认同的时代，恰恰是情感和个人因素使我们的民族意识得以保持，并敦促我们不要把权力和知识的界限视为理所当然。&lt;br /&gt;
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毋庸置疑，张加入了90年代中期关于 &amp;quot;终极关怀 &amp;quot;的讨论，但他是以自己的方式进行的。他提出了一种由一个人的情感倾向、民族血统和乾定命运组成的民族学方法。这些因素相互联系和相互作用，以各种方式使人置身于文化对话的关系中。然后，他以 &amp;quot;原初之问 &amp;quot;的形式来探究专业主义的假象。--[[User:Tan Xingyue|Tan Xingyue]] ([[User talk:Tan Xingyue|talk]]) 03:56, 19 December 2020 (UTC)&lt;br /&gt;
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但是在文化多元化和民族认同的时代，正是情感和个人因素使我们的民族意识保持鲜活，并敦促我们不要将权力和知识的界限视为理所当然。&lt;br /&gt;
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毫无疑问，张加入了1990年代中期关于“终极关怀”的辩论，但他是按照自己的意愿这样做的。 他提出了一种民族学方法，包括一个人的情感倾向（“情感”），种族血统（“血统”）和“乾定的命运”（“乾定”）。 这些以各种方式相互联系和相互影响，使个人陷入与文化对话之网。 然后，他以“原初之问”（“原初之问”）的形式探讨了专业主义的假想。--[[User:Quan Meixin|Quan Meixin]] ([[User talk:Quan Meixin|talk]]) 01:39, 21 December 2020 (UTC)&lt;br /&gt;
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==Tan Xinjie 谭鑫洁==&lt;br /&gt;
He asks: “How do you account for your being in the face of your own soul when there is nothing scientific or ideological to fend you from this ultimate accountability?”   To him what accounts for his ultimate humanist concern is his ''Hui'' ethnicity.  Ethnicity, according to Michael Fischer, “ … is something dynamic, often unsuccessfully repressed or avoided.  It can be potent even when not consciously taught; … something that institutionalized teaching easily makes chauvinistic, sterile, and superficial.”   It is thus the “id-like” sentient and psychological that lay the ground for one’s ethnic/cultural conditioning and in turn bring it to bear upon one’s historical awareness. &lt;br /&gt;
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A sinicized Islamic term for “taking a devotional vow.”  It is also known as Juyi in Chinese.&lt;br /&gt;
Zhang 1999a, 37.&lt;br /&gt;
Zhang Chengzhi, The Heroes’ Paths in Wilderness (Shanghai: Zhishi Publishing House, 1994) 125. &lt;br /&gt;
Michael Fischer, ‘Ethnicity and the post-modern arts of memory,” in James Clifford and George Marcus, eds., Writing Culture: The Poetics and Politics of Ethnography (Berkeley: University of California Press, 1986) 195. （文献无需翻译）&lt;br /&gt;
他问道:“当没有任何科学或意识形态来保护你逃避终极责任时，面对自己灵魂时你如何解释?”对他来说，对他来说，回族是他终极人文关怀的原因。迈克尔·菲舍尔(Michael Fischer)认为，种族“……是一种动态的东西，往往无法被压制或避免。”即使是没有意识地教育，它也可能是有效的;制度化的教学很容易造成沙文主义、无结果和肤浅的东西。因此，正是“类我”的知觉和心理奠定了一个人的种族/文化条件的基础，并反过来影响一个人的历史意识。&lt;br /&gt;
一个中国化的伊斯兰术语，意为“虔诚的誓言”。它在中文中也被称为“Juyi”。--[[User:Tan Xinjie|Tan Xinjie]] ([[User talk:Tan Xinjie|talk]]) 12:49, 20 December 2020 (UTC)&lt;br /&gt;
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==Tan Yuanyuan 谭媛媛==&lt;br /&gt;
Being ethnically predisposed as an “other” likewise makes Zhang acutely watchful of the State’s covert practice of ethnocentrism in the name of social progress and scientific rationality.  Drawing on his renewed ethnic ethos, Zhang has no qualms in issuing a call to all historians: “… disinherit the whole positivist baggage of the conventional historiography, and seek out the complex intuitive faculty of your individual soul.” &lt;br /&gt;
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What about his image of a lone moral crusader?  A great deal of ruckus has been raised over Zhang’s arguably obsessive stress on the “purity” and “truthfulness” of the ''Jahriyya'' Muslims; he is disparaged by some critics as “the most self-pleased” man in China today,”   due precisely to his tireless and unsuspecting adoration of the close-knit and reclusive ''Jahriyya'' community.&lt;br /&gt;
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作为一个 &amp;quot;他者 &amp;quot;的民族倾向，同样也使张先生对国家以社会进步和科学理性的名义，隐蔽地实行民族中心主义的做法产生了敏锐的警惕。 借着重新焕发的民族气质，张先生毫无顾忌地向所有历史学家发出号召。&amp;quot;... 摒弃传统史学的全部实证主义包袱&amp;quot; &amp;quot;寻找你个人灵魂的复杂直觉能力&amp;quot; 。&lt;br /&gt;
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他的一个孤独的道德十字军形象呢？ 张先生对''贾里雅''穆斯林的 &amp;quot;纯洁性 &amp;quot;和 &amp;quot;真实性 &amp;quot;可以说是执着地强调，引起了很大的骚动；他被一些评论家贬为当今中国 &amp;quot;最自得其乐 &amp;quot;的人，&amp;quot;这正是由于他孜孜不倦地、不怀好意地崇拜着封闭而隐居的''贾里雅''群体。--[[User:Tan Yuanyuan|Tan Yuanyuan]] ([[User talk:Tan Yuanyuan|talk]]) 13:38, 16 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
作为一个“他者”的民族倾向，同样也使张先生对国家以社会进步和科学理性的名义，隐蔽地实行民族中心主义的做法产生了敏锐的警惕。借着重新焕发的民族气质，张先生毫无顾忌地向所有历史学家发出号召。“……摒弃传统史学的全部实证主义包袱”，“寻找你个人灵魂的直觉能力。”&lt;br /&gt;
&lt;br /&gt;
那么关于他的一个孤独的十字军形象呢？张先生对贾里雅穆斯林的“纯洁性”和“真实性”可以说是不断地进行强调，引起了很大的骚动；他被一些评论家贬为当今中国“最自得其乐 的人，”而这正是由于他孜孜不倦地、毫无戒心地崇拜着紧密而又隐居的贾里雅群体。”--[[User:Yang chenting|Yang chenting]] ([[User talk:Yang chenting|talk]]) 03:08, 17 December 2020 (UTC)Yang Chenting&lt;br /&gt;
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==Tang Bei 汤蓓==&lt;br /&gt;
Does this not make him one of those solitary seekers of moral perfection in a morally promiscuous age?  Zhang’s admonishing axioms seem to answer in a seamless fit to Wang Xiaoming’s definition of a self-oriented search for ethical righteousness.  As an alternative to the intellectuals’ direct involvement in politics of the 1980s, Wang emphasized the personal quality of ultimate concern and argued: “(1) you can only search for the ultimate value from your personal experience; (2) what you find is your own interpretation of what the ultimate value is, not the ultimate value itself.”   Zhang seems to share the solitary seekers’ new sense of priorities in favoring a self-motivated quest for absent moral virtues, albeit transcendental and visionary.&lt;br /&gt;
&lt;br /&gt;
在一个道德混乱的年代，这难道不会使他成为一个孤独的追求道德完美的人吗？张的忠告似乎与王小明对于自我导向的道德正义的定义完全吻合。作为20世纪80年代知识分子直接参与政治的一种选择，王强调了终极关怀的个人品质，认为: “(1)你只能从个人经验中寻找终极价值; (2)你找到的是你自己对终极价值的解释，而不是终极价值本身。”张似乎和那些孤独的寻找者一样，重视自我激励，追求缺失的道德美德，尽管这种追求具有超越性和远见性。--[[User:Tang Bei|Tang Bei]] ([[User talk:Tang Bei|talk]]) 05:38, 21 December 2020 (UTC)&lt;br /&gt;
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==Tang Ming 唐铭==&lt;br /&gt;
But one facet of his writings forcefully rejects that equation: he has all along kept up public-minded criticism of social ills and moral depravities as a free-lance social/cultural critic.  What the seekers of personal integrity and sublimation failed to hang onto Zhang has carried on with infinitely sharper insight and fiercer zeal.&lt;br /&gt;
&lt;br /&gt;
Zhang detects and detests the anxiety of these individuals to rise above the laity of social meanings and responsibilities as a way to avoid being an accomplice to ideological repression. And indeed his most scathing exposé has so far been reserved for the mainstream intellectuals rather than the money-grabbing ''New Riches'' or the consumerist mass.&lt;br /&gt;
&lt;br /&gt;
但他作品的一个方面有力地否定了这个等式:作为一个自由的社会/文化批评家，他一直坚持对社会弊病和道德堕落的公德批判。追求人格完整性和升华的人未能抓住的东西，张远山以更敏锐的洞察力和更狂热的热情继续着。&lt;br /&gt;
&lt;br /&gt;
张远山察觉到并憎恨这些人的焦虑，他们想要超越世俗的社会意义和责任，以避免成为意识形态压制的共犯。事实上，到目前为止，他最严厉的揭露都是针对主流知识分子，而不是那些贪财的“新富人”或消费主义大众。&lt;br /&gt;
--[[User:Tang Ming|Tang Ming]] ([[User talk:Tang Ming|talk]]) 01:53, 21 December 2020 (UTC)Tang Ming&lt;br /&gt;
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但他的作品某个方面有力地否定了这个等式:作为一个自由的社会/文化批评家，他一直坚持对社会弊病和道德堕落的公德批判。追求人格完整性和升华的人未能抓住的东西，张远山以更敏锐的洞察力和更狂热的热情继续着。&lt;br /&gt;
&lt;br /&gt;
张远山察觉到并憎恨这些人的焦虑，他们想要超越世俗的社会意义和责任，以避免成为意识形态压制的共犯。事实上，到目前为止，他最严厉的揭露都是针对主流知识分子，而不是那些贪财的“新富人”或消费主义大众。--[[User:Si Yu|Si Yu]] ([[User talk:Si Yu|talk]]) 05:03, 21 December 2020 (UTC)&lt;br /&gt;
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==Tang Yiran 汤伊然==&lt;br /&gt;
&lt;br /&gt;
When readers’ feedback to his ''History of the Soul'' heated up into a media squabble in 1994, Zhang burst onto the scene again with another of his tirades “Poets, why aren’t you indignant?”   The essay is brimmed with scorn for the public for its total surrender to consumerism and their frantic drive for worldly pleasures; yet it is the intellectual mainstay who bear the brunt of his verbal onslaught.  Zhang accused them of “selling out to monetary gains and worldly repute,” the news media of “swarming up like bees after the ‘big shots’ for petty favors and leftovers, and the cultural critics of “becoming painfully silent on any honest, principled, to-the-point criticism.”  &lt;br /&gt;
&lt;br /&gt;
Zhang 1994a, 125.&lt;br /&gt;
Zhang Yuanshan, “Zhang Chengzhi---the Most Self-Pleased Writer” at Xin yu si dianzi wenku (www.xys.org), listed under Zhang Yuanshan.&lt;br /&gt;
Zhang Rulun et al, “The Humanist Spirit: whether and How Is It Possible?---Reflections on the Humanist Spirit, I” in Dushu 3: 3-13.&lt;br /&gt;
For a fine critique of this shift of intellectual paradigm, see also Xu Ben.  Disenchanted Democracy: Chinese Cultural Criticism after 1989 (Ann Arbor: The University of Michigan Press, 1999) 49-56. （文献无需翻译）&lt;br /&gt;
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1994年，当读者对他的《灵魂史》的反馈升温成为媒体争论的焦点时，张远山又一次带着他的长篇巨制一跃进入公众的视野：“诗人，你为什么不愤怒？”这篇文章充满了对公众的蔑视，他们完全屈服于消费主义，疯狂地追求世俗享乐；然而，在他的口头抨击中，首当其冲的是知识分子的中流砥柱。张远山指责这些人“为了金钱利益和声誉而出卖自己”，新闻媒体“像蜜蜂一样为了小恩小惠和剩饭而蜂拥而至”，文化评论家则斥责他们“对任何诚实、有原则、直截了当的批评，都会痛苦地保持沉默”。--[[User:Tang Yiran1|Tang Yiran1]] ([[User talk:Tang Yiran1|talk]]) 23:57, 20 December 2020 (UTC)&lt;br /&gt;
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==Tao Ye 陶冶==&lt;br /&gt;
For a time, Zhang’s readers felt jabbed by his barbed comments on the gaping “void” of spiritual faith and rampant cynicism, philistinism and moral incompetence among the intellectuals.  They were also exacerbated by his unmatched tribute to the ''Jahriyya'' Muslims who remained unperturbed by the hustle and bustle of economic boom elsewhere in China.  All this led the public to conclude that Zhang’s posturing was cashing in on the polarization of the Haves and the Have-nots of China’s new social strata, and that with his accolades for “the poor men’s religion” he intended to push for the image of a “Me-alone Spirituality.”&lt;br /&gt;
&lt;br /&gt;
==Wang Meiling 王美玲==&lt;br /&gt;
This grave misperception turned out to be the main ground for his detractors like Wang Shuo to lodge a protest, accusing him of getting rich with loyalties for his publications in Japan and overseas while turning hypocritically around to lecture the intellectuals at home in their weakness for cynicism, corruption and bankruptcy.   &lt;br /&gt;
 &lt;br /&gt;
Nothing could be further from the truth: although feeling at home with the rigid and barren habitat of the poverty-stricken Muslims, Zhang is not necessarily biased against material comforts or social development as some critics have labeled him to be.&lt;br /&gt;
&lt;br /&gt;
这种严重的误解竟然成为王朔等人诋毁他而提出抗议的主要理由，指责他依靠日本和海外出版的刊物事业一心一意地发大财，却还虚伪地反过来教训国内知识分子玩世不恭、腐败潦倒。  &lt;br /&gt;
&lt;br /&gt;
这一切都离不开此等事实：即张先生虽然对贫困穆斯林僵化贫瘠的生活环境感到十分亲切，但他并不一定像某些批评家所标榜的那样，会对物质享受和社会发展持有偏见态度。--[[User:Wang Meiling|Wang Meiling]] ([[User talk:Wang Meiling|talk]]) 14:46, 16 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
This grave misperception turned out to be the main ground for his detractors like Wang Shuo to lodge a protest, accusing him of getting rich with loyalties for his publications in Japan and overseas while turning hypocritically around to lecture the intellectuals at home in their weakness for cynicism, corruption and bankruptcy.   &lt;br /&gt;
 &lt;br /&gt;
&lt;br /&gt;
这种严重的错误认识，成了像王朔这样的诋毁者提出抗议的主要理由，他们指责他依靠在日本和海外的出版物一心只想着致富，同时又虚伪地反过来告诫国内知识分子，说他们玩世不恭、腐败潦倒。&lt;br /&gt;
&lt;br /&gt;
Nothing could be further from the truth: although feeling at home with the rigid and barren habitat of the poverty-stricken Muslims, Zhang is not necessarily biased against material comforts or social development as some critics have labeled him to be.&lt;br /&gt;
&lt;br /&gt;
事实并非如此：尽管张先生对贫困穆斯林的僵硬贫瘠的生活环境感到熟悉亲切，但他并不一定像一些批评家所说的那样，对物质享受或社会发展抱有偏见。--[[User:Xiao yining|Xiao yining]] ([[User talk:Xiao yining|talk]]) 16:09, 16 December 2020 (UTC)Xiao Yining&lt;br /&gt;
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==Wang Xuan 王轩==&lt;br /&gt;
Rather, he is adamant with the intellectuals’ frailties in the face of social malfunction and injustice as a result of harried economic policies, and he is outspoken about what little critical awareness the educated class can foster against the blindly raging “market forces” and the new alliances of wealth and power.  In 1999, Zhang wrote a sequel “Again to the Honorable Teacher” to his 1991 tribute to Lu Xun, in which he firmly declares that he will not back down from his previous judgment on Lu Xun’s misfortune---why Lu Xun chose not to leave us a legacy of great volumes of scholarly or professional worth.&lt;br /&gt;
&lt;br /&gt;
Zhang Chengzhi and Zhang Wei initiated a heated round of ''bizhan'' (pen-combats) in the Literary Supplement of ''Wenhui'' Bao (Wenhui Daily, Shanghai) over the issue of mass consumption and culture with many writers who are more sympathetic with the marketized economy and consumerist culture.  This essay by Zhang---“Poets, Why aren’t you indignant?” is featured as the leading editorial on August 7, 1994.    &lt;br /&gt;
Zhang Chengzhi, “Poets, Why aren’t you indignant?” in ''Wenhui'' Bao (Shanghai) (August 7, 1994).&lt;br /&gt;
For further detail of this dispute, read Geremie Barmé, ''In the Red: On Contemporary Chinese Culture'' (New York: Columbia University Press, 1999) 304-309. （文献无需翻译）&lt;br /&gt;
&lt;br /&gt;
相反，他坚持知识分子在面对经济政策所导致的社会失灵和不公正时的脆弱性，并直言不讳地说，受过教育的阶层在对抗盲目肆虐的“市场力量”和新的财富和权力联盟方面，能够培养出什么样的批判意识。1999年，张艺谋为纪念1991年的鲁迅写了一部续集《再次献给这位可敬的老师》，在这本书里，他坚定地宣称，他不会放弃先前对鲁迅不幸的判断——为什么鲁迅选择不给我们留下大量学术或专业价值的遗产。张承志、张炜在《文汇报》文艺副刊（上海文汇报）上，与许多对市场化经济和消费主义文化比较同情的作家，就大众消费与文化问题展开了一轮激烈的笔战。--[[User:Wang Xuan|Wang Xuan]] ([[User talk:Wang Xuan|talk]]) 02:32, 18 December 2020 (UTC)Wang Xuan&lt;br /&gt;
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相反，他坚持知识分子在面对经济政策所导致的社会失灵和不公正时的脆弱性，并直言不讳地说，受过教育的阶层在对抗盲目肆虐的“市场力量”和新的财富和权力联盟方面，能够培养出什么样的批判意识。1999年，张艺谋为纪念1991年的鲁迅写了一部续集《再次献给这位可敬的老师》，在这本书里，他坚定地宣称，他不会放弃先前对鲁迅不幸的判断——为什么鲁迅选择不给我们留下大量学术或专业价值的遗产。--[[User:Xiao Shuangling|Xiao Shuangling]] ([[User talk:Xiao Shuangling|talk]]) 08:23, 17 December 2020 (UTC)Xiao Shuangling&lt;br /&gt;
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==Wang Yu 王煜==&lt;br /&gt;
In fact, Zhang now argues, in less sarcastic yet firmer terms, why Lu Xun’s solitary yet relentless social and cultural crusades are gaining rather losing currency in 1990s’ China.  He writes:&lt;br /&gt;
&lt;br /&gt;
The populace in this nation have little power or scarce hope.  But they are quick to discover: when they suffer and despair under the heavy burden of tyrannical rule of the bureaucratic few, “the intellectual class” turn out to be, after politicians and money, another cruel oppressor.  The broad masses want nothing more than being fed and clothed.  But they need the intellectuals to keep up the basic and constant criticism of the social elite and the powerful.  Otherwise, their plight would be unthinkable.&lt;br /&gt;
&lt;br /&gt;
事实上，张现在用一种不那么讽刺但更坚定的措辞来论证:为什么鲁迅独行而无情的社会文化改革在90年代的中国越来越流行。他写道：&lt;br /&gt;
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这个国家的人民没有什么力量，也没有什么希望。但他们很快就会发现：当他们在少数官僚专制统治的沉重负担下痛苦绝望时，“知识阶层”就成了继政客和金钱之后的又一个残酷的压迫者。广大群众只想吃穿。但他们需要知识分子不断地对社会精英和权贵进行基本的、持续的批评。否则，他们的困境将是无法想象的。--[[User:Wang Yu|Wang Yu]] ([[User talk:Wang Yu|talk]]) 04:52, 19 December 2020 (UTC)&lt;br /&gt;
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事实上，张炜现在用不那么讽刺但坚定的措辞来论证为什么鲁迅这种孤僻但无情的社会文化变革在90年代的中国长久不衰。他写道：&lt;br /&gt;
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这个国家的人民是积弱且缺乏希望的。然而他们很快就会发现：当他们在少数官僚专制统治的沉重负担下痛苦和绝望时，“知识阶层”便成了金钱和政客之后的又一残酷压迫者。广大百姓想要的只不过是吃得饱，穿的暖。但他们需要知识分子对社会精英和权贵保持基本、持续的批判。否则，他们的困境时无法想象的。--[[User:Wang Yuan|Wang Yuan]] ([[User talk:Wang Yuan|talk]]) 05:39, 19 December 2020 (UTC)&lt;br /&gt;
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==Wang Yuan 王源==&lt;br /&gt;
We, as readers of Lu Xun’s ''zawen'', are surely struck by the familiar wording, the similar tone, and the unyielding views that have implausibly found their way back into Zhang’s essays over half a century later.  We are also surprised at how candid and unaffected he is when making such social commentary from a position comparable to the Great Lu Xun.  &lt;br /&gt;
&lt;br /&gt;
One is tempted to ask: is Zhang grandstanding?  I think not.  However, the causes for leaping to charges against his feisty offensive are worth looking into: they are, ironically, spawned off the same binary frame of mind that has been consistently used by the CCP ideologues to denounce the inroads made by “liberal bourgeois values;” yet such a frame of mind is also replicated by many of Zhang’s critics at home and overseas.&lt;br /&gt;
&lt;br /&gt;
作为鲁迅的读者，我们当然会被超过五十年后在张先生文章里发现那难以置信地熟悉的遣词、语气和坚定不移的想法而打动。我们也会惊讶，当把他放在同一位置和伟大的鲁迅进行比较，做出社会评论时，他是多么的坦率和不受影响。&lt;br /&gt;
&lt;br /&gt;
有人也许想问：张炜是在哗众取宠吗？我认为不是。然而，对于他来势汹汹的攻势的原因却值得探讨：讽刺的是，这些原因是由中共意识形态形态者用来谴责“自由主义资产阶级价值观”入侵的二元思维框架产生的。但是这种思维框架也被海内外许多张炜的批评者们所复制。--[[User:Wang Yuan|Wang Yuan]] ([[User talk:Wang Yuan|talk]]) 05:19, 19 December 2020 (UTC)&lt;br /&gt;
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==Wei Honglang 韦洪朗==&lt;br /&gt;
Odd bedfellows resting on the same cultural logic, they argue that criticism of the intellectuals’ dislocation and impotence in current China is motivated by the either/or option. One is either directed by a regressive Party-led agenda to exert the authority of socialist ideological legacy while intimating their message amidst the consumerist ambience.  Or he/she is motivated by a dissenting political force to jump-start a new round of political subversion while laying itself open to patronage of the West (mainly America)-centered global order.  Zhang’s detractors from both these stances see eye-to-eye on his role in today’s cultural politics, following the either/or mode of straightjacket thinking.&lt;br /&gt;
&lt;br /&gt;
这种奇特搭配基于同样的文化逻辑，他们认为对当前中国知识分子混乱、无能现状的批判是由以下两种因素中的一个引发的。一种是落后的由党领导的议程设置，通过在消费主义风气盛行时传达其话语以发挥社会主义意识形态遗产的权威。又或者他/她受到了一股不同的政治力量的驱使下开始的新一轮政治颠覆的影响，这股势力同时向以西方(主要是美国)为中心的全球秩序敞开大门。张的两种立场的批判者们都不约而同地，以一种“非此即彼”的思维方式，看待其在当今政治文化中所扮演的角色。--[[User:Wei Honglang|Wei Honglang]] ([[User talk:Wei Honglang|talk]]) 14:07, 20 December 2020 (UTC)&lt;br /&gt;
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==Wei Yafei 魏亚菲==&lt;br /&gt;
But I believe he is neither a firebrand of old egalitarian idealism nor an extremist with religious fundamentalist zeal.  His self-styled apologist persona is neither a haughty custodian of monolithic values, nor a self-righteous model of narcissistic purity and perfection, nor a slick po-mo master showcasing newly imported goods.  His is more of a lone outlaw in a “mobile warfare” in the Gramchian sense: preying on the unjust and corrupt elite, yet forever keeping the society at large at bay.   &lt;br /&gt;
   &lt;br /&gt;
Take the case of Zhang’s attitude towards “the people.”  Pervasive social and cultural changes triggered by State-endorsed market economy had been set in place in China by mid-1990s which had led to seismic dislocation and reordering across the entire social spectrum.&lt;br /&gt;
&lt;br /&gt;
==Wen Sixing 文偲荇==&lt;br /&gt;
The result is that familiar notions such as “the people” had been stripped of their usual ideological moorings, whereas the newly emerged social grouping was yet to be reckoned with.  While the recent cultural warfare has struck a bitter discord between the Liberals and the New Leftists over the definition of the masses (''dazhong''),  Zhang has been relentlessly lucid and unambiguous who they are---those of the disadvantaged and the impoverished in China today.   He is evidently critical of the Liberals who are eager for China to partake of a global economic order and evolve into a liberal society with a rising middle class as the nucleus of its civic values, but tend to lose sight of how this class of well-off Chinese (most notably the New Riches) can emerge without tipping economic and social imbalances towards those at the lower rungs of the social ladder.&lt;br /&gt;
&lt;br /&gt;
其结果是，人们熟悉的概念，如“人民”，已被剥夺了他们通常的意识形态根基，而新出现的社会群体还有待考虑。虽然最近的文化战争在自由主义者和新左派对“大众”的定义上产生了激烈的分歧，但张却毫不含糊地明确了他们是谁——当今中国的弱势群体和贫困群体。他显然是重要的自由主义者,他们迫切希望中国参与全球经济秩序和发展成一个自由与崛起的中产阶级社会作为其公民价值观的核心,但往往忽视这类富裕的中国人(尤其是新兴富人群体)的出现，而不引爆经济和社会失衡以及影响刚刚起步的社会主义事业。--[[User:Wensixing|Wensixing]] ([[User talk:Wensixing|talk]]) 13:50, 16 December 2020 (UTC)&lt;br /&gt;
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其结果是，&amp;quot;人民 &amp;quot;等熟悉的概念已被剥去了惯常的意识形态寄托，而新出现的社会群体却还没有被重视起来。 当最近的文化战在自由派和新左派之间就大众（''大中''）的定义发生激烈的争执时，张先生却毫不留情地明确了他们是谁--当今中国的弱势群体和贫困者。  他显然对自由派提出了批评，他们渴望中国参与全球经济秩序，并发展成为一个以中产阶级为公民价值核心的自由社会，但却往往忽视了这个富裕的中国阶层（最主要的是新富阶层）如何能够在不使经济和社会失衡向社会底层倾斜的情况下出现。--[[User:Liu Yi|Liu Yi]] ([[User talk:Liu Yi|talk]]) 14:39, 16 December 2020 (UTC)&lt;br /&gt;
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==Wen Xiaoyi 文晓艺==&lt;br /&gt;
For that matter, he is also adamant with the Po-Mo culturalists whose extreme ''kowtowing'' to the market culture and its mass consumers is, by way of an odd twist, turned into propelling forces for the predominantly ''Han'' Chinese to regain a very ethnocentric mode of self-empowering in a renewed East-West confrontation.&lt;br /&gt;
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Although Zhang’s view on “the people” is in close proximity to those of the New Leftists, he does not convey them as if they were their carbon copies.  Instead he distills the critical efficacy of their combat with the deceptive “mass culture” and implants it in his border-violating strategy as a mobile yet vital critiquing position.&lt;br /&gt;
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==Wu Kai 吴恺==&lt;br /&gt;
Contrary to what he sometimes claims---to jettison the culpable intellectuals in the name of “religious” purity, Zhang has always felt the urge to recharge the power of the intellectual self as expository but not dispossessing, diagnostic but not agnostic, and independent but not self-insulating.  The key to his border-crossing self is a dialogic interplay among multiple viable postures of the self while never allowing the self to be tied to a single rigid form of it.   It is by negotiating between these individual stances of conviction that Zhang aims to create a vigilant and constructive ambience to see to the redress of social injustice.  While revisiting Lu Xun in “Again to the Honorable Teacher,” he avidly called on Chinese intellectuals to embark on a solitary but enduring quest for the interests of the people at the lower rungs of the society.&lt;br /&gt;
&lt;br /&gt;
For further readings on this dispute, read Li Shitao, ed. Zhishi fengzi lichang: ziyou zhiyi zhizheng yu zhongguo xixiangjie de fenghua (The Position of Chinese Intellectuals: The divided intellectual circle over the issue of Liberalism) (Changchun: Shidai wenyi chubanshe, 2000).（文献无需翻译）&lt;br /&gt;
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与他有时声称的那样——以“宗教”纯洁的名义抛弃应受谴责的知识分子，张先生总有一种冲动，那就是，要把知识分子自我的力量重新注入，做到说教而不是剥夺，诊断而不是不可知论，独立但不自我隔离。他跨越边界的自我的关键是在自我的多种可行姿势之间的对话互动，而不允许自我被束缚在单一的僵硬形式上。正是通过这些个人信念立场之间的协商，张先生旨在创造一种警惕和建设性的氛围，以期纠正社会不公。他在《重温恩师》一书中重温鲁迅时，热切地呼吁中国的知识分子开始一种孤独而持久的追求社会下层人民的利益的道路。&lt;br /&gt;
&lt;br /&gt;
关于这一争议的进一步解读，请阅读李世涛主编《知识分子立场:自由主义之争与中国思想界的分化》（中国知识分子的立场：自由主义问题上的分裂的知识界）(Changchun: Shidai wenyi chubanshe, 2000)。--[[User:Wu Kai|Wu Kai]] ([[User talk:Wu Kai|talk]]) 10:47, 18 December 2020 (UTC)&lt;br /&gt;
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==Wu Qi 吴琪==&lt;br /&gt;
To engage in a dialogue with these masses, he observes, is for the intellectuals “to forever keep a watchful custody of such people against the socially established and the powerful.”  And the masses will discover Zhang’s polemical writings, much as they did Lu Xun’s Zawen in 1930s, “there is always someone like Lu Xun who is cussing his heart, all alone in his crusade.”  &lt;br /&gt;
&lt;br /&gt;
'''Discussion of this chapter: The ''xiaopin wen'' between ''xianshi sanwen'' and ''zawen'''''&lt;br /&gt;
&lt;br /&gt;
''King-Fai Tam''&lt;br /&gt;
&lt;br /&gt;
I would first of all like to commend the contributors of this chapter for their original, well researched and well articulated papers which represent a diversity of angles of approaching the study of essays, while sharing an interest in the polemical nature of the genre.    &lt;br /&gt;
&lt;br /&gt;
Zhang Chengzhi, “Zaizhi xiansheng” in Wuyuan de sixiang (Unassisted Thoughts) (Changsha: Hunan chubanshe, 1999) 100-105.（文献无需翻译）&lt;br /&gt;
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他发现，与这些民众的对话是为了让知识分子”对反社会和反权利人群永远保持警惕”。而且这些民众会发现张的议论文，就像他们在1930年代对鲁迅《杂文》所做的一样，“总有人像鲁迅一样，独自一人在呕心沥血地讨伐。”&lt;br /&gt;
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'''本章讨论：实现散文和杂文中的小品文'''&lt;br /&gt;
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''谭景辉''&lt;br /&gt;
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首先，我想向为本章提供原始资料作出贡献的人表示感谢，经深度探索且表达清楚的论文可以在分享对散文体裁辩论本质的兴趣时，从多个角度来呈现散文研究现状。--[[User:Wu Qi|Wu Qi]] ([[User talk:Wu Qi|talk]]) 02:28, 18 December 2020 (UTC)&lt;br /&gt;
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''谭景辉''&lt;br /&gt;
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首先，我想对本章贡献原始资料的人表示感谢，这些论文研究深刻、表达清楚，不仅仅为着手研究散文提供了多个角度，还对散文体裁辩论本质拥有相同兴趣。--[[User:Wu Yilu|Wu Yilu]] ([[User talk:Wu Yilu|talk]]) 06:36, 20 December 2020 (UTC)&lt;br /&gt;
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==Wu Qiong 吴琼==&lt;br /&gt;
Together, they constitute an eye-opener for me, given my interest in ''xiaopin'' wen and other similar works with a lyrical bent that shy away from discursiveness and argumentation.  If the ''xiaopin'' wen writers have anything to say about politics and society, it is often with a bemused tone; and the most that one can expect from them is a lamentation of some unjust social phenomenon, accompanied perhaps by an expression of outrage and an ineffectual cry for change.  In that sense, ''xiaopin'' wen can be said to have rejected one the basic tenets of the essay as a process of experimentation, questioning, reflection, and, indeed, essaying.  Too often, it gestures superficially to the analysis of an issue, only to come down heavily on an emotional response at the end.&lt;br /&gt;
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鉴于我对 &amp;quot;小品 &amp;quot;文和其他类似的抒情作品的兴趣，这些作品加在一起，让我大开眼界。 如果说 &amp;quot;小品 &amp;quot;文对政治和社会有什么要说的话，那往往是带着一种无奈的语气；人们能从他们那里得到的最多的是对某种不公正的社会现象的哀叹，也许还伴随着一种愤怒的表达和对改变的无效的呼喊。 在这个意义上，''xiaopin''wen可以说拒绝了散文的一个基本原则，即把散文作为一个实验、质疑、反思的过程，事实上，也是散文的过程。 很多时候，它表面上摆出了分析问题的姿态，却在最后重重地落在了情感的回应上。--[[User:WuQiong|WuQiong]] ([[User talk:WuQiong|talk]]) 13:21, 16 December 2020 (UTC)&lt;br /&gt;
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这些作品加在一起，让我大开眼界，让我对 &amp;quot;小品 &amp;quot;文和其他类似的抒情作品产生了兴趣，。 如果说 &amp;quot;小品 &amp;quot;文对政治和社会有什么要说的话，那往往是带着一种无奈的语气；人们能从他们那里得到的最多的是对某种不公正的社会现象的哀叹，也许还伴随着一种愤怒的表达和对改变的无效的呼喊。 在这个意义上，“小品”文可以说拒绝了散文的一个基本原则，即把散文作为一个实验、质疑、反思的过程，事实上，也是散文的过程。 很多时候，它表面上摆出了分析问题的姿态，却在最后重重地落在了情感的回应上。--[[User:Blank|Blank]] ([[User talk:Blank|talk]]) 13:47, 16 December 2020 (UTC)&lt;br /&gt;
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鉴于我对 &amp;quot;小品 &amp;quot;文和其他类似的抒情作品的兴趣，这些作品加在一起，让我大开眼界。 如果说 &amp;quot;小品 &amp;quot;文对政治和社会有什么要说的，那往往是带着一种无奈的语气；人们能从他们那里得到的最多的是对某种不公正的社会现象的哀叹，也许还伴随着一种愤怒的表达和对改变的无效的呼喊。 在这个意义上，小品文可以说拒绝了散文的一个基本原则，即把散文作为一个实验、质疑、反思的过程，事实上，也是散文的过程。 很多时候，它表面上摆出了分析问题的姿态，却在最后重重地落在了情感的回应上。--[[User:Wensixing|Wensixing]] ([[User talk:Wensixing|talk]]) 13:53, 16 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
鉴于我对 &amp;quot;小品 &amp;quot;文和其他类似的抒情作品的兴趣，这些作品加在一起，让我大开眼界。 如果说 &amp;quot;小品 &amp;quot;文对政治和社会有什么要说的话，那往往是带着一种无奈的语气；人们能从他们那里得到的最多的是对某种不公正的社会现象的哀叹，也许还伴随着一种愤怒的表达和对改变的无效的呼喊。 在这个意义上，''小品''文可以说拒绝了散文的一个基本原则，即把散文作为一个实验、质疑、反思的过程，事实上，也是散文的过程。 很多时候，它表面上摆出了分析问题的姿态，却在最后重重地落在了情感的回应上。--[[User:Wang Meiling|Wang Meiling]] ([[User talk:Wang Meiling|talk]]) 14:53, 16 December 2020 (UTC)&lt;br /&gt;
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==Wu Xiang 邬香==&lt;br /&gt;
Yet, the four contributions to this chapter point out that there is a bigger world in the study of essays beyond ''xiaopin'' wen.  The essay can, as Mary Scoggin argues, be cantankerous, recalling the image of a spear and a dagger, where one piece of ''zawen'' is more likely to elicit an equally cantankerous response than to put an issue to rest. With good reasons, we describe such exchanges as ''pizhan'' (battling with the pen). The essay is also a site where the essayist can consciously sculpt an image of himself, as Lu Jie and Liu Xinmin show in the cases of Zhang Wei and Zhang Chengzhi.&lt;br /&gt;
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然而，本章所作的四个贡献指出，在小品文之外散文研究还有一个更广阔的世界。正如玛丽·斯科金所说，这篇文章可能给人不好的感觉，回忆时像一把长矛和匕首，其中一段“扎文”更可能引起同样不愉快的反应，而不是让问题得到解决。我们有充分的理由称这种交流为“笔战”。（用笔作战）正如陆洁和刘新民在张炜和张承志的案例中所展示的那样，这篇文章也是散文家有意识地塑造自己形象的成果。--[[User:Wu Xiang|Wu Xiang]] ([[User talk:Wu Xiang|talk]]) 14:22, 18 December 2020 (UTC)&lt;br /&gt;
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然而，本章所作的四个贡献指出，在小品文之外散文研究还拥有一个更广阔的世界。正如玛丽·斯科金所说，散文也可以尖锐凌厉，让人联想到长矛和匕首的形象，其中“扎文”更可能引起尖锐的反应，而不是使问题得到解决。我们有充分的理由将这种交锋称为“笔战”。正如陆洁和刘新民在张炜和张承志的案例中所展示的那样，散文家也是会有意识地将散文作为塑造自己形象的场所。--[[User:Tan Xingyue|Tan Xingyue]] ([[User talk:Tan Xingyue|talk]]) 04:17, 19 December 2020 (UTC)&lt;br /&gt;
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==Wu Yilu 吴一露==&lt;br /&gt;
Moreover, while one single piece of essay is indeed different from a treatise in that its brevity makes it ill-equipped to address an issue in great depth, essayists such as Zhang Wei and Zhang Chengzhi can resort to voluminous output, exhaustively exploring different shades of a question in one essay after another to build up a coherent position.  Wang Ban furthermore approaches the essay as a sensibility, or a structuring device, with which a writer tells and retells a story, puts forward a proposition and modifies or denies it.  As such, it replaces the novel as the form that best captures the consumerist ethos of urban China in the 1990s.&lt;br /&gt;
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虽然一篇文章与论文确实存在区别，其简洁性使其不具备解决问题的深度，但是如张伟和张承志一类的作者产出颇丰，详尽探索一篇篇文章中不同深浅的问题，以此来建立一个连贯的位置。在此基础上，王班进一步将文章作为一种情感，或者一种结构化工具，作者可以通过文章来讲述或复述一个故事，提出一个命题，对其进行修饰或否定。因此，它取代了小说，抓住了20世纪90年代中国城市消费主义思潮。--[[User:Wu Yilu|Wu Yilu]] ([[User talk:Wu Yilu|talk]]) 05:57, 20 December 2020 (UTC)&lt;br /&gt;
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尽管一篇论文的确与论文有所不同，因为篇幅简洁，无法充分解决一个问题，但张炜和张承志等作者却可以求助于大量论文，详尽地探讨了不同层次的论文，以此来建立一个连贯的位置。在此基础上，王班进一步将文章作为一种情感，或者一种结构化工具，作者用它来讲述和叙述一个故事，提出一个命题并加以修改或否认。 因此，它取代了小说，成为最能体现90年代中国城市消费主义思潮。--[[User:Liu Jinxingqi|Liu Jinxingqi]] ([[User talk:Liu Jinxingqi|talk]]) 10:37, 20 December 2020 (UTC)&lt;br /&gt;
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==Wu Zijia 吴子佳==&lt;br /&gt;
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Yet, if a literary genre can take up so many shapes and forms, are we still justified to consider these shapes and forms as a uniform entity, to be analyzed and studies with the same methodology ?  In my study of the essay, I have often been confronted with this question.  In the New England Association of Asian Studies conference in October last year I raised a similar query in response to the presentations of Alexandra Wagner, Martin Woesler and Xinmin Liu: in what way can we consider works as diverse as those of Feng Zhi, Qu Qiubai, and a group of other writers that we discussed that day as essays? Now, in light of the four papers of this chapter, I would like to ask the same question again.&lt;br /&gt;
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然而，如果一种文学体裁可以有如此多的形态和形式，我们是否仍然有理由把这些形态和形式看作一个统一的实体，用同样的方法来分析和研究?我在研究这篇文章时经常遇到这个问题。在新英格兰去年10月举办的亚洲研究协会会议上，我针对亚历山德拉•瓦格纳的演示提出了一个疑问:我们怎样运用丰富的手段来研究文章，就像研究风智,瞿秋白、和一群其他作家的作品?这个问题亚历山大，马丁.沃尔斯勒和新民刘曾提出过。现在，对这一章节里的四篇文章，我想再问一遍同样的问题。--[[User:Wu Zijia|Wu Zijia]] ([[User talk:Wu Zijia|talk]]) 14:46, 20 December 2020 (UTC)Wu Zijia&lt;br /&gt;
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==Xiao Shuangling 肖双玲==&lt;br /&gt;
I will take the clue from Wang Ban when he considers the “polemic pole” for the essay, i.e., that which the essay stands against, and see whether we can understand what essay is but finding out what it is not.  At different historical junctures and in different cultural contexts, the essay has served as the voice of the opposition and the marginal.  Wang Ban has already alluded to Adorno’s “The Essay as Form” to underscore the institutional system of philosophy, the discourse of scientific positivism, and its attendant socio-cultural conditions of reification, to which the essay stands in opposition.  Likewise, one can find a late twentieth-century parallel where the articulation of feminism and decolonization often takes the form of the essay.&lt;br /&gt;
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我将从王班思考文章的“论战极点”，即文章所反对的东西，来寻找线索，看看我们能否理解文章是什么，但找出它不是什么。在不同的历史节点和文化语境中，散文充当了反对派和边缘者的声音。王班已经提到阿多诺的“文章形式”来强调哲学的制度体系、科学实证主义的话语以及与其相伴随的物化的社会文化条件，而阿多诺的“文章形式”是与之对立的。同样，我们可以找到二十世纪后期的一个平行，女权主义和非殖民化的表述经常以文章的形式出现。--[[User:Xiao Shuangling|Xiao Shuangling]] ([[User talk:Xiao Shuangling|talk]]) 08:19, 17 December 2020 (UTC)Xiao Shuangling&lt;br /&gt;
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我将从王班提出的文章的“论战极点”，即文章所反对的东西入手，看我们能否理解文章而不是发现它的局限。在不同的历史节点和文化语境中，散文充当了反对派和边缘者的声音。王班已经提到阿多诺的“文章形式”来强调哲学的制度体系、科学实证主义的话语以及与其相伴随的物化的社会文化条件，而阿多诺的“文章形式”是与之对立的。同样，我们可以找到二十世纪后期的一个平行，女权主义和非殖民化的表述经常以文章的形式出现。--[[User:Xiao Ting|Xiao Ting]] ([[User talk:Xiao Ting|talk]]) 08:59, 17 December 2020 (UTC)Xiao Ting&lt;br /&gt;
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[http://www.example.com link title]&lt;br /&gt;
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==Xiao Ting 肖婷==&lt;br /&gt;
Yet, in the Chinese context, even if we narrow it down to the last two decades of the twentieth century, it is not entirely clear what the polemic pole of the essay is.  Wang Ban believes that the polemical pole to contemporary Chinese essays to be identified as the Enlightenment and Marxist paradigm of teleological history and its literary counterpart: the novel of “revolutionary realism.”  For the zawen she is examining, Mary Scoggin suggests that ''zawen'' spits in the face of a “discourse of beauty” that serves to mute criticism in ''the'' name of  social and rhetorical graciousness, an attitude that essentially forbids ''zawen'' writers to say anything if they cannot think of something nice to say.&lt;br /&gt;
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然而，在中国的环境之下，即使我们把范围缩小到20世纪最后20年，也不能完全弄清楚散文的极点是什么。王班认为，当代中国散文的论极要确定为启蒙运动和马克思主义的心学史范式及其文学的对应物：&amp;quot;革命现实主义 &amp;quot;的小说。玛丽-斯科金在研究杂文以后认为，杂文对所谓“美的篇章”十分唾弃，以直白、朴实的语言来噎住批评，而这种态度实质上是禁止“杂文”作家在想不出好话时再说什么。--[[User:Xiao Ting|Xiao Ting]] ([[User talk:Xiao Ting|talk]]) 08:49, 17 December 2020 (UTC)Xiao Ting&lt;br /&gt;
&lt;br /&gt;
然而，在中国，即使把范围缩小到20世纪最后20年，也不能彻底弄清散文的论极是什么。王班认为，当代中国散文的论极应该定义成启蒙运动和马克思主义的心学史范式及其文学对等物：&amp;quot;革命现实主义 &amp;quot;的小说。玛丽-斯科金在研究杂文以后认为，杂文对&lt;br /&gt;
唾弃“美的篇章”，通过直白、朴实的语言来噎住批评，而这种态度实质上是防止“杂文”作家在想不出好话时再说些什么别的。--[[User:XieFan|XieFan]] ([[User talk:XieFan|talk]]) 12:23, 18 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
==Xiao Xi 肖茜==&lt;br /&gt;
Zhang Chengzhi, Xinmin’s subject, has made it abundantly clear that his essays are manifestations of a historical method that deconstructs Han chauvinism even as he has little by way of counter evidence to go by.  Like Wang Ban, Lu Jie also pits the essay against the novel, but for a different reason, and with findings intriguingly different from that of Wang Ban.  Wang Ban attributes the “metafictional” signs in Wang Anyi’s ''Shushu di gushi'' to the intrusion of the essayist sensibilities.  In other words, it is her essayist touch that accounts for the tentativeness of her narrative. On the other hand, Lu Jie succeeds in showing that Zhang Wei the novelist is much more tentative and equivocal than Zhang Wei the essayist.&lt;br /&gt;
《新民》的主体，张承志已经非常清楚地表明，他的散文是解构大汉族主义的历史方法的表现，尽管他几乎没有任何相反的证据可供参考。和王班一样，卢杰也把这篇文章与《红楼梦》对立起来，但原因不同，他的发现与王班的截然不同。王班把王安忆《叔叔的故事》中的“元化”符号归结为散文家情感的侵入。换句话说，正是她的散文家风格造成了她的叙述的不确定性。另一方面，卢杰成功地展示了小说家张伟比散文家张伟更加犹豫不决和模棱两可。--[[User:XiaoXi|XiaoXi]] ([[User talk:XiaoXi|talk]]) 13:49, 16 December 2020 (UTC)Xiao Xi&lt;br /&gt;
&lt;br /&gt;
张承志是《新民》的主人公，他非常直白地表明，他的散文是解构大汉族主义的历史方法的表现，尽管他几乎没有任何相反的证据可供参考。如同王班，陆杰也把这篇文章与《红楼梦》对立起来，但原因不同，并且他的发现与王班的完全不同。王班把王安忆《叔叔的故事》中的“元化”符号归结为散文家情感的侵入。换句话说，正是她的散文家风格导致她的叙述带有不确定性。另一方面，陆杰成功地展示了一个事实——小说家张伟，比散文家张伟，更加犹豫不决，更加模棱两可。--[[User:Yuan Tianyi|Yuan Tianyi]] ([[User talk:Yuan Tianyi|talk]]) 02:30, 17 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
==Xiao Yining 肖伊宁==&lt;br /&gt;
Even if one were to maintain that ''Jiuyue yuyan'', like ''Shushu di gushi'', is informed by the essayist sensibilities, one still has to consider why Zhang Wei’s essays are more categorical, and hence more simplistic and reductionist, in their assertion than the novel, whose meaning requires considerable teasing out.  What is one to make of this discrepancy between Wang Anyi and Zhang Wei?  What does it say about the two writers?  And what do they have to say, if anything, about the essay and the novel?&lt;br /&gt;
&lt;br /&gt;
即使有人坚持认为《九月寓言》和《叔叔的故事》一样，都是受散文家的情感影响的，但我们还是要思考为什么张炜的散文在论断上比小说更直截了当，也因此更为简单明了，而他的小说的意义却需要相当多的梳理推敲。怎么去理解王安忆和张炜之间的这种差异呢？对于这两位作家有什么看法呢？他们对这篇文章和小说有什么要说的吗？&lt;br /&gt;
&lt;br /&gt;
即使有人坚持认为《九月寓言》和《叔叔的故事》一样，都受散文家的情感影响，但我们还是要思考为什么张炜的散文的论断比小说更直截了当，也因此更为简单明了，而他的小说的意义却需要相当多的梳理推敲。怎么去理解王安忆和张炜之间的这种差异呢？对于这两位作家有什么看法呢？他们对这篇文章和小说有什么要说的吗？&lt;br /&gt;
&lt;br /&gt;
In various ways, our contributors also look into the self-image the essayists construct for themselves as they participate in the cultural polemics at the end of the century.&lt;br /&gt;
&lt;br /&gt;
在本世纪末的文化论战中，我们的撰稿人也从不同的角度审视了散文家为自己建构的自我形象。--[[User:Xiao yining|Xiao yining]] ([[User talk:Xiao yining|talk]]) 15:56, 16 December 2020 (UTC)Xiao Yining&lt;br /&gt;
&lt;br /&gt;
在20世纪末的文化论战中，我们的撰稿人也从用不同的方法审视了散文家为自己建构的自我形象。--[[User:Wu Xiang|Wu Xiang]] ([[User talk:Wu Xiang|talk]]) 14:29, 18 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
==Xie Fan 解帆==&lt;br /&gt;
Gone, apparently, is the supercilious pose of the ''xianshi'' essayist who, to paraphrase Lu Xun’s famous translation of Kuriyagawa Hakuson, “sits in a rocking chair by the stove in winter or puts on a bathrobe in summer to drink tea and chat casually with one’s good friends about things that do not give one a headache.”  Rather, as our contributors succeed in pointing out, headache is precisely what our essayists aim to provide.  Even though they also affect varying degrees of reclusivity or compromise, they always come back later to the polemic fray with renewed vigor. I have in mind such instances as Zhang Wei’s repeated claim to find a monastery in the mountains where he will study all by himself for a year even as he goes around giving advice to his readers on how best to resist the corrupting influences of mass culture.&lt;br /&gt;
&lt;br /&gt;
这显然是散文家高傲的姿势,套用鲁迅翻译Kuriyagawa Hakuson的一句话,“冬天坐在火炉旁的摇椅上或夏天穿上浴袍跟好朋友喝茶聊天不会让人头疼。相反，正如我们的撰稿人所说，散文集作者想让我们头疼。”即使他们有不同程度的隐逸或妥协，但他们总是在之后的论战中重新焕发活力。我记得这样的例子，张维反复声称要在山里找到一个寺院，在那里独自学习一年，甚至到处给读者建议如何最好地抵制大众文化的腐蚀影响。--[[User:XieFan|XieFan]] ([[User talk:XieFan|talk]]) 12:15, 18 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
显然，“闲适”散文家那种傲慢的姿态已经消失了，套用鲁迅对厨川白村的著名翻译，&amp;quot;冬天坐在炉子边的摇椅上，或者夏天穿上浴袍，和好朋友喝茶闲聊，谈的都是一些不使人头痛的事情&amp;quot;。相反，正如我们的撰稿人所说，头痛正是要由我们的散文家提供。即使他们也会不同程度地影响到隐忍或妥协，但他们后来总是以新的活力重新回到论战中来。我想到的就是这样的例子，比如张炜反复声称要在山里找一个寺院，在那里独自学习一年，甚至到处给读者建议如何最好地抵制大众文化的腐化影响。--[[User:Lin Xin|Lin Xin]] ([[User talk:Lin Xin|talk]]) 13:37, 18 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
==Xie Ziyi 谢子熠==&lt;br /&gt;
Similarly, the ''zawen'' writer distance themselves from the overtly declamatory tone with the sole purpose of making their gripes more readily stomachable, and their voices more readily heard.   Zhang Chengzhi’s temporary withdrawal into religious isolation is another example, for, after a brief period of reclusivity, he enters once again the public sphere with deeper conviction and a broader agenda.  In light of Wang Ban’s discussion, Wang Anyi’s case is perhaps less clear-cut than the rest.  To be sure, she seems to have adapted rather well to the new consumerist society that commodifies literature; yet, it is clear that there is a serious intent in her deployment of the essayist sensibilities.&lt;br /&gt;
&lt;br /&gt;
同样，“ zawen”作家与公开的庄严语调保持距离，其唯一目的是使他们的握柄更易于胃口，声音更易听见。 张成志暂时退出宗教隔离是另一个例子，因为在短暂的独占统治之后，他以更坚定的信念和更广泛的议程再次进入公共领域。 根据王朋的讨论，王安忆的案子可能不那么清楚。 可以肯定的是，她似乎已经很好地适应了商品化的新的消费主义社会。 然而，很明显，她对杂文作家情感的运用是认真的。&lt;br /&gt;
&lt;br /&gt;
--[[User:Ishikami|Ishikami]] ([[User talk:Ishikami|talk]]) 05:53, 21 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
==Xu Jia 徐佳==&lt;br /&gt;
In fact, to the extent that ''Shushu di gushi'' has challenged the master-narrative with which the life’s progress of a rehabilitated rightist is often told, I would argue that the essayist sensibilities, far from being irrelevant to history, can be put to historical use.  The works of Zhang Wei, Zhang Chengzhi and Shao Yanxiang can perhaps supply us with a footnote to the historical relevance of the essay.&lt;br /&gt;
&lt;br /&gt;
'''The 20th Century Chinese Essay - Characteristics, Actors, and Trends'''&lt;br /&gt;
&lt;br /&gt;
''Martin Woesler''&lt;br /&gt;
&lt;br /&gt;
'''Abstract'''&lt;br /&gt;
&lt;br /&gt;
In the first part of my paper, which deals with the characteristics of the essay, I will start with a definition of the essay as a non-fictional subjective representation in a free form: “Essay”, in Chinese mostly ''sanwen'' 散文, is a genre term for shorter, self-contained nonfictional prose texts, in which the author tries to mediate individual experiences on an object or a question using a subjective I-perspective.&lt;br /&gt;
&lt;br /&gt;
其实，在某种程度上，《叔叔的故事》挑战了万能叙事模式，这种模式通常讲的是改造后的右翼分子生活得到了改善。在我看来，散文家的敏感性绝不是与历史无关的，它可以用在历史上。张伟、张成志、邵延翔等人的作品或许可以为这篇文章的历史关联性提供一个注脚。&lt;br /&gt;
&lt;br /&gt;
'''20世纪中国论文--特点、角色及其趋势'''&lt;br /&gt;
&lt;br /&gt;
''Martin Woesler''&lt;br /&gt;
&lt;br /&gt;
'''摘要'''&lt;br /&gt;
&lt;br /&gt;
本文第一部分论述散文的特点，首先，我将散文定义为一种自由形式的非虚构性主观表征。&amp;quot;Essay&amp;quot;，中文为''散文''，指较短的、自成一体的非虚构性文体，其作者试图用主观的“我”的视角来表达个人对某一对象或问题的体验。--[[User:Xu Jia|Xu Jia]] ([[User talk:Xu Jia|talk]]) 02:57, 18 December 2020 (UTC)Xu Jia&lt;br /&gt;
&lt;br /&gt;
==Xu Jing 许晶==&lt;br /&gt;
I will introduce the hypothesis that the Chinese and the Western essays belong to the same international genre and try to prove it by showing cross-cultural similarities both in form and content. However, there are special local characteristics of the Chinese essay, which I will name.&lt;br /&gt;
&lt;br /&gt;
In the second part, I try to narrate the beginnings of the rediscovery of the essay in the early 1980s. Not before 1995 did international scholarship start to use common philological methods to explore single essayists or the essays of groups and to write a history of the Chinese essay. Then I will show the topical development of political and apolitical essays.&lt;br /&gt;
&lt;br /&gt;
In the third part, I will ask, who were the major players in the Chinese essayism of the 20th century?&lt;br /&gt;
&lt;br /&gt;
我将会介绍我提出的假设，即中国和西方的散文都属于同一种国际体裁，并尝试通过展示两者在形式和内容上的跨文化相似点来证明这一假说。但是，我也会列举中国散文的一些特殊的本土特色。&lt;br /&gt;
&lt;br /&gt;
在第二部分，我尝试讲述散文在1980年代的复现开始阶段的事情。1995年前，国际学术界开始运用常见的语言学方法来探索单篇散文和散文集，并撰写了中国散文的历史。之后，我将展示政治性散文和非政治性散文的主题发展。&lt;br /&gt;
&lt;br /&gt;
在第三部分，我将提出我的问题，即谁是20世纪中国散文的代表人物？--[[User:Xu Jing2|Xu Jing2]] ([[User talk:Xu Jing2|talk]]) 13:33, 20 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
==Xu Jing 许静==&lt;br /&gt;
I will introduce Lu Xun, with his sharp, polemic subgenre for daily-political use, the ''zawen''. Analysis reveals that he still remains the most-read essayist, not because of his ''zawen'', but because of his reminiscences and lyrical essays. Using the examples of the most often reprinted essays, “The Back View” (Zhu Ziqing 1928b), “The Moonlit Lotus Pond” (Zhu Ziqing 1927), “Splashing Oars and Lantern Light on the Qinhuai River” (Zhu Ziqing 1924), “Wild Vegetables of my Home Region” (Zhou Zuoren 1925), “Listening to the Cold Rain” (Yu Guangzhong 1974) and “In Memoriam of Xiao Shan” (Ba Jin 1979b), I will show that moving essays form the top tier of the genre. I will also try to stimulate further analytic works by giving hints for examples of promising intertextual and intersubjective comparison.&lt;br /&gt;
&lt;br /&gt;
我介绍一下鲁迅尖锐的、供日常政治使用的议论性子文--杂文。分析发现，他之所以仍然是作品传阅最广的作家，不是因为他的杂文，而是因为他的回忆文和抒情散文。我将从这类体裁的经典代表作中予以说明，以再版次数最多的散文为例，《背影》（朱自清1928b）、《荷塘月色》（朱自清1927）、《桨声灯影里的秦淮河》（朱自清1924）。&amp;quot;故乡的野菜&amp;quot;（周作人1925年）、&amp;quot;听听那冷雨&amp;quot;（余光中1974年）和 《怀念萧珊》（巴金1979b）。我还将试图通过文本间和主体内的比较，来促进进一步的分析。&lt;br /&gt;
--[[User:Xu Jing|Xu Jing]] ([[User talk:Xu Jing|talk]]) 09:50, 20 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
我将介绍鲁迅尖锐的、供日常政治使用的议论性子文--杂文。分析发现，他之所以一直是读者最多的散文家，不是因为他的杂文，而是因为他的回忆录和抒情散文。我将从这类体裁的经典代表作中予以说明，以再版次数最多的散文为例，《背影》（朱自清1928b）、《荷塘月色》（朱自清1927）、《桨声灯影里的秦淮河》（朱自清1924）。&amp;quot;故乡的野菜&amp;quot;（周作人1925年）、&amp;quot;听听那冷雨&amp;quot;（余光中1974年）和 《怀念萧珊》（巴金1979b）。我还将试图通过文本间和主体内的比较，来促进进一步的分析。--[[User:Tan Xinjie|Tan Xinjie]] ([[User talk:Tan Xinjie|talk]]) 12:58, 20 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
==Xu Mengdie 徐梦蝶==&lt;br /&gt;
In the fourth section, I will name contemporary trends in essay writing. After the Cultural&lt;br /&gt;
&lt;br /&gt;
Revolution essays came from the perspective of an authentic eye. In the 1980s and especially in the 1990s, individualism demanded a critical reflection on the satisfaction of personal consumption needs and tried to give a personal orientation, as essayists pleaded for moral virtues. Other essays in the 1980s and 1990s were written with a kind of new subjectivism, targeted away from contemporary contradictions but appealing to the feelings of the audience by creating either a positive or a negative world. &lt;br /&gt;
&lt;br /&gt;
The fast-paced nature of current Chinese society demands diverting and short texts. There is also increasing consciousness of individuality, for which the essay is the most direct form of subjective expression, even more direct than the poem which is mediated by its metrical and formal demands.&lt;br /&gt;
&lt;br /&gt;
在第四部分，我将列举当代散文写作的趋势。在文革之后，散文变得写实。尤其是在20世纪80年代和90年代，个人主义对个人消费的满足进行反思；像散文家呼吁美德一般，他们也尝试提供人生导向。其它20世纪80年代和90年代的散文以新主观主义写作，不再聚焦当代矛盾，而是创造出一个或是积极或是消极的世界来和读者产生共鸣。&lt;br /&gt;
&lt;br /&gt;
当今中国社会快节奏的本质需要有趣且简短文本。人们对个性也越来越关注，而散文就是最直观的个人表达形式，诗歌与之相比还受到了格律和形式的限制。--[[User:Xu Mengdie|Xu Mengdie]] ([[User talk:Xu Mengdie|talk]]) 00:57, 18 December 2020 (UTC)Xu Mengdie&lt;br /&gt;
&lt;br /&gt;
第四部分，我将阐述当代散文写作的趋势。文革后，散文开始写实。从20世纪80年代开始，尤其是在90年代，个人主义对个人消费需求的满足进行批判性的反思；正如散文家呼吁美德一般，他们也尝试提供人生导向。八九十年代的其他散文则以新的主观主义作为写作目标，不再聚焦当代矛盾，而是通过营造一个积极或消极的世界和读者产生共鸣。&lt;br /&gt;
&lt;br /&gt;
当今中国社会快节奏的特点要求文字有趣而简短。人们的个性意识也在不断增强，而散文是最直接的主观表达形式，甚至比要求以格律和形式为中介的诗歌更加直接。--[[User:Zhang Yu|Zhang Yu]] ([[User talk:Zhang Yu|talk]]) 03:40, 18 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
==Xu Pengfei 许鹏飞==&lt;br /&gt;
In China we see a renewed interest in discussing social-political issues through the medium of the essay, as was the case in the 1920s and 30s. We become conscious of the banality of daily life when it is being used as a literary topic, as in the essay, which most commonly treats the genre of everyday life. The de-ideologization of Chinese society led to a rediscovery of the apolitical essays, dating from the Republican era, especially from the years 1923 to 1928. In the 1990s, the essayistic culture of political criticism of the 1980s has vanished; the only political relic is patriotism, for example expressed in the monograph published in 1996, ''China can say no! – Possibilities for politics and emotions in the period after the cold war'' (see ''China can say no''!).&lt;br /&gt;
&lt;br /&gt;
在中国，我们能看到如同二十世纪二十年代至二十世纪三十年代，通过论文这一媒介，人们又有了兴趣讨论社会政治问题。当日常生活被用作文学主题时，我们就会意识到其平庸，就像在散文中一样，散文通常是针对日常生活的体裁。中国社会的去意识形态化，导致了民国时期，特别是1923 - 1928年的非政治性散文的重新发现。20世纪90年代，80年代政治批评的散文式文化消失了;唯一的政治遗迹是爱国主义，例如1996年发表的专著《中国可以说不!》-冷战后政治和情感的可能性”(见《中国可以说不》!)''China can say no! – Possibilities for politics and emotions in the period after the cold war'' (see ''China can say no''!).--[[User:Xu Pengfei|Xu Pengfei]] ([[User talk:Xu Pengfei|talk]]) 14:35, 17 December 2020 (UTC)Xu Pengfei&lt;br /&gt;
&lt;br /&gt;
在中国，我们能看到人们通过论文这一媒介，又有了讨论社会政治问题的兴致，就如同上世纪二三十年代那样。日常生活成为文学主题时，我们就会意识到它的平淡无味，就像在散文中表现的那样，散文通常描写的就是日常生活。中国社会的去意识形态化，让人们重新发现自民国时期，特别是1923至1928年以来的非政治性散文。20世纪90年代，80年代用散文进行政治批评的文化已经消失了，唯一留下来的政治痕迹是爱国主义，例如在1996年出版的专论《中国可以说不!-冷战后政治和情感的可能性》中传达的那样(见《中国可以说不！》)。--[[User:Xu Jia|Xu Jia]] ([[User talk:Xu Jia|talk]]) 13:34, 20 December 2020 (UTC)Xu Jia&lt;br /&gt;
&lt;br /&gt;
==Yang Chenting 杨晨婷==&lt;br /&gt;
&lt;br /&gt;
'''1.	CHARACTERISTICS&lt;br /&gt;
&lt;br /&gt;
1.1	Defining the essay as a non-fictional subjective representation in a free form'''&lt;br /&gt;
&lt;br /&gt;
Similar to international literature, the basic subdivision of literature in China in general is one in three types: epic (with ''xiaoshuo'' (fiction), sanwen (here in the broader meaning non-fictional prose)), lyrics ''shige'' (lyrics) and ''xiqu'' (drama).  Though there is no pure epic form, fiction and prose are often jointly addressed with the Chinese term “''wu yunwen''” which corresponds to the term “epic” in the West. The types may be distinguished roughly by their nature in the following way: In the epic, bygone events are retold, a broad, filled story dominates the foreground.  In the lyrics, the reader is encouraged to feel the current sensations and often confessionlike feelings of the poet.&lt;br /&gt;
&lt;br /&gt;
1. 特征&lt;br /&gt;
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1.1将本文定义为一种非虚构的主观自由表现形式&lt;br /&gt;
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与国际文学类似，中国文学的基本细分一般是三类：史诗（小说、散文（这里指广义的非虚构散文））、诗歌和戏剧）。虽然没有纯正的史诗形式，但小说和散文常常被合称为中文的“无韵文”对应西方的“史诗”一词。从性质上看，这几种类型可以大致区分为以下几种。在史诗中，过去的事件被重述，一个宽广的、充实的故事占据了重要位置。在歌词中，鼓励读者去感受诗人当前的感觉，往往是告白式的感受。--[[User:Yang chenting|Yang chenting]] ([[User talk:Yang chenting|talk]]) 03:05, 17 December 2020 (UTC)Yang Chenting&lt;br /&gt;
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'''1. 特征&lt;br /&gt;
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1.1 将散文定义为一种非虚构的主观自由表现形式'''&lt;br /&gt;
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和国际文学一样，中国文学一般细分为三类：即史诗（包括小说、散文（这里指广义的非虚构散文））、诗歌和戏剧。小说和散文虽然没有纯正的史诗形式，但人们通常把他们合称为“无韵文”，这里中文的“无韵文”对应西方的“史诗”一词。这三种类型从本质上来说大致可以通过以下方式来区分：在史诗中，过去的事件被重述，一个广阔充实的故事主导了前景。在诗歌中，鼓励读者去感受诗人当时告白式的感觉。--[[User:Peng Xiaoling|Peng Xiaoling]] ([[User talk:Peng Xiaoling|talk]]) 12:14, 17 December 2020 (UTC)&lt;br /&gt;
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==Yang Hairong 杨海容==&lt;br /&gt;
The drama recalls a self-contained action directly in monologue or dialogue and in this way unburdens the re-creative imagination of the readers/spectators through it.  The essay as a genre of the epic is a detached non-fictional subjective representation in a free form.&lt;br /&gt;
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“Essay,” Chinese mostly ''sanwen'' 散文 , is a genre term for shorter, self-contained non-fictional prose texts, in which the author tries to mediate individual experiences on an object or a question out of subjective I-perspective.  This it tries associatively and from different sides, not as a text for daily use, but with artistic or educationally demanding means of language, nevertheless in an accessible form.  The resource is mastered by the essayist sovereignly and the topic is seen in a larger context and can even be presented humorously.  Free-dom in form and content is essential for the essay.&lt;br /&gt;
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该剧直接在独白或对话中唤起了一个独立的情节，并以此减轻了读者/观众的创造性想象力。 这篇散文作为史诗体裁的文章是一种自由形式的超脱的非虚构主观表现形式。--[[User:Yang Hairong|Yang Hairong]] ([[User talk:Yang Hairong|talk]]) 04:29, 18 December 2020 (UTC)&lt;br /&gt;
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“Essay”的中文即散文，主要是较短的、自成体系的非虚构散文的流派，作者试图从主观角度调解对象或问题的个人经验。 这样，从不同方面进行了关联性的尝试，而不是作为日常使用的文本，而是通过艺术或教育上要求苛刻的语言手段进行了尝试，但仍以可访问的形式进行。 散文内容完全由散文家掌握，并且可以在更大的范围内了解主旨，甚至可以幽默地对其进行介绍。 形式和内容的自由对散文来说至关重要。--[[User:Yang Hairong|Yang Hairong]] ([[User talk:Yang Hairong|talk]]) 04:29, 18 December 2020 (UTC)&lt;br /&gt;
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==Yang Hui 阳慧==&lt;br /&gt;
Different perspectives range in the international genre of the essay: Genres are primarily divisions of literature through the scholarship of literature for specialized contemplation and in order to be able to compare similar texts more easily.  On the other hand, subcategoring the essay in too many small entities, questions the sense of such subdivisioning in reference to hermeneutic findings.  One must also stay aware of the changing nature of literature itself and the relativity of the scientific perspective, which is still a timely one, even if its accepted internationally.&lt;br /&gt;
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Regional deviations seem less important for the essay than for established genres like short stories, novels etc., and far less important than for poems.&lt;br /&gt;
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不同的观点在国际类型的文章：体裁主要是文学的分工，通过文学的学术专门思考，为了能够更容易地比较类似的文本。另一方面，在太多的小实体中对这篇文章进行了归类，在解释学的发现中质疑了这种划分的意义。人们还必须意识到文学本身不断变化的性质和科学观点的相对性，这仍然是一个及时的问题，即使它在国际上被接受。&lt;br /&gt;
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地域差异对文章的重要性似乎不如对短篇小说、小说等已有的体裁那么大，而对诗歌的重要性则要小得多。--[[User:YangHui|YangHui]] ([[User talk:YangHui|talk]]) 08:45, 18 December 2020 (UTC)&lt;br /&gt;
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对于文章的国际体裁存在不同的观点：体裁主要是文学的分类，通过对文学进行专门的学术研究，能够更容易地对比相似的文本。另一方面，在太多小实体中进行更小的分类，在解释学的发现中质询了这种细分的意义。人们还必须意识到文学本身不断变化的性质和科学观点的相对性，即使它在国际上得到认可，这仍是一个及时的问题。--[[User:Zeng Liang|Zeng Liang]] ([[User talk:Zeng Liang|talk]]) 01:20, 20 December 2020 (UTC)&lt;br /&gt;
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==Yang Yi 杨逸==&lt;br /&gt;
All these other genres are seen as international genres.  My hypothesis, that the Chinese and the Western essay also belong to the same international genre maybe proved by the crosscultural mutualities both in form and content.&lt;br /&gt;
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In the 21st century, the world is growing together and culture is mainly determined by the grade of modernization.  The Chinese essay, as we find it in newspapers today, has taken on the form and content of the Western essay and is aimed at a target group comparable to that of the Western essay. &lt;br /&gt;
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==Yang Yue 杨悦==&lt;br /&gt;
This is a second hint that the modern Chinese essay belongs to the international genre of the essay. Even though the translation of ''duanpian xiaoshuo'' with ''short stories'' is commonly accepted, both are less closely related than the Western essay and its Chinese counterpart. The definition, which I developed out of a sample of more than 5000 modern Chinese essays, fits also the special international understanding of the essay (following Bolz 13:269-272 on the development of the western essay; Butrym 1989 on the theory of the western essay). &lt;br /&gt;
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The choice of the term “''sanwen''” instead of “''suibi''” (familiar essay) or “''xiaopin wen''” (short literary piece) is of course arbitrary, but it corresponds to the present usage. In about 200 essay collections and histories between 1949 and 1996 known to the author, ''sanwen'' turned out to be the common expression, ''xiaopin'' was used only in one out of 25 essay titles of the PR China, in one out of 14 Taiwanese, and one out of ten Hong Kong publications.（文献无需翻译）&lt;br /&gt;
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这是中国现代散文属于国际散文文体的第二个暗示。尽管写“短故事”的&amp;quot;短篇小说&amp;quot;的翻译被普遍接受，但两者之间的联系却不如西方散文和中国散文紧密。这一定义是我从5000多篇现代中国论文样本中得出的，也符合国际上对这篇论文的特殊理解。&lt;br /&gt;
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当然，用“散文”代替“随笔”或“小品文”是随意的，但它符合现在的用法。在1949年至1996年作者所知的约200本杂文集和历史中,“散文”更为常见,而只有1/25的中国文章标题、1/14的台湾出版物，以及1/10的香港出版物使用“小品文”。--[[User:Yang Yue|Yang Yue]] ([[User talk:Yang Yue|talk]]) 02:16, 17 December 2020 (UTC)&lt;br /&gt;
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这是中国现代散文属于国际散文文体的第二个表现。尽管大众普遍接受“短故事”和&amp;quot;短篇小说&amp;quot;的翻译，但两者之间的联系却不如西方散文和中国散文紧密。这一定义是我从5000多篇现代中国论文样本中得出的，也符合国际上对这篇论文的特殊理解。&lt;br /&gt;
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当然，用“散文”代替“随笔”或“小品文”是随意的，但它符合现在的用法。在1949年至1996年作者所知的约200本杂文集和历史中,“散文”更为常见,而只有1/25的中国文章标题、1/14的台湾出版物，以及1/10的香港出版物使用“小品文”。--[[User:Yu Ni|Yu Ni]] ([[User talk:Yu Ni|talk]]) 03:27, 18 December 2020 (UTC)&lt;br /&gt;
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==Yang Ziling 杨子泠==&lt;br /&gt;
Besides the trend towards a globalized society, first expressed in Zhou Zuoren's call to adopt the English essay style, there are special local characteristics of the Chinese essay. How is the Chinese essay to determine culturally, what makes it “Chinese”? In the occidental essay the ''form'' seems to be a more important criterion of differentiation than in its Chinese counterpart. In China even those texts are included, which have only a similar content, but cross the borders of the formal generical framework. This can be shown with Cheng Ming-Lee, who subcategorises the “unfinished diary” or the “unfinished letter”.  Those texts belong - within the Western context - to texts of personal use and therefor to the non-fictional prose works.  Only after they have been altered into essays (Cheng Ming-Lee: “essay in diary form” and “essay in letter form,” see Cheng Ming-Lee), they are accepted as essays.&lt;br /&gt;
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周作人是第一个呼吁采用英语文风来体现全球化社会趋势的，除此之外，中文杂文还具有地方特色。 中文杂文如何在文化上定义，是什么让其更加“中国化”？ “形式”在西方杂文里，比在中文散文中，更为一个重要的区分标准。 在中国，甚至包括那些内容相似的文本，但都跨越了正式通用框架的边界。 程明利（Cheng Ming-Lee）将“未完成的日记”或“未完成的信件”分类，进而证明了这一点。这些文本在西方语境中属于个人使用的文本，因此属于非虚构的散文作品。 只有在将其改写之后，人们才称之为杂文。--[[User:Yang Ziling|Yang Ziling]] ([[User talk:Yang Ziling|talk]]) 01:44, 17 December 2020 (UTC)&lt;br /&gt;
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周作人是第一个呼吁采用英语文风来体现全球化社会趋势的，除此之外，中国散文还具有地方特色。从文化上来看，如何定义中国散文，是什么让其更加“中国化”？与中国散文相比，“形式”在西方散文中似乎是更为重要的区分标准。 在中国，甚至包括那些内容相似的文本，但都跨越了正式通用框架的边界。 程明利（Cheng Ming-Lee）将“未完成的日记”或“未完成的信件”分类，进而证明了这一点。这些文本在西方语境中属于个人使用的文本，因此属于非虚构的散文作品。 只有在将其改写之后，人们才称之为杂文。--[[User:Yang Yue|Yang Yue]] ([[User talk:Yang Yue|talk]]) 02:23, 17 December 2020 (UTC)&lt;br /&gt;
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==Yao Cheng 姚诚==&lt;br /&gt;
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This tendencial broader understanding of the essay in China can be traced back directly to the connotation, that the term ''sanwen'' possesses in Chinese: ''wú yùnwén''“non-rhythmic prose,” which originally meant all non-fictional prose.  In this broader meaning, also texts for personal or everyday use are included.  However I deal only with ''sanwen'' in the narrower meaning “short literary essay pieces”.&lt;br /&gt;
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Further differences are that Chinese essays often have ideological contents and show stylistic characteristics like repetitions and the usage of sayings.&lt;br /&gt;
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这种对中国论文的倾向性更广泛的理解可以直接追溯到“sanwen（散文）”一词的中文含义：“wúyùnwén（无韵文）”，“非韵律散文”，它最初是指所有非虚构的散文。 在这种更广泛的含义上，它还包括个人或日常使用的文本。 但是，我只用狭义的“散文”来处理“sanwen”。&lt;br /&gt;
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进一步的区别是，中国散文往往具有思想内涵，并表现出重复性和俗语性等风格特征。--[[User:Yao Cheng|Yao Cheng]] ([[User talk:Yao Cheng|talk]]) 13:46, 16 December 2020 (UTC)&lt;br /&gt;
在中国，这种对散文更广泛理解的趋势，可以直接追溯到“散文”一词在中文里所具有的内涵:“无韵文”“非韵律散文”，最初指的是所有非虚构的散文。在这个更广泛的意义上，个人或日常使用的文本也包括在内。但我说的“散文”只是狭义的“短篇小片段”。进一步的区别是，中国散文往往具有思想内容，并表现出重复、用语等文体特征。--[[User:XiaoXi|XiaoXi]] ([[User talk:XiaoXi|talk]]) 13:53, 16 December 2020 (UTC)Xiao Xi&lt;br /&gt;
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==Yao Jia 姚佳==&lt;br /&gt;
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'''1.2 I will describe the beginnings of the discovery of the essay.'''&lt;br /&gt;
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Despite the increase in essay writing from 1979 on, it took a decade for the first theoretical reflections on this phenomenon to appear. It took another decade before the international scholarship of Chinese Studies became aware of the phenomenon of the essay.  &lt;br /&gt;
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In the 1980s, Chinese scholarship made a first major approach to reflect on essay literature by writing essay histories and collecting papers, which concentrated first on the essayistic work of single authors like Lu Xun. Also two essay conferences in the 1990s showed no move towards international scholarship. Not before 1995 did international scholarship started to use common philological methods to explore single essayists (on Gaylord Leung [Liang Xihua] 梁錫華 Kubin 1995, on Wang Meng 王蒙 Woesler 1995, on Liu Zaifu 劉再復 Mansberg 1995 [unpublished]) or essays of groups (on 'Xīnyùe pài 新月派' Wagner 1996).&lt;br /&gt;
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'''1.2我将介绍发现散文的开端'''&lt;br /&gt;
从1979年开始，虽然散文写作增多，但却在十年之后才首次产生对这一现象的理论思考。又过了十年，国际汉学界才开始意识到散文现象。 &lt;br /&gt;
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20世纪80年代，中国学术界首次以撰写散文史和收集散文的方式对散文文学进行重大的反思，这些反思首先集中在鲁迅等个别作家的散文作品上。另外，90年代的两次散文会议也没有显示出国际学术研究的动向。1995年以后，国际学术界才开始使用共同的语言学方法来探讨单个散文家（关于梁漱溟[梁锡华] 库宾1995年，关于王蒙 沃斯勒1995年，关于刘再复 曼斯伯格1995年[未发表]）或群体散文家的散文（ 关于新月派 &amp;quot;瓦格纳 1996年）。--[[User:Yao Jia|Yao Jia]] ([[User talk:Yao Jia|talk]]) 07:53, 17 December 2020 (UTC)&lt;br /&gt;
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'''1.2我将介绍散文是如何开始发现的'''&lt;br /&gt;
尽管从1979年开始，散文作品有所增多，但对这一现象的理论反思却用了十年的时间才首次出现。又过了十年，国际汉学界才开始意识到散文现象。&lt;br /&gt;
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20世纪80年代，中国学术界首次以撰写散文史和散文集的方式对散文文学进行了重大的反思，这些反思首先聚焦于鲁迅等单一作者的散文作品上。另外，90年代的两次散文论坛也没有显示出朝国际学术研究发展的动向。直到1995年以后，国际学术界才开始使用普遍的文献方法来探讨单一散文家（关于梁漱溟[梁锡华]库宾1995年，关于王蒙 沃斯勒1995年，关于刘再复 曼斯伯格1995年[未发表]）或团体散文家的散文（关于新月派 &amp;quot;瓦格纳1996年）。--[[User:Yuan Yuchen|Yuan Yuchen]] ([[User talk:Yuan Yuchen|talk]]) 08:48, 19 December 2020 (UTC)&lt;br /&gt;
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==Yi Huan 易欢==&lt;br /&gt;
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Not before the second half of the 1990s, did a history of the Chinese essay using the means of Western philology appear (Woesler 1998). For the first time, the essay was included in Western anthologies of literature as a genre equal to fiction and poetry (''The Columbia Anthology of Modern Chinese Literature'' 1995, see Lau/Goldblatt, ''Modern Chinese Literary Thought'' 1996, see Denton).&lt;br /&gt;
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Regarding the valuing of essays in China, Taiwan and the West, there are regional differences: In the States, essays are often chosen according to Western taste and totally unknown authors are given as much space as established ones.  In Taiwan, Lu Xun has been banned for a long time, but today, in my survey, which Chinese essayists are printed the most in the 1990s, he ranks 16th.&lt;br /&gt;
直到90年代后半期，才开始用西方语言学的手段研究中国散文（吴莫汀 1998）。散文第一次作为与小说、诗歌同等的文体被收入西方文学选集（《哥伦比亚现代中国文学选集》1995，见劳/葛浩文 《中国现代文学思潮》1996，见丹东）。&lt;br /&gt;
中国台湾和西方对散文的重视存在着地区差异。在美国，人们往往按照西方人的口味来选择散文，完全不知名的作家和知名作家一样，都会得到同样多的篇幅。在台湾，鲁迅被雪藏了很久，而如今，在我所进行的关于90年代发行量最多的中国散文家排行榜中，鲁迅排行第16位。--[[User:Yi Huan|Yi Huan]] ([[User talk:Yi Huan|talk]]) 15:44, 17 December 2020 (UTC)&lt;br /&gt;
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直到90年代后半期，才开始用西方语言学的手段研究中国散文的历史（Woesler 1998）。散文第一次作为与小说、诗歌同等的文体被收入西方文学选集（《哥伦比亚现代中国文学选集》1995，见劳/葛浩文，《中国现代文学思潮》1996，见丹东）。&lt;br /&gt;
中国台湾和西方对散文的重视存在着地区差异。在美国，散文往往按照西方人的口味被人们选择，完全不知名的作家和知名作家一样，都会得到同样多的篇幅。在台湾，鲁迅被雪藏了很久，而如今，在我所进行的关于90年代发行量最多的中国散文家排行榜调查中，鲁迅排在第16位。--[[User:Yao Jia|Yao Jia]] ([[User talk:Yao Jia|talk]]) 03:13, 18 December 2020 (UTC)&lt;br /&gt;
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==Yi Zichu 义子楚==&lt;br /&gt;
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If one only take modern authors into account, he even ranks 12th.  Hong Kong literature on Yu Guangzhong has been censored by Huang Weiliang in favor for the first (see Lin Yaode, 50), and Wang Meng has been overestimated in the People’s Republic of China due to his political post.&lt;br /&gt;
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Still it remains a ''desideratum'' to get the most important Chinese essays in Western translation. Currently at least three essay collections in English translation are in the reviewing process (Tam King-Fai [announced]) or already published (Pollard 1999, Woesler 2000). Pollard's selection is a highly subjective and eclective choice of essays, covering even the premodern essay. Most of the contributors to the collection in hand met in 2000 on a first international conference on the essay.&lt;br /&gt;
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==You Yuting 游雨婷==&lt;br /&gt;
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In the years to come, a new ''Bonn History of Chinese Literature'' will grant the essay its proper place with two to three volumes only dedicated to the ''biji, youji'' and other essays.&lt;br /&gt;
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'''1.3 20th Century Development and Hindrances'''&lt;br /&gt;
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The topical development of political essays sees a shift from the enlightenment-educational essay, which emerged in 1907, to the daily-political essays in the 1920-30s, further to anti-Japanese propaganda in the 1940s and ideological propaganda in the 1950s and 1960s. In the 1980/90s, the discussion of politics of daily interest form a smaller part than in the 1920/30s. In the 1980s all genres including poems and essays were used for the critic against the master narrative of Communism or the Maoist understanding of art as serving ideology.&lt;br /&gt;
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在未来，新的《波恩中国文学史》将给这篇文章一个合适的位置，它将有两到三卷专供《比集》、《酉集》和其他文章的专供。&lt;br /&gt;
“1.3 20世纪的发展与阻碍”&lt;br /&gt;
政论散文的专题发展经历了一个从1907年启蒙教育散文到20世纪30年代日政散文的转变，再到20世纪40年代的抗日宣传和20世纪50、60年代的思想宣传。在20世纪80 - 90年代，日常兴趣政治的讨论比20 - 30年代要少。在20世纪80年代所有类型包括诗歌和散文为意识形态服务，被评论家用于反对关于共产主义的叙述或毛泽东主义的艺术理解。--[[User:You Yuting|You Yuting]] ([[User talk:You Yuting|talk]]) 13:39, 18 December 2020 (UTC)&lt;br /&gt;
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==Yu Ni 余妮==&lt;br /&gt;
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Whilst the 1980s saw a revival of political issues in terms of discussion on the best system of society, (also in literature in general and in film) to a mere unpolitical and again more philosophical-moral theme spectrum in the 1990s, where essayists define their role, first of all to counterpart the consume-orientation of the masses. (Yu Guangzhong's essay “The Wolves are Coming” shows that the ideological perspective did not only harm mainland essaywriting, see Yu Guangzhong 1977.) The essay seems to be the only genre in China which has kept its educatio-nal claim with the exception of essays which claim to be “art pourt l'art”.&lt;br /&gt;
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I mentioned the lack of translations in Western languages. One of the reasons might be the impression of some scholars that many of the Chinese essays were just propaganda.&lt;br /&gt;
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而在20世纪80年代，政治问题在关于最佳社会制度的讨论（也在一般文学和电影中）中复兴。到了20世纪90年代，散文家们重新定义了自己的角色，首先是与大众的消费取向相对应。（余光中的散文《狼来了》表明，意识形态的视角不仅仅破坏了大陆的散文创作，见余光中1977年）。这篇散文似乎是中国唯一一个保持其教育主张的体裁，除了那些号称“艺术的散文”。&lt;br /&gt;
我提到了缺乏西方语言的翻译。其中一个原因可能是一些学者的印象，认为许多中国散文只是宣传。--[[User:Yu Ni|Yu Ni]] ([[User talk:Yu Ni|talk]]) 03:17, 18 December 2020 (UTC)&lt;br /&gt;
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划词翻译&lt;br /&gt;
20 世纪 80 年代，在讨论社会的最佳制度时，政治问题又出现了复苏，(也包括在一般的文学和电影中) 在 20 世纪 90 年代变成了纯粹的非政治性和更具哲学性的-道德主题，在那里，散文家定义了他们的角色，首先是要与大众的消费取向相对应。余光忠的“狼来了”一文表明，意识形态的视角不仅损害了中国大陆的文学创作，参见余光中 1977 年的作品) 似乎是中国唯一保留其教育主张的体裁，但主张“艺术是艺术”的论文除外。&lt;br /&gt;
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我提到缺乏西方语言的翻译。其中一个原因可能是一些学者的印象，许多中国的文章只是宣传。--[[User:YangHui|YangHui]] ([[User talk:YangHui|talk]]) 08:50, 18 December 2020 (UTC)&lt;br /&gt;
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==Yuan Shiqi 袁诗琦==&lt;br /&gt;
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This might be true for the 1940s and even the 1950s, but nowadays this has changed, as the overwhelming majority of publications prove.  This demands a closer look: Since 1949, politically affirmative literature has been encouraged by the government, resulting in a statistical paradox: not the affirmative authors and their texts form the majority of the essayists read in the 1990s, but the critical essayists, whose texts oppose the order to serve politics through their apolitical, sometimes even defiant character.  In the 1990s, the texts of 1920s/1930s Republican China are still as often reprinted as their contemporary counterparts.  Obviously we can conclude that the politically affirmative essay of the 1950s only survived in special political essay collections and is no longer written by famous contemporary authors nor read by the Chinese audience in the beginning of the 21st century.&lt;br /&gt;
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在20世纪40年代甚至50年代，这可能是真的，但如今，正如绝大多数出版物所证明的那样，情况已经改变了。这需要更仔细的观察:自1949年以来,在政治上积极的文学一直在政府的鼓励下,导致了统计上的悖论:在20世纪90年代的散文家中，大多数人不是持肯定态度的作者而是持批判态度的散文家，他们的文章是非政治的、有时甚至带有挑衅特征，以此来反对为政治服务的秩序。在20世纪90年代，中华人民共和国二三十年代的文本仍然和当代中国的文本一样被重印。显然，我们可以得出这样的结论:20世纪50年代的政治肯定随笔只存在于特殊的政治随笔集中，在21世纪初，当代著名作家的作品和中国读者的阅读都将不复存在。--[[User:Yuan SHiqi|Yuan SHiqi]] ([[User talk:Yuan SHiqi|talk]]) 01:22, 17 December 2020 (UTC)&lt;br /&gt;
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==Yuan Tianyi 袁天翼==&lt;br /&gt;
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In restrictive regimes, where freedom of speech is not guaranteed, people still have different political ideas.  To speak out directly is unhealthy, so in these countries people use art to express their differences. The most direct way of expressing political ideas in art is literature.  To trick the censors, one must find indirect ways of expression.  In an exhibition of ''Tendency Quarterly'', 16 banned Chinese magazines were displayed.  Most of the magazines choose the poem as their favorite form to express political thoughts.  After having been banned, some magazines went abroad and now are published in exile.  The internet has added a number of underground magazines, which are available also inside mainland China.  In the last years of the 20th century, one can find an increase of essays in these magazines. This might be a hint, that the authors dare to speak out more directly.&lt;br /&gt;
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在限制体制下，言论自由得不到保障，人们仍然有不同的政治观点。直接说出来是不健康的，所以在这些国家，人们用艺术来表达他们的差异。艺术中表达政治思想最直接的方式是文学。要骗过审查者，人们必须找到间接的表达方式。在“趋势季刊”展览中，展出了16本被禁的中文杂志。大多数杂志选择诗作为他们最喜欢的表达政治思想的形式。在被禁之后，一些杂志社搬到了国外，现在以流亡的方式出版。互联网增加了地下杂志数量，这些杂志也可以在中国大陆境内阅读。在20世纪的最后几年里，人们可以在这些杂志上发现散文数量越来越多了。这可能是一个暗示，暗示作者敢于更直接地表达出来。--[[User:Yuan Tianyi|Yuan Tianyi]] ([[User talk:Yuan Tianyi|talk]]) 02:23, 17 December 2020 (UTC)&lt;br /&gt;
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==Yuan Yuchen 袁雨晨==&lt;br /&gt;
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The topical development of the unpolitical essay starts with the everyday-topics of Zhu Ziqing (“On Dreams,” see Zhu Ziqing 1928c) and Zhou Zuoren from 1917 (''My Own Garden'' 1923, “The Fly” 1924, “Reading on the Toilet” 1936), with a caesura 1927, when the political essays became the main stream, until the late 1930s, when the unpolitical essay was eliminated totally by the anti-Japanese movement. It didn't recover until the 1970s, when life turned back to normality and normal things became topics of interest because of their long absence. Again in the 1990s, the unpolitical essay boomed also due to less interest in political issues and the need for a new orientation in the new found world of mass consumerism.&lt;br /&gt;
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非政治性散文在话题上的发展开始于1917年，当时朱自清（见朱自清1928年《说梦》）和周作人（1923年《自己的园地》、1924年《苍蝇》、1936年《在马桶上读书》）谈论的是日常话题，到1927年尾声，政治性散文成为主流，30年代末，非政治性散文在抗日运动中彻底淘汰。直到20世纪70年代，生活步入常态化，这一时期长期不受关注的日常事物反而成为了人们感兴趣的话题，非政治性散文由此得以恢复。同样在90年代，也由于人们对政治问题不怎么感兴趣，加上在大众消费主义的新世界中需要全新的定位，非政治性散文蓬勃发展起来。--[[User:Yuan Yuchen|Yuan Yuchen]] ([[User talk:Yuan Yuchen|talk]]) 08:39, 19 December 2020 (UTC)&lt;br /&gt;
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==Zeng Fangyuan 曾芳缘==&lt;br /&gt;
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'''2. Actors: Lu Xun, Zhu Ziqing, Ba Jin, Wang Zengqi, Yu Guangzhong'''&lt;br /&gt;
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Who were the major players in the Chinese essayism of the 20th century?&lt;br /&gt;
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Here is not the place to recount the struggle, which many of the today well-known heroes of the May-Fourth Movement had to establish their literary values and narrative. Unlike today, at that time the authors were also editors and publishers of magazines and therefore had a strong position in the cultural field.&lt;br /&gt;
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One thinks first of Lu Xun, who invented a sharp, polemic subgenre for daily-political use, the ''zawen''. In his own, broad understanding of ''zawen'', it could contain poems, short stories, drama etc. From a genial writer of short stories, he turned to ''zawen'' for the rest of his life, leaving behind a legacy of more than 700 essays.&lt;br /&gt;
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'''2、参与成员：鲁迅、朱自清、巴金、汪曾祺、余光中'''&lt;br /&gt;
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20世纪中国散文的主要参与者是谁？&lt;br /&gt;
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这里不是叙述谁于争雄的地方，而当今许多著名的五四英雄人物必须确立自己的文学价值观和叙事方式。与现在不同的是，当时的作者同时也是杂志的编辑和出版商，因此在文化领域有着很强的地位。&lt;br /&gt;
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人们首先想到的是鲁迅，他发明了一种尖锐的、具有争议性的日常政治用的亚体裁，即''杂文''。在他自己对''杂文''的广泛理解中，它可以包含诗歌、短篇小说、戏剧等。他从一名亲切的短篇小说作家转向了一名撰写''杂文''的作家，留下了700多篇文章。--[[User:Zeng Fangyuan|Zeng Fangyuan]] ([[User talk:Zeng Fangyuan|talk]]) 08:02, 17 December 2020 (UTC)&lt;br /&gt;
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'''2. 参与者：鲁迅、朱自清、巴金、汪曾祺、余光中'''&lt;br /&gt;
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20世纪中国散文的主要人物有哪些?&lt;br /&gt;
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这里不会讲述这场斗争，当今许多著名的五四运动英雄不得不建立他们的文学价值和叙事。与当今不同的是，当时，作者同时也是杂志的编辑和出版人，因此在文化领域有很高的地位。&lt;br /&gt;
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人们首先想到的是鲁迅，他为日常政治生活创造了一个尖锐的、争论不休的亚文体——''杂文''。在他广义理解中，''杂文''包括诗歌、短篇小说、戏剧等。他从一个和善的短篇小说作家，转向成为《杂文》作家，终其一生，留下700多篇散文。--[[User:Kang Lingfeng|Kang Lingfeng]] ([[User talk:Kang Lingfeng|talk]]) 10:30, 17 December 2020 (UTC)&lt;br /&gt;
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==Zeng Liang 曾良==&lt;br /&gt;
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During his lifetime, with his sharp attacks, he was the most known essayist. But these essays were of daily-political interest only and are seldom read today. Analysis reveals now that he stills stays the most often read essayist until the end of the 20th century. Not his ''zawen'', but the following reminiscences and lyrical essays remain until the end of the century in the top-ten list of essays: “Autumn Night” (Lu Xun 1925b), a lyrical essay from ''Wild Grass'', in “Mr. Fujino” (Lu Xun 1926c), Lu Xun remembers his Japanese teacher, in “The Kite” (Lu Xun 1925a) he remembers how he hurted his younger brother's feelings once, and “From Hundred Plant Garden to Three Flavour Study” (Lu Xun 1926b), which recounts his childhood experience also with classical literature.&lt;br /&gt;
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在他的一生中，他以尖锐的攻击力成为最著名的散文作家。但是他的这些散文仅仅是处于日常的政治兴趣，在今天很少有人阅读。分析表明，到20世纪末，他的作品仍然是阅读得最多的。直到本世纪末，保留下来的并非是他的杂文，而是以下的回忆录和抒情散文：《野草》中的一篇抒情散文《秋夜》（鲁迅 1925），在《藤野先生》（鲁迅 1926）中，鲁迅仍然记得他的日语老师，在《风筝》（鲁迅 1925）中，鲁迅记得他曾经是如何伤害他的弟弟的，在《从百草园到三味书屋》（鲁迅 1926）中，鲁迅叙述了他的童年经历和经典文学。--[[User:Zeng Liang|Zeng Liang]] ([[User talk:Zeng Liang|talk]]) 01:02, 20 December 2020 (UTC)&lt;br /&gt;
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在他的一生中，凭借尖锐的抨击，他成为最著名的作家。但他的文章都是与时政相关，在今天很少有人读了。分析表明，直到20世纪末，他的作品依旧最受欢迎。二十世纪末阅读量排行榜前十的不是他的《杂文》，而是以下回忆录和抒情随笔:《秋夜》(鲁迅1925)--一篇《野草》中的抒情随笔、《藤野先生》(鲁迅1926)--他还记着自己的日本老师、《风筝》(鲁迅1925)中--他记得他曾经怎样伤害过弟弟的感情、《从百株园到三味书房》(鲁迅1926)--这篇也同样以古典文学的方式叙述了其童年经历。--[[User:Wei Honglang|Wei Honglang]] ([[User talk:Wei Honglang|talk]]) 14:23, 20 December 2020 (UTC)&lt;br /&gt;
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==Zeng Xinyuan 曾心媛==&lt;br /&gt;
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The other most often printed essays are from Republican or modern times: The first is “The Back View” (Zhu Ziqing 1928b). With his whole work, this author ranks shortly behind Lu Xun. From this and other essays one can derive the criteria for essay best sellers in the P.R. of China: In “The Back View,” filial piety is the driving factor, parallelistic and repetitive structures in atmospherical nebulous the  “The Moonlit Lotus Pond” (Zhu Ziqing 1927), also written by Zhu Ziqing, whose style easily may seem mannerist to the Western reader. In “Splashing Oars and Lantern Light on the Qinhuai River” (Zhu Ziqing 1924) the author describes a beautiful landscape and makes ancient customs alive again. Nostalgic home feelings are the emotional identification element in “Wild Vegetables of My Home Region” (Zhou Zuoren 1925).&lt;br /&gt;
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其它最频繁出版的散文多写于民国或当代：首先是《背影》（朱自清1928）。因为这整部作品，朱自清曾短暂地名列鲁迅之后。人们可由此及其它散文看出中华人民共和国对散文畅销书的评判标准：在《背影》中，孝是推动故事发展的因素，在朱自清另一部散文《荷塘月色》中，气氛朦胧，排比反复，这种风格在西方读者看来也许是有些矫揉造作的。在《桨声灯影里的秦淮河》里（朱自清1924），作者描绘了一副优美风光，再现传统风俗。怀乡情绪则是《故乡的野菜》（周作人1925）中极具辨识度的感情色彩。--[[User:Zeng Xinyuan|Zeng Xinyuan]] ([[User talk:Zeng Xinyuan|talk]]) 02:56, 21 December 2020 (UTC)&lt;br /&gt;
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==Zeng Yanhu 曾雁湖==&lt;br /&gt;
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Yu Guangzhong is represented in this list with the nostalgic “Listening to the Cold Rain” (Yu Guangzhong 1974). In Ba Jin's most often reprinted essay “In Memoriam of Xiao Shan” (Ba Jin 1979b) he remembers his wife. &lt;br /&gt;
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Works of authors who decided to serve an ideology are far less often reprinted than the eight authors found to be leading: Mao Dun and Guo Moruo (rank 15) are mentioned in the average as seldom as Lu Xun in Taiwan and Yang Shuo (ranks 30) appears only half as often.&lt;br /&gt;
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Therefore one can state, that unpolitical, moving essays form the top.&lt;br /&gt;
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For a list of the 36 most often (re)printed essayists, and the top 59 essays please see the mentioned monograph (Woesler 1998b).&lt;br /&gt;
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余光中因其怀旧散文《听听那冷雨》（余光中 1974）而榜上有名。在巴金最常被转载的散文《怀念肖珊》(巴金 1979b）中，他追忆了他的妻子。&lt;br /&gt;
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决定为某种意识形态服务的作家的作品被转载的次数远远少于处于领先地位的八位作家：茅盾和郭沫若（排名15位）在台湾被提及的平均数与鲁迅一样少，而杨朔（排名30）的出现频率仅为一半。&lt;br /&gt;
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因此，我们可以说，非政治性的、感人的文章占据了榜首。&lt;br /&gt;
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有关36个最常（重新）印刷的散文家和排名前59位的散文家的列表，请参见所提到的专着（Woesler 1998b）。--[[User:Fancy|Fancy]] ([[User talk:Fancy|talk]]) 03:35, 18 December 2020 (UTC)&lt;br /&gt;
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余光中因其怀旧散文《听听那冷雨》（余光中 1974）而榜上有名。在巴金最常被转载的散文《怀念肖珊》(巴金 1979b）中，他追忆了他的妻子。&lt;br /&gt;
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决定为某种意识形态服务的作家的作品被转载的次数远远少于处于领先地位的八位作家：茅盾和郭沫若（排名15位）在台湾被提及的平均数与鲁迅一样少，而杨朔（排名30）的出现频率仅为一半。&lt;br /&gt;
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因此，我们可以说，非政治性的、感人的文章囊获了榜首。&lt;br /&gt;
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有关36个最常（重新）印刷的散文家和排名前59位的散文家的列表，请参见所提到的专着（Woesler 1998b）。--[[User:You Yuting|You Yuting]] ([[User talk:You Yuting|talk]]) 13:41, 18 December 2020 (UTC)&lt;br /&gt;
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==Zhang Hu 张虎==&lt;br /&gt;
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The huge number of essays and essayists offer many possibilities for intertextual and intersubjective comparison, out of which only some thoughts can be indicated here due to lack of space. They might stimulate further analytic works. Lu Xun, Zhou Zuoren and Zhu Ziqing wrote about the same occasion, the massacre on March 18, 1926 quite differently. Zhu Ziqing attacks the government directly and promises it a soon collapse (“Report of the Government’s Great Massacre,” Zhu Ziqing [1926]). Lu Xun described the massacre in an unctuous chant instead (“Jinian Liu Hezhen jun” Lu Xun 1926a), and Zhou Zuoren bitter-humorously in his essay “Different Ways to Die” (Zhou Zuoren 1926).&lt;br /&gt;
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Different ways of coming into terms with the 'Cultural Revolution' we can see in the essays of Ba Jin, Bing Xin, and Wang Meng: Ba Jin enlucidated unsparingly to the extend of self-accusation (Ba Jin 1979a).&lt;br /&gt;
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大量的散文和散文家为互文性和主体间性的比较提供了许多可能性，但由于篇幅有限，这里只能表达一些想法。它们可能激发进一步的分析工作。鲁迅、周作人、朱自清对同一事件——1926年3月18日的大屠杀——的描写则截然不同。朱自清直接攻击了政府，并断定它很快就会崩溃(朱自清《政府大屠杀报告》[1926])。鲁迅用虚情假意的歌谣(《纪年刘和真君》鲁迅1926a)描述了这次大屠杀，而周作人则在他的散文《不同的死法》(周作人1926)中诙谐而辛辣地描写了这次大屠杀。&lt;br /&gt;
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从巴金、冰心、王孟等人的文章中，我们可以看到巴金对“文化大革命”的几种不同的看法:巴金的狂热达到了自我谴责的程度(巴金1979a)。--[[User:Blank|Blank]] ([[User talk:Blank|talk]]) 13:43, 16 December 2020 (UTC)&lt;br /&gt;
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大量的散文和散文家为互文性以及主体间性的对比提供了多种可能性。但由于篇幅有限，这里只能展示一部分想法。它们或许能够激发进一步的分析作业。鲁迅、周作人和朱自清都描写过同一场景，1926年3月18日的大屠杀，但是描绘的手法不尽相同。朱自清正面攻击政府，并断定它不久就会垮台（《执政府大屠杀记》朱自清 1926）。而鲁迅用谄媚的诗歌描述了这次大屠杀（《几年刘和珍君》 鲁迅 1926a)，周作人在他的散文《不同的死法》以幽默而苦涩的手法描写了这次大屠杀。&lt;br /&gt;
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从巴金、冰心、王蒙的散文中，我们可以看到，巴金对“文化大革命”有着不同的理解方式：巴金不遗余力地自我谴责（巴金1979a）。--[[User:Fancy|Fancy]] ([[User talk:Fancy|talk]]) 07:38, 18 December 2020 (UTC)&lt;br /&gt;
大量的散文和散文家为互文性和主体间性的比较提供了许多可能性，但由于篇幅有限，这里只能表达一些想法。它们可能激发进一步的分析工作。鲁迅、周作人、朱自清对同一事件——1926年3月18日的大屠杀——的描写则截然不同。朱自清直接攻击了政府，并断定它很快就会崩溃。而鲁迅用谄媚的诗歌描述了这次大屠杀（《纪念刘和珍君》 鲁迅 1926a)，周作人在他的散文《不同的死法》以幽默而苦涩的手法描写了这次大屠杀。--[[User:Zhang Peiwen|Zhang Peiwen]] ([[User talk:Zhang Peiwen|talk]]) 08:58, 18 December 2020 (UTC)&lt;br /&gt;
从巴金、冰心、王蒙的散文中，我们可以看到，巴金对“文化大革命”有着不同的理解方式：在自我批评方面，巴金对自己毫不手软。--[[User:Zhang Peiwen|Zhang Peiwen]] ([[User talk:Zhang Peiwen|talk]]) 08:58, 18 December 2020 (UTC)&lt;br /&gt;
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==Zhang Hui 张慧==&lt;br /&gt;
&lt;br /&gt;
Wang Meng dealed with it humorously (Wang Meng 1980), Bing Xin tried to pretend continuity by naming her works after the 'Cultural Revolution' with the same titles as before: The successful collections ''Letter to the Children'' (Bing Xin 1931), and ''Letter to the Children, vol. 2'' containing texts since 1958, were followed by ''Letter to the Children, vol. 3 ''with texts since 1978. In her “Autobiographical Notes” (Bing Xin 1982) she simply skips the 'Cultural Revolution'.&lt;br /&gt;
&lt;br /&gt;
A trip in early August 1923 (Mei/Wu, 46) with Yu Pingbo to the Qinhuai river, which Zhu knew from an earlier visit (Chen Xiaoquan, 68), inspired both to write in the same year at the age of about 24 and 26 an essay with the title “Splashing Oars and Lantern Light on the Qinhuai River” (Zhu Ziqing dated 10/11, 1923, Yu Pingbo dated 8/22, 1923, jointly published in ''Eastern Miscellany''), an English translation by Hu Shiguang can be found in ''Chinese Literature'' 1 (Spring 1988) Yu 162-172, and Zhu 173-182 resp. Zhu Ziqing and Yu Pingbo continue here a tradition of Chinese poets, writing poems on a common experienced journey to compete with each other. I found, that Zhu Ziqing's essays is more persuading.&lt;br /&gt;
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王萌幽默地处理了这一问题（王萌1980），冰心试图通过在&amp;quot;文化大革命&amp;quot;后用与以前相同的标题命名自己的作品来假装连续性：成功收藏了《给儿童的信》（冰心1931） ）和“给孩子的信，第一卷， 2”（包含自1958年以来的文字），其次是“给孩子的信”（第一卷）,3”自1978年以来一直使用文字。在她的“自传笔记”（Bing Xin 1982）中，她只是跳过了“文化大革命”。&lt;br /&gt;
&lt;br /&gt;
朱元培在1923年8月上旬（梅/吴，46岁）与秦淮河的一次旅行（陈小泉，68岁）认识了秦淮河，这激发了双方在同年24岁左右写诗的初衷。 26一篇题为“在秦淮河上泼桨和灯笼光”的文章（朱自清1923年10月11日，于平波1923年8月22日，在《东方杂记》上共同出版），英文翻译胡世光的著作可以在《中国文学》 1（1988年春季）中找到Yu 162-172和Zhu 173-182。朱自清和余平伯在这里延续了中国诗人的传统，在经历了共同竞争的共同经历中创作了诗歌。我发现朱自清的论文更具说服力。--[[User:Zhang Hui|Zhang Hui]] ([[User talk:Zhang Hui|talk]]) 02:22, 17 December 2020 (UTC)&lt;br /&gt;
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王蒙幽默地处理了这一问题（王蒙1980），冰心试图以'文革'后的作品命名，标题与以前相同，以假装连续性。成功的作品集《给孩子们的信》（冰心1931年）和《给孩子们的信，第二卷》收录了1958年以来的文字，随后又出版了《给孩子们的信，第三卷》，收录了1978年以来的文字。在她的《自述》（冰心1982）中，她干脆跳过了'文革'。&lt;br /&gt;
&lt;br /&gt;
1923年8月上旬（梅/武，46）与俞平伯到秦淮河游玩，朱自清早年曾到过秦淮河（陈孝全，68），激发了两人的灵感，两人在同年分别约24岁和26岁时写了一篇题为《秦淮河上的溅桨和灯火》的文章（朱自清10/11。1923年，俞平伯日期为1923年8月22日，合刊于''东方杂记''），胡世光的英译本见''中国文学''1（1988年春）俞162-172，朱173-182 resp。朱自清和俞平伯在这里延续了中国诗人的传统，在共同经历的历程中写诗，互相竞争。我发现，朱自清的文章更有说服力。--[[User:Zhao Xiaoyan|Zhao Xiaoyan]] ([[User talk:Zhao Xiaoyan|talk]]) 03:07, 17 December 2020 (UTC)&lt;br /&gt;
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==Zhang Ling 张玲==&lt;br /&gt;
&lt;br /&gt;
Wang Meng, Jia Pingwa and others wrote essays entitled “Falling leaves” (Jia Pingwa 1981, Wang Meng 1989) on the transitoriness of life in the allegory of falling leafs. It is interesting and surprising to discover the similarity between  a, the differences between the description and interpretation of the falling leaves and  b, the differences between the different authors' self-understanding and philosophy. One may compare essays entitled “On dreams” with 58 years difference in their origin (Zhu Ziqing 1928c, Bing Xin 1986). Moreover it is interesting to compare conceptions of essayism as we can see in Lu Xun's theory of “emerging” and “blossoming” and Zhou Zuoren's theory of the synthesis of the gongan school and the English essay.&lt;br /&gt;
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王蒙、贾平凹等人共同撰写了《落叶集》(贾平凹1981、王蒙1989)，论述落叶寓言中生命的短暂。对落叶的描述与解读之间存在的差异以及不同作家的自我理解与人生哲学的差异，这两者之间竟然发现有相似之处，实在令人惊喜。人们可以将《论梦》这篇散文与有58年历史的渊源差异作比较（朱自清1928c，冰心1986）。此外，比较鲁迅的“兴”与“花”与周作人的“公安派”与“英语散文”的综合理论中的散文主义概念，是很有意思的。--[[User:Zhang Ling|Zhang Ling]] ([[User talk:Zhang Ling|talk]]) 02:11, 18 December 2020 (UTC) &lt;br /&gt;
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王蒙、贾平凹等人共同撰写了《落叶集》(贾平凹1981、王蒙1989)，在落叶寓言中阐述生命的短暂。对落叶的描述与解读之间存在的差异以及不同作家的自我理解与人生哲学的差异，这两者之间竟然发现有相似之处，实在令人惊喜。人们可以将《论梦》这篇散文与有58年历史的渊源差异作比较（朱自清1928c，冰心1986）。此外，比较鲁迅的“兴”与“花”与周作人的“公安派”与“英语散文”的综合理论中的散文主义概念，也十分有趣。--[[User:Zeng Xinyuan|Zeng Xinyuan]] ([[User talk:Zeng Xinyuan|talk]]) 03:15, 21 December 2020 (UTC)&lt;br /&gt;
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==Zhang Peiwen 张佩闻==&lt;br /&gt;
&lt;br /&gt;
'''3.Trends&lt;br /&gt;
&lt;br /&gt;
3.1 The essay as a snapshot of contemporary thoughts'''&lt;br /&gt;
&lt;br /&gt;
What is the state of contemporary essay writing in China? Its position should be brought into its proper relationship to recent approaches, perspectives and terms of categorization, like post-modernist elements, post-colonial thinking, deconstructivism etc.&lt;br /&gt;
&lt;br /&gt;
The increase of the essay production after the ‘Cultural Revolution’ might be explained with the ability of the essay, to express personal experiences much more authentically than other genres because of its immanent claim of historical truth.  But the essay is not a guarantee for objective truth: In the same time it is subjective, the essayist mediates his image consciously.  This restricts the reported truth to a subjective one and bears the risk of a wilfully “corrected” truth.&lt;br /&gt;
3.潮流与趋势&lt;br /&gt;
“中国当代散文写作的现状如何?”&lt;br /&gt;
它的地位应该与后现代主义元素、后殖民主义思维、解构主义等最近的分类方法、视角和术语恰当地联系起来。&lt;br /&gt;
“文革”后散文增多，因为原因有两点：1.散文比其他文体更真实地表达个人经历的能力 2.它对历史真理的内在诉求。&lt;br /&gt;
但散文并不是客观真实的保证:它同时具有主观性，作者有意识地对自己的形象进行调整。&lt;br /&gt;
这就会导致所报道的真相只能是主观的，防止有人故意“篡改”真相。--[[User:Zhang Peiwen|Zhang Peiwen]] ([[User talk:Zhang Peiwen|talk]]) 08:52, 18 December 2020 (UTC)&lt;br /&gt;
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3.趋势&lt;br /&gt;
3.1作为当代思想的快照的散文&lt;br /&gt;
中国当代散文创作的现状如何？它的定位应与后现代主义、后殖民主义、解构主义等现代理论方法、视角和术语保持适当的联系。&lt;br /&gt;
&lt;br /&gt;
“文革”后散文产量的增加，这可以用散文的能力来解释，因为它具有内在的历史真理诉求，比其他文体更真实地表达个人经历。但散文并不是客观真实的保证，同时它也是主观的，散文作者有意识地调整自己的形象。这就把报道的真相限制在主观上，并承担着故意“修正”真相的风险。--[[User:Zhou Luoping|Zhou Luoping]] ([[User talk:Zhou Luoping|talk]]) 06:55, 19 December 2020 (UTC)&lt;br /&gt;
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==Zhang Qi 张琪==--[[User:Zhangqi|Zhangqi]] ([[User talk:Zhangqi|talk]]) 05:53, 20 December 2020 (UTC)&lt;br /&gt;
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The individualism of the Republican era has been based on the common feeling to stand at a historical turning point and directed towards common targets like the creation of a New Literature and a new Chinese society.  In the 1980s and especially in the 1990s, individualism asks for a critical reflection on the satisfaction of personal consumption needs and tries to give personal orientation, essayists plead for moral virtues (“Serene” Wang Meng 1992, “First make your own things in a good way” Wang Meng 1994). These essays, mainly published in newspapers and magazines, are widely read by people in the rapidly changing, anonymous, alienating and consume-oriented mass cultural society.&lt;br /&gt;
&lt;br /&gt;
共和时代的个人主义建立在站在历史转折点上的共同感觉的基础上，并朝着共同目标发展，例如创建新文学和新中国社会。 在1980年代，尤其是1990年代，个人主义要求对个人消费需求的满足进行批判性思考，并试图赋予个人取向，散文学家呼吁道德美德（“ Serene” Wang Meng 1992，“首先用自己的东西制造自己的东西）。 好方法”（王萌，1994年）。 这些论文主要发表在报纸和杂志上，在瞬息万变，匿名，疏远和消费导向的大众文化社会中被人们广泛阅读。&lt;br /&gt;
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==Zhang Weihong 张维虹==&lt;br /&gt;
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Other essays in the 1980s and 1990s are in a kind of new subjectivism targeted away from contemporary contradictions but apply to the feelings of the audience by creating an either positive (“Shanxi Opera,” Jia Pingwa 1984) or negative world (“The Nightmare,” Si Yu 1995).&lt;br /&gt;
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'''3.2 The essay as the genre of the giddy-paced nature of society, individuality, socio-political discussions, de-ideologization, everyday's profaneity and banality'''&lt;br /&gt;
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From the essay, we can see contemporary ''trends of literature'', which are also reasons for the increase in volume of this genre in the 1990s:&lt;br /&gt;
&lt;br /&gt;
-The giddy-paced nature of current Chinese society with its demands for diverting and short texts: “[...] we live in an age of exposition” (Hall, xiii);&lt;br /&gt;
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20世纪80，90年代的其他杂文则是一种新的主观主义，以摆脱当代矛盾为目标，而是通过创造一个积极的世界（贾平凹1984年的《山西戏曲》)或消极的世界（司宇1995年的《噩梦》)来迎合观众的感受。&lt;br /&gt;
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''3.2作为社会，个性，社会政治讨论，去意识形态化，日常的亵渎和平庸的轻快节奏的性质的文章的体裁''&lt;br /&gt;
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从这篇文章中，我们可以看到当代的“文学思潮”，这也是90年代这一体裁数量增加的原因:&lt;br /&gt;
&lt;br /&gt;
--当下中国社会节奏急促的本质，以及它对转移性和短小文本的要求:...]我们生活在一个博览会的时代&lt;br /&gt;
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==Zhang Xueyi 张雪仪==&lt;br /&gt;
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-The increasing consciousness of individuality for which the essay is the most direct form of subjective expression, even more direct than the poem with its metrical and formal demands; &lt;br /&gt;
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-A revival of interest in discussing social-political issues through the medium of the essay, as was the case in the 1920s/30s.&lt;br /&gt;
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-The banality of everyday life becomes conscious through becoming a literary topic, most commonly in the genre of everyday life, the essay.&lt;br /&gt;
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-The De-ideologization of Chinese society. Today not the governmentally demanded affirmative texts stand at the forefront, but unpolitical essays, mostly dating from the Republican era, especially from the years 1923 to 1928.  This observation is supported by the results of the mentioned statistical analysis.  The mostly read political essays after 1949 are critical essays. For example Ba Jin complains in “Remembering Xiao Shan” (Ba Jin 1979b) about the death of his wife in the 'Cultural Revolution'.&lt;br /&gt;
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- 散文是个性意识增强的最直接的主观表达形式，甚至比具有韵律和形式要求的诗歌更直接；&lt;br /&gt;
- 通过散文重新唤起人们对讨论社会政治问题的兴趣，如20世纪20年代或30年代。&lt;br /&gt;
- 因成为文学话题，日常生活的平庸性变得有意识，最常见的是日常生活文体——散文。&lt;br /&gt;
- 中国社会的去意识形态化。今天，不是政府要求的肯定性文本，而是非政治性的散文在最前面，大多可以追溯到共和党时代，特别是1923年至1928年。这一观察结果得到上述统计分析结果的支持。1949年以后，人们阅读最多的政治散文是批评散文。例如巴金在《追忆萧山》（巴金1979）中控诉妻子在“文化大革命”中去世。&lt;br /&gt;
&lt;br /&gt;
- 散文是个性意识增强的最直接的主观表达形式，甚至比具有韵律和形式要求的诗歌更直接；&lt;br /&gt;
&lt;br /&gt;
-通过这篇文章唤起人们对讨论社会政治问题的关注，如20世纪20年代或30年代的情况。&lt;br /&gt;
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-日常生活的平庸通过成为一个文学主题而变得有意识，最常见的是日常生活的体裁——散文。&lt;br /&gt;
&lt;br /&gt;
中国社会的去意识形态化。今天，不是政府要求的肯定性文本站在最前面，而是非政治性的文章，大多可以追溯到共和党时代，特别是1923年至1928年。这一观察结果得到上述统计分析结果的支持。1949年以后，人们阅读最多的政治论文是批评文章。1949年以后，人们阅读最多的政治散文是批评散文。例如巴金在《追忆萧山》（巴金1979）中控诉妻子在“文化大革命”中去世。--[[User:Zhou Shuyao|Zhou Shuyao]] ([[User talk:Zhou Shuyao|talk]]) 06:31, 19 December 2020 (UTC)&lt;br /&gt;
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==Zhang Yinliu 张银柳==&lt;br /&gt;
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-Regarding the compiling of essay collections: For the most often selected essays in the People’s Republic, Taiwan and Hong Kong, moral and aesthetic criteria seem to have underlain. This is a sign of the increasing independence of the editors of essay anthologies from governmental or ideological handicaps, and for the increasing commercialization of the publishing houses with an orientation toward customers (former: “readers”). &lt;br /&gt;
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-In the latter half of the 1990s, the master narrator himself seems to be lost within the subjectivity of in-dividuals and everyday's profaneity and banality of a more and more formally organized but substantially empty citylife. Time loses worth, since more and more of the daily acctivities are filled with mechanical and autistic actions.&lt;br /&gt;
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-关于散文集的编辑：对于中华人民共和国，台湾和香港最常被选的散文，道德和审美标准似乎已成为基础。 这表明论文选集的编辑越来越独立于政府或意识形态的障碍，而且出版社的商业化也越来越着眼于客户（前身为“读者”）。&lt;br /&gt;
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-在1990年代后半期，主叙述者本人似乎迷失于个人的主观性以及日常的亵渎和平庸，以及越来越正式化但基本上空虚的城市生活。 时间浪费了价值，因为越来越多的日常活动充满了机械和自闭症的行为。&lt;br /&gt;
--[[User:Zhang Yinliu|Zhang Yinliu]] ([[User talk:Zhang Yinliu|talk]]) 03:20, 21 December 2020 (UTC)&lt;br /&gt;
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==Zhang Yu 张瑜==&lt;br /&gt;
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In the 1990s, the essayistic culture of political criticism of the 1980s has vanished, the only political replique is the patriotism, for example expressed in the 1996 published monograph ''China can say no! – Possibilities for politics and emotions in the period after the cold war'' (see China can say no!).&lt;br /&gt;
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The reason that we do not find post-modernist essays in the sense of post-modernist fiction lies in the directness of the essay: The essay as a genre is a chat between author and reader and not an object d'art which wants to give cause for different interpretations or which would depend on exceptional form or contents or even quotations of pre-modern characteristics in order to make it an distinguishable object d'art. Also trends like the use of ordinary language, which one finds in novels since 1993 (Feidu, Jia Pingwa 1993; ''Ying'er'', Gu Cheng 1993) and ''New Borderlessness''  since 1995, cannot be proven in the essaywriting.&lt;br /&gt;
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20世纪90年代，80年代受到政治批评的散文文化已经消失，唯一留下的政治产物是爱国主义。例如，1996年出版的专著《中国可以说不——冷战后时代的政治与情感抉择》（见于《中国可以说不》）。&lt;br /&gt;
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从后现代主义小说的角度来看，我们找不到后现代散文的原因就是散文具有直接性。散文作为一种文体，是沟通作者和读者的桥梁，而不是一种艺术对象。通常艺术对象指企图引起不同的解读，或依靠独一无二的形式或内容，甚至引用前现代主义的特点使其成为一种独特的艺术对象。另外，1993年出版的小说《废都》（贾平凹 1993年）、《英儿》（顾城 1993年）以及1995年出版的《新无界》，作者在这些作品中日常语言的使用趋势在散文写作中也未得到体现。--[[User:Zhang Yu|Zhang Yu]] ([[User talk:Zhang Yu|talk]]) 14:18, 17 December 2020 (UTC)&lt;br /&gt;
到20世纪90年代，80年代政治批评的散文文化已经式微，唯一留下的政治产物就是爱国主义。……我们之所以没有在后现代小说意义上找到后现代主义论文的原因在于散文的直接性：散文是一种作者与读者之间对话的体裁，而不是一种引起不同解读的艺术体，也不是依赖于独一无二的形式或内容，甚至是为使本身变得独特而引用前现代主义特征的艺术对象。……--[[User:Li Yongshan|Li Yongshan]] ([[User talk:Li Yongshan|talk]]) 16:04, 19 December 2020 (UTC)&lt;br /&gt;
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==Zhang Yujie 张毓婕==&lt;br /&gt;
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-Also the fictional realism David Der-Wei Wang sees in Lao She, Mao Dun and Shen Congwen, proves helpful for the understanding of some essays, one being “The Small Dog Baodi” (Ba Jin 1981), in which the author turns into a narrator who recounts the memories of the 'Cultural Revolution' in allegoric instead of in descriptive truth as before (“In Memoriam of Xiao Shan II,” Ba Jin 1984b). Similar is the concept of imaginery nostalgia, as Wang calls the fictional truth in Shen Congwen's work (David Wang 1992), helpful for the reading of “Rain in Kunming” (Wang Zengqi [1984]) as well as for “Shanxi Opera” (Jia Pingwa 1984). &lt;br /&gt;
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1 Xin zhuangtai xiaoshuo 新狀態小說 new borderless fiction, represented by Chen Dong 韓東, Lu Yang 魯羊, Zhu Wen 朱文, Lin Bai 林白, Chen Liang 陳梁, Zhang Mei 張梅.&lt;br /&gt;
&lt;br /&gt;
2 Post-colonialist thinking (Williams et al. 1994), which is to be seen as part of the social-political discourse, appears in essays, especially in the less critical political, but patriotic essays of the 1990s. Kafkaism helps us understand the essay “The Nightmare” (Si Yu 1995), where the author appears as a deconstructionist, the I-narrator even is drawn near to suicide.&lt;br /&gt;
&lt;br /&gt;
老舍，茅盾和沈从文作品中呈现的虚构现实主义也被证明有助于理解某些文章，例如文章《小狗包弟》（巴金，1981）中，作者不再像以前那样叙述事实，（如《萧山回忆录》，巴金，1984b）。两者都是对过去的回忆，也就是王在沈从文作品中提出的虚构的真相（David Wang，1992），它有助于阅读《昆明的雨》（王增琪[1984]）和《山西歌剧》（贾平瓦（1984）。--[[User:Zhang Yuxing|Zhang Yuxing]] ([[User talk:Zhang Yuxing|talk]]) 12:03, 20 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
另外，王德威在老舍、茅盾和沈从文身上看到的虚构现实主义，也证明了对一些文章的理解是有帮助的。例如，在《小狗包弟》（巴金1981）一文中，作者变成了一个叙述者，用寓言式而不是像以前那样用描述性的真实来叙述'文革'的记忆（《纪念萧山二号》，巴金1984b）。类似的还有想象的怀旧概念，如王家卫所说的沈从文作品中的虚构真相（王家卫1992），对《昆明的雨》（汪曾祺[1984]）以及《山西戏曲》（贾平凹1984）的阅读都有帮助。--[[User:Zhang Yuxing|Zhang Yuxing]] ([[User talk:Zhang Yuxing|talk]]) 12:03, 20 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
1辛庄台小说新状态小说，由韩东，鲁羊，朱文，林白，陈梁，张梅代表。&lt;br /&gt;
&lt;br /&gt;
2后殖民主义思维（Williams等，1994）虽然被视为社会政治话语的一部分，却出现在文章中，特别是在1990年代批评性和政治性较弱但提倡爱国主义的论文中。卡夫卡主义可以帮助我们理解《梦m》（Si Yu 1995）一文，在那篇文章中作者是一位解构主义者，而主人公甚至被迫自杀。--[[User:Zhang Yujie|Zhang Yujie]] ([[User talk:Zhang Yujie|talk]]) 10:08, 20 December 2020 (UTC)&lt;br /&gt;
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==Zhang Yuxing 张宇星==&lt;br /&gt;
&lt;br /&gt;
-The Schwarcz' concept of ''personal grief'' expressed in a ''metaphorical discourse'' helps us to understand how Ba Jin was able to overcome the ''truth of being'' he was known for, only to reach a more convincing ''fictional truth'' through the metaphor of his dog Baodi (Schwarcz 1996).&lt;br /&gt;
&lt;br /&gt;
'''20th Century Chinese Essay - A Survey of the Genre and New Insights Into the Essayists Ba Jin, Zhou Zuoren, Zhu Ziqing'''&lt;br /&gt;
&lt;br /&gt;
Martin Woesler&lt;br /&gt;
&lt;br /&gt;
The narrative established by literary histories  and anthologies has drawn a distorted picture of 20th century Chinese literature: The genre of the essay was almost ignored. In my paper I will demonstrate, how the picture of three authors change, if we take into consideration also some of their esayistic work. Here I choose the example of the critical political essay. The essay tells us more about an author than fiction or poetry, because in this genre, we encounter the author himself without metrical restrictions.&lt;br /&gt;
&lt;br /&gt;
施瓦茨的''个人悲伤''概念以''隐喻话语''的方式表达，有助于我们理解巴金是如何克服他所熟知的''存在的真相''，而只是通过对他的狗，宝迪，进行隐喻达到一个更有说服力的''虚构的真相'&amp;quot;（施瓦茨，1996）。&lt;br /&gt;
&lt;br /&gt;
'''20世纪中国散文--散文家巴金、周作人、朱自清的文体调查与新见解'''&lt;br /&gt;
&lt;br /&gt;
吴漠汀&lt;br /&gt;
&lt;br /&gt;
文学史和选本建立的叙事，对20世纪的中国文学进行了歪曲的描绘。文章的体裁几乎被忽略了。在我的论文中将证明，如果我们考虑到他们的一些散文作品，三位作家的形象将如何变化。在此，我选择了批判性政治文章的例子。与小说或诗歌相比，散文更能让我们了解一个作者，因为在这种文体中，我们遇到的是没有格律限制的作者本人。--[[User:Zhang Yuxing|Zhang Yuxing]] ([[User talk:Zhang Yuxing|talk]]) 11:58, 20 December 2020 (UTC)&lt;br /&gt;
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==Zhao Xi 赵茜==&lt;br /&gt;
&lt;br /&gt;
In 1927, when the writers were threatened by a massacre among leftists by the National People's Party in Shanghai, a whole generation of writers found a common base in communist ideology, formally expressed in 1930 in the foundation of the &amp;quot;League of Left-Wing Writers&amp;quot;. &lt;br /&gt;
&lt;br /&gt;
1927年，当作家们受到上海国民党左派屠杀的威胁时，整整一代的作家找到了共产主义意识形态的共同基础，1930年，在“左翼作家联盟”的成立中正式表达。--[[User:Zhao Xi|Zhao Xi]] ([[User talk:Zhao Xi|talk]]) 15:46, 20 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
Many writers had to define and often redefine their position and self-understanding in reaction to the changing political climate, often burying their own ideals, in the larger perspective for the seeming &amp;quot;needs&amp;quot; of society, which also claimed the author to be one of its products. This struggle of finding a position in a politicized environment is best documented in the essay --- &amp;quot;a genre of self-reflection&amp;quot;. Moreover, by its very nature, the essay overcomes boundaries of form and content. Therefore there are more essays than there is fiction free from political thoughts. Some essayists even went a step further, deconstructed the master narrative of leftist ideology, like the three writers I will talk about today.&lt;br /&gt;
&lt;br /&gt;
许多作家不得不定义并经常重新定义他们的立场和自我理解，以回应不断变化的政治环境，往往埋葬自己的理想，从“需要”的社会这个更大的视角，它也声称作者是其产品之一。在政治化的环境中寻找职位的斗争最好在散文中记录-“自我反省的类型”。此外，就其本质而言，散文克服了形式和内容的界限。因此，没有政治思想的散文比小说多。一些散文家甚至更进一步， 解构了左派意识形态的大师叙事， 就像我今天要谈论的三位作家一样。--[[User:Zhao Xi|Zhao Xi]] ([[User talk:Zhao Xi|talk]]) 15:46, 20 December 2020 (UTC)&lt;br /&gt;
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==Zhao Xiaoyan 赵晓燕==&lt;br /&gt;
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'''Zhou Zuoren'''&lt;br /&gt;
&lt;br /&gt;
The master narrative of the offical literary history of the People's Republic on Zhou Zuoren is, that a sophisticated May Fourth genius &amp;quot;degenerated&amp;quot; and later became a national &amp;quot;traitor&amp;quot;. Zhou's writings were officially considered bad literature, a total elimination of his texts was only prevented, because of the fame of his brother, who became a state author posthumously through the valuing of Mao Zedong. Actually the reception of his essays reaches a new climax now, in the essay collections of the 1990s, his essays rank 3rd, as I was able to proof with a survey of 5000 essays. That makes clear that his political engagement had no effect on the brilliance of his literary works.&lt;br /&gt;
&lt;br /&gt;
周作人&lt;br /&gt;
&lt;br /&gt;
中华人民共和国官方文学史对周作人的主要叙述是，一个卓越的五四天才“退化”，后来成为民族“叛徒”。 周的著作被官方认为是不良文学，由于他兄弟的名声，而他的兄弟因高度评价毛泽东死后成为国家作家，这彻底阻止了他的著作的全部出版。 实际上，现在他的论文的接受度达到了一个新的高潮，在1990年代的论文集中，他的论文排名第三，正如我通过对5000篇论文的调查所证明的那样。 这清楚地表明，他的政治参与对他的文学作品的辉煌没有影响。--[[User:Zhao Xiaoyan|Zhao Xiaoyan]] ([[User talk:Zhao Xiaoyan|talk]]) 02:23, 17 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
周作人&lt;br /&gt;
&lt;br /&gt;
民国官方文学史对周作人的主要叙述是，一个老练的五四天才 &amp;quot;堕落 &amp;quot;了，后来成了民族 &amp;quot;汉奸&amp;quot;。周作人的文章被官方认为是劣质文学，彻底消灭他的文字只是因为他兄弟的名气，他通过重视毛泽东而成为国家作家，这彻底阻止了他的著作的全部出版。其实现在对他的散文的接受达到了一个新的高潮，在90年代的散文集中，他的散文排在第三位，这是我对5000篇散文的调查所能证明的。这说明，他的政治参与对他的文学作品的辉煌没有影响。--[[User:Zhang Hui|Zhang Hui]] ([[User talk:Zhang Hui|talk]]) 02:52, 17 December 2020 (UTC)&lt;br /&gt;
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==Zheng Huajun 郑华君==&lt;br /&gt;
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The official assessment of the People's Republic is that Zhou's work experienced a caesura in 1938 due to his &amp;quot;degeneration&amp;quot; and opposition against the patriotic campaign.  Zhou kept trying to aesthetizise the little things of the everyday out of the subjective experience of his private space his whole life, only seven months after the incident at Marco Polo bridge he showed that it was again possible to write about a candy seller  for which he had been critizised as &amp;quot;paralyzing&amp;quot; . But there was indeed a caesura, namely the change in style and subject in his essays on literature, art etc. to ''zhengjing'' 正經­ (serious, intentional essays), and ''xiánshì'' 閑適 (essays for one’s own enjoyment). But this change is located not before his outlawing through Mao Zedong (1942), and his arrest by the Guomindang (1945).  Therefore not the Japanese suppressors should be made responsible for the retreat of this great writer, but his Chinese compatriots.  &lt;br /&gt;
&lt;br /&gt;
3 C. T. Hsia. [Note: Some of the annotations are in German and are translated into English during the editiorial work for the forthcoming edition.]&lt;br /&gt;
&lt;br /&gt;
4 (&amp;quot;Mai tang 卖糖&amp;quot; 1924).&lt;br /&gt;
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5 (Lu Xun 1934, Zhu Zhaoluo 1943).&lt;br /&gt;
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人民共和国官方的评价是，在1938年，由于他自身的 &amp;quot;堕落 &amp;quot;和反对爱国运动，周春芽的作品经历了一个尾声。周作人一生都在试图将日常的小事从私人空间的主观经验中审美出来，在马可波罗桥事件发生七个月后，他才表明，他又可以写一个卖糖的人了，他曾因此被批判为 &amp;quot;麻痹&amp;quot;。但是，他的文章确实有一个高潮，那就是他的文艺文章在风格和主题上发生了变化，变成了严肃的、有意的文章和自娱自乐的文章。但这一变化并非在他被毛泽东取缔（1942年）、被国民党逮捕（1945年）之前。因此，对于这位伟大作家的退隐，不应该由日本的镇压者负责，而应该由他的中国同胞负责。--[[User:Zheng Huajun|Zheng Huajun]] ([[User talk:Zheng Huajun|talk]]) 13:35, 16 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
人民共和国官方的评价是，在1938年，由于他自身的 &amp;quot;堕落 &amp;quot;和反对爱国运动，周春芽的作品经历了一个尾声。周作人一生都在试图将日常的小事从私人空间的主观经验审美中剥离出来，在马可波罗桥事件发生七个月后，他才表明，他又可以写一个卖糖的人了，他曾因此被批判为 &amp;quot;麻痹&amp;quot;。但是，他的文章确实有一个高潮，那就是他的文艺文章在风格和主题上发生了变化，变成了严肃的、有意的文章和自娱自乐的文章。但这一变化并非在他被毛泽东接力（1942年）、被国民党逮捕（1945年）之前。因此，对于这位伟大作家的退隐，不应该由日本的镇压者负责，而应该由他的中国同胞负责。--[[User:Tan Yuanyuan|Tan Yuanyuan]] ([[User talk:Tan Yuanyuan|talk]]) 13:43, 16 December 2020 (UTC)&lt;br /&gt;
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==Zhou Luoping 周罗平==&lt;br /&gt;
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So the first correction of the narrative is, that his literature was ''not'' effected by socio-political circumstances in quality, but in contents. And there is a second master narrative on Zhou Zuoren, which says that he was an apolitical author. Actually, he wanted his abstinence of political statement to be understood as a political statement by itself. For him, literature was a mean not for revolution, but for resistance . In the modernizing society, he advocated the liberation of women and asked to &amp;quot;treat children as full subjects with their own external and internal lives&amp;quot; and to &amp;quot;make children the essence of children's literature&amp;quot; , literature should make the society more humane.&lt;br /&gt;
&lt;br /&gt;
The second example, where a reading of some of his essays lets us rediscover the author is Ba Jin: He is known for his practical essays with anarchistic and communist background in the 1930s and 40s, for his opportunistic self-criticism, self-censorship  and the accusation of a writers' collegue during the cultural revolution. After the 'Cultural Revolution' he seemed to emerge as a righteous character , when he claimed to have done all this under pressure. He then devoted his essays to the working up of the trauma of the 'Cultural Revolution', for example in the self-accusing essay series ''Random Thoughts''.&lt;br /&gt;
&lt;br /&gt;
因此，对叙事的第一个纠正是，他的文学不是在质上受社会政治环境的影响，而是在内容上。还有一个关于周作人的第二个故事，说他是一个不关心政治的作家。事实上，他想把他对政治声明的无欲理解为一种政治声明本身。对他来说，文学不是革命的手段，而是反抗的手段。在现代化社会中，他倡导妇女解放，要求“把儿童作为一个完整的主体，有自己的外在和内在的生命”，“使儿童成为儿童文学的本质”，文学要使社会更加人性化。&lt;br /&gt;
第二个例子，读了他的一些文章，我们就可以重新发现这个作者是巴金：他以他在20世纪30年代和40年代写作的具有无政府主义和共产主义背景的实用文章而闻名，因为他在文革期间机会主义的自我批评、自我审查和对作家圈的指责。在“文化大革命”后，当他声称自己是在压力下做这一切的时候，他似乎成了一个正直的人。然后，他把自己的散文归于“文化大革命”的创伤中，例如在自责的系列随笔《随想》中。--[[User:Zhou Luoping|Zhou Luoping]] ([[User talk:Zhou Luoping|talk]]) 06:50, 19 December 2020 (UTC)&lt;br /&gt;
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==Zhou Shiqing 周诗卿==&lt;br /&gt;
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Since they were seldom reprinted, two of Ba Jin’s critical essays &amp;quot;''Independent Thoughts''&amp;quot; and &amp;quot;''Writers’ Courage and Sense of Duty''&amp;quot;, dating 1956 and 1962 were overlooked. With them, Ba Jin turns out to be a lifelong independant writer. The two essays were criticised. He had to deny their contents and later they were censored. Even nowadays, these texts are not easy to find in anthologies and dictionaries in the P.R.C. and Taiwan.&lt;br /&gt;
&lt;br /&gt;
&amp;quot;''Independant Thoughts''&amp;quot; dated 1956, propagates the freedom of the individual and of thoughts. This essay was written in the '100-Flower-Movement', when criticism was induced officially. Ba Jin corresponded only to the 'mainstream', although his criticism was unusually sharp. Much more distinctly directed against the 'mainstream' was the second text, which I want to introduce shortly.&lt;br /&gt;
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==Zhou Shuyao 周书尧==&lt;br /&gt;
&lt;br /&gt;
&amp;quot;''Writers’ Courage and Sense of Duty''&amp;quot;, a speech at the second Shanghai congress of writers and artists in early 1962, has later been censored at seven striking places. In it, Ba Jin judges very hard about himself and his collegues: At different campaigns against literary works they would have followed the political demands opportunistically and therefore were traitors. The second target of Ba Jin's criticism were the censors and critics, who would posess more power than the writers and that without legitimation. Ba Jin interpreted Mao's Yan'an speeches on art and literature in the way, that writers should themselves take over responsibility.&lt;br /&gt;
&lt;br /&gt;
'''&amp;quot;The Small Dog Baodi&amp;quot; as a metaphorical discourse on Ba Jin's personal grief'''&lt;br /&gt;
&lt;br /&gt;
Although Ba Jin is regarded together with Bing Xin as one of the representatives of Republican literature, the more important part of his essayistic work seems to lie after 1949 . Publishing from Hong Kong since 1979, he has spoken out loudly in opposition and in trying to help ease the trauma associated with the 'Cultural Revolution'.&lt;br /&gt;
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1962年初在上海第二届文艺代表大会上的一篇演讲《作家的勇气与责任感》后来有七个引人注目的部分被删减。在这部小说中，巴金对自己和他的同僚进行了严格的评判：在不同的文学运动中，他们会适时地追随政治要求，因此他们是叛徒。巴金批评的第二个对象是审查员和批评家，他们比作家拥有更多的权力，没有合法性。巴金对毛泽东延安文艺讲话的解读是：作家应该自己承担责任。&lt;br /&gt;
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'''《小狗包弟》作为一种隐喻讲述了巴金的个人悲痛'''&lt;br /&gt;
&lt;br /&gt;
巴金虽然与冰心一起被视为共和文学的代表人物之一，但其散文作品更重要的部分似乎在于1949年以后。自1979以来从香港出版，他大声反对，并试图帮助缓解与“文化大革命”有关的创伤。--[[User:Zhou Shuyao|Zhou Shuyao]] ([[User talk:Zhou Shuyao|talk]]) 06:24, 19 December 2020 (UTC)&lt;br /&gt;
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==Zhou Siqing 周思庆==&lt;br /&gt;
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One of this essays is the story-like &amp;quot;''Small Dog Baodi''&amp;quot;. Written in 1980, the author remembers his dog, which he had received two decades ago from a Swedish person and which he loved after a while. When the 'Red Gards' raged, the dog was in danger. Ba Jin describes in detail the fate of the animal and his own resignation, when he learned that he could not protect the dog. In order to save him from a torturous death, he finally submitted the dog in 1966 for medical experiments. Revisiting his garden after the 'Cultural Revolution', he remembers painfully how his wife had played here with the dog. I would like to show six points of interpretation:&lt;br /&gt;
&lt;br /&gt;
这篇随笔中有一篇是像故事一样的《小狗宝蒂》。这封信写于1980年，作者回忆起他的狗，这只狗是20年前他从一个瑞典人那里收到的，过了一段时间他就爱上了它。当“红色大革命”流行时，狗处于危险之中。巴金详细描述了这只动物的命运和他自己的辞职，当他得知他不能保护狗。为了把他从痛苦的死亡中拯救出来，他最终在1966年把狗送去做医学实验。“文化大革命”后，他重新回到他的花园，痛苦地回忆起妻子在这里和狗玩耍的情景。我想提出六点解释:--[[User:Zhou Siqing|Zhou Siqing]] ([[User talk:Zhou Siqing|talk]]) 00:36, 19 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
这随笔集中，有一篇故事《小狗包弟》。这篇文章写于1980年，作者怀念他的狗，这只狗是作者二十年前从一个瑞典人手中收到的，过了一段时间作者就爱上了它。当'红卫兵'肆虐的时候，这只狗的处境危险。巴金详细描述了小狗包弟的命运和自己得知无法保护狗时的无可奈何。为了让小狗包弟免于折磨而死，巴金终于在1966年将这只狗送去做医学实验。'文革'后巴金重游自家花园，他痛苦地回忆起妻子在这里与狗玩耍的情景。对这篇文章，我想提出六点解读：--[[User:Zhu Xu|Zhu Xu]] ([[User talk:Zhu Xu|talk]]) 06:55, 19 December 2020 (UTC)&lt;br /&gt;
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==Zhou Yiwen 周艺文==&lt;br /&gt;
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1, The dog is a metaphor. In the beginning Ba Jin seems to report the fate of a dog with relevance only to his owner. But soon it becomes clear that Ba Jin actually mediates to the reader the cruelty of the 'Cultural Revolution'. The reader wonders, &amp;quot;if they did ''this'' with an ''innocent'' dog, what did they do with ''men'', whom they considered ''guilty''?&amp;quot; Ba Jin analogizes himself with the dog, when he sees himself liying on the dissection table. Even Baodi's death is useful, he serves science - could a man be more altruistic?&lt;br /&gt;
&lt;br /&gt;
狗是一个隐喻。在故事的开头，巴金看似在说狗的命运只和主人有关。但很快我们就明白了，巴金实际上是在向读者传达“文化大革命”的残酷。读者想知道，“如果他们对一只“无辜”的狗都能这样做，那么他们对那些他们认为“有罪”的“人”又做会怎样做呢?”当巴金看到自己躺在解剖台上时，他把自己比作狗。就连鲍迪的死也是有用的，他是为科学服务的，一个人还能更无私吗?--[[User:Zhou Yiwen|Zhou Yiwen]] ([[User talk:Zhou Yiwen|talk]]) 13:53, 16 December 2020 (UTC)&lt;br /&gt;
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狗是个比喻。 一开始，巴金似乎在说狗的命运只跟主人有关。但是很快我们就知道了，巴金实际上是在向读者介表述“文化大革命”的残酷。读者想知道，“如果他们对一只“无辜”的狗“都能如此”，对那些视为“有罪”的“人”又会怎样呢？” 当巴金看到自己躺在解剖台上时，他将自己比作狗。就连鲍迪都死得其所，服务了科学---一个人还能更无私吗？--[[User:Yang Ziling|Yang Ziling]] ([[User talk:Yang Ziling|talk]]) 01:52, 17 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
狗是一个隐喻。在故事的开头，巴金看似在说狗的命运只和主人有关。但很快我们就明白了，巴金实际上是在向读者传达“文化大革命”的残酷。读者会想，“如果他们对一只“无辜”的狗都能如此，那么他们对那些他们认为“有罪”的“人”又会怎样呢?”当巴金看到自己躺在解剖台上时，他把自己比作狗。就连包弟的死也是有用的，他是为科学服务的，一个人还能更无私吗?--[[User:Zhang Yujie|Zhang Yujie]] ([[User talk:Zhang Yujie|talk]]) 11:25, 20 December 2020 (UTC)&lt;br /&gt;
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狗是个比喻。一开始，巴金似乎在说狗的命运只与主人有关。但很快，我们就明白了，巴金实际上向读者表达了“文化大革命”的残酷性。读者想知道，“如果他们用一只“无辜”的狗都做这些，那他们对那些认为“有罪”的人呢？当巴金看到自己躺在解剖台上时，他把自己比作狗。就连包弟的死也是有用的，他是为科学服务的，一个人还能更无私吗?--[[User:Zhao Xi|Zhao Xi]] ([[User talk:Zhao Xi|talk]]) 15:52, 20 December 2020 (UTC)&lt;br /&gt;
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==Zhou Yuanqu 周园曲==&lt;br /&gt;
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6 (Zhou 1929:180-181).&lt;br /&gt;
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6 （周 1929:180-181）&lt;br /&gt;
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7 (Zhou 1923).&lt;br /&gt;
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7 （周 1923）&lt;br /&gt;
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8 (The Family in 1951)&lt;br /&gt;
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8 （《家》1952）&lt;br /&gt;
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9 (1982 Yi pian xuwen).&lt;br /&gt;
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9 （1982 一篇叙文）&lt;br /&gt;
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10 (Suixianglu) The essays of the 1980s are more autobiographical, and deal with literature and questions for society nowadays. Due to the very nature of the essay, we can look through his &amp;quot;Random Thoughts&amp;quot; into the soul of Ba Jin..&lt;br /&gt;
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10 （随想录）1980年代的论文更具自传性，涉及当今社会的文学和问题。 由于本文的性质，我们可以通过他的“随机思想”来了解巴金的内心世界。&lt;br /&gt;
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11 (Random Thoughts 1978-86, see Ba Jin 1988).&lt;br /&gt;
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11（随想录 1978-86， 见 巴金 1988）&lt;br /&gt;
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2, Ba Jin expresses the pain of the loss of his wife through the dog. Not before the very end of the essay, Ba Jin mentions his wife in painful remembrance, who became ill and died during those ten years. In the essay &amp;quot;''In Memoriam Xiāo Shān''&amp;quot;, which appeared earlier in the collection, he had confessed severe feelings of guilt regarding her death, what haunted him into his dreams. He claimed, that they had withhold her medical treatment because of him.&lt;br /&gt;
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2，巴金通过狗表达了失去妻子的痛苦。 在论文结尾之前，Ba Jin痛苦地回忆起他的妻子，他在那十年中病倒了去世。 在早些时候出现在该系列中的文章“在纪念下山中”中，他承认对她的死感到内severe，这使他陷入了梦中。 他声称，他们因他而拒绝了她的治疗。--[[User:Zhou Yuanqu|Zhou Yuanqu]] ([[User talk:Zhou Yuanqu|talk]]) 03:52, 21 December 2020 (UTC)&lt;br /&gt;
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==Zhou Yujuan 周玉娟==&lt;br /&gt;
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3, The essay is an accusation of the 'Cultural Revolution'. The not-mentioning of the 'Cultural Revolution' as the reason for his wife's death makes the pain the more accusatory, especially in front of the comparable unimportant doglife. His terrifying awareness is the powerlessness - he was not able to protect his dog nor his wife. Ba Jin actually wants to illustrate the powerlessness of the individual in front of collective cruelty.&lt;br /&gt;
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本文是对'文革'的控诉。 没有提到“文化大革命”是其妻子去世的原因，这就更让人痛心疾首，尤其是在相对不重要的狗命面前。他可怕的意识是那种无力感-他没有能力保护他的狗和他的妻子。巴金其实是想说明个人在集体的残酷面前的无能为力。--[[User:ZHOUYUJUAN|ZHOUYUJUAN]] ([[User talk:ZHOUYUJUAN|talk]]) 00:50, 17 December 2020 (UTC)&lt;br /&gt;
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这篇文章是对“文化大革命”的控诉。没有提及“文化大革命”是他妻子死亡的原因，使这种疼痛更具控诉性，尤其是在相对无关紧要的狗的性命面前。他意识到无能为力是多么可怕——他既不能保护他的狗，也不能保护他的妻子。巴金其实是想展示在集体的残酷面前个体的无能为力。--[[User:Yuan SHiqi|Yuan SHiqi]] ([[User talk:Yuan SHiqi|talk]]) 01:29, 17 December 2020 (UTC)&lt;br /&gt;
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==Zhu Meimei 祝美梅==&lt;br /&gt;
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4, The significance of this way to deal with the 'Cultural Revolution'. If one compares the mentioned essay with others of the year 1979, it lied within the common trend of criticizing the 'Cultural Revolution'. But there were also authors like Bing Xin denied the 'Cultural Revolution' - soon after its end, she used similar titles for her books than before - in order to pretend continuity. Wang Meng worked up the 'Cultural Revolution' in a humoristic way - ''Ba Jin'''s essays stand out of these, because of their relentlessness and confessing character.&lt;br /&gt;
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4，用这种方式处理“文化大革命”的重要性。 如果将这篇文章与1979年的其他文章进行比较，那它和其他跟风批判“文化大革命”的文章无异。 但是，也有像冰心这样的作家为了制造作品连贯的假象，她在文化大革命不久就使用了与以前相似的书名，以此否认“文化大革命”。 王蒙以幽默的方式应对“文化大革命”-“巴金”的文章因无情和坦白独树一帜。--[[User:Zhumeimei|Zhumeimei]] ([[User talk:Zhumeimei|talk]]) 04:24, 21 December 2020 (UTC)&lt;br /&gt;
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==Zhu Suyao 朱素瑶==&lt;br /&gt;
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5, The use of rhetorical means. Ba Jin pretends to be a simple documentarist &amp;quot;I expect from literature [...] that it tells the truth.&amp;quot;. In fact he is known for his direct and accusing truth, sometimes his literary style is critizised as too direct and too less artful (a reproach from Hong Kong students). In &amp;quot;''The Small Dog Baodi''&amp;quot; he is using literary means to create emotion in his readers. He uses composition and rhetoric means like animation. The dog Baodi allegorically shows the injustice and inhumanity of the 'Cultural Revolution'. Here, Ba Jin turns into a narrator who recounts the memories of the 'Cultural Revolution' in ''allegoric'' instead of in descriptive truth as before . He is longing for a ''fictional truth'', instead of the ''truth of being'' in the sense of Thomas Aquinas. The fictional realism Wang Der-wei sees in Lao She, Mao Dun and Shen Congwen, proofs helpful for the understanding of this piece.&lt;br /&gt;
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==Zhu Xu 朱旭==&lt;br /&gt;
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6, Ba Jin's personal grief is much more persuading in the metaphor of the dog than in his direct accusing essays. As Vera Schwarcz (1996) points out&lt;br /&gt;
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&amp;quot;To speak too much of grief is to blunt its edge. It might even make us deaf to the cry that sparked discourse about suffering in the first place. A cold, calculating intelligence cannot grasp the rough contours of grief. [...] To preserve the significance of personal suffering in public life we need a more indirect approach; one that accepts and, indeed, nourishes AMBIGUITY. This, in the words of Cynthia Ozick, is the discrete province of METAPHOR, &amp;quot;the reciprocal agent, the universalizing force that makes it possible to envision the stranger's heart.&amp;quot; [...]&lt;br /&gt;
She also mentions that &amp;quot;[...] absence of talk -- or, rather modest use of ''metaphorical discourse'' -- serve us better in the presence of massive grief.&amp;quot;&lt;br /&gt;
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6.巴金的个人悲痛，在狗的隐喻中比他直接指责的文章更有说服力。&lt;br /&gt;
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正如薇拉·施娃茨（Vera Schwarcz）（1996）所指出的那样&amp;quot;过多地谈论悲痛就是钝化它的锋芒。这种行为甚至可能让我们对最开始引发关于讨论痛苦的呐喊充耳不闻。冷酷、斤斤计较的智慧无法把握悲伤的粗糙轮廓。[...]为了保持个人苦难在公共生活中的意义，我们需要一种更间接的方法；一种接受并且实际上滋生模棱两可的方法。用辛西娅·奥齐克（Cynthia Ozick）的话说，这就是隐喻的分立范畴，&amp;quot;相互作用，普遍化的力量，使得我们能够想象陌生人的心。&amp;quot;[...]她还提到，&amp;quot;[....]保持沉默--或者说适度使用“隐喻性话语”--在巨大的悲痛面前更有利于我们&amp;quot;。--[[User:Zhu Xu|Zhu Xu]] ([[User talk:Zhu Xu|talk]]) 07:05, 19 December 2020 (UTC)&lt;br /&gt;
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==Zou Xinyu 邹鑫雨==&lt;br /&gt;
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To sum up, Ba Jin turns out not to be the self-censorer, who tried to make his literature fit into the communist ideology. Instead he was a lifelong fighter for the freedom of speech and the independancy of literature from politics, who spoke out whenever he had the opportunity without endangering himself. He also no longer appears as the &amp;quot;uneducated&amp;quot; writer of simple truth, as he leads us to believe. Yet he has achieved a high rhethoric of ''fictional truth'' and is able to transmit his personal grief even more persuadingly in a ''metaphorical discourse'' throught the metaphor of the dog Baodi.&lt;br /&gt;
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综上所述，巴金原来并不是一个自我审查者，试图使自己的文学符合共产主义意识形态。相反，他一生都在为言论自由和文学独立于政治而奋斗，只要有机会，他就会大声疾呼，但不会危及自身。他也不再像他引导我们相信的那样，以“不谙世事”的作家形象出现。巴金对虚构事实的修辞手法已经十分高超，能够通过狗宝弟的隐喻，以隐喻性的话语，更有说服力地传递他个人的悲伤。--[[User:Zou Xinyu2|Zou Xinyu2]] ([[User talk:Zou Xinyu2|talk]]) 06:47, 18 December 2020 (UTC)Zou Xinyu&lt;br /&gt;
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综上所述，巴金并不是一个试图使自己的文学符合共产主义意识形态的自我审查者。相反，他一生都在为言论自由和文学独立于政治而奋斗，只要一有机会，他就会在不危及自己的情况下畅所欲言。他也不再像他引导我们相信的那样，以“没有受过教育的”作家的形象出现。然而，他实现了“虚构真实”的高度流变，通过狗宝弟的隐喻，在“隐喻话语”中更有说服力地表达了个人的悲伤。&lt;br /&gt;
--[[User:Zhou Siqing|Zhou Siqing]] ([[User talk:Zhou Siqing|talk]]) 00:41, 19 December 2020 (UTC)&lt;/div&gt;</summary>
		<author><name>Song Jianru</name></author>
	</entry>
	<entry>
		<id>https://bou.de/u/index.php?title=History_of_Translation_Studies_12&amp;diff=115942</id>
		<title>History of Translation Studies 12</title>
		<link rel="alternate" type="text/html" href="https://bou.de/u/index.php?title=History_of_Translation_Studies_12&amp;diff=115942"/>
		<updated>2020-12-19T14:27:46Z</updated>

		<summary type="html">&lt;p&gt;Song Jianru: /* On the Translation of Chinese Culture-Loaded Words in Lin Yutang's Six Chapters of a Floating Life: From the Perspective of Skopos Theory - 彭小玲 Peng Xiaoling */&lt;/p&gt;
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&lt;div&gt;='''Culture Loaded Words'''=&lt;br /&gt;
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==A Study on Foreignizing Translation of Culture-loaded Words in Chinese Food Culture	全美欣	Quan Meixin==&lt;br /&gt;
&amp;lt;center&amp;gt; 全美欣 Quan Meixin 202020080637 英美文学&amp;lt;/center&amp;gt;&lt;br /&gt;
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=== Abstract  ===&lt;br /&gt;
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Chinese food culture, as an important part of Chinese traditional culture, is rich in ethnic characteristics. Some words related to Chinese food culture are also abundant in cultural information. By adopting the foreignizing translation, Chinese language and cultural information can be preserved to the greatest extent. This paper will be divided into four parts. The first part will give a brief introduction of culture-loaded words and foreignizing translation. The second part will explore culture-loaded words in Chinese food culture from the strategy of foreignizing translation in three categories: words of historical allusions, local customs and food aesthetics. The third part will put forward the trend and prospect of food culture-loaded words from the aspect of translation method, translation system and the training of translators.The fourth part will draw a concise conclusion about this paper. The fourth part will draw a concise conclusion about this paper.&lt;br /&gt;
&lt;br /&gt;
Chinese food culture, as an important part of Chinese traditional culture, is rich in ethnic characteristics. Some words related to Chinese food culture are also abundant in cultural information. By adopting the foreignizing translation, Chinese language and cultural information can be preserved to the greatest extent. This paper will be divided into four parts. The first part will give a brief introduction of culture-loaded words and foreignizing translation. The second part will explore culture-loaded words in Chinese food culture from the strategy of foreignizing translation in three categories: words of historical allusions, local customs and food aesthetics. The third part will put forward the trend and prospect of food culture-loaded words from the aspect of translation method, translation system and the training of translators.The fourth part will draw a concise conclusion about this paper.--[[User:Peng Dan|Peng Dan]] ([[User talk:Peng Dan|talk]]) 12:56, 19 December 2020 (UTC)&lt;br /&gt;
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=== Key Words ===&lt;br /&gt;
food culture; culture-loaded words; foreignizing translation; cultural communication; translation skills&lt;br /&gt;
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=== 题目 ===&lt;br /&gt;
中国“食”文化中文化负载词的异化翻译研究&lt;br /&gt;
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=== 摘要 ===&lt;br /&gt;
中国“食”文化是中国传统文化一个重要组成部分，极具民族特征，与“食”文化有关的词语也富含中华民族文化信息。采用异化翻译能最大限度保留中华民族的语言和文化信息。本文分为四部分：第一部分简单介绍文化负载词和异化翻译；第二部分对“食”文化负载词中历史典故词、民俗习惯词和饮食审美词三个类别的异化翻译策略进行探讨；第三部分从翻译策略、翻译技巧和翻译人才培养三个方面提出“食”文化负载词翻译的趋势和展望；第四部分对本文进行一个简短的总结。&lt;br /&gt;
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中国“食”文化是中国传统文化一个重要组成部分，极具民族特征，与“食”文化有关的词语也富含中华民族文化信息。采用异化翻译能最大限度保留中华民族的语言和文化信息。本文分为四部分：第一部分简单介绍文化负载词和异化翻译；第二部分对“食”文化负载词中历史典故词、民俗习惯词和饮食美学三个类别的异化翻译策略进行探讨；第三部分从翻译策略、翻译技巧和翻译人才培养三个方面提出“食”文化负载词翻译的趋势和展望；第四部分将对本文进行一个简短的总结。--[[User:Peng Dan|Peng Dan]] ([[User talk:Peng Dan|talk]]) 12:56, 19 December 2020 (UTC)&lt;br /&gt;
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=== 关键词 ===&lt;br /&gt;
“食”文化；文化负载词；异化翻译；文化传播；翻译技巧&lt;br /&gt;
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=== 1.Introduction ===&lt;br /&gt;
Chinese food culture is rich and colorful. It is not only the axis of the Eastern food culture, but also benefits the whole world and shines in the world culture. With the development of tourism, cultural exchanges have become more frequent, and the pursuit of food in China and the West has also risen to a higher level. Therefore, translating food culture-loaded words accurately can not only promote international cultural exchanges but also further enhance the international competitiveness of Chinese food culture. In China, although many experts have done researches about culture-loaded words in related fields, such as research from the perspective of relevance, functional equivalence,and from famous literary works such as ''A Dream of Red Mansions''. There are few studies on food culture-loaded words from foreignizing translation. Therefore, it is necessary to explore the translation of food culture-loaded words from the perspective of foreignizing translation.&lt;br /&gt;
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Chinese food culture is rich and colorful. It is not only the axis of oriental food culture, but also beneficial to the whole world and shining in the world culture. With the development of tourism, cultural exchanges are more frequent, and the pursuit of food in China and the West has also risen to a higher level. Therefore, the accurate translation of food culture loaded words can not only promote international cultural exchanges, but also further enhance the international competitiveness of Chinese food culture. In China, although many experts have studied cultural loaded words in related fields, such as from the perspective of relevance, functional equivalence, and from famous literary works such as &amp;quot;A Dream of Red Mansions &amp;quot;. There are few studies on the alienation translation of food culture loaded words. Therefore, it is necessary to explore the translation of food culture loaded words from the perspective of alienation translation.--[[User:Peng Dan|Peng Dan]] ([[User talk:Peng Dan|talk]]) 13:16, 19 December 2020 (UTC)&lt;br /&gt;
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====1.1 Culture-loaded words ====&lt;br /&gt;
Before discussing culture-loaded words in Chinese food culture, we have to know what is culture-loaded word. Liao Qiyi in his books An Exploration of Contemporary Western Translation Theories said that &lt;br /&gt;
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“Language is one of the most fundamental systems of culture, with the function of storing, describing, expressing and disseminating culture. As the basic unit of language, word is of course the most direct reflection of culture. Culture-loaded words refer to the words, phrases, and idioms only contained in a culture. These words reflect the uniqueness of certain nations. This kind of uniqueness develops from the long historical process.”( Liao Qiyi 2002:232) &lt;br /&gt;
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During the process of translation, we have to consider how to translate culture-loaded words because they make distinctions between different cultures. Culture-loaded words can also reflect a country’s social background, financial base and culture in a certain period of time. During different historical period, different culture-loaded words occur. What's more, culture can be transmitted from generation to generation. During the transmitting, culture will also develop. As China has a long history , therefore, there are abundant culture-loaded words, which is both difficult for for translators to translate and for foreigners to understand.&lt;br /&gt;
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In the process of translation, we must consider how to translate culture-loaded words because they distinguish different cultures. Cultural-load words can also reflect a country's social background, financial basis and culture in a certain period of time. In different historical periods, different cultural-loaded words appeared. More importantly, culture can be passed down from generation to generation. In the process of communication, culture will also develop. Because China has a long history, it is difficult for translators and foreigners to understand the rich cultural load words.--[[User:Peng Dan|Peng Dan]] ([[User talk:Peng Dan|talk]]) 13:16, 19 December 2020 (UTC)&lt;br /&gt;
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====1.2 Foreignizing Translation====&lt;br /&gt;
Foreignizing translation is a concept that put forward by Lawrence Venuti from the perspectives of politics, culture, ideology and history in 1995.Venuti considers the foreignizing method to be &amp;quot;an ethnodeviant pressure on target language cultural values to register the linguistic and cultural difference of the foreign text, sending the reader abroad&amp;quot;.(Venuti,1995: 20) &lt;br /&gt;
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Alienation translation is a concept put forward by Lawrence Venuti in 1995 from the perspective of politics, culture, ideology and history. Venuti believes that the alienation method is &amp;quot;a nationalist pressure on the cultural value of the target language, which records the language and cultural differences of foreign texts and sends readers abroad &amp;quot;.(Venuti,1995: 20) --[[User:Peng Dan|Peng Dan]] ([[User talk:Peng Dan|talk]]) 13:16, 19 December 2020 (UTC)&lt;br /&gt;
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It is&amp;quot;highly desirable&amp;quot;, he says, in an effort'to restrain the ethnocentric violence of translation. In other words, the foreignizing method can restrain the &amp;quot;violently&amp;quot; domesticating cultural values of the English-language world. The foreignizing method of translating, a strategy Venuti also terms &amp;quot;resistancy&amp;quot; is a non-fluent or estranging translation style designed to make visible the presence of the translator by highlighting the foreign identity of the ST and protecting it from the ideological dominance of the target culture. (Venuti,1995: 35)&lt;br /&gt;
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It is&amp;quot;highly desirable&amp;quot;, he says, in an effort'to restrain the ethnocentric violence of translation. In other words, alienation methods can inhibit the &amp;quot;violent&amp;quot; domestication of cultural values in the English world. The alienation method of translation, a strategy Venuti also known as &amp;quot;boycott &amp;quot;, is a kind of translation style that is not smooth or estranged. It aims to protect ST from the ideological domination of the target culture by highlighting the foreign identity and making the translator's existence visible.(Venuti,1995: 20)--[[User:Peng Dan|Peng Dan]] ([[User talk:Peng Dan|talk]]) 13:16, 19 December 2020 (UTC)&lt;br /&gt;
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In some aspects, foreignization can preserve the uniqueness of the source language's culture. Compared with domestication approach, foreignization considers more about the source language's cultural background and is more faithful to the source language's culture. It can keep the exotic flavor of the source language text.Take Chinese food culture as an example, it contains great national characteristics and shows the creative spirit and unique style of the Chinese nation. The words related to the food culture are rich in Chinese culture. Therefore, we could make use of foreignizing translation to preserve Chinese tranditional culture.&lt;br /&gt;
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In some aspects, alienation can preserve the uniqueness of the source language culture. Compared with domestication, alienation considers the cultural background of source language more and is more faithful to the culture of source language. It can maintain the exotic flavor of the source text. Taking Chinese food culture as an example, it contains great national characteristics and shows the creative spirit and unique style of the Chinese nation. The words related to food culture have rich Chinese culture. Therefore, we can use alienation translation to protect Chinese traditional culture.--[[User:Peng Dan|Peng Dan]] ([[User talk:Peng Dan|talk]]) 13:16, 19 December 2020 (UTC)&lt;br /&gt;
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=== 2.The Application of Foreignizing Translation in Chinese Food Culture ===&lt;br /&gt;
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Food culture embodies the creative spirit and unique style of the Chinese nation.  Therefore, the culture-loaded words in food culture can be understood as words with distinctive Chinese cultural characteristics, which reflect China's specific history, culture and custom.&lt;br /&gt;
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Food culture embodies the creative spirit and unique style of the Chinese nation. Therefore, the cultural loaded words in food culture can be understood as words with distinctive Chinese cultural characteristics, reflecting the specific history, culture and customs of China.--[[User:Peng Dan|Peng Dan]] ([[User talk:Peng Dan|talk]]) 13:35, 19 December 2020 (UTC)&lt;br /&gt;
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For example, there are some relevant information, such as the birthplace of the dishes and the allusions of the founders. Translating Chinese-style dish's name correctly can convey the implicit Chinese cultural background knowledge, which is of far-reaching significance to the promotion of China-Western cultural exchanges. &lt;br /&gt;
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For example, there are some relevant information, such as the birthplace of dishes and the allusion of the founder. The correct translation of the name of Chinese dishes can convey the implied knowledge of Chinese cultural background and has far-reaching significance for promoting the exchange of Chinese and Western cultures.--[[User:Peng Dan|Peng Dan]] ([[User talk:Peng Dan|talk]]) 13:35, 19 December 2020 (UTC)&lt;br /&gt;
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The naming of Chinese dishes reflects the information of the ingredients, followed by the cultural connotation and artistic characteristics behind the naming. Therefore, the translation of dish names is diverse.&lt;br /&gt;
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This paper will combine the characteristics of Chinese food culture and divide culture-loaded words into three categories: Wwords of historical allusions,words of  local custom and words of food aesthetic. And then this paper will introduce how to choose appropriate foreignizing translation strategies according to their characteristics.&lt;br /&gt;
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====2.1 Words of Historical Allusions ====&lt;br /&gt;
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The historical allusions in Chinese &amp;quot;food&amp;quot; culture-loaded words are words formed by Chinese historical figures or events, legends and allusions. A large part of Chinese cuisine is named by Chinese historical figures or allusions, and a few come from historical allusions have long been heard or understood by foreigners, but others are still very unfamiliar.&lt;br /&gt;
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Chinese Pinyin can be used for the translation of food culture load words which is already very familiar to foreign diners. Xu Xianling in her books Chinese Food Culture introduces the allusions of “元宵(Yuanxiao)”.(Xu Xianling,2005:229)&lt;br /&gt;
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“It’s said that a lady-in-waiting called ‘Yuanxiao’ during the Han dynasty missed her parents so much that she cried with tears in her face every single day. In order to help her, a minister named Dongfang Shuo lied to Emperor of the Han dynasty that the god of fire with the order of the Jade Emperor would burn Changan(the Capital of China in Han dynasty) on the 15th of the first lunar month.(Xu,2005:230)&lt;br /&gt;
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It is said that in the Han Dynasty, a woman named ‘Yuanxiao’ missed her parents so much that she shed tears every day. In order to help her, a minister named Dongfang Shuo lied to Emperor Wu of the Han Dynasty and said that according to the order of the Jade Emperor, the Vulcan would burn down Chang'an (the Capital of China in Han dynasty) on the 15th day of the first lunar month.(Xu,2005:230)--[[User:Peng Dan|Peng Dan]] ([[User talk:Peng Dan|talk]]) 13:35, 19 December 2020 (UTC)&lt;br /&gt;
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The solution to avoid this disaster was to ask the lady-in-waiting named ‘Yuanxiao’ to make Tang-yuan, the favorite food of the god of fire, and to ask all the people in Changan to hang lanterns. Emperor Wu approved this plan. Finally, the girl named ‘Yuanxiao’ met her parents. Thus, the tradition of Lantern Festival ( pronounced Yuanxiao Jie in Chinese, “jie” in Chinese means festival) appeared.”(Xu, 2005:230)&lt;br /&gt;
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Cultural words such as &amp;quot;Yuanxiao&amp;quot; formed by historical figures can be directly translated into &amp;quot;YUANXIAO&amp;quot; in Chinese pinyin because they are recognized and accepted by most foreign diners who come to China and even friends abroad. By the foreignization approach can achieve most of the unique things with Chinese characteristics.This translation method retains our national language style. (Xu, 2005:232)&lt;br /&gt;
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Cultural words such as &amp;quot;Yuanxiao&amp;quot; formed by historical figures can be translated directly into &amp;quot;YUANXIAO&amp;quot;, because they are recognized and accepted by most foreign diners and even friends abroad. Most of the unique things with Chinese characteristics can be realized by means of alienation. This translation method preserves our national language style.(Xu, 2005:232)--[[User:Peng Dan|Peng Dan]] ([[User talk:Peng Dan|talk]]) 13:35, 19 December 2020 (UTC)&lt;br /&gt;
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In addition, it can also allow foreign diners to arouse their desire for knowledge about the stories and historical background behind the food while tasting the food.For those historical allusions and culture-loaded words that have not yet reached a certain cross-cultural popularity, annotations, we can be added to supplement cultural information. These allusions with deep Chinese cultural characteristics can be retained to the greatest extent.&lt;br /&gt;
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In addition, it can also enable foreign diners to stimulate their understanding of the story and historical background behind the food when tasting it. For those historical allusions and cultural load words that have not yet reached a certain cross-cultural popularity, annotations can be added to supplement cultural information. These allusions with profound Chinese cultural characteristics can be retained to the greatest extent.--[[User:Peng Dan|Peng Dan]] ([[User talk:Peng Dan|talk]]) 13:35, 19 December 2020 (UTC)&lt;br /&gt;
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Another example cited by Hu Zhishan in his book ''Chinese Food Culture'' is a famous dim sum”大救驾”.&lt;br /&gt;
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“The famous dim sum &amp;quot;Dajiujia&amp;quot; in Anhui is an allusion from 956 AD. When Zhao Kuangyin(the emperor of Song Dynasty), who was only a general at the time, conquered Huainan(a city of An Hui province), he was unable to conquer it for a long time at first, and finally he won after several setbacks, but he was also exhausted. For several months, it was difficult for him to eat any food.(Hu Zhishan,2005:92))&lt;br /&gt;
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At that time, a chef in the army tried every means to carefully make a round snack, which was loved by Zhao Kuangyin, quickly recovered his health.&lt;br /&gt;
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Later, Zhao Kuangyin succeed in lots of battles and became emperor. But he was missing about the dim sum, he once said: &amp;quot;The trouble of the pommel horse, the illness after the war, and this dim sum saved my life.&amp;quot; And in the Song Dynasty, if one saved the emperor’s life, called “Jiu Jia”.Therefore, the &amp;quot;Da Jiujia&amp;quot; of An Hui province became famous.”(Hu,2005:92)&lt;br /&gt;
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We used the foreignizing translation  to translate “大救驾”as “Da Jiu Jia(a kind of food once saved the emperor)”This not only preserves the characteristics of Chinese culture, but also enhances the diners’ attraction to the food and the stories behind the food through simple explanations. Maybe they will try to think about what kind of food would save the emperor? It is unbelievable. Everyone may want to try such attractive food.(Hu,2005:93)&lt;br /&gt;
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We used the foreignizing translation  to translate “大救驾”as “Da Jiu Jia(a food that once saved the emperor)&amp;quot;, which not only retains the characteristics of Chinese culture, but also enhances the appeal of diners to the stories behind food and food through simple explanations. Maybe they will try to think what kind of food can save the emperor? This is incredible. Everyone may want to try such attractive food.(Hu,2005:93)--[[User:Peng Dan|Peng Dan]] ([[User talk:Peng Dan|talk]]) 13:35, 19 December 2020 (UTC)&lt;br /&gt;
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Another example is “叫花鸡”,Jiaohuaji is a special dish made by wrapping processed chicken with soil and lotus leaves and baking it. This dish has a long history.&lt;br /&gt;
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According to legend, during a private visit by Emperor Qianlong, he was hungry and sleepy in the wilderness in the south of the Yangtze River. There was a Jiaohuazi(a beggar) who kindly gifted him what he thought was the best &amp;quot;Jiaohuaji&amp;quot;. Being hungry and sleepy, Emperor Qianlong thought it was a delicacy on earth and asked the Jiaohuazi the name of this chicken. The beggar didn't know what it was called, so he said &amp;quot;rich chicken&amp;quot; casually. (XuXianling,2005:232)&lt;br /&gt;
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According to legend, during a private visit by Emperor Qianlong, he was hungry and sleepy in the wilderness of Jiangnan. There was a Jiaohuazi (a beggar) who kindly gave him what he thought was the best &amp;quot;Jiaohuaji &amp;quot;. Hungry and sleepy, Emperor Qianlong thought it was delicious, asked Jiaohuazi the name of this chicken. The beggar didn't know the name, so he said &amp;quot;rich chicken&amp;quot; casually.(Xu Xianling,2005:232)--[[User:Peng Dan|Peng Dan]] ([[User talk:Peng Dan|talk]]) 13:35, 19 December 2020 (UTC)&lt;br /&gt;
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After Emperor Qianlong returned to the dynasty, he was full of praise for the &amp;quot;rich chicken&amp;quot;, so &amp;quot;Jiaohuaji&amp;quot; has been spread because of the emperor's praise, and it has become a famous dish. (Xu,2005:234)&lt;br /&gt;
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So it is appropriate to translate “叫花鸡”into“roast whole chicken wrapped in mud (Jiao HuaJi, because it is a beggar who first cooked it quite accidentally).&lt;br /&gt;
In Chinese history, there are lots of allusions which could explain the creation of a famous dim sum. If we want to introduce these dim sums to foreigners, we have to explain the historical background so that we can express the original meaning. (Xu,2005:234)&lt;br /&gt;
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====2.2 Words of Local Customs ====&lt;br /&gt;
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Folklore, as a direct reflection of people's lifestyle, also contains rich symbolic meaning. On the Dragon Boat Festival, people eat rice dumplings to express their memory and remembrance of Qu Yuan(a famous poet in Warring state period); on the Mid-Autumn Festival, Mid-Autumn moon cakes and reunion dinners embody people's strong desire for a happy family. &lt;br /&gt;
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In China, all ethnic minorities have their own unique eating customs, which can be said to be diverse and different. Therefore, the folk customs contained in the culture-loaded words of &amp;quot;food&amp;quot; show the typical nationality of Chinese culture.&lt;br /&gt;
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The strongest dietary customs should be the festival customs. There is a habit of eating specific foods in various traditional Chinese festivals. The translation of such words can directly express the content so that the target language readers can understand.&lt;br /&gt;
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Such as: eating &amp;quot;重阳糕,&amp;quot; the custom in the Han nationality , Double Ninth Festival is September 9th in the day, so it can be directly translated into &amp;quot;Double-ninth Cake&amp;quot;.(Zhang,2008:54.)&lt;br /&gt;
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In addition, expressing prayers for various good wishes is also one of the characteristics of folk custom words.&lt;br /&gt;
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&amp;quot;清汤全家福&amp;quot; is a famous dish in Shandong. The ingredients are more diverse, mainly including abalone, sea cucumber, chicken, duck, fish maw, mushrooms and cabbage heart. &amp;quot;全家福&amp;quot; is often used to celebrate the birthdays of the elderly and wedding banquet, family reunions, and even baby full moon banquets, so we can translate it into “family gift”to express auspicious meaning.(Xu,2005:35)&lt;br /&gt;
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&amp;quot;清汤全家福&amp;quot; is a famous dish in Shandong. The ingredients are more diverse, including abalone, sea cucumber, chicken, duck, fish belly, mushrooms and cabbage heart. &amp;quot;Family photo&amp;quot; is often used to celebrate the old people's birthday and wedding banquet, family reunion, and even baby full moon banquet, so we can translate it into &amp;quot;family gift&amp;quot; to express auspicious meaning.(Xu,2005:35)--[[User:Peng Dan|Peng Dan]] ([[User talk:Peng Dan|talk]]) 14:01, 19 December 2020 (UTC)&lt;br /&gt;
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For example, the &amp;quot;合欢汤&amp;quot; mentioned in A Dream of Red Mansions expresses the yearning for the joy of family. Mr. Yang Xianyi directly translated it into &amp;quot;happy-reunrion soup&amp;quot;。 &amp;quot;happy-reunion&amp;quot; not only achieves equivalence in language form, but also fully conveys cultural connotation.(Xu,2005:36)&lt;br /&gt;
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By foreignizing translation shows the traditional customs behind the food. Such as: eating jujube buns for newlyweds in Shanxi, eating Zhuzibaba on March 3rd in Anhui, etc. The nationality, regionality and history of traditional customs are difficult points in the translation of food culture.&lt;br /&gt;
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For example, how to translate this sentence”每年的立冬是请酒神的日子。”&lt;br /&gt;
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It can be translated into :”Lidong, the start of winter, is the day to worship the god of wine.”In this version, &amp;quot;Lidong&amp;quot; is one of the twenty-four solar terms of the folk calendar, and the foreignizing translation version &amp;quot;Lidong&amp;quot; is intriguing. &amp;quot;酒神&amp;quot; is generally translated as &amp;quot;Bacchus&amp;quot; or &amp;quot;Dionysus&amp;quot; in English, which is the Western Bacchus and Dionysus. The translation &amp;quot;请酒神&amp;quot; is translated into &amp;quot;worship the god of wine&amp;quot; because the god of wine of Shaoxing wine is Yidi.(Zhang,2008:58)&lt;br /&gt;
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It can be translated as :&amp;quot; Lidong, the beginning of winter, is the day of worship of Dionysus .&amp;quot; In this version, Lidong is one of the 24 solar terms of the folk calendar, and the alienated translation version of Lidong is intriguing. &amp;quot;酒神&amp;quot; is usually translated as &amp;quot;Bacchus&amp;quot; or&amp;quot; Dionysus&amp;quot;, is Western Bacchus and Dionysus.&amp;quot; in English The translation of &amp;quot;wine god&amp;quot; into &amp;quot;wine worship god &amp;quot;, because Shaoxing wine god is Yidi.(Zhang,2008:58)--[[User:Peng Dan|Peng Dan]] ([[User talk:Peng Dan|talk]]) 14:01, 19 December 2020 (UTC)&lt;br /&gt;
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The creation of food is an inevitable accident, and is the result of the hard work and wisdom of the people of all ethnic groups. Foreignizing translation implicitly and euphemistically re-exhibits emotions, which is more helpful for target language readers to understand the development process of Chinese food culture.&lt;br /&gt;
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====2.3 Words of Food Aesthetics  ====&lt;br /&gt;
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The food aesthetics of Chinese &amp;quot;food&amp;quot; culture has been analyzed in detail in Xu Wanbang's article &amp;quot;''Aesthetic Interest in Chinese Food Culture''&amp;quot;.&lt;br /&gt;
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In this paper, in addition to mention the beauty of the Chinese people's image of food, the beauty of the food environment, the beauty of food utensils, and the aroma of food, he also listed the aesthetic appeal of name, sound, beauty, etc. in particular, the naming methods of various dishes such as colors, flowers, etc.(Xu Wanbang,2005:37)&lt;br /&gt;
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From this we can see the Chinese people’s pursuit of &amp;quot;true to the name&amp;quot;, and strive for beautiful dishes, tastes, and better names. The wonderful feeling that diners can enjoy both materially and spiritually. Because a wonderful name is not only a vivid description of the dish, but also an organic part of the dish itself, which often plays an unexpected function.(Xu Wanbang,2005:37)&lt;br /&gt;
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For the translation of dishes with beautiful names, some people think that the main ingredients of food should be directly translated to ensure the faithfulness of the translation. In fact, this is not the case. In &amp;quot;food&amp;quot; culture, thinking style, and language characteristics embodied in such words are more abundant.&lt;br /&gt;
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For example, “the Chinese cuisine ‘鸟语花香’, can be translated into ‘Singing Birds and Fragrant Flowers(Steamed mandarin fish and bird-shaped shrimps)’ and ‘青龙过海’ can be translated into ‘Green Dragons Crossing the Sea(Soup with green onion)’”. (Zhang Jiachen 2014:106)&lt;br /&gt;
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This method of literal translation,annotation foreingnizing translation and not only allows foreign diners to appreciate the good name of the food, understand the Chinese thinking mode and word habits, but also shows the true content of the food in the annotation part clearly.&lt;br /&gt;
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The name of the dish is beautiful. Chinese food is delicious and has a better name. The name of a lady is beautiful and moving, which can reflect the person's personality, hobbies, and cultural accomplishments.&lt;br /&gt;
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The same is true for the name of the dish. It has to be repeatedly scrutinized and not far-fetched, and strive to be elegant and relevant to the title. The name of the dish can reveal the characteristics of the dish and reflect the whole picture of the dish.(Xu,2005:36)&lt;br /&gt;
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Xu in his paper put forward several methods to name a dish.&lt;br /&gt;
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“1.Named after color. Especially named after the color of the ingredients and the color of the dishes after they mature. For example, the &amp;quot;Jade&amp;quot; of jade shrimp is mainly green and fresh to the green of peas, and matched with the white shrimp color, it gives people a feeling of refreshing.(Xu Wanbang,2005:38)&lt;br /&gt;
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2.Named after flowers. Flowers are deeply loved by people and are cleverly combined with dishes. Some of them are delicacies with real flowers, which are named after the delicacy of orchids and belly silk. Although some flowers do not appear in the dishes, the color and shape after the dishes are like a certain kind of flower can also be named, such as &amp;quot;Osmanthus scallops&amp;quot;.(Xu,2005:38)&lt;br /&gt;
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3.Named after the type. After the dishes are made, they are named according to the shapes formed, which are both realistic and poetic; they have both practical value and beautiful enjoyment. For example, the butterfly sea cucumber, seeing the name of the dish, immediately realizes that the shape of the dish is like a butterfly.(Xu,2005:38)&lt;br /&gt;
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After discussing these categories of culture-loaded words in Chinese food culture, we could have a basic understanding about these specific words and learn how to translate it properly. By using the foreignization approach, this kind of translation can preserve the beautiful image of these cuisines and the explanatory note can also prevent foreigners from being confused. &lt;br /&gt;
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Although the foreignization approach can be of great help to pass the source language's culture to the target readers, it requires the translator's great knowledge between the two cultures. Therefore, translators have to do a good preparation and be familiar with cultural background before translating.&lt;br /&gt;
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=== 3.The Trend and Prospect of Culture-Loaded Words ===&lt;br /&gt;
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In the future, the extent of cultural exchanges will be larger and more diversified. The cultures of all countries are constantly pursuing similarities and seeking differences. What’s more, we have to learn to accept foreign cultures with tolerance and an open mind. &lt;br /&gt;
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Foreignizing translations will gradually be accepted by readers. In spread of the characteristics of &amp;quot;food&amp;quot; culture, it is an inevitable trend to adopt foreignizing translation strategies. However, the research on the translation of &amp;quot;food&amp;quot; culture-loaded words is still a relatively new topic. The paper has made considerations  on its future development in the following aspects.&lt;br /&gt;
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====3.1 Translation Method ====&lt;br /&gt;
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First, the choice of translation of &amp;quot;food&amp;quot; culture-loaded words should also &amp;quot;kick out the old and welcome the new&amp;quot;. Of course, the &amp;quot;old&amp;quot; here refers to those culture-loaded words that are too old and rarely used or limited to a small range.It is unnecessary to  translate such culture-loaded words .&lt;br /&gt;
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In addition, the development of &amp;quot;food&amp;quot; culture is not stagnant,and it will be updated with the changes of the times. For example, the classification of cuisines may be expanded; new dishes will continue to appear; eating habits will also change, and so on. All of these require researchers or translators to have an attitude of studying hard and keeping pace with the times.(Zhang, 2014:106)&lt;br /&gt;
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Therefore, we have to try to use different translation methods to translate these culture-loaded words. In addition, taking untranslatability into consideration is also very important.&lt;br /&gt;
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Catford thought that untranslatability is caused by the target language’s lack of lexical or syntactical substitute. Different languages differ from each other in the phonetic, grammatical, semantic, pragmatic aspect etc. When translating culture-loaded words, it is hard for translator to translate the culture behind these words in a perfect way. (Liao Qiyi,2002:153)&lt;br /&gt;
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Catford thought the cultural untranslatability was caused by the lack of the target target culture’s relevant situational features to the source language’s culture.(Liao,2002:153)&lt;br /&gt;
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Cultural untranslatability comes from cultural differences. Although it is hard to translate culture-loaded words into target language in a perfect way, translators still need to try to discover the translation of culture-loaded words.&lt;br /&gt;
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Translators can also add some explanations after the translated sentences or words to make the meaning and culture behind the source language text be understood by target readers. &lt;br /&gt;
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Under the great progress of globalization, different cultures have more accesses to communicate with each other. According to Eugene Nida, “Translating consists in reproducing in the receptor language the closest natural equivalent of the source-language message, first in terms of meaning and secondly in terms of style.” (Nida Eugene, 1969:13)&lt;br /&gt;
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“Ordinarily speaking, there are three approaches to translate culture-loaded words, namely foreignization, domestication and literal translation. The translation of culture-loaded words belongs to the micro aspect of cultural translation.&lt;br /&gt;
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In the context of globalization, the fundamental standpoint of exploring the translation approach is to preserve the unique cultural significance carried by culture-loaded words, which determines that we should use foreignization and literal translation as the main translation approaches to translation culture-loaded words”.(Wang Xiang 2017:75)&lt;br /&gt;
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Different translation methods can be used to translate different words or sentences. The most important thing is that we have to consider the real situation and whether the target readers can understand it or not.&lt;br /&gt;
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====3.2 Translation System ====&lt;br /&gt;
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We need to form a systematic translation system of &amp;quot;food&amp;quot; culture-loaded words. The system should not only include translation theories for the proper definition of culture-loaded words, but also a corpus of culture-loaded words. Among them, though the establishment of a corpus of culture-loaded words is a huge systematic project, the advantages that the corpus brings to translation work are immeasurable.(Zhang, 2014:106)&lt;br /&gt;
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Translation scholars should consciously collect the corpus of culture-loaded words related to &amp;quot;food&amp;quot; in their daily research and practice to achieve accurate and efficient translation as soon as possible.&lt;br /&gt;
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With the development of technology and science, it is convenient for us to use machine translation to finish translation works. That means that it is possible to introduce Chinese food culture to the whole world by machine translation. What we should to do is to improve and supervise the quality of the translation of culture-loaded words.&lt;br /&gt;
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Maybe in the beginning, these will have lots of mistakes during the process of translation., but I believe it will become more accurate gradually. &lt;br /&gt;
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Forming a systematic translation system is really important for us. In Hu Bin’s paper”The Spreading Skills of Chinese Food Culture”, we could notice he put forward many strategies to introduce food culture to the international market. It is obvious that we will encounter unpredictable problems, but if we set up a system, and it will make things become easier. (Hu, 2008:99)&lt;br /&gt;
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In Zhu Dan’s paper “''A Study of the Translation Strategies on Culture-loaded Words of Chinese Food--A Case Study on the Translation of Tasting China''”, she pointed out that there is no relatively complete food translation system in China. As a result, when you encounter some word problems in the translation process, you often cannot find a reasonable and unified standard.(Zhu Dan,2003:12)&lt;br /&gt;
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As a result, the translators of the translated content can justify themselves, but it will cause foreign readers to be puzzled, and ultimately unable to accurately and systematically spread Chinese food culture. (Zhu,2003:12)&lt;br /&gt;
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The author has summarized the strategies and methods for the translation of staple food content, and found that the translation of such names and related cultural words can follow certain translation rules, but this is only a point in many food translations. (Zhu,2003:15）&lt;br /&gt;
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Translation strategies and methods at this point are expanded and improved, and on the basis of this point, through joint efforts to establish a comprehensive and detailed Chinese food translation system, the current Chinese food is classified as a whole, such as cold dishes and hot dishes.&lt;br /&gt;
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Categories, soups, staple foods, specialty snacks, Chinese wine and Chinese tea, and then continue to refine. In the process of sorting and summarizing, the criteria for recurring or culturally characteristic names are determined, so that fixed and key food content can be translated. (Zhu,2003:15）&lt;br /&gt;
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====3.3 Training of Translators ====&lt;br /&gt;
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The cultivation of relevant talents needs to strengthen the cultivation of cultural awareness. In the process of foreignizing translation of &amp;quot;food&amp;quot; culture-loaded words, the understanding of the cultural knowledge of the source language and the target language is the basis of translation.&lt;br /&gt;
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Nowadays, most of the random translations are caused by the lack of cultural background knowledge.Therefore, in the process of training talents, we should grasp cultural background knowledge and cultivate cultural awareness throughout the entire process of language learning.&lt;br /&gt;
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Since the content of the translation involves traditional Chinese and Western cultures, especially Chinese people are very sophisticated in all aspects of food, including the choice of ingredients, cooking skills, color matching, taste pursuit, etc. So the translator is required to choose vocabulary very carefully which could convey the meaning of the original one.(Zhang, 2014:106))&lt;br /&gt;
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However, the author found that in the translation process, there are often several English words corresponding to a Chinese word, but it is more confused when we have to choose a word. It is difficult to clearly point out the difference between each word.&lt;br /&gt;
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It is necessary to carefully consult the dictionary and view the relevant example sentences, consider each word in the specific application language environment, and find out the key points emphasized by each word in a set of synonyms through comparative analysis.&lt;br /&gt;
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This requires translators not only to expand their vocabulary, but also to grasp the most accurate meaning, applicable context, and key points of each English word, so as to make the translation process more smooth and express the content more accurate. When many translators re-translate culture-loaded words, their translations are still inadequate and have a &amp;quot;translation style&amp;quot;. (Xu, 2008:69))&lt;br /&gt;
&lt;br /&gt;
Zhu in her paper summarize the connotation and values of Chinese culture accurately and vividly. On the other hand, I must choose the correct and appropriate English expression method. To balance the two,I still needs to deepen my English skills in many aspects.&lt;br /&gt;
&lt;br /&gt;
Eliminate the translation barriers between the two languages to the greatest extent, allowing foreign readers to read their own authentic language and understand China's characteristic food culture. At the end of the translation process and during the proofreading process, the translators have to examine their translations.”(Zhu, 2003:16)&lt;br /&gt;
&lt;br /&gt;
At the same time, the curriculum system needs to be reformed to meet the demand for talents. Today's tourism industry continues to develop. Catering is an indispensable part of the tourism industry, and its market demand will also grow rapidly.&lt;br /&gt;
&lt;br /&gt;
Enterprises will integrate international standards from food translation, dish innovation, and even service management. This shows that the demand for translators in food-related fields is rising. Therefore, relevant courses or teaching content can be added to the curriculum to train outstanding professionals for the external communication of Chinese food culture.&lt;br /&gt;
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=== 4. Conclusion ===&lt;br /&gt;
&lt;br /&gt;
In short, Chinese food culture not only plays an important role in the lives of our people, but also continuously expands its influence in the world environment. As the top priority of Chinese food culture, &amp;quot;food&amp;quot; culture is even more prominent.&lt;br /&gt;
&lt;br /&gt;
Although the food of China and the West is very different in all aspects, under the situation of globalization, the culture is constantly merging and spreading. Enjoying the cuisine of different countries has become an indispensable part of the daily life of contemporary people.&lt;br /&gt;
&lt;br /&gt;
The culture-loaded words of in food culture are rich in Chinese characteristics. During the translation process, try to adopt foreignizing translation strategies, and appropriately adopt different foreignization methods according to different culture-loaded words. Therefore, we could retain their own cultural characteristics to the maximum extent and introduce them to the whole world.&lt;br /&gt;
&lt;br /&gt;
In addition, we also give foreigners opportunities to experience the splendid &amp;quot;food&amp;quot; culture while experiencing the same wonderful language features and profound cultural connotations of China. The world-famous Chinese cuisine attracts food lovers from all over the world.&lt;br /&gt;
&lt;br /&gt;
Chinese traditional food culture is broad and profound, has a long history with rich and diverse cuisines, different cooking styles, and distinctive ethnic characteristics. When we enjoy delicious food with all colors, flavors, we can learn about the historical allusions, humanistic customs, legends and traditional culture of our nation, and spread our customs and food to other countries.&lt;br /&gt;
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When translating Chinese traditional food culture, it is not only necessary to understand the food characteristics, but also to understand the basis of the naming of dishes from the connotation of our traditional culture. Only when we have a rich knowledge in Chinese food culture, can we make a correct translation of Chinese dish and contribute to the spread of Chinese food culture.&lt;br /&gt;
&lt;br /&gt;
In foreign cultural exchanges, translation is an important means and carrier. It is a huge challenge for translators to let foreign audiences understand Chinese culture, while retaining and reflecting cultural characteristics.&lt;br /&gt;
&lt;br /&gt;
With the development of social economy and cultural exchanges, we are required to innovate and use a variety of translation methods to effectively draw readers, and explore the common emotional attributes in the different culture.&lt;br /&gt;
&lt;br /&gt;
To stimulate emotional resonance in different contexts, so that we can fully and accurately show our country's cultural characteristics and gain the initiative status in the increasingly fierce cultural competition.&lt;br /&gt;
&lt;br /&gt;
=== 5. References ===&lt;br /&gt;
&lt;br /&gt;
*Jeremy Munday(2016.)''Introducing Translation Studies: Theories and Applications'' [M].Taylor and Francis Group.&lt;br /&gt;
&lt;br /&gt;
*Liao Qiyi廖七一(2002)''An Exploration of Contemporary Western Translation Theories'' 当代西方翻译理论探索[M].Nanjing: Yilin Publishing House.南京:译林出版社.&lt;br /&gt;
&lt;br /&gt;
*Xu Xianling, Li Xiangzhuang 徐先玲,李相状(2003)''Chinese food culture'' 《中国饮食文化》[M].Beijing: China Drama Publishing House. 北京:中国戏剧出版社.&lt;br /&gt;
&lt;br /&gt;
*Jin Huikang 金惠康(2003)''Intercultural Communication Translation''《跨文化交际翻译》[M].Beijing: China International Translation Press. 北京:中国对外翻译出版社.&lt;br /&gt;
&lt;br /&gt;
*Hu Zhishan 胡自山(2003)''Chinese food culture''《中国饮食文化》[M].Beijing: China International Translation Press. 北京:中国对外翻译出版社,2003.&lt;br /&gt;
&lt;br /&gt;
*Yang Xiaoru 杨晓茹(2011)&amp;quot;A Comparative Study of the Translation of the Names of Dishes in the English Version of ''A Dream of Red Mansions'' from the Perspective of Food Culture&amp;quot; 饮食文化视角下《红楼梦》英译本中的菜名翻译对比研究[D].Shanxi Normal University. 陕西师范大学.&lt;br /&gt;
&lt;br /&gt;
*Xiong Xin 熊欣(2013)&amp;quot;A Study on the English Translation of Chinese Dishes' Names Based on the Theory of Intercultural Communication&amp;quot; 跨文化交际理论下的中国菜名英译研究[D]. Shanghai International Studies University.上海外国语大学.&lt;br /&gt;
&lt;br /&gt;
*Zhao Peiru 赵佩茹(2013)&amp;quot;Discussing the English Translation of Chinese Dish Names from a Cultural Perspective&amp;quot;从文化角度讨论中国菜名的英语翻译[D].China University of Geosciences. 中国地质大学.&lt;br /&gt;
&lt;br /&gt;
*Guo Jianzhong 郭建中(1998)&amp;quot;Cultural factors in translation: foreignization and domestication&amp;quot;翻译中的文化因素：异化与归化[J].Foreign language.外国语.12-15.&lt;br /&gt;
&lt;br /&gt;
*Sun Zhili 孙致礼(2002)&amp;quot;Chinese Literary Translation: From Domestication to Foreignization&amp;quot;中国的文学翻译:从归化趋向异化[J].Chinese translation.中国翻译.42-43.&lt;br /&gt;
&lt;br /&gt;
*Xiong Bin 熊兵(2003)&amp;quot;Domestication and Foreignization in Cultural Exchange Translation&amp;quot; 文化交流翻译的归化和异化[J].Chinese Science and Technology Translation.中国科技翻译7-9.&lt;br /&gt;
&lt;br /&gt;
*Xu Wangbang徐万邦(2005)&amp;quot;Aesthetic Interest in Chinese Food Culture&amp;quot; 中国饮食文化中的审美情趣[J].Journal of Inner Mongolia University.内蒙古大学学报37-39&lt;br /&gt;
&lt;br /&gt;
*Xu Bin, Liang Wen 胡兵,梁文(2008)&amp;quot;Foreign Communication Skills of Chinese Food Culture—From the English Translation of Chinese Dishes&amp;quot;中国饮食文化的对外传播技巧—从中国式菜名的英译谈起[J]99-100.&lt;br /&gt;
&lt;br /&gt;
*谢柯,从后殖民视角论中国菜名的翻译[J].重庆文理学院学报,2009:129-131.&lt;br /&gt;
&lt;br /&gt;
*蒋童,韦努蒂的异化翻译与翻译伦理的神韵[J].外国语,2010:80-82.&lt;br /&gt;
&lt;br /&gt;
*杜晓卿,浅析中国菜肴英语翻译中的问题[J].内蒙古民族大学学报,2012:40-41.&lt;br /&gt;
&lt;br /&gt;
*黄粉保,汉民族的饮食文化及“吃”字短语的翻译[J].中国科技翻译,2014:56-57.&lt;br /&gt;
&lt;br /&gt;
*邓德虎,中国文化走出去与文化负载词的翻译[J].上海翻译,2016:53-55.&lt;br /&gt;
&lt;br /&gt;
*梁书琪,刘敏,川菜菜名的文化内涵及其翻译策略研究[J].湖北师范大学学报,2018:99-101.&lt;br /&gt;
&lt;br /&gt;
*孔祥龙,中国文化负载词的英译与文化软实力[J].科教文汇,2019:178-179.&lt;br /&gt;
&lt;br /&gt;
== Translation Strategies of Culture-loaded Words Based on Interpretive Theory 何长琦 He Changqi 202070080589 ==&lt;br /&gt;
&lt;br /&gt;
===Abstract===&lt;br /&gt;
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In conference speeches, culture-loaded words are quoted in large numbers as a kind of symbol with traditional cultural characteristics, which plays a role in conveying Chinese culture, but at the same time increases the difficulty of interpretation. This paper discusses the definition, classification and translation difficulties of culture-loaded words. Under the guidance of interpretive theory, it analyses and concludes the translation strategies of culture-loaded words based on translated materials of important speeches given by Chinese leaders.&lt;br /&gt;
&lt;br /&gt;
In conference speeches, culture-loaded words are quoted in large numbers as a kind of symbol with traditional cultural characteristics, which plays a role in conveying Chinese culture, but at the same time increases the difficulty of interpretation. This paper discusses the difficulties in the definition, classification and translation of culture-loaded words. By virtue of interpretive theory, it analyses and concludes the translation strategies of culture-loaded words based on translated materials of important speeches given by Chinese leaders.--[[User:Shi Diwen|Shi Diwen]] ([[User talk:Shi Diwen|talk]]) 15:21, 18 December 2020 (UTC)&lt;br /&gt;
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===Key words===&lt;br /&gt;
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interpretive theory; culture-loaded words; translation strategy&lt;br /&gt;
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===摘要===&lt;br /&gt;
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在会议致辞中，文化负载词作为一种具有传统文化特色的符号被大量引用，起到了传递中国文化的作用，同时也增加了口译的难度。本文探讨了文化负载词的定义、分类和翻译难点，以释意理论为指导，以中国领导人重要会议的翻译材料为文本，分析总结了文化负载词的翻译策略。&lt;br /&gt;
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===关键词===&lt;br /&gt;
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释意理论  文化负载词  翻译策略&lt;br /&gt;
释意理论，文化负载词，翻译策略--[[User:Shi Diwen|Shi Diwen]] ([[User talk:Shi Diwen|talk]]) 15:21, 18 December 2020 (UTC)&lt;br /&gt;
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===Introduction===&lt;br /&gt;
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With the implementation of the strategy of “Chinese culture Going Out” and the development of external communication, China’s external communication has made gratifying achievements. However, misunderstandings and prejudices still exist in the dominant western media and among western people（并列多余，建议删除）. Although ideological differences and economic development modes are important factors in explaining such obstacles, the fact is that most Westners (更正为Westerners) have few（更正为little） knowledge about Chinese language and culture, do not understand China’s profound history and modern society. Therefore there are distorted (更正为distortion) and misreading of China’s policies and propositions.&lt;br /&gt;
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China's diplomatic activities on the international stage are becoming more and more frequent, and Chinese leaders are spreading not only the voice of China but also its culture in their speeches to outside world. This is why the cultural load words are heavily quoted as a symbol with traditional cultural characteristics, highlighting the charm of national culture while also posing challenges for(建议改为to) interpreters. (Li Ying 2017:419-424) Language, as the carrier of culture, is the characteristics of a country and has its own cultural content with unique national characteristics. Therefore, interpreters need to understand, analyze and interpret the linguistic symbols within a limited time.&lt;br /&gt;
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Interpreters need not only to translate the semantic and cultural connotations accurately, but also to conform to the conventions of the language into which they are translated. The theory of interpretation was born out of the need to accurately interpret not only the semantic and cultural connotations, but also the expression habits of the incoming language, and is gradually becoming an important guide and widely used in interpretation practice.&lt;br /&gt;
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括号内中文为修改建议--[[User:Shi Diwen|Shi Diwen]] ([[User talk:Shi Diwen|talk]]) 15:46, 18 December 2020 (UTC)&lt;br /&gt;
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===Overview of interpretive theory===&lt;br /&gt;
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The theory of interpretation was born in the late 1960s at the Ecole Supérieure in Paris, France, by Danica Selekovitch and Marianne Le Dreyfus renowned interpreting theorists and practitioners. According to the general theory of translation, there exists three levels in translation : the lexical level, the sentence (i.e. the discourse of Saussurean concepts) level and the chapter level. These three levels can be interpreted as: word-for-word translation, sentence translation out of context and communicative environment, and chapter translation combining linguistic knowledge with cognitive knowledge, respectively.Interpretive theory refers to word-for-word and sentence translation as translation linguistique or  linguistic translation, while translation at the chapter level is referred to as chapter translation or translation.&lt;br /&gt;
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The the theory argues that successful translation should be carried out at the chapter level, namely, the interpretation of the chapter, because the sentence is the grammatical unit and the chapter is the semantic unit; it is the meaning, not the grammar, nor the individual words and sentences that are translated.(Xu Jun, Yuan Xiaoyi 1998：193) The equivalence of the original text and the translation is expressed in an overall communicative sense, which means the translation produces the same effect on its readers or listeners as the original. In order to achieve this effect, it is clear that the basic unit of translation should not be the words, but the communicative meaning(这句话是不是需要再斟酌一下). &lt;br /&gt;
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It can be concluded from this that the theory holds that translation is the interpretation of the non-linguistic meaning expressed by the speaker, and that language is only a carrier and a tool, so the object of translation should be the information content, the meaning, not the language (Xu Jun, 2001).&lt;br /&gt;
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括号内中文为修改建议--[[User:Shi Diwen|Shi Diwen]] ([[User talk:Shi Diwen|talk]]) 15:46, 18 December 2020 (UTC)&lt;br /&gt;
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===Interpreting and translating at conferences under the guidance of the Interpretive theory===&lt;br /&gt;
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The theory of interpretation comes from the practice of interpreting, which is of great significance in guiding the practice of conference interpreting. Interpretive theory divides the interpreting process into three levels: understanding the meaning of the original language, breaking away from the shell of the original language and re-expression. Therefore, interpreting is a triangular process rather than a straight line. Understanding the source language means that the interpreter must first understand linguistic knowledge (including phonetics, semantics, syntax, etc.) and encyclopedic knowledge (including memory, experience, perception of important events, theoretical knowledge, imagination, etc.); the next step breaking away from the shell of the original language is a cognitive process in which the oral presentation is fleeting and we can remember the whole of what we heard. (Li Ying 2017:419-424)&lt;br /&gt;
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In recent years, national leaders have been using culture-loaded words more and more frequently in their speeches, while interpreters are inclined to be influenced by their own culture（这个转折建议换一个表达方式）. They can easily fall into the misunderstanding of English word gaps and cultural word gaps. For example, in the 18th National Congress of the Communist Party of China (CPC), it is said that “打铁还需自身硬”. &lt;br /&gt;
&lt;br /&gt;
This saying is familiar（建议更正为popular） in China which means that a blacksmith must be &amp;quot;high skilled&amp;quot; in order to make strong and durable iron tools. The Daily Telegraph translates the phrase as &amp;quot;To forge iron, you need a strong hammer&amp;quot;. “To forge iron, one must be strong”, as translated by Cable News Network and The New York Times, means “In order to work with iron, the person who works with iron has to be strong”. The foreign media's translation of the above perspective is imprecise: if the hammer is hard, the iron mat must be hard as well; if the person is strong, it is not &amp;quot;strong&amp;quot; even if the iron-driving technique is not skillful. &lt;br /&gt;
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The essential implication of this Chinese saying in a particular context is to emphasize the need for refining their techniques. The official translation, “It takes a good blacksmith to make good steel”, recognizes the cultural lexical gaps in the target language and, with sufficient analysis and interpretation, translates the cultural implications of the target language more accurately.&lt;br /&gt;
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括号内中文为修改建议--[[User:Shi Diwen|Shi Diwen]] ([[User talk:Shi Diwen|talk]]) 15:46, 18 December 2020 (UTC)&lt;br /&gt;
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===Overview of Translation of culture-loaded words===&lt;br /&gt;
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(这一部分是否还缺了个章节介绍)--[[User:Shi Diwen|Shi Diwen]] ([[User talk:Shi Diwen|talk]]) 15:46, 18 December 2020 (UTC)&lt;br /&gt;
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====Definition and classification of cultural load words====&lt;br /&gt;
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Culture-loaded words refer to the words, phrases, and idioms only contained in a culture. These words reflect the uniqueness of certain nations. This kind of uniqueness develops from the long historical process.” (Liao Qiyi 2002:232) Chen Xiaodan divides culture-loaded words into absolute vacancies and relative vacancies according to their semantic vacancy in other cultures, and relative vacancies are subdivided into three categories: vacant words with reference scope, vacant words with meaning and linguistic normative vacancies. (Chen Xiaodan 2010: 106-108)Based on the uniqueness of the words, Wang divided the culture-loaded words into five categories: physical geography, customs and habits, spiritual culture, material culture and socio-economic culture.(Wang Guoan 1996:402). Nida Eugene classifies culturally loaded words in five ways: ecocultural words, material cultural words, social cultural words, religious cultural words and linguistic cultural words（Nida, Eugene A. 1964：91）&lt;br /&gt;
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By comparing the translated materials with data compiled from the interpretation of important meetings of Chinese leaders in recent years, and based on Naida's classification of culture-loaded words, the author has divided Chinese culture-loaded words into five categories according to the characteristics of Chinese culture-loaded words.&lt;br /&gt;
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(1)Three-character Structure&lt;br /&gt;
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A three-character word pattern is a fixed structure consisting of three characters(后面略显多余可删除), often associated with culture and history. In addition to its literal meaning, the three-character structure also has a profound metaphorical derivation meaning, with vivid images and a prominent oral style. For example, the opening speech of the Boao Forum 2018 mentioned the expression “小算盘”, which is unique to China's culture and indicates a proficiency in calculation.&lt;br /&gt;
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At the opening ceremony of the second Belt and Road Summit Forum on International Cooperation, it was mentioned: &amp;quot;共同绘制精谨细腻的工笔画&amp;quot;. The term &amp;quot;工笔画&amp;quot; refers to traditional Chinese painting techniques, and it is important to grasp the meaning of words in the cultural context of the source language when interpreting.(Xi Jinping 2019a)&lt;br /&gt;
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(2)Four-character Structure&lt;br /&gt;
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In Chinese, the term &amp;quot;four-character structure&amp;quot; is a special lexical phenomenon - a four-character sequence of characters with a symmetrical structure. A class of four-character forms was created to keep the language coherent and rhyming. In recent years there has been a large number of idioms and quatrains used in speeches at important meetings of Chinese leaders, which are both concise and reflective of the charm of traditional Chinese culture.&lt;br /&gt;
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Take the opening speech of the Bo'ao Forum in 2018 as an example, there is a high frequency of idioms used in the speech. For example, “众志成城”，“砥砺奋进”，“敢为人先”，“妄自尊大” and“独善其身” etc.(Du Mengxian &amp;amp; Shen Guorong 2018:10) For example, at the opening ceremony of the second Belt and Road Summit Forum on International Cooperation, it was mentioned that &amp;quot;a blueprint for cooperation in terms of policy communication, facility connectivity, smooth trade, financial flows and people-to-people contact was planned&amp;quot;. Here the five four characters are juxtaposed, rhyming and unified, which is a very characteristic Chinese expression.&lt;br /&gt;
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(3) Idioms&lt;br /&gt;
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Idioms is looser and more flexible in format, and is generally passed down orally, so it is more colloquial, but the meaning of the sentence is holistic and the meaning of the whole sentence must be considered rather than (添加be） translated word by word.（Du Mengxian. Shen Guorong 2018:91-93） For example, “四两拨千斤”and“萝卜青菜各有所爱”etc.&lt;br /&gt;
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(4) Poetry&lt;br /&gt;
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Poetry is one of the treasures of Chinese literature （literary treasures 会不会更简洁一些） that richly illustrates and expresses thoughts, philosophies and emotions in a highly condensed language with relatively strict rhythm, structure and rhythm. (Li Ying 2017:419-424) In Chinese-English conference interpretation, poetry translation is quite difficult. For example, in a speech given by President Xi Jinping at UNESCO Headquarters in 2014, he quoted a poem from the Mencius Teng Wengong(是否得写明中文): “物之不齐，物之情也”.&lt;br /&gt;
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(5)Chinese Characteristic Words&lt;br /&gt;
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Chinese character words refer to words produced in China's cultural and social environment, such as the Scientific Outlook on Development, the Five Principles of Peaceful Coexistence, and the Belt and Road.&lt;br /&gt;
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括号内中文为修改建议--[[User:Shi Diwen|Shi Diwen]] ([[User talk:Shi Diwen|talk]]) 15:46, 18 December 2020 (UTC)&lt;br /&gt;
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====Difficulties in the Translation of Culture-loaded Words====&lt;br /&gt;
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Every country has its own cultural origin. And “every nation has its own cultural focus. So its vocabulary always develops according to the cultural focus and becomes more and more detailed and complex.” (Liao Qiyi 2002:232）In addition to the conceptual meaning of the language itself, culture-loaded words are given a specific cultural meaning. In terms of the classification of culture-loaded words, their translation should take into account not only the historical background and ecological and geographical context, but also the habits of thought, customs and social environment that they reflect. &lt;br /&gt;
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（1） Translation difficulties caused by history and culture&lt;br /&gt;
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&amp;quot;Culture plays a pivotal role in translation studies, as the cultural context determines specific communication patterns. It is therefore imperative that we understand how culture plays a prerequisite role （连续用了role，建议替换同义表达）in intercultural communication.&amp;quot; (Xu Lisheng 2004:34) China has a long and rich history and culture, and many of its historical and traditional meanings are deeply rooted in people's minds. For example, “磕头” has been around for several years, but in Western countries it is common to hug and kiss on the cheek. ( Sun Xianmei 2019:209)&lt;br /&gt;
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（2）Translation difficulties caused by customs and traditions&lt;br /&gt;
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The differences in customs between Western countries and China can be seen in many aspects, such as festivals, greetings and food. To a large extent, the differences in customs make it difficult to translate culture-loaded words into English. Take Chinese festivals as an example, the Lantern Festival and the Dragon Boat Festival are both traditional Chinese festivals and it is impossible to translate such cultural words without understanding their origin and traditional customs.&lt;br /&gt;
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（3）Translation difficulties caused by the social environment&lt;br /&gt;
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Since China's reform and opening up, its economy and society have undergone radical changes, and a number of words with Chinese characteristics have gradually appeared in official documents and on important diplomatic occasions. This type of vocabulary, which is characteristic of contemporary culture, arises from the unique social and economic environment of modern China. This kind of words are characterized by its Chinese features, which are short in form and concise in nature, such as mass entrepreneurship and innovation, &amp;quot;Belt and Road&amp;quot;, the Five Principles of Peaceful Coexistence and so on. Translating this type of vocabulary requires a good understanding of China's national conditions, political policy and foreign policy, which to some extent makes translation difficult!&lt;br /&gt;
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括号内中文为修改建议--[[User:Shi Diwen|Shi Diwen]] ([[User talk:Shi Diwen|talk]]) 15:46, 18 December 2020 (UTC)&lt;br /&gt;
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===Translation Strategies for conference interpreting under the Guidance of Interpretive Theory===&lt;br /&gt;
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When interpreting for important meetings delivered by national leaders, the interpreter is required to present the cultural essence, metaphor and extended meaning of the original language in the target language as much as possible. A prerequisite for this is that the interpreter can understand, analyze and interpret linguistic signs in a limited amount of time, and the trigonometric model of interpretive theory is a good solution to this problem. According to this model, conference interpreting can be divided into the following steps: first, the leader's speech is finished, the format attached to the language form (including idioms, slang, rhyming couplets of poetry, etc.) ceases to exist and the original language is presented to the interpreter's mind with ideas of semantics, connotation, cultural load implications, etc.（去掉了；） Second, the outer form and constraints of the language are removed from the linguistic shell of the source language. In addition to retaining the formal structure of the source language, the interpreter can also break the rules of rhythm, structure and form and translate the meaning and connotation of the culture-loaded words; the third step is to re-integrate the information in the sentences and output an expression that reflects the culture of the source language and conforms to the target language. (Li Ying 2017:419-424)&lt;br /&gt;
Based on the characteristics of culture-loaded words, this paper summarizes the following four strategies for translating culture-loaded words in conference interpreting, based on the translated materials and data compiled from the interpreting of important meetings of Chinese leaders.&lt;br /&gt;
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 括号内中文为修改建议--[[User:Shi Diwen|Shi Diwen]] ([[User talk:Shi Diwen|talk]]) 15:46, 18 December 2020 (UTC)&lt;br /&gt;
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====Literal translation====&lt;br /&gt;
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A literal translation is used if the original language corresponds to the expression in the translated language. A literal translation retains the format and imagery of the original text and it is easy for the audience to understand.&lt;br /&gt;
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Example (1): “河海不择细流，故能就其深。”(Xi Jinping 2018a)&lt;br /&gt;
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Translation: The ceaseless inflow of rivers makes the ocean deep.&lt;br /&gt;
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Analysis: The phrase &amp;quot;河海不择细流，故能就其深&amp;quot; refers to the fact that river, lake and sea the smallest stream, so they can achieve their depth. The interpreter has adopted a literal translation strategy here, and integrated the two verses together in the translation, which not only retains the imagery of &amp;quot;河海&amp;quot; and &amp;quot;细流&amp;quot; in the source language, but also reflects the feature of hypotaxis in English language, making it more easily accepted by listeners. &lt;br /&gt;
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Example (2) :中国人历来讲究讲求“一诺千金”。(Xi Jinping 2019a)&lt;br /&gt;
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Translation: We Chinese have a saying that honoring a promise carries the weight of gold.&lt;br /&gt;
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Analysis: The phrase &amp;quot;一诺千金&amp;quot; is used to describe a person who values honesty. Here, the imagery of the importance of a promise in the source language “千金” — the weight of gold—has been retained in the interpretation, which is perfectly understandable to English readers. (Zhang Mengyuan 2019:116-117)&lt;br /&gt;
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Example (3) : “一花独放不是春，百花齐放春满园”(Xi Jinping 2013a)&lt;br /&gt;
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Translation: A single flower does not make spring, while one hundred flowers in full blossom bring spring to the garden.&lt;br /&gt;
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Analysis: “一花独放不是春，百花齐放春满园” refers to the fact that civilizations should flourish and develop in a way that allows a hundred flowers to bloom and a hundred schools of thought to contend（建议这句话再斟酌一下，略显繁琐）. The interpretation is a literal translation, depicting the blossoming of a hundred flowers in the garden of spring, which not only conforms to the meaning of the original text, but also points out in the following metaphor that the progress and development of human civilization presents a diverse and colorful scene. It is a way of expressing and interpreting the meaning of the proverb with half the effort, as it is generally concise in meaning and easy to understand . (Li Ying 2017:419-424)&lt;br /&gt;
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Example (4) : “聚沙成塔、积水成渊”(Xi Jinping 2019a)&lt;br /&gt;
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Translation: Just as a Chinese proverb says, ”A tower is built when soil on earth accumulates, and a river is formed when streams come together.”&lt;br /&gt;
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Analysis: “聚沙成塔、积水成渊” is a Chinese idiom referring a grain of sand that keeps on accumulating will become a pagoda, while water that comes together drop by drop will become an lake. Here, the interpreter used a literal translation method to convey the meaning of the idiom literally.&lt;br /&gt;
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括号内中文为修改建议--[[User:Shi Diwen|Shi Diwen]] ([[User talk:Shi Diwen|talk]]) 15:46, 18 December 2020 (UTC)&lt;br /&gt;
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====Semantic Interpretation====&lt;br /&gt;
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Semantic interpretation is another widely used method in interpreting. Semantic interpretation is not a word-by-word, sentence-by-sentence interpretation, but a translation that takes into account the context. Allusions are mostly derived from the the production practices of ancient Chinese people, while idioms are usually quotes from stories in ancient texts and have deep cultural connotations. The translation strategy of semantic interpretation is often used to translate these types of culture-loaded words.&lt;br /&gt;
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Example (5) :“面向未来，我们要促进不同安全机制间协调包容、互补合作，不这边搭台、那边拆台。”(Xi Jinping 2018a)&lt;br /&gt;
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Translation: We hat must ensure that various security mechanisms coordinate with each other in an inclusive and complementary manner rather than undercut each other. &lt;br /&gt;
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Analysis: The phrase &amp;quot;not to set the stage on one side, but to tear it down on the other&amp;quot; is a Chinese colloquialism. Considering the different cultural contexts, translating such culturally loaded words should not only take into account the cultural connotations of the colloquialism in the source language, but also take into account the context so that the translation reflects the culture of the source language and conforms to the expression form of the target language. The word 'stage' refers to the theatre, which indicates that the members of the troupe are not united. The interpreter translates 'rather than undercut each other. The original meaning of &amp;quot;Taiwan&amp;quot; corresponds directly to &amp;quot;stage&amp;quot;. （Du Mengxian Shen Guorong 2018:10）Instead, the translation strategy of interpreting the meaning of the phrase has been adopted to grasp the context in which it was quoted by the speaker, that is emphasizing the need for countries to work together to maintain peace, and to convey the original meaning accurately.&lt;br /&gt;
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Example (6) :“和平和发展是世界各国人民共同的心声，冷战思维、零和博弈愈发陈旧落伍，妄自尊大或独善其身只能四处碰壁。”(Xi Jinping 2018a)&lt;br /&gt;
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Translation:  Putting oneself on a pedestal or trying to immune oneself from adverse developments will get nowhere.  &lt;br /&gt;
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Analysis: Due to their connotations and fixed patterns, idioms cannot be split up and changed, and it is not easy to find words in English that are structurally equivalent and have the same semantic meaning.（Du Mengxian Shen Guorong 2018:10）In this interpreter's translation, the phrase &amp;quot;四处碰壁&amp;quot; is translated out of the linguistic shell（这个说法用了好几次，建议替换说法） of the source language as &amp;quot;get nowhere&amp;quot;, allowing the listener to quickly understand the meaning in context.&lt;br /&gt;
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Example (7)：“促进投资快速增长。我们发挥政府投资“四两拨千斤”的作用，引导带动社会投资。”(Wen Jiabao 2010a) &lt;br /&gt;
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Translation: We promoted rapid growth in investment. We guided and stimulated non-government investment by means of well-leveraged government investment.&lt;br /&gt;
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Analysis: The phrase was first used in Wang Zongyue's translation of Taijiquan, which refers to the technique of Taijiquan as a kind of kung fu that does not use clumsy force to win over others; by extension, it means &amp;quot;to win with little effort by clever force&amp;quot;. The translator does not directly reproduce the English expression &amp;quot;accomplishing a great task with little effort by clever maneuvers&amp;quot;, but understands the above context as emphasizing how the government can reasonably guide the participation of social capital to bring about a large amount of social investment for the country. The translation of &amp;quot;well-leveraged&amp;quot; means to play the role of financing very well, which conveys the speaker's intention very well.（Guo, Huqing 2018:94-96）&lt;br /&gt;
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括号内中文为修改建议--[[User:Shi Diwen|Shi Diwen]] ([[User talk:Shi Diwen|talk]]) 15:46, 18 December 2020 (UTC)&lt;br /&gt;
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====Free Translation====&lt;br /&gt;
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Due to different social customs, religious beliefs, ecological and social environments, each nation has unique expressions that embody its own national features. (Guo, Huqing 2018:94-96) In the practice of interpretation, translators often adopt the strategy of free translation, breaking the rules of rhythm, structure and form of the original language and choosing to translate its meaning and connotation. This is also the central meaning of interpretive theory—to break away from the linguistic shell of the source language.&lt;br /&gt;
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Example (8) :“物之不齐，物之情也”(Xi Jinping 2014a)&lt;br /&gt;
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Translation: It is only natural for things to be different.&lt;br /&gt;
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Analysis: The saying &amp;quot;物之不齐，物之情也&amp;quot; is from the Mencius Teng Wengong, which means that everything is different and has its own unique personality. This is an idea frequently quoted by Xi Jinping when talking about relations between countries and civilizations. The translation departs from the format and genre limitations of poetry and translates the connotations of ancient poetry from the theory of interpretation, which is concise and intuitive, yet captures the core meaning.&lt;br /&gt;
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Example (9) : 中国古人说：“万物得其本者生，百事得其道者成”(Xi Jinping 2019a)&lt;br /&gt;
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Translation: An ancient Chinese philosopher observed that “plants with strong roots grow well, and efforts with the right focus will ensure success.”&lt;br /&gt;
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Analysis: The saying &amp;quot;万物得其本者生，百事得其道者成&amp;quot; is from the Dao of Daoism（应该是Taoism吧） by Liu Xiang of the Western Han Dynasty, and means that everything in the world can grow if it is preserved at its roots, and everything can succeed if it is morally righteous. In this sentence, &amp;quot;本&amp;quot; and &amp;quot;道&amp;quot; have a strong（建议换adj.） cultural significance in Chinese and are difficult to find suitable words to express in English. (Zhang Mengyuan 2019:116-117)&lt;br /&gt;
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The translation therefore employs the strategy of paraphrasing to translate the meaning of the original poem and make it more comprehensible for an English-speaking audience.&lt;br /&gt;
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括号内中文为修改建议--[[User:Shi Diwen|Shi Diwen]] ([[User talk:Shi Diwen|talk]]) 15:46, 18 December 2020 (UTC)&lt;br /&gt;
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====Streamlining Information Interpretation====&lt;br /&gt;
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In conference interpretation, interpreters need to react quickly, choose their words decisively and ensure that the listener fully understands them. Therefore, when translating culture-loaded words words, interpreters not only need to have a good understanding of the Chinese language and culture, but need to master certain translation methods and strategies. When dealing with four-character idioms or other culture-loaded words, they should streamline the information, which means omit or integrate unnecessary information.&lt;br /&gt;
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Example (10): “40年众志成城，40年砥砺奋进，40年春风化雨，中国人民用双手书写了国家和民族发展的壮丽史诗。” (Xi Jinping 2018a)&lt;br /&gt;
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Translation: With united and determined efforts, the Chinese people have added a glorious he chapter to the development epic of the country. and the nation.&lt;br /&gt;
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Analysis: In this sentence, the four-character structure is frequently used, but the three juxtaposed idioms “众志成城”, “砥砺奋进”and “春风化雨” all indicate the efforts of the Chinese people for national development.The translator has streamlined the message here by directly translating it as 'With united and determined efforts', which is both informative and concise.&lt;br /&gt;
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Example (11): “形势稍好，尤需兢慎；居安思危，思则有备，有备无患。”(Wen Jiabao 2005a )&lt;br /&gt;
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Translation: We must be mindful of potential problems and get fully prepared for the worst. We must be sober-minded, cautious, prudent especially when the situation is getting a little better.&lt;br /&gt;
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Analysis: The analysis of the whole sentence shows that the second sentence is a further explanation of the first sentence, in which the Prime Minister reminds people to be cautious, because when times turn better, that is when people are most likely to let their guard down. The words “兢” and “慎” convey the same meaning in the whole sentence, so the translator has streamlined the message and followed the principle of citing three examples in English.&lt;br /&gt;
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Example (12):“两年前，我们在这里举行首届高峰论坛，规划政策沟通、设施联通、贸易畅通、资金融通、民心相通的合作蓝图。”(Xi Jinping 2019a)&lt;br /&gt;
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Translation:Two years ago, it was here that we must meet for the First Belt and Road Forum for International Cooperation, where we drew a Two years ago, it was here that we must meet for the First Belt and Road Forum for International Cooperation, where we drew a blueprint of cooperation to enhance policy, infrastructure, trade, financial and people-to-people connectivity.&lt;br /&gt;
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Analysis: In this case, &amp;quot;政策沟通、设施联通、贸易畅通、资金融通、民心相通&amp;quot; is a juxtaposition of five four-character characters, each ending with the word &amp;quot;通&amp;quot; in a unified form. This is an expression with Chinese characteristics. In this translation, the interpreter has put aside the linguistic form and streamlined the message, focusing on the main message of the four-character pane, namely &amp;quot;policies, facilities, trade, capital and people's heart&amp;quot;, to achieve the translation effect of reaching the meaning.&lt;br /&gt;
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===Conclusion===&lt;br /&gt;
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The study of translation of culture-loaded words under the interpretative theory breaks away from the linguistic form of the original language and takes the semantic interpretation of culture-loaded words as its goal. All in all, the study does not stick to the formal and functional equivalence translation and reciprocity model and provides practical guidance for the successful interpretation of cross-cultural communication. This paper compares the differences between four types of culture-loaded words and their English translations, namely three-character structure, four-character structure, idioms and poetry.&lt;br /&gt;
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Under the guidance of interpretive theory, it analyses and concludes the translation strategies of culture-loaded words based on translated materials of important speeches given by Chinese leaders. The interpretative theory not only provides theoretical support for conference interpreting, but also needs to be enriched and improved in interpreting practice. It is hoped that the research in this paper will provide a reference for interpreters to successfully translate culture-loaded words in foreign affairs conferences.&lt;br /&gt;
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===Conferences===&lt;br /&gt;
Nida, Eugene A. [Towards a Science of Translating]. [Leiden: E.J.Bril] 91. &lt;br /&gt;
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Marianne Lederer 玛丽雅娜・勒代雷. (2001) &amp;quot;释意学派口笔译理论&amp;quot;[Interpretation and translation theory of the interpretive school]. 中国对外翻译出版公司[China Translation &amp;amp; Publishing Corporation] 4-5&lt;br /&gt;
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Liao Qiyi. 廖七一.  (2002). “当代西方翻译理论探索”. [Exploration of Contemporary Western Translation Theory]. 译林出版社[Yi Lin Press] 232&lt;br /&gt;
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Xu Lishen.许力生. (2004). “跨文化交流入门”. [Intercultural  Communication]. 浙江大学出版社[Zhe Jiang University Press] 34&lt;br /&gt;
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Xu Jun, Yuan Xiaoyi. 许钧,袁筱一编著. (1998). 当代法国翻译理论. [Contemporary  Translation  Studies in France]. 南京大学出版社[Nanjing Universary Press] 193&lt;br /&gt;
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Xu Ju. 许钧. (2001). 文学翻译的理论与实践. [Theory and Practice of Literary Translation]. 译林出版社[Yi Lin Press] 178&lt;br /&gt;
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Sun Xianmei. 孙宪梅. (2019). 试论跨文化交际中汉语负载词的翻译[A Study on the Translation of Chinese Loaded Words in Cross-cultural Communication]. 才智[Ability And Wisdom ] 209 &lt;br /&gt;
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LI Ying. 李莹. (2017). 释意论视阈下文化负载词汉英翻译——以中国领导人重要会议口译同传为例. [A study of Chinese-English translation of cultural-loaded words from the perspective of Interpretative Theory——a case study of simultaneous interpretation of important Chinese leaders' meeting]. “辽宁工程技术大学学报(社会科学版)”[ournal of Liaoning Technical University（Social Science Edition)] 419-424&lt;br /&gt;
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Guo, Huqing. 郭卉青. (2018). 释意理论视角下文化负载词的英汉口译策略[English-Chinese Interpreting Strategies for Cultural-loaded Words from the Perspective of Interpretive theory]. “陕西能源学院学报”[Journal of Shanxi Institute of Energy] 94-96&lt;br /&gt;
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Du Mengxian, Shen Guorong. 杜梦笑,沈国荣. (2018). 释意论下汉英平行语料库中汉语文化负载词口译策略探究——以2018年博鳌亚洲论坛开幕式演讲为例. [Interpretation of Chinese Culture-loaded Words in Chinese-English Parallel Corpora —A Case Study of Chinese Leader’s Speeches on Boao Forum for Asia in 2018]. “牡丹江大学学报”[Journal of Mudanjiang University] 91-93&lt;br /&gt;
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Zhang Mengyuan. 张梦原. (2019). 从释意理论看汉英会议口译中文化负载词的翻译——以习近平主席在第二届“一带一路”国际合作高峰论坛开幕式上的演讲为例. [ Translation of Culture-loaded Words in Chinese-English Conference Interpretation from the Interpretive theory: An Example of President Xi Jinping's Speech at the Opening Ceremony of the Second &amp;quot;Belt and Road&amp;quot; International Cooperation Summit Forum].“新西部”[NEW WEST] 116-117.&lt;br /&gt;
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===Website Links of the speeches===&lt;br /&gt;
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Xi Jinping. (2019.4.26). Keynote Speech. “China Daily”. https://language.chinadaily.com.cn/a/201904/28/WS5cc4fc9ca3104842260b8d0b.html&lt;br /&gt;
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Xi Jinping. (2018.4.10). Keynote Speech. “China Daily”. https://language.chinadaily.com.cn/a/201804/12/WS5be8f2c0a310eff3032880e7.html&lt;br /&gt;
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Xi Jinping. (2013.4.7). Keynote Speech. “China Daily”. http://language.chinadaily.com.cn/news/2013-04/11/content_16393483.htm&lt;br /&gt;
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Wen Jiabao, (2010.5.5). Report. “China Daily”. http://language.chinadaily.com.cn/2014npccppcc/2014-02/27/content_17309719.htm&lt;br /&gt;
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Wen Jiabao, (2005.3.14). Press Conference. “China New”. https://www.chinanews.com/news/2005/2005-03-14/26/550469.shtml&lt;br /&gt;
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Xi Jinping. (2014.4.1). Keynote Speech. “China Daily”. http://language.chinadaily.com.cn/news/2014-04/01/content_17396012.htm&lt;br /&gt;
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==Study on the translation of culture-loaded words with Chinese characters from the view of cultural self-confidence 刘博 Liu Bo 202020080619 外应==&lt;br /&gt;
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&amp;lt;center&amp;gt;刘博	Liu Bo,   202020080619&amp;lt;/center&amp;gt;&lt;br /&gt;
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===Abstract===&lt;br /&gt;
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Today, China's growing international influence is inseparable from cultural development. Without a high degree of cultural self-confidence, no country or nation can flourish. Language is an important carrier of cultural inheritance, development and prosperity, so in the context of cultural self-confidence, the translation of culture-loaded words is of great significance to the spread of Chinese traditional culture. This chapter explores the translation of culture-loaded words with Chinese characteristics from the perspective of cultural confidence and put forward four strategies including transliteration, literal translation, free translation and paraphrasing. It is not only helpful for English-speaking people to have a better understanding of the culture-loaded words with Chinese characteristics but also beneficial to the export of Chinese culture to a certain extent.&lt;br /&gt;
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Today, China's growing international influence is inseparable from cultural development. Without a high degree of cultural self-confidence, no country or nation can flourish. '''As''' language is an important carrier of cultural inheritance, the translation of culture-loaded words is of great significance to the spread of Chinese traditional culture development and prosperity in the context of cultural self-confidence. This chapter explores the translation of culture-loaded words with Chinese characteristics from the perspective of cultural confidence and '''puts''' forward four strategies including transliteration, literal translation, free translation and paraphrasing, '''which''' is not only helpful for English-speaking people to have a better understanding of the culture-loaded words with Chinese characteristics but also beneficial to the export of Chinese culture to a certain extent.--[[User:Zeng Fangyuan|Zeng Fangyuan]] ([[User talk:Zeng Fangyuan|talk]]) 11:42, 16 December 2020 (UTC)&lt;br /&gt;
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===Key words===&lt;br /&gt;
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culture-loaded words, cultural self-confidence, translation strategy&lt;br /&gt;
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Culture-loaded Words; Cultural self-confidence; Translation Strategy.--[[User:Zeng Fangyuan|Zeng Fangyuan]] ([[User talk:Zeng Fangyuan|talk]]) 11:33, 16 December 2020 (UTC)&lt;br /&gt;
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===题目===&lt;br /&gt;
文化自信的视域下中国文化负载词的英译策略&lt;br /&gt;
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===摘要===&lt;br /&gt;
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如今中国的国际影响力日益提升，离不开文化的发展。没有高度的文化自信，便没有一个国家和民族的兴盛。而语言又是文化传承、发展、繁荣的重要载体,因此在文化自信的语境下，文化负载词的翻译对中国传统文化的传播具有重要的意义。本章主要探索在文化自信的视域下中国文化负载词的英译策略，主要提出了四个策略，包括音译，直译，意译以及释义法。这不仅能帮助目的语读者更好地理解中国文化负载词，同时也在一定程度上提高了中国文化的传播。&lt;br /&gt;
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如今中国的国际影响力日益提升，离不开文化的发展。没有高度的文化自信，便没有一个国家和民族的兴盛。而语言又是文化传承、发展、繁荣的重要载体,因此在文化自信的语境下，文化负载词的翻译对中国传统文化的传播具有重要的意义。本章主要探索在文化自信的视域下中国文化负载词的英译策略，主要提出了四个策略，包括音译，直译，意译以及释义法。这不仅能帮助目的语读者更好地理解中国文化负载词，同时也在一定程度上'''促进'''了中国文化的传播。--[[User:Zeng Fangyuan|Zeng Fangyuan]] ([[User talk:Zeng Fangyuan|talk]]) 11:51, 16 December 2020 (UTC)&lt;br /&gt;
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===关键词===&lt;br /&gt;
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文化负载词，文化自信，翻译策略&lt;br /&gt;
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===Introduction===&lt;br /&gt;
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Now we are in an era of globalization and we are in a world of culture diversity. Inter-cultural communication is becoming increasingly extensive. People from different countries contact each other much more frequently than ever before. Cultural exchange and cultural integration have come to every aspect of our life and to every participant. China is a major cultural nation, and its long cultural history gives it reason to be confident in its own culture. As Xi Jinping said, “In today's world, if any political party, country or nation can be confident, the Communist Party of China, the People's Republic of China and the Chinese nation have the best reason to be so. With the courage to 'live a life of 200 years with confidence, we will be able to face all difficulties and challenges without fear, and we will be able to open up new horizons and create new miracles with unswerving determination.” (Propaganda Department of the Central Committee of the Communist Party of China 2016) However, in the course of China's development, we have also absorbed Western culture while neglecting the development of Chinese culture. This phenomenon is still going on today. Especially as China's economic development has entered a new stage, and reform has also entered a critical period, social values have become complex and diverse. The mainstream and the non-mainstream co-exist, and the advanced and the backward are intertwined, presenting a pluralistic and changeable character. Under such circumstances, China needs a force to unite the complex and diverse social consciousness, and the importance of traditional Chinese culture is once again highlighted. Therefore, Chinese government the Communist has proposed the concept of &amp;quot;firming cultural confidence&amp;quot;, aiming to improve the Chinese people's awareness of the inheritance of Chinese culture, and to promote the image of China in the World. And how to spread Chinese culture by way of translation is one of the tasks worthies to take. As Translation is an essential tool for Chinese culture going out and improve the cultural confidence, so English language learners should take on the task of communicating the cultural loaded words of Chinese culture to the world, so that the world can learn more about Chinese culture through language, and thus increase China's international influence.&lt;br /&gt;
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【我把段落分成了两段啦~】&lt;br /&gt;
Now we are in an era of globalization and we are in a world of culture diversity. Inter-cultural communication is becoming increasingly extensive. People from different countries contact each other much more frequently than ever before. Cultural exchange and cultural integration have penetrated into every aspect of our life and into every participants. China is a major cultural nation, and its long cultural history gives it reason to be confident in its own culture. As Xi Jinping said,“In today's world, if any political party, country or nation can be confident, the Communist Party of China, the People's Republic of China and the Chinese nation have the best reason to be so. With the courage to 'live a life of 200 years with confidence, we will be able to face all difficulties and challenges without fear, and we will be able to open up new horizons and create new miracles with unswerving determination.” (Propaganda Department of the Central Committee of the Communist Party of China 2016) --[[User:Zeng Fangyuan|Zeng Fangyuan]] ([[User talk:Zeng Fangyuan|talk]]) 12:07, 16 December 2020 (UTC)&lt;br /&gt;
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However, in the course of China's development, we have also absorbed Western culture while neglecting the development of Chinese culture. This phenomenon is still going on today. Social values have become more complex and diverse especially in a time when China's economic development has entered a new stage, and its reform has also entered a critical period. The mainstream and the non-mainstream co-exist, and the advanced and the backward are intertwined, presenting a pluralistic and changeable character. Under such circumstances, China needs a force to unite the complex and diverse social consciousness, and the importance of traditional Chinese culture is once again highlighted. Therefore, Chinese government together with the Communist Party has proposed the concept of &amp;quot;firming cultural confidence&amp;quot;, aiming to improve Chinese people's awareness of the inheritance of Chinese culture, and to promote the image of China in the World. And how to spread Chinese culture by way of translation is one of the tasks worthies to take. As Translation is an essential tool for Chinese culture to go out and for Chinese people to improve cultural confidence, English language learners '''in China''' should take on the task of communicating the cultural loaded words of Chinese culture to the world, so that the world can learn more about Chinese culture through language, and thus increasing China's international influence.【这一段要是有引用的话就符合老师要求了~~】--[[User:Zeng Fangyuan|Zeng Fangyuan]] ([[User talk:Zeng Fangyuan|talk]]) 12:07, 16 December 2020 (UTC)&lt;br /&gt;
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===The Connotation of Cultural Confidence===&lt;br /&gt;
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Firstly, confidence is a concept of phycology, and it doesn’t equal to arrogance. The concept of self-confidence is commonly used as self-assurance in one's personal judgment, ability, power, etc. One's self confidence increases from experiences of having satisfactorily completed particular activities.（Snyder, C. R.; Lopez, Shane J. 2009）When the object of confidence turns to culture from human, there comes cultural confidence. Cultural confidence is a country's full affirmation of its own cultural values and a firm belief in its own cultural vitality. One of the preconditions of cultural confidence is cultural conscious, which means Cultural self-awareness means that &amp;quot;people living in a certain culture have 'self-knowledge' of their culture, understand its history, formation process, characteristics and the direction of its development, without any 'cultural regression', without any 'restoration', and without advocating total westernization or total otherization.&amp;quot;（Fei Xiaotong 2009） That is to say that we have to greatly familiar with Chinese culture as well as be clear about its development. It requires us to get rid of the arrogance of &amp;quot;total reversion&amp;quot; and the blind inferiority of &amp;quot;total westernization&amp;quot;, and to know and evaluate ourselves objectively in a rational manner. It is only on the basis of deep and thorough self-awareness that we can build up firm confidence. However, &amp;quot;cultural self-awareness is an arduous process; one must first know one's own culture and understand the many cultures one comes into contact with before one is in a position to establish one's place in this emerging multicultural world &amp;quot;(Fei Xiaotong 2009).So we need to be humble enough to embrace other cultures. But it is not enough just to be tolerant of other people's cultures or to import the best of other cultures. Although Chinese traditional culture has provided historical origin of cultural confidence，there is still a long way to enforce it. So, We should &amp;quot;promote exchanges and dialogue among different civilizations and modes of development, learn from each other's strengths and complement each other's weaknesses in the process of competition and comparison, and develop together through exchanges and mutual learning.Words are the building blocks of language, and it is through words that the cultural situation of a people can be viewed. In this context, the translation of culture-loaded words is like the bricks used to build a house - small but essential.&lt;br /&gt;
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【给你分成三段啦~】Firstly, confidence is a concept of phycology, and it doesn’t equal to arrogance. &amp;quot;The concept of self-confidence is commonly used as self-assurance in one's personal judgment, ability, power, etc. One's self confidence increases from experiences of having satisfactorily completed particular activities.&amp;quot;（Snyder, C. R.; Lopez, Shane J. 2009）When the object of confidence turns to culture from human, there comes cultural confidence.--[[User:Zeng Fangyuan|Zeng Fangyuan]] ([[User talk:Zeng Fangyuan|talk]]) 12:26, 16 December 2020 (UTC) &lt;br /&gt;
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Cultural confidence is a country's full affirmation of its own cultural values and a firm belief in its own cultural vitality. One of the preconditions of cultural confidence is cultural conscious, which means 【这里是解释Cultural self-awareness的意思 还是cultural conscious的意思捏】 that &amp;quot;people living in a certain culture have 'self-knowledge' of their culture, understand its history, formation process, characteristics and the direction of its development, without any 'cultural regression', without any 'restoration', and without advocating total westernization or total otherization &amp;quot;（Fei Xiaotong 2009）. That is to say that we have to '''be''' greatly familiar with Chinese culture as well as be clear about its development. It requires us to get rid of the arrogance of &amp;quot;total reversion&amp;quot; and the blind inferiority of &amp;quot;total westernization&amp;quot;, and to know and evaluate ourselves objectively in a rational manner. It is only on the basis of deep and thorough self-awareness that we can build up firm confidence.&lt;br /&gt;
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However, &amp;quot;cultural self-awareness is an arduous process; one must first know one's own culture and understand the many cultures one comes into contact with before one is in a position to establish one's place in this emerging multicultural world &amp;quot;(Fei Xiaotong 2009). So we need to be humble enough to embrace other cultures. But it is not enough just to be tolerant of other people's cultures or to import the best of other cultures. Although Chinese traditional culture has provided historical origin of cultural confidence，there is still a long way to enforce it. So, We should '''&amp;quot;'''promote exchanges and dialogue among different civilizations and modes of development, learn from each other's strengths and complement each other's weaknesses in the process of competition and comparison, and develop together through exchanges and mutual learning.Words are the building blocks of language, and it is through words that the cultural situation of a people can be viewed. In this context, the translation of culture-loaded words is like the bricks used to build a house - small but essential.【这里是不是少了引用~】--[[User:Zeng Fangyuan|Zeng Fangyuan]] ([[User talk:Zeng Fangyuan|talk]]) 12:26, 16 December 2020 (UTC)&lt;br /&gt;
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===How to interpret culture-loaded words===&lt;br /&gt;
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====The definition of culture-loaded words====&lt;br /&gt;
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Hu Wenzhong defines culture-loaded words: “Culturally-loaded words and expressions are loaded with specific national cultural information and indicate deep national culture. They are the direct and indirect reflection of national culture in the structure of words and expressions.” So, broadly speaking，culture-loaded words can be regarded as words, phrases or idioms used to express something unique to a culture. They are the words embedded in their distinctive culture and foreigners need to understand their cultural implications.&lt;br /&gt;
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'''Culture-loaded words is defined by Hu Wenzhong as:&amp;quot;....&amp;quot;'''--[[User:Zeng Fangyuan|Zeng Fangyuan]] ([[User talk:Zeng Fangyuan|talk]]) 15:39, 18 December 2020 (UTC)&lt;br /&gt;
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In Hu’s opinion, he distinguishes culturally loaded words and expressions from non-culturally-loaded ones. He contends that in the process of communication, the connotation of culture-loaded words may be extended or diminished, because a person learns a foreign language usually for the purpose of acquiring the communicative ability across cultures (Hu Wenzhong, 1999). &lt;br /&gt;
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The other view on the definition of culture-loaded words comes from the widely-known linguist called Liao Qiyi, &amp;quot;Cultural load words are words, phrases or idioms that signify something specific to a culture, reflecting the distinctive and unique ways of doing things that a particular people have gradually accumulated over the course of its long history&amp;quot; (Liao Qiyi 2000). China has a long history, and in the course of its long development it has accumulated a large number of colorful and culturally loaded words, such as certain specialties, established customs, religious beliefs, unique architecture and so on…&lt;br /&gt;
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The other view on the definition of culture-loaded words comes from '''a''' widely-known linguist called Liao Qiyi, &amp;quot;Cultural load words are words, phrases or idioms that signify something specific to a culture, reflecting the distinctive and unique ways of doing things that a particular people have gradually accumulated over the course of its long history&amp;quot; (Liao Qiyi 2000). China has a long history, and in the course of its long development it has accumulated a large number of colorful and culturally loaded words, such as certain specialties, established customs, religious beliefs, unique architecture and so on…&lt;br /&gt;
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To sum up，culture-loaded words are related to specific culture. For example, “端午节”，the traditional Chinese festival, embodies traditional culture. There is no English word equal to it. So, only after knowing the customs of “端午”，can we figure out that it can be translated as “Dragonboat Festival”.&lt;br /&gt;
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====The classification of culture-loaded words====&lt;br /&gt;
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Chinese culture has accumulated a rich cultural vocabulary throughout its long history，it is a complex work to categorize them. Therefore, the classification of traditional Chinese cultural load words is only for the purpose of discussing the English translation strategies of such words in the process of foreign communication.(Wang Enke 2002(04):83-85)&lt;br /&gt;
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Different scholars categorize the classification of culture-loaded words differently based upon their perspectives and angles. First, we can draw on Aixelá's criteria for classifying cultural vocabulary into two categories: proper nouns, which mainly include names of people, places, and specialized organizations, are specific and fixed in meaning, and are not too difficult to translate. General nouns, on the other hand, are complex, abstract, and have no specific, precise meaning, and their usage is diverse. (Aixela, J. F. 1996).What’s more, Nida had classified culture into five types: ecology, material culture, social culture, religious culture and linguistic culture.(Nida 1964) So, based on these two kinds of classification, culture-loaded words can be divided into: proper nouns， social culture-loaded words, political culture-loaded words, religious culture-loaded words, linguistic culture-loaded words. Detailed information is as follows:&lt;br /&gt;
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Different scholars '''classify''' culture-loaded words '''as''' differently based upon their perspectives and angles. First, we can draw on Aixelá's criteria for classifying cultural vocabulary into two categories: proper nouns, which mainly include names of people, places, and specialized organizations, are specific and fixed in meaning, and are not too difficult to translate. General nouns, on the other hand, are complex, abstract, and have no specific, precise meaning, and their usage is diverse. (Aixela, J. F. 1996).&lt;br /&gt;
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What’s more, Nida had classified culture into five types: ecology, material culture, social culture, religious culture and linguistic culture.(Nida 1964) So, based on these two kinds of classification, culture-loaded words can be divided into: proper nouns， social culture-loaded words, political culture-loaded words, religious culture-loaded words, linguistic culture-loaded words. Detailed information is as follows:&lt;br /&gt;
【分成了两段啦~】--[[User:Zeng Fangyuan|Zeng Fangyuan]] ([[User talk:Zeng Fangyuan|talk]]) 15:39, 18 December 2020 (UTC)&lt;br /&gt;
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Proper nouns include the names of people and natural landscape. For example, “长江”，“黄河”.&lt;br /&gt;
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Social culture-loaded words are closely related to daily life, and are words that people create in their productive lives, such as words related to food, clothing, food, traditional festivals, local customs, etc., and so on. For example, “粽子”,”青团”are Chinese traditional foods made by Glutinous Rice.&lt;br /&gt;
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Social culture-loaded words are closely related to daily life, and are words that people create in their productive lives, such as words related to food, clothing,【删了一个food】 traditional festivals, local customs, etc., and so on. For example, “粽子”,”青团”are Chinese traditional foods made by Glutinous Rice.&lt;br /&gt;
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Political culture-loaded words are more likely to refer to political terms that have been used since the founding of the new China and have had a significant impact on the international arena as China's international status has risen, such as &amp;quot;一带一路,&amp;quot; &amp;quot;新常态,&amp;quot; and so on.&lt;br /&gt;
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Political culture-loaded words '''most likely''' refer to political terms that have been used since the founding of the new China and have had a significant impact on the international arena as China's international status has risen, such as &amp;quot;一带一路,&amp;quot; &amp;quot;新常态,&amp;quot; and so on.&lt;br /&gt;
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Religious culture-loaded words is the words that reflects the spiritual beliefs of a certain region, including various rituals, concepts, and materials related to religion, and is the accumulation of a nation's spiritual culture. Common words for religious culture include &amp;quot;佛祖&amp;quot;， &amp;quot;菩萨,&amp;quot; and so on.&lt;br /&gt;
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Religious culture-loaded words '''are''' words that '''reflect''' the spiritual beliefs of a certain region, including various rituals, concepts, and materials related to religion, and is the accumulation of a nation's spiritual culture. Common words for religious culture include &amp;quot;佛祖&amp;quot;， &amp;quot;菩萨,&amp;quot; and so on.--[[User:Zeng Fangyuan|Zeng Fangyuan]] ([[User talk:Zeng Fangyuan|talk]]) 15:39, 18 December 2020 (UTC)&lt;br /&gt;
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Linguistic culture-loaded words Language is one of the most important components of culture, and linguistic culture reflects the characteristics of a language. Linguistic and cultural words include idioms, slang, sayings and slang. For example, &amp;quot;竹篮打水——一场空&amp;quot; and &amp;quot;八仙过海，各显神通&amp;quot; are all linguistic and cultural words with a strong Chinese cultural flavor.(Wang Enke 2002(04):83-85)&lt;br /&gt;
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Linguistic culture-loaded words '''refer to that''' Language is one of the most important components of culture, and linguistic culture reflects the characteristics of a language. Linguistic and cultural words include idioms, slang, sayings and slang. For example, &amp;quot;竹篮打水——一场空&amp;quot; and &amp;quot;八仙过海，各显神通&amp;quot; are all linguistic and cultural words with a strong Chinese cultural flavor.(Wang Enke 2002(04):83-85)--[[User:Zeng Fangyuan|Zeng Fangyuan]] ([[User talk:Zeng Fangyuan|talk]]) 15:39, 18 December 2020 (UTC)&lt;br /&gt;
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Different cultural loaded words are often translated using different strategies. A general classification of cultural loaded words makes it easier for translators to choose a translation strategy based on the different lexical categories.(Tang Xiuqiong 2006(01):126-130)&lt;br /&gt;
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Different cultural loaded words are often translated '''by''' using different strategies. A general classification of cultural loaded words makes it easier for translators to choose a translation strategy based on the different lexical categories.(Tang Xiuqiong 2006(01):126-130)--[[User:Zeng Fangyuan|Zeng Fangyuan]] ([[User talk:Zeng Fangyuan|talk]]) 15:39, 18 December 2020 (UTC)&lt;br /&gt;
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===The Translatability of Culture-loaded Words===&lt;br /&gt;
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Chinese is different from English. Chinese is a kind of analytic language, in which there is no inflection while English is a kind of synthetic language that features inflection. As far as vocabulary is concerned, both languages possess plenty of words with cultural connotations. Because of different traditions and histories, different geographical environments, and different ways of thinking, they have different connotations, each has its own ways to be expressed and each has to be translated in different ways. Since a cultural load word is a concentrated expression of the culture of a country and a people, when culture-loaded words are used in cross-communication, there usually exist lexical gaps or cultural margins. So, are culture-loaded words translatable or not?(Li Zhaoguo (03):107-108)&lt;br /&gt;
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Chinese is different from English '''in that''' Chinese is a kind of analytic language, in which there is no inflection''',''' while English is a kind of synthetic language '''featured as''' inflection. As far as vocabulary is concerned, both languages possess plenty of words with cultural connotations. Because of different traditions and histories, different geographical environments, and different ways of thinking, they have different connotations, each has its own '''ways of expression''' and each has to be translated in different ways.&lt;br /&gt;
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Since a cultural load word is a concentrated expression of the culture of a country and a people, when culture-loaded words are used in cross-communication, there usually exist lexical gaps or cultural margins. So, are culture-loaded words translatable or not?(Li Zhaoguo (03):107-108)--[[User:Zeng Fangyuan|Zeng Fangyuan]] ([[User talk:Zeng Fangyuan|talk]]) 16:13, 18 December 2020 (UTC)&lt;br /&gt;
【分成了两段~】&lt;br /&gt;
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Actually, the translation process of culture-loaded words is decoding the original words and then reconstruction the words and reproducing the ideas of original. Although there exists semantic zero in cross-cultural communication and translatability is in dispute, culture-loaded words are still translatable. (Tang Xiuqiong 2006(01):126-130.)So even though it is difficult to communicate between different cultures, there are similarities between languages and cultures. &lt;br /&gt;
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Eugene Nida takes a closer look at this issue, suggesting that “although absolute communication between people is not possible, highly effective communication is possible between people, both within and between language areas, because of their thinking, their physical reactions, their cultural experiences and their ability to adjust to the behavior of others.” (Nida 1964:55)And Nida's view that &amp;quot;what can be said in one language can also be said with relative precision in another&amp;quot; is amply supported by the material obtained through extensive research.(Nida 1975)&lt;br /&gt;
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For example, in English the expression “Haste makes waste” appears in Chinese as“欲速则不达”，“Strike while the iron is hot”in English，in Chinese there is a similar expression“趁热打铁”，etc.The commonality between languages therefore results in translatability between languages and the recognition of the possibility of cultural loaded words is the basis for translation of cultural loaded words.(Wang Xiaodan 2009(38(S1)):130-132)&lt;br /&gt;
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For example, in English the expression “Haste makes waste” '''is rendered''' in Chinese as“欲速则不达”，“Strike while the iron is hot”in English，in Chinese there is a similar expression“趁热打铁”，etc.The commonality between languages''', therefore,''' results in translatability between languages and the recognition of the possibility of cultural loaded words is the basis for translation of cultural loaded words.(Wang Xiaodan 2009(38(S1)):130-132)--[[User:Zeng Fangyuan|Zeng Fangyuan]] ([[User talk:Zeng Fangyuan|talk]]) 16:13, 18 December 2020 (UTC)&lt;br /&gt;
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However, it cannot be denied that cultural differences do pose difficulties for the translation of cultural loaded words. The translation of culturally loaded words faces two bottlenecks: &lt;br /&gt;
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Firstly,the absence of equivalent vocabulary. The uniqueness of cultures results in the uniqueness of culturally loaded words. A word that is specific to one culture may be difficult to find a counterpart for in another culture.Secondly, equivalent cultural meanings are missing.In both cultures, what we sometimes think of as equivalent words are not the same in terms of sentimentality, depth of meaning, lexical bias, etc. In the other culture, the words are not the same in terms of meaning. Therefore, Eugene Nida's principle of equivalence is very difficult to fully achieve in the translation of culturally loaded words, and the reason for this translation dilemma is culture.(Li Zhaoguo (03):107-108)&lt;br /&gt;
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Firstly,the absence of equivalent vocabulary. The uniqueness of cultures results in the uniqueness of culturally loaded words. A word that is specific to one culture may be difficult to find a counterpart for in another culture.&lt;br /&gt;
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Secondly, equivalent cultural meanings are missing.In both cultures, what we sometimes think of as equivalent words are not the same in terms of sentimentality, depth of meaning, lexical bias, etc. In the other culture, the words are not the same in terms of meaning. Therefore, Eugene Nida's principle of equivalence is very difficult to '''be fully achieved''' in the translation of culturally loaded words, and the reason for this translation dilemma is culture.(Li Zhaoguo (03):107-108)--[[User:Zeng Fangyuan|Zeng Fangyuan]] ([[User talk:Zeng Fangyuan|talk]]) 16:13, 18 December 2020 (UTC)&lt;br /&gt;
【分成两段了~】&lt;br /&gt;
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In today's increasingly globalized world, where the world is sharing more and more things, but only culture has not lost its borders, and countries are placing more and more importance on their traditional culture and national identity, it is difficult to convey cultural factors with zero loss, so the translatability of cultural loaded words is limited. It is incumbent upon translation theorists to analyze the differences between the source and target language and find ways to overcome these difficulties.(Qiu Mao-Ru 2001(01):24-27)&lt;br /&gt;
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===Translation Strategies of Culture-loaded Words===&lt;br /&gt;
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As above mentioned，culture-loaded words are translatable，but the translatability of culture-loaded words is limited. Therefore, the translator can only retain and convey the cultural information contained in culture loaded words as much as possible. In this regard, Newmark introduces the concepts of 'communicative translation' and 'semantic translation': &amp;quot;Communicative translation attempts to make the translation have an effect on the reader of the TL that is as close as possible to the effect of the original text on the reader of the SL. Semantic translation attempts to convey the exact contextual meaning of the original as far as the semantic and syntactic structure of the TL allows&amp;quot;.(Peter Newmark, 1981) &lt;br /&gt;
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Chinese scholar Liao Qiyi （Liao Qiyi，2001）also pointed out that culture should be regarded as a basic unit in the translation process, not just in the language; translation is not a simple process of decoding and reorganizing, but more importantly the communication and dissemination of culture; translation should not be limited to the simple conversion of the source language text, but should also focus on whether the text is functionally equivalent in the target language and culture; at the same time, different translation principles and norms should be used in different historical periods to meet the needs of culture. This chapter classifies the translation strategies of culture loaded words into four categories：&lt;br /&gt;
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====Transliteration====&lt;br /&gt;
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Transliteration, as the name implies, is a translation strategy of looking for English with similar pronunciation according to Chinese pronunciation when translating Chinese. It is a very common approach used in translation. Longman Dictionary of Contemporary English defines transliteration as writing a word, name, sentence etc.This method usually makes the translation sound vivid and familiar by maintaining its original pronunciation and Chinese culture flavor.(Zheng Dehu 2016(02)53-56)&lt;br /&gt;
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Transliteration, as the name implies, is a translation strategy of looking for English with similar pronunciation according to Chinese pronunciation when translating Chinese. It is a very common approach used in translation. Longman Dictionary of Contemporary English defines transliteration as writing a word, name, sentence etc.This method usually makes the translation '''sound【删掉？】''' vivid and familiar by maintaining its original pronunciation and Chinese culture flavor.(Zheng Dehu 2016(02)53-56)--[[User:Zeng Fangyuan|Zeng Fangyuan]] ([[User talk:Zeng Fangyuan|talk]]) 16:01, 18 December 2020 (UTC)&lt;br /&gt;
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For example, “ma jiang”(麻将) is peculiar to Chinese only, for which usually four people are needed to play it. It has been very popular as an entertaining game in China. People play it for relaxation or for fun. Nowadays it is still welcome in China. To let English-speaking people understand it, “Majhong” is ok.“Tu hao(土豪)”，originally refers to the despotic landlord who had a lot of money, land and property. Nowadays “Tuhao” is used to ridicule the mainland Chinese people who are rich but uncultured, not having the corresponding good taste, manners to match their accumulated wealth.（Hu Weijia.2006(04):34-36.）&lt;br /&gt;
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The following are examples of this kind: place names such as “Hutong” from “胡同”，“Beijing”from “北京”，names of food and drink such as “Zongzi” from“粽子”, “Tofu” from “豆腐”, “jiaozi” from“ 饺子”,“Maotai” from “茅台”, and some otherterms specific to Chinese culture such as “kang” from “炕”,“yin yang” from “阴阳”, “Fengshui” from “风水”, “Kungfu” from “功夫”， “Laogai” from “劳改”，“Shuanggui”from “双规”, “Hukou” from “户口”, “Hongbao” from “红包”, “Guanxi” from “关系”, “Chengguan” from “城管”,“qipao (or cheongsa which is from Cantonese)” from “旗袍”, “renminbi” from“人民币”, etc.So far, all of the above transliterated words have been very well accepted by English speaking people. Transliteration may be employed if it works, which can better promote the communication between two cultures. （ibid.2006(04):34-36.）&lt;br /&gt;
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'''Followings''' are examples of this kind: place names such as “Hutong” from “胡同”，“Beijing”from “北京”，names of food and drink such as “Zongzi” from“粽子”, “Tofu” from “豆腐”, “jiaozi” from“ 饺子”,“Maotai” from “茅台”, and some otherterms specific to Chinese culture such as “kang” from “炕”,“yin yang” from “阴阳”, “Fengshui” from “风水”, “Kungfu” from “功夫”， “Laogai” from “劳改”，“Shuanggui”from “双规”, “Hukou” from “户口”, “Hongbao” from “红包”, “Guanxi” from “关系”, “Chengguan” from “城管”,“qipao (or cheongsa which is from Cantonese)” from “旗袍”, “renminbi” from“人民币”, etc.So far, all of the above transliterated words have been very well accepted by English speaking people. Transliteration may be employed if it works, which can better promote '''the【删掉】''' communication between two cultures. （ibid.2006(04):34-36.）--[[User:Zeng Fangyuan|Zeng Fangyuan]] ([[User talk:Zeng Fangyuan|talk]]) 16:01, 18 December 2020 (UTC)&lt;br /&gt;
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====Literal Translation====&lt;br /&gt;
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“Literal translation refers to a method of translation from the source language into the target language that respects the syntactic structure of the target language despite changes in the linguistic environment.”（Newmark 2001））Simply put it, literal translation is word-for-word translation. That is to translate something literally. It is another important tactic of translation, with which translators needn’t do much changes on the words, sentence sequence, or grammatical structure. This is a translation method under the strategy of foreignization. Political culture-loaded words can be translated in this way. For example, “一带一路”can be translated as “The Belt and Road”，and “新常态”can be translated as“new normal”， which refers to the newly emerging Chinese economic status. Most importantly, with this tactic, the TT and ST could be equivalent in both forms and meanings. A more example: &lt;br /&gt;
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Original text：孔子很重视美育。他说 ：“兴于诗，立于礼，成于乐。”意思是说，学习《诗》（《诗经》），可以感发人的精神，使人产生美感 ；学习《礼》（《周礼》），可以使人的行为得到规范，成为一个文明的人。&lt;br /&gt;
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English translation：Confucius emphasized aesthetic education. He said, “Studying the Book of Songs (Shijing) inspires the spirit and helps one appreciate beauty. Studying the Book of Rites (Zhouli) enables one to behave properly as a person of enlightenment.”(Zhang Lu, Wang Fuyin,2020(13):177-180).&lt;br /&gt;
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As we can see from this example, the first step in translating an ancient language is to convert it into modern Chinese and then to translate it. In both translations the category words &amp;quot;The book of&amp;quot; has been added. The overall translation follows the structure of the original text and retains the linguistic features of the original.&lt;br /&gt;
&lt;br /&gt;
However, literal translation is not the dead translation of word to word. Hard translation should be treated according to specific conditions in order to achieve the purpose of effective communication. For example，it is inappropriate to translate sentence like “不入虎穴，焉得虎子” as “If you do not go into the cover of the tiger，how will you get its cub”. Obviously, such translation cannot convey the meaning of the original sentence. In this case, we don’t need to give up literal translation directly and turn the perspective to the target language readers, but supplement this translation with “In other words：nothing venture，nothing gained”. Therefore, translators should strengthen the study of Chinese culture when they are learning, so that they can not only master the translation strategy of culture loaded words, but also be conducive to their understanding and pride of Chinese culture(Zheng Dehu,2016(02):53-56).&lt;br /&gt;
&lt;br /&gt;
However, literal translation is not the dead translation '''from''' word to word. Hard translation should be treated according to specific conditions '''as a way to''' achieve the purpose of effective communication. For example，it is inappropriate to translate sentence like “不入虎穴，焉得虎子” as “If you do not go into the cover of the tiger，how will you get its cub”. Obviously, such translation cannot convey the meaning of the original sentence. &lt;br /&gt;
&lt;br /&gt;
In this case, we don’t need to give up literal translation directly and turn the perspective to the target language readers, but supplement this translation with “In other words：nothing venture，nothing gained”. Therefore, translators should strengthen the study of Chinese culture when they are learning, so that they can not only master the translation strategy of culture loaded words, but also be conducive to their understanding and pride of Chinese culture(Zheng Dehu,2016(02):53-56).【分成两段啦~】--[[User:Zeng Fangyuan|Zeng Fangyuan]] ([[User talk:Zeng Fangyuan|talk]]) 16:01, 18 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
====Paraphrasing====&lt;br /&gt;
&lt;br /&gt;
This method refers to the interpretative translation of the original text when translating. Interpretive translation is a translation strategy that we always use when translating culturally loaded words and is a necessary means of cultural transfer. If only the correspondence between Chinese and English characters is taken care of in translation, the result will often be &amp;quot;similar in appearance but not in spirit&amp;quot;, but in order to avoid ambiguity in the meaning of the translated text, an interpretative translation is carried out to express the meaning in its entirety so as to make it easier for the other party to understand, thus achieving the best translation effect and achieving cross-cultural communication.(Wang Yingquan,2006,27(03):74-76).&lt;br /&gt;
&lt;br /&gt;
This method refers to the interpretative translation of the original text when translating. Interpretive translation is a translation strategy that we always use when translating culturally loaded words and is a necessary means of cultural transfer. If only the correspondence between Chinese and English characters is taken care of in translation, the result will often be &amp;quot;similar in appearance but not in spirit&amp;quot;, but in order to avoid ambiguity in the meaning of the translated text, an interpretative translation is carried out to express the meaning in its entirety so as to make it easier for the other party to understand'''；【thus不能用在句中 用分号感觉会好点】'''thus achieving the best translation effect and achieving cross-cultural communication.(Wang Yingquan,2006,27(03):74-76).--[[User:Zeng Fangyuan|Zeng Fangyuan]] ([[User talk:Zeng Fangyuan|talk]]) 16:01, 18 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
Most of social culture-loaded words can be translated in this way. For example：四大发明 The Four Great Invention ( the compass， papermaking， gunpowder， printing ). In this way, translators firstly give a complete literal translation of the source language in a different way so that the target language reader can get close to the source language, feel and remember the culture, and then further explanations so that the target language reader can understand the meaning of the source language.(Zhang Lu, Wang Fuyin 2020(13):177-180).&lt;br /&gt;
&lt;br /&gt;
Most of social culture-loaded words can be translated in this way. For example：四大发明 The Four Great Invention ( the compass， papermaking， gunpowder， printing ). In this way, translators firstly give a complete literal translation of the source language in a different way so that target language reader'''s''' can get close to the source language, '''feeling and remembering''' the culture, and then further explanations '''are given''' so that target language reader'''s''' can understand the meaning of the source language.(Zhang Lu, Wang Fuyin 2020(13):177-180).--[[User:Zeng Fangyuan|Zeng Fangyuan]] ([[User talk:Zeng Fangyuan|talk]]) 16:01, 18 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
Let's look at another example:道可道，非常道( 老子《道德经》)&lt;br /&gt;
&lt;br /&gt;
English translation：The Tao that can be expressed in words is not the eternal Tao．&lt;br /&gt;
&lt;br /&gt;
Note：The Tao，(spelled as Dao in Chinese phonetic symbols) a philosophical term first used by Lao-Tzu ( Lao Zi) ; traditionally translated as Tao ( thus Taoism) ，logos，way，path，road，etc（Gu Zhengkun，2006).&lt;br /&gt;
&lt;br /&gt;
Here,“道”are translated with transliteration because there is no equivalent words in the target language. Translators have to create a new word. In consequence, the balance between the receptors and the translators lost. To make them balanced again.However,Literal translation or transliteration would confuse the target language reader, who lacks a cultural background, whereas an interpretative translation using an explanatory method accurately conveys the intended meaning without losing the cultural features of the original language.(ibid 2020(13):177-180)&lt;br /&gt;
&lt;br /&gt;
Here,“道”are translated with '''a method of''' transliteration because there is no equivalent words in the target language. Translators have to create a new word. In consequence, the balance between the receptors and the translators '''is''' lost '''to''' '''realize a''' balance '''in translation. However,Literal translation or transliteration would confuse the target language reader, who lacks a cultural background, whereas an interpretative translation using an explanatory method accurately conveys the intended meaning without losing the cultural features of the original language.(ibid 2020(13):177-180)--[[User:Zeng Fangyuan|Zeng Fangyuan]] ([[User talk:Zeng Fangyuan|talk]]) 16:01, 18 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
==== Free Translation====&lt;br /&gt;
&lt;br /&gt;
English and Chinese belong to two different language families. Not only are there huge differences in vocabulary, syntax and rhetoric, but the cultures they embody are also very different. When the first three methods fail to achieve functional equivalence between the original text and the translated text, a context-specific free translation is required. Paraphrasing is often used in literary translation，linguistic culture-loaded words can be translated in this way.(Tang Xiuqiong 2006(01):126-130)&lt;br /&gt;
&lt;br /&gt;
For example：“覆水难收”can be translated as “it’s no use crying over spilt milk”, and “木已成舟” can be translated as“The die is cast”. In these examples, translation no longer seeks to unify the form of the original text, but rather to shift expressions and perspectives to fit the conventions of expression in the source language, while maintaining the same meaning as in the original. &lt;br /&gt;
&lt;br /&gt;
For example：“覆水难收”can be translated as “it’s no use crying over spilt milk”, and “木已成舟” can be translated as“The die is cast”. In these examples, translation no longer seeks to unify the form of the original text, but rather '''shifting''' expressions and perspectives to fit the conventions of expression in the source language, while maintaining the same meaning as in the original. &lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
Let's look at another example:&lt;br /&gt;
&lt;br /&gt;
Original text:就是豺狼虎豹，也就是把它们赶得远远的，不让它们危害人类而已。&lt;br /&gt;
&lt;br /&gt;
English translation ：Even ferocious animals like wolves and tigers should only be driven away so they cannot harm people. (Zhang Lu, Wang Fuyin,2020(13):177-180)&lt;br /&gt;
&lt;br /&gt;
In Western culture, wolves and tigers have positive images, but the negative images are predominant. Wolves show a sinister, cunning and vicious image, while tigers are regarded as symbols of danger, greed and cruelty, which reflects the clash of terms between Chinese and Western cultures. Translation the Chinese words &amp;quot;豺狼虎豹&amp;quot; into wolves and tigers is more typical and helps Western readers to understand the meaning of the idioms. Another example would be that if “塞翁失马，焉知非福?” is translated as “When the old man on the frontier lost his mare, who could have guessed it was a blessing in disguise?&amp;quot; The listener would feel that they were listening to a story and would not be able to appreciate the meaning of the words，but if translate it as “a loss may turn out to be gain”，it will make the purpose and the reader easier to understand and thus communicate effectively.(ibid 2020(13):177-180)&lt;br /&gt;
&lt;br /&gt;
In Western culture, wolves and tigers have positive images, but the negative images are predominant. Wolves show a sinister, cunning and vicious image, while tigers are regarded as symbols of danger, greed and cruelty, which reflects the clash of terms between Chinese and Western cultures. Translation the Chinese words &amp;quot;豺狼虎豹&amp;quot; into wolves and tigers is more typical and helps Western readers to understand the meaning of the idioms. Another example would be that if “塞翁失马，焉知非福?” is translated as “When the old man on the frontier lost his mare, who could have guessed it was a blessing in disguise?&amp;quot; The listener would feel that they were listening to a story and would not be able to appreciate the meaning of the words，but '''if it is translated as''' “a loss may turn out to be gain”，it will '''fulfill''' the purpose and '''enable''' the reader to understand '''its meaning easier''' , '''realizing an effective cultural communication'''.(ibid 2020(13):177-180)--[[User:Zeng Fangyuan|Zeng Fangyuan]] ([[User talk:Zeng Fangyuan|talk]]) 16:01, 18 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
Linguistic culture-loaded words always translated in this method, because the Chinese language is so profound that even if words are literally the same, they do not all have the same meaning. In the first book of The Story of the Western Wing , the word “好事” appears nine times, but its meaning is more ambiguous and can reflect different associations in different linguistic contexts. In this case, the use of free translation makes the meaning of the original text clearer.（Zheng Dehu.2016(02):53-56）&lt;br /&gt;
&lt;br /&gt;
Linguistic culture-loaded words '''are''' always translated in this method, because the Chinese language is so profound that even if words are literally the same, they do not all have the same meaning. In the first book of ''The Story of the Western Wing'' , the word “好事” appears nine times, but its meaning is more ambiguous and can reflect different associations in different linguistic contexts. In this case, the use of free translation makes the meaning of the original text clearer.（Zheng Dehu.2016(02):53-56）--[[User:Zeng Fangyuan|Zeng Fangyuan]] ([[User talk:Zeng Fangyuan|talk]]) 16:01, 18 December 2020 (UTC)&lt;br /&gt;
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===Conclusion===&lt;br /&gt;
&lt;br /&gt;
All in all，Translation is not simply matter of seeking other words with similar meaning，but rather finding the appropriate ways of saying thing in another language. In translation, especially cultural translation, a translator should be objective and faithful to the original, keep the original form of SL cultural information as much as possible, and adjust the way of expression according to the subject matter and genre of the original, the objective and function of the translation.(Tan Ping 2017(33):170-172)&lt;br /&gt;
&lt;br /&gt;
All in all，Translation is not '''a''' simply matter of seeking other words with similar meaning，but rather finding the appropriate ways of saying '''things''' in another language. In translation, especially cultural translation, a translator should be objective and faithful to the original, '''keeping''' the original form of SL cultural information as much as possible, and '''adjusting''' the way of expression according to the subject matter and genre of the original, the objective and function of the translation.(Tan Ping 2017(33):170-172)--[[User:Zeng Fangyuan|Zeng Fangyuan]] ([[User talk:Zeng Fangyuan|talk]]) 16:08, 18 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
At the same time, in today's context of cultural self-confidence, the task of Chinese translators is not just to bring in foreign culture, according to Mr. Xu Yuanchong,“If traditional Chinese culture is to contribute to global culture, Chinese literature needs to be translated into foreign languages. In today's international world, the most used foreign language is English, so if Chinese literature is to be globalized, it first needs to be translated into English.”(Xu Yuanchong,2005)&lt;br /&gt;
&lt;br /&gt;
At the same time, in today's context of cultural self-confidence, the task of Chinese translators is not just to bring in foreign '''cultures''', according to Mr. Xu Yuanchong,“If traditional Chinese culture is to contribute to global culture, Chinese literature needs to be translated into foreign languages. In today's international world, the '''mostly-used''' foreign language is English, so if Chinese literature is to be globalized, it first needs to be translated into English.”(Xu Yuanchong,2005)--[[User:Zeng Fangyuan|Zeng Fangyuan]] ([[User talk:Zeng Fangyuan|talk]]) 16:08, 18 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
But nowadays, as international communication is becoming closer, to spread Chinese culture, not only English translators are needed, we also need more translators of other  languages, but regardless of the language, with the aim of making global culture more glorious，we need to promote China's excellent traditional culture through translation. As an important part of China's cultural transmission, Chinese cultural load words play an irreplaceable role in the historical mission of transmitting traditional culture. The role is as important as transmitting information and spreading culture.(Zhang Lu, Wang Fuyin 2020(13):177-180)&lt;br /&gt;
&lt;br /&gt;
But nowadays, as international communication is becoming closer, to spread Chinese culture, not only English translators are needed, '''translators of other languages are also wanted'''. '''But''' regardless of the language, with the aim of making global '''cultures''' more glorious，we need to promote China's excellent traditional culture through translation. As an important part of China's cultural transmission, Chinese cultural load words play an irreplaceable role in the historical mission of transmitting traditional culture. The role is as important as transmitting information and spreading culture.(Zhang Lu, Wang Fuyin 2020(13):177-180)--[[User:Zeng Fangyuan|Zeng Fangyuan]] ([[User talk:Zeng Fangyuan|talk]]) 16:08, 18 December 2020 (UTC)&lt;br /&gt;
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===Reference===&lt;br /&gt;
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*Snyder, C. R.; Lopez, Shane J. (2009-01-01). Oxford Handbook of Positive Psychology. Oxford University Press.&lt;br /&gt;
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*Fei Xiaotong费孝通. The Life and Death of Culture [M].文化的生与死[M]. Shanghai: Shanghai People's Publishing House, 2009.上海：上海人民出版社，2009.&lt;br /&gt;
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*Hu, W. (1999). Aspects of Intercultural Communication. Beijing: Foreign Language Teaching and Research Press.&lt;br /&gt;
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*Aixela, J. F. (1996). Culture-specific items in translation. In R. Alvarez &amp;amp; M. C. Vidal (Eds.). Translation.&lt;br /&gt;
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*Zheng Dehu.郑德虎. Chinese culture going out and translation of cultural loaded words[J].中国文化走出去与文化负载词的翻译[J]. Shanghai Translation,2016(02):53-56.上海翻译,2016(02):53-56.&lt;br /&gt;
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*Koo Cheng-kun (tr).辜正坤( tr) ． Tao Te Ching [M].道德经［M］． Beijing: China Translation and Publishing Corporation, 2006.北京: 中国对外翻译出版公司，2006.&lt;br /&gt;
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*Wang Enke.王恩科. Cultural load word translation technique selection[J].文化负载词翻译技巧选择探讨[J]. Journal of Chongqing Business School, 2002(04):83-85.重庆商学院学报,2002(04):83-85.&lt;br /&gt;
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*Huang Lin. 黄琳. A study on the English translation of the cultural load words of The West Wing from the perspective of cultural &amp;quot;going out&amp;quot;[J].文化“走出去”视角下《西厢记》文化负载词英译研究[J]. Journal of Culture, 2020(09):177-180. 文化学刊，2020(09):177-180.&lt;br /&gt;
&lt;br /&gt;
*Li Zhaoguo.李兆国. Cultural Factors in Translation and the Treatment of Culturally Loaded Words[J]. 翻译中的文化因素及文化负载词的处理[J]. Journal of the College of Foreign Languages, Shandong Normal University, 2003(03):107-108山东师范大学外国语学院学报, 2003(03):107-108&lt;br /&gt;
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*Tan Ping. 谭平. English translation strategies of traditional culture-loaded words in the context of cultural confidence[J].文化自信语境下传统文化负载词的英译策略[J]. Xueyuan, 2017(33):170-172. 学园, 2017(33):170-172.&lt;br /&gt;
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【嘻嘻嘻嘻~It looks nicer】&lt;br /&gt;
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==Subtitle Translation Strategies of Cultural-Loaded Words from the Perspective of Skopos Theory——Taking A Bite of China as an Example 刘金惺琦  liu Jinxingqi 202020080620==&lt;br /&gt;
&amp;lt;center&amp;gt;刘金惺琦 Liu Jinxingqi &amp;lt;/center&amp;gt;&lt;br /&gt;
===Abstract===&lt;br /&gt;
Cultural-loaded words are words or phrases which are unique to a nation and their expressions are far more than its surface meaning. There are the unique cultural phenomena behind the words. The translation of cultural-loaded words is beneficial to a nation for culture communication. However, due to the limited time and space of film and television subtitle translation, it definitely increases the difficulty of translation. Therefore, this article focuses on the translation strategy of cultural-loaded words in film and television culture, hoping that it can be used as a reference for the translation of Chinese film and television dramas. From the perspective of Skopos Theory, this thesis uses the Chinese script and the current English translation of the popular documentary A Bite of China in recent years as corpus, analyzes and compare the Chinese and English versions of lines, and explores the translation strategies of cultural-loaded words in film and television subtitle translation, and combined with the unique feature of time and space limitation of film and television translation, finally summarized four translation methods.&lt;br /&gt;
===Key Words===&lt;br /&gt;
Subtitle Translation Strategies, Cultural-Loaded Words, Skopos Theory, A Bite of China&lt;br /&gt;
===题目===&lt;br /&gt;
目的论视角下文化负载词的影视翻译策略—以《舌尖上的中国》为例&lt;br /&gt;
===摘要===&lt;br /&gt;
文化负载词是一个民族所特有的词或是词组，其所表达的含义远不止表面那么简单，其背后蕴藏着这个民族所特有的也是唯一的文化现象，文化负载词的翻译有利于本国文化对外传播，但由于影视字幕翻译具有时空受限的特点，其大大增加了翻译的难度，因此本文着重研究影视文化中文化负载词的翻译策略，希望可以对中国影视剧对外传播翻译有借鉴意义。本文从目的论的视角出发，以近年来热播的纪录片《舌尖上的中国》中文台词和现有英译版本为语料，分析对比台词的中英文本，探究影视字幕翻译中文化负载词的翻译策略，并结合影视台词独有的时空受限的特点，最终总结四种翻译方法。&lt;br /&gt;
===关键词===&lt;br /&gt;
文化负载词、影视翻译策略、目的论、《舌尖上的中国》&lt;br /&gt;
&lt;br /&gt;
===Introduction===&lt;br /&gt;
Language is the essence of a nation, and culture is the foundation of a nation. The two blend with each other and are inseparable. This makes a new challenge for translators, that is, translation cannot be limited to the language level, but more to convey the culture behind language. Every nation has its own unique culture, which is expressed as cultural-loaded words in the vocabulary level. The research on the translation of cultural-loaded words is not only conducive to the spread of culture, but also conducive to the promotion of mutual understanding among countries. This chapter introduces the research background, research methods, research significance and organizational structure.&lt;br /&gt;
&lt;br /&gt;
====1.1 Research Background====&lt;br /&gt;
With the development of economic globalization, the cultural communication among countries has become more and more frequent. Films and TV series, as a comprehensive form of art, shoulder the mission of exploring overseas markets and promoting Chinese culture and Chinese national spirit. They have become the most effective way to spread Chinese culture. Because of globalization, cultural exchanges among China and other countries become more and more frequent, thus a large number of Western film and television works have poured into the Chinese market. As a result, we need not only to actively promote Chinese excellent culture in the domestic market, but also to effectively promote Chinese culture to the world. We need &amp;quot;Go out&amp;quot; to let the world hear &amp;quot;Chinese voice&amp;quot; and spread positive energy. Whether or not to promote the outstanding traditional culture of the nation largely depends on translation. Excellent subtitle translation is conducive to opening up the Western market and promoting cultural communication.&lt;br /&gt;
&lt;br /&gt;
China is known as the country of food. Now more and more foreigners know China through Chinese food. Food has become one of the effective ways for foreigners to learn about China. &amp;quot;A Bite of China&amp;quot; is a documentary about Chinese cuisine produced by CCTV. The film not only introduces the specialties of different regions of China, but more importantly, the cultural connotation and local customs behind the cuisine. As an excellent food documentary, the film has been released in English and has been loved by overseas audiences.&lt;br /&gt;
&lt;br /&gt;
====1.2 Research Significance==== &lt;br /&gt;
We are in an era of social networking，most foreigners learn about Chinese culture through the information on the Internet. Film and television works as a new form of cultural communication cannot be ignored. The limited time and space of subtitle translation makes it very different from traditional literal translation. Culture-loaded words contain the essence of a country’s culture and are the carrier of a country’s culture. The translation of culture-loaded words promotes the spread of culture to the outside, but the cultural connotations behind culture-loaded words increase the difficulty of subtitle translation. In recent years, the translation of cultural-loaded words has received more and more attention from scholars at home and abroad. However, previous studies on cultural-loaded words mainly focused on literary texts, and their translation in film and television subtitles, especially documentary subtitles, was rarely involved. This article aims to explore the translation methods suitable for cultural-loaded words in film and television subtitles through the research on the translation methods of cultural-loaded words in the documentary &amp;quot;A Bite of China&amp;quot;.&lt;br /&gt;
&lt;br /&gt;
====1.3 Research Methods====&lt;br /&gt;
This thesis selects the English version of A Bite of China as the research object, and analyzes the translation strategies of cultural-loaded words in the English version of A Bite of China from the perspective of Skopos Theory. It mainly employs case-study methodology, literature research methodology, descriptive, methodology.&lt;br /&gt;
 &lt;br /&gt;
====1.4 Organization of the Thesis====&lt;br /&gt;
Subtitling Translation Strategies of Cultural-Loaded Words from the Perspective of Skopos Theory——Taking A Bite of China as an Example is the title of this thesis and it is divided into four parts.&lt;br /&gt;
&lt;br /&gt;
The first part is the introduction, which mainly introduces the research background, that is, the era of social media and the “Go out” strategy. In addition, this article also introduces research significance, that is, the significance of the study of the translation strategies of Chinese culture-loaded words in film and TV series for the overseas communication.&lt;br /&gt;
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The second part is a literature review and an introduction to the theoretical framework. It mainly introduces the current situation of culture-loaded word and domestic and foreign film and television translation research, the development and principles of Skopos Theory. Under the guidance of Skopos Theory, following its principles of purpose, coherence, and loyalty, and constrained by the unique characteristics of movie subtitles to think about translation methods of cultural-loaded words so that promote the Chinese culture.&lt;br /&gt;
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The third part is the analysis of A Bite of China, taking the translation of cultural-loaded words in the subtitles of A Bite of China as an example. &lt;br /&gt;
The fourth part is a summary part, which summarizes the translation strategies of Chinese cultural-loaded words in film and TV series, which guides the overseas cultural communication, improve the level of overseas cultural communication, and promote Chinese culture to go abroad.&lt;br /&gt;
===2 Literature Review=== &lt;br /&gt;
====2.1 A Brief Introduction to Culture-loaded Word====&lt;br /&gt;
Looking through the translation of major movie subtitles, we can find that the influence of culture on translation is becoming more and more significant. Cultural-loaded words are the product of the combination of language and culture. Culture includes not only matter, but also non-material things such as customs, language, and ways of thinking. Language is the carrier of culture and an important part of culture. It only makes sense in the peculiar cultural environment. Different cultures in different regions reflect the unique activities that have developed in the process of their development and are totally different from other ethnic groups. Languages and cultures of different countries or nations usually have their own uniqueness.&lt;br /&gt;
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Vocabulary is the basic unit of language. Under the role of language and culture, cultural-load words are produced. This kind of vocabulary carries the cultural information of the nation and is a reflection of its unique culture. The vocabulary vacancy is formed when the cultural information carried by such vocabulary cannot be found in the target culture.&lt;br /&gt;
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With the rapid development of China's film and television industry in recent years, film and television have become a new platform for the promotion of cultural-loaded words. Although more and more scholars have begun to study the cultural-loaded words of film and television works, and have achieved certain results. However, it is undeniable that the translation of cultural-loaded words still faces many challenges. The processing of cultural-loaded words in the translation process involves the culture in both the source language and the target language. The essence of the process of translation is the exchange of culture, and the differences between Chinese and Western cultures are huge. If the translators handled it improperly, it is easy to cause misunderstandings about Chinese culture. In addition, the limitation of time and space in the translation of film and television subtitles makes it more difficult to translate.&lt;br /&gt;
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====2.2 A Brief Introduction to Subtitle Translation====&lt;br /&gt;
In recent years, with the rise of film and television industry at home and abroad, subtitle translation has become more and more attractive for scholars.  Compared with western countries, the film and television industry started late in china, and a complete subtitle translation theory system has not formed, but we still have notable achievements made by outstanding scholars.&lt;br /&gt;
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Professor Ma Zhengqi published the article &amp;quot;On the Basic Principles of Film and Television Translation&amp;quot; in 1997, discussing the principles that film and television translation should follow, and trying to put forward theoretical viewpoints on the theoretical research and practical development of film and television translation for the first time. It can be said that Professor Ma Zhengqi is the pioneer of film and television translation research in China. In 1998, Professor Zhang Chunbai also published the article &amp;quot;A Preliminary Study of Film and Television Translation&amp;quot;, in which put forward the characteristics of the language of film and television. Professor Qian Shaochang also published &amp;quot;An increasingly important area in the translation field of film and television translation&amp;quot;. This article mainly compares the differences between the language of film and television dramas and other text, and summarizes the language characteristics of film and television dramas for colleagues in translation.&lt;br /&gt;
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In the late 1850s, western countries have already started research on film and television translation. Although western scholars did not pay much attention on the film and television translation, many excellent research results have come out. Among them, Fodor is the main representative one. He published Film Dubbing: Phonetic, semiotic, Esthetic, and psychological aspect in 1976, which is a landmark work of dubbing translation.  From 1995 to the beginning of the 20th century, it was the climax of the research of film and television translation.  During this period, the European Institute of Media Research (EIM) was founded. Since the 20th century, with the rapid development of western film and television, people have paid more attention on the film and television translation. At the same time, most scholars have shifted their research direction of film and television translation from the early &amp;quot;dubbing translation system&amp;quot; to the current &amp;quot;audiovisual translation&amp;quot;, focusing on the classification and selection of translation strategies in film and television translation.&lt;br /&gt;
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====2.3 A Brief Introduction to Skopos Theory==== &lt;br /&gt;
The Skopos Theory originated in German in the 1970s and was founded by Reiss and Vermeer. Its development has gone through the following four stages. The first Stage: In 1971, in her book &amp;quot;Possibility and Limitations of Translation Criticism&amp;quot;, Rice first proposed the function of text as a stander for translation criticism. This view was the foundation and basis of later theory; the second stage: Rice's student Wellesley Mass inherited and developed Rice's theory; the third stage: Justa Holz Mant-tari focuses on the behaviors in the translation process, and analyzes the roles of original authors, translators, and readers, and the conditions in which they are suitable. He proposed that translation is purposeful. In the process of translation, translators should follow the customs and values of different cultures, at the same time, combine the feeling of different readers under different cultural; the fourth stage: Christiane Nord put forward the &amp;quot;loyalty principle&amp;quot; to make up for the lack of translation theory.&lt;br /&gt;
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The Skopos Theory has begun to spread in china since 1987 and domestic scholars have also achieved a few results in the study of Skopos Theory in recent years. Gui qianyuan was the first one to introduce the Skopos Theory in the book The Three German Functionalist School translations. Then, Zhang Nanfeng introduces the Skopos Theory in a thesis. Zhong Weihe and Zhong Jue introduce it in detail in1999. From the thesis of Skopos Theory at home, we can find that many of them are introduction of the theory and there are few criticisms of Skopos Theory. As a result, the researches of Skopos Theory still need further develop.&lt;br /&gt;
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===3 Cultural-loaded Words in A Bite of China===&lt;br /&gt;
&amp;quot;A Bite of China&amp;quot; is a documentary with the theme of introducing Chinese food and Chinese culture. The film connects food, local customs and family affection, and showcases Chinese food and long-standing national culture by introducing food from all over China. Many subtitles in &amp;quot;A Bite of China&amp;quot; involve a large number of cultural-loaded words. This is the part with the richest Chinese characteristics. At the same time, it is also the most difficult part for translators, because the connotation contained in it cannot be explained clearly in one or two sentences. It is difficult to find an equivalent in target language. In addition, the unique time and space limitations in subtitle translation make the translation more difficult. According to Nida's classification of cultural-loaded words, this chapter divides the cultural-loaded words in A Bite of China into five parts，that is,  material culture-loaded words, language culture-loaded words, ecology culture-loaded words, religion culture-loaded words as well as social culture-loaded words.&lt;br /&gt;
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====3.1 Material Culture-loaded Words====&lt;br /&gt;
Material cultural-load word refers to the material that contains local characteristic culture. This material can be food, architecture or clothing unique to a certain countries or certain regions. Different regions will form unique eating habits, clothing characteristics or architectural styles due to the influence of geographical environment, historical culture and other factors. As there are huge differences in both languages and cultures between China and the West, it is difficult to find English words that correspond or have the same meaning in English. A Bite of China contains a lot of material and culturally loaded words, such as “螺蛳粉”  (Snail  Rice-flour  Noodles),  “藕夹”  (a  fried  lotus  root  sandwich),“黄馍馍” (buns) and “馕”(a kind of crusty pancake),“肉夹馍”（Chinese hamburger）,“长寿面”（longevity noodle）, “岐山臊子面”（Qishan saozi noodles）etc. &lt;br /&gt;
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====3.2 Linguistic Culture-loaded Words====&lt;br /&gt;
The language itself already covers a lot of cultural information. Due to the influence of terrain and history, different regions or different tribes have their own languages. The language and culture itself can more or less reflect the customs and habits of a certain regional culture or the way of thinking of the local people. For example, the most common four-character expression in Chinese is very common in documentary subtitles, because the four-character expression is short and concise, satisfies the characteristics of limited time and space in subtitles, and it is also a way of expression with Chines Characteristic. For example, there are a large number of four-character expressions in A Bite of China: such as, “汤汁清爽、萝卜白净、辣油红艳、香菜翠绿、面条黄亮”  (clear  soup,  clean  white  turnips,  brilliant  red  chili  oil, “肌红脂白，香气浓郁，滋味鲜美”  (nice  color, pleasant  aroma  and  fresh  taste),  “猎杀不绝”  (always  leave  something  for  the  next  hunt), “吃不了咱兜着走” (are in good measure), “才下舌尖，又上心头”(after passing by the tip of the tongue, the combined taste reaches deep in heart), “热腾腾” (hot), “色泽油亮” (the deep color),  “酸辣可口”(hot and sour tasty),“刚中带柔”(with solidness in softness) and “家家户户”(families),etc.&lt;br /&gt;
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====3.3 Social Culture-loaded Words====&lt;br /&gt;
Social cultural-load words cover almost all aspects of social life. Social cultural-loaded words mainly refer to traditional festivals, ways of addressing, and ways of greeting that are unique to a country or even a region. For example, there are big differences between China and the West in the way of greeting. In the West, the way to greet you is usually how are you, while the way to greet old friends in Beijing, China is &amp;quot;have you eaten?&amp;quot; The meaning of eating here is not simply eating, but it represents a greeting, which is rich in emotional connotations. There is also a large amount of social-culture loaded words in &amp;quot;A Bite of China&amp;quot;, such as 老包”(Bao), “卫大妈”(Madame  Wei),  “石把头”  (Shi),  “顾阿婆”(Madame Gu), “老两口”(The senior couple), “陈师傅”(Chef  Chen),  “渔把头”(the  chief  fisherman),  “老伴”(her  husband),  “年年有余”  (it represents  a  wish  for  an  annual  surplus),  “寿宴”(a  birthday  feast),  “古尔邦节”(the Corban Festival), “满月”(reaches the age  of  one  month),  “寿星公”(the  one  who  celebrates the  birthday), etc.&lt;br /&gt;
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====3.4 Ecological Culture-loaded Words====&lt;br /&gt;
Different topography, climate, water and soil have bred different ecological cultures in different regions, so each region has formed a unique vocabulary in animal, plant, geography, and climate. For example, the Qilin is a common image in ancient Chinese mythology. It is shaped like a deer, with horns on its head, scales on its body, and tail like an oxtail. In the Western world, there is no such an ideal beast as the Qilin, so it is difficult for Western readers to understand such animal.  It is also difficult for translators to find equivalent words in the target language, which poses a challenge for translation. Therefore, it is very important to study the translation of ecological culture-loaded words. There is also a large amount of ecological culture-loaded words in &amp;quot;A Bite of China&amp;quot;. For example, 云南，香格里拉”(Shangri-la,  Yunnan),  “江浙一带”(in  Jiangsu  and Zhejiang  Provinces),  “陕北丘陵沟壑地区”  (Hilly and gully areas of northern Shaanxi),  “小兴安岭”  (the  Lesser  Khingan  mountain  range),  “河西走廊”(the  Hosi  Corridor),  “中原地区”(the Central Plains), “西南边陲” (the south-west border), “江南” (Jiangnan, south of the lower Yangtze Valley), “松花江” (the Songhua River), “灵芝” (lucid ganoderma),etc. The translation methods of these words are worthy of our translator's thinking.&lt;br /&gt;
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====3.5 Religious Culture-loaded Words====&lt;br /&gt;
Confucianism, Taoism and Buddhism constitute the main part of Chinese religion. Although there are not many people who believe in religion in China, the influence of Confucianism, Taoism, and Buddhism on our production, life, communication, and way of thinking is more or less manifested in language. There is also a large amount of ecological culture-loaded words in &amp;quot;A Bite of China&amp;quot; ,such  as  “悟性”  (comprehension),  “祈求湖里的神仙恩赐来年的丰收” (prays piously to the lake god for a good harvest next year), “被上天厚爱的人群” (the  lucky  locals),  “the  Mazu  Temple”  (妈祖庙),  “滋养人的灵性和觉悟”  (nourishes  thespirit and mind), “中国的汉地佛教” (Han Buddhism in China), “食素” (vegetarian diet),“清寡”(plainness) and “古人称赞豆腐有和德” (the ancient people praised it, saying ‘tofu has merits), etc.&lt;br /&gt;
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===4 Adoptive Translation Methods of Cultural-loaded Words in A Bite of China===&lt;br /&gt;
The previous chapters respectively introduced the Skopos Theory and classification of culture-loaded words. This chapter will use the theory of Skopos Theory to further analyze the translation strategies of culture-loaded words in A Bite of China. Through analysis, we found that the translation in A Bite of China adopted both domestication and foreignization translation strategies. The translation methods used under domestication include transliteration, literal translation, and transliteration. Under the foreignization strategy, omission, and literal translation are used. In this chapter, we will explain these translation methods used in A Bite of China one by one.&lt;br /&gt;
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====4.1 Omission====&lt;br /&gt;
Omission refers to a translation strategy that reduces some of the complex words in the lines without losing the main content of the original text. In the cases where the original text is too long or complex and the limitation of the time and space, omission strategy can be adopted to deal with culture-loaded words, which ensure the audience can understand the plot smoothly.&lt;br /&gt;
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Example1: 如今，腊味既能成为家常小菜也能登大雅之堂。&lt;br /&gt;
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Subtitle translation:“Today, the cured food appears served at a banquet.” &lt;br /&gt;
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In this sentence, the translators use the method of omission. The author deletes the two four-character words “家常小菜”and “大雅之堂”in the original sentence. In Chinese, “家常小菜”mean simple meals that are often cooked at home, and “大雅之堂” means meals that are often available at banquets. This sentence emphasizes that the cured food can already be used as a kind of food to serve at banquets. Therefore, the translator deleted the image of home-cooked dishes, which not only saves the space for subtitles, but also enables the audience to quickly understand the meaning of the sentence. And the translation of this selected sentence follows the main purpose of communication and consistency.&lt;br /&gt;
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====4.2Replacement====&lt;br /&gt;
According to the Principle in the Skopos Theory of Translation, the translation must be understood by reader in the target language.  In A Bite of China, in order to achieve the purpose of cross-cultural language communication, the first principle adopted is to replace, that is, to find the similar or the same words or sentence in the target language so that the foreign audience can easily understand it.&lt;br /&gt;
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Example2: 中国人说：靠山吃山，靠海吃海。&lt;br /&gt;
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Subtitle translation: Chinese people say one has to make use of the local resources available.” &lt;br /&gt;
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&amp;quot;靠山吃山，靠海吃海&amp;quot; is a Chinese proverb, meaning that geographical conditions determine the eating habits of the locals. If it is literally translated, it means that those who live on the mountain eat things from the mountains, and those who live by the sea eat things from the sea.  Although this method of literal translation can also enable foreign audiences to understand the general meaning of this proverb, the sentence is too long and it is difficult for the audience to understand the core meaning of the sentence. When translated into &amp;quot;make use of the local resources available&amp;quot;, the images of mountains and seas in the original text have been deleted, but the translator has cleverly used replacement translation methods to present the meaning of the original text in a way that is more understood by foreign audiences which make the translation concise without losing the original meaning.&lt;br /&gt;
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====4.3 Transliteration====&lt;br /&gt;
Transliteration refers to referring to the words in the source language with similarly pronounced words in the target language. This translation method will create new vocabulary.&lt;br /&gt;
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Example3: 嘉兴人踏实放心的一天，就是从一个个热腾腾的肉粽子开始的。&lt;br /&gt;
Subtitle translation: Jiaxing  natives  start  their  day  with  a  hot  meat  Zongzi,  a  traditional  Chinese  food, made of glutinous rice with different stuffing.&lt;br /&gt;
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Example4: 泡馍也是从馍变化出来的一种西安主食。 &lt;br /&gt;
Subtitle translation: Paomo, another staple food in Xi'an, originated from the baked buns.&lt;br /&gt;
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Example5: 徽菜里的腊八豆腐，虽然像铁饼那样坚硬，但保质期却可以很长。 &lt;br /&gt;
Subtitle translation: Laba Tofu is as hard as a discus, but it can be preserved for quite a long time.&lt;br /&gt;
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In A Bite of China, we find that many dish names are translated using transliteration based on foreignization strategies. The name of a Chinese dish is not simply representative of the variety or cooking method of the dish. It has rich meaning with Chinese culture. For example, in the first example, Laba tofu, Laba is neither the ingredients needed for this dish, nor the cooking method of this dish. Laba is a special solar term in Chinese, and Laba tofu is a traditional delicacy to be eaten during the Laba Festival in Anhui Province, so it cannot be explained clearly in a few words. Therefore, the translation strategy of transliteration is adopted, which not only retains the cultural connotation, but also does not take up too much space on the screen to affect the audience's perception. In addition, because it is the translation of documentary, the translator should also consider the sense of the picture. Because of the simultaneity of the subtitles and the picture, the audience can easily associate the name of the dish with the dish appearing on the picture, so there is no need to explain it too much. The foreginization strategy follows the Skopos Theory that ensure the foreign audiences can understand the plot smoothly.&lt;br /&gt;
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====4.4 Literal Translation====&lt;br /&gt;
Literal translation is a translation method that preserves the content and structure of the source language. Literal translation is helpful to spread the source language culture, but it will inevitably cause understanding obstacles.&lt;br /&gt;
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Example6: 白切鸡是粤菜的另一道看家菜。烹鸡需要慢火，水温控制在摄氏90度，这是为了保持鸡肉的鲜嫩。&lt;br /&gt;
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Subtitle translation: White Cut Chicken is a classic of Cantonese cuisine. The chicken is simmered at around 90°C for 15 minutes.&lt;br /&gt;
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White Cut Chicken is a traditional Chinese delicacy. The translator here uses the literal translation method, that is, word-to-word translation. Although the Chinese and Western cultures are quite different, there are still many similarities. For example, theese three Chinese characteristics &amp;quot;white cut chicken&amp;quot; represent the color, method, and ingredients of this dish. It is easy to fort foreign audiences to understand the meaning by using the literal transltion. Therefore, the translator uses a literal translation method. At the same time, it also follows the coherent principle of Skopos Theory and achieves the purpose of cultural communication.&lt;br /&gt;
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===Conclusion===&lt;br /&gt;
As countries communicate more and more closely, cultural communication and dissemination become more and more important, and translation, as a bridge of cultural communication, plays a crucial role that cannot be ignored. At the same time, since we are in an information age, the film and television industry can be regarded as the main carrier of cultural communication. As a result, the quality of subtitle translation is directly related to the spread of Chinese culture, so the quality of subtitle translation cannot be ignored. Under the guidance of Skopos Theory, it is necessary to clarify the purpose of subtitle translation or the cultural communication, so that the foreign audiences can clearly and quickly understand the plot and character relationships when watching.&lt;br /&gt;
This thesis summarizes three translation strategies by analyzing the subtitle translation of Chinese culture-loaded words in A Bite of China. When encountering difficulties in translating cultural-loaded words, we must first clarify the purpose of translation, and then remember the features of space and time limitation in subtitle translation to translate. If the purpose is to spread Chinese culture, the translators must regard the cultural background of the source language as the most important part and use the literal translation or foreignization strategy of translation. While if it is for cultural communication, then more consideration should be given to the feelings of foreign audiences, focusing on smoothness and simplicity, and using domestication translation strategy.&lt;br /&gt;
In the process of film and television drama translation, the translator needs to consider the feelings of the audience of target language. The primary purpose of foreign translation of film and television dramas is cultural communication. The TV series that is not based on culture communication cannot be understood by the audience of target language. Efficient overseas communication of Chinese culture based on efficient cultural communication, however, the traditional Chinese and Chinese cultures should be preserved as well. &lt;br /&gt;
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Liu Yiming. 刘一名. (2016). 从接受美学角度看文化负载词的翻译. [On the translation of cultural-loaded words from the perspective of reception aesthetics]. ''湖南师范大学''[Hunan Normal University].&lt;br /&gt;
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Hu Jibin. 胡际斌. (2017). 接受美学视角下《舌尖上的中国》字幕中文化负载词的英译研究. [A Study on the English Translation of Cultural-Loaded Words in the Subtitles of &amp;quot;A Bite of China&amp;quot; from the Perspective of Reception Aesthetics]. ''湖南工业大学''[Hunan University of Technology].&lt;br /&gt;
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Zhang Liumei. 张留梅. (2015). 《舌尖上的中国Ⅱ》美食英译探究中餐菜名的翻译. [On the English Translation of Food in A Bite of China II]. ''太原城市职业技术学院学报''[Journal of Taiyuan City Vocational and Technical College]183-185.&lt;br /&gt;
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Zhang Tingli. 张婷丽. (2015). 目的论指导下的《舌尖上的中国》菜名英译策略. [The English Translation Strategies of Dishes in &amp;quot;A Bite of China&amp;quot; Guided by Skopos Theory]. ''湖南师范大学''[Hunan Normal University].&lt;br /&gt;
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Zheng Dehu. 郑德虎. (2016). 中国文化走出去与文化负载词的翻译. [Chinese Culture Going Out and the Translation of Cultural-Loaded Words]. ''上海翻译''[Shanghai Translation]53-56.&lt;br /&gt;
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Zhu Dan 朱丹.(2013). 中国饮食中文化负载词的翻译策略研究. [Research on the Translation Strategy of Cultural-Loaded Words in Chinese Food]. ''沈阳师范大学''[Shenyang Normal University]2013.&lt;br /&gt;
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eFodor, Itsvan. (1976). ''Film Dubbing: Phonetic, Semiotic, Aesthetic and Psychological Aspects''. Hamburg：Buske.&lt;br /&gt;
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Baker, Mona. (2000). ''In other words: a course Book on Translation''. Rutledge Encyclopedia of translation studies.&lt;br /&gt;
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==Translation of Culture-loaded Words in Mao Zedong's Poems from the Cognitive View of Translation—A Case Study of Xu Yuanchong's Version  曾芳缘 Zeng Fangyuan 202020080589 语言学==&lt;br /&gt;
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&amp;lt;center&amp;gt;曾芳缘 Zeng Fangyuan&amp;lt;/center&amp;gt;&lt;br /&gt;
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===Abstract===&lt;br /&gt;
Characterized by profound meaning, majestic style, and concise language, Mao Zedong's poems shows the essence of his life and revolutionary experience. Mao's unique artistic charm and philosophical wisdom make him deeply respected by the people around the world and translation of his poems are also widely concerned. His poems are written in the style of classical metrical verse, in which the culture-loaded words are the crystallization of Chinese culture. Because of the specificity and complexity of culture meaning, there exists much challenges in the translation of such words. Nowadays, translation theorists both at home and abroad have gradually swerved their focus from discourse analysis and cross-cultural communication to a deeper factor—cognition as a way to explain the phenomenon.&lt;br /&gt;
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Characterized by profound meaning, majestic style, and concise language, Mao Zedong's poems shows the essence of his life and revolutionary experience. Mao's unique artistic charm and philosophical wisdom make him deeply respected '''by people''' around the world and  '''translations''' of his poems are also widely concerned. His poems are written in the style of classical metrical verse, in which the culture-loaded words are the crystallization of Chinese culture. Because of the specificity and complexity of '''cultural''' meaning, there exists '''many''' challenges in the translation of such words. Nowadays, translation theorists both at home and abroad have gradually swerved their focus from discourse analysis and cross-cultural communication to a deeper factor—cognition ，'''and regarded it''' as a way to explain the phenomenon.--[[User:Liubo|Liubo]] ([[User talk:Liubo|talk]]) 12:38, 16 December 2020 (UTC)&lt;br /&gt;
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In this sense, based on Nida's classification of culture-loaded words, this chapter selects Xu Yuanchong's translated version of Mao's poems as an example to discuss the translation of culture-loaded words from the perspective of cognitive view in translation. It is concluded that Xu's version serves for the target readers by retaining the flavor of the original text and promoting cultural communication based on his bodily experience of the world, perception of the target culture, and multiple interaction among three factors (author, reader and text), which is a realization of harmony ensued by cognitive view of translation.&lt;br /&gt;
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In this sense, based on Nida's classification of culture-loaded words, this chapter selects Xu Yuanchong's translated version of Mao's poems as an example to discuss the translation of culture-loaded words from the perspective of cognitive view in translation. It is concluded that Xu's version serves for the target readers by retaining the flavor of the original text and promoting cultural communication based on his bodily experience of the world,the perception of the target culture, and multiple interaction among three factors： author, reader and text, which is a realization of harmony ensued '''from''' cognitive view of translation.--[[User:Liubo|Liubo]] ([[User talk:Liubo|talk]]) 12:38, 16 December 2020 (UTC)&lt;br /&gt;
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===Key Words===&lt;br /&gt;
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Culture-loaded words; Mao Zedong's Poems; Cognitive View of Translation; Xu Yuanchong.&lt;br /&gt;
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===题目===&lt;br /&gt;
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认知翻译观视角下毛泽东诗词中文化负载词的翻译研究——以许渊冲译本为例&lt;br /&gt;
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===摘要===&lt;br /&gt;
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毛泽东诗词意境深远，气势磅礴，语言自然简洁，是毛泽东人生和革命经历的精华，独特的艺术魅力和哲理智慧让其深受世界人民的推崇。他的诗词都用古典的中国格律诗体写就，其中的文化负载词是中华民族思想文化的结晶。但由于其文化意义独特复杂，给翻译带来了较大挑战。当下，国内外的翻译研究焦点由文本分析和跨文化交流的角度渐渐转向了一个更深层的要素——认知，可用于解释文化负载词翻译的现象。&lt;br /&gt;
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本篇基于奈达对文化负载词的分类，选取许渊冲所译的毛泽东诗词为实例，根据认知语言学翻译观，浅谈文化负载词的翻译。结果表明，许氏译本以服务目标语读者为目的，根据自身体验与对源语文化的感知，并基于三要素（作者、读者、文本）的多重互动保留源语文本文化负载词的原有味道，实现了文化的传播。&lt;br /&gt;
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===关键词===&lt;br /&gt;
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文化负载词；毛泽东诗词；认知翻译观；许渊冲&lt;br /&gt;
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===1. Introduction===&lt;br /&gt;
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Culture-loaded words, as the name implies, reflect things, phenomenon as well as feelings and thoughts unique and specific to a culture. This special kind of words are produced in the long run of the development of a country's civilization, which contains rich cultural information, reflects distinctive national personality, its traditions and customs, and has obvious regional characteristics and historical epochal features. Thus, it is the language embodiment of a specific history, culture and customs. With a long history, a vast territory and rich cultural heritage and connotation, China has given birth to a wealth of culture-loaded words in its language. (Gao Fanghui 2017: 151)&lt;br /&gt;
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Culture-loaded words, as the name implies, reflect things, '''phenomenons''' as well as feelings and thoughts unique and specific to a culture. This special kind of words are produced in the long run of the development of a country's civilization, which contains rich cultural information, reflects distinctive national personality, its traditions and customs. '''And it also contains''' regional characteristics and historical epochal features. Thus, it is the language embodiment of a specific history, culture and customs. With a long history, '''vast territory''' and rich cultural heritage and connotation, China has given birth to a wealth of culture-loaded words in its language.--[[User:Liubo|Liubo]] ([[User talk:Liubo|talk]]) 13:15, 16 December 2020 (UTC)&lt;br /&gt;
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As for Mao Zedong's poetry, it contains a large number of cultural elements, which are gradually accumulated in the long run of historical development. (ibid: 151) It is known that translation is, more often than not, an exchange between different cultures. The famous American translator theorist Eugene A. Nida once said, “for a truly successful translation, knowing two cultures is more important than grasping two languages, because words become meaningful only in its effective cultural background.” (Nida 2002: 82) It is obvious that cultural differences turn out to be an obstacle in the transformation between two languages and it is even more difficult when It comes to the translation of culture-loaded words of Mao Zedong's Poems that carry rich cultural, historical or other information specific to the source language. (Yu Lixia 2016: 107) Therefore, it is of certain significance and value to study the translation of culture-loaded words in Mao's poems.&lt;br /&gt;
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As for Mao Zedong's poetry, it contains a large number of cultural elements which are gradually accumulated in the long run of historical development. (ibid: 151) It is known that translation is, more often than not, an exchange between different cultures. The famous American translator theorist Eugene A. Nida once said, “for a truly successful translation, knowing two cultures is more important than grasping two languages, because words become meaningful only in its effective cultural background.” (Nida 2002: 82) It is obvious that cultural difference turns out to be an obstacle in the transformation between two languages and it is even more difficult when '''it''' comes to the translation of culture-loaded words of Mao Zedong's Poems '''which''' carry rich cultural, historical or other information specific to the source language. (Yu Lixia 2016: 107) Therefore, it is of certain significance and value to study the translation of culture-loaded words in Mao's poems.--[[User:Liubo|Liubo]] ([[User talk:Liubo|talk]]) 13:15, 16 December 2020 (UTC)&lt;br /&gt;
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Xu Yuanchong's translation of Mao Zedong's poems is unique among many translated versions, and it is one of the most successful and popular versions in the English world. (Ye Jihong 1994: 109) As a representative translator in modern and contemporary China, Xu has blazed a new trail in literary translation, especially in poetry translation. And his translation thoughts or strategies can somehow be explained from the perspective of cognitive translation that “ensures harmony by considering three factors (author, text, and reader) in communication as well as by taking into account of interactivity, embodiment feature of text, translators'creativity and the distinction between objective and subjective world.  (Wang Yin 2005: 15)&lt;br /&gt;
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Xu Yuanchong's translation of Mao Zedong's poems is unique among many translated versions, and it is one of the most successful and '''prevailing''' versions in the English world. (Ye Jihong 1994: 109) As a representative translator in modern and contemporary China, Xu has blazed a new trail in literary translation, especially in '''translation of poetry'''. And his translation thoughts or strategies can somehow be explained from the perspective of cognitive translation that “ensures harmony by considering three factors (author, text, and reader) in communication as well as by taking into account of interactivity, embodiment feature of text, translators'creativity and the distinction between objective and subjective world. (Wang Yin 2005: 15)--[[User:Liubo|Liubo]] ([[User talk:Liubo|talk]]) 13:15, 16 December 2020 (UTC)&lt;br /&gt;
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In terms of textual organization, this chapter, being composed of three parts besides introduction and conclusion, begins by outlining and introducing the historical research on English translations of Mao's poems and culture-loaded words. Then it describes the cognitive view of translation and its application on culture-loaded words, and ends by analyzing Xu's translation of culture-loaded words in Mao's poems.&lt;br /&gt;
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===2. Literary Review===&lt;br /&gt;
Mao Zedong's poems are magnificent, powerful, and precise in words. Featured by natural creation, classics citation and rich cultural connotations, his poems are not only widely praised in China, but also deeply admired by foreign readers. (Wang Ping 2007: 138) This part firstly specifies previous studies on English Translations of Mao's poems, especially that of Xu Yuanchong's version. Then, previous studies of culture-loaded words in Mao's poems will be touched upon. In the end, a brief comment will be given based on aforementioned overviews.&lt;br /&gt;
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Mao Zedong's poems are magnificent, powerful, and precise in words. Featured by natural creation, classics citation and '''affluent''' cultural connotations, his poems are not only widely praised in China, but also deeply admired by foreign readers. (Wang Ping 2007: 138) This part firstly specifies previous studies on English Translations of Mao's poems, especially that of Xu Yuanchong's version. Then, previous studies of culture-loaded words in Mao's poems will be touched upon. In the end, a brief comment will be given based on aforementioned overviews.--[[User:Liubo|Liubo]] ([[User talk:Liubo|talk]]) 14:37, 16 December 2020 (UTC)&lt;br /&gt;
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====2.1 Previous Studies on English Translations of Mao Zedong's Poems====&lt;br /&gt;
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Translations of Mao Zedong's poems have always been analyzed and studied among academic field in China. “Xu Yuanchong is one of the scholars who have translated Mao's poems and put forward his own translation theory in literary translation, making his translated version one of the most popular ones around the world.” (Zhang Mengxue 2019: 45) Here is a brief overview of their studies.&lt;br /&gt;
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Translations of Mao Zedong's poems have always been analyzed and studied among academic '''fields''' in China. “Xu Yuanchong is one of the scholars who have translated Mao's poems and '''developed''' his own translation theory in literary translation, making his translated version one of the most popular ones around the world.” (Zhang Mengxue 2019: 45) Here is a brief overview of their studies.--[[User:Liubo|Liubo]] ([[User talk:Liubo|talk]]) 14:37, 16 December 2020 (UTC)&lt;br /&gt;
The translation of Mao Zedong's poems into English starts from the 1930s and lasts to the beginning of 21th century. Many Chinese translators such as Ye Junjian(1991), Xu Yuanchong(1978), Zhao Zhentao(1980), Gu Zhengkun(1993) and Li Zhengshuan(2010, 2011, 2018) have been devoted to translating Mao Zedong's poems. Other translators including Yuan Shuipai, Qiao Guanhua, and Qian Zhongshu and have even worked as a group and made contribution to the translation task in 1961. Still others have cooperated with a foreign partner and come out with a co-translated version, such as the version of Michael Bullock and Jerome Ch'en (1965), as well as the version of Willis Barnstone and Ko Chingpo(1972). (Li Zhengshuan 9)&lt;br /&gt;
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In addition, a number of Chinese scholars are also interested in studying the English translation of Mao Zedong’s poems in detail. They have either made comments on some English versions of Mao Zedong’s poems and put forward their own opinions or focused on the analysis of several English translated versions from different perspectives or theories. (Zhang Jiguang 2020: 88)&lt;br /&gt;
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In addition, a number of Chinese scholars are also interested in studying the English translation of Mao Zedong’s poems in detail. They have either made comments on some English versions of Mao Zedong’s poems and put forward their opinions or focused on the analysis of several English translated versions from different perspectives or theories. (Zhang Jiguang 2020: 88)--[[User:Liubo|Liubo]] ([[User talk:Liubo|talk]]) 14:37, 16 December 2020 (UTC)&lt;br /&gt;
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[[File:ZFY Figure1.jpg]]&lt;br /&gt;
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[[File:ZFY Figure2.jpg]]&lt;br /&gt;
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Taken CNKI database as a corpus, the above Figure 1 shows the number of research papers, including journals, theses and dissertations, on the topic of English translations of Mao Zedong's poems from the 100th anniversary of the poet in 1993 up to 2020. It can be clearly shown that the number of references has raised considerably to reach its apex in the year 2003 and another 3 climaxes in 2007, 2011 and 2015 respectively, which may result from various comments and thoughts brought up by translators while or after translating Mao's poems. As for the number of cited papers and selected papers per year, the amount of research papers on the translation of Mao's poems have increased rapidly since 2007 and reached a peak in 2013, the year of the 120th anniversary of Mao Zedong. With the occurrence of culture turn in translation and cognitive linguistics, the trend of translation theory such as Dynamic Equivalence, Conceptual Blending theory, Relevance Theory Schema Theory, Skopos Theory, Ecological Translation Theory and Receptional Aesthetic have attracted scholars and laid a foundation for studies in Mao's poetry. &lt;br /&gt;
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'''Taking''' CNKI database as a corpus, the above Figure 1 shows the number of research papers, including journals, theses and dissertations, on the topic of English translations of Mao Zedong's poems from the 100th anniversary of the poet in 1993 up to 2020. '''It is''' clearly shown that the number of references has raised considerably to reach its apex in the year 2003 and another 3 climaxes in 2007, 2011 and 2015 respectively, which may result from various comments and thoughts brought up by translators while or after translating Mao's poems. As for the number of cited papers and selected papers per year, the amount of research papers on the translation of Mao's poems have increased rapidly since 2007 and reached a peak in 2013, the year of the 120th anniversary of Mao Zedong. With the occurrence of culture turn in translation and cognitive linguistics, the trend of translation theory such as Dynamic Equivalence, Conceptual Blending theory, Relevance Theory Schema Theory, Skopos Theory, Ecological Translation Theory and Receptional Aesthetic have attracted scholars and laid a foundation for studies in Mao's poetry. --[[User:Liubo|Liubo]] ([[User talk:Liubo|talk]]) 14:37, 16 December 2020 (UTC)&lt;br /&gt;
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Additionally, figure 2 reveals the '''topic''' or key words in related research papers, through which we can explicitly see that main studies on translation of Mao's poems concern about translators, comparative analysis and translation theories. To be more specific, among the most frequently appearing subjects in the study of English Translation of Mao's Poems, the most frequent translators are Xu Yuanchong, Zhao Zhentao, Gu Zhengkun and Yuan Shuipai. Aesthetic translation theories such as “beauty in sound”, and “beauty in sense”, and other theories like “intertextuality” and “creation for loss” have been frequently taken into account. While “target readers”, “translation style”, “translators' subjectivity”, “cultural image” and “culture-loaded words” have also been put on a heated discussion. The translation of “Ci pai”, “reduplicated words”, “alliteration” and “rhythm” in Mao's poems have always been considered either.&lt;br /&gt;
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Additionally, figure 2 reveals the topical or key words in related research papers, through which we can explicitly see that '''major''' studies on translation of Mao's poems concern about translators, comparative analysis and translation theories. To be more specific, among the most frequently appearing subjects in the study of English Translation of Mao's Poems, the most frequent translators are Xu Yuanchong, Zhao Zhentao, Gu Zhengkun and Yuan Shuipai. Aesthetic translation theories such as “beauty in sound”, and “beauty in sense”, and other theories like “intertextuality” and “creation for loss” have been frequently taken into account. While “target readers”, “translation style”, “translators' subjectivity”, “cultural image” and “culture-loaded words” have also been '''put into''' a heated discussion. The translation of “Ci pai”, “reduplicated words”, “alliteration” and “rhythm” in Mao's poems have always been considered either.--[[User:Liubo|Liubo]] ([[User talk:Liubo|talk]]) 14:37, 16 December 2020 (UTC)&lt;br /&gt;
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====2.2 Previous Studies on Xu Yuanchong's Translation of Mao Zedong's Poems====&lt;br /&gt;
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The study of translators is an important part in the previous study of Mao Zedong's poetry. Different translators have different principles and methods in translating Mao Zedong's poems into English, which directly promotes the diversification of their English versions; thus, making a good preparation for the following academic research and discussion. Among various translated versions of Mao's poems, Xu's translated version and his translation thought indeed has triggered a heated discussion, which can be indicated from the frequency of his name presented in figure 2. (Zhang Jiguang 2020: 88)&lt;br /&gt;
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Xu Yuanchong is a representative among all the modern and contemporary translators in China, best known for translating Chinese poems into English and French. His influence has spread both at home and abroad. In 1994, British publishing company Penguin has published Xu Yuanchong's &amp;quot;300 China's immortal poems&amp;quot;, which was the first time that the publishing company published a Chinese translation. And in the year 2010, Xu was awarded the &amp;quot;Lifetime achievements in translation&amp;quot; from the Translators Association of China (TAC). And on August 2, 2014, at the 20th World Conference of the Federation of International Translators, Xu Yuanchong was conferred the “Aurora Borealis” Prize. He is the first Chinese winner of the award. (Zhang Jiguang 2020: 87)&lt;br /&gt;
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Xu Yuanchong is a representative '''in''' all the modern and contemporary translators in China, best known for translating Chinese poems into English and French. His influence has spread both at home and abroad. In 1994, British publishing company Penguin '''published''' Xu Yuanchong's &amp;quot;300 China's immortal poems&amp;quot;, which was the first time that the publishing company published a Chinese translation. And in the year 2010, Xu was awarded the &amp;quot;Lifetime achievements in translation&amp;quot; from the Translators Association of China (TAC). And on August 2, 2014, at the 20th World Conference of the Federation of International Translators, Xu Yuanchong was conferred the “Aurora Borealis” Prize. He is the first Chinese winner of the award. (Zhang Jiguang 2020: 87)--[[User:Liubo|Liubo]] ([[User talk:Liubo|talk]]) 14:37, 16 December 2020 (UTC)&lt;br /&gt;
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Xu's translation of Mao's poems remains the characteristics of traditional Chinese poems in a way that cultural needs and reading habits of target readers are fully considered. The humanistic and revolutionary thoughts and cultural connotations contained in the poems are conveyed in the target text that is “as beautiful as the original semantically, phonologically and logically”. (Chan Sin-wai 2009: 216) Many Chinese scholars have studied Xu's translation. These studies are mainly divided into two categories: one is to compare his version with other English versions of Mao Zedong's poems; the other is to study the translation strategies and methods adopted by the translator from different theoretical perspectives. While this chapter attempts to analyze and interpret Xu Yuanchong's English version of Mao Zedong's poems from the perspective of cognitive translation theory, and try to shed new light in the translation techniques and methods of culture loaded words in Mao Zedong's poems. (Zhang Jiguang 2020: 88)&lt;br /&gt;
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Xu's translation of Mao's poems remains the characteristics of traditional Chinese poems in a way that cultural needs and reading habits of target readers are fully considered. The humanistic and revolutionary thoughts and cultural connotations contained in the poems are conveyed '''in target text''' that is “as beautiful as the original semantically, phonologically and logically”. (Chan Sin-wai 2009: 216) Many Chinese scholars have studied Xu's translation. These studies are mainly divided into two categories: one is to compare his version with other English versions of Mao Zedong's poems; the other is to study the translation strategies and methods adopted '''by translator''' from different theoretical perspectives. While this chapter attempts to analyze and interpret Xu Yuanchong's English version of Mao Zedong's poems from the perspective of cognitive translation theory, and try to shed new light '''in translation''' techniques and methods of culture loaded words in Mao Zedong's poems. (Zhang Jiguang 2020: 88)--[[User:Liubo|Liubo]] ([[User talk:Liubo|talk]]) 14:37, 16 December 2020 (UTC)&lt;br /&gt;
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After reviewing the related research on Xu Yuanchong's translation of Mao Zedong's poems, the next section will introduce previous studies of culture-loaded words.&lt;br /&gt;
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====2.3 Previous Studies on Translation of Culture-loaded Words====&lt;br /&gt;
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This section will further talk about culture-loaded words, including its definition, classification and a review on the translation study of culture-loaded words in Mao's poems. Then a brief comment will be given followed by this section.&lt;br /&gt;
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=====2.3.1 Definition and Classification of Culture-loaded Words=====&lt;br /&gt;
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Due to the differences in environment, geographical location, social mechanism, religious belief, life style and mode of thinking, different countries have different cultural heritages. Since language and culture are inextricably intertwined. On the one hand, language both expresses and embodies cultural reality. On the other, language, as a product of culture, helps perpetuate the culture, and the changes in language uses reflect the cultural changes in return. (Dai Weidong 2002: 130) Accordingly, words, as the basic meaningful elements of a language, are prone to have cultural or historical meaning in different languages. Therefore, there occurs culture-loaded words.&lt;br /&gt;
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Due to the differences in environment, geographical location, social mechanism, religious belief, life style and mode of thinking, different countries have different cultural heritages. Since language and culture are inextricably intertwined. On the one hand, '''language expresses''' and embodies cultural reality. '''On the other hand''', language, as a product of culture, helps perpetuate the culture. '''The changes in linguistic usage''' reflect the cultural changes in return. (Dai Weidong 2002: 130) Accordingly, words, as the '''minimal''' meaningful elements '''of language''', are prone to have cultural or historical meaning in different languages. '''This therefore gives rise to culture-loaded words.'''--[[User:Liubo|Liubo]] ([[User talk:Liubo|talk]]) 14:37, 16 December 2020 (UTC)&lt;br /&gt;
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In actuality, many Chinese scholars have put forward their definitions and understandings of culture-loaded words. Liao Qiyi states that culture loaded words refer to words, phrases or idioms that can mark the unique things in a culture. They reflect the unique ways of activities accumulated by a specific nation in the long process of its historical and cultural development, which are different from other national cultures. (2000: 232) Hu Wenzhong has made a distinction between culture-loaded words and non-culture-loaded ones: “Culture-loaded words or expressions load with specific national cultural information and indicate deep national culture. They are the direct or indirect reflection of national culture in the structure of lexeme.” (1999: 64) Scholars in other countries have also come up with definitions of cultural-loaded words. For example, according to British researcher Mona Bakers, “the source language word may express a concept which is totally unknown in the target culture. The concept in question may be abstract or concrete; it may relate to a religious belief, a social custom, or a type of food. Such concepts are often referred to as culture-specific.” (2000: 21) So on and so forth.&lt;br /&gt;
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In actuality, many Chinese scholars have put forward their definitions and understandings of culture-loaded words. Liao Qiyi states that culture loaded words refer to words, phrases or idioms that can mark the unique things in a culture. They reflect the unique ways of activities accumulated by a specific nation in the long process of its historical and cultural development, which are different from other national cultures. (2000: 232) Hu Wenzhong has made a distinction between culture-loaded words and non-culture-loaded ones: “Culture-loaded words or expressions load with '''message''' of specific national culture and '''contain deeper meaning of the''' national culture. They are the direct or indirect reflection of national culture in the structure of lexeme.” (1999: 64) Scholars in other countries have also come up with definitions of cultural-loaded words. For example, according to British researcher Mona Bakers, “the source language word may express a concept which is totally unknown in the target culture. The concept in question may be abstract or concrete; it may relate to a religious belief, a social custom, or a type of food. Such concepts are often referred to as culture-specific.” (2000: 21) So on and so forth.--[[User:Liubo|Liubo]] ([[User talk:Liubo|talk]]) 14:37, 16 December 2020 (UTC)&lt;br /&gt;
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As far as the classification of culture-loaded words are concerned, Nida's classification is widely accepted. Culture was divided by Nida into five categories in his book Towards A Science of Translation, which are ecological culture, material culture, social culture, religious culture, and linguistic culture respectively. (Nida 1964: 91) &lt;br /&gt;
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Specifically, ecological culture refers to geological environment, climate and place name; material culture consists of tools, objects and other material objects created by a region or nation to meet the needs of production of life and is a representation of a culture; social culture concerns about historical background, culture customs and social behavior of a nation; religious culture relates to the aspect of religious belief and practice; linguistic culture is closely connected with specific feature of a language in the aspect of phonetics, grammar, syntax and other usage of language such as allusion and metaphor. (ibid: 91)&lt;br /&gt;
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=====2.3.2 Previous Studies on Translation of Culture-loaded Words in Mao's Poems=====&lt;br /&gt;
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When put culture-loaded words in the search column of CNKI, there are roughly 1000 of papers related and mainly taken novels and subtitles as research object and in the perspective of skopos theory, relevance theory, memetics, schema theory, semantic translation, cross-cultural communication and functionalism with few from the perspective of cognitive view of translation. But when it comes to the translation of culture-loaded words in Mao's poems, there are total 9 papers on this topic, which includes 4 journals and 5 theses. It can be concluded that much attention have given to the study of culture-loaded words in Mao's poems and Xu's translation respectively.&lt;br /&gt;
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'''When entering &amp;quot;culture-loaded words&amp;quot; in the search bar of CNKI,''' there are roughly 1000 of papers related '''to it,'''  '''majority of which''' take novels and subtitles as research '''objects''' and in the perspective of skopos theory, relevance theory, memetics, schema theory, semantic translation, cross-cultural communication and functionalism with few from the perspective of cognitive view of translation. But when it comes to the translation of culture-loaded words in Mao's poems, there are total 9 papers on this topic, which includes 4 journals and 5 theses. It can be concluded that '''a lot of''' attention '''has''' given to the study of culture-loaded words in Mao's poems and Xu's translation respectively.--[[User:Liubo|Liubo]] ([[User talk:Liubo|talk]]) 14:37, 16 December 2020 (UTC)&lt;br /&gt;
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====2.4 Comments on Previous Studies====&lt;br /&gt;
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Based on the above overviews, it can be noted that there still exists translation significance in the study of Mao Zedong's poems, for the latest translated version have come out a decade ago by Li Zhengshuan. (Zhang Jiguang 2020: 89) Going forward, it is estimated that there be researches upon Mao's poems especially in 130th anniversary of Mao Zedong in 2023. &lt;br /&gt;
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Based '''on above''' overviews, it can be noted that there still exists translation significance in the study of Mao Zedong's poems, for the latest translated version have come out a decade ago by Li Zhengshuan. (Zhang Jiguang 2020: 89) Going forward, it is estimated that there be researches upon Mao's poems especially '''on''' 130th anniversary of Mao Zedong in 2023. --[[User:Liubo|Liubo]] ([[User talk:Liubo|talk]]) 14:37, 16 December 2020 (UTC)&lt;br /&gt;
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For the English translation of culture loaded words, it is difficult to faithfully reflect the cultural connotation of such words only through the transform of language in a superficial way, which would hinder the communication of implied information. The English translation of culture loaded words should be based on the meaning and context by fully considering the implied meaning of the original word and combining it with western culture. Then appropriate English translation methods should be applied to realize the conversion of culture and the transmission of cultural connotation as well. One point to notice is that ambiguities and disputes, cultural void and loss should be avoided in the process of translation.&lt;br /&gt;
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For the English translation of culture loaded words, it is difficult to faithfully reflect the cultural connotation of such words only through the transform of language in a superficial way, which would hinder the communication of implied information. The English translation of culture loaded words should be based on the meaning and context by fully considering the implied meaning ofthe '''original text''' and combining it with western culture. Then appropriate English translation methods should be applied to realize the conversion of culture '''and transmission''' of cultural connotation as well. One point to notice is that ambiguities and disputes, cultural void and loss should be avoided in the process of translation.（'''这里是不是少了引用）'''--[[User:Liubo|Liubo]] ([[User talk:Liubo|talk]]) 14:37, 16 December 2020 (UTC)&lt;br /&gt;
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Since Xu Yuanchong's translated version of Mao's poems is a focal point of analysis and research. It has been proved that a good translation can always stand scrutiny and comparison. And it is in this point that the English translation of Mao's poems will be developed and cultural communication will be achieved.&lt;br /&gt;
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Since Xu Yuanchong's translated version of Mao's poems is a focal point of analysis and research. '''It goes without saying''' that a good translation can always stand scrutiny and comparison. And it is in this point that the English translation of Mao's poems will be developed and cultural communication will be achieved.--[[User:Liubo|Liubo]] ([[User talk:Liubo|talk]]) 14:37, 16 December 2020 (UTC)&lt;br /&gt;
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===3. Theoretical Framework===&lt;br /&gt;
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Cognitive translation is a new paradigm of translation studies. It advocates the application of concepts, theories and methods from cognitive linguistics to translation studies. Nowadays, interdisciplinary research has become a new trend in the field of translation studies. The study of cognitive perspective of translation is the result of the trend (Guan Yingzi 2020:117) &lt;br /&gt;
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Cognitive translation is a new paradigm of translation studies. It advocates the application of concepts, theories and methods from cognitive linguistics to translation studies. '''currently，'''interdisciplinary research has become a new trend in the field of translation studies. The study of cognitive perspective of translation is the result of the trend (Guan Yingzi 2020:117) --[[User:Liubo|Liubo]] ([[User talk:Liubo|talk]]) 03:13, 17 December 2020 (UTC)&lt;br /&gt;
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This part will firstly give a brief introduction to cognitive linguistic view of translation. Then, it will specify the application of cognitive view of translation in the translation of culture-loaded words in Mao's poems.&lt;br /&gt;
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====3.1 Overview of Cognitive Linguistic View on Translation====&lt;br /&gt;
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Traditionally, translation was thought as a transformation between two different language system. Translators'role is always passive and dependent. With the application of new theories such as functionalism, hermeneutics and deconstruction applied in translation practice and translation theory research, people gradually realize that in the process of translation, whether it is the choice and understanding of the original text, or the interpretation and expression of the original text, the translator's role cannot be ignored. And a translator always embodies his/her unique subjectivity in the target text. (Cai Longwen 2010: 58)&lt;br /&gt;
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Traditionally, translation was thought as a transformation between two different language '''systems'''. Translators'role is always passive and dependent. With the application of new theories such as functionalism, hermeneutics and deconstruction applied in translation practice and translation theory research, people gradually realize that in the process of translation, whether it is the choice and understanding of the original text, or the interpretation and expression of the original text, the translator's role cannot be ignored. And a translator always embodies his/her unique subjectivity in the target text. (Cai Longwen 2010: 58)--[[User:Liubo|Liubo]] ([[User talk:Liubo|talk]]) 03:13, 17 December 2020 (UTC)&lt;br /&gt;
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Based on experiential philosophy, cognitive linguistics examines translation from the perspective of cognitive linguistics. Compared with the traditional text-based translation view and traditional linguistic translation view, cognitive linguistics highlights the performance of the subject's cognitive activities in translation. Such perspective of translation has been described and mapped by Wang Yin as follows:&lt;br /&gt;
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Based on experiential philosophy, cognitive linguistics examines'''（这里的动词用的不太恰当，不知道你原意想表达什么）''' translation from the perspective of cognitive linguistics. Compared with the traditional text-based translation view and traditional linguistic translation view, cognitive linguistics highlights the performance of the subject's cognitive activities in translation. Such perspective of translation has been described and mapped by Wang Yin as follows:--[[User:Liubo|Liubo]] ([[User talk:Liubo|talk]]) 03:13, 17 December 2020 (UTC)&lt;br /&gt;
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“A cognitive model of translation sees translation in terms both of multiple interactions among subjects with differently embodied backgrounds and of a good mastery of the various meanings of the original discourse. These meanings then get mapped and re-expressed in the target language, resulting in the description of the reality world and the cognitive world. Taking into consideration all three factors (author, text, reader) in communication, this new model ensures the harmony in translation. (Wang Yin 2005: 15)  &lt;br /&gt;
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“A cognitive model of translation sees translation '''in terms of''' multiple interactions among subjects with differently embodied backgrounds and of a good mastery of the various meanings of the original discourse. These meanings then get mapped and re-expressed in the target language, resulting in the description of the '''real''' world and the cognitive world. Taking into consideration all three factors (author, text, reader) in communication, this new model ensures the harmony in translation. (Wang Yin 2005: 15) --[[User:Liubo|Liubo]] ([[User talk:Liubo|talk]]) 03:13, 17 December 2020 (UTC) &lt;br /&gt;
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[[File:ZFY Figure3.jpg]]&lt;br /&gt;
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Such model shows six main thoughts of cognitive view of translation: (1) Translation has embodiment feature; (2) Translation is an interactive activity; (3) Translation is creative; (4) Translation should be based on text; (5) Translation should be harmonious; (6) Translation should reproduce two worlds: objective word and cognitive world. (Wang Yin 2005: 17-18)&lt;br /&gt;
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Such model shows six main thoughts of cognitive view of translation: (1) Translation '''possess''' embodiment feature; (2) Translation is an interactive activity; (3) Translation is creative; (4) Translation should be based on text; (5) Translation should be harmonious; (6) Translation should reproduce two worlds: objective word and cognitive world. (Wang Yin 2005: 17-18)--[[User:Liubo|Liubo]] ([[User talk:Liubo|talk]]) 03:13, 17 December 2020 (UTC)&lt;br /&gt;
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On the one hand, the translation view of cognitive linguistics recognizes the decisive role of cognitive activities, that is, translation is the result of experience and cognition. On the other hand, translators, as one of the cognitive subjects, should be restricted by the interaction between other cognitive subjects involved in translation activities. Thus, translation should be creative in a restricted way, rather than giving play to imagination. (Wang Yin 2007: 581)&lt;br /&gt;
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On the one hand, the translation '''form the''' view of cognitive linguistics recognizes the decisive role of cognitive activities, that is, translation is the result of experience and cognition. On the other hand, translators, as one of the cognitive subjects, should be restricted by the interaction between other cognitive subjects involved in translation activities. Thus, translation should be creative in a restricted way, rather than giving play to '''an''' imagination. (Wang Yin 2007: 581)--[[User:Liubo|Liubo]] ([[User talk:Liubo|talk]]) 03:13, 17 December 2020 (UTC)&lt;br /&gt;
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In sum, cognitive linguistic view on translation emphasizes the importance of cognition, which requires the translator to reproduce the original world and cognitive world presented in the source text. Translation, thus, become cognition-based and interactive to facilitate the communication between readers outside the source language.&lt;br /&gt;
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In sum, cognitive linguistic view on translation emphasizes the importance of cognition, which requires the translator to reproduce the original world and cognitive world presented in the source text. Translation, thus, '''becomes''' cognition-based and interactive to facilitate the communication between readers '''and''' outside the source language.--[[User:Liubo|Liubo]] ([[User talk:Liubo|talk]]) 03:13, 17 December 2020 (UTC)&lt;br /&gt;
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====3.2 Application of Cognitive View of Translation in the Translation of Culture-loaded Words in Mao's Poems====&lt;br /&gt;
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The cognitive view of translation can be applied to explain specific problems in translation. “The embodiment of cognitive categories formed based on people's experience of the objective world, and has a cognitive psychological basis. In this sense, word translation is not only a process of code switching in form, but also a process of transplanting cognitive categories.” (Xiao Kunxue) Based on the cognitive translation model and the translator's experience and creativity, this provides a way to deal with the difficulties faced in the translation of culture loaded words in Mao's poems.&lt;br /&gt;
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The cognitive view of translation can be applied to explain specific problems in translation. “The embodiment of cognitive categories formed based on '''individual's''' experience of the objective world '''and cognitive psychology.''' In this sense, word translation is not only a process of code switching in form, but also a process of transplanting cognitive categories.” (Xiao Kunxue) Based on the cognitive translation model and the translator's experience and creativity, '''it''' provides a way to deal with the difficulties faced in the translation of culture loaded words in Mao's poems.--[[User:Liubo|Liubo]] ([[User talk:Liubo|talk]]) 03:13, 17 December 2020 (UTC)&lt;br /&gt;
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=====3.2.1 Translation: Its Embodiment Feature=====&lt;br /&gt;
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“Translation is a cognitive activity based on perception and experience of the objective world. Basically, we human share the same objective world and general thinking, which is the prerequisite of translatability among different languages. On the one hand, the cognition of the author comes from his/her experiential activities, giving birth to his inspiration, On the other hand, the cognition of both translators and readers also come from their experiences, and it is only through experiential comprehension of text that the intention of the author and text can be achieved.” (Wang Yin 2005: 18)&lt;br /&gt;
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“Translation is a cognitive activity based on perception and experience of the objective world. Basically, we human share the same objective world and general thinking, which is the prerequisite of translatability '''between''' different languages. On the one hand, the cognition of the author comes from his/her experiential activities, giving birth to '''his/her''' inspiration, '''on''' the other hand, the cognition of both translators and readers also come from their experiences, and it is only through experiential comprehension of text that the intention of the author and text can be achieved.” (Wang Yin 2005: 18)--[[User:Liubo|Liubo]] ([[User talk:Liubo|talk]]) 03:13, 17 December 2020 (UTC)&lt;br /&gt;
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1a. 七律·长征（一九三五年十月）:&lt;br /&gt;
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红军不怕远征难，远水千山只等闲。(Xu Yuanchong 2015: 47) &lt;br /&gt;
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1b. The Long March (October 1935): &lt;br /&gt;
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Of the trying Long March the Red Army makes lights;/&lt;br /&gt;
Thousands of rivers and mountains are barriers slight. (ibid: 48)&lt;br /&gt;
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Red symbolizes passion, loyalty, honor and success in Chinese culture, while in English culture, red symbolizes passion, courage and sacrifice. Therefore, red has positive and similar cultural connotations in both Chinese and Western cultures. Here“红军”(Hong Jun), a typical words of social culture, is rendered as “red army” by Xu Yuanchong. &lt;br /&gt;
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Red symbolizes passion, loyalty, honor and success in Chinese culture, while in English culture, red symbolizes passion, courage and sacrifice. Therefore, red has positive and similar cultural connotations in both Chinese and Western cultures. Here“红军”(Hong Jun), a '''representative word ''' of social culture, is rendered as “red army” by Xu Yuanchong. --[[User:Liubo|Liubo]] ([[User talk:Liubo|talk]]) 03:13, 17 December 2020 (UTC)&lt;br /&gt;
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&amp;quot;As human beings live and breed in the same earth, though different culture could have different expressions for things, there are roughly three aspects of culture: objects, institution, psychology and some similar cognition. And the possibility of translation is based on the commonality of culture.&amp;quot;(Chen Hongwei 2002: 11-12) Embodied cognition forms the cognitive basis of mutual translation between different languages. Therefore, in the translation of Chinese culture-loaded words, literal translation is appropriate when there is an expression equivalent to the original function in the target language.&lt;br /&gt;
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&amp;quot;As human beings live and breed in the same earth, though different culture could have different expressions for things, there are roughly three aspects of culture: objects, institution, psychology and some similar cognition. And the possibility of translation is based on the commonality of culture.&amp;quot;(Chen Hongwei 2002: 11-12) Embodied cognition forms the cognitive basis of mutual translation between different languages. Therefore, in the translation of Chinese culture-loaded words, literal translation is appropriate when there is '''an functional equivalent to the original language''' in the target language.--[[User:Liubo|Liubo]] ([[User talk:Liubo|talk]]) 03:13, 17 December 2020 (UTC)&lt;br /&gt;
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=====3.2.2 Translation: An Interactive Activity=====&lt;br /&gt;
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As shown in the above cognitive model of translation, translation is a cognitive activity based on multiple interactions, i.e., reality and subjects (author, translator and reader), subjects and source language, subjects and target language, reader and author, as well as translator and reader. “The translator, first of all, is a reader, who has to interact with the author of the original text, and then the &amp;quot;creator&amp;quot;, who interacts with the target reader through the translation.” (Wang Yin 2005: 17) &lt;br /&gt;
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As shown in the above cognitive model of translation, translation is a cognitive activity based on multiple interactions, i.e., reality and subjects (author, translator and reader), subjects and '''the''' source language, subjects and '''the''' target language, reader and author, as well as translator and reader. “The translator, first of all, is a reader, who has to interact with the author of the original text, and then the &amp;quot;creator&amp;quot;, who interacts with the target reader through the translation.” (Wang Yin 2005: 17) --[[User:Liubo|Liubo]] ([[User talk:Liubo|talk]]) 03:13, 17 December 2020 (UTC)&lt;br /&gt;
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Meanwhile, Xu Yuanchong has noticed the feature of interactive activity in translation by saying:&lt;br /&gt;
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“The world influences the author. The author reflects the world and creates works. Influenced by the world and in accordance with the work, translators create translations that influence target readers. Target readers are affected by the translation, and their reactions will also affect the world. Of course, the author and the translator will also influence the world, but that is not the main relationship between the art of translation. (Xu Yuanchong 2003: 151-152)&lt;br /&gt;
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“The world influences the author. The author '''reveals''' the world and creates works. Influenced by the world and in accordance with the work, translators create translations that influence target readers. Target readers are affected by the translation, and their reactions will also affect the world. Of course, the author and the translator will also influence the world, but that is not the main relationship between the art of translation. (Xu Yuanchong 2003: 151-152)--[[User:Liubo|Liubo]] ([[User talk:Liubo|talk]]) 03:13, 17 December 2020 (UTC)&lt;br /&gt;
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2a. 渔家傲·反第一次大围剿（一九三一年春）：&lt;br /&gt;
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万木霜天红烂漫，天兵怒气冲霄汉。(ibid: 28)。&lt;br /&gt;
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2b. Tune: Pride of Fishermen// Against the First “Encirclement” Campaign (Spring 1931)&lt;br /&gt;
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Under a frosty sky all woods in gorgeous red, / The wrath of godlike warriors&lt;br /&gt;
strikes the sky overhead. (ibid: 29)&lt;br /&gt;
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In the above example, “天兵”(Tian Bing) , a unique religious word in Chinese culture, is a metaphorical word used to refer to the red army, which is the justice party of the revolution. The implied meaning here is to express an inviolability of the awe-inspiring righteousness of the red army. When translated as “godlike warrior”, Xu interacts with the poet and the English reader. Although the metaphorical objects are different, the reaction of the readers are the same, which shows the interactivity of translation in cognitive view of translation. &lt;br /&gt;
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'''In above example''', “天兵”(Tian Bing) , a unique religious word in Chinese culture, is a metaphorical word used to refer to the red army, which is the justice party of the revolution. The implied meaning here is to express an inviolability of the awe-inspiring righteousness of the red army. When translated as “godlike warrior”, Xu interacts with the poet and the English reader. Although the metaphorical objects are different, the reaction of the readers are the same, which shows the interactivity of translation '''from the cognitive view.''' --[[User:Liubo|Liubo]] ([[User talk:Liubo|talk]]) 03:13, 17 December 2020 (UTC)&lt;br /&gt;
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=====3.2.3 Translation: Be Creative=====&lt;br /&gt;
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“As a cognitive activity of mankind, translation is inevitably subjective and creative. Fundamentally, translation is mainly a mapping of text codes formed in different cultural backgrounds and social environments, which inevitably involves different cognitive worlds. Moreover, the difference of individual language level could determine the fact that different translators will have different translations of the same text and that translation is anything but a 'reflector' or 'microphone'.&amp;quot; (Wang Yin 2005: 17)&lt;br /&gt;
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“As a cognitive activity of mankind, translation is inevitably subjective and creative. Fundamentally, translation is mainly a mapping of text codes formed in different cultural backgrounds and social environments, which inevitably involves different cognitive worlds. Moreover, the '''differences''' of individual language level could determine the fact that different translators will have different translations of the same text and that translation is anything but a 'reflector' or 'microphone'.&amp;quot; (Wang Yin 2005: 17)--[[User:Liubo|Liubo]] ([[User talk:Liubo|talk]]) 12:36, 17 December 2020 (UTC)&lt;br /&gt;
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Such idea echoes with Xu's viewpoint of that“literal translation should be done &amp;quot;at will&amp;quot; on the premise of &amp;quot;not exceeding the rules&amp;quot;, with the purpose of seeking truth and beauty as well as enhancing the acceptability of the translated works among target readers. (Zhang Mengxue 2019: 48)--[[User:Liubo|Liubo]] ([[User talk:Liubo|talk]]) 12:36, 17 December 2020 (UTC)&lt;br /&gt;
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Such idea echoes with Xu's '''viewpoint that''' “literal translation should be done &amp;quot;at will&amp;quot; on the premise of &amp;quot;not exceeding the rules&amp;quot;, with the purpose of seeking truth and beauty as well as enhancing the acceptability of the translated works among target readers. (Zhang Mengxue 2019: 48)--[[User:Liubo|Liubo]] ([[User talk:Liubo|talk]]) 12:36, 17 December 2020 (UTC)&lt;br /&gt;
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3a.七绝·为女民兵题照（一九六一年二月）：&lt;br /&gt;
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中华儿女多奇志，不爱红装爱武装。(ibid: 95) &lt;br /&gt;
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3b. Militia Women--Inscription on a Photo (February 1961)&lt;br /&gt;
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Most Chinese daughters have desire so strong,/ To face the powder and not&lt;br /&gt;
to powder the face. (ibid: 96)&lt;br /&gt;
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Xu Yuanchong's translation of “不爱红装爱武装”has always been lauded as classical and typical (Zhang Mengxue 2019: 48) “红装”(Hong Zhuang) and “武装”(Wu Zhuang) belong to linguistic culture with the repetitive word “装”(Zhuang) The former one refers to women makeup, while the later is a suit for a battle. (Appreciation Dictionary 2011: 171) In Xu's rendering, “powder” is used as a verb and noun in the verse respectively, both retaining the original meaning and beauty as well as showing creative treatment of the translator.&lt;br /&gt;
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Xu Yuanchong's translation of “不爱红装爱武装”has always been lauded as '''classic''' (Zhang Mengxue 2019: 48) “红装”(Hong Zhuang) and “武装”(Wu Zhuang) belong to linguistic culture with the repetitive word “装”(Zhuang) The former one refers to women makeup, while the later '''refers to the battle outfits.''' (Appreciation Dictionary 2011: 171) In Xu's rendering, “powder” is used as a verb and noun in the verse respectively, both retaining the original meaning and beauty as well as showing creative treatment of the translator.--[[User:Liubo|Liubo]] ([[User talk:Liubo|talk]]) 12:36, 17 December 2020 (UTC)&lt;br /&gt;
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=====3.2.4 Translation: Be Harmonious=====&lt;br /&gt;
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“Author, text and reader are three factors that translators should taken into consideration. Neither emphasizing one at the expense of other is not a harmonious translation.” (Wang Yin 2005:18) Examples are numerous when it comes to harmonious translation, which serves as the goal of translation from cognitive perspective.&lt;br /&gt;
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“Author, text and reader are three factors that translators should taken into consideration. '''Emphasizing''' one at the expense of other is not a harmonious translation.” (Wang Yin 2005:18) Examples are numerous when it comes to harmonious translation, which serves as the goal of translation from cognitive perspective.--[[User:Liubo|Liubo]] ([[User talk:Liubo|talk]]) 01:29, 18 December 2020 (UTC)&lt;br /&gt;
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Let's take Xu's translation of “万”(Ten thousand) in Mao's poems as an example:&lt;br /&gt;
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4a. 沁园春·雪：千里冰封，万里雪飘。(ibid: 57)&lt;br /&gt;
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4b. Tune: Spring in a Pleasure Garden// Snow &lt;br /&gt;
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Hundreds of leagues ice-bound go, / Thousands of leagues flies snow (ibid: 58) &lt;br /&gt;
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5a. 沁园春·长沙：万类霜天竞自由。(ibid: 5)&lt;br /&gt;
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5b. Tune: Spring in a Pleasure Garden// Changsha&lt;br /&gt;
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All creatures strive for freedom under frosty skies (ibid: 7)&lt;br /&gt;
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According to Mao Zedong Poetry Appreciation Dictionary,“万”(wan) in the first poem was used by Mao Zedong to delineate the magnificence of snow scene in the north China.(2011: 87) And in the second poem,“万”is taken as a round number. (2011: 18)&lt;br /&gt;
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According to Mao Zedong Poetry Appreciation Dictionary,“万”(wan) in the first poem was used by Mao Zedong to delineate the magnificence of snow scene in the '''northern''' China.(2011: 87) And in the second poem,“万”is taken as a round number. (2011: 18)--[[User:Liubo|Liubo]] ([[User talk:Liubo|talk]]) 01:29, 18 December 2020 (UTC)&lt;br /&gt;
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Accordingly, in the first translation, “万”(wan) was rendered into “thousands of”, which not only conforms to the vague concepts of large quantities in English, but also conveys the original rhythm. Nevertheless,“万”(wan) in the second example means “many” rather than “ten thousand”, because the number of creatures are impossibly as many as ten thousand. Therefore, a balance among the author, text and reader is achieved. (Xu Yuanchong 2003: 223)&lt;br /&gt;
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Accordingly, in the first translation, “万”(wan) was rendered into “thousands of”, which not only conforms to the vague concepts of large quantities in English, but also '''retain''' the original rhythm. Nevertheless,“万”(wan) in the second example means “many” rather than “ten thousand”, because the number of creatures are impossibly as many as ten thousand. Therefore, a balance among the author, text and reader is achieved. (Xu Yuanchong 2003: 223)--[[User:Liubo|Liubo]] ([[User talk:Liubo|talk]]) 01:29, 18 December 2020 (UTC)&lt;br /&gt;
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=====3.2.5 The Objective World and the Subjective World to be Reproduced in Translation=====&lt;br /&gt;
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According to Wang Yin, “translators should fully consider the two worlds in the process of translation and have a thorough understanding of the overall information and meanings of the text and reproduce them correctly in the target language.” (2005: 18) One point worth mentioning is that the objective world of the text, more often than not, is the world the author subjectively understood or comprehended (ibid: 20)&lt;br /&gt;
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According to Wang Yin, “translators should fully consider the two worlds in the process of translation and have a thorough understanding of the overall information and '''meaning''' of the text and reproduce them correctly in the target language.” (2005: 18) One point worth mentioning is that the objective world of the text, more often than not, is the world the author subjectively understood or comprehended (ibid: 20)--[[User:Liubo|Liubo]] ([[User talk:Liubo|talk]]) 02:35, 18 December 2020 (UTC)&lt;br /&gt;
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Xu also assumes that the source and target can not only express the same objective truth, but also express the same subjective thought and describe the same objective truth. (2003: 266) Although generally speaking, the translation is not as good as the original text, translators could understand the subjective world of the author to tell the exact intention of a certain expression used and sometimes make his/her translation even surpass the original text. (ibid: 266)&lt;br /&gt;
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Xu also assumes that the source and target '''text''' can not only express the same objective truth, but also express the same subjective thought and describe the same objective truth. (2003: 266) Although generally speaking, the translation is not as good as the original text, translators could understand the subjective world of the author to tell the exact intention of a certain expression used and sometimes make his/her translation even surpass the original text. (ibid: 266)--[[User:Liubo|Liubo]] ([[User talk:Liubo|talk]]) 02:35, 18 December 2020 (UTC)&lt;br /&gt;
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6a. 忆秦娥·娄山关（一九三五年二月）：苍山如海，残阳如血。(ibid: 44)&lt;br /&gt;
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6b. Tune: Dream of a Maid of Honor// The Pass of Mount Lou&lt;br /&gt;
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Green mountains like the tide;/ The sunken sun blood-dyed. (ibid: 45)&lt;br /&gt;
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Here “海”(Hai) and “阳”(Yang) are both words from ecological culture, which expresses Mao's sadness and melancholy towards the heavy losses in the Long March. (Yu Lixia 2016: 107) After understanding the subjective world and objective world of the poet, Xu conveyed the emotional intention by applying “the sunken sun” from To a Sky-Lark written by English poet Shelley. In this sense, the translation reflects the both the subjective and objective world of the author in a way catering to the target readers' reading habit and cognition.&lt;br /&gt;
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Here “海”(Hai) and “阳”(Yang) are both words from ecological culture, which expresses Mao's sadness and melancholy towards the heavy losses in the Long March. (Yu Lixia 2016: 107) After understanding the subjective world and objective world of the poet, Xu conveyed the emotional intention by applying “the sunken sun” from To a Sky-Lark written by English poet Shelley. In this sense, the translation reflects '''both''' the subjective and objective world of the author '''in the way''' catering to the target readers' reading habit and cognition.--[[User:Liubo|Liubo]] ([[User talk:Liubo|talk]]) 02:35, 18 December 2020 (UTC)&lt;br /&gt;
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===4. Analysis of Xu's Translation of Culture-loaded Words in Mao's Poems===&lt;br /&gt;
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“The greatness feature of Xu Yuanchong's translation is that it successfully retains the characteristics of the poet's original work and reproduces the beautiful artistic conception of the original poem.” (Hu Deqing 1999: 31) &lt;br /&gt;
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“The greatness feature of Xu Yuanchong's translation is that it successfully retains the characteristics of '''the original text''' and reproduces the beautiful artistic conception of the original poem.” (Hu Deqing 1999: 31)--[[User:Liubo|Liubo]] ([[User talk:Liubo|talk]]) 09:24, 18 December 2020 (UTC) &lt;br /&gt;
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In the translation of culture-loaded words in Mao's poems, Mr. Xu prefers to leaving the reader in peace, as much as possible, and moving the author toward him/her, i.e., the target reader have less problem in understanding the real meaning of those words while savoring the cultural flavor of them. To achieve this goal, some characteristics are shown in his translation of culture-loaded words.&lt;br /&gt;
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In the translation of culture-loaded words in Mao's poems, Mr. Xu prefers to leaving the reader in peace, as much as possible, and '''bring the author close to'''him/her, i.e., the target reader have less problem in understanding the real meaning of those words while savoring the cultural flavor of them. To achieve this goal, some characteristics are shown in his translation of culture-loaded words.--[[User:Liubo|Liubo]] ([[User talk:Liubo|talk]]) 09:24, 18 December 2020 (UTC)&lt;br /&gt;
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====4.1 Faithfulness in Meaning, Style and Aesthetics====&lt;br /&gt;
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It is suggested by Xu Yuanchong that the term “faithfulness” in literary translation is not simply equivalent to the maintenance of original form of expression, but also to the preservation of artistic charm of the source text. Translators should make the best use of expression in the target language in order to better convey the content of the original work. (2001: 51)&lt;br /&gt;
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In translating culture-loaded words, Xu would like to obey two principles to reach the goal of faithfulness. One is “do what you want without exceeding the rules” (Xu Yuanchong 2015: 03) and the other being “the kite should not be broken” (Xu Yuanchong 1998: 47), the later of which is a balance between similarity in form and spirit as well as a continuous interaction among author, reader and text. &lt;br /&gt;
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In translating culture-loaded words, Xu would like to '''follow''' two principles to reach the goal of faithfulness. One is “do what you want without exceeding the rules” (Xu Yuanchong 2015: 03) and the other being “the kite should not be broken” (Xu Yuanchong 1998: 47), the later of which is a balance between similarity in form and spirit as well as a continuous interaction among author, reader and text. --[[User:Liubo|Liubo]] ([[User talk:Liubo|talk]]) 09:24, 18 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
7a. 七律·人民解放军占领南京（一九四九年四月）：&lt;br /&gt;
&lt;br /&gt;
天若有情天亦老，人间正道是沧桑。(ibid: 62)。&lt;br /&gt;
&lt;br /&gt;
7b. Capture of Nanjing by the People's Liberation Army (April 1949)&lt;br /&gt;
&lt;br /&gt;
Heaven would have grown old were it moved to emotions;/&lt;br /&gt;
The world goes on with changes in the fields and oceans. (ibid: 62)&lt;br /&gt;
&lt;br /&gt;
7c. The PLA Capture Nanjing&lt;br /&gt;
&lt;br /&gt;
Were Nature sentient, she too would pass from youth to age,&lt;br /&gt;
But man's world is mutable, seas become mulberry fields. (Translation Censorship Group 1976: 11)&lt;br /&gt;
&lt;br /&gt;
In order to illustrate this, let me compare Xu's version with the official version. “沧桑(Cang Sang)”is a material culture-loaded word, which means great changes in the natural world. (Appreciation Dictionary 2011: 105) Here, Mao used this word to imply that great changes has taken place by reform, and that the establishment of the Communist Party of China is a right way to go, just like the change from the sea to the mulberry field. (ibid: 106) &lt;br /&gt;
&lt;br /&gt;
In order to illustrate this, let me compare Xu's version with the official version. “沧桑(Cang Sang)”is a material culture-loaded word, which means great changes in the natural world. (Appreciation Dictionary 2011: 105) Here, Mao used this word to imply that great changes has taken place '''through'''  reform, and that the establishment of the Communist Party of China is a right way to go, just like the change from the sea to the mulberry field. (ibid: 106) --[[User:Liubo|Liubo]] ([[User talk:Liubo|talk]]) 09:24, 18 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
7c has rendered the literal meaning of“沧桑(Cang Sang)”at the loss of its spirit. While 7b not only has conveyed the real meaning but also has retained the rhythm of the original poem, which makes the target language more readable and better reproduces the poetic features of the original poem. By this way, 7b is obviously a cut above 7c.&lt;br /&gt;
&lt;br /&gt;
7c has rendered the literal meaning of“沧桑(Cang Sang)”at the loss of its spirit. While 7b not only has conveyed the '''literal''' meaning but also has retained the rhythm of the original poem, which makes the target language more readable and better reproduces the poetic features of the original poem. By this way, 7b is obviously a cut above 7c.--[[User:Liubo|Liubo]] ([[User talk:Liubo|talk]]) 09:24, 18 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
In one word, faithfulness in Xu's translation of culture-loaded words comes to meaning, style and aesthetics. &lt;br /&gt;
&lt;br /&gt;
====4.2 Adaptive Rewriting====&lt;br /&gt;
&lt;br /&gt;
In Xu's eyes, rewriting is for the purpose of adapting to the original linguistic feature, cultural connotation, ideology and reading habit of target readers. (Zhang Mengxue 2019: 47) &lt;br /&gt;
&lt;br /&gt;
In Xu's eyes, rewriting is for the purpose of adapting to the original linguistic features, cultural connotations, ideologies and reading habits of target readers. (Zhang Mengxue 2019: 47)--[[User:Liubo|Liubo]] ([[User talk:Liubo|talk]]) 09:24, 18 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
To illustrate, two methods are always employed to meet the need of rewriting: &lt;br /&gt;
&lt;br /&gt;
The first method is free translation of culture-loaded words, such as “华佗(the best physician)”“不周山(Mount Pillar)”“一枕黄粱(dream of reigning)”, which provides explanatory information of the original words according to the context. The second one is a replacement of images, such as “防肠断 (for fear your heart should break)”,“霸王 (the Herculean King)”and “鬼 (vampires)”.This comes to culture-loaded words that sounds strange when given the explanatory messages in translation. Thus, substitution of cultural image is adopted to “move the author towards target readers”, combining the objective and subjective worlds of both the author and readers as well as reaching a harmony in translation. (ibid: 47) &lt;br /&gt;
&lt;br /&gt;
The first method is free translation of culture-loaded words, such as “华佗(the best physician)”“不周山(Mount Pillar)”“一枕黄粱(dream of reigning)”, which provides explanatory information of the original words according to the context. The second one is a replacement of images, such as “防肠断 (for fear your heart should break)”,“霸王 (the Herculean King)”and “鬼 (vampires)”.This comes to culture-loaded words that sounds strange when given the explanatory messages in translation. Thus, substitution of cultural image is adopted to “bring the author close to target readers”, combining the objective and subjective worlds of both the author and readers '''together''' as well as reaching a harmony in translation. (ibid: 47) --[[User:Liubo|Liubo]] ([[User talk:Liubo|talk]]) 09:24, 18 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
Moreover, annotation is also used to enable target readers to understand the original cultural connotation. For example, “不周山Mount Pillar” has an footnote which says, “Mount Pillar was a legendary mountain below which furious battles had been fought in ancient times. Here the poet might refer to any battlefield in the Red army.” (Xu Yuanchong 2015: 30) &lt;br /&gt;
&lt;br /&gt;
Moreover, annotation is also used to enable target readers to understand the original cultural connotation. For example, “不周山Mount Pillar” has an footnote which says, “Mount Pillar was a legendary mountain below which furious battles had been fought in ancient times. Here the poet might refer to any battlefield '''where the Red army fought with enemy.'''” (Xu Yuanchong 2015: 30) --[[User:Liubo|Liubo]] ([[User talk:Liubo|talk]]) 09:24, 18 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
====4.3 Creative Violation====&lt;br /&gt;
&lt;br /&gt;
Xu affirms the independence of artistic texts and the subjectivity of literary translation. Because of this, his translation often has a unique personal style, which shows the translation view of &amp;quot;the six classics annotate me&amp;quot; and &amp;quot;there is me in translation”. (Qin Jianghua &amp;amp; Xu Jun 2018: 123)&lt;br /&gt;
&lt;br /&gt;
Xu affirms the independence of artistic texts and the subjectivity of literary translation. Because of this, his translation often has a '''uniquely''' personal style, which shows the translation '''views''' of &amp;quot;the six classics annotate me&amp;quot; and &amp;quot;there is me in translation”. (Qin Jianghua &amp;amp; Xu Jun 2018: 123)--[[User:Liubo|Liubo]] ([[User talk:Liubo|talk]]) 09:24, 18 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
As Xu supported that poetry is best words in the best order and that creative violation is preferred in poetic translation by using the best words in the best order. (2015: 14) &lt;br /&gt;
&lt;br /&gt;
Especially, creative violation is seen in the situation where there is an equivalent word in the target language, but not the best expression. Taken Xu's illustration in his paper as an example, (2012: 90) “一截遗欧，一截赠美，一截还东国”in Mao's poem ''昆仑''(Kun Lun) was translated as “I would give to Europe your crest/ And to America your breast/ And leave in the Orient the rest.” Such creative violation of the original meaning of “一截”, a word means‘a part' and belongs to linguistic culture, highlights the tall and majestic image of Mount Kunlun, which conveys the content of the source text in a better form.&lt;br /&gt;
&lt;br /&gt;
Especially, creative violation is '''used''' in the situation where there is an equivalent word in the target language, but '''it is''' not the best expression. Taken Xu's illustration in his paper as an example, (2012: 90) “一截遗欧，一截赠美，一截还东国”in Mao's poem ''昆仑''(Kun Lun) was translated as “I would give to Europe your crest/ And to America your breast/ And leave in the Orient the rest.” Such creative violation of the original meaning of “一截”, a word means‘a part' and belongs to linguistic culture, highlights the tall and majestic image of Mount Kunlun, which conveys the content of the source text in a better form.--[[User:Liubo|Liubo]] ([[User talk:Liubo|talk]]) 09:24, 18 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
===5. Conclusion===&lt;br /&gt;
&lt;br /&gt;
“Poetry is known as the laurel of literature because of its concise language and rich thoughts. And culture loaded words can be taken as the pearl of the laurel”. (Gao Fanghui 2017, 152) This chapter, based on previous researches, has discussed about Xu's translation of culture-loaded words from cognitive perspective of translation. And it is concluded as follows:&lt;br /&gt;
&lt;br /&gt;
“Poetry is known as the laurel of literature because of its concise language and rich thoughts. And '''culture-loaded words''' can be taken as the pearl of the laurel”. (Gao Fanghui 2017, 152) This chapter, based on previous researches, has discussed about Xu's translation of culture-loaded words from cognitive perspective of translation. And it is concluded as follows:--[[User:Liubo|Liubo]] ([[User talk:Liubo|talk]]) 09:44, 18 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
Firstly, in order to guide the target readers to accept culture-loaded words, the translator is required to understand the implied meaning of the word and have an embodied experience of the text according to the background knowledge both historically and culturally. This is the foundation of translating culture-loaded words.&lt;br /&gt;
&lt;br /&gt;
Firstly, in order to guide the target readers to accept culture-loaded words, the translator is required to understand the implied meaning of the '''words''' and have an embodied experience of the '''original''' text according to the background knowledge both historically and culturally. This is the foundation of translating culture-loaded words.--[[User:Liubo|Liubo]] ([[User talk:Liubo|talk]]) 09:44, 18 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
Secondly, after interaction among author, reader and text, translators are also suggested to give full play to subjectivity and creativity under the restriction of faithfulness and reader's reception. One could employ literal or free translation, adaptive rewriting or creative violation, depending on different conditions. Thus, a harmony in translation is appreciated.&lt;br /&gt;
&lt;br /&gt;
Secondly, '''except the interaction among author, reader and text''', translators are also suggested to give full play to subjectivity and creativity under the restriction of faithfulness and reader's reception. One could employ literal or free translation, adaptive rewriting or creative violation, depending on different conditions. Thus, a harmony in translation is appreciated.--[[User:Liubo|Liubo]] ([[User talk:Liubo|talk]]) 09:44, 18 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
Last but not least, no matter which translation principles, strategies or methods are taken, annotation is necessary to help target readers to understand the original cultural connotation with more details.&lt;br /&gt;
&lt;br /&gt;
Last but not least, no matter which translation principles, strategies or methods are taken, annotation is necessary to help target readers to understand the  '''cultural connotation of the original text''' with more details.&lt;br /&gt;
&lt;br /&gt;
===References===&lt;br /&gt;
&lt;br /&gt;
*Nida, Eugene A. (2002). Language and culture: Context in Translating. Shanghai: Shanghai Foreign Language Education Press.&lt;br /&gt;
&lt;br /&gt;
*Nida, Eugene A. 1964. Toward a Science of Translating Shanghai Foreign Language Education Press.&lt;br /&gt;
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*Cai Longwen 蔡龙文. (2010). 论基于认知语言学的翻译机制 [On Translation Mechanism Based on Cognitive Linguistics]. ''广东外语外贸大学学报''[Journal of Guangdong University of Foreign Studies and foreign trade]. 21(03):57-61.&lt;br /&gt;
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*Chan Sin-wai 陈善伟 (2009). 从传说时代到2004年的中西翻译研究 [A Chrolonology of Translation in CHINA and in the WEST from the legendary period to 2004]. ''香港：中国大学出版社''[Hong Kong: The Chinese University Press].&lt;br /&gt;
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*Chen Hongwei 陈宏薇. (2002). 汉英翻译基础［Fundamentals of Chinese-English Translation]. ''上海外语教育出版社'' [Shanghai Foreign Language Education Press].&lt;br /&gt;
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*Dai Weidong 戴炜栋. (2002). 新编简明英语语言学教程 [A New Concise Course on Linguistics]. ''上海教育出版社'' [Shanghai Foreign Language Education Press].&lt;br /&gt;
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*Edited by Literature Appreciation Dictionary Compilation Center of Shanghai Dictionary Publishing House上海辞书出版社文学鉴赏辞典编纂中心编. (2011). 毛泽东诗词鉴赏辞典[Mao Zedong poetry appreciation dictionary]. ''上海辞书出版社'' [Shanghai Dictionary Publishing House].&lt;br /&gt;
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*Gao Fanghui 高芳卉. (2017). 从关联理论看毛泽东诗词中文化负载词的翻译 [Translation of Culture Loaded Words in Mao Zedong's Poems from the Perspective of Relevance Theory]. ''吉林省教育学院学报'' [Journal of Jilin University of education] (06):151-153.&lt;br /&gt;
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*Guan Yingzi 关迎紫. (2020). 认知语言学视角下的翻译策略研究 [Translation Strategies from the Perspective of Cognitive Linguistics]. ''南昌：豫章师范学院报''[Nan Chang: Journal of Yuzhang Normal University]. 35(01):117-120. &lt;br /&gt;
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*Hu Deqing 胡德清. (1999). 细刻精雕，丝缕毕现——评许渊冲教授新译《毛泽东诗词选》的修辞美 [Fine Engraving and Silk thread Showing -- On the Rhetorical Beauty of Professor Xu Yuanchong's New Translation of Selected Poems of Mao Zedong]. ''中国翻译'' [Chinese translation]. (6) 31- 33.&lt;br /&gt;
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*Hu Wenzhong 胡文仲. (1999). 跨文化交际面面观 [Aspects of Intercultural Communication]. ''外语教学与研究出版社''[Foreign language teaching and Research Press].&lt;br /&gt;
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*Liao Qiyi 廖七一. (2000).当代西方翻译理论探索 [Exploration of contemporary western translation theory]. ''南京:译林出版社'' [Nanjing: Yilin Publishing House].&lt;br /&gt;
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*Mao Zedong's poetry Translation Group 毛泽东诗词翻译组. (1976). 毛泽东诗词（汉英对照）. [ Mao Zedong's Poetry (Chinese – English Edition)]. ''北京：外文出版社''[Beijing: Foreign Languages Press].&lt;br /&gt;
&lt;br /&gt;
*Qin Jianghua &amp;amp; Xu Jun覃江华,许钧. (2018). 许渊冲翻译语言观释解[Interpretation of Xu Yuanchong's View on Translation Language]. ''外语与外语教学'' [Foreign Language and Foreign Language Teaching]. (06):118-125.&lt;br /&gt;
&lt;br /&gt;
*Wang Ping 王平. (2007). 传神达意重在理解———评毛泽东诗词中含“飞”字句式的英译［Conveying Spirit and Meaning, Focusing on Understanding -- On the English translation of &amp;quot;Flying&amp;quot; Sentence Pattern in Mao Zedong's Poems］. ''外语学刊''[Journal of foreign languages]. (05):121-123.&lt;br /&gt;
&lt;br /&gt;
*Wang Yin 王寅. (2005). 认知语言学的翻译观[Translation Perspective in Cognitive Linguistic. ''中国翻译''[Chinese translation]. (05):15-20.&lt;br /&gt;
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*Wang Yin 王寅. (2007). 认知语言学[Cognitive Linguistics]. ''上海外语教育出版社'' [Shanghai Foreign Language Education Press].&lt;br /&gt;
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*Xiao kunxue 肖坤学. (2005). 试论词汇层面翻译的认知取向 [On the Cognitive Orientation of Translation at Lexical Level]．''外语与外语教学'' [Foreign Language and Foreign Language Teaching]. (1)．&lt;br /&gt;
&lt;br /&gt;
*Xu Yuanchong 许渊冲. (1998). 美化之艺术《毛泽东诗词集》译序[The Art of Beautification. Preface to Mao Zedong's Poetry Collection].''中国翻译''[Chinese translation]. (04):3-5.&lt;br /&gt;
&lt;br /&gt;
*Xu Yuanchong 许渊冲. (2001). 再谈《竞赛论》和《优势论》———兼评《忠实是译者的天职》[A Further Discussion on &amp;quot;Competition Theory&amp;quot; and &amp;quot;Superiority Theory&amp;quot; -- Comment on &amp;quot;Faithfulness is the Translator's Bounden Duty&amp;quot;].''中国翻译'' [Chinese Translation] (1):51-52.&lt;br /&gt;
&lt;br /&gt;
*Xu Yuanchong 许渊冲. (2003)．文学与翻译［Literature and Translation］.''北京大学出版社'' [Peking University Press].&lt;br /&gt;
&lt;br /&gt;
*Xu Yuanchong 许渊冲. (2015). 从心所欲而不逾矩 [Do what you want without exceeding the rules]. ''光明日报'' [Guangming Daily] 04-28(011).&lt;br /&gt;
&lt;br /&gt;
*Xu Yuanchong 许渊冲. (2015). 许渊冲英译毛泽东诗词 [Translation of Mao Zedong's Poems by Xu Yuanchong]. ''北京：中译出版社'' [Beijing: Chinese Translation Press].&lt;br /&gt;
&lt;br /&gt;
*Ye Jihong 叶继红. (1994). 探寻完美的表达形式———读许渊冲译毛泽东词选 [Searching for a Perfect Form of Expression -- Reading Xu Yuanchong's Selected Works of Mao Zedong's Ci]. ''北京大学学报'' [Journal of Peking University]. (2):109-110.&lt;br /&gt;
&lt;br /&gt;
*Yu Lixia 余立霞.( 2016). 毛泽东诗词英译本中文化负载词翻译的对比研究 [A Comparative Study on the Translation of Culture Loaded Words in English Versions of Mao Zedong's Poems].''外语学刊'' [Journal of Foreign Languages] (06):106-109.&lt;br /&gt;
&lt;br /&gt;
*Zhang Jiguang 张继光. (2020). 许渊冲研究现状的可视化分析及其启示 [Visualization analysis and Enlightenment of Xu Yuanchong's research status]. ''西安外国语大学学报''[Journal of Xi'an Foreign Studies University] 28 (01): 87-92.&lt;br /&gt;
&lt;br /&gt;
*Zhang Mengxue 张梦雪. (2019). 从毛泽东诗词英译本看许渊冲的翻译诗学观[On Mao Zedong's Poetry Translation from the Perspective of Xu Yuanchong's Translation Poetics].''湖南第一师范学院学报'' [Journal of Hunan First Normal University] (06):45-49.&lt;br /&gt;
&lt;br /&gt;
==A Comparative Study of the translation of Buddhist scriptures of China and Bible translation 肖婷 Xiao Ting 202070080612==&lt;br /&gt;
&lt;br /&gt;
===Abstract===&lt;br /&gt;
Bible has influenced the world through its translation into many different languages,being rendered into 1400 languages.Take the English translation of Bible for example,the English language and Anglo-American culture were deeply influenced by it in all aspects.Meanwhile,in China,the Chinese translation of Buddhist Scriptures occupied a sameli importants position in the history of Chinese transaltion,not only serving as an important foundation for the spread of Buddhiam in China,but also an enrichment for the Chinese traditional culture.In this paper,I will compare the development of the two large-scale transaltion activities in history and find out their differences and similarities.Finally,I will give my own thoughts of it.&lt;br /&gt;
&lt;br /&gt;
===Key words===&lt;br /&gt;
Bible translation;the translation of Buddhist Scriptures;comparison&lt;br /&gt;
===摘要===&lt;br /&gt;
摘要：《圣经》共有1400多种不同文字的版本，可以说它是通过翻译成多种语言不断影响世界的，其中又以历史上英译《圣经》规模为典范，英语语言和英美文化深受其影响。而与此有异曲同工之妙的是中国的佛经翻译，佛经翻译不仅是佛教在中国建立传播的重要基础之一，也极大丰富和发展了中国的传统文化，在中国的翻译史上占有极其重要的地位。本文将对两者进行对比总结并带来一些启示。&lt;br /&gt;
===关键词===&lt;br /&gt;
圣经翻译；佛经翻译；对比&lt;br /&gt;
===Introduction===&lt;br /&gt;
Bible, as the source of Western literature, feeds the fertile ground of the entire English literary world, the Buddhist classics, as an indispensable part of Eastern culture, have played an indispensable role in the progress of translation in China. The Buddhist scriptures and the Bible, two of the most influential religious texts in the world , relied mainly on translation activities for their earlier dissemination, which not only promoted cultural exchanges and translation development at that time, including the formation of translation methods and the establishment of translation theories, but also played a very important role in their own dissemination and development. Through a brief historical introduction of the translation of the Western Bible, especially the history of the English translation of the Bible, and the translation of the Chinese Buddhist scriptures, this paper attempts to clarify these two main lines of translation, summarize the common trajectories and deviations of the two classical works in the process of translation, and thus to find out the role they played by the history of translation of religious texts in various aspects of translation practice and translation theory.(Xie Tianzheng 2009,47-69 )&lt;br /&gt;
&lt;br /&gt;
Bible, as the source of Western literature, feeds the fertile ground of the entire English literary world, while the Buddhist classics, as an indispensable part of Eastern culture, have played an indispensable role in the progress of translation in China. The Buddhist scriptures and the Bible, two of the most influential religious texts in the world , relied mainly on translation activities for their earlier dissemination, which not only promoted cultural exchanges and translation development at that time, including the formation of translation methods and the establishment of translation theories, but also played a very important role in their own dissemination and development. Through a brief historical introduction of the translation of the Western Bible, especially the history of the English translation of the Bible, and the translation of the Chinese Buddhist scriptures, this paper attempts to clarify these two main lines of translation, summarize the common trajectories and deviations of the two classical works in the process of translation, and thus to find out the role they played by the history of translation of religious texts in various aspects of translation practice and translation theory.(Xie Tianzheng 2009,47-69 )--[[User:Xu Jia|Xu Jia]] ([[User talk:Xu Jia|talk]]) 15:03, 18 December 2020 (UTC)Xu Jia&lt;br /&gt;
&lt;br /&gt;
===An Overview of Chinese Translation of Buddhist Scriptures ===&lt;br /&gt;
The history of Chinese Translation of Buddhist Scriptures starts from the end of Eastern Han Dynasty, further developing from the Eastern Jin to Sui Dynasty, and peaking in Tang Dynasty, which stretches for more than one thousand years. And it has great influence on Chinese society, culture, language, arts etc.The translation of Buddhist Scriptures is the first Chinese translation climax. With it developing, many translators and translation works come to the fore, and lots of translation theories have been put forward and perfected, which lays the foundation for later ones. (Xie Tianzheng 2009,47)&lt;br /&gt;
&lt;br /&gt;
The history of Chinese Translation of Buddhist Scriptures started from the end of Eastern Han Dynasty, further developing from the Eastern Jin to Sui Dynasty, and peaking in Tang Dynasty, which stretched for more than one thousand years. And it has great influence on Chinese society, culture, language, arts,religion and etc.The translation of Buddhist Scriptures is the first Chinese translation climax. With it developing, many translators and translation works come to the fore, and lots of translation theories have been put forward and perfected, which lay the foundation for later ones. (Xie Tianzheng 2009,47)--[[User:Xu Jia|Xu Jia]] ([[User talk:Xu Jia|talk]]) 15:03, 18 December 2020 (UTC)Xu Jia&lt;br /&gt;
&lt;br /&gt;
====The early stage====&lt;br /&gt;
The first period, from the late Eastern Han to the Western Jin Dynasty, is the pioneering stage. During this period, the total number of Buddhist Scriptures being translated is about five hundred and seventy, while the first Chinese Buddhist translation script is Sutra in Forty-two Chapters.This period is characterized by the fact that the translators had no original texts and relied on the oral expression of the foreign monks.The translation method is that each foreign monk recite the sutras to one or more than one interpreters who would translate them into Chinese orally and there are other translators taking notes and writing down the Chinese version.&lt;br /&gt;
&lt;br /&gt;
The first period, from the late Eastern Han to the Western Jin Dynasty, is the pioneering stage. During this period, the total number of Buddhist Scriptures being translated is about five hundred and seventy, while the first Chinese Buddhist translation script is Sutra in Forty-two Chapters.This period is characterized by the fact that the translators had no original texts but relied on the oral expression of the foreign monks.The translation method is that each foreign monk recited the sutras to one or more than one interpreters who would translate them into Chinese orally and there were other translators taking notes and writing down the Chinese version.--[[User:Xu Jia|Xu Jia]] ([[User talk:Xu Jia|talk]]) 15:03, 18 December 2020 (UTC)Xu Jia&lt;br /&gt;
&lt;br /&gt;
And the mainstream translation principle was faithfulness at that time. Therefore, translators mainly adopted the translation method of literal translation, which was highly proposed by An Shigao（安世高） and Zhi Chen（支谶）, who were the masters of the literal translation school. (Xie Tianzheng 2009,47-52 )&lt;br /&gt;
====The developing stage==== &lt;br /&gt;
The second historical period, from the Eastern Jin Dynasty period to the Sui Dynasty, is the stage of development.&lt;br /&gt;
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Shi Daoan (314-385), who was an eminent monk, set up a translation workshop, ushering in the period of translation on a large scale. And a State Translation School was founded for this purpose. Besides, he invites some translators from India as well. Famous translators in this stage include Shi Daoan （释道安）, Kumarajiva （鸠摩罗什）, Zhen Di （真谛）, Seng You（僧佑）.&lt;br /&gt;
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From then on, translation has become an organized activity. Kumarajiva was the first person in Chinese history to translate the Buddhist scriptures systematically on a large scale, and he paid great attention to preserving the style of the original language while not losing the original meaning.As to the features of Buddhist translation in this time.First we can see the change from folk and personal translation to official and collective translation.Second,there were breakthroughs in translation theories and skills.Many famous translators concluded translation rules according to their experience and thoughts.Last,the translation quality improved a lot as more and more people possessing the knowledge of the two languages attending.(Xie Tianzheng 2009,52-57 )&lt;br /&gt;
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Shi Daoan (314-385), who was an eminent monk, set up a translation workshop, ushering in the period of translation on a large scale. And a State Translation School was founded for this purpose. Besides, he invites some translators from India as well. Famous translators in this stage included  Shi Daoan （释道安）, Kumarajiva （鸠摩罗什）, Zhen Di （真谛）, Seng You（僧佑）. --[[User:Xu Jia|Xu Jia]] ([[User talk:Xu Jia|talk]]) 15:03, 18 December 2020 (UTC)Xu Jia&lt;br /&gt;
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From then on, translation has become an organized activity. Kumarajiva was the first person in Chinese history to translate the Buddhist scriptures systematically on a large scale, and he paid great attention to preserving the style of the original language while not giving up the original meaning.As to the features of this time.First we can see the change from folk and personal translation to official and collective translation.Second,there were breakthroughs in translation theories and skills.Many famous translators concluded translation rules according to their experience and thoughts.Last,the part of sutras explanation was separated from translation.(Xie Tianzheng 2009,52-57 )--[[User:Xu Jia|Xu Jia]] ([[User talk:Xu Jia|talk]]) 15:03, 18 December 2020 (UTC)Xu Jia&lt;br /&gt;
====The peaking stage====&lt;br /&gt;
The third historical period is the Tang Dynasty in which the Chinese translation of Buddhist Scriptures reached its peak. And the representative translator in this age is Xuan Zang.He tried many translation methods and developed his epoch-marking criterion that translation “must be truthful and intelligible to the populace” (既须求真，又须喻俗). In a sense, Xuan Zang, with such a formula, was trying to combine the literal translation and free translation to give the best version of the translation.(Chen Fukang 2000,32)&lt;br /&gt;
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Xuan Zang has made great contributions to the Chinese translation of Buddhist Scriptures .In history he went to India to get the Buddhist scripture ,set up a large workshop of translation and translated 1335 fascicles of 75 volumes of Buddhist Scriptures .He also set down“five guidelines for not translating a term ”(五不翻).First, if a term partakes of the occult, it is not-translated (秘密故).Second, if a term has multiple meanings, it is not-translated(多义故). Third, if the object represented by a term does not exist in this part of the world, that term is not-translated(此无故). Fourth, if a past rendering of a term has become established and accepted, the term is not-translated(顺古故).Fifth, if a term elicits positive associations, it is not-translated(生善故). (Chen Fukang 2000,35)&lt;br /&gt;
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Xuan Zang had made great contributions to the Chinese translation of Buddhist Scriptures .In history he went to India to get the Buddhist scripture ,set up a large workshop of translation and translated 1335 fascicles of 75 volumes of Buddhist Scriptures .He also set down“five guidelines for not translating a term ”(五不翻).First, if a term partakes of the occult, it is not-translated (秘密故).Second, if a term has multiple meanings, it is not-translated(多义故). Third, if the object represented by a term does not exist in this part of the world, that term is not-translated(此无故). Fourth, if a past rendering of a term has become established and accepted, the term is not-translated(顺古故).Fifth, if a term elicits positive associations, it is not-translated(生善故). (Chen Fukang 2000,35)--[[User:Xu Jia|Xu Jia]] ([[User talk:Xu Jia|talk]]) 15:03, 18 December 2020 (UTC)Xu Jia&lt;br /&gt;
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===An Overview of Bible Translation  ===&lt;br /&gt;
Generally speaking, the classic Christian Bible consists of two parts: the Old Testament and  the New Testament. The history of translation of Bible can be divided into three periods:The Greco-Roman period (2nd century B.C.- 8th century A.D.),the Reformation period (16th and 17th centuries) and the Modern era (19th and 20th centuries).&lt;br /&gt;
These three periods were also the major periods of Christianity's spread, and the translation of the Bible played a crucial role in the spread of religious ideas and cultural conversion.&lt;br /&gt;
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These three periods were also the major periods of Christianity's spread, and the translation of the Bible played a crucial role in the spread of religious views and cultural conversions.--[[User:Xu Jia|Xu Jia]] ([[User talk:Xu Jia|talk]]) 15:03, 18 December 2020 (UTC)Xu Jia&lt;br /&gt;
The first period is between 2nd century B.C. and 8th century A.D. when the history of Bible translation begun and two Bible translation versions need to be noticed.The first one is The Septuagint translated by 72 Jewish scholars with two in a group translating it at the same time which was basically the original text to be rendered into many other national languages.The Vulgate of St. Jerome was also translated from it.St. Jerome was a controversial person as well as his translation who started the dispute between literal translation and free translation.And he referred his translation strategies as literal translation.(Tan Zaixi 2004,28)&lt;br /&gt;
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The first period is between 2nd century B.C. and 8th century A.D. when the history of Bible translation begun and two Bible translation versions need to be noticed.The first one is The Septuagint translated by 72 Jewish scholars with two in a group translating it at the same time which was basically the original text to be rendered into many other national languages.The Vulgate of St. Jerome was also translated from it.St. Jerome was a controversial person as well as his translation who also started the dispute between literal translation and free translation.And he referred his translation strategies as literal translation.(Tan Zaixi 2004,28)--[[User:Xu Jia|Xu Jia]] ([[User talk:Xu Jia|talk]]) 15:03, 18 December 2020 (UTC)Xu Jia&lt;br /&gt;
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The second period was happened during the 16th and 17th century.As we all know,the Renaissance occurred in the 16th century,thus pushing forward the translation of Bible into many other different languages. Bible translation of other languages was hampered by the Vatican with many scholars died of it.“The Reformation in 17th century was the consequence of the autarchy”(Xie Tianzhen 2009, 64).During this period,Martin Luther’s German translation version of Bible represented people’s efforts the best.He was also in favor of St. James’ literal translation.(Tan Zaixi 2004,70)&lt;br /&gt;
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The second period was happened during the 16th and 17th century.The Renaissance occurred in the 16th century,thus pushing forward the translation of Bible into many other different languages. Bible being translated into other languages was hampered by the Vatican with many scholars died of it.“The Reformation in 17th century was the consequence of the autarchy”(Xie Tianzhen 2009, 64).During this period,Martin Luther’s German translation version of Bible represented people’s efforts the best.He was also in favor of St. Jerome’s literal translation.(Tan Zaixi 2004,70)--[[User:Xu Jia|Xu Jia]] ([[User talk:Xu Jia|talk]]) 15:03, 18 December 2020 (UTC)Xu Jia&lt;br /&gt;
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The third period is the modern era (19th and 20th centuries) of Bible translation when new versions and a lot of Revised Versions emerged as well as the versions of the third world national languages.The changeable ideology also inspired new translations,for example,Elizabeth Cady Stanton translated the first Woman’s Bible.(Tan Zaixi 2004,189)&lt;br /&gt;
===An Overview of English Translation of the Bible === &lt;br /&gt;
Bible translation has a long history of more than 1400 years and the English translation of Bible kept expanding,thus a great many versions was created by numerous masters.With the development of this,English as well as the culture of English-speaking countries were enriched and benefited.We can divide the history of it into fifth periods.&lt;br /&gt;
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First, the early English translations of the Bible.&lt;br /&gt;
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The earliest English translation of the Bible can be dated back to the 8th century, when the famous English historian Bede translated the Bible into Old English in 735 AD. He was the first person to translate the Bible into English. He translated certain sections of the Bible into poetry. Bede was a well known writer in Europe at that time. He translated the “Ten Commandments of Moses” from the Bible into Anglo-Saxon, based mainly on St. Jerome’ s The Vulgate, a popular Latin translation.(Xie Tianzhen 2009, 65).&lt;br /&gt;
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The earliest English translation of the Bible can be dated back to the 8th century, when the famous English historian Bede translated the Bible into Old English in 735 AD. He was the first person who translated the Bible into English. He translated certain sections of the Bible into poetry. Bede was a well known writer in Europe at that time. He translated the “Ten Commandments of Moses” from the Bible into Anglo-Saxon, based mainly on St. Jerome’ s The Vulgate, a popular Latin translation.(Xie Tianzhen 2009, 65).--[[User:Xu Jia|Xu Jia]] ([[User talk:Xu Jia|talk]]) 15:03, 18 December 2020 (UTC)Xu Jia&lt;br /&gt;
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Second, Wycliffe's translation of the Bible.&lt;br /&gt;
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Technically speaking, Wycliffe began the English translation of the Bible. As an Oxford scholar, John Wycliffe was one of the most influential figures in England in the 14th century. He was a reformer, philosopher, writer, and theologian, and is known as “the star of the Reformation”. John Wycliffe translated the Bible for the sake of commonalty, and as such his translation became a popular tool against the power of the church. So alarmed was the Church of England that it held a Synod in Oxford in 1408, which banned the translation and use of the Bible. However, due to the popularity of John Wycliffe's translation of the Bible, the ban had little effect. By the 15th century, Wycliffe's translation was widely circulated, becoming the only English translation of the Bible at the time and laying the foundation for the English translation of the Bible for future generations.(Xie Tianzhen 2009, 65).&lt;br /&gt;
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Technically speaking, Wycliffe began the English translation of the Bible. As an Oxford scholar, John Wycliffe was one of the most influential figures in England in the 14th century. He was a reformer, philosopher, writer, and theologian, and was known as “the star of the Reformation”. John Wycliffe translated the Bible for the sake of commonalty, and as such his translation became a popular tool against the power of the church. So alarmed was the Church of England that it held a Synod in Oxford in 1408, in which they banned the translation and use of the Bible. However, due to the popularity of John Wycliffe's translation of the Bible, the ban had little effect. By the 15th century, Wycliffe's translation was widely circulated, becoming the only English translation of the Bible at the time and laying the foundation for the English translation of the Bible for future generations.(Xie Tianzhen 2009, 65).--[[User:Xu Jia|Xu Jia]] ([[User talk:Xu Jia|talk]]) 15:03, 18 December 2020 (UTC)Xu Jia&lt;br /&gt;
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Third, the English translation of the Bible in the 16th century.&lt;br /&gt;
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The 16th century served as the first climax in the history of English translation of the Bible, with the translation master William Tyndale (1491-1536) as its representative. William Tyndale was an English clergyman, humanist, famous writer, and leader of the Reformation. His purpose in translating the Bible was to make it accessible to common people and to make him understand the true meaning of Christianity. Tyndale devoted his life to the translation of the Bible, which occupies an important place in the history of the English translation of the Bible. First of all, it was translated directly from the Greek and was the first printed Bible. Secondly, Tyndale’ s English translation of the Bible is a perfect combination of scholarship, literature, and simplicity of phraseology, served as an ideal origin text for future English translations of the Bible. Finally, Tyndale’ s English translation has enriched the English language even more than Shakespeare, for many of today's English expressions are derived from Tyndale’ s English translation of the Bible.(Xie Tianzhen 2009, 66).&lt;br /&gt;
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Fourth, the English translation of the Bible in the 17th century.&lt;br /&gt;
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The 17th century was the most glorious era in the history of the English translation of the Bible. The king approved 54 scholars as translators, with Lancelot Andrewes in charge. This was the second officially supported mass translation in the West since The Septuagint .When translating, they were not limited to The Vulgate, which was approved by the Catholic Church, but often referred to the original Hebrew text of the Bible, so that their translation was relatively faithful to the original text. The King James Bible is the authorization among all English translations of the Bible.(Xie Tianzhen 2009, 66).&lt;br /&gt;
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The 17th century was the most glorious era in the history of the English translation of the Bible. The King approved 54 scholars as translators, with Lancelot Andrewes in charge. This was the second officially supported mass translation in the western countries since The Septuagint .When translating, they were not limited to The Vulgate, which was approved by the Catholic Church, but often referred to the original Hebrew text of the Bible, so that their translation was relatively faithful to the original text. The King James Bible is the authorization among all English translations of the Bible.(Xie Tianzhen 2009, 66).--[[User:Xu Jia|Xu Jia]] ([[User talk:Xu Jia|talk]]) 15:03, 18 December 2020 (UTC)Xu Jia&lt;br /&gt;
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Fifth, the English translation of the Bible in the 19th and 20th century.&lt;br /&gt;
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There were no large-scale translation of Bible in the 19th century thus making the revise of the English translation of Bible the mainstream in this period.The American Standard Version went through a large scale revision as a result.In the 20th century, science and technology changed rapidly, and the English language also made great progress. Although the King James Bible was unassailable, many translations of the Bible were produced,such as New Testament in Modern Speech,James Moffatt,New English Bible and New International Version(Xie Tianzhen 2009, 67-69).&lt;br /&gt;
===The Differences and Similarities between the translation of Buddhist Scriptures of China and Bible translation === &lt;br /&gt;
===The Differences between the Translation of Buddhist Scriptures of China and Bible Translation ===&lt;br /&gt;
1.From the translation contents,the time when it happened,the language and cultural environment ,translators to the historical background ,the differences between the English translation of Bible and the Chinese translation of the Buddhist Scriptures are significant.(Xie Tianzhen 2009, 45-69)&lt;br /&gt;
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1.From the perspective of translation contents,the time when it happened,the language and cultural environment ,translators to the historical background ,the differences between the English translation of Bible and the Chinese translation of the Buddhist Scriptures are significant.(Xie Tianzhen 2009, 45-69)--[[User:Xu Jia|Xu Jia]] ([[User talk:Xu Jia|talk]]) 15:03, 18 December 2020 (UTC)Xu Jia&lt;br /&gt;
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2.Bible translation has a long history and is still going on today. The translation of Buddhist Scriptures in China ended in the Song Dynasty. Bible translations rely mainly on the faithful believers. By the time Buddhism spread widely in China, most Buddhist scriptures were already available in Chinese, so people preferred to read the Chinese versions rather than the foreign language originals. In this way, Buddhist scripture translations faded as they became less in demand in the social and cultural environment. (Xie Tianzhen 2009, 45-69)&lt;br /&gt;
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3.Unlike Buddhist translations, Bible translations are motivated not only by religious beliefs, but also by the absorption of the essence of Greek culture. In addition, the Bible is a literary work of high literary value. All nations and all social classes have devoted a great deal of labor to Bible-related work. In fact, while the Bible was translated into various European languages, it was also heavily influenced by the formation of written languages in European countries. Even Bible translations became the first written literary works in some European countries. In Europe, the translation of religious works is closely related to literary creation.(Ren Dongsheng 2008,49)&lt;br /&gt;
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3.Unlike Buddhist translations, Bible translations are motivated not only by religious beliefs, but also by the essence of Greek culture. In addition, the Bible is a literary work of high literary value. All nations and all social classes have devoted a great deal of labor to Bible-related work. In fact, while the Bible was translated into various European languages, it was also heavily influenced by the formation of written languages in European countries. Even Bible translations became the first literary works in some European countries. In Europe, the translation of religious works is closely related to literary creation.(Ren Dongsheng 2008,49)--[[User:Xu Jia|Xu Jia]] ([[User talk:Xu Jia|talk]]) 15:03, 18 December 2020 (UTC)Xu Jia&lt;br /&gt;
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4.Western Bible translations promote Christian culture in Christian countries where religiosity has always been respected as the dominant or primary value of the Bible text: Buddhist sutra translations have been combined with traditional Chinese philosophy and aesthetics from the very beginning, &amp;quot;reconciling Confucianism and Buddhism&amp;quot;, and philosophical and literary aspects have been respected as the dominant or primary value of the Chinese (translated Buddhist texts). The philosophical and literary aspects were revered as the dominant or primary values of the Chinese Buddhist scriptures.(Ren Dongsheng 2008,48)&lt;br /&gt;
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===The Similarities between the Translation of Buddhist Scriptures of China and Bible translation ===&lt;br /&gt;
1.Both had gone through a long time. The English translation of the Bible began around the eighth century and reached its culmination in the 17th century. The Chinese translation of the Buddhist Scriptures began in 67 AD and reached its peak in the Sui and Tang dynasties. Both had a history of more than a thousand years until their development is quite mature. In terms of the translation results , the translations of the culmination became the most popular ones today. To date, most of the English translations of the Bible today are from the 17th century translation of the Bible; most of the translations of Buddhist Scriptures follow the classical translations of Xuan Zang from the Tang dynasty.(Xie Tianzhen 2009, 45-69)　　 &lt;br /&gt;
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1.Both had gone through a long time. The English translation of the Bible began around the eighth century and reached its culmination in the 17th century. The Chinese translation of the Buddhist Scriptures began in 67 AD and reached its peak in the Sui and Tang dynasties. Both had a history of more than a thousand years until their development was quite mature. In terms of the translation results ,both the translations of the culmination became the most popular ones today. To date, most of the English translations of the Bible today are from the 17th century translation of the Bible; most of the translations of Buddhist Scriptures follow the classical translations of Xuan Zang from the Tang dynasty.(Xie Tianzhen 2009, 45-69) --[[User:Xu Jia|Xu Jia]] ([[User talk:Xu Jia|talk]]) 15:03, 18 December 2020 (UTC)Xu Jia&lt;br /&gt;
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2. In terms of the scale and organizational methods: Both exhibit translation activities on a large scale, with the strong support of the rulers of the time, and their achievements are particularly notable. The translation of the Bible was also on a grand scale, especially in the 17th century, which is considered to be the most brilliant era in the history of English translation of the Bible. The King James Bible supported by James I,although not finalized by him, was given the authority among the English translation versions; due to the high quality of the translation itself, it eventually achieved dominance among all English translations of the Bible. The translation of Buddhist sutras was the first large-scale organized translation activity in China. Since the Eastern Han Dynasty, the &amp;quot;translation field&amp;quot; method was adopted, that is, many people cooperated to translate Buddhist sutras under a strict division of labor system, which showed the characteristics of having a fixed place, a strict division of labor, and leadership by the organization. The translation of Buddhist Scriptures in China reached its climax in the Tang Dynasty, both in terms of scale and quality, which was contingent on the strong support of the rulers that time. (Ren Dongsheng 2008,49)&lt;br /&gt;
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2. In terms of the scale and organizational methods: Both exhibit translation activities on a large scale, with the strong support of the rulers of the time, and their achievements are particularly notable. The translation of the Bible was also on a grand scale, especially in the 17th century, which is considered to be the most brilliant era in the history of English translation of the Bible. The King James Bible supported by James I,though not finalized by him, was given the authority among the English translation versions; due to the high quality of the translation itself, it eventually achieved dominance among all English translations of the Bible. The translation of Buddhist sutras was the first large-scale organized translation activity in China. Since the Eastern Han Dynasty, the &amp;quot;translation field&amp;quot; method was adopted, that is, many people cooperated to translate Buddhist sutras under a strict division of labor system, which showed the characteristics of having a fixed place, a strict division of labor, and leadership by the organization. The translation of Buddhist Scriptures in China reached its climax in the Tang Dynasty, both in terms of scale and quality, which was contingent on the strong support of the rulers that time. (Ren Dongsheng 2008,49)--[[User:Xu Jia|Xu Jia]] ([[User talk:Xu Jia|talk]]) 15:03, 18 December 2020 (UTC)Xu Jia&lt;br /&gt;
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3.In terms of translation strategies, in the early days of the translation of the Buddhist scriptures and the Bible, almost all of their translators were devout religious believers, and the religious classics were sacred in their eyes, and any arbitrary addition, deletion or modification of their contents in the process of translation would be regarded as blasphemy. Therefore, at the beginning, both Chinese translators of Buddhist scriptures and European Bible translators coincidentally adopted the strategy of word-for-word translation to show their sincere religious beliefs and to maintain the sanctity of the religious texts.(Cheng Xiaoping 2013,187)&lt;br /&gt;
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An Shigao, a famous translator of Chinese translation of Buddhist Scriptures, adopted the strategy of literal translation.Zhi Chen who was the first person elaborating the translation theory in the history .In the Preface to the Dharma Sutra, he strongly supported the view of the Vighna  from Tianzhu(an ancient translation of India) that the translation of sutras should adopt transliteration. The famous Buddhist sutra translator Shi Daoan, in his Preface to the Mahabharata Paramita Sutra, put forward the idea of “five instances of losing the originals”(五失本), which would make the translation easy to change the original meaning, and the concept of “three instances of difficulties”(三不易) , the three reasons why translation is difficult, to supplement his idea of literal translation. In addition, in his Dialectic, Yan Zong proposed the principle that insists on faithfulness and prefers literal translation.(Liu Weijie 2009,62)&lt;br /&gt;
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An Shigao, a famous translator of Chinese translation of Buddhist Scriptures, adopted the strategy of literal translation while Zhi Chen was the first person elaborating the translation theory in the history .In the Preface to the Dharma Sutra, he strongly supported the view of the Vighna  from Tianzhu(an ancient translation of India) that the translation of sutras should adopt transliteration. The famous Buddhist sutra translator Shi Daoan, in his Preface to the Mahabharata Paramita Sutra, put forward the idea of “five instances of losing the originals”(五失本), which would make the translation easy to change the original meaning, and the concept of “three instances of difficulties”(三不易) , the three reasons why translation is difficult, to supplement his idea of literal translation. In addition, in his Dialectic, Yan Zong proposed the principle that insists on faithfulness and prefers literal translation.(Liu Weijie 2009,62)--[[User:Xu Jia|Xu Jia]] ([[User talk:Xu Jia|talk]]) 15:03, 18 December 2020 (UTC)Xu Jia&lt;br /&gt;
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When the 72 Jewish scholars translated the Greek text of the Septuagint, their worship of religious texts led them to adopt a word-by-word and sentence-by-sentence translation, so that the readability of the translation was poor, and even the Greeks had difficulty in understanding it. Later Jerome believed that translations should not always be word-for-word and must be flexible, but when it came to translating the Bible, he still believed that literal translation should be adhered to , and not even the word order in the sentences should be changed, &amp;quot;because even the word order in the Bible is a kind of &amp;quot;metaphysical meaning&amp;quot;. The main reason why Jerome adopted the strategy of literal translation was his awareness of the sacredness of the Bible(Xiong Hui 2013,68).&lt;br /&gt;
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According to Hu Shi's judgment, the translations of Hatamarangshi and many other monks after him changed &amp;quot;foreign words&amp;quot; into &amp;quot;Chinese words&amp;quot;, using simple language that was easily accepted by the general public instead of ornate parallelism or elegant literary texts, in order to satisfy the general public’s demand for Buddhist faith. At this time, the recipients of the sutras were no longer limited to a few sutra researchers or cultural figures(Xiong Hui 2013,68). From the perspective of reception aesthetics, the purpose of translating any text is not only to convey the original meaning correctly, but also to make it easy for readers to understand and accept. The purpose of translating Buddhist sutras is the same , so they changed the strategy of word for word translation to free translation. The Tang Dynasty was a prosperous period for the translation of Buddhist scriptures in China, and the main translators were Xuan Zang and Bu kong, among who Xuan Zang's translation style can be said to be a combination of various translation styles, and was no longer limited to the literal translation or the free translation.(Li Hua 2009,32)&lt;br /&gt;
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The Authorized Version, published in 1611, is the most important translation in the history of Bible translation. It was translated collectively by 47 of the best scholars and theologians, emphasizing faithfulness to the original text and absorbing Hebrew, Greek and Latin language styles, drawing on the essence of the original text, with a simple and solemn language rich in images. The greatest achievement of his translation of the Bible is that it takes into account the needs of scholarship, conciseness, and literature, and integrates all three factors into one, focusing on easy understanding and embedding the characteristics of the Hebrew language, creating a unique style of Bible translation. Tyndale paid special attention to the vulgarity of the translation, using as much ‘authentic’ English vocabulary as possible and the vivid and specific forms of expression customary to the narrative expressions of ordinary people, and the text is simple and natural, without pedantry. Therefore, his translations were very influential and widely circulated.(Liu Junping 2019,100-105)&lt;br /&gt;
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The Authorized Version, published in 1611, is the most important translation in the history of Bible translation. It was translated collectively by 47 of the best scholars and theologians, emphasizing faithfulness to the original text and absorbing Hebrew, Greek and Latin language styles, drawing on the essence of the original text, with simple and solemn language . The greatest achievement of his translation of the Bible is that it took into account the needs of scholarship, conciseness, and literature, and integrates all three factors into one, focusing on easy understanding and embedding the characteristics of the Hebrew language, creating a unique style of Bible translation. Tyndale paid special attention to the vulgarity of the translation, using as much ‘authentic’ English vocabulary as possible and the vivid and specific forms of expression customary to the narrative expressions of ordinary people, and the text is simple and natural, without pedantry. Therefore, his translations were very influential and widely circulated.(Liu Junping 2019,100-105)--[[User:Xu Jia|Xu Jia]] ([[User talk:Xu Jia|talk]]) 15:03, 18 December 2020 (UTC)Xu Jia&lt;br /&gt;
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Through the above comparison between the Chinese translation of the sutras and the Bible translation , we find that both of them chose literal translation at first and later chose free translation as their translation strategies. From word-by-word translation, to mature translation, which focused on the overall meaning, and from translation, which focused on easy-to-understand language in order to make the translation suitable for the general public, to translation, which focused on &amp;quot;reproducing the message of the original language,&amp;quot; both the ancient Chinese translation of the Buddhist scriptures and the European translation of the Bible reveal similar translation laws. We see a common pattern in the development of the translation theories of the Buddhist scriptures and the Bible: literal translation and  free translation alternately dominate the translation activities and gradually mature until the organic integration of the two is finally achieved.(Xiong Hui 2013,78) &lt;br /&gt;
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In this regard, translators have put forward many similar valuable translation theories and translation experiences. For example, the translation theory put forward by St. Jerome around direct translation and paraphrase includes: religious translation should be treated differently from literary translation, and religious translation should mainly adopt direct translation, while literary translation can adopt paraphrase method. Moreover, it rejects the idea that there is &amp;quot;God's inspiration&amp;quot; in the translation of the Bible, and that the correct understanding of the Bible should rely on extensive knowledge and proficiency in language. In terms of translation theories, history allows us to read not only the translation history and translation experience of the Bible and Buddhist scriptures, but also the development line of the whole human translation history and the evolution of translation theories.(Xiong Hui 2013,78)&lt;br /&gt;
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In this regard, translators have put forward many similar valuable translation theories and translation experiences. For example, the translation theory put forward by St. Jerome around direct translation and paraphrase includes: religious translation should be treated differently from literary translation, and religious translation should mainly adopt direct translation, while literary translation can adopt paraphrase method. Moreover, it rejrcted the idea that there is &amp;quot;God's inspiration&amp;quot; in the translation of the Bible, and that the correct understanding of the Bible should rely on extensive knowledge and proficiency in language. In terms of translation theories, history allows us to read not only the translation history and translation experience of the Bible and Buddhist scriptures, but also the development line of the whole human translation history and the evolution of translation theories.(Xiong Hui 2013,78)--[[User:Xu Jia|Xu Jia]] ([[User talk:Xu Jia|talk]]) 15:03, 18 December 2020 (UTC)Xu Jia&lt;br /&gt;
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4.The Influence of Bible Translation and Translation of Buddhist Scriptures &lt;br /&gt;
(1) The King James Version of the Bible not only played a major role in the development of the English language, but also, due to the influence of the British colonization, became the original version for the translation of the Bible in many other less powerful countries,and had a definite effect on the development of languages in those countries. The King James Version was severely condemned by the opposition when it was first published, but it eventually gained dominance over all English translations of the Bible. (Liu Junping 2019,107)&lt;br /&gt;
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The Chinese translation of the Buddhist Scriptures has had a profound impact on all aspects of Chinese culture, and has a place in China's cultural history that cannot be ignored. In certain historical periods, Buddhism was used by the ruling class as a powerful tool to consolidate its governance. Both of them contributed to the historical process, maintaining the dominant position of the rulers at the time and enabling the civilians to attain an ideological convergence and concentration. On the positive side, they made contributions to the stability of the social environment of the time; on the negative side,quoted form Marx,” the adoption of religion as a legitimate means of official propaganda was nothing more than the spiritual opium that enslaved the people”.(Mou Xiaofang,LiXiul 2009,62)&lt;br /&gt;
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The Chinese translation of the Buddhist Scriptures has had a profound impact on all aspects of Chinese culture, and has a place in China's cultural history that cannot be ignored. In certain historical periods, Buddhism was used by the ruling class as a powerful tool to consolidate its governance. Both of them contributed to the historical process, maintaining the dominant position of the rulers at the time, enabling the civilians to attain an ideological convergence and concentration. On the positive side, they made contributions to the stability of the social environment of the time; on the negative side,quoted form Marx,” the adoption of religion as a legitimate means of official propaganda was nothing more than the spiritual opium that enslaved the people”.(Mou Xiaofang,LiXiul 2009,62)--[[User:Xu Jia|Xu Jia]] ([[User talk:Xu Jia|talk]]) 15:03, 18 December 2020 (UTC)Xu Jia&lt;br /&gt;
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(2)Both have injected vitality and life into the target language vocabulary and have made great contributions to culture. The Chinese translation of Buddhist Scriptures has greatly enriched Chinese traditional culture. First of all, it shows its influence on Chinese phonetics. At the micro level, the translation of Buddhist Scriptures into Chinese has influenced the pronunciation of certain Chinese characters. At the macro level, Zhang Jianmu, in his article &amp;quot;The Influence of Buddhism on Chinese Phonetics&amp;quot;, summarizes the influence of Chinese translations of Buddhist Scriptures in three aspects: the four sounds, the letters, and the equal rhyme charts. The Chinese translation of Buddhist Scriptures has greatly enriched the Chinese vocabulary, facilitated the communication of ideas to a great extent, and played a positive role in social and cultural life. The Chinese translation of Buddhist Scriptures has a great and far-reaching influence on Chinese literature. Kumarajiva was the first master translator who noticed the style and interest of the original text. Since that, our translation of literature has been fully established. The Bible, on the other hand, is a projection of most of the works in English and American literature, and it is impossible to fully appreciate and dismantle literary works without reading the Bible. Moreover, the Bible is also our doorway to the Western world, and our understanding of Western culture is inextricably linked with the Bible.(Li Hua 2009,31)&lt;br /&gt;
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===My Thoughts on the Comparison ===&lt;br /&gt;
A comparison of Chinese Buddhist scripture translations and Western Bible translations reveals that they have both gone through stages from literal translation, which is almost rigidly translated word by word, to high-level literal translation, i.e., phrase and structure level, to free translation, which focuses on fluent and easy-to-understand language in order to make the translation suitable for the general public, and finally to complete reconciliation of literal translation and free translation, or no longer emphasizing literal translation or meaning in translation. The emphasis is on the accuracy of the translation and the acceptability of the translated text. We use literal translations when they are appropriate, and we use free translations when they are appropriate. By analyzing the underlying reasons behind these common developments, some basic properties and laws of translation are revealed:&lt;br /&gt;
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1.The basic nature of translation is the conversion between bilingualism and the basic contradiction is the contradiction between bilingualism;&lt;br /&gt;
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2.Language is the carrier of culture, cultural differences and non-correspondence must be reflected in bilingualism and ultimately reproduced through language;&lt;br /&gt;
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3.In a specific text in a specific language, form, content and style are unified, but due to linguistic and cultural differences between bilinguals, form, content and style do not correspond to each other, which constitutes the greatest difficulty in translation;&lt;br /&gt;
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4.Translation integrates both science and art. Science is reflected in the objective regularity of language conversion; art is reflected in the translator's active selectivity and subjective creativity in the translation process;&lt;br /&gt;
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5. A good translator should be proficient in bilingual knowledge and familiar with the translated content;&lt;br /&gt;
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6.The improvement of translation level and ability is a process of experience accumulation; &lt;br /&gt;
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7.An ideal translation is one that reproduces the unity of form, content and style of the original in the translated text; &lt;br /&gt;
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8.Faithfulness of meaning is the basic requirement for translation, especially for translation of religious classics; &lt;br /&gt;
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9.Literal translation and paraphrase as translation methods are not binary opposites but complementary relationships; The specific criteria, requirements and methods of translation are determined by the purpose of translation. It is precisely because of these basic properties and laws that Chinese Buddhist sutra translation and Western Bible translation have similarities in their development process. &lt;br /&gt;
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9.Literal translation and paraphrase are not binary opposites but complementary relationships; The specific criteria, requirements and methods of translation are determined by the purpose of translation. It is precisely because of these basic properties and laws that Chinese Buddhist sutra translation and Western Bible translation have similarities in their development process. --[[User:Xu Jia|Xu Jia]] ([[User talk:Xu Jia|talk]]) 15:03, 18 December 2020 (UTC)Xu Jia&lt;br /&gt;
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10.Due to the lack of bilingual knowledge, translation experience and reverence for the religious classics, the first translators had to adopt a literal translation which was almost rigid, word by word, line by line. As a result, the translations were difficult to read and difficult to follow. In order to make the translation understandable to the readers, some people embellish the text and add or delete what they do not understand, and adopt an almost garbled or haphazard paraphrase of the translation. As a result, the translated text is indeed understood by the readers, but what they see is not the true picture of the scriptures. With the development of time, new translators have higher bilingual level, certain linguistic knowledge and experience in translation, and realize the mistakes and inadequacies of translating randomly, so they return to the strategy of literal translation. But at this time, literal translation is no longer word-for-word or line-for-line translation. They emphasized the overall communication of the meaning and the preservation of the original form, and did not absolutely exclude the element of paraphrase.&lt;br /&gt;
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10.Due to the lack of bilingual knowledge, translation experience and reverence for the religious classics, the first bunch of translators had to adopt a literal translation which was almost rigid, word by word, line by line. As a result, the translations were difficult to read and  follow. In order to make the translation understandable to the readers, some people embellish the text and delete what they do not understand, and adopt an almost garbled or haphazard paraphrase of the translation. As a result, the translated text is indeed understood by the readers, but what they see is not the true picture of the scriptures. With the development of that, new translators had higher bilingual level, certain linguistic knowledge and experience in translation, who realized the mistakes and inadequacies of translating randomly, and then return to the strategy of literal translation. But at this time, literal translation is no longer word-for-word or line-for-line translation. They emphasized the overall communication of the meaning and the preservation of the original form, and did not absolutely exclude the element of paraphrase.--[[User:Xu Jia|Xu Jia]] ([[User talk:Xu Jia|talk]]) 15:03, 18 December 2020 (UTC)Xu Jia&lt;br /&gt;
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Later, in order to make the scriptures more easily understood and accepted by the general public, the translators again favored the strategy of paraphrasing and using the simple, concise and easily understandable language of the people. However, they do not translate randomly anymore, nor do they exclude paraphrase absolutely. The reason why there has been a long history of literal and paraphrase translations is that the translators did not realize that form, content, and style are unified in a particular language and culture, and that they are not monolingual between different cultures and language systems. This is because translators are not aware of the contradiction between the unity of form, content, and style in a particular language system.It is the opposition between literal translation and free translation.&lt;br /&gt;
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Later, in order to make the scriptures more easily to be understood and accepted by the general public, the translators  favored the strategy of paraphrasing and using the simple, concise and easily understandable language of the people. However, they do not translate randomly anymore, nor do they exclude paraphrase absolutely. The reason why there has been a long history of literal and paraphrase translations is that the translators did not realize that form, content, and style are unified in a particular language and culture, and  they are not monolingual between different cultures and language systems. This is because translators are not aware of the contradiction between the unity of form, content, and style in a particular language system.It is the opposition between literal translation and free translation.--[[User:Xu Jia|Xu Jia]] ([[User talk:Xu Jia|talk]]) 15:03, 18 December 2020 (UTC)Xu Jia&lt;br /&gt;
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When translators have mastered these basic rules of translation at a more mature stage of development, they no longer stick to the debate of literal and free translation, but use them as complementary translation methods, and strive to achieve full faithfulness between the translated text and the original in form, content and style, to reach the ideal standard of translation. However, as Jerome argues, literary translation should use free translation, Bible translation should adopt literal translations. The specific translation standards and methods vary according to the purpose of translation, the type of translation and the translated text.For example, from the perspective of religion and the fear of God, translators will adopt the strategy of literal translation to translate religious texts; from the perspective of spreading the great meaning and transforming the public, translators will adopt the strategy of paraphrase to translate religious texts.--[[User:Xiao Ting|Xiao Ting]] ([[User talk:Xiao Ting|talk]]) 08:45, 12 December 2020 (UTC)Xiao Ting&lt;br /&gt;
===References===&lt;br /&gt;
Chen Fukang 陈福康.中国译学理论史稿（修订本）[A History of Translation Theory in China].上海：上海外语教育出版社，2000&lt;br /&gt;
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Ma Zuyi 马祖毅.中国翻译简史（五四以前部分）[A History of Translation Theory in China (Before the May Fourth Movement)].北京：中国对外翻译出版设，1984.&lt;br /&gt;
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Tan Zaixi 谭载喜.西方翻译简史[A Brief History of Translation in the West].北京：商务印书馆，2004&lt;br /&gt;
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Xie Tianzhen 谢天振.中西翻译简史][A Brief History of Translation in China and the West].北京：外语教学与研究出版社，2009.&lt;br /&gt;
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Liu Weijie 刘为洁. 中国佛经翻译与英国《圣经》翻译的比较[Comparison of Chinese Buddhism Translation and Bible Translation] [J]. 四川教育学院学报,2009,25(02):61-63.&lt;br /&gt;
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Xiong Hui 熊辉. 古代中西方宗教典籍翻译策略的相似性分析[On the Similarity of Tranaltion Strategies to Ancient Chinese and Western Religious Scriptures] [J]. 西华大学学报(哲学社会科学版),2013,32(01):67-70.&lt;br /&gt;
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Li Hua 李华. 中国佛经翻译与英国《圣经》翻译的比较[Comparison of the Chinese Translation of Buddhist Scriptures and the English Translation of Bible] [J]. 文教资料,2009,(06):31-32&lt;br /&gt;
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Cheng Xiaoping 程小平. 浅谈佛经和《圣经》的不同之处[An Introduction to the Differences between the Scriptures and the Bible] [J]. 青年文学家,2018,(18):187.&lt;br /&gt;
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Chen Lianghui 陈亮辉. 论中国佛经翻译与西方圣经翻译的相似性与差异性[On the Similarities and Differences between Chinese Buddhist Scripture Translation and Western Bible Translation] [J]. 华中人文论丛,2014,5(01):117-119.&lt;br /&gt;
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Yi Zhimei 衣志梅. 中国佛经翻译与西方圣经翻译的相异性[ The Similarities and Differences between Chinese Sutra Translation and Western Bible Translation][J]. 安徽文学(下半月),2009,(07):327.&lt;br /&gt;
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Mou Xiaofang,LiXiuli牟晓芳，李秀丽.浅谈佛经翻译与《圣经》翻译的历史进程及其理论对比 [On the Historical Process and Theoretical comparison of the Transaltion to Buddhist Scriptures and the &amp;quot;Bible&amp;quot;] [J]山东广播电视大学学报，2009，(01):62-64.&lt;br /&gt;
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Ren Dongsheng 任东升.圣经汉译与佛经翻译比较研究[J].上海翻译,2008,(03):46-50&lt;br /&gt;
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==  Analysis of the Translation of Culture-loaded Words in ''Vanity Fair'' 常慧月 Chang Huiyue==&lt;br /&gt;
&amp;lt;center&amp;gt;常慧月 Chang Huiyue 202020080591&amp;lt;/center&amp;gt;&lt;br /&gt;
===Abstract===&lt;br /&gt;
Culture-loaded words express the culture, custom, habit and so on of a nation in the linguistic way. This paper discusses how to translate the culture-loaded words properly from perspective of domestication and foreignization. It introduces the translation strategies of domestication and foreignization and takes Yang Bi’s translation version of Vanity Fair as the example to analyze Yang’s brilliant application of domestication and foreignization in culture-loaded word translation. This paper consists of six chapters. Chapter one gives an introduction of translation and its different definitions. Chapter two discusses definition of domestication and foreignization and their development processes. Chapter three describes the culture-loaded words and its classification. Chapter four analyzes Vanity Fair and its Chinese version by Yang Bi. Chapter five analyzes translation of culture-loaded words in Vanity Fair from perspective of domestication and foreignization. Chapter six gives a conclusion of the whole paper. This paper aims to indicate the role of domestication and foreignization in the translation of culture-loaded words and attempts to combine translation techniques to find out the balance of two theories and the concrete measures of culture-loaded words translation.&lt;br /&gt;
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===Key words===&lt;br /&gt;
culture-loaded words; ''Vanity Fair''; domestication; foreignization&lt;br /&gt;
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===摘要===&lt;br /&gt;
文化负载词以语言的形式展示了一个国家的文化、习俗与生活习惯等。本文讨论了如何从异化与归化的角度恰当地翻译文化负载词，介绍了异化与归化两种翻译策略并以杨必汉译本的《名利场》为例，分析了杨必在翻译文化负载词时，对异化与归化的熟练运用。本文旨在表明异化与归化在翻译文化负载词时所起的作用，结合翻译技巧尝试找出翻译文化负载词中异化与归化的平衡点以及具体的方法。&lt;br /&gt;
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===关键词===&lt;br /&gt;
文化负载词；《名利场》；归化；异化&lt;br /&gt;
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===Chapter One Introduction===&lt;br /&gt;
Globalization has developed deeply and its trend will keep going further. International communication and cooperation will go far and countries in the world are interdependent. So it is necessary for each country to strengthen communication. The basis of communication is understanding, which is based on cultures, customs, habits and so on. Translation as a medium can solve the problem of language barrier but at the same time convey thinking patterns, behavioral modes, living ways and so on. Translation basically has five styles: practical style, science and technology style, journalese style, argumentation style and artistic style which systematically introduce other nation’s technology, culture, information and so on. This thesis focuses on the translation of literature and takes the translation of culture-loaded words in Vanity Fair, written by William Makepeace Thackeray, as an example. &lt;br /&gt;
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As for translation, its definition has been given by many people who have been devoted to this career in modern times or ancient times, in China or elsewhere. For most people, translation is just that one language is transformed to another language. Chinese scholar Xu Yuanchong once mentioned his understanding of translation in his book The Art of Translation and defined translation as that the art of translation is to understand the content of source text through its form and then express the content in the form of target text (Xu Yuanchong, 2006, 16). He pays much attention to the process of transformation and emphasizes the surface structure and deep thinking way. Zhang Peiji, another translation expert, thinks that translation is an activity that in which one language is used to express another language that includes the content of thought accurately and completely. His core is conveying information correctly.&lt;br /&gt;
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Eugene Nida comes up with the idea that translation consists in reproducing in the receptor language the closest natural equivalence of the source language, first in terms of meaning and secondly in terms of the style (Nida, 2004, 12). He points out that translators should convey the content and emotion of original language as accurate as possible, while Peter Newmark insists that (Translating) is rendering the meaning of a text into another language in the way the author intended the text.(Newmark, 2001, 128). He emphasizes translation should obey the style of the original text. All these scholars express their understandings about translation, and suggest not only definitions but criteria. In fact, their translation theories happen to coincide with the theory of Liu Zhongde, who revised Yan Fu’s theories which can be summarized as faithfulness, expressiveness and elegance into faithfulness, expressiveness and closeness, which are widely accepted by Chinese translators. As far as I am concerned, good translation should make it possible that target readers not only understand the content of source texts but produce the same emotion as source readers. Good translation can deal with language barrier and convey the culture and value, which is the function and significance of translation.&lt;br /&gt;
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==='''Chapter Two Domestication and Foreignization'''===&lt;br /&gt;
===='''2.1 Definition of domestication'''====&lt;br /&gt;
According to Schleiermacher, Lawrence Venuti defined“leaves the reader in peace as much as possible, and moves the author towards him”(Venuti, 2004, 19-20) as domestication. However, Venuti holds the view that domestication has a pessimistic meaning because the term is seen as universal principle in dominant cultures which are “aggressively monolingual, unreceptive to the foreign”, he also points out that these cultures are “accustomed to fluent translations that invisibly inscribe foreign texts with (target language) values and provide readers with the narcissistic experience of recognizing their own culture in a cultural other (Venuti, 2004, 15). The concept of invisibility is very significant for it is used to depict translator’s function in the process of creating the target texts that can be accepted by society in a culture that regards domestication as translation criteria. As a matter of fact, it is the invisibility of translator which simultaneously “enacts and masks an insidious domestication of foreign texts” (Venuti, 2004, 16-17). &lt;br /&gt;
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The translation method of domestication includes several procedures: choosing carefully of the text which contributes to this way; being conscious of using fluent and pleasant style of target language; rearranging target language to accord with the type of target language; adding to interpretive material; deleting special features of source language and using orientation of target language to make target language generally harmonious. Venuti believes that domestication possesses characteristic of dominance; that is to say, it covers source language’s cultures and features and disseminates target language’s cultures and dominant position.(Venuti, 2004, 16-20)&lt;br /&gt;
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====2.2 Definition of foreigniztion====&lt;br /&gt;
According to Venuti, foreignization is a term to designate the type of translation in which a target language is produced and deliberately breaks target conventions by retaining something of the foreignness of the original. He views foreignization as an “ethnodeviant pressure” and regards its role as to “register the linguistic and cultural difference of the foreign text, sending the reader abroad” (Venuti, 2004, 20). The translation method means that it is not completely necessary to obey the rule of the target language and text and that it is acceptable to choose languages that lacks smoothness and uniformity and unintelligible style in some appropriate situations. It also helps collect realia of source language and archaisms of target language. These features provide target language readers with an “alien reading experience” (Venuti, 2004, 20). However, foreignization “depends on domestic cultural materials” (Venuti, 2004, 20). Venuti admits that foregnization is “equally partial (as domesticating translation) in their interpretation of the foreign text”, yet disposes that they “tend to flaunt their partiality instead of concealing it”. (Venuti, 2004, 34)&lt;br /&gt;
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====2.3 Development of domestication and foreignization====&lt;br /&gt;
Domestication and foreignization proposed by Lawrence Venuti are based on the speech On the Different Methods of Translating given by Friedrich Schleiermacher. He points out that there are two ways which can help target text readers understand source text completely and correctly in the situation that is not separated from target text, either the translator leaves the author in peace, as much as possible, and moves the reader towards him or he leaves the reader in peace, as much as possible, and moves the author towards him. According to the speech, Lawrence Venuti defines the first way as foreignizing strategies and the second domesticating strategies. Either of these two translation methods has advantages and disadvantages so they stir a wide discussion. In western translation circle, Eugene Nida is the representative of domestication, whose translation theory is “dynamic equivalence”. He claims that source text should be translated in the most natural way, making readers find the most appropriate understanding in target language culture. However, Lawrence Venuti is regarded as the representative of foreignization, who believes that domestication is based on ethnocentrism and imperialist cultural values. In order to resist this doctrine and value, he supports the application of foreignization.&lt;br /&gt;
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Besides, Israel scholar Even-Zohar created polysystem theory, expanding domestication and foreignization from the perspective of sociology. He thinks that selecting between domestication and foreignization is determined by the specific state and status of a particular time rather than conscious choice of translators. When translated literature plays a dominant role in a multi-cultural system of a nation, it is better to use foreignizing translation; otherwise, it is better to use domesticating translation. In Chinese translation circle, Liu Kaiying criticizes drawbacks of domestication and advocates foreignization, which first leads to the discussion of two translation methods in China. While, Sun zhili is the representative of foreignization, who analyses literary translation from late 19th century to 20th century and comes up with the assertion that literary translation in 21th century will step forward foreignization from domestication. There are scholars who disagree with the first two views such as Cai Ping and Guo Jianzhong, considering into use domestication and foreignization depends on various factors and they need to be looked at critically. In general, discussion of application of the two translation methods still exists and choice of translating methods is up to the translator, the reader and the style of translation works.&lt;br /&gt;
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===Chapter Three  Culture-loaded Words===&lt;br /&gt;
====3.1 Definition of culture-loaded words====&lt;br /&gt;
Culture is a complicate social phenomenon, which carries hundreds or even thousands of years’ development of a nation and contains the nation’s customs, values, knowledge, experience, politics, economy, religion and so on. Culture has the characteristics of region and nationality and uniqueness. Besides, culture is interactive with society, which increases its comprehensibility and complexity. Therefore, comparing to the translation of pure language, language with cultural meaning is more difficult to translate. The culture-loaded word is one case. As the name implies, culture-loaded words are full of culture. Because of its uniqueness, these words usually can not find equivalences in another language. So it is called cultural gap. But there is not unified definition about it. Different scholars give different definitions and they have something in common. Bao Huinan defines culture-loaded words as that source language carrying cultural information have no equivalent or corresponding words (Bao Huinan, 2004, 10). Hu Wenzhong thinks that culture-loaded words are included in a specific cultural scope (Hu Wenzhong, 1999, 64). &lt;br /&gt;
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Another widely accepted definition is that in the language system, culture-words are those that can best represent the language that bears cultural information and expresses the social life of human and also refer to those words or phrases which deliver a certain kind of cultural connotative and associative meanings that may be found or may be not found in another language or culture. Mona Baker describes that the source language word may express a concept which is totally unknown in the target culture. The concept in question may be abstract or concrete; it may relate to a religious belief, a social custom, or a type of food; such concepts are often referred as “cultural-specific” (Baker, 2000, 21). In conclusion, from all these definitions above, culture-loaded words are unique and have no complete equivalents.&lt;br /&gt;
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====3.2 Classification of culture-loaded words====&lt;br /&gt;
Eugene Nida divides cultural factors into five groups from the perspective of physical form and ideology, including social culture, material culture, ecological culture, religious culture and linguistic culture (Nida, 2004, 91). These five factors become the basic classification of culture-loaded words, that is, social culture-loaded words, material loaded-words, ecological loaded-words, religious culture-loaded words and linguistic loaded-words. Based on the classification of Nida, Peter Newmark also divides culture-loaded words into five types: ecology; material culture; social culture; organizations, customs, activities, procedures and concepts; gestures and habit (Newmark, 2001, 135). This paper mainly analyzes Nida’s classification.   &lt;br /&gt;
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3.2.1 Social culture-loaded words involve a lot of aspects. They mainly refer to people’s life, which consists of habits, customs, values, lifestyle, historical background, salutation, political features, social activities, etc. They can reflect the development of society, express the characteristics of the times under the specific background, and have distinct sociality. For example, in China, there are many different salutations about relatives, such as “叔叔”、“伯伯”、“舅舅”、“姑父”和“姨夫”while the west simply use a word of “uncle” to cover all these salutations.&lt;br /&gt;
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3.2.2 Material loaded-words refer to those which can meet people’s basic living needs and satisfy their basic development needs, such as food culture, clothing culture, transportation culture, construction culture, and means of production. Chinese food culture is different from the west’s. For example, when celebrating traditional festival like the Spring Festival and the Mid-autumn Festival, Chinese family will reunite to enjoy “团圆饭”, that is, to enjoy a reunion dinner. “Cakes and pies and beaten biscuits” are special food in the west, so there are not corresponding foods in China, which increases the difficulty of translation.&lt;br /&gt;
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3.2.3 Ecological loaded-words are related to nature, which is composed of geographical conditions, climate and season, plants and animals and so forth. Because of different geological positions, different cultures have different ecological loaded-words. For example, In China, when it comes to “Yellow River”, it is natural for people to think of the term “mother of rivers” because in ancient times, the Yellow River district boasted mild and humid climate, distinct seasons, adequate water and moderate temperature, which were conductive to the growth of crops. Therefore, our ancestors settled in the Yellow River district. In other words, it is the Yellow River that nurtured Chinese people and Chinese civilization. However, western culture does not have such concept just as China does not have the connotation of west wind. Britain locates in low-lying British Isles and is harassed by west wind. Besides, Britain is near the sea, which increases wind force. So in winter, Britain’s west wind is very strong, thus being an image in the Ode to the West Wind written by Shelly.&lt;br /&gt;
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3.2.4 Religious loaded-words concern religious beliefs and values. Religious culture is a part of human development. In western culture, most people believe in Christianity and make Bible as their codes of conduct. Many words in Bible have become proverbs and are widely used in daily conversations. For example, “forbidden fruit” is a phrase originating from Bible that has been known to every household. The phrase is usually used to describe something that is enjoyable but illegal or immoral. In China, buddhism is one of the major beliefs and there are plenty of proverbs about it, such as “天花乱坠”、“普度众生”、“西方净土” etc.&lt;br /&gt;
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3.2.5 Linguistic loaded-words are refer to linguistics, comprising phoneme, syllable, intonation, word and grammar, etc. For example, Chinese language structure has its special rhythm, and four-character phrases and idioms are the dominant one, such as “刻舟求剑”、“愚公移山”、“项庄舞剑意在沛公”etc. These words are not only four-characters but also full of culture connotations. English also has abstract nouns that do not have equivalents in Chinese like “brinkmanship”, “decontextualization”.&lt;br /&gt;
&lt;br /&gt;
===Chapter Four ''Vanity Fair'' and Its Chinese Version===&lt;br /&gt;
====4.1 Introduction of Vanity Fair====&lt;br /&gt;
''Vanity Fair'''s full name is ''Vanity Fair: A Novel Without a hero'', written by William Makepeace Thackeray. The name of ''Vanity Fair'' derives from the masterpiece ''The Pilgrim’s Progress'', written by John Bunyan. The author altered the original name ''A Novel Without a Hero as subtitle''. Vanity Fair is an illusory place in Bunyan’s work where everything can be dealt with and the place expresses people’s vanity and ugliness of human nature.&lt;br /&gt;
&lt;br /&gt;
The story is draw from life. In the nineteenth century, Britain was strong and the industry and commerce were flourishing. The wealthy businessmen got rich by exploiting colonies and laborers and used money to control the society. At the same time, the war for power between Britain and France for power was broke out. All kinds of people in the upper and middle strata of society were busy striving for power, fame and position. Under this kind of social background, Thackeray created the book.&lt;br /&gt;
&lt;br /&gt;
The book mainly tells a story about two girls, one is Becky Sharp who is beautiful and brilliant but born from poverty, and another is Amelia Sedley who is gentle and born from a rich family. The two girl’s lives form a contrast and build up the book. Both girls are studying at Pinkerton Girls’ School. In this school, Becky from a poor family suffers from neglect and discrimination, while Amelia, the daughter of a wealthy businessman, is loved and welcomed by everyone. After graduation, Becky begins her struggling in the world. She first goes into Amelia’s house to stay for a period time, while she tries to court Amelia’s brother, Joseph, and manages to marry a wealthy person and change her destiny. However, Joseph looks down upon her and does not accept her. Because of the reject of Joseph, Becky has to leave his house and comes to Sir Peter, who is old and sophisticated and becomes a governess. Here, she goes out of her way to please Sir Pitt and his elder son, and then she curries favour with Miss Crawley who is a virgin and possesses a lot of money, living an extreme luxurious and decadent life.（Yang Bi,2012,2）&lt;br /&gt;
&lt;br /&gt;
Miss Crawley’s favorite person is Rawdon, a cavalry officer, who is worthy of the name of the buck and likes all the things that noblemen like, such as drinking, gambling, fighting and so forth. Even though Rawdon is a buck, Miss Crawley still regards him as her heir. Becky tries to please everyone and catches all people’s hearts including Sir Pitt, Miss Crawley and Rawdon. The moment Sir Pitt finishes his wife’s funeral, he makes a proposal to Becky. At this time, Becky has married Rawdon, which irritates both Sir Pitt and Miss Crawley. Under such situation, Sir Pitt and Miss Crawley both decide to break off relations with Rawdon. Miss Crawley even deprives of his right to success her fortunes. Becky also regrets for losing the chance to be a lady.&lt;br /&gt;
&lt;br /&gt;
In the meantime, Amelia’s father who used to be wealthy goes bankrupt in the fierce business competition. Amelia has been engaged to a youth officer George Osborne for many years. George is brilliant and handsome but is also a buck. Amelia is totally enamored of George and regards him as her hero. But after the bankruptcy of the Sedley family, father of George, old Osborne adds to the misfortunes to the Sedley family and forces his son to conceal the engagement with Amelia regardless of their friendship. Dobbin, George’s classmate and comrade-in-arms, is always crush on Amelia and does not have the heart to look at Amelia’s suffer from pains and torment. Through Dobbin’s repeated persuasion, George finally disobeys his father’s order and marries Amelia. During honeymoon period, the troops in which George, Rawdon and Dobbin are staying are ordered to fight at the front. Two newly married couples join the army in Brussels, Belgium.&lt;br /&gt;
&lt;br /&gt;
On the eve of the battle of Waterloo, unfaithful George is tempted by Becky and has a love affair stealthily with her. They even decide to elope together, but it does not happen because of George’s death in the war. After the war, Becky continues her journey to step into upper class of society. She makes full use of her beauty and wisdom to please magnates and defraud their money at the price of fame and chastity that most woman cherish. At last, Becky’s behaviors are found by her husband Rawdon. Even though Rawdon is on his last pins and gains extreme notoriety, he is not willing to taint his family’s fame. In order to keep his dignity and that of his family, Rawdon firmly breaks with Becky. The end of Becky is drifting from place to place and spending her rest time pointlessly and alone. &lt;br /&gt;
&lt;br /&gt;
Meanwhile, after the death of her husband, Amelia is immersed in the pain of losing her husband. Over the next ten years, she consistently loves her husband and lives in a tough life. She can not be admitted by old Osborn and raise her little child and her old parents on her own. During the time, Dobbin, having been promoted to major after the war, always helps poor Amelia. Amelia has to give up her son for a living, from which she gets a sum of money from the old Osborn in return. Her life has improved. Ten years later, Dobbin comes back to Britain from India. Despite her gratification to Dobbin, Amelia can not accept Dobbin’s love because of her admiration to her husband. Until Becky shows her husband’ letters about elopement, Amelia gives up her illusion to her husband and marries Dobbin. But all things have changed a lot. In the vanity fair, everyone has payed much price for their vanity, selfishness and indulgence, greediness and foolishness.&lt;br /&gt;
&lt;br /&gt;
Thackeray was a critical realist of 19th century. He used ironical method to depict the ugly faces of various figures and deceit and dishonesty in high places with vivid writing. Vanity Fair expresses the vivid story as if it happened in front of the readers, thus forming a unique artistic style. The book’s structure is extensive enough to hold the whole society, making people realize the influence of environment on human beings.(Yang Bi,2012,5）&lt;br /&gt;
&lt;br /&gt;
====4.2 Characteristics of Chinese version of Vanity Fair by Yang Bi====&lt;br /&gt;
The famous translation of ''Vanity Fair'' is the version that is translated by Yang Bi. Yang Bi is an outstanding translator and a representative in literary translation circles. Her translation is flexible in expression and is not limited by the original sentence pattern. Her audacious adjustment about sentence structure makes language more fluent. The characters’ emotions in the book and the author’s attitudes towards characters are presented by this translator. The translated version expresses original meaning perfectly, faithfully and vividly, reproducing the style of the source text, which can be comparable to the original one. &lt;br /&gt;
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Firstly, a successful translation that gives expression to the language and language beauty is mainly reflected in the flexibility and appropriateness of choosing words. In English, a word or a phrase has many different meanings. The adoption of the exact meaning depends on translator’s language level both in English and Chinese. The appropriate choice is determined by the translator’s deep language skills. Besides, whether dialogues of characters or descriptions of persons and objects are both translated in plain words will make reader feel understandable, clear and lively.&lt;br /&gt;
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Secondly, Yang Bi fully understands the original style and determines her translation style on the base of emotions and tones of the source text. Her style is not only steady, simple, humorous but also full of beauty. Recreation is also based on complete understanding and faithfully conveys information and artistic conception. Li Duanyan once commented “Ms. Yang Bi’s translation not only grasps the essence of translation, but also dares to recreate, thus achieves the highest level of translation, faithfully and lively”. (Li Duanyan,1980,44-45)&lt;br /&gt;
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Thirdly, the translation embodies excellent translation skills such as division, combination, addition, deletion and so on. The application of these skills improves translation text’s fluency and puts it in the situation that does not change the original meaning and make the translation more close to Chinese text, which is easier to be accepted for Chinese readers. In general, this translation version not only conforms to both English and Chinese language skills, reproduces the style of source text and is also intelligible for readers as well. The translation is regarded as the model of the translation circle. From the perspective of translation aesthetics, her translation is mainly characterized by cultural beauty, the use of four-character sentences, the use of reduplicated words and the flexible expression of spoken language. Her translation style is simple, readable and funny and this translation version has great influence on the whole translation circle.&lt;br /&gt;
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===Chapter Five Translation of Culture-loaded Words in ''Vanity Fair''===&lt;br /&gt;
====5.1 Application of Domestication====&lt;br /&gt;
=====5.1.1 Ecological culture-loaded words=====&lt;br /&gt;
Example1:&lt;br /&gt;
&lt;br /&gt;
Only I wish you had sown these wild oats of yours, George. (Thackeray, 2012, 198)&lt;br /&gt;
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希望你干完了这些荒唐事就算过了瘾。&lt;br /&gt;
&lt;br /&gt;
“Wild oats” grew only in Europe and the Mediterranean region in history and then become an idiom in English culture. “Sow ones wild oats” means to do wild and foolish things in one’s youth” (often assumed to have sort of sexual meaning). Yang’s translation does not mention the background of the idiom and delete the cultural meaning of it. Yang uses “荒唐事” to translate the idiom, which is more close to Chinese readers.&lt;br /&gt;
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Example 2: &lt;br /&gt;
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The fellow has not pluck enough to say Bo to a goose. (Thackeray, 2012, 371)&lt;br /&gt;
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那家伙真是老鼠胆子。&lt;br /&gt;
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The sentence can be translated into “那家伙胆小得连对鹅‘呸’一声都不敢” by literal translation. It is no doubt that this sentence expresses the fellow’s cowardice. In Chinese, there is a phrase “胆小如鼠”. So the translation of “老鼠胆子” conveys the information of the original sentence vividly and is familiar to Chinese readers.&lt;br /&gt;
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Example 3: &lt;br /&gt;
&lt;br /&gt;
Mrs. Bowls cautioned her lodger against venturing into the lion’s den”. (Thackeray, 2012, 452)&lt;br /&gt;
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叫她切不可轻易住到老虎窝里去。&lt;br /&gt;
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In the west, “lion” is the symbol of power, representing the king of all animal just as the image of tiger in China. So the “lion” is translated to the corresponding cultural image of China, that is “老虎”, which both reflect that Mrs. Bowls thinks that it is dangerous for Briggs to live with Mrs. Rawdon.&lt;br /&gt;
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Example 4: &lt;br /&gt;
&lt;br /&gt;
Poor Brigs can no more play than an owl, she is so stupid. (Thackeray, 2012, 533)&lt;br /&gt;
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可怜的布立葛斯蠢得要死，哪里会玩牌。&lt;br /&gt;
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In the western culture, there is an idiom “as wise as an owl”. So in westerners’ view, owl is the symbol of wisdom. Here, “no more play than an owl” means foolishness. In China, traditional people are superstitious and believe that looking at an owl or hearing its sound is unlucky and bad luck is coming. So there is not the same implied meaning about owl between the west and China. Therefore, the translation deletes the owl and keeps its implied meaning.&lt;br /&gt;
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=====5.1.2 Material culture-loaded words=====&lt;br /&gt;
Example 5: &lt;br /&gt;
&lt;br /&gt;
He insisted upon having a bowl of rack punch. (Thackeray, 2012, 56)&lt;br /&gt;
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他又要了一碗五味酒。&lt;br /&gt;
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“Rack punch” is a kind of drink. The translator chooses a substitution of “五味酒”to fill in the cultural gap and is easier to understand for readers.&lt;br /&gt;
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Example 6: &lt;br /&gt;
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I have no taste for bread and butter. (Thackeray, 2012, 710）&lt;br /&gt;
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有些人乏味的就像白开水煮豆腐，我可不喜欢。&lt;br /&gt;
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“Bread and butter” are common food in western countries and not rare or interesting for the western people. When it comes to food that is light and tasteless, Chinese people will think of “白开水” and “豆腐”which are white and dull. The source text uses metaphor “bread and butter” to describe boring people. The translator also uses simile to describe this kind of people. Besides, the division of translation version reads leisurely in mood and emphasizes the attitudes of speaker.&lt;br /&gt;
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Example 7: &lt;br /&gt;
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It is the duty of great intellects to be content with a bread-and-butter paradise. (Thackery,2012, 908)&lt;br /&gt;
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只求能得到这样家常的乐趣。&lt;br /&gt;
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As mentioned above, bread and butter are common food for the west people and exist in every family. The two kinds of food are homely and accord with the meaning of “家常”. The translation deletes the meaning of original sentence and embodies the connotative meaning.&lt;br /&gt;
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=====5.1.3 Social culture-loaded words=====&lt;br /&gt;
Example 8: &lt;br /&gt;
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In a CURTAIN LECTURE, I say, Mrs Sedley took her husband to ask for his cruel conduct to poor Joe. (Thackeray, 2012, 49)&lt;br /&gt;
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正在对他训话。&lt;br /&gt;
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“Curtain lecture” is a phrase in English, which means a private lecture to a husband by his wife. “Ask for his cruel conduct” implies a blaming tone. Two phrases are just the meaning of “训话”. The several small sentences are translated into one short sentence, which is precise and concise.&lt;br /&gt;
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Example 9: &lt;br /&gt;
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But he said Sir has numbered every “man Jack” of them. (Thackeray, 2012, 130)&lt;br /&gt;
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花匠说毕脱先生可是一串串都数过了。&lt;br /&gt;
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“Every man Jack” is an informal expression which means a single individual. The translation of “一串串” not only shows the meaning of the phrase but accords with the context.&lt;br /&gt;
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Example 10: &lt;br /&gt;
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He came home and looked out his history in the Peerage. (Thackeray, 2012, 207）&lt;br /&gt;
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他回家之后，立刻拿出《缙绅录》来把这个人的身世细细看个明白。&lt;br /&gt;
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“Peerage”means the peers of a kingdom considered as a group. Here, according to the context and the capitalization of the word, “Peerage” refers to a register or a book. The translator chooses Chinese book 《缙绅录》which has the same meanings to translate the book, which replaces cultural meaning of the original sentence.&lt;br /&gt;
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Example 11: &lt;br /&gt;
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Lord Steyne treated his “Hareem” whenever symptoms of insubordination appeared in his household. (Thackeray, 2012, 758)&lt;br /&gt;
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每逢他的“后宫”里的女人有不服管束的行为。&lt;br /&gt;
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The sentence expresses Lord Steyne’s dignify. Lord Steyne is a central figure in upper class. In order to reveal his social status,“household” is translated into “后宫”. In China, the word of “后宫” is full of cultural meaning used to a man’s power. Yang finds a cultural word in China to replace one in the western culture.&lt;br /&gt;
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There are some other examples about Yang’s translation of social culture-loaded words by means of domesticating method in Vanity Fair.&lt;br /&gt;
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Old Nick 魔鬼老爹&lt;br /&gt;
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The little artful minx   诡计多端的狐媚子&lt;br /&gt;
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Whop my second keeper! 把我的看狩猎场的打了吗？&lt;br /&gt;
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A second wife  填房&lt;br /&gt;
&lt;br /&gt;
Off the hooks    翘了辫子&lt;br /&gt;
&lt;br /&gt;
O brother wearers of motley 同行的小丑们&lt;br /&gt;
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=====5.1.4 Religious culture-loaded words=====&lt;br /&gt;
Example 12: &lt;br /&gt;
&lt;br /&gt;
Osborne was Sedley’s godson. (Thackeray,2012,54）&lt;br /&gt;
&lt;br /&gt;
奥斯本是塞特笠的干儿子。&lt;br /&gt;
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“Godson” is a male godchild in religion, and its relevant opposite is Godfather or Godmother. Parents will invite one of their good friends to be godfather of their kid. Godfather or godmother plays a key role in kid’s baptism. China has no such concept but has a concept that parents will invite their good friend to be “ 干爹” or “干妈” of their kid. Two concepts of godfather and “干爹” have similar social background. They both are people who are the best friend of the parents and are chosen to be by the parents, but they have different cultural background, that is, one is out of religion, the other is just in the folk.&lt;br /&gt;
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Example 13: &lt;br /&gt;
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What a little harpy that woman from Hampshire is. (Thackeray, 2012, 308)&lt;br /&gt;
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汉泊郡来的那个女人真是个贪心辣手的家伙。&lt;br /&gt;
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“Harpy” is a cruel creature with a woman’s head and body and a bird’s wings and feet also represents a cruel woman. The translation of “贪心辣手” conforms to connotative meaning of religion and is equal to cruelty.&lt;br /&gt;
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Example 14: &lt;br /&gt;
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So Jos’s tents and pilau were pleasant to this little Ishmaelite. (Thackeray, 2012, 1044)&lt;br /&gt;
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同样的，蓓基一向被放逐在外面，现在住在乔斯的帐篷里面吃他的比劳，觉得真是高兴。&lt;br /&gt;
&lt;br /&gt;
In the ''Bible'', Ishmaelite is the descendant of Ishmael. According to ''Bible'', Ishmael is the eldest son of Abraham. His mother is Hagar, maid of Abraham’s wife, Sarah. After the birth of Sarah’s son the second year, Ishmael is evicted. In English, Ishmael refers to social outcasts. Ishmael is translated into “一向被放逐在外” in the way of domestication. If using foreignization, the translator must add many notes of names which are unimportant and unnecessary, and these complex names will enhance the difficulty to understand the content.&lt;br /&gt;
&lt;br /&gt;
====='''5.1.5 Linguistic culture-loaded words'''=====&lt;br /&gt;
Example 15: &lt;br /&gt;
She spelt satin satting, and Saint Jame’s, Saint Jams. (Thackeray, 2012, 324)&lt;br /&gt;
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她把“缎子” 写成了 “团子”, “圣·詹姆士”写成了“生申母事”。&lt;br /&gt;
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In the original sentence, the author takes advantage of pronunciation and form of English to express the error. The translator also uses the pronunciation and near-tone characters in Chinese to translate the sentence. Both sentences skillfully exploit the characters of two languages, making the sentences vivid.&lt;br /&gt;
&lt;br /&gt;
====5.2 Application of Foreignization====&lt;br /&gt;
=====5.2.1 Ecological culture-loaded words=====&lt;br /&gt;
Example 16：&lt;br /&gt;
&lt;br /&gt;
He could sing no better than an owl. (Thackeray, 2012, 92)&lt;br /&gt;
&lt;br /&gt;
因为他实在跟猫头鹰一样不会唱歌 。&lt;br /&gt;
&lt;br /&gt;
This sentence is complete literal translation. In the western culture and Chinese culture, owl’s sound is unpleasant. So the translator uses foreignization method, which is not only faithful to source language but conforms to Chinese people’s cultural identity. (Thackeray, 2012, 201)&lt;br /&gt;
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Example 17: &lt;br /&gt;
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When the present writer went to survey with eagle glance the field of Waterloo. (Thackery2012, 431)&lt;br /&gt;
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用他那双鹰眼细细的把战场看了一遍。&lt;br /&gt;
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The original sentence describes the “glance” with eagle. The translated version adopts foreignization. For Chinese people, eagle’s eyes are incisive and acute. So the literal translation completely conveys emotions of source text.&lt;br /&gt;
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=====5.2.2 Material culture-loaded words=====&lt;br /&gt;
Example 18: &lt;br /&gt;
&lt;br /&gt;
Her fingers were like so many sausages, cold and lifeless. (Thackeray, 2012, 646)&lt;br /&gt;
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摸上去就像五条小香肠。&lt;br /&gt;
&lt;br /&gt;
“Sausage” is a kind of food in the west that is highly seasoned minced meat stuffed in casings. Chinese“香肠”is similar to the food and such translation is vivid and will not cause misunderstandings.&lt;br /&gt;
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=====5.2.3 Social culture-loaded words=====&lt;br /&gt;
Example 19: &lt;br /&gt;
&lt;br /&gt;
I have nourished a viper in my bosom. (Thackeray, 2012, 27)&lt;br /&gt;
&lt;br /&gt;
我这真是在胸口养了一条毒蛇。&lt;br /&gt;
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Miss Pinkerton borrows the story that farmer saves a snake but is bit to death by the snake in Aesop’s Fables to rebuke that Becky is ingratitude. China has the similar expression such as “养虎为患 ”. The reason why Yang did not adopt such expression maybe is that she did not want to destroy the association that snake is related to bad woman both in China and in the west. There is Medusa in the west while there is “蛇蝎美人” in China. This literal translation is not so fluent but keeps the associative meaning of the original sentence.&lt;br /&gt;
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Example 20: &lt;br /&gt;
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“Figs” was the fellow whom he despised most. (Thackeray, 2012, 70)&lt;br /&gt;
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他最瞧不起“无花果”。(加注：无花果“figs”这字有傲慢的意思)&lt;br /&gt;
&lt;br /&gt;
This sentence is literal translation plus note. “Figs” has different meanings in English. One refers to “a soft candy”, the other is “not to care all about something”. The original sentence uses “figs” to express an emotion. Yang translates one meaning of the word, which is humor and interesting. The note explains another meaning, which completely displays the meaning that the original sentence coveys.&lt;br /&gt;
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Example 21: &lt;br /&gt;
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Though he is not Adonis, certainly. (Thackeray, 2012, 83)&lt;br /&gt;
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当然啰，他不是阿多尼斯. (加注释）&lt;br /&gt;
&lt;br /&gt;
“Adonis” is a name and is transliterated. He, the divine of the plants of spring, is always young and worshipped by woman in Greek mythology. Names and place names always adopt transliteration. Adding annotation can make readers know more about cultural background. So the translation method is simple in the text and also help the readers understand the text better.&lt;br /&gt;
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Example 22: &lt;br /&gt;
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About as elegantly decorated as a she chimney-sweep on May-day. (Thackeray, 2012, 333）&lt;br /&gt;
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活像扫烟囱的女孩子穿戴了准备过五月节。&lt;br /&gt;
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There a job called chimney-sweep in the west and William Black also writes two poems about the job. Children who devote themselves to the job are poor. Though China does not have such kind of job in the history but readers can imagine that children who do the job many become black because they always stay in the chimney. May-day is Labor Day that Chinese readers are familiar with. So according to imagination and cultural background, it is possible for Chinese readers to understand the meaning of the sentence.&lt;br /&gt;
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====='''5.2.4 Religious culture-loaded words'''=====&lt;br /&gt;
Example 23: &lt;br /&gt;
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He was never known during eight years at school to be subjected to that punishment, which it is generally thought none but a cherub can escape.&lt;br /&gt;
&lt;br /&gt;
在学校读书的八年里头，他从来没有给老师打过屁股。普通说起来，只有天使才能躲过这种惩罚。(注释：天使是没有屁股的，十九世纪英国散文家兰姆（Lamb）在《母校回忆录》一文中就曾提到“只有头部和翅膀的小天使”）&lt;br /&gt;
&lt;br /&gt;
The sentence depicts the image of model student of Mrs. Crawley. The original sentence uses the word of “cherub” but does not explain clearly what “that punishment” is because English readers will produce corresponding association when reading “cherub”. This implied meaning improves humor. Yang translates “cherub” into “天使”, which is familiar to Chinese readers and is more acceptable. It is worth mentioning that Yang Bi explains what the punishment is and cites other books to explain the reason, which tells cultural background, enhances reader’s understanding and receives a comedy effect.&lt;br /&gt;
&lt;br /&gt;
====='''5.2.5 Linguistic culture-loaded words'''=====&lt;br /&gt;
Example 24: &lt;br /&gt;
&lt;br /&gt;
Buty and the Beast I call him, ha ha! (Thackeray, 2012, 123)&lt;br /&gt;
&lt;br /&gt;
我说他一半是别镝一半是野兽，哈哈! (加注:指童话“美人与獣”，美人（Beauty）和别镝（Buty)同音）&lt;br /&gt;
&lt;br /&gt;
“Buty”and beauty are homophones. Beauty and Beast is a fairy tale. “别镝” is a transliteration of “Buty”. If only looking at the translation of “Buty”, readers can not understand the meaning of the sentence. So the translator adds a note to explain such translation.&lt;br /&gt;
&lt;br /&gt;
Example 25:&lt;br /&gt;
 &lt;br /&gt;
Miss ah-Miss Blunt! (Thackeray, 2012, 127）&lt;br /&gt;
&lt;br /&gt;
白伦脱小姐!（外文加注释）&lt;br /&gt;
&lt;br /&gt;
The sentence is translated according to the original sentence. “Sharp” means acuity and “Blunt” means purity. Mr. Crawley has a poor memory and mixes two meanings. The translator explains the real meaning at the foot of the page. This literal translation plus annotation can help readers understand implied meaning.&lt;br /&gt;
&lt;br /&gt;
==='''Chapter Six Conclusion'''===&lt;br /&gt;
Culture-loaded words are full of cultural background. Translation not only conveys information of them but also their implied meaning. Vanity Fair is famous for its significance of the times and witty language and bearing cultural information. Yang Bi’s translation is intelligible and gives a feeling that readers are reading local books. The praise in criticism circle and its popularity among the readers both indicate the excellence of Yang’s translation.&lt;br /&gt;
&lt;br /&gt;
Yang applies much of domestication and foreignization in her translation of Vanity Fair and receives wide welcome and acceptance among Chinese readers. Although controversy still exists, the fact has proved that a good translation text need both of them. Combination of domestication and foreignization is a corollary. Because of different geographical condition, history and society, the west and China have different cultural background, thus causing culture gap. Because of the resemblance of these conditions and the result of wide communication between the west and China, they also have something in common in the culture. So in the process of translation, domestication and foreignization can make up for each others’ deficiencies. In order to obtain a good translation text, it is important for translators to find a balance between domestication and foreignization when using translation strategies.&lt;br /&gt;
&lt;br /&gt;
===References===&lt;br /&gt;
[1] Nida, E. A, Charles R. Taber. The Theory and Practice of Translation [M]. 上海：上海外语教育出版社. 2004. &lt;br /&gt;
&lt;br /&gt;
[2] Newmark, Peter. A Textbook of Translation [M]. New York: Prentice Hall, 1988, 39-44.&lt;br /&gt;
&lt;br /&gt;
[3] Venuti, Lawrence. The Translator's Invisibility: A History of Translation [M]. 上海: 上海外语教育出版社. 2004, 15-20, 34.&lt;br /&gt;
&lt;br /&gt;
[4] Mona, Baker. In Other Words: A Coursebook on Translation [M]. 北京: 北京外语教学社. 2000, 21.&lt;br /&gt;
&lt;br /&gt;
[5] Shuttle, Mark＆ Cowie, Moria. Dictionary of Translation Studies [M]. 上海: 上海外语教育出版社. 2004, 43-44, 59.&lt;br /&gt;
&lt;br /&gt;
[6] 萨克雷著. 名利场 [M]. 杨必译. 北京：人民文学出版社. 2012.&lt;br /&gt;
&lt;br /&gt;
[7] 许渊冲. 翻译的艺术[M]. 北京：五洲传播出版社. 2006.&lt;br /&gt;
&lt;br /&gt;
[8] 萨克雷著. 名利场[M]. 北京：中国宇航出版社. 2012.&lt;br /&gt;
&lt;br /&gt;
[9] 李端严. 杨必译《名利场》技巧举例[J]. 兰州大学学报. 1980, 4: 45-46.&lt;br /&gt;
&lt;br /&gt;
[10] 包惠南, 包昂. 中国文化与汉英翻译[M]. 北京：外文出版社. 2004, 10.&lt;br /&gt;
&lt;br /&gt;
[11] 廖七一. 当代西方翻译理论探索[M]. 南京：译林出版社. 2000, 232.&lt;br /&gt;
&lt;br /&gt;
='''Skopos and Functional Equivalence'''=&lt;br /&gt;
&lt;br /&gt;
==On the Relationship among Translation Theories, Strategies and Techniques ——From the Perspective of Skopos Theory 谌孙福 Chen Sunfu== &lt;br /&gt;
&lt;br /&gt;
&amp;lt;center&amp;gt;谌孙福 Chen Sunfu 202020080597&amp;lt;/center&amp;gt;&lt;br /&gt;
&lt;br /&gt;
===Abstract===&lt;br /&gt;
One fact known to be existent in the learning of translation is students' ignorance of the discrepancy between translation studies and translation practice. Bluntly speaking, central to translation studies are diverse translation theories. However, some strategies, methods and skills accordingly applied are at the core of translation practice during the process of translation. Given the fact that translation theories, strategies, methods and skills are always misunderstood as concepts in the same level, this paper aims to expound the relationship among them on the basis of Hans Vermeer's Skopos Theory as well as the exhaustive analysis of examples of pragmatic translation. With the citation of several examples of pragmatic translation, including those of tourism translation, literary translation and business translation, this paper elucidates the principal points vividly.&lt;br /&gt;
&lt;br /&gt;
===Key words===&lt;br /&gt;
translation theories; translation strategies; translation techniques; Skopos Theory; pragmatic translation&lt;br /&gt;
&lt;br /&gt;
Translation theories; Translation strategies; Translation techniques; Skopos Theory; Pragmatic translation--[[User:Guo Lu|Guo Lu]] ([[User talk:Guo Lu|talk]]) 10:14, 14 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
===题目===&lt;br /&gt;
论目的论视角下翻译理论、翻译策略与翻译技巧之间的关系&lt;br /&gt;
&lt;br /&gt;
===摘要===&lt;br /&gt;
学生翻译学习过程中普遍存在的一个现象是混淆翻译学研究和翻译实践的区别。简言之，翻译学研究的核心是形形色色的翻译理论。相比之下，翻译实践关注的重点则是翻译过程中运用的翻译策略、方法和技巧。鉴于翻译理论、策略、方法和技巧常被误认为是同一层面的概念，基于汉斯•弗米尔的功能目的论和对实用文本译例的详尽分析，本论文旨在阐明翻译理论、策略、方法和技巧之间的关系。文中出现的实用文本译例清楚展现了论文要点，如旅游文本、文学类文本以及商务文本的翻译等。&lt;br /&gt;
&lt;br /&gt;
===关键词===&lt;br /&gt;
翻译理论；翻译策略；翻译技巧；目的论；实用类文本翻译&lt;br /&gt;
&lt;br /&gt;
===Introduction===&lt;br /&gt;
&lt;br /&gt;
====Skopos Theory====&lt;br /&gt;
Skopos Theory, one of the most profound contributions made by German Functionalist School, is basically put forward by Hans Vermeer as a new way to deal with translation, especially the relationship between ST (the source text) and TT (the target text). Here, the original German word &amp;quot;Skopos&amp;quot; refers to &amp;quot;purpose&amp;quot; in English, indicating that Skopos Theory can be also interpreted as &amp;quot;the principle of purposes&amp;quot;. According to Vermeer, there are mainly three rules to be abided by, namely skopos rule, coherence rule and fidelity rule, among which the skopos rule is of overriding importance. Now an exhaustive explanation will be given in the following text with regard to those rules. (Dong Xiaobo 2012,17)&lt;br /&gt;
&lt;br /&gt;
Skopos Theory, one of the most profound contributions made by German Functionalist School, is put forward by Hans Vermeer as a new way to deal with translation, especially the relationship between ST (the source text) and TT (the target text). Here, the original German word &amp;quot;Skopos&amp;quot; refers to &amp;quot;purpose&amp;quot; in English, indicating that Skopos Theory can be also interpreted as &amp;quot;the principle of purposes&amp;quot;. According to Vermeer, there are mainly three rules to be abided by, namely skopos rule, coherence rule and fidelity rule, among which the skopos rule is of overriding importance. Now an exhaustive explanation will be given in the following text with regard to those rules. (Dong Xiaobo 2012,17)--[[User:Guo Lu|Guo Lu]] ([[User talk:Guo Lu|talk]]) 02:50, 17 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
The first one to be illustrated is the overwhelmingly significant skopos rule. In the eyes of Hans Vermeer, &amp;quot;each text is produced for a given purpose and should serve this purpose. The skopos rule thus reads as follow: &lt;br /&gt;
translate/interpret/speak/write in a way that enables your text/translation to function in the situation in which it is used and with the people who want to use it and precisely in the way they want it to function.&amp;quot; (Nord 2001,29). &lt;br /&gt;
&lt;br /&gt;
Seeing from his remarks, what matters most in the process of translation is not so much the equivalence between ST and TT as the manifold purposes. These purposes encompass those of the translator and the text, the latter one of which is greatly highlighted. That is to say, the translator need not obstinately stick to the form and style of ST but rather give top priority to what the TT actually wants to convey and transfer to TT readers. Hence, the adoption of pertinent translation strategies and techniques is by no means haphazard but in accordance to the skopos rule. Moreover, Skopos Theory also provides translators an efficacious way to free themselves from the restraint of ST. Their obligation lies in tailoring TT rendered by them to the ultimate goals of the translation activity, such as informing TT readers about something new, persuading them or so.(Dong Xiaobo 2012,17)&lt;br /&gt;
&lt;br /&gt;
Seeing from his remarks, what matters most in the process of translation is not so much the equivalence between ST and TT as the manifold purposes. These purposes encompass those of the translator and the text, the latter one of which is greatly highlighted. That is to say, the translator need not obstinately stick to the form and style of ST but rather give top priority to what the TT wants to convey and transfer to TT readers. Hence, the adoption of pertinent translation strategies and techniques is by no means haphazard but in accordance to the skopos rule. Moreover, Skopos Theory also provides translators an efficacious way to free themselves from the restraint of ST. Their obligation lies in tailoring TT rendered by them to the ultimate goals of the translation activity, such as informing TT readers about something new, persuading them or so.(Dong Xiaobo 2012,17)--[[User:Guo Lu|Guo Lu]] ([[User talk:Guo Lu|talk]]) 02:50, 17 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
Then, here comes the second rule, coherence rule, also called the intra-lingual rule. It has been widely held that this rule lays much emphasis on the readability and acceptability of TT for TT readers. Imaging there are two translation version of a text, one of which is transparent and intelligible whereas another one of which is rigid and eccentric for people to understand, then which one will be the ideal version for TT readers? The answer is definitely the latter one. The case is that readers are more prone to read TT which conforms to their expressive habits and conventions. This is why the translation strategy, domestication has been frequently adopted when translating some exotic or foreign texts, with a view to catering to TT readers' knowledge. (Dong Xiaobo 2012,18)&lt;br /&gt;
&lt;br /&gt;
Then, here comes the second rule, coherence rule, also called the intra-lingual rule. It has been widely held that this rule lays much emphasis on the readability and acceptability of TT for TT readers. Imaging there are two translation version of a text, one of which is transparent and intelligible whereas another one of which is rigid and eccentric for people to understand, then which one will be the ideal version for TT readers? The answer is the latter one. The case is that readers are more prone to read TT which conforms to their expressive habits and conventions. This is why the translation strategy, domestication has been frequently adopted when translating some exotic or foreign texts, with a view to catering to TT readers' knowledge. (Dong Xiaobo 2012,18)--[[User:Guo Lu|Guo Lu]] ([[User talk:Guo Lu|talk]]) 02:50, 17 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
The last but not least one rule to be demonstrated is the fidelity rule, or the well-known inter-lingual rule. Here, the loyalty of TT to ST cannot be overstated any more. Bearing a resemblance to Yan Fu's &amp;quot;faithfulness&amp;quot; or Nida's Functional Equivalence Theory, TT must be rendered in conformity with ST. Quite different from Yan Fu's and Nida's standpoints, such a kind of fidelity, however, is determined or constrained by the purposes of TT and the translator's comprehension of ST to a great extent. (Dong Xiaobo 2012,18)&lt;br /&gt;
&lt;br /&gt;
To conclude, in spite of the respective roles played by the above-mentioned three rules in translation practice, the coherence rule and the fidelity rule are outshined by the skopos rule for purposes of TT and translators are the most crucial elements to be considered when we view translation practice from the unique perspective of Skopos Theory.&lt;br /&gt;
&lt;br /&gt;
====Translation theories,strategies and techniques====&lt;br /&gt;
Translation theories are the fruitful outcomes yielded thanks to our predecessors'assiduous and relentless work in terms of translation studies. Broadly speaking, translation theories are some guidelines and benchmarks used to facilitate translation practice. They are quite abstract notions but informative and enlightening knowledge to be relied on. (Xiong Bing 2014, 83) &lt;br /&gt;
&lt;br /&gt;
With the elapse of time, translation theories also take on historical characteristics, each one of which can be attributed to a certain school, such as the literary school, the linguistic school, the translation studies school and the deconstructionism school. In our modern translation studies, the linguistic school has been deeply rooted in students'minds, including Nida's Functional Equivalence Theory, Vermeer's Skopos Theory, Catford's Translation shift theory, New Mark's semantic translation and communicative translation. Given the limited space in this paper, other prominent translation theories will not be delineated here. (Xiong Bing 2014, 83)&lt;br /&gt;
&lt;br /&gt;
The interpretation of the word &amp;quot;strategy&amp;quot; by Merriam-Webster's Advanced Learner's Dictionary reads as &amp;quot;a careful plan or method for achieving a particular goal usually over a long period of time.&amp;quot; Applying this word to translation studies, the definition of translation strategies can be defined as a series of principles and plans used to address difficult problems emerging in the process of translation practice. They are subordinate to and influenced by certain translation theories.(Xiong Bing 2014, 83) &lt;br /&gt;
&lt;br /&gt;
In translation studies, some prominent dichotomies of translation strategies can be found if viewing from various angles, like the contrast between literal translation and free translation, the juxtaposition of domestication and foreignzation, as well as the comparison between semantic translation and communicative translation. One thing to be underscored here is how to make a rational decision when it comes to the selection of various translation strategies. The aforementioned sentences remind us of the fact that translation theories will exert more or less impacts on our preferences toward some translation strategies.(Xiong Bing 2014, 83) &lt;br /&gt;
&lt;br /&gt;
In translation studies, some prominent dichotomies of translation strategies can be found if viewing from various angles, like the contrast between literal translation and free translation, the juxtaposition of domestication and foreignization, as well as the comparison between semantic translation and communicative translation. One thing to be underscored here is how to make a rational decision when it comes to the selection of various translation strategies. The aforementioned sentences remind us of the fact that translation theories will exert more or less impacts on our preferences toward some translation strategies. (Xiong Bing 2014, 83) &lt;br /&gt;
&lt;br /&gt;
In order to clarify this point, the translation theories of the linguistic school are taken as an example to corroborate the effect of theories on translation strategies. Nida's Functional Equivalence Theory and Vermeer's Skopos Theory are none other than two epoch-making monuments in the translation theories of the linguistic school. In spite of their belongings to the same school, their core concepts and values are distinct from each other to a large extent, thereby offering translators different channels to select translation strategies. Since Functional Equivalence Theory attaches great importance to the natural and exquisite equivalence between TT and ST, the translation strategies of free translation and domestication are often the optimal choice to evade clumsiness and opacity of TT when the literal translation or the word-for-word translation does not work out. Another thing to note is how Vermeer's Skopos Theory helps to elaborate translation theories' function on translation strategies. The purposes of TT and translators are integral factors to decide which translation strategies will be chosen. For example, the translation strategies of foreignization will be considered if the TT aims to promulgate exotic and overseas culture. (Xiong Bing 2014, 83)&lt;br /&gt;
&lt;br /&gt;
An authoritative concept of the word &amp;quot;technique&amp;quot; given by Collins describes it as &amp;quot;a particular method of doing an activity, usually a method that involves practical skills.&amp;quot; Therefore, translation techniques are quite a few concrete methods and skills helping facilitate and polish the process of translation practice. (Xiong Bing 2014, 83) &lt;br /&gt;
&lt;br /&gt;
A list of translation techniques includes amplification, omission, conversion, division, combination, negation and so on. For the reason that English and Chinese are different from each other in terms of lexicon, syntax and culture, the emergence of translation techniques is exceedingly necessary to transfer information from ST to TT by means of translation. Specifically speaking, English and Chinese are unique in their dictions in that English allows more freedom for the usage of nouns while Chinese is a verb-oriented language. This accounts for the plausibility of applying the translation technique of conversion. Besides, the discrepancy between English and Chinese also lies in their respective thinking modes and expressive conventions, thus making the technique of negation come into being. (Xiong Bing 2014, 83)&lt;br /&gt;
&lt;br /&gt;
A list of translation techniques includes amplification, omission, conversion, division, combination, negation and so on. For the reason that English and Chinese are different from each other in terms of lexicon, syntax and culture, the emergence of translation techniques is exceedingly necessary to transfer information from ST to TT by means of translation. Specifically speaking, English and Chinese are unique in their dictions in that English allows more freedom for the usage of nouns while Chinese is a verb-oriented language. This accounts for the plausibility of applying the translation technique of conversion. Besides, the discrepancy between English and Chinese also lies in their respective thinking modes and expressive conventions, thus making the technique of negation comes into being. (Xiong Bing 2014, 83)--[[User:Guo Lu|Guo Lu]] ([[User talk:Guo Lu|talk]]) 02:50, 17 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
====The relationship among translation theories, strategies and techniques====&lt;br /&gt;
Now that clear and vivid definitions of translation theories, strategies and techniques are provided in the preceding paragraphs, it is high time that the relationship among them should be manifested. Here, the relations among them will be unveiled from two respects. One is the mutually restraint relation among translation theories, strategies and techniques while another is the relationship between the macroscope and the microscope. (Xiong Bing 2014, 84)&lt;br /&gt;
&lt;br /&gt;
Now that clear and vivid definitions of translation theories, strategies and techniques are provided in the preceding paragraphs, it is high time that the relationship among them should be manifested. Here, the relations among them will be unveiled from two respects. One is the mutual restraint relation among translation theories, strategies and techniques while another is the relationship between the macroscope and the microscope. (Xiong Bing 2014, 84)--[[User:Guo Lu|Guo Lu]] ([[User talk:Guo Lu|talk]]) 02:50, 17 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
On the one hand, the intricate relationships among those three entities can be said to mutually restrain and complement each other. (Xiong Bing 2014, 84) &lt;br /&gt;
&lt;br /&gt;
Translation theories are the most inclusive and macroscopical because of their guiding effects on the application of translation strategies and techniques. They are the overriding important benchmarks around which many other translation strategies and techniques should revolve. It is imperative to note that diversified translation theories beget diversified strategies and techniques. Examples proving this point are innumerable. The theories of deconstructionism promote the use and spread of foreignization. Nida's Functional Equivalence Theory justified the necessity of adopting pertinent translation strategies and techniques to achieve the most natural equivalence between ST and TT, like domestication, literal translation and so on. (Xiong Bing 2014, 84) &lt;br /&gt;
&lt;br /&gt;
Translation strategies and techniques are none other than the extension and embodiment of translation theories. For example, the translation strategy of domestication can be only realized with diversified translation techniques. While translating culture-loaded words, the translator can resort to translation techniques of transliteration, amplification to put the domestication into practice. (Xiong Bing 2014, 84) &lt;br /&gt;
&lt;br /&gt;
To sum up, translation theories are guidelines for translation strategies and techniques, and those strategies and techniques are in turn the true reflection of theories. It is likely that translators are not aware of this fact for all those theories and strategies have been deeply etched into their mind. Imaging such a situation that a translator is totally fatuous about translation theories, how could he render high-quality translation? What he will do is to translate a text word for word from beginning to end, ultimately producing crude translation. Without exaggeration, it is the collaboration and complementation among translation theories, strategies and techniques that help translators perfectly fulfill their missions. (Xiong Bing 2014, 84)&lt;br /&gt;
&lt;br /&gt;
To sum up, translation theories are guidelines for translation strategies and techniques, and those strategies and techniques are in turn the true reflection of theories. It is likely that translators are not aware of this fact for all those theories and strategies have been deeply etched into their mind. Imaging such a situation that a translator is fatuous about translation theories, how could he render high-quality translation? What he will do is to translate a text word for word from beginning to end, ultimately producing a crude translation. Without exaggeration, it is the collaboration and complementation among translation theories, strategies and techniques that help translators perfectly fulfil their missions. (Xiong Bing 2014, 84)--[[User:Guo Lu|Guo Lu]] ([[User talk:Guo Lu|talk]]) 02:50, 17 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
On the other hand, another noteworthy relationship among translation theories, strategies and techniques can be regarded as the dichotomy between the macroscope and the microscope. (Xiong Bing 2014, 84) &lt;br /&gt;
&lt;br /&gt;
Translation theories are the most high-leveled concept, just like a notion occurring in English linguistics, the superordinate. Thus, certain strategies and techniques are derivations and products of translation theories. Almost for every translator, their translation practice, including the selection of translation strategies and techniques, is always reliant on translation theories.(Xiong Bing 2014, 84) &lt;br /&gt;
&lt;br /&gt;
Translation theories are the most high-levelled concept, just like a notion occurring in English linguistics, the superordinate. Thus, certain strategies and techniques are derivations and products of translation theories. Almost for every translator, their translation practice, including the selection of translation strategies and techniques, is always reliant on translation theories. (Xiong Bing 2014, 84)--[[User:Guo Lu|Guo Lu]] ([[User talk:Guo Lu|talk]]) 02:50, 17 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
Translation strategies, a concept lying between the two extremes of translation theories and translation techniques, are contained by theories but pave the way for using extraordinary translation techniques. Just like the above-mentioned contents, the most commonly found translation strategies of domestication and foreignization must be guided and restrained by translation theories, like Skopos Theory or Functional Equivalence Theory. (Xiong Bing 2014, 84) &lt;br /&gt;
&lt;br /&gt;
But the selection of translation techniques is more or less limited by translation strategies. A good example of that is the application of transliteration to consolidate the effect of foreignization. Ultimately, translation techniques seem to be the most low-leveled concept lying beneath translation theories and strategies. But it is the existence of those techniques that offered translators and scholars a definite direction to conduct translation studies. (Xiong Bing 2014, 84)&lt;br /&gt;
&lt;br /&gt;
But the selection of translation techniques is more or less limited by translation strategies. A good example of that is the application of transliteration to consolidate the effect of foreignization. Ultimately, translation techniques seem to be the most low-levelled concept lying beneath translation theories and strategies. But it is the existence of those techniques that offered translators and scholars a definite direction to conduct translation studies. (Xiong Bing 2014, 84)&lt;br /&gt;
&lt;br /&gt;
===Case Analysis===&lt;br /&gt;
&lt;br /&gt;
====The translation of tourism texts====&lt;br /&gt;
Tourism texts are one of the most typical genres of pragmatic texts, which are characterized by meticulous depiction of the certain scenery, brilliant dictions and sentence patterns as well as attractive or compelling informative messages for potential tourists. They consist of several pervasive types in people's daily life, such as the introduction to scenic spots, commentaries of tourist guides, tourist pamphlets, tourist contracts, monographs and thesis concerning tourist investigations. Viewing from a much more professional and functional perspective, all those enumerated above can be included into three types: tourist reception, tourist administration and tourist investigations. Accordingly, the translation of tourism texts also revolves around those three kinds. Albeit the diverse classification of texts, central to people's commonplace life are doubtlessly some tourists brochures, also known as a branch of tourist promotional materials (TPMs). &amp;quot;TPMs are described as the collection of media, such as brochures, leaflets, posters, flyers, postcards and websites, used to support the sales of tourism products.&amp;quot; (M. Zain Sulaiman &amp;amp; Rita Wilson 2019,17) &lt;br /&gt;
&lt;br /&gt;
Since this paper manages to unfold relationships among translation theories, strategies and techniques from the perspective of Skopos Theory, the case analysis of tourism translation in the following is not an exception. &lt;br /&gt;
&lt;br /&gt;
Considering that tourism texts, particularly TPMs, are destined to captivate tourists and accomplish lucrative goals, sensible decisions must be made so as to cater to tourists' tastes. Therefore, sometimes considerable superfluous information should be deleted and sometimes other complementary information that is conducive to customers' comprehension should be added. This calls for consideration of Vermeer's Skopos Theory for its overemphasis on functions and purposes of TT. Furthermore, the translation theory just decided will influence and constrain the adoption of translation strategies and techniques. Usually, whether to use amplification or omission will be pondered over by the translator to achieve goals of TT. Apart from the restraint on translation strategies and techniques imposed by translation theories, the former is also an authentic and lengthy reflection and extension of the latter. To say more simply, translation strategies and techniques are selected according to translation theories but also conversely embody or represent notions and connotations of translation theories. Several representative examples are shown here to illustrate the relationship among those concepts pertaining to translation. (焦炭, 张辉 2019, 43)&lt;br /&gt;
&lt;br /&gt;
Example 1&lt;br /&gt;
&lt;br /&gt;
ST:这里三千座奇峰拔地而起，形态各异，有的似玉柱神鞭，立地顶天；有的像铜墙铁壁，巍然屹立；有的如晃板累卵，摇摇欲坠；有的如盆景古董，玲珑剔透……神奇而真实，迷离又实在，令人叹为观止。（《武陵源风景》画册）&lt;br /&gt;
&lt;br /&gt;
TT 1: 3000 crags rise in various shapes. They are like whips or pillars propping up the sky; or huge walls, solid and sound; or immense eggs piled on an unsteady border; or miniature rocky or curious… Fantastic but actual, dreamy but real! One cannot help marvelling at the acme of perfection of Nature's creation.&lt;br /&gt;
&lt;br /&gt;
TT 2: 3000 crags rise in all shapes——pillars, columns, walls, shaky egg stacks and potted landscapes——conjuring up fantastic and unforgettable images.&lt;br /&gt;
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Analysis: The ST in example 1 is abridged from a tourism brochure informing tourists of the spectacular, imposing and captivating landscapes of Wulingyuan Scenic and Historic Interest Area. Adjectives and images abound in here to intensify the mystery and solemnity of this renowned scenic spot. There is no doubt that Chinese readers of the ST will take it for granted that the usage of all those idiomatic expressions added more melodious and semantic beauty to the ST. On the contrary, the TT, if rendered by translating the ST word for word, is bound to baffling a great majority of TT readers whose native languages are not as abstract as Chinese. Compared with TT 1's awkward literal translation, TT 2, instead of retaining all sentences of the ST, boldly obliterated adjectives and figures of speech, including &amp;quot;立地顶天&amp;quot;, &amp;quot;摇摇欲坠&amp;quot;, &amp;quot;玲珑剔透&amp;quot; and etc. Only some essential elements can be found there to indicate principal messages of that tourist attraction, which not only reduced TT readers' burden of comprehension but also achieved the goal of the TT. For the purpose of satisfying TT readers' requirements, the translation theory, here represented by Skopos Theory, played a leading role in selecting relevant translation strategies and techniques to eliminate the clumsiness and rigidity of version 1. The translation technique of omission is also an extension and reflection of Skopos theory. The relationships among translation theories, strategies and techniques are overt.&lt;br /&gt;
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Analysis: The ST in example 1 is abridged from a tourism brochure informing tourists of the spectacular, imposing and captivating landscapes of Wulingyuan Scenic and Historic Interest Area. Adjectives and images abound in here to intensify the mystery and solemnity of this renowned scenic spot. There is no doubt that Chinese readers of the ST will take it for granted that the usage of all those idiomatic expressions added more melodious and semantic beauty to the ST. On the contrary, the TT, if rendered by translating the ST word for word, is bound to baffling a great majority of TT readers whose native languages are not as abstract as Chinese. Compared with TT 1's awkward literal translation, TT 2, instead of retaining all sentences of the ST, boldly obliterated adjectives and figures of speech, including &amp;quot;立地顶天&amp;quot;, &amp;quot;摇摇欲坠&amp;quot;, &amp;quot;玲珑剔透&amp;quot; etc. Only some essential elements can be found there to indicate principal messages of that tourist attraction, which not only reduced TT readers' burden of comprehension but also achieved the goal of the TT. For satisfying TT readers' requirements, the translation theory, here represented by Skopos Theory, played a leading role in selecting relevant translation strategies and techniques to eliminate the clumsiness and rigidity of version 1. The translation technique of omission is also an extension and reflection of Skopos theory. The relationships among translation theories, strategies and techniques are overt.--[[User:Guo Lu|Guo Lu]] ([[User talk:Guo Lu|talk]]) 02:50, 17 December 2020 (UTC)&lt;br /&gt;
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Example 2&lt;br /&gt;
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ST:被誉为“童话世界”的九寨沟位于中国四川省阿坝藏族羌族自治州境内的九寨沟县中南部，是长江水系嘉陵江中上游白水河源头的一条支流，因景区内有荷叶、书正、则查洼等九个藏族村寨而得名。&lt;br /&gt;
（九寨沟风景名胜区简介）&lt;br /&gt;
&lt;br /&gt;
TT: Jiuzhaigou, known as the &amp;quot;Fabled World&amp;quot;, is located in the mid-south of Jiuzhaigou County of Aba Tibetan and Qiang Autonomous Prefecture. A Jialing tributary of Yangtze River, Jiuzhaigou is named for the nine Tibetan settlements in the mountain valley.&lt;br /&gt;
&lt;br /&gt;
Analysis: Similar to Example 1, this ST is also a tourism text whose aim is to spread enough information of the resort to approaching tourists. Taking tourists' stances, a brief introduction of major scenic spots in Jiuzhaigou enjoys more popularity than its geographical location. Here, the translator, in dealing with TT, should distinguish the basic from the secondary, which is the reason why the names of villages like &amp;quot;荷叶&amp;quot;, &amp;quot;书正&amp;quot; and &amp;quot;则查洼&amp;quot; in the ST disappeared in the TT. Apart from the emphasis on the most important message, other factors also account for the deletion of the redundant words, such as the limited space of tourist brochures, the succinct and simple writing style of travel guides and so on. Actually speaking, it is all those functions and demands of tourism brochure that regard Skopos Theory as the ideal translation theory to be taken into consideration. Under the guidance of the Skopos Theory, the translation technique of omission makes it possible to underscore more key information about Jiuzhaigou rather than some background information serving no function in helping tourists. The complementary relations among translation theories, strategies and theories are also suggested.&lt;br /&gt;
&lt;br /&gt;
Analysis: Similar to Example 1, this ST is also a tourism text whose aim is to spread enough information on the resort to approaching tourists. Taking tourists' stances, a brief introduction of major scenic spots in Jiuzhaigou enjoys more popularity than its geographical location. Here, the translator, in dealing with TT, should distinguish the basic from the secondary, which is the reason why the names of villages like &amp;quot;荷叶&amp;quot;, &amp;quot;书正&amp;quot; and &amp;quot;则查洼&amp;quot; in the ST disappeared in the TT. Apart from the emphasis on the most important message, other factors also account for the deletion of the redundant words, such as the limited space of tourist brochures, the succinct and simple writing style of travel guides and so on. Actually speaking, it is all those functions and demands of tourism brochure that regard Skopos Theory as the ideal translation theory to be taken into consideration. Under the guidance of the Skopos Theory, the translation technique of omission makes it possible to underscore more key information about Jiuzhaigou rather than some background information serving no function in helping tourists. The complementary relations among translation theories, strategies and theories are also suggested.--[[User:Guo Lu|Guo Lu]] ([[User talk:Guo Lu|talk]]) 02:50, 17 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
Example 3&lt;br /&gt;
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ST:刘备章武三年病死于白帝城永安宫，五月运回成都，八月葬于惠陵。（《成都武侯祠》折叠式导游图）&lt;br /&gt;
&lt;br /&gt;
TT: Liu Bei died of illness at 233 at present day Fengjie County, Sichuan Province, and was buried here in the same year.&lt;br /&gt;
&lt;br /&gt;
Analysis: Despite the fact that this ST is also part of a tourist brochure, there are some nuances among it and the above two examples for this is a pamphlet about historic sites whereas the other two are concerned with natural sites. Given this difference, some words and phrases suggestive of cultural elements peculiar to China resulted in the selection of appropriate translation strategies. Here in example 3, &amp;quot;章武三年&amp;quot;, &amp;quot;白帝城永安宫&amp;quot; and &amp;quot;惠陵&amp;quot; are all closely associated with ancient Chinese culture. If translated literally as &amp;quot;the third year of Zhangwu&amp;quot;, &amp;quot;Yongan Palace in Baidi City&amp;quot; and &amp;quot;Hui Mausoleum&amp;quot;, these phrases will leave TT readers an obscuring impression because of foreign readers' loopholes in learning about Chinese culture. Under this circumstance, the translation strategy of domestication applied increased the lucidity, intelligibility and simplicity of the TT. &amp;quot;章武三年&amp;quot; is translated into &amp;quot;233&amp;quot; which is applicable and comprehensible to TT readers from all countries. &amp;quot;白帝城永安宫&amp;quot; is flexibly treated as &amp;quot;Fengjie County, Sichuan Province&amp;quot;, a present place known to reduce TT readers' strangeness towards it. After all, one cannot deny the fact that the adoption of domestication is due to the influence of Skopos Theory whose ultimate aim is to live up to the expectations of TT readers. This is also in line with the main point of this paper that translation theories are standards and guidelines of translation strategies and techniques, and translation strategies or techniques are authentic reflection of translation theories.&lt;br /&gt;
&lt;br /&gt;
Analysis: Despite the fact that this ST is also part of a tourist brochure, there are some nuances among it and the above two examples for this is a pamphlet about historic sites whereas the other two are concerned with natural sites. Given this difference, some words and phrases suggestive of cultural elements peculiar to China resulted in the selection of appropriate translation strategies. Here in example 3, &amp;quot;章武三年&amp;quot;, &amp;quot;白帝城永安宫&amp;quot; and &amp;quot;惠陵&amp;quot; are all closely associated with ancient Chinese culture. If translated literally as &amp;quot;the third year of Zhangwu&amp;quot;, &amp;quot;Yongan Palace in Baidi City&amp;quot; and &amp;quot;Hui Mausoleum&amp;quot;, these phrases will leave TT readers an obscuring impression because of foreign readers' loopholes in learning about Chinese culture. Under this circumstance, the translation strategy of domestication applied increased the lucidity, intelligibility and simplicity of the TT. &amp;quot;章武三年&amp;quot; is translated into &amp;quot;233&amp;quot; which is applicable and comprehensible to TT readers from all countries. &amp;quot;白帝城永安宫&amp;quot; is flexibly treated as &amp;quot;Fengjie County, Sichuan Province&amp;quot;, a present place known to reduce TT readers' strangeness towards it. After all, one cannot deny the fact that the adoption of domestication is due to the influence of Skopos Theory whose ultimate aim is to live up to the expectations of TT readers. This is also in line with the main point of this paper that translation theories are standards and guidelines of translation strategies and techniques, and translation strategies or techniques are an authentic reflection of translation theories.--[[User:Guo Lu|Guo Lu]] ([[User talk:Guo Lu|talk]]) 02:50, 17 December 2020 (UTC)&lt;br /&gt;
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====2.2The translation of literary texts====&lt;br /&gt;
Literary texts are materials having to do with literature. Genres like poems, novels and dramas can be all classified into this category. Unlike applied translation whose principal subject is characterized by austere, transparent and common dictions, literary texts, represented mainly by prose, are always hard to explore their implicit connotations, let alone translating them in an ideal way. This is because literary works are often a medley of rhetorical devices, beautiful words and phrases as well as some abstract sentences without too much logic. It is this exceedingly difficult trait that requires the translator to rationally inspect translation theories. &lt;br /&gt;
&lt;br /&gt;
In the case of translating literary texts, two translation theories will come to translators' minds, which are Skopos Theory and Functional Equivalence Theory. Making a detailed comparison between them, one will attach great importance to Skopos Theory rather than its counterpart. After all, Functional Equivalence Theory pays more attention to dynamic or functional equivalence between ST and TT, which is a little bit unrealistic to be materialized for the translator sometimes cannot find perfect substitutes to replace the opaque ST. Nevertheless, Skopos Theory can be a plausible translation theory to better balance ST and TT by means of omitting some unrelated information provided that the purposes of the TT can be ensured. &lt;br /&gt;
&lt;br /&gt;
In the case of translating literary texts, two translation theories will come to translators' minds, which are Skopos Theory and Functional Equivalence Theory. Making a detailed comparison between them, one will attach great importance to Skopos Theory rather than its counterpart. After all, Functional Equivalence Theory pays more attention to the dynamic or functional equivalence between ST and TT, which is a little bit unrealistic to be materialized for the translator sometimes cannot find perfect substitutes to replace the opaque ST. Nevertheless, Skopos Theory can be a plausible translation theory to better balance ST and TT by means of omitting some unrelated information provided that the purposes of the TT can be ensured. --[[User:Guo Lu|Guo Lu]] ([[User talk:Guo Lu|talk]]) 02:50, 17 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
This is also indicative of the point that translation theories play a significant part in restraining the adoption of translation strategies and techniques. Then translation strategies and techniques are in the same way a reflection or a microcosm of translation theories. For example, the appearance of omission during the process of translating literary texts must be the outcome of Skopos Theory since only that theory will take the bold action to omit lots of sentences in an article, which is impossible when the translator complies with the credence of Functional Equivalence Theory.&lt;br /&gt;
&lt;br /&gt;
Example 4&lt;br /&gt;
&lt;br /&gt;
ST: One of the parties, however, when critically examined, didn't seem, strictly speaking, to come under the species. He was a short, thick-set man, with coarse, commonplace features, and that swaggering air of pretension which marks a low man who is trying to elbow his way upward in the world. He was much over-dressed, in a gaudy vest of many colors, a blue neckerchief, bedropped gaily with yellow spots, and arranged with a flaunting glass tie, quite in keeping with the general air of the man. His hands, large and coarse, were plentifully bedeckeded with rings; and he wore a heavy gold watch-chain, with a bundle of seals of portentous size, and a great variety of colors, attached to it--, which in the ardor of conversation, he was in the habit of flourishing and jingling with evident satisfaction. His conversation was in free and easy defiance of Murray's Grammar, and was garnished at convenient intervals with various profane expressions, which not even the desire to be graphic in our account shall induce us to transcribe.(Harriet Beecher Stowe 1999,1)&lt;br /&gt;
&lt;br /&gt;
TT:其一人狞丑，名曰海留，衣服华好，御金戒指一，镶以精钻，又配一金表。状似素封，而谈吐鄙秽，近于伧慌。&lt;br /&gt;
&lt;br /&gt;
Analysis: The TT is rendered by one of the most distinguished translators in Late Qing Dynasty, Lin Shu, whose major contribution is his translation of voluminous foreign novels, such as ''Ivanhoe'', ''Uncle Tom's Cabin'' and so on. Against the backdrop of the depraved and backward Qing Dynasty, What Lin Shu emergently wanted to do is to learn from foreign literature and culture, thus arousing people's awareness of national rejuvenation. For this reason, Lin Shu's translation seems to be infidel to the ST for his deletion of a plethora of dictions but can be rational if viewed from the perspective of Skopos Theory. With the consciousness that Linshu's translation aims to transferring the most outstanding information conveyed in the ST, one will not consider it eccentric to translate in that way although the translator omitted so many elements in that short paragraph, including the typical portray of the environment, the descriptive sentences about the outfit and accessories of the protagonist together with some other summary expressions. In a word, the aim of the TT justified Skopos Theory and then, decided the translation technique of omission to take the essence and discard the dross of the ST. And the translation technique of omission is in turn an embodiment and representation of Skopos Theory.&lt;br /&gt;
&lt;br /&gt;
Example 5&lt;br /&gt;
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ST: 宝玉忽想起来辞黛玉，因又忙至黛玉房中来作辞。彼时黛玉才在窗下对镜理妆，听宝玉说上学去，因笑道：“好，这一去，可定是要‘蟾宫折桂’去了。我不能送你了。”(Cao Xueqin 1996,129)&lt;br /&gt;
&lt;br /&gt;
TT1: Pao-yu, remembering that he had not say good-bye to Tai-yu, hurried to her room. She was sitting before her mirror by the window and smiled when he told her that he was off to school. &amp;quot;Good,&amp;quot; she said, &amp;quot;So you are going to 'pluck fragrant osmanthus in the palace of the moon.' I am sorry I can't see you off.&amp;quot; (Yang Xianyi 1994,160)&lt;br /&gt;
&lt;br /&gt;
TT2: Bao-yu suddenly remembered that he had not yet seen Dai-yu and hurried to her room to say good-bye. He found her by the window making herself up at the mirror. Her answer to his announcement that he was off to begin school was smiling but perfunctory: 'Good. I wish you every success. I'm sorry I can't see you off.'(David Hawkes 2004,178)&lt;br /&gt;
&lt;br /&gt;
Analysis: The ST is a small part excerpted from ''A Dream of Red Mansions'' written by an extremely eminent novel writer named after Cao Xueqin in Qing Dynasty. This abridgement delineated the scene that Jia Baoyu went to say goodbye to Lin Daiyu for he was to off to school. Accordingly, there are two deceivingly similar but actually different versions of the TT rendered respectively by Yang Xianxi, a renowned Chinese translator and David Hawkes, a world-famous sinologist specializing in translating Chinese classics. &lt;br /&gt;
&lt;br /&gt;
Analysis: The ST is a small part excerpted from ''A Dream of Red Mansions'' written by an extremely eminent novel writer named after Cao Xueqin in Qing Dynasty. This abridgement delineated the scene that Jia Baoyu went to say goodbye to Lin Daiyu for he was to off to school. Accordingly, there are two deceivingly similar but different versions of the TT rendered respectively by Yang Xianxi, a renowned Chinese translator and David Hawkes, a world-famous sinologist specializing in translating Chinese classics. --[[User:Guo Lu|Guo Lu]] ([[User talk:Guo Lu|talk]]) 02:50, 17 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
At the core of this case analysis must be the translators' rendition of the specific Chinese phrase &amp;quot;蟾宫折桂&amp;quot;. &lt;br /&gt;
&lt;br /&gt;
Yang translated it literally and directly as &amp;quot;pluck fragrant osmanthus in the palace of the moon&amp;quot;, maintaining the exclusive Chinese images &amp;quot;osmanthus&amp;quot;. In contrast, Hawkes transformed the ST into &amp;quot;I wish you every success&amp;quot;, exquisitely circumventing words which may be difficult to understand for foreign TT readers. Frankly speaking, the superiority and inferiority of the two versions cannot be arbitrarily dealt with. &lt;br /&gt;
&lt;br /&gt;
Now that Skopos Theory states that &amp;quot;aim justifies end&amp;quot;, the TT can be produced to tailor the purpose and need of TT readers. In the first version, the translation strategy of foreignization retained the exotic Chinese plant name and increased strangeness of TT readers. This strategy is an advisable one to disseminate some certain cultures to foreigners. Nonetheless, Hawkes's translation is easier to be accepted by foreign TT receptors for he applied the translation strategy of domestication to make the translator get accustomed to TT readers' reading habits and multiple cultures. Now the phenomenon that translation theories serve as a guide for translation strategies and techniques is corroborated once again. Similarly, translation strategies and techniques are the best representation of translation theories, just like domestication and foreignization are the representation and extension of Skopos Theory in this example.&lt;br /&gt;
&lt;br /&gt;
Example 6&lt;br /&gt;
&lt;br /&gt;
ST: 她像是受了炮烙似的缩手，脸色同时变作灰黑，也不再去取烛台，只是失身的站着。(Lu Xun 2004, 20)&lt;br /&gt;
&lt;br /&gt;
TT: She withdrew her hand as if scorched, her face turned ashen-grey, and instead of fetching the candlesticks she just stood there dazed.&lt;br /&gt;
&lt;br /&gt;
Analysis: The ST is abstracted from ''Remote City'' written by Shen Congwen. This long novel takes country life in West Hunan as the writing material to display the seemingly mediocre but specifically meaningful human nature. It is known to all that the novel ''Remote City'' is brimmed with cultural-loaded words in order to deeply extract hidden mysterious things of the human nature. Of course, this source text is not an exception. In example 6, the Chinese word &amp;quot;炮烙&amp;quot; is a ruthless penal created by King Zhou of Shang Dynasty to fasten people on a large pillar heated by strong fire so that people will be scalded gradually until to their death. But if the translator translates this word literally, foreign TT readers will at a loss especially when they are not familiar with the history of Shang Dynasty. Consequently, the translator here just converted &amp;quot;炮烙&amp;quot; into “scorched” by adopting the translation strategy of domestication, assuaging TT readers' fatuity and strangeness towards the ST. This translation strategy is also impacted by Skopos Theory but in turn validates and broadens the usage of the translation theory. Seeing from this, the entangled relationships among translation theories, strategies and techniques cannot be overemphasized.&lt;br /&gt;
&lt;br /&gt;
Analysis: The ST is abstracted from ''Remote City'' written by Shen Congwen. This long novel takes country life in West Hunan as the writing material to display the seemingly mediocre but specifically meaningful human nature. It is known to all that the novel ''Remote City'' is brimmed with cultural-loaded words in order to deeply extract hidden mysterious things of the human nature. Of course, this source text is not an exception. In example 6, the Chinese word &amp;quot;炮烙&amp;quot; is a ruthless penal created by King Zhou of Shang Dynasty to fasten people on a large pillar heated by strong fire so that people will be scalded gradually until to their death. But if the translator translates this word literally, foreign TT readers will at a loss especially when they are not familiar with the history of the Shang Dynasty. Consequently, the translator here just converted &amp;quot;炮烙&amp;quot; into “scorched” by adopting the translation strategy of domestication, assuaging TT readers' fatuity and strangeness towards the ST. This translation strategy is also impacted by Skopos Theory but in turn validates and broadens the usage of the translation theory. Seeing from this, the entangled relationships among translation theories, strategies and techniques cannot be overemphasized.--[[User:Guo Lu|Guo Lu]] ([[User talk:Guo Lu|talk]]) 02:50, 17 December 2020 (UTC)&lt;br /&gt;
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====The translation of business texts====&lt;br /&gt;
Business English, an increasingly inevitable term for people to encounter in today's world, has permeated into almost every corner of people's daily life. As for its definition, scholars of different eras vied with each other to illustrate it. For example, Wang Xingsun defined business English as &amp;quot;English used in the business context&amp;quot;. &amp;quot;It is also English for Special Purposes (ESP).&amp;quot; (王兴孙 1997,24) Nowadays, researches about business English have been formalizing and standardizing the definition and application of business English. A relatively precise and comprehensive concept of business English reads as &amp;quot;Business English refers to a certain type of English emerging along with the advancement of economic globalization. It is used in various fields, ranging from economic to public and societal affairs.&amp;quot; (陈准民 王立非 2009,17) &lt;br /&gt;
&lt;br /&gt;
Then business texts must be carriers of business English, with their type encompassing business logos, business advertisements, business contracts, business letters and the brief introduction of corporations. A subtle but unavoidable thing to note is that business English is by no means the simple combination of &amp;quot;business&amp;quot; and &amp;quot;English&amp;quot;. Instead, it brought out a multitude of new features to showcase its complexities, including its utility in professional domains and its highly functional usages. So the most tenable translation theory is more apt to be Skopos Theory in consideration of the functional characteristics of business texts. Subsequently, the restraining and guiding translation theory will work out to match proper translation strategies and techniques to the translation practice to meet the requirements of both TT readers and the TT itself. What is more, the reflective translation strategies and techniques appearing during the process of translation help people better understand Skopos Theory. On account of that, there is no denying that the interplay among translation theories, strategies and techniques is further proved.(郭晓燕 2017,36)&lt;br /&gt;
&lt;br /&gt;
Then business texts must be carriers of business English, with their type encompassing business logos, business advertisements, business contracts, business letters and the brief introduction of corporations. A subtle but unavoidable thing to note is that business English is by no means the simple combination of &amp;quot;business&amp;quot; and &amp;quot;English&amp;quot;. Instead, it brought out a multitude of new features to showcase its complexities, including its utility in professional domains and its highly functional usages. So the most tenable translation theory is more apt to be Skopos Theory in consideration of the functional characteristics of business texts. Subsequently, the restraining and guiding translation theory will work out to match proper translation strategies and techniques to the translation practice to meet the requirements of both TT readers and the TT itself. What is more, the reflective translation strategies and techniques appearing during the process of translation help people better understand the Skopos Theory. On account of that, there is no denying that the interplay among translation theories, strategies and techniques is further proved. (郭晓燕 2017,36)--[[User:Guo Lu|Guo Lu]] ([[User talk:Guo Lu|talk]]) 02:50, 17 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
Example 7&lt;br /&gt;
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ST: Fresh food and fresh air. The perfect recipe for a healthy life. I've chosen. It's Candy. (Candy冰箱广告词)&lt;br /&gt;
&lt;br /&gt;
TT1:新鲜食物和新鲜空气。健康生活的最佳处方。我已经做出选择，它就是Candy冰箱。&lt;br /&gt;
&lt;br /&gt;
TT2:新鲜食物+新鲜空气。健康生活的绝妙处方。我选定了Candy冰箱。&lt;br /&gt;
&lt;br /&gt;
Analysis: This is a task of translating an English business advertisement into Chinese. Notwithstanding this short sentence, a satisfying and applicable translation is hard to be rendered for so many limitations imposed by business advertisements. Business advertisements, known for their adherence to the &amp;quot;economic principle&amp;quot; of expressing the most detailed information with the least words and sentences, are doomed to pose several challenges for translators. To translate those advertisements near perfectly, translators must recourse to Skopos Theory to transfer the information conveyed by the ST to the TT readers in a succinct way. Here come to those two translation versions. TT 1 is doubtlessly the outcome of literal translation, which not only increased the cost of issuing that advertisement for many words of it but also left TT readers an impression of redundancy. Compared with TT1, TT 2 dexterously omitted &amp;quot;我已经做出选择&amp;quot; and superseded the Chinese word &amp;quot;和&amp;quot; with the punctuation of &amp;quot;+&amp;quot;, taking on the creativity and agility of the translator. At this time, the relationship among translation theories, strategies and techniques can be reaffirmed. The former offered a reasonable direction to the latter two concepts, and the latter two also reinforced the existing functions of the former.&lt;br /&gt;
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Example 8&lt;br /&gt;
&lt;br /&gt;
ST: Next is Now. (三星S6系列手机广告词)&lt;br /&gt;
&lt;br /&gt;
TT1:未来即现在。&lt;br /&gt;
&lt;br /&gt;
TT2:让未来，现在就来！&lt;br /&gt;
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Analysis: The ST in example 8 is also a business advertisement attentive to the selling of Samsung cellphones. This one justly accorded with all the remarkable traits of business advertisements, namely the conciseness, lucidity and catchiness. Generally speaking, both the two versions of translation are acceptable. But to delve into more details, version 2 is overwhelming greater than version 1 because of the fact that it can better cater to the future developing trend of Samsung cellphones. Through this advertisement, the advertisers actually want to do is to give top priority to the future. The translation version of &amp;quot;未来即现在&amp;quot; will easily lead people to be engrossed in the present while the version of &amp;quot;让未来现在就来&amp;quot; paid more attention to the future of Samsung cellphones. Also, TT 2 sketched a scene of early approaching of the future, suggesting the fact that the cellphones invented now can anticipate some of high-ended functions of future electronic products. Without doubt, Skopos Theory is the main driver of this translation practice. The translation technique of adaptation can be found here by changing the sentence pattern of the TT, thus achieving some unimaginable effects. Here, it is Skopos Theory that decided and guided the selection of the translation technique of adaptation. Also, that technique will exert counter-effects on Skopos Theory to expose the functions and purposes of the TT.&lt;br /&gt;
&lt;br /&gt;
Analysis: The ST in example 8 is also a business advertisement attentive to the selling of Samsung cellphones. This one justly accorded with all the remarkable traits of business advertisements, namely the conciseness, lucidity and catchiness. Generally speaking, both the two versions of translation are acceptable. But to delve into more details, version 2 is overwhelmingly greater than version 1 because it can better cater to the future developing trend of Samsung cellphones. Through this advertisement, the advertisers want to do is to give top priority to the future. The translation version of &amp;quot;未来即现在&amp;quot; will easily lead people to be engrossed in the present while the version of &amp;quot;让未来现在就来&amp;quot; paid more attention to the future of Samsung cellphones. Also, TT 2 sketched a scene of the early approaching of the future, suggesting the fact that the cellphones invented now can anticipate some of the high-ended functions of future electronic products. Without doubt, Skopos Theory is the main driver of this translation practice. The translation technique of adaptation can be found here by changing the sentence pattern of the TT, thus achieving some unimaginable effects. Here, it is the Skopos Theory that decided and guided the selection of the translation technique of adaptation. Also, that technique will exert counter-effects on Skopos Theory to expose the functions and purposes of the TT.--[[User:Guo Lu|Guo Lu]] ([[User talk:Guo Lu|talk]]) 02:50, 17 December 2020 (UTC)&lt;br /&gt;
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Example 9&lt;br /&gt;
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ST:三元产品设计工作室虽然身处竞争激烈、你死我活的商业环境之中，但是我们对完美、创新设计的追求却一如既往、不折不扣。我们的作品风格总是别具一格、独一无二。(《三元产品设计工作室简介》)&lt;br /&gt;
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TT: 3 Elements Product Design Studio works in a highly competitive market. Our pursuit of perfection and innovation is as ever. Our design is always unique.&lt;br /&gt;
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Analysis: The ST in example 9 is excerpted from the introduction of a corporate named after 3 Elements Product Design Studio. The key point in the TT is the translation of Chinese four-character phrases into single English words. On the one hand, such an action is in line with J.C. Catford's translation shift theory, especially the unit shift theory. On the other hand, it is also Hans Vermeer's Skopos Theory that underlies that transformation. Idiomatic expressions, like proverbs, four-character expressions, are known to abound in Chinese, which bewildered countless western Chinese learners. What translators are obligated to do is to change the complex into the simple. Then several four-character expressions in the ST, including &amp;quot;一如既往&amp;quot;, &amp;quot;不折不扣&amp;quot;, &amp;quot;别具一格&amp;quot; and &amp;quot;独一无二&amp;quot; have been translated into &amp;quot; as ever&amp;quot; and &amp;quot;unique&amp;quot;. &lt;br /&gt;
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More specifically, the translation techniques of adaptation and division are also adopted here just like that in example 8. As for the translation technique of adaptation, the phrase structures of the TT have turned into word structures. About the translation technique of division, the 2 sentences in the ST have been divided into 3 sentences in the TT with a view to underlining topic of each sentence.  This opened up a new world for TT readers that the same translation technique can be guided and constrained by different translation theories.  Hence, translators have to be sensitive and acute enough to perceive differences among translation theories, strategies and techniques so that the translation practice can yield fruitful outcomes. To conclude, translation theories still guide translation strategies and techniques. Those strategies and techniques still complement translation theories.&lt;br /&gt;
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===Summary and conclusion===&lt;br /&gt;
This paper is persistently talking about the relationships among translation theories, strategies and techniques, aiming to solve more puzzles haunting translators when they are engaged in relentless translation practice. With so many spaces left to the elaboration of such a complicated issue, this paper thus arrived at the conclusion that the relationships among translation theories, strategies and techniques lie in two respects. One is the relationship between the macroscope and the microscope, translation theories being the most inclusive and translation techniques being the most subordinate, with the translation strategies lying between those two extremes. Another is the relationship of guiding and complementing. To be honest, translation theories bear a resemblance to the lighthouses, which are always offering clues for the selection and adoption of translation strategies and techniques. Of course, translation strategies and techniques are also indispensable to translation theories for they can put translation theories into practice. Lacking those strategies and techniques, the connotation, significance and function are just the illusion.&lt;br /&gt;
&lt;br /&gt;
This paper is persistently talking about the relationships among translation theories, strategies and techniques, aiming to solve more puzzles haunting translators when they are engaged in relentless translation practice. With so many spaces left to the elaboration of such a complicated issue, this paper thus concluded that the relationships among translation theories, strategies and techniques lie in two respects. One is the relationship between the macroscope and the microscope, translation theories being the most inclusive and translation techniques being the most subordinate, with the translation strategies lying between those two extremes. Another is the relationship between guiding and complementing. To be honest, translation theories bear a resemblance to the lighthouses, which are always offering clues for the selection and adoption of translation strategies and techniques. Of course, translation strategies and techniques are also indispensable to translation theories for they can put translation theories into practice. Lacking those strategies and techniques, the connotation, significance and function are just the illusion.--[[User:Guo Lu|Guo Lu]] ([[User talk:Guo Lu|talk]]) 02:50, 17 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
This paper starts with the introduction of Vermeer's Skopos Theory, the definition of translation theories, strategies and techniques, and the interpretation of the relationships among those three concepts. After all those preparatory steps, the case analysis part analyzed the relationships among translation theories, strategies and techniques from the perspective of three different kinds of texts, embracing tourism texts, literary texts and business texts. Almost all the translation of those texts are on the basis of Skopos Theory, with many other translation strategies and techniques applied, such as domestication, foreignization, omission, adaptation and so on. Finally, here comes the concluding and summary part of this paper, in which the rough structure and the motif of this paper have been clarified again.&lt;br /&gt;
&lt;br /&gt;
===References===&lt;br /&gt;
* Cao Xueqin 曹雪芹. (1996). ''红楼梦'' [Dream in a Red Mansion]. Beijing: People's Literature Publishing House 人民文学出版社.&lt;br /&gt;
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* Cao Xueqin 曹雪芹. (2004). ''红楼梦'' [The Story of the Stone]. Penguin 企鹅出版社.&lt;br /&gt;
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* Chen Zhunmin, Wang Lifei 陈准民,王立非. (2009). 解读《高等学校商务英语本科专业教学要求》（试行） [Interpretation of &amp;quot;University Business English Undergraduate Professional Teaching Requirements&amp;quot; (for trial implementation)]. ''Foreign Languages ​​in China'' 中国外语 4-11.&lt;br /&gt;
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* Dong Chuan, Chen Ling 董川, 陈玲. (2020). 武术翻译的策略、方法和技巧研究 [Wushu Translation Strategies, Methods and Techniques]. ''Sports World (Academic Edition)'' 体育世界（学术版） 55-56.&lt;br /&gt;
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* Dong Xiaobo 董晓波. (2012). ''翻译概论'' [An Introduction to Translation]. Beijing: University of International Business and Economics Press 对外经贸大学出版社.&lt;br /&gt;
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* Guo Xiaoyan. 郭晓燕. (2017). ''商务英语翻译'' [Business English Translation]. Beijing: 对外经贸大学出版社 University of International Business and Economics Press&lt;br /&gt;
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* Han Tingting 韩婷婷. (2020). 目的论视角下的茶文化文本的翻译策略探究 [A Probe into the Translation Strategies of Tea Culture Texts from the Perspective of Skopos Theory].''福建茶叶'' Fujian Tea 298-299.&lt;br /&gt;
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* Harriet Beecher Stowe 哈丽叶特·比切·斯托. (1999). ''汤姆叔叔的小屋'' [Uncle Tom's Cabin]. Wordsworth Editions Ltd.--[[User:Guo Lu|Guo Lu]] ([[User talk:Guo Lu|talk]]) 01:53, 17 December 2020 (UTC)&lt;br /&gt;
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* Jeremy Mundy 杰里米·芒迪. (2007). ''翻译学导论——理论与实践'' [An Introduction to Translation Studies-Theory and Practice].Shanghai: The Commercial Press 商务印书馆.&lt;br /&gt;
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* Jiao Tan, Zhang Hui 焦炭, 张辉. (2019). 旅游景点解说词翻译方法与策略——以亳州市旅游景点解说词英译为例 [Translation methods and strategies of commentaries on tourist attractions——Taking the English translation of commentaries on tourist attractions in Bozhou City as an example]. ''Journal of Civil Aviation Flight University of China'' 中国民航飞行学院学报 42-46.&lt;br /&gt;
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* Lu Xun. 鲁迅. (2004). ''祝福''[Blessings].Beijing: China Youth Press 中国青年出版社.&lt;br /&gt;
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* Mo Hongli. 莫红利. (2014). 目的论视角下企业简介的英译原则与策略 [Principles and Strategies of English Translation of Enterprise Profiles from the Perspective of Skopos Theory].Exam Weekly 考试周刊 79-81.&lt;br /&gt;
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* Song Yulu. 宋玉露. (2020). 目的论视域下葛浩文《丰乳肥臀》译本研究 [Research on Ge Haowen's Translation of &amp;quot;Full Breasts and Fat Buttocks&amp;quot; from the Perspective of Skopos Theory]. ''Young Scholars'' 青年文学家 31-32.&lt;br /&gt;
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* Tsao Hsuen-Chin, Kao Hgo 曹雪芹, 高鹗. (1994). ''红楼梦'' [A Dream of Red Mansions]. Beijing: Foreign Languages ​​Press 外语教学与研究出版社.&lt;br /&gt;
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* Wang Xingsun 王兴孙. (1997). 对国际商务英语学科发展的探讨 [Discussion on the Development of International Business English]. ''International Business Studies'' 国际商务研究 24-28.&lt;br /&gt;
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* Wilson Rita, Sulaiman, M, Z 威尔逊·丽塔, 苏雷曼·M·Z. (2019). ''翻译与旅游业: 跨文化宣传的有效策略'' [Translation and Tourism: Strategies for Effective Cross-cultural Promotion]. Springer 施普林格出版社.&lt;br /&gt;
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* Xiong Bing 熊兵. (2014). 翻译研究中的概念混淆——以“翻译方法”、“翻译策略”和“翻译技巧”为例 [Concept confusion in translation studies: Taking &amp;quot;translation methods&amp;quot;, &amp;quot;translation strategies&amp;quot; and &amp;quot;translation skills&amp;quot; as examples]. ''Chinese Translators'' 中国翻译 82-88.&lt;br /&gt;
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*Yang Xianyi 杨先一. (2009). 林纾及其翻译——以《黑奴吁天录》为例 [Lin Shu and his translation——Taking &amp;quot;Hei Nu Yu Tian Lu&amp;quot; as an example].Qingdao: Shandong University 山东大学.--[[User:Guo Lu|Guo Lu]] ([[User talk:Guo Lu|talk]]) 01:53, 17 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
== On the translation of Chinese Animal Idioms from the Functional Equivalence Theory - 彭娟 Peng Juan ==&lt;br /&gt;
&lt;br /&gt;
&amp;lt;center&amp;gt;彭娟 Peng Juan 202020080632 English Language and Literature&amp;lt;/center&amp;gt;&lt;br /&gt;
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===Abstract===&lt;br /&gt;
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Idioms can vividly reflect the cultural connotations of a language. Animals play a very important role in people’s daily life. Therefore, people often use vivid animal images to explain the complex and changeable social phenomena, so vivid animal idioms come into being. In Chinese and Western cultures, animal idioms are commonly found in various languages.&lt;br /&gt;
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First of all, these animal idioms have some similarities in some aspects, but there are also inevitably some differences. Because of these differences, translating animal idioms has become a very difficult task. The functional equivalence theory, proposed by Eugene Nida, a famous American translator, has a great influence on the translation of English and Chinese animal idioms.  Nida thinks that the reaction of TL readers to the target text（TT）should be the same to that of the SL readers to the source text（ST）. &lt;br /&gt;
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Guided by Nida's theory of functional equivalence and in the light of the cultural differences between China and the West , this paper discusses and summarizes four translation methods that are suitable for animal idioms. They are literal translation, borrowing, free translation, literal translation with annotation. The purpose of summarizing these four translation methods is to make the target language keep its equivalence with the source language both in form and content.&lt;br /&gt;
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However, the meaning of each animal idiom varies in different cultures. Therefore, in the translation of these animal idioms, the translators need to choose different translation methods according to different circumstances to maximize the reproduction of the true meaning of idioms.&lt;br /&gt;
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===Key words===&lt;br /&gt;
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Function Equivalence Theory; Animal idioms; the cultural implications; Translation methods&lt;br /&gt;
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===题目===&lt;br /&gt;
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从奈达功能对等理论探究动物习语翻译&lt;br /&gt;
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===摘要===&lt;br /&gt;
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习语能生动地反映出语言中的文化内涵。在人们的日常生活中，动物扮演着十分重要的角色。因此，人们常常采用动物形象来阐释复杂多变的社会现象,所以生动形象的动物习语应运而生。在中西方文化中，动物习语普遍存在于各种语言中。首先，这些动物习语在某些方面有相似之处，同时也不免会存在一些差异。由于这些差异的存在,翻译动物习语便成了一项十分困难的任务。著名美国翻译学家尤金·奈达提出了“功能对等”翻译理论，此理论对翻译英汉动物习语影响甚大。 奈达的功能对等理论旨在于让目的语读者对译文能产生与源语读者对原文产生的最相近的反应。此篇论文以奈达的“功能对等”翻译理论为指导,同时 根据动物的文化含义在中西方的差异,探讨并总结了四种适合动物习语的翻译方法，即意译法,借用法,直译法,直译加注释四种翻译方法。之所以总结这四种翻译方法，是为了使目的语在形式与内容上最大程度地保持与源语的对等。但是,每个动物习语的含义在不同的文化背景下也有所不同。所以,在翻译这些动物习语时，译者需要根据不同的情况选择不同的翻译方法,从而最大程度地再现动物习语的真正含义。 &lt;br /&gt;
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===关键词===&lt;br /&gt;
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奈达功能对等理论；动物习语；动物文化内涵；翻译方法&lt;br /&gt;
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===1.Introduction===&lt;br /&gt;
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Many theorists and scholars have conducted a lot of researches on equivalence in the past from its definition and relevance to its application in various fields of translation. Some famous theorists have studied equivalence in the translation process and have provided further study on equivalence with many points of view. Idioms are regarded as an crucial and fundamental part of languages which directly reflect the culture of a nation. Individuals have employed idioms for several centuries, which are the products of cultures with distinguishing cultural features and special denotations. There are countless animal idioms in Chinese and Western cultures. These idioms could reflect the cultural features of the languages profoundly and make the languages colorful. Therefore, when translating, translators should understand idioms completely and focus on various cultural connotations of different animal idioms.&lt;br /&gt;
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In the past, many theorists and scholars have done a lot of research on equivalence from its definition and association to its application in various fields of translation. Some famous theorists have studied the problem of equivalence in the process of translation and made a thorough study of it from many aspects. Idioms are an important part of a language and directly reflect the culture of a nation. Idioms are the product of culture and have distinct cultural characteristics and special meanings. There are countless idioms about animals in Chinese and Western cultures. These idioms can profoundly reflect the cultural characteristics of the language, making the language rich and colorful. Therefore, translators should fully understand idioms and pay attention to the cultural connotations of different animal idioms.--[[User:Tao Ye|Tao Ye]] ([[User talk:Tao Ye|talk]]) 14:39, 18 December 2020 (UTC)Tao Ye&lt;br /&gt;
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===2.Literature Reviews===&lt;br /&gt;
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Studies abroad mainly involve four perspectives, namely syntactic, semantic, pragmatic and cognitive approaches. For instance, the grammarian Fernando (1996) has focused on the generative nature of idiom structures from the perspective of syntactic way. In his opinion, his researches has mainly applied the transformational-generative grammar. Having conducted many researches in the semantic way, researches mainly paid much attention to the meanings of idioms.Zhang QingJuan（2015:7）&lt;br /&gt;
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For instance, Makkai (1972: 122) has thought that idioms are fixed terms with two or more words and the meaning of the whole term is different from that of the individual word if you take them as a group of words. As for the pragmatic linguists, they have studied idioms of their usages or the functions they bear. The linguist Fernando’s work, idioms and idiomaticity was a breakthrough for it has broken the ontological method of previous studies on idioms. It has also linked the usages of idioms with their contexts and discussed the role idioms played in the process of language acquisition.Zhang Qingjuan（2015:7）&lt;br /&gt;
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What is more, from the perspective of Fernando, it was the encyclopedic knowledge that has finally decided the meaning of idioms. Fernando has also applied the three language functions proposed by Halliday in his systematic-functional grammar to idioms. And he classifies idioms into ideational idioms, interpersonal idioms as well as the relational idioms by replacing the term textual with relational. Cognitive linguists have also done a lot of researches on idioms. For example, the construction theory has its basis on the analyses of idioms. Zhang Qingjuan（2015:7）&lt;br /&gt;
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Kovecses and Lakoff (1987) have proved the analyzability of idioms in their works by probing into sufficient linguistic evidences and they have found out that the way people analyze and understand idioms also reflect the metaphorical nature of human cognition. And Kovecses together with his students has also made summaries on the metaphorical usages of idioms relating to the human body. From the four perspectives mentioned above, studies on idioms also involve in the classification of idioms. Nunberg (1994) has identified three sub-categories of idioms, namely non-decomposable idioms, decomposable idioms as well as abnormally decomposable idioms.Zhang Qingjuan（2015:7）&lt;br /&gt;
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In every life, animals have played an essential role in the improvement of people. When they exert a crucial function in the society, languages reflect the culture and contain deep animal idioms. Therefore, there are lots of animal idioms naturally containing rich cultural senses. Some researchers have mainly analyzed idioms as their research objective in various areas because idiom is a crucial verbal form, like intercultural communication, pragmatics and contrastive linguistics. Mr. Liao Guangrong in 2000 has done a comparison to an average number of animal idioms and culturally-loaded animal vocabulary through many examples in detail.Zhang Qingjuan（2015:7）&lt;br /&gt;
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The research on idioms from cultural perspective was done by Wang Dechun (2003) and Hu Wenzhong (2000). Some great achievements had been gained by some younger researchers. Animal idioms had studied by Dong Tao in 2010 in the comparing way between English and Chinese cultures. Besides, comparative methods were employed by an increasing number of scholars. For instance, comparative analysis method was used by Chen Wenbo(1982) and Jiang Lei (2000) for English and Chinese idioms. To sum up, the importance of idioms has been understood by many language researchers particularly the importance of animal idioms and a lot of researchers have made or will make further researches on idioms.Zhang Qingjuan（2015:7）&lt;br /&gt;
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===3.The Definition and Characteristics of Idioms===&lt;br /&gt;
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The definition of idiom is presented as well as cultural connotation and characteristics of idioms.&lt;br /&gt;
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====3.1 The Definition of Idioms====&lt;br /&gt;
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According to New Oxford Dictionary of English (1998), idiom refers to a group of words established by usage as having a meaning not deducible from those of the individual words. In general, Chinese idioms contain six types: character phrases, proverbs, allusions, common sayings, colloquialisms and slang. The scope of English idioms is not fixed, which can usually be divided into “proverbs, sayings, allusions, slang, etc”. At home, the Ci Hai definite the idiom as “one kind of idioms and phrase of convention ” . Because of the cultural differences, there are various standards on idioms. In Chinese, idioms are very common that often are seen in many cases, such as in four words forms, proverbs, idiomatic phrases, allegorical sayings, etc. In Western culture , the scope of idioms is wider than in Chinese. The proverbs, sayings and other colloquial phrases are all idiomatic.&lt;br /&gt;
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====3.2The Characteristics of Idioms====&lt;br /&gt;
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According to the definition of idioms, individuals could know that idioms are different from common words. They have some unique features, which can be concluded as the single unit, institutionalization and irreplaceability. The induction is very brief but too abstract. Some more specific analysis will be done from their structural features and semantic features to better understand the features of idioms.&lt;br /&gt;
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To begin with, for structural features of idioms, words making up idioms cannot be replaced freely, which will result in the loss of the meanings. For instance, “make haste” cannot be written as “make hurry” and “dark horse” cannot be substituted by “black horse”. Idiom is not the simple plus of each word, such as: let the cat out of the bag, know the ropes, and rain cats and dogs. From the whole, the real meaning of them cannot be known.&lt;br /&gt;
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===4.The Introduction of Functional Equivalence Theory===&lt;br /&gt;
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Eugene A. Nida, an outstanding translation theorist and lecturer in America, was born in November, 1914 and was dead in August 2011. Some translation theories were proposed by him. These theories have brought about great influence on the translation studies not only in western countries but also in Asian countries,especially in China. As is known to all, he is regarded as the most influential one among all the contemporary translation theorists. Functional Equivalence Theory is advanced by Eugene A.Nida.&lt;br /&gt;
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In English culture, some animal idioms not found in Chinese culture can be used to express metaphorical meaning, such as &amp;quot;flea&amp;quot;, &amp;quot;cuckoo&amp;quot;, &amp;quot;albatross&amp;quot;, &amp;quot;bumblebee&amp;quot; and so on. For example, &amp;quot;a white elephant&amp;quot;, &amp;quot;worthless or worthless&amp;quot;, &amp;quot;a elephant's memory&amp;quot;, &amp;quot;a flea in one's ear&amp;quot;, &amp;quot;as mad as hornet&amp;quot;. The metaphorical connotations of these idioms are not found in the corresponding Chinese. Yuan rainbow (1999-30-32)--[[User:Tao Ye|Tao Ye]] ([[User talk:Tao Ye|talk]]) 14:33, 18 December 2020 (UTC)Tao Ye&lt;br /&gt;
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His research of translation theory has significantly affected many translators. Concentrating on what a translation does or performs, the introduction of the idea of“functional equivalence”provides a sound basis for discussing translation as a form of intercultural communication. In comparison with many other theories, Nida’s functional equivalence theory has been widely accepted and applied in translation research and translation.&lt;br /&gt;
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His theoretical research on translation has exerted a profound influence on many translators. The introduction of the concept of &amp;quot;functional equivalence&amp;quot; provides a good basis for discussing translation as a form of cross-cultural communication. Compared with many other theories, Nida's functional equivalence theory has been widely recognized and applied in translation studies and translation.--[[User:Tao Ye|Tao Ye]] ([[User talk:Tao Ye|talk]]) 14:33, 18 December 2020 (UTC)Tao Ye&lt;br /&gt;
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====4.1The Definition of Functional Equivalence Theory====&lt;br /&gt;
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Nida defined functional equivalence between minimized and maximized effectiveness based on cognitive and experiential aspects in his book Language, Culture and Translating. The minimal connotation of functional equivalence is “The reader of a translated text should be able to comprehend it to the point that they can conceive of how the original readers of the text must have understood and appreciated it.”（1993） The maximal definition of functional equivalence could be stated as“The readers of a translated text should be able to understood and appreciate it in essentially the same manner as the original readers did.” According to Nida’s view, translating is not to get fully adequate translating, but to reproduce the closest natural equivalence to the source text. A good translation always lies in between in the two levels.&lt;br /&gt;
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In his book &amp;quot;Language, Culture, and Translation,&amp;quot; Nida defines functional equivalence between minimizing and maximizing effectiveness based on cognition and experience. The minimal meaning of functional equivalence is that “the reader of the translated text should be able to understand it so that they can imagine how the original reader of the text must understand and appreciate it.” (1993) Functional equivalence can be expressed as “the reader of the translated text should It can be understood and appreciated in the same way as the original reader.” According to Nida, translation is not about obtaining sufficient translation, but about reproducing the closest natural equivalent to the source text. Good translation is always between two levels.--[[User:Tao Ye|Tao Ye]] ([[User talk:Tao Ye|talk]]) 13:24, 18 December 2020 (UTC)Tao Ye&lt;br /&gt;
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====4.2The Development of Functional Equivalence Theory====&lt;br /&gt;
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Early 1960s, Nida first put forward the idea of“form equivalence”which required the source language should keep the correspondence with the target language as same as possible. In the book Toward a Science of Translation（1940）, he put forward “dynamic equivalence”. This theory meant that the react of source language must as same as the react of target language. &lt;br /&gt;
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Since some translators often understood it as“anything which might have special impact and appeal for receptors”，he changed the dynamic equivalent into functional equivalent in his work from One Language to Another. In 1993, in language Culture and Translating（1993），he defined functional equivalence that means the readers of target language could understand the translation content as the readers of source language. Nida（1993:32）&lt;br /&gt;
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====4.3The Core of Functional Equivalence Theory====&lt;br /&gt;
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In the Functional Equivalence Theory, Nida puts the“receptor’s response”as the nucleus of the Functional Equivalence. It is easy to find that Nida pays great attention to the receptor’s response, which has been ignored by earlier theorists. &lt;br /&gt;
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In functional equivalence theory, Nida regards &amp;quot;receptor response&amp;quot; as the core of functional equivalence. It's easy to see how much attention Nida pays to the receptor response, which was overlooked by early theorists.--[[User:Tao Ye|Tao Ye]] ([[User talk:Tao Ye|talk]]) 13:40, 18 December 2020 (UTC)Tao Ye&lt;br /&gt;
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Unlike the traditional translation theories that mainly stress the correspondence between the SL and TL, Nida’s functional equivalence theory emphasized the importance of receptor’s response. “The receptor’s response”serves as a vital measurement of the success in translating. &lt;br /&gt;
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An adequate translation should make sure that readers of the TL have the same response as the readers of the SL. That is to say, a translation should be judged not by the verbal correspondence between the two texts, but by the way that SL and TL receptors’ response.Then, the aim of translation is to make the TL readers have the same response on the TT as that of the SL readers to the ST.&lt;br /&gt;
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This principle focuses on the functional equivalence of information instead of the formal equivalence of lexical in translation. Therefore, translation should keep the meaning and style of the source language functionally equivalent to that of the target language as much as possible. Nida points out that for the purpose of realizing the ideal translation, it is necessary to find the closet naturalequivalence.This effect can only be approached rather than reached completely. Nida’s functional equivalence theory begins a new angle to the research of translation.&lt;br /&gt;
&lt;br /&gt;
Different from traditional translation theories, Nida's functional equivalence theory mainly emphasizes the correspondence between target language and target language, and it emphasizes the importance of receptor response. &amp;quot;Receptor response&amp;quot; is an important criterion to measure the success of translation. A qualified translation should ensure that the response of the target reader is consistent with that of the source reader, that is to say, the quality of a translation should not be judged by the linguistic correspondence between two texts, but by the way the source language and the target language receptor react. Therefore, the purpose of translation is to make the target reader become the target reader. --[[User:Tao Ye|Tao Ye]] ([[User talk:Tao Ye|talk]]) 13:40, 18 December 2020 (UTC)Tao Ye&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
This principle emphasizes the functional equivalence of information in translation rather than the formal equivalence of words. Therefore, translation should try to make the meaning and style of the source language functionally consistent with the meaning and style of the target language. Nida pointed out that in order to achieve the ideal translation, the most appropriate natural equivalence must be found. This effect can only be approximated but not fully achieved. Nida's functional equivalence theory opens up a new perspective for translation studies. --[[User:Tao Ye|Tao Ye]] ([[User talk:Tao Ye|talk]]) 13:40, 18 December 2020 (UTC)Tao Ye&lt;br /&gt;
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===5.Comparing English and Chinese Cultural Connotation on Animal Idioms===&lt;br /&gt;
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====5.1Corresponding to Animal Images and Connotations====&lt;br /&gt;
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In western and Chinese culture, the animal images is not totally same because of the cultural differences. But after all people around the world live on the earth, they more or less use some same animal images to express their feelings and transmit their culture. Therefore, when translating the animal idioms, it is important to distinguish different animal images in different cultures. There are some animal images that are same in both English and Chinese. &lt;br /&gt;
&lt;br /&gt;
In Chinese and Western cultures, animal images are not the same due to cultural differences. But after all, people all over the world live on the earth, and they more or less use some of the same animal images to express their feelings and spread their culture. Therefore, when translating animal idioms, it is particularly important to distinguish different animal images from different cultural backgrounds. Some animal images are the same in English and Chinese.--[[User:Tao Ye|Tao Ye]] ([[User talk:Tao Ye|talk]]) 14:07, 18 December 2020 (UTC)Tao Ye&lt;br /&gt;
&lt;br /&gt;
For example:&lt;br /&gt;
黑马                     black horse&lt;br /&gt;
披着羊皮的狼             a wolf in sheep’s clothing    &lt;br /&gt;
动如脱兔                 as fast as hare&lt;br /&gt;
&lt;br /&gt;
The metaphorical objects and connotation of these animal idioms in Chinese are completely equivalent in English. Therefore, the metaphorical objects can be maintained during the process of C-E translation. That is to say, literal translation can be used directly because of the same animal images. However, this kind of images only counts for a small proportion and many other animal images are not equivalent and even do not exist in another languages. So literal translation is not suited for this situation.&lt;br /&gt;
Yi Xuming（2014:21）&lt;br /&gt;
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The metaphorical objects and connotations of these animal idioms in Chinese are exactly the same in English. Therefore, metaphorical objects are preserved in chinese-English translation. In other words, since the animal images are the same, it can be directly translated. However, such images make up only a small proportion, and many other animal images are not equivalent or even do not exist in another language. So literal translation is not appropriate in this case.&lt;br /&gt;
Yi Xuming (2014:21)--[[User:Tao Ye|Tao Ye]] ([[User talk:Tao Ye|talk]]) 14:07, 18 December 2020 (UTC)Tao Ye&lt;br /&gt;
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====5.2 Semi-corresponding to Animal Images and Connotations====&lt;br /&gt;
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That is to say, in Western and Chinese culture, some animal images can achieve equivalence in terms of pattern but are totally different in meaning. For example, the animal image ‘dragon’ exist in both western and Chinese culture. But, in Western culture, the connotation of ‘dragon’ is extremely contradictory compared with Chinese culture. Dragon is vicious monster and connotes evil and terror. This image is also demonstrated in many western movies. &lt;br /&gt;
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On the country, in China, the dragon is often seen as a symbol of happiness and a symbol of the Chinese nation and Chinese culture. The dragon symbolizes the rising sun in the east. &amp;quot;Descendants of the Dragon&amp;quot; , &amp;quot;Legend of the Dragon&amp;quot;, these titles, often make us excited and pride and have the cultural identity. Many ancient emperors take the dragon seat to symbolize their power and authority. Yi Xuming（2014:21）&lt;br /&gt;
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That is to say, in Chinese and Western cultures, some animal images are equivalent in form, but completely different in meaning. For example, the animal image &amp;quot;dragon&amp;quot; exists in both Western culture and Chinese culture. However, in western culture, the connotation of &amp;quot;dragon&amp;quot; is extremely contradictory compared with that of Chinese culture. The dragon is an evil monster, symbolizing evil and terror. This image is also reflected in many Western films.--[[User:Tao Ye|Tao Ye]] ([[User talk:Tao Ye|talk]]) 14:12, 18 December 2020 (UTC)Tao Ye&lt;br /&gt;
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In China, the dragon is often seen as a symbol of happiness, a symbol of the Chinese nation and culture. The dragon symbolizes the rising sun in the East. &amp;quot;Descendants of the Dragon&amp;quot;, &amp;quot;Legend of the Dragon&amp;quot; these titles, often make us excited and proud, with cultural identity. Many ancient emperors sat on the dragon chair to symbolize their power and authority. Yi Xuming (2014:21)--[[User:Tao Ye|Tao Ye]] ([[User talk:Tao Ye|talk]]) 14:12, 18 December 2020 (UTC)Tao Ye&lt;br /&gt;
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====5.3Non-corresponding to Animal Images and Connotations====&lt;br /&gt;
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Because of the cultural diversities, some animal idioms in SL do not have the equivalent counterparts in TL. That is to say,     non-corresponding means that some English animal idioms are translated into Chinese without animals image, or vice versa. Notwithstanding, “functional equivalence” can be also achieved. So translators should make some adjustments in translation strategies to achieve the highest degree equivalent. &lt;br /&gt;
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Due to cultural differences, some English animal idioms have no corresponding relationship in the target language, that is to say, some English animal idioms have no animal images when translated into Chinese, and vice versa. Nonetheless, &amp;quot;functional equivalence&amp;quot; can be achieved. Therefore, translators should make corresponding adjustments in translation strategies in order to achieve the highest degree of equivalence.--[[User:Tao Ye|Tao Ye]] ([[User talk:Tao Ye|talk]]) 14:15, 18 December 2020 (UTC)Tao Ye&lt;br /&gt;
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There are some examples&lt;br /&gt;
Like cow,like calf                     有其母必有其女&lt;br /&gt;
Rain cats and dogs                     倾盆大雨    &lt;br /&gt;
Go to law for a sheep,you lose a cow        捡了芝麻，丢了西瓜&lt;br /&gt;
Above all the examples, there are no equivalent animals images.&lt;br /&gt;
&lt;br /&gt;
====5.4Semantic Vacancy to Animal Images and Connotations====&lt;br /&gt;
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As a semantic unit, semantic vacancy in a language does not have counterparts for the same sense in another one. That is to say, animal idioms in SL have no equivalent expression in TL or such kind of animal images do not exist in TL because of the diversity and uniqueness of the geographical environment, the norms of the institution and the customs of people. Basically, it is a cultural vacancy. That is to say, there are some animal idioms with rich cultural senses in English but they have no such sense in Chinese culture. &lt;br /&gt;
&lt;br /&gt;
Due to cultural differences, some animal idioms in English have no corresponding relationship in the target language, that is to say, some animal idioms in English have no animal images in Chinese translation, and vice versa. Nonetheless, &amp;quot;functional equivalence&amp;quot; is achievable. Therefore, translators should make corresponding adjustments in translation strategies in order to achieve the highest degree of equivalence.--[[User:Tao Ye|Tao Ye]] ([[User talk:Tao Ye|talk]]) 14:23, 18 December 2020 (UTC)Tao Ye&lt;br /&gt;
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In English culture, metaphorical meanings can expressed by some certain animal idioms which Chinese culture never happens, like“flea”“cuckoo”“albatross”“hornet”，etc. For example,“a white elephant”（something with little or no value）,“an elephant’s memory”（there is good memory）,“a flea in one’s ear”（uncomfortable words）,“as mad as hornet”（very angry）.It cannot be searched for the metaphorical connotations of these idioms in the corresponding Chinese language.Yuan Caihong（1999:30-32）&lt;br /&gt;
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In English culture, some animal idioms not found in Chinese culture can be used to express metaphorical meaning, such as &amp;quot;flea&amp;quot;, &amp;quot;cuckoo&amp;quot;, &amp;quot;albatross&amp;quot;, &amp;quot;bumblebee&amp;quot; and so on. For example, &amp;quot;a white elephant&amp;quot;, &amp;quot;worthless or worthless&amp;quot;, &amp;quot;a elephant's memory&amp;quot;, &amp;quot;a flea in one's ear&amp;quot;, &amp;quot;as mad as hornet&amp;quot;. The metaphorical connotations of these idioms are not found in the corresponding Chinese. Yuan rainbow (1999-30-32)--[[User:Tao Ye|Tao Ye]] ([[User talk:Tao Ye|talk]]) 14:23, 18 December 2020 (UTC)Tao Ye&lt;br /&gt;
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===6.Approaches for Animal Idioms Translation based on Functional Equivalence Theory===&lt;br /&gt;
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Because of the different animal connotations in Chinese and Western cultures, when translating animal idioms, translators should carefully choose translation methods. There are four translation methods as literal translation, literal translation with annotations, borrowing and free translation.&lt;br /&gt;
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====6.1 Literal Translation====&lt;br /&gt;
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Based on the common understanding of some animals in English and Chinese, if the images and the connotations of some animal idioms are the same in both English and Chinese, the literal translation is used to translate animal idioms with the complete equivalence of form and meaning. To illustrate this translation, there are some typical examples. &lt;br /&gt;
动如脱兔——as fast as hare &lt;br /&gt;
坐山观虎斗—to sit on a hill and watch the tigers fight &lt;br /&gt;
老虎头上扑苍蝇—Only fools catch flies on a tiger’s head&lt;br /&gt;
&lt;br /&gt;
In both Chinese culture and Western culture, the natural characteristics of rabbits are related to speed. Therefore, in both English and Chinese, a rabbit is regarded as the symbol of agility and swiftness. So “动如脱兔” is translated into “as fast as hare”. Likewise, the tiger is a symbol of power and strength in Chinese and Western culture. Thus, the literal translation is the most effective translation method. For example, “坐山观虎 斗” can be translated into &amp;quot;to sit on the hill and watch the tigers fight&amp;quot;; “老虎头上扑苍蝇”is translated into “only fools catch flies on a tiger’s head”. Besides, we all think s fox is sly in Chinese and Western culture, so “as sly as a fox”is directly translated into “像狐狸一样狡猾”.&lt;br /&gt;
&lt;br /&gt;
English idiom“barking dogs seldom bite”has the same meaning with the Chinese translation“吠犬不咬人”.The other idioms should be translated this way are in the following: “as ugly as a toad”is directly translated into(像癞蛤蟆一样丑).“fish in troubled water”（浑水摸鱼） ，“a bird’s eye view”（鸟瞰），“dark horse”（黑马），“as foolish as a donkey”（蠢得像一头驴），“a rat crossing the street is chased by all”（老鼠过街人人喊打）should be translated in this way. Therefore, according to Nida's functional equivalence, in order to maintain equivalence between the source language and the target language to such a large degree, the translators should give priority to literal translation, on condition that neither misunderstanding nor cognition gap will be incurred thereby. &lt;br /&gt;
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Briefly speaking, applying the method of literal translation can produce the equivalence of the four aspects: forms, meanings, styles, and images. In this way, the translation of animal idioms can achieve the closest natural equivalence. This method can not only make the image of the animal image more vivid, but also maintain the style of the SL to satisfy the TL readers’ expectation. To some degree, literal translation is a good and effective strategy to realize equivalent translation.&lt;br /&gt;
Liang Yanmei（2011:147-148）&lt;br /&gt;
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====6.2 Borrowing Translation====&lt;br /&gt;
&lt;br /&gt;
Although some Chinese and English idioms have different animal images, their meanings are the same. Due to the cultural differences between the Chinese and English , the same figurative meaning is given to different animals. At this time we can apply similar animal idioms in Chinese to translate, that is, to transform one animal image into another animal image. On the surface, they are different in form, but they are equivalent in meaning and style.  That is to say, sometimes, there are no metaphors in some Chinese animal idioms, but there are similar meanings for them in English. When it is easy for the metaphors in the English language but the national atmosphere is not able to become strong; the people may employ the borrowing way for translation.&lt;br /&gt;
&lt;br /&gt;
胆小如鼠——as timid as rabbit &lt;br /&gt;
力大如牛——as strong as a horse &lt;br /&gt;
虎口——lion’s mouth &lt;br /&gt;
养虎为患——warm a snake in one’s bosom &lt;br /&gt;
害群之马——a black sheep &lt;br /&gt;
像热锅上的蚂蚁—like a cat on the hot bricks&lt;br /&gt;
杀鸡取卵—kill the goose that laid golden eggs&lt;br /&gt;
&lt;br /&gt;
Sometimes the images of animals in English differ in that in Chinese animal idioms while they have the identical connotation. Therefore, borrowing is the most proper way for translating text. For instance, in English, the animal image “rabbit” is used to describe people who are too timid , that is, “as timid as a rabbit” . While in Chinese“mouse”is used as an the animal image, such as“胆小如鼠”.&lt;br /&gt;
&lt;br /&gt;
But they are the same in the ultimate transmission of meaning. Therefore, “胆小如鼠” is translated directly into “timid as a rabbit” rather than &amp;quot;timid as a mouse&amp;quot; . Although both rabbits and mice may exhibit the physiological trait of timidity in some cases, the borrowing translation method is more effective in avoiding misunderstanding and achieving the successful equivalence of meaning. Besides, in Western countries, the horse is regarded as the beast for burden and can produce milk and provide meat for people.&lt;br /&gt;
&lt;br /&gt;
Therefore, horse has more important social status in Western society than ox to show its power. However, ox are the main beast for burden in Chinese rural area, so there are of course some sayings as“力大如牛”“壮得像头牛”rather than“壮得像头马”“力大如马”. Because of the differences , it also directly produces the difference in animal idioms, so“力大如牛” is translated into English as &amp;quot;as strong as a horse&amp;quot; . Obviously, although their animal images are different, the substantive meanings are completely equal. In addition, “虎口”is translated into “lion’s mouth”because tigers and lions have the identical meanings in Chinese and Western culture. &lt;br /&gt;
&lt;br /&gt;
In Western countries, people are more familiar with lions than tigers. Chinese idiom“养虎为患”expresses the same meaning in the story between the farmer and snake. Thus it can be translated into “warm a snake in one’s bosom”. “害群之马”is translated into “a black sheep”instead of “a black horse”. Because the Chinese idiom is derogatory while horse in Western cultures is a positive animal and sheep is a negative animal. So“a black sheep”is much more proper. &lt;br /&gt;
&lt;br /&gt;
Above all, once animals have positive images in one language and negative images in another language, in translating, we can not translate the animals directly into another language, but use other animals to replace them.Lei Hua（2010:136-137）&lt;br /&gt;
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====6.3 Free Translation====&lt;br /&gt;
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Sometimes, the associative meaning of the same animal is very different in the two languages and cultures. There is also no other animal with similar associative meaning in the target language. When such idioms are translated, the best way is to abandon animal images of source language and mainly focus on the translation of meaning itself.&lt;br /&gt;
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The translation method sacrifices the animal images in the original text, but it retains the metaphorical meaning relatively and achieves functional equivalence. That is to say, free translation mainly expresses the original meaning and the style of the SL instead of transferring strictly its words, sentence patterns or figures of speech of the ST. Therefore, in order to achieve the equivalence in idiom translation, free translation is the better and suitable way to translate these idioms and reproduce them in the TL. By doing this way, the connotative meaning of idioms in the ST can be thoroughly understood by the readers of TT. &lt;br /&gt;
&lt;br /&gt;
There are examples.&lt;br /&gt;
To have a bee in one’s bonnet— 胡思乱想&lt;br /&gt;
To come like a dog at a whistle—一呼即来&lt;br /&gt;
Let the cat out of the bag—泄露秘密&lt;br /&gt;
牛鬼蛇神——monsters and ghosts &lt;br /&gt;
虎头虎脑——looking dignified and strong &lt;br /&gt;
强龙难压地头蛇——powerful outsiders can hardly afford to neglect local bullies&lt;br /&gt;
马首是瞻——follow somebody’s lead &lt;br /&gt;
效犬马之劳——serve somebody faithfully &lt;br /&gt;
&lt;br /&gt;
The Chinese idiom“牛鬼蛇神”means various bad people in Chinese. In English, there is no other animals of similar associative meaning to express its meaning. Therefore, it is translated into “ monsters and ghosts ” by using free translation method. Another example is “虎头虎脑”which means one is strong and honest. In Western cultures, the animal idiom does no exist. So the best method is to use free translation method. Besides, the animal idiom“强龙难压地头蛇”，in which the images of dragon in Chinese and Western cultures are totally different, is translated into “ a filthy mouth cannot utter decent language ” . By applying free translation method, the meaning of animal idioms is clearly shown and the same effect as that of the SL is given to the target readers, which can achieve the functional equivalence to the source language. Besides, individuals also better understand the meanings of various animal idioms.Lu Yi（2018:130）&lt;br /&gt;
&lt;br /&gt;
====6.4 Literal Translation with Annotation====&lt;br /&gt;
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There are also many animal images in another language that cannot arouse the reassociation of readers at all. Because readers cannot understand the meaning of literal translation of image and free translation will lose its original image，for this kind of animal idiom, literal translation with annotation is the best translation method. That is to say, this kind of translation method can translate the literal meaning of animal idioms and then provide further explanation to idioms, such as backgrounds, figurative meanings, contexts and sources. Then the deep meaning can be pointed out to make the translation vivid, reflecting the charm and style of original text and achieving the maximum functional equivalence. There are some examples. &lt;br /&gt;
画蛇添足——draw snakes and add a feet to it-ruin the effect by adding something superfluous &lt;br /&gt;
羊质虎皮——a sheep in tiger’ s skin-outwardly strong, inwardly weak &lt;br /&gt;
杀鸡儆猴——kill the chicken to frighten the monkey-punish somebody as a warning to others &lt;br /&gt;
Fish begins to stink at the end—鱼要腐烂先烂头—上梁不正下梁歪&lt;br /&gt;
挂羊头，卖狗肉—hang up a sheep’s head and sell dog’s meat-try to palm off something inferior to what it purport to be&lt;br /&gt;
&lt;br /&gt;
In the animal idiom“画蛇添足”, the cultural meaning of snake between two languages is similar, but it is not enough to simply use literal translation method. Because it is a traditional animal idioms , Chinese are familiar with it. But SL readers never hear about it. Therefore, it is much better to add annotation based on literal translation to make foreigners better understand the meaning of the idiom. Likewise, “ 杀 鸡 儆 猴 ” should also add annotation to stress figurative images in English. Therefore, by using the strategy of literal translation with annotation, we need to add some annotation to make the TL readers understand better and make the translation version more faithful. In conclusion, according to functional equivalence, translators can best preserve the national flavor of this kind of idioms by employing this method.Lu Yi（2018:130）&lt;br /&gt;
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===7.Conclusion===&lt;br /&gt;
&lt;br /&gt;
English and Chinese are rich in animal idioms. Animal idioms are rich in cultural connotations and national color, which brings many difficulties to the translation of animal idioms. We must master the four translation methods mentioned above . Besides, to be familiar with the cultural connotations of animals under different cultural backgrounds is the key to accurately grasp the translation. All in all, in the process of translating animal idioms, translators should adopt different translation methods in different situations and not only keep the cultural characteristics in the original text; but also at the same time, translators can not arbitrarily impose Chinese cultural idioms on the target text. Only in this way, the translators can translate animal idioms more originally to achieve the cultural communication .&lt;br /&gt;
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===8.References===&lt;br /&gt;
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*Nida, E. A. &amp;amp;Taber, C.R. The Theory and Practice of Translation [M]. Leidon Netherlands: EJ Brill, 1969.&lt;br /&gt;
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*Nida, Eugene A. Language and Culture-Contexts in Translating [M]. Shanghai: Shanghai Foreign Language Education Press,2002.&lt;br /&gt;
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*Nida, Eugene A. Toward a Science of Translation [M]. Shanghai: Shanghai Foreign Language Education Press, 1998.&lt;br /&gt;
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*Lu Yi吕艺.(2018).论功能对等理论在动物习语翻译策略中的应用.[J]. [On the Application of Functional Equivalence Theory in Translation Strategies of Animal Idioms].试题与研究 Questions and Research(12):130.&lt;br /&gt;
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*Liang Yanmei梁燕媚.(2011).英文动物习语的汉译方法浅析.[J]. [An Analysis of the Methods of Translating English Animal Idioms into Chinese].科教文汇(中旬刊) Education and Culture (mid-century)(04):147-148. &lt;br /&gt;
&lt;br /&gt;
*Lei Hua雷花.(2010).以功能对等理论浅析英汉动物习语的翻译.[J]. [Translation of English and Chinese Animal Idioms from the Perspective of Functional Equivalence]. 科教导刊(中旬刊) Journal of Science and Education (mid-century)(06):136-137.&lt;br /&gt;
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*Yuan Caihong袁彩虹.（1999）.英汉动物词汇的象征意义[J]. [The Symbolic Meaning of English and Chinese Animal Words]. 外语教学Foreign Language Teaching(03):30-32.&lt;br /&gt;
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*Zhang Qing张琴.(2019).英汉成语对比与翻译[J]. [Contrast and Translation of English and Chinese idioms]. 智库时代Think Tank Times (18):194-195.&lt;br /&gt;
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*Ying Xiaohong印晓红.(2001).英汉动物习语比喻形象的文化差异.[J]. [ Cultural Differences of Figurative Images in English and Chinese Animal Idioms]. 重庆大学学报(社会科学版)Journal of the Chongqing University (Social Sciences Edition)(01):66-69.&lt;br /&gt;
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*Zhu Lehong, Chen Kepei朱乐红,陈可培.(2000).英汉谚语文化差异与翻译策略.[J]. [Cultural Differences between English and Chinese Proverbs and Translation Strategies].外语教学Foreign Language Teaching(03):65-68.&lt;br /&gt;
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== On the Translation of Chinese Culture-Loaded Words in Lin Yutang's Six Chapters of a Floating Life: From the Perspective of Skopos Theory - 彭小玲 Peng Xiaoling ==&lt;br /&gt;
&lt;br /&gt;
&amp;lt;center&amp;gt;彭小玲 Peng Xiaoling 202020080633 English Language and Literature&amp;lt;/center&amp;gt;&lt;br /&gt;
&lt;br /&gt;
=== Abstract ===&lt;br /&gt;
&lt;br /&gt;
With the improvement of China's international status, the dissemination of Chinese culture is becoming more and more important. Since translation work plays a determining role in spreading culture, and being an important part in literary works, culture-loaded words often bring many difficulties to translation work. Therefore, studying on the translation of culture-loaded words is of great significance in the development of our country's translation cause as well as in the promotion of Chinese culture. &lt;br /&gt;
&lt;br /&gt;
With the improvement of China's international status, the dissemination of Chinese culture is becoming more and more important. Translation of literary works plays a determining role in spreading culture, among which culture-loaded words often bring many difficulties to translation work. Therefore, studying on the translation of culture-loaded words is of great significance in the development of our country's translation cause as well as in the promotion of Chinese culture.--[[User:Song Jianru|Song Jianru]] ([[User talk:Song Jianru|talk]]) 14:27, 19 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
This paper is going to guide from the three rules of Skopos theory, by adopting Nida's classified approach to culture, so as to make researches on the translation strategies of culture-loaded words in Lin Yutang's ''Six Chapters of a Floating Life''. Through the research, the author finds that Lin flexibly employs various translation methods to deal with different types of culture-loaded words in order to realize the purpose of spreading Chinese culture to the westerners. As a result, we can see that Skopos theory plays an instructive role in translation activities. At the same time, this paper will provide certain references for the translation practices of culture-loaded words in literary works. &lt;br /&gt;
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This paper, guided by the three rules of Skopos theory, make researches on the translation strategies of culture-loaded words in Lin Yutang's ''Six Chapters of a Floating Life'' with Nida's classified approaches to culture. Through the research, the author finds that Lin flexibly employs various translation methods to deal with different types of culture-loaded words in order to realize the purpose of spreading Chinese culture to the westerners. In conclusion, this paper provides certain references for the translation practices of culture-loaded words in literary works and provides evidence that Skopos theory plays an instructive role in the translation of culture-loaded words.--[[User:Song Jianru|Song Jianru]] ([[User talk:Song Jianru|talk]]) 14:27, 19 December 2020 (UTC)&lt;br /&gt;
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'''Key words'''&lt;br /&gt;
&lt;br /&gt;
Skopos theory; Lin Yutang's ''Six Chapters of a Floating Life''; culture-loaded words; translation methods&lt;br /&gt;
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=== 摘要 ===&lt;br /&gt;
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随着中国国际地位的提高，中国文化的传播变得日益重要。由于翻译工作对文化传播起着决定性的作用，而文化负载词作为文学作品的一个重要组成部分，也常常为翻译工作带来诸多困难。因此，研究中国文学作品中文化负载词的翻译方法对发展我国翻译事业，弘扬中国文化有着重大的意义。&lt;br /&gt;
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随着中国国际地位的提高，中国文化的传播变得日益重要。文学作品的翻译对文化传播起着决定性的作用，文化负载词作为文学作品的重要组成部分，其翻译工作常常面临诸多困难。因此，研究中国文学作品中文化负载词的翻译方法对发展我国翻译事业，弘扬中国文化有着重大的意义。--[[User:Song Jianru|Song Jianru]] ([[User talk:Song Jianru|talk]]) 14:27, 19 December 2020 (UTC)&lt;br /&gt;
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本文将以目的论的三原则作为理论指导，并采用奈达对文化分类方法来研究林语堂英译本《浮生六记》中一些文化负载词的翻译策略。通过本次研究发现，林语堂为了实现向西方读者传播中国文化的目的，灵活采用各种翻译方法来处理不同类型的文化负载词。所以我们可以得知目的论对于翻译活动具有指导意义，同时本文的研究对于文学作品中文化负载词的翻译实践能够起到一定的借鉴意义。&lt;br /&gt;
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本文将以目的论的三原则作为理论指导，并采用奈达对文化分类方法来研究林语堂英译本《浮生六记》中一些文化负载词的翻译策略。通过本次研究发现，林语堂为了实现向西方读者传播中国文化的目的，灵活采用各种翻译方法来处理不同类型的文化负载词。总的来说，本文的研究对于文学作品中文化负载词的翻译实践能够起到一定的借鉴意义，并佐证了目的论对于文化负载词的翻译具有指导意义。--[[User:Song Jianru|Song Jianru]] ([[User talk:Song Jianru|talk]]) 14:27, 19 December 2020 (UTC)&lt;br /&gt;
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'''关键词'''&lt;br /&gt;
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目的论；林语堂《浮生六记》英译本；文化负载词；翻译方法&lt;br /&gt;
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=== Introduction === &lt;br /&gt;
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The cultural transmission of our country is especially important under the background of the culture shocks from many other countries around the world. On the one hand, literary translation plays an indispensable part in spreading the Chinese culture. On the other hand, a lot of culture-loaded words are contained in literary works. So learning to apply appropriate strategies and methods to handle these words is of great significance in translation work. However, translation of culture-loaded words is absolutely not an easy job. &lt;br /&gt;
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The cultural transmission of our country is especially important under the background of economic globalization. Literary translation plays an indispensable part in spreading Chinese culture, among which a lot of culture-loaded words are contained in literary works. So learning to apply appropriate strategies and methods to handle these words is of great significance in translation work. However, translation of culture-loaded words is absolutely not an easy job. --[[User:Song Jianru|Song Jianru]] ([[User talk:Song Jianru|talk]]) 14:27, 19 December 2020 (UTC)&lt;br /&gt;
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Among many translation strategies, how to choose the suitable ones is a big problem. Under this kind of situation, it is more effective to refer to the excellent translations on the specific translation methods of various culture-loaded words. Thus, this paper is intended to take some examples in Lin Yutang's (1895-1976) ''Six Chapters of a Floating Life'' to analyze the translation of culture-loaded words from the perspective of Skopos theory so that some general translation methods can be concluded for reference. Skopos theory was initiated by Hans. J. Vermeer in the 1970s and then systematically introduced to China in the 1990s. &lt;br /&gt;
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Among many translation strategies, how to choose the suitable one is a big problem. Under this kind of situation, it is more effective to refer to the excellent translations on the specific translation methods of various culture-loaded words. Thus, this paper intends to take some examples in Lin Yutang's (1895-1976) ''Six Chapters of a Floating Life'' to analyze the translation of culture-loaded words from the perspective of Skopos theory, which was initiated by Hans. J. Vermeer in the 1970s and then systematically introduced to China in the 1990s, so that some general translation methods can be concluded for reference. --[[User:Song Jianru|Song Jianru]] ([[User talk:Song Jianru|talk]]) 14:27, 19 December 2020 (UTC)&lt;br /&gt;
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This theory is developed from the functionalist theory and takes translation as a purposeful action under a particular situation. To be more specific, Skopos theory emphasizes the translation process and takes various factors into consideration, which is a breakthrough of traditional translation theories. By adopting Skopos theory, the aim of spreading culture can be achieved as much as possible. As a result, through dividing culture-loaded words into five types, the paper will give specific examples in the third chapter on how Skopos theory is respectively applied to them in Lin's translation of ''Six Chapters of a Floating Life''.&lt;br /&gt;
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Skopos theory is developed from the functionalist theory and takes translation as a purposeful action under a particular situation. To be more specific, it emphasizes the translation process and takes various factors into consideration, which is a breakthrough of traditional translation theories. By adopting Skopos theory, the aim of spreading culture can be achieved as much as possible. As a result, through dividing culture-loaded words into five types, the paper will give specific examples in the third chapter on how Skopos theory is respectively applied to them in Lin's translation of ''Six Chapters of a Floating Life''.--[[User:Song Jianru|Song Jianru]] ([[User talk:Song Jianru|talk]]) 14:27, 19 December 2020 (UTC)&lt;br /&gt;
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=== I Literature Review on ''Six Chapters of a Floating Life'' ===&lt;br /&gt;
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As a famous autobiography, ''Fu Sheng Liu Ji'' enjoys a wide population among writers and readers. But why the book is so widely accepted? There must be some reasons behind it. And as a famous Chinese translator, Lin translated ''Fu Sheng Liu Ji'' into English out of his deep affection for the work and his intention to spread Chinese culture to the westerners. Owing to Lin's proficiency in both Chinese and English language, his ''Six Chapters of a Floating Life'' also becomes a famous translation which is highly appreciated by many scholars.&lt;br /&gt;
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As a famous autobiography, ''Fu Sheng Liu Ji'' enjoys a wide population among writers and readers. But why the book is so widely accepted? There must be some reasons behind it. And as a famous Chinese translator, Lin translated ''Fu Sheng Liu Ji'' into English and was highly appreciated by many scholars out of his in-depth affection for the work,his proficiency in both Chinese and English language, and his intention to spread Chinese culture to the westerners. &lt;br /&gt;
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==== 1.1 Previous Studies on Lin Yutang ==== &lt;br /&gt;
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Born in Zhangzhou, Fujian Province, Lin was the fifth of six sons in his family. His father, a Presbyterian pastor, was a passionate zest for all that was new and modern from the West. He believed that his sons must learn English and receive western education (Lin Taiyi, 1998, n. d.). So Lin was sent to attend St. John's University in Shanghai, where he received a bachelor's degree in 1917. And then he received a master's degree in Comparative Literature at Harvard University in 1922 and a doctoral degree in Linguistics at the University of Leipzig, Germany in 1924.From his rich studying experience, we can see that Lin is a master of Chinese literature and western literature, which laid a solid foundation in his later creation of literary works. &lt;br /&gt;
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Born in Zhangzhou, Fujian Province, Lin was the fifth of six sons in his family. His father, a Presbyterian pastor, was a passionate zest for all that was new and modern from the West. He believed that his sons must learn English and receive western education (Lin Taiyi, 1998, n. d.). So Lin was sent to attend St. John's University in Shanghai, where he received a bachelor's degree in 1917. And then he received a master's degree in Comparative Literature at Harvard University in 1922 and a doctoral degree in Linguistics at the University of Leipzig, Germany in 1924. From his rich studying experience, we can see that Lin is a master of Chinese literature and western literature, which laid a solid foundation in his later creation of literary works. --[[User:Song Jianru|Song Jianru]] ([[User talk:Song Jianru|talk]]) 14:27, 19 December 2020 (UTC)&lt;br /&gt;
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Lin's informal but polished style in both Chinese and English made him one of the most influential writers of his generation, and his compilations and translations of classic Chinese texts into English were bestsellers in the west. The China Times of Taiwan said, &amp;quot;For some in the west who were not well-informed, they heard about Lin before they heard about China, and heard about China before they heard about the glory of Chinese civilization&amp;quot; (The China Times of Taiwan, 1950). In his 80 years, Lin wrote and translated more than 50 books, his distinguished works include ''My Country and My People'' (1935), ''The Importance of Living'' (1937), ''Moment in Peking'' (1939), ''Six Chapters of a Floating Life'' (1936), etc. &lt;br /&gt;
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==== 1.2 Previous Studies of ''Fu Sheng Liu Ji'' and Lin Yutang's English Version ==== &lt;br /&gt;
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''Fu Sheng Liu Ji'' is a popular and influential autobiography written by Shen Fu (1763-1825), who is a Chinese writer in Qing Dynasty. The book is a distinctive classical literature of the Ming and Qing dynasties, for differing from the verbose vernacular language used in lengthy novels and dramas, it was written in a creative style of the literary language of poetry, essays and official histories. In affectionate and unequivocal tone, Shen presented the reader with all aspects of his everyday life with his wife whose mane is Chen Yun. The Original book includes six chapters, which are &amp;quot;Wedded Bliss,&amp;quot; &amp;quot;The Little Pleasures of Life,&amp;quot; &amp;quot;Sorrow,&amp;quot; &amp;quot;The Joys of Travel,&amp;quot; &amp;quot;Experience,&amp;quot; and &amp;quot;The Way of Life.&amp;quot; However, now the last two chapters are missing, only four chapters survive. ''Fu Sheng Liu Ji'' was highly praised by many scholars and has been translated into many languages of other countries. &lt;br /&gt;
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''Fu Sheng Liu Ji'' is a popular and influential autobiography written by Shen Fu (1763-1825), who is a Chinese writer in Qing Dynasty. The book is a distinctive classical literature about Ming and Qing dynasties. Differing from the verbose vernacular language used in lengthy novels and dramas, it was written in a creative style of the literary language of poetry, essays and official histories. In affectionate and unequivocal tone, Shen presented the reader with all aspects of his everyday life with his wife whose mane is Chen Yun. The Original book includes six chapters, which are &amp;quot;Wedded Bliss,&amp;quot; &amp;quot;The Little Pleasures of Life,&amp;quot; &amp;quot;Sorrow,&amp;quot; &amp;quot;The Joys of Travel,&amp;quot; &amp;quot;Experience,&amp;quot; and &amp;quot;The Way of Life.&amp;quot; However, now the last two chapters are missing, only four chapters survive. ''Fu Sheng Liu Ji'' was highly praised by many scholars and has been translated into many languages of other countries.--[[User:Song Jianru|Song Jianru]] ([[User talk:Song Jianru|talk]]) 14:27, 19 December 2020 (UTC) &lt;br /&gt;
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Lin highly appreciated Chen, and considered the woman as one of the loveliest woman in Chinese literature and Chinese history. Therefore, as a person of great attainments in both Chinese and English language, Lin translated the book into English to show his admiration for the moving love story of the couple as well as to introduce Chinese culture to the Western world. Among three English translations, Lin's translated version is the most famous one, for he applies many appropriate strategies when translating the culture-loaded words in the source text. Besides, being modified over 10 times, ''Six Chapters of a Floating Life'' became his best translated work and was also published on the British magazine, receiving a wide population from the local people.&lt;br /&gt;
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=== II A Brief Introduction to Skopos Theory === &lt;br /&gt;
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The Functionalist approaches can be traced back to the translation practice of the Bible, which emerges in Germany in 1970s. It places emphasis on &amp;quot;functions of the texts and translations&amp;quot; (Nord, 2001, p. 1) and goes through four main developing phrases, including Katharina Reiss's functional category of translation criticism, Vermeer's Skopos theory, Justa Holz-Manttari's theory of translation action and Christiane Nord's theory. Among these theories, Skopos theory plays the most important role in directly applying to every translation project. Skopos was a Greek word standing for &amp;quot;aim&amp;quot; or &amp;quot;purpose&amp;quot; (Nord, 2001, p. 27). Hans Vermeer applied this concept into the field of translation and proposed Skopos theory. &lt;br /&gt;
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==== 2.1 Basic Concepts of Skopos Theory ==== &lt;br /&gt;
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Based on the idea that translation should primarily take into consideration the function of both the source and target text, Hans Vermeer develops his general theory of translation, which is Skopos theory. In his opinion, &amp;quot;translation is a kind of human action, which is an intentional, purposeful behavior that takes place in a given situation; it is part of the situation, at the same time as it modifies the situation&amp;quot; (Nord, 2001, p. 11). Within the framework of Vermeer's theory, one of the most factors determining the purpose of translation is target readers, who have their own knowledge of cultural backgrounds, expectations for the translation and some communicative needs. &lt;br /&gt;
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Every translation is targeting at certain audiences, therefore, to translate means to produce a target text in a target setting for a target purpose and target addressees in target circumstances. As a breakthrough of traditional translation theories, Skopos theory is target text-centered which even can be independent of the source text. That is to say, the status of the source text is lower than it is in the equivalence-based theories of translation. In Vermeer's opinion, the source is an &amp;quot;offer of information,&amp;quot; which the translator turns into an &amp;quot;offer of information&amp;quot; for the target audience (Reiss and Vermeer, 1984, p. 119).&lt;br /&gt;
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Every translation is targeting at certain audiences, therefore, to translate means to produce a target text in a target setting for a target purpose and target addressees in target circumstances. As a breakthrough of traditional translation theories, Skopos theory is target text-centered which even can be independent of the source text. That is to say, the status of the source text is lower than it is in the equivalence-based theories of translation. In Vermeer's opinion, the source is an &amp;quot;offer of information,&amp;quot; which the translator turns into an &amp;quot;offer of information&amp;quot; for the target audience (Reiss and Vermeer, 1984, 119).--[[User:Song Jianru|Song Jianru]] ([[User talk:Song Jianru|talk]]) 14:27, 19 December 2020 (UTC)&lt;br /&gt;
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==== 2.2 Three Basic Rules of Skopos Theory ====&lt;br /&gt;
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The Skopos rule is the top-ranking rule for any translation, which means that a translation action is determined by its Skopos, which is &amp;quot;The end justifies the means&amp;quot;(Reiss and Vermeer, 1984, p. 101). Vermeer explains the Skopos rule in this way: &amp;quot;Each text is produced for a given purpose and should serve this purpose. The Skopos rule thus reads as follows: translate or write in a way that enables your translation to function in the situation in which it is used and with the people who want to use it and precisely in the way it to function&amp;quot; (Nord, 2001, p. 29). Therefore, a translator must define their given purpose within the translation context and determine what strategies they should take in conformity with the purpose.&lt;br /&gt;
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The second rule of Skopos theory is coherence rule, which means that a translation should conform to the standards of intratextual coherence. Namely, the translation is acceptable and readable and it makes sense for receivers to understand under their communicative culture of the target language. Therefore, as a translator, they should take account of the cultural backgrounds and circumstances of the target receivers and make the translation understandable to them. Besides, there is intertextual coherence, it can also be interpreted as &amp;quot;fidelity rule&amp;quot; (Reiss and Vermeer, 1984, p. 114). It means there should be intertextual coherence or fidelity between the source text and the target text, in other words, translation must be in accordance with the source text. While the faithful degree and forms to the source text are dependent on the translators' understanding of the source text and their translation Skopos. &lt;br /&gt;
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The three above-mentioned basic rules of Skopos theory are used to govern the whole process of translation. However, it is common that the three rules cannot be applied at the same time, so the translator should conform to certain principles as follows. The Skopos rule is the predominating rule, intratextual coherence the second and the fidelity rule the lowest; the fidelity rule is in conformity with the coherence rule, and the two rules are considered subordinated to the Skopos rule of the translation. So in the next chapter, the paper is going to briefly introduce some basic knowledge of culture-loaded words, and to explore how they are properly translated by guiding from the three above-mentioned rules in Lin's ''Six Chapters of a Floating Life''.&lt;br /&gt;
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=== III Translation of Culture-loaded Words in ''Six Chapters of a Floating Life'' Guided From Skopos Theory === &lt;br /&gt;
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Being a popular autobiography that describes a Chinese writer's daily life with his wife, Fu Sheng Liu Ji contains a large number of culture-loaded words. Whereas culture-loaded words possess its unique characteristics of Chinese people, so it is not an easy job to translate them properly and correctly into English. In this chapter, the paper will briefly explain what culture-loaded words is and how it is formed, and by taking specific examples in ''Six Chapters of a Floating Life'', the translation of culture-loaded words will be further studied from the perspective of Skopos theory. &lt;br /&gt;
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==== 3.1 General Studies of Culture-loaded Words ==== &lt;br /&gt;
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In this section, the author will have a general introduction to the definition and causes of culture-loaded words as well as to provide a brief categorization of culture-loaded Words in Lin's ''Six Chapters of a Floating Life''.&lt;br /&gt;
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3.1.1 Definition of Culture-loaded Words &lt;br /&gt;
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In language system, the words which can best embody the language carrying cultural information and reflecting the social life of human beings are defined as culture-loaded words. Culture-loaded words is also described as lexical gap, which means the cultural information of the source texts' words carried have no equivalents in target text (Bao Huinan and Bao'ang, 2004, p. 10). As the production of a country or a nation's cultural development, every language has its long history and abundant cultural connotation. &lt;br /&gt;
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Since each country or each nation differs in their developing history, social system, ecological environment, religious belief and ethnic customs, so there are many characteristic words, idioms and allusions in every language. All of them are the reflection of their conventions, values, aesthetic standards and way of thinking. Namely, culture-loaded words signify a certain kind of cultural connotation or association which may not be found in other languages or cultures.  &lt;br /&gt;
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3.1.2 Causes of Culture-loaded Words&lt;br /&gt;
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A famous British translator Newmark (1988) hold the view that culture-loaded words have internal and unique relationship with the culture it refers, which makes it difficult to have them translated (p. 94). And it is obviously that all of the culture-loaded words carry the typical national characteristics. But what is the cause of culture-loaded words between Chinese and English? To a large extent, it relates to the differences of geography and climate between China and other English countries. &lt;br /&gt;
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For example, as a coastal city, the British is rich in fish, so a lot of words are developed in relation to fish such as &amp;quot;a dull fish,&amp;quot; &amp;quot;a big fish,&amp;quot; and &amp;quot;a queer fish&amp;quot; and so on. While China is a country with advanced agricultural culture, a large number of words are tightly connected with its agriculture. Secondly, due to great differences in each country's history, there has no equivalent regarding to certain historical phrases like dynasty. Of course there must be many other contributing factors to culture-loaded words.&lt;br /&gt;
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3.1.3 Categorization of Culture-loaded Words in Lin's ''Six Chapters of a Floating Life'' &lt;br /&gt;
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A Chinese translator Wang Zuoliang (1989) points out that the biggest difficulty of translation rests with the differences of two cultures. Perhaps in a cultural environment, there exists something that is no need to explain, but once it is in another cultural environment, it takes a lot of efforts to make it clear for the foreign people (p. 34). Therefore, in order to effectively explore the general rules in translating culture-loaded words and apply them to other translation works, classifying culture-loaded words is of great necessity. The transmission and communication of culture is the fundamental purpose of language translation, accordingly, the categorization of culture-loaded words should be classified on the basis of culture. &lt;br /&gt;
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A Chinese translator Wang Zuoliang (1989) points out that the biggest difficulty of translation lies in the differences of two cultures. Perhaps in a cultural environment, there exists something that is no need to explain, but once it is in another cultural environment, it takes a lot of efforts to make it clear for the foreign people (p. 34). Therefore, in order to effectively explore the general rules in translating culture-loaded words and apply them to other translation works, classifying culture-loaded words is of great necessity. The transmission and communication of culture is the fundamental purpose of language translation, accordingly, the categorization of culture-loaded words should be classified on the basis of culture. --[[User:Song Jianru|Song Jianru]] ([[User talk:Song Jianru|talk]]) 14:27, 19 December 2020 (UTC)&lt;br /&gt;
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Although there are several common methods to classify culture-loaded words, a clear and definite categorization of culture is definitely needed in Lin's ''Six Chapters of a Floating Life'' since the author is about to analyze the translation strategies according to the classification of culture-loaded words. Next the author will adopt Eugene A. Nida's (1964) classification and categorize culture-loaded words into five types as ecological culture-loaded words, material culture-loaded words, social culture-loaded words, religious culture-loaded words and language culture-loaded words (p. 91).  &lt;br /&gt;
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==== 3.2 Translation of Culture-loaded Words in ''Six Chapters of a Floating Life'' From the Perspective of Skopos Theory ==== &lt;br /&gt;
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When Liao Qiyi (2000) explore the translation strategies of culture-loaded words, he believes that under quite different cultural backgrounds, translator should employ many translation methods such as literal translation (transliteration) plus annotation, literal translation plus free translation and free translation (p. 33). Considering substitution is also applied in Lin's English version Six Chapters of a Floating Life, the paper will analyze why and how to choose these strategies to translate each type of culture-loaded words in light of Skopos theory in the following parts. &lt;br /&gt;
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When Liao Qiyi (2000) explore the translation strategies of culture-loaded words, he believes that under quite different cultural backgrounds, translator should employ many translation methods such as literal translation (transliteration) plus annotation, literal translation plus free translation and free translation (p. 33). Considering substitution is also applied in Lin's English version ''Six Chapters of a Floating Life'', the paper will analyze why and how to choose these strategies to translate each type of culture-loaded words in light of Skopos theory in the following parts.--[[User:Song Jianru|Song Jianru]] ([[User talk:Song Jianru|talk]]) 14:27, 19 December 2020 (UTC) &lt;br /&gt;
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3.2.1 Translation of Ecological Culture-loaded Words&lt;br /&gt;
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Ecological culture-loaded words in Lin's ''Six Chapters of a Floating Life'' amount to 299, in terms of the translation methods, free translation 122, literal translation (transliteration) plus free translation 87, literal translation (transliteration) 69, literal translation (transliteration) plus annotation 19. It shows that free translation are mainly adopted in the translation of ecological culture-loaded words. Since Lin's English version has a full consideration of the differences between Chinese and western culture, and through the method of free translation, English readers tend to be easier to receive the translation. Some typical examples are listed below.&lt;br /&gt;
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Example 1: 余生乾隆癸末冬十一月二十有二日。I was born in 1763, under the reign of Ch'ienlung, on the twenty-second day of the eleventh moon. (p. 2)&lt;br /&gt;
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Example 2: 每逢朔望，余夫妇必焚香拜祷。On the first and fifteenth of every month, we burnt incense and prayed together before him. (p. 48)&lt;br /&gt;
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Example 3: 廿四子正，余作新舅送嫁，丑末归来。After midnight, on the morning of the twenty-fourth, I, as the bride's brother,sent my sister away and came back towards three o'clock. (p. 10)&lt;br /&gt;
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As is known to all, in ancient feudal society, Chinese people adopts the reign title of the emperor (lunar calendar) to count years while the English readers are accustomed to employing the Gregorian calendar. The ways that Chinese used is so sophisticated that even some local people cannot understand them completely, not to mention the westerners. Therefore, Lin employs free translation to translate the time, for example, translating &amp;quot;乾隆癸末&amp;quot; into the year of &amp;quot;1763&amp;quot;, &amp;quot;朔望&amp;quot; into &amp;quot;the first and fifteenth of every month&amp;quot; and &amp;quot;丑末&amp;quot; into &amp;quot;towards three o'clock&amp;quot;. Apparently, employing Arabic numerals here make it easier for westerners to understand the time sequence, on the contrast, using the times with hard explanations are inclined to confuse them. In a word, Lin's translation has taken the target reader's circumstances into consideration, which is in conformity with the coherence rule of Skopos theory.  &lt;br /&gt;
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As is known to all, in ancient feudal society, Chinese people adopted the reign title of the emperor (lunar calendar) to count years while the English readers are accustomed to employing the Gregorian calendar. The ways that Chinese used was so sophisticated that even some local people could not understand them completely, not to mention the westerners. Therefore, Lin employs free translation to translate the time, for example, translating &amp;quot;乾隆癸末&amp;quot; into the year of &amp;quot;1763&amp;quot;, &amp;quot;朔望&amp;quot; into &amp;quot;the first and fifteenth of every month&amp;quot; and &amp;quot;丑末&amp;quot; into &amp;quot;towards three o'clock&amp;quot;. Apparently, employing Arabic numerals here make it easier for westerners to understand the time sequence, on the contrast, using the times with hard explanations are inclined to confuse them. In a word, Lin's translation has taken the target reader's circumstances into consideration, which is in conformity with the coherence rule of Skopos theory.--[[User:Song Jianru|Song Jianru]] ([[User talk:Song Jianru|talk]]) 14:27, 19 December 2020 (UTC)  &lt;br /&gt;
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Example 4: 结构之妙，予以龙井为最，小有天园次之。石取天竺之飞来峰，城隍山之瑞石古洞。I regard Lungching (the Dragon Well) as the best in point of general plan and design, with the Hisiaoyut'ien Garden (Little Paradise) coming next. For rocks I would prefer the Flying Peak of T'ienchu and the Ancient Cave of Precious Stones on the City God's Hill. (p. 208)&lt;br /&gt;
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Ecological culture-loaded words mostly represent the unique Chinese scenic spots or geographical names. Although employing literal translation (transliteration) here may be helpful for target readers to know about Chinese regional culture characteristics, but due to great culture differences, apply this method mechanically will decline the interests of the translation. After all, many ecological culture-loaded words have their own charms. So like the translation of &amp;quot;龙井&amp;quot; and &amp;quot;小有天园&amp;quot;,  Lin adopts transliteration and literal translation here, which not only helps target readers to understand the connotation of these words, but also make them become familiar with their Chinese names. In short, when handling the place names, Lin bears in mind the purpose of spreading Chinese culture, which is in lines with the Skopos rule.   &lt;br /&gt;
&lt;br /&gt;
Ecological culture-loaded words mostly represent the unique Chinese scenic spots or geographical names. Although employing literal translation (transliteration) here may be helpful for target readers to know about Chinese regional culture characteristics, but due to great culture differences, applying this method mechanically will decline the interests of the translation. After all, many ecological culture-loaded words have their own charms. So like the translation of &amp;quot;龙井&amp;quot; and &amp;quot;小有天园&amp;quot;,  Lin adopts transliteration and literal translation here, which not only helps target readers to understand the connotation of these words, but also makes them more familiar with their Chinese names. In short, when handling the place names, Lin bears in mind the purpose of spreading Chinese culture, which is in lines with the Skopos rule.   &lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
3.2.2 Translation of Material Culture-loaded Words&lt;br /&gt;
&lt;br /&gt;
Free translation and literal translation (transliteration) are mainly employed in Lin's translation of material culture-loaded words. Guo Jianzhong (1999) mentioned that material culture-loaded words are national colored words carrying distinct Chinese characteristics, and it refers to all the products of manufacture (p. 57). Since in some occasions, only by free translation, the cultural connotation of the material can be shown to target readers. Some examples in Lin's English version are as follows.&lt;br /&gt;
&lt;br /&gt;
Example 5: 余曰:&amp;quot;坊间有蝴蝶履，大小由之，购亦极易&amp;quot;。I told her there was a kind of shoes called &amp;quot;butterfly shoes,&amp;quot; which could fit any size of feet and were very easy to obtain at the shops. (p. 58)&lt;br /&gt;
&lt;br /&gt;
Example 6: 其每日饭必用茶泡，喜食芥卤乳腐，吴俗呼为&amp;quot;臭乳腐&amp;quot;。She always mixed her rice with tea, and loved to eat stale picked bean-curd, called &amp;quot;stinking bean-curd&amp;quot; in Soochow. (p. 40)&lt;br /&gt;
&lt;br /&gt;
Lin translates &amp;quot;臭腐乳&amp;quot; and &amp;quot;蝴蝶履&amp;quot; respectively into &amp;quot;butterfly shoes&amp;quot; and &amp;quot;stinking bean-curd&amp;quot; by taking the method of free translation, which can help target readers to form some concrete images in their mind about what the food tastes and what the shoes looks like. To conclude, Lin introduces Chinese material culture in this way so that the foreigners can feel the exotic flavor to some degree. In this sense, Lin abides by the Skopos rule.&lt;br /&gt;
&lt;br /&gt;
Example 7: 街头有鲍姓者，卖馄饨为业。There was a wonton seller by the name of Pao. (p. 118)&lt;br /&gt;
&lt;br /&gt;
Example 8: 于腰间折而缝之，外加马褂。She tucked it round the waist and put on a makua on top. (p. 58)&lt;br /&gt;
&lt;br /&gt;
The two examples above show that when handling the words with particular Chinese culture, Lin employs transliteration, translating &amp;quot;馄饨&amp;quot; into &amp;quot;wonton&amp;quot; and &amp;quot;马褂&amp;quot; into &amp;quot;makua&amp;quot;. Since it is hard for the target readers to know about the cultural backgrounds behind these words, and it is also difficult to find their equivalents in the target text, so through the above translation, Lin's purpose of introducing the Chinese culture to the target readers is more inclined to be achieved. Here Lin's translation complies with the Skopos rule.&lt;br /&gt;
&lt;br /&gt;
The two examples above show that when handling the words with particular Chinese culture, Lin employs transliteration, translating &amp;quot;馄饨&amp;quot; into &amp;quot;wonton&amp;quot; and &amp;quot;马褂&amp;quot; into &amp;quot;makua&amp;quot;. Since it is hard for the target readers to know about the cultural backgrounds, and it is also difficult to find their equivalents in the target text, so Lin's purpose of introducing the Chinese culture to the target readers is more inclined to be achieved. Here Lin's translation complies with the Skopos rule.--[[User:Song Jianru|Song Jianru]] ([[User talk:Song Jianru|talk]]) 14:27, 19 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
3.2.3 Translation of Social Culture-loaded Words&lt;br /&gt;
&lt;br /&gt;
Lin's ''Six Chapters of a Floating Life'' is aimed at introducing an ordinary couple's daily life to the westerners, so undoubtedly it includes many Social culture-loaded words. Under Chinese social background, people will develop a corresponding distinctive system of social conventions differing from other nations. When handling these words, Lin also mainly adopts free translation, complemented by literal translation (transliteration). The examples are listed as follows.&lt;br /&gt;
&lt;br /&gt;
Example 9: 识张兰坡，始精剪枝养节之法。When I know Chang Lanp'o, I learnt from him the secrets of trimming branches and protecting joints. (p. 86)&lt;br /&gt;
&lt;br /&gt;
Example 10: 芸生一女，名青君。Yun had give birth to a daughter, named Ch'ingchun. (p. 138)&lt;br /&gt;
&lt;br /&gt;
Here Lin uses transliteration to handle the person names above such as &amp;quot;Chang Lanp'o&amp;quot; for &amp;quot;张兰坡&amp;quot; and &amp;quot;Ch'ingchun&amp;quot; for &amp;quot;青君&amp;quot;. As Chinese names have no equivalents in English, in order to make westerners know about Chinese names, Lin's translations maintain the Chinese culture successfully. Here Lin observes the Skopos rule by putting his purpose of spreading Chinese culture first.&lt;br /&gt;
&lt;br /&gt;
Example 11: 李太白是知己，白乐天是启蒙师。So Li Po is your bosom friend, Po Chuyi is your first tutor and your husband's literary name is San Po. (p. 22)&lt;br /&gt;
&lt;br /&gt;
Since the ancient Chinese litterateur have literally names besides their formal names. Without the basic knowledge of Chinese culture, Chinese names like &amp;quot;李太白&amp;quot; and &amp;quot;白乐天&amp;quot; are not easy to be understood. But the westerners may know their given names or family names, so take this into account, Lin substitute the two names with formal names &amp;quot;Li Po&amp;quot; and &amp;quot;Po Chuyi&amp;quot; so that the westerners will not confused about their identities. By taking the target readers' situation into consideration, Lin complies with the coherent rule of Skopos theory.&lt;br /&gt;
&lt;br /&gt;
3.2.4 Translation of Religious Culture-loaded Words&lt;br /&gt;
&lt;br /&gt;
Every nation has its own religious belief, as Chinese believe in Buddhism, Confucianism and Taoism while the westerners believe in Muslim and Christianity. The religious belief penetrates into people's daily life and plays an important role in establishing a set of value and moral system that restrict their conducts. Because of the differences in religion, Lin mostly uses free translation when translating religious culture-loaded words in Six Chapters of a Floating Life. Some examples are shown below.&lt;br /&gt;
&lt;br /&gt;
Example 12: 七月望，俗谓鬼节。The fifteenth of the seventh moon was All Soul's Day. (p. 28)&lt;br /&gt;
&lt;br /&gt;
Example 13: 天之厚我，可谓至矣。So altogether I may say the gods have been unusually kind to me. (p. 2)&lt;br /&gt;
&lt;br /&gt;
Example 14: 回煞之期，俗传是日魂必随煞而归。According to custom, the spirit of the deceased is supposed to return the house on a certain day after his death. (p. 180)&lt;br /&gt;
&lt;br /&gt;
Apparently, applying free translation, Lin translate &amp;quot;鬼节,&amp;quot; &amp;quot;天&amp;quot; and &amp;quot;魂&amp;quot; respectively into &amp;quot;All Soul's Day,&amp;quot; &amp;quot;gods&amp;quot; and &amp;quot;spirit of the deceased&amp;quot; in order to make them easier for target readers to comprehend. Since as we all know, these words are peculiar to Chinese culture. Like the word &amp;quot;天&amp;quot;, it is translated into &amp;quot;gods&amp;quot; which is a much more familiar word for the westerners and it will not bring obstacles for their understanding. The meanings of the translation above express the similar cultural connotation to both source-text readers and target readers. So all in all, Lin's translations observe the coherent rule of Skopos theory. &lt;br /&gt;
&lt;br /&gt;
3.2.5 Translation of Linguistic Culture-loaded Words&lt;br /&gt;
&lt;br /&gt;
Linguistic culture-loaded words involve every aspect in Lin's ''Six Chapters of a Floating Life'', such as proverbs, couplets, poems and idioms and so on. Since Chinese and English derive from different linguistic systems, both of which have their own special grammatical features. So Lin adopts free translation as the leading means to express the main meanings to the westerners, which can be shown in the following examples. &lt;br /&gt;
&lt;br /&gt;
Example 15: 因思《关雎》冠三百篇之首，故列夫妇于首卷；余以次递及焉。Since the Book of poems begins with a poem on wedded love, I thought I would begin this book by speaking of my marital relations and let other matters follow. (p. 2)&lt;br /&gt;
&lt;br /&gt;
As we can see from the example，because of the word &amp;quot;关雎&amp;quot;, Lin knows &amp;quot;三百篇&amp;quot; means &amp;quot;The Book of Songs&amp;quot;, while he translates it into &amp;quot;the Book of poems&amp;quot; which is a well-known name to westerners. Besides, &amp;quot;关雎&amp;quot; is considered as a symbol of beautiful love in nowadays, Lin translates it into &amp;quot;a poem on wedded love&amp;quot; makes it easier to understand. In conclusion, all of the three sentences employ the strategy of free translation, which considers the target readers' circumstances and also spread the Chinese cultural connotation. Therefore, Lin's translations abide by skopos rule and coherence rule of Skopos theory. &lt;br /&gt;
&lt;br /&gt;
Example 16: 惜萍水相逢，聚首无多日耳。Unfortunately, we met only a short time and then parted like duckweed on the water. (p. 238)&lt;br /&gt;
&lt;br /&gt;
&amp;quot;萍水相逢&amp;quot; comes from a poem written by Wang Bo, who is a famous poet in Tang dynasty. &amp;quot;萍&amp;quot; in English refers to duckweed, which is a kind of fern gathering and parting indefinitely. The duckweed has a cultural connotation in Chinese, it compares to two strangers meet by accident. Here Lin retains the metaphor used in the source text which fully and vividly reproduces the internal and external images of &amp;quot;萍水相逢&amp;quot; to target readers so as to make them feel the same as what the local people do to the source text. As a result, Lin's translation complies with the coherence rule of Skopos theory.&lt;br /&gt;
&lt;br /&gt;
==== 3.3 Reasons Behind the Choice of Translation Strategies ==== &lt;br /&gt;
&lt;br /&gt;
Through the analyses in 3.2, we can see that the choice of translation strategies during the process of translating culture-loaded words is determined by three main factors as translator, the readership and the translation purpose. In other words, the reasons behind the choice of translation methods can be found in the three factors mentioned before.&lt;br /&gt;
&lt;br /&gt;
3.3.1 Translator&lt;br /&gt;
&lt;br /&gt;
The status of the translator is becoming more and more important in recent years. Clearly, whether the level of a translation is high or not to a large extent lies in the translator's proficient degree of both source language and target language. As it mentioned above in 1.1, Lin received a good education both in Chinese and English language. Thanks to this, Lin got more comprehensive knowledge of Chinese and western culture, which lays a solid foundation for his later translation work. Intend to introducing Chinese culture, Lin considered the situation of target readers first, which makes his translation version the most widely accepted by the westerners. In a word, translator plays an essential part in the choice of translation methods and strategies. &lt;br /&gt;
&lt;br /&gt;
The status of the translator is becoming more and more important in recent years. Clearly, whether the level of a translation is high or not lies in the translator's proficient degree of both source language and target language. As what mentioned above, Lin received a good education both in Chinese and English language. Lin got more comprehensive knowledge of Chinese and western culture, which laid a solid foundation for his later translation work. Intend to introducing Chinese culture, Lin considered the situation of target readers first, which makes his translation version the most widely accepted by the westerners. In a word, translator plays an essential part in the choice of translation methods and strategies. --[[User:Song Jianru|Song Jianru]] ([[User talk:Song Jianru|talk]]) 14:27, 19 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
3.3.2 Readership&lt;br /&gt;
&lt;br /&gt;
Besides, readership is also a key factor determining the choice of translation methods and strategies. The target readers' cultural background, knowledge and expectations are tightly in relation to the translation process. Therefore, translator must take the target receivers' situation into account. Besides, the coherent rule of Skopos theory itself places emphasis on the importance of the readership. As for Lin's ''Six Chapters of a Floating Life'', his target readers were mainly westerners who carried deep prejudices towards Chinese people at that time. But they also wanted to know the real China and Lin's translation met their needs. Lin's translation narrows the cultural gap to a large extent which can be verified in 3.2 of the paper.   &lt;br /&gt;
 &lt;br /&gt;
3.3.3 Translation Purpose&lt;br /&gt;
&lt;br /&gt;
In addition to the two mentioned, translation purpose is also a decisive factor for the choice of translation strategies. As mentioned before, Skopos theory regard translation as a kind of human action and every translation has a purpose. Besides, among Skopos theory, the skopos rule is considered as the principle rule. Like Lin Yutang, besides his deep love towards the story of Shen Fu and Chen Yun, he has an intention to introduce the Chinese culture and spirits through ''Six Chapters of a Floating Life''. Thus, free translation is widely employed in Lin's translation of culture-loaded words.&lt;br /&gt;
&lt;br /&gt;
=== Conclusion === &lt;br /&gt;
&lt;br /&gt;
As for introducing Chinese culture to the western world, Lin makes a great contribution. As an excellent representative of successfully spreading Chinese culture, Lin's ''Six Chapters of a Floating Life'' received a wide population among the western readers. Nowadays, Chinese culture is stepping out into the outside world, so the translation of culture-loaded words plays an indispensable role in spreading the fine aspects of Chinese culture. And researching on the translation strategies of culture-loaded words is of great importance in leading the development of translation work and promoting international cultural communication. &lt;br /&gt;
&lt;br /&gt;
As an excellent representative of successfully spreading Chinese culture, Lin's ''Six Chapters of a Floating Life'' received a wide population among the western readers. Nowadays, Chinese culture is stepping out into the world, so the translation of culture-loaded words plays an indispensable role in spreading the fine aspects of Chinese culture. And researching on the translation strategies of culture-loaded words is of great importance in leading the development of translation work and promoting international cultural communication. --[[User:Song Jianru|Song Jianru]] ([[User talk:Song Jianru|talk]]) 14:27, 19 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
In a word, by referring to three basic rules of Skopos theory, the paper generally analyzes how the five types of culture-loaded words are appropriately translated in Lin's translation. Taking into account of the readership and translation purpose, Lin adopts various reasonable translation methods when tackling with different types of culture-loaded words, which is of great referential significance for us. As a result, through the above researches on the translation strategies of culture-loaded words in Lin's ''Six Chapters of a Floating Life'', the author expects to provide some references for the translation of the five types of culture-loaded words in Chinese literature works as well as to further promote the development of Chinese culture in the international community.&lt;br /&gt;
&lt;br /&gt;
In a word, by referring to three basic rules of Skopos theory, the paper generally analyzes how the five types of culture-loaded words are appropriately translated in Lin's translation. Taking into account the readership and translation purpose, Lin adopts various reasonable translation methods when tackling with different types of culture-loaded words, which is of great referential significance for us. As a result, through the above researches on the translation strategies of culture-loaded words in Lin's ''Six Chapters of a Floating Life'', the author expects to provide some references for the translation of the five types of culture-loaded words in Chinese literature works as well as to further promote the development of Chinese culture in the international community.--[[User:Song Jianru|Song Jianru]] ([[User talk:Song Jianru|talk]]) 14:27, 19 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
=== References === &lt;br /&gt;
&lt;br /&gt;
Bao, H. N. [包惠南] &amp;amp; Bao. A. [包昂]. (2004). 中国文化与汉英翻译. [Chinese Culture and Chinese-English Translation]. 北京: 外文出版社.&lt;br /&gt;
&lt;br /&gt;
Guo, J. Z. [郭建中]. (1999). 文化与翻译. [Culture and Translation]. 北京: 中国对外翻译出版公司.&lt;br /&gt;
&lt;br /&gt;
Liao, Q. Y. [廖七一]. (2000). 当代西方翻译理论探索. [General Information]. 南京: 译林出版社. &lt;br /&gt;
&lt;br /&gt;
Nord, C. (2001). Translation as a Purposeful Activity. Shanghai: Shanghai Foreign Language Education Press.&lt;br /&gt;
&lt;br /&gt;
Nida, E. A. (1964). Toward a Science of Translating. Leiden: E.J.Brill.&lt;br /&gt;
&lt;br /&gt;
Newmark, P. (1969). A Textbook of translation. Shanghai: Shanghai Foreign Language Press.  &lt;br /&gt;
&lt;br /&gt;
Reiss, K. &amp;amp; Vermeer, H. J. (1984). Grundlegung Einer Allgemeinen Translations theorie. Tubingen: Niemeyer. &lt;br /&gt;
&lt;br /&gt;
Shen, F. [沈复]. (2009). Six Chapters of a Floating Life. (Ling, Y. T. [林语堂]. ). Beijing: Foreign Language Teaching and Research Press. (Original work published 2008).&lt;br /&gt;
&lt;br /&gt;
Wang, Z. L. [王佐良]. (1989). 翻译: 思考与试笔. [Translation: Experiments and Reflections]. 北京: 外语教学与研究出版社.&lt;br /&gt;
&lt;br /&gt;
==Comparison of Skopos Theory with Functional Equivalence on the Translation of English Film Title - 杨悦 Yang Yue, 202070080617 英语笔译==&lt;br /&gt;
&amp;lt;center&amp;gt;杨悦 Yang Yue &amp;lt;/center&amp;gt;&lt;br /&gt;
===Abstract===&lt;br /&gt;
A film title is an audience’s first and direct impression on a film, and has functions of delivering a film’s subject and aesthetics, attracting audiences, conducting cultural exchange and furthermore, a business function--increasing box office sales. Therefore, the importance of a film title translation’s quality is self-evident. Guided by skopos theory and functional equivalence, this paper explores translation strategies of English film title. Theoretically based on skopos theory and functional equivalence and combined with practical cases, this paper analyses film title translation. Through examples and contrast, this study shows that skopos theory and functional equivalence can play an effective role in guiding a translator to gain wonderful translation text of film title. And through comparison of Skopos Theory with Functional Equivalence on the Translation of English Film Title, we can have an in-depth understanding of the English film title translation. It is hoped that this paper is able to be helpful to better display the artistic charm of a film.&lt;br /&gt;
&lt;br /&gt;
A film title is an audience’s first and direct impression on a film, and has functions of delivering a film’s subject and aesthetics, attracting audiences, conducting cultural exchange and the most important function is a business function--increasing box office sales. Therefore, the importance of a film title translation’s quality is crucial. Guided by skopos theory and functional equivalence, this paper explores translation strategies of English film title. Theoretically based on skopos theory and functional equivalence and combined with practical cases, this paper analyses film title translation. Through examples and contrast, this study shows that skopos theory and functional equivalence can play an effective role in guiding a translator to gain wonderful translation text of film title. And through comparison of Skopos Theory with Functional Equivalence on the Translation of English Film Title, we can have an in-depth understanding of the English film title translation. It is hoped that this paper is able to be helpful to better display the artistic charm of a film.--[[User:Xu Jing|Xu Jing]] ([[User talk:Xu Jing|talk]]) 08:15, 19 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
===Key words===&lt;br /&gt;
Skopos theory; functional equivalence; English film title; translation&lt;br /&gt;
&lt;br /&gt;
===题目===&lt;br /&gt;
浅谈目的论和功能对等理论在英语电影片名翻译中的差异&lt;br /&gt;
&lt;br /&gt;
===摘要===&lt;br /&gt;
电影片名是观众对一部电影的第一直接印象，具有传递电影的主旨与美感、吸引观众、交流文化的作用以及进一步的增加票房的商业作用。因此，电影名翻译好坏的重要性不言而喻。本文主要以目的论和功能对等理论为指导，研究西方英语电影片名的汉译策略,以目的论和功能对等为理论基础，结合实际案例，分析电影名的译文。通过例证与对比，证明了目的论和功能对等理论能够有效指导译者完成精彩的片名翻译。同时，通过分析目的论和功能对等理论在电影片名翻译中的差异，我们能对英语电影片名翻译有更深入的了解，以期更好地展现电影的艺术魅力。&lt;br /&gt;
&lt;br /&gt;
===关键词===&lt;br /&gt;
目的论；功能对等理论；英语电影片名；翻译&lt;br /&gt;
&lt;br /&gt;
===1. Introduction===&lt;br /&gt;
Film is a combination of motion photography and slide show. Through development, it has become a sort of continuous video images, a visual and auditory modern art, and also a synthesis of modern science, technology and art. It can accommodate tragicomedy and literature, photography, drama, sculpture, music, dance, painting, architecture and other art form. However, it has its own characteristics; it has features of all other art forms in artistic expression and its ways of expression are beyond all other art forms. (He Ying 2001, 13)&lt;br /&gt;
&lt;br /&gt;
Film is a combination of motion photography and slide show. Through development, it has become a sort of continuous video images, a visual and auditory modern art, and also a synthesis of modern science, technology and art. It can accommodate tragicomedy, literature, photography, drama, sculpture, music, dance, painting, architecture and other art form. However, it has its own characteristics. It has features of all other art forms in artistic expression and its ways of expression are beyond all other art forms. (He Ying 2001, 13)--[[User:Xu Jing|Xu Jing]] ([[User talk:Xu Jing|talk]]) 08:31, 19 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
Film title plays an eye-catching role in attracting audiences to theaters, thus film title translation is essentially important. Since its birth at the end of 19th century, film has always had commercial feature. For its production process, film is a creative activity in artistic and aesthetic realm; but for the purpose of film production, film is a product produced from highly industrialized flow line. Film must have economic value and exchange value at first; its production purpose is to maximize producers’ economic benefit. Take Hollywood as an example, in 2016, the total global film box office sales is 38.1 billion US dollars, of which American Hollywood’s revenue is 28.9 billion, accounting for 76% , almost becomes a monopoly of film market. (Tartaglione 2017)&lt;br /&gt;
&lt;br /&gt;
Film title plays an eye-catching role in attracting audiences to theaters, thus film title translation is essentially important. Since its birth at the end of 19th century, film has always had commercial feature. For its production process, film is a creative activity in artistic and aesthetic realm; but for the purpose of film production, film is a product produced from highly industrialized flow line. Film must have economic value and exchange value at first because its production purpose is to maximize producers’ economic benefit. Take Hollywood as an example, in 2016, the total global film box office sales is 38.1 billion US dollars, of which American Hollywood’s revenue is 28.9 billion, accounting for 76% , and almost becomes a monopoly of film market. (Tartaglione 2017)--[[User:Xu Jing|Xu Jing]] ([[User talk:Xu Jing|talk]]) 08:31, 19 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
Film is a purposeful commercialized art, and film title translation is also a purposeful act. The author believes the translation process should be guided under skopos theory hence, whose core concept is “the main factor in the translation process is the purpose of the overall translation” (Nord 2001, 27). This paper deals with the title translation from English to Chinese. (Nord 2001, 27)&lt;br /&gt;
&lt;br /&gt;
Film is a purposeful commercialized art, and film title translation is also a purposeful act. The author believes the translation process should be guided under skopos theory, whose core concept is “the main factor in the translation process is the purpose of the overall translation” (Nord 2001, 27). This paper deals with the title translation from English to Chinese. (Nord 2001, 27)--[[User:Xu Jing|Xu Jing]] ([[User talk:Xu Jing|talk]]) 08:31, 19 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
===2. Christiane Nord’ s skopos theory and Eugene Nida’ s Functional Equivalence===&lt;br /&gt;
===2.1 Brief Introduction to skopos theory===&lt;br /&gt;
Functionalist Translation Theory is proposed by German scholars Kantharina Reiss, Hans J. Vermeer, Justa Holz Mantari, Christiane Nord and others in the 1970s. Nord has given a clear definition to what “functionalist” means, which means focusing on function or functions of texts and translation (Nord 2001, 1). Functionalist translation theory is a broad term used in a variety of theories arising from such research methods. Apart from skopos theory, the theoretical core of functionalist translation theory, functionalist translation school also include a group of scholars who approve functionalist translation theory and are inspired by German skopos theory, although they never call themselves “skopists” (Nord 2001, 1). &lt;br /&gt;
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Functionalist Translation Theory is proposed by German scholars Kantharina Reiss, Hans J. Vermeer, Justa Holz Mantari, Christiane Nord and others in the 1970s. Nord has given a clear definition to what “functionalist” means, which means focusing on function or functions of texts and translation (Nord 2001, 1). Functionalist translation theory is a broad term used in a variety of theories arising from such research methods. Apart from skopos theory, functionalist translation school also include a group of scholars who approve functionalist translation theory and are inspired by German skopos theory, although they never call themselves “skopists” (Nord 2001, 1). --[[User:Xu Jing|Xu Jing]] ([[User talk:Xu Jing|talk]]) 08:31, 19 December 2020 (UTC)&lt;br /&gt;
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Therefore, besides German functionalist translation school, there are a number of scholars’ views can be incorporated in the range of functionalist translation theory, certainly including English scholar Peter Newmark and American scholar Eugene A. Nida’s studies about language functions and translation (Jia Wenbo 2004, 40).&lt;br /&gt;
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Therefore, besides German functionalist translation school, there are a number of scholars’ views can be incorporated in the range of functionalist translation theory, certainly including English scholar Peter Newmark and American scholar Eugene A. Nida. (Jia Wenbo 2004, 40).--[[User:Xu Jing|Xu Jing]] ([[User talk:Xu Jing|talk]]) 08:31, 19 December 2020 (UTC)&lt;br /&gt;
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“The term skopos usually refers to the purpose of the target text” (Nord 2001, 28). From this point of view, in translation process a translator can definitely base on “expected communicative function of TT (target text), and combine with TT readers’ sociocultural background, expectations to TT, sensitivity or world knowledge and communicative needs etc. to determine the specific translation strategy” (Nord 2001, 12) in specific target language context, and doesn’t have to rigidly adhere to the “equivalence” to ST (source text) when TT’s communicative function in target language’s cultural context is affected.  (Nord 2001, 12)&lt;br /&gt;
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“The term skopos usually refers to the purpose of the target text” (Nord 2001, 28). From this point of view, in translation process a translator can definitely base on “expected communicative function of TT (target text), and combine TT with readers’ sociocultural background, expectations to TT, sensitivity or world knowledge and communicative needs etc. to determine the specific translation strategy” (Nord 2001, 12) in specific target language context, and doesn’t have to rigidly adhere to the “equivalence” to source text when TT’s communicative function in target language’s cultural context is affected. (Nord 2001, 12)--[[User:Xu Jing|Xu Jing]] ([[User talk:Xu Jing|talk]]) 08:31, 19 December 2020 (UTC)&lt;br /&gt;
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Skopos theory advocates that translation is a kind of communicative action, and “the prime principle determining any translation process is the purpose (skopos) of the overall translational action” (Nord 2001, 27). Namely, “the translation purpose justifies the translation process. …’the end justifies the means’” (Nord 2001, 124). Translators deal with translation for specific purposes and for specific recipients in particular circumstances. (Nord 2001, 124)&lt;br /&gt;
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Skopos theory advocates that translation is a kind of communicative action, and “the prime principle determining any translation process is the purpose (skopos) of the overall translation action” (Nord 2001, 27). In other words, “the translation purpose justifies the translation process. …’the end justifies the means’” (Nord 2001, 124). Translators deal with translation for specific purposes and for specific recipients in particular circumstances. (Nord 2001, 124)--[[User:Xu Jing|Xu Jing]] ([[User talk:Xu Jing|talk]]) 08:31, 19 December 2020 (UTC)&lt;br /&gt;
===2.2 Brief Introduction to Functional Equivalence===&lt;br /&gt;
In the 1960s and 1970s, Nida proposed &amp;quot;dynamic equivalence&amp;quot;, emphasizing information equivalence rather than formal correspondence, highlighting the translation idea of &amp;quot;content first, form second&amp;quot;, which caused many misunderstandings. Therefore, in his article From One Language to Another: On Functional Equivalence in (Bible) Translation, he revised the original dynamic equivalence into functional equivalence, that is, the translation requires not only information content equivalence, but also equivalence in form as far as possible (Guo Jianzhong 2000, 68). &lt;br /&gt;
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In the 1960s and 1970s, Nida proposed &amp;quot;dynamic equivalence&amp;quot;, emphasizing information equivalence rather than formal correspondence, highlighting the translation idea of &amp;quot;content first, form second&amp;quot;, which caused many misunderstandings. Therefore, in his article From One Language to Another: On Functional Equivalence in (Bible) Translation, he changed the original dynamic equivalence into functional equivalence, which means that the translation requires not only information content equivalence, but also equivalence in form as far as possible (Guo Jianzhong 2000, 68). --[[User:Xu Jing|Xu Jing]] ([[User talk:Xu Jing|talk]]) 08:31, 19 December 2020 (UTC)&lt;br /&gt;
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Functional equivalence means that the translation produces basically the same feeling under the cultural background of the target language as the original text does under the cultural background of the source language. That is, the effect of a translation on the reader or audience of the target text is generally the same as that of the original text on the reader or audience of the target text. (Wang Yanping, Wang Jianwu 2005, 72-75)&lt;br /&gt;
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Functional equivalence means that the translation produces basically the same feeling under the cultural background of the target language as the original text does under the cultural background of the source language. In other words, the effect of a translation on the reader or audience of the target text is generally the same as that of the original text on the reader or audience of the target text. (Wang Yanping, Wang Jianwu 2005, 72-75)--[[User:Xu Jing|Xu Jing]] ([[User talk:Xu Jing|talk]]) 08:31, 19 December 2020 (UTC)&lt;br /&gt;
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Nida's explanation of functional equivalence is based on the comparison between the way that the target reader understands and appreciates the target text and the way that the original reader understands and appreciates the source text. Functional equivalence no longer focuses on mechanical formal equivalence, but conveys the information content of the source language in the linguistic form of the target language, emphasizing the equivalence of readers' response to the target language (Wang Yanping, Wang Jianwu 2005, 72-75).&lt;br /&gt;
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Nida's explanation of functional equivalence is based on the comparison between the way that the target reader understands and appreciates the target text and the way that the reader of the original text understands and appreciates the source text. Functional equivalence no longer focuses on mechanical formal equivalence, but conveys the information and content of the source language in the linguistic form of the target language, emphasizing the equivalence of readers' response to the target language (Wang Yanping, Wang Jianwu 2005, 72-75).--[[User:Xu Jing|Xu Jing]] ([[User talk:Xu Jing|talk]]) 08:31, 19 December 2020 (UTC)&lt;br /&gt;
===3. The application of Skopos Theory in the Translation of English Film Titles===&lt;br /&gt;
===3.1 Functions of Film Title Translation===&lt;br /&gt;
Domestic scholar He Ying summarizes functions of film title into four types: informative function, expressive function, aesthetic function and commercial function. The most important functions are commercial function, informative function, and aesthetic function. Skopos theory provides a theoretical framework for Chinese translation of English film titles in a variety of flexible forms. The application of skopos theory in the translation of English film titles is mainly reflected in the realization of the three functions mentioned above. (He Ying 2001, 57)&lt;br /&gt;
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Domestic scholar He Ying summarizes functions of film title into four types: informative function, expressive function, aesthetic function and commercial function. Commercial function, informative function, and aesthetic function are the most important functions. Skopos theory provides a theoretical framework for Chinese translation of English film titles in a variety of forms. The application of skopos theory in the translation of English film titles is mainly reflected in the realization of the three functions mentioned above. (He Ying 2001, 57)--[[User:Xu Jing|Xu Jing]] ([[User talk:Xu Jing|talk]]) 08:31, 19 December 2020 (UTC)&lt;br /&gt;
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====3.1.1 The commercial function====&lt;br /&gt;
Film is a cultural and commercial art. Born in Western countries, film has commercial feature at the beginning. It is not simply created for film creators’ entertainment, but for the ultimate goal of production and exchange; it must have economic value and exchange value at first. Whether a film is a success or not depends largely on its box office. According to skopos theory, translation skopos is decided by the initiator, and in terms of film title translation, the initiator is film producers and investors, whose production purpose is to maximize economic benefit. Therefore, translators should endeavor to make TT attractive and appealing to audiences in order to arouse their desire to buy tickets to watch the film, so as to realize the commercial purpose. (Yang Wanqiu 2011, 13)&lt;br /&gt;
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Film is a cultural and commercial art. Born in Western countries, film has commercial feature at the beginning. It is not simply created for film creators’ entertainment, but for its ultimate goal ---- production and exchange. It must have economic value and exchange value at first. Whether a film is a success or not depends largely on its box office. According to skopos theory, translation skopos is decided by the initiator, and in terms of film title translation, the initiator is film producers and investors, whose production purpose is to maximize economic benefit. Therefore, translators should endeavor to make target text attractive and appealing to audiences in order to arouse their desire to buy tickets to watch the film, so as to realize the commercial purpose. (Yang Wanqiu 2011, 13)--[[User:Xu Jing|Xu Jing]] ([[User talk:Xu Jing|talk]]) 08:31, 19 December 2020 (UTC)&lt;br /&gt;
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For example, in 2016, the film Zootopia was a great success. It was translated into “疯狂动物城” in Mainland China, and “优兽大都会”, “动物方城市” in Hong Kong and Taiwan. Comparatively, the author deems that the first translation is more intuitive, the audience can imagine the picture of a hilarious story about a city full of noisy animals. It can be cheerful, thus arousing people’s desire to watch it. The latter two translations also have the same effect; they all achieve the commercial purpose very well. (Yang Wanqiu 2011, 14)&lt;br /&gt;
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For example, in 2016, the film Zootopia was a great success. It was translated into “疯狂动物城” in Mainland China, and “优兽大都会”, “动物方城市” in Hong Kong and Taiwan. Comparatively, the author deems that the first translation is more intuitive, the audience can imagine the picture of a hilarious story about a city full of noisy animals. It can be cheerful, thus arousing people’s desire to go to the cinema to watch it. The latter two translations also have the same effect; they all achieve the commercial purpose very well. (Yang Wanqiu 2011, 14)--[[User:Xu Jing|Xu Jing]] ([[User talk:Xu Jing|talk]]) 08:31, 19 December 2020 (UTC)&lt;br /&gt;
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In contrast, the literal translation “动物乌托邦” seems to lack a little bit of conflict. Another successful translation example which better fulfill commercial purpose is Now You See Me (《惊天魔盗团》). The film tells a story about several magicians of high intelligence using cutting-edge technology and ornate stage as a cover to accomplish grand larceny under the watchful eyes of people. If it’s literally translated into “现在你看到我了”, then it’s unattractive and the audience can’t know anything from the title. After winning global box office, Now You See Me deserves sequels, and its second film was shown in 2016. In light of former success, the second one’s translation follows the first one, which is translated into “惊天魔盗团2”. (Yang Wanqiu 2011, 14)&lt;br /&gt;
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In contrast, the literal translation “动物乌托邦” seems to lack a little bit of interest. Another successful translation example which better fulfill commercial purpose is Now You See Me (《惊天魔盗团》). The film tells a story about several magicians of high intelligence using cutting-edge technology and ornate stage as a cover to accomplish grand larceny under the watchful eyes of people. If it’s literally translated into “现在你看到我了”, then it cannot attract audience and they can’t know anything from the title. After winning global box office, Now You See Me deserves sequels, and its second film was shown in 2016. In light of former success, the second one’s translation follows the first one, which is translated into “惊天魔盗团2”. (Yang Wanqiu 2011, 14)--[[User:Xu Jing|Xu Jing]] ([[User talk:Xu Jing|talk]]) 08:31, 19 December 2020 (UTC)&lt;br /&gt;
====3.1.2 The informative function====&lt;br /&gt;
According to skopos theory, “a target text is an offer of information in a target culture and target language concerning an offer of information in a source culture and source language” (Munday 2001, 79). Informative purpose is the basic one among the three purposes; any text’s purpose is to convey information. For film title, it needs to send messages about the film’s content or genre or both, so is its translation. “Accurately describing the content of the source film and avoiding misunderstanding is a very important criterion of realizing the information value of the film title” (Yang Wanqiu 2011, 27).&lt;br /&gt;
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According to skopos theory, “a target text is an offer of information in a target culture and target language concerning an offer of information in a source culture and source language” (Munday 2001, 79). Informative purpose is the basic one among the three purposes; any text’s purpose is to convey information. For film title, it needs to send messages about the film’s content or genre or style, so is its translation. “Accurately describing the content of the source film and avoiding misunderstanding is a very important criterion of realizing the informative value of the film title” (Yang Wanqiu 2011, 27).--[[User:Xu Jing|Xu Jing]] ([[User talk:Xu Jing|talk]]) 08:31, 19 December 2020 (UTC)&lt;br /&gt;
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The animated film Nine tells that in near future, human-made machines launches an attack to humankind. Buildings are destroyed and society’s falling apart. Eventually, the machine will kill the human race. A team of troop begins a war with the machine to protect the last human civilization. If Nine is translated to “九”, then audience will have no idea about what this film is and perhaps lots of consumers won’t watch it. (Yang Wanqiu 2011, 23)&lt;br /&gt;
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The animated film Nine tells that in near future, human-made machines launches an attack to humankind. Buildings are destroyed and society’s falling apart. Eventually, the machine will kill the human race. A team of troop begins a war with the machine to protect the last human civilization. If Nine is translated to “九”, audience will have no idea about what this film is and perhaps lots of consumers won’t go to the cinema to watch it. (Yang Wanqiu 2011, 23)--[[User:Xu Jing|Xu Jing]] ([[User talk:Xu Jing|talk]]) 08:31, 19 December 2020 (UTC)&lt;br /&gt;
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Fortunately, the translation “机器人九号” adds the information “robot”, so we know from the title that it’s about a robot whose number is nine, and this story centered on robots. The Chinese characters “机器人” adds missing information and ensures its box office, for lots of boys and adult fans love robots. (Yang Wanqiu 2011, 23)&lt;br /&gt;
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Fortunately, the translation “机器人九号” adds the information “robot”, so we know from the title that it’s about a robot whose number is nine, and this story focused on robots. The Chinese characters “机器人” adds missing information and adds its box office, for lots of boys and adult fans love robots. (Yang Wanqiu 2011, 23)--[[User:Xu Jing|Xu Jing]] ([[User talk:Xu Jing|talk]]) 08:31, 19 December 2020 (UTC)&lt;br /&gt;
====3.1.3 The aesthetic function====&lt;br /&gt;
On the basis of fulfilling commercial and informative purpose, a vivid and aesthetic title can be more appealing and attractive. According to skopos theory, translation should be fit for the receivers in target language. Translation receivers need TT to be readable and even beautiful; moreover, translators can have more freedom and room in selection of translation methods considering form, rhyme, rhetoric, etc. so as to create graceful or even poetic TT. (Yang Wanqiu 2011, 25)&lt;br /&gt;
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Besides commercial and informative purpose, a vivid and aesthetic title can be more appealing and attractive. According to skopos theory, translation should be fit for the receivers in target language. Translation receivers need target text to be readable and even beautiful. Moreover, translators can have more freedom and room in selection of translation methods considering form, rhyme, rhetoric, etc. so as to create graceful or even poetic TT. (Yang Wanqiu 2011, 25)--[[User:Xu Jing|Xu Jing]] ([[User talk:Xu Jing|talk]]) 08:31, 19 December 2020 (UTC)&lt;br /&gt;
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For example, Chinese people have a preference for four-character words and even idioms or proverbs; we can find expression in film title translation: Ordinary People (《凡夫俗子》), Fake Identity (《双重身份》), Intouchables (《触不可及》), Catch Me If You Can (《逍遥法外》), Hail, Caesar (《凯撒万岁》), Some Like It Hot (《热情似火》), The Finest Hours (《怒海救援》), Always (《天长地久》), Brick Mansions （《暴力街区》）. Through the usage of these four-character Chinese idioms, these title translations become catchy and dainty. (Yang Wanqiu 2011, 25)&lt;br /&gt;
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For example, Chinese people have a preference for four-character words and even idioms or proverbs; we can find expression in film title translation: Ordinary People (《凡夫俗子》), Fake Identity (《双重身份》), Intouchables (《触不可及》), Catch Me If You Can (《逍遥法外》), Hail, Caesar (《凯撒万岁》), Some Like It Hot (《热情似火》), The Finest Hours (《怒海救援》), Always (《天长地久》), Brick Mansions （《暴力街区》）. Through the usage of these four-character Chinese idioms, these title translations become catchy and impressive. (Yang Wanqiu 2011, 25)--[[User:Xu Jing|Xu Jing]] ([[User talk:Xu Jing|talk]]) 08:31, 19 December 2020 (UTC)&lt;br /&gt;
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===3.2 Three main methods of English film titles’ translation===&lt;br /&gt;
According to skopos theory, “the end justifies the means” (Nord 200, 124), that is, translation strategies and methods are determined by translation skopos. The author has discussed the functions above, which are equally film title’s purposes; this section is about the translation methods. The author summarizes predecessor's research results in recent years, and generally categorized three commonly used methods guided by skopos theory: literal translation, addition and omission. (Nord 200, 124)&lt;br /&gt;
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According to skopos theory, “the end justifies the means” (Nord 200, 124), that is, translation strategies and methods are determined by translation skopos. The author has discussed the functions above, which are equal in film title’s purposes. And this section is about the translation methods. The author summarizes predecessor's research results in recent years, and generally categorized three commonly used methods guided by skopos theory: literal translation, addition and omission. (Nord 200, 124)--[[User:Xu Jing|Xu Jing]] ([[User talk:Xu Jing|talk]]) 08:31, 19 December 2020 (UTC)&lt;br /&gt;
====3.2.1 Literal translation====&lt;br /&gt;
Literal translation, which means transferring source language to target language directly, is a translation method which maintains both the original content and the original form. Literal translation requires fidelity to the content of the original film title; when a film title can be easily understood or can reflect its main content and theme, literal translation can yet be regarded as the best choice, since in this circumstance, it not only conforms to the informative function, but also accords with skopos theory’s fidelity rule and coherence rule perfectly. (He Ying 2011, 25)&lt;br /&gt;
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Literal translation, which means transferring source language to target language directly, is a translation method which maintains both the original content and the original form. Literal translation requires fidelity to the content of the original film title. When a film title can be easily understood or can reflect its main content and theme, literal translation can be regarded as the best choice. Because in this circumstance, it not only conforms to the informative function, but also accords with skopos theory’s fidelity rule and coherence rule perfectly. (He Ying 2011, 25)--[[User:Xu Jing|Xu Jing]] ([[User talk:Xu Jing|talk]]) 08:31, 19 December 2020 (UTC)&lt;br /&gt;
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Example 1. Mr. Brooks (《布鲁克斯先生》)&lt;br /&gt;
Example 2. The Sound of Music （《音乐之声》）&lt;br /&gt;
Example 3. Pirates of the Caribbean （《加勒比海盗》）&lt;br /&gt;
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Mr. Brooks revolves around the hero Mr. Brooks, and the literally translated title “布鲁克斯先生” is easy for the audience to know that the film mainly tells a story about a man whose name is Brooks. This faithful translation conveys enough information as the original title does, which realizes informative function perfectly, and it doesn’t add any unnecessary information or omit important elements, which conforms to skopos theory’s fidelity rule. Both native language audience and Chinese audience won’t know who Mr. Brooks is until they watch the film. Large parts of audience love such simple and informative titles and want to satisfy their curiosity by watching the film, and thus the opportunity of their buying tickets increases. (Cai Dongdong 2000, 21)&lt;br /&gt;
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Mr. Brooks revolves around the hero Mr. Brooks, and the literally translated title “布鲁克斯先生” is easy for the audience to know that the film mainly tells a story about a man whose name is Brooks. This literal translation conveys enough information as the original title does, which realizes informative function perfectly, and it doesn’t add any unnecessary information or omit important elements, which conforms to skopos theory’s fidelity rule. Both native language audience and Chinese audience won’t know who Mr. Brooks is until they watch the film. Most of the audience love such simple and informative titles and want to satisfy their curiosity by watching the film, and thus the opportunity of their buying tickets increases. (Cai Dongdong 2000, 21)--[[User:Xu Jing|Xu Jing]] ([[User talk:Xu Jing|talk]]) 08:31, 19 December 2020 (UTC)&lt;br /&gt;
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Its commercial function can thus be achieved. Similar examples are Jane Eyre (《简爱》) and Romeo and Juliet (《罗密欧与茱丽叶》). To sum up, literal translation can be adopted in biographical film’s title translation, which can create a feeling of suspense to audience and thus be attractive to audience. In this way, title translation is able to achieve both informative function and commercial function, achieving satisfactory result. (Cai Dongdong 2000, 21)&lt;br /&gt;
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Its commercial function can thus be achieved. Similar examples are Jane Eyre (《简爱》) and Romeo and Juliet (《罗密欧与茱丽叶》). To sum up, literal translation can be adopted in biographical film’s title translation, which can create a feeling of suspense to attract audience. In this way, title translation is able to achieve both informative function and commercial function, achieving satisfactory result. (Cai Dongdong 2000, 21)--[[User:Xu Jing|Xu Jing]] ([[User talk:Xu Jing|talk]]) 08:31, 19 December 2020 (UTC)&lt;br /&gt;
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The Sound of Music’s literal translation “音乐之声” is a simple title, and it represents the theme and conveys information about the content of the film. Whatever English and Chinese title conveys the same information to the audience, who can naturally guess that the film is of musical play form, because music is all over the world, and there is no specific cultural connotation in the translation. “The end justifies the means” (Nord 2001, 124), and for this film, the purpose and commercial function of its title is obvious: to attract fans who love film of musical play type, so a simple literal translation can achieve the effect by attracting such audience.(Cai Dongdong 2000, 23)&lt;br /&gt;
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The Sound of Music’s literal translation “音乐之声” is a simple title, and it represents the theme and conveys information about the content of the film. Whatever English and Chinese title conveys the same information to the audience, who can naturally guess that the film is of musical play form, because music is all over the world, and there is no specific cultural connotation in the translation. “The end justifies the means” (Nord 2001, 124), and for this film, the purpose and commercial function of its title is obvious that is to attract fans who love film of musical play type, so a simple literal translation can achieve the effect by attracting such audience.(Cai Dongdong 2000, 23)--[[User:Xu Jing|Xu Jing]] ([[User talk:Xu Jing|talk]]) 08:31, 19 December 2020 (UTC)&lt;br /&gt;
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Pirates of the Caribbean is familiar to Chinese audience as “加勒比海盗”, for Captain Jack’s hilarious acting leaves a deep impression in audience’s minds. Most people know that Caribbean is an area sited in central America, so there is no need to translate it as “美洲加勒比海盗” or “加勒比地区的海盗”. The purpose of the original title is to indicate that the film is an adventurous story about some Caribbean pirates led by Jack, so according to skopos rule, here the adoption of literal translation is suitable, for Chinese audience can get the same connotation from the translation. (Cai Dongdong 2000, 25)&lt;br /&gt;
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Pirates of the Caribbean is familiar to Chinese audience as “加勒比海盗”, for Captain Jack’s hilarious acting leaves a deep impression in audience’s minds. Most people know that Caribbean is an area sited in central America, so there is no need to translate it as “美洲加勒比海盗” or “加勒比地区的海盗”. The purpose of the original title is to indicate that the film is an adventurous story about some Caribbean pirates led by Jack. Therefore, according to skopos rule, here the adoption of literal translation is suitable, for Chinese audience can get the same connotation from the translation. (Cai Dongdong 2000, 25)--[[User:Xu Jing|Xu Jing]] ([[User talk:Xu Jing|talk]]) 08:31, 19 December 2020 (UTC)&lt;br /&gt;
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Similar examples are Wall Street （《华尔街》）and Pearl Harbor (《珍珠港》). To summarize, literal translation can be adopted for a title named after a place. If added with another information, the title could be lengthy and burdensome, and audience won’t be able to remember a lengthy title. But according to skopos theory, skopos goes first. A title’s first purpose is to make audience remember a succinct title. (Cai Dongdong 2000, 25)&lt;br /&gt;
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Similar examples are Wall Street （《华尔街》）and Pearl Harbor (《珍珠港》). Literal translation can also be adopted for a title named after a place. If added with another information, the title could be lengthy and burdensome, and audience won’t be able to remember a lengthy title. But according to skopos theory, skopos goes first. A title’s first purpose is to make audience remember a succinct title. (Cai Dongdong 2000, 25)--[[User:Xu Jing|Xu Jing]] ([[User talk:Xu Jing|talk]]) 08:31, 19 December 2020 (UTC)&lt;br /&gt;
====3.2.2 Addition====&lt;br /&gt;
As English and Chinese have their own characteristics in vocabulary, syntax and expression methods, coupled with differences in Chinese and Western cultures, some film titles cannot be literally translated, otherwise may lead to loss of information or misleading the audience. In order to make the target audience really understand the connotation of the source title, according to skopos theory’s coherence rule, in such cases, we need to base on literal translation, judge the source title, and combine with film’s plot, theme, style, cultural connotation, etc. to adopt the method of addition to complement and better convey the film’s content. Generally, addition includes addition of nouns, addition of verbs and addition of adjectives. (He Ying 2011, 27)&lt;br /&gt;
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As English and Chinese have their own characteristics in vocabulary, syntax and expression methods, coupled with differences in Chinese and Western cultures, some film titles cannot be literally translated, otherwise may lead to loss of information or misleading the audience. In order to make the target audience really understand the connotation of the source title, according to skopos theory’s coherence rule, in such cases, we need to base on literal translation, judge the source title, and combine with film’s plot, theme, style, cultural connotation, etc. to adopt the method of addition to complement and better convey the film’s content. Generally, the method of addition includes addition of nouns, addition of verbs and addition of adjectives. (He Ying 2011, 27)--[[User:Xu Jing|Xu Jing]] ([[User talk:Xu Jing|talk]]) 08:31, 19 December 2020 (UTC)&lt;br /&gt;
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Addition of nouns is quite common. For example, the 43rd Oscar Best Picture owner Patton (《巴顿将军》) is formed of literal translation “巴顿” (the hero’s name) and addition of noun “将军”, which points out that the hero is the legendary figure General Patton in Second World War. It follows the coherence rule and better achieves informative function, for it makes audience more clear about what “巴顿” is: “巴顿” is a name of a General. Rather, a simple “巴顿” will be confusing to Chinese. (Cai Dongdong 2000, 28)&lt;br /&gt;
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Addition of nouns is quite common. For example, the 43rd Oscar Best Picture owner Patton (《巴顿将军》) is formed of literal translation “巴顿” (the hero’s name) and addition of noun “将军”, which points out that the hero is the legendary figure General Patton in Second World War. It conforms to the coherence rule and better achieves informative function, for it makes audience more clear about what “巴顿” is: “巴顿” is a name of a General. Rather, a simple “巴顿” will be confusing to Chinese. (Cai Dongdong 2000, 28)--[[User:Xu Jing|Xu Jing]] ([[User talk:Xu Jing|talk]]) 08:31, 19 December 2020 (UTC)&lt;br /&gt;
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The purpose of the title is to show the film is about this General and this period of history, so here the addition works as an explanation, better conveying information. Once informative function is achieved, audience can thus choose whether to watch the film to know about this history or not, and commercial function is embodied here. (Cai Dongdong 2000, 28)&lt;br /&gt;
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The purpose of the title is to show that the film is about this General and this period of history, so here the addition works as an explanation, better conveying information. Once informative function is achieved, audience can thus choose whether to go to the cinema to watch the film or not, and commercial function is embodied here. (Cai Dongdong 2000, 28)--[[User:Xu Jing|Xu Jing]] ([[User talk:Xu Jing|talk]]) 08:31, 19 December 2020 (UTC)&lt;br /&gt;
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Another example is the 55th Oscar Best Picture owner, an epic work Gandhi （《甘地传》）, which narrates Mahatma Gandhi’s great life. The original title Gandhi （甘地）and an addition of “传”, a character rich of Chinese biography characteristic, makes the translation purpose obvious: the purpose is to tell audience that Gandhi is a person, and this film is about Gandhi’s life story. Here, informative function is reflected in the word “传”, and only when audience know what this film is about will they buy tickets to see what Gandhi’s life is like. Commercial function is realized ultimately. (Cai Dongdong 2000, 29)&lt;br /&gt;
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Another example is the 55th Oscar Best Picture owner, an epic work Gandhi （《甘地传》）, which narrates the great life of Mahatma Gandhi. The original title Gandhi （甘地）and an addition of “传”, a character rich of Chinese biography characteristic, makes the translation purpose obvious. The purpose is to tell audience that Gandhi is a person, and this film is about Gandhi’s life story. Here, informative function is reflected in the word “传”, and only when audience know what this film is about will they buy tickets to see what Gandhi’s life is like. Commercial function is realized ultimately. (Cai Dongdong 2000, 29)--[[User:Xu Jing|Xu Jing]] ([[User talk:Xu Jing|talk]]) 08:31, 19 December 2020 (UTC)&lt;br /&gt;
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In light of semantic or expressive needs, addition of verbs exists. The most popular science fiction movie in 2014, Interstellar, is translated into “星际穿越” in mainland China. “Interstellar” means “星际的” and “恒星的”, but if literally translated to “星际” or “恒星”, it’s lack of expressive force neither in words nor in voice. An unattractive title can’t be appealing to audience, thus can’t realize film title’s ultimate purpose—increasing box office sales. But the addition of the verb “穿越” makes it a four-character title, more dynamic and more easy to spread. In terms of voice, it’s more readable and catchy. (Cai Dongdong 2000, 32)&lt;br /&gt;
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In light of semantic or expressive needs, addition of verbs exists. The most popular science fiction movie in 2014, Interstellar, is translated into “星际穿越” in mainland China. “Interstellar” means “星际的” and “恒星的”, but if literally translated to “星际” or “恒星”, it’s lack of expressive force neither in words nor in voice. An unattractive title can’t be appealing to audience, thus can’t realize film title’s ultimate purpose—increasing box office sales. But the addition of the verb “穿越” makes it a four-character title, which is more dynamic and more easy to spread. In terms of voice, it’s more readable and catchy. (Cai Dongdong 2000, 32)--[[User:Xu Jing|Xu Jing]] ([[User talk:Xu Jing|talk]]) 08:31, 19 December 2020 (UTC)&lt;br /&gt;
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For aesthetic function, “穿越” can create a sense of space and time, obviously more attractive than a simple “星际”. For commercial function, the audience can know it’s a sci-fi spectacular full of imagination, attracting more potential audience. The three functions are thus realized. (Cai Dongdong 2000, 32)&lt;br /&gt;
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For aesthetic function, “穿越” can create a sense of space and time, obviously more attractive than a simple “星际”. For commercial function, the audience can know it’s a sci-fi spectacular full of imagination, attracting more potential audience to watch it. The three functions are thus realized. (Cai Dongdong 2000, 32)--[[User:Xu Jing|Xu Jing]] ([[User talk:Xu Jing|talk]]) 08:31, 19 December 2020 (UTC)&lt;br /&gt;
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Similarly, The Notebook （《恋恋笔记本》）is also a perfect translation. The additional doubled verbs “恋恋”not only reflects its theme—a love story, but also makes the Chinese title a witticism, leaving a long-lasting tender feelings in audience’s minds that an ordinary “笔记本”can never be comparable. The film’s huge success in China owes largely to its title translation, which directly attracts lots of Chinese audience. It is a good example of realizing all the three functions of film title and realizing film title’s skopos rule perfectly. (Cai Dongdong 2000, 33)&lt;br /&gt;
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Similarly, The Notebook （《恋恋笔记本》）is also a perfect translation. The additional doubled verbs “恋恋”not only reflects its theme—a love story, but also makes the Chinese title a witticism, leaving a long-lasting tender feelings in audience’s minds that an ordinary “笔记本”can be incomparable. A huge success of this film in China owes largely to its title translation, which directly attracts lots of Chinese audience. It is a good example of realizing all the three functions of film title and realizing film title’s skopos rule perfectly. (Cai Dongdong 2000, 33)--[[User:Xu Jing|Xu Jing]] ([[User talk:Xu Jing|talk]]) 08:31, 19 December 2020 (UTC)&lt;br /&gt;
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The addition of adjectives gives life to film titles which originally are composed of nouns. Mr. Bean （《憨豆先生》） is another example. Its literal translation “豆先生” cannot highlight the leading role’s characteristic, while an addition of “憨” makes audience know it is a comedy, and meanwhile makes the title itself more charming. Actually, this film is also charming and wide-spread in China. Most comedy lovers can’t help watching the film on hearing the title. Its translation fits with its style and content, and attracts more audience, which contributes to box office. Film title’s commercial function is thus realized. (Cai Dongdong 2000, 34)&lt;br /&gt;
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The addition of adjectives gives life to film titles which originally are composed of nouns. Mr. Bean （《憨豆先生》） is another example. Its literal translation “豆先生” cannot highlight the leading characteristic of this role, while an addition of “憨” makes audience know it is a comedy, and meanwhile makes the title itself more charming and impressive. Actually, this film is also charming and wide-spread in China. Most comedy lovers can’t help watching the film on hearing the title. Its translation fits with its style and content, and attracts more audience, which contributes to box office. Film title’s commercial function is thus realized. (Cai Dongdong 2000, 34)--[[User:Xu Jing|Xu Jing]] ([[User talk:Xu Jing|talk]]) 08:31, 19 December 2020 (UTC)&lt;br /&gt;
====3.2.3 Omission====&lt;br /&gt;
Due to cultural differences similar to the case of addition, such circumstance often occurs that some characters in original title should be omitted and not be translated, because the target text contains original meaning although it doesn’t have the very character. The aim of omission is to ensure target text is clear, concise, and refining. Omission does not mean missing in translation, and omitted translation text should be as complete as the source text both in meaning and in connotation. Omission is often the outcome of consideration of aesthetic function, and it often occurs along with addition. (He Ying 2011, 30)&lt;br /&gt;
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Due to cultural differences, such circumstance often occurs that some characters in original title should be omitted and not be translated, because the target text contains original meaning although it doesn’t have the very character. The aim of omission is to ensure target text is clear, concise, and refining. Omission does not mean missing in translation, and omitted translation text should be as complete as the source text both in meaning and in connotation. Omission is often the outcome of consideration of aesthetic function, and it often occurs along with addition. (He Ying 2011, 30)--[[User:Xu Jing|Xu Jing]] ([[User talk:Xu Jing|talk]]) 08:31, 19 December 2020 (UTC)&lt;br /&gt;
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A typical example is Kramer vs. Kramer. It narrates a story about Billy, a boy from a single-parent family, and his father depending on each other for life and finally reconciling with his mother. The Taiwan and Hong Kong version “克莱默对克莱默” is confusing, lengthy, and of no aesthetic function. (Wang Ying 2016, 67)&lt;br /&gt;
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A typical example is Kramer vs. Kramer. It narrates a story about Billy, a boy from a single-parent family. His father depend on each other for life and finally reconcile with his mother. The Taiwan and Hong Kong version “克莱默对克莱默” is confusing, lengthy, and of no aesthetic function. (Wang Ying 2016, 67)--[[User:Xu Jing|Xu Jing]] ([[User talk:Xu Jing|talk]]) 08:31, 19 December 2020 (UTC)&lt;br /&gt;
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Few audiences can have interest in such translation, so it doesn’t conform to skopos rule. “对” usually means confrontation and is used in games and matches, so it’s not appropriate here. The Chinese meanings of “vs.” like “相对”, “对抗” are also improper. Mainland China’s translation “克莱默夫妇” does not embody the lifelike word “vs.”, but it explicitly points out what the film is about, simple and forthright. Here omission and addition are both adopted, better conveying the film’s information. (Wang Ying 2016, 67)&lt;br /&gt;
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Most of the audiences have no interest in such translation, so it doesn’t conform to skopos rule. “对” usually means confrontation and is used in games and matches, so it’s not appropriate here. The Chinese meanings of “vs.” like “相对”, “对抗” are also improper. Mainland China’s translation “克莱默夫妇” does not embody the lifelike word “vs.”, but it explicitly points out what the film is about, simple and forthright. Here omission and addition are both adopted, which better conveys the film’s information. (Wang Ying 2016, 67)--[[User:Xu Jing|Xu Jing]] ([[User talk:Xu Jing|talk]]) 08:31, 19 December 2020 (UTC)&lt;br /&gt;
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Here are some other examples. When Alice in Wonderland: Through the Looking Glass was shown in 2016, most translations on cinema posters were “爱丽丝梦游仙境2”, while its official translation was “爱丽丝梦游仙境：镜中奇遇记”, which audience may wonder whether it’s the famous film Alice in Wonderland’s continuation or it’s an imitation work made by other film makers. (Wang Ying 2016, 68)&lt;br /&gt;
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Here are some other examples. When Alice in Wonderland: Through the Looking Glass was shown in 2016, most translations on cinema posters were “爱丽丝梦游仙境2”, while its official translation was “爱丽丝梦游仙境：镜中奇遇记”. So most of the audience may wonder whether it’s the famous film Alice in Wonderland’s continuation or it’s an imitation work made by other film makers. (Wang Ying 2016, 68)--[[User:Xu Jing|Xu Jing]] ([[User talk:Xu Jing|talk]]) 08:31, 19 December 2020 (UTC)&lt;br /&gt;
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Causing misunderstanding does not conform to skopos theory’s coherence rule, which can be realized more directly by the usage of omission of the subtitle and highlight of this film’s continuation role. Once the film’s reputation increases, cinema’s goal of attracting more audience can thus be realized. (Wang Ying 2016, 68)&lt;br /&gt;
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Causing misunderstanding does not conform to skopos theory’s coherence rule, which can be realized more directly by the usage of omission of the subtitle and highlight of this film’s continuation role. Once the film’s reputation increases, cinema can attract more audience. (Wang Ying 2016, 68)--[[User:Xu Jing|Xu Jing]] ([[User talk:Xu Jing|talk]]) 08:31, 19 December 2020 (UTC)&lt;br /&gt;
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The comedy Home Alone (《小鬼当家》) is popular in China. If literally translated, “独自在家” will be confusing to audience, who may wonder who is at home alone and may think that this film is about some pathetic man’s boring daily life who lives alone or may even deem it as a thriller film, namely, the informative function is not realized. However, the omission of “alone” can fix the problem, eliminating audience’s feeling of solitude.(Wang Ying 2016, 72)&lt;br /&gt;
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The comedy Home Alone (《小鬼当家》) is popular in China. If literally translated into“独自在家”, it will be confusing to audience, who may wonder who is at home alone and may think that this film is about some pathetic man’s boring daily life who lives alone or may even deem it as a thriller film, namely, the informative function is not realized. However, the omission of “alone” can fix the problem, eliminating audience’s feeling of solitude.(Wang Ying 2016, 72)--[[User:Xu Jing|Xu Jing]] ([[User talk:Xu Jing|talk]]) 08:31, 19 December 2020 (UTC)&lt;br /&gt;
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Besides, the addition of “小鬼”, an affectionate form of address, further complement information about the film. By pointing out that it’s a story about adorable children happened at their home, it’s easy for audience to infer that it’s a comedy, and the translation successfully achieves coherence rule. As long as the translation can arouse comedy fans’ interest, its skopos rule is achieved. (Wang Ying 2016, 72)&lt;br /&gt;
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Besides, the addition of “小鬼”, an affectionate form of address, further complement information about the film. By pointing out that it’s a story about adorable children happened at their home, it’s easy for audience to infer that it’s a comedy, and the translation successfully conforms to coherence rule. As long as the translation can arouse comedy fans’ interest, its skopos rule is achieved. (Wang Ying 2016, 72)--[[User:Xu Jing|Xu Jing]] ([[User talk:Xu Jing|talk]]) 08:31, 19 December 2020 (UTC)&lt;br /&gt;
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In short, omission is corresponding to addition. It is to delete some words that are inappropriate in target language considering thinking habit, language habit and expression, etc. in order to avoid unnecessary translation. (He Ying 2011, 31)&lt;br /&gt;
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In short, omission is corresponding to addition. It is to delete some words that are inappropriate in target language, language habit and expression, etc. in order to avoid unnecessary translation. (He Ying 2011, 31)--[[User:Xu Jing|Xu Jing]] ([[User talk:Xu Jing|talk]]) 08:31, 19 December 2020 (UTC)&lt;br /&gt;
===4. The application of Functional Equivalence in the Translation of English Film Titles===&lt;br /&gt;
===4.1 Two main methods of English film titles’ translation===&lt;br /&gt;
====4.1.1 Transliteration====&lt;br /&gt;
Transliteration, that is, the process or result of using one character symbol to represent the character symbol of another character system. When there is a big difference between the original language and the target language and there are semantic gaps, the translation cannot start directly from the form or semantics. In this case, transliteration is used. Many British and American film and television titles are familiar to the audience or have important historical and cultural significance, so transliteration is adopted. Such as: Casablanca &amp;quot;卡萨布兰卡&amp;quot;, Mulan &amp;quot;花木兰&amp;quot;, etc. (Chen Huaiyan 2009, 15)&lt;br /&gt;
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Transliteration is a process or a result of using one character symbol to represent the character symbol of another character system. When there is a huge difference between the original language and the target language or there are semantic gaps, the translation cannot start directly from the form or semantics. In this case, transliteration can be used. Most of the audience are familiar to many British and American films and television titles or have a knowledge of their historical and cultural significance, so transliteration is adopted. Such as: Casablanca &amp;quot;卡萨布兰卡&amp;quot;, Mulan &amp;quot;花木兰&amp;quot;, etc. (Chen Huaiyan 2009, 15)--[[User:Xu Jing|Xu Jing]] ([[User talk:Xu Jing|talk]]) 08:31, 19 December 2020 (UTC)&lt;br /&gt;
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However, there are some situations that require flexible translation. For example: If The Thelma and Louise were transliterated into &amp;quot;塞尔玛与路易斯&amp;quot;, the audience would think that it was just two names. Selma and Louis are the two female males in the film. However, due to a series of sexual violence and harassment on their simple journey, the two of them began to fight back under unbearable circumstances, and finally flew to the world. (Chen Huaiyan 2009, 15)&lt;br /&gt;
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However, there are some situations that require flexible translation. For example: If The Thelma and Louise were transliterated into &amp;quot;塞尔玛与路易斯&amp;quot;, the audience would think that it was just two female males in the film. However, this movie talked about they began to fight back under unbearable circumstances after experiencing a series of sexual violence and harassment on their simple journey, and finally flew to the world. (Chen Huaiyan 2009, 15)--[[User:Xu Jing|Xu Jing]] ([[User talk:Xu Jing|talk]]) 08:31, 19 December 2020 (UTC)&lt;br /&gt;
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The film portrays the story of two hostesses fighting their fate with their lives in order to maintain the dignity of women. The film was paraphrased as &amp;quot;末路狂花&amp;quot; (Cai Dongdong 2000, 176). This translation is not only basically the same as the content of the film, but also conveys the meaning of the original film appropriately without being restricted by English. (Cai Dongdong 2000, 176)&lt;br /&gt;
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The film portrays the story of two hostesses fighting with their fate in order to maintain the dignity of women. The film was paraphrased as &amp;quot;末路狂花&amp;quot; (Cai Dongdong 2000, 176). This translation not only basically expresses the content of the film, but also appropriately  conveys the meaning of the original film without being restricted by English. (Cai Dongdong 2000, 176)--[[User:Xu Jing|Xu Jing]] ([[User talk:Xu Jing|talk]]) 08:31, 19 December 2020 (UTC)&lt;br /&gt;
====4.1.2 Free Translation====&lt;br /&gt;
Some English film titles have specific cultural connotations, and it is difficult to express them in literal translation. Such film titles must be freely translated based on the film content and the original name. The so-called free translation means that the translation can accurately express the original thought content when it is not limited to the form of language expression. Gouadec's free translation is named restructuring translation, which refers to the translation that retains the entire content of the original text without considering the form of the target text. Its purpose is to convey the content of the original text in a language that is as clear and understandable as possible, so that all the original text information is directly accepted by the target reader (Fang Mengzhi 2004, 57). &lt;br /&gt;
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Some English film titles have specific cultural connotations, and it is difficult to express them in literal translation. Such film titles must be non-literally translated based on the film content and the original name. That is so-called free translation. It means that the translation can accurately express the original thought content while it is not limited to the form of language expression. Gouadec's free translation is named restructuring translation, which refers to the translation that retains the entire content of the original text without considering the form of the target text. Its purpose is to convey the content of the original text in a language that is as clear and understandable as possible, so that all the original text information is directly accepted by the target reader (Fang Mengzhi 2004, 57). --[[User:Xu Jing|Xu Jing]] ([[User talk:Xu Jing|talk]]) 08:31, 19 December 2020 (UTC)&lt;br /&gt;
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Therefore, free translation is generally basically or completely out of the literal meaning of the original topic, and a new topic is created. For example, the movie Gone with the Wind is translated as &amp;quot;乱世佳人&amp;quot;. The title more vividly conveys the rough life of the heroine. Another example is the film The Bridges of Madison County, which was paraphrased as &amp;quot;廊桥遗梦&amp;quot;, which tells about the extramarital affair of two middle-aged people. The translated name clearly shows the theme of the film, and also leaves plenty of room for imagination for the audience. (Fang Mengzhi 2004, 57)&lt;br /&gt;
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Therefore, free translation is generally based on the literal meaning of the original topic, and then a new topic is created. For example, the movie Gone with the Wind is translated as &amp;quot;乱世佳人&amp;quot;. The title vividly conveys the rough life of the heroine. Another example is the film The Bridges of Madison County, which was paraphrased as &amp;quot;廊桥遗梦&amp;quot;, which tells about the extramarital affair of two middle-aged people. The translation clearly shows the theme of the film, and also leaves the audience ample room for imagination. (Fang Mengzhi 2004, 57)--[[User:Xu Jing|Xu Jing]] ([[User talk:Xu Jing|talk]]) 08:31, 19 December 2020 (UTC)&lt;br /&gt;
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The free translation method must be concise and vivid, embodying the theme, and at the same time conform to the Chinese language norms and the aesthetic appeal of the audience as much as possible. Free translation is not restricted by the language form of the original text, and can better reflect the essence of functional equivalence. For example: Best Friend's Wedding, there are two different translations: &amp;quot;我最好朋友的婚礼&amp;quot; and &amp;quot;新娘不是我&amp;quot;. In contrast, the latter is more in line with the idea that Nida put forward. Therefore, the free translation of the title can attract the audience's attention and leave the audience with suspense. (Fang Mengzhi 2004, 60)&lt;br /&gt;
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The free translation method demands that the translation must be concise and vivid, embodying the theme, and at the same time conforming to the Chinese language norms and the aesthetic appeal of the audience as much as possible. Free translation is not restricted by the language form of the original text so that it can better reflect the essence of functional equivalence. For example: Best Friend's Wedding, there are two different translations: &amp;quot;我最好朋友的婚礼&amp;quot; and &amp;quot;新娘不是我&amp;quot;. In contrast, the latter is more in line with the idea that Nida put forward. Therefore, free translation of the title can attract the audience's attention and leave the audience with suspense. (Fang Mengzhi 2004, 60)--[[User:Xu Jing|Xu Jing]] ([[User talk:Xu Jing|talk]]) 08:31, 19 December 2020 (UTC)&lt;br /&gt;
===5. Conclusion===&lt;br /&gt;
Film, as a commercial art form, has to consider its cost and income, so our concept of translation and translation theory itself should keep up with the development of times and change. Unlike other text translations, the reader of film titles is a larger group, so the translation should take into account vast majority of readers’ aesthetic preferences, value orientation, etc.. (Chen Huaiyan 2009, 28)&lt;br /&gt;
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Film, as a commercial art form, has to consider its cost and income, so our concept of translation and translation theory itself should keep up with the development and change of times. Unlike other text translations, the reader of film titles is a larger group, so the translation should take into account vast majority of readers’ aesthetic preferences, value orientation, etc.. (Chen Huaiyan 2009, 28)--[[User:Xu Jing|Xu Jing]] ([[User talk:Xu Jing|talk]]) 08:31, 19 December 2020 (UTC)&lt;br /&gt;
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This paper studies the application of skopos theory and functional equivalence in Chinese translation of English film titles. Skopos theory has three guiding rules: skopos rule, coherence rule and fidelity rule, among which skopos rule is the dominating rule, because in skopos theory, translation action is determined by the skopos of target text. In addition, the application of skopos theory in film title translation is reflected in realizing film title’s three functions: commercial function, informative function and aesthetic function, among which commercial function is the most important function, because to film makers, their skopos of title translation is to maximize the sales for high profit. (Chen Huaiyan 2009, 28)&lt;br /&gt;
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This paper studies the application of skopos theory and functional equivalence in Chinese translation of English film titles. Skopos theory has three guiding rules: skopos rule, coherence rule and fidelity rule, among which skopos rule is the dominating rule, because in skopos theory, translation is to achieve the skopos of target text. In addition, the application of skopos theory in film title translation is reflected in realizing film title’s three functions: commercial function, informative function and aesthetic function, among which commercial function is the most important function, because to film makers, their skopos of title translation is to maximize the sales for high profit. (Chen Huaiyan 2009, 28)--[[User:Xu Jing|Xu Jing]] ([[User talk:Xu Jing|talk]]) 08:31, 19 December 2020 (UTC)&lt;br /&gt;
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In order to better achieve film title’s three functions, the author promotes three commonly used methods in title translation: literal translation, addition , omission, transliteration and free translation. To the audience, they buy tickets and enter cinemas for entertainment and mental enjoyment. Only attractive titles can be more appealing to audience; thus the purpose of title translation is to deliver the charm of the film to audience in an appropriate way; this in turn can realize film maker’s purpose. Title translators should give an overall consideration about the balance of the functions and freely choose them under the guidance of skopos theory and functional equivalence. (Chen Huaiyan 2009, 29)&lt;br /&gt;
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In order to better achieve film title’s three functions, the author promotes three commonly-used methods in title translation: literal translation, addition, omission, transliteration and free translation. To the audience, they buy tickets and enter cinemas for entertainment and mental enjoyment. Only attractive titles can be more appealing and impressive to audience; thus the purpose of title translation is to deliver the charm of the film to audience in an appropriate way; this in turn can realize film maker’s purpose. Title translators should give an overall consideration about the balance of the functions and freely choose them under the guidance of skopos theory and functional equivalence. (Chen Huaiyan 2009, 29)--[[User:Xu Jing|Xu Jing]] ([[User talk:Xu Jing|talk]]) 08:31, 19 December 2020 (UTC)&lt;br /&gt;
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All in all, under the guidance of skopos theory and functional equivalence, this paper has listed examples, judged their merits and suggested what translation method to be adopted and intended to explain these two theory’s guiding function in film title translation. (Chen Huaiyan 2009, 29)&lt;br /&gt;
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In conclusion, under the guidance of skopos theory and functional equivalence, this paper has listed examples, judged their merits and suggested what translation method to be adopted and intended to explain these two theory’s guiding function in film title translation. (Chen Huaiyan 2009, 29)--[[User:Xu Jing|Xu Jing]] ([[User talk:Xu Jing|talk]]) 08:31, 19 December 2020 (UTC)&lt;br /&gt;
===6. References===&lt;br /&gt;
*He Ying 贺莺. (2001). 电影片名的翻译理论和方法 [Translation Theories and Methods of Film Titles]. 外语教学 Foreign Language Teaching (1) 57. &lt;br /&gt;
*Jia Wenbo 贾文波. (2004). 应用翻译功能论 [Applied Translation Functionalism]. Beijing: China National Translation and Publishing Company] 北京：中国对外翻译出版公司. &lt;br /&gt;
*Wang Ying 王英. (2016). 目的论与电影片名翻译 [Skopos Theory and Film Title Translation]. 科技视界 Horizon of Science and Technology (2) 158. &lt;br /&gt;
*Yang Wanqiu 杨惋邱. (2011). 目的论视角下英文电影片名的汉译问题探究 [A Study on The Chinese Translation of English Film titles from the perspective of Skopos Theory]. 西华大学硕士论文 27. &lt;br /&gt;
*Zhong Hewei, Zhong Yu 仲伟合、钟钰. (1999). 德国的功能派翻译理论 [German Functionalist Translation Theory]. 中国翻译 Chinese Translator Journal (3). &lt;br /&gt;
*Guo Jianzhong 郭建中. (2000). 当代美国翻译理论 [Contemporary American Translation Theory]. Hubei: Hubei Education Press 湖北：湖北教育出版社.&lt;br /&gt;
*Wang Yanping, Wang Jianwu 王燕萍, 王建武. (2005). 略论翻译对等与翻译策略 [Translation Equivalence and Translation Strategies]. 陕西理工学院学报 Journal of Shaanxi University of Science and Technology (3) 72-75. &lt;br /&gt;
*Cai Dongdong 蔡东东. (2000). 当代英美电影赏析 [Appreciation of Contemporary British and American films]. Beijing: Foreign Languages Press 北京：外文出版社. &lt;br /&gt;
*Fang Mengzhi 方梦之. (2004). 译学词典 [The Dictionary to Translation Studies]. Shanghai: Shanghai Foreign Language Education Press 上海：上海外语教育出版社. &lt;br /&gt;
*Chen Huaiyan 陈怀彦. (2009). 电影名翻译的现状及方法 [Current Situation and Methods of Film Name Translation]. 韶关学院学报(社会科学) Journal of Shaoguan University (Social Sciences) (8) 30. &lt;br /&gt;
*Munday, Jeremy. Introducing  Translation  Studies:  Theories  and Applications. London and New York: Routledge, 2001.&lt;br /&gt;
*Nord, Christiane. Translating as a Purposeful Activity--Functionalist Approaches Explained.  Shanghai: Shanghai Foreign Language Education Press, 2001.&lt;br /&gt;
*Reiss, Katharina. Translation Criticism: The Potentials and Limitations. Shanghai: Shanghai Foreign Language Education Press, 2004.&lt;br /&gt;
*Nida Eugene. Language, Culture and Translating. Shanghai: Shanghai Foreign Language Education Press, 1993.&lt;br /&gt;
*Tartaglione, Nancy (2017.1.5).  “Intl Box Office Sees Projected 3.7% Drop Amid Currency Shifts &amp;amp; China Dips-Studio Chart&amp;quot;. http://deadline.com/2017/01/highest-grossing-movie-studios-of-2016-international-box-office-1201878861/.&lt;br /&gt;
&lt;br /&gt;
== Comparison Between Chinese and English Resume from the Perspective of Skopos Theory  肖双玲  Xiao Shuangling  202070080611 ==&lt;br /&gt;
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&amp;lt;Center&amp;gt; Xiao Shuangling 肖双玲， 202070080611.&amp;lt;/Center&amp;gt;&lt;br /&gt;
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===Abstract===&lt;br /&gt;
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With the rapid development of China’s economy and the deepening of reform and opening up, more and more foreign-funded enterprises are coming to China to invest and set up factories, and more and more Chinese are going to work in foreign companies or abroad. For foreign job seekers, English resumes are often more important than Chinese ones. Many job seekers think that the English resume is verbatim translation into English, however, the result not only fails to reflect their own English level, but also brings obstacles to the job search, leading to the opposite effect. By analyzing the differences between Chinese and English resumes, this paper attempts to solve the problems in the translation of Chinese resumes based on Skopos theory, so as to improve the quality of the translation and make the job-seeking process more successful. Skopos theory is the basic principle of translation activities. Based on the differences of the object, role and emphasis between Chinese and English resumes, analysis of the differences and the problems that arise in the translation process are necessary. This essay tries to find out effective methods for C-E translation of resumes under Skopos theory approach and thus makes job-hunting easier for applicants.&lt;br /&gt;
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===Key words===&lt;br /&gt;
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Skopos theory; resume; translation&lt;br /&gt;
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===摘要===&lt;br /&gt;
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中国经济的快速发展和改革开放的深入，越来越多的外资企业来中国投资建厂，越来越多的中国人去外企或国外工作。对于外国求职者来说，英文简历往往比中文简历更重要。很多求职者认为英文简历就是自己的中文简历逐字翻译成英文，然而，这样的结果不仅不能反映自己的英语水平，还给求职带来了障碍，导致了相反的效果。本文通过分析中英文简历的差异,试图从目的论的角度来解决中文简历翻译中存在的问题，从而提高翻译质量，使求职过程更加顺利。目的论是翻译活动的基本原则。基于中英文简历的对象，作用和重点的差异，分析翻译过程中出现的差异和问题是必要的。本文试图找到在目的论理论方法下简历英译的有效方法，从而使求职者更容易找工作。&lt;br /&gt;
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===关键词===&lt;br /&gt;
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目的论；简历；翻译&lt;br /&gt;
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===Introduction===&lt;br /&gt;
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For job seekers, when applying for foreign-funded enterprises, a standardized English resume is essential, which not only reflects the applicant's personal information, ability and qualifications, but also reflects the applicant’s English level and awareness of cross-cultural communication to a certain extent. This paper focuses on the English translation of Chinese resumes and the characteristics and norms of English resumes, and puts forward solutions to the above problems. This paper suggests that the translation of resumes should be oriented towards the communicative purpose. By studying the characteristics and functions of resumes, the author discusses the C-E translation of resumes from three aspects: words, sentences and texts. The study has found that simplicity and clarity are the two criteria for resume translation. In addition, when translating resumes, translators should give priority to free translation with literal translation as a supplement. This paper can be divided into three parts. Chapter one is an overview to resumes, including linguistic features and qualities of translators. Then in the second chapter, the development and basic principles of Skopostheory will be discussed. In the last chapter, the application of Skopostheory on the translation of resumes will be explored at lexical, syntactic and stylistic levels.&lt;br /&gt;
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===Chapter 1 Introduction of Resume===&lt;br /&gt;
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A resume is a written communication document that shows a prospective employer that you have the skills, attitude, qualifications, and confidence to meet specific job requirements. In order to attract employer’s attention and interest, a qualified resume is definitely indispensable. In this part, definition and features of resume and differences between Chinese and English resume are going to be explored.&lt;br /&gt;
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A resume is a written communication document that shows to prospective employers in which you have the skills, attitude, qualifications, and confidence to meet specific job requirements. In order to attract employers' attention and interest, a qualified resume is definitely indispensable. In this part, definition and features of resume and differences between Chinese and English resume are going to be explored.--[[User:Wang Xuan|Wang Xuan]] ([[User talk:Wang Xuan|talk]]) 12:28, 18 December 2020 (UTC)Wang Xuan&lt;br /&gt;
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====1.1 Definition of Resume====&lt;br /&gt;
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According to the explanation from the noted and authoritative encyclopedia—Wikipedia, a résumé or resume is a document used by a person to present their backgrounds and skills.（Wikipedia.） Resume can be used for a variety of reasons, but most often it is used to secure new employment. A typical resume contains a “summary” of relevant job experience and education. The resume is usually one of the first items, along with a cover letter and sometimes an application for employment, which is typically used to screen applicants, often followed by an interview.(Zhu Liping,11)&lt;br /&gt;
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According to the explanation from the noted and authoritative encyclopedia—Wikipedia, a résumé or resume is a document used by a person to present his background and skills. Resume can be used for a variety of reasons, but most often it is used to secure new employment. A typical resume contains a “summary” of relevant job experience and education. The resume is usually one of the first items, along with a cover letter and sometimes an application for employment, which is typically used to screen applicants, often followed by an interview.(Zhu Liping,11)--[[User:Wang Xuan|Wang Xuan]] ([[User talk:Wang Xuan|talk]]) 12:33, 18 December 2020 (UTC)Wang Xuan&lt;br /&gt;
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====1.2 Features of Resume====&lt;br /&gt;
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Resume needs to be optimized but the connotation is more important. Before the resume is submitted, it must have a clear career direction. This is the key to the success of the application. However, many people do not know their job search direction before writing a short calendar. Most people are confused about their job search direction, so it is not advisable to write a job search intention or write too much on the resume. Just as you can see a wide variety of advertisements every day, hiring managers also face a variety of resumes every day. How can a resume stand out? How do you let the recruiter notice you at a glance? How do you let the recruiter believe that you are the “talent” they are looking for and generate ideas for further interviews? In fact, as long as you follow the features when you create your resume, you will get an interview.（Hu Tingting,12）&lt;br /&gt;
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Resume needs to be optimized and the connotation is more important. Before the resume is submitted, it must have a clear career direction. This is the key to the success of the application. However, many people do not know their job search direction before writing a short calendar. Most people are confused about it, so it is not advisable to write a job search intention or write too much on the resume. Just as you can see a wide variety of advertisements every day, hiring managers also face a variety of resumes every day. How can a resume stand out? How do you let the recruiter notice you at a glance? How do you let the recruiter believe that you are the “talent” they are looking for and generate ideas for further interviews? In fact, as long as you follow the following features when you create your resume, you will get an interview.（Hu Tingting,12）--[[User:Wang Xuan|Wang Xuan]] ([[User talk:Wang Xuan|talk]]) 12:51, 18 December 2020 (UTC)Wang Xuan&lt;br /&gt;
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1.2.1 Conciseness&lt;br /&gt;
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When you’ve done with your resume, weigh it and see whether you can read all the things that you think are important in ten seconds or not. Generally speaking, the length of a resume should be limited to 1 page of A4 paper. The longer a resume is, the less likely it is to be read carefully. High-end talents can sometimes prepare resumes of more than 2 pages, but they also need to have a brief and clear overview of the qualifications at the beginning of the resume, so that readers can grasp the basic situation in a short period of time and have the desire to read further.（Hu Tingting,12）&lt;br /&gt;
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When you’ve done with your resume, weigh it and see whether you can read all the things that you think are important in ten seconds or not. Generally speaking, the length of a resume should be limited to 1 page of A4 paper. The longer a resume is, the less likely it is to be read carefully. High-end talents sometimes will prepare resumes with more than 2 pages, but they also need to have a brief and clear overview of the qualifications at the beginning of the resume, so that readers can grasp the basic situation in a short period of time and have the desire to read further.（Hu Tingting,12）--[[User:Wang Xuan|Wang Xuan]] ([[User talk:Wang Xuan|talk]]) 12:51, 18 December 2020 (UTC)Wang Xuan&lt;br /&gt;
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1.2.2 Clarity&lt;br /&gt;
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The purpose of clarity is to make it easy to read. Just like making a print ad, the layout of the resume needs to take into account factors such as font size, line and segment spacing, and highlighting of key content.（Hu Tingting,13）&lt;br /&gt;
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The purpose of clarity is to make the resume easy to read. Just like making a print ad, the layout of the resume needs to take into account factors such as font size, line and segment spacing, and highlighting of key content.（Hu Tingting,13）--[[User:Wang Xuan|Wang Xuan]] ([[User talk:Wang Xuan|talk]]) 12:51, 18 December 2020 (UTC)Wang Xuan&lt;br /&gt;
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1.2.3 Authenticity&lt;br /&gt;
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Don’t try to fabricate work experience or achievements, lies will not let you go too far. Most of the lies will be identified during the interview process, not to mention the fact that many large companies, especially foreign companies, conduct background checks based on their resumes and related materials before providing OFFER. But the truth is not to put out our shortcomings.（Hu Tingting,13）&lt;br /&gt;
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Don’t try to fabricate work experience or achievements, because lies will not let you go too far. Most of the lies will be identified during the interview process, not to mention the fact that many large companies, especially foreign companies, conduct background checks based on their resumes and related materials before providing OFFER.（Hu Tingting,13）--[[User:Wang Xuan|Wang Xuan]] ([[User talk:Wang Xuan|talk]]) 12:51, 18 December 2020 (UTC)Wang Xuan&lt;br /&gt;
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1.2.4 Pertinence&lt;br /&gt;
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If you submit the same resume for different industries, different companies and different positions, then what is deficient in such a resume is pertinence.&lt;br /&gt;
If Company A requires you to have relevant industry experience and good sales performance, you clearly stated the relevant experiences and facts in your resume and put them in a prominent position. This is targeted; if Company B requires you to have good oral English ability, you described your experience in amateur foreign-related business translation in your resume, which is targeted; if Company C explicitly requires candidates to have Shanghai hukou, you indicate in your resume that you are a resident of Shanghai Pudong District, this is targeted. It is not only a resume, but also a very important principle when writing job letters, follow-up letters, and thank-you letters.（Hu Tingting,14）&lt;br /&gt;
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If you submit the same resume for different industries, different companies and different positions, then what is deficient in such a resume is pertinence.&lt;br /&gt;
If Company A requires you to have relevant industry experience and good sales performance, you clearly stated the relevant experiences and facts in your resume and put them in a prominent position. This is targeted; if Company B requires you to have good oral English ability, you described your experience in an amateur foreign-related business translation in your resume. That is targeted; if Company C explicitly requires candidates to have Shanghai hukou, you indicate in your resume that you are a resident of Shanghai Pudong District, so this is targeted. It is not only a resume, but also a very important principle when writing job letters, follow-up letters, and thank-you letters.（Hu Tingting,14）--[[User:Wang Xuan|Wang Xuan]] ([[User talk:Wang Xuan|talk]]) 12:51, 18 December 2020 (UTC)Wang Xuan&lt;br /&gt;
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1.2.5 Objectivity&lt;br /&gt;
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I am a person who is rigorous and responsible, and I have a very good job performance in my past work. Similar sentences can often be seen in many people's resumes. Perhaps it is true, but the wise human resources director will never believe in such subjective confession. Therefore, the resume should provide objective proof or facts and data supporting your qualifications and abilities. For example, in 2008, I was awarded by the company for ranking the first in sales performance or I was praised by the manager for my good coordination and organization ability in an exhibition activity. The latter is obviously less objective than the former. Also, to be as objective as possible, first-person “I” should be avoided in your resume.（Xiang Yang，打造优秀简历的七大原则）&lt;br /&gt;
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I am a person who is rigorous and responsible, and I have a very good job performance in my past work. Sentences similar to the above can often be seen in many people's resumes. Perhaps it is true, but the wise human resources director will never believe in such subjective confessions. Therefore, the resume should provide objective proof or facts and data supporting your qualifications and abilities. For example, in 2008, I was awarded by the company for ranking the first in sales performance or I was praised by the manager for my good coordination and organization ability in an exhibition activity. The latter is obviously less objective than the former. Also, to be as objective as possible, first-person “I” should be avoided in your resume.（Xiang Yang，打造优秀简历的七大原则）--[[User:Wang Xuan|Wang Xuan]] ([[User talk:Wang Xuan|talk]]) 12:51, 18 December 2020 (UTC)Wang Xuan&lt;br /&gt;
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====1.3 Differences between Chinese and English Resumes====&lt;br /&gt;
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Although resumes in both Chinese and English are basically the same in form and content, the English resume is not a hard copy of the Chinese resume. Recognizing the difference between the two is the first problem to be faced in the translation work. HRs pointed out that the Chinese and English resumes have the following differences.&lt;br /&gt;
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Although resumes in both Chinese and English are basically the same in forms and contents, English resumes are not hard copies of Chinese resumes. Recognizing the differences between the two is the first problem to be faced in the translation work. HRs point out that the Chinese and English resumes have the following differences.--[[User:Wang Xuan|Wang Xuan]] ([[User talk:Wang Xuan|talk]]) 13:54, 18 December 2020 (UTC)Wang Xuan&lt;br /&gt;
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1.3.1 Role of Resume&lt;br /&gt;
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If you apply for domestic enterprises and institutions, the submission of a Chinese resume is the first step of the job, English resume plays a supplementary role to the Chinese resume; But for the foreign capital enterprise and the multinational corporation's candidate, the English curriculum vita is a stepping stone for job hunting, and will reflect the candidate’s ability and the quality, which is the key to obtain the interview opportunity.(Huang Lu, Wu Qiying,2013)&lt;br /&gt;
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If you apply for domestic enterprises and institutions, the submission of Chinese resumes is the first step of the job, English resumes play supplementary roles to the Chinese resumes; But for the foreign capital enterprise and the multinational corporation's candidates, the English curriculum vita is a stepping stone for job hunting, and will reflect the candidates' ability and the quality, which is the key to obtain the interview opportunity.(Huang Lu, Wu Qiying,2013)--[[User:Wang Xuan|Wang Xuan]] ([[User talk:Wang Xuan|talk]]) 13:54, 18 December 2020 (UTC)Wang Xuan&lt;br /&gt;
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1.3.2 Reading Target of Resume&lt;br /&gt;
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According to the different reading objects, the Chinese resume should conform to the Chinese reading habits, and the English resume should meet the reading habits of English-speaking people. An introduction to job hunting at the Harvard Career Center said: “The US resume does not include information on age, gender, weight, height, nationality, health, marital status, number of children, etc. Employers are prohibited by law from referring to this information when evaluating whether a candidate meets the job requirements.”(Huang Lu, Wu Qiying,2013)&lt;br /&gt;
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According to different reading objects, Chinese resumes should conform to the Chinese reading habits, and English resumes should meet the reading habits of English-speaking people. An introduction to job hunting at the Harvard Career Center said: “The US resume does not include information on age, gender, weight, height, nationality, health, marital status, number of children, etc. Employers are prohibited by law from referring to this information when evaluating whether a candidate meets the job requirements.”(Huang Lu, Wu Qiying,2013)--[[User:Wang Xuan|Wang Xuan]] ([[User talk:Wang Xuan|talk]]) 13:54, 18 December 2020 (UTC)Wang Xuan&lt;br /&gt;
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Chinese enterprises, especially state-owned enterprises, will require applicants to attach personal information, while English resumes without special needs generally do not involve gender, age, marital status and race and other relevant personal privacy content. Companies that are accused of hiring in violation of the law involving appearance, gender, age or race pay huge compensation. Many foreigners believe that whether a job applicant meets the requirements of a certain position mainly depends on the individual's professional experience and skills, and has nothing to do with personal information.(Huang Lu, Wu Qiying,2013)&lt;br /&gt;
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Chinese enterprises, especially state-owned enterprises, will require applicants to attach personal information, while English resumes without special needs generally do not involve gender, age, marital status and race and other relevant personal privacy contents. Companies are accused of hiring in violation of the law involving appearance, gender, age or race pay huge compensation. Many foreigners believe that whether a job applicant meets the requirements of a certain position mainly depends on the individual's professional experience and skills, and has nothing to do with personal information.(Huang Lu, Wu Qiying,2013)--[[User:Wang Xuan|Wang Xuan]] ([[User talk:Wang Xuan|talk]]) 13:54, 18 December 2020 (UTC)Wang Xuan&lt;br /&gt;
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1.3.3 Focus of Resume&lt;br /&gt;
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In order to attract attention in the fierce competition, the design and packaging of some resumes of Chinese job seekers are extremely beautiful and long, more than 2 pages or even 3 pages, all of which are not obvious, and some are accompanied by art photos and various certificates. Pieces make the resume as thick as a magazine. English resumes are often only one page long, concise, relevant, personal, and focused on key words and action words. The keywords describe the practical experience and professional skills necessary for doing a good job.(Huang Lu, Wu Qiying,2013)&lt;br /&gt;
&lt;br /&gt;
In order to attract attention in the fierce competition, the design and packaging of some resumes of Chinese job seekers are extremely beautiful and long,which are  more than 2 pages or even 3 pages. And some are accompanied by art photos and various certificates. Pieces make the resumes as thick as a magazine. English resumes are often only one page long, concise, relevant, personal, and focused on key words and action words. The keywords describe the practical experience and professional skills necessary for doing a good job.(Huang Lu, Wu Qiying,2013)--[[User:Wang Xuan|Wang Xuan]] ([[User talk:Wang Xuan|talk]]) 13:54, 18 December 2020 (UTC)Wang Xuan&lt;br /&gt;
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Today, when the computer screening resume system is widely used, the specific keywords appear in the resume is the only rule for job seekers to successfully obtain interviews with foreign companies. Behavioral verbs are mostly transitive verbs, indicating a specific action required to complete a task. Behavioral verbs play a behavior-oriented role in resumes. The so-called behavior-oriented meaning is to use facts to speak, not just to present results. (Huang Lu, Wu Qiying,2013)&lt;br /&gt;
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Today, when the computer screening resume system is widely used, using specific keywords in the resume is the only rule for job seekers to successfully obtain interviews with foreign companies. Behavioral verbs are mostly transitive verbs, indicating a specific action required to complete a task. Behavioral verbs play behavior-oriented roles in resumes. The so-called behavior-oriented meaning is to use facts to speak, not just to present results. (Huang Lu, Wu Qiying,2013)--[[User:Wang Xuan|Wang Xuan]] ([[User talk:Wang Xuan|talk]]) 13:54, 18 December 2020 (UTC)Wang Xuan&lt;br /&gt;
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Here are examples:&lt;br /&gt;
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①expressing personal accomplishments:accomplish, achieve , improve, promote, etc.; &lt;br /&gt;
②indicating administrative capabilities: arrange, administer, execute, decide, etc; &lt;br /&gt;
③representing interpersonal communication skills:negotiate, persuade, present, etc; &lt;br /&gt;
④expressing innovation:create, develop, design, launch, etc. &lt;br /&gt;
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The use of behavioral verbs is essential for job seekers to demonstrate the core competencies and personal talents that companies require. For example, manage a group of 20 employees and motivate the whole sales team are more attractive than in charge of 20 employees, responsible for the whole sales team, giving a kind of action-like impression and enabling candidates to quickly get the attention of HR and stand out from the crowd.&lt;br /&gt;
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Using behavioral verbs is essential for job seekers to demonstrate the core competencies and personal talents that companies require. For example, manage a group of 20 employees and motivate the whole sales team are more attractive than in charge of 20 employees, responsible for the whole sales team, giving a kind of action-like impression and enabling candidates to quickly get the attention of HR and stand out from the crowd.--[[User:Wang Xuan|Wang Xuan]] ([[User talk:Wang Xuan|talk]]) 13:54, 18 December 2020 (UTC)Wang Xuan&lt;br /&gt;
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===Chapter 2 Theoretical Framework===&lt;br /&gt;
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Skopos theory, unveiled by German functionalist scholar Vermeer and Christiane Nord, is a theory that applies Skopos concept to translation. Its core concept is that the main factor of translation process is the purpose of overall translation behavior. In this context, the translator should adopt strategies or methods appropriate to the translation purpose. This theory represents an innovation compared with the existing translation theories and defines translation as a creative activity. In this chapter, the author of the dissertation focuses on the introduction of Skopos, which involves the background information and principles of Skopos theory.&lt;br /&gt;
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Skopos theory, unveiled by German functionalist scholar Vermeer and Christiane Nord, is a theory that applies Skopos concept to translation. Its core concept is that the main factor of translation process is the purpose of overall translation behavior. In this context, the translators should adopt strategies or methods appropriate to the translation purpose. This theory represents an innovation compared with the existing translation theories and defines translation as a creative activity. In this chapter, the author of the dissertation focuses on the introduction of Skopos, which involves the background information and principles of Skopos theory.--[[User:Wang Xuan|Wang Xuan]] ([[User talk:Wang Xuan|talk]]) 14:06, 18 December 2020 (UTC)Wang Xuan&lt;br /&gt;
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====2.1 Overview of Skopos Theory====&lt;br /&gt;
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In the 1970s, functionalist translation theory emerged in Germany. Its development has gone through the following stages.&lt;br /&gt;
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The first stage: Katharina Reiss introduced functional categories into translation criticism for the first time, connected language functions, discourse types and translation strategies, developed a translation criticism model based on the functional relationship between source text and target text, and thus proposed the rudiments of functionalism. Reiss thought that the ideal translation should be a comprehensive communicative translation, that is, the translation should be equivalent to the original in terms of conceptual content, language form and communicative function, but the functional features of the translation should be given priority in practice.&lt;br /&gt;
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The first stage: Katharina Reiss introduced functional categories into translation criticism for the first time, which connected language functions, discourse types and translation strategies, developed a translation criticism model based on the functional relationship between source text and target text, and thus proposed the rudiments of functionalism. Reiss thought that the ideal translation should be a comprehensive communicative translation. That is to say, the translation should be equivalent to the original in terms of conceptual content, language form and communicative function, but the functional features of the translation should be given priority in practice.--[[User:Wang Xuan|Wang Xuan]] ([[User talk:Wang Xuan|talk]]) 14:06, 18 December 2020 (UTC)Wang Xuan&lt;br /&gt;
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The second stage: Hans Vermeer put forward Skopos theory, which freed translation studies from the bondage of original source-centered theory. This theory holds that translation is a purposeful and resultful behavior based on the original text. Translation must follow a series of rules, among which the law of purpose takes a leading role. In other words, the translation is dependent on the purpose of the translation. In addition, translation should follow the “law of intra-linguistic coherence” and “law of inter-linguistic coherence”. The former implies that the translation must be internally coherent, which is understandable in the eyes of the recipient, while the latter means that there should be coherence between the translation and the original. &lt;br /&gt;
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The second stage: Hans Vermeer put forward Skopos theory, which frees translation studies from the bondage of original source-centered theory. This theory holds that translation is a purposeful and resultful behavior based on the original text. Translation must follow a series of rules, among which the law of purpose takes a leading role. In other words, the translation is dependent on the purpose of the translation. In addition, translation should follow the “law of intra-linguistic coherence” and “law of inter-linguistic coherence”. The former implies that the translation must be internally coherent, which is understandable in the eyes of the recipient, while the latter means that there should be coherence between the translation and the original. --[[User:Wang Xuan|Wang Xuan]] ([[User talk:Wang Xuan|talk]]) 14:06, 18 December 2020 (UTC)Wang Xuan&lt;br /&gt;
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After these three principles are put forward, the criterion for judging translation is no longer “equivalence”, but the adequacy of the translation to achieve the desired goal. Vermeer also put forward the concept of translation commission, that is, the translator should decide whether, when and how to complete the translation task. That is to say, translators should adopt corresponding translation strategies according to different translation purposes, and have the right to decide what content of the original text can be retained and what needs to be adjusted or modified according to the translation purpose.&lt;br /&gt;
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After these three principles are put forward, the criterion for judging translation is no longer “equivalence”, but the adequacy of the translation to achieve the desired goal. Vermeer also put forward the concept of translation commission, that is, translators should decide whether, when and how to complete the translation tasks. That is to say, translators should adopt corresponding translation strategies according to different translation purposes, and have the right to decide what contents of the original text can be retained and what needs to be adjusted or modified according to the translation purpose.--[[User:Wang Xuan|Wang Xuan]] ([[User talk:Wang Xuan|talk]]) 14:06, 18 December 2020 (UTC)Wang Xuan&lt;br /&gt;
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According to Vermeer, the supreme law in translation should be the law of purpose. That is to say, different translation purposes, translation strategies, methods are also different. In other words, the purpose of translation determines the strategies and methods of translation. “Skopos theory” has given a good explanation of the disputes between domestication and foreignization in the history of translation between China and the west, as well as the widely discussed formal equivalence and dynamic equivalence in the translation field in the past 20 or 30 years. &lt;br /&gt;
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According to Vermeer, the supreme law in translation should be the law of purpose. That is to say, different translation purposes, translation strategies, methods are also different. In other words, the purposes of translation determine the strategies and methods of translation. “Skopos theory” has given a good explanation of the disputes between domestication and foreignization in the history of translation between China and the west, as well as the widely discussed formal equivalence and dynamic equivalence in the translation field in the past 20 or 30 years.--[[User:Wang Xuan|Wang Xuan]] ([[User talk:Wang Xuan|talk]]) 14:06, 18 December 2020 (UTC)Wang Xuan &lt;br /&gt;
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Whether to adopt domestication or foreignization in translation depends on the purpose of translation. Since functional translation theory takes “the principle of purpose” as the highest criterion and any translation activity is a purposeful act, the ultimate goal and main function of film title translation is to help people understand the main content of the film and stimulate the audience's desire to watch. Therefore, we need to have a brief understanding of functional translation theory, especially Skopos theory.&lt;br /&gt;
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The third stage: Justa Holz Manttaridrew on the theory of communication and behavior, proposed the theory of translation behavior, and further developed the functionalist translation theory, which regarded translation as the interaction between people driven by purpose and oriented by translation results. This theory and teleology have a lot in common, and Vermeer later merged the two.&lt;br /&gt;
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The fourth stage: Christiane Nord comprehensively summarized and improved the functionalist theory. For the first time, Christiane Nord systematically elaborated the internal and external factors to be considered in text analysis in translation, as well as how to formulate translation strategies suitable for the purpose of translation based on the functions of the original text. Christiane Nord sorted out various theories of functionalism and proposed that translators should follow the guiding principle of “function plus loyalty”, thus improving the theory.&lt;br /&gt;
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====2.2 Principles of Skopos Theory====&lt;br /&gt;
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Skopos rule, coherence rule, fidelity rule and loyalty rule are four principles of Skopos theory, among which there exists inter-relationships. In the following part, Skopos theory will be explained in a detailed way.&lt;br /&gt;
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2.2.1 Skopos Rule&lt;br /&gt;
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From the perspective of Skopos theory, the primary principle followed in all translation activities is the “purpose principle”, that is, translation should be able to function in the context and culture of the target language in the way expected by the recipient of the target language. The purpose of the translation behavior determines the process of the entire translation behavior, that is, the method of decision-making. (Hu Tingting,6)&lt;br /&gt;
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From the perspective of Skopos theory, the primary principle to be followed in all translation activities is the “purpose principle”, that is, translation should be able to function in the context and culture of the target language in the way expected by the recipient of the target language. The purpose of the translation behavior determines the process of the entire translation behavior, that is, the method of decision-making. (Hu Tingting,6)--[[User:Wang Xuan|Wang Xuan]] ([[User talk:Wang Xuan|talk]]) 14:19, 18 December 2020 (UTC)Wang Xuan&lt;br /&gt;
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However, translation activities can have multiple purposes, which can be further divided into three categories :(1) the basic purpose of the translator (such as making a living); (2) the communicative purpose of the translation (such as enlightening the readers); (3) the purpose to be achieved by using a particular means of translation (such as literal translation according to the structure of a language in order to illustrate the special features of the grammatical structure). (Hu Tingting,6)&lt;br /&gt;
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However, translation activities can have multiple purposes, which can be further divided into three categories :(1) the basic purpose of the translators (such as making a living); (2) the communicative purpose of the translations(such as enlightening the readers); (3) the purpose to be achieved by using a particular means of translations(such as literal translation according to the structure of a language in order to illustrate the special features of the grammatical structure). (Hu Tingting,6)--[[User:Wang Xuan|Wang Xuan]] ([[User talk:Wang Xuan|talk]]) 14:19, 18 December 2020 (UTC)Wang Xuan&lt;br /&gt;
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However, in general, “purpose” refers to the communicative purpose of the target text, that is, “the communicative function of the target text in the socio-cultural context of the target language for the target language reader”. Therefore, the translator should make clear his specific purpose in a given translation context, and decide which translation method to adopt-- literal translation, free translation or something in between.(Hu Tingting,6)&lt;br /&gt;
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In general, “purpose” refers to the communicative purpose of the target text, that is, “the communicative function of the target text in the socio-cultural context of the target language for the target language reader”. Therefore, the translator should make clear his specific purpose in a given translation context, and decide which translation method to adopt-- literal translation, free translation or something in between.(Hu Tingting,6)--[[User:Wang Xuan|Wang Xuan]] ([[User talk:Wang Xuan|talk]]) 14:19, 18 December 2020 (UTC)Wang Xuan&lt;br /&gt;
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2.2.2 Coherence Rule&lt;br /&gt;
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Coherence rule, also known as intra-textual coherence rule, holds that the target text should meet the criteria of textual coherence. In other words, the translator should understand the reader’s cultural background and social environment when translating the text. Under the guidance of coherence rules, the comprehensibility of the target text is prior to the authority of the original. That is to say, the recipient’s feelings must be taken into account.(Hu Tingting,6)&lt;br /&gt;
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Coherence rule, also known as intra-textual coherence rule, holds that the target text should meet the criteria of textual coherence. In other words, the translators should understand the reader’s cultural background and social environment when translating the text. Under the guidance of the coherence rule, the comprehensibility of the target text is prior to the authority of the original. That is to say, the recipient’s feelings must be taken into account.(Hu Tingting,6)--[[User:Wang Xuan|Wang Xuan]] ([[User talk:Wang Xuan|talk]]) 14:19, 18 December 2020 (UTC)Wang Xuan&lt;br /&gt;
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When the translator applies the coherence principle, the target language must be coherent enough to make the recipient understand the whole text. In other words, the translator should follow the principle of coherence and properly adjust the syntactic structure or words in the target language, so as to maintain the coherence of the original text.(Hu Tingting,6)&lt;br /&gt;
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When the translators apply the coherence principle, the target language must be coherent enough to make the recipient understand the whole text. In other words, the translators should follow the principle of coherence and properly adjust the syntactic structure or words in the target language, so as to maintain the coherence of the original text.(Hu Tingting,6)--[[User:Wang Xuan|Wang Xuan]] ([[User talk:Wang Xuan|talk]]) 14:19, 18 December 2020 (UTC)Wang Xuan&lt;br /&gt;
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2.2.3 Fidelity Rule&lt;br /&gt;
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According to the fidelity rule, the relationship between source text and target text can be regarded as the fidelity of source text to target text. However, the degree of fidelity depends on the translator, because it is important for him or her to translate and understand the purpose of the original text. At the same time, the translator should be faithful to both the original author and the intention of the author. Therefore, faithful teleology attaches great importance to and tries to determine the relationship among the translator, the author and the receiver.(Hu Tingting,7)&lt;br /&gt;
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According to the fidelity rule, the relationship between source text and target text can be regarded as the fidelity of source text to target text. However, the degree of fidelity depends on the translator, because it is important for him or her to translate and understand the purposes of the original text. At the same time, the translators should be faithful to both the original author and the intention of the author. Therefore, faithful teleology attaches great importance to and tries to determine the relationship among the translator, the author and the receiver.(Hu Tingting,7)--[[User:Wang Xuan|Wang Xuan]] ([[User talk:Wang Xuan|talk]]) 14:19, 18 December 2020 (UTC)Wang Xuan&lt;br /&gt;
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2.2.4 Loyalty Rule&lt;br /&gt;
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This was put forward by Nord. She found two major defects in Skopos theory. First, people from different cultural backgrounds have different views on a good translation due to the differences in cultural models. In addition, if the communicative purpose of the translation required by the principle of purpose is just opposite to the intention of the original author, then we will abide by the principle of purpose and violate the principle of fidelity. Therefore, Nord proposed the loyalty principle to solve the cultural differences and the relationship between the participants in translation. &lt;br /&gt;
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This was put forward by Nord. She found two major defects in Skopos theory. Firstly, people from different cultural backgrounds have different views on a good translation due to the differences in cultural models. In addition, if the communicative purpose of the translation required by the principle of purpose is just opposite to the intention of the original author, then we will abide by the principle of purpose and violate the principle of fidelity. Therefore, Nord proposed the loyalty principle to solve the cultural differences and the relationship between the participants in translation. --[[User:Wang Xuan|Wang Xuan]] ([[User talk:Wang Xuan|talk]]) 14:19, 18 December 2020 (UTC)Wang Xuan&lt;br /&gt;
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According to Nord, translators have a moral responsibility to the recipients of the translated text and must explain to them what they have done and why. This is one aspect of the loyalty principle. Another aspect of this principle is that the translator should be loyal the original author. The translator should respect the original author and coordinate the target language of the translation with the intention of the author. Therefore, the principle of loyalty mainly focuses on the relationship between the translator and the original author, the client, the recipient of the translation and other participants in the translation process. Nord proposed that translators should follow the guiding principle of “function plus loyalty”, thus improving the theory.&lt;br /&gt;
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According to Nord, translators have a moral responsibility to the recipients of the translated text and must explain to them what they have done and why. This is one aspect of the loyalty principle. Another aspect of this principle is that the translator should be loyal to the original author. The translator should respect the original author and coordinate the target language of the translation with the intention of the author. Therefore, the principle of loyalty mainly focuses on the relationship between the translator and the original author, the client, the recipient of the translation and other participants in the translation process. Nord proposed that translators should follow the guiding principle of “function plus loyalty”, thus improving the theory.--[[User:Wang Xuan|Wang Xuan]] ([[User talk:Wang Xuan|talk]]) 14:19, 18 December 2020 (UTC)Wang Xuan&lt;br /&gt;
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In a word, these four principles constitute the basic principles of Skopos theory of translation, but the principle of coherence, the principle of loyalty and the principle of loyalty must be subordinated to the principle of purpose, which is the primary principle of Skopos theory.&lt;br /&gt;
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===Chapter 3 Application of Skopos Theory in C-E Translation of Resume===&lt;br /&gt;
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From the above, the author has studied some basic knowledge of resume and Skopos theory. In this chapter, the applied of Skopos theory on C-E translation of resume will be discussed, especially, we are going to analyze the translation from lexical, syntactic and textual respectively, which is the most crucial part in the dissertation.&lt;br /&gt;
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From the above, the author has studied some basic knowledge of resume and Skopos theory. In this chapter, the applied of Skopos theory on C-E translation of resume will be discussed, especially, we are going to analyze the translation from lexical, syntactic and textual level respectively. And it is the most crucial part in the dissertation.--[[User:Wang Xuan|Wang Xuan]] ([[User talk:Wang Xuan|talk]]) 14:42, 18 December 2020 (UTC)Wang Xuan&lt;br /&gt;
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====3.1 Application of Skopos Theory in Lexical Translation====&lt;br /&gt;
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The selection of English words plays an important role in the translation of resumes. On the one hand, the choice of a good English word can help shorten long sentences and make the resume more convenient and comfortable to read; on the other hand, due to the ambiguity of English words, correct choice of words can solve the ambiguity problem. In order to solve the above problems, using a large number of action verbs, terms and abbreviations are recommended. Next, the above content will be introduced separately.(Zhu Liping,22)&lt;br /&gt;
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The selection of English words plays an important role in the translation of resumes. On the one hand, the choice of a good English word can help shorten long sentences and make the resumes more convenient and comfortable to read; on the other hand, due to the ambiguity of English words, correct choice of words can solve the ambiguity problem. In order to solve the above problems, using a large number of action verbs, terms and abbreviations are recommended. Next, the above contents will be introduced separately.(Zhu Liping,22)--[[User:Wang Xuan|Wang Xuan]] ([[User talk:Wang Xuan|talk]]) 14:42, 18 December 2020 (UTC)Wang Xuan&lt;br /&gt;
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3.1.1 Action verbs&lt;br /&gt;
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A resume shows the author’s education and work experience. There are lots of action verbs used in resume translation. And most of the sentences that describe job duties and self-evaluation begin with action verbs, such as负责、开发、管理、提出.&lt;br /&gt;
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Example 1:&lt;br /&gt;
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1.提出新的流程，在减少工作压力的同时，提高了员工的生产能力，成功的向潜在的购买者解释并演示了技术产品的相关科技&lt;br /&gt;
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2.开发了销售和市场项目，使购物中心的利润提高了33个百分点&lt;br /&gt;
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3.负责华东地区的23家商店的销售和损益&lt;br /&gt;
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4.为新华出版社管理23家生产厂家的代表公司的国际和国内销售力量&lt;br /&gt;
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Translation:&lt;br /&gt;
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1. Proposed a new process to reduce the work pressure, improved the production capacity of employees, and successfully explained and demonstrated the technology related to technical products to potential buyers.&lt;br /&gt;
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2. Developed sales and marketing programs that increased shopping center profit by 33 percent.&lt;br /&gt;
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3. Took charge of sales and profit and loss of 23 stores in East China&lt;br /&gt;
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4. Managed the international and domestic sales force of representative companies of 23 manufacturers for Xinhua Publishing House&lt;br /&gt;
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These examples are selected from job hunters’ resumes. For those who want to apply for a job on sales, it is common to see the action verbs like “propose”, “develop”, “take charge of” and “manage” in their resume. Through those action verbs, it is conspicuous for readers to know the achievement the job seekers have done during their previous job experiences. &lt;br /&gt;
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When translating, in order to make each sentence start with an action verb, the job hunter adjusts the words order. In this way, it not only gives HR a kind of visual beauty, but also shortens the sentence of translated resume. In addition, frequently using action words shows a more effective, organized and positive job hunters. Obviously, Skopos rule works here since the main purpose of the job hunters is that readers can grasp the core information in a few second so as to add the opportunity of getting an interview among thousands of them. &lt;br /&gt;
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When we are translating something, in order to make each sentence start with an action verb, the job hunters should adjust the words order. In this way, it not only gives HR a kind of visual beauty, but also shortens the sentence of translated resume. In addition, frequently using action words shows a more effective, organized and positive job hunters. Obviously, Skopos rule works here since the main purpose of the job hunters is that readers can grasp the core information in a few second so as to add the opportunity of getting an interview among thousands of them. --[[User:Wang Xuan|Wang Xuan]] ([[User talk:Wang Xuan|talk]]) 14:42, 18 December 2020 (UTC)Wang Xuan&lt;br /&gt;
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Recombination and omission are the vital translation skills here. And the above selection parts employed omission translation skill so as to delete a lot of qualifiers which may cause disturbance for reader to get useful information. However, such a kind of English resume is simple and clear which is convenient for readers to grasp the significant parts. In addition, it is in accordance with the conciseness feature of resume as well.(Zhu Liping,23)&lt;br /&gt;
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Recombination and omission are the vital translation skills here. And the above parts also employed omission translation skill so as to delete a lot of qualifiers which may cause disturbance for reader to get useful information. However, such a kind of English resume is simple and clear which is convenient for readers to grasp the significant parts. In addition, it is in accordance with the conciseness feature of resume as well.(Zhu Liping,23)--[[User:Wang Xuan|Wang Xuan]] ([[User talk:Wang Xuan|talk]]) 14:42, 18 December 2020 (UTC)Wang Xuan&lt;br /&gt;
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3.1.2 Terminology and Abbreviation&lt;br /&gt;
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Different fields have different terminologies, which is the product of the advancement of science and culture. With the emergence of the concept of the new things, people adopt a variety of approaches to make appropriate words in their language to label them which can be easily understood by employers. Thus it can be seen that terminology has great impact on resume translation.(Zhu Liping,24)&lt;br /&gt;
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Different fields have different terminologies, which are the products of the advancement of science and culture. With the emergence of the concept of the new things, people adopt a variety of approaches to make appropriate words in their language to label them which can be easily understood by employers. Thus it can be seen that terminology has great impact on resume translation.(Zhu Liping,24)--[[User:Wang Xuan|Wang Xuan]] ([[User talk:Wang Xuan|talk]]) 14:42, 18 December 2020 (UTC)Wang Xuan&lt;br /&gt;
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Example 2:&lt;br /&gt;
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负责宝马5系，5系混动，1系认证：协调试验工程师，环保申报工程师完成工作，确保认证按节点完成&lt;br /&gt;
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Translation:&lt;br /&gt;
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Take lead of BMW 1 series, 5 series and 5 PHEV models homologation process; coordinate the cooperation of test engineer and EPA specialist to achieve the target on time&lt;br /&gt;
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From the example above, we can see that abbreviations in some resumes are sometimes frequently employed, such as PHEV(Plug-in Hybrid Electric Vehicle), BMW(Bavarian Motor Works) and EPA(Environmental Protector Agency). Abbreviations will make the translated resumes look more concise and clear and will not hinder employers to understand what job seekers try to convey.&lt;br /&gt;
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Under the Skopos theory, the purpose of a resume is to provide HR with key information about whether a candidate is suitable for the target position, so as to get an interview. Therefore, long and complex sentences should be avoided. Terms and abbreviations are necessary. In this way, the author also proves the use of action verbs, which makes the translated resume more attractive because the reader can immediately get the main information.（Hu Tingting，25）&lt;br /&gt;
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Under the Skopos theory, the purpose of a resume is to provide HR with the key information about whether a candidate is suitable for the target position or not, so as to get an interview. Therefore, long and complex sentences should be avoided. Terms and abbreviations are necessary. In this way, the author also proves the use of action verbs, which makes the translated resume more attractive because the reader can immediately get the main information.（Hu Tingting，25）--[[User:Wang Xuan|Wang Xuan]] ([[User talk:Wang Xuan|talk]]) 14:42, 18 December 2020 (UTC)Wang Xuan&lt;br /&gt;
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====3.2 Application of Skopos Theory in Syntactical Translation====&lt;br /&gt;
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It usually takes about 30 seconds for an HR to read a resume in English, so neither long sentences nor compound sentences are frequently used in a resume, as this may pose a barrier for HR to attain the key information. Similarly, English resumes should be concise. In order to achieve this goal, non-subject sentences and unified sentences are generally used. Through analysis, the author found that declarative sentence is the most commonly used question, negative sentence. In addition, present and past tense are generally used to introduce personal information and work experience.&lt;br /&gt;
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It usually takes about 30 seconds for the HR to read a resume in English, so neither long sentences nor compound sentences are frequently used in a resume, as this may pose a barrier for HR to attain the key information. Similarly, English resumes should be concise. In order to achieve this goal, non-subject sentences and unified sentences are generally used. Through analysis, the author found that declarative sentence is the most commonly used question, negative sentence. In addition, present and past tenses are generally used to introduce personal information and work experience.--[[User:Wang Xuan|Wang Xuan]] ([[User talk:Wang Xuan|talk]]) 14:42, 18 December 2020 (UTC)Wang Xuan&lt;br /&gt;
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3.2.1 Non-subjective Sentence&lt;br /&gt;
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Example 3:&lt;br /&gt;
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担任加油站项目开发经理，负责加油站项目的实地调研、车辆分析、投资回报分析及项目可行性报告的完成；对外与政府进行沟通协调、各类准建文件和营业证照的申办等；对内督促工程部门推进站体建设、质量、安全管理等工作。&lt;br /&gt;
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Translation 1:&lt;br /&gt;
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As the project development manager of the gas station, I was responsible for the field research, vehicle analysis, investment return analysis and the completion of the project feasibility report of the gas station project. Externally, I communicated and coordinated with the government on the application of various kinds of construction documents and business licenses, and internally urged the engineering department to promote the construction, quality and safety management of the station.&lt;br /&gt;
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Translation 2:&lt;br /&gt;
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1. Served as the gas station project development manage&lt;br /&gt;
2. Was responsible for the field research, vehicle analysis, investment return analysis and project feasibility report of the gas station project&lt;br /&gt;
3. Communicated and coordinated with the government to apply for all kinds of construction documents and business licenses&lt;br /&gt;
4. Urged the engineering department to promote the construction, quality and safety management of the station&lt;br /&gt;
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In translation 1, since the language of the resume is complimentary, the use of “I” gives people a sense of pride. In addition, it does not conform to western culture, because westerners are used to simple and direct description. By contrast, translation 2 is much simpler and clearer by omitting the subject “I”. Usually, a non-subject sentence is an elliptical sentence that omits the subject, while the omitting subject is usually the applicant himself. &lt;br /&gt;
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In conclusion, the non-subjective sentences conform to the Skopos theory, and the translated resumes are shorter, which increases the chances of the interviewee getting the interview. Therefore, ellipsis plays an important role in resume translation. By omitting the first person I, the sentence becomes more concise and to the point. Therefore, it doesn’t take much time for the reader to grasp the key information.&lt;br /&gt;
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In conclusion, the non-subjective sentences conform to the Skopos theory, and the translated resumes are shorter. It increases the chances of the interviewee getting the interview. Therefore, ellipsis plays an important role in resume translation. By omitting the first person &amp;quot;I&amp;quot;, the sentence becomes more concise and to the point. Therefore, it doesn’t take much time for the reader to grasp the key information.--[[User:Wang Xuan|Wang Xuan]] ([[User talk:Wang Xuan|talk]]) 14:42, 18 December 2020 (UTC)Wang Xuan&lt;br /&gt;
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3.2.2 Syntactic Unity&lt;br /&gt;
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When translating resumes, we pay attention to the unified sentence structure to reflect the professional qualities of job seekers, and also meet the requirements of reading fluency. In order to achieve this, translation transformation will be used. For example, verbs in the original text can be converted into adjectives or nouns instead of adjectives. By complementing this sentence structure, the translated resume looks more standardized and attractive because it stimulates HR’s desire to read.&lt;br /&gt;
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When translating resumes, we should pay attention to the unified sentence structure to reflect the professional qualities of job seekers, and also meet the requirements of reading fluency. In order to achieve this, translation transformation will be used. For example, verbs in the original text can be converted into adjectives or nouns instead of adjectives. By complementing this sentence structure, the translated resume looks more standardized and attractive because it stimulates HR’s desire to read.--[[User:Wang Xuan|Wang Xuan]] ([[User talk:Wang Xuan|talk]]) 14:42, 18 December 2020 (UTC)Wang Xuan&lt;br /&gt;
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Example 4:&lt;br /&gt;
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1.能熟练操作财务软件，能很好的与人交往，同时学校的生活使我锻炼了团队合作精神&lt;br /&gt;
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2.责任心强，工作效率高，认真仔细，具有创新意识，善于分析和解决问题&lt;br /&gt;
&lt;br /&gt;
3.熟练掌握MATLAB， MS office software。 计算机二级VB，三级数据库。&lt;br /&gt;
&lt;br /&gt;
Translation:&lt;br /&gt;
&lt;br /&gt;
1. Proficient in operating financial software, good at communicating with others, stronger in teamwork spirit in school life&lt;br /&gt;
&lt;br /&gt;
2. Strong sense of responsibility, high efficiency, careful, innovative and good at analyzing and solving problems&lt;br /&gt;
&lt;br /&gt;
3. Skilled at MS office software and MATLAB. Passed National Computer Rank Examination Grade 3(database) and Grade 2(VB)&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
Through the translation of examples selected above, each sentence is begun with a phrase led by an adjective or the past participle of a verb which is consistent with the principle of syntactic unity. Considering the background of western culture, as well as the convenience for readers, such an approach seems practical in resume translation. Syntactic unity not only makes the translated resume more attractive, but will also let our resumes stand out among thousands of competitors. Because for one thing, it provides readers with a sense of visual beauty, and for another, more information will be attained.（Zhu Liping，25）&lt;br /&gt;
&lt;br /&gt;
From the translation of examples above, each sentence is begun with a phrase led by an adjective or the past participle of a verb which is consistent with the principle of syntactic unity. Considering the background of western culture, as well as the convenience for readers, such an approach seems practical in resume translation. Syntactic unity not only makes the translated resume more attractive, but will also let our resumes stand out among thousands of competitors. Because for one thing, it provides readers with a sense of visual beauty, and for another, more information will be attained.（Zhu Liping，25）--[[User:Wang Xuan|Wang Xuan]] ([[User talk:Wang Xuan|talk]]) 14:42, 18 December 2020 (UTC)Wang Xuan&lt;br /&gt;
&lt;br /&gt;
Under Skopos theory, the unification of non-subjective sentences and syntax is an effective means of Chinese-English translation. Moreover, the author also found that English resumes use declarative sentences because of their narrative usage. Sentences such as questions and negatives are rarely used. In addition, the present and past tenses in English resumes are widely used for their objectivity. Generally, a job seeker will present his or her personal information and experience objectively, which is why the above tense is used.（Zhu Liping，27）&lt;br /&gt;
&lt;br /&gt;
Under Skopos theory, the unification of non-subjective sentences and syntax is an effective means of Chinese-English translation. Moreover, the author also finds that English resumes use declarative sentences because of their narrative usage. Sentences such as questions and negatives are rarely used. In addition, the present and past tenses in English resumes are widely used for their objectivity. Generally, a job seeker will present his or her personal information and experience objectively, which is the reason why the above tense is used.（Zhu Liping，27）--[[User:Wang Xuan|Wang Xuan]] ([[User talk:Wang Xuan|talk]]) 14:42, 18 December 2020 (UTC)Wang Xuan&lt;br /&gt;
&lt;br /&gt;
====3.3 Application of Skopos Theory in Textual Translation====&lt;br /&gt;
&lt;br /&gt;
In previous parts, the author of the essay has studied application of Skopos theory in lexical translation and syntactical translation. And in the following part, application of Skopos theory in textual translation will be further analyzed, which includes translation of personal information and concise style.(Zhu Liping,27)&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
3.3.1 Translation of Personal Information&lt;br /&gt;
&lt;br /&gt;
There is a big difference between the English resume, because the use of the English resume for the international environment, such as multinational companies, so the Chinese resume English translation should follow the principle of alienation, and the English resume should be easy to be accepted by the reader. Here is an example.&lt;br /&gt;
&lt;br /&gt;
There is a big difference between English resumes. Because the use of the English resume for the international environment, such as multinational companies, the Chinese resume English translation should follow the principle of alienation, and the English resume should be easy to be accepted by the reader. Here is an example.--[[User:Wang Xuan|Wang Xuan]] ([[User talk:Wang Xuan|talk]]) 14:42, 18 December 2020 (UTC)Wang Xuan&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
Example 5:&lt;br /&gt;
&lt;br /&gt;
姓名：张三&lt;br /&gt;
&lt;br /&gt;
性别：男&lt;br /&gt;
&lt;br /&gt;
年龄：25&lt;br /&gt;
&lt;br /&gt;
身高：185&lt;br /&gt;
&lt;br /&gt;
政治面貌：团员&lt;br /&gt;
&lt;br /&gt;
婚否：已婚&lt;br /&gt;
&lt;br /&gt;
地址：湖南省长沙市岳麓区&lt;br /&gt;
&lt;br /&gt;
电话：1337658xxxx&lt;br /&gt;
&lt;br /&gt;
电子邮件：Zhangsan2008@163.com&lt;br /&gt;
&lt;br /&gt;
Translation:&lt;br /&gt;
&lt;br /&gt;
Zhang San&lt;br /&gt;
&lt;br /&gt;
Yuelu District, Changsha, Hunan Province&lt;br /&gt;
&lt;br /&gt;
Tel:1337658xxxx&lt;br /&gt;
&lt;br /&gt;
Email:Zhangsan2008@163.com&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
By comparing the above resumes in both Chinese and English, we can clearly see that English resumes are much simpler than Chinese resumes, and a lot of private information has been deleted, such as date of birth, political status, marital status, height and photos, etc. The purpose is to avoid discrimination. In addition, the writing of addresses in Chinese and English resumes is also very different, so the author adopted a translation method of word order adjustment.&lt;br /&gt;
&lt;br /&gt;
By comparing the above resumes in both Chinese and English, we can clearly see that English resumes are much simpler than Chinese resumes. And there are a lot of private information that has been deleted, such as date of birth, political status, marital status, height and photos, etc. The purpose is to avoid discrimination. In addition, the writing of addresses in Chinese and English resumes is also very different, so the author adopted a translation method of word order adjustment.--[[User:Wang Xuan|Wang Xuan]] ([[User talk:Wang Xuan|talk]]) 14:42, 18 December 2020 (UTC)Wang Xuan&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
3.3.2 Concise Style&lt;br /&gt;
&lt;br /&gt;
As we know, simple and concise are two core principle of resume translation, because it achieves the purpose of high efficiency. Therefore, job seekers do not have to repeatedly emphasize the various scholarships or grades they have achieved between school or work. This not only makes people feel that job seekers have limited work experience, but also seem boring. Next, the author will give an example of the above.(Zhu Liping,28)&lt;br /&gt;
&lt;br /&gt;
As we know, simple and concise are two core principles of resume translation, because they achieve the purpose of high efficiency. Therefore, job seekers do not have to repeatedly emphasize the various scholarships or grades they have achieved between school or work. This not only makes people feel that job seekers have limited work experience, but also seem boring. Next, the author will give an example of the above.(Zhu Liping,28)--[[User:Wang Xuan|Wang Xuan]] ([[User talk:Wang Xuan|talk]]) 14:42, 18 December 2020 (UTC)Wang Xuan&lt;br /&gt;
&lt;br /&gt;
Example 6:&lt;br /&gt;
&lt;br /&gt;
2016.9湖南师范大学2015~2016年度“校三等奖学金”、“校三好学生”及“优秀学生干部”&lt;br /&gt;
&lt;br /&gt;
2017.9湖南师范大学2016~2017年度“国家励志奖学金”、“校三好学生”及“优秀共青团员” &lt;br /&gt;
&lt;br /&gt;
2018.9湖南师范大学2017~2018年度“校二等奖学金”、“校三好学生”及“优秀学生会干部”&lt;br /&gt;
&lt;br /&gt;
Translation 1:&lt;br /&gt;
&lt;br /&gt;
2016.9  Third-class Scholarship、 Excellent Student and Fine Student Leader in Hunan Normal University&lt;br /&gt;
&lt;br /&gt;
2017.9  National Scholarship for Higher Motivation、Excellent Student and Outstanding League Members in Hunan Normal University&lt;br /&gt;
&lt;br /&gt;
2018.9  Second-class Scholarship、Excellent Student and Fine Student Union Leader in Hunan Normal University&lt;br /&gt;
&lt;br /&gt;
Translation 2:&lt;br /&gt;
&lt;br /&gt;
Third-class and Second-class Scholarship&lt;br /&gt;
&lt;br /&gt;
National Scholarship for Higher Motivation &lt;br /&gt;
&lt;br /&gt;
Excellent Student(2 Times)&lt;br /&gt;
&lt;br /&gt;
Fine Student Leader and Fine Student Union Leader&lt;br /&gt;
&lt;br /&gt;
Outstanding League Members&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
The above example is taken from the resume of an undergraduate student. The first version was translated by the applicant himself, and the second version was modified. By comparing the two versions above, we can know that the second version is more concise and clear compared with the first one. It uses ellipsis and combination of translation skills to describe the academic achievements and honors of the applicants, without repeating the name and time of the school as the first one did. It's easier to stand out.(Zhu Liping,29)&lt;br /&gt;
&lt;br /&gt;
The above example is taken from the resume of an undergraduate student. The first version was translated by the applicant himself, and the second was modified. By comparing the two versions above, we can know that the second version is more concise and clear compared with the first one. It uses ellipsis and combination of translation skills to describe the academic achievements and honors of the applicants, without repeating the name and time of the school as the first one did. So it is easier to stand out.(Zhu Liping,29)--[[User:Wang Xuan|Wang Xuan]] ([[User talk:Wang Xuan|talk]]) 14:42, 18 December 2020 (UTC)Wang Xuan&lt;br /&gt;
&lt;br /&gt;
===Conclusion===&lt;br /&gt;
&lt;br /&gt;
When translating Chinese resumes into English, Chinese people often copy and ignore the habits of English resumes in terms of format, language and cultural traditions. Therefore, in the process of translating Chinese resumes into English, we must pay attention to the format characteristics of English resumes and the key points of language writing, as well as the cultural differences between China and the West, and the awareness of cross-cultural communication.&lt;br /&gt;
&lt;br /&gt;
When translating Chinese resumes into English, Chinese people often  ignore the habits of English resumes in terms of format, language and cultural traditions. Therefore, in the process of translating Chinese resumes into English, we must pay attention to the format characteristics of English resumes and the key points of language writing, as well as the cultural differences between China and the West, and the awareness of cross-cultural communication.--[[User:Wang Xuan|Wang Xuan]] ([[User talk:Wang Xuan|talk]]) 14:56, 18 December 2020 (UTC)Wang Xuan&lt;br /&gt;
&lt;br /&gt;
A resume is an indispensable application style for job application. It is a written introduction showing the image, expertise and experience of the job seeker. No matter what kind of briefing, the purpose is to seek job interviews for job seekers and get the job opportunities. Therefore, in order to reduce the obstacles encountered in job hunting and achieve a smooth job search, in the process of translating Chinese resumes, it is necessary to use the translation teleology as a guide, and according to the reading habits of English readers, the necessary arrangement and reorganization can be used to maximize the role of resumes.&lt;br /&gt;
&lt;br /&gt;
Resume is an indispensable application style for job application. It is a written introduction showing the image, expertise and experience of the job seeker. No matter what kind of briefing, the purpose is to seek job interviews and get the job opportunities for job seekers. Therefore, in order to reduce the obstacles encountered in job hunting and achieve a smooth job search, in the process of translating Chinese resumes, it is necessary to use the translation teleology as a guide, and according to the reading habits of English readers, the necessary arrangement and reorganization can be used to maximize the role of resumes.--[[User:Wang Xuan|Wang Xuan]] ([[User talk:Wang Xuan|talk]]) 14:56, 18 December 2020 (UTC)Wang Xuan&lt;br /&gt;
&lt;br /&gt;
Although this paper can provide some inspiration for job seekers, there are still limitations in the paper. The biggest limitation is that there are too few samples of resumes cited in the article, so the cases may be less than typical and comprehensive. Taking into account the limitations of the paper, the author believes that in the future research, the cases should be involved in a wider range and more numbers, so as to make a more comprehensive and convincing analysis.&lt;br /&gt;
&lt;br /&gt;
Although this paper can provide some inspiration for job seekers, there are still limitations in the paper. The biggest limitation is that there are too few samples of resumes cited in the article, so the cases may be less than typical and comprehensive. Taking into account the limitations of the paper, the author believes that in the future, the cases should be involved in a wider range and more numbers, so as to make a more comprehensive and convincing analysis.--[[User:Wang Xuan|Wang Xuan]] ([[User talk:Wang Xuan|talk]]) 14:56, 18 December 2020 (UTC)Wang Xuan&lt;br /&gt;
&lt;br /&gt;
===Reference===&lt;br /&gt;
&lt;br /&gt;
[1] Baker, Mona. Routledge Encyclopedia of Translation Studies[M]. Shanghai: Shanghai Foreign Language Education Press, 2004.&lt;br /&gt;
&lt;br /&gt;
[2] Bhatia, K. Analysis Genre: Language Use in Professional Settings[M]. London: Longman, 1993.&lt;br /&gt;
&lt;br /&gt;
[3] Nida, E.A. The Theory and Practice of Translation[M]. Shanghai: Shanghai Foreign Language Education Press, 2004.&lt;br /&gt;
&lt;br /&gt;
[4] Nord, Christiane. Skopos, Loyalty, and Translation Conventions[J]. Amsterdam and Philadelphia: Benjamins, 1991(4).&lt;br /&gt;
&lt;br /&gt;
[5] Nord, Christiane. Translating as a Purposeful Activity: Functionalist Approaches Explained[M]. Shanghai: Shanghai Foreign Language Education Press, 2001.&lt;br /&gt;
&lt;br /&gt;
[6] Peter, Newmark. A Textbook of Translation[M]. Shanghai: Shanghai Foreign Education Press, 2001.&lt;br /&gt;
&lt;br /&gt;
[7] Reiss, Katharina and Vermeer, Hans J. Groundwork for a General Theory of Translation[M]. Tubingen: Niemeyer, 1984.&lt;br /&gt;
&lt;br /&gt;
[8] Swales, M. Genre Analysis: English in Academic and Research Settings[M]. Shanghai: Shanghai Foreign Language Education Press.&lt;br /&gt;
&lt;br /&gt;
[9] Chu Tianshu 楚天舒. 求职简历不容忽视的九大细节[Nine details that cannot be ignored in a job resume ][J]. 中国大学生就业Employment of Chinese University Students, 2008,(8).&lt;br /&gt;
&lt;br /&gt;
[10] Hu Tingting 胡婷婷. 目的论指导下的简历英译[A Study of the C-E Translation of Resume Under Skopos Theory][D]. 吉林: 吉林财经大学Jilin University of Finance and Economics, 2018.&lt;br /&gt;
&lt;br /&gt;
[11] Lian Shuneng 连淑能. 英汉对比研究[Comparative Study of English and Chinese ][M]. 北京: 高等教育出版社Higher Education Press, 2010.&lt;br /&gt;
&lt;br /&gt;
[12] Gao Lin 高琳. 跨文化视角下中英文简历的语类分析[Genre Analysis of Chinese and English Resume from the Intercultural Perspective][D]. 天津: 天津商业大学Tianjin University of Commerce, 2015.&lt;br /&gt;
&lt;br /&gt;
[13] Zhang Peiji 张培基. 英汉翻译教程[English-Chinese Translation Course ][M]. 上海: 上海外语教育出版社Shanghai Foreign Language Education Press, 1980.&lt;br /&gt;
&lt;br /&gt;
[14] Zhu Liping 朱理萍. 求职简历汉英小译[Chinese-English translation of Job Resume][D]. 上海: 上海外国语大学Shanghai International Studies University, 2008.&lt;br /&gt;
&lt;br /&gt;
[15] Zhuang Yichuan 庄绎传. 英汉翻译简明教程[A Short Course in English-Chinese Translation ][M]. 北京: 外语教学与研究出版社Foreign Language Teaching and Researching Press, 2002.&lt;/div&gt;</summary>
		<author><name>Song Jianru</name></author>
	</entry>
	<entry>
		<id>https://bou.de/u/index.php?title=History_of_Translation_Studies_8&amp;diff=113516</id>
		<title>History of Translation Studies 8</title>
		<link rel="alternate" type="text/html" href="https://bou.de/u/index.php?title=History_of_Translation_Studies_8&amp;diff=113516"/>
		<updated>2020-12-17T08:22:48Z</updated>

		<summary type="html">&lt;p&gt;Song Jianru: /* References */&lt;/p&gt;
&lt;hr /&gt;
&lt;div&gt;这里是《翻译学史》的书稿第八部分(Part 8)。麻烦各位同学看一下已经存在的章回（样品），自己再加进去新的一个章回（就是你们的学期论文）。请也帮助同学们把他们的论文改正。这样多次修改，大家的论文会越来越好。&lt;br /&gt;
&lt;br /&gt;
学期论文（结合学期所学，撰写一篇5000以上单词的英文论文，按照专业杂志的格式，题目、摘要、关键词和参考文摘需要英中，文章英）。学期论文成绩占70%，平时成绩（含课堂表现、展示及作业）占30%。&lt;br /&gt;
&lt;br /&gt;
*Link back to course homepage: [https://bou.de/u/wiki/Introduction_to_Translation_Studies Course Homepage Intro. to TS]&lt;br /&gt;
*Link back to the final exam paper section of the course homepage: [https://bou.de/u/wiki/Introduction_to_Translation_Studies#Final_Exam_Papers Final Exam Papers]&lt;br /&gt;
*Link to other parts of the final exam papers' website: [https://bou.de/u/index.php?title=History_of_Translation_Studies_1 Part 1], [https://bou.de/u/index.php?title=History_of_Translation_Studies_2 Part 2], [https://bou.de/u/index.php?title=History_of_Translation_Studies_3 Part 3], [https://bou.de/u/index.php?title=History_of_Translation_Studies_4 Part 4]; [https://bou.de/u/index.php?title=History_of_Translation_Studies_5 Part 5], [https://bou.de/u/index.php?title=History_of_Translation_Studies_6 Part 6], [https://bou.de/u/index.php?title=History_of_Translation_Studies_7 Part 7], [https://bou.de/u/index.php?title=History_of_Translation_Studies_8 Part 8]; [https://bou.de/u/index.php?title=History_of_Translation_Studies_9 Part 9], [https://bou.de/u/index.php?title=History_of_Translation_Studies_10 Part 10].&lt;br /&gt;
&lt;br /&gt;
='''History of Translation'''=&lt;br /&gt;
== Study on Brand Name Translation from the Perspective of Cultural Difference	谭鑫洁	Tan Xinjie==&lt;br /&gt;
&lt;br /&gt;
==='''Abstract'''===&lt;br /&gt;
&lt;br /&gt;
== Abstract: ==&lt;br /&gt;
&lt;br /&gt;
==='''key words'''===&lt;br /&gt;
&lt;br /&gt;
==='''摘要'''===&lt;br /&gt;
&lt;br /&gt;
==='''关键字'''===&lt;br /&gt;
&lt;br /&gt;
===Complete transcript of the content of the original work ===&lt;br /&gt;
&lt;br /&gt;
===Same style and manner of writing===&lt;br /&gt;
&lt;br /&gt;
===Equivalent effect===&lt;br /&gt;
&lt;br /&gt;
===Discussion===&lt;br /&gt;
&lt;br /&gt;
===Conclusion===&lt;br /&gt;
&lt;br /&gt;
===Bibliography===&lt;br /&gt;
&lt;br /&gt;
==A Comparative Study on the Translation History in Western Countries and China	王煜	Wang Yu==&lt;br /&gt;
&amp;lt;center&amp;gt;王煜，202020080645.&amp;lt;/center&amp;gt;&lt;br /&gt;
===Abstract===&lt;br /&gt;
Translation is an intercultural communication activity, translation activities have accelerated the development of human civilization and reduced the communication barriers between people of different countries or nations. With time goes by, things are in a state of flux and both the western and eastern countries have gradually formed their own history of translation, the study of translation history is a basic project of discipline construction. Though there are many differences among the translation histories of western countries and China, the two kinds of translation histories are still shining their own bright unique lights and have an indelible influence and contribution to human translation activities. This paper intends to make a brief comparison of translation histories between western countries and China, which includes the origins, the stages, the representatives of the stages, the significance and influence as well as the differences of the two translation histories.&lt;br /&gt;
&lt;br /&gt;
===Keywords===&lt;br /&gt;
Translation History of the West; Translation History of China; Comparative Study&lt;br /&gt;
&lt;br /&gt;
===中西翻译史对比研究===&lt;br /&gt;
&lt;br /&gt;
===摘要===&lt;br /&gt;
翻译是一种跨文化交流活动，翻译活动加快了人类文明发展步伐，减少了人们之间的沟通障碍。随着时代的变迁，中国和西方国家逐渐形成了各自的翻译史，翻译史的研究是学科建设的一项基础工程。尽管中西方翻译史在某些方面有所差异，但却都有着各自的独特性，并对人类的翻译活动产生了巨大的影响与贡献。文章将以中国和西方国家为主要对象，从二者翻译史起始，包含阶段和各阶段代表人物，影响意义，差异性出发，对二者的翻译史进行简略的对比研究。&lt;br /&gt;
&lt;br /&gt;
===关键词===&lt;br /&gt;
西方翻译史；中国翻译史；对比研究&lt;br /&gt;
&lt;br /&gt;
===1. Introduction===&lt;br /&gt;
No matter in China or in the west, translation plays an important role in knowledge-spreading. As an indispensable part of translatology, the study of translation history has made a great influence on translation activities, it has gradually become the focus of the literary and historical circles in recent years. Translation activities can be traced back to the origin of language, and the history of translation is almost as old as language itself, it is closely related to the changes in today's society. &amp;quot;Since the 1980s, the translation studies in the mainland of China have made remarkable progress in the curriculum design of Chinese and western translation history and the compilation of related works. In the early 1980s and 1990s, there were many related works came out one after another including History of Translation in China – before May Fourth（《中国翻译简史-“五四”运动以前部分》） written by Ma Zuyi, A Historical Manuscript of Chinese Translated Literature （《中国翻译文学史稿》）edited by Chen Yugang, and also the A Short History of Translation in the West（《西方翻译简史》） the author of which is Tan Zaixi. Thus, it opens the gate for the compilation of Chinese and western translation history works.&amp;quot;(Xie Tianzhen2009,Ⅴ) The history of western translation can be divided into five stages while the Chinese study of translation has a glorious history of more than two thousand years and has experienced five climaxes. Through the comparative study of Chinese and western translation history, it will help us to have a deeper understanding of Chinese and western translation activities and thus to gather a general full view of it, which will be a positive and meaningful attempt.&lt;br /&gt;
&lt;br /&gt;
===2. The Translation History of Western Countries===&lt;br /&gt;
Western translation activities are rich in a long history and a multiyear span. The history of western translation can be roughly divided into three stages: the traditional stage, the modern times and the contemporary. More specifically, it can be grouped into the ancient times, the middle ages, the Renaissance period and the time after WWⅡ.&lt;br /&gt;
&lt;br /&gt;
===2.1 The First Stage: Translation in the Ancient Times===&lt;br /&gt;
    &lt;br /&gt;
The translation history of western countries first began in the the 3rd century BC. In a broad sense, the earliest translation in the west is the Old Testament translated by 72 Jewish scholars in Alexandria, ancient Egypt, between the 3rd and 2nd centuries BC; Strictly speaking, the first western translation is the Greek Homer Epic Odyssey translated by Andronicus in Rome in the middle of the third century BC.(Tan Zaixi2000,88-89) At the end of the 4th BC, during this time, the Greece began to decay and the Roman had became stronger and stronger with its military expansion. The expansion of the Roman Empire brought itself into contact with the splendid Greek culture, therefore, the Romans not only conquered the Greek city, but also inherited and developed the brilliant achievements of ancient Greek culture, and then created a  splendid cultural of its own era after Greece. So soon began a large scale translation activities, the activity of translating and introducing Greek classical works probably began in this period.(Liu Junping2009,8) Many famous translation theorists began to make their presences, namely Cicero, Quentin, Jerome and so on, also the famous Roman litterateurs like Andronicus, Naevius, Ennius, these great writers used Latin language to translate or adapt Homer’s epic or other Greece dramas.(Tan Zaixi2000, 89) Started the translation tradition and promoted the birth and development of Roman literature.&lt;br /&gt;
&lt;br /&gt;
===2.2 The Second Stage: Translation in the Middle Ages (4th-6th)===&lt;br /&gt;
&lt;br /&gt;
The second climax occurred in the late Roman Empire through the early Middle Ages and was religious in nature. In this period, translation was mainly related about the religious stuff. Religious forces have great influence in the west, Christianity strives to promote its own religion, thus, the Bible, the source and psychological weapon of the Christianism naturally meant a lot in religious world. Since the Old Testament of the Bible was written in Hebrew and Greek, respectively, it needed to be translated into Latin for effective circulation in Rome. &amp;quot;Jerome was a Latin Christian priest, he translated the Bible into Latin(Vulgute) according to the Hebrew version of the Bible.&amp;quot; This version had a great influence on medieval theology and was the most widely circulated and authoritative translation of the Middle Ages, marking an unprecedented level of Western translation.(Tan Zaixi2000, 89)&lt;br /&gt;
&lt;br /&gt;
===2.3 The Third Stage: Translation in the Middle Ages (11th-12th)===&lt;br /&gt;
&lt;br /&gt;
This period can also be called &amp;quot;the period of the Arab Centennial Translation Movement&amp;quot;,(Liu Junping2009,9) it lasted over two hundred years. In order to consolidate the rule and promote socio-economic and cultural development, the medieval Arab Empire undertook a massive, organized academic activity to translate and introduce the scientific and cultural classics of ancient Greece and the East. Translators of this period actively translated the most important works of Greek literature in all disciplines with an open mind and a strong desire for knowledge. Between the 11th and 12th centuries, Toledo became Europe’s academic center for its prosperous translation activities, the western translators who gathered here translated many works from Arabic into Latin. Cultural patterns and religious ideas converged here.(Tan Zaixi2000, 90) Until nowadays, the positive influence of the movement still plays an inherent role: numerous proprietary names such as ‘concept’, ‘category’ all are gradually established in Arabic. This movement not only facilitated the integration of the inner Arab world, but also, in fact, promoted the integration of the Western and Persian worlds.&lt;br /&gt;
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===2.4 The Fourth Stage: Translation in the Renaissance Period===&lt;br /&gt;
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The Renaissance movement is a European ideological and cultural movement which took place from the 14th century to the 16th century, and reached its peak in the 16th century and inspired a cascade of the development of science, art and literature. A large number of outstanding translators shown up and a series of excellent translation works had been produced. During this time, a great quantity of ancient Greek and Roman classics had been rediscovered and translated into various European languages, which had brought about a profound impact on the European nation states. Leonardo Buruni, who was one of the most influential cultural translation practitioners in the Renaissance period and was also one of the earliest representatives of humanistic translators in the history of western translation. He was famous for his translation of Plato and Aristotle. Humanists began to study the Bible with the method of studying classical literature, and translated the Bible into the national language, which led to the rise of the religious reform movement. In Germany, Martin Luther, a religious reformer, translated the first mass Bible which influenced most and ushered in a new era in the development of modern German; in Britain, Chapman, a writer and translator, translated Homer's Iliad and Odyssey from 1958 to 1616, and the translation and publication of the King James Bible in 1611 marked the formation of modern English.(Liu Junping2009,9) The renaissance played a very important role in the western history of the development of translation, it marked the national language status in the field of literature and translation having finally been consolidated, simultaneously, it showed the translation is playing a huge role in the formation and development of the national language, literature and thought.&lt;br /&gt;
During the the three hundred years that lasted from the 17th century to the 19th century, translation activities continued to move forward. Although its scale and influence could not be compared with that of the Renaissance, it still produced many excellent translators and translated works. The biggest feature was that translators not only continued to translate classical works, but also became interested in modern and contemporary works. The works of Cervantes, Shakespeare, Balzac, Goethe and other great writers had been repeatedly translated into various languages, and translations of Eastern literature have also been published.(Tan Zaixi2000, 91)&lt;br /&gt;
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===2.5 The Fifth Stage: Translation after WWⅡ===&lt;br /&gt;
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Although World War II has brought different degrees of blows to many countries, some western countries have used a large amount of capital to actively resume production, developed various social fields, and attached great importance to the person with ability. Western science and technology are changing with each passing day, driven by cybernetics, information theory and system theory, the world of knowledge and experience has been greatly expanded, and social and cultural exchanges have become increasingly close, which provided a solid material foundation and ideological guarantee for the prosperity of translation. With the growing in number or quantity of translation activities, the translation theory continues to develop, and the number of translation talents in various countries keeps on increasing. Translation has gradually expanded from traditional literary and religious translation to other fields, such as scientific and technical translation and business translation, and with the emergence of professional translators, the influence of translation has become more and more obvious, playing an important practical role. Distinctive features in this time, from the scope to the scale, effect, and to the forms, are all different from any time in the past, having made tremendous progress, the translation scale has exceed the past.&lt;br /&gt;
There are a large number of outstanding translators and translation theorists in the west, they have put forward their different points from different angles in different periods, which made a brilliant contribution to the history of western translation. The western translation activity promoted the cultural exchange and spread the ideas.(Tan Zaixi2000, 92)&lt;br /&gt;
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===3. The Translation History of China===&lt;br /&gt;
China has a long history with 5000 years of civilization. Since China is a multi-ethnic country, so translation plays an irreplaceable role in the communication between different nationalities. There is no reference to the history of translation in China, although there are some documents in the Xia and Shang Dynasties, we still can not discern the translation activities at that time from the existing records. &amp;quot;The song of the Yue Boatman can be regarded as the first poetry translation in Chinese history.&amp;quot;(Ma Zuyi1998,5) However, it was only an isolated translation activity and did not trigger a large-scale translation movement in China.&lt;br /&gt;
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===3.1 The First Stage：Translation of Ancient Buddhist Scriptures===&lt;br /&gt;
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The first climax of the Chinese translation history was the translation of ancient Buddhist scriptures. The Potala Sutra should be the earliest translation of Buddhist scriptures in China,it was also said that the Forty-Two Chapters Sutra is the earliest Chinese translation of the Buddha's sutras, however, the one that is proven to be reliable should be the book The Fifty Books of the Mingdu translated by An Shigao during the reign of Emperor Huan of the Eastern Han Dynasty.(Ma Zuyi1998,17)&lt;br /&gt;
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It has experienced four phases, each of which had its own features: the first was the starting period which was from the last year of emperor Huan in the Eastern Han Dynasty to the Western Jin Dynasty. Translators in this period were mainly Buddhist monks,(Ma Zuyi1998,33) However, the quality of the translated works depends on the ability of the translators’ understanding of Chinese, so the classics of the translated works are varied. Also, due to the shortage of learners' language knowledge , they usually used literal translation. The second perid was the developing time, from the Eastern Jin Dynasty to Sui Dynasty. The Buddhist scriptures continued to prevail under the rulers' advocacy and began to translated Buddhist scriptures in an organized way which was also use the literal translation. During this period, Shi Daoan put forward the famous theory of ‘Five losses of source texts and three difficulties in translation’. Meanwhile, through the translation and interpretation of nearly 400 volumes of Buddhist classics, kumarajiva first introduced Indian Buddhism to the Chinese people, which played an important role in the prosperity of Chinese Buddhism at that time.(Ma Zuyi1998,40) The translation in this time had changed from individual translation into group translation which had improved the quality if translation and as well made some progress in translation theories and skills.(Ma Zuyi1998,55) The third period was the heyday of the translation history took place in Tang Dynasty.(Ma Zuyi1998,58) Xuanzang was an important figure in promoting Sino Indian friendship and cultural exchanges in China's history，not only was he a great translator and organizer of translation, he was also a great translation theorist whose contribution to translation studies still remains significant today. As for the last period, it was in the Northern Song Dynasty, the studying of translating scriptures gradually withered, and during this period, the translation mainly focused on the esoteric classics translations.(Ma Zuyi1998,82)&lt;br /&gt;
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As part of Chinese history, especially as the link of the cultural development, Chinese ancient Buddhist sutra translation has contributed more than a lot.  The spread of Buddhist ethics contributed to the formation of Taoism in China.&lt;br /&gt;
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===3.2 The Second Stage：Technical Translation during the Yuan and Ming Dynasties===&lt;br /&gt;
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The translation of Buddhist scriptures gradually declined during the two hundred years of the Ming Dynasty. With the arrival of western Christian missionaries, China came into contact with Europe. In order to facilitate their relations with Chinese officials and intellectuals, the missionaries translated works of western science and technology as well as Christian texts assisted by Chinese officials. They also introduced the Chinese classics to the West. Matteo Ricci came to China on a mission to introduce Western scientific and technological knowledge. He pioneered the history of combining Chinese and Western translation to introduce Western scientific and technical literature, and was the first to translate the Four Books into Latin, he was the first to introduce Chinese texts to the West.(Ma Zuyi1998,263) From the Wanli period of the Ming Dynasty to the &amp;quot;new learning&amp;quot; period of the Qing Dynasty, there appeared translators who introduced science, literature and philosophy in Western Europe, represented by Xu Guangqi, Lin Shu and Yan Fu. Xu Guangqi was a patriotic scientist and organizer of the scientific and cultural movement in China at the end of the Ming Dynasty, and made outstanding achievements in introducing Western natural sciences and improving the level of science in China.&lt;br /&gt;
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===3.3 The Third Stage：Literary Translation in Late Qing Dynasty===&lt;br /&gt;
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After the Opium War, the Qing government organized a large number of scholars to translate western natural science books, Under the influence of the reform thought, a large number of translations introducing western political thoughts, scientific methods and some literary works appeared. The records of four continents, translated by Liang Jinde, Lin Zexu asked him to do so, was the first systematic introduction to the geographical knowledge of western countries in modern China.（Ma Zuyi1998,329）After the Sino-Japanese War of 1894-1895, Yan Fu translated the theory of evolution and put forward the triple criteria of ‘faithfulness, fluency and elegance’, which has  played a great guiding role in the translation practice of later generations, His translation promoted the development of &amp;quot;new learning&amp;quot; and enlightened the Chinese nation at that time. Another scholar Liang Qichao, who was a politician, thinker and encyclopedia scholar of that time and advocated that China needs to develop the translation career and cultivate translation talents at a full stretch. He has done fruitful research on the translation of Buddhist scriptures and the translation of science and technology between the Ming and Qing Dynasties.&lt;br /&gt;
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===3.4 The Fourth Stage：The Translation of Socialist and Communist Works===&lt;br /&gt;
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The May 4th Movement was a watershed in China's modern translation history, made a significant contribution to the introduction of foreign literature to China and the development of literature in China. After the May 4th movement, China's translation industry has ushered in a new historical period, translators in this period of time, by comparison with those during the late Qing dynasty, were more selective regarding source texts. Chinese translation scholars began to introduce the classic works of Marxism-Leninism and the literature of the proletariat. The translation of the Manifesto of the Communist Party was published during the May 4th movement. During this period, great changes have taken place in the content and form of translation work: vernacular began to replace classical Chinese, as a result, popular language becomes easy to understand, the excellent literary works of western countries have attracted more and more Chinese readers. Famous translators like Lu Xun, Mao Dun, Zheng Zhenduo, Guo Moruo, Zhu Shenghao, Lin Yutang, these scholars had translated a large number of foreign masterpieces and enriched the inner world of the Chinese people, Lu Xun once advocated that there should be an exotic atmosphere in the translated works which would familiarize the readers with the foreign cultures. He also believed that literal translation of culturally loaded words was one of the important means of enriching the mother tongue. These scholars helped the Chinese people to know more about the outside world and laid a good foundation for the systematization and scientization of translation theory in China.&lt;br /&gt;
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===3.5 The Fifth Stage：The Translation after 1949===&lt;br /&gt;
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The founding of the People's Republic of China in 1949 enabled translation to enter into a new era. With the founding of the new China, China's translation industry was also liberated. Translation became a very important part of the national cultural and educational cause. National organizations for translators were established in order to protect the interests and benefits of translators. The quantity and quality of translated works have grown by leaps and bounds. Since then, translation work has been an important part of the new socialist culture, and has been developing rapidly, making great achievements and perfecting translation theory. The classical works of Marxism-Leninism, excellent foreign literature, scientific and technical literature and the like were systematically introduced. There are large-scale translation like the translation of Marx and Lenin's works. In the 1950s, scientific and technical works to meet the demands of the national social and economic construction. In the 1970s, translation of United Nations documents after China was restored to its rightful seat in the United Nations. Also, literary translators became a very important part of China's literature and arts personnel. Qian Zhongshu He puts forward his &amp;quot;transmigration theory (化境说)&amp;quot; for literary translation. That is a literary translation is like the act of transmigration in which the souls, the spirit of the original text remain in the target text even although the carrier of them, the language, has changed. In 1978, two years after the end of disastrous &amp;quot;cultural revolution,&amp;quot; China adopted its &amp;quot;reform and open&amp;quot; policy. A new and dynamic atmosphere for translation emerged.&lt;br /&gt;
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===4.The Comparative Study Among the Two Kinds of Translation Histories===&lt;br /&gt;
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===4.1 The Similarities of the Western and Chinese Translation History===&lt;br /&gt;
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About the religious and translation, we can easily notice that in the history of Chinese and western translation, almost all the early translation activities were the translation of religious classics. The translation of religious classics had opened the curtain of Chinese and western translation history. The spread of religion is always accompanied by the translation of religious classics. It is not difficult for us to understand the reason: after the emergence of religion, in order to absorb more believers, it is necessary for the religious to spread widely across nations and countries. Therefore, from ancient times to the present, religion is always a kind of existence form of various national beliefs and cultures. It keeps on influencing the spiritual belief and behavior of the society.&lt;br /&gt;
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The translation activity has made great contributions to the establishment and development of national languages in various countries. For example, in the history of western translation, Martin Luther's Bible translation played an important role in the unification and development of German language and the establishment of modern German, what’s more, the English version of the Bible enriched the English vocabulary and benefited the modernization of English a lot. The same in China, the Buddhist scripture translation also enriched the use of Chinese vocabulary, in the ideological field, it not only laid the foundation for the establishment of Taoism, but also paved the way for the formation of &amp;quot;New Confucianism&amp;quot; in Song Dynasty. And we can not ignore the contribution of the literary translation in the first half of the 20th century in the establishment and development of modern vernacular Chinese. &lt;br /&gt;
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The translation activity helps to transmit cultural values and promote cultural exchange. Translation bears the mission of cultural exchange, the translation activities are trying to make a close connection between nations and countries and introduce the language and cultural habits of one nation to another. Such kind of efforts have enriched the vocabulary and promoted the exchange between areas. Jesuits who came to China in the late Ming and early Qing dynasties would translate Chinese classics and literary works into foreign languages, which, in a state of isolation between China and Europe, they have become the middlemen for the exchange of Chinese and Western civilizations.(Tan Zaixi1999)&lt;br /&gt;
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===4.2 The Differences Between the Western and Chinese Translation History===&lt;br /&gt;
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First is that, the time is different. Western translation predates Chinese translation by over 200 years. It is said that the reason is due to the differences in topography and geomorphology of the two parts. We all know that China possesses a great number of mountains and lakes, and in the ancient times, it would take quite a few days to send messages from one place to another place, especially when people in the remote areas, it would be a hard and long journey for them to head for a destination. So, there is difficulty in communicating among the various peoples in different nations, there will be delay of the communication and connection. As for the west, there are numerous plains, so it was much convenient and easier for the western people to communicate and exchange their ideas with each other, which set a ideal environment for the development of translation activity.&lt;br /&gt;
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Also, the position of the religious varies. The different traditional culture of the west and China has made the concept of religious of the two are quite varied from each other. Different religious cultures have different forms of expression and vocabulary of their own. In the west, the Bible is not only a religious classic but also an important mainstay of western culture and the foundation of Christian faith. Buddhism was introduced into China from India in the early years of AD and became a very important part of Chinese traditional culture, in order to consolidate his ruling position, the rulers ruled the people spiritually, and the doctrine of Buddhism was in line with the ruler's appetite, so it was first spread among the ruling class and gradually gained its legal status.&lt;br /&gt;
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The translation tradition of the west and China differs. One of the differences of them is the difference between single system and multiple system. “The simplicity of Chinese translation tradition is mainly in the narrow sense，though there are different kinds of translations of national languages in China, most of them are still dominated by the tradition of Chinese language and culture translation. “because they all occurred in the same environment of the language culture since ancient times, that is , the environment of Chinese language culture.” By way of contrast, In terms of space, the western translation tradition did not always develop in the same region. In the later formation and development process, it spread throughout all ethnic regions in Europe；In terms of time, the western translation tradition began in ancient Rome, and then evolved into the ancient Latin language and culture system. In the later period of the middle ages, the system expanded and evolved into many relatively independent ethnic systems. So the system of the west is more like a kind of multiple system instead of a single system like China.(Tan Zaixi2000,15)&lt;br /&gt;
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The Chinese and western translation concepts are different. Then, the translation theories are different. Chinese translation tradition pays more attention to practicality than to the theory. Like professor Tan Zaixi once said that: “What Chinese translators and translation theorists are most concerned about is how to deal with the difficulties in translation and how to deal with them.” however, western translation pays more attention to systematicness and theory. Secondly, the national characteristics of China and the West are also different. Relatively speaking, Western ideas are more open and China is conservative. For a long time, the Chinese people advocate authority and accept more challenges less, China's three cardinal principles and five constancies in religion are in sharp contrast to the religious reform in the West. Although the West also advocates authority and takes religion as its belief, it dares to break through dogmatism, which brings a breakthrough to western translation studies to a certain extent.&lt;br /&gt;
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===Conclusion===&lt;br /&gt;
History is a bridge connecting the past, the present and the future. Throughout the history of translation between China and the west, although the differences between them inevitably exist, the brilliant translation achievements made by both sides are remarkable: excellent translators, translation scholars, or outstanding  translation theory, translation works, all of these have opened up the way for our future translation research, they are leading people to the direction of knowledge, and constantly leading us to explore into the unknown field.&lt;br /&gt;
Mastering the history of a discipline can help us to see the direction of its development, we then will able to learn from the experience and lessons in this development process and use this kind of method to guide the development of this subject. To have contact with the history of translation is helpful for us to understand and improve the level of translation and develop the translation career. The achievements of our predecessors have accumulated valuable cultural heritages for us. We should sum up our predecessors' translation experience and continue to make our efforts for our country's translation cause.&lt;br /&gt;
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===References===&lt;br /&gt;
*Tan Zaixi. 谭载喜. (2000). 翻译学 [A Series of Translation Studies in China]. Wuhan: Hubei Education Press 湖北教育出版社.&lt;br /&gt;
*Xie Tianzhen. 谢天振. (2009). 中西翻译简史 [A Brief History of Translation in China and the  West]. Foreign Language Teaching and Research Press外语教学与研究出版社.&lt;br /&gt;
*Qi Jian. 戚健. (2017). 古罗马时期翻译思想新探 [A New Probe Into the Translation Thoughts in Ancient Rome]. 南昌航空大学学报：社会科学版Journal of Nanchang Hangkong University: Social Science (3) 68-74.&lt;br /&gt;
*Ma Zuyi. 马祖毅. (1998). 中国翻译简史-“五四”以前部分（修订本） [A Brief History of Chinese Translation: The Part Before the May 4th Movement] . China Translation Corporation中国对外翻译出版公司.&lt;br /&gt;
*Liu Junping. 刘军平. (2009). 西方翻译理论通史 [A General History of Western Translation Theory]. Wuhan: Wuhan University Press武汉大学出版社. &lt;br /&gt;
*Tan Zaixi. 谭载喜. (1999). 中国翻译与西方翻译[Chinese Translation and Western Translation]. 中国翻译 Chinese Translation Journal(5) 6-8.&lt;br /&gt;
*Wang Yong. 汪勇. (2008). 翻译与宗教传播[Translation and Religious Communication]. 中国校外教育理论 Education for Chinese After-school(26) 51-53.&lt;br /&gt;
*Li Xuan. 李璇. (2012). 中西翻译高潮之对比[Comparison of Translation Climax Between China and the West]. 青年文学家 Youth Literator(3) 131.&lt;br /&gt;
*Tan Zaixi. 谭载喜. (2000). 中西译论的相异性[The Differences Between the Chinese and Western Traditions of Translation Theories]. 中国翻译Chinese Translation Journal (1) 15-21.&lt;br /&gt;
*Tan Zaixi. 谭载喜. (1999). 中西译论的相似性[The Similarities Between the Chinese and Western Traditions of Translation Theories]. 中国翻译Chinese Translation Journal (6) 25-28.&lt;br /&gt;
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==Comparison and Translation Studies Between Chinese and Western Color Terms	方洁玲	Fang Jieling==&lt;br /&gt;
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=== Abstract ===&lt;br /&gt;
Color terms are terms used to describe the external color characteristics of things, and are very common in our lives. We use them not only to describe the external image of an object, but also to express our inner psychological feelings. Color words contain rich cultural connotations, which should not be understood simply from their literal meanings when translated, but from the different cultural connotations and extended meanings contained in the color words to understand and choose the meanings of the words. This paper first introduces the composition of color words in Chinese and English and makes a comparative analysis of their characteristics, then discusses the different meanings given to the six colors in Chinese and English, and then provides different translation methods that should be used in different situations, providing a certain reference for the English-Chinese translation.&lt;br /&gt;
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===Key words ===&lt;br /&gt;
color terms, cultural difference , reason ,translation methods&lt;br /&gt;
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=== 摘要 ===&lt;br /&gt;
颜色词是用来描述事物外在颜色特征的词语，在我们生活中非常常见。我们不仅用它描绘物体的外在形象，也用它表达内在心理感受。颜色词包含了丰富的文化内涵，在翻译的时候不能简单地从字面意思上理解，应从颜色词所包含的不同文化内涵和引申意义来理解和选择词义。本文将首先介绍中英颜色词的构成并对其特点进行对比分析，然后具体论述六种颜色在中英文中被赋予的不同意义，接着提供了面对不同情况应该采用的不同翻译方法，为英汉互译提供了一定的参考。&lt;br /&gt;
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=== 关键词 ===&lt;br /&gt;
颜色词 文化差异 原因 翻译方法&lt;br /&gt;
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=== 1.Introduction ===&lt;br /&gt;
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Color is an indispensable part of human life,it is because of the colorfulness of colors that the world is much more varied and pleasant. Color words not only have an important impact on people's vision, but also have a great impact on people's inner feelings and emotional expression. As an important part of language, color words are frequently used by human beings in English, but due to different histories, cultures, customs and habits, in the long run, different people have given specific meanings to various colors. Analyzing and comparing the different connotations of color words in Chinese and Western cultures and exploring the cultural differences between English and Chinese will be of great help to the translation work between English and Chinese. At the same time, translators will inevitably meet a lot of problems in the translation work. In this paper, we mainly discuss the composition and cultural connotation of color words between Chinese and English. In addition, we also propose some translation methods and make a brief conclusion.&lt;br /&gt;
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=== 2.Characteristics of the Composition of Chinese and Western Color Words ===&lt;br /&gt;
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Color words are words used to describe the color of different things. And they are the symbols that exist in human languages to record a large number of colors, which are generally considered to be adjectives in grammar.&lt;br /&gt;
In the historical development of Chinese color words, there are three types.(Cai Xiaomin2020,65) &lt;br /&gt;
(1) Basic words. These words are the most basic and objective, and are generally used to objectively describe the most direct external color state of an object. They are &amp;quot;white&amp;quot;, &amp;quot;black&amp;quot;, &amp;quot;red&amp;quot;, &amp;quot;yellow&amp;quot;, &amp;quot;blue &amp;quot;&amp;quot;Green&amp;quot; &amp;quot;Gray&amp;quot; &amp;quot;Purple&amp;quot; &amp;quot;Brown&amp;quot; and &amp;quot;orange&amp;quot;.&lt;br /&gt;
(2) Reference words. Reference words means that people specifically distinguish basic words to show different colors. These words are more detailed and specific than the basic words. For example, we tend to divide &amp;quot;green&amp;quot; into &amp;quot;dark green&amp;quot; &amp;quot;grass green&amp;quot; and so on.&lt;br /&gt;
(3)Descriptive words. Descriptive words comes from people's perception of nature. These words can not only distinguish colors, but also describe what they look like. Such color words are more literary and subjective.&lt;br /&gt;
Color words in English are mainly divided into basic color words and compound color words.&lt;br /&gt;
basic color words : (1) simple colors. For example, black, white. (2) Colors of plants. For example, orange, etc.&lt;br /&gt;
Compound color words : (1) the name of plant + simple color. For example, apple green. (2) Chemical name + simple color. For example, vermilion, etc&lt;br /&gt;
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=== 3.The Different Understanding and Perception of Colors in China and the West ===&lt;br /&gt;
Nature is colorful and can be described with many words. Generally speaking, black symbolizes oppression, white symbolizes purity and innocence, and green symbolizes life force. However, due to different histories and cultures, the same color may have different meanings. After a careful study of color words, it is easy to see that color words create various associations that have a great impact on a person's emotions and behavior. This is the main reason why people use color words to explain their moral character, emotions, and perceptions of things. Different cultures and ways of thinking lead to different meanings of color words, and this disparity can affect people's understanding of the meaning of the same word. For example, in English-speaking countries, white symbolizes purity and beauty, which is why brides wear white wedding dresses in Western weddings. However, in China, white is often used to express grief, and a white funeral dress is worn at a funeral. In this paper, we start with the six basic color words red, black, white, yellow, purple and blue, and compare their cultural connotations in English and Chinese, discussing the different understanding and cognition of colors in China and the West and the differences in cultural connotations between Chinese and Western cultures.&lt;br /&gt;
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====3.1 红and Red ====&lt;br /&gt;
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In traditional Chinese culture, &amp;quot;红&amp;quot; represents joy, happiness, good luck, and prosperity. &amp;quot;红&amp;quot; is a color that cannot be absent from important events in China, such as the red couplets(红包), red lanterns（红灯笼）, and red packets（红包） during Chinese New Year festivals, the red dress of the bride at weddings, and other festive ceremonies in China. Similarly, words combining the word &amp;quot;红&amp;quot; generally mean prosperity, such as “hongguangmanmian”（红光满面）、”dahongdazi”(大红大紫)、”honghuo”(红火)、”hongren”(红人)、”hongrun”(红润), etc. In addition, during the revolutionary era, the color red also symbolized the modern Chinese revolution and power, such as the“hongsezhengquan”(红色政权)、”hongjun”(红军)、”hongqi”(红旗)、”hongge”(红歌)、”hongsewenjian”(红头文件)、”hongseganglin”(红色纲领), etc.(	Zhao Fenyan2019,232)&lt;br /&gt;
In the West, red refers to the color of blood, and when red is mentioned, it is generally associated with cruelty, violence, and bloodshed. For example, &amp;quot;red hands&amp;quot;, &amp;quot;red battle&amp;quot;, &amp;quot;the red rules&amp;quot; &amp;quot; red revenge&amp;quot;, the color red also symbolizes radical and violent revolution, as in &amp;quot;red activities&amp;quot;, but also danger and tension,such as &amp;quot;a red flag&amp;quot;. &amp;quot;red alert&amp;quot; &amp;quot;a red adventure story&amp;quot;, in addition to the above-mentioned symbolic meaning, the color red also has connotations of debauchery and obscenity.(Yan Wen2012,177)For example, red light district, a red waste of one's youth, and so on. The positive connotation of the color red in Western culture is due to the exchange and integration of different cultures, which is said to have been introduced to the West via Persia from the Far East. like red letter day、red envelope、the red carpet.&lt;br /&gt;
	&lt;br /&gt;
====3.2 黑 and Black ====&lt;br /&gt;
&lt;br /&gt;
In Chinese history, “黑” is an honorable and dignified color, which had a high status in ancient times. During the Xia, Qin, and early Han dynasties, “黑” was the dress of emperors and officials, and the common people were only allowed to wear plain clothes, and then a restriction that was gradually relaxed after the Northern Song Dynasty. In China, the derivation of “黑” includes the positive meanings of stern, iron-faced, upright, and mysterious, such as in the art of theatrical masks, where the “黑脸” symbolizes the noble character of uprightness and selflessness. In addition to its positive connotations, “黑” sometimes symbolizes a derogatory meaning, indicating a counter-revolutionary, regressive, or stubborn party. For example, the ”阴曹地府” is said to be dark and sunless, and “黑”, as opposed to light, symbolizes darkness, death, terror, etc.&lt;br /&gt;
In the West, black is the color of death, symbolizing death, suffering, and grief, hence the black color of Western mourning garments. black tidings means &amp;quot;bad news&amp;quot;，Jesus was crucified on the Friday before Easter, The Black Friday is considered to be a &amp;quot;dangerous and ominous day&amp;quot;. Black also symbolizes &amp;quot;anger&amp;quot; and &amp;quot;irritation&amp;quot;, such as: black in the face,to look black at sb，Other words that express negative meanings，such as black sheep, black dog, black eye, black list, black and blue, black art, and other black symbols.(Wang Yu2012,151)In addition, black also represents seriousness, discretion, and pomp. Black suit and black dress have always been the most revered traditional clothing in the West. In solemn formal occasions, people like to wear black clothing. Symphony orchestra performers almost always wear black suits. The term &amp;quot;black-ball&amp;quot; refers to a costume ball. In business English, &amp;quot;a company in black&amp;quot; refers to a profitable business, where“ in black” means profitable, because on financial statements, profit figures are written in black ink.[6]&lt;br /&gt;
	&lt;br /&gt;
====3.3 白 and White ====&lt;br /&gt;
 &lt;br /&gt;
In Chinese, “白” is often used to represent death, such as at funerals with white decorations, white flowers, and white mourning clothes, but there are also many words containing “白” that do not represent color at all, but rather the name of something or have another meaning,[8]such as”baicai”(白菜), “baixiong”（白熊）、 “baiyi”(白蚁)、”baijuan” (白卷)、 “baichi”(白痴), White&amp;quot; also means &amp;quot;pure, or unadulterated, such as”baikaishui”(白开水)、”baizhi”(白纸)、”baiqierou”(白切肉)etc. &amp;quot;White&amp;quot; also often means &amp;quot;in vain&amp;quot; or &amp;quot;without cost&amp;quot;, such as”baifeishi”(白费事)、“baida”（白搭）、”baisong” (白送)、“baishouqijia” (白手起家) etc(Chen Yongye2005,425) and The Chinese word “白” is also not the same as the English word &amp;quot;white&amp;quot;, which we can say the white people (白人), but is better translated as: She has a fair skin. In addition, it is difficult to summarize the exact meaning of some of the“白” in Chinese, For example “baihua”(白话) vernacular, “tanbai”（坦白）: to confess, to make a clean breast of something, etc.&lt;br /&gt;
In the West, however, white is considered as a symbol of purity, and it is customary to wear white wedding dresses and gowns at weddings, hence there exist the expressions like white-handed，a white lie，a white day, they treated us white etc.&lt;br /&gt;
	&lt;br /&gt;
====3.4 黄 and Yellow ====&lt;br /&gt;
&lt;br /&gt;
In traditional Chinese culture,”黄” is a symbol of power, honor, and nobility, in the Chinese feudal society, yellow is a symbol of imperial power and nobility, such as ”chonggao”(崇高)，”huangpao”(皇袍)、”huanggong”(皇宫)、”shengzhi”(圣旨) and so on. In modern Chinese, words such as “huangchengcheng”(黄澄澄),”huangcanvan”(黄灿灿)mean a good harvest and an auspicious day. ”黄” is a glorious color. And it is always associated with &amp;quot;honor&amp;quot;, &amp;quot;brilliance&amp;quot;, it is a symbol of &amp;quot;power&amp;quot; and &amp;quot;nobility&amp;quot;. To this day, ”黄” is still the symbol of ancient China, which is its positive meaning. Similarly, ”黄” has negative connotations, such as ”huangseshukan”(黄色书刊) , “huangseluxiang”(黄色录像) etc, but in the West, the term &amp;quot;the blue video&amp;quot;, &amp;quot;the blue talk&amp;quot; is used to describe the pornographic nature of the country. It means ”huangsedianying”(黄色电影)and ”huangsexinxi”(黄色信息)(Du Tianyu2020,188). In addition, ”黄” also means failure, sickness, or old age, such as ”huangji”(黄髫). The word ”黄” also means youth and ignorance.&lt;br /&gt;
In the West, in Western Christianity, yellow is a symbol of shame. Because in the Bible, Judas betrayed Jesus by wearing a yellow dress. Therefore, &amp;quot;yellow&amp;quot; has the connotation of betrayal .And it also means sadness, sickness, cowardice, etc. For example, &amp;quot;a yellow streak&amp;quot; means cowardice. &amp;quot;yellow&amp;quot; also has mean and vulgar semantics. In the 18th century, Americans often printed pornographic books on yellow paper. As a result, the low level of exaggeration and exaggerated distortion of facts used by newspapers and periodicals to attract readers was later extended to journalistic styles as well. For example, &amp;quot;yellow journalism&amp;quot; is a style of journalism that attempts to attract people in any way possible. [9]In English, Yellow Pages is the &amp;quot;yellow phone book&amp;quot;, and yellow boy is a slang term for &amp;quot;gold coin. The English words for Chinese ”黄” would be: pornographic, filthy, vulgar, obscene, etc. In English, blue is often used to mean ”黄”, such as blue jokes(下流的玩笑)、blue revolution (性解放)、blue films (黄色影片)、blue software (黄色软件)etc.(Chen Yongye2005,425) Some Chinese words have nothing to do with the English word yellow, such as blue jokes(下流的玩笑)、blue revolution (性解放)、blue films (黄色影片)、blue software (黄色软件)and so on.&lt;br /&gt;
	&lt;br /&gt;
====3.5 绿and Green ====&lt;br /&gt;
&lt;br /&gt;
In Chinese culture, “绿”represents vitality, and phrases related to”绿”express hope and vitality of people, such as“lüzhou”（绿洲）、“lvyiangran”（绿意盎然）. In today's China, ”绿”has a new symbolic meaning, such as: “lvseshipin”(绿色食品),”lvsechanye”(绿色产业), all referring to the concept of health, safety and non-pollution. The green light is also a signal for safe passage. In Chinese, a &amp;quot;lvmao&amp;quot; （绿帽）means that a man's wife is in an illicit relationship with someone else.(Hu Zongkang, Zhang Jun2019,153) However, in ancient Chinese culture, ”绿”means humbleness, because humble people wore green clothes. Also,”lvlinhaohan” (绿林好汉)means a barbarian who occupies a mountain and becomes king.&lt;br /&gt;
In traditional British culture, &amp;quot;Green&amp;quot; is a symbol of youth and vitality. It reminds people of the harmony and tranquility of nature. The &amp;quot;Green Peace Organization&amp;quot; is an organization that protects animals and plants. A dove with a green olive branch in its beak is a symbol of peace, &amp;quot;green winter&amp;quot; refers to a warm winter, and &amp;quot;in a green wood&amp;quot; refers to when people are young and strong. Green also represents a sense of madness and despair, just as Satan's image in the Bible is green. In addition, green in English also has a derogatory meaning of jealousy, lack of training, and childishness, such as “as green as grass”，’a green eye”，”a green hand”.(Chen Yuan陈缘2020,49) In addition, greenback means U.S. currency in English, and since U.S. dollar bills are green in color, green also means &amp;quot;money,&amp;quot; &amp;quot;bills,&amp;quot; or &amp;quot;economic power&amp;quot; in the United States.&lt;br /&gt;
	&lt;br /&gt;
====3.6 蓝 and Blue ====&lt;br /&gt;
&lt;br /&gt;
Blue is the color of the sea and clear skies, giving people a feeling of peace and tranquility. In Chinese, in addition to the color,”蓝” is often used together with other words to form phrases that have different meanings from the color. &lt;br /&gt;
For example, “蓝 青 官 话 “the standard Chinese spoken by the people with accent&lt;br /&gt;
“蓝本”script on which the works are based； model&lt;br /&gt;
“蓝图”（blue print）building plan&lt;br /&gt;
“蓝田生玉”the noble people usually come from the good family&lt;br /&gt;
“青出于蓝而胜于蓝 “the new coming from the old is better than the old .&lt;br /&gt;
But blue in English can be extended to depression, sadness, nervousness, immorality, obscenity, and pornography. For example :“feel blue“, ”be blue about future“,”Her mood is blue“,“be down with blues”,“sing the blues”,“blue devils”,“blue funk“,”blue revolution“, ”blue films“, ”blue jokes“, ”blue room” refers to a place in The White House where the president meets his friends and family. and the ”Blue Book“ refers to a book that contains the names of celebrities and important government officials.(Du Tianyu2020,187-188)&lt;br /&gt;
&lt;br /&gt;
=== 4.Reasons for the Difference in the English-Chinese Translation of Color Words ===&lt;br /&gt;
&lt;br /&gt;
Different countries and regions have different interpretations of color. The main reasons for this difference are geographical factors, historical factors, religious beliefs, and social systems, &lt;br /&gt;
	&lt;br /&gt;
====4.1 Geographic Factors ====&lt;br /&gt;
&lt;br /&gt;
Chinese civilization originated in the Yellow River Basin. The rich water resources and flat land of the Yellow River Basin have nurtured several generations of Chinese people. This is the main reason why the Chinese people love yellow. For generations, we Chinese people are also known as the “yanhuangzisun”(炎黄子孙)(Cai Xiaomin2020,66).Western civilization originated in ancient Rome. The only way out for Greece was to expand abroad. Therefore, blue became the favorite color of the Greeks.&lt;br /&gt;
	&lt;br /&gt;
==== 4.2 Historical and Cultural Factors ====&lt;br /&gt;
&lt;br /&gt;
A large number of color words have been created in different historical backgrounds and conditions. Therefore, it is important to understand the differences in the historical background and culture of different countries. For example, during the War of Resistance Against Japanese Aggression, our Party was called the”hongjun”(红军), which gave rise to expressions like “hongsezhengquan”(红色政权)、”hongjun”(红军)、”hongqi”(红旗)、”hongge”(红歌)、”hongsewenjian”(红头文件)、”hongseganglin”(红色纲领),etc.(Li Dan2018,132) In addition to some basic meanings, the color “红” in China also has some special historical meanings, such as the heroic and fearless revolutionary spirit. This is also the main reason why our national flag adopts the color red. Also in ancient China, yellow was a symbol of power, a color reserved for the royal family, representing the supreme authority, which meant that yellow robes were added to the flag. In the West, purple is used as a metaphor for &amp;quot;throne&amp;quot; and &amp;quot;prominence,&amp;quot; and the addition of a purple robe means rising to a position of prominence, because Western emperors and bishops have a tradition of wearing purple robes, such as :be born in the purple(生于皇室), be raised to the purple. In recent years, yellow has become more and more of a symbolic term in China for low taste, erotic vulgarity, and obscenity, such as”huangsedianying”(黄色电影)、”huangseshukan”(黄色书刊)、”huangseguangdie”(黄色光碟).etc. The &amp;quot;黄&amp;quot; in these names has nothing to do with the English &amp;quot;yellow&amp;quot;, these words in English are expressed like this pornographic, vulgar, obscene. It is very different from the associations in Chinese culture. The color vocabulary is visually and psychologically positive and derogatory for people of different nationalities.&lt;br /&gt;
&lt;br /&gt;
==== 4.3 Religious beliefs ====&lt;br /&gt;
&lt;br /&gt;
In China, the Five Element Theory is widely spread. Since &amp;quot;gold&amp;quot; is at the core of the theory, yellow becomes noble. In contrast, in the West, because yellow is stigmatized in Christianity and most people are Christians, many people dislike yellow and often even use it to convey negative connotations, according to &amp;quot;the Gospels&amp;quot; in the Bible's, in which Jesus was willing to be crucified, bleed to death, and be sacrificed with the blood of the Gospels. The Bible has been a classic of Christianity, and most people in Europe and the United States believe in Christianity. Since the Bible has always been a Christian classic, and most people in Europe and the United States are Christian, its influence on Western culture as a whole is immeasurable, and on English culture as well. Therefore, people think that &amp;quot;red&amp;quot; is associated with bloodshed, martyrdom, and bad things, and &amp;quot;red&amp;quot; makes them think of horrible things, such a“ red hand”( 沾 满 血 的 手 ),“ a red battle”( 血 战 ),“ to see the red light”(灾祸临头).&amp;quot;(Chen Yongye2005,425)In Chinese language, the color red is a symbol of honor, splendor, good fortune, and celebration. Such as: :“ 开门红”make/ get off to a good start,“ 满堂红”success in every field,“ 红 榜 ”honor roll,“ 红 运 ”goodluck,“ 红 事 ”wedding,“ 红 人 ”a favorite with someone in power etc.&amp;quot;.&lt;br /&gt;
&lt;br /&gt;
==== 4.4 Social System ====&lt;br /&gt;
&lt;br /&gt;
The use of different colors to represent political affiliations or national identities has long been a common practice among peoples of different social systems in China and the West due to their political, economic, and religious differences. In English, the true blue refers to the loyal members of a political party, especially the die-hard conservative members of the British party; White Paper or Blue Paper refers to a report or diplomatic document with blue or white covers issued by the British and American governments on a particular topic; Yellow Paper refers to the French and other countries. A government report of a country; Green Paper is a draft report for discussion by various committees; the Chinese use the term &amp;quot;红&amp;quot; to symbolizes the proletarian revolution, the meaning of which is derived from the book &amp;quot;Red Star Over China&amp;quot;(“红星照耀下的中国”,and is also translated into”西行漫记”) by American writer Edward Snow.(Li Dan2018,132)&lt;br /&gt;
&lt;br /&gt;
===5.Translation Methods of English-Chinese Color Words ===&lt;br /&gt;
 &lt;br /&gt;
From the above analysis, we can conclude that there are similarities and differences in the cultural connotations of Chinese and English color words. Therefore, in the translation of color words, it is impossible to generalize, so translators need to adapt to the local conditions and adopt an appropriate way to translate.&lt;br /&gt;
	&lt;br /&gt;
====5.1 Literal Translation ====&lt;br /&gt;
&lt;br /&gt;
Literal translation means that every effort should be made to maintain the linguistic style of the original work. At the same time, it requires that the target language should be fluent and easy to understand. There are similarities between English and Chinese languages and cultures. In the translation of English-Chinese color words, some color words can be found in the target language, while others have similar extended cultural meanings. Sometimes there is no similar extended meaning, but only a literal translation meaning, so the literal translation can also be used for translation.(Hu Zongkang, Zhang Jun,153)&lt;br /&gt;
For example, when the word black remains in its original color in the corresponding language, i.e, it has the same connotation, a literal translation is usually used.&lt;br /&gt;
black humor 黑色幽默 (an absurd, grotesque, or morbid humor in literature, especially in novels and plays)&lt;br /&gt;
black Friday黑色的星期五 (the Friday on which any disaster occurs)&lt;br /&gt;
black hand黑手党 (a secret organization that originated in Sicily, Italy, and has spread to the United States to engage in criminal activities)&lt;br /&gt;
black market 黑市、black- hearted 黑心的、blacklist 黑名单、black and white TV黑白电视, etc.(Chen Yuan2020,49）and red light district can be directly translated as“红灯区“, which refers to the neighborhoods where sex industries are concentrated in cities of certain countries and regions. Similarly, some color words in Chinese can be directly translated into English, for example:” 白露”, one of the 24 solar terms, is a culturally specific term in Chinese, which is completely unfamiliar to Western countries. Due to cultural exchanges, &amp;quot;white dew&amp;quot; is becoming more and more familiar to foreigners, and it has the same cultural meaning in English as &amp;quot;白露&amp;quot; in China. As another example, &amp;quot;绿油油&amp;quot; is a Chinese adjective used to describe the color of vibrant green leaves. We can translate it into English as &amp;quot;green and shiny&amp;quot; because the color words here are only used to describe objective points of view, and they have the same meaning.&lt;br /&gt;
	&lt;br /&gt;
==== 5.2 Free Translation ====&lt;br /&gt;
&lt;br /&gt;
Free translation. When the meaning of a color word in the original language is different from the meaning of the color word in the target language, the translator has to translate the meaning of the color word in the original language into the customary expression in the target language. In some cases, color words appear in both Chinese and English, but they do not have any color meaning; some are customary object names, while others give new meaning to them. In this case, the color itself cannot be focused on, so the colorless translation should be abandoned.This kind of translation based on the cultural background of two languages to correspond to the meaning is called &amp;quot;free translation&amp;quot;.(Chen Yuan2020,49）&lt;br /&gt;
Take black as an example, for instance, black lie--恶意的谎言、black and blue--青一块紫一块、black tea-- 红茶、black guard--恶棍、black coffee --不加牛奶的咖啡、pain somebody black-- 把某人描写成坏人、黑帮can be translated into “reactionary gang”、黑钱--ill-gotten money、黑面包 brown bread, and so on. Another example is that we often say &amp;quot;他是老师面前的“红人&amp;quot;, which is translated into English as &amp;quot;He is teacher's favourite student&amp;quot; ,”hongren”(红人)is an extended paraphrase of the Chinese, which does not mean literally, it means someone who is popular and be sought after by others, and the exact meaning needs to be contextualized. People from English-speaking countries will be confused if we translate it as &amp;quot;red people&amp;quot;. In English, the meaning of &amp;quot;one's favourite people&amp;quot; is somewhat similar to &amp;quot;红人&amp;quot;, so the phrase &amp;quot;one's favorite people&amp;quot; is appropriate. Another example is &amp;quot;a white elephant,&amp;quot; which is said to be a punishment given by the king of Thailand to his erring ministers in the past, as the cost of keeping white elephants is very high and would be a great financial burden. This word is very common in English, but a literal translation of &amp;quot;白象&amp;quot; would not have any connotation in Chinese, so it can be translated as &amp;quot;expensive and useless thing.（Jin Yan2012，130）&lt;br /&gt;
&lt;br /&gt;
===6. Conclusion ===&lt;br /&gt;
&lt;br /&gt;
This paper first discusses the construction of color words in Chinese and English, and then compares their compositional features. Secondly, six colors (red, black, yellow, white, green, blue) are taken as examples to analyze the cultural similarities and differences between Chinese and English color words. The reasons for the differences are divided into four main categories: geographical factors, historical factors, psychological factors, religious beliefs, and social systems, Finally, a solution to the problem is proposed, which provides a proper reference for translators when translating Chinese and English color words. When doing translation, translators can mainly use two different translation methods, namely, literal translation and free translation. When the Chinese cultural connotation of a color word in a sentence is the same as the English one, the literal translation can be used. When it is different from English, a free translation is appropriate. With the continuous penetration of globalization, people's languages and cultures are gradually interwoven, so does the meaning of color words, and also the similarities are expanding gradually. However, each nation-state has its own unique culture and customs, so the color words have completely different meanings in different regions and different languages. Therefore, when translating color terms, in order to translate the meaning of the text more accurately, the translator must have a deeper understanding of the color words.(Bao Dongjiao2005,107).In addition, the translator should not only learn translation skills, but also the history, geography, and culture of the country where the source and target language are located, which will help the accuracy of the translation. In short, the key to a good color word translation is the combination of translation skills and a deep understanding of the culture, as well as an accurate analysis of the color word.&lt;br /&gt;
&lt;br /&gt;
===7.Reference ===&lt;br /&gt;
&lt;br /&gt;
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&lt;br /&gt;
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*Wang Yu.王羽.(2012).中西文化对比下颜色词的差异比较[Comparison of the differences in color words between Chinese and Western cultures].教育时空[Education Time],151.&lt;br /&gt;
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*Li Yun, Jia Aiguang.李云,贾爱光.(2020).大学英语教学中英汉基本颜色词翻译对比探讨[A Comparative Discussion on the Translation of English and Chinese Basic Color Words in University English Teaching].校园英语[Campus English],11-21.&lt;br /&gt;
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*Chen Yuan陈缘.(2020)英汉颜色词的文化差异与翻译[Cultural differences between English and Chinese color words and translation].海外英语[Overseas English],48-49.&lt;br /&gt;
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==Translation manipulated by ideology	许静	Xu Jing==&lt;br /&gt;
&lt;br /&gt;
==Comparison between the History of Chinese and Western Translation   周书尧   Zhou Shuyao==&lt;br /&gt;
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===Abstract===&lt;br /&gt;
Translation has existed since historical records. Translation goes hand in hand with human history, even before historical records. Whether in my country or Western countries, the long tradition of translation has become the most dazzling pearl in the process of human civilization.In addition, translation plays an indelible role in promoting cross-cultural communication and cultural communication.This article first discusses the history of translation in China from four stages , then discusses the five stages of western translation history , and finally compares and analyzes the similarities and differences between Chinese and Western translation histories, and puts forward some of the author's own views.&lt;br /&gt;
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===Key words===&lt;br /&gt;
The history of Chinese,The history of Western,the stages of  translation history,comparison&lt;br /&gt;
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===摘要===&lt;br /&gt;
自历史记载以来,就存在翻译.翻译与人类的历史并道而驰,甚至先于历史记载.无论在我国,还是西方国家,悠久的翻译传统俨然成为人类文明进程中一颗最耀眼的明珠。此外，翻译在促进跨文化交流和文化传播上承担着不可磨灭的作用。本文首先从中国的四次翻译高潮论述中国的翻译史，再从西方的五次翻译高潮探讨西方的翻译史，最后对中西方翻译史的异同进行对比分析，提出一些笔者自己的看法。&lt;br /&gt;
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===关键词===&lt;br /&gt;
中国翻译史，西方翻译史，翻译高潮，对比&lt;br /&gt;
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===I.Introduction===&lt;br /&gt;
Since the 1980s, the Chinese translation studies community has made remarkable progress in the establishment of Chinese and Western translation history courses and the compilation of related works.In the 1980s and early 1990s,A Brief Introduction to the History of Translation in China from Ma Zuyi and other books of Chen Yugang and Tan Zaixi were published one after another,which raised the curtain for the compilation of Chinese and Western translation history works by the domestic translation scholars.The four stages in the history of Chinese translation have promoted the development of Chinese history, culture and society to varying degrees.(Xu 2018,5)&lt;br /&gt;
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The same as our country, Western translation has an age-old history.In a sense, the development of Western European civilization should first be attributed to the translators.The five stages in the history of European translation have promoted the exchanges of literature, art, science and trade between countries, and to a certain extent promoted the development of Chinese translation.In fact, when we examine the development trajectory of Chinese and Western translation activities and the evolution of translation concepts together, we find that there are some similarities between Chinese translation and Western translation.Especially in the evolution of Chinese and Western translation concepts, the two have very similar evolution laws.(Xie 2010,5)&lt;br /&gt;
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===Ⅱ.The history of Chinese translation===&lt;br /&gt;
According to records, there have been four stages in China's long history of translation development, leaving behind many classic discussions.From these four translation climaxes, we can see the translators, translation theories and practices that emerged in different periods in China.And these translation stages have had varying degrees of impact on China's history, culture, society, and literature, including the development of Chinese translation.&lt;br /&gt;
====2.1 The first stage:Ancient Translation History====&lt;br /&gt;
The translation of Buddhist scriptures from the Eastern Han Dynasty to the Tang and Song Dynasties (25-1279) can be regarded as the first important period in the history of Chinese translation, the initiation period of traditional Chinese translation theory, and the first large-scale, planned, Organized translation activities.A large number of Buddhist scriptures were introduced into our country from various countries in the Western Regions, which had a profound impact on our country's language, religious philosophy, painting, arts, etc.The Chinese translation of Buddhist scriptures with textual research should be translated by An Shigao（安室高） during the Eastern Han Dynasty (151 AD).From 148 AD to 170 AD, he translated more than 30 Buddhist scriptures in Luoyang, making great contributions to Buddhist translation and the spread of Buddhist culture in China.The translation of Lokaksema（支娄迦谶）, who was at the same time as An Shigao, was basically a word-for-word translation, which was not easy to understand. The literal translation in the Chinese translation community probably started from this time.Zhi Loujiachen were the masters of the literal translation school. In addition to them, the major translators include Lokaksema and Dharmaraksha（竺法护）. And most of these translators were “foreigners”.&lt;br /&gt;
Shi Daoan (314-385), who was an eminent monk, set up a translation workshop, ushering in the period of translation on a large scale. And a State Translation School was founded for this purpose. Shi daoan put forward the famous &amp;quot;five instances of losing the source and three instances of difficulties&amp;quot;, which had a great influence on later translation studies.(Li 2016,132)The Sui and Tang Dynasties were the prosperous period of Chinese Buddhist translation.Xuan Zang（玄奘）, Kumarajiva（鸠摩罗什）, and Zhen Di（真谛） of the Tang Dynasty are collectively known as the three major translators of Chinese Buddhism. In the translation of Buddhist scriptures, he fumbled and summed up the famous &amp;quot;Five do not flip&amp;quot;(五不翻原则）and “six methods of translation”. &amp;quot;Five do not flip&amp;quot;means translators should employ transliteration facing mysterious words, polyseme, culture-loaded words, conventional transliterating words and words showing respect. And the core of his translation theory can be concluded in one sentence. That is: it is necessary to seek truth and be straightforward.（既须求真又须喻俗)&lt;br /&gt;
The Buddhist translation of this period enriched the religious beliefs of the people, became the spiritual support of the people at that time, promoted the exchange between China and the world at that time, and made Buddhist scriptures an inseparable part of our traditional culture.&lt;br /&gt;
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====2.2 The stage two:Modern Translation History ====&lt;br /&gt;
During the Ming and Qing Dynasties (middle 14th to 19th centuries), there was a second stage of translation in Chinese history. During this period, the translation was mainly scientific and technological translation.This major shift was also decided by the Chinese and Western countries at the time in order to seek their own interests and finally reached an agreement on mutual terms.Western missionaries wanted to spread religious thought and culture in China, while Chinese scholars at that time were eager for knowledge and were keen on Western advanced science and technology in order to maintain the regime. In this way, the two needs complement each other, and the translation of Western scientific books is increasing. Increased, which promoted the great development of science and technology translation at that time.In 1868, the official translation and publishing organization of the Qing Dynasty, referred to as the Translation Museum, used the translation method from Western to Chinese, which means that foreign scholars interpret and Chinese scholars write and polish.(Liu 2016,148)The main representatives of translation activities in this period include Xu Guangqi（徐光启）, Li Zhizao （李之藻）, etc.Especially Xu Guangqi, known as the &amp;quot;Father of Western Translation&amp;quot;, does not understand foreign languages, and his translations are mainly through listening to narratives and co-translation and compilation.He proposed that the translation of Western history books should be prioritized and progressive，and put forward his own translation thought: &amp;quot;If you want to be superior, you must understand; before you can understand, you must first translate.&amp;quot;Although there were many translation achievements during this period, there was no systematic translation theory.Although the later translation museum had clear translation principles, its main purpose was to maintain its own rule by learning advanced Western technology.&lt;br /&gt;
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====2.3 The third stage: Contemporary Translation History ====&lt;br /&gt;
From the end of the 19th century to the beginning of the 20th century, China was in turmoil and internal and external troubles. Some rulers and intellectuals with capitalist ideas demanded to unite to resist the aggression of Western countries, and proposed reforms to strengthen themselves.Translation in this period is the boundary of modern Chinese translation history. Translation in the field of science and technology has gradually spread to the fields of literature, philosophy, economics, sociology, and ethics. China has entered a new stage of translation. The scale and influence of its translation activities all surpassed any period in modern times.At the end of the 19th century, Western academic translation represented by Ma Jianzhong （马建忠）and Yan Fu（严复）was a translation act driven by &amp;quot;national anxiety&amp;quot;, which promoted the expansion and deepening of foreign exchanges.(Liu 2016,148-149)In particular, Yan Fu's &amp;quot;faithfulness,expressiveness and elegance&amp;quot; translation standards have had a profound impact on translators' translation activities.&amp;quot;faithfulness&amp;quot; means loyalty, and &amp;quot;expressiveness&amp;quot; means unobstructed. In Yan Fu's interpretation, &amp;quot;elegance&amp;quot; means the translation strives to be elegant.The representative translator at that time was Lin Shu（林纾）. He proposed to pay attention to the purpose and function of translation, which meant that the translation should be able to achieve the expected goals and effects.When Lin Shu is translating, he emphasizes on subjective feelings, and the translator needs to communicate with the original author and the characters in the original work.A large number of translators, represented by Lin Shu, mostly adopt the principle of domestication and advocate free translation, which reflects the flexibility and openness of translation to a certain extent.During the May 4th Movement, the &amp;quot;New Youth&amp;quot; magazine was launched and began to translate western cultural thoughts and literary works. Representatives such as Chen Duxiu（陈独秀）, Hu Shi（胡适）, and Zhou Zuoren （周作人）all attached great importance to introducing foreign literature and foreign culture.Translation activities during this period included the introduction of scientific and technological knowledge and the dissemination of advanced ideas. The scale and the number of works all showed its important position in the history of translation.Moreover, the audience in this period has also expanded from intellectuals to part of the people, broadening the horizons of the Chinese people, increasing their knowledge, and playing a good catalytic role in modern intellectual circles.&lt;br /&gt;
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====2.4 The fourth stage: Present Translation====&lt;br /&gt;
Since the reform and opening up, China and the Western world have had a broader space for communication, and the translation industry has achieved prosperity and development.In an open China, from the initial learning from modern and contemporary Western translation theories, to actively conducting cultural exchanges with other countries, learning and exploring research methods, and focusing on cross-disciplinary comprehensive innovation, translation practices and theories have achieved unprecedented development.(Xu 2018,5)For example, cultural schools, structuralism, post-colonialism, and other translation theories have been translated into China in large numbers. Literary works involve politics, economy, culture, literature, art and other fields, and the quantity and variety greatly exceed the previous generations.Representatives at this time include Liu Miqing（刘宓庆）, Tan Zaixi（谭载喜）, Huang Long（黄龙） and others. Among them, Tan Zaixi compiled the book &amp;quot;A Brief History of Western Translation&amp;quot;. The whole book pays attention to absorb the relevant research results at home and abroad. It is important for various historical periods, especially since the 20th century. The representative tasks in the western translation field, translation works, schools of thought, etc. are described and commented, and the mutual promotion, evolution and development of translation practice and translation theory are analyzed and discussed in a simple way, which promotes the formation of a systematic translation theory in China.During this period, our research is no longer limited to the summary of translation practices and abstract induction of translation principles, but from the generalization of subjective thoughts to the description and analysis of specific translation phenomena, translation events and processes.Translation studies have changed from a single-paradigm study to a multi-paradigm study. In short, the reform and opening up has created a new situation in China's translation industry, constantly expanding research fields, and effectively promoting the development of Chinese translation studies.&lt;br /&gt;
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===Ⅲ.The history of western translation===&lt;br /&gt;
The same as our country, Western translation has a long history.In a sense, the development of Western European civilization should first be attributed to the translators.From the ancient Roman Empire to the modern European Community, literary, artistic, scientific, and trade exchanges between countries are all carried out through the work of translators. Throughout the whole process, the history of Western translation can be divided into five major development stages.Broadly speaking, the earliest translation in the West is The Septuagint.Strictly speaking, the first translation is the Homer epic &amp;quot;Odyssey&amp;quot; translated in Latin by Andronicus .Both the former and the latter began in the third century BC, with a history of more than two thousand years, and are an important part of the entire European history of development.(Tan 1985,36)&lt;br /&gt;
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====3.1 The first stage : Ancient====&lt;br /&gt;
Ancient translation mainly revolved around the Greek translation and Latin translation of the &amp;quot;The Bible. Old Testament&amp;quot; from the third century BC to the sixth century AD. Translation in this period can be divided into the first stage of ancient Greek literature translation and the second stage of religious translation.At the end of the fourth century BC, the Greek slave society began to decline, while the relatively backward Rome gradually became stronger.At this time, Greece has a certain cultural foundation and is still superior to Roman culture. Therefore, Greek culture has a greater attraction to Roman culture. The translation and introduction of Greek culture may begin in this period.It was only in the middle of the third century BC that recorded translations began to appear. Andronicus, Neveus, Ennius, and other excellent translators, who are known as the three ancestors of Roman literature, have translated a large number of Greek dramas in Latin.This large-scale translation first opened the situation of local translation in Europe. It spread Greek culture to Rome, promoted the development of Roman culture, and served as an important bridge for Rome and later generations to inherit ancient Greek literature.(Tan 1985,36)&lt;br /&gt;
The translation activities in the fourth to sixth centuries AD were mainly religious translation.In Europe, religious forces have always been strong and stubborn. From the very beginning, the Christian Church was hostile to secular literature, and tried to develop a religious culture that served its own interests.As the source of Christian thought and spiritual weapon, the &amp;quot;Bible&amp;quot; has naturally become the most concerned classic in the religious world.In 384 AD, Jerome was entrusted by the Roman Pope to compile a translation called &amp;quot;The New Testament&amp;quot;, which marked that the translation of the &amp;quot;Bible&amp;quot; had achieved an important position on par with the translation of secular literature.As Europe entered feudal society, religious translation was popularized, and the Bible was translated into various languages one after another.&lt;br /&gt;
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====3.2 The second stage : Middle Ages====&lt;br /&gt;
In the Middle Ages, Latin translation was no longer limited to religious documents. Eastern literature was translated and introduced to the East. The achievements of Arabic academic research promoted the development of Western translation.At that time, Western translators gathered in Toledo, Spain, and translated a large number of works from Arabic to Latin. This is the rare closely contact between Christians and Muslims in history.(Tan 2004,64)In the ninth and tenth centuries, Syrian scholars went to Athens to translate a large number of Greek classics into Syrian and brought them back to Baghdad. Baghdad established an important translation center, and many Greek classical works were translated into Arabic.Later, in the eleventh century, a large number of Arabic works appeared in Toledo. Translators translated these works into Latin. Toledo gradually became an academic center and translation center, becoming a &amp;quot;Translation Museum&amp;quot; similar to Baghdad. His translation and academic activities lasted for a hundred years, and the impact was also great.&lt;br /&gt;
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====3.3 The third stage :The Renaissance Period====&lt;br /&gt;
In the 14-16th century, the Renaissance took place in Europe. It was a great movement of ideological and literary innovation, and a great development in the history of Western translation. The translation practice and theoretical research of Western countries did not make a real leap until the Renaissance.During the Renaissance, Western translators constantly discovered new literary fields, unearthed new cultural heritage, and transplanted new ideas to the mainland. Translation at this time went deep into various fields such as ideology, politics, philosophy, literature, and religion, and involved some major works in ancient, modern and contemporary times.Translation in this period played an important role in the formation of national languages, marking the consolidation of the status of national languages in translation.(Tan 1985,37)&lt;br /&gt;
In Germany, Martin Luther created a precedent for the Reformation. His translation of the &amp;quot;Bible&amp;quot; through the people's language laid the foundation for the later standardization and standardization of German and played an important role in the unification of German.In France, &amp;quot;Celebrity biography&amp;quot; translated by the writer Amyot became an immortal literary translation in the history of translation in France and the entire West.In the United Kingdom, the translation of Greco-Roman history and literary works provided important historical materials and new ideological resources for the formation of an autocratic monarchy in the United Kingdom, which promoted the occurrence of the British bourgeois revolution and promoted Britain to become a modern nationalized country earlier.All in all, the ideological liberation movement of the Renaissance in Europe around 1500 had a profound and long-term impact on Europe, especially Western European society, and cultural translation played a crucial role as a bridge in this ideological liberation movement. It also shows that translation plays a huge role in the formation and development of national language, literature and thought.&lt;br /&gt;
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====3.4 The fourth stage :Since the end of the Second World War====&lt;br /&gt;
After the Second World War, the West entered a relatively stable period of peace, the economy was restored, production was secured, and science and technology developed rapidly. These are important material foundations for the development and progress of translation.(Tan 1985,37)Compared with the past, translation in the new period has undergone great changes. First, the scope of translation has been expanded. Traditional translation mainly focused on literary and religious works, while translation during this period expanded to the fields of technology and business.Second, the scale of translation is much larger than before. In the past, translation was mainly the work of a few high-level intellectuals. Nowadays, translation has become a profession, and there is even a professional team that has been specially trained.Third, the role of translation has also been enhanced, especially with the establishment of the European Community and the European Union, the process of globalization has accelerated, and the communication activities between countries are realized through translation. Therefore, translation plays a very important role in the economy, culture, science and technology of western countries.&lt;br /&gt;
The form of translation during this period has also undergone great changes, such as the strengthening of the professionalization of the translation business, the establishment of higher translation education and the training of professional translators.Especially the way of translation has broken the tradition, and machine translation has been developed and popularized.Since English and American scholars first discussed the possibility of using computers for translation in 1946, the development and application of translation machines have increasingly shown vitality after nearly 40 years of tortuous development. It is a challenge to traditional manual translation for thousands of years, and it is also a revolution of far-reaching significance in the history of translation.&lt;br /&gt;
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===Ⅳ.Comparison between the History of Chinese and Western Translation===&lt;br /&gt;
====4.1 Commonality====&lt;br /&gt;
Through the introduction of the Chinese translation history and the Western translation history in the above two chapters, it is not difficult to find that there are some similarities between the translation concepts and the evolution process of the two, especially the laws of evolution of the Chinese and Western translation concepts are very similar.&lt;br /&gt;
First of all, the initiation and development of large-scale Chinese and Western translation activities are closely related to the translation of religious documents.In the West it is the translation of the Bible, while in China it is the translation of Buddhist classics.In my opinion, this commonality is the origin of translation concepts such as &amp;quot;original supremacy&amp;quot; and &amp;quot;faithful original text&amp;quot; that have dominated the Chinese and Western translation circles for two thousand years.(Xie 2010,5)Looking back at history, when Chinese and Western ancient translators were translating these religious documents, they must be pious and absolutely faithful to the original text to translate word by word, lest they would distort the will of God and the teachings of the Buddha.Until the 1950s, due to the advent of the era of professional translation, the target of translation has evolved from religious documents and literary masterpieces to non-literary practical documents such as economy, technology, business, and entertainment. Since then, translation Views have been greatly changed.&lt;br /&gt;
Secondly, both in China and in the West, translation has played an important role in disseminating knowledge.When we compare the contribution of Chinese and Western translation in spreading knowledge together, this effect is further demonstrated.In the West, backward Rome developed rapidly due to the absorption of advanced Greek culture and became the later Roman Empire.In the Middle Ages, after the Baghdad Translation Center, the translation activities of the &amp;quot;Translation Museum&amp;quot; in Toledo, Spain.The translators provided a source of learning for the Western world by translating ancient Greek and Roman natural science works, philosophy and other classics translated by the Arabs into Latin, as well as the Arabs' own academic works.It is through these classical classics that Western talents began to come into contact with a large number of classical cultures and promoted the Renaissance. Its influence is reflected in all aspects of art, philosophy, literature, music, science and technology, politics, religion, and intellectual inquiry.For China, a large number of Buddhist scriptures from the Western Regions to China from the Han Dynasty to the Song Dynasty opened up the history of Chinese translation.The translation of science and technology at the end of the Ming Dynasty and the beginning of the Qing Dynasty was also influential in disseminating Western science and technology literature and promoting the development of China's natural science and engineering technology.In particular, the literary translation from the Opium War to the &amp;quot;May 4th&amp;quot; period was the dividing line of modern translation history. The translation from the field of science and technology gradually spread to the fields of literature, philosophy, economics, sociology, ethics, etc. In the new stage of translation, the scale and influence of its translation activities have exceeded any period in modern times.Since China's reform and opening up, translation has played a role in promoting communication between China and various countries. The development of the globalization process cannot be separated from the bridge and hub of translation.&lt;br /&gt;
Third, the role of translation in the establishment and development of national languages in various countries has some obvious commonalities in both the West and China.In the West, Martin Luther's Bible translation has played a very important role in the unification and development of German and modern German.The English translation of the &amp;quot;Bible&amp;quot; also contributes significantly to enriching English vocabulary and expressive means.As for China, Buddhist translation has enriched Chinese vocabulary, especially literary translation during the May Fourth Movement, which promoted the establishment and development of modern Chinese vernacular.The translation in the new era has also enriched the vocabulary to a certain extent.For example, the Chinese &amp;quot;人山人海&amp;quot; translates into English as &amp;quot;people mountain people sea&amp;quot;, and it is even included in the English dictionary.&lt;br /&gt;
Finally, regardless of Chinese and Western, translation also plays a vital role in conveying foreign social and cultural values.(Xie 2010,5)In the West, for example, the excavation, dissemination and development of the spirit of humanism during the Renaissance were largely due to the translation of ancient Greek and Roman classics.In China, Li Zhizao, Xu Guangqi and others' translations of Western social science masterpieces in the late Ming and early Qing dynasties broadened the horizons of the Chinese people and promoted the modernization of China.During the May Fourth Movement, Yan Fu, Lu Xun and others' translations of Western literature and dramas refreshed the Chinese worldview, increased the Chinese people's knowledge, and played a good catalytic role in modern intellectual circles.&lt;br /&gt;
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====4.2 Difference====&lt;br /&gt;
The last section elaborated from four aspects that the evolutionary laws of Chinese and Western translation history are very similar. Of course, the development of Chinese and Western translation history has its own unique performance, not only in the development period and nodes, but also in certain These aspects are even far apart.&lt;br /&gt;
Although the initiation and development of large-scale Chinese and Western translation activities are closely related to the translation of religious documents, the status of Buddhism in Chinese and Western social and political life is different.Religion plays an extremely important role in Western society. In Western Christian society, God is not only the creator and nurturer of the universe and mankind, but also the maker and arbitrator of the political and ethical order of the world. Is the primary source of Western moral standards.Therefore, the importance of &amp;quot;Bible&amp;quot; translation can be imagined.In China, imperial power is greater than divine power. Monarchs profess themselves to be the emperor, exercise power by the mandate of heaven, and enjoy supreme authority.Religion can only be spread and developed under the support and use of imperial power. Its essence is actually a tool to maintain rule, and it has never become a religious behavior for the whole people.In Chinese history, religion was never allowed to harm the ethical principles of feudal rule. Once harm occurred, it would be banned and eliminated.The extermination of Buddhism in the history of Chinese Buddhism and the &amp;quot;Chinese Etiquette Controversy&amp;quot; in the history of modern Chinese Catholicism are typical features.Therefore, the influence of Chinese Buddhist scripture translation is more in folk culture, and the effect of its influence is more manifested in a subtle form.For example, the change of world outlook, the penetration of language, the borrowing of the plots of Buddhist classics in literary works, and so on.Moreover, Chinese society uses blood as a bond and family as a unit. It is the blood relationship that closely connects family members.Festivals and weddings and funerals are always carried out on a family or family basis, not under the auspices of the church as in the West.&lt;br /&gt;
On the other hand, due to the differences in national characteristics between China and the West, the Chinese nation is more pragmatic, focusing on physical and mental cultivation, ethics and morality, paying attention to whether translation theory has practical effects, whether it can guide translation practice and solve various problems encountered in the translation process.(Xie 2010,6)The Western Christian culture and my country's Confucianism have formed a sharp contrast in this respect.Westerners influenced by Christian thought have a strong pioneering and innovative national character. They advocate speculation and pay more attention to the abstract, systematic and systematic nature of translation theories.They believe that the focus is on describing what kind of theory exists behind translation practice, and how to understand and interpret translation from a theoretical perspective.This makes the development path of the two translation theories different.If there were many similarities in the concepts and characteristics of Chinese and Western translation activities before the 1950s, then the differences in the development trends of the two translation theories in the later stages, especially from the end of the 19th century, became larger and larger.Western translation theories have been systematized earlier. Any research is carried out under the guidance of a certain theory, and the results of related disciplines are fully used to make the connotation (translation standard itself) and extension (research method) of translation standards become truly pluralistic. Which embodies a strong scientific spirit.However, Chinese translation theories have remained at the level of translation practice experience perception for a long time, which is largely subjective.In particular, the proponents of traditional translation theory pay attention to the unspoken artistic conception, giving people more space for association and comprehension, but they cannot make precise regulations for translation practice, which is implicit.&lt;br /&gt;
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===Ⅴ.conclusion===&lt;br /&gt;
It is precisely based on the above-mentioned understanding of the history of Chinese and Western translation from different aspects that &amp;quot;similarities have differences, and differences have similarities&amp;quot;, so I think that the history of Chinese and Western translation development should be described, analyzed and sorted in the same framework. It is possible.In this way, we can not only emphasize the common ground in the development of Chinese and Western translation, find the rules among them, but also show the uniqueness of the development of the two.This article adopts the method of compiling parallel narratives based on synchronic presentation, supplemented by diachronic combing, combining two seemingly unrelated development contexts in the history of Chinese and Western translation, and analyzing and describing them as a whole.And the development stages of Chinese and Western translation history are divided into stages according to the mainstream translation objects of the specific era, and then the internal laws of the evolution of Chinese and Western translation concepts are explored and revealed.&lt;br /&gt;
Generally speaking, translation and culture are inseparable, whether religious, political, or literary, they all grow up in the soil of culture.(Chen 2016,1)In the process of understanding Chinese and Western translation history, people also feel the cultural collision.Not only in the long history of the past, but in the 21st century today, translation is a bridge and a link between countries, and an indispensable existence in people's social, political, and economic life.At the same time, translation is also an art. Through translating works, we not only understand the beauty of each country's culture, but also realize that translation is originally an art.Translation is a rigorous and extensive academic science. Various forms of cultural exchanges between Chinese and Western languages, literature, philosophy, and religion require not only artistic performance, but also rigorous academic attitudes and systematic theories to support.Translators and scholars from different countries, languages and cultures have contributed their outstanding talents and wisdom in the field of translation. They have studied and published a wealth of academic theories and skills in translation studies from different perspectives, which have promoted the progress and development of society.&lt;br /&gt;
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===References===&lt;br /&gt;
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Gong Yicai 龚亿财.(2020).论翻译在第三次翻译高潮中的特点及社会功能[On the features and social functions of translation in the third translation climax].吉林广播电视大学学报(Total No.217)Journal of Jilin Radio and TV University.&lt;br /&gt;
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Li Yin 李颖.(2016).从翻译史上的几个重要时期看中国翻译理论与实践的发展[Viewing the development of Chinese translation theory and practice from several important periods in the history of translation].湖北经济学院学报(Vol13 No.10)Journal of Hubei University of Economics.&lt;br /&gt;
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Liu Qiaoling 刘巧玲.(2016).从中国翻译史的四次高潮看主要译论及读者影响[Main translation theories and readers' influence from the four climaxes of Chinese translation history].黑龙江生态工程职业学院学报(Vol.29 No.5)Journal of Heilongjiang Vocational Institute of Ecological Engineering.&lt;br /&gt;
&lt;br /&gt;
Ma Zuyi. 马祖毅. (1998). 中国翻译简史-“五四”以前部分（修订本） [A Brief History of Chinese Translation: The Part Before the May 4th Movement] . China Translation Corporation中国对外翻译出版公司.&lt;br /&gt;
&lt;br /&gt;
Tan Zaixi 谭载喜.(1985).西方翻译史浅谈[On the history of Western translation].中国翻译(07)Chinese Translation(36-39).&lt;br /&gt;
&lt;br /&gt;
Tan Zaixi 谭载喜.(2004).西方翻译简史[A short history of translation in the West].商务印书馆The Commercial Press of Hongkong.&lt;br /&gt;
&lt;br /&gt;
Xu Jun许钧.(2018.06)改革开放以来中国翻译研究的发展之路[The development of Chinese translation studies since reform and opening up].Chinese Traslation Journal.&lt;br /&gt;
&lt;br /&gt;
Xie Tianzhen 谢天振.(2009)中西翻译简史[A brief history of Chinese and Western translation].外语教学与研究出版社Foreign Language Teaching and Research Press.&lt;br /&gt;
&lt;br /&gt;
Xie Tianzhen 谢天振.(2010)中西翻译史整体观探索[An exploration of the holistic view of Chinese and Western translation history].东方翻译(02)East Journal of Translation(4-8).&lt;br /&gt;
&lt;br /&gt;
='''Literal and Free Translation'''=&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
==Rethink Literal and Free Translation	彭永亮	Peng Yongliang==&lt;br /&gt;
&lt;br /&gt;
==On the Chinese Translation of ''A Pale View of Hills'' from House's Translation Quality Assessment Model	宋建茹	Song Jianru ==&lt;br /&gt;
&lt;br /&gt;
&amp;lt;center&amp;gt; 宋建茹 Song Jianru 202020080639 &amp;lt;/center&amp;gt;&lt;br /&gt;
&lt;br /&gt;
===Abstract===&lt;br /&gt;
&lt;br /&gt;
Translation quality assessment is an integral part of translation criticism. The first TQA model with comprehensive theories and practices Juliane House represented provides a significant reference for translation exercises. ''A Pale View of Hills'', as the first work of Kazuo Ishiguro, possesses a great research value on its narrative styles by virtue of memory and topics about migrants. As of 2011 when its Chinese translation was published, no scholar has evaluated it. This study applies House's TQA model to assess the Chinese translation of ''A Pale View of Hills'' with qualitative and quantitative analysis from lexical, syntactic and textual aspects, in a bid to examine validity of the model on novel translation, which turns out that it is an overt and high-quality translation.&lt;br /&gt;
&lt;br /&gt;
=== Key Words===&lt;br /&gt;
&lt;br /&gt;
''A Pale View of Hills''; House's TQA model; novel translation&lt;br /&gt;
&lt;br /&gt;
===题目===&lt;br /&gt;
&lt;br /&gt;
从豪斯翻译质量评估模式谈《远山淡影》中文翻译&lt;br /&gt;
&lt;br /&gt;
=== 摘 要 ===&lt;br /&gt;
&lt;br /&gt;
翻译质量评估是翻译批评的核心课题。朱莉安·豪斯提出的第一个有完整的理论和实践的翻译质量评估模式，为翻译实践提供了重要参考。《远山淡影》是石黑一雄的处女作，其依托回忆的叙事风格和移民主题具有很高的研究价值。《远山淡影》中译本自2011年出版至今，尚未有学者对其进行评估研究。本文运用豪斯的翻译质量评估模式，采用定性与定量相结合的分析方式，从语场、语旨、语式等三个层面对原文和译文进行分析，开展《远山淡影》中译本的翻译质量评估研究，为豪斯翻译质量评估模式对小说翻译的运用进行进一步的探索和补充。通过分析，得出《远山淡影》中译本为显性翻译，翻译质量较高。&lt;br /&gt;
&lt;br /&gt;
=== 关键词 ===&lt;br /&gt;
&lt;br /&gt;
《远山淡影》；豪斯质量评估模式；小说翻译&lt;br /&gt;
&lt;br /&gt;
===Introduction===&lt;br /&gt;
&lt;br /&gt;
Translation criticism refers to the analysis and review of thoughts, activities and works of translation by virtue of relevant theories and views, in a bid to improve the overall quality of translators and translations. It is an integral part of translation studies. Translation quality assessment, as the integral and key part of translation criticism, plays a significant role in surveillance and promotion of translation quality. Among the extant translation quality assessment models, Juliane House's ''A Model for Translation Quality Assessment and Translation Quality Assessment: A Model Revised'', based on Halliday's systemic functional linguistics and discourse analysis, are systematic, scientific and rational with a relatively complete system of parameters, quantitative methods and steps adhering to specific procedures.(Wang Enmian 1999,7)&lt;br /&gt;
&lt;br /&gt;
''A Pale View of Hills'', as Kazuo Ishiguro's first full-length novel, tells the life of the people in Nagasaki after WWII through the memory of protagonist Etsuko and explores recovery of trauma, collision between the old and new ideas, and kinship after war. The first person narrative, memory, humor and satire and international perspectives in the book became his major writing styles in the future. The novel won the Winifred Holtby Memorial Prize from the Royal Society. Its only Chinese translation at present, from Zhang Xiaoyi, is still not analyzed by the scholars. &lt;br /&gt;
&lt;br /&gt;
This paper uses House's translation quality assessment model, with combination of qualitative and quantitative analysis, from field, tenor and mode to analyze the mismatches between original and translation in an attempt to assess the Chinese translation quality of ''A Pale View of Hills'' and further explore the application of House's model in novel translation. The aim of the study is to promote scholars to regulate the behaviors of translation, to improve the quality of translation and translation evaluation, and to provide a reasonable way for establishing the interlingual conversion mechanism.&lt;br /&gt;
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The thesis consists of four chapters.&lt;br /&gt;
&lt;br /&gt;
After the Introduction, Chapter One gives a brief account of ''A Pale View of Hills'' and its research status, involving the author, background, content and influence. Chapter Two is a brief introduction of House’s TQA model, including its theoretic basis, parameter setting, operation steps and feasibility. Chapter Three is a detailed analysis of original and translation of ''A Pale View of Hills'' based on House’s model. Chapter Four is statement of translation quality assessment. Then we come to the last part, Conclusion.&lt;br /&gt;
&lt;br /&gt;
===I Overview and Research Status of ''A Pale View of Hills''===&lt;br /&gt;
&lt;br /&gt;
''A Pale View of Hills'' is Kazuo Ishiguro's first novel, which laid a solid foundation for the formation of Ishiguro's writing style. The chapter mainly introduces the author, plot, theme and influence of the novel and analyzes its research status, in an attempt to master the material well and seek new perspectives for the paper.&lt;br /&gt;
&lt;br /&gt;
'''1.1 Overview of ''A Pale View of Hills'''''&lt;br /&gt;
&lt;br /&gt;
Kazuo Ishguro is a noble contemporary Japanese English writer, whose novels feature first person narrative, detailed depiction of loneliness, depression, self-deception and anxiety of characters' inner world and dual narrative strategy to deconstruct the narrator's self-identity, as well as discuss postwar trauma and migrant identity. He won Booker Prize, the British top literary prize, in 1989 and the Nobel Prize in literature in 2017. By virtue of his outstanding literary achievements, he is known as one of the Three Masters of English Migrant Literature together with Salman Rushdi and Naipaul.&lt;br /&gt;
&lt;br /&gt;
''A Pale View of Hills'', published in 1982, is Ishiguro's debut. The story, with postwar Nagasaki as its background, enjoys two clues: one is what happened when Niki (Etsuko’s little daughter) visited her mother after her sister Keiko died; the other is Etsuko’s memory about people and events in Nagasaki after the war. The two lines integrated together during the narrative, forming the illusory and imaginary impression. &lt;br /&gt;
&lt;br /&gt;
Many in-depth topics in this work are worth pondering: postwar trauma recovery, the collision between new and old ideas after war and discussion of family relations. Many marks in the work became his own styles: first-person narrative, memory, humor and satire, international perspectives. In addition, it won the Winifred Holtby Memorial Prize from the Royal Society and is still in print thirty years after its publication. This book, with its enormous emotion, unearths the abyss beneath the illusion of our connection to the world, whose artistic value and charm could be time-tested.&lt;br /&gt;
&lt;br /&gt;
'''1.2 Research Status of ''A Pale View of Hills'''''&lt;br /&gt;
&lt;br /&gt;
There are 54 papers about A Pale View of Hills in domestic researches. According to the statistics from HowNet, the number of studies on the work has been mounting, especially after Kazuo Ishiguro won the Nobel Prize for Literature in 2017. The perspectives of these researches are mainly from identity anxiety, unreliable narrative and post-war trauma. &lt;br /&gt;
&lt;br /&gt;
In &amp;quot;Identity Anxiety in Kazuo Ishiguro's A Pale View of Hills&amp;quot;, Wang Fei discusses the identity anxiety of migrants, exploring manifestations, causes and influence of such anxiety on the characters(2017). In &amp;quot;Memory and Narrative Unreliability of ''A Pale View of Hills''&amp;quot;, He Xiaobing combined with the classical narratology to analyze how unreliable narration method is presented in the work and discussed the inner world of the characters(2018). In &amp;quot;Trauma in Kazuo Ishiguro's A Pale View of Hills&amp;quot;, Liu Xiaoya explores the protagonist's trauma by using Sigmund Freud’s psychoanalysis theory and trauma theory (including post-freudian psychological trauma theory), contemporary trauma culture theory along with rhetorical narrative theory(2015).&lt;br /&gt;
&lt;br /&gt;
At abroad there are more perspectives about the studies of A Pale View of Hills. In addition to the main research directions of domestic scholars, such as identity anxiety of characters, unreliable narrative research and post-war trauma, cultural displacement, family relationship and the influence of region on personality presented in the works are also analyzed. &lt;br /&gt;
&lt;br /&gt;
''The Impact of Place on Personality in Kazuo Ishiguro's A Pale View of Hills: An Eco-critical Study'' written by Awla, Y.N, from the perspective of ecocriticism, clarifies the fact that a place is able to define and guide the emotions and thoughts of characters, and analyzes the reasons why geography forms characters of people in order to draw people’s attention to the impact of surrounding environment on them. Ruth Forsythe's article ''Cultural Displacement and the Mother-daughter Relationship in Kazuo Ishiguro's A Pale View of Hills'' focuses more on the relationship between mother and daughter under cultural displacement. However, no scholars have analyzed the language itself from the perspective of systemic functional linguistics.( Awla,Y.N 2019,1)&lt;br /&gt;
&lt;br /&gt;
The Chinese translation of A Pale View of Hills, Zhang Xiaoyi's version, was published by Shanghai Translation Publishing House in 2011, and the bilingual version in 2019. Up to now, there has no translation criticism or discussion about this translation. Since 2011 when it was translated, it came to draw the attention of scholars and readers. Translation is a direct factor that affects the integrity of author’s thought, the reader's perception and the accuracy of the scholar’s study, thus it is indispensable to use the House’s Translation Quality Assessment model to analyze the Chinese translation of ''A Pale View of Hills''.&lt;br /&gt;
&lt;br /&gt;
===II Introduction of House's Translation Quality Assessment Model===&lt;br /&gt;
&lt;br /&gt;
Juliane House's model was described as the first translation quality assessment model with complete theories and practices by international translation criticism, which could provide an important reference for translation learners and scholars. By introducing the theoretical basis, parameter system and operation steps of House's model, this chapter will discuss the feasibility of House’s model in the evaluation of the Chinese translation of A Pale View of Hills, in an effort to foster the application of House’s model in the quality evaluation of full-length novels.&lt;br /&gt;
&lt;br /&gt;
'''2.1 Theoretical Basis of House's Model'''&lt;br /&gt;
&lt;br /&gt;
The assessment of translation quality draws upon different translation standards, which are then embodied by the recognition about essence of translation. House deemed that crunch of the translation quality assessment lies in recognition of the nature of translation, namely that &amp;quot;translation is the replacement of a text in the source language by a semantically and pragmatically equivalent text in the target language.&amp;quot;(House 1977, 30)&lt;br /&gt;
&lt;br /&gt;
In House's initial model in 1977, she drew upon language behavior theory, language and text function and context to divide the source language text into two situational dimensions: dimension of language user and dimension of language use. The former includes three aspects: geographical origin, social class and time. The latter includes five aspects: medium, participation, social role relationship, social attitude and province. &lt;br /&gt;
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The evaluation depends on the matching degree between original text andtranslation. The higher the matching degree is, the better the translation quality is. The quality evaluation of the translated text needs to state mismatching degree of each dimension in the whole context, that is, the description of the quantity of covert errors (errors in context dimension) and overt errors (referential mismatcher or grammatical violation of target language system).(House 1977, 30)&lt;br /&gt;
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Based on myriad practice, House realized that the initial eight dimensions overlap in some parts. Therefore, in 1997, she revised the original model from the perspective of the context, unifying the previous eight parameters to field, tenor and mode. Field compares subject matter and social action of the original with that of translation. Tenor emphasizes the matching degree on the relationship of participants, time, region, position of author, social role relationship and social attitudes. Mode pays more attention to medium and participation. In addition, House incorporated &amp;quot;genre&amp;quot; into revision model in order to explain the deep structure of the text.(House 1977, 30)&lt;br /&gt;
&lt;br /&gt;
'''2.2 Operation Steps of House's Model'''&lt;br /&gt;
&lt;br /&gt;
When evaluating the translation quality of the text, House's model focuses on comparison between original text and translation from field, tenor, mode and genre, clarifies and summarizes mismatches found in the text, so as to obtain a quality report of the translation. The detailed steps presented as follows: (House 1997, 108)&lt;br /&gt;
&lt;br /&gt;
1) Analyze the register and genre of the original text to get its textual functional profile. The original text is analyzed from four dimensions: field, tenor, mode and genre. According to the analysis, “functional statement”, involving ideational and interpersonal functions, needs to be deduced.(House 1997, 108)&lt;br /&gt;
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2)Compare the target text and the source text to find differences or mismatches. Through the comparative analysis between original and translation along the dimensions on the model, mismatches or differences found in the comparison are sorted out by virtue of overt errors or covert errors and expounded in detail one by one.(House 1997, 108)&lt;br /&gt;
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3)Summarize the differences and mismatches demonstrated from the above steps in lexical, syntactic and textual aspects. Based on above statistics and statement, make the quality statement. The fewer the mismatches are, the better the translation quality is. If readers clearly realize the text a translation work, it is overt translation; while if not, it is covert translation.(House 1997, 108)&lt;br /&gt;
&lt;br /&gt;
'''2.3 Feasibility of the Model in Chinese Translation of ''A Pale View of Hills'''''&lt;br /&gt;
&lt;br /&gt;
At present, there are 78 relevant studies on House’s Translation Assessment model, which are mainly divided into three directions: interpretation of House Translation Assessment model and its revision, evaluating translation of literary works along the model and evaluating translation of applied text along the model. Among them, evaluation of the translation of literary works accounts for 29, which enjoys the following two characteristics:&lt;br /&gt;
&lt;br /&gt;
1)There are merely a few researches applying House model to Chinese translation of literary works. Among the 29 journals and papers evaluating translation of literary works, there are 25 studies that attach great importance to the English translation and 4 to Chinese translation, which signifies that we need more researches of Chinese translation to support the validity of the model on different languages. Therefore, the paper, with the Chinese translation of A Pale View of Hills as its corpus, intends to examine the feasibility of the application of House’s model to Chinese translation.&lt;br /&gt;
&lt;br /&gt;
2)There are merely a few researches applying House model to the translation of full-length novels. Among the 29 journals and papers on evaluating translation of literary works, most of which focus on the evaluation of poems and prose, merely 5 studies are analysis of translation of full-length novels. English translation accounts for 3 and Chinese translation for 2, which demonstrates that we need more researches with full-length novels as corpus to support the validity of the model in different genres. Therefore, the paper, with the full-length novel A Pale View of Hills as its corpus, intends to examine the feasibility of the application of House’s model to full-length novels.&lt;br /&gt;
&lt;br /&gt;
In conclusion, given that the researches based on Chinese translation of full-length novels are insufficient, the paper will use the Chinese translation of A Pale View of Hills as its corpus to validate the feasibility of House’s TQA model.&lt;br /&gt;
&lt;br /&gt;
===III Comparison of Original and Translation of ''A Pale View of Hills'' Along House's Translation Quality Assessment Model===&lt;br /&gt;
&lt;br /&gt;
''A Pale View of Hills'' is the debut of Kazuo Ishiguro, whose Chinese translation was published by Shanghai Translation Publishing House in 2011. House's Translation Quality Assessment model is the first objective model combining quantative analysis with qualitive analysis. The paper applies House's Translation Quality Assessment model to Chinese translation of ''A Pale View of Hill'', comparing the source text and target text in lexical, syntactic and textual aspects along the three dimensions of register and summarizing the mismatches on field, tenor and mode, in an effort to quantitatively assess the translation quality of ''A Pale View of Hills''.&lt;br /&gt;
&lt;br /&gt;
'''3.1 Comparison on Field'''&lt;br /&gt;
&lt;br /&gt;
Field refers to the content or the topic of the text. It is concerned with subject matter and social action which covers the specificity of lexical items. After comparison between the source text and target text on field, there are 18 mismatches, 12 of which are overt errors and 6 covert errors. Among them, there are 9 lexical errors, 1 textual error and 8 syntactic errors. The lexical and textual errors are mainly covert errors, so in general their translation is of high quality. Although most of syntactic errors are not in line with the grammar of target language system, they won’t influence the understanding of the text. Therefore, by and large, translation on field are high-quality.(Feng Yufang &amp;amp; Wang Feifei 2015,114)&lt;br /&gt;
&lt;br /&gt;
'''3.1.1 Lexical Field'''&lt;br /&gt;
&lt;br /&gt;
Lexical field means the immediate or possible scenes or events evoked in people’s mind when they read or hear the words or lexical items. After the analysis of the original and target text, there are 9 mismatches, 4 of which are overt errors and 5 are covert ones. Most of them won’t block readers to master the overall meanings. Therefore, the translation quality on lexical items are relatively high.(Feng Yufang &amp;amp; Wang Feifei 2015,115) &lt;br /&gt;
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Example 1：&lt;br /&gt;
&lt;br /&gt;
...and the soaked surfaces of brick and concrete were drying all around us.&lt;br /&gt;
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湿透了的砖头和水泥开始变干。(P8)&lt;br /&gt;
&lt;br /&gt;
Concrete refers to building material that is made by mixing together cement, sand, small stones and water according to Oxford Dictionary, which includes cement rather than equates it. So, it is not very accurate to translate in this way even if the two words are similar. It is obviously an overt error. &lt;br /&gt;
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Example 2：&lt;br /&gt;
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As far as I remember, that was the first occasion I spoke to Mariko.&lt;br /&gt;
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我印象那是我第一次跟万里子说话。(P11)&lt;br /&gt;
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In the translation, “印象” as a noun refers to a mental picture that you have of what somebody/something is like or looks like. In the light of the rules or grammar of Chinese, it is hardly used as a verb. Thus, it is an overt error. &lt;br /&gt;
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Example 3：&lt;br /&gt;
&lt;br /&gt;
It's such a shame.&lt;br /&gt;
&lt;br /&gt;
真不像话。(P16)&lt;br /&gt;
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A shame is used to say that somthing is a cause for feeling sad or disappointed. In the original, the sentence is to express Etsuko’s pity to the homeless dogs and cats around her community rather than her distaste or complaint. Here it is translated into its other meaning when ignoring the context, belonging to a covert error. &lt;br /&gt;
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Example 4：&lt;br /&gt;
&lt;br /&gt;
Why don't you go into the kitchen for a little while?&lt;br /&gt;
&lt;br /&gt;
你为什么不到厨房去一会儿呢？(P26)&lt;br /&gt;
&lt;br /&gt;
In the translation, “去” is not very appropriate on the basis of grammar of Chinese, since it is such an action verb that does not match with state phrases. In the course of translation, some prepositions in English need to be transferred into verb in Chinese, which are supposed to pay attention to the rules of target language. Here it is obviously an overt error.&lt;br /&gt;
&lt;br /&gt;
Example 5：&lt;br /&gt;
&lt;br /&gt;
It's not appreciated simply because the product disappears so quickly.&lt;br /&gt;
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不能因为它的产品很快就消失了而不懂得欣赏。(P34)&lt;br /&gt;
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According to the context, Ogata-San believes that cooking is “as noble as painting or poetry”. So here the product refers to food cooked. Given the concrete expression in Chinese, the product is supposed to be translated more concretely in accordance with the context. It is a covert error.&lt;br /&gt;
&lt;br /&gt;
Example 6：&lt;br /&gt;
&lt;br /&gt;
Perhaps it is just my fancy that I felt a cold touch of unease there on that bank, a feeling not unlike premonition. &lt;br /&gt;
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这也许只是我的想象，但是那时我在河边觉得凉飕飕的，很不自在，像是感觉有事要发生。(P44)&lt;br /&gt;
&lt;br /&gt;
“Unease” refers to the feeling of being worried or unhappy about something. Given the above-mentioned, Etsuko worried about the safety of Mariko when she was not at home. It differs from its translation that means the feeling of being ill at ease. It is an overt error. &lt;br /&gt;
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Example 7：&lt;br /&gt;
&lt;br /&gt;
You mustn't suppose, Etsuko, simply because you've seen her in these…in these present surroundings, that she's some peasant's child.&lt;br /&gt;
&lt;br /&gt;
悦子，你不能因为……因为眼前的事物就认为她是什么贫农的孩子。(P51)&lt;br /&gt;
&lt;br /&gt;
Sachiko is not rich according to the context, so “peasant” intimates the meaning of poverty. Its translation explicitly represents it, which is accessible and intelligible. However, “贫农” enjoys extra cultural meaning in China, which could date back to the Cultural Revolution when lands was apportioned based on people’s wealth, so it might mislead readers to its political implication. It is a covert error.&lt;br /&gt;
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Example 8：&lt;br /&gt;
&lt;br /&gt;
“I must have been such a burden to you in those days,” I said, quietly.&lt;br /&gt;
&lt;br /&gt;
“我那时肯定成了您的负担，”我静静地说。(P68)&lt;br /&gt;
&lt;br /&gt;
Here “quiet” refers to making very little noise, which coincides with the act of saying. According to the context, Etsuko lowered her noise out of guilt when she realized she bothered her family when she practised violin before. However, its translation means the statement without any noise, which obviously contravenes the context, belonging to covert translation.&lt;br /&gt;
&lt;br /&gt;
Example 9：&lt;br /&gt;
&lt;br /&gt;
I could see something moving beside her in the shade.&lt;br /&gt;
&lt;br /&gt;
我看见她身旁的影子里有什么东西在动。(P14)&lt;br /&gt;
&lt;br /&gt;
“Shade” means an area that is dark and cool under or behind something, for example a tree or building, because the sun’s light does not get to it, rather than the shadow which the translator believed. As previously mentioned in the text, “Mariko was lying in the corner furthest from the sunlight”, which also signifies that it is impossible to exist dark shape under the light around Mariko. Thus, the translation of “shade” is not on a par with the context, belonging to a covert error.&lt;br /&gt;
&lt;br /&gt;
'''3.1.2 Syntactic Field'''&lt;br /&gt;
&lt;br /&gt;
Syntactic field means the immediate image appeared in people’s mind when they read the sentences. The mismatches in syntactic field are usually for the violation of rules of target language or misinterpreting the source text. On syntactic field, there are 8 mismatches, seven of which are overt errors and one is covert. Among the overt errors, seven sentences are not in line with the rules of target language, which won’t influence the ideational meaning. Therefore, the translation quality on syntactic field is high.(Feng Yufang &amp;amp; Wang Feifei 2015,116)&lt;br /&gt;
&lt;br /&gt;
Example 1：&lt;br /&gt;
&lt;br /&gt;
It did upset me, hearing about her.&lt;br /&gt;
&lt;br /&gt;
我真的很难过，听到她的死讯。(P4)&lt;br /&gt;
&lt;br /&gt;
Example 2：&lt;br /&gt;
&lt;br /&gt;
But I was sad though, when I heard.&lt;br /&gt;
&lt;br /&gt;
可是我真的很难过，听到她的消息。(P4)&lt;br /&gt;
&lt;br /&gt;
Example 3：&lt;br /&gt;
&lt;br /&gt;
It's certainly an amusing sort of experience, working in a noodle shop.&lt;br /&gt;
&lt;br /&gt;
这真是很有趣的经历，在面包店里工作。(P26)&lt;br /&gt;
&lt;br /&gt;
In English, the important or unknown information appeared firstly, and the second one follows. However, in Chinese, the second important presents at first, paving the foundation for the more pivotal or unknown one. In above three examples, their translation doesn’t adjust the sequence in line with target language rules. These are overt errors.&lt;br /&gt;
&lt;br /&gt;
Example 4：&lt;br /&gt;
&lt;br /&gt;
…certain arrangements I made have not gone as planned.&lt;br /&gt;
&lt;br /&gt;
一些事情没有照我计划的那样。(P17)&lt;br /&gt;
&lt;br /&gt;
The translation is not complete as the predicate verb “have gone” is not translated, which does not conform with the grammar of Chinese. It is an overt error.&lt;br /&gt;
&lt;br /&gt;
Example 5：&lt;br /&gt;
&lt;br /&gt;
She appeared to know them, for as she walked across the forecourt, she gave them a familiar greeting.&lt;br /&gt;
&lt;br /&gt;
看来她认识她们，边走过水泥地，边熟识地跟她们打招呼。(P26)&lt;br /&gt;
&lt;br /&gt;
The original is a compound-complex sentence with “for” for causal relation and “as” for coordinate relation. In the translation, the former is represented but the later isn’t, neither by conjunction words nor by clause sequence. It causes that the translation lacks of logic, belonging to an overt error.&lt;br /&gt;
&lt;br /&gt;
Example 6：&lt;br /&gt;
&lt;br /&gt;
It's an opportunity for a teacher to see the fruits of his work, and for the pupils to express their gratitude to him.&lt;br /&gt;
&lt;br /&gt;
这是一个机会让老师看看他的劳动成果，让学生们向他表示感谢。(P30)&lt;br /&gt;
&lt;br /&gt;
The translation adheres to the sequence of the original but ignores the fluency of the sentence. In English, attributives are at both ahead of and behind the objects; while in Chinese, they mostly are preceded. Therefore, the translation violates the grammar of the target language, belonging to an overt error.&lt;br /&gt;
&lt;br /&gt;
Example 7：&lt;br /&gt;
&lt;br /&gt;
There's nothing like a timely reminder of one's personal obligations.&lt;br /&gt;
&lt;br /&gt;
及时地提醒个人的责任之类的东西也没有。(P71)&lt;br /&gt;
&lt;br /&gt;
“There's nothing like” is a common sentence pattern in spoken English, meaning nothing else is able to match. The original would have expressed that “a timely reminder of one’s personal obligations” is the most important. The translator misunderstood the meaning utterly, making an overt error.  &lt;br /&gt;
&lt;br /&gt;
Example 8：&lt;br /&gt;
&lt;br /&gt;
It amazes me, how things have changed so much so quickly.&lt;br /&gt;
&lt;br /&gt;
太让我吃惊了，世道变得如此之大，如此之快。(P195)&lt;br /&gt;
&lt;br /&gt;
The translation, by and large, is in accordance with the original. Yet there is possibility for readers to be confused about the accuracy of words collocation. Although “so much” and “so quickly” modify the verb “change”, we have to respectively choose the proper words to collocate. It is a covert error. &lt;br /&gt;
&lt;br /&gt;
'''3.1.3 Textual Field'''&lt;br /&gt;
&lt;br /&gt;
On textual field, there is only one error---overt error. It is caused by misconstruing what the pronoun refers to. By and large, the translation, through the comprehensive analysis on textual field, is high-quality. (Feng Yufang &amp;amp; Wang Feifei 2015,117)&lt;br /&gt;
&lt;br /&gt;
Example 1：&lt;br /&gt;
&lt;br /&gt;
That's just not how it was though.&lt;br /&gt;
&lt;br /&gt;
但是我和她根本不是这样。(P4)&lt;br /&gt;
&lt;br /&gt;
According to “Sisters are supposed to be people you're close to, aren't they. You may not like them much, but you're still close to them”, it refers to the whole view instead of certain relationship between me and my sister. The referential meaning does not accord with that of the original. It is an overt error.&lt;br /&gt;
&lt;br /&gt;
'''3.2 Comparison on Tenor'''&lt;br /&gt;
&lt;br /&gt;
Tenor refers to the nature of the participants, the addresser and the addressee, and the relationship between them in terms of social power and social distance. After comparing the original and the translation of A Pale View of Hills, there are 8 mismatches on social attitude and social role relationship, one of which is an overt error and the rest are covert. In general, the translation is highly in accordance with the original so the quality is high on tenor. (Feng Yufang &amp;amp; Wang Feifei 2015,118)&lt;br /&gt;
&lt;br /&gt;
'''3.2.1 Social Attitude'''&lt;br /&gt;
&lt;br /&gt;
Social attitude refers to the social distance between communicators and the degree of formality of discourse. The misunderstanding of social attitude in the translation process will affect the readers' understanding of the characters in the novel. Therefore, mistakes in representing social attitude of characters should be minimized and even avoided in the translation process. There are 4 mismatches on social attitude in the translation: one is an overt error and the rest are covert errors. By and large, the translation on displaying the social attitude of the original is great.(House 1997, 108)&lt;br /&gt;
&lt;br /&gt;
Example 1：&lt;br /&gt;
&lt;br /&gt;
The English are fond of their idea that our race has an instinct for suicide.&lt;br /&gt;
&lt;br /&gt;
英国人有个奇特的想法，觉得我们这个民族天生爱自杀。(P4)&lt;br /&gt;
&lt;br /&gt;
In the original text, the attitude of the character is relatively objective. However, in the translation, the attitude is represented overly by using an adjective, which might be translator’s understanding on author’s attitude. It limits different interpretation to the author’s attitude from readers. It is an overt error. &lt;br /&gt;
&lt;br /&gt;
Example 2：&lt;br /&gt;
&lt;br /&gt;
“Which are you hoping for, Etsuko?” he asked, eventually. “A boy or a girl?”&lt;br /&gt;
&lt;br /&gt;
“你想是男孩还是女孩呢，悦子？”过了一会儿他问道。(P35)&lt;br /&gt;
&lt;br /&gt;
Ogata-San would like to know Etsuko’s mind about the upcoming baby, but he is not sure if it is proper. At last, curiosity overpowers his hesitation. In the original text “eventually” signifies both time and emotion span. But the translation only manifests the time span. It is a covert error.&lt;br /&gt;
&lt;br /&gt;
Example 3：&lt;br /&gt;
&lt;br /&gt;
“Tell me, Etsuko,” he said, not looking up from his laces. “Have you met this Shigeo Matsuda?”&lt;br /&gt;
&lt;br /&gt;
“告诉我，悦子，”他头也不抬地说。“你见过这个松田重夫吗？”(P36-P37)&lt;br /&gt;
&lt;br /&gt;
Ogata-San, as Etsuko’s father-in-law and adopter after the war, gets along well with her. In the original text, Ogata-San is “not looking up” when speaking to Etsuko since he is lying his laces. The translation ignores the reason, which renders Ogata-San a cold man. It is a covert error.&lt;br /&gt;
&lt;br /&gt;
Example 4:&lt;br /&gt;
&lt;br /&gt;
I'm sure she'd be the first to agree with me about Kazuo mourning her like this.&lt;br /&gt;
&lt;br /&gt;
我肯定她会第一个同意我的观点，和夫不应该再这样想着他了。(P94)&lt;br /&gt;
&lt;br /&gt;
From the original, we can feel the love of Mrs. Fujiwara to her son. However, after reading its translation, we can feel nothing but her dominance. It signifies that the translation deviates from the original context. It is a covert error.&lt;br /&gt;
&lt;br /&gt;
'''3.2.2 Social Role Relationship'''&lt;br /&gt;
&lt;br /&gt;
Social role relationship refers to the social relation between the speaker and the receiver, that is, symmetry and asymmetry. The analysis on the social roles relationship in novels is generally from two aspects: relationship between the author and readers, and relationship between the various characters in the work. The former is remained utterly, while the latter is slightly different from that in the original. A total of 4 mismatches are found in the comparison, all of which are covert errors. In the full-text translation, the overall relationship between the characters is the same as that of the original text, and only a few mismatches are found. Therefore, on social role relationship, translation is of high quality.(Feng Yufang &amp;amp; Wang Feifei 2015,117)&lt;br /&gt;
&lt;br /&gt;
Example 1：&lt;br /&gt;
&lt;br /&gt;
She said it would be perfectly all right if you came and waited for her at my house.&lt;br /&gt;
&lt;br /&gt;
她说你可以到我家来等她。(P13)&lt;br /&gt;
&lt;br /&gt;
The translation omits “be perfectly all right if”, which takes the edge off the amiability from Etsuko to Mariko. Given the whole plot of the novel, Mariko is a phantom of Etsuko’s old daughter Keiko. The obscure feelings between Mariko and Etsuko are very important to implicate their special emotion. Therefore, the translation ignores to take a consideration of the context. It is a covert error.&lt;br /&gt;
&lt;br /&gt;
Example 2：&lt;br /&gt;
&lt;br /&gt;
As I say, this order came into the office the day you arrived. A real nuisance.&lt;br /&gt;
&lt;br /&gt;
我说过了，订单刚好在您来的那天来了。真是讨厌。(P29)&lt;br /&gt;
&lt;br /&gt;
On the basis of the context, Jiro (Etsuko’s husband) is explaining to his father Ogata-San that he is so busy that he could not accompany him. He feels apologetic about that. However, the tone of speaking in translation is impatient and a bit furious, which runs against that of the original. So, it is a covert error. &lt;br /&gt;
&lt;br /&gt;
Example 3：&lt;br /&gt;
&lt;br /&gt;
I should warn you, perhaps. My daughter has been in a somewhat difficult mood these past few days.&lt;br /&gt;
&lt;br /&gt;
也许我应该警告你。我女儿这几天情绪很不好。(P90)&lt;br /&gt;
&lt;br /&gt;
Warn enjoys two major meanings: to tell somebody about something, especially something dangerous or unpleasant that is likely to happen, so that they can avoid it; to strongly advise somebody to do or not to do something in order to avoid danger or punishment. In the original, Sachiko entrusts Etsuko to look after her daughter so the former one is appropriate. However, in the translation the later one is adopted, which is absolutely improper. It is a covert error. &lt;br /&gt;
&lt;br /&gt;
Example 4：&lt;br /&gt;
&lt;br /&gt;
Now listen carefully, or else you'll never find the noodle shop.&lt;br /&gt;
&lt;br /&gt;
现在您听好了，不然您永远也别想找到面馆。(P183)&lt;br /&gt;
&lt;br /&gt;
The sentence is said when Etsuko intends to tell Ogata-San the route to the restaurant of Mrs Fujiwara. On the basis of the context, Etsuko is very reverent to Ogata-San. However, the manner of translation is tough, which is not of a piece with the original. It doesn’t take account of the context, so it is a covert error.&lt;br /&gt;
&lt;br /&gt;
'''3.3 Comparison on Mode'''&lt;br /&gt;
&lt;br /&gt;
Mode can be divided into medium and participation. In the course of analyzing both the original and the translation, a total of 6 mismatches are found on the two dimensions and all of them are covert errors, which manifests the translation are generally of a piece with the original. The translation on mode is of high quality.&lt;br /&gt;
&lt;br /&gt;
'''3.3.1 Language Medium'''&lt;br /&gt;
&lt;br /&gt;
Language medium mainly refers to whether the form of language is spoken or written, simple or complex. The contrast between the model of the source text and the target text is mainly reflected in the linguistic features and diction features of text rather than language types used. The language of A Pale View of Hills is simple, delicate and easy to understand, with short sentence, plenty of dialogues between characters and a high degree of colloquialism. The overall style of the translation is similar with that of the original, with only 4 stylistic covert mismatches. Therefore, on language medium, the translation quality is great.&lt;br /&gt;
&lt;br /&gt;
Example 1：&lt;br /&gt;
&lt;br /&gt;
…on one side of the tracks at the foot of the hill could be seen a cluster of roofs.&lt;br /&gt;
&lt;br /&gt;
山脚下铁路的一侧是鳞次栉比的屋顶。(P8)&lt;br /&gt;
&lt;br /&gt;
Cluster means a group of things of the same type that grow or appear close together, whose translation accords with it in the ideational meaning. Nonetheless, “鳞次栉比” in Chinese is a four-character phrase that usually appears in formal written text. It is more complex than the style of the text. It is a covert error.&lt;br /&gt;
&lt;br /&gt;
Example 2：&lt;br /&gt;
&lt;br /&gt;
We're just rabble, like your husband says.Please don’t make a fuss, please sit down.&lt;br /&gt;
&lt;br /&gt;
正如您丈夫说的，我们只是两个混蛋。不用麻烦了，请坐下。(P74)&lt;br /&gt;
&lt;br /&gt;
The situation happens when Jiro’s colleagues come round. From the conversation between Jiro and his colleagues, it is found that they are very familiar and intimate. So, words such as “rabble” and “like” are of high colloquialism. Nevertheless, in the translation “正如” is a formal expression, which is not in line with the original. Thus, it is a covert error.&lt;br /&gt;
&lt;br /&gt;
Example 3：&lt;br /&gt;
&lt;br /&gt;
Blankets and laundry hung from many of the balconies.&lt;br /&gt;
&lt;br /&gt;
很多阳台上挂着毯子啦、洗的衣服啦。(P181)&lt;br /&gt;
&lt;br /&gt;
Example 4：&lt;br /&gt;
&lt;br /&gt;
Young women these days are all so headstrong. And forever talking about washing-machines and American dresses.&lt;br /&gt;
&lt;br /&gt;
现在女孩子任性得很。而且整天在讲什么洗衣机啦、洋裙啦。(P195)&lt;br /&gt;
&lt;br /&gt;
The two sentences are the description of the street which Etsuko and Ogata-San pass by when they intend to visit Shigeo. Etsuko is a calm and composed Japanese woman, whose language style is the same. Modal particles used in translation render the language abrupt and frisky. So, it is a covert error.&lt;br /&gt;
&lt;br /&gt;
'''3.3.2 Participation'''&lt;br /&gt;
&lt;br /&gt;
Participation refers to whether the speech is a simple monologue or a complex form that prompts the listeners or readers to participate indirectly, for example, by the transition between statements and questions and the special use of pronouns. The whole plot of ''A Pale View of Hills'' is a soliloquy narrated in the first person, interleaved with dialogues between different characters. Readers hardly could participate indirectly in it. The translation is basically in the same style as the original, except for the two following examples. The two declarative sentences are translated into a rhetorical question, which does not require readers to answer as well. Therefore, the translation is of high quality in terms of participation.(House 1997, 108)&lt;br /&gt;
&lt;br /&gt;
Example 1：&lt;br /&gt;
&lt;br /&gt;
That’s no way to bring a child into the world, visiting the cemetery every week.&lt;br /&gt;
&lt;br /&gt;
这样怎么能把孩子带到这个世上呢？(P24)&lt;br /&gt;
&lt;br /&gt;
Example 2：&lt;br /&gt;
&lt;br /&gt;
It seems very disloyal.&lt;br /&gt;
&lt;br /&gt;
这不是忘恩负义吗？(P32)&lt;br /&gt;
&lt;br /&gt;
In conclusion, the quality statement of the Chinese Translation of A Pale View of Hills focuses on whether it is an overt transaltion or a covert translation and its matching degree. &lt;br /&gt;
&lt;br /&gt;
On the one hand, it is an overt translation. Accoring to above analysis, the translation is closely related to the culture of the sourse language text. From the translation, expressions with Japanese culture can be found clearly. On the other hand, it is of high quality. There are 32 mismatches in total, 18 mismatches on field, 8 on tenor and 6 on mode. Among them, there are 13 overt errors and 19 covert errors. Covert errors caused by ignoring the context and overt errors caused by violating the rules of target language inflict only a little ambiguity on ideational function, interpersonal function and the quality of the text.&lt;br /&gt;
&lt;br /&gt;
===IV Quality Statement of Chinese Translation of ''A Pale View of Hills''===&lt;br /&gt;
The quality statement of the Chinese Translation of A Pale View of Hills focuses on its cultural participation degree and its matching degree. Based on the two aspects, this chapter will make a quality statement of the Chinese Translation of A Pale View of Hills.&lt;br /&gt;
&lt;br /&gt;
'''4.1 Overt Translation'''&lt;br /&gt;
&lt;br /&gt;
Overt translation refers to the obvious translation rather than the second original. The translation is obviously not aimed at the readers with target language, because the original text, literary works, political speeches and religious sermons, is closely related to the culture it is rooted in. But covert translation can be used as the second text, that is, independent writing. &lt;br /&gt;
&lt;br /&gt;
House deems that texts requiring overt translation have no special connection with their culture, and they are not unique to their culture, such as academic papers and travel brochures. She also believes that in overt translation, equivalence can only be established at the level of language/text, register and genre, but it is difficult to achieve equivalence in function. In contrast, the purpose of covert translation is to achieve functional equivalence, and there will be some deficiencies in language, register.(House 1997,108)&lt;br /&gt;
&lt;br /&gt;
In the contrast reading between the original and the translation, the obvious traces of the original can be found, for example, “你想她们还在打吗？” and “呃，我想小孩子是会打架的。但是我想我应该告诉你一声。还有你看，我想你女儿不是要去上学。”. In English, words representing speculation, such as “suppose” and “think”, are used frequently, while in Chinese they are not. Thus, the target text which remains these words possesses obvious sighs of translation. Furthermore, other signs in the translation, such as “欠了欠身”，show the culture of Japan when greeting. In conclusion, the target text of A Pale View of Hills is overt translation.&lt;br /&gt;
&lt;br /&gt;
'''4.2 High-quality Translation'''&lt;br /&gt;
&lt;br /&gt;
This study applies House’s TQA model to assess the Chinese translation of A Pale View of Hills on lexical, syntactic and textual aspects. On basis of analysis between the original and the translation, there are 18 mismatches on field, 8 on tenor and 6 on mode. Among them, there are 13 overt errors and 19 covert errors. Covert errors caused by ignoring the context and overt errors caused by violating the rules of target language inflict only a little ambiguity on ideational function, interpersonal function and the quality of the text. &lt;br /&gt;
&lt;br /&gt;
Chinese translation of A Pale View of Hills, by and large, consisting with the original, is of high quality. On the field, the translation, which transmits the subject matter and social action which covers the specificity of linguistic items, is in accordance with the original on lexical, syntactic and textual dimension in general; on the tenor, the representation of social attitude and social role relationship of the Chinese text is consistent with the English text; on the mode, the language of the translation is as simple and delicate as that of the original and the participation is of low level as well. Therefore, Zhang Xiaoyi’s Chinese translation of A Pale View of Hills is of high quality.&lt;br /&gt;
&lt;br /&gt;
===Conclusion===&lt;br /&gt;
&lt;br /&gt;
''A Pale View of Hills'', as the debut of Kazuo Ishiguro, involves many in-depth subjects, which initiates the development of author's peculiar writing style. House’s model is the first scientific and objective translation quality assessment mode with the integration of both theory and practice. This study applies House’s TQA model to assess the Chinese translation of ''A Pale View of Hills'' on lexical, syntactic and textual aspects. &lt;br /&gt;
&lt;br /&gt;
On basis of analysis between the original and the translation, there are 18 mismatches on field, 8 on tenor and 6 on mode. By and large, the Chinese translation of A Pale View of Hills is overt translation. Although a few mismatches can be found in the translation, they cause a little affect to the functions of the text and the presentation of the plot, role characters and role relationship of the whole novel. In conclusion, the translation is in line with the original on register and is of high quality.&lt;br /&gt;
&lt;br /&gt;
Different from the traditional evaluation methods, House's model, based on micro and macro criteria, both quantitative analysis and qualitative analysis, is the first scientific and objective translation quality assessment model with a complete theory and empirical evidence. It can be used as an auxiliary tool to find problems in translation so as to make modifications, which to some extent promotes the development of translation activities.&lt;br /&gt;
&lt;br /&gt;
However, in the actual operation process, although the translation quality assessment can be carried out according to parameters, the comparison results still rely on subjective judgment, which cannot utterly guarantee the scientificity of the final evaluation results. In addition, due to the large number of parameters, it takes a lot of time to compare the differences in vocabulary, sentence structure and discourse between the original text and the translation in the evaluation of full-length novel, so the evaluation is not very efficient. Although there are still some shortcomings in the House's model, it is still worth applying in the practice of translation criticism as a relatively complete and objective theoretical model.&lt;br /&gt;
&lt;br /&gt;
===References===&lt;br /&gt;
&lt;br /&gt;
*Awla, Y. N. (2019). The The Impact of Place on Personality in Kazuo Ishiguro's ''A Pale View of Hills'': An Eco-critical Study. ''Journal of University of Raparin''. 1-18.&lt;br /&gt;
&lt;br /&gt;
*House, J. (1977) ''A Model for Translation Quality Assessment''. Germany: Gunter Narr Verlag Tubingen.&lt;br /&gt;
&lt;br /&gt;
*House, J. (1997) ''Translation Quality Assessment: A Model Revised''. German: Gunter Narr Verlag Tubingen. &lt;br /&gt;
&lt;br /&gt;
*Newmark, P. (2001) ''A Textbook of Translation''. Shanghai: Shanghai Foreign Language Education Press.&lt;br /&gt;
&lt;br /&gt;
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*Forsythe, R. (2005)  Cultural Displacement and the Mother-Daughter Relationship in Kazuo Ishiguro's ''A Pale View of Hills''. ''West Virginia University Philological Papers''.&lt;br /&gt;
&lt;br /&gt;
*Jeremy M. (2001) ''Introduction Translation Studies: Theory and Applications''. London and New York: Routledge.&lt;br /&gt;
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*Feng Yufang &amp;amp; Wang Feifei丰玉芳, 王菲菲. (2015) 从豪斯的翻译质量评估模式看宋词翻译——以宋词《声声慢》和许渊冲英译本为例[Translation of Ci-poetry Based on J.House's TQA Model——A case study of ''Sheng Sheng Man'' and its English translation by Xu Yuanchong]. 扬州大学学报(人文社会科学版)[Journal of Yangzhou University(Humanities and Social Sciences Edition)]. 114-121.&lt;br /&gt;
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*He Xiaobing 贺晓冰. (2018) 论《远山淡影》的不可靠叙述与记忆[Memory and Narrative Unreliability in ''A Pale View of Hills'']. 西安外国语大学[Xi'an International Studies University].&lt;br /&gt;
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*Li Xiaolin &amp;amp; He Shaobin 李晓林, 何绍斌. (2010) 朱莉安·豪斯的“翻译质量评估模式”运作过程可行性浅评[The Feasibility of House's Model of Translation Quality Assessment]. 哈尔滨学院学报[Journal of Harbin University]. 127-1.&lt;br /&gt;
&lt;br /&gt;
*Liu Xiaoya 刘晓亚. (2015) 《远山淡影》中的创伤研究[Trauma in Kazuo Ishiguro's ''A Pale View of Hills'']. 四川师范大学[Journal of Sichuan Normal University(Social Sciences Edition)].&lt;br /&gt;
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*Si Xianzhu 司显柱. (2005) 朱莉安·豪斯的“翻译质量评估模式”批评[Juliane House's Translation Quality Assessment Model:A Critique]. 外语教学[Foreign Language Education]. 79-84.&lt;br /&gt;
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*Tang Jun &amp;amp; Wang Yan 唐军, 王燕. (2011) 豪斯翻译质量评估模式在汉译英翻译中的应用——以朱自清《背影》的英译为例[Application of House＇s Translation Quality Assessment Model in C-E Translation—A Case Study of ''The Sight of Father's Back'' by Zhu Ziqing]. 合肥工业大学学报(社会科学版)[Journal of Hefei University of Technology(Social Sciences)]. 129-135.&lt;br /&gt;
&lt;br /&gt;
*Wang Lichuan 王丽川. (2019) 《远山淡影》中的反讽解读[A Study of the Irony in ''A Pale View of Hills'']. 河南: 郑州大学[Henan: Journal of Zhengzhou University].&lt;br /&gt;
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*Wang Fei 王飞. (2017) 石黑一雄中的身份焦虑[Identity Anxiety in Kazuo Ishiguro's ''A Pale View of Hills'']. 中南大学学报(社会科学版)[Journal of Central South University(Social Science)]. 152-157.&lt;br /&gt;
&lt;br /&gt;
*Zhou Fenfen 周芬芬. (2013) 豪斯翻译质量评估模式的实践应用——以《荷塘月色》英译本为例[The Application of Translation Quality Assessment Model by Julian House——A Case Study on Chinese-English Translation of ''Moonlight over the Lotus Pond'']. 山西农业大学学报(社会科学版)[Journal of Shanxi Agricultural University:Social Science Edition]. 782-786.&lt;br /&gt;
&lt;br /&gt;
==On the Relationship among Literal Translation, Free Translation, Domestication and Foreignization--韦洪朗 Wei Honglang,202020080647==&lt;br /&gt;
&lt;br /&gt;
===Abstract===&lt;br /&gt;
Abstract&lt;br /&gt;
This paper makes a systematic discussion on the relationship among literal translation, free translation, domestication and foreignization,which have been always controversial in translation history. Based on the theories and contents of free translation, literal translation, domestication and foreignization, this paper analyzes the similarities and differences between literal translation and free translation, foreignization and foreignization respectively. After cross-contrast analysis between them, it comprehensively sorts out the relationship between translation methods of literal translation and free translation and translation strategies of domestication and foreignization, and discusses their comprehensive application on the basis that domestication and foreignization are the extension of literal translation and free translation to cultural level, which has certain reference significance for further enriching translation practice.&lt;br /&gt;
&lt;br /&gt;
===Key words===&lt;br /&gt;
Key Words: Literal Translation; Free Translation; Domestication; Foreignization&lt;br /&gt;
&lt;br /&gt;
===摘要===&lt;br /&gt;
摘 要&lt;br /&gt;
本文就翻译史上备受争论的归化、异化和意译、直译的关系问题进行了系统的讨论。基于意译、直译和归化、异化的理论及其内容，分别分析直译和意译、异化和归化两对概念之间的异同，在他们之间进行交叉对比分析后，综合整理直译、意译的翻译方法和归化、异化翻译策略的关系，在继承归化和异化是直译和意译向文化层面的延伸的基础关系上，具体讨论他们之间的综合运用，为进一步丰富翻译实践具有一定的借鉴意义。&lt;br /&gt;
&lt;br /&gt;
===关键字===&lt;br /&gt;
关键词：意译；直译；归化；异化&lt;br /&gt;
&lt;br /&gt;
===Introduction===&lt;br /&gt;
  In the history, argues between literal translation and free translation have been lasting for so long. Since there existed so many countries and nations on the continent of Europe, communicating frequently with different languages, the skill and cognition of language translation naturally developed and achieved a lot. During those time, two main methods of translation called literal translation and free translation came into being and accompanied by the problem on choosing which of them. The earliest opinion of translating methods can go back to the period of Roman Empire, when Cicero put forward that free translation should be used in translating Greek texts into Latin, on account of that literal translation , “word for word translation”, couldn’t reflect Roman way of expression and couldn’t be easy-understanding and fluent as free translation, “sense for sense translation”. This view of point had a great and dominate influence at that time, which did not change until late Roman period, when Christianity were gradually in power and the necessity of spreading and translating Bible by the way “exactly what it is ” made literal translation become more popular. Then comes the renaissance, in which many linguisticians realized the importance of keeping the style and features of their own nations. Since then, the two translation methods have taken the lead and been debated endlessly in the translation field. By the 1960s and 1970s, when domesticating translation and foreignizing translation accordingly emerged with free translation and literal translation, reception theory, which upgraded the dominance of readers or we called receivers of translation, again made the domestic translating one-up. This kind of method was criticized by Venuti on its aggressivity of different cultures, based on which he officially put forward the two concepts of domestication and foreignization, which have been two central strategies in translation. So it’s vital to get a better understanding of those four concepts and make their relationships clear, which is of guiding significance to promote translation in practice.(Lu Shu, Wang Jintang 2005,115-116)&lt;br /&gt;
&lt;br /&gt;
===Table of Contents===&lt;br /&gt;
&lt;br /&gt;
Table of Contents&lt;br /&gt;
&lt;br /&gt;
Outline&lt;br /&gt;
I.Introduction&lt;br /&gt;
II.Literal Translation and Free Translation&lt;br /&gt;
2.1 Literal translation &lt;br /&gt;
2.2 Free translation  &lt;br /&gt;
2.3 Analysis with Examples of Literal translation and Free translation&lt;br /&gt;
2.3.1 On words&lt;br /&gt;
2.3.2 On sentence structures&lt;br /&gt;
2.3.3 On rhetorical means&lt;br /&gt;
2.4 The Relationships between Literal translation and Free translation&lt;br /&gt;
III.Domestication and Foreignization&lt;br /&gt;
3.1 Domestication&lt;br /&gt;
3.2 Foreignization&lt;br /&gt;
3.3 Analysis with Examples of Domestication and Foreignization&lt;br /&gt;
3.3.1 On politics&lt;br /&gt;
3.3.2 On culture&lt;br /&gt;
3.4 The Relationships between Domestication and Foreignization &lt;br /&gt;
IV.The Relationship among Literal Translation, Free Translation, Domestication and Foreignization&lt;br /&gt;
4.1 The Comparison among Literal Translation and Free Translation, Domestication and Foreignization&lt;br /&gt;
4.2 The Connection among Literal Translation and Free Translation, Domestication and Foreignization&lt;br /&gt;
4.2.1 Foreignization and Literal translation&lt;br /&gt;
4.2.2 domestication and free translation&lt;br /&gt;
4.2.3 Domestication and Literal translation&lt;br /&gt;
V.Conclusion&lt;br /&gt;
References&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
===I.Introduction ===&lt;br /&gt;
I.Introduction &lt;br /&gt;
In the history, argues between literal translation and free translation have been lasting for so long. Since there existed so many countries and nations on the continent of Europe, communicating frequently with different languages, the skill and cognition of language translation naturally developed and achieved a lot. During those time, two main methods of translation called literal translation and free translation came into being and accompanied by the problem on choosing which of them. The earliest opinion of translating methods can go back to the period of Roman Empire, when Cicero put forward that free translation should be used in translating Greek texts into Latin, on account of that literal translation , “word for word translation”, couldn’t reflect Roman way of expression and couldn’t be easy-understanding and fluent as free translation, “sense for sense translation”. This view of point had a great and dominate influence at that time, which did not change until late Roman period, when Christianity were gradually in power and the necessity of spreading and translating Bible by the way “exactly what it is ” made literal translation become more popular. Then comes the renaissance, in which many linguisticians realized the importance of keeping the style and features of their own nations. Since then, the two translation methods have taken the lead and been debated endlessly in the translation field. By the 1960s and 1970s, when domesticating translation and foreignizing translation accordingly emerged with free translation and literal translation, reception theory, which upgraded the dominance of readers or we called receivers of translation, again made the domestic translating one-up. This kind of method was criticized by Venuti on its aggressivity of different cultures, based on which he officially put forward the two concepts of domestication and foreignization, which have been two central strategies in translation. So it’s vital to get a better understanding of those four concepts and make their relationships clear, which is of guiding significance to promote translation in practice.(Lu Shu, Wang Jintang 2005,115-116)  &lt;br /&gt;
&lt;br /&gt;
===II.Literal Translation and Free Translation===&lt;br /&gt;
II.Literal Translation and Free Translation&lt;br /&gt;
When seeing translation as shift of linguistic sign, the method of translating could be regarded as the specific approach used by the translator shifting the ST into TT, especially the two methods we mentioned before--literal translation and free translation.Peter Newmark, in his A Textbook of Translation, proposed that the common and only goal of translating should be repeating the meaning of ST, which means those translating methods exist for dealing with some problems happened during the process when translating.( Ma Shikui 2012,20)The meaning and structure of the ST might not be taken into account every time, so it’s important to search for a appropriate solution to deal with this kind of problem, that’s what literal translation and free translation do.&lt;br /&gt;
&lt;br /&gt;
===2.1 Literal translation ===&lt;br /&gt;
2.1 Literal translation &lt;br /&gt;
Literal translation is the one chosen when the original structure and the meaning of ST could both be perfectly taken into account, by adhering to strict original meaning and style of the TT, including the structures of sentences and rhetorical devices. “Word for word translation” could be counted as the original way of literal translation, like the translation of The Bible in the middle Age I showed before. But as the argue and relevant theories developing  till modern age, more and more experts realize and have a common sense that “word for word translation” can’t be equal to literal translation, since there always exist more or less differences among different languages. Personally speaking, the way Professor Fan Zhongying explains that literal translation means keeping the linguistic form of the SL, such as the words, the sentence structures and the rhetorical means, fluently and easily understood at the same time comprehensively interprets literal translation.(Joe Zeng Rui 2000,249)&lt;br /&gt;
&lt;br /&gt;
===2.2 Free translation===&lt;br /&gt;
2.2 Free translation&lt;br /&gt;
 It’s better if we can have it both ways, which cannot happened all the time. Thus, free translation might be better when translator can’t follow with the exact structure of SL. Free translation, “sense for sense translation”, refers to a kind of method used to translate the exact sense of the SL into the TL without retaining the sentence structures or the expression way of the SL. The supporters of free translation believe that the purpose of translation is to transform and convey the sense of the SL to the recipient of the TL, so it’s worthy to adopt an expression way closer to the TL, which is easier for the recipient to understand. Free translation has certain flexibility, which means the position of words and sentences can be adjusted. In order to facilitate readers' understanding, even some necessary supplements can be added.(Joe Zeng Rui 2000,249)&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
===2.3 Analysis with Examples of Literal translation and Free translation===&lt;br /&gt;
2.3 Analysis with Examples of Literal translation and Free translation&lt;br /&gt;
Here are some specific examples of contrast between literal translation and free translation：&lt;br /&gt;
&lt;br /&gt;
===2.3.1 On words===&lt;br /&gt;
2.3.1 On words:&lt;br /&gt;
&amp;quot;Why do men have an Adam's Apple but women don't? &amp;quot;&lt;br /&gt;
&lt;br /&gt;
Literal translating: 为什么男人有喉结而女人没有呢？&lt;br /&gt;
Free translating: 为什么男人有亚当的苹果而女人没有呢？&lt;br /&gt;
&lt;br /&gt;
From above, the “Adam's apple” can be translated literally into &amp;quot;亚当的苹果&amp;quot;, but it can't reflect the original sense of the ST, because in the western world, &amp;quot;Adam's apple&amp;quot; refers to &amp;quot;喉结&amp;quot; in Chinese instead of literally meaning &amp;quot;亚当的苹果&amp;quot;, so free translation is more accurate here. In addition, it is worth mentioning that this example perfectly reflects the fit of sentence structure between Chinese and English. It also shows that translators should also be sure of the culture behind the SL.&lt;br /&gt;
&lt;br /&gt;
===2.3.2 On sentence structures===&lt;br /&gt;
2.3.2 On sentence structures:&lt;br /&gt;
&amp;quot;Here comes the bus!&amp;quot;&lt;br /&gt;
&lt;br /&gt;
Literal translating: 这来了巴士!&lt;br /&gt;
Free translating: 巴士来了!&lt;br /&gt;
&lt;br /&gt;
According to literal translating way, if following with the source structure of the English sentence, which is a inverted sentence in English by the way, the translation result is “这来了巴士”, which is obviously both incoherent and hard to understand in Chinese and even twist the sense of the ST. According to the sentence meaning, it should be translated into “巴士来了 ”, which is totally different from the ST in grammar though.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
===2.3.3 On rhetorical means===&lt;br /&gt;
2.3.3 On rhetorical means&lt;br /&gt;
&amp;quot;If Main Street didn' t understand this , Wall Street did.&amp;quot;(The Glory and the Dream, p .85)&lt;br /&gt;
&lt;br /&gt;
Literal translating: 如果主街不能理解这一点，华尔街可以。&lt;br /&gt;
Free translating: 这一点, 一般人不理解, 华尔街那些大老板们却是明白的。(Professor Wang Zongyan, 1983 :10)&lt;br /&gt;
&lt;br /&gt;
From this example, the key information is that Professor Wang Zongyan translates “Wall Street” into “华尔街的那些大老板们”. In Literature Translation, free translation is evidently more popular, because some literary images are difficult to express accurately through literal translation. In fact, the “Wall Street” here does not mean “Wall Street” itself, but people in power in Wall Street, so it is more appropriate for Professor Wang to translate it into “华尔街的那些老板们” by free translation. The reason of “Main Street”translating into “一般人”is the same.&lt;br /&gt;
&lt;br /&gt;
===2.4 The Relationships between literal translation and free translation===&lt;br /&gt;
2.4 The Relationships between literal translation and free translation&lt;br /&gt;
According to those demonstrations above, we can see that literal translation is more partial to SL and free translation considers more about TL users. The advantage of literal translation is to keep the style of the source language(show how other people talk), which plays a certain role in spreading the source language culture; the disadvantage is that sometimes it might be too long and difficult to understand, which hinders the communication and understanding between the two sides. Because free translation is biased towards the expression of the nation of the TL, its advantage is that it is more fluent and easy to understand, but its disadvantage is that it conceals the style of the source language and loses the role of translation as a cultural bridge, in which the translator's position seem not that important. All in all, I think it is best to combine the two translation methods organically in the process of translation. Just as professor Lu Dianyang proposed: “ Translate literally, if possible, or appeal to free translation.”(Zhao Jing 2011,61)&lt;br /&gt;
&lt;br /&gt;
===III.Domestication and Foreignization===&lt;br /&gt;
III.Domestication and Foreignization&lt;br /&gt;
Through the above introduction, we can know that with the change of historical environment, a period of political opposition and cultural exchange encountering a new period after World War II, the dispute between literal translation and free translation has reached a deeper level of development, which is the arrival of Foreignization and Domestication. Although Foreignization and Domestication were first formally proposed by Lawrence Venuti in The Translator's Invisibility in 1995, the translation strategy later called Domestication actually can be seen from Nida's translation theory of &amp;quot;dynamic equivalence&amp;quot;in 1964, which seeks for an expression whose meaning is closest to the SL and conforms to the habit of the TL expression way. Nida's theory has been strongly criticized by Venuti, who supports Deconstructivism, and holds that domesticating translation is an obliteration of the SL culture and a manifestation of cultural colonialism, which is manifested by its failure to comply with the expression of the source language culture. Based on this, on the contrary, Venuti shows strong support for foreignizating translation, and he thinks that this translation strategy of preserving the linguistic and cultural differences of the SL shows respect for the SL culture. The following part mainly clarifies the concepts and contents of these two translation strategies, which will helps to compare with literal translation and free translation mentioned above.（Chen Ying 2009,42）&lt;br /&gt;
&lt;br /&gt;
===3.1 Domestication ===&lt;br /&gt;
3.1 Domestication&lt;br /&gt;
Domestication refers to a translation strategy of dealing with the language forms, customs and cultural traditions, such as proverbs, idioms and allusions when translating, which tends to serve the readers of the target language. According to Eugene A.Nida's concept of natural equivalence, the translation version should be close to the original sense and intention in a most natural expression, therefore, the behavior pattern of the source language should be brought into the cultural understanding category of the target language as much as possible, which means that the recipients of the target language can avoid accepting the cultural expression of the source language in order to better understand the original intention.(Zhu Yuanzhong 2013,54)&lt;br /&gt;
&lt;br /&gt;
===3.2 Foreignization===&lt;br /&gt;
3.2 Foreignization&lt;br /&gt;
Venuti puts translation under the background of culture, society, politics and cultural consciousness, and reflects the different positions of different cultures in today's world through the choice of translation strategies, and regards translation as a tool to fight against inequality. From this, we can see the reason why he criticized domestication and vigorously advocated foreignization translation, which is to advocate that the translation should adapt and consider more the culture of the source language and the original author's habit of choosing words as much as possible. Thus, foreignizing translation tends to serve the SL culture, because he thinks that the translation version should take the source language culture as its destination and guide the reader to approach the original author.(Jiang Cui 2015,71-71)&lt;br /&gt;
&lt;br /&gt;
===3.3 Analysis with Examples of Domestication and Foreignization===&lt;br /&gt;
3.3 Analysis with Examples of Domestication and Foreignization&lt;br /&gt;
Examples for domesticating method and foreignizing method:&lt;br /&gt;
&lt;br /&gt;
===3.3.1 On Politics===&lt;br /&gt;
3.3.1 On Politics：동해 &amp;amp; にほんかい&lt;br /&gt;
Since the 19th century, the world has experienced two world wars and the Cold War period. During this long period, independent nation-states gradually chose their own country's &amp;quot;roads&amp;quot; and directions, which made different ideologies and political positions have a strong sense of existence in international relations, among which there were many translation contradictions caused by geopolitics. For example, the title of the sea area between South Korea and Japan has caused controversy between those two countries. South Korea has always called the sea area &amp;quot;동해&amp;quot;(East Sea) in history, but Japan continues to use the European navigator's giving name &amp;quot;Japan Sea&amp;quot;(にほんかい) and gradually gained international recognition from the 19th century. However, South Korean believes that the title change was imposed on South Korea by Japan colonizing Korea, which is a title that violates South Korea's territorial waters and disrespects South Korea. Something similar has happened many times in the world, which is the political difference on domestication and foreignization.(Pan Wenxiao 2020，https://weibo.com/ttarticle/p/show?id=2309404578145859666401)&lt;br /&gt;
&lt;br /&gt;
===3.3.2 On Culture===&lt;br /&gt;
3.3.2 On Culture：“情人眼里出西施。”&lt;br /&gt;
&lt;br /&gt;
Domesticating translation: Love is blind.&lt;br /&gt;
Foreignizing translation: The beauty Xi Shi is in the eye of lovers.&lt;br /&gt;
&lt;br /&gt;
This example shows well how different it could be between two cultures: the ST and the domesticating one of  TT express almost the same meaning in completely different ways, that is, lovers can only see each other's good thing. That is to say, if you want to convey the exact meaning of the original Chinese sentence to English speakers, then domesticating method is the best choice, although it will make the &amp;quot;translation results&amp;quot; look beyond recognition. However, if we choose foreignizing translation, especially retaining the word &amp;quot;Xi Shi&amp;quot;, it will give English speakers a chance to understand Chinese traditional culture (Xi Shi is a beautiful woman in the Spring and Autumn Period of China, and &amp;quot;西施&amp;quot; in &amp;quot;情人眼里出西施&amp;quot; means &amp;quot;beauty&amp;quot;), although such translating way may be difficult to understand at first.&lt;br /&gt;
&lt;br /&gt;
===3.4 The relationships between Domestication and Foreignization ===&lt;br /&gt;
3.4 The relationships between Domestication and Foreignization &lt;br /&gt;
Through the above analysis, it can be seen that domestication and foreignization also have their own merits and necessity. Although these two translation strategies were born in different historical backgrounds, their struggles to a certain extent reflect the struggle between the dominant position of stronger culture and weaker culture with different identities, which, of course is just one of those aspects, also reflect the problems of cultural communication: domesticating translation is conducive to conveying the meaning of the source language to the target language recipients without obstacles, especially in the case of great cultural differences existing, but this localization behavior will make it difficult for readers to learn what differences the two sides culture have, and in fact cultural diffusion will not be achieved. On the contrary, foreignization translation conveys the target text to readers according to the discourse mode of the source language culture, which can not only make readers realize the charm of different cultures, but also increase the expression ways of their own nation, but it is very likely that the meaning of the target text is difficult to understand. This contradiction is particularly prominent in the political level. Therefore, in translation practice, we should decide which way to choose in different contexts and in the face of different groups of people, so that the two can complement each other and have unity of opposites under proper application.(Zhu Yuanzhong 2013,54)&lt;br /&gt;
&lt;br /&gt;
===IV.The relationship among Literal Translation, Free Translation, Domestication and Foreignization===&lt;br /&gt;
IV.The relationship among Literal Translation, Free Translation, Domestication and Foreignization&lt;br /&gt;
Sun Zhili, a contemporary Chinese translator, said: &amp;quot;Historically, domestication and foreignization can be regarded as extensions of literal translation and free translation, but they are not completely equivalent to each other. The core issue of literal translation and free translation is how to deal with form and sense at the linguistic level, while domestication and foreignization break through the limitations of language factors and expand their horizons to language, culture and aesthetics. &amp;quot; (Sun Zhili 2011,27) Even after the above introduction, the boundary between literal translation, free translation, foreignization and domestication seems to be very vague. In order to better clarify the relationship between the two pairs of concepts, the following will distinguish and compare them. &lt;br /&gt;
&lt;br /&gt;
===4.1 The comparison among Literal Translation and Free Translation, Domestication and Foreignization===&lt;br /&gt;
4.1 The comparison among Literal Translation and Free Translation, Domestication and Foreignization&lt;br /&gt;
The same point: First of all, foreignization and domestication are extensions of literal translation and free translation, so the two pairs of relations are all methods put forward to guide translation practice; Secondly, relatively speaking, the roles of the two pairs of relations are very similar, especially in linguistic form: literal translation and foreignization both emphasize following the expression of the source text; Both free translation and domestication believe that in order to convey the sense of the source text accurately, the expression of the original text can be sacrificed.&lt;br /&gt;
The different points: The first point is that the scope is different, which leads to different objects: literal translation and free translation are proposed according to the different structures and characteristics of the source language and the target language, and their discussion focuses on the relationship between form and content, which belongs to the level of language conversion. Foreignization and domestication, as a product of cultural turn, is not only manifested in linguistic form, but also in cultural content. In other words, the emergence and development of foreignization and domestication raise the discussion of language level to the level of culture, poetics and politics. Obviously, the former is a micro translation method, while the latter is a macro translation strategy. Choosing specific translation methods under the guidance of the general direction of translation strategies can make good use of these two pairs of concepts when doing translation.&lt;br /&gt;
Second, the condition is different: Because literal translation and free translation are aimed at figuring out the issue of the text itself and the language structure, those two translation methods rely heavily on the text on linguistics, and have little room for evolution, development and independence, which make them relatively being static; However, domestication and foreignization do not have such problems. Their appearances were largely influenced by external social factors and the background of times and history, moreover, they focus on the external factors of translation too. Therefore, these two translation strategies are actually unstable and present a relatively dynamic state.(Zhao Jing 2011,62)&lt;br /&gt;
&lt;br /&gt;
===4.2 The connection among Literal Translation and Free Translation, Domestication and Foreignization===&lt;br /&gt;
It can be concluded that the basic relationship between these twopairs of concepts is that domestication and foreignization make the discussion of translation transition from pure language level to cultural level, not only paying attention to the internal transformation of language, but also starting to study the political and cultural environment outside language and text, which makes the change of translation’s function happen--from micro-analysis of language to macro-control of the social function of translation.(Chen Ying 2009,42)&lt;br /&gt;
&lt;br /&gt;
===4.2.1 Foreignization and Literal translation===&lt;br /&gt;
4.2.1 Foreignization and Literal translation&lt;br /&gt;
According to the comparative analysis in the previous section, we can conclude from their similarities that under normal circumstances, foreignization usually takes literal translation as method, or foreignizing translation usually includes literal translation methods, such as:(Lv Yinping 2007,138)&lt;br /&gt;
(1)Pandora’s box 潘多拉的盒子 &lt;br /&gt;
(2)the forbidden fruit 禁果&lt;br /&gt;
The above two examples clearly show the way literal translation do, which is also the result under the guidance of foreignizating translation strategy. &amp;quot;Pandora's box&amp;quot; comes from Greek mythology, which refers to the root of all evils, but the translation into Chinese, which is not “万恶之源”, has followed the European saying, and even quoted it in daily communication, which has played the purpose of &amp;quot;understanding other national cultures through translation&amp;quot;; Similarly, &amp;quot;forbidden fruit&amp;quot; comes from the Bible, which means something forbidden, but Chinese translation also follows the expression of the original way.&lt;br /&gt;
&lt;br /&gt;
===4.2.2 Domestication and Free translation===&lt;br /&gt;
4.2.2 Domestication and Free translation&lt;br /&gt;
Similarly, the shadow of free translation can often be found in domesticating translation. For example:(Lv Yinping 2007,137)&lt;br /&gt;
(1)drink like a fish 牛饮&lt;br /&gt;
(2)a fool’s paradise 黄粱美梦&lt;br /&gt;
As far as the first example is concerned, if literally translated into &amp;quot;像鱼一样喝水&amp;quot;, it is extremely out of line with the Chinese expression habit, and there is no such statement way in China, which leads to the consequences that translating versions are difficult to understand. However, if we translate &amp;quot;drink like a fish&amp;quot; into “牛饮” in Chinese, which does exists in China and has the same meaning as &amp;quot;drink like a fish&amp;quot; in English. Then the translation effect is not only interesting, but also easy to understand.&lt;br /&gt;
However, when doing actual translation practice, due to the variety and diversity of cultures, the methods and strategies used in text or language conversion are also comprehensive. We can find that the comprehensive and flexible use of literal translation and free translation, domestication and foreignization can make up for the regret of some traditional opposing ways(It is said that the two pairs of concepts are opposite and cannot coexist).&lt;br /&gt;
&lt;br /&gt;
===4.2.3 Domestication and Literal translation===&lt;br /&gt;
4.2.3 Domestication and Literal translation&lt;br /&gt;
Foreignizating translation is usually regarded as an extension of literal translation, which means that in general, literal translation methods are often used under the guidance of foreignization strategies, but in some special cases, literal translation can also coexist with domestication strategies.&lt;br /&gt;
(1) 什么时候都要谦虚谨慎，把尾巴夹紧一些。（Jia Wenbo 2000,11）&lt;br /&gt;
We must always be modest and prudent and must, so to speak, tuck our tail between our legs.&lt;br /&gt;
The meaning of &amp;quot;把尾巴夹紧&amp;quot; in Chinese coincides with &amp;quot;tuck tail between our legs&amp;quot; in English. At this one, it can be said that literal translation is the most suitable choice, which keeps the form and cultural connotation of the source language to the maximum extent, and at the same time coincides with the meaning and culture of the target language.&lt;br /&gt;
(2) 一石二鸟(Song Tianxi 2013,49)&lt;br /&gt;
Kill two birds with one stone.&lt;br /&gt;
Similarly, this is an example of having language structure and cultural meaning between China and Britain in both ways, which uses the method of literal translation but achieves the effect of domestication. But in Chinese, &amp;quot;一石二鸟&amp;quot; can also be synonymous with &amp;quot;一箭双雕&amp;quot; and &amp;quot;一举两得&amp;quot;, which can be chosen when translating &amp;quot;kill two birds with one stone&amp;quot; if you want, however, this way of using the method of free translation is not literal translation anymore.&lt;br /&gt;
&lt;br /&gt;
Domestication and literal translation can coexist under the situation when two sides of language structures and cultures can coincide at the same time, which exists by chance and cannot be forced; It is almost impossible to find examples of coexistence like foreignization and free translation. However, through the above argument, we can find that in translation practice, translators should practice the principle of &amp;quot;concrete analysis of specific problems&amp;quot;, flexibly and dialectically combine free translation and literal translation with domestication and foreignization, and avoid rigid translation methods, so as to better assume the responsibility of cultural exchange. &lt;br /&gt;
&lt;br /&gt;
===V.Conclusion===&lt;br /&gt;
V.Conclusion&lt;br /&gt;
Through the analysis above of the concepts and intensions of literal translation and free translation, domestication and foreignization, then we further arrive at and even deepen our understanding of the relationship between the two pairs of concepts, which is helpful for translators to approach the translation result and effect as much as possible on the basis of understanding the culture and language of both sides and combining with the practice through rational choice of translation strategies and translation methods under the guidance of the theories. After all, translation is not only a linguistic transformation, whose fundamental task is to reach communication and cultural exchange. Therefore, in a sense, translation plays the role of cultural &amp;quot;fax&amp;quot;. In order to coordinate the spread of the source language culture and the acceptance of the target language side, it is necessary to avoid rigid use of a single translation method and translation strategy, or solidifying the idea of translation guiding theory. After comprehensive consideration of translation purpose, target and recipient, it is a translator's duty to use translation method flexibly and dialectically, as being a &amp;quot;cultural bridge&amp;quot;.&lt;br /&gt;
&lt;br /&gt;
===References===&lt;br /&gt;
References&lt;br /&gt;
Sun Zhili 孙致礼.(2011).新编英汉翻译教程[A New Coursebook on English-Chinese Translation].上海:上海外语教育出版社.Shanghai:Shanghai Foreign Language Education Press&lt;br /&gt;
Sun Zhili 孙致礼.(2002).中国的文学翻译:从归化趋向异化[China’s Literary Translation: from Domestication to Foreignization].中国翻译Chinese Translators Journal(01):39-43.&lt;br /&gt;
Jia Wenbo 贾文波.(1999).汉英时文翻译-政治经济汉译英300句析[On Practical C-E Translation in Political &amp;amp; Economic Practice].北京:中国对外翻译出版公司Beijing:China Translation and Publishing Corporation.&lt;br /&gt;
Zhang Meifang 张美芳.(2004).翻译策略二分法透视[A dichotomous perspective in translation strategies].天津外国语学院学报Journal of Tianjin Foreign Studies University(03):1-6.&lt;br /&gt;
Zhao Jing 赵静.(2011).直译、意译与归化、异化之比较[Comparison between literal translation and free translation and Domestication and Foreignization].河南农业Henan agriculture(22):61-62.&lt;br /&gt;
Lv Yinping 吕银平.(2007).“直译与意译  归化与异化”译法之我见[My Opinion on Literal Translation, Free Translation, Domestication and Foreignization].宁夏师范学院学报Journal of Ningxia Teachers Univercity( Social Science)(04):136-138.&lt;br /&gt;
Venuti Lawrence.(1995). The Translator’s Invisibility .London&amp;amp;New York: Routledge.&lt;br /&gt;
&lt;br /&gt;
==On Chinese-to-English Translation of The Summer Palace from the Perspective of Functionalist Approaches to Translation	魏亚菲	Wei Yafei==&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
===Abstract===&lt;br /&gt;
Abstract&lt;br /&gt;
The Chinese-English translation of tourist texts, as a window for the external publicity of national history and culture, plays an important role in promoting the development of local tourism. The Summer Palace is well known for its large and priceless collection of cultural relics, which is among the first group of historical and cultural heritage sites in China to be placed under special state protection. &lt;br /&gt;
Based on the functionalist approach and the skopos rule, this paper discusses the problems existing in the translation of scenic spots in the Summer Palace from the perspectives of garden culture, historical culture and religious culture. Skopos theory holds that translation depends on communicative purpose. To achieve this goal, translators can choose different translation strategies. It is believed that the purpose of Chinese-English translation of scenic spots is to attract target readers and promote traditional culture. Therefore, when translating tourism materials, it is necessary not only to express the local cultural connotation, but also to consider the cross-cultural factors. The Chinese-English translation of the introduction of scenic spots guided by functionalist approach can make English readers have expectations of scenic spots and understand the cultural connotation of scenic spots. This paper aims to better promote the development and communication of Chinese culture and improve the level of tourism text translation in China by relying on the theory of functionalist approach.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
===Key words===&lt;br /&gt;
Key Words: functionalist approach，the Summer Palace，translation strategies&lt;br /&gt;
&lt;br /&gt;
===摘要===&lt;br /&gt;
摘 要&lt;br /&gt;
旅游资料的英译作为民族历史文化对外宣传的一道窗口,对地方旅游业的发展有着不可低估的促进作用。颐和园作为中国著名的皇家园林，具有浓厚的中国园林特色及优美的风景，同时也蕴涵着深厚文化内涵。&lt;br /&gt;
本篇旅游文本英译的分析以功能派翻译理论作为理论指导，以目的法则为主要原则，从颐和园的园林文化、历史文化和宗教文化三个角度出发对颐和园景点英译中存在的问题进行探讨。目的论认为译文取决于翻译目的，这个目的通常指的是交际目的。为达到这个目的，译者可以选择不同的翻译策略。也就是说，译者的翻译策略必须由译文的预期目的或功能决定，即所谓的“目的法则”。笔者认为景点介绍的汉英翻译的目的就是吸引译文读者以及弘扬传统文化，因此在翻译旅游资料的时候不仅要把当地的文化内涵表达出来，而且要考虑到跨文化的因素。而以功能派翻译理论为指导的景点介绍的汉英翻译，可以使英语读者通过译文产生对旅游景点的期盼，以及对景点文化内涵的理解。以颐和园景区内的翻译文本为例本，依托功能翻译理论，通过“发现问题，指出问题，解决问题”，以期更好地促进中国文化的传播与交流，提高我国现阶段旅游文本翻译的水平。&lt;br /&gt;
&lt;br /&gt;
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&lt;br /&gt;
===关键字===&lt;br /&gt;
关键词：功能翻译；颐和园；翻译目的；翻译策略&lt;br /&gt;
&lt;br /&gt;
===Introduction===&lt;br /&gt;
  Throughout the translation history at home and abroad, the literal translation and free translation have always been a heat discussion in the translation circles. Someone absolutely approve literal translation and demean free translation, even pursue a dead translation, which creates an translated text difficult to understand. While some other people absolutely agree with free translation even advocate random acts, which means a random deletion in the translation practices and creates anther entirely different text. However, there are also a number of translators who have recognized that these two translation methods are not totally opposite. So they adopt a compromise and flexible way. That means they will choose the most appropriate one depending on the text demanding. Therefore, we can deduce from it that this eclectic translation is consistent with the Contradiction view of Unity of Opposite in Materialist Dialectics. In fact, literal translation and free translation are right a set of contradictions which are both opposite and unified. They complement each other into an integral one.&lt;br /&gt;
&lt;br /&gt;
===Table of Contents===&lt;br /&gt;
&lt;br /&gt;
Table of Contents&lt;br /&gt;
&lt;br /&gt;
Outline&lt;br /&gt;
1.Introduction&lt;br /&gt;
2. Studies on Functionalist Approach&lt;br /&gt;
2.1 The Viewpoint of Functionalist Approach&lt;br /&gt;
2.1.1 Reiss’s Text Typology&lt;br /&gt;
2.1.2 Vermeer’s Skopos Theory&lt;br /&gt;
2.1.3 Manttari’s Theory of Translational Action&lt;br /&gt;
2.1.4 Nord’s Theory of Function plus Loyalty&lt;br /&gt;
2.2 The Application of Functionalist Approach &lt;br /&gt;
3.C-E Translation of the Summer Palace under Functionalist Approach&lt;br /&gt;
3.1 Garden Culture&lt;br /&gt;
3.2 Historical Culture &lt;br /&gt;
3.3 Religious Culture &lt;br /&gt;
4. Conclusion&lt;br /&gt;
References&lt;br /&gt;
&lt;br /&gt;
===Outline===&lt;br /&gt;
Outline&lt;br /&gt;
&lt;br /&gt;
Thesis Statement: Based on the main viewpoints of functionalist approaches to translation, this paper aims to give an analysis to C-E translation of the Summer Palace from cultural, historical and religious aspects, hoping to provide some translation strategies for other cultural attractions.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
1. Introduction&lt;br /&gt;
2. Studies on Functionalist Approaches&lt;br /&gt;
2.1 The Viewpoint of Functionalist Approach&lt;br /&gt;
2.1 Reiss’s Text Typology&lt;br /&gt;
2.2 Vermeer’s Skopos Theory&lt;br /&gt;
2.3 Manttari’s Theory of Translational Action&lt;br /&gt;
2.4 Nord’s Theory of Function plus Loyalty&lt;br /&gt;
2.2 The Application of Functionalist Approach&lt;br /&gt;
3. C-E Translation of the Summer Palace under Functionalist Approach&lt;br /&gt;
3.1 Garden Culture&lt;br /&gt;
3.2 Historical Culture&lt;br /&gt;
3.3 Religious Culture&lt;br /&gt;
4. Conclusion&lt;br /&gt;
&lt;br /&gt;
===1. Introduction ===&lt;br /&gt;
1. Introduction   &lt;br /&gt;
The Chinese-English translation of tourist texts is a bridge to spread the culture of classical Chinese gardens, so the accuracy of it has a direct impact on foreigners' understanding of the specific history and culture. &lt;br /&gt;
Functionalist approach has made a pioneering contribution to the translation of non-literary genres. Functional translation theory emphasizes the function of discourse, and believes that different types of discourse have different functions, so translators should choose appropriate translation strategies according to the type of source text and corresponding functions. Functionalist approach is to take the &amp;quot;skopos rule&amp;quot; as the highest standard, and any translation activity is a purposeful behavior. The ultimate goal and main function of scenic spot translation is to help people understand the main content of the scenic spot.&lt;br /&gt;
As a window for the publicity of national history and culture, the Chinese-to-English translation of tourist texts plays an important role in promoting the development of local tourism. Well known for its large and priceless collection of cultural relics, the Summer Palace was among the first group of historical and cultural heritage sites in China to be placed under special state protection. Based on the viewpoints of functionalist approach to translation, this paper aims to analyze C-E translation of the Summer Palace from cultural, historical and religious aspects, hoping to provide some translation strategies for other cultural attractions. &lt;br /&gt;
&lt;br /&gt;
===2. Studies on Functionalist Approaches===&lt;br /&gt;
2. Studies on Functionalist Approaches&lt;br /&gt;
Functionalism is a theory that advocates reader-centered translation, emphasizing the functions of texts and highlighting the communicative effects. It is believed that many unnecessary mistakes can be avoided and better results can be achieved by applying functionalist approach in Chinese-English translation of tourist text. &lt;br /&gt;
&lt;br /&gt;
===2.1 The Viewpoint of Functionalist Approaches===&lt;br /&gt;
2.1 The Viewpoint of Functionalist Approaches&lt;br /&gt;
Functionalist Translation Theory, also known as German Functionalist Translation Theory, was proposed by German scholars in the 1970s. It includes four main theories: Katharina Reiss’s Text Typology, Hans Vermeer’s Skopos Theory, Justa Holtz Manttari’s Theory of Translational Action and Christiane Nord’s Theory of Function plus Loyalty. This chapter aims to present the main ideas of this theory.&lt;br /&gt;
&lt;br /&gt;
===2.1.1 Reiss’s Text Typology===&lt;br /&gt;
2.1.1 Reiss’s Text Typology&lt;br /&gt;
In 1971, Reiss in her book Possibilities and Limitation of Translation Criticism first made text function as a standard of translation criticism, namelyevaluate the translated text from the relationship between the functions of the original and the translated text. She insists on the original-centered equivalence theory and holds the view that the ideal translation is to achieve the equivalence between the target text and the source text in terms of ideological content, linguistic form and communicative function. However, translation practice makes her realize that it’s difficult to achieve equivalence sometimes and that sometimes equivalence cannot be pursued. Because of the particularity of translation requirements, the function of the target text is not always the same as that of the source text. Therefore, the translator should give priority to the functional role of the target text rather than the principle of equivalence.&lt;br /&gt;
Reiss believes that in the normal situation the type of text decides the translator’s choice of a proper translation method (Reiss, 2004). Therefore, she divides text into four types: content-focused text, form-focused text, appeal-focused text and audio-media text. Content-focused text, also known as informative text, includes news reports, commercial correspondence, operating instructions, official documents, patent&lt;br /&gt;
specifications, essays, treaties, etc. For this text, the main function is to convey information revealed in language itself to readers. The emphasis is on content and topic, so the choice of language and style should serve this function. If both the source text and target text belong to informative text, the translator should represent the content and information of source text accurately and completely (Reiss, 2004)&lt;br /&gt;
Form-focused text, also known as expressive text, refers to literary works such as novels, poems and so on. “Distinct from ‘content’, which deals with what the author says, ‘form’ is concerned with how an author expresses himself” (Reiss, 2004). For expressive texts, information is only a supplement. What is dominant is the aesthetic factor. When translating such texts, the translator should pay attention to the aesthetic and artistic forms of the original text and to the differences between two cultural habits, trying to achieve the same effect as the source text. In a word, in a form-focused text the linguistic form of the source text determines the form in the target language (Reiss, 2004).&lt;br /&gt;
Appeal-focused text, also known as operative text, mainly includes notice, instruction manual, advertisement, publicity manual and so on. For operative texts, the primary task for the translator is to provoke a particular reaction on the hearers or readers to incite them to engage in specific actions, while content and form are subordinate. Therefore, to achieve the same effect, the translator need to change the content and stylistic features of the original text, try to keep the potential influential factors of the original text and seek functional equivalence (Reiss, 2004: 38-43). Audio-medial text, also known as multi-media text, refers to radio and television scripts, such as radio newscasts and reports, topical surveys and dramatic productions.&lt;br /&gt;
It is distinctive in its dependence on non-linguistic media and on graphic, acoustic, and visual kinds of expression. Only in combination with them can the whole complex literary form realize its full potential (Reiss, 2004). In conclusion, different texts determine different translation focuses and methods. In many cases, however, a text may have more than one function, which means that translators should integrate different translation strategies skillfully to achieve different functions of texts.&lt;br /&gt;
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===2.1.2 Vermeer’s Skopos Theory===&lt;br /&gt;
2.1.2 Vermeer’s Skopos Theory&lt;br /&gt;
Reiss’s student Vermeer, who broke the limitation of the theory of equivalent and took skopos to be the first criterion of translation process  proposed the key theory: Skopostheorie. According to Skopos Theory, when translating a text, the translator needs to consider the purpose of translation first and then choose the translation method according to the purpose, which means “the end justifies the means” (Nord, 2001). Vermeer believes that translation, like other human actions, is also a purposeful act. Translation often takes place in cultural backgrounds with different customs and values, so translation is not a simple equivalent transformation between languages. Skopos Theory does not focus on achieving the equivalence between the target text and the original text or the perfection of the target text, but on choosing the best translation strategy based on the analysis of the source text and the intended function of the target text. In a word, translation methods and strategies are determined by the intended purpose or function of the target text.&lt;br /&gt;
According to Skopos Theory, the first rule that all translators must follow is the Skopos Rule. Translation purpose can be divided into three categories: (1) the purpose of the translator, such as earning a living; (2) the communicative purpose of the translation, such as instructing the reader; (3) the purpose of using a particular translation method, such as the literal translation according to its structure to illustrate the peculiarities of grammatical structure in a language (Nord, 2001). In general, the communicative purpose is more important than the other two. The communicative purpose is usually determined by the initiator of the translation act, but the translator can take part in deciding. The second rule is the Coherence Rule. Coherence Rule requires that the translation conform to the criterion of intratextual coherence, which means that the translation must be accessible to recipients and meaningful in the target culture and in the communicative environment (Nord, 2001). The third rule is the Fidelity Rule. It means that there should be intertextual coherence between the source text and the target text, which means being faithful to the source text. Nevertheless, the degree and form of faithfulness lie in the target text and the degree that the translator understands the original text. Normally “Intertexual coherence is considered subordinate to intratexual coherence and both are subordinate to the Skopos rule” (Nord, 2001).&lt;br /&gt;
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===2.1.3 Manttari’s Theory of Translational Action===&lt;br /&gt;
2.1.3 Manttari’s Theory of Translational Action&lt;br /&gt;
Following Vermeer, Manttari develops Vermeer’s Skopos Theory and puts forward the Theory of Translational Action. He emphasizes three aspects: the behavior of the translation process, the role of the participants (the initiator, the translator and the target reader, etc.) and the environment (time, place and media) in which the translation process takes places. It views translation as “purpose-driven, outcome-oriented human interaction and construes the process of translation as message-transmitter compounds that involve intercultural transfer” (Mundy, 2001). According to Manttari, translation is “ a complex act to achieve a particular purpose” &lt;br /&gt;
(Nord, 2001). It is not about translating words, sentences or texts but is about guiding the intended cooperation over cultural barriers and promoting functional communication. Cooperation here means “transcultural communication” by Manttari.&lt;br /&gt;
The Theory of Translational Action attaches great importance to providing a functional communicative text for the recipient, a text suitable for the target culture in&lt;br /&gt;
form and style. Functional suitability is determined by the translator. The translator is&lt;br /&gt;
an expert in translation, whose role is to ensure the successful completion of cultural&lt;br /&gt;
transformation. In producing the target text, the analysis of the source text is necessary so that the translator can find out its structural and functional characteristics, which can be described by content and form. The need of the recipient is the decisive&lt;br /&gt;
factor for the target text.&lt;br /&gt;
In short, “the value of Manttari’s work is the placing of translation (or at least the professional non-literary translation which she describes) within its sociocultural&lt;br /&gt;
context, including the interplay between the translator and the initiating institution”&lt;br /&gt;
(Mundy, 2001).&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
===2.1.4 Nord’s Theory of Function plus Loyalty===&lt;br /&gt;
2.1.4 Nord’s Theory of Function plus Loyalty&lt;br /&gt;
Though skopos rule changes the focus of translation from the source language text to the target language text and the target receivers, it has some limitations. One is that different readers have different expectations, and the translation purpose cannot satisfy all the expectations of the target reader. Another is that the translation purpose may sometimes be against the intention of the source language. Therefore, based on the skopos rule, Nord introduces the loyalty principle. The principle of loyalty is a supplementary principle proposed by Nord to make up for the deficiency of skopos rule. According to the explanation of Nord, it is not the relationship between the original text and the target text, nor the equivalence between the original text and the form of the target text, but the consistency between the author of the original text, the initiator of the translation, the translator and the reader of the target text, which is the principle of loyalty. The proposal of the loyalty principle makes up for the mistakes that some radical skopos translators usually make, such as omitting and rewriting, which makes skopos theory more perfect and makes skopos theory more likely to guide the translation of literary works.&lt;br /&gt;
“Function” and “loyalty” are two pillars of Nord’s functionalist approach. “Function” refers to what a text means or is intended to mean from the receiver’s point of view”, while “loyalty” means that “target-text purpose should be compatible with the original author’s intention” (Nord,2001). It emphasizes the interpersonal relationship between the translator, the source-text sender, the target-text addresses and the initiator. Function plus loyalty enables the translator to avoid the limitations of skopos rule and try to achieve a balance between translation purpose and the source-text author’s intention”(Nord,2001). That is to say, when translating the original text, the translator should take into account the readers' cultural background, knowledge level and expectation of the translation, and choose the corresponding translation strategy according to the translation requirements. If the reader wants to read a word-for-word translation of the article, then the translator must meet the reader's requirements, otherwise he must explain to the reader why he chose his own translation method. The translator's job is to weigh two different cultures instead of imposing one culture on another. &lt;br /&gt;
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===2.2The Application of Functionalist Approach to the Tourist Texts.===&lt;br /&gt;
2.2The Application of Functionalist Approach to the Tourist Texts.&lt;br /&gt;
In the 1990s, Functionalist Translation Theory was introduced to China, and since then it has been applied to translation studies by Chinese translation scholars. In his article published in 1995, Zhang Nanfeng briefly introduces Skopos theory to China for the first time, and considers that Skopos theory is referential (Zhang Nanfeng, 1995). German Functionalist Translation Theory, a paper released in1999, is the first article in China which systematically introduces German Functionalist Translation Theory (Zhong Weihe &amp;amp; Zhong Yu, 1999). Based on an overview of Functionalist Translation Theory, Zhang Meifang focuses on introducing Nord’s theory, especially on the detailed analysis of Nord’s principle of loyalty (Zhang Meifang, 2005). Famous domestic scholars, such as Liu Junping (2009), Liu Miqing (2012) and Li Wenge (2004), also introduce this theory in their books. With the rise of Functionalist Translation Theory in China, someone has compared it with other theories. Zhu Haotong compares Skopos Theory with Functional Equivalence Theory to analyze the similarities and differences between them, and further reveals that Functionalist Translation Theory inherits the reasonable part of Nida’s Functional Equivalence Theory, which is an important breakthrough and supplement to solve the problems that Functional Equivalence Theory leaves (Zhu Haotong, 2006). Some scholars also combine theory with translation practice to explore the application of Functionalist Translation Theory to translation practice. Jia Yanli and Wang Hongjun point out that Skopos Theory has its limitations, but it is still of instruction and reference value for non-literary translation texts, such as advertisements and tourism materials (Jia Yanli &amp;amp; Wang Hongjun, 2012). Li Liangchen selects several famous tourist attractions in China to translate the on-site tour-guide commentary into English. Then he improves them under the guidance of Skopos Theory and sends out questionnaires to overseas tourists for further analysis. He argues that the translation of on-site tour-guide commentary which is guided by Skopos Theory is more favorable to conveying information to foreign visitors, to promoting cultural exchanges and to improving the image of China’s tourist destinations (Li Liangchen, 2013). In Pragmatic Translation: Theory &amp;amp; Practice, Wu Feng and He Qingji introduce Functionalist Translation Theory (Wu Feng &amp;amp; He Qingji, 2008) and the characteristics of tourism text and translation skills (Wu Feng &amp;amp; He Qingji, 2008). In this book, they also discuss the controversy over the Chinese name of Functionalist Translation Theory, and holds that “功能派翻译理论” is the most appropriate Chinese translation (Wu Feng &amp;amp; He Qingji, 2008).Based on his own translation practice and under the guidance of Functionalist Translation Theory, Wu Zixuan probes into some special phenomena in the English translation of CNN newsreels. The author believes that in the translation of external publicity, we should not stick to the standard of faithfulness to the original text, but should deal with the original text properly from the perspective of achieving the purpose of translation, such as rewriting, abridging. (Wu Zixuan, 2005).&lt;br /&gt;
Functionalist approach establishes a theoretical system of diversified translation standards dominated by skopos rule. From the definition of Functionalist approach, it can be seen that the advantage of it is that the translator can get rid of the bondage of the original text, study the translation process with &amp;quot;translation purpose&amp;quot; as the starting point, and determine the translation strategies and methods. This can give full play to the translator's own initiative, flexible processing of the original text, in order to achieve the translation of the communicative function. In addition, functionalist approach requires the translation to be examined in the cultural context of the reader. The reader can accept the translation and understand the meaning of the original text through the translation, so the translation can realize the communicative function. On the basis of such advantages, functionalist approach can be used to guide the English translation of garden scenic spots, and the translator can choose a wider range of translation strategies and break out of the constraints of the original text. &lt;br /&gt;
Only by clarifying the purpose of translation can we avoid these limitations in the English translation of garden attractions. When using functionalist approach to guide the English translation of Chinese classical garden scenic spots, it is necessary to flexibly choose translation strategies and methods, give full play to the advantages of skopos theory, and achieve the balance between &amp;quot;principle of purpose&amp;quot; and &amp;quot;principle of fidelity&amp;quot; as far as possible.&lt;br /&gt;
With the deepening of globalization and cross-cultural communication, tourismis becoming a major industry in the 21st century. The development of tourism can not only promote the economic development of a country but also promote the external dissemination of national culture. Therefore, tourism translation deserves attention. Tourism text is a typical informative and operational text, and the language is unique. It is full of gorgeous words, such as four-character expressions, verses, proper nouns and so on.&lt;br /&gt;
Tourism text materials include tourism advertising, tourism brochures, scenic spots signs and so on. In this paper, we focus on the introduction of Chinese gardens’ scenic spots, which is usually colorful in language and rich in literary style. Tourism text translation belongs to applied translation, which should play a series of practical functions to publicize the image and resources of the country or place and attract overseas tourists. Therefore, the translator of tourism text must be clear about the type and function of tourism text, and to grasp the ultimate purpose of the translation. &lt;br /&gt;
On tourism text translation, the communicative purpose of the translation should be placed in a central position. Furthermore, the tourism text has both the information function and the calling function. The information function and the calling function complement each other. Only when the target language readers acquire the expected tourism information and cultural knowledge can the calling function be realized and the purpose of tourism text translation be achieved. With different translation strategies, the translated version should both expressed contains basic information, and make the tourists feel the profound of the Chinese culture from the beautiful scenery. &lt;br /&gt;
Cultural tourism has long been the focus of international tourism, and understanding Chinese culture is the main purpose of inbound tourists, so the translation of tourism texts bears the mission of cultural transmission and cultural publicity. However, due to the great differences between Chinese and English culture and language, there are many difficulties in cultural transmission in tourism text translation. China has a long and splendid history and culture. When introducing the scenic spots of cultural relics and historic sites, we usually associate with many historical figures and stories. These terms are cultural blank for most foreign tourists, but this kind of cultural experience is also the most attractive place for foreign tourists. It is of great importance to pay attention to cultural differences in tourism translation and carry out cultural transmission effectively. Chinese and English languages have different logic views, and Chinese expressions in tourism texts value decoration. English expressions tend to be clear, concise and to the point. For example, Chinese tourism texts often use a four-character lattice, which is symmetrical, while there is no corresponding four-character lattice expression in English. Therefore, in Chinese-English translation of tourism texts with frequent use of four-character phrases, it is necessary to keep in mind the objective principle of functionalist approach and give priority to cultural communication instead of rigidly adhering to form.&lt;br /&gt;
&lt;br /&gt;
===3. C-E Translation of the Summer Palace under Functionalist Approach===&lt;br /&gt;
3. C-E Translation of the Summer Palace under Functionalist Approach&lt;br /&gt;
By studying the specific translation strategies made by predecessors, the following steps are also adopted in this paper: first, the translation strategies are determined according to the text type, such as faithful reproduction of the original information or rewriting; Secondly, the translation strategies are determined according to the potential purpose of the translation, such as paraphrasing or deleting poems, generalizing specific expressions and transliterating proper nouns. Thirdly, the translation strategies are defined with the tourists as the center, such as adding logical words, adding explanatory information and using plain English.&lt;br /&gt;
The Summer Palace epitomizes the philosophy and practice of Chinese garden design, which played a key role in the development of this cultural form throughout the east. It is an outstanding expression of the creative art of Chinese landscape garden design, incorporating the works of humankind and nature in a harmonious whole, which was once the most important place of political and diplomatic activity for the supreme rulers of the late Qing dynasty. Based on three aspects of the Summer Palace, namely, garden culture, historical culture and religious culture, this paper discusses the problems existing in the English translation of the scenic spots of the Summer Palace and puts forward corresponding countermeasures under the guidance of the skopos rule of functionalist translation theory.&lt;br /&gt;
&lt;br /&gt;
===3.1 Garden culture.===&lt;br /&gt;
3.1 Garden culture. &lt;br /&gt;
The Summer Palace is a classical garden famous for its magnificence and beauty. There are many temples in the garden, and the green waves of kunming lake ripple. Landscape and humanities complement each other, containing rich natural and cultural information, reflecting the characteristics of Chinese classical gardens. The garden cultural features of the three scenic spots, namely, the hall of clouds, the foxiang pavilion and the Wenchang courtyard, are particularly outstanding. Therefore, this paper takes these three scenic spots as examples to discuss the Chinese-English translation of the introduction of the Summer Palace.&lt;br /&gt;
(1)	排云殿、佛香阁景区是颐和园内建筑布局最完整、建筑形式最丰富的中轴建筑群体，殿、阁、廊、亭、桥、坊、碑等建筑约两万平方米。从临水的云辉玉宇牌坊至排云门、排云殿、德辉殿、佛香阁、众香界、智慧海、层层升高，排列有序，气势巍峨，金碧辉煌，将园林、寺庙和宫殿融为一体。&lt;br /&gt;
Translation：This scenic spot covers an area of 20,000 square meters with an assortment of buildings such as palaces, towers, corridors, pavilions, walkways, bridges, archways and inscribed stone steles. It comprises a well-arranged group of structures, all diverse in style, located in the center of the Summer Palace garden. This complex of structures, ranging from the Glowing Clouds and Holy Land Archway on the waterside, the Gate that Dispels the Clouds, the Hall that Dispels the Clouds, the Hall of Moral Glory, and the Tower of the Fragrance of the Buddha, to the Realm of Popular Fragrance and the Sea of Wisdom Temple, were built in an orderly manner running from the foot of the hill to its top, with gardens, temples and palaces harmoniously integrated into the whole。&lt;br /&gt;
Analysis：As we all know, the design style of ancient Chinese buildings is beautiful with &amp;quot;symmetry&amp;quot;. The &amp;quot;axis&amp;quot; in hall of clouds scenic spot refers to the layout of the Summer Palace from far to near and from top to bottom, which cannot be simply understood as the center. Simply translating &amp;quot;axis&amp;quot; as &amp;quot;center&amp;quot; cannot express accurately the meaning of &amp;quot;symmetry&amp;quot;. Comparatively speaking, &amp;quot;axis&amp;quot; can better reflect the architectural style of the scenic spot.&lt;br /&gt;
(2)	从临水的云辉玉宇牌坊至排云门、排云殿、德辉殿、佛香阁、众香界、智慧海，层层升高，排列有序，气势巍峨，金碧辉煌，将园林、寺庙和宫殿融为一体。&lt;br /&gt;
Translation：These structures，including Glowing Clouds and Holy Land Archway at lake side，the Gate of Dispelling Clouds，the Hall of Dispelling Clouds，the Hall of moral Glory，and the Tower of Buddhist Incense，the Realm of Multitudinous Fragrance and the Sea of Wisdom Temple，were built in an orderly manner ranging up the hill with gardens，temples and palaces harmoniously integrated. This manifests beauty，grace and splendor，reminiscent of the loftingness and grandeur of a once mighty empire.&lt;br /&gt;
Analysis：In terms of the characteristics of language, Chinese emphasizes parataxis and four-word antithesis. When describing and naming scenes, gorgeous words and poetic words are generally chosen in Chinese. But, English emphasizes hypotaxis, on the other hand, puts more emphasis on reproducing the original appearance of things, using simple and natural words and preferring direct description. In sign translation, the English translation pays more attention to accurate, concise and lively. In the above paragraph, &amp;quot;层层升高，排列有序，将园林、寺庙和宫殿融为一体&amp;quot; is an introduction to the architectural features of foxiang pavilion, in order to make tourists have a clear understanding of the overall layout and architectural features of the scenic spot. This information is essential and can be translated into detail. However, &amp;quot;气势巍峨，金碧辉煌&amp;quot; focuses on the subjective description, and its explicit translation needs more complicated words. If this paragraph is translated in detail, it is easy to drag the content and make the key information vague. Therefore, the deletion of the English translation of this sentence will not affect the basic information of the original text.&lt;br /&gt;
(3)	主阁（文昌阁）两层，内供铜铸文昌帝君和仙童、铜骑。文昌阁与万寿山西供武圣的宿云檐象征“文武辅弼”。&lt;br /&gt;
Translation: A bronze statue of the God Wenchang, statues of gaeries, and a bronze steed were placed in the two-story pavilion. This tower is pared with the Tower of Cloud- Retaining Eaves, located to the west of the Longevity Hill, in which a statue of the Martial God was placed. The God Wenchang and the Martial God together symbolize reining of the emperor supported by scholars and warriors.&lt;br /&gt;
Analysis: Two questions arise in Chinese-English translation. First, there are two translations of wenchang pavilion in the translation: pavilion and tower, which appear in the same sign. Two different translations of the same scenic spot name tend to make foreign tourists think that it refers to different scenic spots, which may cause difficulty in understanding. Second, the translation of Wenchang pavilion into &amp;quot;Wenchang Tower&amp;quot; is against the actual architectural characteristics. In fact, the meanings of &amp;quot;pavilion&amp;quot; and &amp;quot;tower&amp;quot; have both similarities and differences. According to the Oxford dictionary, Tower means &amp;quot;a tall narrow building or part of a building, especially of a church or castle&amp;quot;, mainly referring to the tower-shaped part of a building, usually a tall and slender structure, such as the Eiffel Tower. &amp;quot;Pavilion&amp;quot; means &amp;quot;a building that is meant to be more beautiful than usual, built as a shelter in a park or used for concerts and dances&amp;quot;. The top structure of the pavilion usually has rectangles, triangles, hexagons, etc. The common feature of them is that the top is supported by columns without walls. From the external structure of Wenchang pavilion, its bottom is solid and its top is supported by columns. Therefore, the pavilion can accurately reflect the architectural characteristics of Wenchang pavilion, so I think it should be translated as Wenchang pavilion.&lt;br /&gt;
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===3.2 Historical culture. ===&lt;br /&gt;
3.2 Historical culture. &lt;br /&gt;
The accurate Chinese-English translation of the introduction of the Summer Palace not only enables foreign tourists to understand the characteristics of Chinese gardens, but also enables foreign tourists to understand the historical knowledge of a specific period of China. However, the Chinese-English translation of the Summer Palace still has problems in accurately conveying the historical background of the scenic spots, such as the English translation of Wenchang pavilion scenic spot:&lt;br /&gt;
(4)	此景区始建于清乾隆十五年，一八六零年被英法联军烧毁，光绪时按原样重建。阁结构为八面三层四重檐，通高36.44米，耸立于20米高的石造台基上，气势雄伟，是颐和园全园的构图中心。阁内供奉有铜铸金裹千手观世音菩萨站像。像高五米，重万斤，为明代万历年间所造，在八根贯通全阁上下的承重铁梨木擎天柱的衬托下，美妙庄严，熠熠生辉，有极高的文物和艺术价值。&lt;br /&gt;
Translation: The Wenchang tower was first built in 1750 and rebuilt under Emperor Guangxu after  the Anglo-French Allied Forces builted it down in 1860. The octahedral tower has three stories with four-layered eaves, altogether 36.44 meters high. Standing upright on a 20 meter-high stone foundation, it constitutes the center of the Summer Palace landscape and serves to accentuate its magnificence. A statue of the thousand-handed Guanshiyin Buddha, cast in bronze and gilded with gold, stands inside the tower. The statue, five meters high and five tons in weight, was cast during the reign of Emperor Wanli of the Ming Dynasty. Set off by the eight imposing pillars which support the tower, it glows with beauty, grandeur and brilliance. Its historical, cultural and artistic value can hardly be overstated.&lt;br /&gt;
Analysis: “始建于乾隆十五年”only was translated into “was first built in 1750” and the “光绪年间重建” was translated into “rebuilt under Emperor Guangxu”.The first sentence does not show that 1750 was the fifteenth year of the reign of emperor Qianlong, and the second sentence does not give foreign visitors the exact date of the reign of emperor Guangxu. The change of time concept and the disunity of expression easily make foreign tourists feel confused. Therefore, the translation of the time and the historical dynasties should be accurate and meticulous, and the supplementary method should be used to not only describe the dynasties clearly, but also supplement the corresponding years, so as to achieve the standardization of the translation. In this way, foreign tourists can not only be clear about the time of the event, but also understand the Chinese historical dynasties. Consider as follows: the Wenchang Pavilion was first built in 1750 during Emperor Qianlong’s reign（1735- 1795）and rebuilt in 1886 under Emperor Guangxu（1875- 1908）after the Anglo- French Allied Forces burned it down in 1860.&lt;br /&gt;
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===3.3 Religious culture. ===&lt;br /&gt;
3.3 Religious culture. &lt;br /&gt;
Many scenic spots in the Summer Palace have a strong buddhist atmosphere. While visiting the scenic spots, foreign tourists can understand the profound buddhist culture. Wenchang pavilion in the Summer Palace is the representative of Chinese religious culture.&lt;br /&gt;
(5)	主阁两层，内供铜铸文昌帝君和仙童、铜特。文昌阁与万寿山西供武圣的宿云檐象征“文武辅弼”。&lt;br /&gt;
Translation: A bronze statue of the god，Wenchang，and statues of two followers，the celestial boy，and the bronze steed，were placed in the two- storey pavilion. This tower is pared with the tower of Cloud- Retaining Eaves，located to the west of the Longevity Hill，in which a statue of the Martial God was placed. The two towers symbolize the support by both scholars and warriors to the ruling emperor.&lt;br /&gt;
Analysis: It is well known that westerners believe in theism, which refers to god as supreme . In Chinese religious culture, people believe in atheism and do not believe in the existence of god. Therefore, it is inappropriate to translate &amp;quot;文昌帝军&amp;quot; and &amp;quot;武圣&amp;quot; into &amp;quot;the god, Wenchang&amp;quot; and &amp;quot;the Martial god&amp;quot; in the translation. In fact, the &amp;quot;文昌帝军&amp;quot; was Zhang yu, an emperor of Shu of Ning kang (374). And &amp;quot;武圣&amp;quot; refers to Guan yu in history. Therefore, the simple translation of  &amp;quot;God&amp;quot; is not in line with the traditional Chinese culture, which will not only cause western tourists to misunderstand that Chinese religious tradition also believes in God, but also fail to convey Chinese historical allusions and relevant historical figures. In contrast, if &amp;quot;文昌帝军&amp;quot; is translated as &amp;quot;the emperor, Wenchang&amp;quot; and &amp;quot;武圣&amp;quot; is translated as &amp;quot;the Martial Master (Guanyu)&amp;quot;, it can more faithfully convey the history and religious culture contained in the source language. &lt;br /&gt;
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===4. Conclusion===&lt;br /&gt;
4. Conclusion&lt;br /&gt;
To sum up, Under the guidance of the skopos rule of functionalist translation theory, translators should have a cross-cultural awareness, fully understand the reading psychology and cultural appreciation needs of target language readers, and use effective translation strategies and methods to achieve the purpose of tourism text translation. Functionalist approach has made a pioneering contribution to the translation of non-literary genres. Functional translation effectively eliminates the disadvantages of traditional word-for-word translation, improves the efficiency of translation, and helps readers to grasp the meaning of the original text.&lt;br /&gt;
 The importance of the translation of the Summer Palace lies in the profound garden culture, historical culture and religious culture. The English translation is not only helpful for international friends to know more about the garden characteristics of the Summer Palace, but also helpful for spreading the long history and profound culture of China. In order to attract target readers and promote traditional Chinese culture, it is not only necessary to carefully explore Chinese culture and history, but also to use the fuctionalist approach appropriately. &lt;br /&gt;
Translation is a complicated process. Functionalist approach stresses the function of the discourse, the purpose of translation. In the practice of translation, if the translator can get rid of the bondage of the original equivalence, actively playing to subjective initiative, fully understanding the original text, depending on the purpose of discourse and adopting different translation strategies, the effect and readability of translation can be improved.&lt;br /&gt;
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===References===&lt;br /&gt;
References&lt;br /&gt;
Hans Vermmer, “Skopos and Commission in Translation Action”, in the Translation Studies Reader,ed. Chesterman, London and Network:Routledge,p.221-232. 2000.   &lt;br /&gt;
Munday, Jeremy. Introducing Translation Studies: Theories and Applications. Routledge publishing.2001.&lt;br /&gt;
Mason, “Textual Practices and Audience Design: and Interactive View of the Tourist Brrochure”. In Navarro et al.(eds.). Pragmatics at Work: The Translation of Tourist Literature. Bern: Perter Lang. 157-176.2004.&lt;br /&gt;
Nord, Text Analysis in Translation: Theory, Methodology and Didactic Application of a Model for Translation-Oriented Text Analysis. Beijing: Foreign Language Teaching and Research Press. 2006.&lt;br /&gt;
Nord, Translating as a purposeful activity. Shanghai: SFLE PRESS, 2001:27,30,32,65,245.&lt;br /&gt;
Reiss, Katharina. Translation Criticism: The Potentials &amp;amp; Limitations. Shanghai Foreign Language Education Press. Shanghai. 2004.&lt;br /&gt;
Venuti, Lawrence. The Translator’s Invisibility: A History Translation. Routledge.1995.&lt;br /&gt;
方梦之、毛忠明， 英汉—汉英应用翻译教程，上海: 上海外语教育出版社，2004.&lt;br /&gt;
金惠康，跨文化旅游翻译，中国对外翻译出版公司，2004.  &lt;br /&gt;
贾文波，应用翻译功能论，北京：中国对外翻译出版公司，2004&lt;br /&gt;
孙艺风，文化翻译的困惑与挑战，中国翻译，2016年第3期.  &lt;br /&gt;
王宏志，翻译与创作，北京大学出版社，2000.&lt;br /&gt;
吴自选，德国功能派翻译理论与 CNN 新闻短片英译，中国科技翻译, 2005.&lt;br /&gt;
谢天振，当代国外翻译理论，天津：南开大学出版社，2005.&lt;br /&gt;
张南峰，走出死胡同建立翻译学. 中国翻译, 1995.&lt;br /&gt;
仲伟合，钟钰. 德国的功能派翻译理论. 中国翻译, 1999.&lt;br /&gt;
张美芳，功能加忠诚—介评克里丝汀· 诺德的功能翻译理论.上海外国语大学学报, 2005.&lt;br /&gt;
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==Contrast between Literal Translation and Free Translation	张雪仪	Zhang Xueyi==&lt;br /&gt;
&amp;lt;center&amp;gt;张雪仪 202020080668&amp;lt;/center&amp;gt;&lt;br /&gt;
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=== Abstract===&lt;br /&gt;
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The contrast between literal translation and free translation has always been the most discussed problem in translation studies. To compare these two translation methods, the basic point is to understand the purpose of translation. The ultimate goal of translation is to help different cultures communicate better, so that people who speak different languages can understand each other’s cultures. Due to the differences in social, historical and cultural backgrounds between languages, how to choose between the two translation strategies of literal translation and free translation requires translators to weigh the strengths and weaknesses of these two methods. This essay mainly compares literal translation and free translation between Chinese and Russian to help students and translators translate better.&lt;br /&gt;
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=== Key words ===&lt;br /&gt;
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Translation strategies, Literal translation,Free translation &lt;br /&gt;
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=== 摘要 ===&lt;br /&gt;
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直译与意译间的对比一直是翻译学中讨论度最高的问题。想要将这两种翻译方法进行对比，最基本的一点就是要明白翻译的目的是什么。翻译的最终目的在于帮助不同文化进行更好的交流，让使用不同语种的人相互理解彼此的文化。由于语种间社会历史文化背景的差异，如何在直译和意译这两种翻译策略中做出选择，就需要译者衡量两种方法的利弊。本文主要对汉语和俄语间直译和意译进行比较，以帮助学生和译者更好地进行翻译实践。&lt;br /&gt;
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=== 关键词 ===&lt;br /&gt;
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翻译策略，直译，意译&lt;br /&gt;
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=== Introduction ===&lt;br /&gt;
The former Soviet Union translation theorist Fedorov believes that “translation is an activity of expressing what has been used in one language as a unified whole of content and form, and accurately and completely expressed in another language.” Translation theorist Barhudaro The husband also wrote: &amp;quot;Translation is the process of changing the coherent discourse of one language into the coherent discourse of another language while maintaining its content and meaning.&amp;quot; Mr. Lu Xun once advocated &amp;quot;literal translation.&amp;quot; He said: &amp;quot;Translation must take both sides into consideration: (Cai Yi, Duan Jinghua 2000)&lt;br /&gt;
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One is of course to be easy to understand, the other is to maintain the fullness of the original.&amp;quot; The Chinese translator Zhang Peiji summed up the translation standard as &amp;quot;faithful and smooth.&amp;quot; To some extent, translation is a process of thinking re-creation, so certain standards and principles must be followed when translating. Translation standard is a measure of the quality of translation, it can guide translation practice, and it is a principle that must be followed in translation activities. (Gong Linjing 2015,192)&lt;br /&gt;
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Although each scholar has different opinions on the standard of translation, the final result he pursues is the same: the original text and the translated text express the same effect.In order to achieve the same effect, different translation methods have been derived from the translator's translation practice. The most basic and common ones are literal translation and free translation.(Gong Linjing 2015,192)&lt;br /&gt;
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Russian idioms and proverbs, as the crystallization of the wisdom of the Russian nation and the immortal fossils in the Russian language, are one of the best materials for the Chinese to understand and learn Russian history, culture, and society. Due to different geographical, historical and economic conditions, the Russian and Chinese ethnic groups have formed different cultural backgrounds. These distinctive backgrounds and characteristics have caused great difficulties for Chinese learning Russian to further understand Russia. This essay will take the Chinese translation of Russian idioms and proverbs as examples to study the basic definitions of literal translation and free translation, their respective advantages and disadvantages, and their relationships, in order to help students who learn Russian understand literal translation and free translation.(Gong Linjing 2015,192)&lt;br /&gt;
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=== Controversy between literal translation and free translation===&lt;br /&gt;
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In different periods and different countries, people's views on translation theory have changed a lot, but the debate about literal translation and free translation has always existed.&lt;br /&gt;
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=== Controversy in Chinese Translation Community===&lt;br /&gt;
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Which is better, literal translation or free translation, has always been divided in Chinese translation community. This kind of controversy first occurred during the translation of Buddhist scriptures written in Sanskrit into Chinese. During the Wei, Jin, Southern and Northern Dynasties, the famous monk Dao An was the earliest representative of the literal translation in China. Dao An himself did not understand Sanskrit and was afraid that paraphrase would lose the maxims in Buddhist scriptures, so he advocated strict literal translation. (Wang Zhuan 1996,55)&lt;br /&gt;
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However, Kumarajiva from India, who was invited by Dao An, advocated free translation. On the basis of fully understanding the original thought content and artistic style, the translation was appropriately deleted. Although Dao An and Kumarajiva are also engaged in the translation of Buddhist scriptures, the translation methods they adhere to were very different. This divergence continued into the Tang Dynasty. Xuan Zang, as the most famous monk in the Tang Dynasty, proposed a translation method that was completely different from the previous two translation methods—a combination of literal translation and free translation.(Wang Zhuan 1996,55)&lt;br /&gt;
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The contradiction between modern literal translation and free translation may be due to the different understanding of these two translation methods. The translator Sun Guiding believes that: literal translation is stuck to the structure of the original text and does not consider whether the Chinese is fluent and natural; while free translation is to use the inherent Chinese idioms and the most natural words and sentences as much as possible to achieve the effect of conveying the meaning of the original text. (Feng Shujian 1993,44)&lt;br /&gt;
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Former President of Wuhan University, Du Zuozhou, believes that literal translation means translating word by word according to the original text; free translation means translating according to the meaning of the original text, and the translation is more suitable for the common grammar of the translated language. The educator Meng Xiancheng believes that literal translation is a translation technology with different degrees of correctness. Literal translation is a translation that is faithful and correct according to the original text; free translation is a translation that summarizes the original meaning. (Feng Shujian 1993,44)&lt;br /&gt;
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Zhu Guangqian said: &amp;quot;The so-called 'literal translation' refers to the literal translation based on the original text. Every word and sentence are translated word by word, and the order of the words and sentences is not changed. The so-called ‘paraphrasing’ is to express the meaning of the original text in Chinese, and it does not have to be completely based on the literal and order of the original text. &amp;quot; Feng Shize believes that &amp;quot;translation and literal translation are up-and-down relations; between literal translation and free translation is the left-right relationship. If the reversal of word order and other methods are free translation, then the definition of free translation is equal to translation, and there is no other translation besides free translation. &amp;quot;(Feng Shize 1981,10) &lt;br /&gt;
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The principle of &amp;quot;faithfulness, expressiveness and elegance&amp;quot; put forward by the modern Chinese translator Yan Fu has long been the basic principle guiding translation practice. A large number of beginners who learn foreign languages regard &amp;quot;faithfulness and expressiveness&amp;quot; as translations that are completely faithful to the original text when translating. In fact, Yan Fu's translation requirements are a guiding principle for translation based on semantics. When translating, if the structure and expression of the original text cannot be directly adopted, the sentence structure and expression must be changed according to the characteristics of the target language. (Feng Shujian 1993,44)&lt;br /&gt;
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In addition, there are many differences between the original language and the target language in the word order, grammar, variants and rhetoric in the translation process. In many cases, there is no direct corresponding word. This requires the translator to consider the actual semantics, background and other factors. On the basis of the original meaning of the sentence, use an appropriate method to convey the content of the original work and reproduce the language style of the original work.(Feng Shujian 1993,44)&lt;br /&gt;
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In the Soviet Union, under the influence of ideology, Western translation theories could not be widely disseminated, but within the Soviet Union, translation theories similar to Western translation theories have been formed and developed, and two main schools of translation theory have been further differentiated — Linguistic Translation School and Literary Translation School. To a certain extent, the dispute between these two schools also reflects the debate on literal translation and free translation among translators' groups. (Xie Yuncai 2002,99)&lt;br /&gt;
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In terms of the principles or standards of translation, the linguistic translation school believes that an ideal translation should be an equivalent translation, first of all linguistic correspondence, that is, the translation should have the same meaning as the corresponding language or discourse unit of the original; the literary translation school believes that translation pursues artistic correspondence, and linguistic correspondence must be subordinate to artistic correspondence. Therefore, it proposes that the aesthetic standards of translation should reproduce the artistic reality reflected by the unity of the original content and form. (Xie Yuncai 2002,99)&lt;br /&gt;
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The characteristic is to use images to translate images, that is, to create the same image in different languages. In 1953, Andrei Venediktovich Fedorov, the leader of the linguistic translation school, published his work &amp;quot;Summary of Translation Theory&amp;quot;, which was the first monograph of the Soviet Union to study translation theory from the perspective of linguistics. The author proposes that translation theory is a branch of linguistics. Since the translation of any genre work must rely on the comparison of two languages, translation problems can only be solved in the field of language. (Xie Yuncai 2002,99)&lt;br /&gt;
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Fedorov’s view was refuted by the literary translation school represented by Ivan Alexandrovich Kashikin. The literary translation school believes that aesthetic issues are the core of literary translation theory, and translation should be regarded as a form of language art, that is, translation should be studied from the perspective of literature and art. In fact, the literary translation school emphasizes the translation of literary and artistic works, which belongs to the specific translation theory; while the research of the linguistic translation school focuses on the general translation theory, that is, the translation of all thematic works including literary works. The dispute between the two major translation theory schools of Russia and the Soviet Union provides another perspective for Chinese translators to explore the relationship between literal translation and free translation.(Xie Yuncai 2002,99)&lt;br /&gt;
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=== The application of literal translation and free translation in the Chinese translation of Russian idioms ===&lt;br /&gt;
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The idioms of different nationalities are the most dynamic and expressive units at the lexical level in different languages, and they are also the units that can best reflect the characteristics of national culture in languages. The number of Russian idioms is extremely rich, it records and reflects all aspects of Russian national life. (Feng Yongmei 1999,97)&lt;br /&gt;
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Due to the great differences in geographical locations and living customs between China and Russia, the national cultures reflected in Chinese and Russian must be quite different. One of the difficulties in idiom translation is its imagery. When translating idioms, both the meaning and the image must be considered. Although the Chinese and Russian cultures are very different, many of the commonalities of mankind, such as emotion and natural environment, have created conditions for mutual communication, mutual understanding and idiom translation between different languages.(Feng Yongmei 1999,97)&lt;br /&gt;
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=== Literal translation ===&lt;br /&gt;
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Generally speaking, the literal translation method refers to a translation method that directly translates the original text without changing the language characteristics and style of the original text on the basis of fully respecting the meaning of the original text. Chinese translation of Russian idioms by literal translation method has the advantage of being able to intuitively and faithfully express the meaning of the idiom, maintaining the unique style and imagery of the original text: the disadvantage is that the translated idiom may not be understood by the Chinese because of China and Russia have different historical, cultural backgrounds, grammatical structures, and language world landscapes, which can easily form obstacles in the process of understanding.(Zhou Changyu 2010,34)&lt;br /&gt;
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Translating Russian idioms by literal translation is further divided into two methods — literal translation into Chinese idioms and literal translation into non-idiom sentences or words.&lt;br /&gt;
&lt;br /&gt;
Literal translation of Russian idioms into Chinese idioms is suitable for the translation of Russian and Chinese idioms that are completely equivalent in image, structure, and meaning. The advantage is that it is easy to understand, and the translation is simple and fast.(Feng Yongmei 1999,98) E.g:&lt;br /&gt;
&lt;br /&gt;
домашнего  (своего) вора не убережешься. 家贼难防&lt;br /&gt;
&lt;br /&gt;
знать как свои пять пальцев (видно, как на ладони) 了如指掌&lt;br /&gt;
&lt;br /&gt;
подлить масла в огонь 火上浇油&lt;br /&gt;
&lt;br /&gt;
как рыба в воде 如鱼得水&lt;br /&gt;
&lt;br /&gt;
как ножом по сердцу 心如刀割&lt;br /&gt;
&lt;br /&gt;
как гром среди ясного неба 晴天霹雳&lt;br /&gt;
&lt;br /&gt;
на добро отвечают добром 善有善报&lt;br /&gt;
&lt;br /&gt;
копейка рубль бережет 财从细起&lt;br /&gt;
&lt;br /&gt;
мечты сбываются 梦想成真&lt;br /&gt;
&lt;br /&gt;
курица всегда следует за петухом 嫁鸡随鸡&lt;br /&gt;
&lt;br /&gt;
чего мало, того и дорого  (дорого то, что мало) 物以稀为贵(12)&lt;br /&gt;
&lt;br /&gt;
изгонять яд с помощью яда 以毒攻毒&lt;br /&gt;
&lt;br /&gt;
сидеть как на иголках 如坐针毡&lt;br /&gt;
&lt;br /&gt;
действия громче слов 事实胜于雄辩&lt;br /&gt;
&lt;br /&gt;
зарыть талант в землю 埋没人才&lt;br /&gt;
&lt;br /&gt;
висеть на волоске 千钧一发&lt;br /&gt;
&lt;br /&gt;
лить как из ведра 倾盆大雨(Wang Fuxiang, Wu Hanying 2014)&lt;br /&gt;
&lt;br /&gt;
The idioms in the above examples are completely equivalent in image, structure or meaning in Russian and Chinese, so Chinese idioms can be used for literal translation.  &lt;br /&gt;
&lt;br /&gt;
In fact, in the two languages, idioms with the same image, structure, and meaning are still in the minority, so it is more common to translate Russian idioms into non-Chinese idiom sentences or vocabulary. E.g:   &lt;br /&gt;
&lt;br /&gt;
настоять на своем 坚持自己&lt;br /&gt;
&lt;br /&gt;
камень с души свалился 心里的一块石头落地&lt;br /&gt;
&lt;br /&gt;
связать свою судьбу 把自己的命运与……相连&lt;br /&gt;
&lt;br /&gt;
быть на голову 高出一头&lt;br /&gt;
&lt;br /&gt;
вбивать в голову 往脑子里灌&lt;br /&gt;
&lt;br /&gt;
блеснуть метеором 像流星一样一闪而过&lt;br /&gt;
&lt;br /&gt;
с мизинец 小拇指这么大(Wang Fuxiang, Wu Hanying 2014)&lt;br /&gt;
&lt;br /&gt;
It is not difficult to find that the literal translation method can completely retain the original appearance of the idiom, show the common concept of human understanding of the world, and be beneficial to the cultural exchange between China and Russia.&lt;br /&gt;
&lt;br /&gt;
=== Free translation ===&lt;br /&gt;
&lt;br /&gt;
Another method commonly used in the Chinese translation of Russian idioms is free translation. Vocabulary gaps between languages are a common phenomenon, causing many difficulties for translation. There are many reasons for the vacancy of vocabulary, such as cultural reasons such as life experience, customs, religious beliefs, and linguistic reasons. There are roughly two ways to fill the language gaps — paraphrasing by replacing the image.and discarding images for free translation.(Feng Yongmei 1999,98)&lt;br /&gt;
&lt;br /&gt;
Russian says &amp;quot;Два медведя в одной берлоге не уживутся (一个洞穴容不下两头熊).&amp;quot;, while Chinese says &amp;quot;一山不容二虎&amp;quot;. Another example is &amp;quot;Скатерть со стола, и дружба сплыла (桌布一收，友谊不再) &amp;quot; in Russian, and &amp;quot;人走茶凉&amp;quot; in Chinese.(Wang Fuxiang, Wu Hanying 2014) This method belongs to paraphrasing by replacing the image.&lt;br /&gt;
&lt;br /&gt;
For the &amp;quot;harmony&amp;quot; of the translation, sometimes the translator has to choose to abandon the image for free translation. This is determined by both cultural and linguistic factors. Some linguistic features cannot be translated, and some idioms themselves are not strong enough. In this case, if Choosing a literal translation method will make readers confused.(Hu Guming, Shen Man 2011,18) E.g:&lt;br /&gt;
Как женился я на вашей матери да взял вот этот домишко в приданье, так думал, что богаче да лучше меня и людей нет, фертом ходил! (А. Островский)&lt;br /&gt;
我和你母亲一成亲，就得到了这栋作为陪嫁的屋子，当时我心想，再没有人比我更富足、更好的了。我那时可真是双手叉腰、得意洋洋的。&lt;br /&gt;
“Фертом” is the name of the letter “Ф” in ancient times.Its shape is like a person with hands on hips, and “фертом ходить” is an idiom evolved from body language. The cultural meaning of this idiom is &amp;quot;神气十足、得意洋洋、威武自负的样子&amp;quot; . The translation uses other idioms to complement the missing images in Chinese, clarify the meaning of the idiom, and convey the emotional color contained in the original idiom.(Hu Guming, Shen Man 2011,19)&lt;br /&gt;
&lt;br /&gt;
The idioms in a certain language are fixed and unchanged after long-term use and tempering, but the frequency of each idiom is different. Some idioms are universally used by the whole people, spread and used in a wide range, while some idioms are only used in written styles. In Russian literature, there are improved precise and interesting idioms. For example, in the works of the famous Russian fable writer Krylov, there are reduced idioms, such as “ медвежья услуга”（直译：熊的帮忙；意译：帮倒忙）， “ сильнее кошки зверя нет”（直译：再没有比猫更厉害的野兽；意译：井底之蛙）， “ зелен как виноград”（直译：葡萄还很青；意译：年轻人没经验).(Wang Fuxiang, Wu Hanying 2014) When translating literature, translators often need to learn cultural background knowledge, replace the image in the original idiom, and then convey it to Chinese readers.&lt;br /&gt;
Crows are a very common animal, usually black and gray. The description of crows in Chinese idioms is &amp;quot;the crows in the world are generally black（天下乌鸦一般黑）&amp;quot;. It can be seen that white crows are rare. However, &amp;quot;белая ворона&amp;quot; often appears in Russian literary works, as a metaphor for people who are different from the masses in terms of external characteristics or ideological qualities. In the Chinese and Russian concepts, the crow is a nasty animal. Although white crows are rare, this Russian idiom is usually derogatory, expressing disdain, contempt, or ridicule against the person. In Chinese, animal images are also used as a metaphor for &amp;quot;different people&amp;quot;, such as idioms that stand out from the crowd and phoenix feathers are rare. &amp;quot;Crane&amp;quot; and &amp;quot;phoenix&amp;quot; have always been regarded as precious and noble animals in traditional Chinese culture, so they cannot be compared with &amp;quot; Corresponding to &amp;quot;White Crow&amp;quot;, it is not suitable for translating &amp;quot;белая ворона&amp;quot;. Examples are as follows:&lt;br /&gt;
Он замкнулся, не вдается в разговоры — вот вам и белая ворона.（Сталин)&lt;br /&gt;
直译：他不与人交往，不与人交流，真是一只白乌鸦。&lt;br /&gt;
意译：他不与人交往，不与人交流，真是与众不同。&lt;br /&gt;
Боишься, что они среди нас белой вороной окажется. Недосягаемым экземпляром.(Кожевников В “Корни и крона”)&lt;br /&gt;
直译：你是担心他们会变成我们中间的白乌鸦，一个无法达到的例子。&lt;br /&gt;
意译：你是担心他们会变成我们中间标新立异，望尘莫及的人。&lt;br /&gt;
Most Chinese who come into contact with Russian are students majoring in Russian. The Russian idioms we usually encounter appear in textbooks. These idioms are often used by the Russian public and are easily understood and accepted by the Chinese. E.g:&lt;br /&gt;
&lt;br /&gt;
В Тулу со свим самоваром не ездят.&lt;br /&gt;
直译：去图拉不用带自己的茶炊。&lt;br /&gt;
意译：多此一举&lt;br /&gt;
&lt;br /&gt;
Честь лучше бесчестья.&lt;br /&gt;
直译：尊重比不尊重好。&lt;br /&gt;
意译：礼多人不怪。&lt;br /&gt;
&lt;br /&gt;
словно горя с плеч&lt;br /&gt;
直译：把山从肩膀下卸下&lt;br /&gt;
意译：如释重负&lt;br /&gt;
&lt;br /&gt;
выеденного яйца не стоит&lt;br /&gt;
直译：一个空蛋壳不值钱&lt;br /&gt;
意译：鸡毛蒜皮，一文不值&lt;br /&gt;
&lt;br /&gt;
чужими руками жар загребать&lt;br /&gt;
直译：用别人的手将红炭火拨成一堆&lt;br /&gt;
意译：坐享其成，不劳而获&lt;br /&gt;
&lt;br /&gt;
ни рыба, ни мясо&lt;br /&gt;
直译：没有鱼也没有肉&lt;br /&gt;
意译：不三不四，不伦不类&lt;br /&gt;
&lt;br /&gt;
лучше синица в руках, чем журавль в небе&lt;br /&gt;
直译：天上的仙鹤不如手中的山雀&lt;br /&gt;
意译：远亲不如近邻&lt;br /&gt;
&lt;br /&gt;
На языке мед, а под лед&lt;br /&gt;
直译：嘴上甜得像蜂蜜，心里冷得像冰&lt;br /&gt;
意译：笑里藏刀&lt;br /&gt;
&lt;br /&gt;
И на солнце есть пятна&lt;br /&gt;
直译：太阳上也有黑点&lt;br /&gt;
意译：人无完人&lt;br /&gt;
&lt;br /&gt;
семь раз отмерь, один раз отрежь&lt;br /&gt;
直译：测量了七次后再剪裁&lt;br /&gt;
意译：三思而后行(Wang Fuxiang, Wu Hanying 2014)&lt;br /&gt;
&lt;br /&gt;
Using free translation to translate Russian idioms requires the translator to accurately understand the meaning of the original text, because cultural differences make it impossible to literally translate. Only through the translator can an unobstructed bridge between Russian idioms and Chinese idioms be built.&lt;br /&gt;
&lt;br /&gt;
=== The application of literal translation and free translation in the Chinese translation of Russian proverbs ===&lt;br /&gt;
&lt;br /&gt;
There are often multiple translations of the same Russian proverb in Russian-Chinese dictionaries. On the one hand, because the translator uses different translation methods; on the other hand, because Russian proverbs have very rich connotations, a translation cannot perfectly interpret the inner meaning of the proverb. According to the context and the connotation of the proverbs, the most commonly used methods of Chinese translation of Russian proverbs are literal translation and free translation.(Feng Yongmei 1999,98)&lt;br /&gt;
&lt;br /&gt;
=== Literal translation ===&lt;br /&gt;
&lt;br /&gt;
In Russian and Chinese languages, some proverbs not only have the same meaning or implicit meaning, but also use the same or similar figurative images to express a certain kind of the same semantics, and they are completely consistent in content and form. In this case, the equivalent translation of synonymous Chinese proverbs can convey the information contained in the original image, which not only retains the rhetorical color of the original language, but also enables the reader to perfectly understand the original text. E.g:&lt;br /&gt;
&lt;br /&gt;
In Russian and Chinese languages, some proverbs not only have the same meaning or implicit meaning, but also use the same or similar figurative images to express a certain kind of the same semantics, and they are completely consistent in content and form. In this case, the equivalent translation of synonymous Chinese proverbs can convey the information contained in the original image, which not only retains the rhetorical color of the original language, but also enables the reader to perfectly understand the original text. The other situation is the experience that the Russians summed up in their long labor and life, which has evolved into a proverb, but the Chinese have not summed up this experience, so translating Russian proverbs into Chinese literally, Chinese people can understand them at a glance and increase their knowledge of the world. E.g:&lt;br /&gt;
&lt;br /&gt;
Беда не приходит одна. 祸不单行。&lt;br /&gt;
&lt;br /&gt;
Век живи, век учись. 活到老，学到老。&lt;br /&gt;
&lt;br /&gt;
Выше встанешь, дальше увидишь. 站得高，看得远。&lt;br /&gt;
&lt;br /&gt;
Лучше один раз увидеть, чем сто раз услышать. 百闻不如一见。&lt;br /&gt;
&lt;br /&gt;
Береги платье снову, а честь смолоду. 衣服要从新的时候爱惜，荣誉要从年轻时珍惜。&lt;br /&gt;
&lt;br /&gt;
Выше лба уши не растут. 耳朵高不过额头。&lt;br /&gt;
&lt;br /&gt;
Для милого друга семь верст не околица. 为了好友，多绕七里也不嫌远。&lt;br /&gt;
&lt;br /&gt;
Лучше умереть стоя, чем жить на коленях. 宁愿站着死，绝不站着生。&lt;br /&gt;
&lt;br /&gt;
Не имей сто рублей, а имей сто друзей. 宁要一百个朋友，不要一百个卢布。&lt;br /&gt;
&lt;br /&gt;
По одежке встречают, по уму провожают. 迎客时看衣，送客时看才智。(Jia Sufen 1996)&lt;br /&gt;
&lt;br /&gt;
There is another situation where the literal translation method can be used. Although the image in Russian proverbs is different from the commonly used images in Chinese, it is also easy to understand. For example, &amp;quot;Молодец против овец, а против молодца — сам овца.&amp;quot; In fact, this proverb can be paraphrased as &amp;quot;欺软怕硬 &amp;quot;, but in this way the translation discards the lively literal meaning of the original text. On the other hand, it is literally translated as &amp;quot;见到绵羊充好汉，碰到好汉成绵羊&amp;quot; , on the basis of retaining the original image, readers can easily understand the meaning of the original proverb. Another example is &amp;quot;Заяц от лисицы, а лягушка от зайца бежит. &amp;quot; can be translated as &amp;quot;一物降一物&amp;quot;, but the image in the original text was completely abandoned, if it is literally translated as &amp;quot;one thing drops one thing &amp;quot;狐惊兔，兔惊蛙&amp;quot;, this kind of translation is not only simple and clear, but also in line with the aesthetics of Chinese proverbs. In general, the literal translation not only retains the symmetrical rhetorical techniques in the original sentence, but also retains the symmetrical beauty of the original sentence structure. It not only conforms to the aesthetic characteristics of the original Russian text, but also shows the beauty of phonology and structure in Chinese.(Jia Sufen 1996)&lt;br /&gt;
&lt;br /&gt;
The translation of Russian proverbs by literal translation not only maintains the original language, but also transplants the unique image language of Russian proverbs into Chinese, which not only expands the horizons of Chinese readers, but also enriches the way of expression in Chinese.&lt;br /&gt;
&lt;br /&gt;
=== Free translation ===&lt;br /&gt;
&lt;br /&gt;
Due to the influence of cultural factors, many Russian and Chinese proverbs expressing the same semantics use different metaphors. Some Russian proverbs are difficult to retain the original image in the process of translation into Chinese. If literally translated according to the original image, due to the different national and cultural backgrounds of China and Russia, the translation is difficult to be accepted by the Chinese, and even misunderstood may occur. In order to accurately convey the meaning of the original text to readers, we can readjust the structure of the original text on the basis of a correct understanding of the meaning of the original text, and use standard Chinese expressions to reproduce Russian proverbs to avoid ambiguity and misunderstanding.&lt;br /&gt;
&lt;br /&gt;
There are some elements used in proverbs that foreigners cannot understand. For example, the Russian proverb &amp;quot;В огороде бузина, а в Киеве дядька.&amp;quot; is literally translated as &amp;quot;菜园里长接骨木，而基辅里住叔叔&amp;quot;, which cannot be understood by the Chinese. The four elements “огород” “бузина” “Киева” “дядька”, which contained in this proverb are completely unrelated. In fact, this proverb means that there is no logical relationship between what someone says, and the translator can directly paraphrase it as &amp;quot;胡说八道&amp;quot;, &amp;quot;前言不搭后语&amp;quot; or more easily understood &amp;quot;满嘴跑火车&amp;quot;. Another example is &amp;quot;На воре шапка горит.&amp;quot; literally means &amp;quot;the hat on the thief's head is on fire&amp;quot;. In fact, this proverb originated from a short story in the Kievan Rus period: someone’s money bag disappeared and he shouted &amp;quot;Catch the thief&amp;quot;, but no one knew where the thief was. This man had an idea and shouted, &amp;quot;The thief's hat is on fire.&amp;quot; After hearing this, the thief touched his hat unconsciously and exposed himself. Therefore, &amp;quot;На воре шапка горит.&amp;quot; can be paraphrased as &amp;quot;不打自招&amp;quot; or &amp;quot;做贼心虚.&amp;quot;(Jia Sufen 1996)&lt;br /&gt;
&lt;br /&gt;
Есть несколько русских пословиц, которые больше подходят для вольного перевода:&lt;br /&gt;
&lt;br /&gt;
От труда- радость, от безделья- усталость.&lt;br /&gt;
直译：快乐从劳动中来，疲劳从闲散中来。&lt;br /&gt;
意译：劳动使人快乐。&lt;br /&gt;
&lt;br /&gt;
Баба с возу- кобыле легче.&lt;br /&gt;
直译：农妇下了车，马儿就轻松。&lt;br /&gt;
意译：求之不得&lt;br /&gt;
&lt;br /&gt;
Герой не моего романа.&lt;br /&gt;
直译：不是我小说中的主人公。&lt;br /&gt;
意译：不是我的意中人。&lt;br /&gt;
&lt;br /&gt;
Терпенье (ученье\уменье) и труд всё перетрут.&lt;br /&gt;
直译：耐心和勤劳能克服一切。&lt;br /&gt;
意译：锲而不舍，金石可镂（只要功夫深，铁杵磨成针）。&lt;br /&gt;
&lt;br /&gt;
Чтобы узнать человека, надо с ним пуд соль съесть.&lt;br /&gt;
直译：想要了解一个人，应该和他吃一普特盐。&lt;br /&gt;
意译：日久见人心。&lt;br /&gt;
&lt;br /&gt;
Посади свинью за стол — она и ноги на стол.&lt;br /&gt;
直译：让猪入席，它会把爪子也伸上来。&lt;br /&gt;
意译：得寸进尺。&lt;br /&gt;
&lt;br /&gt;
Черного кобеля не отмоешь добела.&lt;br /&gt;
直译：黑色的狗洗不白。&lt;br /&gt;
意译：本性难改。&lt;br /&gt;
&lt;br /&gt;
Конь о четырех ногах, да спотыкается.&lt;br /&gt;
直译：马有四条腿，也会摔倒。&lt;br /&gt;
意译：聪明一世，糊涂一时。&lt;br /&gt;
&lt;br /&gt;
За что купил, за то и продаю.&lt;br /&gt;
直译：怎么买来，怎么卖出。&lt;br /&gt;
意译：人云亦云。&lt;br /&gt;
&lt;br /&gt;
Обжегшись на молоке, дуешь на воду.&lt;br /&gt;
直译：一旦被牛奶烫，喝水也要吹一吹。&lt;br /&gt;
意译：一种被蛇咬，十年怕井绳。(Jia Sufen 1996)&lt;br /&gt;
&lt;br /&gt;
=== Conclusion ===&lt;br /&gt;
 &lt;br /&gt;
In the process of translation, translators often feel that there are a lot of contradictions and differences between the two languages in terms of lexical structure, syntactic structure, expression methods and metaphors. In many cases, translators understand the original meaning but do not know how to express it in the target language, which leads to the debate about which is better, literal translation or free translation. When translators translate works that are more contradictory between bilinguals, translators often use free translation methods. When translating works that are consistent or have more common points than contradictions or conflicts between bilinguals, translators tend to choose literal translation .&lt;br /&gt;
&lt;br /&gt;
In fact, the relationship between literal translation and free translation is interdependent and inseparable. Therefore, when we translate an article or a book, it is not feasible to translate every sentence literally or freely. Only when the translator cleverly arranges the alternation of the two can it be possible to translate a better translation. When we comment on literal translation and free translation, we should consider the effects of the division of labor and cooperation between the two, and should not one-sidedly understand the advantages and disadvantages of literal translation and meaning.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
=== References ===&lt;br /&gt;
&lt;br /&gt;
*Cai Yi, Duan Jinghua. 蔡毅，段京华. (2000). 苏联翻译理论. [Soviet Translation Theory]. 武汉: 湖北教育出版社[Wuhan: Hubei Education Press].&lt;br /&gt;
*Feng Shize. 冯世则. (1981). 直译、意译、逐字译. [Literal Translation, Free Translation, Verbatim Translation]. 中国翻译[Chinese Translators Journal] 7-10.&lt;br /&gt;
*Feng Shujian. 冯树鉴. (1993). 意译与直译笔谈. [Written Free Translation and Literal Translation]. 外语学刊[Foreign Language Research] 43-47.&lt;br /&gt;
*Feng Yongmei. 冯咏梅. (1999). 浅谈俄语成语翻译中民族文化特色的保留. [On the Preservation of National Cultural Characteristics in Russian Idiom Translation]. 解放军外国语学院学报[Journal of PLA Foreign Languages University] 97-100.&lt;br /&gt;
*Gong Linjing. 宫琳菁. (2015). 直译与意译——中国近现代代表人物观点之概述. [Literal Translation and Free Translation: An Overview of the Viewpoints of Representatives in Modern China]. 赤峰学院学报（汉文哲学社会科学版）[Journal of Chifeng University (Soc.Sci)] 192-193.&lt;br /&gt;
*Hu Guming, Shen Man. 胡谷明, 沈曼. (2011). 汉俄翻译中文化空缺词汇的翻译策略.[The Translation Strategies of Cultural Vacancies in Chinese-Russian Translation]. 中国俄语教学[Russian in China] 17-21.&lt;br /&gt;
*Jia Shufen. 贾淑芬. (1996). 简明俄汉谚语词典. [Concise Russian-Chinese Proverbs Dictionary]. 沈阳: 辽宁大学出版社[Shenyang: Liaoning University Publishing House].&lt;br /&gt;
*Li Quan’an. 李全安. (1990). 直译与意译之争是一场什么样的争论. [What kind of controversy is the dispute between literal translation and free translation]. 中国翻译[Chinese Translators Journal] 18-22.&lt;br /&gt;
*Tan Zaixi. 谭载喜. (1999). 中西译论的相似性.[Similarities between Chinese and Western Translation Theories]. 中国翻译[Chinese Translators Journal] 25-28.&lt;br /&gt;
*Wang Fuxiang, Wu Hanying. 王福祥,吴汉樱. (2014). 东方大学俄语系列：迷你俄语成语词典. [Oriental University Russian Series: Mini Dictionary of Russian Idioms]. 外语教学与研究出版社[Foreign Language Teaching and Research Press]&lt;br /&gt;
*Wang Zhuang. 王转. (1996). 直译与意译漫谈. [On Literal Translation and Free Translation]. 湖南教育学院学报[Journal of Educational Institute] 55-60.&lt;br /&gt;
*Xie Yuncai. 谢云才. (2002). 俄罗斯翻译理论的语言学派与文艺学派——两派文学翻译理论对比分析. [Linguistic Schools and Literary Schools of Russian Translation Theory: A Comparative Analysis of the Two Schools of Literary Translation Theories]. 外语学刊[Foreign Language Research] 97-101.&lt;br /&gt;
*Yang Shizhang. 杨仕章. (2002). 俄语现代翻译理论之概述. [An Overview of Russian Modern Translation Theory]. 解放军外国语学院学报[Journal of PLA Foreign Languages University] 62-65.&lt;br /&gt;
*Zhang Yi. 张艺. (2010). 从目的论看直译与意译之争. [The Controversy between Literal Translation and Free Translation from Skopos Theory]. 海外英语[Overseas English] 189-190.&lt;br /&gt;
*Zhou Changyu. 周长雨. (2010). 俄语谚语的翻译方法. [How to translate Russian proverbs]. 俄语学习[Russian Learning] 33-36.&lt;br /&gt;
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==Dialectical thinking in arguments between literal translation and free translation 	甘奉玉	Gan Fengyu  202070080584 英语笔译==&lt;br /&gt;
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===Abstract===&lt;br /&gt;
As two methods of translation, how to use literal translation and free translation has always been the focus of debate between Chinese and Western translation circles. Through the study of translation methods of literal translation and free translation at home and abroad, we can know that to some extent literal translation and free translation are two relative conceptions, so there will be word-for-word translation, that is, dead translation, and excessive free translation. However, these two are only two extremes of literal translation and free translation. In fact, although there are differences in definitions and application fields between literal translation and free translation, they are unified in common translation purpose, translation procedure and translation standard. Therefore, the two are contradictory and unified in translation activities. This is also the profound embodiment of the unity of opposites in materialist dialectics.&lt;br /&gt;
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As two methods of translation, how to use literal translation and free translation has always been the focus of debate between Chinese and Western translation circles. Through the study of translation methods of literal translation and free translation at home and abroad, we can know that to some extent literal translation and free translation are two relative conceptions, so there will be word-for-word translation, that is, dead translation, and excessive free translation. However, these two are only two extremes of literal translation and free translation. In fact, although there are differences in definitions and application fields between literal translation and free translation, they are unified in common translation purpose, translation procedure and translation standard. Therefore, the two are contradictory and unified in translation activities. This is also a profound embodiment of the unity of opposites in materialist dialectics.--[[User:Ding Daifeng|Ding Daifeng]] ([[User talk:Ding Daifeng|talk]]) 03:56, 17 December 2020 (UTC)&lt;br /&gt;
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===Key words===&lt;br /&gt;
literal translation, free translation, word-for-word translation, over free translation, unity of opposites&lt;br /&gt;
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===摘要===&lt;br /&gt;
作为翻译方法，直译(literal translation)与意译(free translation)怎样使用的问题一直是一个争论中西方翻译界不休的焦点。通过对国内外直译与意译的翻译方法的研究，我们可以得知，从某种程度而言，直译与意译是两个相对的概念, 所以才会有逐字翻译，即死译，与过度意译这两个完全对立的概念。但是，这两者只不过是直译与意译的两个极端点。其实，直译和意译虽然在概念定义，适用范围上有所差异，但却又统一于共同的翻译目的、翻译过程和翻译标准中。所以两者在翻译活动中应该是既对立又统一的矛盾体。而这也正是唯物辩证法中的对立统一矛盾观的深刻体现.&lt;br /&gt;
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作为翻译方法，怎样使用直译(literal translation)与意译(free translation)一直是中西方翻译界争论不休的一个焦点。通过对国内外直译与意译的翻译方法的研究，我们可以得知，从某种程度而言，直译与意译是两个相对的概念, 所以才会有逐字翻译，即死译，与过度意译这两个完全对立的概念。但是，这两者只不过是直译与意译的两个极端点。其实，直译和意译虽然在定义，适用范围上有所差异，但却又统一于共同的翻译目的、翻译过程和翻译标准中，所以两者在翻译活动中应该是既对立又统一的矛盾体。而这也正是唯物辩证法中的对立统一矛盾观的深刻体现。--[[User:Ding Daifeng|Ding Daifeng]] ([[User talk:Ding Daifeng|talk]]) 03:56, 17 December 2020 (UTC)&lt;br /&gt;
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===关键字===&lt;br /&gt;
直译； 意译； 死译； 过度意译； 对立统一&lt;br /&gt;
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===Introduction===&lt;br /&gt;
Throughout the translation history at home and abroad, the literal translation and free translation have always been a heat discussion in the translation circles. Someone absolutely approve literal translation and demean free translation, even pursue a dead translation, which creates an translated text difficult to understand. While some other people absolutely agree with free translation even advocate random acts, which means a random deletion in the translation practices and creates anther entirely different text. However, there are also a number of translators who have recognized that these two translation methods are not totally opposite. So they adopt a compromise and flexible way. That means they will choose the most appropriate one depending on the text demanding. Therefore, we can deduce from it that this eclectic translation is consistent with the Contradiction view of Unity of Opposite in Materialist Dialectics. In fact, literal translation and free translation are right a set of contradictions which are both opposite and unified. They complement each other into an integral one.&lt;br /&gt;
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Throughout the translation history at home and abroad, the literal translation and free translation have always sparked a heated discussion in the translation circles. Someone absolutely approve literal translation and demean free translation, even pursue dead translation, which creates an translated text difficult to understand. While some people absolutely agree with free translation even advocate random acts, which means a random deletion in the translation practices and creates another entirely different text. However, there are also a number of translators who have recognized that these two translation methods are not totally opposite. So they adopt a compromise and flexible way. That means they will choose the most appropriate one depending on the text's demand. Therefore, we can deduce from it that this eclectic translation is consistent with the Contradiction View of Unity of Opposite in Materialist Dialectics. In fact, literal translation and free translation are a set of contradictions which are both opposite and unified. They complement each other into an integral one.--[[User:Ding Daifeng|Ding Daifeng]] ([[User talk:Ding Daifeng|talk]]) 03:56, 17 December 2020 (UTC)&lt;br /&gt;
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The dispute between free translation and literal translation in Chinese translation circles first appeared in the dispute of &amp;quot;text&amp;quot; and &amp;quot;quality&amp;quot; in the Eastern Han Dynasty. During this period, Shi Dao-an, a senior monk in the Eastern Jin Dynasty, advocated literal translation and put forward that the translation should not be added or deleted but only make some adjustments to the word order. In the post-Qin period opposed to the Eastern Jin Dynasty, the monk Hatoyama advocated that the Buddhist scriptures should be translated freely. That is, the original text should be changed to adapt to the Chinese style. Subsequently, Xuanzang, a senior monk of the Tang Dynasty, drew lessons from their former translation achievements and put forward that both seeking truth and vulgarity. (Chen Fukang 2011, 14-38)That is, literal translation should be combined with free translation, not only one of them. At that time, some translators have noticed that literal translation and free translation are not completely opposite. After that, in modern times from the Opium War to the May 4th Movement, since Yan Fu has put forward the translation standard of faith, smoothness and elegance,  Lu Xun and Qu Qiubai ignited the dispute on faith and smoothness. Lu Xun is a typical literal translation school. He insists that faith first and smoothness second even tolerates incoherence. He adopts the method of dead translation and absolute translation. While Qu Qiubai believes that faith and smoothness are not opposed. From the New culture Movement(from 1915-1923) to the 1980s, Mao Dun also put forward that literal translation doesn't mean word-for-word translation without any addition or deletion. Since the reform and opening up, Xu Yuanchong has said that literal translation should be faithful to the original content first then to the original form and last to the smooth translated text. On the other hand, while free translation should be faithful to the original text first then to the smooth translated text and last to the original form. Therefore, although there are differences in translation methods between literal translation and free translation, their ultimate goal is to be faithful to the original content and express the original meaning.（Chen Fukang 2011, 288-333）&lt;br /&gt;
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The dispute between free translation and literal translation in Chinese translation circle first appeared in the dispute of &amp;quot;text&amp;quot; and &amp;quot;quality&amp;quot; in the Eastern Han Dynasty. During this period, Shi Dao-an, a senior monk in the Eastern Jin Dynasty, advocated literal translation and put forward that the translation should not be added or deleted but only make some adjustments to the word order. In the post-Qin period opposed to the Eastern Jin Dynasty, the monk Hatoyama advocated that the Buddhist scriptures should be translated freely. That is, the original text should be changed to adapt to the Chinese style. Subsequently, Xuanzang, a senior monk of the Tang Dynasty, drew lessons from their former translation achievements and put forward that we should seek both truth and vulgarity.(Chen Fukang 2011, 14-38) That is, literal translation should be combined with free translation, not only using one of them. At that time, some translators have noticed that literal translation and free translation are not completely opposite. After that, in modern times from the Opium War to the May 4th Movement, since Yan Fu has put forward the translation standard of faith, smoothness and elegance, Lu Xun and Qu Qiubai ignited the dispute on faith and smoothness. Lu Xun is a representative of literal translation school. He insists faith first and smoothness second and even tolerates incoherence. He adopts the method of dead translation and absolute translation. While Qu Qiubai believes that faith and smoothness are not opposite. From the New Culture Movement(1915-1923) to the 1980s, Mao Dun also put forward that literal translation doesn't mean word-for-word translation without any addition or deletion. Since the reform and opening up, Xu Yuanchong has said that literal translation should be faithful to the original content first then to the original form and last to the smooth translated text. On the other hand, while free translation should make the translation be faithful to the original text first then to the smooth translated text and last to the original form. Therefore, although there are differences in translation methods between literal translation and free translation, their ultimate goal is to be faithful to the original content and express the original meaning.（Chen Fukang 2011, 288-333）--[[User:Ding Daifeng|Ding Daifeng]] ([[User talk:Ding Daifeng|talk]]) 03:56, 17 December 2020 (UTC)&lt;br /&gt;
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Since Cicero, the first translation theorist in ancient China, put forward that avoid word-by-word translation as a speaker, the dispute between literal translation and free translation began to appear in the West. In ancient times, Perot insisted on dead translation in the translation of the Bible, which caused the translation quality to be too low. Poitius in the Middle Ages also advocated word-by-word translation and strict formal correspondence. In modern times, French translator Abulangour aimed to cater to readers in a way of over-free translation and arbitrary deletion. Even so, there are many translation theorists in the western translation world who advocated  eclectic and flexible translation. For example, in ancient times, Jerome advocated the flexible principle to apply in literary translation and religious translation differently. During the Renaissance, French Amyot emphasized the dialectical unity of content and form, free translation and literal translation. Moreover, some translators did not exercise their own translation ideas. During the Renaissance, Reichlin was one of them. Although he advocated word-by-word translation, he abandoned word-by-word translation in practice. This can also further explain that absolute promotion of literal translation or free translation is not a desirable translation method. In translation practice, we must take a suitable degree between the two in the way of combining literal translation and free translation at the same time to better serve for the target readers.(Tan Zaixi 2004, 5-15 )&lt;br /&gt;
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Since Cicero, the first translation theorist in the western world, put forward that we should avoid word-by-word translation as a speaker, the dispute between literal translation and free translation began to appear in the West. In ancient times, Perot insisted on dead translation in the translation of the Bible, which greatly affected the translation quality. Poitius in the Middle Ages also advocated word-by-word translation and strict formal correspondence. In modern times, French translator Abulangour aimed to cater to readers in a way of over-free translation and arbitrary deletion. Even so, there are many translation theorists in the western translation world who advocated  eclectic and flexible translation. For example, in ancient times, Jerome advocated the flexible principle to apply in literary translation and religious translation differently. During the Renaissance, French Amyot emphasized the dialectical unity of content and form, free translation and literal translation. Moreover, some translators did not exercise their own translation ideas. During the Renaissance, Reichlin was one of them. Although he advocated word-by-word translation, he abandoned word-by-word translation in practice. This can also further explain that absolute promotion of literal translation or free translation is not a desirable translation method. In translation practice, we must take a suitable degree in the way of combining literal translation and free translation to better serve for the target readers.(Tan Zaixi 2004, 5-15 )--[[User:Ding Daifeng|Ding Daifeng]] ([[User talk:Ding Daifeng|talk]]) 03:56, 17 December 2020 (UTC)&lt;br /&gt;
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The purpose of this paper is to explore the dialectical thinking contained in the dispute between literal translation and free translation, that is, the viewpoint of unity of opposites. The first chapter is about the word-for-word translation, and the second chapter is about the over-free translation. From this, we can draw a conclusion that it is not advisable to regard literal translation and free translation as absolute opposites. The third chapter is about the eclectic translation, which is the correct method for us to learn and adopt. It is also a dialectical translation method that follows the view of unity of opposites. The fourth chapter will analyze the differences between literal translation and free translation. Then the fifth chapter focuses on the unity of literal translation and free translation in translation goals, translation procedures and translation standards. Through the discussion of the whole article, we can clearly see the unity of opposites between literal translation and free translation and draw a conclusion that we should apply dialectical translation in our translation practice and adopt the point of view of unity of opposites in translation theory. (He Lirong 2018, 40)&lt;br /&gt;
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The purpose of this paper is to explore the dialectical thinking contained in the dispute between literal translation and free translation, that is, the viewpoint of unity of opposites. The first chapter is about the word-for-word translation, and the second chapter is about the over-free translation. From this, we can draw a conclusion that it is not advisable to regard literal translation and free translation as absolute opposites. The third chapter is about the eclectic translation, which is the correct method for us to learn and adopt. It is also a dialectical translation method that follows the view of unity of opposites. The fourth chapter will analyze the differences between literal translation and free translation. Then the fifth chapter focuses on the unity of literal translation and free translation in translation goals, translation procedures and translation standards. Through the discussion of the whole article, we can clearly see the unity of opposites between literal translation and free translation and draw a conclusion that we should apply dialectical translation in our translation practice and adopt the point of view of unity of opposites in translation theory. (He Lirong 2018, 40)--[[User:Ding Daifeng|Ding Daifeng]] ([[User talk:Ding Daifeng|talk]]) 05:06, 17 December 2020 (UTC)&lt;br /&gt;
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===1.Dialectic thinking of the Unity of opposites===&lt;br /&gt;
The theory of unity of opposites is the core content of materialist dialectics theory. (Xu Guoliang 2020, 75) In the history of philosophy, the German philosopher Hegel first expounded the basic thought of contradiction theory from the standpoint of objective idealism. Later, Marx, Engels and Lenin critically absorbed Hegel's theory and developed contradiction theory into the core content of materialist dialectics theory. The theory of contradiction contains two basic problems, and one is the relationship between unity and opposition, while the other is the universality and particularity of contradiction, which involves a series of basic concepts of contradiction theory, such as basic contradiction and non-basic contradiction, fundamental contradiction and non-fundamental contradiction, principal contradiction and non-principal contradiction. Understanding these basic concepts and their relationship is the key to understand and grasp the contradiction theory completely and accurately and finally apply it to the practice of social life. (Yan Mengwei 2020, 41)&lt;br /&gt;
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The theory of unity of opposites is the core content of materialist dialectics theory. (Xu Guoliang 2020, 75) In the history of philosophy, the German philosopher Hegel first expounded the basic thought of contradiction theory from the standpoint of objective idealism. Later, Marx, Engels and Lenin critically absorbed Hegel's theory and developed contradiction theory into the core content of materialist dialectics theory. The theory of contradiction contains two basic problems: one is the relationship between unity and opposition, while the other is the universality and particularity of contradiction, which involves a series of basic concepts of contradiction theory, such as basic contradiction and non-basic contradiction, fundamental contradiction and non-fundamental contradiction, principal contradiction and non-principal contradiction. Understanding these basic concepts and their relationships is the key to understanding and grasping the contradiction theory completely and accurately and finally applying it to the practice of social life. (Yan Mengwei 2020, 41)--[[User:Ding Daifeng|Ding Daifeng]] ([[User talk:Ding Daifeng|talk]]) 05:16, 17 December 2020 (UTC)&lt;br /&gt;
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The problem of unity and opposition of contradiction is actually about the nature of contradiction. We always know things from comparison. The so-called comparison is to find the similarities and differences between two things. The former is called unity and the latter is called opposition. The unity is relative and the opposition is absolute. It is worth emphasizing that the opposition of contradictions plays a key and decisive role in development, because development comes from the unity of opposites. This means that unity and opposition are two indispensable elements in the process of development. They complement and interact with each other.&lt;br /&gt;
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The problem of unity and opposition of contradiction is actually about the nature of contradiction. We always know things from comparison. The so-called comparison is to find the similarities and differences between two things. The former is called unity and the latter is called opposition. The unity is relative and the opposition is absolute. It is worth emphasizing that the opposition of contradictions plays a key and decisive role in development, because development comes from the unity of opposites. This means that unity and opposition are two indispensable elements in the process of development. They complement and interact with each other.--[[User:Ding Daifeng|Ding Daifeng]] ([[User talk:Ding Daifeng|talk]]) 05:16, 17 December 2020 (UTC)&lt;br /&gt;
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Literal translation and free translation are such a pair of contradictions. The opposition of the two is reflected in the absolute opposition between word-for-word translation and over-free translation. There are differences in their definition and application and similarities in their translation goals, procedures and standards.(Yang Ying 2019,161)&lt;br /&gt;
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Literal translation and free translation are such a pair of contradictions. The opposition of the two is reflected in the absolute opposition between word-for-word translation and over-free translation. There are differences in their definitions and applications and similarities in their translation goals, procedures and standards.(Yang Ying 2019,161)--[[User:Ding Daifeng|Ding Daifeng]] ([[User talk:Ding Daifeng|talk]]) 05:16, 17 December 2020 (UTC)&lt;br /&gt;
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===2.Word-for-word translation===&lt;br /&gt;
Literal translation is a method that not only maintains the original content, but also the original form. (Xu Yuanchong 1996,92) Fu Sinian and Zheng Zhenduo all advocate literal translation. In the history of modern Chinese translation, Lu Xun and his younger brother Zhou Zuoren's work of The Collection of Extraterritorial Fiction is regarded as the representatives of literal translation.&lt;br /&gt;
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Literal translation is a method that not only maintains the original content, but also the original form.(Xu Yuanchong 1996,92) Fu Sinian and Zheng Zhenduo all advocate literal translation. In the history of modern Chinese translation, Lu Xun and his younger brother Zhou Zuoren's works of The Collection of Extraterritorial Fiction are regarded as the representatives of literal translation.--[[User:Ding Daifeng|Ding Daifeng]] ([[User talk:Ding Daifeng|talk]]) 05:24, 17 December 2020 (UTC)&lt;br /&gt;
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In particular, literal translation is neither dead translation nor a mechanical verbatim translation. Because English and Chinese have different structures, it is impossible to translate word by word. From the perspective of linguistics, the biggest difference between them is that Chinese is parataxis while English is  hypotaxis. (Zhu Xiaojia 2008, 1)That is to say, in Chinese, a sentence is usually short with little modifier and connected words, while in English, several meanings can be expressed with complicated structure with assorted clauses and connected words into only a sentence.&lt;br /&gt;
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In particular, literal translation is neither dead translation nor a mechanical verbatim translation. Because English and Chinese have different structures, it is impossible to translate word by word. From the perspective of linguistics, the biggest difference between them is that Chinese focuses parataxis while English focuses hypotaxis.(Zhu Xiaojia 2008, 1) That is to say, in Chinese, a sentence is usually short with few modifiers and connected words, while in English, several meanings can be expressed with complicated structure with assorted clauses and connected words only in a sentence.--[[User:Ding Daifeng|Ding Daifeng]] ([[User talk:Ding Daifeng|talk]]) 05:24, 17 December 2020 (UTC)&lt;br /&gt;
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Besides, the English is a more static language in which nouns and adjective are always used, but the Chinese more dynamic one, verbs are more active. Finally, the former has a systematic grammar but the latter seems freely arranged.(Cao Huoqun 2005, 40)&lt;br /&gt;
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Besides, the English is a more static language in which nouns and adjectives are always used, but the Chinese more dynamic one, verbs are more active. Finally, the former has a systematic grammar but the latter seems free in its arrangement.(Cao Huoqun 2005, 40)--[[User:Ding Daifeng|Ding Daifeng]] ([[User talk:Ding Daifeng|talk]]) 05:24, 17 December 2020 (UTC)&lt;br /&gt;
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So, when we do some translating exercise, we should focus on their grammar structure to deal well. When the structure of the original text is inconsistent with that of the target language, continuing word-for-word translation will lead to formalism. Such a translated text is not intelligible for reader. That is to say, literal translation must be readable without any misunderstanding or violation of expression.&lt;br /&gt;
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So, when we do some translating exercise, we should focus on their grammar structures. When the structure of the original text is inconsistent with that of the target language, adopting word-for-word translation will lead to formalism. Such a translated text is also not intelligible for readers. That is to say, literal translation must be readable without any misunderstanding or violation of expression.--[[User:Ding Daifeng|Ding Daifeng]] ([[User talk:Ding Daifeng|talk]]) 05:24, 17 December 2020 (UTC)&lt;br /&gt;
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===3.Over free translation===&lt;br /&gt;
Free translation refers to the method that maintains original content rather than original form. In the process of translation, in order to make the language clear and persuasive, the translator must try to conform to the language customs of target texts rather than adhere to the expressive pattern of the original work. Zhao Jingshen put forward that it is better to be smooth with some disloyalty instead of absolute loyalty. Obviously, Mr. Zhao Jingshen is in favor of free translation, and so does Mr. Yan Fu. Many of Yan Fu's classical works have adopted free translation, such as the Theory of Heaven is a typical example of free translation.&lt;br /&gt;
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Free translation refers to the method that maintains original content rather than original form. In the process of translation, in order to make the language clear and persuasive, the translator must try to conform to the language customs of target texts rather than adhere to the expressive pattern of the original work. Zhao Jingshen put forward that it is better to be smooth with some disloyalty instead of absolute loyalty. Obviously, Mr. Zhao Jingshen is in favor of free translation, and so does Mr. Yan Fu. Many of Yan Fu's classical works have adopted free translation, the Theory of Heaven is a typical example of free translation.--[[User:Ding Daifeng|Ding Daifeng]] ([[User talk:Ding Daifeng|talk]]) 05:40, 17 December 2020 (UTC)&lt;br /&gt;
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When we translate from English to Chinese, especially some idioms that are in closer ties with western culture, we have to move or change these cultural barriers so that Chinese readers could understand easily. It is also true when translating Chinese into English. Under this condition, free translation will be more suitable and effective.&lt;br /&gt;
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When we translate English into Chinese, especially some idioms that are in closer ties with western culture, we have to move or change these cultural barriers so that Chinese readers could understand easily. It is also true when translating Chinese into English. Under this condition, free translation will be more suitable and effective.--[[User:Ding Daifeng|Ding Daifeng]] ([[User talk:Ding Daifeng|talk]]) 05:40, 17 December 2020 (UTC)&lt;br /&gt;
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However, free translation does not mean random translation. The latter means making up translated sentence by subjective imagination without analyzing the structure of the original text. It is also known as over-free translation. (Wu Shuang 2018, 107) In fact, when we translate, we must master the thought and style of the original and regard them as corresponding one of the target language. In addition, the theory, fact and logic of the original work should also be corresponding in the target language. We can not replace these features of the original with our personal thoughts, styles, facts, theories and logic. Only in this way can the contents not be changed after translation.&lt;br /&gt;
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However, free translation does not mean random translation. Random translation means making up translated sentences by subjective imagination without analyzing the structure of the original text. It is also known as over-free translation.(Wu Shuang 2018, 107) In fact, when we translate, we must master the thought and style of the original and regard them as a correspondence of the target language. In addition, the theory, fact and logic of the original work should also be corresponding in the target language. We can not replace these features of the original with our personal thoughts, styles, facts, theories and logic. Only in this way can the contents not be changed after translation.--[[User:Ding Daifeng|Ding Daifeng]] ([[User talk:Ding Daifeng|talk]]) 05:40, 17 December 2020 (UTC)&lt;br /&gt;
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===4.Dialectic translation===&lt;br /&gt;
Feng Qinghua put forward in the book of A Practical Translation Course that the so-called literal translation is a kind of translation method to maintain both the original content and the original form. If there are same language form and expressive effect between original and target text, we should adopt literal translation to deliver the same contents. While the so-called free translation is a method to keep the original content and style only not the original form. So if there are different language forms and expressive effects between the two texts, we should adopt free translation mostly. (Feng Qinghua 1997, 12)&lt;br /&gt;
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Feng Qinghua put forward in the book of A Practical Translation Course that the so-called literal translation is a kind of translation method to maintain both the original content and the original form. If there are the same language form and expressive effect between original and target text, we should adopt literal translation to deliver the same contents. While the so-called free translation is a method to keep the original content and style only. So if there are different language forms and expressive effects between the two texts, we should adopt free translation mostly. (Feng Qinghua 1997, 12)--[[User:Ding Daifeng|Ding Daifeng]] ([[User talk:Ding Daifeng|talk]]) 05:55, 17 December 2020 (UTC)&lt;br /&gt;
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Therefore, Literal translation and free translation have their own advantages and restrictions. The former is beneficial to the transplantation of culture, while the latter can avoid obscurity in literal translation.  &lt;br /&gt;
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Therefore, Literal translation and free translation have their own advantages and restrictions. The former is beneficial to the transplantation of culture, while the latter can avoid obscurity in literal translation.--[[User:Ding Daifeng|Ding Daifeng]] ([[User talk:Ding Daifeng|talk]]) 05:55, 17 December 2020 (UTC)&lt;br /&gt;
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If in literal translation, we will translate the sentence “mashing a mirror is no way to make an ugly person beautiful, nor is it a way to make social problem evaporate” into “砸镜子不能使丑八怪变漂亮，也不能使社会问题烟消云散”, while if in free translation, we can turn it into “砸镜子并不能解决实际问题”. (Fan Zhongying 1994, 22) We can see the latter one is more concise and comprehensive to express the connotative meaning. While although the former are totally literal translation, we still feel it terrible. &lt;br /&gt;
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In literal translation, we will translate the sentence “mashing a mirror is no way to make an ugly person beautiful, nor is it a way to make social problem evaporate” into “砸镜子不能使丑八怪变漂亮，也不能使社会问题烟消云散”, while in free translation, we can turn it into “砸镜子并不能解决实际问题”. (Fan Zhongying 1994, 22) We can see the latter one is more concise and comprehensive to express the connotative meaning. Although the former is totally literal translation, we still feel it terrible. --[[User:Ding Daifeng|Ding Daifeng]] ([[User talk:Ding Daifeng|talk]]) 05:55, 17 December 2020 (UTC)&lt;br /&gt;
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So, a translator should use these two translation strategies according to the actual situation to express the surface structure and deep meaning of the original text. The use of literal or free translation depends on the rules of both English and Chinese. In translation, if we can not directly adopt the structure and expression form of the original work, we must change the sentence structure and expressive way to convey the connotation of the original work. An excellent translated text is realized neither by simple literal translation nor by simple free translation but by the combination of two. In another word, we should adopt dialectic translation in our practice.&lt;br /&gt;
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Therefore, a translator should use these two translation strategies according to the actual situation to express the surface structure and deep meaning of the original text. The use of literal or free translation depends on the rules of both English and Chinese. In translation, if we can not directly adopt the structure and expression form of the original work, we must change the sentence structure and expressive way to convey the connotation of the original work. An excellent translated text is realized neither by simple literal translation nor by simple free translation but by the combination of two. In other words, we should adopt dialectic translation in our practice.--[[User:Ding Daifeng|Ding Daifeng]] ([[User talk:Ding Daifeng|talk]]) 05:55, 17 December 2020 (UTC)&lt;br /&gt;
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===5.Opposition and unity between literal translatiuon and free translation===&lt;br /&gt;
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===5.1 Opposition===&lt;br /&gt;
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===5.1.1 Opposition in definition===&lt;br /&gt;
Qiao Zengrui defines literal translation in Chapter 4 of Translation Theory as a method that the translation deliberately retains the original form to maintain the content and style of the original. At the same time, He also defines free translation as a method that keep the original content and style by use of the same or similar expression as the original text in the target language regardless of the two different languages. The first one regards form as the only way, content and style as target, while the second directly takes no account of form. With this regard, the two totally opposite in definition.(Qiao Zengrui 2000,263)&lt;br /&gt;
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Qiao Zengrui defines literal translation in Chapter 4 of Translation Theory as a method that the translation deliberately retains the original form to maintain the content and style of the original. At the same time, He also defines free translation as a method that keeps the original content and style by use of the same or similar expressions as the original text in the target language regardless of the two different languages. The first one regards form as the only way, content and style as target, while the second directly takes no account of form. With this regard, the two totally opposite in definition.(Qiao Zengrui 2000,263)--[[User:Ding Daifeng|Ding Daifeng]] ([[User talk:Ding Daifeng|talk]]) 06:01, 17 December 2020 (UTC)&lt;br /&gt;
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===5.1.2 Opposition in application fileld===&lt;br /&gt;
Generally speaking, literal translation is generally used to translate some political books, laws, treaties and scientific and technological documents, terms, idioms, and some simple sentences. (Wu Shuang 2018,178) The early translation of Buddhist scriptures of early Chinese generally followed this theory. So do the Marxism-Leninism works and Mao Zedong works. For example, “纸老虎” can only be translated as “paper tiger” but not “scarecrow”. The latter one was corrected by Mao Zedong when the interpreter translated it into “scarecrow”. President Mao emphasized that this word had two characteristics and if translated into scarecrow, it will lose duality. Because “纸老虎” in China means imperialism and reactionary, which seems terrible but no great power in it. Since it was made of paper, this tiger became soft in the damp and washed away when it rained. While scarecrow can scare away children and birds. So paper tiger is better than scarecrow.&lt;br /&gt;
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Generally speaking, literal translation is generally used to translate some political books, laws, treaties and scientific and technological documents, terms, idioms, and some simple sentences. (Wu Shuang 2018,178) The early translation of Buddhist scriptures of early Chinese generally followed this theory. So do the Marxism-Leninism works and Mao Zedong's works. For example, “纸老虎” can only be translated as “paper tiger” but not “scarecrow”. The latter one was corrected by Mao Zedong when the interpreter translated it into “scarecrow”. Chairman Mao emphasized that this word had two characteristics and if it was translated into scarecrow, it will lose duality. Because “纸老虎” in China means imperialism and reactionary, which seems terrible but no great power in it. Since it was made of paper, this tiger became soft in the damp and washed away when it was rained. While scarecrow can scare away children and birds. So paper tiger is better than scarecrow.--[[User:Ding Daifeng|Ding Daifeng]] ([[User talk:Ding Daifeng|talk]]) 06:14, 17 December 2020 (UTC)&lt;br /&gt;
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In the process of translation, there are many situations that literal translation can not be used, so we must adopt the method of free translation, especially the translation of literary works. (Wu Shuang, 2018, 178)On the one hand, there are many common traditional Chinese words that reflect the unique cultural concepts and cultural phenomena of our country, which can't translate directly into corresponding words in English. For instance, if we translate&amp;quot;初生牛犊不怕虎&amp;quot; into &amp;quot;A new born calf is not afraid of a tiger&amp;quot;, then our target readers in English-speaking countries may find it difficult to understand the substance of the literal meaning. ( Yang Yin 2019, 161)So here “The more wit, the less courage” will be better. On the other hand, some certain maxims, idioms and puns in English have no choice but to use free translation. (He Lirong 2018,43) For example&amp;quot; have a wolf in the stomach&amp;quot; means&amp;quot;饥肠辘辘&amp;quot; 饥饿难忍&amp;quot; rather than “肚子里有个豺狼”. Moreover, some exclusive English nouns should be free translated such as &amp;quot;the heel of Achilles&amp;quot; into&amp;quot;致命的弱点&amp;quot; instead of “阿克琉斯的脚后跟”.&lt;br /&gt;
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In the process of translation, there are many situations that literal translation can not be used, so we must adopt the method of free translation, especially the translation of literary works.(Wu Shuang, 2018, 178) On the one hand, there are many common traditional Chinese words that reflect the unique cultural concepts and cultural phenomena of our country, which can't translate directly into corresponding words in English. For instance, if we translate&amp;quot;初生牛犊不怕虎&amp;quot; into &amp;quot;A new born calf is not afraid of a tiger&amp;quot;, then our target readers in English-speaking countries may find it difficult to understand the substance of the literal meaning.(Yang Yin 2019, 161) So here “The more wit, the less courage” will be better. On the other hand, some certain maxims, idioms and puns in English have no choice but to use free translation.(He Lirong 2018,43) For example, &amp;quot;have a wolf in the stomach&amp;quot; means &amp;quot;饥肠辘辘&amp;quot; 饥饿难忍&amp;quot; rather than “肚子里有个豺狼”. Moreover, some exclusive English nouns should be freely translated such as &amp;quot;the heel of Achilles&amp;quot; into &amp;quot;致命的弱点&amp;quot; instead of “阿克琉斯的脚后跟”.--[[User:Ding Daifeng|Ding Daifeng]] ([[User talk:Ding Daifeng|talk]]) 06:14, 17 December 2020 (UTC)&lt;br /&gt;
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===5.2 Unity===&lt;br /&gt;
===5.2.1 Unity in translation goal===&lt;br /&gt;
In literal translation, loyalty to the original form should be put first, followed by loyalty to the original content and last pursuit of fluency and popularity in target language. In free translation, loyalty to the original content should be put first, then the fluency and popularity of the translation language are second, and the original form comes last. It can be seen that loyalty to the original content is the common purpose of literal translation and free translation.(Wu Shuang 2018, 108)&lt;br /&gt;
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In literal translation, loyalty to the original form should be put first, followed by loyalty to the original content and last pursuit of fluency and popularity in target language. In free translation, loyalty to the original content should be put first, then the fluency and popularity of the translation language second, and the original form comes last. It can be seen that loyalty to the original content is the common purpose of literal translation and free translation.(Wu Shuang 2018, 108)--[[User:Ding Daifeng|Ding Daifeng]] ([[User talk:Ding Daifeng|talk]]) 06:25, 17 December 2020 (UTC)&lt;br /&gt;
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The unity of literal translation and free translation is also reflected in the fact that the translation must be smooth and fluent and conform to the expressive habits of target language. If the translated text is obscure and unreadable without conformity to the habits of the target language and culture, the two translation strategies have not achieved the true unity, so the purpose of communication has not be achieved.&lt;br /&gt;
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The unity of literal translation and free translation is also reflected in the fact that the translation must be smooth and fluent and conform to the expressive habits of target language. If the translated text is obscure and unreadable without conforming to the habits of the target language and culture, the two translation strategies have not achieved the true unity, so the purpose of communication has not been achieved.--[[User:Ding Daifeng|Ding Daifeng]] ([[User talk:Ding Daifeng|talk]]) 06:25, 17 December 2020 (UTC)&lt;br /&gt;
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Therefore, literal translation and free translation are two different translation methods used in translation. They are unified in the translation purpose to accurately and faithfully convey the original meaning and intention with the same form and spirit as original text.(He Lirong 2018, 41)&lt;br /&gt;
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Therefore, literal translation and free translation are two different translation methods used in translation. They are unified in the translation purpose to accurately and faithfully convey the original meaning and intention with the same form and spirit as the original text.(He Lirong 2018, 41)--[[User:Ding Daifeng|Ding Daifeng]] ([[User talk:Ding Daifeng|talk]]) 06:25, 17 December 2020 (UTC)&lt;br /&gt;
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===5.2.2 Unity in translation procedure===&lt;br /&gt;
The literal translation and free translation is unified in translation procedures. Both of them should conform to the following translation steps of understanding, expression and verification. &lt;br /&gt;
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The literal translation and free translation are unified in translation procedures. Both of them should conform to the following translation steps of understanding, expression and verification. --[[User:Ding Daifeng|Ding Daifeng]] ([[User talk:Ding Daifeng|talk]]) 06:34, 17 December 2020 (UTC)&lt;br /&gt;
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Understanding is the first stage of translation process. It includes not only the understanding of language and cultural phenomena, but also logical relations. A translator should be good at analyzing ambiguous sentences and make correct judgment before translating. Expression is the process by which the translator reproduces the content of the original text into target language. Expression is the result of understanding, but understanding correctly does not mean expressing right. Therefore, we must learn many specific methods and techniques, such as literal translation, free translation, literal translation plus free translation, literal translation plus annotation, and so on. &lt;br /&gt;
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Understanding is the first stage of translation process. It includes not only the understanding of language and cultural phenomena, but also logical relations. A translator should be good at analyzing ambiguous sentences and make correct judgments before translating. Expression is the process by which the translator reproduces the content of the original text into target language. Expression is the result of understanding, but understanding correctly does not mean expressing right. Therefore, we must learn many specific methods and techniques, such as literal translation, free translation, literal translation plus free translation, literal translation plus annotation, and so on.--[[User:Ding Daifeng|Ding Daifeng]] ([[User talk:Ding Daifeng|talk]]) 06:34, 17 December 2020 (UTC)&lt;br /&gt;
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The third stage is verification. In this stage, we must check the translation at least twice. In he first time, we should check whether there is any missing translation or wrong translation. And in the second time, we should check whether it's smooth and intelligible out of the original text.&lt;br /&gt;
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The third stage is verification. In this stage, we must check the translation at least twice. In the first time, we should check whether there is any missing translation or wrong translation. And in the second time, we should check whether it's smooth and intelligible out of the original text.--[[User:Ding Daifeng|Ding Daifeng]] ([[User talk:Ding Daifeng|talk]]) 06:34, 17 December 2020 (UTC)&lt;br /&gt;
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Whether literal translation or free translation, we must follow the three steps of understanding, expression and verification in translation practice. Understanding is the premise of expression, but understanding and expression are usually complementary and unified, which can not be separated completely. While understanding the original text, the translator also chooses the expressive way and further deepen his understanding.&lt;br /&gt;
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Whether literal translation or free translation, we must follow the three steps of understanding, expression and verification in translation practice. Understanding is the premise of expression, but understanding and expression are usually complementary and unified, which can not be separated completely. To understand the original text, the translator also chooses the expressive way and further deepen his or her understanding.--[[User:Ding Daifeng|Ding Daifeng]] ([[User talk:Ding Daifeng|talk]]) 06:34, 17 December 2020 (UTC)&lt;br /&gt;
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===5.2.3 Unity in translation standard===&lt;br /&gt;
On the establishment of translation standards, Chinese and foreign translation theorists in different historical periods put forward different views. In China, there are Ma Jianzhong's view of &amp;quot;good translation&amp;quot; on the basis of modern linguistic theory, Yan Fu's translation standards of &amp;quot;faith, smoothness, and elegance&amp;quot;, Chen Xiying's theory of “similarities in shape, meaning and spirit”, Lin Yutang's translation standards of “loyalty, smoothness and beauty”. In the West, there are Twelve Translation Principles of Bart, Three Principles of Tettler, Seven principles of Luther, and functional equivalence of Eugene. Nida and so on. All these translation standards are based on different social needs, translation contents, translation objects and  translation purposes.(He Lirong 2018, 42)&lt;br /&gt;
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On the establishment of translation standards, Chinese and foreign translation theorists in different historical periods put forward different views. In China, there are Ma Jianzhong's view of &amp;quot;good translation&amp;quot; on the basis of modern linguistic theory, Yan Fu's translation standards of &amp;quot;faith, smoothness, and elegance&amp;quot;, Chen Xiying's theory of “similarities in shape, meaning and spirit”, Lin Yutang's translation standards of “loyalty, smoothness and beauty”. In the West, there are Twelve Translation Principles of Bart, Three Principles of Tettler, Seven principles of Luther, and functional equivalence of Nida and so on. All these translation standards are based on different social needs, translation contents, translation objects and translation purposes.(He Lirong 2018, 42)--[[User:Ding Daifeng|Ding Daifeng]] ([[User talk:Ding Daifeng|talk]]) 06:39, 17 December 2020 (UTC)&lt;br /&gt;
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No matter which translation standard, it is impossible to meet by only literal translation or only free translation. Therefore, the two translation methods are unified in any translation standard. So, they are inseparable unity of opposites.&lt;br /&gt;
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No matter which translation standard we use, it is impossible to meet only by literal translation or free translation. Therefore, the two translation methods are unified in any translation standard. Therefore, they are inseparable unity of opposites.--[[User:Ding Daifeng|Ding Daifeng]] ([[User talk:Ding Daifeng|talk]]) 06:39, 17 December 2020 (UTC)&lt;br /&gt;
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===6.Conclusion===&lt;br /&gt;
Literal translation and free translation are two different translation methods. Although they are different in conceptual definition and applicable field, in order to achieve a unified translation standard and achieve a common translation purpose, they both follow the same three steps of understanding, expression and verification. &lt;br /&gt;
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Literal translation and free translation are two different translation methods. Although they are different in conceptual definition and applicable field, in order to achieve a unified translation standard and a common translation purpose, they both follow the same three steps of understanding, expression and verification. --[[User:Ding Daifeng|Ding Daifeng]] ([[User talk:Ding Daifeng|talk]]) 06:41, 17 December 2020 (UTC)&lt;br /&gt;
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In the process of translation, if the target text has the same form and style as the original text, it can be translated literally. If there are different form and style, it should be translated freely. When the structure of the original text is inconsistent with that of the target language, sticking to word-for-word translation will cause stiff translation difficult to understand. In the same way, making up sentences through subjective assumption according to the literal meaning without analysis of original text will cause random translation disloyalty to the original one. &lt;br /&gt;
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In the process of translation, if the target text has the same form and style as the original text, it can be translated literally. If there are different forms and styles, it should be translated freely. When the structure of the original text is inconsistent with that of the target language, sticking to word-for-word translation will cause stiff translation difficult to understand. In the same way, making up sentences through subjective assumption according to the literal meaning without analysis of original text will cause random translation disloyalty to the original one. --[[User:Ding Daifeng|Ding Daifeng]] ([[User talk:Ding Daifeng|talk]]) 06:41, 17 December 2020 (UTC)&lt;br /&gt;
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Therefore, we can conclude that we should treat literal translation and free translation with a dialectical way and use these two translation methods flexibly to create wonderful translations in our concrete translation practice.&lt;br /&gt;
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Therefore, we can conclude that we should treat literal translation and free translation with a dialectical way and use these two translation methods flexibly to create wonderful translations in our concrete translation practice.--[[User:Ding Daifeng|Ding Daifeng]] ([[User talk:Ding Daifeng|talk]]) 06:41, 17 December 2020 (UTC)&lt;br /&gt;
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Siyu Zou. (2017). Dialectical Relationship between Translation Theory and Practice[P]. Proceedings of the 7th International Conference on Education, Management, Information and Mechanical Engineering (EMIM 2017).&lt;br /&gt;
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Chen Fukang 陈福康. (2011). 中国译学史 [History of translation studies in China]. Shanghai: Shanghai Foreign Language Press.&lt;br /&gt;
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Cao Huoqun 曹火群. (2005). 翻译中的辩证关系 [Dialectic relationships in translation]. 孝感学院学报 Journal of Xiaogan University (05) 39-43.&lt;br /&gt;
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Feng Qinghua 冯庆华. (2002). 实用翻译教程 [Practical translation course]. Shanghai：Shanghai Foreign Language Education Press.&lt;br /&gt;
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Fan Zhongying 范仲英. (1994). 实用翻译教程 [Practical Translation Course]. Beijing:Foreign Language Teaching and Research Press.&lt;br /&gt;
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He Lirong 何历蓉. (2018). 论“直译与意译”在英汉翻译中的对立与统一 [On the opposition and unity of literal translation and Free Translation in English-Chinese translation]. 宿州教育学院学报 journal of suzhou education institute 21(04):40-43.&lt;br /&gt;
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Qiao zengrui 乔曾锐. (2000). 译论—翻译经验与翻译艺术的评论和探讨 [Translation theory: A review of translation experience and the art of translation]. Beijing: China Industry and Commerce Joint Press.&lt;br /&gt;
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Tan Zaixi 谭载喜. (2004). 西方翻译简史 [A Brief History of Western translation]. Beijing：Commercial press.&lt;br /&gt;
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Wu Shuang 吴爽. (2018). 翻译的最高境界—直译与意译的完美统一[The highest level of translation - the perfect unity of literal translation and free translation].现代交际 Modern communication (08):107-108.&lt;br /&gt;
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Xu Guoliang 徐国亮. (2020). 对立统一：唯物辩证法的核心与列宁的发展 [Unity of opposites: The Core of Materialist Dialectics and The development of Lenin]. 中共中央党校（国家行政学院）学报 Journal of Party School of the CPC Central Committee (National Academy of Governance) 24(05):75-83.&lt;br /&gt;
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Xu Yuanchong 许渊冲. (1996). 译家之言 [The Word of the Translator].出版广角 View on Publishing(6):92-94.&lt;br /&gt;
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Yan Mengwei 阎孟伟. (2020). 关于唯物辩证法矛盾学说的几个基本问题 [Some basic questions about the contradiction theory of materialist dialectics]. 思想理论教育导刊 Journal of ideological and theoretical education (08):40-47.&lt;br /&gt;
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Yang Yin 杨颖. (2019).  浅谈直译与意译的动态统一 [On the dynamic unity of literal translation and free translation]. 海外英语 Overseas English (17):160-161.&lt;br /&gt;
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Zhu Xiaojia 朱晓嘉. (2008). 形合、意合的辩证观与翻译策略 [Dialectic thinking and Translation strategies of hypotaxis and Parataxis]. Nanjing: Nanjing Normal University.&lt;br /&gt;
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== Peter Newmark’s Improved Views on Literal Translation and Free Translation 赵茜 Zhao Xi,202070080627==&lt;br /&gt;
===Abstract===&lt;br /&gt;
The dispute over the two basic translation methods, literal translation and free translation, has never stopped since ancient times. In view of the basic problem of his argument, Peter Newmark, an English translation theorist divides the various translation methods into eight, points out that different translation methods should be taken according to different text characteristics and puts forward with semantic translation and communicative translation bases on years of translation researches. Semantic translation focuses on maintaining the content of the original text, while communicative translation emphasizes the effect of the translation. The author of this paper expresses some views on literal translation and free translation. Peter Newmark's theory has taken a big step forward from the fragmented and one-sided view of literal translation and free translation in the past, which has brought people out of the struggle between them and made people see the direction of further development of translation research.&lt;br /&gt;
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===Key words=== &lt;br /&gt;
Free translation, Literal translation, Peter Newmark, Semantic translation, Communicative translation&lt;br /&gt;
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===摘要===&lt;br /&gt;
直译与意译这两种翻译基本方法之争从古至今从未停止过。针对其争论的基本问题，英国翻译理论家彼得·纽马克把各种翻译方法分成了八种，指出应根据不同的文本特点釆取不同的翻译方法，并在多年翻译研究的基础上提出了语义翻译和交际翻译。语义翻译重点在强调保持原文的内容，而交际翻译更多强调的是译文的效果。本文作者也提出了对直译和意译的一些看法。彼得·纽马克的理论把人们以往对直译、意译的零散的、片面的观点向前推进了一大步，使人们从直译、意译之争中走出来并看到翻译研究进一步发展的方向。&lt;br /&gt;
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===关键词===&lt;br /&gt;
直译, 意译, 彼得·纽马克, 语义翻译, 交际翻译&lt;br /&gt;
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===Introduction===&lt;br /&gt;
According to Chinese and western translation history, no matter in China or in western countries, studies on translation theories and practice have been performed over two thousand years. Translation, as an ancient and extremely significant human thinking activity, is closely related to the development of language itself. And translation after more than two thousand years of development, has developed prosperously, appearing quantities of translation theories, translation schools and translators. However, the dispute between two translation methods, literal translation and free translation has been lasting from throughout history. The fundamental problem between literal translation and free translation is based on the relationship between content and form. To solve this fundamental problem of the dispute, Peter Newmark first points out that translation studies have been long beset by the time-honored theoretical debate over free and literal translation. A range of wider aspects of translation related to the contribution to the development of languages, its relation to meaning, the intention of translation, the readers' background, the type of discourse and the language universals have been long neglected. Therefore, according to Newmark's own translation practice, he puts forward right translation methods, word-for-word translation, literal translation, faithful translation, semantic translation, adaption, free translation, idiomatic translation and communicative translation, which provide to translators to consider and use. Although in the actual translation practice, translators have no necessity to distinguish such translation methods and even to use these methods, this proposal may help translators open their horizons and translate more appropriately. Among the eight translation methods, semantic translation and communicative translation proposed by Newmark own the advantages of other six methods, becoming the most ideal translation methods. Peter Newmark's semantic translation and communicative translation are highly valued and influence the practice of translation in general. (Li Minghan 2014, 3)&lt;br /&gt;
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===Literal Translation and Free Translation===&lt;br /&gt;
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====Brief Introduction of Literal Translation and Free Translation====&lt;br /&gt;
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From ancient times, translators hold various attitudes toward such two translation methods, literal translation and free translation. &lt;br /&gt;
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=====Literal Translation=====&lt;br /&gt;
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Literal translation is a translation method which not only keeps the substance of the original, but also keeps the form of the original. This definition implies that the translation version is expressing the content of the original and should spare no efforts to make every part of the translation version corresponding to every part in the original text including construction of sentence, meaning of the original words, metaphor of the original and so on. &lt;br /&gt;
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According to Liu Zhongde, literal translation can be summarized into &amp;quot;to reproduce both the ideological content and style of the entire literary work and retain as much as possible the figures of speech&amp;quot;. (Liu Zhongde 1991, 52) &lt;br /&gt;
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Xu Yuanchong defines literal translation as &amp;quot;the kind of translation which is faithful not only to the content but also to the form of the original.&amp;quot; (Xu Yuanchong 1984, 45)&lt;br /&gt;
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Newmark suggests that literal translation is like, &amp;quot;sometimes it is very difficult to define what is literal translation, it is believed that a translation can be regarded as the literal translation when the translator is not influenced but the foreign flavors.&amp;quot;(Newmark 2001, 46) &lt;br /&gt;
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Mr. Yang Xianyi holds that the translators should be as faithful as possible to the original image and too much explanation and creativity should be avoided. This means translators should try to use literal translation method to introduce imagery in the source language to the target language readers. The reason why those translators who insist on literal translation are that they think literal translation is the only way to keep faithful to the original. They endeavor to adopt from as similarly as possible to the original to show the original meaning, thinking that it's the truest reflection of the original. (Wang Zuoliang 1989, 43)&lt;br /&gt;
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=====Free Translation=====&lt;br /&gt;
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Free translation is a translation method which only keeps the substance of the original, but not keeps the form the original. Target language and source language have different forms to show the same substance, and they could not produce the same result. Free translation does not mean to delete or add content to the original, though it does not pay much attention to the form of the original. Otherwise, the translation would not be faithful to the original. Translators always discover the meaning behind the forms in the source language and dose their best to produce the same meaning in the target language, using the forms and structures in the target language. Consequently, what is supposed to change is the form and the code, and what should remain unchanged is the meaning and the message. &lt;br /&gt;
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Shuttle worth and Cowie define free translation as &amp;quot;a type of translation in which more attention is paid to producing a natural target language than to preserving the source language wording intact.&amp;quot; (Shuttle worth&amp;amp;Cowie 2004, 62)&lt;br /&gt;
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Free translation is the conveying of the discourse meaning of the speaker is not restricted by the structure and linguistic and rhetoric styles of the original text. (Ren Wen 2012, 18)&lt;br /&gt;
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Liu Zhongde has given his definition to free translation. According to his definition, free translation aims at transmitting the meaning regardless of the sentence forms and rhetorical devices. If translators are not able to  make the translated text faithful to the original text through literal translation, they may use their own words to explain the meaning of the text without considering the words and forms in original text. (Liu Zhongde 1991, 53-54)&lt;br /&gt;
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====Disputes over Free Translation and Literal Translation====&lt;br /&gt;
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In the past, translators generally believed that language and thought were unified, and language was form while thought was content. However, it was impossible to realize the consistence between language forms and ideological content, producing the contradiction between form and content, which is the problem between literal translation and free translation. Modern science has proved that language and thought are not a unity and constitutes a relationship between form and content. Language is only a symbolic system to express thoughts. Translation expresses the same idea by using two different language signals. &lt;br /&gt;
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Marcus Tullius Cicero is generously acknowledged to be the first person to put forward a systematic description of the practice of translation and he said &amp;quot;I did not translate them as an interpreter, but as an orator... I did not hold it necessary to render word for word, but I preserve the general style and force of language.&amp;quot; (Tan Zaixi 2018, 20) He puts forward mainly two viewpoints. Firstly, the translation should be as close as possible to the language habits of the target language. At that time, namely, the translation should correspond with Roman habits as much as possible to touch and resonate with the readers. What's more, he advocates free translation and opposes literal translation as he believes that free translation is superior to literal translation. The most important thing in translation is not the corresponding in form, but the meaning and thought in the source language. Cecero's thoughts have provided a guide for other translators and produced an effect on them. Since Cicero came up with his opinion, the disputes over literal translation and free translation has never been stopped. &lt;br /&gt;
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Eugene Nida holds that if all languages differ in form, then quite naturally the forms must be changed if one is to preserve the content. He is in favor of dynamic equivalence instead of formal correspondence, maintaining the original meanings. In this sense, Nida agrees with free translation, just as he expresses that translating means translating meaning. (Nida 1985, 119-125)&lt;br /&gt;
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Zhai Qiubai insists literal translation and claims that the correct translation is based on Chinese syntax and rhetoric and has its specific intentions. First of all, he regards translation as a part of Proletarian literature. Translation should systematically introduce proletarian revolution thoughts to Chinese readers. Furthermore, translation should help create modern Chinese language and literal translation is an approach. To preserve the spirit in the original text, some non-smoothness can be tolerated. (Cheng Yongsheng 2002, 65) &lt;br /&gt;
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Lu Xun defines clearly that translation must take into account of two sides: one is easy to understand, the other maintains the style of the original. This explanation refers that the translators must translate according to the original text rather than their own world view and aesthetic taste. The translators must try their best to maintain the style of the original author and inherit historic and national characters rather than imposing extrinsic aesthetic and social background culture of other people on the translation. (Chen Fukang 2000, 301)&lt;br /&gt;
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Mao Dun has pointed out that due to different language families of Chinese and English and different structures, word-by-word translation us almost impossible actually. Because word-by-word translation is difficult to achieve its ideal effect, any discussion related with literal translation and free translation is inevitably involved with the problem &amp;quot;what is the boundary between them?&amp;quot; He also holds that the so-called literal translation, superficially speaking, means not to alter the original words and sentences. (Xu Haiyan &amp;amp; Sun Weihong 2012, 80)&lt;br /&gt;
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In Xu Yuanchong's opinion, the criteria to judge literal translation and free translation is whether the translation is faithful to the original. If a translation is faithful to both meaning and form of the original text, it is literal translation. If a translation is only faithful to meaning rather than form, it is free translation. If a translation is only faithful to form rather than content, it is mechanical translation. And the standard to judge faithfulness are form and content. For translation, content is more significant than form. Besides, translators should use both literal translation and free translation. However, sometimes it is difficult to use literal translation or free translation in a translation, so it is not necessary to define literal translation or free translation in those situations. Xu argues that literal translation is not only being faithful to the content of the original text but also being close to its form. When Xu discusses the situations using literal translation or free translation, he often mentions readers and contexts, among which readers are more important. No matter literal translation or free translation, translators should put faithfulness to the content of the original text first, smoothness of target text form second, faithfulness to the form of the source text third. In other words, on the premise of faithfulness to the source language, translation should strive for smoothness of form. On the premise of smoothness of translation, translators should try their best to realize faithfulness to form of the original. If there is a contradiction between the smoothness and faithfulness of the original form, it is of no necessity to stick to the original form. These are the relationships between content and form, and literal translation and free translation. (Cheng Yongsheng 2002, 66)&lt;br /&gt;
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Whether in Chinese translation circle or in western translation circle, the contradiction between content and form, and literal translation and free translation exists and arouses heated discussion.&lt;br /&gt;
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===Semantic Translation and Communicative Translation===&lt;br /&gt;
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To solve the fundamental problem of free translation and literal translation, Peter Newmark, a renowned western translation theorist, linguist and professor of translation at the University of Surrey, combining with years of translation experience, has concluded and summarized a corresponding theory, semantic translation and communicative translation, whose core is the problem of literal translation and free translation. Semantic translation and communicative translation have been put forward against the background that the majority of scholars have argued for a long time whether to translate literally or freely. The concepts of communicative and semantic translation represent Newmark’s main contribution to general translation theory. (Newmark 1991, 10)&lt;br /&gt;
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====Semantic Translation====&lt;br /&gt;
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Newmark puts the definition of semantic translation as &amp;quot;Semantic translation, attempts to render, as closely as the semantic and syntactic structures of the second language allow, the exact contextual meaning of the original. &amp;quot; As this version of definition indicates, communicative translation focuses essentially upon the comprehension and response of TL receptors. Semantic translation severs for the source language author and gives a high priority to reflecting his thought patterns and stylistics. (Shuttleworth and Cowie 2004, 22) Here is an example.&lt;br /&gt;
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E.g. 谋事在人，成事在天。&lt;br /&gt;
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Yang Hsien-yi and Gladys Yang's Version: Man Proposes, Heaven disposes.&lt;br /&gt;
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In this example, the Chinese idiom means that a man has done his or her best to do something and as to whether he or she can achieve the goal, it depends on the fortune. “天” refers to the master of nature in ancient Chinese culture. This word is semantically translated into “heaven” as the translation emphasizes the original information and tries to preserve the favor, style and culture maintained in the source language.&lt;br /&gt;
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====Communicative Translation====&lt;br /&gt;
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Communicative translation attempts to produce on its readers an effect as close as possible to that obtained on the readers of the original. As this version of definition indicates, communicative translation centers around the semantic aspects of the source language texts. To be specific, in communicative translation, the emphasis should be on conveying the message of the original in a form, which conforms to the linguistic, cultural and pragmatic conventions of target language. Both content and language are readily acceptable and comprehensible to the readership. (Chen Boyu 2003, 4)&lt;br /&gt;
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Communicative translation intends to present the main idea of the original text and emphasize the social value generated by the translation. Communicative translation highlights on conveying the message expressed in the original and form of the the source language. Due to different textual functions, content and form should have different focuses. Texts of informative function emphasize on the information beyond the language, while texts of vocative function center on readers. The primary intention of translators is to convey the message to the target readers, without paying much attention to the style of the original. If it is necessary, translators can adjust grammar and words to better transmit the information. The change of forms is not only allowed, but also encouraged. (Zhang Linlin 2010, 17)&lt;br /&gt;
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E.g. 谋事在人，成事在天。&lt;br /&gt;
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Hawkes's Version: Man Proposes, God disposes.&lt;br /&gt;
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This translation is communicative translation. Different from the version of Yang, Hawkes translated &amp;quot;天&amp;quot; into &amp;quot;God&amp;quot;. In western culture, people believe that &amp;quot;God&amp;quot; is the master of nature. It renders the contextual meaning of the original in such a way that both content and language are readily acceptable and comprehensible to the readers.&lt;br /&gt;
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====Comparison Between Semantic Translation and Communicative Translation====&lt;br /&gt;
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The fundamental difference between semantic translation and communicative translation is that semantic translation attaches more importance to the content rather than effect and communicative translation is just opposite. &lt;br /&gt;
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Firstly, semantic translation is more objective, stresses accuracy and is submitted to the author, culture and meaning of the original. Communicative translation is more subjective, pays much attention to the readers' responses, and is submitted to the target language and its culture. Semantic translation and communicative translation have difference in expression form. &lt;br /&gt;
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Second, semantic translation make the translated text more close to the original form and retain the vocative effect as much as possible. If there is no much difference between the source and target language specifications, translation should maintain the length of sentences in the original text as well. Communicative translation will reorganize the syntax and utilize more common collocations or words to make translation more fluent, idiomatic and understandable. In the communicative translation, to make the translation brief and emphasize key information, translators should get rid of the bondage of the source language structure and make appropriate adjustments which are not allowed in the semantic translation, such as adjusting the logic relations in the original, making obscure concepts distinct, deleting repeated unnecessary details or redundant information, normalizing some peculiar expressions, and even correcting factual or writing mistakes. &lt;br /&gt;
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Thus, they have different functions. Semantic translation, performing expressive function, tries to preserve the language characteristics and unique expression forms of the source language to present thinking process of the author. Its translation judged by the target readers is likely to be smoother, simpler, clearer and more direct. While communicative translation is to convey message, performing vocative function. &lt;br /&gt;
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In addition, the key of communicative translation is immediacy which means the success of translation depends on the readers' responses. Semantic translation lays stress on faithfulness to the source text, but cannot neglect to convey the message contained in the source text. (Lin Xiaoqin 1987, 50)&lt;br /&gt;
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Here are some examples to better present the differences between semantic translation and communicative translation.&lt;br /&gt;
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E.g. 世人都晓神仙好。&lt;br /&gt;
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Yang Hsien-yi and Gladys Yang's Version: All men long to immortals.&lt;br /&gt;
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David Hawkes’s Version: All men knew that salvation should be won. &lt;br /&gt;
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In this example, “神仙” is the difficult point because there is no corresponding expression in English. In Chinese culture, “神仙” refers to transcendence and is a life with “supernatural forces” in human beings. Yang directly translated “神仙” as “immortals” because being an immortal is the highest ideal of Taoism. His translation is semantic translation. While Hawkes used “salvation” which is a concept in the Christianity. The creed of Christianity is to be saved from sins. And his translation is communicative translation. Yang chose to be faithful to the original text to preserve the concept in the Taoism. While Hawkes decided to pay more attention to religious background and mentality of the target readers. &lt;br /&gt;
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E.g. 真是“天有不测风云，人有旦夕祸福”。&lt;br /&gt;
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Yang Hsien-yi and Gladys Yang's Version: Truly, “storms gather without warning in nature, and had luck befalls men overnight.”&lt;br /&gt;
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David Hawkes’s Version: I know “the weather and human life are both unpredictable.”&lt;br /&gt;
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In this sentence, “天有不测风云，人有旦夕祸福” is a challenge in translation. It is a Chinese idiom which means the occurrences of some disasters are unpredictable in advance. According to antithesis habit in Chinese, Yang translated these two idioms into the corresponding English compound sentence, which adopted semantic translation. While Hawkes briefly translated into a single sentence, which adopted communicative translation. The former sentence may be appreciated by Chinese readers, and the simplified processing of the latter is easier for native English speakers to understand and accept because it conforms to the British and American expressions, especially in line with the habits of daily expression.&lt;br /&gt;
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E.g. Wet Paint!&lt;br /&gt;
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Version 1: 湿油漆&lt;br /&gt;
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Version 2: 油漆未干&lt;br /&gt;
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Version 3: 小心油漆&lt;br /&gt;
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Version 4: 勿触油漆&lt;br /&gt;
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This sentence is an official notice. From the four versions of the source text, there are differences among them. Version 1 is word-by-word translation, conveying an obscure message and not involving in any receptors. Version 2 just describes a fact that the paint is not dry but wet and does not present the informative function of the original. This notice aims to warn people not to do something and keep away from the paint. Version 3 and version 4 are free translations because they emphasize more on the content instead of form. The first and second version are semantic translation because they only describe the fact and tell readers the information that the paint is not dry. However, the third and fourth version are communicative translation which not only tell people the information but also play the warning function to notify readers not to touch the wet paint. &lt;br /&gt;
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However, semantic translation and communicative translation are not opposite. Newmark points out that the two should be viewed as a whole, instead of isolated or opposite parts. And a problem should be emphasized. Corresponding text-types can overlap. Semantic translation pays more attention to a mainly expressive text and communicative translation is more popular in mainly informative or vocative texts. In brief, translators should think the type of text over and ensure a good balance between them.&lt;br /&gt;
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====Text Typology====&lt;br /&gt;
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Language is a unique symbolic system, which has its own most important semantic system, as well as a functional system involving context. &lt;br /&gt;
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Newmark's text tppology theory is influenced by Reiss, Jacobson and other translators. In the book of Approaches to Translation, Newmark put forward three functional texts, including expressive text, informational text and vocative text. In accordance with these types of classification, Newmark summarized semantic translation and communicative translation. (Newmark 2001, 39)&lt;br /&gt;
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Expressive text mainly talks about the author's subjective emotions and his or her standpoints, which centers on the source language and the author regardless of the target readers' responses. Newmark points out that the expressive text includes three literary styles: &amp;quot;(1)serious imaginative literature such as poem, novels and dramas, (2) authoritative statements such as speech or statements from government officials or party's officials or party's leaders, documents and regulations and laws from government, and academic works from authorities, (3) autobiography, prose and personal correspondence without target readers.&amp;quot; (Newmark 2001, 55) Semantic translation is applicable to the expressive text, with a particular emphasis on the language features and language structure of the original language which is similar to literal translation.&lt;br /&gt;
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As for informative text, Newmark proposes that &amp;quot;typical informative texts are concerned with any topic of knowledge&amp;quot;. (Newmark 1988, 40) The informative text focuses on the information or the content provided in the text. According to Newmark, informative text includes textbooks, papers, reports, and minutes about science, industry, technology, economy, commerce and other areas of knowledge or events, which are mainly used to deliver information and reflect truth. In light of translation of informative text, Newmark proposes that communicative translation can be adopted to convey accurate meaning or the content of the source text to the target readers. (Newmark 2001, 67)&lt;br /&gt;
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&amp;quot;The function of vocative text is to call upon readers to act, to think, to feel and to react in the way intended by the text.&amp;quot; (Newmark 2001, 41) The vocative text includes all kinds of specifications, publicity materials, advertisements, notices and other persuasive words. Two factors must be emphasized in vocative text: one is the relationship between the author of the source text and readers of the source text and another is that translation is easy to be understood by the target readers, therefore, translators should take the source language and its cultural background into consideration in the course of translation practice. And communicative translation should also be used in the vocative text which means much attention should be paid on the target readers' understanding and reaction.&lt;br /&gt;
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===Newmark's Improved Views on Literal Translation and Free Translation===&lt;br /&gt;
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It can be said that literal translation and free translation in the past were had their own disadvantages. Newmark agrees with literal translation and he holds that &amp;quot;translation means filling the blank between two languages and even explaining is translating.&amp;quot; (Newmark 1999, 33) This indicates that he does not neglect the importance of free translation. If the language and grammar structure of the original are not that important, the fidelity of the translation can be lowered, creating more room for translation. This situation can mainly adopts free translation. He even believes that translators can create better translation than the original one. Communicative translation and free translation resemble when it comes to the preference for the message to the manner, and the content to the form of the original. In his masterpiece ''Approaches To Translation'', he analyzes and discusses the loss of meaning. As long as the loss of meaning in the translation is inevitable, content cannot separate from form. And complete faithfulness to the original is almost impossible because the so-called preserving the original meaning is relative. What's more, the content of a text should not be equal to referent in language, but include referent, rhyme, genre, style and so on. As the slogan, being faithful to the original, was too empty, some translators advocating literal translation did free translation and even paraphrased the original in the practice. Newmark holds that translators need to notice the content in four layers, the original text level, referred level, coherent language level and natural tone level. In this way, he transforms the empty slogan into concrete requirements in the translation practice and meanwhile criticized the disadvantages of literal translation. (Newmark 1999, 33)&lt;br /&gt;
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Likewise, the viewpoints of free translation are not advisable as well. Newmark criticizes the basis of free translation school, making the target readers obtain feelings similar to that of the original readers. He thinks the goal is too difficult to achieve because translators had problem in completely knowing the feelings and responses of the original readers. He further puts forward some reasons why this goal cannot be realized. As long as the same feelings cannot be obtained by the source and target readers, there exists no reason or judging basis of great amending or creative rewriting.  Free translation produces the matter rather than the manner, or the content rather than the form. Newmark regards it as usually a paraphrase much longer than the original, often prolix and pretentious, and not translation at all. In free translation, &amp;quot;more translation is paid to producing a natural reading TL text than to preserving the ST wording intact.&amp;quot; (Shuttleworth and Cowie 2004, 62)&lt;br /&gt;
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Newmark criticizes that the argument is theoretical without taking other important facets of translator's purpose, the nature of readership and text typology into consideration. Newmark claims the argument could come to a compromise if translators deal with two sides with another visual angle. In 1981, he proposed semantic translation and communicative translation to replace the old terms. (Newmark 1988, 45)&lt;br /&gt;
&amp;quot;(a) communicative translation, where the translator attempts to produce the same effect of the target language readers as produced by the original on the source language readers, and (b) semantic translation, where the translator attempts, with the bare syntactic and semantic constraints of the TL, to reproduce the precise contextual meaning of the author.&amp;quot; (Newmark 1981, 22) In order to better explain these two methods, he designed the form of a flattened diagram. (Newmark 1988, 45)&lt;br /&gt;
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                SL emphasis                            TL emphasis&lt;br /&gt;
   word for word translation                        Adaption&lt;br /&gt;
          Literal translation                     Free translation&lt;br /&gt;
          Faithful translation                  Idiomatic translation&lt;br /&gt;
            Semantic translation               Communicative translation&lt;br /&gt;
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The diagram indicates that there is a hugest gap between the translation guided by word for word translation and the translation guided by adaption, then between literal translation and free translation, faithful translation and idiomatic translation and semantic translation and communicative translation last. These eight translation methods are a continuity, and they complement each other and cannot be completely separated. In Newmark's opinion, adaption is the freest translation method, and suitable for drama and poem translation. Free translation reproduces the main content of the original and pay more attention to interpret and expound. Target texts guided by idiomatic translation are more natural, more fluent and more coherent. But due to adopt some unknown expressions, the original meaning may be distorted.&lt;br /&gt;
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Communicative translation possesses the advantages of adaption, free translation, idiomatic translation and semantic translation maintains the advantages of word for word translation, literal translation and faithful translation. Newmark maintains only by combining semantic translation and communicative translation can achieve two aims of translation-accuracy and conciseness. By distinguishing these right methods, he gives further refinements to the above definition of semantic translation and communicative translation. He adds one more element &amp;quot;aesthetic value&amp;quot;. Meanwhile, he gives up emphasizing the &amp;quot;effect&amp;quot;, and refines communicative translation to be more specific, &amp;quot;communicative translation attempts to render the exact contextual meaning of the original in such a way that both content an language are readily acceptable and comprehensible to the readership.&amp;quot; (Newmark 1988, 47)&lt;br /&gt;
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===My Thoughts on Literal Translation and Free Translation===&lt;br /&gt;
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The two translation methods, literal translation and free translation, are useful in the translation practice. Taking English-Chinese translation for example, in the translating process, translators can use the method of literal translation when the pattern of sentence in original text is similar with the Chinese one, and we can find some Chinese words being equivalent in meaning to the words used in the sentence of original text. In some cases there are some complex sentences that can be translated with the method of literal translation as well. As long as these sentences are short and the pattern of these sentences is relatively simple compared with other complex sentences, they can be translated by literal translation method. In English, the using of some metaphors and similes is almost similar to the way that they are used by in Chinese. For instance, &amp;quot;time flies&amp;quot; in English can be directly translated into Chinese as &amp;quot;时间飞逝&amp;quot;, as the Chinese people also describe time passing very fast in this way, which accords with the expression habit of Chinese.&lt;br /&gt;
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As English and Chinese are two kinds of different languages, there are many differences in various aspects, such as different grammar and language habits. In English there are some words or phrases we cannot find the relative words or phrases in Chinese. In this cases, using using literal translation method would not be proper. Under this condition, if the translator insists on using literal translation, the translation text will be difficult to be understood by the target readers. So in order to make the translation text readable, translators should adopt free translation. Under the direction of literal translation, translators will try their best to keep the flavor of original work, no matter on the material or the form. Literal translation is the effective method to keep the cultural flavor of original language. Therefore, when there are some cultural differences affecting the translation of culture-loaded words between the source language and the target language, free translation can become one of the translation strategies which provide possibility in reducing or even removing the restrictive factors in translation process. &lt;br /&gt;
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In the process of translation, it is an ideal way to combine literal translation and free translation because they mutually complement in many cases. When literal translation cannot express the original and basic content of the author and hinder readers to understand, it is crucial for the translator to use free translation to express the author's meaning. When free translation cannot meet the requirement of being faithful to the content of the original text, it is significant for the translation to use literal translation to show features ad the structure of the author's language.&lt;br /&gt;
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===Conclusion===&lt;br /&gt;
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The dispute between two translation methods, literal translation and free translation has been lasting from throughout history. The argument of them is based on the relationship between content and form. This paper attempts to introduce Peter Newmark's improved views on the literal translation and free translation. Newmark criticizes some disadvantages and proposes semantic translation and communicative translation. Semantic translation focuses on maintaining the content of the original text, while communicative translation emphasizes more on the effect of the translation. The author also shows opinions on literal translation and free translation. Peter Newmark's theory has taken a big step forward from one-sided view of literal translation and free translation in the past, which has provided the direction of further development of translation research.&lt;br /&gt;
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===References===&lt;br /&gt;
*Nida,E.A[尤金·A·奈达].(1985).''Translating means Translating meaning''《翻译即译意》.UNESCO: Publication of FIT. &lt;br /&gt;
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*Newmark, Peter[彼得·纽马克]. (1991). ''About Translation''《关于翻译》. North Somerset: Multilingual Matters&lt;br /&gt;
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*Newmark,Peter[彼得·纽马克].(1998). ''A Textbook of Translation''《翻译教科书》. London: Prentice-Hall International (UK) Ltd. &lt;br /&gt;
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*Newmark, Peter[彼得·纽马克]. (1981). ''Approaches to Translation''《翻译方法》. Oxford: Pergamon Press.&lt;br /&gt;
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*Shuttleworth &amp;amp; Cowie[沙特尔沃斯&amp;amp;考伊]. (2004). ''Dictionary of Translation Studies''《翻译研究词典》. Shanghai: Shanghai  Foreign Language Education Press.&lt;br /&gt;
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*陈伯雨 Chen Boyu. “翻译对等” 研究[Study on Translation Equivalence]. 辽宁师范大学[Liaoning Normal University]. 2003.&lt;br /&gt;
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*陈福康 Chen Fukang.《中国译学理论史稿（修订本）》[''Draft History of Chinese Translation Theory (Revised)'']. 上海：上海外语教育出版社[Shanghai Foreign Language Education Publishing House]. 2000.&lt;br /&gt;
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*程永生 Cheng Yongsheng.中国近现代直译与意译研究[Research on Modern Chinese Literal Translation and Free Translation]. 淮南工业学院学报(社会科学版)[Journal of Huainan Institute of Technology(Social Science)]. 2002.&lt;br /&gt;
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*李明瀚 Li Minghan.语义翻译和交际翻译在汉语政论文翻译中的应用[Semantic Translation and Communicative Translation in the Translation of Chinese Political Writings]. 辽宁大学[Liaoning University]. 2014.&lt;br /&gt;
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*林小芹 Lin Xiaoqin.纽马克论交际翻译与语义翻译[Newmark's Study on Communicative Translation and Semantic Translation]. 中国翻译[Chinese Translators Journal]. 1987. &lt;br /&gt;
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*刘重德 Liu Zhongde.文学翻译十讲[Ten Lectures on Literary Translation]. 北京：对外翻译出版社[Foreign Translation Press]. 1991.&lt;br /&gt;
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*任文 Ren Wen.交替传译[Consecutive Interpretation]. 北京：外语教学与研究出版社[Foreign Language Teaching and Research Press]. 2012.&lt;br /&gt;
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*谭载喜 Tan Zaixi.《西方翻译简史（增订版）》[''A Short History of Translation in the West(Updated Version)'']. 北京：商务印书馆[Commercial Press]. 2018.&lt;br /&gt;
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*王佐良 Wang Zuoliang.翻译：思考与试笔[Translation: Thinking and Writing]. 北京：外语教学与研究出版社 [Foreign Language Teaching and Research Press]. 1989.&lt;br /&gt;
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*许海燕,孙卫红.杨译本文化负载词的翻译——以《从百草园到三味书屋》为例[On C-E Translation of Culture-loaded Words by Yang Xianyi—A Case Study of From ''Hundred-plant Garden to Three-flavor Study''].陇东学院学报[Journal of Longdong University]. 2012.&lt;br /&gt;
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*许渊冲 Xu Yuanchong.翻译的艺术[The Art of Translation]. 北京：五洲传播出版社[China Intercontinental Press]. 1984.  &lt;br /&gt;
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*许渊冲Xuan Yuanchong.直译与意译[Literal Translation and Free Translation]. 上海外国语学院学报[Journal of Shanghai Institute of Foreign Languages]. 1980.&lt;br /&gt;
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='''Document Translation'''=&lt;br /&gt;
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==On translation of official documents of CangNan County	吴恺	Wu Kai==&lt;br /&gt;
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On Translation of Official Documents of Cangnan County&lt;br /&gt;
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Japanese Language and Literature, School of Foreign Languages, Hunan Normal University, Wu Kai--[[User:Wu Kai|Wu Kai]] ([[User talk:Wu Kai|talk]]) 04:45, 2 December 2020 (UTC)&lt;br /&gt;
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==='''Abstract'''===&lt;br /&gt;
As one of the forefronts of Zhejiang’s opening-up cause, Cangnan County in Zhejiang Province has been enjoying a rapid development and an ever-growing degree of opening-up with lasting vitality as it’s supported by national policies and nourished by the dividends of economic globalization since China's reform and opening-up. As China has ushered in a period of major changes rarely seen in a century, Cangnan County is also facing new opportunities and challenges. Under the background of this era, Cangnan County is expected to make good use of its own advantages, especially the geographical ones—it is close to countries and regions including Japan, South Korea, and Taiwan—and should spare no efforts to achieve a higher level of opening-up, and, in turn, further promote its development. As an embodiment of the collective will of the people of Cangnan County, the official document is one of the best manifestations of its governance and stability control capabilities. For this reason, the research on how to translate official documents is of great significance for that it offers a great opportunity for Cangnan County to re-examine itself and to show the rest of the world its achievement in building a culture-enriched county.&lt;br /&gt;
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==='''Key words'''===&lt;br /&gt;
 official document translation, Cangnan County, opening-up, Japan, South Korea&lt;br /&gt;
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==='''摘要'''===&lt;br /&gt;
自中国改革开放以来，浙江省苍南县作为全浙江对外开放的前沿阵地之一，得到了国家政策支持和经济全球化红利的滋润，苍南县发展水平与对外开放程度日新月异，全县活力持久带劲。随着中国迎来“百年未有之大变局”，苍南县也面临着新的机遇和挑战，在此时代背景下，苍南县应该利用好自身优势，特别是临近日本、韩国、台湾等国家与地区的地理优势，努力开展更高层次、更高水平的对外开放事业，促进苍南更好的发展。为此，作为苍南县人民集体意志的体现，苍南县的公文就是对外展示其治理水平、稳控能力的最好的体现之一。而对于苍南县公文的如何翻译的研究，是促使苍南县重新审视自己、推进苍南人文县情传播海外的良机，意义重大。&lt;br /&gt;
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==='''关键词'''===&lt;br /&gt;
公文翻译  苍南县  对外开放  日本  韩国&lt;br /&gt;
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==='''I. System and Translation of Official Documents of Cangnan County'''===&lt;br /&gt;
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The unique official document system adopted by Chinese government agencies is a special integration of the thousands-of-years excellent political traditions in China and the essence of the organizational structure of the socialist regime. As a county-level unit in China's local administrative structure, Cangnan County has an official document system that is consistent with the national ones in general while has its own features. Official documents of Cangnan County can be basically divided into the following types of writing: resolutions, decisions, orders, bulletins, announcements, notifications, opinions, notices, reports, requests for instructions, approvals, proposals, letters, and minutes. Above-mentioned categories are collectively known as official documents. Besides, there are also some types of practical writing, including summaries, plans, notes, memos, briefings, speeches, manuals and so on, that are often used in our day-to-day work.&lt;br /&gt;
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In addition to those characteristics of the official documents that are commonly seen in China, official documents of Cangnan County also have its own features, which is mainly reflected in the aspect of proprietary terminology. Cangnan County, which used to be a part of Pingyang County in Zhejiang Province, was officially designated as a county in 1981 with the approval of the Central Government. It takes its name Cangnan, which means “on the south of the Yucang Mountain”, from its geographical location. As a relatively young county-level administrative unit in China’s administrative divisions, Cangnan County has a complex natural endowment and cultural environment, which is the reason why there are many special proprietary terms used in the official documents of Cangnan County, such as “Beautiful South Gate of Zhejiang Province”, “Southern Ouyue (an ancient kingdom in modern Wenzhou and Taizhou)” , “South Gate of Jiangsu-Zhejiang Region” and so on. Moreover, Cangnan is also the birthplace of the “Wenzhou Model”. Since the implementation of policy for the exchange of production materials and commercial grains in 1984, Cangnan has become an important base for the experiments and development of Wenzhou's private economy and market economy, and, thus, has made a significant contribution to the great cause of China's reform and opening-up.&lt;br /&gt;
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To conclude, the unity of the official document system viewed from the national scope of China and the uniqueness of the official document system viewed from the local scope of Cangnan area are both reflections of the integration of economic, political, and cultural elements. Therefore, when translating the terms and sentences in these official documents, obviously, it is almost impossible to follow general translation theories, such as Yan Fu’s “faithfulness, expressiveness and elegance” theory which applies to literature translation, and Christiane Nord’ Skopos theory which emphasizes schematic analysis. Due to the features of the official documents of Cangnan County, it is hard to imagine the consequence it will cause if those Cangnan and Chinese elements they contain are missed when translating them. Therefore, the starting point for the translation and research of Cangnan official documents should be analyzing the official document itself, but not choosing which translation theory to apply.&lt;br /&gt;
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The translation method focusing on the official documents themselves is undoubtably the one that emphasizes the content while manages to achieve a similarity in form. Thus, the translation theory that meets the requirements of official document translation in Cangnan County shall be the functional equivalence theory of the American linguist Eugene A. Nida. Eugene A. Nida argued in his theory that translation is to use the most appropriate, natural and equivalent language to reproduce the informational function of the source language both semantically and stylistically. Nida’s definition of translation specified that translation is seeking equivalence not only in lexical meaning, but also in semantics, style and literary form. Translation should convey both the denotative and connotative meaning of a message. Regarding the equivalence of translation, he believed that the equivalence consists of four parts: lexical equivalence, syntactic equivalence, textual equivalence, and stylistic equivalence. Among the four aspects, he emphasized that the meaning the core and most important part, followed by the form. The form of a text is likely to conceal the cultural connotation of the source language and may, therefore, hinder cultural exchanges. Based on the above, the reasons why the functional equivalence theory is applicable to official document translation in Cangnan County can be concluded as follows:&lt;br /&gt;
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First, the functional equivalence theory advocates that the target text should be equivalent to the source text both semantically and culturally. Official documents of Cangnan County are carriers of profound political culture with Chinese characteristics and the cultural environment in Cangnan. When translating them, in addition to showing the political consciousness and judicial authority of Cangnan government agencies, the local culture of Cangnan must also be reflected in the translations.&lt;br /&gt;
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Second, the functional equivalence theory suggests that if the lexical meanings and cultural elements cannot be taken into account at the same time, the translator then may give up the equivalence in form and try to reproduce the semantic and cultural meaning of the source text by changing the form of the sentence. There are many specialized terms with Chinese characteristics and Cangnan’s characteristics in official documents of Cangnan County. When translating them, once there is no corresponding expression in the target language, other forms of expression must be adopted to retain the meanings of those specialized terms as much as possible.&lt;br /&gt;
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Third, the functional equivalence theory proposes that if the change in form is still not enough to express the semantic and cultural meaning of the expression in the source language, the translation technique of “heavy damage” can be adopted to resolve cultural differences , so that the source language and the target language can achieve equivalence in semantic meaning. “Heavy damage” refers to the transformation of the deep structure of the source language into the surface structure of the target language, that is, expressing the cultural connotation of the source text with expressions of the target language. It cannot be ruled out that there are words and sentences in the official document of Cangnan County that cannot be translated, and when this happens, the translator can only rely on his translation techniques and understanding ability to process them creatively.&lt;br /&gt;
Above are simply macro analyses of the official document system in Cangnan County, and when it comes to specific analyses, challenges we face will only be severer.&lt;br /&gt;
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==='''II. Stylistic Features and Translation of Official Documents in Cangnan County'''===&lt;br /&gt;
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Looking at the official documents of Cangnan County from the micro level, we can work on the study of its translation based on the following characteristics.&lt;br /&gt;
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'''1. Details and Accurate'''&lt;br /&gt;
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As an officially-written document geared for the needs of our people, wording of the official documents of Cangnan County has a very specific orientation. Almost all content words have very clear meanings and connotations.&lt;br /&gt;
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For example, the sentence “经研究，县政府决定召开市对县安全生产巡查反馈会暨突出问题集中教育警示会，现将有关事宜通知如下。(As discussed, the county government decided to convene a feedback meeting on city-to-county inspections of production safety and a meeting for education and warning on outstanding issues. The relevant matters are hereby notified as follows.)” in the document 《苍南县人民政府办公室关于召开市对县安全生产巡查反馈会暨突出问题集中教育警示会的通知》(“Notice of the Office of the People's Government of Cangnan County on Convening a Feedback Meeting on City-to-County Inspections of Production Safety and A Meeting For Education and Warning On Outstanding Issues”) (the office of the People's Government of Cangnan County on June 8th, 2020) conveys several points very accurately and clearly, including the decision maker, the type, content and theme of the meeting. Therefore, special attention must be paid to the integrity of the information delivered when translating this sentence. For example, it is translated into Japanese as “討議を通じて、県政府は県の安全生産状況に対する市政府の巡査結果反映会及び顕著問題教育警告会を開催することが決定した。関連事項を以下のようにお知らせする。”&lt;br /&gt;
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'''2. Precise and Compact'''&lt;br /&gt;
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The role of official documents is to exchange formal information between the upper and the lower, the people and the officials, and the relevant departments. Therefore, the wording of the official documents must be rigorous. No slang and loose sentences should be used, and excessive use of parentheses and descriptive modifiers should be avoided. Official documents of Cangnan County follow this rule as well, in which there will never be informal expressions like daily spoken words.&lt;br /&gt;
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For example, the expression “三、决策目录施行动态管理，因工作需要增减或变更重大行政决策事项的，承办单位应按照相关规定程序提请调整。(Third, the decision catalogue shall be managed in a dynamic way, the undertaker shall submit application for adjustments in accordance with the relevant regulations if any increase/decrease or change shall be made to the major administrative decision-making matters because of the need of actual work.)” in the document《关于公布苍南县2020年度重大行政决策事项目录的通知》(“Notice on Issuing the 2020 Annual Catalogue of Major Administrative Decision-Making Matters of Cangnan County”) (the office of the People's Government of Cangnan County on Sept. 20th, 2020) When translating this sentence into Japanese, the translator shall fully considers the preciseness of the original expression, and translate it as “三つ目、戦略目録動的管理施行、仕事需要によっての増減または変更が必要な場合、請負機構は関連規定の手順に従って調整を提出しなければならない。”&lt;br /&gt;
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'''3. Programmed and Standardized'''&lt;br /&gt;
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The purpose of official documents requires a stable and routine writing program so that the official business can be conducted in an orderly manner. It is essential that the document writing is reasonably programmed. It allows the officer to know what it is and what to do at a glance if a standardized official document program is followed. The standardization of the official documents of Cangnan County can be regarded as a tricky feature in their translation.&lt;br /&gt;
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For example, the expression “各乡镇人民政府，县政府直属各单位 (the people's government of all townships and towns and all directly affiliated institutions of the people’s government of Cangnan County)” in the document《关于公布苍南县2020年度重大行政决策事项目录的通知》(“Notice on Issuing the 2020 Annual Catalogue of Major Administrative Decision-Making Matters of Cangnan County”) (the Office of the People's Government of Cangnan County on Sept. 20th, 2020) is obviously a standardized addressing of the receiving units of an official document, and it should be translated into Japanese as “各郷鎮人民政府、県政府直属の各部門”.&lt;br /&gt;
Viewing from a micro perspective, we may find that special attention should be paid to many precise details when translating those official documents. It is of great significance that, during the cause of reform and opening-up, we strike a balance between the macro level and the micro level in official document translation, which will serve as a stage for Cangnan County to show itself to Japan, South Korea and other East Asian countries and regions.&lt;br /&gt;
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==='''III. Translation of Official Documents of Cangnan County under the Context of the Japanese Language'''===&lt;br /&gt;
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Cangnan County is one of the nearest administrative units to Japan in China, and Okinawa Prefecture in Japan and Cangnan County are neighbors facing each other across the sea. Furthermore, Cangnan County itself has ports in Xiaguan, Pacao, Yanting, Dayu and other places, and has the basic conditions for conducting small transactions of freights with Okinawa. However, due to the inadequacy policies, laws and regulations, a large portion of Japan’s trade with China, especially with Zhejiang Province, is still conducted in the three port cities, namely Ningbo, Zhoushan, and Hangzhou. Cangnan’s geographical advantages have never been given to full play. To Japan, Cangnan is not a total stranger. Wenzhou City has a great influence upon Japanese culture and history. Special local products such as Wenzhou green tea and Wenzhou satsuma orange are very attractive to Japanese people. Many of the business exchanges during the Kamakura Bakufu in Japan were happened between Hakata merchants and Wenzhou people. As an important subordinate region of Wenzhou City, Cangnan County naturally has left an impression on Japanese people when it comes to China.&lt;br /&gt;
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If Cangnan hopes to lay a foundation for the future cooperation with Japan through its cause of opening up to the outside world, it is of great importance that we study the methods and techniques to make the translation of Cangnan’s official documents to meet the specific context of the Japanese language, which is also a part of the cultural exchanges that will facilitate economic and trade cooperation between Japan and China. The political status of Cangnan County is equivalent to the one of regular cities and special wards in Japan, but this does not mean that the official documents of Cangnan County can be regarded as equivalents to the official documents released by the governments of the regular cities and special wards in Japan, and there are huge differences between their respective official documents in form, wording, Cultural connotation and etc. To better translate Cangnan official documents under the context of Japanese language, the following aspects must be paid attention to:&lt;br /&gt;
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1. Detailed Comparison of Types&lt;br /&gt;
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In the Japanese official document system, the word “公文” is different in meaning from the word “公文” in Chinese official document system. In Chinese “公文” means government official documents, while in Japanese “公文” generally refer to legal documents that have the force of law and the term “公文書” is the one that refers to government official documents, which roughly includes “外交文書” and “起案文”, “通達” , “命令”, “許可”, “通知書” and so on . When translating official documents of Cangnan County into Japanese, attention should be paid to the transformation of the types of the official documents. The classifications of official documents in China and Japan are different from each other.&lt;br /&gt;
For example, when translating documents such as “proposal letter”, “report” and the like into Japanese, the title should be translated as “建言書” and “報告書”, while “命令(order)”, “通知(notice)”, “提案(Proposal)” and etc. need no translation and can be titled with the original characters directly as “命令”, “通知”, “提案”, and can also be further translated into “命令状”, “通知書”, “提案書”. Those reflect the characteristics of the division of the types of the official document system in Japan.&lt;br /&gt;
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2. Careful Consideration of the Translation of Chinese Characters&lt;br /&gt;
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There are a large number of Chinese characters in Japanese. This will for sure be an advantage when translating official documents of Cangnan County into Japanese, however, at the same time, this is also a huge disadvantage. After all, those Chinese characters are Japanized Chinese characters, and their meanings and usages are more or less different from the original ones in Chinese.&lt;br /&gt;
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For example, the expression “设定全县森林防火期(setting the season of forest fire prevention)” in the document 《苍南县应急管理局局长王再忠关于&amp;lt;苍南县人民政府关于做好森林防火期护林防火工作的通告&amp;gt;的政策解读》(“Policy Interpretation Of ‘Notice of Doing Forest Protection and Fire Prevention during the Season of Forest Fire Prevention by the People's Government Of Cangnan County’ by the Director of Cangnan Emergency Management Agency Wang Zaizhong”) in could be translated character by character into Japanese as “全県域森林防火期間設定”. However, expressions such as “野外火源如何管理” cannot be translated in the same way, and must be processed accordingly and translated into Japanese as “野外の火の元が如何に処理すること”. When translating official documents of Cangnan County into Japanese, the translators must reject the preconceived thinking and native Chinese thinking, or it will lead to irreversible misunderstandings and mistakes.&lt;br /&gt;
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3. Mastery of the Equivalence of Semantic Meaning&lt;br /&gt;
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Chinese is an isolating language, in which the grammatical meaning is reflected by the order of words, while Japanese is an agglutinative language, in which auxiliary words and flexible usages of vocabulary are adopted to reflect the grammatical meaning. This requires the translators to have mastery of the equivalence of semantic meanings when translating official documents of Cangnan County into Japanese and try to achieve perfect equivalence in official document translation.&lt;br /&gt;
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For example, there is a expression as “全体公民必须认真贯彻‘以人为本、预防为主、积极扑救、有效消灾’的森林防灭火工作方针，一旦发现森林火灾，要立即向当地人民政府或森林防灭火指挥部办公室报告(all citizens must seriously implement the working policy of forest fire prevention and firefighting ‘people-oriented, prevention-focused, active in firefighting, effective in disaster relief’, once a forest fire is detected, it must be reported to the local people’s government or the forest fire prevention and firefighting headquarters office immediately)” in the document 《苍南县应急管理局局长王再忠关于&amp;lt;苍南县人民政府关于做好森林防火期护林防火工作的通告&amp;gt;的政策解读》(“Policy Interpretation Of ‘Notice of Doing Forest Protection and Fire Prevention during the Season of Forest Fire Prevention by the People's Government Of Cangnan County’ by the Director of Cangnan Emergency Management Agency Wang Zaizhong”). When dealing with long and complex sentences, the translator must be flexible in using translation techniques to decompose the sentences and translate them step by step, focusing on the balance between the form of the sentence and its semantic meaning. Based on this principle, the abovementioned sentence could be translated into Japanese as “人間本位、予防軸化、積極救助、有効消災という森林防火作業方針は全県民が必ず強固に守らなければならない。林に火事が発見された際、直ちに所轄人民政府や森林防火指揮部執務室に報告すること。”&lt;br /&gt;
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There is no doubt that, in terms of four-character idioms, allusions, new words of the era and etc., the translation of official documents of Cangnan County under the context of the Japanese language still has a long way to go, but the part that we should pay most attention to in translation is always the differences in culture between the source language and the target language. Only by keeping this basic point in mind at all times, will there be no huge mistakes being made when translating official documents of Cangnan County into Japanese.&lt;br /&gt;
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==='''Ⅳ. Translation of Official Documents of Cangnan County under the Context of the Korean Language'''===&lt;br /&gt;
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Zhejiang Province and South Korea have laid a good foundation for economic and trade cooperation projects, and a framework that is comprehensive, wide-ranging, and multi-level has been established for Zhejiang-South Korea cooperation. The advantages of the two regions are obviously complementary and the development potential for both sides and in between is huge. In September 2016, the Zhejiang China-Korea (Quzhou) Industrial Cooperation Park was approved as the first batch of “Zhejiang International Industrial Cooperation Parks” in Zhejiang Province. The total planned area is about 3,000 acres and the total planned investment is 12 billion yuan. Represented by the Zhejiang China-Korea Industrial Cooperation Park, a large number of economic and trade cooperation projects has been carried out with South Korea by Zhejiang Province. As an indispensable part of Zhejiang Province, Cangnan County is facing a huge gap in the cultural exchanges and economic cooperation with South Korea. How to elevate the level of Cangnan’s opening up to the outside world and advancing Cangnan’s economic, trade and cultural cooperation with South Korea is a question that is well worth exploring. Although Cangnan is further away from South Korea compared with regions in the north of Zhejiang, geographic location should never be a factor that hindering Cangnan’s economic, trade and cultural cooperation with South Korea. In an era of ever-deepening globalization, it is of great significance that we think about how to develop and promote the economic and trade and cultural cooperation between Cangnan and South Korea.&lt;br /&gt;
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Northern Zhejiang is a key area for economic, trade and cultural cooperation with South Korea. As the south gate of Zhejiang Province, if Cangnan County could open the door of economic, trade and cultural cooperation to South Korea, then this will inevitably bring extraordinary development opportunities to southern Zhejiang and make the pattern of Zhejiang and South Korea’s economic and cultural cooperation more balanced and healthy. The political status of Cangnan County is equivalent to the one of si(city), gu (district), and gun(county) in South Korea. Because of some historical reasons, South Korea is greatly influenced by Chinese culture. From the Three Kingdoms era of Joseon, to the Unified Silla Dynasty, the Wang’s Goryeo Dynasty, and the Yi’s Joseon Dynasty, the basic system of administrative divisions in South Korea is almost the same as the one in China, so the official document system of cities, districts, and counties in South Korea can be regarded as basically equivalent to the official document system of Cangnan County with only slight differences originated from the localized political and cultural traditions and the basic social condition of South Korea. Therefore, there are relatively fewer difficulties of translation when translating official documents of Cangnan County into Korean, aside from the barriers caused by Korean Hangul words. The translation of official documents of Cangnan County under the context Korean language requires attention to the following aspects:&lt;br /&gt;
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1. The Combination of Chinese characters and Hangul&lt;br /&gt;
&lt;br /&gt;
Modern Korean uses Hangul as the main written characters, but this does not mean that there is no place for Chinese characters in the Korean system. Since the launch of the abolition of Chinese characters movement in South Korea in the 1970s, Hangul did exactly achieved an overall penetration of every aspect of their daily life, but when it comes to important documents, Chinese characters still reserve a seat in the arena of South Korea’s history. Furthermore, a higher level of talent training is required now to meet the need of South Korea’s economic and social development, and the mastery of sinology has become, among all the necessary skills, one of the most straightforward evaluation criteria to access the qualified personnel. Thus, South Korea has restarted the Chinese character teaching movement. Nowadays, the official document system in South Korea has become one in which Hangul serves as the main language and the mixed use of Chinese characters and Hangul serves as a supplement. Just as how the mixed use of kana and Chinese characters in Japanese official documents may help in its translation, the mixed use of Chinese characters and Hangul also greatly facilitate the translation of official documents of Cangnan County into Korean. However, because Chinese characters used in Korea are composed of traditional Chinese characters and a small number of Korean self-made Chinese characters, we can not take it for granted that it is advisable to translate them word by word.&lt;br /&gt;
&lt;br /&gt;
For example, the title of the document《苍干任〔2020〕18号 王再忠等同志的任命》(“Cangnan Cadre Appointment [2020] No. 18: Appointment of Wang Zaizhong and etc.”) (the Office of CPC Cangnan Party Committee on March 27th, 2020) can be translated with the mixed use of Chinese characters and Hangul into Korean as《蒼南縣의 幹部任命〔2020〕18號 王再忠등 同志의任命》. Also, it be translated into Korean with Hangul alone as《참남현의 간부임명〔2020〕18호 왕재충등 동지의임명》.&lt;br /&gt;
&lt;br /&gt;
2. The Usage of Refined Language&lt;br /&gt;
&lt;br /&gt;
In recent years, South Korea has carried out reforms of the official document system, urging that the South Korean government agencies at all levels should use “refined(or purified) language”, that is, to write and publish official documents with words that are easy for the public to understand and have explicit meanings, reducing the cost of communication between the government and the public and, in this way, building a closer relationship between the government and the people, so that civil servants can communicate with the people more effectively. Refined language is a kind of common vernacular that differs from the official language. Although this trend of the wording of Korean official documents is not unconditional, but when compared with official documents of Cangnan County, which emphasize the solemnity and formality of official documents, this trend is the part that the translator has to pay his attention to.&lt;br /&gt;
&lt;br /&gt;
For example, when translating the expression “为加强行政规范性文件管理，切实推进依法行政，加快法治政府建设 (To strengthen the management of administrative normative documents, promote the administration in accordance with law, and accelerate the construction of a government ruled by law)” in the document《苍南县人民政府关于公布县政府及县政府办公室行政规范性文件清理结果的通知（有效）》(“Notice of the Office of the People's Government of Cangnan County on the Announcement of the Results of the Cleanup of the Administrative Normative Documents of the County Government and the County Government Offices (Effective)”) (the Office of the People's Government of Cangnan County on October 23th, 2020) , blunt expressions may not be that applicable and this expression translated into Korean in a more public-friendly way as “행정 규범적인 문서관리를 강화하기 위해, 법에따라 행정을 철저히 추진하고 법치정부의 건설을 가속화시킨다.”&lt;br /&gt;
&lt;br /&gt;
3. Mastery of the Equivalence of Semantic Meaning&lt;br /&gt;
&lt;br /&gt;
Like Japanese, Korean is also a typical agglutinative language. A sentence is formed by connecting independent words with various auxiliary words, and with a subordinating conjunction at the end of the sentence. Auxiliary words are just like glues, they exist after every subject, predicate, and object component of a Korean sentence to them together. For that these auxiliary words have no substantial meaning themselves, they must stay close to the main body in front, and a space must be put after. Therefore, when translating Chinese, which is an isolated language, into Korean, which is an agglutinative language, it is necessary to have mastery of the equivalence of the semantic meaning of the expression.&lt;br /&gt;
&lt;br /&gt;
For example, when translating the expression “全面实施全民参保计划，做好参保情况清查，提升参保信息质量，清理重复参保，稳定持续参保，减少漏保断保，实现应保尽保。(Fully implement the national social security plan, do a good job in checking the coverage of the social security, improve the quality of the collection of the information of the insured, clean up repeated insureds, stabilize the renewal of the social security, reduce the interruption of the social security, and achieve full social security coverage.)” in the document《关于做好2021年度城乡居民基本医疗保障工作的通知》(“Notice on Doing a Good Job in Basic Medical Security for Urban and Rural Residents in 2021”)( the Office of Medical Security Bureau of Cangnan County on November 5th, 2020), the translator should pay attention to the equivalence of semantic meaning of this long sentence and translated it into Korean as “전국민기본의료보험가입계획을 전면적으로 실시하고 기본의료보험가입상황을 철저히 조사하며 기본의료보험가입 정보의 질을 향상시키고 중복기본의료보험가입을 청산하며 안정적이고 지속적인 기본의료보험가입을 하며 보험누락을 줄이고 기본의료보험가입 을 실현해야 한다.”&lt;br /&gt;
&lt;br /&gt;
==='''Ⅴ. Studies of Official Document Translation and the Cause of Opening-up in Cangnan County'''===&lt;br /&gt;
&lt;br /&gt;
Based on the abovementioned basic characteristics of the official document system of Cangnan County, the notes for official documents translation under the context of the Japanese language and the notes for official documents translation under the context of the Korean language, we can see that official documents of Cangnan County is not as difficult to handle as something untranslatable. Cangnan County enjoys a good geographic location: it is located in the coast of the East China Sea, and is close to both Japan and South Korea, two strong economies in East Asia. However, Cangnan County has not yet made use of these favorable conditions to the fullest to promote cultural cooperation and trade with the two countries. Cangnan’s opening up to the outside world requires innovative thinking and an elaborate layout. Studies on the translation of official documents of Cangnan County, especially the translation of official documents under the context of the Japanese and Korean language, will help to explore the cultural spirit of the government institutions, and play an important role in building a good image of Cangnan County in East Asia and laying a foundation for Cangnan's cooperation with major countries and regions in East Asia .&lt;br /&gt;
&lt;br /&gt;
The world today is undergoing profound changes rarely in a century, and so is China. The tide of history moves on and Cangnan shall not stay out of the matter, but must follow it courageously and strive to open new doors for Cangnan's opening up to the outside world through the study of the official document translation of its own.&lt;br /&gt;
&lt;br /&gt;
===References===&lt;br /&gt;
&lt;br /&gt;
[1]Ziqi LIU. The Application of Functional Equivalence Theory in Scientific Translation：A Case Study of the Translation of Shipbuilding English[J]. CREATIVITY AND INNOVATION,2019,1(3).&lt;br /&gt;
&lt;br /&gt;
[2]Mu Dan. Discussion on Translation Activities Under the Guidance of Functional Equivalence Theory[J]. International Journal of Education and Management,2018,3(2).&lt;br /&gt;
&lt;br /&gt;
[3]李琳琳. 功能对等翻译理论与关联翻译理论比较研究[D].辽宁师范大学,2006.&lt;br /&gt;
&lt;br /&gt;
[4]赵娟廷. 汉韩公文语体对比研究[D].复旦大学,2003. &lt;br /&gt;
&lt;br /&gt;
[5]周萱. 《中国共产党怎样解决民族问题》（节选）中韩翻译报告[D].青岛大学,2017.&lt;br /&gt;
&lt;br /&gt;
[6]张利军. 《教学的游戏性研究》的汉日翻译实践报告[D].广西师范大学,2019.&lt;br /&gt;
&lt;br /&gt;
[7]栾亚琼. 《2015年山东省政府工作报告》汉日翻译实践报告[D].曲阜师范大学,2016.&lt;br /&gt;
&lt;br /&gt;
[8]占丽华. 源流与演变—日本地方公文书馆发展路径研究[D].山东大学,2020.&lt;br /&gt;
&lt;br /&gt;
[9]任清萍. 功能翻译理论视角下政府工作报告日译研究[D].外交学院,2020.&lt;br /&gt;
&lt;br /&gt;
[10]孙慧. 产业竞争力与区域经济增长[D].苏州大学,2006.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
--[[User:Wu Kai|Wu Kai]] ([[User talk:Wu Kai|talk]]) 04:45, 2 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
==The Translation Process and Methods of Translating English Long Sentences	周艺文	Zhou Yiwen==&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
===Abstract===&lt;br /&gt;
&lt;br /&gt;
The translation of long English sentences is a difficult point in English-Chinese translation. It is very important to understand the features of sentence structure and the translation process and methods of long English sentences. This paper studies the translation process and methods of English long sentences through the comparative study of English and Chinese language characteristics and specific English-Chinese translation analysis. This paper is divided into five parts. The first part introduces the characteristics of English long sentences. The second part contrasts  the language features of English with that of Chinese, which can be divided into three aspects: English sentences emphasize hypotaxis, Chinese sentences emphasize parataxis; English is a static language, while Chinese is a dynamic language; English prefers passive voice while Chinese prefers active voice. The third part expounds the characteristics of translating English long sentences, mainly from three aspects: cross-cultural communication, emphasis on form and clear language logic. The fourth part mainly analyzes the process of translating English long sentences through some examples. In the end, five translation methods are discussed, which are liner translation, reorganization translation, splitting translation, synthesis and insertion.&lt;br /&gt;
&lt;br /&gt;
===Key words===&lt;br /&gt;
&lt;br /&gt;
English long sentences; language characteristics; translation process; translation methods&lt;br /&gt;
&lt;br /&gt;
===摘要===&lt;br /&gt;
&lt;br /&gt;
英语长句翻译是英汉翻译的难点，了解英语长句的句子结构特点和翻译过程及方法在英汉翻译中十分重要。本文通过对比研究英汉语言特点及具体英汉译本分析对英语长句翻译过程和方法进行研究。本文分为五个部分，第一部分介绍了英语长句的特点。第二部分从英汉对比的角度剖析了英汉两种语言在句子结构上的差异，分为三个方面，即英语句子重形合，汉语句子重意合; 英语是静态语言，汉语是动态语言; 英语喜用被动语态，汉语喜用主动语态。第三部分阐述了翻译英语长句的特点，主要有跨文化交际性、重视形式以及明确逻辑关系三个方面。第四部分主要通过具体的句子分析英语长句的翻译步骤及过程。最后探讨了英语长句汉译时采用的五种翻译方法，即顺序法、变序法、分译法、综合法和插入法。&lt;br /&gt;
&lt;br /&gt;
===关键词===&lt;br /&gt;
&lt;br /&gt;
英语长句子；语言特点；翻译过程；翻译方法&lt;br /&gt;
&lt;br /&gt;
===1.Introduction===&lt;br /&gt;
&lt;br /&gt;
===2.Characteristics of English Long Sentences===&lt;br /&gt;
&lt;br /&gt;
English and Chinese have many similarities in basic sentence structure. The main elements of sentence structure mainly include subject, predicate, object, predicative, attribute, adverbial modifier, and complement. In English, the sentence emphasizes the form and the sentence has a tree structure, and the Chinese sentence emphasizes the parataxis, and the sentence has a bamboo structure.&lt;br /&gt;
The main characteristics of English long and difficult sentences are as follows:&lt;br /&gt;
(1) There are much more words, more complex sentence patterns, and more modifiers in these sense.&lt;br /&gt;
(2) Compared with simple sentences, long and difficult sentences often use inversion structure, and there are phenomena of omission and word order inversion.&lt;br /&gt;
(3) The reason for the formation of long and difficult sentences is that there are many long and difficult sentences with coordinate components, phrases, additional components, clauses, and coordinate sentences.&lt;br /&gt;
(4) The language structure of long and difficult sentences is relatively complex and has a strong sense of hierarchy.&lt;br /&gt;
&lt;br /&gt;
===3.Differences in sentence structure between English and Chinese===&lt;br /&gt;
&lt;br /&gt;
English and Chinese belong to different language systems, the former belongs to Indo-European language family, the latter belongs to Sino-Tibetan language family, so there are significant differences in syntax between them. In addition, the different cultures of English and Chinese will inevitably lead to the difference in sentence structure between the two languages, because language is the carrier and medium of culture. &lt;br /&gt;
&lt;br /&gt;
===3.1Hypotaxis vs. parataxis===&lt;br /&gt;
&lt;br /&gt;
English syntactic structure is hypotaxis while Chinese syntactic structure is parataxis. Hypotaxis is that the words or clauses in a sentence are connected together by means of linguistic formal means (such as using related words) to express grammatical meaning and logical relations(Jia 2002, 101). English emphasizes explicit connection, emphasizes form and structure, and often helps with various means of connection. As a result, the sentence structure is rigorous and lacks elasticity. English sentences are often made with relatives (who, whom, whose, which, that, where, when, etc.), conjunctions (but, however, unless, because, since, so, and, if, etc. ), preposition (in, about, without, throughout, according to, along with, etc.), and other connective means. Parataxis means that words and clauses are not connected by means of linguistic forms, and the grammatical meaning and logical relation in a sentence are expressed by the meaning of words and clauses(Jia 2002, 101). Chinese sentences are made with little or no means of formal connection, with emphasis on invisible coherence, function and meaning, so the sentence structure is loose and flexible.&lt;br /&gt;
Example 1: &lt;br /&gt;
Individuals develop within themselves an ability to persevere and tolerate things that are unexpected or bad, difficult to get through. &lt;br /&gt;
人们在内心修炼一种能力，在面对意外、不幸或者挑战时也能继续坚持和忍耐。 &lt;br /&gt;
In this sentence, “that...to get through” is a attributive clause to modify “things”, which is a kind of hypotaxis. The translation is not limited to the original sentence structure but follows Chinese expression habit, so the language is very smooth.&lt;br /&gt;
&lt;br /&gt;
==3.2Static language vs. dynamic language==&lt;br /&gt;
&lt;br /&gt;
==3.3 Passive voice vs. active voice==&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
==4.1Cross-cultural communication==&lt;br /&gt;
&lt;br /&gt;
==4.2Attaching great importance to form==&lt;br /&gt;
&lt;br /&gt;
==4.3Clearing language logic==&lt;br /&gt;
&lt;br /&gt;
===5.The process of translating long English sentences===&lt;br /&gt;
&lt;br /&gt;
===6.Methods of translating English long sentences===&lt;br /&gt;
&lt;br /&gt;
==6.1Liner translation==&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
==6.2Reorganization translation=&lt;br /&gt;
&lt;br /&gt;
==6.3Splitting translation==&lt;br /&gt;
&lt;br /&gt;
==6.4Synthesis==&lt;br /&gt;
&lt;br /&gt;
==6.5Insertion==&lt;br /&gt;
&lt;br /&gt;
===Conclusion===&lt;br /&gt;
&lt;br /&gt;
In the practice of the translation of long and difficult sentences, there is a higher requirement for translators’ English comprehension and expression ability. For the translation of long and difficult sentences in English, the translator should be familiar with the sentence structure and main ideas of long and difficult sentences in English, and make clear the main logical relationship with the content of the original text, so as to effectively analyze the structure of long and difficult sentences in English and choose the correct way of translation. In the specific translation practice, translators should, on the basis of understanding the grammatical features of English, choose reasonable translation methods and skills so as to achieve the accurate translation of long and difficult Sentences. Translation activities require a high level of English reading and comprehension, and the effective translation of long and difficult sentences requires translators to constantly improve their ability to summarize, update their English translation skills, and realize the summary and innovation of long and difficult sentences.&lt;br /&gt;
&lt;br /&gt;
===Bibliography===&lt;br /&gt;
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==Chinese-English Translation of News Headlines From the Perspective of Skopos Theory	张维虹	Zhang Weihong No.202070080648 英语口译 ==&lt;br /&gt;
&lt;br /&gt;
===Abstract===&lt;br /&gt;
In recent years, with the rapid development of the society and economy, the exchanges between China and the rest of the world are increasingly frequent. In this process, massive information is transmitted through the translation of news reports. As the eye of news, the translation quality of news headlines directly affects the effectiveness of news dissemination. Under the guidance of Skopos Theory of German Functionalist Translation School, this paper analyzes the characteristics of Chinese and English news headlines, illustrates the functions of news headlines and the translation criteria of news headlines, and puts forward translation strategies for Chinese-English news headlines, aiming at restoring the concise feature of news and realizing the purpose of news dissemination and social value.&lt;br /&gt;
&lt;br /&gt;
===key words===&lt;br /&gt;
News headlines translation; Skopos theory; translation strategies&lt;br /&gt;
&lt;br /&gt;
===摘要===&lt;br /&gt;
近年来，中国社会经济飞速发展，与外界交流日趋频繁，在此过程中大量信息传递需通过新闻报道翻译完成。而新闻标题作为新闻的眼睛，其翻译质量直接影响新闻传播的有效性。本文以德国功能翻译学派目的论为指导，分析中英新闻标题的特点，阐述新闻标题功能以及新闻标题翻译准则，并提出汉译英翻译策略，旨在还原新闻简明本色从而实现新闻传播目的和社会价值。&lt;br /&gt;
&lt;br /&gt;
===关键字===&lt;br /&gt;
新闻标题翻译；目的论；翻译策略&lt;br /&gt;
&lt;br /&gt;
===1. Introduction===&lt;br /&gt;
With the further development of world economy and culture, news is playing an increasingly important role in people's lives. We read news through TV, the Internet or newspapers and magazines to learn about current events. But we are confused by thousands of news and the information they carry, because we are all exposed to a world where the massive information is surrounding. There is no doubt that because we can read too much news, some news has been ignored. Therefore, a proper headline is the most important element which can be regarded as the only way to attract the target readers. (Chen Lizhao, 2002: 3-4) &lt;br /&gt;
&lt;br /&gt;
Headlines are compared to the eyes of news reports, in which a clear, concise information must be contained to generate interests. (Hu Shuzhong, 2012: 199) That is to say, headlines are always vivid and eye-catching in newspapers, in order to attract readers and provide reading guidance. So, the translator must learn how to effectively screen and reconstruct the information in the Chinese-English translation of news headlines, so as to make it attractive to the target language readers. &lt;br /&gt;
&lt;br /&gt;
In addition, news translation is playing a significant role in the promotion of cross-cultural communication and mutual understanding as China are having more and more exchanges with the rest of the world with the rapid development of society and economy, the implementation of reform and opening-up and “go global” strategy. As the soul of news, headline and its translation are what the translator should pay attention to. (Liu Yunxi 2018(11):123-125.) &lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
There are lots of researches about C-E news translation and news headline translation. However, researches on Chinese-English news headlines translation are very few. According to statistics from CNKI, there are only two pages of researches on Chinese – English news headlines translation. Therefore, this paper is of great importance. &lt;br /&gt;
&lt;br /&gt;
As functions for headlines are obvious, this paper takes Skopos as the theory guide to conduct the research. First, the paper will discuss the features and functions of news headlines. Then the paper tells some translation methods of Chinese-English news headlines from a perspective of Skopos Theory. At last, it draws a conclusion.&lt;br /&gt;
&lt;br /&gt;
===2. Overview of News Headlines===&lt;br /&gt;
&lt;br /&gt;
==== 2.1 Definition of news and news headlines==== &lt;br /&gt;
&lt;br /&gt;
News refers to the timeliest report of events that have just happened, are happening, or are going to happen and it is born to meet the need of propagation and communication of information in human society. (Xu Mingwu, 2003: 4) This definition prescribes the features and functions of news. News should be timely and propagate ideas and express information. &lt;br /&gt;
&lt;br /&gt;
News headlines are compared to the “eye” of news. According to the dictionary, “A head of a newspaper story or article, usually printed in large type and devised to summarize, give essential information about, or interest readers in reading the story or article that follows.” (Webster’s Third New International Dictionary, 1961: 1042) From the definition, we can see that news headlines tells the essence of the news; the function is to attract readers’ interests. The paper will discuss features and functions of news headlines in detail in the following part. &lt;br /&gt;
&lt;br /&gt;
====2.2 Features of news headlines==== &lt;br /&gt;
As a text genre, news headlines have their own features. Chinese and English news headlines share much in common, though they differ from each other in certain areas. Understandings about the differences and similarities of Chinese and English news headlines are important for translators. So, this chapter will analyze features of news headlines from the following aspects: grammar, rhetoric, culture and structure. （Luo Dan, 2012: 30-31）&lt;br /&gt;
&lt;br /&gt;
===== 2.2.1 Grammatical features===== &lt;br /&gt;
&lt;br /&gt;
2.2.1.1 Lexical Feature&lt;br /&gt;
&lt;br /&gt;
a. Midget words&lt;br /&gt;
&lt;br /&gt;
A good headline must be clear to attract readers and be strong to save space. In other words, the headline should convey the intends of the news without confusion or ambiguity; the words should be powerful to persuade the headline consumer to read on. Theses two requirements determine the prevalence of powerful, or strong worlds – mostly verbs and nouns – in headlines. (Shen Jinbo, 1989:52) That is to say, powerful words are short, simple and concrete, for extensive or abstractive words can only lead to dullness and confusion. There are no such powerful words in Chinese, but Chinese headlines, on the premise of conveying the exact meanings also put emphasis on the shortness of words. &lt;br /&gt;
&lt;br /&gt;
[1]: Dancing gets Olympic status (China Daily Dec 9, 2020)&lt;br /&gt;
&lt;br /&gt;
[2]: 霹雳舞成巴黎奥运项目 (China Daily Dec 9, 2020)&lt;br /&gt;
&lt;br /&gt;
b. Numeral words&lt;br /&gt;
&lt;br /&gt;
Numbers are used in news headlines to highlight the key information, especially in economic and sports news. &lt;br /&gt;
&lt;br /&gt;
[3]: Pink diamond sold for $26.6M (China Daily Nov 23, 2020) &lt;br /&gt;
&lt;br /&gt;
[4]: 外储余额创4年多新高(China Daily Dec 9, 2020)&lt;br /&gt;
&lt;br /&gt;
c. Abbreviations &lt;br /&gt;
&lt;br /&gt;
The limitation of page space leads to the frequent use of abbreviation in headlines. English abbreviations, according to Lu Guoqiang (陆国强, 1984), consist of two major types: lipped words and initialisms or acronyms. The common types of abbreviation found in Chinese headlines, nevertheless, are mostly number-assisted summarizing, blending and subsituting. (Chen Lizhao, 2002:36)&lt;br /&gt;
&lt;br /&gt;
[5]: Intl student enrollment falls (China Daily, Nov 19, 2020)&lt;br /&gt;
&lt;br /&gt;
[6]: 第二届“一带一路”国际合作高峰论坛举行圆桌峰会 (People’s Daily, April 28, 2019) &lt;br /&gt;
&lt;br /&gt;
d. Vogue words &lt;br /&gt;
&lt;br /&gt;
“Freshness” is the life of news, which lies in the contents of the report. As the gist of the news, headline would certainly revel some of the new ideas or hot topics in order to catch the reader’s attention. Therefore, vogue words are frequently seen in headlines. &lt;br /&gt;
[7]: 'Cooling-off period' added (China Daily Dec 8, 2020)&lt;br /&gt;
&lt;br /&gt;
[8]: “离婚冷静期”新规将施行 (China Daily Dec 8, 2020)&lt;br /&gt;
&lt;br /&gt;
2.2.1.2 Syntactical features&lt;br /&gt;
&lt;br /&gt;
a. Omission&lt;br /&gt;
&lt;br /&gt;
Omission appears in almost every headline. Eliminating the meaningless words can shorten the length of a headline and highlight the core information. In English headlines, all articles and some auxiliary verbs, lexical verbs, pronouns, and the subject and the predicate are often omitted, as they weigh little in giving information. Chinese headlines also omit those unimportant words, including individual measures, conjunctions, and auxiliary words as well. (Chen Lizhao, 2002: 4-5)   &lt;br /&gt;
&lt;br /&gt;
[9] Biden declares victory (China Daily, Nov 10, 2020)&lt;br /&gt;
&lt;br /&gt;
[10] 研究：医患“互粉”对治疗不利 (China Daily, Nov 25, 2014)&lt;br /&gt;
&lt;br /&gt;
b. Voice&lt;br /&gt;
&lt;br /&gt;
Active voice is frequently adopted in news headlines. &lt;br /&gt;
&lt;br /&gt;
[11] UK approves Pfizer vaccine (China Daily Dec 4, 2020)&lt;br /&gt;
&lt;br /&gt;
[12]英国批准辉瑞新冠疫苗 (China Daily Dec 4, 2020)&lt;br /&gt;
&lt;br /&gt;
[13] Biden unveils economic team (China Daily Dec 2, 2020)&lt;br /&gt;
&lt;br /&gt;
[14]拜登拟提名耶伦任财长 (China Daily Dec 2, 2020)&lt;br /&gt;
&lt;br /&gt;
c. Tense&lt;br /&gt;
&lt;br /&gt;
One of distinct feature of news headlines, particularly in English news headlines, is the wide use of present tense, which save the space of “-ed” in the past tense. But sometimes past tense is used to indicate the timeline. While Chinese news headlines use different tenses, as they are not revealed by the different forms of verbs as in English. So, the auxiliary verbs or adverbs in Chinese news headlines tells the time of happening from. (Chen Lizhao, 2002: 4-5)&lt;br /&gt;
&lt;br /&gt;
[15] COVID vaccine distribution (China Daily Dec 1, 2020)&lt;br /&gt;
&lt;br /&gt;
[16] 英美即将启动疫苗分配 (China Daily Dec 1, 2020)&lt;br /&gt;
&lt;br /&gt;
=====2.2.2 Rhetorical Features =====&lt;br /&gt;
The usual figures of speech found in headlines, English and Chinese alike, includes metaphor, simile, pun, alliteration and rhyme, repetition, allusion etc... They aimed at creating musical sound as well as vivid images to provide spiritual enjoyment to the readers. &lt;br /&gt;
&lt;br /&gt;
[1] 苹果发新机加入5G战局 (metaphor) (China Daily Oct 16, 2020) &lt;br /&gt;
&lt;br /&gt;
[2] 美国加州火灾蔓延 居民仿佛置身火星(simile) &lt;br /&gt;
&lt;br /&gt;
[3] This is what the Bay Area's skies looked like during the wildfires (simile) (China Daily Oct 16, 2020)&lt;br /&gt;
&lt;br /&gt;
===== 2.2.3 Cultural Features=====&lt;br /&gt;
Language is the carrier of culture. News, as a practical text genre, also bears cultural characteristics of a certain country or nation. These culture elements also appear in news headlines,&lt;br /&gt;
&lt;br /&gt;
=====2.2.4 Structural features =====&lt;br /&gt;
To achieve headline’s peculiarity and simplicity, some punctuation marks are used in English news headlines, which are not often used in Chinese news headlines. Though differences exist in this area, the pursuit of using punctuation marks in the same – to make the news headlines clear and easily perceptible. The usual rule for headlines is that the fewer punctuation marks, the better. (Fan Tengteng, 2006: 45-46) &lt;br /&gt;
[1] 世界精神卫生日：超半数英国员工最担心就业问题&lt;br /&gt;
[2] World Mental Health Day: More than half of UK workers worry about finding a job&lt;br /&gt;
&lt;br /&gt;
====2.3 Functions of news headlines ====&lt;br /&gt;
According to the theory of text-style function by Peter Newmark, new headlines fulfill the following four functions: informative function, expressive function, aesthetic function and vocative function, which will be illustrated in this section. &lt;br /&gt;
&lt;br /&gt;
=====2.3.1 Informative Function =====&lt;br /&gt;
“The core of the informative function of language is external situation, the facts of a topic, reality outside language, including ideas or theories” (Newmark 2001: 40) That is to say, news headline tells readers the basic information and facts of the news.&lt;br /&gt;
&lt;br /&gt;
===2.3.2 Expressive Function ===&lt;br /&gt;
“The core of the expressive function is the mind of the speaker, the writer, the originator of the utterance. He uses the utterance to express his feelings irrespective of any response” (Newmark 2001: 39) The expressive function of a news headline is to reveal the writer’s or the editor’s attitude toward the news by using subjective words or rhetoric devices. &lt;br /&gt;
 &lt;br /&gt;
=====2.3.3 Aesthetic function=====&lt;br /&gt;
	“This is language designed to please the sense, firstly through its actual or imagined sound, and secondly through its metaphors. The rhythm, balance and contrast of sentences, clauses and words also play their part. (Newmark 2001: 42) As the eye of the news, headlines use elegant words, abbreviations, punctuations and so on to strengthen its aesthetic function. &lt;br /&gt;
=====2.3.4 Vocative function=====&lt;br /&gt;
	The vocative function is reader-oriented. Here, the term “vocative” is interpreted as “calling upon” the readership to act, think or feel, in fact to “react” in the way intended by the text. (Newmark 2001: 41) Vocative words in news headlines can attract the readers to read the whole article, and in certain circumstances call upon the readers to take some actions after reading the news.&lt;br /&gt;
&lt;br /&gt;
===3. Skopos Theory===&lt;br /&gt;
&lt;br /&gt;
As has been mentioned in the last section, news headlines and their translation are function-oriented. The fundamental function or the “Skopos” is to attract the readers. Therefore, in this section, we will discuss Skopos theory and its three rules. &lt;br /&gt;
&lt;br /&gt;
====3.1 Development of the Skopos Theory====&lt;br /&gt;
&lt;br /&gt;
Skopos Theory was initially proposed by Katherina Reiss in her 1971 book Possibilities and Limits of Translation Criticism, which formed an early theory. According to Reiss, the ideal translation would be “one in which the aim in the target language is equivalence as regards the conceptual content, linguistic form and communicative function of a source language text” (Reiss 1977, translated in 1989: 112). Even though Reiss takes the concept of equivalence as the main focus of her analysis, she realized that in some cases, equivalence is impossible and, in some situation, not even desired. Therefore, she indicated that when we translate, we should in view of the function of the text. &lt;br /&gt;
&lt;br /&gt;
The idea of text typology including content-focused, form-focused and appeal-focused text put forward by Reiss, is another contribution of her to the Skopos theory. It is supposed to be the starting point for Skopos theory. &lt;br /&gt;
&lt;br /&gt;
Later, Hans Vermeer, the student of Reiss, made a major breakthrough in the limitations of equivalent theory and laid the theoretical foundation for it. He first mentioned the basic principles of Skopos Theory in 1978. He and Reiss jointly published Groundwork for a General Theory of Translation in 1984. In this book, Vermeer argues that translation should be seen as a fundamental action of transformation of the source text. As all actions are generally purposeful, translation also has purposes, which could have influences over the culture of the target language. (Groundwork for a General Theory of Translation, 1984) &lt;br /&gt;
&lt;br /&gt;
For Vermeer, translation cannot be treated as one-to-one transfer between source language and target language. In his research, on the basis of the source text, translation is a form of action. Some of other forms of translational action may relate to actions which giving like a consultant. Every translation is directed at an intended audience, since to translate means “to produce a text in a target setting for a target purpose and target addresses in target circumstances” (Vermeer, 1987a: 29). Vermeer’s Skopos Theory serves as the foundation for his general theory of translation. &lt;br /&gt;
&lt;br /&gt;
Later, two other German translators, Christiane Nord and Justa Holz Manttari, enriched and refined the Skopos theory. Mantarri’s theory is based on the rules of action theory and is intended to contain all forms of intercultural transmission, as well as those source or target texts which do not involved. (Nord, 2001: 12-13) Her theory reflects the role of the participants in the process of translation and the environment in which the process takes place. Nord, as the latest batch of German researchers, summarized the “Fidelity rule” and applied the Skopos theory extensively in the study of translation from multiple perspectives and related fields. Besides, Skopos theory has three principal rules which will be illustrated in the following section. &lt;br /&gt;
&lt;br /&gt;
In conclusion, Reiss laid the foundation of Skopos theory. Vermeer, who summarized and outlined the rules to be followed in the process of Skopos theory in practice, became the founding father of the theory. Manttari focused on the specific issues of translation behavior and context in the translation process, while Nord made many contributions to the refinement of the theory and greatly expanded the practical application of this theory. &lt;br /&gt;
&lt;br /&gt;
==== 3.2 Three Rules of Skopos theory ==== &lt;br /&gt;
&lt;br /&gt;
There are three significant rules of Skopos theory including Skopos rule, coherence rule and fidelity rule, which will be discussed respectively as follows.&lt;br /&gt;
&lt;br /&gt;
===== 3.2.1 Skopos Rule=====&lt;br /&gt;
The Skopos rule is the top-ranking rule for any translation. That is to say, Skopos determines any translation action. “The translators should finish the task in a way that enables your translation to function in the situation in which it is used and with the people who want to use it and precisely in the way they want it to function. All in all, the end justifies the means.” (Nord, 2001:29)&lt;br /&gt;
&lt;br /&gt;
Translating is an international interaction as it is just said, and the Skopos rule has stable position after it appeared. In Vermeer’s term, intention is thought as an “aim oriented plan of action” (Vermeer, 1983:41) &lt;br /&gt;
&lt;br /&gt;
According to Vermeer, Skopos rule is that “Each text is produced for a given purpose and should serve this purpose. The Skopos rule thus reads as follows: translate in a way that enables your text to function in the situation in which it is used and with the people who want to use it and precisely in the way they want it to function.” (Vermeer, 1989a: 20, translated by Luo Dan) Skpos theory is the foundation for Chinese-English news headline translation model. All efforts made are intended for the Skopos of news headline translation because “the end justifies the means” &lt;br /&gt;
&lt;br /&gt;
=====3.2.2 Coherence Rule=====&lt;br /&gt;
&lt;br /&gt;
The coherence rule, another important rule of the Skpos theory indicates that “the target text must be interpretable as coherent with the target text receiver’s situation”. (Reiss and Vermeer, 1984: 113) That is to say that the target text must be translated in a way that it is clearly understood by the target readers, taking consideration of their existing knowledge and situation. &lt;br /&gt;
&lt;br /&gt;
===== 3.2.3 Fidelity Rule =====&lt;br /&gt;
Apart from intratextual coherence, there is intertextual coherence which refers to the relationship between the target text and the source text, which is presumed as a further principle, fidelity rule. The fidelity rule by Vermeer indicates that there have to be coherence between the target text and the source text. This means that target text should be faithful to its source text in a certain level of features, such as grammatical features, special collocations and rhetorical devices, or to some degree between a complete imitation and deviation. (Nord 2001: 31) &lt;br /&gt;
&lt;br /&gt;
In accordance with the Skopos theory, the source text is no longer considered as the “sacred original”, and it is up to the translator to determine the aspect and the degree of the fidelity. In Vermeer’s opinion, any text is just an offer of information, and thus, any target text is an offer of information formulated by a translator in a target culture and language about an offer of information formulated by someone else in the source culture and language. (Nord 2001: 32) &lt;br /&gt;
&lt;br /&gt;
Three principal rules of Skopos theory have been illustrated as above. As for the relationship between the three rules, Reiss and Vermeer believe that the fidelity rule is subordinate to the coherence rule and both belong to the Skopos rule. If the skopos of the target text demands a change of function, the fidelity with the source text will no longer be taken as the only standard, but adequacy and appropriateness will be supplemented as the standard with regard to the skopos (Reiss and Vermeer, 1984: 139) &lt;br /&gt;
&lt;br /&gt;
====3.3 Summary ====&lt;br /&gt;
&lt;br /&gt;
This chapter introduced the development of Skopos theory and its three main principles, which intends to lay a theoretical foundation for Chinese-English news headlines translation. The function and skopos of news headline is to convey information and attract readers. In light of these, C-E news headlines translation, guided by Skopos theory, is a faithful re-creation.&lt;br /&gt;
&lt;br /&gt;
===4. Application of Skopos theory in Chinese-English Translation===&lt;br /&gt;
&lt;br /&gt;
As mentioned in the last chapter, Skopos theory specifies the purpose of translation. As far as the author concerned, the skopos of Chinese headline translation is to transfer information of latest events happened in China to English readers. All sorts of translation strategies and techniques can be adopted under the guidance of the skopos theory. Based on the dominant informative function of news headlines, new information should be transferred with fidelity and clarity. Moreover, considering the aesthetical function of headlines, the source text should be aesthetically handled to the target readers. This chapter will explain how skopos theory in applied in the translation of Chinese-English news headlines. Before that, the criteria of C-E news headlines translation will be discussed.&lt;br /&gt;
&lt;br /&gt;
====4.1 Criteria of News headline translation ====&lt;br /&gt;
According to the basis of translation criteria, the author discussed four criteria for Chinese news headline translation, including fidelity, readability, adaptability and rapidity. &lt;br /&gt;
&lt;br /&gt;
===== 4.1.1Fidelity =====&lt;br /&gt;
Fidelity means to accurately convey the message of the source text. The translation of news headlines from Chinese to English is a kind of intercultural communication in which messages should be transferred objectively and accurately by reflecting the reality. For a translator, the first and foremost thing is to be loyal to the content of the source language and convey it in a precise way, particularly for the translation of news headlines. Considering this point of view, fidelity can be acted as a main rule for translating news headlines. （Luo Dan, 2012: 45-46）&lt;br /&gt;
&lt;br /&gt;
=====4.1.2 Readability =====&lt;br /&gt;
Readability means the translation version is smooth for reading. This means, the translation should be easy for readers or audiences to read and understand. According to a survey on Beijing citizens’ newspaper reading and willingness by Chinese People’s university, vividness and readability ranked at the top of reasons for buying and reading newspaper. Therefore, translation of news headlines should consider about readability. If the rule of fidelity is viewed from the perspective of translation content, then the rule of readability can be treated as put forward from the perspective of translation form. The primary aim of news headline is to arouse readers interests as much as possible. （Luo Dan, 2012: 46-47）&lt;br /&gt;
&lt;br /&gt;
=====4.1.3Adaptability =====&lt;br /&gt;
Adaptability means that the translated headline should be in an appropriate writing pattern related to news language. In other words, the style of target language and the source language should remain the same. Style is considered to be an essential and important portion in translation. Translation of news headlines is without exception. So, the translator must take serious consideration to the grammar and diction of English, and make sure that the version of new style is suitable when translating a Chinese news headline. (Tang Ting, 2010: 35-36) &lt;br /&gt;
&lt;br /&gt;
===== 4.1.4Rapidity =====&lt;br /&gt;
Rapidity as the fourth request of news headline translation is the most significant one. It implies that the news headline translation should be carried out and complete at a given period of time without any delay. The news is more valuable if the time between happening and reporting is shorter. So, timeliness of news determines the rapidity of news translation, especially the translation of news headlines. (Tang Ting, 2010: 36-37) &lt;br /&gt;
&lt;br /&gt;
====4.2 Strategies of E-C News Headlines Translation ====&lt;br /&gt;
News headlines is considered to be the soul of the news. Since Chinese and English readers are different in thinking patterns, education and cultural backgrounds, some proper translation methods should be taken into consideration to enable the readers to understand the news headlines easily. Under the guidance of Skopos theory, translations strategies including literal translation, free translation, amplification, omission, amplification, restructuring and adaptation are applied in news headlines translation. &lt;br /&gt;
&lt;br /&gt;
=====4.2.1 Literal translation=====&lt;br /&gt;
Literal translation, also called word-for-word translation, is the basic approach used in Chinese news headline translation, since it can retain both the form and contents of the original to the maximum. Here are some examples: &lt;br /&gt;
&lt;br /&gt;
[1] 疫情致牛仔裤销量骤减&lt;br /&gt;
&lt;br /&gt;
Pandemic leads to jeans sales slump&lt;br /&gt;
(China Daily Aug 10, 2020)&lt;br /&gt;
&lt;br /&gt;
The headline introduces that Covid-19 pandemic has led to jeans sales slump. “疫情”is translated into “Pandemic”, “牛仔裤销量”is translated to “jeans sales”, and “骤减” is translated into “slump”, which is exactly a literal translation. There’s no change of the form or style between the source text and the target text. &lt;br /&gt;
&lt;br /&gt;
[2] 新冠抗原检测试剂获批&lt;br /&gt;
&lt;br /&gt;
COVID antigen tests approved&lt;br /&gt;
(China Daily Nov 10, 2020)&lt;br /&gt;
&lt;br /&gt;
This example is a typical word-for-word translation. “新冠”, an abbreviation for “新冠病毒” is translated to “COVID”, short for coronavirus. “抗原检测” is translated into “antigen tests”, “获批”is translated to “approved”. We can see that in this example, the form and style and even the tense and voice of the source text and target text are the same. So, it is literal translation. &lt;br /&gt;
&lt;br /&gt;
[3] 成都将建首个大熊猫主题公园&lt;br /&gt;
&lt;br /&gt;
Chengdu Set to Get Unique Panda-themed Park &lt;br /&gt;
(China Daily, Jan 17, 2018) &lt;br /&gt;
&lt;br /&gt;
This is a literal translation, remaining the original form and style of the Chinese version. It uses midget words “set” and “get”, taking consideration of the style of English news headlines, in order to attract readers from different walks of life. At the same time, the Chinese noun “大熊猫主题” is converted to the English adjective “Panda-themed”, which is very concise and accurate.&lt;br /&gt;
&lt;br /&gt;
=====4.2.2 Free translation =====&lt;br /&gt;
Free translation is applied when the news headline of the source text is obscure and difficult to understand or there’s no equivalent words in the target language. Sometimes it is preferred because it adapts the original headlines to the target language. &lt;br /&gt;
&lt;br /&gt;
[4] 不要人夸颜色好，只留清气满乾坤&lt;br /&gt;
  &lt;br /&gt;
Xi: China Welcomes Constructive Suggestions&lt;br /&gt;
(China Daily, Oct 25, 2017) &lt;br /&gt;
&lt;br /&gt;
The source text is a poem, cited by President Xi at the press conference of 19th CPC Central Committee Political Bureau to hear constructive suggestions from people both at home and abroad. The poem, Ink Plum written by a famous Chinese ancient poet, Wang Mian, carries rich cultural connotations. If it is directly translated as “Not angling for compliments, we should be content that integrity fills the universe”, it will cause confusion to the target readers. Obviously, such a mechanical translation will discourage the reader from understanding the meaning of the poem. Therefore, the translation of this news headline should be based on the content of the news – Xi: Welcomes Constructive Suggestions. So, it is a typical example of free translation. &lt;br /&gt;
&lt;br /&gt;
[5]姜瑜：外资应凭实力在华竞争&lt;br /&gt;
 &lt;br /&gt;
Foreign investors told to sharpen edge&lt;br /&gt;
&lt;br /&gt;
This example takes consideration of the reading habits and backgrounds of the target readers. “凭实力竞争” is translated to “sharpen one’s edge”, which is more understandable. “姜瑜”(Jiang Yu”, a heroic character in Chinese history is omitted. So, it is a free translation.&lt;br /&gt;
&lt;br /&gt;
=====4.2.3 Amplification =====&lt;br /&gt;
&lt;br /&gt;
Most of news headlines carry certain backgrounds, which are familiar to the source language readers, but alien to those who read the target language. So, translators have the responsibility to turn information rich in cultural connotation into something understandable to target readers. This is particularly significant in translating news headlines from the perspective of Skopos theory, because the purpose of such translating is to convey the information useful to target readers. As mentioned in the chapter before, Chinese news headlines usually carry rich cultural contents. Therefore, amplification is frequently used in Chines-English news headlines translation. （Fan Tengteng, 2006: 50-51）&lt;br /&gt;
&lt;br /&gt;
[6] 水陆两栖飞机AG600首飞成功&lt;br /&gt;
&lt;br /&gt;
China’s First Large Amphibious Aircraft Makes a Successful Maiden Flight&lt;br /&gt;
(China Daily, Dec 25, 2018) &lt;br /&gt;
&lt;br /&gt;
Amplification is used in this translation. AG600, as called Kun Lun600, is the world’s largest amphibious aircraft developed by China. The translator adds a modifier “China’s first large” as a supplement of background to better inform the targe readers. &lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
[7] 共享单车来到“世界屋脊”&lt;br /&gt;
&lt;br /&gt;
Shared Bikes Climb to the “Roof of the World” (Tibet)&lt;br /&gt;
&lt;br /&gt;
“Roof of the World” is confusing for some target readers, so the translator adds “(Tibet)” at the end of the sentence to avoid ambiguity.&lt;br /&gt;
&lt;br /&gt;
=====4.2.4 Omission =====&lt;br /&gt;
Omission is a translation method to make the news headline simple and concise by eliminating the redundant verbs, pronouns, and other words in the source text. As Chinese usually use unnecessary modifiers, this method can highlight the main point of the news. &lt;br /&gt;
&lt;br /&gt;
[8] 对外汉语专家齐聚京城 共议国际汉语教师缺口问题&lt;br /&gt;
&lt;br /&gt;
Beijing forum addresses Chinese teacher shortage&lt;br /&gt;
(China.org.cn, Jul 21, 2021) &lt;br /&gt;
&lt;br /&gt;
In this example, the first sentence is translated into a phrase, so as to shorten the length of the news headline and more it more concise. What’s more, redundant words like “齐聚”, “共议” “问题” are omitted to point out main contents of the news. &lt;br /&gt;
&lt;br /&gt;
[9] '大流行病'当选年度词汇&lt;br /&gt;
&lt;br /&gt;
Word of the year: pandemic&lt;br /&gt;
&lt;br /&gt;
(China Daily, Dec 12, 2020)&lt;br /&gt;
&lt;br /&gt;
In the example, the verb “当选”(elected) in the source text is eliminated to save space.&lt;br /&gt;
&lt;br /&gt;
=====4.2.5 Restructuring =====&lt;br /&gt;
&lt;br /&gt;
Because the literal meaning the sentence does not work in the situation of the utterance, the translators have to find the vague information and convey it to the target readers. In news headline translation, special information needs to restructure. &lt;br /&gt;
&lt;br /&gt;
Restructuring refers to the rearrange of the words in logic order to make the translation more consistent and coherent. The target text should be acceptable and meaningful in a sense that it is coherent with the situation in which it is received. Once translated, the translator revises the order and rearranges all words into a perfect sentence. In doing so, the news is more logical and tuned with the habit of native readers’ thinking and reading. It is frequently used in translating news headlines from Chinese into English. (Tang Ting, 2010: 25-26) &lt;br /&gt;
&lt;br /&gt;
[10] 疫情期间夫妻关系改善&lt;br /&gt;
&lt;br /&gt;
Marriages benefit from lockdown&lt;br /&gt;
(China Daily, Nov 23, 2020)&lt;br /&gt;
&lt;br /&gt;
The English version changes the structure of the Chinese news headline, and adds a preposition to show the logic of this sentence. By restructuring, English readers can better understand this news headline. &lt;br /&gt;
	&lt;br /&gt;
====4.2.6 Adaptation ====&lt;br /&gt;
&lt;br /&gt;
Adaptation is a translation method, which refers to selecting, adding, deleting and constructing cautiously instead of simply translating one word to another word. In order to make the translated version more proper to a certain readers or audiences, adaptation always make some essential changes for a special aim. Specific to C-E news headlines translation, the translator can take the Chinese news headlines as the basis and refer to the key news facts of the report, in order to offer as much information as possible to the target readers. (Wang Chi, 2013: 42-42) &lt;br /&gt;
&lt;br /&gt;
[11] 高考将不再是 “一考定终身”&lt;br /&gt;
&lt;br /&gt;
Changes to Uni Eligibility&lt;br /&gt;
（People’s Daily, 2014）&lt;br /&gt;
 &lt;br /&gt;
In this example, “高考” refers to the National College Entrance Examination in China, which is an expression with Chinese characteristics. Therefore, based on the main idea of the news, the translator translated it into “Uni Eligibility”&lt;br /&gt;
	&lt;br /&gt;
[12] 中国女性主导财务决策&lt;br /&gt;
&lt;br /&gt;
'She' to power wealth management&lt;br /&gt;
(China Daily, Nov 23, 2020)&lt;br /&gt;
&lt;br /&gt;
Adaptation is used in this translation. According to contents of the news, women in different countries are mentioned. So, instead of translating “中国女性” into Chinese women, the English version adapted it into “she”, which adds interest and fun to the headline and thus can attract more readers.&lt;br /&gt;
&lt;br /&gt;
===4.3 Summary===&lt;br /&gt;
This chapter introduces criteria and strategies of Chinese-English news headlines translation. It is main body of the paper, which can served as guidelines for translators who translate Chinese news headlines into English ones. &lt;br /&gt;
&lt;br /&gt;
===5. Conclusion===&lt;br /&gt;
Based on Skopos theory, this paper discussed features and functions of news headlines and their relevance to translation, summarized translation criteria and strategies adopted in actual C-E news headlines translation. &lt;br /&gt;
&lt;br /&gt;
News translation is a cultural transformation with certain purposes(skopos). While conveying the connotation of the information, news translation must also take into account the habits of target readers. The purpose-oriented approach helps translators to break the language barriers and helps to convey cultural connotations and facilitate communication. The purposes and functions of translation determine the translation methods. In translation, the standard of translation should not be how to be faithful to the source text, to highlight the main points of the news and attract English readers. Therefore, the paper of applying the Skopos theory to Chinese-English news headlines is of significance.&lt;br /&gt;
==== limitations ====&lt;br /&gt;
However, there are also limitations in the paper. The first problem is the complexity of theoretical basis. The second one is that few data have been collected. And the last one is the capability of the author herself. So, there is still room for improvement.&lt;br /&gt;
&lt;br /&gt;
===References===&lt;br /&gt;
&lt;br /&gt;
* Newmark, P.A Textbook of Translation[M]. Shanghai: Shanghai Foreign Language Education Press, 2001: 40-42.&lt;br /&gt;
&lt;br /&gt;
* Nord, Christiane. Translating as a Purposeful Activity [M]. Shanghai：Shanghai Foreign Language Education Press, 2001.&lt;br /&gt;
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* Vermeer, H. J. Skopos and Translationsauftrag – Aufsatze [M]. Second Edition. Heidelberg: University, 1989. &lt;br /&gt;
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* Vermeer, H. J. Skopos and Translation Commission [M]. Heidelberg: University, 1989.&lt;br /&gt;
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* Munday, J. Introducing Translation Studies: Theories and Applications[M]. London and New York: Routledge, 2001: 77-78.&lt;br /&gt;
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* Nida, E. A. Language, Culture and Translating[M]. Shanghai: Shanghai Foreign Language Education Press, 2001: 50-51. &lt;br /&gt;
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* Nida, E. A. Language and Culture—Contexts in Translating[M]. Shanghai: Shanghai Foreign Language Education Press, 2001: 38-41.&lt;br /&gt;
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* Schudson, M. The Power of News [M]. Cambridge, Mass: Harvard University press, 1995&lt;br /&gt;
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* Hu Shuzhong 胡曙中. 语篇语言学导论 [ Introduction to Discourse Linguistics ] [M]. 上海: 上海外语教育出版社Shanghai: Shanghai Foreign Language Education Press, 2012.&lt;br /&gt;
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* Xu Mingwu 许明武. 新闻英语与翻译 [News English and Translation] [M]. 北京: 中国对外翻译出版公司[Beijing: China Foreign Translation and Publishing Corporation], 2003.&lt;br /&gt;
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* Shen Jinbo 沈金伯. 新闻英语文体探讨[Exploring the English Style of News ][J]. 《外国语》[Foreign Languages]. 1989(1): 52-55 &lt;br /&gt;
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* Fan Tengteng 樊腾腾. 从目的论角度论英语新闻标题的翻译[Translation of English News Headlines from Perspective of Skopos thoery ][D]. 广东外语外贸大学[Guangdong University of Foreign Studies], 2006.&lt;br /&gt;
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* Liu Mixian 刘宓庆. 当代翻译理论[Contemporary Translation Theory ][M]. 中国对外翻译出版公司[China Foreign Translation and Publishing Corporation], 2003.&lt;br /&gt;
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* Wang Jun, Chen Shiyue 王军,陈诗月.翻译目的论研究综述[A Review of Translation Purpose Theory Research ] [J].现代交际[Modern Intercourse],2017(18):102-103.&lt;br /&gt;
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* Chen Lizhao. 陈丽昭. 中英新闻标题对比研究[A Comparative Study of Chinese and English News Headlines ][D].福建师范大学[Fujian Normal University],2002.&lt;br /&gt;
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* Wang Chi 王驰. 目的论在经济新闻标题英汉翻译中的应用[The Application of Skopos Theory in the English-Chinese Translation of Economic News Headlines ][D].华中师范大学[Central China Normal University], 2013.&lt;br /&gt;
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* Luo Dan 罗丹. 目的论视角下的中国日报网英语新闻标题的翻译策略[Translation Strategies of English News Headlines in China Daily from the Perspective of Skopos Theory ][D].武汉科技大学[Wuhan University of Science and Technology], 2012.&lt;br /&gt;
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* Tang Ting 唐婷. 从目的论看硬新闻标题的汉译英[Chinese-English translation of Hard News Headlines From Perspective of Skopos Thoery][D].南华大学[University of South China],2010.&lt;br /&gt;
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&lt;br /&gt;
==On Chinese-English Translation of Public Service Advertisements From the Perspective of Text-type Theory  司妤  Si Yu  Student No.202070080606==&lt;br /&gt;
&lt;br /&gt;
===Abstract===&lt;br /&gt;
&lt;br /&gt;
Public-service advertising is an advertising activity that provides free services to the community without the purpose of making profit. Since the founding of the People's Republic of China, public-service advertising activities have increased and played an important role in the moral and ideological education of society as a whole, such as fire and burglary prevention, forest protection, birth control, maintenance of public order, no spitting and so on, all of which are in the nature of public-service advertising.&lt;br /&gt;
With the improvement of China's status in the international society, the accuracy of the translation of PSAs, as a medium to convey Chinese culture, is attracting more and more attention. Accurate translations help to showcase Chinese culture to foreigners and promote communication, while incorrect translations can be laughable.&lt;br /&gt;
In some public occasions, I have noticed that there are many excellent PSAs, but there are also some &amp;quot;Chinglish&amp;quot; PSAs. This paper analyzes the text of PSAs using the Text-type theory, gives suggestions to improve the messy translation phenomenon, and summarizes several translation methods, hoping to provide reference for the translators of PSAs.&lt;br /&gt;
&lt;br /&gt;
===key words===&lt;br /&gt;
&lt;br /&gt;
Public-service advertisement;Text typeTheory;Translation methods&lt;br /&gt;
&lt;br /&gt;
===摘要===&lt;br /&gt;
&lt;br /&gt;
公益广告是不以营利为目的而为社会提供免费服务的广告活动。我国建国以后，公益性的广告活动日益增多，对全社会进行道德和思想教育发挥了重要作用，例如有关部门进行的防火防盗、保护森林、节制生育、维护公共秩序、不要随地吐痰等广告宣传，均属公益广告的性质。&lt;br /&gt;
随着中国在国际社会地位的提高，公益广告作为一种传递中国文化的媒介，其翻译的准确性日益受到人们的关注，翻译准确有利于向外国友人展示中国文化促进交流。翻译错误则容易贻笑大方。&lt;br /&gt;
在一些公众场合，笔者注意到不乏优秀的公益广告翻译，同时也仍有一些“中式英语”  公益广告存在，本文运用文本类型理论对公益广告文本进行分析，对乱译现象提出改进建议，总结了几点翻译方法，希望能够为公益文本译者提供借鉴。&lt;br /&gt;
&lt;br /&gt;
===关键字===&lt;br /&gt;
&lt;br /&gt;
公益广告；文本类型理论；翻译方法&lt;br /&gt;
&lt;br /&gt;
===Introduction===&lt;br /&gt;
&lt;br /&gt;
====Research Background====&lt;br /&gt;
&lt;br /&gt;
Economic and social development and the improvement of people's living standards have brought many unprecedented changes to people, making their lives more convenient and colorful. But along with it comes a series of social problems such as indiscriminate dumping of urban garbage, neglect of wildlife protection, lack of care for public property, smoking in public places, etc.These social problems have also been magnified by the advance of urbanization. At this time, public service advertisement (PSA)can offer help if we want to activate more people to solve them. There are many forms of public service advertisements, such as public service advertisement (PSA) clips, public service messages, and public service slogans. Each of these PSAs has its own textual characteristics, such as the PSA short film in the form of a short video, using a fascinating plot to illustrate the concept of public welfare; public service messages are simple but informative; public service slogans are neat and thought-provoking. The translation of these texts should be done according to the characteristics of the text in order to achieve the public service effect of the text. With China playing an increasingly important role in the international community, a large number of international conferences are being held in China, and the number of foreign travelers arriving in the country is on the rise. The accuracy of the translation of public service advertisements is especially important at this time, not only to help foreigners in their travel work in China, but also to promote Chinese culture and enhance their understanding of China.&lt;br /&gt;
&lt;br /&gt;
It is worth mentioning that the overall quality of the Chinese people has been significantly improved compared to a few years ago, and the appearance of more and more elites has made the society think more deeply about the accuracy of translation, which is conducive to building a good city image and improving the aesthetic level of city residents and tourists.&lt;br /&gt;
&lt;br /&gt;
Advertisements can be divided into commercial advertisements and public service advertisements according to content and purpose. Commercial advertisements are mostly published by enterprises, and their main purpose is to stimulate consumers and arouse their desire to consume, and their content is mostly product information.(Liu Xiaofang 2014)&lt;br /&gt;
&lt;br /&gt;
There are some definitions from different people. Berkowitz, a famous scholar, who makes a thorough study of advertisement for more than 25 years, states that PSA is generally sponsored by a non-profitable institution, civic group, religious organization, trade association, or political group with a central focus on public welfare (Berkowitz, 2004). In China, according to Zhang Minxin‟s definition, PSA is a sub-branch of non-commercial advertisement whose purposes are to serve the public interests. This kind of advertisement can push the public to change their attitudes and behaviors (Zhang Mingxin, 2004). There are some researchers at home and abroad trying to discover how public service advertisements work, such as: Judie Lannon (2008), Nancy Lee (2006), Josephson (2005) and other scholars hoping to discover the secrets behind public service advertisements and society, such as Charles Atkin (2001) and Pan Zehong (2001).&lt;br /&gt;
&lt;br /&gt;
====Research Significance and Objectives====&lt;br /&gt;
&lt;br /&gt;
As the influence of Chinese culture increases internationally, more and more foreigners want to learn about China. Some want to learn the Chinese language, others want to know more about the social situation. Public service advertisements (PSAs) provide such an opportunity to help them learn and better understand China. At the same time, some social problems, such as the new Cov-19 epidemic, SARS, and AIDS, may not only be a problem for China, but also for the whole world, and the PSAs can provide a Chinese perspective and Chinese wisdom to solve these problems. In addition, when a disaster occurs, such as the Wenchuan earthquake, which aroused the attention and sympathy of the internationalcommunity, and some friendly countries want to provide assistance, PSAs are extremely important. In this paper, the writer will analyze different public service advertisements from the perspective of text type theory and suggest translation suggestions.&lt;br /&gt;
&lt;br /&gt;
Public service advertisement texts are common texts in daily life, and many scholars have discussed them from various perspectives, including the theory of purpose, aesthetic perspective, semantic translation and communicative translation perspective. However, no scholars have analyzed them from the perspective of text type theory. The writer boldly proposes to look at public-interest text translation from such a perspective, which may lead to new insights.&lt;br /&gt;
&lt;br /&gt;
====Methodology====&lt;br /&gt;
&lt;br /&gt;
The texts in this paper are mostly from public service advertisements released by CCTV, publicservice text messages received by the public, and public service slogans around them. This paper adopts a descriptive approach to analyze the content and purpose of the texts in detail, and also gives its own suggestions on how to translate the public service texts.&lt;br /&gt;
&lt;br /&gt;
====Framework of this paper====&lt;br /&gt;
&lt;br /&gt;
This paper is divided into seven chapters.&lt;br /&gt;
Chapter 1 introduces the background, significance and purpose of the research, methodology, and general framework of this thesis.&lt;br /&gt;
Chapter 2 introduces the theoretical perspective used in this paper.&lt;br /&gt;
Chapter 3 analyzes the characteristics of public service texts from the perspective of content and text.&lt;br /&gt;
Chapter 4 gives examples of texts according to the three categories of text type theory and analyzes the more appropriate translations.&lt;br /&gt;
Chapter 5 lists the obvious mistranslations in PSAs and gives suggested versions of the translations.&lt;br /&gt;
Chapter 6 summarizes the methods that can be used to translate PSA texts.&lt;br /&gt;
Chapter 7 summarizes what has been discussed throughout the essay and reflects on the limitations of the essay.&lt;br /&gt;
&lt;br /&gt;
===Overview of Theoretical Foundation and Comparisons===&lt;br /&gt;
&lt;br /&gt;
====Reiss’s View of Text Type Theory====&lt;br /&gt;
&lt;br /&gt;
Katharina Reiss is the founder of the German functional school of translation, and in her book Possibilities and Limitations in Translation Criticism (1979) she presented the prototype of the functional school's theoretical ideas. Reiss's text types are divided into four main categories. She points out that content texts emphasize the depictive function, formal texts emphasize the expressive function, operative texts emphasize the persuasive function, and audio-visual texts emphasize the audio-visual function. function). Therefore, these text categories can also be referred to as informative text, expressive text, operative text, and audio-visual text, respectively. Correspondingly, there are four types of functions.(Li Zhi 2008) &lt;br /&gt;
&lt;br /&gt;
1. Content-based text&lt;br /&gt;
This type of text is content-based, and the text can be used to convey information and so on. When translating, the content should be restored to the greatest extent possible. These texts mainly include news reports and commentaries, business letters, cargo lists, instructions for use, operating instructions, and other professional works in technical fields.&lt;br /&gt;
&lt;br /&gt;
2. Formal texts&lt;br /&gt;
The focus of formal texts is on their aesthetic significance. When translating such texts, the translator should aim to create a similar text effect in the form. Formal texts include literary prose (short essays, biographies, pure literature), imaginative prose (anecdotes, short stories, novels, romances), and all forms of poetry (from didactic poetry to narrative poetry to purely emotional poetry).&lt;br /&gt;
If the form is not preserved in translation, the content of the text may be lost as a result.&lt;br /&gt;
&lt;br /&gt;
3. Operative texts&lt;br /&gt;
Operative texts are concerned with the response of the recipient of the text. This type of text clearly appeals to the recipient of the text through a certain point of view and with a certain purpose, expecting to receive the desired response. The representative texts are all operative texts in which the appealing element predominates, using advertisements, propaganda, sermons, debates, agitation or satirical texts that have an expressive purpose or linguistic expression.&lt;br /&gt;
&lt;br /&gt;
4. Audiovisual texts&lt;br /&gt;
Generally speaking, any text that requires some degree of non-verbal communication with the audience is an audio-visual text. This includes mainly radio and television scripts, such as radio news and reports, overviews of hot topics, and theater productions. In these texts, not only grammar and narration techniques, but also sound effects and visual devices (in television and film) play an important role.&lt;br /&gt;
&lt;br /&gt;
====Peter Newmark’s View of Text Type Theory====&lt;br /&gt;
&lt;br /&gt;
Peter Newmark is one of the leading figures in the linguistic school of British translation theory. Newmark also made a detailed classification of texts, and he summarized them into the following three types according to their contents:&lt;br /&gt;
&lt;br /&gt;
1. Expressive texts&lt;br /&gt;
This type of text focuses on the content of the text and the author's own point of view. Newmark divides them into three types of texts. (1) serious and imaginative literature, including lyric poetry, short stories, long novels, and plays; (2) authoritative texts, including a variety of texts whose authority comes from the author's status or linguistic ability, such as speeches and statements by senior government officials and political party leaders, legal regulations, documents, and literary and academic works written by authorities; (3) autobiographies, essays, and private letters that are straightforward and have no direct readership.(Jia Heping 2015)&lt;br /&gt;
&lt;br /&gt;
2. Informative texts&lt;br /&gt;
The text often contains some content that does not involve the emotional and opinion part, and this part of the content can have its practicality, which is the information function of the text. Typical informative texts include textbooks, technical reports, newspaper articles, scientific papers, conference proceedings, etc.&lt;br /&gt;
&lt;br /&gt;
3. Operative text&lt;br /&gt;
The function focuses on the response of the text receiver, and the text is set to get the desired response from the receiver, to produce certain influence on them or even change their concepts and behaviors. Typical vocative texts include notices, advertising campaigns, instructions, and persuasive texts (such as requests, appeals, etc.).&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
He classifies language functions into six categories, based on what the philosophers of language Bühler and Jacobson have said about language functions. He believes that a text may have one function or several functions, but that one of these functions is the main one, as explained below.&lt;br /&gt;
&lt;br /&gt;
1. Expressive function&lt;br /&gt;
Expression is a fundamental property of language. Expression is the process by which people use language to express their feelings, attitudes, and opinions. Expression focuses on output of the writer, not on the other person's reaction and feelings.&lt;br /&gt;
&lt;br /&gt;
2. Informative function&lt;br /&gt;
The content of the text is mainly fixed, not with emotion, can be used by people in certain situations.&lt;br /&gt;
&lt;br /&gt;
3. Operative function&lt;br /&gt;
This function focuses on the reaction of the recipient of the text, and the writer envisages the reaction of the recipient of the text when writing, in order to achieve the corresponding purpose.&lt;br /&gt;
&lt;br /&gt;
4. Aesthetic function&lt;br /&gt;
Language contains traces of history, which represents a certain aesthetic of people. The first means used for this function is sound, and the second is metaphor. In addition, the rhythm, balance and contrast of sentences and words also have a role. The aesthetic function is present in most of the text categories, moreover, it is indispensable for poems, nursery rhymes and some advertising campaigns.&lt;br /&gt;
&lt;br /&gt;
5. Interpersonal function&lt;br /&gt;
The interpersonal function is reflected in people's daily interactions and conversations. That is, language helps people establish relationships with each other.&lt;br /&gt;
&lt;br /&gt;
6..Meta-linguistic function &lt;br /&gt;
Meta-linguistic function is a special function of language, refers to the language of the language itself to explain, name, analyze, comment on the function. Some expressions in the text, such as “strictly speaking, literally, so called, so to speak, by definition, etc.”, are manifestations of the meta-linguistic function.&lt;br /&gt;
&lt;br /&gt;
Of the above six functions, the first three are the main ones, but within a text, there may be multiple functions, but the text itself has a focus, and rarely does textual knowledge contain purely one function.(Li Zhi 2008)&lt;br /&gt;
&lt;br /&gt;
====Similarities and Differences Between Reiss's and Newmark's View of Text Type Theory====&lt;br /&gt;
&lt;br /&gt;
=====Similarities=====&lt;br /&gt;
Both theories are based on Bühler's triadic approach to language function. Both have the same understanding of the division and characteristics of different kinds of texts.&lt;br /&gt;
Differences&lt;br /&gt;
&lt;br /&gt;
=====Differences=====&lt;br /&gt;
First of all, language used in lived interaction is the main basis for Rice's definition of text types, and these are classified as text types that value content. Newmark, on the other hand, regards such lived language as a special linguistic function, and many experts consider this understanding by Newmark problematic.&lt;br /&gt;
&lt;br /&gt;
Second, there is a significant difference in their views of instructions, with Rice classifying them as informative texts because of their ability to provide certain information to readers. Newmark, on the other hand, classifies it as a operative text because of its ability to guide people and thus change their behaviors. In my opinion, the text of instruction manuals is due to the nature of the product itself, and the readers have the will to act before reading the text, and the manuals only provide them with certain information, so they should belong to the information category.&lt;br /&gt;
&lt;br /&gt;
Furthermore, the language used in living interactions is the main basis for Rice's definition of text types, and these are classified as text types that value content. Newmark, however, regards this lived language as a special language function, and many experts think that this understanding of Newmark is problematic.(Jia Heping 2015)&lt;br /&gt;
&lt;br /&gt;
====Similarities and Differences Between Chinese and English PSA texts====&lt;br /&gt;
&lt;br /&gt;
=====Similarities=====&lt;br /&gt;
&lt;br /&gt;
1. Public service texts in both languages often use certain rhetorical techniques, such as personification, alliteration, and end-rhyme, in order to evoke a call to action.&lt;br /&gt;
&lt;br /&gt;
2. Public service texts in both languages often use short sentences, especially in public service slogans, which are easy to remember and achieve the desired effect.&lt;br /&gt;
&lt;br /&gt;
3. Both languages use idioms and sayings that have been around for a long time.&lt;br /&gt;
 &lt;br /&gt;
=====Differences=====&lt;br /&gt;
&lt;br /&gt;
1. Chinese public service texts are good at using strong words such as &amp;quot;forbidden&amp;quot;, while English texts use more euphemisms such as &amp;quot;Please&amp;quot;. When translating, we should respect the habits of the translating countries in order to better play the role of public welfare texts.&lt;br /&gt;
&lt;br /&gt;
2. Chinese public service texts tend to use poetry-like forms, with seven or five characters in order to be neatly matched. In English, they mostly use phrases of the same number of words to match each other.&lt;br /&gt;
&lt;br /&gt;
3.The translation of advertising slogans also needs to respect certain cultural differences, as Western societies emphasize the individual while the Chinese value collectivism. For example:&lt;br /&gt;
&lt;br /&gt;
Example 1：保护生态环境，造福子孙后代。&lt;br /&gt;
&lt;br /&gt;
Translation 1:Leave a sound ecological environment to your children.&lt;br /&gt;
&lt;br /&gt;
Such a slogan in Chinese emphasizes the impact on future generations without specifying whose children and grandchildren it is, but in the translation, the translator translates it as &amp;quot;Leave a sound ecological environment to your children.” to call on people to protect the environment.&lt;br /&gt;
&lt;br /&gt;
4. Westerners focus on direct expressions, while Chinese expressions are more subtle. For example:&lt;br /&gt;
&lt;br /&gt;
Example 2: 司机一滴酒，亲人两行泪。 &lt;br /&gt;
&lt;br /&gt;
Translation:Drink and drive costs your life.&lt;br /&gt;
&lt;br /&gt;
The sentence contrasts the words &amp;quot;酒&amp;quot; and &amp;quot;泪&amp;quot; without directly pointing out the possible serious consequences, leaving the reader to think about them and take actions. Instead, the translator simply translates it as &amp;quot;Drink and drive costs your life.”(Li Qingxue, Wang Huaiwang 2019)&lt;br /&gt;
&lt;br /&gt;
===Features of Public Service Advertisements===&lt;br /&gt;
&lt;br /&gt;
As an advertising method, public service advertisements have their own characteristics in many aspects. By analyzing the characteristics, we can accurately convey the idea that the PSA is trying to convey.&lt;br /&gt;
&lt;br /&gt;
====Content Features====&lt;br /&gt;
&lt;br /&gt;
1. The public welfare nature of PSAs is their essential feature, which is concerned with the common interests of the entire society. By observing the theme and content of the PSAs in both China and abroad, it can be seen that the topics of PSAs cover ecological protection, care for the earth, quality birth and education, opposing cults, advocating science, opposing war, advocating polite social mores, patriotism, and so on.&lt;br /&gt;
&lt;br /&gt;
2. Public service advertisements are non-profit in nature. It does not exist for an organization or a business entity, but rather to draw people’s attention to and activate action on social issues. Commercial advertising, on the other hand, exists for financial gain.&lt;br /&gt;
&lt;br /&gt;
3. Popularity. The public service advertisements are made for the general public. As the audience's cultural level, the ability to understand different, so public service advertisements must be easy to understand. It not only requires the spread of advertising content to have universal significance, but also the form of popular, concise, accessible language, easy to understand. Only in this way, the public service advertisement can really serve the purpose of the public.&lt;br /&gt;
&lt;br /&gt;
4. Creativity. The advertising market is so diverse that the only way to make advertisements spread to  the public is to design them in a creative and meaningful way that will make them known to&lt;br /&gt;
more people.&lt;br /&gt;
&lt;br /&gt;
====The Features of Text Forms====&lt;br /&gt;
&lt;br /&gt;
1.Advertising texts that we see in our daily lives include slogans, public service messages and public service videos, and so on. Advertising slogans are usually short and meaningful, with simple counterpoint sentences, and are operative texts. On the other hand,public service messages are mostly preventive messages issued by social organizations to help disseminate precautions and draw people’s attention to an unexpected situation in order to maintain social order. They are mostly informative texts. Most PSAs have a complete storyline, thought-provoking dialogue, and a short slogan that summarizes the message of the ad.&lt;br /&gt;
&lt;br /&gt;
2. Public service advertisements are often designed with certain rhetorical techniques to enhance the aesthetics of the ad, make it catchy to read, and ultimately leave a deep impression on the public.&lt;br /&gt;
&lt;br /&gt;
===Examples of C-E Translation of Public Service Advertisements===&lt;br /&gt;
&lt;br /&gt;
====Operative Text====&lt;br /&gt;
&lt;br /&gt;
Most of the PSAs are operative texts, and the pupose of operative texts in PSAs is to affect the public in order to attain the desired response from the advertisers. PSAs are created to publicize something of common social interest in order to attract attention and action, so the creative design of the advertisement should take this into account and retain the appealing elements of the original text when designing the advertisement.&lt;br /&gt;
&lt;br /&gt;
Example 3: 爱心播散 希望萌芽&lt;br /&gt;
&lt;br /&gt;
Translation: Spread love Sow hope&lt;br /&gt;
&lt;br /&gt;
The public service advertisement slogan is from a public service advertisement released by CCTV in 2016, which tells the story of Zhao Xiaoting, a student from Wuhan University, who volunteered to go to Guizhou to teach in the mountains. It was her selfless love that sowed hope for the children in the mountains. The ad reflects the great power of ordinary people and promotes the core values of socialism. It shows the power that volunteering can bring. The ad is very short, with a neat counterpoint, and the verb and noun have been swapped in the translation, with the verb being in front of the noun, indicating a dynamic process that can arouse the public's recognition of the act and inspire them to join in and contribute to the poor areas. The second verb in the original text is &amp;quot;萌芽&amp;quot;, but the translation uses &amp;quot;sow&amp;quot; to indicate the growth of hope, which is similar to the original text.(Jin Haibing 2005)&lt;br /&gt;
&lt;br /&gt;
Example 4: 有你在，就是家。&lt;br /&gt;
&lt;br /&gt;
Translation：You bring me warmth of home.&lt;br /&gt;
&lt;br /&gt;
In this short film, a father in a rural area has never been away from home, and because he misses his son, who has not been home for a long time, he sets out on his own to visit him. The father has to change various means of transportation to get to the city, and encounters many difficulties because his being unable to speak mandarin well. The helpless father finally gets help from the staff, through whom he contacts his son. Eventually they both cry, and the short film ends with the father sitting on his son's motorcycleand going home together. The short film is very touching, and through the process of going into the city to look for his son, it shows us how brave and gentle people can be for love. If we translate the text word by word in the original order, we can't express this meaning, so we use phrases like &amp;quot;bringing sb warmth&amp;quot; to express the meaning of the original Chinese.(Ye Qiuling 2020)&lt;br /&gt;
&lt;br /&gt;
====Informative Text====&lt;br /&gt;
&lt;br /&gt;
Public service messages are informatiive texts, mainly used to convey certain information, with straightforward and concise text content, and the translator only needs to express its literal meaning directly when translating.&lt;br /&gt;
&lt;br /&gt;
Example 5：请您收到来自境外、国内新冠疫情中高风险地区的邮件、包裹，先对物品表面进行消毒，或在阳台等室外空旷处放置一段时间再打开。处理完包裹、邮件后，应立即用肥皂或洗手液清洗双手，或用免洗手消毒剂进行消毒。洗手前双手不触碰口、鼻、眼等部位。疫情防控有您的参与才能胜利！&lt;br /&gt;
&lt;br /&gt;
Translation: If you receive mail or parcels from overseas or domestic areas at high risk of Cov-19 outbreak, please disinfect the suface of the items first, and leave them on the balcony or other outdoor open space for a period of time before opening them. Immediately after handling parcels and mail, wash your hands with soap and hand sanitizer, or disinfect them with hand sanitizer. Do not touch your mouth, nose, eyes or other parts of your body before washing your hands. Outbreak prevention and control can only be won with your participation!&lt;br /&gt;
&lt;br /&gt;
Example 6：应急公益短信:为严防新型冠状病毒感染的肺炎疫情，山东省严禁任何形式的野生动物交易活动，严禁野生动物对外扩散和转运贩卖。对于违反规定的经营者、经营场所将予以停业整顿、查封，涉嫌犯罪的，将移送公安机关。社会各界如有发现违法违规交易野生动物的，欢迎拔打12345等投诉举报。&lt;br /&gt;
&lt;br /&gt;
Translation: In order to prevent the outbreak of pneumonia due to new coronavirus infection, any form of wildlife trade is strictly prohibited in Shandong Province, and the proliferation and trafficking of wildlife is strictly prohibited. The company's main goal is to provide the best service to the public.&lt;br /&gt;
If you are suspected of committing a crime, you will be transferred to the public security organs. If any&lt;br /&gt;
illegal trade of wild animals is found, the community is welcome to call 12345 to report complaints.&lt;br /&gt;
&lt;br /&gt;
====Expressive Text====&lt;br /&gt;
&lt;br /&gt;
The purpose of an expressive text is to express emotions and attitudes, the language focuses on aesthetics, and the focus of the text is on the form of expression, which requires attention to equity in translation. With the development of the economy and society and the improvement of people's living standards, the aesthetic level of the masses is also improving, and accordingly, the translation of advertising slogans should also change to adapt to the improvement of people's aesthetics.&lt;br /&gt;
&lt;br /&gt;
Example 7：善行无痕 一种习惯的美丽&lt;br /&gt;
&lt;br /&gt;
Translation: Kindness is traceless. A habit of beauty.&lt;br /&gt;
&lt;br /&gt;
The slogan is from a public service advertisement by CCTV in 2016. In the short film, a wife walks into a room to rest after stopping on the balcony for a long time, and her husband comes back and intends to tum off the balcony light to save electricity. The wife stops the husband, and the camera turns to two elderly sanitation workers who are finishing their meal by the light of the lamp she left for them, which the young couple lit for them in the night.Such kindness is obviously not accidental,but has been a habit of the wife in the short film, and is therefore natural and touching. The ad is intended to call attention to good deeds and habit formation through a story like this one. The ad's slogan is a literal translation, with &amp;quot;善行&amp;quot; translated as &amp;quot;Kindness&amp;quot; and &amp;quot;无痕&amp;quot; as &amp;quot;traceless&amp;quot;.&amp;quot;The use of end-rhyme rhetoric, which pursues equivalence of expressions and enhances the rhythmic beauty of the language, impresses readers and influences their perceptions and habits of good deeds, serving as a public service advertisement.(LiQingxue, Wang Huaiwang 2019)&lt;br /&gt;
&lt;br /&gt;
Example 8：保护肺脏，珍爱生命。（禁烟广告）&lt;br /&gt;
&lt;br /&gt;
Translation: Save your lung, save your life.&lt;br /&gt;
&lt;br /&gt;
The slogan comes from an anti-smoking advertisement that uses the alliteration, “lung” and “life”, to emphasize that quitting smoking is about protecting your lungs and your life. The two “saves” remind people that smoking is harmful to their health and that they should quit smoking as soon as possible to save themselves.&lt;br /&gt;
&lt;br /&gt;
===Misinterpretation of Public Service Advertisemnts===&lt;br /&gt;
&lt;br /&gt;
====Chinglish====&lt;br /&gt;
Chinglish refers to word-for- word translations that do not consider translation strategies from the perspective of the receiving language and cultural differences, and often cause difficulties in comprehension for the receiving readers.&lt;br /&gt;
&lt;br /&gt;
Example 9：小心地滑&lt;br /&gt;
&lt;br /&gt;
Misinterpretation: Foot Care.&lt;br /&gt;
&lt;br /&gt;
Suggested translation: Mind your step.&lt;br /&gt;
&lt;br /&gt;
The above misinterpretation is translated word-for-word, which not only makes it difficult for the recipient readers to read, but also affects the image of the city as a whole, so more citizens are taking notice and taking action to reject &amp;quot;dead translation&amp;quot; and &amp;quot;Chinglish&amp;quot;. &lt;br /&gt;
&lt;br /&gt;
====Grammatical errors====&lt;br /&gt;
Most grammatical errors are caused by the translator's own incompetence, mainly in the use of articles, subject- predicate inconsistencies, mis-matching of verb phrases, and word confusion.&lt;br /&gt;
&lt;br /&gt;
Example 10：珍爱生命 远离毒品。&lt;br /&gt;
&lt;br /&gt;
Mistranslation: Yes to life, no to drugs.&lt;br /&gt;
&lt;br /&gt;
Suggested translation: Cherish life and avoid drugs.&lt;br /&gt;
&lt;br /&gt;
The public service advertisement came from an anti-drug advertisement, obviously the mistranslated structure of the translation does not fit English conventions.&lt;br /&gt;
&lt;br /&gt;
====Inappropriate Use of Words====&lt;br /&gt;
There are some words in English that are very similar to each other, and improper use of words means that the translator uses words haphazardly without clearly distinguishing between similar words, resulting in a misinterpretation.&lt;br /&gt;
&lt;br /&gt;
Example 11：关爱残障人士&lt;br /&gt;
&lt;br /&gt;
Improper translation: Care for the handicapped.&lt;br /&gt;
&lt;br /&gt;
Suggested translation: Care for the disabled.&lt;br /&gt;
&lt;br /&gt;
The slogan is from a public service advertisement in which the word &amp;quot;handicapped,&amp;quot; which translates to &amp;quot;the handicapped,&amp;quot; is now somewhat outdated and contains a certain amount of offensive language that sometimes causes people to be It would make more sense to change it to &amp;quot;the disabled&amp;quot;, relatively speaking.&lt;br /&gt;
&lt;br /&gt;
====Redundancy====&lt;br /&gt;
The redundancy is due to the fact that the translators do not fully understand the differences between Chinese and foreign cultures and the purpose of the text.&lt;br /&gt;
&lt;br /&gt;
Example12：一花一草皆生命 一枝一叶总关情&lt;br /&gt;
&lt;br /&gt;
Improper Translation: Alive as all living things each flower and leaf of grasses require our care.&lt;br /&gt;
&lt;br /&gt;
Suggested Translation: Please give me a chance to grow.&lt;br /&gt;
&lt;br /&gt;
The original translator intended to present a vivid description of the original slogan in front of people, but failed to consider that the slogan was intended to arouse people's love for flowers and plants. We suggest that the translation should start from the operative textual features of the slogan and combine it with the straightforward expression habits of foreigners to call on people to take care of flowers and plants in a more euphemistic way.&lt;br /&gt;
&lt;br /&gt;
===Methods of C-E Translation of Public Service Advertising===&lt;br /&gt;
&lt;br /&gt;
====Literal Translation====&lt;br /&gt;
&lt;br /&gt;
The main characteristics of literal translation are twofold: in the treatment of word meanings and rhetoric (e. g., metaphors), it does not use transitive techniques (this distinguishes &amp;quot;literal translation&amp;quot;from &amp;quot;free translation&amp;quot;); in the treatment of linguistic forms (i.e., lexical-syntactic structure), it allows appropriate changes and shifts (This distinguishes &amp;quot;literal translation&amp;quot; from &amp;quot;word- for-word translation&amp;quot;).(Xiong Bing 2013) For example.&lt;br /&gt;
&lt;br /&gt;
Example 13: 我的盛开需要你的关爱 &lt;br /&gt;
&lt;br /&gt;
Translation : Luxuriant flowers need your care.&lt;br /&gt;
&lt;br /&gt;
The translation retains the personification of the original, treating flowers as species with emotions, but directly specifies that &amp;quot;I&amp;quot; means &amp;quot;flower&amp;quot;, which is in line with the habit of expression of the target audience and serves as a reminder.&lt;br /&gt;
&lt;br /&gt;
Example 14: 节约用水就是珍爱生命&lt;br /&gt;
&lt;br /&gt;
Translation : To save water is to save life&lt;br /&gt;
&lt;br /&gt;
The original text translates &amp;quot;conserve water&amp;quot; and &amp;quot;cherish life&amp;quot; into a neat pairing, and the translation also translates them into a neat pairing, and the expression is in line with the habits of expression of the people in the receive language. Both the original text and the translation equate &amp;quot;conserve water&amp;quot; with &amp;quot;cherish life&amp;quot; to arouse the attention of the masses and advertise the importance of saving water.&lt;br /&gt;
&lt;br /&gt;
====Paraphrase====&lt;br /&gt;
&lt;br /&gt;
A paraphrase translation is one in which the translator does not stick to the details of the meaning of the original text, much less to its vocabulary and syntactic structure, but &amp;quot;uses the original text as a reference model&amp;quot; and either translates only the general meaning, gist or key information (or selectively some of it) by condensing it, or translates it into a text with more information compared to the original article. (Xiong Bing 2013) For example.&lt;br /&gt;
&lt;br /&gt;
Example 15:爱我,追我,千万别吻我。&lt;br /&gt;
&lt;br /&gt;
Translation: Drive carefully! &lt;br /&gt;
&lt;br /&gt;
The original text is from a public service advertisement advocating cautious driving. The translation does not follow the literal meaning, but rather the translator uses a paraphrasing technique after understanding the meaning of the sentence and chooses two words to express the meaning. It is short and serves as a warning to motorists.&lt;br /&gt;
&lt;br /&gt;
Example 16：手下留情花自香，脚下留意草如茵。&lt;br /&gt;
&lt;br /&gt;
Translation: Take care of grass and flowers, please.&lt;br /&gt;
&lt;br /&gt;
The original text is a public service slogan with Chinese cultural characteristics, but it is difficult to find a corresponding expression in English when translating. Here the translator uses an invocation to remind the masses.&lt;br /&gt;
&lt;br /&gt;
====Borrowing Translation====&lt;br /&gt;
&lt;br /&gt;
A borrowing Translation is an explanation that replaces the original word or phrase by borrowing the idiom of the target language. For example.&lt;br /&gt;
&lt;br /&gt;
Example 17: 爱心传递你我，文明就在身边。&lt;br /&gt;
&lt;br /&gt;
Translation: Where there is a love, there is a virtue.&lt;br /&gt;
&lt;br /&gt;
The original is a slogan from an advertisement for the Olympic Games, which is a medium for promoting the spirit of the Games and the country's outlook. The translator chose a well-known proverb from the translated country, &amp;quot;Where there is a will, there is a way,&amp;quot; to expand the publicity effect.&lt;br /&gt;
&lt;br /&gt;
Example 18: 让世界倾听我们的声音&lt;br /&gt;
&lt;br /&gt;
Translation : Let our voice be heard in the world.&lt;br /&gt;
&lt;br /&gt;
The original text was a slogan from a CCTV public service advertisement, which was based on the lyrics &amp;quot;Let our voice be heard.&lt;br /&gt;
&lt;br /&gt;
===Conclusion===&lt;br /&gt;
&lt;br /&gt;
In this paper, the writer divides and analyzes different texts and explain the approaches they take in translation. This perspective of using text type theory to analyze and discuss how to translate public service texts may be of some help to scholars.&lt;br /&gt;
&lt;br /&gt;
According to different texts, the text type theory has its own emphasis in translation, and different PSA texts are mostly operative texts, and sometimes one text has multiple textual characteristics, which translators can take into full consideration when choosing the emphasis and translation methods.&lt;br /&gt;
Public service translation is very different from commercial advertising translation, which is mainly used to educate the public, convey correct and positive values, encourage people to take actions to help others, and create a good social environment to resist bad behaviors. Generally speaking, it is necessary to consider the actual situation when translating the PSAs.&lt;br /&gt;
&lt;br /&gt;
Through analyzing the texts of PSAs, the author has made the following discoveries, and the translation of PSAs can be done according to the text type theory. Although there are some cultural differences between the two languages, the differences do not make translation difficult to achieve. If literal translation cannot translate the meaning of the source text, then paraphrase,borrowing translation and other translation methods can also be used.&lt;br /&gt;
&lt;br /&gt;
===Limitation===&lt;br /&gt;
&lt;br /&gt;
In this paper, I put forward some personal ideas, but in the final version, I can still find my own shortcomings. First of all, there is still a lack of richness of information due to the limitation of space. Secondly, the depth of my ideas is still insufficient, and I only hope that this article can provide some research ideas for researchers and contribute to the translation of public service texts.&lt;br /&gt;
&lt;br /&gt;
===References===&lt;br /&gt;
1.Jia Heping 贾和平. (2019). 论纽马克与赖斯的文本分类比较研究 [A Comparative Study on Newmark’s and Reiss’s Text Type Classification ]. &lt;br /&gt;
&lt;br /&gt;
2.Li Zhi 李治. (2008). 论纽马克与赖斯的文本分类比较研究 [Newmark’s and Reiss’s Text Type Classification and A Comparative Analysis of Translation Methodology ].&lt;br /&gt;
&lt;br /&gt;
3.Jin Haibing 金海兵. (2005). 试谈公益广告标语及其翻译 [On Analyzing Public Service Advertisements and Their Translation].&lt;br /&gt;
&lt;br /&gt;
4.Li Qingxue, Wang Huaiwang 李庆学 王怀望. (2019). 接受美学视角下的公益广告翻译 [A Study of English Translation of Public Service Advertisements from the Perspective of Reception Aesthetics].&lt;br /&gt;
&lt;br /&gt;
5.Ye Qiuling 叶秋伶. (2020). 语义翻译和交际翻译理论视角下中文公益广告英译——以央视公益广告为例 [English Translation of Chinese Public Service Advertisements from the Perspective of Semantic Translation and Communicative Translation Theory - Taking CCTV Public Service Advertisements as an Example].&lt;br /&gt;
&lt;br /&gt;
6.Liu Xiaofang 刘晓芳. (2015). 目的论视角下《中国日报》公益广告英译的探析 [The English Translation of PSAs in China Daily from the Perspective of Skopos theorie].&lt;br /&gt;
&lt;br /&gt;
7.Chen Yanhong 陈燕红. (2012).  文化视角中汉英公益广告的翻译策略 [Translation Strategies of Chinese-English Public Service Advertisements in Cultural Perspective].&lt;br /&gt;
&lt;br /&gt;
8.Xiong Bing 熊兵. (2013).  翻译研究中的概念混淆 [Conceptual Confusion in Translation Studies].&lt;/div&gt;</summary>
		<author><name>Song Jianru</name></author>
	</entry>
	<entry>
		<id>https://bou.de/u/index.php?title=History_of_Translation_Studies_8&amp;diff=113515</id>
		<title>History of Translation Studies 8</title>
		<link rel="alternate" type="text/html" href="https://bou.de/u/index.php?title=History_of_Translation_Studies_8&amp;diff=113515"/>
		<updated>2020-12-17T08:21:19Z</updated>

		<summary type="html">&lt;p&gt;Song Jianru: /* IV Quality Statement of Chinese Translation of A Pale View of Hills */&lt;/p&gt;
&lt;hr /&gt;
&lt;div&gt;这里是《翻译学史》的书稿第八部分(Part 8)。麻烦各位同学看一下已经存在的章回（样品），自己再加进去新的一个章回（就是你们的学期论文）。请也帮助同学们把他们的论文改正。这样多次修改，大家的论文会越来越好。&lt;br /&gt;
&lt;br /&gt;
学期论文（结合学期所学，撰写一篇5000以上单词的英文论文，按照专业杂志的格式，题目、摘要、关键词和参考文摘需要英中，文章英）。学期论文成绩占70%，平时成绩（含课堂表现、展示及作业）占30%。&lt;br /&gt;
&lt;br /&gt;
*Link back to course homepage: [https://bou.de/u/wiki/Introduction_to_Translation_Studies Course Homepage Intro. to TS]&lt;br /&gt;
*Link back to the final exam paper section of the course homepage: [https://bou.de/u/wiki/Introduction_to_Translation_Studies#Final_Exam_Papers Final Exam Papers]&lt;br /&gt;
*Link to other parts of the final exam papers' website: [https://bou.de/u/index.php?title=History_of_Translation_Studies_1 Part 1], [https://bou.de/u/index.php?title=History_of_Translation_Studies_2 Part 2], [https://bou.de/u/index.php?title=History_of_Translation_Studies_3 Part 3], [https://bou.de/u/index.php?title=History_of_Translation_Studies_4 Part 4]; [https://bou.de/u/index.php?title=History_of_Translation_Studies_5 Part 5], [https://bou.de/u/index.php?title=History_of_Translation_Studies_6 Part 6], [https://bou.de/u/index.php?title=History_of_Translation_Studies_7 Part 7], [https://bou.de/u/index.php?title=History_of_Translation_Studies_8 Part 8]; [https://bou.de/u/index.php?title=History_of_Translation_Studies_9 Part 9], [https://bou.de/u/index.php?title=History_of_Translation_Studies_10 Part 10].&lt;br /&gt;
&lt;br /&gt;
='''History of Translation'''=&lt;br /&gt;
== Study on Brand Name Translation from the Perspective of Cultural Difference	谭鑫洁	Tan Xinjie==&lt;br /&gt;
&lt;br /&gt;
==='''Abstract'''===&lt;br /&gt;
&lt;br /&gt;
== Abstract: ==&lt;br /&gt;
&lt;br /&gt;
==='''key words'''===&lt;br /&gt;
&lt;br /&gt;
==='''摘要'''===&lt;br /&gt;
&lt;br /&gt;
==='''关键字'''===&lt;br /&gt;
&lt;br /&gt;
===Complete transcript of the content of the original work ===&lt;br /&gt;
&lt;br /&gt;
===Same style and manner of writing===&lt;br /&gt;
&lt;br /&gt;
===Equivalent effect===&lt;br /&gt;
&lt;br /&gt;
===Discussion===&lt;br /&gt;
&lt;br /&gt;
===Conclusion===&lt;br /&gt;
&lt;br /&gt;
===Bibliography===&lt;br /&gt;
&lt;br /&gt;
==A Comparative Study on the Translation History in Western Countries and China	王煜	Wang Yu==&lt;br /&gt;
&amp;lt;center&amp;gt;王煜，202020080645.&amp;lt;/center&amp;gt;&lt;br /&gt;
===Abstract===&lt;br /&gt;
Translation is an intercultural communication activity, translation activities have accelerated the development of human civilization and reduced the communication barriers between people of different countries or nations. With time goes by, things are in a state of flux and both the western and eastern countries have gradually formed their own history of translation, the study of translation history is a basic project of discipline construction. Though there are many differences among the translation histories of western countries and China, the two kinds of translation histories are still shining their own bright unique lights and have an indelible influence and contribution to human translation activities. This paper intends to make a brief comparison of translation histories between western countries and China, which includes the origins, the stages, the representatives of the stages, the significance and influence as well as the differences of the two translation histories.&lt;br /&gt;
&lt;br /&gt;
===Keywords===&lt;br /&gt;
Translation History of the West; Translation History of China; Comparative Study&lt;br /&gt;
&lt;br /&gt;
===中西翻译史对比研究===&lt;br /&gt;
&lt;br /&gt;
===摘要===&lt;br /&gt;
翻译是一种跨文化交流活动，翻译活动加快了人类文明发展步伐，减少了人们之间的沟通障碍。随着时代的变迁，中国和西方国家逐渐形成了各自的翻译史，翻译史的研究是学科建设的一项基础工程。尽管中西方翻译史在某些方面有所差异，但却都有着各自的独特性，并对人类的翻译活动产生了巨大的影响与贡献。文章将以中国和西方国家为主要对象，从二者翻译史起始，包含阶段和各阶段代表人物，影响意义，差异性出发，对二者的翻译史进行简略的对比研究。&lt;br /&gt;
&lt;br /&gt;
===关键词===&lt;br /&gt;
西方翻译史；中国翻译史；对比研究&lt;br /&gt;
&lt;br /&gt;
===1. Introduction===&lt;br /&gt;
No matter in China or in the west, translation plays an important role in knowledge-spreading. As an indispensable part of translatology, the study of translation history has made a great influence on translation activities, it has gradually become the focus of the literary and historical circles in recent years. Translation activities can be traced back to the origin of language, and the history of translation is almost as old as language itself, it is closely related to the changes in today's society. &amp;quot;Since the 1980s, the translation studies in the mainland of China have made remarkable progress in the curriculum design of Chinese and western translation history and the compilation of related works. In the early 1980s and 1990s, there were many related works came out one after another including History of Translation in China – before May Fourth（《中国翻译简史-“五四”运动以前部分》） written by Ma Zuyi, A Historical Manuscript of Chinese Translated Literature （《中国翻译文学史稿》）edited by Chen Yugang, and also the A Short History of Translation in the West（《西方翻译简史》） the author of which is Tan Zaixi. Thus, it opens the gate for the compilation of Chinese and western translation history works.&amp;quot;(Xie Tianzhen2009,Ⅴ) The history of western translation can be divided into five stages while the Chinese study of translation has a glorious history of more than two thousand years and has experienced five climaxes. Through the comparative study of Chinese and western translation history, it will help us to have a deeper understanding of Chinese and western translation activities and thus to gather a general full view of it, which will be a positive and meaningful attempt.&lt;br /&gt;
&lt;br /&gt;
===2. The Translation History of Western Countries===&lt;br /&gt;
Western translation activities are rich in a long history and a multiyear span. The history of western translation can be roughly divided into three stages: the traditional stage, the modern times and the contemporary. More specifically, it can be grouped into the ancient times, the middle ages, the Renaissance period and the time after WWⅡ.&lt;br /&gt;
&lt;br /&gt;
===2.1 The First Stage: Translation in the Ancient Times===&lt;br /&gt;
    &lt;br /&gt;
The translation history of western countries first began in the the 3rd century BC. In a broad sense, the earliest translation in the west is the Old Testament translated by 72 Jewish scholars in Alexandria, ancient Egypt, between the 3rd and 2nd centuries BC; Strictly speaking, the first western translation is the Greek Homer Epic Odyssey translated by Andronicus in Rome in the middle of the third century BC.(Tan Zaixi2000,88-89) At the end of the 4th BC, during this time, the Greece began to decay and the Roman had became stronger and stronger with its military expansion. The expansion of the Roman Empire brought itself into contact with the splendid Greek culture, therefore, the Romans not only conquered the Greek city, but also inherited and developed the brilliant achievements of ancient Greek culture, and then created a  splendid cultural of its own era after Greece. So soon began a large scale translation activities, the activity of translating and introducing Greek classical works probably began in this period.(Liu Junping2009,8) Many famous translation theorists began to make their presences, namely Cicero, Quentin, Jerome and so on, also the famous Roman litterateurs like Andronicus, Naevius, Ennius, these great writers used Latin language to translate or adapt Homer’s epic or other Greece dramas.(Tan Zaixi2000, 89) Started the translation tradition and promoted the birth and development of Roman literature.&lt;br /&gt;
&lt;br /&gt;
===2.2 The Second Stage: Translation in the Middle Ages (4th-6th)===&lt;br /&gt;
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The second climax occurred in the late Roman Empire through the early Middle Ages and was religious in nature. In this period, translation was mainly related about the religious stuff. Religious forces have great influence in the west, Christianity strives to promote its own religion, thus, the Bible, the source and psychological weapon of the Christianism naturally meant a lot in religious world. Since the Old Testament of the Bible was written in Hebrew and Greek, respectively, it needed to be translated into Latin for effective circulation in Rome. &amp;quot;Jerome was a Latin Christian priest, he translated the Bible into Latin(Vulgute) according to the Hebrew version of the Bible.&amp;quot; This version had a great influence on medieval theology and was the most widely circulated and authoritative translation of the Middle Ages, marking an unprecedented level of Western translation.(Tan Zaixi2000, 89)&lt;br /&gt;
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===2.3 The Third Stage: Translation in the Middle Ages (11th-12th)===&lt;br /&gt;
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This period can also be called &amp;quot;the period of the Arab Centennial Translation Movement&amp;quot;,(Liu Junping2009,9) it lasted over two hundred years. In order to consolidate the rule and promote socio-economic and cultural development, the medieval Arab Empire undertook a massive, organized academic activity to translate and introduce the scientific and cultural classics of ancient Greece and the East. Translators of this period actively translated the most important works of Greek literature in all disciplines with an open mind and a strong desire for knowledge. Between the 11th and 12th centuries, Toledo became Europe’s academic center for its prosperous translation activities, the western translators who gathered here translated many works from Arabic into Latin. Cultural patterns and religious ideas converged here.(Tan Zaixi2000, 90) Until nowadays, the positive influence of the movement still plays an inherent role: numerous proprietary names such as ‘concept’, ‘category’ all are gradually established in Arabic. This movement not only facilitated the integration of the inner Arab world, but also, in fact, promoted the integration of the Western and Persian worlds.&lt;br /&gt;
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===2.4 The Fourth Stage: Translation in the Renaissance Period===&lt;br /&gt;
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The Renaissance movement is a European ideological and cultural movement which took place from the 14th century to the 16th century, and reached its peak in the 16th century and inspired a cascade of the development of science, art and literature. A large number of outstanding translators shown up and a series of excellent translation works had been produced. During this time, a great quantity of ancient Greek and Roman classics had been rediscovered and translated into various European languages, which had brought about a profound impact on the European nation states. Leonardo Buruni, who was one of the most influential cultural translation practitioners in the Renaissance period and was also one of the earliest representatives of humanistic translators in the history of western translation. He was famous for his translation of Plato and Aristotle. Humanists began to study the Bible with the method of studying classical literature, and translated the Bible into the national language, which led to the rise of the religious reform movement. In Germany, Martin Luther, a religious reformer, translated the first mass Bible which influenced most and ushered in a new era in the development of modern German; in Britain, Chapman, a writer and translator, translated Homer's Iliad and Odyssey from 1958 to 1616, and the translation and publication of the King James Bible in 1611 marked the formation of modern English.(Liu Junping2009,9) The renaissance played a very important role in the western history of the development of translation, it marked the national language status in the field of literature and translation having finally been consolidated, simultaneously, it showed the translation is playing a huge role in the formation and development of the national language, literature and thought.&lt;br /&gt;
During the the three hundred years that lasted from the 17th century to the 19th century, translation activities continued to move forward. Although its scale and influence could not be compared with that of the Renaissance, it still produced many excellent translators and translated works. The biggest feature was that translators not only continued to translate classical works, but also became interested in modern and contemporary works. The works of Cervantes, Shakespeare, Balzac, Goethe and other great writers had been repeatedly translated into various languages, and translations of Eastern literature have also been published.(Tan Zaixi2000, 91)&lt;br /&gt;
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===2.5 The Fifth Stage: Translation after WWⅡ===&lt;br /&gt;
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Although World War II has brought different degrees of blows to many countries, some western countries have used a large amount of capital to actively resume production, developed various social fields, and attached great importance to the person with ability. Western science and technology are changing with each passing day, driven by cybernetics, information theory and system theory, the world of knowledge and experience has been greatly expanded, and social and cultural exchanges have become increasingly close, which provided a solid material foundation and ideological guarantee for the prosperity of translation. With the growing in number or quantity of translation activities, the translation theory continues to develop, and the number of translation talents in various countries keeps on increasing. Translation has gradually expanded from traditional literary and religious translation to other fields, such as scientific and technical translation and business translation, and with the emergence of professional translators, the influence of translation has become more and more obvious, playing an important practical role. Distinctive features in this time, from the scope to the scale, effect, and to the forms, are all different from any time in the past, having made tremendous progress, the translation scale has exceed the past.&lt;br /&gt;
There are a large number of outstanding translators and translation theorists in the west, they have put forward their different points from different angles in different periods, which made a brilliant contribution to the history of western translation. The western translation activity promoted the cultural exchange and spread the ideas.(Tan Zaixi2000, 92)&lt;br /&gt;
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===3. The Translation History of China===&lt;br /&gt;
China has a long history with 5000 years of civilization. Since China is a multi-ethnic country, so translation plays an irreplaceable role in the communication between different nationalities. There is no reference to the history of translation in China, although there are some documents in the Xia and Shang Dynasties, we still can not discern the translation activities at that time from the existing records. &amp;quot;The song of the Yue Boatman can be regarded as the first poetry translation in Chinese history.&amp;quot;(Ma Zuyi1998,5) However, it was only an isolated translation activity and did not trigger a large-scale translation movement in China.&lt;br /&gt;
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===3.1 The First Stage：Translation of Ancient Buddhist Scriptures===&lt;br /&gt;
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The first climax of the Chinese translation history was the translation of ancient Buddhist scriptures. The Potala Sutra should be the earliest translation of Buddhist scriptures in China,it was also said that the Forty-Two Chapters Sutra is the earliest Chinese translation of the Buddha's sutras, however, the one that is proven to be reliable should be the book The Fifty Books of the Mingdu translated by An Shigao during the reign of Emperor Huan of the Eastern Han Dynasty.(Ma Zuyi1998,17)&lt;br /&gt;
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It has experienced four phases, each of which had its own features: the first was the starting period which was from the last year of emperor Huan in the Eastern Han Dynasty to the Western Jin Dynasty. Translators in this period were mainly Buddhist monks,(Ma Zuyi1998,33) However, the quality of the translated works depends on the ability of the translators’ understanding of Chinese, so the classics of the translated works are varied. Also, due to the shortage of learners' language knowledge , they usually used literal translation. The second perid was the developing time, from the Eastern Jin Dynasty to Sui Dynasty. The Buddhist scriptures continued to prevail under the rulers' advocacy and began to translated Buddhist scriptures in an organized way which was also use the literal translation. During this period, Shi Daoan put forward the famous theory of ‘Five losses of source texts and three difficulties in translation’. Meanwhile, through the translation and interpretation of nearly 400 volumes of Buddhist classics, kumarajiva first introduced Indian Buddhism to the Chinese people, which played an important role in the prosperity of Chinese Buddhism at that time.(Ma Zuyi1998,40) The translation in this time had changed from individual translation into group translation which had improved the quality if translation and as well made some progress in translation theories and skills.(Ma Zuyi1998,55) The third period was the heyday of the translation history took place in Tang Dynasty.(Ma Zuyi1998,58) Xuanzang was an important figure in promoting Sino Indian friendship and cultural exchanges in China's history，not only was he a great translator and organizer of translation, he was also a great translation theorist whose contribution to translation studies still remains significant today. As for the last period, it was in the Northern Song Dynasty, the studying of translating scriptures gradually withered, and during this period, the translation mainly focused on the esoteric classics translations.(Ma Zuyi1998,82)&lt;br /&gt;
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As part of Chinese history, especially as the link of the cultural development, Chinese ancient Buddhist sutra translation has contributed more than a lot.  The spread of Buddhist ethics contributed to the formation of Taoism in China.&lt;br /&gt;
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===3.2 The Second Stage：Technical Translation during the Yuan and Ming Dynasties===&lt;br /&gt;
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The translation of Buddhist scriptures gradually declined during the two hundred years of the Ming Dynasty. With the arrival of western Christian missionaries, China came into contact with Europe. In order to facilitate their relations with Chinese officials and intellectuals, the missionaries translated works of western science and technology as well as Christian texts assisted by Chinese officials. They also introduced the Chinese classics to the West. Matteo Ricci came to China on a mission to introduce Western scientific and technological knowledge. He pioneered the history of combining Chinese and Western translation to introduce Western scientific and technical literature, and was the first to translate the Four Books into Latin, he was the first to introduce Chinese texts to the West.(Ma Zuyi1998,263) From the Wanli period of the Ming Dynasty to the &amp;quot;new learning&amp;quot; period of the Qing Dynasty, there appeared translators who introduced science, literature and philosophy in Western Europe, represented by Xu Guangqi, Lin Shu and Yan Fu. Xu Guangqi was a patriotic scientist and organizer of the scientific and cultural movement in China at the end of the Ming Dynasty, and made outstanding achievements in introducing Western natural sciences and improving the level of science in China.&lt;br /&gt;
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===3.3 The Third Stage：Literary Translation in Late Qing Dynasty===&lt;br /&gt;
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After the Opium War, the Qing government organized a large number of scholars to translate western natural science books, Under the influence of the reform thought, a large number of translations introducing western political thoughts, scientific methods and some literary works appeared. The records of four continents, translated by Liang Jinde, Lin Zexu asked him to do so, was the first systematic introduction to the geographical knowledge of western countries in modern China.（Ma Zuyi1998,329）After the Sino-Japanese War of 1894-1895, Yan Fu translated the theory of evolution and put forward the triple criteria of ‘faithfulness, fluency and elegance’, which has  played a great guiding role in the translation practice of later generations, His translation promoted the development of &amp;quot;new learning&amp;quot; and enlightened the Chinese nation at that time. Another scholar Liang Qichao, who was a politician, thinker and encyclopedia scholar of that time and advocated that China needs to develop the translation career and cultivate translation talents at a full stretch. He has done fruitful research on the translation of Buddhist scriptures and the translation of science and technology between the Ming and Qing Dynasties.&lt;br /&gt;
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===3.4 The Fourth Stage：The Translation of Socialist and Communist Works===&lt;br /&gt;
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The May 4th Movement was a watershed in China's modern translation history, made a significant contribution to the introduction of foreign literature to China and the development of literature in China. After the May 4th movement, China's translation industry has ushered in a new historical period, translators in this period of time, by comparison with those during the late Qing dynasty, were more selective regarding source texts. Chinese translation scholars began to introduce the classic works of Marxism-Leninism and the literature of the proletariat. The translation of the Manifesto of the Communist Party was published during the May 4th movement. During this period, great changes have taken place in the content and form of translation work: vernacular began to replace classical Chinese, as a result, popular language becomes easy to understand, the excellent literary works of western countries have attracted more and more Chinese readers. Famous translators like Lu Xun, Mao Dun, Zheng Zhenduo, Guo Moruo, Zhu Shenghao, Lin Yutang, these scholars had translated a large number of foreign masterpieces and enriched the inner world of the Chinese people, Lu Xun once advocated that there should be an exotic atmosphere in the translated works which would familiarize the readers with the foreign cultures. He also believed that literal translation of culturally loaded words was one of the important means of enriching the mother tongue. These scholars helped the Chinese people to know more about the outside world and laid a good foundation for the systematization and scientization of translation theory in China.&lt;br /&gt;
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===3.5 The Fifth Stage：The Translation after 1949===&lt;br /&gt;
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The founding of the People's Republic of China in 1949 enabled translation to enter into a new era. With the founding of the new China, China's translation industry was also liberated. Translation became a very important part of the national cultural and educational cause. National organizations for translators were established in order to protect the interests and benefits of translators. The quantity and quality of translated works have grown by leaps and bounds. Since then, translation work has been an important part of the new socialist culture, and has been developing rapidly, making great achievements and perfecting translation theory. The classical works of Marxism-Leninism, excellent foreign literature, scientific and technical literature and the like were systematically introduced. There are large-scale translation like the translation of Marx and Lenin's works. In the 1950s, scientific and technical works to meet the demands of the national social and economic construction. In the 1970s, translation of United Nations documents after China was restored to its rightful seat in the United Nations. Also, literary translators became a very important part of China's literature and arts personnel. Qian Zhongshu He puts forward his &amp;quot;transmigration theory (化境说)&amp;quot; for literary translation. That is a literary translation is like the act of transmigration in which the souls, the spirit of the original text remain in the target text even although the carrier of them, the language, has changed. In 1978, two years after the end of disastrous &amp;quot;cultural revolution,&amp;quot; China adopted its &amp;quot;reform and open&amp;quot; policy. A new and dynamic atmosphere for translation emerged.&lt;br /&gt;
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===4.The Comparative Study Among the Two Kinds of Translation Histories===&lt;br /&gt;
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===4.1 The Similarities of the Western and Chinese Translation History===&lt;br /&gt;
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About the religious and translation, we can easily notice that in the history of Chinese and western translation, almost all the early translation activities were the translation of religious classics. The translation of religious classics had opened the curtain of Chinese and western translation history. The spread of religion is always accompanied by the translation of religious classics. It is not difficult for us to understand the reason: after the emergence of religion, in order to absorb more believers, it is necessary for the religious to spread widely across nations and countries. Therefore, from ancient times to the present, religion is always a kind of existence form of various national beliefs and cultures. It keeps on influencing the spiritual belief and behavior of the society.&lt;br /&gt;
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The translation activity has made great contributions to the establishment and development of national languages in various countries. For example, in the history of western translation, Martin Luther's Bible translation played an important role in the unification and development of German language and the establishment of modern German, what’s more, the English version of the Bible enriched the English vocabulary and benefited the modernization of English a lot. The same in China, the Buddhist scripture translation also enriched the use of Chinese vocabulary, in the ideological field, it not only laid the foundation for the establishment of Taoism, but also paved the way for the formation of &amp;quot;New Confucianism&amp;quot; in Song Dynasty. And we can not ignore the contribution of the literary translation in the first half of the 20th century in the establishment and development of modern vernacular Chinese. &lt;br /&gt;
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The translation activity helps to transmit cultural values and promote cultural exchange. Translation bears the mission of cultural exchange, the translation activities are trying to make a close connection between nations and countries and introduce the language and cultural habits of one nation to another. Such kind of efforts have enriched the vocabulary and promoted the exchange between areas. Jesuits who came to China in the late Ming and early Qing dynasties would translate Chinese classics and literary works into foreign languages, which, in a state of isolation between China and Europe, they have become the middlemen for the exchange of Chinese and Western civilizations.(Tan Zaixi1999)&lt;br /&gt;
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===4.2 The Differences Between the Western and Chinese Translation History===&lt;br /&gt;
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First is that, the time is different. Western translation predates Chinese translation by over 200 years. It is said that the reason is due to the differences in topography and geomorphology of the two parts. We all know that China possesses a great number of mountains and lakes, and in the ancient times, it would take quite a few days to send messages from one place to another place, especially when people in the remote areas, it would be a hard and long journey for them to head for a destination. So, there is difficulty in communicating among the various peoples in different nations, there will be delay of the communication and connection. As for the west, there are numerous plains, so it was much convenient and easier for the western people to communicate and exchange their ideas with each other, which set a ideal environment for the development of translation activity.&lt;br /&gt;
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Also, the position of the religious varies. The different traditional culture of the west and China has made the concept of religious of the two are quite varied from each other. Different religious cultures have different forms of expression and vocabulary of their own. In the west, the Bible is not only a religious classic but also an important mainstay of western culture and the foundation of Christian faith. Buddhism was introduced into China from India in the early years of AD and became a very important part of Chinese traditional culture, in order to consolidate his ruling position, the rulers ruled the people spiritually, and the doctrine of Buddhism was in line with the ruler's appetite, so it was first spread among the ruling class and gradually gained its legal status.&lt;br /&gt;
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The translation tradition of the west and China differs. One of the differences of them is the difference between single system and multiple system. “The simplicity of Chinese translation tradition is mainly in the narrow sense，though there are different kinds of translations of national languages in China, most of them are still dominated by the tradition of Chinese language and culture translation. “because they all occurred in the same environment of the language culture since ancient times, that is , the environment of Chinese language culture.” By way of contrast, In terms of space, the western translation tradition did not always develop in the same region. In the later formation and development process, it spread throughout all ethnic regions in Europe；In terms of time, the western translation tradition began in ancient Rome, and then evolved into the ancient Latin language and culture system. In the later period of the middle ages, the system expanded and evolved into many relatively independent ethnic systems. So the system of the west is more like a kind of multiple system instead of a single system like China.(Tan Zaixi2000,15)&lt;br /&gt;
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The Chinese and western translation concepts are different. Then, the translation theories are different. Chinese translation tradition pays more attention to practicality than to the theory. Like professor Tan Zaixi once said that: “What Chinese translators and translation theorists are most concerned about is how to deal with the difficulties in translation and how to deal with them.” however, western translation pays more attention to systematicness and theory. Secondly, the national characteristics of China and the West are also different. Relatively speaking, Western ideas are more open and China is conservative. For a long time, the Chinese people advocate authority and accept more challenges less, China's three cardinal principles and five constancies in religion are in sharp contrast to the religious reform in the West. Although the West also advocates authority and takes religion as its belief, it dares to break through dogmatism, which brings a breakthrough to western translation studies to a certain extent.&lt;br /&gt;
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===Conclusion===&lt;br /&gt;
History is a bridge connecting the past, the present and the future. Throughout the history of translation between China and the west, although the differences between them inevitably exist, the brilliant translation achievements made by both sides are remarkable: excellent translators, translation scholars, or outstanding  translation theory, translation works, all of these have opened up the way for our future translation research, they are leading people to the direction of knowledge, and constantly leading us to explore into the unknown field.&lt;br /&gt;
Mastering the history of a discipline can help us to see the direction of its development, we then will able to learn from the experience and lessons in this development process and use this kind of method to guide the development of this subject. To have contact with the history of translation is helpful for us to understand and improve the level of translation and develop the translation career. The achievements of our predecessors have accumulated valuable cultural heritages for us. We should sum up our predecessors' translation experience and continue to make our efforts for our country's translation cause.&lt;br /&gt;
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===References===&lt;br /&gt;
*Tan Zaixi. 谭载喜. (2000). 翻译学 [A Series of Translation Studies in China]. Wuhan: Hubei Education Press 湖北教育出版社.&lt;br /&gt;
*Xie Tianzhen. 谢天振. (2009). 中西翻译简史 [A Brief History of Translation in China and the  West]. Foreign Language Teaching and Research Press外语教学与研究出版社.&lt;br /&gt;
*Qi Jian. 戚健. (2017). 古罗马时期翻译思想新探 [A New Probe Into the Translation Thoughts in Ancient Rome]. 南昌航空大学学报：社会科学版Journal of Nanchang Hangkong University: Social Science (3) 68-74.&lt;br /&gt;
*Ma Zuyi. 马祖毅. (1998). 中国翻译简史-“五四”以前部分（修订本） [A Brief History of Chinese Translation: The Part Before the May 4th Movement] . China Translation Corporation中国对外翻译出版公司.&lt;br /&gt;
*Liu Junping. 刘军平. (2009). 西方翻译理论通史 [A General History of Western Translation Theory]. Wuhan: Wuhan University Press武汉大学出版社. &lt;br /&gt;
*Tan Zaixi. 谭载喜. (1999). 中国翻译与西方翻译[Chinese Translation and Western Translation]. 中国翻译 Chinese Translation Journal(5) 6-8.&lt;br /&gt;
*Wang Yong. 汪勇. (2008). 翻译与宗教传播[Translation and Religious Communication]. 中国校外教育理论 Education for Chinese After-school(26) 51-53.&lt;br /&gt;
*Li Xuan. 李璇. (2012). 中西翻译高潮之对比[Comparison of Translation Climax Between China and the West]. 青年文学家 Youth Literator(3) 131.&lt;br /&gt;
*Tan Zaixi. 谭载喜. (2000). 中西译论的相异性[The Differences Between the Chinese and Western Traditions of Translation Theories]. 中国翻译Chinese Translation Journal (1) 15-21.&lt;br /&gt;
*Tan Zaixi. 谭载喜. (1999). 中西译论的相似性[The Similarities Between the Chinese and Western Traditions of Translation Theories]. 中国翻译Chinese Translation Journal (6) 25-28.&lt;br /&gt;
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==Comparison and Translation Studies Between Chinese and Western Color Terms	方洁玲	Fang Jieling==&lt;br /&gt;
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=== Abstract ===&lt;br /&gt;
Color terms are terms used to describe the external color characteristics of things, and are very common in our lives. We use them not only to describe the external image of an object, but also to express our inner psychological feelings. Color words contain rich cultural connotations, which should not be understood simply from their literal meanings when translated, but from the different cultural connotations and extended meanings contained in the color words to understand and choose the meanings of the words. This paper first introduces the composition of color words in Chinese and English and makes a comparative analysis of their characteristics, then discusses the different meanings given to the six colors in Chinese and English, and then provides different translation methods that should be used in different situations, providing a certain reference for the English-Chinese translation.&lt;br /&gt;
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===Key words ===&lt;br /&gt;
color terms, cultural difference , reason ,translation methods&lt;br /&gt;
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=== 摘要 ===&lt;br /&gt;
颜色词是用来描述事物外在颜色特征的词语，在我们生活中非常常见。我们不仅用它描绘物体的外在形象，也用它表达内在心理感受。颜色词包含了丰富的文化内涵，在翻译的时候不能简单地从字面意思上理解，应从颜色词所包含的不同文化内涵和引申意义来理解和选择词义。本文将首先介绍中英颜色词的构成并对其特点进行对比分析，然后具体论述六种颜色在中英文中被赋予的不同意义，接着提供了面对不同情况应该采用的不同翻译方法，为英汉互译提供了一定的参考。&lt;br /&gt;
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=== 关键词 ===&lt;br /&gt;
颜色词 文化差异 原因 翻译方法&lt;br /&gt;
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=== 1.Introduction ===&lt;br /&gt;
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Color is an indispensable part of human life,it is because of the colorfulness of colors that the world is much more varied and pleasant. Color words not only have an important impact on people's vision, but also have a great impact on people's inner feelings and emotional expression. As an important part of language, color words are frequently used by human beings in English, but due to different histories, cultures, customs and habits, in the long run, different people have given specific meanings to various colors. Analyzing and comparing the different connotations of color words in Chinese and Western cultures and exploring the cultural differences between English and Chinese will be of great help to the translation work between English and Chinese. At the same time, translators will inevitably meet a lot of problems in the translation work. In this paper, we mainly discuss the composition and cultural connotation of color words between Chinese and English. In addition, we also propose some translation methods and make a brief conclusion.&lt;br /&gt;
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=== 2.Characteristics of the Composition of Chinese and Western Color Words ===&lt;br /&gt;
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Color words are words used to describe the color of different things. And they are the symbols that exist in human languages to record a large number of colors, which are generally considered to be adjectives in grammar.&lt;br /&gt;
In the historical development of Chinese color words, there are three types.(Cai Xiaomin2020,65) &lt;br /&gt;
(1) Basic words. These words are the most basic and objective, and are generally used to objectively describe the most direct external color state of an object. They are &amp;quot;white&amp;quot;, &amp;quot;black&amp;quot;, &amp;quot;red&amp;quot;, &amp;quot;yellow&amp;quot;, &amp;quot;blue &amp;quot;&amp;quot;Green&amp;quot; &amp;quot;Gray&amp;quot; &amp;quot;Purple&amp;quot; &amp;quot;Brown&amp;quot; and &amp;quot;orange&amp;quot;.&lt;br /&gt;
(2) Reference words. Reference words means that people specifically distinguish basic words to show different colors. These words are more detailed and specific than the basic words. For example, we tend to divide &amp;quot;green&amp;quot; into &amp;quot;dark green&amp;quot; &amp;quot;grass green&amp;quot; and so on.&lt;br /&gt;
(3)Descriptive words. Descriptive words comes from people's perception of nature. These words can not only distinguish colors, but also describe what they look like. Such color words are more literary and subjective.&lt;br /&gt;
Color words in English are mainly divided into basic color words and compound color words.&lt;br /&gt;
basic color words : (1) simple colors. For example, black, white. (2) Colors of plants. For example, orange, etc.&lt;br /&gt;
Compound color words : (1) the name of plant + simple color. For example, apple green. (2) Chemical name + simple color. For example, vermilion, etc&lt;br /&gt;
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=== 3.The Different Understanding and Perception of Colors in China and the West ===&lt;br /&gt;
Nature is colorful and can be described with many words. Generally speaking, black symbolizes oppression, white symbolizes purity and innocence, and green symbolizes life force. However, due to different histories and cultures, the same color may have different meanings. After a careful study of color words, it is easy to see that color words create various associations that have a great impact on a person's emotions and behavior. This is the main reason why people use color words to explain their moral character, emotions, and perceptions of things. Different cultures and ways of thinking lead to different meanings of color words, and this disparity can affect people's understanding of the meaning of the same word. For example, in English-speaking countries, white symbolizes purity and beauty, which is why brides wear white wedding dresses in Western weddings. However, in China, white is often used to express grief, and a white funeral dress is worn at a funeral. In this paper, we start with the six basic color words red, black, white, yellow, purple and blue, and compare their cultural connotations in English and Chinese, discussing the different understanding and cognition of colors in China and the West and the differences in cultural connotations between Chinese and Western cultures.&lt;br /&gt;
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====3.1 红and Red ====&lt;br /&gt;
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In traditional Chinese culture, &amp;quot;红&amp;quot; represents joy, happiness, good luck, and prosperity. &amp;quot;红&amp;quot; is a color that cannot be absent from important events in China, such as the red couplets(红包), red lanterns（红灯笼）, and red packets（红包） during Chinese New Year festivals, the red dress of the bride at weddings, and other festive ceremonies in China. Similarly, words combining the word &amp;quot;红&amp;quot; generally mean prosperity, such as “hongguangmanmian”（红光满面）、”dahongdazi”(大红大紫)、”honghuo”(红火)、”hongren”(红人)、”hongrun”(红润), etc. In addition, during the revolutionary era, the color red also symbolized the modern Chinese revolution and power, such as the“hongsezhengquan”(红色政权)、”hongjun”(红军)、”hongqi”(红旗)、”hongge”(红歌)、”hongsewenjian”(红头文件)、”hongseganglin”(红色纲领), etc.(	Zhao Fenyan2019,232)&lt;br /&gt;
In the West, red refers to the color of blood, and when red is mentioned, it is generally associated with cruelty, violence, and bloodshed. For example, &amp;quot;red hands&amp;quot;, &amp;quot;red battle&amp;quot;, &amp;quot;the red rules&amp;quot; &amp;quot; red revenge&amp;quot;, the color red also symbolizes radical and violent revolution, as in &amp;quot;red activities&amp;quot;, but also danger and tension,such as &amp;quot;a red flag&amp;quot;. &amp;quot;red alert&amp;quot; &amp;quot;a red adventure story&amp;quot;, in addition to the above-mentioned symbolic meaning, the color red also has connotations of debauchery and obscenity.(Yan Wen2012,177)For example, red light district, a red waste of one's youth, and so on. The positive connotation of the color red in Western culture is due to the exchange and integration of different cultures, which is said to have been introduced to the West via Persia from the Far East. like red letter day、red envelope、the red carpet.&lt;br /&gt;
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====3.2 黑 and Black ====&lt;br /&gt;
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In Chinese history, “黑” is an honorable and dignified color, which had a high status in ancient times. During the Xia, Qin, and early Han dynasties, “黑” was the dress of emperors and officials, and the common people were only allowed to wear plain clothes, and then a restriction that was gradually relaxed after the Northern Song Dynasty. In China, the derivation of “黑” includes the positive meanings of stern, iron-faced, upright, and mysterious, such as in the art of theatrical masks, where the “黑脸” symbolizes the noble character of uprightness and selflessness. In addition to its positive connotations, “黑” sometimes symbolizes a derogatory meaning, indicating a counter-revolutionary, regressive, or stubborn party. For example, the ”阴曹地府” is said to be dark and sunless, and “黑”, as opposed to light, symbolizes darkness, death, terror, etc.&lt;br /&gt;
In the West, black is the color of death, symbolizing death, suffering, and grief, hence the black color of Western mourning garments. black tidings means &amp;quot;bad news&amp;quot;，Jesus was crucified on the Friday before Easter, The Black Friday is considered to be a &amp;quot;dangerous and ominous day&amp;quot;. Black also symbolizes &amp;quot;anger&amp;quot; and &amp;quot;irritation&amp;quot;, such as: black in the face,to look black at sb，Other words that express negative meanings，such as black sheep, black dog, black eye, black list, black and blue, black art, and other black symbols.(Wang Yu2012,151)In addition, black also represents seriousness, discretion, and pomp. Black suit and black dress have always been the most revered traditional clothing in the West. In solemn formal occasions, people like to wear black clothing. Symphony orchestra performers almost always wear black suits. The term &amp;quot;black-ball&amp;quot; refers to a costume ball. In business English, &amp;quot;a company in black&amp;quot; refers to a profitable business, where“ in black” means profitable, because on financial statements, profit figures are written in black ink.[6]&lt;br /&gt;
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====3.3 白 and White ====&lt;br /&gt;
 &lt;br /&gt;
In Chinese, “白” is often used to represent death, such as at funerals with white decorations, white flowers, and white mourning clothes, but there are also many words containing “白” that do not represent color at all, but rather the name of something or have another meaning,[8]such as”baicai”(白菜), “baixiong”（白熊）、 “baiyi”(白蚁)、”baijuan” (白卷)、 “baichi”(白痴), White&amp;quot; also means &amp;quot;pure, or unadulterated, such as”baikaishui”(白开水)、”baizhi”(白纸)、”baiqierou”(白切肉)etc. &amp;quot;White&amp;quot; also often means &amp;quot;in vain&amp;quot; or &amp;quot;without cost&amp;quot;, such as”baifeishi”(白费事)、“baida”（白搭）、”baisong” (白送)、“baishouqijia” (白手起家) etc(Chen Yongye2005,425) and The Chinese word “白” is also not the same as the English word &amp;quot;white&amp;quot;, which we can say the white people (白人), but is better translated as: She has a fair skin. In addition, it is difficult to summarize the exact meaning of some of the“白” in Chinese, For example “baihua”(白话) vernacular, “tanbai”（坦白）: to confess, to make a clean breast of something, etc.&lt;br /&gt;
In the West, however, white is considered as a symbol of purity, and it is customary to wear white wedding dresses and gowns at weddings, hence there exist the expressions like white-handed，a white lie，a white day, they treated us white etc.&lt;br /&gt;
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====3.4 黄 and Yellow ====&lt;br /&gt;
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In traditional Chinese culture,”黄” is a symbol of power, honor, and nobility, in the Chinese feudal society, yellow is a symbol of imperial power and nobility, such as ”chonggao”(崇高)，”huangpao”(皇袍)、”huanggong”(皇宫)、”shengzhi”(圣旨) and so on. In modern Chinese, words such as “huangchengcheng”(黄澄澄),”huangcanvan”(黄灿灿)mean a good harvest and an auspicious day. ”黄” is a glorious color. And it is always associated with &amp;quot;honor&amp;quot;, &amp;quot;brilliance&amp;quot;, it is a symbol of &amp;quot;power&amp;quot; and &amp;quot;nobility&amp;quot;. To this day, ”黄” is still the symbol of ancient China, which is its positive meaning. Similarly, ”黄” has negative connotations, such as ”huangseshukan”(黄色书刊) , “huangseluxiang”(黄色录像) etc, but in the West, the term &amp;quot;the blue video&amp;quot;, &amp;quot;the blue talk&amp;quot; is used to describe the pornographic nature of the country. It means ”huangsedianying”(黄色电影)and ”huangsexinxi”(黄色信息)(Du Tianyu2020,188). In addition, ”黄” also means failure, sickness, or old age, such as ”huangji”(黄髫). The word ”黄” also means youth and ignorance.&lt;br /&gt;
In the West, in Western Christianity, yellow is a symbol of shame. Because in the Bible, Judas betrayed Jesus by wearing a yellow dress. Therefore, &amp;quot;yellow&amp;quot; has the connotation of betrayal .And it also means sadness, sickness, cowardice, etc. For example, &amp;quot;a yellow streak&amp;quot; means cowardice. &amp;quot;yellow&amp;quot; also has mean and vulgar semantics. In the 18th century, Americans often printed pornographic books on yellow paper. As a result, the low level of exaggeration and exaggerated distortion of facts used by newspapers and periodicals to attract readers was later extended to journalistic styles as well. For example, &amp;quot;yellow journalism&amp;quot; is a style of journalism that attempts to attract people in any way possible. [9]In English, Yellow Pages is the &amp;quot;yellow phone book&amp;quot;, and yellow boy is a slang term for &amp;quot;gold coin. The English words for Chinese ”黄” would be: pornographic, filthy, vulgar, obscene, etc. In English, blue is often used to mean ”黄”, such as blue jokes(下流的玩笑)、blue revolution (性解放)、blue films (黄色影片)、blue software (黄色软件)etc.(Chen Yongye2005,425) Some Chinese words have nothing to do with the English word yellow, such as blue jokes(下流的玩笑)、blue revolution (性解放)、blue films (黄色影片)、blue software (黄色软件)and so on.&lt;br /&gt;
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====3.5 绿and Green ====&lt;br /&gt;
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In Chinese culture, “绿”represents vitality, and phrases related to”绿”express hope and vitality of people, such as“lüzhou”（绿洲）、“lvyiangran”（绿意盎然）. In today's China, ”绿”has a new symbolic meaning, such as: “lvseshipin”(绿色食品),”lvsechanye”(绿色产业), all referring to the concept of health, safety and non-pollution. The green light is also a signal for safe passage. In Chinese, a &amp;quot;lvmao&amp;quot; （绿帽）means that a man's wife is in an illicit relationship with someone else.(Hu Zongkang, Zhang Jun2019,153) However, in ancient Chinese culture, ”绿”means humbleness, because humble people wore green clothes. Also,”lvlinhaohan” (绿林好汉)means a barbarian who occupies a mountain and becomes king.&lt;br /&gt;
In traditional British culture, &amp;quot;Green&amp;quot; is a symbol of youth and vitality. It reminds people of the harmony and tranquility of nature. The &amp;quot;Green Peace Organization&amp;quot; is an organization that protects animals and plants. A dove with a green olive branch in its beak is a symbol of peace, &amp;quot;green winter&amp;quot; refers to a warm winter, and &amp;quot;in a green wood&amp;quot; refers to when people are young and strong. Green also represents a sense of madness and despair, just as Satan's image in the Bible is green. In addition, green in English also has a derogatory meaning of jealousy, lack of training, and childishness, such as “as green as grass”，’a green eye”，”a green hand”.(Chen Yuan陈缘2020,49) In addition, greenback means U.S. currency in English, and since U.S. dollar bills are green in color, green also means &amp;quot;money,&amp;quot; &amp;quot;bills,&amp;quot; or &amp;quot;economic power&amp;quot; in the United States.&lt;br /&gt;
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====3.6 蓝 and Blue ====&lt;br /&gt;
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Blue is the color of the sea and clear skies, giving people a feeling of peace and tranquility. In Chinese, in addition to the color,”蓝” is often used together with other words to form phrases that have different meanings from the color. &lt;br /&gt;
For example, “蓝 青 官 话 “the standard Chinese spoken by the people with accent&lt;br /&gt;
“蓝本”script on which the works are based； model&lt;br /&gt;
“蓝图”（blue print）building plan&lt;br /&gt;
“蓝田生玉”the noble people usually come from the good family&lt;br /&gt;
“青出于蓝而胜于蓝 “the new coming from the old is better than the old .&lt;br /&gt;
But blue in English can be extended to depression, sadness, nervousness, immorality, obscenity, and pornography. For example :“feel blue“, ”be blue about future“,”Her mood is blue“,“be down with blues”,“sing the blues”,“blue devils”,“blue funk“,”blue revolution“, ”blue films“, ”blue jokes“, ”blue room” refers to a place in The White House where the president meets his friends and family. and the ”Blue Book“ refers to a book that contains the names of celebrities and important government officials.(Du Tianyu2020,187-188)&lt;br /&gt;
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=== 4.Reasons for the Difference in the English-Chinese Translation of Color Words ===&lt;br /&gt;
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Different countries and regions have different interpretations of color. The main reasons for this difference are geographical factors, historical factors, religious beliefs, and social systems, &lt;br /&gt;
	&lt;br /&gt;
====4.1 Geographic Factors ====&lt;br /&gt;
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Chinese civilization originated in the Yellow River Basin. The rich water resources and flat land of the Yellow River Basin have nurtured several generations of Chinese people. This is the main reason why the Chinese people love yellow. For generations, we Chinese people are also known as the “yanhuangzisun”(炎黄子孙)(Cai Xiaomin2020,66).Western civilization originated in ancient Rome. The only way out for Greece was to expand abroad. Therefore, blue became the favorite color of the Greeks.&lt;br /&gt;
	&lt;br /&gt;
==== 4.2 Historical and Cultural Factors ====&lt;br /&gt;
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A large number of color words have been created in different historical backgrounds and conditions. Therefore, it is important to understand the differences in the historical background and culture of different countries. For example, during the War of Resistance Against Japanese Aggression, our Party was called the”hongjun”(红军), which gave rise to expressions like “hongsezhengquan”(红色政权)、”hongjun”(红军)、”hongqi”(红旗)、”hongge”(红歌)、”hongsewenjian”(红头文件)、”hongseganglin”(红色纲领),etc.(Li Dan2018,132) In addition to some basic meanings, the color “红” in China also has some special historical meanings, such as the heroic and fearless revolutionary spirit. This is also the main reason why our national flag adopts the color red. Also in ancient China, yellow was a symbol of power, a color reserved for the royal family, representing the supreme authority, which meant that yellow robes were added to the flag. In the West, purple is used as a metaphor for &amp;quot;throne&amp;quot; and &amp;quot;prominence,&amp;quot; and the addition of a purple robe means rising to a position of prominence, because Western emperors and bishops have a tradition of wearing purple robes, such as :be born in the purple(生于皇室), be raised to the purple. In recent years, yellow has become more and more of a symbolic term in China for low taste, erotic vulgarity, and obscenity, such as”huangsedianying”(黄色电影)、”huangseshukan”(黄色书刊)、”huangseguangdie”(黄色光碟).etc. The &amp;quot;黄&amp;quot; in these names has nothing to do with the English &amp;quot;yellow&amp;quot;, these words in English are expressed like this pornographic, vulgar, obscene. It is very different from the associations in Chinese culture. The color vocabulary is visually and psychologically positive and derogatory for people of different nationalities.&lt;br /&gt;
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==== 4.3 Religious beliefs ====&lt;br /&gt;
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In China, the Five Element Theory is widely spread. Since &amp;quot;gold&amp;quot; is at the core of the theory, yellow becomes noble. In contrast, in the West, because yellow is stigmatized in Christianity and most people are Christians, many people dislike yellow and often even use it to convey negative connotations, according to &amp;quot;the Gospels&amp;quot; in the Bible's, in which Jesus was willing to be crucified, bleed to death, and be sacrificed with the blood of the Gospels. The Bible has been a classic of Christianity, and most people in Europe and the United States believe in Christianity. Since the Bible has always been a Christian classic, and most people in Europe and the United States are Christian, its influence on Western culture as a whole is immeasurable, and on English culture as well. Therefore, people think that &amp;quot;red&amp;quot; is associated with bloodshed, martyrdom, and bad things, and &amp;quot;red&amp;quot; makes them think of horrible things, such a“ red hand”( 沾 满 血 的 手 ),“ a red battle”( 血 战 ),“ to see the red light”(灾祸临头).&amp;quot;(Chen Yongye2005,425)In Chinese language, the color red is a symbol of honor, splendor, good fortune, and celebration. Such as: :“ 开门红”make/ get off to a good start,“ 满堂红”success in every field,“ 红 榜 ”honor roll,“ 红 运 ”goodluck,“ 红 事 ”wedding,“ 红 人 ”a favorite with someone in power etc.&amp;quot;.&lt;br /&gt;
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==== 4.4 Social System ====&lt;br /&gt;
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The use of different colors to represent political affiliations or national identities has long been a common practice among peoples of different social systems in China and the West due to their political, economic, and religious differences. In English, the true blue refers to the loyal members of a political party, especially the die-hard conservative members of the British party; White Paper or Blue Paper refers to a report or diplomatic document with blue or white covers issued by the British and American governments on a particular topic; Yellow Paper refers to the French and other countries. A government report of a country; Green Paper is a draft report for discussion by various committees; the Chinese use the term &amp;quot;红&amp;quot; to symbolizes the proletarian revolution, the meaning of which is derived from the book &amp;quot;Red Star Over China&amp;quot;(“红星照耀下的中国”,and is also translated into”西行漫记”) by American writer Edward Snow.(Li Dan2018,132)&lt;br /&gt;
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===5.Translation Methods of English-Chinese Color Words ===&lt;br /&gt;
 &lt;br /&gt;
From the above analysis, we can conclude that there are similarities and differences in the cultural connotations of Chinese and English color words. Therefore, in the translation of color words, it is impossible to generalize, so translators need to adapt to the local conditions and adopt an appropriate way to translate.&lt;br /&gt;
	&lt;br /&gt;
====5.1 Literal Translation ====&lt;br /&gt;
&lt;br /&gt;
Literal translation means that every effort should be made to maintain the linguistic style of the original work. At the same time, it requires that the target language should be fluent and easy to understand. There are similarities between English and Chinese languages and cultures. In the translation of English-Chinese color words, some color words can be found in the target language, while others have similar extended cultural meanings. Sometimes there is no similar extended meaning, but only a literal translation meaning, so the literal translation can also be used for translation.(Hu Zongkang, Zhang Jun,153)&lt;br /&gt;
For example, when the word black remains in its original color in the corresponding language, i.e, it has the same connotation, a literal translation is usually used.&lt;br /&gt;
black humor 黑色幽默 (an absurd, grotesque, or morbid humor in literature, especially in novels and plays)&lt;br /&gt;
black Friday黑色的星期五 (the Friday on which any disaster occurs)&lt;br /&gt;
black hand黑手党 (a secret organization that originated in Sicily, Italy, and has spread to the United States to engage in criminal activities)&lt;br /&gt;
black market 黑市、black- hearted 黑心的、blacklist 黑名单、black and white TV黑白电视, etc.(Chen Yuan2020,49）and red light district can be directly translated as“红灯区“, which refers to the neighborhoods where sex industries are concentrated in cities of certain countries and regions. Similarly, some color words in Chinese can be directly translated into English, for example:” 白露”, one of the 24 solar terms, is a culturally specific term in Chinese, which is completely unfamiliar to Western countries. Due to cultural exchanges, &amp;quot;white dew&amp;quot; is becoming more and more familiar to foreigners, and it has the same cultural meaning in English as &amp;quot;白露&amp;quot; in China. As another example, &amp;quot;绿油油&amp;quot; is a Chinese adjective used to describe the color of vibrant green leaves. We can translate it into English as &amp;quot;green and shiny&amp;quot; because the color words here are only used to describe objective points of view, and they have the same meaning.&lt;br /&gt;
	&lt;br /&gt;
==== 5.2 Free Translation ====&lt;br /&gt;
&lt;br /&gt;
Free translation. When the meaning of a color word in the original language is different from the meaning of the color word in the target language, the translator has to translate the meaning of the color word in the original language into the customary expression in the target language. In some cases, color words appear in both Chinese and English, but they do not have any color meaning; some are customary object names, while others give new meaning to them. In this case, the color itself cannot be focused on, so the colorless translation should be abandoned.This kind of translation based on the cultural background of two languages to correspond to the meaning is called &amp;quot;free translation&amp;quot;.(Chen Yuan2020,49）&lt;br /&gt;
Take black as an example, for instance, black lie--恶意的谎言、black and blue--青一块紫一块、black tea-- 红茶、black guard--恶棍、black coffee --不加牛奶的咖啡、pain somebody black-- 把某人描写成坏人、黑帮can be translated into “reactionary gang”、黑钱--ill-gotten money、黑面包 brown bread, and so on. Another example is that we often say &amp;quot;他是老师面前的“红人&amp;quot;, which is translated into English as &amp;quot;He is teacher's favourite student&amp;quot; ,”hongren”(红人)is an extended paraphrase of the Chinese, which does not mean literally, it means someone who is popular and be sought after by others, and the exact meaning needs to be contextualized. People from English-speaking countries will be confused if we translate it as &amp;quot;red people&amp;quot;. In English, the meaning of &amp;quot;one's favourite people&amp;quot; is somewhat similar to &amp;quot;红人&amp;quot;, so the phrase &amp;quot;one's favorite people&amp;quot; is appropriate. Another example is &amp;quot;a white elephant,&amp;quot; which is said to be a punishment given by the king of Thailand to his erring ministers in the past, as the cost of keeping white elephants is very high and would be a great financial burden. This word is very common in English, but a literal translation of &amp;quot;白象&amp;quot; would not have any connotation in Chinese, so it can be translated as &amp;quot;expensive and useless thing.（Jin Yan2012，130）&lt;br /&gt;
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===6. Conclusion ===&lt;br /&gt;
&lt;br /&gt;
This paper first discusses the construction of color words in Chinese and English, and then compares their compositional features. Secondly, six colors (red, black, yellow, white, green, blue) are taken as examples to analyze the cultural similarities and differences between Chinese and English color words. The reasons for the differences are divided into four main categories: geographical factors, historical factors, psychological factors, religious beliefs, and social systems, Finally, a solution to the problem is proposed, which provides a proper reference for translators when translating Chinese and English color words. When doing translation, translators can mainly use two different translation methods, namely, literal translation and free translation. When the Chinese cultural connotation of a color word in a sentence is the same as the English one, the literal translation can be used. When it is different from English, a free translation is appropriate. With the continuous penetration of globalization, people's languages and cultures are gradually interwoven, so does the meaning of color words, and also the similarities are expanding gradually. However, each nation-state has its own unique culture and customs, so the color words have completely different meanings in different regions and different languages. Therefore, when translating color terms, in order to translate the meaning of the text more accurately, the translator must have a deeper understanding of the color words.(Bao Dongjiao2005,107).In addition, the translator should not only learn translation skills, but also the history, geography, and culture of the country where the source and target language are located, which will help the accuracy of the translation. In short, the key to a good color word translation is the combination of translation skills and a deep understanding of the culture, as well as an accurate analysis of the color word.&lt;br /&gt;
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===7.Reference ===&lt;br /&gt;
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*Wang Yu.王羽.(2012).中西文化对比下颜色词的差异比较[Comparison of the differences in color words between Chinese and Western cultures].教育时空[Education Time],151.&lt;br /&gt;
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*Li Yun, Jia Aiguang.李云,贾爱光.(2020).大学英语教学中英汉基本颜色词翻译对比探讨[A Comparative Discussion on the Translation of English and Chinese Basic Color Words in University English Teaching].校园英语[Campus English],11-21.&lt;br /&gt;
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*Chen Yuan陈缘.(2020)英汉颜色词的文化差异与翻译[Cultural differences between English and Chinese color words and translation].海外英语[Overseas English],48-49.&lt;br /&gt;
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==Translation manipulated by ideology	许静	Xu Jing==&lt;br /&gt;
&lt;br /&gt;
==Comparison between the History of Chinese and Western Translation   周书尧   Zhou Shuyao==&lt;br /&gt;
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===Abstract===&lt;br /&gt;
Translation has existed since historical records. Translation goes hand in hand with human history, even before historical records. Whether in my country or Western countries, the long tradition of translation has become the most dazzling pearl in the process of human civilization.In addition, translation plays an indelible role in promoting cross-cultural communication and cultural communication.This article first discusses the history of translation in China from four stages , then discusses the five stages of western translation history , and finally compares and analyzes the similarities and differences between Chinese and Western translation histories, and puts forward some of the author's own views.&lt;br /&gt;
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===Key words===&lt;br /&gt;
The history of Chinese,The history of Western,the stages of  translation history,comparison&lt;br /&gt;
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===摘要===&lt;br /&gt;
自历史记载以来,就存在翻译.翻译与人类的历史并道而驰,甚至先于历史记载.无论在我国,还是西方国家,悠久的翻译传统俨然成为人类文明进程中一颗最耀眼的明珠。此外，翻译在促进跨文化交流和文化传播上承担着不可磨灭的作用。本文首先从中国的四次翻译高潮论述中国的翻译史，再从西方的五次翻译高潮探讨西方的翻译史，最后对中西方翻译史的异同进行对比分析，提出一些笔者自己的看法。&lt;br /&gt;
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===关键词===&lt;br /&gt;
中国翻译史，西方翻译史，翻译高潮，对比&lt;br /&gt;
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===I.Introduction===&lt;br /&gt;
Since the 1980s, the Chinese translation studies community has made remarkable progress in the establishment of Chinese and Western translation history courses and the compilation of related works.In the 1980s and early 1990s,A Brief Introduction to the History of Translation in China from Ma Zuyi and other books of Chen Yugang and Tan Zaixi were published one after another,which raised the curtain for the compilation of Chinese and Western translation history works by the domestic translation scholars.The four stages in the history of Chinese translation have promoted the development of Chinese history, culture and society to varying degrees.(Xu 2018,5)&lt;br /&gt;
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The same as our country, Western translation has an age-old history.In a sense, the development of Western European civilization should first be attributed to the translators.The five stages in the history of European translation have promoted the exchanges of literature, art, science and trade between countries, and to a certain extent promoted the development of Chinese translation.In fact, when we examine the development trajectory of Chinese and Western translation activities and the evolution of translation concepts together, we find that there are some similarities between Chinese translation and Western translation.Especially in the evolution of Chinese and Western translation concepts, the two have very similar evolution laws.(Xie 2010,5)&lt;br /&gt;
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===Ⅱ.The history of Chinese translation===&lt;br /&gt;
According to records, there have been four stages in China's long history of translation development, leaving behind many classic discussions.From these four translation climaxes, we can see the translators, translation theories and practices that emerged in different periods in China.And these translation stages have had varying degrees of impact on China's history, culture, society, and literature, including the development of Chinese translation.&lt;br /&gt;
====2.1 The first stage:Ancient Translation History====&lt;br /&gt;
The translation of Buddhist scriptures from the Eastern Han Dynasty to the Tang and Song Dynasties (25-1279) can be regarded as the first important period in the history of Chinese translation, the initiation period of traditional Chinese translation theory, and the first large-scale, planned, Organized translation activities.A large number of Buddhist scriptures were introduced into our country from various countries in the Western Regions, which had a profound impact on our country's language, religious philosophy, painting, arts, etc.The Chinese translation of Buddhist scriptures with textual research should be translated by An Shigao（安室高） during the Eastern Han Dynasty (151 AD).From 148 AD to 170 AD, he translated more than 30 Buddhist scriptures in Luoyang, making great contributions to Buddhist translation and the spread of Buddhist culture in China.The translation of Lokaksema（支娄迦谶）, who was at the same time as An Shigao, was basically a word-for-word translation, which was not easy to understand. The literal translation in the Chinese translation community probably started from this time.Zhi Loujiachen were the masters of the literal translation school. In addition to them, the major translators include Lokaksema and Dharmaraksha（竺法护）. And most of these translators were “foreigners”.&lt;br /&gt;
Shi Daoan (314-385), who was an eminent monk, set up a translation workshop, ushering in the period of translation on a large scale. And a State Translation School was founded for this purpose. Shi daoan put forward the famous &amp;quot;five instances of losing the source and three instances of difficulties&amp;quot;, which had a great influence on later translation studies.(Li 2016,132)The Sui and Tang Dynasties were the prosperous period of Chinese Buddhist translation.Xuan Zang（玄奘）, Kumarajiva（鸠摩罗什）, and Zhen Di（真谛） of the Tang Dynasty are collectively known as the three major translators of Chinese Buddhism. In the translation of Buddhist scriptures, he fumbled and summed up the famous &amp;quot;Five do not flip&amp;quot;(五不翻原则）and “six methods of translation”. &amp;quot;Five do not flip&amp;quot;means translators should employ transliteration facing mysterious words, polyseme, culture-loaded words, conventional transliterating words and words showing respect. And the core of his translation theory can be concluded in one sentence. That is: it is necessary to seek truth and be straightforward.（既须求真又须喻俗)&lt;br /&gt;
The Buddhist translation of this period enriched the religious beliefs of the people, became the spiritual support of the people at that time, promoted the exchange between China and the world at that time, and made Buddhist scriptures an inseparable part of our traditional culture.&lt;br /&gt;
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====2.2 The stage two:Modern Translation History ====&lt;br /&gt;
During the Ming and Qing Dynasties (middle 14th to 19th centuries), there was a second stage of translation in Chinese history. During this period, the translation was mainly scientific and technological translation.This major shift was also decided by the Chinese and Western countries at the time in order to seek their own interests and finally reached an agreement on mutual terms.Western missionaries wanted to spread religious thought and culture in China, while Chinese scholars at that time were eager for knowledge and were keen on Western advanced science and technology in order to maintain the regime. In this way, the two needs complement each other, and the translation of Western scientific books is increasing. Increased, which promoted the great development of science and technology translation at that time.In 1868, the official translation and publishing organization of the Qing Dynasty, referred to as the Translation Museum, used the translation method from Western to Chinese, which means that foreign scholars interpret and Chinese scholars write and polish.(Liu 2016,148)The main representatives of translation activities in this period include Xu Guangqi（徐光启）, Li Zhizao （李之藻）, etc.Especially Xu Guangqi, known as the &amp;quot;Father of Western Translation&amp;quot;, does not understand foreign languages, and his translations are mainly through listening to narratives and co-translation and compilation.He proposed that the translation of Western history books should be prioritized and progressive，and put forward his own translation thought: &amp;quot;If you want to be superior, you must understand; before you can understand, you must first translate.&amp;quot;Although there were many translation achievements during this period, there was no systematic translation theory.Although the later translation museum had clear translation principles, its main purpose was to maintain its own rule by learning advanced Western technology.&lt;br /&gt;
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====2.3 The third stage: Contemporary Translation History ====&lt;br /&gt;
From the end of the 19th century to the beginning of the 20th century, China was in turmoil and internal and external troubles. Some rulers and intellectuals with capitalist ideas demanded to unite to resist the aggression of Western countries, and proposed reforms to strengthen themselves.Translation in this period is the boundary of modern Chinese translation history. Translation in the field of science and technology has gradually spread to the fields of literature, philosophy, economics, sociology, and ethics. China has entered a new stage of translation. The scale and influence of its translation activities all surpassed any period in modern times.At the end of the 19th century, Western academic translation represented by Ma Jianzhong （马建忠）and Yan Fu（严复）was a translation act driven by &amp;quot;national anxiety&amp;quot;, which promoted the expansion and deepening of foreign exchanges.(Liu 2016,148-149)In particular, Yan Fu's &amp;quot;faithfulness,expressiveness and elegance&amp;quot; translation standards have had a profound impact on translators' translation activities.&amp;quot;faithfulness&amp;quot; means loyalty, and &amp;quot;expressiveness&amp;quot; means unobstructed. In Yan Fu's interpretation, &amp;quot;elegance&amp;quot; means the translation strives to be elegant.The representative translator at that time was Lin Shu（林纾）. He proposed to pay attention to the purpose and function of translation, which meant that the translation should be able to achieve the expected goals and effects.When Lin Shu is translating, he emphasizes on subjective feelings, and the translator needs to communicate with the original author and the characters in the original work.A large number of translators, represented by Lin Shu, mostly adopt the principle of domestication and advocate free translation, which reflects the flexibility and openness of translation to a certain extent.During the May 4th Movement, the &amp;quot;New Youth&amp;quot; magazine was launched and began to translate western cultural thoughts and literary works. Representatives such as Chen Duxiu（陈独秀）, Hu Shi（胡适）, and Zhou Zuoren （周作人）all attached great importance to introducing foreign literature and foreign culture.Translation activities during this period included the introduction of scientific and technological knowledge and the dissemination of advanced ideas. The scale and the number of works all showed its important position in the history of translation.Moreover, the audience in this period has also expanded from intellectuals to part of the people, broadening the horizons of the Chinese people, increasing their knowledge, and playing a good catalytic role in modern intellectual circles.&lt;br /&gt;
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====2.4 The fourth stage: Present Translation====&lt;br /&gt;
Since the reform and opening up, China and the Western world have had a broader space for communication, and the translation industry has achieved prosperity and development.In an open China, from the initial learning from modern and contemporary Western translation theories, to actively conducting cultural exchanges with other countries, learning and exploring research methods, and focusing on cross-disciplinary comprehensive innovation, translation practices and theories have achieved unprecedented development.(Xu 2018,5)For example, cultural schools, structuralism, post-colonialism, and other translation theories have been translated into China in large numbers. Literary works involve politics, economy, culture, literature, art and other fields, and the quantity and variety greatly exceed the previous generations.Representatives at this time include Liu Miqing（刘宓庆）, Tan Zaixi（谭载喜）, Huang Long（黄龙） and others. Among them, Tan Zaixi compiled the book &amp;quot;A Brief History of Western Translation&amp;quot;. The whole book pays attention to absorb the relevant research results at home and abroad. It is important for various historical periods, especially since the 20th century. The representative tasks in the western translation field, translation works, schools of thought, etc. are described and commented, and the mutual promotion, evolution and development of translation practice and translation theory are analyzed and discussed in a simple way, which promotes the formation of a systematic translation theory in China.During this period, our research is no longer limited to the summary of translation practices and abstract induction of translation principles, but from the generalization of subjective thoughts to the description and analysis of specific translation phenomena, translation events and processes.Translation studies have changed from a single-paradigm study to a multi-paradigm study. In short, the reform and opening up has created a new situation in China's translation industry, constantly expanding research fields, and effectively promoting the development of Chinese translation studies.&lt;br /&gt;
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===Ⅲ.The history of western translation===&lt;br /&gt;
The same as our country, Western translation has a long history.In a sense, the development of Western European civilization should first be attributed to the translators.From the ancient Roman Empire to the modern European Community, literary, artistic, scientific, and trade exchanges between countries are all carried out through the work of translators. Throughout the whole process, the history of Western translation can be divided into five major development stages.Broadly speaking, the earliest translation in the West is The Septuagint.Strictly speaking, the first translation is the Homer epic &amp;quot;Odyssey&amp;quot; translated in Latin by Andronicus .Both the former and the latter began in the third century BC, with a history of more than two thousand years, and are an important part of the entire European history of development.(Tan 1985,36)&lt;br /&gt;
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====3.1 The first stage : Ancient====&lt;br /&gt;
Ancient translation mainly revolved around the Greek translation and Latin translation of the &amp;quot;The Bible. Old Testament&amp;quot; from the third century BC to the sixth century AD. Translation in this period can be divided into the first stage of ancient Greek literature translation and the second stage of religious translation.At the end of the fourth century BC, the Greek slave society began to decline, while the relatively backward Rome gradually became stronger.At this time, Greece has a certain cultural foundation and is still superior to Roman culture. Therefore, Greek culture has a greater attraction to Roman culture. The translation and introduction of Greek culture may begin in this period.It was only in the middle of the third century BC that recorded translations began to appear. Andronicus, Neveus, Ennius, and other excellent translators, who are known as the three ancestors of Roman literature, have translated a large number of Greek dramas in Latin.This large-scale translation first opened the situation of local translation in Europe. It spread Greek culture to Rome, promoted the development of Roman culture, and served as an important bridge for Rome and later generations to inherit ancient Greek literature.(Tan 1985,36)&lt;br /&gt;
The translation activities in the fourth to sixth centuries AD were mainly religious translation.In Europe, religious forces have always been strong and stubborn. From the very beginning, the Christian Church was hostile to secular literature, and tried to develop a religious culture that served its own interests.As the source of Christian thought and spiritual weapon, the &amp;quot;Bible&amp;quot; has naturally become the most concerned classic in the religious world.In 384 AD, Jerome was entrusted by the Roman Pope to compile a translation called &amp;quot;The New Testament&amp;quot;, which marked that the translation of the &amp;quot;Bible&amp;quot; had achieved an important position on par with the translation of secular literature.As Europe entered feudal society, religious translation was popularized, and the Bible was translated into various languages one after another.&lt;br /&gt;
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====3.2 The second stage : Middle Ages====&lt;br /&gt;
In the Middle Ages, Latin translation was no longer limited to religious documents. Eastern literature was translated and introduced to the East. The achievements of Arabic academic research promoted the development of Western translation.At that time, Western translators gathered in Toledo, Spain, and translated a large number of works from Arabic to Latin. This is the rare closely contact between Christians and Muslims in history.(Tan 2004,64)In the ninth and tenth centuries, Syrian scholars went to Athens to translate a large number of Greek classics into Syrian and brought them back to Baghdad. Baghdad established an important translation center, and many Greek classical works were translated into Arabic.Later, in the eleventh century, a large number of Arabic works appeared in Toledo. Translators translated these works into Latin. Toledo gradually became an academic center and translation center, becoming a &amp;quot;Translation Museum&amp;quot; similar to Baghdad. His translation and academic activities lasted for a hundred years, and the impact was also great.&lt;br /&gt;
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====3.3 The third stage :The Renaissance Period====&lt;br /&gt;
In the 14-16th century, the Renaissance took place in Europe. It was a great movement of ideological and literary innovation, and a great development in the history of Western translation. The translation practice and theoretical research of Western countries did not make a real leap until the Renaissance.During the Renaissance, Western translators constantly discovered new literary fields, unearthed new cultural heritage, and transplanted new ideas to the mainland. Translation at this time went deep into various fields such as ideology, politics, philosophy, literature, and religion, and involved some major works in ancient, modern and contemporary times.Translation in this period played an important role in the formation of national languages, marking the consolidation of the status of national languages in translation.(Tan 1985,37)&lt;br /&gt;
In Germany, Martin Luther created a precedent for the Reformation. His translation of the &amp;quot;Bible&amp;quot; through the people's language laid the foundation for the later standardization and standardization of German and played an important role in the unification of German.In France, &amp;quot;Celebrity biography&amp;quot; translated by the writer Amyot became an immortal literary translation in the history of translation in France and the entire West.In the United Kingdom, the translation of Greco-Roman history and literary works provided important historical materials and new ideological resources for the formation of an autocratic monarchy in the United Kingdom, which promoted the occurrence of the British bourgeois revolution and promoted Britain to become a modern nationalized country earlier.All in all, the ideological liberation movement of the Renaissance in Europe around 1500 had a profound and long-term impact on Europe, especially Western European society, and cultural translation played a crucial role as a bridge in this ideological liberation movement. It also shows that translation plays a huge role in the formation and development of national language, literature and thought.&lt;br /&gt;
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====3.4 The fourth stage :Since the end of the Second World War====&lt;br /&gt;
After the Second World War, the West entered a relatively stable period of peace, the economy was restored, production was secured, and science and technology developed rapidly. These are important material foundations for the development and progress of translation.(Tan 1985,37)Compared with the past, translation in the new period has undergone great changes. First, the scope of translation has been expanded. Traditional translation mainly focused on literary and religious works, while translation during this period expanded to the fields of technology and business.Second, the scale of translation is much larger than before. In the past, translation was mainly the work of a few high-level intellectuals. Nowadays, translation has become a profession, and there is even a professional team that has been specially trained.Third, the role of translation has also been enhanced, especially with the establishment of the European Community and the European Union, the process of globalization has accelerated, and the communication activities between countries are realized through translation. Therefore, translation plays a very important role in the economy, culture, science and technology of western countries.&lt;br /&gt;
The form of translation during this period has also undergone great changes, such as the strengthening of the professionalization of the translation business, the establishment of higher translation education and the training of professional translators.Especially the way of translation has broken the tradition, and machine translation has been developed and popularized.Since English and American scholars first discussed the possibility of using computers for translation in 1946, the development and application of translation machines have increasingly shown vitality after nearly 40 years of tortuous development. It is a challenge to traditional manual translation for thousands of years, and it is also a revolution of far-reaching significance in the history of translation.&lt;br /&gt;
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===Ⅳ.Comparison between the History of Chinese and Western Translation===&lt;br /&gt;
====4.1 Commonality====&lt;br /&gt;
Through the introduction of the Chinese translation history and the Western translation history in the above two chapters, it is not difficult to find that there are some similarities between the translation concepts and the evolution process of the two, especially the laws of evolution of the Chinese and Western translation concepts are very similar.&lt;br /&gt;
First of all, the initiation and development of large-scale Chinese and Western translation activities are closely related to the translation of religious documents.In the West it is the translation of the Bible, while in China it is the translation of Buddhist classics.In my opinion, this commonality is the origin of translation concepts such as &amp;quot;original supremacy&amp;quot; and &amp;quot;faithful original text&amp;quot; that have dominated the Chinese and Western translation circles for two thousand years.(Xie 2010,5)Looking back at history, when Chinese and Western ancient translators were translating these religious documents, they must be pious and absolutely faithful to the original text to translate word by word, lest they would distort the will of God and the teachings of the Buddha.Until the 1950s, due to the advent of the era of professional translation, the target of translation has evolved from religious documents and literary masterpieces to non-literary practical documents such as economy, technology, business, and entertainment. Since then, translation Views have been greatly changed.&lt;br /&gt;
Secondly, both in China and in the West, translation has played an important role in disseminating knowledge.When we compare the contribution of Chinese and Western translation in spreading knowledge together, this effect is further demonstrated.In the West, backward Rome developed rapidly due to the absorption of advanced Greek culture and became the later Roman Empire.In the Middle Ages, after the Baghdad Translation Center, the translation activities of the &amp;quot;Translation Museum&amp;quot; in Toledo, Spain.The translators provided a source of learning for the Western world by translating ancient Greek and Roman natural science works, philosophy and other classics translated by the Arabs into Latin, as well as the Arabs' own academic works.It is through these classical classics that Western talents began to come into contact with a large number of classical cultures and promoted the Renaissance. Its influence is reflected in all aspects of art, philosophy, literature, music, science and technology, politics, religion, and intellectual inquiry.For China, a large number of Buddhist scriptures from the Western Regions to China from the Han Dynasty to the Song Dynasty opened up the history of Chinese translation.The translation of science and technology at the end of the Ming Dynasty and the beginning of the Qing Dynasty was also influential in disseminating Western science and technology literature and promoting the development of China's natural science and engineering technology.In particular, the literary translation from the Opium War to the &amp;quot;May 4th&amp;quot; period was the dividing line of modern translation history. The translation from the field of science and technology gradually spread to the fields of literature, philosophy, economics, sociology, ethics, etc. In the new stage of translation, the scale and influence of its translation activities have exceeded any period in modern times.Since China's reform and opening up, translation has played a role in promoting communication between China and various countries. The development of the globalization process cannot be separated from the bridge and hub of translation.&lt;br /&gt;
Third, the role of translation in the establishment and development of national languages in various countries has some obvious commonalities in both the West and China.In the West, Martin Luther's Bible translation has played a very important role in the unification and development of German and modern German.The English translation of the &amp;quot;Bible&amp;quot; also contributes significantly to enriching English vocabulary and expressive means.As for China, Buddhist translation has enriched Chinese vocabulary, especially literary translation during the May Fourth Movement, which promoted the establishment and development of modern Chinese vernacular.The translation in the new era has also enriched the vocabulary to a certain extent.For example, the Chinese &amp;quot;人山人海&amp;quot; translates into English as &amp;quot;people mountain people sea&amp;quot;, and it is even included in the English dictionary.&lt;br /&gt;
Finally, regardless of Chinese and Western, translation also plays a vital role in conveying foreign social and cultural values.(Xie 2010,5)In the West, for example, the excavation, dissemination and development of the spirit of humanism during the Renaissance were largely due to the translation of ancient Greek and Roman classics.In China, Li Zhizao, Xu Guangqi and others' translations of Western social science masterpieces in the late Ming and early Qing dynasties broadened the horizons of the Chinese people and promoted the modernization of China.During the May Fourth Movement, Yan Fu, Lu Xun and others' translations of Western literature and dramas refreshed the Chinese worldview, increased the Chinese people's knowledge, and played a good catalytic role in modern intellectual circles.&lt;br /&gt;
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====4.2 Difference====&lt;br /&gt;
The last section elaborated from four aspects that the evolutionary laws of Chinese and Western translation history are very similar. Of course, the development of Chinese and Western translation history has its own unique performance, not only in the development period and nodes, but also in certain These aspects are even far apart.&lt;br /&gt;
Although the initiation and development of large-scale Chinese and Western translation activities are closely related to the translation of religious documents, the status of Buddhism in Chinese and Western social and political life is different.Religion plays an extremely important role in Western society. In Western Christian society, God is not only the creator and nurturer of the universe and mankind, but also the maker and arbitrator of the political and ethical order of the world. Is the primary source of Western moral standards.Therefore, the importance of &amp;quot;Bible&amp;quot; translation can be imagined.In China, imperial power is greater than divine power. Monarchs profess themselves to be the emperor, exercise power by the mandate of heaven, and enjoy supreme authority.Religion can only be spread and developed under the support and use of imperial power. Its essence is actually a tool to maintain rule, and it has never become a religious behavior for the whole people.In Chinese history, religion was never allowed to harm the ethical principles of feudal rule. Once harm occurred, it would be banned and eliminated.The extermination of Buddhism in the history of Chinese Buddhism and the &amp;quot;Chinese Etiquette Controversy&amp;quot; in the history of modern Chinese Catholicism are typical features.Therefore, the influence of Chinese Buddhist scripture translation is more in folk culture, and the effect of its influence is more manifested in a subtle form.For example, the change of world outlook, the penetration of language, the borrowing of the plots of Buddhist classics in literary works, and so on.Moreover, Chinese society uses blood as a bond and family as a unit. It is the blood relationship that closely connects family members.Festivals and weddings and funerals are always carried out on a family or family basis, not under the auspices of the church as in the West.&lt;br /&gt;
On the other hand, due to the differences in national characteristics between China and the West, the Chinese nation is more pragmatic, focusing on physical and mental cultivation, ethics and morality, paying attention to whether translation theory has practical effects, whether it can guide translation practice and solve various problems encountered in the translation process.(Xie 2010,6)The Western Christian culture and my country's Confucianism have formed a sharp contrast in this respect.Westerners influenced by Christian thought have a strong pioneering and innovative national character. They advocate speculation and pay more attention to the abstract, systematic and systematic nature of translation theories.They believe that the focus is on describing what kind of theory exists behind translation practice, and how to understand and interpret translation from a theoretical perspective.This makes the development path of the two translation theories different.If there were many similarities in the concepts and characteristics of Chinese and Western translation activities before the 1950s, then the differences in the development trends of the two translation theories in the later stages, especially from the end of the 19th century, became larger and larger.Western translation theories have been systematized earlier. Any research is carried out under the guidance of a certain theory, and the results of related disciplines are fully used to make the connotation (translation standard itself) and extension (research method) of translation standards become truly pluralistic. Which embodies a strong scientific spirit.However, Chinese translation theories have remained at the level of translation practice experience perception for a long time, which is largely subjective.In particular, the proponents of traditional translation theory pay attention to the unspoken artistic conception, giving people more space for association and comprehension, but they cannot make precise regulations for translation practice, which is implicit.&lt;br /&gt;
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===Ⅴ.conclusion===&lt;br /&gt;
It is precisely based on the above-mentioned understanding of the history of Chinese and Western translation from different aspects that &amp;quot;similarities have differences, and differences have similarities&amp;quot;, so I think that the history of Chinese and Western translation development should be described, analyzed and sorted in the same framework. It is possible.In this way, we can not only emphasize the common ground in the development of Chinese and Western translation, find the rules among them, but also show the uniqueness of the development of the two.This article adopts the method of compiling parallel narratives based on synchronic presentation, supplemented by diachronic combing, combining two seemingly unrelated development contexts in the history of Chinese and Western translation, and analyzing and describing them as a whole.And the development stages of Chinese and Western translation history are divided into stages according to the mainstream translation objects of the specific era, and then the internal laws of the evolution of Chinese and Western translation concepts are explored and revealed.&lt;br /&gt;
Generally speaking, translation and culture are inseparable, whether religious, political, or literary, they all grow up in the soil of culture.(Chen 2016,1)In the process of understanding Chinese and Western translation history, people also feel the cultural collision.Not only in the long history of the past, but in the 21st century today, translation is a bridge and a link between countries, and an indispensable existence in people's social, political, and economic life.At the same time, translation is also an art. Through translating works, we not only understand the beauty of each country's culture, but also realize that translation is originally an art.Translation is a rigorous and extensive academic science. Various forms of cultural exchanges between Chinese and Western languages, literature, philosophy, and religion require not only artistic performance, but also rigorous academic attitudes and systematic theories to support.Translators and scholars from different countries, languages and cultures have contributed their outstanding talents and wisdom in the field of translation. They have studied and published a wealth of academic theories and skills in translation studies from different perspectives, which have promoted the progress and development of society.&lt;br /&gt;
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===References===&lt;br /&gt;
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Gong Yicai 龚亿财.(2020).论翻译在第三次翻译高潮中的特点及社会功能[On the features and social functions of translation in the third translation climax].吉林广播电视大学学报(Total No.217)Journal of Jilin Radio and TV University.&lt;br /&gt;
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Li Yin 李颖.(2016).从翻译史上的几个重要时期看中国翻译理论与实践的发展[Viewing the development of Chinese translation theory and practice from several important periods in the history of translation].湖北经济学院学报(Vol13 No.10)Journal of Hubei University of Economics.&lt;br /&gt;
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Liu Qiaoling 刘巧玲.(2016).从中国翻译史的四次高潮看主要译论及读者影响[Main translation theories and readers' influence from the four climaxes of Chinese translation history].黑龙江生态工程职业学院学报(Vol.29 No.5)Journal of Heilongjiang Vocational Institute of Ecological Engineering.&lt;br /&gt;
&lt;br /&gt;
Ma Zuyi. 马祖毅. (1998). 中国翻译简史-“五四”以前部分（修订本） [A Brief History of Chinese Translation: The Part Before the May 4th Movement] . China Translation Corporation中国对外翻译出版公司.&lt;br /&gt;
&lt;br /&gt;
Tan Zaixi 谭载喜.(1985).西方翻译史浅谈[On the history of Western translation].中国翻译(07)Chinese Translation(36-39).&lt;br /&gt;
&lt;br /&gt;
Tan Zaixi 谭载喜.(2004).西方翻译简史[A short history of translation in the West].商务印书馆The Commercial Press of Hongkong.&lt;br /&gt;
&lt;br /&gt;
Xu Jun许钧.(2018.06)改革开放以来中国翻译研究的发展之路[The development of Chinese translation studies since reform and opening up].Chinese Traslation Journal.&lt;br /&gt;
&lt;br /&gt;
Xie Tianzhen 谢天振.(2009)中西翻译简史[A brief history of Chinese and Western translation].外语教学与研究出版社Foreign Language Teaching and Research Press.&lt;br /&gt;
&lt;br /&gt;
Xie Tianzhen 谢天振.(2010)中西翻译史整体观探索[An exploration of the holistic view of Chinese and Western translation history].东方翻译(02)East Journal of Translation(4-8).&lt;br /&gt;
&lt;br /&gt;
='''Literal and Free Translation'''=&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
==Rethink Literal and Free Translation	彭永亮	Peng Yongliang==&lt;br /&gt;
&lt;br /&gt;
==On the Chinese Translation of ''A Pale View of Hills'' from House's Translation Quality Assessment Model	宋建茹	Song Jianru ==&lt;br /&gt;
&lt;br /&gt;
&amp;lt;center&amp;gt; 宋建茹 Song Jianru 202020080639 &amp;lt;/center&amp;gt;&lt;br /&gt;
&lt;br /&gt;
===Abstract===&lt;br /&gt;
&lt;br /&gt;
Translation quality assessment is an integral part of translation criticism. The first TQA model with comprehensive theories and practices Juliane House represented provides a significant reference for translation exercises. ''A Pale View of Hills'', as the first work of Kazuo Ishiguro, possesses a great research value on its narrative styles by virtue of memory and topics about migrants. As of 2011 when its Chinese translation was published, no scholar has evaluated it. This study applies House's TQA model to assess the Chinese translation of ''A Pale View of Hills'' with qualitative and quantitative analysis from lexical, syntactic and textual aspects, in a bid to examine validity of the model on novel translation, which turns out that it is an overt and high-quality translation.&lt;br /&gt;
&lt;br /&gt;
=== Key Words===&lt;br /&gt;
&lt;br /&gt;
''A Pale View of Hills''; House's TQA model; novel translation&lt;br /&gt;
&lt;br /&gt;
===题目===&lt;br /&gt;
&lt;br /&gt;
从豪斯翻译质量评估模式谈《远山淡影》中文翻译&lt;br /&gt;
&lt;br /&gt;
=== 摘 要 ===&lt;br /&gt;
&lt;br /&gt;
翻译质量评估是翻译批评的核心课题。朱莉安·豪斯提出的第一个有完整的理论和实践的翻译质量评估模式，为翻译实践提供了重要参考。《远山淡影》是石黑一雄的处女作，其依托回忆的叙事风格和移民主题具有很高的研究价值。《远山淡影》中译本自2011年出版至今，尚未有学者对其进行评估研究。本文运用豪斯的翻译质量评估模式，采用定性与定量相结合的分析方式，从语场、语旨、语式等三个层面对原文和译文进行分析，开展《远山淡影》中译本的翻译质量评估研究，为豪斯翻译质量评估模式对小说翻译的运用进行进一步的探索和补充。通过分析，得出《远山淡影》中译本为显性翻译，翻译质量较高。&lt;br /&gt;
&lt;br /&gt;
=== 关键词 ===&lt;br /&gt;
&lt;br /&gt;
《远山淡影》；豪斯质量评估模式；小说翻译&lt;br /&gt;
&lt;br /&gt;
===Introduction===&lt;br /&gt;
&lt;br /&gt;
Translation criticism refers to the analysis and review of thoughts, activities and works of translation by virtue of relevant theories and views, in a bid to improve the overall quality of translators and translations. It is an integral part of translation studies. Translation quality assessment, as the integral and key part of translation criticism, plays a significant role in surveillance and promotion of translation quality. Among the extant translation quality assessment models, Juliane House's ''A Model for Translation Quality Assessment and Translation Quality Assessment: A Model Revised'', based on Halliday's systemic functional linguistics and discourse analysis, are systematic, scientific and rational with a relatively complete system of parameters, quantitative methods and steps adhering to specific procedures.(Wang Enmian 1999,7)&lt;br /&gt;
&lt;br /&gt;
''A Pale View of Hills'', as Kazuo Ishiguro's first full-length novel, tells the life of the people in Nagasaki after WWII through the memory of protagonist Etsuko and explores recovery of trauma, collision between the old and new ideas, and kinship after war. The first person narrative, memory, humor and satire and international perspectives in the book became his major writing styles in the future. The novel won the Winifred Holtby Memorial Prize from the Royal Society. Its only Chinese translation at present, from Zhang Xiaoyi, is still not analyzed by the scholars. &lt;br /&gt;
&lt;br /&gt;
This paper uses House's translation quality assessment model, with combination of qualitative and quantitative analysis, from field, tenor and mode to analyze the mismatches between original and translation in an attempt to assess the Chinese translation quality of ''A Pale View of Hills'' and further explore the application of House's model in novel translation. The aim of the study is to promote scholars to regulate the behaviors of translation, to improve the quality of translation and translation evaluation, and to provide a reasonable way for establishing the interlingual conversion mechanism.&lt;br /&gt;
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The thesis consists of four chapters.&lt;br /&gt;
&lt;br /&gt;
After the Introduction, Chapter One gives a brief account of ''A Pale View of Hills'' and its research status, involving the author, background, content and influence. Chapter Two is a brief introduction of House’s TQA model, including its theoretic basis, parameter setting, operation steps and feasibility. Chapter Three is a detailed analysis of original and translation of ''A Pale View of Hills'' based on House’s model. Chapter Four is statement of translation quality assessment. Then we come to the last part, Conclusion.&lt;br /&gt;
&lt;br /&gt;
===I Overview and Research Status of ''A Pale View of Hills''===&lt;br /&gt;
&lt;br /&gt;
''A Pale View of Hills'' is Kazuo Ishiguro's first novel, which laid a solid foundation for the formation of Ishiguro's writing style. The chapter mainly introduces the author, plot, theme and influence of the novel and analyzes its research status, in an attempt to master the material well and seek new perspectives for the paper.&lt;br /&gt;
&lt;br /&gt;
'''1.1 Overview of ''A Pale View of Hills'''''&lt;br /&gt;
&lt;br /&gt;
Kazuo Ishguro is a noble contemporary Japanese English writer, whose novels feature first person narrative, detailed depiction of loneliness, depression, self-deception and anxiety of characters' inner world and dual narrative strategy to deconstruct the narrator's self-identity, as well as discuss postwar trauma and migrant identity. He won Booker Prize, the British top literary prize, in 1989 and the Nobel Prize in literature in 2017. By virtue of his outstanding literary achievements, he is known as one of the Three Masters of English Migrant Literature together with Salman Rushdi and Naipaul.&lt;br /&gt;
&lt;br /&gt;
''A Pale View of Hills'', published in 1982, is Ishiguro's debut. The story, with postwar Nagasaki as its background, enjoys two clues: one is what happened when Niki (Etsuko’s little daughter) visited her mother after her sister Keiko died; the other is Etsuko’s memory about people and events in Nagasaki after the war. The two lines integrated together during the narrative, forming the illusory and imaginary impression. &lt;br /&gt;
&lt;br /&gt;
Many in-depth topics in this work are worth pondering: postwar trauma recovery, the collision between new and old ideas after war and discussion of family relations. Many marks in the work became his own styles: first-person narrative, memory, humor and satire, international perspectives. In addition, it won the Winifred Holtby Memorial Prize from the Royal Society and is still in print thirty years after its publication. This book, with its enormous emotion, unearths the abyss beneath the illusion of our connection to the world, whose artistic value and charm could be time-tested.&lt;br /&gt;
&lt;br /&gt;
'''1.2 Research Status of ''A Pale View of Hills'''''&lt;br /&gt;
&lt;br /&gt;
There are 54 papers about A Pale View of Hills in domestic researches. According to the statistics from HowNet, the number of studies on the work has been mounting, especially after Kazuo Ishiguro won the Nobel Prize for Literature in 2017. The perspectives of these researches are mainly from identity anxiety, unreliable narrative and post-war trauma. &lt;br /&gt;
&lt;br /&gt;
In &amp;quot;Identity Anxiety in Kazuo Ishiguro's A Pale View of Hills&amp;quot;, Wang Fei discusses the identity anxiety of migrants, exploring manifestations, causes and influence of such anxiety on the characters(2017). In &amp;quot;Memory and Narrative Unreliability of ''A Pale View of Hills''&amp;quot;, He Xiaobing combined with the classical narratology to analyze how unreliable narration method is presented in the work and discussed the inner world of the characters(2018). In &amp;quot;Trauma in Kazuo Ishiguro's A Pale View of Hills&amp;quot;, Liu Xiaoya explores the protagonist's trauma by using Sigmund Freud’s psychoanalysis theory and trauma theory (including post-freudian psychological trauma theory), contemporary trauma culture theory along with rhetorical narrative theory(2015).&lt;br /&gt;
&lt;br /&gt;
At abroad there are more perspectives about the studies of A Pale View of Hills. In addition to the main research directions of domestic scholars, such as identity anxiety of characters, unreliable narrative research and post-war trauma, cultural displacement, family relationship and the influence of region on personality presented in the works are also analyzed. &lt;br /&gt;
&lt;br /&gt;
''The Impact of Place on Personality in Kazuo Ishiguro's A Pale View of Hills: An Eco-critical Study'' written by Awla, Y.N, from the perspective of ecocriticism, clarifies the fact that a place is able to define and guide the emotions and thoughts of characters, and analyzes the reasons why geography forms characters of people in order to draw people’s attention to the impact of surrounding environment on them. Ruth Forsythe's article ''Cultural Displacement and the Mother-daughter Relationship in Kazuo Ishiguro's A Pale View of Hills'' focuses more on the relationship between mother and daughter under cultural displacement. However, no scholars have analyzed the language itself from the perspective of systemic functional linguistics.( Awla,Y.N 2019,1)&lt;br /&gt;
&lt;br /&gt;
The Chinese translation of A Pale View of Hills, Zhang Xiaoyi's version, was published by Shanghai Translation Publishing House in 2011, and the bilingual version in 2019. Up to now, there has no translation criticism or discussion about this translation. Since 2011 when it was translated, it came to draw the attention of scholars and readers. Translation is a direct factor that affects the integrity of author’s thought, the reader's perception and the accuracy of the scholar’s study, thus it is indispensable to use the House’s Translation Quality Assessment model to analyze the Chinese translation of ''A Pale View of Hills''.&lt;br /&gt;
&lt;br /&gt;
===II Introduction of House's Translation Quality Assessment Model===&lt;br /&gt;
&lt;br /&gt;
Juliane House's model was described as the first translation quality assessment model with complete theories and practices by international translation criticism, which could provide an important reference for translation learners and scholars. By introducing the theoretical basis, parameter system and operation steps of House's model, this chapter will discuss the feasibility of House’s model in the evaluation of the Chinese translation of A Pale View of Hills, in an effort to foster the application of House’s model in the quality evaluation of full-length novels.&lt;br /&gt;
&lt;br /&gt;
'''2.1 Theoretical Basis of House's Model'''&lt;br /&gt;
&lt;br /&gt;
The assessment of translation quality draws upon different translation standards, which are then embodied by the recognition about essence of translation. House deemed that crunch of the translation quality assessment lies in recognition of the nature of translation, namely that &amp;quot;translation is the replacement of a text in the source language by a semantically and pragmatically equivalent text in the target language.&amp;quot;(House 1977, 30)&lt;br /&gt;
&lt;br /&gt;
In House's initial model in 1977, she drew upon language behavior theory, language and text function and context to divide the source language text into two situational dimensions: dimension of language user and dimension of language use. The former includes three aspects: geographical origin, social class and time. The latter includes five aspects: medium, participation, social role relationship, social attitude and province. &lt;br /&gt;
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The evaluation depends on the matching degree between original text andtranslation. The higher the matching degree is, the better the translation quality is. The quality evaluation of the translated text needs to state mismatching degree of each dimension in the whole context, that is, the description of the quantity of covert errors (errors in context dimension) and overt errors (referential mismatcher or grammatical violation of target language system).(House 1977, 30)&lt;br /&gt;
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Based on myriad practice, House realized that the initial eight dimensions overlap in some parts. Therefore, in 1997, she revised the original model from the perspective of the context, unifying the previous eight parameters to field, tenor and mode. Field compares subject matter and social action of the original with that of translation. Tenor emphasizes the matching degree on the relationship of participants, time, region, position of author, social role relationship and social attitudes. Mode pays more attention to medium and participation. In addition, House incorporated &amp;quot;genre&amp;quot; into revision model in order to explain the deep structure of the text.(House 1977, 30)&lt;br /&gt;
&lt;br /&gt;
'''2.2 Operation Steps of House's Model'''&lt;br /&gt;
&lt;br /&gt;
When evaluating the translation quality of the text, House's model focuses on comparison between original text and translation from field, tenor, mode and genre, clarifies and summarizes mismatches found in the text, so as to obtain a quality report of the translation. The detailed steps presented as follows: (House 1997, 108)&lt;br /&gt;
&lt;br /&gt;
1) Analyze the register and genre of the original text to get its textual functional profile. The original text is analyzed from four dimensions: field, tenor, mode and genre. According to the analysis, “functional statement”, involving ideational and interpersonal functions, needs to be deduced.(House 1997, 108)&lt;br /&gt;
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2)Compare the target text and the source text to find differences or mismatches. Through the comparative analysis between original and translation along the dimensions on the model, mismatches or differences found in the comparison are sorted out by virtue of overt errors or covert errors and expounded in detail one by one.(House 1997, 108)&lt;br /&gt;
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3)Summarize the differences and mismatches demonstrated from the above steps in lexical, syntactic and textual aspects. Based on above statistics and statement, make the quality statement. The fewer the mismatches are, the better the translation quality is. If readers clearly realize the text a translation work, it is overt translation; while if not, it is covert translation.(House 1997, 108)&lt;br /&gt;
&lt;br /&gt;
'''2.3 Feasibility of the Model in Chinese Translation of ''A Pale View of Hills'''''&lt;br /&gt;
&lt;br /&gt;
At present, there are 78 relevant studies on House’s Translation Assessment model, which are mainly divided into three directions: interpretation of House Translation Assessment model and its revision, evaluating translation of literary works along the model and evaluating translation of applied text along the model. Among them, evaluation of the translation of literary works accounts for 29, which enjoys the following two characteristics:&lt;br /&gt;
&lt;br /&gt;
1)There are merely a few researches applying House model to Chinese translation of literary works. Among the 29 journals and papers evaluating translation of literary works, there are 25 studies that attach great importance to the English translation and 4 to Chinese translation, which signifies that we need more researches of Chinese translation to support the validity of the model on different languages. Therefore, the paper, with the Chinese translation of A Pale View of Hills as its corpus, intends to examine the feasibility of the application of House’s model to Chinese translation.&lt;br /&gt;
&lt;br /&gt;
2)There are merely a few researches applying House model to the translation of full-length novels. Among the 29 journals and papers on evaluating translation of literary works, most of which focus on the evaluation of poems and prose, merely 5 studies are analysis of translation of full-length novels. English translation accounts for 3 and Chinese translation for 2, which demonstrates that we need more researches with full-length novels as corpus to support the validity of the model in different genres. Therefore, the paper, with the full-length novel A Pale View of Hills as its corpus, intends to examine the feasibility of the application of House’s model to full-length novels.&lt;br /&gt;
&lt;br /&gt;
In conclusion, given that the researches based on Chinese translation of full-length novels are insufficient, the paper will use the Chinese translation of A Pale View of Hills as its corpus to validate the feasibility of House’s TQA model.&lt;br /&gt;
&lt;br /&gt;
===III Comparison of Original and Translation of ''A Pale View of Hills'' Along House's Translation Quality Assessment Model===&lt;br /&gt;
&lt;br /&gt;
''A Pale View of Hills'' is the debut of Kazuo Ishiguro, whose Chinese translation was published by Shanghai Translation Publishing House in 2011. House's Translation Quality Assessment model is the first objective model combining quantative analysis with qualitive analysis. The paper applies House's Translation Quality Assessment model to Chinese translation of ''A Pale View of Hill'', comparing the source text and target text in lexical, syntactic and textual aspects along the three dimensions of register and summarizing the mismatches on field, tenor and mode, in an effort to quantitatively assess the translation quality of ''A Pale View of Hills''.&lt;br /&gt;
&lt;br /&gt;
'''3.1 Comparison on Field'''&lt;br /&gt;
&lt;br /&gt;
Field refers to the content or the topic of the text. It is concerned with subject matter and social action which covers the specificity of lexical items. After comparison between the source text and target text on field, there are 18 mismatches, 12 of which are overt errors and 6 covert errors. Among them, there are 9 lexical errors, 1 textual error and 8 syntactic errors. The lexical and textual errors are mainly covert errors, so in general their translation is of high quality. Although most of syntactic errors are not in line with the grammar of target language system, they won’t influence the understanding of the text. Therefore, by and large, translation on field are high-quality.(Feng Yufang &amp;amp; Wang Feifei 2015,114)&lt;br /&gt;
&lt;br /&gt;
'''3.1.1 Lexical Field'''&lt;br /&gt;
&lt;br /&gt;
Lexical field means the immediate or possible scenes or events evoked in people’s mind when they read or hear the words or lexical items. After the analysis of the original and target text, there are 9 mismatches, 4 of which are overt errors and 5 are covert ones. Most of them won’t block readers to master the overall meanings. Therefore, the translation quality on lexical items are relatively high.(Feng Yufang &amp;amp; Wang Feifei 2015,115) &lt;br /&gt;
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Example 1：&lt;br /&gt;
&lt;br /&gt;
...and the soaked surfaces of brick and concrete were drying all around us.&lt;br /&gt;
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湿透了的砖头和水泥开始变干。(P8)&lt;br /&gt;
&lt;br /&gt;
Concrete refers to building material that is made by mixing together cement, sand, small stones and water according to Oxford Dictionary, which includes cement rather than equates it. So, it is not very accurate to translate in this way even if the two words are similar. It is obviously an overt error. &lt;br /&gt;
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Example 2：&lt;br /&gt;
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As far as I remember, that was the first occasion I spoke to Mariko.&lt;br /&gt;
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我印象那是我第一次跟万里子说话。(P11)&lt;br /&gt;
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In the translation, “印象” as a noun refers to a mental picture that you have of what somebody/something is like or looks like. In the light of the rules or grammar of Chinese, it is hardly used as a verb. Thus, it is an overt error. &lt;br /&gt;
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Example 3：&lt;br /&gt;
&lt;br /&gt;
It's such a shame.&lt;br /&gt;
&lt;br /&gt;
真不像话。(P16)&lt;br /&gt;
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A shame is used to say that somthing is a cause for feeling sad or disappointed. In the original, the sentence is to express Etsuko’s pity to the homeless dogs and cats around her community rather than her distaste or complaint. Here it is translated into its other meaning when ignoring the context, belonging to a covert error. &lt;br /&gt;
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Example 4：&lt;br /&gt;
&lt;br /&gt;
Why don't you go into the kitchen for a little while?&lt;br /&gt;
&lt;br /&gt;
你为什么不到厨房去一会儿呢？(P26)&lt;br /&gt;
&lt;br /&gt;
In the translation, “去” is not very appropriate on the basis of grammar of Chinese, since it is such an action verb that does not match with state phrases. In the course of translation, some prepositions in English need to be transferred into verb in Chinese, which are supposed to pay attention to the rules of target language. Here it is obviously an overt error.&lt;br /&gt;
&lt;br /&gt;
Example 5：&lt;br /&gt;
&lt;br /&gt;
It's not appreciated simply because the product disappears so quickly.&lt;br /&gt;
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不能因为它的产品很快就消失了而不懂得欣赏。(P34)&lt;br /&gt;
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According to the context, Ogata-San believes that cooking is “as noble as painting or poetry”. So here the product refers to food cooked. Given the concrete expression in Chinese, the product is supposed to be translated more concretely in accordance with the context. It is a covert error.&lt;br /&gt;
&lt;br /&gt;
Example 6：&lt;br /&gt;
&lt;br /&gt;
Perhaps it is just my fancy that I felt a cold touch of unease there on that bank, a feeling not unlike premonition. &lt;br /&gt;
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这也许只是我的想象，但是那时我在河边觉得凉飕飕的，很不自在，像是感觉有事要发生。(P44)&lt;br /&gt;
&lt;br /&gt;
“Unease” refers to the feeling of being worried or unhappy about something. Given the above-mentioned, Etsuko worried about the safety of Mariko when she was not at home. It differs from its translation that means the feeling of being ill at ease. It is an overt error. &lt;br /&gt;
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Example 7：&lt;br /&gt;
&lt;br /&gt;
You mustn't suppose, Etsuko, simply because you've seen her in these…in these present surroundings, that she's some peasant's child.&lt;br /&gt;
&lt;br /&gt;
悦子，你不能因为……因为眼前的事物就认为她是什么贫农的孩子。(P51)&lt;br /&gt;
&lt;br /&gt;
Sachiko is not rich according to the context, so “peasant” intimates the meaning of poverty. Its translation explicitly represents it, which is accessible and intelligible. However, “贫农” enjoys extra cultural meaning in China, which could date back to the Cultural Revolution when lands was apportioned based on people’s wealth, so it might mislead readers to its political implication. It is a covert error.&lt;br /&gt;
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Example 8：&lt;br /&gt;
&lt;br /&gt;
“I must have been such a burden to you in those days,” I said, quietly.&lt;br /&gt;
&lt;br /&gt;
“我那时肯定成了您的负担，”我静静地说。(P68)&lt;br /&gt;
&lt;br /&gt;
Here “quiet” refers to making very little noise, which coincides with the act of saying. According to the context, Etsuko lowered her noise out of guilt when she realized she bothered her family when she practised violin before. However, its translation means the statement without any noise, which obviously contravenes the context, belonging to covert translation.&lt;br /&gt;
&lt;br /&gt;
Example 9：&lt;br /&gt;
&lt;br /&gt;
I could see something moving beside her in the shade.&lt;br /&gt;
&lt;br /&gt;
我看见她身旁的影子里有什么东西在动。(P14)&lt;br /&gt;
&lt;br /&gt;
“Shade” means an area that is dark and cool under or behind something, for example a tree or building, because the sun’s light does not get to it, rather than the shadow which the translator believed. As previously mentioned in the text, “Mariko was lying in the corner furthest from the sunlight”, which also signifies that it is impossible to exist dark shape under the light around Mariko. Thus, the translation of “shade” is not on a par with the context, belonging to a covert error.&lt;br /&gt;
&lt;br /&gt;
'''3.1.2 Syntactic Field'''&lt;br /&gt;
&lt;br /&gt;
Syntactic field means the immediate image appeared in people’s mind when they read the sentences. The mismatches in syntactic field are usually for the violation of rules of target language or misinterpreting the source text. On syntactic field, there are 8 mismatches, seven of which are overt errors and one is covert. Among the overt errors, seven sentences are not in line with the rules of target language, which won’t influence the ideational meaning. Therefore, the translation quality on syntactic field is high.(Feng Yufang &amp;amp; Wang Feifei 2015,116)&lt;br /&gt;
&lt;br /&gt;
Example 1：&lt;br /&gt;
&lt;br /&gt;
It did upset me, hearing about her.&lt;br /&gt;
&lt;br /&gt;
我真的很难过，听到她的死讯。(P4)&lt;br /&gt;
&lt;br /&gt;
Example 2：&lt;br /&gt;
&lt;br /&gt;
But I was sad though, when I heard.&lt;br /&gt;
&lt;br /&gt;
可是我真的很难过，听到她的消息。(P4)&lt;br /&gt;
&lt;br /&gt;
Example 3：&lt;br /&gt;
&lt;br /&gt;
It's certainly an amusing sort of experience, working in a noodle shop.&lt;br /&gt;
&lt;br /&gt;
这真是很有趣的经历，在面包店里工作。(P26)&lt;br /&gt;
&lt;br /&gt;
In English, the important or unknown information appeared firstly, and the second one follows. However, in Chinese, the second important presents at first, paving the foundation for the more pivotal or unknown one. In above three examples, their translation doesn’t adjust the sequence in line with target language rules. These are overt errors.&lt;br /&gt;
&lt;br /&gt;
Example 4：&lt;br /&gt;
&lt;br /&gt;
…certain arrangements I made have not gone as planned.&lt;br /&gt;
&lt;br /&gt;
一些事情没有照我计划的那样。(P17)&lt;br /&gt;
&lt;br /&gt;
The translation is not complete as the predicate verb “have gone” is not translated, which does not conform with the grammar of Chinese. It is an overt error.&lt;br /&gt;
&lt;br /&gt;
Example 5：&lt;br /&gt;
&lt;br /&gt;
She appeared to know them, for as she walked across the forecourt, she gave them a familiar greeting.&lt;br /&gt;
&lt;br /&gt;
看来她认识她们，边走过水泥地，边熟识地跟她们打招呼。(P26)&lt;br /&gt;
&lt;br /&gt;
The original is a compound-complex sentence with “for” for causal relation and “as” for coordinate relation. In the translation, the former is represented but the later isn’t, neither by conjunction words nor by clause sequence. It causes that the translation lacks of logic, belonging to an overt error.&lt;br /&gt;
&lt;br /&gt;
Example 6：&lt;br /&gt;
&lt;br /&gt;
It's an opportunity for a teacher to see the fruits of his work, and for the pupils to express their gratitude to him.&lt;br /&gt;
&lt;br /&gt;
这是一个机会让老师看看他的劳动成果，让学生们向他表示感谢。(P30)&lt;br /&gt;
&lt;br /&gt;
The translation adheres to the sequence of the original but ignores the fluency of the sentence. In English, attributives are at both ahead of and behind the objects; while in Chinese, they mostly are preceded. Therefore, the translation violates the grammar of the target language, belonging to an overt error.&lt;br /&gt;
&lt;br /&gt;
Example 7：&lt;br /&gt;
&lt;br /&gt;
There's nothing like a timely reminder of one's personal obligations.&lt;br /&gt;
&lt;br /&gt;
及时地提醒个人的责任之类的东西也没有。(P71)&lt;br /&gt;
&lt;br /&gt;
“There's nothing like” is a common sentence pattern in spoken English, meaning nothing else is able to match. The original would have expressed that “a timely reminder of one’s personal obligations” is the most important. The translator misunderstood the meaning utterly, making an overt error.  &lt;br /&gt;
&lt;br /&gt;
Example 8：&lt;br /&gt;
&lt;br /&gt;
It amazes me, how things have changed so much so quickly.&lt;br /&gt;
&lt;br /&gt;
太让我吃惊了，世道变得如此之大，如此之快。(P195)&lt;br /&gt;
&lt;br /&gt;
The translation, by and large, is in accordance with the original. Yet there is possibility for readers to be confused about the accuracy of words collocation. Although “so much” and “so quickly” modify the verb “change”, we have to respectively choose the proper words to collocate. It is a covert error. &lt;br /&gt;
&lt;br /&gt;
'''3.1.3 Textual Field'''&lt;br /&gt;
&lt;br /&gt;
On textual field, there is only one error---overt error. It is caused by misconstruing what the pronoun refers to. By and large, the translation, through the comprehensive analysis on textual field, is high-quality. (Feng Yufang &amp;amp; Wang Feifei 2015,117)&lt;br /&gt;
&lt;br /&gt;
Example 1：&lt;br /&gt;
&lt;br /&gt;
That's just not how it was though.&lt;br /&gt;
&lt;br /&gt;
但是我和她根本不是这样。(P4)&lt;br /&gt;
&lt;br /&gt;
According to “Sisters are supposed to be people you're close to, aren't they. You may not like them much, but you're still close to them”, it refers to the whole view instead of certain relationship between me and my sister. The referential meaning does not accord with that of the original. It is an overt error.&lt;br /&gt;
&lt;br /&gt;
'''3.2 Comparison on Tenor'''&lt;br /&gt;
&lt;br /&gt;
Tenor refers to the nature of the participants, the addresser and the addressee, and the relationship between them in terms of social power and social distance. After comparing the original and the translation of A Pale View of Hills, there are 8 mismatches on social attitude and social role relationship, one of which is an overt error and the rest are covert. In general, the translation is highly in accordance with the original so the quality is high on tenor. (Feng Yufang &amp;amp; Wang Feifei 2015,118)&lt;br /&gt;
&lt;br /&gt;
'''3.2.1 Social Attitude'''&lt;br /&gt;
&lt;br /&gt;
Social attitude refers to the social distance between communicators and the degree of formality of discourse. The misunderstanding of social attitude in the translation process will affect the readers' understanding of the characters in the novel. Therefore, mistakes in representing social attitude of characters should be minimized and even avoided in the translation process. There are 4 mismatches on social attitude in the translation: one is an overt error and the rest are covert errors. By and large, the translation on displaying the social attitude of the original is great.(House 1997, 108)&lt;br /&gt;
&lt;br /&gt;
Example 1：&lt;br /&gt;
&lt;br /&gt;
The English are fond of their idea that our race has an instinct for suicide.&lt;br /&gt;
&lt;br /&gt;
英国人有个奇特的想法，觉得我们这个民族天生爱自杀。(P4)&lt;br /&gt;
&lt;br /&gt;
In the original text, the attitude of the character is relatively objective. However, in the translation, the attitude is represented overly by using an adjective, which might be translator’s understanding on author’s attitude. It limits different interpretation to the author’s attitude from readers. It is an overt error. &lt;br /&gt;
&lt;br /&gt;
Example 2：&lt;br /&gt;
&lt;br /&gt;
“Which are you hoping for, Etsuko?” he asked, eventually. “A boy or a girl?”&lt;br /&gt;
&lt;br /&gt;
“你想是男孩还是女孩呢，悦子？”过了一会儿他问道。(P35)&lt;br /&gt;
&lt;br /&gt;
Ogata-San would like to know Etsuko’s mind about the upcoming baby, but he is not sure if it is proper. At last, curiosity overpowers his hesitation. In the original text “eventually” signifies both time and emotion span. But the translation only manifests the time span. It is a covert error.&lt;br /&gt;
&lt;br /&gt;
Example 3：&lt;br /&gt;
&lt;br /&gt;
“Tell me, Etsuko,” he said, not looking up from his laces. “Have you met this Shigeo Matsuda?”&lt;br /&gt;
&lt;br /&gt;
“告诉我，悦子，”他头也不抬地说。“你见过这个松田重夫吗？”(P36-P37)&lt;br /&gt;
&lt;br /&gt;
Ogata-San, as Etsuko’s father-in-law and adopter after the war, gets along well with her. In the original text, Ogata-San is “not looking up” when speaking to Etsuko since he is lying his laces. The translation ignores the reason, which renders Ogata-San a cold man. It is a covert error.&lt;br /&gt;
&lt;br /&gt;
Example 4:&lt;br /&gt;
&lt;br /&gt;
I'm sure she'd be the first to agree with me about Kazuo mourning her like this.&lt;br /&gt;
&lt;br /&gt;
我肯定她会第一个同意我的观点，和夫不应该再这样想着他了。(P94)&lt;br /&gt;
&lt;br /&gt;
From the original, we can feel the love of Mrs. Fujiwara to her son. However, after reading its translation, we can feel nothing but her dominance. It signifies that the translation deviates from the original context. It is a covert error.&lt;br /&gt;
&lt;br /&gt;
'''3.2.2 Social Role Relationship'''&lt;br /&gt;
&lt;br /&gt;
Social role relationship refers to the social relation between the speaker and the receiver, that is, symmetry and asymmetry. The analysis on the social roles relationship in novels is generally from two aspects: relationship between the author and readers, and relationship between the various characters in the work. The former is remained utterly, while the latter is slightly different from that in the original. A total of 4 mismatches are found in the comparison, all of which are covert errors. In the full-text translation, the overall relationship between the characters is the same as that of the original text, and only a few mismatches are found. Therefore, on social role relationship, translation is of high quality.(Feng Yufang &amp;amp; Wang Feifei 2015,117)&lt;br /&gt;
&lt;br /&gt;
Example 1：&lt;br /&gt;
&lt;br /&gt;
She said it would be perfectly all right if you came and waited for her at my house.&lt;br /&gt;
&lt;br /&gt;
她说你可以到我家来等她。(P13)&lt;br /&gt;
&lt;br /&gt;
The translation omits “be perfectly all right if”, which takes the edge off the amiability from Etsuko to Mariko. Given the whole plot of the novel, Mariko is a phantom of Etsuko’s old daughter Keiko. The obscure feelings between Mariko and Etsuko are very important to implicate their special emotion. Therefore, the translation ignores to take a consideration of the context. It is a covert error.&lt;br /&gt;
&lt;br /&gt;
Example 2：&lt;br /&gt;
&lt;br /&gt;
As I say, this order came into the office the day you arrived. A real nuisance.&lt;br /&gt;
&lt;br /&gt;
我说过了，订单刚好在您来的那天来了。真是讨厌。(P29)&lt;br /&gt;
&lt;br /&gt;
On the basis of the context, Jiro (Etsuko’s husband) is explaining to his father Ogata-San that he is so busy that he could not accompany him. He feels apologetic about that. However, the tone of speaking in translation is impatient and a bit furious, which runs against that of the original. So, it is a covert error. &lt;br /&gt;
&lt;br /&gt;
Example 3：&lt;br /&gt;
&lt;br /&gt;
I should warn you, perhaps. My daughter has been in a somewhat difficult mood these past few days.&lt;br /&gt;
&lt;br /&gt;
也许我应该警告你。我女儿这几天情绪很不好。(P90)&lt;br /&gt;
&lt;br /&gt;
Warn enjoys two major meanings: to tell somebody about something, especially something dangerous or unpleasant that is likely to happen, so that they can avoid it; to strongly advise somebody to do or not to do something in order to avoid danger or punishment. In the original, Sachiko entrusts Etsuko to look after her daughter so the former one is appropriate. However, in the translation the later one is adopted, which is absolutely improper. It is a covert error. &lt;br /&gt;
&lt;br /&gt;
Example 4：&lt;br /&gt;
&lt;br /&gt;
Now listen carefully, or else you'll never find the noodle shop.&lt;br /&gt;
&lt;br /&gt;
现在您听好了，不然您永远也别想找到面馆。(P183)&lt;br /&gt;
&lt;br /&gt;
The sentence is said when Etsuko intends to tell Ogata-San the route to the restaurant of Mrs Fujiwara. On the basis of the context, Etsuko is very reverent to Ogata-San. However, the manner of translation is tough, which is not of a piece with the original. It doesn’t take account of the context, so it is a covert error.&lt;br /&gt;
&lt;br /&gt;
'''3.3 Comparison on Mode'''&lt;br /&gt;
&lt;br /&gt;
Mode can be divided into medium and participation. In the course of analyzing both the original and the translation, a total of 6 mismatches are found on the two dimensions and all of them are covert errors, which manifests the translation are generally of a piece with the original. The translation on mode is of high quality.&lt;br /&gt;
&lt;br /&gt;
'''3.3.1 Language Medium'''&lt;br /&gt;
&lt;br /&gt;
Language medium mainly refers to whether the form of language is spoken or written, simple or complex. The contrast between the model of the source text and the target text is mainly reflected in the linguistic features and diction features of text rather than language types used. The language of A Pale View of Hills is simple, delicate and easy to understand, with short sentence, plenty of dialogues between characters and a high degree of colloquialism. The overall style of the translation is similar with that of the original, with only 4 stylistic covert mismatches. Therefore, on language medium, the translation quality is great.&lt;br /&gt;
&lt;br /&gt;
Example 1：&lt;br /&gt;
&lt;br /&gt;
…on one side of the tracks at the foot of the hill could be seen a cluster of roofs.&lt;br /&gt;
&lt;br /&gt;
山脚下铁路的一侧是鳞次栉比的屋顶。(P8)&lt;br /&gt;
&lt;br /&gt;
Cluster means a group of things of the same type that grow or appear close together, whose translation accords with it in the ideational meaning. Nonetheless, “鳞次栉比” in Chinese is a four-character phrase that usually appears in formal written text. It is more complex than the style of the text. It is a covert error.&lt;br /&gt;
&lt;br /&gt;
Example 2：&lt;br /&gt;
&lt;br /&gt;
We're just rabble, like your husband says.Please don’t make a fuss, please sit down.&lt;br /&gt;
&lt;br /&gt;
正如您丈夫说的，我们只是两个混蛋。不用麻烦了，请坐下。(P74)&lt;br /&gt;
&lt;br /&gt;
The situation happens when Jiro’s colleagues come round. From the conversation between Jiro and his colleagues, it is found that they are very familiar and intimate. So, words such as “rabble” and “like” are of high colloquialism. Nevertheless, in the translation “正如” is a formal expression, which is not in line with the original. Thus, it is a covert error.&lt;br /&gt;
&lt;br /&gt;
Example 3：&lt;br /&gt;
&lt;br /&gt;
Blankets and laundry hung from many of the balconies.&lt;br /&gt;
&lt;br /&gt;
很多阳台上挂着毯子啦、洗的衣服啦。(P181)&lt;br /&gt;
&lt;br /&gt;
Example 4：&lt;br /&gt;
&lt;br /&gt;
Young women these days are all so headstrong. And forever talking about washing-machines and American dresses.&lt;br /&gt;
&lt;br /&gt;
现在女孩子任性得很。而且整天在讲什么洗衣机啦、洋裙啦。(P195)&lt;br /&gt;
&lt;br /&gt;
The two sentences are the description of the street which Etsuko and Ogata-San pass by when they intend to visit Shigeo. Etsuko is a calm and composed Japanese woman, whose language style is the same. Modal particles used in translation render the language abrupt and frisky. So, it is a covert error.&lt;br /&gt;
&lt;br /&gt;
'''3.3.2 Participation'''&lt;br /&gt;
&lt;br /&gt;
Participation refers to whether the speech is a simple monologue or a complex form that prompts the listeners or readers to participate indirectly, for example, by the transition between statements and questions and the special use of pronouns. The whole plot of ''A Pale View of Hills'' is a soliloquy narrated in the first person, interleaved with dialogues between different characters. Readers hardly could participate indirectly in it. The translation is basically in the same style as the original, except for the two following examples. The two declarative sentences are translated into a rhetorical question, which does not require readers to answer as well. Therefore, the translation is of high quality in terms of participation.(House 1997, 108)&lt;br /&gt;
&lt;br /&gt;
Example 1：&lt;br /&gt;
&lt;br /&gt;
That’s no way to bring a child into the world, visiting the cemetery every week.&lt;br /&gt;
&lt;br /&gt;
这样怎么能把孩子带到这个世上呢？(P24)&lt;br /&gt;
&lt;br /&gt;
Example 2：&lt;br /&gt;
&lt;br /&gt;
It seems very disloyal.&lt;br /&gt;
&lt;br /&gt;
这不是忘恩负义吗？(P32)&lt;br /&gt;
&lt;br /&gt;
In conclusion, the quality statement of the Chinese Translation of A Pale View of Hills focuses on whether it is an overt transaltion or a covert translation and its matching degree. &lt;br /&gt;
&lt;br /&gt;
On the one hand, it is an overt translation. Accoring to above analysis, the translation is closely related to the culture of the sourse language text. From the translation, expressions with Japanese culture can be found clearly. On the other hand, it is of high quality. There are 32 mismatches in total, 18 mismatches on field, 8 on tenor and 6 on mode. Among them, there are 13 overt errors and 19 covert errors. Covert errors caused by ignoring the context and overt errors caused by violating the rules of target language inflict only a little ambiguity on ideational function, interpersonal function and the quality of the text.&lt;br /&gt;
&lt;br /&gt;
===IV Quality Statement of Chinese Translation of ''A Pale View of Hills''===&lt;br /&gt;
The quality statement of the Chinese Translation of A Pale View of Hills focuses on its cultural participation degree and its matching degree. Based on the two aspects, this chapter will make a quality statement of the Chinese Translation of A Pale View of Hills.&lt;br /&gt;
&lt;br /&gt;
'''4.1 Overt Translation'''&lt;br /&gt;
&lt;br /&gt;
Overt translation refers to the obvious translation rather than the second original. The translation is obviously not aimed at the readers with target language, because the original text, literary works, political speeches and religious sermons, is closely related to the culture it is rooted in. But covert translation can be used as the second text, that is, independent writing. &lt;br /&gt;
&lt;br /&gt;
House deems that texts requiring overt translation have no special connection with their culture, and they are not unique to their culture, such as academic papers and travel brochures. She also believes that in overt translation, equivalence can only be established at the level of language/text, register and genre, but it is difficult to achieve equivalence in function. In contrast, the purpose of covert translation is to achieve functional equivalence, and there will be some deficiencies in language, register.(House 1997,108)&lt;br /&gt;
&lt;br /&gt;
In the contrast reading between the original and the translation, the obvious traces of the original can be found, for example, “你想她们还在打吗？” and “呃，我想小孩子是会打架的。但是我想我应该告诉你一声。还有你看，我想你女儿不是要去上学。”. In English, words representing speculation, such as “suppose” and “think”, are used frequently, while in Chinese they are not. Thus, the target text which remains these words possesses obvious sighs of translation. Furthermore, other signs in the translation, such as “欠了欠身”，show the culture of Japan when greeting. In conclusion, the target text of A Pale View of Hills is overt translation.&lt;br /&gt;
&lt;br /&gt;
'''4.2 High-quality Translation'''&lt;br /&gt;
&lt;br /&gt;
This study applies House’s TQA model to assess the Chinese translation of A Pale View of Hills on lexical, syntactic and textual aspects. On basis of analysis between the original and the translation, there are 18 mismatches on field, 8 on tenor and 6 on mode. Among them, there are 13 overt errors and 19 covert errors. Covert errors caused by ignoring the context and overt errors caused by violating the rules of target language inflict only a little ambiguity on ideational function, interpersonal function and the quality of the text. &lt;br /&gt;
&lt;br /&gt;
Chinese translation of A Pale View of Hills, by and large, consisting with the original, is of high quality. On the field, the translation, which transmits the subject matter and social action which covers the specificity of linguistic items, is in accordance with the original on lexical, syntactic and textual dimension in general; on the tenor, the representation of social attitude and social role relationship of the Chinese text is consistent with the English text; on the mode, the language of the translation is as simple and delicate as that of the original and the participation is of low level as well. Therefore, Zhang Xiaoyi’s Chinese translation of A Pale View of Hills is of high quality.&lt;br /&gt;
&lt;br /&gt;
===Conclusion===&lt;br /&gt;
&lt;br /&gt;
''A Pale View of Hills'', as the debut of Kazuo Ishiguro, involves many in-depth subjects, which initiates the development of author's peculiar writing style. House’s model is the first scientific and objective translation quality assessment mode with the integration of both theory and practice. This study applies House’s TQA model to assess the Chinese translation of ''A Pale View of Hills'' on lexical, syntactic and textual aspects. &lt;br /&gt;
&lt;br /&gt;
On basis of analysis between the original and the translation, there are 18 mismatches on field, 8 on tenor and 6 on mode. By and large, the Chinese translation of A Pale View of Hills is overt translation. Although a few mismatches can be found in the translation, they cause a little affect to the functions of the text and the presentation of the plot, role characters and role relationship of the whole novel. In conclusion, the translation is in line with the original on register and is of high quality.&lt;br /&gt;
&lt;br /&gt;
Different from the traditional evaluation methods, House's model, based on micro and macro criteria, both quantitative analysis and qualitative analysis, is the first scientific and objective translation quality assessment model with a complete theory and empirical evidence. It can be used as an auxiliary tool to find problems in translation so as to make modifications, which to some extent promotes the development of translation activities.&lt;br /&gt;
&lt;br /&gt;
However, in the actual operation process, although the translation quality assessment can be carried out according to parameters, the comparison results still rely on subjective judgment, which cannot utterly guarantee the scientificity of the final evaluation results. In addition, due to the large number of parameters, it takes a lot of time to compare the differences in vocabulary, sentence structure and discourse between the original text and the translation in the evaluation of full-length novel, so the evaluation is not very efficient. Although there are still some shortcomings in the House's model, it is still worth applying in the practice of translation criticism as a relatively complete and objective theoretical model.&lt;br /&gt;
&lt;br /&gt;
===References===&lt;br /&gt;
&lt;br /&gt;
Awla, Y. N. (2019). The The Impact of Place on Personality in Kazuo Ishiguro's ''A Pale View of Hills'': An Eco-critical Study. ''Journal of University of Raparin''. 1-18.&lt;br /&gt;
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&lt;br /&gt;
House, J. (1997) ''Translation Quality Assessment: A Model Revised''. German: Gunter Narr Verlag Tubingen. &lt;br /&gt;
&lt;br /&gt;
Newmark, P. (2001) ''A Textbook of Translation''. Shanghai: Shanghai Foreign Language Education Press.&lt;br /&gt;
&lt;br /&gt;
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Forsythe, R. (2005)  Cultural Displacement and the Mother-Daughter Relationship in Kazuo Ishiguro's ''A Pale View of Hills''. ''West Virginia University Philological Papers''.&lt;br /&gt;
&lt;br /&gt;
Jeremy M. (2001) ''Introduction Translation Studies: Theory and Applications''. London and New York: Routledge.&lt;br /&gt;
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Feng Yufang &amp;amp; Wang Feifei丰玉芳, 王菲菲. (2015) 从豪斯的翻译质量评估模式看宋词翻译——以宋词《声声慢》和许渊冲英译本为例[Translation of Ci-poetry Based on J.House's TQA Model——A case study of ''Sheng Sheng Man'' and its English translation by Xu Yuanchong]. 扬州大学学报(人文社会科学版)[Journal of Yangzhou University(Humanities and Social Sciences Edition)]. 114-121.&lt;br /&gt;
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Li Xiaolin &amp;amp; He Shaobin 李晓林, 何绍斌. (2010) 朱莉安·豪斯的“翻译质量评估模式”运作过程可行性浅评[The Feasibility of House's Model of Translation Quality Assessment]. 哈尔滨学院学报[Journal of Harbin University]. 127-1.&lt;br /&gt;
&lt;br /&gt;
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Tang Jun &amp;amp; Wang Yan 唐军, 王燕. (2011) 豪斯翻译质量评估模式在汉译英翻译中的应用——以朱自清《背影》的英译为例[Application of House＇s Translation Quality Assessment Model in C-E Translation—A Case Study of ''The Sight of Father's Back'' by Zhu Ziqing]. 合肥工业大学学报(社会科学版)[Journal of Hefei University of Technology(Social Sciences)]. 129-135.&lt;br /&gt;
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Wang Lichuan 王丽川. (2019) 《远山淡影》中的反讽解读[A Study of the Irony in ''A Pale View of Hills'']. 河南: 郑州大学[Henan: Journal of Zhengzhou University].&lt;br /&gt;
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Wang Fei 王飞. (2017) 石黑一雄中的身份焦虑[Identity Anxiety in Kazuo Ishiguro's ''A Pale View of Hills'']. 中南大学学报(社会科学版)[Journal of Central South University(Social Science)]. 152-157.&lt;br /&gt;
&lt;br /&gt;
Zhou Fenfen 周芬芬. (2013) 豪斯翻译质量评估模式的实践应用——以《荷塘月色》英译本为例[The Application of Translation Quality Assessment Model by Julian House——A Case Study on Chinese-English Translation of ''Moonlight over the Lotus Pond'']. 山西农业大学学报(社会科学版)[Journal of Shanxi Agricultural University:Social Science Edition]. 782-786.&lt;br /&gt;
&lt;br /&gt;
==On the Relationship among Literal Translation, Free Translation, Domestication and Foreignization--韦洪朗 Wei Honglang,202020080647==&lt;br /&gt;
&lt;br /&gt;
===Abstract===&lt;br /&gt;
Abstract&lt;br /&gt;
This paper makes a systematic discussion on the relationship among literal translation, free translation, domestication and foreignization,which have been always controversial in translation history. Based on the theories and contents of free translation, literal translation, domestication and foreignization, this paper analyzes the similarities and differences between literal translation and free translation, foreignization and foreignization respectively. After cross-contrast analysis between them, it comprehensively sorts out the relationship between translation methods of literal translation and free translation and translation strategies of domestication and foreignization, and discusses their comprehensive application on the basis that domestication and foreignization are the extension of literal translation and free translation to cultural level, which has certain reference significance for further enriching translation practice.&lt;br /&gt;
&lt;br /&gt;
===Key words===&lt;br /&gt;
Key Words: Literal Translation; Free Translation; Domestication; Foreignization&lt;br /&gt;
&lt;br /&gt;
===摘要===&lt;br /&gt;
摘 要&lt;br /&gt;
本文就翻译史上备受争论的归化、异化和意译、直译的关系问题进行了系统的讨论。基于意译、直译和归化、异化的理论及其内容，分别分析直译和意译、异化和归化两对概念之间的异同，在他们之间进行交叉对比分析后，综合整理直译、意译的翻译方法和归化、异化翻译策略的关系，在继承归化和异化是直译和意译向文化层面的延伸的基础关系上，具体讨论他们之间的综合运用，为进一步丰富翻译实践具有一定的借鉴意义。&lt;br /&gt;
&lt;br /&gt;
===关键字===&lt;br /&gt;
关键词：意译；直译；归化；异化&lt;br /&gt;
&lt;br /&gt;
===Introduction===&lt;br /&gt;
  In the history, argues between literal translation and free translation have been lasting for so long. Since there existed so many countries and nations on the continent of Europe, communicating frequently with different languages, the skill and cognition of language translation naturally developed and achieved a lot. During those time, two main methods of translation called literal translation and free translation came into being and accompanied by the problem on choosing which of them. The earliest opinion of translating methods can go back to the period of Roman Empire, when Cicero put forward that free translation should be used in translating Greek texts into Latin, on account of that literal translation , “word for word translation”, couldn’t reflect Roman way of expression and couldn’t be easy-understanding and fluent as free translation, “sense for sense translation”. This view of point had a great and dominate influence at that time, which did not change until late Roman period, when Christianity were gradually in power and the necessity of spreading and translating Bible by the way “exactly what it is ” made literal translation become more popular. Then comes the renaissance, in which many linguisticians realized the importance of keeping the style and features of their own nations. Since then, the two translation methods have taken the lead and been debated endlessly in the translation field. By the 1960s and 1970s, when domesticating translation and foreignizing translation accordingly emerged with free translation and literal translation, reception theory, which upgraded the dominance of readers or we called receivers of translation, again made the domestic translating one-up. This kind of method was criticized by Venuti on its aggressivity of different cultures, based on which he officially put forward the two concepts of domestication and foreignization, which have been two central strategies in translation. So it’s vital to get a better understanding of those four concepts and make their relationships clear, which is of guiding significance to promote translation in practice.(Lu Shu, Wang Jintang 2005,115-116)&lt;br /&gt;
&lt;br /&gt;
===Table of Contents===&lt;br /&gt;
&lt;br /&gt;
Table of Contents&lt;br /&gt;
&lt;br /&gt;
Outline&lt;br /&gt;
I.Introduction&lt;br /&gt;
II.Literal Translation and Free Translation&lt;br /&gt;
2.1 Literal translation &lt;br /&gt;
2.2 Free translation  &lt;br /&gt;
2.3 Analysis with Examples of Literal translation and Free translation&lt;br /&gt;
2.3.1 On words&lt;br /&gt;
2.3.2 On sentence structures&lt;br /&gt;
2.3.3 On rhetorical means&lt;br /&gt;
2.4 The Relationships between Literal translation and Free translation&lt;br /&gt;
III.Domestication and Foreignization&lt;br /&gt;
3.1 Domestication&lt;br /&gt;
3.2 Foreignization&lt;br /&gt;
3.3 Analysis with Examples of Domestication and Foreignization&lt;br /&gt;
3.3.1 On politics&lt;br /&gt;
3.3.2 On culture&lt;br /&gt;
3.4 The Relationships between Domestication and Foreignization &lt;br /&gt;
IV.The Relationship among Literal Translation, Free Translation, Domestication and Foreignization&lt;br /&gt;
4.1 The Comparison among Literal Translation and Free Translation, Domestication and Foreignization&lt;br /&gt;
4.2 The Connection among Literal Translation and Free Translation, Domestication and Foreignization&lt;br /&gt;
4.2.1 Foreignization and Literal translation&lt;br /&gt;
4.2.2 domestication and free translation&lt;br /&gt;
4.2.3 Domestication and Literal translation&lt;br /&gt;
V.Conclusion&lt;br /&gt;
References&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
===I.Introduction ===&lt;br /&gt;
I.Introduction &lt;br /&gt;
In the history, argues between literal translation and free translation have been lasting for so long. Since there existed so many countries and nations on the continent of Europe, communicating frequently with different languages, the skill and cognition of language translation naturally developed and achieved a lot. During those time, two main methods of translation called literal translation and free translation came into being and accompanied by the problem on choosing which of them. The earliest opinion of translating methods can go back to the period of Roman Empire, when Cicero put forward that free translation should be used in translating Greek texts into Latin, on account of that literal translation , “word for word translation”, couldn’t reflect Roman way of expression and couldn’t be easy-understanding and fluent as free translation, “sense for sense translation”. This view of point had a great and dominate influence at that time, which did not change until late Roman period, when Christianity were gradually in power and the necessity of spreading and translating Bible by the way “exactly what it is ” made literal translation become more popular. Then comes the renaissance, in which many linguisticians realized the importance of keeping the style and features of their own nations. Since then, the two translation methods have taken the lead and been debated endlessly in the translation field. By the 1960s and 1970s, when domesticating translation and foreignizing translation accordingly emerged with free translation and literal translation, reception theory, which upgraded the dominance of readers or we called receivers of translation, again made the domestic translating one-up. This kind of method was criticized by Venuti on its aggressivity of different cultures, based on which he officially put forward the two concepts of domestication and foreignization, which have been two central strategies in translation. So it’s vital to get a better understanding of those four concepts and make their relationships clear, which is of guiding significance to promote translation in practice.(Lu Shu, Wang Jintang 2005,115-116)  &lt;br /&gt;
&lt;br /&gt;
===II.Literal Translation and Free Translation===&lt;br /&gt;
II.Literal Translation and Free Translation&lt;br /&gt;
When seeing translation as shift of linguistic sign, the method of translating could be regarded as the specific approach used by the translator shifting the ST into TT, especially the two methods we mentioned before--literal translation and free translation.Peter Newmark, in his A Textbook of Translation, proposed that the common and only goal of translating should be repeating the meaning of ST, which means those translating methods exist for dealing with some problems happened during the process when translating.( Ma Shikui 2012,20)The meaning and structure of the ST might not be taken into account every time, so it’s important to search for a appropriate solution to deal with this kind of problem, that’s what literal translation and free translation do.&lt;br /&gt;
&lt;br /&gt;
===2.1 Literal translation ===&lt;br /&gt;
2.1 Literal translation &lt;br /&gt;
Literal translation is the one chosen when the original structure and the meaning of ST could both be perfectly taken into account, by adhering to strict original meaning and style of the TT, including the structures of sentences and rhetorical devices. “Word for word translation” could be counted as the original way of literal translation, like the translation of The Bible in the middle Age I showed before. But as the argue and relevant theories developing  till modern age, more and more experts realize and have a common sense that “word for word translation” can’t be equal to literal translation, since there always exist more or less differences among different languages. Personally speaking, the way Professor Fan Zhongying explains that literal translation means keeping the linguistic form of the SL, such as the words, the sentence structures and the rhetorical means, fluently and easily understood at the same time comprehensively interprets literal translation.(Joe Zeng Rui 2000,249)&lt;br /&gt;
&lt;br /&gt;
===2.2 Free translation===&lt;br /&gt;
2.2 Free translation&lt;br /&gt;
 It’s better if we can have it both ways, which cannot happened all the time. Thus, free translation might be better when translator can’t follow with the exact structure of SL. Free translation, “sense for sense translation”, refers to a kind of method used to translate the exact sense of the SL into the TL without retaining the sentence structures or the expression way of the SL. The supporters of free translation believe that the purpose of translation is to transform and convey the sense of the SL to the recipient of the TL, so it’s worthy to adopt an expression way closer to the TL, which is easier for the recipient to understand. Free translation has certain flexibility, which means the position of words and sentences can be adjusted. In order to facilitate readers' understanding, even some necessary supplements can be added.(Joe Zeng Rui 2000,249)&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
===2.3 Analysis with Examples of Literal translation and Free translation===&lt;br /&gt;
2.3 Analysis with Examples of Literal translation and Free translation&lt;br /&gt;
Here are some specific examples of contrast between literal translation and free translation：&lt;br /&gt;
&lt;br /&gt;
===2.3.1 On words===&lt;br /&gt;
2.3.1 On words:&lt;br /&gt;
&amp;quot;Why do men have an Adam's Apple but women don't? &amp;quot;&lt;br /&gt;
&lt;br /&gt;
Literal translating: 为什么男人有喉结而女人没有呢？&lt;br /&gt;
Free translating: 为什么男人有亚当的苹果而女人没有呢？&lt;br /&gt;
&lt;br /&gt;
From above, the “Adam's apple” can be translated literally into &amp;quot;亚当的苹果&amp;quot;, but it can't reflect the original sense of the ST, because in the western world, &amp;quot;Adam's apple&amp;quot; refers to &amp;quot;喉结&amp;quot; in Chinese instead of literally meaning &amp;quot;亚当的苹果&amp;quot;, so free translation is more accurate here. In addition, it is worth mentioning that this example perfectly reflects the fit of sentence structure between Chinese and English. It also shows that translators should also be sure of the culture behind the SL.&lt;br /&gt;
&lt;br /&gt;
===2.3.2 On sentence structures===&lt;br /&gt;
2.3.2 On sentence structures:&lt;br /&gt;
&amp;quot;Here comes the bus!&amp;quot;&lt;br /&gt;
&lt;br /&gt;
Literal translating: 这来了巴士!&lt;br /&gt;
Free translating: 巴士来了!&lt;br /&gt;
&lt;br /&gt;
According to literal translating way, if following with the source structure of the English sentence, which is a inverted sentence in English by the way, the translation result is “这来了巴士”, which is obviously both incoherent and hard to understand in Chinese and even twist the sense of the ST. According to the sentence meaning, it should be translated into “巴士来了 ”, which is totally different from the ST in grammar though.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
===2.3.3 On rhetorical means===&lt;br /&gt;
2.3.3 On rhetorical means&lt;br /&gt;
&amp;quot;If Main Street didn' t understand this , Wall Street did.&amp;quot;(The Glory and the Dream, p .85)&lt;br /&gt;
&lt;br /&gt;
Literal translating: 如果主街不能理解这一点，华尔街可以。&lt;br /&gt;
Free translating: 这一点, 一般人不理解, 华尔街那些大老板们却是明白的。(Professor Wang Zongyan, 1983 :10)&lt;br /&gt;
&lt;br /&gt;
From this example, the key information is that Professor Wang Zongyan translates “Wall Street” into “华尔街的那些大老板们”. In Literature Translation, free translation is evidently more popular, because some literary images are difficult to express accurately through literal translation. In fact, the “Wall Street” here does not mean “Wall Street” itself, but people in power in Wall Street, so it is more appropriate for Professor Wang to translate it into “华尔街的那些老板们” by free translation. The reason of “Main Street”translating into “一般人”is the same.&lt;br /&gt;
&lt;br /&gt;
===2.4 The Relationships between literal translation and free translation===&lt;br /&gt;
2.4 The Relationships between literal translation and free translation&lt;br /&gt;
According to those demonstrations above, we can see that literal translation is more partial to SL and free translation considers more about TL users. The advantage of literal translation is to keep the style of the source language(show how other people talk), which plays a certain role in spreading the source language culture; the disadvantage is that sometimes it might be too long and difficult to understand, which hinders the communication and understanding between the two sides. Because free translation is biased towards the expression of the nation of the TL, its advantage is that it is more fluent and easy to understand, but its disadvantage is that it conceals the style of the source language and loses the role of translation as a cultural bridge, in which the translator's position seem not that important. All in all, I think it is best to combine the two translation methods organically in the process of translation. Just as professor Lu Dianyang proposed: “ Translate literally, if possible, or appeal to free translation.”(Zhao Jing 2011,61)&lt;br /&gt;
&lt;br /&gt;
===III.Domestication and Foreignization===&lt;br /&gt;
III.Domestication and Foreignization&lt;br /&gt;
Through the above introduction, we can know that with the change of historical environment, a period of political opposition and cultural exchange encountering a new period after World War II, the dispute between literal translation and free translation has reached a deeper level of development, which is the arrival of Foreignization and Domestication. Although Foreignization and Domestication were first formally proposed by Lawrence Venuti in The Translator's Invisibility in 1995, the translation strategy later called Domestication actually can be seen from Nida's translation theory of &amp;quot;dynamic equivalence&amp;quot;in 1964, which seeks for an expression whose meaning is closest to the SL and conforms to the habit of the TL expression way. Nida's theory has been strongly criticized by Venuti, who supports Deconstructivism, and holds that domesticating translation is an obliteration of the SL culture and a manifestation of cultural colonialism, which is manifested by its failure to comply with the expression of the source language culture. Based on this, on the contrary, Venuti shows strong support for foreignizating translation, and he thinks that this translation strategy of preserving the linguistic and cultural differences of the SL shows respect for the SL culture. The following part mainly clarifies the concepts and contents of these two translation strategies, which will helps to compare with literal translation and free translation mentioned above.（Chen Ying 2009,42）&lt;br /&gt;
&lt;br /&gt;
===3.1 Domestication ===&lt;br /&gt;
3.1 Domestication&lt;br /&gt;
Domestication refers to a translation strategy of dealing with the language forms, customs and cultural traditions, such as proverbs, idioms and allusions when translating, which tends to serve the readers of the target language. According to Eugene A.Nida's concept of natural equivalence, the translation version should be close to the original sense and intention in a most natural expression, therefore, the behavior pattern of the source language should be brought into the cultural understanding category of the target language as much as possible, which means that the recipients of the target language can avoid accepting the cultural expression of the source language in order to better understand the original intention.(Zhu Yuanzhong 2013,54)&lt;br /&gt;
&lt;br /&gt;
===3.2 Foreignization===&lt;br /&gt;
3.2 Foreignization&lt;br /&gt;
Venuti puts translation under the background of culture, society, politics and cultural consciousness, and reflects the different positions of different cultures in today's world through the choice of translation strategies, and regards translation as a tool to fight against inequality. From this, we can see the reason why he criticized domestication and vigorously advocated foreignization translation, which is to advocate that the translation should adapt and consider more the culture of the source language and the original author's habit of choosing words as much as possible. Thus, foreignizing translation tends to serve the SL culture, because he thinks that the translation version should take the source language culture as its destination and guide the reader to approach the original author.(Jiang Cui 2015,71-71)&lt;br /&gt;
&lt;br /&gt;
===3.3 Analysis with Examples of Domestication and Foreignization===&lt;br /&gt;
3.3 Analysis with Examples of Domestication and Foreignization&lt;br /&gt;
Examples for domesticating method and foreignizing method:&lt;br /&gt;
&lt;br /&gt;
===3.3.1 On Politics===&lt;br /&gt;
3.3.1 On Politics：동해 &amp;amp; にほんかい&lt;br /&gt;
Since the 19th century, the world has experienced two world wars and the Cold War period. During this long period, independent nation-states gradually chose their own country's &amp;quot;roads&amp;quot; and directions, which made different ideologies and political positions have a strong sense of existence in international relations, among which there were many translation contradictions caused by geopolitics. For example, the title of the sea area between South Korea and Japan has caused controversy between those two countries. South Korea has always called the sea area &amp;quot;동해&amp;quot;(East Sea) in history, but Japan continues to use the European navigator's giving name &amp;quot;Japan Sea&amp;quot;(にほんかい) and gradually gained international recognition from the 19th century. However, South Korean believes that the title change was imposed on South Korea by Japan colonizing Korea, which is a title that violates South Korea's territorial waters and disrespects South Korea. Something similar has happened many times in the world, which is the political difference on domestication and foreignization.(Pan Wenxiao 2020，https://weibo.com/ttarticle/p/show?id=2309404578145859666401)&lt;br /&gt;
&lt;br /&gt;
===3.3.2 On Culture===&lt;br /&gt;
3.3.2 On Culture：“情人眼里出西施。”&lt;br /&gt;
&lt;br /&gt;
Domesticating translation: Love is blind.&lt;br /&gt;
Foreignizing translation: The beauty Xi Shi is in the eye of lovers.&lt;br /&gt;
&lt;br /&gt;
This example shows well how different it could be between two cultures: the ST and the domesticating one of  TT express almost the same meaning in completely different ways, that is, lovers can only see each other's good thing. That is to say, if you want to convey the exact meaning of the original Chinese sentence to English speakers, then domesticating method is the best choice, although it will make the &amp;quot;translation results&amp;quot; look beyond recognition. However, if we choose foreignizing translation, especially retaining the word &amp;quot;Xi Shi&amp;quot;, it will give English speakers a chance to understand Chinese traditional culture (Xi Shi is a beautiful woman in the Spring and Autumn Period of China, and &amp;quot;西施&amp;quot; in &amp;quot;情人眼里出西施&amp;quot; means &amp;quot;beauty&amp;quot;), although such translating way may be difficult to understand at first.&lt;br /&gt;
&lt;br /&gt;
===3.4 The relationships between Domestication and Foreignization ===&lt;br /&gt;
3.4 The relationships between Domestication and Foreignization &lt;br /&gt;
Through the above analysis, it can be seen that domestication and foreignization also have their own merits and necessity. Although these two translation strategies were born in different historical backgrounds, their struggles to a certain extent reflect the struggle between the dominant position of stronger culture and weaker culture with different identities, which, of course is just one of those aspects, also reflect the problems of cultural communication: domesticating translation is conducive to conveying the meaning of the source language to the target language recipients without obstacles, especially in the case of great cultural differences existing, but this localization behavior will make it difficult for readers to learn what differences the two sides culture have, and in fact cultural diffusion will not be achieved. On the contrary, foreignization translation conveys the target text to readers according to the discourse mode of the source language culture, which can not only make readers realize the charm of different cultures, but also increase the expression ways of their own nation, but it is very likely that the meaning of the target text is difficult to understand. This contradiction is particularly prominent in the political level. Therefore, in translation practice, we should decide which way to choose in different contexts and in the face of different groups of people, so that the two can complement each other and have unity of opposites under proper application.(Zhu Yuanzhong 2013,54)&lt;br /&gt;
&lt;br /&gt;
===IV.The relationship among Literal Translation, Free Translation, Domestication and Foreignization===&lt;br /&gt;
IV.The relationship among Literal Translation, Free Translation, Domestication and Foreignization&lt;br /&gt;
Sun Zhili, a contemporary Chinese translator, said: &amp;quot;Historically, domestication and foreignization can be regarded as extensions of literal translation and free translation, but they are not completely equivalent to each other. The core issue of literal translation and free translation is how to deal with form and sense at the linguistic level, while domestication and foreignization break through the limitations of language factors and expand their horizons to language, culture and aesthetics. &amp;quot; (Sun Zhili 2011,27) Even after the above introduction, the boundary between literal translation, free translation, foreignization and domestication seems to be very vague. In order to better clarify the relationship between the two pairs of concepts, the following will distinguish and compare them. &lt;br /&gt;
&lt;br /&gt;
===4.1 The comparison among Literal Translation and Free Translation, Domestication and Foreignization===&lt;br /&gt;
4.1 The comparison among Literal Translation and Free Translation, Domestication and Foreignization&lt;br /&gt;
The same point: First of all, foreignization and domestication are extensions of literal translation and free translation, so the two pairs of relations are all methods put forward to guide translation practice; Secondly, relatively speaking, the roles of the two pairs of relations are very similar, especially in linguistic form: literal translation and foreignization both emphasize following the expression of the source text; Both free translation and domestication believe that in order to convey the sense of the source text accurately, the expression of the original text can be sacrificed.&lt;br /&gt;
The different points: The first point is that the scope is different, which leads to different objects: literal translation and free translation are proposed according to the different structures and characteristics of the source language and the target language, and their discussion focuses on the relationship between form and content, which belongs to the level of language conversion. Foreignization and domestication, as a product of cultural turn, is not only manifested in linguistic form, but also in cultural content. In other words, the emergence and development of foreignization and domestication raise the discussion of language level to the level of culture, poetics and politics. Obviously, the former is a micro translation method, while the latter is a macro translation strategy. Choosing specific translation methods under the guidance of the general direction of translation strategies can make good use of these two pairs of concepts when doing translation.&lt;br /&gt;
Second, the condition is different: Because literal translation and free translation are aimed at figuring out the issue of the text itself and the language structure, those two translation methods rely heavily on the text on linguistics, and have little room for evolution, development and independence, which make them relatively being static; However, domestication and foreignization do not have such problems. Their appearances were largely influenced by external social factors and the background of times and history, moreover, they focus on the external factors of translation too. Therefore, these two translation strategies are actually unstable and present a relatively dynamic state.(Zhao Jing 2011,62)&lt;br /&gt;
&lt;br /&gt;
===4.2 The connection among Literal Translation and Free Translation, Domestication and Foreignization===&lt;br /&gt;
It can be concluded that the basic relationship between these twopairs of concepts is that domestication and foreignization make the discussion of translation transition from pure language level to cultural level, not only paying attention to the internal transformation of language, but also starting to study the political and cultural environment outside language and text, which makes the change of translation’s function happen--from micro-analysis of language to macro-control of the social function of translation.(Chen Ying 2009,42)&lt;br /&gt;
&lt;br /&gt;
===4.2.1 Foreignization and Literal translation===&lt;br /&gt;
4.2.1 Foreignization and Literal translation&lt;br /&gt;
According to the comparative analysis in the previous section, we can conclude from their similarities that under normal circumstances, foreignization usually takes literal translation as method, or foreignizing translation usually includes literal translation methods, such as:(Lv Yinping 2007,138)&lt;br /&gt;
(1)Pandora’s box 潘多拉的盒子 &lt;br /&gt;
(2)the forbidden fruit 禁果&lt;br /&gt;
The above two examples clearly show the way literal translation do, which is also the result under the guidance of foreignizating translation strategy. &amp;quot;Pandora's box&amp;quot; comes from Greek mythology, which refers to the root of all evils, but the translation into Chinese, which is not “万恶之源”, has followed the European saying, and even quoted it in daily communication, which has played the purpose of &amp;quot;understanding other national cultures through translation&amp;quot;; Similarly, &amp;quot;forbidden fruit&amp;quot; comes from the Bible, which means something forbidden, but Chinese translation also follows the expression of the original way.&lt;br /&gt;
&lt;br /&gt;
===4.2.2 Domestication and Free translation===&lt;br /&gt;
4.2.2 Domestication and Free translation&lt;br /&gt;
Similarly, the shadow of free translation can often be found in domesticating translation. For example:(Lv Yinping 2007,137)&lt;br /&gt;
(1)drink like a fish 牛饮&lt;br /&gt;
(2)a fool’s paradise 黄粱美梦&lt;br /&gt;
As far as the first example is concerned, if literally translated into &amp;quot;像鱼一样喝水&amp;quot;, it is extremely out of line with the Chinese expression habit, and there is no such statement way in China, which leads to the consequences that translating versions are difficult to understand. However, if we translate &amp;quot;drink like a fish&amp;quot; into “牛饮” in Chinese, which does exists in China and has the same meaning as &amp;quot;drink like a fish&amp;quot; in English. Then the translation effect is not only interesting, but also easy to understand.&lt;br /&gt;
However, when doing actual translation practice, due to the variety and diversity of cultures, the methods and strategies used in text or language conversion are also comprehensive. We can find that the comprehensive and flexible use of literal translation and free translation, domestication and foreignization can make up for the regret of some traditional opposing ways(It is said that the two pairs of concepts are opposite and cannot coexist).&lt;br /&gt;
&lt;br /&gt;
===4.2.3 Domestication and Literal translation===&lt;br /&gt;
4.2.3 Domestication and Literal translation&lt;br /&gt;
Foreignizating translation is usually regarded as an extension of literal translation, which means that in general, literal translation methods are often used under the guidance of foreignization strategies, but in some special cases, literal translation can also coexist with domestication strategies.&lt;br /&gt;
(1) 什么时候都要谦虚谨慎，把尾巴夹紧一些。（Jia Wenbo 2000,11）&lt;br /&gt;
We must always be modest and prudent and must, so to speak, tuck our tail between our legs.&lt;br /&gt;
The meaning of &amp;quot;把尾巴夹紧&amp;quot; in Chinese coincides with &amp;quot;tuck tail between our legs&amp;quot; in English. At this one, it can be said that literal translation is the most suitable choice, which keeps the form and cultural connotation of the source language to the maximum extent, and at the same time coincides with the meaning and culture of the target language.&lt;br /&gt;
(2) 一石二鸟(Song Tianxi 2013,49)&lt;br /&gt;
Kill two birds with one stone.&lt;br /&gt;
Similarly, this is an example of having language structure and cultural meaning between China and Britain in both ways, which uses the method of literal translation but achieves the effect of domestication. But in Chinese, &amp;quot;一石二鸟&amp;quot; can also be synonymous with &amp;quot;一箭双雕&amp;quot; and &amp;quot;一举两得&amp;quot;, which can be chosen when translating &amp;quot;kill two birds with one stone&amp;quot; if you want, however, this way of using the method of free translation is not literal translation anymore.&lt;br /&gt;
&lt;br /&gt;
Domestication and literal translation can coexist under the situation when two sides of language structures and cultures can coincide at the same time, which exists by chance and cannot be forced; It is almost impossible to find examples of coexistence like foreignization and free translation. However, through the above argument, we can find that in translation practice, translators should practice the principle of &amp;quot;concrete analysis of specific problems&amp;quot;, flexibly and dialectically combine free translation and literal translation with domestication and foreignization, and avoid rigid translation methods, so as to better assume the responsibility of cultural exchange. &lt;br /&gt;
&lt;br /&gt;
===V.Conclusion===&lt;br /&gt;
V.Conclusion&lt;br /&gt;
Through the analysis above of the concepts and intensions of literal translation and free translation, domestication and foreignization, then we further arrive at and even deepen our understanding of the relationship between the two pairs of concepts, which is helpful for translators to approach the translation result and effect as much as possible on the basis of understanding the culture and language of both sides and combining with the practice through rational choice of translation strategies and translation methods under the guidance of the theories. After all, translation is not only a linguistic transformation, whose fundamental task is to reach communication and cultural exchange. Therefore, in a sense, translation plays the role of cultural &amp;quot;fax&amp;quot;. In order to coordinate the spread of the source language culture and the acceptance of the target language side, it is necessary to avoid rigid use of a single translation method and translation strategy, or solidifying the idea of translation guiding theory. After comprehensive consideration of translation purpose, target and recipient, it is a translator's duty to use translation method flexibly and dialectically, as being a &amp;quot;cultural bridge&amp;quot;.&lt;br /&gt;
&lt;br /&gt;
===References===&lt;br /&gt;
References&lt;br /&gt;
Sun Zhili 孙致礼.(2011).新编英汉翻译教程[A New Coursebook on English-Chinese Translation].上海:上海外语教育出版社.Shanghai:Shanghai Foreign Language Education Press&lt;br /&gt;
Sun Zhili 孙致礼.(2002).中国的文学翻译:从归化趋向异化[China’s Literary Translation: from Domestication to Foreignization].中国翻译Chinese Translators Journal(01):39-43.&lt;br /&gt;
Jia Wenbo 贾文波.(1999).汉英时文翻译-政治经济汉译英300句析[On Practical C-E Translation in Political &amp;amp; Economic Practice].北京:中国对外翻译出版公司Beijing:China Translation and Publishing Corporation.&lt;br /&gt;
Zhang Meifang 张美芳.(2004).翻译策略二分法透视[A dichotomous perspective in translation strategies].天津外国语学院学报Journal of Tianjin Foreign Studies University(03):1-6.&lt;br /&gt;
Zhao Jing 赵静.(2011).直译、意译与归化、异化之比较[Comparison between literal translation and free translation and Domestication and Foreignization].河南农业Henan agriculture(22):61-62.&lt;br /&gt;
Lv Yinping 吕银平.(2007).“直译与意译  归化与异化”译法之我见[My Opinion on Literal Translation, Free Translation, Domestication and Foreignization].宁夏师范学院学报Journal of Ningxia Teachers Univercity( Social Science)(04):136-138.&lt;br /&gt;
Venuti Lawrence.(1995). The Translator’s Invisibility .London&amp;amp;New York: Routledge.&lt;br /&gt;
&lt;br /&gt;
==On Chinese-to-English Translation of The Summer Palace from the Perspective of Functionalist Approaches to Translation	魏亚菲	Wei Yafei==&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
===Abstract===&lt;br /&gt;
Abstract&lt;br /&gt;
The Chinese-English translation of tourist texts, as a window for the external publicity of national history and culture, plays an important role in promoting the development of local tourism. The Summer Palace is well known for its large and priceless collection of cultural relics, which is among the first group of historical and cultural heritage sites in China to be placed under special state protection. &lt;br /&gt;
Based on the functionalist approach and the skopos rule, this paper discusses the problems existing in the translation of scenic spots in the Summer Palace from the perspectives of garden culture, historical culture and religious culture. Skopos theory holds that translation depends on communicative purpose. To achieve this goal, translators can choose different translation strategies. It is believed that the purpose of Chinese-English translation of scenic spots is to attract target readers and promote traditional culture. Therefore, when translating tourism materials, it is necessary not only to express the local cultural connotation, but also to consider the cross-cultural factors. The Chinese-English translation of the introduction of scenic spots guided by functionalist approach can make English readers have expectations of scenic spots and understand the cultural connotation of scenic spots. This paper aims to better promote the development and communication of Chinese culture and improve the level of tourism text translation in China by relying on the theory of functionalist approach.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
===Key words===&lt;br /&gt;
Key Words: functionalist approach，the Summer Palace，translation strategies&lt;br /&gt;
&lt;br /&gt;
===摘要===&lt;br /&gt;
摘 要&lt;br /&gt;
旅游资料的英译作为民族历史文化对外宣传的一道窗口,对地方旅游业的发展有着不可低估的促进作用。颐和园作为中国著名的皇家园林，具有浓厚的中国园林特色及优美的风景，同时也蕴涵着深厚文化内涵。&lt;br /&gt;
本篇旅游文本英译的分析以功能派翻译理论作为理论指导，以目的法则为主要原则，从颐和园的园林文化、历史文化和宗教文化三个角度出发对颐和园景点英译中存在的问题进行探讨。目的论认为译文取决于翻译目的，这个目的通常指的是交际目的。为达到这个目的，译者可以选择不同的翻译策略。也就是说，译者的翻译策略必须由译文的预期目的或功能决定，即所谓的“目的法则”。笔者认为景点介绍的汉英翻译的目的就是吸引译文读者以及弘扬传统文化，因此在翻译旅游资料的时候不仅要把当地的文化内涵表达出来，而且要考虑到跨文化的因素。而以功能派翻译理论为指导的景点介绍的汉英翻译，可以使英语读者通过译文产生对旅游景点的期盼，以及对景点文化内涵的理解。以颐和园景区内的翻译文本为例本，依托功能翻译理论，通过“发现问题，指出问题，解决问题”，以期更好地促进中国文化的传播与交流，提高我国现阶段旅游文本翻译的水平。&lt;br /&gt;
&lt;br /&gt;
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&lt;br /&gt;
===关键字===&lt;br /&gt;
关键词：功能翻译；颐和园；翻译目的；翻译策略&lt;br /&gt;
&lt;br /&gt;
===Introduction===&lt;br /&gt;
  Throughout the translation history at home and abroad, the literal translation and free translation have always been a heat discussion in the translation circles. Someone absolutely approve literal translation and demean free translation, even pursue a dead translation, which creates an translated text difficult to understand. While some other people absolutely agree with free translation even advocate random acts, which means a random deletion in the translation practices and creates anther entirely different text. However, there are also a number of translators who have recognized that these two translation methods are not totally opposite. So they adopt a compromise and flexible way. That means they will choose the most appropriate one depending on the text demanding. Therefore, we can deduce from it that this eclectic translation is consistent with the Contradiction view of Unity of Opposite in Materialist Dialectics. In fact, literal translation and free translation are right a set of contradictions which are both opposite and unified. They complement each other into an integral one.&lt;br /&gt;
&lt;br /&gt;
===Table of Contents===&lt;br /&gt;
&lt;br /&gt;
Table of Contents&lt;br /&gt;
&lt;br /&gt;
Outline&lt;br /&gt;
1.Introduction&lt;br /&gt;
2. Studies on Functionalist Approach&lt;br /&gt;
2.1 The Viewpoint of Functionalist Approach&lt;br /&gt;
2.1.1 Reiss’s Text Typology&lt;br /&gt;
2.1.2 Vermeer’s Skopos Theory&lt;br /&gt;
2.1.3 Manttari’s Theory of Translational Action&lt;br /&gt;
2.1.4 Nord’s Theory of Function plus Loyalty&lt;br /&gt;
2.2 The Application of Functionalist Approach &lt;br /&gt;
3.C-E Translation of the Summer Palace under Functionalist Approach&lt;br /&gt;
3.1 Garden Culture&lt;br /&gt;
3.2 Historical Culture &lt;br /&gt;
3.3 Religious Culture &lt;br /&gt;
4. Conclusion&lt;br /&gt;
References&lt;br /&gt;
&lt;br /&gt;
===Outline===&lt;br /&gt;
Outline&lt;br /&gt;
&lt;br /&gt;
Thesis Statement: Based on the main viewpoints of functionalist approaches to translation, this paper aims to give an analysis to C-E translation of the Summer Palace from cultural, historical and religious aspects, hoping to provide some translation strategies for other cultural attractions.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
1. Introduction&lt;br /&gt;
2. Studies on Functionalist Approaches&lt;br /&gt;
2.1 The Viewpoint of Functionalist Approach&lt;br /&gt;
2.1 Reiss’s Text Typology&lt;br /&gt;
2.2 Vermeer’s Skopos Theory&lt;br /&gt;
2.3 Manttari’s Theory of Translational Action&lt;br /&gt;
2.4 Nord’s Theory of Function plus Loyalty&lt;br /&gt;
2.2 The Application of Functionalist Approach&lt;br /&gt;
3. C-E Translation of the Summer Palace under Functionalist Approach&lt;br /&gt;
3.1 Garden Culture&lt;br /&gt;
3.2 Historical Culture&lt;br /&gt;
3.3 Religious Culture&lt;br /&gt;
4. Conclusion&lt;br /&gt;
&lt;br /&gt;
===1. Introduction ===&lt;br /&gt;
1. Introduction   &lt;br /&gt;
The Chinese-English translation of tourist texts is a bridge to spread the culture of classical Chinese gardens, so the accuracy of it has a direct impact on foreigners' understanding of the specific history and culture. &lt;br /&gt;
Functionalist approach has made a pioneering contribution to the translation of non-literary genres. Functional translation theory emphasizes the function of discourse, and believes that different types of discourse have different functions, so translators should choose appropriate translation strategies according to the type of source text and corresponding functions. Functionalist approach is to take the &amp;quot;skopos rule&amp;quot; as the highest standard, and any translation activity is a purposeful behavior. The ultimate goal and main function of scenic spot translation is to help people understand the main content of the scenic spot.&lt;br /&gt;
As a window for the publicity of national history and culture, the Chinese-to-English translation of tourist texts plays an important role in promoting the development of local tourism. Well known for its large and priceless collection of cultural relics, the Summer Palace was among the first group of historical and cultural heritage sites in China to be placed under special state protection. Based on the viewpoints of functionalist approach to translation, this paper aims to analyze C-E translation of the Summer Palace from cultural, historical and religious aspects, hoping to provide some translation strategies for other cultural attractions. &lt;br /&gt;
&lt;br /&gt;
===2. Studies on Functionalist Approaches===&lt;br /&gt;
2. Studies on Functionalist Approaches&lt;br /&gt;
Functionalism is a theory that advocates reader-centered translation, emphasizing the functions of texts and highlighting the communicative effects. It is believed that many unnecessary mistakes can be avoided and better results can be achieved by applying functionalist approach in Chinese-English translation of tourist text. &lt;br /&gt;
&lt;br /&gt;
===2.1 The Viewpoint of Functionalist Approaches===&lt;br /&gt;
2.1 The Viewpoint of Functionalist Approaches&lt;br /&gt;
Functionalist Translation Theory, also known as German Functionalist Translation Theory, was proposed by German scholars in the 1970s. It includes four main theories: Katharina Reiss’s Text Typology, Hans Vermeer’s Skopos Theory, Justa Holtz Manttari’s Theory of Translational Action and Christiane Nord’s Theory of Function plus Loyalty. This chapter aims to present the main ideas of this theory.&lt;br /&gt;
&lt;br /&gt;
===2.1.1 Reiss’s Text Typology===&lt;br /&gt;
2.1.1 Reiss’s Text Typology&lt;br /&gt;
In 1971, Reiss in her book Possibilities and Limitation of Translation Criticism first made text function as a standard of translation criticism, namelyevaluate the translated text from the relationship between the functions of the original and the translated text. She insists on the original-centered equivalence theory and holds the view that the ideal translation is to achieve the equivalence between the target text and the source text in terms of ideological content, linguistic form and communicative function. However, translation practice makes her realize that it’s difficult to achieve equivalence sometimes and that sometimes equivalence cannot be pursued. Because of the particularity of translation requirements, the function of the target text is not always the same as that of the source text. Therefore, the translator should give priority to the functional role of the target text rather than the principle of equivalence.&lt;br /&gt;
Reiss believes that in the normal situation the type of text decides the translator’s choice of a proper translation method (Reiss, 2004). Therefore, she divides text into four types: content-focused text, form-focused text, appeal-focused text and audio-media text. Content-focused text, also known as informative text, includes news reports, commercial correspondence, operating instructions, official documents, patent&lt;br /&gt;
specifications, essays, treaties, etc. For this text, the main function is to convey information revealed in language itself to readers. The emphasis is on content and topic, so the choice of language and style should serve this function. If both the source text and target text belong to informative text, the translator should represent the content and information of source text accurately and completely (Reiss, 2004)&lt;br /&gt;
Form-focused text, also known as expressive text, refers to literary works such as novels, poems and so on. “Distinct from ‘content’, which deals with what the author says, ‘form’ is concerned with how an author expresses himself” (Reiss, 2004). For expressive texts, information is only a supplement. What is dominant is the aesthetic factor. When translating such texts, the translator should pay attention to the aesthetic and artistic forms of the original text and to the differences between two cultural habits, trying to achieve the same effect as the source text. In a word, in a form-focused text the linguistic form of the source text determines the form in the target language (Reiss, 2004).&lt;br /&gt;
Appeal-focused text, also known as operative text, mainly includes notice, instruction manual, advertisement, publicity manual and so on. For operative texts, the primary task for the translator is to provoke a particular reaction on the hearers or readers to incite them to engage in specific actions, while content and form are subordinate. Therefore, to achieve the same effect, the translator need to change the content and stylistic features of the original text, try to keep the potential influential factors of the original text and seek functional equivalence (Reiss, 2004: 38-43). Audio-medial text, also known as multi-media text, refers to radio and television scripts, such as radio newscasts and reports, topical surveys and dramatic productions.&lt;br /&gt;
It is distinctive in its dependence on non-linguistic media and on graphic, acoustic, and visual kinds of expression. Only in combination with them can the whole complex literary form realize its full potential (Reiss, 2004). In conclusion, different texts determine different translation focuses and methods. In many cases, however, a text may have more than one function, which means that translators should integrate different translation strategies skillfully to achieve different functions of texts.&lt;br /&gt;
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===2.1.2 Vermeer’s Skopos Theory===&lt;br /&gt;
2.1.2 Vermeer’s Skopos Theory&lt;br /&gt;
Reiss’s student Vermeer, who broke the limitation of the theory of equivalent and took skopos to be the first criterion of translation process  proposed the key theory: Skopostheorie. According to Skopos Theory, when translating a text, the translator needs to consider the purpose of translation first and then choose the translation method according to the purpose, which means “the end justifies the means” (Nord, 2001). Vermeer believes that translation, like other human actions, is also a purposeful act. Translation often takes place in cultural backgrounds with different customs and values, so translation is not a simple equivalent transformation between languages. Skopos Theory does not focus on achieving the equivalence between the target text and the original text or the perfection of the target text, but on choosing the best translation strategy based on the analysis of the source text and the intended function of the target text. In a word, translation methods and strategies are determined by the intended purpose or function of the target text.&lt;br /&gt;
According to Skopos Theory, the first rule that all translators must follow is the Skopos Rule. Translation purpose can be divided into three categories: (1) the purpose of the translator, such as earning a living; (2) the communicative purpose of the translation, such as instructing the reader; (3) the purpose of using a particular translation method, such as the literal translation according to its structure to illustrate the peculiarities of grammatical structure in a language (Nord, 2001). In general, the communicative purpose is more important than the other two. The communicative purpose is usually determined by the initiator of the translation act, but the translator can take part in deciding. The second rule is the Coherence Rule. Coherence Rule requires that the translation conform to the criterion of intratextual coherence, which means that the translation must be accessible to recipients and meaningful in the target culture and in the communicative environment (Nord, 2001). The third rule is the Fidelity Rule. It means that there should be intertextual coherence between the source text and the target text, which means being faithful to the source text. Nevertheless, the degree and form of faithfulness lie in the target text and the degree that the translator understands the original text. Normally “Intertexual coherence is considered subordinate to intratexual coherence and both are subordinate to the Skopos rule” (Nord, 2001).&lt;br /&gt;
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===2.1.3 Manttari’s Theory of Translational Action===&lt;br /&gt;
2.1.3 Manttari’s Theory of Translational Action&lt;br /&gt;
Following Vermeer, Manttari develops Vermeer’s Skopos Theory and puts forward the Theory of Translational Action. He emphasizes three aspects: the behavior of the translation process, the role of the participants (the initiator, the translator and the target reader, etc.) and the environment (time, place and media) in which the translation process takes places. It views translation as “purpose-driven, outcome-oriented human interaction and construes the process of translation as message-transmitter compounds that involve intercultural transfer” (Mundy, 2001). According to Manttari, translation is “ a complex act to achieve a particular purpose” &lt;br /&gt;
(Nord, 2001). It is not about translating words, sentences or texts but is about guiding the intended cooperation over cultural barriers and promoting functional communication. Cooperation here means “transcultural communication” by Manttari.&lt;br /&gt;
The Theory of Translational Action attaches great importance to providing a functional communicative text for the recipient, a text suitable for the target culture in&lt;br /&gt;
form and style. Functional suitability is determined by the translator. The translator is&lt;br /&gt;
an expert in translation, whose role is to ensure the successful completion of cultural&lt;br /&gt;
transformation. In producing the target text, the analysis of the source text is necessary so that the translator can find out its structural and functional characteristics, which can be described by content and form. The need of the recipient is the decisive&lt;br /&gt;
factor for the target text.&lt;br /&gt;
In short, “the value of Manttari’s work is the placing of translation (or at least the professional non-literary translation which she describes) within its sociocultural&lt;br /&gt;
context, including the interplay between the translator and the initiating institution”&lt;br /&gt;
(Mundy, 2001).&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
===2.1.4 Nord’s Theory of Function plus Loyalty===&lt;br /&gt;
2.1.4 Nord’s Theory of Function plus Loyalty&lt;br /&gt;
Though skopos rule changes the focus of translation from the source language text to the target language text and the target receivers, it has some limitations. One is that different readers have different expectations, and the translation purpose cannot satisfy all the expectations of the target reader. Another is that the translation purpose may sometimes be against the intention of the source language. Therefore, based on the skopos rule, Nord introduces the loyalty principle. The principle of loyalty is a supplementary principle proposed by Nord to make up for the deficiency of skopos rule. According to the explanation of Nord, it is not the relationship between the original text and the target text, nor the equivalence between the original text and the form of the target text, but the consistency between the author of the original text, the initiator of the translation, the translator and the reader of the target text, which is the principle of loyalty. The proposal of the loyalty principle makes up for the mistakes that some radical skopos translators usually make, such as omitting and rewriting, which makes skopos theory more perfect and makes skopos theory more likely to guide the translation of literary works.&lt;br /&gt;
“Function” and “loyalty” are two pillars of Nord’s functionalist approach. “Function” refers to what a text means or is intended to mean from the receiver’s point of view”, while “loyalty” means that “target-text purpose should be compatible with the original author’s intention” (Nord,2001). It emphasizes the interpersonal relationship between the translator, the source-text sender, the target-text addresses and the initiator. Function plus loyalty enables the translator to avoid the limitations of skopos rule and try to achieve a balance between translation purpose and the source-text author’s intention”(Nord,2001). That is to say, when translating the original text, the translator should take into account the readers' cultural background, knowledge level and expectation of the translation, and choose the corresponding translation strategy according to the translation requirements. If the reader wants to read a word-for-word translation of the article, then the translator must meet the reader's requirements, otherwise he must explain to the reader why he chose his own translation method. The translator's job is to weigh two different cultures instead of imposing one culture on another. &lt;br /&gt;
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===2.2The Application of Functionalist Approach to the Tourist Texts.===&lt;br /&gt;
2.2The Application of Functionalist Approach to the Tourist Texts.&lt;br /&gt;
In the 1990s, Functionalist Translation Theory was introduced to China, and since then it has been applied to translation studies by Chinese translation scholars. In his article published in 1995, Zhang Nanfeng briefly introduces Skopos theory to China for the first time, and considers that Skopos theory is referential (Zhang Nanfeng, 1995). German Functionalist Translation Theory, a paper released in1999, is the first article in China which systematically introduces German Functionalist Translation Theory (Zhong Weihe &amp;amp; Zhong Yu, 1999). Based on an overview of Functionalist Translation Theory, Zhang Meifang focuses on introducing Nord’s theory, especially on the detailed analysis of Nord’s principle of loyalty (Zhang Meifang, 2005). Famous domestic scholars, such as Liu Junping (2009), Liu Miqing (2012) and Li Wenge (2004), also introduce this theory in their books. With the rise of Functionalist Translation Theory in China, someone has compared it with other theories. Zhu Haotong compares Skopos Theory with Functional Equivalence Theory to analyze the similarities and differences between them, and further reveals that Functionalist Translation Theory inherits the reasonable part of Nida’s Functional Equivalence Theory, which is an important breakthrough and supplement to solve the problems that Functional Equivalence Theory leaves (Zhu Haotong, 2006). Some scholars also combine theory with translation practice to explore the application of Functionalist Translation Theory to translation practice. Jia Yanli and Wang Hongjun point out that Skopos Theory has its limitations, but it is still of instruction and reference value for non-literary translation texts, such as advertisements and tourism materials (Jia Yanli &amp;amp; Wang Hongjun, 2012). Li Liangchen selects several famous tourist attractions in China to translate the on-site tour-guide commentary into English. Then he improves them under the guidance of Skopos Theory and sends out questionnaires to overseas tourists for further analysis. He argues that the translation of on-site tour-guide commentary which is guided by Skopos Theory is more favorable to conveying information to foreign visitors, to promoting cultural exchanges and to improving the image of China’s tourist destinations (Li Liangchen, 2013). In Pragmatic Translation: Theory &amp;amp; Practice, Wu Feng and He Qingji introduce Functionalist Translation Theory (Wu Feng &amp;amp; He Qingji, 2008) and the characteristics of tourism text and translation skills (Wu Feng &amp;amp; He Qingji, 2008). In this book, they also discuss the controversy over the Chinese name of Functionalist Translation Theory, and holds that “功能派翻译理论” is the most appropriate Chinese translation (Wu Feng &amp;amp; He Qingji, 2008).Based on his own translation practice and under the guidance of Functionalist Translation Theory, Wu Zixuan probes into some special phenomena in the English translation of CNN newsreels. The author believes that in the translation of external publicity, we should not stick to the standard of faithfulness to the original text, but should deal with the original text properly from the perspective of achieving the purpose of translation, such as rewriting, abridging. (Wu Zixuan, 2005).&lt;br /&gt;
Functionalist approach establishes a theoretical system of diversified translation standards dominated by skopos rule. From the definition of Functionalist approach, it can be seen that the advantage of it is that the translator can get rid of the bondage of the original text, study the translation process with &amp;quot;translation purpose&amp;quot; as the starting point, and determine the translation strategies and methods. This can give full play to the translator's own initiative, flexible processing of the original text, in order to achieve the translation of the communicative function. In addition, functionalist approach requires the translation to be examined in the cultural context of the reader. The reader can accept the translation and understand the meaning of the original text through the translation, so the translation can realize the communicative function. On the basis of such advantages, functionalist approach can be used to guide the English translation of garden scenic spots, and the translator can choose a wider range of translation strategies and break out of the constraints of the original text. &lt;br /&gt;
Only by clarifying the purpose of translation can we avoid these limitations in the English translation of garden attractions. When using functionalist approach to guide the English translation of Chinese classical garden scenic spots, it is necessary to flexibly choose translation strategies and methods, give full play to the advantages of skopos theory, and achieve the balance between &amp;quot;principle of purpose&amp;quot; and &amp;quot;principle of fidelity&amp;quot; as far as possible.&lt;br /&gt;
With the deepening of globalization and cross-cultural communication, tourismis becoming a major industry in the 21st century. The development of tourism can not only promote the economic development of a country but also promote the external dissemination of national culture. Therefore, tourism translation deserves attention. Tourism text is a typical informative and operational text, and the language is unique. It is full of gorgeous words, such as four-character expressions, verses, proper nouns and so on.&lt;br /&gt;
Tourism text materials include tourism advertising, tourism brochures, scenic spots signs and so on. In this paper, we focus on the introduction of Chinese gardens’ scenic spots, which is usually colorful in language and rich in literary style. Tourism text translation belongs to applied translation, which should play a series of practical functions to publicize the image and resources of the country or place and attract overseas tourists. Therefore, the translator of tourism text must be clear about the type and function of tourism text, and to grasp the ultimate purpose of the translation. &lt;br /&gt;
On tourism text translation, the communicative purpose of the translation should be placed in a central position. Furthermore, the tourism text has both the information function and the calling function. The information function and the calling function complement each other. Only when the target language readers acquire the expected tourism information and cultural knowledge can the calling function be realized and the purpose of tourism text translation be achieved. With different translation strategies, the translated version should both expressed contains basic information, and make the tourists feel the profound of the Chinese culture from the beautiful scenery. &lt;br /&gt;
Cultural tourism has long been the focus of international tourism, and understanding Chinese culture is the main purpose of inbound tourists, so the translation of tourism texts bears the mission of cultural transmission and cultural publicity. However, due to the great differences between Chinese and English culture and language, there are many difficulties in cultural transmission in tourism text translation. China has a long and splendid history and culture. When introducing the scenic spots of cultural relics and historic sites, we usually associate with many historical figures and stories. These terms are cultural blank for most foreign tourists, but this kind of cultural experience is also the most attractive place for foreign tourists. It is of great importance to pay attention to cultural differences in tourism translation and carry out cultural transmission effectively. Chinese and English languages have different logic views, and Chinese expressions in tourism texts value decoration. English expressions tend to be clear, concise and to the point. For example, Chinese tourism texts often use a four-character lattice, which is symmetrical, while there is no corresponding four-character lattice expression in English. Therefore, in Chinese-English translation of tourism texts with frequent use of four-character phrases, it is necessary to keep in mind the objective principle of functionalist approach and give priority to cultural communication instead of rigidly adhering to form.&lt;br /&gt;
&lt;br /&gt;
===3. C-E Translation of the Summer Palace under Functionalist Approach===&lt;br /&gt;
3. C-E Translation of the Summer Palace under Functionalist Approach&lt;br /&gt;
By studying the specific translation strategies made by predecessors, the following steps are also adopted in this paper: first, the translation strategies are determined according to the text type, such as faithful reproduction of the original information or rewriting; Secondly, the translation strategies are determined according to the potential purpose of the translation, such as paraphrasing or deleting poems, generalizing specific expressions and transliterating proper nouns. Thirdly, the translation strategies are defined with the tourists as the center, such as adding logical words, adding explanatory information and using plain English.&lt;br /&gt;
The Summer Palace epitomizes the philosophy and practice of Chinese garden design, which played a key role in the development of this cultural form throughout the east. It is an outstanding expression of the creative art of Chinese landscape garden design, incorporating the works of humankind and nature in a harmonious whole, which was once the most important place of political and diplomatic activity for the supreme rulers of the late Qing dynasty. Based on three aspects of the Summer Palace, namely, garden culture, historical culture and religious culture, this paper discusses the problems existing in the English translation of the scenic spots of the Summer Palace and puts forward corresponding countermeasures under the guidance of the skopos rule of functionalist translation theory.&lt;br /&gt;
&lt;br /&gt;
===3.1 Garden culture.===&lt;br /&gt;
3.1 Garden culture. &lt;br /&gt;
The Summer Palace is a classical garden famous for its magnificence and beauty. There are many temples in the garden, and the green waves of kunming lake ripple. Landscape and humanities complement each other, containing rich natural and cultural information, reflecting the characteristics of Chinese classical gardens. The garden cultural features of the three scenic spots, namely, the hall of clouds, the foxiang pavilion and the Wenchang courtyard, are particularly outstanding. Therefore, this paper takes these three scenic spots as examples to discuss the Chinese-English translation of the introduction of the Summer Palace.&lt;br /&gt;
(1)	排云殿、佛香阁景区是颐和园内建筑布局最完整、建筑形式最丰富的中轴建筑群体，殿、阁、廊、亭、桥、坊、碑等建筑约两万平方米。从临水的云辉玉宇牌坊至排云门、排云殿、德辉殿、佛香阁、众香界、智慧海、层层升高，排列有序，气势巍峨，金碧辉煌，将园林、寺庙和宫殿融为一体。&lt;br /&gt;
Translation：This scenic spot covers an area of 20,000 square meters with an assortment of buildings such as palaces, towers, corridors, pavilions, walkways, bridges, archways and inscribed stone steles. It comprises a well-arranged group of structures, all diverse in style, located in the center of the Summer Palace garden. This complex of structures, ranging from the Glowing Clouds and Holy Land Archway on the waterside, the Gate that Dispels the Clouds, the Hall that Dispels the Clouds, the Hall of Moral Glory, and the Tower of the Fragrance of the Buddha, to the Realm of Popular Fragrance and the Sea of Wisdom Temple, were built in an orderly manner running from the foot of the hill to its top, with gardens, temples and palaces harmoniously integrated into the whole。&lt;br /&gt;
Analysis：As we all know, the design style of ancient Chinese buildings is beautiful with &amp;quot;symmetry&amp;quot;. The &amp;quot;axis&amp;quot; in hall of clouds scenic spot refers to the layout of the Summer Palace from far to near and from top to bottom, which cannot be simply understood as the center. Simply translating &amp;quot;axis&amp;quot; as &amp;quot;center&amp;quot; cannot express accurately the meaning of &amp;quot;symmetry&amp;quot;. Comparatively speaking, &amp;quot;axis&amp;quot; can better reflect the architectural style of the scenic spot.&lt;br /&gt;
(2)	从临水的云辉玉宇牌坊至排云门、排云殿、德辉殿、佛香阁、众香界、智慧海，层层升高，排列有序，气势巍峨，金碧辉煌，将园林、寺庙和宫殿融为一体。&lt;br /&gt;
Translation：These structures，including Glowing Clouds and Holy Land Archway at lake side，the Gate of Dispelling Clouds，the Hall of Dispelling Clouds，the Hall of moral Glory，and the Tower of Buddhist Incense，the Realm of Multitudinous Fragrance and the Sea of Wisdom Temple，were built in an orderly manner ranging up the hill with gardens，temples and palaces harmoniously integrated. This manifests beauty，grace and splendor，reminiscent of the loftingness and grandeur of a once mighty empire.&lt;br /&gt;
Analysis：In terms of the characteristics of language, Chinese emphasizes parataxis and four-word antithesis. When describing and naming scenes, gorgeous words and poetic words are generally chosen in Chinese. But, English emphasizes hypotaxis, on the other hand, puts more emphasis on reproducing the original appearance of things, using simple and natural words and preferring direct description. In sign translation, the English translation pays more attention to accurate, concise and lively. In the above paragraph, &amp;quot;层层升高，排列有序，将园林、寺庙和宫殿融为一体&amp;quot; is an introduction to the architectural features of foxiang pavilion, in order to make tourists have a clear understanding of the overall layout and architectural features of the scenic spot. This information is essential and can be translated into detail. However, &amp;quot;气势巍峨，金碧辉煌&amp;quot; focuses on the subjective description, and its explicit translation needs more complicated words. If this paragraph is translated in detail, it is easy to drag the content and make the key information vague. Therefore, the deletion of the English translation of this sentence will not affect the basic information of the original text.&lt;br /&gt;
(3)	主阁（文昌阁）两层，内供铜铸文昌帝君和仙童、铜骑。文昌阁与万寿山西供武圣的宿云檐象征“文武辅弼”。&lt;br /&gt;
Translation: A bronze statue of the God Wenchang, statues of gaeries, and a bronze steed were placed in the two-story pavilion. This tower is pared with the Tower of Cloud- Retaining Eaves, located to the west of the Longevity Hill, in which a statue of the Martial God was placed. The God Wenchang and the Martial God together symbolize reining of the emperor supported by scholars and warriors.&lt;br /&gt;
Analysis: Two questions arise in Chinese-English translation. First, there are two translations of wenchang pavilion in the translation: pavilion and tower, which appear in the same sign. Two different translations of the same scenic spot name tend to make foreign tourists think that it refers to different scenic spots, which may cause difficulty in understanding. Second, the translation of Wenchang pavilion into &amp;quot;Wenchang Tower&amp;quot; is against the actual architectural characteristics. In fact, the meanings of &amp;quot;pavilion&amp;quot; and &amp;quot;tower&amp;quot; have both similarities and differences. According to the Oxford dictionary, Tower means &amp;quot;a tall narrow building or part of a building, especially of a church or castle&amp;quot;, mainly referring to the tower-shaped part of a building, usually a tall and slender structure, such as the Eiffel Tower. &amp;quot;Pavilion&amp;quot; means &amp;quot;a building that is meant to be more beautiful than usual, built as a shelter in a park or used for concerts and dances&amp;quot;. The top structure of the pavilion usually has rectangles, triangles, hexagons, etc. The common feature of them is that the top is supported by columns without walls. From the external structure of Wenchang pavilion, its bottom is solid and its top is supported by columns. Therefore, the pavilion can accurately reflect the architectural characteristics of Wenchang pavilion, so I think it should be translated as Wenchang pavilion.&lt;br /&gt;
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===3.2 Historical culture. ===&lt;br /&gt;
3.2 Historical culture. &lt;br /&gt;
The accurate Chinese-English translation of the introduction of the Summer Palace not only enables foreign tourists to understand the characteristics of Chinese gardens, but also enables foreign tourists to understand the historical knowledge of a specific period of China. However, the Chinese-English translation of the Summer Palace still has problems in accurately conveying the historical background of the scenic spots, such as the English translation of Wenchang pavilion scenic spot:&lt;br /&gt;
(4)	此景区始建于清乾隆十五年，一八六零年被英法联军烧毁，光绪时按原样重建。阁结构为八面三层四重檐，通高36.44米，耸立于20米高的石造台基上，气势雄伟，是颐和园全园的构图中心。阁内供奉有铜铸金裹千手观世音菩萨站像。像高五米，重万斤，为明代万历年间所造，在八根贯通全阁上下的承重铁梨木擎天柱的衬托下，美妙庄严，熠熠生辉，有极高的文物和艺术价值。&lt;br /&gt;
Translation: The Wenchang tower was first built in 1750 and rebuilt under Emperor Guangxu after  the Anglo-French Allied Forces builted it down in 1860. The octahedral tower has three stories with four-layered eaves, altogether 36.44 meters high. Standing upright on a 20 meter-high stone foundation, it constitutes the center of the Summer Palace landscape and serves to accentuate its magnificence. A statue of the thousand-handed Guanshiyin Buddha, cast in bronze and gilded with gold, stands inside the tower. The statue, five meters high and five tons in weight, was cast during the reign of Emperor Wanli of the Ming Dynasty. Set off by the eight imposing pillars which support the tower, it glows with beauty, grandeur and brilliance. Its historical, cultural and artistic value can hardly be overstated.&lt;br /&gt;
Analysis: “始建于乾隆十五年”only was translated into “was first built in 1750” and the “光绪年间重建” was translated into “rebuilt under Emperor Guangxu”.The first sentence does not show that 1750 was the fifteenth year of the reign of emperor Qianlong, and the second sentence does not give foreign visitors the exact date of the reign of emperor Guangxu. The change of time concept and the disunity of expression easily make foreign tourists feel confused. Therefore, the translation of the time and the historical dynasties should be accurate and meticulous, and the supplementary method should be used to not only describe the dynasties clearly, but also supplement the corresponding years, so as to achieve the standardization of the translation. In this way, foreign tourists can not only be clear about the time of the event, but also understand the Chinese historical dynasties. Consider as follows: the Wenchang Pavilion was first built in 1750 during Emperor Qianlong’s reign（1735- 1795）and rebuilt in 1886 under Emperor Guangxu（1875- 1908）after the Anglo- French Allied Forces burned it down in 1860.&lt;br /&gt;
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===3.3 Religious culture. ===&lt;br /&gt;
3.3 Religious culture. &lt;br /&gt;
Many scenic spots in the Summer Palace have a strong buddhist atmosphere. While visiting the scenic spots, foreign tourists can understand the profound buddhist culture. Wenchang pavilion in the Summer Palace is the representative of Chinese religious culture.&lt;br /&gt;
(5)	主阁两层，内供铜铸文昌帝君和仙童、铜特。文昌阁与万寿山西供武圣的宿云檐象征“文武辅弼”。&lt;br /&gt;
Translation: A bronze statue of the god，Wenchang，and statues of two followers，the celestial boy，and the bronze steed，were placed in the two- storey pavilion. This tower is pared with the tower of Cloud- Retaining Eaves，located to the west of the Longevity Hill，in which a statue of the Martial God was placed. The two towers symbolize the support by both scholars and warriors to the ruling emperor.&lt;br /&gt;
Analysis: It is well known that westerners believe in theism, which refers to god as supreme . In Chinese religious culture, people believe in atheism and do not believe in the existence of god. Therefore, it is inappropriate to translate &amp;quot;文昌帝军&amp;quot; and &amp;quot;武圣&amp;quot; into &amp;quot;the god, Wenchang&amp;quot; and &amp;quot;the Martial god&amp;quot; in the translation. In fact, the &amp;quot;文昌帝军&amp;quot; was Zhang yu, an emperor of Shu of Ning kang (374). And &amp;quot;武圣&amp;quot; refers to Guan yu in history. Therefore, the simple translation of  &amp;quot;God&amp;quot; is not in line with the traditional Chinese culture, which will not only cause western tourists to misunderstand that Chinese religious tradition also believes in God, but also fail to convey Chinese historical allusions and relevant historical figures. In contrast, if &amp;quot;文昌帝军&amp;quot; is translated as &amp;quot;the emperor, Wenchang&amp;quot; and &amp;quot;武圣&amp;quot; is translated as &amp;quot;the Martial Master (Guanyu)&amp;quot;, it can more faithfully convey the history and religious culture contained in the source language. &lt;br /&gt;
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===4. Conclusion===&lt;br /&gt;
4. Conclusion&lt;br /&gt;
To sum up, Under the guidance of the skopos rule of functionalist translation theory, translators should have a cross-cultural awareness, fully understand the reading psychology and cultural appreciation needs of target language readers, and use effective translation strategies and methods to achieve the purpose of tourism text translation. Functionalist approach has made a pioneering contribution to the translation of non-literary genres. Functional translation effectively eliminates the disadvantages of traditional word-for-word translation, improves the efficiency of translation, and helps readers to grasp the meaning of the original text.&lt;br /&gt;
 The importance of the translation of the Summer Palace lies in the profound garden culture, historical culture and religious culture. The English translation is not only helpful for international friends to know more about the garden characteristics of the Summer Palace, but also helpful for spreading the long history and profound culture of China. In order to attract target readers and promote traditional Chinese culture, it is not only necessary to carefully explore Chinese culture and history, but also to use the fuctionalist approach appropriately. &lt;br /&gt;
Translation is a complicated process. Functionalist approach stresses the function of the discourse, the purpose of translation. In the practice of translation, if the translator can get rid of the bondage of the original equivalence, actively playing to subjective initiative, fully understanding the original text, depending on the purpose of discourse and adopting different translation strategies, the effect and readability of translation can be improved.&lt;br /&gt;
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===References===&lt;br /&gt;
References&lt;br /&gt;
Hans Vermmer, “Skopos and Commission in Translation Action”, in the Translation Studies Reader,ed. Chesterman, London and Network:Routledge,p.221-232. 2000.   &lt;br /&gt;
Munday, Jeremy. Introducing Translation Studies: Theories and Applications. Routledge publishing.2001.&lt;br /&gt;
Mason, “Textual Practices and Audience Design: and Interactive View of the Tourist Brrochure”. In Navarro et al.(eds.). Pragmatics at Work: The Translation of Tourist Literature. Bern: Perter Lang. 157-176.2004.&lt;br /&gt;
Nord, Text Analysis in Translation: Theory, Methodology and Didactic Application of a Model for Translation-Oriented Text Analysis. Beijing: Foreign Language Teaching and Research Press. 2006.&lt;br /&gt;
Nord, Translating as a purposeful activity. Shanghai: SFLE PRESS, 2001:27,30,32,65,245.&lt;br /&gt;
Reiss, Katharina. Translation Criticism: The Potentials &amp;amp; Limitations. Shanghai Foreign Language Education Press. Shanghai. 2004.&lt;br /&gt;
Venuti, Lawrence. The Translator’s Invisibility: A History Translation. Routledge.1995.&lt;br /&gt;
方梦之、毛忠明， 英汉—汉英应用翻译教程，上海: 上海外语教育出版社，2004.&lt;br /&gt;
金惠康，跨文化旅游翻译，中国对外翻译出版公司，2004.  &lt;br /&gt;
贾文波，应用翻译功能论，北京：中国对外翻译出版公司，2004&lt;br /&gt;
孙艺风，文化翻译的困惑与挑战，中国翻译，2016年第3期.  &lt;br /&gt;
王宏志，翻译与创作，北京大学出版社，2000.&lt;br /&gt;
吴自选，德国功能派翻译理论与 CNN 新闻短片英译，中国科技翻译, 2005.&lt;br /&gt;
谢天振，当代国外翻译理论，天津：南开大学出版社，2005.&lt;br /&gt;
张南峰，走出死胡同建立翻译学. 中国翻译, 1995.&lt;br /&gt;
仲伟合，钟钰. 德国的功能派翻译理论. 中国翻译, 1999.&lt;br /&gt;
张美芳，功能加忠诚—介评克里丝汀· 诺德的功能翻译理论.上海外国语大学学报, 2005.&lt;br /&gt;
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==Contrast between Literal Translation and Free Translation	张雪仪	Zhang Xueyi==&lt;br /&gt;
&amp;lt;center&amp;gt;张雪仪 202020080668&amp;lt;/center&amp;gt;&lt;br /&gt;
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=== Abstract===&lt;br /&gt;
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The contrast between literal translation and free translation has always been the most discussed problem in translation studies. To compare these two translation methods, the basic point is to understand the purpose of translation. The ultimate goal of translation is to help different cultures communicate better, so that people who speak different languages can understand each other’s cultures. Due to the differences in social, historical and cultural backgrounds between languages, how to choose between the two translation strategies of literal translation and free translation requires translators to weigh the strengths and weaknesses of these two methods. This essay mainly compares literal translation and free translation between Chinese and Russian to help students and translators translate better.&lt;br /&gt;
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=== Key words ===&lt;br /&gt;
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Translation strategies, Literal translation,Free translation &lt;br /&gt;
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=== 摘要 ===&lt;br /&gt;
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直译与意译间的对比一直是翻译学中讨论度最高的问题。想要将这两种翻译方法进行对比，最基本的一点就是要明白翻译的目的是什么。翻译的最终目的在于帮助不同文化进行更好的交流，让使用不同语种的人相互理解彼此的文化。由于语种间社会历史文化背景的差异，如何在直译和意译这两种翻译策略中做出选择，就需要译者衡量两种方法的利弊。本文主要对汉语和俄语间直译和意译进行比较，以帮助学生和译者更好地进行翻译实践。&lt;br /&gt;
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=== 关键词 ===&lt;br /&gt;
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翻译策略，直译，意译&lt;br /&gt;
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=== Introduction ===&lt;br /&gt;
The former Soviet Union translation theorist Fedorov believes that “translation is an activity of expressing what has been used in one language as a unified whole of content and form, and accurately and completely expressed in another language.” Translation theorist Barhudaro The husband also wrote: &amp;quot;Translation is the process of changing the coherent discourse of one language into the coherent discourse of another language while maintaining its content and meaning.&amp;quot; Mr. Lu Xun once advocated &amp;quot;literal translation.&amp;quot; He said: &amp;quot;Translation must take both sides into consideration: (Cai Yi, Duan Jinghua 2000)&lt;br /&gt;
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One is of course to be easy to understand, the other is to maintain the fullness of the original.&amp;quot; The Chinese translator Zhang Peiji summed up the translation standard as &amp;quot;faithful and smooth.&amp;quot; To some extent, translation is a process of thinking re-creation, so certain standards and principles must be followed when translating. Translation standard is a measure of the quality of translation, it can guide translation practice, and it is a principle that must be followed in translation activities. (Gong Linjing 2015,192)&lt;br /&gt;
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Although each scholar has different opinions on the standard of translation, the final result he pursues is the same: the original text and the translated text express the same effect.In order to achieve the same effect, different translation methods have been derived from the translator's translation practice. The most basic and common ones are literal translation and free translation.(Gong Linjing 2015,192)&lt;br /&gt;
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Russian idioms and proverbs, as the crystallization of the wisdom of the Russian nation and the immortal fossils in the Russian language, are one of the best materials for the Chinese to understand and learn Russian history, culture, and society. Due to different geographical, historical and economic conditions, the Russian and Chinese ethnic groups have formed different cultural backgrounds. These distinctive backgrounds and characteristics have caused great difficulties for Chinese learning Russian to further understand Russia. This essay will take the Chinese translation of Russian idioms and proverbs as examples to study the basic definitions of literal translation and free translation, their respective advantages and disadvantages, and their relationships, in order to help students who learn Russian understand literal translation and free translation.(Gong Linjing 2015,192)&lt;br /&gt;
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=== Controversy between literal translation and free translation===&lt;br /&gt;
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In different periods and different countries, people's views on translation theory have changed a lot, but the debate about literal translation and free translation has always existed.&lt;br /&gt;
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=== Controversy in Chinese Translation Community===&lt;br /&gt;
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Which is better, literal translation or free translation, has always been divided in Chinese translation community. This kind of controversy first occurred during the translation of Buddhist scriptures written in Sanskrit into Chinese. During the Wei, Jin, Southern and Northern Dynasties, the famous monk Dao An was the earliest representative of the literal translation in China. Dao An himself did not understand Sanskrit and was afraid that paraphrase would lose the maxims in Buddhist scriptures, so he advocated strict literal translation. (Wang Zhuan 1996,55)&lt;br /&gt;
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However, Kumarajiva from India, who was invited by Dao An, advocated free translation. On the basis of fully understanding the original thought content and artistic style, the translation was appropriately deleted. Although Dao An and Kumarajiva are also engaged in the translation of Buddhist scriptures, the translation methods they adhere to were very different. This divergence continued into the Tang Dynasty. Xuan Zang, as the most famous monk in the Tang Dynasty, proposed a translation method that was completely different from the previous two translation methods—a combination of literal translation and free translation.(Wang Zhuan 1996,55)&lt;br /&gt;
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The contradiction between modern literal translation and free translation may be due to the different understanding of these two translation methods. The translator Sun Guiding believes that: literal translation is stuck to the structure of the original text and does not consider whether the Chinese is fluent and natural; while free translation is to use the inherent Chinese idioms and the most natural words and sentences as much as possible to achieve the effect of conveying the meaning of the original text. (Feng Shujian 1993,44)&lt;br /&gt;
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Former President of Wuhan University, Du Zuozhou, believes that literal translation means translating word by word according to the original text; free translation means translating according to the meaning of the original text, and the translation is more suitable for the common grammar of the translated language. The educator Meng Xiancheng believes that literal translation is a translation technology with different degrees of correctness. Literal translation is a translation that is faithful and correct according to the original text; free translation is a translation that summarizes the original meaning. (Feng Shujian 1993,44)&lt;br /&gt;
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Zhu Guangqian said: &amp;quot;The so-called 'literal translation' refers to the literal translation based on the original text. Every word and sentence are translated word by word, and the order of the words and sentences is not changed. The so-called ‘paraphrasing’ is to express the meaning of the original text in Chinese, and it does not have to be completely based on the literal and order of the original text. &amp;quot; Feng Shize believes that &amp;quot;translation and literal translation are up-and-down relations; between literal translation and free translation is the left-right relationship. If the reversal of word order and other methods are free translation, then the definition of free translation is equal to translation, and there is no other translation besides free translation. &amp;quot;(Feng Shize 1981,10) &lt;br /&gt;
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The principle of &amp;quot;faithfulness, expressiveness and elegance&amp;quot; put forward by the modern Chinese translator Yan Fu has long been the basic principle guiding translation practice. A large number of beginners who learn foreign languages regard &amp;quot;faithfulness and expressiveness&amp;quot; as translations that are completely faithful to the original text when translating. In fact, Yan Fu's translation requirements are a guiding principle for translation based on semantics. When translating, if the structure and expression of the original text cannot be directly adopted, the sentence structure and expression must be changed according to the characteristics of the target language. (Feng Shujian 1993,44)&lt;br /&gt;
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In addition, there are many differences between the original language and the target language in the word order, grammar, variants and rhetoric in the translation process. In many cases, there is no direct corresponding word. This requires the translator to consider the actual semantics, background and other factors. On the basis of the original meaning of the sentence, use an appropriate method to convey the content of the original work and reproduce the language style of the original work.(Feng Shujian 1993,44)&lt;br /&gt;
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In the Soviet Union, under the influence of ideology, Western translation theories could not be widely disseminated, but within the Soviet Union, translation theories similar to Western translation theories have been formed and developed, and two main schools of translation theory have been further differentiated — Linguistic Translation School and Literary Translation School. To a certain extent, the dispute between these two schools also reflects the debate on literal translation and free translation among translators' groups. (Xie Yuncai 2002,99)&lt;br /&gt;
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In terms of the principles or standards of translation, the linguistic translation school believes that an ideal translation should be an equivalent translation, first of all linguistic correspondence, that is, the translation should have the same meaning as the corresponding language or discourse unit of the original; the literary translation school believes that translation pursues artistic correspondence, and linguistic correspondence must be subordinate to artistic correspondence. Therefore, it proposes that the aesthetic standards of translation should reproduce the artistic reality reflected by the unity of the original content and form. (Xie Yuncai 2002,99)&lt;br /&gt;
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The characteristic is to use images to translate images, that is, to create the same image in different languages. In 1953, Andrei Venediktovich Fedorov, the leader of the linguistic translation school, published his work &amp;quot;Summary of Translation Theory&amp;quot;, which was the first monograph of the Soviet Union to study translation theory from the perspective of linguistics. The author proposes that translation theory is a branch of linguistics. Since the translation of any genre work must rely on the comparison of two languages, translation problems can only be solved in the field of language. (Xie Yuncai 2002,99)&lt;br /&gt;
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Fedorov’s view was refuted by the literary translation school represented by Ivan Alexandrovich Kashikin. The literary translation school believes that aesthetic issues are the core of literary translation theory, and translation should be regarded as a form of language art, that is, translation should be studied from the perspective of literature and art. In fact, the literary translation school emphasizes the translation of literary and artistic works, which belongs to the specific translation theory; while the research of the linguistic translation school focuses on the general translation theory, that is, the translation of all thematic works including literary works. The dispute between the two major translation theory schools of Russia and the Soviet Union provides another perspective for Chinese translators to explore the relationship between literal translation and free translation.(Xie Yuncai 2002,99)&lt;br /&gt;
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=== The application of literal translation and free translation in the Chinese translation of Russian idioms ===&lt;br /&gt;
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The idioms of different nationalities are the most dynamic and expressive units at the lexical level in different languages, and they are also the units that can best reflect the characteristics of national culture in languages. The number of Russian idioms is extremely rich, it records and reflects all aspects of Russian national life. (Feng Yongmei 1999,97)&lt;br /&gt;
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Due to the great differences in geographical locations and living customs between China and Russia, the national cultures reflected in Chinese and Russian must be quite different. One of the difficulties in idiom translation is its imagery. When translating idioms, both the meaning and the image must be considered. Although the Chinese and Russian cultures are very different, many of the commonalities of mankind, such as emotion and natural environment, have created conditions for mutual communication, mutual understanding and idiom translation between different languages.(Feng Yongmei 1999,97)&lt;br /&gt;
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=== Literal translation ===&lt;br /&gt;
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Generally speaking, the literal translation method refers to a translation method that directly translates the original text without changing the language characteristics and style of the original text on the basis of fully respecting the meaning of the original text. Chinese translation of Russian idioms by literal translation method has the advantage of being able to intuitively and faithfully express the meaning of the idiom, maintaining the unique style and imagery of the original text: the disadvantage is that the translated idiom may not be understood by the Chinese because of China and Russia have different historical, cultural backgrounds, grammatical structures, and language world landscapes, which can easily form obstacles in the process of understanding.(Zhou Changyu 2010,34)&lt;br /&gt;
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Translating Russian idioms by literal translation is further divided into two methods — literal translation into Chinese idioms and literal translation into non-idiom sentences or words.&lt;br /&gt;
&lt;br /&gt;
Literal translation of Russian idioms into Chinese idioms is suitable for the translation of Russian and Chinese idioms that are completely equivalent in image, structure, and meaning. The advantage is that it is easy to understand, and the translation is simple and fast.(Feng Yongmei 1999,98) E.g:&lt;br /&gt;
&lt;br /&gt;
домашнего  (своего) вора не убережешься. 家贼难防&lt;br /&gt;
&lt;br /&gt;
знать как свои пять пальцев (видно, как на ладони) 了如指掌&lt;br /&gt;
&lt;br /&gt;
подлить масла в огонь 火上浇油&lt;br /&gt;
&lt;br /&gt;
как рыба в воде 如鱼得水&lt;br /&gt;
&lt;br /&gt;
как ножом по сердцу 心如刀割&lt;br /&gt;
&lt;br /&gt;
как гром среди ясного неба 晴天霹雳&lt;br /&gt;
&lt;br /&gt;
на добро отвечают добром 善有善报&lt;br /&gt;
&lt;br /&gt;
копейка рубль бережет 财从细起&lt;br /&gt;
&lt;br /&gt;
мечты сбываются 梦想成真&lt;br /&gt;
&lt;br /&gt;
курица всегда следует за петухом 嫁鸡随鸡&lt;br /&gt;
&lt;br /&gt;
чего мало, того и дорого  (дорого то, что мало) 物以稀为贵(12)&lt;br /&gt;
&lt;br /&gt;
изгонять яд с помощью яда 以毒攻毒&lt;br /&gt;
&lt;br /&gt;
сидеть как на иголках 如坐针毡&lt;br /&gt;
&lt;br /&gt;
действия громче слов 事实胜于雄辩&lt;br /&gt;
&lt;br /&gt;
зарыть талант в землю 埋没人才&lt;br /&gt;
&lt;br /&gt;
висеть на волоске 千钧一发&lt;br /&gt;
&lt;br /&gt;
лить как из ведра 倾盆大雨(Wang Fuxiang, Wu Hanying 2014)&lt;br /&gt;
&lt;br /&gt;
The idioms in the above examples are completely equivalent in image, structure or meaning in Russian and Chinese, so Chinese idioms can be used for literal translation.  &lt;br /&gt;
&lt;br /&gt;
In fact, in the two languages, idioms with the same image, structure, and meaning are still in the minority, so it is more common to translate Russian idioms into non-Chinese idiom sentences or vocabulary. E.g:   &lt;br /&gt;
&lt;br /&gt;
настоять на своем 坚持自己&lt;br /&gt;
&lt;br /&gt;
камень с души свалился 心里的一块石头落地&lt;br /&gt;
&lt;br /&gt;
связать свою судьбу 把自己的命运与……相连&lt;br /&gt;
&lt;br /&gt;
быть на голову 高出一头&lt;br /&gt;
&lt;br /&gt;
вбивать в голову 往脑子里灌&lt;br /&gt;
&lt;br /&gt;
блеснуть метеором 像流星一样一闪而过&lt;br /&gt;
&lt;br /&gt;
с мизинец 小拇指这么大(Wang Fuxiang, Wu Hanying 2014)&lt;br /&gt;
&lt;br /&gt;
It is not difficult to find that the literal translation method can completely retain the original appearance of the idiom, show the common concept of human understanding of the world, and be beneficial to the cultural exchange between China and Russia.&lt;br /&gt;
&lt;br /&gt;
=== Free translation ===&lt;br /&gt;
&lt;br /&gt;
Another method commonly used in the Chinese translation of Russian idioms is free translation. Vocabulary gaps between languages are a common phenomenon, causing many difficulties for translation. There are many reasons for the vacancy of vocabulary, such as cultural reasons such as life experience, customs, religious beliefs, and linguistic reasons. There are roughly two ways to fill the language gaps — paraphrasing by replacing the image.and discarding images for free translation.(Feng Yongmei 1999,98)&lt;br /&gt;
&lt;br /&gt;
Russian says &amp;quot;Два медведя в одной берлоге не уживутся (一个洞穴容不下两头熊).&amp;quot;, while Chinese says &amp;quot;一山不容二虎&amp;quot;. Another example is &amp;quot;Скатерть со стола, и дружба сплыла (桌布一收，友谊不再) &amp;quot; in Russian, and &amp;quot;人走茶凉&amp;quot; in Chinese.(Wang Fuxiang, Wu Hanying 2014) This method belongs to paraphrasing by replacing the image.&lt;br /&gt;
&lt;br /&gt;
For the &amp;quot;harmony&amp;quot; of the translation, sometimes the translator has to choose to abandon the image for free translation. This is determined by both cultural and linguistic factors. Some linguistic features cannot be translated, and some idioms themselves are not strong enough. In this case, if Choosing a literal translation method will make readers confused.(Hu Guming, Shen Man 2011,18) E.g:&lt;br /&gt;
Как женился я на вашей матери да взял вот этот домишко в приданье, так думал, что богаче да лучше меня и людей нет, фертом ходил! (А. Островский)&lt;br /&gt;
我和你母亲一成亲，就得到了这栋作为陪嫁的屋子，当时我心想，再没有人比我更富足、更好的了。我那时可真是双手叉腰、得意洋洋的。&lt;br /&gt;
“Фертом” is the name of the letter “Ф” in ancient times.Its shape is like a person with hands on hips, and “фертом ходить” is an idiom evolved from body language. The cultural meaning of this idiom is &amp;quot;神气十足、得意洋洋、威武自负的样子&amp;quot; . The translation uses other idioms to complement the missing images in Chinese, clarify the meaning of the idiom, and convey the emotional color contained in the original idiom.(Hu Guming, Shen Man 2011,19)&lt;br /&gt;
&lt;br /&gt;
The idioms in a certain language are fixed and unchanged after long-term use and tempering, but the frequency of each idiom is different. Some idioms are universally used by the whole people, spread and used in a wide range, while some idioms are only used in written styles. In Russian literature, there are improved precise and interesting idioms. For example, in the works of the famous Russian fable writer Krylov, there are reduced idioms, such as “ медвежья услуга”（直译：熊的帮忙；意译：帮倒忙）， “ сильнее кошки зверя нет”（直译：再没有比猫更厉害的野兽；意译：井底之蛙）， “ зелен как виноград”（直译：葡萄还很青；意译：年轻人没经验).(Wang Fuxiang, Wu Hanying 2014) When translating literature, translators often need to learn cultural background knowledge, replace the image in the original idiom, and then convey it to Chinese readers.&lt;br /&gt;
Crows are a very common animal, usually black and gray. The description of crows in Chinese idioms is &amp;quot;the crows in the world are generally black（天下乌鸦一般黑）&amp;quot;. It can be seen that white crows are rare. However, &amp;quot;белая ворона&amp;quot; often appears in Russian literary works, as a metaphor for people who are different from the masses in terms of external characteristics or ideological qualities. In the Chinese and Russian concepts, the crow is a nasty animal. Although white crows are rare, this Russian idiom is usually derogatory, expressing disdain, contempt, or ridicule against the person. In Chinese, animal images are also used as a metaphor for &amp;quot;different people&amp;quot;, such as idioms that stand out from the crowd and phoenix feathers are rare. &amp;quot;Crane&amp;quot; and &amp;quot;phoenix&amp;quot; have always been regarded as precious and noble animals in traditional Chinese culture, so they cannot be compared with &amp;quot; Corresponding to &amp;quot;White Crow&amp;quot;, it is not suitable for translating &amp;quot;белая ворона&amp;quot;. Examples are as follows:&lt;br /&gt;
Он замкнулся, не вдается в разговоры — вот вам и белая ворона.（Сталин)&lt;br /&gt;
直译：他不与人交往，不与人交流，真是一只白乌鸦。&lt;br /&gt;
意译：他不与人交往，不与人交流，真是与众不同。&lt;br /&gt;
Боишься, что они среди нас белой вороной окажется. Недосягаемым экземпляром.(Кожевников В “Корни и крона”)&lt;br /&gt;
直译：你是担心他们会变成我们中间的白乌鸦，一个无法达到的例子。&lt;br /&gt;
意译：你是担心他们会变成我们中间标新立异，望尘莫及的人。&lt;br /&gt;
Most Chinese who come into contact with Russian are students majoring in Russian. The Russian idioms we usually encounter appear in textbooks. These idioms are often used by the Russian public and are easily understood and accepted by the Chinese. E.g:&lt;br /&gt;
&lt;br /&gt;
В Тулу со свим самоваром не ездят.&lt;br /&gt;
直译：去图拉不用带自己的茶炊。&lt;br /&gt;
意译：多此一举&lt;br /&gt;
&lt;br /&gt;
Честь лучше бесчестья.&lt;br /&gt;
直译：尊重比不尊重好。&lt;br /&gt;
意译：礼多人不怪。&lt;br /&gt;
&lt;br /&gt;
словно горя с плеч&lt;br /&gt;
直译：把山从肩膀下卸下&lt;br /&gt;
意译：如释重负&lt;br /&gt;
&lt;br /&gt;
выеденного яйца не стоит&lt;br /&gt;
直译：一个空蛋壳不值钱&lt;br /&gt;
意译：鸡毛蒜皮，一文不值&lt;br /&gt;
&lt;br /&gt;
чужими руками жар загребать&lt;br /&gt;
直译：用别人的手将红炭火拨成一堆&lt;br /&gt;
意译：坐享其成，不劳而获&lt;br /&gt;
&lt;br /&gt;
ни рыба, ни мясо&lt;br /&gt;
直译：没有鱼也没有肉&lt;br /&gt;
意译：不三不四，不伦不类&lt;br /&gt;
&lt;br /&gt;
лучше синица в руках, чем журавль в небе&lt;br /&gt;
直译：天上的仙鹤不如手中的山雀&lt;br /&gt;
意译：远亲不如近邻&lt;br /&gt;
&lt;br /&gt;
На языке мед, а под лед&lt;br /&gt;
直译：嘴上甜得像蜂蜜，心里冷得像冰&lt;br /&gt;
意译：笑里藏刀&lt;br /&gt;
&lt;br /&gt;
И на солнце есть пятна&lt;br /&gt;
直译：太阳上也有黑点&lt;br /&gt;
意译：人无完人&lt;br /&gt;
&lt;br /&gt;
семь раз отмерь, один раз отрежь&lt;br /&gt;
直译：测量了七次后再剪裁&lt;br /&gt;
意译：三思而后行(Wang Fuxiang, Wu Hanying 2014)&lt;br /&gt;
&lt;br /&gt;
Using free translation to translate Russian idioms requires the translator to accurately understand the meaning of the original text, because cultural differences make it impossible to literally translate. Only through the translator can an unobstructed bridge between Russian idioms and Chinese idioms be built.&lt;br /&gt;
&lt;br /&gt;
=== The application of literal translation and free translation in the Chinese translation of Russian proverbs ===&lt;br /&gt;
&lt;br /&gt;
There are often multiple translations of the same Russian proverb in Russian-Chinese dictionaries. On the one hand, because the translator uses different translation methods; on the other hand, because Russian proverbs have very rich connotations, a translation cannot perfectly interpret the inner meaning of the proverb. According to the context and the connotation of the proverbs, the most commonly used methods of Chinese translation of Russian proverbs are literal translation and free translation.(Feng Yongmei 1999,98)&lt;br /&gt;
&lt;br /&gt;
=== Literal translation ===&lt;br /&gt;
&lt;br /&gt;
In Russian and Chinese languages, some proverbs not only have the same meaning or implicit meaning, but also use the same or similar figurative images to express a certain kind of the same semantics, and they are completely consistent in content and form. In this case, the equivalent translation of synonymous Chinese proverbs can convey the information contained in the original image, which not only retains the rhetorical color of the original language, but also enables the reader to perfectly understand the original text. E.g:&lt;br /&gt;
&lt;br /&gt;
In Russian and Chinese languages, some proverbs not only have the same meaning or implicit meaning, but also use the same or similar figurative images to express a certain kind of the same semantics, and they are completely consistent in content and form. In this case, the equivalent translation of synonymous Chinese proverbs can convey the information contained in the original image, which not only retains the rhetorical color of the original language, but also enables the reader to perfectly understand the original text. The other situation is the experience that the Russians summed up in their long labor and life, which has evolved into a proverb, but the Chinese have not summed up this experience, so translating Russian proverbs into Chinese literally, Chinese people can understand them at a glance and increase their knowledge of the world. E.g:&lt;br /&gt;
&lt;br /&gt;
Беда не приходит одна. 祸不单行。&lt;br /&gt;
&lt;br /&gt;
Век живи, век учись. 活到老，学到老。&lt;br /&gt;
&lt;br /&gt;
Выше встанешь, дальше увидишь. 站得高，看得远。&lt;br /&gt;
&lt;br /&gt;
Лучше один раз увидеть, чем сто раз услышать. 百闻不如一见。&lt;br /&gt;
&lt;br /&gt;
Береги платье снову, а честь смолоду. 衣服要从新的时候爱惜，荣誉要从年轻时珍惜。&lt;br /&gt;
&lt;br /&gt;
Выше лба уши не растут. 耳朵高不过额头。&lt;br /&gt;
&lt;br /&gt;
Для милого друга семь верст не околица. 为了好友，多绕七里也不嫌远。&lt;br /&gt;
&lt;br /&gt;
Лучше умереть стоя, чем жить на коленях. 宁愿站着死，绝不站着生。&lt;br /&gt;
&lt;br /&gt;
Не имей сто рублей, а имей сто друзей. 宁要一百个朋友，不要一百个卢布。&lt;br /&gt;
&lt;br /&gt;
По одежке встречают, по уму провожают. 迎客时看衣，送客时看才智。(Jia Sufen 1996)&lt;br /&gt;
&lt;br /&gt;
There is another situation where the literal translation method can be used. Although the image in Russian proverbs is different from the commonly used images in Chinese, it is also easy to understand. For example, &amp;quot;Молодец против овец, а против молодца — сам овца.&amp;quot; In fact, this proverb can be paraphrased as &amp;quot;欺软怕硬 &amp;quot;, but in this way the translation discards the lively literal meaning of the original text. On the other hand, it is literally translated as &amp;quot;见到绵羊充好汉，碰到好汉成绵羊&amp;quot; , on the basis of retaining the original image, readers can easily understand the meaning of the original proverb. Another example is &amp;quot;Заяц от лисицы, а лягушка от зайца бежит. &amp;quot; can be translated as &amp;quot;一物降一物&amp;quot;, but the image in the original text was completely abandoned, if it is literally translated as &amp;quot;one thing drops one thing &amp;quot;狐惊兔，兔惊蛙&amp;quot;, this kind of translation is not only simple and clear, but also in line with the aesthetics of Chinese proverbs. In general, the literal translation not only retains the symmetrical rhetorical techniques in the original sentence, but also retains the symmetrical beauty of the original sentence structure. It not only conforms to the aesthetic characteristics of the original Russian text, but also shows the beauty of phonology and structure in Chinese.(Jia Sufen 1996)&lt;br /&gt;
&lt;br /&gt;
The translation of Russian proverbs by literal translation not only maintains the original language, but also transplants the unique image language of Russian proverbs into Chinese, which not only expands the horizons of Chinese readers, but also enriches the way of expression in Chinese.&lt;br /&gt;
&lt;br /&gt;
=== Free translation ===&lt;br /&gt;
&lt;br /&gt;
Due to the influence of cultural factors, many Russian and Chinese proverbs expressing the same semantics use different metaphors. Some Russian proverbs are difficult to retain the original image in the process of translation into Chinese. If literally translated according to the original image, due to the different national and cultural backgrounds of China and Russia, the translation is difficult to be accepted by the Chinese, and even misunderstood may occur. In order to accurately convey the meaning of the original text to readers, we can readjust the structure of the original text on the basis of a correct understanding of the meaning of the original text, and use standard Chinese expressions to reproduce Russian proverbs to avoid ambiguity and misunderstanding.&lt;br /&gt;
&lt;br /&gt;
There are some elements used in proverbs that foreigners cannot understand. For example, the Russian proverb &amp;quot;В огороде бузина, а в Киеве дядька.&amp;quot; is literally translated as &amp;quot;菜园里长接骨木，而基辅里住叔叔&amp;quot;, which cannot be understood by the Chinese. The four elements “огород” “бузина” “Киева” “дядька”, which contained in this proverb are completely unrelated. In fact, this proverb means that there is no logical relationship between what someone says, and the translator can directly paraphrase it as &amp;quot;胡说八道&amp;quot;, &amp;quot;前言不搭后语&amp;quot; or more easily understood &amp;quot;满嘴跑火车&amp;quot;. Another example is &amp;quot;На воре шапка горит.&amp;quot; literally means &amp;quot;the hat on the thief's head is on fire&amp;quot;. In fact, this proverb originated from a short story in the Kievan Rus period: someone’s money bag disappeared and he shouted &amp;quot;Catch the thief&amp;quot;, but no one knew where the thief was. This man had an idea and shouted, &amp;quot;The thief's hat is on fire.&amp;quot; After hearing this, the thief touched his hat unconsciously and exposed himself. Therefore, &amp;quot;На воре шапка горит.&amp;quot; can be paraphrased as &amp;quot;不打自招&amp;quot; or &amp;quot;做贼心虚.&amp;quot;(Jia Sufen 1996)&lt;br /&gt;
&lt;br /&gt;
Есть несколько русских пословиц, которые больше подходят для вольного перевода:&lt;br /&gt;
&lt;br /&gt;
От труда- радость, от безделья- усталость.&lt;br /&gt;
直译：快乐从劳动中来，疲劳从闲散中来。&lt;br /&gt;
意译：劳动使人快乐。&lt;br /&gt;
&lt;br /&gt;
Баба с возу- кобыле легче.&lt;br /&gt;
直译：农妇下了车，马儿就轻松。&lt;br /&gt;
意译：求之不得&lt;br /&gt;
&lt;br /&gt;
Герой не моего романа.&lt;br /&gt;
直译：不是我小说中的主人公。&lt;br /&gt;
意译：不是我的意中人。&lt;br /&gt;
&lt;br /&gt;
Терпенье (ученье\уменье) и труд всё перетрут.&lt;br /&gt;
直译：耐心和勤劳能克服一切。&lt;br /&gt;
意译：锲而不舍，金石可镂（只要功夫深，铁杵磨成针）。&lt;br /&gt;
&lt;br /&gt;
Чтобы узнать человека, надо с ним пуд соль съесть.&lt;br /&gt;
直译：想要了解一个人，应该和他吃一普特盐。&lt;br /&gt;
意译：日久见人心。&lt;br /&gt;
&lt;br /&gt;
Посади свинью за стол — она и ноги на стол.&lt;br /&gt;
直译：让猪入席，它会把爪子也伸上来。&lt;br /&gt;
意译：得寸进尺。&lt;br /&gt;
&lt;br /&gt;
Черного кобеля не отмоешь добела.&lt;br /&gt;
直译：黑色的狗洗不白。&lt;br /&gt;
意译：本性难改。&lt;br /&gt;
&lt;br /&gt;
Конь о четырех ногах, да спотыкается.&lt;br /&gt;
直译：马有四条腿，也会摔倒。&lt;br /&gt;
意译：聪明一世，糊涂一时。&lt;br /&gt;
&lt;br /&gt;
За что купил, за то и продаю.&lt;br /&gt;
直译：怎么买来，怎么卖出。&lt;br /&gt;
意译：人云亦云。&lt;br /&gt;
&lt;br /&gt;
Обжегшись на молоке, дуешь на воду.&lt;br /&gt;
直译：一旦被牛奶烫，喝水也要吹一吹。&lt;br /&gt;
意译：一种被蛇咬，十年怕井绳。(Jia Sufen 1996)&lt;br /&gt;
&lt;br /&gt;
=== Conclusion ===&lt;br /&gt;
 &lt;br /&gt;
In the process of translation, translators often feel that there are a lot of contradictions and differences between the two languages in terms of lexical structure, syntactic structure, expression methods and metaphors. In many cases, translators understand the original meaning but do not know how to express it in the target language, which leads to the debate about which is better, literal translation or free translation. When translators translate works that are more contradictory between bilinguals, translators often use free translation methods. When translating works that are consistent or have more common points than contradictions or conflicts between bilinguals, translators tend to choose literal translation .&lt;br /&gt;
&lt;br /&gt;
In fact, the relationship between literal translation and free translation is interdependent and inseparable. Therefore, when we translate an article or a book, it is not feasible to translate every sentence literally or freely. Only when the translator cleverly arranges the alternation of the two can it be possible to translate a better translation. When we comment on literal translation and free translation, we should consider the effects of the division of labor and cooperation between the two, and should not one-sidedly understand the advantages and disadvantages of literal translation and meaning.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
=== References ===&lt;br /&gt;
&lt;br /&gt;
*Cai Yi, Duan Jinghua. 蔡毅，段京华. (2000). 苏联翻译理论. [Soviet Translation Theory]. 武汉: 湖北教育出版社[Wuhan: Hubei Education Press].&lt;br /&gt;
*Feng Shize. 冯世则. (1981). 直译、意译、逐字译. [Literal Translation, Free Translation, Verbatim Translation]. 中国翻译[Chinese Translators Journal] 7-10.&lt;br /&gt;
*Feng Shujian. 冯树鉴. (1993). 意译与直译笔谈. [Written Free Translation and Literal Translation]. 外语学刊[Foreign Language Research] 43-47.&lt;br /&gt;
*Feng Yongmei. 冯咏梅. (1999). 浅谈俄语成语翻译中民族文化特色的保留. [On the Preservation of National Cultural Characteristics in Russian Idiom Translation]. 解放军外国语学院学报[Journal of PLA Foreign Languages University] 97-100.&lt;br /&gt;
*Gong Linjing. 宫琳菁. (2015). 直译与意译——中国近现代代表人物观点之概述. [Literal Translation and Free Translation: An Overview of the Viewpoints of Representatives in Modern China]. 赤峰学院学报（汉文哲学社会科学版）[Journal of Chifeng University (Soc.Sci)] 192-193.&lt;br /&gt;
*Hu Guming, Shen Man. 胡谷明, 沈曼. (2011). 汉俄翻译中文化空缺词汇的翻译策略.[The Translation Strategies of Cultural Vacancies in Chinese-Russian Translation]. 中国俄语教学[Russian in China] 17-21.&lt;br /&gt;
*Jia Shufen. 贾淑芬. (1996). 简明俄汉谚语词典. [Concise Russian-Chinese Proverbs Dictionary]. 沈阳: 辽宁大学出版社[Shenyang: Liaoning University Publishing House].&lt;br /&gt;
*Li Quan’an. 李全安. (1990). 直译与意译之争是一场什么样的争论. [What kind of controversy is the dispute between literal translation and free translation]. 中国翻译[Chinese Translators Journal] 18-22.&lt;br /&gt;
*Tan Zaixi. 谭载喜. (1999). 中西译论的相似性.[Similarities between Chinese and Western Translation Theories]. 中国翻译[Chinese Translators Journal] 25-28.&lt;br /&gt;
*Wang Fuxiang, Wu Hanying. 王福祥,吴汉樱. (2014). 东方大学俄语系列：迷你俄语成语词典. [Oriental University Russian Series: Mini Dictionary of Russian Idioms]. 外语教学与研究出版社[Foreign Language Teaching and Research Press]&lt;br /&gt;
*Wang Zhuang. 王转. (1996). 直译与意译漫谈. [On Literal Translation and Free Translation]. 湖南教育学院学报[Journal of Educational Institute] 55-60.&lt;br /&gt;
*Xie Yuncai. 谢云才. (2002). 俄罗斯翻译理论的语言学派与文艺学派——两派文学翻译理论对比分析. [Linguistic Schools and Literary Schools of Russian Translation Theory: A Comparative Analysis of the Two Schools of Literary Translation Theories]. 外语学刊[Foreign Language Research] 97-101.&lt;br /&gt;
*Yang Shizhang. 杨仕章. (2002). 俄语现代翻译理论之概述. [An Overview of Russian Modern Translation Theory]. 解放军外国语学院学报[Journal of PLA Foreign Languages University] 62-65.&lt;br /&gt;
*Zhang Yi. 张艺. (2010). 从目的论看直译与意译之争. [The Controversy between Literal Translation and Free Translation from Skopos Theory]. 海外英语[Overseas English] 189-190.&lt;br /&gt;
*Zhou Changyu. 周长雨. (2010). 俄语谚语的翻译方法. [How to translate Russian proverbs]. 俄语学习[Russian Learning] 33-36.&lt;br /&gt;
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==Dialectical thinking in arguments between literal translation and free translation 	甘奉玉	Gan Fengyu  202070080584 英语笔译==&lt;br /&gt;
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===Abstract===&lt;br /&gt;
As two methods of translation, how to use literal translation and free translation has always been the focus of debate between Chinese and Western translation circles. Through the study of translation methods of literal translation and free translation at home and abroad, we can know that to some extent literal translation and free translation are two relative conceptions, so there will be word-for-word translation, that is, dead translation, and excessive free translation. However, these two are only two extremes of literal translation and free translation. In fact, although there are differences in definitions and application fields between literal translation and free translation, they are unified in common translation purpose, translation procedure and translation standard. Therefore, the two are contradictory and unified in translation activities. This is also the profound embodiment of the unity of opposites in materialist dialectics.&lt;br /&gt;
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As two methods of translation, how to use literal translation and free translation has always been the focus of debate between Chinese and Western translation circles. Through the study of translation methods of literal translation and free translation at home and abroad, we can know that to some extent literal translation and free translation are two relative conceptions, so there will be word-for-word translation, that is, dead translation, and excessive free translation. However, these two are only two extremes of literal translation and free translation. In fact, although there are differences in definitions and application fields between literal translation and free translation, they are unified in common translation purpose, translation procedure and translation standard. Therefore, the two are contradictory and unified in translation activities. This is also a profound embodiment of the unity of opposites in materialist dialectics.--[[User:Ding Daifeng|Ding Daifeng]] ([[User talk:Ding Daifeng|talk]]) 03:56, 17 December 2020 (UTC)&lt;br /&gt;
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===Key words===&lt;br /&gt;
literal translation, free translation, word-for-word translation, over free translation, unity of opposites&lt;br /&gt;
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===摘要===&lt;br /&gt;
作为翻译方法，直译(literal translation)与意译(free translation)怎样使用的问题一直是一个争论中西方翻译界不休的焦点。通过对国内外直译与意译的翻译方法的研究，我们可以得知，从某种程度而言，直译与意译是两个相对的概念, 所以才会有逐字翻译，即死译，与过度意译这两个完全对立的概念。但是，这两者只不过是直译与意译的两个极端点。其实，直译和意译虽然在概念定义，适用范围上有所差异，但却又统一于共同的翻译目的、翻译过程和翻译标准中。所以两者在翻译活动中应该是既对立又统一的矛盾体。而这也正是唯物辩证法中的对立统一矛盾观的深刻体现.&lt;br /&gt;
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作为翻译方法，怎样使用直译(literal translation)与意译(free translation)一直是中西方翻译界争论不休的一个焦点。通过对国内外直译与意译的翻译方法的研究，我们可以得知，从某种程度而言，直译与意译是两个相对的概念, 所以才会有逐字翻译，即死译，与过度意译这两个完全对立的概念。但是，这两者只不过是直译与意译的两个极端点。其实，直译和意译虽然在定义，适用范围上有所差异，但却又统一于共同的翻译目的、翻译过程和翻译标准中，所以两者在翻译活动中应该是既对立又统一的矛盾体。而这也正是唯物辩证法中的对立统一矛盾观的深刻体现。--[[User:Ding Daifeng|Ding Daifeng]] ([[User talk:Ding Daifeng|talk]]) 03:56, 17 December 2020 (UTC)&lt;br /&gt;
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===关键字===&lt;br /&gt;
直译； 意译； 死译； 过度意译； 对立统一&lt;br /&gt;
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===Introduction===&lt;br /&gt;
Throughout the translation history at home and abroad, the literal translation and free translation have always been a heat discussion in the translation circles. Someone absolutely approve literal translation and demean free translation, even pursue a dead translation, which creates an translated text difficult to understand. While some other people absolutely agree with free translation even advocate random acts, which means a random deletion in the translation practices and creates anther entirely different text. However, there are also a number of translators who have recognized that these two translation methods are not totally opposite. So they adopt a compromise and flexible way. That means they will choose the most appropriate one depending on the text demanding. Therefore, we can deduce from it that this eclectic translation is consistent with the Contradiction view of Unity of Opposite in Materialist Dialectics. In fact, literal translation and free translation are right a set of contradictions which are both opposite and unified. They complement each other into an integral one.&lt;br /&gt;
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Throughout the translation history at home and abroad, the literal translation and free translation have always sparked a heated discussion in the translation circles. Someone absolutely approve literal translation and demean free translation, even pursue dead translation, which creates an translated text difficult to understand. While some people absolutely agree with free translation even advocate random acts, which means a random deletion in the translation practices and creates another entirely different text. However, there are also a number of translators who have recognized that these two translation methods are not totally opposite. So they adopt a compromise and flexible way. That means they will choose the most appropriate one depending on the text's demand. Therefore, we can deduce from it that this eclectic translation is consistent with the Contradiction View of Unity of Opposite in Materialist Dialectics. In fact, literal translation and free translation are a set of contradictions which are both opposite and unified. They complement each other into an integral one.--[[User:Ding Daifeng|Ding Daifeng]] ([[User talk:Ding Daifeng|talk]]) 03:56, 17 December 2020 (UTC)&lt;br /&gt;
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The dispute between free translation and literal translation in Chinese translation circles first appeared in the dispute of &amp;quot;text&amp;quot; and &amp;quot;quality&amp;quot; in the Eastern Han Dynasty. During this period, Shi Dao-an, a senior monk in the Eastern Jin Dynasty, advocated literal translation and put forward that the translation should not be added or deleted but only make some adjustments to the word order. In the post-Qin period opposed to the Eastern Jin Dynasty, the monk Hatoyama advocated that the Buddhist scriptures should be translated freely. That is, the original text should be changed to adapt to the Chinese style. Subsequently, Xuanzang, a senior monk of the Tang Dynasty, drew lessons from their former translation achievements and put forward that both seeking truth and vulgarity. (Chen Fukang 2011, 14-38)That is, literal translation should be combined with free translation, not only one of them. At that time, some translators have noticed that literal translation and free translation are not completely opposite. After that, in modern times from the Opium War to the May 4th Movement, since Yan Fu has put forward the translation standard of faith, smoothness and elegance,  Lu Xun and Qu Qiubai ignited the dispute on faith and smoothness. Lu Xun is a typical literal translation school. He insists that faith first and smoothness second even tolerates incoherence. He adopts the method of dead translation and absolute translation. While Qu Qiubai believes that faith and smoothness are not opposed. From the New culture Movement(from 1915-1923) to the 1980s, Mao Dun also put forward that literal translation doesn't mean word-for-word translation without any addition or deletion. Since the reform and opening up, Xu Yuanchong has said that literal translation should be faithful to the original content first then to the original form and last to the smooth translated text. On the other hand, while free translation should be faithful to the original text first then to the smooth translated text and last to the original form. Therefore, although there are differences in translation methods between literal translation and free translation, their ultimate goal is to be faithful to the original content and express the original meaning.（Chen Fukang 2011, 288-333）&lt;br /&gt;
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The dispute between free translation and literal translation in Chinese translation circle first appeared in the dispute of &amp;quot;text&amp;quot; and &amp;quot;quality&amp;quot; in the Eastern Han Dynasty. During this period, Shi Dao-an, a senior monk in the Eastern Jin Dynasty, advocated literal translation and put forward that the translation should not be added or deleted but only make some adjustments to the word order. In the post-Qin period opposed to the Eastern Jin Dynasty, the monk Hatoyama advocated that the Buddhist scriptures should be translated freely. That is, the original text should be changed to adapt to the Chinese style. Subsequently, Xuanzang, a senior monk of the Tang Dynasty, drew lessons from their former translation achievements and put forward that we should seek both truth and vulgarity.(Chen Fukang 2011, 14-38) That is, literal translation should be combined with free translation, not only using one of them. At that time, some translators have noticed that literal translation and free translation are not completely opposite. After that, in modern times from the Opium War to the May 4th Movement, since Yan Fu has put forward the translation standard of faith, smoothness and elegance, Lu Xun and Qu Qiubai ignited the dispute on faith and smoothness. Lu Xun is a representative of literal translation school. He insists faith first and smoothness second and even tolerates incoherence. He adopts the method of dead translation and absolute translation. While Qu Qiubai believes that faith and smoothness are not opposite. From the New Culture Movement(1915-1923) to the 1980s, Mao Dun also put forward that literal translation doesn't mean word-for-word translation without any addition or deletion. Since the reform and opening up, Xu Yuanchong has said that literal translation should be faithful to the original content first then to the original form and last to the smooth translated text. On the other hand, while free translation should make the translation be faithful to the original text first then to the smooth translated text and last to the original form. Therefore, although there are differences in translation methods between literal translation and free translation, their ultimate goal is to be faithful to the original content and express the original meaning.（Chen Fukang 2011, 288-333）--[[User:Ding Daifeng|Ding Daifeng]] ([[User talk:Ding Daifeng|talk]]) 03:56, 17 December 2020 (UTC)&lt;br /&gt;
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Since Cicero, the first translation theorist in ancient China, put forward that avoid word-by-word translation as a speaker, the dispute between literal translation and free translation began to appear in the West. In ancient times, Perot insisted on dead translation in the translation of the Bible, which caused the translation quality to be too low. Poitius in the Middle Ages also advocated word-by-word translation and strict formal correspondence. In modern times, French translator Abulangour aimed to cater to readers in a way of over-free translation and arbitrary deletion. Even so, there are many translation theorists in the western translation world who advocated  eclectic and flexible translation. For example, in ancient times, Jerome advocated the flexible principle to apply in literary translation and religious translation differently. During the Renaissance, French Amyot emphasized the dialectical unity of content and form, free translation and literal translation. Moreover, some translators did not exercise their own translation ideas. During the Renaissance, Reichlin was one of them. Although he advocated word-by-word translation, he abandoned word-by-word translation in practice. This can also further explain that absolute promotion of literal translation or free translation is not a desirable translation method. In translation practice, we must take a suitable degree between the two in the way of combining literal translation and free translation at the same time to better serve for the target readers.(Tan Zaixi 2004, 5-15 )&lt;br /&gt;
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Since Cicero, the first translation theorist in the western world, put forward that we should avoid word-by-word translation as a speaker, the dispute between literal translation and free translation began to appear in the West. In ancient times, Perot insisted on dead translation in the translation of the Bible, which greatly affected the translation quality. Poitius in the Middle Ages also advocated word-by-word translation and strict formal correspondence. In modern times, French translator Abulangour aimed to cater to readers in a way of over-free translation and arbitrary deletion. Even so, there are many translation theorists in the western translation world who advocated  eclectic and flexible translation. For example, in ancient times, Jerome advocated the flexible principle to apply in literary translation and religious translation differently. During the Renaissance, French Amyot emphasized the dialectical unity of content and form, free translation and literal translation. Moreover, some translators did not exercise their own translation ideas. During the Renaissance, Reichlin was one of them. Although he advocated word-by-word translation, he abandoned word-by-word translation in practice. This can also further explain that absolute promotion of literal translation or free translation is not a desirable translation method. In translation practice, we must take a suitable degree in the way of combining literal translation and free translation to better serve for the target readers.(Tan Zaixi 2004, 5-15 )--[[User:Ding Daifeng|Ding Daifeng]] ([[User talk:Ding Daifeng|talk]]) 03:56, 17 December 2020 (UTC)&lt;br /&gt;
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The purpose of this paper is to explore the dialectical thinking contained in the dispute between literal translation and free translation, that is, the viewpoint of unity of opposites. The first chapter is about the word-for-word translation, and the second chapter is about the over-free translation. From this, we can draw a conclusion that it is not advisable to regard literal translation and free translation as absolute opposites. The third chapter is about the eclectic translation, which is the correct method for us to learn and adopt. It is also a dialectical translation method that follows the view of unity of opposites. The fourth chapter will analyze the differences between literal translation and free translation. Then the fifth chapter focuses on the unity of literal translation and free translation in translation goals, translation procedures and translation standards. Through the discussion of the whole article, we can clearly see the unity of opposites between literal translation and free translation and draw a conclusion that we should apply dialectical translation in our translation practice and adopt the point of view of unity of opposites in translation theory. (He Lirong 2018, 40)&lt;br /&gt;
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The purpose of this paper is to explore the dialectical thinking contained in the dispute between literal translation and free translation, that is, the viewpoint of unity of opposites. The first chapter is about the word-for-word translation, and the second chapter is about the over-free translation. From this, we can draw a conclusion that it is not advisable to regard literal translation and free translation as absolute opposites. The third chapter is about the eclectic translation, which is the correct method for us to learn and adopt. It is also a dialectical translation method that follows the view of unity of opposites. The fourth chapter will analyze the differences between literal translation and free translation. Then the fifth chapter focuses on the unity of literal translation and free translation in translation goals, translation procedures and translation standards. Through the discussion of the whole article, we can clearly see the unity of opposites between literal translation and free translation and draw a conclusion that we should apply dialectical translation in our translation practice and adopt the point of view of unity of opposites in translation theory. (He Lirong 2018, 40)--[[User:Ding Daifeng|Ding Daifeng]] ([[User talk:Ding Daifeng|talk]]) 05:06, 17 December 2020 (UTC)&lt;br /&gt;
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===1.Dialectic thinking of the Unity of opposites===&lt;br /&gt;
The theory of unity of opposites is the core content of materialist dialectics theory. (Xu Guoliang 2020, 75) In the history of philosophy, the German philosopher Hegel first expounded the basic thought of contradiction theory from the standpoint of objective idealism. Later, Marx, Engels and Lenin critically absorbed Hegel's theory and developed contradiction theory into the core content of materialist dialectics theory. The theory of contradiction contains two basic problems, and one is the relationship between unity and opposition, while the other is the universality and particularity of contradiction, which involves a series of basic concepts of contradiction theory, such as basic contradiction and non-basic contradiction, fundamental contradiction and non-fundamental contradiction, principal contradiction and non-principal contradiction. Understanding these basic concepts and their relationship is the key to understand and grasp the contradiction theory completely and accurately and finally apply it to the practice of social life. (Yan Mengwei 2020, 41)&lt;br /&gt;
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The theory of unity of opposites is the core content of materialist dialectics theory. (Xu Guoliang 2020, 75) In the history of philosophy, the German philosopher Hegel first expounded the basic thought of contradiction theory from the standpoint of objective idealism. Later, Marx, Engels and Lenin critically absorbed Hegel's theory and developed contradiction theory into the core content of materialist dialectics theory. The theory of contradiction contains two basic problems: one is the relationship between unity and opposition, while the other is the universality and particularity of contradiction, which involves a series of basic concepts of contradiction theory, such as basic contradiction and non-basic contradiction, fundamental contradiction and non-fundamental contradiction, principal contradiction and non-principal contradiction. Understanding these basic concepts and their relationships is the key to understanding and grasping the contradiction theory completely and accurately and finally applying it to the practice of social life. (Yan Mengwei 2020, 41)--[[User:Ding Daifeng|Ding Daifeng]] ([[User talk:Ding Daifeng|talk]]) 05:16, 17 December 2020 (UTC)&lt;br /&gt;
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The problem of unity and opposition of contradiction is actually about the nature of contradiction. We always know things from comparison. The so-called comparison is to find the similarities and differences between two things. The former is called unity and the latter is called opposition. The unity is relative and the opposition is absolute. It is worth emphasizing that the opposition of contradictions plays a key and decisive role in development, because development comes from the unity of opposites. This means that unity and opposition are two indispensable elements in the process of development. They complement and interact with each other.&lt;br /&gt;
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The problem of unity and opposition of contradiction is actually about the nature of contradiction. We always know things from comparison. The so-called comparison is to find the similarities and differences between two things. The former is called unity and the latter is called opposition. The unity is relative and the opposition is absolute. It is worth emphasizing that the opposition of contradictions plays a key and decisive role in development, because development comes from the unity of opposites. This means that unity and opposition are two indispensable elements in the process of development. They complement and interact with each other.--[[User:Ding Daifeng|Ding Daifeng]] ([[User talk:Ding Daifeng|talk]]) 05:16, 17 December 2020 (UTC)&lt;br /&gt;
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Literal translation and free translation are such a pair of contradictions. The opposition of the two is reflected in the absolute opposition between word-for-word translation and over-free translation. There are differences in their definition and application and similarities in their translation goals, procedures and standards.(Yang Ying 2019,161)&lt;br /&gt;
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Literal translation and free translation are such a pair of contradictions. The opposition of the two is reflected in the absolute opposition between word-for-word translation and over-free translation. There are differences in their definitions and applications and similarities in their translation goals, procedures and standards.(Yang Ying 2019,161)--[[User:Ding Daifeng|Ding Daifeng]] ([[User talk:Ding Daifeng|talk]]) 05:16, 17 December 2020 (UTC)&lt;br /&gt;
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===2.Word-for-word translation===&lt;br /&gt;
Literal translation is a method that not only maintains the original content, but also the original form. (Xu Yuanchong 1996,92) Fu Sinian and Zheng Zhenduo all advocate literal translation. In the history of modern Chinese translation, Lu Xun and his younger brother Zhou Zuoren's work of The Collection of Extraterritorial Fiction is regarded as the representatives of literal translation.&lt;br /&gt;
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Literal translation is a method that not only maintains the original content, but also the original form.(Xu Yuanchong 1996,92) Fu Sinian and Zheng Zhenduo all advocate literal translation. In the history of modern Chinese translation, Lu Xun and his younger brother Zhou Zuoren's works of The Collection of Extraterritorial Fiction are regarded as the representatives of literal translation.--[[User:Ding Daifeng|Ding Daifeng]] ([[User talk:Ding Daifeng|talk]]) 05:24, 17 December 2020 (UTC)&lt;br /&gt;
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In particular, literal translation is neither dead translation nor a mechanical verbatim translation. Because English and Chinese have different structures, it is impossible to translate word by word. From the perspective of linguistics, the biggest difference between them is that Chinese is parataxis while English is  hypotaxis. (Zhu Xiaojia 2008, 1)That is to say, in Chinese, a sentence is usually short with little modifier and connected words, while in English, several meanings can be expressed with complicated structure with assorted clauses and connected words into only a sentence.&lt;br /&gt;
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In particular, literal translation is neither dead translation nor a mechanical verbatim translation. Because English and Chinese have different structures, it is impossible to translate word by word. From the perspective of linguistics, the biggest difference between them is that Chinese focuses parataxis while English focuses hypotaxis.(Zhu Xiaojia 2008, 1) That is to say, in Chinese, a sentence is usually short with few modifiers and connected words, while in English, several meanings can be expressed with complicated structure with assorted clauses and connected words only in a sentence.--[[User:Ding Daifeng|Ding Daifeng]] ([[User talk:Ding Daifeng|talk]]) 05:24, 17 December 2020 (UTC)&lt;br /&gt;
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Besides, the English is a more static language in which nouns and adjective are always used, but the Chinese more dynamic one, verbs are more active. Finally, the former has a systematic grammar but the latter seems freely arranged.(Cao Huoqun 2005, 40)&lt;br /&gt;
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Besides, the English is a more static language in which nouns and adjectives are always used, but the Chinese more dynamic one, verbs are more active. Finally, the former has a systematic grammar but the latter seems free in its arrangement.(Cao Huoqun 2005, 40)--[[User:Ding Daifeng|Ding Daifeng]] ([[User talk:Ding Daifeng|talk]]) 05:24, 17 December 2020 (UTC)&lt;br /&gt;
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So, when we do some translating exercise, we should focus on their grammar structure to deal well. When the structure of the original text is inconsistent with that of the target language, continuing word-for-word translation will lead to formalism. Such a translated text is not intelligible for reader. That is to say, literal translation must be readable without any misunderstanding or violation of expression.&lt;br /&gt;
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So, when we do some translating exercise, we should focus on their grammar structures. When the structure of the original text is inconsistent with that of the target language, adopting word-for-word translation will lead to formalism. Such a translated text is also not intelligible for readers. That is to say, literal translation must be readable without any misunderstanding or violation of expression.--[[User:Ding Daifeng|Ding Daifeng]] ([[User talk:Ding Daifeng|talk]]) 05:24, 17 December 2020 (UTC)&lt;br /&gt;
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===3.Over free translation===&lt;br /&gt;
Free translation refers to the method that maintains original content rather than original form. In the process of translation, in order to make the language clear and persuasive, the translator must try to conform to the language customs of target texts rather than adhere to the expressive pattern of the original work. Zhao Jingshen put forward that it is better to be smooth with some disloyalty instead of absolute loyalty. Obviously, Mr. Zhao Jingshen is in favor of free translation, and so does Mr. Yan Fu. Many of Yan Fu's classical works have adopted free translation, such as the Theory of Heaven is a typical example of free translation.&lt;br /&gt;
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Free translation refers to the method that maintains original content rather than original form. In the process of translation, in order to make the language clear and persuasive, the translator must try to conform to the language customs of target texts rather than adhere to the expressive pattern of the original work. Zhao Jingshen put forward that it is better to be smooth with some disloyalty instead of absolute loyalty. Obviously, Mr. Zhao Jingshen is in favor of free translation, and so does Mr. Yan Fu. Many of Yan Fu's classical works have adopted free translation, the Theory of Heaven is a typical example of free translation.--[[User:Ding Daifeng|Ding Daifeng]] ([[User talk:Ding Daifeng|talk]]) 05:40, 17 December 2020 (UTC)&lt;br /&gt;
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When we translate from English to Chinese, especially some idioms that are in closer ties with western culture, we have to move or change these cultural barriers so that Chinese readers could understand easily. It is also true when translating Chinese into English. Under this condition, free translation will be more suitable and effective.&lt;br /&gt;
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When we translate English into Chinese, especially some idioms that are in closer ties with western culture, we have to move or change these cultural barriers so that Chinese readers could understand easily. It is also true when translating Chinese into English. Under this condition, free translation will be more suitable and effective.--[[User:Ding Daifeng|Ding Daifeng]] ([[User talk:Ding Daifeng|talk]]) 05:40, 17 December 2020 (UTC)&lt;br /&gt;
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However, free translation does not mean random translation. The latter means making up translated sentence by subjective imagination without analyzing the structure of the original text. It is also known as over-free translation. (Wu Shuang 2018, 107) In fact, when we translate, we must master the thought and style of the original and regard them as corresponding one of the target language. In addition, the theory, fact and logic of the original work should also be corresponding in the target language. We can not replace these features of the original with our personal thoughts, styles, facts, theories and logic. Only in this way can the contents not be changed after translation.&lt;br /&gt;
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However, free translation does not mean random translation. Random translation means making up translated sentences by subjective imagination without analyzing the structure of the original text. It is also known as over-free translation.(Wu Shuang 2018, 107) In fact, when we translate, we must master the thought and style of the original and regard them as a correspondence of the target language. In addition, the theory, fact and logic of the original work should also be corresponding in the target language. We can not replace these features of the original with our personal thoughts, styles, facts, theories and logic. Only in this way can the contents not be changed after translation.--[[User:Ding Daifeng|Ding Daifeng]] ([[User talk:Ding Daifeng|talk]]) 05:40, 17 December 2020 (UTC)&lt;br /&gt;
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===4.Dialectic translation===&lt;br /&gt;
Feng Qinghua put forward in the book of A Practical Translation Course that the so-called literal translation is a kind of translation method to maintain both the original content and the original form. If there are same language form and expressive effect between original and target text, we should adopt literal translation to deliver the same contents. While the so-called free translation is a method to keep the original content and style only not the original form. So if there are different language forms and expressive effects between the two texts, we should adopt free translation mostly. (Feng Qinghua 1997, 12)&lt;br /&gt;
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Feng Qinghua put forward in the book of A Practical Translation Course that the so-called literal translation is a kind of translation method to maintain both the original content and the original form. If there are the same language form and expressive effect between original and target text, we should adopt literal translation to deliver the same contents. While the so-called free translation is a method to keep the original content and style only. So if there are different language forms and expressive effects between the two texts, we should adopt free translation mostly. (Feng Qinghua 1997, 12)--[[User:Ding Daifeng|Ding Daifeng]] ([[User talk:Ding Daifeng|talk]]) 05:55, 17 December 2020 (UTC)&lt;br /&gt;
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Therefore, Literal translation and free translation have their own advantages and restrictions. The former is beneficial to the transplantation of culture, while the latter can avoid obscurity in literal translation.  &lt;br /&gt;
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Therefore, Literal translation and free translation have their own advantages and restrictions. The former is beneficial to the transplantation of culture, while the latter can avoid obscurity in literal translation.--[[User:Ding Daifeng|Ding Daifeng]] ([[User talk:Ding Daifeng|talk]]) 05:55, 17 December 2020 (UTC)&lt;br /&gt;
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If in literal translation, we will translate the sentence “mashing a mirror is no way to make an ugly person beautiful, nor is it a way to make social problem evaporate” into “砸镜子不能使丑八怪变漂亮，也不能使社会问题烟消云散”, while if in free translation, we can turn it into “砸镜子并不能解决实际问题”. (Fan Zhongying 1994, 22) We can see the latter one is more concise and comprehensive to express the connotative meaning. While although the former are totally literal translation, we still feel it terrible. &lt;br /&gt;
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In literal translation, we will translate the sentence “mashing a mirror is no way to make an ugly person beautiful, nor is it a way to make social problem evaporate” into “砸镜子不能使丑八怪变漂亮，也不能使社会问题烟消云散”, while in free translation, we can turn it into “砸镜子并不能解决实际问题”. (Fan Zhongying 1994, 22) We can see the latter one is more concise and comprehensive to express the connotative meaning. Although the former is totally literal translation, we still feel it terrible. --[[User:Ding Daifeng|Ding Daifeng]] ([[User talk:Ding Daifeng|talk]]) 05:55, 17 December 2020 (UTC)&lt;br /&gt;
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So, a translator should use these two translation strategies according to the actual situation to express the surface structure and deep meaning of the original text. The use of literal or free translation depends on the rules of both English and Chinese. In translation, if we can not directly adopt the structure and expression form of the original work, we must change the sentence structure and expressive way to convey the connotation of the original work. An excellent translated text is realized neither by simple literal translation nor by simple free translation but by the combination of two. In another word, we should adopt dialectic translation in our practice.&lt;br /&gt;
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Therefore, a translator should use these two translation strategies according to the actual situation to express the surface structure and deep meaning of the original text. The use of literal or free translation depends on the rules of both English and Chinese. In translation, if we can not directly adopt the structure and expression form of the original work, we must change the sentence structure and expressive way to convey the connotation of the original work. An excellent translated text is realized neither by simple literal translation nor by simple free translation but by the combination of two. In other words, we should adopt dialectic translation in our practice.--[[User:Ding Daifeng|Ding Daifeng]] ([[User talk:Ding Daifeng|talk]]) 05:55, 17 December 2020 (UTC)&lt;br /&gt;
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===5.Opposition and unity between literal translatiuon and free translation===&lt;br /&gt;
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===5.1 Opposition===&lt;br /&gt;
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===5.1.1 Opposition in definition===&lt;br /&gt;
Qiao Zengrui defines literal translation in Chapter 4 of Translation Theory as a method that the translation deliberately retains the original form to maintain the content and style of the original. At the same time, He also defines free translation as a method that keep the original content and style by use of the same or similar expression as the original text in the target language regardless of the two different languages. The first one regards form as the only way, content and style as target, while the second directly takes no account of form. With this regard, the two totally opposite in definition.(Qiao Zengrui 2000,263)&lt;br /&gt;
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Qiao Zengrui defines literal translation in Chapter 4 of Translation Theory as a method that the translation deliberately retains the original form to maintain the content and style of the original. At the same time, He also defines free translation as a method that keeps the original content and style by use of the same or similar expressions as the original text in the target language regardless of the two different languages. The first one regards form as the only way, content and style as target, while the second directly takes no account of form. With this regard, the two totally opposite in definition.(Qiao Zengrui 2000,263)--[[User:Ding Daifeng|Ding Daifeng]] ([[User talk:Ding Daifeng|talk]]) 06:01, 17 December 2020 (UTC)&lt;br /&gt;
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===5.1.2 Opposition in application fileld===&lt;br /&gt;
Generally speaking, literal translation is generally used to translate some political books, laws, treaties and scientific and technological documents, terms, idioms, and some simple sentences. (Wu Shuang 2018,178) The early translation of Buddhist scriptures of early Chinese generally followed this theory. So do the Marxism-Leninism works and Mao Zedong works. For example, “纸老虎” can only be translated as “paper tiger” but not “scarecrow”. The latter one was corrected by Mao Zedong when the interpreter translated it into “scarecrow”. President Mao emphasized that this word had two characteristics and if translated into scarecrow, it will lose duality. Because “纸老虎” in China means imperialism and reactionary, which seems terrible but no great power in it. Since it was made of paper, this tiger became soft in the damp and washed away when it rained. While scarecrow can scare away children and birds. So paper tiger is better than scarecrow.&lt;br /&gt;
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Generally speaking, literal translation is generally used to translate some political books, laws, treaties and scientific and technological documents, terms, idioms, and some simple sentences. (Wu Shuang 2018,178) The early translation of Buddhist scriptures of early Chinese generally followed this theory. So do the Marxism-Leninism works and Mao Zedong's works. For example, “纸老虎” can only be translated as “paper tiger” but not “scarecrow”. The latter one was corrected by Mao Zedong when the interpreter translated it into “scarecrow”. Chairman Mao emphasized that this word had two characteristics and if it was translated into scarecrow, it will lose duality. Because “纸老虎” in China means imperialism and reactionary, which seems terrible but no great power in it. Since it was made of paper, this tiger became soft in the damp and washed away when it was rained. While scarecrow can scare away children and birds. So paper tiger is better than scarecrow.--[[User:Ding Daifeng|Ding Daifeng]] ([[User talk:Ding Daifeng|talk]]) 06:14, 17 December 2020 (UTC)&lt;br /&gt;
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In the process of translation, there are many situations that literal translation can not be used, so we must adopt the method of free translation, especially the translation of literary works. (Wu Shuang, 2018, 178)On the one hand, there are many common traditional Chinese words that reflect the unique cultural concepts and cultural phenomena of our country, which can't translate directly into corresponding words in English. For instance, if we translate&amp;quot;初生牛犊不怕虎&amp;quot; into &amp;quot;A new born calf is not afraid of a tiger&amp;quot;, then our target readers in English-speaking countries may find it difficult to understand the substance of the literal meaning. ( Yang Yin 2019, 161)So here “The more wit, the less courage” will be better. On the other hand, some certain maxims, idioms and puns in English have no choice but to use free translation. (He Lirong 2018,43) For example&amp;quot; have a wolf in the stomach&amp;quot; means&amp;quot;饥肠辘辘&amp;quot; 饥饿难忍&amp;quot; rather than “肚子里有个豺狼”. Moreover, some exclusive English nouns should be free translated such as &amp;quot;the heel of Achilles&amp;quot; into&amp;quot;致命的弱点&amp;quot; instead of “阿克琉斯的脚后跟”.&lt;br /&gt;
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In the process of translation, there are many situations that literal translation can not be used, so we must adopt the method of free translation, especially the translation of literary works.(Wu Shuang, 2018, 178) On the one hand, there are many common traditional Chinese words that reflect the unique cultural concepts and cultural phenomena of our country, which can't translate directly into corresponding words in English. For instance, if we translate&amp;quot;初生牛犊不怕虎&amp;quot; into &amp;quot;A new born calf is not afraid of a tiger&amp;quot;, then our target readers in English-speaking countries may find it difficult to understand the substance of the literal meaning.(Yang Yin 2019, 161) So here “The more wit, the less courage” will be better. On the other hand, some certain maxims, idioms and puns in English have no choice but to use free translation.(He Lirong 2018,43) For example, &amp;quot;have a wolf in the stomach&amp;quot; means &amp;quot;饥肠辘辘&amp;quot; 饥饿难忍&amp;quot; rather than “肚子里有个豺狼”. Moreover, some exclusive English nouns should be freely translated such as &amp;quot;the heel of Achilles&amp;quot; into &amp;quot;致命的弱点&amp;quot; instead of “阿克琉斯的脚后跟”.--[[User:Ding Daifeng|Ding Daifeng]] ([[User talk:Ding Daifeng|talk]]) 06:14, 17 December 2020 (UTC)&lt;br /&gt;
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===5.2 Unity===&lt;br /&gt;
===5.2.1 Unity in translation goal===&lt;br /&gt;
In literal translation, loyalty to the original form should be put first, followed by loyalty to the original content and last pursuit of fluency and popularity in target language. In free translation, loyalty to the original content should be put first, then the fluency and popularity of the translation language are second, and the original form comes last. It can be seen that loyalty to the original content is the common purpose of literal translation and free translation.(Wu Shuang 2018, 108)&lt;br /&gt;
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In literal translation, loyalty to the original form should be put first, followed by loyalty to the original content and last pursuit of fluency and popularity in target language. In free translation, loyalty to the original content should be put first, then the fluency and popularity of the translation language second, and the original form comes last. It can be seen that loyalty to the original content is the common purpose of literal translation and free translation.(Wu Shuang 2018, 108)--[[User:Ding Daifeng|Ding Daifeng]] ([[User talk:Ding Daifeng|talk]]) 06:25, 17 December 2020 (UTC)&lt;br /&gt;
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The unity of literal translation and free translation is also reflected in the fact that the translation must be smooth and fluent and conform to the expressive habits of target language. If the translated text is obscure and unreadable without conformity to the habits of the target language and culture, the two translation strategies have not achieved the true unity, so the purpose of communication has not be achieved.&lt;br /&gt;
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The unity of literal translation and free translation is also reflected in the fact that the translation must be smooth and fluent and conform to the expressive habits of target language. If the translated text is obscure and unreadable without conforming to the habits of the target language and culture, the two translation strategies have not achieved the true unity, so the purpose of communication has not been achieved.--[[User:Ding Daifeng|Ding Daifeng]] ([[User talk:Ding Daifeng|talk]]) 06:25, 17 December 2020 (UTC)&lt;br /&gt;
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Therefore, literal translation and free translation are two different translation methods used in translation. They are unified in the translation purpose to accurately and faithfully convey the original meaning and intention with the same form and spirit as original text.(He Lirong 2018, 41)&lt;br /&gt;
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Therefore, literal translation and free translation are two different translation methods used in translation. They are unified in the translation purpose to accurately and faithfully convey the original meaning and intention with the same form and spirit as the original text.(He Lirong 2018, 41)--[[User:Ding Daifeng|Ding Daifeng]] ([[User talk:Ding Daifeng|talk]]) 06:25, 17 December 2020 (UTC)&lt;br /&gt;
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===5.2.2 Unity in translation procedure===&lt;br /&gt;
The literal translation and free translation is unified in translation procedures. Both of them should conform to the following translation steps of understanding, expression and verification. &lt;br /&gt;
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The literal translation and free translation are unified in translation procedures. Both of them should conform to the following translation steps of understanding, expression and verification. --[[User:Ding Daifeng|Ding Daifeng]] ([[User talk:Ding Daifeng|talk]]) 06:34, 17 December 2020 (UTC)&lt;br /&gt;
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Understanding is the first stage of translation process. It includes not only the understanding of language and cultural phenomena, but also logical relations. A translator should be good at analyzing ambiguous sentences and make correct judgment before translating. Expression is the process by which the translator reproduces the content of the original text into target language. Expression is the result of understanding, but understanding correctly does not mean expressing right. Therefore, we must learn many specific methods and techniques, such as literal translation, free translation, literal translation plus free translation, literal translation plus annotation, and so on. &lt;br /&gt;
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Understanding is the first stage of translation process. It includes not only the understanding of language and cultural phenomena, but also logical relations. A translator should be good at analyzing ambiguous sentences and make correct judgments before translating. Expression is the process by which the translator reproduces the content of the original text into target language. Expression is the result of understanding, but understanding correctly does not mean expressing right. Therefore, we must learn many specific methods and techniques, such as literal translation, free translation, literal translation plus free translation, literal translation plus annotation, and so on.--[[User:Ding Daifeng|Ding Daifeng]] ([[User talk:Ding Daifeng|talk]]) 06:34, 17 December 2020 (UTC)&lt;br /&gt;
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The third stage is verification. In this stage, we must check the translation at least twice. In he first time, we should check whether there is any missing translation or wrong translation. And in the second time, we should check whether it's smooth and intelligible out of the original text.&lt;br /&gt;
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The third stage is verification. In this stage, we must check the translation at least twice. In the first time, we should check whether there is any missing translation or wrong translation. And in the second time, we should check whether it's smooth and intelligible out of the original text.--[[User:Ding Daifeng|Ding Daifeng]] ([[User talk:Ding Daifeng|talk]]) 06:34, 17 December 2020 (UTC)&lt;br /&gt;
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Whether literal translation or free translation, we must follow the three steps of understanding, expression and verification in translation practice. Understanding is the premise of expression, but understanding and expression are usually complementary and unified, which can not be separated completely. While understanding the original text, the translator also chooses the expressive way and further deepen his understanding.&lt;br /&gt;
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Whether literal translation or free translation, we must follow the three steps of understanding, expression and verification in translation practice. Understanding is the premise of expression, but understanding and expression are usually complementary and unified, which can not be separated completely. To understand the original text, the translator also chooses the expressive way and further deepen his or her understanding.--[[User:Ding Daifeng|Ding Daifeng]] ([[User talk:Ding Daifeng|talk]]) 06:34, 17 December 2020 (UTC)&lt;br /&gt;
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===5.2.3 Unity in translation standard===&lt;br /&gt;
On the establishment of translation standards, Chinese and foreign translation theorists in different historical periods put forward different views. In China, there are Ma Jianzhong's view of &amp;quot;good translation&amp;quot; on the basis of modern linguistic theory, Yan Fu's translation standards of &amp;quot;faith, smoothness, and elegance&amp;quot;, Chen Xiying's theory of “similarities in shape, meaning and spirit”, Lin Yutang's translation standards of “loyalty, smoothness and beauty”. In the West, there are Twelve Translation Principles of Bart, Three Principles of Tettler, Seven principles of Luther, and functional equivalence of Eugene. Nida and so on. All these translation standards are based on different social needs, translation contents, translation objects and  translation purposes.(He Lirong 2018, 42)&lt;br /&gt;
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On the establishment of translation standards, Chinese and foreign translation theorists in different historical periods put forward different views. In China, there are Ma Jianzhong's view of &amp;quot;good translation&amp;quot; on the basis of modern linguistic theory, Yan Fu's translation standards of &amp;quot;faith, smoothness, and elegance&amp;quot;, Chen Xiying's theory of “similarities in shape, meaning and spirit”, Lin Yutang's translation standards of “loyalty, smoothness and beauty”. In the West, there are Twelve Translation Principles of Bart, Three Principles of Tettler, Seven principles of Luther, and functional equivalence of Nida and so on. All these translation standards are based on different social needs, translation contents, translation objects and translation purposes.(He Lirong 2018, 42)--[[User:Ding Daifeng|Ding Daifeng]] ([[User talk:Ding Daifeng|talk]]) 06:39, 17 December 2020 (UTC)&lt;br /&gt;
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No matter which translation standard, it is impossible to meet by only literal translation or only free translation. Therefore, the two translation methods are unified in any translation standard. So, they are inseparable unity of opposites.&lt;br /&gt;
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No matter which translation standard we use, it is impossible to meet only by literal translation or free translation. Therefore, the two translation methods are unified in any translation standard. Therefore, they are inseparable unity of opposites.--[[User:Ding Daifeng|Ding Daifeng]] ([[User talk:Ding Daifeng|talk]]) 06:39, 17 December 2020 (UTC)&lt;br /&gt;
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===6.Conclusion===&lt;br /&gt;
Literal translation and free translation are two different translation methods. Although they are different in conceptual definition and applicable field, in order to achieve a unified translation standard and achieve a common translation purpose, they both follow the same three steps of understanding, expression and verification. &lt;br /&gt;
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Literal translation and free translation are two different translation methods. Although they are different in conceptual definition and applicable field, in order to achieve a unified translation standard and a common translation purpose, they both follow the same three steps of understanding, expression and verification. --[[User:Ding Daifeng|Ding Daifeng]] ([[User talk:Ding Daifeng|talk]]) 06:41, 17 December 2020 (UTC)&lt;br /&gt;
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In the process of translation, if the target text has the same form and style as the original text, it can be translated literally. If there are different form and style, it should be translated freely. When the structure of the original text is inconsistent with that of the target language, sticking to word-for-word translation will cause stiff translation difficult to understand. In the same way, making up sentences through subjective assumption according to the literal meaning without analysis of original text will cause random translation disloyalty to the original one. &lt;br /&gt;
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In the process of translation, if the target text has the same form and style as the original text, it can be translated literally. If there are different forms and styles, it should be translated freely. When the structure of the original text is inconsistent with that of the target language, sticking to word-for-word translation will cause stiff translation difficult to understand. In the same way, making up sentences through subjective assumption according to the literal meaning without analysis of original text will cause random translation disloyalty to the original one. --[[User:Ding Daifeng|Ding Daifeng]] ([[User talk:Ding Daifeng|talk]]) 06:41, 17 December 2020 (UTC)&lt;br /&gt;
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Therefore, we can conclude that we should treat literal translation and free translation with a dialectical way and use these two translation methods flexibly to create wonderful translations in our concrete translation practice.&lt;br /&gt;
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Therefore, we can conclude that we should treat literal translation and free translation with a dialectical way and use these two translation methods flexibly to create wonderful translations in our concrete translation practice.--[[User:Ding Daifeng|Ding Daifeng]] ([[User talk:Ding Daifeng|talk]]) 06:41, 17 December 2020 (UTC)&lt;br /&gt;
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Siyu Zou. (2017). Dialectical Relationship between Translation Theory and Practice[P]. Proceedings of the 7th International Conference on Education, Management, Information and Mechanical Engineering (EMIM 2017).&lt;br /&gt;
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Chen Fukang 陈福康. (2011). 中国译学史 [History of translation studies in China]. Shanghai: Shanghai Foreign Language Press.&lt;br /&gt;
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Cao Huoqun 曹火群. (2005). 翻译中的辩证关系 [Dialectic relationships in translation]. 孝感学院学报 Journal of Xiaogan University (05) 39-43.&lt;br /&gt;
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Feng Qinghua 冯庆华. (2002). 实用翻译教程 [Practical translation course]. Shanghai：Shanghai Foreign Language Education Press.&lt;br /&gt;
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Fan Zhongying 范仲英. (1994). 实用翻译教程 [Practical Translation Course]. Beijing:Foreign Language Teaching and Research Press.&lt;br /&gt;
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He Lirong 何历蓉. (2018). 论“直译与意译”在英汉翻译中的对立与统一 [On the opposition and unity of literal translation and Free Translation in English-Chinese translation]. 宿州教育学院学报 journal of suzhou education institute 21(04):40-43.&lt;br /&gt;
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Qiao zengrui 乔曾锐. (2000). 译论—翻译经验与翻译艺术的评论和探讨 [Translation theory: A review of translation experience and the art of translation]. Beijing: China Industry and Commerce Joint Press.&lt;br /&gt;
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Tan Zaixi 谭载喜. (2004). 西方翻译简史 [A Brief History of Western translation]. Beijing：Commercial press.&lt;br /&gt;
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Wu Shuang 吴爽. (2018). 翻译的最高境界—直译与意译的完美统一[The highest level of translation - the perfect unity of literal translation and free translation].现代交际 Modern communication (08):107-108.&lt;br /&gt;
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Xu Guoliang 徐国亮. (2020). 对立统一：唯物辩证法的核心与列宁的发展 [Unity of opposites: The Core of Materialist Dialectics and The development of Lenin]. 中共中央党校（国家行政学院）学报 Journal of Party School of the CPC Central Committee (National Academy of Governance) 24(05):75-83.&lt;br /&gt;
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Xu Yuanchong 许渊冲. (1996). 译家之言 [The Word of the Translator].出版广角 View on Publishing(6):92-94.&lt;br /&gt;
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Yan Mengwei 阎孟伟. (2020). 关于唯物辩证法矛盾学说的几个基本问题 [Some basic questions about the contradiction theory of materialist dialectics]. 思想理论教育导刊 Journal of ideological and theoretical education (08):40-47.&lt;br /&gt;
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Yang Yin 杨颖. (2019).  浅谈直译与意译的动态统一 [On the dynamic unity of literal translation and free translation]. 海外英语 Overseas English (17):160-161.&lt;br /&gt;
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Zhu Xiaojia 朱晓嘉. (2008). 形合、意合的辩证观与翻译策略 [Dialectic thinking and Translation strategies of hypotaxis and Parataxis]. Nanjing: Nanjing Normal University.&lt;br /&gt;
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== Peter Newmark’s Improved Views on Literal Translation and Free Translation 赵茜 Zhao Xi,202070080627==&lt;br /&gt;
===Abstract===&lt;br /&gt;
The dispute over the two basic translation methods, literal translation and free translation, has never stopped since ancient times. In view of the basic problem of his argument, Peter Newmark, an English translation theorist divides the various translation methods into eight, points out that different translation methods should be taken according to different text characteristics and puts forward with semantic translation and communicative translation bases on years of translation researches. Semantic translation focuses on maintaining the content of the original text, while communicative translation emphasizes the effect of the translation. The author of this paper expresses some views on literal translation and free translation. Peter Newmark's theory has taken a big step forward from the fragmented and one-sided view of literal translation and free translation in the past, which has brought people out of the struggle between them and made people see the direction of further development of translation research.&lt;br /&gt;
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===Key words=== &lt;br /&gt;
Free translation, Literal translation, Peter Newmark, Semantic translation, Communicative translation&lt;br /&gt;
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===摘要===&lt;br /&gt;
直译与意译这两种翻译基本方法之争从古至今从未停止过。针对其争论的基本问题，英国翻译理论家彼得·纽马克把各种翻译方法分成了八种，指出应根据不同的文本特点釆取不同的翻译方法，并在多年翻译研究的基础上提出了语义翻译和交际翻译。语义翻译重点在强调保持原文的内容，而交际翻译更多强调的是译文的效果。本文作者也提出了对直译和意译的一些看法。彼得·纽马克的理论把人们以往对直译、意译的零散的、片面的观点向前推进了一大步，使人们从直译、意译之争中走出来并看到翻译研究进一步发展的方向。&lt;br /&gt;
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===关键词===&lt;br /&gt;
直译, 意译, 彼得·纽马克, 语义翻译, 交际翻译&lt;br /&gt;
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===Introduction===&lt;br /&gt;
According to Chinese and western translation history, no matter in China or in western countries, studies on translation theories and practice have been performed over two thousand years. Translation, as an ancient and extremely significant human thinking activity, is closely related to the development of language itself. And translation after more than two thousand years of development, has developed prosperously, appearing quantities of translation theories, translation schools and translators. However, the dispute between two translation methods, literal translation and free translation has been lasting from throughout history. The fundamental problem between literal translation and free translation is based on the relationship between content and form. To solve this fundamental problem of the dispute, Peter Newmark first points out that translation studies have been long beset by the time-honored theoretical debate over free and literal translation. A range of wider aspects of translation related to the contribution to the development of languages, its relation to meaning, the intention of translation, the readers' background, the type of discourse and the language universals have been long neglected. Therefore, according to Newmark's own translation practice, he puts forward right translation methods, word-for-word translation, literal translation, faithful translation, semantic translation, adaption, free translation, idiomatic translation and communicative translation, which provide to translators to consider and use. Although in the actual translation practice, translators have no necessity to distinguish such translation methods and even to use these methods, this proposal may help translators open their horizons and translate more appropriately. Among the eight translation methods, semantic translation and communicative translation proposed by Newmark own the advantages of other six methods, becoming the most ideal translation methods. Peter Newmark's semantic translation and communicative translation are highly valued and influence the practice of translation in general. (Li Minghan 2014, 3)&lt;br /&gt;
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===Literal Translation and Free Translation===&lt;br /&gt;
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====Brief Introduction of Literal Translation and Free Translation====&lt;br /&gt;
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From ancient times, translators hold various attitudes toward such two translation methods, literal translation and free translation. &lt;br /&gt;
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=====Literal Translation=====&lt;br /&gt;
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Literal translation is a translation method which not only keeps the substance of the original, but also keeps the form of the original. This definition implies that the translation version is expressing the content of the original and should spare no efforts to make every part of the translation version corresponding to every part in the original text including construction of sentence, meaning of the original words, metaphor of the original and so on. &lt;br /&gt;
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According to Liu Zhongde, literal translation can be summarized into &amp;quot;to reproduce both the ideological content and style of the entire literary work and retain as much as possible the figures of speech&amp;quot;. (Liu Zhongde 1991, 52) &lt;br /&gt;
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Xu Yuanchong defines literal translation as &amp;quot;the kind of translation which is faithful not only to the content but also to the form of the original.&amp;quot; (Xu Yuanchong 1984, 45)&lt;br /&gt;
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Newmark suggests that literal translation is like, &amp;quot;sometimes it is very difficult to define what is literal translation, it is believed that a translation can be regarded as the literal translation when the translator is not influenced but the foreign flavors.&amp;quot;(Newmark 2001, 46) &lt;br /&gt;
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Mr. Yang Xianyi holds that the translators should be as faithful as possible to the original image and too much explanation and creativity should be avoided. This means translators should try to use literal translation method to introduce imagery in the source language to the target language readers. The reason why those translators who insist on literal translation are that they think literal translation is the only way to keep faithful to the original. They endeavor to adopt from as similarly as possible to the original to show the original meaning, thinking that it's the truest reflection of the original. (Wang Zuoliang 1989, 43)&lt;br /&gt;
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=====Free Translation=====&lt;br /&gt;
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Free translation is a translation method which only keeps the substance of the original, but not keeps the form the original. Target language and source language have different forms to show the same substance, and they could not produce the same result. Free translation does not mean to delete or add content to the original, though it does not pay much attention to the form of the original. Otherwise, the translation would not be faithful to the original. Translators always discover the meaning behind the forms in the source language and dose their best to produce the same meaning in the target language, using the forms and structures in the target language. Consequently, what is supposed to change is the form and the code, and what should remain unchanged is the meaning and the message. &lt;br /&gt;
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Shuttle worth and Cowie define free translation as &amp;quot;a type of translation in which more attention is paid to producing a natural target language than to preserving the source language wording intact.&amp;quot; (Shuttle worth&amp;amp;Cowie 2004, 62)&lt;br /&gt;
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Free translation is the conveying of the discourse meaning of the speaker is not restricted by the structure and linguistic and rhetoric styles of the original text. (Ren Wen 2012, 18)&lt;br /&gt;
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Liu Zhongde has given his definition to free translation. According to his definition, free translation aims at transmitting the meaning regardless of the sentence forms and rhetorical devices. If translators are not able to  make the translated text faithful to the original text through literal translation, they may use their own words to explain the meaning of the text without considering the words and forms in original text. (Liu Zhongde 1991, 53-54)&lt;br /&gt;
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====Disputes over Free Translation and Literal Translation====&lt;br /&gt;
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In the past, translators generally believed that language and thought were unified, and language was form while thought was content. However, it was impossible to realize the consistence between language forms and ideological content, producing the contradiction between form and content, which is the problem between literal translation and free translation. Modern science has proved that language and thought are not a unity and constitutes a relationship between form and content. Language is only a symbolic system to express thoughts. Translation expresses the same idea by using two different language signals. &lt;br /&gt;
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Marcus Tullius Cicero is generously acknowledged to be the first person to put forward a systematic description of the practice of translation and he said &amp;quot;I did not translate them as an interpreter, but as an orator... I did not hold it necessary to render word for word, but I preserve the general style and force of language.&amp;quot; (Tan Zaixi 2018, 20) He puts forward mainly two viewpoints. Firstly, the translation should be as close as possible to the language habits of the target language. At that time, namely, the translation should correspond with Roman habits as much as possible to touch and resonate with the readers. What's more, he advocates free translation and opposes literal translation as he believes that free translation is superior to literal translation. The most important thing in translation is not the corresponding in form, but the meaning and thought in the source language. Cecero's thoughts have provided a guide for other translators and produced an effect on them. Since Cicero came up with his opinion, the disputes over literal translation and free translation has never been stopped. &lt;br /&gt;
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Eugene Nida holds that if all languages differ in form, then quite naturally the forms must be changed if one is to preserve the content. He is in favor of dynamic equivalence instead of formal correspondence, maintaining the original meanings. In this sense, Nida agrees with free translation, just as he expresses that translating means translating meaning. (Nida 1985, 119-125)&lt;br /&gt;
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Zhai Qiubai insists literal translation and claims that the correct translation is based on Chinese syntax and rhetoric and has its specific intentions. First of all, he regards translation as a part of Proletarian literature. Translation should systematically introduce proletarian revolution thoughts to Chinese readers. Furthermore, translation should help create modern Chinese language and literal translation is an approach. To preserve the spirit in the original text, some non-smoothness can be tolerated. (Cheng Yongsheng 2002, 65) &lt;br /&gt;
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Lu Xun defines clearly that translation must take into account of two sides: one is easy to understand, the other maintains the style of the original. This explanation refers that the translators must translate according to the original text rather than their own world view and aesthetic taste. The translators must try their best to maintain the style of the original author and inherit historic and national characters rather than imposing extrinsic aesthetic and social background culture of other people on the translation. (Chen Fukang 2000, 301)&lt;br /&gt;
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Mao Dun has pointed out that due to different language families of Chinese and English and different structures, word-by-word translation us almost impossible actually. Because word-by-word translation is difficult to achieve its ideal effect, any discussion related with literal translation and free translation is inevitably involved with the problem &amp;quot;what is the boundary between them?&amp;quot; He also holds that the so-called literal translation, superficially speaking, means not to alter the original words and sentences. (Xu Haiyan &amp;amp; Sun Weihong 2012, 80)&lt;br /&gt;
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In Xu Yuanchong's opinion, the criteria to judge literal translation and free translation is whether the translation is faithful to the original. If a translation is faithful to both meaning and form of the original text, it is literal translation. If a translation is only faithful to meaning rather than form, it is free translation. If a translation is only faithful to form rather than content, it is mechanical translation. And the standard to judge faithfulness are form and content. For translation, content is more significant than form. Besides, translators should use both literal translation and free translation. However, sometimes it is difficult to use literal translation or free translation in a translation, so it is not necessary to define literal translation or free translation in those situations. Xu argues that literal translation is not only being faithful to the content of the original text but also being close to its form. When Xu discusses the situations using literal translation or free translation, he often mentions readers and contexts, among which readers are more important. No matter literal translation or free translation, translators should put faithfulness to the content of the original text first, smoothness of target text form second, faithfulness to the form of the source text third. In other words, on the premise of faithfulness to the source language, translation should strive for smoothness of form. On the premise of smoothness of translation, translators should try their best to realize faithfulness to form of the original. If there is a contradiction between the smoothness and faithfulness of the original form, it is of no necessity to stick to the original form. These are the relationships between content and form, and literal translation and free translation. (Cheng Yongsheng 2002, 66)&lt;br /&gt;
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Whether in Chinese translation circle or in western translation circle, the contradiction between content and form, and literal translation and free translation exists and arouses heated discussion.&lt;br /&gt;
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===Semantic Translation and Communicative Translation===&lt;br /&gt;
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To solve the fundamental problem of free translation and literal translation, Peter Newmark, a renowned western translation theorist, linguist and professor of translation at the University of Surrey, combining with years of translation experience, has concluded and summarized a corresponding theory, semantic translation and communicative translation, whose core is the problem of literal translation and free translation. Semantic translation and communicative translation have been put forward against the background that the majority of scholars have argued for a long time whether to translate literally or freely. The concepts of communicative and semantic translation represent Newmark’s main contribution to general translation theory. (Newmark 1991, 10)&lt;br /&gt;
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====Semantic Translation====&lt;br /&gt;
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Newmark puts the definition of semantic translation as &amp;quot;Semantic translation, attempts to render, as closely as the semantic and syntactic structures of the second language allow, the exact contextual meaning of the original. &amp;quot; As this version of definition indicates, communicative translation focuses essentially upon the comprehension and response of TL receptors. Semantic translation severs for the source language author and gives a high priority to reflecting his thought patterns and stylistics. (Shuttleworth and Cowie 2004, 22) Here is an example.&lt;br /&gt;
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E.g. 谋事在人，成事在天。&lt;br /&gt;
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Yang Hsien-yi and Gladys Yang's Version: Man Proposes, Heaven disposes.&lt;br /&gt;
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In this example, the Chinese idiom means that a man has done his or her best to do something and as to whether he or she can achieve the goal, it depends on the fortune. “天” refers to the master of nature in ancient Chinese culture. This word is semantically translated into “heaven” as the translation emphasizes the original information and tries to preserve the favor, style and culture maintained in the source language.&lt;br /&gt;
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====Communicative Translation====&lt;br /&gt;
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Communicative translation attempts to produce on its readers an effect as close as possible to that obtained on the readers of the original. As this version of definition indicates, communicative translation centers around the semantic aspects of the source language texts. To be specific, in communicative translation, the emphasis should be on conveying the message of the original in a form, which conforms to the linguistic, cultural and pragmatic conventions of target language. Both content and language are readily acceptable and comprehensible to the readership. (Chen Boyu 2003, 4)&lt;br /&gt;
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Communicative translation intends to present the main idea of the original text and emphasize the social value generated by the translation. Communicative translation highlights on conveying the message expressed in the original and form of the the source language. Due to different textual functions, content and form should have different focuses. Texts of informative function emphasize on the information beyond the language, while texts of vocative function center on readers. The primary intention of translators is to convey the message to the target readers, without paying much attention to the style of the original. If it is necessary, translators can adjust grammar and words to better transmit the information. The change of forms is not only allowed, but also encouraged. (Zhang Linlin 2010, 17)&lt;br /&gt;
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E.g. 谋事在人，成事在天。&lt;br /&gt;
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Hawkes's Version: Man Proposes, God disposes.&lt;br /&gt;
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This translation is communicative translation. Different from the version of Yang, Hawkes translated &amp;quot;天&amp;quot; into &amp;quot;God&amp;quot;. In western culture, people believe that &amp;quot;God&amp;quot; is the master of nature. It renders the contextual meaning of the original in such a way that both content and language are readily acceptable and comprehensible to the readers.&lt;br /&gt;
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====Comparison Between Semantic Translation and Communicative Translation====&lt;br /&gt;
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The fundamental difference between semantic translation and communicative translation is that semantic translation attaches more importance to the content rather than effect and communicative translation is just opposite. &lt;br /&gt;
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Firstly, semantic translation is more objective, stresses accuracy and is submitted to the author, culture and meaning of the original. Communicative translation is more subjective, pays much attention to the readers' responses, and is submitted to the target language and its culture. Semantic translation and communicative translation have difference in expression form. &lt;br /&gt;
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Second, semantic translation make the translated text more close to the original form and retain the vocative effect as much as possible. If there is no much difference between the source and target language specifications, translation should maintain the length of sentences in the original text as well. Communicative translation will reorganize the syntax and utilize more common collocations or words to make translation more fluent, idiomatic and understandable. In the communicative translation, to make the translation brief and emphasize key information, translators should get rid of the bondage of the source language structure and make appropriate adjustments which are not allowed in the semantic translation, such as adjusting the logic relations in the original, making obscure concepts distinct, deleting repeated unnecessary details or redundant information, normalizing some peculiar expressions, and even correcting factual or writing mistakes. &lt;br /&gt;
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Thus, they have different functions. Semantic translation, performing expressive function, tries to preserve the language characteristics and unique expression forms of the source language to present thinking process of the author. Its translation judged by the target readers is likely to be smoother, simpler, clearer and more direct. While communicative translation is to convey message, performing vocative function. &lt;br /&gt;
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In addition, the key of communicative translation is immediacy which means the success of translation depends on the readers' responses. Semantic translation lays stress on faithfulness to the source text, but cannot neglect to convey the message contained in the source text. (Lin Xiaoqin 1987, 50)&lt;br /&gt;
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Here are some examples to better present the differences between semantic translation and communicative translation.&lt;br /&gt;
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E.g. 世人都晓神仙好。&lt;br /&gt;
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Yang Hsien-yi and Gladys Yang's Version: All men long to immortals.&lt;br /&gt;
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David Hawkes’s Version: All men knew that salvation should be won. &lt;br /&gt;
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In this example, “神仙” is the difficult point because there is no corresponding expression in English. In Chinese culture, “神仙” refers to transcendence and is a life with “supernatural forces” in human beings. Yang directly translated “神仙” as “immortals” because being an immortal is the highest ideal of Taoism. His translation is semantic translation. While Hawkes used “salvation” which is a concept in the Christianity. The creed of Christianity is to be saved from sins. And his translation is communicative translation. Yang chose to be faithful to the original text to preserve the concept in the Taoism. While Hawkes decided to pay more attention to religious background and mentality of the target readers. &lt;br /&gt;
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E.g. 真是“天有不测风云，人有旦夕祸福”。&lt;br /&gt;
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Yang Hsien-yi and Gladys Yang's Version: Truly, “storms gather without warning in nature, and had luck befalls men overnight.”&lt;br /&gt;
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David Hawkes’s Version: I know “the weather and human life are both unpredictable.”&lt;br /&gt;
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In this sentence, “天有不测风云，人有旦夕祸福” is a challenge in translation. It is a Chinese idiom which means the occurrences of some disasters are unpredictable in advance. According to antithesis habit in Chinese, Yang translated these two idioms into the corresponding English compound sentence, which adopted semantic translation. While Hawkes briefly translated into a single sentence, which adopted communicative translation. The former sentence may be appreciated by Chinese readers, and the simplified processing of the latter is easier for native English speakers to understand and accept because it conforms to the British and American expressions, especially in line with the habits of daily expression.&lt;br /&gt;
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E.g. Wet Paint!&lt;br /&gt;
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Version 1: 湿油漆&lt;br /&gt;
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Version 2: 油漆未干&lt;br /&gt;
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Version 3: 小心油漆&lt;br /&gt;
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Version 4: 勿触油漆&lt;br /&gt;
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This sentence is an official notice. From the four versions of the source text, there are differences among them. Version 1 is word-by-word translation, conveying an obscure message and not involving in any receptors. Version 2 just describes a fact that the paint is not dry but wet and does not present the informative function of the original. This notice aims to warn people not to do something and keep away from the paint. Version 3 and version 4 are free translations because they emphasize more on the content instead of form. The first and second version are semantic translation because they only describe the fact and tell readers the information that the paint is not dry. However, the third and fourth version are communicative translation which not only tell people the information but also play the warning function to notify readers not to touch the wet paint. &lt;br /&gt;
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However, semantic translation and communicative translation are not opposite. Newmark points out that the two should be viewed as a whole, instead of isolated or opposite parts. And a problem should be emphasized. Corresponding text-types can overlap. Semantic translation pays more attention to a mainly expressive text and communicative translation is more popular in mainly informative or vocative texts. In brief, translators should think the type of text over and ensure a good balance between them.&lt;br /&gt;
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====Text Typology====&lt;br /&gt;
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Language is a unique symbolic system, which has its own most important semantic system, as well as a functional system involving context. &lt;br /&gt;
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Newmark's text tppology theory is influenced by Reiss, Jacobson and other translators. In the book of Approaches to Translation, Newmark put forward three functional texts, including expressive text, informational text and vocative text. In accordance with these types of classification, Newmark summarized semantic translation and communicative translation. (Newmark 2001, 39)&lt;br /&gt;
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Expressive text mainly talks about the author's subjective emotions and his or her standpoints, which centers on the source language and the author regardless of the target readers' responses. Newmark points out that the expressive text includes three literary styles: &amp;quot;(1)serious imaginative literature such as poem, novels and dramas, (2) authoritative statements such as speech or statements from government officials or party's officials or party's leaders, documents and regulations and laws from government, and academic works from authorities, (3) autobiography, prose and personal correspondence without target readers.&amp;quot; (Newmark 2001, 55) Semantic translation is applicable to the expressive text, with a particular emphasis on the language features and language structure of the original language which is similar to literal translation.&lt;br /&gt;
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As for informative text, Newmark proposes that &amp;quot;typical informative texts are concerned with any topic of knowledge&amp;quot;. (Newmark 1988, 40) The informative text focuses on the information or the content provided in the text. According to Newmark, informative text includes textbooks, papers, reports, and minutes about science, industry, technology, economy, commerce and other areas of knowledge or events, which are mainly used to deliver information and reflect truth. In light of translation of informative text, Newmark proposes that communicative translation can be adopted to convey accurate meaning or the content of the source text to the target readers. (Newmark 2001, 67)&lt;br /&gt;
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&amp;quot;The function of vocative text is to call upon readers to act, to think, to feel and to react in the way intended by the text.&amp;quot; (Newmark 2001, 41) The vocative text includes all kinds of specifications, publicity materials, advertisements, notices and other persuasive words. Two factors must be emphasized in vocative text: one is the relationship between the author of the source text and readers of the source text and another is that translation is easy to be understood by the target readers, therefore, translators should take the source language and its cultural background into consideration in the course of translation practice. And communicative translation should also be used in the vocative text which means much attention should be paid on the target readers' understanding and reaction.&lt;br /&gt;
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===Newmark's Improved Views on Literal Translation and Free Translation===&lt;br /&gt;
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It can be said that literal translation and free translation in the past were had their own disadvantages. Newmark agrees with literal translation and he holds that &amp;quot;translation means filling the blank between two languages and even explaining is translating.&amp;quot; (Newmark 1999, 33) This indicates that he does not neglect the importance of free translation. If the language and grammar structure of the original are not that important, the fidelity of the translation can be lowered, creating more room for translation. This situation can mainly adopts free translation. He even believes that translators can create better translation than the original one. Communicative translation and free translation resemble when it comes to the preference for the message to the manner, and the content to the form of the original. In his masterpiece ''Approaches To Translation'', he analyzes and discusses the loss of meaning. As long as the loss of meaning in the translation is inevitable, content cannot separate from form. And complete faithfulness to the original is almost impossible because the so-called preserving the original meaning is relative. What's more, the content of a text should not be equal to referent in language, but include referent, rhyme, genre, style and so on. As the slogan, being faithful to the original, was too empty, some translators advocating literal translation did free translation and even paraphrased the original in the practice. Newmark holds that translators need to notice the content in four layers, the original text level, referred level, coherent language level and natural tone level. In this way, he transforms the empty slogan into concrete requirements in the translation practice and meanwhile criticized the disadvantages of literal translation. (Newmark 1999, 33)&lt;br /&gt;
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Likewise, the viewpoints of free translation are not advisable as well. Newmark criticizes the basis of free translation school, making the target readers obtain feelings similar to that of the original readers. He thinks the goal is too difficult to achieve because translators had problem in completely knowing the feelings and responses of the original readers. He further puts forward some reasons why this goal cannot be realized. As long as the same feelings cannot be obtained by the source and target readers, there exists no reason or judging basis of great amending or creative rewriting.  Free translation produces the matter rather than the manner, or the content rather than the form. Newmark regards it as usually a paraphrase much longer than the original, often prolix and pretentious, and not translation at all. In free translation, &amp;quot;more translation is paid to producing a natural reading TL text than to preserving the ST wording intact.&amp;quot; (Shuttleworth and Cowie 2004, 62)&lt;br /&gt;
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Newmark criticizes that the argument is theoretical without taking other important facets of translator's purpose, the nature of readership and text typology into consideration. Newmark claims the argument could come to a compromise if translators deal with two sides with another visual angle. In 1981, he proposed semantic translation and communicative translation to replace the old terms. (Newmark 1988, 45)&lt;br /&gt;
&amp;quot;(a) communicative translation, where the translator attempts to produce the same effect of the target language readers as produced by the original on the source language readers, and (b) semantic translation, where the translator attempts, with the bare syntactic and semantic constraints of the TL, to reproduce the precise contextual meaning of the author.&amp;quot; (Newmark 1981, 22) In order to better explain these two methods, he designed the form of a flattened diagram. (Newmark 1988, 45)&lt;br /&gt;
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                SL emphasis                            TL emphasis&lt;br /&gt;
   word for word translation                        Adaption&lt;br /&gt;
          Literal translation                     Free translation&lt;br /&gt;
          Faithful translation                  Idiomatic translation&lt;br /&gt;
            Semantic translation               Communicative translation&lt;br /&gt;
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The diagram indicates that there is a hugest gap between the translation guided by word for word translation and the translation guided by adaption, then between literal translation and free translation, faithful translation and idiomatic translation and semantic translation and communicative translation last. These eight translation methods are a continuity, and they complement each other and cannot be completely separated. In Newmark's opinion, adaption is the freest translation method, and suitable for drama and poem translation. Free translation reproduces the main content of the original and pay more attention to interpret and expound. Target texts guided by idiomatic translation are more natural, more fluent and more coherent. But due to adopt some unknown expressions, the original meaning may be distorted.&lt;br /&gt;
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Communicative translation possesses the advantages of adaption, free translation, idiomatic translation and semantic translation maintains the advantages of word for word translation, literal translation and faithful translation. Newmark maintains only by combining semantic translation and communicative translation can achieve two aims of translation-accuracy and conciseness. By distinguishing these right methods, he gives further refinements to the above definition of semantic translation and communicative translation. He adds one more element &amp;quot;aesthetic value&amp;quot;. Meanwhile, he gives up emphasizing the &amp;quot;effect&amp;quot;, and refines communicative translation to be more specific, &amp;quot;communicative translation attempts to render the exact contextual meaning of the original in such a way that both content an language are readily acceptable and comprehensible to the readership.&amp;quot; (Newmark 1988, 47)&lt;br /&gt;
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===My Thoughts on Literal Translation and Free Translation===&lt;br /&gt;
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The two translation methods, literal translation and free translation, are useful in the translation practice. Taking English-Chinese translation for example, in the translating process, translators can use the method of literal translation when the pattern of sentence in original text is similar with the Chinese one, and we can find some Chinese words being equivalent in meaning to the words used in the sentence of original text. In some cases there are some complex sentences that can be translated with the method of literal translation as well. As long as these sentences are short and the pattern of these sentences is relatively simple compared with other complex sentences, they can be translated by literal translation method. In English, the using of some metaphors and similes is almost similar to the way that they are used by in Chinese. For instance, &amp;quot;time flies&amp;quot; in English can be directly translated into Chinese as &amp;quot;时间飞逝&amp;quot;, as the Chinese people also describe time passing very fast in this way, which accords with the expression habit of Chinese.&lt;br /&gt;
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As English and Chinese are two kinds of different languages, there are many differences in various aspects, such as different grammar and language habits. In English there are some words or phrases we cannot find the relative words or phrases in Chinese. In this cases, using using literal translation method would not be proper. Under this condition, if the translator insists on using literal translation, the translation text will be difficult to be understood by the target readers. So in order to make the translation text readable, translators should adopt free translation. Under the direction of literal translation, translators will try their best to keep the flavor of original work, no matter on the material or the form. Literal translation is the effective method to keep the cultural flavor of original language. Therefore, when there are some cultural differences affecting the translation of culture-loaded words between the source language and the target language, free translation can become one of the translation strategies which provide possibility in reducing or even removing the restrictive factors in translation process. &lt;br /&gt;
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In the process of translation, it is an ideal way to combine literal translation and free translation because they mutually complement in many cases. When literal translation cannot express the original and basic content of the author and hinder readers to understand, it is crucial for the translator to use free translation to express the author's meaning. When free translation cannot meet the requirement of being faithful to the content of the original text, it is significant for the translation to use literal translation to show features ad the structure of the author's language.&lt;br /&gt;
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===Conclusion===&lt;br /&gt;
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The dispute between two translation methods, literal translation and free translation has been lasting from throughout history. The argument of them is based on the relationship between content and form. This paper attempts to introduce Peter Newmark's improved views on the literal translation and free translation. Newmark criticizes some disadvantages and proposes semantic translation and communicative translation. Semantic translation focuses on maintaining the content of the original text, while communicative translation emphasizes more on the effect of the translation. The author also shows opinions on literal translation and free translation. Peter Newmark's theory has taken a big step forward from one-sided view of literal translation and free translation in the past, which has provided the direction of further development of translation research.&lt;br /&gt;
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===References===&lt;br /&gt;
*Nida,E.A[尤金·A·奈达].(1985).''Translating means Translating meaning''《翻译即译意》.UNESCO: Publication of FIT. &lt;br /&gt;
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*Newmark, Peter[彼得·纽马克]. (1991). ''About Translation''《关于翻译》. North Somerset: Multilingual Matters&lt;br /&gt;
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*Newmark,Peter[彼得·纽马克].(1998). ''A Textbook of Translation''《翻译教科书》. London: Prentice-Hall International (UK) Ltd. &lt;br /&gt;
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*Newmark, Peter[彼得·纽马克]. (1981). ''Approaches to Translation''《翻译方法》. Oxford: Pergamon Press.&lt;br /&gt;
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*Shuttleworth &amp;amp; Cowie[沙特尔沃斯&amp;amp;考伊]. (2004). ''Dictionary of Translation Studies''《翻译研究词典》. Shanghai: Shanghai  Foreign Language Education Press.&lt;br /&gt;
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*陈伯雨 Chen Boyu. “翻译对等” 研究[Study on Translation Equivalence]. 辽宁师范大学[Liaoning Normal University]. 2003.&lt;br /&gt;
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*陈福康 Chen Fukang.《中国译学理论史稿（修订本）》[''Draft History of Chinese Translation Theory (Revised)'']. 上海：上海外语教育出版社[Shanghai Foreign Language Education Publishing House]. 2000.&lt;br /&gt;
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*程永生 Cheng Yongsheng.中国近现代直译与意译研究[Research on Modern Chinese Literal Translation and Free Translation]. 淮南工业学院学报(社会科学版)[Journal of Huainan Institute of Technology(Social Science)]. 2002.&lt;br /&gt;
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*李明瀚 Li Minghan.语义翻译和交际翻译在汉语政论文翻译中的应用[Semantic Translation and Communicative Translation in the Translation of Chinese Political Writings]. 辽宁大学[Liaoning University]. 2014.&lt;br /&gt;
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*林小芹 Lin Xiaoqin.纽马克论交际翻译与语义翻译[Newmark's Study on Communicative Translation and Semantic Translation]. 中国翻译[Chinese Translators Journal]. 1987. &lt;br /&gt;
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*刘重德 Liu Zhongde.文学翻译十讲[Ten Lectures on Literary Translation]. 北京：对外翻译出版社[Foreign Translation Press]. 1991.&lt;br /&gt;
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*任文 Ren Wen.交替传译[Consecutive Interpretation]. 北京：外语教学与研究出版社[Foreign Language Teaching and Research Press]. 2012.&lt;br /&gt;
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*谭载喜 Tan Zaixi.《西方翻译简史（增订版）》[''A Short History of Translation in the West(Updated Version)'']. 北京：商务印书馆[Commercial Press]. 2018.&lt;br /&gt;
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*王佐良 Wang Zuoliang.翻译：思考与试笔[Translation: Thinking and Writing]. 北京：外语教学与研究出版社 [Foreign Language Teaching and Research Press]. 1989.&lt;br /&gt;
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*许海燕,孙卫红.杨译本文化负载词的翻译——以《从百草园到三味书屋》为例[On C-E Translation of Culture-loaded Words by Yang Xianyi—A Case Study of From ''Hundred-plant Garden to Three-flavor Study''].陇东学院学报[Journal of Longdong University]. 2012.&lt;br /&gt;
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*许渊冲 Xu Yuanchong.翻译的艺术[The Art of Translation]. 北京：五洲传播出版社[China Intercontinental Press]. 1984.  &lt;br /&gt;
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*许渊冲Xuan Yuanchong.直译与意译[Literal Translation and Free Translation]. 上海外国语学院学报[Journal of Shanghai Institute of Foreign Languages]. 1980.&lt;br /&gt;
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='''Document Translation'''=&lt;br /&gt;
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==On translation of official documents of CangNan County	吴恺	Wu Kai==&lt;br /&gt;
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On Translation of Official Documents of Cangnan County&lt;br /&gt;
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Japanese Language and Literature, School of Foreign Languages, Hunan Normal University, Wu Kai--[[User:Wu Kai|Wu Kai]] ([[User talk:Wu Kai|talk]]) 04:45, 2 December 2020 (UTC)&lt;br /&gt;
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==='''Abstract'''===&lt;br /&gt;
As one of the forefronts of Zhejiang’s opening-up cause, Cangnan County in Zhejiang Province has been enjoying a rapid development and an ever-growing degree of opening-up with lasting vitality as it’s supported by national policies and nourished by the dividends of economic globalization since China's reform and opening-up. As China has ushered in a period of major changes rarely seen in a century, Cangnan County is also facing new opportunities and challenges. Under the background of this era, Cangnan County is expected to make good use of its own advantages, especially the geographical ones—it is close to countries and regions including Japan, South Korea, and Taiwan—and should spare no efforts to achieve a higher level of opening-up, and, in turn, further promote its development. As an embodiment of the collective will of the people of Cangnan County, the official document is one of the best manifestations of its governance and stability control capabilities. For this reason, the research on how to translate official documents is of great significance for that it offers a great opportunity for Cangnan County to re-examine itself and to show the rest of the world its achievement in building a culture-enriched county.&lt;br /&gt;
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==='''Key words'''===&lt;br /&gt;
 official document translation, Cangnan County, opening-up, Japan, South Korea&lt;br /&gt;
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==='''摘要'''===&lt;br /&gt;
自中国改革开放以来，浙江省苍南县作为全浙江对外开放的前沿阵地之一，得到了国家政策支持和经济全球化红利的滋润，苍南县发展水平与对外开放程度日新月异，全县活力持久带劲。随着中国迎来“百年未有之大变局”，苍南县也面临着新的机遇和挑战，在此时代背景下，苍南县应该利用好自身优势，特别是临近日本、韩国、台湾等国家与地区的地理优势，努力开展更高层次、更高水平的对外开放事业，促进苍南更好的发展。为此，作为苍南县人民集体意志的体现，苍南县的公文就是对外展示其治理水平、稳控能力的最好的体现之一。而对于苍南县公文的如何翻译的研究，是促使苍南县重新审视自己、推进苍南人文县情传播海外的良机，意义重大。&lt;br /&gt;
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==='''关键词'''===&lt;br /&gt;
公文翻译  苍南县  对外开放  日本  韩国&lt;br /&gt;
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==='''I. System and Translation of Official Documents of Cangnan County'''===&lt;br /&gt;
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The unique official document system adopted by Chinese government agencies is a special integration of the thousands-of-years excellent political traditions in China and the essence of the organizational structure of the socialist regime. As a county-level unit in China's local administrative structure, Cangnan County has an official document system that is consistent with the national ones in general while has its own features. Official documents of Cangnan County can be basically divided into the following types of writing: resolutions, decisions, orders, bulletins, announcements, notifications, opinions, notices, reports, requests for instructions, approvals, proposals, letters, and minutes. Above-mentioned categories are collectively known as official documents. Besides, there are also some types of practical writing, including summaries, plans, notes, memos, briefings, speeches, manuals and so on, that are often used in our day-to-day work.&lt;br /&gt;
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In addition to those characteristics of the official documents that are commonly seen in China, official documents of Cangnan County also have its own features, which is mainly reflected in the aspect of proprietary terminology. Cangnan County, which used to be a part of Pingyang County in Zhejiang Province, was officially designated as a county in 1981 with the approval of the Central Government. It takes its name Cangnan, which means “on the south of the Yucang Mountain”, from its geographical location. As a relatively young county-level administrative unit in China’s administrative divisions, Cangnan County has a complex natural endowment and cultural environment, which is the reason why there are many special proprietary terms used in the official documents of Cangnan County, such as “Beautiful South Gate of Zhejiang Province”, “Southern Ouyue (an ancient kingdom in modern Wenzhou and Taizhou)” , “South Gate of Jiangsu-Zhejiang Region” and so on. Moreover, Cangnan is also the birthplace of the “Wenzhou Model”. Since the implementation of policy for the exchange of production materials and commercial grains in 1984, Cangnan has become an important base for the experiments and development of Wenzhou's private economy and market economy, and, thus, has made a significant contribution to the great cause of China's reform and opening-up.&lt;br /&gt;
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To conclude, the unity of the official document system viewed from the national scope of China and the uniqueness of the official document system viewed from the local scope of Cangnan area are both reflections of the integration of economic, political, and cultural elements. Therefore, when translating the terms and sentences in these official documents, obviously, it is almost impossible to follow general translation theories, such as Yan Fu’s “faithfulness, expressiveness and elegance” theory which applies to literature translation, and Christiane Nord’ Skopos theory which emphasizes schematic analysis. Due to the features of the official documents of Cangnan County, it is hard to imagine the consequence it will cause if those Cangnan and Chinese elements they contain are missed when translating them. Therefore, the starting point for the translation and research of Cangnan official documents should be analyzing the official document itself, but not choosing which translation theory to apply.&lt;br /&gt;
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The translation method focusing on the official documents themselves is undoubtably the one that emphasizes the content while manages to achieve a similarity in form. Thus, the translation theory that meets the requirements of official document translation in Cangnan County shall be the functional equivalence theory of the American linguist Eugene A. Nida. Eugene A. Nida argued in his theory that translation is to use the most appropriate, natural and equivalent language to reproduce the informational function of the source language both semantically and stylistically. Nida’s definition of translation specified that translation is seeking equivalence not only in lexical meaning, but also in semantics, style and literary form. Translation should convey both the denotative and connotative meaning of a message. Regarding the equivalence of translation, he believed that the equivalence consists of four parts: lexical equivalence, syntactic equivalence, textual equivalence, and stylistic equivalence. Among the four aspects, he emphasized that the meaning the core and most important part, followed by the form. The form of a text is likely to conceal the cultural connotation of the source language and may, therefore, hinder cultural exchanges. Based on the above, the reasons why the functional equivalence theory is applicable to official document translation in Cangnan County can be concluded as follows:&lt;br /&gt;
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First, the functional equivalence theory advocates that the target text should be equivalent to the source text both semantically and culturally. Official documents of Cangnan County are carriers of profound political culture with Chinese characteristics and the cultural environment in Cangnan. When translating them, in addition to showing the political consciousness and judicial authority of Cangnan government agencies, the local culture of Cangnan must also be reflected in the translations.&lt;br /&gt;
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Second, the functional equivalence theory suggests that if the lexical meanings and cultural elements cannot be taken into account at the same time, the translator then may give up the equivalence in form and try to reproduce the semantic and cultural meaning of the source text by changing the form of the sentence. There are many specialized terms with Chinese characteristics and Cangnan’s characteristics in official documents of Cangnan County. When translating them, once there is no corresponding expression in the target language, other forms of expression must be adopted to retain the meanings of those specialized terms as much as possible.&lt;br /&gt;
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Third, the functional equivalence theory proposes that if the change in form is still not enough to express the semantic and cultural meaning of the expression in the source language, the translation technique of “heavy damage” can be adopted to resolve cultural differences , so that the source language and the target language can achieve equivalence in semantic meaning. “Heavy damage” refers to the transformation of the deep structure of the source language into the surface structure of the target language, that is, expressing the cultural connotation of the source text with expressions of the target language. It cannot be ruled out that there are words and sentences in the official document of Cangnan County that cannot be translated, and when this happens, the translator can only rely on his translation techniques and understanding ability to process them creatively.&lt;br /&gt;
Above are simply macro analyses of the official document system in Cangnan County, and when it comes to specific analyses, challenges we face will only be severer.&lt;br /&gt;
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==='''II. Stylistic Features and Translation of Official Documents in Cangnan County'''===&lt;br /&gt;
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Looking at the official documents of Cangnan County from the micro level, we can work on the study of its translation based on the following characteristics.&lt;br /&gt;
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'''1. Details and Accurate'''&lt;br /&gt;
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As an officially-written document geared for the needs of our people, wording of the official documents of Cangnan County has a very specific orientation. Almost all content words have very clear meanings and connotations.&lt;br /&gt;
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For example, the sentence “经研究，县政府决定召开市对县安全生产巡查反馈会暨突出问题集中教育警示会，现将有关事宜通知如下。(As discussed, the county government decided to convene a feedback meeting on city-to-county inspections of production safety and a meeting for education and warning on outstanding issues. The relevant matters are hereby notified as follows.)” in the document 《苍南县人民政府办公室关于召开市对县安全生产巡查反馈会暨突出问题集中教育警示会的通知》(“Notice of the Office of the People's Government of Cangnan County on Convening a Feedback Meeting on City-to-County Inspections of Production Safety and A Meeting For Education and Warning On Outstanding Issues”) (the office of the People's Government of Cangnan County on June 8th, 2020) conveys several points very accurately and clearly, including the decision maker, the type, content and theme of the meeting. Therefore, special attention must be paid to the integrity of the information delivered when translating this sentence. For example, it is translated into Japanese as “討議を通じて、県政府は県の安全生産状況に対する市政府の巡査結果反映会及び顕著問題教育警告会を開催することが決定した。関連事項を以下のようにお知らせする。”&lt;br /&gt;
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'''2. Precise and Compact'''&lt;br /&gt;
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The role of official documents is to exchange formal information between the upper and the lower, the people and the officials, and the relevant departments. Therefore, the wording of the official documents must be rigorous. No slang and loose sentences should be used, and excessive use of parentheses and descriptive modifiers should be avoided. Official documents of Cangnan County follow this rule as well, in which there will never be informal expressions like daily spoken words.&lt;br /&gt;
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For example, the expression “三、决策目录施行动态管理，因工作需要增减或变更重大行政决策事项的，承办单位应按照相关规定程序提请调整。(Third, the decision catalogue shall be managed in a dynamic way, the undertaker shall submit application for adjustments in accordance with the relevant regulations if any increase/decrease or change shall be made to the major administrative decision-making matters because of the need of actual work.)” in the document《关于公布苍南县2020年度重大行政决策事项目录的通知》(“Notice on Issuing the 2020 Annual Catalogue of Major Administrative Decision-Making Matters of Cangnan County”) (the office of the People's Government of Cangnan County on Sept. 20th, 2020) When translating this sentence into Japanese, the translator shall fully considers the preciseness of the original expression, and translate it as “三つ目、戦略目録動的管理施行、仕事需要によっての増減または変更が必要な場合、請負機構は関連規定の手順に従って調整を提出しなければならない。”&lt;br /&gt;
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'''3. Programmed and Standardized'''&lt;br /&gt;
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The purpose of official documents requires a stable and routine writing program so that the official business can be conducted in an orderly manner. It is essential that the document writing is reasonably programmed. It allows the officer to know what it is and what to do at a glance if a standardized official document program is followed. The standardization of the official documents of Cangnan County can be regarded as a tricky feature in their translation.&lt;br /&gt;
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For example, the expression “各乡镇人民政府，县政府直属各单位 (the people's government of all townships and towns and all directly affiliated institutions of the people’s government of Cangnan County)” in the document《关于公布苍南县2020年度重大行政决策事项目录的通知》(“Notice on Issuing the 2020 Annual Catalogue of Major Administrative Decision-Making Matters of Cangnan County”) (the Office of the People's Government of Cangnan County on Sept. 20th, 2020) is obviously a standardized addressing of the receiving units of an official document, and it should be translated into Japanese as “各郷鎮人民政府、県政府直属の各部門”.&lt;br /&gt;
Viewing from a micro perspective, we may find that special attention should be paid to many precise details when translating those official documents. It is of great significance that, during the cause of reform and opening-up, we strike a balance between the macro level and the micro level in official document translation, which will serve as a stage for Cangnan County to show itself to Japan, South Korea and other East Asian countries and regions.&lt;br /&gt;
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==='''III. Translation of Official Documents of Cangnan County under the Context of the Japanese Language'''===&lt;br /&gt;
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Cangnan County is one of the nearest administrative units to Japan in China, and Okinawa Prefecture in Japan and Cangnan County are neighbors facing each other across the sea. Furthermore, Cangnan County itself has ports in Xiaguan, Pacao, Yanting, Dayu and other places, and has the basic conditions for conducting small transactions of freights with Okinawa. However, due to the inadequacy policies, laws and regulations, a large portion of Japan’s trade with China, especially with Zhejiang Province, is still conducted in the three port cities, namely Ningbo, Zhoushan, and Hangzhou. Cangnan’s geographical advantages have never been given to full play. To Japan, Cangnan is not a total stranger. Wenzhou City has a great influence upon Japanese culture and history. Special local products such as Wenzhou green tea and Wenzhou satsuma orange are very attractive to Japanese people. Many of the business exchanges during the Kamakura Bakufu in Japan were happened between Hakata merchants and Wenzhou people. As an important subordinate region of Wenzhou City, Cangnan County naturally has left an impression on Japanese people when it comes to China.&lt;br /&gt;
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If Cangnan hopes to lay a foundation for the future cooperation with Japan through its cause of opening up to the outside world, it is of great importance that we study the methods and techniques to make the translation of Cangnan’s official documents to meet the specific context of the Japanese language, which is also a part of the cultural exchanges that will facilitate economic and trade cooperation between Japan and China. The political status of Cangnan County is equivalent to the one of regular cities and special wards in Japan, but this does not mean that the official documents of Cangnan County can be regarded as equivalents to the official documents released by the governments of the regular cities and special wards in Japan, and there are huge differences between their respective official documents in form, wording, Cultural connotation and etc. To better translate Cangnan official documents under the context of Japanese language, the following aspects must be paid attention to:&lt;br /&gt;
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1. Detailed Comparison of Types&lt;br /&gt;
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In the Japanese official document system, the word “公文” is different in meaning from the word “公文” in Chinese official document system. In Chinese “公文” means government official documents, while in Japanese “公文” generally refer to legal documents that have the force of law and the term “公文書” is the one that refers to government official documents, which roughly includes “外交文書” and “起案文”, “通達” , “命令”, “許可”, “通知書” and so on . When translating official documents of Cangnan County into Japanese, attention should be paid to the transformation of the types of the official documents. The classifications of official documents in China and Japan are different from each other.&lt;br /&gt;
For example, when translating documents such as “proposal letter”, “report” and the like into Japanese, the title should be translated as “建言書” and “報告書”, while “命令(order)”, “通知(notice)”, “提案(Proposal)” and etc. need no translation and can be titled with the original characters directly as “命令”, “通知”, “提案”, and can also be further translated into “命令状”, “通知書”, “提案書”. Those reflect the characteristics of the division of the types of the official document system in Japan.&lt;br /&gt;
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2. Careful Consideration of the Translation of Chinese Characters&lt;br /&gt;
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There are a large number of Chinese characters in Japanese. This will for sure be an advantage when translating official documents of Cangnan County into Japanese, however, at the same time, this is also a huge disadvantage. After all, those Chinese characters are Japanized Chinese characters, and their meanings and usages are more or less different from the original ones in Chinese.&lt;br /&gt;
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For example, the expression “设定全县森林防火期(setting the season of forest fire prevention)” in the document 《苍南县应急管理局局长王再忠关于&amp;lt;苍南县人民政府关于做好森林防火期护林防火工作的通告&amp;gt;的政策解读》(“Policy Interpretation Of ‘Notice of Doing Forest Protection and Fire Prevention during the Season of Forest Fire Prevention by the People's Government Of Cangnan County’ by the Director of Cangnan Emergency Management Agency Wang Zaizhong”) in could be translated character by character into Japanese as “全県域森林防火期間設定”. However, expressions such as “野外火源如何管理” cannot be translated in the same way, and must be processed accordingly and translated into Japanese as “野外の火の元が如何に処理すること”. When translating official documents of Cangnan County into Japanese, the translators must reject the preconceived thinking and native Chinese thinking, or it will lead to irreversible misunderstandings and mistakes.&lt;br /&gt;
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3. Mastery of the Equivalence of Semantic Meaning&lt;br /&gt;
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Chinese is an isolating language, in which the grammatical meaning is reflected by the order of words, while Japanese is an agglutinative language, in which auxiliary words and flexible usages of vocabulary are adopted to reflect the grammatical meaning. This requires the translators to have mastery of the equivalence of semantic meanings when translating official documents of Cangnan County into Japanese and try to achieve perfect equivalence in official document translation.&lt;br /&gt;
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For example, there is a expression as “全体公民必须认真贯彻‘以人为本、预防为主、积极扑救、有效消灾’的森林防灭火工作方针，一旦发现森林火灾，要立即向当地人民政府或森林防灭火指挥部办公室报告(all citizens must seriously implement the working policy of forest fire prevention and firefighting ‘people-oriented, prevention-focused, active in firefighting, effective in disaster relief’, once a forest fire is detected, it must be reported to the local people’s government or the forest fire prevention and firefighting headquarters office immediately)” in the document 《苍南县应急管理局局长王再忠关于&amp;lt;苍南县人民政府关于做好森林防火期护林防火工作的通告&amp;gt;的政策解读》(“Policy Interpretation Of ‘Notice of Doing Forest Protection and Fire Prevention during the Season of Forest Fire Prevention by the People's Government Of Cangnan County’ by the Director of Cangnan Emergency Management Agency Wang Zaizhong”). When dealing with long and complex sentences, the translator must be flexible in using translation techniques to decompose the sentences and translate them step by step, focusing on the balance between the form of the sentence and its semantic meaning. Based on this principle, the abovementioned sentence could be translated into Japanese as “人間本位、予防軸化、積極救助、有効消災という森林防火作業方針は全県民が必ず強固に守らなければならない。林に火事が発見された際、直ちに所轄人民政府や森林防火指揮部執務室に報告すること。”&lt;br /&gt;
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There is no doubt that, in terms of four-character idioms, allusions, new words of the era and etc., the translation of official documents of Cangnan County under the context of the Japanese language still has a long way to go, but the part that we should pay most attention to in translation is always the differences in culture between the source language and the target language. Only by keeping this basic point in mind at all times, will there be no huge mistakes being made when translating official documents of Cangnan County into Japanese.&lt;br /&gt;
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==='''Ⅳ. Translation of Official Documents of Cangnan County under the Context of the Korean Language'''===&lt;br /&gt;
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Zhejiang Province and South Korea have laid a good foundation for economic and trade cooperation projects, and a framework that is comprehensive, wide-ranging, and multi-level has been established for Zhejiang-South Korea cooperation. The advantages of the two regions are obviously complementary and the development potential for both sides and in between is huge. In September 2016, the Zhejiang China-Korea (Quzhou) Industrial Cooperation Park was approved as the first batch of “Zhejiang International Industrial Cooperation Parks” in Zhejiang Province. The total planned area is about 3,000 acres and the total planned investment is 12 billion yuan. Represented by the Zhejiang China-Korea Industrial Cooperation Park, a large number of economic and trade cooperation projects has been carried out with South Korea by Zhejiang Province. As an indispensable part of Zhejiang Province, Cangnan County is facing a huge gap in the cultural exchanges and economic cooperation with South Korea. How to elevate the level of Cangnan’s opening up to the outside world and advancing Cangnan’s economic, trade and cultural cooperation with South Korea is a question that is well worth exploring. Although Cangnan is further away from South Korea compared with regions in the north of Zhejiang, geographic location should never be a factor that hindering Cangnan’s economic, trade and cultural cooperation with South Korea. In an era of ever-deepening globalization, it is of great significance that we think about how to develop and promote the economic and trade and cultural cooperation between Cangnan and South Korea.&lt;br /&gt;
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Northern Zhejiang is a key area for economic, trade and cultural cooperation with South Korea. As the south gate of Zhejiang Province, if Cangnan County could open the door of economic, trade and cultural cooperation to South Korea, then this will inevitably bring extraordinary development opportunities to southern Zhejiang and make the pattern of Zhejiang and South Korea’s economic and cultural cooperation more balanced and healthy. The political status of Cangnan County is equivalent to the one of si(city), gu (district), and gun(county) in South Korea. Because of some historical reasons, South Korea is greatly influenced by Chinese culture. From the Three Kingdoms era of Joseon, to the Unified Silla Dynasty, the Wang’s Goryeo Dynasty, and the Yi’s Joseon Dynasty, the basic system of administrative divisions in South Korea is almost the same as the one in China, so the official document system of cities, districts, and counties in South Korea can be regarded as basically equivalent to the official document system of Cangnan County with only slight differences originated from the localized political and cultural traditions and the basic social condition of South Korea. Therefore, there are relatively fewer difficulties of translation when translating official documents of Cangnan County into Korean, aside from the barriers caused by Korean Hangul words. The translation of official documents of Cangnan County under the context Korean language requires attention to the following aspects:&lt;br /&gt;
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1. The Combination of Chinese characters and Hangul&lt;br /&gt;
&lt;br /&gt;
Modern Korean uses Hangul as the main written characters, but this does not mean that there is no place for Chinese characters in the Korean system. Since the launch of the abolition of Chinese characters movement in South Korea in the 1970s, Hangul did exactly achieved an overall penetration of every aspect of their daily life, but when it comes to important documents, Chinese characters still reserve a seat in the arena of South Korea’s history. Furthermore, a higher level of talent training is required now to meet the need of South Korea’s economic and social development, and the mastery of sinology has become, among all the necessary skills, one of the most straightforward evaluation criteria to access the qualified personnel. Thus, South Korea has restarted the Chinese character teaching movement. Nowadays, the official document system in South Korea has become one in which Hangul serves as the main language and the mixed use of Chinese characters and Hangul serves as a supplement. Just as how the mixed use of kana and Chinese characters in Japanese official documents may help in its translation, the mixed use of Chinese characters and Hangul also greatly facilitate the translation of official documents of Cangnan County into Korean. However, because Chinese characters used in Korea are composed of traditional Chinese characters and a small number of Korean self-made Chinese characters, we can not take it for granted that it is advisable to translate them word by word.&lt;br /&gt;
&lt;br /&gt;
For example, the title of the document《苍干任〔2020〕18号 王再忠等同志的任命》(“Cangnan Cadre Appointment [2020] No. 18: Appointment of Wang Zaizhong and etc.”) (the Office of CPC Cangnan Party Committee on March 27th, 2020) can be translated with the mixed use of Chinese characters and Hangul into Korean as《蒼南縣의 幹部任命〔2020〕18號 王再忠등 同志의任命》. Also, it be translated into Korean with Hangul alone as《참남현의 간부임명〔2020〕18호 왕재충등 동지의임명》.&lt;br /&gt;
&lt;br /&gt;
2. The Usage of Refined Language&lt;br /&gt;
&lt;br /&gt;
In recent years, South Korea has carried out reforms of the official document system, urging that the South Korean government agencies at all levels should use “refined(or purified) language”, that is, to write and publish official documents with words that are easy for the public to understand and have explicit meanings, reducing the cost of communication between the government and the public and, in this way, building a closer relationship between the government and the people, so that civil servants can communicate with the people more effectively. Refined language is a kind of common vernacular that differs from the official language. Although this trend of the wording of Korean official documents is not unconditional, but when compared with official documents of Cangnan County, which emphasize the solemnity and formality of official documents, this trend is the part that the translator has to pay his attention to.&lt;br /&gt;
&lt;br /&gt;
For example, when translating the expression “为加强行政规范性文件管理，切实推进依法行政，加快法治政府建设 (To strengthen the management of administrative normative documents, promote the administration in accordance with law, and accelerate the construction of a government ruled by law)” in the document《苍南县人民政府关于公布县政府及县政府办公室行政规范性文件清理结果的通知（有效）》(“Notice of the Office of the People's Government of Cangnan County on the Announcement of the Results of the Cleanup of the Administrative Normative Documents of the County Government and the County Government Offices (Effective)”) (the Office of the People's Government of Cangnan County on October 23th, 2020) , blunt expressions may not be that applicable and this expression translated into Korean in a more public-friendly way as “행정 규범적인 문서관리를 강화하기 위해, 법에따라 행정을 철저히 추진하고 법치정부의 건설을 가속화시킨다.”&lt;br /&gt;
&lt;br /&gt;
3. Mastery of the Equivalence of Semantic Meaning&lt;br /&gt;
&lt;br /&gt;
Like Japanese, Korean is also a typical agglutinative language. A sentence is formed by connecting independent words with various auxiliary words, and with a subordinating conjunction at the end of the sentence. Auxiliary words are just like glues, they exist after every subject, predicate, and object component of a Korean sentence to them together. For that these auxiliary words have no substantial meaning themselves, they must stay close to the main body in front, and a space must be put after. Therefore, when translating Chinese, which is an isolated language, into Korean, which is an agglutinative language, it is necessary to have mastery of the equivalence of the semantic meaning of the expression.&lt;br /&gt;
&lt;br /&gt;
For example, when translating the expression “全面实施全民参保计划，做好参保情况清查，提升参保信息质量，清理重复参保，稳定持续参保，减少漏保断保，实现应保尽保。(Fully implement the national social security plan, do a good job in checking the coverage of the social security, improve the quality of the collection of the information of the insured, clean up repeated insureds, stabilize the renewal of the social security, reduce the interruption of the social security, and achieve full social security coverage.)” in the document《关于做好2021年度城乡居民基本医疗保障工作的通知》(“Notice on Doing a Good Job in Basic Medical Security for Urban and Rural Residents in 2021”)( the Office of Medical Security Bureau of Cangnan County on November 5th, 2020), the translator should pay attention to the equivalence of semantic meaning of this long sentence and translated it into Korean as “전국민기본의료보험가입계획을 전면적으로 실시하고 기본의료보험가입상황을 철저히 조사하며 기본의료보험가입 정보의 질을 향상시키고 중복기본의료보험가입을 청산하며 안정적이고 지속적인 기본의료보험가입을 하며 보험누락을 줄이고 기본의료보험가입 을 실현해야 한다.”&lt;br /&gt;
&lt;br /&gt;
==='''Ⅴ. Studies of Official Document Translation and the Cause of Opening-up in Cangnan County'''===&lt;br /&gt;
&lt;br /&gt;
Based on the abovementioned basic characteristics of the official document system of Cangnan County, the notes for official documents translation under the context of the Japanese language and the notes for official documents translation under the context of the Korean language, we can see that official documents of Cangnan County is not as difficult to handle as something untranslatable. Cangnan County enjoys a good geographic location: it is located in the coast of the East China Sea, and is close to both Japan and South Korea, two strong economies in East Asia. However, Cangnan County has not yet made use of these favorable conditions to the fullest to promote cultural cooperation and trade with the two countries. Cangnan’s opening up to the outside world requires innovative thinking and an elaborate layout. Studies on the translation of official documents of Cangnan County, especially the translation of official documents under the context of the Japanese and Korean language, will help to explore the cultural spirit of the government institutions, and play an important role in building a good image of Cangnan County in East Asia and laying a foundation for Cangnan's cooperation with major countries and regions in East Asia .&lt;br /&gt;
&lt;br /&gt;
The world today is undergoing profound changes rarely in a century, and so is China. The tide of history moves on and Cangnan shall not stay out of the matter, but must follow it courageously and strive to open new doors for Cangnan's opening up to the outside world through the study of the official document translation of its own.&lt;br /&gt;
&lt;br /&gt;
===References===&lt;br /&gt;
&lt;br /&gt;
[1]Ziqi LIU. The Application of Functional Equivalence Theory in Scientific Translation：A Case Study of the Translation of Shipbuilding English[J]. CREATIVITY AND INNOVATION,2019,1(3).&lt;br /&gt;
&lt;br /&gt;
[2]Mu Dan. Discussion on Translation Activities Under the Guidance of Functional Equivalence Theory[J]. International Journal of Education and Management,2018,3(2).&lt;br /&gt;
&lt;br /&gt;
[3]李琳琳. 功能对等翻译理论与关联翻译理论比较研究[D].辽宁师范大学,2006.&lt;br /&gt;
&lt;br /&gt;
[4]赵娟廷. 汉韩公文语体对比研究[D].复旦大学,2003. &lt;br /&gt;
&lt;br /&gt;
[5]周萱. 《中国共产党怎样解决民族问题》（节选）中韩翻译报告[D].青岛大学,2017.&lt;br /&gt;
&lt;br /&gt;
[6]张利军. 《教学的游戏性研究》的汉日翻译实践报告[D].广西师范大学,2019.&lt;br /&gt;
&lt;br /&gt;
[7]栾亚琼. 《2015年山东省政府工作报告》汉日翻译实践报告[D].曲阜师范大学,2016.&lt;br /&gt;
&lt;br /&gt;
[8]占丽华. 源流与演变—日本地方公文书馆发展路径研究[D].山东大学,2020.&lt;br /&gt;
&lt;br /&gt;
[9]任清萍. 功能翻译理论视角下政府工作报告日译研究[D].外交学院,2020.&lt;br /&gt;
&lt;br /&gt;
[10]孙慧. 产业竞争力与区域经济增长[D].苏州大学,2006.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
--[[User:Wu Kai|Wu Kai]] ([[User talk:Wu Kai|talk]]) 04:45, 2 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
==The Translation Process and Methods of Translating English Long Sentences	周艺文	Zhou Yiwen==&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
===Abstract===&lt;br /&gt;
&lt;br /&gt;
The translation of long English sentences is a difficult point in English-Chinese translation. It is very important to understand the features of sentence structure and the translation process and methods of long English sentences. This paper studies the translation process and methods of English long sentences through the comparative study of English and Chinese language characteristics and specific English-Chinese translation analysis. This paper is divided into five parts. The first part introduces the characteristics of English long sentences. The second part contrasts  the language features of English with that of Chinese, which can be divided into three aspects: English sentences emphasize hypotaxis, Chinese sentences emphasize parataxis; English is a static language, while Chinese is a dynamic language; English prefers passive voice while Chinese prefers active voice. The third part expounds the characteristics of translating English long sentences, mainly from three aspects: cross-cultural communication, emphasis on form and clear language logic. The fourth part mainly analyzes the process of translating English long sentences through some examples. In the end, five translation methods are discussed, which are liner translation, reorganization translation, splitting translation, synthesis and insertion.&lt;br /&gt;
&lt;br /&gt;
===Key words===&lt;br /&gt;
&lt;br /&gt;
English long sentences; language characteristics; translation process; translation methods&lt;br /&gt;
&lt;br /&gt;
===摘要===&lt;br /&gt;
&lt;br /&gt;
英语长句翻译是英汉翻译的难点，了解英语长句的句子结构特点和翻译过程及方法在英汉翻译中十分重要。本文通过对比研究英汉语言特点及具体英汉译本分析对英语长句翻译过程和方法进行研究。本文分为五个部分，第一部分介绍了英语长句的特点。第二部分从英汉对比的角度剖析了英汉两种语言在句子结构上的差异，分为三个方面，即英语句子重形合，汉语句子重意合; 英语是静态语言，汉语是动态语言; 英语喜用被动语态，汉语喜用主动语态。第三部分阐述了翻译英语长句的特点，主要有跨文化交际性、重视形式以及明确逻辑关系三个方面。第四部分主要通过具体的句子分析英语长句的翻译步骤及过程。最后探讨了英语长句汉译时采用的五种翻译方法，即顺序法、变序法、分译法、综合法和插入法。&lt;br /&gt;
&lt;br /&gt;
===关键词===&lt;br /&gt;
&lt;br /&gt;
英语长句子；语言特点；翻译过程；翻译方法&lt;br /&gt;
&lt;br /&gt;
===1.Introduction===&lt;br /&gt;
&lt;br /&gt;
===2.Characteristics of English Long Sentences===&lt;br /&gt;
&lt;br /&gt;
English and Chinese have many similarities in basic sentence structure. The main elements of sentence structure mainly include subject, predicate, object, predicative, attribute, adverbial modifier, and complement. In English, the sentence emphasizes the form and the sentence has a tree structure, and the Chinese sentence emphasizes the parataxis, and the sentence has a bamboo structure.&lt;br /&gt;
The main characteristics of English long and difficult sentences are as follows:&lt;br /&gt;
(1) There are much more words, more complex sentence patterns, and more modifiers in these sense.&lt;br /&gt;
(2) Compared with simple sentences, long and difficult sentences often use inversion structure, and there are phenomena of omission and word order inversion.&lt;br /&gt;
(3) The reason for the formation of long and difficult sentences is that there are many long and difficult sentences with coordinate components, phrases, additional components, clauses, and coordinate sentences.&lt;br /&gt;
(4) The language structure of long and difficult sentences is relatively complex and has a strong sense of hierarchy.&lt;br /&gt;
&lt;br /&gt;
===3.Differences in sentence structure between English and Chinese===&lt;br /&gt;
&lt;br /&gt;
English and Chinese belong to different language systems, the former belongs to Indo-European language family, the latter belongs to Sino-Tibetan language family, so there are significant differences in syntax between them. In addition, the different cultures of English and Chinese will inevitably lead to the difference in sentence structure between the two languages, because language is the carrier and medium of culture. &lt;br /&gt;
&lt;br /&gt;
===3.1Hypotaxis vs. parataxis===&lt;br /&gt;
&lt;br /&gt;
English syntactic structure is hypotaxis while Chinese syntactic structure is parataxis. Hypotaxis is that the words or clauses in a sentence are connected together by means of linguistic formal means (such as using related words) to express grammatical meaning and logical relations(Jia 2002, 101). English emphasizes explicit connection, emphasizes form and structure, and often helps with various means of connection. As a result, the sentence structure is rigorous and lacks elasticity. English sentences are often made with relatives (who, whom, whose, which, that, where, when, etc.), conjunctions (but, however, unless, because, since, so, and, if, etc. ), preposition (in, about, without, throughout, according to, along with, etc.), and other connective means. Parataxis means that words and clauses are not connected by means of linguistic forms, and the grammatical meaning and logical relation in a sentence are expressed by the meaning of words and clauses(Jia 2002, 101). Chinese sentences are made with little or no means of formal connection, with emphasis on invisible coherence, function and meaning, so the sentence structure is loose and flexible.&lt;br /&gt;
Example 1: &lt;br /&gt;
Individuals develop within themselves an ability to persevere and tolerate things that are unexpected or bad, difficult to get through. &lt;br /&gt;
人们在内心修炼一种能力，在面对意外、不幸或者挑战时也能继续坚持和忍耐。 &lt;br /&gt;
In this sentence, “that...to get through” is a attributive clause to modify “things”, which is a kind of hypotaxis. The translation is not limited to the original sentence structure but follows Chinese expression habit, so the language is very smooth.&lt;br /&gt;
&lt;br /&gt;
==3.2Static language vs. dynamic language==&lt;br /&gt;
&lt;br /&gt;
==3.3 Passive voice vs. active voice==&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
==4.1Cross-cultural communication==&lt;br /&gt;
&lt;br /&gt;
==4.2Attaching great importance to form==&lt;br /&gt;
&lt;br /&gt;
==4.3Clearing language logic==&lt;br /&gt;
&lt;br /&gt;
===5.The process of translating long English sentences===&lt;br /&gt;
&lt;br /&gt;
===6.Methods of translating English long sentences===&lt;br /&gt;
&lt;br /&gt;
==6.1Liner translation==&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
==6.2Reorganization translation=&lt;br /&gt;
&lt;br /&gt;
==6.3Splitting translation==&lt;br /&gt;
&lt;br /&gt;
==6.4Synthesis==&lt;br /&gt;
&lt;br /&gt;
==6.5Insertion==&lt;br /&gt;
&lt;br /&gt;
===Conclusion===&lt;br /&gt;
&lt;br /&gt;
In the practice of the translation of long and difficult sentences, there is a higher requirement for translators’ English comprehension and expression ability. For the translation of long and difficult sentences in English, the translator should be familiar with the sentence structure and main ideas of long and difficult sentences in English, and make clear the main logical relationship with the content of the original text, so as to effectively analyze the structure of long and difficult sentences in English and choose the correct way of translation. In the specific translation practice, translators should, on the basis of understanding the grammatical features of English, choose reasonable translation methods and skills so as to achieve the accurate translation of long and difficult Sentences. Translation activities require a high level of English reading and comprehension, and the effective translation of long and difficult sentences requires translators to constantly improve their ability to summarize, update their English translation skills, and realize the summary and innovation of long and difficult sentences.&lt;br /&gt;
&lt;br /&gt;
===Bibliography===&lt;br /&gt;
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==Chinese-English Translation of News Headlines From the Perspective of Skopos Theory	张维虹	Zhang Weihong No.202070080648 英语口译 ==&lt;br /&gt;
&lt;br /&gt;
===Abstract===&lt;br /&gt;
In recent years, with the rapid development of the society and economy, the exchanges between China and the rest of the world are increasingly frequent. In this process, massive information is transmitted through the translation of news reports. As the eye of news, the translation quality of news headlines directly affects the effectiveness of news dissemination. Under the guidance of Skopos Theory of German Functionalist Translation School, this paper analyzes the characteristics of Chinese and English news headlines, illustrates the functions of news headlines and the translation criteria of news headlines, and puts forward translation strategies for Chinese-English news headlines, aiming at restoring the concise feature of news and realizing the purpose of news dissemination and social value.&lt;br /&gt;
&lt;br /&gt;
===key words===&lt;br /&gt;
News headlines translation; Skopos theory; translation strategies&lt;br /&gt;
&lt;br /&gt;
===摘要===&lt;br /&gt;
近年来，中国社会经济飞速发展，与外界交流日趋频繁，在此过程中大量信息传递需通过新闻报道翻译完成。而新闻标题作为新闻的眼睛，其翻译质量直接影响新闻传播的有效性。本文以德国功能翻译学派目的论为指导，分析中英新闻标题的特点，阐述新闻标题功能以及新闻标题翻译准则，并提出汉译英翻译策略，旨在还原新闻简明本色从而实现新闻传播目的和社会价值。&lt;br /&gt;
&lt;br /&gt;
===关键字===&lt;br /&gt;
新闻标题翻译；目的论；翻译策略&lt;br /&gt;
&lt;br /&gt;
===1. Introduction===&lt;br /&gt;
With the further development of world economy and culture, news is playing an increasingly important role in people's lives. We read news through TV, the Internet or newspapers and magazines to learn about current events. But we are confused by thousands of news and the information they carry, because we are all exposed to a world where the massive information is surrounding. There is no doubt that because we can read too much news, some news has been ignored. Therefore, a proper headline is the most important element which can be regarded as the only way to attract the target readers. (Chen Lizhao, 2002: 3-4) &lt;br /&gt;
&lt;br /&gt;
Headlines are compared to the eyes of news reports, in which a clear, concise information must be contained to generate interests. (Hu Shuzhong, 2012: 199) That is to say, headlines are always vivid and eye-catching in newspapers, in order to attract readers and provide reading guidance. So, the translator must learn how to effectively screen and reconstruct the information in the Chinese-English translation of news headlines, so as to make it attractive to the target language readers. &lt;br /&gt;
&lt;br /&gt;
In addition, news translation is playing a significant role in the promotion of cross-cultural communication and mutual understanding as China are having more and more exchanges with the rest of the world with the rapid development of society and economy, the implementation of reform and opening-up and “go global” strategy. As the soul of news, headline and its translation are what the translator should pay attention to. (Liu Yunxi 2018(11):123-125.) &lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
There are lots of researches about C-E news translation and news headline translation. However, researches on Chinese-English news headlines translation are very few. According to statistics from CNKI, there are only two pages of researches on Chinese – English news headlines translation. Therefore, this paper is of great importance. &lt;br /&gt;
&lt;br /&gt;
As functions for headlines are obvious, this paper takes Skopos as the theory guide to conduct the research. First, the paper will discuss the features and functions of news headlines. Then the paper tells some translation methods of Chinese-English news headlines from a perspective of Skopos Theory. At last, it draws a conclusion.&lt;br /&gt;
&lt;br /&gt;
===2. Overview of News Headlines===&lt;br /&gt;
&lt;br /&gt;
==== 2.1 Definition of news and news headlines==== &lt;br /&gt;
&lt;br /&gt;
News refers to the timeliest report of events that have just happened, are happening, or are going to happen and it is born to meet the need of propagation and communication of information in human society. (Xu Mingwu, 2003: 4) This definition prescribes the features and functions of news. News should be timely and propagate ideas and express information. &lt;br /&gt;
&lt;br /&gt;
News headlines are compared to the “eye” of news. According to the dictionary, “A head of a newspaper story or article, usually printed in large type and devised to summarize, give essential information about, or interest readers in reading the story or article that follows.” (Webster’s Third New International Dictionary, 1961: 1042) From the definition, we can see that news headlines tells the essence of the news; the function is to attract readers’ interests. The paper will discuss features and functions of news headlines in detail in the following part. &lt;br /&gt;
&lt;br /&gt;
====2.2 Features of news headlines==== &lt;br /&gt;
As a text genre, news headlines have their own features. Chinese and English news headlines share much in common, though they differ from each other in certain areas. Understandings about the differences and similarities of Chinese and English news headlines are important for translators. So, this chapter will analyze features of news headlines from the following aspects: grammar, rhetoric, culture and structure. （Luo Dan, 2012: 30-31）&lt;br /&gt;
&lt;br /&gt;
===== 2.2.1 Grammatical features===== &lt;br /&gt;
&lt;br /&gt;
2.2.1.1 Lexical Feature&lt;br /&gt;
&lt;br /&gt;
a. Midget words&lt;br /&gt;
&lt;br /&gt;
A good headline must be clear to attract readers and be strong to save space. In other words, the headline should convey the intends of the news without confusion or ambiguity; the words should be powerful to persuade the headline consumer to read on. Theses two requirements determine the prevalence of powerful, or strong worlds – mostly verbs and nouns – in headlines. (Shen Jinbo, 1989:52) That is to say, powerful words are short, simple and concrete, for extensive or abstractive words can only lead to dullness and confusion. There are no such powerful words in Chinese, but Chinese headlines, on the premise of conveying the exact meanings also put emphasis on the shortness of words. &lt;br /&gt;
&lt;br /&gt;
[1]: Dancing gets Olympic status (China Daily Dec 9, 2020)&lt;br /&gt;
&lt;br /&gt;
[2]: 霹雳舞成巴黎奥运项目 (China Daily Dec 9, 2020)&lt;br /&gt;
&lt;br /&gt;
b. Numeral words&lt;br /&gt;
&lt;br /&gt;
Numbers are used in news headlines to highlight the key information, especially in economic and sports news. &lt;br /&gt;
&lt;br /&gt;
[3]: Pink diamond sold for $26.6M (China Daily Nov 23, 2020) &lt;br /&gt;
&lt;br /&gt;
[4]: 外储余额创4年多新高(China Daily Dec 9, 2020)&lt;br /&gt;
&lt;br /&gt;
c. Abbreviations &lt;br /&gt;
&lt;br /&gt;
The limitation of page space leads to the frequent use of abbreviation in headlines. English abbreviations, according to Lu Guoqiang (陆国强, 1984), consist of two major types: lipped words and initialisms or acronyms. The common types of abbreviation found in Chinese headlines, nevertheless, are mostly number-assisted summarizing, blending and subsituting. (Chen Lizhao, 2002:36)&lt;br /&gt;
&lt;br /&gt;
[5]: Intl student enrollment falls (China Daily, Nov 19, 2020)&lt;br /&gt;
&lt;br /&gt;
[6]: 第二届“一带一路”国际合作高峰论坛举行圆桌峰会 (People’s Daily, April 28, 2019) &lt;br /&gt;
&lt;br /&gt;
d. Vogue words &lt;br /&gt;
&lt;br /&gt;
“Freshness” is the life of news, which lies in the contents of the report. As the gist of the news, headline would certainly revel some of the new ideas or hot topics in order to catch the reader’s attention. Therefore, vogue words are frequently seen in headlines. &lt;br /&gt;
[7]: 'Cooling-off period' added (China Daily Dec 8, 2020)&lt;br /&gt;
&lt;br /&gt;
[8]: “离婚冷静期”新规将施行 (China Daily Dec 8, 2020)&lt;br /&gt;
&lt;br /&gt;
2.2.1.2 Syntactical features&lt;br /&gt;
&lt;br /&gt;
a. Omission&lt;br /&gt;
&lt;br /&gt;
Omission appears in almost every headline. Eliminating the meaningless words can shorten the length of a headline and highlight the core information. In English headlines, all articles and some auxiliary verbs, lexical verbs, pronouns, and the subject and the predicate are often omitted, as they weigh little in giving information. Chinese headlines also omit those unimportant words, including individual measures, conjunctions, and auxiliary words as well. (Chen Lizhao, 2002: 4-5)   &lt;br /&gt;
&lt;br /&gt;
[9] Biden declares victory (China Daily, Nov 10, 2020)&lt;br /&gt;
&lt;br /&gt;
[10] 研究：医患“互粉”对治疗不利 (China Daily, Nov 25, 2014)&lt;br /&gt;
&lt;br /&gt;
b. Voice&lt;br /&gt;
&lt;br /&gt;
Active voice is frequently adopted in news headlines. &lt;br /&gt;
&lt;br /&gt;
[11] UK approves Pfizer vaccine (China Daily Dec 4, 2020)&lt;br /&gt;
&lt;br /&gt;
[12]英国批准辉瑞新冠疫苗 (China Daily Dec 4, 2020)&lt;br /&gt;
&lt;br /&gt;
[13] Biden unveils economic team (China Daily Dec 2, 2020)&lt;br /&gt;
&lt;br /&gt;
[14]拜登拟提名耶伦任财长 (China Daily Dec 2, 2020)&lt;br /&gt;
&lt;br /&gt;
c. Tense&lt;br /&gt;
&lt;br /&gt;
One of distinct feature of news headlines, particularly in English news headlines, is the wide use of present tense, which save the space of “-ed” in the past tense. But sometimes past tense is used to indicate the timeline. While Chinese news headlines use different tenses, as they are not revealed by the different forms of verbs as in English. So, the auxiliary verbs or adverbs in Chinese news headlines tells the time of happening from. (Chen Lizhao, 2002: 4-5)&lt;br /&gt;
&lt;br /&gt;
[15] COVID vaccine distribution (China Daily Dec 1, 2020)&lt;br /&gt;
&lt;br /&gt;
[16] 英美即将启动疫苗分配 (China Daily Dec 1, 2020)&lt;br /&gt;
&lt;br /&gt;
=====2.2.2 Rhetorical Features =====&lt;br /&gt;
The usual figures of speech found in headlines, English and Chinese alike, includes metaphor, simile, pun, alliteration and rhyme, repetition, allusion etc... They aimed at creating musical sound as well as vivid images to provide spiritual enjoyment to the readers. &lt;br /&gt;
&lt;br /&gt;
[1] 苹果发新机加入5G战局 (metaphor) (China Daily Oct 16, 2020) &lt;br /&gt;
&lt;br /&gt;
[2] 美国加州火灾蔓延 居民仿佛置身火星(simile) &lt;br /&gt;
&lt;br /&gt;
[3] This is what the Bay Area's skies looked like during the wildfires (simile) (China Daily Oct 16, 2020)&lt;br /&gt;
&lt;br /&gt;
===== 2.2.3 Cultural Features=====&lt;br /&gt;
Language is the carrier of culture. News, as a practical text genre, also bears cultural characteristics of a certain country or nation. These culture elements also appear in news headlines,&lt;br /&gt;
&lt;br /&gt;
=====2.2.4 Structural features =====&lt;br /&gt;
To achieve headline’s peculiarity and simplicity, some punctuation marks are used in English news headlines, which are not often used in Chinese news headlines. Though differences exist in this area, the pursuit of using punctuation marks in the same – to make the news headlines clear and easily perceptible. The usual rule for headlines is that the fewer punctuation marks, the better. (Fan Tengteng, 2006: 45-46) &lt;br /&gt;
[1] 世界精神卫生日：超半数英国员工最担心就业问题&lt;br /&gt;
[2] World Mental Health Day: More than half of UK workers worry about finding a job&lt;br /&gt;
&lt;br /&gt;
====2.3 Functions of news headlines ====&lt;br /&gt;
According to the theory of text-style function by Peter Newmark, new headlines fulfill the following four functions: informative function, expressive function, aesthetic function and vocative function, which will be illustrated in this section. &lt;br /&gt;
&lt;br /&gt;
=====2.3.1 Informative Function =====&lt;br /&gt;
“The core of the informative function of language is external situation, the facts of a topic, reality outside language, including ideas or theories” (Newmark 2001: 40) That is to say, news headline tells readers the basic information and facts of the news.&lt;br /&gt;
&lt;br /&gt;
===2.3.2 Expressive Function ===&lt;br /&gt;
“The core of the expressive function is the mind of the speaker, the writer, the originator of the utterance. He uses the utterance to express his feelings irrespective of any response” (Newmark 2001: 39) The expressive function of a news headline is to reveal the writer’s or the editor’s attitude toward the news by using subjective words or rhetoric devices. &lt;br /&gt;
 &lt;br /&gt;
=====2.3.3 Aesthetic function=====&lt;br /&gt;
	“This is language designed to please the sense, firstly through its actual or imagined sound, and secondly through its metaphors. The rhythm, balance and contrast of sentences, clauses and words also play their part. (Newmark 2001: 42) As the eye of the news, headlines use elegant words, abbreviations, punctuations and so on to strengthen its aesthetic function. &lt;br /&gt;
=====2.3.4 Vocative function=====&lt;br /&gt;
	The vocative function is reader-oriented. Here, the term “vocative” is interpreted as “calling upon” the readership to act, think or feel, in fact to “react” in the way intended by the text. (Newmark 2001: 41) Vocative words in news headlines can attract the readers to read the whole article, and in certain circumstances call upon the readers to take some actions after reading the news.&lt;br /&gt;
&lt;br /&gt;
===3. Skopos Theory===&lt;br /&gt;
&lt;br /&gt;
As has been mentioned in the last section, news headlines and their translation are function-oriented. The fundamental function or the “Skopos” is to attract the readers. Therefore, in this section, we will discuss Skopos theory and its three rules. &lt;br /&gt;
&lt;br /&gt;
====3.1 Development of the Skopos Theory====&lt;br /&gt;
&lt;br /&gt;
Skopos Theory was initially proposed by Katherina Reiss in her 1971 book Possibilities and Limits of Translation Criticism, which formed an early theory. According to Reiss, the ideal translation would be “one in which the aim in the target language is equivalence as regards the conceptual content, linguistic form and communicative function of a source language text” (Reiss 1977, translated in 1989: 112). Even though Reiss takes the concept of equivalence as the main focus of her analysis, she realized that in some cases, equivalence is impossible and, in some situation, not even desired. Therefore, she indicated that when we translate, we should in view of the function of the text. &lt;br /&gt;
&lt;br /&gt;
The idea of text typology including content-focused, form-focused and appeal-focused text put forward by Reiss, is another contribution of her to the Skopos theory. It is supposed to be the starting point for Skopos theory. &lt;br /&gt;
&lt;br /&gt;
Later, Hans Vermeer, the student of Reiss, made a major breakthrough in the limitations of equivalent theory and laid the theoretical foundation for it. He first mentioned the basic principles of Skopos Theory in 1978. He and Reiss jointly published Groundwork for a General Theory of Translation in 1984. In this book, Vermeer argues that translation should be seen as a fundamental action of transformation of the source text. As all actions are generally purposeful, translation also has purposes, which could have influences over the culture of the target language. (Groundwork for a General Theory of Translation, 1984) &lt;br /&gt;
&lt;br /&gt;
For Vermeer, translation cannot be treated as one-to-one transfer between source language and target language. In his research, on the basis of the source text, translation is a form of action. Some of other forms of translational action may relate to actions which giving like a consultant. Every translation is directed at an intended audience, since to translate means “to produce a text in a target setting for a target purpose and target addresses in target circumstances” (Vermeer, 1987a: 29). Vermeer’s Skopos Theory serves as the foundation for his general theory of translation. &lt;br /&gt;
&lt;br /&gt;
Later, two other German translators, Christiane Nord and Justa Holz Manttari, enriched and refined the Skopos theory. Mantarri’s theory is based on the rules of action theory and is intended to contain all forms of intercultural transmission, as well as those source or target texts which do not involved. (Nord, 2001: 12-13) Her theory reflects the role of the participants in the process of translation and the environment in which the process takes place. Nord, as the latest batch of German researchers, summarized the “Fidelity rule” and applied the Skopos theory extensively in the study of translation from multiple perspectives and related fields. Besides, Skopos theory has three principal rules which will be illustrated in the following section. &lt;br /&gt;
&lt;br /&gt;
In conclusion, Reiss laid the foundation of Skopos theory. Vermeer, who summarized and outlined the rules to be followed in the process of Skopos theory in practice, became the founding father of the theory. Manttari focused on the specific issues of translation behavior and context in the translation process, while Nord made many contributions to the refinement of the theory and greatly expanded the practical application of this theory. &lt;br /&gt;
&lt;br /&gt;
==== 3.2 Three Rules of Skopos theory ==== &lt;br /&gt;
&lt;br /&gt;
There are three significant rules of Skopos theory including Skopos rule, coherence rule and fidelity rule, which will be discussed respectively as follows.&lt;br /&gt;
&lt;br /&gt;
===== 3.2.1 Skopos Rule=====&lt;br /&gt;
The Skopos rule is the top-ranking rule for any translation. That is to say, Skopos determines any translation action. “The translators should finish the task in a way that enables your translation to function in the situation in which it is used and with the people who want to use it and precisely in the way they want it to function. All in all, the end justifies the means.” (Nord, 2001:29)&lt;br /&gt;
&lt;br /&gt;
Translating is an international interaction as it is just said, and the Skopos rule has stable position after it appeared. In Vermeer’s term, intention is thought as an “aim oriented plan of action” (Vermeer, 1983:41) &lt;br /&gt;
&lt;br /&gt;
According to Vermeer, Skopos rule is that “Each text is produced for a given purpose and should serve this purpose. The Skopos rule thus reads as follows: translate in a way that enables your text to function in the situation in which it is used and with the people who want to use it and precisely in the way they want it to function.” (Vermeer, 1989a: 20, translated by Luo Dan) Skpos theory is the foundation for Chinese-English news headline translation model. All efforts made are intended for the Skopos of news headline translation because “the end justifies the means” &lt;br /&gt;
&lt;br /&gt;
=====3.2.2 Coherence Rule=====&lt;br /&gt;
&lt;br /&gt;
The coherence rule, another important rule of the Skpos theory indicates that “the target text must be interpretable as coherent with the target text receiver’s situation”. (Reiss and Vermeer, 1984: 113) That is to say that the target text must be translated in a way that it is clearly understood by the target readers, taking consideration of their existing knowledge and situation. &lt;br /&gt;
&lt;br /&gt;
===== 3.2.3 Fidelity Rule =====&lt;br /&gt;
Apart from intratextual coherence, there is intertextual coherence which refers to the relationship between the target text and the source text, which is presumed as a further principle, fidelity rule. The fidelity rule by Vermeer indicates that there have to be coherence between the target text and the source text. This means that target text should be faithful to its source text in a certain level of features, such as grammatical features, special collocations and rhetorical devices, or to some degree between a complete imitation and deviation. (Nord 2001: 31) &lt;br /&gt;
&lt;br /&gt;
In accordance with the Skopos theory, the source text is no longer considered as the “sacred original”, and it is up to the translator to determine the aspect and the degree of the fidelity. In Vermeer’s opinion, any text is just an offer of information, and thus, any target text is an offer of information formulated by a translator in a target culture and language about an offer of information formulated by someone else in the source culture and language. (Nord 2001: 32) &lt;br /&gt;
&lt;br /&gt;
Three principal rules of Skopos theory have been illustrated as above. As for the relationship between the three rules, Reiss and Vermeer believe that the fidelity rule is subordinate to the coherence rule and both belong to the Skopos rule. If the skopos of the target text demands a change of function, the fidelity with the source text will no longer be taken as the only standard, but adequacy and appropriateness will be supplemented as the standard with regard to the skopos (Reiss and Vermeer, 1984: 139) &lt;br /&gt;
&lt;br /&gt;
====3.3 Summary ====&lt;br /&gt;
&lt;br /&gt;
This chapter introduced the development of Skopos theory and its three main principles, which intends to lay a theoretical foundation for Chinese-English news headlines translation. The function and skopos of news headline is to convey information and attract readers. In light of these, C-E news headlines translation, guided by Skopos theory, is a faithful re-creation.&lt;br /&gt;
&lt;br /&gt;
===4. Application of Skopos theory in Chinese-English Translation===&lt;br /&gt;
&lt;br /&gt;
As mentioned in the last chapter, Skopos theory specifies the purpose of translation. As far as the author concerned, the skopos of Chinese headline translation is to transfer information of latest events happened in China to English readers. All sorts of translation strategies and techniques can be adopted under the guidance of the skopos theory. Based on the dominant informative function of news headlines, new information should be transferred with fidelity and clarity. Moreover, considering the aesthetical function of headlines, the source text should be aesthetically handled to the target readers. This chapter will explain how skopos theory in applied in the translation of Chinese-English news headlines. Before that, the criteria of C-E news headlines translation will be discussed.&lt;br /&gt;
&lt;br /&gt;
====4.1 Criteria of News headline translation ====&lt;br /&gt;
According to the basis of translation criteria, the author discussed four criteria for Chinese news headline translation, including fidelity, readability, adaptability and rapidity. &lt;br /&gt;
&lt;br /&gt;
===== 4.1.1Fidelity =====&lt;br /&gt;
Fidelity means to accurately convey the message of the source text. The translation of news headlines from Chinese to English is a kind of intercultural communication in which messages should be transferred objectively and accurately by reflecting the reality. For a translator, the first and foremost thing is to be loyal to the content of the source language and convey it in a precise way, particularly for the translation of news headlines. Considering this point of view, fidelity can be acted as a main rule for translating news headlines. （Luo Dan, 2012: 45-46）&lt;br /&gt;
&lt;br /&gt;
=====4.1.2 Readability =====&lt;br /&gt;
Readability means the translation version is smooth for reading. This means, the translation should be easy for readers or audiences to read and understand. According to a survey on Beijing citizens’ newspaper reading and willingness by Chinese People’s university, vividness and readability ranked at the top of reasons for buying and reading newspaper. Therefore, translation of news headlines should consider about readability. If the rule of fidelity is viewed from the perspective of translation content, then the rule of readability can be treated as put forward from the perspective of translation form. The primary aim of news headline is to arouse readers interests as much as possible. （Luo Dan, 2012: 46-47）&lt;br /&gt;
&lt;br /&gt;
=====4.1.3Adaptability =====&lt;br /&gt;
Adaptability means that the translated headline should be in an appropriate writing pattern related to news language. In other words, the style of target language and the source language should remain the same. Style is considered to be an essential and important portion in translation. Translation of news headlines is without exception. So, the translator must take serious consideration to the grammar and diction of English, and make sure that the version of new style is suitable when translating a Chinese news headline. (Tang Ting, 2010: 35-36) &lt;br /&gt;
&lt;br /&gt;
===== 4.1.4Rapidity =====&lt;br /&gt;
Rapidity as the fourth request of news headline translation is the most significant one. It implies that the news headline translation should be carried out and complete at a given period of time without any delay. The news is more valuable if the time between happening and reporting is shorter. So, timeliness of news determines the rapidity of news translation, especially the translation of news headlines. (Tang Ting, 2010: 36-37) &lt;br /&gt;
&lt;br /&gt;
====4.2 Strategies of E-C News Headlines Translation ====&lt;br /&gt;
News headlines is considered to be the soul of the news. Since Chinese and English readers are different in thinking patterns, education and cultural backgrounds, some proper translation methods should be taken into consideration to enable the readers to understand the news headlines easily. Under the guidance of Skopos theory, translations strategies including literal translation, free translation, amplification, omission, amplification, restructuring and adaptation are applied in news headlines translation. &lt;br /&gt;
&lt;br /&gt;
=====4.2.1 Literal translation=====&lt;br /&gt;
Literal translation, also called word-for-word translation, is the basic approach used in Chinese news headline translation, since it can retain both the form and contents of the original to the maximum. Here are some examples: &lt;br /&gt;
&lt;br /&gt;
[1] 疫情致牛仔裤销量骤减&lt;br /&gt;
&lt;br /&gt;
Pandemic leads to jeans sales slump&lt;br /&gt;
(China Daily Aug 10, 2020)&lt;br /&gt;
&lt;br /&gt;
The headline introduces that Covid-19 pandemic has led to jeans sales slump. “疫情”is translated into “Pandemic”, “牛仔裤销量”is translated to “jeans sales”, and “骤减” is translated into “slump”, which is exactly a literal translation. There’s no change of the form or style between the source text and the target text. &lt;br /&gt;
&lt;br /&gt;
[2] 新冠抗原检测试剂获批&lt;br /&gt;
&lt;br /&gt;
COVID antigen tests approved&lt;br /&gt;
(China Daily Nov 10, 2020)&lt;br /&gt;
&lt;br /&gt;
This example is a typical word-for-word translation. “新冠”, an abbreviation for “新冠病毒” is translated to “COVID”, short for coronavirus. “抗原检测” is translated into “antigen tests”, “获批”is translated to “approved”. We can see that in this example, the form and style and even the tense and voice of the source text and target text are the same. So, it is literal translation. &lt;br /&gt;
&lt;br /&gt;
[3] 成都将建首个大熊猫主题公园&lt;br /&gt;
&lt;br /&gt;
Chengdu Set to Get Unique Panda-themed Park &lt;br /&gt;
(China Daily, Jan 17, 2018) &lt;br /&gt;
&lt;br /&gt;
This is a literal translation, remaining the original form and style of the Chinese version. It uses midget words “set” and “get”, taking consideration of the style of English news headlines, in order to attract readers from different walks of life. At the same time, the Chinese noun “大熊猫主题” is converted to the English adjective “Panda-themed”, which is very concise and accurate.&lt;br /&gt;
&lt;br /&gt;
=====4.2.2 Free translation =====&lt;br /&gt;
Free translation is applied when the news headline of the source text is obscure and difficult to understand or there’s no equivalent words in the target language. Sometimes it is preferred because it adapts the original headlines to the target language. &lt;br /&gt;
&lt;br /&gt;
[4] 不要人夸颜色好，只留清气满乾坤&lt;br /&gt;
  &lt;br /&gt;
Xi: China Welcomes Constructive Suggestions&lt;br /&gt;
(China Daily, Oct 25, 2017) &lt;br /&gt;
&lt;br /&gt;
The source text is a poem, cited by President Xi at the press conference of 19th CPC Central Committee Political Bureau to hear constructive suggestions from people both at home and abroad. The poem, Ink Plum written by a famous Chinese ancient poet, Wang Mian, carries rich cultural connotations. If it is directly translated as “Not angling for compliments, we should be content that integrity fills the universe”, it will cause confusion to the target readers. Obviously, such a mechanical translation will discourage the reader from understanding the meaning of the poem. Therefore, the translation of this news headline should be based on the content of the news – Xi: Welcomes Constructive Suggestions. So, it is a typical example of free translation. &lt;br /&gt;
&lt;br /&gt;
[5]姜瑜：外资应凭实力在华竞争&lt;br /&gt;
 &lt;br /&gt;
Foreign investors told to sharpen edge&lt;br /&gt;
&lt;br /&gt;
This example takes consideration of the reading habits and backgrounds of the target readers. “凭实力竞争” is translated to “sharpen one’s edge”, which is more understandable. “姜瑜”(Jiang Yu”, a heroic character in Chinese history is omitted. So, it is a free translation.&lt;br /&gt;
&lt;br /&gt;
=====4.2.3 Amplification =====&lt;br /&gt;
&lt;br /&gt;
Most of news headlines carry certain backgrounds, which are familiar to the source language readers, but alien to those who read the target language. So, translators have the responsibility to turn information rich in cultural connotation into something understandable to target readers. This is particularly significant in translating news headlines from the perspective of Skopos theory, because the purpose of such translating is to convey the information useful to target readers. As mentioned in the chapter before, Chinese news headlines usually carry rich cultural contents. Therefore, amplification is frequently used in Chines-English news headlines translation. （Fan Tengteng, 2006: 50-51）&lt;br /&gt;
&lt;br /&gt;
[6] 水陆两栖飞机AG600首飞成功&lt;br /&gt;
&lt;br /&gt;
China’s First Large Amphibious Aircraft Makes a Successful Maiden Flight&lt;br /&gt;
(China Daily, Dec 25, 2018) &lt;br /&gt;
&lt;br /&gt;
Amplification is used in this translation. AG600, as called Kun Lun600, is the world’s largest amphibious aircraft developed by China. The translator adds a modifier “China’s first large” as a supplement of background to better inform the targe readers. &lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
[7] 共享单车来到“世界屋脊”&lt;br /&gt;
&lt;br /&gt;
Shared Bikes Climb to the “Roof of the World” (Tibet)&lt;br /&gt;
&lt;br /&gt;
“Roof of the World” is confusing for some target readers, so the translator adds “(Tibet)” at the end of the sentence to avoid ambiguity.&lt;br /&gt;
&lt;br /&gt;
=====4.2.4 Omission =====&lt;br /&gt;
Omission is a translation method to make the news headline simple and concise by eliminating the redundant verbs, pronouns, and other words in the source text. As Chinese usually use unnecessary modifiers, this method can highlight the main point of the news. &lt;br /&gt;
&lt;br /&gt;
[8] 对外汉语专家齐聚京城 共议国际汉语教师缺口问题&lt;br /&gt;
&lt;br /&gt;
Beijing forum addresses Chinese teacher shortage&lt;br /&gt;
(China.org.cn, Jul 21, 2021) &lt;br /&gt;
&lt;br /&gt;
In this example, the first sentence is translated into a phrase, so as to shorten the length of the news headline and more it more concise. What’s more, redundant words like “齐聚”, “共议” “问题” are omitted to point out main contents of the news. &lt;br /&gt;
&lt;br /&gt;
[9] '大流行病'当选年度词汇&lt;br /&gt;
&lt;br /&gt;
Word of the year: pandemic&lt;br /&gt;
&lt;br /&gt;
(China Daily, Dec 12, 2020)&lt;br /&gt;
&lt;br /&gt;
In the example, the verb “当选”(elected) in the source text is eliminated to save space.&lt;br /&gt;
&lt;br /&gt;
=====4.2.5 Restructuring =====&lt;br /&gt;
&lt;br /&gt;
Because the literal meaning the sentence does not work in the situation of the utterance, the translators have to find the vague information and convey it to the target readers. In news headline translation, special information needs to restructure. &lt;br /&gt;
&lt;br /&gt;
Restructuring refers to the rearrange of the words in logic order to make the translation more consistent and coherent. The target text should be acceptable and meaningful in a sense that it is coherent with the situation in which it is received. Once translated, the translator revises the order and rearranges all words into a perfect sentence. In doing so, the news is more logical and tuned with the habit of native readers’ thinking and reading. It is frequently used in translating news headlines from Chinese into English. (Tang Ting, 2010: 25-26) &lt;br /&gt;
&lt;br /&gt;
[10] 疫情期间夫妻关系改善&lt;br /&gt;
&lt;br /&gt;
Marriages benefit from lockdown&lt;br /&gt;
(China Daily, Nov 23, 2020)&lt;br /&gt;
&lt;br /&gt;
The English version changes the structure of the Chinese news headline, and adds a preposition to show the logic of this sentence. By restructuring, English readers can better understand this news headline. &lt;br /&gt;
	&lt;br /&gt;
====4.2.6 Adaptation ====&lt;br /&gt;
&lt;br /&gt;
Adaptation is a translation method, which refers to selecting, adding, deleting and constructing cautiously instead of simply translating one word to another word. In order to make the translated version more proper to a certain readers or audiences, adaptation always make some essential changes for a special aim. Specific to C-E news headlines translation, the translator can take the Chinese news headlines as the basis and refer to the key news facts of the report, in order to offer as much information as possible to the target readers. (Wang Chi, 2013: 42-42) &lt;br /&gt;
&lt;br /&gt;
[11] 高考将不再是 “一考定终身”&lt;br /&gt;
&lt;br /&gt;
Changes to Uni Eligibility&lt;br /&gt;
（People’s Daily, 2014）&lt;br /&gt;
 &lt;br /&gt;
In this example, “高考” refers to the National College Entrance Examination in China, which is an expression with Chinese characteristics. Therefore, based on the main idea of the news, the translator translated it into “Uni Eligibility”&lt;br /&gt;
	&lt;br /&gt;
[12] 中国女性主导财务决策&lt;br /&gt;
&lt;br /&gt;
'She' to power wealth management&lt;br /&gt;
(China Daily, Nov 23, 2020)&lt;br /&gt;
&lt;br /&gt;
Adaptation is used in this translation. According to contents of the news, women in different countries are mentioned. So, instead of translating “中国女性” into Chinese women, the English version adapted it into “she”, which adds interest and fun to the headline and thus can attract more readers.&lt;br /&gt;
&lt;br /&gt;
===4.3 Summary===&lt;br /&gt;
This chapter introduces criteria and strategies of Chinese-English news headlines translation. It is main body of the paper, which can served as guidelines for translators who translate Chinese news headlines into English ones. &lt;br /&gt;
&lt;br /&gt;
===5. Conclusion===&lt;br /&gt;
Based on Skopos theory, this paper discussed features and functions of news headlines and their relevance to translation, summarized translation criteria and strategies adopted in actual C-E news headlines translation. &lt;br /&gt;
&lt;br /&gt;
News translation is a cultural transformation with certain purposes(skopos). While conveying the connotation of the information, news translation must also take into account the habits of target readers. The purpose-oriented approach helps translators to break the language barriers and helps to convey cultural connotations and facilitate communication. The purposes and functions of translation determine the translation methods. In translation, the standard of translation should not be how to be faithful to the source text, to highlight the main points of the news and attract English readers. Therefore, the paper of applying the Skopos theory to Chinese-English news headlines is of significance.&lt;br /&gt;
==== limitations ====&lt;br /&gt;
However, there are also limitations in the paper. The first problem is the complexity of theoretical basis. The second one is that few data have been collected. And the last one is the capability of the author herself. So, there is still room for improvement.&lt;br /&gt;
&lt;br /&gt;
===References===&lt;br /&gt;
&lt;br /&gt;
* Newmark, P.A Textbook of Translation[M]. Shanghai: Shanghai Foreign Language Education Press, 2001: 40-42.&lt;br /&gt;
&lt;br /&gt;
* Nord, Christiane. Translating as a Purposeful Activity [M]. Shanghai：Shanghai Foreign Language Education Press, 2001.&lt;br /&gt;
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* Vermeer, H. J. Skopos and Translationsauftrag – Aufsatze [M]. Second Edition. Heidelberg: University, 1989. &lt;br /&gt;
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* Vermeer, H. J. Skopos and Translation Commission [M]. Heidelberg: University, 1989.&lt;br /&gt;
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* Munday, J. Introducing Translation Studies: Theories and Applications[M]. London and New York: Routledge, 2001: 77-78.&lt;br /&gt;
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* Nida, E. A. Language, Culture and Translating[M]. Shanghai: Shanghai Foreign Language Education Press, 2001: 50-51. &lt;br /&gt;
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* Nida, E. A. Language and Culture—Contexts in Translating[M]. Shanghai: Shanghai Foreign Language Education Press, 2001: 38-41.&lt;br /&gt;
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* Schudson, M. The Power of News [M]. Cambridge, Mass: Harvard University press, 1995&lt;br /&gt;
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* Hu Shuzhong 胡曙中. 语篇语言学导论 [ Introduction to Discourse Linguistics ] [M]. 上海: 上海外语教育出版社Shanghai: Shanghai Foreign Language Education Press, 2012.&lt;br /&gt;
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* Xu Mingwu 许明武. 新闻英语与翻译 [News English and Translation] [M]. 北京: 中国对外翻译出版公司[Beijing: China Foreign Translation and Publishing Corporation], 2003.&lt;br /&gt;
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* Shen Jinbo 沈金伯. 新闻英语文体探讨[Exploring the English Style of News ][J]. 《外国语》[Foreign Languages]. 1989(1): 52-55 &lt;br /&gt;
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* Fan Tengteng 樊腾腾. 从目的论角度论英语新闻标题的翻译[Translation of English News Headlines from Perspective of Skopos thoery ][D]. 广东外语外贸大学[Guangdong University of Foreign Studies], 2006.&lt;br /&gt;
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* Liu Mixian 刘宓庆. 当代翻译理论[Contemporary Translation Theory ][M]. 中国对外翻译出版公司[China Foreign Translation and Publishing Corporation], 2003.&lt;br /&gt;
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* Wang Jun, Chen Shiyue 王军,陈诗月.翻译目的论研究综述[A Review of Translation Purpose Theory Research ] [J].现代交际[Modern Intercourse],2017(18):102-103.&lt;br /&gt;
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* Chen Lizhao. 陈丽昭. 中英新闻标题对比研究[A Comparative Study of Chinese and English News Headlines ][D].福建师范大学[Fujian Normal University],2002.&lt;br /&gt;
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* Wang Chi 王驰. 目的论在经济新闻标题英汉翻译中的应用[The Application of Skopos Theory in the English-Chinese Translation of Economic News Headlines ][D].华中师范大学[Central China Normal University], 2013.&lt;br /&gt;
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* Luo Dan 罗丹. 目的论视角下的中国日报网英语新闻标题的翻译策略[Translation Strategies of English News Headlines in China Daily from the Perspective of Skopos Theory ][D].武汉科技大学[Wuhan University of Science and Technology], 2012.&lt;br /&gt;
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* Tang Ting 唐婷. 从目的论看硬新闻标题的汉译英[Chinese-English translation of Hard News Headlines From Perspective of Skopos Thoery][D].南华大学[University of South China],2010.&lt;br /&gt;
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&lt;br /&gt;
==On Chinese-English Translation of Public Service Advertisements From the Perspective of Text-type Theory  司妤  Si Yu  Student No.202070080606==&lt;br /&gt;
&lt;br /&gt;
===Abstract===&lt;br /&gt;
&lt;br /&gt;
Public-service advertising is an advertising activity that provides free services to the community without the purpose of making profit. Since the founding of the People's Republic of China, public-service advertising activities have increased and played an important role in the moral and ideological education of society as a whole, such as fire and burglary prevention, forest protection, birth control, maintenance of public order, no spitting and so on, all of which are in the nature of public-service advertising.&lt;br /&gt;
With the improvement of China's status in the international society, the accuracy of the translation of PSAs, as a medium to convey Chinese culture, is attracting more and more attention. Accurate translations help to showcase Chinese culture to foreigners and promote communication, while incorrect translations can be laughable.&lt;br /&gt;
In some public occasions, I have noticed that there are many excellent PSAs, but there are also some &amp;quot;Chinglish&amp;quot; PSAs. This paper analyzes the text of PSAs using the Text-type theory, gives suggestions to improve the messy translation phenomenon, and summarizes several translation methods, hoping to provide reference for the translators of PSAs.&lt;br /&gt;
&lt;br /&gt;
===key words===&lt;br /&gt;
&lt;br /&gt;
Public-service advertisement;Text typeTheory;Translation methods&lt;br /&gt;
&lt;br /&gt;
===摘要===&lt;br /&gt;
&lt;br /&gt;
公益广告是不以营利为目的而为社会提供免费服务的广告活动。我国建国以后，公益性的广告活动日益增多，对全社会进行道德和思想教育发挥了重要作用，例如有关部门进行的防火防盗、保护森林、节制生育、维护公共秩序、不要随地吐痰等广告宣传，均属公益广告的性质。&lt;br /&gt;
随着中国在国际社会地位的提高，公益广告作为一种传递中国文化的媒介，其翻译的准确性日益受到人们的关注，翻译准确有利于向外国友人展示中国文化促进交流。翻译错误则容易贻笑大方。&lt;br /&gt;
在一些公众场合，笔者注意到不乏优秀的公益广告翻译，同时也仍有一些“中式英语”  公益广告存在，本文运用文本类型理论对公益广告文本进行分析，对乱译现象提出改进建议，总结了几点翻译方法，希望能够为公益文本译者提供借鉴。&lt;br /&gt;
&lt;br /&gt;
===关键字===&lt;br /&gt;
&lt;br /&gt;
公益广告；文本类型理论；翻译方法&lt;br /&gt;
&lt;br /&gt;
===Introduction===&lt;br /&gt;
&lt;br /&gt;
====Research Background====&lt;br /&gt;
&lt;br /&gt;
Economic and social development and the improvement of people's living standards have brought many unprecedented changes to people, making their lives more convenient and colorful. But along with it comes a series of social problems such as indiscriminate dumping of urban garbage, neglect of wildlife protection, lack of care for public property, smoking in public places, etc.These social problems have also been magnified by the advance of urbanization. At this time, public service advertisement (PSA)can offer help if we want to activate more people to solve them. There are many forms of public service advertisements, such as public service advertisement (PSA) clips, public service messages, and public service slogans. Each of these PSAs has its own textual characteristics, such as the PSA short film in the form of a short video, using a fascinating plot to illustrate the concept of public welfare; public service messages are simple but informative; public service slogans are neat and thought-provoking. The translation of these texts should be done according to the characteristics of the text in order to achieve the public service effect of the text. With China playing an increasingly important role in the international community, a large number of international conferences are being held in China, and the number of foreign travelers arriving in the country is on the rise. The accuracy of the translation of public service advertisements is especially important at this time, not only to help foreigners in their travel work in China, but also to promote Chinese culture and enhance their understanding of China.&lt;br /&gt;
&lt;br /&gt;
It is worth mentioning that the overall quality of the Chinese people has been significantly improved compared to a few years ago, and the appearance of more and more elites has made the society think more deeply about the accuracy of translation, which is conducive to building a good city image and improving the aesthetic level of city residents and tourists.&lt;br /&gt;
&lt;br /&gt;
Advertisements can be divided into commercial advertisements and public service advertisements according to content and purpose. Commercial advertisements are mostly published by enterprises, and their main purpose is to stimulate consumers and arouse their desire to consume, and their content is mostly product information.(Liu Xiaofang 2014)&lt;br /&gt;
&lt;br /&gt;
There are some definitions from different people. Berkowitz, a famous scholar, who makes a thorough study of advertisement for more than 25 years, states that PSA is generally sponsored by a non-profitable institution, civic group, religious organization, trade association, or political group with a central focus on public welfare (Berkowitz, 2004). In China, according to Zhang Minxin‟s definition, PSA is a sub-branch of non-commercial advertisement whose purposes are to serve the public interests. This kind of advertisement can push the public to change their attitudes and behaviors (Zhang Mingxin, 2004). There are some researchers at home and abroad trying to discover how public service advertisements work, such as: Judie Lannon (2008), Nancy Lee (2006), Josephson (2005) and other scholars hoping to discover the secrets behind public service advertisements and society, such as Charles Atkin (2001) and Pan Zehong (2001).&lt;br /&gt;
&lt;br /&gt;
====Research Significance and Objectives====&lt;br /&gt;
&lt;br /&gt;
As the influence of Chinese culture increases internationally, more and more foreigners want to learn about China. Some want to learn the Chinese language, others want to know more about the social situation. Public service advertisements (PSAs) provide such an opportunity to help them learn and better understand China. At the same time, some social problems, such as the new Cov-19 epidemic, SARS, and AIDS, may not only be a problem for China, but also for the whole world, and the PSAs can provide a Chinese perspective and Chinese wisdom to solve these problems. In addition, when a disaster occurs, such as the Wenchuan earthquake, which aroused the attention and sympathy of the internationalcommunity, and some friendly countries want to provide assistance, PSAs are extremely important. In this paper, the writer will analyze different public service advertisements from the perspective of text type theory and suggest translation suggestions.&lt;br /&gt;
&lt;br /&gt;
Public service advertisement texts are common texts in daily life, and many scholars have discussed them from various perspectives, including the theory of purpose, aesthetic perspective, semantic translation and communicative translation perspective. However, no scholars have analyzed them from the perspective of text type theory. The writer boldly proposes to look at public-interest text translation from such a perspective, which may lead to new insights.&lt;br /&gt;
&lt;br /&gt;
====Methodology====&lt;br /&gt;
&lt;br /&gt;
The texts in this paper are mostly from public service advertisements released by CCTV, publicservice text messages received by the public, and public service slogans around them. This paper adopts a descriptive approach to analyze the content and purpose of the texts in detail, and also gives its own suggestions on how to translate the public service texts.&lt;br /&gt;
&lt;br /&gt;
====Framework of this paper====&lt;br /&gt;
&lt;br /&gt;
This paper is divided into seven chapters.&lt;br /&gt;
Chapter 1 introduces the background, significance and purpose of the research, methodology, and general framework of this thesis.&lt;br /&gt;
Chapter 2 introduces the theoretical perspective used in this paper.&lt;br /&gt;
Chapter 3 analyzes the characteristics of public service texts from the perspective of content and text.&lt;br /&gt;
Chapter 4 gives examples of texts according to the three categories of text type theory and analyzes the more appropriate translations.&lt;br /&gt;
Chapter 5 lists the obvious mistranslations in PSAs and gives suggested versions of the translations.&lt;br /&gt;
Chapter 6 summarizes the methods that can be used to translate PSA texts.&lt;br /&gt;
Chapter 7 summarizes what has been discussed throughout the essay and reflects on the limitations of the essay.&lt;br /&gt;
&lt;br /&gt;
===Overview of Theoretical Foundation and Comparisons===&lt;br /&gt;
&lt;br /&gt;
====Reiss’s View of Text Type Theory====&lt;br /&gt;
&lt;br /&gt;
Katharina Reiss is the founder of the German functional school of translation, and in her book Possibilities and Limitations in Translation Criticism (1979) she presented the prototype of the functional school's theoretical ideas. Reiss's text types are divided into four main categories. She points out that content texts emphasize the depictive function, formal texts emphasize the expressive function, operative texts emphasize the persuasive function, and audio-visual texts emphasize the audio-visual function. function). Therefore, these text categories can also be referred to as informative text, expressive text, operative text, and audio-visual text, respectively. Correspondingly, there are four types of functions.(Li Zhi 2008) &lt;br /&gt;
&lt;br /&gt;
1. Content-based text&lt;br /&gt;
This type of text is content-based, and the text can be used to convey information and so on. When translating, the content should be restored to the greatest extent possible. These texts mainly include news reports and commentaries, business letters, cargo lists, instructions for use, operating instructions, and other professional works in technical fields.&lt;br /&gt;
&lt;br /&gt;
2. Formal texts&lt;br /&gt;
The focus of formal texts is on their aesthetic significance. When translating such texts, the translator should aim to create a similar text effect in the form. Formal texts include literary prose (short essays, biographies, pure literature), imaginative prose (anecdotes, short stories, novels, romances), and all forms of poetry (from didactic poetry to narrative poetry to purely emotional poetry).&lt;br /&gt;
If the form is not preserved in translation, the content of the text may be lost as a result.&lt;br /&gt;
&lt;br /&gt;
3. Operative texts&lt;br /&gt;
Operative texts are concerned with the response of the recipient of the text. This type of text clearly appeals to the recipient of the text through a certain point of view and with a certain purpose, expecting to receive the desired response. The representative texts are all operative texts in which the appealing element predominates, using advertisements, propaganda, sermons, debates, agitation or satirical texts that have an expressive purpose or linguistic expression.&lt;br /&gt;
&lt;br /&gt;
4. Audiovisual texts&lt;br /&gt;
Generally speaking, any text that requires some degree of non-verbal communication with the audience is an audio-visual text. This includes mainly radio and television scripts, such as radio news and reports, overviews of hot topics, and theater productions. In these texts, not only grammar and narration techniques, but also sound effects and visual devices (in television and film) play an important role.&lt;br /&gt;
&lt;br /&gt;
====Peter Newmark’s View of Text Type Theory====&lt;br /&gt;
&lt;br /&gt;
Peter Newmark is one of the leading figures in the linguistic school of British translation theory. Newmark also made a detailed classification of texts, and he summarized them into the following three types according to their contents:&lt;br /&gt;
&lt;br /&gt;
1. Expressive texts&lt;br /&gt;
This type of text focuses on the content of the text and the author's own point of view. Newmark divides them into three types of texts. (1) serious and imaginative literature, including lyric poetry, short stories, long novels, and plays; (2) authoritative texts, including a variety of texts whose authority comes from the author's status or linguistic ability, such as speeches and statements by senior government officials and political party leaders, legal regulations, documents, and literary and academic works written by authorities; (3) autobiographies, essays, and private letters that are straightforward and have no direct readership.(Jia Heping 2015)&lt;br /&gt;
&lt;br /&gt;
2. Informative texts&lt;br /&gt;
The text often contains some content that does not involve the emotional and opinion part, and this part of the content can have its practicality, which is the information function of the text. Typical informative texts include textbooks, technical reports, newspaper articles, scientific papers, conference proceedings, etc.&lt;br /&gt;
&lt;br /&gt;
3. Operative text&lt;br /&gt;
The function focuses on the response of the text receiver, and the text is set to get the desired response from the receiver, to produce certain influence on them or even change their concepts and behaviors. Typical vocative texts include notices, advertising campaigns, instructions, and persuasive texts (such as requests, appeals, etc.).&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
He classifies language functions into six categories, based on what the philosophers of language Bühler and Jacobson have said about language functions. He believes that a text may have one function or several functions, but that one of these functions is the main one, as explained below.&lt;br /&gt;
&lt;br /&gt;
1. Expressive function&lt;br /&gt;
Expression is a fundamental property of language. Expression is the process by which people use language to express their feelings, attitudes, and opinions. Expression focuses on output of the writer, not on the other person's reaction and feelings.&lt;br /&gt;
&lt;br /&gt;
2. Informative function&lt;br /&gt;
The content of the text is mainly fixed, not with emotion, can be used by people in certain situations.&lt;br /&gt;
&lt;br /&gt;
3. Operative function&lt;br /&gt;
This function focuses on the reaction of the recipient of the text, and the writer envisages the reaction of the recipient of the text when writing, in order to achieve the corresponding purpose.&lt;br /&gt;
&lt;br /&gt;
4. Aesthetic function&lt;br /&gt;
Language contains traces of history, which represents a certain aesthetic of people. The first means used for this function is sound, and the second is metaphor. In addition, the rhythm, balance and contrast of sentences and words also have a role. The aesthetic function is present in most of the text categories, moreover, it is indispensable for poems, nursery rhymes and some advertising campaigns.&lt;br /&gt;
&lt;br /&gt;
5. Interpersonal function&lt;br /&gt;
The interpersonal function is reflected in people's daily interactions and conversations. That is, language helps people establish relationships with each other.&lt;br /&gt;
&lt;br /&gt;
6..Meta-linguistic function &lt;br /&gt;
Meta-linguistic function is a special function of language, refers to the language of the language itself to explain, name, analyze, comment on the function. Some expressions in the text, such as “strictly speaking, literally, so called, so to speak, by definition, etc.”, are manifestations of the meta-linguistic function.&lt;br /&gt;
&lt;br /&gt;
Of the above six functions, the first three are the main ones, but within a text, there may be multiple functions, but the text itself has a focus, and rarely does textual knowledge contain purely one function.(Li Zhi 2008)&lt;br /&gt;
&lt;br /&gt;
====Similarities and Differences Between Reiss's and Newmark's View of Text Type Theory====&lt;br /&gt;
&lt;br /&gt;
=====Similarities=====&lt;br /&gt;
Both theories are based on Bühler's triadic approach to language function. Both have the same understanding of the division and characteristics of different kinds of texts.&lt;br /&gt;
Differences&lt;br /&gt;
&lt;br /&gt;
=====Differences=====&lt;br /&gt;
First of all, language used in lived interaction is the main basis for Rice's definition of text types, and these are classified as text types that value content. Newmark, on the other hand, regards such lived language as a special linguistic function, and many experts consider this understanding by Newmark problematic.&lt;br /&gt;
&lt;br /&gt;
Second, there is a significant difference in their views of instructions, with Rice classifying them as informative texts because of their ability to provide certain information to readers. Newmark, on the other hand, classifies it as a operative text because of its ability to guide people and thus change their behaviors. In my opinion, the text of instruction manuals is due to the nature of the product itself, and the readers have the will to act before reading the text, and the manuals only provide them with certain information, so they should belong to the information category.&lt;br /&gt;
&lt;br /&gt;
Furthermore, the language used in living interactions is the main basis for Rice's definition of text types, and these are classified as text types that value content. Newmark, however, regards this lived language as a special language function, and many experts think that this understanding of Newmark is problematic.(Jia Heping 2015)&lt;br /&gt;
&lt;br /&gt;
====Similarities and Differences Between Chinese and English PSA texts====&lt;br /&gt;
&lt;br /&gt;
=====Similarities=====&lt;br /&gt;
&lt;br /&gt;
1. Public service texts in both languages often use certain rhetorical techniques, such as personification, alliteration, and end-rhyme, in order to evoke a call to action.&lt;br /&gt;
&lt;br /&gt;
2. Public service texts in both languages often use short sentences, especially in public service slogans, which are easy to remember and achieve the desired effect.&lt;br /&gt;
&lt;br /&gt;
3. Both languages use idioms and sayings that have been around for a long time.&lt;br /&gt;
 &lt;br /&gt;
=====Differences=====&lt;br /&gt;
&lt;br /&gt;
1. Chinese public service texts are good at using strong words such as &amp;quot;forbidden&amp;quot;, while English texts use more euphemisms such as &amp;quot;Please&amp;quot;. When translating, we should respect the habits of the translating countries in order to better play the role of public welfare texts.&lt;br /&gt;
&lt;br /&gt;
2. Chinese public service texts tend to use poetry-like forms, with seven or five characters in order to be neatly matched. In English, they mostly use phrases of the same number of words to match each other.&lt;br /&gt;
&lt;br /&gt;
3.The translation of advertising slogans also needs to respect certain cultural differences, as Western societies emphasize the individual while the Chinese value collectivism. For example:&lt;br /&gt;
&lt;br /&gt;
Example 1：保护生态环境，造福子孙后代。&lt;br /&gt;
&lt;br /&gt;
Translation 1:Leave a sound ecological environment to your children.&lt;br /&gt;
&lt;br /&gt;
Such a slogan in Chinese emphasizes the impact on future generations without specifying whose children and grandchildren it is, but in the translation, the translator translates it as &amp;quot;Leave a sound ecological environment to your children.” to call on people to protect the environment.&lt;br /&gt;
&lt;br /&gt;
4. Westerners focus on direct expressions, while Chinese expressions are more subtle. For example:&lt;br /&gt;
&lt;br /&gt;
Example 2: 司机一滴酒，亲人两行泪。 &lt;br /&gt;
&lt;br /&gt;
Translation:Drink and drive costs your life.&lt;br /&gt;
&lt;br /&gt;
The sentence contrasts the words &amp;quot;酒&amp;quot; and &amp;quot;泪&amp;quot; without directly pointing out the possible serious consequences, leaving the reader to think about them and take actions. Instead, the translator simply translates it as &amp;quot;Drink and drive costs your life.”(Li Qingxue, Wang Huaiwang 2019)&lt;br /&gt;
&lt;br /&gt;
===Features of Public Service Advertisements===&lt;br /&gt;
&lt;br /&gt;
As an advertising method, public service advertisements have their own characteristics in many aspects. By analyzing the characteristics, we can accurately convey the idea that the PSA is trying to convey.&lt;br /&gt;
&lt;br /&gt;
====Content Features====&lt;br /&gt;
&lt;br /&gt;
1. The public welfare nature of PSAs is their essential feature, which is concerned with the common interests of the entire society. By observing the theme and content of the PSAs in both China and abroad, it can be seen that the topics of PSAs cover ecological protection, care for the earth, quality birth and education, opposing cults, advocating science, opposing war, advocating polite social mores, patriotism, and so on.&lt;br /&gt;
&lt;br /&gt;
2. Public service advertisements are non-profit in nature. It does not exist for an organization or a business entity, but rather to draw people’s attention to and activate action on social issues. Commercial advertising, on the other hand, exists for financial gain.&lt;br /&gt;
&lt;br /&gt;
3. Popularity. The public service advertisements are made for the general public. As the audience's cultural level, the ability to understand different, so public service advertisements must be easy to understand. It not only requires the spread of advertising content to have universal significance, but also the form of popular, concise, accessible language, easy to understand. Only in this way, the public service advertisement can really serve the purpose of the public.&lt;br /&gt;
&lt;br /&gt;
4. Creativity. The advertising market is so diverse that the only way to make advertisements spread to  the public is to design them in a creative and meaningful way that will make them known to&lt;br /&gt;
more people.&lt;br /&gt;
&lt;br /&gt;
====The Features of Text Forms====&lt;br /&gt;
&lt;br /&gt;
1.Advertising texts that we see in our daily lives include slogans, public service messages and public service videos, and so on. Advertising slogans are usually short and meaningful, with simple counterpoint sentences, and are operative texts. On the other hand,public service messages are mostly preventive messages issued by social organizations to help disseminate precautions and draw people’s attention to an unexpected situation in order to maintain social order. They are mostly informative texts. Most PSAs have a complete storyline, thought-provoking dialogue, and a short slogan that summarizes the message of the ad.&lt;br /&gt;
&lt;br /&gt;
2. Public service advertisements are often designed with certain rhetorical techniques to enhance the aesthetics of the ad, make it catchy to read, and ultimately leave a deep impression on the public.&lt;br /&gt;
&lt;br /&gt;
===Examples of C-E Translation of Public Service Advertisements===&lt;br /&gt;
&lt;br /&gt;
====Operative Text====&lt;br /&gt;
&lt;br /&gt;
Most of the PSAs are operative texts, and the pupose of operative texts in PSAs is to affect the public in order to attain the desired response from the advertisers. PSAs are created to publicize something of common social interest in order to attract attention and action, so the creative design of the advertisement should take this into account and retain the appealing elements of the original text when designing the advertisement.&lt;br /&gt;
&lt;br /&gt;
Example 3: 爱心播散 希望萌芽&lt;br /&gt;
&lt;br /&gt;
Translation: Spread love Sow hope&lt;br /&gt;
&lt;br /&gt;
The public service advertisement slogan is from a public service advertisement released by CCTV in 2016, which tells the story of Zhao Xiaoting, a student from Wuhan University, who volunteered to go to Guizhou to teach in the mountains. It was her selfless love that sowed hope for the children in the mountains. The ad reflects the great power of ordinary people and promotes the core values of socialism. It shows the power that volunteering can bring. The ad is very short, with a neat counterpoint, and the verb and noun have been swapped in the translation, with the verb being in front of the noun, indicating a dynamic process that can arouse the public's recognition of the act and inspire them to join in and contribute to the poor areas. The second verb in the original text is &amp;quot;萌芽&amp;quot;, but the translation uses &amp;quot;sow&amp;quot; to indicate the growth of hope, which is similar to the original text.(Jin Haibing 2005)&lt;br /&gt;
&lt;br /&gt;
Example 4: 有你在，就是家。&lt;br /&gt;
&lt;br /&gt;
Translation：You bring me warmth of home.&lt;br /&gt;
&lt;br /&gt;
In this short film, a father in a rural area has never been away from home, and because he misses his son, who has not been home for a long time, he sets out on his own to visit him. The father has to change various means of transportation to get to the city, and encounters many difficulties because his being unable to speak mandarin well. The helpless father finally gets help from the staff, through whom he contacts his son. Eventually they both cry, and the short film ends with the father sitting on his son's motorcycleand going home together. The short film is very touching, and through the process of going into the city to look for his son, it shows us how brave and gentle people can be for love. If we translate the text word by word in the original order, we can't express this meaning, so we use phrases like &amp;quot;bringing sb warmth&amp;quot; to express the meaning of the original Chinese.(Ye Qiuling 2020)&lt;br /&gt;
&lt;br /&gt;
====Informative Text====&lt;br /&gt;
&lt;br /&gt;
Public service messages are informatiive texts, mainly used to convey certain information, with straightforward and concise text content, and the translator only needs to express its literal meaning directly when translating.&lt;br /&gt;
&lt;br /&gt;
Example 5：请您收到来自境外、国内新冠疫情中高风险地区的邮件、包裹，先对物品表面进行消毒，或在阳台等室外空旷处放置一段时间再打开。处理完包裹、邮件后，应立即用肥皂或洗手液清洗双手，或用免洗手消毒剂进行消毒。洗手前双手不触碰口、鼻、眼等部位。疫情防控有您的参与才能胜利！&lt;br /&gt;
&lt;br /&gt;
Translation: If you receive mail or parcels from overseas or domestic areas at high risk of Cov-19 outbreak, please disinfect the suface of the items first, and leave them on the balcony or other outdoor open space for a period of time before opening them. Immediately after handling parcels and mail, wash your hands with soap and hand sanitizer, or disinfect them with hand sanitizer. Do not touch your mouth, nose, eyes or other parts of your body before washing your hands. Outbreak prevention and control can only be won with your participation!&lt;br /&gt;
&lt;br /&gt;
Example 6：应急公益短信:为严防新型冠状病毒感染的肺炎疫情，山东省严禁任何形式的野生动物交易活动，严禁野生动物对外扩散和转运贩卖。对于违反规定的经营者、经营场所将予以停业整顿、查封，涉嫌犯罪的，将移送公安机关。社会各界如有发现违法违规交易野生动物的，欢迎拔打12345等投诉举报。&lt;br /&gt;
&lt;br /&gt;
Translation: In order to prevent the outbreak of pneumonia due to new coronavirus infection, any form of wildlife trade is strictly prohibited in Shandong Province, and the proliferation and trafficking of wildlife is strictly prohibited. The company's main goal is to provide the best service to the public.&lt;br /&gt;
If you are suspected of committing a crime, you will be transferred to the public security organs. If any&lt;br /&gt;
illegal trade of wild animals is found, the community is welcome to call 12345 to report complaints.&lt;br /&gt;
&lt;br /&gt;
====Expressive Text====&lt;br /&gt;
&lt;br /&gt;
The purpose of an expressive text is to express emotions and attitudes, the language focuses on aesthetics, and the focus of the text is on the form of expression, which requires attention to equity in translation. With the development of the economy and society and the improvement of people's living standards, the aesthetic level of the masses is also improving, and accordingly, the translation of advertising slogans should also change to adapt to the improvement of people's aesthetics.&lt;br /&gt;
&lt;br /&gt;
Example 7：善行无痕 一种习惯的美丽&lt;br /&gt;
&lt;br /&gt;
Translation: Kindness is traceless. A habit of beauty.&lt;br /&gt;
&lt;br /&gt;
The slogan is from a public service advertisement by CCTV in 2016. In the short film, a wife walks into a room to rest after stopping on the balcony for a long time, and her husband comes back and intends to tum off the balcony light to save electricity. The wife stops the husband, and the camera turns to two elderly sanitation workers who are finishing their meal by the light of the lamp she left for them, which the young couple lit for them in the night.Such kindness is obviously not accidental,but has been a habit of the wife in the short film, and is therefore natural and touching. The ad is intended to call attention to good deeds and habit formation through a story like this one. The ad's slogan is a literal translation, with &amp;quot;善行&amp;quot; translated as &amp;quot;Kindness&amp;quot; and &amp;quot;无痕&amp;quot; as &amp;quot;traceless&amp;quot;.&amp;quot;The use of end-rhyme rhetoric, which pursues equivalence of expressions and enhances the rhythmic beauty of the language, impresses readers and influences their perceptions and habits of good deeds, serving as a public service advertisement.(LiQingxue, Wang Huaiwang 2019)&lt;br /&gt;
&lt;br /&gt;
Example 8：保护肺脏，珍爱生命。（禁烟广告）&lt;br /&gt;
&lt;br /&gt;
Translation: Save your lung, save your life.&lt;br /&gt;
&lt;br /&gt;
The slogan comes from an anti-smoking advertisement that uses the alliteration, “lung” and “life”, to emphasize that quitting smoking is about protecting your lungs and your life. The two “saves” remind people that smoking is harmful to their health and that they should quit smoking as soon as possible to save themselves.&lt;br /&gt;
&lt;br /&gt;
===Misinterpretation of Public Service Advertisemnts===&lt;br /&gt;
&lt;br /&gt;
====Chinglish====&lt;br /&gt;
Chinglish refers to word-for- word translations that do not consider translation strategies from the perspective of the receiving language and cultural differences, and often cause difficulties in comprehension for the receiving readers.&lt;br /&gt;
&lt;br /&gt;
Example 9：小心地滑&lt;br /&gt;
&lt;br /&gt;
Misinterpretation: Foot Care.&lt;br /&gt;
&lt;br /&gt;
Suggested translation: Mind your step.&lt;br /&gt;
&lt;br /&gt;
The above misinterpretation is translated word-for-word, which not only makes it difficult for the recipient readers to read, but also affects the image of the city as a whole, so more citizens are taking notice and taking action to reject &amp;quot;dead translation&amp;quot; and &amp;quot;Chinglish&amp;quot;. &lt;br /&gt;
&lt;br /&gt;
====Grammatical errors====&lt;br /&gt;
Most grammatical errors are caused by the translator's own incompetence, mainly in the use of articles, subject- predicate inconsistencies, mis-matching of verb phrases, and word confusion.&lt;br /&gt;
&lt;br /&gt;
Example 10：珍爱生命 远离毒品。&lt;br /&gt;
&lt;br /&gt;
Mistranslation: Yes to life, no to drugs.&lt;br /&gt;
&lt;br /&gt;
Suggested translation: Cherish life and avoid drugs.&lt;br /&gt;
&lt;br /&gt;
The public service advertisement came from an anti-drug advertisement, obviously the mistranslated structure of the translation does not fit English conventions.&lt;br /&gt;
&lt;br /&gt;
====Inappropriate Use of Words====&lt;br /&gt;
There are some words in English that are very similar to each other, and improper use of words means that the translator uses words haphazardly without clearly distinguishing between similar words, resulting in a misinterpretation.&lt;br /&gt;
&lt;br /&gt;
Example 11：关爱残障人士&lt;br /&gt;
&lt;br /&gt;
Improper translation: Care for the handicapped.&lt;br /&gt;
&lt;br /&gt;
Suggested translation: Care for the disabled.&lt;br /&gt;
&lt;br /&gt;
The slogan is from a public service advertisement in which the word &amp;quot;handicapped,&amp;quot; which translates to &amp;quot;the handicapped,&amp;quot; is now somewhat outdated and contains a certain amount of offensive language that sometimes causes people to be It would make more sense to change it to &amp;quot;the disabled&amp;quot;, relatively speaking.&lt;br /&gt;
&lt;br /&gt;
====Redundancy====&lt;br /&gt;
The redundancy is due to the fact that the translators do not fully understand the differences between Chinese and foreign cultures and the purpose of the text.&lt;br /&gt;
&lt;br /&gt;
Example12：一花一草皆生命 一枝一叶总关情&lt;br /&gt;
&lt;br /&gt;
Improper Translation: Alive as all living things each flower and leaf of grasses require our care.&lt;br /&gt;
&lt;br /&gt;
Suggested Translation: Please give me a chance to grow.&lt;br /&gt;
&lt;br /&gt;
The original translator intended to present a vivid description of the original slogan in front of people, but failed to consider that the slogan was intended to arouse people's love for flowers and plants. We suggest that the translation should start from the operative textual features of the slogan and combine it with the straightforward expression habits of foreigners to call on people to take care of flowers and plants in a more euphemistic way.&lt;br /&gt;
&lt;br /&gt;
===Methods of C-E Translation of Public Service Advertising===&lt;br /&gt;
&lt;br /&gt;
====Literal Translation====&lt;br /&gt;
&lt;br /&gt;
The main characteristics of literal translation are twofold: in the treatment of word meanings and rhetoric (e. g., metaphors), it does not use transitive techniques (this distinguishes &amp;quot;literal translation&amp;quot;from &amp;quot;free translation&amp;quot;); in the treatment of linguistic forms (i.e., lexical-syntactic structure), it allows appropriate changes and shifts (This distinguishes &amp;quot;literal translation&amp;quot; from &amp;quot;word- for-word translation&amp;quot;).(Xiong Bing 2013) For example.&lt;br /&gt;
&lt;br /&gt;
Example 13: 我的盛开需要你的关爱 &lt;br /&gt;
&lt;br /&gt;
Translation : Luxuriant flowers need your care.&lt;br /&gt;
&lt;br /&gt;
The translation retains the personification of the original, treating flowers as species with emotions, but directly specifies that &amp;quot;I&amp;quot; means &amp;quot;flower&amp;quot;, which is in line with the habit of expression of the target audience and serves as a reminder.&lt;br /&gt;
&lt;br /&gt;
Example 14: 节约用水就是珍爱生命&lt;br /&gt;
&lt;br /&gt;
Translation : To save water is to save life&lt;br /&gt;
&lt;br /&gt;
The original text translates &amp;quot;conserve water&amp;quot; and &amp;quot;cherish life&amp;quot; into a neat pairing, and the translation also translates them into a neat pairing, and the expression is in line with the habits of expression of the people in the receive language. Both the original text and the translation equate &amp;quot;conserve water&amp;quot; with &amp;quot;cherish life&amp;quot; to arouse the attention of the masses and advertise the importance of saving water.&lt;br /&gt;
&lt;br /&gt;
====Paraphrase====&lt;br /&gt;
&lt;br /&gt;
A paraphrase translation is one in which the translator does not stick to the details of the meaning of the original text, much less to its vocabulary and syntactic structure, but &amp;quot;uses the original text as a reference model&amp;quot; and either translates only the general meaning, gist or key information (or selectively some of it) by condensing it, or translates it into a text with more information compared to the original article. (Xiong Bing 2013) For example.&lt;br /&gt;
&lt;br /&gt;
Example 15:爱我,追我,千万别吻我。&lt;br /&gt;
&lt;br /&gt;
Translation: Drive carefully! &lt;br /&gt;
&lt;br /&gt;
The original text is from a public service advertisement advocating cautious driving. The translation does not follow the literal meaning, but rather the translator uses a paraphrasing technique after understanding the meaning of the sentence and chooses two words to express the meaning. It is short and serves as a warning to motorists.&lt;br /&gt;
&lt;br /&gt;
Example 16：手下留情花自香，脚下留意草如茵。&lt;br /&gt;
&lt;br /&gt;
Translation: Take care of grass and flowers, please.&lt;br /&gt;
&lt;br /&gt;
The original text is a public service slogan with Chinese cultural characteristics, but it is difficult to find a corresponding expression in English when translating. Here the translator uses an invocation to remind the masses.&lt;br /&gt;
&lt;br /&gt;
====Borrowing Translation====&lt;br /&gt;
&lt;br /&gt;
A borrowing Translation is an explanation that replaces the original word or phrase by borrowing the idiom of the target language. For example.&lt;br /&gt;
&lt;br /&gt;
Example 17: 爱心传递你我，文明就在身边。&lt;br /&gt;
&lt;br /&gt;
Translation: Where there is a love, there is a virtue.&lt;br /&gt;
&lt;br /&gt;
The original is a slogan from an advertisement for the Olympic Games, which is a medium for promoting the spirit of the Games and the country's outlook. The translator chose a well-known proverb from the translated country, &amp;quot;Where there is a will, there is a way,&amp;quot; to expand the publicity effect.&lt;br /&gt;
&lt;br /&gt;
Example 18: 让世界倾听我们的声音&lt;br /&gt;
&lt;br /&gt;
Translation : Let our voice be heard in the world.&lt;br /&gt;
&lt;br /&gt;
The original text was a slogan from a CCTV public service advertisement, which was based on the lyrics &amp;quot;Let our voice be heard.&lt;br /&gt;
&lt;br /&gt;
===Conclusion===&lt;br /&gt;
&lt;br /&gt;
In this paper, the writer divides and analyzes different texts and explain the approaches they take in translation. This perspective of using text type theory to analyze and discuss how to translate public service texts may be of some help to scholars.&lt;br /&gt;
&lt;br /&gt;
According to different texts, the text type theory has its own emphasis in translation, and different PSA texts are mostly operative texts, and sometimes one text has multiple textual characteristics, which translators can take into full consideration when choosing the emphasis and translation methods.&lt;br /&gt;
Public service translation is very different from commercial advertising translation, which is mainly used to educate the public, convey correct and positive values, encourage people to take actions to help others, and create a good social environment to resist bad behaviors. Generally speaking, it is necessary to consider the actual situation when translating the PSAs.&lt;br /&gt;
&lt;br /&gt;
Through analyzing the texts of PSAs, the author has made the following discoveries, and the translation of PSAs can be done according to the text type theory. Although there are some cultural differences between the two languages, the differences do not make translation difficult to achieve. If literal translation cannot translate the meaning of the source text, then paraphrase,borrowing translation and other translation methods can also be used.&lt;br /&gt;
&lt;br /&gt;
===Limitation===&lt;br /&gt;
&lt;br /&gt;
In this paper, I put forward some personal ideas, but in the final version, I can still find my own shortcomings. First of all, there is still a lack of richness of information due to the limitation of space. Secondly, the depth of my ideas is still insufficient, and I only hope that this article can provide some research ideas for researchers and contribute to the translation of public service texts.&lt;br /&gt;
&lt;br /&gt;
===References===&lt;br /&gt;
1.Jia Heping 贾和平. (2019). 论纽马克与赖斯的文本分类比较研究 [A Comparative Study on Newmark’s and Reiss’s Text Type Classification ]. &lt;br /&gt;
&lt;br /&gt;
2.Li Zhi 李治. (2008). 论纽马克与赖斯的文本分类比较研究 [Newmark’s and Reiss’s Text Type Classification and A Comparative Analysis of Translation Methodology ].&lt;br /&gt;
&lt;br /&gt;
3.Jin Haibing 金海兵. (2005). 试谈公益广告标语及其翻译 [On Analyzing Public Service Advertisements and Their Translation].&lt;br /&gt;
&lt;br /&gt;
4.Li Qingxue, Wang Huaiwang 李庆学 王怀望. (2019). 接受美学视角下的公益广告翻译 [A Study of English Translation of Public Service Advertisements from the Perspective of Reception Aesthetics].&lt;br /&gt;
&lt;br /&gt;
5.Ye Qiuling 叶秋伶. (2020). 语义翻译和交际翻译理论视角下中文公益广告英译——以央视公益广告为例 [English Translation of Chinese Public Service Advertisements from the Perspective of Semantic Translation and Communicative Translation Theory - Taking CCTV Public Service Advertisements as an Example].&lt;br /&gt;
&lt;br /&gt;
6.Liu Xiaofang 刘晓芳. (2015). 目的论视角下《中国日报》公益广告英译的探析 [The English Translation of PSAs in China Daily from the Perspective of Skopos theorie].&lt;br /&gt;
&lt;br /&gt;
7.Chen Yanhong 陈燕红. (2012).  文化视角中汉英公益广告的翻译策略 [Translation Strategies of Chinese-English Public Service Advertisements in Cultural Perspective].&lt;br /&gt;
&lt;br /&gt;
8.Xiong Bing 熊兵. (2013).  翻译研究中的概念混淆 [Conceptual Confusion in Translation Studies].&lt;/div&gt;</summary>
		<author><name>Song Jianru</name></author>
	</entry>
	<entry>
		<id>https://bou.de/u/index.php?title=History_of_Translation_Studies_8&amp;diff=113192</id>
		<title>History of Translation Studies 8</title>
		<link rel="alternate" type="text/html" href="https://bou.de/u/index.php?title=History_of_Translation_Studies_8&amp;diff=113192"/>
		<updated>2020-12-16T14:01:35Z</updated>

		<summary type="html">&lt;p&gt;Song Jianru: /* On the Chinese Translation of A Pale View of Hills from House's Translation Quality Assessment Model	宋建茹	Song Jianru */&lt;/p&gt;
&lt;hr /&gt;
&lt;div&gt;这里是《翻译学史》的书稿第八部分(Part 8)。麻烦各位同学看一下已经存在的章回（样品），自己再加进去新的一个章回（就是你们的学期论文）。请也帮助同学们把他们的论文改正。这样多次修改，大家的论文会越来越好。&lt;br /&gt;
&lt;br /&gt;
学期论文（结合学期所学，撰写一篇5000以上单词的英文论文，按照专业杂志的格式，题目、摘要、关键词和参考文摘需要英中，文章英）。学期论文成绩占70%，平时成绩（含课堂表现、展示及作业）占30%。&lt;br /&gt;
&lt;br /&gt;
*Link back to course homepage: [https://bou.de/u/wiki/Introduction_to_Translation_Studies Course Homepage Intro. to TS]&lt;br /&gt;
*Link back to the final exam paper section of the course homepage: [https://bou.de/u/wiki/Introduction_to_Translation_Studies#Final_Exam_Papers Final Exam Papers]&lt;br /&gt;
*Link to other parts of the final exam papers' website: [https://bou.de/u/index.php?title=History_of_Translation_Studies_1 Part 1], [https://bou.de/u/index.php?title=History_of_Translation_Studies_2 Part 2], [https://bou.de/u/index.php?title=History_of_Translation_Studies_3 Part 3], [https://bou.de/u/index.php?title=History_of_Translation_Studies_4 Part 4]; [https://bou.de/u/index.php?title=History_of_Translation_Studies_5 Part 5], [https://bou.de/u/index.php?title=History_of_Translation_Studies_6 Part 6], [https://bou.de/u/index.php?title=History_of_Translation_Studies_7 Part 7], [https://bou.de/u/index.php?title=History_of_Translation_Studies_8 Part 8]; [https://bou.de/u/index.php?title=History_of_Translation_Studies_9 Part 9], [https://bou.de/u/index.php?title=History_of_Translation_Studies_10 Part 10].&lt;br /&gt;
&lt;br /&gt;
='''History of Translation'''=&lt;br /&gt;
== Study on Brand Name Translation from the Perspective of Cultural Difference	谭鑫洁	Tan Xinjie==&lt;br /&gt;
&lt;br /&gt;
==='''Abstract'''===&lt;br /&gt;
&lt;br /&gt;
== Abstract: ==&lt;br /&gt;
&lt;br /&gt;
==='''key words'''===&lt;br /&gt;
&lt;br /&gt;
==='''摘要'''===&lt;br /&gt;
&lt;br /&gt;
==='''关键字'''===&lt;br /&gt;
&lt;br /&gt;
===Complete transcript of the content of the original work ===&lt;br /&gt;
&lt;br /&gt;
===Same style and manner of writing===&lt;br /&gt;
&lt;br /&gt;
===Equivalent effect===&lt;br /&gt;
&lt;br /&gt;
===Discussion===&lt;br /&gt;
&lt;br /&gt;
===Conclusion===&lt;br /&gt;
&lt;br /&gt;
===Bibliography===&lt;br /&gt;
&lt;br /&gt;
==A Comparative Study on the Translation History in Western Countries and China	王煜	Wang Yu==&lt;br /&gt;
&amp;lt;center&amp;gt;王煜，202020080645.&amp;lt;/center&amp;gt;&lt;br /&gt;
===Abstract===&lt;br /&gt;
Translation is an intercultural communication activity, translation activities have accelerated the development of human civilization and reduced the communication barriers between people of different countries or nations. With time goes by, things are in a state of flux and both the western and eastern countries have gradually formed their own history of translation, the study of translation history is a basic project of discipline construction. Though there are many differences among the translation histories of western countries and China, the two kinds of translation histories are still shining their own bright unique lights and have an indelible influence and contribution to human translation activities. This paper intends to make a brief comparison of translation histories between western countries and China, which includes the origins, the stages, the representatives of the stages, the significance and influence as well as the differences of the two translation histories.&lt;br /&gt;
&lt;br /&gt;
===Keywords===&lt;br /&gt;
Translation History of the West; Translation History of China; Comparative Study&lt;br /&gt;
&lt;br /&gt;
===中西翻译史对比研究===&lt;br /&gt;
&lt;br /&gt;
===摘要===&lt;br /&gt;
翻译是一种跨文化交流活动，翻译活动加快了人类文明发展步伐，减少了人们之间的沟通障碍。随着时代的变迁，中国和西方国家逐渐形成了各自的翻译史，翻译史的研究是学科建设的一项基础工程。尽管中西方翻译史在某些方面有所差异，但却都有着各自的独特性，并对人类的翻译活动产生了巨大的影响与贡献。文章将以中国和西方国家为主要对象，从二者翻译史起始，包含阶段和各阶段代表人物，影响意义，差异性出发，对二者的翻译史进行简略的对比研究。&lt;br /&gt;
&lt;br /&gt;
===关键词===&lt;br /&gt;
西方翻译史；中国翻译史；对比研究&lt;br /&gt;
&lt;br /&gt;
===1. Introduction===&lt;br /&gt;
No matter in China or in the west, translation plays an important role in knowledge-spreading. As an indispensable part of translatology, the study of translation history has made a great influence on translation activities, it has gradually become the focus of the literary and historical circles in recent years. Translation activities can be traced back to the origin of language, and the history of translation is almost as old as language itself, it is closely related to the changes in today's society. &amp;quot;Since the 1980s, the translation studies in the mainland of China have made remarkable progress in the curriculum design of Chinese and western translation history and the compilation of related works. In the early 1980s and 1990s, there were many related works came out one after another including History of Translation in China – before May Fourth（《中国翻译简史-“五四”运动以前部分》） written by Ma Zuyi, A Historical Manuscript of Chinese Translated Literature （《中国翻译文学史稿》）edited by Chen Yugang, and also the A Short History of Translation in the West（《西方翻译简史》） the author of which is Tan Zaixi. Thus, it opens the gate for the compilation of Chinese and western translation history works.&amp;quot;(Xie Tianzhen2009,Ⅴ) The history of western translation can be divided into five stages while the Chinese study of translation has a glorious history of more than two thousand years and has experienced five climaxes. Through the comparative study of Chinese and western translation history, it will help us to have a deeper understanding of Chinese and western translation activities and thus to gather a general full view of it, which will be a positive and meaningful attempt.&lt;br /&gt;
&lt;br /&gt;
===2. The Translation History of Western Countries===&lt;br /&gt;
Western translation activities are rich in a long history and a multiyear span. The history of western translation can be roughly divided into three stages: the traditional stage, the modern times and the contemporary. More specifically, it can be grouped into the ancient times, the middle ages, the Renaissance period and the time after WWⅡ.&lt;br /&gt;
&lt;br /&gt;
===2.1 The First Stage: Translation in the Ancient Times===&lt;br /&gt;
    &lt;br /&gt;
The translation history of western countries first began in the the 3rd century BC. In a broad sense, the earliest translation in the west is the Old Testament translated by 72 Jewish scholars in Alexandria, ancient Egypt, between the 3rd and 2nd centuries BC; Strictly speaking, the first western translation is the Greek Homer Epic Odyssey translated by Andronicus in Rome in the middle of the third century BC.(Tan Zaixi2000,88-89) At the end of the 4th BC, during this time, the Greece began to decay and the Roman had became stronger and stronger with its military expansion. The expansion of the Roman Empire brought itself into contact with the splendid Greek culture, therefore, the Romans not only conquered the Greek city, but also inherited and developed the brilliant achievements of ancient Greek culture, and then created a  splendid cultural of its own era after Greece. So soon began a large scale translation activities, the activity of translating and introducing Greek classical works probably began in this period.(Liu Junping2009,8) Many famous translation theorists began to make their presences, namely Cicero, Quentin, Jerome and so on, also the famous Roman litterateurs like Andronicus, Naevius, Ennius, these great writers used Latin language to translate or adapt Homer’s epic or other Greece dramas.(Tan Zaixi2000, 89) Started the translation tradition and promoted the birth and development of Roman literature.&lt;br /&gt;
&lt;br /&gt;
===2.2 The Second Stage: Translation in the Middle Ages (4th-6th)===&lt;br /&gt;
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The second climax occurred in the late Roman Empire through the early Middle Ages and was religious in nature. In this period, translation was mainly related about the religious stuff. Religious forces have great influence in the west, Christianity strives to promote its own religion, thus, the Bible, the source and psychological weapon of the Christianism naturally meant a lot in religious world. Since the Old Testament of the Bible was written in Hebrew and Greek, respectively, it needed to be translated into Latin for effective circulation in Rome. &amp;quot;Jerome was a Latin Christian priest, he translated the Bible into Latin(Vulgute) according to the Hebrew version of the Bible.&amp;quot; This version had a great influence on medieval theology and was the most widely circulated and authoritative translation of the Middle Ages, marking an unprecedented level of Western translation.(Tan Zaixi2000, 89)&lt;br /&gt;
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===2.3 The Third Stage: Translation in the Middle Ages (11th-12th)===&lt;br /&gt;
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This period can also be called &amp;quot;the period of the Arab Centennial Translation Movement&amp;quot;,(Liu Junping2009,9) it lasted over two hundred years. In order to consolidate the rule and promote socio-economic and cultural development, the medieval Arab Empire undertook a massive, organized academic activity to translate and introduce the scientific and cultural classics of ancient Greece and the East. Translators of this period actively translated the most important works of Greek literature in all disciplines with an open mind and a strong desire for knowledge. Between the 11th and 12th centuries, Toledo became Europe’s academic center for its prosperous translation activities, the western translators who gathered here translated many works from Arabic into Latin. Cultural patterns and religious ideas converged here.(Tan Zaixi2000, 90) Until nowadays, the positive influence of the movement still plays an inherent role: numerous proprietary names such as ‘concept’, ‘category’ all are gradually established in Arabic. This movement not only facilitated the integration of the inner Arab world, but also, in fact, promoted the integration of the Western and Persian worlds.&lt;br /&gt;
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===2.4 The Fourth Stage: Translation in the Renaissance Period===&lt;br /&gt;
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The Renaissance movement is a European ideological and cultural movement which took place from the 14th century to the 16th century, and reached its peak in the 16th century and inspired a cascade of the development of science, art and literature. A large number of outstanding translators shown up and a series of excellent translation works had been produced. During this time, a great quantity of ancient Greek and Roman classics had been rediscovered and translated into various European languages, which had brought about a profound impact on the European nation states. Leonardo Buruni, who was one of the most influential cultural translation practitioners in the Renaissance period and was also one of the earliest representatives of humanistic translators in the history of western translation. He was famous for his translation of Plato and Aristotle. Humanists began to study the Bible with the method of studying classical literature, and translated the Bible into the national language, which led to the rise of the religious reform movement. In Germany, Martin Luther, a religious reformer, translated the first mass Bible which influenced most and ushered in a new era in the development of modern German; in Britain, Chapman, a writer and translator, translated Homer's Iliad and Odyssey from 1958 to 1616, and the translation and publication of the King James Bible in 1611 marked the formation of modern English.(Liu Junping2009,9) The renaissance played a very important role in the western history of the development of translation, it marked the national language status in the field of literature and translation having finally been consolidated, simultaneously, it showed the translation is playing a huge role in the formation and development of the national language, literature and thought.&lt;br /&gt;
During the the three hundred years that lasted from the 17th century to the 19th century, translation activities continued to move forward. Although its scale and influence could not be compared with that of the Renaissance, it still produced many excellent translators and translated works. The biggest feature was that translators not only continued to translate classical works, but also became interested in modern and contemporary works. The works of Cervantes, Shakespeare, Balzac, Goethe and other great writers had been repeatedly translated into various languages, and translations of Eastern literature have also been published.(Tan Zaixi2000, 91)&lt;br /&gt;
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===2.5 The Fifth Stage: Translation after WWⅡ===&lt;br /&gt;
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Although World War II has brought different degrees of blows to many countries, some western countries have used a large amount of capital to actively resume production, developed various social fields, and attached great importance to the person with ability. Western science and technology are changing with each passing day, driven by cybernetics, information theory and system theory, the world of knowledge and experience has been greatly expanded, and social and cultural exchanges have become increasingly close, which provided a solid material foundation and ideological guarantee for the prosperity of translation. With the growing in number or quantity of translation activities, the translation theory continues to develop, and the number of translation talents in various countries keeps on increasing. Translation has gradually expanded from traditional literary and religious translation to other fields, such as scientific and technical translation and business translation, and with the emergence of professional translators, the influence of translation has become more and more obvious, playing an important practical role. Distinctive features in this time, from the scope to the scale, effect, and to the forms, are all different from any time in the past, having made tremendous progress, the translation scale has exceed the past.&lt;br /&gt;
There are a large number of outstanding translators and translation theorists in the west, they have put forward their different points from different angles in different periods, which made a brilliant contribution to the history of western translation. The western translation activity promoted the cultural exchange and spread the ideas.(Tan Zaixi2000, 92)&lt;br /&gt;
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===3. The Translation History of China===&lt;br /&gt;
China has a long history with 5000 years of civilization. Since China is a multi-ethnic country, so translation plays an irreplaceable role in the communication between different nationalities. There is no reference to the history of translation in China, although there are some documents in the Xia and Shang Dynasties, we still can not discern the translation activities at that time from the existing records. &amp;quot;The song of the Yue Boatman can be regarded as the first poetry translation in Chinese history.&amp;quot;(Ma Zuyi1998,5) However, it was only an isolated translation activity and did not trigger a large-scale translation movement in China.&lt;br /&gt;
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===3.1 The First Stage：Translation of Ancient Buddhist Scriptures===&lt;br /&gt;
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The first climax of the Chinese translation history was the translation of ancient Buddhist scriptures. The Potala Sutra should be the earliest translation of Buddhist scriptures in China,it was also said that the Forty-Two Chapters Sutra is the earliest Chinese translation of the Buddha's sutras, however, the one that is proven to be reliable should be the book The Fifty Books of the Mingdu translated by An Shigao during the reign of Emperor Huan of the Eastern Han Dynasty.(Ma Zuyi1998,17)&lt;br /&gt;
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It has experienced four phases, each of which had its own features: the first was the starting period which was from the last year of emperor Huan in the Eastern Han Dynasty to the Western Jin Dynasty. Translators in this period were mainly Buddhist monks,(Ma Zuyi1998,33) However, the quality of the translated works depends on the ability of the translators’ understanding of Chinese, so the classics of the translated works are varied. Also, due to the shortage of learners' language knowledge , they usually used literal translation. The second perid was the developing time, from the Eastern Jin Dynasty to Sui Dynasty. The Buddhist scriptures continued to prevail under the rulers' advocacy and began to translated Buddhist scriptures in an organized way which was also use the literal translation. During this period, Shi Daoan put forward the famous theory of ‘Five losses of source texts and three difficulties in translation’. Meanwhile, through the translation and interpretation of nearly 400 volumes of Buddhist classics, kumarajiva first introduced Indian Buddhism to the Chinese people, which played an important role in the prosperity of Chinese Buddhism at that time.(Ma Zuyi1998,40) The translation in this time had changed from individual translation into group translation which had improved the quality if translation and as well made some progress in translation theories and skills.(Ma Zuyi1998,55) The third period was the heyday of the translation history took place in Tang Dynasty.(Ma Zuyi1998,58) Xuanzang was an important figure in promoting Sino Indian friendship and cultural exchanges in China's history，not only was he a great translator and organizer of translation, he was also a great translation theorist whose contribution to translation studies still remains significant today. As for the last period, it was in the Northern Song Dynasty, the studying of translating scriptures gradually withered, and during this period, the translation mainly focused on the esoteric classics translations.(Ma Zuyi1998,82)&lt;br /&gt;
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As part of Chinese history, especially as the link of the cultural development, Chinese ancient Buddhist sutra translation has contributed more than a lot.  The spread of Buddhist ethics contributed to the formation of Taoism in China.&lt;br /&gt;
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===3.2 The Second Stage：Technical Translation during the Yuan and Ming Dynasties===&lt;br /&gt;
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The translation of Buddhist scriptures gradually declined during the two hundred years of the Ming Dynasty. With the arrival of western Christian missionaries, China came into contact with Europe. In order to facilitate their relations with Chinese officials and intellectuals, the missionaries translated works of western science and technology as well as Christian texts assisted by Chinese officials. They also introduced the Chinese classics to the West. Matteo Ricci came to China on a mission to introduce Western scientific and technological knowledge. He pioneered the history of combining Chinese and Western translation to introduce Western scientific and technical literature, and was the first to translate the Four Books into Latin, he was the first to introduce Chinese texts to the West.(Ma Zuyi1998,263) From the Wanli period of the Ming Dynasty to the &amp;quot;new learning&amp;quot; period of the Qing Dynasty, there appeared translators who introduced science, literature and philosophy in Western Europe, represented by Xu Guangqi, Lin Shu and Yan Fu. Xu Guangqi was a patriotic scientist and organizer of the scientific and cultural movement in China at the end of the Ming Dynasty, and made outstanding achievements in introducing Western natural sciences and improving the level of science in China.&lt;br /&gt;
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===3.3 The Third Stage：Literary Translation in Late Qing Dynasty===&lt;br /&gt;
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After the Opium War, the Qing government organized a large number of scholars to translate western natural science books, Under the influence of the reform thought, a large number of translations introducing western political thoughts, scientific methods and some literary works appeared. The records of four continents, translated by Liang Jinde, Lin Zexu asked him to do so, was the first systematic introduction to the geographical knowledge of western countries in modern China.（Ma Zuyi1998,329）After the Sino-Japanese War of 1894-1895, Yan Fu translated the theory of evolution and put forward the triple criteria of ‘faithfulness, fluency and elegance’, which has  played a great guiding role in the translation practice of later generations, His translation promoted the development of &amp;quot;new learning&amp;quot; and enlightened the Chinese nation at that time. Another scholar Liang Qichao, who was a politician, thinker and encyclopedia scholar of that time and advocated that China needs to develop the translation career and cultivate translation talents at a full stretch. He has done fruitful research on the translation of Buddhist scriptures and the translation of science and technology between the Ming and Qing Dynasties.&lt;br /&gt;
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===3.4 The Fourth Stage：The Translation of Socialist and Communist Works===&lt;br /&gt;
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The May 4th Movement was a watershed in China's modern translation history, made a significant contribution to the introduction of foreign literature to China and the development of literature in China. After the May 4th movement, China's translation industry has ushered in a new historical period, translators in this period of time, by comparison with those during the late Qing dynasty, were more selective regarding source texts. Chinese translation scholars began to introduce the classic works of Marxism-Leninism and the literature of the proletariat. The translation of the Manifesto of the Communist Party was published during the May 4th movement. During this period, great changes have taken place in the content and form of translation work: vernacular began to replace classical Chinese, as a result, popular language becomes easy to understand, the excellent literary works of western countries have attracted more and more Chinese readers. Famous translators like Lu Xun, Mao Dun, Zheng Zhenduo, Guo Moruo, Zhu Shenghao, Lin Yutang, these scholars had translated a large number of foreign masterpieces and enriched the inner world of the Chinese people, Lu Xun once advocated that there should be an exotic atmosphere in the translated works which would familiarize the readers with the foreign cultures. He also believed that literal translation of culturally loaded words was one of the important means of enriching the mother tongue. These scholars helped the Chinese people to know more about the outside world and laid a good foundation for the systematization and scientization of translation theory in China.&lt;br /&gt;
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===3.5 The Fifth Stage：The Translation after 1949===&lt;br /&gt;
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The founding of the People's Republic of China in 1949 enabled translation to enter into a new era. With the founding of the new China, China's translation industry was also liberated. Translation became a very important part of the national cultural and educational cause. National organizations for translators were established in order to protect the interests and benefits of translators. The quantity and quality of translated works have grown by leaps and bounds. Since then, translation work has been an important part of the new socialist culture, and has been developing rapidly, making great achievements and perfecting translation theory. The classical works of Marxism-Leninism, excellent foreign literature, scientific and technical literature and the like were systematically introduced. There are large-scale translation like the translation of Marx and Lenin's works. In the 1950s, scientific and technical works to meet the demands of the national social and economic construction. In the 1970s, translation of United Nations documents after China was restored to its rightful seat in the United Nations. Also, literary translators became a very important part of China's literature and arts personnel. Qian Zhongshu He puts forward his &amp;quot;transmigration theory (化境说)&amp;quot; for literary translation. That is a literary translation is like the act of transmigration in which the souls, the spirit of the original text remain in the target text even although the carrier of them, the language, has changed. In 1978, two years after the end of disastrous &amp;quot;cultural revolution,&amp;quot; China adopted its &amp;quot;reform and open&amp;quot; policy. A new and dynamic atmosphere for translation emerged.&lt;br /&gt;
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===4.The Comparative Study Among the Two Kinds of Translation Histories===&lt;br /&gt;
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===4.1 The Similarities of the Western and Chinese Translation History===&lt;br /&gt;
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About the religious and translation, we can easily notice that in the history of Chinese and western translation, almost all the early translation activities were the translation of religious classics. The translation of religious classics had opened the curtain of Chinese and western translation history. The spread of religion is always accompanied by the translation of religious classics. It is not difficult for us to understand the reason: after the emergence of religion, in order to absorb more believers, it is necessary for the religious to spread widely across nations and countries. Therefore, from ancient times to the present, religion is always a kind of existence form of various national beliefs and cultures. It keeps on influencing the spiritual belief and behavior of the society.&lt;br /&gt;
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The translation activity has made great contributions to the establishment and development of national languages in various countries. For example, in the history of western translation, Martin Luther's Bible translation played an important role in the unification and development of German language and the establishment of modern German, what’s more, the English version of the Bible enriched the English vocabulary and benefited the modernization of English a lot. The same in China, the Buddhist scripture translation also enriched the use of Chinese vocabulary, in the ideological field, it not only laid the foundation for the establishment of Taoism, but also paved the way for the formation of &amp;quot;New Confucianism&amp;quot; in Song Dynasty. And we can not ignore the contribution of the literary translation in the first half of the 20th century in the establishment and development of modern vernacular Chinese. &lt;br /&gt;
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The translation activity helps to transmit cultural values and promote cultural exchange. Translation bears the mission of cultural exchange, the translation activities are trying to make a close connection between nations and countries and introduce the language and cultural habits of one nation to another. Such kind of efforts have enriched the vocabulary and promoted the exchange between areas. Jesuits who came to China in the late Ming and early Qing dynasties would translate Chinese classics and literary works into foreign languages, which, in a state of isolation between China and Europe, they have become the middlemen for the exchange of Chinese and Western civilizations.(Tan Zaixi1999)&lt;br /&gt;
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===4.2 The Differences Between the Western and Chinese Translation History===&lt;br /&gt;
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First is that, the time is different. Western translation predates Chinese translation by over 200 years. It is said that the reason is due to the differences in topography and geomorphology of the two parts. We all know that China possesses a great number of mountains and lakes, and in the ancient times, it would take quite a few days to send messages from one place to another place, especially when people in the remote areas, it would be a hard and long journey for them to head for a destination. So, there is difficulty in communicating among the various peoples in different nations, there will be delay of the communication and connection. As for the west, there are numerous plains, so it was much convenient and easier for the western people to communicate and exchange their ideas with each other, which set a ideal environment for the development of translation activity.&lt;br /&gt;
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Also, the position of the religious varies. The different traditional culture of the west and China has made the concept of religious of the two are quite varied from each other. Different religious cultures have different forms of expression and vocabulary of their own. In the west, the Bible is not only a religious classic but also an important mainstay of western culture and the foundation of Christian faith. Buddhism was introduced into China from India in the early years of AD and became a very important part of Chinese traditional culture, in order to consolidate his ruling position, the rulers ruled the people spiritually, and the doctrine of Buddhism was in line with the ruler's appetite, so it was first spread among the ruling class and gradually gained its legal status.&lt;br /&gt;
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The translation tradition of the west and China differs. One of the differences of them is the difference between single system and multiple system. “The simplicity of Chinese translation tradition is mainly in the narrow sense，though there are different kinds of translations of national languages in China, most of them are still dominated by the tradition of Chinese language and culture translation. “because they all occurred in the same environment of the language culture since ancient times, that is , the environment of Chinese language culture.” By way of contrast, In terms of space, the western translation tradition did not always develop in the same region. In the later formation and development process, it spread throughout all ethnic regions in Europe；In terms of time, the western translation tradition began in ancient Rome, and then evolved into the ancient Latin language and culture system. In the later period of the middle ages, the system expanded and evolved into many relatively independent ethnic systems. So the system of the west is more like a kind of multiple system instead of a single system like China.(Tan Zaixi2000,15)&lt;br /&gt;
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The Chinese and western translation concepts are different. Then, the translation theories are different. Chinese translation tradition pays more attention to practicality than to the theory. Like professor Tan Zaixi once said that: “What Chinese translators and translation theorists are most concerned about is how to deal with the difficulties in translation and how to deal with them.” however, western translation pays more attention to systematicness and theory. Secondly, the national characteristics of China and the West are also different. Relatively speaking, Western ideas are more open and China is conservative. For a long time, the Chinese people advocate authority and accept more challenges less, China's three cardinal principles and five constancies in religion are in sharp contrast to the religious reform in the West. Although the West also advocates authority and takes religion as its belief, it dares to break through dogmatism, which brings a breakthrough to western translation studies to a certain extent.&lt;br /&gt;
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===Conclusion===&lt;br /&gt;
History is a bridge connecting the past, the present and the future. Throughout the history of translation between China and the west, although the differences between them inevitably exist, the brilliant translation achievements made by both sides are remarkable: excellent translators, translation scholars, or outstanding  translation theory, translation works, all of these have opened up the way for our future translation research, they are leading people to the direction of knowledge, and constantly leading us to explore into the unknown field.&lt;br /&gt;
Mastering the history of a discipline can help us to see the direction of its development, we then will able to learn from the experience and lessons in this development process and use this kind of method to guide the development of this subject. To have contact with the history of translation is helpful for us to understand and improve the level of translation and develop the translation career. The achievements of our predecessors have accumulated valuable cultural heritages for us. We should sum up our predecessors' translation experience and continue to make our efforts for our country's translation cause.&lt;br /&gt;
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===References===&lt;br /&gt;
*Tan Zaixi. 谭载喜. (2000). 翻译学 [A Series of Translation Studies in China]. Wuhan: Hubei Education Press 湖北教育出版社.&lt;br /&gt;
*Xie Tianzhen. 谢天振. (2009). 中西翻译简史 [A Brief History of Translation in China and the  West]. Foreign Language Teaching and Research Press外语教学与研究出版社.&lt;br /&gt;
*Qi Jian. 戚健. (2017). 古罗马时期翻译思想新探 [A New Probe Into the Translation Thoughts in Ancient Rome]. 南昌航空大学学报：社会科学版Journal of Nanchang Hangkong University: Social Science (3) 68-74.&lt;br /&gt;
*Ma Zuyi. 马祖毅. (1998). 中国翻译简史-“五四”以前部分（修订本） [A Brief History of Chinese Translation: The Part Before the May 4th Movement] . China Translation Corporation中国对外翻译出版公司.&lt;br /&gt;
*Liu Junping. 刘军平. (2009). 西方翻译理论通史 [A General History of Western Translation Theory]. Wuhan: Wuhan University Press武汉大学出版社. &lt;br /&gt;
*Tan Zaixi. 谭载喜. (1999). 中国翻译与西方翻译[Chinese Translation and Western Translation]. 中国翻译 Chinese Translation Journal(5) 6-8.&lt;br /&gt;
*Wang Yong. 汪勇. (2008). 翻译与宗教传播[Translation and Religious Communication]. 中国校外教育理论 Education for Chinese After-school(26) 51-53.&lt;br /&gt;
*Li Xuan. 李璇. (2012). 中西翻译高潮之对比[Comparison of Translation Climax Between China and the West]. 青年文学家 Youth Literator(3) 131.&lt;br /&gt;
*Tan Zaixi. 谭载喜. (2000). 中西译论的相异性[The Differences Between the Chinese and Western Traditions of Translation Theories]. 中国翻译Chinese Translation Journal (1) 15-21.&lt;br /&gt;
*Tan Zaixi. 谭载喜. (1999). 中西译论的相似性[The Similarities Between the Chinese and Western Traditions of Translation Theories]. 中国翻译Chinese Translation Journal (6) 25-28.&lt;br /&gt;
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==Comparison and Translation Studies Between Chinese and Western Color Terms	方洁玲	Fang Jieling==&lt;br /&gt;
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=== Abstract ===&lt;br /&gt;
Color terms are terms used to describe the external color characteristics of things, and are very common in our lives. We use them not only to describe the external image of an object, but also to express our inner psychological feelings. Color words contain rich cultural connotations, which should not be understood simply from their literal meanings when translated, but from the different cultural connotations and extended meanings contained in the color words to understand and choose the meanings of the words. This paper first introduces the composition of color words in Chinese and English and makes a comparative analysis of their characteristics, then discusses the different meanings given to the six colors in Chinese and English, and then provides different translation methods that should be used in different situations, providing a certain reference for the English-Chinese translation.&lt;br /&gt;
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===Key words ===&lt;br /&gt;
color terms, cultural difference , reason ,translation methods&lt;br /&gt;
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=== 摘要 ===&lt;br /&gt;
颜色词是用来描述事物外在颜色特征的词语，在我们生活中非常常见。我们不仅用它描绘物体的外在形象，也用它表达内在心理感受。颜色词包含了丰富的文化内涵，在翻译的时候不能简单地从字面意思上理解，应从颜色词所包含的不同文化内涵和引申意义来理解和选择词义。本文将首先介绍中英颜色词的构成并对其特点进行对比分析，然后具体论述六种颜色在中英文中被赋予的不同意义，接着提供了面对不同情况应该采用的不同翻译方法，为英汉互译提供了一定的参考。&lt;br /&gt;
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=== 关键词 ===&lt;br /&gt;
颜色词 文化差异 原因 翻译方法&lt;br /&gt;
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=== 1.Introduction ===&lt;br /&gt;
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Color is an indispensable part of human life,it is because of the colorfulness of colors that the world is much more varied and pleasant. Color words not only have an important impact on people's vision, but also have a great impact on people's inner feelings and emotional expression. As an important part of language, color words are frequently used by human beings in English, but due to different histories, cultures, customs and habits, in the long run, different people have given specific meanings to various colors. Analyzing and comparing the different connotations of color words in Chinese and Western cultures and exploring the cultural differences between English and Chinese will be of great help to the translation work between English and Chinese. At the same time, translators will inevitably meet a lot of problems in the translation work. In this paper, we mainly discuss the composition and cultural connotation of color words between Chinese and English. In addition, we also propose some translation methods and make a brief conclusion.&lt;br /&gt;
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=== 2.Characteristics of the Composition of Chinese and Western Color Words ===&lt;br /&gt;
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Color words are words used to describe the color of different things. And they are the symbols that exist in human languages to record a large number of colors, which are generally considered to be adjectives in grammar.&lt;br /&gt;
In the historical development of Chinese color words, there are three types.(Cai Xiaomin2020,65) &lt;br /&gt;
(1) Basic words. These words are the most basic and objective, and are generally used to objectively describe the most direct external color state of an object. They are &amp;quot;white&amp;quot;, &amp;quot;black&amp;quot;, &amp;quot;red&amp;quot;, &amp;quot;yellow&amp;quot;, &amp;quot;blue &amp;quot;&amp;quot;Green&amp;quot; &amp;quot;Gray&amp;quot; &amp;quot;Purple&amp;quot; &amp;quot;Brown&amp;quot; and &amp;quot;orange&amp;quot;.&lt;br /&gt;
(2) Reference words. Reference words means that people specifically distinguish basic words to show different colors. These words are more detailed and specific than the basic words. For example, we tend to divide &amp;quot;green&amp;quot; into &amp;quot;dark green&amp;quot; &amp;quot;grass green&amp;quot; and so on.&lt;br /&gt;
(3)Descriptive words. Descriptive words comes from people's perception of nature. These words can not only distinguish colors, but also describe what they look like. Such color words are more literary and subjective.&lt;br /&gt;
Color words in English are mainly divided into basic color words and compound color words.&lt;br /&gt;
basic color words : (1) simple colors. For example, black, white. (2) Colors of plants. For example, orange, etc.&lt;br /&gt;
Compound color words : (1) the name of plant + simple color. For example, apple green. (2) Chemical name + simple color. For example, vermilion, etc&lt;br /&gt;
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=== 3.The Different Understanding and Perception of Colors in China and the West ===&lt;br /&gt;
Nature is colorful and can be described with many words. Generally speaking, black symbolizes oppression, white symbolizes purity and innocence, and green symbolizes life force. However, due to different histories and cultures, the same color may have different meanings. After a careful study of color words, it is easy to see that color words create various associations that have a great impact on a person's emotions and behavior. This is the main reason why people use color words to explain their moral character, emotions, and perceptions of things. Different cultures and ways of thinking lead to different meanings of color words, and this disparity can affect people's understanding of the meaning of the same word. For example, in English-speaking countries, white symbolizes purity and beauty, which is why brides wear white wedding dresses in Western weddings. However, in China, white is often used to express grief, and a white funeral dress is worn at a funeral. In this paper, we start with the six basic color words red, black, white, yellow, purple and blue, and compare their cultural connotations in English and Chinese, discussing the different understanding and cognition of colors in China and the West and the differences in cultural connotations between Chinese and Western cultures.&lt;br /&gt;
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====3.1 红and Red ====&lt;br /&gt;
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In traditional Chinese culture, &amp;quot;红&amp;quot; represents joy, happiness, good luck, and prosperity. &amp;quot;红&amp;quot; is a color that cannot be absent from important events in China, such as the red couplets(红包), red lanterns（红灯笼）, and red packets（红包） during Chinese New Year festivals, the red dress of the bride at weddings, and other festive ceremonies in China. Similarly, words combining the word &amp;quot;红&amp;quot; generally mean prosperity, such as “hongguangmanmian”（红光满面）、”dahongdazi”(大红大紫)、”honghuo”(红火)、”hongren”(红人)、”hongrun”(红润), etc. In addition, during the revolutionary era, the color red also symbolized the modern Chinese revolution and power, such as the“hongsezhengquan”(红色政权)、”hongjun”(红军)、”hongqi”(红旗)、”hongge”(红歌)、”hongsewenjian”(红头文件)、”hongseganglin”(红色纲领), etc.(	Zhao Fenyan2019,232)&lt;br /&gt;
In the West, red refers to the color of blood, and when red is mentioned, it is generally associated with cruelty, violence, and bloodshed. For example, &amp;quot;red hands&amp;quot;, &amp;quot;red battle&amp;quot;, &amp;quot;the red rules&amp;quot; &amp;quot; red revenge&amp;quot;, the color red also symbolizes radical and violent revolution, as in &amp;quot;red activities&amp;quot;, but also danger and tension,such as &amp;quot;a red flag&amp;quot;. &amp;quot;red alert&amp;quot; &amp;quot;a red adventure story&amp;quot;, in addition to the above-mentioned symbolic meaning, the color red also has connotations of debauchery and obscenity.(Yan Wen2012,177)For example, red light district, a red waste of one's youth, and so on. The positive connotation of the color red in Western culture is due to the exchange and integration of different cultures, which is said to have been introduced to the West via Persia from the Far East. like red letter day、red envelope、the red carpet.&lt;br /&gt;
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====3.2 黑 and Black ====&lt;br /&gt;
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In Chinese history, “黑” is an honorable and dignified color, which had a high status in ancient times. During the Xia, Qin, and early Han dynasties, “黑” was the dress of emperors and officials, and the common people were only allowed to wear plain clothes, and then a restriction that was gradually relaxed after the Northern Song Dynasty. In China, the derivation of “黑” includes the positive meanings of stern, iron-faced, upright, and mysterious, such as in the art of theatrical masks, where the “黑脸” symbolizes the noble character of uprightness and selflessness. In addition to its positive connotations, “黑” sometimes symbolizes a derogatory meaning, indicating a counter-revolutionary, regressive, or stubborn party. For example, the ”阴曹地府” is said to be dark and sunless, and “黑”, as opposed to light, symbolizes darkness, death, terror, etc.&lt;br /&gt;
In the West, black is the color of death, symbolizing death, suffering, and grief, hence the black color of Western mourning garments. black tidings means &amp;quot;bad news&amp;quot;，Jesus was crucified on the Friday before Easter, The Black Friday is considered to be a &amp;quot;dangerous and ominous day&amp;quot;. Black also symbolizes &amp;quot;anger&amp;quot; and &amp;quot;irritation&amp;quot;, such as: black in the face,to look black at sb，Other words that express negative meanings，such as black sheep, black dog, black eye, black list, black and blue, black art, and other black symbols.(Wang Yu2012,151)In addition, black also represents seriousness, discretion, and pomp. Black suit and black dress have always been the most revered traditional clothing in the West. In solemn formal occasions, people like to wear black clothing. Symphony orchestra performers almost always wear black suits. The term &amp;quot;black-ball&amp;quot; refers to a costume ball. In business English, &amp;quot;a company in black&amp;quot; refers to a profitable business, where“ in black” means profitable, because on financial statements, profit figures are written in black ink.[6]&lt;br /&gt;
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====3.3 白 and White ====&lt;br /&gt;
 &lt;br /&gt;
In Chinese, “白” is often used to represent death, such as at funerals with white decorations, white flowers, and white mourning clothes, but there are also many words containing “白” that do not represent color at all, but rather the name of something or have another meaning,[8]such as”baicai”(白菜), “baixiong”（白熊）、 “baiyi”(白蚁)、”baijuan” (白卷)、 “baichi”(白痴), White&amp;quot; also means &amp;quot;pure, or unadulterated, such as”baikaishui”(白开水)、”baizhi”(白纸)、”baiqierou”(白切肉)etc. &amp;quot;White&amp;quot; also often means &amp;quot;in vain&amp;quot; or &amp;quot;without cost&amp;quot;, such as”baifeishi”(白费事)、“baida”（白搭）、”baisong” (白送)、“baishouqijia” (白手起家) etc(Chen Yongye2005,425) and The Chinese word “白” is also not the same as the English word &amp;quot;white&amp;quot;, which we can say the white people (白人), but is better translated as: She has a fair skin. In addition, it is difficult to summarize the exact meaning of some of the“白” in Chinese, For example “baihua”(白话) vernacular, “tanbai”（坦白）: to confess, to make a clean breast of something, etc.&lt;br /&gt;
In the West, however, white is considered as a symbol of purity, and it is customary to wear white wedding dresses and gowns at weddings, hence there exist the expressions like white-handed，a white lie，a white day, they treated us white etc.&lt;br /&gt;
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====3.4 黄 and Yellow ====&lt;br /&gt;
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In traditional Chinese culture,”黄” is a symbol of power, honor, and nobility, in the Chinese feudal society, yellow is a symbol of imperial power and nobility, such as ”chonggao”(崇高)，”huangpao”(皇袍)、”huanggong”(皇宫)、”shengzhi”(圣旨) and so on. In modern Chinese, words such as “huangchengcheng”(黄澄澄),”huangcanvan”(黄灿灿)mean a good harvest and an auspicious day. ”黄” is a glorious color. And it is always associated with &amp;quot;honor&amp;quot;, &amp;quot;brilliance&amp;quot;, it is a symbol of &amp;quot;power&amp;quot; and &amp;quot;nobility&amp;quot;. To this day, ”黄” is still the symbol of ancient China, which is its positive meaning. Similarly, ”黄” has negative connotations, such as ”huangseshukan”(黄色书刊) , “huangseluxiang”(黄色录像) etc, but in the West, the term &amp;quot;the blue video&amp;quot;, &amp;quot;the blue talk&amp;quot; is used to describe the pornographic nature of the country. It means ”huangsedianying”(黄色电影)and ”huangsexinxi”(黄色信息)(Du Tianyu2020,188). In addition, ”黄” also means failure, sickness, or old age, such as ”huangji”(黄髫). The word ”黄” also means youth and ignorance.&lt;br /&gt;
In the West, in Western Christianity, yellow is a symbol of shame. Because in the Bible, Judas betrayed Jesus by wearing a yellow dress. Therefore, &amp;quot;yellow&amp;quot; has the connotation of betrayal .And it also means sadness, sickness, cowardice, etc. For example, &amp;quot;a yellow streak&amp;quot; means cowardice. &amp;quot;yellow&amp;quot; also has mean and vulgar semantics. In the 18th century, Americans often printed pornographic books on yellow paper. As a result, the low level of exaggeration and exaggerated distortion of facts used by newspapers and periodicals to attract readers was later extended to journalistic styles as well. For example, &amp;quot;yellow journalism&amp;quot; is a style of journalism that attempts to attract people in any way possible. [9]In English, Yellow Pages is the &amp;quot;yellow phone book&amp;quot;, and yellow boy is a slang term for &amp;quot;gold coin. The English words for Chinese ”黄” would be: pornographic, filthy, vulgar, obscene, etc. In English, blue is often used to mean ”黄”, such as blue jokes(下流的玩笑)、blue revolution (性解放)、blue films (黄色影片)、blue software (黄色软件)etc.(Chen Yongye2005,425) Some Chinese words have nothing to do with the English word yellow, such as blue jokes(下流的玩笑)、blue revolution (性解放)、blue films (黄色影片)、blue software (黄色软件)and so on.&lt;br /&gt;
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====3.5 绿and Green ====&lt;br /&gt;
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In Chinese culture, “绿”represents vitality, and phrases related to”绿”express hope and vitality of people, such as“lüzhou”（绿洲）、“lvyiangran”（绿意盎然）. In today's China, ”绿”has a new symbolic meaning, such as: “lvseshipin”(绿色食品),”lvsechanye”(绿色产业), all referring to the concept of health, safety and non-pollution. The green light is also a signal for safe passage. In Chinese, a &amp;quot;lvmao&amp;quot; （绿帽）means that a man's wife is in an illicit relationship with someone else.(Hu Zongkang, Zhang Jun2019,153) However, in ancient Chinese culture, ”绿”means humbleness, because humble people wore green clothes. Also,”lvlinhaohan” (绿林好汉)means a barbarian who occupies a mountain and becomes king.&lt;br /&gt;
In traditional British culture, &amp;quot;Green&amp;quot; is a symbol of youth and vitality. It reminds people of the harmony and tranquility of nature. The &amp;quot;Green Peace Organization&amp;quot; is an organization that protects animals and plants. A dove with a green olive branch in its beak is a symbol of peace, &amp;quot;green winter&amp;quot; refers to a warm winter, and &amp;quot;in a green wood&amp;quot; refers to when people are young and strong. Green also represents a sense of madness and despair, just as Satan's image in the Bible is green. In addition, green in English also has a derogatory meaning of jealousy, lack of training, and childishness, such as “as green as grass”，’a green eye”，”a green hand”.(Chen Yuan陈缘2020,49) In addition, greenback means U.S. currency in English, and since U.S. dollar bills are green in color, green also means &amp;quot;money,&amp;quot; &amp;quot;bills,&amp;quot; or &amp;quot;economic power&amp;quot; in the United States.&lt;br /&gt;
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====3.6 蓝 and Blue ====&lt;br /&gt;
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Blue is the color of the sea and clear skies, giving people a feeling of peace and tranquility. In Chinese, in addition to the color,”蓝” is often used together with other words to form phrases that have different meanings from the color. &lt;br /&gt;
For example, “蓝 青 官 话 “the standard Chinese spoken by the people with accent&lt;br /&gt;
“蓝本”script on which the works are based； model&lt;br /&gt;
“蓝图”（blue print）building plan&lt;br /&gt;
“蓝田生玉”the noble people usually come from the good family&lt;br /&gt;
“青出于蓝而胜于蓝 “the new coming from the old is better than the old .&lt;br /&gt;
But blue in English can be extended to depression, sadness, nervousness, immorality, obscenity, and pornography. For example :“feel blue“, ”be blue about future“,”Her mood is blue“,“be down with blues”,“sing the blues”,“blue devils”,“blue funk“,”blue revolution“, ”blue films“, ”blue jokes“, ”blue room” refers to a place in The White House where the president meets his friends and family. and the ”Blue Book“ refers to a book that contains the names of celebrities and important government officials.(Du Tianyu2020,187-188)&lt;br /&gt;
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=== 4.Reasons for the Difference in the English-Chinese Translation of Color Words ===&lt;br /&gt;
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Different countries and regions have different interpretations of color. The main reasons for this difference are geographical factors, historical factors, religious beliefs, and social systems, &lt;br /&gt;
	&lt;br /&gt;
====4.1 Geographic Factors ====&lt;br /&gt;
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Chinese civilization originated in the Yellow River Basin. The rich water resources and flat land of the Yellow River Basin have nurtured several generations of Chinese people. This is the main reason why the Chinese people love yellow. For generations, we Chinese people are also known as the “yanhuangzisun”(炎黄子孙)(Cai Xiaomin2020,66).Western civilization originated in ancient Rome. The only way out for Greece was to expand abroad. Therefore, blue became the favorite color of the Greeks.&lt;br /&gt;
	&lt;br /&gt;
==== 4.2 Historical and Cultural Factors ====&lt;br /&gt;
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A large number of color words have been created in different historical backgrounds and conditions. Therefore, it is important to understand the differences in the historical background and culture of different countries. For example, during the War of Resistance Against Japanese Aggression, our Party was called the”hongjun”(红军), which gave rise to expressions like “hongsezhengquan”(红色政权)、”hongjun”(红军)、”hongqi”(红旗)、”hongge”(红歌)、”hongsewenjian”(红头文件)、”hongseganglin”(红色纲领),etc.(Li Dan2018,132) In addition to some basic meanings, the color “红” in China also has some special historical meanings, such as the heroic and fearless revolutionary spirit. This is also the main reason why our national flag adopts the color red. Also in ancient China, yellow was a symbol of power, a color reserved for the royal family, representing the supreme authority, which meant that yellow robes were added to the flag. In the West, purple is used as a metaphor for &amp;quot;throne&amp;quot; and &amp;quot;prominence,&amp;quot; and the addition of a purple robe means rising to a position of prominence, because Western emperors and bishops have a tradition of wearing purple robes, such as :be born in the purple(生于皇室), be raised to the purple. In recent years, yellow has become more and more of a symbolic term in China for low taste, erotic vulgarity, and obscenity, such as”huangsedianying”(黄色电影)、”huangseshukan”(黄色书刊)、”huangseguangdie”(黄色光碟).etc. The &amp;quot;黄&amp;quot; in these names has nothing to do with the English &amp;quot;yellow&amp;quot;, these words in English are expressed like this pornographic, vulgar, obscene. It is very different from the associations in Chinese culture. The color vocabulary is visually and psychologically positive and derogatory for people of different nationalities.&lt;br /&gt;
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==== 4.3 Religious beliefs ====&lt;br /&gt;
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In China, the Five Element Theory is widely spread. Since &amp;quot;gold&amp;quot; is at the core of the theory, yellow becomes noble. In contrast, in the West, because yellow is stigmatized in Christianity and most people are Christians, many people dislike yellow and often even use it to convey negative connotations, according to &amp;quot;the Gospels&amp;quot; in the Bible's, in which Jesus was willing to be crucified, bleed to death, and be sacrificed with the blood of the Gospels. The Bible has been a classic of Christianity, and most people in Europe and the United States believe in Christianity. Since the Bible has always been a Christian classic, and most people in Europe and the United States are Christian, its influence on Western culture as a whole is immeasurable, and on English culture as well. Therefore, people think that &amp;quot;red&amp;quot; is associated with bloodshed, martyrdom, and bad things, and &amp;quot;red&amp;quot; makes them think of horrible things, such a“ red hand”( 沾 满 血 的 手 ),“ a red battle”( 血 战 ),“ to see the red light”(灾祸临头).&amp;quot;(Chen Yongye2005,425)In Chinese language, the color red is a symbol of honor, splendor, good fortune, and celebration. Such as: :“ 开门红”make/ get off to a good start,“ 满堂红”success in every field,“ 红 榜 ”honor roll,“ 红 运 ”goodluck,“ 红 事 ”wedding,“ 红 人 ”a favorite with someone in power etc.&amp;quot;.&lt;br /&gt;
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==== 4.4 Social System ====&lt;br /&gt;
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The use of different colors to represent political affiliations or national identities has long been a common practice among peoples of different social systems in China and the West due to their political, economic, and religious differences. In English, the true blue refers to the loyal members of a political party, especially the die-hard conservative members of the British party; White Paper or Blue Paper refers to a report or diplomatic document with blue or white covers issued by the British and American governments on a particular topic; Yellow Paper refers to the French and other countries. A government report of a country; Green Paper is a draft report for discussion by various committees; the Chinese use the term &amp;quot;红&amp;quot; to symbolizes the proletarian revolution, the meaning of which is derived from the book &amp;quot;Red Star Over China&amp;quot;(“红星照耀下的中国”,and is also translated into”西行漫记”) by American writer Edward Snow.(Li Dan2018,132)&lt;br /&gt;
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===5.Translation Methods of English-Chinese Color Words ===&lt;br /&gt;
 &lt;br /&gt;
From the above analysis, we can conclude that there are similarities and differences in the cultural connotations of Chinese and English color words. Therefore, in the translation of color words, it is impossible to generalize, so translators need to adapt to the local conditions and adopt an appropriate way to translate.&lt;br /&gt;
	&lt;br /&gt;
====5.1 Literal Translation ====&lt;br /&gt;
&lt;br /&gt;
Literal translation means that every effort should be made to maintain the linguistic style of the original work. At the same time, it requires that the target language should be fluent and easy to understand. There are similarities between English and Chinese languages and cultures. In the translation of English-Chinese color words, some color words can be found in the target language, while others have similar extended cultural meanings. Sometimes there is no similar extended meaning, but only a literal translation meaning, so the literal translation can also be used for translation.(Hu Zongkang, Zhang Jun,153)&lt;br /&gt;
For example, when the word black remains in its original color in the corresponding language, i.e, it has the same connotation, a literal translation is usually used.&lt;br /&gt;
black humor 黑色幽默 (an absurd, grotesque, or morbid humor in literature, especially in novels and plays)&lt;br /&gt;
black Friday黑色的星期五 (the Friday on which any disaster occurs)&lt;br /&gt;
black hand黑手党 (a secret organization that originated in Sicily, Italy, and has spread to the United States to engage in criminal activities)&lt;br /&gt;
black market 黑市、black- hearted 黑心的、blacklist 黑名单、black and white TV黑白电视, etc.(Chen Yuan2020,49）and red light district can be directly translated as“红灯区“, which refers to the neighborhoods where sex industries are concentrated in cities of certain countries and regions. Similarly, some color words in Chinese can be directly translated into English, for example:” 白露”, one of the 24 solar terms, is a culturally specific term in Chinese, which is completely unfamiliar to Western countries. Due to cultural exchanges, &amp;quot;white dew&amp;quot; is becoming more and more familiar to foreigners, and it has the same cultural meaning in English as &amp;quot;白露&amp;quot; in China. As another example, &amp;quot;绿油油&amp;quot; is a Chinese adjective used to describe the color of vibrant green leaves. We can translate it into English as &amp;quot;green and shiny&amp;quot; because the color words here are only used to describe objective points of view, and they have the same meaning.&lt;br /&gt;
	&lt;br /&gt;
==== 5.2 Free Translation ====&lt;br /&gt;
&lt;br /&gt;
Free translation. When the meaning of a color word in the original language is different from the meaning of the color word in the target language, the translator has to translate the meaning of the color word in the original language into the customary expression in the target language. In some cases, color words appear in both Chinese and English, but they do not have any color meaning; some are customary object names, while others give new meaning to them. In this case, the color itself cannot be focused on, so the colorless translation should be abandoned.This kind of translation based on the cultural background of two languages to correspond to the meaning is called &amp;quot;free translation&amp;quot;.(Chen Yuan2020,49）&lt;br /&gt;
Take black as an example, for instance, black lie--恶意的谎言、black and blue--青一块紫一块、black tea-- 红茶、black guard--恶棍、black coffee --不加牛奶的咖啡、pain somebody black-- 把某人描写成坏人、黑帮can be translated into “reactionary gang”、黑钱--ill-gotten money、黑面包 brown bread, and so on. Another example is that we often say &amp;quot;他是老师面前的“红人&amp;quot;, which is translated into English as &amp;quot;He is teacher's favourite student&amp;quot; ,”hongren”(红人)is an extended paraphrase of the Chinese, which does not mean literally, it means someone who is popular and be sought after by others, and the exact meaning needs to be contextualized. People from English-speaking countries will be confused if we translate it as &amp;quot;red people&amp;quot;. In English, the meaning of &amp;quot;one's favourite people&amp;quot; is somewhat similar to &amp;quot;红人&amp;quot;, so the phrase &amp;quot;one's favorite people&amp;quot; is appropriate. Another example is &amp;quot;a white elephant,&amp;quot; which is said to be a punishment given by the king of Thailand to his erring ministers in the past, as the cost of keeping white elephants is very high and would be a great financial burden. This word is very common in English, but a literal translation of &amp;quot;白象&amp;quot; would not have any connotation in Chinese, so it can be translated as &amp;quot;expensive and useless thing.（Jin Yan2012，130）&lt;br /&gt;
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===6. Conclusion ===&lt;br /&gt;
&lt;br /&gt;
This paper first discusses the construction of color words in Chinese and English, and then compares their compositional features. Secondly, six colors (red, black, yellow, white, green, blue) are taken as examples to analyze the cultural similarities and differences between Chinese and English color words. The reasons for the differences are divided into four main categories: geographical factors, historical factors, psychological factors, religious beliefs, and social systems, Finally, a solution to the problem is proposed, which provides a proper reference for translators when translating Chinese and English color words. When doing translation, translators can mainly use two different translation methods, namely, literal translation and free translation. When the Chinese cultural connotation of a color word in a sentence is the same as the English one, the literal translation can be used. When it is different from English, a free translation is appropriate. With the continuous penetration of globalization, people's languages and cultures are gradually interwoven, so does the meaning of color words, and also the similarities are expanding gradually. However, each nation-state has its own unique culture and customs, so the color words have completely different meanings in different regions and different languages. Therefore, when translating color terms, in order to translate the meaning of the text more accurately, the translator must have a deeper understanding of the color words.(Bao Dongjiao2005,107).In addition, the translator should not only learn translation skills, but also the history, geography, and culture of the country where the source and target language are located, which will help the accuracy of the translation. In short, the key to a good color word translation is the combination of translation skills and a deep understanding of the culture, as well as an accurate analysis of the color word.&lt;br /&gt;
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===7.Reference ===&lt;br /&gt;
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*Wang Yu.王羽.(2012).中西文化对比下颜色词的差异比较[Comparison of the differences in color words between Chinese and Western cultures].教育时空[Education Time],151.&lt;br /&gt;
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*Li Yun, Jia Aiguang.李云,贾爱光.(2020).大学英语教学中英汉基本颜色词翻译对比探讨[A Comparative Discussion on the Translation of English and Chinese Basic Color Words in University English Teaching].校园英语[Campus English],11-21.&lt;br /&gt;
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*Chen Yuan陈缘.(2020)英汉颜色词的文化差异与翻译[Cultural differences between English and Chinese color words and translation].海外英语[Overseas English],48-49.&lt;br /&gt;
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==Translation manipulated by ideology	许静	Xu Jing==&lt;br /&gt;
&lt;br /&gt;
==Comparison between the History of Chinese and Western Translation   周书尧   Zhou Shuyao==&lt;br /&gt;
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===Abstract===&lt;br /&gt;
Translation has existed since historical records. Translation goes hand in hand with human history, even before historical records. Whether in my country or Western countries, the long tradition of translation has become the most dazzling pearl in the process of human civilization.In addition, translation plays an indelible role in promoting cross-cultural communication and cultural communication.This article first discusses the history of translation in China from four stages , then discusses the five stages of western translation history , and finally compares and analyzes the similarities and differences between Chinese and Western translation histories, and puts forward some of the author's own views.&lt;br /&gt;
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===Key words===&lt;br /&gt;
The history of Chinese,The history of Western,the stages of  translation history,comparison&lt;br /&gt;
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===摘要===&lt;br /&gt;
自历史记载以来,就存在翻译.翻译与人类的历史并道而驰,甚至先于历史记载.无论在我国,还是西方国家,悠久的翻译传统俨然成为人类文明进程中一颗最耀眼的明珠。此外，翻译在促进跨文化交流和文化传播上承担着不可磨灭的作用。本文首先从中国的四次翻译高潮论述中国的翻译史，再从西方的五次翻译高潮探讨西方的翻译史，最后对中西方翻译史的异同进行对比分析，提出一些笔者自己的看法。&lt;br /&gt;
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===关键词===&lt;br /&gt;
中国翻译史，西方翻译史，翻译高潮，对比&lt;br /&gt;
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===I.Introduction===&lt;br /&gt;
Since the 1980s, the Chinese translation studies community has made remarkable progress in the establishment of Chinese and Western translation history courses and the compilation of related works.In the 1980s and early 1990s,A Brief Introduction to the History of Translation in China from Ma Zuyi and other books of Chen Yugang and Tan Zaixi were published one after another,which raised the curtain for the compilation of Chinese and Western translation history works by the domestic translation scholars.The four stages in the history of Chinese translation have promoted the development of Chinese history, culture and society to varying degrees.The same as our country, Western translation has an age-old history.In a sense, the development of Western European civilization should first be attributed to the translators.The five stages in the history of European translation have promoted the exchanges of literature, art, science and trade between countries, and to a certain extent promoted the development of Chinese translation.In fact, when we examine the development trajectory of Chinese and Western translation activities and the evolution of translation concepts together, we find that there are some similarities between Chinese translation and Western translation.Especially in the evolution of Chinese and Western translation concepts, the two have very similar evolution laws.&lt;br /&gt;
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===Ⅱ.The history of Chinese translation===&lt;br /&gt;
According to records, there have been four stages in China's long history of translation development, leaving behind many classic discussions.From these four translation climaxes, we can see the translators, translation theories and practices that emerged in different periods in China.And these translation stages have had varying degrees of impact on China's history, culture, society, and literature, including the development of Chinese translation.&lt;br /&gt;
====2.1 The first stage:Ancient Translation History====&lt;br /&gt;
The translation of Buddhist scriptures from the Eastern Han Dynasty to the Tang and Song Dynasties (25-1279) can be regarded as the first important period in the history of Chinese translation, the initiation period of traditional Chinese translation theory, and the first large-scale, planned, Organized translation activities.A large number of Buddhist scriptures were introduced into our country from various countries in the Western Regions, which had a profound impact on our country's language, religious philosophy, painting, arts, etc.The Chinese translation of Buddhist scriptures with textual research should be translated by An Shigao（安室高） during the Eastern Han Dynasty (151 AD).From 148 AD to 170 AD, he translated more than 30 Buddhist scriptures in Luoyang, making great contributions to Buddhist translation and the spread of Buddhist culture in China.The translation of Lokaksema（支娄迦谶）, who was at the same time as An Shigao, was basically a word-for-word translation, which was not easy to understand. The literal translation in the Chinese translation community probably started from this time.Zhi Loujiachen were the masters of the literal translation school. In addition to them, the major translators include Lokaksema and Dharmaraksha（竺法护）. And most of these translators were “foreigners”.&lt;br /&gt;
Shi Daoan (314-385), who was an eminent monk, set up a translation workshop, ushering in the period of translation on a large scale. And a State Translation School was founded for this purpose. Shi daoan put forward the famous &amp;quot;five instances of losing the source and three instances of difficulties&amp;quot;, which had a great influence on later translation studies.(Li 2016,132)The Sui and Tang Dynasties were the prosperous period of Chinese Buddhist translation.Xuan Zang（玄奘）, Kumarajiva（鸠摩罗什）, and Zhen Di（真谛） of the Tang Dynasty are collectively known as the three major translators of Chinese Buddhism. In the translation of Buddhist scriptures, he fumbled and summed up the famous &amp;quot;Five do not flip&amp;quot;(五不翻原则）and “six methods of translation”. &amp;quot;Five do not flip&amp;quot;means translators should employ transliteration facing mysterious words, polyseme, culture-loaded words, conventional transliterating words and words showing respect. And the core of his translation theory can be concluded in one sentence. That is: it is necessary to seek truth and be straightforward.（既须求真又须喻俗)&lt;br /&gt;
The Buddhist translation of this period enriched the religious beliefs of the people, became the spiritual support of the people at that time, promoted the exchange between China and the world at that time, and made Buddhist scriptures an inseparable part of our traditional culture.&lt;br /&gt;
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====2.2 The stage two:Modern Translation History ====&lt;br /&gt;
During the Ming and Qing Dynasties (middle 14th to 19th centuries), there was a second stage of translation in Chinese history. During this period, the translation was mainly scientific and technological translation.This major shift was also decided by the Chinese and Western countries at the time in order to seek their own interests and finally reached an agreement on mutual terms.Western missionaries wanted to spread religious thought and culture in China, while Chinese scholars at that time were eager for knowledge and were keen on Western advanced science and technology in order to maintain the regime. In this way, the two needs complement each other, and the translation of Western scientific books is increasing. Increased, which promoted the great development of science and technology translation at that time.In 1868, the official translation and publishing organization of the Qing Dynasty, referred to as the Translation Museum, used the translation method from Western to Chinese, which means that foreign scholars interpret and Chinese scholars write and polish.(Liu 2016,148)The main representatives of translation activities in this period include Xu Guangqi（徐光启）, Li Zhizao （李之藻）, etc.Especially Xu Guangqi, known as the &amp;quot;Father of Western Translation&amp;quot;, does not understand foreign languages, and his translations are mainly through listening to narratives and co-translation and compilation.He proposed that the translation of Western history books should be prioritized and progressive，and put forward his own translation thought: &amp;quot;If you want to be superior, you must understand; before you can understand, you must first translate.&amp;quot;Although there were many translation achievements during this period, there was no systematic translation theory.Although the later translation museum had clear translation principles, its main purpose was to maintain its own rule by learning advanced Western technology.&lt;br /&gt;
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====2.3 The third stage: Contemporary Translation History ====&lt;br /&gt;
From the end of the 19th century to the beginning of the 20th century, China was in turmoil and internal and external troubles. Some rulers and intellectuals with capitalist ideas demanded to unite to resist the aggression of Western countries, and proposed reforms to strengthen themselves.Translation in this period is the boundary of modern Chinese translation history. Translation in the field of science and technology has gradually spread to the fields of literature, philosophy, economics, sociology, and ethics. China has entered a new stage of translation. The scale and influence of its translation activities all surpassed any period in modern times.At the end of the 19th century, Western academic translation represented by Ma Jianzhong （马建忠）and Yan Fu（严复）was a translation act driven by &amp;quot;national anxiety&amp;quot;, which promoted the expansion and deepening of foreign exchanges.(Liu 2016,148-149)In particular, Yan Fu's &amp;quot;faithfulness,expressiveness and elegance&amp;quot; translation standards have had a profound impact on translators' translation activities.&amp;quot;faithfulness&amp;quot; means loyalty, and &amp;quot;expressiveness&amp;quot; means unobstructed. In Yan Fu's interpretation, &amp;quot;elegance&amp;quot; means the translation strives to be elegant.The representative translator at that time was Lin Shu（林纾）. He proposed to pay attention to the purpose and function of translation, which meant that the translation should be able to achieve the expected goals and effects.When Lin Shu is translating, he emphasizes on subjective feelings, and the translator needs to communicate with the original author and the characters in the original work.A large number of translators, represented by Lin Shu, mostly adopt the principle of domestication and advocate free translation, which reflects the flexibility and openness of translation to a certain extent.During the May 4th Movement, the &amp;quot;New Youth&amp;quot; magazine was launched and began to translate western cultural thoughts and literary works. Representatives such as Chen Duxiu（陈独秀）, Hu Shi（胡适）, and Zhou Zuoren （周作人）all attached great importance to introducing foreign literature and foreign culture.Translation activities during this period included the introduction of scientific and technological knowledge and the dissemination of advanced ideas. The scale and the number of works all showed its important position in the history of translation.Moreover, the audience in this period has also expanded from intellectuals to part of the people, broadening the horizons of the Chinese people, increasing their knowledge, and playing a good catalytic role in modern intellectual circles.&lt;br /&gt;
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====2.4 The fourth stage: Present Translation====&lt;br /&gt;
Since the reform and opening up, China and the Western world have had a broader space for communication, and the translation industry has achieved prosperity and development.In an open China, from the initial learning from modern and contemporary Western translation theories, to actively conducting cultural exchanges with other countries, learning and exploring research methods, and focusing on cross-disciplinary comprehensive innovation, translation practices and theories have achieved unprecedented development.(Xu 2018,5)For example, cultural schools, structuralism, post-colonialism, and other translation theories have been translated into China in large numbers. Literary works involve politics, economy, culture, literature, art and other fields, and the quantity and variety greatly exceed the previous generations.Representatives at this time include Liu Miqing（刘宓庆）, Tan Zaixi（谭载喜）, Huang Long（黄龙） and others. Among them, Tan Zaixi compiled the book &amp;quot;A Brief History of Western Translation&amp;quot;. The whole book pays attention to absorb the relevant research results at home and abroad. It is important for various historical periods, especially since the 20th century. The representative tasks in the western translation field, translation works, schools of thought, etc. are described and commented, and the mutual promotion, evolution and development of translation practice and translation theory are analyzed and discussed in a simple way, which promotes the formation of a systematic translation theory in China.During this period, our research is no longer limited to the summary of translation practices and abstract induction of translation principles, but from the generalization of subjective thoughts to the description and analysis of specific translation phenomena, translation events and processes.Translation studies have changed from a single-paradigm study to a multi-paradigm study. In short, the reform and opening up has created a new situation in China's translation industry, constantly expanding research fields, and effectively promoting the development of Chinese translation studies.&lt;br /&gt;
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===Ⅲ.The history of western translation===&lt;br /&gt;
The same as our country, Western translation has a long history.In a sense, the development of Western European civilization should first be attributed to the translators.From the ancient Roman Empire to the modern European Community, literary, artistic, scientific, and trade exchanges between countries are all carried out through the work of translators. Throughout the whole process, the history of Western translation can be divided into five major development stages.Broadly speaking, the earliest translation in the West is The Septuagint.Strictly speaking, the first translation is the Homer epic &amp;quot;Odyssey&amp;quot; translated in Latin by Andronicus .Both the former and the latter began in the third century BC, with a history of more than two thousand years, and are an important part of the entire European history of development.(Tan 1985,36)&lt;br /&gt;
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====3.1 The first stage : Ancient====&lt;br /&gt;
Ancient translation mainly revolved around the Greek translation and Latin translation of the &amp;quot;The Bible. Old Testament&amp;quot; from the third century BC to the sixth century AD. Translation in this period can be divided into the first stage of ancient Greek literature translation and the second stage of religious translation.At the end of the fourth century BC, the Greek slave society began to decline, while the relatively backward Rome gradually became stronger.At this time, Greece has a certain cultural foundation and is still superior to Roman culture. Therefore, Greek culture has a greater attraction to Roman culture. The translation and introduction of Greek culture may begin in this period.It was only in the middle of the third century BC that recorded translations began to appear. Andronicus, Neveus, Ennius, and other excellent translators, who are known as the three ancestors of Roman literature, have translated a large number of Greek dramas in Latin.This large-scale translation first opened the situation of local translation in Europe. It spread Greek culture to Rome, promoted the development of Roman culture, and served as an important bridge for Rome and later generations to inherit ancient Greek literature.(Tan 1985,36)&lt;br /&gt;
The translation activities in the fourth to sixth centuries AD were mainly religious translation.In Europe, religious forces have always been strong and stubborn. From the very beginning, the Christian Church was hostile to secular literature, and tried to develop a religious culture that served its own interests.As the source of Christian thought and spiritual weapon, the &amp;quot;Bible&amp;quot; has naturally become the most concerned classic in the religious world.In 384 AD, Jerome was entrusted by the Roman Pope to compile a translation called &amp;quot;The New Testament&amp;quot;, which marked that the translation of the &amp;quot;Bible&amp;quot; had achieved an important position on par with the translation of secular literature.As Europe entered feudal society, religious translation was popularized, and the Bible was translated into various languages one after another.&lt;br /&gt;
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====3.2 The second stage : Middle Ages====&lt;br /&gt;
In the Middle Ages, Latin translation was no longer limited to religious documents. Eastern literature was translated and introduced to the East. The achievements of Arabic academic research promoted the development of Western translation.At that time, Western translators gathered in Toledo, Spain, and translated a large number of works from Arabic to Latin. This is the rare closely contact between Christians and Muslims in history.(Tan 2004,64)In the ninth and tenth centuries, Syrian scholars went to Athens to translate a large number of Greek classics into Syrian and brought them back to Baghdad. Baghdad established an important translation center, and many Greek classical works were translated into Arabic.Later, in the eleventh century, a large number of Arabic works appeared in Toledo. Translators translated these works into Latin. Toledo gradually became an academic center and translation center, becoming a &amp;quot;Translation Museum&amp;quot; similar to Baghdad. His translation and academic activities lasted for a hundred years, and the impact was also great.&lt;br /&gt;
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====3.3 The third stage :The Renaissance Period====&lt;br /&gt;
In the 14-16th century, the Renaissance took place in Europe. It was a great movement of ideological and literary innovation, and a great development in the history of Western translation. The translation practice and theoretical research of Western countries did not make a real leap until the Renaissance.During the Renaissance, Western translators constantly discovered new literary fields, unearthed new cultural heritage, and transplanted new ideas to the mainland. Translation at this time went deep into various fields such as ideology, politics, philosophy, literature, and religion, and involved some major works in ancient, modern and contemporary times.Translation in this period played an important role in the formation of national languages, marking the consolidation of the status of national languages in translation.(Tan 1985,37)&lt;br /&gt;
In Germany, Martin Luther created a precedent for the Reformation. His translation of the &amp;quot;Bible&amp;quot; through the people's language laid the foundation for the later standardization and standardization of German and played an important role in the unification of German.In France, &amp;quot;Celebrity biography&amp;quot; translated by the writer Amyot became an immortal literary translation in the history of translation in France and the entire West.In the United Kingdom, the translation of Greco-Roman history and literary works provided important historical materials and new ideological resources for the formation of an autocratic monarchy in the United Kingdom, which promoted the occurrence of the British bourgeois revolution and promoted Britain to become a modern nationalized country earlier.All in all, the ideological liberation movement of the Renaissance in Europe around 1500 had a profound and long-term impact on Europe, especially Western European society, and cultural translation played a crucial role as a bridge in this ideological liberation movement. It also shows that translation plays a huge role in the formation and development of national language, literature and thought.&lt;br /&gt;
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====3.4 The fourth stage :Since the end of the Second World War====&lt;br /&gt;
After the Second World War, the West entered a relatively stable period of peace, the economy was restored, production was secured, and science and technology developed rapidly. These are important material foundations for the development and progress of translation.(Tan 1985,37)Compared with the past, translation in the new period has undergone great changes. First, the scope of translation has been expanded. Traditional translation mainly focused on literary and religious works, while translation during this period expanded to the fields of technology and business.Second, the scale of translation is much larger than before. In the past, translation was mainly the work of a few high-level intellectuals. Nowadays, translation has become a profession, and there is even a professional team that has been specially trained.Third, the role of translation has also been enhanced, especially with the establishment of the European Community and the European Union, the process of globalization has accelerated, and the communication activities between countries are realized through translation. Therefore, translation plays a very important role in the economy, culture, science and technology of western countries.&lt;br /&gt;
The form of translation during this period has also undergone great changes, such as the strengthening of the professionalization of the translation business, the establishment of higher translation education and the training of professional translators.Especially the way of translation has broken the tradition, and machine translation has been developed and popularized.Since English and American scholars first discussed the possibility of using computers for translation in 1946, the development and application of translation machines have increasingly shown vitality after nearly 40 years of tortuous development. It is a challenge to traditional manual translation for thousands of years, and it is also a revolution of far-reaching significance in the history of translation.&lt;br /&gt;
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===Ⅳ.Comparison between the History of Chinese and Western Translation===&lt;br /&gt;
====4.1 Commonality====&lt;br /&gt;
Through the introduction of the Chinese translation history and the Western translation history in the above two chapters, it is not difficult to find that there are some similarities between the translation concepts and the evolution process of the two, especially the laws of evolution of the Chinese and Western translation concepts are very similar.&lt;br /&gt;
First of all, the initiation and development of large-scale Chinese and Western translation activities are closely related to the translation of religious documents.In the West it is the translation of the Bible, while in China it is the translation of Buddhist classics.In my opinion, this commonality is the origin of translation concepts such as &amp;quot;original supremacy&amp;quot; and &amp;quot;faithful original text&amp;quot; that have dominated the Chinese and Western translation circles for two thousand years.(Xie 2010,5)Looking back at history, when Chinese and Western ancient translators were translating these religious documents, they must be pious and absolutely faithful to the original text to translate word by word, lest they would distort the will of God and the teachings of the Buddha.Until the 1950s, due to the advent of the era of professional translation, the target of translation has evolved from religious documents and literary masterpieces to non-literary practical documents such as economy, technology, business, and entertainment. Since then, translation Views have been greatly changed.&lt;br /&gt;
Secondly, both in China and in the West, translation has played an important role in disseminating knowledge.When we compare the contribution of Chinese and Western translation in spreading knowledge together, this effect is further demonstrated.In the West, backward Rome developed rapidly due to the absorption of advanced Greek culture and became the later Roman Empire.In the Middle Ages, after the Baghdad Translation Center, the translation activities of the &amp;quot;Translation Museum&amp;quot; in Toledo, Spain.The translators provided a source of learning for the Western world by translating ancient Greek and Roman natural science works, philosophy and other classics translated by the Arabs into Latin, as well as the Arabs' own academic works.It is through these classical classics that Western talents began to come into contact with a large number of classical cultures and promoted the Renaissance. Its influence is reflected in all aspects of art, philosophy, literature, music, science and technology, politics, religion, and intellectual inquiry.For China, a large number of Buddhist scriptures from the Western Regions to China from the Han Dynasty to the Song Dynasty opened up the history of Chinese translation.The translation of science and technology at the end of the Ming Dynasty and the beginning of the Qing Dynasty was also influential in disseminating Western science and technology literature and promoting the development of China's natural science and engineering technology.In particular, the literary translation from the Opium War to the &amp;quot;May 4th&amp;quot; period was the dividing line of modern translation history. The translation from the field of science and technology gradually spread to the fields of literature, philosophy, economics, sociology, ethics, etc. In the new stage of translation, the scale and influence of its translation activities have exceeded any period in modern times.Since China's reform and opening up, translation has played a role in promoting communication between China and various countries. The development of the globalization process cannot be separated from the bridge and hub of translation.&lt;br /&gt;
Third, the role of translation in the establishment and development of national languages in various countries has some obvious commonalities in both the West and China.In the West, Martin Luther's Bible translation has played a very important role in the unification and development of German and modern German.The English translation of the &amp;quot;Bible&amp;quot; also contributes significantly to enriching English vocabulary and expressive means.As for China, Buddhist translation has enriched Chinese vocabulary, especially literary translation during the May Fourth Movement, which promoted the establishment and development of modern Chinese vernacular.The translation in the new era has also enriched the vocabulary to a certain extent.For example, the Chinese &amp;quot;人山人海&amp;quot; translates into English as &amp;quot;people mountain people sea&amp;quot;, and it is even included in the English dictionary.&lt;br /&gt;
Finally, regardless of Chinese and Western, translation also plays a vital role in conveying foreign social and cultural values.(Xie 2010,5)In the West, for example, the excavation, dissemination and development of the spirit of humanism during the Renaissance were largely due to the translation of ancient Greek and Roman classics.In China, Li Zhizao, Xu Guangqi and others' translations of Western social science masterpieces in the late Ming and early Qing dynasties broadened the horizons of the Chinese people and promoted the modernization of China.During the May Fourth Movement, Yan Fu, Lu Xun and others' translations of Western literature and dramas refreshed the Chinese worldview, increased the Chinese people's knowledge, and played a good catalytic role in modern intellectual circles.&lt;br /&gt;
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====4.2 Difference====&lt;br /&gt;
The last section elaborated from four aspects that the evolutionary laws of Chinese and Western translation history are very similar. Of course, the development of Chinese and Western translation history has its own unique performance, not only in the development period and nodes, but also in certain These aspects are even far apart.&lt;br /&gt;
Although the initiation and development of large-scale Chinese and Western translation activities are closely related to the translation of religious documents, the status of Buddhism in Chinese and Western social and political life is different.Religion plays an extremely important role in Western society. In Western Christian society, God is not only the creator and nurturer of the universe and mankind, but also the maker and arbitrator of the political and ethical order of the world. Is the primary source of Western moral standards.Therefore, the importance of &amp;quot;Bible&amp;quot; translation can be imagined.In China, imperial power is greater than divine power. Monarchs profess themselves to be the emperor, exercise power by the mandate of heaven, and enjoy supreme authority.Religion can only be spread and developed under the support and use of imperial power. Its essence is actually a tool to maintain rule, and it has never become a religious behavior for the whole people.In Chinese history, religion was never allowed to harm the ethical principles of feudal rule. Once harm occurred, it would be banned and eliminated.The extermination of Buddhism in the history of Chinese Buddhism and the &amp;quot;Chinese Etiquette Controversy&amp;quot; in the history of modern Chinese Catholicism are typical features.Therefore, the influence of Chinese Buddhist scripture translation is more in folk culture, and the effect of its influence is more manifested in a subtle form.For example, the change of world outlook, the penetration of language, the borrowing of the plots of Buddhist classics in literary works, and so on.Moreover, Chinese society uses blood as a bond and family as a unit. It is the blood relationship that closely connects family members.Festivals and weddings and funerals are always carried out on a family or family basis, not under the auspices of the church as in the West.&lt;br /&gt;
On the other hand, due to the differences in national characteristics between China and the West, the Chinese nation is more pragmatic, focusing on physical and mental cultivation, ethics and morality, paying attention to whether translation theory has practical effects, whether it can guide translation practice and solve various problems encountered in the translation process.(Xie 2010,6)The Western Christian culture and my country's Confucianism have formed a sharp contrast in this respect.Westerners influenced by Christian thought have a strong pioneering and innovative national character. They advocate speculation and pay more attention to the abstract, systematic and systematic nature of translation theories.They believe that the focus is on describing what kind of theory exists behind translation practice, and how to understand and interpret translation from a theoretical perspective.This makes the development path of the two translation theories different.If there were many similarities in the concepts and characteristics of Chinese and Western translation activities before the 1950s, then the differences in the development trends of the two translation theories in the later stages, especially from the end of the 19th century, became larger and larger.Western translation theories have been systematized earlier. Any research is carried out under the guidance of a certain theory, and the results of related disciplines are fully used to make the connotation (translation standard itself) and extension (research method) of translation standards become truly pluralistic. Which embodies a strong scientific spirit.However, Chinese translation theories have remained at the level of translation practice experience perception for a long time, which is largely subjective.In particular, the proponents of traditional translation theory pay attention to the unspoken artistic conception, giving people more space for association and comprehension, but they cannot make precise regulations for translation practice, which is implicit.&lt;br /&gt;
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===Ⅴ.conclusion===&lt;br /&gt;
It is precisely based on the above-mentioned understanding of the history of Chinese and Western translation from different aspects that &amp;quot;similarities have differences, and differences have similarities&amp;quot;, so I think that the history of Chinese and Western translation development should be described, analyzed and sorted in the same framework. It is possible.In this way, we can not only emphasize the common ground in the development of Chinese and Western translation, find the rules among them, but also show the uniqueness of the development of the two.This article adopts the method of compiling parallel narratives based on synchronic presentation, supplemented by diachronic combing, combining two seemingly unrelated development contexts in the history of Chinese and Western translation, and analyzing and describing them as a whole.And the development stages of Chinese and Western translation history are divided into stages according to the mainstream translation objects of the specific era, and then the internal laws of the evolution of Chinese and Western translation concepts are explored and revealed.&lt;br /&gt;
Generally speaking, translation and culture are inseparable, whether religious, political, or literary, they all grow up in the soil of culture.(Chen 2016,1)In the process of understanding Chinese and Western translation history, people also feel the cultural collision.Not only in the long history of the past, but in the 21st century today, translation is a bridge and a link between countries, and an indispensable existence in people's social, political, and economic life.At the same time, translation is also an art. Through translating works, we not only understand the beauty of each country's culture, but also realize that translation is originally an art.Translation is a rigorous and extensive academic science. Various forms of cultural exchanges between Chinese and Western languages, literature, philosophy, and religion require not only artistic performance, but also rigorous academic attitudes and systematic theories to support.Translators and scholars from different countries, languages and cultures have contributed their outstanding talents and wisdom in the field of translation. They have studied and published a wealth of academic theories and skills in translation studies from different perspectives, which have promoted the progress and development of society.&lt;br /&gt;
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Gong Yicai 龚亿财.(2020).论翻译在第三次翻译高潮中的特点及社会功能[On the features and social functions of translation in the third translation climax].吉林广播电视大学学报(Total No.217)Journal of Jilin Radio and TV University.&lt;br /&gt;
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Liu Qiaoling 刘巧玲.(2016).从中国翻译史的四次高潮看主要译论及读者影响[Main translation theories and readers' influence from the four climaxes of Chinese translation history].黑龙江生态工程职业学院学报(Vol.29 No.5)Journal of Heilongjiang Vocational Institute of Ecological Engineering.&lt;br /&gt;
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Tan Zaixi 谭载喜.(1985).西方翻译史浅谈[On the history of Western translation].中国翻译(07)Chinese Translation(36-39).&lt;br /&gt;
&lt;br /&gt;
Tan Zaixi 谭载喜.(2004).西方翻译简史[A short history of translation in the West].商务印书馆The Commercial Press of Hongkong.&lt;br /&gt;
&lt;br /&gt;
Xu Jun许钧.(2018.06)改革开放以来中国翻译研究的发展之路[The development of Chinese translation studies since reform and opening up].Chinese Traslation Journal.&lt;br /&gt;
&lt;br /&gt;
Xie Tianzhen 谢天振.(2009)中西翻译简史[A brief history of Chinese and Western translation].外语教学与研究出版社Foreign Language Teaching and Research Press.&lt;br /&gt;
&lt;br /&gt;
Xie Tianzhen 谢天振.(2010)中西翻译史整体观探索[An exploration of the holistic view of Chinese and Western translation history].东方翻译(02)East Journal of Translation(4-8).&lt;br /&gt;
&lt;br /&gt;
='''Literal and Free Translation'''=&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
==Rethink Literal and Free Translation	彭永亮	Peng Yongliang==&lt;br /&gt;
&lt;br /&gt;
==On the Chinese Translation of ''A Pale View of Hills'' from House's Translation Quality Assessment Model	宋建茹	Song Jianru ==&lt;br /&gt;
&lt;br /&gt;
&amp;lt;center&amp;gt; 宋建茹 Song Jianru 202020080639 &amp;lt;/center&amp;gt;&lt;br /&gt;
&lt;br /&gt;
===Abstract===&lt;br /&gt;
&lt;br /&gt;
Translation quality assessment is an integral part of translation criticism. The first TQA model with comprehensive theories and practices Juliane House represented provides a significant reference for translation exercises. ''A Pale View of Hills'', as the first work of Kazuo Ishiguro, possesses a great research value on its narrative styles by virtue of memory and topics about migrants. As of 2011 when its Chinese translation was published, no scholar has evaluated it. This study applies House's TQA model to assess the Chinese translation of ''A Pale View of Hills'' with qualitative and quantitative analysis from lexical, syntactic and textual aspects, in a bid to examine validity of the model on novel translation, which turns out that it is an overt and high-quality translation.&lt;br /&gt;
&lt;br /&gt;
=== Key Words===&lt;br /&gt;
&lt;br /&gt;
''A Pale View of Hills''; House's TQA model; novel translation&lt;br /&gt;
&lt;br /&gt;
===题目===&lt;br /&gt;
&lt;br /&gt;
从豪斯翻译质量评估模式谈《远山淡影》中文翻译&lt;br /&gt;
&lt;br /&gt;
=== 摘 要 ===&lt;br /&gt;
&lt;br /&gt;
翻译质量评估是翻译批评的核心课题。朱莉安·豪斯提出的第一个有完整的理论和实践的翻译质量评估模式，为翻译实践提供了重要参考。《远山淡影》是石黑一雄的处女作，其依托回忆的叙事风格和移民主题具有很高的研究价值。《远山淡影》中译本自2011年出版至今，尚未有学者对其进行评估研究。本文运用豪斯的翻译质量评估模式，采用定性与定量相结合的分析方式，从语场、语旨、语式等三个层面对原文和译文进行分析，开展《远山淡影》中译本的翻译质量评估研究，为豪斯翻译质量评估模式对小说翻译的运用进行进一步的探索和补充。通过分析，得出《远山淡影》中译本为显性翻译，翻译质量较高。&lt;br /&gt;
&lt;br /&gt;
=== 关键词 ===&lt;br /&gt;
&lt;br /&gt;
《远山淡影》；豪斯质量评估模式；小说翻译&lt;br /&gt;
&lt;br /&gt;
===Introduction===&lt;br /&gt;
&lt;br /&gt;
Translation criticism refers to the analysis and review of thoughts, activities and works of translation by virtue of relevant theories and views, in a bid to improve the overall quality of translators and translations. It is an integral part of translation studies. Translation quality assessment, as the integral and key part of translation criticism, plays a significant role in surveillance and promotion of translation quality. Among the extant translation quality assessment models, Juliane House's ''A Model for Translation Quality Assessment and Translation Quality Assessment: A Model Revised'', based on Halliday's systemic functional linguistics and discourse analysis, are systematic, scientific and rational with a relatively complete system of parameters, quantitative methods and steps adhering to specific procedures.(Wang Enmian 1999,7)&lt;br /&gt;
&lt;br /&gt;
''A Pale View of Hills'', as Kazuo Ishiguro's first full-length novel, tells the life of the people in Nagasaki after WWII through the memory of protagonist Etsuko and explores recovery of trauma, collision between the old and new ideas, and kinship after war. The first person narrative, memory, humor and satire and international perspectives in the book became his major writing styles in the future. The novel won the Winifred Holtby Memorial Prize from the Royal Society. Its only Chinese translation at present, from Zhang Xiaoyi, is still not analyzed by the scholars. &lt;br /&gt;
&lt;br /&gt;
This paper uses House's translation quality assessment model, with combination of qualitative and quantitative analysis, from field, tenor and mode to analyze the mismatches between original and translation in an attempt to assess the Chinese translation quality of ''A Pale View of Hills'' and further explore the application of House's model in novel translation. The aim of the study is to promote scholars to regulate the behaviors of translation, to improve the quality of translation and translation evaluation, and to provide a reasonable way for establishing the interlingual conversion mechanism.&lt;br /&gt;
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The thesis consists of four chapters.&lt;br /&gt;
&lt;br /&gt;
After the Introduction, Chapter One gives a brief account of ''A Pale View of Hills'' and its research status, involving the author, background, content and influence. Chapter Two is a brief introduction of House’s TQA model, including its theoretic basis, parameter setting, operation steps and feasibility. Chapter Three is a detailed analysis of original and translation of ''A Pale View of Hills'' based on House’s model. Chapter Four is statement of translation quality assessment. Then we come to the last part, Conclusion.&lt;br /&gt;
&lt;br /&gt;
===I Overview and Research Status of ''A Pale View of Hills''===&lt;br /&gt;
&lt;br /&gt;
''A Pale View of Hills'' is Kazuo Ishiguro's first novel, which laid a solid foundation for the formation of Ishiguro's writing style. The chapter mainly introduces the author, plot, theme and influence of the novel and analyzes its research status, in an attempt to master the material well and seek new perspectives for the paper.&lt;br /&gt;
&lt;br /&gt;
'''1.1 Overview of ''A Pale View of Hills'''''&lt;br /&gt;
&lt;br /&gt;
Kazuo Ishguro is a noble contemporary Japanese English writer, whose novels feature first person narrative, detailed depiction of loneliness, depression, self-deception and anxiety of characters' inner world and dual narrative strategy to deconstruct the narrator's self-identity, as well as discuss postwar trauma and migrant identity. He won Booker Prize, the British top literary prize, in 1989 and the Nobel Prize in literature in 2017. By virtue of his outstanding literary achievements, he is known as one of the Three Masters of English Migrant Literature together with Salman Rushdi and Naipaul.&lt;br /&gt;
&lt;br /&gt;
''A Pale View of Hills'', published in 1982, is Ishiguro's debut. The story, with postwar Nagasaki as its background, enjoys two clues: one is what happened when Niki (Etsuko’s little daughter) visited her mother after her sister Keiko died; the other is Etsuko’s memory about people and events in Nagasaki after the war. The two lines integrated together during the narrative, forming the illusory and imaginary impression. &lt;br /&gt;
&lt;br /&gt;
Many in-depth topics in this work are worth pondering: postwar trauma recovery, the collision between new and old ideas after war and discussion of family relations. Many marks in the work became his own styles: first-person narrative, memory, humor and satire, international perspectives. In addition, it won the Winifred Holtby Memorial Prize from the Royal Society and is still in print thirty years after its publication. This book, with its enormous emotion, unearths the abyss beneath the illusion of our connection to the world, whose artistic value and charm could be time-tested.&lt;br /&gt;
&lt;br /&gt;
'''1.2 Research Status of ''A Pale View of Hills'''''&lt;br /&gt;
&lt;br /&gt;
There are 54 papers about A Pale View of Hills in domestic researches. According to the statistics from HowNet, the number of studies on the work has been mounting, especially after Kazuo Ishiguro won the Nobel Prize for Literature in 2017. The perspectives of these researches are mainly from identity anxiety, unreliable narrative and post-war trauma. &lt;br /&gt;
&lt;br /&gt;
In &amp;quot;Identity Anxiety in Kazuo Ishiguro's A Pale View of Hills&amp;quot;, Wang Fei discusses the identity anxiety of migrants, exploring manifestations, causes and influence of such anxiety on the characters(2017). In &amp;quot;Memory and Narrative Unreliability of ''A Pale View of Hills''&amp;quot;, He Xiaobing combined with the classical narratology to analyze how unreliable narration method is presented in the work and discussed the inner world of the characters(2018). In &amp;quot;Trauma in Kazuo Ishiguro's A Pale View of Hills&amp;quot;, Liu Xiaoya explores the protagonist's trauma by using Sigmund Freud’s psychoanalysis theory and trauma theory (including post-freudian psychological trauma theory), contemporary trauma culture theory along with rhetorical narrative theory(2015).&lt;br /&gt;
&lt;br /&gt;
At abroad there are more perspectives about the studies of A Pale View of Hills. In addition to the main research directions of domestic scholars, such as identity anxiety of characters, unreliable narrative research and post-war trauma, cultural displacement, family relationship and the influence of region on personality presented in the works are also analyzed. &lt;br /&gt;
&lt;br /&gt;
''The Impact of Place on Personality in Kazuo Ishiguro's A Pale View of Hills: An Eco-critical Study'' written by Awla, Y.N, from the perspective of ecocriticism, clarifies the fact that a place is able to define and guide the emotions and thoughts of characters, and analyzes the reasons why geography forms characters of people in order to draw people’s attention to the impact of surrounding environment on them. Ruth Forsythe's article ''Cultural Displacement and the Mother-daughter Relationship in Kazuo Ishiguro's A Pale View of Hills'' focuses more on the relationship between mother and daughter under cultural displacement. However, no scholars have analyzed the language itself from the perspective of systemic functional linguistics.( Awla,Y.N 2019,1)&lt;br /&gt;
&lt;br /&gt;
The Chinese translation of A Pale View of Hills, Zhang Xiaoyi's version, was published by Shanghai Translation Publishing House in 2011, and the bilingual version in 2019. Up to now, there has no translation criticism or discussion about this translation. Since 2011 when it was translated, it came to draw the attention of scholars and readers. Translation is a direct factor that affects the integrity of author’s thought, the reader's perception and the accuracy of the scholar’s study, thus it is indispensable to use the House’s Translation Quality Assessment model to analyze the Chinese translation of ''A Pale View of Hills''.&lt;br /&gt;
&lt;br /&gt;
===II Introduction of House's Translation Quality Assessment Model===&lt;br /&gt;
&lt;br /&gt;
Juliane House's model was described as the first translation quality assessment model with complete theories and practices by international translation criticism, which could provide an important reference for translation learners and scholars. By introducing the theoretical basis, parameter system and operation steps of House's model, this chapter will discuss the feasibility of House’s model in the evaluation of the Chinese translation of A Pale View of Hills, in an effort to foster the application of House’s model in the quality evaluation of full-length novels.&lt;br /&gt;
&lt;br /&gt;
'''2.1 Theoretical Basis of House's Model'''&lt;br /&gt;
&lt;br /&gt;
The assessment of translation quality draws upon different translation standards, which are then embodied by the recognition about essence of translation. House deemed that crunch of the translation quality assessment lies in recognition of the nature of translation, namely that &amp;quot;translation is the replacement of a text in the source language by a semantically and pragmatically equivalent text in the target language.&amp;quot;(House 1977, 30)&lt;br /&gt;
&lt;br /&gt;
In House's initial model in 1977, she drew upon language behavior theory, language and text function and context to divide the source language text into two situational dimensions: dimension of language user and dimension of language use. The former includes three aspects: geographical origin, social class and time. The latter includes five aspects: medium, participation, social role relationship, social attitude and province. &lt;br /&gt;
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The evaluation depends on the matching degree between original text andtranslation. The higher the matching degree is, the better the translation quality is. The quality evaluation of the translated text needs to state mismatching degree of each dimension in the whole context, that is, the description of the quantity of covert errors (errors in context dimension) and overt errors (referential mismatcher or grammatical violation of target language system).(House 1977, 30)&lt;br /&gt;
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Based on myriad practice, House realized that the initial eight dimensions overlap in some parts. Therefore, in 1997, she revised the original model from the perspective of the context, unifying the previous eight parameters to field, tenor and mode. Field compares subject matter and social action of the original with that of translation. Tenor emphasizes the matching degree on the relationship of participants, time, region, position of author, social role relationship and social attitudes. Mode pays more attention to medium and participation. In addition, House incorporated &amp;quot;genre&amp;quot; into revision model in order to explain the deep structure of the text.(House 1977, 30)&lt;br /&gt;
&lt;br /&gt;
'''2.2 Operation Steps of House's Model'''&lt;br /&gt;
&lt;br /&gt;
When evaluating the translation quality of the text, House's model focuses on comparison between original text and translation from field, tenor, mode and genre, clarifies and summarizes mismatches found in the text, so as to obtain a quality report of the translation. The detailed steps presented as follows: (House 1997, 108)&lt;br /&gt;
&lt;br /&gt;
1) Analyze the register and genre of the original text to get its textual functional profile. The original text is analyzed from four dimensions: field, tenor, mode and genre. According to the analysis, “functional statement”, involving ideational and interpersonal functions, needs to be deduced.(House 1997, 108)&lt;br /&gt;
&lt;br /&gt;
2)Compare the target text and the source text to find differences or mismatches. Through the comparative analysis between original and translation along the dimensions on the model, mismatches or differences found in the comparison are sorted out by virtue of overt errors or covert errors and expounded in detail one by one.(House 1997, 108)&lt;br /&gt;
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3)Summarize the differences and mismatches demonstrated from the above steps in lexical, syntactic and textual aspects. Based on above statistics and statement, make the quality statement. The fewer the mismatches are, the better the translation quality is. If readers clearly realize the text a translation work, it is overt translation; while if not, it is covert translation.(House 1997, 108)&lt;br /&gt;
&lt;br /&gt;
'''2.3 Feasibility of the Model in Chinese Translation of ''A Pale View of Hills'''''&lt;br /&gt;
&lt;br /&gt;
At present, there are 78 relevant studies on House’s Translation Assessment model, which are mainly divided into three directions: interpretation of House Translation Assessment model and its revision, evaluating translation of literary works along the model and evaluating translation of applied text along the model. Among them, evaluation of the translation of literary works accounts for 29, which enjoys the following two characteristics:&lt;br /&gt;
&lt;br /&gt;
1)There are merely a few researches applying House model to Chinese translation of literary works. Among the 29 journals and papers evaluating translation of literary works, there are 25 studies that attach great importance to the English translation and 4 to Chinese translation, which signifies that we need more researches of Chinese translation to support the validity of the model on different languages. Therefore, the paper, with the Chinese translation of A Pale View of Hills as its corpus, intends to examine the feasibility of the application of House’s model to Chinese translation.&lt;br /&gt;
&lt;br /&gt;
2)There are merely a few researches applying House model to the translation of full-length novels. Among the 29 journals and papers on evaluating translation of literary works, most of which focus on the evaluation of poems and prose, merely 5 studies are analysis of translation of full-length novels. English translation accounts for 3 and Chinese translation for 2, which demonstrates that we need more researches with full-length novels as corpus to support the validity of the model in different genres. Therefore, the paper, with the full-length novel A Pale View of Hills as its corpus, intends to examine the feasibility of the application of House’s model to full-length novels.&lt;br /&gt;
&lt;br /&gt;
In conclusion, given that the researches based on Chinese translation of full-length novels are insufficient, the paper will use the Chinese translation of A Pale View of Hills as its corpus to validate the feasibility of House’s TQA model.&lt;br /&gt;
&lt;br /&gt;
===III Comparison of Original and Translation of ''A Pale View of Hills'' Along House's Translation Quality Assessment Model===&lt;br /&gt;
&lt;br /&gt;
''A Pale View of Hills'' is the debut of Kazuo Ishiguro, whose Chinese translation was published by Shanghai Translation Publishing House in 2011. House's Translation Quality Assessment model is the first objective model combining quantative analysis with qualitive analysis. The paper applies House's Translation Quality Assessment model to Chinese translation of ''A Pale View of Hill'', comparing the source text and target text in lexical, syntactic and textual aspects along the three dimensions of register and summarizing the mismatches on field, tenor and mode, in an effort to quantitatively assess the translation quality of ''A Pale View of Hills''.&lt;br /&gt;
&lt;br /&gt;
'''3.1 Comparison on Field'''&lt;br /&gt;
&lt;br /&gt;
Field refers to the content or the topic of the text. It is concerned with subject matter and social action which covers the specificity of lexical items. After comparison between the source text and target text on field, there are 18 mismatches, 12 of which are overt errors and 6 covert errors. Among them, there are 9 lexical errors, 1 textual error and 8 syntactic errors. The lexical and textual errors are mainly covert errors, so in general their translation is of high quality. Although most of syntactic errors are not in line with the grammar of target language system, they won’t influence the understanding of the text. Therefore, by and large, translation on field are high-quality.(Feng Yufang &amp;amp; Wang Feifei 2015,114)&lt;br /&gt;
&lt;br /&gt;
'''3.1.1 Lexical Field'''&lt;br /&gt;
&lt;br /&gt;
Lexical field means the immediate or possible scenes or events evoked in people’s mind when they read or hear the words or lexical items. After the analysis of the original and target text, there are 9 mismatches, 4 of which are overt errors and 5 are covert ones. Most of them won’t block readers to master the overall meanings. Therefore, the translation quality on lexical items are relatively high.(Feng Yufang &amp;amp; Wang Feifei 2015,115) &lt;br /&gt;
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Example 1：&lt;br /&gt;
&lt;br /&gt;
...and the soaked surfaces of brick and concrete were drying all around us.&lt;br /&gt;
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湿透了的砖头和水泥开始变干。(P8)&lt;br /&gt;
&lt;br /&gt;
Concrete refers to building material that is made by mixing together cement, sand, small stones and water according to Oxford Dictionary, which includes cement rather than equates it. So, it is not very accurate to translate in this way even if the two words are similar. It is obviously an overt error. &lt;br /&gt;
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Example 2：&lt;br /&gt;
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As far as I remember, that was the first occasion I spoke to Mariko.&lt;br /&gt;
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我印象那是我第一次跟万里子说话。(P11)&lt;br /&gt;
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In the translation, “印象” as a noun refers to a mental picture that you have of what somebody/something is like or looks like. In the light of the rules or grammar of Chinese, it is hardly used as a verb. Thus, it is an overt error. &lt;br /&gt;
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Example 3：&lt;br /&gt;
&lt;br /&gt;
It's such a shame.&lt;br /&gt;
&lt;br /&gt;
真不像话。(P16)&lt;br /&gt;
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A shame is used to say that somthing is a cause for feeling sad or disappointed. In the original, the sentence is to express Etsuko’s pity to the homeless dogs and cats around her community rather than her distaste or complaint. Here it is translated into its other meaning when ignoring the context, belonging to a covert error. &lt;br /&gt;
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Example 4：&lt;br /&gt;
&lt;br /&gt;
Why don't you go into the kitchen for a little while?&lt;br /&gt;
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你为什么不到厨房去一会儿呢？(P26)&lt;br /&gt;
&lt;br /&gt;
In the translation, “去” is not very appropriate on the basis of grammar of Chinese, since it is such an action verb that does not match with state phrases. In the course of translation, some prepositions in English need to be transferred into verb in Chinese, which are supposed to pay attention to the rules of target language. Here it is obviously an overt error.&lt;br /&gt;
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Example 5：&lt;br /&gt;
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It's not appreciated simply because the product disappears so quickly.&lt;br /&gt;
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不能因为它的产品很快就消失了而不懂得欣赏。(P34)&lt;br /&gt;
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According to the context, Ogata-San believes that cooking is “as noble as painting or poetry”. So here the product refers to food cooked. Given the concrete expression in Chinese, the product is supposed to be translated more concretely in accordance with the context. It is a covert error.&lt;br /&gt;
&lt;br /&gt;
Example 6：&lt;br /&gt;
&lt;br /&gt;
Perhaps it is just my fancy that I felt a cold touch of unease there on that bank, a feeling not unlike premonition. &lt;br /&gt;
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这也许只是我的想象，但是那时我在河边觉得凉飕飕的，很不自在，像是感觉有事要发生。(P44)&lt;br /&gt;
&lt;br /&gt;
“Unease” refers to the feeling of being worried or unhappy about something. Given the above-mentioned, Etsuko worried about the safety of Mariko when she was not at home. It differs from its translation that means the feeling of being ill at ease. It is an overt error. &lt;br /&gt;
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Example 7：&lt;br /&gt;
&lt;br /&gt;
You mustn't suppose, Etsuko, simply because you've seen her in these…in these present surroundings, that she's some peasant's child.&lt;br /&gt;
&lt;br /&gt;
悦子，你不能因为……因为眼前的事物就认为她是什么贫农的孩子。(P51)&lt;br /&gt;
&lt;br /&gt;
Sachiko is not rich according to the context, so “peasant” intimates the meaning of poverty. Its translation explicitly represents it, which is accessible and intelligible. However, “贫农” enjoys extra cultural meaning in China, which could date back to the Cultural Revolution when lands was apportioned based on people’s wealth, so it might mislead readers to its political implication. It is a covert error.&lt;br /&gt;
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Example 8：&lt;br /&gt;
&lt;br /&gt;
“I must have been such a burden to you in those days,” I said, quietly.&lt;br /&gt;
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“我那时肯定成了您的负担，”我静静地说。(P68)&lt;br /&gt;
&lt;br /&gt;
Here “quiet” refers to making very little noise, which coincides with the act of saying. According to the context, Etsuko lowered her noise out of guilt when she realized she bothered her family when she practised violin before. However, its translation means the statement without any noise, which obviously contravenes the context, belonging to covert translation.&lt;br /&gt;
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Example 9：&lt;br /&gt;
&lt;br /&gt;
I could see something moving beside her in the shade.&lt;br /&gt;
&lt;br /&gt;
我看见她身旁的影子里有什么东西在动。(P14)&lt;br /&gt;
&lt;br /&gt;
“Shade” means an area that is dark and cool under or behind something, for example a tree or building, because the sun’s light does not get to it, rather than the shadow which the translator believed. As previously mentioned in the text, “Mariko was lying in the corner furthest from the sunlight”, which also signifies that it is impossible to exist dark shape under the light around Mariko. Thus, the translation of “shade” is not on a par with the context, belonging to a covert error.&lt;br /&gt;
&lt;br /&gt;
'''3.1.2 Syntactic Field'''&lt;br /&gt;
&lt;br /&gt;
Syntactic field means the immediate image appeared in people’s mind when they read the sentences. The mismatches in syntactic field are usually for the violation of rules of target language or misinterpreting the source text. On syntactic field, there are 8 mismatches, seven of which are overt errors and one is covert. Among the overt errors, seven sentences are not in line with the rules of target language, which won’t influence the ideational meaning. Therefore, the translation quality on syntactic field is high.(Feng Yufang &amp;amp; Wang Feifei 2015,116)&lt;br /&gt;
&lt;br /&gt;
Example 1：&lt;br /&gt;
&lt;br /&gt;
It did upset me, hearing about her.&lt;br /&gt;
&lt;br /&gt;
我真的很难过，听到她的死讯。(P4)&lt;br /&gt;
&lt;br /&gt;
Example 2：&lt;br /&gt;
&lt;br /&gt;
But I was sad though, when I heard.&lt;br /&gt;
&lt;br /&gt;
可是我真的很难过，听到她的消息。(P4)&lt;br /&gt;
&lt;br /&gt;
Example 3：&lt;br /&gt;
&lt;br /&gt;
It's certainly an amusing sort of experience, working in a noodle shop.&lt;br /&gt;
&lt;br /&gt;
这真是很有趣的经历，在面包店里工作。(P26)&lt;br /&gt;
&lt;br /&gt;
In English, the important or unknown information appeared firstly, and the second one follows. However, in Chinese, the second important presents at first, paving the foundation for the more pivotal or unknown one. In above three examples, their translation doesn’t adjust the sequence in line with target language rules. These are overt errors.&lt;br /&gt;
&lt;br /&gt;
Example 4：&lt;br /&gt;
&lt;br /&gt;
…certain arrangements I made have not gone as planned.&lt;br /&gt;
&lt;br /&gt;
一些事情没有照我计划的那样。(P17)&lt;br /&gt;
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The translation is not complete as the predicate verb “have gone” is not translated, which does not conform with the grammar of Chinese. It is an overt error.&lt;br /&gt;
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Example 5：&lt;br /&gt;
&lt;br /&gt;
She appeared to know them, for as she walked across the forecourt, she gave them a familiar greeting.&lt;br /&gt;
&lt;br /&gt;
看来她认识她们，边走过水泥地，边熟识地跟她们打招呼。(P26)&lt;br /&gt;
&lt;br /&gt;
The original is a compound-complex sentence with “for” for causal relation and “as” for coordinate relation. In the translation, the former is represented but the later isn’t, neither by conjunction words nor by clause sequence. It causes that the translation lacks of logic, belonging to an overt error.&lt;br /&gt;
&lt;br /&gt;
Example 6：&lt;br /&gt;
&lt;br /&gt;
It's an opportunity for a teacher to see the fruits of his work, and for the pupils to express their gratitude to him.&lt;br /&gt;
&lt;br /&gt;
这是一个机会让老师看看他的劳动成果，让学生们向他表示感谢。(P30)&lt;br /&gt;
&lt;br /&gt;
The translation adheres to the sequence of the original but ignores the fluency of the sentence. In English, attributives are at both ahead of and behind the objects; while in Chinese, they mostly are preceded. Therefore, the translation violates the grammar of the target language, belonging to an overt error.&lt;br /&gt;
&lt;br /&gt;
Example 7：&lt;br /&gt;
&lt;br /&gt;
There's nothing like a timely reminder of one's personal obligations.&lt;br /&gt;
&lt;br /&gt;
及时地提醒个人的责任之类的东西也没有。(P71)&lt;br /&gt;
&lt;br /&gt;
“There's nothing like” is a common sentence pattern in spoken English, meaning nothing else is able to match. The original would have expressed that “a timely reminder of one’s personal obligations” is the most important. The translator misunderstood the meaning utterly, making an overt error.  &lt;br /&gt;
&lt;br /&gt;
Example 8：&lt;br /&gt;
&lt;br /&gt;
It amazes me, how things have changed so much so quickly.&lt;br /&gt;
&lt;br /&gt;
太让我吃惊了，世道变得如此之大，如此之快。(P195)&lt;br /&gt;
&lt;br /&gt;
The translation, by and large, is in accordance with the original. Yet there is possibility for readers to be confused about the accuracy of words collocation. Although “so much” and “so quickly” modify the verb “change”, we have to respectively choose the proper words to collocate. It is a covert error. &lt;br /&gt;
&lt;br /&gt;
'''3.1.3 Textual Field'''&lt;br /&gt;
&lt;br /&gt;
On textual field, there is only one error---overt error. It is caused by misconstruing what the pronoun refers to. By and large, the translation, through the comprehensive analysis on textual field, is high-quality. (Feng Yufang &amp;amp; Wang Feifei 2015,117)&lt;br /&gt;
&lt;br /&gt;
Example 1：&lt;br /&gt;
&lt;br /&gt;
That's just not how it was though.&lt;br /&gt;
&lt;br /&gt;
但是我和她根本不是这样。(P4)&lt;br /&gt;
&lt;br /&gt;
According to “Sisters are supposed to be people you're close to, aren't they. You may not like them much, but you're still close to them”, it refers to the whole view instead of certain relationship between me and my sister. The referential meaning does not accord with that of the original. It is an overt error.&lt;br /&gt;
&lt;br /&gt;
'''3.2 Comparison on Tenor'''&lt;br /&gt;
&lt;br /&gt;
Tenor refers to the nature of the participants, the addresser and the addressee, and the relationship between them in terms of social power and social distance. After comparing the original and the translation of A Pale View of Hills, there are 8 mismatches on social attitude and social role relationship, one of which is an overt error and the rest are covert. In general, the translation is highly in accordance with the original so the quality is high on tenor. (Feng Yufang &amp;amp; Wang Feifei 2015,118)&lt;br /&gt;
&lt;br /&gt;
'''3.2.1 Social Attitude'''&lt;br /&gt;
&lt;br /&gt;
Social attitude refers to the social distance between communicators and the degree of formality of discourse. The misunderstanding of social attitude in the translation process will affect the readers' understanding of the characters in the novel. Therefore, mistakes in representing social attitude of characters should be minimized and even avoided in the translation process. There are 4 mismatches on social attitude in the translation: one is an overt error and the rest are covert errors. By and large, the translation on displaying the social attitude of the original is great.(House 1997, 108)&lt;br /&gt;
&lt;br /&gt;
Example 1：&lt;br /&gt;
&lt;br /&gt;
The English are fond of their idea that our race has an instinct for suicide.&lt;br /&gt;
&lt;br /&gt;
英国人有个奇特的想法，觉得我们这个民族天生爱自杀。(P4)&lt;br /&gt;
&lt;br /&gt;
In the original text, the attitude of the character is relatively objective. However, in the translation, the attitude is represented overly by using an adjective, which might be translator’s understanding on author’s attitude. It limits different interpretation to the author’s attitude from readers. It is an overt error. &lt;br /&gt;
&lt;br /&gt;
Example 2：&lt;br /&gt;
&lt;br /&gt;
“Which are you hoping for, Etsuko?” he asked, eventually. “A boy or a girl?”&lt;br /&gt;
&lt;br /&gt;
“你想是男孩还是女孩呢，悦子？”过了一会儿他问道。(P35)&lt;br /&gt;
&lt;br /&gt;
Ogata-San would like to know Etsuko’s mind about the upcoming baby, but he is not sure if it is proper. At last, curiosity overpowers his hesitation. In the original text “eventually” signifies both time and emotion span. But the translation only manifests the time span. It is a covert error.&lt;br /&gt;
&lt;br /&gt;
Example 3：&lt;br /&gt;
&lt;br /&gt;
“Tell me, Etsuko,” he said, not looking up from his laces. “Have you met this Shigeo Matsuda?”&lt;br /&gt;
&lt;br /&gt;
“告诉我，悦子，”他头也不抬地说。“你见过这个松田重夫吗？”(P36-P37)&lt;br /&gt;
&lt;br /&gt;
Ogata-San, as Etsuko’s father-in-law and adopter after the war, gets along well with her. In the original text, Ogata-San is “not looking up” when speaking to Etsuko since he is lying his laces. The translation ignores the reason, which renders Ogata-San a cold man. It is a covert error.&lt;br /&gt;
&lt;br /&gt;
Example 4:&lt;br /&gt;
&lt;br /&gt;
I'm sure she'd be the first to agree with me about Kazuo mourning her like this.&lt;br /&gt;
&lt;br /&gt;
我肯定她会第一个同意我的观点，和夫不应该再这样想着他了。(P94)&lt;br /&gt;
&lt;br /&gt;
From the original, we can feel the love of Mrs. Fujiwara to her son. However, after reading its translation, we can feel nothing but her dominance. It signifies that the translation deviates from the original context. It is a covert error.&lt;br /&gt;
&lt;br /&gt;
'''3.2.2 Social Role Relationship'''&lt;br /&gt;
&lt;br /&gt;
Social role relationship refers to the social relation between the speaker and the receiver, that is, symmetry and asymmetry. The analysis on the social roles relationship in novels is generally from two aspects: relationship between the author and readers, and relationship between the various characters in the work. The former is remained utterly, while the latter is slightly different from that in the original. A total of 4 mismatches are found in the comparison, all of which are covert errors. In the full-text translation, the overall relationship between the characters is the same as that of the original text, and only a few mismatches are found. Therefore, on social role relationship, translation is of high quality.(Feng Yufang &amp;amp; Wang Feifei 2015,117)&lt;br /&gt;
&lt;br /&gt;
Example 1：&lt;br /&gt;
&lt;br /&gt;
She said it would be perfectly all right if you came and waited for her at my house.&lt;br /&gt;
&lt;br /&gt;
她说你可以到我家来等她。(P13)&lt;br /&gt;
&lt;br /&gt;
The translation omits “be perfectly all right if”, which takes the edge off the amiability from Etsuko to Mariko. Given the whole plot of the novel, Mariko is a phantom of Etsuko’s old daughter Keiko. The obscure feelings between Mariko and Etsuko are very important to implicate their special emotion. Therefore, the translation ignores to take a consideration of the context. It is a covert error.&lt;br /&gt;
&lt;br /&gt;
Example 2：&lt;br /&gt;
&lt;br /&gt;
As I say, this order came into the office the day you arrived. A real nuisance.&lt;br /&gt;
&lt;br /&gt;
我说过了，订单刚好在您来的那天来了。真是讨厌。(P29)&lt;br /&gt;
&lt;br /&gt;
On the basis of the context, Jiro (Etsuko’s husband) is explaining to his father Ogata-San that he is so busy that he could not accompany him. He feels apologetic about that. However, the tone of speaking in translation is impatient and a bit furious, which runs against that of the original. So, it is a covert error. &lt;br /&gt;
&lt;br /&gt;
Example 3：&lt;br /&gt;
&lt;br /&gt;
I should warn you, perhaps. My daughter has been in a somewhat difficult mood these past few days.&lt;br /&gt;
&lt;br /&gt;
也许我应该警告你。我女儿这几天情绪很不好。(P90)&lt;br /&gt;
&lt;br /&gt;
Warn enjoys two major meanings: to tell somebody about something, especially something dangerous or unpleasant that is likely to happen, so that they can avoid it; to strongly advise somebody to do or not to do something in order to avoid danger or punishment. In the original, Sachiko entrusts Etsuko to look after her daughter so the former one is appropriate. However, in the translation the later one is adopted, which is absolutely improper. It is a covert error. &lt;br /&gt;
&lt;br /&gt;
Example 4：&lt;br /&gt;
&lt;br /&gt;
Now listen carefully, or else you'll never find the noodle shop.&lt;br /&gt;
&lt;br /&gt;
现在您听好了，不然您永远也别想找到面馆。(P183)&lt;br /&gt;
&lt;br /&gt;
The sentence is said when Etsuko intends to tell Ogata-San the route to the restaurant of Mrs Fujiwara. On the basis of the context, Etsuko is very reverent to Ogata-San. However, the manner of translation is tough, which is not of a piece with the original. It doesn’t take account of the context, so it is a covert error.&lt;br /&gt;
&lt;br /&gt;
'''3.3 Comparison on Mode'''&lt;br /&gt;
&lt;br /&gt;
Mode can be divided into medium and participation. In the course of analyzing both the original and the translation, a total of 6 mismatches are found on the two dimensions and all of them are covert errors, which manifests the translation are generally of a piece with the original. The translation on mode is of high quality.&lt;br /&gt;
&lt;br /&gt;
'''3.3.1 Language Medium'''&lt;br /&gt;
&lt;br /&gt;
Language medium mainly refers to whether the form of language is spoken or written, simple or complex. The contrast between the model of the source text and the target text is mainly reflected in the linguistic features and diction features of text rather than language types used. The language of A Pale View of Hills is simple, delicate and easy to understand, with short sentence, plenty of dialogues between characters and a high degree of colloquialism. The overall style of the translation is similar with that of the original, with only 4 stylistic covert mismatches. Therefore, on language medium, the translation quality is great.&lt;br /&gt;
&lt;br /&gt;
Example 1：&lt;br /&gt;
&lt;br /&gt;
…on one side of the tracks at the foot of the hill could be seen a cluster of roofs.&lt;br /&gt;
&lt;br /&gt;
山脚下铁路的一侧是鳞次栉比的屋顶。(P8)&lt;br /&gt;
&lt;br /&gt;
Cluster means a group of things of the same type that grow or appear close together, whose translation accords with it in the ideational meaning. Nonetheless, “鳞次栉比” in Chinese is a four-character phrase that usually appears in formal written text. It is more complex than the style of the text. It is a covert error.&lt;br /&gt;
&lt;br /&gt;
Example 2：&lt;br /&gt;
&lt;br /&gt;
We're just rabble, like your husband says.Please don’t make a fuss, please sit down.&lt;br /&gt;
&lt;br /&gt;
正如您丈夫说的，我们只是两个混蛋。不用麻烦了，请坐下。(P74)&lt;br /&gt;
&lt;br /&gt;
The situation happens when Jiro’s colleagues come round. From the conversation between Jiro and his colleagues, it is found that they are very familiar and intimate. So, words such as “rabble” and “like” are of high colloquialism. Nevertheless, in the translation “正如” is a formal expression, which is not in line with the original. Thus, it is a covert error.&lt;br /&gt;
&lt;br /&gt;
Example 3：&lt;br /&gt;
&lt;br /&gt;
Blankets and laundry hung from many of the balconies.&lt;br /&gt;
&lt;br /&gt;
很多阳台上挂着毯子啦、洗的衣服啦。(P181)&lt;br /&gt;
&lt;br /&gt;
Example 4：&lt;br /&gt;
&lt;br /&gt;
Young women these days are all so headstrong. And forever talking about washing-machines and American dresses.&lt;br /&gt;
&lt;br /&gt;
现在女孩子任性得很。而且整天在讲什么洗衣机啦、洋裙啦。(P195)&lt;br /&gt;
&lt;br /&gt;
The two sentences are the description of the street which Etsuko and Ogata-San pass by when they intend to visit Shigeo. Etsuko is a calm and composed Japanese woman, whose language style is the same. Modal particles used in translation render the language abrupt and frisky. So, it is a covert error.&lt;br /&gt;
&lt;br /&gt;
'''3.3.2 Participation'''&lt;br /&gt;
&lt;br /&gt;
Participation refers to whether the speech is a simple monologue or a complex form that prompts the listeners or readers to participate indirectly, for example, by the transition between statements and questions and the special use of pronouns. The whole plot of ''A Pale View of Hills'' is a soliloquy narrated in the first person, interleaved with dialogues between different characters. Readers hardly could participate indirectly in it. The translation is basically in the same style as the original, except for the two following examples. The two declarative sentences are translated into a rhetorical question, which does not require readers to answer as well. Therefore, the translation is of high quality in terms of participation.(House 1997, 108)&lt;br /&gt;
&lt;br /&gt;
Example 1：&lt;br /&gt;
&lt;br /&gt;
That’s no way to bring a child into the world, visiting the cemetery every week.&lt;br /&gt;
&lt;br /&gt;
这样怎么能把孩子带到这个世上呢？(P24)&lt;br /&gt;
&lt;br /&gt;
Example 2：&lt;br /&gt;
&lt;br /&gt;
It seems very disloyal.&lt;br /&gt;
&lt;br /&gt;
这不是忘恩负义吗？(P32)&lt;br /&gt;
&lt;br /&gt;
In conclusion, the quality statement of the Chinese Translation of A Pale View of Hills focuses on whether it is an overt transaltion or a covert translation and its matching degree. &lt;br /&gt;
&lt;br /&gt;
On the one hand, it is an overt translation. Accoring to above analysis, the translation is closely related to the culture of the sourse language text. From the translation, expressions with Japanese culture can be found clearly. On the other hand, it is of high quality. There are 32 mismatches in total, 18 mismatches on field, 8 on tenor and 6 on mode. Among them, there are 13 overt errors and 19 covert errors. Covert errors caused by ignoring the context and overt errors caused by violating the rules of target language inflict only a little ambiguity on ideational function, interpersonal function and the quality of the text.&lt;br /&gt;
&lt;br /&gt;
===IV Quality Statement of Chinese Translation of A Pale View of Hills===&lt;br /&gt;
The quality statement of the Chinese Translation of A Pale View of Hills focuses on its cultural participation degree and its matching degree. Based on the two aspects, this chapter will make a quality statement of the Chinese Translation of A Pale View of Hills.&lt;br /&gt;
&lt;br /&gt;
'''4.1 Overt Translation'''&lt;br /&gt;
&lt;br /&gt;
Overt translation refers to the obvious translation rather than the second original. The translation is obviously not aimed at the readers with target language, because the original text, literary works, political speeches and religious sermons, is closely related to the culture it is rooted in. But covert translation can be used as the second text, that is, independent writing. &lt;br /&gt;
&lt;br /&gt;
House deems that texts requiring overt translation have no special connection with their culture, and they are not unique to their culture, such as academic papers and travel brochures. She also believes that in overt translation, equivalence can only be established at the level of language/text, register and genre, but it is difficult to achieve equivalence in function. In contrast, the purpose of covert translation is to achieve functional equivalence, and there will be some deficiencies in language, register.(House 1997,108)&lt;br /&gt;
&lt;br /&gt;
In the contrast reading between the original and the translation, the obvious traces of the original can be found, for example, “你想她们还在打吗？” and “呃，我想小孩子是会打架的。但是我想我应该告诉你一声。还有你看，我想你女儿不是要去上学。”. In English, words representing speculation, such as “suppose” and “think”, are used frequently, while in Chinese they are not. Thus, the target text which remains these words possesses obvious sighs of translation. Furthermore, other signs in the translation, such as “欠了欠身”，show the culture of Japan when greeting. In conclusion, the target text of A Pale View of Hills is overt translation.&lt;br /&gt;
&lt;br /&gt;
'''4.2 High-quality Translation'''&lt;br /&gt;
&lt;br /&gt;
This study applies House’s TQA model to assess the Chinese translation of A Pale View of Hills on lexical, syntactic and textual aspects. On basis of analysis between the original and the translation, there are 18 mismatches on field, 8 on tenor and 6 on mode. Among them, there are 13 overt errors and 19 covert errors. Covert errors caused by ignoring the context and overt errors caused by violating the rules of target language inflict only a little ambiguity on ideational function, interpersonal function and the quality of the text. &lt;br /&gt;
&lt;br /&gt;
Chinese translation of A Pale View of Hills, by and large, consisting with the original, is of high quality. On the field, the translation, which transmits the subject matter and social action which covers the specificity of linguistic items, is in accordance with the original on lexical, syntactic and textual dimension in general; on the tenor, the representation of social attitude and social role relationship of the Chinese text is consistent with the English text; on the mode, the language of the translation is as simple and delicate as that of the original and the participation is of low level as well. Therefore, Zhang Xiaoyi’s Chinese translation of A Pale View of Hills is of high quality.&lt;br /&gt;
&lt;br /&gt;
===Conclusion===&lt;br /&gt;
&lt;br /&gt;
''A Pale View of Hills'', as the debut of Kazuo Ishiguro, involves many in-depth subjects, which initiates the development of author's peculiar writing style. House’s model is the first scientific and objective translation quality assessment mode with the integration of both theory and practice. This study applies House’s TQA model to assess the Chinese translation of ''A Pale View of Hills'' on lexical, syntactic and textual aspects. &lt;br /&gt;
&lt;br /&gt;
On basis of analysis between the original and the translation, there are 18 mismatches on field, 8 on tenor and 6 on mode. By and large, the Chinese translation of A Pale View of Hills is overt translation. Although a few mismatches can be found in the translation, they cause a little affect to the functions of the text and the presentation of the plot, role characters and role relationship of the whole novel. In conclusion, the translation is in line with the original on register and is of high quality.&lt;br /&gt;
&lt;br /&gt;
Different from the traditional evaluation methods, House's model, based on micro and macro criteria, both quantitative analysis and qualitative analysis, is the first scientific and objective translation quality assessment model with a complete theory and empirical evidence. It can be used as an auxiliary tool to find problems in translation so as to make modifications, which to some extent promotes the development of translation activities.&lt;br /&gt;
&lt;br /&gt;
However, in the actual operation process, although the translation quality assessment can be carried out according to parameters, the comparison results still rely on subjective judgment, which cannot utterly guarantee the scientificity of the final evaluation results. In addition, due to the large number of parameters, it takes a lot of time to compare the differences in vocabulary, sentence structure and discourse between the original text and the translation in the evaluation of full-length novel, so the evaluation is not very efficient. Although there are still some shortcomings in the House's model, it is still worth applying in the practice of translation criticism as a relatively complete and objective theoretical model.&lt;br /&gt;
&lt;br /&gt;
===References===&lt;br /&gt;
&lt;br /&gt;
Awla, Y. N. (2019). The The Impact of Place on Personality in Kazuo Ishiguro's ''A Pale View of Hills'': An Eco-critical Study. ''Journal of University of Raparin''. 1-18.&lt;br /&gt;
&lt;br /&gt;
House, J. (1977) ''A Model for Translation Quality Assessment''. Germany: Gunter Narr Verlag Tubingen.&lt;br /&gt;
&lt;br /&gt;
House, J. (1997) ''Translation Quality Assessment: A Model Revised''. German: Gunter Narr Verlag Tubingen. &lt;br /&gt;
&lt;br /&gt;
Newmark, P. (2001) ''A Textbook of Translation''. Shanghai: Shanghai Foreign Language Education Press.&lt;br /&gt;
&lt;br /&gt;
Reiss, L. (2000) ''Translation Criticism, the potentials &amp;amp; Limitations''. Manchester: St. Jerome Publishing.&lt;br /&gt;
&lt;br /&gt;
Forsythe, R. (2005)  Cultural Displacement and the Mother-Daughter Relationship in Kazuo Ishiguro's ''A Pale View of Hills''. ''West Virginia University Philological Papers''.&lt;br /&gt;
&lt;br /&gt;
Jeremy M. (2001) ''Introduction Translation Studies: Theory and Applications''. London and New York: Routledge.&lt;br /&gt;
&lt;br /&gt;
Feng Yufang &amp;amp; Wang Feifei丰玉芳, 王菲菲. (2015) 从豪斯的翻译质量评估模式看宋词翻译——以宋词《声声慢》和许渊冲英译本为例[Translation of Ci-poetry Based on J.House's TQA Model——A case study of ''Sheng Sheng Man'' and its English translation by Xu Yuanchong]. 扬州大学学报(人文社会科学版)[Journal of Yangzhou University(Humanities and Social Sciences Edition)]. 114-121.&lt;br /&gt;
&lt;br /&gt;
He Xiaobing 贺晓冰. (2018) 论《远山淡影》的不可靠叙述与记忆[Memory and Narrative Unreliability in ''A Pale View of Hills'']. 西安外国语大学[Xi'an International Studies University].&lt;br /&gt;
&lt;br /&gt;
Jiang Ruiping 姜睿萍. (2007) 豪斯翻译质量评估模式在英汉互译中的可行性分析[An Analysis on the Feasibility of House s TQA Model in CE Translation]. 哈尔滨工程大学[Harbin Engineering University]. &lt;br /&gt;
&lt;br /&gt;
Li Xiaolin &amp;amp; He Shaobin 李晓林, 何绍斌. (2010) 朱莉安·豪斯的“翻译质量评估模式”运作过程可行性浅评[The Feasibility of House's Model of Translation Quality Assessment]. 哈尔滨学院学报[Journal of Harbin University]. 127-1.&lt;br /&gt;
&lt;br /&gt;
Liu Xiaoya 刘晓亚. (2015) 《远山淡影》中的创伤研究[Trauma in Kazuo Ishiguro's ''A Pale View of Hills'']. 四川师范大学[Journal of Sichuan Normal University(Social Sciences Edition)].&lt;br /&gt;
&lt;br /&gt;
Si Xianzhu 司显柱. (2005) 朱莉安·豪斯的“翻译质量评估模式”批评[Juliane House's Translation Quality Assessment Model:A Critique]. 外语教学[Foreign Language Education]. 79-84.&lt;br /&gt;
&lt;br /&gt;
Tang Jun &amp;amp; Wang Yan 唐军, 王燕. (2011) 豪斯翻译质量评估模式在汉译英翻译中的应用——以朱自清《背影》的英译为例[Application of House＇s Translation Quality Assessment Model in C-E Translation—A Case Study of ''The Sight of Father's Back'' by Zhu Ziqing]. 合肥工业大学学报(社会科学版)[Journal of Hefei University of Technology(Social Sciences)]. 129-135.&lt;br /&gt;
&lt;br /&gt;
Wang Lichuan 王丽川. (2019) 《远山淡影》中的反讽解读[A Study of the Irony in ''A Pale View of Hills'']. 河南: 郑州大学[Henan: Journal of Zhengzhou University].&lt;br /&gt;
&lt;br /&gt;
Wang Fei 王飞. (2017) 石黑一雄中的身份焦虑[Identity Anxiety in Kazuo Ishiguro's ''A Pale View of Hills'']. 中南大学学报(社会科学版)[Journal of Central South University(Social Science)]. 152-157.&lt;br /&gt;
&lt;br /&gt;
Zhou Fenfen 周芬芬. (2013) 豪斯翻译质量评估模式的实践应用——以《荷塘月色》英译本为例[The Application of Translation Quality Assessment Model by Julian House——A Case Study on Chinese-English Translation of ''Moonlight over the Lotus Pond'']. 山西农业大学学报(社会科学版)[Journal of Shanxi Agricultural University:Social Science Edition]. 782-786.&lt;br /&gt;
&lt;br /&gt;
==On the Relationship among Literal Translation, Free Translation, Domestication and Foreignization--韦洪朗 Wei Honglang,202020080647==&lt;br /&gt;
&lt;br /&gt;
===Abstract===&lt;br /&gt;
Abstract&lt;br /&gt;
This paper makes a systematic discussion on the relationship among literal translation, free translation, domestication and foreignization,which have been always controversial in translation history. Based on the theories and contents of free translation, literal translation, domestication and foreignization, this paper analyzes the similarities and differences between literal translation and free translation, foreignization and foreignization respectively. After cross-contrast analysis between them, it comprehensively sorts out the relationship between translation methods of literal translation and free translation and translation strategies of domestication and foreignization, and discusses their comprehensive application on the basis that domestication and foreignization are the extension of literal translation and free translation to cultural level, which has certain reference significance for further enriching translation practice.&lt;br /&gt;
&lt;br /&gt;
===Key words===&lt;br /&gt;
Key Words: Literal Translation; Free Translation; Domestication; Foreignization&lt;br /&gt;
&lt;br /&gt;
===摘要===&lt;br /&gt;
摘 要&lt;br /&gt;
本文就翻译史上备受争论的归化、异化和意译、直译的关系问题进行了系统的讨论。基于意译、直译和归化、异化的理论及其内容，分别分析直译和意译、异化和归化两对概念之间的异同，在他们之间进行交叉对比分析后，综合整理直译、意译的翻译方法和归化、异化翻译策略的关系，在继承归化和异化是直译和意译向文化层面的延伸的基础关系上，具体讨论他们之间的综合运用，为进一步丰富翻译实践具有一定的借鉴意义。&lt;br /&gt;
&lt;br /&gt;
===关键字===&lt;br /&gt;
关键词：意译；直译；归化；异化&lt;br /&gt;
&lt;br /&gt;
===Introduction===&lt;br /&gt;
  In the history, argues between literal translation and free translation have been lasting for so long. Since there existed so many countries and nations on the continent of Europe, communicating frequently with different languages, the skill and cognition of language translation naturally developed and achieved a lot. During those time, two main methods of translation called literal translation and free translation came into being and accompanied by the problem on choosing which of them. The earliest opinion of translating methods can go back to the period of Roman Empire, when Cicero put forward that free translation should be used in translating Greek texts into Latin, on account of that literal translation , “word for word translation”, couldn’t reflect Roman way of expression and couldn’t be easy-understanding and fluent as free translation, “sense for sense translation”. This view of point had a great and dominate influence at that time, which did not change until late Roman period, when Christianity were gradually in power and the necessity of spreading and translating Bible by the way “exactly what it is ” made literal translation become more popular. Then comes the renaissance, in which many linguisticians realized the importance of keeping the style and features of their own nations. Since then, the two translation methods have taken the lead and been debated endlessly in the translation field. By the 1960s and 1970s, when domesticating translation and foreignizing translation accordingly emerged with free translation and literal translation, reception theory, which upgraded the dominance of readers or we called receivers of translation, again made the domestic translating one-up. This kind of method was criticized by Venuti on its aggressivity of different cultures, based on which he officially put forward the two concepts of domestication and foreignization, which have been two central strategies in translation. So it’s vital to get a better understanding of those four concepts and make their relationships clear, which is of guiding significance to promote translation in practice.(Lu Shu, Wang Jintang 2005,115-116)&lt;br /&gt;
&lt;br /&gt;
===Table of Contents===&lt;br /&gt;
&lt;br /&gt;
Table of Contents&lt;br /&gt;
&lt;br /&gt;
Outline&lt;br /&gt;
I.Introduction&lt;br /&gt;
II.Literal Translation and Free Translation&lt;br /&gt;
2.1 Literal translation &lt;br /&gt;
2.2 Free translation  &lt;br /&gt;
2.3 Analysis with Examples of Literal translation and Free translation&lt;br /&gt;
2.3.1 On words&lt;br /&gt;
2.3.2 On sentence structures&lt;br /&gt;
2.3.3 On rhetorical means&lt;br /&gt;
2.4 The Relationships between Literal translation and Free translation&lt;br /&gt;
III.Domestication and Foreignization&lt;br /&gt;
3.1 Domestication&lt;br /&gt;
3.2 Foreignization&lt;br /&gt;
3.3 Analysis with Examples of Domestication and Foreignization&lt;br /&gt;
3.3.1 On politics&lt;br /&gt;
3.3.2 On culture&lt;br /&gt;
3.4 The Relationships between Domestication and Foreignization &lt;br /&gt;
IV.The Relationship among Literal Translation, Free Translation, Domestication and Foreignization&lt;br /&gt;
4.1 The Comparison among Literal Translation and Free Translation, Domestication and Foreignization&lt;br /&gt;
4.2 The Connection among Literal Translation and Free Translation, Domestication and Foreignization&lt;br /&gt;
4.2.1 Foreignization and Literal translation&lt;br /&gt;
4.2.2 domestication and free translation&lt;br /&gt;
4.2.3 Domestication and Literal translation&lt;br /&gt;
V.Conclusion&lt;br /&gt;
References&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
===I.Introduction ===&lt;br /&gt;
I.Introduction &lt;br /&gt;
In the history, argues between literal translation and free translation have been lasting for so long. Since there existed so many countries and nations on the continent of Europe, communicating frequently with different languages, the skill and cognition of language translation naturally developed and achieved a lot. During those time, two main methods of translation called literal translation and free translation came into being and accompanied by the problem on choosing which of them. The earliest opinion of translating methods can go back to the period of Roman Empire, when Cicero put forward that free translation should be used in translating Greek texts into Latin, on account of that literal translation , “word for word translation”, couldn’t reflect Roman way of expression and couldn’t be easy-understanding and fluent as free translation, “sense for sense translation”. This view of point had a great and dominate influence at that time, which did not change until late Roman period, when Christianity were gradually in power and the necessity of spreading and translating Bible by the way “exactly what it is ” made literal translation become more popular. Then comes the renaissance, in which many linguisticians realized the importance of keeping the style and features of their own nations. Since then, the two translation methods have taken the lead and been debated endlessly in the translation field. By the 1960s and 1970s, when domesticating translation and foreignizing translation accordingly emerged with free translation and literal translation, reception theory, which upgraded the dominance of readers or we called receivers of translation, again made the domestic translating one-up. This kind of method was criticized by Venuti on its aggressivity of different cultures, based on which he officially put forward the two concepts of domestication and foreignization, which have been two central strategies in translation. So it’s vital to get a better understanding of those four concepts and make their relationships clear, which is of guiding significance to promote translation in practice.(Lu Shu, Wang Jintang 2005,115-116)  &lt;br /&gt;
&lt;br /&gt;
===II.Literal Translation and Free Translation===&lt;br /&gt;
II.Literal Translation and Free Translation&lt;br /&gt;
When seeing translation as shift of linguistic sign, the method of translating could be regarded as the specific approach used by the translator shifting the ST into TT, especially the two methods we mentioned before--literal translation and free translation.Peter Newmark, in his A Textbook of Translation, proposed that the common and only goal of translating should be repeating the meaning of ST, which means those translating methods exist for dealing with some problems happened during the process when translating.( Ma Shikui 2012,20)The meaning and structure of the ST might not be taken into account every time, so it’s important to search for a appropriate solution to deal with this kind of problem, that’s what literal translation and free translation do.&lt;br /&gt;
&lt;br /&gt;
===2.1 Literal translation ===&lt;br /&gt;
2.1 Literal translation &lt;br /&gt;
Literal translation is the one chosen when the original structure and the meaning of ST could both be perfectly taken into account, by adhering to strict original meaning and style of the TT, including the structures of sentences and rhetorical devices. “Word for word translation” could be counted as the original way of literal translation, like the translation of The Bible in the middle Age I showed before. But as the argue and relevant theories developing  till modern age, more and more experts realize and have a common sense that “word for word translation” can’t be equal to literal translation, since there always exist more or less differences among different languages. Personally speaking, the way Professor Fan Zhongying explains that literal translation means keeping the linguistic form of the SL, such as the words, the sentence structures and the rhetorical means, fluently and easily understood at the same time comprehensively interprets literal translation.(Joe Zeng Rui 2000,249)&lt;br /&gt;
&lt;br /&gt;
===2.2 Free translation===&lt;br /&gt;
2.2 Free translation&lt;br /&gt;
 It’s better if we can have it both ways, which cannot happened all the time. Thus, free translation might be better when translator can’t follow with the exact structure of SL. Free translation, “sense for sense translation”, refers to a kind of method used to translate the exact sense of the SL into the TL without retaining the sentence structures or the expression way of the SL. The supporters of free translation believe that the purpose of translation is to transform and convey the sense of the SL to the recipient of the TL, so it’s worthy to adopt an expression way closer to the TL, which is easier for the recipient to understand. Free translation has certain flexibility, which means the position of words and sentences can be adjusted. In order to facilitate readers' understanding, even some necessary supplements can be added.(Joe Zeng Rui 2000,249)&lt;br /&gt;
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===2.3 Analysis with Examples of Literal translation and Free translation===&lt;br /&gt;
2.3 Analysis with Examples of Literal translation and Free translation&lt;br /&gt;
Here are some specific examples of contrast between literal translation and free translation：&lt;br /&gt;
&lt;br /&gt;
===2.3.1 On words===&lt;br /&gt;
2.3.1 On words:&lt;br /&gt;
&amp;quot;Why do men have an Adam's Apple but women don't? &amp;quot;&lt;br /&gt;
&lt;br /&gt;
Literal translating: 为什么男人有喉结而女人没有呢？&lt;br /&gt;
Free translating: 为什么男人有亚当的苹果而女人没有呢？&lt;br /&gt;
&lt;br /&gt;
From above, the “Adam's apple” can be translated literally into &amp;quot;亚当的苹果&amp;quot;, but it can't reflect the original sense of the ST, because in the western world, &amp;quot;Adam's apple&amp;quot; refers to &amp;quot;喉结&amp;quot; in Chinese instead of literally meaning &amp;quot;亚当的苹果&amp;quot;, so free translation is more accurate here. In addition, it is worth mentioning that this example perfectly reflects the fit of sentence structure between Chinese and English. It also shows that translators should also be sure of the culture behind the SL.&lt;br /&gt;
&lt;br /&gt;
===2.3.2 On sentence structures===&lt;br /&gt;
2.3.2 On sentence structures:&lt;br /&gt;
&amp;quot;Here comes the bus!&amp;quot;&lt;br /&gt;
&lt;br /&gt;
Literal translating: 这来了巴士!&lt;br /&gt;
Free translating: 巴士来了!&lt;br /&gt;
&lt;br /&gt;
According to literal translating way, if following with the source structure of the English sentence, which is a inverted sentence in English by the way, the translation result is “这来了巴士”, which is obviously both incoherent and hard to understand in Chinese and even twist the sense of the ST. According to the sentence meaning, it should be translated into “巴士来了 ”, which is totally different from the ST in grammar though.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
===2.3.3 On rhetorical means===&lt;br /&gt;
2.3.3 On rhetorical means&lt;br /&gt;
&amp;quot;If Main Street didn' t understand this , Wall Street did.&amp;quot;(The Glory and the Dream, p .85)&lt;br /&gt;
&lt;br /&gt;
Literal translating: 如果主街不能理解这一点，华尔街可以。&lt;br /&gt;
Free translating: 这一点, 一般人不理解, 华尔街那些大老板们却是明白的。(Professor Wang Zongyan, 1983 :10)&lt;br /&gt;
&lt;br /&gt;
From this example, the key information is that Professor Wang Zongyan translates “Wall Street” into “华尔街的那些大老板们”. In Literature Translation, free translation is evidently more popular, because some literary images are difficult to express accurately through literal translation. In fact, the “Wall Street” here does not mean “Wall Street” itself, but people in power in Wall Street, so it is more appropriate for Professor Wang to translate it into “华尔街的那些老板们” by free translation. The reason of “Main Street”translating into “一般人”is the same.&lt;br /&gt;
&lt;br /&gt;
===2.4 The Relationships between literal translation and free translation===&lt;br /&gt;
2.4 The Relationships between literal translation and free translation&lt;br /&gt;
According to those demonstrations above, we can see that literal translation is more partial to SL and free translation considers more about TL users. The advantage of literal translation is to keep the style of the source language(show how other people talk), which plays a certain role in spreading the source language culture; the disadvantage is that sometimes it might be too long and difficult to understand, which hinders the communication and understanding between the two sides. Because free translation is biased towards the expression of the nation of the TL, its advantage is that it is more fluent and easy to understand, but its disadvantage is that it conceals the style of the source language and loses the role of translation as a cultural bridge, in which the translator's position seem not that important. All in all, I think it is best to combine the two translation methods organically in the process of translation. Just as professor Lu Dianyang proposed: “ Translate literally, if possible, or appeal to free translation.”(Zhao Jing 2011,61)&lt;br /&gt;
&lt;br /&gt;
===III.Domestication and Foreignization===&lt;br /&gt;
III.Domestication and Foreignization&lt;br /&gt;
Through the above introduction, we can know that with the change of historical environment, a period of political opposition and cultural exchange encountering a new period after World War II, the dispute between literal translation and free translation has reached a deeper level of development, which is the arrival of Foreignization and Domestication. Although Foreignization and Domestication were first formally proposed by Lawrence Venuti in The Translator's Invisibility in 1995, the translation strategy later called Domestication actually can be seen from Nida's translation theory of &amp;quot;dynamic equivalence&amp;quot;in 1964, which seeks for an expression whose meaning is closest to the SL and conforms to the habit of the TL expression way. Nida's theory has been strongly criticized by Venuti, who supports Deconstructivism, and holds that domesticating translation is an obliteration of the SL culture and a manifestation of cultural colonialism, which is manifested by its failure to comply with the expression of the source language culture. Based on this, on the contrary, Venuti shows strong support for foreignizating translation, and he thinks that this translation strategy of preserving the linguistic and cultural differences of the SL shows respect for the SL culture. The following part mainly clarifies the concepts and contents of these two translation strategies, which will helps to compare with literal translation and free translation mentioned above.（Chen Ying 2009,42）&lt;br /&gt;
&lt;br /&gt;
===3.1 Domestication ===&lt;br /&gt;
3.1 Domestication&lt;br /&gt;
Domestication refers to a translation strategy of dealing with the language forms, customs and cultural traditions, such as proverbs, idioms and allusions when translating, which tends to serve the readers of the target language. According to Eugene A.Nida's concept of natural equivalence, the translation version should be close to the original sense and intention in a most natural expression, therefore, the behavior pattern of the source language should be brought into the cultural understanding category of the target language as much as possible, which means that the recipients of the target language can avoid accepting the cultural expression of the source language in order to better understand the original intention.(Zhu Yuanzhong 2013,54)&lt;br /&gt;
&lt;br /&gt;
===3.2 Foreignization===&lt;br /&gt;
3.2 Foreignization&lt;br /&gt;
Venuti puts translation under the background of culture, society, politics and cultural consciousness, and reflects the different positions of different cultures in today's world through the choice of translation strategies, and regards translation as a tool to fight against inequality. From this, we can see the reason why he criticized domestication and vigorously advocated foreignization translation, which is to advocate that the translation should adapt and consider more the culture of the source language and the original author's habit of choosing words as much as possible. Thus, foreignizing translation tends to serve the SL culture, because he thinks that the translation version should take the source language culture as its destination and guide the reader to approach the original author.(Jiang Cui 2015,71-71)&lt;br /&gt;
&lt;br /&gt;
===3.3 Analysis with Examples of Domestication and Foreignization===&lt;br /&gt;
3.3 Analysis with Examples of Domestication and Foreignization&lt;br /&gt;
Examples for domesticating method and foreignizing method:&lt;br /&gt;
&lt;br /&gt;
===3.3.1 On Politics===&lt;br /&gt;
3.3.1 On Politics：동해 &amp;amp; にほんかい&lt;br /&gt;
Since the 19th century, the world has experienced two world wars and the Cold War period. During this long period, independent nation-states gradually chose their own country's &amp;quot;roads&amp;quot; and directions, which made different ideologies and political positions have a strong sense of existence in international relations, among which there were many translation contradictions caused by geopolitics. For example, the title of the sea area between South Korea and Japan has caused controversy between those two countries. South Korea has always called the sea area &amp;quot;동해&amp;quot;(East Sea) in history, but Japan continues to use the European navigator's giving name &amp;quot;Japan Sea&amp;quot;(にほんかい) and gradually gained international recognition from the 19th century. However, South Korean believes that the title change was imposed on South Korea by Japan colonizing Korea, which is a title that violates South Korea's territorial waters and disrespects South Korea. Something similar has happened many times in the world, which is the political difference on domestication and foreignization.(Pan Wenxiao 2020，https://weibo.com/ttarticle/p/show?id=2309404578145859666401)&lt;br /&gt;
&lt;br /&gt;
===3.3.2 On Culture===&lt;br /&gt;
3.3.2 On Culture：“情人眼里出西施。”&lt;br /&gt;
&lt;br /&gt;
Domesticating translation: Love is blind.&lt;br /&gt;
Foreignizing translation: The beauty Xi Shi is in the eye of lovers.&lt;br /&gt;
&lt;br /&gt;
This example shows well how different it could be between two cultures: the ST and the domesticating one of  TT express almost the same meaning in completely different ways, that is, lovers can only see each other's good thing. That is to say, if you want to convey the exact meaning of the original Chinese sentence to English speakers, then domesticating method is the best choice, although it will make the &amp;quot;translation results&amp;quot; look beyond recognition. However, if we choose foreignizing translation, especially retaining the word &amp;quot;Xi Shi&amp;quot;, it will give English speakers a chance to understand Chinese traditional culture (Xi Shi is a beautiful woman in the Spring and Autumn Period of China, and &amp;quot;西施&amp;quot; in &amp;quot;情人眼里出西施&amp;quot; means &amp;quot;beauty&amp;quot;), although such translating way may be difficult to understand at first.&lt;br /&gt;
&lt;br /&gt;
===3.4 The relationships between Domestication and Foreignization ===&lt;br /&gt;
3.4 The relationships between Domestication and Foreignization &lt;br /&gt;
Through the above analysis, it can be seen that domestication and foreignization also have their own merits and necessity. Although these two translation strategies were born in different historical backgrounds, their struggles to a certain extent reflect the struggle between the dominant position of stronger culture and weaker culture with different identities, which, of course is just one of those aspects, also reflect the problems of cultural communication: domesticating translation is conducive to conveying the meaning of the source language to the target language recipients without obstacles, especially in the case of great cultural differences existing, but this localization behavior will make it difficult for readers to learn what differences the two sides culture have, and in fact cultural diffusion will not be achieved. On the contrary, foreignization translation conveys the target text to readers according to the discourse mode of the source language culture, which can not only make readers realize the charm of different cultures, but also increase the expression ways of their own nation, but it is very likely that the meaning of the target text is difficult to understand. This contradiction is particularly prominent in the political level. Therefore, in translation practice, we should decide which way to choose in different contexts and in the face of different groups of people, so that the two can complement each other and have unity of opposites under proper application.(Zhu Yuanzhong 2013,54)&lt;br /&gt;
&lt;br /&gt;
===IV.The relationship among Literal Translation, Free Translation, Domestication and Foreignization===&lt;br /&gt;
IV.The relationship among Literal Translation, Free Translation, Domestication and Foreignization&lt;br /&gt;
Sun Zhili, a contemporary Chinese translator, said: &amp;quot;Historically, domestication and foreignization can be regarded as extensions of literal translation and free translation, but they are not completely equivalent to each other. The core issue of literal translation and free translation is how to deal with form and sense at the linguistic level, while domestication and foreignization break through the limitations of language factors and expand their horizons to language, culture and aesthetics. &amp;quot; (Sun Zhili 2011,27) Even after the above introduction, the boundary between literal translation, free translation, foreignization and domestication seems to be very vague. In order to better clarify the relationship between the two pairs of concepts, the following will distinguish and compare them. &lt;br /&gt;
&lt;br /&gt;
===4.1 The comparison among Literal Translation and Free Translation, Domestication and Foreignization===&lt;br /&gt;
4.1 The comparison among Literal Translation and Free Translation, Domestication and Foreignization&lt;br /&gt;
The same point: First of all, foreignization and domestication are extensions of literal translation and free translation, so the two pairs of relations are all methods put forward to guide translation practice; Secondly, relatively speaking, the roles of the two pairs of relations are very similar, especially in linguistic form: literal translation and foreignization both emphasize following the expression of the source text; Both free translation and domestication believe that in order to convey the sense of the source text accurately, the expression of the original text can be sacrificed.&lt;br /&gt;
The different points: The first point is that the scope is different, which leads to different objects: literal translation and free translation are proposed according to the different structures and characteristics of the source language and the target language, and their discussion focuses on the relationship between form and content, which belongs to the level of language conversion. Foreignization and domestication, as a product of cultural turn, is not only manifested in linguistic form, but also in cultural content. In other words, the emergence and development of foreignization and domestication raise the discussion of language level to the level of culture, poetics and politics. Obviously, the former is a micro translation method, while the latter is a macro translation strategy. Choosing specific translation methods under the guidance of the general direction of translation strategies can make good use of these two pairs of concepts when doing translation.&lt;br /&gt;
Second, the condition is different: Because literal translation and free translation are aimed at figuring out the issue of the text itself and the language structure, those two translation methods rely heavily on the text on linguistics, and have little room for evolution, development and independence, which make them relatively being static; However, domestication and foreignization do not have such problems. Their appearances were largely influenced by external social factors and the background of times and history, moreover, they focus on the external factors of translation too. Therefore, these two translation strategies are actually unstable and present a relatively dynamic state.(Zhao Jing 2011,62)&lt;br /&gt;
&lt;br /&gt;
===4.2 The connection among Literal Translation and Free Translation, Domestication and Foreignization===&lt;br /&gt;
It can be concluded that the basic relationship between these twopairs of concepts is that domestication and foreignization make the discussion of translation transition from pure language level to cultural level, not only paying attention to the internal transformation of language, but also starting to study the political and cultural environment outside language and text, which makes the change of translation’s function happen--from micro-analysis of language to macro-control of the social function of translation.(Chen Ying 2009,42)&lt;br /&gt;
&lt;br /&gt;
===4.2.1 Foreignization and Literal translation===&lt;br /&gt;
4.2.1 Foreignization and Literal translation&lt;br /&gt;
According to the comparative analysis in the previous section, we can conclude from their similarities that under normal circumstances, foreignization usually takes literal translation as method, or foreignizing translation usually includes literal translation methods, such as:(Lv Yinping 2007,138)&lt;br /&gt;
(1)Pandora’s box 潘多拉的盒子 &lt;br /&gt;
(2)the forbidden fruit 禁果&lt;br /&gt;
The above two examples clearly show the way literal translation do, which is also the result under the guidance of foreignizating translation strategy. &amp;quot;Pandora's box&amp;quot; comes from Greek mythology, which refers to the root of all evils, but the translation into Chinese, which is not “万恶之源”, has followed the European saying, and even quoted it in daily communication, which has played the purpose of &amp;quot;understanding other national cultures through translation&amp;quot;; Similarly, &amp;quot;forbidden fruit&amp;quot; comes from the Bible, which means something forbidden, but Chinese translation also follows the expression of the original way.&lt;br /&gt;
&lt;br /&gt;
===4.2.2 Domestication and Free translation===&lt;br /&gt;
4.2.2 Domestication and Free translation&lt;br /&gt;
Similarly, the shadow of free translation can often be found in domesticating translation. For example:(Lv Yinping 2007,137)&lt;br /&gt;
(1)drink like a fish 牛饮&lt;br /&gt;
(2)a fool’s paradise 黄粱美梦&lt;br /&gt;
As far as the first example is concerned, if literally translated into &amp;quot;像鱼一样喝水&amp;quot;, it is extremely out of line with the Chinese expression habit, and there is no such statement way in China, which leads to the consequences that translating versions are difficult to understand. However, if we translate &amp;quot;drink like a fish&amp;quot; into “牛饮” in Chinese, which does exists in China and has the same meaning as &amp;quot;drink like a fish&amp;quot; in English. Then the translation effect is not only interesting, but also easy to understand.&lt;br /&gt;
However, when doing actual translation practice, due to the variety and diversity of cultures, the methods and strategies used in text or language conversion are also comprehensive. We can find that the comprehensive and flexible use of literal translation and free translation, domestication and foreignization can make up for the regret of some traditional opposing ways(It is said that the two pairs of concepts are opposite and cannot coexist).&lt;br /&gt;
&lt;br /&gt;
===4.2.3 Domestication and Literal translation===&lt;br /&gt;
4.2.3 Domestication and Literal translation&lt;br /&gt;
Foreignizating translation is usually regarded as an extension of literal translation, which means that in general, literal translation methods are often used under the guidance of foreignization strategies, but in some special cases, literal translation can also coexist with domestication strategies.&lt;br /&gt;
(1) 什么时候都要谦虚谨慎，把尾巴夹紧一些。（Jia Wenbo 2000,11）&lt;br /&gt;
We must always be modest and prudent and must, so to speak, tuck our tail between our legs.&lt;br /&gt;
The meaning of &amp;quot;把尾巴夹紧&amp;quot; in Chinese coincides with &amp;quot;tuck tail between our legs&amp;quot; in English. At this one, it can be said that literal translation is the most suitable choice, which keeps the form and cultural connotation of the source language to the maximum extent, and at the same time coincides with the meaning and culture of the target language.&lt;br /&gt;
(2) 一石二鸟(Song Tianxi 2013,49)&lt;br /&gt;
Kill two birds with one stone.&lt;br /&gt;
Similarly, this is an example of having language structure and cultural meaning between China and Britain in both ways, which uses the method of literal translation but achieves the effect of domestication. But in Chinese, &amp;quot;一石二鸟&amp;quot; can also be synonymous with &amp;quot;一箭双雕&amp;quot; and &amp;quot;一举两得&amp;quot;, which can be chosen when translating &amp;quot;kill two birds with one stone&amp;quot; if you want, however, this way of using the method of free translation is not literal translation anymore.&lt;br /&gt;
&lt;br /&gt;
Domestication and literal translation can coexist under the situation when two sides of language structures and cultures can coincide at the same time, which exists by chance and cannot be forced; It is almost impossible to find examples of coexistence like foreignization and free translation. However, through the above argument, we can find that in translation practice, translators should practice the principle of &amp;quot;concrete analysis of specific problems&amp;quot;, flexibly and dialectically combine free translation and literal translation with domestication and foreignization, and avoid rigid translation methods, so as to better assume the responsibility of cultural exchange. &lt;br /&gt;
&lt;br /&gt;
===V.Conclusion===&lt;br /&gt;
V.Conclusion&lt;br /&gt;
Through the analysis above of the concepts and intensions of literal translation and free translation, domestication and foreignization, then we further arrive at and even deepen our understanding of the relationship between the two pairs of concepts, which is helpful for translators to approach the translation result and effect as much as possible on the basis of understanding the culture and language of both sides and combining with the practice through rational choice of translation strategies and translation methods under the guidance of the theories. After all, translation is not only a linguistic transformation, whose fundamental task is to reach communication and cultural exchange. Therefore, in a sense, translation plays the role of cultural &amp;quot;fax&amp;quot;. In order to coordinate the spread of the source language culture and the acceptance of the target language side, it is necessary to avoid rigid use of a single translation method and translation strategy, or solidifying the idea of translation guiding theory. After comprehensive consideration of translation purpose, target and recipient, it is a translator's duty to use translation method flexibly and dialectically, as being a &amp;quot;cultural bridge&amp;quot;.&lt;br /&gt;
&lt;br /&gt;
===References===&lt;br /&gt;
References&lt;br /&gt;
Sun Zhili 孙致礼.(2011).新编英汉翻译教程[A New Coursebook on English-Chinese Translation].上海:上海外语教育出版社.Shanghai:Shanghai Foreign Language Education Press&lt;br /&gt;
Sun Zhili 孙致礼.(2002).中国的文学翻译:从归化趋向异化[China’s Literary Translation: from Domestication to Foreignization].中国翻译Chinese Translators Journal(01):39-43.&lt;br /&gt;
Jia Wenbo 贾文波.(1999).汉英时文翻译-政治经济汉译英300句析[On Practical C-E Translation in Political &amp;amp; Economic Practice].北京:中国对外翻译出版公司Beijing:China Translation and Publishing Corporation.&lt;br /&gt;
Zhang Meifang 张美芳.(2004).翻译策略二分法透视[A dichotomous perspective in translation strategies].天津外国语学院学报Journal of Tianjin Foreign Studies University(03):1-6.&lt;br /&gt;
Zhao Jing 赵静.(2011).直译、意译与归化、异化之比较[Comparison between literal translation and free translation and Domestication and Foreignization].河南农业Henan agriculture(22):61-62.&lt;br /&gt;
Lv Yinping 吕银平.(2007).“直译与意译  归化与异化”译法之我见[My Opinion on Literal Translation, Free Translation, Domestication and Foreignization].宁夏师范学院学报Journal of Ningxia Teachers Univercity( Social Science)(04):136-138.&lt;br /&gt;
Venuti Lawrence.(1995). The Translator’s Invisibility .London&amp;amp;New York: Routledge.&lt;br /&gt;
&lt;br /&gt;
==On Chinese-to-English Translation of The Summer Palace from the Perspective of Functionalist Approaches to Translation	魏亚菲	Wei Yafei==&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
===Abstract===&lt;br /&gt;
Abstract&lt;br /&gt;
The Chinese-English translation of tourist texts, as a window for the external publicity of national history and culture, plays an important role in promoting the development of local tourism. The Summer Palace is well known for its large and priceless collection of cultural relics, which is among the first group of historical and cultural heritage sites in China to be placed under special state protection. &lt;br /&gt;
Based on the functionalist approach and the skopos rule, this paper discusses the problems existing in the translation of scenic spots in the Summer Palace from the perspectives of garden culture, historical culture and religious culture. Skopos theory holds that translation depends on communicative purpose. To achieve this goal, translators can choose different translation strategies. It is believed that the purpose of Chinese-English translation of scenic spots is to attract target readers and promote traditional culture. Therefore, when translating tourism materials, it is necessary not only to express the local cultural connotation, but also to consider the cross-cultural factors. The Chinese-English translation of the introduction of scenic spots guided by functionalist approach can make English readers have expectations of scenic spots and understand the cultural connotation of scenic spots. This paper aims to better promote the development and communication of Chinese culture and improve the level of tourism text translation in China by relying on the theory of functionalist approach.&lt;br /&gt;
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===Key words===&lt;br /&gt;
Key Words: functionalist approach，the Summer Palace，translation strategies&lt;br /&gt;
&lt;br /&gt;
===摘要===&lt;br /&gt;
摘 要&lt;br /&gt;
旅游资料的英译作为民族历史文化对外宣传的一道窗口,对地方旅游业的发展有着不可低估的促进作用。颐和园作为中国著名的皇家园林，具有浓厚的中国园林特色及优美的风景，同时也蕴涵着深厚文化内涵。&lt;br /&gt;
本篇旅游文本英译的分析以功能派翻译理论作为理论指导，以目的法则为主要原则，从颐和园的园林文化、历史文化和宗教文化三个角度出发对颐和园景点英译中存在的问题进行探讨。目的论认为译文取决于翻译目的，这个目的通常指的是交际目的。为达到这个目的，译者可以选择不同的翻译策略。也就是说，译者的翻译策略必须由译文的预期目的或功能决定，即所谓的“目的法则”。笔者认为景点介绍的汉英翻译的目的就是吸引译文读者以及弘扬传统文化，因此在翻译旅游资料的时候不仅要把当地的文化内涵表达出来，而且要考虑到跨文化的因素。而以功能派翻译理论为指导的景点介绍的汉英翻译，可以使英语读者通过译文产生对旅游景点的期盼，以及对景点文化内涵的理解。以颐和园景区内的翻译文本为例本，依托功能翻译理论，通过“发现问题，指出问题，解决问题”，以期更好地促进中国文化的传播与交流，提高我国现阶段旅游文本翻译的水平。&lt;br /&gt;
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===关键字===&lt;br /&gt;
关键词：功能翻译；颐和园；翻译目的；翻译策略&lt;br /&gt;
&lt;br /&gt;
===Introduction===&lt;br /&gt;
  Throughout the translation history at home and abroad, the literal translation and free translation have always been a heat discussion in the translation circles. Someone absolutely approve literal translation and demean free translation, even pursue a dead translation, which creates an translated text difficult to understand. While some other people absolutely agree with free translation even advocate random acts, which means a random deletion in the translation practices and creates anther entirely different text. However, there are also a number of translators who have recognized that these two translation methods are not totally opposite. So they adopt a compromise and flexible way. That means they will choose the most appropriate one depending on the text demanding. Therefore, we can deduce from it that this eclectic translation is consistent with the Contradiction view of Unity of Opposite in Materialist Dialectics. In fact, literal translation and free translation are right a set of contradictions which are both opposite and unified. They complement each other into an integral one.&lt;br /&gt;
&lt;br /&gt;
===Table of Contents===&lt;br /&gt;
&lt;br /&gt;
Table of Contents&lt;br /&gt;
&lt;br /&gt;
Outline&lt;br /&gt;
1.Introduction&lt;br /&gt;
2. Studies on Functionalist Approach&lt;br /&gt;
2.1 The Viewpoint of Functionalist Approach&lt;br /&gt;
2.1.1 Reiss’s Text Typology&lt;br /&gt;
2.1.2 Vermeer’s Skopos Theory&lt;br /&gt;
2.1.3 Manttari’s Theory of Translational Action&lt;br /&gt;
2.1.4 Nord’s Theory of Function plus Loyalty&lt;br /&gt;
2.2 The Application of Functionalist Approach &lt;br /&gt;
3.C-E Translation of the Summer Palace under Functionalist Approach&lt;br /&gt;
3.1 Garden Culture&lt;br /&gt;
3.2 Historical Culture &lt;br /&gt;
3.3 Religious Culture &lt;br /&gt;
4. Conclusion&lt;br /&gt;
References&lt;br /&gt;
&lt;br /&gt;
===Outline===&lt;br /&gt;
Outline&lt;br /&gt;
&lt;br /&gt;
Thesis Statement: Based on the main viewpoints of functionalist approaches to translation, this paper aims to give an analysis to C-E translation of the Summer Palace from cultural, historical and religious aspects, hoping to provide some translation strategies for other cultural attractions.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
1. Introduction&lt;br /&gt;
2. Studies on Functionalist Approaches&lt;br /&gt;
2.1 The Viewpoint of Functionalist Approach&lt;br /&gt;
2.1 Reiss’s Text Typology&lt;br /&gt;
2.2 Vermeer’s Skopos Theory&lt;br /&gt;
2.3 Manttari’s Theory of Translational Action&lt;br /&gt;
2.4 Nord’s Theory of Function plus Loyalty&lt;br /&gt;
2.2 The Application of Functionalist Approach&lt;br /&gt;
3. C-E Translation of the Summer Palace under Functionalist Approach&lt;br /&gt;
3.1 Garden Culture&lt;br /&gt;
3.2 Historical Culture&lt;br /&gt;
3.3 Religious Culture&lt;br /&gt;
4. Conclusion&lt;br /&gt;
&lt;br /&gt;
===1. Introduction ===&lt;br /&gt;
1. Introduction   &lt;br /&gt;
The Chinese-English translation of tourist texts is a bridge to spread the culture of classical Chinese gardens, so the accuracy of it has a direct impact on foreigners' understanding of the specific history and culture. &lt;br /&gt;
Functionalist approach has made a pioneering contribution to the translation of non-literary genres. Functional translation theory emphasizes the function of discourse, and believes that different types of discourse have different functions, so translators should choose appropriate translation strategies according to the type of source text and corresponding functions. Functionalist approach is to take the &amp;quot;skopos rule&amp;quot; as the highest standard, and any translation activity is a purposeful behavior. The ultimate goal and main function of scenic spot translation is to help people understand the main content of the scenic spot.&lt;br /&gt;
As a window for the publicity of national history and culture, the Chinese-to-English translation of tourist texts plays an important role in promoting the development of local tourism. Well known for its large and priceless collection of cultural relics, the Summer Palace was among the first group of historical and cultural heritage sites in China to be placed under special state protection. Based on the viewpoints of functionalist approach to translation, this paper aims to analyze C-E translation of the Summer Palace from cultural, historical and religious aspects, hoping to provide some translation strategies for other cultural attractions. &lt;br /&gt;
&lt;br /&gt;
===2. Studies on Functionalist Approaches===&lt;br /&gt;
2. Studies on Functionalist Approaches&lt;br /&gt;
Functionalism is a theory that advocates reader-centered translation, emphasizing the functions of texts and highlighting the communicative effects. It is believed that many unnecessary mistakes can be avoided and better results can be achieved by applying functionalist approach in Chinese-English translation of tourist text. &lt;br /&gt;
&lt;br /&gt;
===2.1 The Viewpoint of Functionalist Approaches===&lt;br /&gt;
2.1 The Viewpoint of Functionalist Approaches&lt;br /&gt;
Functionalist Translation Theory, also known as German Functionalist Translation Theory, was proposed by German scholars in the 1970s. It includes four main theories: Katharina Reiss’s Text Typology, Hans Vermeer’s Skopos Theory, Justa Holtz Manttari’s Theory of Translational Action and Christiane Nord’s Theory of Function plus Loyalty. This chapter aims to present the main ideas of this theory.&lt;br /&gt;
&lt;br /&gt;
===2.1.1 Reiss’s Text Typology===&lt;br /&gt;
2.1.1 Reiss’s Text Typology&lt;br /&gt;
In 1971, Reiss in her book Possibilities and Limitation of Translation Criticism first made text function as a standard of translation criticism, namelyevaluate the translated text from the relationship between the functions of the original and the translated text. She insists on the original-centered equivalence theory and holds the view that the ideal translation is to achieve the equivalence between the target text and the source text in terms of ideological content, linguistic form and communicative function. However, translation practice makes her realize that it’s difficult to achieve equivalence sometimes and that sometimes equivalence cannot be pursued. Because of the particularity of translation requirements, the function of the target text is not always the same as that of the source text. Therefore, the translator should give priority to the functional role of the target text rather than the principle of equivalence.&lt;br /&gt;
Reiss believes that in the normal situation the type of text decides the translator’s choice of a proper translation method (Reiss, 2004). Therefore, she divides text into four types: content-focused text, form-focused text, appeal-focused text and audio-media text. Content-focused text, also known as informative text, includes news reports, commercial correspondence, operating instructions, official documents, patent&lt;br /&gt;
specifications, essays, treaties, etc. For this text, the main function is to convey information revealed in language itself to readers. The emphasis is on content and topic, so the choice of language and style should serve this function. If both the source text and target text belong to informative text, the translator should represent the content and information of source text accurately and completely (Reiss, 2004)&lt;br /&gt;
Form-focused text, also known as expressive text, refers to literary works such as novels, poems and so on. “Distinct from ‘content’, which deals with what the author says, ‘form’ is concerned with how an author expresses himself” (Reiss, 2004). For expressive texts, information is only a supplement. What is dominant is the aesthetic factor. When translating such texts, the translator should pay attention to the aesthetic and artistic forms of the original text and to the differences between two cultural habits, trying to achieve the same effect as the source text. In a word, in a form-focused text the linguistic form of the source text determines the form in the target language (Reiss, 2004).&lt;br /&gt;
Appeal-focused text, also known as operative text, mainly includes notice, instruction manual, advertisement, publicity manual and so on. For operative texts, the primary task for the translator is to provoke a particular reaction on the hearers or readers to incite them to engage in specific actions, while content and form are subordinate. Therefore, to achieve the same effect, the translator need to change the content and stylistic features of the original text, try to keep the potential influential factors of the original text and seek functional equivalence (Reiss, 2004: 38-43). Audio-medial text, also known as multi-media text, refers to radio and television scripts, such as radio newscasts and reports, topical surveys and dramatic productions.&lt;br /&gt;
It is distinctive in its dependence on non-linguistic media and on graphic, acoustic, and visual kinds of expression. Only in combination with them can the whole complex literary form realize its full potential (Reiss, 2004). In conclusion, different texts determine different translation focuses and methods. In many cases, however, a text may have more than one function, which means that translators should integrate different translation strategies skillfully to achieve different functions of texts.&lt;br /&gt;
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===2.1.2 Vermeer’s Skopos Theory===&lt;br /&gt;
2.1.2 Vermeer’s Skopos Theory&lt;br /&gt;
Reiss’s student Vermeer, who broke the limitation of the theory of equivalent and took skopos to be the first criterion of translation process  proposed the key theory: Skopostheorie. According to Skopos Theory, when translating a text, the translator needs to consider the purpose of translation first and then choose the translation method according to the purpose, which means “the end justifies the means” (Nord, 2001). Vermeer believes that translation, like other human actions, is also a purposeful act. Translation often takes place in cultural backgrounds with different customs and values, so translation is not a simple equivalent transformation between languages. Skopos Theory does not focus on achieving the equivalence between the target text and the original text or the perfection of the target text, but on choosing the best translation strategy based on the analysis of the source text and the intended function of the target text. In a word, translation methods and strategies are determined by the intended purpose or function of the target text.&lt;br /&gt;
According to Skopos Theory, the first rule that all translators must follow is the Skopos Rule. Translation purpose can be divided into three categories: (1) the purpose of the translator, such as earning a living; (2) the communicative purpose of the translation, such as instructing the reader; (3) the purpose of using a particular translation method, such as the literal translation according to its structure to illustrate the peculiarities of grammatical structure in a language (Nord, 2001). In general, the communicative purpose is more important than the other two. The communicative purpose is usually determined by the initiator of the translation act, but the translator can take part in deciding. The second rule is the Coherence Rule. Coherence Rule requires that the translation conform to the criterion of intratextual coherence, which means that the translation must be accessible to recipients and meaningful in the target culture and in the communicative environment (Nord, 2001). The third rule is the Fidelity Rule. It means that there should be intertextual coherence between the source text and the target text, which means being faithful to the source text. Nevertheless, the degree and form of faithfulness lie in the target text and the degree that the translator understands the original text. Normally “Intertexual coherence is considered subordinate to intratexual coherence and both are subordinate to the Skopos rule” (Nord, 2001).&lt;br /&gt;
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===2.1.3 Manttari’s Theory of Translational Action===&lt;br /&gt;
2.1.3 Manttari’s Theory of Translational Action&lt;br /&gt;
Following Vermeer, Manttari develops Vermeer’s Skopos Theory and puts forward the Theory of Translational Action. He emphasizes three aspects: the behavior of the translation process, the role of the participants (the initiator, the translator and the target reader, etc.) and the environment (time, place and media) in which the translation process takes places. It views translation as “purpose-driven, outcome-oriented human interaction and construes the process of translation as message-transmitter compounds that involve intercultural transfer” (Mundy, 2001). According to Manttari, translation is “ a complex act to achieve a particular purpose” &lt;br /&gt;
(Nord, 2001). It is not about translating words, sentences or texts but is about guiding the intended cooperation over cultural barriers and promoting functional communication. Cooperation here means “transcultural communication” by Manttari.&lt;br /&gt;
The Theory of Translational Action attaches great importance to providing a functional communicative text for the recipient, a text suitable for the target culture in&lt;br /&gt;
form and style. Functional suitability is determined by the translator. The translator is&lt;br /&gt;
an expert in translation, whose role is to ensure the successful completion of cultural&lt;br /&gt;
transformation. In producing the target text, the analysis of the source text is necessary so that the translator can find out its structural and functional characteristics, which can be described by content and form. The need of the recipient is the decisive&lt;br /&gt;
factor for the target text.&lt;br /&gt;
In short, “the value of Manttari’s work is the placing of translation (or at least the professional non-literary translation which she describes) within its sociocultural&lt;br /&gt;
context, including the interplay between the translator and the initiating institution”&lt;br /&gt;
(Mundy, 2001).&lt;br /&gt;
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===2.1.4 Nord’s Theory of Function plus Loyalty===&lt;br /&gt;
2.1.4 Nord’s Theory of Function plus Loyalty&lt;br /&gt;
Though skopos rule changes the focus of translation from the source language text to the target language text and the target receivers, it has some limitations. One is that different readers have different expectations, and the translation purpose cannot satisfy all the expectations of the target reader. Another is that the translation purpose may sometimes be against the intention of the source language. Therefore, based on the skopos rule, Nord introduces the loyalty principle. The principle of loyalty is a supplementary principle proposed by Nord to make up for the deficiency of skopos rule. According to the explanation of Nord, it is not the relationship between the original text and the target text, nor the equivalence between the original text and the form of the target text, but the consistency between the author of the original text, the initiator of the translation, the translator and the reader of the target text, which is the principle of loyalty. The proposal of the loyalty principle makes up for the mistakes that some radical skopos translators usually make, such as omitting and rewriting, which makes skopos theory more perfect and makes skopos theory more likely to guide the translation of literary works.&lt;br /&gt;
“Function” and “loyalty” are two pillars of Nord’s functionalist approach. “Function” refers to what a text means or is intended to mean from the receiver’s point of view”, while “loyalty” means that “target-text purpose should be compatible with the original author’s intention” (Nord,2001). It emphasizes the interpersonal relationship between the translator, the source-text sender, the target-text addresses and the initiator. Function plus loyalty enables the translator to avoid the limitations of skopos rule and try to achieve a balance between translation purpose and the source-text author’s intention”(Nord,2001). That is to say, when translating the original text, the translator should take into account the readers' cultural background, knowledge level and expectation of the translation, and choose the corresponding translation strategy according to the translation requirements. If the reader wants to read a word-for-word translation of the article, then the translator must meet the reader's requirements, otherwise he must explain to the reader why he chose his own translation method. The translator's job is to weigh two different cultures instead of imposing one culture on another. &lt;br /&gt;
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===2.2The Application of Functionalist Approach to the Tourist Texts.===&lt;br /&gt;
2.2The Application of Functionalist Approach to the Tourist Texts.&lt;br /&gt;
In the 1990s, Functionalist Translation Theory was introduced to China, and since then it has been applied to translation studies by Chinese translation scholars. In his article published in 1995, Zhang Nanfeng briefly introduces Skopos theory to China for the first time, and considers that Skopos theory is referential (Zhang Nanfeng, 1995). German Functionalist Translation Theory, a paper released in1999, is the first article in China which systematically introduces German Functionalist Translation Theory (Zhong Weihe &amp;amp; Zhong Yu, 1999). Based on an overview of Functionalist Translation Theory, Zhang Meifang focuses on introducing Nord’s theory, especially on the detailed analysis of Nord’s principle of loyalty (Zhang Meifang, 2005). Famous domestic scholars, such as Liu Junping (2009), Liu Miqing (2012) and Li Wenge (2004), also introduce this theory in their books. With the rise of Functionalist Translation Theory in China, someone has compared it with other theories. Zhu Haotong compares Skopos Theory with Functional Equivalence Theory to analyze the similarities and differences between them, and further reveals that Functionalist Translation Theory inherits the reasonable part of Nida’s Functional Equivalence Theory, which is an important breakthrough and supplement to solve the problems that Functional Equivalence Theory leaves (Zhu Haotong, 2006). Some scholars also combine theory with translation practice to explore the application of Functionalist Translation Theory to translation practice. Jia Yanli and Wang Hongjun point out that Skopos Theory has its limitations, but it is still of instruction and reference value for non-literary translation texts, such as advertisements and tourism materials (Jia Yanli &amp;amp; Wang Hongjun, 2012). Li Liangchen selects several famous tourist attractions in China to translate the on-site tour-guide commentary into English. Then he improves them under the guidance of Skopos Theory and sends out questionnaires to overseas tourists for further analysis. He argues that the translation of on-site tour-guide commentary which is guided by Skopos Theory is more favorable to conveying information to foreign visitors, to promoting cultural exchanges and to improving the image of China’s tourist destinations (Li Liangchen, 2013). In Pragmatic Translation: Theory &amp;amp; Practice, Wu Feng and He Qingji introduce Functionalist Translation Theory (Wu Feng &amp;amp; He Qingji, 2008) and the characteristics of tourism text and translation skills (Wu Feng &amp;amp; He Qingji, 2008). In this book, they also discuss the controversy over the Chinese name of Functionalist Translation Theory, and holds that “功能派翻译理论” is the most appropriate Chinese translation (Wu Feng &amp;amp; He Qingji, 2008).Based on his own translation practice and under the guidance of Functionalist Translation Theory, Wu Zixuan probes into some special phenomena in the English translation of CNN newsreels. The author believes that in the translation of external publicity, we should not stick to the standard of faithfulness to the original text, but should deal with the original text properly from the perspective of achieving the purpose of translation, such as rewriting, abridging. (Wu Zixuan, 2005).&lt;br /&gt;
Functionalist approach establishes a theoretical system of diversified translation standards dominated by skopos rule. From the definition of Functionalist approach, it can be seen that the advantage of it is that the translator can get rid of the bondage of the original text, study the translation process with &amp;quot;translation purpose&amp;quot; as the starting point, and determine the translation strategies and methods. This can give full play to the translator's own initiative, flexible processing of the original text, in order to achieve the translation of the communicative function. In addition, functionalist approach requires the translation to be examined in the cultural context of the reader. The reader can accept the translation and understand the meaning of the original text through the translation, so the translation can realize the communicative function. On the basis of such advantages, functionalist approach can be used to guide the English translation of garden scenic spots, and the translator can choose a wider range of translation strategies and break out of the constraints of the original text. &lt;br /&gt;
Only by clarifying the purpose of translation can we avoid these limitations in the English translation of garden attractions. When using functionalist approach to guide the English translation of Chinese classical garden scenic spots, it is necessary to flexibly choose translation strategies and methods, give full play to the advantages of skopos theory, and achieve the balance between &amp;quot;principle of purpose&amp;quot; and &amp;quot;principle of fidelity&amp;quot; as far as possible.&lt;br /&gt;
With the deepening of globalization and cross-cultural communication, tourismis becoming a major industry in the 21st century. The development of tourism can not only promote the economic development of a country but also promote the external dissemination of national culture. Therefore, tourism translation deserves attention. Tourism text is a typical informative and operational text, and the language is unique. It is full of gorgeous words, such as four-character expressions, verses, proper nouns and so on.&lt;br /&gt;
Tourism text materials include tourism advertising, tourism brochures, scenic spots signs and so on. In this paper, we focus on the introduction of Chinese gardens’ scenic spots, which is usually colorful in language and rich in literary style. Tourism text translation belongs to applied translation, which should play a series of practical functions to publicize the image and resources of the country or place and attract overseas tourists. Therefore, the translator of tourism text must be clear about the type and function of tourism text, and to grasp the ultimate purpose of the translation. &lt;br /&gt;
On tourism text translation, the communicative purpose of the translation should be placed in a central position. Furthermore, the tourism text has both the information function and the calling function. The information function and the calling function complement each other. Only when the target language readers acquire the expected tourism information and cultural knowledge can the calling function be realized and the purpose of tourism text translation be achieved. With different translation strategies, the translated version should both expressed contains basic information, and make the tourists feel the profound of the Chinese culture from the beautiful scenery. &lt;br /&gt;
Cultural tourism has long been the focus of international tourism, and understanding Chinese culture is the main purpose of inbound tourists, so the translation of tourism texts bears the mission of cultural transmission and cultural publicity. However, due to the great differences between Chinese and English culture and language, there are many difficulties in cultural transmission in tourism text translation. China has a long and splendid history and culture. When introducing the scenic spots of cultural relics and historic sites, we usually associate with many historical figures and stories. These terms are cultural blank for most foreign tourists, but this kind of cultural experience is also the most attractive place for foreign tourists. It is of great importance to pay attention to cultural differences in tourism translation and carry out cultural transmission effectively. Chinese and English languages have different logic views, and Chinese expressions in tourism texts value decoration. English expressions tend to be clear, concise and to the point. For example, Chinese tourism texts often use a four-character lattice, which is symmetrical, while there is no corresponding four-character lattice expression in English. Therefore, in Chinese-English translation of tourism texts with frequent use of four-character phrases, it is necessary to keep in mind the objective principle of functionalist approach and give priority to cultural communication instead of rigidly adhering to form.&lt;br /&gt;
&lt;br /&gt;
===3. C-E Translation of the Summer Palace under Functionalist Approach===&lt;br /&gt;
3. C-E Translation of the Summer Palace under Functionalist Approach&lt;br /&gt;
By studying the specific translation strategies made by predecessors, the following steps are also adopted in this paper: first, the translation strategies are determined according to the text type, such as faithful reproduction of the original information or rewriting; Secondly, the translation strategies are determined according to the potential purpose of the translation, such as paraphrasing or deleting poems, generalizing specific expressions and transliterating proper nouns. Thirdly, the translation strategies are defined with the tourists as the center, such as adding logical words, adding explanatory information and using plain English.&lt;br /&gt;
The Summer Palace epitomizes the philosophy and practice of Chinese garden design, which played a key role in the development of this cultural form throughout the east. It is an outstanding expression of the creative art of Chinese landscape garden design, incorporating the works of humankind and nature in a harmonious whole, which was once the most important place of political and diplomatic activity for the supreme rulers of the late Qing dynasty. Based on three aspects of the Summer Palace, namely, garden culture, historical culture and religious culture, this paper discusses the problems existing in the English translation of the scenic spots of the Summer Palace and puts forward corresponding countermeasures under the guidance of the skopos rule of functionalist translation theory.&lt;br /&gt;
&lt;br /&gt;
===3.1 Garden culture.===&lt;br /&gt;
3.1 Garden culture. &lt;br /&gt;
The Summer Palace is a classical garden famous for its magnificence and beauty. There are many temples in the garden, and the green waves of kunming lake ripple. Landscape and humanities complement each other, containing rich natural and cultural information, reflecting the characteristics of Chinese classical gardens. The garden cultural features of the three scenic spots, namely, the hall of clouds, the foxiang pavilion and the Wenchang courtyard, are particularly outstanding. Therefore, this paper takes these three scenic spots as examples to discuss the Chinese-English translation of the introduction of the Summer Palace.&lt;br /&gt;
(1)	排云殿、佛香阁景区是颐和园内建筑布局最完整、建筑形式最丰富的中轴建筑群体，殿、阁、廊、亭、桥、坊、碑等建筑约两万平方米。从临水的云辉玉宇牌坊至排云门、排云殿、德辉殿、佛香阁、众香界、智慧海、层层升高，排列有序，气势巍峨，金碧辉煌，将园林、寺庙和宫殿融为一体。&lt;br /&gt;
Translation：This scenic spot covers an area of 20,000 square meters with an assortment of buildings such as palaces, towers, corridors, pavilions, walkways, bridges, archways and inscribed stone steles. It comprises a well-arranged group of structures, all diverse in style, located in the center of the Summer Palace garden. This complex of structures, ranging from the Glowing Clouds and Holy Land Archway on the waterside, the Gate that Dispels the Clouds, the Hall that Dispels the Clouds, the Hall of Moral Glory, and the Tower of the Fragrance of the Buddha, to the Realm of Popular Fragrance and the Sea of Wisdom Temple, were built in an orderly manner running from the foot of the hill to its top, with gardens, temples and palaces harmoniously integrated into the whole。&lt;br /&gt;
Analysis：As we all know, the design style of ancient Chinese buildings is beautiful with &amp;quot;symmetry&amp;quot;. The &amp;quot;axis&amp;quot; in hall of clouds scenic spot refers to the layout of the Summer Palace from far to near and from top to bottom, which cannot be simply understood as the center. Simply translating &amp;quot;axis&amp;quot; as &amp;quot;center&amp;quot; cannot express accurately the meaning of &amp;quot;symmetry&amp;quot;. Comparatively speaking, &amp;quot;axis&amp;quot; can better reflect the architectural style of the scenic spot.&lt;br /&gt;
(2)	从临水的云辉玉宇牌坊至排云门、排云殿、德辉殿、佛香阁、众香界、智慧海，层层升高，排列有序，气势巍峨，金碧辉煌，将园林、寺庙和宫殿融为一体。&lt;br /&gt;
Translation：These structures，including Glowing Clouds and Holy Land Archway at lake side，the Gate of Dispelling Clouds，the Hall of Dispelling Clouds，the Hall of moral Glory，and the Tower of Buddhist Incense，the Realm of Multitudinous Fragrance and the Sea of Wisdom Temple，were built in an orderly manner ranging up the hill with gardens，temples and palaces harmoniously integrated. This manifests beauty，grace and splendor，reminiscent of the loftingness and grandeur of a once mighty empire.&lt;br /&gt;
Analysis：In terms of the characteristics of language, Chinese emphasizes parataxis and four-word antithesis. When describing and naming scenes, gorgeous words and poetic words are generally chosen in Chinese. But, English emphasizes hypotaxis, on the other hand, puts more emphasis on reproducing the original appearance of things, using simple and natural words and preferring direct description. In sign translation, the English translation pays more attention to accurate, concise and lively. In the above paragraph, &amp;quot;层层升高，排列有序，将园林、寺庙和宫殿融为一体&amp;quot; is an introduction to the architectural features of foxiang pavilion, in order to make tourists have a clear understanding of the overall layout and architectural features of the scenic spot. This information is essential and can be translated into detail. However, &amp;quot;气势巍峨，金碧辉煌&amp;quot; focuses on the subjective description, and its explicit translation needs more complicated words. If this paragraph is translated in detail, it is easy to drag the content and make the key information vague. Therefore, the deletion of the English translation of this sentence will not affect the basic information of the original text.&lt;br /&gt;
(3)	主阁（文昌阁）两层，内供铜铸文昌帝君和仙童、铜骑。文昌阁与万寿山西供武圣的宿云檐象征“文武辅弼”。&lt;br /&gt;
Translation: A bronze statue of the God Wenchang, statues of gaeries, and a bronze steed were placed in the two-story pavilion. This tower is pared with the Tower of Cloud- Retaining Eaves, located to the west of the Longevity Hill, in which a statue of the Martial God was placed. The God Wenchang and the Martial God together symbolize reining of the emperor supported by scholars and warriors.&lt;br /&gt;
Analysis: Two questions arise in Chinese-English translation. First, there are two translations of wenchang pavilion in the translation: pavilion and tower, which appear in the same sign. Two different translations of the same scenic spot name tend to make foreign tourists think that it refers to different scenic spots, which may cause difficulty in understanding. Second, the translation of Wenchang pavilion into &amp;quot;Wenchang Tower&amp;quot; is against the actual architectural characteristics. In fact, the meanings of &amp;quot;pavilion&amp;quot; and &amp;quot;tower&amp;quot; have both similarities and differences. According to the Oxford dictionary, Tower means &amp;quot;a tall narrow building or part of a building, especially of a church or castle&amp;quot;, mainly referring to the tower-shaped part of a building, usually a tall and slender structure, such as the Eiffel Tower. &amp;quot;Pavilion&amp;quot; means &amp;quot;a building that is meant to be more beautiful than usual, built as a shelter in a park or used for concerts and dances&amp;quot;. The top structure of the pavilion usually has rectangles, triangles, hexagons, etc. The common feature of them is that the top is supported by columns without walls. From the external structure of Wenchang pavilion, its bottom is solid and its top is supported by columns. Therefore, the pavilion can accurately reflect the architectural characteristics of Wenchang pavilion, so I think it should be translated as Wenchang pavilion.&lt;br /&gt;
&lt;br /&gt;
===3.2 Historical culture. ===&lt;br /&gt;
3.2 Historical culture. &lt;br /&gt;
The accurate Chinese-English translation of the introduction of the Summer Palace not only enables foreign tourists to understand the characteristics of Chinese gardens, but also enables foreign tourists to understand the historical knowledge of a specific period of China. However, the Chinese-English translation of the Summer Palace still has problems in accurately conveying the historical background of the scenic spots, such as the English translation of Wenchang pavilion scenic spot:&lt;br /&gt;
(4)	此景区始建于清乾隆十五年，一八六零年被英法联军烧毁，光绪时按原样重建。阁结构为八面三层四重檐，通高36.44米，耸立于20米高的石造台基上，气势雄伟，是颐和园全园的构图中心。阁内供奉有铜铸金裹千手观世音菩萨站像。像高五米，重万斤，为明代万历年间所造，在八根贯通全阁上下的承重铁梨木擎天柱的衬托下，美妙庄严，熠熠生辉，有极高的文物和艺术价值。&lt;br /&gt;
Translation: The Wenchang tower was first built in 1750 and rebuilt under Emperor Guangxu after  the Anglo-French Allied Forces builted it down in 1860. The octahedral tower has three stories with four-layered eaves, altogether 36.44 meters high. Standing upright on a 20 meter-high stone foundation, it constitutes the center of the Summer Palace landscape and serves to accentuate its magnificence. A statue of the thousand-handed Guanshiyin Buddha, cast in bronze and gilded with gold, stands inside the tower. The statue, five meters high and five tons in weight, was cast during the reign of Emperor Wanli of the Ming Dynasty. Set off by the eight imposing pillars which support the tower, it glows with beauty, grandeur and brilliance. Its historical, cultural and artistic value can hardly be overstated.&lt;br /&gt;
Analysis: “始建于乾隆十五年”only was translated into “was first built in 1750” and the “光绪年间重建” was translated into “rebuilt under Emperor Guangxu”.The first sentence does not show that 1750 was the fifteenth year of the reign of emperor Qianlong, and the second sentence does not give foreign visitors the exact date of the reign of emperor Guangxu. The change of time concept and the disunity of expression easily make foreign tourists feel confused. Therefore, the translation of the time and the historical dynasties should be accurate and meticulous, and the supplementary method should be used to not only describe the dynasties clearly, but also supplement the corresponding years, so as to achieve the standardization of the translation. In this way, foreign tourists can not only be clear about the time of the event, but also understand the Chinese historical dynasties. Consider as follows: the Wenchang Pavilion was first built in 1750 during Emperor Qianlong’s reign（1735- 1795）and rebuilt in 1886 under Emperor Guangxu（1875- 1908）after the Anglo- French Allied Forces burned it down in 1860.&lt;br /&gt;
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===3.3 Religious culture. ===&lt;br /&gt;
3.3 Religious culture. &lt;br /&gt;
Many scenic spots in the Summer Palace have a strong buddhist atmosphere. While visiting the scenic spots, foreign tourists can understand the profound buddhist culture. Wenchang pavilion in the Summer Palace is the representative of Chinese religious culture.&lt;br /&gt;
(5)	主阁两层，内供铜铸文昌帝君和仙童、铜特。文昌阁与万寿山西供武圣的宿云檐象征“文武辅弼”。&lt;br /&gt;
Translation: A bronze statue of the god，Wenchang，and statues of two followers，the celestial boy，and the bronze steed，were placed in the two- storey pavilion. This tower is pared with the tower of Cloud- Retaining Eaves，located to the west of the Longevity Hill，in which a statue of the Martial God was placed. The two towers symbolize the support by both scholars and warriors to the ruling emperor.&lt;br /&gt;
Analysis: It is well known that westerners believe in theism, which refers to god as supreme . In Chinese religious culture, people believe in atheism and do not believe in the existence of god. Therefore, it is inappropriate to translate &amp;quot;文昌帝军&amp;quot; and &amp;quot;武圣&amp;quot; into &amp;quot;the god, Wenchang&amp;quot; and &amp;quot;the Martial god&amp;quot; in the translation. In fact, the &amp;quot;文昌帝军&amp;quot; was Zhang yu, an emperor of Shu of Ning kang (374). And &amp;quot;武圣&amp;quot; refers to Guan yu in history. Therefore, the simple translation of  &amp;quot;God&amp;quot; is not in line with the traditional Chinese culture, which will not only cause western tourists to misunderstand that Chinese religious tradition also believes in God, but also fail to convey Chinese historical allusions and relevant historical figures. In contrast, if &amp;quot;文昌帝军&amp;quot; is translated as &amp;quot;the emperor, Wenchang&amp;quot; and &amp;quot;武圣&amp;quot; is translated as &amp;quot;the Martial Master (Guanyu)&amp;quot;, it can more faithfully convey the history and religious culture contained in the source language. &lt;br /&gt;
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===4. Conclusion===&lt;br /&gt;
4. Conclusion&lt;br /&gt;
To sum up, Under the guidance of the skopos rule of functionalist translation theory, translators should have a cross-cultural awareness, fully understand the reading psychology and cultural appreciation needs of target language readers, and use effective translation strategies and methods to achieve the purpose of tourism text translation. Functionalist approach has made a pioneering contribution to the translation of non-literary genres. Functional translation effectively eliminates the disadvantages of traditional word-for-word translation, improves the efficiency of translation, and helps readers to grasp the meaning of the original text.&lt;br /&gt;
 The importance of the translation of the Summer Palace lies in the profound garden culture, historical culture and religious culture. The English translation is not only helpful for international friends to know more about the garden characteristics of the Summer Palace, but also helpful for spreading the long history and profound culture of China. In order to attract target readers and promote traditional Chinese culture, it is not only necessary to carefully explore Chinese culture and history, but also to use the fuctionalist approach appropriately. &lt;br /&gt;
Translation is a complicated process. Functionalist approach stresses the function of the discourse, the purpose of translation. In the practice of translation, if the translator can get rid of the bondage of the original equivalence, actively playing to subjective initiative, fully understanding the original text, depending on the purpose of discourse and adopting different translation strategies, the effect and readability of translation can be improved.&lt;br /&gt;
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===References===&lt;br /&gt;
References&lt;br /&gt;
Hans Vermmer, “Skopos and Commission in Translation Action”, in the Translation Studies Reader,ed. Chesterman, London and Network:Routledge,p.221-232. 2000.   &lt;br /&gt;
Munday, Jeremy. Introducing Translation Studies: Theories and Applications. Routledge publishing.2001.&lt;br /&gt;
Mason, “Textual Practices and Audience Design: and Interactive View of the Tourist Brrochure”. In Navarro et al.(eds.). Pragmatics at Work: The Translation of Tourist Literature. Bern: Perter Lang. 157-176.2004.&lt;br /&gt;
Nord, Text Analysis in Translation: Theory, Methodology and Didactic Application of a Model for Translation-Oriented Text Analysis. Beijing: Foreign Language Teaching and Research Press. 2006.&lt;br /&gt;
Nord, Translating as a purposeful activity. Shanghai: SFLE PRESS, 2001:27,30,32,65,245.&lt;br /&gt;
Reiss, Katharina. Translation Criticism: The Potentials &amp;amp; Limitations. Shanghai Foreign Language Education Press. Shanghai. 2004.&lt;br /&gt;
Venuti, Lawrence. The Translator’s Invisibility: A History Translation. Routledge.1995.&lt;br /&gt;
方梦之、毛忠明， 英汉—汉英应用翻译教程，上海: 上海外语教育出版社，2004.&lt;br /&gt;
金惠康，跨文化旅游翻译，中国对外翻译出版公司，2004.  &lt;br /&gt;
贾文波，应用翻译功能论，北京：中国对外翻译出版公司，2004&lt;br /&gt;
孙艺风，文化翻译的困惑与挑战，中国翻译，2016年第3期.  &lt;br /&gt;
王宏志，翻译与创作，北京大学出版社，2000.&lt;br /&gt;
吴自选，德国功能派翻译理论与 CNN 新闻短片英译，中国科技翻译, 2005.&lt;br /&gt;
谢天振，当代国外翻译理论，天津：南开大学出版社，2005.&lt;br /&gt;
张南峰，走出死胡同建立翻译学. 中国翻译, 1995.&lt;br /&gt;
仲伟合，钟钰. 德国的功能派翻译理论. 中国翻译, 1999.&lt;br /&gt;
张美芳，功能加忠诚—介评克里丝汀· 诺德的功能翻译理论.上海外国语大学学报, 2005.&lt;br /&gt;
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==Contrast between Literal Translation and Free Translation	张雪仪	Zhang Xueyi==&lt;br /&gt;
&amp;lt;center&amp;gt;张雪仪 202020080668&amp;lt;/center&amp;gt;&lt;br /&gt;
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=== Abstract===&lt;br /&gt;
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The contrast between literal translation and free translation has always been the most discussed problem in translation studies. To compare these two translation methods, the basic point is to understand the purpose of translation. The ultimate goal of translation is to help different cultures communicate better, so that people who speak different languages can understand each other’s cultures. Due to the differences in social, historical and cultural backgrounds between languages, how to choose between the two translation strategies of literal translation and free translation requires translators to weigh the strengths and weaknesses of these two methods. This essay mainly compares literal translation and free translation between Chinese and Russian to help students and translators translate better.&lt;br /&gt;
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=== Key words ===&lt;br /&gt;
&lt;br /&gt;
Translation strategies, Literal translation,Free translation &lt;br /&gt;
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=== 摘要 ===&lt;br /&gt;
&lt;br /&gt;
直译与意译间的对比一直是翻译学中讨论度最高的问题。想要将这两种翻译方法进行对比，最基本的一点就是要明白翻译的目的是什么。翻译的最终目的在于帮助不同文化进行更好的交流，让使用不同语种的人相互理解彼此的文化。由于语种间社会历史文化背景的差异，如何在直译和意译这两种翻译策略中做出选择，就需要译者衡量两种方法的利弊。本文主要对汉语和俄语间直译和意译进行比较，以帮助学生和译者更好地进行翻译实践。&lt;br /&gt;
&lt;br /&gt;
=== 关键词 ===&lt;br /&gt;
&lt;br /&gt;
翻译策略，直译，意译&lt;br /&gt;
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=== Introduction ===&lt;br /&gt;
The former Soviet Union translation theorist Fedorov believes that “translation is an activity of expressing what has been used in one language as a unified whole of content and form, and accurately and completely expressed in another language.” Translation theorist Barhudaro The husband also wrote: &amp;quot;Translation is the process of changing the coherent discourse of one language into the coherent discourse of another language while maintaining its content and meaning.&amp;quot;(Cai Yi, Duan Jinghua 2000) Mr. Lu Xun once advocated &amp;quot;literal translation.&amp;quot; He said: &amp;quot;Translation must take both sides into consideration: one is of course to be easy to understand, the other is to maintain the fullness of the original.&amp;quot; The Chinese translator Zhang Peiji summed up the translation standard as &amp;quot;faithful and smooth.&amp;quot;(Gong Linjing 2015,192) To some extent, translation is a process of thinking re-creation, so certain standards and principles must be followed when translating. Translation standard is a measure of the quality of translation, it can guide translation practice, and it is a principle that must be followed in translation activities. Although each scholar has different opinions on the standard of translation, the final result he pursues is the same: the original text and the translated text express the same effect.In order to achieve the same effect, different translation methods have been derived from the translator's translation practice. The most basic and common ones are literal translation and free translation.&lt;br /&gt;
&lt;br /&gt;
Russian idioms and proverbs, as the crystallization of the wisdom of the Russian nation and the immortal fossils in the Russian language, are one of the best materials for the Chinese to understand and learn Russian history, culture, and society. Due to different geographical, historical and economic conditions, the Russian and Chinese ethnic groups have formed different cultural backgrounds. These distinctive backgrounds and characteristics have caused great difficulties for Chinese learning Russian to further understand Russia. This essay will take the Chinese translation of Russian idioms and proverbs as examples to study the basic definitions of literal translation and free translation, their respective advantages and disadvantages, and their relationships, in order to help students who learn Russian understand literal translation and free translation.&lt;br /&gt;
=== Controversy between literal translation and free translation===&lt;br /&gt;
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In different periods and different countries, people's views on translation theory have changed a lot, but the debate about literal translation and free translation has always existed.&lt;br /&gt;
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=== Controversy in Chinese Translation Community===&lt;br /&gt;
&lt;br /&gt;
Which is better, literal translation or free translation, has always been divided in Chinese translation community. This kind of controversy first occurred during the translation of Buddhist scriptures written in Sanskrit into Chinese. During the Wei, Jin, Southern and Northern Dynasties, the famous monk Dao An was the earliest representative of the literal translation in China. Dao An himself did not understand Sanskrit and was afraid that paraphrase would lose the maxims in Buddhist scriptures, so he advocated strict literal translation. However, Kumarajiva from India, who was invited by Dao An, advocated free translation. On the basis of fully understanding the original thought content and artistic style, the translation was appropriately deleted. Although Dao An and Kumarajiva are also engaged in the translation of Buddhist scriptures, the translation methods they adhere to were very different. This divergence continued into the Tang Dynasty. Xuan Zang, as the most famous monk in the Tang Dynasty, proposed a translation method that was completely different from the previous two translation methods—a combination of literal translation and free translation.(Wang Zhuan 1996,55)&lt;br /&gt;
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The contradiction between modern literal translation and free translation may be due to the different understanding of these two translation methods. The translator Sun Guiding believes that: literal translation is stuck to the structure of the original text and does not consider whether the Chinese is fluent and natural; while free translation is to use the inherent Chinese idioms and the most natural words and sentences as much as possible to achieve the effect of conveying the meaning of the original text. Former President of Wuhan University, Du Zuozhou, believes that literal translation means translating word by word according to the original text; free translation means translating according to the meaning of the original text, and the translation is more suitable for the common grammar of the translated language. The educator Meng Xiancheng believes that literal translation is a translation technology with different degrees of correctness. Literal translation is a translation that is faithful and correct according to the original text; free translation is a translation that summarizes the original meaning. Zhu Guangqian said: &amp;quot;The so-called 'literal translation' refers to the literal translation based on the original text. Every word and sentence are translated word by word, and the order of the words and sentences is not changed. The so-called ‘paraphrasing’ is to express the meaning of the original text in Chinese, and it does not have to be completely based on the literal and order of the original text. &amp;quot; Feng Shize believes that &amp;quot;translation and literal translation are up-and-down relations; between literal translation and free translation is the left-right relationship. If the reversal of word order and other methods are free translation, then the definition of free translation is equal to translation, and there is no other translation besides free translation. &amp;quot;(Feng Shize 1981,10) The principle of &amp;quot;faithfulness, expressiveness and elegance&amp;quot; put forward by the modern Chinese translator Yan Fu has long been the basic principle guiding translation practice. A large number of beginners who learn foreign languages regard &amp;quot;faithfulness and expressiveness&amp;quot; as translations that are completely faithful to the original text when translating.(Feng Shujian 1993,44) In fact, Yan Fu's translation requirements are a guiding principle for translation based on semantics. When translating, if the structure and expression of the original text cannot be directly adopted, the sentence structure and expression must be changed according to the characteristics of the target language. In addition, there are many differences between the original language and the target language in the word order, grammar, variants and rhetoric in the translation process. In many cases, there is no direct corresponding word. This requires the translator to consider the actual semantics, background and other factors. On the basis of the original meaning of the sentence, use an appropriate method to convey the content of the original work and reproduce the language style of the original work.&lt;br /&gt;
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In the Soviet Union, under the influence of ideology, Western translation theories could not be widely disseminated, but within the Soviet Union, translation theories similar to Western translation theories have been formed and developed, and two main schools of translation theory have been further differentiated — Linguistic Translation School and Literary Translation School. To a certain extent, the dispute between these two schools also reflects the debate on literal translation and free translation among translators' groups. In terms of the principles or standards of translation, the linguistic translation school believes that an ideal translation should be an equivalent translation, first of all linguistic correspondence, that is, the translation should have the same meaning as the corresponding language or discourse unit of the original; the literary translation school believes that translation pursues artistic correspondence, and linguistic correspondence must be subordinate to artistic correspondence. Therefore, it proposes that the aesthetic standards of translation should reproduce the artistic reality reflected by the unity of the original content and form. The characteristic is to use images to translate images, that is, to create the same image in different languages. In 1953, Andrei Venediktovich Fedorov, the leader of the linguistic translation school, published his work &amp;quot;Summary of Translation Theory&amp;quot;, which was the first monograph of the Soviet Union to study translation theory from the perspective of linguistics. The author proposes that translation theory is a branch of linguistics. Since the translation of any genre work must rely on the comparison of two languages, translation problems can only be solved in the field of language. Fedorov’s view was refuted by the literary translation school represented by Ivan Alexandrovich Kashikin. The literary translation school believes that aesthetic issues are the core of literary translation theory, and translation should be regarded as a form of language art, that is, translation should be studied from the perspective of literature and art.(Xie Yuncai 2002,99) In fact, the literary translation school emphasizes the translation of literary and artistic works, which belongs to the specific translation theory; while the research of the linguistic translation school focuses on the general translation theory, that is, the translation of all thematic works including literary works. The dispute between the two major translation theory schools of Russia and the Soviet Union provides another perspective for Chinese translators to explore the relationship between literal translation and free translation.&lt;br /&gt;
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=== The application of literal translation and free translation in the Chinese translation of Russian idioms ===&lt;br /&gt;
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The idioms of different nationalities are the most dynamic and expressive units at the lexical level in different languages, and they are also the units that can best reflect the characteristics of national culture in languages. The number of Russian idioms is extremely rich, it records and reflects all aspects of Russian national life. Due to the great differences in geographical locations and living customs between China and Russia, the national cultures reflected in Chinese and Russian must be quite different. One of the difficulties in idiom translation is its imagery. When translating idioms, both the meaning and the image must be considered. Although the Chinese and Russian cultures are very different, many of the commonalities of mankind, such as emotion and natural environment, have created conditions for mutual communication, mutual understanding and idiom translation between different languages.(Feng Yongmei 1999,97)&lt;br /&gt;
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=== Literal translation ===&lt;br /&gt;
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Generally speaking, the literal translation method refers to a translation method that directly translates the original text without changing the language characteristics and style of the original text on the basis of fully respecting the meaning of the original text. Chinese translation of Russian idioms by literal translation method has the advantage of being able to intuitively and faithfully express the meaning of the idiom, maintaining the unique style and imagery of the original text: the disadvantage is that the translated idiom may not be understood by the Chinese because of China and Russia have different historical, cultural backgrounds, grammatical structures, and language world landscapes, which can easily form obstacles in the process of understanding.(Zhou Changyu 2010,34)&lt;br /&gt;
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Translating Russian idioms by literal translation is further divided into two methods — literal translation into Chinese idioms and literal translation into non-idiom sentences or words.&lt;br /&gt;
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Literal translation of Russian idioms into Chinese idioms is suitable for the translation of Russian and Chinese idioms that are completely equivalent in image, structure, and meaning. The advantage is that it is easy to understand, and the translation is simple and fast.(Feng Yongmei 1999,98) E.g:&lt;br /&gt;
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домашнего  (своего) вора не убережешься. 家贼难防&lt;br /&gt;
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знать как свои пять пальцев (видно, как на ладони) 了如指掌&lt;br /&gt;
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подлить масла в огонь 火上浇油&lt;br /&gt;
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как рыба в воде 如鱼得水&lt;br /&gt;
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как ножом по сердцу 心如刀割&lt;br /&gt;
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как гром среди ясного неба 晴天霹雳&lt;br /&gt;
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на добро отвечают добром 善有善报&lt;br /&gt;
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копейка рубль бережет 财从细起&lt;br /&gt;
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мечты сбываются 梦想成真&lt;br /&gt;
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курица всегда следует за петухом 嫁鸡随鸡&lt;br /&gt;
&lt;br /&gt;
чего мало, того и дорого  (дорого то, что мало) 物以稀为贵(12)&lt;br /&gt;
&lt;br /&gt;
изгонять яд с помощью яда 以毒攻毒&lt;br /&gt;
&lt;br /&gt;
сидеть как на иголках 如坐针毡&lt;br /&gt;
&lt;br /&gt;
действия громче слов 事实胜于雄辩&lt;br /&gt;
&lt;br /&gt;
зарыть талант в землю 埋没人才&lt;br /&gt;
&lt;br /&gt;
висеть на волоске 千钧一发&lt;br /&gt;
&lt;br /&gt;
лить как из ведра 倾盆大雨(Wang Fuxiang, Wu Hanying 2014)&lt;br /&gt;
&lt;br /&gt;
The idioms in the above examples are completely equivalent in image, structure or meaning in Russian and Chinese, so Chinese idioms can be used for literal translation.  &lt;br /&gt;
&lt;br /&gt;
In fact, in the two languages, idioms with the same image, structure, and meaning are still in the minority, so it is more common to translate Russian idioms into non-Chinese idiom sentences or vocabulary. E.g:   &lt;br /&gt;
&lt;br /&gt;
настоять на своем 坚持自己&lt;br /&gt;
&lt;br /&gt;
камень с души свалился 心里的一块石头落地&lt;br /&gt;
&lt;br /&gt;
связать свою судьбу 把自己的命运与……相连&lt;br /&gt;
&lt;br /&gt;
быть на голову 高出一头&lt;br /&gt;
&lt;br /&gt;
вбивать в голову 往脑子里灌&lt;br /&gt;
&lt;br /&gt;
блеснуть метеором 像流星一样一闪而过&lt;br /&gt;
&lt;br /&gt;
с мизинец 小拇指这么大(Wang Fuxiang, Wu Hanying 2014)&lt;br /&gt;
&lt;br /&gt;
It is not difficult to find that the literal translation method can completely retain the original appearance of the idiom, show the common concept of human understanding of the world, and be beneficial to the cultural exchange between China and Russia.&lt;br /&gt;
&lt;br /&gt;
=== Free translation ===&lt;br /&gt;
&lt;br /&gt;
Another method commonly used in the Chinese translation of Russian idioms is free translation. Vocabulary gaps between languages are a common phenomenon, causing many difficulties for translation. There are many reasons for the vacancy of vocabulary, such as cultural reasons such as life experience, customs, religious beliefs, and linguistic reasons. There are roughly two ways to fill the language gaps — paraphrasing by replacing the image.and discarding images for free translation.(Feng Yongmei 1999,98)&lt;br /&gt;
&lt;br /&gt;
Russian says &amp;quot;Два медведя в одной берлоге не уживутся (一个洞穴容不下两头熊).&amp;quot;, while Chinese says &amp;quot;一山不容二虎&amp;quot;. Another example is &amp;quot;Скатерть со стола, и дружба сплыла (桌布一收，友谊不再) &amp;quot; in Russian, and &amp;quot;人走茶凉&amp;quot; in Chinese.(Wang Fuxiang, Wu Hanying 2014) This method belongs to paraphrasing by replacing the image.&lt;br /&gt;
&lt;br /&gt;
For the &amp;quot;harmony&amp;quot; of the translation, sometimes the translator has to choose to abandon the image for free translation. This is determined by both cultural and linguistic factors. Some linguistic features cannot be translated, and some idioms themselves are not strong enough. In this case, if Choosing a literal translation method will make readers confused.(Hu Guming, Shen Man 2011,18) E.g:&lt;br /&gt;
Как женился я на вашей матери да взял вот этот домишко в приданье, так думал, что богаче да лучше меня и людей нет, фертом ходил! (А. Островский)&lt;br /&gt;
我和你母亲一成亲，就得到了这栋作为陪嫁的屋子，当时我心想，再没有人比我更富足、更好的了。我那时可真是双手叉腰、得意洋洋的。&lt;br /&gt;
“Фертом” is the name of the letter “Ф” in ancient times.Its shape is like a person with hands on hips, and “фертом ходить” is an idiom evolved from body language. The cultural meaning of this idiom is &amp;quot;神气十足、得意洋洋、威武自负的样子&amp;quot; . The translation uses other idioms to complement the missing images in Chinese, clarify the meaning of the idiom, and convey the emotional color contained in the original idiom.(Hu Guming, Shen Man 2011,19)&lt;br /&gt;
&lt;br /&gt;
The idioms in a certain language are fixed and unchanged after long-term use and tempering, but the frequency of each idiom is different. Some idioms are universally used by the whole people, spread and used in a wide range, while some idioms are only used in written styles. In Russian literature, there are improved precise and interesting idioms. For example, in the works of the famous Russian fable writer Krylov, there are reduced idioms, such as “ медвежья услуга”（直译：熊的帮忙；意译：帮倒忙）， “ сильнее кошки зверя нет”（直译：再没有比猫更厉害的野兽；意译：井底之蛙）， “ зелен как виноград”（直译：葡萄还很青；意译：年轻人没经验).(Wang Fuxiang, Wu Hanying 2014) When translating literature, translators often need to learn cultural background knowledge, replace the image in the original idiom, and then convey it to Chinese readers.&lt;br /&gt;
Crows are a very common animal, usually black and gray. The description of crows in Chinese idioms is &amp;quot;the crows in the world are generally black（天下乌鸦一般黑）&amp;quot;. It can be seen that white crows are rare. However, &amp;quot;белая ворона&amp;quot; often appears in Russian literary works, as a metaphor for people who are different from the masses in terms of external characteristics or ideological qualities. In the Chinese and Russian concepts, the crow is a nasty animal. Although white crows are rare, this Russian idiom is usually derogatory, expressing disdain, contempt, or ridicule against the person. In Chinese, animal images are also used as a metaphor for &amp;quot;different people&amp;quot;, such as idioms that stand out from the crowd and phoenix feathers are rare. &amp;quot;Crane&amp;quot; and &amp;quot;phoenix&amp;quot; have always been regarded as precious and noble animals in traditional Chinese culture, so they cannot be compared with &amp;quot; Corresponding to &amp;quot;White Crow&amp;quot;, it is not suitable for translating &amp;quot;белая ворона&amp;quot;. Examples are as follows:&lt;br /&gt;
Он замкнулся, не вдается в разговоры — вот вам и белая ворона.（Сталин)&lt;br /&gt;
直译：他不与人交往，不与人交流，真是一只白乌鸦。&lt;br /&gt;
意译：他不与人交往，不与人交流，真是与众不同。&lt;br /&gt;
Боишься, что они среди нас белой вороной окажется. Недосягаемым экземпляром.(Кожевников В “Корни и крона”)&lt;br /&gt;
直译：你是担心他们会变成我们中间的白乌鸦，一个无法达到的例子。&lt;br /&gt;
意译：你是担心他们会变成我们中间标新立异，望尘莫及的人。&lt;br /&gt;
Most Chinese who come into contact with Russian are students majoring in Russian. The Russian idioms we usually encounter appear in textbooks. These idioms are often used by the Russian public and are easily understood and accepted by the Chinese. E.g:&lt;br /&gt;
&lt;br /&gt;
В Тулу со свим самоваром не ездят.&lt;br /&gt;
直译：去图拉不用带自己的茶炊。&lt;br /&gt;
意译：多此一举&lt;br /&gt;
&lt;br /&gt;
Честь лучше бесчестья.&lt;br /&gt;
直译：尊重比不尊重好。&lt;br /&gt;
意译：礼多人不怪。&lt;br /&gt;
&lt;br /&gt;
словно горя с плеч&lt;br /&gt;
直译：把山从肩膀下卸下&lt;br /&gt;
意译：如释重负&lt;br /&gt;
&lt;br /&gt;
выеденного яйца не стоит&lt;br /&gt;
直译：一个空蛋壳不值钱&lt;br /&gt;
意译：鸡毛蒜皮，一文不值&lt;br /&gt;
&lt;br /&gt;
чужими руками жар загребать&lt;br /&gt;
直译：用别人的手将红炭火拨成一堆&lt;br /&gt;
意译：坐享其成，不劳而获&lt;br /&gt;
&lt;br /&gt;
ни рыба, ни мясо&lt;br /&gt;
直译：没有鱼也没有肉&lt;br /&gt;
意译：不三不四，不伦不类&lt;br /&gt;
&lt;br /&gt;
лучше синица в руках, чем журавль в небе&lt;br /&gt;
直译：天上的仙鹤不如手中的山雀&lt;br /&gt;
意译：远亲不如近邻&lt;br /&gt;
&lt;br /&gt;
На языке мед, а под лед&lt;br /&gt;
直译：嘴上甜得像蜂蜜，心里冷得像冰&lt;br /&gt;
意译：笑里藏刀&lt;br /&gt;
&lt;br /&gt;
И на солнце есть пятна&lt;br /&gt;
直译：太阳上也有黑点&lt;br /&gt;
意译：人无完人&lt;br /&gt;
&lt;br /&gt;
семь раз отмерь, один раз отрежь&lt;br /&gt;
直译：测量了七次后再剪裁&lt;br /&gt;
意译：三思而后行(Wang Fuxiang, Wu Hanying 2014)&lt;br /&gt;
&lt;br /&gt;
Using free translation to translate Russian idioms requires the translator to accurately understand the meaning of the original text, because cultural differences make it impossible to literally translate. Only through the translator can an unobstructed bridge between Russian idioms and Chinese idioms be built.&lt;br /&gt;
&lt;br /&gt;
=== The application of literal translation and free translation in the Chinese translation of Russian proverbs ===&lt;br /&gt;
&lt;br /&gt;
There are often multiple translations of the same Russian proverb in Russian-Chinese dictionaries. On the one hand, because the translator uses different translation methods; on the other hand, because Russian proverbs have very rich connotations, a translation cannot perfectly interpret the inner meaning of the proverb. According to the context and the connotation of the proverbs, the most commonly used methods of Chinese translation of Russian proverbs are literal translation and free translation.(Feng Yongmei 1999,98)&lt;br /&gt;
&lt;br /&gt;
=== Literal translation ===&lt;br /&gt;
&lt;br /&gt;
In Russian and Chinese languages, some proverbs not only have the same meaning or implicit meaning, but also use the same or similar figurative images to express a certain kind of the same semantics, and they are completely consistent in content and form. In this case, the equivalent translation of synonymous Chinese proverbs can convey the information contained in the original image, which not only retains the rhetorical color of the original language, but also enables the reader to perfectly understand the original text. E.g:&lt;br /&gt;
&lt;br /&gt;
In Russian and Chinese languages, some proverbs not only have the same meaning or implicit meaning, but also use the same or similar figurative images to express a certain kind of the same semantics, and they are completely consistent in content and form. In this case, the equivalent translation of synonymous Chinese proverbs can convey the information contained in the original image, which not only retains the rhetorical color of the original language, but also enables the reader to perfectly understand the original text. The other situation is the experience that the Russians summed up in their long labor and life, which has evolved into a proverb, but the Chinese have not summed up this experience, so translating Russian proverbs into Chinese literally, Chinese people can understand them at a glance and increase their knowledge of the world. E.g:&lt;br /&gt;
&lt;br /&gt;
Беда не приходит одна. 祸不单行。&lt;br /&gt;
&lt;br /&gt;
Век живи, век учись. 活到老，学到老。&lt;br /&gt;
&lt;br /&gt;
Выше встанешь, дальше увидишь. 站得高，看得远。&lt;br /&gt;
&lt;br /&gt;
Лучше один раз увидеть, чем сто раз услышать. 百闻不如一见。&lt;br /&gt;
&lt;br /&gt;
Береги платье снову, а честь смолоду. 衣服要从新的时候爱惜，荣誉要从年轻时珍惜。&lt;br /&gt;
&lt;br /&gt;
Выше лба уши не растут. 耳朵高不过额头。&lt;br /&gt;
&lt;br /&gt;
Для милого друга семь верст не околица. 为了好友，多绕七里也不嫌远。&lt;br /&gt;
&lt;br /&gt;
Лучше умереть стоя, чем жить на коленях. 宁愿站着死，绝不站着生。&lt;br /&gt;
&lt;br /&gt;
Не имей сто рублей, а имей сто друзей. 宁要一百个朋友，不要一百个卢布。&lt;br /&gt;
&lt;br /&gt;
По одежке встречают, по уму провожают. 迎客时看衣，送客时看才智。(Jia Sufen 1996)&lt;br /&gt;
&lt;br /&gt;
There is another situation where the literal translation method can be used. Although the image in Russian proverbs is different from the commonly used images in Chinese, it is also easy to understand. For example, &amp;quot;Молодец против овец, а против молодца — сам овца.&amp;quot; In fact, this proverb can be paraphrased as &amp;quot;欺软怕硬 &amp;quot;, but in this way the translation discards the lively literal meaning of the original text. On the other hand, it is literally translated as &amp;quot;见到绵羊充好汉，碰到好汉成绵羊&amp;quot; , on the basis of retaining the original image, readers can easily understand the meaning of the original proverb. Another example is &amp;quot;Заяц от лисицы, а лягушка от зайца бежит. &amp;quot; can be translated as &amp;quot;一物降一物&amp;quot;, but the image in the original text was completely abandoned, if it is literally translated as &amp;quot;one thing drops one thing &amp;quot;狐惊兔，兔惊蛙&amp;quot;, this kind of translation is not only simple and clear, but also in line with the aesthetics of Chinese proverbs. In general, the literal translation not only retains the symmetrical rhetorical techniques in the original sentence, but also retains the symmetrical beauty of the original sentence structure. It not only conforms to the aesthetic characteristics of the original Russian text, but also shows the beauty of phonology and structure in Chinese.(Jia Sufen 1996)&lt;br /&gt;
&lt;br /&gt;
The translation of Russian proverbs by literal translation not only maintains the original language, but also transplants the unique image language of Russian proverbs into Chinese, which not only expands the horizons of Chinese readers, but also enriches the way of expression in Chinese.&lt;br /&gt;
&lt;br /&gt;
=== Free translation ===&lt;br /&gt;
&lt;br /&gt;
Due to the influence of cultural factors, many Russian and Chinese proverbs expressing the same semantics use different metaphors. Some Russian proverbs are difficult to retain the original image in the process of translation into Chinese. If literally translated according to the original image, due to the different national and cultural backgrounds of China and Russia, the translation is difficult to be accepted by the Chinese, and even misunderstood may occur. In order to accurately convey the meaning of the original text to readers, we can readjust the structure of the original text on the basis of a correct understanding of the meaning of the original text, and use standard Chinese expressions to reproduce Russian proverbs to avoid ambiguity and misunderstanding.&lt;br /&gt;
&lt;br /&gt;
There are some elements used in proverbs that foreigners cannot understand. For example, the Russian proverb &amp;quot;В огороде бузина, а в Киеве дядька.&amp;quot; is literally translated as &amp;quot;菜园里长接骨木，而基辅里住叔叔&amp;quot;, which cannot be understood by the Chinese. The four elements “огород” “бузина” “Киева” “дядька”, which contained in this proverb are completely unrelated. In fact, this proverb means that there is no logical relationship between what someone says, and the translator can directly paraphrase it as &amp;quot;胡说八道&amp;quot;, &amp;quot;前言不搭后语&amp;quot; or more easily understood &amp;quot;满嘴跑火车&amp;quot;. Another example is &amp;quot;На воре шапка горит.&amp;quot; literally means &amp;quot;the hat on the thief's head is on fire&amp;quot;. In fact, this proverb originated from a short story in the Kievan Rus period: someone’s money bag disappeared and he shouted &amp;quot;Catch the thief&amp;quot;, but no one knew where the thief was. This man had an idea and shouted, &amp;quot;The thief's hat is on fire.&amp;quot; After hearing this, the thief touched his hat unconsciously and exposed himself. Therefore, &amp;quot;На воре шапка горит.&amp;quot; can be paraphrased as &amp;quot;不打自招&amp;quot; or &amp;quot;做贼心虚.&amp;quot;(Jia Sufen 1996)&lt;br /&gt;
&lt;br /&gt;
Есть несколько русских пословиц, которые больше подходят для вольного перевода:&lt;br /&gt;
&lt;br /&gt;
От труда- радость, от безделья- усталость.&lt;br /&gt;
直译：快乐从劳动中来，疲劳从闲散中来。&lt;br /&gt;
意译：劳动使人快乐。&lt;br /&gt;
&lt;br /&gt;
Баба с возу- кобыле легче.&lt;br /&gt;
直译：农妇下了车，马儿就轻松。&lt;br /&gt;
意译：求之不得&lt;br /&gt;
&lt;br /&gt;
Герой не моего романа.&lt;br /&gt;
直译：不是我小说中的主人公。&lt;br /&gt;
意译：不是我的意中人。&lt;br /&gt;
&lt;br /&gt;
Терпенье (ученье\уменье) и труд всё перетрут.&lt;br /&gt;
直译：耐心和勤劳能克服一切。&lt;br /&gt;
意译：锲而不舍，金石可镂（只要功夫深，铁杵磨成针）。&lt;br /&gt;
&lt;br /&gt;
Чтобы узнать человека, надо с ним пуд соль съесть.&lt;br /&gt;
直译：想要了解一个人，应该和他吃一普特盐。&lt;br /&gt;
意译：日久见人心。&lt;br /&gt;
&lt;br /&gt;
Посади свинью за стол — она и ноги на стол.&lt;br /&gt;
直译：让猪入席，它会把爪子也伸上来。&lt;br /&gt;
意译：得寸进尺。&lt;br /&gt;
&lt;br /&gt;
Черного кобеля не отмоешь добела.&lt;br /&gt;
直译：黑色的狗洗不白。&lt;br /&gt;
意译：本性难改。&lt;br /&gt;
&lt;br /&gt;
Конь о четырех ногах, да спотыкается.&lt;br /&gt;
直译：马有四条腿，也会摔倒。&lt;br /&gt;
意译：聪明一世，糊涂一时。&lt;br /&gt;
&lt;br /&gt;
За что купил, за то и продаю.&lt;br /&gt;
直译：怎么买来，怎么卖出。&lt;br /&gt;
意译：人云亦云。&lt;br /&gt;
&lt;br /&gt;
Обжегшись на молоке, дуешь на воду.&lt;br /&gt;
直译：一旦被牛奶烫，喝水也要吹一吹。&lt;br /&gt;
意译：一种被蛇咬，十年怕井绳。(Jia Sufen 1996)&lt;br /&gt;
&lt;br /&gt;
=== Conclusion ===&lt;br /&gt;
 &lt;br /&gt;
In the process of translation, translators often feel that there are a lot of contradictions and differences between the two languages in terms of lexical structure, syntactic structure, expression methods and metaphors. In many cases, translators understand the original meaning but do not know how to express it in the target language, which leads to the debate about which is better, literal translation or free translation. When translators translate works that are more contradictory between bilinguals, translators often use free translation methods. When translating works that are consistent or have more common points than contradictions or conflicts between bilinguals, translators tend to choose literal translation .&lt;br /&gt;
&lt;br /&gt;
In fact, the relationship between literal translation and free translation is interdependent and inseparable. Therefore, when we translate an article or a book, it is not feasible to translate every sentence literally or freely. Only when the translator cleverly arranges the alternation of the two can it be possible to translate a better translation. When we comment on literal translation and free translation, we should consider the effects of the division of labor and cooperation between the two, and should not one-sidedly understand the advantages and disadvantages of literal translation and meaning.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
=== References ===&lt;br /&gt;
&lt;br /&gt;
*Cai Yi, Duan Jinghua. 蔡毅，段京华. (2000). 苏联翻译理论. [Soviet Translation Theory]. 武汉: 湖北教育出版社[Wuhan: Hubei Education Press].&lt;br /&gt;
*Feng Shize. 冯世则. (1981). 直译、意译、逐字译. [Literal Translation, Free Translation, Verbatim Translation]. 中国翻译[Chinese Translators Journal] 7-10.&lt;br /&gt;
*Feng Shujian. 冯树鉴. (1993). 意译与直译笔谈. [Written Free Translation and Literal Translation]. 外语学刊[Foreign Language Research] 43-47.&lt;br /&gt;
*Feng Yongmei. 冯咏梅. (1999). 浅谈俄语成语翻译中民族文化特色的保留. [On the Preservation of National Cultural Characteristics in Russian Idiom Translation]. 解放军外国语学院学报[Journal of PLA Foreign Languages University] 97-100.&lt;br /&gt;
*Gong Linjing. 宫琳菁. (2015). 直译与意译——中国近现代代表人物观点之概述. [Literal Translation and Free Translation: An Overview of the Viewpoints of Representatives in Modern China]. 赤峰学院学报（汉文哲学社会科学版）[Journal of Chifeng University (Soc.Sci)] 192-193.&lt;br /&gt;
*Hu Guming, Shen Man. 胡谷明, 沈曼. (2011). 汉俄翻译中文化空缺词汇的翻译策略.[The Translation Strategies of Cultural Vacancies in Chinese-Russian Translation]. 中国俄语教学[Russian in China] 17-21.&lt;br /&gt;
*Jia Shufen. 贾淑芬. (1996). 简明俄汉谚语词典. [Concise Russian-Chinese Proverbs Dictionary]. 沈阳: 辽宁大学出版社[Shenyang: Liaoning University Publishing House].&lt;br /&gt;
*Li Quan’an. 李全安. (1990). 直译与意译之争是一场什么样的争论. [What kind of controversy is the dispute between literal translation and free translation]. 中国翻译[Chinese Translators Journal] 18-22.&lt;br /&gt;
*Tan Zaixi. 谭载喜. (1999). 中西译论的相似性.[Similarities between Chinese and Western Translation Theories]. 中国翻译[Chinese Translators Journal] 25-28.&lt;br /&gt;
*Wang Fuxiang, Wu Hanying. 王福祥,吴汉樱. (2014). 东方大学俄语系列：迷你俄语成语词典. [Oriental University Russian Series: Mini Dictionary of Russian Idioms]. 外语教学与研究出版社[Foreign Language Teaching and Research Press]&lt;br /&gt;
*Wang Zhuang. 王转. (1996). 直译与意译漫谈. [On Literal Translation and Free Translation]. 湖南教育学院学报[Journal of Educational Institute] 55-60.&lt;br /&gt;
*Xie Yuncai. 谢云才. (2002). 俄罗斯翻译理论的语言学派与文艺学派——两派文学翻译理论对比分析. [Linguistic Schools and Literary Schools of Russian Translation Theory: A Comparative Analysis of the Two Schools of Literary Translation Theories]. 外语学刊[Foreign Language Research] 97-101.&lt;br /&gt;
*Yang Shizhang. 杨仕章. (2002). 俄语现代翻译理论之概述. [An Overview of Russian Modern Translation Theory]. 解放军外国语学院学报[Journal of PLA Foreign Languages University] 62-65.&lt;br /&gt;
*Zhang Yi. 张艺. (2010). 从目的论看直译与意译之争. [The Controversy between Literal Translation and Free Translation from Skopos Theory]. 海外英语[Overseas English] 189-190.&lt;br /&gt;
*Zhou Changyu. 周长雨. (2010). 俄语谚语的翻译方法. [How to translate Russian proverbs]. 俄语学习[Russian Learning] 33-36.&lt;br /&gt;
&lt;br /&gt;
==Dialectical thinking in arguments between literal translation and free translation 	甘奉玉	Gan Fengyu  202070080584 英语笔译==&lt;br /&gt;
&lt;br /&gt;
===Abstract===&lt;br /&gt;
As two methods of translation, how to use literal translation and free translation has always been the focus of debate between Chinese and Western translation circles. Through the study of translation methods of literal translation and free translation at home and abroad, we can know that to some extent literal translation and free translation are two relative conceptions, so there will be word-for-word translation, that is, dead translation, and excessive free translation. However, these two are only two extremes of literal translation and free translation. In fact, although there are differences in definitions and application fields between literal translation and free translation, they are unified in common translation purpose, translation procedure and translation standard. Therefore, the two are contradictory and unified in translation activities. This is also the profound embodiment of the unity of opposites in materialist dialectics.&lt;br /&gt;
&lt;br /&gt;
===Key words===&lt;br /&gt;
literal translation, free translation, word-for-word translation, over free translation, unity of opposites&lt;br /&gt;
&lt;br /&gt;
===摘要===&lt;br /&gt;
作为翻译方法，直译(literal translation)与意译(free translation)怎样使用的问题一直是一个争论中西方翻译界不休的焦点。通过对国内外直译与意译的翻译方法的研究，我们可以得知，从某种程度而言，直译与意译是两个相对的概念, 所以才会有逐字翻译，即死译，与过度意译这两个完全对立的概念。但是，这两者只不过是直译与意译的两个极端点。其实，直译和意译虽然在概念定义，适用范围上有所差异，但却又统一于共同的翻译目的、翻译过程和翻译标准中。所以两者在翻译活动中应该是既对立又统一的矛盾体。而这也正是唯物辩证法中的对立统一矛盾观的深刻体现.&lt;br /&gt;
&lt;br /&gt;
===关键字===&lt;br /&gt;
直译； 意译； 死译； 过度意译； 对立统一&lt;br /&gt;
&lt;br /&gt;
===Introduction===&lt;br /&gt;
Throughout the translation history at home and abroad, the literal translation and free translation have always been a heat discussion in the translation circles. Someone absolutely approve literal translation and demean free translation, even pursue a dead translation, which creates an translated text difficult to understand. While some other people absolutely agree with free translation even advocate random acts, which means a random deletion in the translation practices and creates anther entirely different text. However, there are also a number of translators who have recognized that these two translation methods are not totally opposite. So they adopt a compromise and flexible way. That means they will choose the most appropriate one depending on the text demanding. Therefore, we can deduce from it that this eclectic translation is consistent with the Contradiction view of Unity of Opposite in Materialist Dialectics. In fact, literal translation and free translation are right a set of contradictions which are both opposite and unified. They complement each other into an integral one.&lt;br /&gt;
&lt;br /&gt;
The dispute between free translation and literal translation in Chinese translation circles first appeared in the dispute of &amp;quot;text&amp;quot; and &amp;quot;quality&amp;quot; in the Eastern Han Dynasty. During this period, Shi Dao-an, a senior monk in the Eastern Jin Dynasty, advocated literal translation and put forward that the translation should not be added or deleted but only make some adjustments to the word order. In the post-Qin period opposed to the Eastern Jin Dynasty, the monk Hatoyama advocated that the Buddhist scriptures should be translated freely. That is, the original text should be changed to adapt to the Chinese style. Subsequently, Xuanzang, a senior monk of the Tang Dynasty, drew lessons from their former translation achievements and put forward that both seeking truth and vulgarity. (Chen Fukang 2011, 14-38)That is, literal translation should be combined with free translation, not only one of them. At that time, some translators have noticed that literal translation and free translation are not completely opposite. After that, in modern times from the Opium War to the May 4th Movement, since Yan Fu has put forward the translation standard of faith, smoothness and elegance,  Lu Xun and Qu Qiubai ignited the dispute on faith and smoothness. Lu Xun is a typical literal translation school. He insists that faith first and smoothness second even tolerates incoherence. He adopts the method of dead translation and absolute translation. While Qu Qiubai believes that faith and smoothness are not opposed. From the New culture Movement(from 1915-1923) to the 1980s, Mao Dun also put forward that literal translation doesn't mean word-for-word translation without any addition or deletion. Since the reform and opening up, Xu Yuanchong has said that literal translation should be faithful to the original content first then to the original form and last to the smooth translated text. On the other hand, while free translation should be faithful to the original text first then to the smooth translated text and last to the original form. Therefore, although there are differences in translation methods between literal translation and free translation, their ultimate goal is to be faithful to the original content and express the original meaning.（Chen Fukang 2011, 288-333）&lt;br /&gt;
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Since Cicero, the first translation theorist in ancient China, put forward that avoid word-by-word translation as a speaker, the dispute between literal translation and free translation began to appear in the West. In ancient times, Perot insisted on dead translation in the translation of the Bible, which caused the translation quality to be too low. Poitius in the Middle Ages also advocated word-by-word translation and strict formal correspondence. In modern times, French translator Abulangour aimed to cater to readers in a way of over-free translation and arbitrary deletion. Even so, there are many translation theorists in the western translation world who advocated  eclectic and flexible translation. For example, in ancient times, Jerome advocated the flexible principle to apply in literary translation and religious translation differently. During the Renaissance, French Amyot emphasized the dialectical unity of content and form, free translation and literal translation. Moreover, some translators did not exercise their own translation ideas. During the Renaissance, Reichlin was one of them. Although he advocated word-by-word translation, he abandoned word-by-word translation in practice. This can also further explain that absolute promotion of literal translation or free translation is not a desirable translation method. In translation practice, we must take a suitable degree between the two in the way of combining literal translation and free translation at the same time to better serve for the target readers.(Tan Zaixi 2004, 5-15 )&lt;br /&gt;
&lt;br /&gt;
The purpose of this paper is to explore the dialectical thinking contained in the dispute between literal translation and free translation, that is, the viewpoint of unity of opposites. The first chapter is about the word-for-word translation, and the second chapter is about the over-free translation. From this, we can draw a conclusion that it is not advisable to regard literal translation and free translation as absolute opposites. The third chapter is about the eclectic translation, which is the correct method for us to learn and adopt. It is also a dialectical translation method that follows the view of unity of opposites. The fourth chapter will analyze the differences between literal translation and free translation. Then the fifth chapter focuses on the unity of literal translation and free translation in translation goals, translation procedures and translation standards. Through the discussion of the whole article, we can clearly see the unity of opposites between literal translation and free translation and draw a conclusion that we should apply dialectical translation in our translation practice and adopt the point of view of unity of opposites in translation theory. (He Lirong 2018, 40)&lt;br /&gt;
&lt;br /&gt;
===1.Dialectic thinking of the Unity of opposites===&lt;br /&gt;
The theory of unity of opposites is the core content of materialist dialectics theory. (Xu Guoliang 2020, 75) In the history of philosophy, the German philosopher Hegel first expounded the basic thought of contradiction theory from the standpoint of objective idealism. Later, Marx, Engels and Lenin critically absorbed Hegel's theory and developed contradiction theory into the core content of materialist dialectics theory. The theory of contradiction contains two basic problems, and one is the relationship between unity and opposition, while the other is the universality and particularity of contradiction, which involves a series of basic concepts of contradiction theory, such as basic contradiction and non-basic contradiction, fundamental contradiction and non-fundamental contradiction, principal contradiction and non-principal contradiction. Understanding these basic concepts and their relationship is the key to understand and grasp the contradiction theory completely and accurately and finally apply it to the practice of social life. (Yan Mengwei 2020, 41)&lt;br /&gt;
&lt;br /&gt;
The problem of unity and opposition of contradiction is actually about the nature of contradiction. We always know things from comparison. The so-called comparison is to find the similarities and differences between two things. The former is called unity and the latter is called opposition. The unity is relative and the opposition is absolute. It is worth emphasizing that the opposition of contradictions plays a key and decisive role in development, because development comes from the unity of opposites. This means that unity and opposition are two indispensable elements in the process of development. They complement and interact with each other.&lt;br /&gt;
&lt;br /&gt;
Literal translation and free translation are such a pair of contradictions. The opposition of the two is reflected in the absolute opposition between word-for-word translation and over-free translation. There are differences in their definition and application and similarities in their translation goals, procedures and standards.(Yang Ying 2019,161)&lt;br /&gt;
&lt;br /&gt;
===2.Word-for-word translation===&lt;br /&gt;
Literal translation is a method that not only maintains the original content, but also the original form. (Xu Yuanchong 1996,92) Fu Sinian and Zheng Zhenduo all advocate literal translation. In the history of modern Chinese translation, Lu Xun and his younger brother Zhou Zuoren's work of The Collection of Extraterritorial Fiction is regarded as the representatives of literal translation.&lt;br /&gt;
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In particular, literal translation is neither dead translation nor a mechanical verbatim translation. Because English and Chinese have different structures, it is impossible to translate word by word. From the perspective of linguistics, the biggest difference between them is that Chinese is parataxis while English is  hypotaxis. (Zhu Xiaojia 2008, 1)That is to say, in Chinese, a sentence is usually short with little modifier and connected words, while in English, several meanings can be expressed with complicated structure with assorted clauses and connected words into only a sentence.&lt;br /&gt;
&lt;br /&gt;
Besides, the English is a more static language in which nouns and adjective are always used, but the Chinese more dynamic one, verbs are more active. Finally, the former has a systematic grammar but the latter seems freely arranged.(Cao Huoqun 2005, 40)&lt;br /&gt;
&lt;br /&gt;
So, when we do some translating exercise, we should focus on their grammar structure to deal well. When the structure of the original text is inconsistent with that of the target language, continuing word-for-word translation will lead to formalism. Such a translated text is not intelligible for reader. That is to say, literal translation must be readable without any misunderstanding or violation of expression.&lt;br /&gt;
&lt;br /&gt;
===3.Over free translation===&lt;br /&gt;
Free translation refers to the method that maintains original content rather than original form. In the process of translation, in order to make the language clear and persuasive, the translator must try to conform to the language customs of target texts rather than adhere to the expressive pattern of the original work. Zhao Jingshen put forward that it is better to be smooth with some disloyalty instead of absolute loyalty. Obviously, Mr. Zhao Jingshen is in favor of free translation, and so does Mr. Yan Fu. Many of Yan Fu's classical works have adopted free translation, such as the Theory of Heaven is a typical example of free translation.&lt;br /&gt;
&lt;br /&gt;
When we translate from English to Chinese, especially some idioms that are in closer ties with western culture, we have to move or change these cultural barriers so that Chinese readers could understand easily. It is also true when translating Chinese into English. Under this condition, free translation will be more suitable and effective.&lt;br /&gt;
&lt;br /&gt;
However, free translation does not mean random translation. The latter means making up translated sentence by subjective imagination without analyzing the structure of the original text. It is also known as over-free translation. (Wu Shuang 2018, 107) In fact, when we translate, we must master the thought and style of the original and regard them as corresponding one of the target language. In addition, the theory, fact and logic of the original work should also be corresponding in the target language. We can not replace these features of the original with our personal thoughts, styles, facts, theories and logic. Only in this way can the contents not be changed after translation.&lt;br /&gt;
&lt;br /&gt;
===4.Dialectic translation===&lt;br /&gt;
Feng Qinghua put forward in the book of A Practical Translation Course that the so-called literal translation is a kind of translation method to maintain both the original content and the original form. If there are same language form and expressive effect between original and target text, we should adopt literal translation to deliver the same contents. While the so-called free translation is a method to keep the original content and style only not the original form. So if there are different language forms and expressive effects between the two texts, we should adopt free translation mostly. (Feng Qinghua 1997, 12)&lt;br /&gt;
&lt;br /&gt;
Therefore, Literal translation and free translation have their own advantages and restrictions. The former is beneficial to the transplantation of culture, while the latter can avoid obscurity in literal translation.  &lt;br /&gt;
&lt;br /&gt;
If in literal translation, we will translate the sentence “mashing a mirror is no way to make an ugly person beautiful, nor is it a way to make social problem evaporate” into “砸镜子不能使丑八怪变漂亮，也不能使社会问题烟消云散”, while if in free translation, we can turn it into “砸镜子并不能解决实际问题”. (Fan Zhongying 1994, 22) We can see the latter one is more concise and comprehensive to express the connotative meaning. While although the former are totally literal translation, we still feel it terrible. &lt;br /&gt;
&lt;br /&gt;
So, a translator should use these two translation strategies according to the actual situation to express the surface structure and deep meaning of the original text. The use of literal or free translation depends on the rules of both English and Chinese. In translation, if we can not directly adopt the structure and expression form of the original work, we must change the sentence structure and expressive way to convey the connotation of the original work. An excellent translated text is realized neither by simple literal translation nor by simple free translation but by the combination of two. In another word, we should adopt dialectic translation in our practice.&lt;br /&gt;
&lt;br /&gt;
===5.Opposition and unity between literal translatiuon and free translation===&lt;br /&gt;
&lt;br /&gt;
===5.1 Opposition===&lt;br /&gt;
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===5.1.1 Opposition in definition===&lt;br /&gt;
Qiao Zengrui defines literal translation in Chapter 4 of Translation Theory as a method that the translation deliberately retains the original form to maintain the content and style of the original. At the same time, He also defines free translation as a method that keep the original content and style by use of the same or similar expression as the original text in the target language regardless of the two different languages. The first one regards form as the only way, content and style as target, while the second directly takes no account of form. With this regard, the two totally opposite in definition.(Qiao Zengrui 2000,263)&lt;br /&gt;
&lt;br /&gt;
===5.1.2 Opposition in application fileld===&lt;br /&gt;
Generally speaking, literal translation is generally used to translate some political books, laws, treaties and scientific and technological documents, terms, idioms, and some simple sentences. (Wu Shuang 2018,178) The early translation of Buddhist scriptures of early Chinese generally followed this theory. So do the Marxism-Leninism works and Mao Zedong works. For example, “纸老虎” can only be translated as “paper tiger” but not “scarecrow”. The latter one was corrected by Mao Zedong when the interpreter translated it into “scarecrow”. President Mao emphasized that this word had two characteristics and if translated into scarecrow, it will lose duality. Because “纸老虎” in China means imperialism and reactionary, which seems terrible but no great power in it. Since it was made of paper, this tiger became soft in the damp and washed away when it rained. While scarecrow can scare away children and birds. So paper tiger is better than scarecrow.&lt;br /&gt;
&lt;br /&gt;
In the process of translation, there are many situations that literal translation can not be used, so we must adopt the method of free translation, especially the translation of literary works. (Wu Shuang, 2018, 178)On the one hand, there are many common traditional Chinese words that reflect the unique cultural concepts and cultural phenomena of our country, which can't translate directly into corresponding words in English. For instance, if we translate&amp;quot;初生牛犊不怕虎&amp;quot; into &amp;quot;A new born calf is not afraid of a tiger&amp;quot;, then our target readers in English-speaking countries may find it difficult to understand the substance of the literal meaning. ( Yang Yin 2019, 161)So here “The more wit, the less courage” will be better. On the other hand, some certain maxims, idioms and puns in English have no choice but to use free translation. (He Lirong 2018,43) For example&amp;quot; have a wolf in the stomach&amp;quot; means&amp;quot;饥肠辘辘&amp;quot; 饥饿难忍&amp;quot; rather than “肚子里有个豺狼”. Moreover, some exclusive English nouns should be free translated such as &amp;quot;the heel of Achilles&amp;quot; into&amp;quot;致命的弱点&amp;quot; instead of “阿克琉斯的脚后跟”.&lt;br /&gt;
&lt;br /&gt;
===5.2 Unity===&lt;br /&gt;
===5.2.1 Unity in translation goal===&lt;br /&gt;
In literal translation, loyalty to the original form should be put first, followed by loyalty to the original content and last pursuit of fluency and popularity in target language. In free translation, loyalty to the original content should be put first, then the fluency and popularity of the translation language are second, and the original form comes last. It can be seen that loyalty to the original content is the common purpose of literal translation and free translation.(Wu Shuang 2018, 108)&lt;br /&gt;
&lt;br /&gt;
The unity of literal translation and free translation is also reflected in the fact that the translation must be smooth and fluent and conform to the expressive habits of target language. If the translated text is obscure and unreadable without conformity to the habits of the target language and culture, the two translation strategies have not achieved the true unity, so the purpose of communication has not be achieved.&lt;br /&gt;
&lt;br /&gt;
Therefore, literal translation and free translation are two different translation methods used in translation. They are unified in the translation purpose to accurately and faithfully convey the original meaning and intention with the same form and spirit as original text.(He Lirong 2018, 41)&lt;br /&gt;
&lt;br /&gt;
===5.2.2 Unity in translation procedure===&lt;br /&gt;
The literal translation and free translation is unified in translation procedures. Both of them should conform to the following translation steps of understanding, expression and verification. &lt;br /&gt;
&lt;br /&gt;
Understanding is the first stage of translation process. It includes not only the understanding of language and cultural phenomena, but also logical relations. A translator should be good at analyzing ambiguous sentences and make correct judgment before translating. Expression is the process by which the translator reproduces the content of the original text into target language. Expression is the result of understanding, but understanding correctly does not mean expressing right. Therefore, we must learn many specific methods and techniques, such as literal translation, free translation, literal translation plus free translation, literal translation plus annotation, and so on. &lt;br /&gt;
The third stage is verification. In this stage, we must check the translation at least twice. In he first time, we should check whether there is any missing translation or wrong translation. And in the second time, we should check whether it's smooth and intelligible out of the original text.&lt;br /&gt;
&lt;br /&gt;
Whether literal translation or free translation, we must follow the three steps of understanding, expression and verification in translation practice. Understanding is the premise of expression, but understanding and expression are usually complementary and unified, which can not be separated completely. While understanding the original text, the translator also chooses the expressive way and further deepen his understanding.&lt;br /&gt;
&lt;br /&gt;
===5.2.3 Unity in translation standard===&lt;br /&gt;
On the establishment of translation standards, Chinese and foreign translation theorists in different historical periods put forward different views. In China, there are Ma Jianzhong's view of &amp;quot;good translation&amp;quot; on the basis of modern linguistic theory, Yan Fu's translation standards of &amp;quot;faith, smoothness, and elegance&amp;quot;, Chen Xiying's theory of “similarities in shape, meaning and spirit”, Lin Yutang's translation standards of “loyalty, smoothness and beauty”. In the West, there are Twelve Translation Principles of Bart, Three Principles of Tettler, Seven principles of Luther, and functional equivalence of Eugene. Nida and so on. All these translation standards are based on different social needs, translation contents, translation objects and  translation purposes.(He Lirong 2018, 42)&lt;br /&gt;
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No matter which translation standard, it is impossible to meet by only literal translation or only free translation. Therefore, the two translation methods are unified in any translation standard. So, they are inseparable unity of opposites.&lt;br /&gt;
&lt;br /&gt;
===6.Conclusion===&lt;br /&gt;
Literal translation and free translation are two different translation methods. Although they are different in conceptual definition and applicable field, in order to achieve a unified translation standard and achieve a common translation purpose, they both follow the same three steps of understanding, expression and verification. &lt;br /&gt;
&lt;br /&gt;
In the process of translation, if the target text has the same form and style as the original text, it can be translated literally. If there are different form and style, it should be translated freely. When the structure of the original text is inconsistent with that of the target language, sticking to word-for-word translation will cause stiff translation difficult to understand. In the same way, making up sentences through subjective assumption according to the literal meaning without analysis of original text will cause random translation disloyalty to the original one. &lt;br /&gt;
&lt;br /&gt;
Therefore, we can conclude that we should treat literal translation and free translation with a dialectical way and use these two translation methods flexibly to create wonderful translations in our concrete translation practice.&lt;br /&gt;
&lt;br /&gt;
===Bibliography===&lt;br /&gt;
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Siyu Zou. (2017). Dialectical Relationship between Translation Theory and Practice[P]. Proceedings of the 7th International Conference on Education, Management, Information and Mechanical Engineering (EMIM 2017).&lt;br /&gt;
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Chen Fukang 陈福康. (2011). 中国译学史 [History of translation studies in China]. Shanghai: Shanghai Foreign Language Press.&lt;br /&gt;
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Cao Huoqun 曹火群. (2005). 翻译中的辩证关系 [Dialectic relationships in translation]. 孝感学院学报 Journal of Xiaogan University (05) 39-43.&lt;br /&gt;
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Feng Qinghua 冯庆华. (2002). 实用翻译教程 [Practical translation course]. Shanghai：Shanghai Foreign Language Education Press.&lt;br /&gt;
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Fan Zhongying 范仲英. (1994). 实用翻译教程 [Practical Translation Course]. Beijing:Foreign Language Teaching and Research Press.&lt;br /&gt;
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He Lirong 何历蓉. (2018). 论“直译与意译”在英汉翻译中的对立与统一 [On the opposition and unity of literal translation and Free Translation in English-Chinese translation]. 宿州教育学院学报 journal of suzhou education institute 21(04):40-43.&lt;br /&gt;
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Qiao zengrui 乔曾锐. (2000). 译论—翻译经验与翻译艺术的评论和探讨 [Translation theory: A review of translation experience and the art of translation]. Beijing: China Industry and Commerce Joint Press.&lt;br /&gt;
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Tan Zaixi 谭载喜. (2004). 西方翻译简史 [A Brief History of Western translation]. Beijing：Commercial press.&lt;br /&gt;
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Wu Shuang 吴爽. (2018). 翻译的最高境界—直译与意译的完美统一[The highest level of translation - the perfect unity of literal translation and free translation].现代交际 Modern communication (08):107-108.&lt;br /&gt;
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Xu Guoliang 徐国亮. (2020). 对立统一：唯物辩证法的核心与列宁的发展 [Unity of opposites: The Core of Materialist Dialectics and The development of Lenin]. 中共中央党校（国家行政学院）学报 Journal of Party School of the CPC Central Committee (National Academy of Governance) 24(05):75-83.&lt;br /&gt;
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Xu Yuanchong 许渊冲. (1980). 直译与意译 [literal translation and free translation]. Journal of Foreign Languages (6).&lt;br /&gt;
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Xu Yuanchong 许渊冲. (1996). 译家之言 [The Word of the Translator].出版广角 View on Publishing(6):92-94.&lt;br /&gt;
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Yan Mengwei 阎孟伟. (2020). 关于唯物辩证法矛盾学说的几个基本问题 [Some basic questions about the contradiction theory of materialist dialectics]. 思想理论教育导刊 Journal of ideological and theoretical education (08):40-47.&lt;br /&gt;
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Yang Yin 杨颖. (2019).  浅谈直译与意译的动态统一 [On the dynamic unity of literal translation and free translation]. 海外英语 Overseas English (17):160-161.&lt;br /&gt;
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Zhu Xiaojia 朱晓嘉. (2008). 形合、意合的辩证观与翻译策略 [Dialectic thinking and Translation strategies of hypotaxis and Parataxis]. Nanjing: Nanjing Normal University.&lt;br /&gt;
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== Peter Newmark’s Improved Views on Literal Translation and Free Translation 赵茜 Zhao Xi,202070080627==&lt;br /&gt;
===Abstract===&lt;br /&gt;
The dispute over the two basic translation methods, literal translation and free translation, has never stopped since ancient times. In view of the basic problem of his argument, Peter Newmark, an English translation theorist divides the various translation methods into eight, points out that different translation methods should be taken according to different text characteristics and puts forward with semantic translation and communicative translation bases on years of translation researches. Semantic translation focuses on maintaining the content of the original text, while communicative translation emphasizes the effect of the translation. The author of this paper expresses some views on literal translation and free translation. Peter Newmark's theory has taken a big step forward from the fragmented and one-sided view of literal translation and free translation in the past, which has brought people out of the struggle between them and made people see the direction of further development of translation research.&lt;br /&gt;
&lt;br /&gt;
===Key words=== &lt;br /&gt;
Free translation, Literal translation, Peter Newmark, Semantic translation, Communicative translation&lt;br /&gt;
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===摘要===&lt;br /&gt;
直译与意译这两种翻译基本方法之争从古至今从未停止过。针对其争论的基本问题，英国翻译理论家彼得·纽马克把各种翻译方法分成了八种，指出应根据不同的文本特点釆取不同的翻译方法，并在多年翻译研究的基础上提出了语义翻译和交际翻译。语义翻译重点在强调保持原文的内容，而交际翻译更多强调的是译文的效果。本文作者也提出了对直译和意译的一些看法。彼得·纽马克的理论把人们以往对直译、意译的零散的、片面的观点向前推进了一大步，使人们从直译、意译之争中走出来并看到翻译研究进一步发展的方向。&lt;br /&gt;
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===关键词===&lt;br /&gt;
直译, 意译, 彼得·纽马克, 语义翻译, 交际翻译&lt;br /&gt;
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===Introduction===&lt;br /&gt;
According to Chinese and western translation history, no matter in China or in western countries, studies on translation theories and practice have been performed over two thousand years. Translation, as an ancient and extremely significant human thinking activity, is closely related to the development of language itself. And translation after more than two thousand years of development, has developed prosperously, appearing quantities of translation theories, translation schools and translators. However, the dispute between two translation methods, literal translation and free translation has been lasting from throughout history. The fundamental problem between literal translation and free translation is based on the relationship between content and form. To solve this fundamental problem of the dispute, Peter Newmark first points out that translation studies have been long beset by the time-honored theoretical debate over free and literal translation. A range of wider aspects of translation related to the contribution to the development of languages, its relation to meaning, the intention of translation, the readers' background, the type of discourse and the language universals have been long neglected. Therefore, according to Newmark's own translation practice, he puts forward right translation methods, word-for-word translation, literal translation, faithful translation, semantic translation, adaption, free translation, idiomatic translation and communicative translation, which provide to translators to consider and use. Although in the actual translation practice, translators have no necessity to distinguish such translation methods and even to use these methods, this proposal may help translators open their horizons and translate more appropriately. Among the eight translation methods, semantic translation and communicative translation proposed by Newmark own the advantages of other six methods, becoming the most ideal translation methods. Peter Newmark's semantic translation and communicative translation are highly valued and influence the practice of translation in general. (Li Minghan 2014, 3)&lt;br /&gt;
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===Literal Translation and Free Translation===&lt;br /&gt;
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====Brief Introduction of Literal Translation and Free Translation====&lt;br /&gt;
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From ancient times, translators hold various attitudes toward such two translation methods, literal translation and free translation. &lt;br /&gt;
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=====Literal Translation=====&lt;br /&gt;
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Literal translation is a translation method which not only keeps the substance of the original, but also keeps the form of the original. This definition implies that the translation version is expressing the content of the original and should spare no efforts to make every part of the translation version corresponding to every part in the original text including construction of sentence, meaning of the original words, metaphor of the original and so on. &lt;br /&gt;
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According to Liu Zhongde, literal translation can be summarized into &amp;quot;to reproduce both the ideological content and style of the entire literary work and retain as much as possible the figures of speech&amp;quot;. (Liu Zhongde 1991, 52) &lt;br /&gt;
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Xu Yuanchong defines literal translation as &amp;quot;the kind of translation which is faithful not only to the content but also to the form of the original.&amp;quot; (Xu Yuanchong 1984, 45)&lt;br /&gt;
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Newmark suggests that literal translation is like, &amp;quot;sometimes it is very difficult to define what is literal translation, it is believed that a translation can be regarded as the literal translation when the translator is not influenced but the foreign flavors.&amp;quot;(Newmark 2001, 46) &lt;br /&gt;
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Mr. Yang Xianyi holds that the translators should be as faithful as possible to the original image and too much explanation and creativity should be avoided. This means translators should try to use literal translation method to introduce imagery in the source language to the target language readers. The reason why those translators who insist on literal translation are that they think literal translation is the only way to keep faithful to the original. They endeavor to adopt from as similarly as possible to the original to show the original meaning, thinking that it's the truest reflection of the original. (Wang Zuoliang 1989, 43)&lt;br /&gt;
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=====Free Translation=====&lt;br /&gt;
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Free translation is a translation method which only keeps the substance of the original, but not keeps the form the original. Target language and source language have different forms to show the same substance, and they could not produce the same result. Free translation does not mean to delete or add content to the original, though it does not pay much attention to the form of the original. Otherwise, the translation would not be faithful to the original. Translators always discover the meaning behind the forms in the source language and dose their best to produce the same meaning in the target language, using the forms and structures in the target language. Consequently, what is supposed to change is the form and the code, and what should remain unchanged is the meaning and the message. &lt;br /&gt;
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Shuttle worth and Cowie define free translation as &amp;quot;a type of translation in which more attention is paid to producing a natural target language than to preserving the source language wording intact.&amp;quot; (Shuttle worth&amp;amp;Cowie 2004, 62)&lt;br /&gt;
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Free translation is the conveying of the discourse meaning of the speaker is not restricted by the structure and linguistic and rhetoric styles of the original text. (Ren Wen 2012, 18)&lt;br /&gt;
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Liu Zhongde has given his definition to free translation. According to his definition, free translation aims at transmitting the meaning regardless of the sentence forms and rhetorical devices. If translators are not able to  make the translated text faithful to the original text through literal translation, they may use their own words to explain the meaning of the text without considering the words and forms in original text. (Liu Zhongde 1991, 53-54)&lt;br /&gt;
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====Disputes over Free Translation and Literal Translation====&lt;br /&gt;
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In the past, translators generally believed that language and thought were unified, and language was form while thought was content. However, it was impossible to realize the consistence between language forms and ideological content, producing the contradiction between form and content, which is the problem between literal translation and free translation. Modern science has proved that language and thought are not a unity and constitutes a relationship between form and content. Language is only a symbolic system to express thoughts. Translation expresses the same idea by using two different language signals. &lt;br /&gt;
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Marcus Tullius Cicero is generously acknowledged to be the first person to put forward a systematic description of the practice of translation and he said &amp;quot;I did not translate them as an interpreter, but as an orator... I did not hold it necessary to render word for word, but I preserve the general style and force of language.&amp;quot; (Tan Zaixi 2018, 20) He puts forward mainly two viewpoints. Firstly, the translation should be as close as possible to the language habits of the target language. At that time, namely, the translation should correspond with Roman habits as much as possible to touch and resonate with the readers. What's more, he advocates free translation and opposes literal translation as he believes that free translation is superior to literal translation. The most important thing in translation is not the corresponding in form, but the meaning and thought in the source language. Cecero's thoughts have provided a guide for other translators and produced an effect on them. Since Cicero came up with his opinion, the disputes over literal translation and free translation has never been stopped. &lt;br /&gt;
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Eugene Nida holds that if all languages differ in form, then quite naturally the forms must be changed if one is to preserve the content. He is in favor of dynamic equivalence instead of formal correspondence, maintaining the original meanings. In this sense, Nida agrees with free translation, just as he expresses that translating means translating meaning. (Nida 1985, 119-125)&lt;br /&gt;
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Zhai Qiubai insists literal translation and claims that the correct translation is based on Chinese syntax and rhetoric and has its specific intentions. First of all, he regards translation as a part of Proletarian literature. Translation should systematically introduce proletarian revolution thoughts to Chinese readers. Furthermore, translation should help create modern Chinese language and literal translation is an approach. To preserve the spirit in the original text, some non-smoothness can be tolerated. (Cheng Yongsheng 2002, 65) &lt;br /&gt;
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Lu Xun defines clearly that translation must take into account of two sides: one is easy to understand, the other maintains the style of the original. This explanation refers that the translators must translate according to the original text rather than their own world view and aesthetic taste. The translators must try their best to maintain the style of the original author and inherit historic and national characters rather than imposing extrinsic aesthetic and social background culture of other people on the translation. (Chen Fukang 2000, 301)&lt;br /&gt;
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Mao Dun has pointed out that due to different language families of Chinese and English and different structures, word-by-word translation us almost impossible actually. Because word-by-word translation is difficult to achieve its ideal effect, any discussion related with literal translation and free translation is inevitably involved with the problem &amp;quot;what is the boundary between them?&amp;quot; He also holds that the so-called literal translation, superficially speaking, means not to alter the original words and sentences. (Xu Haiyan &amp;amp; Sun Weihong 2012, 80)&lt;br /&gt;
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In Xu Yuanchong's opinion, the criteria to judge literal translation and free translation is whether the translation is faithful to the original. If a translation is faithful to both meaning and form of the original text, it is literal translation. If a translation is only faithful to meaning rather than form, it is free translation. If a translation is only faithful to form rather than content, it is mechanical translation. And the standard to judge faithfulness are form and content. For translation, content is more significant than form. Besides, translators should use both literal translation and free translation. However, sometimes it is difficult to use literal translation or free translation in a translation, so it is not necessary to define literal translation or free translation in those situations. Xu argues that literal translation is not only being faithful to the content of the original text but also being close to its form. When Xu discusses the situations using literal translation or free translation, he often mentions readers and contexts, among which readers are more important. No matter literal translation or free translation, translators should put faithfulness to the content of the original text first, smoothness of target text form second, faithfulness to the form of the source text third. In other words, on the premise of faithfulness to the source language, translation should strive for smoothness of form. On the premise of smoothness of translation, translators should try their best to realize faithfulness to form of the original. If there is a contradiction between the smoothness and faithfulness of the original form, it is of no necessity to stick to the original form. These are the relationships between content and form, and literal translation and free translation. (Cheng Yongsheng 2002, 66)&lt;br /&gt;
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Whether in Chinese translation circle or in western translation circle, the contradiction between content and form, and literal translation and free translation exists and arouses heated discussion.&lt;br /&gt;
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===Semantic Translation and Communicative Translation===&lt;br /&gt;
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To solve the fundamental problem of free translation and literal translation, Peter Newmark, a renowned western translation theorist, linguist and professor of translation at the University of Surrey, combining with years of translation experience, has concluded and summarized a corresponding theory, semantic translation and communicative translation, whose core is the problem of literal translation and free translation. Semantic translation and communicative translation have been put forward against the background that the majority of scholars have argued for a long time whether to translate literally or freely. The concepts of communicative and semantic translation represent Newmark’s main contribution to general translation theory. (Newmark 1991, 10)&lt;br /&gt;
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====Semantic Translation====&lt;br /&gt;
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Newmark puts the definition of semantic translation as &amp;quot;Semantic translation, attempts to render, as closely as the semantic and syntactic structures of the second language allow, the exact contextual meaning of the original. &amp;quot; As this version of definition indicates, communicative translation focuses essentially upon the comprehension and response of TL receptors. Semantic translation severs for the source language author and gives a high priority to reflecting his thought patterns and stylistics. (Shuttleworth and Cowie 2004, 22) Here is an example.&lt;br /&gt;
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E.g. 谋事在人，成事在天。&lt;br /&gt;
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Yang Hsien-yi and Gladys Yang's Version: Man Proposes, Heaven disposes.&lt;br /&gt;
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In this example, the Chinese idiom means that a man has done his or her best to do something and as to whether he or she can achieve the goal, it depends on the fortune. “天” refers to the master of nature in ancient Chinese culture. This word is semantically translated into “heaven” as the translation emphasizes the original information and tries to preserve the favor, style and culture maintained in the source language.&lt;br /&gt;
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====Communicative Translation====&lt;br /&gt;
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Communicative translation attempts to produce on its readers an effect as close as possible to that obtained on the readers of the original. As this version of definition indicates, communicative translation centers around the semantic aspects of the source language texts. To be specific, in communicative translation, the emphasis should be on conveying the message of the original in a form, which conforms to the linguistic, cultural and pragmatic conventions of target language. Both content and language are readily acceptable and comprehensible to the readership. (Chen Boyu 2003, 4)&lt;br /&gt;
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Communicative translation intends to present the main idea of the original text and emphasize the social value generated by the translation. Communicative translation highlights on conveying the message expressed in the original and form of the the source language. Due to different textual functions, content and form should have different focuses. Texts of informative function emphasize on the information beyond the language, while texts of vocative function center on readers. The primary intention of translators is to convey the message to the target readers, without paying much attention to the style of the original. If it is necessary, translators can adjust grammar and words to better transmit the information. The change of forms is not only allowed, but also encouraged. (Zhang Linlin 2010, 17)&lt;br /&gt;
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E.g. 谋事在人，成事在天。&lt;br /&gt;
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Hawkes's Version: Man Proposes, God disposes.&lt;br /&gt;
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This translation is communicative translation. Different from the version of Yang, Hawkes translated &amp;quot;天&amp;quot; into &amp;quot;God&amp;quot;. In western culture, people believe that &amp;quot;God&amp;quot; is the master of nature. It renders the contextual meaning of the original in such a way that both content and language are readily acceptable and comprehensible to the readers.&lt;br /&gt;
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====Comparison Between Semantic Translation and Communicative Translation====&lt;br /&gt;
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The fundamental difference between semantic translation and communicative translation is that semantic translation attaches more importance to the content rather than effect and communicative translation is just opposite. &lt;br /&gt;
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Firstly, semantic translation is more objective, stresses accuracy and is submitted to the author, culture and meaning of the original. Communicative translation is more subjective, pays much attention to the readers' responses, and is submitted to the target language and its culture. Semantic translation and communicative translation have difference in expression form. &lt;br /&gt;
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Second, semantic translation make the translated text more close to the original form and retain the vocative effect as much as possible. If there is no much difference between the source and target language specifications, translation should maintain the length of sentences in the original text as well. Communicative translation will reorganize the syntax and utilize more common collocations or words to make translation more fluent, idiomatic and understandable. In the communicative translation, to make the translation brief and emphasize key information, translators should get rid of the bondage of the source language structure and make appropriate adjustments which are not allowed in the semantic translation, such as adjusting the logic relations in the original, making obscure concepts distinct, deleting repeated unnecessary details or redundant information, normalizing some peculiar expressions, and even correcting factual or writing mistakes. &lt;br /&gt;
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Thus, they have different functions. Semantic translation, performing expressive function, tries to preserve the language characteristics and unique expression forms of the source language to present thinking process of the author. Its translation judged by the target readers is likely to be smoother, simpler, clearer and more direct. While communicative translation is to convey message, performing vocative function. &lt;br /&gt;
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In addition, the key of communicative translation is immediacy which means the success of translation depends on the readers' responses. Semantic translation lays stress on faithfulness to the source text, but cannot neglect to convey the message contained in the source text. (Lin Xiaoqin 1987, 50)&lt;br /&gt;
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Here are some examples to better present the differences between semantic translation and communicative translation.&lt;br /&gt;
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E.g. 世人都晓神仙好。&lt;br /&gt;
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Yang Hsien-yi and Gladys Yang's Version: All men long to immortals.&lt;br /&gt;
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David Hawkes’s Version: All men knew that salvation should be won. &lt;br /&gt;
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In this example, “神仙” is the difficult point because there is no corresponding expression in English. In Chinese culture, “神仙” refers to transcendence and is a life with “supernatural forces” in human beings. Yang directly translated “神仙” as “immortals” because being an immortal is the highest ideal of Taoism. His translation is semantic translation. While Hawkes used “salvation” which is a concept in the Christianity. The creed of Christianity is to be saved from sins. And his translation is communicative translation. Yang chose to be faithful to the original text to preserve the concept in the Taoism. While Hawkes decided to pay more attention to religious background and mentality of the target readers. &lt;br /&gt;
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E.g. 真是“天有不测风云，人有旦夕祸福”。&lt;br /&gt;
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Yang Hsien-yi and Gladys Yang's Version: Truly, “storms gather without warning in nature, and had luck befalls men overnight.”&lt;br /&gt;
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David Hawkes’s Version: I know “the weather and human life are both unpredictable.”&lt;br /&gt;
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In this sentence, “天有不测风云，人有旦夕祸福” is a challenge in translation. It is a Chinese idiom which means the occurrences of some disasters are unpredictable in advance. According to antithesis habit in Chinese, Yang translated these two idioms into the corresponding English compound sentence, which adopted semantic translation. While Hawkes briefly translated into a single sentence, which adopted communicative translation. The former sentence may be appreciated by Chinese readers, and the simplified processing of the latter is easier for native English speakers to understand and accept because it conforms to the British and American expressions, especially in line with the habits of daily expression.&lt;br /&gt;
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E.g. Wet Paint!&lt;br /&gt;
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Version 1: 湿油漆&lt;br /&gt;
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Version 2: 油漆未干&lt;br /&gt;
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Version 3: 小心油漆&lt;br /&gt;
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Version 4: 勿触油漆&lt;br /&gt;
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This sentence is an official notice. From the four versions of the source text, there are differences among them. Version 1 is word-by-word translation, conveying an obscure message and not involving in any receptors. Version 2 just describes a fact that the paint is not dry but wet and does not present the informative function of the original. This notice aims to warn people not to do something and keep away from the paint. Version 3 and version 4 are free translations because they emphasize more on the content instead of form. The first and second version are semantic translation because they only describe the fact and tell readers the information that the paint is not dry. However, the third and fourth version are communicative translation which not only tell people the information but also play the warning function to notify readers not to touch the wet paint. &lt;br /&gt;
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However, semantic translation and communicative translation are not opposite. Newmark points out that the two should be viewed as a whole, instead of isolated or opposite parts. And a problem should be emphasized. Corresponding text-types can overlap. Semantic translation pays more attention to a mainly expressive text and communicative translation is more popular in mainly informative or vocative texts. In brief, translators should think the type of text over and ensure a good balance between them.&lt;br /&gt;
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====Text Typology====&lt;br /&gt;
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Language is a unique symbolic system, which has its own most important semantic system, as well as a functional system involving context. &lt;br /&gt;
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Newmark's text tppology theory is influenced by Reiss, Jacobson and other translators. In the book of Approaches to Translation, Newmark put forward three functional texts, including expressive text, informational text and vocative text. In accordance with these types of classification, Newmark summarized semantic translation and communicative translation. (Newmark 2001, 39)&lt;br /&gt;
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Expressive text mainly talks about the author's subjective emotions and his or her standpoints, which centers on the source language and the author regardless of the target readers' responses. Newmark points out that the expressive text includes three literary styles: &amp;quot;(1)serious imaginative literature such as poem, novels and dramas, (2) authoritative statements such as speech or statements from government officials or party's officials or party's leaders, documents and regulations and laws from government, and academic works from authorities, (3) autobiography, prose and personal correspondence without target readers.&amp;quot; (Newmark 2001, 55) Semantic translation is applicable to the expressive text, with a particular emphasis on the language features and language structure of the original language which is similar to literal translation.&lt;br /&gt;
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As for informative text, Newmark proposes that &amp;quot;typical informative texts are concerned with any topic of knowledge&amp;quot;. (Newmark 1988, 40) The informative text focuses on the information or the content provided in the text. According to Newmark, informative text includes textbooks, papers, reports, and minutes about science, industry, technology, economy, commerce and other areas of knowledge or events, which are mainly used to deliver information and reflect truth. In light of translation of informative text, Newmark proposes that communicative translation can be adopted to convey accurate meaning or the content of the source text to the target readers. (Newmark 2001, 67)&lt;br /&gt;
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&amp;quot;The function of vocative text is to call upon readers to act, to think, to feel and to react in the way intended by the text.&amp;quot; (Newmark 2001, 41) The vocative text includes all kinds of specifications, publicity materials, advertisements, notices and other persuasive words. Two factors must be emphasized in vocative text: one is the relationship between the author of the source text and readers of the source text and another is that translation is easy to be understood by the target readers, therefore, translators should take the source language and its cultural background into consideration in the course of translation practice. And communicative translation should also be used in the vocative text which means much attention should be paid on the target readers' understanding and reaction.&lt;br /&gt;
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===Newmark's Improved Views on Literal Translation and Free Translation===&lt;br /&gt;
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It can be said that literal translation and free translation in the past were had their own disadvantages. Newmark agrees with literal translation and he holds that &amp;quot;translation means filling the blank between two languages and even explaining is translating.&amp;quot; (Newmark 1999, 33) This indicates that he does not neglect the importance of free translation. If the language and grammar structure of the original are not that important, the fidelity of the translation can be lowered, creating more room for translation. This situation can mainly adopts free translation. He even believes that translators can create better translation than the original one. Communicative translation and free translation resemble when it comes to the preference for the message to the manner, and the content to the form of the original. In his masterpiece ''Approaches To Translation'', he analyzes and discusses the loss of meaning. As long as the loss of meaning in the translation is inevitable, content cannot separate from form. And complete faithfulness to the original is almost impossible because the so-called preserving the original meaning is relative. What's more, the content of a text should not be equal to referent in language, but include referent, rhyme, genre, style and so on. As the slogan, being faithful to the original, was too empty, some translators advocating literal translation did free translation and even paraphrased the original in the practice. Newmark holds that translators need to notice the content in four layers, the original text level, referred level, coherent language level and natural tone level. In this way, he transforms the empty slogan into concrete requirements in the translation practice and meanwhile criticized the disadvantages of literal translation. (Newmark 1999, 33)&lt;br /&gt;
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Likewise, the viewpoints of free translation are not advisable as well. Newmark criticizes the basis of free translation school, making the target readers obtain feelings similar to that of the original readers. He thinks the goal is too difficult to achieve because translators had problem in completely knowing the feelings and responses of the original readers. He further puts forward some reasons why this goal cannot be realized. As long as the same feelings cannot be obtained by the source and target readers, there exists no reason or judging basis of great amending or creative rewriting.  Free translation produces the matter rather than the manner, or the content rather than the form. Newmark regards it as usually a paraphrase much longer than the original, often prolix and pretentious, and not translation at all. In free translation, &amp;quot;more translation is paid to producing a natural reading TL text than to preserving the ST wording intact.&amp;quot; (Shuttleworth and Cowie 2004, 62)&lt;br /&gt;
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Newmark criticizes that the argument is theoretical without taking other important facets of translator's purpose, the nature of readership and text typology into consideration. Newmark claims the argument could come to a compromise if translators deal with two sides with another visual angle. In 1981, he proposed semantic translation and communicative translation to replace the old terms. (Newmark 1988, 45)&lt;br /&gt;
&amp;quot;(a) communicative translation, where the translator attempts to produce the same effect of the target language readers as produced by the original on the source language readers, and (b) semantic translation, where the translator attempts, with the bare syntactic and semantic constraints of the TL, to reproduce the precise contextual meaning of the author.&amp;quot; (Newmark 1981, 22) In order to better explain these two methods, he designed the form of a flattened diagram. (Newmark 1988, 45)&lt;br /&gt;
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                SL emphasis                            TL emphasis&lt;br /&gt;
   word for word translation                        Adaption&lt;br /&gt;
          Literal translation                     Free translation&lt;br /&gt;
          Faithful translation                  Idiomatic translation&lt;br /&gt;
            Semantic translation               Communicative translation&lt;br /&gt;
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The diagram indicates that there is a hugest gap between the translation guided by word for word translation and the translation guided by adaption, then between literal translation and free translation, faithful translation and idiomatic translation and semantic translation and communicative translation last. These eight translation methods are a continuity, and they complement each other and cannot be completely separated. In Newmark's opinion, adaption is the freest translation method, and suitable for drama and poem translation. Free translation reproduces the main content of the original and pay more attention to interpret and expound. Target texts guided by idiomatic translation are more natural, more fluent and more coherent. But due to adopt some unknown expressions, the original meaning may be distorted.&lt;br /&gt;
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Communicative translation possesses the advantages of adaption, free translation, idiomatic translation and semantic translation maintains the advantages of word for word translation, literal translation and faithful translation. Newmark maintains only by combining semantic translation and communicative translation can achieve two aims of translation-accuracy and conciseness. By distinguishing these right methods, he gives further refinements to the above definition of semantic translation and communicative translation. He adds one more element &amp;quot;aesthetic value&amp;quot;. Meanwhile, he gives up emphasizing the &amp;quot;effect&amp;quot;, and refines communicative translation to be more specific, &amp;quot;communicative translation attempts to render the exact contextual meaning of the original in such a way that both content an language are readily acceptable and comprehensible to the readership.&amp;quot; (Newmark 1988, 47)&lt;br /&gt;
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===My Thoughts on Literal Translation and Free Translation===&lt;br /&gt;
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The two translation methods, literal translation and free translation, are useful in the translation practice. Taking English-Chinese translation for example, in the translating process, translators can use the method of literal translation when the pattern of sentence in original text is similar with the Chinese one, and we can find some Chinese words being equivalent in meaning to the words used in the sentence of original text. In some cases there are some complex sentences that can be translated with the method of literal translation as well. As long as these sentences are short and the pattern of these sentences is relatively simple compared with other complex sentences, they can be translated by literal translation method. In English, the using of some metaphors and similes is almost similar to the way that they are used by in Chinese. For instance, &amp;quot;time flies&amp;quot; in English can be directly translated into Chinese as &amp;quot;时间飞逝&amp;quot;, as the Chinese people also describe time passing very fast in this way, which accords with the expression habit of Chinese.&lt;br /&gt;
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As English and Chinese are two kinds of different languages, there are many differences in various aspects, such as different grammar and language habits. In English there are some words or phrases we cannot find the relative words or phrases in Chinese. In this cases, using using literal translation method would not be proper. Under this condition, if the translator insists on using literal translation, the translation text will be difficult to be understood by the target readers. So in order to make the translation text readable, translators should adopt free translation. Under the direction of literal translation, translators will try their best to keep the flavor of original work, no matter on the material or the form. Literal translation is the effective method to keep the cultural flavor of original language. Therefore, when there are some cultural differences affecting the translation of culture-loaded words between the source language and the target language, free translation can become one of the translation strategies which provide possibility in reducing or even removing the restrictive factors in translation process. &lt;br /&gt;
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In the process of translation, it is an ideal way to combine literal translation and free translation because they mutually complement in many cases. When literal translation cannot express the original and basic content of the author and hinder readers to understand, it is crucial for the translator to use free translation to express the author's meaning. When free translation cannot meet the requirement of being faithful to the content of the original text, it is significant for the translation to use literal translation to show features ad the structure of the author's language.&lt;br /&gt;
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===Conclusion===&lt;br /&gt;
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The dispute between two translation methods, literal translation and free translation has been lasting from throughout history. The argument of them is based on the relationship between content and form. This paper attempts to introduce Peter Newmark's improved views on the literal translation and free translation. Newmark criticizes some disadvantages and proposes semantic translation and communicative translation. Semantic translation focuses on maintaining the content of the original text, while communicative translation emphasizes more on the effect of the translation. The author also shows opinions on literal translation and free translation. Peter Newmark's theory has taken a big step forward from one-sided view of literal translation and free translation in the past, which has provided the direction of further development of translation research.&lt;br /&gt;
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===References===&lt;br /&gt;
*Nida,E.A[尤金·A·奈达].(1985).''Translating means Translating meaning''《翻译即译意》.UNESCO: Publication of FIT. &lt;br /&gt;
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*Newmark, Peter[彼得·纽马克]. (1991). ''About Translation''《关于翻译》. North Somerset: Multilingual Matters&lt;br /&gt;
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*Newmark,Peter[彼得·纽马克].(1998). ''A Textbook of Translation''《翻译教科书》. London: Prentice-Hall International (UK) Ltd. &lt;br /&gt;
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*Newmark, Peter[彼得·纽马克]. (1981). ''Approaches to Translation''《翻译方法》. Oxford: Pergamon Press.&lt;br /&gt;
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*Shuttleworth &amp;amp; Cowie[沙特尔沃斯&amp;amp;考伊]. (2004). ''Dictionary of Translation Studies''《翻译研究词典》. Shanghai: Shanghai  Foreign Language Education Press.&lt;br /&gt;
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*陈伯雨 Chen Boyu. “翻译对等” 研究[Study on Translation Equivalence]. 辽宁师范大学[Liaoning Normal University]. 2003.&lt;br /&gt;
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*陈福康 Chen Fukang.《中国译学理论史稿（修订本）》[''Draft History of Chinese Translation Theory (Revised)'']. 上海：上海外语教育出版社[Shanghai Foreign Language Education Publishing House]. 2000.&lt;br /&gt;
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*程永生 Cheng Yongsheng.中国近现代直译与意译研究[Research on Modern Chinese Literal Translation and Free Translation]. 淮南工业学院学报(社会科学版)[Journal of Huainan Institute of Technology(Social Science)]. 2002.&lt;br /&gt;
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*李明瀚 Li Minghan.语义翻译和交际翻译在汉语政论文翻译中的应用[Semantic Translation and Communicative Translation in the Translation of Chinese Political Writings]. 辽宁大学[Liaoning University]. 2014.&lt;br /&gt;
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*林小芹 Lin Xiaoqin.纽马克论交际翻译与语义翻译[Newmark's Study on Communicative Translation and Semantic Translation]. 中国翻译[Chinese Translators Journal]. 1987. &lt;br /&gt;
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*刘重德 Liu Zhongde.文学翻译十讲[Ten Lectures on Literary Translation]. 北京：对外翻译出版社[Foreign Translation Press]. 1991.&lt;br /&gt;
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*任文 Ren Wen.交替传译[Consecutive Interpretation]. 北京：外语教学与研究出版社[Foreign Language Teaching and Research Press]. 2012.&lt;br /&gt;
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*谭载喜 Tan Zaixi.《西方翻译简史（增订版）》[''A Short History of Translation in the West(Updated Version)'']. 北京：商务印书馆[Commercial Press]. 2018.&lt;br /&gt;
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*王佐良 Wang Zuoliang.翻译：思考与试笔[Translation: Thinking and Writing]. 北京：外语教学与研究出版社 [Foreign Language Teaching and Research Press]. 1989.&lt;br /&gt;
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*许海燕,孙卫红.杨译本文化负载词的翻译——以《从百草园到三味书屋》为例[On C-E Translation of Culture-loaded Words by Yang Xianyi—A Case Study of From ''Hundred-plant Garden to Three-flavor Study''].陇东学院学报[Journal of Longdong University]. 2012.&lt;br /&gt;
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*许渊冲 Xu Yuanchong.翻译的艺术[The Art of Translation]. 北京：五洲传播出版社[China Intercontinental Press]. 1984.  &lt;br /&gt;
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*许渊冲Xuan Yuanchong.直译与意译[Literal Translation and Free Translation]. 上海外国语学院学报[Journal of Shanghai Institute of Foreign Languages]. 1980.&lt;br /&gt;
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='''Document Translation'''=&lt;br /&gt;
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==On translation of official documents of CangNan County	吴恺	Wu Kai==&lt;br /&gt;
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On Translation of Official Documents of Cangnan County&lt;br /&gt;
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Japanese Language and Literature, School of Foreign Languages, Hunan Normal University, Wu Kai--[[User:Wu Kai|Wu Kai]] ([[User talk:Wu Kai|talk]]) 04:45, 2 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
==='''Abstract'''===&lt;br /&gt;
As one of the forefronts of Zhejiang’s opening-up cause, Cangnan County in Zhejiang Province has been enjoying a rapid development and an ever-growing degree of opening-up with lasting vitality as it’s supported by national policies and nourished by the dividends of economic globalization since China's reform and opening-up. As China has ushered in a period of major changes rarely seen in a century, Cangnan County is also facing new opportunities and challenges. Under the background of this era, Cangnan County is expected to make good use of its own advantages, especially the geographical ones—it is close to countries and regions including Japan, South Korea, and Taiwan—and should spare no efforts to achieve a higher level of opening-up, and, in turn, further promote its development. As an embodiment of the collective will of the people of Cangnan County, the official document is one of the best manifestations of its governance and stability control capabilities. For this reason, the research on how to translate official documents is of great significance for that it offers a great opportunity for Cangnan County to re-examine itself and to show the rest of the world its achievement in building a culture-enriched county.&lt;br /&gt;
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==='''Key words'''===&lt;br /&gt;
 official document translation, Cangnan County, opening-up, Japan, South Korea&lt;br /&gt;
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==='''摘要'''===&lt;br /&gt;
自中国改革开放以来，浙江省苍南县作为全浙江对外开放的前沿阵地之一，得到了国家政策支持和经济全球化红利的滋润，苍南县发展水平与对外开放程度日新月异，全县活力持久带劲。随着中国迎来“百年未有之大变局”，苍南县也面临着新的机遇和挑战，在此时代背景下，苍南县应该利用好自身优势，特别是临近日本、韩国、台湾等国家与地区的地理优势，努力开展更高层次、更高水平的对外开放事业，促进苍南更好的发展。为此，作为苍南县人民集体意志的体现，苍南县的公文就是对外展示其治理水平、稳控能力的最好的体现之一。而对于苍南县公文的如何翻译的研究，是促使苍南县重新审视自己、推进苍南人文县情传播海外的良机，意义重大。&lt;br /&gt;
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==='''关键词'''===&lt;br /&gt;
公文翻译  苍南县  对外开放  日本  韩国&lt;br /&gt;
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==='''I. System and Translation of Official Documents of Cangnan County'''===&lt;br /&gt;
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The unique official document system adopted by Chinese government agencies is a special integration of the thousands-of-years excellent political traditions in China and the essence of the organizational structure of the socialist regime. As a county-level unit in China's local administrative structure, Cangnan County has an official document system that is consistent with the national ones in general while has its own features. Official documents of Cangnan County can be basically divided into the following types of writing: resolutions, decisions, orders, bulletins, announcements, notifications, opinions, notices, reports, requests for instructions, approvals, proposals, letters, and minutes. Above-mentioned categories are collectively known as official documents. Besides, there are also some types of practical writing, including summaries, plans, notes, memos, briefings, speeches, manuals and so on, that are often used in our day-to-day work.&lt;br /&gt;
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In addition to those characteristics of the official documents that are commonly seen in China, official documents of Cangnan County also have its own features, which is mainly reflected in the aspect of proprietary terminology. Cangnan County, which used to be a part of Pingyang County in Zhejiang Province, was officially designated as a county in 1981 with the approval of the Central Government. It takes its name Cangnan, which means “on the south of the Yucang Mountain”, from its geographical location. As a relatively young county-level administrative unit in China’s administrative divisions, Cangnan County has a complex natural endowment and cultural environment, which is the reason why there are many special proprietary terms used in the official documents of Cangnan County, such as “Beautiful South Gate of Zhejiang Province”, “Southern Ouyue (an ancient kingdom in modern Wenzhou and Taizhou)” , “South Gate of Jiangsu-Zhejiang Region” and so on. Moreover, Cangnan is also the birthplace of the “Wenzhou Model”. Since the implementation of policy for the exchange of production materials and commercial grains in 1984, Cangnan has become an important base for the experiments and development of Wenzhou's private economy and market economy, and, thus, has made a significant contribution to the great cause of China's reform and opening-up.&lt;br /&gt;
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To conclude, the unity of the official document system viewed from the national scope of China and the uniqueness of the official document system viewed from the local scope of Cangnan area are both reflections of the integration of economic, political, and cultural elements. Therefore, when translating the terms and sentences in these official documents, obviously, it is almost impossible to follow general translation theories, such as Yan Fu’s “faithfulness, expressiveness and elegance” theory which applies to literature translation, and Christiane Nord’ Skopos theory which emphasizes schematic analysis. Due to the features of the official documents of Cangnan County, it is hard to imagine the consequence it will cause if those Cangnan and Chinese elements they contain are missed when translating them. Therefore, the starting point for the translation and research of Cangnan official documents should be analyzing the official document itself, but not choosing which translation theory to apply.&lt;br /&gt;
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The translation method focusing on the official documents themselves is undoubtably the one that emphasizes the content while manages to achieve a similarity in form. Thus, the translation theory that meets the requirements of official document translation in Cangnan County shall be the functional equivalence theory of the American linguist Eugene A. Nida. Eugene A. Nida argued in his theory that translation is to use the most appropriate, natural and equivalent language to reproduce the informational function of the source language both semantically and stylistically. Nida’s definition of translation specified that translation is seeking equivalence not only in lexical meaning, but also in semantics, style and literary form. Translation should convey both the denotative and connotative meaning of a message. Regarding the equivalence of translation, he believed that the equivalence consists of four parts: lexical equivalence, syntactic equivalence, textual equivalence, and stylistic equivalence. Among the four aspects, he emphasized that the meaning the core and most important part, followed by the form. The form of a text is likely to conceal the cultural connotation of the source language and may, therefore, hinder cultural exchanges. Based on the above, the reasons why the functional equivalence theory is applicable to official document translation in Cangnan County can be concluded as follows:&lt;br /&gt;
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First, the functional equivalence theory advocates that the target text should be equivalent to the source text both semantically and culturally. Official documents of Cangnan County are carriers of profound political culture with Chinese characteristics and the cultural environment in Cangnan. When translating them, in addition to showing the political consciousness and judicial authority of Cangnan government agencies, the local culture of Cangnan must also be reflected in the translations.&lt;br /&gt;
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Second, the functional equivalence theory suggests that if the lexical meanings and cultural elements cannot be taken into account at the same time, the translator then may give up the equivalence in form and try to reproduce the semantic and cultural meaning of the source text by changing the form of the sentence. There are many specialized terms with Chinese characteristics and Cangnan’s characteristics in official documents of Cangnan County. When translating them, once there is no corresponding expression in the target language, other forms of expression must be adopted to retain the meanings of those specialized terms as much as possible.&lt;br /&gt;
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Third, the functional equivalence theory proposes that if the change in form is still not enough to express the semantic and cultural meaning of the expression in the source language, the translation technique of “heavy damage” can be adopted to resolve cultural differences , so that the source language and the target language can achieve equivalence in semantic meaning. “Heavy damage” refers to the transformation of the deep structure of the source language into the surface structure of the target language, that is, expressing the cultural connotation of the source text with expressions of the target language. It cannot be ruled out that there are words and sentences in the official document of Cangnan County that cannot be translated, and when this happens, the translator can only rely on his translation techniques and understanding ability to process them creatively.&lt;br /&gt;
Above are simply macro analyses of the official document system in Cangnan County, and when it comes to specific analyses, challenges we face will only be severer.&lt;br /&gt;
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==='''II. Stylistic Features and Translation of Official Documents in Cangnan County'''===&lt;br /&gt;
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Looking at the official documents of Cangnan County from the micro level, we can work on the study of its translation based on the following characteristics.&lt;br /&gt;
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'''1. Details and Accurate'''&lt;br /&gt;
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As an officially-written document geared for the needs of our people, wording of the official documents of Cangnan County has a very specific orientation. Almost all content words have very clear meanings and connotations.&lt;br /&gt;
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For example, the sentence “经研究，县政府决定召开市对县安全生产巡查反馈会暨突出问题集中教育警示会，现将有关事宜通知如下。(As discussed, the county government decided to convene a feedback meeting on city-to-county inspections of production safety and a meeting for education and warning on outstanding issues. The relevant matters are hereby notified as follows.)” in the document 《苍南县人民政府办公室关于召开市对县安全生产巡查反馈会暨突出问题集中教育警示会的通知》(“Notice of the Office of the People's Government of Cangnan County on Convening a Feedback Meeting on City-to-County Inspections of Production Safety and A Meeting For Education and Warning On Outstanding Issues”) (the office of the People's Government of Cangnan County on June 8th, 2020) conveys several points very accurately and clearly, including the decision maker, the type, content and theme of the meeting. Therefore, special attention must be paid to the integrity of the information delivered when translating this sentence. For example, it is translated into Japanese as “討議を通じて、県政府は県の安全生産状況に対する市政府の巡査結果反映会及び顕著問題教育警告会を開催することが決定した。関連事項を以下のようにお知らせする。”&lt;br /&gt;
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'''2. Precise and Compact'''&lt;br /&gt;
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The role of official documents is to exchange formal information between the upper and the lower, the people and the officials, and the relevant departments. Therefore, the wording of the official documents must be rigorous. No slang and loose sentences should be used, and excessive use of parentheses and descriptive modifiers should be avoided. Official documents of Cangnan County follow this rule as well, in which there will never be informal expressions like daily spoken words.&lt;br /&gt;
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For example, the expression “三、决策目录施行动态管理，因工作需要增减或变更重大行政决策事项的，承办单位应按照相关规定程序提请调整。(Third, the decision catalogue shall be managed in a dynamic way, the undertaker shall submit application for adjustments in accordance with the relevant regulations if any increase/decrease or change shall be made to the major administrative decision-making matters because of the need of actual work.)” in the document《关于公布苍南县2020年度重大行政决策事项目录的通知》(“Notice on Issuing the 2020 Annual Catalogue of Major Administrative Decision-Making Matters of Cangnan County”) (the office of the People's Government of Cangnan County on Sept. 20th, 2020) When translating this sentence into Japanese, the translator shall fully considers the preciseness of the original expression, and translate it as “三つ目、戦略目録動的管理施行、仕事需要によっての増減または変更が必要な場合、請負機構は関連規定の手順に従って調整を提出しなければならない。”&lt;br /&gt;
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'''3. Programmed and Standardized'''&lt;br /&gt;
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The purpose of official documents requires a stable and routine writing program so that the official business can be conducted in an orderly manner. It is essential that the document writing is reasonably programmed. It allows the officer to know what it is and what to do at a glance if a standardized official document program is followed. The standardization of the official documents of Cangnan County can be regarded as a tricky feature in their translation.&lt;br /&gt;
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For example, the expression “各乡镇人民政府，县政府直属各单位 (the people's government of all townships and towns and all directly affiliated institutions of the people’s government of Cangnan County)” in the document《关于公布苍南县2020年度重大行政决策事项目录的通知》(“Notice on Issuing the 2020 Annual Catalogue of Major Administrative Decision-Making Matters of Cangnan County”) (the Office of the People's Government of Cangnan County on Sept. 20th, 2020) is obviously a standardized addressing of the receiving units of an official document, and it should be translated into Japanese as “各郷鎮人民政府、県政府直属の各部門”.&lt;br /&gt;
Viewing from a micro perspective, we may find that special attention should be paid to many precise details when translating those official documents. It is of great significance that, during the cause of reform and opening-up, we strike a balance between the macro level and the micro level in official document translation, which will serve as a stage for Cangnan County to show itself to Japan, South Korea and other East Asian countries and regions.&lt;br /&gt;
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==='''III. Translation of Official Documents of Cangnan County under the Context of the Japanese Language'''===&lt;br /&gt;
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Cangnan County is one of the nearest administrative units to Japan in China, and Okinawa Prefecture in Japan and Cangnan County are neighbors facing each other across the sea. Furthermore, Cangnan County itself has ports in Xiaguan, Pacao, Yanting, Dayu and other places, and has the basic conditions for conducting small transactions of freights with Okinawa. However, due to the inadequacy policies, laws and regulations, a large portion of Japan’s trade with China, especially with Zhejiang Province, is still conducted in the three port cities, namely Ningbo, Zhoushan, and Hangzhou. Cangnan’s geographical advantages have never been given to full play. To Japan, Cangnan is not a total stranger. Wenzhou City has a great influence upon Japanese culture and history. Special local products such as Wenzhou green tea and Wenzhou satsuma orange are very attractive to Japanese people. Many of the business exchanges during the Kamakura Bakufu in Japan were happened between Hakata merchants and Wenzhou people. As an important subordinate region of Wenzhou City, Cangnan County naturally has left an impression on Japanese people when it comes to China.&lt;br /&gt;
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If Cangnan hopes to lay a foundation for the future cooperation with Japan through its cause of opening up to the outside world, it is of great importance that we study the methods and techniques to make the translation of Cangnan’s official documents to meet the specific context of the Japanese language, which is also a part of the cultural exchanges that will facilitate economic and trade cooperation between Japan and China. The political status of Cangnan County is equivalent to the one of regular cities and special wards in Japan, but this does not mean that the official documents of Cangnan County can be regarded as equivalents to the official documents released by the governments of the regular cities and special wards in Japan, and there are huge differences between their respective official documents in form, wording, Cultural connotation and etc. To better translate Cangnan official documents under the context of Japanese language, the following aspects must be paid attention to:&lt;br /&gt;
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1. Detailed Comparison of Types&lt;br /&gt;
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In the Japanese official document system, the word “公文” is different in meaning from the word “公文” in Chinese official document system. In Chinese “公文” means government official documents, while in Japanese “公文” generally refer to legal documents that have the force of law and the term “公文書” is the one that refers to government official documents, which roughly includes “外交文書” and “起案文”, “通達” , “命令”, “許可”, “通知書” and so on . When translating official documents of Cangnan County into Japanese, attention should be paid to the transformation of the types of the official documents. The classifications of official documents in China and Japan are different from each other.&lt;br /&gt;
For example, when translating documents such as “proposal letter”, “report” and the like into Japanese, the title should be translated as “建言書” and “報告書”, while “命令(order)”, “通知(notice)”, “提案(Proposal)” and etc. need no translation and can be titled with the original characters directly as “命令”, “通知”, “提案”, and can also be further translated into “命令状”, “通知書”, “提案書”. Those reflect the characteristics of the division of the types of the official document system in Japan.&lt;br /&gt;
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2. Careful Consideration of the Translation of Chinese Characters&lt;br /&gt;
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There are a large number of Chinese characters in Japanese. This will for sure be an advantage when translating official documents of Cangnan County into Japanese, however, at the same time, this is also a huge disadvantage. After all, those Chinese characters are Japanized Chinese characters, and their meanings and usages are more or less different from the original ones in Chinese.&lt;br /&gt;
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For example, the expression “设定全县森林防火期(setting the season of forest fire prevention)” in the document 《苍南县应急管理局局长王再忠关于&amp;lt;苍南县人民政府关于做好森林防火期护林防火工作的通告&amp;gt;的政策解读》(“Policy Interpretation Of ‘Notice of Doing Forest Protection and Fire Prevention during the Season of Forest Fire Prevention by the People's Government Of Cangnan County’ by the Director of Cangnan Emergency Management Agency Wang Zaizhong”) in could be translated character by character into Japanese as “全県域森林防火期間設定”. However, expressions such as “野外火源如何管理” cannot be translated in the same way, and must be processed accordingly and translated into Japanese as “野外の火の元が如何に処理すること”. When translating official documents of Cangnan County into Japanese, the translators must reject the preconceived thinking and native Chinese thinking, or it will lead to irreversible misunderstandings and mistakes.&lt;br /&gt;
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3. Mastery of the Equivalence of Semantic Meaning&lt;br /&gt;
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Chinese is an isolating language, in which the grammatical meaning is reflected by the order of words, while Japanese is an agglutinative language, in which auxiliary words and flexible usages of vocabulary are adopted to reflect the grammatical meaning. This requires the translators to have mastery of the equivalence of semantic meanings when translating official documents of Cangnan County into Japanese and try to achieve perfect equivalence in official document translation.&lt;br /&gt;
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For example, there is a expression as “全体公民必须认真贯彻‘以人为本、预防为主、积极扑救、有效消灾’的森林防灭火工作方针，一旦发现森林火灾，要立即向当地人民政府或森林防灭火指挥部办公室报告(all citizens must seriously implement the working policy of forest fire prevention and firefighting ‘people-oriented, prevention-focused, active in firefighting, effective in disaster relief’, once a forest fire is detected, it must be reported to the local people’s government or the forest fire prevention and firefighting headquarters office immediately)” in the document 《苍南县应急管理局局长王再忠关于&amp;lt;苍南县人民政府关于做好森林防火期护林防火工作的通告&amp;gt;的政策解读》(“Policy Interpretation Of ‘Notice of Doing Forest Protection and Fire Prevention during the Season of Forest Fire Prevention by the People's Government Of Cangnan County’ by the Director of Cangnan Emergency Management Agency Wang Zaizhong”). When dealing with long and complex sentences, the translator must be flexible in using translation techniques to decompose the sentences and translate them step by step, focusing on the balance between the form of the sentence and its semantic meaning. Based on this principle, the abovementioned sentence could be translated into Japanese as “人間本位、予防軸化、積極救助、有効消災という森林防火作業方針は全県民が必ず強固に守らなければならない。林に火事が発見された際、直ちに所轄人民政府や森林防火指揮部執務室に報告すること。”&lt;br /&gt;
&lt;br /&gt;
There is no doubt that, in terms of four-character idioms, allusions, new words of the era and etc., the translation of official documents of Cangnan County under the context of the Japanese language still has a long way to go, but the part that we should pay most attention to in translation is always the differences in culture between the source language and the target language. Only by keeping this basic point in mind at all times, will there be no huge mistakes being made when translating official documents of Cangnan County into Japanese.&lt;br /&gt;
&lt;br /&gt;
==='''Ⅳ. Translation of Official Documents of Cangnan County under the Context of the Korean Language'''===&lt;br /&gt;
&lt;br /&gt;
Zhejiang Province and South Korea have laid a good foundation for economic and trade cooperation projects, and a framework that is comprehensive, wide-ranging, and multi-level has been established for Zhejiang-South Korea cooperation. The advantages of the two regions are obviously complementary and the development potential for both sides and in between is huge. In September 2016, the Zhejiang China-Korea (Quzhou) Industrial Cooperation Park was approved as the first batch of “Zhejiang International Industrial Cooperation Parks” in Zhejiang Province. The total planned area is about 3,000 acres and the total planned investment is 12 billion yuan. Represented by the Zhejiang China-Korea Industrial Cooperation Park, a large number of economic and trade cooperation projects has been carried out with South Korea by Zhejiang Province. As an indispensable part of Zhejiang Province, Cangnan County is facing a huge gap in the cultural exchanges and economic cooperation with South Korea. How to elevate the level of Cangnan’s opening up to the outside world and advancing Cangnan’s economic, trade and cultural cooperation with South Korea is a question that is well worth exploring. Although Cangnan is further away from South Korea compared with regions in the north of Zhejiang, geographic location should never be a factor that hindering Cangnan’s economic, trade and cultural cooperation with South Korea. In an era of ever-deepening globalization, it is of great significance that we think about how to develop and promote the economic and trade and cultural cooperation between Cangnan and South Korea.&lt;br /&gt;
&lt;br /&gt;
Northern Zhejiang is a key area for economic, trade and cultural cooperation with South Korea. As the south gate of Zhejiang Province, if Cangnan County could open the door of economic, trade and cultural cooperation to South Korea, then this will inevitably bring extraordinary development opportunities to southern Zhejiang and make the pattern of Zhejiang and South Korea’s economic and cultural cooperation more balanced and healthy. The political status of Cangnan County is equivalent to the one of si(city), gu (district), and gun(county) in South Korea. Because of some historical reasons, South Korea is greatly influenced by Chinese culture. From the Three Kingdoms era of Joseon, to the Unified Silla Dynasty, the Wang’s Goryeo Dynasty, and the Yi’s Joseon Dynasty, the basic system of administrative divisions in South Korea is almost the same as the one in China, so the official document system of cities, districts, and counties in South Korea can be regarded as basically equivalent to the official document system of Cangnan County with only slight differences originated from the localized political and cultural traditions and the basic social condition of South Korea. Therefore, there are relatively fewer difficulties of translation when translating official documents of Cangnan County into Korean, aside from the barriers caused by Korean Hangul words. The translation of official documents of Cangnan County under the context Korean language requires attention to the following aspects:&lt;br /&gt;
&lt;br /&gt;
1. The Combination of Chinese characters and Hangul&lt;br /&gt;
&lt;br /&gt;
Modern Korean uses Hangul as the main written characters, but this does not mean that there is no place for Chinese characters in the Korean system. Since the launch of the abolition of Chinese characters movement in South Korea in the 1970s, Hangul did exactly achieved an overall penetration of every aspect of their daily life, but when it comes to important documents, Chinese characters still reserve a seat in the arena of South Korea’s history. Furthermore, a higher level of talent training is required now to meet the need of South Korea’s economic and social development, and the mastery of sinology has become, among all the necessary skills, one of the most straightforward evaluation criteria to access the qualified personnel. Thus, South Korea has restarted the Chinese character teaching movement. Nowadays, the official document system in South Korea has become one in which Hangul serves as the main language and the mixed use of Chinese characters and Hangul serves as a supplement. Just as how the mixed use of kana and Chinese characters in Japanese official documents may help in its translation, the mixed use of Chinese characters and Hangul also greatly facilitate the translation of official documents of Cangnan County into Korean. However, because Chinese characters used in Korea are composed of traditional Chinese characters and a small number of Korean self-made Chinese characters, we can not take it for granted that it is advisable to translate them word by word.&lt;br /&gt;
&lt;br /&gt;
For example, the title of the document《苍干任〔2020〕18号 王再忠等同志的任命》(“Cangnan Cadre Appointment [2020] No. 18: Appointment of Wang Zaizhong and etc.”) (the Office of CPC Cangnan Party Committee on March 27th, 2020) can be translated with the mixed use of Chinese characters and Hangul into Korean as《蒼南縣의 幹部任命〔2020〕18號 王再忠등 同志의任命》. Also, it be translated into Korean with Hangul alone as《참남현의 간부임명〔2020〕18호 왕재충등 동지의임명》.&lt;br /&gt;
&lt;br /&gt;
2. The Usage of Refined Language&lt;br /&gt;
&lt;br /&gt;
In recent years, South Korea has carried out reforms of the official document system, urging that the South Korean government agencies at all levels should use “refined(or purified) language”, that is, to write and publish official documents with words that are easy for the public to understand and have explicit meanings, reducing the cost of communication between the government and the public and, in this way, building a closer relationship between the government and the people, so that civil servants can communicate with the people more effectively. Refined language is a kind of common vernacular that differs from the official language. Although this trend of the wording of Korean official documents is not unconditional, but when compared with official documents of Cangnan County, which emphasize the solemnity and formality of official documents, this trend is the part that the translator has to pay his attention to.&lt;br /&gt;
&lt;br /&gt;
For example, when translating the expression “为加强行政规范性文件管理，切实推进依法行政，加快法治政府建设 (To strengthen the management of administrative normative documents, promote the administration in accordance with law, and accelerate the construction of a government ruled by law)” in the document《苍南县人民政府关于公布县政府及县政府办公室行政规范性文件清理结果的通知（有效）》(“Notice of the Office of the People's Government of Cangnan County on the Announcement of the Results of the Cleanup of the Administrative Normative Documents of the County Government and the County Government Offices (Effective)”) (the Office of the People's Government of Cangnan County on October 23th, 2020) , blunt expressions may not be that applicable and this expression translated into Korean in a more public-friendly way as “행정 규범적인 문서관리를 강화하기 위해, 법에따라 행정을 철저히 추진하고 법치정부의 건설을 가속화시킨다.”&lt;br /&gt;
&lt;br /&gt;
3. Mastery of the Equivalence of Semantic Meaning&lt;br /&gt;
&lt;br /&gt;
Like Japanese, Korean is also a typical agglutinative language. A sentence is formed by connecting independent words with various auxiliary words, and with a subordinating conjunction at the end of the sentence. Auxiliary words are just like glues, they exist after every subject, predicate, and object component of a Korean sentence to them together. For that these auxiliary words have no substantial meaning themselves, they must stay close to the main body in front, and a space must be put after. Therefore, when translating Chinese, which is an isolated language, into Korean, which is an agglutinative language, it is necessary to have mastery of the equivalence of the semantic meaning of the expression.&lt;br /&gt;
&lt;br /&gt;
For example, when translating the expression “全面实施全民参保计划，做好参保情况清查，提升参保信息质量，清理重复参保，稳定持续参保，减少漏保断保，实现应保尽保。(Fully implement the national social security plan, do a good job in checking the coverage of the social security, improve the quality of the collection of the information of the insured, clean up repeated insureds, stabilize the renewal of the social security, reduce the interruption of the social security, and achieve full social security coverage.)” in the document《关于做好2021年度城乡居民基本医疗保障工作的通知》(“Notice on Doing a Good Job in Basic Medical Security for Urban and Rural Residents in 2021”)( the Office of Medical Security Bureau of Cangnan County on November 5th, 2020), the translator should pay attention to the equivalence of semantic meaning of this long sentence and translated it into Korean as “전국민기본의료보험가입계획을 전면적으로 실시하고 기본의료보험가입상황을 철저히 조사하며 기본의료보험가입 정보의 질을 향상시키고 중복기본의료보험가입을 청산하며 안정적이고 지속적인 기본의료보험가입을 하며 보험누락을 줄이고 기본의료보험가입 을 실현해야 한다.”&lt;br /&gt;
&lt;br /&gt;
==='''Ⅴ. Studies of Official Document Translation and the Cause of Opening-up in Cangnan County'''===&lt;br /&gt;
&lt;br /&gt;
Based on the abovementioned basic characteristics of the official document system of Cangnan County, the notes for official documents translation under the context of the Japanese language and the notes for official documents translation under the context of the Korean language, we can see that official documents of Cangnan County is not as difficult to handle as something untranslatable. Cangnan County enjoys a good geographic location: it is located in the coast of the East China Sea, and is close to both Japan and South Korea, two strong economies in East Asia. However, Cangnan County has not yet made use of these favorable conditions to the fullest to promote cultural cooperation and trade with the two countries. Cangnan’s opening up to the outside world requires innovative thinking and an elaborate layout. Studies on the translation of official documents of Cangnan County, especially the translation of official documents under the context of the Japanese and Korean language, will help to explore the cultural spirit of the government institutions, and play an important role in building a good image of Cangnan County in East Asia and laying a foundation for Cangnan's cooperation with major countries and regions in East Asia .&lt;br /&gt;
&lt;br /&gt;
The world today is undergoing profound changes rarely in a century, and so is China. The tide of history moves on and Cangnan shall not stay out of the matter, but must follow it courageously and strive to open new doors for Cangnan's opening up to the outside world through the study of the official document translation of its own.&lt;br /&gt;
&lt;br /&gt;
===References===&lt;br /&gt;
&lt;br /&gt;
[1]Ziqi LIU. The Application of Functional Equivalence Theory in Scientific Translation：A Case Study of the Translation of Shipbuilding English[J]. CREATIVITY AND INNOVATION,2019,1(3).&lt;br /&gt;
&lt;br /&gt;
[2]Mu Dan. Discussion on Translation Activities Under the Guidance of Functional Equivalence Theory[J]. International Journal of Education and Management,2018,3(2).&lt;br /&gt;
&lt;br /&gt;
[3]李琳琳. 功能对等翻译理论与关联翻译理论比较研究[D].辽宁师范大学,2006.&lt;br /&gt;
&lt;br /&gt;
[4]赵娟廷. 汉韩公文语体对比研究[D].复旦大学,2003. &lt;br /&gt;
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[5]周萱. 《中国共产党怎样解决民族问题》（节选）中韩翻译报告[D].青岛大学,2017.&lt;br /&gt;
&lt;br /&gt;
[6]张利军. 《教学的游戏性研究》的汉日翻译实践报告[D].广西师范大学,2019.&lt;br /&gt;
&lt;br /&gt;
[7]栾亚琼. 《2015年山东省政府工作报告》汉日翻译实践报告[D].曲阜师范大学,2016.&lt;br /&gt;
&lt;br /&gt;
[8]占丽华. 源流与演变—日本地方公文书馆发展路径研究[D].山东大学,2020.&lt;br /&gt;
&lt;br /&gt;
[9]任清萍. 功能翻译理论视角下政府工作报告日译研究[D].外交学院,2020.&lt;br /&gt;
&lt;br /&gt;
[10]孙慧. 产业竞争力与区域经济增长[D].苏州大学,2006.&lt;br /&gt;
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--[[User:Wu Kai|Wu Kai]] ([[User talk:Wu Kai|talk]]) 04:45, 2 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
==The Translation Process and Methods of Translating English Long Sentences	周艺文	Zhou Yiwen==&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
===Abstract===&lt;br /&gt;
&lt;br /&gt;
The translation of long English sentences is a difficult point in English-Chinese translation. It is very important to understand the features of sentence structure and the translation process and methods of long English sentences. This paper studies the translation process and methods of English long sentences through the comparative study of English and Chinese language characteristics and specific English-Chinese translation analysis. This paper is divided into five parts. The first part introduces the characteristics of English long sentences. The second part contrasts  the language features of English with that of Chinese, which can be divided into three aspects: English sentences emphasize hypotaxis, Chinese sentences emphasize parataxis; English is a static language, while Chinese is a dynamic language; English prefers passive voice while Chinese prefers active voice. The third part expounds the characteristics of translating English long sentences, mainly from three aspects: cross-cultural communication, emphasis on form and clear language logic. The fourth part mainly analyzes the process of translating English long sentences through some examples. In the end, five translation methods are discussed, which are liner translation, reorganization translation, splitting translation, synthesis and insertion.&lt;br /&gt;
&lt;br /&gt;
===Key words===&lt;br /&gt;
&lt;br /&gt;
English long sentences; language characteristics; translation process; translation methods&lt;br /&gt;
&lt;br /&gt;
===摘要===&lt;br /&gt;
&lt;br /&gt;
英语长句翻译是英汉翻译的难点，了解英语长句的句子结构特点和翻译过程及方法在英汉翻译中十分重要。本文通过对比研究英汉语言特点及具体英汉译本分析对英语长句翻译过程和方法进行研究。本文分为五个部分，第一部分介绍了英语长句的特点。第二部分从英汉对比的角度剖析了英汉两种语言在句子结构上的差异，分为三个方面，即英语句子重形合，汉语句子重意合; 英语是静态语言，汉语是动态语言; 英语喜用被动语态，汉语喜用主动语态。第三部分阐述了翻译英语长句的特点，主要有跨文化交际性、重视形式以及明确逻辑关系三个方面。第四部分主要通过具体的句子分析英语长句的翻译步骤及过程。最后探讨了英语长句汉译时采用的五种翻译方法，即顺序法、变序法、分译法、综合法和插入法。&lt;br /&gt;
&lt;br /&gt;
===关键词===&lt;br /&gt;
&lt;br /&gt;
英语长句子；语言特点；翻译过程；翻译方法&lt;br /&gt;
&lt;br /&gt;
===1.Introduction===&lt;br /&gt;
&lt;br /&gt;
===2.Characteristics of English Long Sentences===&lt;br /&gt;
&lt;br /&gt;
English and Chinese have many similarities in basic sentence structure. The main elements of sentence structure mainly include subject, predicate, object, predicative, attribute, adverbial modifier, and complement. In English, the sentence emphasizes the form and the sentence has a tree structure, and the Chinese sentence emphasizes the parataxis, and the sentence has a bamboo structure.&lt;br /&gt;
The main characteristics of English long and difficult sentences are as follows:&lt;br /&gt;
(1) There are much more words, more complex sentence patterns, and more modifiers in these sense.&lt;br /&gt;
(2) Compared with simple sentences, long and difficult sentences often use inversion structure, and there are phenomena of omission and word order inversion.&lt;br /&gt;
(3) The reason for the formation of long and difficult sentences is that there are many long and difficult sentences with coordinate components, phrases, additional components, clauses, and coordinate sentences.&lt;br /&gt;
(4) The language structure of long and difficult sentences is relatively complex and has a strong sense of hierarchy.&lt;br /&gt;
&lt;br /&gt;
===3.Differences in sentence structure between English and Chinese===&lt;br /&gt;
&lt;br /&gt;
English and Chinese belong to different language systems, the former belongs to Indo-European language family, the latter belongs to Sino-Tibetan language family, so there are significant differences in syntax between them. In addition, the different cultures of English and Chinese will inevitably lead to the difference in sentence structure between the two languages, because language is the carrier and medium of culture. &lt;br /&gt;
&lt;br /&gt;
===3.1Hypotaxis vs. parataxis===&lt;br /&gt;
&lt;br /&gt;
English syntactic structure is hypotaxis while Chinese syntactic structure is parataxis. Hypotaxis is that the words or clauses in a sentence are connected together by means of linguistic formal means (such as using related words) to express grammatical meaning and logical relations(Jia 2002, 101). English emphasizes explicit connection, emphasizes form and structure, and often helps with various means of connection. As a result, the sentence structure is rigorous and lacks elasticity. English sentences are often made with relatives (who, whom, whose, which, that, where, when, etc.), conjunctions (but, however, unless, because, since, so, and, if, etc. ), preposition (in, about, without, throughout, according to, along with, etc.), and other connective means. Parataxis means that words and clauses are not connected by means of linguistic forms, and the grammatical meaning and logical relation in a sentence are expressed by the meaning of words and clauses(Jia 2002, 101). Chinese sentences are made with little or no means of formal connection, with emphasis on invisible coherence, function and meaning, so the sentence structure is loose and flexible.&lt;br /&gt;
Example 1: &lt;br /&gt;
Individuals develop within themselves an ability to persevere and tolerate things that are unexpected or bad, difficult to get through. &lt;br /&gt;
人们在内心修炼一种能力，在面对意外、不幸或者挑战时也能继续坚持和忍耐。 &lt;br /&gt;
In this sentence, “that...to get through” is a attributive clause to modify “things”, which is a kind of hypotaxis. The translation is not limited to the original sentence structure but follows Chinese expression habit, so the language is very smooth.&lt;br /&gt;
&lt;br /&gt;
==3.2Static language vs. dynamic language==&lt;br /&gt;
&lt;br /&gt;
==3.3 Passive voice vs. active voice==&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
==4.1Cross-cultural communication==&lt;br /&gt;
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==4.2Attaching great importance to form==&lt;br /&gt;
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==4.3Clearing language logic==&lt;br /&gt;
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===5.The process of translating long English sentences===&lt;br /&gt;
&lt;br /&gt;
===6.Methods of translating English long sentences===&lt;br /&gt;
&lt;br /&gt;
==6.1Liner translation==&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
==6.2Reorganization translation=&lt;br /&gt;
&lt;br /&gt;
==6.3Splitting translation==&lt;br /&gt;
&lt;br /&gt;
==6.4Synthesis==&lt;br /&gt;
&lt;br /&gt;
==6.5Insertion==&lt;br /&gt;
&lt;br /&gt;
===Conclusion===&lt;br /&gt;
&lt;br /&gt;
In the practice of the translation of long and difficult sentences, there is a higher requirement for translators’ English comprehension and expression ability. For the translation of long and difficult sentences in English, the translator should be familiar with the sentence structure and main ideas of long and difficult sentences in English, and make clear the main logical relationship with the content of the original text, so as to effectively analyze the structure of long and difficult sentences in English and choose the correct way of translation. In the specific translation practice, translators should, on the basis of understanding the grammatical features of English, choose reasonable translation methods and skills so as to achieve the accurate translation of long and difficult Sentences. Translation activities require a high level of English reading and comprehension, and the effective translation of long and difficult sentences requires translators to constantly improve their ability to summarize, update their English translation skills, and realize the summary and innovation of long and difficult sentences.&lt;br /&gt;
&lt;br /&gt;
===Bibliography===&lt;br /&gt;
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==Chinese-English Translation of News Headlines From the Perspective of Skopos Theory	张维虹	Zhang Weihong No.202070080648 英语口译 ==&lt;br /&gt;
&lt;br /&gt;
===Abstract===&lt;br /&gt;
In recent years, with the rapid development of the society and economy, the exchanges between China and the rest of the world are increasingly frequent. In this process, massive information is transmitted through the translation of news reports. As the eye of news, the translation quality of news headlines directly affects the effectiveness of news dissemination. Under the guidance of Skopos Theory of German Functionalist Translation School, this paper analyzes the characteristics of Chinese and English news headlines, illustrates the functions of news headlines and the translation criteria of news headlines, and puts forward translation strategies for Chinese-English news headlines, aiming at restoring the concise feature of news and realizing the purpose of news dissemination and social value.&lt;br /&gt;
&lt;br /&gt;
===key words===&lt;br /&gt;
News headlines translation; Skopos theory; translation strategies&lt;br /&gt;
&lt;br /&gt;
===摘要===&lt;br /&gt;
近年来，中国社会经济飞速发展，与外界交流日趋频繁，在此过程中大量信息传递需通过新闻报道翻译完成。而新闻标题作为新闻的眼睛，其翻译质量直接影响新闻传播的有效性。本文以德国功能翻译学派目的论为指导，分析中英新闻标题的特点，阐述新闻标题功能以及新闻标题翻译准则，并提出汉译英翻译策略，旨在还原新闻简明本色从而实现新闻传播目的和社会价值。&lt;br /&gt;
&lt;br /&gt;
===关键字===&lt;br /&gt;
新闻标题翻译；目的论；翻译策略&lt;br /&gt;
&lt;br /&gt;
===1. Introduction===&lt;br /&gt;
With the further development of world economy and culture, news is playing an increasingly important role in people's lives. We read news through TV, the Internet or newspapers and magazines to learn about current events. But we are confused by thousands of news and the information they carry, because we are all exposed to a world where the massive information is surrounding. There is no doubt that because we can read too much news, some news has been ignored. Therefore, a proper headline is the most important element which can be regarded as the only way to attract the target readers. Headlines are compared to the eyes of news reports, in which a clear, concise information must be contained to generate interests. (Hu Shuzhong, 2012: 199) That is to say, headlines are always vivid and eye-catching in newspapers, in order to attract readers and provide reading guidance. So, the translator must learn how to effectively screen and reconstruct the information in the Chinese-English translation of news headlines, so as to make it attractive to the target language readers. &lt;br /&gt;
&lt;br /&gt;
In addition, news translation is playing a significant role in the promotion of cross-cultural communication and mutual understanding as China are having more and more exchanges with the rest of the world with the rapid development of society and economy, the implementation of reform and opening-up and “go global” strategy. As the soul of news, headline and its translation are what the translator should pay attention to. &lt;br /&gt;
&lt;br /&gt;
There are lots of researches about C-E news translation and news headline translation. However, researches on Chinese-English news headlines translation are very few. According to statistics from CNKI, there are only two pages of researches on Chinese – English news headlines translation. Therefore, this paper is of great importance. &lt;br /&gt;
As functions for headlines are obvious, this paper takes Skopos as the theory guide to conduct the research. First, the paper will discuss the features and functions of news headlines. Then the paper tells some translation methods of Chinese-English news headlines from a perspective of Skopos Theory. At last, it draws a conclusion.&lt;br /&gt;
&lt;br /&gt;
===2. Overview of News Headlines===&lt;br /&gt;
&lt;br /&gt;
==== 2.1 Definition of news and news headlines==== &lt;br /&gt;
&lt;br /&gt;
News refers to the timeliest report of events that have just happened, are happening, or are going to happen and it is born to meet the need of propagation and communication of information in human society. (Xu Mingwu, 2003: 4) This definition prescribes the features and functions of news. News should be timely and propagate ideas and express information. &lt;br /&gt;
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News headlines are compared to the “eye” of news. According to the dictionary, “A head of a newspaper story or article, usually printed in large type and devised to summarize, give essential information about, or interest readers in reading the story or article that follows.” (Webster’s Third New International Dictionary, 1961: 1042) From the definition, we can see that news headlines tells the essence of the news; the function is to attract readers’ interests. The paper will discuss features and functions of news headlines in detail in the following part. &lt;br /&gt;
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====2.2 Features of news headlines==== &lt;br /&gt;
As a text genre, news headlines have their own features. Chinese and English news headlines share much in common, though they differ from each other in certain areas. Understandings about the differences and similarities of Chinese and English news headlines are important for translators. So, this chapter will analyze features of news headlines from the following aspects: grammar, rhetoric, culture and structure. &lt;br /&gt;
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===== 2.2.1 Grammatical features===== &lt;br /&gt;
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2.2.1.1 Lexical Feature&lt;br /&gt;
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a. Midget words&lt;br /&gt;
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A good headline must be clear to attract readers and be strong to save space. In other words, the headline should convey the intends of the news without confusion or ambiguity; the words should be powerful to persuade the headline consumer to read on. Theses two requirements determine the prevalence of powerful, or strong worlds – mostly verbs and nouns – in headlines. (Shen Jinbo, 1989:52) That is to say, powerful words are short, simple and concrete, for extensive or abstractive words can only lead to dullness and confusion. There are no such powerful words in Chinese, but Chinese headlines, on the premise of conveying the exact meanings also put emphasis on the shortness of words. &lt;br /&gt;
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[1]: Dancing gets Olympic status (China Daily Dec 9, 2020)&lt;br /&gt;
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[2]: 霹雳舞成巴黎奥运项目 (China Daily Dec 9, 2020)&lt;br /&gt;
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b. Numeral words&lt;br /&gt;
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Numbers are used in news headlines to highlight the key information, especially in economic and sports news. &lt;br /&gt;
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[3]: Pink diamond sold for $26.6M (China Daily Nov 23, 2020) &lt;br /&gt;
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[4]: 外储余额创4年多新高(China Daily Dec 9, 2020)&lt;br /&gt;
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c. Abbreviations &lt;br /&gt;
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The limitation of page space leads to the frequent use of abbreviation in headlines. English abbreviations, according to Lu Guoqiang (陆国强, 1984), consist of two major types: lipped words and initialisms or acronyms. The common types of abbreviation found in Chinese headlines, nevertheless, are mostly number-assisted summarizing, blending and subsituting. (Chen Lizhao, 2002:36)&lt;br /&gt;
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[5]: Intl student enrollment falls (China Daily, Nov 19, 2020)&lt;br /&gt;
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[6]: 第二届“一带一路”国际合作高峰论坛举行圆桌峰会 (People’s Daily, April 28, 2019) &lt;br /&gt;
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d. Vogue words &lt;br /&gt;
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“Freshness” is the life of news, which lies in the contents of the report. As the gist of the news, headline would certainly revel some of the new ideas or hot topics in order to catch the reader’s attention. Therefore, vogue words are frequently seen in headlines. &lt;br /&gt;
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[7]: 'Cooling-off period' added (China Daily Dec 8, 2020)&lt;br /&gt;
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[8]: “离婚冷静期”新规将施行 (China Daily Dec 8, 2020)&lt;br /&gt;
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2.2.1.2 Syntactical features&lt;br /&gt;
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a. Omission&lt;br /&gt;
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Omission appears in almost every headline. Eliminating the meaningless words can shorten the length of a headline and highlight the core information. In English headlines, all articles and some auxiliary verbs, lexical verbs, pronouns, and the subject and the predicate are often omitted, as they weigh little in giving information. Chinese headlines also omit those unimportant words, including individual measures, conjunctions, and auxiliary words as well.  &lt;br /&gt;
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[9] Biden declares victory (China Daily, Nov 10, 2020)&lt;br /&gt;
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[10] 研究：医患“互粉”对治疗不利 (China Daily, Nov 25, 2014)&lt;br /&gt;
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b. Voice&lt;br /&gt;
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Active voice is frequently adopted in news headlines. &lt;br /&gt;
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[11] UK approves Pfizer vaccine (China Daily Dec 4, 2020)&lt;br /&gt;
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[12]英国批准辉瑞新冠疫苗 (China Daily Dec 4, 2020)&lt;br /&gt;
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[13] Biden unveils economic team (China Daily Dec 2, 2020)&lt;br /&gt;
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[14]拜登拟提名耶伦任财长 (China Daily Dec 2, 2020)&lt;br /&gt;
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c. Tense&lt;br /&gt;
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One of distinct feature of news headlines, particularly in English news headlines, is the wide use of present tense, which save the space of “-ed” in the past tense. But sometimes past tense is used to indicate the timeline. While Chinese news headlines use different tenses, as they are not revealed by the different forms of verbs as in English. So, the auxiliary verbs or adverbs in Chinese news headlines tells the time of happening from. &lt;br /&gt;
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[15] COVID vaccine distribution (China Daily Dec 1, 2020)&lt;br /&gt;
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[16] 英美即将启动疫苗分配 (China Daily Dec 1, 2020)&lt;br /&gt;
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2.2.2 Rhetorical Features &lt;br /&gt;
The usual figures of speech found in headlines, English and Chinese alike, includes metaphor, simile, pun, alliteration and rhyme, repetition, allusion etc... They aimed at creating musical sound as well as vivid images to provide spiritual enjoyment to the readers. &lt;br /&gt;
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[1] 苹果发新机加入5G战局 (metaphor) (China Daily Oct 16, 2020) &lt;br /&gt;
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[2] 美国加州火灾蔓延 居民仿佛置身火星(simile) &lt;br /&gt;
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[3] This is what the Bay Area's skies looked like during the wildfires (simile) (China Daily Oct 16, 2020)&lt;br /&gt;
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===== 2.2.3 Cultural Features=====&lt;br /&gt;
Language is the carrier of culture. News, as a practical text genre, also bears cultural characteristics of a certain country or nation. These culture elements also appear in news headlines,&lt;br /&gt;
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=====2.2.4 Structural features =====&lt;br /&gt;
To achieve headline’s peculiarity and simplicity, some punctuation marks are used in English news headlines, which are not often used in Chinese news headlines. Though differences exist in this area, the pursuit of using punctuation marks in the same – to make the news headlines clear and easily perceptible. The usual rule for headlines is that the fewer punctuation marks, the better. &lt;br /&gt;
[1] 世界精神卫生日：超半数英国员工最担心就业问题&lt;br /&gt;
[2] World Mental Health Day: More than half of UK workers worry about finding a job&lt;br /&gt;
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====2.3 Functions of news headlines ====&lt;br /&gt;
According to the theory of text-style function by Peter Newmark, new headlines fulfill the following four functions: informative function, expressive function, aesthetic function and vocative function, which will be illustrated in this section. &lt;br /&gt;
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=====2.3.1informative Function =====&lt;br /&gt;
“The core of the informative function of language is external situation, the facts of a topic, reality outside language, including ideas or theories” (Newmark 2001: 40) That is to say, news headline tells readers the basic information and facts of the news. &lt;br /&gt;
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===2.3.2 Expressive Function ===&lt;br /&gt;
“The core of the expressive function is the mind of the speaker, the writer, the originator of the utterance. He uses the utterance to express his feelings irrespective of any response” (Newmark 2001: 39) The expressive function of a news headline is to reveal the writer’s or the editor’s attitude toward the news by using subjective words or rhetoric devices. &lt;br /&gt;
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=====2.3.3 aesthetic function=====&lt;br /&gt;
	“This is language designed to please the sense, firstly through its actual or imagined sound, and secondly through its metaphors. The rhythm, balance and contrast of sentences, clauses and words also play their part. (Newmark 2001: 42) As the eye of the news, headlines use elegant words, abbreviations, punctuations and so on to strengthen its aesthetic function. &lt;br /&gt;
=====2.3.4 vocative function=====&lt;br /&gt;
	The vocative function is reader-oriented. Here, the term “vocative” is interpreted as “calling upon” the readership to act, think or feel, in fact to “react” in the way intended by the text. (Newmark 2001: 41) Vocative words in news headlines can attract the readers to read the whole article, and in certain circumstances call upon the readers to take some actions after reading the news.&lt;br /&gt;
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===3. Skopos Theory===&lt;br /&gt;
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As has been mentioned in the last section, news headlines and their translation are function-oriented. The fundamental function or the “Skopos” is to attract the readers. Therefore, in this section, we will discuss Skopos theory and its three rules. &lt;br /&gt;
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====3.1 Development of the Skopos Theory====&lt;br /&gt;
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Skopos Theory was initially proposed by Katherina Reiss in her 1971 book Possibilities and Limits of Translation Criticism, which formed an early theory. According to Reiss, the ideal translation would be “one in which the aim in the target language is equivalence as regards the conceptual content, linguistic form and communicative function of a source language text” (Reiss 1977, translated in 1989: 112). Even though Reiss takes the concept of equivalence as the main focus of her analysis, she realized that in some cases, equivalence is impossible and, in some situation, not even desired. Therefore, she indicated that when we translate, we should in view of the function of the text. The idea of text typology including content-focused, form-focused and appeal-focused text put forward by Reiss, is another contribution of her to the Skopos theory. It is supposed to be the starting point for Skopos theory. &lt;br /&gt;
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Later, Hans Vermeer, the student of Reiss, made a major breakthrough in the limitations of equivalent theory and laid the theoretical foundation for it. He first mentioned the basic principles of Skopos Theory in 1978. He and Reiss jointly published Groundwork for a General Theory of Translation in 1984. In this book, Vermeer argues that translation should be seen as a fundamental action of transformation of the source text. As all actions are generally purposeful, translation also has purposes, which could have influences over the culture of the target language. (Groundwork for a General Theory of Translation, 1984) For Vermeer, translation cannot be treated as one-to-one transfer between source language and target language. In his research, on the basis of the source text, translation is a form of action. Some of other forms of translational action may relate to actions which giving like a consultant. Every translation is directed at an intended audience, since to translate means “to produce a text in a target setting for a target purpose and target addresses in target circumstances” (Vermeer, 1987a: 29). Vermeer’s Skopos Theory serves as the foundation for his general theory of translation. &lt;br /&gt;
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Later, two other German translators, Christiane Nord and Justa Holz Manttari, enriched and refined the Skopos theory. Mantarri’s theory is based on the rules of action theory and is intended to contain all forms of intercultural transmission, as well as those source or target texts which do not involved. (Nord, 2001: 12-13) Her theory reflects the role of the participants in the process of translation and the environment in which the process takes place. Nord, as the latest batch of German researchers, summarized the “Fidelity rule” and applied the Skopos theory extensively in the study of translation from multiple perspectives and related fields. Besides, Skopos theory has three principal rules which will be illustrated in the following section. &lt;br /&gt;
In conclusion, Reiss laid the foundation of Skopos theory. Vermeer, who summarized and outlined the rules to be followed in the process of Skopos theory in practice, became the founding father of the theory. Manttari focused on the specific issues of translation behavior and context in the translation process, while Nord made many contributions to the refinement of the theory and greatly expanded the practical application of this theory. &lt;br /&gt;
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==== 3.2 Three Rules of Skopos theory ==== &lt;br /&gt;
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There are three significant rules of Skopos theory including Skopos rule, coherence rule and fidelity rule, which will be discussed respectively as follows.&lt;br /&gt;
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===== 3.2.1 Skopos Rule=====&lt;br /&gt;
The Skopos rule is the top-ranking rule for any translation. That is to say, Skopos determines any translation action. “The translators should finish the task in a way that enables your translation to function in the situation in which it is used and with the people who want to use it and precisely in the way they want it to function. All in all, the end justifies the means.” (Nord, 2001:29)&lt;br /&gt;
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Translating is an international interaction as it is just said, and the Skopos rule has stable position after it appeared. In Vermeer’s term, intention is thought as an “aim oriented plan of action” (Vermeer, 1983:41) &lt;br /&gt;
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According to Vermeer, Skopos rule is that “Each text is produced for a given purpose and should serve this purpose. The Skopos rule thus reads as follows: translate in a way that enables your text to function in the situation in which it is used and with the people who want to use it and precisely in the way they want it to function.” (Vermeer, 1989a: 20, translated by Luo Dan) Skpos theory is the foundation for Chinese-English news headline translation model. All efforts made are intended for the Skopos of news headline translation because “the end justifies the means” &lt;br /&gt;
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=====3.2.2 Coherence Rule=====&lt;br /&gt;
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The coherence rule, another important rule of the Skpos theory indicates that “the target text must be interpretable as coherent with the target text receiver’s situation”. (Reiss and Vermeer, 1984: 113) That is to say that the target text must be translated in a way that it is clearly understood by the target readers, taking consideration of their existing knowledge and situation. &lt;br /&gt;
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===== 3.2.3 Fidelity Rule =====&lt;br /&gt;
Apart from intratextual coherence, there is intertextual coherence which refers to the relationship between the target text and the source text, which is presumed as a further principle, fidelity rule. The fidelity rule by Vermeer indicates that there have to be coherence between the target text and the source text. This means that target text should be faithful to its source text in a certain level of features, such as grammatical features, special collocations and rhetorical devices, or to some degree between a complete imitation and deviation. In accordance with the Skopos theory, the source text is no longer considered as the “sacred original”, and it is up to the translator to determine the aspect and the degree of the fidelity. In Vermeer’s opinion, any text is just an offer of information, and thus, any target text is an offer of information formulated by a translator in a target culture and language about an offer of information formulated by someone else in the source culture and language. (Nord 2001: 32) &lt;br /&gt;
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Three principal rules of Skopos theory have been illustrated as above. &lt;br /&gt;
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As for the relationship between the three rules, Reiss and Vermeer believe that the fidelity rule is subordinate to the coherence rule and both belong to the Skopos rule. If the skopos of the target text demands a change of function, the fidelity with the source text will no longer be taken as the only standard, but adequacy and appropriateness will be supplemented as the standard with regard to the skopos (Reiss and Vermeer, 1984: 139) &lt;br /&gt;
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====3.3 Summary ====&lt;br /&gt;
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This chapter introduced the development of Skopos theory and its three main principles, which intends to lay a theoretical foundation for Chinese-English news headlines translation. The function and skopos of news headline is to convey information and attract readers. In light of these, C-E news headlines translation, guided by Skopos theory, is a faithful re-creation.&lt;br /&gt;
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===4. Application of Skopos theory in Chinese-English Translation===&lt;br /&gt;
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As mentioned in the last chapter, Skopos theory specifies the purpose of translation. As far as the author concerned, the skopos of Chinese headline translation is to transfer information of latest events happened in China to English readers. All sorts of translation strategies and techniques can be adopted under the guidance of the skopos theory. Based on the dominant informative function of news headlines, new information should be transferred with fidelity and clarity. Moreover, considering the aesthetical function of headlines, the source text should be aesthetically handled to the target readers. This chapter will explain how skopos theory in applied in the translation of Chinese-English news headlines. Before that, the criteria of C-E news headlines translation will be discussed.&lt;br /&gt;
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====4.1 Criteria of News headline translation ====&lt;br /&gt;
According to the basis of translation criteria, the author discussed four criteria for Chinese news headline translation, including fidelity, readability, adaptability and rapidity. &lt;br /&gt;
===== 4.1.1Fidelity =====&lt;br /&gt;
Fidelity means to accurately convey the message of the source text. The translation of news headlines from Chinese to English is a kind of intercultural communication in which messages should be transferred objectively and accurately by reflecting the reality. For a translator, the first and foremost thing is to be loyal to the content of the source language and convey it in a precise way, particularly for the translation of news headlines. Considering this point of view, fidelity can be acted as a main rule for translating news headlines. &lt;br /&gt;
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=====4.1.2 Readability =====&lt;br /&gt;
Readability means the translation version is smooth for reading. This means, the translation should be easy for readers or audiences to read and understand. According to a survey on Beijing citizens’ newspaper reading and willingness by Chinese People’s university, vividness and readability ranked at the top of reasons for buying and reading newspaper. Therefore, translation of news headlines should consider about readability. If the rule of fidelity is viewed from the perspective of translation content, then the rule of readability can be treated as put forward from the perspective of translation form. The primary aim of news headline is to arouse readers interests as much as possible. &lt;br /&gt;
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=====4.1.3Adaptability =====&lt;br /&gt;
Adaptability means that the translated headline should be in an appropriate writing pattern related to news language. In other words, the style of target language and the source language should remain the same. Style is considered to be an essential and important portion in translation. Translation of news headlines is without exception. So, the translator must take serious consideration to the grammar and diction of English, and make sure that the version of new style is suitable when translating a Chinese news headline. &lt;br /&gt;
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===== 4.1.4Rapidity =====&lt;br /&gt;
Rapidity as the fourth request of news headline translation is the most significant one. It implies that the news headline translation should be carried out and complete at a given period of time without any delay. The news is more valuable if the time between happening and reporting is shorter. So, timeliness of news determines the rapidity of news translation, especially the translation of news headlines. &lt;br /&gt;
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====4.2 Strategies of E-C News Headlines Translation ====&lt;br /&gt;
News headlines is considered to be the soul of the news. Since Chinese and English readers are different in thinking patterns, education and cultural backgrounds, some proper translation methods should be taken into consideration to enable the readers to understand the news headlines easily. Under the guidance of Skopos theory, translations strategies including literal translation, free translation, amplification, omission, amplification, restructuring and adaptation are applied in news headlines translation. &lt;br /&gt;
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=====4.2.1 Literal translation=====&lt;br /&gt;
Literal translation, also called word-for-word translation, is the basic approach used in Chinese news headline translation, since it can retain both the form and contents of the original to the maximum. Here are some examples: &lt;br /&gt;
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[1] 疫情致牛仔裤销量骤减&lt;br /&gt;
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Pandemic leads to jeans sales slump&lt;br /&gt;
(China Daily Aug 10, 2020)&lt;br /&gt;
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The headline introduces that Covid-19 pandemic has led to jeans sales slump. “疫情”is translated into “Pandemic”, “牛仔裤销量”is translated to “jeans sales”, and “骤减” is translated into “slump”, which is exactly a literal translation. There’s no change of the form or style between the source text and the target text. &lt;br /&gt;
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[2] 新冠抗原检测试剂获批&lt;br /&gt;
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COVID antigen tests approved&lt;br /&gt;
(China Daily Nov 10, 2020)&lt;br /&gt;
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This example is a typical word-for-word translation. “新冠”, an abbreviation for “新冠病毒” is translated to “COVID”, short for coronavirus. “抗原检测” is translated into “antigen tests”, “获批”is translated to “approved”. We can see that in this example, the form and style and even the tense and voice of the source text and target text are the same. So, it is literal translation. &lt;br /&gt;
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[3] 成都将建首个大熊猫主题公园&lt;br /&gt;
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Chengdu Set to Get Unique Panda-themed Park &lt;br /&gt;
(China Daily, Jan 17, 2018) &lt;br /&gt;
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This is a literal translation, remaining the original form and style of the Chinese version. It uses midget words “set” and “get”, taking consideration of the style of English news headlines, in order to attract readers from different walks of life. At the same time, the Chinese noun “大熊猫主题” is converted to the English adjective “Panda-themed”, which is very concise and accurate.&lt;br /&gt;
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=====4.2.2 Free translation =====&lt;br /&gt;
Free translation is applied when the news headline of the source text is obscure and difficult to understand or there’s no equivalent words in the target language. Sometimes it is preferred because it adapts the original headlines to the target language. &lt;br /&gt;
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[4] 不要人夸颜色好，只留清气满乾坤&lt;br /&gt;
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Xi: China Welcomes Constructive Suggestions&lt;br /&gt;
(China Daily, Oct 25, 2017) &lt;br /&gt;
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The source text is a poem, cited by President Xi at the press conference of 19th CPC Central Committee Political Bureau to hear constructive suggestions from people both at home and abroad. The poem, Ink Plum written by a famous Chinese ancient poet, Wang Mian, carries rich cultural connotations and shows cultural confidence of China. If it is directly translated as “Not angling for compliments, we should be content that integrity fills the universe”, it will cause confusion to the target readers. Obviously, such a mechanical translation will discourage the reader from understanding the meaning of the poem. Therefore, the translation of this news headline should be based on the content of the news – Xi: Welcomes Constructive Suggestions. So, it is a typical example of free translation. &lt;br /&gt;
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[5]姜瑜：外资应凭实力在华竞争&lt;br /&gt;
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Foreign investors told to sharpen edge&lt;br /&gt;
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This example takes consideration of the reading habits and backgrounds of the target readers. “凭实力竞争” is translated to “sharpen one’s edge”, which is more understandable. “姜瑜”(Jiang Yu”, a heroic character in Chinese history is omitted. So, it is a free translation.&lt;br /&gt;
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=====4.2.3 Amplification =====&lt;br /&gt;
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Most of news headlines carry certain backgrounds, which are familiar to the source language readers, but alien to those who read the target language. So, translators have the responsibility to turn information rich in cultural connotation into something understandable to target readers. This is particularly significant in translating news headlines from the perspective of Skopos theory, because the purpose of such translating is to convey the information useful to target readers. As mentioned in the chapter before, Chinese news headlines usually carry rich cultural contents. Therefore, amplification is frequently used in Chines-English news headlines translation. &lt;br /&gt;
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[6] 水陆两栖飞机AG600首飞成功&lt;br /&gt;
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China’s First Large Amphibious Aircraft Makes a Successful Maiden Flight&lt;br /&gt;
(China Daily, Dec 25, 2018) &lt;br /&gt;
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Amplification is used in this translation. AG600, as called Kun Lun600, is the world’s largest amphibious aircraft developed by China. The translator adds a modifier “China’s first large” as a supplement of background to better inform the targe readers. &lt;br /&gt;
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[7] 共享单车来到“世界屋脊”&lt;br /&gt;
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Shared Bikes Climb to the “Roof of the World” (Tibet)&lt;br /&gt;
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“Roof of the World” is confusing for some target readers, so the translator adds “(Tibet)” at the end of the sentence to avoid ambiguity.&lt;br /&gt;
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=====4.2.4 Omission =====&lt;br /&gt;
Omission is a translation method to make the news headline simple and concise by eliminating the redundant verbs, pronouns, and other words in the source text. As Chinese usually use unnecessary modifiers, this method can highlight the main point of the news. &lt;br /&gt;
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[8] 对外汉语专家齐聚京城 共议国际汉语教师缺口问题&lt;br /&gt;
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Beijing forum addresses Chinese teacher shortage&lt;br /&gt;
(China.org.cn, Jul 21, 2021) &lt;br /&gt;
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In this example, the first sentence is translated into a phrase, so as to shorten the length of the news headline and more it more concise. What’s more, redundant words like “齐聚”, “共议” “问题” are omitted to point out main contents of the news. &lt;br /&gt;
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[9] '大流行病'当选年度词汇&lt;br /&gt;
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Word of the year: pandemic&lt;br /&gt;
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(China Daily, Dec 12, 2020)&lt;br /&gt;
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In the example, the verb “当选”(elected) in the source text is eliminated to save space.&lt;br /&gt;
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=====4.2.5 Restructuring =====&lt;br /&gt;
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Because the literal meaning the sentence does not work in the situation of the utterance, the translators have to find the vague information and convey it to the target readers. In news headline translation, special information needs to restructure. &lt;br /&gt;
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Restructuring refers to the rearrange of the words in logic order to make the translation more consistent and coherent. The target text should be acceptable and meaningful in a sense that it is coherent with the situation in which it is received. Once translated, the translator revises the order and rearranges all words into a perfect sentence. In doing so, the news is more logical and tuned with the habit of native readers’ thinking and reading. It is frequently used in translating news headlines from Chinese into English. &lt;br /&gt;
&lt;br /&gt;
[10] 疫情期间夫妻关系改善&lt;br /&gt;
&lt;br /&gt;
Marriages benefit from lockdown&lt;br /&gt;
(China Daily, Nov 23, 2020)&lt;br /&gt;
&lt;br /&gt;
The English version changes the structure of the Chinese news headline, and adds a preposition to show the logic of this sentence. By restructuring, English readers can better understand this news headline. &lt;br /&gt;
	&lt;br /&gt;
====4.2.6 Adaptation ====&lt;br /&gt;
&lt;br /&gt;
Adaptation is a translation method, which refers to selecting, adding, deleting and constructing cautiously instead of simply translating one word to another word. In order to make the translated version more proper to a certain readers or audiences, adaptation always make some essential changes for a special aim. Specific to C-E news headlines translation, the translator can take the Chinese news headlines as the basis and refer to the key news facts of the report, in order to offer as much information as possible to the target readers. &lt;br /&gt;
&lt;br /&gt;
[11] 高考将不再是 “一考定终身”&lt;br /&gt;
&lt;br /&gt;
Changes to Uni Eligibility&lt;br /&gt;
（People’s Daily, 2014）&lt;br /&gt;
 &lt;br /&gt;
In this example, “高考” refers to the National College Entrance Examination in China, which is an expression with Chinese characteristics. Therefore, based on the main idea of the news, the translator translated it into “Uni Eligibility”&lt;br /&gt;
	&lt;br /&gt;
[12] 中国女性主导财务决策&lt;br /&gt;
&lt;br /&gt;
'She' to power wealth management&lt;br /&gt;
(China Daily, Nov 23, 2020)&lt;br /&gt;
&lt;br /&gt;
Adaptation is used in this translation. According to contents of the news, women in different countries are mentioned. So, instead of translating “中国女性” into Chinese women, the English version adapted it into “she”, which adds interest and fun to the headline and thus can attract more readers.&lt;br /&gt;
&lt;br /&gt;
===4.3 Summary===&lt;br /&gt;
&lt;br /&gt;
===5. Conclusion===&lt;br /&gt;
News translation is a cultural transformation with certain purposes(skopos). While conveying the connotation of the information, news translation must also take into account the reception habits of readers into the target language. The purpose-oriented approach helps translators to break the language barriers in translation, and helps to convey culture and facilitate communication. The purposes and functions of translation determine the translation methods. In translation, the standard of translation should not be how to be faithful to the source text, to highlight the main points of the news and attract English readers. Therefore, there is more to be explored when applying the Skopos theory to Chinese-English news headlines.&lt;br /&gt;
===References===&lt;br /&gt;
&lt;br /&gt;
*Newmark, P.A Textbook of Translation[M]. Shanghai: Shanghai Foreign Language Education Press, 2001: 40-42.&lt;br /&gt;
&lt;br /&gt;
*Nord, Christiane. Translating as a Purposeful Activity [M]. Shanghai：Shanghai Foreign Language Education Press, 2001.&lt;br /&gt;
&lt;br /&gt;
*Vermeer, H. J. Skopos and Translationsauftrag – Aufsatze [M]. Second Edition. Heidelberg: University, 1989. &lt;br /&gt;
&lt;br /&gt;
*Vermeer, H. J. Skopos and Translation Commission [M]. Heidelberg: University, 1989.&lt;br /&gt;
&lt;br /&gt;
*Munday, J. Introducing Translation Studies: Theories and Applications[M]. London and New York: Routledge, 2001: 77-78.&lt;br /&gt;
&lt;br /&gt;
*Nida, E. A. Language, Culture and Translating[M]. Shanghai: Shanghai Foreign Language Education Press, 2001: 50-51. &lt;br /&gt;
&lt;br /&gt;
* Nida, E. A. Language and Culture—Contexts in Translating[M]. Shanghai: Shanghai Foreign Language Education Press, 2001: 38-41.&lt;br /&gt;
&lt;br /&gt;
* Schudson, M. The Power of News [M]. Cambridge, Mass: Harvard University press, 1995&lt;br /&gt;
&lt;br /&gt;
* 胡曙中. 语篇语言学导论[M]. 上海: 上海外语教育出版社, 2012.&lt;br /&gt;
&lt;br /&gt;
* 许明武. 新闻英语与翻译[M]. 北京: 中国对外翻译出版公司, 2003.&lt;br /&gt;
&lt;br /&gt;
* 沈金伯. 新闻英语文体探讨[J]. 《外国语》. 1989(1): 52-55 &lt;br /&gt;
&lt;br /&gt;
* 樊腾腾. 从目的论角度论英语新闻标题的翻译[D]. 广东外语外贸大学, 2006.&lt;br /&gt;
&lt;br /&gt;
* 刘宓庆. 当代翻译理论[M]. 中国对外翻译出版公司, 2003.&lt;br /&gt;
&lt;br /&gt;
* 王军,陈诗月.翻译目的论研究综述[J].现代交际,2017(18):102-103.&lt;br /&gt;
&lt;br /&gt;
* 陈丽昭. 中英新闻标题对比研究[D].福建师范大学,2002.&lt;br /&gt;
&lt;br /&gt;
* 王驰. 目的论在经济新闻标题英汉翻译中的应用[D].华中师范大学,2013.&lt;br /&gt;
&lt;br /&gt;
* 罗丹. 目的论视角下的中国日报网英语新闻标题的翻译策略[D].武汉科技大学,2012.&lt;br /&gt;
&lt;br /&gt;
* 唐婷. 从目的论看硬新闻标题的汉译英[D].南华大学,2010.&lt;br /&gt;
&lt;br /&gt;
* 刘芸希.目的论视角下新闻标题的英译研究[J].海外英语,2018(11):123-125.&lt;br /&gt;
&lt;br /&gt;
* 李中强. 新媒体背景下的汉语新闻英译研究[D].上海外国语大学,2012.&lt;br /&gt;
&lt;br /&gt;
==On Chinese-English Translation of Public Service Advertisements From the Perspective of Text-type Theory  司妤  Si Yu  Student No.202070080606==&lt;br /&gt;
&lt;br /&gt;
===Abstract===&lt;br /&gt;
&lt;br /&gt;
Public-service advertising is an advertising activity that provides free services to the community without the purpose of making profit. Since the founding of the People's Republic of China, public-service advertising activities have increased and played an important role in the moral and ideological education of society as a whole, such as fire and burglary prevention, forest protection, birth control, maintenance of public order, no spitting and so on, all of which are in the nature of public-service advertising.&lt;br /&gt;
With the improvement of China's status in the international society, the accuracy of the translation of PSAs, as a medium to convey Chinese culture, is attracting more and more attention. Accurate translations help to showcase Chinese culture to foreigners and promote communication, while incorrect translations can be laughable.&lt;br /&gt;
In some public occasions, I have noticed that there are many excellent PSAs, but there are also some &amp;quot;Chinglish&amp;quot; PSAs. This paper analyzes the text of PSAs using the Text-type theory, gives suggestions to improve the messy translation phenomenon, and summarizes several translation methods, hoping to provide reference for the translators of PSAs.&lt;br /&gt;
&lt;br /&gt;
===key words===&lt;br /&gt;
&lt;br /&gt;
Public-service advertisement;Text typeTheory;Translation methods&lt;br /&gt;
&lt;br /&gt;
===摘要===&lt;br /&gt;
&lt;br /&gt;
公益广告是不以营利为目的而为社会提供免费服务的广告活动。我国建国以后，公益性的广告活动日益增多，对全社会进行道德和思想教育发挥了重要作用，例如有关部门进行的防火防盗、保护森林、节制生育、维护公共秩序、不要随地吐痰等广告宣传，均属公益广告的性质。&lt;br /&gt;
随着中国在国际社会地位的提高，公益广告作为一种传递中国文化的媒介，其翻译的准确性日益受到人们的关注，翻译准确有利于向外国友人展示中国文化促进交流。翻译错误则容易贻笑大方。&lt;br /&gt;
在一些公众场合，笔者注意到不乏优秀的公益广告翻译，同时也仍有一些“中式英语”  公益广告存在，本文运用文本类型理论对公益广告文本进行分析，对乱译现象提出改进建议，总结了几点翻译方法，希望能够为公益文本译者提供借鉴。&lt;br /&gt;
&lt;br /&gt;
===关键字===&lt;br /&gt;
&lt;br /&gt;
公益广告；文本类型理论；翻译方法&lt;br /&gt;
&lt;br /&gt;
===Introduction===&lt;br /&gt;
&lt;br /&gt;
====Research Background====&lt;br /&gt;
&lt;br /&gt;
Economic and social development and the improvement of people's living standards have brought many unprecedented changes to people, making their lives more convenient and colorful. But along with it comes a series of social problems such as indiscriminate dumping of urban garbage, neglect of wildlife protection, lack of care for public property, smoking in public places, etc.These social problems have also been magnified by the advance of urbanization. At this time, public service advertisement (PSA)can offer help if we want to activate more people to solve them. There are many forms of public service advertisements, such as public service advertisement (PSA) clips, public service messages, and public service slogans. Each of these PSAs has its own textual characteristics, such as the PSA short film in the form of a short video, using a fascinating plot to illustrate the concept of public welfare; public service messages are simple but informative; public service slogans are neat and thought-provoking. The translation of these texts should be done according to the characteristics of the text in order to achieve the public service effect of the text. With China playing an increasingly important role in the international community, a large number of international conferences are being held in China, and the number of foreign travelers arriving in the country is on the rise. The accuracy of the translation of public service advertisements is especially important at this time, not only to help foreigners in their travel work in China, but also to promote Chinese culture and enhance their understanding of China.&lt;br /&gt;
&lt;br /&gt;
It is worth mentioning that the overall quality of the Chinese people has been significantly improved compared to a few years ago, and the appearance of more and more elites has made the society think more deeply about the accuracy of translation, which is conducive to building a good city image and improving the aesthetic level of city residents and tourists.&lt;br /&gt;
&lt;br /&gt;
Advertisements can be divided into commercial advertisements and public service advertisements according to content and purpose. Commercial advertisements are mostly published by enterprises, and their main purpose is to stimulate consumers and arouse their desire to consume, and their content is mostly product information.(Liu Xiaofang 2014)&lt;br /&gt;
&lt;br /&gt;
There are some definitions from different people. Berkowitz, a famous scholar, who makes a thorough study of advertisement for more than 25 years, states that PSA is generally sponsored by a non-profitable institution, civic group, religious organization, trade association, or political group with a central focus on public welfare (Berkowitz, 2004). In China, according to Zhang Minxin‟s definition, PSA is a sub-branch of non-commercial advertisement whose purposes are to serve the public interests. This kind of advertisement can push the public to change their attitudes and behaviors (Zhang Mingxin, 2004). There are some researchers at home and abroad trying to discover how public service advertisements work, such as: Judie Lannon (2008), Nancy Lee (2006), Josephson (2005) and other scholars hoping to discover the secrets behind public service advertisements and society, such as Charles Atkin (2001) and Pan Zehong (2001).&lt;br /&gt;
&lt;br /&gt;
====Research Significance and Objectives====&lt;br /&gt;
&lt;br /&gt;
As the influence of Chinese culture increases internationally, more and more foreigners want to learn about China. Some want to learn the Chinese language, others want to know more about the social situation. Public service advertisements (PSAs) provide such an opportunity to help them learn and better understand China. At the same time, some social problems, such as the new Cov-19 epidemic, SARS, and AIDS, may not only be a problem for China, but also for the whole world, and the PSAs can provide a Chinese perspective and Chinese wisdom to solve these problems. In addition, when a disaster occurs, such as the Wenchuan earthquake, which aroused the attention and sympathy of the internationalcommunity, and some friendly countries want to provide assistance, PSAs are extremely important. In this paper, the writer will analyze different public service advertisements from the perspective of text type theory and suggest translation suggestions.&lt;br /&gt;
&lt;br /&gt;
Public service advertisement texts are common texts in daily life, and many scholars have discussed them from various perspectives, including the theory of purpose, aesthetic perspective, semantic translation and communicative translation perspective. However, no scholars have analyzed them from the perspective of text type theory. The writer boldly proposes to look at public-interest text translation from such a perspective, which may lead to new insights.&lt;br /&gt;
&lt;br /&gt;
====Methodology====&lt;br /&gt;
&lt;br /&gt;
The texts in this paper are mostly from public service advertisements released by CCTV, publicservice text messages received by the public, and public service slogans around them. This paper adopts a descriptive approach to analyze the content and purpose of the texts in detail, and also gives its own suggestions on how to translate the public service texts.&lt;br /&gt;
&lt;br /&gt;
====Framework of this paper====&lt;br /&gt;
&lt;br /&gt;
This paper is divided into seven chapters.&lt;br /&gt;
Chapter 1 introduces the background, significance and purpose of the research, methodology, and general framework of this thesis.&lt;br /&gt;
Chapter 2 introduces the theoretical perspective used in this paper.&lt;br /&gt;
Chapter 3 analyzes the characteristics of public service texts from the perspective of content and text.&lt;br /&gt;
Chapter 4 gives examples of texts according to the three categories of text type theory and analyzes the more appropriate translations.&lt;br /&gt;
Chapter 5 lists the obvious mistranslations in PSAs and gives suggested versions of the translations.&lt;br /&gt;
Chapter 6 summarizes the methods that can be used to translate PSA texts.&lt;br /&gt;
Chapter 7 summarizes what has been discussed throughout the essay and reflects on the limitations of the essay.&lt;br /&gt;
&lt;br /&gt;
===Overview of Theoretical Foundation and Comparisons===&lt;br /&gt;
&lt;br /&gt;
====Reiss’s View of Text Type Theory====&lt;br /&gt;
&lt;br /&gt;
Katharina Reiss is the founder of the German functional school of translation, and in her book Possibilities and Limitations in Translation Criticism (1979) she presented the prototype of the functional school's theoretical ideas. Reiss's text types are divided into four main categories. She points out that content texts emphasize the depictive function, formal texts emphasize the expressive function, operative texts emphasize the persuasive function, and audio-visual texts emphasize the audio-visual function. function). Therefore, these text categories can also be referred to as informative text, expressive text, operative text, and audio-visual text, respectively. Correspondingly, there are four types of functions.(Li Zhi 2008) &lt;br /&gt;
&lt;br /&gt;
1. Content-based text&lt;br /&gt;
This type of text is content-based, and the text can be used to convey information and so on. When translating, the content should be restored to the greatest extent possible. These texts mainly include news reports and commentaries, business letters, cargo lists, instructions for use, operating instructions, and other professional works in technical fields.&lt;br /&gt;
&lt;br /&gt;
2. Formal texts&lt;br /&gt;
The focus of formal texts is on their aesthetic significance. When translating such texts, the translator should aim to create a similar text effect in the form. Formal texts include literary prose (short essays, biographies, pure literature), imaginative prose (anecdotes, short stories, novels, romances), and all forms of poetry (from didactic poetry to narrative poetry to purely emotional poetry).&lt;br /&gt;
If the form is not preserved in translation, the content of the text may be lost as a result.&lt;br /&gt;
&lt;br /&gt;
3. Operative texts&lt;br /&gt;
Operative texts are concerned with the response of the recipient of the text. This type of text clearly appeals to the recipient of the text through a certain point of view and with a certain purpose, expecting to receive the desired response. The representative texts are all operative texts in which the appealing element predominates, using advertisements, propaganda, sermons, debates, agitation or satirical texts that have an expressive purpose or linguistic expression.&lt;br /&gt;
&lt;br /&gt;
4. Audiovisual texts&lt;br /&gt;
Generally speaking, any text that requires some degree of non-verbal communication with the audience is an audio-visual text. This includes mainly radio and television scripts, such as radio news and reports, overviews of hot topics, and theater productions. In these texts, not only grammar and narration techniques, but also sound effects and visual devices (in television and film) play an important role.&lt;br /&gt;
&lt;br /&gt;
====Peter Newmark’s View of Text Type Theory====&lt;br /&gt;
&lt;br /&gt;
Peter Newmark is one of the leading figures in the linguistic school of British translation theory. Newmark also made a detailed classification of texts, and he summarized them into the following three types according to their contents:&lt;br /&gt;
&lt;br /&gt;
1. Expressive texts&lt;br /&gt;
This type of text focuses on the content of the text and the author's own point of view. Newmark divides them into three types of texts. (1) serious and imaginative literature, including lyric poetry, short stories, long novels, and plays; (2) authoritative texts, including a variety of texts whose authority comes from the author's status or linguistic ability, such as speeches and statements by senior government officials and political party leaders, legal regulations, documents, and literary and academic works written by authorities; (3) autobiographies, essays, and private letters that are straightforward and have no direct readership.(Jia Heping 2015)&lt;br /&gt;
&lt;br /&gt;
2. Informative texts&lt;br /&gt;
The text often contains some content that does not involve the emotional and opinion part, and this part of the content can have its practicality, which is the information function of the text. Typical informative texts include textbooks, technical reports, newspaper articles, scientific papers, conference proceedings, etc.&lt;br /&gt;
&lt;br /&gt;
3. Operative text&lt;br /&gt;
The function focuses on the response of the text receiver, and the text is set to get the desired response from the receiver, to produce certain influence on them or even change their concepts and behaviors. Typical vocative texts include notices, advertising campaigns, instructions, and persuasive texts (such as requests, appeals, etc.).&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
He classifies language functions into six categories, based on what the philosophers of language Bühler and Jacobson have said about language functions. He believes that a text may have one function or several functions, but that one of these functions is the main one, as explained below.&lt;br /&gt;
&lt;br /&gt;
1. Expressive function&lt;br /&gt;
Expression is a fundamental property of language. Expression is the process by which people use language to express their feelings, attitudes, and opinions. Expression focuses on output of the writer, not on the other person's reaction and feelings.&lt;br /&gt;
&lt;br /&gt;
2. Informative function&lt;br /&gt;
The content of the text is mainly fixed, not with emotion, can be used by people in certain situations.&lt;br /&gt;
&lt;br /&gt;
3. Operative function&lt;br /&gt;
This function focuses on the reaction of the recipient of the text, and the writer envisages the reaction of the recipient of the text when writing, in order to achieve the corresponding purpose.&lt;br /&gt;
&lt;br /&gt;
4. Aesthetic function&lt;br /&gt;
Language contains traces of history, which represents a certain aesthetic of people. The first means used for this function is sound, and the second is metaphor. In addition, the rhythm, balance and contrast of sentences and words also have a role. The aesthetic function is present in most of the text categories, moreover, it is indispensable for poems, nursery rhymes and some advertising campaigns.&lt;br /&gt;
&lt;br /&gt;
5. Interpersonal function&lt;br /&gt;
The interpersonal function is reflected in people's daily interactions and conversations. That is, language helps people establish relationships with each other.&lt;br /&gt;
&lt;br /&gt;
6..Meta-linguistic function &lt;br /&gt;
Meta-linguistic function is a special function of language, refers to the language of the language itself to explain, name, analyze, comment on the function. Some expressions in the text, such as “strictly speaking, literally, so called, so to speak, by definition, etc.”, are manifestations of the meta-linguistic function.&lt;br /&gt;
&lt;br /&gt;
Of the above six functions, the first three are the main ones, but within a text, there may be multiple functions, but the text itself has a focus, and rarely does textual knowledge contain purely one function.(Li Zhi 2008)&lt;br /&gt;
&lt;br /&gt;
====Similarities and Differences Between Reiss's and Newmark's View of Text Type Theory====&lt;br /&gt;
&lt;br /&gt;
=====Similarities=====&lt;br /&gt;
Both theories are based on Bühler's triadic approach to language function. Both have the same understanding of the division and characteristics of different kinds of texts.&lt;br /&gt;
Differences&lt;br /&gt;
&lt;br /&gt;
=====Differences=====&lt;br /&gt;
First of all, language used in lived interaction is the main basis for Rice's definition of text types, and these are classified as text types that value content. Newmark, on the other hand, regards such lived language as a special linguistic function, and many experts consider this understanding by Newmark problematic.&lt;br /&gt;
&lt;br /&gt;
Second, there is a significant difference in their views of instructions, with Rice classifying them as informative texts because of their ability to provide certain information to readers. Newmark, on the other hand, classifies it as a operative text because of its ability to guide people and thus change their behaviors. In my opinion, the text of instruction manuals is due to the nature of the product itself, and the readers have the will to act before reading the text, and the manuals only provide them with certain information, so they should belong to the information category.&lt;br /&gt;
&lt;br /&gt;
Furthermore, the language used in living interactions is the main basis for Rice's definition of text types, and these are classified as text types that value content. Newmark, however, regards this lived language as a special language function, and many experts think that this understanding of Newmark is problematic.(Jia Heping 2015)&lt;br /&gt;
&lt;br /&gt;
====Similarities and Differences Between Chinese and English PSA texts====&lt;br /&gt;
&lt;br /&gt;
=====Similarities=====&lt;br /&gt;
&lt;br /&gt;
1. Public service texts in both languages often use certain rhetorical techniques, such as personification, alliteration, and end-rhyme, in order to evoke a call to action.&lt;br /&gt;
&lt;br /&gt;
2. Public service texts in both languages often use short sentences, especially in public service slogans, which are easy to remember and achieve the desired effect.&lt;br /&gt;
&lt;br /&gt;
3. Both languages use idioms and sayings that have been around for a long time.&lt;br /&gt;
 &lt;br /&gt;
=====Differences=====&lt;br /&gt;
&lt;br /&gt;
1. Chinese public service texts are good at using strong words such as &amp;quot;forbidden&amp;quot;, while English texts use more euphemisms such as &amp;quot;Please&amp;quot;. When translating, we should respect the habits of the translating countries in order to better play the role of public welfare texts.&lt;br /&gt;
&lt;br /&gt;
2. Chinese public service texts tend to use poetry-like forms, with seven or five characters in order to be neatly matched. In English, they mostly use phrases of the same number of words to match each other.&lt;br /&gt;
&lt;br /&gt;
3.The translation of advertising slogans also needs to respect certain cultural differences, as Western societies emphasize the individual while the Chinese value collectivism. For example:&lt;br /&gt;
&lt;br /&gt;
Example 1：保护生态环境，造福子孙后代。&lt;br /&gt;
&lt;br /&gt;
Translation 1:Leave a sound ecological environment to your children.&lt;br /&gt;
&lt;br /&gt;
Such a slogan in Chinese emphasizes the impact on future generations without specifying whose children and grandchildren it is, but in the translation, the translator translates it as &amp;quot;Leave a sound ecological environment to your children.” to call on people to protect the environment.&lt;br /&gt;
&lt;br /&gt;
4. Westerners focus on direct expressions, while Chinese expressions are more subtle. For example:&lt;br /&gt;
&lt;br /&gt;
Example 2: 司机一滴酒，亲人两行泪。 &lt;br /&gt;
&lt;br /&gt;
Translation:Drink and drive costs your life.&lt;br /&gt;
&lt;br /&gt;
The sentence contrasts the words &amp;quot;酒&amp;quot; and &amp;quot;泪&amp;quot; without directly pointing out the possible serious consequences, leaving the reader to think about them and take actions. Instead, the translator simply translates it as &amp;quot;Drink and drive costs your life.”(Li Qingxue, Wang Huaiwang 2019)&lt;br /&gt;
&lt;br /&gt;
===Features of Public Service Advertisements===&lt;br /&gt;
&lt;br /&gt;
As an advertising method, public service advertisements have their own characteristics in many aspects. By analyzing the characteristics, we can accurately convey the idea that the PSA is trying to convey.&lt;br /&gt;
&lt;br /&gt;
====Content Features====&lt;br /&gt;
&lt;br /&gt;
1. The public welfare nature of PSAs is their essential feature, which is concerned with the common interests of the entire society. By observing the theme and content of the PSAs in both China and abroad, it can be seen that the topics of PSAs cover ecological protection, care for the earth, quality birth and education, opposing cults, advocating science, opposing war, advocating polite social mores, patriotism, and so on.&lt;br /&gt;
&lt;br /&gt;
2. Public service advertisements are non-profit in nature. It does not exist for an organization or a business entity, but rather to draw people’s attention to and activate action on social issues. Commercial advertising, on the other hand, exists for financial gain.&lt;br /&gt;
&lt;br /&gt;
3. Popularity. The public service advertisements are made for the general public. As the audience's cultural level, the ability to understand different, so public service advertisements must be easy to understand. It not only requires the spread of advertising content to have universal significance, but also the form of popular, concise, accessible language, easy to understand. Only in this way, the public service advertisement can really serve the purpose of the public.&lt;br /&gt;
&lt;br /&gt;
4. Creativity. The advertising market is so diverse that the only way to make advertisements spread to  the public is to design them in a creative and meaningful way that will make them known to&lt;br /&gt;
more people.&lt;br /&gt;
&lt;br /&gt;
====The Features of Text Forms====&lt;br /&gt;
&lt;br /&gt;
1.Advertising texts that we see in our daily lives include slogans, public service messages and public service videos, and so on. Advertising slogans are usually short and meaningful, with simple counterpoint sentences, and are operative texts. On the other hand,public service messages are mostly preventive messages issued by social organizations to help disseminate precautions and draw people’s attention to an unexpected situation in order to maintain social order. They are mostly informative texts. Most PSAs have a complete storyline, thought-provoking dialogue, and a short slogan that summarizes the message of the ad.&lt;br /&gt;
&lt;br /&gt;
2. Public service advertisements are often designed with certain rhetorical techniques to enhance the aesthetics of the ad, make it catchy to read, and ultimately leave a deep impression on the public.&lt;br /&gt;
&lt;br /&gt;
===Examples of C-E Translation of Public Service Advertisements===&lt;br /&gt;
&lt;br /&gt;
====Operative Text====&lt;br /&gt;
&lt;br /&gt;
Most of the PSAs are operative texts, and the pupose of operative texts in PSAs is to affect the public in order to attain the desired response from the advertisers. PSAs are created to publicize something of common social interest in order to attract attention and action, so the creative design of the advertisement should take this into account and retain the appealing elements of the original text when designing the advertisement.&lt;br /&gt;
&lt;br /&gt;
Example 3: 爱心播散 希望萌芽&lt;br /&gt;
&lt;br /&gt;
Translation: Spread love Sow hope&lt;br /&gt;
&lt;br /&gt;
The public service advertisement slogan is from a public service advertisement released by CCTV in 2016, which tells the story of Zhao Xiaoting, a student from Wuhan University, who volunteered to go to Guizhou to teach in the mountains. It was her selfless love that sowed hope for the children in the mountains. The ad reflects the great power of ordinary people and promotes the core values of socialism. It shows the power that volunteering can bring. The ad is very short, with a neat counterpoint, and the verb and noun have been swapped in the translation, with the verb being in front of the noun, indicating a dynamic process that can arouse the public's recognition of the act and inspire them to join in and contribute to the poor areas. The second verb in the original text is &amp;quot;萌芽&amp;quot;, but the translation uses &amp;quot;sow&amp;quot; to indicate the growth of hope, which is similar to the original text.(Jin Haibing 2005)&lt;br /&gt;
&lt;br /&gt;
Example 4: 有你在，就是家。&lt;br /&gt;
&lt;br /&gt;
Translation：You bring me warmth of home.&lt;br /&gt;
&lt;br /&gt;
In this short film, a father in a rural area has never been away from home, and because he misses his son, who has not been home for a long time, he sets out on his own to visit him. The father has to change various means of transportation to get to the city, and encounters many difficulties because his being unable to speak mandarin well. The helpless father finally gets help from the staff, through whom he contacts his son. Eventually they both cry, and the short film ends with the father sitting on his son's motorcycleand going home together. The short film is very touching, and through the process of going into the city to look for his son, it shows us how brave and gentle people can be for love. If we translate the text word by word in the original order, we can't express this meaning, so we use phrases like &amp;quot;bringing sb warmth&amp;quot; to express the meaning of the original Chinese.(Ye Qiuling 2020)&lt;br /&gt;
&lt;br /&gt;
====Informative Text====&lt;br /&gt;
&lt;br /&gt;
Public service messages are informatiive texts, mainly used to convey certain information, with straightforward and concise text content, and the translator only needs to express its literal meaning directly when translating.&lt;br /&gt;
&lt;br /&gt;
Example 5：请您收到来自境外、国内新冠疫情中高风险地区的邮件、包裹，先对物品表面进行消毒，或在阳台等室外空旷处放置一段时间再打开。处理完包裹、邮件后，应立即用肥皂或洗手液清洗双手，或用免洗手消毒剂进行消毒。洗手前双手不触碰口、鼻、眼等部位。疫情防控有您的参与才能胜利！&lt;br /&gt;
&lt;br /&gt;
Translation: If you receive mail or parcels from overseas or domestic areas at high risk of Cov-19 outbreak, please disinfect the suface of the items first, and leave them on the balcony or other outdoor open space for a period of time before opening them. Immediately after handling parcels and mail, wash your hands with soap and hand sanitizer, or disinfect them with hand sanitizer. Do not touch your mouth, nose, eyes or other parts of your body before washing your hands. Outbreak prevention and control can only be won with your participation!&lt;br /&gt;
&lt;br /&gt;
Example 6：应急公益短信:为严防新型冠状病毒感染的肺炎疫情，山东省严禁任何形式的野生动物交易活动，严禁野生动物对外扩散和转运贩卖。对于违反规定的经营者、经营场所将予以停业整顿、查封，涉嫌犯罪的，将移送公安机关。社会各界如有发现违法违规交易野生动物的，欢迎拔打12345等投诉举报。&lt;br /&gt;
&lt;br /&gt;
Translation: In order to prevent the outbreak of pneumonia due to new coronavirus infection, any form of wildlife trade is strictly prohibited in Shandong Province, and the proliferation and trafficking of wildlife is strictly prohibited. The company's main goal is to provide the best service to the public.&lt;br /&gt;
If you are suspected of committing a crime, you will be transferred to the public security organs. If any&lt;br /&gt;
illegal trade of wild animals is found, the community is welcome to call 12345 to report complaints.&lt;br /&gt;
&lt;br /&gt;
====Expressive Text====&lt;br /&gt;
&lt;br /&gt;
The purpose of an expressive text is to express emotions and attitudes, the language focuses on aesthetics, and the focus of the text is on the form of expression, which requires attention to equity in translation. With the development of the economy and society and the improvement of people's living standards, the aesthetic level of the masses is also improving, and accordingly, the translation of advertising slogans should also change to adapt to the improvement of people's aesthetics.&lt;br /&gt;
&lt;br /&gt;
Example 7：善行无痕 一种习惯的美丽&lt;br /&gt;
&lt;br /&gt;
Translation: Kindness is traceless. A habit of beauty.&lt;br /&gt;
&lt;br /&gt;
The slogan is from a public service advertisement by CCTV in 2016. In the short film, a wife walks into a room to rest after stopping on the balcony for a long time, and her husband comes back and intends to tum off the balcony light to save electricity. The wife stops the husband, and the camera turns to two elderly sanitation workers who are finishing their meal by the light of the lamp she left for them, which the young couple lit for them in the night.Such kindness is obviously not accidental,but has been a habit of the wife in the short film, and is therefore natural and touching. The ad is intended to call attention to good deeds and habit formation through a story like this one. The ad's slogan is a literal translation, with &amp;quot;善行&amp;quot; translated as &amp;quot;Kindness&amp;quot; and &amp;quot;无痕&amp;quot; as &amp;quot;traceless&amp;quot;.&amp;quot;The use of end-rhyme rhetoric, which pursues equivalence of expressions and enhances the rhythmic beauty of the language, impresses readers and influences their perceptions and habits of good deeds, serving as a public service advertisement.(LiQingxue, Wang Huaiwang 2019)&lt;br /&gt;
&lt;br /&gt;
Example 8：保护肺脏，珍爱生命。（禁烟广告）&lt;br /&gt;
&lt;br /&gt;
Translation: Save your lung, save your life.&lt;br /&gt;
&lt;br /&gt;
The slogan comes from an anti-smoking advertisement that uses the alliteration, “lung” and “life”, to emphasize that quitting smoking is about protecting your lungs and your life. The two “saves” remind people that smoking is harmful to their health and that they should quit smoking as soon as possible to save themselves.&lt;br /&gt;
&lt;br /&gt;
===Misinterpretation of Public Service Advertisemnts===&lt;br /&gt;
&lt;br /&gt;
====Chinglish====&lt;br /&gt;
Chinglish refers to word-for- word translations that do not consider translation strategies from the perspective of the receiving language and cultural differences, and often cause difficulties in comprehension for the receiving readers.&lt;br /&gt;
&lt;br /&gt;
Example 9：小心地滑&lt;br /&gt;
&lt;br /&gt;
Misinterpretation: Foot Care.&lt;br /&gt;
&lt;br /&gt;
Suggested translation: Mind your step.&lt;br /&gt;
&lt;br /&gt;
The above misinterpretation is translated word-for-word, which not only makes it difficult for the recipient readers to read, but also affects the image of the city as a whole, so more citizens are taking notice and taking action to reject &amp;quot;dead translation&amp;quot; and &amp;quot;Chinglish&amp;quot;. &lt;br /&gt;
&lt;br /&gt;
====Grammatical errors====&lt;br /&gt;
Most grammatical errors are caused by the translator's own incompetence, mainly in the use of articles, subject- predicate inconsistencies, mis-matching of verb phrases, and word confusion.&lt;br /&gt;
&lt;br /&gt;
Example 10：珍爱生命 远离毒品。&lt;br /&gt;
&lt;br /&gt;
Mistranslation: Yes to life, no to drugs.&lt;br /&gt;
&lt;br /&gt;
Suggested translation: Cherish life and avoid drugs.&lt;br /&gt;
&lt;br /&gt;
The public service advertisement came from an anti-drug advertisement, obviously the mistranslated structure of the translation does not fit English conventions.&lt;br /&gt;
&lt;br /&gt;
====Inappropriate Use of Words====&lt;br /&gt;
There are some words in English that are very similar to each other, and improper use of words means that the translator uses words haphazardly without clearly distinguishing between similar words, resulting in a misinterpretation.&lt;br /&gt;
&lt;br /&gt;
Example 11：关爱残障人士&lt;br /&gt;
&lt;br /&gt;
Improper translation: Care for the handicapped.&lt;br /&gt;
&lt;br /&gt;
Suggested translation: Care for the disabled.&lt;br /&gt;
&lt;br /&gt;
The slogan is from a public service advertisement in which the word &amp;quot;handicapped,&amp;quot; which translates to &amp;quot;the handicapped,&amp;quot; is now somewhat outdated and contains a certain amount of offensive language that sometimes causes people to be It would make more sense to change it to &amp;quot;the disabled&amp;quot;, relatively speaking.&lt;br /&gt;
&lt;br /&gt;
====Redundancy====&lt;br /&gt;
The redundancy is due to the fact that the translators do not fully understand the differences between Chinese and foreign cultures and the purpose of the text.&lt;br /&gt;
&lt;br /&gt;
Example12：一花一草皆生命 一枝一叶总关情&lt;br /&gt;
&lt;br /&gt;
Improper Translation: Alive as all living things each flower and leaf of grasses require our care.&lt;br /&gt;
&lt;br /&gt;
Suggested Translation: Please give me a chance to grow.&lt;br /&gt;
&lt;br /&gt;
The original translator intended to present a vivid description of the original slogan in front of people, but failed to consider that the slogan was intended to arouse people's love for flowers and plants. We suggest that the translation should start from the operative textual features of the slogan and combine it with the straightforward expression habits of foreigners to call on people to take care of flowers and plants in a more euphemistic way.&lt;br /&gt;
&lt;br /&gt;
===Methods of C-E Translation of Public Service Advertising===&lt;br /&gt;
&lt;br /&gt;
====Literal Translation====&lt;br /&gt;
&lt;br /&gt;
The main characteristics of literal translation are twofold: in the treatment of word meanings and rhetoric (e. g., metaphors), it does not use transitive techniques (this distinguishes &amp;quot;literal translation&amp;quot;from &amp;quot;free translation&amp;quot;); in the treatment of linguistic forms (i.e., lexical-syntactic structure), it allows appropriate changes and shifts (This distinguishes &amp;quot;literal translation&amp;quot; from &amp;quot;word- for-word translation&amp;quot;).(Xiong Bing 2013) For example.&lt;br /&gt;
&lt;br /&gt;
Example 13: 我的盛开需要你的关爱 &lt;br /&gt;
&lt;br /&gt;
Translation : Luxuriant flowers need your care.&lt;br /&gt;
&lt;br /&gt;
The translation retains the personification of the original, treating flowers as species with emotions, but directly specifies that &amp;quot;I&amp;quot; means &amp;quot;flower&amp;quot;, which is in line with the habit of expression of the target audience and serves as a reminder.&lt;br /&gt;
&lt;br /&gt;
Example 14: 节约用水就是珍爱生命&lt;br /&gt;
&lt;br /&gt;
Translation : To save water is to save life&lt;br /&gt;
&lt;br /&gt;
The original text translates &amp;quot;conserve water&amp;quot; and &amp;quot;cherish life&amp;quot; into a neat pairing, and the translation also translates them into a neat pairing, and the expression is in line with the habits of expression of the people in the receive language. Both the original text and the translation equate &amp;quot;conserve water&amp;quot; with &amp;quot;cherish life&amp;quot; to arouse the attention of the masses and advertise the importance of saving water.&lt;br /&gt;
&lt;br /&gt;
====Paraphrase====&lt;br /&gt;
&lt;br /&gt;
A paraphrase translation is one in which the translator does not stick to the details of the meaning of the original text, much less to its vocabulary and syntactic structure, but &amp;quot;uses the original text as a reference model&amp;quot; and either translates only the general meaning, gist or key information (or selectively some of it) by condensing it, or translates it into a text with more information compared to the original article. (Xiong Bing 2013) For example.&lt;br /&gt;
&lt;br /&gt;
Example 15:爱我,追我,千万别吻我。&lt;br /&gt;
&lt;br /&gt;
Translation: Drive carefully! &lt;br /&gt;
&lt;br /&gt;
The original text is from a public service advertisement advocating cautious driving. The translation does not follow the literal meaning, but rather the translator uses a paraphrasing technique after understanding the meaning of the sentence and chooses two words to express the meaning. It is short and serves as a warning to motorists.&lt;br /&gt;
&lt;br /&gt;
Example 16：手下留情花自香，脚下留意草如茵。&lt;br /&gt;
&lt;br /&gt;
Translation: Take care of grass and flowers, please.&lt;br /&gt;
&lt;br /&gt;
The original text is a public service slogan with Chinese cultural characteristics, but it is difficult to find a corresponding expression in English when translating. Here the translator uses an invocation to remind the masses.&lt;br /&gt;
&lt;br /&gt;
====Borrowing Translation====&lt;br /&gt;
&lt;br /&gt;
A borrowing Translation is an explanation that replaces the original word or phrase by borrowing the idiom of the target language. For example.&lt;br /&gt;
&lt;br /&gt;
Example 17: 爱心传递你我，文明就在身边。&lt;br /&gt;
&lt;br /&gt;
Translation: Where there is a love, there is a virtue.&lt;br /&gt;
&lt;br /&gt;
The original is a slogan from an advertisement for the Olympic Games, which is a medium for promoting the spirit of the Games and the country's outlook. The translator chose a well-known proverb from the translated country, &amp;quot;Where there is a will, there is a way,&amp;quot; to expand the publicity effect.&lt;br /&gt;
&lt;br /&gt;
Example 18: 让世界倾听我们的声音&lt;br /&gt;
&lt;br /&gt;
Translation : Let our voice be heard in the world.&lt;br /&gt;
&lt;br /&gt;
The original text was a slogan from a CCTV public service advertisement, which was based on the lyrics &amp;quot;Let our voice be heard.&lt;br /&gt;
&lt;br /&gt;
===Conclusion===&lt;br /&gt;
&lt;br /&gt;
In this paper, the writer divides and analyzes different texts and explain the approaches they take in translation. This perspective of using text type theory to analyze and discuss how to translate public service texts may be of some help to scholars.&lt;br /&gt;
&lt;br /&gt;
According to different texts, the text type theory has its own emphasis in translation, and different PSA texts are mostly operative texts, and sometimes one text has multiple textual characteristics, which translators can take into full consideration when choosing the emphasis and translation methods.&lt;br /&gt;
Public service translation is very different from commercial advertising translation, which is mainly used to educate the public, convey correct and positive values, encourage people to take actions to help others, and create a good social environment to resist bad behaviors. Generally speaking, it is necessary to consider the actual situation when translating the PSAs.&lt;br /&gt;
&lt;br /&gt;
Through analyzing the texts of PSAs, the author has made the following discoveries, and the translation of PSAs can be done according to the text type theory. Although there are some cultural differences between the two languages, the differences do not make translation difficult to achieve. If literal translation cannot translate the meaning of the source text, then paraphrase,borrowing translation and other translation methods can also be used.&lt;br /&gt;
&lt;br /&gt;
===Limitation===&lt;br /&gt;
&lt;br /&gt;
In this paper, I put forward some personal ideas, but in the final version, I can still find my own shortcomings. First of all, there is still a lack of richness of information due to the limitation of space. Secondly, the depth of my ideas is still insufficient, and I only hope that this article can provide some research ideas for researchers and contribute to the translation of public service texts.&lt;br /&gt;
&lt;br /&gt;
===References===&lt;br /&gt;
1.Jia Heping 贾和平. (2019). 论纽马克与赖斯的文本分类比较研究 [A Comparative Study on Newmark’s and Reiss’s Text Type Classification ]. &lt;br /&gt;
&lt;br /&gt;
2.Li Zhi 李治. (2008). 论纽马克与赖斯的文本分类比较研究 [Newmark’s and Reiss’s Text Type Classification and A Comparative Analysis of Translation Methodology ].&lt;br /&gt;
&lt;br /&gt;
3.Jin Haibing 金海兵. (2005). 试谈公益广告标语及其翻译 [On Analyzing Public Service Advertisements and Their Translation].&lt;br /&gt;
&lt;br /&gt;
4.Li Qingxue, Wang Huaiwang 李庆学 王怀望. (2019). 接受美学视角下的公益广告翻译 [A Study of English Translation of Public Service Advertisements from the Perspective of Reception Aesthetics].&lt;br /&gt;
&lt;br /&gt;
5.Ye Qiuling 叶秋伶. (2020). 语义翻译和交际翻译理论视角下中文公益广告英译——以央视公益广告为例 [English Translation of Chinese Public Service Advertisements from the Perspective of Semantic Translation and Communicative Translation Theory - Taking CCTV Public Service Advertisements as an Example].&lt;br /&gt;
&lt;br /&gt;
6.Liu Xiaofang 刘晓芳. (2015). 目的论视角下《中国日报》公益广告英译的探析 [The English Translation of PSAs in China Daily from the Perspective of Skopos theorie].&lt;br /&gt;
&lt;br /&gt;
7.Chen Yanhong 陈燕红. (2012).  文化视角中汉英公益广告的翻译策略 [Translation Strategies of Chinese-English Public Service Advertisements in Cultural Perspective].&lt;br /&gt;
&lt;br /&gt;
8.Xiong Bing 熊兵. (2013).  翻译研究中的概念混淆 [Conceptual Confusion in Translation Studies].&lt;/div&gt;</summary>
		<author><name>Song Jianru</name></author>
	</entry>
	<entry>
		<id>https://bou.de/u/index.php?title=History_of_Translation_Studies_8&amp;diff=113139</id>
		<title>History of Translation Studies 8</title>
		<link rel="alternate" type="text/html" href="https://bou.de/u/index.php?title=History_of_Translation_Studies_8&amp;diff=113139"/>
		<updated>2020-12-16T13:25:35Z</updated>

		<summary type="html">&lt;p&gt;Song Jianru: /* References */&lt;/p&gt;
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&lt;div&gt;这里是《翻译学史》的书稿第八部分(Part 8)。麻烦各位同学看一下已经存在的章回（样品），自己再加进去新的一个章回（就是你们的学期论文）。请也帮助同学们把他们的论文改正。这样多次修改，大家的论文会越来越好。&lt;br /&gt;
&lt;br /&gt;
学期论文（结合学期所学，撰写一篇5000以上单词的英文论文，按照专业杂志的格式，题目、摘要、关键词和参考文摘需要英中，文章英）。学期论文成绩占70%，平时成绩（含课堂表现、展示及作业）占30%。&lt;br /&gt;
&lt;br /&gt;
*Link back to course homepage: [https://bou.de/u/wiki/Introduction_to_Translation_Studies Course Homepage Intro. to TS]&lt;br /&gt;
*Link back to the final exam paper section of the course homepage: [https://bou.de/u/wiki/Introduction_to_Translation_Studies#Final_Exam_Papers Final Exam Papers]&lt;br /&gt;
*Link to other parts of the final exam papers' website: [https://bou.de/u/index.php?title=History_of_Translation_Studies_1 Part 1], [https://bou.de/u/index.php?title=History_of_Translation_Studies_2 Part 2], [https://bou.de/u/index.php?title=History_of_Translation_Studies_3 Part 3], [https://bou.de/u/index.php?title=History_of_Translation_Studies_4 Part 4]; [https://bou.de/u/index.php?title=History_of_Translation_Studies_5 Part 5], [https://bou.de/u/index.php?title=History_of_Translation_Studies_6 Part 6], [https://bou.de/u/index.php?title=History_of_Translation_Studies_7 Part 7], [https://bou.de/u/index.php?title=History_of_Translation_Studies_8 Part 8]; [https://bou.de/u/index.php?title=History_of_Translation_Studies_9 Part 9], [https://bou.de/u/index.php?title=History_of_Translation_Studies_10 Part 10].&lt;br /&gt;
&lt;br /&gt;
='''History of Translation'''=&lt;br /&gt;
== Study on Brand Name Translation from the Perspective of Cultural Difference	谭鑫洁	Tan Xinjie==&lt;br /&gt;
&lt;br /&gt;
==='''Abstract'''===&lt;br /&gt;
&lt;br /&gt;
== Abstract: ==&lt;br /&gt;
&lt;br /&gt;
==='''key words'''===&lt;br /&gt;
&lt;br /&gt;
==='''摘要'''===&lt;br /&gt;
&lt;br /&gt;
==='''关键字'''===&lt;br /&gt;
&lt;br /&gt;
===Complete transcript of the content of the original work ===&lt;br /&gt;
&lt;br /&gt;
===Same style and manner of writing===&lt;br /&gt;
&lt;br /&gt;
===Equivalent effect===&lt;br /&gt;
&lt;br /&gt;
===Discussion===&lt;br /&gt;
&lt;br /&gt;
===Conclusion===&lt;br /&gt;
&lt;br /&gt;
===Bibliography===&lt;br /&gt;
&lt;br /&gt;
==A Comparative Study on the Translation History in Western Countries and China	王煜	Wang Yu==&lt;br /&gt;
&amp;lt;center&amp;gt;王煜，202020080645.&amp;lt;/center&amp;gt;&lt;br /&gt;
===Abstract===&lt;br /&gt;
Translation is an intercultural communication activity, translation activities have accelerated the development of human civilization and reduced the communication barriers between people of different countries or nations. With time goes by, things are in a state of flux and both the western and eastern countries have gradually formed their own history of translation, the study of translation history is a basic project of discipline construction. Though there are many differences among the translation histories of western countries and China, the two kinds of translation histories are still shining their own bright unique lights and have an indelible influence and contribution to human translation activities. This paper intends to make a brief comparison of translation histories between western countries and China, which includes the origins, the stages, the representatives of the stages, the significance and influence as well as the differences of the two translation histories.&lt;br /&gt;
&lt;br /&gt;
===Keywords===&lt;br /&gt;
Translation History of the West; Translation History of China; Comparative Study&lt;br /&gt;
&lt;br /&gt;
===中西翻译史对比研究===&lt;br /&gt;
&lt;br /&gt;
===摘要===&lt;br /&gt;
翻译是一种跨文化交流活动，翻译活动加快了人类文明发展步伐，减少了人们之间的沟通障碍。随着时代的变迁，中国和西方国家逐渐形成了各自的翻译史，翻译史的研究是学科建设的一项基础工程。尽管中西方翻译史在某些方面有所差异，但却都有着各自的独特性，并对人类的翻译活动产生了巨大的影响与贡献。文章将以中国和西方国家为主要对象，从二者翻译史起始，包含阶段和各阶段代表人物，影响意义，差异性出发，对二者的翻译史进行简略的对比研究。&lt;br /&gt;
&lt;br /&gt;
===关键词===&lt;br /&gt;
西方翻译史；中国翻译史；对比研究&lt;br /&gt;
&lt;br /&gt;
===1. Introduction===&lt;br /&gt;
No matter in China or in the west, translation plays an important role in knowledge-spreading. As an indispensable part of translatology, the study of translation history has made a great influence on translation activities, it has gradually become the focus of the literary and historical circles in recent years. Translation activities can be traced back to the origin of language, and the history of translation is almost as old as language itself, it is closely related to the changes in today's society. &amp;quot;Since the 1980s, the translation studies in the mainland of China have made remarkable progress in the curriculum design of Chinese and western translation history and the compilation of related works. In the early 1980s and 1990s, there were many related works came out one after another including History of Translation in China – before May Fourth（《中国翻译简史-“五四”运动以前部分》） written by Ma Zuyi, A Historical Manuscript of Chinese Translated Literature （《中国翻译文学史稿》）edited by Chen Yugang, and also the A Short History of Translation in the West（《西方翻译简史》） the author of which is Tan Zaixi. Thus, it opens the gate for the compilation of Chinese and western translation history works.&amp;quot;(Xie Tianzhen2009,Ⅴ) The history of western translation can be divided into five stages while the Chinese study of translation has a glorious history of more than two thousand years and has experienced five climaxes. Through the comparative study of Chinese and western translation history, it will help us to have a deeper understanding of Chinese and western translation activities and thus to gather a general full view of it, which will be a positive and meaningful attempt.&lt;br /&gt;
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===2. The Translation History of Western Countries===&lt;br /&gt;
Western translation activities are rich in a long history and a multiyear span. The history of western translation can be roughly divided into three stages: the traditional stage, the modern times and the contemporary. More specifically, it can be grouped into the ancient times, the middle ages, the Renaissance period and the time after WWⅡ.&lt;br /&gt;
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===2.1 The First Stage: Translation in the Ancient Times===&lt;br /&gt;
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The translation history of western countries first began in the the 3rd century BC. In a broad sense, the earliest translation in the west is the Old Testament translated by 72 Jewish scholars in Alexandria, ancient Egypt, between the 3rd and 2nd centuries BC; Strictly speaking, the first western translation is the Greek Homer Epic Odyssey translated by Andronicus in Rome in the middle of the third century BC.(Tan Zaixi2000,88-89) At the end of the 4th BC, during this time, the Greece began to decay and the Roman had became stronger and stronger with its military expansion. The expansion of the Roman Empire brought itself into contact with the splendid Greek culture, therefore, the Romans not only conquered the Greek city, but also inherited and developed the brilliant achievements of ancient Greek culture, and then created a  splendid cultural of its own era after Greece. So soon began a large scale translation activities, the activity of translating and introducing Greek classical works probably began in this period.(Liu Junping2009,8) Many famous translation theorists began to make their presences, namely Cicero, Quentin, Jerome and so on, also the famous Roman litterateurs like Andronicus, Naevius, Ennius, these great writers used Latin language to translate or adapt Homer’s epic or other Greece dramas.(Tan Zaixi2000, 89) Started the translation tradition and promoted the birth and development of Roman literature.&lt;br /&gt;
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===2.2 The Second Stage: Translation in the Middle Ages (4th-6th)===&lt;br /&gt;
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The second climax occurred in the late Roman Empire through the early Middle Ages and was religious in nature. In this period, translation was mainly related about the religious stuff. Religious forces have great influence in the west, Christianity strives to promote its own religion, thus, the Bible, the source and psychological weapon of the Christianism naturally meant a lot in religious world. Since the Old Testament of the Bible was written in Hebrew and Greek, respectively, it needed to be translated into Latin for effective circulation in Rome. &amp;quot;Jerome was a Latin Christian priest, he translated the Bible into Latin(Vulgute) according to the Hebrew version of the Bible.&amp;quot; This version had a great influence on medieval theology and was the most widely circulated and authoritative translation of the Middle Ages, marking an unprecedented level of Western translation.(Tan Zaixi2000, 89)&lt;br /&gt;
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===2.3 The Third Stage: Translation in the Middle Ages (11th-12th)===&lt;br /&gt;
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This period can also be called &amp;quot;the period of the Arab Centennial Translation Movement&amp;quot;,(Liu Junping2009,9) it lasted over two hundred years. In order to consolidate the rule and promote socio-economic and cultural development, the medieval Arab Empire undertook a massive, organized academic activity to translate and introduce the scientific and cultural classics of ancient Greece and the East. Translators of this period actively translated the most important works of Greek literature in all disciplines with an open mind and a strong desire for knowledge. Between the 11th and 12th centuries, Toledo became Europe’s academic center for its prosperous translation activities, the western translators who gathered here translated many works from Arabic into Latin. Cultural patterns and religious ideas converged here.(Tan Zaixi2000, 90) Until nowadays, the positive influence of the movement still plays an inherent role: numerous proprietary names such as ‘concept’, ‘category’ all are gradually established in Arabic. This movement not only facilitated the integration of the inner Arab world, but also, in fact, promoted the integration of the Western and Persian worlds.&lt;br /&gt;
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===2.4 The Fourth Stage: Translation in the Renaissance Period===&lt;br /&gt;
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The Renaissance movement is a European ideological and cultural movement which took place from the 14th century to the 16th century, and reached its peak in the 16th century and inspired a cascade of the development of science, art and literature. A large number of outstanding translators shown up and a series of excellent translation works had been produced. During this time, a great quantity of ancient Greek and Roman classics had been rediscovered and translated into various European languages, which had brought about a profound impact on the European nation states. Leonardo Buruni, who was one of the most influential cultural translation practitioners in the Renaissance period and was also one of the earliest representatives of humanistic translators in the history of western translation. He was famous for his translation of Plato and Aristotle. Humanists began to study the Bible with the method of studying classical literature, and translated the Bible into the national language, which led to the rise of the religious reform movement. In Germany, Martin Luther, a religious reformer, translated the first mass Bible which influenced most and ushered in a new era in the development of modern German; in Britain, Chapman, a writer and translator, translated Homer's Iliad and Odyssey from 1958 to 1616, and the translation and publication of the King James Bible in 1611 marked the formation of modern English.(Liu Junping2009,9) The renaissance played a very important role in the western history of the development of translation, it marked the national language status in the field of literature and translation having finally been consolidated, simultaneously, it showed the translation is playing a huge role in the formation and development of the national language, literature and thought.&lt;br /&gt;
During the the three hundred years that lasted from the 17th century to the 19th century, translation activities continued to move forward. Although its scale and influence could not be compared with that of the Renaissance, it still produced many excellent translators and translated works. The biggest feature was that translators not only continued to translate classical works, but also became interested in modern and contemporary works. The works of Cervantes, Shakespeare, Balzac, Goethe and other great writers had been repeatedly translated into various languages, and translations of Eastern literature have also been published.(Tan Zaixi2000, 91)&lt;br /&gt;
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===2.5 The Fifth Stage: Translation after WWⅡ===&lt;br /&gt;
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Although World War II has brought different degrees of blows to many countries, some western countries have used a large amount of capital to actively resume production, developed various social fields, and attached great importance to the person with ability. Western science and technology are changing with each passing day, driven by cybernetics, information theory and system theory, the world of knowledge and experience has been greatly expanded, and social and cultural exchanges have become increasingly close, which provided a solid material foundation and ideological guarantee for the prosperity of translation. With the growing in number or quantity of translation activities, the translation theory continues to develop, and the number of translation talents in various countries keeps on increasing. Translation has gradually expanded from traditional literary and religious translation to other fields, such as scientific and technical translation and business translation, and with the emergence of professional translators, the influence of translation has become more and more obvious, playing an important practical role. Distinctive features in this time, from the scope to the scale, effect, and to the forms, are all different from any time in the past, having made tremendous progress, the translation scale has exceed the past.&lt;br /&gt;
There are a large number of outstanding translators and translation theorists in the west, they have put forward their different points from different angles in different periods, which made a brilliant contribution to the history of western translation. The western translation activity promoted the cultural exchange and spread the ideas.(Tan Zaixi2000, 92)&lt;br /&gt;
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===3. The Translation History of China===&lt;br /&gt;
China has a long history with 5000 years of civilization. Since China is a multi-ethnic country, so translation plays an irreplaceable role in the communication between different nationalities. There is no reference to the history of translation in China, although there are some documents in the Xia and Shang Dynasties, we still can not discern the translation activities at that time from the existing records. &amp;quot;The song of the Yue Boatman can be regarded as the first poetry translation in Chinese history.&amp;quot;(Ma Zuyi1998,5) However, it was only an isolated translation activity and did not trigger a large-scale translation movement in China.&lt;br /&gt;
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===3.1 The First Stage：Translation of Ancient Buddhist Scriptures===&lt;br /&gt;
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The first climax of the Chinese translation history was the translation of ancient Buddhist scriptures. The Potala Sutra should be the earliest translation of Buddhist scriptures in China,it was also said that the Forty-Two Chapters Sutra is the earliest Chinese translation of the Buddha's sutras, however, the one that is proven to be reliable should be the book The Fifty Books of the Mingdu translated by An Shigao during the reign of Emperor Huan of the Eastern Han Dynasty.(Ma Zuyi1998,17)&lt;br /&gt;
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It has experienced four phases, each of which had its own features: the first was the starting period which was from the last year of emperor Huan in the Eastern Han Dynasty to the Western Jin Dynasty. Translators in this period were mainly Buddhist monks,(Ma Zuyi1998,33) However, the quality of the translated works depends on the ability of the translators’ understanding of Chinese, so the classics of the translated works are varied. Also, due to the shortage of learners' language knowledge , they usually used literal translation. The second perid was the developing time, from the Eastern Jin Dynasty to Sui Dynasty. The Buddhist scriptures continued to prevail under the rulers' advocacy and began to translated Buddhist scriptures in an organized way which was also use the literal translation. During this period, Shi Daoan put forward the famous theory of ‘Five losses of source texts and three difficulties in translation’. Meanwhile, through the translation and interpretation of nearly 400 volumes of Buddhist classics, kumarajiva first introduced Indian Buddhism to the Chinese people, which played an important role in the prosperity of Chinese Buddhism at that time.(Ma Zuyi1998,40) The translation in this time had changed from individual translation into group translation which had improved the quality if translation and as well made some progress in translation theories and skills.(Ma Zuyi1998,55) The third period was the heyday of the translation history took place in Tang Dynasty.(Ma Zuyi1998,58) Xuanzang was an important figure in promoting Sino Indian friendship and cultural exchanges in China's history，not only was he a great translator and organizer of translation, he was also a great translation theorist whose contribution to translation studies still remains significant today. As for the last period, it was in the Northern Song Dynasty, the studying of translating scriptures gradually withered, and during this period, the translation mainly focused on the esoteric classics translations.(Ma Zuyi1998,82)&lt;br /&gt;
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As part of Chinese history, especially as the link of the cultural development, Chinese ancient Buddhist sutra translation has contributed more than a lot.  The spread of Buddhist ethics contributed to the formation of Taoism in China.&lt;br /&gt;
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===3.2 The Second Stage：Technical Translation during the Yuan and Ming Dynasties===&lt;br /&gt;
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The translation of Buddhist scriptures gradually declined during the two hundred years of the Ming Dynasty. With the arrival of western Christian missionaries, China came into contact with Europe. In order to facilitate their relations with Chinese officials and intellectuals, the missionaries translated works of western science and technology as well as Christian texts assisted by Chinese officials. They also introduced the Chinese classics to the West. Matteo Ricci came to China on a mission to introduce Western scientific and technological knowledge. He pioneered the history of combining Chinese and Western translation to introduce Western scientific and technical literature, and was the first to translate the Four Books into Latin, he was the first to introduce Chinese texts to the West.(Ma Zuyi1998,263) From the Wanli period of the Ming Dynasty to the &amp;quot;new learning&amp;quot; period of the Qing Dynasty, there appeared translators who introduced science, literature and philosophy in Western Europe, represented by Xu Guangqi, Lin Shu and Yan Fu. Xu Guangqi was a patriotic scientist and organizer of the scientific and cultural movement in China at the end of the Ming Dynasty, and made outstanding achievements in introducing Western natural sciences and improving the level of science in China.&lt;br /&gt;
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===3.3 The Third Stage：Literary Translation in Late Qing Dynasty===&lt;br /&gt;
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After the Opium War, the Qing government organized a large number of scholars to translate western natural science books, Under the influence of the reform thought, a large number of translations introducing western political thoughts, scientific methods and some literary works appeared. The records of four continents, translated by Liang Jinde, Lin Zexu asked him to do so, was the first systematic introduction to the geographical knowledge of western countries in modern China.（Ma Zuyi1998,329）After the Sino-Japanese War of 1894-1895, Yan Fu translated the theory of evolution and put forward the triple criteria of ‘faithfulness, fluency and elegance’, which has  played a great guiding role in the translation practice of later generations, His translation promoted the development of &amp;quot;new learning&amp;quot; and enlightened the Chinese nation at that time. Another scholar Liang Qichao, who was a politician, thinker and encyclopedia scholar of that time and advocated that China needs to develop the translation career and cultivate translation talents at a full stretch. He has done fruitful research on the translation of Buddhist scriptures and the translation of science and technology between the Ming and Qing Dynasties.&lt;br /&gt;
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===3.4 The Fourth Stage：The Translation of Socialist and Communist Works===&lt;br /&gt;
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The May 4th Movement was a watershed in China's modern translation history, made a significant contribution to the introduction of foreign literature to China and the development of literature in China. After the May 4th movement, China's translation industry has ushered in a new historical period, translators in this period of time, by comparison with those during the late Qing dynasty, were more selective regarding source texts. Chinese translation scholars began to introduce the classic works of Marxism-Leninism and the literature of the proletariat. The translation of the Manifesto of the Communist Party was published during the May 4th movement. During this period, great changes have taken place in the content and form of translation work: vernacular began to replace classical Chinese, as a result, popular language becomes easy to understand, the excellent literary works of western countries have attracted more and more Chinese readers. Famous translators like Lu Xun, Mao Dun, Zheng Zhenduo, Guo Moruo, Zhu Shenghao, Lin Yutang, these scholars had translated a large number of foreign masterpieces and enriched the inner world of the Chinese people, Lu Xun once advocated that there should be an exotic atmosphere in the translated works which would familiarize the readers with the foreign cultures. He also believed that literal translation of culturally loaded words was one of the important means of enriching the mother tongue. These scholars helped the Chinese people to know more about the outside world and laid a good foundation for the systematization and scientization of translation theory in China.&lt;br /&gt;
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===3.5 The Fifth Stage：The Translation after 1949===&lt;br /&gt;
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The founding of the People's Republic of China in 1949 enabled translation to enter into a new era. With the founding of the new China, China's translation industry was also liberated. Translation became a very important part of the national cultural and educational cause. National organizations for translators were established in order to protect the interests and benefits of translators. The quantity and quality of translated works have grown by leaps and bounds. Since then, translation work has been an important part of the new socialist culture, and has been developing rapidly, making great achievements and perfecting translation theory. The classical works of Marxism-Leninism, excellent foreign literature, scientific and technical literature and the like were systematically introduced. There are large-scale translation like the translation of Marx and Lenin's works. In the 1950s, scientific and technical works to meet the demands of the national social and economic construction. In the 1970s, translation of United Nations documents after China was restored to its rightful seat in the United Nations. Also, literary translators became a very important part of China's literature and arts personnel. Qian Zhongshu He puts forward his &amp;quot;transmigration theory (化境说)&amp;quot; for literary translation. That is a literary translation is like the act of transmigration in which the souls, the spirit of the original text remain in the target text even although the carrier of them, the language, has changed. In 1978, two years after the end of disastrous &amp;quot;cultural revolution,&amp;quot; China adopted its &amp;quot;reform and open&amp;quot; policy. A new and dynamic atmosphere for translation emerged.&lt;br /&gt;
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===4.The Comparative Study Among the Two Kinds of Translation Histories===&lt;br /&gt;
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===4.1 The Similarities of the Western and Chinese Translation History===&lt;br /&gt;
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About the religious and translation, we can easily notice that in the history of Chinese and western translation, almost all the early translation activities were the translation of religious classics. The translation of religious classics had opened the curtain of Chinese and western translation history. The spread of religion is always accompanied by the translation of religious classics. It is not difficult for us to understand the reason: after the emergence of religion, in order to absorb more believers, it is necessary for the religious to spread widely across nations and countries. Therefore, from ancient times to the present, religion is always a kind of existence form of various national beliefs and cultures. It keeps on influencing the spiritual belief and behavior of the society.&lt;br /&gt;
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The translation activity has made great contributions to the establishment and development of national languages in various countries. For example, in the history of western translation, Martin Luther's Bible translation played an important role in the unification and development of German language and the establishment of modern German, what’s more, the English version of the Bible enriched the English vocabulary and benefited the modernization of English a lot. The same in China, the Buddhist scripture translation also enriched the use of Chinese vocabulary, in the ideological field, it not only laid the foundation for the establishment of Taoism, but also paved the way for the formation of &amp;quot;New Confucianism&amp;quot; in Song Dynasty. And we can not ignore the contribution of the literary translation in the first half of the 20th century in the establishment and development of modern vernacular Chinese. &lt;br /&gt;
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The translation activity helps to transmit cultural values and promote cultural exchange. Translation bears the mission of cultural exchange, the translation activities are trying to make a close connection between nations and countries and introduce the language and cultural habits of one nation to another. Such kind of efforts have enriched the vocabulary and promoted the exchange between areas. Jesuits who came to China in the late Ming and early Qing dynasties would translate Chinese classics and literary works into foreign languages, which, in a state of isolation between China and Europe, they have become the middlemen for the exchange of Chinese and Western civilizations.(Tan Zaixi1999)&lt;br /&gt;
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===4.2 The Differences Between the Western and Chinese Translation History===&lt;br /&gt;
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First is that, the time is different. Western translation predates Chinese translation by over 200 years. It is said that the reason is due to the differences in topography and geomorphology of the two parts. We all know that China possesses a great number of mountains and lakes, and in the ancient times, it would take quite a few days to send messages from one place to another place, especially when people in the remote areas, it would be a hard and long journey for them to head for a destination. So, there is difficulty in communicating among the various peoples in different nations, there will be delay of the communication and connection. As for the west, there are numerous plains, so it was much convenient and easier for the western people to communicate and exchange their ideas with each other, which set a ideal environment for the development of translation activity.&lt;br /&gt;
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Also, the position of the religious varies. The different traditional culture of the west and China has made the concept of religious of the two are quite varied from each other. Different religious cultures have different forms of expression and vocabulary of their own. In the west, the Bible is not only a religious classic but also an important mainstay of western culture and the foundation of Christian faith. Buddhism was introduced into China from India in the early years of AD and became a very important part of Chinese traditional culture, in order to consolidate his ruling position, the rulers ruled the people spiritually, and the doctrine of Buddhism was in line with the ruler's appetite, so it was first spread among the ruling class and gradually gained its legal status.&lt;br /&gt;
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The translation tradition of the west and China differs. One of the differences of them is the difference between single system and multiple system. “The simplicity of Chinese translation tradition is mainly in the narrow sense，though there are different kinds of translations of national languages in China, most of them are still dominated by the tradition of Chinese language and culture translation. “because they all occurred in the same environment of the language culture since ancient times, that is , the environment of Chinese language culture.” By way of contrast, In terms of space, the western translation tradition did not always develop in the same region. In the later formation and development process, it spread throughout all ethnic regions in Europe；In terms of time, the western translation tradition began in ancient Rome, and then evolved into the ancient Latin language and culture system. In the later period of the middle ages, the system expanded and evolved into many relatively independent ethnic systems. So the system of the west is more like a kind of multiple system instead of a single system like China.(Tan Zaixi2000,15)&lt;br /&gt;
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The Chinese and western translation concepts are different. Then, the translation theories are different. Chinese translation tradition pays more attention to practicality than to the theory. Like professor Tan Zaixi once said that: “What Chinese translators and translation theorists are most concerned about is how to deal with the difficulties in translation and how to deal with them.” however, western translation pays more attention to systematicness and theory. Secondly, the national characteristics of China and the West are also different. Relatively speaking, Western ideas are more open and China is conservative. For a long time, the Chinese people advocate authority and accept more challenges less, China's three cardinal principles and five constancies in religion are in sharp contrast to the religious reform in the West. Although the West also advocates authority and takes religion as its belief, it dares to break through dogmatism, which brings a breakthrough to western translation studies to a certain extent.&lt;br /&gt;
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===Conclusion===&lt;br /&gt;
History is a bridge connecting the past, the present and the future. Throughout the history of translation between China and the west, although the differences between them inevitably exist, the brilliant translation achievements made by both sides are remarkable: excellent translators, translation scholars, or outstanding  translation theory, translation works, all of these have opened up the way for our future translation research, they are leading people to the direction of knowledge, and constantly leading us to explore into the unknown field.&lt;br /&gt;
Mastering the history of a discipline can help us to see the direction of its development, we then will able to learn from the experience and lessons in this development process and use this kind of method to guide the development of this subject. To have contact with the history of translation is helpful for us to understand and improve the level of translation and develop the translation career. The achievements of our predecessors have accumulated valuable cultural heritages for us. We should sum up our predecessors' translation experience and continue to make our efforts for our country's translation cause.&lt;br /&gt;
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===References===&lt;br /&gt;
*Tan Zaixi. 谭载喜. (2000). 翻译学 [A Series of Translation Studies in China]. Wuhan: Hubei Education Press 湖北教育出版社.&lt;br /&gt;
*Xie Tianzhen. 谢天振. (2009). 中西翻译简史 [A Brief History of Translation in China and the  West]. Foreign Language Teaching and Research Press外语教学与研究出版社.&lt;br /&gt;
*Qi Jian. 戚健. (2017). 古罗马时期翻译思想新探 [A New Probe Into the Translation Thoughts in Ancient Rome]. 南昌航空大学学报：社会科学版Journal of Nanchang Hangkong University: Social Science (3) 68-74.&lt;br /&gt;
*Ma Zuyi. 马祖毅. (1998). 中国翻译简史-“五四”以前部分（修订本） [A Brief History of Chinese Translation: The Part Before the May 4th Movement] . China Translation Corporation中国对外翻译出版公司.&lt;br /&gt;
*Liu Junping. 刘军平. (2009). 西方翻译理论通史 [A General History of Western Translation Theory]. Wuhan: Wuhan University Press武汉大学出版社. &lt;br /&gt;
*Tan Zaixi. 谭载喜. (1999). 中国翻译与西方翻译[Chinese Translation and Western Translation]. 中国翻译 Chinese Translation Journal(5) 6-8.&lt;br /&gt;
*Wang Yong. 汪勇. (2008). 翻译与宗教传播[Translation and Religious Communication]. 中国校外教育理论 Education for Chinese After-school(26) 51-53.&lt;br /&gt;
*Li Xuan. 李璇. (2012). 中西翻译高潮之对比[Comparison of Translation Climax Between China and the West]. 青年文学家 Youth Literator(3) 131.&lt;br /&gt;
*Tan Zaixi. 谭载喜. (2000). 中西译论的相异性[The Differences Between the Chinese and Western Traditions of Translation Theories]. 中国翻译Chinese Translation Journal (1) 15-21.&lt;br /&gt;
*Tan Zaixi. 谭载喜. (1999). 中西译论的相似性[The Similarities Between the Chinese and Western Traditions of Translation Theories]. 中国翻译Chinese Translation Journal (6) 25-28.&lt;br /&gt;
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==Comparison and Translation Studies Between Chinese and Western Color Terms	方洁玲	Fang Jieling==&lt;br /&gt;
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=== Abstract ===&lt;br /&gt;
Color terms are terms used to describe the external color characteristics of things, and are very common in our lives. We use them not only to describe the external image of an object, but also to express our inner psychological feelings. Color words contain rich cultural connotations, which should not be understood simply from their literal meanings when translated, but from the different cultural connotations and extended meanings contained in the color words to understand and choose the meanings of the words. This paper first introduces the composition of color words in Chinese and English and makes a comparative analysis of their characteristics, then discusses the different meanings given to the six colors in Chinese and English, and then provides different translation methods that should be used in different situations, providing a certain reference for the English-Chinese translation.&lt;br /&gt;
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===Key words ===&lt;br /&gt;
color terms, cultural difference , reason ,translation methods&lt;br /&gt;
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=== 摘要 ===&lt;br /&gt;
颜色词是用来描述事物外在颜色特征的词语，在我们生活中非常常见。我们不仅用它描绘物体的外在形象，也用它表达内在心理感受。颜色词包含了丰富的文化内涵，在翻译的时候不能简单地从字面意思上理解，应从颜色词所包含的不同文化内涵和引申意义来理解和选择词义。本文将首先介绍中英颜色词的构成并对其特点进行对比分析，然后具体论述六种颜色在中英文中被赋予的不同意义，接着提供了面对不同情况应该采用的不同翻译方法，为英汉互译提供了一定的参考。&lt;br /&gt;
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=== 关键词 ===&lt;br /&gt;
颜色词 文化差异 原因 翻译方法&lt;br /&gt;
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=== 1.Introduction ===&lt;br /&gt;
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Color is an indispensable part of human life,it is because of the colorfulness of colors that the world is much more varied and pleasant. Color words not only have an important impact on people's vision, but also have a great impact on people's inner feelings and emotional expression. As an important part of language, color words are frequently used by human beings in English, but due to different histories, cultures, customs and habits, in the long run, different people have given specific meanings to various colors. Analyzing and comparing the different connotations of color words in Chinese and Western cultures and exploring the cultural differences between English and Chinese will be of great help to the translation work between English and Chinese. At the same time, translators will inevitably meet a lot of problems in the translation work. In this paper, we mainly discuss the composition and cultural connotation of color words between Chinese and English. In addition, we also propose some translation methods and make a brief conclusion.&lt;br /&gt;
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=== 2.Characteristics of the Composition of Chinese and Western Color Words ===&lt;br /&gt;
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Color words are words used to describe the color of different things. And they are the symbols that exist in human languages to record a large number of colors, which are generally considered to be adjectives in grammar.&lt;br /&gt;
In the historical development of Chinese color words, there are three types.(Cai Xiaomin2020,65) &lt;br /&gt;
(1) Basic words. These words are the most basic and objective, and are generally used to objectively describe the most direct external color state of an object. They are &amp;quot;white&amp;quot;, &amp;quot;black&amp;quot;, &amp;quot;red&amp;quot;, &amp;quot;yellow&amp;quot;, &amp;quot;blue &amp;quot;&amp;quot;Green&amp;quot; &amp;quot;Gray&amp;quot; &amp;quot;Purple&amp;quot; &amp;quot;Brown&amp;quot; and &amp;quot;orange&amp;quot;.&lt;br /&gt;
(2) Reference words. Reference words means that people specifically distinguish basic words to show different colors. These words are more detailed and specific than the basic words. For example, we tend to divide &amp;quot;green&amp;quot; into &amp;quot;dark green&amp;quot; &amp;quot;grass green&amp;quot; and so on.&lt;br /&gt;
(3)Descriptive words. Descriptive words comes from people's perception of nature. These words can not only distinguish colors, but also describe what they look like. Such color words are more literary and subjective.&lt;br /&gt;
Color words in English are mainly divided into basic color words and compound color words.&lt;br /&gt;
basic color words : (1) simple colors. For example, black, white. (2) Colors of plants. For example, orange, etc.&lt;br /&gt;
Compound color words : (1) the name of plant + simple color. For example, apple green. (2) Chemical name + simple color. For example, vermilion, etc&lt;br /&gt;
&lt;br /&gt;
=== 3.The Different Understanding and Perception of Colors in China and the West ===&lt;br /&gt;
Nature is colorful and can be described with many words. Generally speaking, black symbolizes oppression, white symbolizes purity and innocence, and green symbolizes life force. However, due to different histories and cultures, the same color may have different meanings. After a careful study of color words, it is easy to see that color words create various associations that have a great impact on a person's emotions and behavior. This is the main reason why people use color words to explain their moral character, emotions, and perceptions of things. Different cultures and ways of thinking lead to different meanings of color words, and this disparity can affect people's understanding of the meaning of the same word. For example, in English-speaking countries, white symbolizes purity and beauty, which is why brides wear white wedding dresses in Western weddings. However, in China, white is often used to express grief, and a white funeral dress is worn at a funeral. In this paper, we start with the six basic color words red, black, white, yellow, purple and blue, and compare their cultural connotations in English and Chinese, discussing the different understanding and cognition of colors in China and the West and the differences in cultural connotations between Chinese and Western cultures.&lt;br /&gt;
	&lt;br /&gt;
====3.1 红and Red ====&lt;br /&gt;
&lt;br /&gt;
In traditional Chinese culture, &amp;quot;红&amp;quot; represents joy, happiness, good luck, and prosperity. &amp;quot;红&amp;quot; is a color that cannot be absent from important events in China, such as the red couplets(红包), red lanterns（红灯笼）, and red packets（红包） during Chinese New Year festivals, the red dress of the bride at weddings, and other festive ceremonies in China. Similarly, words combining the word &amp;quot;红&amp;quot; generally mean prosperity, such as “hongguangmanmian”（红光满面）、”dahongdazi”(大红大紫)、”honghuo”(红火)、”hongren”(红人)、”hongrun”(红润), etc. In addition, during the revolutionary era, the color red also symbolized the modern Chinese revolution and power, such as the“hongsezhengquan”(红色政权)、”hongjun”(红军)、”hongqi”(红旗)、”hongge”(红歌)、”hongsewenjian”(红头文件)、”hongseganglin”(红色纲领), etc.(	Zhao Fenyan2019,232)&lt;br /&gt;
In the West, red refers to the color of blood, and when red is mentioned, it is generally associated with cruelty, violence, and bloodshed. For example, &amp;quot;red hands&amp;quot;, &amp;quot;red battle&amp;quot;, &amp;quot;the red rules&amp;quot; &amp;quot; red revenge&amp;quot;, the color red also symbolizes radical and violent revolution, as in &amp;quot;red activities&amp;quot;, but also danger and tension,such as &amp;quot;a red flag&amp;quot;. &amp;quot;red alert&amp;quot; &amp;quot;a red adventure story&amp;quot;, in addition to the above-mentioned symbolic meaning, the color red also has connotations of debauchery and obscenity.(Yan Wen2012,177)For example, red light district, a red waste of one's youth, and so on. The positive connotation of the color red in Western culture is due to the exchange and integration of different cultures, which is said to have been introduced to the West via Persia from the Far East. like red letter day、red envelope、the red carpet.&lt;br /&gt;
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====3.2 黑 and Black ====&lt;br /&gt;
&lt;br /&gt;
In Chinese history, “黑” is an honorable and dignified color, which had a high status in ancient times. During the Xia, Qin, and early Han dynasties, “黑” was the dress of emperors and officials, and the common people were only allowed to wear plain clothes, and then a restriction that was gradually relaxed after the Northern Song Dynasty. In China, the derivation of “黑” includes the positive meanings of stern, iron-faced, upright, and mysterious, such as in the art of theatrical masks, where the “黑脸” symbolizes the noble character of uprightness and selflessness. In addition to its positive connotations, “黑” sometimes symbolizes a derogatory meaning, indicating a counter-revolutionary, regressive, or stubborn party. For example, the ”阴曹地府” is said to be dark and sunless, and “黑”, as opposed to light, symbolizes darkness, death, terror, etc.&lt;br /&gt;
In the West, black is the color of death, symbolizing death, suffering, and grief, hence the black color of Western mourning garments. black tidings means &amp;quot;bad news&amp;quot;，Jesus was crucified on the Friday before Easter, The Black Friday is considered to be a &amp;quot;dangerous and ominous day&amp;quot;. Black also symbolizes &amp;quot;anger&amp;quot; and &amp;quot;irritation&amp;quot;, such as: black in the face,to look black at sb，Other words that express negative meanings，such as black sheep, black dog, black eye, black list, black and blue, black art, and other black symbols.(Wang Yu2012,151)In addition, black also represents seriousness, discretion, and pomp. Black suit and black dress have always been the most revered traditional clothing in the West. In solemn formal occasions, people like to wear black clothing. Symphony orchestra performers almost always wear black suits. The term &amp;quot;black-ball&amp;quot; refers to a costume ball. In business English, &amp;quot;a company in black&amp;quot; refers to a profitable business, where“ in black” means profitable, because on financial statements, profit figures are written in black ink.[6]&lt;br /&gt;
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====3.3 白 and White ====&lt;br /&gt;
 &lt;br /&gt;
In Chinese, “白” is often used to represent death, such as at funerals with white decorations, white flowers, and white mourning clothes, but there are also many words containing “白” that do not represent color at all, but rather the name of something or have another meaning,[8]such as”baicai”(白菜), “baixiong”（白熊）、 “baiyi”(白蚁)、”baijuan” (白卷)、 “baichi”(白痴), White&amp;quot; also means &amp;quot;pure, or unadulterated, such as”baikaishui”(白开水)、”baizhi”(白纸)、”baiqierou”(白切肉)etc. &amp;quot;White&amp;quot; also often means &amp;quot;in vain&amp;quot; or &amp;quot;without cost&amp;quot;, such as”baifeishi”(白费事)、“baida”（白搭）、”baisong” (白送)、“baishouqijia” (白手起家) etc(Chen Yongye2005,425) and The Chinese word “白” is also not the same as the English word &amp;quot;white&amp;quot;, which we can say the white people (白人), but is better translated as: She has a fair skin. In addition, it is difficult to summarize the exact meaning of some of the“白” in Chinese, For example “baihua”(白话) vernacular, “tanbai”（坦白）: to confess, to make a clean breast of something, etc.&lt;br /&gt;
In the West, however, white is considered as a symbol of purity, and it is customary to wear white wedding dresses and gowns at weddings, hence there exist the expressions like white-handed，a white lie，a white day, they treated us white etc.&lt;br /&gt;
	&lt;br /&gt;
====3.4 黄 and Yellow ====&lt;br /&gt;
&lt;br /&gt;
In traditional Chinese culture,”黄” is a symbol of power, honor, and nobility, in the Chinese feudal society, yellow is a symbol of imperial power and nobility, such as ”chonggao”(崇高)，”huangpao”(皇袍)、”huanggong”(皇宫)、”shengzhi”(圣旨) and so on. In modern Chinese, words such as “huangchengcheng”(黄澄澄),”huangcanvan”(黄灿灿)mean a good harvest and an auspicious day. ”黄” is a glorious color. And it is always associated with &amp;quot;honor&amp;quot;, &amp;quot;brilliance&amp;quot;, it is a symbol of &amp;quot;power&amp;quot; and &amp;quot;nobility&amp;quot;. To this day, ”黄” is still the symbol of ancient China, which is its positive meaning. Similarly, ”黄” has negative connotations, such as ”huangseshukan”(黄色书刊) , “huangseluxiang”(黄色录像) etc, but in the West, the term &amp;quot;the blue video&amp;quot;, &amp;quot;the blue talk&amp;quot; is used to describe the pornographic nature of the country. It means ”huangsedianying”(黄色电影)and ”huangsexinxi”(黄色信息)(Du Tianyu2020,188). In addition, ”黄” also means failure, sickness, or old age, such as ”huangji”(黄髫). The word ”黄” also means youth and ignorance.&lt;br /&gt;
In the West, in Western Christianity, yellow is a symbol of shame. Because in the Bible, Judas betrayed Jesus by wearing a yellow dress. Therefore, &amp;quot;yellow&amp;quot; has the connotation of betrayal .And it also means sadness, sickness, cowardice, etc. For example, &amp;quot;a yellow streak&amp;quot; means cowardice. &amp;quot;yellow&amp;quot; also has mean and vulgar semantics. In the 18th century, Americans often printed pornographic books on yellow paper. As a result, the low level of exaggeration and exaggerated distortion of facts used by newspapers and periodicals to attract readers was later extended to journalistic styles as well. For example, &amp;quot;yellow journalism&amp;quot; is a style of journalism that attempts to attract people in any way possible. [9]In English, Yellow Pages is the &amp;quot;yellow phone book&amp;quot;, and yellow boy is a slang term for &amp;quot;gold coin. The English words for Chinese ”黄” would be: pornographic, filthy, vulgar, obscene, etc. In English, blue is often used to mean ”黄”, such as blue jokes(下流的玩笑)、blue revolution (性解放)、blue films (黄色影片)、blue software (黄色软件)etc.(Chen Yongye2005,425) Some Chinese words have nothing to do with the English word yellow, such as blue jokes(下流的玩笑)、blue revolution (性解放)、blue films (黄色影片)、blue software (黄色软件)and so on.&lt;br /&gt;
	&lt;br /&gt;
====3.5 绿and Green ====&lt;br /&gt;
&lt;br /&gt;
In Chinese culture, “绿”represents vitality, and phrases related to”绿”express hope and vitality of people, such as“lüzhou”（绿洲）、“lvyiangran”（绿意盎然）. In today's China, ”绿”has a new symbolic meaning, such as: “lvseshipin”(绿色食品),”lvsechanye”(绿色产业), all referring to the concept of health, safety and non-pollution. The green light is also a signal for safe passage. In Chinese, a &amp;quot;lvmao&amp;quot; （绿帽）means that a man's wife is in an illicit relationship with someone else.(Hu Zongkang, Zhang Jun2019,153) However, in ancient Chinese culture, ”绿”means humbleness, because humble people wore green clothes. Also,”lvlinhaohan” (绿林好汉)means a barbarian who occupies a mountain and becomes king.&lt;br /&gt;
In traditional British culture, &amp;quot;Green&amp;quot; is a symbol of youth and vitality. It reminds people of the harmony and tranquility of nature. The &amp;quot;Green Peace Organization&amp;quot; is an organization that protects animals and plants. A dove with a green olive branch in its beak is a symbol of peace, &amp;quot;green winter&amp;quot; refers to a warm winter, and &amp;quot;in a green wood&amp;quot; refers to when people are young and strong. Green also represents a sense of madness and despair, just as Satan's image in the Bible is green. In addition, green in English also has a derogatory meaning of jealousy, lack of training, and childishness, such as “as green as grass”，’a green eye”，”a green hand”.(Chen Yuan陈缘2020,49) In addition, greenback means U.S. currency in English, and since U.S. dollar bills are green in color, green also means &amp;quot;money,&amp;quot; &amp;quot;bills,&amp;quot; or &amp;quot;economic power&amp;quot; in the United States.&lt;br /&gt;
	&lt;br /&gt;
====3.6 蓝 and Blue ====&lt;br /&gt;
&lt;br /&gt;
Blue is the color of the sea and clear skies, giving people a feeling of peace and tranquility. In Chinese, in addition to the color,”蓝” is often used together with other words to form phrases that have different meanings from the color. &lt;br /&gt;
For example, “蓝 青 官 话 “the standard Chinese spoken by the people with accent&lt;br /&gt;
“蓝本”script on which the works are based； model&lt;br /&gt;
“蓝图”（blue print）building plan&lt;br /&gt;
“蓝田生玉”the noble people usually come from the good family&lt;br /&gt;
“青出于蓝而胜于蓝 “the new coming from the old is better than the old .&lt;br /&gt;
But blue in English can be extended to depression, sadness, nervousness, immorality, obscenity, and pornography. For example :“feel blue“, ”be blue about future“,”Her mood is blue“,“be down with blues”,“sing the blues”,“blue devils”,“blue funk“,”blue revolution“, ”blue films“, ”blue jokes“, ”blue room” refers to a place in The White House where the president meets his friends and family. and the ”Blue Book“ refers to a book that contains the names of celebrities and important government officials.(Du Tianyu2020,187-188)&lt;br /&gt;
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=== 4.Reasons for the Difference in the English-Chinese Translation of Color Words ===&lt;br /&gt;
&lt;br /&gt;
Different countries and regions have different interpretations of color. The main reasons for this difference are geographical factors, historical factors, religious beliefs, and social systems, &lt;br /&gt;
	&lt;br /&gt;
====4.1 Geographic Factors ====&lt;br /&gt;
&lt;br /&gt;
Chinese civilization originated in the Yellow River Basin. The rich water resources and flat land of the Yellow River Basin have nurtured several generations of Chinese people. This is the main reason why the Chinese people love yellow. For generations, we Chinese people are also known as the “yanhuangzisun”(炎黄子孙)(Cai Xiaomin2020,66).Western civilization originated in ancient Rome. The only way out for Greece was to expand abroad. Therefore, blue became the favorite color of the Greeks.&lt;br /&gt;
	&lt;br /&gt;
==== 4.2 Historical and Cultural Factors ====&lt;br /&gt;
&lt;br /&gt;
A large number of color words have been created in different historical backgrounds and conditions. Therefore, it is important to understand the differences in the historical background and culture of different countries. For example, during the War of Resistance Against Japanese Aggression, our Party was called the”hongjun”(红军), which gave rise to expressions like “hongsezhengquan”(红色政权)、”hongjun”(红军)、”hongqi”(红旗)、”hongge”(红歌)、”hongsewenjian”(红头文件)、”hongseganglin”(红色纲领),etc.(Li Dan2018,132) In addition to some basic meanings, the color “红” in China also has some special historical meanings, such as the heroic and fearless revolutionary spirit. This is also the main reason why our national flag adopts the color red. Also in ancient China, yellow was a symbol of power, a color reserved for the royal family, representing the supreme authority, which meant that yellow robes were added to the flag. In the West, purple is used as a metaphor for &amp;quot;throne&amp;quot; and &amp;quot;prominence,&amp;quot; and the addition of a purple robe means rising to a position of prominence, because Western emperors and bishops have a tradition of wearing purple robes, such as :be born in the purple(生于皇室), be raised to the purple. In recent years, yellow has become more and more of a symbolic term in China for low taste, erotic vulgarity, and obscenity, such as”huangsedianying”(黄色电影)、”huangseshukan”(黄色书刊)、”huangseguangdie”(黄色光碟).etc. The &amp;quot;黄&amp;quot; in these names has nothing to do with the English &amp;quot;yellow&amp;quot;, these words in English are expressed like this pornographic, vulgar, obscene. It is very different from the associations in Chinese culture. The color vocabulary is visually and psychologically positive and derogatory for people of different nationalities.&lt;br /&gt;
&lt;br /&gt;
==== 4.3 Religious beliefs ====&lt;br /&gt;
&lt;br /&gt;
In China, the Five Element Theory is widely spread. Since &amp;quot;gold&amp;quot; is at the core of the theory, yellow becomes noble. In contrast, in the West, because yellow is stigmatized in Christianity and most people are Christians, many people dislike yellow and often even use it to convey negative connotations, according to &amp;quot;the Gospels&amp;quot; in the Bible's, in which Jesus was willing to be crucified, bleed to death, and be sacrificed with the blood of the Gospels. The Bible has been a classic of Christianity, and most people in Europe and the United States believe in Christianity. Since the Bible has always been a Christian classic, and most people in Europe and the United States are Christian, its influence on Western culture as a whole is immeasurable, and on English culture as well. Therefore, people think that &amp;quot;red&amp;quot; is associated with bloodshed, martyrdom, and bad things, and &amp;quot;red&amp;quot; makes them think of horrible things, such a“ red hand”( 沾 满 血 的 手 ),“ a red battle”( 血 战 ),“ to see the red light”(灾祸临头).&amp;quot;(Chen Yongye2005,425)In Chinese language, the color red is a symbol of honor, splendor, good fortune, and celebration. Such as: :“ 开门红”make/ get off to a good start,“ 满堂红”success in every field,“ 红 榜 ”honor roll,“ 红 运 ”goodluck,“ 红 事 ”wedding,“ 红 人 ”a favorite with someone in power etc.&amp;quot;.&lt;br /&gt;
&lt;br /&gt;
==== 4.4 Social System ====&lt;br /&gt;
&lt;br /&gt;
The use of different colors to represent political affiliations or national identities has long been a common practice among peoples of different social systems in China and the West due to their political, economic, and religious differences. In English, the true blue refers to the loyal members of a political party, especially the die-hard conservative members of the British party; White Paper or Blue Paper refers to a report or diplomatic document with blue or white covers issued by the British and American governments on a particular topic; Yellow Paper refers to the French and other countries. A government report of a country; Green Paper is a draft report for discussion by various committees; the Chinese use the term &amp;quot;红&amp;quot; to symbolizes the proletarian revolution, the meaning of which is derived from the book &amp;quot;Red Star Over China&amp;quot;(“红星照耀下的中国”,and is also translated into”西行漫记”) by American writer Edward Snow.(Li Dan2018,132)&lt;br /&gt;
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===5.Translation Methods of English-Chinese Color Words ===&lt;br /&gt;
 &lt;br /&gt;
From the above analysis, we can conclude that there are similarities and differences in the cultural connotations of Chinese and English color words. Therefore, in the translation of color words, it is impossible to generalize, so translators need to adapt to the local conditions and adopt an appropriate way to translate.&lt;br /&gt;
	&lt;br /&gt;
====5.1 Literal Translation ====&lt;br /&gt;
&lt;br /&gt;
Literal translation means that every effort should be made to maintain the linguistic style of the original work. At the same time, it requires that the target language should be fluent and easy to understand. There are similarities between English and Chinese languages and cultures. In the translation of English-Chinese color words, some color words can be found in the target language, while others have similar extended cultural meanings. Sometimes there is no similar extended meaning, but only a literal translation meaning, so the literal translation can also be used for translation.(Hu Zongkang, Zhang Jun,153)&lt;br /&gt;
For example, when the word black remains in its original color in the corresponding language, i.e, it has the same connotation, a literal translation is usually used.&lt;br /&gt;
black humor 黑色幽默 (an absurd, grotesque, or morbid humor in literature, especially in novels and plays)&lt;br /&gt;
black Friday黑色的星期五 (the Friday on which any disaster occurs)&lt;br /&gt;
black hand黑手党 (a secret organization that originated in Sicily, Italy, and has spread to the United States to engage in criminal activities)&lt;br /&gt;
black market 黑市、black- hearted 黑心的、blacklist 黑名单、black and white TV黑白电视, etc.(Chen Yuan2020,49）and red light district can be directly translated as“红灯区“, which refers to the neighborhoods where sex industries are concentrated in cities of certain countries and regions. Similarly, some color words in Chinese can be directly translated into English, for example:” 白露”, one of the 24 solar terms, is a culturally specific term in Chinese, which is completely unfamiliar to Western countries. Due to cultural exchanges, &amp;quot;white dew&amp;quot; is becoming more and more familiar to foreigners, and it has the same cultural meaning in English as &amp;quot;白露&amp;quot; in China. As another example, &amp;quot;绿油油&amp;quot; is a Chinese adjective used to describe the color of vibrant green leaves. We can translate it into English as &amp;quot;green and shiny&amp;quot; because the color words here are only used to describe objective points of view, and they have the same meaning.&lt;br /&gt;
	&lt;br /&gt;
==== 5.2 Free Translation ====&lt;br /&gt;
&lt;br /&gt;
Free translation. When the meaning of a color word in the original language is different from the meaning of the color word in the target language, the translator has to translate the meaning of the color word in the original language into the customary expression in the target language. In some cases, color words appear in both Chinese and English, but they do not have any color meaning; some are customary object names, while others give new meaning to them. In this case, the color itself cannot be focused on, so the colorless translation should be abandoned.This kind of translation based on the cultural background of two languages to correspond to the meaning is called &amp;quot;free translation&amp;quot;.(Chen Yuan2020,49）&lt;br /&gt;
Take black as an example, for instance, black lie--恶意的谎言、black and blue--青一块紫一块、black tea-- 红茶、black guard--恶棍、black coffee --不加牛奶的咖啡、pain somebody black-- 把某人描写成坏人、黑帮can be translated into “reactionary gang”、黑钱--ill-gotten money、黑面包 brown bread, and so on. Another example is that we often say &amp;quot;他是老师面前的“红人&amp;quot;, which is translated into English as &amp;quot;He is teacher's favourite student&amp;quot; ,”hongren”(红人)is an extended paraphrase of the Chinese, which does not mean literally, it means someone who is popular and be sought after by others, and the exact meaning needs to be contextualized. People from English-speaking countries will be confused if we translate it as &amp;quot;red people&amp;quot;. In English, the meaning of &amp;quot;one's favourite people&amp;quot; is somewhat similar to &amp;quot;红人&amp;quot;, so the phrase &amp;quot;one's favorite people&amp;quot; is appropriate. Another example is &amp;quot;a white elephant,&amp;quot; which is said to be a punishment given by the king of Thailand to his erring ministers in the past, as the cost of keeping white elephants is very high and would be a great financial burden. This word is very common in English, but a literal translation of &amp;quot;白象&amp;quot; would not have any connotation in Chinese, so it can be translated as &amp;quot;expensive and useless thing.（Jin Yan2012，130）&lt;br /&gt;
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===6. Conclusion ===&lt;br /&gt;
&lt;br /&gt;
This paper first discusses the construction of color words in Chinese and English, and then compares their compositional features. Secondly, six colors (red, black, yellow, white, green, blue) are taken as examples to analyze the cultural similarities and differences between Chinese and English color words. The reasons for the differences are divided into four main categories: geographical factors, historical factors, psychological factors, religious beliefs, and social systems, Finally, a solution to the problem is proposed, which provides a proper reference for translators when translating Chinese and English color words. When doing translation, translators can mainly use two different translation methods, namely, literal translation and free translation. When the Chinese cultural connotation of a color word in a sentence is the same as the English one, the literal translation can be used. When it is different from English, a free translation is appropriate. With the continuous penetration of globalization, people's languages and cultures are gradually interwoven, so does the meaning of color words, and also the similarities are expanding gradually. However, each nation-state has its own unique culture and customs, so the color words have completely different meanings in different regions and different languages. Therefore, when translating color terms, in order to translate the meaning of the text more accurately, the translator must have a deeper understanding of the color words.(Bao Dongjiao2005,107).In addition, the translator should not only learn translation skills, but also the history, geography, and culture of the country where the source and target language are located, which will help the accuracy of the translation. In short, the key to a good color word translation is the combination of translation skills and a deep understanding of the culture, as well as an accurate analysis of the color word.&lt;br /&gt;
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===7.Reference ===&lt;br /&gt;
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*Cai Xiaomin.蔡晓敏.( 2020).中英颜色词的对比与翻译研究[A comparative study of Chinese and English color words and their translation].海外英语[Overseas English],65-66.&lt;br /&gt;
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*Yan Wen.颜雯.(2012).翻译中颜色词的中西文化内涵差异[The difference between Chinese and Western cultural connotations of color words in translation].青年文学家·语言研究,[ Young Literati-Language Studies],177.&lt;br /&gt;
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*Jin Yan.金燕.(2012).浅析颜色词在中西文化下的翻译对比差异[An analysis of the contrasting differences in the translation of color words in Chinese and Western cultures].海外英语[Overseas English].&lt;br /&gt;
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*Zhao Fenyan.赵芬艳.(2019).试论中西颜色词的文化内涵及翻译策略[The cultural connotation of Chinese and Western color words and translation strategies].师资校企经验[Faculty school-enterprise experience],232-234.&lt;br /&gt;
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*Wang Yan, Zhang Bo.王艳,张博.(2012).谈中西文化对颜色的理解差异[Talking about the difference in the understanding of color between Chinese and Western cultures].教学实践[Teaching Practice],6-11.&lt;br /&gt;
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*Chen Yongye.陈永烨.(2005).英汉颜色词所表现的中西文化差异[The Chinese and Western cultural differences expressed by English and Chinese color words].辽宁工程技术大学学报[Journal of Liaoning University of Engineering and Technology],424-427.&lt;br /&gt;
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*Hu Zongkang, Zhang Jun.胡宗康,张军.(2019).英汉颜色词中“Green/绿”的对比与翻译方法研究[. Comparison and Translation of &amp;quot;Green/绿&amp;quot; in English and Chinese Color Words].文学教育[Literary Education],152-153.&lt;br /&gt;
&lt;br /&gt;
*Bao Dongjiao.鲍冬娇.(2015).中西红白颜色认知差异及翻译取向[Differences between Chinese and Western red and white color perception and translation orientation].湖北经济学院学报[Journal of Hubei University of Economics],106-107.&lt;br /&gt;
&lt;br /&gt;
*Li Dan.李丹.(2018).中西文化差异下的颜色词翻译[Translation of color words under the difference of Chinese and Western cultures].海外英语[Overseas English].&lt;br /&gt;
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*Li Hong.李虹.(2020).汉英颜色词翻译的差异性研究[A study of the differences between Chinese-English color word translations].文化长廊[Cultural Promenade].&lt;br /&gt;
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*Liu Mengqi, Chen Xingxing.刘梦琪,陈星星.(2020).浅谈颜色词的翻译[A brief discussion on the translation of color words].校园英语翻译研究[Campus English Translation Study].&lt;br /&gt;
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*Du Tianyu,杜恬雨.(2020).浅析文化差异对汉英颜色词翻译的影响[An analysis of the influence of cultural differences on the translation of Chinese-English color words].科教文汇[Science and Education],187-188.&lt;br /&gt;
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*Xu Yanping.许雁萍.(2009).中西文化中颜色词语的差异及其翻译[The Difference of Color Words in Chinese and Western Culture and Their Translation].文学语言学研究[Literary Linguistics Research],212-213.&lt;br /&gt;
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*Wang Yu.王羽.(2012).中西文化对比下颜色词的差异比较[Comparison of the differences in color words between Chinese and Western cultures].教育时空[Education Time],151.&lt;br /&gt;
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*Li Yun, Jia Aiguang.李云,贾爱光.(2020).大学英语教学中英汉基本颜色词翻译对比探讨[A Comparative Discussion on the Translation of English and Chinese Basic Color Words in University English Teaching].校园英语[Campus English],11-21.&lt;br /&gt;
&lt;br /&gt;
*Chen Yuan陈缘.(2020)英汉颜色词的文化差异与翻译[Cultural differences between English and Chinese color words and translation].海外英语[Overseas English],48-49.&lt;br /&gt;
&lt;br /&gt;
==Translation manipulated by ideology	许静	Xu Jing==&lt;br /&gt;
&lt;br /&gt;
==Comparison between the History of Chinese and Western Translation   周书尧   Zhou Shuyao==&lt;br /&gt;
&lt;br /&gt;
===Abstract===&lt;br /&gt;
Translation has existed since historical records. Translation goes hand in hand with human history, even before historical records. Whether in my country or Western countries, the long tradition of translation has become the most dazzling pearl in the process of human civilization.In addition, translation plays an indelible role in promoting cross-cultural communication and cultural communication.This article first discusses the history of translation in China from four stages , then discusses the five stages of western translation history , and finally compares and analyzes the similarities and differences between Chinese and Western translation histories, and puts forward some of the author's own views.&lt;br /&gt;
&lt;br /&gt;
===Key words===&lt;br /&gt;
The history of Chinese,The history of Western,the stages of  translation history,comparison&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
===摘要===&lt;br /&gt;
自历史记载以来,就存在翻译.翻译与人类的历史并道而驰,甚至先于历史记载.无论在我国,还是西方国家,悠久的翻译传统俨然成为人类文明进程中一颗最耀眼的明珠。此外，翻译在促进跨文化交流和文化传播上承担着不可磨灭的作用。本文首先从中国的四次翻译高潮论述中国的翻译史，再从西方的五次翻译高潮探讨西方的翻译史，最后对中西方翻译史的异同进行对比分析，提出一些笔者自己的看法。&lt;br /&gt;
&lt;br /&gt;
===关键词===&lt;br /&gt;
中国翻译史，西方翻译史，翻译高潮，对比&lt;br /&gt;
&lt;br /&gt;
===I.Introduction===&lt;br /&gt;
Since the 1980s, the Chinese translation studies community has made remarkable progress in the establishment of Chinese and Western translation history courses and the compilation of related works.In the 1980s and early 1990s,A Brief Introduction to the History of Translation in China from Ma Zuyi and other books of Chen Yugang and Tan Zaixi were published one after another,which raised the curtain for the compilation of Chinese and Western translation history works by the domestic translation scholars.The four stages in the history of Chinese translation have promoted the development of Chinese history, culture and society to varying degrees.The same as our country, Western translation has an age-old history.In a sense, the development of Western European civilization should first be attributed to the translators.The five stages in the history of European translation have promoted the exchanges of literature, art, science and trade between countries, and to a certain extent promoted the development of Chinese translation.In fact, when we examine the development trajectory of Chinese and Western translation activities and the evolution of translation concepts together, we find that there are some similarities between Chinese translation and Western translation.Especially in the evolution of Chinese and Western translation concepts, the two have very similar evolution laws.&lt;br /&gt;
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===Ⅱ.The history of Chinese translation===&lt;br /&gt;
According to records, there have been four stages in China's long history of translation development, leaving behind many classic discussions.From these four translation climaxes, we can see the translators, translation theories and practices that emerged in different periods in China.And these translation stages have had varying degrees of impact on China's history, culture, society, and literature, including the development of Chinese translation.&lt;br /&gt;
====2.1 The first stage:Ancient Translation History====&lt;br /&gt;
The translation of Buddhist scriptures from the Eastern Han Dynasty to the Tang and Song Dynasties (25-1279) can be regarded as the first important period in the history of Chinese translation, the initiation period of traditional Chinese translation theory, and the first large-scale, planned, Organized translation activities.A large number of Buddhist scriptures were introduced into our country from various countries in the Western Regions, which had a profound impact on our country's language, religious philosophy, painting, arts, etc.The Chinese translation of Buddhist scriptures with textual research should be translated by An Shigao（安室高） during the Eastern Han Dynasty (151 AD).From 148 AD to 170 AD, he translated more than 30 Buddhist scriptures in Luoyang, making great contributions to Buddhist translation and the spread of Buddhist culture in China.The translation of Lokaksema（支娄迦谶）, who was at the same time as An Shigao, was basically a word-for-word translation, which was not easy to understand. The literal translation in the Chinese translation community probably started from this time.Zhi Loujiachen were the masters of the literal translation school. In addition to them, the major translators include Lokaksema and Dharmaraksha（竺法护）. And most of these translators were “foreigners”.&lt;br /&gt;
Shi Daoan (314-385), who was an eminent monk, set up a translation workshop, ushering in the period of translation on a large scale. And a State Translation School was founded for this purpose. Shi daoan put forward the famous &amp;quot;five instances of losing the source and three instances of difficulties&amp;quot;, which had a great influence on later translation studies.(Li 2016,132)The Sui and Tang Dynasties were the prosperous period of Chinese Buddhist translation.Xuan Zang（玄奘）, Kumarajiva（鸠摩罗什）, and Zhen Di（真谛） of the Tang Dynasty are collectively known as the three major translators of Chinese Buddhism. In the translation of Buddhist scriptures, he fumbled and summed up the famous &amp;quot;Five do not flip&amp;quot;(五不翻原则）and “six methods of translation”. &amp;quot;Five do not flip&amp;quot;means translators should employ transliteration facing mysterious words, polyseme, culture-loaded words, conventional transliterating words and words showing respect. And the core of his translation theory can be concluded in one sentence. That is: it is necessary to seek truth and be straightforward.（既须求真又须喻俗)&lt;br /&gt;
The Buddhist translation of this period enriched the religious beliefs of the people, became the spiritual support of the people at that time, promoted the exchange between China and the world at that time, and made Buddhist scriptures an inseparable part of our traditional culture.&lt;br /&gt;
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====2.2 The stage two:Modern Translation History ====&lt;br /&gt;
During the Ming and Qing Dynasties (middle 14th to 19th centuries), there was a second stage of translation in Chinese history. During this period, the translation was mainly scientific and technological translation.This major shift was also decided by the Chinese and Western countries at the time in order to seek their own interests and finally reached an agreement on mutual terms.Western missionaries wanted to spread religious thought and culture in China, while Chinese scholars at that time were eager for knowledge and were keen on Western advanced science and technology in order to maintain the regime. In this way, the two needs complement each other, and the translation of Western scientific books is increasing. Increased, which promoted the great development of science and technology translation at that time.In 1868, the official translation and publishing organization of the Qing Dynasty, referred to as the Translation Museum, used the translation method from Western to Chinese, which means that foreign scholars interpret and Chinese scholars write and polish.(Liu 2016,148)The main representatives of translation activities in this period include Xu Guangqi（徐光启）, Li Zhizao （李之藻）, etc.Especially Xu Guangqi, known as the &amp;quot;Father of Western Translation&amp;quot;, does not understand foreign languages, and his translations are mainly through listening to narratives and co-translation and compilation.He proposed that the translation of Western history books should be prioritized and progressive，and put forward his own translation thought: &amp;quot;If you want to be superior, you must understand; before you can understand, you must first translate.&amp;quot;Although there were many translation achievements during this period, there was no systematic translation theory.Although the later translation museum had clear translation principles, its main purpose was to maintain its own rule by learning advanced Western technology.&lt;br /&gt;
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====2.3 The third stage: Contemporary Translation History ====&lt;br /&gt;
From the end of the 19th century to the beginning of the 20th century, China was in turmoil and internal and external troubles. Some rulers and intellectuals with capitalist ideas demanded to unite to resist the aggression of Western countries, and proposed reforms to strengthen themselves.Translation in this period is the boundary of modern Chinese translation history. Translation in the field of science and technology has gradually spread to the fields of literature, philosophy, economics, sociology, and ethics. China has entered a new stage of translation. The scale and influence of its translation activities all surpassed any period in modern times.At the end of the 19th century, Western academic translation represented by Ma Jianzhong （马建忠）and Yan Fu（严复）was a translation act driven by &amp;quot;national anxiety&amp;quot;, which promoted the expansion and deepening of foreign exchanges.(Liu 2016,148-149)In particular, Yan Fu's &amp;quot;faithfulness,expressiveness and elegance&amp;quot; translation standards have had a profound impact on translators' translation activities.&amp;quot;faithfulness&amp;quot; means loyalty, and &amp;quot;expressiveness&amp;quot; means unobstructed. In Yan Fu's interpretation, &amp;quot;elegance&amp;quot; means the translation strives to be elegant.The representative translator at that time was Lin Shu（林纾）. He proposed to pay attention to the purpose and function of translation, which meant that the translation should be able to achieve the expected goals and effects.When Lin Shu is translating, he emphasizes on subjective feelings, and the translator needs to communicate with the original author and the characters in the original work.A large number of translators, represented by Lin Shu, mostly adopt the principle of domestication and advocate free translation, which reflects the flexibility and openness of translation to a certain extent.During the May 4th Movement, the &amp;quot;New Youth&amp;quot; magazine was launched and began to translate western cultural thoughts and literary works. Representatives such as Chen Duxiu（陈独秀）, Hu Shi（胡适）, and Zhou Zuoren （周作人）all attached great importance to introducing foreign literature and foreign culture.Translation activities during this period included the introduction of scientific and technological knowledge and the dissemination of advanced ideas. The scale and the number of works all showed its important position in the history of translation.Moreover, the audience in this period has also expanded from intellectuals to part of the people, broadening the horizons of the Chinese people, increasing their knowledge, and playing a good catalytic role in modern intellectual circles.&lt;br /&gt;
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====2.4 The fourth stage: Present Translation====&lt;br /&gt;
Since the reform and opening up, China and the Western world have had a broader space for communication, and the translation industry has achieved prosperity and development.In an open China, from the initial learning from modern and contemporary Western translation theories, to actively conducting cultural exchanges with other countries, learning and exploring research methods, and focusing on cross-disciplinary comprehensive innovation, translation practices and theories have achieved unprecedented development.(Xu 2018,5)For example, cultural schools, structuralism, post-colonialism, and other translation theories have been translated into China in large numbers. Literary works involve politics, economy, culture, literature, art and other fields, and the quantity and variety greatly exceed the previous generations.Representatives at this time include Liu Miqing（刘宓庆）, Tan Zaixi（谭载喜）, Huang Long（黄龙） and others. Among them, Tan Zaixi compiled the book &amp;quot;A Brief History of Western Translation&amp;quot;. The whole book pays attention to absorb the relevant research results at home and abroad. It is important for various historical periods, especially since the 20th century. The representative tasks in the western translation field, translation works, schools of thought, etc. are described and commented, and the mutual promotion, evolution and development of translation practice and translation theory are analyzed and discussed in a simple way, which promotes the formation of a systematic translation theory in China.During this period, our research is no longer limited to the summary of translation practices and abstract induction of translation principles, but from the generalization of subjective thoughts to the description and analysis of specific translation phenomena, translation events and processes.Translation studies have changed from a single-paradigm study to a multi-paradigm study. In short, the reform and opening up has created a new situation in China's translation industry, constantly expanding research fields, and effectively promoting the development of Chinese translation studies.&lt;br /&gt;
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===Ⅲ.The history of western translation===&lt;br /&gt;
The same as our country, Western translation has a long history.In a sense, the development of Western European civilization should first be attributed to the translators.From the ancient Roman Empire to the modern European Community, literary, artistic, scientific, and trade exchanges between countries are all carried out through the work of translators. Throughout the whole process, the history of Western translation can be divided into five major development stages.Broadly speaking, the earliest translation in the West is The Septuagint.Strictly speaking, the first translation is the Homer epic &amp;quot;Odyssey&amp;quot; translated in Latin by Andronicus .Both the former and the latter began in the third century BC, with a history of more than two thousand years, and are an important part of the entire European history of development.(Tan 1985,36)&lt;br /&gt;
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====3.1 The first stage : Ancient====&lt;br /&gt;
Ancient translation mainly revolved around the Greek translation and Latin translation of the &amp;quot;The Bible. Old Testament&amp;quot; from the third century BC to the sixth century AD. Translation in this period can be divided into the first stage of ancient Greek literature translation and the second stage of religious translation.At the end of the fourth century BC, the Greek slave society began to decline, while the relatively backward Rome gradually became stronger.At this time, Greece has a certain cultural foundation and is still superior to Roman culture. Therefore, Greek culture has a greater attraction to Roman culture. The translation and introduction of Greek culture may begin in this period.It was only in the middle of the third century BC that recorded translations began to appear. Andronicus, Neveus, Ennius, and other excellent translators, who are known as the three ancestors of Roman literature, have translated a large number of Greek dramas in Latin.This large-scale translation first opened the situation of local translation in Europe. It spread Greek culture to Rome, promoted the development of Roman culture, and served as an important bridge for Rome and later generations to inherit ancient Greek literature.(Tan 1985,36)&lt;br /&gt;
The translation activities in the fourth to sixth centuries AD were mainly religious translation.In Europe, religious forces have always been strong and stubborn. From the very beginning, the Christian Church was hostile to secular literature, and tried to develop a religious culture that served its own interests.As the source of Christian thought and spiritual weapon, the &amp;quot;Bible&amp;quot; has naturally become the most concerned classic in the religious world.In 384 AD, Jerome was entrusted by the Roman Pope to compile a translation called &amp;quot;The New Testament&amp;quot;, which marked that the translation of the &amp;quot;Bible&amp;quot; had achieved an important position on par with the translation of secular literature.As Europe entered feudal society, religious translation was popularized, and the Bible was translated into various languages one after another.&lt;br /&gt;
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====3.2 The second stage : Middle Ages====&lt;br /&gt;
In the Middle Ages, Latin translation was no longer limited to religious documents. Eastern literature was translated and introduced to the East. The achievements of Arabic academic research promoted the development of Western translation.At that time, Western translators gathered in Toledo, Spain, and translated a large number of works from Arabic to Latin. This is the rare closely contact between Christians and Muslims in history.(Tan 2004,64)In the ninth and tenth centuries, Syrian scholars went to Athens to translate a large number of Greek classics into Syrian and brought them back to Baghdad. Baghdad established an important translation center, and many Greek classical works were translated into Arabic.Later, in the eleventh century, a large number of Arabic works appeared in Toledo. Translators translated these works into Latin. Toledo gradually became an academic center and translation center, becoming a &amp;quot;Translation Museum&amp;quot; similar to Baghdad. His translation and academic activities lasted for a hundred years, and the impact was also great.&lt;br /&gt;
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====3.3 The third stage :The Renaissance Period====&lt;br /&gt;
In the 14-16th century, the Renaissance took place in Europe. It was a great movement of ideological and literary innovation, and a great development in the history of Western translation. The translation practice and theoretical research of Western countries did not make a real leap until the Renaissance.During the Renaissance, Western translators constantly discovered new literary fields, unearthed new cultural heritage, and transplanted new ideas to the mainland. Translation at this time went deep into various fields such as ideology, politics, philosophy, literature, and religion, and involved some major works in ancient, modern and contemporary times.Translation in this period played an important role in the formation of national languages, marking the consolidation of the status of national languages in translation.(Tan 1985,37)&lt;br /&gt;
In Germany, Martin Luther created a precedent for the Reformation. His translation of the &amp;quot;Bible&amp;quot; through the people's language laid the foundation for the later standardization and standardization of German and played an important role in the unification of German.In France, &amp;quot;Celebrity biography&amp;quot; translated by the writer Amyot became an immortal literary translation in the history of translation in France and the entire West.In the United Kingdom, the translation of Greco-Roman history and literary works provided important historical materials and new ideological resources for the formation of an autocratic monarchy in the United Kingdom, which promoted the occurrence of the British bourgeois revolution and promoted Britain to become a modern nationalized country earlier.All in all, the ideological liberation movement of the Renaissance in Europe around 1500 had a profound and long-term impact on Europe, especially Western European society, and cultural translation played a crucial role as a bridge in this ideological liberation movement. It also shows that translation plays a huge role in the formation and development of national language, literature and thought.&lt;br /&gt;
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====3.4 The fourth stage :Since the end of the Second World War====&lt;br /&gt;
After the Second World War, the West entered a relatively stable period of peace, the economy was restored, production was secured, and science and technology developed rapidly. These are important material foundations for the development and progress of translation.(Tan 1985,37)Compared with the past, translation in the new period has undergone great changes. First, the scope of translation has been expanded. Traditional translation mainly focused on literary and religious works, while translation during this period expanded to the fields of technology and business.Second, the scale of translation is much larger than before. In the past, translation was mainly the work of a few high-level intellectuals. Nowadays, translation has become a profession, and there is even a professional team that has been specially trained.Third, the role of translation has also been enhanced, especially with the establishment of the European Community and the European Union, the process of globalization has accelerated, and the communication activities between countries are realized through translation. Therefore, translation plays a very important role in the economy, culture, science and technology of western countries.&lt;br /&gt;
The form of translation during this period has also undergone great changes, such as the strengthening of the professionalization of the translation business, the establishment of higher translation education and the training of professional translators.Especially the way of translation has broken the tradition, and machine translation has been developed and popularized.Since English and American scholars first discussed the possibility of using computers for translation in 1946, the development and application of translation machines have increasingly shown vitality after nearly 40 years of tortuous development. It is a challenge to traditional manual translation for thousands of years, and it is also a revolution of far-reaching significance in the history of translation.&lt;br /&gt;
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===Ⅳ.Comparison between the History of Chinese and Western Translation===&lt;br /&gt;
====4.1 Commonality====&lt;br /&gt;
Through the introduction of the Chinese translation history and the Western translation history in the above two chapters, it is not difficult to find that there are some similarities between the translation concepts and the evolution process of the two, especially the laws of evolution of the Chinese and Western translation concepts are very similar.&lt;br /&gt;
First of all, the initiation and development of large-scale Chinese and Western translation activities are closely related to the translation of religious documents.In the West it is the translation of the Bible, while in China it is the translation of Buddhist classics.In my opinion, this commonality is the origin of translation concepts such as &amp;quot;original supremacy&amp;quot; and &amp;quot;faithful original text&amp;quot; that have dominated the Chinese and Western translation circles for two thousand years.(Xie 2010,5)Looking back at history, when Chinese and Western ancient translators were translating these religious documents, they must be pious and absolutely faithful to the original text to translate word by word, lest they would distort the will of God and the teachings of the Buddha.Until the 1950s, due to the advent of the era of professional translation, the target of translation has evolved from religious documents and literary masterpieces to non-literary practical documents such as economy, technology, business, and entertainment. Since then, translation Views have been greatly changed.&lt;br /&gt;
Secondly, both in China and in the West, translation has played an important role in disseminating knowledge.When we compare the contribution of Chinese and Western translation in spreading knowledge together, this effect is further demonstrated.In the West, backward Rome developed rapidly due to the absorption of advanced Greek culture and became the later Roman Empire.In the Middle Ages, after the Baghdad Translation Center, the translation activities of the &amp;quot;Translation Museum&amp;quot; in Toledo, Spain.The translators provided a source of learning for the Western world by translating ancient Greek and Roman natural science works, philosophy and other classics translated by the Arabs into Latin, as well as the Arabs' own academic works.It is through these classical classics that Western talents began to come into contact with a large number of classical cultures and promoted the Renaissance. Its influence is reflected in all aspects of art, philosophy, literature, music, science and technology, politics, religion, and intellectual inquiry.For China, a large number of Buddhist scriptures from the Western Regions to China from the Han Dynasty to the Song Dynasty opened up the history of Chinese translation.The translation of science and technology at the end of the Ming Dynasty and the beginning of the Qing Dynasty was also influential in disseminating Western science and technology literature and promoting the development of China's natural science and engineering technology.In particular, the literary translation from the Opium War to the &amp;quot;May 4th&amp;quot; period was the dividing line of modern translation history. The translation from the field of science and technology gradually spread to the fields of literature, philosophy, economics, sociology, ethics, etc. In the new stage of translation, the scale and influence of its translation activities have exceeded any period in modern times.Since China's reform and opening up, translation has played a role in promoting communication between China and various countries. The development of the globalization process cannot be separated from the bridge and hub of translation.&lt;br /&gt;
Third, the role of translation in the establishment and development of national languages in various countries has some obvious commonalities in both the West and China.In the West, Martin Luther's Bible translation has played a very important role in the unification and development of German and modern German.The English translation of the &amp;quot;Bible&amp;quot; also contributes significantly to enriching English vocabulary and expressive means.As for China, Buddhist translation has enriched Chinese vocabulary, especially literary translation during the May Fourth Movement, which promoted the establishment and development of modern Chinese vernacular.The translation in the new era has also enriched the vocabulary to a certain extent.For example, the Chinese &amp;quot;人山人海&amp;quot; translates into English as &amp;quot;people mountain people sea&amp;quot;, and it is even included in the English dictionary.&lt;br /&gt;
Finally, regardless of Chinese and Western, translation also plays a vital role in conveying foreign social and cultural values.(Xie 2010,5)In the West, for example, the excavation, dissemination and development of the spirit of humanism during the Renaissance were largely due to the translation of ancient Greek and Roman classics.In China, Li Zhizao, Xu Guangqi and others' translations of Western social science masterpieces in the late Ming and early Qing dynasties broadened the horizons of the Chinese people and promoted the modernization of China.During the May Fourth Movement, Yan Fu, Lu Xun and others' translations of Western literature and dramas refreshed the Chinese worldview, increased the Chinese people's knowledge, and played a good catalytic role in modern intellectual circles.&lt;br /&gt;
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====4.2 Difference====&lt;br /&gt;
The last section elaborated from four aspects that the evolutionary laws of Chinese and Western translation history are very similar. Of course, the development of Chinese and Western translation history has its own unique performance, not only in the development period and nodes, but also in certain These aspects are even far apart.&lt;br /&gt;
Although the initiation and development of large-scale Chinese and Western translation activities are closely related to the translation of religious documents, the status of Buddhism in Chinese and Western social and political life is different.Religion plays an extremely important role in Western society. In Western Christian society, God is not only the creator and nurturer of the universe and mankind, but also the maker and arbitrator of the political and ethical order of the world. Is the primary source of Western moral standards.Therefore, the importance of &amp;quot;Bible&amp;quot; translation can be imagined.In China, imperial power is greater than divine power. Monarchs profess themselves to be the emperor, exercise power by the mandate of heaven, and enjoy supreme authority.Religion can only be spread and developed under the support and use of imperial power. Its essence is actually a tool to maintain rule, and it has never become a religious behavior for the whole people.In Chinese history, religion was never allowed to harm the ethical principles of feudal rule. Once harm occurred, it would be banned and eliminated.The extermination of Buddhism in the history of Chinese Buddhism and the &amp;quot;Chinese Etiquette Controversy&amp;quot; in the history of modern Chinese Catholicism are typical features.Therefore, the influence of Chinese Buddhist scripture translation is more in folk culture, and the effect of its influence is more manifested in a subtle form.For example, the change of world outlook, the penetration of language, the borrowing of the plots of Buddhist classics in literary works, and so on.Moreover, Chinese society uses blood as a bond and family as a unit. It is the blood relationship that closely connects family members.Festivals and weddings and funerals are always carried out on a family or family basis, not under the auspices of the church as in the West.&lt;br /&gt;
On the other hand, due to the differences in national characteristics between China and the West, the Chinese nation is more pragmatic, focusing on physical and mental cultivation, ethics and morality, paying attention to whether translation theory has practical effects, whether it can guide translation practice and solve various problems encountered in the translation process.(Xie 2010,6)The Western Christian culture and my country's Confucianism have formed a sharp contrast in this respect.Westerners influenced by Christian thought have a strong pioneering and innovative national character. They advocate speculation and pay more attention to the abstract, systematic and systematic nature of translation theories.They believe that the focus is on describing what kind of theory exists behind translation practice, and how to understand and interpret translation from a theoretical perspective.This makes the development path of the two translation theories different.If there were many similarities in the concepts and characteristics of Chinese and Western translation activities before the 1950s, then the differences in the development trends of the two translation theories in the later stages, especially from the end of the 19th century, became larger and larger.Western translation theories have been systematized earlier. Any research is carried out under the guidance of a certain theory, and the results of related disciplines are fully used to make the connotation (translation standard itself) and extension (research method) of translation standards become truly pluralistic. Which embodies a strong scientific spirit.However, Chinese translation theories have remained at the level of translation practice experience perception for a long time, which is largely subjective.In particular, the proponents of traditional translation theory pay attention to the unspoken artistic conception, giving people more space for association and comprehension, but they cannot make precise regulations for translation practice, which is implicit.&lt;br /&gt;
&lt;br /&gt;
===Ⅴ.conclusion===&lt;br /&gt;
It is precisely based on the above-mentioned understanding of the history of Chinese and Western translation from different aspects that &amp;quot;similarities have differences, and differences have similarities&amp;quot;, so I think that the history of Chinese and Western translation development should be described, analyzed and sorted in the same framework. It is possible.In this way, we can not only emphasize the common ground in the development of Chinese and Western translation, find the rules among them, but also show the uniqueness of the development of the two.This article adopts the method of compiling parallel narratives based on synchronic presentation, supplemented by diachronic combing, combining two seemingly unrelated development contexts in the history of Chinese and Western translation, and analyzing and describing them as a whole.And the development stages of Chinese and Western translation history are divided into stages according to the mainstream translation objects of the specific era, and then the internal laws of the evolution of Chinese and Western translation concepts are explored and revealed.&lt;br /&gt;
Generally speaking, translation and culture are inseparable, whether religious, political, or literary, they all grow up in the soil of culture.(Chen 2016,1)In the process of understanding Chinese and Western translation history, people also feel the cultural collision.Not only in the long history of the past, but in the 21st century today, translation is a bridge and a link between countries, and an indispensable existence in people's social, political, and economic life.At the same time, translation is also an art. Through translating works, we not only understand the beauty of each country's culture, but also realize that translation is originally an art.Translation is a rigorous and extensive academic science. Various forms of cultural exchanges between Chinese and Western languages, literature, philosophy, and religion require not only artistic performance, but also rigorous academic attitudes and systematic theories to support.Translators and scholars from different countries, languages and cultures have contributed their outstanding talents and wisdom in the field of translation. They have studied and published a wealth of academic theories and skills in translation studies from different perspectives, which have promoted the progress and development of society.&lt;br /&gt;
&lt;br /&gt;
===References===&lt;br /&gt;
Chen Fang 陈芳.(2016).西方翻译史的文化演进——评《西方翻译简史》[The Cultural Evolution of Western Translation History——A Review of &amp;quot;A short history of translation in the West&amp;quot;].当代教育学(06)Contemporary Education(2).&lt;br /&gt;
&lt;br /&gt;
Gong Yicai 龚亿财.(2020).论翻译在第三次翻译高潮中的特点及社会功能[On the features and social functions of translation in the third translation climax].吉林广播电视大学学报(Total No.217)Journal of Jilin Radio and TV University.&lt;br /&gt;
&lt;br /&gt;
Li Yin 李颖.(2016).从翻译史上的几个重要时期看中国翻译理论与实践的发展[Viewing the development of Chinese translation theory and practice from several important periods in the history of translation].湖北经济学院学报(Vol13 No.10)Journal of Hubei University of Economics.&lt;br /&gt;
&lt;br /&gt;
Liu Qiaoling 刘巧玲.(2016).从中国翻译史的四次高潮看主要译论及读者影响[Main translation theories and readers' influence from the four climaxes of Chinese translation history].黑龙江生态工程职业学院学报(Vol.29 No.5)Journal of Heilongjiang Vocational Institute of Ecological Engineering.&lt;br /&gt;
&lt;br /&gt;
Tan Zaixi 谭载喜.(1985).西方翻译史浅谈[On the history of Western translation].中国翻译(07)Chinese Translation(36-39).&lt;br /&gt;
&lt;br /&gt;
Tan Zaixi 谭载喜.(2004).西方翻译简史[A short history of translation in the West].商务印书馆The Commercial Press of Hongkong.&lt;br /&gt;
&lt;br /&gt;
Xu Jun许钧.(2018.06)改革开放以来中国翻译研究的发展之路[The development of Chinese translation studies since reform and opening up].Chinese Traslation Journal.&lt;br /&gt;
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Xie Tianzhen 谢天振.(2009)中西翻译简史[A brief history of Chinese and Western translation].外语教学与研究出版社Foreign Language Teaching and Research Press.&lt;br /&gt;
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Xie Tianzhen 谢天振.(2010)中西翻译史整体观探索[An exploration of the holistic view of Chinese and Western translation history].东方翻译(02)East Journal of Translation(4-8).&lt;br /&gt;
&lt;br /&gt;
='''Literal and Free Translation'''=&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
==Rethink Literal and Free Translation	彭永亮	Peng Yongliang==&lt;br /&gt;
&lt;br /&gt;
==On the Chinese Translation of ''A Pale View of Hills'' from House's Translation Quality Assessment Model	宋建茹	Song Jianru ==&lt;br /&gt;
&lt;br /&gt;
&amp;lt;center&amp;gt; 宋建茹 Song Jianru 202020080639 &amp;lt;/center&amp;gt;&lt;br /&gt;
&lt;br /&gt;
===Abstract===&lt;br /&gt;
&lt;br /&gt;
Translation quality assessment is an integral part of translation criticism. The first TQA model with comprehensive theories and practices Juliane House represented provides a significant reference for translation exercises. ''A Pale View of Hills'', as the first work of Kazuo Ishiguro, possesses a great research value on its narrative styles by virtue of memory and topics about migrants. As of 2011 when its Chinese translation was published, no scholar has evaluated it. This study applies House’s TQA model to assess the Chinese translation of ''A Pale View of Hills'' with qualitative and quantitative analysis from lexical, syntactic and textual aspects, in a bid to examine validity of the model on novel translation, which turns out that it is an overt and high-quality translation.&lt;br /&gt;
&lt;br /&gt;
=== Key Words===&lt;br /&gt;
&lt;br /&gt;
''A Pale View of Hills''; House's TQA model; novel translation&lt;br /&gt;
&lt;br /&gt;
===题目===&lt;br /&gt;
&lt;br /&gt;
从豪斯翻译质量评估模式谈《远山淡影》中文翻译&lt;br /&gt;
&lt;br /&gt;
=== 摘 要 ===&lt;br /&gt;
&lt;br /&gt;
翻译质量评估是翻译批评的核心课题。朱莉安·豪斯提出的第一个有完整的理论和实践的翻译质量评估模式，为翻译实践提供了重要参考。《远山淡影》是石黑一雄的处女作，其依托回忆的叙事风格和移民主题具有很高的研究价值。《远山淡影》中译本自2011年出版至今，尚未有学者对其进行评估研究。本文运用豪斯的翻译质量评估模式，采用定性与定量相结合的分析方式，从语场、语旨、语式等三个层面对原文和译文进行分析，开展《远山淡影》中译本的翻译质量评估研究，为豪斯翻译质量评估模式对小说翻译的运用进行进一步的探索和补充。通过分析，得出《远山淡影》中译本为显性翻译，翻译质量较高。''Italic text''&lt;br /&gt;
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=== 关键词 ===&lt;br /&gt;
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《远山淡影》；豪斯质量评估模式；小说翻译&lt;br /&gt;
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===Introduction===&lt;br /&gt;
&lt;br /&gt;
Translation criticism refers to the analysis and review of thoughts, activities and works of translation by virtue of relevant theories and views, in a bid to improve the overall quality of translators and translations. It is an integral part of translation studies. (Wang Enmian, 1999: 7) Translation quality assessment, as the integral and key part of translation criticism, plays a significant role in surveillance and promotion of translation quality. Among the extant translation quality assessment models, Juliane House’s ''A Model for Translation Quality Assessment and Translation Quality Assessment: A Model Revised'', based on Halliday's systemic functional linguistics and discourse analysis, are systematic, scientific and rational with a relatively complete system of parameters, quantitative methods and steps adhering to specific procedures. &lt;br /&gt;
&lt;br /&gt;
''A Pale View of Hills'', as Kazuo Ishiguro's first full-length novel, tells the life of the people in Nagasaki after WWII through the memory of protagonist Etsuko and explores recovery of trauma, collision between the old and new ideas, and kinship after war. The first person narrative, memory, humor and satire and international perspectives in the book became his major writing styles in the future. The novel won the Winifred Holtby Memorial Prize from the Royal Society. Its only Chinese translation at present, from Zhang Xiaoyi, is still not analyzed by the scholars. This paper uses House’s translation quality assessment model, with combination of qualitative and quantitative analysis, from field, tenor and mode to analyze the mismatches between original and translation in an attempt to assess the Chinese translation quality of ''A Pale View of Hills'' and further explore the application of House’s model in novel translation. The aim of the study is to promote scholars to regulate the behaviors of translation, to improve the quality of translation and translation evaluation, and to provide a reasonable way for establishing the interlingual conversion mechanism.&lt;br /&gt;
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The thesis consists of four chapters.&lt;br /&gt;
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After the Introduction, Chapter One gives a brief account of ''A Pale View of Hills'' and its research status, involving the author, background, content and influence. Chapter Two is a brief introduction of House’s TQA model, including its theoretic basis, parameter setting, operation steps and feasibility. Chapter Three is a detailed analysis of original and translation of ''A Pale View of Hills'' based on House’s model. Chapter Four is statement of translation quality assessment. Then we come to the last part, Conclusion.&lt;br /&gt;
&lt;br /&gt;
===I Overview and Research Status of ''A Pale View of Hills''===&lt;br /&gt;
''A Pale View of Hills'' is Kazuo Ishiguro's first novel, which laid a solid foundation for the formation of Ishiguro's writing style. The chapter mainly introduces the author, plot, theme and influence of the novel and analyzes its research status, in an attempt to master the material well and seek new perspectives for the paper.&lt;br /&gt;
&lt;br /&gt;
'''1.1 Overview of ''A Pale View of Hills'''''&lt;br /&gt;
&lt;br /&gt;
Kazuo Ishguro is a noble contemporary Japanese English writer, whose novels feature first person narrative, detailed depiction of loneliness, depression, self-deception and anxiety of characters' inner world and dual narrative strategy to deconstruct the narrator's self-identity, as well as discuss postwar trauma and migrant identity. He won Booker Prize, the British top literary prize, in 1989 and the Nobel Prize in literature in 2017. By virtue of his outstanding literary achievements, he is known as one of the Three Masters of English Migrant Literature together with Salman Rushdi and Naipaul.&lt;br /&gt;
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''A Pale View of Hills'', published in 1982, is Ishiguro's debut. The story, with postwar Nagasaki as its background, enjoys two clues: one is what happened when Niki (Etsuko’s little daughter) visited her mother after her sister Keiko died; the other is Etsuko’s memory about people and events in Nagasaki after the war. The two lines integrated together during the narrative, forming the illusory and imaginary impression. Many in-depth topics in this work are worth pondering: postwar trauma recovery, the collision between new and old ideas after war and discussion of family relations. Many marks in the work became his own styles: first-person narrative, memory, humor and satire, international perspectives. In addition, it won the Winifred Holtby Memorial Prize from the Royal Society and is still in print thirty years after its publication. This book, with its enormous emotion, unearths the abyss beneath the illusion of our connection to the world, whose artistic value and charm could be time-tested.&lt;br /&gt;
&lt;br /&gt;
'''1.2 Research Status of ''A Pale View of Hills'''''&lt;br /&gt;
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There are 54 papers about A Pale View of Hills in domestic researches. According to the statistics from HowNet (as shown in the figure below), the number of studies on the work has been mounting, especially after Kazuo Ishiguro won the Nobel Prize for Literature in 2017. The perspectives of these researches are mainly from identity anxiety, unreliable narrative and post-war trauma. In Identity Anxiety in Kazuo Ishiguro's A Pale View of Hills, Wang Fei discusses the identity anxiety of migrants, exploring manifestations, causes and influence of such anxiety on the characters. In Memory and Narrative Unreliability of A Pale View of Hills, He Xiaobing combined with the classical narratology to analyze how unreliable narration method is presented in the work and discussed the inner world of the characters. In Trauma in Kazuo Ishiguro's A Pale View of Hills, Liu Xiaoya explores the protagonist's trauma by using Sigmund Freud’s psychoanalysis theory and trauma theory (including post-freudian psychological trauma theory), contemporary trauma culture theory along with rhetorical narrative theory.&lt;br /&gt;
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[[File:picture1.pgn]]&lt;br /&gt;
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At abroad there are more perspectives about the studies of A Pale View of Hills. In addition to the main research directions of domestic scholars, such as identity anxiety of characters, unreliable narrative research and post-war trauma, cultural displacement, family relationship and the influence of region on personality presented in the works are also analyzed. ''The Impact of Place on Personality in Kazuo Ishiguro's A Pale View of Hills: An Eco-critical Study'' co-written by Awla, Yousif Hamad and Azad Sharif, from the perspective of ecocriticism, clarifies the fact that a place is able to define and guide the emotions and thoughts of characters, and analyzes the reasons why geography forms characters of people in order to draw people’s attention to the impact of surrounding environment on them. Ruth Forsythe's article ''Cultural Displacement and the Mother-daughter Relationship in Kazuo Ishiguro's A Pale View of Hills'' focuses more on the relationship between mother and daughter under cultural displacement. However, no scholars have analyzed the language itself from the perspective of systemic functional linguistics.&lt;br /&gt;
&lt;br /&gt;
The Chinese translation of A Pale View of Hills, Zhang Xiaoyi's version, was published by Shanghai Translation Publishing House in 2011, and the bilingual version in 2019. Up to now, there has no translation criticism or discussion about this translation. Since 2011 when it was translated, it came to draw the attention of scholars and readers. Translation is a direct factor that affects the integrity of author’s thought, the reader's perception and the accuracy of the scholar’s study, thus it is indispensable to use the House’s Translation Quality Assessment model to analyze the Chinese translation of ''A Pale View of Hills''.&lt;br /&gt;
===II Introduction of House's Translation Quality Assessment Model===&lt;br /&gt;
Juliane House's model was described as the first translation quality assessment model with complete theories and practices by international translation criticism, which could provide an important reference for translation learners and scholars. By introducing the theoretical basis, parameter system and operation steps of House's model, this chapter will discuss the feasibility of House’s model in the evaluation of the Chinese translation of A Pale View of Hills, in an effort to foster the application of House’s model in the quality evaluation of full-length novels.&lt;br /&gt;
&lt;br /&gt;
'''2.1 Theoretical Basis of House's Model'''&lt;br /&gt;
&lt;br /&gt;
The assessment of translation quality draws upon different translation standards, which are then embodied by the recognition about essence of translation. House deemed that crunch of the translation quality assessment lies in recognition of the nature of translation, namely that &amp;quot;translation is the replacement of a text in the source language by a semantically and pragmatically equivalent text in the target language.&amp;quot;(House, 1977: 30)&lt;br /&gt;
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In House's initial model in 1977, she drew upon language behavior theory, language and text function and context to divide the source language text into two situational dimensions: dimension of language user and dimension of language use. The former includes three aspects: geographical origin, social class and time. The latter includes five aspects: medium, participation, social role relationship, social attitude and province. The evaluation depends on the matching degree between                                                                                                                                                                                                                                                                                                                                                                                          original text and translation. The higher the matching degree is, the better the translation quality is. The quality evaluation of the translated text needs to state mismatching degree of each dimension in the whole context, that is, the description of the quantity of covert errors (errors in context dimension) and overt errors (referential mismatcher or grammatical violation of target language system).&lt;br /&gt;
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Based on myriad practice, House realized that the initial eight dimensions overlap in some parts. Therefore, in 1997, she revised the original model from the perspective of the context, unifying the previous eight parameters to field, tenor and mode. Field compares subject matter and social action of the original with that of translation. Tenor emphasizes the matching degree on the relationship of participants, time, region, position of author, social role relationship and social attitudes. Mode pays more attention to medium and participation. In addition, House incorporated &amp;quot;genre&amp;quot; into revision model in order to explain the deep structure of the text.&lt;br /&gt;
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'''2.2 Operation Steps of House's Model'''&lt;br /&gt;
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When evaluating the translation quality of the text, House's model focuses on comparison between original text and translation from field, tenor, mode and genre, clarifies and summarizes mismatches found in the text, so as to obtain a quality report of the translation. The detailed steps presented as follows: &lt;br /&gt;
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1) Analyze the register and genre of the original text to get its textual functional profile. The original text is analyzed from four dimensions: field, tenor, mode and genre. According to the analysis, “functional statement”, involving ideational and interpersonal functions, needs to be deduced.&lt;br /&gt;
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2)Compare the target text and the source text to find differences or mismatches. Through the comparative analysis between original and translation along the dimensions on the model, mismatches or differences found in the comparison are sorted out by virtue of overt errors or covert errors and expounded in detail one by one.&lt;br /&gt;
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3)Summarize the differences and mismatches demonstrated from the above steps in lexical, syntactic and textual aspects. Based on above statistics and statement, make the quality statement. The fewer the mismatches are, the better the translation quality is. If readers clearly realize the text a translation work, it is overt translation; while if not, it is covert translation.&lt;br /&gt;
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'''2.3 Feasibility of the Model in Chinese Translation of ''A Pale View of Hills'''''&lt;br /&gt;
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At present, there are 78 relevant studies on House’s Translation Assessment model, which are mainly divided into three directions: interpretation of House Translation Assessment model and its revision, evaluating translation of literary works along the model and evaluating translation of applied text along the model. Among them, evaluation of the translation of literary works accounts for 29, which enjoys the following two characteristics:&lt;br /&gt;
&lt;br /&gt;
1)There are merely a few researches applying House model to Chinese translation of literary works. Among the 29 journals and papers evaluating translation of literary works, there are 25 studies that attach great importance to the English translation and 4 to Chinese translation, which signifies that we need more researches of Chinese translation to support the validity of the model on different languages. Therefore, the paper, with the Chinese translation of A Pale View of Hills as its corpus, intends to examine the feasibility of the application of House’s model to Chinese translation.&lt;br /&gt;
&lt;br /&gt;
2)There are merely a few researches applying House model to the translation of full-length novels. Among the 29 journals and papers on evaluating translation of literary works, most of which focus on the evaluation of poems and prose, merely 5 studies are analysis of translation of full-length novels. English translation accounts for 3 and Chinese translation for 2, which demonstrates that we need more researches with full-length novels as corpus to support the validity of the model in different genres. Therefore, the paper, with the full-length novel A Pale View of Hills as its corpus, intends to examine the feasibility of the application of House’s model to full-length novels.&lt;br /&gt;
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In conclusion, given that the researches based on Chinese translation of full-length novels are insufficient, the paper will use the Chinese translation of A Pale View of Hills as its corpus to validate the feasibility of House’s TQA model.&lt;br /&gt;
&lt;br /&gt;
===III Comparison of Original and Translation of ''A Pale View of Hills'' Along House's Translation Quality Assessment Model===&lt;br /&gt;
''A Pale View of Hills'' is the debut of Kazuo Ishiguro, whose Chinese translation was published by Shanghai Translation Publishing House in 2011. House's Translation Quality Assessment model is the first objective model combining quantative analysis with qualitive analysis. The paper applies House’s Translation Quality Assessment model to Chinese translation of ''A Pale View of Hill'', comparing the source text and target text in lexical, syntactic and textual aspects along the three dimensions of register and summarizing the mismatches on field, tenor and mode, in an effort to quantitatively assess the translation quality of ''A Pale View of Hills''.&lt;br /&gt;
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'''3.1 Comparison on Field'''&lt;br /&gt;
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Field refers to the content or the topic of the text. It is concerned with subject matter and social action which covers the specificity of lexical items. After comparison between the source text and target text on field, there are 18 mismatches, 12 of which are overt errors and 6 covert errors. Among them, there are 9 lexical errors, 1 textual error and 8 syntactic errors. The lexical and textual errors are mainly covert errors, so in general their translation is of high quality. Although most of syntactic errors are not in line with the grammar of target language system, they won’t influence the understanding of the text. Therefore, by and large, translation on field are high-quality.&lt;br /&gt;
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'''3.1.1 Lexical Field'''&lt;br /&gt;
&lt;br /&gt;
Lexical field means the immediate or possible scenes or events evoked in people’s mind when they read or hear the words or lexical items. After the analysis of the original and target text, there are 9 mismatches, 4 of which are overt errors and 5 are covert ones. Most of them won’t block readers to master the overall meanings. Therefore, the translation quality on lexical items are relatively high. &lt;br /&gt;
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Example 1：&lt;br /&gt;
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...and the soaked surfaces of brick and concrete were drying all around us.&lt;br /&gt;
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湿透了的砖头和水泥开始变干。(P8)&lt;br /&gt;
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Concrete refers to building material that is made by mixing together cement, sand, small stones and water according to Oxford Dictionary, which includes cement rather than equates it. So, it is not very accurate to translate in this way even if the two words are similar. It is obviously an overt error. &lt;br /&gt;
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Example 2：&lt;br /&gt;
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As far as I remember, that was the first occasion I spoke to Mariko.&lt;br /&gt;
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我印象那是我第一次跟万里子说话。(P11)&lt;br /&gt;
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In the translation, “印象” as a noun refers to a mental picture that you have of what somebody/something is like or looks like. In the light of the rules or grammar of Chinese, it is hardly used as a verb. Thus, it is an overt error. &lt;br /&gt;
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Example 3：&lt;br /&gt;
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It's such a shame.&lt;br /&gt;
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真不像话。(P16)&lt;br /&gt;
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A shame is used to say that somthing is a cause for feeling sad or disappointed. In the original, the sentence is to express Etsuko’s pity to the homeless dogs and cats around her community rather than her distaste or complaint. Here it is translated into its other meaning when ignoring the context, belonging to a covert error. &lt;br /&gt;
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Example 4：&lt;br /&gt;
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Why don't you go into the kitchen for a little while?&lt;br /&gt;
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你为什么不到厨房去一会儿呢？(P26)&lt;br /&gt;
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In the translation, “去” is not very appropriate on the basis of grammar of Chinese, since it is such an action verb that does not match with state phrases. In the course of translation, some prepositions in English need to be transferred into verb in Chinese, which are supposed to pay attention to the rules of target language. Here it is obviously an overt error.&lt;br /&gt;
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Example 5：&lt;br /&gt;
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It's not appreciated simply because the product disappears so quickly.&lt;br /&gt;
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不能因为它的产品很快就消失了而不懂得欣赏。(P34)&lt;br /&gt;
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According to the context, Ogata-San believes that cooking is “as noble as painting or poetry”. So here the product refers to food cooked. Given the concrete expression in Chinese, the product is supposed to be translated more concretely in accordance with the context. It is a covert error.&lt;br /&gt;
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Example 6：&lt;br /&gt;
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Perhaps it is just my fancy that I felt a cold touch of unease there on that bank, a feeling not unlike premonition. &lt;br /&gt;
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这也许只是我的想象，但是那时我在河边觉得凉飕飕的，很不自在，像是感觉有事要发生。(P44)&lt;br /&gt;
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“Unease” refers to the feeling of being worried or unhappy about something. Given the above-mentioned, Etsuko worried about the safety of Mariko when she was not at home. It differs from its translation that means the feeling of being ill at ease. It is an overt error. &lt;br /&gt;
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Example 7：&lt;br /&gt;
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You mustn't suppose, Etsuko, simply because you've seen her in these…in these present surroundings, that she's some peasant's child.&lt;br /&gt;
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悦子，你不能因为……因为眼前的事物就认为她是什么贫农的孩子。(P51)&lt;br /&gt;
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Sachiko is not rich according to the context, so “peasant” intimates the meaning of poverty. Its translation explicitly represents it, which is accessible and intelligible. However, “贫农” enjoys extra cultural meaning in China, which could date back to the Cultural Revolution when lands was apportioned based on people’s wealth, so it might mislead readers to its political implication. It is a covert error.&lt;br /&gt;
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Example 8：&lt;br /&gt;
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“I must have been such a burden to you in those days,” I said, quietly.&lt;br /&gt;
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“我那时肯定成了您的负担，”我静静地说。(P68)&lt;br /&gt;
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Here “quiet” refers to making very little noise, which coincides with the act of saying. According to the context, Etsuko lowered her noise out of guilt when she realized she bothered her family when she practised violin before. However, its translation means the statement without any noise, which obviously contravenes the context, belonging to covert translation.&lt;br /&gt;
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Example 9：&lt;br /&gt;
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I could see something moving beside her in the shade.&lt;br /&gt;
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我看见她身旁的影子里有什么东西在动。(P14)&lt;br /&gt;
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“Shade” means an area that is dark and cool under or behind something, for example a tree or building, because the sun’s light does not get to it, rather than the shadow which the translator believed. As previously mentioned in the text, “Mariko was lying in the corner furthest from the sunlight”, which also signifies that it is impossible to exist dark shape under the light around Mariko. Thus, the translation of “shade” is not on a par with the context, belonging to a covert error.&lt;br /&gt;
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'''3.1.2 Syntactic Field'''&lt;br /&gt;
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Syntactic field means the immediate image appeared in people’s mind when they read the sentences. The mismatches in syntactic field are usually for the violation of rules of target language or misinterpreting the source text. On syntactic field, there are 8 mismatches, seven of which are overt errors and one is covert. Among the overt errors, seven sentences are not in line with the rules of target language, which won’t influence the ideational meaning. Therefore, the translation quality on syntactic field is high.&lt;br /&gt;
&lt;br /&gt;
Example 1：&lt;br /&gt;
&lt;br /&gt;
It did upset me, hearing about her.&lt;br /&gt;
&lt;br /&gt;
我真的很难过，听到她的死讯。(P4)&lt;br /&gt;
&lt;br /&gt;
Example 2：&lt;br /&gt;
&lt;br /&gt;
But I was sad though, when I heard.&lt;br /&gt;
&lt;br /&gt;
可是我真的很难过，听到她的消息。(P4)&lt;br /&gt;
&lt;br /&gt;
Example 3：&lt;br /&gt;
&lt;br /&gt;
It's certainly an amusing sort of experience, working in a noodle shop.&lt;br /&gt;
&lt;br /&gt;
这真是很有趣的经历，在面包店里工作。(P26)&lt;br /&gt;
&lt;br /&gt;
In English, the important or unknown information appeared firstly, and the second one follows. However, in Chinese, the second important presents at first, paving the foundation for the more pivotal or unknown one. In above three examples, their translation doesn’t adjust the sequence in line with target language rules. These are overt errors.&lt;br /&gt;
&lt;br /&gt;
Example 4：&lt;br /&gt;
&lt;br /&gt;
…certain arrangements I made have not gone as planned.&lt;br /&gt;
&lt;br /&gt;
一些事情没有照我计划的那样。(P17)&lt;br /&gt;
&lt;br /&gt;
The translation is not complete as the predicate verb “have gone” is not translated, which does not conform with the grammar of Chinese. It is an overt error.&lt;br /&gt;
&lt;br /&gt;
Example 5：&lt;br /&gt;
&lt;br /&gt;
She appeared to know them, for as she walked across the forecourt, she gave them a familiar greeting.&lt;br /&gt;
&lt;br /&gt;
看来她认识她们，边走过水泥地，边熟识地跟她们打招呼。(P26)&lt;br /&gt;
&lt;br /&gt;
The original is a compound-complex sentence with “for” for causal relation and “as” for coordinate relation. In the translation, the former is represented but the later isn’t, neither by conjunction words nor by clause sequence. It causes that the translation lacks of logic, belonging to an overt error.&lt;br /&gt;
&lt;br /&gt;
Example 6：&lt;br /&gt;
&lt;br /&gt;
It's an opportunity for a teacher to see the fruits of his work, and for the pupils to express their gratitude to him.&lt;br /&gt;
&lt;br /&gt;
这是一个机会让老师看看他的劳动成果，让学生们向他表示感谢。(P30)&lt;br /&gt;
&lt;br /&gt;
The translation adheres to the sequence of the original but ignores the fluency of the sentence. In English, attributives are at both ahead of and behind the objects; while in Chinese, they mostly are preceded. Therefore, the translation violates the grammar of the target language, belonging to an overt error.&lt;br /&gt;
&lt;br /&gt;
Example 7：&lt;br /&gt;
&lt;br /&gt;
There's nothing like a timely reminder of one's personal obligations.&lt;br /&gt;
&lt;br /&gt;
及时地提醒个人的责任之类的东西也没有。(P71)&lt;br /&gt;
&lt;br /&gt;
“There's nothing like” is a common sentence pattern in spoken English, meaning nothing else is able to match. The original would have expressed that “a timely reminder of one’s personal obligations” is the most important. The translator misunderstood the meaning utterly, making an overt error.  &lt;br /&gt;
&lt;br /&gt;
Example 8：&lt;br /&gt;
&lt;br /&gt;
It amazes me, how things have changed so much so quickly.&lt;br /&gt;
&lt;br /&gt;
太让我吃惊了，世道变得如此之大，如此之快。(P195)&lt;br /&gt;
&lt;br /&gt;
The translation, by and large, is in accordance with the original. Yet there is possibility for readers to be confused about the accuracy of words collocation. Although “so much” and “so quickly” modify the verb “change”, we have to respectively choose the proper words to collocate. It is a covert error. &lt;br /&gt;
&lt;br /&gt;
'''3.1.3 Textual Field'''&lt;br /&gt;
&lt;br /&gt;
On textual field, there is only one error---overt error. It is caused by misconstruing what the pronoun refers to. By and large, the translation, through the comprehensive analysis on textual field, is high-quality. &lt;br /&gt;
&lt;br /&gt;
Example 1：&lt;br /&gt;
&lt;br /&gt;
That's just not how it was though.&lt;br /&gt;
&lt;br /&gt;
但是我和她根本不是这样。(P4)&lt;br /&gt;
&lt;br /&gt;
According to “Sisters are supposed to be people you're close to, aren't they. You may not like them much, but you're still close to them”, it refers to the whole view instead of certain relationship between me and my sister. The referential meaning does not accord with that of the original. It is an overt error.&lt;br /&gt;
&lt;br /&gt;
'''3.2 Comparison on Tenor'''&lt;br /&gt;
&lt;br /&gt;
Tenor refers to the nature of the participants, the addresser and the addressee, and the relationship between them in terms of social power and social distance. After comparing the original and the translation of A Pale View of Hills, there are 8 mismatches on social attitude and social role relationship, one of which is an overt error and the rest are covert. In general, the translation is highly in accordance with the original so the quality is high on tenor. &lt;br /&gt;
&lt;br /&gt;
'''3.2.1 Social Attitude'''&lt;br /&gt;
&lt;br /&gt;
Social attitude refers to the social distance between communicators and the degree of formality of discourse. The misunderstanding of social attitude in the translation process will affect the readers' understanding of the characters in the novel. Therefore, mistakes in representing social attitude of characters should be minimized and even avoided in the translation process. There are 4 mismatches on social attitude in the translation: one is an overt error and the rest are covert errors. By and large, the translation on displaying the social attitude of the original is great. &lt;br /&gt;
&lt;br /&gt;
Example 1：&lt;br /&gt;
&lt;br /&gt;
The English are fond of their idea that our race has an instinct for suicide.&lt;br /&gt;
&lt;br /&gt;
英国人有个奇特的想法，觉得我们这个民族天生爱自杀。(P4)&lt;br /&gt;
&lt;br /&gt;
In the original text, the attitude of the character is relatively objective. However, in the translation, the attitude is represented overly by using an adjective, which might be translator’s understanding on author’s attitude. It limits different interpretation to the author’s attitude from readers. It is an overt error. &lt;br /&gt;
&lt;br /&gt;
Example 2：&lt;br /&gt;
&lt;br /&gt;
“Which are you hoping for, Etsuko?” he asked, eventually. “A boy or a girl?”&lt;br /&gt;
&lt;br /&gt;
“你想是男孩还是女孩呢，悦子？”过了一会儿他问道。(P35)&lt;br /&gt;
&lt;br /&gt;
Ogata-San would like to know Etsuko’s mind about the upcoming baby, but he is not sure if it is proper. At last, curiosity overpowers his hesitation. In the original text “eventually” signifies both time and emotion span. But the translation only manifests the time span. It is a covert error.&lt;br /&gt;
&lt;br /&gt;
Example 3：&lt;br /&gt;
&lt;br /&gt;
“Tell me, Etsuko,” he said, not looking up from his laces. “Have you met this Shigeo Matsuda?”&lt;br /&gt;
&lt;br /&gt;
“告诉我，悦子，”他头也不抬地说。“你见过这个松田重夫吗？”(P36-P37)&lt;br /&gt;
&lt;br /&gt;
Ogata-San, as Etsuko’s father-in-law and adopter after the war, gets along well with her. In the original text, Ogata-San is “not looking up” when speaking to Etsuko since he is lying his laces. The translation ignores the reason, which renders Ogata-San a cold man. It is a covert error.&lt;br /&gt;
&lt;br /&gt;
Example 4:&lt;br /&gt;
&lt;br /&gt;
I'm sure she'd be the first to agree with me about Kazuo mourning her like this.&lt;br /&gt;
&lt;br /&gt;
我肯定她会第一个同意我的观点，和夫不应该再这样想着他了。(P94)&lt;br /&gt;
&lt;br /&gt;
From the original, we can feel the love of Mrs. Fujiwara to her son. However, after reading its translation, we can feel nothing but her dominance. It signifies that the translation deviates from the original context. It is a covert error.&lt;br /&gt;
&lt;br /&gt;
'''3.2.2 Social Role Relationship'''&lt;br /&gt;
&lt;br /&gt;
Social role relationship refers to the social relation between the speaker and the receiver, that is, symmetry and asymmetry. The analysis on the social roles relationship in novels is generally from two aspects: relationship between the author and readers, and relationship between the various characters in the work. The former is remained utterly, while the latter is slightly different from that in the original. A total of 4 mismatches are found in the comparison, all of which are covert errors. In the full-text translation, the overall relationship between the characters is the same as that of the original text, and only a few mismatches are found. Therefore, on social role relationship, translation is of high quality.&lt;br /&gt;
&lt;br /&gt;
Example 1：&lt;br /&gt;
&lt;br /&gt;
She said it would be perfectly all right if you came and waited for her at my house.&lt;br /&gt;
&lt;br /&gt;
她说你可以到我家来等她。(P13)&lt;br /&gt;
&lt;br /&gt;
The translation omits “be perfectly all right if”, which takes the edge off the amiability from Etsuko to Mariko. Given the whole plot of the novel, Mariko is a phantom of Etsuko’s old daughter Keiko. The obscure feelings between Mariko and Etsuko are very important to implicate their special emotion. Therefore, the translation ignores to take a consideration of the context. It is a covert error.&lt;br /&gt;
&lt;br /&gt;
Example 2：&lt;br /&gt;
&lt;br /&gt;
As I say, this order came into the office the day you arrived. A real nuisance.&lt;br /&gt;
&lt;br /&gt;
我说过了，订单刚好在您来的那天来了。真是讨厌。(P29)&lt;br /&gt;
&lt;br /&gt;
On the basis of the context, Jiro (Etsuko’s husband) is explaining to his father Ogata-San that he is so busy that he could not accompany him. He feels apologetic about that. However, the tone of speaking in translation is impatient and a bit furious, which runs against that of the original. So, it is a covert error. &lt;br /&gt;
&lt;br /&gt;
Example 3：&lt;br /&gt;
&lt;br /&gt;
I should warn you, perhaps. My daughter has been in a somewhat difficult mood these past few days.&lt;br /&gt;
&lt;br /&gt;
也许我应该警告你。我女儿这几天情绪很不好。(P90)&lt;br /&gt;
&lt;br /&gt;
Warn enjoys two major meanings: to tell somebody about something, especially something dangerous or unpleasant that is likely to happen, so that they can avoid it; to strongly advise somebody to do or not to do something in order to avoid danger or punishment. In the original, Sachiko entrusts Etsuko to look after her daughter so the former one is appropriate. However, in the translation the later one is adopted, which is absolutely improper. It is a covert error. &lt;br /&gt;
&lt;br /&gt;
Example 4：&lt;br /&gt;
&lt;br /&gt;
Now listen carefully, or else you'll never find the noodle shop.&lt;br /&gt;
&lt;br /&gt;
现在您听好了，不然您永远也别想找到面馆。(P183)&lt;br /&gt;
&lt;br /&gt;
The sentence is said when Etsuko intends to tell Ogata-San the route to the restaurant of Mrs Fujiwara. On the basis of the context, Etsuko is very reverent to Ogata-San. However, the manner of translation is tough, which is not of a piece with the original. It doesn’t take account of the context, so it is a covert error.&lt;br /&gt;
&lt;br /&gt;
'''3.3 Comparison on Mode'''&lt;br /&gt;
&lt;br /&gt;
Mode can be divided into medium and participation. In the course of analyzing both the original and the translation, a total of 6 mismatches are found on the two dimensions and all of them are covert errors, which manifests the translation are generally of a piece with the original. The translation on mode is of high quality.&lt;br /&gt;
&lt;br /&gt;
'''3.3.1 Language Medium'''&lt;br /&gt;
&lt;br /&gt;
Language medium mainly refers to whether the form of language is spoken or written, simple or complex. The contrast between the model of the source text and the target text is mainly reflected in the linguistic features and diction features of text rather than language types used. The language of A Pale View of Hills is simple, delicate and easy to understand, with short sentence, plenty of dialogues between characters and a high degree of colloquialism. The overall style of the translation is similar with that of the original, with only 4 stylistic covert mismatches. Therefore, on language medium, the translation quality is great.&lt;br /&gt;
&lt;br /&gt;
Example 1：&lt;br /&gt;
&lt;br /&gt;
…on one side of the tracks at the foot of the hill could be seen a cluster of roofs.&lt;br /&gt;
&lt;br /&gt;
山脚下铁路的一侧是鳞次栉比的屋顶。(P8)&lt;br /&gt;
&lt;br /&gt;
Cluster means a group of things of the same type that grow or appear close together, whose translation accords with it in the ideational meaning. Nonetheless, “鳞次栉比” in Chinese is a four-character phrase that usually appears in formal written text. It is more complex than the style of the text. It is a covert error.&lt;br /&gt;
&lt;br /&gt;
Example 2：&lt;br /&gt;
&lt;br /&gt;
We're just rabble, like your husband says.Please don’t make a fuss, please sit down.&lt;br /&gt;
&lt;br /&gt;
正如您丈夫说的，我们只是两个混蛋。不用麻烦了，请坐下。(P74)&lt;br /&gt;
&lt;br /&gt;
The situation happens when Jiro’s colleagues come round. From the conversation between Jiro and his colleagues, it is found that they are very familiar and intimate. So, words such as “rabble” and “like” are of high colloquialism. Nevertheless, in the translation “正如” is a formal expression, which is not in line with the original. Thus, it is a covert error.&lt;br /&gt;
&lt;br /&gt;
Example 3：&lt;br /&gt;
&lt;br /&gt;
Blankets and laundry hung from many of the balconies.&lt;br /&gt;
&lt;br /&gt;
很多阳台上挂着毯子啦、洗的衣服啦。(P181)&lt;br /&gt;
&lt;br /&gt;
Example 4：&lt;br /&gt;
&lt;br /&gt;
Young women these days are all so headstrong. And forever talking about washing-machines and American dresses.&lt;br /&gt;
&lt;br /&gt;
现在女孩子任性得很。而且整天在讲什么洗衣机啦、洋裙啦。(P195)&lt;br /&gt;
&lt;br /&gt;
The two sentences are the description of the street which Etsuko and Ogata-San pass by when they intend to visit Shigeo. Etsuko is a calm and composed Japanese woman, whose language style is the same. Modal particles used in translation render the language abrupt and frisky. So, it is a covert error.&lt;br /&gt;
&lt;br /&gt;
'''3.3.2 Participation'''&lt;br /&gt;
&lt;br /&gt;
Participation refers to whether the speech is a simple monologue or a complex form that prompts the listeners or readers to participate indirectly, for example, by the transition between statements and questions and the special use of pronouns. The whole plot of A Pale View of Hills is a soliloquy narrated in the first person, interleaved with dialogues between different characters. Readers hardly could participate indirectly in it. The translation is basically in the same style as the original, except for the two following examples. The two declarative sentences are translated into a rhetorical question, which does not require readers to answer as well. Therefore, the translation is of high quality in terms of participation.&lt;br /&gt;
&lt;br /&gt;
Example 1：&lt;br /&gt;
&lt;br /&gt;
That’s no way to bring a child into the world, visiting the cemetery every week.&lt;br /&gt;
&lt;br /&gt;
这样怎么能把孩子带到这个世上呢？(P24)&lt;br /&gt;
&lt;br /&gt;
Example 2：&lt;br /&gt;
&lt;br /&gt;
It seems very disloyal.&lt;br /&gt;
&lt;br /&gt;
这不是忘恩负义吗？(P32)&lt;br /&gt;
&lt;br /&gt;
The quality statement of the Chinese Translation of A Pale View of Hills focuses on whether it is an overt transaltion or a covert translation and its matching degree. On the one hand, it is an overt translation. Accoring to above analysis, the translation is closely related to the culture of the sourse language text. From the translation, expressions with Japanese culture can be found clearly. On the other hand, it is of high quality. There are 32 mismatches in total, 18 mismatches on field, 8 on tenor and 6 on mode. Among them, there are 13 overt errors and 19 covert errors. Covert errors caused by ignoring the context and overt errors caused by violating the rules of target language inflict only a little ambiguity on ideational function, interpersonal function and the quality of the text.&lt;br /&gt;
&lt;br /&gt;
===IV Quality Statement of Chinese Translation of A Pale View of Hills===&lt;br /&gt;
The quality statement of the Chinese Translation of A Pale View of Hills focuses on its cultural participation degree and its matching degree. Based on the two aspects, this chapter will make a quality statement of the Chinese Translation of A Pale View of Hills.&lt;br /&gt;
&lt;br /&gt;
'''4.1 Overt Translation'''&lt;br /&gt;
&lt;br /&gt;
Overt translation refers to the obvious translation rather than the second original. The translation is obviously not aimed at the readers with target language, because the original text, literary works, political speeches and religious sermons, is closely related to the culture it is rooted in. But covert translation can be used as the second text, that is, independent writing. House deems that texts requiring overt translation have no special connection with their culture, and they are not unique to their culture, such as academic papers and travel brochures. She also believes that in overt translation, equivalence can only be established at the level of language/text, register and genre, but it is difficult to achieve equivalence in function. In contrast, the purpose of covert translation is to achieve functional equivalence, and there will be some deficiencies in language, register.&lt;br /&gt;
&lt;br /&gt;
In the contrast reading between the original and the translation, the obvious traces of the original can be found, for example, “你想她们还在打吗？” and “呃，我想小孩子是会打架的。但是我想我应该告诉你一声。还有你看，我想你女儿不是要去上学。”. In English, words representing speculation, such as “suppose” and “think”, are used frequently, while in Chinese they are not. Thus, the target text which remains these words possesses obvious sighs of translation. Furthermore, other signs in the translation, such as “欠了欠身”，show the culture of Japan when greeting. In conclusion, the target text of A Pale View of Hills is overt translation.&lt;br /&gt;
&lt;br /&gt;
'''4.2 High-quality Translation'''&lt;br /&gt;
&lt;br /&gt;
This study applies House’s TQA model to assess the Chinese translation of A Pale View of Hills on lexical, syntactic and textual aspects. On basis of analysis between the original and the translation, there are 18 mismatches on field, 8 on tenor and 6 on mode. Among them, there are 13 overt errors and 19 covert errors. Covert errors caused by ignoring the context and overt errors caused by violating the rules of target language inflict only a little ambiguity on ideational function, interpersonal function and the quality of the text. &lt;br /&gt;
&lt;br /&gt;
Chinese translation of A Pale View of Hills, by and large, consisting with the original, is of high quality. On the field, the translation, which transmits the subject matter and social action which covers the specificity of linguistic items, is in accordance with the original on lexical, syntactic and textual dimension in general; on the tenor, the representation of social attitude and social role relationship of the Chinese text is consistent with the English text; on the mode, the language of the translation is as simple and delicate as that of the original and the participation is of low level as well. Therefore, Zhang Xiaoyi’s Chinese translation of A Pale View of Hills is of high quality.&lt;br /&gt;
===Conclusion===&lt;br /&gt;
''A Pale View of Hills'', as the debut of Kazuo Ishiguro, involves many in-depth subjects, which initiates the development of author's peculiar writing style. House’s model is the first scientific and objective translation quality assessment mode with the integration of both theory and practice. This study applies House’s TQA model to assess the Chinese translation of ''A Pale View of Hills'' on lexical, syntactic and textual aspects. On basis of analysis between the original and the translation, there are 18 mismatches on field, 8 on tenor and 6 on mode. By and large, the Chinese translation of A Pale View of Hills is overt translation. Although a few mismatches can be found in the translation, they cause a little affect to the functions of the text and the presentation of the plot, role characters and role relationship of the whole novel. In conclusion, the translation is in line with the original on register and is of high quality.&lt;br /&gt;
&lt;br /&gt;
Different from the traditional evaluation methods, House's model, based on micro and macro criteria, both quantitative analysis and qualitative analysis, is the first scientific and objective translation quality assessment model with a complete theory and empirical evidence. It can be used as an auxiliary tool to find problems in translation so as to make modifications, which to some extent promotes the development of translation activities. However, in the actual operation process, although the translation quality assessment can be carried out according to parameters, the comparison results still rely on subjective judgment, which cannot utterly guarantee the scientificity of the final evaluation results. In addition, due to the large number of parameters, it takes a lot of time to compare the differences in vocabulary, sentence structure and discourse between the original text and the translation in the evaluation of full-length novel, so the evaluation is not very efficient. Although there are still some shortcomings in the House's model, it is still worth applying in the practice of translation criticism as a relatively complete and objective theoretical model.&lt;br /&gt;
&lt;br /&gt;
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&lt;br /&gt;
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Wang Fei 王飞. (2017) 石黑一雄中的身份焦虑[Identity Anxiety in Kazuo Ishiguro's ''A Pale View of Hills'']. 中南大学学报(社会科学版)[Journal of Central South University(Social Science)]. 152-157.&lt;br /&gt;
&lt;br /&gt;
Zhou Fenfen 周芬芬. (2013) 豪斯翻译质量评估模式的实践应用——以《荷塘月色》英译本为例[The Application of Translation Quality Assessment Model by Julian House——A Case Study on Chinese-English Translation of ''Moonlight over the Lotus Pond'']. 山西农业大学学报(社会科学版)[Journal of Shanxi Agricultural University:Social Science Edition]. 782-786.&lt;br /&gt;
&lt;br /&gt;
==On the Relationship among Literal Translation, Free Translation, Domestication and Foreignization--韦洪朗 Wei Honglang,202020080647==&lt;br /&gt;
&lt;br /&gt;
===Abstract===&lt;br /&gt;
Abstract&lt;br /&gt;
This paper makes a systematic discussion on the relationship among literal translation, free translation, domestication and foreignization,which have been always controversial in translation history. Based on the theories and contents of free translation, literal translation, domestication and foreignization, this paper analyzes the similarities and differences between literal translation and free translation, foreignization and foreignization respectively. After cross-contrast analysis between them, it comprehensively sorts out the relationship between translation methods of literal translation and free translation and translation strategies of domestication and foreignization, and discusses their comprehensive application on the basis that domestication and foreignization are the extension of literal translation and free translation to cultural level, which has certain reference significance for further enriching translation practice.&lt;br /&gt;
&lt;br /&gt;
===Key words===&lt;br /&gt;
Key Words: Literal Translation; Free Translation; Domestication; Foreignization&lt;br /&gt;
&lt;br /&gt;
===摘要===&lt;br /&gt;
摘 要&lt;br /&gt;
本文就翻译史上备受争论的归化、异化和意译、直译的关系问题进行了系统的讨论。基于意译、直译和归化、异化的理论及其内容，分别分析直译和意译、异化和归化两对概念之间的异同，在他们之间进行交叉对比分析后，综合整理直译、意译的翻译方法和归化、异化翻译策略的关系，在继承归化和异化是直译和意译向文化层面的延伸的基础关系上，具体讨论他们之间的综合运用，为进一步丰富翻译实践具有一定的借鉴意义。&lt;br /&gt;
&lt;br /&gt;
===关键字===&lt;br /&gt;
关键词：意译；直译；归化；异化&lt;br /&gt;
&lt;br /&gt;
===Introduction===&lt;br /&gt;
  In the history, argues between literal translation and free translation have been lasting for so long. Since there existed so many countries and nations on the continent of Europe, communicating frequently with different languages, the skill and cognition of language translation naturally developed and achieved a lot. During those time, two main methods of translation called literal translation and free translation came into being and accompanied by the problem on choosing which of them. The earliest opinion of translating methods can go back to the period of Roman Empire, when Cicero put forward that free translation should be used in translating Greek texts into Latin, on account of that literal translation , “word for word translation”, couldn’t reflect Roman way of expression and couldn’t be easy-understanding and fluent as free translation, “sense for sense translation”. This view of point had a great and dominate influence at that time, which did not change until late Roman period, when Christianity were gradually in power and the necessity of spreading and translating Bible by the way “exactly what it is ” made literal translation become more popular. Then comes the renaissance, in which many linguisticians realized the importance of keeping the style and features of their own nations. Since then, the two translation methods have taken the lead and been debated endlessly in the translation field. By the 1960s and 1970s, when domesticating translation and foreignizing translation accordingly emerged with free translation and literal translation, reception theory, which upgraded the dominance of readers or we called receivers of translation, again made the domestic translating one-up. This kind of method was criticized by Venuti on its aggressivity of different cultures, based on which he officially put forward the two concepts of domestication and foreignization, which have been two central strategies in translation. So it’s vital to get a better understanding of those four concepts and make their relationships clear, which is of guiding significance to promote translation in practice.(Lu Shu, Wang Jintang 2005,115-116)&lt;br /&gt;
&lt;br /&gt;
===Table of Contents===&lt;br /&gt;
&lt;br /&gt;
Table of Contents&lt;br /&gt;
&lt;br /&gt;
Outline&lt;br /&gt;
I.Introduction&lt;br /&gt;
II.Literal Translation and Free Translation&lt;br /&gt;
2.1 Literal translation &lt;br /&gt;
2.2 Free translation  &lt;br /&gt;
2.3 Analysis with Examples of Literal translation and Free translation&lt;br /&gt;
2.3.1 On words&lt;br /&gt;
2.3.2 On sentence structures&lt;br /&gt;
2.3.3 On rhetorical means&lt;br /&gt;
2.4 The Relationships between Literal translation and Free translation&lt;br /&gt;
III.Domestication and Foreignization&lt;br /&gt;
3.1 Domestication&lt;br /&gt;
3.2 Foreignization&lt;br /&gt;
3.3 Analysis with Examples of Domestication and Foreignization&lt;br /&gt;
3.3.1 On politics&lt;br /&gt;
3.3.2 On culture&lt;br /&gt;
3.4 The Relationships between Domestication and Foreignization &lt;br /&gt;
IV.The Relationship among Literal Translation, Free Translation, Domestication and Foreignization&lt;br /&gt;
4.1 The Comparison among Literal Translation and Free Translation, Domestication and Foreignization&lt;br /&gt;
4.2 The Connection among Literal Translation and Free Translation, Domestication and Foreignization&lt;br /&gt;
4.2.1 Foreignization and Literal translation&lt;br /&gt;
4.2.2 domestication and free translation&lt;br /&gt;
4.2.3 Domestication and Literal translation&lt;br /&gt;
V.Conclusion&lt;br /&gt;
References&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
===I.Introduction ===&lt;br /&gt;
I.Introduction &lt;br /&gt;
In the history, argues between literal translation and free translation have been lasting for so long. Since there existed so many countries and nations on the continent of Europe, communicating frequently with different languages, the skill and cognition of language translation naturally developed and achieved a lot. During those time, two main methods of translation called literal translation and free translation came into being and accompanied by the problem on choosing which of them. The earliest opinion of translating methods can go back to the period of Roman Empire, when Cicero put forward that free translation should be used in translating Greek texts into Latin, on account of that literal translation , “word for word translation”, couldn’t reflect Roman way of expression and couldn’t be easy-understanding and fluent as free translation, “sense for sense translation”. This view of point had a great and dominate influence at that time, which did not change until late Roman period, when Christianity were gradually in power and the necessity of spreading and translating Bible by the way “exactly what it is ” made literal translation become more popular. Then comes the renaissance, in which many linguisticians realized the importance of keeping the style and features of their own nations. Since then, the two translation methods have taken the lead and been debated endlessly in the translation field. By the 1960s and 1970s, when domesticating translation and foreignizing translation accordingly emerged with free translation and literal translation, reception theory, which upgraded the dominance of readers or we called receivers of translation, again made the domestic translating one-up. This kind of method was criticized by Venuti on its aggressivity of different cultures, based on which he officially put forward the two concepts of domestication and foreignization, which have been two central strategies in translation. So it’s vital to get a better understanding of those four concepts and make their relationships clear, which is of guiding significance to promote translation in practice.(Lu Shu, Wang Jintang 2005,115-116)  &lt;br /&gt;
&lt;br /&gt;
===II.Literal Translation and Free Translation===&lt;br /&gt;
II.Literal Translation and Free Translation&lt;br /&gt;
When seeing translation as shift of linguistic sign, the method of translating could be regarded as the specific approach used by the translator shifting the ST into TT, especially the two methods we mentioned before--literal translation and free translation.Peter Newmark, in his A Textbook of Translation, proposed that the common and only goal of translating should be repeating the meaning of ST, which means those translating methods exist for dealing with some problems happened during the process when translating.( Ma Shikui 2012,20)The meaning and structure of the ST might not be taken into account every time, so it’s important to search for a appropriate solution to deal with this kind of problem, that’s what literal translation and free translation do.&lt;br /&gt;
&lt;br /&gt;
===2.1 Literal translation ===&lt;br /&gt;
2.1 Literal translation &lt;br /&gt;
Literal translation is the one chosen when the original structure and the meaning of ST could both be perfectly taken into account, by adhering to strict original meaning and style of the TT, including the structures of sentences and rhetorical devices. “Word for word translation” could be counted as the original way of literal translation, like the translation of The Bible in the middle Age I showed before. But as the argue and relevant theories developing  till modern age, more and more experts realize and have a common sense that “word for word translation” can’t be equal to literal translation, since there always exist more or less differences among different languages. Personally speaking, the way Professor Fan Zhongying explains that literal translation means keeping the linguistic form of the SL, such as the words, the sentence structures and the rhetorical means, fluently and easily understood at the same time comprehensively interprets literal translation.(Joe Zeng Rui 2000,249)&lt;br /&gt;
&lt;br /&gt;
===2.2 Free translation===&lt;br /&gt;
2.2 Free translation&lt;br /&gt;
 It’s better if we can have it both ways, which cannot happened all the time. Thus, free translation might be better when translator can’t follow with the exact structure of SL. Free translation, “sense for sense translation”, refers to a kind of method used to translate the exact sense of the SL into the TL without retaining the sentence structures or the expression way of the SL. The supporters of free translation believe that the purpose of translation is to transform and convey the sense of the SL to the recipient of the TL, so it’s worthy to adopt an expression way closer to the TL, which is easier for the recipient to understand. Free translation has certain flexibility, which means the position of words and sentences can be adjusted. In order to facilitate readers' understanding, even some necessary supplements can be added.(Joe Zeng Rui 2000,249)&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
===2.3 Analysis with Examples of Literal translation and Free translation===&lt;br /&gt;
2.3 Analysis with Examples of Literal translation and Free translation&lt;br /&gt;
Here are some specific examples of contrast between literal translation and free translation：&lt;br /&gt;
&lt;br /&gt;
===2.3.1 On words===&lt;br /&gt;
2.3.1 On words:&lt;br /&gt;
&amp;quot;Why do men have an Adam's Apple but women don't? &amp;quot;&lt;br /&gt;
&lt;br /&gt;
Literal translating: 为什么男人有喉结而女人没有呢？&lt;br /&gt;
Free translating: 为什么男人有亚当的苹果而女人没有呢？&lt;br /&gt;
&lt;br /&gt;
From above, the “Adam's apple” can be translated literally into &amp;quot;亚当的苹果&amp;quot;, but it can't reflect the original sense of the ST, because in the western world, &amp;quot;Adam's apple&amp;quot; refers to &amp;quot;喉结&amp;quot; in Chinese instead of literally meaning &amp;quot;亚当的苹果&amp;quot;, so free translation is more accurate here. In addition, it is worth mentioning that this example perfectly reflects the fit of sentence structure between Chinese and English. It also shows that translators should also be sure of the culture behind the SL.&lt;br /&gt;
&lt;br /&gt;
===2.3.2 On sentence structures===&lt;br /&gt;
2.3.2 On sentence structures:&lt;br /&gt;
&amp;quot;Here comes the bus!&amp;quot;&lt;br /&gt;
&lt;br /&gt;
Literal translating: 这来了巴士!&lt;br /&gt;
Free translating: 巴士来了!&lt;br /&gt;
&lt;br /&gt;
According to literal translating way, if following with the source structure of the English sentence, which is a inverted sentence in English by the way, the translation result is “这来了巴士”, which is obviously both incoherent and hard to understand in Chinese and even twist the sense of the ST. According to the sentence meaning, it should be translated into “巴士来了 ”, which is totally different from the ST in grammar though.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
===2.3.3 On rhetorical means===&lt;br /&gt;
2.3.3 On rhetorical means&lt;br /&gt;
&amp;quot;If Main Street didn' t understand this , Wall Street did.&amp;quot;(The Glory and the Dream, p .85)&lt;br /&gt;
&lt;br /&gt;
Literal translating: 如果主街不能理解这一点，华尔街可以。&lt;br /&gt;
Free translating: 这一点, 一般人不理解, 华尔街那些大老板们却是明白的。(Professor Wang Zongyan, 1983 :10)&lt;br /&gt;
&lt;br /&gt;
From this example, the key information is that Professor Wang Zongyan translates “Wall Street” into “华尔街的那些大老板们”. In Literature Translation, free translation is evidently more popular, because some literary images are difficult to express accurately through literal translation. In fact, the “Wall Street” here does not mean “Wall Street” itself, but people in power in Wall Street, so it is more appropriate for Professor Wang to translate it into “华尔街的那些老板们” by free translation. The reason of “Main Street”translating into “一般人”is the same.&lt;br /&gt;
&lt;br /&gt;
===2.4 The Relationships between literal translation and free translation===&lt;br /&gt;
2.4 The Relationships between literal translation and free translation&lt;br /&gt;
According to those demonstrations above, we can see that literal translation is more partial to SL and free translation considers more about TL users. The advantage of literal translation is to keep the style of the source language(show how other people talk), which plays a certain role in spreading the source language culture; the disadvantage is that sometimes it might be too long and difficult to understand, which hinders the communication and understanding between the two sides. Because free translation is biased towards the expression of the nation of the TL, its advantage is that it is more fluent and easy to understand, but its disadvantage is that it conceals the style of the source language and loses the role of translation as a cultural bridge, in which the translator's position seem not that important. All in all, I think it is best to combine the two translation methods organically in the process of translation. Just as professor Lu Dianyang proposed: “ Translate literally, if possible, or appeal to free translation.”(Zhao Jing 2011,61)&lt;br /&gt;
&lt;br /&gt;
===III.Domestication and Foreignization===&lt;br /&gt;
III.Domestication and Foreignization&lt;br /&gt;
Through the above introduction, we can know that with the change of historical environment, a period of political opposition and cultural exchange encountering a new period after World War II, the dispute between literal translation and free translation has reached a deeper level of development, which is the arrival of Foreignization and Domestication. Although Foreignization and Domestication were first formally proposed by Lawrence Venuti in The Translator's Invisibility in 1995, the translation strategy later called Domestication actually can be seen from Nida's translation theory of &amp;quot;dynamic equivalence&amp;quot;in 1964, which seeks for an expression whose meaning is closest to the SL and conforms to the habit of the TL expression way. Nida's theory has been strongly criticized by Venuti, who supports Deconstructivism, and holds that domesticating translation is an obliteration of the SL culture and a manifestation of cultural colonialism, which is manifested by its failure to comply with the expression of the source language culture. Based on this, on the contrary, Venuti shows strong support for foreignizating translation, and he thinks that this translation strategy of preserving the linguistic and cultural differences of the SL shows respect for the SL culture. The following part mainly clarifies the concepts and contents of these two translation strategies, which will helps to compare with literal translation and free translation mentioned above.（Chen Ying 2009,42）&lt;br /&gt;
&lt;br /&gt;
===3.1 Domestication ===&lt;br /&gt;
3.1 Domestication&lt;br /&gt;
Domestication refers to a translation strategy of dealing with the language forms, customs and cultural traditions, such as proverbs, idioms and allusions when translating, which tends to serve the readers of the target language. According to Eugene A.Nida's concept of natural equivalence, the translation version should be close to the original sense and intention in a most natural expression, therefore, the behavior pattern of the source language should be brought into the cultural understanding category of the target language as much as possible, which means that the recipients of the target language can avoid accepting the cultural expression of the source language in order to better understand the original intention.(Zhu Yuanzhong 2013,54)&lt;br /&gt;
&lt;br /&gt;
===3.2 Foreignization===&lt;br /&gt;
3.2 Foreignization&lt;br /&gt;
Venuti puts translation under the background of culture, society, politics and cultural consciousness, and reflects the different positions of different cultures in today's world through the choice of translation strategies, and regards translation as a tool to fight against inequality. From this, we can see the reason why he criticized domestication and vigorously advocated foreignization translation, which is to advocate that the translation should adapt and consider more the culture of the source language and the original author's habit of choosing words as much as possible. Thus, foreignizing translation tends to serve the SL culture, because he thinks that the translation version should take the source language culture as its destination and guide the reader to approach the original author.(Jiang Cui 2015,71-71)&lt;br /&gt;
&lt;br /&gt;
===3.3 Analysis with Examples of Domestication and Foreignization===&lt;br /&gt;
3.3 Analysis with Examples of Domestication and Foreignization&lt;br /&gt;
Examples for domesticating method and foreignizing method:&lt;br /&gt;
&lt;br /&gt;
===3.3.1 On Politics===&lt;br /&gt;
3.3.1 On Politics：동해 &amp;amp; にほんかい&lt;br /&gt;
Since the 19th century, the world has experienced two world wars and the Cold War period. During this long period, independent nation-states gradually chose their own country's &amp;quot;roads&amp;quot; and directions, which made different ideologies and political positions have a strong sense of existence in international relations, among which there were many translation contradictions caused by geopolitics. For example, the title of the sea area between South Korea and Japan has caused controversy between those two countries. South Korea has always called the sea area &amp;quot;동해&amp;quot;(East Sea) in history, but Japan continues to use the European navigator's giving name &amp;quot;Japan Sea&amp;quot;(にほんかい) and gradually gained international recognition from the 19th century. However, South Korean believes that the title change was imposed on South Korea by Japan colonizing Korea, which is a title that violates South Korea's territorial waters and disrespects South Korea. Something similar has happened many times in the world, which is the political difference on domestication and foreignization.(Pan Wenxiao 2020，https://weibo.com/ttarticle/p/show?id=2309404578145859666401)&lt;br /&gt;
&lt;br /&gt;
===3.3.2 On Culture===&lt;br /&gt;
3.3.2 On Culture：“情人眼里出西施。”&lt;br /&gt;
&lt;br /&gt;
Domesticating translation: Love is blind.&lt;br /&gt;
Foreignizing translation: The beauty Xi Shi is in the eye of lovers.&lt;br /&gt;
&lt;br /&gt;
This example shows well how different it could be between two cultures: the ST and the domesticating one of  TT express almost the same meaning in completely different ways, that is, lovers can only see each other's good thing. That is to say, if you want to convey the exact meaning of the original Chinese sentence to English speakers, then domesticating method is the best choice, although it will make the &amp;quot;translation results&amp;quot; look beyond recognition. However, if we choose foreignizing translation, especially retaining the word &amp;quot;Xi Shi&amp;quot;, it will give English speakers a chance to understand Chinese traditional culture (Xi Shi is a beautiful woman in the Spring and Autumn Period of China, and &amp;quot;西施&amp;quot; in &amp;quot;情人眼里出西施&amp;quot; means &amp;quot;beauty&amp;quot;), although such translating way may be difficult to understand at first.&lt;br /&gt;
&lt;br /&gt;
===3.4 The relationships between Domestication and Foreignization ===&lt;br /&gt;
3.4 The relationships between Domestication and Foreignization &lt;br /&gt;
Through the above analysis, it can be seen that domestication and foreignization also have their own merits and necessity. Although these two translation strategies were born in different historical backgrounds, their struggles to a certain extent reflect the struggle between the dominant position of stronger culture and weaker culture with different identities, which, of course is just one of those aspects, also reflect the problems of cultural communication: domesticating translation is conducive to conveying the meaning of the source language to the target language recipients without obstacles, especially in the case of great cultural differences existing, but this localization behavior will make it difficult for readers to learn what differences the two sides culture have, and in fact cultural diffusion will not be achieved. On the contrary, foreignization translation conveys the target text to readers according to the discourse mode of the source language culture, which can not only make readers realize the charm of different cultures, but also increase the expression ways of their own nation, but it is very likely that the meaning of the target text is difficult to understand. This contradiction is particularly prominent in the political level. Therefore, in translation practice, we should decide which way to choose in different contexts and in the face of different groups of people, so that the two can complement each other and have unity of opposites under proper application.(Zhu Yuanzhong 2013,54)&lt;br /&gt;
&lt;br /&gt;
===IV.The relationship among Literal Translation, Free Translation, Domestication and Foreignization===&lt;br /&gt;
IV.The relationship among Literal Translation, Free Translation, Domestication and Foreignization&lt;br /&gt;
Sun Zhili, a contemporary Chinese translator, said: &amp;quot;Historically, domestication and foreignization can be regarded as extensions of literal translation and free translation, but they are not completely equivalent to each other. The core issue of literal translation and free translation is how to deal with form and sense at the linguistic level, while domestication and foreignization break through the limitations of language factors and expand their horizons to language, culture and aesthetics. &amp;quot; (Sun Zhili 2011,27) Even after the above introduction, the boundary between literal translation, free translation, foreignization and domestication seems to be very vague. In order to better clarify the relationship between the two pairs of concepts, the following will distinguish and compare them. &lt;br /&gt;
&lt;br /&gt;
===4.1 The comparison among Literal Translation and Free Translation, Domestication and Foreignization===&lt;br /&gt;
4.1 The comparison among Literal Translation and Free Translation, Domestication and Foreignization&lt;br /&gt;
The same point: First of all, foreignization and domestication are extensions of literal translation and free translation, so the two pairs of relations are all methods put forward to guide translation practice; Secondly, relatively speaking, the roles of the two pairs of relations are very similar, especially in linguistic form: literal translation and foreignization both emphasize following the expression of the source text; Both free translation and domestication believe that in order to convey the sense of the source text accurately, the expression of the original text can be sacrificed.&lt;br /&gt;
The different points: The first point is that the scope is different, which leads to different objects: literal translation and free translation are proposed according to the different structures and characteristics of the source language and the target language, and their discussion focuses on the relationship between form and content, which belongs to the level of language conversion. Foreignization and domestication, as a product of cultural turn, is not only manifested in linguistic form, but also in cultural content. In other words, the emergence and development of foreignization and domestication raise the discussion of language level to the level of culture, poetics and politics. Obviously, the former is a micro translation method, while the latter is a macro translation strategy. Choosing specific translation methods under the guidance of the general direction of translation strategies can make good use of these two pairs of concepts when doing translation.&lt;br /&gt;
Second, the condition is different: Because literal translation and free translation are aimed at figuring out the issue of the text itself and the language structure, those two translation methods rely heavily on the text on linguistics, and have little room for evolution, development and independence, which make them relatively being static; However, domestication and foreignization do not have such problems. Their appearances were largely influenced by external social factors and the background of times and history, moreover, they focus on the external factors of translation too. Therefore, these two translation strategies are actually unstable and present a relatively dynamic state.(Zhao Jing 2011,62)&lt;br /&gt;
&lt;br /&gt;
===4.2 The connection among Literal Translation and Free Translation, Domestication and Foreignization===&lt;br /&gt;
It can be concluded that the basic relationship between these twopairs of concepts is that domestication and foreignization make the discussion of translation transition from pure language level to cultural level, not only paying attention to the internal transformation of language, but also starting to study the political and cultural environment outside language and text, which makes the change of translation’s function happen--from micro-analysis of language to macro-control of the social function of translation.(Chen Ying 2009,42)&lt;br /&gt;
&lt;br /&gt;
===4.2.1 Foreignization and Literal translation===&lt;br /&gt;
4.2.1 Foreignization and Literal translation&lt;br /&gt;
According to the comparative analysis in the previous section, we can conclude from their similarities that under normal circumstances, foreignization usually takes literal translation as method, or foreignizing translation usually includes literal translation methods, such as:(Lv Yinping 2007,138)&lt;br /&gt;
(1)Pandora’s box 潘多拉的盒子 &lt;br /&gt;
(2)the forbidden fruit 禁果&lt;br /&gt;
The above two examples clearly show the way literal translation do, which is also the result under the guidance of foreignizating translation strategy. &amp;quot;Pandora's box&amp;quot; comes from Greek mythology, which refers to the root of all evils, but the translation into Chinese, which is not “万恶之源”, has followed the European saying, and even quoted it in daily communication, which has played the purpose of &amp;quot;understanding other national cultures through translation&amp;quot;; Similarly, &amp;quot;forbidden fruit&amp;quot; comes from the Bible, which means something forbidden, but Chinese translation also follows the expression of the original way.&lt;br /&gt;
&lt;br /&gt;
===4.2.2 Domestication and Free translation===&lt;br /&gt;
4.2.2 Domestication and Free translation&lt;br /&gt;
Similarly, the shadow of free translation can often be found in domesticating translation. For example:(Lv Yinping 2007,137)&lt;br /&gt;
(1)drink like a fish 牛饮&lt;br /&gt;
(2)a fool’s paradise 黄粱美梦&lt;br /&gt;
As far as the first example is concerned, if literally translated into &amp;quot;像鱼一样喝水&amp;quot;, it is extremely out of line with the Chinese expression habit, and there is no such statement way in China, which leads to the consequences that translating versions are difficult to understand. However, if we translate &amp;quot;drink like a fish&amp;quot; into “牛饮” in Chinese, which does exists in China and has the same meaning as &amp;quot;drink like a fish&amp;quot; in English. Then the translation effect is not only interesting, but also easy to understand.&lt;br /&gt;
However, when doing actual translation practice, due to the variety and diversity of cultures, the methods and strategies used in text or language conversion are also comprehensive. We can find that the comprehensive and flexible use of literal translation and free translation, domestication and foreignization can make up for the regret of some traditional opposing ways(It is said that the two pairs of concepts are opposite and cannot coexist).&lt;br /&gt;
&lt;br /&gt;
===4.2.3 Domestication and Literal translation===&lt;br /&gt;
4.2.3 Domestication and Literal translation&lt;br /&gt;
Foreignizating translation is usually regarded as an extension of literal translation, which means that in general, literal translation methods are often used under the guidance of foreignization strategies, but in some special cases, literal translation can also coexist with domestication strategies.&lt;br /&gt;
(1) 什么时候都要谦虚谨慎，把尾巴夹紧一些。（Jia Wenbo 2000,11）&lt;br /&gt;
We must always be modest and prudent and must, so to speak, tuck our tail between our legs.&lt;br /&gt;
The meaning of &amp;quot;把尾巴夹紧&amp;quot; in Chinese coincides with &amp;quot;tuck tail between our legs&amp;quot; in English. At this one, it can be said that literal translation is the most suitable choice, which keeps the form and cultural connotation of the source language to the maximum extent, and at the same time coincides with the meaning and culture of the target language.&lt;br /&gt;
(2) 一石二鸟(Song Tianxi 2013,49)&lt;br /&gt;
Kill two birds with one stone.&lt;br /&gt;
Similarly, this is an example of having language structure and cultural meaning between China and Britain in both ways, which uses the method of literal translation but achieves the effect of domestication. But in Chinese, &amp;quot;一石二鸟&amp;quot; can also be synonymous with &amp;quot;一箭双雕&amp;quot; and &amp;quot;一举两得&amp;quot;, which can be chosen when translating &amp;quot;kill two birds with one stone&amp;quot; if you want, however, this way of using the method of free translation is not literal translation anymore.&lt;br /&gt;
&lt;br /&gt;
Domestication and literal translation can coexist under the situation when two sides of language structures and cultures can coincide at the same time, which exists by chance and cannot be forced; It is almost impossible to find examples of coexistence like foreignization and free translation. However, through the above argument, we can find that in translation practice, translators should practice the principle of &amp;quot;concrete analysis of specific problems&amp;quot;, flexibly and dialectically combine free translation and literal translation with domestication and foreignization, and avoid rigid translation methods, so as to better assume the responsibility of cultural exchange. &lt;br /&gt;
&lt;br /&gt;
===V.Conclusion===&lt;br /&gt;
V.Conclusion&lt;br /&gt;
Through the analysis above of the concepts and intensions of literal translation and free translation, domestication and foreignization, then we further arrive at and even deepen our understanding of the relationship between the two pairs of concepts, which is helpful for translators to approach the translation result and effect as much as possible on the basis of understanding the culture and language of both sides and combining with the practice through rational choice of translation strategies and translation methods under the guidance of the theories. After all, translation is not only a linguistic transformation, whose fundamental task is to reach communication and cultural exchange. Therefore, in a sense, translation plays the role of cultural &amp;quot;fax&amp;quot;. In order to coordinate the spread of the source language culture and the acceptance of the target language side, it is necessary to avoid rigid use of a single translation method and translation strategy, or solidifying the idea of translation guiding theory. After comprehensive consideration of translation purpose, target and recipient, it is a translator's duty to use translation method flexibly and dialectically, as being a &amp;quot;cultural bridge&amp;quot;.&lt;br /&gt;
&lt;br /&gt;
===References===&lt;br /&gt;
References&lt;br /&gt;
Sun Zhili 孙致礼.(2011).新编英汉翻译教程[A New Coursebook on English-Chinese Translation].上海:上海外语教育出版社.Shanghai:Shanghai Foreign Language Education Press&lt;br /&gt;
Sun Zhili 孙致礼.(2002).中国的文学翻译:从归化趋向异化[China’s Literary Translation: from Domestication to Foreignization].中国翻译Chinese Translators Journal(01):39-43.&lt;br /&gt;
Jia Wenbo 贾文波.(1999).汉英时文翻译-政治经济汉译英300句析[On Practical C-E Translation in Political &amp;amp; Economic Practice].北京:中国对外翻译出版公司Beijing:China Translation and Publishing Corporation.&lt;br /&gt;
Zhang Meifang 张美芳.(2004).翻译策略二分法透视[A dichotomous perspective in translation strategies].天津外国语学院学报Journal of Tianjin Foreign Studies University(03):1-6.&lt;br /&gt;
Zhao Jing 赵静.(2011).直译、意译与归化、异化之比较[Comparison between literal translation and free translation and Domestication and Foreignization].河南农业Henan agriculture(22):61-62.&lt;br /&gt;
Lv Yinping 吕银平.(2007).“直译与意译  归化与异化”译法之我见[My Opinion on Literal Translation, Free Translation, Domestication and Foreignization].宁夏师范学院学报Journal of Ningxia Teachers Univercity( Social Science)(04):136-138.&lt;br /&gt;
Venuti Lawrence.(1995). The Translator’s Invisibility .London&amp;amp;New York: Routledge.&lt;br /&gt;
&lt;br /&gt;
==On Chinese-to-English Translation of The Summer Palace from the Perspective of Functionalist Approaches to Translation	魏亚菲	Wei Yafei==&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
===Abstract===&lt;br /&gt;
Abstract&lt;br /&gt;
The Chinese-English translation of tourist texts, as a window for the external publicity of national history and culture, plays an important role in promoting the development of local tourism. The Summer Palace is well known for its large and priceless collection of cultural relics, which is among the first group of historical and cultural heritage sites in China to be placed under special state protection. &lt;br /&gt;
Based on the functionalist approach and the skopos rule, this paper discusses the problems existing in the translation of scenic spots in the Summer Palace from the perspectives of garden culture, historical culture and religious culture. Skopos theory holds that translation depends on communicative purpose. To achieve this goal, translators can choose different translation strategies. It is believed that the purpose of Chinese-English translation of scenic spots is to attract target readers and promote traditional culture. Therefore, when translating tourism materials, it is necessary not only to express the local cultural connotation, but also to consider the cross-cultural factors. The Chinese-English translation of the introduction of scenic spots guided by functionalist approach can make English readers have expectations of scenic spots and understand the cultural connotation of scenic spots. This paper aims to better promote the development and communication of Chinese culture and improve the level of tourism text translation in China by relying on the theory of functionalist approach.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
===Key words===&lt;br /&gt;
Key Words: functionalist approach，the Summer Palace，translation strategies&lt;br /&gt;
&lt;br /&gt;
===摘要===&lt;br /&gt;
摘 要&lt;br /&gt;
旅游资料的英译作为民族历史文化对外宣传的一道窗口,对地方旅游业的发展有着不可低估的促进作用。颐和园作为中国著名的皇家园林，具有浓厚的中国园林特色及优美的风景，同时也蕴涵着深厚文化内涵。&lt;br /&gt;
本篇旅游文本英译的分析以功能派翻译理论作为理论指导，以目的法则为主要原则，从颐和园的园林文化、历史文化和宗教文化三个角度出发对颐和园景点英译中存在的问题进行探讨。目的论认为译文取决于翻译目的，这个目的通常指的是交际目的。为达到这个目的，译者可以选择不同的翻译策略。也就是说，译者的翻译策略必须由译文的预期目的或功能决定，即所谓的“目的法则”。笔者认为景点介绍的汉英翻译的目的就是吸引译文读者以及弘扬传统文化，因此在翻译旅游资料的时候不仅要把当地的文化内涵表达出来，而且要考虑到跨文化的因素。而以功能派翻译理论为指导的景点介绍的汉英翻译，可以使英语读者通过译文产生对旅游景点的期盼，以及对景点文化内涵的理解。以颐和园景区内的翻译文本为例本，依托功能翻译理论，通过“发现问题，指出问题，解决问题”，以期更好地促进中国文化的传播与交流，提高我国现阶段旅游文本翻译的水平。&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
===关键字===&lt;br /&gt;
关键词：功能翻译；颐和园；翻译目的；翻译策略&lt;br /&gt;
&lt;br /&gt;
===Introduction===&lt;br /&gt;
  Throughout the translation history at home and abroad, the literal translation and free translation have always been a heat discussion in the translation circles. Someone absolutely approve literal translation and demean free translation, even pursue a dead translation, which creates an translated text difficult to understand. While some other people absolutely agree with free translation even advocate random acts, which means a random deletion in the translation practices and creates anther entirely different text. However, there are also a number of translators who have recognized that these two translation methods are not totally opposite. So they adopt a compromise and flexible way. That means they will choose the most appropriate one depending on the text demanding. Therefore, we can deduce from it that this eclectic translation is consistent with the Contradiction view of Unity of Opposite in Materialist Dialectics. In fact, literal translation and free translation are right a set of contradictions which are both opposite and unified. They complement each other into an integral one.&lt;br /&gt;
&lt;br /&gt;
===Table of Contents===&lt;br /&gt;
&lt;br /&gt;
Table of Contents&lt;br /&gt;
&lt;br /&gt;
Outline&lt;br /&gt;
1.Introduction&lt;br /&gt;
2. Studies on Functionalist Approach&lt;br /&gt;
2.1 The Viewpoint of Functionalist Approach&lt;br /&gt;
2.1.1 Reiss’s Text Typology&lt;br /&gt;
2.1.2 Vermeer’s Skopos Theory&lt;br /&gt;
2.1.3 Manttari’s Theory of Translational Action&lt;br /&gt;
2.1.4 Nord’s Theory of Function plus Loyalty&lt;br /&gt;
2.2 The Application of Functionalist Approach &lt;br /&gt;
3.C-E Translation of the Summer Palace under Functionalist Approach&lt;br /&gt;
3.1 Garden Culture&lt;br /&gt;
3.2 Historical Culture &lt;br /&gt;
3.3 Religious Culture &lt;br /&gt;
4. Conclusion&lt;br /&gt;
References&lt;br /&gt;
&lt;br /&gt;
===Outline===&lt;br /&gt;
Outline&lt;br /&gt;
&lt;br /&gt;
Thesis Statement: Based on the main viewpoints of functionalist approaches to translation, this paper aims to give an analysis to C-E translation of the Summer Palace from cultural, historical and religious aspects, hoping to provide some translation strategies for other cultural attractions.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
1. Introduction&lt;br /&gt;
2. Studies on Functionalist Approaches&lt;br /&gt;
2.1 The Viewpoint of Functionalist Approach&lt;br /&gt;
2.1 Reiss’s Text Typology&lt;br /&gt;
2.2 Vermeer’s Skopos Theory&lt;br /&gt;
2.3 Manttari’s Theory of Translational Action&lt;br /&gt;
2.4 Nord’s Theory of Function plus Loyalty&lt;br /&gt;
2.2 The Application of Functionalist Approach&lt;br /&gt;
3. C-E Translation of the Summer Palace under Functionalist Approach&lt;br /&gt;
3.1 Garden Culture&lt;br /&gt;
3.2 Historical Culture&lt;br /&gt;
3.3 Religious Culture&lt;br /&gt;
4. Conclusion&lt;br /&gt;
&lt;br /&gt;
===1. Introduction ===&lt;br /&gt;
1. Introduction   &lt;br /&gt;
The Chinese-English translation of tourist texts is a bridge to spread the culture of classical Chinese gardens, so the accuracy of it has a direct impact on foreigners' understanding of the specific history and culture. &lt;br /&gt;
Functionalist approach has made a pioneering contribution to the translation of non-literary genres. Functional translation theory emphasizes the function of discourse, and believes that different types of discourse have different functions, so translators should choose appropriate translation strategies according to the type of source text and corresponding functions. Functionalist approach is to take the &amp;quot;skopos rule&amp;quot; as the highest standard, and any translation activity is a purposeful behavior. The ultimate goal and main function of scenic spot translation is to help people understand the main content of the scenic spot.&lt;br /&gt;
As a window for the publicity of national history and culture, the Chinese-to-English translation of tourist texts plays an important role in promoting the development of local tourism. Well known for its large and priceless collection of cultural relics, the Summer Palace was among the first group of historical and cultural heritage sites in China to be placed under special state protection. Based on the viewpoints of functionalist approach to translation, this paper aims to analyze C-E translation of the Summer Palace from cultural, historical and religious aspects, hoping to provide some translation strategies for other cultural attractions. &lt;br /&gt;
&lt;br /&gt;
===2. Studies on Functionalist Approaches===&lt;br /&gt;
2. Studies on Functionalist Approaches&lt;br /&gt;
Functionalism is a theory that advocates reader-centered translation, emphasizing the functions of texts and highlighting the communicative effects. It is believed that many unnecessary mistakes can be avoided and better results can be achieved by applying functionalist approach in Chinese-English translation of tourist text. &lt;br /&gt;
&lt;br /&gt;
===2.1 The Viewpoint of Functionalist Approaches===&lt;br /&gt;
2.1 The Viewpoint of Functionalist Approaches&lt;br /&gt;
Functionalist Translation Theory, also known as German Functionalist Translation Theory, was proposed by German scholars in the 1970s. It includes four main theories: Katharina Reiss’s Text Typology, Hans Vermeer’s Skopos Theory, Justa Holtz Manttari’s Theory of Translational Action and Christiane Nord’s Theory of Function plus Loyalty. This chapter aims to present the main ideas of this theory.&lt;br /&gt;
&lt;br /&gt;
===2.1.1 Reiss’s Text Typology===&lt;br /&gt;
2.1.1 Reiss’s Text Typology&lt;br /&gt;
In 1971, Reiss in her book Possibilities and Limitation of Translation Criticism first made text function as a standard of translation criticism, namelyevaluate the translated text from the relationship between the functions of the original and the translated text. She insists on the original-centered equivalence theory and holds the view that the ideal translation is to achieve the equivalence between the target text and the source text in terms of ideological content, linguistic form and communicative function. However, translation practice makes her realize that it’s difficult to achieve equivalence sometimes and that sometimes equivalence cannot be pursued. Because of the particularity of translation requirements, the function of the target text is not always the same as that of the source text. Therefore, the translator should give priority to the functional role of the target text rather than the principle of equivalence.&lt;br /&gt;
Reiss believes that in the normal situation the type of text decides the translator’s choice of a proper translation method (Reiss, 2004). Therefore, she divides text into four types: content-focused text, form-focused text, appeal-focused text and audio-media text. Content-focused text, also known as informative text, includes news reports, commercial correspondence, operating instructions, official documents, patent&lt;br /&gt;
specifications, essays, treaties, etc. For this text, the main function is to convey information revealed in language itself to readers. The emphasis is on content and topic, so the choice of language and style should serve this function. If both the source text and target text belong to informative text, the translator should represent the content and information of source text accurately and completely (Reiss, 2004)&lt;br /&gt;
Form-focused text, also known as expressive text, refers to literary works such as novels, poems and so on. “Distinct from ‘content’, which deals with what the author says, ‘form’ is concerned with how an author expresses himself” (Reiss, 2004). For expressive texts, information is only a supplement. What is dominant is the aesthetic factor. When translating such texts, the translator should pay attention to the aesthetic and artistic forms of the original text and to the differences between two cultural habits, trying to achieve the same effect as the source text. In a word, in a form-focused text the linguistic form of the source text determines the form in the target language (Reiss, 2004).&lt;br /&gt;
Appeal-focused text, also known as operative text, mainly includes notice, instruction manual, advertisement, publicity manual and so on. For operative texts, the primary task for the translator is to provoke a particular reaction on the hearers or readers to incite them to engage in specific actions, while content and form are subordinate. Therefore, to achieve the same effect, the translator need to change the content and stylistic features of the original text, try to keep the potential influential factors of the original text and seek functional equivalence (Reiss, 2004: 38-43). Audio-medial text, also known as multi-media text, refers to radio and television scripts, such as radio newscasts and reports, topical surveys and dramatic productions.&lt;br /&gt;
It is distinctive in its dependence on non-linguistic media and on graphic, acoustic, and visual kinds of expression. Only in combination with them can the whole complex literary form realize its full potential (Reiss, 2004). In conclusion, different texts determine different translation focuses and methods. In many cases, however, a text may have more than one function, which means that translators should integrate different translation strategies skillfully to achieve different functions of texts.&lt;br /&gt;
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===2.1.2 Vermeer’s Skopos Theory===&lt;br /&gt;
2.1.2 Vermeer’s Skopos Theory&lt;br /&gt;
Reiss’s student Vermeer, who broke the limitation of the theory of equivalent and took skopos to be the first criterion of translation process  proposed the key theory: Skopostheorie. According to Skopos Theory, when translating a text, the translator needs to consider the purpose of translation first and then choose the translation method according to the purpose, which means “the end justifies the means” (Nord, 2001). Vermeer believes that translation, like other human actions, is also a purposeful act. Translation often takes place in cultural backgrounds with different customs and values, so translation is not a simple equivalent transformation between languages. Skopos Theory does not focus on achieving the equivalence between the target text and the original text or the perfection of the target text, but on choosing the best translation strategy based on the analysis of the source text and the intended function of the target text. In a word, translation methods and strategies are determined by the intended purpose or function of the target text.&lt;br /&gt;
According to Skopos Theory, the first rule that all translators must follow is the Skopos Rule. Translation purpose can be divided into three categories: (1) the purpose of the translator, such as earning a living; (2) the communicative purpose of the translation, such as instructing the reader; (3) the purpose of using a particular translation method, such as the literal translation according to its structure to illustrate the peculiarities of grammatical structure in a language (Nord, 2001). In general, the communicative purpose is more important than the other two. The communicative purpose is usually determined by the initiator of the translation act, but the translator can take part in deciding. The second rule is the Coherence Rule. Coherence Rule requires that the translation conform to the criterion of intratextual coherence, which means that the translation must be accessible to recipients and meaningful in the target culture and in the communicative environment (Nord, 2001). The third rule is the Fidelity Rule. It means that there should be intertextual coherence between the source text and the target text, which means being faithful to the source text. Nevertheless, the degree and form of faithfulness lie in the target text and the degree that the translator understands the original text. Normally “Intertexual coherence is considered subordinate to intratexual coherence and both are subordinate to the Skopos rule” (Nord, 2001).&lt;br /&gt;
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===2.1.3 Manttari’s Theory of Translational Action===&lt;br /&gt;
2.1.3 Manttari’s Theory of Translational Action&lt;br /&gt;
Following Vermeer, Manttari develops Vermeer’s Skopos Theory and puts forward the Theory of Translational Action. He emphasizes three aspects: the behavior of the translation process, the role of the participants (the initiator, the translator and the target reader, etc.) and the environment (time, place and media) in which the translation process takes places. It views translation as “purpose-driven, outcome-oriented human interaction and construes the process of translation as message-transmitter compounds that involve intercultural transfer” (Mundy, 2001). According to Manttari, translation is “ a complex act to achieve a particular purpose” &lt;br /&gt;
(Nord, 2001). It is not about translating words, sentences or texts but is about guiding the intended cooperation over cultural barriers and promoting functional communication. Cooperation here means “transcultural communication” by Manttari.&lt;br /&gt;
The Theory of Translational Action attaches great importance to providing a functional communicative text for the recipient, a text suitable for the target culture in&lt;br /&gt;
form and style. Functional suitability is determined by the translator. The translator is&lt;br /&gt;
an expert in translation, whose role is to ensure the successful completion of cultural&lt;br /&gt;
transformation. In producing the target text, the analysis of the source text is necessary so that the translator can find out its structural and functional characteristics, which can be described by content and form. The need of the recipient is the decisive&lt;br /&gt;
factor for the target text.&lt;br /&gt;
In short, “the value of Manttari’s work is the placing of translation (or at least the professional non-literary translation which she describes) within its sociocultural&lt;br /&gt;
context, including the interplay between the translator and the initiating institution”&lt;br /&gt;
(Mundy, 2001).&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
===2.1.4 Nord’s Theory of Function plus Loyalty===&lt;br /&gt;
2.1.4 Nord’s Theory of Function plus Loyalty&lt;br /&gt;
Though skopos rule changes the focus of translation from the source language text to the target language text and the target receivers, it has some limitations. One is that different readers have different expectations, and the translation purpose cannot satisfy all the expectations of the target reader. Another is that the translation purpose may sometimes be against the intention of the source language. Therefore, based on the skopos rule, Nord introduces the loyalty principle. The principle of loyalty is a supplementary principle proposed by Nord to make up for the deficiency of skopos rule. According to the explanation of Nord, it is not the relationship between the original text and the target text, nor the equivalence between the original text and the form of the target text, but the consistency between the author of the original text, the initiator of the translation, the translator and the reader of the target text, which is the principle of loyalty. The proposal of the loyalty principle makes up for the mistakes that some radical skopos translators usually make, such as omitting and rewriting, which makes skopos theory more perfect and makes skopos theory more likely to guide the translation of literary works.&lt;br /&gt;
“Function” and “loyalty” are two pillars of Nord’s functionalist approach. “Function” refers to what a text means or is intended to mean from the receiver’s point of view”, while “loyalty” means that “target-text purpose should be compatible with the original author’s intention” (Nord,2001). It emphasizes the interpersonal relationship between the translator, the source-text sender, the target-text addresses and the initiator. Function plus loyalty enables the translator to avoid the limitations of skopos rule and try to achieve a balance between translation purpose and the source-text author’s intention”(Nord,2001). That is to say, when translating the original text, the translator should take into account the readers' cultural background, knowledge level and expectation of the translation, and choose the corresponding translation strategy according to the translation requirements. If the reader wants to read a word-for-word translation of the article, then the translator must meet the reader's requirements, otherwise he must explain to the reader why he chose his own translation method. The translator's job is to weigh two different cultures instead of imposing one culture on another. &lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
===2.2The Application of Functionalist Approach to the Tourist Texts.===&lt;br /&gt;
2.2The Application of Functionalist Approach to the Tourist Texts.&lt;br /&gt;
In the 1990s, Functionalist Translation Theory was introduced to China, and since then it has been applied to translation studies by Chinese translation scholars. In his article published in 1995, Zhang Nanfeng briefly introduces Skopos theory to China for the first time, and considers that Skopos theory is referential (Zhang Nanfeng, 1995). German Functionalist Translation Theory, a paper released in1999, is the first article in China which systematically introduces German Functionalist Translation Theory (Zhong Weihe &amp;amp; Zhong Yu, 1999). Based on an overview of Functionalist Translation Theory, Zhang Meifang focuses on introducing Nord’s theory, especially on the detailed analysis of Nord’s principle of loyalty (Zhang Meifang, 2005). Famous domestic scholars, such as Liu Junping (2009), Liu Miqing (2012) and Li Wenge (2004), also introduce this theory in their books. With the rise of Functionalist Translation Theory in China, someone has compared it with other theories. Zhu Haotong compares Skopos Theory with Functional Equivalence Theory to analyze the similarities and differences between them, and further reveals that Functionalist Translation Theory inherits the reasonable part of Nida’s Functional Equivalence Theory, which is an important breakthrough and supplement to solve the problems that Functional Equivalence Theory leaves (Zhu Haotong, 2006). Some scholars also combine theory with translation practice to explore the application of Functionalist Translation Theory to translation practice. Jia Yanli and Wang Hongjun point out that Skopos Theory has its limitations, but it is still of instruction and reference value for non-literary translation texts, such as advertisements and tourism materials (Jia Yanli &amp;amp; Wang Hongjun, 2012). Li Liangchen selects several famous tourist attractions in China to translate the on-site tour-guide commentary into English. Then he improves them under the guidance of Skopos Theory and sends out questionnaires to overseas tourists for further analysis. He argues that the translation of on-site tour-guide commentary which is guided by Skopos Theory is more favorable to conveying information to foreign visitors, to promoting cultural exchanges and to improving the image of China’s tourist destinations (Li Liangchen, 2013). In Pragmatic Translation: Theory &amp;amp; Practice, Wu Feng and He Qingji introduce Functionalist Translation Theory (Wu Feng &amp;amp; He Qingji, 2008) and the characteristics of tourism text and translation skills (Wu Feng &amp;amp; He Qingji, 2008). In this book, they also discuss the controversy over the Chinese name of Functionalist Translation Theory, and holds that “功能派翻译理论” is the most appropriate Chinese translation (Wu Feng &amp;amp; He Qingji, 2008).Based on his own translation practice and under the guidance of Functionalist Translation Theory, Wu Zixuan probes into some special phenomena in the English translation of CNN newsreels. The author believes that in the translation of external publicity, we should not stick to the standard of faithfulness to the original text, but should deal with the original text properly from the perspective of achieving the purpose of translation, such as rewriting, abridging. (Wu Zixuan, 2005).&lt;br /&gt;
Functionalist approach establishes a theoretical system of diversified translation standards dominated by skopos rule. From the definition of Functionalist approach, it can be seen that the advantage of it is that the translator can get rid of the bondage of the original text, study the translation process with &amp;quot;translation purpose&amp;quot; as the starting point, and determine the translation strategies and methods. This can give full play to the translator's own initiative, flexible processing of the original text, in order to achieve the translation of the communicative function. In addition, functionalist approach requires the translation to be examined in the cultural context of the reader. The reader can accept the translation and understand the meaning of the original text through the translation, so the translation can realize the communicative function. On the basis of such advantages, functionalist approach can be used to guide the English translation of garden scenic spots, and the translator can choose a wider range of translation strategies and break out of the constraints of the original text. &lt;br /&gt;
Only by clarifying the purpose of translation can we avoid these limitations in the English translation of garden attractions. When using functionalist approach to guide the English translation of Chinese classical garden scenic spots, it is necessary to flexibly choose translation strategies and methods, give full play to the advantages of skopos theory, and achieve the balance between &amp;quot;principle of purpose&amp;quot; and &amp;quot;principle of fidelity&amp;quot; as far as possible.&lt;br /&gt;
With the deepening of globalization and cross-cultural communication, tourismis becoming a major industry in the 21st century. The development of tourism can not only promote the economic development of a country but also promote the external dissemination of national culture. Therefore, tourism translation deserves attention. Tourism text is a typical informative and operational text, and the language is unique. It is full of gorgeous words, such as four-character expressions, verses, proper nouns and so on.&lt;br /&gt;
Tourism text materials include tourism advertising, tourism brochures, scenic spots signs and so on. In this paper, we focus on the introduction of Chinese gardens’ scenic spots, which is usually colorful in language and rich in literary style. Tourism text translation belongs to applied translation, which should play a series of practical functions to publicize the image and resources of the country or place and attract overseas tourists. Therefore, the translator of tourism text must be clear about the type and function of tourism text, and to grasp the ultimate purpose of the translation. &lt;br /&gt;
On tourism text translation, the communicative purpose of the translation should be placed in a central position. Furthermore, the tourism text has both the information function and the calling function. The information function and the calling function complement each other. Only when the target language readers acquire the expected tourism information and cultural knowledge can the calling function be realized and the purpose of tourism text translation be achieved. With different translation strategies, the translated version should both expressed contains basic information, and make the tourists feel the profound of the Chinese culture from the beautiful scenery. &lt;br /&gt;
Cultural tourism has long been the focus of international tourism, and understanding Chinese culture is the main purpose of inbound tourists, so the translation of tourism texts bears the mission of cultural transmission and cultural publicity. However, due to the great differences between Chinese and English culture and language, there are many difficulties in cultural transmission in tourism text translation. China has a long and splendid history and culture. When introducing the scenic spots of cultural relics and historic sites, we usually associate with many historical figures and stories. These terms are cultural blank for most foreign tourists, but this kind of cultural experience is also the most attractive place for foreign tourists. It is of great importance to pay attention to cultural differences in tourism translation and carry out cultural transmission effectively. Chinese and English languages have different logic views, and Chinese expressions in tourism texts value decoration. English expressions tend to be clear, concise and to the point. For example, Chinese tourism texts often use a four-character lattice, which is symmetrical, while there is no corresponding four-character lattice expression in English. Therefore, in Chinese-English translation of tourism texts with frequent use of four-character phrases, it is necessary to keep in mind the objective principle of functionalist approach and give priority to cultural communication instead of rigidly adhering to form.&lt;br /&gt;
&lt;br /&gt;
===3. C-E Translation of the Summer Palace under Functionalist Approach===&lt;br /&gt;
3. C-E Translation of the Summer Palace under Functionalist Approach&lt;br /&gt;
By studying the specific translation strategies made by predecessors, the following steps are also adopted in this paper: first, the translation strategies are determined according to the text type, such as faithful reproduction of the original information or rewriting; Secondly, the translation strategies are determined according to the potential purpose of the translation, such as paraphrasing or deleting poems, generalizing specific expressions and transliterating proper nouns. Thirdly, the translation strategies are defined with the tourists as the center, such as adding logical words, adding explanatory information and using plain English.&lt;br /&gt;
The Summer Palace epitomizes the philosophy and practice of Chinese garden design, which played a key role in the development of this cultural form throughout the east. It is an outstanding expression of the creative art of Chinese landscape garden design, incorporating the works of humankind and nature in a harmonious whole, which was once the most important place of political and diplomatic activity for the supreme rulers of the late Qing dynasty. Based on three aspects of the Summer Palace, namely, garden culture, historical culture and religious culture, this paper discusses the problems existing in the English translation of the scenic spots of the Summer Palace and puts forward corresponding countermeasures under the guidance of the skopos rule of functionalist translation theory.&lt;br /&gt;
&lt;br /&gt;
===3.1 Garden culture.===&lt;br /&gt;
3.1 Garden culture. &lt;br /&gt;
The Summer Palace is a classical garden famous for its magnificence and beauty. There are many temples in the garden, and the green waves of kunming lake ripple. Landscape and humanities complement each other, containing rich natural and cultural information, reflecting the characteristics of Chinese classical gardens. The garden cultural features of the three scenic spots, namely, the hall of clouds, the foxiang pavilion and the Wenchang courtyard, are particularly outstanding. Therefore, this paper takes these three scenic spots as examples to discuss the Chinese-English translation of the introduction of the Summer Palace.&lt;br /&gt;
(1)	排云殿、佛香阁景区是颐和园内建筑布局最完整、建筑形式最丰富的中轴建筑群体，殿、阁、廊、亭、桥、坊、碑等建筑约两万平方米。从临水的云辉玉宇牌坊至排云门、排云殿、德辉殿、佛香阁、众香界、智慧海、层层升高，排列有序，气势巍峨，金碧辉煌，将园林、寺庙和宫殿融为一体。&lt;br /&gt;
Translation：This scenic spot covers an area of 20,000 square meters with an assortment of buildings such as palaces, towers, corridors, pavilions, walkways, bridges, archways and inscribed stone steles. It comprises a well-arranged group of structures, all diverse in style, located in the center of the Summer Palace garden. This complex of structures, ranging from the Glowing Clouds and Holy Land Archway on the waterside, the Gate that Dispels the Clouds, the Hall that Dispels the Clouds, the Hall of Moral Glory, and the Tower of the Fragrance of the Buddha, to the Realm of Popular Fragrance and the Sea of Wisdom Temple, were built in an orderly manner running from the foot of the hill to its top, with gardens, temples and palaces harmoniously integrated into the whole。&lt;br /&gt;
Analysis：As we all know, the design style of ancient Chinese buildings is beautiful with &amp;quot;symmetry&amp;quot;. The &amp;quot;axis&amp;quot; in hall of clouds scenic spot refers to the layout of the Summer Palace from far to near and from top to bottom, which cannot be simply understood as the center. Simply translating &amp;quot;axis&amp;quot; as &amp;quot;center&amp;quot; cannot express accurately the meaning of &amp;quot;symmetry&amp;quot;. Comparatively speaking, &amp;quot;axis&amp;quot; can better reflect the architectural style of the scenic spot.&lt;br /&gt;
(2)	从临水的云辉玉宇牌坊至排云门、排云殿、德辉殿、佛香阁、众香界、智慧海，层层升高，排列有序，气势巍峨，金碧辉煌，将园林、寺庙和宫殿融为一体。&lt;br /&gt;
Translation：These structures，including Glowing Clouds and Holy Land Archway at lake side，the Gate of Dispelling Clouds，the Hall of Dispelling Clouds，the Hall of moral Glory，and the Tower of Buddhist Incense，the Realm of Multitudinous Fragrance and the Sea of Wisdom Temple，were built in an orderly manner ranging up the hill with gardens，temples and palaces harmoniously integrated. This manifests beauty，grace and splendor，reminiscent of the loftingness and grandeur of a once mighty empire.&lt;br /&gt;
Analysis：In terms of the characteristics of language, Chinese emphasizes parataxis and four-word antithesis. When describing and naming scenes, gorgeous words and poetic words are generally chosen in Chinese. But, English emphasizes hypotaxis, on the other hand, puts more emphasis on reproducing the original appearance of things, using simple and natural words and preferring direct description. In sign translation, the English translation pays more attention to accurate, concise and lively. In the above paragraph, &amp;quot;层层升高，排列有序，将园林、寺庙和宫殿融为一体&amp;quot; is an introduction to the architectural features of foxiang pavilion, in order to make tourists have a clear understanding of the overall layout and architectural features of the scenic spot. This information is essential and can be translated into detail. However, &amp;quot;气势巍峨，金碧辉煌&amp;quot; focuses on the subjective description, and its explicit translation needs more complicated words. If this paragraph is translated in detail, it is easy to drag the content and make the key information vague. Therefore, the deletion of the English translation of this sentence will not affect the basic information of the original text.&lt;br /&gt;
(3)	主阁（文昌阁）两层，内供铜铸文昌帝君和仙童、铜骑。文昌阁与万寿山西供武圣的宿云檐象征“文武辅弼”。&lt;br /&gt;
Translation: A bronze statue of the God Wenchang, statues of gaeries, and a bronze steed were placed in the two-story pavilion. This tower is pared with the Tower of Cloud- Retaining Eaves, located to the west of the Longevity Hill, in which a statue of the Martial God was placed. The God Wenchang and the Martial God together symbolize reining of the emperor supported by scholars and warriors.&lt;br /&gt;
Analysis: Two questions arise in Chinese-English translation. First, there are two translations of wenchang pavilion in the translation: pavilion and tower, which appear in the same sign. Two different translations of the same scenic spot name tend to make foreign tourists think that it refers to different scenic spots, which may cause difficulty in understanding. Second, the translation of Wenchang pavilion into &amp;quot;Wenchang Tower&amp;quot; is against the actual architectural characteristics. In fact, the meanings of &amp;quot;pavilion&amp;quot; and &amp;quot;tower&amp;quot; have both similarities and differences. According to the Oxford dictionary, Tower means &amp;quot;a tall narrow building or part of a building, especially of a church or castle&amp;quot;, mainly referring to the tower-shaped part of a building, usually a tall and slender structure, such as the Eiffel Tower. &amp;quot;Pavilion&amp;quot; means &amp;quot;a building that is meant to be more beautiful than usual, built as a shelter in a park or used for concerts and dances&amp;quot;. The top structure of the pavilion usually has rectangles, triangles, hexagons, etc. The common feature of them is that the top is supported by columns without walls. From the external structure of Wenchang pavilion, its bottom is solid and its top is supported by columns. Therefore, the pavilion can accurately reflect the architectural characteristics of Wenchang pavilion, so I think it should be translated as Wenchang pavilion.&lt;br /&gt;
&lt;br /&gt;
===3.2 Historical culture. ===&lt;br /&gt;
3.2 Historical culture. &lt;br /&gt;
The accurate Chinese-English translation of the introduction of the Summer Palace not only enables foreign tourists to understand the characteristics of Chinese gardens, but also enables foreign tourists to understand the historical knowledge of a specific period of China. However, the Chinese-English translation of the Summer Palace still has problems in accurately conveying the historical background of the scenic spots, such as the English translation of Wenchang pavilion scenic spot:&lt;br /&gt;
(4)	此景区始建于清乾隆十五年，一八六零年被英法联军烧毁，光绪时按原样重建。阁结构为八面三层四重檐，通高36.44米，耸立于20米高的石造台基上，气势雄伟，是颐和园全园的构图中心。阁内供奉有铜铸金裹千手观世音菩萨站像。像高五米，重万斤，为明代万历年间所造，在八根贯通全阁上下的承重铁梨木擎天柱的衬托下，美妙庄严，熠熠生辉，有极高的文物和艺术价值。&lt;br /&gt;
Translation: The Wenchang tower was first built in 1750 and rebuilt under Emperor Guangxu after  the Anglo-French Allied Forces builted it down in 1860. The octahedral tower has three stories with four-layered eaves, altogether 36.44 meters high. Standing upright on a 20 meter-high stone foundation, it constitutes the center of the Summer Palace landscape and serves to accentuate its magnificence. A statue of the thousand-handed Guanshiyin Buddha, cast in bronze and gilded with gold, stands inside the tower. The statue, five meters high and five tons in weight, was cast during the reign of Emperor Wanli of the Ming Dynasty. Set off by the eight imposing pillars which support the tower, it glows with beauty, grandeur and brilliance. Its historical, cultural and artistic value can hardly be overstated.&lt;br /&gt;
Analysis: “始建于乾隆十五年”only was translated into “was first built in 1750” and the “光绪年间重建” was translated into “rebuilt under Emperor Guangxu”.The first sentence does not show that 1750 was the fifteenth year of the reign of emperor Qianlong, and the second sentence does not give foreign visitors the exact date of the reign of emperor Guangxu. The change of time concept and the disunity of expression easily make foreign tourists feel confused. Therefore, the translation of the time and the historical dynasties should be accurate and meticulous, and the supplementary method should be used to not only describe the dynasties clearly, but also supplement the corresponding years, so as to achieve the standardization of the translation. In this way, foreign tourists can not only be clear about the time of the event, but also understand the Chinese historical dynasties. Consider as follows: the Wenchang Pavilion was first built in 1750 during Emperor Qianlong’s reign（1735- 1795）and rebuilt in 1886 under Emperor Guangxu（1875- 1908）after the Anglo- French Allied Forces burned it down in 1860.&lt;br /&gt;
&lt;br /&gt;
===3.3 Religious culture. ===&lt;br /&gt;
3.3 Religious culture. &lt;br /&gt;
Many scenic spots in the Summer Palace have a strong buddhist atmosphere. While visiting the scenic spots, foreign tourists can understand the profound buddhist culture. Wenchang pavilion in the Summer Palace is the representative of Chinese religious culture.&lt;br /&gt;
(5)	主阁两层，内供铜铸文昌帝君和仙童、铜特。文昌阁与万寿山西供武圣的宿云檐象征“文武辅弼”。&lt;br /&gt;
Translation: A bronze statue of the god，Wenchang，and statues of two followers，the celestial boy，and the bronze steed，were placed in the two- storey pavilion. This tower is pared with the tower of Cloud- Retaining Eaves，located to the west of the Longevity Hill，in which a statue of the Martial God was placed. The two towers symbolize the support by both scholars and warriors to the ruling emperor.&lt;br /&gt;
Analysis: It is well known that westerners believe in theism, which refers to god as supreme . In Chinese religious culture, people believe in atheism and do not believe in the existence of god. Therefore, it is inappropriate to translate &amp;quot;文昌帝军&amp;quot; and &amp;quot;武圣&amp;quot; into &amp;quot;the god, Wenchang&amp;quot; and &amp;quot;the Martial god&amp;quot; in the translation. In fact, the &amp;quot;文昌帝军&amp;quot; was Zhang yu, an emperor of Shu of Ning kang (374). And &amp;quot;武圣&amp;quot; refers to Guan yu in history. Therefore, the simple translation of  &amp;quot;God&amp;quot; is not in line with the traditional Chinese culture, which will not only cause western tourists to misunderstand that Chinese religious tradition also believes in God, but also fail to convey Chinese historical allusions and relevant historical figures. In contrast, if &amp;quot;文昌帝军&amp;quot; is translated as &amp;quot;the emperor, Wenchang&amp;quot; and &amp;quot;武圣&amp;quot; is translated as &amp;quot;the Martial Master (Guanyu)&amp;quot;, it can more faithfully convey the history and religious culture contained in the source language. &lt;br /&gt;
&lt;br /&gt;
===4. Conclusion===&lt;br /&gt;
4. Conclusion&lt;br /&gt;
To sum up, Under the guidance of the skopos rule of functionalist translation theory, translators should have a cross-cultural awareness, fully understand the reading psychology and cultural appreciation needs of target language readers, and use effective translation strategies and methods to achieve the purpose of tourism text translation. Functionalist approach has made a pioneering contribution to the translation of non-literary genres. Functional translation effectively eliminates the disadvantages of traditional word-for-word translation, improves the efficiency of translation, and helps readers to grasp the meaning of the original text.&lt;br /&gt;
 The importance of the translation of the Summer Palace lies in the profound garden culture, historical culture and religious culture. The English translation is not only helpful for international friends to know more about the garden characteristics of the Summer Palace, but also helpful for spreading the long history and profound culture of China. In order to attract target readers and promote traditional Chinese culture, it is not only necessary to carefully explore Chinese culture and history, but also to use the fuctionalist approach appropriately. &lt;br /&gt;
Translation is a complicated process. Functionalist approach stresses the function of the discourse, the purpose of translation. In the practice of translation, if the translator can get rid of the bondage of the original equivalence, actively playing to subjective initiative, fully understanding the original text, depending on the purpose of discourse and adopting different translation strategies, the effect and readability of translation can be improved.&lt;br /&gt;
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===References===&lt;br /&gt;
References&lt;br /&gt;
Hans Vermmer, “Skopos and Commission in Translation Action”, in the Translation Studies Reader,ed. Chesterman, London and Network:Routledge,p.221-232. 2000.   &lt;br /&gt;
Munday, Jeremy. Introducing Translation Studies: Theories and Applications. Routledge publishing.2001.&lt;br /&gt;
Mason, “Textual Practices and Audience Design: and Interactive View of the Tourist Brrochure”. In Navarro et al.(eds.). Pragmatics at Work: The Translation of Tourist Literature. Bern: Perter Lang. 157-176.2004.&lt;br /&gt;
Nord, Text Analysis in Translation: Theory, Methodology and Didactic Application of a Model for Translation-Oriented Text Analysis. Beijing: Foreign Language Teaching and Research Press. 2006.&lt;br /&gt;
Nord, Translating as a purposeful activity. Shanghai: SFLE PRESS, 2001:27,30,32,65,245.&lt;br /&gt;
Reiss, Katharina. Translation Criticism: The Potentials &amp;amp; Limitations. Shanghai Foreign Language Education Press. Shanghai. 2004.&lt;br /&gt;
Venuti, Lawrence. The Translator’s Invisibility: A History Translation. Routledge.1995.&lt;br /&gt;
方梦之、毛忠明， 英汉—汉英应用翻译教程，上海: 上海外语教育出版社，2004.&lt;br /&gt;
金惠康，跨文化旅游翻译，中国对外翻译出版公司，2004.  &lt;br /&gt;
贾文波，应用翻译功能论，北京：中国对外翻译出版公司，2004&lt;br /&gt;
孙艺风，文化翻译的困惑与挑战，中国翻译，2016年第3期.  &lt;br /&gt;
王宏志，翻译与创作，北京大学出版社，2000.&lt;br /&gt;
吴自选，德国功能派翻译理论与 CNN 新闻短片英译，中国科技翻译, 2005.&lt;br /&gt;
谢天振，当代国外翻译理论，天津：南开大学出版社，2005.&lt;br /&gt;
张南峰，走出死胡同建立翻译学. 中国翻译, 1995.&lt;br /&gt;
仲伟合，钟钰. 德国的功能派翻译理论. 中国翻译, 1999.&lt;br /&gt;
张美芳，功能加忠诚—介评克里丝汀· 诺德的功能翻译理论.上海外国语大学学报, 2005.&lt;br /&gt;
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==Contrast between Literal Translation and Free Translation	张雪仪	Zhang Xueyi==&lt;br /&gt;
&amp;lt;center&amp;gt;张雪仪 202020080668&amp;lt;/center&amp;gt;&lt;br /&gt;
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=== Abstract===&lt;br /&gt;
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The contrast between literal translation and free translation has always been the most discussed problem in translation studies. To compare these two translation methods, the basic point is to understand the purpose of translation. The ultimate goal of translation is to help different cultures communicate better, so that people who speak different languages can understand each other’s cultures. Due to the differences in social, historical and cultural backgrounds between languages, how to choose between the two translation strategies of literal translation and free translation requires translators to weigh the strengths and weaknesses of these two methods. This essay mainly compares literal translation and free translation between Chinese and Russian to help students and translators translate better.&lt;br /&gt;
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=== Key words ===&lt;br /&gt;
&lt;br /&gt;
Translation strategies, Literal translation,Free translation &lt;br /&gt;
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=== 摘要 ===&lt;br /&gt;
&lt;br /&gt;
直译与意译间的对比一直是翻译学中讨论度最高的问题。想要将这两种翻译方法进行对比，最基本的一点就是要明白翻译的目的是什么。翻译的最终目的在于帮助不同文化进行更好的交流，让使用不同语种的人相互理解彼此的文化。由于语种间社会历史文化背景的差异，如何在直译和意译这两种翻译策略中做出选择，就需要译者衡量两种方法的利弊。本文主要对汉语和俄语间直译和意译进行比较，以帮助学生和译者更好地进行翻译实践。&lt;br /&gt;
&lt;br /&gt;
=== 关键词 ===&lt;br /&gt;
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翻译策略，直译，意译&lt;br /&gt;
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=== Introduction ===&lt;br /&gt;
The former Soviet Union translation theorist Fedorov believes that “translation is an activity of expressing what has been used in one language as a unified whole of content and form, and accurately and completely expressed in another language.” Translation theorist Barhudaro The husband also wrote: &amp;quot;Translation is the process of changing the coherent discourse of one language into the coherent discourse of another language while maintaining its content and meaning.&amp;quot;(Cai Yi, Duan Jinghua 2000) Mr. Lu Xun once advocated &amp;quot;literal translation.&amp;quot; He said: &amp;quot;Translation must take both sides into consideration: one is of course to be easy to understand, the other is to maintain the fullness of the original.&amp;quot; The Chinese translator Zhang Peiji summed up the translation standard as &amp;quot;faithful and smooth.&amp;quot;(Gong Linjing 2015,192) To some extent, translation is a process of thinking re-creation, so certain standards and principles must be followed when translating. Translation standard is a measure of the quality of translation, it can guide translation practice, and it is a principle that must be followed in translation activities. Although each scholar has different opinions on the standard of translation, the final result he pursues is the same: the original text and the translated text express the same effect.In order to achieve the same effect, different translation methods have been derived from the translator's translation practice. The most basic and common ones are literal translation and free translation.&lt;br /&gt;
&lt;br /&gt;
Russian idioms and proverbs, as the crystallization of the wisdom of the Russian nation and the immortal fossils in the Russian language, are one of the best materials for the Chinese to understand and learn Russian history, culture, and society. Due to different geographical, historical and economic conditions, the Russian and Chinese ethnic groups have formed different cultural backgrounds. These distinctive backgrounds and characteristics have caused great difficulties for Chinese learning Russian to further understand Russia. This essay will take the Chinese translation of Russian idioms and proverbs as examples to study the basic definitions of literal translation and free translation, their respective advantages and disadvantages, and their relationships, in order to help students who learn Russian understand literal translation and free translation.&lt;br /&gt;
=== Controversy between literal translation and free translation===&lt;br /&gt;
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In different periods and different countries, people's views on translation theory have changed a lot, but the debate about literal translation and free translation has always existed.&lt;br /&gt;
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=== Controversy in Chinese Translation Community===&lt;br /&gt;
&lt;br /&gt;
Which is better, literal translation or free translation, has always been divided in Chinese translation community. This kind of controversy first occurred during the translation of Buddhist scriptures written in Sanskrit into Chinese. During the Wei, Jin, Southern and Northern Dynasties, the famous monk Dao An was the earliest representative of the literal translation in China. Dao An himself did not understand Sanskrit and was afraid that paraphrase would lose the maxims in Buddhist scriptures, so he advocated strict literal translation. However, Kumarajiva from India, who was invited by Dao An, advocated free translation. On the basis of fully understanding the original thought content and artistic style, the translation was appropriately deleted. Although Dao An and Kumarajiva are also engaged in the translation of Buddhist scriptures, the translation methods they adhere to were very different. This divergence continued into the Tang Dynasty. Xuan Zang, as the most famous monk in the Tang Dynasty, proposed a translation method that was completely different from the previous two translation methods—a combination of literal translation and free translation.(Wang Zhuan 1996,55)&lt;br /&gt;
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The contradiction between modern literal translation and free translation may be due to the different understanding of these two translation methods. The translator Sun Guiding believes that: literal translation is stuck to the structure of the original text and does not consider whether the Chinese is fluent and natural; while free translation is to use the inherent Chinese idioms and the most natural words and sentences as much as possible to achieve the effect of conveying the meaning of the original text. Former President of Wuhan University, Du Zuozhou, believes that literal translation means translating word by word according to the original text; free translation means translating according to the meaning of the original text, and the translation is more suitable for the common grammar of the translated language. The educator Meng Xiancheng believes that literal translation is a translation technology with different degrees of correctness. Literal translation is a translation that is faithful and correct according to the original text; free translation is a translation that summarizes the original meaning. Zhu Guangqian said: &amp;quot;The so-called 'literal translation' refers to the literal translation based on the original text. Every word and sentence are translated word by word, and the order of the words and sentences is not changed. The so-called ‘paraphrasing’ is to express the meaning of the original text in Chinese, and it does not have to be completely based on the literal and order of the original text. &amp;quot; Feng Shize believes that &amp;quot;translation and literal translation are up-and-down relations; between literal translation and free translation is the left-right relationship. If the reversal of word order and other methods are free translation, then the definition of free translation is equal to translation, and there is no other translation besides free translation. &amp;quot;(Feng Shize 1981,10) The principle of &amp;quot;faithfulness, expressiveness and elegance&amp;quot; put forward by the modern Chinese translator Yan Fu has long been the basic principle guiding translation practice. A large number of beginners who learn foreign languages regard &amp;quot;faithfulness and expressiveness&amp;quot; as translations that are completely faithful to the original text when translating.(Feng Shujian 1993,44) In fact, Yan Fu's translation requirements are a guiding principle for translation based on semantics. When translating, if the structure and expression of the original text cannot be directly adopted, the sentence structure and expression must be changed according to the characteristics of the target language. In addition, there are many differences between the original language and the target language in the word order, grammar, variants and rhetoric in the translation process. In many cases, there is no direct corresponding word. This requires the translator to consider the actual semantics, background and other factors. On the basis of the original meaning of the sentence, use an appropriate method to convey the content of the original work and reproduce the language style of the original work.&lt;br /&gt;
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In the Soviet Union, under the influence of ideology, Western translation theories could not be widely disseminated, but within the Soviet Union, translation theories similar to Western translation theories have been formed and developed, and two main schools of translation theory have been further differentiated — Linguistic Translation School and Literary Translation School. To a certain extent, the dispute between these two schools also reflects the debate on literal translation and free translation among translators' groups. In terms of the principles or standards of translation, the linguistic translation school believes that an ideal translation should be an equivalent translation, first of all linguistic correspondence, that is, the translation should have the same meaning as the corresponding language or discourse unit of the original; the literary translation school believes that translation pursues artistic correspondence, and linguistic correspondence must be subordinate to artistic correspondence. Therefore, it proposes that the aesthetic standards of translation should reproduce the artistic reality reflected by the unity of the original content and form. The characteristic is to use images to translate images, that is, to create the same image in different languages. In 1953, Andrei Venediktovich Fedorov, the leader of the linguistic translation school, published his work &amp;quot;Summary of Translation Theory&amp;quot;, which was the first monograph of the Soviet Union to study translation theory from the perspective of linguistics. The author proposes that translation theory is a branch of linguistics. Since the translation of any genre work must rely on the comparison of two languages, translation problems can only be solved in the field of language. Fedorov’s view was refuted by the literary translation school represented by Ivan Alexandrovich Kashikin. The literary translation school believes that aesthetic issues are the core of literary translation theory, and translation should be regarded as a form of language art, that is, translation should be studied from the perspective of literature and art.(Xie Yuncai 2002,99) In fact, the literary translation school emphasizes the translation of literary and artistic works, which belongs to the specific translation theory; while the research of the linguistic translation school focuses on the general translation theory, that is, the translation of all thematic works including literary works. The dispute between the two major translation theory schools of Russia and the Soviet Union provides another perspective for Chinese translators to explore the relationship between literal translation and free translation.&lt;br /&gt;
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=== The application of literal translation and free translation in the Chinese translation of Russian idioms ===&lt;br /&gt;
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The idioms of different nationalities are the most dynamic and expressive units at the lexical level in different languages, and they are also the units that can best reflect the characteristics of national culture in languages. The number of Russian idioms is extremely rich, it records and reflects all aspects of Russian national life. Due to the great differences in geographical locations and living customs between China and Russia, the national cultures reflected in Chinese and Russian must be quite different. One of the difficulties in idiom translation is its imagery. When translating idioms, both the meaning and the image must be considered. Although the Chinese and Russian cultures are very different, many of the commonalities of mankind, such as emotion and natural environment, have created conditions for mutual communication, mutual understanding and idiom translation between different languages.(Feng Yongmei 1999,97)&lt;br /&gt;
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=== Literal translation ===&lt;br /&gt;
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Generally speaking, the literal translation method refers to a translation method that directly translates the original text without changing the language characteristics and style of the original text on the basis of fully respecting the meaning of the original text. Chinese translation of Russian idioms by literal translation method has the advantage of being able to intuitively and faithfully express the meaning of the idiom, maintaining the unique style and imagery of the original text: the disadvantage is that the translated idiom may not be understood by the Chinese because of China and Russia have different historical, cultural backgrounds, grammatical structures, and language world landscapes, which can easily form obstacles in the process of understanding.(Zhou Changyu 2010,34)&lt;br /&gt;
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Translating Russian idioms by literal translation is further divided into two methods — literal translation into Chinese idioms and literal translation into non-idiom sentences or words.&lt;br /&gt;
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Literal translation of Russian idioms into Chinese idioms is suitable for the translation of Russian and Chinese idioms that are completely equivalent in image, structure, and meaning. The advantage is that it is easy to understand, and the translation is simple and fast.(Feng Yongmei 1999,98) E.g:&lt;br /&gt;
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домашнего  (своего) вора не убережешься. 家贼难防&lt;br /&gt;
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знать как свои пять пальцев (видно, как на ладони) 了如指掌&lt;br /&gt;
&lt;br /&gt;
подлить масла в огонь 火上浇油&lt;br /&gt;
&lt;br /&gt;
как рыба в воде 如鱼得水&lt;br /&gt;
&lt;br /&gt;
как ножом по сердцу 心如刀割&lt;br /&gt;
&lt;br /&gt;
как гром среди ясного неба 晴天霹雳&lt;br /&gt;
&lt;br /&gt;
на добро отвечают добром 善有善报&lt;br /&gt;
&lt;br /&gt;
копейка рубль бережет 财从细起&lt;br /&gt;
&lt;br /&gt;
мечты сбываются 梦想成真&lt;br /&gt;
&lt;br /&gt;
курица всегда следует за петухом 嫁鸡随鸡&lt;br /&gt;
&lt;br /&gt;
чего мало, того и дорого  (дорого то, что мало) 物以稀为贵(12)&lt;br /&gt;
&lt;br /&gt;
изгонять яд с помощью яда 以毒攻毒&lt;br /&gt;
&lt;br /&gt;
сидеть как на иголках 如坐针毡&lt;br /&gt;
&lt;br /&gt;
действия громче слов 事实胜于雄辩&lt;br /&gt;
&lt;br /&gt;
зарыть талант в землю 埋没人才&lt;br /&gt;
&lt;br /&gt;
висеть на волоске 千钧一发&lt;br /&gt;
&lt;br /&gt;
лить как из ведра 倾盆大雨(Wang Fuxiang, Wu Hanying 2014)&lt;br /&gt;
&lt;br /&gt;
The idioms in the above examples are completely equivalent in image, structure or meaning in Russian and Chinese, so Chinese idioms can be used for literal translation.  &lt;br /&gt;
&lt;br /&gt;
In fact, in the two languages, idioms with the same image, structure, and meaning are still in the minority, so it is more common to translate Russian idioms into non-Chinese idiom sentences or vocabulary. E.g:   &lt;br /&gt;
&lt;br /&gt;
настоять на своем 坚持自己&lt;br /&gt;
&lt;br /&gt;
камень с души свалился 心里的一块石头落地&lt;br /&gt;
&lt;br /&gt;
связать свою судьбу 把自己的命运与……相连&lt;br /&gt;
&lt;br /&gt;
быть на голову 高出一头&lt;br /&gt;
&lt;br /&gt;
вбивать в голову 往脑子里灌&lt;br /&gt;
&lt;br /&gt;
блеснуть метеором 像流星一样一闪而过&lt;br /&gt;
&lt;br /&gt;
с мизинец 小拇指这么大(Wang Fuxiang, Wu Hanying 2014)&lt;br /&gt;
&lt;br /&gt;
It is not difficult to find that the literal translation method can completely retain the original appearance of the idiom, show the common concept of human understanding of the world, and be beneficial to the cultural exchange between China and Russia.&lt;br /&gt;
&lt;br /&gt;
=== Free translation ===&lt;br /&gt;
&lt;br /&gt;
Another method commonly used in the Chinese translation of Russian idioms is free translation. Vocabulary gaps between languages are a common phenomenon, causing many difficulties for translation. There are many reasons for the vacancy of vocabulary, such as cultural reasons such as life experience, customs, religious beliefs, and linguistic reasons. There are roughly two ways to fill the language gaps — paraphrasing by replacing the image.and discarding images for free translation.(Feng Yongmei 1999,98)&lt;br /&gt;
&lt;br /&gt;
Russian says &amp;quot;Два медведя в одной берлоге не уживутся (一个洞穴容不下两头熊).&amp;quot;, while Chinese says &amp;quot;一山不容二虎&amp;quot;. Another example is &amp;quot;Скатерть со стола, и дружба сплыла (桌布一收，友谊不再) &amp;quot; in Russian, and &amp;quot;人走茶凉&amp;quot; in Chinese.(Wang Fuxiang, Wu Hanying 2014) This method belongs to paraphrasing by replacing the image.&lt;br /&gt;
&lt;br /&gt;
For the &amp;quot;harmony&amp;quot; of the translation, sometimes the translator has to choose to abandon the image for free translation. This is determined by both cultural and linguistic factors. Some linguistic features cannot be translated, and some idioms themselves are not strong enough. In this case, if Choosing a literal translation method will make readers confused.(Hu Guming, Shen Man 2011,18) E.g:&lt;br /&gt;
Как женился я на вашей матери да взял вот этот домишко в приданье, так думал, что богаче да лучше меня и людей нет, фертом ходил! (А. Островский)&lt;br /&gt;
我和你母亲一成亲，就得到了这栋作为陪嫁的屋子，当时我心想，再没有人比我更富足、更好的了。我那时可真是双手叉腰、得意洋洋的。&lt;br /&gt;
“Фертом” is the name of the letter “Ф” in ancient times.Its shape is like a person with hands on hips, and “фертом ходить” is an idiom evolved from body language. The cultural meaning of this idiom is &amp;quot;神气十足、得意洋洋、威武自负的样子&amp;quot; . The translation uses other idioms to complement the missing images in Chinese, clarify the meaning of the idiom, and convey the emotional color contained in the original idiom.(Hu Guming, Shen Man 2011,19)&lt;br /&gt;
&lt;br /&gt;
The idioms in a certain language are fixed and unchanged after long-term use and tempering, but the frequency of each idiom is different. Some idioms are universally used by the whole people, spread and used in a wide range, while some idioms are only used in written styles. In Russian literature, there are improved precise and interesting idioms. For example, in the works of the famous Russian fable writer Krylov, there are reduced idioms, such as “ медвежья услуга”（直译：熊的帮忙；意译：帮倒忙）， “ сильнее кошки зверя нет”（直译：再没有比猫更厉害的野兽；意译：井底之蛙）， “ зелен как виноград”（直译：葡萄还很青；意译：年轻人没经验).(Wang Fuxiang, Wu Hanying 2014) When translating literature, translators often need to learn cultural background knowledge, replace the image in the original idiom, and then convey it to Chinese readers.&lt;br /&gt;
Crows are a very common animal, usually black and gray. The description of crows in Chinese idioms is &amp;quot;the crows in the world are generally black（天下乌鸦一般黑）&amp;quot;. It can be seen that white crows are rare. However, &amp;quot;белая ворона&amp;quot; often appears in Russian literary works, as a metaphor for people who are different from the masses in terms of external characteristics or ideological qualities. In the Chinese and Russian concepts, the crow is a nasty animal. Although white crows are rare, this Russian idiom is usually derogatory, expressing disdain, contempt, or ridicule against the person. In Chinese, animal images are also used as a metaphor for &amp;quot;different people&amp;quot;, such as idioms that stand out from the crowd and phoenix feathers are rare. &amp;quot;Crane&amp;quot; and &amp;quot;phoenix&amp;quot; have always been regarded as precious and noble animals in traditional Chinese culture, so they cannot be compared with &amp;quot; Corresponding to &amp;quot;White Crow&amp;quot;, it is not suitable for translating &amp;quot;белая ворона&amp;quot;. Examples are as follows:&lt;br /&gt;
Он замкнулся, не вдается в разговоры — вот вам и белая ворона.（Сталин)&lt;br /&gt;
直译：他不与人交往，不与人交流，真是一只白乌鸦。&lt;br /&gt;
意译：他不与人交往，不与人交流，真是与众不同。&lt;br /&gt;
Боишься, что они среди нас белой вороной окажется. Недосягаемым экземпляром.(Кожевников В “Корни и крона”)&lt;br /&gt;
直译：你是担心他们会变成我们中间的白乌鸦，一个无法达到的例子。&lt;br /&gt;
意译：你是担心他们会变成我们中间标新立异，望尘莫及的人。&lt;br /&gt;
Most Chinese who come into contact with Russian are students majoring in Russian. The Russian idioms we usually encounter appear in textbooks. These idioms are often used by the Russian public and are easily understood and accepted by the Chinese. E.g:&lt;br /&gt;
&lt;br /&gt;
В Тулу со свим самоваром не ездят.&lt;br /&gt;
直译：去图拉不用带自己的茶炊。&lt;br /&gt;
意译：多此一举&lt;br /&gt;
&lt;br /&gt;
Честь лучше бесчестья.&lt;br /&gt;
直译：尊重比不尊重好。&lt;br /&gt;
意译：礼多人不怪。&lt;br /&gt;
&lt;br /&gt;
словно горя с плеч&lt;br /&gt;
直译：把山从肩膀下卸下&lt;br /&gt;
意译：如释重负&lt;br /&gt;
&lt;br /&gt;
выеденного яйца не стоит&lt;br /&gt;
直译：一个空蛋壳不值钱&lt;br /&gt;
意译：鸡毛蒜皮，一文不值&lt;br /&gt;
&lt;br /&gt;
чужими руками жар загребать&lt;br /&gt;
直译：用别人的手将红炭火拨成一堆&lt;br /&gt;
意译：坐享其成，不劳而获&lt;br /&gt;
&lt;br /&gt;
ни рыба, ни мясо&lt;br /&gt;
直译：没有鱼也没有肉&lt;br /&gt;
意译：不三不四，不伦不类&lt;br /&gt;
&lt;br /&gt;
лучше синица в руках, чем журавль в небе&lt;br /&gt;
直译：天上的仙鹤不如手中的山雀&lt;br /&gt;
意译：远亲不如近邻&lt;br /&gt;
&lt;br /&gt;
На языке мед, а под лед&lt;br /&gt;
直译：嘴上甜得像蜂蜜，心里冷得像冰&lt;br /&gt;
意译：笑里藏刀&lt;br /&gt;
&lt;br /&gt;
И на солнце есть пятна&lt;br /&gt;
直译：太阳上也有黑点&lt;br /&gt;
意译：人无完人&lt;br /&gt;
&lt;br /&gt;
семь раз отмерь, один раз отрежь&lt;br /&gt;
直译：测量了七次后再剪裁&lt;br /&gt;
意译：三思而后行(Wang Fuxiang, Wu Hanying 2014)&lt;br /&gt;
&lt;br /&gt;
Using free translation to translate Russian idioms requires the translator to accurately understand the meaning of the original text, because cultural differences make it impossible to literally translate. Only through the translator can an unobstructed bridge between Russian idioms and Chinese idioms be built.&lt;br /&gt;
&lt;br /&gt;
=== The application of literal translation and free translation in the Chinese translation of Russian proverbs ===&lt;br /&gt;
&lt;br /&gt;
There are often multiple translations of the same Russian proverb in Russian-Chinese dictionaries. On the one hand, because the translator uses different translation methods; on the other hand, because Russian proverbs have very rich connotations, a translation cannot perfectly interpret the inner meaning of the proverb. According to the context and the connotation of the proverbs, the most commonly used methods of Chinese translation of Russian proverbs are literal translation and free translation.(Feng Yongmei 1999,98)&lt;br /&gt;
&lt;br /&gt;
=== Literal translation ===&lt;br /&gt;
&lt;br /&gt;
In Russian and Chinese languages, some proverbs not only have the same meaning or implicit meaning, but also use the same or similar figurative images to express a certain kind of the same semantics, and they are completely consistent in content and form. In this case, the equivalent translation of synonymous Chinese proverbs can convey the information contained in the original image, which not only retains the rhetorical color of the original language, but also enables the reader to perfectly understand the original text. E.g:&lt;br /&gt;
&lt;br /&gt;
In Russian and Chinese languages, some proverbs not only have the same meaning or implicit meaning, but also use the same or similar figurative images to express a certain kind of the same semantics, and they are completely consistent in content and form. In this case, the equivalent translation of synonymous Chinese proverbs can convey the information contained in the original image, which not only retains the rhetorical color of the original language, but also enables the reader to perfectly understand the original text. The other situation is the experience that the Russians summed up in their long labor and life, which has evolved into a proverb, but the Chinese have not summed up this experience, so translating Russian proverbs into Chinese literally, Chinese people can understand them at a glance and increase their knowledge of the world. E.g:&lt;br /&gt;
&lt;br /&gt;
Беда не приходит одна. 祸不单行。&lt;br /&gt;
&lt;br /&gt;
Век живи, век учись. 活到老，学到老。&lt;br /&gt;
&lt;br /&gt;
Выше встанешь, дальше увидишь. 站得高，看得远。&lt;br /&gt;
&lt;br /&gt;
Лучше один раз увидеть, чем сто раз услышать. 百闻不如一见。&lt;br /&gt;
&lt;br /&gt;
Береги платье снову, а честь смолоду. 衣服要从新的时候爱惜，荣誉要从年轻时珍惜。&lt;br /&gt;
&lt;br /&gt;
Выше лба уши не растут. 耳朵高不过额头。&lt;br /&gt;
&lt;br /&gt;
Для милого друга семь верст не околица. 为了好友，多绕七里也不嫌远。&lt;br /&gt;
&lt;br /&gt;
Лучше умереть стоя, чем жить на коленях. 宁愿站着死，绝不站着生。&lt;br /&gt;
&lt;br /&gt;
Не имей сто рублей, а имей сто друзей. 宁要一百个朋友，不要一百个卢布。&lt;br /&gt;
&lt;br /&gt;
По одежке встречают, по уму провожают. 迎客时看衣，送客时看才智。(Jia Sufen 1996)&lt;br /&gt;
&lt;br /&gt;
There is another situation where the literal translation method can be used. Although the image in Russian proverbs is different from the commonly used images in Chinese, it is also easy to understand. For example, &amp;quot;Молодец против овец, а против молодца — сам овца.&amp;quot; In fact, this proverb can be paraphrased as &amp;quot;欺软怕硬 &amp;quot;, but in this way the translation discards the lively literal meaning of the original text. On the other hand, it is literally translated as &amp;quot;见到绵羊充好汉，碰到好汉成绵羊&amp;quot; , on the basis of retaining the original image, readers can easily understand the meaning of the original proverb. Another example is &amp;quot;Заяц от лисицы, а лягушка от зайца бежит. &amp;quot; can be translated as &amp;quot;一物降一物&amp;quot;, but the image in the original text was completely abandoned, if it is literally translated as &amp;quot;one thing drops one thing &amp;quot;狐惊兔，兔惊蛙&amp;quot;, this kind of translation is not only simple and clear, but also in line with the aesthetics of Chinese proverbs. In general, the literal translation not only retains the symmetrical rhetorical techniques in the original sentence, but also retains the symmetrical beauty of the original sentence structure. It not only conforms to the aesthetic characteristics of the original Russian text, but also shows the beauty of phonology and structure in Chinese.(Jia Sufen 1996)&lt;br /&gt;
&lt;br /&gt;
The translation of Russian proverbs by literal translation not only maintains the original language, but also transplants the unique image language of Russian proverbs into Chinese, which not only expands the horizons of Chinese readers, but also enriches the way of expression in Chinese.&lt;br /&gt;
&lt;br /&gt;
=== Free translation ===&lt;br /&gt;
&lt;br /&gt;
Due to the influence of cultural factors, many Russian and Chinese proverbs expressing the same semantics use different metaphors. Some Russian proverbs are difficult to retain the original image in the process of translation into Chinese. If literally translated according to the original image, due to the different national and cultural backgrounds of China and Russia, the translation is difficult to be accepted by the Chinese, and even misunderstood may occur. In order to accurately convey the meaning of the original text to readers, we can readjust the structure of the original text on the basis of a correct understanding of the meaning of the original text, and use standard Chinese expressions to reproduce Russian proverbs to avoid ambiguity and misunderstanding.&lt;br /&gt;
&lt;br /&gt;
There are some elements used in proverbs that foreigners cannot understand. For example, the Russian proverb &amp;quot;В огороде бузина, а в Киеве дядька.&amp;quot; is literally translated as &amp;quot;菜园里长接骨木，而基辅里住叔叔&amp;quot;, which cannot be understood by the Chinese. The four elements “огород” “бузина” “Киева” “дядька”, which contained in this proverb are completely unrelated. In fact, this proverb means that there is no logical relationship between what someone says, and the translator can directly paraphrase it as &amp;quot;胡说八道&amp;quot;, &amp;quot;前言不搭后语&amp;quot; or more easily understood &amp;quot;满嘴跑火车&amp;quot;. Another example is &amp;quot;На воре шапка горит.&amp;quot; literally means &amp;quot;the hat on the thief's head is on fire&amp;quot;. In fact, this proverb originated from a short story in the Kievan Rus period: someone’s money bag disappeared and he shouted &amp;quot;Catch the thief&amp;quot;, but no one knew where the thief was. This man had an idea and shouted, &amp;quot;The thief's hat is on fire.&amp;quot; After hearing this, the thief touched his hat unconsciously and exposed himself. Therefore, &amp;quot;На воре шапка горит.&amp;quot; can be paraphrased as &amp;quot;不打自招&amp;quot; or &amp;quot;做贼心虚.&amp;quot;(Jia Sufen 1996)&lt;br /&gt;
&lt;br /&gt;
Есть несколько русских пословиц, которые больше подходят для вольного перевода:&lt;br /&gt;
&lt;br /&gt;
От труда- радость, от безделья- усталость.&lt;br /&gt;
直译：快乐从劳动中来，疲劳从闲散中来。&lt;br /&gt;
意译：劳动使人快乐。&lt;br /&gt;
&lt;br /&gt;
Баба с возу- кобыле легче.&lt;br /&gt;
直译：农妇下了车，马儿就轻松。&lt;br /&gt;
意译：求之不得&lt;br /&gt;
&lt;br /&gt;
Герой не моего романа.&lt;br /&gt;
直译：不是我小说中的主人公。&lt;br /&gt;
意译：不是我的意中人。&lt;br /&gt;
&lt;br /&gt;
Терпенье (ученье\уменье) и труд всё перетрут.&lt;br /&gt;
直译：耐心和勤劳能克服一切。&lt;br /&gt;
意译：锲而不舍，金石可镂（只要功夫深，铁杵磨成针）。&lt;br /&gt;
&lt;br /&gt;
Чтобы узнать человека, надо с ним пуд соль съесть.&lt;br /&gt;
直译：想要了解一个人，应该和他吃一普特盐。&lt;br /&gt;
意译：日久见人心。&lt;br /&gt;
&lt;br /&gt;
Посади свинью за стол — она и ноги на стол.&lt;br /&gt;
直译：让猪入席，它会把爪子也伸上来。&lt;br /&gt;
意译：得寸进尺。&lt;br /&gt;
&lt;br /&gt;
Черного кобеля не отмоешь добела.&lt;br /&gt;
直译：黑色的狗洗不白。&lt;br /&gt;
意译：本性难改。&lt;br /&gt;
&lt;br /&gt;
Конь о четырех ногах, да спотыкается.&lt;br /&gt;
直译：马有四条腿，也会摔倒。&lt;br /&gt;
意译：聪明一世，糊涂一时。&lt;br /&gt;
&lt;br /&gt;
За что купил, за то и продаю.&lt;br /&gt;
直译：怎么买来，怎么卖出。&lt;br /&gt;
意译：人云亦云。&lt;br /&gt;
&lt;br /&gt;
Обжегшись на молоке, дуешь на воду.&lt;br /&gt;
直译：一旦被牛奶烫，喝水也要吹一吹。&lt;br /&gt;
意译：一种被蛇咬，十年怕井绳。(Jia Sufen 1996)&lt;br /&gt;
&lt;br /&gt;
=== Conclusion ===&lt;br /&gt;
 &lt;br /&gt;
In the process of translation, translators often feel that there are a lot of contradictions and differences between the two languages in terms of lexical structure, syntactic structure, expression methods and metaphors. In many cases, translators understand the original meaning but do not know how to express it in the target language, which leads to the debate about which is better, literal translation or free translation. When translators translate works that are more contradictory between bilinguals, translators often use free translation methods. When translating works that are consistent or have more common points than contradictions or conflicts between bilinguals, translators tend to choose literal translation .&lt;br /&gt;
&lt;br /&gt;
In fact, the relationship between literal translation and free translation is interdependent and inseparable. Therefore, when we translate an article or a book, it is not feasible to translate every sentence literally or freely. Only when the translator cleverly arranges the alternation of the two can it be possible to translate a better translation. When we comment on literal translation and free translation, we should consider the effects of the division of labor and cooperation between the two, and should not one-sidedly understand the advantages and disadvantages of literal translation and meaning.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
=== References ===&lt;br /&gt;
&lt;br /&gt;
*Cai Yi, Duan Jinghua. 蔡毅，段京华. (2000). 苏联翻译理论. [Soviet Translation Theory]. 武汉: 湖北教育出版社[Wuhan: Hubei Education Press].&lt;br /&gt;
*Feng Shize. 冯世则. (1981). 直译、意译、逐字译. [Literal Translation, Free Translation, Verbatim Translation]. 中国翻译[Chinese Translators Journal] 7-10.&lt;br /&gt;
*Feng Shujian. 冯树鉴. (1993). 意译与直译笔谈. [Written Free Translation and Literal Translation]. 外语学刊[Foreign Language Research] 43-47.&lt;br /&gt;
*Feng Yongmei. 冯咏梅. (1999). 浅谈俄语成语翻译中民族文化特色的保留. [On the Preservation of National Cultural Characteristics in Russian Idiom Translation]. 解放军外国语学院学报[Journal of PLA Foreign Languages University] 97-100.&lt;br /&gt;
*Gong Linjing. 宫琳菁. (2015). 直译与意译——中国近现代代表人物观点之概述. [Literal Translation and Free Translation: An Overview of the Viewpoints of Representatives in Modern China]. 赤峰学院学报（汉文哲学社会科学版）[Journal of Chifeng University (Soc.Sci)] 192-193.&lt;br /&gt;
*Hu Guming, Shen Man. 胡谷明, 沈曼. (2011). 汉俄翻译中文化空缺词汇的翻译策略.[The Translation Strategies of Cultural Vacancies in Chinese-Russian Translation]. 中国俄语教学[Russian in China] 17-21.&lt;br /&gt;
*Jia Shufen. 贾淑芬. (1996). 简明俄汉谚语词典. [Concise Russian-Chinese Proverbs Dictionary]. 沈阳: 辽宁大学出版社[Shenyang: Liaoning University Publishing House].&lt;br /&gt;
*Li Quan’an. 李全安. (1990). 直译与意译之争是一场什么样的争论. [What kind of controversy is the dispute between literal translation and free translation]. 中国翻译[Chinese Translators Journal] 18-22.&lt;br /&gt;
*Tan Zaixi. 谭载喜. (1999). 中西译论的相似性.[Similarities between Chinese and Western Translation Theories]. 中国翻译[Chinese Translators Journal] 25-28.&lt;br /&gt;
*Wang Fuxiang, Wu Hanying. 王福祥,吴汉樱. (2014). 东方大学俄语系列：迷你俄语成语词典. [Oriental University Russian Series: Mini Dictionary of Russian Idioms]. 外语教学与研究出版社[Foreign Language Teaching and Research Press]&lt;br /&gt;
*Wang Zhuang. 王转. (1996). 直译与意译漫谈. [On Literal Translation and Free Translation]. 湖南教育学院学报[Journal of Educational Institute] 55-60.&lt;br /&gt;
*Xie Yuncai. 谢云才. (2002). 俄罗斯翻译理论的语言学派与文艺学派——两派文学翻译理论对比分析. [Linguistic Schools and Literary Schools of Russian Translation Theory: A Comparative Analysis of the Two Schools of Literary Translation Theories]. 外语学刊[Foreign Language Research] 97-101.&lt;br /&gt;
*Yang Shizhang. 杨仕章. (2002). 俄语现代翻译理论之概述. [An Overview of Russian Modern Translation Theory]. 解放军外国语学院学报[Journal of PLA Foreign Languages University] 62-65.&lt;br /&gt;
*Zhang Yi. 张艺. (2010). 从目的论看直译与意译之争. [The Controversy between Literal Translation and Free Translation from Skopos Theory]. 海外英语[Overseas English] 189-190.&lt;br /&gt;
*Zhou Changyu. 周长雨. (2010). 俄语谚语的翻译方法. [How to translate Russian proverbs]. 俄语学习[Russian Learning] 33-36.&lt;br /&gt;
&lt;br /&gt;
==Dialectical thinking in arguments between literal translation and free translation 	甘奉玉	Gan Fengyu  202070080584 英语笔译==&lt;br /&gt;
&lt;br /&gt;
===Abstract===&lt;br /&gt;
As two methods of translation, how to use literal translation and free translation has always been the focus of debate between Chinese and Western translation circles. Through the study of translation methods of literal translation and free translation at home and abroad, we can know that to some extent literal translation and free translation are two relative conceptions, so there will be word-for-word translation, that is, dead translation, and excessive free translation. However, these two are only two extremes of literal translation and free translation. In fact, although there are differences in definitions and application fields between literal translation and free translation, they are unified in common translation purpose, translation procedure and translation standard. Therefore, the two are contradictory and unified in translation activities. This is also the profound embodiment of the unity of opposites in materialist dialectics.&lt;br /&gt;
&lt;br /&gt;
===Key words===&lt;br /&gt;
literal translation, free translation, word-for-word translation, over free translation, unity of opposites&lt;br /&gt;
&lt;br /&gt;
===摘要===&lt;br /&gt;
作为翻译方法，直译(literal translation)与意译(free translation)怎样使用的问题一直是一个争论中西方翻译界不休的焦点。通过对国内外直译与意译的翻译方法的研究，我们可以得知，从某种程度而言，直译与意译是两个相对的概念, 所以才会有逐字翻译，即死译，与过度意译这两个完全对立的概念。但是，这两者只不过是直译与意译的两个极端点。其实，直译和意译虽然在概念定义，适用范围上有所差异，但却又统一于共同的翻译目的、翻译过程和翻译标准中。所以两者在翻译活动中应该是既对立又统一的矛盾体。而这也正是唯物辩证法中的对立统一矛盾观的深刻体现.&lt;br /&gt;
&lt;br /&gt;
===关键字===&lt;br /&gt;
直译； 意译； 死译； 过度意译； 对立统一&lt;br /&gt;
&lt;br /&gt;
===Introduction===&lt;br /&gt;
Throughout the translation history at home and abroad, the literal translation and free translation have always been a heat discussion in the translation circles. Someone absolutely approve literal translation and demean free translation, even pursue a dead translation, which creates an translated text difficult to understand. While some other people absolutely agree with free translation even advocate random acts, which means a random deletion in the translation practices and creates anther entirely different text. However, there are also a number of translators who have recognized that these two translation methods are not totally opposite. So they adopt a compromise and flexible way. That means they will choose the most appropriate one depending on the text demanding. Therefore, we can deduce from it that this eclectic translation is consistent with the Contradiction view of Unity of Opposite in Materialist Dialectics. In fact, literal translation and free translation are right a set of contradictions which are both opposite and unified. They complement each other into an integral one.&lt;br /&gt;
&lt;br /&gt;
The dispute between free translation and literal translation in Chinese translation circles first appeared in the dispute of &amp;quot;text&amp;quot; and &amp;quot;quality&amp;quot; in the Eastern Han Dynasty. During this period, Shi Dao-an, a senior monk in the Eastern Jin Dynasty, advocated literal translation and put forward that the translation should not be added or deleted but only make some adjustments to the word order. In the post-Qin period opposed to the Eastern Jin Dynasty, the monk Hatoyama advocated that the Buddhist scriptures should be translated freely. That is, the original text should be changed to adapt to the Chinese style. Subsequently, Xuanzang, a senior monk of the Tang Dynasty, drew lessons from their former translation achievements and put forward that both seeking truth and vulgarity. (Chen Fukang 2011, 14-38)That is, literal translation should be combined with free translation, not only one of them. At that time, some translators have noticed that literal translation and free translation are not completely opposite. After that, in modern times from the Opium War to the May 4th Movement, since Yan Fu has put forward the translation standard of faith, smoothness and elegance,  Lu Xun and Qu Qiubai ignited the dispute on faith and smoothness. Lu Xun is a typical literal translation school. He insists that faith first and smoothness second even tolerates incoherence. He adopts the method of dead translation and absolute translation. While Qu Qiubai believes that faith and smoothness are not opposed. From the New culture Movement(from 1915-1923) to the 1980s, Mao Dun also put forward that literal translation doesn't mean word-for-word translation without any addition or deletion. Since the reform and opening up, Xu Yuanchong has said that literal translation should be faithful to the original content first then to the original form and last to the smooth translated text. On the other hand, while free translation should be faithful to the original text first then to the smooth translated text and last to the original form. Therefore, although there are differences in translation methods between literal translation and free translation, their ultimate goal is to be faithful to the original content and express the original meaning.（Chen Fukang 2011, 288-333）&lt;br /&gt;
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Since Cicero, the first translation theorist in ancient China, put forward that avoid word-by-word translation as a speaker, the dispute between literal translation and free translation began to appear in the West. In ancient times, Perot insisted on dead translation in the translation of the Bible, which caused the translation quality to be too low. Poitius in the Middle Ages also advocated word-by-word translation and strict formal correspondence. In modern times, French translator Abulangour aimed to cater to readers in a way of over-free translation and arbitrary deletion. Even so, there are many translation theorists in the western translation world who advocated  eclectic and flexible translation. For example, in ancient times, Jerome advocated the flexible principle to apply in literary translation and religious translation differently. During the Renaissance, French Amyot emphasized the dialectical unity of content and form, free translation and literal translation. Moreover, some translators did not exercise their own translation ideas. During the Renaissance, Reichlin was one of them. Although he advocated word-by-word translation, he abandoned word-by-word translation in practice. This can also further explain that absolute promotion of literal translation or free translation is not a desirable translation method. In translation practice, we must take a suitable degree between the two in the way of combining literal translation and free translation at the same time to better serve for the target readers.(Tan Zaixi 2004, 5-15 )&lt;br /&gt;
&lt;br /&gt;
The purpose of this paper is to explore the dialectical thinking contained in the dispute between literal translation and free translation, that is, the viewpoint of unity of opposites. The first chapter is about the word-for-word translation, and the second chapter is about the over-free translation. From this, we can draw a conclusion that it is not advisable to regard literal translation and free translation as absolute opposites. The third chapter is about the eclectic translation, which is the correct method for us to learn and adopt. It is also a dialectical translation method that follows the view of unity of opposites. The fourth chapter will analyze the differences between literal translation and free translation. Then the fifth chapter focuses on the unity of literal translation and free translation in translation goals, translation procedures and translation standards. Through the discussion of the whole article, we can clearly see the unity of opposites between literal translation and free translation and draw a conclusion that we should apply dialectical translation in our translation practice and adopt the point of view of unity of opposites in translation theory. (He Lirong 2018, 40)&lt;br /&gt;
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===1.Dialectic thinking of the Unity of opposites===&lt;br /&gt;
The theory of unity of opposites is the core content of materialist dialectics theory. (Xu Guoliang 2020, 75) In the history of philosophy, the German philosopher Hegel first expounded the basic thought of contradiction theory from the standpoint of objective idealism. Later, Marx, Engels and Lenin critically absorbed Hegel's theory and developed contradiction theory into the core content of materialist dialectics theory. The theory of contradiction contains two basic problems, and one is the relationship between unity and opposition, while the other is the universality and particularity of contradiction, which involves a series of basic concepts of contradiction theory, such as basic contradiction and non-basic contradiction, fundamental contradiction and non-fundamental contradiction, principal contradiction and non-principal contradiction. Understanding these basic concepts and their relationship is the key to understand and grasp the contradiction theory completely and accurately and finally apply it to the practice of social life. (Yan Mengwei 2020, 41)&lt;br /&gt;
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The problem of unity and opposition of contradiction is actually about the nature of contradiction. We always know things from comparison. The so-called comparison is to find the similarities and differences between two things. The former is called unity and the latter is called opposition. The unity is relative and the opposition is absolute. It is worth emphasizing that the opposition of contradictions plays a key and decisive role in development, because development comes from the unity of opposites. This means that unity and opposition are two indispensable elements in the process of development. They complement and interact with each other.&lt;br /&gt;
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Literal translation and free translation are such a pair of contradictions. The opposition of the two is reflected in the absolute opposition between word-for-word translation and over-free translation. There are differences in their definition and application and similarities in their translation goals, procedures and standards.(Yang Ying 2019,161)&lt;br /&gt;
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===2.Word-for-word translation===&lt;br /&gt;
Literal translation is a method that not only maintains the original content, but also the original form. (Xu Yuanchong 1996,92) Fu Sinian and Zheng Zhenduo all advocate literal translation. In the history of modern Chinese translation, Lu Xun and his younger brother Zhou Zuoren's work of The Collection of Extraterritorial Fiction is regarded as the representatives of literal translation.&lt;br /&gt;
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In particular, literal translation is neither dead translation nor a mechanical verbatim translation. Because English and Chinese have different structures, it is impossible to translate word by word. From the perspective of linguistics, the biggest difference between them is that Chinese is parataxis while English is  hypotaxis. (Zhu Xiaojia 2008, 1)That is to say, in Chinese, a sentence is usually short with little modifier and connected words, while in English, several meanings can be expressed with complicated structure with assorted clauses and connected words into only a sentence.&lt;br /&gt;
&lt;br /&gt;
Besides, the English is a more static language in which nouns and adjective are always used, but the Chinese more dynamic one, verbs are more active. Finally, the former has a systematic grammar but the latter seems freely arranged.(Cao Huoqun 2005, 40)&lt;br /&gt;
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So, when we do some translating exercise, we should focus on their grammar structure to deal well. When the structure of the original text is inconsistent with that of the target language, continuing word-for-word translation will lead to formalism. Such a translated text is not intelligible for reader. That is to say, literal translation must be readable without any misunderstanding or violation of expression.&lt;br /&gt;
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===3.Over free translation===&lt;br /&gt;
Free translation refers to the method that maintains original content rather than original form. In the process of translation, in order to make the language clear and persuasive, the translator must try to conform to the language customs of target texts rather than adhere to the expressive pattern of the original work. Zhao Jingshen put forward that it is better to be smooth with some disloyalty instead of absolute loyalty. Obviously, Mr. Zhao Jingshen is in favor of free translation, and so does Mr. Yan Fu. Many of Yan Fu's classical works have adopted free translation, such as the Theory of Heaven is a typical example of free translation.&lt;br /&gt;
&lt;br /&gt;
When we translate from English to Chinese, especially some idioms that are in closer ties with western culture, we have to move or change these cultural barriers so that Chinese readers could understand easily. It is also true when translating Chinese into English. Under this condition, free translation will be more suitable and effective.&lt;br /&gt;
&lt;br /&gt;
However, free translation does not mean random translation. The latter means making up translated sentence by subjective imagination without analyzing the structure of the original text. It is also known as over-free translation. (Wu Shuang 2018, 107) In fact, when we translate, we must master the thought and style of the original and regard them as corresponding one of the target language. In addition, the theory, fact and logic of the original work should also be corresponding in the target language. We can not replace these features of the original with our personal thoughts, styles, facts, theories and logic. Only in this way can the contents not be changed after translation.&lt;br /&gt;
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===4.Dialectic translation===&lt;br /&gt;
Feng Qinghua put forward in the book of A Practical Translation Course that the so-called literal translation is a kind of translation method to maintain both the original content and the original form. If there are same language form and expressive effect between original and target text, we should adopt literal translation to deliver the same contents. While the so-called free translation is a method to keep the original content and style only not the original form. So if there are different language forms and expressive effects between the two texts, we should adopt free translation mostly. (Feng Qinghua 1997, 12)&lt;br /&gt;
&lt;br /&gt;
Therefore, Literal translation and free translation have their own advantages and restrictions. The former is beneficial to the transplantation of culture, while the latter can avoid obscurity in literal translation.  &lt;br /&gt;
&lt;br /&gt;
If in literal translation, we will translate the sentence “mashing a mirror is no way to make an ugly person beautiful, nor is it a way to make social problem evaporate” into “砸镜子不能使丑八怪变漂亮，也不能使社会问题烟消云散”, while if in free translation, we can turn it into “砸镜子并不能解决实际问题”. (Fan Zhongying 1994, 22) We can see the latter one is more concise and comprehensive to express the connotative meaning. While although the former are totally literal translation, we still feel it terrible. &lt;br /&gt;
&lt;br /&gt;
So, a translator should use these two translation strategies according to the actual situation to express the surface structure and deep meaning of the original text. The use of literal or free translation depends on the rules of both English and Chinese. In translation, if we can not directly adopt the structure and expression form of the original work, we must change the sentence structure and expressive way to convey the connotation of the original work. An excellent translated text is realized neither by simple literal translation nor by simple free translation but by the combination of two. In another word, we should adopt dialectic translation in our practice.&lt;br /&gt;
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===5.Opposition and unity between literal translatiuon and free translation===&lt;br /&gt;
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===5.1 Opposition===&lt;br /&gt;
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===5.1.1 Opposition in definition===&lt;br /&gt;
Qiao Zengrui defines literal translation in Chapter 4 of Translation Theory as a method that the translation deliberately retains the original form to maintain the content and style of the original. At the same time, He also defines free translation as a method that keep the original content and style by use of the same or similar expression as the original text in the target language regardless of the two different languages. The first one regards form as the only way, content and style as target, while the second directly takes no account of form. With this regard, the two totally opposite in definition.(Qiao Zengrui 2000,263)&lt;br /&gt;
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===5.1.2 Opposition in application fileld===&lt;br /&gt;
Generally speaking, literal translation is generally used to translate some political books, laws, treaties and scientific and technological documents, terms, idioms, and some simple sentences. (Wu Shuang 2018,178) The early translation of Buddhist scriptures of early Chinese generally followed this theory. So do the Marxism-Leninism works and Mao Zedong works. For example, “纸老虎” can only be translated as “paper tiger” but not “scarecrow”. The latter one was corrected by Mao Zedong when the interpreter translated it into “scarecrow”. President Mao emphasized that this word had two characteristics and if translated into scarecrow, it will lose duality. Because “纸老虎” in China means imperialism and reactionary, which seems terrible but no great power in it. Since it was made of paper, this tiger became soft in the damp and washed away when it rained. While scarecrow can scare away children and birds. So paper tiger is better than scarecrow.&lt;br /&gt;
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In the process of translation, there are many situations that literal translation can not be used, so we must adopt the method of free translation, especially the translation of literary works. (Wu Shuang, 2018, 178)On the one hand, there are many common traditional Chinese words that reflect the unique cultural concepts and cultural phenomena of our country, which can't translate directly into corresponding words in English. For instance, if we translate&amp;quot;初生牛犊不怕虎&amp;quot; into &amp;quot;A new born calf is not afraid of a tiger&amp;quot;, then our target readers in English-speaking countries may find it difficult to understand the substance of the literal meaning. ( Yang Yin 2019, 161)So here “The more wit, the less courage” will be better. On the other hand, some certain maxims, idioms and puns in English have no choice but to use free translation. (He Lirong 2018,43) For example&amp;quot; have a wolf in the stomach&amp;quot; means&amp;quot;饥肠辘辘&amp;quot; 饥饿难忍&amp;quot; rather than “肚子里有个豺狼”. Moreover, some exclusive English nouns should be free translated such as &amp;quot;the heel of Achilles&amp;quot; into&amp;quot;致命的弱点&amp;quot; instead of “阿克琉斯的脚后跟”.&lt;br /&gt;
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===5.2 Unity===&lt;br /&gt;
===5.2.1 Unity in translation goal===&lt;br /&gt;
In literal translation, loyalty to the original form should be put first, followed by loyalty to the original content and last pursuit of fluency and popularity in target language. In free translation, loyalty to the original content should be put first, then the fluency and popularity of the translation language are second, and the original form comes last. It can be seen that loyalty to the original content is the common purpose of literal translation and free translation.(Wu Shuang 2018, 108)&lt;br /&gt;
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The unity of literal translation and free translation is also reflected in the fact that the translation must be smooth and fluent and conform to the expressive habits of target language. If the translated text is obscure and unreadable without conformity to the habits of the target language and culture, the two translation strategies have not achieved the true unity, so the purpose of communication has not be achieved.&lt;br /&gt;
&lt;br /&gt;
Therefore, literal translation and free translation are two different translation methods used in translation. They are unified in the translation purpose to accurately and faithfully convey the original meaning and intention with the same form and spirit as original text.(He Lirong 2018, 41)&lt;br /&gt;
&lt;br /&gt;
===5.2.2 Unity in translation procedure===&lt;br /&gt;
The literal translation and free translation is unified in translation procedures. Both of them should conform to the following translation steps of understanding, expression and verification. &lt;br /&gt;
&lt;br /&gt;
Understanding is the first stage of translation process. It includes not only the understanding of language and cultural phenomena, but also logical relations. A translator should be good at analyzing ambiguous sentences and make correct judgment before translating. Expression is the process by which the translator reproduces the content of the original text into target language. Expression is the result of understanding, but understanding correctly does not mean expressing right. Therefore, we must learn many specific methods and techniques, such as literal translation, free translation, literal translation plus free translation, literal translation plus annotation, and so on. &lt;br /&gt;
The third stage is verification. In this stage, we must check the translation at least twice. In he first time, we should check whether there is any missing translation or wrong translation. And in the second time, we should check whether it's smooth and intelligible out of the original text.&lt;br /&gt;
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Whether literal translation or free translation, we must follow the three steps of understanding, expression and verification in translation practice. Understanding is the premise of expression, but understanding and expression are usually complementary and unified, which can not be separated completely. While understanding the original text, the translator also chooses the expressive way and further deepen his understanding.&lt;br /&gt;
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===5.2.3 Unity in translation standard===&lt;br /&gt;
On the establishment of translation standards, Chinese and foreign translation theorists in different historical periods put forward different views. In China, there are Ma Jianzhong's view of &amp;quot;good translation&amp;quot; on the basis of modern linguistic theory, Yan Fu's translation standards of &amp;quot;faith, smoothness, and elegance&amp;quot;, Chen Xiying's theory of “similarities in shape, meaning and spirit”, Lin Yutang's translation standards of “loyalty, smoothness and beauty”. In the West, there are Twelve Translation Principles of Bart, Three Principles of Tettler, Seven principles of Luther, and functional equivalence of Eugene. Nida and so on. All these translation standards are based on different social needs, translation contents, translation objects and  translation purposes.(He Lirong 2018, 42)&lt;br /&gt;
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No matter which translation standard, it is impossible to meet by only literal translation or only free translation. Therefore, the two translation methods are unified in any translation standard. So, they are inseparable unity of opposites.&lt;br /&gt;
&lt;br /&gt;
===6.Conclusion===&lt;br /&gt;
Literal translation and free translation are two different translation methods. Although they are different in conceptual definition and applicable field, in order to achieve a unified translation standard and achieve a common translation purpose, they both follow the same three steps of understanding, expression and verification. &lt;br /&gt;
&lt;br /&gt;
In the process of translation, if the target text has the same form and style as the original text, it can be translated literally. If there are different form and style, it should be translated freely. When the structure of the original text is inconsistent with that of the target language, sticking to word-for-word translation will cause stiff translation difficult to understand. In the same way, making up sentences through subjective assumption according to the literal meaning without analysis of original text will cause random translation disloyalty to the original one. &lt;br /&gt;
&lt;br /&gt;
Therefore, we can conclude that we should treat literal translation and free translation with a dialectical way and use these two translation methods flexibly to create wonderful translations in our concrete translation practice.&lt;br /&gt;
&lt;br /&gt;
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Xu Guoliang 徐国亮. (2020). 对立统一：唯物辩证法的核心与列宁的发展 [Unity of opposites: The Core of Materialist Dialectics and The development of Lenin]. 中共中央党校（国家行政学院）学报 Journal of Party School of the CPC Central Committee (National Academy of Governance) 24(05):75-83.&lt;br /&gt;
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Yan Mengwei 阎孟伟. (2020). 关于唯物辩证法矛盾学说的几个基本问题 [Some basic questions about the contradiction theory of materialist dialectics]. 思想理论教育导刊 Journal of ideological and theoretical education (08):40-47.&lt;br /&gt;
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Yang Yin 杨颖. (2019).  浅谈直译与意译的动态统一 [On the dynamic unity of literal translation and free translation]. 海外英语 Overseas English (17):160-161.&lt;br /&gt;
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Zhu Xiaojia 朱晓嘉. (2008). 形合、意合的辩证观与翻译策略 [Dialectic thinking and Translation strategies of hypotaxis and Parataxis]. Nanjing: Nanjing Normal University.&lt;br /&gt;
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== Peter Newmark’s Improved Views on Literal Translation and Free Translation 赵茜 Zhao Xi,202070080627==&lt;br /&gt;
===Abstract===&lt;br /&gt;
The dispute over the two basic translation methods, literal translation and free translation, has never stopped since ancient times. In view of the basic problem of his argument, Peter Newmark, an English translation theorist divides the various translation methods into eight, points out that different translation methods should be taken according to different text characteristics and puts forward with semantic translation and communicative translation bases on years of translation researches. Semantic translation focuses on maintaining the content of the original text, while communicative translation emphasizes the effect of the translation. The author of this paper expresses some views on literal translation and free translation. Peter Newmark's theory has taken a big step forward from the fragmented and one-sided view of literal translation and free translation in the past, which has brought people out of the struggle between them and made people see the direction of further development of translation research.&lt;br /&gt;
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===Key words=== &lt;br /&gt;
Free translation, Literal translation, Peter Newmark, Semantic translation, Communicative translation&lt;br /&gt;
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===摘要===&lt;br /&gt;
直译与意译这两种翻译基本方法之争从古至今从未停止过。针对其争论的基本问题，英国翻译理论家彼得·纽马克把各种翻译方法分成了八种，指出应根据不同的文本特点釆取不同的翻译方法，并在多年翻译研究的基础上提出了语义翻译和交际翻译。语义翻译重点在强调保持原文的内容，而交际翻译更多强调的是译文的效果。本文作者也提出了对直译和意译的一些看法。彼得·纽马克的理论把人们以往对直译、意译的零散的、片面的观点向前推进了一大步，使人们从直译、意译之争中走出来并看到翻译研究进一步发展的方向。&lt;br /&gt;
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===关键词===&lt;br /&gt;
直译, 意译, 彼得·纽马克, 语义翻译, 交际翻译&lt;br /&gt;
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===Introduction===&lt;br /&gt;
According to Chinese and western translation history, no matter in China or in western countries, studies on translation theories and practice have been performed over two thousand years. Translation, as an ancient and extremely significant human thinking activity, is closely related to the development of language itself. And translation after more than two thousand years of development, has developed prosperously, appearing quantities of translation theories, translation schools and translators. However, the dispute between two translation methods, literal translation and free translation has been lasting from throughout history. The fundamental problem between literal translation and free translation is based on the relationship between content and form. To solve this fundamental problem of the dispute, Peter Newmark first points out that translation studies have been long beset by the time-honored theoretical debate over free and literal translation. A range of wider aspects of translation related to the contribution to the development of languages, its relation to meaning, the intention of translation, the readers' background, the type of discourse and the language universals have been long neglected. Therefore, according to Newmark's own translation practice, he puts forward right translation methods, word-for-word translation, literal translation, faithful translation, semantic translation, adaption, free translation, idiomatic translation and communicative translation, which provide to translators to consider and use. Although in the actual translation practice, translators have no necessity to distinguish such translation methods and even to use these methods, this proposal may help translators open their horizons and translate more appropriately. Among the eight translation methods, semantic translation and communicative translation proposed by Newmark own the advantages of other six methods, becoming the most ideal translation methods. Peter Newmark's semantic translation and communicative translation are highly valued and influence the practice of translation in general. (Li Minghan 2014, 3)&lt;br /&gt;
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===Literal Translation and Free Translation===&lt;br /&gt;
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====Brief Introduction of Literal Translation and Free Translation====&lt;br /&gt;
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From ancient times, translators hold various attitudes toward such two translation methods, literal translation and free translation. &lt;br /&gt;
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=====Literal Translation=====&lt;br /&gt;
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Literal translation is a translation method which not only keeps the substance of the original, but also keeps the form of the original. This definition implies that the translation version is expressing the content of the original and should spare no efforts to make every part of the translation version corresponding to every part in the original text including construction of sentence, meaning of the original words, metaphor of the original and so on. &lt;br /&gt;
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According to Liu Zhongde, literal translation can be summarized into &amp;quot;to reproduce both the ideological content and style of the entire literary work and retain as much as possible the figures of speech&amp;quot;. (Liu Zhongde 1991, 52) &lt;br /&gt;
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Xu Yuanchong defines literal translation as &amp;quot;the kind of translation which is faithful not only to the content but also to the form of the original.&amp;quot; (Xu Yuanchong 1984, 45)&lt;br /&gt;
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Newmark suggests that literal translation is like, &amp;quot;sometimes it is very difficult to define what is literal translation, it is believed that a translation can be regarded as the literal translation when the translator is not influenced but the foreign flavors.&amp;quot;(Newmark 2001, 46) &lt;br /&gt;
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Mr. Yang Xianyi holds that the translators should be as faithful as possible to the original image and too much explanation and creativity should be avoided. This means translators should try to use literal translation method to introduce imagery in the source language to the target language readers. The reason why those translators who insist on literal translation are that they think literal translation is the only way to keep faithful to the original. They endeavor to adopt from as similarly as possible to the original to show the original meaning, thinking that it's the truest reflection of the original. (Wang Zuoliang 1989, 43)&lt;br /&gt;
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=====Free Translation=====&lt;br /&gt;
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Free translation is a translation method which only keeps the substance of the original, but not keeps the form the original. Target language and source language have different forms to show the same substance, and they could not produce the same result. Free translation does not mean to delete or add content to the original, though it does not pay much attention to the form of the original. Otherwise, the translation would not be faithful to the original. Translators always discover the meaning behind the forms in the source language and dose their best to produce the same meaning in the target language, using the forms and structures in the target language. Consequently, what is supposed to change is the form and the code, and what should remain unchanged is the meaning and the message. &lt;br /&gt;
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Shuttle worth and Cowie define free translation as &amp;quot;a type of translation in which more attention is paid to producing a natural target language than to preserving the source language wording intact.&amp;quot; (Shuttle worth&amp;amp;Cowie 2004, 62)&lt;br /&gt;
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Free translation is the conveying of the discourse meaning of the speaker is not restricted by the structure and linguistic and rhetoric styles of the original text. (Ren Wen 2012, 18)&lt;br /&gt;
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Liu Zhongde has given his definition to free translation. According to his definition, free translation aims at transmitting the meaning regardless of the sentence forms and rhetorical devices. If translators are not able to  make the translated text faithful to the original text through literal translation, they may use their own words to explain the meaning of the text without considering the words and forms in original text. (Liu Zhongde 1991, 53-54)&lt;br /&gt;
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====Disputes over Free Translation and Literal Translation====&lt;br /&gt;
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In the past, translators generally believed that language and thought were unified, and language was form while thought was content. However, it was impossible to realize the consistence between language forms and ideological content, producing the contradiction between form and content, which is the problem between literal translation and free translation. Modern science has proved that language and thought are not a unity and constitutes a relationship between form and content. Language is only a symbolic system to express thoughts. Translation expresses the same idea by using two different language signals. &lt;br /&gt;
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Marcus Tullius Cicero is generously acknowledged to be the first person to put forward a systematic description of the practice of translation and he said &amp;quot;I did not translate them as an interpreter, but as an orator... I did not hold it necessary to render word for word, but I preserve the general style and force of language.&amp;quot; (Tan Zaixi 2018, 20) He puts forward mainly two viewpoints. Firstly, the translation should be as close as possible to the language habits of the target language. At that time, namely, the translation should correspond with Roman habits as much as possible to touch and resonate with the readers. What's more, he advocates free translation and opposes literal translation as he believes that free translation is superior to literal translation. The most important thing in translation is not the corresponding in form, but the meaning and thought in the source language. Cecero's thoughts have provided a guide for other translators and produced an effect on them. Since Cicero came up with his opinion, the disputes over literal translation and free translation has never been stopped. &lt;br /&gt;
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Eugene Nida holds that if all languages differ in form, then quite naturally the forms must be changed if one is to preserve the content. He is in favor of dynamic equivalence instead of formal correspondence, maintaining the original meanings. In this sense, Nida agrees with free translation, just as he expresses that translating means translating meaning. (Nida 1985, 119-125)&lt;br /&gt;
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Zhai Qiubai insists literal translation and claims that the correct translation is based on Chinese syntax and rhetoric and has its specific intentions. First of all, he regards translation as a part of Proletarian literature. Translation should systematically introduce proletarian revolution thoughts to Chinese readers. Furthermore, translation should help create modern Chinese language and literal translation is an approach. To preserve the spirit in the original text, some non-smoothness can be tolerated. (Cheng Yongsheng 2002, 65) &lt;br /&gt;
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Lu Xun defines clearly that translation must take into account of two sides: one is easy to understand, the other maintains the style of the original. This explanation refers that the translators must translate according to the original text rather than their own world view and aesthetic taste. The translators must try their best to maintain the style of the original author and inherit historic and national characters rather than imposing extrinsic aesthetic and social background culture of other people on the translation. (Chen Fukang 2000, 301)&lt;br /&gt;
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Mao Dun has pointed out that due to different language families of Chinese and English and different structures, word-by-word translation us almost impossible actually. Because word-by-word translation is difficult to achieve its ideal effect, any discussion related with literal translation and free translation is inevitably involved with the problem &amp;quot;what is the boundary between them?&amp;quot; He also holds that the so-called literal translation, superficially speaking, means not to alter the original words and sentences. (Xu Haiyan &amp;amp; Sun Weihong 2012, 80)&lt;br /&gt;
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In Xu Yuanchong's opinion, the criteria to judge literal translation and free translation is whether the translation is faithful to the original. If a translation is faithful to both meaning and form of the original text, it is literal translation. If a translation is only faithful to meaning rather than form, it is free translation. If a translation is only faithful to form rather than content, it is mechanical translation. And the standard to judge faithfulness are form and content. For translation, content is more significant than form. Besides, translators should use both literal translation and free translation. However, sometimes it is difficult to use literal translation or free translation in a translation, so it is not necessary to define literal translation or free translation in those situations. Xu argues that literal translation is not only being faithful to the content of the original text but also being close to its form. When Xu discusses the situations using literal translation or free translation, he often mentions readers and contexts, among which readers are more important. No matter literal translation or free translation, translators should put faithfulness to the content of the original text first, smoothness of target text form second, faithfulness to the form of the source text third. In other words, on the premise of faithfulness to the source language, translation should strive for smoothness of form. On the premise of smoothness of translation, translators should try their best to realize faithfulness to form of the original. If there is a contradiction between the smoothness and faithfulness of the original form, it is of no necessity to stick to the original form. These are the relationships between content and form, and literal translation and free translation. (Cheng Yongsheng 2002, 66)&lt;br /&gt;
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Whether in Chinese translation circle or in western translation circle, the contradiction between content and form, and literal translation and free translation exists and arouses heated discussion.&lt;br /&gt;
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===Semantic Translation and Communicative Translation===&lt;br /&gt;
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To solve the fundamental problem of free translation and literal translation, Peter Newmark, a renowned western translation theorist, linguist and professor of translation at the University of Surrey, combining with years of translation experience, has concluded and summarized a corresponding theory, semantic translation and communicative translation, whose core is the problem of literal translation and free translation. Semantic translation and communicative translation have been put forward against the background that the majority of scholars have argued for a long time whether to translate literally or freely. The concepts of communicative and semantic translation represent Newmark’s main contribution to general translation theory. (Newmark 1991, 10)&lt;br /&gt;
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====Semantic Translation====&lt;br /&gt;
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Newmark puts the definition of semantic translation as &amp;quot;Semantic translation, attempts to render, as closely as the semantic and syntactic structures of the second language allow, the exact contextual meaning of the original. &amp;quot; As this version of definition indicates, communicative translation focuses essentially upon the comprehension and response of TL receptors. Semantic translation severs for the source language author and gives a high priority to reflecting his thought patterns and stylistics. (Shuttleworth and Cowie 2004, 22) Here is an example.&lt;br /&gt;
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E.g. 谋事在人，成事在天。&lt;br /&gt;
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Yang Hsien-yi and Gladys Yang's Version: Man Proposes, Heaven disposes.&lt;br /&gt;
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In this example, the Chinese idiom means that a man has done his or her best to do something and as to whether he or she can achieve the goal, it depends on the fortune. “天” refers to the master of nature in ancient Chinese culture. This word is semantically translated into “heaven” as the translation emphasizes the original information and tries to preserve the favor, style and culture maintained in the source language.&lt;br /&gt;
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====Communicative Translation====&lt;br /&gt;
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Communicative translation attempts to produce on its readers an effect as close as possible to that obtained on the readers of the original. As this version of definition indicates, communicative translation centers around the semantic aspects of the source language texts. To be specific, in communicative translation, the emphasis should be on conveying the message of the original in a form, which conforms to the linguistic, cultural and pragmatic conventions of target language. Both content and language are readily acceptable and comprehensible to the readership. (Chen Boyu 2003, 4)&lt;br /&gt;
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Communicative translation intends to present the main idea of the original text and emphasize the social value generated by the translation. Communicative translation highlights on conveying the message expressed in the original and form of the the source language. Due to different textual functions, content and form should have different focuses. Texts of informative function emphasize on the information beyond the language, while texts of vocative function center on readers. The primary intention of translators is to convey the message to the target readers, without paying much attention to the style of the original. If it is necessary, translators can adjust grammar and words to better transmit the information. The change of forms is not only allowed, but also encouraged. (Zhang Linlin 2010, 17)&lt;br /&gt;
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E.g. 谋事在人，成事在天。&lt;br /&gt;
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Hawkes's Version: Man Proposes, God disposes.&lt;br /&gt;
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This translation is communicative translation. Different from the version of Yang, Hawkes translated &amp;quot;天&amp;quot; into &amp;quot;God&amp;quot;. In western culture, people believe that &amp;quot;God&amp;quot; is the master of nature. It renders the contextual meaning of the original in such a way that both content and language are readily acceptable and comprehensible to the readers.&lt;br /&gt;
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====Comparison Between Semantic Translation and Communicative Translation====&lt;br /&gt;
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The fundamental difference between semantic translation and communicative translation is that semantic translation attaches more importance to the content rather than effect and communicative translation is just opposite. &lt;br /&gt;
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Firstly, semantic translation is more objective, stresses accuracy and is submitted to the author, culture and meaning of the original. Communicative translation is more subjective, pays much attention to the readers' responses, and is submitted to the target language and its culture. Semantic translation and communicative translation have difference in expression form. &lt;br /&gt;
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Second, semantic translation make the translated text more close to the original form and retain the vocative effect as much as possible. If there is no much difference between the source and target language specifications, translation should maintain the length of sentences in the original text as well. Communicative translation will reorganize the syntax and utilize more common collocations or words to make translation more fluent, idiomatic and understandable. In the communicative translation, to make the translation brief and emphasize key information, translators should get rid of the bondage of the source language structure and make appropriate adjustments which are not allowed in the semantic translation, such as adjusting the logic relations in the original, making obscure concepts distinct, deleting repeated unnecessary details or redundant information, normalizing some peculiar expressions, and even correcting factual or writing mistakes. &lt;br /&gt;
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Thus, they have different functions. Semantic translation, performing expressive function, tries to preserve the language characteristics and unique expression forms of the source language to present thinking process of the author. Its translation judged by the target readers is likely to be smoother, simpler, clearer and more direct. While communicative translation is to convey message, performing vocative function. &lt;br /&gt;
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In addition, the key of communicative translation is immediacy which means the success of translation depends on the readers' responses. Semantic translation lays stress on faithfulness to the source text, but cannot neglect to convey the message contained in the source text. (Lin Xiaoqin 1987, 50)&lt;br /&gt;
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Here are some examples to better present the differences between semantic translation and communicative translation.&lt;br /&gt;
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E.g. 世人都晓神仙好。&lt;br /&gt;
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Yang Hsien-yi and Gladys Yang's Version: All men long to immortals.&lt;br /&gt;
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David Hawkes’s Version: All men knew that salvation should be won. &lt;br /&gt;
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In this example, “神仙” is the difficult point because there is no corresponding expression in English. In Chinese culture, “神仙” refers to transcendence and is a life with “supernatural forces” in human beings. Yang directly translated “神仙” as “immortals” because being an immortal is the highest ideal of Taoism. His translation is semantic translation. While Hawkes used “salvation” which is a concept in the Christianity. The creed of Christianity is to be saved from sins. And his translation is communicative translation. Yang chose to be faithful to the original text to preserve the concept in the Taoism. While Hawkes decided to pay more attention to religious background and mentality of the target readers. &lt;br /&gt;
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E.g. 真是“天有不测风云，人有旦夕祸福”。&lt;br /&gt;
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Yang Hsien-yi and Gladys Yang's Version: Truly, “storms gather without warning in nature, and had luck befalls men overnight.”&lt;br /&gt;
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David Hawkes’s Version: I know “the weather and human life are both unpredictable.”&lt;br /&gt;
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In this sentence, “天有不测风云，人有旦夕祸福” is a challenge in translation. It is a Chinese idiom which means the occurrences of some disasters are unpredictable in advance. According to antithesis habit in Chinese, Yang translated these two idioms into the corresponding English compound sentence, which adopted semantic translation. While Hawkes briefly translated into a single sentence, which adopted communicative translation. The former sentence may be appreciated by Chinese readers, and the simplified processing of the latter is easier for native English speakers to understand and accept because it conforms to the British and American expressions, especially in line with the habits of daily expression.&lt;br /&gt;
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E.g. Wet Paint!&lt;br /&gt;
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Version 1: 湿油漆&lt;br /&gt;
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Version 2: 油漆未干&lt;br /&gt;
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Version 3: 小心油漆&lt;br /&gt;
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Version 4: 勿触油漆&lt;br /&gt;
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This sentence is an official notice. From the four versions of the source text, there are differences among them. Version 1 is word-by-word translation, conveying an obscure message and not involving in any receptors. Version 2 just describes a fact that the paint is not dry but wet and does not present the informative function of the original. This notice aims to warn people not to do something and keep away from the paint. Version 3 and version 4 are free translations because they emphasize more on the content instead of form. The first and second version are semantic translation because they only describe the fact and tell readers the information that the paint is not dry. However, the third and fourth version are communicative translation which not only tell people the information but also play the warning function to notify readers not to touch the wet paint. &lt;br /&gt;
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However, semantic translation and communicative translation are not opposite. Newmark points out that the two should be viewed as a whole, instead of isolated or opposite parts. And a problem should be emphasized. Corresponding text-types can overlap. Semantic translation pays more attention to a mainly expressive text and communicative translation is more popular in mainly informative or vocative texts. In brief, translators should think the type of text over and ensure a good balance between them.&lt;br /&gt;
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====Text Typology====&lt;br /&gt;
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Language is a unique symbolic system, which has its own most important semantic system, as well as a functional system involving context. &lt;br /&gt;
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Newmark's text tppology theory is influenced by Reiss, Jacobson and other translators. In the book of Approaches to Translation, Newmark put forward three functional texts, including expressive text, informational text and vocative text. In accordance with these types of classification, Newmark summarized semantic translation and communicative translation. (Newmark 2001, 39)&lt;br /&gt;
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Expressive text mainly talks about the author's subjective emotions and his or her standpoints, which centers on the source language and the author regardless of the target readers' responses. Newmark points out that the expressive text includes three literary styles: &amp;quot;(1)serious imaginative literature such as poem, novels and dramas, (2) authoritative statements such as speech or statements from government officials or party's officials or party's leaders, documents and regulations and laws from government, and academic works from authorities, (3) autobiography, prose and personal correspondence without target readers.&amp;quot; (Newmark 2001, 55) Semantic translation is applicable to the expressive text, with a particular emphasis on the language features and language structure of the original language which is similar to literal translation.&lt;br /&gt;
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As for informative text, Newmark proposes that &amp;quot;typical informative texts are concerned with any topic of knowledge&amp;quot;. (Newmark 1988, 40) The informative text focuses on the information or the content provided in the text. According to Newmark, informative text includes textbooks, papers, reports, and minutes about science, industry, technology, economy, commerce and other areas of knowledge or events, which are mainly used to deliver information and reflect truth. In light of translation of informative text, Newmark proposes that communicative translation can be adopted to convey accurate meaning or the content of the source text to the target readers. (Newmark 2001, 67)&lt;br /&gt;
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&amp;quot;The function of vocative text is to call upon readers to act, to think, to feel and to react in the way intended by the text.&amp;quot; (Newmark 2001, 41) The vocative text includes all kinds of specifications, publicity materials, advertisements, notices and other persuasive words. Two factors must be emphasized in vocative text: one is the relationship between the author of the source text and readers of the source text and another is that translation is easy to be understood by the target readers, therefore, translators should take the source language and its cultural background into consideration in the course of translation practice. And communicative translation should also be used in the vocative text which means much attention should be paid on the target readers' understanding and reaction.&lt;br /&gt;
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===Newmark's Improved Views on Literal Translation and Free Translation===&lt;br /&gt;
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It can be said that literal translation and free translation in the past were had their own disadvantages. Newmark agrees with literal translation and he holds that &amp;quot;translation means filling the blank between two languages and even explaining is translating.&amp;quot; (Newmark 1999, 33) This indicates that he does not neglect the importance of free translation. If the language and grammar structure of the original are not that important, the fidelity of the translation can be lowered, creating more room for translation. This situation can mainly adopts free translation. He even believes that translators can create better translation than the original one. Communicative translation and free translation resemble when it comes to the preference for the message to the manner, and the content to the form of the original. In his masterpiece ''Approaches To Translation'', he analyzes and discusses the loss of meaning. As long as the loss of meaning in the translation is inevitable, content cannot separate from form. And complete faithfulness to the original is almost impossible because the so-called preserving the original meaning is relative. What's more, the content of a text should not be equal to referent in language, but include referent, rhyme, genre, style and so on. As the slogan, being faithful to the original, was too empty, some translators advocating literal translation did free translation and even paraphrased the original in the practice. Newmark holds that translators need to notice the content in four layers, the original text level, referred level, coherent language level and natural tone level. In this way, he transforms the empty slogan into concrete requirements in the translation practice and meanwhile criticized the disadvantages of literal translation. (Newmark 1999, 33)&lt;br /&gt;
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Likewise, the viewpoints of free translation are not advisable as well. Newmark criticizes the basis of free translation school, making the target readers obtain feelings similar to that of the original readers. He thinks the goal is too difficult to achieve because translators had problem in completely knowing the feelings and responses of the original readers. He further puts forward some reasons why this goal cannot be realized. As long as the same feelings cannot be obtained by the source and target readers, there exists no reason or judging basis of great amending or creative rewriting.  Free translation produces the matter rather than the manner, or the content rather than the form. Newmark regards it as usually a paraphrase much longer than the original, often prolix and pretentious, and not translation at all. In free translation, &amp;quot;more translation is paid to producing a natural reading TL text than to preserving the ST wording intact.&amp;quot; (Shuttleworth and Cowie 2004, 62)&lt;br /&gt;
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Newmark criticizes that the argument is theoretical without taking other important facets of translator's purpose, the nature of readership and text typology into consideration. Newmark claims the argument could come to a compromise if translators deal with two sides with another visual angle. In 1981, he proposed semantic translation and communicative translation to replace the old terms. (Newmark 1988, 45)&lt;br /&gt;
&amp;quot;(a) communicative translation, where the translator attempts to produce the same effect of the target language readers as produced by the original on the source language readers, and (b) semantic translation, where the translator attempts, with the bare syntactic and semantic constraints of the TL, to reproduce the precise contextual meaning of the author.&amp;quot; (Newmark 1981, 22) In order to better explain these two methods, he designed the form of a flattened diagram. (Newmark 1988, 45)&lt;br /&gt;
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                SL emphasis                            TL emphasis&lt;br /&gt;
   word for word translation                        Adaption&lt;br /&gt;
          Literal translation                     Free translation&lt;br /&gt;
          Faithful translation                  Idiomatic translation&lt;br /&gt;
            Semantic translation               Communicative translation&lt;br /&gt;
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The diagram indicates that there is a hugest gap between the translation guided by word for word translation and the translation guided by adaption, then between literal translation and free translation, faithful translation and idiomatic translation and semantic translation and communicative translation last. These eight translation methods are a continuity, and they complement each other and cannot be completely separated. In Newmark's opinion, adaption is the freest translation method, and suitable for drama and poem translation. Free translation reproduces the main content of the original and pay more attention to interpret and expound. Target texts guided by idiomatic translation are more natural, more fluent and more coherent. But due to adopt some unknown expressions, the original meaning may be distorted.&lt;br /&gt;
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Communicative translation possesses the advantages of adaption, free translation, idiomatic translation and semantic translation maintains the advantages of word for word translation, literal translation and faithful translation. Newmark maintains only by combining semantic translation and communicative translation can achieve two aims of translation-accuracy and conciseness. By distinguishing these right methods, he gives further refinements to the above definition of semantic translation and communicative translation. He adds one more element &amp;quot;aesthetic value&amp;quot;. Meanwhile, he gives up emphasizing the &amp;quot;effect&amp;quot;, and refines communicative translation to be more specific, &amp;quot;communicative translation attempts to render the exact contextual meaning of the original in such a way that both content an language are readily acceptable and comprehensible to the readership.&amp;quot; (Newmark 1988, 47)&lt;br /&gt;
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===My Thoughts on Literal Translation and Free Translation===&lt;br /&gt;
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The two translation methods, literal translation and free translation, are useful in the translation practice. Taking English-Chinese translation for example, in the translating process, translators can use the method of literal translation when the pattern of sentence in original text is similar with the Chinese one, and we can find some Chinese words being equivalent in meaning to the words used in the sentence of original text. In some cases there are some complex sentences that can be translated with the method of literal translation as well. As long as these sentences are short and the pattern of these sentences is relatively simple compared with other complex sentences, they can be translated by literal translation method. In English, the using of some metaphors and similes is almost similar to the way that they are used by in Chinese. For instance, &amp;quot;time flies&amp;quot; in English can be directly translated into Chinese as &amp;quot;时间飞逝&amp;quot;, as the Chinese people also describe time passing very fast in this way, which accords with the expression habit of Chinese.&lt;br /&gt;
&lt;br /&gt;
As English and Chinese are two kinds of different languages, there are many differences in various aspects, such as different grammar and language habits. In English there are some words or phrases we cannot find the relative words or phrases in Chinese. In this cases, using using literal translation method would not be proper. Under this condition, if the translator insists on using literal translation, the translation text will be difficult to be understood by the target readers. So in order to make the translation text readable, translators should adopt free translation. Under the direction of literal translation, translators will try their best to keep the flavor of original work, no matter on the material or the form. Literal translation is the effective method to keep the cultural flavor of original language. Therefore, when there are some cultural differences affecting the translation of culture-loaded words between the source language and the target language, free translation can become one of the translation strategies which provide possibility in reducing or even removing the restrictive factors in translation process. &lt;br /&gt;
 &lt;br /&gt;
In the process of translation, it is an ideal way to combine literal translation and free translation because they mutually complement in many cases. When literal translation cannot express the original and basic content of the author and hinder readers to understand, it is crucial for the translator to use free translation to express the author's meaning. When free translation cannot meet the requirement of being faithful to the content of the original text, it is significant for the translation to use literal translation to show features ad the structure of the author's language.&lt;br /&gt;
&lt;br /&gt;
===Conclusion===&lt;br /&gt;
&lt;br /&gt;
The dispute between two translation methods, literal translation and free translation has been lasting from throughout history. The argument of them is based on the relationship between content and form. This paper attempts to introduce Peter Newmark's improved views on the literal translation and free translation. Newmark criticizes some disadvantages and proposes semantic translation and communicative translation. Semantic translation focuses on maintaining the content of the original text, while communicative translation emphasizes more on the effect of the translation. The author also shows opinions on literal translation and free translation. Peter Newmark's theory has taken a big step forward from one-sided view of literal translation and free translation in the past, which has provided the direction of further development of translation research.&lt;br /&gt;
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===References===&lt;br /&gt;
*Nida,E.A[尤金·A·奈达].(1985).''Translating means Translating meaning''《翻译即译意》.UNESCO: Publication of FIT. &lt;br /&gt;
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*Newmark, Peter[彼得·纽马克]. (1991). ''About Translation''《关于翻译》. North Somerset: Multilingual Matters&lt;br /&gt;
&lt;br /&gt;
*Newmark,Peter[彼得·纽马克].(1998). ''A Textbook of Translation''《翻译教科书》. London: Prentice-Hall International (UK) Ltd. &lt;br /&gt;
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*Newmark, Peter[彼得·纽马克]. (1981). ''Approaches to Translation''《翻译方法》. Oxford: Pergamon Press.&lt;br /&gt;
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*Shuttleworth &amp;amp; Cowie[沙特尔沃斯&amp;amp;考伊]. (2004). ''Dictionary of Translation Studies''《翻译研究词典》. Shanghai: Shanghai  Foreign Language Education Press.&lt;br /&gt;
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*陈伯雨 Chen Boyu. “翻译对等” 研究[Study on Translation Equivalence]. 辽宁师范大学[Liaoning Normal University]. 2003.&lt;br /&gt;
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*陈福康 Chen Fukang.《中国译学理论史稿（修订本）》[''Draft History of Chinese Translation Theory (Revised)'']. 上海：上海外语教育出版社[Shanghai Foreign Language Education Publishing House]. 2000.&lt;br /&gt;
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*程永生 Cheng Yongsheng.中国近现代直译与意译研究[Research on Modern Chinese Literal Translation and Free Translation]. 淮南工业学院学报(社会科学版)[Journal of Huainan Institute of Technology(Social Science)]. 2002.&lt;br /&gt;
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*李明瀚 Li Minghan.语义翻译和交际翻译在汉语政论文翻译中的应用[Semantic Translation and Communicative Translation in the Translation of Chinese Political Writings]. 辽宁大学[Liaoning University]. 2014.&lt;br /&gt;
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*林小芹 Lin Xiaoqin.纽马克论交际翻译与语义翻译[Newmark's Study on Communicative Translation and Semantic Translation]. 中国翻译[Chinese Translators Journal]. 1987. &lt;br /&gt;
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*刘重德 Liu Zhongde.文学翻译十讲[Ten Lectures on Literary Translation]. 北京：对外翻译出版社[Foreign Translation Press]. 1991.&lt;br /&gt;
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*任文 Ren Wen.交替传译[Consecutive Interpretation]. 北京：外语教学与研究出版社[Foreign Language Teaching and Research Press]. 2012.&lt;br /&gt;
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*谭载喜 Tan Zaixi.《西方翻译简史（增订版）》[''A Short History of Translation in the West(Updated Version)'']. 北京：商务印书馆[Commercial Press]. 2018.&lt;br /&gt;
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*王佐良 Wang Zuoliang.翻译：思考与试笔[Translation: Thinking and Writing]. 北京：外语教学与研究出版社 [Foreign Language Teaching and Research Press]. 1989.&lt;br /&gt;
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*许海燕,孙卫红.杨译本文化负载词的翻译——以《从百草园到三味书屋》为例[On C-E Translation of Culture-loaded Words by Yang Xianyi—A Case Study of From ''Hundred-plant Garden to Three-flavor Study''].陇东学院学报[Journal of Longdong University]. 2012.&lt;br /&gt;
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*许渊冲 Xu Yuanchong.翻译的艺术[The Art of Translation]. 北京：五洲传播出版社[China Intercontinental Press]. 1984.  &lt;br /&gt;
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*许渊冲Xuan Yuanchong.直译与意译[Literal Translation and Free Translation]. 上海外国语学院学报[Journal of Shanghai Institute of Foreign Languages]. 1980.&lt;br /&gt;
&lt;br /&gt;
='''Document Translation'''=&lt;br /&gt;
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==On translation of official documents of CangNan County	吴恺	Wu Kai==&lt;br /&gt;
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On Translation of Official Documents of Cangnan County&lt;br /&gt;
&lt;br /&gt;
Japanese Language and Literature, School of Foreign Languages, Hunan Normal University, Wu Kai--[[User:Wu Kai|Wu Kai]] ([[User talk:Wu Kai|talk]]) 04:45, 2 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
==='''Abstract'''===&lt;br /&gt;
As one of the forefronts of Zhejiang’s opening-up cause, Cangnan County in Zhejiang Province has been enjoying a rapid development and an ever-growing degree of opening-up with lasting vitality as it’s supported by national policies and nourished by the dividends of economic globalization since China's reform and opening-up. As China has ushered in a period of major changes rarely seen in a century, Cangnan County is also facing new opportunities and challenges. Under the background of this era, Cangnan County is expected to make good use of its own advantages, especially the geographical ones—it is close to countries and regions including Japan, South Korea, and Taiwan—and should spare no efforts to achieve a higher level of opening-up, and, in turn, further promote its development. As an embodiment of the collective will of the people of Cangnan County, the official document is one of the best manifestations of its governance and stability control capabilities. For this reason, the research on how to translate official documents is of great significance for that it offers a great opportunity for Cangnan County to re-examine itself and to show the rest of the world its achievement in building a culture-enriched county.&lt;br /&gt;
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==='''Key words'''===&lt;br /&gt;
 official document translation, Cangnan County, opening-up, Japan, South Korea&lt;br /&gt;
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==='''摘要'''===&lt;br /&gt;
自中国改革开放以来，浙江省苍南县作为全浙江对外开放的前沿阵地之一，得到了国家政策支持和经济全球化红利的滋润，苍南县发展水平与对外开放程度日新月异，全县活力持久带劲。随着中国迎来“百年未有之大变局”，苍南县也面临着新的机遇和挑战，在此时代背景下，苍南县应该利用好自身优势，特别是临近日本、韩国、台湾等国家与地区的地理优势，努力开展更高层次、更高水平的对外开放事业，促进苍南更好的发展。为此，作为苍南县人民集体意志的体现，苍南县的公文就是对外展示其治理水平、稳控能力的最好的体现之一。而对于苍南县公文的如何翻译的研究，是促使苍南县重新审视自己、推进苍南人文县情传播海外的良机，意义重大。&lt;br /&gt;
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==='''关键词'''===&lt;br /&gt;
公文翻译  苍南县  对外开放  日本  韩国&lt;br /&gt;
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==='''I. System and Translation of Official Documents of Cangnan County'''===&lt;br /&gt;
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The unique official document system adopted by Chinese government agencies is a special integration of the thousands-of-years excellent political traditions in China and the essence of the organizational structure of the socialist regime. As a county-level unit in China's local administrative structure, Cangnan County has an official document system that is consistent with the national ones in general while has its own features. Official documents of Cangnan County can be basically divided into the following types of writing: resolutions, decisions, orders, bulletins, announcements, notifications, opinions, notices, reports, requests for instructions, approvals, proposals, letters, and minutes. Above-mentioned categories are collectively known as official documents. Besides, there are also some types of practical writing, including summaries, plans, notes, memos, briefings, speeches, manuals and so on, that are often used in our day-to-day work.&lt;br /&gt;
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In addition to those characteristics of the official documents that are commonly seen in China, official documents of Cangnan County also have its own features, which is mainly reflected in the aspect of proprietary terminology. Cangnan County, which used to be a part of Pingyang County in Zhejiang Province, was officially designated as a county in 1981 with the approval of the Central Government. It takes its name Cangnan, which means “on the south of the Yucang Mountain”, from its geographical location. As a relatively young county-level administrative unit in China’s administrative divisions, Cangnan County has a complex natural endowment and cultural environment, which is the reason why there are many special proprietary terms used in the official documents of Cangnan County, such as “Beautiful South Gate of Zhejiang Province”, “Southern Ouyue (an ancient kingdom in modern Wenzhou and Taizhou)” , “South Gate of Jiangsu-Zhejiang Region” and so on. Moreover, Cangnan is also the birthplace of the “Wenzhou Model”. Since the implementation of policy for the exchange of production materials and commercial grains in 1984, Cangnan has become an important base for the experiments and development of Wenzhou's private economy and market economy, and, thus, has made a significant contribution to the great cause of China's reform and opening-up.&lt;br /&gt;
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To conclude, the unity of the official document system viewed from the national scope of China and the uniqueness of the official document system viewed from the local scope of Cangnan area are both reflections of the integration of economic, political, and cultural elements. Therefore, when translating the terms and sentences in these official documents, obviously, it is almost impossible to follow general translation theories, such as Yan Fu’s “faithfulness, expressiveness and elegance” theory which applies to literature translation, and Christiane Nord’ Skopos theory which emphasizes schematic analysis. Due to the features of the official documents of Cangnan County, it is hard to imagine the consequence it will cause if those Cangnan and Chinese elements they contain are missed when translating them. Therefore, the starting point for the translation and research of Cangnan official documents should be analyzing the official document itself, but not choosing which translation theory to apply.&lt;br /&gt;
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The translation method focusing on the official documents themselves is undoubtably the one that emphasizes the content while manages to achieve a similarity in form. Thus, the translation theory that meets the requirements of official document translation in Cangnan County shall be the functional equivalence theory of the American linguist Eugene A. Nida. Eugene A. Nida argued in his theory that translation is to use the most appropriate, natural and equivalent language to reproduce the informational function of the source language both semantically and stylistically. Nida’s definition of translation specified that translation is seeking equivalence not only in lexical meaning, but also in semantics, style and literary form. Translation should convey both the denotative and connotative meaning of a message. Regarding the equivalence of translation, he believed that the equivalence consists of four parts: lexical equivalence, syntactic equivalence, textual equivalence, and stylistic equivalence. Among the four aspects, he emphasized that the meaning the core and most important part, followed by the form. The form of a text is likely to conceal the cultural connotation of the source language and may, therefore, hinder cultural exchanges. Based on the above, the reasons why the functional equivalence theory is applicable to official document translation in Cangnan County can be concluded as follows:&lt;br /&gt;
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First, the functional equivalence theory advocates that the target text should be equivalent to the source text both semantically and culturally. Official documents of Cangnan County are carriers of profound political culture with Chinese characteristics and the cultural environment in Cangnan. When translating them, in addition to showing the political consciousness and judicial authority of Cangnan government agencies, the local culture of Cangnan must also be reflected in the translations.&lt;br /&gt;
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Second, the functional equivalence theory suggests that if the lexical meanings and cultural elements cannot be taken into account at the same time, the translator then may give up the equivalence in form and try to reproduce the semantic and cultural meaning of the source text by changing the form of the sentence. There are many specialized terms with Chinese characteristics and Cangnan’s characteristics in official documents of Cangnan County. When translating them, once there is no corresponding expression in the target language, other forms of expression must be adopted to retain the meanings of those specialized terms as much as possible.&lt;br /&gt;
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Third, the functional equivalence theory proposes that if the change in form is still not enough to express the semantic and cultural meaning of the expression in the source language, the translation technique of “heavy damage” can be adopted to resolve cultural differences , so that the source language and the target language can achieve equivalence in semantic meaning. “Heavy damage” refers to the transformation of the deep structure of the source language into the surface structure of the target language, that is, expressing the cultural connotation of the source text with expressions of the target language. It cannot be ruled out that there are words and sentences in the official document of Cangnan County that cannot be translated, and when this happens, the translator can only rely on his translation techniques and understanding ability to process them creatively.&lt;br /&gt;
Above are simply macro analyses of the official document system in Cangnan County, and when it comes to specific analyses, challenges we face will only be severer.&lt;br /&gt;
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==='''II. Stylistic Features and Translation of Official Documents in Cangnan County'''===&lt;br /&gt;
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Looking at the official documents of Cangnan County from the micro level, we can work on the study of its translation based on the following characteristics.&lt;br /&gt;
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'''1. Details and Accurate'''&lt;br /&gt;
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As an officially-written document geared for the needs of our people, wording of the official documents of Cangnan County has a very specific orientation. Almost all content words have very clear meanings and connotations.&lt;br /&gt;
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For example, the sentence “经研究，县政府决定召开市对县安全生产巡查反馈会暨突出问题集中教育警示会，现将有关事宜通知如下。(As discussed, the county government decided to convene a feedback meeting on city-to-county inspections of production safety and a meeting for education and warning on outstanding issues. The relevant matters are hereby notified as follows.)” in the document 《苍南县人民政府办公室关于召开市对县安全生产巡查反馈会暨突出问题集中教育警示会的通知》(“Notice of the Office of the People's Government of Cangnan County on Convening a Feedback Meeting on City-to-County Inspections of Production Safety and A Meeting For Education and Warning On Outstanding Issues”) (the office of the People's Government of Cangnan County on June 8th, 2020) conveys several points very accurately and clearly, including the decision maker, the type, content and theme of the meeting. Therefore, special attention must be paid to the integrity of the information delivered when translating this sentence. For example, it is translated into Japanese as “討議を通じて、県政府は県の安全生産状況に対する市政府の巡査結果反映会及び顕著問題教育警告会を開催することが決定した。関連事項を以下のようにお知らせする。”&lt;br /&gt;
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'''2. Precise and Compact'''&lt;br /&gt;
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The role of official documents is to exchange formal information between the upper and the lower, the people and the officials, and the relevant departments. Therefore, the wording of the official documents must be rigorous. No slang and loose sentences should be used, and excessive use of parentheses and descriptive modifiers should be avoided. Official documents of Cangnan County follow this rule as well, in which there will never be informal expressions like daily spoken words.&lt;br /&gt;
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For example, the expression “三、决策目录施行动态管理，因工作需要增减或变更重大行政决策事项的，承办单位应按照相关规定程序提请调整。(Third, the decision catalogue shall be managed in a dynamic way, the undertaker shall submit application for adjustments in accordance with the relevant regulations if any increase/decrease or change shall be made to the major administrative decision-making matters because of the need of actual work.)” in the document《关于公布苍南县2020年度重大行政决策事项目录的通知》(“Notice on Issuing the 2020 Annual Catalogue of Major Administrative Decision-Making Matters of Cangnan County”) (the office of the People's Government of Cangnan County on Sept. 20th, 2020) When translating this sentence into Japanese, the translator shall fully considers the preciseness of the original expression, and translate it as “三つ目、戦略目録動的管理施行、仕事需要によっての増減または変更が必要な場合、請負機構は関連規定の手順に従って調整を提出しなければならない。”&lt;br /&gt;
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'''3. Programmed and Standardized'''&lt;br /&gt;
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The purpose of official documents requires a stable and routine writing program so that the official business can be conducted in an orderly manner. It is essential that the document writing is reasonably programmed. It allows the officer to know what it is and what to do at a glance if a standardized official document program is followed. The standardization of the official documents of Cangnan County can be regarded as a tricky feature in their translation.&lt;br /&gt;
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For example, the expression “各乡镇人民政府，县政府直属各单位 (the people's government of all townships and towns and all directly affiliated institutions of the people’s government of Cangnan County)” in the document《关于公布苍南县2020年度重大行政决策事项目录的通知》(“Notice on Issuing the 2020 Annual Catalogue of Major Administrative Decision-Making Matters of Cangnan County”) (the Office of the People's Government of Cangnan County on Sept. 20th, 2020) is obviously a standardized addressing of the receiving units of an official document, and it should be translated into Japanese as “各郷鎮人民政府、県政府直属の各部門”.&lt;br /&gt;
Viewing from a micro perspective, we may find that special attention should be paid to many precise details when translating those official documents. It is of great significance that, during the cause of reform and opening-up, we strike a balance between the macro level and the micro level in official document translation, which will serve as a stage for Cangnan County to show itself to Japan, South Korea and other East Asian countries and regions.&lt;br /&gt;
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==='''III. Translation of Official Documents of Cangnan County under the Context of the Japanese Language'''===&lt;br /&gt;
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Cangnan County is one of the nearest administrative units to Japan in China, and Okinawa Prefecture in Japan and Cangnan County are neighbors facing each other across the sea. Furthermore, Cangnan County itself has ports in Xiaguan, Pacao, Yanting, Dayu and other places, and has the basic conditions for conducting small transactions of freights with Okinawa. However, due to the inadequacy policies, laws and regulations, a large portion of Japan’s trade with China, especially with Zhejiang Province, is still conducted in the three port cities, namely Ningbo, Zhoushan, and Hangzhou. Cangnan’s geographical advantages have never been given to full play. To Japan, Cangnan is not a total stranger. Wenzhou City has a great influence upon Japanese culture and history. Special local products such as Wenzhou green tea and Wenzhou satsuma orange are very attractive to Japanese people. Many of the business exchanges during the Kamakura Bakufu in Japan were happened between Hakata merchants and Wenzhou people. As an important subordinate region of Wenzhou City, Cangnan County naturally has left an impression on Japanese people when it comes to China.&lt;br /&gt;
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If Cangnan hopes to lay a foundation for the future cooperation with Japan through its cause of opening up to the outside world, it is of great importance that we study the methods and techniques to make the translation of Cangnan’s official documents to meet the specific context of the Japanese language, which is also a part of the cultural exchanges that will facilitate economic and trade cooperation between Japan and China. The political status of Cangnan County is equivalent to the one of regular cities and special wards in Japan, but this does not mean that the official documents of Cangnan County can be regarded as equivalents to the official documents released by the governments of the regular cities and special wards in Japan, and there are huge differences between their respective official documents in form, wording, Cultural connotation and etc. To better translate Cangnan official documents under the context of Japanese language, the following aspects must be paid attention to:&lt;br /&gt;
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1. Detailed Comparison of Types&lt;br /&gt;
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In the Japanese official document system, the word “公文” is different in meaning from the word “公文” in Chinese official document system. In Chinese “公文” means government official documents, while in Japanese “公文” generally refer to legal documents that have the force of law and the term “公文書” is the one that refers to government official documents, which roughly includes “外交文書” and “起案文”, “通達” , “命令”, “許可”, “通知書” and so on . When translating official documents of Cangnan County into Japanese, attention should be paid to the transformation of the types of the official documents. The classifications of official documents in China and Japan are different from each other.&lt;br /&gt;
For example, when translating documents such as “proposal letter”, “report” and the like into Japanese, the title should be translated as “建言書” and “報告書”, while “命令(order)”, “通知(notice)”, “提案(Proposal)” and etc. need no translation and can be titled with the original characters directly as “命令”, “通知”, “提案”, and can also be further translated into “命令状”, “通知書”, “提案書”. Those reflect the characteristics of the division of the types of the official document system in Japan.&lt;br /&gt;
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2. Careful Consideration of the Translation of Chinese Characters&lt;br /&gt;
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There are a large number of Chinese characters in Japanese. This will for sure be an advantage when translating official documents of Cangnan County into Japanese, however, at the same time, this is also a huge disadvantage. After all, those Chinese characters are Japanized Chinese characters, and their meanings and usages are more or less different from the original ones in Chinese.&lt;br /&gt;
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For example, the expression “设定全县森林防火期(setting the season of forest fire prevention)” in the document 《苍南县应急管理局局长王再忠关于&amp;lt;苍南县人民政府关于做好森林防火期护林防火工作的通告&amp;gt;的政策解读》(“Policy Interpretation Of ‘Notice of Doing Forest Protection and Fire Prevention during the Season of Forest Fire Prevention by the People's Government Of Cangnan County’ by the Director of Cangnan Emergency Management Agency Wang Zaizhong”) in could be translated character by character into Japanese as “全県域森林防火期間設定”. However, expressions such as “野外火源如何管理” cannot be translated in the same way, and must be processed accordingly and translated into Japanese as “野外の火の元が如何に処理すること”. When translating official documents of Cangnan County into Japanese, the translators must reject the preconceived thinking and native Chinese thinking, or it will lead to irreversible misunderstandings and mistakes.&lt;br /&gt;
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3. Mastery of the Equivalence of Semantic Meaning&lt;br /&gt;
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Chinese is an isolating language, in which the grammatical meaning is reflected by the order of words, while Japanese is an agglutinative language, in which auxiliary words and flexible usages of vocabulary are adopted to reflect the grammatical meaning. This requires the translators to have mastery of the equivalence of semantic meanings when translating official documents of Cangnan County into Japanese and try to achieve perfect equivalence in official document translation.&lt;br /&gt;
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For example, there is a expression as “全体公民必须认真贯彻‘以人为本、预防为主、积极扑救、有效消灾’的森林防灭火工作方针，一旦发现森林火灾，要立即向当地人民政府或森林防灭火指挥部办公室报告(all citizens must seriously implement the working policy of forest fire prevention and firefighting ‘people-oriented, prevention-focused, active in firefighting, effective in disaster relief’, once a forest fire is detected, it must be reported to the local people’s government or the forest fire prevention and firefighting headquarters office immediately)” in the document 《苍南县应急管理局局长王再忠关于&amp;lt;苍南县人民政府关于做好森林防火期护林防火工作的通告&amp;gt;的政策解读》(“Policy Interpretation Of ‘Notice of Doing Forest Protection and Fire Prevention during the Season of Forest Fire Prevention by the People's Government Of Cangnan County’ by the Director of Cangnan Emergency Management Agency Wang Zaizhong”). When dealing with long and complex sentences, the translator must be flexible in using translation techniques to decompose the sentences and translate them step by step, focusing on the balance between the form of the sentence and its semantic meaning. Based on this principle, the abovementioned sentence could be translated into Japanese as “人間本位、予防軸化、積極救助、有効消災という森林防火作業方針は全県民が必ず強固に守らなければならない。林に火事が発見された際、直ちに所轄人民政府や森林防火指揮部執務室に報告すること。”&lt;br /&gt;
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There is no doubt that, in terms of four-character idioms, allusions, new words of the era and etc., the translation of official documents of Cangnan County under the context of the Japanese language still has a long way to go, but the part that we should pay most attention to in translation is always the differences in culture between the source language and the target language. Only by keeping this basic point in mind at all times, will there be no huge mistakes being made when translating official documents of Cangnan County into Japanese.&lt;br /&gt;
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==='''Ⅳ. Translation of Official Documents of Cangnan County under the Context of the Korean Language'''===&lt;br /&gt;
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Zhejiang Province and South Korea have laid a good foundation for economic and trade cooperation projects, and a framework that is comprehensive, wide-ranging, and multi-level has been established for Zhejiang-South Korea cooperation. The advantages of the two regions are obviously complementary and the development potential for both sides and in between is huge. In September 2016, the Zhejiang China-Korea (Quzhou) Industrial Cooperation Park was approved as the first batch of “Zhejiang International Industrial Cooperation Parks” in Zhejiang Province. The total planned area is about 3,000 acres and the total planned investment is 12 billion yuan. Represented by the Zhejiang China-Korea Industrial Cooperation Park, a large number of economic and trade cooperation projects has been carried out with South Korea by Zhejiang Province. As an indispensable part of Zhejiang Province, Cangnan County is facing a huge gap in the cultural exchanges and economic cooperation with South Korea. How to elevate the level of Cangnan’s opening up to the outside world and advancing Cangnan’s economic, trade and cultural cooperation with South Korea is a question that is well worth exploring. Although Cangnan is further away from South Korea compared with regions in the north of Zhejiang, geographic location should never be a factor that hindering Cangnan’s economic, trade and cultural cooperation with South Korea. In an era of ever-deepening globalization, it is of great significance that we think about how to develop and promote the economic and trade and cultural cooperation between Cangnan and South Korea.&lt;br /&gt;
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Northern Zhejiang is a key area for economic, trade and cultural cooperation with South Korea. As the south gate of Zhejiang Province, if Cangnan County could open the door of economic, trade and cultural cooperation to South Korea, then this will inevitably bring extraordinary development opportunities to southern Zhejiang and make the pattern of Zhejiang and South Korea’s economic and cultural cooperation more balanced and healthy. The political status of Cangnan County is equivalent to the one of si(city), gu (district), and gun(county) in South Korea. Because of some historical reasons, South Korea is greatly influenced by Chinese culture. From the Three Kingdoms era of Joseon, to the Unified Silla Dynasty, the Wang’s Goryeo Dynasty, and the Yi’s Joseon Dynasty, the basic system of administrative divisions in South Korea is almost the same as the one in China, so the official document system of cities, districts, and counties in South Korea can be regarded as basically equivalent to the official document system of Cangnan County with only slight differences originated from the localized political and cultural traditions and the basic social condition of South Korea. Therefore, there are relatively fewer difficulties of translation when translating official documents of Cangnan County into Korean, aside from the barriers caused by Korean Hangul words. The translation of official documents of Cangnan County under the context Korean language requires attention to the following aspects:&lt;br /&gt;
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1. The Combination of Chinese characters and Hangul&lt;br /&gt;
&lt;br /&gt;
Modern Korean uses Hangul as the main written characters, but this does not mean that there is no place for Chinese characters in the Korean system. Since the launch of the abolition of Chinese characters movement in South Korea in the 1970s, Hangul did exactly achieved an overall penetration of every aspect of their daily life, but when it comes to important documents, Chinese characters still reserve a seat in the arena of South Korea’s history. Furthermore, a higher level of talent training is required now to meet the need of South Korea’s economic and social development, and the mastery of sinology has become, among all the necessary skills, one of the most straightforward evaluation criteria to access the qualified personnel. Thus, South Korea has restarted the Chinese character teaching movement. Nowadays, the official document system in South Korea has become one in which Hangul serves as the main language and the mixed use of Chinese characters and Hangul serves as a supplement. Just as how the mixed use of kana and Chinese characters in Japanese official documents may help in its translation, the mixed use of Chinese characters and Hangul also greatly facilitate the translation of official documents of Cangnan County into Korean. However, because Chinese characters used in Korea are composed of traditional Chinese characters and a small number of Korean self-made Chinese characters, we can not take it for granted that it is advisable to translate them word by word.&lt;br /&gt;
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For example, the title of the document《苍干任〔2020〕18号 王再忠等同志的任命》(“Cangnan Cadre Appointment [2020] No. 18: Appointment of Wang Zaizhong and etc.”) (the Office of CPC Cangnan Party Committee on March 27th, 2020) can be translated with the mixed use of Chinese characters and Hangul into Korean as《蒼南縣의 幹部任命〔2020〕18號 王再忠등 同志의任命》. Also, it be translated into Korean with Hangul alone as《참남현의 간부임명〔2020〕18호 왕재충등 동지의임명》.&lt;br /&gt;
&lt;br /&gt;
2. The Usage of Refined Language&lt;br /&gt;
&lt;br /&gt;
In recent years, South Korea has carried out reforms of the official document system, urging that the South Korean government agencies at all levels should use “refined(or purified) language”, that is, to write and publish official documents with words that are easy for the public to understand and have explicit meanings, reducing the cost of communication between the government and the public and, in this way, building a closer relationship between the government and the people, so that civil servants can communicate with the people more effectively. Refined language is a kind of common vernacular that differs from the official language. Although this trend of the wording of Korean official documents is not unconditional, but when compared with official documents of Cangnan County, which emphasize the solemnity and formality of official documents, this trend is the part that the translator has to pay his attention to.&lt;br /&gt;
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For example, when translating the expression “为加强行政规范性文件管理，切实推进依法行政，加快法治政府建设 (To strengthen the management of administrative normative documents, promote the administration in accordance with law, and accelerate the construction of a government ruled by law)” in the document《苍南县人民政府关于公布县政府及县政府办公室行政规范性文件清理结果的通知（有效）》(“Notice of the Office of the People's Government of Cangnan County on the Announcement of the Results of the Cleanup of the Administrative Normative Documents of the County Government and the County Government Offices (Effective)”) (the Office of the People's Government of Cangnan County on October 23th, 2020) , blunt expressions may not be that applicable and this expression translated into Korean in a more public-friendly way as “행정 규범적인 문서관리를 강화하기 위해, 법에따라 행정을 철저히 추진하고 법치정부의 건설을 가속화시킨다.”&lt;br /&gt;
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3. Mastery of the Equivalence of Semantic Meaning&lt;br /&gt;
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Like Japanese, Korean is also a typical agglutinative language. A sentence is formed by connecting independent words with various auxiliary words, and with a subordinating conjunction at the end of the sentence. Auxiliary words are just like glues, they exist after every subject, predicate, and object component of a Korean sentence to them together. For that these auxiliary words have no substantial meaning themselves, they must stay close to the main body in front, and a space must be put after. Therefore, when translating Chinese, which is an isolated language, into Korean, which is an agglutinative language, it is necessary to have mastery of the equivalence of the semantic meaning of the expression.&lt;br /&gt;
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For example, when translating the expression “全面实施全民参保计划，做好参保情况清查，提升参保信息质量，清理重复参保，稳定持续参保，减少漏保断保，实现应保尽保。(Fully implement the national social security plan, do a good job in checking the coverage of the social security, improve the quality of the collection of the information of the insured, clean up repeated insureds, stabilize the renewal of the social security, reduce the interruption of the social security, and achieve full social security coverage.)” in the document《关于做好2021年度城乡居民基本医疗保障工作的通知》(“Notice on Doing a Good Job in Basic Medical Security for Urban and Rural Residents in 2021”)( the Office of Medical Security Bureau of Cangnan County on November 5th, 2020), the translator should pay attention to the equivalence of semantic meaning of this long sentence and translated it into Korean as “전국민기본의료보험가입계획을 전면적으로 실시하고 기본의료보험가입상황을 철저히 조사하며 기본의료보험가입 정보의 질을 향상시키고 중복기본의료보험가입을 청산하며 안정적이고 지속적인 기본의료보험가입을 하며 보험누락을 줄이고 기본의료보험가입 을 실현해야 한다.”&lt;br /&gt;
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==='''Ⅴ. Studies of Official Document Translation and the Cause of Opening-up in Cangnan County'''===&lt;br /&gt;
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Based on the abovementioned basic characteristics of the official document system of Cangnan County, the notes for official documents translation under the context of the Japanese language and the notes for official documents translation under the context of the Korean language, we can see that official documents of Cangnan County is not as difficult to handle as something untranslatable. Cangnan County enjoys a good geographic location: it is located in the coast of the East China Sea, and is close to both Japan and South Korea, two strong economies in East Asia. However, Cangnan County has not yet made use of these favorable conditions to the fullest to promote cultural cooperation and trade with the two countries. Cangnan’s opening up to the outside world requires innovative thinking and an elaborate layout. Studies on the translation of official documents of Cangnan County, especially the translation of official documents under the context of the Japanese and Korean language, will help to explore the cultural spirit of the government institutions, and play an important role in building a good image of Cangnan County in East Asia and laying a foundation for Cangnan's cooperation with major countries and regions in East Asia .&lt;br /&gt;
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The world today is undergoing profound changes rarely in a century, and so is China. The tide of history moves on and Cangnan shall not stay out of the matter, but must follow it courageously and strive to open new doors for Cangnan's opening up to the outside world through the study of the official document translation of its own.&lt;br /&gt;
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===References===&lt;br /&gt;
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[1]Ziqi LIU. The Application of Functional Equivalence Theory in Scientific Translation：A Case Study of the Translation of Shipbuilding English[J]. CREATIVITY AND INNOVATION,2019,1(3).&lt;br /&gt;
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[2]Mu Dan. Discussion on Translation Activities Under the Guidance of Functional Equivalence Theory[J]. International Journal of Education and Management,2018,3(2).&lt;br /&gt;
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[3]李琳琳. 功能对等翻译理论与关联翻译理论比较研究[D].辽宁师范大学,2006.&lt;br /&gt;
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[4]赵娟廷. 汉韩公文语体对比研究[D].复旦大学,2003. &lt;br /&gt;
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[5]周萱. 《中国共产党怎样解决民族问题》（节选）中韩翻译报告[D].青岛大学,2017.&lt;br /&gt;
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[6]张利军. 《教学的游戏性研究》的汉日翻译实践报告[D].广西师范大学,2019.&lt;br /&gt;
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[7]栾亚琼. 《2015年山东省政府工作报告》汉日翻译实践报告[D].曲阜师范大学,2016.&lt;br /&gt;
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[8]占丽华. 源流与演变—日本地方公文书馆发展路径研究[D].山东大学,2020.&lt;br /&gt;
&lt;br /&gt;
[9]任清萍. 功能翻译理论视角下政府工作报告日译研究[D].外交学院,2020.&lt;br /&gt;
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[10]孙慧. 产业竞争力与区域经济增长[D].苏州大学,2006.&lt;br /&gt;
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--[[User:Wu Kai|Wu Kai]] ([[User talk:Wu Kai|talk]]) 04:45, 2 December 2020 (UTC)&lt;br /&gt;
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==The Translation Process and Methods of Translating English Long Sentences	周艺文	Zhou Yiwen==&lt;br /&gt;
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===Abstract===&lt;br /&gt;
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The translation of long English sentences is a difficult point in English-Chinese translation. It is very important to understand the features of sentence structure and the translation process and methods of long English sentences. This paper studies the translation process and methods of English long sentences through the comparative study of English and Chinese language characteristics and specific English-Chinese translation analysis. This paper is divided into five parts. The first part introduces the characteristics of English long sentences. The second part contrasts  the language features of English with that of Chinese, which can be divided into three aspects: English sentences emphasize hypotaxis, Chinese sentences emphasize parataxis; English is a static language, while Chinese is a dynamic language; English prefers passive voice while Chinese prefers active voice. The third part expounds the characteristics of translating English long sentences, mainly from three aspects: cross-cultural communication, emphasis on form and clear language logic. The fourth part mainly analyzes the process of translating English long sentences through some examples. In the end, five translation methods are discussed, which are liner translation, reorganization translation, splitting translation, synthesis and insertion.&lt;br /&gt;
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===Key words===&lt;br /&gt;
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English long sentences; language characteristics; translation process; translation methods&lt;br /&gt;
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===摘要===&lt;br /&gt;
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英语长句翻译是英汉翻译的难点，了解英语长句的句子结构特点和翻译过程及方法在英汉翻译中十分重要。本文通过对比研究英汉语言特点及具体英汉译本分析对英语长句翻译过程和方法进行研究。本文分为五个部分，第一部分介绍了英语长句的特点。第二部分从英汉对比的角度剖析了英汉两种语言在句子结构上的差异，分为三个方面，即英语句子重形合，汉语句子重意合; 英语是静态语言，汉语是动态语言; 英语喜用被动语态，汉语喜用主动语态。第三部分阐述了翻译英语长句的特点，主要有跨文化交际性、重视形式以及明确逻辑关系三个方面。第四部分主要通过具体的句子分析英语长句的翻译步骤及过程。最后探讨了英语长句汉译时采用的五种翻译方法，即顺序法、变序法、分译法、综合法和插入法。&lt;br /&gt;
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===关键词===&lt;br /&gt;
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英语长句子；语言特点；翻译过程；翻译方法&lt;br /&gt;
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===1.Introduction===&lt;br /&gt;
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===2.Characteristics of English Long Sentences===&lt;br /&gt;
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English and Chinese have many similarities in basic sentence structure. The main elements of sentence structure mainly include subject, predicate, object, predicative, attribute, adverbial modifier, and complement. In English, the sentence emphasizes the form and the sentence has a tree structure, and the Chinese sentence emphasizes the parataxis, and the sentence has a bamboo structure.&lt;br /&gt;
The main characteristics of English long and difficult sentences are as follows:&lt;br /&gt;
(1) There are much more words, more complex sentence patterns, and more modifiers in these sense.&lt;br /&gt;
(2) Compared with simple sentences, long and difficult sentences often use inversion structure, and there are phenomena of omission and word order inversion.&lt;br /&gt;
(3) The reason for the formation of long and difficult sentences is that there are many long and difficult sentences with coordinate components, phrases, additional components, clauses, and coordinate sentences.&lt;br /&gt;
(4) The language structure of long and difficult sentences is relatively complex and has a strong sense of hierarchy.&lt;br /&gt;
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===3.Differences in sentence structure between English and Chinese===&lt;br /&gt;
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English and Chinese belong to different language systems, the former belongs to Indo-European language family, the latter belongs to Sino-Tibetan language family, so there are significant differences in syntax between them. In addition, the different cultures of English and Chinese will inevitably lead to the difference in sentence structure between the two languages, because language is the carrier and medium of culture. &lt;br /&gt;
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===3.1Hypotaxis vs. parataxis===&lt;br /&gt;
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English syntactic structure is hypotaxis while Chinese syntactic structure is parataxis. Hypotaxis is that the words or clauses in a sentence are connected together by means of linguistic formal means (such as using related words) to express grammatical meaning and logical relations(Jia 2002, 101). English emphasizes explicit connection, emphasizes form and structure, and often helps with various means of connection. As a result, the sentence structure is rigorous and lacks elasticity. English sentences are often made with relatives (who, whom, whose, which, that, where, when, etc.), conjunctions (but, however, unless, because, since, so, and, if, etc. ), preposition (in, about, without, throughout, according to, along with, etc.), and other connective means. Parataxis means that words and clauses are not connected by means of linguistic forms, and the grammatical meaning and logical relation in a sentence are expressed by the meaning of words and clauses(Jia 2002, 101). Chinese sentences are made with little or no means of formal connection, with emphasis on invisible coherence, function and meaning, so the sentence structure is loose and flexible.&lt;br /&gt;
Example 1: &lt;br /&gt;
Individuals develop within themselves an ability to persevere and tolerate things that are unexpected or bad, difficult to get through. &lt;br /&gt;
人们在内心修炼一种能力，在面对意外、不幸或者挑战时也能继续坚持和忍耐。 &lt;br /&gt;
In this sentence, “that...to get through” is a attributive clause to modify “things”, which is a kind of hypotaxis. The translation is not limited to the original sentence structure but follows Chinese expression habit, so the language is very smooth.&lt;br /&gt;
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==3.2Static language vs. dynamic language==&lt;br /&gt;
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==3.3 Passive voice vs. active voice==&lt;br /&gt;
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==4.1Cross-cultural communication==&lt;br /&gt;
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==4.2Attaching great importance to form==&lt;br /&gt;
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==4.3Clearing language logic==&lt;br /&gt;
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===5.The process of translating long English sentences===&lt;br /&gt;
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===6.Methods of translating English long sentences===&lt;br /&gt;
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==6.1Liner translation==&lt;br /&gt;
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==6.2Reorganization translation=&lt;br /&gt;
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==6.3Splitting translation==&lt;br /&gt;
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==6.4Synthesis==&lt;br /&gt;
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==6.5Insertion==&lt;br /&gt;
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===Conclusion===&lt;br /&gt;
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In the practice of the translation of long and difficult sentences, there is a higher requirement for translators’ English comprehension and expression ability. For the translation of long and difficult sentences in English, the translator should be familiar with the sentence structure and main ideas of long and difficult sentences in English, and make clear the main logical relationship with the content of the original text, so as to effectively analyze the structure of long and difficult sentences in English and choose the correct way of translation. In the specific translation practice, translators should, on the basis of understanding the grammatical features of English, choose reasonable translation methods and skills so as to achieve the accurate translation of long and difficult Sentences. Translation activities require a high level of English reading and comprehension, and the effective translation of long and difficult sentences requires translators to constantly improve their ability to summarize, update their English translation skills, and realize the summary and innovation of long and difficult sentences.&lt;br /&gt;
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===Bibliography===&lt;br /&gt;
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==Chinese-English Translation of News Headlines From the Perspective of Skopos Theory	张维虹	Zhang Weihong No.202070080648 英语口译 ==&lt;br /&gt;
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===Abstract===&lt;br /&gt;
In recent years, with the rapid development of the society and economy, the exchanges between China and the rest of the world are increasingly frequent. In this process, massive information is transmitted through the translation of news reports. As the eye of news, the translation quality of news headlines directly affects the effectiveness of news dissemination. Under the guidance of Skopos Theory of German Functionalist Translation School, this paper analyzes the characteristics of Chinese and English news headlines, illustrates the functions of news headlines and the translation criteria of news headlines, and puts forward translation strategies for Chinese-English news headlines, aiming at restoring the concise feature of news and realizing the purpose of news dissemination and social value.&lt;br /&gt;
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===key words===&lt;br /&gt;
News headlines translation; Skopos theory; translation strategies&lt;br /&gt;
&lt;br /&gt;
===摘要===&lt;br /&gt;
近年来，中国社会经济飞速发展，与外界交流日趋频繁，在此过程中大量信息传递需通过新闻报道翻译完成。而新闻标题作为新闻的眼睛，其翻译质量直接影响新闻传播的有效性。本文以德国功能翻译学派目的论为指导，分析中英新闻标题的特点，阐述新闻标题功能以及新闻标题翻译准则，并提出汉译英翻译策略，旨在还原新闻简明本色从而实现新闻传播目的和社会价值。&lt;br /&gt;
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===关键字===&lt;br /&gt;
新闻标题翻译；目的论；翻译策略&lt;br /&gt;
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===1. Introduction===&lt;br /&gt;
With the further development of world economy and culture, news is playing an increasingly important role in people's lives. We read news through TV, the Internet or newspapers and magazines to learn about current events. But we are confused by thousands of news and the information they carry, because we are all exposed to a world where the massive information is surrounding. There is no doubt that because we can read too much news, some news has been ignored. Therefore, a proper headline is the most important element which can be regarded as the only way to attract the target readers. Headlines are compared to the eyes of news reports, in which a clear, concise information must be contained to generate interests. (Hu Shuzhong, 2012: 199) That is to say, headlines are always vivid and eye-catching in newspapers, in order to attract readers and provide reading guidance. So, the translator must learn how to effectively screen and reconstruct the information in the Chinese-English translation of news headlines, so as to make it attractive to the target language readers. &lt;br /&gt;
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In addition, news translation is playing a significant role in the promotion of cross-cultural communication and mutual understanding as China are having more and more exchanges with the rest of the world with the rapid development of society and economy, the implementation of reform and opening-up and “go global” strategy. As the soul of news, headline and its translation are what the translator should pay attention to. &lt;br /&gt;
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There are lots of researches about C-E news translation and news headline translation. However, researches on Chinese-English news headlines translation are very few. According to statistics from CNKI, there are only two pages of researches on Chinese – English news headlines translation. Therefore, this paper is of great importance. &lt;br /&gt;
As functions for headlines are obvious, this paper takes Skopos as the theory guide to conduct the research. First, the paper will discuss the features and functions of news headlines. Then the paper tells some translation methods of Chinese-English news headlines from a perspective of Skopos Theory. At last, it draws a conclusion.&lt;br /&gt;
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===2. Overview of News Headlines===&lt;br /&gt;
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==== 2.1 Definition of news and news headlines==== &lt;br /&gt;
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News refers to the timeliest report of events that have just happened, are happening, or are going to happen and it is born to meet the need of propagation and communication of information in human society. (Xu Mingwu, 2003: 4) This definition prescribes the features and functions of news. News should be timely and propagate ideas and express information. &lt;br /&gt;
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News headlines are compared to the “eye” of news. According to the dictionary, “A head of a newspaper story or article, usually printed in large type and devised to summarize, give essential information about, or interest readers in reading the story or article that follows.” (Webster’s Third New International Dictionary, 1961: 1042) From the definition, we can see that news headlines tells the essence of the news; the function is to attract readers’ interests. The paper will discuss features and functions of news headlines in detail in the following part. &lt;br /&gt;
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====2.2 Features of news headlines==== &lt;br /&gt;
As a text genre, news headlines have their own features. Chinese and English news headlines share much in common, though they differ from each other in certain areas. Understandings about the differences and similarities of Chinese and English news headlines are important for translators. So, this chapter will analyze features of news headlines from the following aspects: grammar, rhetoric, culture and structure. &lt;br /&gt;
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===== 2.2.1 Grammatical features===== &lt;br /&gt;
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2.2.1.1 Lexical Feature&lt;br /&gt;
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a. Midget words&lt;br /&gt;
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A good headline must be clear to attract readers and be strong to save space. In other words, the headline should convey the intends of the news without confusion or ambiguity; the words should be powerful to persuade the headline consumer to read on. Theses two requirements determine the prevalence of powerful, or strong worlds – mostly verbs and nouns – in headlines. (Shen Jinbo, 1989:52) That is to say, powerful words are short, simple and concrete, for extensive or abstractive words can only lead to dullness and confusion. There are no such powerful words in Chinese, but Chinese headlines, on the premise of conveying the exact meanings also put emphasis on the shortness of words. &lt;br /&gt;
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[1]: Dancing gets Olympic status (China Daily Dec 9, 2020)&lt;br /&gt;
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[2]: 霹雳舞成巴黎奥运项目 (China Daily Dec 9, 2020)&lt;br /&gt;
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b. Numeral words&lt;br /&gt;
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Numbers are used in news headlines to highlight the key information, especially in economic and sports news. &lt;br /&gt;
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[3]: Pink diamond sold for $26.6M (China Daily Nov 23, 2020) &lt;br /&gt;
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[4]: 外储余额创4年多新高(China Daily Dec 9, 2020)&lt;br /&gt;
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c. Abbreviations &lt;br /&gt;
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The limitation of page space leads to the frequent use of abbreviation in headlines. English abbreviations, according to Lu Guoqiang (陆国强, 1984), consist of two major types: lipped words and initialisms or acronyms. The common types of abbreviation found in Chinese headlines, nevertheless, are mostly number-assisted summarizing, blending and subsituting. (Chen Lizhao, 2002:36)&lt;br /&gt;
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[5]: Intl student enrollment falls (China Daily, Nov 19, 2020)&lt;br /&gt;
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[6]: 第二届“一带一路”国际合作高峰论坛举行圆桌峰会 (People’s Daily, April 28, 2019) &lt;br /&gt;
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d. Vogue words &lt;br /&gt;
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“Freshness” is the life of news, which lies in the contents of the report. As the gist of the news, headline would certainly revel some of the new ideas or hot topics in order to catch the reader’s attention. Therefore, vogue words are frequently seen in headlines. &lt;br /&gt;
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[7]: 'Cooling-off period' added (China Daily Dec 8, 2020)&lt;br /&gt;
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[8]: “离婚冷静期”新规将施行 (China Daily Dec 8, 2020)&lt;br /&gt;
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2.2.1.2 Syntactical features&lt;br /&gt;
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a. Omission&lt;br /&gt;
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Omission appears in almost every headline. Eliminating the meaningless words can shorten the length of a headline and highlight the core information. In English headlines, all articles and some auxiliary verbs, lexical verbs, pronouns, and the subject and the predicate are often omitted, as they weigh little in giving information. Chinese headlines also omit those unimportant words, including individual measures, conjunctions, and auxiliary words as well.  &lt;br /&gt;
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[9] Biden declares victory (China Daily, Nov 10, 2020)&lt;br /&gt;
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[10] 研究：医患“互粉”对治疗不利 (China Daily, Nov 25, 2014)&lt;br /&gt;
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b. Voice&lt;br /&gt;
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Active voice is frequently adopted in news headlines. &lt;br /&gt;
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[11] UK approves Pfizer vaccine (China Daily Dec 4, 2020)&lt;br /&gt;
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[12]英国批准辉瑞新冠疫苗 (China Daily Dec 4, 2020)&lt;br /&gt;
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[13] Biden unveils economic team (China Daily Dec 2, 2020)&lt;br /&gt;
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[14]拜登拟提名耶伦任财长 (China Daily Dec 2, 2020)&lt;br /&gt;
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c. Tense&lt;br /&gt;
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One of distinct feature of news headlines, particularly in English news headlines, is the wide use of present tense, which save the space of “-ed” in the past tense. But sometimes past tense is used to indicate the timeline. While Chinese news headlines use different tenses, as they are not revealed by the different forms of verbs as in English. So, the auxiliary verbs or adverbs in Chinese news headlines tells the time of happening from. &lt;br /&gt;
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[15] COVID vaccine distribution (China Daily Dec 1, 2020)&lt;br /&gt;
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[16] 英美即将启动疫苗分配 (China Daily Dec 1, 2020)&lt;br /&gt;
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2.2.2 Rhetorical Features &lt;br /&gt;
The usual figures of speech found in headlines, English and Chinese alike, includes metaphor, simile, pun, alliteration and rhyme, repetition, allusion etc... They aimed at creating musical sound as well as vivid images to provide spiritual enjoyment to the readers. &lt;br /&gt;
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[1] 苹果发新机加入5G战局 (metaphor) (China Daily Oct 16, 2020) &lt;br /&gt;
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[2] 美国加州火灾蔓延 居民仿佛置身火星(simile) &lt;br /&gt;
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[3] This is what the Bay Area's skies looked like during the wildfires (simile) (China Daily Oct 16, 2020)&lt;br /&gt;
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===== 2.2.3 Cultural Features=====&lt;br /&gt;
Language is the carrier of culture. News, as a practical text genre, also bears cultural characteristics of a certain country or nation. These culture elements also appear in news headlines,&lt;br /&gt;
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=====2.2.4 Structural features =====&lt;br /&gt;
To achieve headline’s peculiarity and simplicity, some punctuation marks are used in English news headlines, which are not often used in Chinese news headlines. Though differences exist in this area, the pursuit of using punctuation marks in the same – to make the news headlines clear and easily perceptible. The usual rule for headlines is that the fewer punctuation marks, the better. &lt;br /&gt;
[1] 世界精神卫生日：超半数英国员工最担心就业问题&lt;br /&gt;
[2] World Mental Health Day: More than half of UK workers worry about finding a job&lt;br /&gt;
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====2.3 Functions of news headlines ====&lt;br /&gt;
According to the theory of text-style function by Peter Newmark, new headlines fulfill the following four functions: informative function, expressive function, aesthetic function and vocative function, which will be illustrated in this section. &lt;br /&gt;
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=====2.3.1informative Function =====&lt;br /&gt;
“The core of the informative function of language is external situation, the facts of a topic, reality outside language, including ideas or theories” (Newmark 2001: 40) That is to say, news headline tells readers the basic information and facts of the news. &lt;br /&gt;
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===2.3.2 Expressive Function ===&lt;br /&gt;
“The core of the expressive function is the mind of the speaker, the writer, the originator of the utterance. He uses the utterance to express his feelings irrespective of any response” (Newmark 2001: 39) The expressive function of a news headline is to reveal the writer’s or the editor’s attitude toward the news by using subjective words or rhetoric devices. &lt;br /&gt;
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=====2.3.3 aesthetic function=====&lt;br /&gt;
	“This is language designed to please the sense, firstly through its actual or imagined sound, and secondly through its metaphors. The rhythm, balance and contrast of sentences, clauses and words also play their part. (Newmark 2001: 42) As the eye of the news, headlines use elegant words, abbreviations, punctuations and so on to strengthen its aesthetic function. &lt;br /&gt;
=====2.3.4 vocative function=====&lt;br /&gt;
	The vocative function is reader-oriented. Here, the term “vocative” is interpreted as “calling upon” the readership to act, think or feel, in fact to “react” in the way intended by the text. (Newmark 2001: 41) Vocative words in news headlines can attract the readers to read the whole article, and in certain circumstances call upon the readers to take some actions after reading the news.&lt;br /&gt;
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===3. Skopos Theory===&lt;br /&gt;
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As has been mentioned in the last section, news headlines and their translation are function-oriented. The fundamental function or the “Skopos” is to attract the readers. Therefore, in this section, we will discuss Skopos theory and its three rules. &lt;br /&gt;
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====3.1 Development of the Skopos Theory====&lt;br /&gt;
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Skopos Theory was initially proposed by Katherina Reiss in her 1971 book Possibilities and Limits of Translation Criticism, which formed an early theory. According to Reiss, the ideal translation would be “one in which the aim in the target language is equivalence as regards the conceptual content, linguistic form and communicative function of a source language text” (Reiss 1977, translated in 1989: 112). Even though Reiss takes the concept of equivalence as the main focus of her analysis, she realized that in some cases, equivalence is impossible and, in some situation, not even desired. Therefore, she indicated that when we translate, we should in view of the function of the text. The idea of text typology including content-focused, form-focused and appeal-focused text put forward by Reiss, is another contribution of her to the Skopos theory. It is supposed to be the starting point for Skopos theory. &lt;br /&gt;
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Later, Hans Vermeer, the student of Reiss, made a major breakthrough in the limitations of equivalent theory and laid the theoretical foundation for it. He first mentioned the basic principles of Skopos Theory in 1978. He and Reiss jointly published Groundwork for a General Theory of Translation in 1984. In this book, Vermeer argues that translation should be seen as a fundamental action of transformation of the source text. As all actions are generally purposeful, translation also has purposes, which could have influences over the culture of the target language. (Groundwork for a General Theory of Translation, 1984) For Vermeer, translation cannot be treated as one-to-one transfer between source language and target language. In his research, on the basis of the source text, translation is a form of action. Some of other forms of translational action may relate to actions which giving like a consultant. Every translation is directed at an intended audience, since to translate means “to produce a text in a target setting for a target purpose and target addresses in target circumstances” (Vermeer, 1987a: 29). Vermeer’s Skopos Theory serves as the foundation for his general theory of translation. &lt;br /&gt;
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Later, two other German translators, Christiane Nord and Justa Holz Manttari, enriched and refined the Skopos theory. Mantarri’s theory is based on the rules of action theory and is intended to contain all forms of intercultural transmission, as well as those source or target texts which do not involved. (Nord, 2001: 12-13) Her theory reflects the role of the participants in the process of translation and the environment in which the process takes place. Nord, as the latest batch of German researchers, summarized the “Fidelity rule” and applied the Skopos theory extensively in the study of translation from multiple perspectives and related fields. Besides, Skopos theory has three principal rules which will be illustrated in the following section. &lt;br /&gt;
In conclusion, Reiss laid the foundation of Skopos theory. Vermeer, who summarized and outlined the rules to be followed in the process of Skopos theory in practice, became the founding father of the theory. Manttari focused on the specific issues of translation behavior and context in the translation process, while Nord made many contributions to the refinement of the theory and greatly expanded the practical application of this theory. &lt;br /&gt;
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==== 3.2 Three Rules of Skopos theory ==== &lt;br /&gt;
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There are three significant rules of Skopos theory including Skopos rule, coherence rule and fidelity rule, which will be discussed respectively as follows.&lt;br /&gt;
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===== 3.2.1 Skopos Rule=====&lt;br /&gt;
The Skopos rule is the top-ranking rule for any translation. That is to say, Skopos determines any translation action. “The translators should finish the task in a way that enables your translation to function in the situation in which it is used and with the people who want to use it and precisely in the way they want it to function. All in all, the end justifies the means.” (Nord, 2001:29)&lt;br /&gt;
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Translating is an international interaction as it is just said, and the Skopos rule has stable position after it appeared. In Vermeer’s term, intention is thought as an “aim oriented plan of action” (Vermeer, 1983:41) &lt;br /&gt;
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According to Vermeer, Skopos rule is that “Each text is produced for a given purpose and should serve this purpose. The Skopos rule thus reads as follows: translate in a way that enables your text to function in the situation in which it is used and with the people who want to use it and precisely in the way they want it to function.” (Vermeer, 1989a: 20, translated by Luo Dan) Skpos theory is the foundation for Chinese-English news headline translation model. All efforts made are intended for the Skopos of news headline translation because “the end justifies the means” &lt;br /&gt;
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=====3.2.2 Coherence Rule=====&lt;br /&gt;
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The coherence rule, another important rule of the Skpos theory indicates that “the target text must be interpretable as coherent with the target text receiver’s situation”. (Reiss and Vermeer, 1984: 113) That is to say that the target text must be translated in a way that it is clearly understood by the target readers, taking consideration of their existing knowledge and situation. &lt;br /&gt;
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===== 3.2.3 Fidelity Rule =====&lt;br /&gt;
Apart from intratextual coherence, there is intertextual coherence which refers to the relationship between the target text and the source text, which is presumed as a further principle, fidelity rule. The fidelity rule by Vermeer indicates that there have to be coherence between the target text and the source text. This means that target text should be faithful to its source text in a certain level of features, such as grammatical features, special collocations and rhetorical devices, or to some degree between a complete imitation and deviation. In accordance with the Skopos theory, the source text is no longer considered as the “sacred original”, and it is up to the translator to determine the aspect and the degree of the fidelity. In Vermeer’s opinion, any text is just an offer of information, and thus, any target text is an offer of information formulated by a translator in a target culture and language about an offer of information formulated by someone else in the source culture and language. (Nord 2001: 32) &lt;br /&gt;
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Three principal rules of Skopos theory have been illustrated as above. &lt;br /&gt;
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As for the relationship between the three rules, Reiss and Vermeer believe that the fidelity rule is subordinate to the coherence rule and both belong to the Skopos rule. If the skopos of the target text demands a change of function, the fidelity with the source text will no longer be taken as the only standard, but adequacy and appropriateness will be supplemented as the standard with regard to the skopos (Reiss and Vermeer, 1984: 139) &lt;br /&gt;
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====3.3 Summary ====&lt;br /&gt;
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This chapter introduced the development of Skopos theory and its three main principles, which intends to lay a theoretical foundation for Chinese-English news headlines translation. The function and skopos of news headline is to convey information and attract readers. In light of these, C-E news headlines translation, guided by Skopos theory, is a faithful re-creation.&lt;br /&gt;
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===4. Application of Skopos theory in Chinese-English Translation===&lt;br /&gt;
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As mentioned in the last chapter, Skopos theory specifies the purpose of translation. As far as the author concerned, the skopos of Chinese headline translation is to transfer information of latest events happened in China to English readers. All sorts of translation strategies and techniques can be adopted under the guidance of the skopos theory. Based on the dominant informative function of news headlines, new information should be transferred with fidelity and clarity. Moreover, considering the aesthetical function of headlines, the source text should be aesthetically handled to the target readers. This chapter will explain how skopos theory in applied in the translation of Chinese-English news headlines. Before that, the criteria of C-E news headlines translation will be discussed.&lt;br /&gt;
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====4.1 Criteria of News headline translation ====&lt;br /&gt;
According to the basis of translation criteria, the author discussed four criteria for Chinese news headline translation, including fidelity, readability, adaptability and rapidity. &lt;br /&gt;
===== 4.1.1Fidelity =====&lt;br /&gt;
Fidelity means to accurately convey the message of the source text. The translation of news headlines from Chinese to English is a kind of intercultural communication in which messages should be transferred objectively and accurately by reflecting the reality. For a translator, the first and foremost thing is to be loyal to the content of the source language and convey it in a precise way, particularly for the translation of news headlines. Considering this point of view, fidelity can be acted as a main rule for translating news headlines. &lt;br /&gt;
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=====4.1.2 Readability =====&lt;br /&gt;
Readability means the translation version is smooth for reading. This means, the translation should be easy for readers or audiences to read and understand. According to a survey on Beijing citizens’ newspaper reading and willingness by Chinese People’s university, vividness and readability ranked at the top of reasons for buying and reading newspaper. Therefore, translation of news headlines should consider about readability. If the rule of fidelity is viewed from the perspective of translation content, then the rule of readability can be treated as put forward from the perspective of translation form. The primary aim of news headline is to arouse readers interests as much as possible. &lt;br /&gt;
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=====4.1.3Adaptability =====&lt;br /&gt;
Adaptability means that the translated headline should be in an appropriate writing pattern related to news language. In other words, the style of target language and the source language should remain the same. Style is considered to be an essential and important portion in translation. Translation of news headlines is without exception. So, the translator must take serious consideration to the grammar and diction of English, and make sure that the version of new style is suitable when translating a Chinese news headline. &lt;br /&gt;
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===== 4.1.4Rapidity =====&lt;br /&gt;
Rapidity as the fourth request of news headline translation is the most significant one. It implies that the news headline translation should be carried out and complete at a given period of time without any delay. The news is more valuable if the time between happening and reporting is shorter. So, timeliness of news determines the rapidity of news translation, especially the translation of news headlines. &lt;br /&gt;
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====4.2 Strategies of E-C News Headlines Translation ====&lt;br /&gt;
News headlines is considered to be the soul of the news. Since Chinese and English readers are different in thinking patterns, education and cultural backgrounds, some proper translation methods should be taken into consideration to enable the readers to understand the news headlines easily. Under the guidance of Skopos theory, translations strategies including literal translation, free translation, amplification, omission, amplification, restructuring and adaptation are applied in news headlines translation. &lt;br /&gt;
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=====4.2.1 Literal translation=====&lt;br /&gt;
Literal translation, also called word-for-word translation, is the basic approach used in Chinese news headline translation, since it can retain both the form and contents of the original to the maximum. Here are some examples: &lt;br /&gt;
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[1] 疫情致牛仔裤销量骤减&lt;br /&gt;
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Pandemic leads to jeans sales slump&lt;br /&gt;
(China Daily Aug 10, 2020)&lt;br /&gt;
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The headline introduces that Covid-19 pandemic has led to jeans sales slump. “疫情”is translated into “Pandemic”, “牛仔裤销量”is translated to “jeans sales”, and “骤减” is translated into “slump”, which is exactly a literal translation. There’s no change of the form or style between the source text and the target text. &lt;br /&gt;
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[2] 新冠抗原检测试剂获批&lt;br /&gt;
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COVID antigen tests approved&lt;br /&gt;
(China Daily Nov 10, 2020)&lt;br /&gt;
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This example is a typical word-for-word translation. “新冠”, an abbreviation for “新冠病毒” is translated to “COVID”, short for coronavirus. “抗原检测” is translated into “antigen tests”, “获批”is translated to “approved”. We can see that in this example, the form and style and even the tense and voice of the source text and target text are the same. So, it is literal translation. &lt;br /&gt;
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[3] 成都将建首个大熊猫主题公园&lt;br /&gt;
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Chengdu Set to Get Unique Panda-themed Park &lt;br /&gt;
(China Daily, Jan 17, 2018) &lt;br /&gt;
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This is a literal translation, remaining the original form and style of the Chinese version. It uses midget words “set” and “get”, taking consideration of the style of English news headlines, in order to attract readers from different walks of life. At the same time, the Chinese noun “大熊猫主题” is converted to the English adjective “Panda-themed”, which is very concise and accurate.&lt;br /&gt;
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=====4.2.2 Free translation =====&lt;br /&gt;
Free translation is applied when the news headline of the source text is obscure and difficult to understand or there’s no equivalent words in the target language. Sometimes it is preferred because it adapts the original headlines to the target language. &lt;br /&gt;
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[4] 不要人夸颜色好，只留清气满乾坤&lt;br /&gt;
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Xi: China Welcomes Constructive Suggestions&lt;br /&gt;
(China Daily, Oct 25, 2017) &lt;br /&gt;
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The source text is a poem, cited by President Xi at the press conference of 19th CPC Central Committee Political Bureau to hear constructive suggestions from people both at home and abroad. The poem, Ink Plum written by a famous Chinese ancient poet, Wang Mian, carries rich cultural connotations and shows cultural confidence of China. If it is directly translated as “Not angling for compliments, we should be content that integrity fills the universe”, it will cause confusion to the target readers. Obviously, such a mechanical translation will discourage the reader from understanding the meaning of the poem. Therefore, the translation of this news headline should be based on the content of the news – Xi: Welcomes Constructive Suggestions. So, it is a typical example of free translation. &lt;br /&gt;
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[5]姜瑜：外资应凭实力在华竞争&lt;br /&gt;
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Foreign investors told to sharpen edge&lt;br /&gt;
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This example takes consideration of the reading habits and backgrounds of the target readers. “凭实力竞争” is translated to “sharpen one’s edge”, which is more understandable. “姜瑜”(Jiang Yu”, a heroic character in Chinese history is omitted. So, it is a free translation.&lt;br /&gt;
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=====4.2.3 Amplification =====&lt;br /&gt;
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Most of news headlines carry certain backgrounds, which are familiar to the source language readers, but alien to those who read the target language. So, translators have the responsibility to turn information rich in cultural connotation into something understandable to target readers. This is particularly significant in translating news headlines from the perspective of Skopos theory, because the purpose of such translating is to convey the information useful to target readers. As mentioned in the chapter before, Chinese news headlines usually carry rich cultural contents. Therefore, amplification is frequently used in Chines-English news headlines translation. &lt;br /&gt;
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[6] 水陆两栖飞机AG600首飞成功&lt;br /&gt;
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China’s First Large Amphibious Aircraft Makes a Successful Maiden Flight&lt;br /&gt;
(China Daily, Dec 25, 2018) &lt;br /&gt;
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Amplification is used in this translation. AG600, as called Kun Lun600, is the world’s largest amphibious aircraft developed by China. The translator adds a modifier “China’s first large” as a supplement of background to better inform the targe readers. &lt;br /&gt;
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[7] 共享单车来到“世界屋脊”&lt;br /&gt;
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Shared Bikes Climb to the “Roof of the World” (Tibet)&lt;br /&gt;
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“Roof of the World” is confusing for some target readers, so the translator adds “(Tibet)” at the end of the sentence to avoid ambiguity.&lt;br /&gt;
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=====4.2.4 Omission =====&lt;br /&gt;
Omission is a translation method to make the news headline simple and concise by eliminating the redundant verbs, pronouns, and other words in the source text. As Chinese usually use unnecessary modifiers, this method can highlight the main point of the news. &lt;br /&gt;
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[8] 对外汉语专家齐聚京城 共议国际汉语教师缺口问题&lt;br /&gt;
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Beijing forum addresses Chinese teacher shortage&lt;br /&gt;
(China.org.cn, Jul 21, 2021) &lt;br /&gt;
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In this example, the first sentence is translated into a phrase, so as to shorten the length of the news headline and more it more concise. What’s more, redundant words like “齐聚”, “共议” “问题” are omitted to point out main contents of the news. &lt;br /&gt;
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[9] '大流行病'当选年度词汇&lt;br /&gt;
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Word of the year: pandemic&lt;br /&gt;
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(China Daily, Dec 12, 2020)&lt;br /&gt;
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In the example, the verb “当选”(elected) in the source text is eliminated to save space.&lt;br /&gt;
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=====4.2.5 Restructuring =====&lt;br /&gt;
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Because the literal meaning the sentence does not work in the situation of the utterance, the translators have to find the vague information and convey it to the target readers. In news headline translation, special information needs to restructure. &lt;br /&gt;
&lt;br /&gt;
Restructuring refers to the rearrange of the words in logic order to make the translation more consistent and coherent. The target text should be acceptable and meaningful in a sense that it is coherent with the situation in which it is received. Once translated, the translator revises the order and rearranges all words into a perfect sentence. In doing so, the news is more logical and tuned with the habit of native readers’ thinking and reading. It is frequently used in translating news headlines from Chinese into English. &lt;br /&gt;
&lt;br /&gt;
[10] 疫情期间夫妻关系改善&lt;br /&gt;
&lt;br /&gt;
Marriages benefit from lockdown&lt;br /&gt;
(China Daily, Nov 23, 2020)&lt;br /&gt;
&lt;br /&gt;
The English version changes the structure of the Chinese news headline, and adds a preposition to show the logic of this sentence. By restructuring, English readers can better understand this news headline. &lt;br /&gt;
	&lt;br /&gt;
====4.2.6 Adaptation ====&lt;br /&gt;
&lt;br /&gt;
Adaptation is a translation method, which refers to selecting, adding, deleting and constructing cautiously instead of simply translating one word to another word. In order to make the translated version more proper to a certain readers or audiences, adaptation always make some essential changes for a special aim. Specific to C-E news headlines translation, the translator can take the Chinese news headlines as the basis and refer to the key news facts of the report, in order to offer as much information as possible to the target readers. &lt;br /&gt;
&lt;br /&gt;
[11] 高考将不再是 “一考定终身”&lt;br /&gt;
&lt;br /&gt;
Changes to Uni Eligibility&lt;br /&gt;
（People’s Daily, 2014）&lt;br /&gt;
 &lt;br /&gt;
In this example, “高考” refers to the National College Entrance Examination in China, which is an expression with Chinese characteristics. Therefore, based on the main idea of the news, the translator translated it into “Uni Eligibility”&lt;br /&gt;
	&lt;br /&gt;
[12] 中国女性主导财务决策&lt;br /&gt;
&lt;br /&gt;
'She' to power wealth management&lt;br /&gt;
(China Daily, Nov 23, 2020)&lt;br /&gt;
&lt;br /&gt;
Adaptation is used in this translation. According to contents of the news, women in different countries are mentioned. So, instead of translating “中国女性” into Chinese women, the English version adapted it into “she”, which adds interest and fun to the headline and thus can attract more readers.&lt;br /&gt;
&lt;br /&gt;
===4.3 Summary===&lt;br /&gt;
&lt;br /&gt;
===5. Conclusion===&lt;br /&gt;
News translation is a cultural transformation with certain purposes(skopos). While conveying the connotation of the information, news translation must also take into account the reception habits of readers into the target language. The purpose-oriented approach helps translators to break the language barriers in translation, and helps to convey culture and facilitate communication. The purposes and functions of translation determine the translation methods. In translation, the standard of translation should not be how to be faithful to the source text, to highlight the main points of the news and attract English readers. Therefore, there is more to be explored when applying the Skopos theory to Chinese-English news headlines.&lt;br /&gt;
===References===&lt;br /&gt;
&lt;br /&gt;
*Newmark, P.A Textbook of Translation[M]. Shanghai: Shanghai Foreign Language Education Press, 2001: 40-42.&lt;br /&gt;
&lt;br /&gt;
*Nord, Christiane. Translating as a Purposeful Activity [M]. Shanghai：Shanghai Foreign Language Education Press, 2001.&lt;br /&gt;
&lt;br /&gt;
*Vermeer, H. J. Skopos and Translationsauftrag – Aufsatze [M]. Second Edition. Heidelberg: University, 1989. &lt;br /&gt;
&lt;br /&gt;
*Vermeer, H. J. Skopos and Translation Commission [M]. Heidelberg: University, 1989.&lt;br /&gt;
&lt;br /&gt;
*Munday, J. Introducing Translation Studies: Theories and Applications[M]. London and New York: Routledge, 2001: 77-78.&lt;br /&gt;
&lt;br /&gt;
*Nida, E. A. Language, Culture and Translating[M]. Shanghai: Shanghai Foreign Language Education Press, 2001: 50-51. &lt;br /&gt;
&lt;br /&gt;
* Nida, E. A. Language and Culture—Contexts in Translating[M]. Shanghai: Shanghai Foreign Language Education Press, 2001: 38-41.&lt;br /&gt;
&lt;br /&gt;
* Schudson, M. The Power of News [M]. Cambridge, Mass: Harvard University press, 1995&lt;br /&gt;
&lt;br /&gt;
* 胡曙中. 语篇语言学导论[M]. 上海: 上海外语教育出版社, 2012.&lt;br /&gt;
&lt;br /&gt;
* 许明武. 新闻英语与翻译[M]. 北京: 中国对外翻译出版公司, 2003.&lt;br /&gt;
&lt;br /&gt;
* 沈金伯. 新闻英语文体探讨[J]. 《外国语》. 1989(1): 52-55 &lt;br /&gt;
&lt;br /&gt;
* 樊腾腾. 从目的论角度论英语新闻标题的翻译[D]. 广东外语外贸大学, 2006.&lt;br /&gt;
&lt;br /&gt;
* 刘宓庆. 当代翻译理论[M]. 中国对外翻译出版公司, 2003.&lt;br /&gt;
&lt;br /&gt;
* 王军,陈诗月.翻译目的论研究综述[J].现代交际,2017(18):102-103.&lt;br /&gt;
&lt;br /&gt;
* 陈丽昭. 中英新闻标题对比研究[D].福建师范大学,2002.&lt;br /&gt;
&lt;br /&gt;
* 王驰. 目的论在经济新闻标题英汉翻译中的应用[D].华中师范大学,2013.&lt;br /&gt;
&lt;br /&gt;
* 罗丹. 目的论视角下的中国日报网英语新闻标题的翻译策略[D].武汉科技大学,2012.&lt;br /&gt;
&lt;br /&gt;
* 唐婷. 从目的论看硬新闻标题的汉译英[D].南华大学,2010.&lt;br /&gt;
&lt;br /&gt;
* 刘芸希.目的论视角下新闻标题的英译研究[J].海外英语,2018(11):123-125.&lt;br /&gt;
&lt;br /&gt;
* 李中强. 新媒体背景下的汉语新闻英译研究[D].上海外国语大学,2012.&lt;br /&gt;
&lt;br /&gt;
==On Chinese-English Translation of Public Service Advertisements From the Perspective of Text-type Theory  司妤  Si Yu  Student No.202070080606==&lt;br /&gt;
&lt;br /&gt;
===Abstract===&lt;br /&gt;
&lt;br /&gt;
Public-service advertising is an advertising activity that provides free services to the community without the purpose of making profit. Since the founding of the People's Republic of China, public-service advertising activities have increased and played an important role in the moral and ideological education of society as a whole, such as fire and burglary prevention, forest protection, birth control, maintenance of public order, no spitting and so on, all of which are in the nature of public-service advertising.&lt;br /&gt;
With the improvement of China's status in the international society, the accuracy of the translation of PSAs, as a medium to convey Chinese culture, is attracting more and more attention. Accurate translations help to showcase Chinese culture to foreigners and promote communication, while incorrect translations can be laughable.&lt;br /&gt;
In some public occasions, I have noticed that there are many excellent PSAs, but there are also some &amp;quot;Chinglish&amp;quot; PSAs. This paper analyzes the text of PSAs using the Text-type theory, gives suggestions to improve the messy translation phenomenon, and summarizes several translation methods, hoping to provide reference for the translators of PSAs.&lt;br /&gt;
&lt;br /&gt;
===key words===&lt;br /&gt;
&lt;br /&gt;
Public-service advertisement;Text typeTheory;Translation methods&lt;br /&gt;
&lt;br /&gt;
===摘要===&lt;br /&gt;
&lt;br /&gt;
公益广告是不以营利为目的而为社会提供免费服务的广告活动。我国建国以后，公益性的广告活动日益增多，对全社会进行道德和思想教育发挥了重要作用，例如有关部门进行的防火防盗、保护森林、节制生育、维护公共秩序、不要随地吐痰等广告宣传，均属公益广告的性质。&lt;br /&gt;
随着中国在国际社会地位的提高，公益广告作为一种传递中国文化的媒介，其翻译的准确性日益受到人们的关注，翻译准确有利于向外国友人展示中国文化促进交流。翻译错误则容易贻笑大方。&lt;br /&gt;
在一些公众场合，笔者注意到不乏优秀的公益广告翻译，同时也仍有一些“中式英语”  公益广告存在，本文运用文本类型理论对公益广告文本进行分析，对乱译现象提出改进建议，总结了几点翻译方法，希望能够为公益文本译者提供借鉴。&lt;br /&gt;
&lt;br /&gt;
===关键字===&lt;br /&gt;
&lt;br /&gt;
公益广告；文本类型理论；翻译方法&lt;br /&gt;
&lt;br /&gt;
===Introduction===&lt;br /&gt;
&lt;br /&gt;
====Research Background====&lt;br /&gt;
&lt;br /&gt;
Economic and social development and the improvement of people's living standards have brought many unprecedented changes to people, making their lives more convenient and colorful. But along with it comes a series of social problems such as indiscriminate dumping of urban garbage, neglect of wildlife protection, lack of care for public property, smoking in public places, etc.These social problems have also been magnified by the advance of urbanization. At this time, public service advertisement (PSA)can offer help if we want to activate more people to solve them. There are many forms of public service advertisements, such as public service advertisement (PSA) clips, public service messages, and public service slogans. Each of these PSAs has its own textual characteristics, such as the PSA short film in the form of a short video, using a fascinating plot to illustrate the concept of public welfare; public service messages are simple but informative; public service slogans are neat and thought-provoking. The translation of these texts should be done according to the characteristics of the text in order to achieve the public service effect of the text. With China playing an increasingly important role in the international community, a large number of international conferences are being held in China, and the number of foreign travelers arriving in the country is on the rise. The accuracy of the translation of public service advertisements is especially important at this time, not only to help foreigners in their travel work in China, but also to promote Chinese culture and enhance their understanding of China.&lt;br /&gt;
&lt;br /&gt;
It is worth mentioning that the overall quality of the Chinese people has been significantly improved compared to a few years ago, and the appearance of more and more elites has made the society think more deeply about the accuracy of translation, which is conducive to building a good city image and improving the aesthetic level of city residents and tourists.&lt;br /&gt;
&lt;br /&gt;
Advertisements can be divided into commercial advertisements and public service advertisements according to content and purpose. Commercial advertisements are mostly published by enterprises, and their main purpose is to stimulate consumers and arouse their desire to consume, and their content is mostly product information.(Liu Xiaofang 2014)&lt;br /&gt;
&lt;br /&gt;
There are some definitions from different people. Berkowitz, a famous scholar, who makes a thorough study of advertisement for more than 25 years, states that PSA is generally sponsored by a non-profitable institution, civic group, religious organization, trade association, or political group with a central focus on public welfare (Berkowitz, 2004). In China, according to Zhang Minxin‟s definition, PSA is a sub-branch of non-commercial advertisement whose purposes are to serve the public interests. This kind of advertisement can push the public to change their attitudes and behaviors (Zhang Mingxin, 2004). There are some researchers at home and abroad trying to discover how public service advertisements work, such as: Judie Lannon (2008), Nancy Lee (2006), Josephson (2005) and other scholars hoping to discover the secrets behind public service advertisements and society, such as Charles Atkin (2001) and Pan Zehong (2001).&lt;br /&gt;
&lt;br /&gt;
====Research Significance and Objectives====&lt;br /&gt;
&lt;br /&gt;
As the influence of Chinese culture increases internationally, more and more foreigners want to learn about China. Some want to learn the Chinese language, others want to know more about the social situation. Public service advertisements (PSAs) provide such an opportunity to help them learn and better understand China. At the same time, some social problems, such as the new Cov-19 epidemic, SARS, and AIDS, may not only be a problem for China, but also for the whole world, and the PSAs can provide a Chinese perspective and Chinese wisdom to solve these problems. In addition, when a disaster occurs, such as the Wenchuan earthquake, which aroused the attention and sympathy of the internationalcommunity, and some friendly countries want to provide assistance, PSAs are extremely important. In this paper, the writer will analyze different public service advertisements from the perspective of text type theory and suggest translation suggestions.&lt;br /&gt;
&lt;br /&gt;
Public service advertisement texts are common texts in daily life, and many scholars have discussed them from various perspectives, including the theory of purpose, aesthetic perspective, semantic translation and communicative translation perspective. However, no scholars have analyzed them from the perspective of text type theory. The writer boldly proposes to look at public-interest text translation from such a perspective, which may lead to new insights.&lt;br /&gt;
&lt;br /&gt;
====Methodology====&lt;br /&gt;
&lt;br /&gt;
The texts in this paper are mostly from public service advertisements released by CCTV, publicservice text messages received by the public, and public service slogans around them. This paper adopts a descriptive approach to analyze the content and purpose of the texts in detail, and also gives its own suggestions on how to translate the public service texts.&lt;br /&gt;
&lt;br /&gt;
====Framework of this paper====&lt;br /&gt;
&lt;br /&gt;
This paper is divided into seven chapters.&lt;br /&gt;
Chapter 1 introduces the background, significance and purpose of the research, methodology, and general framework of this thesis.&lt;br /&gt;
Chapter 2 introduces the theoretical perspective used in this paper.&lt;br /&gt;
Chapter 3 analyzes the characteristics of public service texts from the perspective of content and text.&lt;br /&gt;
Chapter 4 gives examples of texts according to the three categories of text type theory and analyzes the more appropriate translations.&lt;br /&gt;
Chapter 5 lists the obvious mistranslations in PSAs and gives suggested versions of the translations.&lt;br /&gt;
Chapter 6 summarizes the methods that can be used to translate PSA texts.&lt;br /&gt;
Chapter 7 summarizes what has been discussed throughout the essay and reflects on the limitations of the essay.&lt;br /&gt;
&lt;br /&gt;
===Overview of Theoretical Foundation and Comparisons===&lt;br /&gt;
&lt;br /&gt;
====Reiss’s View of Text Type Theory====&lt;br /&gt;
&lt;br /&gt;
Katharina Reiss is the founder of the German functional school of translation, and in her book Possibilities and Limitations in Translation Criticism (1979) she presented the prototype of the functional school's theoretical ideas. Reiss's text types are divided into four main categories. She points out that content texts emphasize the depictive function, formal texts emphasize the expressive function, operative texts emphasize the persuasive function, and audio-visual texts emphasize the audio-visual function. function). Therefore, these text categories can also be referred to as informative text, expressive text, operative text, and audio-visual text, respectively. Correspondingly, there are four types of functions.(Li Zhi 2008) &lt;br /&gt;
&lt;br /&gt;
1. Content-based text&lt;br /&gt;
This type of text is content-based, and the text can be used to convey information and so on. When translating, the content should be restored to the greatest extent possible. These texts mainly include news reports and commentaries, business letters, cargo lists, instructions for use, operating instructions, and other professional works in technical fields.&lt;br /&gt;
&lt;br /&gt;
2. Formal texts&lt;br /&gt;
The focus of formal texts is on their aesthetic significance. When translating such texts, the translator should aim to create a similar text effect in the form. Formal texts include literary prose (short essays, biographies, pure literature), imaginative prose (anecdotes, short stories, novels, romances), and all forms of poetry (from didactic poetry to narrative poetry to purely emotional poetry).&lt;br /&gt;
If the form is not preserved in translation, the content of the text may be lost as a result.&lt;br /&gt;
&lt;br /&gt;
3. Operative texts&lt;br /&gt;
Operative texts are concerned with the response of the recipient of the text. This type of text clearly appeals to the recipient of the text through a certain point of view and with a certain purpose, expecting to receive the desired response. The representative texts are all operative texts in which the appealing element predominates, using advertisements, propaganda, sermons, debates, agitation or satirical texts that have an expressive purpose or linguistic expression.&lt;br /&gt;
&lt;br /&gt;
4. Audiovisual texts&lt;br /&gt;
Generally speaking, any text that requires some degree of non-verbal communication with the audience is an audio-visual text. This includes mainly radio and television scripts, such as radio news and reports, overviews of hot topics, and theater productions. In these texts, not only grammar and narration techniques, but also sound effects and visual devices (in television and film) play an important role.&lt;br /&gt;
&lt;br /&gt;
====Peter Newmark’s View of Text Type Theory====&lt;br /&gt;
&lt;br /&gt;
Peter Newmark is one of the leading figures in the linguistic school of British translation theory. Newmark also made a detailed classification of texts, and he summarized them into the following three types according to their contents:&lt;br /&gt;
&lt;br /&gt;
1. Expressive texts&lt;br /&gt;
This type of text focuses on the content of the text and the author's own point of view. Newmark divides them into three types of texts. (1) serious and imaginative literature, including lyric poetry, short stories, long novels, and plays; (2) authoritative texts, including a variety of texts whose authority comes from the author's status or linguistic ability, such as speeches and statements by senior government officials and political party leaders, legal regulations, documents, and literary and academic works written by authorities; (3) autobiographies, essays, and private letters that are straightforward and have no direct readership.(Jia Heping 2015)&lt;br /&gt;
&lt;br /&gt;
2. Informative texts&lt;br /&gt;
The text often contains some content that does not involve the emotional and opinion part, and this part of the content can have its practicality, which is the information function of the text. Typical informative texts include textbooks, technical reports, newspaper articles, scientific papers, conference proceedings, etc.&lt;br /&gt;
&lt;br /&gt;
3. Operative text&lt;br /&gt;
The function focuses on the response of the text receiver, and the text is set to get the desired response from the receiver, to produce certain influence on them or even change their concepts and behaviors. Typical vocative texts include notices, advertising campaigns, instructions, and persuasive texts (such as requests, appeals, etc.).&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
He classifies language functions into six categories, based on what the philosophers of language Bühler and Jacobson have said about language functions. He believes that a text may have one function or several functions, but that one of these functions is the main one, as explained below.&lt;br /&gt;
&lt;br /&gt;
1. Expressive function&lt;br /&gt;
Expression is a fundamental property of language. Expression is the process by which people use language to express their feelings, attitudes, and opinions. Expression focuses on output of the writer, not on the other person's reaction and feelings.&lt;br /&gt;
&lt;br /&gt;
2. Informative function&lt;br /&gt;
The content of the text is mainly fixed, not with emotion, can be used by people in certain situations.&lt;br /&gt;
&lt;br /&gt;
3. Operative function&lt;br /&gt;
This function focuses on the reaction of the recipient of the text, and the writer envisages the reaction of the recipient of the text when writing, in order to achieve the corresponding purpose.&lt;br /&gt;
&lt;br /&gt;
4. Aesthetic function&lt;br /&gt;
Language contains traces of history, which represents a certain aesthetic of people. The first means used for this function is sound, and the second is metaphor. In addition, the rhythm, balance and contrast of sentences and words also have a role. The aesthetic function is present in most of the text categories, moreover, it is indispensable for poems, nursery rhymes and some advertising campaigns.&lt;br /&gt;
&lt;br /&gt;
5. Interpersonal function&lt;br /&gt;
The interpersonal function is reflected in people's daily interactions and conversations. That is, language helps people establish relationships with each other.&lt;br /&gt;
&lt;br /&gt;
6..Meta-linguistic function &lt;br /&gt;
Meta-linguistic function is a special function of language, refers to the language of the language itself to explain, name, analyze, comment on the function. Some expressions in the text, such as “strictly speaking, literally, so called, so to speak, by definition, etc.”, are manifestations of the meta-linguistic function.&lt;br /&gt;
&lt;br /&gt;
Of the above six functions, the first three are the main ones, but within a text, there may be multiple functions, but the text itself has a focus, and rarely does textual knowledge contain purely one function.(Li Zhi 2008)&lt;br /&gt;
&lt;br /&gt;
====Similarities and Differences Between Reiss's and Newmark's View of Text Type Theory====&lt;br /&gt;
&lt;br /&gt;
=====Similarities=====&lt;br /&gt;
Both theories are based on Bühler's triadic approach to language function. Both have the same understanding of the division and characteristics of different kinds of texts.&lt;br /&gt;
Differences&lt;br /&gt;
&lt;br /&gt;
=====Differences=====&lt;br /&gt;
First of all, language used in lived interaction is the main basis for Rice's definition of text types, and these are classified as text types that value content. Newmark, on the other hand, regards such lived language as a special linguistic function, and many experts consider this understanding by Newmark problematic.&lt;br /&gt;
&lt;br /&gt;
Second, there is a significant difference in their views of instructions, with Rice classifying them as informative texts because of their ability to provide certain information to readers. Newmark, on the other hand, classifies it as a operative text because of its ability to guide people and thus change their behaviors. In my opinion, the text of instruction manuals is due to the nature of the product itself, and the readers have the will to act before reading the text, and the manuals only provide them with certain information, so they should belong to the information category.&lt;br /&gt;
&lt;br /&gt;
Furthermore, the language used in living interactions is the main basis for Rice's definition of text types, and these are classified as text types that value content. Newmark, however, regards this lived language as a special language function, and many experts think that this understanding of Newmark is problematic.(Jia Heping 2015)&lt;br /&gt;
&lt;br /&gt;
====Similarities and Differences Between Chinese and English PSA texts====&lt;br /&gt;
&lt;br /&gt;
=====Similarities=====&lt;br /&gt;
&lt;br /&gt;
1. Public service texts in both languages often use certain rhetorical techniques, such as personification, alliteration, and end-rhyme, in order to evoke a call to action.&lt;br /&gt;
&lt;br /&gt;
2. Public service texts in both languages often use short sentences, especially in public service slogans, which are easy to remember and achieve the desired effect.&lt;br /&gt;
&lt;br /&gt;
3. Both languages use idioms and sayings that have been around for a long time.&lt;br /&gt;
 &lt;br /&gt;
=====Differences=====&lt;br /&gt;
&lt;br /&gt;
1. Chinese public service texts are good at using strong words such as &amp;quot;forbidden&amp;quot;, while English texts use more euphemisms such as &amp;quot;Please&amp;quot;. When translating, we should respect the habits of the translating countries in order to better play the role of public welfare texts.&lt;br /&gt;
&lt;br /&gt;
2. Chinese public service texts tend to use poetry-like forms, with seven or five characters in order to be neatly matched. In English, they mostly use phrases of the same number of words to match each other.&lt;br /&gt;
&lt;br /&gt;
3.The translation of advertising slogans also needs to respect certain cultural differences, as Western societies emphasize the individual while the Chinese value collectivism. For example:&lt;br /&gt;
&lt;br /&gt;
Example 1：保护生态环境，造福子孙后代。&lt;br /&gt;
&lt;br /&gt;
Translation 1:Leave a sound ecological environment to your children.&lt;br /&gt;
&lt;br /&gt;
Such a slogan in Chinese emphasizes the impact on future generations without specifying whose children and grandchildren it is, but in the translation, the translator translates it as &amp;quot;Leave a sound ecological environment to your children.” to call on people to protect the environment.&lt;br /&gt;
&lt;br /&gt;
4. Westerners focus on direct expressions, while Chinese expressions are more subtle. For example:&lt;br /&gt;
&lt;br /&gt;
Example 2: 司机一滴酒，亲人两行泪。 &lt;br /&gt;
&lt;br /&gt;
Translation:Drink and drive costs your life.&lt;br /&gt;
&lt;br /&gt;
The sentence contrasts the words &amp;quot;酒&amp;quot; and &amp;quot;泪&amp;quot; without directly pointing out the possible serious consequences, leaving the reader to think about them and take actions. Instead, the translator simply translates it as &amp;quot;Drink and drive costs your life.”(Li Qingxue, Wang Huaiwang 2019)&lt;br /&gt;
&lt;br /&gt;
===Features of Public Service Advertisements===&lt;br /&gt;
&lt;br /&gt;
As an advertising method, public service advertisements have their own characteristics in many aspects. By analyzing the characteristics, we can accurately convey the idea that the PSA is trying to convey.&lt;br /&gt;
&lt;br /&gt;
====Content Features====&lt;br /&gt;
&lt;br /&gt;
1. The public welfare nature of PSAs is their essential feature, which is concerned with the common interests of the entire society. By observing the theme and content of the PSAs in both China and abroad, it can be seen that the topics of PSAs cover ecological protection, care for the earth, quality birth and education, opposing cults, advocating science, opposing war, advocating polite social mores, patriotism, and so on.&lt;br /&gt;
&lt;br /&gt;
2. Public service advertisements are non-profit in nature. It does not exist for an organization or a business entity, but rather to draw people’s attention to and activate action on social issues. Commercial advertising, on the other hand, exists for financial gain.&lt;br /&gt;
&lt;br /&gt;
3. Popularity. The public service advertisements are made for the general public. As the audience's cultural level, the ability to understand different, so public service advertisements must be easy to understand. It not only requires the spread of advertising content to have universal significance, but also the form of popular, concise, accessible language, easy to understand. Only in this way, the public service advertisement can really serve the purpose of the public.&lt;br /&gt;
&lt;br /&gt;
4. Creativity. The advertising market is so diverse that the only way to make advertisements spread to  the public is to design them in a creative and meaningful way that will make them known to&lt;br /&gt;
more people.&lt;br /&gt;
&lt;br /&gt;
====The Features of Text Forms====&lt;br /&gt;
&lt;br /&gt;
1.Advertising texts that we see in our daily lives include slogans, public service messages and public service videos, and so on. Advertising slogans are usually short and meaningful, with simple counterpoint sentences, and are operative texts. On the other hand,public service messages are mostly preventive messages issued by social organizations to help disseminate precautions and draw people’s attention to an unexpected situation in order to maintain social order. They are mostly informative texts. Most PSAs have a complete storyline, thought-provoking dialogue, and a short slogan that summarizes the message of the ad.&lt;br /&gt;
&lt;br /&gt;
2. Public service advertisements are often designed with certain rhetorical techniques to enhance the aesthetics of the ad, make it catchy to read, and ultimately leave a deep impression on the public.&lt;br /&gt;
&lt;br /&gt;
===Examples of C-E Translation of Public Service Advertisements===&lt;br /&gt;
&lt;br /&gt;
====Operative Text====&lt;br /&gt;
&lt;br /&gt;
Most of the PSAs are operative texts, and the pupose of operative texts in PSAs is to affect the public in order to attain the desired response from the advertisers. PSAs are created to publicize something of common social interest in order to attract attention and action, so the creative design of the advertisement should take this into account and retain the appealing elements of the original text when designing the advertisement.&lt;br /&gt;
&lt;br /&gt;
Example 3: 爱心播散 希望萌芽&lt;br /&gt;
&lt;br /&gt;
Translation: Spread love Sow hope&lt;br /&gt;
&lt;br /&gt;
The public service advertisement slogan is from a public service advertisement released by CCTV in 2016, which tells the story of Zhao Xiaoting, a student from Wuhan University, who volunteered to go to Guizhou to teach in the mountains. It was her selfless love that sowed hope for the children in the mountains. The ad reflects the great power of ordinary people and promotes the core values of socialism. It shows the power that volunteering can bring. The ad is very short, with a neat counterpoint, and the verb and noun have been swapped in the translation, with the verb being in front of the noun, indicating a dynamic process that can arouse the public's recognition of the act and inspire them to join in and contribute to the poor areas. The second verb in the original text is &amp;quot;萌芽&amp;quot;, but the translation uses &amp;quot;sow&amp;quot; to indicate the growth of hope, which is similar to the original text.(Jin Haibing 2005)&lt;br /&gt;
&lt;br /&gt;
Example 4: 有你在，就是家。&lt;br /&gt;
&lt;br /&gt;
Translation：You bring me warmth of home.&lt;br /&gt;
&lt;br /&gt;
In this short film, a father in a rural area has never been away from home, and because he misses his son, who has not been home for a long time, he sets out on his own to visit him. The father has to change various means of transportation to get to the city, and encounters many difficulties because his being unable to speak mandarin well. The helpless father finally gets help from the staff, through whom he contacts his son. Eventually they both cry, and the short film ends with the father sitting on his son's motorcycleand going home together. The short film is very touching, and through the process of going into the city to look for his son, it shows us how brave and gentle people can be for love. If we translate the text word by word in the original order, we can't express this meaning, so we use phrases like &amp;quot;bringing sb warmth&amp;quot; to express the meaning of the original Chinese.(Ye Qiuling 2020)&lt;br /&gt;
&lt;br /&gt;
====Informative Text====&lt;br /&gt;
&lt;br /&gt;
Public service messages are informatiive texts, mainly used to convey certain information, with straightforward and concise text content, and the translator only needs to express its literal meaning directly when translating.&lt;br /&gt;
&lt;br /&gt;
Example 5：请您收到来自境外、国内新冠疫情中高风险地区的邮件、包裹，先对物品表面进行消毒，或在阳台等室外空旷处放置一段时间再打开。处理完包裹、邮件后，应立即用肥皂或洗手液清洗双手，或用免洗手消毒剂进行消毒。洗手前双手不触碰口、鼻、眼等部位。疫情防控有您的参与才能胜利！&lt;br /&gt;
&lt;br /&gt;
Translation: If you receive mail or parcels from overseas or domestic areas at high risk of Cov-19 outbreak, please disinfect the suface of the items first, and leave them on the balcony or other outdoor open space for a period of time before opening them. Immediately after handling parcels and mail, wash your hands with soap and hand sanitizer, or disinfect them with hand sanitizer. Do not touch your mouth, nose, eyes or other parts of your body before washing your hands. Outbreak prevention and control can only be won with your participation!&lt;br /&gt;
&lt;br /&gt;
Example 6：应急公益短信:为严防新型冠状病毒感染的肺炎疫情，山东省严禁任何形式的野生动物交易活动，严禁野生动物对外扩散和转运贩卖。对于违反规定的经营者、经营场所将予以停业整顿、查封，涉嫌犯罪的，将移送公安机关。社会各界如有发现违法违规交易野生动物的，欢迎拔打12345等投诉举报。&lt;br /&gt;
&lt;br /&gt;
Translation: In order to prevent the outbreak of pneumonia due to new coronavirus infection, any form of wildlife trade is strictly prohibited in Shandong Province, and the proliferation and trafficking of wildlife is strictly prohibited. The company's main goal is to provide the best service to the public.&lt;br /&gt;
If you are suspected of committing a crime, you will be transferred to the public security organs. If any&lt;br /&gt;
illegal trade of wild animals is found, the community is welcome to call 12345 to report complaints.&lt;br /&gt;
&lt;br /&gt;
====Expressive Text====&lt;br /&gt;
&lt;br /&gt;
The purpose of an expressive text is to express emotions and attitudes, the language focuses on aesthetics, and the focus of the text is on the form of expression, which requires attention to equity in translation. With the development of the economy and society and the improvement of people's living standards, the aesthetic level of the masses is also improving, and accordingly, the translation of advertising slogans should also change to adapt to the improvement of people's aesthetics.&lt;br /&gt;
&lt;br /&gt;
Example 7：善行无痕 一种习惯的美丽&lt;br /&gt;
&lt;br /&gt;
Translation: Kindness is traceless. A habit of beauty.&lt;br /&gt;
&lt;br /&gt;
The slogan is from a public service advertisement by CCTV in 2016. In the short film, a wife walks into a room to rest after stopping on the balcony for a long time, and her husband comes back and intends to tum off the balcony light to save electricity. The wife stops the husband, and the camera turns to two elderly sanitation workers who are finishing their meal by the light of the lamp she left for them, which the young couple lit for them in the night.Such kindness is obviously not accidental,but has been a habit of the wife in the short film, and is therefore natural and touching. The ad is intended to call attention to good deeds and habit formation through a story like this one. The ad's slogan is a literal translation, with &amp;quot;善行&amp;quot; translated as &amp;quot;Kindness&amp;quot; and &amp;quot;无痕&amp;quot; as &amp;quot;traceless&amp;quot;.&amp;quot;The use of end-rhyme rhetoric, which pursues equivalence of expressions and enhances the rhythmic beauty of the language, impresses readers and influences their perceptions and habits of good deeds, serving as a public service advertisement.(LiQingxue, Wang Huaiwang 2019)&lt;br /&gt;
&lt;br /&gt;
Example 8：保护肺脏，珍爱生命。（禁烟广告）&lt;br /&gt;
&lt;br /&gt;
Translation: Save your lung, save your life.&lt;br /&gt;
&lt;br /&gt;
The slogan comes from an anti-smoking advertisement that uses the alliteration, “lung” and “life”, to emphasize that quitting smoking is about protecting your lungs and your life. The two “saves” remind people that smoking is harmful to their health and that they should quit smoking as soon as possible to save themselves.&lt;br /&gt;
&lt;br /&gt;
===Misinterpretation of Public Service Advertisemnts===&lt;br /&gt;
&lt;br /&gt;
====Chinglish====&lt;br /&gt;
Chinglish refers to word-for- word translations that do not consider translation strategies from the perspective of the receiving language and cultural differences, and often cause difficulties in comprehension for the receiving readers.&lt;br /&gt;
&lt;br /&gt;
Example 9：小心地滑&lt;br /&gt;
&lt;br /&gt;
Misinterpretation: Foot Care.&lt;br /&gt;
&lt;br /&gt;
Suggested translation: Mind your step.&lt;br /&gt;
&lt;br /&gt;
The above misinterpretation is translated word-for-word, which not only makes it difficult for the recipient readers to read, but also affects the image of the city as a whole, so more citizens are taking notice and taking action to reject &amp;quot;dead translation&amp;quot; and &amp;quot;Chinglish&amp;quot;. &lt;br /&gt;
&lt;br /&gt;
====Grammatical errors====&lt;br /&gt;
Most grammatical errors are caused by the translator's own incompetence, mainly in the use of articles, subject- predicate inconsistencies, mis-matching of verb phrases, and word confusion.&lt;br /&gt;
&lt;br /&gt;
Example 10：珍爱生命 远离毒品。&lt;br /&gt;
&lt;br /&gt;
Mistranslation: Yes to life, no to drugs.&lt;br /&gt;
&lt;br /&gt;
Suggested translation: Cherish life and avoid drugs.&lt;br /&gt;
&lt;br /&gt;
The public service advertisement came from an anti-drug advertisement, obviously the mistranslated structure of the translation does not fit English conventions.&lt;br /&gt;
&lt;br /&gt;
====Inappropriate Use of Words====&lt;br /&gt;
There are some words in English that are very similar to each other, and improper use of words means that the translator uses words haphazardly without clearly distinguishing between similar words, resulting in a misinterpretation.&lt;br /&gt;
&lt;br /&gt;
Example 11：关爱残障人士&lt;br /&gt;
&lt;br /&gt;
Improper translation: Care for the handicapped.&lt;br /&gt;
&lt;br /&gt;
Suggested translation: Care for the disabled.&lt;br /&gt;
&lt;br /&gt;
The slogan is from a public service advertisement in which the word &amp;quot;handicapped,&amp;quot; which translates to &amp;quot;the handicapped,&amp;quot; is now somewhat outdated and contains a certain amount of offensive language that sometimes causes people to be It would make more sense to change it to &amp;quot;the disabled&amp;quot;, relatively speaking.&lt;br /&gt;
&lt;br /&gt;
====Redundancy====&lt;br /&gt;
The redundancy is due to the fact that the translators do not fully understand the differences between Chinese and foreign cultures and the purpose of the text.&lt;br /&gt;
&lt;br /&gt;
Example12：一花一草皆生命 一枝一叶总关情&lt;br /&gt;
&lt;br /&gt;
Improper Translation: Alive as all living things each flower and leaf of grasses require our care.&lt;br /&gt;
&lt;br /&gt;
Suggested Translation: Please give me a chance to grow.&lt;br /&gt;
&lt;br /&gt;
The original translator intended to present a vivid description of the original slogan in front of people, but failed to consider that the slogan was intended to arouse people's love for flowers and plants. We suggest that the translation should start from the operative textual features of the slogan and combine it with the straightforward expression habits of foreigners to call on people to take care of flowers and plants in a more euphemistic way.&lt;br /&gt;
&lt;br /&gt;
===Methods of C-E Translation of Public Service Advertising===&lt;br /&gt;
&lt;br /&gt;
====Literal Translation====&lt;br /&gt;
&lt;br /&gt;
The main characteristics of literal translation are twofold: in the treatment of word meanings and rhetoric (e. g., metaphors), it does not use transitive techniques (this distinguishes &amp;quot;literal translation&amp;quot;from &amp;quot;free translation&amp;quot;); in the treatment of linguistic forms (i.e., lexical-syntactic structure), it allows appropriate changes and shifts (This distinguishes &amp;quot;literal translation&amp;quot; from &amp;quot;word- for-word translation&amp;quot;).(Xiong Bing 2013) For example.&lt;br /&gt;
&lt;br /&gt;
Example 13: 我的盛开需要你的关爱 &lt;br /&gt;
&lt;br /&gt;
Translation : Luxuriant flowers need your care.&lt;br /&gt;
&lt;br /&gt;
The translation retains the personification of the original, treating flowers as species with emotions, but directly specifies that &amp;quot;I&amp;quot; means &amp;quot;flower&amp;quot;, which is in line with the habit of expression of the target audience and serves as a reminder.&lt;br /&gt;
&lt;br /&gt;
Example 14: 节约用水就是珍爱生命&lt;br /&gt;
&lt;br /&gt;
Translation : To save water is to save life&lt;br /&gt;
&lt;br /&gt;
The original text translates &amp;quot;conserve water&amp;quot; and &amp;quot;cherish life&amp;quot; into a neat pairing, and the translation also translates them into a neat pairing, and the expression is in line with the habits of expression of the people in the receive language. Both the original text and the translation equate &amp;quot;conserve water&amp;quot; with &amp;quot;cherish life&amp;quot; to arouse the attention of the masses and advertise the importance of saving water.&lt;br /&gt;
&lt;br /&gt;
====Paraphrase====&lt;br /&gt;
&lt;br /&gt;
A paraphrase translation is one in which the translator does not stick to the details of the meaning of the original text, much less to its vocabulary and syntactic structure, but &amp;quot;uses the original text as a reference model&amp;quot; and either translates only the general meaning, gist or key information (or selectively some of it) by condensing it, or translates it into a text with more information compared to the original article. (Xiong Bing 2013) For example.&lt;br /&gt;
&lt;br /&gt;
Example 15:爱我,追我,千万别吻我。&lt;br /&gt;
&lt;br /&gt;
Translation: Drive carefully! &lt;br /&gt;
&lt;br /&gt;
The original text is from a public service advertisement advocating cautious driving. The translation does not follow the literal meaning, but rather the translator uses a paraphrasing technique after understanding the meaning of the sentence and chooses two words to express the meaning. It is short and serves as a warning to motorists.&lt;br /&gt;
&lt;br /&gt;
Example 16：手下留情花自香，脚下留意草如茵。&lt;br /&gt;
&lt;br /&gt;
Translation: Take care of grass and flowers, please.&lt;br /&gt;
&lt;br /&gt;
The original text is a public service slogan with Chinese cultural characteristics, but it is difficult to find a corresponding expression in English when translating. Here the translator uses an invocation to remind the masses.&lt;br /&gt;
&lt;br /&gt;
====Borrowing Translation====&lt;br /&gt;
&lt;br /&gt;
A borrowing Translation is an explanation that replaces the original word or phrase by borrowing the idiom of the target language. For example.&lt;br /&gt;
&lt;br /&gt;
Example 17: 爱心传递你我，文明就在身边。&lt;br /&gt;
&lt;br /&gt;
Translation: Where there is a love, there is a virtue.&lt;br /&gt;
&lt;br /&gt;
The original is a slogan from an advertisement for the Olympic Games, which is a medium for promoting the spirit of the Games and the country's outlook. The translator chose a well-known proverb from the translated country, &amp;quot;Where there is a will, there is a way,&amp;quot; to expand the publicity effect.&lt;br /&gt;
&lt;br /&gt;
Example 18: 让世界倾听我们的声音&lt;br /&gt;
&lt;br /&gt;
Translation : Let our voice be heard in the world.&lt;br /&gt;
&lt;br /&gt;
The original text was a slogan from a CCTV public service advertisement, which was based on the lyrics &amp;quot;Let our voice be heard.&lt;br /&gt;
&lt;br /&gt;
===Conclusion===&lt;br /&gt;
&lt;br /&gt;
In this paper, the writer divides and analyzes different texts and explain the approaches they take in translation. This perspective of using text type theory to analyze and discuss how to translate public service texts may be of some help to scholars.&lt;br /&gt;
&lt;br /&gt;
According to different texts, the text type theory has its own emphasis in translation, and different PSA texts are mostly operative texts, and sometimes one text has multiple textual characteristics, which translators can take into full consideration when choosing the emphasis and translation methods.&lt;br /&gt;
Public service translation is very different from commercial advertising translation, which is mainly used to educate the public, convey correct and positive values, encourage people to take actions to help others, and create a good social environment to resist bad behaviors. Generally speaking, it is necessary to consider the actual situation when translating the PSAs.&lt;br /&gt;
&lt;br /&gt;
Through analyzing the texts of PSAs, the author has made the following discoveries, and the translation of PSAs can be done according to the text type theory. Although there are some cultural differences between the two languages, the differences do not make translation difficult to achieve. If literal translation cannot translate the meaning of the source text, then paraphrase,borrowing translation and other translation methods can also be used.&lt;br /&gt;
&lt;br /&gt;
===Limitation===&lt;br /&gt;
&lt;br /&gt;
In this paper, I put forward some personal ideas, but in the final version, I can still find my own shortcomings. First of all, there is still a lack of richness of information due to the limitation of space. Secondly, the depth of my ideas is still insufficient, and I only hope that this article can provide some research ideas for researchers and contribute to the translation of public service texts.&lt;br /&gt;
&lt;br /&gt;
===References===&lt;br /&gt;
1.Jia Heping 贾和平. (2019). 论纽马克与赖斯的文本分类比较研究 [A Comparative Study on Newmark’s and Reiss’s Text Type Classification ]. &lt;br /&gt;
&lt;br /&gt;
2.Li Zhi 李治. (2008). 论纽马克与赖斯的文本分类比较研究 [Newmark’s and Reiss’s Text Type Classification and A Comparative Analysis of Translation Methodology ].&lt;br /&gt;
&lt;br /&gt;
3.Jin Haibing 金海兵. (2005). 试谈公益广告标语及其翻译 [On Analyzing Public Service Advertisements and Their Translation].&lt;br /&gt;
&lt;br /&gt;
4.Li Qingxue, Wang Huaiwang 李庆学 王怀望. (2019). 接受美学视角下的公益广告翻译 [A Study of English Translation of Public Service Advertisements from the Perspective of Reception Aesthetics].&lt;br /&gt;
&lt;br /&gt;
5.Ye Qiuling 叶秋伶. (2020). 语义翻译和交际翻译理论视角下中文公益广告英译——以央视公益广告为例 [English Translation of Chinese Public Service Advertisements from the Perspective of Semantic Translation and Communicative Translation Theory - Taking CCTV Public Service Advertisements as an Example].&lt;br /&gt;
&lt;br /&gt;
6.Liu Xiaofang 刘晓芳. (2015). 目的论视角下《中国日报》公益广告英译的探析 [The English Translation of PSAs in China Daily from the Perspective of Skopos theorie].&lt;br /&gt;
&lt;br /&gt;
7.Chen Yanhong 陈燕红. (2012).  文化视角中汉英公益广告的翻译策略 [Translation Strategies of Chinese-English Public Service Advertisements in Cultural Perspective].&lt;br /&gt;
&lt;br /&gt;
8.Xiong Bing 熊兵. (2013).  翻译研究中的概念混淆 [Conceptual Confusion in Translation Studies].&lt;/div&gt;</summary>
		<author><name>Song Jianru</name></author>
	</entry>
	<entry>
		<id>https://bou.de/u/index.php?title=History_of_Translation_Studies_8&amp;diff=113115</id>
		<title>History of Translation Studies 8</title>
		<link rel="alternate" type="text/html" href="https://bou.de/u/index.php?title=History_of_Translation_Studies_8&amp;diff=113115"/>
		<updated>2020-12-16T13:09:59Z</updated>

		<summary type="html">&lt;p&gt;Song Jianru: /* =References */&lt;/p&gt;
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&lt;div&gt;这里是《翻译学史》的书稿第八部分(Part 8)。麻烦各位同学看一下已经存在的章回（样品），自己再加进去新的一个章回（就是你们的学期论文）。请也帮助同学们把他们的论文改正。这样多次修改，大家的论文会越来越好。&lt;br /&gt;
&lt;br /&gt;
学期论文（结合学期所学，撰写一篇5000以上单词的英文论文，按照专业杂志的格式，题目、摘要、关键词和参考文摘需要英中，文章英）。学期论文成绩占70%，平时成绩（含课堂表现、展示及作业）占30%。&lt;br /&gt;
&lt;br /&gt;
*Link back to course homepage: [https://bou.de/u/wiki/Introduction_to_Translation_Studies Course Homepage Intro. to TS]&lt;br /&gt;
*Link back to the final exam paper section of the course homepage: [https://bou.de/u/wiki/Introduction_to_Translation_Studies#Final_Exam_Papers Final Exam Papers]&lt;br /&gt;
*Link to other parts of the final exam papers' website: [https://bou.de/u/index.php?title=History_of_Translation_Studies_1 Part 1], [https://bou.de/u/index.php?title=History_of_Translation_Studies_2 Part 2], [https://bou.de/u/index.php?title=History_of_Translation_Studies_3 Part 3], [https://bou.de/u/index.php?title=History_of_Translation_Studies_4 Part 4]; [https://bou.de/u/index.php?title=History_of_Translation_Studies_5 Part 5], [https://bou.de/u/index.php?title=History_of_Translation_Studies_6 Part 6], [https://bou.de/u/index.php?title=History_of_Translation_Studies_7 Part 7], [https://bou.de/u/index.php?title=History_of_Translation_Studies_8 Part 8]; [https://bou.de/u/index.php?title=History_of_Translation_Studies_9 Part 9], [https://bou.de/u/index.php?title=History_of_Translation_Studies_10 Part 10].&lt;br /&gt;
&lt;br /&gt;
='''History of Translation'''=&lt;br /&gt;
== Study on Brand Name Translation from the Perspective of Cultural Difference	谭鑫洁	Tan Xinjie==&lt;br /&gt;
&lt;br /&gt;
==='''Abstract'''===&lt;br /&gt;
&lt;br /&gt;
== Abstract: ==&lt;br /&gt;
&lt;br /&gt;
==='''key words'''===&lt;br /&gt;
&lt;br /&gt;
==='''摘要'''===&lt;br /&gt;
&lt;br /&gt;
==='''关键字'''===&lt;br /&gt;
&lt;br /&gt;
===Complete transcript of the content of the original work ===&lt;br /&gt;
&lt;br /&gt;
===Same style and manner of writing===&lt;br /&gt;
&lt;br /&gt;
===Equivalent effect===&lt;br /&gt;
&lt;br /&gt;
===Discussion===&lt;br /&gt;
&lt;br /&gt;
===Conclusion===&lt;br /&gt;
&lt;br /&gt;
===Bibliography===&lt;br /&gt;
&lt;br /&gt;
==A Comparative Study on the Translation History in Western Countries and China	王煜	Wang Yu==&lt;br /&gt;
&amp;lt;center&amp;gt;王煜，202020080645.&amp;lt;/center&amp;gt;&lt;br /&gt;
===Abstract===&lt;br /&gt;
Translation is an intercultural communication activity, translation activities have accelerated the development of human civilization and reduced the communication barriers between people of different countries or nations. With time goes by, things are in a state of flux and both the western and eastern countries have gradually formed their own history of translation, the study of translation history is a basic project of discipline construction. Though there are many differences among the translation histories of western countries and China, the two kinds of translation histories are still shining their own bright unique lights and have an indelible influence and contribution to human translation activities. This paper intends to make a brief comparison of translation histories between western countries and China, which includes the origins, the stages, the representatives of the stages, the significance and influence as well as the differences of the two translation histories.&lt;br /&gt;
&lt;br /&gt;
===Keywords===&lt;br /&gt;
Translation History of the West; Translation History of China; Comparative Study&lt;br /&gt;
&lt;br /&gt;
===中西翻译史对比研究===&lt;br /&gt;
&lt;br /&gt;
===摘要===&lt;br /&gt;
翻译是一种跨文化交流活动，翻译活动加快了人类文明发展步伐，减少了人们之间的沟通障碍。随着时代的变迁，中国和西方国家逐渐形成了各自的翻译史，翻译史的研究是学科建设的一项基础工程。尽管中西方翻译史在某些方面有所差异，但却都有着各自的独特性，并对人类的翻译活动产生了巨大的影响与贡献。文章将以中国和西方国家为主要对象，从二者翻译史起始，包含阶段和各阶段代表人物，影响意义，差异性出发，对二者的翻译史进行简略的对比研究。&lt;br /&gt;
&lt;br /&gt;
===关键词===&lt;br /&gt;
西方翻译史；中国翻译史；对比研究&lt;br /&gt;
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===1. Introduction===&lt;br /&gt;
No matter in China or in the west, translation plays an important role in knowledge-spreading. As an indispensable part of translatology, the study of translation history has made a great influence on translation activities, it has gradually become the focus of the literary and historical circles in recent years. Translation activities can be traced back to the origin of language, and the history of translation is almost as old as language itself, it is closely related to the changes in today's society. &amp;quot;Since the 1980s, the translation studies in the mainland of China have made remarkable progress in the curriculum design of Chinese and western translation history and the compilation of related works. In the early 1980s and 1990s, there were many related works came out one after another including History of Translation in China – before May Fourth（《中国翻译简史-“五四”运动以前部分》） written by Ma Zuyi, A Historical Manuscript of Chinese Translated Literature （《中国翻译文学史稿》）edited by Chen Yugang, and also the A Short History of Translation in the West（《西方翻译简史》） the author of which is Tan Zaixi. Thus, it opens the gate for the compilation of Chinese and western translation history works.&amp;quot;(Xie Tianzhen2009,Ⅴ) The history of western translation can be divided into five stages while the Chinese study of translation has a glorious history of more than two thousand years and has experienced five climaxes. Through the comparative study of Chinese and western translation history, it will help us to have a deeper understanding of Chinese and western translation activities and thus to gather a general full view of it, which will be a positive and meaningful attempt.&lt;br /&gt;
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===2. The Translation History of Western Countries===&lt;br /&gt;
Western translation activities are rich in a long history and a multiyear span. The history of western translation can be roughly divided into three stages: the traditional stage, the modern times and the contemporary. More specifically, it can be grouped into the ancient times, the middle ages, the Renaissance period and the time after WWⅡ.&lt;br /&gt;
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===2.1 The First Stage: Translation in the Ancient Times===&lt;br /&gt;
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The translation history of western countries first began in the the 3rd century BC. In a broad sense, the earliest translation in the west is the Old Testament translated by 72 Jewish scholars in Alexandria, ancient Egypt, between the 3rd and 2nd centuries BC; Strictly speaking, the first western translation is the Greek Homer Epic Odyssey translated by Andronicus in Rome in the middle of the third century BC.(Tan Zaixi2000,88-89) At the end of the 4th BC, during this time, the Greece began to decay and the Roman had became stronger and stronger with its military expansion. The expansion of the Roman Empire brought itself into contact with the splendid Greek culture, therefore, the Romans not only conquered the Greek city, but also inherited and developed the brilliant achievements of ancient Greek culture, and then created a  splendid cultural of its own era after Greece. So soon began a large scale translation activities, the activity of translating and introducing Greek classical works probably began in this period.(Liu Junping2009,8) Many famous translation theorists began to make their presences, namely Cicero, Quentin, Jerome and so on, also the famous Roman litterateurs like Andronicus, Naevius, Ennius, these great writers used Latin language to translate or adapt Homer’s epic or other Greece dramas.(Tan Zaixi2000, 89) Started the translation tradition and promoted the birth and development of Roman literature.&lt;br /&gt;
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===2.2 The Second Stage: Translation in the Middle Ages (4th-6th)===&lt;br /&gt;
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The second climax occurred in the late Roman Empire through the early Middle Ages and was religious in nature. In this period, translation was mainly related about the religious stuff. Religious forces have great influence in the west, Christianity strives to promote its own religion, thus, the Bible, the source and psychological weapon of the Christianism naturally meant a lot in religious world. Since the Old Testament of the Bible was written in Hebrew and Greek, respectively, it needed to be translated into Latin for effective circulation in Rome. &amp;quot;Jerome was a Latin Christian priest, he translated the Bible into Latin(Vulgute) according to the Hebrew version of the Bible.&amp;quot; This version had a great influence on medieval theology and was the most widely circulated and authoritative translation of the Middle Ages, marking an unprecedented level of Western translation.(Tan Zaixi2000, 89)&lt;br /&gt;
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===2.3 The Third Stage: Translation in the Middle Ages (11th-12th)===&lt;br /&gt;
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This period can also be called &amp;quot;the period of the Arab Centennial Translation Movement&amp;quot;,(Liu Junping2009,9) it lasted over two hundred years. In order to consolidate the rule and promote socio-economic and cultural development, the medieval Arab Empire undertook a massive, organized academic activity to translate and introduce the scientific and cultural classics of ancient Greece and the East. Translators of this period actively translated the most important works of Greek literature in all disciplines with an open mind and a strong desire for knowledge. Between the 11th and 12th centuries, Toledo became Europe’s academic center for its prosperous translation activities, the western translators who gathered here translated many works from Arabic into Latin. Cultural patterns and religious ideas converged here.(Tan Zaixi2000, 90) Until nowadays, the positive influence of the movement still plays an inherent role: numerous proprietary names such as ‘concept’, ‘category’ all are gradually established in Arabic. This movement not only facilitated the integration of the inner Arab world, but also, in fact, promoted the integration of the Western and Persian worlds.&lt;br /&gt;
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===2.4 The Fourth Stage: Translation in the Renaissance Period===&lt;br /&gt;
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The Renaissance movement is a European ideological and cultural movement which took place from the 14th century to the 16th century, and reached its peak in the 16th century and inspired a cascade of the development of science, art and literature. A large number of outstanding translators shown up and a series of excellent translation works had been produced. During this time, a great quantity of ancient Greek and Roman classics had been rediscovered and translated into various European languages, which had brought about a profound impact on the European nation states. Leonardo Buruni, who was one of the most influential cultural translation practitioners in the Renaissance period and was also one of the earliest representatives of humanistic translators in the history of western translation. He was famous for his translation of Plato and Aristotle. Humanists began to study the Bible with the method of studying classical literature, and translated the Bible into the national language, which led to the rise of the religious reform movement. In Germany, Martin Luther, a religious reformer, translated the first mass Bible which influenced most and ushered in a new era in the development of modern German; in Britain, Chapman, a writer and translator, translated Homer's Iliad and Odyssey from 1958 to 1616, and the translation and publication of the King James Bible in 1611 marked the formation of modern English.(Liu Junping2009,9) The renaissance played a very important role in the western history of the development of translation, it marked the national language status in the field of literature and translation having finally been consolidated, simultaneously, it showed the translation is playing a huge role in the formation and development of the national language, literature and thought.&lt;br /&gt;
During the the three hundred years that lasted from the 17th century to the 19th century, translation activities continued to move forward. Although its scale and influence could not be compared with that of the Renaissance, it still produced many excellent translators and translated works. The biggest feature was that translators not only continued to translate classical works, but also became interested in modern and contemporary works. The works of Cervantes, Shakespeare, Balzac, Goethe and other great writers had been repeatedly translated into various languages, and translations of Eastern literature have also been published.(Tan Zaixi2000, 91)&lt;br /&gt;
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===2.5 The Fifth Stage: Translation after WWⅡ===&lt;br /&gt;
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Although World War II has brought different degrees of blows to many countries, some western countries have used a large amount of capital to actively resume production, developed various social fields, and attached great importance to the person with ability. Western science and technology are changing with each passing day, driven by cybernetics, information theory and system theory, the world of knowledge and experience has been greatly expanded, and social and cultural exchanges have become increasingly close, which provided a solid material foundation and ideological guarantee for the prosperity of translation. With the growing in number or quantity of translation activities, the translation theory continues to develop, and the number of translation talents in various countries keeps on increasing. Translation has gradually expanded from traditional literary and religious translation to other fields, such as scientific and technical translation and business translation, and with the emergence of professional translators, the influence of translation has become more and more obvious, playing an important practical role. Distinctive features in this time, from the scope to the scale, effect, and to the forms, are all different from any time in the past, having made tremendous progress, the translation scale has exceed the past.&lt;br /&gt;
There are a large number of outstanding translators and translation theorists in the west, they have put forward their different points from different angles in different periods, which made a brilliant contribution to the history of western translation. The western translation activity promoted the cultural exchange and spread the ideas.(Tan Zaixi2000, 92)&lt;br /&gt;
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===3. The Translation History of China===&lt;br /&gt;
China has a long history with 5000 years of civilization. Since China is a multi-ethnic country, so translation plays an irreplaceable role in the communication between different nationalities. There is no reference to the history of translation in China, although there are some documents in the Xia and Shang Dynasties, we still can not discern the translation activities at that time from the existing records. &amp;quot;The song of the Yue Boatman can be regarded as the first poetry translation in Chinese history.&amp;quot;(Ma Zuyi1998,5) However, it was only an isolated translation activity and did not trigger a large-scale translation movement in China.&lt;br /&gt;
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===3.1 The First Stage：Translation of Ancient Buddhist Scriptures===&lt;br /&gt;
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The first climax of the Chinese translation history was the translation of ancient Buddhist scriptures. The Potala Sutra should be the earliest translation of Buddhist scriptures in China,it was also said that the Forty-Two Chapters Sutra is the earliest Chinese translation of the Buddha's sutras, however, the one that is proven to be reliable should be the book The Fifty Books of the Mingdu translated by An Shigao during the reign of Emperor Huan of the Eastern Han Dynasty.(Ma Zuyi1998,17)&lt;br /&gt;
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It has experienced four phases, each of which had its own features: the first was the starting period which was from the last year of emperor Huan in the Eastern Han Dynasty to the Western Jin Dynasty. Translators in this period were mainly Buddhist monks,(Ma Zuyi1998,33) However, the quality of the translated works depends on the ability of the translators’ understanding of Chinese, so the classics of the translated works are varied. Also, due to the shortage of learners' language knowledge , they usually used literal translation. The second perid was the developing time, from the Eastern Jin Dynasty to Sui Dynasty. The Buddhist scriptures continued to prevail under the rulers' advocacy and began to translated Buddhist scriptures in an organized way which was also use the literal translation. During this period, Shi Daoan put forward the famous theory of ‘Five losses of source texts and three difficulties in translation’. Meanwhile, through the translation and interpretation of nearly 400 volumes of Buddhist classics, kumarajiva first introduced Indian Buddhism to the Chinese people, which played an important role in the prosperity of Chinese Buddhism at that time.(Ma Zuyi1998,40) The translation in this time had changed from individual translation into group translation which had improved the quality if translation and as well made some progress in translation theories and skills.(Ma Zuyi1998,55) The third period was the heyday of the translation history took place in Tang Dynasty.(Ma Zuyi1998,58) Xuanzang was an important figure in promoting Sino Indian friendship and cultural exchanges in China's history，not only was he a great translator and organizer of translation, he was also a great translation theorist whose contribution to translation studies still remains significant today. As for the last period, it was in the Northern Song Dynasty, the studying of translating scriptures gradually withered, and during this period, the translation mainly focused on the esoteric classics translations.(Ma Zuyi1998,82)&lt;br /&gt;
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As part of Chinese history, especially as the link of the cultural development, Chinese ancient Buddhist sutra translation has contributed more than a lot.  The spread of Buddhist ethics contributed to the formation of Taoism in China.&lt;br /&gt;
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===3.2 The Second Stage：Technical Translation during the Yuan and Ming Dynasties===&lt;br /&gt;
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The translation of Buddhist scriptures gradually declined during the two hundred years of the Ming Dynasty. With the arrival of western Christian missionaries, China came into contact with Europe. In order to facilitate their relations with Chinese officials and intellectuals, the missionaries translated works of western science and technology as well as Christian texts assisted by Chinese officials. They also introduced the Chinese classics to the West. Matteo Ricci came to China on a mission to introduce Western scientific and technological knowledge. He pioneered the history of combining Chinese and Western translation to introduce Western scientific and technical literature, and was the first to translate the Four Books into Latin, he was the first to introduce Chinese texts to the West.(Ma Zuyi1998,263) From the Wanli period of the Ming Dynasty to the &amp;quot;new learning&amp;quot; period of the Qing Dynasty, there appeared translators who introduced science, literature and philosophy in Western Europe, represented by Xu Guangqi, Lin Shu and Yan Fu. Xu Guangqi was a patriotic scientist and organizer of the scientific and cultural movement in China at the end of the Ming Dynasty, and made outstanding achievements in introducing Western natural sciences and improving the level of science in China.&lt;br /&gt;
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===3.3 The Third Stage：Literary Translation in Late Qing Dynasty===&lt;br /&gt;
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After the Opium War, the Qing government organized a large number of scholars to translate western natural science books, Under the influence of the reform thought, a large number of translations introducing western political thoughts, scientific methods and some literary works appeared. The records of four continents, translated by Liang Jinde, Lin Zexu asked him to do so, was the first systematic introduction to the geographical knowledge of western countries in modern China.（Ma Zuyi1998,329）After the Sino-Japanese War of 1894-1895, Yan Fu translated the theory of evolution and put forward the triple criteria of ‘faithfulness, fluency and elegance’, which has  played a great guiding role in the translation practice of later generations, His translation promoted the development of &amp;quot;new learning&amp;quot; and enlightened the Chinese nation at that time. Another scholar Liang Qichao, who was a politician, thinker and encyclopedia scholar of that time and advocated that China needs to develop the translation career and cultivate translation talents at a full stretch. He has done fruitful research on the translation of Buddhist scriptures and the translation of science and technology between the Ming and Qing Dynasties.&lt;br /&gt;
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===3.4 The Fourth Stage：The Translation of Socialist and Communist Works===&lt;br /&gt;
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The May 4th Movement was a watershed in China's modern translation history, made a significant contribution to the introduction of foreign literature to China and the development of literature in China. After the May 4th movement, China's translation industry has ushered in a new historical period, translators in this period of time, by comparison with those during the late Qing dynasty, were more selective regarding source texts. Chinese translation scholars began to introduce the classic works of Marxism-Leninism and the literature of the proletariat. The translation of the Manifesto of the Communist Party was published during the May 4th movement. During this period, great changes have taken place in the content and form of translation work: vernacular began to replace classical Chinese, as a result, popular language becomes easy to understand, the excellent literary works of western countries have attracted more and more Chinese readers. Famous translators like Lu Xun, Mao Dun, Zheng Zhenduo, Guo Moruo, Zhu Shenghao, Lin Yutang, these scholars had translated a large number of foreign masterpieces and enriched the inner world of the Chinese people, Lu Xun once advocated that there should be an exotic atmosphere in the translated works which would familiarize the readers with the foreign cultures. He also believed that literal translation of culturally loaded words was one of the important means of enriching the mother tongue. These scholars helped the Chinese people to know more about the outside world and laid a good foundation for the systematization and scientization of translation theory in China.&lt;br /&gt;
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===3.5 The Fifth Stage：The Translation after 1949===&lt;br /&gt;
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The founding of the People's Republic of China in 1949 enabled translation to enter into a new era. With the founding of the new China, China's translation industry was also liberated. Translation became a very important part of the national cultural and educational cause. National organizations for translators were established in order to protect the interests and benefits of translators. The quantity and quality of translated works have grown by leaps and bounds. Since then, translation work has been an important part of the new socialist culture, and has been developing rapidly, making great achievements and perfecting translation theory. The classical works of Marxism-Leninism, excellent foreign literature, scientific and technical literature and the like were systematically introduced. There are large-scale translation like the translation of Marx and Lenin's works. In the 1950s, scientific and technical works to meet the demands of the national social and economic construction. In the 1970s, translation of United Nations documents after China was restored to its rightful seat in the United Nations. Also, literary translators became a very important part of China's literature and arts personnel. Qian Zhongshu He puts forward his &amp;quot;transmigration theory (化境说)&amp;quot; for literary translation. That is a literary translation is like the act of transmigration in which the souls, the spirit of the original text remain in the target text even although the carrier of them, the language, has changed. In 1978, two years after the end of disastrous &amp;quot;cultural revolution,&amp;quot; China adopted its &amp;quot;reform and open&amp;quot; policy. A new and dynamic atmosphere for translation emerged.&lt;br /&gt;
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===4.The Comparative Study Among the Two Kinds of Translation Histories===&lt;br /&gt;
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===4.1 The Similarities of the Western and Chinese Translation History===&lt;br /&gt;
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About the religious and translation, we can easily notice that in the history of Chinese and western translation, almost all the early translation activities were the translation of religious classics. The translation of religious classics had opened the curtain of Chinese and western translation history. The spread of religion is always accompanied by the translation of religious classics. It is not difficult for us to understand the reason: after the emergence of religion, in order to absorb more believers, it is necessary for the religious to spread widely across nations and countries. Therefore, from ancient times to the present, religion is always a kind of existence form of various national beliefs and cultures. It keeps on influencing the spiritual belief and behavior of the society.&lt;br /&gt;
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The translation activity has made great contributions to the establishment and development of national languages in various countries. For example, in the history of western translation, Martin Luther's Bible translation played an important role in the unification and development of German language and the establishment of modern German, what’s more, the English version of the Bible enriched the English vocabulary and benefited the modernization of English a lot. The same in China, the Buddhist scripture translation also enriched the use of Chinese vocabulary, in the ideological field, it not only laid the foundation for the establishment of Taoism, but also paved the way for the formation of &amp;quot;New Confucianism&amp;quot; in Song Dynasty. And we can not ignore the contribution of the literary translation in the first half of the 20th century in the establishment and development of modern vernacular Chinese. &lt;br /&gt;
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The translation activity helps to transmit cultural values and promote cultural exchange. Translation bears the mission of cultural exchange, the translation activities are trying to make a close connection between nations and countries and introduce the language and cultural habits of one nation to another. Such kind of efforts have enriched the vocabulary and promoted the exchange between areas. Jesuits who came to China in the late Ming and early Qing dynasties would translate Chinese classics and literary works into foreign languages, which, in a state of isolation between China and Europe, they have become the middlemen for the exchange of Chinese and Western civilizations.(Tan Zaixi1999)&lt;br /&gt;
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===4.2 The Differences Between the Western and Chinese Translation History===&lt;br /&gt;
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First is that, the time is different. Western translation predates Chinese translation by over 200 years. It is said that the reason is due to the differences in topography and geomorphology of the two parts. We all know that China possesses a great number of mountains and lakes, and in the ancient times, it would take quite a few days to send messages from one place to another place, especially when people in the remote areas, it would be a hard and long journey for them to head for a destination. So, there is difficulty in communicating among the various peoples in different nations, there will be delay of the communication and connection. As for the west, there are numerous plains, so it was much convenient and easier for the western people to communicate and exchange their ideas with each other, which set a ideal environment for the development of translation activity.&lt;br /&gt;
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Also, the position of the religious varies. The different traditional culture of the west and China has made the concept of religious of the two are quite varied from each other. Different religious cultures have different forms of expression and vocabulary of their own. In the west, the Bible is not only a religious classic but also an important mainstay of western culture and the foundation of Christian faith. Buddhism was introduced into China from India in the early years of AD and became a very important part of Chinese traditional culture, in order to consolidate his ruling position, the rulers ruled the people spiritually, and the doctrine of Buddhism was in line with the ruler's appetite, so it was first spread among the ruling class and gradually gained its legal status.&lt;br /&gt;
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The translation tradition of the west and China differs. One of the differences of them is the difference between single system and multiple system. “The simplicity of Chinese translation tradition is mainly in the narrow sense，though there are different kinds of translations of national languages in China, most of them are still dominated by the tradition of Chinese language and culture translation. “because they all occurred in the same environment of the language culture since ancient times, that is , the environment of Chinese language culture.” By way of contrast, In terms of space, the western translation tradition did not always develop in the same region. In the later formation and development process, it spread throughout all ethnic regions in Europe；In terms of time, the western translation tradition began in ancient Rome, and then evolved into the ancient Latin language and culture system. In the later period of the middle ages, the system expanded and evolved into many relatively independent ethnic systems. So the system of the west is more like a kind of multiple system instead of a single system like China.(Tan Zaixi2000,15)&lt;br /&gt;
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The Chinese and western translation concepts are different. Then, the translation theories are different. Chinese translation tradition pays more attention to practicality than to the theory. Like professor Tan Zaixi once said that: “What Chinese translators and translation theorists are most concerned about is how to deal with the difficulties in translation and how to deal with them.” however, western translation pays more attention to systematicness and theory. Secondly, the national characteristics of China and the West are also different. Relatively speaking, Western ideas are more open and China is conservative. For a long time, the Chinese people advocate authority and accept more challenges less, China's three cardinal principles and five constancies in religion are in sharp contrast to the religious reform in the West. Although the West also advocates authority and takes religion as its belief, it dares to break through dogmatism, which brings a breakthrough to western translation studies to a certain extent.&lt;br /&gt;
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===Conclusion===&lt;br /&gt;
History is a bridge connecting the past, the present and the future. Throughout the history of translation between China and the west, although the differences between them inevitably exist, the brilliant translation achievements made by both sides are remarkable: excellent translators, translation scholars, or outstanding  translation theory, translation works, all of these have opened up the way for our future translation research, they are leading people to the direction of knowledge, and constantly leading us to explore into the unknown field.&lt;br /&gt;
Mastering the history of a discipline can help us to see the direction of its development, we then will able to learn from the experience and lessons in this development process and use this kind of method to guide the development of this subject. To have contact with the history of translation is helpful for us to understand and improve the level of translation and develop the translation career. The achievements of our predecessors have accumulated valuable cultural heritages for us. We should sum up our predecessors' translation experience and continue to make our efforts for our country's translation cause.&lt;br /&gt;
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===References===&lt;br /&gt;
*Tan Zaixi. 谭载喜. (2000). 翻译学 [A Series of Translation Studies in China]. Wuhan: Hubei Education Press 湖北教育出版社.&lt;br /&gt;
*Xie Tianzhen. 谢天振. (2009). 中西翻译简史 [A Brief History of Translation in China and the  West]. Foreign Language Teaching and Research Press外语教学与研究出版社.&lt;br /&gt;
*Qi Jian. 戚健. (2017). 古罗马时期翻译思想新探 [A New Probe Into the Translation Thoughts in Ancient Rome]. 南昌航空大学学报：社会科学版Journal of Nanchang Hangkong University: Social Science (3) 68-74.&lt;br /&gt;
*Ma Zuyi. 马祖毅. (1998). 中国翻译简史-“五四”以前部分（修订本） [A Brief History of Chinese Translation: The Part Before the May 4th Movement] . China Translation Corporation中国对外翻译出版公司.&lt;br /&gt;
*Liu Junping. 刘军平. (2009). 西方翻译理论通史 [A General History of Western Translation Theory]. Wuhan: Wuhan University Press武汉大学出版社. &lt;br /&gt;
*Tan Zaixi. 谭载喜. (1999). 中国翻译与西方翻译[Chinese Translation and Western Translation]. 中国翻译 Chinese Translation Journal(5) 6-8.&lt;br /&gt;
*Wang Yong. 汪勇. (2008). 翻译与宗教传播[Translation and Religious Communication]. 中国校外教育理论 Education for Chinese After-school(26) 51-53.&lt;br /&gt;
*Li Xuan. 李璇. (2012). 中西翻译高潮之对比[Comparison of Translation Climax Between China and the West]. 青年文学家 Youth Literator(3) 131.&lt;br /&gt;
*Tan Zaixi. 谭载喜. (2000). 中西译论的相异性[The Differences Between the Chinese and Western Traditions of Translation Theories]. 中国翻译Chinese Translation Journal (1) 15-21.&lt;br /&gt;
*Tan Zaixi. 谭载喜. (1999). 中西译论的相似性[The Similarities Between the Chinese and Western Traditions of Translation Theories]. 中国翻译Chinese Translation Journal (6) 25-28.&lt;br /&gt;
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==Comparison and Translation Studies Between Chinese and Western Color Terms	方洁玲	Fang Jieling==&lt;br /&gt;
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=== Abstract ===&lt;br /&gt;
Color terms are terms used to describe the external color characteristics of things, and are very common in our lives. We use them not only to describe the external image of an object, but also to express our inner psychological feelings. Color words contain rich cultural connotations, which should not be understood simply from their literal meanings when translated, but from the different cultural connotations and extended meanings contained in the color words to understand and choose the meanings of the words. This paper first introduces the composition of color words in Chinese and English and makes a comparative analysis of their characteristics, then discusses the different meanings given to the six colors in Chinese and English, and then provides different translation methods that should be used in different situations, providing a certain reference for the English-Chinese translation.&lt;br /&gt;
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===Key words ===&lt;br /&gt;
color terms, cultural difference , reason ,translation methods&lt;br /&gt;
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=== 摘要 ===&lt;br /&gt;
颜色词是用来描述事物外在颜色特征的词语，在我们生活中非常常见。我们不仅用它描绘物体的外在形象，也用它表达内在心理感受。颜色词包含了丰富的文化内涵，在翻译的时候不能简单地从字面意思上理解，应从颜色词所包含的不同文化内涵和引申意义来理解和选择词义。本文将首先介绍中英颜色词的构成并对其特点进行对比分析，然后具体论述六种颜色在中英文中被赋予的不同意义，接着提供了面对不同情况应该采用的不同翻译方法，为英汉互译提供了一定的参考。&lt;br /&gt;
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=== 关键词 ===&lt;br /&gt;
颜色词 文化差异 原因 翻译方法&lt;br /&gt;
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=== 1.Introduction ===&lt;br /&gt;
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Color is an indispensable part of human life,it is because of the colorfulness of colors that the world is much more varied and pleasant. Color words not only have an important impact on people's vision, but also have a great impact on people's inner feelings and emotional expression. As an important part of language, color words are frequently used by human beings in English, but due to different histories, cultures, customs and habits, in the long run, different people have given specific meanings to various colors. Analyzing and comparing the different connotations of color words in Chinese and Western cultures and exploring the cultural differences between English and Chinese will be of great help to the translation work between English and Chinese. At the same time, translators will inevitably meet a lot of problems in the translation work. In this paper, we mainly discuss the composition and cultural connotation of color words between Chinese and English. In addition, we also propose some translation methods and make a brief conclusion.&lt;br /&gt;
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=== 2.Characteristics of the Composition of Chinese and Western Color Words ===&lt;br /&gt;
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Color words are words used to describe the color of different things. And they are the symbols that exist in human languages to record a large number of colors, which are generally considered to be adjectives in grammar.&lt;br /&gt;
In the historical development of Chinese color words, there are three types.(Cai Xiaomin2020,65) &lt;br /&gt;
(1) Basic words. These words are the most basic and objective, and are generally used to objectively describe the most direct external color state of an object. They are &amp;quot;white&amp;quot;, &amp;quot;black&amp;quot;, &amp;quot;red&amp;quot;, &amp;quot;yellow&amp;quot;, &amp;quot;blue &amp;quot;&amp;quot;Green&amp;quot; &amp;quot;Gray&amp;quot; &amp;quot;Purple&amp;quot; &amp;quot;Brown&amp;quot; and &amp;quot;orange&amp;quot;.&lt;br /&gt;
(2) Reference words. Reference words means that people specifically distinguish basic words to show different colors. These words are more detailed and specific than the basic words. For example, we tend to divide &amp;quot;green&amp;quot; into &amp;quot;dark green&amp;quot; &amp;quot;grass green&amp;quot; and so on.&lt;br /&gt;
(3)Descriptive words. Descriptive words comes from people's perception of nature. These words can not only distinguish colors, but also describe what they look like. Such color words are more literary and subjective.&lt;br /&gt;
Color words in English are mainly divided into basic color words and compound color words.&lt;br /&gt;
basic color words : (1) simple colors. For example, black, white. (2) Colors of plants. For example, orange, etc.&lt;br /&gt;
Compound color words : (1) the name of plant + simple color. For example, apple green. (2) Chemical name + simple color. For example, vermilion, etc&lt;br /&gt;
&lt;br /&gt;
=== 3.The Different Understanding and Perception of Colors in China and the West ===&lt;br /&gt;
Nature is colorful and can be described with many words. Generally speaking, black symbolizes oppression, white symbolizes purity and innocence, and green symbolizes life force. However, due to different histories and cultures, the same color may have different meanings. After a careful study of color words, it is easy to see that color words create various associations that have a great impact on a person's emotions and behavior. This is the main reason why people use color words to explain their moral character, emotions, and perceptions of things. Different cultures and ways of thinking lead to different meanings of color words, and this disparity can affect people's understanding of the meaning of the same word. For example, in English-speaking countries, white symbolizes purity and beauty, which is why brides wear white wedding dresses in Western weddings. However, in China, white is often used to express grief, and a white funeral dress is worn at a funeral. In this paper, we start with the six basic color words red, black, white, yellow, purple and blue, and compare their cultural connotations in English and Chinese, discussing the different understanding and cognition of colors in China and the West and the differences in cultural connotations between Chinese and Western cultures.&lt;br /&gt;
	&lt;br /&gt;
====3.1 红and Red ====&lt;br /&gt;
&lt;br /&gt;
In traditional Chinese culture, &amp;quot;红&amp;quot; represents joy, happiness, good luck, and prosperity. &amp;quot;红&amp;quot; is a color that cannot be absent from important events in China, such as the red couplets(红包), red lanterns（红灯笼）, and red packets（红包） during Chinese New Year festivals, the red dress of the bride at weddings, and other festive ceremonies in China. Similarly, words combining the word &amp;quot;红&amp;quot; generally mean prosperity, such as “hongguangmanmian”（红光满面）、”dahongdazi”(大红大紫)、”honghuo”(红火)、”hongren”(红人)、”hongrun”(红润), etc. In addition, during the revolutionary era, the color red also symbolized the modern Chinese revolution and power, such as the“hongsezhengquan”(红色政权)、”hongjun”(红军)、”hongqi”(红旗)、”hongge”(红歌)、”hongsewenjian”(红头文件)、”hongseganglin”(红色纲领), etc.(	Zhao Fenyan2019,232)&lt;br /&gt;
In the West, red refers to the color of blood, and when red is mentioned, it is generally associated with cruelty, violence, and bloodshed. For example, &amp;quot;red hands&amp;quot;, &amp;quot;red battle&amp;quot;, &amp;quot;the red rules&amp;quot; &amp;quot; red revenge&amp;quot;, the color red also symbolizes radical and violent revolution, as in &amp;quot;red activities&amp;quot;, but also danger and tension,such as &amp;quot;a red flag&amp;quot;. &amp;quot;red alert&amp;quot; &amp;quot;a red adventure story&amp;quot;, in addition to the above-mentioned symbolic meaning, the color red also has connotations of debauchery and obscenity.(Yan Wen2012,177)For example, red light district, a red waste of one's youth, and so on. The positive connotation of the color red in Western culture is due to the exchange and integration of different cultures, which is said to have been introduced to the West via Persia from the Far East. like red letter day、red envelope、the red carpet.&lt;br /&gt;
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====3.2 黑 and Black ====&lt;br /&gt;
&lt;br /&gt;
In Chinese history, “黑” is an honorable and dignified color, which had a high status in ancient times. During the Xia, Qin, and early Han dynasties, “黑” was the dress of emperors and officials, and the common people were only allowed to wear plain clothes, and then a restriction that was gradually relaxed after the Northern Song Dynasty. In China, the derivation of “黑” includes the positive meanings of stern, iron-faced, upright, and mysterious, such as in the art of theatrical masks, where the “黑脸” symbolizes the noble character of uprightness and selflessness. In addition to its positive connotations, “黑” sometimes symbolizes a derogatory meaning, indicating a counter-revolutionary, regressive, or stubborn party. For example, the ”阴曹地府” is said to be dark and sunless, and “黑”, as opposed to light, symbolizes darkness, death, terror, etc.&lt;br /&gt;
In the West, black is the color of death, symbolizing death, suffering, and grief, hence the black color of Western mourning garments. black tidings means &amp;quot;bad news&amp;quot;，Jesus was crucified on the Friday before Easter, The Black Friday is considered to be a &amp;quot;dangerous and ominous day&amp;quot;. Black also symbolizes &amp;quot;anger&amp;quot; and &amp;quot;irritation&amp;quot;, such as: black in the face,to look black at sb，Other words that express negative meanings，such as black sheep, black dog, black eye, black list, black and blue, black art, and other black symbols.(Wang Yu2012,151)In addition, black also represents seriousness, discretion, and pomp. Black suit and black dress have always been the most revered traditional clothing in the West. In solemn formal occasions, people like to wear black clothing. Symphony orchestra performers almost always wear black suits. The term &amp;quot;black-ball&amp;quot; refers to a costume ball. In business English, &amp;quot;a company in black&amp;quot; refers to a profitable business, where“ in black” means profitable, because on financial statements, profit figures are written in black ink.[6]&lt;br /&gt;
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====3.3 白 and White ====&lt;br /&gt;
 &lt;br /&gt;
In Chinese, “白” is often used to represent death, such as at funerals with white decorations, white flowers, and white mourning clothes, but there are also many words containing “白” that do not represent color at all, but rather the name of something or have another meaning,[8]such as”baicai”(白菜), “baixiong”（白熊）、 “baiyi”(白蚁)、”baijuan” (白卷)、 “baichi”(白痴), White&amp;quot; also means &amp;quot;pure, or unadulterated, such as”baikaishui”(白开水)、”baizhi”(白纸)、”baiqierou”(白切肉)etc. &amp;quot;White&amp;quot; also often means &amp;quot;in vain&amp;quot; or &amp;quot;without cost&amp;quot;, such as”baifeishi”(白费事)、“baida”（白搭）、”baisong” (白送)、“baishouqijia” (白手起家) etc(Chen Yongye2005,425) and The Chinese word “白” is also not the same as the English word &amp;quot;white&amp;quot;, which we can say the white people (白人), but is better translated as: She has a fair skin. In addition, it is difficult to summarize the exact meaning of some of the“白” in Chinese, For example “baihua”(白话) vernacular, “tanbai”（坦白）: to confess, to make a clean breast of something, etc.&lt;br /&gt;
In the West, however, white is considered as a symbol of purity, and it is customary to wear white wedding dresses and gowns at weddings, hence there exist the expressions like white-handed，a white lie，a white day, they treated us white etc.&lt;br /&gt;
	&lt;br /&gt;
====3.4 黄 and Yellow ====&lt;br /&gt;
&lt;br /&gt;
In traditional Chinese culture,”黄” is a symbol of power, honor, and nobility, in the Chinese feudal society, yellow is a symbol of imperial power and nobility, such as ”chonggao”(崇高)，”huangpao”(皇袍)、”huanggong”(皇宫)、”shengzhi”(圣旨) and so on. In modern Chinese, words such as “huangchengcheng”(黄澄澄),”huangcanvan”(黄灿灿)mean a good harvest and an auspicious day. ”黄” is a glorious color. And it is always associated with &amp;quot;honor&amp;quot;, &amp;quot;brilliance&amp;quot;, it is a symbol of &amp;quot;power&amp;quot; and &amp;quot;nobility&amp;quot;. To this day, ”黄” is still the symbol of ancient China, which is its positive meaning. Similarly, ”黄” has negative connotations, such as ”huangseshukan”(黄色书刊) , “huangseluxiang”(黄色录像) etc, but in the West, the term &amp;quot;the blue video&amp;quot;, &amp;quot;the blue talk&amp;quot; is used to describe the pornographic nature of the country. It means ”huangsedianying”(黄色电影)and ”huangsexinxi”(黄色信息)(Du Tianyu2020,188). In addition, ”黄” also means failure, sickness, or old age, such as ”huangji”(黄髫). The word ”黄” also means youth and ignorance.&lt;br /&gt;
In the West, in Western Christianity, yellow is a symbol of shame. Because in the Bible, Judas betrayed Jesus by wearing a yellow dress. Therefore, &amp;quot;yellow&amp;quot; has the connotation of betrayal .And it also means sadness, sickness, cowardice, etc. For example, &amp;quot;a yellow streak&amp;quot; means cowardice. &amp;quot;yellow&amp;quot; also has mean and vulgar semantics. In the 18th century, Americans often printed pornographic books on yellow paper. As a result, the low level of exaggeration and exaggerated distortion of facts used by newspapers and periodicals to attract readers was later extended to journalistic styles as well. For example, &amp;quot;yellow journalism&amp;quot; is a style of journalism that attempts to attract people in any way possible. [9]In English, Yellow Pages is the &amp;quot;yellow phone book&amp;quot;, and yellow boy is a slang term for &amp;quot;gold coin. The English words for Chinese ”黄” would be: pornographic, filthy, vulgar, obscene, etc. In English, blue is often used to mean ”黄”, such as blue jokes(下流的玩笑)、blue revolution (性解放)、blue films (黄色影片)、blue software (黄色软件)etc.(Chen Yongye2005,425) Some Chinese words have nothing to do with the English word yellow, such as blue jokes(下流的玩笑)、blue revolution (性解放)、blue films (黄色影片)、blue software (黄色软件)and so on.&lt;br /&gt;
	&lt;br /&gt;
====3.5 绿and Green ====&lt;br /&gt;
&lt;br /&gt;
In Chinese culture, “绿”represents vitality, and phrases related to”绿”express hope and vitality of people, such as“lüzhou”（绿洲）、“lvyiangran”（绿意盎然）. In today's China, ”绿”has a new symbolic meaning, such as: “lvseshipin”(绿色食品),”lvsechanye”(绿色产业), all referring to the concept of health, safety and non-pollution. The green light is also a signal for safe passage. In Chinese, a &amp;quot;lvmao&amp;quot; （绿帽）means that a man's wife is in an illicit relationship with someone else.(Hu Zongkang, Zhang Jun2019,153) However, in ancient Chinese culture, ”绿”means humbleness, because humble people wore green clothes. Also,”lvlinhaohan” (绿林好汉)means a barbarian who occupies a mountain and becomes king.&lt;br /&gt;
In traditional British culture, &amp;quot;Green&amp;quot; is a symbol of youth and vitality. It reminds people of the harmony and tranquility of nature. The &amp;quot;Green Peace Organization&amp;quot; is an organization that protects animals and plants. A dove with a green olive branch in its beak is a symbol of peace, &amp;quot;green winter&amp;quot; refers to a warm winter, and &amp;quot;in a green wood&amp;quot; refers to when people are young and strong. Green also represents a sense of madness and despair, just as Satan's image in the Bible is green. In addition, green in English also has a derogatory meaning of jealousy, lack of training, and childishness, such as “as green as grass”，’a green eye”，”a green hand”.(Chen Yuan陈缘2020,49) In addition, greenback means U.S. currency in English, and since U.S. dollar bills are green in color, green also means &amp;quot;money,&amp;quot; &amp;quot;bills,&amp;quot; or &amp;quot;economic power&amp;quot; in the United States.&lt;br /&gt;
	&lt;br /&gt;
====3.6 蓝 and Blue ====&lt;br /&gt;
&lt;br /&gt;
Blue is the color of the sea and clear skies, giving people a feeling of peace and tranquility. In Chinese, in addition to the color,”蓝” is often used together with other words to form phrases that have different meanings from the color. &lt;br /&gt;
For example, “蓝 青 官 话 “the standard Chinese spoken by the people with accent&lt;br /&gt;
“蓝本”script on which the works are based； model&lt;br /&gt;
“蓝图”（blue print）building plan&lt;br /&gt;
“蓝田生玉”the noble people usually come from the good family&lt;br /&gt;
“青出于蓝而胜于蓝 “the new coming from the old is better than the old .&lt;br /&gt;
But blue in English can be extended to depression, sadness, nervousness, immorality, obscenity, and pornography. For example :“feel blue“, ”be blue about future“,”Her mood is blue“,“be down with blues”,“sing the blues”,“blue devils”,“blue funk“,”blue revolution“, ”blue films“, ”blue jokes“, ”blue room” refers to a place in The White House where the president meets his friends and family. and the ”Blue Book“ refers to a book that contains the names of celebrities and important government officials.(Du Tianyu2020,187-188)&lt;br /&gt;
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=== 4.Reasons for the Difference in the English-Chinese Translation of Color Words ===&lt;br /&gt;
&lt;br /&gt;
Different countries and regions have different interpretations of color. The main reasons for this difference are geographical factors, historical factors, religious beliefs, and social systems, &lt;br /&gt;
	&lt;br /&gt;
====4.1 Geographic Factors ====&lt;br /&gt;
&lt;br /&gt;
Chinese civilization originated in the Yellow River Basin. The rich water resources and flat land of the Yellow River Basin have nurtured several generations of Chinese people. This is the main reason why the Chinese people love yellow. For generations, we Chinese people are also known as the “yanhuangzisun”(炎黄子孙)(Cai Xiaomin2020,66).Western civilization originated in ancient Rome. The only way out for Greece was to expand abroad. Therefore, blue became the favorite color of the Greeks.&lt;br /&gt;
	&lt;br /&gt;
==== 4.2 Historical and Cultural Factors ====&lt;br /&gt;
&lt;br /&gt;
A large number of color words have been created in different historical backgrounds and conditions. Therefore, it is important to understand the differences in the historical background and culture of different countries. For example, during the War of Resistance Against Japanese Aggression, our Party was called the”hongjun”(红军), which gave rise to expressions like “hongsezhengquan”(红色政权)、”hongjun”(红军)、”hongqi”(红旗)、”hongge”(红歌)、”hongsewenjian”(红头文件)、”hongseganglin”(红色纲领),etc.(Li Dan2018,132) In addition to some basic meanings, the color “红” in China also has some special historical meanings, such as the heroic and fearless revolutionary spirit. This is also the main reason why our national flag adopts the color red. Also in ancient China, yellow was a symbol of power, a color reserved for the royal family, representing the supreme authority, which meant that yellow robes were added to the flag. In the West, purple is used as a metaphor for &amp;quot;throne&amp;quot; and &amp;quot;prominence,&amp;quot; and the addition of a purple robe means rising to a position of prominence, because Western emperors and bishops have a tradition of wearing purple robes, such as :be born in the purple(生于皇室), be raised to the purple. In recent years, yellow has become more and more of a symbolic term in China for low taste, erotic vulgarity, and obscenity, such as”huangsedianying”(黄色电影)、”huangseshukan”(黄色书刊)、”huangseguangdie”(黄色光碟).etc. The &amp;quot;黄&amp;quot; in these names has nothing to do with the English &amp;quot;yellow&amp;quot;, these words in English are expressed like this pornographic, vulgar, obscene. It is very different from the associations in Chinese culture. The color vocabulary is visually and psychologically positive and derogatory for people of different nationalities.&lt;br /&gt;
&lt;br /&gt;
==== 4.3 Religious beliefs ====&lt;br /&gt;
&lt;br /&gt;
In China, the Five Element Theory is widely spread. Since &amp;quot;gold&amp;quot; is at the core of the theory, yellow becomes noble. In contrast, in the West, because yellow is stigmatized in Christianity and most people are Christians, many people dislike yellow and often even use it to convey negative connotations, according to &amp;quot;the Gospels&amp;quot; in the Bible's, in which Jesus was willing to be crucified, bleed to death, and be sacrificed with the blood of the Gospels. The Bible has been a classic of Christianity, and most people in Europe and the United States believe in Christianity. Since the Bible has always been a Christian classic, and most people in Europe and the United States are Christian, its influence on Western culture as a whole is immeasurable, and on English culture as well. Therefore, people think that &amp;quot;red&amp;quot; is associated with bloodshed, martyrdom, and bad things, and &amp;quot;red&amp;quot; makes them think of horrible things, such a“ red hand”( 沾 满 血 的 手 ),“ a red battle”( 血 战 ),“ to see the red light”(灾祸临头).&amp;quot;(Chen Yongye2005,425)In Chinese language, the color red is a symbol of honor, splendor, good fortune, and celebration. Such as: :“ 开门红”make/ get off to a good start,“ 满堂红”success in every field,“ 红 榜 ”honor roll,“ 红 运 ”goodluck,“ 红 事 ”wedding,“ 红 人 ”a favorite with someone in power etc.&amp;quot;.&lt;br /&gt;
&lt;br /&gt;
==== 4.4 Social System ====&lt;br /&gt;
&lt;br /&gt;
The use of different colors to represent political affiliations or national identities has long been a common practice among peoples of different social systems in China and the West due to their political, economic, and religious differences. In English, the true blue refers to the loyal members of a political party, especially the die-hard conservative members of the British party; White Paper or Blue Paper refers to a report or diplomatic document with blue or white covers issued by the British and American governments on a particular topic; Yellow Paper refers to the French and other countries. A government report of a country; Green Paper is a draft report for discussion by various committees; the Chinese use the term &amp;quot;红&amp;quot; to symbolizes the proletarian revolution, the meaning of which is derived from the book &amp;quot;Red Star Over China&amp;quot;(“红星照耀下的中国”,and is also translated into”西行漫记”) by American writer Edward Snow.(Li Dan2018,132)&lt;br /&gt;
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===5.Translation Methods of English-Chinese Color Words ===&lt;br /&gt;
 &lt;br /&gt;
From the above analysis, we can conclude that there are similarities and differences in the cultural connotations of Chinese and English color words. Therefore, in the translation of color words, it is impossible to generalize, so translators need to adapt to the local conditions and adopt an appropriate way to translate.&lt;br /&gt;
	&lt;br /&gt;
====5.1 Literal Translation ====&lt;br /&gt;
&lt;br /&gt;
Literal translation means that every effort should be made to maintain the linguistic style of the original work. At the same time, it requires that the target language should be fluent and easy to understand. There are similarities between English and Chinese languages and cultures. In the translation of English-Chinese color words, some color words can be found in the target language, while others have similar extended cultural meanings. Sometimes there is no similar extended meaning, but only a literal translation meaning, so the literal translation can also be used for translation.(Hu Zongkang, Zhang Jun,153)&lt;br /&gt;
For example, when the word black remains in its original color in the corresponding language, i.e, it has the same connotation, a literal translation is usually used.&lt;br /&gt;
black humor 黑色幽默 (an absurd, grotesque, or morbid humor in literature, especially in novels and plays)&lt;br /&gt;
black Friday黑色的星期五 (the Friday on which any disaster occurs)&lt;br /&gt;
black hand黑手党 (a secret organization that originated in Sicily, Italy, and has spread to the United States to engage in criminal activities)&lt;br /&gt;
black market 黑市、black- hearted 黑心的、blacklist 黑名单、black and white TV黑白电视, etc.(Chen Yuan2020,49）and red light district can be directly translated as“红灯区“, which refers to the neighborhoods where sex industries are concentrated in cities of certain countries and regions. Similarly, some color words in Chinese can be directly translated into English, for example:” 白露”, one of the 24 solar terms, is a culturally specific term in Chinese, which is completely unfamiliar to Western countries. Due to cultural exchanges, &amp;quot;white dew&amp;quot; is becoming more and more familiar to foreigners, and it has the same cultural meaning in English as &amp;quot;白露&amp;quot; in China. As another example, &amp;quot;绿油油&amp;quot; is a Chinese adjective used to describe the color of vibrant green leaves. We can translate it into English as &amp;quot;green and shiny&amp;quot; because the color words here are only used to describe objective points of view, and they have the same meaning.&lt;br /&gt;
	&lt;br /&gt;
==== 5.2 Free Translation ====&lt;br /&gt;
&lt;br /&gt;
Free translation. When the meaning of a color word in the original language is different from the meaning of the color word in the target language, the translator has to translate the meaning of the color word in the original language into the customary expression in the target language. In some cases, color words appear in both Chinese and English, but they do not have any color meaning; some are customary object names, while others give new meaning to them. In this case, the color itself cannot be focused on, so the colorless translation should be abandoned.This kind of translation based on the cultural background of two languages to correspond to the meaning is called &amp;quot;free translation&amp;quot;.(Chen Yuan2020,49）&lt;br /&gt;
Take black as an example, for instance, black lie--恶意的谎言、black and blue--青一块紫一块、black tea-- 红茶、black guard--恶棍、black coffee --不加牛奶的咖啡、pain somebody black-- 把某人描写成坏人、黑帮can be translated into “reactionary gang”、黑钱--ill-gotten money、黑面包 brown bread, and so on. Another example is that we often say &amp;quot;他是老师面前的“红人&amp;quot;, which is translated into English as &amp;quot;He is teacher's favourite student&amp;quot; ,”hongren”(红人)is an extended paraphrase of the Chinese, which does not mean literally, it means someone who is popular and be sought after by others, and the exact meaning needs to be contextualized. People from English-speaking countries will be confused if we translate it as &amp;quot;red people&amp;quot;. In English, the meaning of &amp;quot;one's favourite people&amp;quot; is somewhat similar to &amp;quot;红人&amp;quot;, so the phrase &amp;quot;one's favorite people&amp;quot; is appropriate. Another example is &amp;quot;a white elephant,&amp;quot; which is said to be a punishment given by the king of Thailand to his erring ministers in the past, as the cost of keeping white elephants is very high and would be a great financial burden. This word is very common in English, but a literal translation of &amp;quot;白象&amp;quot; would not have any connotation in Chinese, so it can be translated as &amp;quot;expensive and useless thing.（Jin Yan2012，130）&lt;br /&gt;
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===6. Conclusion ===&lt;br /&gt;
&lt;br /&gt;
This paper first discusses the construction of color words in Chinese and English, and then compares their compositional features. Secondly, six colors (red, black, yellow, white, green, blue) are taken as examples to analyze the cultural similarities and differences between Chinese and English color words. The reasons for the differences are divided into four main categories: geographical factors, historical factors, psychological factors, religious beliefs, and social systems, Finally, a solution to the problem is proposed, which provides a proper reference for translators when translating Chinese and English color words. When doing translation, translators can mainly use two different translation methods, namely, literal translation and free translation. When the Chinese cultural connotation of a color word in a sentence is the same as the English one, the literal translation can be used. When it is different from English, a free translation is appropriate. With the continuous penetration of globalization, people's languages and cultures are gradually interwoven, so does the meaning of color words, and also the similarities are expanding gradually. However, each nation-state has its own unique culture and customs, so the color words have completely different meanings in different regions and different languages. Therefore, when translating color terms, in order to translate the meaning of the text more accurately, the translator must have a deeper understanding of the color words.(Bao Dongjiao2005,107).In addition, the translator should not only learn translation skills, but also the history, geography, and culture of the country where the source and target language are located, which will help the accuracy of the translation. In short, the key to a good color word translation is the combination of translation skills and a deep understanding of the culture, as well as an accurate analysis of the color word.&lt;br /&gt;
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===7.Reference ===&lt;br /&gt;
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*Cai Xiaomin.蔡晓敏.( 2020).中英颜色词的对比与翻译研究[A comparative study of Chinese and English color words and their translation].海外英语[Overseas English],65-66.&lt;br /&gt;
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*Yan Wen.颜雯.(2012).翻译中颜色词的中西文化内涵差异[The difference between Chinese and Western cultural connotations of color words in translation].青年文学家·语言研究,[ Young Literati-Language Studies],177.&lt;br /&gt;
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*Jin Yan.金燕.(2012).浅析颜色词在中西文化下的翻译对比差异[An analysis of the contrasting differences in the translation of color words in Chinese and Western cultures].海外英语[Overseas English].&lt;br /&gt;
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*Zhao Fenyan.赵芬艳.(2019).试论中西颜色词的文化内涵及翻译策略[The cultural connotation of Chinese and Western color words and translation strategies].师资校企经验[Faculty school-enterprise experience],232-234.&lt;br /&gt;
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*Wang Yan, Zhang Bo.王艳,张博.(2012).谈中西文化对颜色的理解差异[Talking about the difference in the understanding of color between Chinese and Western cultures].教学实践[Teaching Practice],6-11.&lt;br /&gt;
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*Chen Yongye.陈永烨.(2005).英汉颜色词所表现的中西文化差异[The Chinese and Western cultural differences expressed by English and Chinese color words].辽宁工程技术大学学报[Journal of Liaoning University of Engineering and Technology],424-427.&lt;br /&gt;
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*Hu Zongkang, Zhang Jun.胡宗康,张军.(2019).英汉颜色词中“Green/绿”的对比与翻译方法研究[. Comparison and Translation of &amp;quot;Green/绿&amp;quot; in English and Chinese Color Words].文学教育[Literary Education],152-153.&lt;br /&gt;
&lt;br /&gt;
*Bao Dongjiao.鲍冬娇.(2015).中西红白颜色认知差异及翻译取向[Differences between Chinese and Western red and white color perception and translation orientation].湖北经济学院学报[Journal of Hubei University of Economics],106-107.&lt;br /&gt;
&lt;br /&gt;
*Li Dan.李丹.(2018).中西文化差异下的颜色词翻译[Translation of color words under the difference of Chinese and Western cultures].海外英语[Overseas English].&lt;br /&gt;
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*Li Hong.李虹.(2020).汉英颜色词翻译的差异性研究[A study of the differences between Chinese-English color word translations].文化长廊[Cultural Promenade].&lt;br /&gt;
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*Liu Mengqi, Chen Xingxing.刘梦琪,陈星星.(2020).浅谈颜色词的翻译[A brief discussion on the translation of color words].校园英语翻译研究[Campus English Translation Study].&lt;br /&gt;
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*Du Tianyu,杜恬雨.(2020).浅析文化差异对汉英颜色词翻译的影响[An analysis of the influence of cultural differences on the translation of Chinese-English color words].科教文汇[Science and Education],187-188.&lt;br /&gt;
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*Xu Yanping.许雁萍.(2009).中西文化中颜色词语的差异及其翻译[The Difference of Color Words in Chinese and Western Culture and Their Translation].文学语言学研究[Literary Linguistics Research],212-213.&lt;br /&gt;
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*Wang Yu.王羽.(2012).中西文化对比下颜色词的差异比较[Comparison of the differences in color words between Chinese and Western cultures].教育时空[Education Time],151.&lt;br /&gt;
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*Li Yun, Jia Aiguang.李云,贾爱光.(2020).大学英语教学中英汉基本颜色词翻译对比探讨[A Comparative Discussion on the Translation of English and Chinese Basic Color Words in University English Teaching].校园英语[Campus English],11-21.&lt;br /&gt;
&lt;br /&gt;
*Chen Yuan陈缘.(2020)英汉颜色词的文化差异与翻译[Cultural differences between English and Chinese color words and translation].海外英语[Overseas English],48-49.&lt;br /&gt;
&lt;br /&gt;
==Translation manipulated by ideology	许静	Xu Jing==&lt;br /&gt;
&lt;br /&gt;
==Comparison between the History of Chinese and Western Translation   周书尧   Zhou Shuyao==&lt;br /&gt;
&lt;br /&gt;
===Abstract===&lt;br /&gt;
Translation has existed since historical records. Translation goes hand in hand with human history, even before historical records. Whether in my country or Western countries, the long tradition of translation has become the most dazzling pearl in the process of human civilization.In addition, translation plays an indelible role in promoting cross-cultural communication and cultural communication.This article first discusses the history of translation in China from four stages , then discusses the five stages of western translation history , and finally compares and analyzes the similarities and differences between Chinese and Western translation histories, and puts forward some of the author's own views.&lt;br /&gt;
&lt;br /&gt;
===Key words===&lt;br /&gt;
The history of Chinese,The history of Western,the stages of  translation history,comparison&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
===摘要===&lt;br /&gt;
自历史记载以来,就存在翻译.翻译与人类的历史并道而驰,甚至先于历史记载.无论在我国,还是西方国家,悠久的翻译传统俨然成为人类文明进程中一颗最耀眼的明珠。此外，翻译在促进跨文化交流和文化传播上承担着不可磨灭的作用。本文首先从中国的四次翻译高潮论述中国的翻译史，再从西方的五次翻译高潮探讨西方的翻译史，最后对中西方翻译史的异同进行对比分析，提出一些笔者自己的看法。&lt;br /&gt;
&lt;br /&gt;
===关键词===&lt;br /&gt;
中国翻译史，西方翻译史，翻译高潮，对比&lt;br /&gt;
&lt;br /&gt;
===I.Introduction===&lt;br /&gt;
Since the 1980s, the Chinese translation studies community has made remarkable progress in the establishment of Chinese and Western translation history courses and the compilation of related works.In the 1980s and early 1990s,A Brief Introduction to the History of Translation in China from Ma Zuyi and other books of Chen Yugang and Tan Zaixi were published one after another,which raised the curtain for the compilation of Chinese and Western translation history works by the domestic translation scholars.The four stages in the history of Chinese translation have promoted the development of Chinese history, culture and society to varying degrees.The same as our country, Western translation has an age-old history.In a sense, the development of Western European civilization should first be attributed to the translators.The five stages in the history of European translation have promoted the exchanges of literature, art, science and trade between countries, and to a certain extent promoted the development of Chinese translation.In fact, when we examine the development trajectory of Chinese and Western translation activities and the evolution of translation concepts together, we find that there are some similarities between Chinese translation and Western translation.Especially in the evolution of Chinese and Western translation concepts, the two have very similar evolution laws.&lt;br /&gt;
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===Ⅱ.The history of Chinese translation===&lt;br /&gt;
According to records, there have been four stages in China's long history of translation development, leaving behind many classic discussions.From these four translation climaxes, we can see the translators, translation theories and practices that emerged in different periods in China.And these translation stages have had varying degrees of impact on China's history, culture, society, and literature, including the development of Chinese translation.&lt;br /&gt;
====2.1 The first stage:Ancient Translation History====&lt;br /&gt;
The translation of Buddhist scriptures from the Eastern Han Dynasty to the Tang and Song Dynasties (25-1279) can be regarded as the first important period in the history of Chinese translation, the initiation period of traditional Chinese translation theory, and the first large-scale, planned, Organized translation activities.A large number of Buddhist scriptures were introduced into our country from various countries in the Western Regions, which had a profound impact on our country's language, religious philosophy, painting, arts, etc.The Chinese translation of Buddhist scriptures with textual research should be translated by An Shigao（安室高） during the Eastern Han Dynasty (151 AD).From 148 AD to 170 AD, he translated more than 30 Buddhist scriptures in Luoyang, making great contributions to Buddhist translation and the spread of Buddhist culture in China.The translation of Lokaksema（支娄迦谶）, who was at the same time as An Shigao, was basically a word-for-word translation, which was not easy to understand. The literal translation in the Chinese translation community probably started from this time.Zhi Loujiachen were the masters of the literal translation school. In addition to them, the major translators include Lokaksema and Dharmaraksha（竺法护）. And most of these translators were “foreigners”.&lt;br /&gt;
Shi Daoan (314-385), who was an eminent monk, set up a translation workshop, ushering in the period of translation on a large scale. And a State Translation School was founded for this purpose. Shi daoan put forward the famous &amp;quot;five instances of losing the source and three instances of difficulties&amp;quot;, which had a great influence on later translation studies.(Li 2016,132)The Sui and Tang Dynasties were the prosperous period of Chinese Buddhist translation.Xuan Zang（玄奘）, Kumarajiva（鸠摩罗什）, and Zhen Di（真谛） of the Tang Dynasty are collectively known as the three major translators of Chinese Buddhism. In the translation of Buddhist scriptures, he fumbled and summed up the famous &amp;quot;Five do not flip&amp;quot;(五不翻原则）and “six methods of translation”. &amp;quot;Five do not flip&amp;quot;means translators should employ transliteration facing mysterious words, polyseme, culture-loaded words, conventional transliterating words and words showing respect. And the core of his translation theory can be concluded in one sentence. That is: it is necessary to seek truth and be straightforward.（既须求真又须喻俗)&lt;br /&gt;
The Buddhist translation of this period enriched the religious beliefs of the people, became the spiritual support of the people at that time, promoted the exchange between China and the world at that time, and made Buddhist scriptures an inseparable part of our traditional culture.&lt;br /&gt;
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====2.2 The stage two:Modern Translation History ====&lt;br /&gt;
During the Ming and Qing Dynasties (middle 14th to 19th centuries), there was a second stage of translation in Chinese history. During this period, the translation was mainly scientific and technological translation.This major shift was also decided by the Chinese and Western countries at the time in order to seek their own interests and finally reached an agreement on mutual terms.Western missionaries wanted to spread religious thought and culture in China, while Chinese scholars at that time were eager for knowledge and were keen on Western advanced science and technology in order to maintain the regime. In this way, the two needs complement each other, and the translation of Western scientific books is increasing. Increased, which promoted the great development of science and technology translation at that time.In 1868, the official translation and publishing organization of the Qing Dynasty, referred to as the Translation Museum, used the translation method from Western to Chinese, which means that foreign scholars interpret and Chinese scholars write and polish.(Liu 2016,148)The main representatives of translation activities in this period include Xu Guangqi（徐光启）, Li Zhizao （李之藻）, etc.Especially Xu Guangqi, known as the &amp;quot;Father of Western Translation&amp;quot;, does not understand foreign languages, and his translations are mainly through listening to narratives and co-translation and compilation.He proposed that the translation of Western history books should be prioritized and progressive，and put forward his own translation thought: &amp;quot;If you want to be superior, you must understand; before you can understand, you must first translate.&amp;quot;Although there were many translation achievements during this period, there was no systematic translation theory.Although the later translation museum had clear translation principles, its main purpose was to maintain its own rule by learning advanced Western technology.&lt;br /&gt;
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====2.3 The third stage: Contemporary Translation History ====&lt;br /&gt;
From the end of the 19th century to the beginning of the 20th century, China was in turmoil and internal and external troubles. Some rulers and intellectuals with capitalist ideas demanded to unite to resist the aggression of Western countries, and proposed reforms to strengthen themselves.Translation in this period is the boundary of modern Chinese translation history. Translation in the field of science and technology has gradually spread to the fields of literature, philosophy, economics, sociology, and ethics. China has entered a new stage of translation. The scale and influence of its translation activities all surpassed any period in modern times.At the end of the 19th century, Western academic translation represented by Ma Jianzhong （马建忠）and Yan Fu（严复）was a translation act driven by &amp;quot;national anxiety&amp;quot;, which promoted the expansion and deepening of foreign exchanges.(Liu 2016,148-149)In particular, Yan Fu's &amp;quot;faithfulness,expressiveness and elegance&amp;quot; translation standards have had a profound impact on translators' translation activities.&amp;quot;faithfulness&amp;quot; means loyalty, and &amp;quot;expressiveness&amp;quot; means unobstructed. In Yan Fu's interpretation, &amp;quot;elegance&amp;quot; means the translation strives to be elegant.The representative translator at that time was Lin Shu（林纾）. He proposed to pay attention to the purpose and function of translation, which meant that the translation should be able to achieve the expected goals and effects.When Lin Shu is translating, he emphasizes on subjective feelings, and the translator needs to communicate with the original author and the characters in the original work.A large number of translators, represented by Lin Shu, mostly adopt the principle of domestication and advocate free translation, which reflects the flexibility and openness of translation to a certain extent.During the May 4th Movement, the &amp;quot;New Youth&amp;quot; magazine was launched and began to translate western cultural thoughts and literary works. Representatives such as Chen Duxiu（陈独秀）, Hu Shi（胡适）, and Zhou Zuoren （周作人）all attached great importance to introducing foreign literature and foreign culture.Translation activities during this period included the introduction of scientific and technological knowledge and the dissemination of advanced ideas. The scale and the number of works all showed its important position in the history of translation.Moreover, the audience in this period has also expanded from intellectuals to part of the people, broadening the horizons of the Chinese people, increasing their knowledge, and playing a good catalytic role in modern intellectual circles.&lt;br /&gt;
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====2.4 The fourth stage: Present Translation====&lt;br /&gt;
Since the reform and opening up, China and the Western world have had a broader space for communication, and the translation industry has achieved prosperity and development.In an open China, from the initial learning from modern and contemporary Western translation theories, to actively conducting cultural exchanges with other countries, learning and exploring research methods, and focusing on cross-disciplinary comprehensive innovation, translation practices and theories have achieved unprecedented development.(Xu 2018,5)For example, cultural schools, structuralism, post-colonialism, and other translation theories have been translated into China in large numbers. Literary works involve politics, economy, culture, literature, art and other fields, and the quantity and variety greatly exceed the previous generations.Representatives at this time include Liu Miqing（刘宓庆）, Tan Zaixi（谭载喜）, Huang Long（黄龙） and others. Among them, Tan Zaixi compiled the book &amp;quot;A Brief History of Western Translation&amp;quot;. The whole book pays attention to absorb the relevant research results at home and abroad. It is important for various historical periods, especially since the 20th century. The representative tasks in the western translation field, translation works, schools of thought, etc. are described and commented, and the mutual promotion, evolution and development of translation practice and translation theory are analyzed and discussed in a simple way, which promotes the formation of a systematic translation theory in China.During this period, our research is no longer limited to the summary of translation practices and abstract induction of translation principles, but from the generalization of subjective thoughts to the description and analysis of specific translation phenomena, translation events and processes.Translation studies have changed from a single-paradigm study to a multi-paradigm study. In short, the reform and opening up has created a new situation in China's translation industry, constantly expanding research fields, and effectively promoting the development of Chinese translation studies.&lt;br /&gt;
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===Ⅲ.The history of western translation===&lt;br /&gt;
The same as our country, Western translation has a long history.In a sense, the development of Western European civilization should first be attributed to the translators.From the ancient Roman Empire to the modern European Community, literary, artistic, scientific, and trade exchanges between countries are all carried out through the work of translators. Throughout the whole process, the history of Western translation can be divided into five major development stages.Broadly speaking, the earliest translation in the West is The Septuagint.Strictly speaking, the first translation is the Homer epic &amp;quot;Odyssey&amp;quot; translated in Latin by Andronicus .Both the former and the latter began in the third century BC, with a history of more than two thousand years, and are an important part of the entire European history of development.(Tan 1985,36)&lt;br /&gt;
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====3.1 The first stage : Ancient====&lt;br /&gt;
Ancient translation mainly revolved around the Greek translation and Latin translation of the &amp;quot;The Bible. Old Testament&amp;quot; from the third century BC to the sixth century AD. Translation in this period can be divided into the first stage of ancient Greek literature translation and the second stage of religious translation.At the end of the fourth century BC, the Greek slave society began to decline, while the relatively backward Rome gradually became stronger.At this time, Greece has a certain cultural foundation and is still superior to Roman culture. Therefore, Greek culture has a greater attraction to Roman culture. The translation and introduction of Greek culture may begin in this period.It was only in the middle of the third century BC that recorded translations began to appear. Andronicus, Neveus, Ennius, and other excellent translators, who are known as the three ancestors of Roman literature, have translated a large number of Greek dramas in Latin.This large-scale translation first opened the situation of local translation in Europe. It spread Greek culture to Rome, promoted the development of Roman culture, and served as an important bridge for Rome and later generations to inherit ancient Greek literature.(Tan 1985,36)&lt;br /&gt;
The translation activities in the fourth to sixth centuries AD were mainly religious translation.In Europe, religious forces have always been strong and stubborn. From the very beginning, the Christian Church was hostile to secular literature, and tried to develop a religious culture that served its own interests.As the source of Christian thought and spiritual weapon, the &amp;quot;Bible&amp;quot; has naturally become the most concerned classic in the religious world.In 384 AD, Jerome was entrusted by the Roman Pope to compile a translation called &amp;quot;The New Testament&amp;quot;, which marked that the translation of the &amp;quot;Bible&amp;quot; had achieved an important position on par with the translation of secular literature.As Europe entered feudal society, religious translation was popularized, and the Bible was translated into various languages one after another.&lt;br /&gt;
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====3.2 The second stage : Middle Ages====&lt;br /&gt;
In the Middle Ages, Latin translation was no longer limited to religious documents. Eastern literature was translated and introduced to the East. The achievements of Arabic academic research promoted the development of Western translation.At that time, Western translators gathered in Toledo, Spain, and translated a large number of works from Arabic to Latin. This is the rare closely contact between Christians and Muslims in history.(Tan 2004,64)In the ninth and tenth centuries, Syrian scholars went to Athens to translate a large number of Greek classics into Syrian and brought them back to Baghdad. Baghdad established an important translation center, and many Greek classical works were translated into Arabic.Later, in the eleventh century, a large number of Arabic works appeared in Toledo. Translators translated these works into Latin. Toledo gradually became an academic center and translation center, becoming a &amp;quot;Translation Museum&amp;quot; similar to Baghdad. His translation and academic activities lasted for a hundred years, and the impact was also great.&lt;br /&gt;
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====3.3 The third stage :The Renaissance Period====&lt;br /&gt;
In the 14-16th century, the Renaissance took place in Europe. It was a great movement of ideological and literary innovation, and a great development in the history of Western translation. The translation practice and theoretical research of Western countries did not make a real leap until the Renaissance.During the Renaissance, Western translators constantly discovered new literary fields, unearthed new cultural heritage, and transplanted new ideas to the mainland. Translation at this time went deep into various fields such as ideology, politics, philosophy, literature, and religion, and involved some major works in ancient, modern and contemporary times.Translation in this period played an important role in the formation of national languages, marking the consolidation of the status of national languages in translation.(Tan 1985,37)&lt;br /&gt;
In Germany, Martin Luther created a precedent for the Reformation. His translation of the &amp;quot;Bible&amp;quot; through the people's language laid the foundation for the later standardization and standardization of German and played an important role in the unification of German.In France, &amp;quot;Celebrity biography&amp;quot; translated by the writer Amyot became an immortal literary translation in the history of translation in France and the entire West.In the United Kingdom, the translation of Greco-Roman history and literary works provided important historical materials and new ideological resources for the formation of an autocratic monarchy in the United Kingdom, which promoted the occurrence of the British bourgeois revolution and promoted Britain to become a modern nationalized country earlier.All in all, the ideological liberation movement of the Renaissance in Europe around 1500 had a profound and long-term impact on Europe, especially Western European society, and cultural translation played a crucial role as a bridge in this ideological liberation movement. It also shows that translation plays a huge role in the formation and development of national language, literature and thought.&lt;br /&gt;
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====3.4 The fourth stage :Since the end of the Second World War====&lt;br /&gt;
After the Second World War, the West entered a relatively stable period of peace, the economy was restored, production was secured, and science and technology developed rapidly. These are important material foundations for the development and progress of translation.(Tan 1985,37)Compared with the past, translation in the new period has undergone great changes. First, the scope of translation has been expanded. Traditional translation mainly focused on literary and religious works, while translation during this period expanded to the fields of technology and business.Second, the scale of translation is much larger than before. In the past, translation was mainly the work of a few high-level intellectuals. Nowadays, translation has become a profession, and there is even a professional team that has been specially trained.Third, the role of translation has also been enhanced, especially with the establishment of the European Community and the European Union, the process of globalization has accelerated, and the communication activities between countries are realized through translation. Therefore, translation plays a very important role in the economy, culture, science and technology of western countries.&lt;br /&gt;
The form of translation during this period has also undergone great changes, such as the strengthening of the professionalization of the translation business, the establishment of higher translation education and the training of professional translators.Especially the way of translation has broken the tradition, and machine translation has been developed and popularized.Since English and American scholars first discussed the possibility of using computers for translation in 1946, the development and application of translation machines have increasingly shown vitality after nearly 40 years of tortuous development. It is a challenge to traditional manual translation for thousands of years, and it is also a revolution of far-reaching significance in the history of translation.&lt;br /&gt;
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===Ⅳ.Comparison between the History of Chinese and Western Translation===&lt;br /&gt;
====4.1 Commonality====&lt;br /&gt;
Through the introduction of the Chinese translation history and the Western translation history in the above two chapters, it is not difficult to find that there are some similarities between the translation concepts and the evolution process of the two, especially the laws of evolution of the Chinese and Western translation concepts are very similar.&lt;br /&gt;
First of all, the initiation and development of large-scale Chinese and Western translation activities are closely related to the translation of religious documents.In the West it is the translation of the Bible, while in China it is the translation of Buddhist classics.In my opinion, this commonality is the origin of translation concepts such as &amp;quot;original supremacy&amp;quot; and &amp;quot;faithful original text&amp;quot; that have dominated the Chinese and Western translation circles for two thousand years.(Xie 2010,5)Looking back at history, when Chinese and Western ancient translators were translating these religious documents, they must be pious and absolutely faithful to the original text to translate word by word, lest they would distort the will of God and the teachings of the Buddha.Until the 1950s, due to the advent of the era of professional translation, the target of translation has evolved from religious documents and literary masterpieces to non-literary practical documents such as economy, technology, business, and entertainment. Since then, translation Views have been greatly changed.&lt;br /&gt;
Secondly, both in China and in the West, translation has played an important role in disseminating knowledge.When we compare the contribution of Chinese and Western translation in spreading knowledge together, this effect is further demonstrated.In the West, backward Rome developed rapidly due to the absorption of advanced Greek culture and became the later Roman Empire.In the Middle Ages, after the Baghdad Translation Center, the translation activities of the &amp;quot;Translation Museum&amp;quot; in Toledo, Spain.The translators provided a source of learning for the Western world by translating ancient Greek and Roman natural science works, philosophy and other classics translated by the Arabs into Latin, as well as the Arabs' own academic works.It is through these classical classics that Western talents began to come into contact with a large number of classical cultures and promoted the Renaissance. Its influence is reflected in all aspects of art, philosophy, literature, music, science and technology, politics, religion, and intellectual inquiry.For China, a large number of Buddhist scriptures from the Western Regions to China from the Han Dynasty to the Song Dynasty opened up the history of Chinese translation.The translation of science and technology at the end of the Ming Dynasty and the beginning of the Qing Dynasty was also influential in disseminating Western science and technology literature and promoting the development of China's natural science and engineering technology.In particular, the literary translation from the Opium War to the &amp;quot;May 4th&amp;quot; period was the dividing line of modern translation history. The translation from the field of science and technology gradually spread to the fields of literature, philosophy, economics, sociology, ethics, etc. In the new stage of translation, the scale and influence of its translation activities have exceeded any period in modern times.Since China's reform and opening up, translation has played a role in promoting communication between China and various countries. The development of the globalization process cannot be separated from the bridge and hub of translation.&lt;br /&gt;
Third, the role of translation in the establishment and development of national languages in various countries has some obvious commonalities in both the West and China.In the West, Martin Luther's Bible translation has played a very important role in the unification and development of German and modern German.The English translation of the &amp;quot;Bible&amp;quot; also contributes significantly to enriching English vocabulary and expressive means.As for China, Buddhist translation has enriched Chinese vocabulary, especially literary translation during the May Fourth Movement, which promoted the establishment and development of modern Chinese vernacular.The translation in the new era has also enriched the vocabulary to a certain extent.For example, the Chinese &amp;quot;人山人海&amp;quot; translates into English as &amp;quot;people mountain people sea&amp;quot;, and it is even included in the English dictionary.&lt;br /&gt;
Finally, regardless of Chinese and Western, translation also plays a vital role in conveying foreign social and cultural values.(Xie 2010,5)In the West, for example, the excavation, dissemination and development of the spirit of humanism during the Renaissance were largely due to the translation of ancient Greek and Roman classics.In China, Li Zhizao, Xu Guangqi and others' translations of Western social science masterpieces in the late Ming and early Qing dynasties broadened the horizons of the Chinese people and promoted the modernization of China.During the May Fourth Movement, Yan Fu, Lu Xun and others' translations of Western literature and dramas refreshed the Chinese worldview, increased the Chinese people's knowledge, and played a good catalytic role in modern intellectual circles.&lt;br /&gt;
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====4.2 Difference====&lt;br /&gt;
The last section elaborated from four aspects that the evolutionary laws of Chinese and Western translation history are very similar. Of course, the development of Chinese and Western translation history has its own unique performance, not only in the development period and nodes, but also in certain These aspects are even far apart.&lt;br /&gt;
Although the initiation and development of large-scale Chinese and Western translation activities are closely related to the translation of religious documents, the status of Buddhism in Chinese and Western social and political life is different.Religion plays an extremely important role in Western society. In Western Christian society, God is not only the creator and nurturer of the universe and mankind, but also the maker and arbitrator of the political and ethical order of the world. Is the primary source of Western moral standards.Therefore, the importance of &amp;quot;Bible&amp;quot; translation can be imagined.In China, imperial power is greater than divine power. Monarchs profess themselves to be the emperor, exercise power by the mandate of heaven, and enjoy supreme authority.Religion can only be spread and developed under the support and use of imperial power. Its essence is actually a tool to maintain rule, and it has never become a religious behavior for the whole people.In Chinese history, religion was never allowed to harm the ethical principles of feudal rule. Once harm occurred, it would be banned and eliminated.The extermination of Buddhism in the history of Chinese Buddhism and the &amp;quot;Chinese Etiquette Controversy&amp;quot; in the history of modern Chinese Catholicism are typical features.Therefore, the influence of Chinese Buddhist scripture translation is more in folk culture, and the effect of its influence is more manifested in a subtle form.For example, the change of world outlook, the penetration of language, the borrowing of the plots of Buddhist classics in literary works, and so on.Moreover, Chinese society uses blood as a bond and family as a unit. It is the blood relationship that closely connects family members.Festivals and weddings and funerals are always carried out on a family or family basis, not under the auspices of the church as in the West.&lt;br /&gt;
On the other hand, due to the differences in national characteristics between China and the West, the Chinese nation is more pragmatic, focusing on physical and mental cultivation, ethics and morality, paying attention to whether translation theory has practical effects, whether it can guide translation practice and solve various problems encountered in the translation process.(Xie 2010,6)The Western Christian culture and my country's Confucianism have formed a sharp contrast in this respect.Westerners influenced by Christian thought have a strong pioneering and innovative national character. They advocate speculation and pay more attention to the abstract, systematic and systematic nature of translation theories.They believe that the focus is on describing what kind of theory exists behind translation practice, and how to understand and interpret translation from a theoretical perspective.This makes the development path of the two translation theories different.If there were many similarities in the concepts and characteristics of Chinese and Western translation activities before the 1950s, then the differences in the development trends of the two translation theories in the later stages, especially from the end of the 19th century, became larger and larger.Western translation theories have been systematized earlier. Any research is carried out under the guidance of a certain theory, and the results of related disciplines are fully used to make the connotation (translation standard itself) and extension (research method) of translation standards become truly pluralistic. Which embodies a strong scientific spirit.However, Chinese translation theories have remained at the level of translation practice experience perception for a long time, which is largely subjective.In particular, the proponents of traditional translation theory pay attention to the unspoken artistic conception, giving people more space for association and comprehension, but they cannot make precise regulations for translation practice, which is implicit.&lt;br /&gt;
&lt;br /&gt;
===Ⅴ.conclusion===&lt;br /&gt;
It is precisely based on the above-mentioned understanding of the history of Chinese and Western translation from different aspects that &amp;quot;similarities have differences, and differences have similarities&amp;quot;, so I think that the history of Chinese and Western translation development should be described, analyzed and sorted in the same framework. It is possible.In this way, we can not only emphasize the common ground in the development of Chinese and Western translation, find the rules among them, but also show the uniqueness of the development of the two.This article adopts the method of compiling parallel narratives based on synchronic presentation, supplemented by diachronic combing, combining two seemingly unrelated development contexts in the history of Chinese and Western translation, and analyzing and describing them as a whole.And the development stages of Chinese and Western translation history are divided into stages according to the mainstream translation objects of the specific era, and then the internal laws of the evolution of Chinese and Western translation concepts are explored and revealed.&lt;br /&gt;
Generally speaking, translation and culture are inseparable, whether religious, political, or literary, they all grow up in the soil of culture.(Chen 2016,1)In the process of understanding Chinese and Western translation history, people also feel the cultural collision.Not only in the long history of the past, but in the 21st century today, translation is a bridge and a link between countries, and an indispensable existence in people's social, political, and economic life.At the same time, translation is also an art. Through translating works, we not only understand the beauty of each country's culture, but also realize that translation is originally an art.Translation is a rigorous and extensive academic science. Various forms of cultural exchanges between Chinese and Western languages, literature, philosophy, and religion require not only artistic performance, but also rigorous academic attitudes and systematic theories to support.Translators and scholars from different countries, languages and cultures have contributed their outstanding talents and wisdom in the field of translation. They have studied and published a wealth of academic theories and skills in translation studies from different perspectives, which have promoted the progress and development of society.&lt;br /&gt;
&lt;br /&gt;
===References===&lt;br /&gt;
Chen Fang 陈芳.(2016).西方翻译史的文化演进——评《西方翻译简史》[The Cultural Evolution of Western Translation History——A Review of &amp;quot;A short history of translation in the West&amp;quot;].当代教育学(06)Contemporary Education(2).&lt;br /&gt;
&lt;br /&gt;
Gong Yicai 龚亿财.(2020).论翻译在第三次翻译高潮中的特点及社会功能[On the features and social functions of translation in the third translation climax].吉林广播电视大学学报(Total No.217)Journal of Jilin Radio and TV University.&lt;br /&gt;
&lt;br /&gt;
Li Yin 李颖.(2016).从翻译史上的几个重要时期看中国翻译理论与实践的发展[Viewing the development of Chinese translation theory and practice from several important periods in the history of translation].湖北经济学院学报(Vol13 No.10)Journal of Hubei University of Economics.&lt;br /&gt;
&lt;br /&gt;
Liu Qiaoling 刘巧玲.(2016).从中国翻译史的四次高潮看主要译论及读者影响[Main translation theories and readers' influence from the four climaxes of Chinese translation history].黑龙江生态工程职业学院学报(Vol.29 No.5)Journal of Heilongjiang Vocational Institute of Ecological Engineering.&lt;br /&gt;
&lt;br /&gt;
Tan Zaixi 谭载喜.(1985).西方翻译史浅谈[On the history of Western translation].中国翻译(07)Chinese Translation(36-39).&lt;br /&gt;
&lt;br /&gt;
Tan Zaixi 谭载喜.(2004).西方翻译简史[A short history of translation in the West].商务印书馆The Commercial Press of Hongkong.&lt;br /&gt;
&lt;br /&gt;
Xu Jun许钧.(2018.06)改革开放以来中国翻译研究的发展之路[The development of Chinese translation studies since reform and opening up].Chinese Traslation Journal.&lt;br /&gt;
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Xie Tianzhen 谢天振.(2009)中西翻译简史[A brief history of Chinese and Western translation].外语教学与研究出版社Foreign Language Teaching and Research Press.&lt;br /&gt;
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Xie Tianzhen 谢天振.(2010)中西翻译史整体观探索[An exploration of the holistic view of Chinese and Western translation history].东方翻译(02)East Journal of Translation(4-8).&lt;br /&gt;
&lt;br /&gt;
='''Literal and Free Translation'''=&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
==Rethink Literal and Free Translation	彭永亮	Peng Yongliang==&lt;br /&gt;
&lt;br /&gt;
==On the Chinese Translation of ''A Pale View of Hills'' from House's Translation Quality Assessment Model	宋建茹	Song Jianru ==&lt;br /&gt;
&lt;br /&gt;
&amp;lt;center&amp;gt; 宋建茹 Song Jianru 202020080639 &amp;lt;/center&amp;gt;&lt;br /&gt;
&lt;br /&gt;
===Abstract===&lt;br /&gt;
&lt;br /&gt;
Translation quality assessment is an integral part of translation criticism. The first TQA model with comprehensive theories and practices Juliane House represented provides a significant reference for translation exercises. ''A Pale View of Hills'', as the first work of Kazuo Ishiguro, possesses a great research value on its narrative styles by virtue of memory and topics about migrants. As of 2011 when its Chinese translation was published, no scholar has evaluated it. This study applies House’s TQA model to assess the Chinese translation of ''A Pale View of Hills'' with qualitative and quantitative analysis from lexical, syntactic and textual aspects, in a bid to examine validity of the model on novel translation, which turns out that it is an overt and high-quality translation.&lt;br /&gt;
&lt;br /&gt;
=== Key Words===&lt;br /&gt;
&lt;br /&gt;
''A Pale View of Hills''; House's TQA model; novel translation&lt;br /&gt;
&lt;br /&gt;
===题目===&lt;br /&gt;
&lt;br /&gt;
从豪斯翻译质量评估模式谈《远山淡影》中文翻译&lt;br /&gt;
&lt;br /&gt;
=== 摘 要 ===&lt;br /&gt;
&lt;br /&gt;
翻译质量评估是翻译批评的核心课题。朱莉安·豪斯提出的第一个有完整的理论和实践的翻译质量评估模式，为翻译实践提供了重要参考。《远山淡影》是石黑一雄的处女作，其依托回忆的叙事风格和移民主题具有很高的研究价值。《远山淡影》中译本自2011年出版至今，尚未有学者对其进行评估研究。本文运用豪斯的翻译质量评估模式，采用定性与定量相结合的分析方式，从语场、语旨、语式等三个层面对原文和译文进行分析，开展《远山淡影》中译本的翻译质量评估研究，为豪斯翻译质量评估模式对小说翻译的运用进行进一步的探索和补充。通过分析，得出《远山淡影》中译本为显性翻译，翻译质量较高。''Italic text''&lt;br /&gt;
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=== 关键词 ===&lt;br /&gt;
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《远山淡影》；豪斯质量评估模式；小说翻译&lt;br /&gt;
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===Introduction===&lt;br /&gt;
&lt;br /&gt;
Translation criticism refers to the analysis and review of thoughts, activities and works of translation by virtue of relevant theories and views, in a bid to improve the overall quality of translators and translations. It is an integral part of translation studies. (Wang Enmian, 1999: 7) Translation quality assessment, as the integral and key part of translation criticism, plays a significant role in surveillance and promotion of translation quality. Among the extant translation quality assessment models, Juliane House’s ''A Model for Translation Quality Assessment and Translation Quality Assessment: A Model Revised'', based on Halliday's systemic functional linguistics and discourse analysis, are systematic, scientific and rational with a relatively complete system of parameters, quantitative methods and steps adhering to specific procedures. &lt;br /&gt;
&lt;br /&gt;
''A Pale View of Hills'', as Kazuo Ishiguro's first full-length novel, tells the life of the people in Nagasaki after WWII through the memory of protagonist Etsuko and explores recovery of trauma, collision between the old and new ideas, and kinship after war. The first person narrative, memory, humor and satire and international perspectives in the book became his major writing styles in the future. The novel won the Winifred Holtby Memorial Prize from the Royal Society. Its only Chinese translation at present, from Zhang Xiaoyi, is still not analyzed by the scholars. This paper uses House’s translation quality assessment model, with combination of qualitative and quantitative analysis, from field, tenor and mode to analyze the mismatches between original and translation in an attempt to assess the Chinese translation quality of ''A Pale View of Hills'' and further explore the application of House’s model in novel translation. The aim of the study is to promote scholars to regulate the behaviors of translation, to improve the quality of translation and translation evaluation, and to provide a reasonable way for establishing the interlingual conversion mechanism.&lt;br /&gt;
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The thesis consists of four chapters.&lt;br /&gt;
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After the Introduction, Chapter One gives a brief account of ''A Pale View of Hills'' and its research status, involving the author, background, content and influence. Chapter Two is a brief introduction of House’s TQA model, including its theoretic basis, parameter setting, operation steps and feasibility. Chapter Three is a detailed analysis of original and translation of ''A Pale View of Hills'' based on House’s model. Chapter Four is statement of translation quality assessment. Then we come to the last part, Conclusion.&lt;br /&gt;
&lt;br /&gt;
===I Overview and Research Status of ''A Pale View of Hills''===&lt;br /&gt;
''A Pale View of Hills'' is Kazuo Ishiguro's first novel, which laid a solid foundation for the formation of Ishiguro's writing style. The chapter mainly introduces the author, plot, theme and influence of the novel and analyzes its research status, in an attempt to master the material well and seek new perspectives for the paper.&lt;br /&gt;
&lt;br /&gt;
'''1.1 Overview of ''A Pale View of Hills'''''&lt;br /&gt;
&lt;br /&gt;
Kazuo Ishguro is a noble contemporary Japanese English writer, whose novels feature first person narrative, detailed depiction of loneliness, depression, self-deception and anxiety of characters' inner world and dual narrative strategy to deconstruct the narrator's self-identity, as well as discuss postwar trauma and migrant identity. He won Booker Prize, the British top literary prize, in 1989 and the Nobel Prize in literature in 2017. By virtue of his outstanding literary achievements, he is known as one of the Three Masters of English Migrant Literature together with Salman Rushdi and Naipaul.&lt;br /&gt;
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''A Pale View of Hills'', published in 1982, is Ishiguro's debut. The story, with postwar Nagasaki as its background, enjoys two clues: one is what happened when Niki (Etsuko’s little daughter) visited her mother after her sister Keiko died; the other is Etsuko’s memory about people and events in Nagasaki after the war. The two lines integrated together during the narrative, forming the illusory and imaginary impression. Many in-depth topics in this work are worth pondering: postwar trauma recovery, the collision between new and old ideas after war and discussion of family relations. Many marks in the work became his own styles: first-person narrative, memory, humor and satire, international perspectives. In addition, it won the Winifred Holtby Memorial Prize from the Royal Society and is still in print thirty years after its publication. This book, with its enormous emotion, unearths the abyss beneath the illusion of our connection to the world, whose artistic value and charm could be time-tested.&lt;br /&gt;
&lt;br /&gt;
'''1.2 Research Status of ''A Pale View of Hills'''''&lt;br /&gt;
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There are 54 papers about A Pale View of Hills in domestic researches. According to the statistics from HowNet (as shown in the figure below), the number of studies on the work has been mounting, especially after Kazuo Ishiguro won the Nobel Prize for Literature in 2017. The perspectives of these researches are mainly from identity anxiety, unreliable narrative and post-war trauma. In Identity Anxiety in Kazuo Ishiguro's A Pale View of Hills, Wang Fei discusses the identity anxiety of migrants, exploring manifestations, causes and influence of such anxiety on the characters. In Memory and Narrative Unreliability of A Pale View of Hills, He Xiaobing combined with the classical narratology to analyze how unreliable narration method is presented in the work and discussed the inner world of the characters. In Trauma in Kazuo Ishiguro's A Pale View of Hills, Liu Xiaoya explores the protagonist's trauma by using Sigmund Freud’s psychoanalysis theory and trauma theory (including post-freudian psychological trauma theory), contemporary trauma culture theory along with rhetorical narrative theory.&lt;br /&gt;
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[[File:picture1.pgn]]&lt;br /&gt;
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At abroad there are more perspectives about the studies of A Pale View of Hills. In addition to the main research directions of domestic scholars, such as identity anxiety of characters, unreliable narrative research and post-war trauma, cultural displacement, family relationship and the influence of region on personality presented in the works are also analyzed. ''The Impact of Place on Personality in Kazuo Ishiguro's A Pale View of Hills: An Eco-critical Study'' co-written by Awla, Yousif Hamad and Azad Sharif, from the perspective of ecocriticism, clarifies the fact that a place is able to define and guide the emotions and thoughts of characters, and analyzes the reasons why geography forms characters of people in order to draw people’s attention to the impact of surrounding environment on them. Ruth Forsythe's article ''Cultural Displacement and the Mother-daughter Relationship in Kazuo Ishiguro's A Pale View of Hills'' focuses more on the relationship between mother and daughter under cultural displacement. However, no scholars have analyzed the language itself from the perspective of systemic functional linguistics.&lt;br /&gt;
&lt;br /&gt;
The Chinese translation of A Pale View of Hills, Zhang Xiaoyi's version, was published by Shanghai Translation Publishing House in 2011, and the bilingual version in 2019. Up to now, there has no translation criticism or discussion about this translation. Since 2011 when it was translated, it came to draw the attention of scholars and readers. Translation is a direct factor that affects the integrity of author’s thought, the reader's perception and the accuracy of the scholar’s study, thus it is indispensable to use the House’s Translation Quality Assessment model to analyze the Chinese translation of ''A Pale View of Hills''.&lt;br /&gt;
===II Introduction of House's Translation Quality Assessment Model===&lt;br /&gt;
Juliane House's model was described as the first translation quality assessment model with complete theories and practices by international translation criticism, which could provide an important reference for translation learners and scholars. By introducing the theoretical basis, parameter system and operation steps of House's model, this chapter will discuss the feasibility of House’s model in the evaluation of the Chinese translation of A Pale View of Hills, in an effort to foster the application of House’s model in the quality evaluation of full-length novels.&lt;br /&gt;
&lt;br /&gt;
'''2.1 Theoretical Basis of House's Model'''&lt;br /&gt;
&lt;br /&gt;
The assessment of translation quality draws upon different translation standards, which are then embodied by the recognition about essence of translation. House deemed that crunch of the translation quality assessment lies in recognition of the nature of translation, namely that &amp;quot;translation is the replacement of a text in the source language by a semantically and pragmatically equivalent text in the target language.&amp;quot;(House, 1977: 30)&lt;br /&gt;
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In House's initial model in 1977, she drew upon language behavior theory, language and text function and context to divide the source language text into two situational dimensions: dimension of language user and dimension of language use. The former includes three aspects: geographical origin, social class and time. The latter includes five aspects: medium, participation, social role relationship, social attitude and province. The evaluation depends on the matching degree between                                                                                                                                                                                                                                                                                                                                                                                          original text and translation. The higher the matching degree is, the better the translation quality is. The quality evaluation of the translated text needs to state mismatching degree of each dimension in the whole context, that is, the description of the quantity of covert errors (errors in context dimension) and overt errors (referential mismatcher or grammatical violation of target language system).&lt;br /&gt;
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Based on myriad practice, House realized that the initial eight dimensions overlap in some parts. Therefore, in 1997, she revised the original model from the perspective of the context, unifying the previous eight parameters to field, tenor and mode. Field compares subject matter and social action of the original with that of translation. Tenor emphasizes the matching degree on the relationship of participants, time, region, position of author, social role relationship and social attitudes. Mode pays more attention to medium and participation. In addition, House incorporated &amp;quot;genre&amp;quot; into revision model in order to explain the deep structure of the text.&lt;br /&gt;
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'''2.2 Operation Steps of House's Model'''&lt;br /&gt;
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When evaluating the translation quality of the text, House's model focuses on comparison between original text and translation from field, tenor, mode and genre, clarifies and summarizes mismatches found in the text, so as to obtain a quality report of the translation. The detailed steps presented as follows: &lt;br /&gt;
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1) Analyze the register and genre of the original text to get its textual functional profile. The original text is analyzed from four dimensions: field, tenor, mode and genre. According to the analysis, “functional statement”, involving ideational and interpersonal functions, needs to be deduced.&lt;br /&gt;
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2)Compare the target text and the source text to find differences or mismatches. Through the comparative analysis between original and translation along the dimensions on the model, mismatches or differences found in the comparison are sorted out by virtue of overt errors or covert errors and expounded in detail one by one.&lt;br /&gt;
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3)Summarize the differences and mismatches demonstrated from the above steps in lexical, syntactic and textual aspects. Based on above statistics and statement, make the quality statement. The fewer the mismatches are, the better the translation quality is. If readers clearly realize the text a translation work, it is overt translation; while if not, it is covert translation.&lt;br /&gt;
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'''2.3 Feasibility of the Model in Chinese Translation of ''A Pale View of Hills'''''&lt;br /&gt;
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At present, there are 78 relevant studies on House’s Translation Assessment model, which are mainly divided into three directions: interpretation of House Translation Assessment model and its revision, evaluating translation of literary works along the model and evaluating translation of applied text along the model. Among them, evaluation of the translation of literary works accounts for 29, which enjoys the following two characteristics:&lt;br /&gt;
&lt;br /&gt;
1)There are merely a few researches applying House model to Chinese translation of literary works. Among the 29 journals and papers evaluating translation of literary works, there are 25 studies that attach great importance to the English translation and 4 to Chinese translation, which signifies that we need more researches of Chinese translation to support the validity of the model on different languages. Therefore, the paper, with the Chinese translation of A Pale View of Hills as its corpus, intends to examine the feasibility of the application of House’s model to Chinese translation.&lt;br /&gt;
&lt;br /&gt;
2)There are merely a few researches applying House model to the translation of full-length novels. Among the 29 journals and papers on evaluating translation of literary works, most of which focus on the evaluation of poems and prose, merely 5 studies are analysis of translation of full-length novels. English translation accounts for 3 and Chinese translation for 2, which demonstrates that we need more researches with full-length novels as corpus to support the validity of the model in different genres. Therefore, the paper, with the full-length novel A Pale View of Hills as its corpus, intends to examine the feasibility of the application of House’s model to full-length novels.&lt;br /&gt;
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In conclusion, given that the researches based on Chinese translation of full-length novels are insufficient, the paper will use the Chinese translation of A Pale View of Hills as its corpus to validate the feasibility of House’s TQA model.&lt;br /&gt;
&lt;br /&gt;
===III Comparison of Original and Translation of ''A Pale View of Hills'' Along House's Translation Quality Assessment Model===&lt;br /&gt;
''A Pale View of Hills'' is the debut of Kazuo Ishiguro, whose Chinese translation was published by Shanghai Translation Publishing House in 2011. House's Translation Quality Assessment model is the first objective model combining quantative analysis with qualitive analysis. The paper applies House’s Translation Quality Assessment model to Chinese translation of ''A Pale View of Hill'', comparing the source text and target text in lexical, syntactic and textual aspects along the three dimensions of register and summarizing the mismatches on field, tenor and mode, in an effort to quantitatively assess the translation quality of ''A Pale View of Hills''.&lt;br /&gt;
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'''3.1 Comparison on Field'''&lt;br /&gt;
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Field refers to the content or the topic of the text. It is concerned with subject matter and social action which covers the specificity of lexical items. After comparison between the source text and target text on field, there are 18 mismatches, 12 of which are overt errors and 6 covert errors. Among them, there are 9 lexical errors, 1 textual error and 8 syntactic errors. The lexical and textual errors are mainly covert errors, so in general their translation is of high quality. Although most of syntactic errors are not in line with the grammar of target language system, they won’t influence the understanding of the text. Therefore, by and large, translation on field are high-quality.&lt;br /&gt;
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'''3.1.1 Lexical Field'''&lt;br /&gt;
&lt;br /&gt;
Lexical field means the immediate or possible scenes or events evoked in people’s mind when they read or hear the words or lexical items. After the analysis of the original and target text, there are 9 mismatches, 4 of which are overt errors and 5 are covert ones. Most of them won’t block readers to master the overall meanings. Therefore, the translation quality on lexical items are relatively high. &lt;br /&gt;
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Example 1：&lt;br /&gt;
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...and the soaked surfaces of brick and concrete were drying all around us.&lt;br /&gt;
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湿透了的砖头和水泥开始变干。(P8)&lt;br /&gt;
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Concrete refers to building material that is made by mixing together cement, sand, small stones and water according to Oxford Dictionary, which includes cement rather than equates it. So, it is not very accurate to translate in this way even if the two words are similar. It is obviously an overt error. &lt;br /&gt;
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Example 2：&lt;br /&gt;
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As far as I remember, that was the first occasion I spoke to Mariko.&lt;br /&gt;
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我印象那是我第一次跟万里子说话。(P11)&lt;br /&gt;
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In the translation, “印象” as a noun refers to a mental picture that you have of what somebody/something is like or looks like. In the light of the rules or grammar of Chinese, it is hardly used as a verb. Thus, it is an overt error. &lt;br /&gt;
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Example 3：&lt;br /&gt;
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It's such a shame.&lt;br /&gt;
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真不像话。(P16)&lt;br /&gt;
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A shame is used to say that somthing is a cause for feeling sad or disappointed. In the original, the sentence is to express Etsuko’s pity to the homeless dogs and cats around her community rather than her distaste or complaint. Here it is translated into its other meaning when ignoring the context, belonging to a covert error. &lt;br /&gt;
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Example 4：&lt;br /&gt;
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Why don't you go into the kitchen for a little while?&lt;br /&gt;
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你为什么不到厨房去一会儿呢？(P26)&lt;br /&gt;
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In the translation, “去” is not very appropriate on the basis of grammar of Chinese, since it is such an action verb that does not match with state phrases. In the course of translation, some prepositions in English need to be transferred into verb in Chinese, which are supposed to pay attention to the rules of target language. Here it is obviously an overt error.&lt;br /&gt;
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Example 5：&lt;br /&gt;
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It's not appreciated simply because the product disappears so quickly.&lt;br /&gt;
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不能因为它的产品很快就消失了而不懂得欣赏。(P34)&lt;br /&gt;
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According to the context, Ogata-San believes that cooking is “as noble as painting or poetry”. So here the product refers to food cooked. Given the concrete expression in Chinese, the product is supposed to be translated more concretely in accordance with the context. It is a covert error.&lt;br /&gt;
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Example 6：&lt;br /&gt;
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Perhaps it is just my fancy that I felt a cold touch of unease there on that bank, a feeling not unlike premonition. &lt;br /&gt;
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这也许只是我的想象，但是那时我在河边觉得凉飕飕的，很不自在，像是感觉有事要发生。(P44)&lt;br /&gt;
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“Unease” refers to the feeling of being worried or unhappy about something. Given the above-mentioned, Etsuko worried about the safety of Mariko when she was not at home. It differs from its translation that means the feeling of being ill at ease. It is an overt error. &lt;br /&gt;
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Example 7：&lt;br /&gt;
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You mustn't suppose, Etsuko, simply because you've seen her in these…in these present surroundings, that she's some peasant's child.&lt;br /&gt;
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悦子，你不能因为……因为眼前的事物就认为她是什么贫农的孩子。(P51)&lt;br /&gt;
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Sachiko is not rich according to the context, so “peasant” intimates the meaning of poverty. Its translation explicitly represents it, which is accessible and intelligible. However, “贫农” enjoys extra cultural meaning in China, which could date back to the Cultural Revolution when lands was apportioned based on people’s wealth, so it might mislead readers to its political implication. It is a covert error.&lt;br /&gt;
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Example 8：&lt;br /&gt;
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“I must have been such a burden to you in those days,” I said, quietly.&lt;br /&gt;
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“我那时肯定成了您的负担，”我静静地说。(P68)&lt;br /&gt;
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Here “quiet” refers to making very little noise, which coincides with the act of saying. According to the context, Etsuko lowered her noise out of guilt when she realized she bothered her family when she practised violin before. However, its translation means the statement without any noise, which obviously contravenes the context, belonging to covert translation.&lt;br /&gt;
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Example 9：&lt;br /&gt;
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I could see something moving beside her in the shade.&lt;br /&gt;
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我看见她身旁的影子里有什么东西在动。(P14)&lt;br /&gt;
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“Shade” means an area that is dark and cool under or behind something, for example a tree or building, because the sun’s light does not get to it, rather than the shadow which the translator believed. As previously mentioned in the text, “Mariko was lying in the corner furthest from the sunlight”, which also signifies that it is impossible to exist dark shape under the light around Mariko. Thus, the translation of “shade” is not on a par with the context, belonging to a covert error.&lt;br /&gt;
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'''3.1.2 Syntactic Field'''&lt;br /&gt;
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Syntactic field means the immediate image appeared in people’s mind when they read the sentences. The mismatches in syntactic field are usually for the violation of rules of target language or misinterpreting the source text. On syntactic field, there are 8 mismatches, seven of which are overt errors and one is covert. Among the overt errors, seven sentences are not in line with the rules of target language, which won’t influence the ideational meaning. Therefore, the translation quality on syntactic field is high.&lt;br /&gt;
&lt;br /&gt;
Example 1：&lt;br /&gt;
&lt;br /&gt;
It did upset me, hearing about her.&lt;br /&gt;
&lt;br /&gt;
我真的很难过，听到她的死讯。(P4)&lt;br /&gt;
&lt;br /&gt;
Example 2：&lt;br /&gt;
&lt;br /&gt;
But I was sad though, when I heard.&lt;br /&gt;
&lt;br /&gt;
可是我真的很难过，听到她的消息。(P4)&lt;br /&gt;
&lt;br /&gt;
Example 3：&lt;br /&gt;
&lt;br /&gt;
It's certainly an amusing sort of experience, working in a noodle shop.&lt;br /&gt;
&lt;br /&gt;
这真是很有趣的经历，在面包店里工作。(P26)&lt;br /&gt;
&lt;br /&gt;
In English, the important or unknown information appeared firstly, and the second one follows. However, in Chinese, the second important presents at first, paving the foundation for the more pivotal or unknown one. In above three examples, their translation doesn’t adjust the sequence in line with target language rules. These are overt errors.&lt;br /&gt;
&lt;br /&gt;
Example 4：&lt;br /&gt;
&lt;br /&gt;
…certain arrangements I made have not gone as planned.&lt;br /&gt;
&lt;br /&gt;
一些事情没有照我计划的那样。(P17)&lt;br /&gt;
&lt;br /&gt;
The translation is not complete as the predicate verb “have gone” is not translated, which does not conform with the grammar of Chinese. It is an overt error.&lt;br /&gt;
&lt;br /&gt;
Example 5：&lt;br /&gt;
&lt;br /&gt;
She appeared to know them, for as she walked across the forecourt, she gave them a familiar greeting.&lt;br /&gt;
&lt;br /&gt;
看来她认识她们，边走过水泥地，边熟识地跟她们打招呼。(P26)&lt;br /&gt;
&lt;br /&gt;
The original is a compound-complex sentence with “for” for causal relation and “as” for coordinate relation. In the translation, the former is represented but the later isn’t, neither by conjunction words nor by clause sequence. It causes that the translation lacks of logic, belonging to an overt error.&lt;br /&gt;
&lt;br /&gt;
Example 6：&lt;br /&gt;
&lt;br /&gt;
It's an opportunity for a teacher to see the fruits of his work, and for the pupils to express their gratitude to him.&lt;br /&gt;
&lt;br /&gt;
这是一个机会让老师看看他的劳动成果，让学生们向他表示感谢。(P30)&lt;br /&gt;
&lt;br /&gt;
The translation adheres to the sequence of the original but ignores the fluency of the sentence. In English, attributives are at both ahead of and behind the objects; while in Chinese, they mostly are preceded. Therefore, the translation violates the grammar of the target language, belonging to an overt error.&lt;br /&gt;
&lt;br /&gt;
Example 7：&lt;br /&gt;
&lt;br /&gt;
There's nothing like a timely reminder of one's personal obligations.&lt;br /&gt;
&lt;br /&gt;
及时地提醒个人的责任之类的东西也没有。(P71)&lt;br /&gt;
&lt;br /&gt;
“There's nothing like” is a common sentence pattern in spoken English, meaning nothing else is able to match. The original would have expressed that “a timely reminder of one’s personal obligations” is the most important. The translator misunderstood the meaning utterly, making an overt error.  &lt;br /&gt;
&lt;br /&gt;
Example 8：&lt;br /&gt;
&lt;br /&gt;
It amazes me, how things have changed so much so quickly.&lt;br /&gt;
&lt;br /&gt;
太让我吃惊了，世道变得如此之大，如此之快。(P195)&lt;br /&gt;
&lt;br /&gt;
The translation, by and large, is in accordance with the original. Yet there is possibility for readers to be confused about the accuracy of words collocation. Although “so much” and “so quickly” modify the verb “change”, we have to respectively choose the proper words to collocate. It is a covert error. &lt;br /&gt;
&lt;br /&gt;
'''3.1.3 Textual Field'''&lt;br /&gt;
&lt;br /&gt;
On textual field, there is only one error---overt error. It is caused by misconstruing what the pronoun refers to. By and large, the translation, through the comprehensive analysis on textual field, is high-quality. &lt;br /&gt;
&lt;br /&gt;
Example 1：&lt;br /&gt;
&lt;br /&gt;
That's just not how it was though.&lt;br /&gt;
&lt;br /&gt;
但是我和她根本不是这样。(P4)&lt;br /&gt;
&lt;br /&gt;
According to “Sisters are supposed to be people you're close to, aren't they. You may not like them much, but you're still close to them”, it refers to the whole view instead of certain relationship between me and my sister. The referential meaning does not accord with that of the original. It is an overt error.&lt;br /&gt;
&lt;br /&gt;
'''3.2 Comparison on Tenor'''&lt;br /&gt;
&lt;br /&gt;
Tenor refers to the nature of the participants, the addresser and the addressee, and the relationship between them in terms of social power and social distance. After comparing the original and the translation of A Pale View of Hills, there are 8 mismatches on social attitude and social role relationship, one of which is an overt error and the rest are covert. In general, the translation is highly in accordance with the original so the quality is high on tenor. &lt;br /&gt;
&lt;br /&gt;
'''3.2.1 Social Attitude'''&lt;br /&gt;
&lt;br /&gt;
Social attitude refers to the social distance between communicators and the degree of formality of discourse. The misunderstanding of social attitude in the translation process will affect the readers' understanding of the characters in the novel. Therefore, mistakes in representing social attitude of characters should be minimized and even avoided in the translation process. There are 4 mismatches on social attitude in the translation: one is an overt error and the rest are covert errors. By and large, the translation on displaying the social attitude of the original is great. &lt;br /&gt;
&lt;br /&gt;
Example 1：&lt;br /&gt;
&lt;br /&gt;
The English are fond of their idea that our race has an instinct for suicide.&lt;br /&gt;
&lt;br /&gt;
英国人有个奇特的想法，觉得我们这个民族天生爱自杀。(P4)&lt;br /&gt;
&lt;br /&gt;
In the original text, the attitude of the character is relatively objective. However, in the translation, the attitude is represented overly by using an adjective, which might be translator’s understanding on author’s attitude. It limits different interpretation to the author’s attitude from readers. It is an overt error. &lt;br /&gt;
&lt;br /&gt;
Example 2：&lt;br /&gt;
&lt;br /&gt;
“Which are you hoping for, Etsuko?” he asked, eventually. “A boy or a girl?”&lt;br /&gt;
&lt;br /&gt;
“你想是男孩还是女孩呢，悦子？”过了一会儿他问道。(P35)&lt;br /&gt;
&lt;br /&gt;
Ogata-San would like to know Etsuko’s mind about the upcoming baby, but he is not sure if it is proper. At last, curiosity overpowers his hesitation. In the original text “eventually” signifies both time and emotion span. But the translation only manifests the time span. It is a covert error.&lt;br /&gt;
&lt;br /&gt;
Example 3：&lt;br /&gt;
&lt;br /&gt;
“Tell me, Etsuko,” he said, not looking up from his laces. “Have you met this Shigeo Matsuda?”&lt;br /&gt;
&lt;br /&gt;
“告诉我，悦子，”他头也不抬地说。“你见过这个松田重夫吗？”(P36-P37)&lt;br /&gt;
&lt;br /&gt;
Ogata-San, as Etsuko’s father-in-law and adopter after the war, gets along well with her. In the original text, Ogata-San is “not looking up” when speaking to Etsuko since he is lying his laces. The translation ignores the reason, which renders Ogata-San a cold man. It is a covert error.&lt;br /&gt;
&lt;br /&gt;
Example 4:&lt;br /&gt;
&lt;br /&gt;
I'm sure she'd be the first to agree with me about Kazuo mourning her like this.&lt;br /&gt;
&lt;br /&gt;
我肯定她会第一个同意我的观点，和夫不应该再这样想着他了。(P94)&lt;br /&gt;
&lt;br /&gt;
From the original, we can feel the love of Mrs. Fujiwara to her son. However, after reading its translation, we can feel nothing but her dominance. It signifies that the translation deviates from the original context. It is a covert error.&lt;br /&gt;
&lt;br /&gt;
'''3.2.2 Social Role Relationship'''&lt;br /&gt;
&lt;br /&gt;
Social role relationship refers to the social relation between the speaker and the receiver, that is, symmetry and asymmetry. The analysis on the social roles relationship in novels is generally from two aspects: relationship between the author and readers, and relationship between the various characters in the work. The former is remained utterly, while the latter is slightly different from that in the original. A total of 4 mismatches are found in the comparison, all of which are covert errors. In the full-text translation, the overall relationship between the characters is the same as that of the original text, and only a few mismatches are found. Therefore, on social role relationship, translation is of high quality.&lt;br /&gt;
&lt;br /&gt;
Example 1：&lt;br /&gt;
&lt;br /&gt;
She said it would be perfectly all right if you came and waited for her at my house.&lt;br /&gt;
&lt;br /&gt;
她说你可以到我家来等她。(P13)&lt;br /&gt;
&lt;br /&gt;
The translation omits “be perfectly all right if”, which takes the edge off the amiability from Etsuko to Mariko. Given the whole plot of the novel, Mariko is a phantom of Etsuko’s old daughter Keiko. The obscure feelings between Mariko and Etsuko are very important to implicate their special emotion. Therefore, the translation ignores to take a consideration of the context. It is a covert error.&lt;br /&gt;
&lt;br /&gt;
Example 2：&lt;br /&gt;
&lt;br /&gt;
As I say, this order came into the office the day you arrived. A real nuisance.&lt;br /&gt;
&lt;br /&gt;
我说过了，订单刚好在您来的那天来了。真是讨厌。(P29)&lt;br /&gt;
&lt;br /&gt;
On the basis of the context, Jiro (Etsuko’s husband) is explaining to his father Ogata-San that he is so busy that he could not accompany him. He feels apologetic about that. However, the tone of speaking in translation is impatient and a bit furious, which runs against that of the original. So, it is a covert error. &lt;br /&gt;
&lt;br /&gt;
Example 3：&lt;br /&gt;
&lt;br /&gt;
I should warn you, perhaps. My daughter has been in a somewhat difficult mood these past few days.&lt;br /&gt;
&lt;br /&gt;
也许我应该警告你。我女儿这几天情绪很不好。(P90)&lt;br /&gt;
&lt;br /&gt;
Warn enjoys two major meanings: to tell somebody about something, especially something dangerous or unpleasant that is likely to happen, so that they can avoid it; to strongly advise somebody to do or not to do something in order to avoid danger or punishment. In the original, Sachiko entrusts Etsuko to look after her daughter so the former one is appropriate. However, in the translation the later one is adopted, which is absolutely improper. It is a covert error. &lt;br /&gt;
&lt;br /&gt;
Example 4：&lt;br /&gt;
&lt;br /&gt;
Now listen carefully, or else you'll never find the noodle shop.&lt;br /&gt;
&lt;br /&gt;
现在您听好了，不然您永远也别想找到面馆。(P183)&lt;br /&gt;
&lt;br /&gt;
The sentence is said when Etsuko intends to tell Ogata-San the route to the restaurant of Mrs Fujiwara. On the basis of the context, Etsuko is very reverent to Ogata-San. However, the manner of translation is tough, which is not of a piece with the original. It doesn’t take account of the context, so it is a covert error.&lt;br /&gt;
&lt;br /&gt;
'''3.3 Comparison on Mode'''&lt;br /&gt;
&lt;br /&gt;
Mode can be divided into medium and participation. In the course of analyzing both the original and the translation, a total of 6 mismatches are found on the two dimensions and all of them are covert errors, which manifests the translation are generally of a piece with the original. The translation on mode is of high quality.&lt;br /&gt;
&lt;br /&gt;
'''3.3.1 Language Medium'''&lt;br /&gt;
&lt;br /&gt;
Language medium mainly refers to whether the form of language is spoken or written, simple or complex. The contrast between the model of the source text and the target text is mainly reflected in the linguistic features and diction features of text rather than language types used. The language of A Pale View of Hills is simple, delicate and easy to understand, with short sentence, plenty of dialogues between characters and a high degree of colloquialism. The overall style of the translation is similar with that of the original, with only 4 stylistic covert mismatches. Therefore, on language medium, the translation quality is great.&lt;br /&gt;
&lt;br /&gt;
Example 1：&lt;br /&gt;
&lt;br /&gt;
…on one side of the tracks at the foot of the hill could be seen a cluster of roofs.&lt;br /&gt;
&lt;br /&gt;
山脚下铁路的一侧是鳞次栉比的屋顶。(P8)&lt;br /&gt;
&lt;br /&gt;
Cluster means a group of things of the same type that grow or appear close together, whose translation accords with it in the ideational meaning. Nonetheless, “鳞次栉比” in Chinese is a four-character phrase that usually appears in formal written text. It is more complex than the style of the text. It is a covert error.&lt;br /&gt;
&lt;br /&gt;
Example 2：&lt;br /&gt;
&lt;br /&gt;
We're just rabble, like your husband says.Please don’t make a fuss, please sit down.&lt;br /&gt;
&lt;br /&gt;
正如您丈夫说的，我们只是两个混蛋。不用麻烦了，请坐下。(P74)&lt;br /&gt;
&lt;br /&gt;
The situation happens when Jiro’s colleagues come round. From the conversation between Jiro and his colleagues, it is found that they are very familiar and intimate. So, words such as “rabble” and “like” are of high colloquialism. Nevertheless, in the translation “正如” is a formal expression, which is not in line with the original. Thus, it is a covert error.&lt;br /&gt;
&lt;br /&gt;
Example 3：&lt;br /&gt;
&lt;br /&gt;
Blankets and laundry hung from many of the balconies.&lt;br /&gt;
&lt;br /&gt;
很多阳台上挂着毯子啦、洗的衣服啦。(P181)&lt;br /&gt;
&lt;br /&gt;
Example 4：&lt;br /&gt;
&lt;br /&gt;
Young women these days are all so headstrong. And forever talking about washing-machines and American dresses.&lt;br /&gt;
&lt;br /&gt;
现在女孩子任性得很。而且整天在讲什么洗衣机啦、洋裙啦。(P195)&lt;br /&gt;
&lt;br /&gt;
The two sentences are the description of the street which Etsuko and Ogata-San pass by when they intend to visit Shigeo. Etsuko is a calm and composed Japanese woman, whose language style is the same. Modal particles used in translation render the language abrupt and frisky. So, it is a covert error.&lt;br /&gt;
&lt;br /&gt;
'''3.3.2 Participation'''&lt;br /&gt;
&lt;br /&gt;
Participation refers to whether the speech is a simple monologue or a complex form that prompts the listeners or readers to participate indirectly, for example, by the transition between statements and questions and the special use of pronouns. The whole plot of A Pale View of Hills is a soliloquy narrated in the first person, interleaved with dialogues between different characters. Readers hardly could participate indirectly in it. The translation is basically in the same style as the original, except for the two following examples. The two declarative sentences are translated into a rhetorical question, which does not require readers to answer as well. Therefore, the translation is of high quality in terms of participation.&lt;br /&gt;
&lt;br /&gt;
Example 1：&lt;br /&gt;
&lt;br /&gt;
That’s no way to bring a child into the world, visiting the cemetery every week.&lt;br /&gt;
&lt;br /&gt;
这样怎么能把孩子带到这个世上呢？(P24)&lt;br /&gt;
&lt;br /&gt;
Example 2：&lt;br /&gt;
&lt;br /&gt;
It seems very disloyal.&lt;br /&gt;
&lt;br /&gt;
这不是忘恩负义吗？(P32)&lt;br /&gt;
&lt;br /&gt;
The quality statement of the Chinese Translation of A Pale View of Hills focuses on whether it is an overt transaltion or a covert translation and its matching degree. On the one hand, it is an overt translation. Accoring to above analysis, the translation is closely related to the culture of the sourse language text. From the translation, expressions with Japanese culture can be found clearly. On the other hand, it is of high quality. There are 32 mismatches in total, 18 mismatches on field, 8 on tenor and 6 on mode. Among them, there are 13 overt errors and 19 covert errors. Covert errors caused by ignoring the context and overt errors caused by violating the rules of target language inflict only a little ambiguity on ideational function, interpersonal function and the quality of the text.&lt;br /&gt;
&lt;br /&gt;
===IV Quality Statement of Chinese Translation of A Pale View of Hills===&lt;br /&gt;
The quality statement of the Chinese Translation of A Pale View of Hills focuses on its cultural participation degree and its matching degree. Based on the two aspects, this chapter will make a quality statement of the Chinese Translation of A Pale View of Hills.&lt;br /&gt;
&lt;br /&gt;
'''4.1 Overt Translation'''&lt;br /&gt;
&lt;br /&gt;
Overt translation refers to the obvious translation rather than the second original. The translation is obviously not aimed at the readers with target language, because the original text, literary works, political speeches and religious sermons, is closely related to the culture it is rooted in. But covert translation can be used as the second text, that is, independent writing. House deems that texts requiring overt translation have no special connection with their culture, and they are not unique to their culture, such as academic papers and travel brochures. She also believes that in overt translation, equivalence can only be established at the level of language/text, register and genre, but it is difficult to achieve equivalence in function. In contrast, the purpose of covert translation is to achieve functional equivalence, and there will be some deficiencies in language, register.&lt;br /&gt;
&lt;br /&gt;
In the contrast reading between the original and the translation, the obvious traces of the original can be found, for example, “你想她们还在打吗？” and “呃，我想小孩子是会打架的。但是我想我应该告诉你一声。还有你看，我想你女儿不是要去上学。”. In English, words representing speculation, such as “suppose” and “think”, are used frequently, while in Chinese they are not. Thus, the target text which remains these words possesses obvious sighs of translation. Furthermore, other signs in the translation, such as “欠了欠身”，show the culture of Japan when greeting. In conclusion, the target text of A Pale View of Hills is overt translation.&lt;br /&gt;
&lt;br /&gt;
'''4.2 High-quality Translation'''&lt;br /&gt;
&lt;br /&gt;
This study applies House’s TQA model to assess the Chinese translation of A Pale View of Hills on lexical, syntactic and textual aspects. On basis of analysis between the original and the translation, there are 18 mismatches on field, 8 on tenor and 6 on mode. Among them, there are 13 overt errors and 19 covert errors. Covert errors caused by ignoring the context and overt errors caused by violating the rules of target language inflict only a little ambiguity on ideational function, interpersonal function and the quality of the text. &lt;br /&gt;
&lt;br /&gt;
Chinese translation of A Pale View of Hills, by and large, consisting with the original, is of high quality. On the field, the translation, which transmits the subject matter and social action which covers the specificity of linguistic items, is in accordance with the original on lexical, syntactic and textual dimension in general; on the tenor, the representation of social attitude and social role relationship of the Chinese text is consistent with the English text; on the mode, the language of the translation is as simple and delicate as that of the original and the participation is of low level as well. Therefore, Zhang Xiaoyi’s Chinese translation of A Pale View of Hills is of high quality.&lt;br /&gt;
===Conclusion===&lt;br /&gt;
''A Pale View of Hills'', as the debut of Kazuo Ishiguro, involves many in-depth subjects, which initiates the development of author's peculiar writing style. House’s model is the first scientific and objective translation quality assessment mode with the integration of both theory and practice. This study applies House’s TQA model to assess the Chinese translation of ''A Pale View of Hills'' on lexical, syntactic and textual aspects. On basis of analysis between the original and the translation, there are 18 mismatches on field, 8 on tenor and 6 on mode. By and large, the Chinese translation of A Pale View of Hills is overt translation. Although a few mismatches can be found in the translation, they cause a little affect to the functions of the text and the presentation of the plot, role characters and role relationship of the whole novel. In conclusion, the translation is in line with the original on register and is of high quality.&lt;br /&gt;
&lt;br /&gt;
Different from the traditional evaluation methods, House's model, based on micro and macro criteria, both quantitative analysis and qualitative analysis, is the first scientific and objective translation quality assessment model with a complete theory and empirical evidence. It can be used as an auxiliary tool to find problems in translation so as to make modifications, which to some extent promotes the development of translation activities. However, in the actual operation process, although the translation quality assessment can be carried out according to parameters, the comparison results still rely on subjective judgment, which cannot utterly guarantee the scientificity of the final evaluation results. In addition, due to the large number of parameters, it takes a lot of time to compare the differences in vocabulary, sentence structure and discourse between the original text and the translation in the evaluation of full-length novel, so the evaluation is not very efficient. Although there are still some shortcomings in the House's model, it is still worth applying in the practice of translation criticism as a relatively complete and objective theoretical model.&lt;br /&gt;
&lt;br /&gt;
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Zhou Fenfen 周芬芬. (2013) 豪斯翻译质量评估模式的实践应用——以《荷塘月色》英译本为例. 山西农业大学学报(社会科学版). 782-786.&lt;br /&gt;
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==On the Relationship among Literal Translation, Free Translation, Domestication and Foreignization--韦洪朗 Wei Honglang,202020080647==&lt;br /&gt;
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===Abstract===&lt;br /&gt;
Abstract&lt;br /&gt;
This paper makes a systematic discussion on the relationship among literal translation, free translation, domestication and foreignization,which have been always controversial in translation history. Based on the theories and contents of free translation, literal translation, domestication and foreignization, this paper analyzes the similarities and differences between literal translation and free translation, foreignization and foreignization respectively. After cross-contrast analysis between them, it comprehensively sorts out the relationship between translation methods of literal translation and free translation and translation strategies of domestication and foreignization, and discusses their comprehensive application on the basis that domestication and foreignization are the extension of literal translation and free translation to cultural level, which has certain reference significance for further enriching translation practice.&lt;br /&gt;
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===Key words===&lt;br /&gt;
Key Words: Literal Translation; Free Translation; Domestication; Foreignization&lt;br /&gt;
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===摘要===&lt;br /&gt;
摘 要&lt;br /&gt;
本文就翻译史上备受争论的归化、异化和意译、直译的关系问题进行了系统的讨论。基于意译、直译和归化、异化的理论及其内容，分别分析直译和意译、异化和归化两对概念之间的异同，在他们之间进行交叉对比分析后，综合整理直译、意译的翻译方法和归化、异化翻译策略的关系，在继承归化和异化是直译和意译向文化层面的延伸的基础关系上，具体讨论他们之间的综合运用，为进一步丰富翻译实践具有一定的借鉴意义。&lt;br /&gt;
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===关键字===&lt;br /&gt;
关键词：意译；直译；归化；异化&lt;br /&gt;
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===Introduction===&lt;br /&gt;
  In the history, argues between literal translation and free translation have been lasting for so long. Since there existed so many countries and nations on the continent of Europe, communicating frequently with different languages, the skill and cognition of language translation naturally developed and achieved a lot. During those time, two main methods of translation called literal translation and free translation came into being and accompanied by the problem on choosing which of them. The earliest opinion of translating methods can go back to the period of Roman Empire, when Cicero put forward that free translation should be used in translating Greek texts into Latin, on account of that literal translation , “word for word translation”, couldn’t reflect Roman way of expression and couldn’t be easy-understanding and fluent as free translation, “sense for sense translation”. This view of point had a great and dominate influence at that time, which did not change until late Roman period, when Christianity were gradually in power and the necessity of spreading and translating Bible by the way “exactly what it is ” made literal translation become more popular. Then comes the renaissance, in which many linguisticians realized the importance of keeping the style and features of their own nations. Since then, the two translation methods have taken the lead and been debated endlessly in the translation field. By the 1960s and 1970s, when domesticating translation and foreignizing translation accordingly emerged with free translation and literal translation, reception theory, which upgraded the dominance of readers or we called receivers of translation, again made the domestic translating one-up. This kind of method was criticized by Venuti on its aggressivity of different cultures, based on which he officially put forward the two concepts of domestication and foreignization, which have been two central strategies in translation. So it’s vital to get a better understanding of those four concepts and make their relationships clear, which is of guiding significance to promote translation in practice.(Lu Shu, Wang Jintang 2005,115-116)&lt;br /&gt;
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===Table of Contents===&lt;br /&gt;
&lt;br /&gt;
Table of Contents&lt;br /&gt;
&lt;br /&gt;
Outline&lt;br /&gt;
I.Introduction&lt;br /&gt;
II.Literal Translation and Free Translation&lt;br /&gt;
2.1 Literal translation &lt;br /&gt;
2.2 Free translation  &lt;br /&gt;
2.3 Analysis with Examples of Literal translation and Free translation&lt;br /&gt;
2.3.1 On words&lt;br /&gt;
2.3.2 On sentence structures&lt;br /&gt;
2.3.3 On rhetorical means&lt;br /&gt;
2.4 The Relationships between Literal translation and Free translation&lt;br /&gt;
III.Domestication and Foreignization&lt;br /&gt;
3.1 Domestication&lt;br /&gt;
3.2 Foreignization&lt;br /&gt;
3.3 Analysis with Examples of Domestication and Foreignization&lt;br /&gt;
3.3.1 On politics&lt;br /&gt;
3.3.2 On culture&lt;br /&gt;
3.4 The Relationships between Domestication and Foreignization &lt;br /&gt;
IV.The Relationship among Literal Translation, Free Translation, Domestication and Foreignization&lt;br /&gt;
4.1 The Comparison among Literal Translation and Free Translation, Domestication and Foreignization&lt;br /&gt;
4.2 The Connection among Literal Translation and Free Translation, Domestication and Foreignization&lt;br /&gt;
4.2.1 Foreignization and Literal translation&lt;br /&gt;
4.2.2 domestication and free translation&lt;br /&gt;
4.2.3 Domestication and Literal translation&lt;br /&gt;
V.Conclusion&lt;br /&gt;
References&lt;br /&gt;
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&lt;br /&gt;
===I.Introduction ===&lt;br /&gt;
I.Introduction &lt;br /&gt;
In the history, argues between literal translation and free translation have been lasting for so long. Since there existed so many countries and nations on the continent of Europe, communicating frequently with different languages, the skill and cognition of language translation naturally developed and achieved a lot. During those time, two main methods of translation called literal translation and free translation came into being and accompanied by the problem on choosing which of them. The earliest opinion of translating methods can go back to the period of Roman Empire, when Cicero put forward that free translation should be used in translating Greek texts into Latin, on account of that literal translation , “word for word translation”, couldn’t reflect Roman way of expression and couldn’t be easy-understanding and fluent as free translation, “sense for sense translation”. This view of point had a great and dominate influence at that time, which did not change until late Roman period, when Christianity were gradually in power and the necessity of spreading and translating Bible by the way “exactly what it is ” made literal translation become more popular. Then comes the renaissance, in which many linguisticians realized the importance of keeping the style and features of their own nations. Since then, the two translation methods have taken the lead and been debated endlessly in the translation field. By the 1960s and 1970s, when domesticating translation and foreignizing translation accordingly emerged with free translation and literal translation, reception theory, which upgraded the dominance of readers or we called receivers of translation, again made the domestic translating one-up. This kind of method was criticized by Venuti on its aggressivity of different cultures, based on which he officially put forward the two concepts of domestication and foreignization, which have been two central strategies in translation. So it’s vital to get a better understanding of those four concepts and make their relationships clear, which is of guiding significance to promote translation in practice.(Lu Shu, Wang Jintang 2005,115-116)  &lt;br /&gt;
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===II.Literal Translation and Free Translation===&lt;br /&gt;
II.Literal Translation and Free Translation&lt;br /&gt;
When seeing translation as shift of linguistic sign, the method of translating could be regarded as the specific approach used by the translator shifting the ST into TT, especially the two methods we mentioned before--literal translation and free translation.Peter Newmark, in his A Textbook of Translation, proposed that the common and only goal of translating should be repeating the meaning of ST, which means those translating methods exist for dealing with some problems happened during the process when translating.( Ma Shikui 2012,20)The meaning and structure of the ST might not be taken into account every time, so it’s important to search for a appropriate solution to deal with this kind of problem, that’s what literal translation and free translation do.&lt;br /&gt;
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===2.1 Literal translation ===&lt;br /&gt;
2.1 Literal translation &lt;br /&gt;
Literal translation is the one chosen when the original structure and the meaning of ST could both be perfectly taken into account, by adhering to strict original meaning and style of the TT, including the structures of sentences and rhetorical devices. “Word for word translation” could be counted as the original way of literal translation, like the translation of The Bible in the middle Age I showed before. But as the argue and relevant theories developing  till modern age, more and more experts realize and have a common sense that “word for word translation” can’t be equal to literal translation, since there always exist more or less differences among different languages. Personally speaking, the way Professor Fan Zhongying explains that literal translation means keeping the linguistic form of the SL, such as the words, the sentence structures and the rhetorical means, fluently and easily understood at the same time comprehensively interprets literal translation.(Joe Zeng Rui 2000,249)&lt;br /&gt;
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===2.2 Free translation===&lt;br /&gt;
2.2 Free translation&lt;br /&gt;
 It’s better if we can have it both ways, which cannot happened all the time. Thus, free translation might be better when translator can’t follow with the exact structure of SL. Free translation, “sense for sense translation”, refers to a kind of method used to translate the exact sense of the SL into the TL without retaining the sentence structures or the expression way of the SL. The supporters of free translation believe that the purpose of translation is to transform and convey the sense of the SL to the recipient of the TL, so it’s worthy to adopt an expression way closer to the TL, which is easier for the recipient to understand. Free translation has certain flexibility, which means the position of words and sentences can be adjusted. In order to facilitate readers' understanding, even some necessary supplements can be added.(Joe Zeng Rui 2000,249)&lt;br /&gt;
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===2.3 Analysis with Examples of Literal translation and Free translation===&lt;br /&gt;
2.3 Analysis with Examples of Literal translation and Free translation&lt;br /&gt;
Here are some specific examples of contrast between literal translation and free translation：&lt;br /&gt;
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===2.3.1 On words===&lt;br /&gt;
2.3.1 On words:&lt;br /&gt;
&amp;quot;Why do men have an Adam's Apple but women don't? &amp;quot;&lt;br /&gt;
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Literal translating: 为什么男人有喉结而女人没有呢？&lt;br /&gt;
Free translating: 为什么男人有亚当的苹果而女人没有呢？&lt;br /&gt;
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From above, the “Adam's apple” can be translated literally into &amp;quot;亚当的苹果&amp;quot;, but it can't reflect the original sense of the ST, because in the western world, &amp;quot;Adam's apple&amp;quot; refers to &amp;quot;喉结&amp;quot; in Chinese instead of literally meaning &amp;quot;亚当的苹果&amp;quot;, so free translation is more accurate here. In addition, it is worth mentioning that this example perfectly reflects the fit of sentence structure between Chinese and English. It also shows that translators should also be sure of the culture behind the SL.&lt;br /&gt;
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===2.3.2 On sentence structures===&lt;br /&gt;
2.3.2 On sentence structures:&lt;br /&gt;
&amp;quot;Here comes the bus!&amp;quot;&lt;br /&gt;
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Literal translating: 这来了巴士!&lt;br /&gt;
Free translating: 巴士来了!&lt;br /&gt;
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According to literal translating way, if following with the source structure of the English sentence, which is a inverted sentence in English by the way, the translation result is “这来了巴士”, which is obviously both incoherent and hard to understand in Chinese and even twist the sense of the ST. According to the sentence meaning, it should be translated into “巴士来了 ”, which is totally different from the ST in grammar though.&lt;br /&gt;
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===2.3.3 On rhetorical means===&lt;br /&gt;
2.3.3 On rhetorical means&lt;br /&gt;
&amp;quot;If Main Street didn' t understand this , Wall Street did.&amp;quot;(The Glory and the Dream, p .85)&lt;br /&gt;
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Literal translating: 如果主街不能理解这一点，华尔街可以。&lt;br /&gt;
Free translating: 这一点, 一般人不理解, 华尔街那些大老板们却是明白的。(Professor Wang Zongyan, 1983 :10)&lt;br /&gt;
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From this example, the key information is that Professor Wang Zongyan translates “Wall Street” into “华尔街的那些大老板们”. In Literature Translation, free translation is evidently more popular, because some literary images are difficult to express accurately through literal translation. In fact, the “Wall Street” here does not mean “Wall Street” itself, but people in power in Wall Street, so it is more appropriate for Professor Wang to translate it into “华尔街的那些老板们” by free translation. The reason of “Main Street”translating into “一般人”is the same.&lt;br /&gt;
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===2.4 The Relationships between literal translation and free translation===&lt;br /&gt;
2.4 The Relationships between literal translation and free translation&lt;br /&gt;
According to those demonstrations above, we can see that literal translation is more partial to SL and free translation considers more about TL users. The advantage of literal translation is to keep the style of the source language(show how other people talk), which plays a certain role in spreading the source language culture; the disadvantage is that sometimes it might be too long and difficult to understand, which hinders the communication and understanding between the two sides. Because free translation is biased towards the expression of the nation of the TL, its advantage is that it is more fluent and easy to understand, but its disadvantage is that it conceals the style of the source language and loses the role of translation as a cultural bridge, in which the translator's position seem not that important. All in all, I think it is best to combine the two translation methods organically in the process of translation. Just as professor Lu Dianyang proposed: “ Translate literally, if possible, or appeal to free translation.”(Zhao Jing 2011,61)&lt;br /&gt;
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===III.Domestication and Foreignization===&lt;br /&gt;
III.Domestication and Foreignization&lt;br /&gt;
Through the above introduction, we can know that with the change of historical environment, a period of political opposition and cultural exchange encountering a new period after World War II, the dispute between literal translation and free translation has reached a deeper level of development, which is the arrival of Foreignization and Domestication. Although Foreignization and Domestication were first formally proposed by Lawrence Venuti in The Translator's Invisibility in 1995, the translation strategy later called Domestication actually can be seen from Nida's translation theory of &amp;quot;dynamic equivalence&amp;quot;in 1964, which seeks for an expression whose meaning is closest to the SL and conforms to the habit of the TL expression way. Nida's theory has been strongly criticized by Venuti, who supports Deconstructivism, and holds that domesticating translation is an obliteration of the SL culture and a manifestation of cultural colonialism, which is manifested by its failure to comply with the expression of the source language culture. Based on this, on the contrary, Venuti shows strong support for foreignizating translation, and he thinks that this translation strategy of preserving the linguistic and cultural differences of the SL shows respect for the SL culture. The following part mainly clarifies the concepts and contents of these two translation strategies, which will helps to compare with literal translation and free translation mentioned above.（Chen Ying 2009,42）&lt;br /&gt;
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===3.1 Domestication ===&lt;br /&gt;
3.1 Domestication&lt;br /&gt;
Domestication refers to a translation strategy of dealing with the language forms, customs and cultural traditions, such as proverbs, idioms and allusions when translating, which tends to serve the readers of the target language. According to Eugene A.Nida's concept of natural equivalence, the translation version should be close to the original sense and intention in a most natural expression, therefore, the behavior pattern of the source language should be brought into the cultural understanding category of the target language as much as possible, which means that the recipients of the target language can avoid accepting the cultural expression of the source language in order to better understand the original intention.(Zhu Yuanzhong 2013,54)&lt;br /&gt;
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===3.2 Foreignization===&lt;br /&gt;
3.2 Foreignization&lt;br /&gt;
Venuti puts translation under the background of culture, society, politics and cultural consciousness, and reflects the different positions of different cultures in today's world through the choice of translation strategies, and regards translation as a tool to fight against inequality. From this, we can see the reason why he criticized domestication and vigorously advocated foreignization translation, which is to advocate that the translation should adapt and consider more the culture of the source language and the original author's habit of choosing words as much as possible. Thus, foreignizing translation tends to serve the SL culture, because he thinks that the translation version should take the source language culture as its destination and guide the reader to approach the original author.(Jiang Cui 2015,71-71)&lt;br /&gt;
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===3.3 Analysis with Examples of Domestication and Foreignization===&lt;br /&gt;
3.3 Analysis with Examples of Domestication and Foreignization&lt;br /&gt;
Examples for domesticating method and foreignizing method:&lt;br /&gt;
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===3.3.1 On Politics===&lt;br /&gt;
3.3.1 On Politics：동해 &amp;amp; にほんかい&lt;br /&gt;
Since the 19th century, the world has experienced two world wars and the Cold War period. During this long period, independent nation-states gradually chose their own country's &amp;quot;roads&amp;quot; and directions, which made different ideologies and political positions have a strong sense of existence in international relations, among which there were many translation contradictions caused by geopolitics. For example, the title of the sea area between South Korea and Japan has caused controversy between those two countries. South Korea has always called the sea area &amp;quot;동해&amp;quot;(East Sea) in history, but Japan continues to use the European navigator's giving name &amp;quot;Japan Sea&amp;quot;(にほんかい) and gradually gained international recognition from the 19th century. However, South Korean believes that the title change was imposed on South Korea by Japan colonizing Korea, which is a title that violates South Korea's territorial waters and disrespects South Korea. Something similar has happened many times in the world, which is the political difference on domestication and foreignization.(Pan Wenxiao 2020，https://weibo.com/ttarticle/p/show?id=2309404578145859666401)&lt;br /&gt;
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===3.3.2 On Culture===&lt;br /&gt;
3.3.2 On Culture：“情人眼里出西施。”&lt;br /&gt;
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Domesticating translation: Love is blind.&lt;br /&gt;
Foreignizing translation: The beauty Xi Shi is in the eye of lovers.&lt;br /&gt;
&lt;br /&gt;
This example shows well how different it could be between two cultures: the ST and the domesticating one of  TT express almost the same meaning in completely different ways, that is, lovers can only see each other's good thing. That is to say, if you want to convey the exact meaning of the original Chinese sentence to English speakers, then domesticating method is the best choice, although it will make the &amp;quot;translation results&amp;quot; look beyond recognition. However, if we choose foreignizing translation, especially retaining the word &amp;quot;Xi Shi&amp;quot;, it will give English speakers a chance to understand Chinese traditional culture (Xi Shi is a beautiful woman in the Spring and Autumn Period of China, and &amp;quot;西施&amp;quot; in &amp;quot;情人眼里出西施&amp;quot; means &amp;quot;beauty&amp;quot;), although such translating way may be difficult to understand at first.&lt;br /&gt;
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===3.4 The relationships between Domestication and Foreignization ===&lt;br /&gt;
3.4 The relationships between Domestication and Foreignization &lt;br /&gt;
Through the above analysis, it can be seen that domestication and foreignization also have their own merits and necessity. Although these two translation strategies were born in different historical backgrounds, their struggles to a certain extent reflect the struggle between the dominant position of stronger culture and weaker culture with different identities, which, of course is just one of those aspects, also reflect the problems of cultural communication: domesticating translation is conducive to conveying the meaning of the source language to the target language recipients without obstacles, especially in the case of great cultural differences existing, but this localization behavior will make it difficult for readers to learn what differences the two sides culture have, and in fact cultural diffusion will not be achieved. On the contrary, foreignization translation conveys the target text to readers according to the discourse mode of the source language culture, which can not only make readers realize the charm of different cultures, but also increase the expression ways of their own nation, but it is very likely that the meaning of the target text is difficult to understand. This contradiction is particularly prominent in the political level. Therefore, in translation practice, we should decide which way to choose in different contexts and in the face of different groups of people, so that the two can complement each other and have unity of opposites under proper application.(Zhu Yuanzhong 2013,54)&lt;br /&gt;
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===IV.The relationship among Literal Translation, Free Translation, Domestication and Foreignization===&lt;br /&gt;
IV.The relationship among Literal Translation, Free Translation, Domestication and Foreignization&lt;br /&gt;
Sun Zhili, a contemporary Chinese translator, said: &amp;quot;Historically, domestication and foreignization can be regarded as extensions of literal translation and free translation, but they are not completely equivalent to each other. The core issue of literal translation and free translation is how to deal with form and sense at the linguistic level, while domestication and foreignization break through the limitations of language factors and expand their horizons to language, culture and aesthetics. &amp;quot; (Sun Zhili 2011,27) Even after the above introduction, the boundary between literal translation, free translation, foreignization and domestication seems to be very vague. In order to better clarify the relationship between the two pairs of concepts, the following will distinguish and compare them. &lt;br /&gt;
&lt;br /&gt;
===4.1 The comparison among Literal Translation and Free Translation, Domestication and Foreignization===&lt;br /&gt;
4.1 The comparison among Literal Translation and Free Translation, Domestication and Foreignization&lt;br /&gt;
The same point: First of all, foreignization and domestication are extensions of literal translation and free translation, so the two pairs of relations are all methods put forward to guide translation practice; Secondly, relatively speaking, the roles of the two pairs of relations are very similar, especially in linguistic form: literal translation and foreignization both emphasize following the expression of the source text; Both free translation and domestication believe that in order to convey the sense of the source text accurately, the expression of the original text can be sacrificed.&lt;br /&gt;
The different points: The first point is that the scope is different, which leads to different objects: literal translation and free translation are proposed according to the different structures and characteristics of the source language and the target language, and their discussion focuses on the relationship between form and content, which belongs to the level of language conversion. Foreignization and domestication, as a product of cultural turn, is not only manifested in linguistic form, but also in cultural content. In other words, the emergence and development of foreignization and domestication raise the discussion of language level to the level of culture, poetics and politics. Obviously, the former is a micro translation method, while the latter is a macro translation strategy. Choosing specific translation methods under the guidance of the general direction of translation strategies can make good use of these two pairs of concepts when doing translation.&lt;br /&gt;
Second, the condition is different: Because literal translation and free translation are aimed at figuring out the issue of the text itself and the language structure, those two translation methods rely heavily on the text on linguistics, and have little room for evolution, development and independence, which make them relatively being static; However, domestication and foreignization do not have such problems. Their appearances were largely influenced by external social factors and the background of times and history, moreover, they focus on the external factors of translation too. Therefore, these two translation strategies are actually unstable and present a relatively dynamic state.(Zhao Jing 2011,62)&lt;br /&gt;
&lt;br /&gt;
===4.2 The connection among Literal Translation and Free Translation, Domestication and Foreignization===&lt;br /&gt;
It can be concluded that the basic relationship between these twopairs of concepts is that domestication and foreignization make the discussion of translation transition from pure language level to cultural level, not only paying attention to the internal transformation of language, but also starting to study the political and cultural environment outside language and text, which makes the change of translation’s function happen--from micro-analysis of language to macro-control of the social function of translation.(Chen Ying 2009,42)&lt;br /&gt;
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===4.2.1 Foreignization and Literal translation===&lt;br /&gt;
4.2.1 Foreignization and Literal translation&lt;br /&gt;
According to the comparative analysis in the previous section, we can conclude from their similarities that under normal circumstances, foreignization usually takes literal translation as method, or foreignizing translation usually includes literal translation methods, such as:(Lv Yinping 2007,138)&lt;br /&gt;
(1)Pandora’s box 潘多拉的盒子 &lt;br /&gt;
(2)the forbidden fruit 禁果&lt;br /&gt;
The above two examples clearly show the way literal translation do, which is also the result under the guidance of foreignizating translation strategy. &amp;quot;Pandora's box&amp;quot; comes from Greek mythology, which refers to the root of all evils, but the translation into Chinese, which is not “万恶之源”, has followed the European saying, and even quoted it in daily communication, which has played the purpose of &amp;quot;understanding other national cultures through translation&amp;quot;; Similarly, &amp;quot;forbidden fruit&amp;quot; comes from the Bible, which means something forbidden, but Chinese translation also follows the expression of the original way.&lt;br /&gt;
&lt;br /&gt;
===4.2.2 Domestication and Free translation===&lt;br /&gt;
4.2.2 Domestication and Free translation&lt;br /&gt;
Similarly, the shadow of free translation can often be found in domesticating translation. For example:(Lv Yinping 2007,137)&lt;br /&gt;
(1)drink like a fish 牛饮&lt;br /&gt;
(2)a fool’s paradise 黄粱美梦&lt;br /&gt;
As far as the first example is concerned, if literally translated into &amp;quot;像鱼一样喝水&amp;quot;, it is extremely out of line with the Chinese expression habit, and there is no such statement way in China, which leads to the consequences that translating versions are difficult to understand. However, if we translate &amp;quot;drink like a fish&amp;quot; into “牛饮” in Chinese, which does exists in China and has the same meaning as &amp;quot;drink like a fish&amp;quot; in English. Then the translation effect is not only interesting, but also easy to understand.&lt;br /&gt;
However, when doing actual translation practice, due to the variety and diversity of cultures, the methods and strategies used in text or language conversion are also comprehensive. We can find that the comprehensive and flexible use of literal translation and free translation, domestication and foreignization can make up for the regret of some traditional opposing ways(It is said that the two pairs of concepts are opposite and cannot coexist).&lt;br /&gt;
&lt;br /&gt;
===4.2.3 Domestication and Literal translation===&lt;br /&gt;
4.2.3 Domestication and Literal translation&lt;br /&gt;
Foreignizating translation is usually regarded as an extension of literal translation, which means that in general, literal translation methods are often used under the guidance of foreignization strategies, but in some special cases, literal translation can also coexist with domestication strategies.&lt;br /&gt;
(1) 什么时候都要谦虚谨慎，把尾巴夹紧一些。（Jia Wenbo 2000,11）&lt;br /&gt;
We must always be modest and prudent and must, so to speak, tuck our tail between our legs.&lt;br /&gt;
The meaning of &amp;quot;把尾巴夹紧&amp;quot; in Chinese coincides with &amp;quot;tuck tail between our legs&amp;quot; in English. At this one, it can be said that literal translation is the most suitable choice, which keeps the form and cultural connotation of the source language to the maximum extent, and at the same time coincides with the meaning and culture of the target language.&lt;br /&gt;
(2) 一石二鸟(Song Tianxi 2013,49)&lt;br /&gt;
Kill two birds with one stone.&lt;br /&gt;
Similarly, this is an example of having language structure and cultural meaning between China and Britain in both ways, which uses the method of literal translation but achieves the effect of domestication. But in Chinese, &amp;quot;一石二鸟&amp;quot; can also be synonymous with &amp;quot;一箭双雕&amp;quot; and &amp;quot;一举两得&amp;quot;, which can be chosen when translating &amp;quot;kill two birds with one stone&amp;quot; if you want, however, this way of using the method of free translation is not literal translation anymore.&lt;br /&gt;
&lt;br /&gt;
Domestication and literal translation can coexist under the situation when two sides of language structures and cultures can coincide at the same time, which exists by chance and cannot be forced; It is almost impossible to find examples of coexistence like foreignization and free translation. However, through the above argument, we can find that in translation practice, translators should practice the principle of &amp;quot;concrete analysis of specific problems&amp;quot;, flexibly and dialectically combine free translation and literal translation with domestication and foreignization, and avoid rigid translation methods, so as to better assume the responsibility of cultural exchange. &lt;br /&gt;
&lt;br /&gt;
===V.Conclusion===&lt;br /&gt;
V.Conclusion&lt;br /&gt;
Through the analysis above of the concepts and intensions of literal translation and free translation, domestication and foreignization, then we further arrive at and even deepen our understanding of the relationship between the two pairs of concepts, which is helpful for translators to approach the translation result and effect as much as possible on the basis of understanding the culture and language of both sides and combining with the practice through rational choice of translation strategies and translation methods under the guidance of the theories. After all, translation is not only a linguistic transformation, whose fundamental task is to reach communication and cultural exchange. Therefore, in a sense, translation plays the role of cultural &amp;quot;fax&amp;quot;. In order to coordinate the spread of the source language culture and the acceptance of the target language side, it is necessary to avoid rigid use of a single translation method and translation strategy, or solidifying the idea of translation guiding theory. After comprehensive consideration of translation purpose, target and recipient, it is a translator's duty to use translation method flexibly and dialectically, as being a &amp;quot;cultural bridge&amp;quot;.&lt;br /&gt;
&lt;br /&gt;
===References===&lt;br /&gt;
References&lt;br /&gt;
Sun Zhili 孙致礼.(2011).新编英汉翻译教程[A New Coursebook on English-Chinese Translation].上海:上海外语教育出版社.Shanghai:Shanghai Foreign Language Education Press&lt;br /&gt;
Sun Zhili 孙致礼.(2002).中国的文学翻译:从归化趋向异化[China’s Literary Translation: from Domestication to Foreignization].中国翻译Chinese Translators Journal(01):39-43.&lt;br /&gt;
Jia Wenbo 贾文波.(1999).汉英时文翻译-政治经济汉译英300句析[On Practical C-E Translation in Political &amp;amp; Economic Practice].北京:中国对外翻译出版公司Beijing:China Translation and Publishing Corporation.&lt;br /&gt;
Zhang Meifang 张美芳.(2004).翻译策略二分法透视[A dichotomous perspective in translation strategies].天津外国语学院学报Journal of Tianjin Foreign Studies University(03):1-6.&lt;br /&gt;
Zhao Jing 赵静.(2011).直译、意译与归化、异化之比较[Comparison between literal translation and free translation and Domestication and Foreignization].河南农业Henan agriculture(22):61-62.&lt;br /&gt;
Lv Yinping 吕银平.(2007).“直译与意译  归化与异化”译法之我见[My Opinion on Literal Translation, Free Translation, Domestication and Foreignization].宁夏师范学院学报Journal of Ningxia Teachers Univercity( Social Science)(04):136-138.&lt;br /&gt;
Venuti Lawrence.(1995). The Translator’s Invisibility .London&amp;amp;New York: Routledge.&lt;br /&gt;
&lt;br /&gt;
==On Chinese-to-English Translation of The Summer Palace from the Perspective of Functionalist Approaches to Translation	魏亚菲	Wei Yafei==&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
===Abstract===&lt;br /&gt;
Abstract&lt;br /&gt;
The Chinese-English translation of tourist texts, as a window for the external publicity of national history and culture, plays an important role in promoting the development of local tourism. The Summer Palace is well known for its large and priceless collection of cultural relics, which is among the first group of historical and cultural heritage sites in China to be placed under special state protection. &lt;br /&gt;
Based on the functionalist approach and the skopos rule, this paper discusses the problems existing in the translation of scenic spots in the Summer Palace from the perspectives of garden culture, historical culture and religious culture. Skopos theory holds that translation depends on communicative purpose. To achieve this goal, translators can choose different translation strategies. It is believed that the purpose of Chinese-English translation of scenic spots is to attract target readers and promote traditional culture. Therefore, when translating tourism materials, it is necessary not only to express the local cultural connotation, but also to consider the cross-cultural factors. The Chinese-English translation of the introduction of scenic spots guided by functionalist approach can make English readers have expectations of scenic spots and understand the cultural connotation of scenic spots. This paper aims to better promote the development and communication of Chinese culture and improve the level of tourism text translation in China by relying on the theory of functionalist approach.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
===Key words===&lt;br /&gt;
Key Words: functionalist approach，the Summer Palace，translation strategies&lt;br /&gt;
&lt;br /&gt;
===摘要===&lt;br /&gt;
摘 要&lt;br /&gt;
旅游资料的英译作为民族历史文化对外宣传的一道窗口,对地方旅游业的发展有着不可低估的促进作用。颐和园作为中国著名的皇家园林，具有浓厚的中国园林特色及优美的风景，同时也蕴涵着深厚文化内涵。&lt;br /&gt;
本篇旅游文本英译的分析以功能派翻译理论作为理论指导，以目的法则为主要原则，从颐和园的园林文化、历史文化和宗教文化三个角度出发对颐和园景点英译中存在的问题进行探讨。目的论认为译文取决于翻译目的，这个目的通常指的是交际目的。为达到这个目的，译者可以选择不同的翻译策略。也就是说，译者的翻译策略必须由译文的预期目的或功能决定，即所谓的“目的法则”。笔者认为景点介绍的汉英翻译的目的就是吸引译文读者以及弘扬传统文化，因此在翻译旅游资料的时候不仅要把当地的文化内涵表达出来，而且要考虑到跨文化的因素。而以功能派翻译理论为指导的景点介绍的汉英翻译，可以使英语读者通过译文产生对旅游景点的期盼，以及对景点文化内涵的理解。以颐和园景区内的翻译文本为例本，依托功能翻译理论，通过“发现问题，指出问题，解决问题”，以期更好地促进中国文化的传播与交流，提高我国现阶段旅游文本翻译的水平。&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
===关键字===&lt;br /&gt;
关键词：功能翻译；颐和园；翻译目的；翻译策略&lt;br /&gt;
&lt;br /&gt;
===Introduction===&lt;br /&gt;
  Throughout the translation history at home and abroad, the literal translation and free translation have always been a heat discussion in the translation circles. Someone absolutely approve literal translation and demean free translation, even pursue a dead translation, which creates an translated text difficult to understand. While some other people absolutely agree with free translation even advocate random acts, which means a random deletion in the translation practices and creates anther entirely different text. However, there are also a number of translators who have recognized that these two translation methods are not totally opposite. So they adopt a compromise and flexible way. That means they will choose the most appropriate one depending on the text demanding. Therefore, we can deduce from it that this eclectic translation is consistent with the Contradiction view of Unity of Opposite in Materialist Dialectics. In fact, literal translation and free translation are right a set of contradictions which are both opposite and unified. They complement each other into an integral one.&lt;br /&gt;
&lt;br /&gt;
===Table of Contents===&lt;br /&gt;
&lt;br /&gt;
Table of Contents&lt;br /&gt;
&lt;br /&gt;
Outline&lt;br /&gt;
1.Introduction&lt;br /&gt;
2. Studies on Functionalist Approach&lt;br /&gt;
2.1 The Viewpoint of Functionalist Approach&lt;br /&gt;
2.1.1 Reiss’s Text Typology&lt;br /&gt;
2.1.2 Vermeer’s Skopos Theory&lt;br /&gt;
2.1.3 Manttari’s Theory of Translational Action&lt;br /&gt;
2.1.4 Nord’s Theory of Function plus Loyalty&lt;br /&gt;
2.2 The Application of Functionalist Approach &lt;br /&gt;
3.C-E Translation of the Summer Palace under Functionalist Approach&lt;br /&gt;
3.1 Garden Culture&lt;br /&gt;
3.2 Historical Culture &lt;br /&gt;
3.3 Religious Culture &lt;br /&gt;
4. Conclusion&lt;br /&gt;
References&lt;br /&gt;
&lt;br /&gt;
===Outline===&lt;br /&gt;
Outline&lt;br /&gt;
&lt;br /&gt;
Thesis Statement: Based on the main viewpoints of functionalist approaches to translation, this paper aims to give an analysis to C-E translation of the Summer Palace from cultural, historical and religious aspects, hoping to provide some translation strategies for other cultural attractions.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
1. Introduction&lt;br /&gt;
2. Studies on Functionalist Approaches&lt;br /&gt;
2.1 The Viewpoint of Functionalist Approach&lt;br /&gt;
2.1 Reiss’s Text Typology&lt;br /&gt;
2.2 Vermeer’s Skopos Theory&lt;br /&gt;
2.3 Manttari’s Theory of Translational Action&lt;br /&gt;
2.4 Nord’s Theory of Function plus Loyalty&lt;br /&gt;
2.2 The Application of Functionalist Approach&lt;br /&gt;
3. C-E Translation of the Summer Palace under Functionalist Approach&lt;br /&gt;
3.1 Garden Culture&lt;br /&gt;
3.2 Historical Culture&lt;br /&gt;
3.3 Religious Culture&lt;br /&gt;
4. Conclusion&lt;br /&gt;
&lt;br /&gt;
===1. Introduction ===&lt;br /&gt;
1. Introduction   &lt;br /&gt;
The Chinese-English translation of tourist texts is a bridge to spread the culture of classical Chinese gardens, so the accuracy of it has a direct impact on foreigners' understanding of the specific history and culture. &lt;br /&gt;
Functionalist approach has made a pioneering contribution to the translation of non-literary genres. Functional translation theory emphasizes the function of discourse, and believes that different types of discourse have different functions, so translators should choose appropriate translation strategies according to the type of source text and corresponding functions. Functionalist approach is to take the &amp;quot;skopos rule&amp;quot; as the highest standard, and any translation activity is a purposeful behavior. The ultimate goal and main function of scenic spot translation is to help people understand the main content of the scenic spot.&lt;br /&gt;
As a window for the publicity of national history and culture, the Chinese-to-English translation of tourist texts plays an important role in promoting the development of local tourism. Well known for its large and priceless collection of cultural relics, the Summer Palace was among the first group of historical and cultural heritage sites in China to be placed under special state protection. Based on the viewpoints of functionalist approach to translation, this paper aims to analyze C-E translation of the Summer Palace from cultural, historical and religious aspects, hoping to provide some translation strategies for other cultural attractions. &lt;br /&gt;
&lt;br /&gt;
===2. Studies on Functionalist Approaches===&lt;br /&gt;
2. Studies on Functionalist Approaches&lt;br /&gt;
Functionalism is a theory that advocates reader-centered translation, emphasizing the functions of texts and highlighting the communicative effects. It is believed that many unnecessary mistakes can be avoided and better results can be achieved by applying functionalist approach in Chinese-English translation of tourist text. &lt;br /&gt;
&lt;br /&gt;
===2.1 The Viewpoint of Functionalist Approaches===&lt;br /&gt;
2.1 The Viewpoint of Functionalist Approaches&lt;br /&gt;
Functionalist Translation Theory, also known as German Functionalist Translation Theory, was proposed by German scholars in the 1970s. It includes four main theories: Katharina Reiss’s Text Typology, Hans Vermeer’s Skopos Theory, Justa Holtz Manttari’s Theory of Translational Action and Christiane Nord’s Theory of Function plus Loyalty. This chapter aims to present the main ideas of this theory.&lt;br /&gt;
&lt;br /&gt;
===2.1.1 Reiss’s Text Typology===&lt;br /&gt;
2.1.1 Reiss’s Text Typology&lt;br /&gt;
In 1971, Reiss in her book Possibilities and Limitation of Translation Criticism first made text function as a standard of translation criticism, namelyevaluate the translated text from the relationship between the functions of the original and the translated text. She insists on the original-centered equivalence theory and holds the view that the ideal translation is to achieve the equivalence between the target text and the source text in terms of ideological content, linguistic form and communicative function. However, translation practice makes her realize that it’s difficult to achieve equivalence sometimes and that sometimes equivalence cannot be pursued. Because of the particularity of translation requirements, the function of the target text is not always the same as that of the source text. Therefore, the translator should give priority to the functional role of the target text rather than the principle of equivalence.&lt;br /&gt;
Reiss believes that in the normal situation the type of text decides the translator’s choice of a proper translation method (Reiss, 2004). Therefore, she divides text into four types: content-focused text, form-focused text, appeal-focused text and audio-media text. Content-focused text, also known as informative text, includes news reports, commercial correspondence, operating instructions, official documents, patent&lt;br /&gt;
specifications, essays, treaties, etc. For this text, the main function is to convey information revealed in language itself to readers. The emphasis is on content and topic, so the choice of language and style should serve this function. If both the source text and target text belong to informative text, the translator should represent the content and information of source text accurately and completely (Reiss, 2004)&lt;br /&gt;
Form-focused text, also known as expressive text, refers to literary works such as novels, poems and so on. “Distinct from ‘content’, which deals with what the author says, ‘form’ is concerned with how an author expresses himself” (Reiss, 2004). For expressive texts, information is only a supplement. What is dominant is the aesthetic factor. When translating such texts, the translator should pay attention to the aesthetic and artistic forms of the original text and to the differences between two cultural habits, trying to achieve the same effect as the source text. In a word, in a form-focused text the linguistic form of the source text determines the form in the target language (Reiss, 2004).&lt;br /&gt;
Appeal-focused text, also known as operative text, mainly includes notice, instruction manual, advertisement, publicity manual and so on. For operative texts, the primary task for the translator is to provoke a particular reaction on the hearers or readers to incite them to engage in specific actions, while content and form are subordinate. Therefore, to achieve the same effect, the translator need to change the content and stylistic features of the original text, try to keep the potential influential factors of the original text and seek functional equivalence (Reiss, 2004: 38-43). Audio-medial text, also known as multi-media text, refers to radio and television scripts, such as radio newscasts and reports, topical surveys and dramatic productions.&lt;br /&gt;
It is distinctive in its dependence on non-linguistic media and on graphic, acoustic, and visual kinds of expression. Only in combination with them can the whole complex literary form realize its full potential (Reiss, 2004). In conclusion, different texts determine different translation focuses and methods. In many cases, however, a text may have more than one function, which means that translators should integrate different translation strategies skillfully to achieve different functions of texts.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
===2.1.2 Vermeer’s Skopos Theory===&lt;br /&gt;
2.1.2 Vermeer’s Skopos Theory&lt;br /&gt;
Reiss’s student Vermeer, who broke the limitation of the theory of equivalent and took skopos to be the first criterion of translation process  proposed the key theory: Skopostheorie. According to Skopos Theory, when translating a text, the translator needs to consider the purpose of translation first and then choose the translation method according to the purpose, which means “the end justifies the means” (Nord, 2001). Vermeer believes that translation, like other human actions, is also a purposeful act. Translation often takes place in cultural backgrounds with different customs and values, so translation is not a simple equivalent transformation between languages. Skopos Theory does not focus on achieving the equivalence between the target text and the original text or the perfection of the target text, but on choosing the best translation strategy based on the analysis of the source text and the intended function of the target text. In a word, translation methods and strategies are determined by the intended purpose or function of the target text.&lt;br /&gt;
According to Skopos Theory, the first rule that all translators must follow is the Skopos Rule. Translation purpose can be divided into three categories: (1) the purpose of the translator, such as earning a living; (2) the communicative purpose of the translation, such as instructing the reader; (3) the purpose of using a particular translation method, such as the literal translation according to its structure to illustrate the peculiarities of grammatical structure in a language (Nord, 2001). In general, the communicative purpose is more important than the other two. The communicative purpose is usually determined by the initiator of the translation act, but the translator can take part in deciding. The second rule is the Coherence Rule. Coherence Rule requires that the translation conform to the criterion of intratextual coherence, which means that the translation must be accessible to recipients and meaningful in the target culture and in the communicative environment (Nord, 2001). The third rule is the Fidelity Rule. It means that there should be intertextual coherence between the source text and the target text, which means being faithful to the source text. Nevertheless, the degree and form of faithfulness lie in the target text and the degree that the translator understands the original text. Normally “Intertexual coherence is considered subordinate to intratexual coherence and both are subordinate to the Skopos rule” (Nord, 2001).&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
===2.1.3 Manttari’s Theory of Translational Action===&lt;br /&gt;
2.1.3 Manttari’s Theory of Translational Action&lt;br /&gt;
Following Vermeer, Manttari develops Vermeer’s Skopos Theory and puts forward the Theory of Translational Action. He emphasizes three aspects: the behavior of the translation process, the role of the participants (the initiator, the translator and the target reader, etc.) and the environment (time, place and media) in which the translation process takes places. It views translation as “purpose-driven, outcome-oriented human interaction and construes the process of translation as message-transmitter compounds that involve intercultural transfer” (Mundy, 2001). According to Manttari, translation is “ a complex act to achieve a particular purpose” &lt;br /&gt;
(Nord, 2001). It is not about translating words, sentences or texts but is about guiding the intended cooperation over cultural barriers and promoting functional communication. Cooperation here means “transcultural communication” by Manttari.&lt;br /&gt;
The Theory of Translational Action attaches great importance to providing a functional communicative text for the recipient, a text suitable for the target culture in&lt;br /&gt;
form and style. Functional suitability is determined by the translator. The translator is&lt;br /&gt;
an expert in translation, whose role is to ensure the successful completion of cultural&lt;br /&gt;
transformation. In producing the target text, the analysis of the source text is necessary so that the translator can find out its structural and functional characteristics, which can be described by content and form. The need of the recipient is the decisive&lt;br /&gt;
factor for the target text.&lt;br /&gt;
In short, “the value of Manttari’s work is the placing of translation (or at least the professional non-literary translation which she describes) within its sociocultural&lt;br /&gt;
context, including the interplay between the translator and the initiating institution”&lt;br /&gt;
(Mundy, 2001).&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
===2.1.4 Nord’s Theory of Function plus Loyalty===&lt;br /&gt;
2.1.4 Nord’s Theory of Function plus Loyalty&lt;br /&gt;
Though skopos rule changes the focus of translation from the source language text to the target language text and the target receivers, it has some limitations. One is that different readers have different expectations, and the translation purpose cannot satisfy all the expectations of the target reader. Another is that the translation purpose may sometimes be against the intention of the source language. Therefore, based on the skopos rule, Nord introduces the loyalty principle. The principle of loyalty is a supplementary principle proposed by Nord to make up for the deficiency of skopos rule. According to the explanation of Nord, it is not the relationship between the original text and the target text, nor the equivalence between the original text and the form of the target text, but the consistency between the author of the original text, the initiator of the translation, the translator and the reader of the target text, which is the principle of loyalty. The proposal of the loyalty principle makes up for the mistakes that some radical skopos translators usually make, such as omitting and rewriting, which makes skopos theory more perfect and makes skopos theory more likely to guide the translation of literary works.&lt;br /&gt;
“Function” and “loyalty” are two pillars of Nord’s functionalist approach. “Function” refers to what a text means or is intended to mean from the receiver’s point of view”, while “loyalty” means that “target-text purpose should be compatible with the original author’s intention” (Nord,2001). It emphasizes the interpersonal relationship between the translator, the source-text sender, the target-text addresses and the initiator. Function plus loyalty enables the translator to avoid the limitations of skopos rule and try to achieve a balance between translation purpose and the source-text author’s intention”(Nord,2001). That is to say, when translating the original text, the translator should take into account the readers' cultural background, knowledge level and expectation of the translation, and choose the corresponding translation strategy according to the translation requirements. If the reader wants to read a word-for-word translation of the article, then the translator must meet the reader's requirements, otherwise he must explain to the reader why he chose his own translation method. The translator's job is to weigh two different cultures instead of imposing one culture on another. &lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
===2.2The Application of Functionalist Approach to the Tourist Texts.===&lt;br /&gt;
2.2The Application of Functionalist Approach to the Tourist Texts.&lt;br /&gt;
In the 1990s, Functionalist Translation Theory was introduced to China, and since then it has been applied to translation studies by Chinese translation scholars. In his article published in 1995, Zhang Nanfeng briefly introduces Skopos theory to China for the first time, and considers that Skopos theory is referential (Zhang Nanfeng, 1995). German Functionalist Translation Theory, a paper released in1999, is the first article in China which systematically introduces German Functionalist Translation Theory (Zhong Weihe &amp;amp; Zhong Yu, 1999). Based on an overview of Functionalist Translation Theory, Zhang Meifang focuses on introducing Nord’s theory, especially on the detailed analysis of Nord’s principle of loyalty (Zhang Meifang, 2005). Famous domestic scholars, such as Liu Junping (2009), Liu Miqing (2012) and Li Wenge (2004), also introduce this theory in their books. With the rise of Functionalist Translation Theory in China, someone has compared it with other theories. Zhu Haotong compares Skopos Theory with Functional Equivalence Theory to analyze the similarities and differences between them, and further reveals that Functionalist Translation Theory inherits the reasonable part of Nida’s Functional Equivalence Theory, which is an important breakthrough and supplement to solve the problems that Functional Equivalence Theory leaves (Zhu Haotong, 2006). Some scholars also combine theory with translation practice to explore the application of Functionalist Translation Theory to translation practice. Jia Yanli and Wang Hongjun point out that Skopos Theory has its limitations, but it is still of instruction and reference value for non-literary translation texts, such as advertisements and tourism materials (Jia Yanli &amp;amp; Wang Hongjun, 2012). Li Liangchen selects several famous tourist attractions in China to translate the on-site tour-guide commentary into English. Then he improves them under the guidance of Skopos Theory and sends out questionnaires to overseas tourists for further analysis. He argues that the translation of on-site tour-guide commentary which is guided by Skopos Theory is more favorable to conveying information to foreign visitors, to promoting cultural exchanges and to improving the image of China’s tourist destinations (Li Liangchen, 2013). In Pragmatic Translation: Theory &amp;amp; Practice, Wu Feng and He Qingji introduce Functionalist Translation Theory (Wu Feng &amp;amp; He Qingji, 2008) and the characteristics of tourism text and translation skills (Wu Feng &amp;amp; He Qingji, 2008). In this book, they also discuss the controversy over the Chinese name of Functionalist Translation Theory, and holds that “功能派翻译理论” is the most appropriate Chinese translation (Wu Feng &amp;amp; He Qingji, 2008).Based on his own translation practice and under the guidance of Functionalist Translation Theory, Wu Zixuan probes into some special phenomena in the English translation of CNN newsreels. The author believes that in the translation of external publicity, we should not stick to the standard of faithfulness to the original text, but should deal with the original text properly from the perspective of achieving the purpose of translation, such as rewriting, abridging. (Wu Zixuan, 2005).&lt;br /&gt;
Functionalist approach establishes a theoretical system of diversified translation standards dominated by skopos rule. From the definition of Functionalist approach, it can be seen that the advantage of it is that the translator can get rid of the bondage of the original text, study the translation process with &amp;quot;translation purpose&amp;quot; as the starting point, and determine the translation strategies and methods. This can give full play to the translator's own initiative, flexible processing of the original text, in order to achieve the translation of the communicative function. In addition, functionalist approach requires the translation to be examined in the cultural context of the reader. The reader can accept the translation and understand the meaning of the original text through the translation, so the translation can realize the communicative function. On the basis of such advantages, functionalist approach can be used to guide the English translation of garden scenic spots, and the translator can choose a wider range of translation strategies and break out of the constraints of the original text. &lt;br /&gt;
Only by clarifying the purpose of translation can we avoid these limitations in the English translation of garden attractions. When using functionalist approach to guide the English translation of Chinese classical garden scenic spots, it is necessary to flexibly choose translation strategies and methods, give full play to the advantages of skopos theory, and achieve the balance between &amp;quot;principle of purpose&amp;quot; and &amp;quot;principle of fidelity&amp;quot; as far as possible.&lt;br /&gt;
With the deepening of globalization and cross-cultural communication, tourismis becoming a major industry in the 21st century. The development of tourism can not only promote the economic development of a country but also promote the external dissemination of national culture. Therefore, tourism translation deserves attention. Tourism text is a typical informative and operational text, and the language is unique. It is full of gorgeous words, such as four-character expressions, verses, proper nouns and so on.&lt;br /&gt;
Tourism text materials include tourism advertising, tourism brochures, scenic spots signs and so on. In this paper, we focus on the introduction of Chinese gardens’ scenic spots, which is usually colorful in language and rich in literary style. Tourism text translation belongs to applied translation, which should play a series of practical functions to publicize the image and resources of the country or place and attract overseas tourists. Therefore, the translator of tourism text must be clear about the type and function of tourism text, and to grasp the ultimate purpose of the translation. &lt;br /&gt;
On tourism text translation, the communicative purpose of the translation should be placed in a central position. Furthermore, the tourism text has both the information function and the calling function. The information function and the calling function complement each other. Only when the target language readers acquire the expected tourism information and cultural knowledge can the calling function be realized and the purpose of tourism text translation be achieved. With different translation strategies, the translated version should both expressed contains basic information, and make the tourists feel the profound of the Chinese culture from the beautiful scenery. &lt;br /&gt;
Cultural tourism has long been the focus of international tourism, and understanding Chinese culture is the main purpose of inbound tourists, so the translation of tourism texts bears the mission of cultural transmission and cultural publicity. However, due to the great differences between Chinese and English culture and language, there are many difficulties in cultural transmission in tourism text translation. China has a long and splendid history and culture. When introducing the scenic spots of cultural relics and historic sites, we usually associate with many historical figures and stories. These terms are cultural blank for most foreign tourists, but this kind of cultural experience is also the most attractive place for foreign tourists. It is of great importance to pay attention to cultural differences in tourism translation and carry out cultural transmission effectively. Chinese and English languages have different logic views, and Chinese expressions in tourism texts value decoration. English expressions tend to be clear, concise and to the point. For example, Chinese tourism texts often use a four-character lattice, which is symmetrical, while there is no corresponding four-character lattice expression in English. Therefore, in Chinese-English translation of tourism texts with frequent use of four-character phrases, it is necessary to keep in mind the objective principle of functionalist approach and give priority to cultural communication instead of rigidly adhering to form.&lt;br /&gt;
&lt;br /&gt;
===3. C-E Translation of the Summer Palace under Functionalist Approach===&lt;br /&gt;
3. C-E Translation of the Summer Palace under Functionalist Approach&lt;br /&gt;
By studying the specific translation strategies made by predecessors, the following steps are also adopted in this paper: first, the translation strategies are determined according to the text type, such as faithful reproduction of the original information or rewriting; Secondly, the translation strategies are determined according to the potential purpose of the translation, such as paraphrasing or deleting poems, generalizing specific expressions and transliterating proper nouns. Thirdly, the translation strategies are defined with the tourists as the center, such as adding logical words, adding explanatory information and using plain English.&lt;br /&gt;
The Summer Palace epitomizes the philosophy and practice of Chinese garden design, which played a key role in the development of this cultural form throughout the east. It is an outstanding expression of the creative art of Chinese landscape garden design, incorporating the works of humankind and nature in a harmonious whole, which was once the most important place of political and diplomatic activity for the supreme rulers of the late Qing dynasty. Based on three aspects of the Summer Palace, namely, garden culture, historical culture and religious culture, this paper discusses the problems existing in the English translation of the scenic spots of the Summer Palace and puts forward corresponding countermeasures under the guidance of the skopos rule of functionalist translation theory.&lt;br /&gt;
&lt;br /&gt;
===3.1 Garden culture.===&lt;br /&gt;
3.1 Garden culture. &lt;br /&gt;
The Summer Palace is a classical garden famous for its magnificence and beauty. There are many temples in the garden, and the green waves of kunming lake ripple. Landscape and humanities complement each other, containing rich natural and cultural information, reflecting the characteristics of Chinese classical gardens. The garden cultural features of the three scenic spots, namely, the hall of clouds, the foxiang pavilion and the Wenchang courtyard, are particularly outstanding. Therefore, this paper takes these three scenic spots as examples to discuss the Chinese-English translation of the introduction of the Summer Palace.&lt;br /&gt;
(1)	排云殿、佛香阁景区是颐和园内建筑布局最完整、建筑形式最丰富的中轴建筑群体，殿、阁、廊、亭、桥、坊、碑等建筑约两万平方米。从临水的云辉玉宇牌坊至排云门、排云殿、德辉殿、佛香阁、众香界、智慧海、层层升高，排列有序，气势巍峨，金碧辉煌，将园林、寺庙和宫殿融为一体。&lt;br /&gt;
Translation：This scenic spot covers an area of 20,000 square meters with an assortment of buildings such as palaces, towers, corridors, pavilions, walkways, bridges, archways and inscribed stone steles. It comprises a well-arranged group of structures, all diverse in style, located in the center of the Summer Palace garden. This complex of structures, ranging from the Glowing Clouds and Holy Land Archway on the waterside, the Gate that Dispels the Clouds, the Hall that Dispels the Clouds, the Hall of Moral Glory, and the Tower of the Fragrance of the Buddha, to the Realm of Popular Fragrance and the Sea of Wisdom Temple, were built in an orderly manner running from the foot of the hill to its top, with gardens, temples and palaces harmoniously integrated into the whole。&lt;br /&gt;
Analysis：As we all know, the design style of ancient Chinese buildings is beautiful with &amp;quot;symmetry&amp;quot;. The &amp;quot;axis&amp;quot; in hall of clouds scenic spot refers to the layout of the Summer Palace from far to near and from top to bottom, which cannot be simply understood as the center. Simply translating &amp;quot;axis&amp;quot; as &amp;quot;center&amp;quot; cannot express accurately the meaning of &amp;quot;symmetry&amp;quot;. Comparatively speaking, &amp;quot;axis&amp;quot; can better reflect the architectural style of the scenic spot.&lt;br /&gt;
(2)	从临水的云辉玉宇牌坊至排云门、排云殿、德辉殿、佛香阁、众香界、智慧海，层层升高，排列有序，气势巍峨，金碧辉煌，将园林、寺庙和宫殿融为一体。&lt;br /&gt;
Translation：These structures，including Glowing Clouds and Holy Land Archway at lake side，the Gate of Dispelling Clouds，the Hall of Dispelling Clouds，the Hall of moral Glory，and the Tower of Buddhist Incense，the Realm of Multitudinous Fragrance and the Sea of Wisdom Temple，were built in an orderly manner ranging up the hill with gardens，temples and palaces harmoniously integrated. This manifests beauty，grace and splendor，reminiscent of the loftingness and grandeur of a once mighty empire.&lt;br /&gt;
Analysis：In terms of the characteristics of language, Chinese emphasizes parataxis and four-word antithesis. When describing and naming scenes, gorgeous words and poetic words are generally chosen in Chinese. But, English emphasizes hypotaxis, on the other hand, puts more emphasis on reproducing the original appearance of things, using simple and natural words and preferring direct description. In sign translation, the English translation pays more attention to accurate, concise and lively. In the above paragraph, &amp;quot;层层升高，排列有序，将园林、寺庙和宫殿融为一体&amp;quot; is an introduction to the architectural features of foxiang pavilion, in order to make tourists have a clear understanding of the overall layout and architectural features of the scenic spot. This information is essential and can be translated into detail. However, &amp;quot;气势巍峨，金碧辉煌&amp;quot; focuses on the subjective description, and its explicit translation needs more complicated words. If this paragraph is translated in detail, it is easy to drag the content and make the key information vague. Therefore, the deletion of the English translation of this sentence will not affect the basic information of the original text.&lt;br /&gt;
(3)	主阁（文昌阁）两层，内供铜铸文昌帝君和仙童、铜骑。文昌阁与万寿山西供武圣的宿云檐象征“文武辅弼”。&lt;br /&gt;
Translation: A bronze statue of the God Wenchang, statues of gaeries, and a bronze steed were placed in the two-story pavilion. This tower is pared with the Tower of Cloud- Retaining Eaves, located to the west of the Longevity Hill, in which a statue of the Martial God was placed. The God Wenchang and the Martial God together symbolize reining of the emperor supported by scholars and warriors.&lt;br /&gt;
Analysis: Two questions arise in Chinese-English translation. First, there are two translations of wenchang pavilion in the translation: pavilion and tower, which appear in the same sign. Two different translations of the same scenic spot name tend to make foreign tourists think that it refers to different scenic spots, which may cause difficulty in understanding. Second, the translation of Wenchang pavilion into &amp;quot;Wenchang Tower&amp;quot; is against the actual architectural characteristics. In fact, the meanings of &amp;quot;pavilion&amp;quot; and &amp;quot;tower&amp;quot; have both similarities and differences. According to the Oxford dictionary, Tower means &amp;quot;a tall narrow building or part of a building, especially of a church or castle&amp;quot;, mainly referring to the tower-shaped part of a building, usually a tall and slender structure, such as the Eiffel Tower. &amp;quot;Pavilion&amp;quot; means &amp;quot;a building that is meant to be more beautiful than usual, built as a shelter in a park or used for concerts and dances&amp;quot;. The top structure of the pavilion usually has rectangles, triangles, hexagons, etc. The common feature of them is that the top is supported by columns without walls. From the external structure of Wenchang pavilion, its bottom is solid and its top is supported by columns. Therefore, the pavilion can accurately reflect the architectural characteristics of Wenchang pavilion, so I think it should be translated as Wenchang pavilion.&lt;br /&gt;
&lt;br /&gt;
===3.2 Historical culture. ===&lt;br /&gt;
3.2 Historical culture. &lt;br /&gt;
The accurate Chinese-English translation of the introduction of the Summer Palace not only enables foreign tourists to understand the characteristics of Chinese gardens, but also enables foreign tourists to understand the historical knowledge of a specific period of China. However, the Chinese-English translation of the Summer Palace still has problems in accurately conveying the historical background of the scenic spots, such as the English translation of Wenchang pavilion scenic spot:&lt;br /&gt;
(4)	此景区始建于清乾隆十五年，一八六零年被英法联军烧毁，光绪时按原样重建。阁结构为八面三层四重檐，通高36.44米，耸立于20米高的石造台基上，气势雄伟，是颐和园全园的构图中心。阁内供奉有铜铸金裹千手观世音菩萨站像。像高五米，重万斤，为明代万历年间所造，在八根贯通全阁上下的承重铁梨木擎天柱的衬托下，美妙庄严，熠熠生辉，有极高的文物和艺术价值。&lt;br /&gt;
Translation: The Wenchang tower was first built in 1750 and rebuilt under Emperor Guangxu after  the Anglo-French Allied Forces builted it down in 1860. The octahedral tower has three stories with four-layered eaves, altogether 36.44 meters high. Standing upright on a 20 meter-high stone foundation, it constitutes the center of the Summer Palace landscape and serves to accentuate its magnificence. A statue of the thousand-handed Guanshiyin Buddha, cast in bronze and gilded with gold, stands inside the tower. The statue, five meters high and five tons in weight, was cast during the reign of Emperor Wanli of the Ming Dynasty. Set off by the eight imposing pillars which support the tower, it glows with beauty, grandeur and brilliance. Its historical, cultural and artistic value can hardly be overstated.&lt;br /&gt;
Analysis: “始建于乾隆十五年”only was translated into “was first built in 1750” and the “光绪年间重建” was translated into “rebuilt under Emperor Guangxu”.The first sentence does not show that 1750 was the fifteenth year of the reign of emperor Qianlong, and the second sentence does not give foreign visitors the exact date of the reign of emperor Guangxu. The change of time concept and the disunity of expression easily make foreign tourists feel confused. Therefore, the translation of the time and the historical dynasties should be accurate and meticulous, and the supplementary method should be used to not only describe the dynasties clearly, but also supplement the corresponding years, so as to achieve the standardization of the translation. In this way, foreign tourists can not only be clear about the time of the event, but also understand the Chinese historical dynasties. Consider as follows: the Wenchang Pavilion was first built in 1750 during Emperor Qianlong’s reign（1735- 1795）and rebuilt in 1886 under Emperor Guangxu（1875- 1908）after the Anglo- French Allied Forces burned it down in 1860.&lt;br /&gt;
&lt;br /&gt;
===3.3 Religious culture. ===&lt;br /&gt;
3.3 Religious culture. &lt;br /&gt;
Many scenic spots in the Summer Palace have a strong buddhist atmosphere. While visiting the scenic spots, foreign tourists can understand the profound buddhist culture. Wenchang pavilion in the Summer Palace is the representative of Chinese religious culture.&lt;br /&gt;
(5)	主阁两层，内供铜铸文昌帝君和仙童、铜特。文昌阁与万寿山西供武圣的宿云檐象征“文武辅弼”。&lt;br /&gt;
Translation: A bronze statue of the god，Wenchang，and statues of two followers，the celestial boy，and the bronze steed，were placed in the two- storey pavilion. This tower is pared with the tower of Cloud- Retaining Eaves，located to the west of the Longevity Hill，in which a statue of the Martial God was placed. The two towers symbolize the support by both scholars and warriors to the ruling emperor.&lt;br /&gt;
Analysis: It is well known that westerners believe in theism, which refers to god as supreme . In Chinese religious culture, people believe in atheism and do not believe in the existence of god. Therefore, it is inappropriate to translate &amp;quot;文昌帝军&amp;quot; and &amp;quot;武圣&amp;quot; into &amp;quot;the god, Wenchang&amp;quot; and &amp;quot;the Martial god&amp;quot; in the translation. In fact, the &amp;quot;文昌帝军&amp;quot; was Zhang yu, an emperor of Shu of Ning kang (374). And &amp;quot;武圣&amp;quot; refers to Guan yu in history. Therefore, the simple translation of  &amp;quot;God&amp;quot; is not in line with the traditional Chinese culture, which will not only cause western tourists to misunderstand that Chinese religious tradition also believes in God, but also fail to convey Chinese historical allusions and relevant historical figures. In contrast, if &amp;quot;文昌帝军&amp;quot; is translated as &amp;quot;the emperor, Wenchang&amp;quot; and &amp;quot;武圣&amp;quot; is translated as &amp;quot;the Martial Master (Guanyu)&amp;quot;, it can more faithfully convey the history and religious culture contained in the source language. &lt;br /&gt;
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===4. Conclusion===&lt;br /&gt;
4. Conclusion&lt;br /&gt;
To sum up, Under the guidance of the skopos rule of functionalist translation theory, translators should have a cross-cultural awareness, fully understand the reading psychology and cultural appreciation needs of target language readers, and use effective translation strategies and methods to achieve the purpose of tourism text translation. Functionalist approach has made a pioneering contribution to the translation of non-literary genres. Functional translation effectively eliminates the disadvantages of traditional word-for-word translation, improves the efficiency of translation, and helps readers to grasp the meaning of the original text.&lt;br /&gt;
 The importance of the translation of the Summer Palace lies in the profound garden culture, historical culture and religious culture. The English translation is not only helpful for international friends to know more about the garden characteristics of the Summer Palace, but also helpful for spreading the long history and profound culture of China. In order to attract target readers and promote traditional Chinese culture, it is not only necessary to carefully explore Chinese culture and history, but also to use the fuctionalist approach appropriately. &lt;br /&gt;
Translation is a complicated process. Functionalist approach stresses the function of the discourse, the purpose of translation. In the practice of translation, if the translator can get rid of the bondage of the original equivalence, actively playing to subjective initiative, fully understanding the original text, depending on the purpose of discourse and adopting different translation strategies, the effect and readability of translation can be improved.&lt;br /&gt;
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===References===&lt;br /&gt;
References&lt;br /&gt;
Hans Vermmer, “Skopos and Commission in Translation Action”, in the Translation Studies Reader,ed. Chesterman, London and Network:Routledge,p.221-232. 2000.   &lt;br /&gt;
Munday, Jeremy. Introducing Translation Studies: Theories and Applications. Routledge publishing.2001.&lt;br /&gt;
Mason, “Textual Practices and Audience Design: and Interactive View of the Tourist Brrochure”. In Navarro et al.(eds.). Pragmatics at Work: The Translation of Tourist Literature. Bern: Perter Lang. 157-176.2004.&lt;br /&gt;
Nord, Text Analysis in Translation: Theory, Methodology and Didactic Application of a Model for Translation-Oriented Text Analysis. Beijing: Foreign Language Teaching and Research Press. 2006.&lt;br /&gt;
Nord, Translating as a purposeful activity. Shanghai: SFLE PRESS, 2001:27,30,32,65,245.&lt;br /&gt;
Reiss, Katharina. Translation Criticism: The Potentials &amp;amp; Limitations. Shanghai Foreign Language Education Press. Shanghai. 2004.&lt;br /&gt;
Venuti, Lawrence. The Translator’s Invisibility: A History Translation. Routledge.1995.&lt;br /&gt;
方梦之、毛忠明， 英汉—汉英应用翻译教程，上海: 上海外语教育出版社，2004.&lt;br /&gt;
金惠康，跨文化旅游翻译，中国对外翻译出版公司，2004.  &lt;br /&gt;
贾文波，应用翻译功能论，北京：中国对外翻译出版公司，2004&lt;br /&gt;
孙艺风，文化翻译的困惑与挑战，中国翻译，2016年第3期.  &lt;br /&gt;
王宏志，翻译与创作，北京大学出版社，2000.&lt;br /&gt;
吴自选，德国功能派翻译理论与 CNN 新闻短片英译，中国科技翻译, 2005.&lt;br /&gt;
谢天振，当代国外翻译理论，天津：南开大学出版社，2005.&lt;br /&gt;
张南峰，走出死胡同建立翻译学. 中国翻译, 1995.&lt;br /&gt;
仲伟合，钟钰. 德国的功能派翻译理论. 中国翻译, 1999.&lt;br /&gt;
张美芳，功能加忠诚—介评克里丝汀· 诺德的功能翻译理论.上海外国语大学学报, 2005.&lt;br /&gt;
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==Contrast between Literal Translation and Free Translation	张雪仪	Zhang Xueyi==&lt;br /&gt;
&amp;lt;center&amp;gt;张雪仪 202020080668&amp;lt;/center&amp;gt;&lt;br /&gt;
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=== Abstract===&lt;br /&gt;
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The contrast between literal translation and free translation has always been the most discussed problem in translation studies. To compare these two translation methods, the basic point is to understand the purpose of translation. The ultimate goal of translation is to help different cultures communicate better, so that people who speak different languages can understand each other’s cultures. Due to the differences in social, historical and cultural backgrounds between languages, how to choose between the two translation strategies of literal translation and free translation requires translators to weigh the strengths and weaknesses of these two methods. This essay mainly compares literal translation and free translation between Chinese and Russian to help students and translators translate better.&lt;br /&gt;
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=== Key words ===&lt;br /&gt;
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Translation strategies, Literal translation,Free translation &lt;br /&gt;
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=== 摘要 ===&lt;br /&gt;
&lt;br /&gt;
直译与意译间的对比一直是翻译学中讨论度最高的问题。想要将这两种翻译方法进行对比，最基本的一点就是要明白翻译的目的是什么。翻译的最终目的在于帮助不同文化进行更好的交流，让使用不同语种的人相互理解彼此的文化。由于语种间社会历史文化背景的差异，如何在直译和意译这两种翻译策略中做出选择，就需要译者衡量两种方法的利弊。本文主要对汉语和俄语间直译和意译进行比较，以帮助学生和译者更好地进行翻译实践。&lt;br /&gt;
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=== 关键词 ===&lt;br /&gt;
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翻译策略，直译，意译&lt;br /&gt;
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=== Introduction ===&lt;br /&gt;
The former Soviet Union translation theorist Fedorov believes that “translation is an activity of expressing what has been used in one language as a unified whole of content and form, and accurately and completely expressed in another language.” Translation theorist Barhudaro The husband also wrote: &amp;quot;Translation is the process of changing the coherent discourse of one language into the coherent discourse of another language while maintaining its content and meaning.&amp;quot;(Cai Yi, Duan Jinghua 2000) Mr. Lu Xun once advocated &amp;quot;literal translation.&amp;quot; He said: &amp;quot;Translation must take both sides into consideration: one is of course to be easy to understand, the other is to maintain the fullness of the original.&amp;quot; The Chinese translator Zhang Peiji summed up the translation standard as &amp;quot;faithful and smooth.&amp;quot;(Gong Linjing 2015,192) To some extent, translation is a process of thinking re-creation, so certain standards and principles must be followed when translating. Translation standard is a measure of the quality of translation, it can guide translation practice, and it is a principle that must be followed in translation activities. Although each scholar has different opinions on the standard of translation, the final result he pursues is the same: the original text and the translated text express the same effect.In order to achieve the same effect, different translation methods have been derived from the translator's translation practice. The most basic and common ones are literal translation and free translation.&lt;br /&gt;
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Russian idioms and proverbs, as the crystallization of the wisdom of the Russian nation and the immortal fossils in the Russian language, are one of the best materials for the Chinese to understand and learn Russian history, culture, and society. Due to different geographical, historical and economic conditions, the Russian and Chinese ethnic groups have formed different cultural backgrounds. These distinctive backgrounds and characteristics have caused great difficulties for Chinese learning Russian to further understand Russia. This essay will take the Chinese translation of Russian idioms and proverbs as examples to study the basic definitions of literal translation and free translation, their respective advantages and disadvantages, and their relationships, in order to help students who learn Russian understand literal translation and free translation.&lt;br /&gt;
=== Controversy between literal translation and free translation===&lt;br /&gt;
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In different periods and different countries, people's views on translation theory have changed a lot, but the debate about literal translation and free translation has always existed.&lt;br /&gt;
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=== Controversy in Chinese Translation Community===&lt;br /&gt;
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Which is better, literal translation or free translation, has always been divided in Chinese translation community. This kind of controversy first occurred during the translation of Buddhist scriptures written in Sanskrit into Chinese. During the Wei, Jin, Southern and Northern Dynasties, the famous monk Dao An was the earliest representative of the literal translation in China. Dao An himself did not understand Sanskrit and was afraid that paraphrase would lose the maxims in Buddhist scriptures, so he advocated strict literal translation. However, Kumarajiva from India, who was invited by Dao An, advocated free translation. On the basis of fully understanding the original thought content and artistic style, the translation was appropriately deleted. Although Dao An and Kumarajiva are also engaged in the translation of Buddhist scriptures, the translation methods they adhere to were very different. This divergence continued into the Tang Dynasty. Xuan Zang, as the most famous monk in the Tang Dynasty, proposed a translation method that was completely different from the previous two translation methods—a combination of literal translation and free translation.(Wang Zhuan 1996,55)&lt;br /&gt;
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The contradiction between modern literal translation and free translation may be due to the different understanding of these two translation methods. The translator Sun Guiding believes that: literal translation is stuck to the structure of the original text and does not consider whether the Chinese is fluent and natural; while free translation is to use the inherent Chinese idioms and the most natural words and sentences as much as possible to achieve the effect of conveying the meaning of the original text. Former President of Wuhan University, Du Zuozhou, believes that literal translation means translating word by word according to the original text; free translation means translating according to the meaning of the original text, and the translation is more suitable for the common grammar of the translated language. The educator Meng Xiancheng believes that literal translation is a translation technology with different degrees of correctness. Literal translation is a translation that is faithful and correct according to the original text; free translation is a translation that summarizes the original meaning. Zhu Guangqian said: &amp;quot;The so-called 'literal translation' refers to the literal translation based on the original text. Every word and sentence are translated word by word, and the order of the words and sentences is not changed. The so-called ‘paraphrasing’ is to express the meaning of the original text in Chinese, and it does not have to be completely based on the literal and order of the original text. &amp;quot; Feng Shize believes that &amp;quot;translation and literal translation are up-and-down relations; between literal translation and free translation is the left-right relationship. If the reversal of word order and other methods are free translation, then the definition of free translation is equal to translation, and there is no other translation besides free translation. &amp;quot;(Feng Shize 1981,10) The principle of &amp;quot;faithfulness, expressiveness and elegance&amp;quot; put forward by the modern Chinese translator Yan Fu has long been the basic principle guiding translation practice. A large number of beginners who learn foreign languages regard &amp;quot;faithfulness and expressiveness&amp;quot; as translations that are completely faithful to the original text when translating.(Feng Shujian 1993,44) In fact, Yan Fu's translation requirements are a guiding principle for translation based on semantics. When translating, if the structure and expression of the original text cannot be directly adopted, the sentence structure and expression must be changed according to the characteristics of the target language. In addition, there are many differences between the original language and the target language in the word order, grammar, variants and rhetoric in the translation process. In many cases, there is no direct corresponding word. This requires the translator to consider the actual semantics, background and other factors. On the basis of the original meaning of the sentence, use an appropriate method to convey the content of the original work and reproduce the language style of the original work.&lt;br /&gt;
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In the Soviet Union, under the influence of ideology, Western translation theories could not be widely disseminated, but within the Soviet Union, translation theories similar to Western translation theories have been formed and developed, and two main schools of translation theory have been further differentiated — Linguistic Translation School and Literary Translation School. To a certain extent, the dispute between these two schools also reflects the debate on literal translation and free translation among translators' groups. In terms of the principles or standards of translation, the linguistic translation school believes that an ideal translation should be an equivalent translation, first of all linguistic correspondence, that is, the translation should have the same meaning as the corresponding language or discourse unit of the original; the literary translation school believes that translation pursues artistic correspondence, and linguistic correspondence must be subordinate to artistic correspondence. Therefore, it proposes that the aesthetic standards of translation should reproduce the artistic reality reflected by the unity of the original content and form. The characteristic is to use images to translate images, that is, to create the same image in different languages. In 1953, Andrei Venediktovich Fedorov, the leader of the linguistic translation school, published his work &amp;quot;Summary of Translation Theory&amp;quot;, which was the first monograph of the Soviet Union to study translation theory from the perspective of linguistics. The author proposes that translation theory is a branch of linguistics. Since the translation of any genre work must rely on the comparison of two languages, translation problems can only be solved in the field of language. Fedorov’s view was refuted by the literary translation school represented by Ivan Alexandrovich Kashikin. The literary translation school believes that aesthetic issues are the core of literary translation theory, and translation should be regarded as a form of language art, that is, translation should be studied from the perspective of literature and art.(Xie Yuncai 2002,99) In fact, the literary translation school emphasizes the translation of literary and artistic works, which belongs to the specific translation theory; while the research of the linguistic translation school focuses on the general translation theory, that is, the translation of all thematic works including literary works. The dispute between the two major translation theory schools of Russia and the Soviet Union provides another perspective for Chinese translators to explore the relationship between literal translation and free translation.&lt;br /&gt;
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=== The application of literal translation and free translation in the Chinese translation of Russian idioms ===&lt;br /&gt;
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The idioms of different nationalities are the most dynamic and expressive units at the lexical level in different languages, and they are also the units that can best reflect the characteristics of national culture in languages. The number of Russian idioms is extremely rich, it records and reflects all aspects of Russian national life. Due to the great differences in geographical locations and living customs between China and Russia, the national cultures reflected in Chinese and Russian must be quite different. One of the difficulties in idiom translation is its imagery. When translating idioms, both the meaning and the image must be considered. Although the Chinese and Russian cultures are very different, many of the commonalities of mankind, such as emotion and natural environment, have created conditions for mutual communication, mutual understanding and idiom translation between different languages.(Feng Yongmei 1999,97)&lt;br /&gt;
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=== Literal translation ===&lt;br /&gt;
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Generally speaking, the literal translation method refers to a translation method that directly translates the original text without changing the language characteristics and style of the original text on the basis of fully respecting the meaning of the original text. Chinese translation of Russian idioms by literal translation method has the advantage of being able to intuitively and faithfully express the meaning of the idiom, maintaining the unique style and imagery of the original text: the disadvantage is that the translated idiom may not be understood by the Chinese because of China and Russia have different historical, cultural backgrounds, grammatical structures, and language world landscapes, which can easily form obstacles in the process of understanding.(Zhou Changyu 2010,34)&lt;br /&gt;
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Translating Russian idioms by literal translation is further divided into two methods — literal translation into Chinese idioms and literal translation into non-idiom sentences or words.&lt;br /&gt;
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Literal translation of Russian idioms into Chinese idioms is suitable for the translation of Russian and Chinese idioms that are completely equivalent in image, structure, and meaning. The advantage is that it is easy to understand, and the translation is simple and fast.(Feng Yongmei 1999,98) E.g:&lt;br /&gt;
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домашнего  (своего) вора не убережешься. 家贼难防&lt;br /&gt;
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знать как свои пять пальцев (видно, как на ладони) 了如指掌&lt;br /&gt;
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подлить масла в огонь 火上浇油&lt;br /&gt;
&lt;br /&gt;
как рыба в воде 如鱼得水&lt;br /&gt;
&lt;br /&gt;
как ножом по сердцу 心如刀割&lt;br /&gt;
&lt;br /&gt;
как гром среди ясного неба 晴天霹雳&lt;br /&gt;
&lt;br /&gt;
на добро отвечают добром 善有善报&lt;br /&gt;
&lt;br /&gt;
копейка рубль бережет 财从细起&lt;br /&gt;
&lt;br /&gt;
мечты сбываются 梦想成真&lt;br /&gt;
&lt;br /&gt;
курица всегда следует за петухом 嫁鸡随鸡&lt;br /&gt;
&lt;br /&gt;
чего мало, того и дорого  (дорого то, что мало) 物以稀为贵(12)&lt;br /&gt;
&lt;br /&gt;
изгонять яд с помощью яда 以毒攻毒&lt;br /&gt;
&lt;br /&gt;
сидеть как на иголках 如坐针毡&lt;br /&gt;
&lt;br /&gt;
действия громче слов 事实胜于雄辩&lt;br /&gt;
&lt;br /&gt;
зарыть талант в землю 埋没人才&lt;br /&gt;
&lt;br /&gt;
висеть на волоске 千钧一发&lt;br /&gt;
&lt;br /&gt;
лить как из ведра 倾盆大雨(Wang Fuxiang, Wu Hanying 2014)&lt;br /&gt;
&lt;br /&gt;
The idioms in the above examples are completely equivalent in image, structure or meaning in Russian and Chinese, so Chinese idioms can be used for literal translation.  &lt;br /&gt;
&lt;br /&gt;
In fact, in the two languages, idioms with the same image, structure, and meaning are still in the minority, so it is more common to translate Russian idioms into non-Chinese idiom sentences or vocabulary. E.g:   &lt;br /&gt;
&lt;br /&gt;
настоять на своем 坚持自己&lt;br /&gt;
&lt;br /&gt;
камень с души свалился 心里的一块石头落地&lt;br /&gt;
&lt;br /&gt;
связать свою судьбу 把自己的命运与……相连&lt;br /&gt;
&lt;br /&gt;
быть на голову 高出一头&lt;br /&gt;
&lt;br /&gt;
вбивать в голову 往脑子里灌&lt;br /&gt;
&lt;br /&gt;
блеснуть метеором 像流星一样一闪而过&lt;br /&gt;
&lt;br /&gt;
с мизинец 小拇指这么大(Wang Fuxiang, Wu Hanying 2014)&lt;br /&gt;
&lt;br /&gt;
It is not difficult to find that the literal translation method can completely retain the original appearance of the idiom, show the common concept of human understanding of the world, and be beneficial to the cultural exchange between China and Russia.&lt;br /&gt;
&lt;br /&gt;
=== Free translation ===&lt;br /&gt;
&lt;br /&gt;
Another method commonly used in the Chinese translation of Russian idioms is free translation. Vocabulary gaps between languages are a common phenomenon, causing many difficulties for translation. There are many reasons for the vacancy of vocabulary, such as cultural reasons such as life experience, customs, religious beliefs, and linguistic reasons. There are roughly two ways to fill the language gaps — paraphrasing by replacing the image.and discarding images for free translation.(Feng Yongmei 1999,98)&lt;br /&gt;
&lt;br /&gt;
Russian says &amp;quot;Два медведя в одной берлоге не уживутся (一个洞穴容不下两头熊).&amp;quot;, while Chinese says &amp;quot;一山不容二虎&amp;quot;. Another example is &amp;quot;Скатерть со стола, и дружба сплыла (桌布一收，友谊不再) &amp;quot; in Russian, and &amp;quot;人走茶凉&amp;quot; in Chinese.(Wang Fuxiang, Wu Hanying 2014) This method belongs to paraphrasing by replacing the image.&lt;br /&gt;
&lt;br /&gt;
For the &amp;quot;harmony&amp;quot; of the translation, sometimes the translator has to choose to abandon the image for free translation. This is determined by both cultural and linguistic factors. Some linguistic features cannot be translated, and some idioms themselves are not strong enough. In this case, if Choosing a literal translation method will make readers confused.(Hu Guming, Shen Man 2011,18) E.g:&lt;br /&gt;
Как женился я на вашей матери да взял вот этот домишко в приданье, так думал, что богаче да лучше меня и людей нет, фертом ходил! (А. Островский)&lt;br /&gt;
我和你母亲一成亲，就得到了这栋作为陪嫁的屋子，当时我心想，再没有人比我更富足、更好的了。我那时可真是双手叉腰、得意洋洋的。&lt;br /&gt;
“Фертом” is the name of the letter “Ф” in ancient times.Its shape is like a person with hands on hips, and “фертом ходить” is an idiom evolved from body language. The cultural meaning of this idiom is &amp;quot;神气十足、得意洋洋、威武自负的样子&amp;quot; . The translation uses other idioms to complement the missing images in Chinese, clarify the meaning of the idiom, and convey the emotional color contained in the original idiom.(Hu Guming, Shen Man 2011,19)&lt;br /&gt;
&lt;br /&gt;
The idioms in a certain language are fixed and unchanged after long-term use and tempering, but the frequency of each idiom is different. Some idioms are universally used by the whole people, spread and used in a wide range, while some idioms are only used in written styles. In Russian literature, there are improved precise and interesting idioms. For example, in the works of the famous Russian fable writer Krylov, there are reduced idioms, such as “ медвежья услуга”（直译：熊的帮忙；意译：帮倒忙）， “ сильнее кошки зверя нет”（直译：再没有比猫更厉害的野兽；意译：井底之蛙）， “ зелен как виноград”（直译：葡萄还很青；意译：年轻人没经验).(Wang Fuxiang, Wu Hanying 2014) When translating literature, translators often need to learn cultural background knowledge, replace the image in the original idiom, and then convey it to Chinese readers.&lt;br /&gt;
Crows are a very common animal, usually black and gray. The description of crows in Chinese idioms is &amp;quot;the crows in the world are generally black（天下乌鸦一般黑）&amp;quot;. It can be seen that white crows are rare. However, &amp;quot;белая ворона&amp;quot; often appears in Russian literary works, as a metaphor for people who are different from the masses in terms of external characteristics or ideological qualities. In the Chinese and Russian concepts, the crow is a nasty animal. Although white crows are rare, this Russian idiom is usually derogatory, expressing disdain, contempt, or ridicule against the person. In Chinese, animal images are also used as a metaphor for &amp;quot;different people&amp;quot;, such as idioms that stand out from the crowd and phoenix feathers are rare. &amp;quot;Crane&amp;quot; and &amp;quot;phoenix&amp;quot; have always been regarded as precious and noble animals in traditional Chinese culture, so they cannot be compared with &amp;quot; Corresponding to &amp;quot;White Crow&amp;quot;, it is not suitable for translating &amp;quot;белая ворона&amp;quot;. Examples are as follows:&lt;br /&gt;
Он замкнулся, не вдается в разговоры — вот вам и белая ворона.（Сталин)&lt;br /&gt;
直译：他不与人交往，不与人交流，真是一只白乌鸦。&lt;br /&gt;
意译：他不与人交往，不与人交流，真是与众不同。&lt;br /&gt;
Боишься, что они среди нас белой вороной окажется. Недосягаемым экземпляром.(Кожевников В “Корни и крона”)&lt;br /&gt;
直译：你是担心他们会变成我们中间的白乌鸦，一个无法达到的例子。&lt;br /&gt;
意译：你是担心他们会变成我们中间标新立异，望尘莫及的人。&lt;br /&gt;
Most Chinese who come into contact with Russian are students majoring in Russian. The Russian idioms we usually encounter appear in textbooks. These idioms are often used by the Russian public and are easily understood and accepted by the Chinese. E.g:&lt;br /&gt;
&lt;br /&gt;
В Тулу со свим самоваром не ездят.&lt;br /&gt;
直译：去图拉不用带自己的茶炊。&lt;br /&gt;
意译：多此一举&lt;br /&gt;
&lt;br /&gt;
Честь лучше бесчестья.&lt;br /&gt;
直译：尊重比不尊重好。&lt;br /&gt;
意译：礼多人不怪。&lt;br /&gt;
&lt;br /&gt;
словно горя с плеч&lt;br /&gt;
直译：把山从肩膀下卸下&lt;br /&gt;
意译：如释重负&lt;br /&gt;
&lt;br /&gt;
выеденного яйца не стоит&lt;br /&gt;
直译：一个空蛋壳不值钱&lt;br /&gt;
意译：鸡毛蒜皮，一文不值&lt;br /&gt;
&lt;br /&gt;
чужими руками жар загребать&lt;br /&gt;
直译：用别人的手将红炭火拨成一堆&lt;br /&gt;
意译：坐享其成，不劳而获&lt;br /&gt;
&lt;br /&gt;
ни рыба, ни мясо&lt;br /&gt;
直译：没有鱼也没有肉&lt;br /&gt;
意译：不三不四，不伦不类&lt;br /&gt;
&lt;br /&gt;
лучше синица в руках, чем журавль в небе&lt;br /&gt;
直译：天上的仙鹤不如手中的山雀&lt;br /&gt;
意译：远亲不如近邻&lt;br /&gt;
&lt;br /&gt;
На языке мед, а под лед&lt;br /&gt;
直译：嘴上甜得像蜂蜜，心里冷得像冰&lt;br /&gt;
意译：笑里藏刀&lt;br /&gt;
&lt;br /&gt;
И на солнце есть пятна&lt;br /&gt;
直译：太阳上也有黑点&lt;br /&gt;
意译：人无完人&lt;br /&gt;
&lt;br /&gt;
семь раз отмерь, один раз отрежь&lt;br /&gt;
直译：测量了七次后再剪裁&lt;br /&gt;
意译：三思而后行(Wang Fuxiang, Wu Hanying 2014)&lt;br /&gt;
&lt;br /&gt;
Using free translation to translate Russian idioms requires the translator to accurately understand the meaning of the original text, because cultural differences make it impossible to literally translate. Only through the translator can an unobstructed bridge between Russian idioms and Chinese idioms be built.&lt;br /&gt;
&lt;br /&gt;
=== The application of literal translation and free translation in the Chinese translation of Russian proverbs ===&lt;br /&gt;
&lt;br /&gt;
There are often multiple translations of the same Russian proverb in Russian-Chinese dictionaries. On the one hand, because the translator uses different translation methods; on the other hand, because Russian proverbs have very rich connotations, a translation cannot perfectly interpret the inner meaning of the proverb. According to the context and the connotation of the proverbs, the most commonly used methods of Chinese translation of Russian proverbs are literal translation and free translation.(Feng Yongmei 1999,98)&lt;br /&gt;
&lt;br /&gt;
=== Literal translation ===&lt;br /&gt;
&lt;br /&gt;
In Russian and Chinese languages, some proverbs not only have the same meaning or implicit meaning, but also use the same or similar figurative images to express a certain kind of the same semantics, and they are completely consistent in content and form. In this case, the equivalent translation of synonymous Chinese proverbs can convey the information contained in the original image, which not only retains the rhetorical color of the original language, but also enables the reader to perfectly understand the original text. E.g:&lt;br /&gt;
&lt;br /&gt;
In Russian and Chinese languages, some proverbs not only have the same meaning or implicit meaning, but also use the same or similar figurative images to express a certain kind of the same semantics, and they are completely consistent in content and form. In this case, the equivalent translation of synonymous Chinese proverbs can convey the information contained in the original image, which not only retains the rhetorical color of the original language, but also enables the reader to perfectly understand the original text. The other situation is the experience that the Russians summed up in their long labor and life, which has evolved into a proverb, but the Chinese have not summed up this experience, so translating Russian proverbs into Chinese literally, Chinese people can understand them at a glance and increase their knowledge of the world. E.g:&lt;br /&gt;
&lt;br /&gt;
Беда не приходит одна. 祸不单行。&lt;br /&gt;
&lt;br /&gt;
Век живи, век учись. 活到老，学到老。&lt;br /&gt;
&lt;br /&gt;
Выше встанешь, дальше увидишь. 站得高，看得远。&lt;br /&gt;
&lt;br /&gt;
Лучше один раз увидеть, чем сто раз услышать. 百闻不如一见。&lt;br /&gt;
&lt;br /&gt;
Береги платье снову, а честь смолоду. 衣服要从新的时候爱惜，荣誉要从年轻时珍惜。&lt;br /&gt;
&lt;br /&gt;
Выше лба уши не растут. 耳朵高不过额头。&lt;br /&gt;
&lt;br /&gt;
Для милого друга семь верст не околица. 为了好友，多绕七里也不嫌远。&lt;br /&gt;
&lt;br /&gt;
Лучше умереть стоя, чем жить на коленях. 宁愿站着死，绝不站着生。&lt;br /&gt;
&lt;br /&gt;
Не имей сто рублей, а имей сто друзей. 宁要一百个朋友，不要一百个卢布。&lt;br /&gt;
&lt;br /&gt;
По одежке встречают, по уму провожают. 迎客时看衣，送客时看才智。(Jia Sufen 1996)&lt;br /&gt;
&lt;br /&gt;
There is another situation where the literal translation method can be used. Although the image in Russian proverbs is different from the commonly used images in Chinese, it is also easy to understand. For example, &amp;quot;Молодец против овец, а против молодца — сам овца.&amp;quot; In fact, this proverb can be paraphrased as &amp;quot;欺软怕硬 &amp;quot;, but in this way the translation discards the lively literal meaning of the original text. On the other hand, it is literally translated as &amp;quot;见到绵羊充好汉，碰到好汉成绵羊&amp;quot; , on the basis of retaining the original image, readers can easily understand the meaning of the original proverb. Another example is &amp;quot;Заяц от лисицы, а лягушка от зайца бежит. &amp;quot; can be translated as &amp;quot;一物降一物&amp;quot;, but the image in the original text was completely abandoned, if it is literally translated as &amp;quot;one thing drops one thing &amp;quot;狐惊兔，兔惊蛙&amp;quot;, this kind of translation is not only simple and clear, but also in line with the aesthetics of Chinese proverbs. In general, the literal translation not only retains the symmetrical rhetorical techniques in the original sentence, but also retains the symmetrical beauty of the original sentence structure. It not only conforms to the aesthetic characteristics of the original Russian text, but also shows the beauty of phonology and structure in Chinese.(Jia Sufen 1996)&lt;br /&gt;
&lt;br /&gt;
The translation of Russian proverbs by literal translation not only maintains the original language, but also transplants the unique image language of Russian proverbs into Chinese, which not only expands the horizons of Chinese readers, but also enriches the way of expression in Chinese.&lt;br /&gt;
&lt;br /&gt;
=== Free translation ===&lt;br /&gt;
&lt;br /&gt;
Due to the influence of cultural factors, many Russian and Chinese proverbs expressing the same semantics use different metaphors. Some Russian proverbs are difficult to retain the original image in the process of translation into Chinese. If literally translated according to the original image, due to the different national and cultural backgrounds of China and Russia, the translation is difficult to be accepted by the Chinese, and even misunderstood may occur. In order to accurately convey the meaning of the original text to readers, we can readjust the structure of the original text on the basis of a correct understanding of the meaning of the original text, and use standard Chinese expressions to reproduce Russian proverbs to avoid ambiguity and misunderstanding.&lt;br /&gt;
&lt;br /&gt;
There are some elements used in proverbs that foreigners cannot understand. For example, the Russian proverb &amp;quot;В огороде бузина, а в Киеве дядька.&amp;quot; is literally translated as &amp;quot;菜园里长接骨木，而基辅里住叔叔&amp;quot;, which cannot be understood by the Chinese. The four elements “огород” “бузина” “Киева” “дядька”, which contained in this proverb are completely unrelated. In fact, this proverb means that there is no logical relationship between what someone says, and the translator can directly paraphrase it as &amp;quot;胡说八道&amp;quot;, &amp;quot;前言不搭后语&amp;quot; or more easily understood &amp;quot;满嘴跑火车&amp;quot;. Another example is &amp;quot;На воре шапка горит.&amp;quot; literally means &amp;quot;the hat on the thief's head is on fire&amp;quot;. In fact, this proverb originated from a short story in the Kievan Rus period: someone’s money bag disappeared and he shouted &amp;quot;Catch the thief&amp;quot;, but no one knew where the thief was. This man had an idea and shouted, &amp;quot;The thief's hat is on fire.&amp;quot; After hearing this, the thief touched his hat unconsciously and exposed himself. Therefore, &amp;quot;На воре шапка горит.&amp;quot; can be paraphrased as &amp;quot;不打自招&amp;quot; or &amp;quot;做贼心虚.&amp;quot;(Jia Sufen 1996)&lt;br /&gt;
&lt;br /&gt;
Есть несколько русских пословиц, которые больше подходят для вольного перевода:&lt;br /&gt;
&lt;br /&gt;
От труда- радость, от безделья- усталость.&lt;br /&gt;
直译：快乐从劳动中来，疲劳从闲散中来。&lt;br /&gt;
意译：劳动使人快乐。&lt;br /&gt;
&lt;br /&gt;
Баба с возу- кобыле легче.&lt;br /&gt;
直译：农妇下了车，马儿就轻松。&lt;br /&gt;
意译：求之不得&lt;br /&gt;
&lt;br /&gt;
Герой не моего романа.&lt;br /&gt;
直译：不是我小说中的主人公。&lt;br /&gt;
意译：不是我的意中人。&lt;br /&gt;
&lt;br /&gt;
Терпенье (ученье\уменье) и труд всё перетрут.&lt;br /&gt;
直译：耐心和勤劳能克服一切。&lt;br /&gt;
意译：锲而不舍，金石可镂（只要功夫深，铁杵磨成针）。&lt;br /&gt;
&lt;br /&gt;
Чтобы узнать человека, надо с ним пуд соль съесть.&lt;br /&gt;
直译：想要了解一个人，应该和他吃一普特盐。&lt;br /&gt;
意译：日久见人心。&lt;br /&gt;
&lt;br /&gt;
Посади свинью за стол — она и ноги на стол.&lt;br /&gt;
直译：让猪入席，它会把爪子也伸上来。&lt;br /&gt;
意译：得寸进尺。&lt;br /&gt;
&lt;br /&gt;
Черного кобеля не отмоешь добела.&lt;br /&gt;
直译：黑色的狗洗不白。&lt;br /&gt;
意译：本性难改。&lt;br /&gt;
&lt;br /&gt;
Конь о четырех ногах, да спотыкается.&lt;br /&gt;
直译：马有四条腿，也会摔倒。&lt;br /&gt;
意译：聪明一世，糊涂一时。&lt;br /&gt;
&lt;br /&gt;
За что купил, за то и продаю.&lt;br /&gt;
直译：怎么买来，怎么卖出。&lt;br /&gt;
意译：人云亦云。&lt;br /&gt;
&lt;br /&gt;
Обжегшись на молоке, дуешь на воду.&lt;br /&gt;
直译：一旦被牛奶烫，喝水也要吹一吹。&lt;br /&gt;
意译：一种被蛇咬，十年怕井绳。(Jia Sufen 1996)&lt;br /&gt;
&lt;br /&gt;
=== Conclusion ===&lt;br /&gt;
 &lt;br /&gt;
In the process of translation, translators often feel that there are a lot of contradictions and differences between the two languages in terms of lexical structure, syntactic structure, expression methods and metaphors. In many cases, translators understand the original meaning but do not know how to express it in the target language, which leads to the debate about which is better, literal translation or free translation. When translators translate works that are more contradictory between bilinguals, translators often use free translation methods. When translating works that are consistent or have more common points than contradictions or conflicts between bilinguals, translators tend to choose literal translation .&lt;br /&gt;
&lt;br /&gt;
In fact, the relationship between literal translation and free translation is interdependent and inseparable. Therefore, when we translate an article or a book, it is not feasible to translate every sentence literally or freely. Only when the translator cleverly arranges the alternation of the two can it be possible to translate a better translation. When we comment on literal translation and free translation, we should consider the effects of the division of labor and cooperation between the two, and should not one-sidedly understand the advantages and disadvantages of literal translation and meaning.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
=== References ===&lt;br /&gt;
&lt;br /&gt;
*Cai Yi, Duan Jinghua. 蔡毅，段京华. (2000). 苏联翻译理论. [Soviet Translation Theory]. 武汉: 湖北教育出版社[Wuhan: Hubei Education Press].&lt;br /&gt;
*Feng Shize. 冯世则. (1981). 直译、意译、逐字译. [Literal Translation, Free Translation, Verbatim Translation]. 中国翻译[Chinese Translators Journal] 7-10.&lt;br /&gt;
*Feng Shujian. 冯树鉴. (1993). 意译与直译笔谈. [Written Free Translation and Literal Translation]. 外语学刊[Foreign Language Research] 43-47.&lt;br /&gt;
*Feng Yongmei. 冯咏梅. (1999). 浅谈俄语成语翻译中民族文化特色的保留. [On the Preservation of National Cultural Characteristics in Russian Idiom Translation]. 解放军外国语学院学报[Journal of PLA Foreign Languages University] 97-100.&lt;br /&gt;
*Gong Linjing. 宫琳菁. (2015). 直译与意译——中国近现代代表人物观点之概述. [Literal Translation and Free Translation: An Overview of the Viewpoints of Representatives in Modern China]. 赤峰学院学报（汉文哲学社会科学版）[Journal of Chifeng University (Soc.Sci)] 192-193.&lt;br /&gt;
*Hu Guming, Shen Man. 胡谷明, 沈曼. (2011). 汉俄翻译中文化空缺词汇的翻译策略.[The Translation Strategies of Cultural Vacancies in Chinese-Russian Translation]. 中国俄语教学[Russian in China] 17-21.&lt;br /&gt;
*Jia Shufen. 贾淑芬. (1996). 简明俄汉谚语词典. [Concise Russian-Chinese Proverbs Dictionary]. 沈阳: 辽宁大学出版社[Shenyang: Liaoning University Publishing House].&lt;br /&gt;
*Li Quan’an. 李全安. (1990). 直译与意译之争是一场什么样的争论. [What kind of controversy is the dispute between literal translation and free translation]. 中国翻译[Chinese Translators Journal] 18-22.&lt;br /&gt;
*Tan Zaixi. 谭载喜. (1999). 中西译论的相似性.[Similarities between Chinese and Western Translation Theories]. 中国翻译[Chinese Translators Journal] 25-28.&lt;br /&gt;
*Wang Fuxiang, Wu Hanying. 王福祥,吴汉樱. (2014). 东方大学俄语系列：迷你俄语成语词典. [Oriental University Russian Series: Mini Dictionary of Russian Idioms]. 外语教学与研究出版社[Foreign Language Teaching and Research Press]&lt;br /&gt;
*Wang Zhuang. 王转. (1996). 直译与意译漫谈. [On Literal Translation and Free Translation]. 湖南教育学院学报[Journal of Educational Institute] 55-60.&lt;br /&gt;
*Xie Yuncai. 谢云才. (2002). 俄罗斯翻译理论的语言学派与文艺学派——两派文学翻译理论对比分析. [Linguistic Schools and Literary Schools of Russian Translation Theory: A Comparative Analysis of the Two Schools of Literary Translation Theories]. 外语学刊[Foreign Language Research] 97-101.&lt;br /&gt;
*Yang Shizhang. 杨仕章. (2002). 俄语现代翻译理论之概述. [An Overview of Russian Modern Translation Theory]. 解放军外国语学院学报[Journal of PLA Foreign Languages University] 62-65.&lt;br /&gt;
*Zhang Yi. 张艺. (2010). 从目的论看直译与意译之争. [The Controversy between Literal Translation and Free Translation from Skopos Theory]. 海外英语[Overseas English] 189-190.&lt;br /&gt;
*Zhou Changyu. 周长雨. (2010). 俄语谚语的翻译方法. [How to translate Russian proverbs]. 俄语学习[Russian Learning] 33-36.&lt;br /&gt;
&lt;br /&gt;
==Dialectical thinking in arguments between literal translation and free translation 	甘奉玉	Gan Fengyu  202070080584 英语笔译==&lt;br /&gt;
&lt;br /&gt;
===Abstract===&lt;br /&gt;
As two methods of translation, how to use literal translation and free translation has always been the focus of debate between Chinese and Western translation circles. Through the study of translation methods of literal translation and free translation at home and abroad, we can know that to some extent literal translation and free translation are two relative conceptions, so there will be word-for-word translation, that is, dead translation, and excessive free translation. However, these two are only two extremes of literal translation and free translation. In fact, although there are differences in definitions and application fields between literal translation and free translation, they are unified in common translation purpose, translation procedure and translation standard. Therefore, the two are contradictory and unified in translation activities. This is also the profound embodiment of the unity of opposites in materialist dialectics.&lt;br /&gt;
&lt;br /&gt;
===Key words===&lt;br /&gt;
literal translation, free translation, word-for-word translation, over free translation, unity of opposites&lt;br /&gt;
&lt;br /&gt;
===摘要===&lt;br /&gt;
作为翻译方法，直译(literal translation)与意译(free translation)怎样使用的问题一直是一个争论中西方翻译界不休的焦点。通过对国内外直译与意译的翻译方法的研究，我们可以得知，从某种程度而言，直译与意译是两个相对的概念, 所以才会有逐字翻译，即死译，与过度意译这两个完全对立的概念。但是，这两者只不过是直译与意译的两个极端点。其实，直译和意译虽然在概念定义，适用范围上有所差异，但却又统一于共同的翻译目的、翻译过程和翻译标准中。所以两者在翻译活动中应该是既对立又统一的矛盾体。而这也正是唯物辩证法中的对立统一矛盾观的深刻体现.&lt;br /&gt;
&lt;br /&gt;
===关键字===&lt;br /&gt;
直译； 意译； 死译； 过度意译； 对立统一&lt;br /&gt;
&lt;br /&gt;
===Introduction===&lt;br /&gt;
Throughout the translation history at home and abroad, the literal translation and free translation have always been a heat discussion in the translation circles. Someone absolutely approve literal translation and demean free translation, even pursue a dead translation, which creates an translated text difficult to understand. While some other people absolutely agree with free translation even advocate random acts, which means a random deletion in the translation practices and creates anther entirely different text. However, there are also a number of translators who have recognized that these two translation methods are not totally opposite. So they adopt a compromise and flexible way. That means they will choose the most appropriate one depending on the text demanding. Therefore, we can deduce from it that this eclectic translation is consistent with the Contradiction view of Unity of Opposite in Materialist Dialectics. In fact, literal translation and free translation are right a set of contradictions which are both opposite and unified. They complement each other into an integral one.&lt;br /&gt;
&lt;br /&gt;
The dispute between free translation and literal translation in Chinese translation circles first appeared in the dispute of &amp;quot;text&amp;quot; and &amp;quot;quality&amp;quot; in the Eastern Han Dynasty. During this period, Shi Dao-an, a senior monk in the Eastern Jin Dynasty, advocated literal translation and put forward that the translation should not be added or deleted but only make some adjustments to the word order. In the post-Qin period opposed to the Eastern Jin Dynasty, the monk Hatoyama advocated that the Buddhist scriptures should be translated freely. That is, the original text should be changed to adapt to the Chinese style. Subsequently, Xuanzang, a senior monk of the Tang Dynasty, drew lessons from their former translation achievements and put forward that both seeking truth and vulgarity. (Chen Fukang 2011, 14-38)That is, literal translation should be combined with free translation, not only one of them. At that time, some translators have noticed that literal translation and free translation are not completely opposite. After that, in modern times from the Opium War to the May 4th Movement, since Yan Fu has put forward the translation standard of faith, smoothness and elegance,  Lu Xun and Qu Qiubai ignited the dispute on faith and smoothness. Lu Xun is a typical literal translation school. He insists that faith first and smoothness second even tolerates incoherence. He adopts the method of dead translation and absolute translation. While Qu Qiubai believes that faith and smoothness are not opposed. From the New culture Movement(from 1915-1923) to the 1980s, Mao Dun also put forward that literal translation doesn't mean word-for-word translation without any addition or deletion. Since the reform and opening up, Xu Yuanchong has said that literal translation should be faithful to the original content first then to the original form and last to the smooth translated text. On the other hand, while free translation should be faithful to the original text first then to the smooth translated text and last to the original form. Therefore, although there are differences in translation methods between literal translation and free translation, their ultimate goal is to be faithful to the original content and express the original meaning.（Chen Fukang 2011, 288-333）&lt;br /&gt;
&lt;br /&gt;
Since Cicero, the first translation theorist in ancient China, put forward that avoid word-by-word translation as a speaker, the dispute between literal translation and free translation began to appear in the West. In ancient times, Perot insisted on dead translation in the translation of the Bible, which caused the translation quality to be too low. Poitius in the Middle Ages also advocated word-by-word translation and strict formal correspondence. In modern times, French translator Abulangour aimed to cater to readers in a way of over-free translation and arbitrary deletion. Even so, there are many translation theorists in the western translation world who advocated  eclectic and flexible translation. For example, in ancient times, Jerome advocated the flexible principle to apply in literary translation and religious translation differently. During the Renaissance, French Amyot emphasized the dialectical unity of content and form, free translation and literal translation. Moreover, some translators did not exercise their own translation ideas. During the Renaissance, Reichlin was one of them. Although he advocated word-by-word translation, he abandoned word-by-word translation in practice. This can also further explain that absolute promotion of literal translation or free translation is not a desirable translation method. In translation practice, we must take a suitable degree between the two in the way of combining literal translation and free translation at the same time to better serve for the target readers.(Tan Zaixi 2004, 5-15 )&lt;br /&gt;
&lt;br /&gt;
The purpose of this paper is to explore the dialectical thinking contained in the dispute between literal translation and free translation, that is, the viewpoint of unity of opposites. The first chapter is about the word-for-word translation, and the second chapter is about the over-free translation. From this, we can draw a conclusion that it is not advisable to regard literal translation and free translation as absolute opposites. The third chapter is about the eclectic translation, which is the correct method for us to learn and adopt. It is also a dialectical translation method that follows the view of unity of opposites. The fourth chapter will analyze the differences between literal translation and free translation. Then the fifth chapter focuses on the unity of literal translation and free translation in translation goals, translation procedures and translation standards. Through the discussion of the whole article, we can clearly see the unity of opposites between literal translation and free translation and draw a conclusion that we should apply dialectical translation in our translation practice and adopt the point of view of unity of opposites in translation theory. (He Lirong 2018, 40)&lt;br /&gt;
&lt;br /&gt;
===1.Dialectic thinking of the Unity of opposites===&lt;br /&gt;
The theory of unity of opposites is the core content of materialist dialectics theory. (Xu Guoliang 2020, 75) In the history of philosophy, the German philosopher Hegel first expounded the basic thought of contradiction theory from the standpoint of objective idealism. Later, Marx, Engels and Lenin critically absorbed Hegel's theory and developed contradiction theory into the core content of materialist dialectics theory. The theory of contradiction contains two basic problems, and one is the relationship between unity and opposition, while the other is the universality and particularity of contradiction, which involves a series of basic concepts of contradiction theory, such as basic contradiction and non-basic contradiction, fundamental contradiction and non-fundamental contradiction, principal contradiction and non-principal contradiction. Understanding these basic concepts and their relationship is the key to understand and grasp the contradiction theory completely and accurately and finally apply it to the practice of social life. (Yan Mengwei 2020, 41)&lt;br /&gt;
&lt;br /&gt;
The problem of unity and opposition of contradiction is actually about the nature of contradiction. We always know things from comparison. The so-called comparison is to find the similarities and differences between two things. The former is called unity and the latter is called opposition. The unity is relative and the opposition is absolute. It is worth emphasizing that the opposition of contradictions plays a key and decisive role in development, because development comes from the unity of opposites. This means that unity and opposition are two indispensable elements in the process of development. They complement and interact with each other.&lt;br /&gt;
&lt;br /&gt;
Literal translation and free translation are such a pair of contradictions. The opposition of the two is reflected in the absolute opposition between word-for-word translation and over-free translation. There are differences in their definition and application and similarities in their translation goals, procedures and standards.(Yang Ying 2019,161)&lt;br /&gt;
&lt;br /&gt;
===2.Word-for-word translation===&lt;br /&gt;
Literal translation is a method that not only maintains the original content, but also the original form. (Xu Yuanchong 1996,92) Fu Sinian and Zheng Zhenduo all advocate literal translation. In the history of modern Chinese translation, Lu Xun and his younger brother Zhou Zuoren's work of The Collection of Extraterritorial Fiction is regarded as the representatives of literal translation.&lt;br /&gt;
&lt;br /&gt;
In particular, literal translation is neither dead translation nor a mechanical verbatim translation. Because English and Chinese have different structures, it is impossible to translate word by word. From the perspective of linguistics, the biggest difference between them is that Chinese is parataxis while English is  hypotaxis. (Zhu Xiaojia 2008, 1)That is to say, in Chinese, a sentence is usually short with little modifier and connected words, while in English, several meanings can be expressed with complicated structure with assorted clauses and connected words into only a sentence.&lt;br /&gt;
&lt;br /&gt;
Besides, the English is a more static language in which nouns and adjective are always used, but the Chinese more dynamic one, verbs are more active. Finally, the former has a systematic grammar but the latter seems freely arranged.(Cao Huoqun 2005, 40)&lt;br /&gt;
&lt;br /&gt;
So, when we do some translating exercise, we should focus on their grammar structure to deal well. When the structure of the original text is inconsistent with that of the target language, continuing word-for-word translation will lead to formalism. Such a translated text is not intelligible for reader. That is to say, literal translation must be readable without any misunderstanding or violation of expression.&lt;br /&gt;
&lt;br /&gt;
===3.Over free translation===&lt;br /&gt;
Free translation refers to the method that maintains original content rather than original form. In the process of translation, in order to make the language clear and persuasive, the translator must try to conform to the language customs of target texts rather than adhere to the expressive pattern of the original work. Zhao Jingshen put forward that it is better to be smooth with some disloyalty instead of absolute loyalty. Obviously, Mr. Zhao Jingshen is in favor of free translation, and so does Mr. Yan Fu. Many of Yan Fu's classical works have adopted free translation, such as the Theory of Heaven is a typical example of free translation.&lt;br /&gt;
&lt;br /&gt;
When we translate from English to Chinese, especially some idioms that are in closer ties with western culture, we have to move or change these cultural barriers so that Chinese readers could understand easily. It is also true when translating Chinese into English. Under this condition, free translation will be more suitable and effective.&lt;br /&gt;
&lt;br /&gt;
However, free translation does not mean random translation. The latter means making up translated sentence by subjective imagination without analyzing the structure of the original text. It is also known as over-free translation. (Wu Shuang 2018, 107) In fact, when we translate, we must master the thought and style of the original and regard them as corresponding one of the target language. In addition, the theory, fact and logic of the original work should also be corresponding in the target language. We can not replace these features of the original with our personal thoughts, styles, facts, theories and logic. Only in this way can the contents not be changed after translation.&lt;br /&gt;
&lt;br /&gt;
===4.Dialectic translation===&lt;br /&gt;
Feng Qinghua put forward in the book of A Practical Translation Course that the so-called literal translation is a kind of translation method to maintain both the original content and the original form. If there are same language form and expressive effect between original and target text, we should adopt literal translation to deliver the same contents. While the so-called free translation is a method to keep the original content and style only not the original form. So if there are different language forms and expressive effects between the two texts, we should adopt free translation mostly. (Feng Qinghua 1997, 12)&lt;br /&gt;
&lt;br /&gt;
Therefore, Literal translation and free translation have their own advantages and restrictions. The former is beneficial to the transplantation of culture, while the latter can avoid obscurity in literal translation.  &lt;br /&gt;
&lt;br /&gt;
If in literal translation, we will translate the sentence “mashing a mirror is no way to make an ugly person beautiful, nor is it a way to make social problem evaporate” into “砸镜子不能使丑八怪变漂亮，也不能使社会问题烟消云散”, while if in free translation, we can turn it into “砸镜子并不能解决实际问题”. (Fan Zhongying 1994, 22) We can see the latter one is more concise and comprehensive to express the connotative meaning. While although the former are totally literal translation, we still feel it terrible. &lt;br /&gt;
&lt;br /&gt;
So, a translator should use these two translation strategies according to the actual situation to express the surface structure and deep meaning of the original text. The use of literal or free translation depends on the rules of both English and Chinese. In translation, if we can not directly adopt the structure and expression form of the original work, we must change the sentence structure and expressive way to convey the connotation of the original work. An excellent translated text is realized neither by simple literal translation nor by simple free translation but by the combination of two. In another word, we should adopt dialectic translation in our practice.&lt;br /&gt;
&lt;br /&gt;
===5.Opposition and unity between literal translatiuon and free translation===&lt;br /&gt;
&lt;br /&gt;
===5.1 Opposition===&lt;br /&gt;
&lt;br /&gt;
===5.1.1 Opposition in definition===&lt;br /&gt;
Qiao Zengrui defines literal translation in Chapter 4 of Translation Theory as a method that the translation deliberately retains the original form to maintain the content and style of the original. At the same time, He also defines free translation as a method that keep the original content and style by use of the same or similar expression as the original text in the target language regardless of the two different languages. The first one regards form as the only way, content and style as target, while the second directly takes no account of form. With this regard, the two totally opposite in definition.(Qiao Zengrui 2000,263)&lt;br /&gt;
&lt;br /&gt;
===5.1.2 Opposition in application fileld===&lt;br /&gt;
Generally speaking, literal translation is generally used to translate some political books, laws, treaties and scientific and technological documents, terms, idioms, and some simple sentences. (Wu Shuang 2018,178) The early translation of Buddhist scriptures of early Chinese generally followed this theory. So do the Marxism-Leninism works and Mao Zedong works. For example, “纸老虎” can only be translated as “paper tiger” but not “scarecrow”. The latter one was corrected by Mao Zedong when the interpreter translated it into “scarecrow”. President Mao emphasized that this word had two characteristics and if translated into scarecrow, it will lose duality. Because “纸老虎” in China means imperialism and reactionary, which seems terrible but no great power in it. Since it was made of paper, this tiger became soft in the damp and washed away when it rained. While scarecrow can scare away children and birds. So paper tiger is better than scarecrow.&lt;br /&gt;
&lt;br /&gt;
In the process of translation, there are many situations that literal translation can not be used, so we must adopt the method of free translation, especially the translation of literary works. (Wu Shuang, 2018, 178)On the one hand, there are many common traditional Chinese words that reflect the unique cultural concepts and cultural phenomena of our country, which can't translate directly into corresponding words in English. For instance, if we translate&amp;quot;初生牛犊不怕虎&amp;quot; into &amp;quot;A new born calf is not afraid of a tiger&amp;quot;, then our target readers in English-speaking countries may find it difficult to understand the substance of the literal meaning. ( Yang Yin 2019, 161)So here “The more wit, the less courage” will be better. On the other hand, some certain maxims, idioms and puns in English have no choice but to use free translation. (He Lirong 2018,43) For example&amp;quot; have a wolf in the stomach&amp;quot; means&amp;quot;饥肠辘辘&amp;quot; 饥饿难忍&amp;quot; rather than “肚子里有个豺狼”. Moreover, some exclusive English nouns should be free translated such as &amp;quot;the heel of Achilles&amp;quot; into&amp;quot;致命的弱点&amp;quot; instead of “阿克琉斯的脚后跟”.&lt;br /&gt;
&lt;br /&gt;
===5.2 Unity===&lt;br /&gt;
===5.2.1 Unity in translation goal===&lt;br /&gt;
In literal translation, loyalty to the original form should be put first, followed by loyalty to the original content and last pursuit of fluency and popularity in target language. In free translation, loyalty to the original content should be put first, then the fluency and popularity of the translation language are second, and the original form comes last. It can be seen that loyalty to the original content is the common purpose of literal translation and free translation.(Wu Shuang 2018, 108)&lt;br /&gt;
&lt;br /&gt;
The unity of literal translation and free translation is also reflected in the fact that the translation must be smooth and fluent and conform to the expressive habits of target language. If the translated text is obscure and unreadable without conformity to the habits of the target language and culture, the two translation strategies have not achieved the true unity, so the purpose of communication has not be achieved.&lt;br /&gt;
&lt;br /&gt;
Therefore, literal translation and free translation are two different translation methods used in translation. They are unified in the translation purpose to accurately and faithfully convey the original meaning and intention with the same form and spirit as original text.(He Lirong 2018, 41)&lt;br /&gt;
&lt;br /&gt;
===5.2.2 Unity in translation procedure===&lt;br /&gt;
The literal translation and free translation is unified in translation procedures. Both of them should conform to the following translation steps of understanding, expression and verification. &lt;br /&gt;
&lt;br /&gt;
Understanding is the first stage of translation process. It includes not only the understanding of language and cultural phenomena, but also logical relations. A translator should be good at analyzing ambiguous sentences and make correct judgment before translating. Expression is the process by which the translator reproduces the content of the original text into target language. Expression is the result of understanding, but understanding correctly does not mean expressing right. Therefore, we must learn many specific methods and techniques, such as literal translation, free translation, literal translation plus free translation, literal translation plus annotation, and so on. &lt;br /&gt;
The third stage is verification. In this stage, we must check the translation at least twice. In he first time, we should check whether there is any missing translation or wrong translation. And in the second time, we should check whether it's smooth and intelligible out of the original text.&lt;br /&gt;
&lt;br /&gt;
Whether literal translation or free translation, we must follow the three steps of understanding, expression and verification in translation practice. Understanding is the premise of expression, but understanding and expression are usually complementary and unified, which can not be separated completely. While understanding the original text, the translator also chooses the expressive way and further deepen his understanding.&lt;br /&gt;
&lt;br /&gt;
===5.2.3 Unity in translation standard===&lt;br /&gt;
On the establishment of translation standards, Chinese and foreign translation theorists in different historical periods put forward different views. In China, there are Ma Jianzhong's view of &amp;quot;good translation&amp;quot; on the basis of modern linguistic theory, Yan Fu's translation standards of &amp;quot;faith, smoothness, and elegance&amp;quot;, Chen Xiying's theory of “similarities in shape, meaning and spirit”, Lin Yutang's translation standards of “loyalty, smoothness and beauty”. In the West, there are Twelve Translation Principles of Bart, Three Principles of Tettler, Seven principles of Luther, and functional equivalence of Eugene. Nida and so on. All these translation standards are based on different social needs, translation contents, translation objects and  translation purposes.(He Lirong 2018, 42)&lt;br /&gt;
&lt;br /&gt;
No matter which translation standard, it is impossible to meet by only literal translation or only free translation. Therefore, the two translation methods are unified in any translation standard. So, they are inseparable unity of opposites.&lt;br /&gt;
&lt;br /&gt;
===6.Conclusion===&lt;br /&gt;
Literal translation and free translation are two different translation methods. Although they are different in conceptual definition and applicable field, in order to achieve a unified translation standard and achieve a common translation purpose, they both follow the same three steps of understanding, expression and verification. &lt;br /&gt;
&lt;br /&gt;
In the process of translation, if the target text has the same form and style as the original text, it can be translated literally. If there are different form and style, it should be translated freely. When the structure of the original text is inconsistent with that of the target language, sticking to word-for-word translation will cause stiff translation difficult to understand. In the same way, making up sentences through subjective assumption according to the literal meaning without analysis of original text will cause random translation disloyalty to the original one. &lt;br /&gt;
&lt;br /&gt;
Therefore, we can conclude that we should treat literal translation and free translation with a dialectical way and use these two translation methods flexibly to create wonderful translations in our concrete translation practice.&lt;br /&gt;
&lt;br /&gt;
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Siyu Zou. (2017). Dialectical Relationship between Translation Theory and Practice[P]. Proceedings of the 7th International Conference on Education, Management, Information and Mechanical Engineering (EMIM 2017).&lt;br /&gt;
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Chen Fukang 陈福康. (2011). 中国译学史 [History of translation studies in China]. Shanghai: Shanghai Foreign Language Press.&lt;br /&gt;
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Cao Huoqun 曹火群. (2005). 翻译中的辩证关系 [Dialectic relationships in translation]. 孝感学院学报 Journal of Xiaogan University (05) 39-43.&lt;br /&gt;
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Feng Qinghua 冯庆华. (2002). 实用翻译教程 [Practical translation course]. Shanghai：Shanghai Foreign Language Education Press.&lt;br /&gt;
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Fan Zhongying 范仲英. (1994). 实用翻译教程 [Practical Translation Course]. Beijing:Foreign Language Teaching and Research Press.&lt;br /&gt;
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He Lirong 何历蓉. (2018). 论“直译与意译”在英汉翻译中的对立与统一 [On the opposition and unity of literal translation and Free Translation in English-Chinese translation]. 宿州教育学院学报 journal of suzhou education institute 21(04):40-43.&lt;br /&gt;
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Qiao zengrui 乔曾锐. (2000). 译论—翻译经验与翻译艺术的评论和探讨 [Translation theory: A review of translation experience and the art of translation]. Beijing: China Industry and Commerce Joint Press.&lt;br /&gt;
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Tan Zaixi 谭载喜. (2004). 西方翻译简史 [A Brief History of Western translation]. Beijing：Commercial press.&lt;br /&gt;
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Wu Shuang 吴爽. (2018). 翻译的最高境界—直译与意译的完美统一[The highest level of translation - the perfect unity of literal translation and free translation].现代交际 Modern communication (08):107-108.&lt;br /&gt;
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Xu Guoliang 徐国亮. (2020). 对立统一：唯物辩证法的核心与列宁的发展 [Unity of opposites: The Core of Materialist Dialectics and The development of Lenin]. 中共中央党校（国家行政学院）学报 Journal of Party School of the CPC Central Committee (National Academy of Governance) 24(05):75-83.&lt;br /&gt;
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Xu Yuanchong 许渊冲. (1980). 直译与意译 [literal translation and free translation]. Journal of Foreign Languages (6).&lt;br /&gt;
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Xu Yuanchong 许渊冲. (1996). 译家之言 [The Word of the Translator].出版广角 View on Publishing(6):92-94.&lt;br /&gt;
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Yan Mengwei 阎孟伟. (2020). 关于唯物辩证法矛盾学说的几个基本问题 [Some basic questions about the contradiction theory of materialist dialectics]. 思想理论教育导刊 Journal of ideological and theoretical education (08):40-47.&lt;br /&gt;
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Yang Yin 杨颖. (2019).  浅谈直译与意译的动态统一 [On the dynamic unity of literal translation and free translation]. 海外英语 Overseas English (17):160-161.&lt;br /&gt;
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Zhu Xiaojia 朱晓嘉. (2008). 形合、意合的辩证观与翻译策略 [Dialectic thinking and Translation strategies of hypotaxis and Parataxis]. Nanjing: Nanjing Normal University.&lt;br /&gt;
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== Peter Newmark’s Improved Views on Literal Translation and Free Translation 赵茜 Zhao Xi,202070080627==&lt;br /&gt;
===Abstract===&lt;br /&gt;
The dispute over the two basic translation methods, literal translation and free translation, has never stopped since ancient times. In view of the basic problem of his argument, Peter Newmark, an English translation theorist divides the various translation methods into eight, points out that different translation methods should be taken according to different text characteristics and puts forward with semantic translation and communicative translation bases on years of translation researches. Semantic translation focuses on maintaining the content of the original text, while communicative translation emphasizes the effect of the translation. The author of this paper expresses some views on literal translation and free translation. Peter Newmark's theory has taken a big step forward from the fragmented and one-sided view of literal translation and free translation in the past, which has brought people out of the struggle between them and made people see the direction of further development of translation research.&lt;br /&gt;
&lt;br /&gt;
===Key words=== &lt;br /&gt;
Free translation, Literal translation, Peter Newmark, Semantic translation, Communicative translation&lt;br /&gt;
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===摘要===&lt;br /&gt;
直译与意译这两种翻译基本方法之争从古至今从未停止过。针对其争论的基本问题，英国翻译理论家彼得·纽马克把各种翻译方法分成了八种，指出应根据不同的文本特点釆取不同的翻译方法，并在多年翻译研究的基础上提出了语义翻译和交际翻译。语义翻译重点在强调保持原文的内容，而交际翻译更多强调的是译文的效果。本文作者也提出了对直译和意译的一些看法。彼得·纽马克的理论把人们以往对直译、意译的零散的、片面的观点向前推进了一大步，使人们从直译、意译之争中走出来并看到翻译研究进一步发展的方向。&lt;br /&gt;
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===关键词===&lt;br /&gt;
直译, 意译, 彼得·纽马克, 语义翻译, 交际翻译&lt;br /&gt;
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===Introduction===&lt;br /&gt;
According to Chinese and western translation history, no matter in China or in western countries, studies on translation theories and practice have been performed over two thousand years. Translation, as an ancient and extremely significant human thinking activity, is closely related to the development of language itself. And translation after more than two thousand years of development, has developed prosperously, appearing quantities of translation theories, translation schools and translators. However, the dispute between two translation methods, literal translation and free translation has been lasting from throughout history. The fundamental problem between literal translation and free translation is based on the relationship between content and form. To solve this fundamental problem of the dispute, Peter Newmark first points out that translation studies have been long beset by the time-honored theoretical debate over free and literal translation. A range of wider aspects of translation related to the contribution to the development of languages, its relation to meaning, the intention of translation, the readers' background, the type of discourse and the language universals have been long neglected. Therefore, according to Newmark's own translation practice, he puts forward right translation methods, word-for-word translation, literal translation, faithful translation, semantic translation, adaption, free translation, idiomatic translation and communicative translation, which provide to translators to consider and use. Although in the actual translation practice, translators have no necessity to distinguish such translation methods and even to use these methods, this proposal may help translators open their horizons and translate more appropriately. Among the eight translation methods, semantic translation and communicative translation proposed by Newmark own the advantages of other six methods, becoming the most ideal translation methods. Peter Newmark's semantic translation and communicative translation are highly valued and influence the practice of translation in general. (Li Minghan 2014, 3)&lt;br /&gt;
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===Literal Translation and Free Translation===&lt;br /&gt;
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====Brief Introduction of Literal Translation and Free Translation====&lt;br /&gt;
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From ancient times, translators hold various attitudes toward such two translation methods, literal translation and free translation. &lt;br /&gt;
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=====Literal Translation=====&lt;br /&gt;
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Literal translation is a translation method which not only keeps the substance of the original, but also keeps the form of the original. This definition implies that the translation version is expressing the content of the original and should spare no efforts to make every part of the translation version corresponding to every part in the original text including construction of sentence, meaning of the original words, metaphor of the original and so on. &lt;br /&gt;
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According to Liu Zhongde, literal translation can be summarized into &amp;quot;to reproduce both the ideological content and style of the entire literary work and retain as much as possible the figures of speech&amp;quot;. (Liu Zhongde 1991, 52) &lt;br /&gt;
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Xu Yuanchong defines literal translation as &amp;quot;the kind of translation which is faithful not only to the content but also to the form of the original.&amp;quot; (Xu Yuanchong 1984, 45)&lt;br /&gt;
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Newmark suggests that literal translation is like, &amp;quot;sometimes it is very difficult to define what is literal translation, it is believed that a translation can be regarded as the literal translation when the translator is not influenced but the foreign flavors.&amp;quot;(Newmark 2001, 46) &lt;br /&gt;
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Mr. Yang Xianyi holds that the translators should be as faithful as possible to the original image and too much explanation and creativity should be avoided. This means translators should try to use literal translation method to introduce imagery in the source language to the target language readers. The reason why those translators who insist on literal translation are that they think literal translation is the only way to keep faithful to the original. They endeavor to adopt from as similarly as possible to the original to show the original meaning, thinking that it's the truest reflection of the original. (Wang Zuoliang 1989, 43)&lt;br /&gt;
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=====Free Translation=====&lt;br /&gt;
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Free translation is a translation method which only keeps the substance of the original, but not keeps the form the original. Target language and source language have different forms to show the same substance, and they could not produce the same result. Free translation does not mean to delete or add content to the original, though it does not pay much attention to the form of the original. Otherwise, the translation would not be faithful to the original. Translators always discover the meaning behind the forms in the source language and dose their best to produce the same meaning in the target language, using the forms and structures in the target language. Consequently, what is supposed to change is the form and the code, and what should remain unchanged is the meaning and the message. &lt;br /&gt;
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Shuttle worth and Cowie define free translation as &amp;quot;a type of translation in which more attention is paid to producing a natural target language than to preserving the source language wording intact.&amp;quot; (Shuttle worth&amp;amp;Cowie 2004, 62)&lt;br /&gt;
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Free translation is the conveying of the discourse meaning of the speaker is not restricted by the structure and linguistic and rhetoric styles of the original text. (Ren Wen 2012, 18)&lt;br /&gt;
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Liu Zhongde has given his definition to free translation. According to his definition, free translation aims at transmitting the meaning regardless of the sentence forms and rhetorical devices. If translators are not able to  make the translated text faithful to the original text through literal translation, they may use their own words to explain the meaning of the text without considering the words and forms in original text. (Liu Zhongde 1991, 53-54)&lt;br /&gt;
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====Disputes over Free Translation and Literal Translation====&lt;br /&gt;
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In the past, translators generally believed that language and thought were unified, and language was form while thought was content. However, it was impossible to realize the consistence between language forms and ideological content, producing the contradiction between form and content, which is the problem between literal translation and free translation. Modern science has proved that language and thought are not a unity and constitutes a relationship between form and content. Language is only a symbolic system to express thoughts. Translation expresses the same idea by using two different language signals. &lt;br /&gt;
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Marcus Tullius Cicero is generously acknowledged to be the first person to put forward a systematic description of the practice of translation and he said &amp;quot;I did not translate them as an interpreter, but as an orator... I did not hold it necessary to render word for word, but I preserve the general style and force of language.&amp;quot; (Tan Zaixi 2018, 20) He puts forward mainly two viewpoints. Firstly, the translation should be as close as possible to the language habits of the target language. At that time, namely, the translation should correspond with Roman habits as much as possible to touch and resonate with the readers. What's more, he advocates free translation and opposes literal translation as he believes that free translation is superior to literal translation. The most important thing in translation is not the corresponding in form, but the meaning and thought in the source language. Cecero's thoughts have provided a guide for other translators and produced an effect on them. Since Cicero came up with his opinion, the disputes over literal translation and free translation has never been stopped. &lt;br /&gt;
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Eugene Nida holds that if all languages differ in form, then quite naturally the forms must be changed if one is to preserve the content. He is in favor of dynamic equivalence instead of formal correspondence, maintaining the original meanings. In this sense, Nida agrees with free translation, just as he expresses that translating means translating meaning. (Nida 1985, 119-125)&lt;br /&gt;
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Zhai Qiubai insists literal translation and claims that the correct translation is based on Chinese syntax and rhetoric and has its specific intentions. First of all, he regards translation as a part of Proletarian literature. Translation should systematically introduce proletarian revolution thoughts to Chinese readers. Furthermore, translation should help create modern Chinese language and literal translation is an approach. To preserve the spirit in the original text, some non-smoothness can be tolerated. (Cheng Yongsheng 2002, 65) &lt;br /&gt;
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Lu Xun defines clearly that translation must take into account of two sides: one is easy to understand, the other maintains the style of the original. This explanation refers that the translators must translate according to the original text rather than their own world view and aesthetic taste. The translators must try their best to maintain the style of the original author and inherit historic and national characters rather than imposing extrinsic aesthetic and social background culture of other people on the translation. (Chen Fukang 2000, 301)&lt;br /&gt;
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Mao Dun has pointed out that due to different language families of Chinese and English and different structures, word-by-word translation us almost impossible actually. Because word-by-word translation is difficult to achieve its ideal effect, any discussion related with literal translation and free translation is inevitably involved with the problem &amp;quot;what is the boundary between them?&amp;quot; He also holds that the so-called literal translation, superficially speaking, means not to alter the original words and sentences. (Xu Haiyan &amp;amp; Sun Weihong 2012, 80)&lt;br /&gt;
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In Xu Yuanchong's opinion, the criteria to judge literal translation and free translation is whether the translation is faithful to the original. If a translation is faithful to both meaning and form of the original text, it is literal translation. If a translation is only faithful to meaning rather than form, it is free translation. If a translation is only faithful to form rather than content, it is mechanical translation. And the standard to judge faithfulness are form and content. For translation, content is more significant than form. Besides, translators should use both literal translation and free translation. However, sometimes it is difficult to use literal translation or free translation in a translation, so it is not necessary to define literal translation or free translation in those situations. Xu argues that literal translation is not only being faithful to the content of the original text but also being close to its form. When Xu discusses the situations using literal translation or free translation, he often mentions readers and contexts, among which readers are more important. No matter literal translation or free translation, translators should put faithfulness to the content of the original text first, smoothness of target text form second, faithfulness to the form of the source text third. In other words, on the premise of faithfulness to the source language, translation should strive for smoothness of form. On the premise of smoothness of translation, translators should try their best to realize faithfulness to form of the original. If there is a contradiction between the smoothness and faithfulness of the original form, it is of no necessity to stick to the original form. These are the relationships between content and form, and literal translation and free translation. (Cheng Yongsheng 2002, 66)&lt;br /&gt;
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Whether in Chinese translation circle or in western translation circle, the contradiction between content and form, and literal translation and free translation exists and arouses heated discussion.&lt;br /&gt;
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===Semantic Translation and Communicative Translation===&lt;br /&gt;
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To solve the fundamental problem of free translation and literal translation, Peter Newmark, a renowned western translation theorist, linguist and professor of translation at the University of Surrey, combining with years of translation experience, has concluded and summarized a corresponding theory, semantic translation and communicative translation, whose core is the problem of literal translation and free translation. Semantic translation and communicative translation have been put forward against the background that the majority of scholars have argued for a long time whether to translate literally or freely. The concepts of communicative and semantic translation represent Newmark’s main contribution to general translation theory. (Newmark 1991, 10)&lt;br /&gt;
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====Semantic Translation====&lt;br /&gt;
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Newmark puts the definition of semantic translation as &amp;quot;Semantic translation, attempts to render, as closely as the semantic and syntactic structures of the second language allow, the exact contextual meaning of the original. &amp;quot; As this version of definition indicates, communicative translation focuses essentially upon the comprehension and response of TL receptors. Semantic translation severs for the source language author and gives a high priority to reflecting his thought patterns and stylistics. (Shuttleworth and Cowie 2004, 22) Here is an example.&lt;br /&gt;
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E.g. 谋事在人，成事在天。&lt;br /&gt;
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Yang Hsien-yi and Gladys Yang's Version: Man Proposes, Heaven disposes.&lt;br /&gt;
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In this example, the Chinese idiom means that a man has done his or her best to do something and as to whether he or she can achieve the goal, it depends on the fortune. “天” refers to the master of nature in ancient Chinese culture. This word is semantically translated into “heaven” as the translation emphasizes the original information and tries to preserve the favor, style and culture maintained in the source language.&lt;br /&gt;
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====Communicative Translation====&lt;br /&gt;
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Communicative translation attempts to produce on its readers an effect as close as possible to that obtained on the readers of the original. As this version of definition indicates, communicative translation centers around the semantic aspects of the source language texts. To be specific, in communicative translation, the emphasis should be on conveying the message of the original in a form, which conforms to the linguistic, cultural and pragmatic conventions of target language. Both content and language are readily acceptable and comprehensible to the readership. (Chen Boyu 2003, 4)&lt;br /&gt;
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Communicative translation intends to present the main idea of the original text and emphasize the social value generated by the translation. Communicative translation highlights on conveying the message expressed in the original and form of the the source language. Due to different textual functions, content and form should have different focuses. Texts of informative function emphasize on the information beyond the language, while texts of vocative function center on readers. The primary intention of translators is to convey the message to the target readers, without paying much attention to the style of the original. If it is necessary, translators can adjust grammar and words to better transmit the information. The change of forms is not only allowed, but also encouraged. (Zhang Linlin 2010, 17)&lt;br /&gt;
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E.g. 谋事在人，成事在天。&lt;br /&gt;
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Hawkes's Version: Man Proposes, God disposes.&lt;br /&gt;
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This translation is communicative translation. Different from the version of Yang, Hawkes translated &amp;quot;天&amp;quot; into &amp;quot;God&amp;quot;. In western culture, people believe that &amp;quot;God&amp;quot; is the master of nature. It renders the contextual meaning of the original in such a way that both content and language are readily acceptable and comprehensible to the readers.&lt;br /&gt;
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====Comparison Between Semantic Translation and Communicative Translation====&lt;br /&gt;
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The fundamental difference between semantic translation and communicative translation is that semantic translation attaches more importance to the content rather than effect and communicative translation is just opposite. &lt;br /&gt;
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Firstly, semantic translation is more objective, stresses accuracy and is submitted to the author, culture and meaning of the original. Communicative translation is more subjective, pays much attention to the readers' responses, and is submitted to the target language and its culture. Semantic translation and communicative translation have difference in expression form. &lt;br /&gt;
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Second, semantic translation make the translated text more close to the original form and retain the vocative effect as much as possible. If there is no much difference between the source and target language specifications, translation should maintain the length of sentences in the original text as well. Communicative translation will reorganize the syntax and utilize more common collocations or words to make translation more fluent, idiomatic and understandable. In the communicative translation, to make the translation brief and emphasize key information, translators should get rid of the bondage of the source language structure and make appropriate adjustments which are not allowed in the semantic translation, such as adjusting the logic relations in the original, making obscure concepts distinct, deleting repeated unnecessary details or redundant information, normalizing some peculiar expressions, and even correcting factual or writing mistakes. &lt;br /&gt;
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Thus, they have different functions. Semantic translation, performing expressive function, tries to preserve the language characteristics and unique expression forms of the source language to present thinking process of the author. Its translation judged by the target readers is likely to be smoother, simpler, clearer and more direct. While communicative translation is to convey message, performing vocative function. &lt;br /&gt;
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In addition, the key of communicative translation is immediacy which means the success of translation depends on the readers' responses. Semantic translation lays stress on faithfulness to the source text, but cannot neglect to convey the message contained in the source text. (Lin Xiaoqin 1987, 50)&lt;br /&gt;
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Here are some examples to better present the differences between semantic translation and communicative translation.&lt;br /&gt;
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E.g. 世人都晓神仙好。&lt;br /&gt;
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Yang Hsien-yi and Gladys Yang's Version: All men long to immortals.&lt;br /&gt;
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David Hawkes’s Version: All men knew that salvation should be won. &lt;br /&gt;
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In this example, “神仙” is the difficult point because there is no corresponding expression in English. In Chinese culture, “神仙” refers to transcendence and is a life with “supernatural forces” in human beings. Yang directly translated “神仙” as “immortals” because being an immortal is the highest ideal of Taoism. His translation is semantic translation. While Hawkes used “salvation” which is a concept in the Christianity. The creed of Christianity is to be saved from sins. And his translation is communicative translation. Yang chose to be faithful to the original text to preserve the concept in the Taoism. While Hawkes decided to pay more attention to religious background and mentality of the target readers. &lt;br /&gt;
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E.g. 真是“天有不测风云，人有旦夕祸福”。&lt;br /&gt;
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Yang Hsien-yi and Gladys Yang's Version: Truly, “storms gather without warning in nature, and had luck befalls men overnight.”&lt;br /&gt;
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David Hawkes’s Version: I know “the weather and human life are both unpredictable.”&lt;br /&gt;
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In this sentence, “天有不测风云，人有旦夕祸福” is a challenge in translation. It is a Chinese idiom which means the occurrences of some disasters are unpredictable in advance. According to antithesis habit in Chinese, Yang translated these two idioms into the corresponding English compound sentence, which adopted semantic translation. While Hawkes briefly translated into a single sentence, which adopted communicative translation. The former sentence may be appreciated by Chinese readers, and the simplified processing of the latter is easier for native English speakers to understand and accept because it conforms to the British and American expressions, especially in line with the habits of daily expression.&lt;br /&gt;
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E.g. Wet Paint!&lt;br /&gt;
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Version 1: 湿油漆&lt;br /&gt;
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Version 2: 油漆未干&lt;br /&gt;
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Version 3: 小心油漆&lt;br /&gt;
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Version 4: 勿触油漆&lt;br /&gt;
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This sentence is an official notice. From the four versions of the source text, there are differences among them. Version 1 is word-by-word translation, conveying an obscure message and not involving in any receptors. Version 2 just describes a fact that the paint is not dry but wet and does not present the informative function of the original. This notice aims to warn people not to do something and keep away from the paint. Version 3 and version 4 are free translations because they emphasize more on the content instead of form. The first and second version are semantic translation because they only describe the fact and tell readers the information that the paint is not dry. However, the third and fourth version are communicative translation which not only tell people the information but also play the warning function to notify readers not to touch the wet paint. &lt;br /&gt;
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However, semantic translation and communicative translation are not opposite. Newmark points out that the two should be viewed as a whole, instead of isolated or opposite parts. And a problem should be emphasized. Corresponding text-types can overlap. Semantic translation pays more attention to a mainly expressive text and communicative translation is more popular in mainly informative or vocative texts. In brief, translators should think the type of text over and ensure a good balance between them.&lt;br /&gt;
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====Text Typology====&lt;br /&gt;
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Language is a unique symbolic system, which has its own most important semantic system, as well as a functional system involving context. &lt;br /&gt;
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Newmark's text tppology theory is influenced by Reiss, Jacobson and other translators. In the book of Approaches to Translation, Newmark put forward three functional texts, including expressive text, informational text and vocative text. In accordance with these types of classification, Newmark summarized semantic translation and communicative translation. (Newmark 2001, 39)&lt;br /&gt;
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Expressive text mainly talks about the author's subjective emotions and his or her standpoints, which centers on the source language and the author regardless of the target readers' responses. Newmark points out that the expressive text includes three literary styles: &amp;quot;(1)serious imaginative literature such as poem, novels and dramas, (2) authoritative statements such as speech or statements from government officials or party's officials or party's leaders, documents and regulations and laws from government, and academic works from authorities, (3) autobiography, prose and personal correspondence without target readers.&amp;quot; (Newmark 2001, 55) Semantic translation is applicable to the expressive text, with a particular emphasis on the language features and language structure of the original language which is similar to literal translation.&lt;br /&gt;
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As for informative text, Newmark proposes that &amp;quot;typical informative texts are concerned with any topic of knowledge&amp;quot;. (Newmark 1988, 40) The informative text focuses on the information or the content provided in the text. According to Newmark, informative text includes textbooks, papers, reports, and minutes about science, industry, technology, economy, commerce and other areas of knowledge or events, which are mainly used to deliver information and reflect truth. In light of translation of informative text, Newmark proposes that communicative translation can be adopted to convey accurate meaning or the content of the source text to the target readers. (Newmark 2001, 67)&lt;br /&gt;
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&amp;quot;The function of vocative text is to call upon readers to act, to think, to feel and to react in the way intended by the text.&amp;quot; (Newmark 2001, 41) The vocative text includes all kinds of specifications, publicity materials, advertisements, notices and other persuasive words. Two factors must be emphasized in vocative text: one is the relationship between the author of the source text and readers of the source text and another is that translation is easy to be understood by the target readers, therefore, translators should take the source language and its cultural background into consideration in the course of translation practice. And communicative translation should also be used in the vocative text which means much attention should be paid on the target readers' understanding and reaction.&lt;br /&gt;
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===Newmark's Improved Views on Literal Translation and Free Translation===&lt;br /&gt;
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It can be said that literal translation and free translation in the past were had their own disadvantages. Newmark agrees with literal translation and he holds that &amp;quot;translation means filling the blank between two languages and even explaining is translating.&amp;quot; (Newmark 1999, 33) This indicates that he does not neglect the importance of free translation. If the language and grammar structure of the original are not that important, the fidelity of the translation can be lowered, creating more room for translation. This situation can mainly adopts free translation. He even believes that translators can create better translation than the original one. Communicative translation and free translation resemble when it comes to the preference for the message to the manner, and the content to the form of the original. In his masterpiece ''Approaches To Translation'', he analyzes and discusses the loss of meaning. As long as the loss of meaning in the translation is inevitable, content cannot separate from form. And complete faithfulness to the original is almost impossible because the so-called preserving the original meaning is relative. What's more, the content of a text should not be equal to referent in language, but include referent, rhyme, genre, style and so on. As the slogan, being faithful to the original, was too empty, some translators advocating literal translation did free translation and even paraphrased the original in the practice. Newmark holds that translators need to notice the content in four layers, the original text level, referred level, coherent language level and natural tone level. In this way, he transforms the empty slogan into concrete requirements in the translation practice and meanwhile criticized the disadvantages of literal translation. (Newmark 1999, 33)&lt;br /&gt;
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Likewise, the viewpoints of free translation are not advisable as well. Newmark criticizes the basis of free translation school, making the target readers obtain feelings similar to that of the original readers. He thinks the goal is too difficult to achieve because translators had problem in completely knowing the feelings and responses of the original readers. He further puts forward some reasons why this goal cannot be realized. As long as the same feelings cannot be obtained by the source and target readers, there exists no reason or judging basis of great amending or creative rewriting.  Free translation produces the matter rather than the manner, or the content rather than the form. Newmark regards it as usually a paraphrase much longer than the original, often prolix and pretentious, and not translation at all. In free translation, &amp;quot;more translation is paid to producing a natural reading TL text than to preserving the ST wording intact.&amp;quot; (Shuttleworth and Cowie 2004, 62)&lt;br /&gt;
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Newmark criticizes that the argument is theoretical without taking other important facets of translator's purpose, the nature of readership and text typology into consideration. Newmark claims the argument could come to a compromise if translators deal with two sides with another visual angle. In 1981, he proposed semantic translation and communicative translation to replace the old terms. (Newmark 1988, 45)&lt;br /&gt;
&amp;quot;(a) communicative translation, where the translator attempts to produce the same effect of the target language readers as produced by the original on the source language readers, and (b) semantic translation, where the translator attempts, with the bare syntactic and semantic constraints of the TL, to reproduce the precise contextual meaning of the author.&amp;quot; (Newmark 1981, 22) In order to better explain these two methods, he designed the form of a flattened diagram. (Newmark 1988, 45)&lt;br /&gt;
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                SL emphasis                            TL emphasis&lt;br /&gt;
   word for word translation                        Adaption&lt;br /&gt;
          Literal translation                     Free translation&lt;br /&gt;
          Faithful translation                  Idiomatic translation&lt;br /&gt;
            Semantic translation               Communicative translation&lt;br /&gt;
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The diagram indicates that there is a hugest gap between the translation guided by word for word translation and the translation guided by adaption, then between literal translation and free translation, faithful translation and idiomatic translation and semantic translation and communicative translation last. These eight translation methods are a continuity, and they complement each other and cannot be completely separated. In Newmark's opinion, adaption is the freest translation method, and suitable for drama and poem translation. Free translation reproduces the main content of the original and pay more attention to interpret and expound. Target texts guided by idiomatic translation are more natural, more fluent and more coherent. But due to adopt some unknown expressions, the original meaning may be distorted.&lt;br /&gt;
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Communicative translation possesses the advantages of adaption, free translation, idiomatic translation and semantic translation maintains the advantages of word for word translation, literal translation and faithful translation. Newmark maintains only by combining semantic translation and communicative translation can achieve two aims of translation-accuracy and conciseness. By distinguishing these right methods, he gives further refinements to the above definition of semantic translation and communicative translation. He adds one more element &amp;quot;aesthetic value&amp;quot;. Meanwhile, he gives up emphasizing the &amp;quot;effect&amp;quot;, and refines communicative translation to be more specific, &amp;quot;communicative translation attempts to render the exact contextual meaning of the original in such a way that both content an language are readily acceptable and comprehensible to the readership.&amp;quot; (Newmark 1988, 47)&lt;br /&gt;
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===My Thoughts on Literal Translation and Free Translation===&lt;br /&gt;
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The two translation methods, literal translation and free translation, are useful in the translation practice. Taking English-Chinese translation for example, in the translating process, translators can use the method of literal translation when the pattern of sentence in original text is similar with the Chinese one, and we can find some Chinese words being equivalent in meaning to the words used in the sentence of original text. In some cases there are some complex sentences that can be translated with the method of literal translation as well. As long as these sentences are short and the pattern of these sentences is relatively simple compared with other complex sentences, they can be translated by literal translation method. In English, the using of some metaphors and similes is almost similar to the way that they are used by in Chinese. For instance, &amp;quot;time flies&amp;quot; in English can be directly translated into Chinese as &amp;quot;时间飞逝&amp;quot;, as the Chinese people also describe time passing very fast in this way, which accords with the expression habit of Chinese.&lt;br /&gt;
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As English and Chinese are two kinds of different languages, there are many differences in various aspects, such as different grammar and language habits. In English there are some words or phrases we cannot find the relative words or phrases in Chinese. In this cases, using using literal translation method would not be proper. Under this condition, if the translator insists on using literal translation, the translation text will be difficult to be understood by the target readers. So in order to make the translation text readable, translators should adopt free translation. Under the direction of literal translation, translators will try their best to keep the flavor of original work, no matter on the material or the form. Literal translation is the effective method to keep the cultural flavor of original language. Therefore, when there are some cultural differences affecting the translation of culture-loaded words between the source language and the target language, free translation can become one of the translation strategies which provide possibility in reducing or even removing the restrictive factors in translation process. &lt;br /&gt;
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In the process of translation, it is an ideal way to combine literal translation and free translation because they mutually complement in many cases. When literal translation cannot express the original and basic content of the author and hinder readers to understand, it is crucial for the translator to use free translation to express the author's meaning. When free translation cannot meet the requirement of being faithful to the content of the original text, it is significant for the translation to use literal translation to show features ad the structure of the author's language.&lt;br /&gt;
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===Conclusion===&lt;br /&gt;
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The dispute between two translation methods, literal translation and free translation has been lasting from throughout history. The argument of them is based on the relationship between content and form. This paper attempts to introduce Peter Newmark's improved views on the literal translation and free translation. Newmark criticizes some disadvantages and proposes semantic translation and communicative translation. Semantic translation focuses on maintaining the content of the original text, while communicative translation emphasizes more on the effect of the translation. The author also shows opinions on literal translation and free translation. Peter Newmark's theory has taken a big step forward from one-sided view of literal translation and free translation in the past, which has provided the direction of further development of translation research.&lt;br /&gt;
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===References===&lt;br /&gt;
*Nida,E.A[尤金·A·奈达].(1985).''Translating means Translating meaning''《翻译即译意》.UNESCO: Publication of FIT. &lt;br /&gt;
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*Newmark, Peter[彼得·纽马克]. (1991). ''About Translation''《关于翻译》. North Somerset: Multilingual Matters&lt;br /&gt;
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*Newmark,Peter[彼得·纽马克].(1998). ''A Textbook of Translation''《翻译教科书》. London: Prentice-Hall International (UK) Ltd. &lt;br /&gt;
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*Newmark, Peter[彼得·纽马克]. (1981). ''Approaches to Translation''《翻译方法》. Oxford: Pergamon Press.&lt;br /&gt;
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*Shuttleworth &amp;amp; Cowie[沙特尔沃斯&amp;amp;考伊]. (2004). ''Dictionary of Translation Studies''《翻译研究词典》. Shanghai: Shanghai  Foreign Language Education Press.&lt;br /&gt;
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*陈伯雨 Chen Boyu. “翻译对等” 研究[Study on Translation Equivalence]. 辽宁师范大学[Liaoning Normal University]. 2003.&lt;br /&gt;
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*陈福康 Chen Fukang.《中国译学理论史稿（修订本）》[''Draft History of Chinese Translation Theory (Revised)'']. 上海：上海外语教育出版社[Shanghai Foreign Language Education Publishing House]. 2000.&lt;br /&gt;
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*程永生 Cheng Yongsheng.中国近现代直译与意译研究[Research on Modern Chinese Literal Translation and Free Translation]. 淮南工业学院学报(社会科学版)[Journal of Huainan Institute of Technology(Social Science)]. 2002.&lt;br /&gt;
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*李明瀚 Li Minghan.语义翻译和交际翻译在汉语政论文翻译中的应用[Semantic Translation and Communicative Translation in the Translation of Chinese Political Writings]. 辽宁大学[Liaoning University]. 2014.&lt;br /&gt;
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*林小芹 Lin Xiaoqin.纽马克论交际翻译与语义翻译[Newmark's Study on Communicative Translation and Semantic Translation]. 中国翻译[Chinese Translators Journal]. 1987. &lt;br /&gt;
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*刘重德 Liu Zhongde.文学翻译十讲[Ten Lectures on Literary Translation]. 北京：对外翻译出版社[Foreign Translation Press]. 1991.&lt;br /&gt;
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*任文 Ren Wen.交替传译[Consecutive Interpretation]. 北京：外语教学与研究出版社[Foreign Language Teaching and Research Press]. 2012.&lt;br /&gt;
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*谭载喜 Tan Zaixi.《西方翻译简史（增订版）》[''A Short History of Translation in the West(Updated Version)'']. 北京：商务印书馆[Commercial Press]. 2018.&lt;br /&gt;
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*王佐良 Wang Zuoliang.翻译：思考与试笔[Translation: Thinking and Writing]. 北京：外语教学与研究出版社 [Foreign Language Teaching and Research Press]. 1989.&lt;br /&gt;
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*许海燕,孙卫红.杨译本文化负载词的翻译——以《从百草园到三味书屋》为例[On C-E Translation of Culture-loaded Words by Yang Xianyi—A Case Study of From ''Hundred-plant Garden to Three-flavor Study''].陇东学院学报[Journal of Longdong University]. 2012.&lt;br /&gt;
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*许渊冲 Xu Yuanchong.翻译的艺术[The Art of Translation]. 北京：五洲传播出版社[China Intercontinental Press]. 1984.  &lt;br /&gt;
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*许渊冲Xuan Yuanchong.直译与意译[Literal Translation and Free Translation]. 上海外国语学院学报[Journal of Shanghai Institute of Foreign Languages]. 1980.&lt;br /&gt;
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='''Document Translation'''=&lt;br /&gt;
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==On translation of official documents of CangNan County	吴恺	Wu Kai==&lt;br /&gt;
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On Translation of Official Documents of Cangnan County&lt;br /&gt;
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Japanese Language and Literature, School of Foreign Languages, Hunan Normal University, Wu Kai--[[User:Wu Kai|Wu Kai]] ([[User talk:Wu Kai|talk]]) 04:45, 2 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
==='''Abstract'''===&lt;br /&gt;
As one of the forefronts of Zhejiang’s opening-up cause, Cangnan County in Zhejiang Province has been enjoying a rapid development and an ever-growing degree of opening-up with lasting vitality as it’s supported by national policies and nourished by the dividends of economic globalization since China's reform and opening-up. As China has ushered in a period of major changes rarely seen in a century, Cangnan County is also facing new opportunities and challenges. Under the background of this era, Cangnan County is expected to make good use of its own advantages, especially the geographical ones—it is close to countries and regions including Japan, South Korea, and Taiwan—and should spare no efforts to achieve a higher level of opening-up, and, in turn, further promote its development. As an embodiment of the collective will of the people of Cangnan County, the official document is one of the best manifestations of its governance and stability control capabilities. For this reason, the research on how to translate official documents is of great significance for that it offers a great opportunity for Cangnan County to re-examine itself and to show the rest of the world its achievement in building a culture-enriched county.&lt;br /&gt;
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==='''Key words'''===&lt;br /&gt;
 official document translation, Cangnan County, opening-up, Japan, South Korea&lt;br /&gt;
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==='''摘要'''===&lt;br /&gt;
自中国改革开放以来，浙江省苍南县作为全浙江对外开放的前沿阵地之一，得到了国家政策支持和经济全球化红利的滋润，苍南县发展水平与对外开放程度日新月异，全县活力持久带劲。随着中国迎来“百年未有之大变局”，苍南县也面临着新的机遇和挑战，在此时代背景下，苍南县应该利用好自身优势，特别是临近日本、韩国、台湾等国家与地区的地理优势，努力开展更高层次、更高水平的对外开放事业，促进苍南更好的发展。为此，作为苍南县人民集体意志的体现，苍南县的公文就是对外展示其治理水平、稳控能力的最好的体现之一。而对于苍南县公文的如何翻译的研究，是促使苍南县重新审视自己、推进苍南人文县情传播海外的良机，意义重大。&lt;br /&gt;
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==='''关键词'''===&lt;br /&gt;
公文翻译  苍南县  对外开放  日本  韩国&lt;br /&gt;
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==='''I. System and Translation of Official Documents of Cangnan County'''===&lt;br /&gt;
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The unique official document system adopted by Chinese government agencies is a special integration of the thousands-of-years excellent political traditions in China and the essence of the organizational structure of the socialist regime. As a county-level unit in China's local administrative structure, Cangnan County has an official document system that is consistent with the national ones in general while has its own features. Official documents of Cangnan County can be basically divided into the following types of writing: resolutions, decisions, orders, bulletins, announcements, notifications, opinions, notices, reports, requests for instructions, approvals, proposals, letters, and minutes. Above-mentioned categories are collectively known as official documents. Besides, there are also some types of practical writing, including summaries, plans, notes, memos, briefings, speeches, manuals and so on, that are often used in our day-to-day work.&lt;br /&gt;
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In addition to those characteristics of the official documents that are commonly seen in China, official documents of Cangnan County also have its own features, which is mainly reflected in the aspect of proprietary terminology. Cangnan County, which used to be a part of Pingyang County in Zhejiang Province, was officially designated as a county in 1981 with the approval of the Central Government. It takes its name Cangnan, which means “on the south of the Yucang Mountain”, from its geographical location. As a relatively young county-level administrative unit in China’s administrative divisions, Cangnan County has a complex natural endowment and cultural environment, which is the reason why there are many special proprietary terms used in the official documents of Cangnan County, such as “Beautiful South Gate of Zhejiang Province”, “Southern Ouyue (an ancient kingdom in modern Wenzhou and Taizhou)” , “South Gate of Jiangsu-Zhejiang Region” and so on. Moreover, Cangnan is also the birthplace of the “Wenzhou Model”. Since the implementation of policy for the exchange of production materials and commercial grains in 1984, Cangnan has become an important base for the experiments and development of Wenzhou's private economy and market economy, and, thus, has made a significant contribution to the great cause of China's reform and opening-up.&lt;br /&gt;
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To conclude, the unity of the official document system viewed from the national scope of China and the uniqueness of the official document system viewed from the local scope of Cangnan area are both reflections of the integration of economic, political, and cultural elements. Therefore, when translating the terms and sentences in these official documents, obviously, it is almost impossible to follow general translation theories, such as Yan Fu’s “faithfulness, expressiveness and elegance” theory which applies to literature translation, and Christiane Nord’ Skopos theory which emphasizes schematic analysis. Due to the features of the official documents of Cangnan County, it is hard to imagine the consequence it will cause if those Cangnan and Chinese elements they contain are missed when translating them. Therefore, the starting point for the translation and research of Cangnan official documents should be analyzing the official document itself, but not choosing which translation theory to apply.&lt;br /&gt;
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The translation method focusing on the official documents themselves is undoubtably the one that emphasizes the content while manages to achieve a similarity in form. Thus, the translation theory that meets the requirements of official document translation in Cangnan County shall be the functional equivalence theory of the American linguist Eugene A. Nida. Eugene A. Nida argued in his theory that translation is to use the most appropriate, natural and equivalent language to reproduce the informational function of the source language both semantically and stylistically. Nida’s definition of translation specified that translation is seeking equivalence not only in lexical meaning, but also in semantics, style and literary form. Translation should convey both the denotative and connotative meaning of a message. Regarding the equivalence of translation, he believed that the equivalence consists of four parts: lexical equivalence, syntactic equivalence, textual equivalence, and stylistic equivalence. Among the four aspects, he emphasized that the meaning the core and most important part, followed by the form. The form of a text is likely to conceal the cultural connotation of the source language and may, therefore, hinder cultural exchanges. Based on the above, the reasons why the functional equivalence theory is applicable to official document translation in Cangnan County can be concluded as follows:&lt;br /&gt;
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First, the functional equivalence theory advocates that the target text should be equivalent to the source text both semantically and culturally. Official documents of Cangnan County are carriers of profound political culture with Chinese characteristics and the cultural environment in Cangnan. When translating them, in addition to showing the political consciousness and judicial authority of Cangnan government agencies, the local culture of Cangnan must also be reflected in the translations.&lt;br /&gt;
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Second, the functional equivalence theory suggests that if the lexical meanings and cultural elements cannot be taken into account at the same time, the translator then may give up the equivalence in form and try to reproduce the semantic and cultural meaning of the source text by changing the form of the sentence. There are many specialized terms with Chinese characteristics and Cangnan’s characteristics in official documents of Cangnan County. When translating them, once there is no corresponding expression in the target language, other forms of expression must be adopted to retain the meanings of those specialized terms as much as possible.&lt;br /&gt;
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Third, the functional equivalence theory proposes that if the change in form is still not enough to express the semantic and cultural meaning of the expression in the source language, the translation technique of “heavy damage” can be adopted to resolve cultural differences , so that the source language and the target language can achieve equivalence in semantic meaning. “Heavy damage” refers to the transformation of the deep structure of the source language into the surface structure of the target language, that is, expressing the cultural connotation of the source text with expressions of the target language. It cannot be ruled out that there are words and sentences in the official document of Cangnan County that cannot be translated, and when this happens, the translator can only rely on his translation techniques and understanding ability to process them creatively.&lt;br /&gt;
Above are simply macro analyses of the official document system in Cangnan County, and when it comes to specific analyses, challenges we face will only be severer.&lt;br /&gt;
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==='''II. Stylistic Features and Translation of Official Documents in Cangnan County'''===&lt;br /&gt;
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Looking at the official documents of Cangnan County from the micro level, we can work on the study of its translation based on the following characteristics.&lt;br /&gt;
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'''1. Details and Accurate'''&lt;br /&gt;
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As an officially-written document geared for the needs of our people, wording of the official documents of Cangnan County has a very specific orientation. Almost all content words have very clear meanings and connotations.&lt;br /&gt;
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For example, the sentence “经研究，县政府决定召开市对县安全生产巡查反馈会暨突出问题集中教育警示会，现将有关事宜通知如下。(As discussed, the county government decided to convene a feedback meeting on city-to-county inspections of production safety and a meeting for education and warning on outstanding issues. The relevant matters are hereby notified as follows.)” in the document 《苍南县人民政府办公室关于召开市对县安全生产巡查反馈会暨突出问题集中教育警示会的通知》(“Notice of the Office of the People's Government of Cangnan County on Convening a Feedback Meeting on City-to-County Inspections of Production Safety and A Meeting For Education and Warning On Outstanding Issues”) (the office of the People's Government of Cangnan County on June 8th, 2020) conveys several points very accurately and clearly, including the decision maker, the type, content and theme of the meeting. Therefore, special attention must be paid to the integrity of the information delivered when translating this sentence. For example, it is translated into Japanese as “討議を通じて、県政府は県の安全生産状況に対する市政府の巡査結果反映会及び顕著問題教育警告会を開催することが決定した。関連事項を以下のようにお知らせする。”&lt;br /&gt;
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'''2. Precise and Compact'''&lt;br /&gt;
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The role of official documents is to exchange formal information between the upper and the lower, the people and the officials, and the relevant departments. Therefore, the wording of the official documents must be rigorous. No slang and loose sentences should be used, and excessive use of parentheses and descriptive modifiers should be avoided. Official documents of Cangnan County follow this rule as well, in which there will never be informal expressions like daily spoken words.&lt;br /&gt;
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For example, the expression “三、决策目录施行动态管理，因工作需要增减或变更重大行政决策事项的，承办单位应按照相关规定程序提请调整。(Third, the decision catalogue shall be managed in a dynamic way, the undertaker shall submit application for adjustments in accordance with the relevant regulations if any increase/decrease or change shall be made to the major administrative decision-making matters because of the need of actual work.)” in the document《关于公布苍南县2020年度重大行政决策事项目录的通知》(“Notice on Issuing the 2020 Annual Catalogue of Major Administrative Decision-Making Matters of Cangnan County”) (the office of the People's Government of Cangnan County on Sept. 20th, 2020) When translating this sentence into Japanese, the translator shall fully considers the preciseness of the original expression, and translate it as “三つ目、戦略目録動的管理施行、仕事需要によっての増減または変更が必要な場合、請負機構は関連規定の手順に従って調整を提出しなければならない。”&lt;br /&gt;
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'''3. Programmed and Standardized'''&lt;br /&gt;
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The purpose of official documents requires a stable and routine writing program so that the official business can be conducted in an orderly manner. It is essential that the document writing is reasonably programmed. It allows the officer to know what it is and what to do at a glance if a standardized official document program is followed. The standardization of the official documents of Cangnan County can be regarded as a tricky feature in their translation.&lt;br /&gt;
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For example, the expression “各乡镇人民政府，县政府直属各单位 (the people's government of all townships and towns and all directly affiliated institutions of the people’s government of Cangnan County)” in the document《关于公布苍南县2020年度重大行政决策事项目录的通知》(“Notice on Issuing the 2020 Annual Catalogue of Major Administrative Decision-Making Matters of Cangnan County”) (the Office of the People's Government of Cangnan County on Sept. 20th, 2020) is obviously a standardized addressing of the receiving units of an official document, and it should be translated into Japanese as “各郷鎮人民政府、県政府直属の各部門”.&lt;br /&gt;
Viewing from a micro perspective, we may find that special attention should be paid to many precise details when translating those official documents. It is of great significance that, during the cause of reform and opening-up, we strike a balance between the macro level and the micro level in official document translation, which will serve as a stage for Cangnan County to show itself to Japan, South Korea and other East Asian countries and regions.&lt;br /&gt;
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==='''III. Translation of Official Documents of Cangnan County under the Context of the Japanese Language'''===&lt;br /&gt;
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Cangnan County is one of the nearest administrative units to Japan in China, and Okinawa Prefecture in Japan and Cangnan County are neighbors facing each other across the sea. Furthermore, Cangnan County itself has ports in Xiaguan, Pacao, Yanting, Dayu and other places, and has the basic conditions for conducting small transactions of freights with Okinawa. However, due to the inadequacy policies, laws and regulations, a large portion of Japan’s trade with China, especially with Zhejiang Province, is still conducted in the three port cities, namely Ningbo, Zhoushan, and Hangzhou. Cangnan’s geographical advantages have never been given to full play. To Japan, Cangnan is not a total stranger. Wenzhou City has a great influence upon Japanese culture and history. Special local products such as Wenzhou green tea and Wenzhou satsuma orange are very attractive to Japanese people. Many of the business exchanges during the Kamakura Bakufu in Japan were happened between Hakata merchants and Wenzhou people. As an important subordinate region of Wenzhou City, Cangnan County naturally has left an impression on Japanese people when it comes to China.&lt;br /&gt;
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If Cangnan hopes to lay a foundation for the future cooperation with Japan through its cause of opening up to the outside world, it is of great importance that we study the methods and techniques to make the translation of Cangnan’s official documents to meet the specific context of the Japanese language, which is also a part of the cultural exchanges that will facilitate economic and trade cooperation between Japan and China. The political status of Cangnan County is equivalent to the one of regular cities and special wards in Japan, but this does not mean that the official documents of Cangnan County can be regarded as equivalents to the official documents released by the governments of the regular cities and special wards in Japan, and there are huge differences between their respective official documents in form, wording, Cultural connotation and etc. To better translate Cangnan official documents under the context of Japanese language, the following aspects must be paid attention to:&lt;br /&gt;
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1. Detailed Comparison of Types&lt;br /&gt;
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In the Japanese official document system, the word “公文” is different in meaning from the word “公文” in Chinese official document system. In Chinese “公文” means government official documents, while in Japanese “公文” generally refer to legal documents that have the force of law and the term “公文書” is the one that refers to government official documents, which roughly includes “外交文書” and “起案文”, “通達” , “命令”, “許可”, “通知書” and so on . When translating official documents of Cangnan County into Japanese, attention should be paid to the transformation of the types of the official documents. The classifications of official documents in China and Japan are different from each other.&lt;br /&gt;
For example, when translating documents such as “proposal letter”, “report” and the like into Japanese, the title should be translated as “建言書” and “報告書”, while “命令(order)”, “通知(notice)”, “提案(Proposal)” and etc. need no translation and can be titled with the original characters directly as “命令”, “通知”, “提案”, and can also be further translated into “命令状”, “通知書”, “提案書”. Those reflect the characteristics of the division of the types of the official document system in Japan.&lt;br /&gt;
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2. Careful Consideration of the Translation of Chinese Characters&lt;br /&gt;
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There are a large number of Chinese characters in Japanese. This will for sure be an advantage when translating official documents of Cangnan County into Japanese, however, at the same time, this is also a huge disadvantage. After all, those Chinese characters are Japanized Chinese characters, and their meanings and usages are more or less different from the original ones in Chinese.&lt;br /&gt;
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For example, the expression “设定全县森林防火期(setting the season of forest fire prevention)” in the document 《苍南县应急管理局局长王再忠关于&amp;lt;苍南县人民政府关于做好森林防火期护林防火工作的通告&amp;gt;的政策解读》(“Policy Interpretation Of ‘Notice of Doing Forest Protection and Fire Prevention during the Season of Forest Fire Prevention by the People's Government Of Cangnan County’ by the Director of Cangnan Emergency Management Agency Wang Zaizhong”) in could be translated character by character into Japanese as “全県域森林防火期間設定”. However, expressions such as “野外火源如何管理” cannot be translated in the same way, and must be processed accordingly and translated into Japanese as “野外の火の元が如何に処理すること”. When translating official documents of Cangnan County into Japanese, the translators must reject the preconceived thinking and native Chinese thinking, or it will lead to irreversible misunderstandings and mistakes.&lt;br /&gt;
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3. Mastery of the Equivalence of Semantic Meaning&lt;br /&gt;
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Chinese is an isolating language, in which the grammatical meaning is reflected by the order of words, while Japanese is an agglutinative language, in which auxiliary words and flexible usages of vocabulary are adopted to reflect the grammatical meaning. This requires the translators to have mastery of the equivalence of semantic meanings when translating official documents of Cangnan County into Japanese and try to achieve perfect equivalence in official document translation.&lt;br /&gt;
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For example, there is a expression as “全体公民必须认真贯彻‘以人为本、预防为主、积极扑救、有效消灾’的森林防灭火工作方针，一旦发现森林火灾，要立即向当地人民政府或森林防灭火指挥部办公室报告(all citizens must seriously implement the working policy of forest fire prevention and firefighting ‘people-oriented, prevention-focused, active in firefighting, effective in disaster relief’, once a forest fire is detected, it must be reported to the local people’s government or the forest fire prevention and firefighting headquarters office immediately)” in the document 《苍南县应急管理局局长王再忠关于&amp;lt;苍南县人民政府关于做好森林防火期护林防火工作的通告&amp;gt;的政策解读》(“Policy Interpretation Of ‘Notice of Doing Forest Protection and Fire Prevention during the Season of Forest Fire Prevention by the People's Government Of Cangnan County’ by the Director of Cangnan Emergency Management Agency Wang Zaizhong”). When dealing with long and complex sentences, the translator must be flexible in using translation techniques to decompose the sentences and translate them step by step, focusing on the balance between the form of the sentence and its semantic meaning. Based on this principle, the abovementioned sentence could be translated into Japanese as “人間本位、予防軸化、積極救助、有効消災という森林防火作業方針は全県民が必ず強固に守らなければならない。林に火事が発見された際、直ちに所轄人民政府や森林防火指揮部執務室に報告すること。”&lt;br /&gt;
&lt;br /&gt;
There is no doubt that, in terms of four-character idioms, allusions, new words of the era and etc., the translation of official documents of Cangnan County under the context of the Japanese language still has a long way to go, but the part that we should pay most attention to in translation is always the differences in culture between the source language and the target language. Only by keeping this basic point in mind at all times, will there be no huge mistakes being made when translating official documents of Cangnan County into Japanese.&lt;br /&gt;
&lt;br /&gt;
==='''Ⅳ. Translation of Official Documents of Cangnan County under the Context of the Korean Language'''===&lt;br /&gt;
&lt;br /&gt;
Zhejiang Province and South Korea have laid a good foundation for economic and trade cooperation projects, and a framework that is comprehensive, wide-ranging, and multi-level has been established for Zhejiang-South Korea cooperation. The advantages of the two regions are obviously complementary and the development potential for both sides and in between is huge. In September 2016, the Zhejiang China-Korea (Quzhou) Industrial Cooperation Park was approved as the first batch of “Zhejiang International Industrial Cooperation Parks” in Zhejiang Province. The total planned area is about 3,000 acres and the total planned investment is 12 billion yuan. Represented by the Zhejiang China-Korea Industrial Cooperation Park, a large number of economic and trade cooperation projects has been carried out with South Korea by Zhejiang Province. As an indispensable part of Zhejiang Province, Cangnan County is facing a huge gap in the cultural exchanges and economic cooperation with South Korea. How to elevate the level of Cangnan’s opening up to the outside world and advancing Cangnan’s economic, trade and cultural cooperation with South Korea is a question that is well worth exploring. Although Cangnan is further away from South Korea compared with regions in the north of Zhejiang, geographic location should never be a factor that hindering Cangnan’s economic, trade and cultural cooperation with South Korea. In an era of ever-deepening globalization, it is of great significance that we think about how to develop and promote the economic and trade and cultural cooperation between Cangnan and South Korea.&lt;br /&gt;
&lt;br /&gt;
Northern Zhejiang is a key area for economic, trade and cultural cooperation with South Korea. As the south gate of Zhejiang Province, if Cangnan County could open the door of economic, trade and cultural cooperation to South Korea, then this will inevitably bring extraordinary development opportunities to southern Zhejiang and make the pattern of Zhejiang and South Korea’s economic and cultural cooperation more balanced and healthy. The political status of Cangnan County is equivalent to the one of si(city), gu (district), and gun(county) in South Korea. Because of some historical reasons, South Korea is greatly influenced by Chinese culture. From the Three Kingdoms era of Joseon, to the Unified Silla Dynasty, the Wang’s Goryeo Dynasty, and the Yi’s Joseon Dynasty, the basic system of administrative divisions in South Korea is almost the same as the one in China, so the official document system of cities, districts, and counties in South Korea can be regarded as basically equivalent to the official document system of Cangnan County with only slight differences originated from the localized political and cultural traditions and the basic social condition of South Korea. Therefore, there are relatively fewer difficulties of translation when translating official documents of Cangnan County into Korean, aside from the barriers caused by Korean Hangul words. The translation of official documents of Cangnan County under the context Korean language requires attention to the following aspects:&lt;br /&gt;
&lt;br /&gt;
1. The Combination of Chinese characters and Hangul&lt;br /&gt;
&lt;br /&gt;
Modern Korean uses Hangul as the main written characters, but this does not mean that there is no place for Chinese characters in the Korean system. Since the launch of the abolition of Chinese characters movement in South Korea in the 1970s, Hangul did exactly achieved an overall penetration of every aspect of their daily life, but when it comes to important documents, Chinese characters still reserve a seat in the arena of South Korea’s history. Furthermore, a higher level of talent training is required now to meet the need of South Korea’s economic and social development, and the mastery of sinology has become, among all the necessary skills, one of the most straightforward evaluation criteria to access the qualified personnel. Thus, South Korea has restarted the Chinese character teaching movement. Nowadays, the official document system in South Korea has become one in which Hangul serves as the main language and the mixed use of Chinese characters and Hangul serves as a supplement. Just as how the mixed use of kana and Chinese characters in Japanese official documents may help in its translation, the mixed use of Chinese characters and Hangul also greatly facilitate the translation of official documents of Cangnan County into Korean. However, because Chinese characters used in Korea are composed of traditional Chinese characters and a small number of Korean self-made Chinese characters, we can not take it for granted that it is advisable to translate them word by word.&lt;br /&gt;
&lt;br /&gt;
For example, the title of the document《苍干任〔2020〕18号 王再忠等同志的任命》(“Cangnan Cadre Appointment [2020] No. 18: Appointment of Wang Zaizhong and etc.”) (the Office of CPC Cangnan Party Committee on March 27th, 2020) can be translated with the mixed use of Chinese characters and Hangul into Korean as《蒼南縣의 幹部任命〔2020〕18號 王再忠등 同志의任命》. Also, it be translated into Korean with Hangul alone as《참남현의 간부임명〔2020〕18호 왕재충등 동지의임명》.&lt;br /&gt;
&lt;br /&gt;
2. The Usage of Refined Language&lt;br /&gt;
&lt;br /&gt;
In recent years, South Korea has carried out reforms of the official document system, urging that the South Korean government agencies at all levels should use “refined(or purified) language”, that is, to write and publish official documents with words that are easy for the public to understand and have explicit meanings, reducing the cost of communication between the government and the public and, in this way, building a closer relationship between the government and the people, so that civil servants can communicate with the people more effectively. Refined language is a kind of common vernacular that differs from the official language. Although this trend of the wording of Korean official documents is not unconditional, but when compared with official documents of Cangnan County, which emphasize the solemnity and formality of official documents, this trend is the part that the translator has to pay his attention to.&lt;br /&gt;
&lt;br /&gt;
For example, when translating the expression “为加强行政规范性文件管理，切实推进依法行政，加快法治政府建设 (To strengthen the management of administrative normative documents, promote the administration in accordance with law, and accelerate the construction of a government ruled by law)” in the document《苍南县人民政府关于公布县政府及县政府办公室行政规范性文件清理结果的通知（有效）》(“Notice of the Office of the People's Government of Cangnan County on the Announcement of the Results of the Cleanup of the Administrative Normative Documents of the County Government and the County Government Offices (Effective)”) (the Office of the People's Government of Cangnan County on October 23th, 2020) , blunt expressions may not be that applicable and this expression translated into Korean in a more public-friendly way as “행정 규범적인 문서관리를 강화하기 위해, 법에따라 행정을 철저히 추진하고 법치정부의 건설을 가속화시킨다.”&lt;br /&gt;
&lt;br /&gt;
3. Mastery of the Equivalence of Semantic Meaning&lt;br /&gt;
&lt;br /&gt;
Like Japanese, Korean is also a typical agglutinative language. A sentence is formed by connecting independent words with various auxiliary words, and with a subordinating conjunction at the end of the sentence. Auxiliary words are just like glues, they exist after every subject, predicate, and object component of a Korean sentence to them together. For that these auxiliary words have no substantial meaning themselves, they must stay close to the main body in front, and a space must be put after. Therefore, when translating Chinese, which is an isolated language, into Korean, which is an agglutinative language, it is necessary to have mastery of the equivalence of the semantic meaning of the expression.&lt;br /&gt;
&lt;br /&gt;
For example, when translating the expression “全面实施全民参保计划，做好参保情况清查，提升参保信息质量，清理重复参保，稳定持续参保，减少漏保断保，实现应保尽保。(Fully implement the national social security plan, do a good job in checking the coverage of the social security, improve the quality of the collection of the information of the insured, clean up repeated insureds, stabilize the renewal of the social security, reduce the interruption of the social security, and achieve full social security coverage.)” in the document《关于做好2021年度城乡居民基本医疗保障工作的通知》(“Notice on Doing a Good Job in Basic Medical Security for Urban and Rural Residents in 2021”)( the Office of Medical Security Bureau of Cangnan County on November 5th, 2020), the translator should pay attention to the equivalence of semantic meaning of this long sentence and translated it into Korean as “전국민기본의료보험가입계획을 전면적으로 실시하고 기본의료보험가입상황을 철저히 조사하며 기본의료보험가입 정보의 질을 향상시키고 중복기본의료보험가입을 청산하며 안정적이고 지속적인 기본의료보험가입을 하며 보험누락을 줄이고 기본의료보험가입 을 실현해야 한다.”&lt;br /&gt;
&lt;br /&gt;
==='''Ⅴ. Studies of Official Document Translation and the Cause of Opening-up in Cangnan County'''===&lt;br /&gt;
&lt;br /&gt;
Based on the abovementioned basic characteristics of the official document system of Cangnan County, the notes for official documents translation under the context of the Japanese language and the notes for official documents translation under the context of the Korean language, we can see that official documents of Cangnan County is not as difficult to handle as something untranslatable. Cangnan County enjoys a good geographic location: it is located in the coast of the East China Sea, and is close to both Japan and South Korea, two strong economies in East Asia. However, Cangnan County has not yet made use of these favorable conditions to the fullest to promote cultural cooperation and trade with the two countries. Cangnan’s opening up to the outside world requires innovative thinking and an elaborate layout. Studies on the translation of official documents of Cangnan County, especially the translation of official documents under the context of the Japanese and Korean language, will help to explore the cultural spirit of the government institutions, and play an important role in building a good image of Cangnan County in East Asia and laying a foundation for Cangnan's cooperation with major countries and regions in East Asia .&lt;br /&gt;
&lt;br /&gt;
The world today is undergoing profound changes rarely in a century, and so is China. The tide of history moves on and Cangnan shall not stay out of the matter, but must follow it courageously and strive to open new doors for Cangnan's opening up to the outside world through the study of the official document translation of its own.&lt;br /&gt;
&lt;br /&gt;
===References===&lt;br /&gt;
&lt;br /&gt;
[1]Ziqi LIU. The Application of Functional Equivalence Theory in Scientific Translation：A Case Study of the Translation of Shipbuilding English[J]. CREATIVITY AND INNOVATION,2019,1(3).&lt;br /&gt;
&lt;br /&gt;
[2]Mu Dan. Discussion on Translation Activities Under the Guidance of Functional Equivalence Theory[J]. International Journal of Education and Management,2018,3(2).&lt;br /&gt;
&lt;br /&gt;
[3]李琳琳. 功能对等翻译理论与关联翻译理论比较研究[D].辽宁师范大学,2006.&lt;br /&gt;
&lt;br /&gt;
[4]赵娟廷. 汉韩公文语体对比研究[D].复旦大学,2003. &lt;br /&gt;
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[5]周萱. 《中国共产党怎样解决民族问题》（节选）中韩翻译报告[D].青岛大学,2017.&lt;br /&gt;
&lt;br /&gt;
[6]张利军. 《教学的游戏性研究》的汉日翻译实践报告[D].广西师范大学,2019.&lt;br /&gt;
&lt;br /&gt;
[7]栾亚琼. 《2015年山东省政府工作报告》汉日翻译实践报告[D].曲阜师范大学,2016.&lt;br /&gt;
&lt;br /&gt;
[8]占丽华. 源流与演变—日本地方公文书馆发展路径研究[D].山东大学,2020.&lt;br /&gt;
&lt;br /&gt;
[9]任清萍. 功能翻译理论视角下政府工作报告日译研究[D].外交学院,2020.&lt;br /&gt;
&lt;br /&gt;
[10]孙慧. 产业竞争力与区域经济增长[D].苏州大学,2006.&lt;br /&gt;
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--[[User:Wu Kai|Wu Kai]] ([[User talk:Wu Kai|talk]]) 04:45, 2 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
==The Translation Process and Methods of Translating English Long Sentences	周艺文	Zhou Yiwen==&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
===Abstract===&lt;br /&gt;
&lt;br /&gt;
The translation of long English sentences is a difficult point in English-Chinese translation. It is very important to understand the features of sentence structure and the translation process and methods of long English sentences. This paper studies the translation process and methods of English long sentences through the comparative study of English and Chinese language characteristics and specific English-Chinese translation analysis. This paper is divided into five parts. The first part introduces the characteristics of English long sentences. The second part contrasts  the language features of English with that of Chinese, which can be divided into three aspects: English sentences emphasize hypotaxis, Chinese sentences emphasize parataxis; English is a static language, while Chinese is a dynamic language; English prefers passive voice while Chinese prefers active voice. The third part expounds the characteristics of translating English long sentences, mainly from three aspects: cross-cultural communication, emphasis on form and clear language logic. The fourth part mainly analyzes the process of translating English long sentences through some examples. In the end, five translation methods are discussed, which are liner translation, reorganization translation, splitting translation, synthesis and insertion.&lt;br /&gt;
&lt;br /&gt;
===Key words===&lt;br /&gt;
&lt;br /&gt;
English long sentences; language characteristics; translation process; translation methods&lt;br /&gt;
&lt;br /&gt;
===摘要===&lt;br /&gt;
&lt;br /&gt;
英语长句翻译是英汉翻译的难点，了解英语长句的句子结构特点和翻译过程及方法在英汉翻译中十分重要。本文通过对比研究英汉语言特点及具体英汉译本分析对英语长句翻译过程和方法进行研究。本文分为五个部分，第一部分介绍了英语长句的特点。第二部分从英汉对比的角度剖析了英汉两种语言在句子结构上的差异，分为三个方面，即英语句子重形合，汉语句子重意合; 英语是静态语言，汉语是动态语言; 英语喜用被动语态，汉语喜用主动语态。第三部分阐述了翻译英语长句的特点，主要有跨文化交际性、重视形式以及明确逻辑关系三个方面。第四部分主要通过具体的句子分析英语长句的翻译步骤及过程。最后探讨了英语长句汉译时采用的五种翻译方法，即顺序法、变序法、分译法、综合法和插入法。&lt;br /&gt;
&lt;br /&gt;
===关键词===&lt;br /&gt;
&lt;br /&gt;
英语长句子；语言特点；翻译过程；翻译方法&lt;br /&gt;
&lt;br /&gt;
===1.Introduction===&lt;br /&gt;
&lt;br /&gt;
===2.Characteristics of English Long Sentences===&lt;br /&gt;
&lt;br /&gt;
English and Chinese have many similarities in basic sentence structure. The main elements of sentence structure mainly include subject, predicate, object, predicative, attribute, adverbial modifier, and complement. In English, the sentence emphasizes the form and the sentence has a tree structure, and the Chinese sentence emphasizes the parataxis, and the sentence has a bamboo structure.&lt;br /&gt;
The main characteristics of English long and difficult sentences are as follows:&lt;br /&gt;
(1) There are much more words, more complex sentence patterns, and more modifiers in these sense.&lt;br /&gt;
(2) Compared with simple sentences, long and difficult sentences often use inversion structure, and there are phenomena of omission and word order inversion.&lt;br /&gt;
(3) The reason for the formation of long and difficult sentences is that there are many long and difficult sentences with coordinate components, phrases, additional components, clauses, and coordinate sentences.&lt;br /&gt;
(4) The language structure of long and difficult sentences is relatively complex and has a strong sense of hierarchy.&lt;br /&gt;
&lt;br /&gt;
===3.Differences in sentence structure between English and Chinese===&lt;br /&gt;
&lt;br /&gt;
English and Chinese belong to different language systems, the former belongs to Indo-European language family, the latter belongs to Sino-Tibetan language family, so there are significant differences in syntax between them. In addition, the different cultures of English and Chinese will inevitably lead to the difference in sentence structure between the two languages, because language is the carrier and medium of culture. &lt;br /&gt;
&lt;br /&gt;
===3.1Hypotaxis vs. parataxis===&lt;br /&gt;
&lt;br /&gt;
English syntactic structure is hypotaxis while Chinese syntactic structure is parataxis. Hypotaxis is that the words or clauses in a sentence are connected together by means of linguistic formal means (such as using related words) to express grammatical meaning and logical relations(Jia 2002, 101). English emphasizes explicit connection, emphasizes form and structure, and often helps with various means of connection. As a result, the sentence structure is rigorous and lacks elasticity. English sentences are often made with relatives (who, whom, whose, which, that, where, when, etc.), conjunctions (but, however, unless, because, since, so, and, if, etc. ), preposition (in, about, without, throughout, according to, along with, etc.), and other connective means. Parataxis means that words and clauses are not connected by means of linguistic forms, and the grammatical meaning and logical relation in a sentence are expressed by the meaning of words and clauses(Jia 2002, 101). Chinese sentences are made with little or no means of formal connection, with emphasis on invisible coherence, function and meaning, so the sentence structure is loose and flexible.&lt;br /&gt;
Example 1: &lt;br /&gt;
Individuals develop within themselves an ability to persevere and tolerate things that are unexpected or bad, difficult to get through. &lt;br /&gt;
人们在内心修炼一种能力，在面对意外、不幸或者挑战时也能继续坚持和忍耐。 &lt;br /&gt;
In this sentence, “that...to get through” is a attributive clause to modify “things”, which is a kind of hypotaxis. The translation is not limited to the original sentence structure but follows Chinese expression habit, so the language is very smooth.&lt;br /&gt;
&lt;br /&gt;
==3.2Static language vs. dynamic language==&lt;br /&gt;
&lt;br /&gt;
==3.3 Passive voice vs. active voice==&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
==4.1Cross-cultural communication==&lt;br /&gt;
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==4.2Attaching great importance to form==&lt;br /&gt;
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==4.3Clearing language logic==&lt;br /&gt;
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===5.The process of translating long English sentences===&lt;br /&gt;
&lt;br /&gt;
===6.Methods of translating English long sentences===&lt;br /&gt;
&lt;br /&gt;
==6.1Liner translation==&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
==6.2Reorganization translation=&lt;br /&gt;
&lt;br /&gt;
==6.3Splitting translation==&lt;br /&gt;
&lt;br /&gt;
==6.4Synthesis==&lt;br /&gt;
&lt;br /&gt;
==6.5Insertion==&lt;br /&gt;
&lt;br /&gt;
===Conclusion===&lt;br /&gt;
&lt;br /&gt;
In the practice of the translation of long and difficult sentences, there is a higher requirement for translators’ English comprehension and expression ability. For the translation of long and difficult sentences in English, the translator should be familiar with the sentence structure and main ideas of long and difficult sentences in English, and make clear the main logical relationship with the content of the original text, so as to effectively analyze the structure of long and difficult sentences in English and choose the correct way of translation. In the specific translation practice, translators should, on the basis of understanding the grammatical features of English, choose reasonable translation methods and skills so as to achieve the accurate translation of long and difficult Sentences. Translation activities require a high level of English reading and comprehension, and the effective translation of long and difficult sentences requires translators to constantly improve their ability to summarize, update their English translation skills, and realize the summary and innovation of long and difficult sentences.&lt;br /&gt;
&lt;br /&gt;
===Bibliography===&lt;br /&gt;
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==Chinese-English Translation of News Headlines From the Perspective of Skopos Theory	张维虹	Zhang Weihong No.202070080648 英语口译 ==&lt;br /&gt;
&lt;br /&gt;
===Abstract===&lt;br /&gt;
In recent years, with the rapid development of the society and economy, the exchanges between China and the rest of the world are increasingly frequent. In this process, massive information is transmitted through the translation of news reports. As the eye of news, the translation quality of news headlines directly affects the effectiveness of news dissemination. Under the guidance of Skopos Theory of German Functionalist Translation School, this paper analyzes the characteristics of Chinese and English news headlines, illustrates the functions of news headlines and the translation criteria of news headlines, and puts forward translation strategies for Chinese-English news headlines, aiming at restoring the concise feature of news and realizing the purpose of news dissemination and social value.&lt;br /&gt;
&lt;br /&gt;
===key words===&lt;br /&gt;
News headlines translation; Skopos theory; translation strategies&lt;br /&gt;
&lt;br /&gt;
===摘要===&lt;br /&gt;
近年来，中国社会经济飞速发展，与外界交流日趋频繁，在此过程中大量信息传递需通过新闻报道翻译完成。而新闻标题作为新闻的眼睛，其翻译质量直接影响新闻传播的有效性。本文以德国功能翻译学派目的论为指导，分析中英新闻标题的特点，阐述新闻标题功能以及新闻标题翻译准则，并提出汉译英翻译策略，旨在还原新闻简明本色从而实现新闻传播目的和社会价值。&lt;br /&gt;
&lt;br /&gt;
===关键字===&lt;br /&gt;
新闻标题翻译；目的论；翻译策略&lt;br /&gt;
&lt;br /&gt;
===1. Introduction===&lt;br /&gt;
With the further development of world economy and culture, news is playing an increasingly important role in people's lives. We read news through TV, the Internet or newspapers and magazines to learn about current events. But we are confused by thousands of news and the information they carry, because we are all exposed to a world where the massive information is surrounding. There is no doubt that because we can read too much news, some news has been ignored. Therefore, a proper headline is the most important element which can be regarded as the only way to attract the target readers. Headlines are compared to the eyes of news reports, in which a clear, concise information must be contained to generate interests. (Hu Shuzhong, 2012: 199) That is to say, headlines are always vivid and eye-catching in newspapers, in order to attract readers and provide reading guidance. So, the translator must learn how to effectively screen and reconstruct the information in the Chinese-English translation of news headlines, so as to make it attractive to the target language readers. &lt;br /&gt;
&lt;br /&gt;
In addition, news translation is playing a significant role in the promotion of cross-cultural communication and mutual understanding as China are having more and more exchanges with the rest of the world with the rapid development of society and economy, the implementation of reform and opening-up and “go global” strategy. As the soul of news, headline and its translation are what the translator should pay attention to. &lt;br /&gt;
&lt;br /&gt;
There are lots of researches about C-E news translation and news headline translation. However, researches on Chinese-English news headlines translation are very few. According to statistics from CNKI, there are only two pages of researches on Chinese – English news headlines translation. Therefore, this paper is of great importance. &lt;br /&gt;
As functions for headlines are obvious, this paper takes Skopos as the theory guide to conduct the research. First, the paper will discuss the features and functions of news headlines. Then the paper tells some translation methods of Chinese-English news headlines from a perspective of Skopos Theory. At last, it draws a conclusion.&lt;br /&gt;
&lt;br /&gt;
===2. Overview of News Headlines===&lt;br /&gt;
&lt;br /&gt;
==== 2.1 Definition of news and news headlines==== &lt;br /&gt;
&lt;br /&gt;
News refers to the timeliest report of events that have just happened, are happening, or are going to happen and it is born to meet the need of propagation and communication of information in human society. (Xu Mingwu, 2003: 4) This definition prescribes the features and functions of news. News should be timely and propagate ideas and express information. &lt;br /&gt;
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News headlines are compared to the “eye” of news. According to the dictionary, “A head of a newspaper story or article, usually printed in large type and devised to summarize, give essential information about, or interest readers in reading the story or article that follows.” (Webster’s Third New International Dictionary, 1961: 1042) From the definition, we can see that news headlines tells the essence of the news; the function is to attract readers’ interests. The paper will discuss features and functions of news headlines in detail in the following part. &lt;br /&gt;
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====2.2 Features of news headlines==== &lt;br /&gt;
As a text genre, news headlines have their own features. Chinese and English news headlines share much in common, though they differ from each other in certain areas. Understandings about the differences and similarities of Chinese and English news headlines are important for translators. So, this chapter will analyze features of news headlines from the following aspects: grammar, rhetoric, culture and structure. &lt;br /&gt;
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===== 2.2.1 Grammatical features===== &lt;br /&gt;
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2.2.1.1 Lexical Feature&lt;br /&gt;
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a. Midget words&lt;br /&gt;
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A good headline must be clear to attract readers and be strong to save space. In other words, the headline should convey the intends of the news without confusion or ambiguity; the words should be powerful to persuade the headline consumer to read on. Theses two requirements determine the prevalence of powerful, or strong worlds – mostly verbs and nouns – in headlines. (Shen Jinbo, 1989:52) That is to say, powerful words are short, simple and concrete, for extensive or abstractive words can only lead to dullness and confusion. There are no such powerful words in Chinese, but Chinese headlines, on the premise of conveying the exact meanings also put emphasis on the shortness of words. &lt;br /&gt;
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[1]: Dancing gets Olympic status (China Daily Dec 9, 2020)&lt;br /&gt;
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[2]: 霹雳舞成巴黎奥运项目 (China Daily Dec 9, 2020)&lt;br /&gt;
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b. Numeral words&lt;br /&gt;
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Numbers are used in news headlines to highlight the key information, especially in economic and sports news. &lt;br /&gt;
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[3]: Pink diamond sold for $26.6M (China Daily Nov 23, 2020) &lt;br /&gt;
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[4]: 外储余额创4年多新高(China Daily Dec 9, 2020)&lt;br /&gt;
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c. Abbreviations &lt;br /&gt;
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The limitation of page space leads to the frequent use of abbreviation in headlines. English abbreviations, according to Lu Guoqiang (陆国强, 1984), consist of two major types: lipped words and initialisms or acronyms. The common types of abbreviation found in Chinese headlines, nevertheless, are mostly number-assisted summarizing, blending and subsituting. (Chen Lizhao, 2002:36)&lt;br /&gt;
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[5]: Intl student enrollment falls (China Daily, Nov 19, 2020)&lt;br /&gt;
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[6]: 第二届“一带一路”国际合作高峰论坛举行圆桌峰会 (People’s Daily, April 28, 2019) &lt;br /&gt;
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d. Vogue words &lt;br /&gt;
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“Freshness” is the life of news, which lies in the contents of the report. As the gist of the news, headline would certainly revel some of the new ideas or hot topics in order to catch the reader’s attention. Therefore, vogue words are frequently seen in headlines. &lt;br /&gt;
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[7]: 'Cooling-off period' added (China Daily Dec 8, 2020)&lt;br /&gt;
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[8]: “离婚冷静期”新规将施行 (China Daily Dec 8, 2020)&lt;br /&gt;
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2.2.1.2 Syntactical features&lt;br /&gt;
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a. Omission&lt;br /&gt;
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Omission appears in almost every headline. Eliminating the meaningless words can shorten the length of a headline and highlight the core information. In English headlines, all articles and some auxiliary verbs, lexical verbs, pronouns, and the subject and the predicate are often omitted, as they weigh little in giving information. Chinese headlines also omit those unimportant words, including individual measures, conjunctions, and auxiliary words as well.  &lt;br /&gt;
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[9] Biden declares victory (China Daily, Nov 10, 2020)&lt;br /&gt;
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[10] 研究：医患“互粉”对治疗不利 (China Daily, Nov 25, 2014)&lt;br /&gt;
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b. Voice&lt;br /&gt;
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Active voice is frequently adopted in news headlines. &lt;br /&gt;
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[11] UK approves Pfizer vaccine (China Daily Dec 4, 2020)&lt;br /&gt;
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[12]英国批准辉瑞新冠疫苗 (China Daily Dec 4, 2020)&lt;br /&gt;
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[13] Biden unveils economic team (China Daily Dec 2, 2020)&lt;br /&gt;
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[14]拜登拟提名耶伦任财长 (China Daily Dec 2, 2020)&lt;br /&gt;
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c. Tense&lt;br /&gt;
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One of distinct feature of news headlines, particularly in English news headlines, is the wide use of present tense, which save the space of “-ed” in the past tense. But sometimes past tense is used to indicate the timeline. While Chinese news headlines use different tenses, as they are not revealed by the different forms of verbs as in English. So, the auxiliary verbs or adverbs in Chinese news headlines tells the time of happening from. &lt;br /&gt;
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[15] COVID vaccine distribution (China Daily Dec 1, 2020)&lt;br /&gt;
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[16] 英美即将启动疫苗分配 (China Daily Dec 1, 2020)&lt;br /&gt;
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2.2.2 Rhetorical Features &lt;br /&gt;
The usual figures of speech found in headlines, English and Chinese alike, includes metaphor, simile, pun, alliteration and rhyme, repetition, allusion etc... They aimed at creating musical sound as well as vivid images to provide spiritual enjoyment to the readers. &lt;br /&gt;
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[1] 苹果发新机加入5G战局 (metaphor) (China Daily Oct 16, 2020) &lt;br /&gt;
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[2] 美国加州火灾蔓延 居民仿佛置身火星(simile) &lt;br /&gt;
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[3] This is what the Bay Area's skies looked like during the wildfires (simile) (China Daily Oct 16, 2020)&lt;br /&gt;
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===== 2.2.3 Cultural Features=====&lt;br /&gt;
Language is the carrier of culture. News, as a practical text genre, also bears cultural characteristics of a certain country or nation. These culture elements also appear in news headlines,&lt;br /&gt;
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=====2.2.4 Structural features =====&lt;br /&gt;
To achieve headline’s peculiarity and simplicity, some punctuation marks are used in English news headlines, which are not often used in Chinese news headlines. Though differences exist in this area, the pursuit of using punctuation marks in the same – to make the news headlines clear and easily perceptible. The usual rule for headlines is that the fewer punctuation marks, the better. &lt;br /&gt;
[1] 世界精神卫生日：超半数英国员工最担心就业问题&lt;br /&gt;
[2] World Mental Health Day: More than half of UK workers worry about finding a job&lt;br /&gt;
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====2.3 Functions of news headlines ====&lt;br /&gt;
According to the theory of text-style function by Peter Newmark, new headlines fulfill the following four functions: informative function, expressive function, aesthetic function and vocative function, which will be illustrated in this section. &lt;br /&gt;
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=====2.3.1informative Function =====&lt;br /&gt;
“The core of the informative function of language is external situation, the facts of a topic, reality outside language, including ideas or theories” (Newmark 2001: 40) That is to say, news headline tells readers the basic information and facts of the news. &lt;br /&gt;
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===2.3.2 Expressive Function ===&lt;br /&gt;
“The core of the expressive function is the mind of the speaker, the writer, the originator of the utterance. He uses the utterance to express his feelings irrespective of any response” (Newmark 2001: 39) The expressive function of a news headline is to reveal the writer’s or the editor’s attitude toward the news by using subjective words or rhetoric devices. &lt;br /&gt;
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=====2.3.3 aesthetic function=====&lt;br /&gt;
	“This is language designed to please the sense, firstly through its actual or imagined sound, and secondly through its metaphors. The rhythm, balance and contrast of sentences, clauses and words also play their part. (Newmark 2001: 42) As the eye of the news, headlines use elegant words, abbreviations, punctuations and so on to strengthen its aesthetic function. &lt;br /&gt;
=====2.3.4 vocative function=====&lt;br /&gt;
	The vocative function is reader-oriented. Here, the term “vocative” is interpreted as “calling upon” the readership to act, think or feel, in fact to “react” in the way intended by the text. (Newmark 2001: 41) Vocative words in news headlines can attract the readers to read the whole article, and in certain circumstances call upon the readers to take some actions after reading the news.&lt;br /&gt;
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===3. Skopos Theory===&lt;br /&gt;
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As has been mentioned in the last section, news headlines and their translation are function-oriented. The fundamental function or the “Skopos” is to attract the readers. Therefore, in this section, we will discuss Skopos theory and its three rules. &lt;br /&gt;
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====3.1 Development of the Skopos Theory====&lt;br /&gt;
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Skopos Theory was initially proposed by Katherina Reiss in her 1971 book Possibilities and Limits of Translation Criticism, which formed an early theory. According to Reiss, the ideal translation would be “one in which the aim in the target language is equivalence as regards the conceptual content, linguistic form and communicative function of a source language text” (Reiss 1977, translated in 1989: 112). Even though Reiss takes the concept of equivalence as the main focus of her analysis, she realized that in some cases, equivalence is impossible and, in some situation, not even desired. Therefore, she indicated that when we translate, we should in view of the function of the text. The idea of text typology including content-focused, form-focused and appeal-focused text put forward by Reiss, is another contribution of her to the Skopos theory. It is supposed to be the starting point for Skopos theory. &lt;br /&gt;
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Later, Hans Vermeer, the student of Reiss, made a major breakthrough in the limitations of equivalent theory and laid the theoretical foundation for it. He first mentioned the basic principles of Skopos Theory in 1978. He and Reiss jointly published Groundwork for a General Theory of Translation in 1984. In this book, Vermeer argues that translation should be seen as a fundamental action of transformation of the source text. As all actions are generally purposeful, translation also has purposes, which could have influences over the culture of the target language. (Groundwork for a General Theory of Translation, 1984) For Vermeer, translation cannot be treated as one-to-one transfer between source language and target language. In his research, on the basis of the source text, translation is a form of action. Some of other forms of translational action may relate to actions which giving like a consultant. Every translation is directed at an intended audience, since to translate means “to produce a text in a target setting for a target purpose and target addresses in target circumstances” (Vermeer, 1987a: 29). Vermeer’s Skopos Theory serves as the foundation for his general theory of translation. &lt;br /&gt;
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Later, two other German translators, Christiane Nord and Justa Holz Manttari, enriched and refined the Skopos theory. Mantarri’s theory is based on the rules of action theory and is intended to contain all forms of intercultural transmission, as well as those source or target texts which do not involved. (Nord, 2001: 12-13) Her theory reflects the role of the participants in the process of translation and the environment in which the process takes place. Nord, as the latest batch of German researchers, summarized the “Fidelity rule” and applied the Skopos theory extensively in the study of translation from multiple perspectives and related fields. Besides, Skopos theory has three principal rules which will be illustrated in the following section. &lt;br /&gt;
In conclusion, Reiss laid the foundation of Skopos theory. Vermeer, who summarized and outlined the rules to be followed in the process of Skopos theory in practice, became the founding father of the theory. Manttari focused on the specific issues of translation behavior and context in the translation process, while Nord made many contributions to the refinement of the theory and greatly expanded the practical application of this theory. &lt;br /&gt;
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==== 3.2 Three Rules of Skopos theory ==== &lt;br /&gt;
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There are three significant rules of Skopos theory including Skopos rule, coherence rule and fidelity rule, which will be discussed respectively as follows.&lt;br /&gt;
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===== 3.2.1 Skopos Rule=====&lt;br /&gt;
The Skopos rule is the top-ranking rule for any translation. That is to say, Skopos determines any translation action. “The translators should finish the task in a way that enables your translation to function in the situation in which it is used and with the people who want to use it and precisely in the way they want it to function. All in all, the end justifies the means.” (Nord, 2001:29)&lt;br /&gt;
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Translating is an international interaction as it is just said, and the Skopos rule has stable position after it appeared. In Vermeer’s term, intention is thought as an “aim oriented plan of action” (Vermeer, 1983:41) &lt;br /&gt;
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According to Vermeer, Skopos rule is that “Each text is produced for a given purpose and should serve this purpose. The Skopos rule thus reads as follows: translate in a way that enables your text to function in the situation in which it is used and with the people who want to use it and precisely in the way they want it to function.” (Vermeer, 1989a: 20, translated by Luo Dan) Skpos theory is the foundation for Chinese-English news headline translation model. All efforts made are intended for the Skopos of news headline translation because “the end justifies the means” &lt;br /&gt;
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=====3.2.2 Coherence Rule=====&lt;br /&gt;
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The coherence rule, another important rule of the Skpos theory indicates that “the target text must be interpretable as coherent with the target text receiver’s situation”. (Reiss and Vermeer, 1984: 113) That is to say that the target text must be translated in a way that it is clearly understood by the target readers, taking consideration of their existing knowledge and situation. &lt;br /&gt;
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===== 3.2.3 Fidelity Rule =====&lt;br /&gt;
Apart from intratextual coherence, there is intertextual coherence which refers to the relationship between the target text and the source text, which is presumed as a further principle, fidelity rule. The fidelity rule by Vermeer indicates that there have to be coherence between the target text and the source text. This means that target text should be faithful to its source text in a certain level of features, such as grammatical features, special collocations and rhetorical devices, or to some degree between a complete imitation and deviation. In accordance with the Skopos theory, the source text is no longer considered as the “sacred original”, and it is up to the translator to determine the aspect and the degree of the fidelity. In Vermeer’s opinion, any text is just an offer of information, and thus, any target text is an offer of information formulated by a translator in a target culture and language about an offer of information formulated by someone else in the source culture and language. (Nord 2001: 32) &lt;br /&gt;
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Three principal rules of Skopos theory have been illustrated as above. &lt;br /&gt;
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As for the relationship between the three rules, Reiss and Vermeer believe that the fidelity rule is subordinate to the coherence rule and both belong to the Skopos rule. If the skopos of the target text demands a change of function, the fidelity with the source text will no longer be taken as the only standard, but adequacy and appropriateness will be supplemented as the standard with regard to the skopos (Reiss and Vermeer, 1984: 139) &lt;br /&gt;
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====3.3 Summary ====&lt;br /&gt;
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This chapter introduced the development of Skopos theory and its three main principles, which intends to lay a theoretical foundation for Chinese-English news headlines translation. The function and skopos of news headline is to convey information and attract readers. In light of these, C-E news headlines translation, guided by Skopos theory, is a faithful re-creation.&lt;br /&gt;
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===4. Application of Skopos theory in Chinese-English Translation===&lt;br /&gt;
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As mentioned in the last chapter, Skopos theory specifies the purpose of translation. As far as the author concerned, the skopos of Chinese headline translation is to transfer information of latest events happened in China to English readers. All sorts of translation strategies and techniques can be adopted under the guidance of the skopos theory. Based on the dominant informative function of news headlines, new information should be transferred with fidelity and clarity. Moreover, considering the aesthetical function of headlines, the source text should be aesthetically handled to the target readers. This chapter will explain how skopos theory in applied in the translation of Chinese-English news headlines. Before that, the criteria of C-E news headlines translation will be discussed.&lt;br /&gt;
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====4.1 Criteria of News headline translation ====&lt;br /&gt;
According to the basis of translation criteria, the author discussed four criteria for Chinese news headline translation, including fidelity, readability, adaptability and rapidity. &lt;br /&gt;
===== 4.1.1Fidelity =====&lt;br /&gt;
Fidelity means to accurately convey the message of the source text. The translation of news headlines from Chinese to English is a kind of intercultural communication in which messages should be transferred objectively and accurately by reflecting the reality. For a translator, the first and foremost thing is to be loyal to the content of the source language and convey it in a precise way, particularly for the translation of news headlines. Considering this point of view, fidelity can be acted as a main rule for translating news headlines. &lt;br /&gt;
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=====4.1.2 Readability =====&lt;br /&gt;
Readability means the translation version is smooth for reading. This means, the translation should be easy for readers or audiences to read and understand. According to a survey on Beijing citizens’ newspaper reading and willingness by Chinese People’s university, vividness and readability ranked at the top of reasons for buying and reading newspaper. Therefore, translation of news headlines should consider about readability. If the rule of fidelity is viewed from the perspective of translation content, then the rule of readability can be treated as put forward from the perspective of translation form. The primary aim of news headline is to arouse readers interests as much as possible. &lt;br /&gt;
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=====4.1.3Adaptability =====&lt;br /&gt;
Adaptability means that the translated headline should be in an appropriate writing pattern related to news language. In other words, the style of target language and the source language should remain the same. Style is considered to be an essential and important portion in translation. Translation of news headlines is without exception. So, the translator must take serious consideration to the grammar and diction of English, and make sure that the version of new style is suitable when translating a Chinese news headline. &lt;br /&gt;
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===== 4.1.4Rapidity =====&lt;br /&gt;
Rapidity as the fourth request of news headline translation is the most significant one. It implies that the news headline translation should be carried out and complete at a given period of time without any delay. The news is more valuable if the time between happening and reporting is shorter. So, timeliness of news determines the rapidity of news translation, especially the translation of news headlines. &lt;br /&gt;
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====4.2 Strategies of E-C News Headlines Translation ====&lt;br /&gt;
News headlines is considered to be the soul of the news. Since Chinese and English readers are different in thinking patterns, education and cultural backgrounds, some proper translation methods should be taken into consideration to enable the readers to understand the news headlines easily. Under the guidance of Skopos theory, translations strategies including literal translation, free translation, amplification, omission, amplification, restructuring and adaptation are applied in news headlines translation. &lt;br /&gt;
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=====4.2.1 Literal translation=====&lt;br /&gt;
Literal translation, also called word-for-word translation, is the basic approach used in Chinese news headline translation, since it can retain both the form and contents of the original to the maximum. Here are some examples: &lt;br /&gt;
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[1] 疫情致牛仔裤销量骤减&lt;br /&gt;
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Pandemic leads to jeans sales slump&lt;br /&gt;
(China Daily Aug 10, 2020)&lt;br /&gt;
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The headline introduces that Covid-19 pandemic has led to jeans sales slump. “疫情”is translated into “Pandemic”, “牛仔裤销量”is translated to “jeans sales”, and “骤减” is translated into “slump”, which is exactly a literal translation. There’s no change of the form or style between the source text and the target text. &lt;br /&gt;
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[2] 新冠抗原检测试剂获批&lt;br /&gt;
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COVID antigen tests approved&lt;br /&gt;
(China Daily Nov 10, 2020)&lt;br /&gt;
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This example is a typical word-for-word translation. “新冠”, an abbreviation for “新冠病毒” is translated to “COVID”, short for coronavirus. “抗原检测” is translated into “antigen tests”, “获批”is translated to “approved”. We can see that in this example, the form and style and even the tense and voice of the source text and target text are the same. So, it is literal translation. &lt;br /&gt;
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[3] 成都将建首个大熊猫主题公园&lt;br /&gt;
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Chengdu Set to Get Unique Panda-themed Park &lt;br /&gt;
(China Daily, Jan 17, 2018) &lt;br /&gt;
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This is a literal translation, remaining the original form and style of the Chinese version. It uses midget words “set” and “get”, taking consideration of the style of English news headlines, in order to attract readers from different walks of life. At the same time, the Chinese noun “大熊猫主题” is converted to the English adjective “Panda-themed”, which is very concise and accurate.&lt;br /&gt;
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=====4.2.2 Free translation =====&lt;br /&gt;
Free translation is applied when the news headline of the source text is obscure and difficult to understand or there’s no equivalent words in the target language. Sometimes it is preferred because it adapts the original headlines to the target language. &lt;br /&gt;
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[4] 不要人夸颜色好，只留清气满乾坤&lt;br /&gt;
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Xi: China Welcomes Constructive Suggestions&lt;br /&gt;
(China Daily, Oct 25, 2017) &lt;br /&gt;
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The source text is a poem, cited by President Xi at the press conference of 19th CPC Central Committee Political Bureau to hear constructive suggestions from people both at home and abroad. The poem, Ink Plum written by a famous Chinese ancient poet, Wang Mian, carries rich cultural connotations and shows cultural confidence of China. If it is directly translated as “Not angling for compliments, we should be content that integrity fills the universe”, it will cause confusion to the target readers. Obviously, such a mechanical translation will discourage the reader from understanding the meaning of the poem. Therefore, the translation of this news headline should be based on the content of the news – Xi: Welcomes Constructive Suggestions. So, it is a typical example of free translation. &lt;br /&gt;
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[5]姜瑜：外资应凭实力在华竞争&lt;br /&gt;
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Foreign investors told to sharpen edge&lt;br /&gt;
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This example takes consideration of the reading habits and backgrounds of the target readers. “凭实力竞争” is translated to “sharpen one’s edge”, which is more understandable. “姜瑜”(Jiang Yu”, a heroic character in Chinese history is omitted. So, it is a free translation.&lt;br /&gt;
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=====4.2.3 Amplification =====&lt;br /&gt;
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Most of news headlines carry certain backgrounds, which are familiar to the source language readers, but alien to those who read the target language. So, translators have the responsibility to turn information rich in cultural connotation into something understandable to target readers. This is particularly significant in translating news headlines from the perspective of Skopos theory, because the purpose of such translating is to convey the information useful to target readers. As mentioned in the chapter before, Chinese news headlines usually carry rich cultural contents. Therefore, amplification is frequently used in Chines-English news headlines translation. &lt;br /&gt;
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[6] 水陆两栖飞机AG600首飞成功&lt;br /&gt;
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China’s First Large Amphibious Aircraft Makes a Successful Maiden Flight&lt;br /&gt;
(China Daily, Dec 25, 2018) &lt;br /&gt;
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Amplification is used in this translation. AG600, as called Kun Lun600, is the world’s largest amphibious aircraft developed by China. The translator adds a modifier “China’s first large” as a supplement of background to better inform the targe readers. &lt;br /&gt;
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[7] 共享单车来到“世界屋脊”&lt;br /&gt;
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Shared Bikes Climb to the “Roof of the World” (Tibet)&lt;br /&gt;
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“Roof of the World” is confusing for some target readers, so the translator adds “(Tibet)” at the end of the sentence to avoid ambiguity.&lt;br /&gt;
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=====4.2.4 Omission =====&lt;br /&gt;
Omission is a translation method to make the news headline simple and concise by eliminating the redundant verbs, pronouns, and other words in the source text. As Chinese usually use unnecessary modifiers, this method can highlight the main point of the news. &lt;br /&gt;
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[8] 对外汉语专家齐聚京城 共议国际汉语教师缺口问题&lt;br /&gt;
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Beijing forum addresses Chinese teacher shortage&lt;br /&gt;
(China.org.cn, Jul 21, 2021) &lt;br /&gt;
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In this example, the first sentence is translated into a phrase, so as to shorten the length of the news headline and more it more concise. What’s more, redundant words like “齐聚”, “共议” “问题” are omitted to point out main contents of the news. &lt;br /&gt;
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[9] '大流行病'当选年度词汇&lt;br /&gt;
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Word of the year: pandemic&lt;br /&gt;
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(China Daily, Dec 12, 2020)&lt;br /&gt;
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In the example, the verb “当选”(elected) in the source text is eliminated to save space.&lt;br /&gt;
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=====4.2.5 Restructuring =====&lt;br /&gt;
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Because the literal meaning the sentence does not work in the situation of the utterance, the translators have to find the vague information and convey it to the target readers. In news headline translation, special information needs to restructure. &lt;br /&gt;
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Restructuring refers to the rearrange of the words in logic order to make the translation more consistent and coherent. The target text should be acceptable and meaningful in a sense that it is coherent with the situation in which it is received. Once translated, the translator revises the order and rearranges all words into a perfect sentence. In doing so, the news is more logical and tuned with the habit of native readers’ thinking and reading. It is frequently used in translating news headlines from Chinese into English. &lt;br /&gt;
&lt;br /&gt;
[10] 疫情期间夫妻关系改善&lt;br /&gt;
&lt;br /&gt;
Marriages benefit from lockdown&lt;br /&gt;
(China Daily, Nov 23, 2020)&lt;br /&gt;
&lt;br /&gt;
The English version changes the structure of the Chinese news headline, and adds a preposition to show the logic of this sentence. By restructuring, English readers can better understand this news headline. &lt;br /&gt;
	&lt;br /&gt;
====4.2.6 Adaptation ====&lt;br /&gt;
&lt;br /&gt;
Adaptation is a translation method, which refers to selecting, adding, deleting and constructing cautiously instead of simply translating one word to another word. In order to make the translated version more proper to a certain readers or audiences, adaptation always make some essential changes for a special aim. Specific to C-E news headlines translation, the translator can take the Chinese news headlines as the basis and refer to the key news facts of the report, in order to offer as much information as possible to the target readers. &lt;br /&gt;
&lt;br /&gt;
[11] 高考将不再是 “一考定终身”&lt;br /&gt;
&lt;br /&gt;
Changes to Uni Eligibility&lt;br /&gt;
（People’s Daily, 2014）&lt;br /&gt;
 &lt;br /&gt;
In this example, “高考” refers to the National College Entrance Examination in China, which is an expression with Chinese characteristics. Therefore, based on the main idea of the news, the translator translated it into “Uni Eligibility”&lt;br /&gt;
	&lt;br /&gt;
[12] 中国女性主导财务决策&lt;br /&gt;
&lt;br /&gt;
'She' to power wealth management&lt;br /&gt;
(China Daily, Nov 23, 2020)&lt;br /&gt;
&lt;br /&gt;
Adaptation is used in this translation. According to contents of the news, women in different countries are mentioned. So, instead of translating “中国女性” into Chinese women, the English version adapted it into “she”, which adds interest and fun to the headline and thus can attract more readers.&lt;br /&gt;
&lt;br /&gt;
===4.3 Summary===&lt;br /&gt;
&lt;br /&gt;
===5. Conclusion===&lt;br /&gt;
News translation is a cultural transformation with certain purposes(skopos). While conveying the connotation of the information, news translation must also take into account the reception habits of readers into the target language. The purpose-oriented approach helps translators to break the language barriers in translation, and helps to convey culture and facilitate communication. The purposes and functions of translation determine the translation methods. In translation, the standard of translation should not be how to be faithful to the source text, to highlight the main points of the news and attract English readers. Therefore, there is more to be explored when applying the Skopos theory to Chinese-English news headlines.&lt;br /&gt;
===References===&lt;br /&gt;
&lt;br /&gt;
*Newmark, P.A Textbook of Translation[M]. Shanghai: Shanghai Foreign Language Education Press, 2001: 40-42.&lt;br /&gt;
&lt;br /&gt;
*Nord, Christiane. Translating as a Purposeful Activity [M]. Shanghai：Shanghai Foreign Language Education Press, 2001.&lt;br /&gt;
&lt;br /&gt;
*Vermeer, H. J. Skopos and Translationsauftrag – Aufsatze [M]. Second Edition. Heidelberg: University, 1989. &lt;br /&gt;
&lt;br /&gt;
*Vermeer, H. J. Skopos and Translation Commission [M]. Heidelberg: University, 1989.&lt;br /&gt;
&lt;br /&gt;
*Munday, J. Introducing Translation Studies: Theories and Applications[M]. London and New York: Routledge, 2001: 77-78.&lt;br /&gt;
&lt;br /&gt;
*Nida, E. A. Language, Culture and Translating[M]. Shanghai: Shanghai Foreign Language Education Press, 2001: 50-51. &lt;br /&gt;
&lt;br /&gt;
* Nida, E. A. Language and Culture—Contexts in Translating[M]. Shanghai: Shanghai Foreign Language Education Press, 2001: 38-41.&lt;br /&gt;
&lt;br /&gt;
* Schudson, M. The Power of News [M]. Cambridge, Mass: Harvard University press, 1995&lt;br /&gt;
&lt;br /&gt;
* 胡曙中. 语篇语言学导论[M]. 上海: 上海外语教育出版社, 2012.&lt;br /&gt;
&lt;br /&gt;
* 许明武. 新闻英语与翻译[M]. 北京: 中国对外翻译出版公司, 2003.&lt;br /&gt;
&lt;br /&gt;
* 沈金伯. 新闻英语文体探讨[J]. 《外国语》. 1989(1): 52-55 &lt;br /&gt;
&lt;br /&gt;
* 樊腾腾. 从目的论角度论英语新闻标题的翻译[D]. 广东外语外贸大学, 2006.&lt;br /&gt;
&lt;br /&gt;
* 刘宓庆. 当代翻译理论[M]. 中国对外翻译出版公司, 2003.&lt;br /&gt;
&lt;br /&gt;
* 王军,陈诗月.翻译目的论研究综述[J].现代交际,2017(18):102-103.&lt;br /&gt;
&lt;br /&gt;
* 陈丽昭. 中英新闻标题对比研究[D].福建师范大学,2002.&lt;br /&gt;
&lt;br /&gt;
* 王驰. 目的论在经济新闻标题英汉翻译中的应用[D].华中师范大学,2013.&lt;br /&gt;
&lt;br /&gt;
* 罗丹. 目的论视角下的中国日报网英语新闻标题的翻译策略[D].武汉科技大学,2012.&lt;br /&gt;
&lt;br /&gt;
* 唐婷. 从目的论看硬新闻标题的汉译英[D].南华大学,2010.&lt;br /&gt;
&lt;br /&gt;
* 刘芸希.目的论视角下新闻标题的英译研究[J].海外英语,2018(11):123-125.&lt;br /&gt;
&lt;br /&gt;
* 李中强. 新媒体背景下的汉语新闻英译研究[D].上海外国语大学,2012.&lt;br /&gt;
&lt;br /&gt;
==On Chinese-English Translation of Public Service Advertisements From the Perspective of Text-type Theory  司妤  Si Yu  Student No.202070080606==&lt;br /&gt;
&lt;br /&gt;
===Abstract===&lt;br /&gt;
&lt;br /&gt;
Public-service advertising is an advertising activity that provides free services to the community without the purpose of making profit. Since the founding of the People's Republic of China, public-service advertising activities have increased and played an important role in the moral and ideological education of society as a whole, such as fire and burglary prevention, forest protection, birth control, maintenance of public order, no spitting and so on, all of which are in the nature of public-service advertising.&lt;br /&gt;
With the improvement of China's status in the international society, the accuracy of the translation of PSAs, as a medium to convey Chinese culture, is attracting more and more attention. Accurate translations help to showcase Chinese culture to foreigners and promote communication, while incorrect translations can be laughable.&lt;br /&gt;
In some public occasions, I have noticed that there are many excellent PSAs, but there are also some &amp;quot;Chinglish&amp;quot; PSAs. This paper analyzes the text of PSAs using the Text-type theory, gives suggestions to improve the messy translation phenomenon, and summarizes several translation methods, hoping to provide reference for the translators of PSAs.&lt;br /&gt;
&lt;br /&gt;
===key words===&lt;br /&gt;
&lt;br /&gt;
Public-service advertisement;Text typeTheory;Translation methods&lt;br /&gt;
&lt;br /&gt;
===摘要===&lt;br /&gt;
&lt;br /&gt;
公益广告是不以营利为目的而为社会提供免费服务的广告活动。我国建国以后，公益性的广告活动日益增多，对全社会进行道德和思想教育发挥了重要作用，例如有关部门进行的防火防盗、保护森林、节制生育、维护公共秩序、不要随地吐痰等广告宣传，均属公益广告的性质。&lt;br /&gt;
随着中国在国际社会地位的提高，公益广告作为一种传递中国文化的媒介，其翻译的准确性日益受到人们的关注，翻译准确有利于向外国友人展示中国文化促进交流。翻译错误则容易贻笑大方。&lt;br /&gt;
在一些公众场合，笔者注意到不乏优秀的公益广告翻译，同时也仍有一些“中式英语”  公益广告存在，本文运用文本类型理论对公益广告文本进行分析，对乱译现象提出改进建议，总结了几点翻译方法，希望能够为公益文本译者提供借鉴。&lt;br /&gt;
&lt;br /&gt;
===关键字===&lt;br /&gt;
&lt;br /&gt;
公益广告；文本类型理论；翻译方法&lt;br /&gt;
&lt;br /&gt;
===Introduction===&lt;br /&gt;
&lt;br /&gt;
====Research Background====&lt;br /&gt;
&lt;br /&gt;
Economic and social development and the improvement of people's living standards have brought many unprecedented changes to people, making their lives more convenient and colorful. But along with it comes a series of social problems such as indiscriminate dumping of urban garbage, neglect of wildlife protection, lack of care for public property, smoking in public places, etc.These social problems have also been magnified by the advance of urbanization. At this time, public service advertisement (PSA)can offer help if we want to activate more people to solve them. There are many forms of public service advertisements, such as public service advertisement (PSA) clips, public service messages, and public service slogans. Each of these PSAs has its own textual characteristics, such as the PSA short film in the form of a short video, using a fascinating plot to illustrate the concept of public welfare; public service messages are simple but informative; public service slogans are neat and thought-provoking. The translation of these texts should be done according to the characteristics of the text in order to achieve the public service effect of the text. With China playing an increasingly important role in the international community, a large number of international conferences are being held in China, and the number of foreign travelers arriving in the country is on the rise. The accuracy of the translation of public service advertisements is especially important at this time, not only to help foreigners in their travel work in China, but also to promote Chinese culture and enhance their understanding of China.&lt;br /&gt;
&lt;br /&gt;
It is worth mentioning that the overall quality of the Chinese people has been significantly improved compared to a few years ago, and the appearance of more and more elites has made the society think more deeply about the accuracy of translation, which is conducive to building a good city image and improving the aesthetic level of city residents and tourists.&lt;br /&gt;
&lt;br /&gt;
Advertisements can be divided into commercial advertisements and public service advertisements according to content and purpose. Commercial advertisements are mostly published by enterprises, and their main purpose is to stimulate consumers and arouse their desire to consume, and their content is mostly product information.(Liu Xiaofang 2014)&lt;br /&gt;
&lt;br /&gt;
There are some definitions from different people. Berkowitz, a famous scholar, who makes a thorough study of advertisement for more than 25 years, states that PSA is generally sponsored by a non-profitable institution, civic group, religious organization, trade association, or political group with a central focus on public welfare (Berkowitz, 2004). In China, according to Zhang Minxin‟s definition, PSA is a sub-branch of non-commercial advertisement whose purposes are to serve the public interests. This kind of advertisement can push the public to change their attitudes and behaviors (Zhang Mingxin, 2004). There are some researchers at home and abroad trying to discover how public service advertisements work, such as: Judie Lannon (2008), Nancy Lee (2006), Josephson (2005) and other scholars hoping to discover the secrets behind public service advertisements and society, such as Charles Atkin (2001) and Pan Zehong (2001).&lt;br /&gt;
&lt;br /&gt;
====Research Significance and Objectives====&lt;br /&gt;
&lt;br /&gt;
As the influence of Chinese culture increases internationally, more and more foreigners want to learn about China. Some want to learn the Chinese language, others want to know more about the social situation. Public service advertisements (PSAs) provide such an opportunity to help them learn and better understand China. At the same time, some social problems, such as the new Cov-19 epidemic, SARS, and AIDS, may not only be a problem for China, but also for the whole world, and the PSAs can provide a Chinese perspective and Chinese wisdom to solve these problems. In addition, when a disaster occurs, such as the Wenchuan earthquake, which aroused the attention and sympathy of the internationalcommunity, and some friendly countries want to provide assistance, PSAs are extremely important. In this paper, the writer will analyze different public service advertisements from the perspective of text type theory and suggest translation suggestions.&lt;br /&gt;
&lt;br /&gt;
Public service advertisement texts are common texts in daily life, and many scholars have discussed them from various perspectives, including the theory of purpose, aesthetic perspective, semantic translation and communicative translation perspective. However, no scholars have analyzed them from the perspective of text type theory. The writer boldly proposes to look at public-interest text translation from such a perspective, which may lead to new insights.&lt;br /&gt;
&lt;br /&gt;
====Methodology====&lt;br /&gt;
&lt;br /&gt;
The texts in this paper are mostly from public service advertisements released by CCTV, publicservice text messages received by the public, and public service slogans around them. This paper adopts a descriptive approach to analyze the content and purpose of the texts in detail, and also gives its own suggestions on how to translate the public service texts.&lt;br /&gt;
&lt;br /&gt;
====Framework of this paper====&lt;br /&gt;
&lt;br /&gt;
This paper is divided into seven chapters.&lt;br /&gt;
Chapter 1 introduces the background, significance and purpose of the research, methodology, and general framework of this thesis.&lt;br /&gt;
Chapter 2 introduces the theoretical perspective used in this paper.&lt;br /&gt;
Chapter 3 analyzes the characteristics of public service texts from the perspective of content and text.&lt;br /&gt;
Chapter 4 gives examples of texts according to the three categories of text type theory and analyzes the more appropriate translations.&lt;br /&gt;
Chapter 5 lists the obvious mistranslations in PSAs and gives suggested versions of the translations.&lt;br /&gt;
Chapter 6 summarizes the methods that can be used to translate PSA texts.&lt;br /&gt;
Chapter 7 summarizes what has been discussed throughout the essay and reflects on the limitations of the essay.&lt;br /&gt;
&lt;br /&gt;
===Overview of Theoretical Foundation and Comparisons===&lt;br /&gt;
&lt;br /&gt;
====Reiss’s View of Text Type Theory====&lt;br /&gt;
&lt;br /&gt;
Katharina Reiss is the founder of the German functional school of translation, and in her book Possibilities and Limitations in Translation Criticism (1979) she presented the prototype of the functional school's theoretical ideas. Reiss's text types are divided into four main categories. She points out that content texts emphasize the depictive function, formal texts emphasize the expressive function, operative texts emphasize the persuasive function, and audio-visual texts emphasize the audio-visual function. function). Therefore, these text categories can also be referred to as informative text, expressive text, operative text, and audio-visual text, respectively. Correspondingly, there are four types of functions.(Li Zhi 2008) &lt;br /&gt;
&lt;br /&gt;
1. Content-based text&lt;br /&gt;
This type of text is content-based, and the text can be used to convey information and so on. When translating, the content should be restored to the greatest extent possible. These texts mainly include news reports and commentaries, business letters, cargo lists, instructions for use, operating instructions, and other professional works in technical fields.&lt;br /&gt;
&lt;br /&gt;
2. Formal texts&lt;br /&gt;
The focus of formal texts is on their aesthetic significance. When translating such texts, the translator should aim to create a similar text effect in the form. Formal texts include literary prose (short essays, biographies, pure literature), imaginative prose (anecdotes, short stories, novels, romances), and all forms of poetry (from didactic poetry to narrative poetry to purely emotional poetry).&lt;br /&gt;
If the form is not preserved in translation, the content of the text may be lost as a result.&lt;br /&gt;
&lt;br /&gt;
3. Operative texts&lt;br /&gt;
Operative texts are concerned with the response of the recipient of the text. This type of text clearly appeals to the recipient of the text through a certain point of view and with a certain purpose, expecting to receive the desired response. The representative texts are all operative texts in which the appealing element predominates, using advertisements, propaganda, sermons, debates, agitation or satirical texts that have an expressive purpose or linguistic expression.&lt;br /&gt;
&lt;br /&gt;
4. Audiovisual texts&lt;br /&gt;
Generally speaking, any text that requires some degree of non-verbal communication with the audience is an audio-visual text. This includes mainly radio and television scripts, such as radio news and reports, overviews of hot topics, and theater productions. In these texts, not only grammar and narration techniques, but also sound effects and visual devices (in television and film) play an important role.&lt;br /&gt;
&lt;br /&gt;
====Peter Newmark’s View of Text Type Theory====&lt;br /&gt;
&lt;br /&gt;
Peter Newmark is one of the leading figures in the linguistic school of British translation theory. Newmark also made a detailed classification of texts, and he summarized them into the following three types according to their contents:&lt;br /&gt;
&lt;br /&gt;
1. Expressive texts&lt;br /&gt;
This type of text focuses on the content of the text and the author's own point of view. Newmark divides them into three types of texts. (1) serious and imaginative literature, including lyric poetry, short stories, long novels, and plays; (2) authoritative texts, including a variety of texts whose authority comes from the author's status or linguistic ability, such as speeches and statements by senior government officials and political party leaders, legal regulations, documents, and literary and academic works written by authorities; (3) autobiographies, essays, and private letters that are straightforward and have no direct readership.(Jia Heping 2015)&lt;br /&gt;
&lt;br /&gt;
2. Informative texts&lt;br /&gt;
The text often contains some content that does not involve the emotional and opinion part, and this part of the content can have its practicality, which is the information function of the text. Typical informative texts include textbooks, technical reports, newspaper articles, scientific papers, conference proceedings, etc.&lt;br /&gt;
&lt;br /&gt;
3. Operative text&lt;br /&gt;
The function focuses on the response of the text receiver, and the text is set to get the desired response from the receiver, to produce certain influence on them or even change their concepts and behaviors. Typical vocative texts include notices, advertising campaigns, instructions, and persuasive texts (such as requests, appeals, etc.).&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
He classifies language functions into six categories, based on what the philosophers of language Bühler and Jacobson have said about language functions. He believes that a text may have one function or several functions, but that one of these functions is the main one, as explained below.&lt;br /&gt;
&lt;br /&gt;
1. Expressive function&lt;br /&gt;
Expression is a fundamental property of language. Expression is the process by which people use language to express their feelings, attitudes, and opinions. Expression focuses on output of the writer, not on the other person's reaction and feelings.&lt;br /&gt;
&lt;br /&gt;
2. Informative function&lt;br /&gt;
The content of the text is mainly fixed, not with emotion, can be used by people in certain situations.&lt;br /&gt;
&lt;br /&gt;
3. Operative function&lt;br /&gt;
This function focuses on the reaction of the recipient of the text, and the writer envisages the reaction of the recipient of the text when writing, in order to achieve the corresponding purpose.&lt;br /&gt;
&lt;br /&gt;
4. Aesthetic function&lt;br /&gt;
Language contains traces of history, which represents a certain aesthetic of people. The first means used for this function is sound, and the second is metaphor. In addition, the rhythm, balance and contrast of sentences and words also have a role. The aesthetic function is present in most of the text categories, moreover, it is indispensable for poems, nursery rhymes and some advertising campaigns.&lt;br /&gt;
&lt;br /&gt;
5. Interpersonal function&lt;br /&gt;
The interpersonal function is reflected in people's daily interactions and conversations. That is, language helps people establish relationships with each other.&lt;br /&gt;
&lt;br /&gt;
6..Meta-linguistic function &lt;br /&gt;
Meta-linguistic function is a special function of language, refers to the language of the language itself to explain, name, analyze, comment on the function. Some expressions in the text, such as “strictly speaking, literally, so called, so to speak, by definition, etc.”, are manifestations of the meta-linguistic function.&lt;br /&gt;
&lt;br /&gt;
Of the above six functions, the first three are the main ones, but within a text, there may be multiple functions, but the text itself has a focus, and rarely does textual knowledge contain purely one function.(Li Zhi 2008)&lt;br /&gt;
&lt;br /&gt;
====Similarities and Differences Between Reiss's and Newmark's View of Text Type Theory====&lt;br /&gt;
&lt;br /&gt;
=====Similarities=====&lt;br /&gt;
Both theories are based on Bühler's triadic approach to language function. Both have the same understanding of the division and characteristics of different kinds of texts.&lt;br /&gt;
Differences&lt;br /&gt;
&lt;br /&gt;
=====Differences=====&lt;br /&gt;
First of all, language used in lived interaction is the main basis for Rice's definition of text types, and these are classified as text types that value content. Newmark, on the other hand, regards such lived language as a special linguistic function, and many experts consider this understanding by Newmark problematic.&lt;br /&gt;
&lt;br /&gt;
Second, there is a significant difference in their views of instructions, with Rice classifying them as informative texts because of their ability to provide certain information to readers. Newmark, on the other hand, classifies it as a operative text because of its ability to guide people and thus change their behaviors. In my opinion, the text of instruction manuals is due to the nature of the product itself, and the readers have the will to act before reading the text, and the manuals only provide them with certain information, so they should belong to the information category.&lt;br /&gt;
&lt;br /&gt;
Furthermore, the language used in living interactions is the main basis for Rice's definition of text types, and these are classified as text types that value content. Newmark, however, regards this lived language as a special language function, and many experts think that this understanding of Newmark is problematic.(Jia Heping 2015)&lt;br /&gt;
&lt;br /&gt;
====Similarities and Differences Between Chinese and English PSA texts====&lt;br /&gt;
&lt;br /&gt;
=====Similarities=====&lt;br /&gt;
&lt;br /&gt;
1. Public service texts in both languages often use certain rhetorical techniques, such as personification, alliteration, and end-rhyme, in order to evoke a call to action.&lt;br /&gt;
&lt;br /&gt;
2. Public service texts in both languages often use short sentences, especially in public service slogans, which are easy to remember and achieve the desired effect.&lt;br /&gt;
&lt;br /&gt;
3. Both languages use idioms and sayings that have been around for a long time.&lt;br /&gt;
 &lt;br /&gt;
=====Differences=====&lt;br /&gt;
&lt;br /&gt;
1. Chinese public service texts are good at using strong words such as &amp;quot;forbidden&amp;quot;, while English texts use more euphemisms such as &amp;quot;Please&amp;quot;. When translating, we should respect the habits of the translating countries in order to better play the role of public welfare texts.&lt;br /&gt;
&lt;br /&gt;
2. Chinese public service texts tend to use poetry-like forms, with seven or five characters in order to be neatly matched. In English, they mostly use phrases of the same number of words to match each other.&lt;br /&gt;
&lt;br /&gt;
3.The translation of advertising slogans also needs to respect certain cultural differences, as Western societies emphasize the individual while the Chinese value collectivism. For example:&lt;br /&gt;
&lt;br /&gt;
Example 1：保护生态环境，造福子孙后代。&lt;br /&gt;
&lt;br /&gt;
Translation 1:Leave a sound ecological environment to your children.&lt;br /&gt;
&lt;br /&gt;
Such a slogan in Chinese emphasizes the impact on future generations without specifying whose children and grandchildren it is, but in the translation, the translator translates it as &amp;quot;Leave a sound ecological environment to your children.” to call on people to protect the environment.&lt;br /&gt;
&lt;br /&gt;
4. Westerners focus on direct expressions, while Chinese expressions are more subtle. For example:&lt;br /&gt;
&lt;br /&gt;
Example 2: 司机一滴酒，亲人两行泪。 &lt;br /&gt;
&lt;br /&gt;
Translation:Drink and drive costs your life.&lt;br /&gt;
&lt;br /&gt;
The sentence contrasts the words &amp;quot;酒&amp;quot; and &amp;quot;泪&amp;quot; without directly pointing out the possible serious consequences, leaving the reader to think about them and take actions. Instead, the translator simply translates it as &amp;quot;Drink and drive costs your life.”(Li Qingxue, Wang Huaiwang 2019)&lt;br /&gt;
&lt;br /&gt;
===Features of Public Service Advertisements===&lt;br /&gt;
&lt;br /&gt;
As an advertising method, public service advertisements have their own characteristics in many aspects. By analyzing the characteristics, we can accurately convey the idea that the PSA is trying to convey.&lt;br /&gt;
&lt;br /&gt;
====Content Features====&lt;br /&gt;
&lt;br /&gt;
1. The public welfare nature of PSAs is their essential feature, which is concerned with the common interests of the entire society. By observing the theme and content of the PSAs in both China and abroad, it can be seen that the topics of PSAs cover ecological protection, care for the earth, quality birth and education, opposing cults, advocating science, opposing war, advocating polite social mores, patriotism, and so on.&lt;br /&gt;
&lt;br /&gt;
2. Public service advertisements are non-profit in nature. It does not exist for an organization or a business entity, but rather to draw people’s attention to and activate action on social issues. Commercial advertising, on the other hand, exists for financial gain.&lt;br /&gt;
&lt;br /&gt;
3. Popularity. The public service advertisements are made for the general public. As the audience's cultural level, the ability to understand different, so public service advertisements must be easy to understand. It not only requires the spread of advertising content to have universal significance, but also the form of popular, concise, accessible language, easy to understand. Only in this way, the public service advertisement can really serve the purpose of the public.&lt;br /&gt;
&lt;br /&gt;
4. Creativity. The advertising market is so diverse that the only way to make advertisements spread to  the public is to design them in a creative and meaningful way that will make them known to&lt;br /&gt;
more people.&lt;br /&gt;
&lt;br /&gt;
====The Features of Text Forms====&lt;br /&gt;
&lt;br /&gt;
1.Advertising texts that we see in our daily lives include slogans, public service messages and public service videos, and so on. Advertising slogans are usually short and meaningful, with simple counterpoint sentences, and are operative texts. On the other hand,public service messages are mostly preventive messages issued by social organizations to help disseminate precautions and draw people’s attention to an unexpected situation in order to maintain social order. They are mostly informative texts. Most PSAs have a complete storyline, thought-provoking dialogue, and a short slogan that summarizes the message of the ad.&lt;br /&gt;
&lt;br /&gt;
2. Public service advertisements are often designed with certain rhetorical techniques to enhance the aesthetics of the ad, make it catchy to read, and ultimately leave a deep impression on the public.&lt;br /&gt;
&lt;br /&gt;
===Examples of C-E Translation of Public Service Advertisements===&lt;br /&gt;
&lt;br /&gt;
====Operative Text====&lt;br /&gt;
&lt;br /&gt;
Most of the PSAs are operative texts, and the pupose of operative texts in PSAs is to affect the public in order to attain the desired response from the advertisers. PSAs are created to publicize something of common social interest in order to attract attention and action, so the creative design of the advertisement should take this into account and retain the appealing elements of the original text when designing the advertisement.&lt;br /&gt;
&lt;br /&gt;
Example 3: 爱心播散 希望萌芽&lt;br /&gt;
&lt;br /&gt;
Translation: Spread love Sow hope&lt;br /&gt;
&lt;br /&gt;
The public service advertisement slogan is from a public service advertisement released by CCTV in 2016, which tells the story of Zhao Xiaoting, a student from Wuhan University, who volunteered to go to Guizhou to teach in the mountains. It was her selfless love that sowed hope for the children in the mountains. The ad reflects the great power of ordinary people and promotes the core values of socialism. It shows the power that volunteering can bring. The ad is very short, with a neat counterpoint, and the verb and noun have been swapped in the translation, with the verb being in front of the noun, indicating a dynamic process that can arouse the public's recognition of the act and inspire them to join in and contribute to the poor areas. The second verb in the original text is &amp;quot;萌芽&amp;quot;, but the translation uses &amp;quot;sow&amp;quot; to indicate the growth of hope, which is similar to the original text.(Jin Haibing 2005)&lt;br /&gt;
&lt;br /&gt;
Example 4: 有你在，就是家。&lt;br /&gt;
&lt;br /&gt;
Translation：You bring me warmth of home.&lt;br /&gt;
&lt;br /&gt;
In this short film, a father in a rural area has never been away from home, and because he misses his son, who has not been home for a long time, he sets out on his own to visit him. The father has to change various means of transportation to get to the city, and encounters many difficulties because his being unable to speak mandarin well. The helpless father finally gets help from the staff, through whom he contacts his son. Eventually they both cry, and the short film ends with the father sitting on his son's motorcycleand going home together. The short film is very touching, and through the process of going into the city to look for his son, it shows us how brave and gentle people can be for love. If we translate the text word by word in the original order, we can't express this meaning, so we use phrases like &amp;quot;bringing sb warmth&amp;quot; to express the meaning of the original Chinese.(Ye Qiuling 2020)&lt;br /&gt;
&lt;br /&gt;
====Informative Text====&lt;br /&gt;
&lt;br /&gt;
Public service messages are informatiive texts, mainly used to convey certain information, with straightforward and concise text content, and the translator only needs to express its literal meaning directly when translating.&lt;br /&gt;
&lt;br /&gt;
Example 5：请您收到来自境外、国内新冠疫情中高风险地区的邮件、包裹，先对物品表面进行消毒，或在阳台等室外空旷处放置一段时间再打开。处理完包裹、邮件后，应立即用肥皂或洗手液清洗双手，或用免洗手消毒剂进行消毒。洗手前双手不触碰口、鼻、眼等部位。疫情防控有您的参与才能胜利！&lt;br /&gt;
&lt;br /&gt;
Translation: If you receive mail or parcels from overseas or domestic areas at high risk of Cov-19 outbreak, please disinfect the suface of the items first, and leave them on the balcony or other outdoor open space for a period of time before opening them. Immediately after handling parcels and mail, wash your hands with soap and hand sanitizer, or disinfect them with hand sanitizer. Do not touch your mouth, nose, eyes or other parts of your body before washing your hands. Outbreak prevention and control can only be won with your participation!&lt;br /&gt;
&lt;br /&gt;
Example 6：应急公益短信:为严防新型冠状病毒感染的肺炎疫情，山东省严禁任何形式的野生动物交易活动，严禁野生动物对外扩散和转运贩卖。对于违反规定的经营者、经营场所将予以停业整顿、查封，涉嫌犯罪的，将移送公安机关。社会各界如有发现违法违规交易野生动物的，欢迎拔打12345等投诉举报。&lt;br /&gt;
&lt;br /&gt;
Translation: In order to prevent the outbreak of pneumonia due to new coronavirus infection, any form of wildlife trade is strictly prohibited in Shandong Province, and the proliferation and trafficking of wildlife is strictly prohibited. The company's main goal is to provide the best service to the public.&lt;br /&gt;
If you are suspected of committing a crime, you will be transferred to the public security organs. If any&lt;br /&gt;
illegal trade of wild animals is found, the community is welcome to call 12345 to report complaints.&lt;br /&gt;
&lt;br /&gt;
====Expressive Text====&lt;br /&gt;
&lt;br /&gt;
The purpose of an expressive text is to express emotions and attitudes, the language focuses on aesthetics, and the focus of the text is on the form of expression, which requires attention to equity in translation. With the development of the economy and society and the improvement of people's living standards, the aesthetic level of the masses is also improving, and accordingly, the translation of advertising slogans should also change to adapt to the improvement of people's aesthetics.&lt;br /&gt;
&lt;br /&gt;
Example 7：善行无痕 一种习惯的美丽&lt;br /&gt;
&lt;br /&gt;
Translation: Kindness is traceless. A habit of beauty.&lt;br /&gt;
&lt;br /&gt;
The slogan is from a public service advertisement by CCTV in 2016. In the short film, a wife walks into a room to rest after stopping on the balcony for a long time, and her husband comes back and intends to tum off the balcony light to save electricity. The wife stops the husband, and the camera turns to two elderly sanitation workers who are finishing their meal by the light of the lamp she left for them, which the young couple lit for them in the night.Such kindness is obviously not accidental,but has been a habit of the wife in the short film, and is therefore natural and touching. The ad is intended to call attention to good deeds and habit formation through a story like this one. The ad's slogan is a literal translation, with &amp;quot;善行&amp;quot; translated as &amp;quot;Kindness&amp;quot; and &amp;quot;无痕&amp;quot; as &amp;quot;traceless&amp;quot;.&amp;quot;The use of end-rhyme rhetoric, which pursues equivalence of expressions and enhances the rhythmic beauty of the language, impresses readers and influences their perceptions and habits of good deeds, serving as a public service advertisement.(LiQingxue, Wang Huaiwang 2019)&lt;br /&gt;
&lt;br /&gt;
Example 8：保护肺脏，珍爱生命。（禁烟广告）&lt;br /&gt;
&lt;br /&gt;
Translation: Save your lung, save your life.&lt;br /&gt;
&lt;br /&gt;
The slogan comes from an anti-smoking advertisement that uses the alliteration, “lung” and “life”, to emphasize that quitting smoking is about protecting your lungs and your life. The two “saves” remind people that smoking is harmful to their health and that they should quit smoking as soon as possible to save themselves.&lt;br /&gt;
&lt;br /&gt;
===Misinterpretation of Public Service Advertisemnts===&lt;br /&gt;
&lt;br /&gt;
====Chinglish====&lt;br /&gt;
Chinglish refers to word-for- word translations that do not consider translation strategies from the perspective of the receiving language and cultural differences, and often cause difficulties in comprehension for the receiving readers.&lt;br /&gt;
&lt;br /&gt;
Example 9：小心地滑&lt;br /&gt;
&lt;br /&gt;
Misinterpretation: Foot Care.&lt;br /&gt;
&lt;br /&gt;
Suggested translation: Mind your step.&lt;br /&gt;
&lt;br /&gt;
The above misinterpretation is translated word-for-word, which not only makes it difficult for the recipient readers to read, but also affects the image of the city as a whole, so more citizens are taking notice and taking action to reject &amp;quot;dead translation&amp;quot; and &amp;quot;Chinglish&amp;quot;. &lt;br /&gt;
&lt;br /&gt;
====Grammatical errors====&lt;br /&gt;
Most grammatical errors are caused by the translator's own incompetence, mainly in the use of articles, subject- predicate inconsistencies, mis-matching of verb phrases, and word confusion.&lt;br /&gt;
&lt;br /&gt;
Example 10：珍爱生命 远离毒品。&lt;br /&gt;
&lt;br /&gt;
Mistranslation: Yes to life, no to drugs.&lt;br /&gt;
&lt;br /&gt;
Suggested translation: Cherish life and avoid drugs.&lt;br /&gt;
&lt;br /&gt;
The public service advertisement came from an anti-drug advertisement, obviously the mistranslated structure of the translation does not fit English conventions.&lt;br /&gt;
&lt;br /&gt;
====Inappropriate Use of Words====&lt;br /&gt;
There are some words in English that are very similar to each other, and improper use of words means that the translator uses words haphazardly without clearly distinguishing between similar words, resulting in a misinterpretation.&lt;br /&gt;
&lt;br /&gt;
Example 11：关爱残障人士&lt;br /&gt;
&lt;br /&gt;
Improper translation: Care for the handicapped.&lt;br /&gt;
&lt;br /&gt;
Suggested translation: Care for the disabled.&lt;br /&gt;
&lt;br /&gt;
The slogan is from a public service advertisement in which the word &amp;quot;handicapped,&amp;quot; which translates to &amp;quot;the handicapped,&amp;quot; is now somewhat outdated and contains a certain amount of offensive language that sometimes causes people to be It would make more sense to change it to &amp;quot;the disabled&amp;quot;, relatively speaking.&lt;br /&gt;
&lt;br /&gt;
====Redundancy====&lt;br /&gt;
The redundancy is due to the fact that the translators do not fully understand the differences between Chinese and foreign cultures and the purpose of the text.&lt;br /&gt;
&lt;br /&gt;
Example12：一花一草皆生命 一枝一叶总关情&lt;br /&gt;
&lt;br /&gt;
Improper Translation: Alive as all living things each flower and leaf of grasses require our care.&lt;br /&gt;
&lt;br /&gt;
Suggested Translation: Please give me a chance to grow.&lt;br /&gt;
&lt;br /&gt;
The original translator intended to present a vivid description of the original slogan in front of people, but failed to consider that the slogan was intended to arouse people's love for flowers and plants. We suggest that the translation should start from the operative textual features of the slogan and combine it with the straightforward expression habits of foreigners to call on people to take care of flowers and plants in a more euphemistic way.&lt;br /&gt;
&lt;br /&gt;
===Methods of C-E Translation of Public Service Advertising===&lt;br /&gt;
&lt;br /&gt;
====Literal Translation====&lt;br /&gt;
&lt;br /&gt;
The main characteristics of literal translation are twofold: in the treatment of word meanings and rhetoric (e. g., metaphors), it does not use transitive techniques (this distinguishes &amp;quot;literal translation&amp;quot;from &amp;quot;free translation&amp;quot;); in the treatment of linguistic forms (i.e., lexical-syntactic structure), it allows appropriate changes and shifts (This distinguishes &amp;quot;literal translation&amp;quot; from &amp;quot;word- for-word translation&amp;quot;).(Xiong Bing 2013) For example.&lt;br /&gt;
&lt;br /&gt;
Example 13: 我的盛开需要你的关爱 &lt;br /&gt;
&lt;br /&gt;
Translation : Luxuriant flowers need your care.&lt;br /&gt;
&lt;br /&gt;
The translation retains the personification of the original, treating flowers as species with emotions, but directly specifies that &amp;quot;I&amp;quot; means &amp;quot;flower&amp;quot;, which is in line with the habit of expression of the target audience and serves as a reminder.&lt;br /&gt;
&lt;br /&gt;
Example 14: 节约用水就是珍爱生命&lt;br /&gt;
&lt;br /&gt;
Translation : To save water is to save life&lt;br /&gt;
&lt;br /&gt;
The original text translates &amp;quot;conserve water&amp;quot; and &amp;quot;cherish life&amp;quot; into a neat pairing, and the translation also translates them into a neat pairing, and the expression is in line with the habits of expression of the people in the receive language. Both the original text and the translation equate &amp;quot;conserve water&amp;quot; with &amp;quot;cherish life&amp;quot; to arouse the attention of the masses and advertise the importance of saving water.&lt;br /&gt;
&lt;br /&gt;
====Paraphrase====&lt;br /&gt;
&lt;br /&gt;
A paraphrase translation is one in which the translator does not stick to the details of the meaning of the original text, much less to its vocabulary and syntactic structure, but &amp;quot;uses the original text as a reference model&amp;quot; and either translates only the general meaning, gist or key information (or selectively some of it) by condensing it, or translates it into a text with more information compared to the original article. (Xiong Bing 2013) For example.&lt;br /&gt;
&lt;br /&gt;
Example 15:爱我,追我,千万别吻我。&lt;br /&gt;
&lt;br /&gt;
Translation: Drive carefully! &lt;br /&gt;
&lt;br /&gt;
The original text is from a public service advertisement advocating cautious driving. The translation does not follow the literal meaning, but rather the translator uses a paraphrasing technique after understanding the meaning of the sentence and chooses two words to express the meaning. It is short and serves as a warning to motorists.&lt;br /&gt;
&lt;br /&gt;
Example 16：手下留情花自香，脚下留意草如茵。&lt;br /&gt;
&lt;br /&gt;
Translation: Take care of grass and flowers, please.&lt;br /&gt;
&lt;br /&gt;
The original text is a public service slogan with Chinese cultural characteristics, but it is difficult to find a corresponding expression in English when translating. Here the translator uses an invocation to remind the masses.&lt;br /&gt;
&lt;br /&gt;
====Borrowing Translation====&lt;br /&gt;
&lt;br /&gt;
A borrowing Translation is an explanation that replaces the original word or phrase by borrowing the idiom of the target language. For example.&lt;br /&gt;
&lt;br /&gt;
Example 17: 爱心传递你我，文明就在身边。&lt;br /&gt;
&lt;br /&gt;
Translation: Where there is a love, there is a virtue.&lt;br /&gt;
&lt;br /&gt;
The original is a slogan from an advertisement for the Olympic Games, which is a medium for promoting the spirit of the Games and the country's outlook. The translator chose a well-known proverb from the translated country, &amp;quot;Where there is a will, there is a way,&amp;quot; to expand the publicity effect.&lt;br /&gt;
&lt;br /&gt;
Example 18: 让世界倾听我们的声音&lt;br /&gt;
&lt;br /&gt;
Translation : Let our voice be heard in the world.&lt;br /&gt;
&lt;br /&gt;
The original text was a slogan from a CCTV public service advertisement, which was based on the lyrics &amp;quot;Let our voice be heard.&lt;br /&gt;
&lt;br /&gt;
===Conclusion===&lt;br /&gt;
&lt;br /&gt;
In this paper, the writer divides and analyzes different texts and explain the approaches they take in translation. This perspective of using text type theory to analyze and discuss how to translate public service texts may be of some help to scholars.&lt;br /&gt;
&lt;br /&gt;
According to different texts, the text type theory has its own emphasis in translation, and different PSA texts are mostly operative texts, and sometimes one text has multiple textual characteristics, which translators can take into full consideration when choosing the emphasis and translation methods.&lt;br /&gt;
Public service translation is very different from commercial advertising translation, which is mainly used to educate the public, convey correct and positive values, encourage people to take actions to help others, and create a good social environment to resist bad behaviors. Generally speaking, it is necessary to consider the actual situation when translating the PSAs.&lt;br /&gt;
&lt;br /&gt;
Through analyzing the texts of PSAs, the author has made the following discoveries, and the translation of PSAs can be done according to the text type theory. Although there are some cultural differences between the two languages, the differences do not make translation difficult to achieve. If literal translation cannot translate the meaning of the source text, then paraphrase,borrowing translation and other translation methods can also be used.&lt;br /&gt;
&lt;br /&gt;
===Limitation===&lt;br /&gt;
&lt;br /&gt;
In this paper, I put forward some personal ideas, but in the final version, I can still find my own shortcomings. First of all, there is still a lack of richness of information due to the limitation of space. Secondly, the depth of my ideas is still insufficient, and I only hope that this article can provide some research ideas for researchers and contribute to the translation of public service texts.&lt;br /&gt;
&lt;br /&gt;
===References===&lt;br /&gt;
1.Jia Heping 贾和平. (2019). 论纽马克与赖斯的文本分类比较研究 [A Comparative Study on Newmark’s and Reiss’s Text Type Classification ]. &lt;br /&gt;
&lt;br /&gt;
2.Li Zhi 李治. (2008). 论纽马克与赖斯的文本分类比较研究 [Newmark’s and Reiss’s Text Type Classification and A Comparative Analysis of Translation Methodology ].&lt;br /&gt;
&lt;br /&gt;
3.Jin Haibing 金海兵. (2005). 试谈公益广告标语及其翻译 [On Analyzing Public Service Advertisements and Their Translation].&lt;br /&gt;
&lt;br /&gt;
4.Li Qingxue, Wang Huaiwang 李庆学 王怀望. (2019). 接受美学视角下的公益广告翻译 [A Study of English Translation of Public Service Advertisements from the Perspective of Reception Aesthetics].&lt;br /&gt;
&lt;br /&gt;
5.Ye Qiuling 叶秋伶. (2020). 语义翻译和交际翻译理论视角下中文公益广告英译——以央视公益广告为例 [English Translation of Chinese Public Service Advertisements from the Perspective of Semantic Translation and Communicative Translation Theory - Taking CCTV Public Service Advertisements as an Example].&lt;br /&gt;
&lt;br /&gt;
6.Liu Xiaofang 刘晓芳. (2015). 目的论视角下《中国日报》公益广告英译的探析 [The English Translation of PSAs in China Daily from the Perspective of Skopos theorie].&lt;br /&gt;
&lt;br /&gt;
7.Chen Yanhong 陈燕红. (2012).  文化视角中汉英公益广告的翻译策略 [Translation Strategies of Chinese-English Public Service Advertisements in Cultural Perspective].&lt;br /&gt;
&lt;br /&gt;
8.Xiong Bing 熊兵. (2013).  翻译研究中的概念混淆 [Conceptual Confusion in Translation Studies].&lt;/div&gt;</summary>
		<author><name>Song Jianru</name></author>
	</entry>
	<entry>
		<id>https://bou.de/u/index.php?title=History_of_Translation_Studies_8&amp;diff=113112</id>
		<title>History of Translation Studies 8</title>
		<link rel="alternate" type="text/html" href="https://bou.de/u/index.php?title=History_of_Translation_Studies_8&amp;diff=113112"/>
		<updated>2020-12-16T13:09:11Z</updated>

		<summary type="html">&lt;p&gt;Song Jianru: /* On the Chinese Translation of A Pale View of Hills from House's Translation Quality Assessment Model	宋建茹	Song Jianru 202020080639 */&lt;/p&gt;
&lt;hr /&gt;
&lt;div&gt;这里是《翻译学史》的书稿第八部分(Part 8)。麻烦各位同学看一下已经存在的章回（样品），自己再加进去新的一个章回（就是你们的学期论文）。请也帮助同学们把他们的论文改正。这样多次修改，大家的论文会越来越好。&lt;br /&gt;
&lt;br /&gt;
学期论文（结合学期所学，撰写一篇5000以上单词的英文论文，按照专业杂志的格式，题目、摘要、关键词和参考文摘需要英中，文章英）。学期论文成绩占70%，平时成绩（含课堂表现、展示及作业）占30%。&lt;br /&gt;
&lt;br /&gt;
*Link back to course homepage: [https://bou.de/u/wiki/Introduction_to_Translation_Studies Course Homepage Intro. to TS]&lt;br /&gt;
*Link back to the final exam paper section of the course homepage: [https://bou.de/u/wiki/Introduction_to_Translation_Studies#Final_Exam_Papers Final Exam Papers]&lt;br /&gt;
*Link to other parts of the final exam papers' website: [https://bou.de/u/index.php?title=History_of_Translation_Studies_1 Part 1], [https://bou.de/u/index.php?title=History_of_Translation_Studies_2 Part 2], [https://bou.de/u/index.php?title=History_of_Translation_Studies_3 Part 3], [https://bou.de/u/index.php?title=History_of_Translation_Studies_4 Part 4]; [https://bou.de/u/index.php?title=History_of_Translation_Studies_5 Part 5], [https://bou.de/u/index.php?title=History_of_Translation_Studies_6 Part 6], [https://bou.de/u/index.php?title=History_of_Translation_Studies_7 Part 7], [https://bou.de/u/index.php?title=History_of_Translation_Studies_8 Part 8]; [https://bou.de/u/index.php?title=History_of_Translation_Studies_9 Part 9], [https://bou.de/u/index.php?title=History_of_Translation_Studies_10 Part 10].&lt;br /&gt;
&lt;br /&gt;
='''History of Translation'''=&lt;br /&gt;
== Study on Brand Name Translation from the Perspective of Cultural Difference	谭鑫洁	Tan Xinjie==&lt;br /&gt;
&lt;br /&gt;
==='''Abstract'''===&lt;br /&gt;
&lt;br /&gt;
== Abstract: ==&lt;br /&gt;
&lt;br /&gt;
==='''key words'''===&lt;br /&gt;
&lt;br /&gt;
==='''摘要'''===&lt;br /&gt;
&lt;br /&gt;
==='''关键字'''===&lt;br /&gt;
&lt;br /&gt;
===Complete transcript of the content of the original work ===&lt;br /&gt;
&lt;br /&gt;
===Same style and manner of writing===&lt;br /&gt;
&lt;br /&gt;
===Equivalent effect===&lt;br /&gt;
&lt;br /&gt;
===Discussion===&lt;br /&gt;
&lt;br /&gt;
===Conclusion===&lt;br /&gt;
&lt;br /&gt;
===Bibliography===&lt;br /&gt;
&lt;br /&gt;
==A Comparative Study on the Translation History in Western Countries and China	王煜	Wang Yu==&lt;br /&gt;
&amp;lt;center&amp;gt;王煜，202020080645.&amp;lt;/center&amp;gt;&lt;br /&gt;
===Abstract===&lt;br /&gt;
Translation is an intercultural communication activity, translation activities have accelerated the development of human civilization and reduced the communication barriers between people of different countries or nations. With time goes by, things are in a state of flux and both the western and eastern countries have gradually formed their own history of translation, the study of translation history is a basic project of discipline construction. Though there are many differences among the translation histories of western countries and China, the two kinds of translation histories are still shining their own bright unique lights and have an indelible influence and contribution to human translation activities. This paper intends to make a brief comparison of translation histories between western countries and China, which includes the origins, the stages, the representatives of the stages, the significance and influence as well as the differences of the two translation histories.&lt;br /&gt;
&lt;br /&gt;
===Keywords===&lt;br /&gt;
Translation History of the West; Translation History of China; Comparative Study&lt;br /&gt;
&lt;br /&gt;
===中西翻译史对比研究===&lt;br /&gt;
&lt;br /&gt;
===摘要===&lt;br /&gt;
翻译是一种跨文化交流活动，翻译活动加快了人类文明发展步伐，减少了人们之间的沟通障碍。随着时代的变迁，中国和西方国家逐渐形成了各自的翻译史，翻译史的研究是学科建设的一项基础工程。尽管中西方翻译史在某些方面有所差异，但却都有着各自的独特性，并对人类的翻译活动产生了巨大的影响与贡献。文章将以中国和西方国家为主要对象，从二者翻译史起始，包含阶段和各阶段代表人物，影响意义，差异性出发，对二者的翻译史进行简略的对比研究。&lt;br /&gt;
&lt;br /&gt;
===关键词===&lt;br /&gt;
西方翻译史；中国翻译史；对比研究&lt;br /&gt;
&lt;br /&gt;
===1. Introduction===&lt;br /&gt;
No matter in China or in the west, translation plays an important role in knowledge-spreading. As an indispensable part of translatology, the study of translation history has made a great influence on translation activities, it has gradually become the focus of the literary and historical circles in recent years. Translation activities can be traced back to the origin of language, and the history of translation is almost as old as language itself, it is closely related to the changes in today's society. &amp;quot;Since the 1980s, the translation studies in the mainland of China have made remarkable progress in the curriculum design of Chinese and western translation history and the compilation of related works. In the early 1980s and 1990s, there were many related works came out one after another including History of Translation in China – before May Fourth（《中国翻译简史-“五四”运动以前部分》） written by Ma Zuyi, A Historical Manuscript of Chinese Translated Literature （《中国翻译文学史稿》）edited by Chen Yugang, and also the A Short History of Translation in the West（《西方翻译简史》） the author of which is Tan Zaixi. Thus, it opens the gate for the compilation of Chinese and western translation history works.&amp;quot;(Xie Tianzhen2009,Ⅴ) The history of western translation can be divided into five stages while the Chinese study of translation has a glorious history of more than two thousand years and has experienced five climaxes. Through the comparative study of Chinese and western translation history, it will help us to have a deeper understanding of Chinese and western translation activities and thus to gather a general full view of it, which will be a positive and meaningful attempt.&lt;br /&gt;
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===2. The Translation History of Western Countries===&lt;br /&gt;
Western translation activities are rich in a long history and a multiyear span. The history of western translation can be roughly divided into three stages: the traditional stage, the modern times and the contemporary. More specifically, it can be grouped into the ancient times, the middle ages, the Renaissance period and the time after WWⅡ.&lt;br /&gt;
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===2.1 The First Stage: Translation in the Ancient Times===&lt;br /&gt;
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The translation history of western countries first began in the the 3rd century BC. In a broad sense, the earliest translation in the west is the Old Testament translated by 72 Jewish scholars in Alexandria, ancient Egypt, between the 3rd and 2nd centuries BC; Strictly speaking, the first western translation is the Greek Homer Epic Odyssey translated by Andronicus in Rome in the middle of the third century BC.(Tan Zaixi2000,88-89) At the end of the 4th BC, during this time, the Greece began to decay and the Roman had became stronger and stronger with its military expansion. The expansion of the Roman Empire brought itself into contact with the splendid Greek culture, therefore, the Romans not only conquered the Greek city, but also inherited and developed the brilliant achievements of ancient Greek culture, and then created a  splendid cultural of its own era after Greece. So soon began a large scale translation activities, the activity of translating and introducing Greek classical works probably began in this period.(Liu Junping2009,8) Many famous translation theorists began to make their presences, namely Cicero, Quentin, Jerome and so on, also the famous Roman litterateurs like Andronicus, Naevius, Ennius, these great writers used Latin language to translate or adapt Homer’s epic or other Greece dramas.(Tan Zaixi2000, 89) Started the translation tradition and promoted the birth and development of Roman literature.&lt;br /&gt;
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===2.2 The Second Stage: Translation in the Middle Ages (4th-6th)===&lt;br /&gt;
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The second climax occurred in the late Roman Empire through the early Middle Ages and was religious in nature. In this period, translation was mainly related about the religious stuff. Religious forces have great influence in the west, Christianity strives to promote its own religion, thus, the Bible, the source and psychological weapon of the Christianism naturally meant a lot in religious world. Since the Old Testament of the Bible was written in Hebrew and Greek, respectively, it needed to be translated into Latin for effective circulation in Rome. &amp;quot;Jerome was a Latin Christian priest, he translated the Bible into Latin(Vulgute) according to the Hebrew version of the Bible.&amp;quot; This version had a great influence on medieval theology and was the most widely circulated and authoritative translation of the Middle Ages, marking an unprecedented level of Western translation.(Tan Zaixi2000, 89)&lt;br /&gt;
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===2.3 The Third Stage: Translation in the Middle Ages (11th-12th)===&lt;br /&gt;
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This period can also be called &amp;quot;the period of the Arab Centennial Translation Movement&amp;quot;,(Liu Junping2009,9) it lasted over two hundred years. In order to consolidate the rule and promote socio-economic and cultural development, the medieval Arab Empire undertook a massive, organized academic activity to translate and introduce the scientific and cultural classics of ancient Greece and the East. Translators of this period actively translated the most important works of Greek literature in all disciplines with an open mind and a strong desire for knowledge. Between the 11th and 12th centuries, Toledo became Europe’s academic center for its prosperous translation activities, the western translators who gathered here translated many works from Arabic into Latin. Cultural patterns and religious ideas converged here.(Tan Zaixi2000, 90) Until nowadays, the positive influence of the movement still plays an inherent role: numerous proprietary names such as ‘concept’, ‘category’ all are gradually established in Arabic. This movement not only facilitated the integration of the inner Arab world, but also, in fact, promoted the integration of the Western and Persian worlds.&lt;br /&gt;
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===2.4 The Fourth Stage: Translation in the Renaissance Period===&lt;br /&gt;
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The Renaissance movement is a European ideological and cultural movement which took place from the 14th century to the 16th century, and reached its peak in the 16th century and inspired a cascade of the development of science, art and literature. A large number of outstanding translators shown up and a series of excellent translation works had been produced. During this time, a great quantity of ancient Greek and Roman classics had been rediscovered and translated into various European languages, which had brought about a profound impact on the European nation states. Leonardo Buruni, who was one of the most influential cultural translation practitioners in the Renaissance period and was also one of the earliest representatives of humanistic translators in the history of western translation. He was famous for his translation of Plato and Aristotle. Humanists began to study the Bible with the method of studying classical literature, and translated the Bible into the national language, which led to the rise of the religious reform movement. In Germany, Martin Luther, a religious reformer, translated the first mass Bible which influenced most and ushered in a new era in the development of modern German; in Britain, Chapman, a writer and translator, translated Homer's Iliad and Odyssey from 1958 to 1616, and the translation and publication of the King James Bible in 1611 marked the formation of modern English.(Liu Junping2009,9) The renaissance played a very important role in the western history of the development of translation, it marked the national language status in the field of literature and translation having finally been consolidated, simultaneously, it showed the translation is playing a huge role in the formation and development of the national language, literature and thought.&lt;br /&gt;
During the the three hundred years that lasted from the 17th century to the 19th century, translation activities continued to move forward. Although its scale and influence could not be compared with that of the Renaissance, it still produced many excellent translators and translated works. The biggest feature was that translators not only continued to translate classical works, but also became interested in modern and contemporary works. The works of Cervantes, Shakespeare, Balzac, Goethe and other great writers had been repeatedly translated into various languages, and translations of Eastern literature have also been published.(Tan Zaixi2000, 91)&lt;br /&gt;
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===2.5 The Fifth Stage: Translation after WWⅡ===&lt;br /&gt;
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Although World War II has brought different degrees of blows to many countries, some western countries have used a large amount of capital to actively resume production, developed various social fields, and attached great importance to the person with ability. Western science and technology are changing with each passing day, driven by cybernetics, information theory and system theory, the world of knowledge and experience has been greatly expanded, and social and cultural exchanges have become increasingly close, which provided a solid material foundation and ideological guarantee for the prosperity of translation. With the growing in number or quantity of translation activities, the translation theory continues to develop, and the number of translation talents in various countries keeps on increasing. Translation has gradually expanded from traditional literary and religious translation to other fields, such as scientific and technical translation and business translation, and with the emergence of professional translators, the influence of translation has become more and more obvious, playing an important practical role. Distinctive features in this time, from the scope to the scale, effect, and to the forms, are all different from any time in the past, having made tremendous progress, the translation scale has exceed the past.&lt;br /&gt;
There are a large number of outstanding translators and translation theorists in the west, they have put forward their different points from different angles in different periods, which made a brilliant contribution to the history of western translation. The western translation activity promoted the cultural exchange and spread the ideas.(Tan Zaixi2000, 92)&lt;br /&gt;
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===3. The Translation History of China===&lt;br /&gt;
China has a long history with 5000 years of civilization. Since China is a multi-ethnic country, so translation plays an irreplaceable role in the communication between different nationalities. There is no reference to the history of translation in China, although there are some documents in the Xia and Shang Dynasties, we still can not discern the translation activities at that time from the existing records. &amp;quot;The song of the Yue Boatman can be regarded as the first poetry translation in Chinese history.&amp;quot;(Ma Zuyi1998,5) However, it was only an isolated translation activity and did not trigger a large-scale translation movement in China.&lt;br /&gt;
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===3.1 The First Stage：Translation of Ancient Buddhist Scriptures===&lt;br /&gt;
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The first climax of the Chinese translation history was the translation of ancient Buddhist scriptures. The Potala Sutra should be the earliest translation of Buddhist scriptures in China,it was also said that the Forty-Two Chapters Sutra is the earliest Chinese translation of the Buddha's sutras, however, the one that is proven to be reliable should be the book The Fifty Books of the Mingdu translated by An Shigao during the reign of Emperor Huan of the Eastern Han Dynasty.(Ma Zuyi1998,17)&lt;br /&gt;
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It has experienced four phases, each of which had its own features: the first was the starting period which was from the last year of emperor Huan in the Eastern Han Dynasty to the Western Jin Dynasty. Translators in this period were mainly Buddhist monks,(Ma Zuyi1998,33) However, the quality of the translated works depends on the ability of the translators’ understanding of Chinese, so the classics of the translated works are varied. Also, due to the shortage of learners' language knowledge , they usually used literal translation. The second perid was the developing time, from the Eastern Jin Dynasty to Sui Dynasty. The Buddhist scriptures continued to prevail under the rulers' advocacy and began to translated Buddhist scriptures in an organized way which was also use the literal translation. During this period, Shi Daoan put forward the famous theory of ‘Five losses of source texts and three difficulties in translation’. Meanwhile, through the translation and interpretation of nearly 400 volumes of Buddhist classics, kumarajiva first introduced Indian Buddhism to the Chinese people, which played an important role in the prosperity of Chinese Buddhism at that time.(Ma Zuyi1998,40) The translation in this time had changed from individual translation into group translation which had improved the quality if translation and as well made some progress in translation theories and skills.(Ma Zuyi1998,55) The third period was the heyday of the translation history took place in Tang Dynasty.(Ma Zuyi1998,58) Xuanzang was an important figure in promoting Sino Indian friendship and cultural exchanges in China's history，not only was he a great translator and organizer of translation, he was also a great translation theorist whose contribution to translation studies still remains significant today. As for the last period, it was in the Northern Song Dynasty, the studying of translating scriptures gradually withered, and during this period, the translation mainly focused on the esoteric classics translations.(Ma Zuyi1998,82)&lt;br /&gt;
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As part of Chinese history, especially as the link of the cultural development, Chinese ancient Buddhist sutra translation has contributed more than a lot.  The spread of Buddhist ethics contributed to the formation of Taoism in China.&lt;br /&gt;
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===3.2 The Second Stage：Technical Translation during the Yuan and Ming Dynasties===&lt;br /&gt;
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The translation of Buddhist scriptures gradually declined during the two hundred years of the Ming Dynasty. With the arrival of western Christian missionaries, China came into contact with Europe. In order to facilitate their relations with Chinese officials and intellectuals, the missionaries translated works of western science and technology as well as Christian texts assisted by Chinese officials. They also introduced the Chinese classics to the West. Matteo Ricci came to China on a mission to introduce Western scientific and technological knowledge. He pioneered the history of combining Chinese and Western translation to introduce Western scientific and technical literature, and was the first to translate the Four Books into Latin, he was the first to introduce Chinese texts to the West.(Ma Zuyi1998,263) From the Wanli period of the Ming Dynasty to the &amp;quot;new learning&amp;quot; period of the Qing Dynasty, there appeared translators who introduced science, literature and philosophy in Western Europe, represented by Xu Guangqi, Lin Shu and Yan Fu. Xu Guangqi was a patriotic scientist and organizer of the scientific and cultural movement in China at the end of the Ming Dynasty, and made outstanding achievements in introducing Western natural sciences and improving the level of science in China.&lt;br /&gt;
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===3.3 The Third Stage：Literary Translation in Late Qing Dynasty===&lt;br /&gt;
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After the Opium War, the Qing government organized a large number of scholars to translate western natural science books, Under the influence of the reform thought, a large number of translations introducing western political thoughts, scientific methods and some literary works appeared. The records of four continents, translated by Liang Jinde, Lin Zexu asked him to do so, was the first systematic introduction to the geographical knowledge of western countries in modern China.（Ma Zuyi1998,329）After the Sino-Japanese War of 1894-1895, Yan Fu translated the theory of evolution and put forward the triple criteria of ‘faithfulness, fluency and elegance’, which has  played a great guiding role in the translation practice of later generations, His translation promoted the development of &amp;quot;new learning&amp;quot; and enlightened the Chinese nation at that time. Another scholar Liang Qichao, who was a politician, thinker and encyclopedia scholar of that time and advocated that China needs to develop the translation career and cultivate translation talents at a full stretch. He has done fruitful research on the translation of Buddhist scriptures and the translation of science and technology between the Ming and Qing Dynasties.&lt;br /&gt;
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===3.4 The Fourth Stage：The Translation of Socialist and Communist Works===&lt;br /&gt;
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The May 4th Movement was a watershed in China's modern translation history, made a significant contribution to the introduction of foreign literature to China and the development of literature in China. After the May 4th movement, China's translation industry has ushered in a new historical period, translators in this period of time, by comparison with those during the late Qing dynasty, were more selective regarding source texts. Chinese translation scholars began to introduce the classic works of Marxism-Leninism and the literature of the proletariat. The translation of the Manifesto of the Communist Party was published during the May 4th movement. During this period, great changes have taken place in the content and form of translation work: vernacular began to replace classical Chinese, as a result, popular language becomes easy to understand, the excellent literary works of western countries have attracted more and more Chinese readers. Famous translators like Lu Xun, Mao Dun, Zheng Zhenduo, Guo Moruo, Zhu Shenghao, Lin Yutang, these scholars had translated a large number of foreign masterpieces and enriched the inner world of the Chinese people, Lu Xun once advocated that there should be an exotic atmosphere in the translated works which would familiarize the readers with the foreign cultures. He also believed that literal translation of culturally loaded words was one of the important means of enriching the mother tongue. These scholars helped the Chinese people to know more about the outside world and laid a good foundation for the systematization and scientization of translation theory in China.&lt;br /&gt;
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===3.5 The Fifth Stage：The Translation after 1949===&lt;br /&gt;
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The founding of the People's Republic of China in 1949 enabled translation to enter into a new era. With the founding of the new China, China's translation industry was also liberated. Translation became a very important part of the national cultural and educational cause. National organizations for translators were established in order to protect the interests and benefits of translators. The quantity and quality of translated works have grown by leaps and bounds. Since then, translation work has been an important part of the new socialist culture, and has been developing rapidly, making great achievements and perfecting translation theory. The classical works of Marxism-Leninism, excellent foreign literature, scientific and technical literature and the like were systematically introduced. There are large-scale translation like the translation of Marx and Lenin's works. In the 1950s, scientific and technical works to meet the demands of the national social and economic construction. In the 1970s, translation of United Nations documents after China was restored to its rightful seat in the United Nations. Also, literary translators became a very important part of China's literature and arts personnel. Qian Zhongshu He puts forward his &amp;quot;transmigration theory (化境说)&amp;quot; for literary translation. That is a literary translation is like the act of transmigration in which the souls, the spirit of the original text remain in the target text even although the carrier of them, the language, has changed. In 1978, two years after the end of disastrous &amp;quot;cultural revolution,&amp;quot; China adopted its &amp;quot;reform and open&amp;quot; policy. A new and dynamic atmosphere for translation emerged.&lt;br /&gt;
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===4.The Comparative Study Among the Two Kinds of Translation Histories===&lt;br /&gt;
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===4.1 The Similarities of the Western and Chinese Translation History===&lt;br /&gt;
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About the religious and translation, we can easily notice that in the history of Chinese and western translation, almost all the early translation activities were the translation of religious classics. The translation of religious classics had opened the curtain of Chinese and western translation history. The spread of religion is always accompanied by the translation of religious classics. It is not difficult for us to understand the reason: after the emergence of religion, in order to absorb more believers, it is necessary for the religious to spread widely across nations and countries. Therefore, from ancient times to the present, religion is always a kind of existence form of various national beliefs and cultures. It keeps on influencing the spiritual belief and behavior of the society.&lt;br /&gt;
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The translation activity has made great contributions to the establishment and development of national languages in various countries. For example, in the history of western translation, Martin Luther's Bible translation played an important role in the unification and development of German language and the establishment of modern German, what’s more, the English version of the Bible enriched the English vocabulary and benefited the modernization of English a lot. The same in China, the Buddhist scripture translation also enriched the use of Chinese vocabulary, in the ideological field, it not only laid the foundation for the establishment of Taoism, but also paved the way for the formation of &amp;quot;New Confucianism&amp;quot; in Song Dynasty. And we can not ignore the contribution of the literary translation in the first half of the 20th century in the establishment and development of modern vernacular Chinese. &lt;br /&gt;
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The translation activity helps to transmit cultural values and promote cultural exchange. Translation bears the mission of cultural exchange, the translation activities are trying to make a close connection between nations and countries and introduce the language and cultural habits of one nation to another. Such kind of efforts have enriched the vocabulary and promoted the exchange between areas. Jesuits who came to China in the late Ming and early Qing dynasties would translate Chinese classics and literary works into foreign languages, which, in a state of isolation between China and Europe, they have become the middlemen for the exchange of Chinese and Western civilizations.(Tan Zaixi1999)&lt;br /&gt;
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===4.2 The Differences Between the Western and Chinese Translation History===&lt;br /&gt;
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First is that, the time is different. Western translation predates Chinese translation by over 200 years. It is said that the reason is due to the differences in topography and geomorphology of the two parts. We all know that China possesses a great number of mountains and lakes, and in the ancient times, it would take quite a few days to send messages from one place to another place, especially when people in the remote areas, it would be a hard and long journey for them to head for a destination. So, there is difficulty in communicating among the various peoples in different nations, there will be delay of the communication and connection. As for the west, there are numerous plains, so it was much convenient and easier for the western people to communicate and exchange their ideas with each other, which set a ideal environment for the development of translation activity.&lt;br /&gt;
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Also, the position of the religious varies. The different traditional culture of the west and China has made the concept of religious of the two are quite varied from each other. Different religious cultures have different forms of expression and vocabulary of their own. In the west, the Bible is not only a religious classic but also an important mainstay of western culture and the foundation of Christian faith. Buddhism was introduced into China from India in the early years of AD and became a very important part of Chinese traditional culture, in order to consolidate his ruling position, the rulers ruled the people spiritually, and the doctrine of Buddhism was in line with the ruler's appetite, so it was first spread among the ruling class and gradually gained its legal status.&lt;br /&gt;
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The translation tradition of the west and China differs. One of the differences of them is the difference between single system and multiple system. “The simplicity of Chinese translation tradition is mainly in the narrow sense，though there are different kinds of translations of national languages in China, most of them are still dominated by the tradition of Chinese language and culture translation. “because they all occurred in the same environment of the language culture since ancient times, that is , the environment of Chinese language culture.” By way of contrast, In terms of space, the western translation tradition did not always develop in the same region. In the later formation and development process, it spread throughout all ethnic regions in Europe；In terms of time, the western translation tradition began in ancient Rome, and then evolved into the ancient Latin language and culture system. In the later period of the middle ages, the system expanded and evolved into many relatively independent ethnic systems. So the system of the west is more like a kind of multiple system instead of a single system like China.(Tan Zaixi2000,15)&lt;br /&gt;
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The Chinese and western translation concepts are different. Then, the translation theories are different. Chinese translation tradition pays more attention to practicality than to the theory. Like professor Tan Zaixi once said that: “What Chinese translators and translation theorists are most concerned about is how to deal with the difficulties in translation and how to deal with them.” however, western translation pays more attention to systematicness and theory. Secondly, the national characteristics of China and the West are also different. Relatively speaking, Western ideas are more open and China is conservative. For a long time, the Chinese people advocate authority and accept more challenges less, China's three cardinal principles and five constancies in religion are in sharp contrast to the religious reform in the West. Although the West also advocates authority and takes religion as its belief, it dares to break through dogmatism, which brings a breakthrough to western translation studies to a certain extent.&lt;br /&gt;
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===Conclusion===&lt;br /&gt;
History is a bridge connecting the past, the present and the future. Throughout the history of translation between China and the west, although the differences between them inevitably exist, the brilliant translation achievements made by both sides are remarkable: excellent translators, translation scholars, or outstanding  translation theory, translation works, all of these have opened up the way for our future translation research, they are leading people to the direction of knowledge, and constantly leading us to explore into the unknown field.&lt;br /&gt;
Mastering the history of a discipline can help us to see the direction of its development, we then will able to learn from the experience and lessons in this development process and use this kind of method to guide the development of this subject. To have contact with the history of translation is helpful for us to understand and improve the level of translation and develop the translation career. The achievements of our predecessors have accumulated valuable cultural heritages for us. We should sum up our predecessors' translation experience and continue to make our efforts for our country's translation cause.&lt;br /&gt;
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===References===&lt;br /&gt;
*Tan Zaixi. 谭载喜. (2000). 翻译学 [A Series of Translation Studies in China]. Wuhan: Hubei Education Press 湖北教育出版社.&lt;br /&gt;
*Xie Tianzhen. 谢天振. (2009). 中西翻译简史 [A Brief History of Translation in China and the  West]. Foreign Language Teaching and Research Press外语教学与研究出版社.&lt;br /&gt;
*Qi Jian. 戚健. (2017). 古罗马时期翻译思想新探 [A New Probe Into the Translation Thoughts in Ancient Rome]. 南昌航空大学学报：社会科学版Journal of Nanchang Hangkong University: Social Science (3) 68-74.&lt;br /&gt;
*Ma Zuyi. 马祖毅. (1998). 中国翻译简史-“五四”以前部分（修订本） [A Brief History of Chinese Translation: The Part Before the May 4th Movement] . China Translation Corporation中国对外翻译出版公司.&lt;br /&gt;
*Liu Junping. 刘军平. (2009). 西方翻译理论通史 [A General History of Western Translation Theory]. Wuhan: Wuhan University Press武汉大学出版社. &lt;br /&gt;
*Tan Zaixi. 谭载喜. (1999). 中国翻译与西方翻译[Chinese Translation and Western Translation]. 中国翻译 Chinese Translation Journal(5) 6-8.&lt;br /&gt;
*Wang Yong. 汪勇. (2008). 翻译与宗教传播[Translation and Religious Communication]. 中国校外教育理论 Education for Chinese After-school(26) 51-53.&lt;br /&gt;
*Li Xuan. 李璇. (2012). 中西翻译高潮之对比[Comparison of Translation Climax Between China and the West]. 青年文学家 Youth Literator(3) 131.&lt;br /&gt;
*Tan Zaixi. 谭载喜. (2000). 中西译论的相异性[The Differences Between the Chinese and Western Traditions of Translation Theories]. 中国翻译Chinese Translation Journal (1) 15-21.&lt;br /&gt;
*Tan Zaixi. 谭载喜. (1999). 中西译论的相似性[The Similarities Between the Chinese and Western Traditions of Translation Theories]. 中国翻译Chinese Translation Journal (6) 25-28.&lt;br /&gt;
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==Comparison and Translation Studies Between Chinese and Western Color Terms	方洁玲	Fang Jieling==&lt;br /&gt;
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=== Abstract ===&lt;br /&gt;
Color terms are terms used to describe the external color characteristics of things, and are very common in our lives. We use them not only to describe the external image of an object, but also to express our inner psychological feelings. Color words contain rich cultural connotations, which should not be understood simply from their literal meanings when translated, but from the different cultural connotations and extended meanings contained in the color words to understand and choose the meanings of the words. This paper first introduces the composition of color words in Chinese and English and makes a comparative analysis of their characteristics, then discusses the different meanings given to the six colors in Chinese and English, and then provides different translation methods that should be used in different situations, providing a certain reference for the English-Chinese translation.&lt;br /&gt;
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===Key words ===&lt;br /&gt;
color terms, cultural difference , reason ,translation methods&lt;br /&gt;
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=== 摘要 ===&lt;br /&gt;
颜色词是用来描述事物外在颜色特征的词语，在我们生活中非常常见。我们不仅用它描绘物体的外在形象，也用它表达内在心理感受。颜色词包含了丰富的文化内涵，在翻译的时候不能简单地从字面意思上理解，应从颜色词所包含的不同文化内涵和引申意义来理解和选择词义。本文将首先介绍中英颜色词的构成并对其特点进行对比分析，然后具体论述六种颜色在中英文中被赋予的不同意义，接着提供了面对不同情况应该采用的不同翻译方法，为英汉互译提供了一定的参考。&lt;br /&gt;
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=== 关键词 ===&lt;br /&gt;
颜色词 文化差异 原因 翻译方法&lt;br /&gt;
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=== 1.Introduction ===&lt;br /&gt;
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Color is an indispensable part of human life,it is because of the colorfulness of colors that the world is much more varied and pleasant. Color words not only have an important impact on people's vision, but also have a great impact on people's inner feelings and emotional expression. As an important part of language, color words are frequently used by human beings in English, but due to different histories, cultures, customs and habits, in the long run, different people have given specific meanings to various colors. Analyzing and comparing the different connotations of color words in Chinese and Western cultures and exploring the cultural differences between English and Chinese will be of great help to the translation work between English and Chinese. At the same time, translators will inevitably meet a lot of problems in the translation work. In this paper, we mainly discuss the composition and cultural connotation of color words between Chinese and English. In addition, we also propose some translation methods and make a brief conclusion.&lt;br /&gt;
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=== 2.Characteristics of the Composition of Chinese and Western Color Words ===&lt;br /&gt;
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Color words are words used to describe the color of different things. And they are the symbols that exist in human languages to record a large number of colors, which are generally considered to be adjectives in grammar.&lt;br /&gt;
In the historical development of Chinese color words, there are three types.(Cai Xiaomin2020,65) &lt;br /&gt;
(1) Basic words. These words are the most basic and objective, and are generally used to objectively describe the most direct external color state of an object. They are &amp;quot;white&amp;quot;, &amp;quot;black&amp;quot;, &amp;quot;red&amp;quot;, &amp;quot;yellow&amp;quot;, &amp;quot;blue &amp;quot;&amp;quot;Green&amp;quot; &amp;quot;Gray&amp;quot; &amp;quot;Purple&amp;quot; &amp;quot;Brown&amp;quot; and &amp;quot;orange&amp;quot;.&lt;br /&gt;
(2) Reference words. Reference words means that people specifically distinguish basic words to show different colors. These words are more detailed and specific than the basic words. For example, we tend to divide &amp;quot;green&amp;quot; into &amp;quot;dark green&amp;quot; &amp;quot;grass green&amp;quot; and so on.&lt;br /&gt;
(3)Descriptive words. Descriptive words comes from people's perception of nature. These words can not only distinguish colors, but also describe what they look like. Such color words are more literary and subjective.&lt;br /&gt;
Color words in English are mainly divided into basic color words and compound color words.&lt;br /&gt;
basic color words : (1) simple colors. For example, black, white. (2) Colors of plants. For example, orange, etc.&lt;br /&gt;
Compound color words : (1) the name of plant + simple color. For example, apple green. (2) Chemical name + simple color. For example, vermilion, etc&lt;br /&gt;
&lt;br /&gt;
=== 3.The Different Understanding and Perception of Colors in China and the West ===&lt;br /&gt;
Nature is colorful and can be described with many words. Generally speaking, black symbolizes oppression, white symbolizes purity and innocence, and green symbolizes life force. However, due to different histories and cultures, the same color may have different meanings. After a careful study of color words, it is easy to see that color words create various associations that have a great impact on a person's emotions and behavior. This is the main reason why people use color words to explain their moral character, emotions, and perceptions of things. Different cultures and ways of thinking lead to different meanings of color words, and this disparity can affect people's understanding of the meaning of the same word. For example, in English-speaking countries, white symbolizes purity and beauty, which is why brides wear white wedding dresses in Western weddings. However, in China, white is often used to express grief, and a white funeral dress is worn at a funeral. In this paper, we start with the six basic color words red, black, white, yellow, purple and blue, and compare their cultural connotations in English and Chinese, discussing the different understanding and cognition of colors in China and the West and the differences in cultural connotations between Chinese and Western cultures.&lt;br /&gt;
	&lt;br /&gt;
====3.1 红and Red ====&lt;br /&gt;
&lt;br /&gt;
In traditional Chinese culture, &amp;quot;红&amp;quot; represents joy, happiness, good luck, and prosperity. &amp;quot;红&amp;quot; is a color that cannot be absent from important events in China, such as the red couplets(红包), red lanterns（红灯笼）, and red packets（红包） during Chinese New Year festivals, the red dress of the bride at weddings, and other festive ceremonies in China. Similarly, words combining the word &amp;quot;红&amp;quot; generally mean prosperity, such as “hongguangmanmian”（红光满面）、”dahongdazi”(大红大紫)、”honghuo”(红火)、”hongren”(红人)、”hongrun”(红润), etc. In addition, during the revolutionary era, the color red also symbolized the modern Chinese revolution and power, such as the“hongsezhengquan”(红色政权)、”hongjun”(红军)、”hongqi”(红旗)、”hongge”(红歌)、”hongsewenjian”(红头文件)、”hongseganglin”(红色纲领), etc.(	Zhao Fenyan2019,232)&lt;br /&gt;
In the West, red refers to the color of blood, and when red is mentioned, it is generally associated with cruelty, violence, and bloodshed. For example, &amp;quot;red hands&amp;quot;, &amp;quot;red battle&amp;quot;, &amp;quot;the red rules&amp;quot; &amp;quot; red revenge&amp;quot;, the color red also symbolizes radical and violent revolution, as in &amp;quot;red activities&amp;quot;, but also danger and tension,such as &amp;quot;a red flag&amp;quot;. &amp;quot;red alert&amp;quot; &amp;quot;a red adventure story&amp;quot;, in addition to the above-mentioned symbolic meaning, the color red also has connotations of debauchery and obscenity.(Yan Wen2012,177)For example, red light district, a red waste of one's youth, and so on. The positive connotation of the color red in Western culture is due to the exchange and integration of different cultures, which is said to have been introduced to the West via Persia from the Far East. like red letter day、red envelope、the red carpet.&lt;br /&gt;
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====3.2 黑 and Black ====&lt;br /&gt;
&lt;br /&gt;
In Chinese history, “黑” is an honorable and dignified color, which had a high status in ancient times. During the Xia, Qin, and early Han dynasties, “黑” was the dress of emperors and officials, and the common people were only allowed to wear plain clothes, and then a restriction that was gradually relaxed after the Northern Song Dynasty. In China, the derivation of “黑” includes the positive meanings of stern, iron-faced, upright, and mysterious, such as in the art of theatrical masks, where the “黑脸” symbolizes the noble character of uprightness and selflessness. In addition to its positive connotations, “黑” sometimes symbolizes a derogatory meaning, indicating a counter-revolutionary, regressive, or stubborn party. For example, the ”阴曹地府” is said to be dark and sunless, and “黑”, as opposed to light, symbolizes darkness, death, terror, etc.&lt;br /&gt;
In the West, black is the color of death, symbolizing death, suffering, and grief, hence the black color of Western mourning garments. black tidings means &amp;quot;bad news&amp;quot;，Jesus was crucified on the Friday before Easter, The Black Friday is considered to be a &amp;quot;dangerous and ominous day&amp;quot;. Black also symbolizes &amp;quot;anger&amp;quot; and &amp;quot;irritation&amp;quot;, such as: black in the face,to look black at sb，Other words that express negative meanings，such as black sheep, black dog, black eye, black list, black and blue, black art, and other black symbols.(Wang Yu2012,151)In addition, black also represents seriousness, discretion, and pomp. Black suit and black dress have always been the most revered traditional clothing in the West. In solemn formal occasions, people like to wear black clothing. Symphony orchestra performers almost always wear black suits. The term &amp;quot;black-ball&amp;quot; refers to a costume ball. In business English, &amp;quot;a company in black&amp;quot; refers to a profitable business, where“ in black” means profitable, because on financial statements, profit figures are written in black ink.[6]&lt;br /&gt;
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====3.3 白 and White ====&lt;br /&gt;
 &lt;br /&gt;
In Chinese, “白” is often used to represent death, such as at funerals with white decorations, white flowers, and white mourning clothes, but there are also many words containing “白” that do not represent color at all, but rather the name of something or have another meaning,[8]such as”baicai”(白菜), “baixiong”（白熊）、 “baiyi”(白蚁)、”baijuan” (白卷)、 “baichi”(白痴), White&amp;quot; also means &amp;quot;pure, or unadulterated, such as”baikaishui”(白开水)、”baizhi”(白纸)、”baiqierou”(白切肉)etc. &amp;quot;White&amp;quot; also often means &amp;quot;in vain&amp;quot; or &amp;quot;without cost&amp;quot;, such as”baifeishi”(白费事)、“baida”（白搭）、”baisong” (白送)、“baishouqijia” (白手起家) etc(Chen Yongye2005,425) and The Chinese word “白” is also not the same as the English word &amp;quot;white&amp;quot;, which we can say the white people (白人), but is better translated as: She has a fair skin. In addition, it is difficult to summarize the exact meaning of some of the“白” in Chinese, For example “baihua”(白话) vernacular, “tanbai”（坦白）: to confess, to make a clean breast of something, etc.&lt;br /&gt;
In the West, however, white is considered as a symbol of purity, and it is customary to wear white wedding dresses and gowns at weddings, hence there exist the expressions like white-handed，a white lie，a white day, they treated us white etc.&lt;br /&gt;
	&lt;br /&gt;
====3.4 黄 and Yellow ====&lt;br /&gt;
&lt;br /&gt;
In traditional Chinese culture,”黄” is a symbol of power, honor, and nobility, in the Chinese feudal society, yellow is a symbol of imperial power and nobility, such as ”chonggao”(崇高)，”huangpao”(皇袍)、”huanggong”(皇宫)、”shengzhi”(圣旨) and so on. In modern Chinese, words such as “huangchengcheng”(黄澄澄),”huangcanvan”(黄灿灿)mean a good harvest and an auspicious day. ”黄” is a glorious color. And it is always associated with &amp;quot;honor&amp;quot;, &amp;quot;brilliance&amp;quot;, it is a symbol of &amp;quot;power&amp;quot; and &amp;quot;nobility&amp;quot;. To this day, ”黄” is still the symbol of ancient China, which is its positive meaning. Similarly, ”黄” has negative connotations, such as ”huangseshukan”(黄色书刊) , “huangseluxiang”(黄色录像) etc, but in the West, the term &amp;quot;the blue video&amp;quot;, &amp;quot;the blue talk&amp;quot; is used to describe the pornographic nature of the country. It means ”huangsedianying”(黄色电影)and ”huangsexinxi”(黄色信息)(Du Tianyu2020,188). In addition, ”黄” also means failure, sickness, or old age, such as ”huangji”(黄髫). The word ”黄” also means youth and ignorance.&lt;br /&gt;
In the West, in Western Christianity, yellow is a symbol of shame. Because in the Bible, Judas betrayed Jesus by wearing a yellow dress. Therefore, &amp;quot;yellow&amp;quot; has the connotation of betrayal .And it also means sadness, sickness, cowardice, etc. For example, &amp;quot;a yellow streak&amp;quot; means cowardice. &amp;quot;yellow&amp;quot; also has mean and vulgar semantics. In the 18th century, Americans often printed pornographic books on yellow paper. As a result, the low level of exaggeration and exaggerated distortion of facts used by newspapers and periodicals to attract readers was later extended to journalistic styles as well. For example, &amp;quot;yellow journalism&amp;quot; is a style of journalism that attempts to attract people in any way possible. [9]In English, Yellow Pages is the &amp;quot;yellow phone book&amp;quot;, and yellow boy is a slang term for &amp;quot;gold coin. The English words for Chinese ”黄” would be: pornographic, filthy, vulgar, obscene, etc. In English, blue is often used to mean ”黄”, such as blue jokes(下流的玩笑)、blue revolution (性解放)、blue films (黄色影片)、blue software (黄色软件)etc.(Chen Yongye2005,425) Some Chinese words have nothing to do with the English word yellow, such as blue jokes(下流的玩笑)、blue revolution (性解放)、blue films (黄色影片)、blue software (黄色软件)and so on.&lt;br /&gt;
	&lt;br /&gt;
====3.5 绿and Green ====&lt;br /&gt;
&lt;br /&gt;
In Chinese culture, “绿”represents vitality, and phrases related to”绿”express hope and vitality of people, such as“lüzhou”（绿洲）、“lvyiangran”（绿意盎然）. In today's China, ”绿”has a new symbolic meaning, such as: “lvseshipin”(绿色食品),”lvsechanye”(绿色产业), all referring to the concept of health, safety and non-pollution. The green light is also a signal for safe passage. In Chinese, a &amp;quot;lvmao&amp;quot; （绿帽）means that a man's wife is in an illicit relationship with someone else.(Hu Zongkang, Zhang Jun2019,153) However, in ancient Chinese culture, ”绿”means humbleness, because humble people wore green clothes. Also,”lvlinhaohan” (绿林好汉)means a barbarian who occupies a mountain and becomes king.&lt;br /&gt;
In traditional British culture, &amp;quot;Green&amp;quot; is a symbol of youth and vitality. It reminds people of the harmony and tranquility of nature. The &amp;quot;Green Peace Organization&amp;quot; is an organization that protects animals and plants. A dove with a green olive branch in its beak is a symbol of peace, &amp;quot;green winter&amp;quot; refers to a warm winter, and &amp;quot;in a green wood&amp;quot; refers to when people are young and strong. Green also represents a sense of madness and despair, just as Satan's image in the Bible is green. In addition, green in English also has a derogatory meaning of jealousy, lack of training, and childishness, such as “as green as grass”，’a green eye”，”a green hand”.(Chen Yuan陈缘2020,49) In addition, greenback means U.S. currency in English, and since U.S. dollar bills are green in color, green also means &amp;quot;money,&amp;quot; &amp;quot;bills,&amp;quot; or &amp;quot;economic power&amp;quot; in the United States.&lt;br /&gt;
	&lt;br /&gt;
====3.6 蓝 and Blue ====&lt;br /&gt;
&lt;br /&gt;
Blue is the color of the sea and clear skies, giving people a feeling of peace and tranquility. In Chinese, in addition to the color,”蓝” is often used together with other words to form phrases that have different meanings from the color. &lt;br /&gt;
For example, “蓝 青 官 话 “the standard Chinese spoken by the people with accent&lt;br /&gt;
“蓝本”script on which the works are based； model&lt;br /&gt;
“蓝图”（blue print）building plan&lt;br /&gt;
“蓝田生玉”the noble people usually come from the good family&lt;br /&gt;
“青出于蓝而胜于蓝 “the new coming from the old is better than the old .&lt;br /&gt;
But blue in English can be extended to depression, sadness, nervousness, immorality, obscenity, and pornography. For example :“feel blue“, ”be blue about future“,”Her mood is blue“,“be down with blues”,“sing the blues”,“blue devils”,“blue funk“,”blue revolution“, ”blue films“, ”blue jokes“, ”blue room” refers to a place in The White House where the president meets his friends and family. and the ”Blue Book“ refers to a book that contains the names of celebrities and important government officials.(Du Tianyu2020,187-188)&lt;br /&gt;
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=== 4.Reasons for the Difference in the English-Chinese Translation of Color Words ===&lt;br /&gt;
&lt;br /&gt;
Different countries and regions have different interpretations of color. The main reasons for this difference are geographical factors, historical factors, religious beliefs, and social systems, &lt;br /&gt;
	&lt;br /&gt;
====4.1 Geographic Factors ====&lt;br /&gt;
&lt;br /&gt;
Chinese civilization originated in the Yellow River Basin. The rich water resources and flat land of the Yellow River Basin have nurtured several generations of Chinese people. This is the main reason why the Chinese people love yellow. For generations, we Chinese people are also known as the “yanhuangzisun”(炎黄子孙)(Cai Xiaomin2020,66).Western civilization originated in ancient Rome. The only way out for Greece was to expand abroad. Therefore, blue became the favorite color of the Greeks.&lt;br /&gt;
	&lt;br /&gt;
==== 4.2 Historical and Cultural Factors ====&lt;br /&gt;
&lt;br /&gt;
A large number of color words have been created in different historical backgrounds and conditions. Therefore, it is important to understand the differences in the historical background and culture of different countries. For example, during the War of Resistance Against Japanese Aggression, our Party was called the”hongjun”(红军), which gave rise to expressions like “hongsezhengquan”(红色政权)、”hongjun”(红军)、”hongqi”(红旗)、”hongge”(红歌)、”hongsewenjian”(红头文件)、”hongseganglin”(红色纲领),etc.(Li Dan2018,132) In addition to some basic meanings, the color “红” in China also has some special historical meanings, such as the heroic and fearless revolutionary spirit. This is also the main reason why our national flag adopts the color red. Also in ancient China, yellow was a symbol of power, a color reserved for the royal family, representing the supreme authority, which meant that yellow robes were added to the flag. In the West, purple is used as a metaphor for &amp;quot;throne&amp;quot; and &amp;quot;prominence,&amp;quot; and the addition of a purple robe means rising to a position of prominence, because Western emperors and bishops have a tradition of wearing purple robes, such as :be born in the purple(生于皇室), be raised to the purple. In recent years, yellow has become more and more of a symbolic term in China for low taste, erotic vulgarity, and obscenity, such as”huangsedianying”(黄色电影)、”huangseshukan”(黄色书刊)、”huangseguangdie”(黄色光碟).etc. The &amp;quot;黄&amp;quot; in these names has nothing to do with the English &amp;quot;yellow&amp;quot;, these words in English are expressed like this pornographic, vulgar, obscene. It is very different from the associations in Chinese culture. The color vocabulary is visually and psychologically positive and derogatory for people of different nationalities.&lt;br /&gt;
&lt;br /&gt;
==== 4.3 Religious beliefs ====&lt;br /&gt;
&lt;br /&gt;
In China, the Five Element Theory is widely spread. Since &amp;quot;gold&amp;quot; is at the core of the theory, yellow becomes noble. In contrast, in the West, because yellow is stigmatized in Christianity and most people are Christians, many people dislike yellow and often even use it to convey negative connotations, according to &amp;quot;the Gospels&amp;quot; in the Bible's, in which Jesus was willing to be crucified, bleed to death, and be sacrificed with the blood of the Gospels. The Bible has been a classic of Christianity, and most people in Europe and the United States believe in Christianity. Since the Bible has always been a Christian classic, and most people in Europe and the United States are Christian, its influence on Western culture as a whole is immeasurable, and on English culture as well. Therefore, people think that &amp;quot;red&amp;quot; is associated with bloodshed, martyrdom, and bad things, and &amp;quot;red&amp;quot; makes them think of horrible things, such a“ red hand”( 沾 满 血 的 手 ),“ a red battle”( 血 战 ),“ to see the red light”(灾祸临头).&amp;quot;(Chen Yongye2005,425)In Chinese language, the color red is a symbol of honor, splendor, good fortune, and celebration. Such as: :“ 开门红”make/ get off to a good start,“ 满堂红”success in every field,“ 红 榜 ”honor roll,“ 红 运 ”goodluck,“ 红 事 ”wedding,“ 红 人 ”a favorite with someone in power etc.&amp;quot;.&lt;br /&gt;
&lt;br /&gt;
==== 4.4 Social System ====&lt;br /&gt;
&lt;br /&gt;
The use of different colors to represent political affiliations or national identities has long been a common practice among peoples of different social systems in China and the West due to their political, economic, and religious differences. In English, the true blue refers to the loyal members of a political party, especially the die-hard conservative members of the British party; White Paper or Blue Paper refers to a report or diplomatic document with blue or white covers issued by the British and American governments on a particular topic; Yellow Paper refers to the French and other countries. A government report of a country; Green Paper is a draft report for discussion by various committees; the Chinese use the term &amp;quot;红&amp;quot; to symbolizes the proletarian revolution, the meaning of which is derived from the book &amp;quot;Red Star Over China&amp;quot;(“红星照耀下的中国”,and is also translated into”西行漫记”) by American writer Edward Snow.(Li Dan2018,132)&lt;br /&gt;
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===5.Translation Methods of English-Chinese Color Words ===&lt;br /&gt;
 &lt;br /&gt;
From the above analysis, we can conclude that there are similarities and differences in the cultural connotations of Chinese and English color words. Therefore, in the translation of color words, it is impossible to generalize, so translators need to adapt to the local conditions and adopt an appropriate way to translate.&lt;br /&gt;
	&lt;br /&gt;
====5.1 Literal Translation ====&lt;br /&gt;
&lt;br /&gt;
Literal translation means that every effort should be made to maintain the linguistic style of the original work. At the same time, it requires that the target language should be fluent and easy to understand. There are similarities between English and Chinese languages and cultures. In the translation of English-Chinese color words, some color words can be found in the target language, while others have similar extended cultural meanings. Sometimes there is no similar extended meaning, but only a literal translation meaning, so the literal translation can also be used for translation.(Hu Zongkang, Zhang Jun,153)&lt;br /&gt;
For example, when the word black remains in its original color in the corresponding language, i.e, it has the same connotation, a literal translation is usually used.&lt;br /&gt;
black humor 黑色幽默 (an absurd, grotesque, or morbid humor in literature, especially in novels and plays)&lt;br /&gt;
black Friday黑色的星期五 (the Friday on which any disaster occurs)&lt;br /&gt;
black hand黑手党 (a secret organization that originated in Sicily, Italy, and has spread to the United States to engage in criminal activities)&lt;br /&gt;
black market 黑市、black- hearted 黑心的、blacklist 黑名单、black and white TV黑白电视, etc.(Chen Yuan2020,49）and red light district can be directly translated as“红灯区“, which refers to the neighborhoods where sex industries are concentrated in cities of certain countries and regions. Similarly, some color words in Chinese can be directly translated into English, for example:” 白露”, one of the 24 solar terms, is a culturally specific term in Chinese, which is completely unfamiliar to Western countries. Due to cultural exchanges, &amp;quot;white dew&amp;quot; is becoming more and more familiar to foreigners, and it has the same cultural meaning in English as &amp;quot;白露&amp;quot; in China. As another example, &amp;quot;绿油油&amp;quot; is a Chinese adjective used to describe the color of vibrant green leaves. We can translate it into English as &amp;quot;green and shiny&amp;quot; because the color words here are only used to describe objective points of view, and they have the same meaning.&lt;br /&gt;
	&lt;br /&gt;
==== 5.2 Free Translation ====&lt;br /&gt;
&lt;br /&gt;
Free translation. When the meaning of a color word in the original language is different from the meaning of the color word in the target language, the translator has to translate the meaning of the color word in the original language into the customary expression in the target language. In some cases, color words appear in both Chinese and English, but they do not have any color meaning; some are customary object names, while others give new meaning to them. In this case, the color itself cannot be focused on, so the colorless translation should be abandoned.This kind of translation based on the cultural background of two languages to correspond to the meaning is called &amp;quot;free translation&amp;quot;.(Chen Yuan2020,49）&lt;br /&gt;
Take black as an example, for instance, black lie--恶意的谎言、black and blue--青一块紫一块、black tea-- 红茶、black guard--恶棍、black coffee --不加牛奶的咖啡、pain somebody black-- 把某人描写成坏人、黑帮can be translated into “reactionary gang”、黑钱--ill-gotten money、黑面包 brown bread, and so on. Another example is that we often say &amp;quot;他是老师面前的“红人&amp;quot;, which is translated into English as &amp;quot;He is teacher's favourite student&amp;quot; ,”hongren”(红人)is an extended paraphrase of the Chinese, which does not mean literally, it means someone who is popular and be sought after by others, and the exact meaning needs to be contextualized. People from English-speaking countries will be confused if we translate it as &amp;quot;red people&amp;quot;. In English, the meaning of &amp;quot;one's favourite people&amp;quot; is somewhat similar to &amp;quot;红人&amp;quot;, so the phrase &amp;quot;one's favorite people&amp;quot; is appropriate. Another example is &amp;quot;a white elephant,&amp;quot; which is said to be a punishment given by the king of Thailand to his erring ministers in the past, as the cost of keeping white elephants is very high and would be a great financial burden. This word is very common in English, but a literal translation of &amp;quot;白象&amp;quot; would not have any connotation in Chinese, so it can be translated as &amp;quot;expensive and useless thing.（Jin Yan2012，130）&lt;br /&gt;
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===6. Conclusion ===&lt;br /&gt;
&lt;br /&gt;
This paper first discusses the construction of color words in Chinese and English, and then compares their compositional features. Secondly, six colors (red, black, yellow, white, green, blue) are taken as examples to analyze the cultural similarities and differences between Chinese and English color words. The reasons for the differences are divided into four main categories: geographical factors, historical factors, psychological factors, religious beliefs, and social systems, Finally, a solution to the problem is proposed, which provides a proper reference for translators when translating Chinese and English color words. When doing translation, translators can mainly use two different translation methods, namely, literal translation and free translation. When the Chinese cultural connotation of a color word in a sentence is the same as the English one, the literal translation can be used. When it is different from English, a free translation is appropriate. With the continuous penetration of globalization, people's languages and cultures are gradually interwoven, so does the meaning of color words, and also the similarities are expanding gradually. However, each nation-state has its own unique culture and customs, so the color words have completely different meanings in different regions and different languages. Therefore, when translating color terms, in order to translate the meaning of the text more accurately, the translator must have a deeper understanding of the color words.(Bao Dongjiao2005,107).In addition, the translator should not only learn translation skills, but also the history, geography, and culture of the country where the source and target language are located, which will help the accuracy of the translation. In short, the key to a good color word translation is the combination of translation skills and a deep understanding of the culture, as well as an accurate analysis of the color word.&lt;br /&gt;
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===7.Reference ===&lt;br /&gt;
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*Cai Xiaomin.蔡晓敏.( 2020).中英颜色词的对比与翻译研究[A comparative study of Chinese and English color words and their translation].海外英语[Overseas English],65-66.&lt;br /&gt;
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*Yan Wen.颜雯.(2012).翻译中颜色词的中西文化内涵差异[The difference between Chinese and Western cultural connotations of color words in translation].青年文学家·语言研究,[ Young Literati-Language Studies],177.&lt;br /&gt;
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*Jin Yan.金燕.(2012).浅析颜色词在中西文化下的翻译对比差异[An analysis of the contrasting differences in the translation of color words in Chinese and Western cultures].海外英语[Overseas English].&lt;br /&gt;
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*Zhao Fenyan.赵芬艳.(2019).试论中西颜色词的文化内涵及翻译策略[The cultural connotation of Chinese and Western color words and translation strategies].师资校企经验[Faculty school-enterprise experience],232-234.&lt;br /&gt;
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*Wang Yan, Zhang Bo.王艳,张博.(2012).谈中西文化对颜色的理解差异[Talking about the difference in the understanding of color between Chinese and Western cultures].教学实践[Teaching Practice],6-11.&lt;br /&gt;
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*Chen Yongye.陈永烨.(2005).英汉颜色词所表现的中西文化差异[The Chinese and Western cultural differences expressed by English and Chinese color words].辽宁工程技术大学学报[Journal of Liaoning University of Engineering and Technology],424-427.&lt;br /&gt;
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*Hu Zongkang, Zhang Jun.胡宗康,张军.(2019).英汉颜色词中“Green/绿”的对比与翻译方法研究[. Comparison and Translation of &amp;quot;Green/绿&amp;quot; in English and Chinese Color Words].文学教育[Literary Education],152-153.&lt;br /&gt;
&lt;br /&gt;
*Bao Dongjiao.鲍冬娇.(2015).中西红白颜色认知差异及翻译取向[Differences between Chinese and Western red and white color perception and translation orientation].湖北经济学院学报[Journal of Hubei University of Economics],106-107.&lt;br /&gt;
&lt;br /&gt;
*Li Dan.李丹.(2018).中西文化差异下的颜色词翻译[Translation of color words under the difference of Chinese and Western cultures].海外英语[Overseas English].&lt;br /&gt;
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*Li Hong.李虹.(2020).汉英颜色词翻译的差异性研究[A study of the differences between Chinese-English color word translations].文化长廊[Cultural Promenade].&lt;br /&gt;
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*Liu Mengqi, Chen Xingxing.刘梦琪,陈星星.(2020).浅谈颜色词的翻译[A brief discussion on the translation of color words].校园英语翻译研究[Campus English Translation Study].&lt;br /&gt;
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*Du Tianyu,杜恬雨.(2020).浅析文化差异对汉英颜色词翻译的影响[An analysis of the influence of cultural differences on the translation of Chinese-English color words].科教文汇[Science and Education],187-188.&lt;br /&gt;
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*Xu Yanping.许雁萍.(2009).中西文化中颜色词语的差异及其翻译[The Difference of Color Words in Chinese and Western Culture and Their Translation].文学语言学研究[Literary Linguistics Research],212-213.&lt;br /&gt;
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*Wang Yu.王羽.(2012).中西文化对比下颜色词的差异比较[Comparison of the differences in color words between Chinese and Western cultures].教育时空[Education Time],151.&lt;br /&gt;
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*Li Yun, Jia Aiguang.李云,贾爱光.(2020).大学英语教学中英汉基本颜色词翻译对比探讨[A Comparative Discussion on the Translation of English and Chinese Basic Color Words in University English Teaching].校园英语[Campus English],11-21.&lt;br /&gt;
&lt;br /&gt;
*Chen Yuan陈缘.(2020)英汉颜色词的文化差异与翻译[Cultural differences between English and Chinese color words and translation].海外英语[Overseas English],48-49.&lt;br /&gt;
&lt;br /&gt;
==Translation manipulated by ideology	许静	Xu Jing==&lt;br /&gt;
&lt;br /&gt;
==Comparison between the History of Chinese and Western Translation   周书尧   Zhou Shuyao==&lt;br /&gt;
&lt;br /&gt;
===Abstract===&lt;br /&gt;
Translation has existed since historical records. Translation goes hand in hand with human history, even before historical records. Whether in my country or Western countries, the long tradition of translation has become the most dazzling pearl in the process of human civilization.In addition, translation plays an indelible role in promoting cross-cultural communication and cultural communication.This article first discusses the history of translation in China from four stages , then discusses the five stages of western translation history , and finally compares and analyzes the similarities and differences between Chinese and Western translation histories, and puts forward some of the author's own views.&lt;br /&gt;
&lt;br /&gt;
===Key words===&lt;br /&gt;
The history of Chinese,The history of Western,the stages of  translation history,comparison&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
===摘要===&lt;br /&gt;
自历史记载以来,就存在翻译.翻译与人类的历史并道而驰,甚至先于历史记载.无论在我国,还是西方国家,悠久的翻译传统俨然成为人类文明进程中一颗最耀眼的明珠。此外，翻译在促进跨文化交流和文化传播上承担着不可磨灭的作用。本文首先从中国的四次翻译高潮论述中国的翻译史，再从西方的五次翻译高潮探讨西方的翻译史，最后对中西方翻译史的异同进行对比分析，提出一些笔者自己的看法。&lt;br /&gt;
&lt;br /&gt;
===关键词===&lt;br /&gt;
中国翻译史，西方翻译史，翻译高潮，对比&lt;br /&gt;
&lt;br /&gt;
===I.Introduction===&lt;br /&gt;
Since the 1980s, the Chinese translation studies community has made remarkable progress in the establishment of Chinese and Western translation history courses and the compilation of related works.In the 1980s and early 1990s,A Brief Introduction to the History of Translation in China from Ma Zuyi and other books of Chen Yugang and Tan Zaixi were published one after another,which raised the curtain for the compilation of Chinese and Western translation history works by the domestic translation scholars.The four stages in the history of Chinese translation have promoted the development of Chinese history, culture and society to varying degrees.The same as our country, Western translation has an age-old history.In a sense, the development of Western European civilization should first be attributed to the translators.The five stages in the history of European translation have promoted the exchanges of literature, art, science and trade between countries, and to a certain extent promoted the development of Chinese translation.In fact, when we examine the development trajectory of Chinese and Western translation activities and the evolution of translation concepts together, we find that there are some similarities between Chinese translation and Western translation.Especially in the evolution of Chinese and Western translation concepts, the two have very similar evolution laws.&lt;br /&gt;
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===Ⅱ.The history of Chinese translation===&lt;br /&gt;
According to records, there have been four stages in China's long history of translation development, leaving behind many classic discussions.From these four translation climaxes, we can see the translators, translation theories and practices that emerged in different periods in China.And these translation stages have had varying degrees of impact on China's history, culture, society, and literature, including the development of Chinese translation.&lt;br /&gt;
====2.1 The first stage:Ancient Translation History====&lt;br /&gt;
The translation of Buddhist scriptures from the Eastern Han Dynasty to the Tang and Song Dynasties (25-1279) can be regarded as the first important period in the history of Chinese translation, the initiation period of traditional Chinese translation theory, and the first large-scale, planned, Organized translation activities.A large number of Buddhist scriptures were introduced into our country from various countries in the Western Regions, which had a profound impact on our country's language, religious philosophy, painting, arts, etc.The Chinese translation of Buddhist scriptures with textual research should be translated by An Shigao（安室高） during the Eastern Han Dynasty (151 AD).From 148 AD to 170 AD, he translated more than 30 Buddhist scriptures in Luoyang, making great contributions to Buddhist translation and the spread of Buddhist culture in China.The translation of Lokaksema（支娄迦谶）, who was at the same time as An Shigao, was basically a word-for-word translation, which was not easy to understand. The literal translation in the Chinese translation community probably started from this time.Zhi Loujiachen were the masters of the literal translation school. In addition to them, the major translators include Lokaksema and Dharmaraksha（竺法护）. And most of these translators were “foreigners”.&lt;br /&gt;
Shi Daoan (314-385), who was an eminent monk, set up a translation workshop, ushering in the period of translation on a large scale. And a State Translation School was founded for this purpose. Shi daoan put forward the famous &amp;quot;five instances of losing the source and three instances of difficulties&amp;quot;, which had a great influence on later translation studies.(Li 2016,132)The Sui and Tang Dynasties were the prosperous period of Chinese Buddhist translation.Xuan Zang（玄奘）, Kumarajiva（鸠摩罗什）, and Zhen Di（真谛） of the Tang Dynasty are collectively known as the three major translators of Chinese Buddhism. In the translation of Buddhist scriptures, he fumbled and summed up the famous &amp;quot;Five do not flip&amp;quot;(五不翻原则）and “six methods of translation”. &amp;quot;Five do not flip&amp;quot;means translators should employ transliteration facing mysterious words, polyseme, culture-loaded words, conventional transliterating words and words showing respect. And the core of his translation theory can be concluded in one sentence. That is: it is necessary to seek truth and be straightforward.（既须求真又须喻俗)&lt;br /&gt;
The Buddhist translation of this period enriched the religious beliefs of the people, became the spiritual support of the people at that time, promoted the exchange between China and the world at that time, and made Buddhist scriptures an inseparable part of our traditional culture.&lt;br /&gt;
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====2.2 The stage two:Modern Translation History ====&lt;br /&gt;
During the Ming and Qing Dynasties (middle 14th to 19th centuries), there was a second stage of translation in Chinese history. During this period, the translation was mainly scientific and technological translation.This major shift was also decided by the Chinese and Western countries at the time in order to seek their own interests and finally reached an agreement on mutual terms.Western missionaries wanted to spread religious thought and culture in China, while Chinese scholars at that time were eager for knowledge and were keen on Western advanced science and technology in order to maintain the regime. In this way, the two needs complement each other, and the translation of Western scientific books is increasing. Increased, which promoted the great development of science and technology translation at that time.In 1868, the official translation and publishing organization of the Qing Dynasty, referred to as the Translation Museum, used the translation method from Western to Chinese, which means that foreign scholars interpret and Chinese scholars write and polish.(Liu 2016,148)The main representatives of translation activities in this period include Xu Guangqi（徐光启）, Li Zhizao （李之藻）, etc.Especially Xu Guangqi, known as the &amp;quot;Father of Western Translation&amp;quot;, does not understand foreign languages, and his translations are mainly through listening to narratives and co-translation and compilation.He proposed that the translation of Western history books should be prioritized and progressive，and put forward his own translation thought: &amp;quot;If you want to be superior, you must understand; before you can understand, you must first translate.&amp;quot;Although there were many translation achievements during this period, there was no systematic translation theory.Although the later translation museum had clear translation principles, its main purpose was to maintain its own rule by learning advanced Western technology.&lt;br /&gt;
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====2.3 The third stage: Contemporary Translation History ====&lt;br /&gt;
From the end of the 19th century to the beginning of the 20th century, China was in turmoil and internal and external troubles. Some rulers and intellectuals with capitalist ideas demanded to unite to resist the aggression of Western countries, and proposed reforms to strengthen themselves.Translation in this period is the boundary of modern Chinese translation history. Translation in the field of science and technology has gradually spread to the fields of literature, philosophy, economics, sociology, and ethics. China has entered a new stage of translation. The scale and influence of its translation activities all surpassed any period in modern times.At the end of the 19th century, Western academic translation represented by Ma Jianzhong （马建忠）and Yan Fu（严复）was a translation act driven by &amp;quot;national anxiety&amp;quot;, which promoted the expansion and deepening of foreign exchanges.(Liu 2016,148-149)In particular, Yan Fu's &amp;quot;faithfulness,expressiveness and elegance&amp;quot; translation standards have had a profound impact on translators' translation activities.&amp;quot;faithfulness&amp;quot; means loyalty, and &amp;quot;expressiveness&amp;quot; means unobstructed. In Yan Fu's interpretation, &amp;quot;elegance&amp;quot; means the translation strives to be elegant.The representative translator at that time was Lin Shu（林纾）. He proposed to pay attention to the purpose and function of translation, which meant that the translation should be able to achieve the expected goals and effects.When Lin Shu is translating, he emphasizes on subjective feelings, and the translator needs to communicate with the original author and the characters in the original work.A large number of translators, represented by Lin Shu, mostly adopt the principle of domestication and advocate free translation, which reflects the flexibility and openness of translation to a certain extent.During the May 4th Movement, the &amp;quot;New Youth&amp;quot; magazine was launched and began to translate western cultural thoughts and literary works. Representatives such as Chen Duxiu（陈独秀）, Hu Shi（胡适）, and Zhou Zuoren （周作人）all attached great importance to introducing foreign literature and foreign culture.Translation activities during this period included the introduction of scientific and technological knowledge and the dissemination of advanced ideas. The scale and the number of works all showed its important position in the history of translation.Moreover, the audience in this period has also expanded from intellectuals to part of the people, broadening the horizons of the Chinese people, increasing their knowledge, and playing a good catalytic role in modern intellectual circles.&lt;br /&gt;
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====2.4 The fourth stage: Present Translation====&lt;br /&gt;
Since the reform and opening up, China and the Western world have had a broader space for communication, and the translation industry has achieved prosperity and development.In an open China, from the initial learning from modern and contemporary Western translation theories, to actively conducting cultural exchanges with other countries, learning and exploring research methods, and focusing on cross-disciplinary comprehensive innovation, translation practices and theories have achieved unprecedented development.(Xu 2018,5)For example, cultural schools, structuralism, post-colonialism, and other translation theories have been translated into China in large numbers. Literary works involve politics, economy, culture, literature, art and other fields, and the quantity and variety greatly exceed the previous generations.Representatives at this time include Liu Miqing（刘宓庆）, Tan Zaixi（谭载喜）, Huang Long（黄龙） and others. Among them, Tan Zaixi compiled the book &amp;quot;A Brief History of Western Translation&amp;quot;. The whole book pays attention to absorb the relevant research results at home and abroad. It is important for various historical periods, especially since the 20th century. The representative tasks in the western translation field, translation works, schools of thought, etc. are described and commented, and the mutual promotion, evolution and development of translation practice and translation theory are analyzed and discussed in a simple way, which promotes the formation of a systematic translation theory in China.During this period, our research is no longer limited to the summary of translation practices and abstract induction of translation principles, but from the generalization of subjective thoughts to the description and analysis of specific translation phenomena, translation events and processes.Translation studies have changed from a single-paradigm study to a multi-paradigm study. In short, the reform and opening up has created a new situation in China's translation industry, constantly expanding research fields, and effectively promoting the development of Chinese translation studies.&lt;br /&gt;
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===Ⅲ.The history of western translation===&lt;br /&gt;
The same as our country, Western translation has a long history.In a sense, the development of Western European civilization should first be attributed to the translators.From the ancient Roman Empire to the modern European Community, literary, artistic, scientific, and trade exchanges between countries are all carried out through the work of translators. Throughout the whole process, the history of Western translation can be divided into five major development stages.Broadly speaking, the earliest translation in the West is The Septuagint.Strictly speaking, the first translation is the Homer epic &amp;quot;Odyssey&amp;quot; translated in Latin by Andronicus .Both the former and the latter began in the third century BC, with a history of more than two thousand years, and are an important part of the entire European history of development.(Tan 1985,36)&lt;br /&gt;
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====3.1 The first stage : Ancient====&lt;br /&gt;
Ancient translation mainly revolved around the Greek translation and Latin translation of the &amp;quot;The Bible. Old Testament&amp;quot; from the third century BC to the sixth century AD. Translation in this period can be divided into the first stage of ancient Greek literature translation and the second stage of religious translation.At the end of the fourth century BC, the Greek slave society began to decline, while the relatively backward Rome gradually became stronger.At this time, Greece has a certain cultural foundation and is still superior to Roman culture. Therefore, Greek culture has a greater attraction to Roman culture. The translation and introduction of Greek culture may begin in this period.It was only in the middle of the third century BC that recorded translations began to appear. Andronicus, Neveus, Ennius, and other excellent translators, who are known as the three ancestors of Roman literature, have translated a large number of Greek dramas in Latin.This large-scale translation first opened the situation of local translation in Europe. It spread Greek culture to Rome, promoted the development of Roman culture, and served as an important bridge for Rome and later generations to inherit ancient Greek literature.(Tan 1985,36)&lt;br /&gt;
The translation activities in the fourth to sixth centuries AD were mainly religious translation.In Europe, religious forces have always been strong and stubborn. From the very beginning, the Christian Church was hostile to secular literature, and tried to develop a religious culture that served its own interests.As the source of Christian thought and spiritual weapon, the &amp;quot;Bible&amp;quot; has naturally become the most concerned classic in the religious world.In 384 AD, Jerome was entrusted by the Roman Pope to compile a translation called &amp;quot;The New Testament&amp;quot;, which marked that the translation of the &amp;quot;Bible&amp;quot; had achieved an important position on par with the translation of secular literature.As Europe entered feudal society, religious translation was popularized, and the Bible was translated into various languages one after another.&lt;br /&gt;
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====3.2 The second stage : Middle Ages====&lt;br /&gt;
In the Middle Ages, Latin translation was no longer limited to religious documents. Eastern literature was translated and introduced to the East. The achievements of Arabic academic research promoted the development of Western translation.At that time, Western translators gathered in Toledo, Spain, and translated a large number of works from Arabic to Latin. This is the rare closely contact between Christians and Muslims in history.(Tan 2004,64)In the ninth and tenth centuries, Syrian scholars went to Athens to translate a large number of Greek classics into Syrian and brought them back to Baghdad. Baghdad established an important translation center, and many Greek classical works were translated into Arabic.Later, in the eleventh century, a large number of Arabic works appeared in Toledo. Translators translated these works into Latin. Toledo gradually became an academic center and translation center, becoming a &amp;quot;Translation Museum&amp;quot; similar to Baghdad. His translation and academic activities lasted for a hundred years, and the impact was also great.&lt;br /&gt;
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====3.3 The third stage :The Renaissance Period====&lt;br /&gt;
In the 14-16th century, the Renaissance took place in Europe. It was a great movement of ideological and literary innovation, and a great development in the history of Western translation. The translation practice and theoretical research of Western countries did not make a real leap until the Renaissance.During the Renaissance, Western translators constantly discovered new literary fields, unearthed new cultural heritage, and transplanted new ideas to the mainland. Translation at this time went deep into various fields such as ideology, politics, philosophy, literature, and religion, and involved some major works in ancient, modern and contemporary times.Translation in this period played an important role in the formation of national languages, marking the consolidation of the status of national languages in translation.(Tan 1985,37)&lt;br /&gt;
In Germany, Martin Luther created a precedent for the Reformation. His translation of the &amp;quot;Bible&amp;quot; through the people's language laid the foundation for the later standardization and standardization of German and played an important role in the unification of German.In France, &amp;quot;Celebrity biography&amp;quot; translated by the writer Amyot became an immortal literary translation in the history of translation in France and the entire West.In the United Kingdom, the translation of Greco-Roman history and literary works provided important historical materials and new ideological resources for the formation of an autocratic monarchy in the United Kingdom, which promoted the occurrence of the British bourgeois revolution and promoted Britain to become a modern nationalized country earlier.All in all, the ideological liberation movement of the Renaissance in Europe around 1500 had a profound and long-term impact on Europe, especially Western European society, and cultural translation played a crucial role as a bridge in this ideological liberation movement. It also shows that translation plays a huge role in the formation and development of national language, literature and thought.&lt;br /&gt;
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====3.4 The fourth stage :Since the end of the Second World War====&lt;br /&gt;
After the Second World War, the West entered a relatively stable period of peace, the economy was restored, production was secured, and science and technology developed rapidly. These are important material foundations for the development and progress of translation.(Tan 1985,37)Compared with the past, translation in the new period has undergone great changes. First, the scope of translation has been expanded. Traditional translation mainly focused on literary and religious works, while translation during this period expanded to the fields of technology and business.Second, the scale of translation is much larger than before. In the past, translation was mainly the work of a few high-level intellectuals. Nowadays, translation has become a profession, and there is even a professional team that has been specially trained.Third, the role of translation has also been enhanced, especially with the establishment of the European Community and the European Union, the process of globalization has accelerated, and the communication activities between countries are realized through translation. Therefore, translation plays a very important role in the economy, culture, science and technology of western countries.&lt;br /&gt;
The form of translation during this period has also undergone great changes, such as the strengthening of the professionalization of the translation business, the establishment of higher translation education and the training of professional translators.Especially the way of translation has broken the tradition, and machine translation has been developed and popularized.Since English and American scholars first discussed the possibility of using computers for translation in 1946, the development and application of translation machines have increasingly shown vitality after nearly 40 years of tortuous development. It is a challenge to traditional manual translation for thousands of years, and it is also a revolution of far-reaching significance in the history of translation.&lt;br /&gt;
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===Ⅳ.Comparison between the History of Chinese and Western Translation===&lt;br /&gt;
====4.1 Commonality====&lt;br /&gt;
Through the introduction of the Chinese translation history and the Western translation history in the above two chapters, it is not difficult to find that there are some similarities between the translation concepts and the evolution process of the two, especially the laws of evolution of the Chinese and Western translation concepts are very similar.&lt;br /&gt;
First of all, the initiation and development of large-scale Chinese and Western translation activities are closely related to the translation of religious documents.In the West it is the translation of the Bible, while in China it is the translation of Buddhist classics.In my opinion, this commonality is the origin of translation concepts such as &amp;quot;original supremacy&amp;quot; and &amp;quot;faithful original text&amp;quot; that have dominated the Chinese and Western translation circles for two thousand years.(Xie 2010,5)Looking back at history, when Chinese and Western ancient translators were translating these religious documents, they must be pious and absolutely faithful to the original text to translate word by word, lest they would distort the will of God and the teachings of the Buddha.Until the 1950s, due to the advent of the era of professional translation, the target of translation has evolved from religious documents and literary masterpieces to non-literary practical documents such as economy, technology, business, and entertainment. Since then, translation Views have been greatly changed.&lt;br /&gt;
Secondly, both in China and in the West, translation has played an important role in disseminating knowledge.When we compare the contribution of Chinese and Western translation in spreading knowledge together, this effect is further demonstrated.In the West, backward Rome developed rapidly due to the absorption of advanced Greek culture and became the later Roman Empire.In the Middle Ages, after the Baghdad Translation Center, the translation activities of the &amp;quot;Translation Museum&amp;quot; in Toledo, Spain.The translators provided a source of learning for the Western world by translating ancient Greek and Roman natural science works, philosophy and other classics translated by the Arabs into Latin, as well as the Arabs' own academic works.It is through these classical classics that Western talents began to come into contact with a large number of classical cultures and promoted the Renaissance. Its influence is reflected in all aspects of art, philosophy, literature, music, science and technology, politics, religion, and intellectual inquiry.For China, a large number of Buddhist scriptures from the Western Regions to China from the Han Dynasty to the Song Dynasty opened up the history of Chinese translation.The translation of science and technology at the end of the Ming Dynasty and the beginning of the Qing Dynasty was also influential in disseminating Western science and technology literature and promoting the development of China's natural science and engineering technology.In particular, the literary translation from the Opium War to the &amp;quot;May 4th&amp;quot; period was the dividing line of modern translation history. The translation from the field of science and technology gradually spread to the fields of literature, philosophy, economics, sociology, ethics, etc. In the new stage of translation, the scale and influence of its translation activities have exceeded any period in modern times.Since China's reform and opening up, translation has played a role in promoting communication between China and various countries. The development of the globalization process cannot be separated from the bridge and hub of translation.&lt;br /&gt;
Third, the role of translation in the establishment and development of national languages in various countries has some obvious commonalities in both the West and China.In the West, Martin Luther's Bible translation has played a very important role in the unification and development of German and modern German.The English translation of the &amp;quot;Bible&amp;quot; also contributes significantly to enriching English vocabulary and expressive means.As for China, Buddhist translation has enriched Chinese vocabulary, especially literary translation during the May Fourth Movement, which promoted the establishment and development of modern Chinese vernacular.The translation in the new era has also enriched the vocabulary to a certain extent.For example, the Chinese &amp;quot;人山人海&amp;quot; translates into English as &amp;quot;people mountain people sea&amp;quot;, and it is even included in the English dictionary.&lt;br /&gt;
Finally, regardless of Chinese and Western, translation also plays a vital role in conveying foreign social and cultural values.(Xie 2010,5)In the West, for example, the excavation, dissemination and development of the spirit of humanism during the Renaissance were largely due to the translation of ancient Greek and Roman classics.In China, Li Zhizao, Xu Guangqi and others' translations of Western social science masterpieces in the late Ming and early Qing dynasties broadened the horizons of the Chinese people and promoted the modernization of China.During the May Fourth Movement, Yan Fu, Lu Xun and others' translations of Western literature and dramas refreshed the Chinese worldview, increased the Chinese people's knowledge, and played a good catalytic role in modern intellectual circles.&lt;br /&gt;
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====4.2 Difference====&lt;br /&gt;
The last section elaborated from four aspects that the evolutionary laws of Chinese and Western translation history are very similar. Of course, the development of Chinese and Western translation history has its own unique performance, not only in the development period and nodes, but also in certain These aspects are even far apart.&lt;br /&gt;
Although the initiation and development of large-scale Chinese and Western translation activities are closely related to the translation of religious documents, the status of Buddhism in Chinese and Western social and political life is different.Religion plays an extremely important role in Western society. In Western Christian society, God is not only the creator and nurturer of the universe and mankind, but also the maker and arbitrator of the political and ethical order of the world. Is the primary source of Western moral standards.Therefore, the importance of &amp;quot;Bible&amp;quot; translation can be imagined.In China, imperial power is greater than divine power. Monarchs profess themselves to be the emperor, exercise power by the mandate of heaven, and enjoy supreme authority.Religion can only be spread and developed under the support and use of imperial power. Its essence is actually a tool to maintain rule, and it has never become a religious behavior for the whole people.In Chinese history, religion was never allowed to harm the ethical principles of feudal rule. Once harm occurred, it would be banned and eliminated.The extermination of Buddhism in the history of Chinese Buddhism and the &amp;quot;Chinese Etiquette Controversy&amp;quot; in the history of modern Chinese Catholicism are typical features.Therefore, the influence of Chinese Buddhist scripture translation is more in folk culture, and the effect of its influence is more manifested in a subtle form.For example, the change of world outlook, the penetration of language, the borrowing of the plots of Buddhist classics in literary works, and so on.Moreover, Chinese society uses blood as a bond and family as a unit. It is the blood relationship that closely connects family members.Festivals and weddings and funerals are always carried out on a family or family basis, not under the auspices of the church as in the West.&lt;br /&gt;
On the other hand, due to the differences in national characteristics between China and the West, the Chinese nation is more pragmatic, focusing on physical and mental cultivation, ethics and morality, paying attention to whether translation theory has practical effects, whether it can guide translation practice and solve various problems encountered in the translation process.(Xie 2010,6)The Western Christian culture and my country's Confucianism have formed a sharp contrast in this respect.Westerners influenced by Christian thought have a strong pioneering and innovative national character. They advocate speculation and pay more attention to the abstract, systematic and systematic nature of translation theories.They believe that the focus is on describing what kind of theory exists behind translation practice, and how to understand and interpret translation from a theoretical perspective.This makes the development path of the two translation theories different.If there were many similarities in the concepts and characteristics of Chinese and Western translation activities before the 1950s, then the differences in the development trends of the two translation theories in the later stages, especially from the end of the 19th century, became larger and larger.Western translation theories have been systematized earlier. Any research is carried out under the guidance of a certain theory, and the results of related disciplines are fully used to make the connotation (translation standard itself) and extension (research method) of translation standards become truly pluralistic. Which embodies a strong scientific spirit.However, Chinese translation theories have remained at the level of translation practice experience perception for a long time, which is largely subjective.In particular, the proponents of traditional translation theory pay attention to the unspoken artistic conception, giving people more space for association and comprehension, but they cannot make precise regulations for translation practice, which is implicit.&lt;br /&gt;
&lt;br /&gt;
===Ⅴ.conclusion===&lt;br /&gt;
It is precisely based on the above-mentioned understanding of the history of Chinese and Western translation from different aspects that &amp;quot;similarities have differences, and differences have similarities&amp;quot;, so I think that the history of Chinese and Western translation development should be described, analyzed and sorted in the same framework. It is possible.In this way, we can not only emphasize the common ground in the development of Chinese and Western translation, find the rules among them, but also show the uniqueness of the development of the two.This article adopts the method of compiling parallel narratives based on synchronic presentation, supplemented by diachronic combing, combining two seemingly unrelated development contexts in the history of Chinese and Western translation, and analyzing and describing them as a whole.And the development stages of Chinese and Western translation history are divided into stages according to the mainstream translation objects of the specific era, and then the internal laws of the evolution of Chinese and Western translation concepts are explored and revealed.&lt;br /&gt;
Generally speaking, translation and culture are inseparable, whether religious, political, or literary, they all grow up in the soil of culture.(Chen 2016,1)In the process of understanding Chinese and Western translation history, people also feel the cultural collision.Not only in the long history of the past, but in the 21st century today, translation is a bridge and a link between countries, and an indispensable existence in people's social, political, and economic life.At the same time, translation is also an art. Through translating works, we not only understand the beauty of each country's culture, but also realize that translation is originally an art.Translation is a rigorous and extensive academic science. Various forms of cultural exchanges between Chinese and Western languages, literature, philosophy, and religion require not only artistic performance, but also rigorous academic attitudes and systematic theories to support.Translators and scholars from different countries, languages and cultures have contributed their outstanding talents and wisdom in the field of translation. They have studied and published a wealth of academic theories and skills in translation studies from different perspectives, which have promoted the progress and development of society.&lt;br /&gt;
&lt;br /&gt;
===References===&lt;br /&gt;
Chen Fang 陈芳.(2016).西方翻译史的文化演进——评《西方翻译简史》[The Cultural Evolution of Western Translation History——A Review of &amp;quot;A short history of translation in the West&amp;quot;].当代教育学(06)Contemporary Education(2).&lt;br /&gt;
&lt;br /&gt;
Gong Yicai 龚亿财.(2020).论翻译在第三次翻译高潮中的特点及社会功能[On the features and social functions of translation in the third translation climax].吉林广播电视大学学报(Total No.217)Journal of Jilin Radio and TV University.&lt;br /&gt;
&lt;br /&gt;
Li Yin 李颖.(2016).从翻译史上的几个重要时期看中国翻译理论与实践的发展[Viewing the development of Chinese translation theory and practice from several important periods in the history of translation].湖北经济学院学报(Vol13 No.10)Journal of Hubei University of Economics.&lt;br /&gt;
&lt;br /&gt;
Liu Qiaoling 刘巧玲.(2016).从中国翻译史的四次高潮看主要译论及读者影响[Main translation theories and readers' influence from the four climaxes of Chinese translation history].黑龙江生态工程职业学院学报(Vol.29 No.5)Journal of Heilongjiang Vocational Institute of Ecological Engineering.&lt;br /&gt;
&lt;br /&gt;
Tan Zaixi 谭载喜.(1985).西方翻译史浅谈[On the history of Western translation].中国翻译(07)Chinese Translation(36-39).&lt;br /&gt;
&lt;br /&gt;
Tan Zaixi 谭载喜.(2004).西方翻译简史[A short history of translation in the West].商务印书馆The Commercial Press of Hongkong.&lt;br /&gt;
&lt;br /&gt;
Xu Jun许钧.(2018.06)改革开放以来中国翻译研究的发展之路[The development of Chinese translation studies since reform and opening up].Chinese Traslation Journal.&lt;br /&gt;
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Xie Tianzhen 谢天振.(2009)中西翻译简史[A brief history of Chinese and Western translation].外语教学与研究出版社Foreign Language Teaching and Research Press.&lt;br /&gt;
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Xie Tianzhen 谢天振.(2010)中西翻译史整体观探索[An exploration of the holistic view of Chinese and Western translation history].东方翻译(02)East Journal of Translation(4-8).&lt;br /&gt;
&lt;br /&gt;
='''Literal and Free Translation'''=&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
==Rethink Literal and Free Translation	彭永亮	Peng Yongliang==&lt;br /&gt;
&lt;br /&gt;
==On the Chinese Translation of ''A Pale View of Hills'' from House's Translation Quality Assessment Model	宋建茹	Song Jianru ==&lt;br /&gt;
&lt;br /&gt;
&amp;lt;center&amp;gt; 宋建茹 Song Jianru 202020080639 &amp;lt;/center&amp;gt;&lt;br /&gt;
&lt;br /&gt;
===Abstract===&lt;br /&gt;
&lt;br /&gt;
Translation quality assessment is an integral part of translation criticism. The first TQA model with comprehensive theories and practices Juliane House represented provides a significant reference for translation exercises. ''A Pale View of Hills'', as the first work of Kazuo Ishiguro, possesses a great research value on its narrative styles by virtue of memory and topics about migrants. As of 2011 when its Chinese translation was published, no scholar has evaluated it. This study applies House’s TQA model to assess the Chinese translation of ''A Pale View of Hills'' with qualitative and quantitative analysis from lexical, syntactic and textual aspects, in a bid to examine validity of the model on novel translation, which turns out that it is an overt and high-quality translation.&lt;br /&gt;
&lt;br /&gt;
=== Key Words===&lt;br /&gt;
&lt;br /&gt;
''A Pale View of Hills''; House's TQA model; novel translation&lt;br /&gt;
&lt;br /&gt;
===题目===&lt;br /&gt;
&lt;br /&gt;
从豪斯翻译质量评估模式谈《远山淡影》中文翻译&lt;br /&gt;
&lt;br /&gt;
=== 摘 要 ===&lt;br /&gt;
&lt;br /&gt;
翻译质量评估是翻译批评的核心课题。朱莉安·豪斯提出的第一个有完整的理论和实践的翻译质量评估模式，为翻译实践提供了重要参考。《远山淡影》是石黑一雄的处女作，其依托回忆的叙事风格和移民主题具有很高的研究价值。《远山淡影》中译本自2011年出版至今，尚未有学者对其进行评估研究。本文运用豪斯的翻译质量评估模式，采用定性与定量相结合的分析方式，从语场、语旨、语式等三个层面对原文和译文进行分析，开展《远山淡影》中译本的翻译质量评估研究，为豪斯翻译质量评估模式对小说翻译的运用进行进一步的探索和补充。通过分析，得出《远山淡影》中译本为显性翻译，翻译质量较高。''Italic text''&lt;br /&gt;
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=== 关键词 ===&lt;br /&gt;
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《远山淡影》；豪斯质量评估模式；小说翻译&lt;br /&gt;
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===Introduction===&lt;br /&gt;
&lt;br /&gt;
Translation criticism refers to the analysis and review of thoughts, activities and works of translation by virtue of relevant theories and views, in a bid to improve the overall quality of translators and translations. It is an integral part of translation studies. (Wang Enmian, 1999: 7) Translation quality assessment, as the integral and key part of translation criticism, plays a significant role in surveillance and promotion of translation quality. Among the extant translation quality assessment models, Juliane House’s ''A Model for Translation Quality Assessment and Translation Quality Assessment: A Model Revised'', based on Halliday's systemic functional linguistics and discourse analysis, are systematic, scientific and rational with a relatively complete system of parameters, quantitative methods and steps adhering to specific procedures. &lt;br /&gt;
&lt;br /&gt;
''A Pale View of Hills'', as Kazuo Ishiguro's first full-length novel, tells the life of the people in Nagasaki after WWII through the memory of protagonist Etsuko and explores recovery of trauma, collision between the old and new ideas, and kinship after war. The first person narrative, memory, humor and satire and international perspectives in the book became his major writing styles in the future. The novel won the Winifred Holtby Memorial Prize from the Royal Society. Its only Chinese translation at present, from Zhang Xiaoyi, is still not analyzed by the scholars. This paper uses House’s translation quality assessment model, with combination of qualitative and quantitative analysis, from field, tenor and mode to analyze the mismatches between original and translation in an attempt to assess the Chinese translation quality of ''A Pale View of Hills'' and further explore the application of House’s model in novel translation. The aim of the study is to promote scholars to regulate the behaviors of translation, to improve the quality of translation and translation evaluation, and to provide a reasonable way for establishing the interlingual conversion mechanism.&lt;br /&gt;
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The thesis consists of four chapters.&lt;br /&gt;
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After the Introduction, Chapter One gives a brief account of ''A Pale View of Hills'' and its research status, involving the author, background, content and influence. Chapter Two is a brief introduction of House’s TQA model, including its theoretic basis, parameter setting, operation steps and feasibility. Chapter Three is a detailed analysis of original and translation of ''A Pale View of Hills'' based on House’s model. Chapter Four is statement of translation quality assessment. Then we come to the last part, Conclusion.&lt;br /&gt;
&lt;br /&gt;
===I Overview and Research Status of ''A Pale View of Hills''===&lt;br /&gt;
''A Pale View of Hills'' is Kazuo Ishiguro's first novel, which laid a solid foundation for the formation of Ishiguro's writing style. The chapter mainly introduces the author, plot, theme and influence of the novel and analyzes its research status, in an attempt to master the material well and seek new perspectives for the paper.&lt;br /&gt;
&lt;br /&gt;
'''1.1 Overview of ''A Pale View of Hills'''''&lt;br /&gt;
&lt;br /&gt;
Kazuo Ishguro is a noble contemporary Japanese English writer, whose novels feature first person narrative, detailed depiction of loneliness, depression, self-deception and anxiety of characters' inner world and dual narrative strategy to deconstruct the narrator's self-identity, as well as discuss postwar trauma and migrant identity. He won Booker Prize, the British top literary prize, in 1989 and the Nobel Prize in literature in 2017. By virtue of his outstanding literary achievements, he is known as one of the Three Masters of English Migrant Literature together with Salman Rushdi and Naipaul.&lt;br /&gt;
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''A Pale View of Hills'', published in 1982, is Ishiguro's debut. The story, with postwar Nagasaki as its background, enjoys two clues: one is what happened when Niki (Etsuko’s little daughter) visited her mother after her sister Keiko died; the other is Etsuko’s memory about people and events in Nagasaki after the war. The two lines integrated together during the narrative, forming the illusory and imaginary impression. Many in-depth topics in this work are worth pondering: postwar trauma recovery, the collision between new and old ideas after war and discussion of family relations. Many marks in the work became his own styles: first-person narrative, memory, humor and satire, international perspectives. In addition, it won the Winifred Holtby Memorial Prize from the Royal Society and is still in print thirty years after its publication. This book, with its enormous emotion, unearths the abyss beneath the illusion of our connection to the world, whose artistic value and charm could be time-tested.&lt;br /&gt;
&lt;br /&gt;
'''1.2 Research Status of ''A Pale View of Hills'''''&lt;br /&gt;
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There are 54 papers about A Pale View of Hills in domestic researches. According to the statistics from HowNet (as shown in the figure below), the number of studies on the work has been mounting, especially after Kazuo Ishiguro won the Nobel Prize for Literature in 2017. The perspectives of these researches are mainly from identity anxiety, unreliable narrative and post-war trauma. In Identity Anxiety in Kazuo Ishiguro's A Pale View of Hills, Wang Fei discusses the identity anxiety of migrants, exploring manifestations, causes and influence of such anxiety on the characters. In Memory and Narrative Unreliability of A Pale View of Hills, He Xiaobing combined with the classical narratology to analyze how unreliable narration method is presented in the work and discussed the inner world of the characters. In Trauma in Kazuo Ishiguro's A Pale View of Hills, Liu Xiaoya explores the protagonist's trauma by using Sigmund Freud’s psychoanalysis theory and trauma theory (including post-freudian psychological trauma theory), contemporary trauma culture theory along with rhetorical narrative theory.&lt;br /&gt;
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[[File:picture1.pgn]]&lt;br /&gt;
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At abroad there are more perspectives about the studies of A Pale View of Hills. In addition to the main research directions of domestic scholars, such as identity anxiety of characters, unreliable narrative research and post-war trauma, cultural displacement, family relationship and the influence of region on personality presented in the works are also analyzed. ''The Impact of Place on Personality in Kazuo Ishiguro's A Pale View of Hills: An Eco-critical Study'' co-written by Awla, Yousif Hamad and Azad Sharif, from the perspective of ecocriticism, clarifies the fact that a place is able to define and guide the emotions and thoughts of characters, and analyzes the reasons why geography forms characters of people in order to draw people’s attention to the impact of surrounding environment on them. Ruth Forsythe's article ''Cultural Displacement and the Mother-daughter Relationship in Kazuo Ishiguro's A Pale View of Hills'' focuses more on the relationship between mother and daughter under cultural displacement. However, no scholars have analyzed the language itself from the perspective of systemic functional linguistics.&lt;br /&gt;
&lt;br /&gt;
The Chinese translation of A Pale View of Hills, Zhang Xiaoyi's version, was published by Shanghai Translation Publishing House in 2011, and the bilingual version in 2019. Up to now, there has no translation criticism or discussion about this translation. Since 2011 when it was translated, it came to draw the attention of scholars and readers. Translation is a direct factor that affects the integrity of author’s thought, the reader's perception and the accuracy of the scholar’s study, thus it is indispensable to use the House’s Translation Quality Assessment model to analyze the Chinese translation of ''A Pale View of Hills''.&lt;br /&gt;
===II Introduction of House's Translation Quality Assessment Model===&lt;br /&gt;
Juliane House's model was described as the first translation quality assessment model with complete theories and practices by international translation criticism, which could provide an important reference for translation learners and scholars. By introducing the theoretical basis, parameter system and operation steps of House's model, this chapter will discuss the feasibility of House’s model in the evaluation of the Chinese translation of A Pale View of Hills, in an effort to foster the application of House’s model in the quality evaluation of full-length novels.&lt;br /&gt;
&lt;br /&gt;
'''2.1 Theoretical Basis of House's Model'''&lt;br /&gt;
&lt;br /&gt;
The assessment of translation quality draws upon different translation standards, which are then embodied by the recognition about essence of translation. House deemed that crunch of the translation quality assessment lies in recognition of the nature of translation, namely that &amp;quot;translation is the replacement of a text in the source language by a semantically and pragmatically equivalent text in the target language.&amp;quot;(House, 1977: 30)&lt;br /&gt;
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In House's initial model in 1977, she drew upon language behavior theory, language and text function and context to divide the source language text into two situational dimensions: dimension of language user and dimension of language use. The former includes three aspects: geographical origin, social class and time. The latter includes five aspects: medium, participation, social role relationship, social attitude and province. The evaluation depends on the matching degree between                                                                                                                                                                                                                                                                                                                                                                                          original text and translation. The higher the matching degree is, the better the translation quality is. The quality evaluation of the translated text needs to state mismatching degree of each dimension in the whole context, that is, the description of the quantity of covert errors (errors in context dimension) and overt errors (referential mismatcher or grammatical violation of target language system).&lt;br /&gt;
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Based on myriad practice, House realized that the initial eight dimensions overlap in some parts. Therefore, in 1997, she revised the original model from the perspective of the context, unifying the previous eight parameters to field, tenor and mode. Field compares subject matter and social action of the original with that of translation. Tenor emphasizes the matching degree on the relationship of participants, time, region, position of author, social role relationship and social attitudes. Mode pays more attention to medium and participation. In addition, House incorporated &amp;quot;genre&amp;quot; into revision model in order to explain the deep structure of the text.&lt;br /&gt;
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'''2.2 Operation Steps of House's Model'''&lt;br /&gt;
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When evaluating the translation quality of the text, House's model focuses on comparison between original text and translation from field, tenor, mode and genre, clarifies and summarizes mismatches found in the text, so as to obtain a quality report of the translation. The detailed steps presented as follows: &lt;br /&gt;
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1) Analyze the register and genre of the original text to get its textual functional profile. The original text is analyzed from four dimensions: field, tenor, mode and genre. According to the analysis, “functional statement”, involving ideational and interpersonal functions, needs to be deduced.&lt;br /&gt;
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2)Compare the target text and the source text to find differences or mismatches. Through the comparative analysis between original and translation along the dimensions on the model, mismatches or differences found in the comparison are sorted out by virtue of overt errors or covert errors and expounded in detail one by one.&lt;br /&gt;
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3)Summarize the differences and mismatches demonstrated from the above steps in lexical, syntactic and textual aspects. Based on above statistics and statement, make the quality statement. The fewer the mismatches are, the better the translation quality is. If readers clearly realize the text a translation work, it is overt translation; while if not, it is covert translation.&lt;br /&gt;
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'''2.3 Feasibility of the Model in Chinese Translation of ''A Pale View of Hills'''''&lt;br /&gt;
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At present, there are 78 relevant studies on House’s Translation Assessment model, which are mainly divided into three directions: interpretation of House Translation Assessment model and its revision, evaluating translation of literary works along the model and evaluating translation of applied text along the model. Among them, evaluation of the translation of literary works accounts for 29, which enjoys the following two characteristics:&lt;br /&gt;
&lt;br /&gt;
1)There are merely a few researches applying House model to Chinese translation of literary works. Among the 29 journals and papers evaluating translation of literary works, there are 25 studies that attach great importance to the English translation and 4 to Chinese translation, which signifies that we need more researches of Chinese translation to support the validity of the model on different languages. Therefore, the paper, with the Chinese translation of A Pale View of Hills as its corpus, intends to examine the feasibility of the application of House’s model to Chinese translation.&lt;br /&gt;
&lt;br /&gt;
2)There are merely a few researches applying House model to the translation of full-length novels. Among the 29 journals and papers on evaluating translation of literary works, most of which focus on the evaluation of poems and prose, merely 5 studies are analysis of translation of full-length novels. English translation accounts for 3 and Chinese translation for 2, which demonstrates that we need more researches with full-length novels as corpus to support the validity of the model in different genres. Therefore, the paper, with the full-length novel A Pale View of Hills as its corpus, intends to examine the feasibility of the application of House’s model to full-length novels.&lt;br /&gt;
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In conclusion, given that the researches based on Chinese translation of full-length novels are insufficient, the paper will use the Chinese translation of A Pale View of Hills as its corpus to validate the feasibility of House’s TQA model.&lt;br /&gt;
&lt;br /&gt;
===III Comparison of Original and Translation of ''A Pale View of Hills'' Along House's Translation Quality Assessment Model===&lt;br /&gt;
''A Pale View of Hills'' is the debut of Kazuo Ishiguro, whose Chinese translation was published by Shanghai Translation Publishing House in 2011. House's Translation Quality Assessment model is the first objective model combining quantative analysis with qualitive analysis. The paper applies House’s Translation Quality Assessment model to Chinese translation of ''A Pale View of Hill'', comparing the source text and target text in lexical, syntactic and textual aspects along the three dimensions of register and summarizing the mismatches on field, tenor and mode, in an effort to quantitatively assess the translation quality of ''A Pale View of Hills''.&lt;br /&gt;
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'''3.1 Comparison on Field'''&lt;br /&gt;
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Field refers to the content or the topic of the text. It is concerned with subject matter and social action which covers the specificity of lexical items. After comparison between the source text and target text on field, there are 18 mismatches, 12 of which are overt errors and 6 covert errors. Among them, there are 9 lexical errors, 1 textual error and 8 syntactic errors. The lexical and textual errors are mainly covert errors, so in general their translation is of high quality. Although most of syntactic errors are not in line with the grammar of target language system, they won’t influence the understanding of the text. Therefore, by and large, translation on field are high-quality.&lt;br /&gt;
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'''3.1.1 Lexical Field'''&lt;br /&gt;
&lt;br /&gt;
Lexical field means the immediate or possible scenes or events evoked in people’s mind when they read or hear the words or lexical items. After the analysis of the original and target text, there are 9 mismatches, 4 of which are overt errors and 5 are covert ones. Most of them won’t block readers to master the overall meanings. Therefore, the translation quality on lexical items are relatively high. &lt;br /&gt;
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Example 1：&lt;br /&gt;
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...and the soaked surfaces of brick and concrete were drying all around us.&lt;br /&gt;
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湿透了的砖头和水泥开始变干。(P8)&lt;br /&gt;
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Concrete refers to building material that is made by mixing together cement, sand, small stones and water according to Oxford Dictionary, which includes cement rather than equates it. So, it is not very accurate to translate in this way even if the two words are similar. It is obviously an overt error. &lt;br /&gt;
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Example 2：&lt;br /&gt;
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As far as I remember, that was the first occasion I spoke to Mariko.&lt;br /&gt;
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我印象那是我第一次跟万里子说话。(P11)&lt;br /&gt;
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In the translation, “印象” as a noun refers to a mental picture that you have of what somebody/something is like or looks like. In the light of the rules or grammar of Chinese, it is hardly used as a verb. Thus, it is an overt error. &lt;br /&gt;
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Example 3：&lt;br /&gt;
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It's such a shame.&lt;br /&gt;
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真不像话。(P16)&lt;br /&gt;
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A shame is used to say that somthing is a cause for feeling sad or disappointed. In the original, the sentence is to express Etsuko’s pity to the homeless dogs and cats around her community rather than her distaste or complaint. Here it is translated into its other meaning when ignoring the context, belonging to a covert error. &lt;br /&gt;
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Example 4：&lt;br /&gt;
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Why don't you go into the kitchen for a little while?&lt;br /&gt;
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你为什么不到厨房去一会儿呢？(P26)&lt;br /&gt;
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In the translation, “去” is not very appropriate on the basis of grammar of Chinese, since it is such an action verb that does not match with state phrases. In the course of translation, some prepositions in English need to be transferred into verb in Chinese, which are supposed to pay attention to the rules of target language. Here it is obviously an overt error.&lt;br /&gt;
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Example 5：&lt;br /&gt;
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It's not appreciated simply because the product disappears so quickly.&lt;br /&gt;
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不能因为它的产品很快就消失了而不懂得欣赏。(P34)&lt;br /&gt;
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According to the context, Ogata-San believes that cooking is “as noble as painting or poetry”. So here the product refers to food cooked. Given the concrete expression in Chinese, the product is supposed to be translated more concretely in accordance with the context. It is a covert error.&lt;br /&gt;
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Example 6：&lt;br /&gt;
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Perhaps it is just my fancy that I felt a cold touch of unease there on that bank, a feeling not unlike premonition. &lt;br /&gt;
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这也许只是我的想象，但是那时我在河边觉得凉飕飕的，很不自在，像是感觉有事要发生。(P44)&lt;br /&gt;
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“Unease” refers to the feeling of being worried or unhappy about something. Given the above-mentioned, Etsuko worried about the safety of Mariko when she was not at home. It differs from its translation that means the feeling of being ill at ease. It is an overt error. &lt;br /&gt;
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Example 7：&lt;br /&gt;
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You mustn't suppose, Etsuko, simply because you've seen her in these…in these present surroundings, that she's some peasant's child.&lt;br /&gt;
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悦子，你不能因为……因为眼前的事物就认为她是什么贫农的孩子。(P51)&lt;br /&gt;
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Sachiko is not rich according to the context, so “peasant” intimates the meaning of poverty. Its translation explicitly represents it, which is accessible and intelligible. However, “贫农” enjoys extra cultural meaning in China, which could date back to the Cultural Revolution when lands was apportioned based on people’s wealth, so it might mislead readers to its political implication. It is a covert error.&lt;br /&gt;
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Example 8：&lt;br /&gt;
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“I must have been such a burden to you in those days,” I said, quietly.&lt;br /&gt;
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“我那时肯定成了您的负担，”我静静地说。(P68)&lt;br /&gt;
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Here “quiet” refers to making very little noise, which coincides with the act of saying. According to the context, Etsuko lowered her noise out of guilt when she realized she bothered her family when she practised violin before. However, its translation means the statement without any noise, which obviously contravenes the context, belonging to covert translation.&lt;br /&gt;
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Example 9：&lt;br /&gt;
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I could see something moving beside her in the shade.&lt;br /&gt;
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我看见她身旁的影子里有什么东西在动。(P14)&lt;br /&gt;
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“Shade” means an area that is dark and cool under or behind something, for example a tree or building, because the sun’s light does not get to it, rather than the shadow which the translator believed. As previously mentioned in the text, “Mariko was lying in the corner furthest from the sunlight”, which also signifies that it is impossible to exist dark shape under the light around Mariko. Thus, the translation of “shade” is not on a par with the context, belonging to a covert error.&lt;br /&gt;
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'''3.1.2 Syntactic Field'''&lt;br /&gt;
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Syntactic field means the immediate image appeared in people’s mind when they read the sentences. The mismatches in syntactic field are usually for the violation of rules of target language or misinterpreting the source text. On syntactic field, there are 8 mismatches, seven of which are overt errors and one is covert. Among the overt errors, seven sentences are not in line with the rules of target language, which won’t influence the ideational meaning. Therefore, the translation quality on syntactic field is high.&lt;br /&gt;
&lt;br /&gt;
Example 1：&lt;br /&gt;
&lt;br /&gt;
It did upset me, hearing about her.&lt;br /&gt;
&lt;br /&gt;
我真的很难过，听到她的死讯。(P4)&lt;br /&gt;
&lt;br /&gt;
Example 2：&lt;br /&gt;
&lt;br /&gt;
But I was sad though, when I heard.&lt;br /&gt;
&lt;br /&gt;
可是我真的很难过，听到她的消息。(P4)&lt;br /&gt;
&lt;br /&gt;
Example 3：&lt;br /&gt;
&lt;br /&gt;
It's certainly an amusing sort of experience, working in a noodle shop.&lt;br /&gt;
&lt;br /&gt;
这真是很有趣的经历，在面包店里工作。(P26)&lt;br /&gt;
&lt;br /&gt;
In English, the important or unknown information appeared firstly, and the second one follows. However, in Chinese, the second important presents at first, paving the foundation for the more pivotal or unknown one. In above three examples, their translation doesn’t adjust the sequence in line with target language rules. These are overt errors.&lt;br /&gt;
&lt;br /&gt;
Example 4：&lt;br /&gt;
&lt;br /&gt;
…certain arrangements I made have not gone as planned.&lt;br /&gt;
&lt;br /&gt;
一些事情没有照我计划的那样。(P17)&lt;br /&gt;
&lt;br /&gt;
The translation is not complete as the predicate verb “have gone” is not translated, which does not conform with the grammar of Chinese. It is an overt error.&lt;br /&gt;
&lt;br /&gt;
Example 5：&lt;br /&gt;
&lt;br /&gt;
She appeared to know them, for as she walked across the forecourt, she gave them a familiar greeting.&lt;br /&gt;
&lt;br /&gt;
看来她认识她们，边走过水泥地，边熟识地跟她们打招呼。(P26)&lt;br /&gt;
&lt;br /&gt;
The original is a compound-complex sentence with “for” for causal relation and “as” for coordinate relation. In the translation, the former is represented but the later isn’t, neither by conjunction words nor by clause sequence. It causes that the translation lacks of logic, belonging to an overt error.&lt;br /&gt;
&lt;br /&gt;
Example 6：&lt;br /&gt;
&lt;br /&gt;
It's an opportunity for a teacher to see the fruits of his work, and for the pupils to express their gratitude to him.&lt;br /&gt;
&lt;br /&gt;
这是一个机会让老师看看他的劳动成果，让学生们向他表示感谢。(P30)&lt;br /&gt;
&lt;br /&gt;
The translation adheres to the sequence of the original but ignores the fluency of the sentence. In English, attributives are at both ahead of and behind the objects; while in Chinese, they mostly are preceded. Therefore, the translation violates the grammar of the target language, belonging to an overt error.&lt;br /&gt;
&lt;br /&gt;
Example 7：&lt;br /&gt;
&lt;br /&gt;
There's nothing like a timely reminder of one's personal obligations.&lt;br /&gt;
&lt;br /&gt;
及时地提醒个人的责任之类的东西也没有。(P71)&lt;br /&gt;
&lt;br /&gt;
“There's nothing like” is a common sentence pattern in spoken English, meaning nothing else is able to match. The original would have expressed that “a timely reminder of one’s personal obligations” is the most important. The translator misunderstood the meaning utterly, making an overt error.  &lt;br /&gt;
&lt;br /&gt;
Example 8：&lt;br /&gt;
&lt;br /&gt;
It amazes me, how things have changed so much so quickly.&lt;br /&gt;
&lt;br /&gt;
太让我吃惊了，世道变得如此之大，如此之快。(P195)&lt;br /&gt;
&lt;br /&gt;
The translation, by and large, is in accordance with the original. Yet there is possibility for readers to be confused about the accuracy of words collocation. Although “so much” and “so quickly” modify the verb “change”, we have to respectively choose the proper words to collocate. It is a covert error. &lt;br /&gt;
&lt;br /&gt;
'''3.1.3 Textual Field'''&lt;br /&gt;
&lt;br /&gt;
On textual field, there is only one error---overt error. It is caused by misconstruing what the pronoun refers to. By and large, the translation, through the comprehensive analysis on textual field, is high-quality. &lt;br /&gt;
&lt;br /&gt;
Example 1：&lt;br /&gt;
&lt;br /&gt;
That's just not how it was though.&lt;br /&gt;
&lt;br /&gt;
但是我和她根本不是这样。(P4)&lt;br /&gt;
&lt;br /&gt;
According to “Sisters are supposed to be people you're close to, aren't they. You may not like them much, but you're still close to them”, it refers to the whole view instead of certain relationship between me and my sister. The referential meaning does not accord with that of the original. It is an overt error.&lt;br /&gt;
&lt;br /&gt;
'''3.2 Comparison on Tenor'''&lt;br /&gt;
&lt;br /&gt;
Tenor refers to the nature of the participants, the addresser and the addressee, and the relationship between them in terms of social power and social distance. After comparing the original and the translation of A Pale View of Hills, there are 8 mismatches on social attitude and social role relationship, one of which is an overt error and the rest are covert. In general, the translation is highly in accordance with the original so the quality is high on tenor. &lt;br /&gt;
&lt;br /&gt;
'''3.2.1 Social Attitude'''&lt;br /&gt;
&lt;br /&gt;
Social attitude refers to the social distance between communicators and the degree of formality of discourse. The misunderstanding of social attitude in the translation process will affect the readers' understanding of the characters in the novel. Therefore, mistakes in representing social attitude of characters should be minimized and even avoided in the translation process. There are 4 mismatches on social attitude in the translation: one is an overt error and the rest are covert errors. By and large, the translation on displaying the social attitude of the original is great. &lt;br /&gt;
&lt;br /&gt;
Example 1：&lt;br /&gt;
&lt;br /&gt;
The English are fond of their idea that our race has an instinct for suicide.&lt;br /&gt;
&lt;br /&gt;
英国人有个奇特的想法，觉得我们这个民族天生爱自杀。(P4)&lt;br /&gt;
&lt;br /&gt;
In the original text, the attitude of the character is relatively objective. However, in the translation, the attitude is represented overly by using an adjective, which might be translator’s understanding on author’s attitude. It limits different interpretation to the author’s attitude from readers. It is an overt error. &lt;br /&gt;
&lt;br /&gt;
Example 2：&lt;br /&gt;
&lt;br /&gt;
“Which are you hoping for, Etsuko?” he asked, eventually. “A boy or a girl?”&lt;br /&gt;
&lt;br /&gt;
“你想是男孩还是女孩呢，悦子？”过了一会儿他问道。(P35)&lt;br /&gt;
&lt;br /&gt;
Ogata-San would like to know Etsuko’s mind about the upcoming baby, but he is not sure if it is proper. At last, curiosity overpowers his hesitation. In the original text “eventually” signifies both time and emotion span. But the translation only manifests the time span. It is a covert error.&lt;br /&gt;
&lt;br /&gt;
Example 3：&lt;br /&gt;
&lt;br /&gt;
“Tell me, Etsuko,” he said, not looking up from his laces. “Have you met this Shigeo Matsuda?”&lt;br /&gt;
&lt;br /&gt;
“告诉我，悦子，”他头也不抬地说。“你见过这个松田重夫吗？”(P36-P37)&lt;br /&gt;
&lt;br /&gt;
Ogata-San, as Etsuko’s father-in-law and adopter after the war, gets along well with her. In the original text, Ogata-San is “not looking up” when speaking to Etsuko since he is lying his laces. The translation ignores the reason, which renders Ogata-San a cold man. It is a covert error.&lt;br /&gt;
&lt;br /&gt;
Example 4:&lt;br /&gt;
&lt;br /&gt;
I'm sure she'd be the first to agree with me about Kazuo mourning her like this.&lt;br /&gt;
&lt;br /&gt;
我肯定她会第一个同意我的观点，和夫不应该再这样想着他了。(P94)&lt;br /&gt;
&lt;br /&gt;
From the original, we can feel the love of Mrs. Fujiwara to her son. However, after reading its translation, we can feel nothing but her dominance. It signifies that the translation deviates from the original context. It is a covert error.&lt;br /&gt;
&lt;br /&gt;
'''3.2.2 Social Role Relationship'''&lt;br /&gt;
&lt;br /&gt;
Social role relationship refers to the social relation between the speaker and the receiver, that is, symmetry and asymmetry. The analysis on the social roles relationship in novels is generally from two aspects: relationship between the author and readers, and relationship between the various characters in the work. The former is remained utterly, while the latter is slightly different from that in the original. A total of 4 mismatches are found in the comparison, all of which are covert errors. In the full-text translation, the overall relationship between the characters is the same as that of the original text, and only a few mismatches are found. Therefore, on social role relationship, translation is of high quality.&lt;br /&gt;
&lt;br /&gt;
Example 1：&lt;br /&gt;
&lt;br /&gt;
She said it would be perfectly all right if you came and waited for her at my house.&lt;br /&gt;
&lt;br /&gt;
她说你可以到我家来等她。(P13)&lt;br /&gt;
&lt;br /&gt;
The translation omits “be perfectly all right if”, which takes the edge off the amiability from Etsuko to Mariko. Given the whole plot of the novel, Mariko is a phantom of Etsuko’s old daughter Keiko. The obscure feelings between Mariko and Etsuko are very important to implicate their special emotion. Therefore, the translation ignores to take a consideration of the context. It is a covert error.&lt;br /&gt;
&lt;br /&gt;
Example 2：&lt;br /&gt;
&lt;br /&gt;
As I say, this order came into the office the day you arrived. A real nuisance.&lt;br /&gt;
&lt;br /&gt;
我说过了，订单刚好在您来的那天来了。真是讨厌。(P29)&lt;br /&gt;
&lt;br /&gt;
On the basis of the context, Jiro (Etsuko’s husband) is explaining to his father Ogata-San that he is so busy that he could not accompany him. He feels apologetic about that. However, the tone of speaking in translation is impatient and a bit furious, which runs against that of the original. So, it is a covert error. &lt;br /&gt;
&lt;br /&gt;
Example 3：&lt;br /&gt;
&lt;br /&gt;
I should warn you, perhaps. My daughter has been in a somewhat difficult mood these past few days.&lt;br /&gt;
&lt;br /&gt;
也许我应该警告你。我女儿这几天情绪很不好。(P90)&lt;br /&gt;
&lt;br /&gt;
Warn enjoys two major meanings: to tell somebody about something, especially something dangerous or unpleasant that is likely to happen, so that they can avoid it; to strongly advise somebody to do or not to do something in order to avoid danger or punishment. In the original, Sachiko entrusts Etsuko to look after her daughter so the former one is appropriate. However, in the translation the later one is adopted, which is absolutely improper. It is a covert error. &lt;br /&gt;
&lt;br /&gt;
Example 4：&lt;br /&gt;
&lt;br /&gt;
Now listen carefully, or else you'll never find the noodle shop.&lt;br /&gt;
&lt;br /&gt;
现在您听好了，不然您永远也别想找到面馆。(P183)&lt;br /&gt;
&lt;br /&gt;
The sentence is said when Etsuko intends to tell Ogata-San the route to the restaurant of Mrs Fujiwara. On the basis of the context, Etsuko is very reverent to Ogata-San. However, the manner of translation is tough, which is not of a piece with the original. It doesn’t take account of the context, so it is a covert error.&lt;br /&gt;
&lt;br /&gt;
'''3.3 Comparison on Mode'''&lt;br /&gt;
&lt;br /&gt;
Mode can be divided into medium and participation. In the course of analyzing both the original and the translation, a total of 6 mismatches are found on the two dimensions and all of them are covert errors, which manifests the translation are generally of a piece with the original. The translation on mode is of high quality.&lt;br /&gt;
&lt;br /&gt;
'''3.3.1 Language Medium'''&lt;br /&gt;
&lt;br /&gt;
Language medium mainly refers to whether the form of language is spoken or written, simple or complex. The contrast between the model of the source text and the target text is mainly reflected in the linguistic features and diction features of text rather than language types used. The language of A Pale View of Hills is simple, delicate and easy to understand, with short sentence, plenty of dialogues between characters and a high degree of colloquialism. The overall style of the translation is similar with that of the original, with only 4 stylistic covert mismatches. Therefore, on language medium, the translation quality is great.&lt;br /&gt;
&lt;br /&gt;
Example 1：&lt;br /&gt;
&lt;br /&gt;
…on one side of the tracks at the foot of the hill could be seen a cluster of roofs.&lt;br /&gt;
&lt;br /&gt;
山脚下铁路的一侧是鳞次栉比的屋顶。(P8)&lt;br /&gt;
&lt;br /&gt;
Cluster means a group of things of the same type that grow or appear close together, whose translation accords with it in the ideational meaning. Nonetheless, “鳞次栉比” in Chinese is a four-character phrase that usually appears in formal written text. It is more complex than the style of the text. It is a covert error.&lt;br /&gt;
&lt;br /&gt;
Example 2：&lt;br /&gt;
&lt;br /&gt;
We're just rabble, like your husband says.Please don’t make a fuss, please sit down.&lt;br /&gt;
&lt;br /&gt;
正如您丈夫说的，我们只是两个混蛋。不用麻烦了，请坐下。(P74)&lt;br /&gt;
&lt;br /&gt;
The situation happens when Jiro’s colleagues come round. From the conversation between Jiro and his colleagues, it is found that they are very familiar and intimate. So, words such as “rabble” and “like” are of high colloquialism. Nevertheless, in the translation “正如” is a formal expression, which is not in line with the original. Thus, it is a covert error.&lt;br /&gt;
&lt;br /&gt;
Example 3：&lt;br /&gt;
&lt;br /&gt;
Blankets and laundry hung from many of the balconies.&lt;br /&gt;
&lt;br /&gt;
很多阳台上挂着毯子啦、洗的衣服啦。(P181)&lt;br /&gt;
&lt;br /&gt;
Example 4：&lt;br /&gt;
&lt;br /&gt;
Young women these days are all so headstrong. And forever talking about washing-machines and American dresses.&lt;br /&gt;
&lt;br /&gt;
现在女孩子任性得很。而且整天在讲什么洗衣机啦、洋裙啦。(P195)&lt;br /&gt;
&lt;br /&gt;
The two sentences are the description of the street which Etsuko and Ogata-San pass by when they intend to visit Shigeo. Etsuko is a calm and composed Japanese woman, whose language style is the same. Modal particles used in translation render the language abrupt and frisky. So, it is a covert error.&lt;br /&gt;
&lt;br /&gt;
'''3.3.2 Participation'''&lt;br /&gt;
&lt;br /&gt;
Participation refers to whether the speech is a simple monologue or a complex form that prompts the listeners or readers to participate indirectly, for example, by the transition between statements and questions and the special use of pronouns. The whole plot of A Pale View of Hills is a soliloquy narrated in the first person, interleaved with dialogues between different characters. Readers hardly could participate indirectly in it. The translation is basically in the same style as the original, except for the two following examples. The two declarative sentences are translated into a rhetorical question, which does not require readers to answer as well. Therefore, the translation is of high quality in terms of participation.&lt;br /&gt;
&lt;br /&gt;
Example 1：&lt;br /&gt;
&lt;br /&gt;
That’s no way to bring a child into the world, visiting the cemetery every week.&lt;br /&gt;
&lt;br /&gt;
这样怎么能把孩子带到这个世上呢？(P24)&lt;br /&gt;
&lt;br /&gt;
Example 2：&lt;br /&gt;
&lt;br /&gt;
It seems very disloyal.&lt;br /&gt;
&lt;br /&gt;
这不是忘恩负义吗？(P32)&lt;br /&gt;
&lt;br /&gt;
The quality statement of the Chinese Translation of A Pale View of Hills focuses on whether it is an overt transaltion or a covert translation and its matching degree. On the one hand, it is an overt translation. Accoring to above analysis, the translation is closely related to the culture of the sourse language text. From the translation, expressions with Japanese culture can be found clearly. On the other hand, it is of high quality. There are 32 mismatches in total, 18 mismatches on field, 8 on tenor and 6 on mode. Among them, there are 13 overt errors and 19 covert errors. Covert errors caused by ignoring the context and overt errors caused by violating the rules of target language inflict only a little ambiguity on ideational function, interpersonal function and the quality of the text.&lt;br /&gt;
&lt;br /&gt;
===IV Quality Statement of Chinese Translation of A Pale View of Hills===&lt;br /&gt;
The quality statement of the Chinese Translation of A Pale View of Hills focuses on its cultural participation degree and its matching degree. Based on the two aspects, this chapter will make a quality statement of the Chinese Translation of A Pale View of Hills.&lt;br /&gt;
&lt;br /&gt;
'''4.1 Overt Translation'''&lt;br /&gt;
&lt;br /&gt;
Overt translation refers to the obvious translation rather than the second original. The translation is obviously not aimed at the readers with target language, because the original text, literary works, political speeches and religious sermons, is closely related to the culture it is rooted in. But covert translation can be used as the second text, that is, independent writing. House deems that texts requiring overt translation have no special connection with their culture, and they are not unique to their culture, such as academic papers and travel brochures. She also believes that in overt translation, equivalence can only be established at the level of language/text, register and genre, but it is difficult to achieve equivalence in function. In contrast, the purpose of covert translation is to achieve functional equivalence, and there will be some deficiencies in language, register.&lt;br /&gt;
&lt;br /&gt;
In the contrast reading between the original and the translation, the obvious traces of the original can be found, for example, “你想她们还在打吗？” and “呃，我想小孩子是会打架的。但是我想我应该告诉你一声。还有你看，我想你女儿不是要去上学。”. In English, words representing speculation, such as “suppose” and “think”, are used frequently, while in Chinese they are not. Thus, the target text which remains these words possesses obvious sighs of translation. Furthermore, other signs in the translation, such as “欠了欠身”，show the culture of Japan when greeting. In conclusion, the target text of A Pale View of Hills is overt translation.&lt;br /&gt;
&lt;br /&gt;
'''4.2 High-quality Translation'''&lt;br /&gt;
&lt;br /&gt;
This study applies House’s TQA model to assess the Chinese translation of A Pale View of Hills on lexical, syntactic and textual aspects. On basis of analysis between the original and the translation, there are 18 mismatches on field, 8 on tenor and 6 on mode. Among them, there are 13 overt errors and 19 covert errors. Covert errors caused by ignoring the context and overt errors caused by violating the rules of target language inflict only a little ambiguity on ideational function, interpersonal function and the quality of the text. &lt;br /&gt;
&lt;br /&gt;
Chinese translation of A Pale View of Hills, by and large, consisting with the original, is of high quality. On the field, the translation, which transmits the subject matter and social action which covers the specificity of linguistic items, is in accordance with the original on lexical, syntactic and textual dimension in general; on the tenor, the representation of social attitude and social role relationship of the Chinese text is consistent with the English text; on the mode, the language of the translation is as simple and delicate as that of the original and the participation is of low level as well. Therefore, Zhang Xiaoyi’s Chinese translation of A Pale View of Hills is of high quality.&lt;br /&gt;
===Conclusion===&lt;br /&gt;
''A Pale View of Hills'', as the debut of Kazuo Ishiguro, involves many in-depth subjects, which initiates the development of author's peculiar writing style. House’s model is the first scientific and objective translation quality assessment mode with the integration of both theory and practice. This study applies House’s TQA model to assess the Chinese translation of ''A Pale View of Hills'' on lexical, syntactic and textual aspects. On basis of analysis between the original and the translation, there are 18 mismatches on field, 8 on tenor and 6 on mode. By and large, the Chinese translation of A Pale View of Hills is overt translation. Although a few mismatches can be found in the translation, they cause a little affect to the functions of the text and the presentation of the plot, role characters and role relationship of the whole novel. In conclusion, the translation is in line with the original on register and is of high quality.&lt;br /&gt;
&lt;br /&gt;
Different from the traditional evaluation methods, House's model, based on micro and macro criteria, both quantitative analysis and qualitative analysis, is the first scientific and objective translation quality assessment model with a complete theory and empirical evidence. It can be used as an auxiliary tool to find problems in translation so as to make modifications, which to some extent promotes the development of translation activities. However, in the actual operation process, although the translation quality assessment can be carried out according to parameters, the comparison results still rely on subjective judgment, which cannot utterly guarantee the scientificity of the final evaluation results. In addition, due to the large number of parameters, it takes a lot of time to compare the differences in vocabulary, sentence structure and discourse between the original text and the translation in the evaluation of full-length novel, so the evaluation is not very efficient. Although there are still some shortcomings in the House's model, it is still worth applying in the practice of translation criticism as a relatively complete and objective theoretical model.&lt;br /&gt;
&lt;br /&gt;
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&lt;br /&gt;
==On the Relationship among Literal Translation, Free Translation, Domestication and Foreignization--韦洪朗 Wei Honglang,202020080647==&lt;br /&gt;
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===Abstract===&lt;br /&gt;
Abstract&lt;br /&gt;
This paper makes a systematic discussion on the relationship among literal translation, free translation, domestication and foreignization,which have been always controversial in translation history. Based on the theories and contents of free translation, literal translation, domestication and foreignization, this paper analyzes the similarities and differences between literal translation and free translation, foreignization and foreignization respectively. After cross-contrast analysis between them, it comprehensively sorts out the relationship between translation methods of literal translation and free translation and translation strategies of domestication and foreignization, and discusses their comprehensive application on the basis that domestication and foreignization are the extension of literal translation and free translation to cultural level, which has certain reference significance for further enriching translation practice.&lt;br /&gt;
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===Key words===&lt;br /&gt;
Key Words: Literal Translation; Free Translation; Domestication; Foreignization&lt;br /&gt;
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===摘要===&lt;br /&gt;
摘 要&lt;br /&gt;
本文就翻译史上备受争论的归化、异化和意译、直译的关系问题进行了系统的讨论。基于意译、直译和归化、异化的理论及其内容，分别分析直译和意译、异化和归化两对概念之间的异同，在他们之间进行交叉对比分析后，综合整理直译、意译的翻译方法和归化、异化翻译策略的关系，在继承归化和异化是直译和意译向文化层面的延伸的基础关系上，具体讨论他们之间的综合运用，为进一步丰富翻译实践具有一定的借鉴意义。&lt;br /&gt;
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===关键字===&lt;br /&gt;
关键词：意译；直译；归化；异化&lt;br /&gt;
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===Introduction===&lt;br /&gt;
  In the history, argues between literal translation and free translation have been lasting for so long. Since there existed so many countries and nations on the continent of Europe, communicating frequently with different languages, the skill and cognition of language translation naturally developed and achieved a lot. During those time, two main methods of translation called literal translation and free translation came into being and accompanied by the problem on choosing which of them. The earliest opinion of translating methods can go back to the period of Roman Empire, when Cicero put forward that free translation should be used in translating Greek texts into Latin, on account of that literal translation , “word for word translation”, couldn’t reflect Roman way of expression and couldn’t be easy-understanding and fluent as free translation, “sense for sense translation”. This view of point had a great and dominate influence at that time, which did not change until late Roman period, when Christianity were gradually in power and the necessity of spreading and translating Bible by the way “exactly what it is ” made literal translation become more popular. Then comes the renaissance, in which many linguisticians realized the importance of keeping the style and features of their own nations. Since then, the two translation methods have taken the lead and been debated endlessly in the translation field. By the 1960s and 1970s, when domesticating translation and foreignizing translation accordingly emerged with free translation and literal translation, reception theory, which upgraded the dominance of readers or we called receivers of translation, again made the domestic translating one-up. This kind of method was criticized by Venuti on its aggressivity of different cultures, based on which he officially put forward the two concepts of domestication and foreignization, which have been two central strategies in translation. So it’s vital to get a better understanding of those four concepts and make their relationships clear, which is of guiding significance to promote translation in practice.(Lu Shu, Wang Jintang 2005,115-116)&lt;br /&gt;
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===Table of Contents===&lt;br /&gt;
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Table of Contents&lt;br /&gt;
&lt;br /&gt;
Outline&lt;br /&gt;
I.Introduction&lt;br /&gt;
II.Literal Translation and Free Translation&lt;br /&gt;
2.1 Literal translation &lt;br /&gt;
2.2 Free translation  &lt;br /&gt;
2.3 Analysis with Examples of Literal translation and Free translation&lt;br /&gt;
2.3.1 On words&lt;br /&gt;
2.3.2 On sentence structures&lt;br /&gt;
2.3.3 On rhetorical means&lt;br /&gt;
2.4 The Relationships between Literal translation and Free translation&lt;br /&gt;
III.Domestication and Foreignization&lt;br /&gt;
3.1 Domestication&lt;br /&gt;
3.2 Foreignization&lt;br /&gt;
3.3 Analysis with Examples of Domestication and Foreignization&lt;br /&gt;
3.3.1 On politics&lt;br /&gt;
3.3.2 On culture&lt;br /&gt;
3.4 The Relationships between Domestication and Foreignization &lt;br /&gt;
IV.The Relationship among Literal Translation, Free Translation, Domestication and Foreignization&lt;br /&gt;
4.1 The Comparison among Literal Translation and Free Translation, Domestication and Foreignization&lt;br /&gt;
4.2 The Connection among Literal Translation and Free Translation, Domestication and Foreignization&lt;br /&gt;
4.2.1 Foreignization and Literal translation&lt;br /&gt;
4.2.2 domestication and free translation&lt;br /&gt;
4.2.3 Domestication and Literal translation&lt;br /&gt;
V.Conclusion&lt;br /&gt;
References&lt;br /&gt;
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&lt;br /&gt;
===I.Introduction ===&lt;br /&gt;
I.Introduction &lt;br /&gt;
In the history, argues between literal translation and free translation have been lasting for so long. Since there existed so many countries and nations on the continent of Europe, communicating frequently with different languages, the skill and cognition of language translation naturally developed and achieved a lot. During those time, two main methods of translation called literal translation and free translation came into being and accompanied by the problem on choosing which of them. The earliest opinion of translating methods can go back to the period of Roman Empire, when Cicero put forward that free translation should be used in translating Greek texts into Latin, on account of that literal translation , “word for word translation”, couldn’t reflect Roman way of expression and couldn’t be easy-understanding and fluent as free translation, “sense for sense translation”. This view of point had a great and dominate influence at that time, which did not change until late Roman period, when Christianity were gradually in power and the necessity of spreading and translating Bible by the way “exactly what it is ” made literal translation become more popular. Then comes the renaissance, in which many linguisticians realized the importance of keeping the style and features of their own nations. Since then, the two translation methods have taken the lead and been debated endlessly in the translation field. By the 1960s and 1970s, when domesticating translation and foreignizing translation accordingly emerged with free translation and literal translation, reception theory, which upgraded the dominance of readers or we called receivers of translation, again made the domestic translating one-up. This kind of method was criticized by Venuti on its aggressivity of different cultures, based on which he officially put forward the two concepts of domestication and foreignization, which have been two central strategies in translation. So it’s vital to get a better understanding of those four concepts and make their relationships clear, which is of guiding significance to promote translation in practice.(Lu Shu, Wang Jintang 2005,115-116)  &lt;br /&gt;
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===II.Literal Translation and Free Translation===&lt;br /&gt;
II.Literal Translation and Free Translation&lt;br /&gt;
When seeing translation as shift of linguistic sign, the method of translating could be regarded as the specific approach used by the translator shifting the ST into TT, especially the two methods we mentioned before--literal translation and free translation.Peter Newmark, in his A Textbook of Translation, proposed that the common and only goal of translating should be repeating the meaning of ST, which means those translating methods exist for dealing with some problems happened during the process when translating.( Ma Shikui 2012,20)The meaning and structure of the ST might not be taken into account every time, so it’s important to search for a appropriate solution to deal with this kind of problem, that’s what literal translation and free translation do.&lt;br /&gt;
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===2.1 Literal translation ===&lt;br /&gt;
2.1 Literal translation &lt;br /&gt;
Literal translation is the one chosen when the original structure and the meaning of ST could both be perfectly taken into account, by adhering to strict original meaning and style of the TT, including the structures of sentences and rhetorical devices. “Word for word translation” could be counted as the original way of literal translation, like the translation of The Bible in the middle Age I showed before. But as the argue and relevant theories developing  till modern age, more and more experts realize and have a common sense that “word for word translation” can’t be equal to literal translation, since there always exist more or less differences among different languages. Personally speaking, the way Professor Fan Zhongying explains that literal translation means keeping the linguistic form of the SL, such as the words, the sentence structures and the rhetorical means, fluently and easily understood at the same time comprehensively interprets literal translation.(Joe Zeng Rui 2000,249)&lt;br /&gt;
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===2.2 Free translation===&lt;br /&gt;
2.2 Free translation&lt;br /&gt;
 It’s better if we can have it both ways, which cannot happened all the time. Thus, free translation might be better when translator can’t follow with the exact structure of SL. Free translation, “sense for sense translation”, refers to a kind of method used to translate the exact sense of the SL into the TL without retaining the sentence structures or the expression way of the SL. The supporters of free translation believe that the purpose of translation is to transform and convey the sense of the SL to the recipient of the TL, so it’s worthy to adopt an expression way closer to the TL, which is easier for the recipient to understand. Free translation has certain flexibility, which means the position of words and sentences can be adjusted. In order to facilitate readers' understanding, even some necessary supplements can be added.(Joe Zeng Rui 2000,249)&lt;br /&gt;
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===2.3 Analysis with Examples of Literal translation and Free translation===&lt;br /&gt;
2.3 Analysis with Examples of Literal translation and Free translation&lt;br /&gt;
Here are some specific examples of contrast between literal translation and free translation：&lt;br /&gt;
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===2.3.1 On words===&lt;br /&gt;
2.3.1 On words:&lt;br /&gt;
&amp;quot;Why do men have an Adam's Apple but women don't? &amp;quot;&lt;br /&gt;
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Literal translating: 为什么男人有喉结而女人没有呢？&lt;br /&gt;
Free translating: 为什么男人有亚当的苹果而女人没有呢？&lt;br /&gt;
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From above, the “Adam's apple” can be translated literally into &amp;quot;亚当的苹果&amp;quot;, but it can't reflect the original sense of the ST, because in the western world, &amp;quot;Adam's apple&amp;quot; refers to &amp;quot;喉结&amp;quot; in Chinese instead of literally meaning &amp;quot;亚当的苹果&amp;quot;, so free translation is more accurate here. In addition, it is worth mentioning that this example perfectly reflects the fit of sentence structure between Chinese and English. It also shows that translators should also be sure of the culture behind the SL.&lt;br /&gt;
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===2.3.2 On sentence structures===&lt;br /&gt;
2.3.2 On sentence structures:&lt;br /&gt;
&amp;quot;Here comes the bus!&amp;quot;&lt;br /&gt;
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Literal translating: 这来了巴士!&lt;br /&gt;
Free translating: 巴士来了!&lt;br /&gt;
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According to literal translating way, if following with the source structure of the English sentence, which is a inverted sentence in English by the way, the translation result is “这来了巴士”, which is obviously both incoherent and hard to understand in Chinese and even twist the sense of the ST. According to the sentence meaning, it should be translated into “巴士来了 ”, which is totally different from the ST in grammar though.&lt;br /&gt;
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===2.3.3 On rhetorical means===&lt;br /&gt;
2.3.3 On rhetorical means&lt;br /&gt;
&amp;quot;If Main Street didn' t understand this , Wall Street did.&amp;quot;(The Glory and the Dream, p .85)&lt;br /&gt;
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Literal translating: 如果主街不能理解这一点，华尔街可以。&lt;br /&gt;
Free translating: 这一点, 一般人不理解, 华尔街那些大老板们却是明白的。(Professor Wang Zongyan, 1983 :10)&lt;br /&gt;
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From this example, the key information is that Professor Wang Zongyan translates “Wall Street” into “华尔街的那些大老板们”. In Literature Translation, free translation is evidently more popular, because some literary images are difficult to express accurately through literal translation. In fact, the “Wall Street” here does not mean “Wall Street” itself, but people in power in Wall Street, so it is more appropriate for Professor Wang to translate it into “华尔街的那些老板们” by free translation. The reason of “Main Street”translating into “一般人”is the same.&lt;br /&gt;
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===2.4 The Relationships between literal translation and free translation===&lt;br /&gt;
2.4 The Relationships between literal translation and free translation&lt;br /&gt;
According to those demonstrations above, we can see that literal translation is more partial to SL and free translation considers more about TL users. The advantage of literal translation is to keep the style of the source language(show how other people talk), which plays a certain role in spreading the source language culture; the disadvantage is that sometimes it might be too long and difficult to understand, which hinders the communication and understanding between the two sides. Because free translation is biased towards the expression of the nation of the TL, its advantage is that it is more fluent and easy to understand, but its disadvantage is that it conceals the style of the source language and loses the role of translation as a cultural bridge, in which the translator's position seem not that important. All in all, I think it is best to combine the two translation methods organically in the process of translation. Just as professor Lu Dianyang proposed: “ Translate literally, if possible, or appeal to free translation.”(Zhao Jing 2011,61)&lt;br /&gt;
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===III.Domestication and Foreignization===&lt;br /&gt;
III.Domestication and Foreignization&lt;br /&gt;
Through the above introduction, we can know that with the change of historical environment, a period of political opposition and cultural exchange encountering a new period after World War II, the dispute between literal translation and free translation has reached a deeper level of development, which is the arrival of Foreignization and Domestication. Although Foreignization and Domestication were first formally proposed by Lawrence Venuti in The Translator's Invisibility in 1995, the translation strategy later called Domestication actually can be seen from Nida's translation theory of &amp;quot;dynamic equivalence&amp;quot;in 1964, which seeks for an expression whose meaning is closest to the SL and conforms to the habit of the TL expression way. Nida's theory has been strongly criticized by Venuti, who supports Deconstructivism, and holds that domesticating translation is an obliteration of the SL culture and a manifestation of cultural colonialism, which is manifested by its failure to comply with the expression of the source language culture. Based on this, on the contrary, Venuti shows strong support for foreignizating translation, and he thinks that this translation strategy of preserving the linguistic and cultural differences of the SL shows respect for the SL culture. The following part mainly clarifies the concepts and contents of these two translation strategies, which will helps to compare with literal translation and free translation mentioned above.（Chen Ying 2009,42）&lt;br /&gt;
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===3.1 Domestication ===&lt;br /&gt;
3.1 Domestication&lt;br /&gt;
Domestication refers to a translation strategy of dealing with the language forms, customs and cultural traditions, such as proverbs, idioms and allusions when translating, which tends to serve the readers of the target language. According to Eugene A.Nida's concept of natural equivalence, the translation version should be close to the original sense and intention in a most natural expression, therefore, the behavior pattern of the source language should be brought into the cultural understanding category of the target language as much as possible, which means that the recipients of the target language can avoid accepting the cultural expression of the source language in order to better understand the original intention.(Zhu Yuanzhong 2013,54)&lt;br /&gt;
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===3.2 Foreignization===&lt;br /&gt;
3.2 Foreignization&lt;br /&gt;
Venuti puts translation under the background of culture, society, politics and cultural consciousness, and reflects the different positions of different cultures in today's world through the choice of translation strategies, and regards translation as a tool to fight against inequality. From this, we can see the reason why he criticized domestication and vigorously advocated foreignization translation, which is to advocate that the translation should adapt and consider more the culture of the source language and the original author's habit of choosing words as much as possible. Thus, foreignizing translation tends to serve the SL culture, because he thinks that the translation version should take the source language culture as its destination and guide the reader to approach the original author.(Jiang Cui 2015,71-71)&lt;br /&gt;
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===3.3 Analysis with Examples of Domestication and Foreignization===&lt;br /&gt;
3.3 Analysis with Examples of Domestication and Foreignization&lt;br /&gt;
Examples for domesticating method and foreignizing method:&lt;br /&gt;
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===3.3.1 On Politics===&lt;br /&gt;
3.3.1 On Politics：동해 &amp;amp; にほんかい&lt;br /&gt;
Since the 19th century, the world has experienced two world wars and the Cold War period. During this long period, independent nation-states gradually chose their own country's &amp;quot;roads&amp;quot; and directions, which made different ideologies and political positions have a strong sense of existence in international relations, among which there were many translation contradictions caused by geopolitics. For example, the title of the sea area between South Korea and Japan has caused controversy between those two countries. South Korea has always called the sea area &amp;quot;동해&amp;quot;(East Sea) in history, but Japan continues to use the European navigator's giving name &amp;quot;Japan Sea&amp;quot;(にほんかい) and gradually gained international recognition from the 19th century. However, South Korean believes that the title change was imposed on South Korea by Japan colonizing Korea, which is a title that violates South Korea's territorial waters and disrespects South Korea. Something similar has happened many times in the world, which is the political difference on domestication and foreignization.(Pan Wenxiao 2020，https://weibo.com/ttarticle/p/show?id=2309404578145859666401)&lt;br /&gt;
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===3.3.2 On Culture===&lt;br /&gt;
3.3.2 On Culture：“情人眼里出西施。”&lt;br /&gt;
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Domesticating translation: Love is blind.&lt;br /&gt;
Foreignizing translation: The beauty Xi Shi is in the eye of lovers.&lt;br /&gt;
&lt;br /&gt;
This example shows well how different it could be between two cultures: the ST and the domesticating one of  TT express almost the same meaning in completely different ways, that is, lovers can only see each other's good thing. That is to say, if you want to convey the exact meaning of the original Chinese sentence to English speakers, then domesticating method is the best choice, although it will make the &amp;quot;translation results&amp;quot; look beyond recognition. However, if we choose foreignizing translation, especially retaining the word &amp;quot;Xi Shi&amp;quot;, it will give English speakers a chance to understand Chinese traditional culture (Xi Shi is a beautiful woman in the Spring and Autumn Period of China, and &amp;quot;西施&amp;quot; in &amp;quot;情人眼里出西施&amp;quot; means &amp;quot;beauty&amp;quot;), although such translating way may be difficult to understand at first.&lt;br /&gt;
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===3.4 The relationships between Domestication and Foreignization ===&lt;br /&gt;
3.4 The relationships between Domestication and Foreignization &lt;br /&gt;
Through the above analysis, it can be seen that domestication and foreignization also have their own merits and necessity. Although these two translation strategies were born in different historical backgrounds, their struggles to a certain extent reflect the struggle between the dominant position of stronger culture and weaker culture with different identities, which, of course is just one of those aspects, also reflect the problems of cultural communication: domesticating translation is conducive to conveying the meaning of the source language to the target language recipients without obstacles, especially in the case of great cultural differences existing, but this localization behavior will make it difficult for readers to learn what differences the two sides culture have, and in fact cultural diffusion will not be achieved. On the contrary, foreignization translation conveys the target text to readers according to the discourse mode of the source language culture, which can not only make readers realize the charm of different cultures, but also increase the expression ways of their own nation, but it is very likely that the meaning of the target text is difficult to understand. This contradiction is particularly prominent in the political level. Therefore, in translation practice, we should decide which way to choose in different contexts and in the face of different groups of people, so that the two can complement each other and have unity of opposites under proper application.(Zhu Yuanzhong 2013,54)&lt;br /&gt;
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===IV.The relationship among Literal Translation, Free Translation, Domestication and Foreignization===&lt;br /&gt;
IV.The relationship among Literal Translation, Free Translation, Domestication and Foreignization&lt;br /&gt;
Sun Zhili, a contemporary Chinese translator, said: &amp;quot;Historically, domestication and foreignization can be regarded as extensions of literal translation and free translation, but they are not completely equivalent to each other. The core issue of literal translation and free translation is how to deal with form and sense at the linguistic level, while domestication and foreignization break through the limitations of language factors and expand their horizons to language, culture and aesthetics. &amp;quot; (Sun Zhili 2011,27) Even after the above introduction, the boundary between literal translation, free translation, foreignization and domestication seems to be very vague. In order to better clarify the relationship between the two pairs of concepts, the following will distinguish and compare them. &lt;br /&gt;
&lt;br /&gt;
===4.1 The comparison among Literal Translation and Free Translation, Domestication and Foreignization===&lt;br /&gt;
4.1 The comparison among Literal Translation and Free Translation, Domestication and Foreignization&lt;br /&gt;
The same point: First of all, foreignization and domestication are extensions of literal translation and free translation, so the two pairs of relations are all methods put forward to guide translation practice; Secondly, relatively speaking, the roles of the two pairs of relations are very similar, especially in linguistic form: literal translation and foreignization both emphasize following the expression of the source text; Both free translation and domestication believe that in order to convey the sense of the source text accurately, the expression of the original text can be sacrificed.&lt;br /&gt;
The different points: The first point is that the scope is different, which leads to different objects: literal translation and free translation are proposed according to the different structures and characteristics of the source language and the target language, and their discussion focuses on the relationship between form and content, which belongs to the level of language conversion. Foreignization and domestication, as a product of cultural turn, is not only manifested in linguistic form, but also in cultural content. In other words, the emergence and development of foreignization and domestication raise the discussion of language level to the level of culture, poetics and politics. Obviously, the former is a micro translation method, while the latter is a macro translation strategy. Choosing specific translation methods under the guidance of the general direction of translation strategies can make good use of these two pairs of concepts when doing translation.&lt;br /&gt;
Second, the condition is different: Because literal translation and free translation are aimed at figuring out the issue of the text itself and the language structure, those two translation methods rely heavily on the text on linguistics, and have little room for evolution, development and independence, which make them relatively being static; However, domestication and foreignization do not have such problems. Their appearances were largely influenced by external social factors and the background of times and history, moreover, they focus on the external factors of translation too. Therefore, these two translation strategies are actually unstable and present a relatively dynamic state.(Zhao Jing 2011,62)&lt;br /&gt;
&lt;br /&gt;
===4.2 The connection among Literal Translation and Free Translation, Domestication and Foreignization===&lt;br /&gt;
It can be concluded that the basic relationship between these twopairs of concepts is that domestication and foreignization make the discussion of translation transition from pure language level to cultural level, not only paying attention to the internal transformation of language, but also starting to study the political and cultural environment outside language and text, which makes the change of translation’s function happen--from micro-analysis of language to macro-control of the social function of translation.(Chen Ying 2009,42)&lt;br /&gt;
&lt;br /&gt;
===4.2.1 Foreignization and Literal translation===&lt;br /&gt;
4.2.1 Foreignization and Literal translation&lt;br /&gt;
According to the comparative analysis in the previous section, we can conclude from their similarities that under normal circumstances, foreignization usually takes literal translation as method, or foreignizing translation usually includes literal translation methods, such as:(Lv Yinping 2007,138)&lt;br /&gt;
(1)Pandora’s box 潘多拉的盒子 &lt;br /&gt;
(2)the forbidden fruit 禁果&lt;br /&gt;
The above two examples clearly show the way literal translation do, which is also the result under the guidance of foreignizating translation strategy. &amp;quot;Pandora's box&amp;quot; comes from Greek mythology, which refers to the root of all evils, but the translation into Chinese, which is not “万恶之源”, has followed the European saying, and even quoted it in daily communication, which has played the purpose of &amp;quot;understanding other national cultures through translation&amp;quot;; Similarly, &amp;quot;forbidden fruit&amp;quot; comes from the Bible, which means something forbidden, but Chinese translation also follows the expression of the original way.&lt;br /&gt;
&lt;br /&gt;
===4.2.2 Domestication and Free translation===&lt;br /&gt;
4.2.2 Domestication and Free translation&lt;br /&gt;
Similarly, the shadow of free translation can often be found in domesticating translation. For example:(Lv Yinping 2007,137)&lt;br /&gt;
(1)drink like a fish 牛饮&lt;br /&gt;
(2)a fool’s paradise 黄粱美梦&lt;br /&gt;
As far as the first example is concerned, if literally translated into &amp;quot;像鱼一样喝水&amp;quot;, it is extremely out of line with the Chinese expression habit, and there is no such statement way in China, which leads to the consequences that translating versions are difficult to understand. However, if we translate &amp;quot;drink like a fish&amp;quot; into “牛饮” in Chinese, which does exists in China and has the same meaning as &amp;quot;drink like a fish&amp;quot; in English. Then the translation effect is not only interesting, but also easy to understand.&lt;br /&gt;
However, when doing actual translation practice, due to the variety and diversity of cultures, the methods and strategies used in text or language conversion are also comprehensive. We can find that the comprehensive and flexible use of literal translation and free translation, domestication and foreignization can make up for the regret of some traditional opposing ways(It is said that the two pairs of concepts are opposite and cannot coexist).&lt;br /&gt;
&lt;br /&gt;
===4.2.3 Domestication and Literal translation===&lt;br /&gt;
4.2.3 Domestication and Literal translation&lt;br /&gt;
Foreignizating translation is usually regarded as an extension of literal translation, which means that in general, literal translation methods are often used under the guidance of foreignization strategies, but in some special cases, literal translation can also coexist with domestication strategies.&lt;br /&gt;
(1) 什么时候都要谦虚谨慎，把尾巴夹紧一些。（Jia Wenbo 2000,11）&lt;br /&gt;
We must always be modest and prudent and must, so to speak, tuck our tail between our legs.&lt;br /&gt;
The meaning of &amp;quot;把尾巴夹紧&amp;quot; in Chinese coincides with &amp;quot;tuck tail between our legs&amp;quot; in English. At this one, it can be said that literal translation is the most suitable choice, which keeps the form and cultural connotation of the source language to the maximum extent, and at the same time coincides with the meaning and culture of the target language.&lt;br /&gt;
(2) 一石二鸟(Song Tianxi 2013,49)&lt;br /&gt;
Kill two birds with one stone.&lt;br /&gt;
Similarly, this is an example of having language structure and cultural meaning between China and Britain in both ways, which uses the method of literal translation but achieves the effect of domestication. But in Chinese, &amp;quot;一石二鸟&amp;quot; can also be synonymous with &amp;quot;一箭双雕&amp;quot; and &amp;quot;一举两得&amp;quot;, which can be chosen when translating &amp;quot;kill two birds with one stone&amp;quot; if you want, however, this way of using the method of free translation is not literal translation anymore.&lt;br /&gt;
&lt;br /&gt;
Domestication and literal translation can coexist under the situation when two sides of language structures and cultures can coincide at the same time, which exists by chance and cannot be forced; It is almost impossible to find examples of coexistence like foreignization and free translation. However, through the above argument, we can find that in translation practice, translators should practice the principle of &amp;quot;concrete analysis of specific problems&amp;quot;, flexibly and dialectically combine free translation and literal translation with domestication and foreignization, and avoid rigid translation methods, so as to better assume the responsibility of cultural exchange. &lt;br /&gt;
&lt;br /&gt;
===V.Conclusion===&lt;br /&gt;
V.Conclusion&lt;br /&gt;
Through the analysis above of the concepts and intensions of literal translation and free translation, domestication and foreignization, then we further arrive at and even deepen our understanding of the relationship between the two pairs of concepts, which is helpful for translators to approach the translation result and effect as much as possible on the basis of understanding the culture and language of both sides and combining with the practice through rational choice of translation strategies and translation methods under the guidance of the theories. After all, translation is not only a linguistic transformation, whose fundamental task is to reach communication and cultural exchange. Therefore, in a sense, translation plays the role of cultural &amp;quot;fax&amp;quot;. In order to coordinate the spread of the source language culture and the acceptance of the target language side, it is necessary to avoid rigid use of a single translation method and translation strategy, or solidifying the idea of translation guiding theory. After comprehensive consideration of translation purpose, target and recipient, it is a translator's duty to use translation method flexibly and dialectically, as being a &amp;quot;cultural bridge&amp;quot;.&lt;br /&gt;
&lt;br /&gt;
===References===&lt;br /&gt;
References&lt;br /&gt;
Sun Zhili 孙致礼.(2011).新编英汉翻译教程[A New Coursebook on English-Chinese Translation].上海:上海外语教育出版社.Shanghai:Shanghai Foreign Language Education Press&lt;br /&gt;
Sun Zhili 孙致礼.(2002).中国的文学翻译:从归化趋向异化[China’s Literary Translation: from Domestication to Foreignization].中国翻译Chinese Translators Journal(01):39-43.&lt;br /&gt;
Jia Wenbo 贾文波.(1999).汉英时文翻译-政治经济汉译英300句析[On Practical C-E Translation in Political &amp;amp; Economic Practice].北京:中国对外翻译出版公司Beijing:China Translation and Publishing Corporation.&lt;br /&gt;
Zhang Meifang 张美芳.(2004).翻译策略二分法透视[A dichotomous perspective in translation strategies].天津外国语学院学报Journal of Tianjin Foreign Studies University(03):1-6.&lt;br /&gt;
Zhao Jing 赵静.(2011).直译、意译与归化、异化之比较[Comparison between literal translation and free translation and Domestication and Foreignization].河南农业Henan agriculture(22):61-62.&lt;br /&gt;
Lv Yinping 吕银平.(2007).“直译与意译  归化与异化”译法之我见[My Opinion on Literal Translation, Free Translation, Domestication and Foreignization].宁夏师范学院学报Journal of Ningxia Teachers Univercity( Social Science)(04):136-138.&lt;br /&gt;
Venuti Lawrence.(1995). The Translator’s Invisibility .London&amp;amp;New York: Routledge.&lt;br /&gt;
&lt;br /&gt;
==On Chinese-to-English Translation of The Summer Palace from the Perspective of Functionalist Approaches to Translation	魏亚菲	Wei Yafei==&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
===Abstract===&lt;br /&gt;
Abstract&lt;br /&gt;
The Chinese-English translation of tourist texts, as a window for the external publicity of national history and culture, plays an important role in promoting the development of local tourism. The Summer Palace is well known for its large and priceless collection of cultural relics, which is among the first group of historical and cultural heritage sites in China to be placed under special state protection. &lt;br /&gt;
Based on the functionalist approach and the skopos rule, this paper discusses the problems existing in the translation of scenic spots in the Summer Palace from the perspectives of garden culture, historical culture and religious culture. Skopos theory holds that translation depends on communicative purpose. To achieve this goal, translators can choose different translation strategies. It is believed that the purpose of Chinese-English translation of scenic spots is to attract target readers and promote traditional culture. Therefore, when translating tourism materials, it is necessary not only to express the local cultural connotation, but also to consider the cross-cultural factors. The Chinese-English translation of the introduction of scenic spots guided by functionalist approach can make English readers have expectations of scenic spots and understand the cultural connotation of scenic spots. This paper aims to better promote the development and communication of Chinese culture and improve the level of tourism text translation in China by relying on the theory of functionalist approach.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
===Key words===&lt;br /&gt;
Key Words: functionalist approach，the Summer Palace，translation strategies&lt;br /&gt;
&lt;br /&gt;
===摘要===&lt;br /&gt;
摘 要&lt;br /&gt;
旅游资料的英译作为民族历史文化对外宣传的一道窗口,对地方旅游业的发展有着不可低估的促进作用。颐和园作为中国著名的皇家园林，具有浓厚的中国园林特色及优美的风景，同时也蕴涵着深厚文化内涵。&lt;br /&gt;
本篇旅游文本英译的分析以功能派翻译理论作为理论指导，以目的法则为主要原则，从颐和园的园林文化、历史文化和宗教文化三个角度出发对颐和园景点英译中存在的问题进行探讨。目的论认为译文取决于翻译目的，这个目的通常指的是交际目的。为达到这个目的，译者可以选择不同的翻译策略。也就是说，译者的翻译策略必须由译文的预期目的或功能决定，即所谓的“目的法则”。笔者认为景点介绍的汉英翻译的目的就是吸引译文读者以及弘扬传统文化，因此在翻译旅游资料的时候不仅要把当地的文化内涵表达出来，而且要考虑到跨文化的因素。而以功能派翻译理论为指导的景点介绍的汉英翻译，可以使英语读者通过译文产生对旅游景点的期盼，以及对景点文化内涵的理解。以颐和园景区内的翻译文本为例本，依托功能翻译理论，通过“发现问题，指出问题，解决问题”，以期更好地促进中国文化的传播与交流，提高我国现阶段旅游文本翻译的水平。&lt;br /&gt;
&lt;br /&gt;
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&lt;br /&gt;
===关键字===&lt;br /&gt;
关键词：功能翻译；颐和园；翻译目的；翻译策略&lt;br /&gt;
&lt;br /&gt;
===Introduction===&lt;br /&gt;
  Throughout the translation history at home and abroad, the literal translation and free translation have always been a heat discussion in the translation circles. Someone absolutely approve literal translation and demean free translation, even pursue a dead translation, which creates an translated text difficult to understand. While some other people absolutely agree with free translation even advocate random acts, which means a random deletion in the translation practices and creates anther entirely different text. However, there are also a number of translators who have recognized that these two translation methods are not totally opposite. So they adopt a compromise and flexible way. That means they will choose the most appropriate one depending on the text demanding. Therefore, we can deduce from it that this eclectic translation is consistent with the Contradiction view of Unity of Opposite in Materialist Dialectics. In fact, literal translation and free translation are right a set of contradictions which are both opposite and unified. They complement each other into an integral one.&lt;br /&gt;
&lt;br /&gt;
===Table of Contents===&lt;br /&gt;
&lt;br /&gt;
Table of Contents&lt;br /&gt;
&lt;br /&gt;
Outline&lt;br /&gt;
1.Introduction&lt;br /&gt;
2. Studies on Functionalist Approach&lt;br /&gt;
2.1 The Viewpoint of Functionalist Approach&lt;br /&gt;
2.1.1 Reiss’s Text Typology&lt;br /&gt;
2.1.2 Vermeer’s Skopos Theory&lt;br /&gt;
2.1.3 Manttari’s Theory of Translational Action&lt;br /&gt;
2.1.4 Nord’s Theory of Function plus Loyalty&lt;br /&gt;
2.2 The Application of Functionalist Approach &lt;br /&gt;
3.C-E Translation of the Summer Palace under Functionalist Approach&lt;br /&gt;
3.1 Garden Culture&lt;br /&gt;
3.2 Historical Culture &lt;br /&gt;
3.3 Religious Culture &lt;br /&gt;
4. Conclusion&lt;br /&gt;
References&lt;br /&gt;
&lt;br /&gt;
===Outline===&lt;br /&gt;
Outline&lt;br /&gt;
&lt;br /&gt;
Thesis Statement: Based on the main viewpoints of functionalist approaches to translation, this paper aims to give an analysis to C-E translation of the Summer Palace from cultural, historical and religious aspects, hoping to provide some translation strategies for other cultural attractions.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
1. Introduction&lt;br /&gt;
2. Studies on Functionalist Approaches&lt;br /&gt;
2.1 The Viewpoint of Functionalist Approach&lt;br /&gt;
2.1 Reiss’s Text Typology&lt;br /&gt;
2.2 Vermeer’s Skopos Theory&lt;br /&gt;
2.3 Manttari’s Theory of Translational Action&lt;br /&gt;
2.4 Nord’s Theory of Function plus Loyalty&lt;br /&gt;
2.2 The Application of Functionalist Approach&lt;br /&gt;
3. C-E Translation of the Summer Palace under Functionalist Approach&lt;br /&gt;
3.1 Garden Culture&lt;br /&gt;
3.2 Historical Culture&lt;br /&gt;
3.3 Religious Culture&lt;br /&gt;
4. Conclusion&lt;br /&gt;
&lt;br /&gt;
===1. Introduction ===&lt;br /&gt;
1. Introduction   &lt;br /&gt;
The Chinese-English translation of tourist texts is a bridge to spread the culture of classical Chinese gardens, so the accuracy of it has a direct impact on foreigners' understanding of the specific history and culture. &lt;br /&gt;
Functionalist approach has made a pioneering contribution to the translation of non-literary genres. Functional translation theory emphasizes the function of discourse, and believes that different types of discourse have different functions, so translators should choose appropriate translation strategies according to the type of source text and corresponding functions. Functionalist approach is to take the &amp;quot;skopos rule&amp;quot; as the highest standard, and any translation activity is a purposeful behavior. The ultimate goal and main function of scenic spot translation is to help people understand the main content of the scenic spot.&lt;br /&gt;
As a window for the publicity of national history and culture, the Chinese-to-English translation of tourist texts plays an important role in promoting the development of local tourism. Well known for its large and priceless collection of cultural relics, the Summer Palace was among the first group of historical and cultural heritage sites in China to be placed under special state protection. Based on the viewpoints of functionalist approach to translation, this paper aims to analyze C-E translation of the Summer Palace from cultural, historical and religious aspects, hoping to provide some translation strategies for other cultural attractions. &lt;br /&gt;
&lt;br /&gt;
===2. Studies on Functionalist Approaches===&lt;br /&gt;
2. Studies on Functionalist Approaches&lt;br /&gt;
Functionalism is a theory that advocates reader-centered translation, emphasizing the functions of texts and highlighting the communicative effects. It is believed that many unnecessary mistakes can be avoided and better results can be achieved by applying functionalist approach in Chinese-English translation of tourist text. &lt;br /&gt;
&lt;br /&gt;
===2.1 The Viewpoint of Functionalist Approaches===&lt;br /&gt;
2.1 The Viewpoint of Functionalist Approaches&lt;br /&gt;
Functionalist Translation Theory, also known as German Functionalist Translation Theory, was proposed by German scholars in the 1970s. It includes four main theories: Katharina Reiss’s Text Typology, Hans Vermeer’s Skopos Theory, Justa Holtz Manttari’s Theory of Translational Action and Christiane Nord’s Theory of Function plus Loyalty. This chapter aims to present the main ideas of this theory.&lt;br /&gt;
&lt;br /&gt;
===2.1.1 Reiss’s Text Typology===&lt;br /&gt;
2.1.1 Reiss’s Text Typology&lt;br /&gt;
In 1971, Reiss in her book Possibilities and Limitation of Translation Criticism first made text function as a standard of translation criticism, namelyevaluate the translated text from the relationship between the functions of the original and the translated text. She insists on the original-centered equivalence theory and holds the view that the ideal translation is to achieve the equivalence between the target text and the source text in terms of ideological content, linguistic form and communicative function. However, translation practice makes her realize that it’s difficult to achieve equivalence sometimes and that sometimes equivalence cannot be pursued. Because of the particularity of translation requirements, the function of the target text is not always the same as that of the source text. Therefore, the translator should give priority to the functional role of the target text rather than the principle of equivalence.&lt;br /&gt;
Reiss believes that in the normal situation the type of text decides the translator’s choice of a proper translation method (Reiss, 2004). Therefore, she divides text into four types: content-focused text, form-focused text, appeal-focused text and audio-media text. Content-focused text, also known as informative text, includes news reports, commercial correspondence, operating instructions, official documents, patent&lt;br /&gt;
specifications, essays, treaties, etc. For this text, the main function is to convey information revealed in language itself to readers. The emphasis is on content and topic, so the choice of language and style should serve this function. If both the source text and target text belong to informative text, the translator should represent the content and information of source text accurately and completely (Reiss, 2004)&lt;br /&gt;
Form-focused text, also known as expressive text, refers to literary works such as novels, poems and so on. “Distinct from ‘content’, which deals with what the author says, ‘form’ is concerned with how an author expresses himself” (Reiss, 2004). For expressive texts, information is only a supplement. What is dominant is the aesthetic factor. When translating such texts, the translator should pay attention to the aesthetic and artistic forms of the original text and to the differences between two cultural habits, trying to achieve the same effect as the source text. In a word, in a form-focused text the linguistic form of the source text determines the form in the target language (Reiss, 2004).&lt;br /&gt;
Appeal-focused text, also known as operative text, mainly includes notice, instruction manual, advertisement, publicity manual and so on. For operative texts, the primary task for the translator is to provoke a particular reaction on the hearers or readers to incite them to engage in specific actions, while content and form are subordinate. Therefore, to achieve the same effect, the translator need to change the content and stylistic features of the original text, try to keep the potential influential factors of the original text and seek functional equivalence (Reiss, 2004: 38-43). Audio-medial text, also known as multi-media text, refers to radio and television scripts, such as radio newscasts and reports, topical surveys and dramatic productions.&lt;br /&gt;
It is distinctive in its dependence on non-linguistic media and on graphic, acoustic, and visual kinds of expression. Only in combination with them can the whole complex literary form realize its full potential (Reiss, 2004). In conclusion, different texts determine different translation focuses and methods. In many cases, however, a text may have more than one function, which means that translators should integrate different translation strategies skillfully to achieve different functions of texts.&lt;br /&gt;
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===2.1.2 Vermeer’s Skopos Theory===&lt;br /&gt;
2.1.2 Vermeer’s Skopos Theory&lt;br /&gt;
Reiss’s student Vermeer, who broke the limitation of the theory of equivalent and took skopos to be the first criterion of translation process  proposed the key theory: Skopostheorie. According to Skopos Theory, when translating a text, the translator needs to consider the purpose of translation first and then choose the translation method according to the purpose, which means “the end justifies the means” (Nord, 2001). Vermeer believes that translation, like other human actions, is also a purposeful act. Translation often takes place in cultural backgrounds with different customs and values, so translation is not a simple equivalent transformation between languages. Skopos Theory does not focus on achieving the equivalence between the target text and the original text or the perfection of the target text, but on choosing the best translation strategy based on the analysis of the source text and the intended function of the target text. In a word, translation methods and strategies are determined by the intended purpose or function of the target text.&lt;br /&gt;
According to Skopos Theory, the first rule that all translators must follow is the Skopos Rule. Translation purpose can be divided into three categories: (1) the purpose of the translator, such as earning a living; (2) the communicative purpose of the translation, such as instructing the reader; (3) the purpose of using a particular translation method, such as the literal translation according to its structure to illustrate the peculiarities of grammatical structure in a language (Nord, 2001). In general, the communicative purpose is more important than the other two. The communicative purpose is usually determined by the initiator of the translation act, but the translator can take part in deciding. The second rule is the Coherence Rule. Coherence Rule requires that the translation conform to the criterion of intratextual coherence, which means that the translation must be accessible to recipients and meaningful in the target culture and in the communicative environment (Nord, 2001). The third rule is the Fidelity Rule. It means that there should be intertextual coherence between the source text and the target text, which means being faithful to the source text. Nevertheless, the degree and form of faithfulness lie in the target text and the degree that the translator understands the original text. Normally “Intertexual coherence is considered subordinate to intratexual coherence and both are subordinate to the Skopos rule” (Nord, 2001).&lt;br /&gt;
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===2.1.3 Manttari’s Theory of Translational Action===&lt;br /&gt;
2.1.3 Manttari’s Theory of Translational Action&lt;br /&gt;
Following Vermeer, Manttari develops Vermeer’s Skopos Theory and puts forward the Theory of Translational Action. He emphasizes three aspects: the behavior of the translation process, the role of the participants (the initiator, the translator and the target reader, etc.) and the environment (time, place and media) in which the translation process takes places. It views translation as “purpose-driven, outcome-oriented human interaction and construes the process of translation as message-transmitter compounds that involve intercultural transfer” (Mundy, 2001). According to Manttari, translation is “ a complex act to achieve a particular purpose” &lt;br /&gt;
(Nord, 2001). It is not about translating words, sentences or texts but is about guiding the intended cooperation over cultural barriers and promoting functional communication. Cooperation here means “transcultural communication” by Manttari.&lt;br /&gt;
The Theory of Translational Action attaches great importance to providing a functional communicative text for the recipient, a text suitable for the target culture in&lt;br /&gt;
form and style. Functional suitability is determined by the translator. The translator is&lt;br /&gt;
an expert in translation, whose role is to ensure the successful completion of cultural&lt;br /&gt;
transformation. In producing the target text, the analysis of the source text is necessary so that the translator can find out its structural and functional characteristics, which can be described by content and form. The need of the recipient is the decisive&lt;br /&gt;
factor for the target text.&lt;br /&gt;
In short, “the value of Manttari’s work is the placing of translation (or at least the professional non-literary translation which she describes) within its sociocultural&lt;br /&gt;
context, including the interplay between the translator and the initiating institution”&lt;br /&gt;
(Mundy, 2001).&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
===2.1.4 Nord’s Theory of Function plus Loyalty===&lt;br /&gt;
2.1.4 Nord’s Theory of Function plus Loyalty&lt;br /&gt;
Though skopos rule changes the focus of translation from the source language text to the target language text and the target receivers, it has some limitations. One is that different readers have different expectations, and the translation purpose cannot satisfy all the expectations of the target reader. Another is that the translation purpose may sometimes be against the intention of the source language. Therefore, based on the skopos rule, Nord introduces the loyalty principle. The principle of loyalty is a supplementary principle proposed by Nord to make up for the deficiency of skopos rule. According to the explanation of Nord, it is not the relationship between the original text and the target text, nor the equivalence between the original text and the form of the target text, but the consistency between the author of the original text, the initiator of the translation, the translator and the reader of the target text, which is the principle of loyalty. The proposal of the loyalty principle makes up for the mistakes that some radical skopos translators usually make, such as omitting and rewriting, which makes skopos theory more perfect and makes skopos theory more likely to guide the translation of literary works.&lt;br /&gt;
“Function” and “loyalty” are two pillars of Nord’s functionalist approach. “Function” refers to what a text means or is intended to mean from the receiver’s point of view”, while “loyalty” means that “target-text purpose should be compatible with the original author’s intention” (Nord,2001). It emphasizes the interpersonal relationship between the translator, the source-text sender, the target-text addresses and the initiator. Function plus loyalty enables the translator to avoid the limitations of skopos rule and try to achieve a balance between translation purpose and the source-text author’s intention”(Nord,2001). That is to say, when translating the original text, the translator should take into account the readers' cultural background, knowledge level and expectation of the translation, and choose the corresponding translation strategy according to the translation requirements. If the reader wants to read a word-for-word translation of the article, then the translator must meet the reader's requirements, otherwise he must explain to the reader why he chose his own translation method. The translator's job is to weigh two different cultures instead of imposing one culture on another. &lt;br /&gt;
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===2.2The Application of Functionalist Approach to the Tourist Texts.===&lt;br /&gt;
2.2The Application of Functionalist Approach to the Tourist Texts.&lt;br /&gt;
In the 1990s, Functionalist Translation Theory was introduced to China, and since then it has been applied to translation studies by Chinese translation scholars. In his article published in 1995, Zhang Nanfeng briefly introduces Skopos theory to China for the first time, and considers that Skopos theory is referential (Zhang Nanfeng, 1995). German Functionalist Translation Theory, a paper released in1999, is the first article in China which systematically introduces German Functionalist Translation Theory (Zhong Weihe &amp;amp; Zhong Yu, 1999). Based on an overview of Functionalist Translation Theory, Zhang Meifang focuses on introducing Nord’s theory, especially on the detailed analysis of Nord’s principle of loyalty (Zhang Meifang, 2005). Famous domestic scholars, such as Liu Junping (2009), Liu Miqing (2012) and Li Wenge (2004), also introduce this theory in their books. With the rise of Functionalist Translation Theory in China, someone has compared it with other theories. Zhu Haotong compares Skopos Theory with Functional Equivalence Theory to analyze the similarities and differences between them, and further reveals that Functionalist Translation Theory inherits the reasonable part of Nida’s Functional Equivalence Theory, which is an important breakthrough and supplement to solve the problems that Functional Equivalence Theory leaves (Zhu Haotong, 2006). Some scholars also combine theory with translation practice to explore the application of Functionalist Translation Theory to translation practice. Jia Yanli and Wang Hongjun point out that Skopos Theory has its limitations, but it is still of instruction and reference value for non-literary translation texts, such as advertisements and tourism materials (Jia Yanli &amp;amp; Wang Hongjun, 2012). Li Liangchen selects several famous tourist attractions in China to translate the on-site tour-guide commentary into English. Then he improves them under the guidance of Skopos Theory and sends out questionnaires to overseas tourists for further analysis. He argues that the translation of on-site tour-guide commentary which is guided by Skopos Theory is more favorable to conveying information to foreign visitors, to promoting cultural exchanges and to improving the image of China’s tourist destinations (Li Liangchen, 2013). In Pragmatic Translation: Theory &amp;amp; Practice, Wu Feng and He Qingji introduce Functionalist Translation Theory (Wu Feng &amp;amp; He Qingji, 2008) and the characteristics of tourism text and translation skills (Wu Feng &amp;amp; He Qingji, 2008). In this book, they also discuss the controversy over the Chinese name of Functionalist Translation Theory, and holds that “功能派翻译理论” is the most appropriate Chinese translation (Wu Feng &amp;amp; He Qingji, 2008).Based on his own translation practice and under the guidance of Functionalist Translation Theory, Wu Zixuan probes into some special phenomena in the English translation of CNN newsreels. The author believes that in the translation of external publicity, we should not stick to the standard of faithfulness to the original text, but should deal with the original text properly from the perspective of achieving the purpose of translation, such as rewriting, abridging. (Wu Zixuan, 2005).&lt;br /&gt;
Functionalist approach establishes a theoretical system of diversified translation standards dominated by skopos rule. From the definition of Functionalist approach, it can be seen that the advantage of it is that the translator can get rid of the bondage of the original text, study the translation process with &amp;quot;translation purpose&amp;quot; as the starting point, and determine the translation strategies and methods. This can give full play to the translator's own initiative, flexible processing of the original text, in order to achieve the translation of the communicative function. In addition, functionalist approach requires the translation to be examined in the cultural context of the reader. The reader can accept the translation and understand the meaning of the original text through the translation, so the translation can realize the communicative function. On the basis of such advantages, functionalist approach can be used to guide the English translation of garden scenic spots, and the translator can choose a wider range of translation strategies and break out of the constraints of the original text. &lt;br /&gt;
Only by clarifying the purpose of translation can we avoid these limitations in the English translation of garden attractions. When using functionalist approach to guide the English translation of Chinese classical garden scenic spots, it is necessary to flexibly choose translation strategies and methods, give full play to the advantages of skopos theory, and achieve the balance between &amp;quot;principle of purpose&amp;quot; and &amp;quot;principle of fidelity&amp;quot; as far as possible.&lt;br /&gt;
With the deepening of globalization and cross-cultural communication, tourismis becoming a major industry in the 21st century. The development of tourism can not only promote the economic development of a country but also promote the external dissemination of national culture. Therefore, tourism translation deserves attention. Tourism text is a typical informative and operational text, and the language is unique. It is full of gorgeous words, such as four-character expressions, verses, proper nouns and so on.&lt;br /&gt;
Tourism text materials include tourism advertising, tourism brochures, scenic spots signs and so on. In this paper, we focus on the introduction of Chinese gardens’ scenic spots, which is usually colorful in language and rich in literary style. Tourism text translation belongs to applied translation, which should play a series of practical functions to publicize the image and resources of the country or place and attract overseas tourists. Therefore, the translator of tourism text must be clear about the type and function of tourism text, and to grasp the ultimate purpose of the translation. &lt;br /&gt;
On tourism text translation, the communicative purpose of the translation should be placed in a central position. Furthermore, the tourism text has both the information function and the calling function. The information function and the calling function complement each other. Only when the target language readers acquire the expected tourism information and cultural knowledge can the calling function be realized and the purpose of tourism text translation be achieved. With different translation strategies, the translated version should both expressed contains basic information, and make the tourists feel the profound of the Chinese culture from the beautiful scenery. &lt;br /&gt;
Cultural tourism has long been the focus of international tourism, and understanding Chinese culture is the main purpose of inbound tourists, so the translation of tourism texts bears the mission of cultural transmission and cultural publicity. However, due to the great differences between Chinese and English culture and language, there are many difficulties in cultural transmission in tourism text translation. China has a long and splendid history and culture. When introducing the scenic spots of cultural relics and historic sites, we usually associate with many historical figures and stories. These terms are cultural blank for most foreign tourists, but this kind of cultural experience is also the most attractive place for foreign tourists. It is of great importance to pay attention to cultural differences in tourism translation and carry out cultural transmission effectively. Chinese and English languages have different logic views, and Chinese expressions in tourism texts value decoration. English expressions tend to be clear, concise and to the point. For example, Chinese tourism texts often use a four-character lattice, which is symmetrical, while there is no corresponding four-character lattice expression in English. Therefore, in Chinese-English translation of tourism texts with frequent use of four-character phrases, it is necessary to keep in mind the objective principle of functionalist approach and give priority to cultural communication instead of rigidly adhering to form.&lt;br /&gt;
&lt;br /&gt;
===3. C-E Translation of the Summer Palace under Functionalist Approach===&lt;br /&gt;
3. C-E Translation of the Summer Palace under Functionalist Approach&lt;br /&gt;
By studying the specific translation strategies made by predecessors, the following steps are also adopted in this paper: first, the translation strategies are determined according to the text type, such as faithful reproduction of the original information or rewriting; Secondly, the translation strategies are determined according to the potential purpose of the translation, such as paraphrasing or deleting poems, generalizing specific expressions and transliterating proper nouns. Thirdly, the translation strategies are defined with the tourists as the center, such as adding logical words, adding explanatory information and using plain English.&lt;br /&gt;
The Summer Palace epitomizes the philosophy and practice of Chinese garden design, which played a key role in the development of this cultural form throughout the east. It is an outstanding expression of the creative art of Chinese landscape garden design, incorporating the works of humankind and nature in a harmonious whole, which was once the most important place of political and diplomatic activity for the supreme rulers of the late Qing dynasty. Based on three aspects of the Summer Palace, namely, garden culture, historical culture and religious culture, this paper discusses the problems existing in the English translation of the scenic spots of the Summer Palace and puts forward corresponding countermeasures under the guidance of the skopos rule of functionalist translation theory.&lt;br /&gt;
&lt;br /&gt;
===3.1 Garden culture.===&lt;br /&gt;
3.1 Garden culture. &lt;br /&gt;
The Summer Palace is a classical garden famous for its magnificence and beauty. There are many temples in the garden, and the green waves of kunming lake ripple. Landscape and humanities complement each other, containing rich natural and cultural information, reflecting the characteristics of Chinese classical gardens. The garden cultural features of the three scenic spots, namely, the hall of clouds, the foxiang pavilion and the Wenchang courtyard, are particularly outstanding. Therefore, this paper takes these three scenic spots as examples to discuss the Chinese-English translation of the introduction of the Summer Palace.&lt;br /&gt;
(1)	排云殿、佛香阁景区是颐和园内建筑布局最完整、建筑形式最丰富的中轴建筑群体，殿、阁、廊、亭、桥、坊、碑等建筑约两万平方米。从临水的云辉玉宇牌坊至排云门、排云殿、德辉殿、佛香阁、众香界、智慧海、层层升高，排列有序，气势巍峨，金碧辉煌，将园林、寺庙和宫殿融为一体。&lt;br /&gt;
Translation：This scenic spot covers an area of 20,000 square meters with an assortment of buildings such as palaces, towers, corridors, pavilions, walkways, bridges, archways and inscribed stone steles. It comprises a well-arranged group of structures, all diverse in style, located in the center of the Summer Palace garden. This complex of structures, ranging from the Glowing Clouds and Holy Land Archway on the waterside, the Gate that Dispels the Clouds, the Hall that Dispels the Clouds, the Hall of Moral Glory, and the Tower of the Fragrance of the Buddha, to the Realm of Popular Fragrance and the Sea of Wisdom Temple, were built in an orderly manner running from the foot of the hill to its top, with gardens, temples and palaces harmoniously integrated into the whole。&lt;br /&gt;
Analysis：As we all know, the design style of ancient Chinese buildings is beautiful with &amp;quot;symmetry&amp;quot;. The &amp;quot;axis&amp;quot; in hall of clouds scenic spot refers to the layout of the Summer Palace from far to near and from top to bottom, which cannot be simply understood as the center. Simply translating &amp;quot;axis&amp;quot; as &amp;quot;center&amp;quot; cannot express accurately the meaning of &amp;quot;symmetry&amp;quot;. Comparatively speaking, &amp;quot;axis&amp;quot; can better reflect the architectural style of the scenic spot.&lt;br /&gt;
(2)	从临水的云辉玉宇牌坊至排云门、排云殿、德辉殿、佛香阁、众香界、智慧海，层层升高，排列有序，气势巍峨，金碧辉煌，将园林、寺庙和宫殿融为一体。&lt;br /&gt;
Translation：These structures，including Glowing Clouds and Holy Land Archway at lake side，the Gate of Dispelling Clouds，the Hall of Dispelling Clouds，the Hall of moral Glory，and the Tower of Buddhist Incense，the Realm of Multitudinous Fragrance and the Sea of Wisdom Temple，were built in an orderly manner ranging up the hill with gardens，temples and palaces harmoniously integrated. This manifests beauty，grace and splendor，reminiscent of the loftingness and grandeur of a once mighty empire.&lt;br /&gt;
Analysis：In terms of the characteristics of language, Chinese emphasizes parataxis and four-word antithesis. When describing and naming scenes, gorgeous words and poetic words are generally chosen in Chinese. But, English emphasizes hypotaxis, on the other hand, puts more emphasis on reproducing the original appearance of things, using simple and natural words and preferring direct description. In sign translation, the English translation pays more attention to accurate, concise and lively. In the above paragraph, &amp;quot;层层升高，排列有序，将园林、寺庙和宫殿融为一体&amp;quot; is an introduction to the architectural features of foxiang pavilion, in order to make tourists have a clear understanding of the overall layout and architectural features of the scenic spot. This information is essential and can be translated into detail. However, &amp;quot;气势巍峨，金碧辉煌&amp;quot; focuses on the subjective description, and its explicit translation needs more complicated words. If this paragraph is translated in detail, it is easy to drag the content and make the key information vague. Therefore, the deletion of the English translation of this sentence will not affect the basic information of the original text.&lt;br /&gt;
(3)	主阁（文昌阁）两层，内供铜铸文昌帝君和仙童、铜骑。文昌阁与万寿山西供武圣的宿云檐象征“文武辅弼”。&lt;br /&gt;
Translation: A bronze statue of the God Wenchang, statues of gaeries, and a bronze steed were placed in the two-story pavilion. This tower is pared with the Tower of Cloud- Retaining Eaves, located to the west of the Longevity Hill, in which a statue of the Martial God was placed. The God Wenchang and the Martial God together symbolize reining of the emperor supported by scholars and warriors.&lt;br /&gt;
Analysis: Two questions arise in Chinese-English translation. First, there are two translations of wenchang pavilion in the translation: pavilion and tower, which appear in the same sign. Two different translations of the same scenic spot name tend to make foreign tourists think that it refers to different scenic spots, which may cause difficulty in understanding. Second, the translation of Wenchang pavilion into &amp;quot;Wenchang Tower&amp;quot; is against the actual architectural characteristics. In fact, the meanings of &amp;quot;pavilion&amp;quot; and &amp;quot;tower&amp;quot; have both similarities and differences. According to the Oxford dictionary, Tower means &amp;quot;a tall narrow building or part of a building, especially of a church or castle&amp;quot;, mainly referring to the tower-shaped part of a building, usually a tall and slender structure, such as the Eiffel Tower. &amp;quot;Pavilion&amp;quot; means &amp;quot;a building that is meant to be more beautiful than usual, built as a shelter in a park or used for concerts and dances&amp;quot;. The top structure of the pavilion usually has rectangles, triangles, hexagons, etc. The common feature of them is that the top is supported by columns without walls. From the external structure of Wenchang pavilion, its bottom is solid and its top is supported by columns. Therefore, the pavilion can accurately reflect the architectural characteristics of Wenchang pavilion, so I think it should be translated as Wenchang pavilion.&lt;br /&gt;
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===3.2 Historical culture. ===&lt;br /&gt;
3.2 Historical culture. &lt;br /&gt;
The accurate Chinese-English translation of the introduction of the Summer Palace not only enables foreign tourists to understand the characteristics of Chinese gardens, but also enables foreign tourists to understand the historical knowledge of a specific period of China. However, the Chinese-English translation of the Summer Palace still has problems in accurately conveying the historical background of the scenic spots, such as the English translation of Wenchang pavilion scenic spot:&lt;br /&gt;
(4)	此景区始建于清乾隆十五年，一八六零年被英法联军烧毁，光绪时按原样重建。阁结构为八面三层四重檐，通高36.44米，耸立于20米高的石造台基上，气势雄伟，是颐和园全园的构图中心。阁内供奉有铜铸金裹千手观世音菩萨站像。像高五米，重万斤，为明代万历年间所造，在八根贯通全阁上下的承重铁梨木擎天柱的衬托下，美妙庄严，熠熠生辉，有极高的文物和艺术价值。&lt;br /&gt;
Translation: The Wenchang tower was first built in 1750 and rebuilt under Emperor Guangxu after  the Anglo-French Allied Forces builted it down in 1860. The octahedral tower has three stories with four-layered eaves, altogether 36.44 meters high. Standing upright on a 20 meter-high stone foundation, it constitutes the center of the Summer Palace landscape and serves to accentuate its magnificence. A statue of the thousand-handed Guanshiyin Buddha, cast in bronze and gilded with gold, stands inside the tower. The statue, five meters high and five tons in weight, was cast during the reign of Emperor Wanli of the Ming Dynasty. Set off by the eight imposing pillars which support the tower, it glows with beauty, grandeur and brilliance. Its historical, cultural and artistic value can hardly be overstated.&lt;br /&gt;
Analysis: “始建于乾隆十五年”only was translated into “was first built in 1750” and the “光绪年间重建” was translated into “rebuilt under Emperor Guangxu”.The first sentence does not show that 1750 was the fifteenth year of the reign of emperor Qianlong, and the second sentence does not give foreign visitors the exact date of the reign of emperor Guangxu. The change of time concept and the disunity of expression easily make foreign tourists feel confused. Therefore, the translation of the time and the historical dynasties should be accurate and meticulous, and the supplementary method should be used to not only describe the dynasties clearly, but also supplement the corresponding years, so as to achieve the standardization of the translation. In this way, foreign tourists can not only be clear about the time of the event, but also understand the Chinese historical dynasties. Consider as follows: the Wenchang Pavilion was first built in 1750 during Emperor Qianlong’s reign（1735- 1795）and rebuilt in 1886 under Emperor Guangxu（1875- 1908）after the Anglo- French Allied Forces burned it down in 1860.&lt;br /&gt;
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===3.3 Religious culture. ===&lt;br /&gt;
3.3 Religious culture. &lt;br /&gt;
Many scenic spots in the Summer Palace have a strong buddhist atmosphere. While visiting the scenic spots, foreign tourists can understand the profound buddhist culture. Wenchang pavilion in the Summer Palace is the representative of Chinese religious culture.&lt;br /&gt;
(5)	主阁两层，内供铜铸文昌帝君和仙童、铜特。文昌阁与万寿山西供武圣的宿云檐象征“文武辅弼”。&lt;br /&gt;
Translation: A bronze statue of the god，Wenchang，and statues of two followers，the celestial boy，and the bronze steed，were placed in the two- storey pavilion. This tower is pared with the tower of Cloud- Retaining Eaves，located to the west of the Longevity Hill，in which a statue of the Martial God was placed. The two towers symbolize the support by both scholars and warriors to the ruling emperor.&lt;br /&gt;
Analysis: It is well known that westerners believe in theism, which refers to god as supreme . In Chinese religious culture, people believe in atheism and do not believe in the existence of god. Therefore, it is inappropriate to translate &amp;quot;文昌帝军&amp;quot; and &amp;quot;武圣&amp;quot; into &amp;quot;the god, Wenchang&amp;quot; and &amp;quot;the Martial god&amp;quot; in the translation. In fact, the &amp;quot;文昌帝军&amp;quot; was Zhang yu, an emperor of Shu of Ning kang (374). And &amp;quot;武圣&amp;quot; refers to Guan yu in history. Therefore, the simple translation of  &amp;quot;God&amp;quot; is not in line with the traditional Chinese culture, which will not only cause western tourists to misunderstand that Chinese religious tradition also believes in God, but also fail to convey Chinese historical allusions and relevant historical figures. In contrast, if &amp;quot;文昌帝军&amp;quot; is translated as &amp;quot;the emperor, Wenchang&amp;quot; and &amp;quot;武圣&amp;quot; is translated as &amp;quot;the Martial Master (Guanyu)&amp;quot;, it can more faithfully convey the history and religious culture contained in the source language. &lt;br /&gt;
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===4. Conclusion===&lt;br /&gt;
4. Conclusion&lt;br /&gt;
To sum up, Under the guidance of the skopos rule of functionalist translation theory, translators should have a cross-cultural awareness, fully understand the reading psychology and cultural appreciation needs of target language readers, and use effective translation strategies and methods to achieve the purpose of tourism text translation. Functionalist approach has made a pioneering contribution to the translation of non-literary genres. Functional translation effectively eliminates the disadvantages of traditional word-for-word translation, improves the efficiency of translation, and helps readers to grasp the meaning of the original text.&lt;br /&gt;
 The importance of the translation of the Summer Palace lies in the profound garden culture, historical culture and religious culture. The English translation is not only helpful for international friends to know more about the garden characteristics of the Summer Palace, but also helpful for spreading the long history and profound culture of China. In order to attract target readers and promote traditional Chinese culture, it is not only necessary to carefully explore Chinese culture and history, but also to use the fuctionalist approach appropriately. &lt;br /&gt;
Translation is a complicated process. Functionalist approach stresses the function of the discourse, the purpose of translation. In the practice of translation, if the translator can get rid of the bondage of the original equivalence, actively playing to subjective initiative, fully understanding the original text, depending on the purpose of discourse and adopting different translation strategies, the effect and readability of translation can be improved.&lt;br /&gt;
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===References===&lt;br /&gt;
References&lt;br /&gt;
Hans Vermmer, “Skopos and Commission in Translation Action”, in the Translation Studies Reader,ed. Chesterman, London and Network:Routledge,p.221-232. 2000.   &lt;br /&gt;
Munday, Jeremy. Introducing Translation Studies: Theories and Applications. Routledge publishing.2001.&lt;br /&gt;
Mason, “Textual Practices and Audience Design: and Interactive View of the Tourist Brrochure”. In Navarro et al.(eds.). Pragmatics at Work: The Translation of Tourist Literature. Bern: Perter Lang. 157-176.2004.&lt;br /&gt;
Nord, Text Analysis in Translation: Theory, Methodology and Didactic Application of a Model for Translation-Oriented Text Analysis. Beijing: Foreign Language Teaching and Research Press. 2006.&lt;br /&gt;
Nord, Translating as a purposeful activity. Shanghai: SFLE PRESS, 2001:27,30,32,65,245.&lt;br /&gt;
Reiss, Katharina. Translation Criticism: The Potentials &amp;amp; Limitations. Shanghai Foreign Language Education Press. Shanghai. 2004.&lt;br /&gt;
Venuti, Lawrence. The Translator’s Invisibility: A History Translation. Routledge.1995.&lt;br /&gt;
方梦之、毛忠明， 英汉—汉英应用翻译教程，上海: 上海外语教育出版社，2004.&lt;br /&gt;
金惠康，跨文化旅游翻译，中国对外翻译出版公司，2004.  &lt;br /&gt;
贾文波，应用翻译功能论，北京：中国对外翻译出版公司，2004&lt;br /&gt;
孙艺风，文化翻译的困惑与挑战，中国翻译，2016年第3期.  &lt;br /&gt;
王宏志，翻译与创作，北京大学出版社，2000.&lt;br /&gt;
吴自选，德国功能派翻译理论与 CNN 新闻短片英译，中国科技翻译, 2005.&lt;br /&gt;
谢天振，当代国外翻译理论，天津：南开大学出版社，2005.&lt;br /&gt;
张南峰，走出死胡同建立翻译学. 中国翻译, 1995.&lt;br /&gt;
仲伟合，钟钰. 德国的功能派翻译理论. 中国翻译, 1999.&lt;br /&gt;
张美芳，功能加忠诚—介评克里丝汀· 诺德的功能翻译理论.上海外国语大学学报, 2005.&lt;br /&gt;
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==Contrast between Literal Translation and Free Translation	张雪仪	Zhang Xueyi==&lt;br /&gt;
&amp;lt;center&amp;gt;张雪仪 202020080668&amp;lt;/center&amp;gt;&lt;br /&gt;
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=== Abstract===&lt;br /&gt;
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The contrast between literal translation and free translation has always been the most discussed problem in translation studies. To compare these two translation methods, the basic point is to understand the purpose of translation. The ultimate goal of translation is to help different cultures communicate better, so that people who speak different languages can understand each other’s cultures. Due to the differences in social, historical and cultural backgrounds between languages, how to choose between the two translation strategies of literal translation and free translation requires translators to weigh the strengths and weaknesses of these two methods. This essay mainly compares literal translation and free translation between Chinese and Russian to help students and translators translate better.&lt;br /&gt;
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=== Key words ===&lt;br /&gt;
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Translation strategies, Literal translation,Free translation &lt;br /&gt;
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=== 摘要 ===&lt;br /&gt;
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直译与意译间的对比一直是翻译学中讨论度最高的问题。想要将这两种翻译方法进行对比，最基本的一点就是要明白翻译的目的是什么。翻译的最终目的在于帮助不同文化进行更好的交流，让使用不同语种的人相互理解彼此的文化。由于语种间社会历史文化背景的差异，如何在直译和意译这两种翻译策略中做出选择，就需要译者衡量两种方法的利弊。本文主要对汉语和俄语间直译和意译进行比较，以帮助学生和译者更好地进行翻译实践。&lt;br /&gt;
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=== 关键词 ===&lt;br /&gt;
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翻译策略，直译，意译&lt;br /&gt;
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=== Introduction ===&lt;br /&gt;
The former Soviet Union translation theorist Fedorov believes that “translation is an activity of expressing what has been used in one language as a unified whole of content and form, and accurately and completely expressed in another language.” Translation theorist Barhudaro The husband also wrote: &amp;quot;Translation is the process of changing the coherent discourse of one language into the coherent discourse of another language while maintaining its content and meaning.&amp;quot;(Cai Yi, Duan Jinghua 2000) Mr. Lu Xun once advocated &amp;quot;literal translation.&amp;quot; He said: &amp;quot;Translation must take both sides into consideration: one is of course to be easy to understand, the other is to maintain the fullness of the original.&amp;quot; The Chinese translator Zhang Peiji summed up the translation standard as &amp;quot;faithful and smooth.&amp;quot;(Gong Linjing 2015,192) To some extent, translation is a process of thinking re-creation, so certain standards and principles must be followed when translating. Translation standard is a measure of the quality of translation, it can guide translation practice, and it is a principle that must be followed in translation activities. Although each scholar has different opinions on the standard of translation, the final result he pursues is the same: the original text and the translated text express the same effect.In order to achieve the same effect, different translation methods have been derived from the translator's translation practice. The most basic and common ones are literal translation and free translation.&lt;br /&gt;
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Russian idioms and proverbs, as the crystallization of the wisdom of the Russian nation and the immortal fossils in the Russian language, are one of the best materials for the Chinese to understand and learn Russian history, culture, and society. Due to different geographical, historical and economic conditions, the Russian and Chinese ethnic groups have formed different cultural backgrounds. These distinctive backgrounds and characteristics have caused great difficulties for Chinese learning Russian to further understand Russia. This essay will take the Chinese translation of Russian idioms and proverbs as examples to study the basic definitions of literal translation and free translation, their respective advantages and disadvantages, and their relationships, in order to help students who learn Russian understand literal translation and free translation.&lt;br /&gt;
=== Controversy between literal translation and free translation===&lt;br /&gt;
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In different periods and different countries, people's views on translation theory have changed a lot, but the debate about literal translation and free translation has always existed.&lt;br /&gt;
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=== Controversy in Chinese Translation Community===&lt;br /&gt;
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Which is better, literal translation or free translation, has always been divided in Chinese translation community. This kind of controversy first occurred during the translation of Buddhist scriptures written in Sanskrit into Chinese. During the Wei, Jin, Southern and Northern Dynasties, the famous monk Dao An was the earliest representative of the literal translation in China. Dao An himself did not understand Sanskrit and was afraid that paraphrase would lose the maxims in Buddhist scriptures, so he advocated strict literal translation. However, Kumarajiva from India, who was invited by Dao An, advocated free translation. On the basis of fully understanding the original thought content and artistic style, the translation was appropriately deleted. Although Dao An and Kumarajiva are also engaged in the translation of Buddhist scriptures, the translation methods they adhere to were very different. This divergence continued into the Tang Dynasty. Xuan Zang, as the most famous monk in the Tang Dynasty, proposed a translation method that was completely different from the previous two translation methods—a combination of literal translation and free translation.(Wang Zhuan 1996,55)&lt;br /&gt;
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The contradiction between modern literal translation and free translation may be due to the different understanding of these two translation methods. The translator Sun Guiding believes that: literal translation is stuck to the structure of the original text and does not consider whether the Chinese is fluent and natural; while free translation is to use the inherent Chinese idioms and the most natural words and sentences as much as possible to achieve the effect of conveying the meaning of the original text. Former President of Wuhan University, Du Zuozhou, believes that literal translation means translating word by word according to the original text; free translation means translating according to the meaning of the original text, and the translation is more suitable for the common grammar of the translated language. The educator Meng Xiancheng believes that literal translation is a translation technology with different degrees of correctness. Literal translation is a translation that is faithful and correct according to the original text; free translation is a translation that summarizes the original meaning. Zhu Guangqian said: &amp;quot;The so-called 'literal translation' refers to the literal translation based on the original text. Every word and sentence are translated word by word, and the order of the words and sentences is not changed. The so-called ‘paraphrasing’ is to express the meaning of the original text in Chinese, and it does not have to be completely based on the literal and order of the original text. &amp;quot; Feng Shize believes that &amp;quot;translation and literal translation are up-and-down relations; between literal translation and free translation is the left-right relationship. If the reversal of word order and other methods are free translation, then the definition of free translation is equal to translation, and there is no other translation besides free translation. &amp;quot;(Feng Shize 1981,10) The principle of &amp;quot;faithfulness, expressiveness and elegance&amp;quot; put forward by the modern Chinese translator Yan Fu has long been the basic principle guiding translation practice. A large number of beginners who learn foreign languages regard &amp;quot;faithfulness and expressiveness&amp;quot; as translations that are completely faithful to the original text when translating.(Feng Shujian 1993,44) In fact, Yan Fu's translation requirements are a guiding principle for translation based on semantics. When translating, if the structure and expression of the original text cannot be directly adopted, the sentence structure and expression must be changed according to the characteristics of the target language. In addition, there are many differences between the original language and the target language in the word order, grammar, variants and rhetoric in the translation process. In many cases, there is no direct corresponding word. This requires the translator to consider the actual semantics, background and other factors. On the basis of the original meaning of the sentence, use an appropriate method to convey the content of the original work and reproduce the language style of the original work.&lt;br /&gt;
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In the Soviet Union, under the influence of ideology, Western translation theories could not be widely disseminated, but within the Soviet Union, translation theories similar to Western translation theories have been formed and developed, and two main schools of translation theory have been further differentiated — Linguistic Translation School and Literary Translation School. To a certain extent, the dispute between these two schools also reflects the debate on literal translation and free translation among translators' groups. In terms of the principles or standards of translation, the linguistic translation school believes that an ideal translation should be an equivalent translation, first of all linguistic correspondence, that is, the translation should have the same meaning as the corresponding language or discourse unit of the original; the literary translation school believes that translation pursues artistic correspondence, and linguistic correspondence must be subordinate to artistic correspondence. Therefore, it proposes that the aesthetic standards of translation should reproduce the artistic reality reflected by the unity of the original content and form. The characteristic is to use images to translate images, that is, to create the same image in different languages. In 1953, Andrei Venediktovich Fedorov, the leader of the linguistic translation school, published his work &amp;quot;Summary of Translation Theory&amp;quot;, which was the first monograph of the Soviet Union to study translation theory from the perspective of linguistics. The author proposes that translation theory is a branch of linguistics. Since the translation of any genre work must rely on the comparison of two languages, translation problems can only be solved in the field of language. Fedorov’s view was refuted by the literary translation school represented by Ivan Alexandrovich Kashikin. The literary translation school believes that aesthetic issues are the core of literary translation theory, and translation should be regarded as a form of language art, that is, translation should be studied from the perspective of literature and art.(Xie Yuncai 2002,99) In fact, the literary translation school emphasizes the translation of literary and artistic works, which belongs to the specific translation theory; while the research of the linguistic translation school focuses on the general translation theory, that is, the translation of all thematic works including literary works. The dispute between the two major translation theory schools of Russia and the Soviet Union provides another perspective for Chinese translators to explore the relationship between literal translation and free translation.&lt;br /&gt;
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=== The application of literal translation and free translation in the Chinese translation of Russian idioms ===&lt;br /&gt;
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The idioms of different nationalities are the most dynamic and expressive units at the lexical level in different languages, and they are also the units that can best reflect the characteristics of national culture in languages. The number of Russian idioms is extremely rich, it records and reflects all aspects of Russian national life. Due to the great differences in geographical locations and living customs between China and Russia, the national cultures reflected in Chinese and Russian must be quite different. One of the difficulties in idiom translation is its imagery. When translating idioms, both the meaning and the image must be considered. Although the Chinese and Russian cultures are very different, many of the commonalities of mankind, such as emotion and natural environment, have created conditions for mutual communication, mutual understanding and idiom translation between different languages.(Feng Yongmei 1999,97)&lt;br /&gt;
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=== Literal translation ===&lt;br /&gt;
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Generally speaking, the literal translation method refers to a translation method that directly translates the original text without changing the language characteristics and style of the original text on the basis of fully respecting the meaning of the original text. Chinese translation of Russian idioms by literal translation method has the advantage of being able to intuitively and faithfully express the meaning of the idiom, maintaining the unique style and imagery of the original text: the disadvantage is that the translated idiom may not be understood by the Chinese because of China and Russia have different historical, cultural backgrounds, grammatical structures, and language world landscapes, which can easily form obstacles in the process of understanding.(Zhou Changyu 2010,34)&lt;br /&gt;
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Translating Russian idioms by literal translation is further divided into two methods — literal translation into Chinese idioms and literal translation into non-idiom sentences or words.&lt;br /&gt;
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Literal translation of Russian idioms into Chinese idioms is suitable for the translation of Russian and Chinese idioms that are completely equivalent in image, structure, and meaning. The advantage is that it is easy to understand, and the translation is simple and fast.(Feng Yongmei 1999,98) E.g:&lt;br /&gt;
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домашнего  (своего) вора не убережешься. 家贼难防&lt;br /&gt;
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знать как свои пять пальцев (видно, как на ладони) 了如指掌&lt;br /&gt;
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подлить масла в огонь 火上浇油&lt;br /&gt;
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как рыба в воде 如鱼得水&lt;br /&gt;
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как ножом по сердцу 心如刀割&lt;br /&gt;
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как гром среди ясного неба 晴天霹雳&lt;br /&gt;
&lt;br /&gt;
на добро отвечают добром 善有善报&lt;br /&gt;
&lt;br /&gt;
копейка рубль бережет 财从细起&lt;br /&gt;
&lt;br /&gt;
мечты сбываются 梦想成真&lt;br /&gt;
&lt;br /&gt;
курица всегда следует за петухом 嫁鸡随鸡&lt;br /&gt;
&lt;br /&gt;
чего мало, того и дорого  (дорого то, что мало) 物以稀为贵(12)&lt;br /&gt;
&lt;br /&gt;
изгонять яд с помощью яда 以毒攻毒&lt;br /&gt;
&lt;br /&gt;
сидеть как на иголках 如坐针毡&lt;br /&gt;
&lt;br /&gt;
действия громче слов 事实胜于雄辩&lt;br /&gt;
&lt;br /&gt;
зарыть талант в землю 埋没人才&lt;br /&gt;
&lt;br /&gt;
висеть на волоске 千钧一发&lt;br /&gt;
&lt;br /&gt;
лить как из ведра 倾盆大雨(Wang Fuxiang, Wu Hanying 2014)&lt;br /&gt;
&lt;br /&gt;
The idioms in the above examples are completely equivalent in image, structure or meaning in Russian and Chinese, so Chinese idioms can be used for literal translation.  &lt;br /&gt;
&lt;br /&gt;
In fact, in the two languages, idioms with the same image, structure, and meaning are still in the minority, so it is more common to translate Russian idioms into non-Chinese idiom sentences or vocabulary. E.g:   &lt;br /&gt;
&lt;br /&gt;
настоять на своем 坚持自己&lt;br /&gt;
&lt;br /&gt;
камень с души свалился 心里的一块石头落地&lt;br /&gt;
&lt;br /&gt;
связать свою судьбу 把自己的命运与……相连&lt;br /&gt;
&lt;br /&gt;
быть на голову 高出一头&lt;br /&gt;
&lt;br /&gt;
вбивать в голову 往脑子里灌&lt;br /&gt;
&lt;br /&gt;
блеснуть метеором 像流星一样一闪而过&lt;br /&gt;
&lt;br /&gt;
с мизинец 小拇指这么大(Wang Fuxiang, Wu Hanying 2014)&lt;br /&gt;
&lt;br /&gt;
It is not difficult to find that the literal translation method can completely retain the original appearance of the idiom, show the common concept of human understanding of the world, and be beneficial to the cultural exchange between China and Russia.&lt;br /&gt;
&lt;br /&gt;
=== Free translation ===&lt;br /&gt;
&lt;br /&gt;
Another method commonly used in the Chinese translation of Russian idioms is free translation. Vocabulary gaps between languages are a common phenomenon, causing many difficulties for translation. There are many reasons for the vacancy of vocabulary, such as cultural reasons such as life experience, customs, religious beliefs, and linguistic reasons. There are roughly two ways to fill the language gaps — paraphrasing by replacing the image.and discarding images for free translation.(Feng Yongmei 1999,98)&lt;br /&gt;
&lt;br /&gt;
Russian says &amp;quot;Два медведя в одной берлоге не уживутся (一个洞穴容不下两头熊).&amp;quot;, while Chinese says &amp;quot;一山不容二虎&amp;quot;. Another example is &amp;quot;Скатерть со стола, и дружба сплыла (桌布一收，友谊不再) &amp;quot; in Russian, and &amp;quot;人走茶凉&amp;quot; in Chinese.(Wang Fuxiang, Wu Hanying 2014) This method belongs to paraphrasing by replacing the image.&lt;br /&gt;
&lt;br /&gt;
For the &amp;quot;harmony&amp;quot; of the translation, sometimes the translator has to choose to abandon the image for free translation. This is determined by both cultural and linguistic factors. Some linguistic features cannot be translated, and some idioms themselves are not strong enough. In this case, if Choosing a literal translation method will make readers confused.(Hu Guming, Shen Man 2011,18) E.g:&lt;br /&gt;
Как женился я на вашей матери да взял вот этот домишко в приданье, так думал, что богаче да лучше меня и людей нет, фертом ходил! (А. Островский)&lt;br /&gt;
我和你母亲一成亲，就得到了这栋作为陪嫁的屋子，当时我心想，再没有人比我更富足、更好的了。我那时可真是双手叉腰、得意洋洋的。&lt;br /&gt;
“Фертом” is the name of the letter “Ф” in ancient times.Its shape is like a person with hands on hips, and “фертом ходить” is an idiom evolved from body language. The cultural meaning of this idiom is &amp;quot;神气十足、得意洋洋、威武自负的样子&amp;quot; . The translation uses other idioms to complement the missing images in Chinese, clarify the meaning of the idiom, and convey the emotional color contained in the original idiom.(Hu Guming, Shen Man 2011,19)&lt;br /&gt;
&lt;br /&gt;
The idioms in a certain language are fixed and unchanged after long-term use and tempering, but the frequency of each idiom is different. Some idioms are universally used by the whole people, spread and used in a wide range, while some idioms are only used in written styles. In Russian literature, there are improved precise and interesting idioms. For example, in the works of the famous Russian fable writer Krylov, there are reduced idioms, such as “ медвежья услуга”（直译：熊的帮忙；意译：帮倒忙）， “ сильнее кошки зверя нет”（直译：再没有比猫更厉害的野兽；意译：井底之蛙）， “ зелен как виноград”（直译：葡萄还很青；意译：年轻人没经验).(Wang Fuxiang, Wu Hanying 2014) When translating literature, translators often need to learn cultural background knowledge, replace the image in the original idiom, and then convey it to Chinese readers.&lt;br /&gt;
Crows are a very common animal, usually black and gray. The description of crows in Chinese idioms is &amp;quot;the crows in the world are generally black（天下乌鸦一般黑）&amp;quot;. It can be seen that white crows are rare. However, &amp;quot;белая ворона&amp;quot; often appears in Russian literary works, as a metaphor for people who are different from the masses in terms of external characteristics or ideological qualities. In the Chinese and Russian concepts, the crow is a nasty animal. Although white crows are rare, this Russian idiom is usually derogatory, expressing disdain, contempt, or ridicule against the person. In Chinese, animal images are also used as a metaphor for &amp;quot;different people&amp;quot;, such as idioms that stand out from the crowd and phoenix feathers are rare. &amp;quot;Crane&amp;quot; and &amp;quot;phoenix&amp;quot; have always been regarded as precious and noble animals in traditional Chinese culture, so they cannot be compared with &amp;quot; Corresponding to &amp;quot;White Crow&amp;quot;, it is not suitable for translating &amp;quot;белая ворона&amp;quot;. Examples are as follows:&lt;br /&gt;
Он замкнулся, не вдается в разговоры — вот вам и белая ворона.（Сталин)&lt;br /&gt;
直译：他不与人交往，不与人交流，真是一只白乌鸦。&lt;br /&gt;
意译：他不与人交往，不与人交流，真是与众不同。&lt;br /&gt;
Боишься, что они среди нас белой вороной окажется. Недосягаемым экземпляром.(Кожевников В “Корни и крона”)&lt;br /&gt;
直译：你是担心他们会变成我们中间的白乌鸦，一个无法达到的例子。&lt;br /&gt;
意译：你是担心他们会变成我们中间标新立异，望尘莫及的人。&lt;br /&gt;
Most Chinese who come into contact with Russian are students majoring in Russian. The Russian idioms we usually encounter appear in textbooks. These idioms are often used by the Russian public and are easily understood and accepted by the Chinese. E.g:&lt;br /&gt;
&lt;br /&gt;
В Тулу со свим самоваром не ездят.&lt;br /&gt;
直译：去图拉不用带自己的茶炊。&lt;br /&gt;
意译：多此一举&lt;br /&gt;
&lt;br /&gt;
Честь лучше бесчестья.&lt;br /&gt;
直译：尊重比不尊重好。&lt;br /&gt;
意译：礼多人不怪。&lt;br /&gt;
&lt;br /&gt;
словно горя с плеч&lt;br /&gt;
直译：把山从肩膀下卸下&lt;br /&gt;
意译：如释重负&lt;br /&gt;
&lt;br /&gt;
выеденного яйца не стоит&lt;br /&gt;
直译：一个空蛋壳不值钱&lt;br /&gt;
意译：鸡毛蒜皮，一文不值&lt;br /&gt;
&lt;br /&gt;
чужими руками жар загребать&lt;br /&gt;
直译：用别人的手将红炭火拨成一堆&lt;br /&gt;
意译：坐享其成，不劳而获&lt;br /&gt;
&lt;br /&gt;
ни рыба, ни мясо&lt;br /&gt;
直译：没有鱼也没有肉&lt;br /&gt;
意译：不三不四，不伦不类&lt;br /&gt;
&lt;br /&gt;
лучше синица в руках, чем журавль в небе&lt;br /&gt;
直译：天上的仙鹤不如手中的山雀&lt;br /&gt;
意译：远亲不如近邻&lt;br /&gt;
&lt;br /&gt;
На языке мед, а под лед&lt;br /&gt;
直译：嘴上甜得像蜂蜜，心里冷得像冰&lt;br /&gt;
意译：笑里藏刀&lt;br /&gt;
&lt;br /&gt;
И на солнце есть пятна&lt;br /&gt;
直译：太阳上也有黑点&lt;br /&gt;
意译：人无完人&lt;br /&gt;
&lt;br /&gt;
семь раз отмерь, один раз отрежь&lt;br /&gt;
直译：测量了七次后再剪裁&lt;br /&gt;
意译：三思而后行(Wang Fuxiang, Wu Hanying 2014)&lt;br /&gt;
&lt;br /&gt;
Using free translation to translate Russian idioms requires the translator to accurately understand the meaning of the original text, because cultural differences make it impossible to literally translate. Only through the translator can an unobstructed bridge between Russian idioms and Chinese idioms be built.&lt;br /&gt;
&lt;br /&gt;
=== The application of literal translation and free translation in the Chinese translation of Russian proverbs ===&lt;br /&gt;
&lt;br /&gt;
There are often multiple translations of the same Russian proverb in Russian-Chinese dictionaries. On the one hand, because the translator uses different translation methods; on the other hand, because Russian proverbs have very rich connotations, a translation cannot perfectly interpret the inner meaning of the proverb. According to the context and the connotation of the proverbs, the most commonly used methods of Chinese translation of Russian proverbs are literal translation and free translation.(Feng Yongmei 1999,98)&lt;br /&gt;
&lt;br /&gt;
=== Literal translation ===&lt;br /&gt;
&lt;br /&gt;
In Russian and Chinese languages, some proverbs not only have the same meaning or implicit meaning, but also use the same or similar figurative images to express a certain kind of the same semantics, and they are completely consistent in content and form. In this case, the equivalent translation of synonymous Chinese proverbs can convey the information contained in the original image, which not only retains the rhetorical color of the original language, but also enables the reader to perfectly understand the original text. E.g:&lt;br /&gt;
&lt;br /&gt;
In Russian and Chinese languages, some proverbs not only have the same meaning or implicit meaning, but also use the same or similar figurative images to express a certain kind of the same semantics, and they are completely consistent in content and form. In this case, the equivalent translation of synonymous Chinese proverbs can convey the information contained in the original image, which not only retains the rhetorical color of the original language, but also enables the reader to perfectly understand the original text. The other situation is the experience that the Russians summed up in their long labor and life, which has evolved into a proverb, but the Chinese have not summed up this experience, so translating Russian proverbs into Chinese literally, Chinese people can understand them at a glance and increase their knowledge of the world. E.g:&lt;br /&gt;
&lt;br /&gt;
Беда не приходит одна. 祸不单行。&lt;br /&gt;
&lt;br /&gt;
Век живи, век учись. 活到老，学到老。&lt;br /&gt;
&lt;br /&gt;
Выше встанешь, дальше увидишь. 站得高，看得远。&lt;br /&gt;
&lt;br /&gt;
Лучше один раз увидеть, чем сто раз услышать. 百闻不如一见。&lt;br /&gt;
&lt;br /&gt;
Береги платье снову, а честь смолоду. 衣服要从新的时候爱惜，荣誉要从年轻时珍惜。&lt;br /&gt;
&lt;br /&gt;
Выше лба уши не растут. 耳朵高不过额头。&lt;br /&gt;
&lt;br /&gt;
Для милого друга семь верст не околица. 为了好友，多绕七里也不嫌远。&lt;br /&gt;
&lt;br /&gt;
Лучше умереть стоя, чем жить на коленях. 宁愿站着死，绝不站着生。&lt;br /&gt;
&lt;br /&gt;
Не имей сто рублей, а имей сто друзей. 宁要一百个朋友，不要一百个卢布。&lt;br /&gt;
&lt;br /&gt;
По одежке встречают, по уму провожают. 迎客时看衣，送客时看才智。(Jia Sufen 1996)&lt;br /&gt;
&lt;br /&gt;
There is another situation where the literal translation method can be used. Although the image in Russian proverbs is different from the commonly used images in Chinese, it is also easy to understand. For example, &amp;quot;Молодец против овец, а против молодца — сам овца.&amp;quot; In fact, this proverb can be paraphrased as &amp;quot;欺软怕硬 &amp;quot;, but in this way the translation discards the lively literal meaning of the original text. On the other hand, it is literally translated as &amp;quot;见到绵羊充好汉，碰到好汉成绵羊&amp;quot; , on the basis of retaining the original image, readers can easily understand the meaning of the original proverb. Another example is &amp;quot;Заяц от лисицы, а лягушка от зайца бежит. &amp;quot; can be translated as &amp;quot;一物降一物&amp;quot;, but the image in the original text was completely abandoned, if it is literally translated as &amp;quot;one thing drops one thing &amp;quot;狐惊兔，兔惊蛙&amp;quot;, this kind of translation is not only simple and clear, but also in line with the aesthetics of Chinese proverbs. In general, the literal translation not only retains the symmetrical rhetorical techniques in the original sentence, but also retains the symmetrical beauty of the original sentence structure. It not only conforms to the aesthetic characteristics of the original Russian text, but also shows the beauty of phonology and structure in Chinese.(Jia Sufen 1996)&lt;br /&gt;
&lt;br /&gt;
The translation of Russian proverbs by literal translation not only maintains the original language, but also transplants the unique image language of Russian proverbs into Chinese, which not only expands the horizons of Chinese readers, but also enriches the way of expression in Chinese.&lt;br /&gt;
&lt;br /&gt;
=== Free translation ===&lt;br /&gt;
&lt;br /&gt;
Due to the influence of cultural factors, many Russian and Chinese proverbs expressing the same semantics use different metaphors. Some Russian proverbs are difficult to retain the original image in the process of translation into Chinese. If literally translated according to the original image, due to the different national and cultural backgrounds of China and Russia, the translation is difficult to be accepted by the Chinese, and even misunderstood may occur. In order to accurately convey the meaning of the original text to readers, we can readjust the structure of the original text on the basis of a correct understanding of the meaning of the original text, and use standard Chinese expressions to reproduce Russian proverbs to avoid ambiguity and misunderstanding.&lt;br /&gt;
&lt;br /&gt;
There are some elements used in proverbs that foreigners cannot understand. For example, the Russian proverb &amp;quot;В огороде бузина, а в Киеве дядька.&amp;quot; is literally translated as &amp;quot;菜园里长接骨木，而基辅里住叔叔&amp;quot;, which cannot be understood by the Chinese. The four elements “огород” “бузина” “Киева” “дядька”, which contained in this proverb are completely unrelated. In fact, this proverb means that there is no logical relationship between what someone says, and the translator can directly paraphrase it as &amp;quot;胡说八道&amp;quot;, &amp;quot;前言不搭后语&amp;quot; or more easily understood &amp;quot;满嘴跑火车&amp;quot;. Another example is &amp;quot;На воре шапка горит.&amp;quot; literally means &amp;quot;the hat on the thief's head is on fire&amp;quot;. In fact, this proverb originated from a short story in the Kievan Rus period: someone’s money bag disappeared and he shouted &amp;quot;Catch the thief&amp;quot;, but no one knew where the thief was. This man had an idea and shouted, &amp;quot;The thief's hat is on fire.&amp;quot; After hearing this, the thief touched his hat unconsciously and exposed himself. Therefore, &amp;quot;На воре шапка горит.&amp;quot; can be paraphrased as &amp;quot;不打自招&amp;quot; or &amp;quot;做贼心虚.&amp;quot;(Jia Sufen 1996)&lt;br /&gt;
&lt;br /&gt;
Есть несколько русских пословиц, которые больше подходят для вольного перевода:&lt;br /&gt;
&lt;br /&gt;
От труда- радость, от безделья- усталость.&lt;br /&gt;
直译：快乐从劳动中来，疲劳从闲散中来。&lt;br /&gt;
意译：劳动使人快乐。&lt;br /&gt;
&lt;br /&gt;
Баба с возу- кобыле легче.&lt;br /&gt;
直译：农妇下了车，马儿就轻松。&lt;br /&gt;
意译：求之不得&lt;br /&gt;
&lt;br /&gt;
Герой не моего романа.&lt;br /&gt;
直译：不是我小说中的主人公。&lt;br /&gt;
意译：不是我的意中人。&lt;br /&gt;
&lt;br /&gt;
Терпенье (ученье\уменье) и труд всё перетрут.&lt;br /&gt;
直译：耐心和勤劳能克服一切。&lt;br /&gt;
意译：锲而不舍，金石可镂（只要功夫深，铁杵磨成针）。&lt;br /&gt;
&lt;br /&gt;
Чтобы узнать человека, надо с ним пуд соль съесть.&lt;br /&gt;
直译：想要了解一个人，应该和他吃一普特盐。&lt;br /&gt;
意译：日久见人心。&lt;br /&gt;
&lt;br /&gt;
Посади свинью за стол — она и ноги на стол.&lt;br /&gt;
直译：让猪入席，它会把爪子也伸上来。&lt;br /&gt;
意译：得寸进尺。&lt;br /&gt;
&lt;br /&gt;
Черного кобеля не отмоешь добела.&lt;br /&gt;
直译：黑色的狗洗不白。&lt;br /&gt;
意译：本性难改。&lt;br /&gt;
&lt;br /&gt;
Конь о четырех ногах, да спотыкается.&lt;br /&gt;
直译：马有四条腿，也会摔倒。&lt;br /&gt;
意译：聪明一世，糊涂一时。&lt;br /&gt;
&lt;br /&gt;
За что купил, за то и продаю.&lt;br /&gt;
直译：怎么买来，怎么卖出。&lt;br /&gt;
意译：人云亦云。&lt;br /&gt;
&lt;br /&gt;
Обжегшись на молоке, дуешь на воду.&lt;br /&gt;
直译：一旦被牛奶烫，喝水也要吹一吹。&lt;br /&gt;
意译：一种被蛇咬，十年怕井绳。(Jia Sufen 1996)&lt;br /&gt;
&lt;br /&gt;
=== Conclusion ===&lt;br /&gt;
 &lt;br /&gt;
In the process of translation, translators often feel that there are a lot of contradictions and differences between the two languages in terms of lexical structure, syntactic structure, expression methods and metaphors. In many cases, translators understand the original meaning but do not know how to express it in the target language, which leads to the debate about which is better, literal translation or free translation. When translators translate works that are more contradictory between bilinguals, translators often use free translation methods. When translating works that are consistent or have more common points than contradictions or conflicts between bilinguals, translators tend to choose literal translation .&lt;br /&gt;
&lt;br /&gt;
In fact, the relationship between literal translation and free translation is interdependent and inseparable. Therefore, when we translate an article or a book, it is not feasible to translate every sentence literally or freely. Only when the translator cleverly arranges the alternation of the two can it be possible to translate a better translation. When we comment on literal translation and free translation, we should consider the effects of the division of labor and cooperation between the two, and should not one-sidedly understand the advantages and disadvantages of literal translation and meaning.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
=== References ===&lt;br /&gt;
&lt;br /&gt;
*Cai Yi, Duan Jinghua. 蔡毅，段京华. (2000). 苏联翻译理论. [Soviet Translation Theory]. 武汉: 湖北教育出版社[Wuhan: Hubei Education Press].&lt;br /&gt;
*Feng Shize. 冯世则. (1981). 直译、意译、逐字译. [Literal Translation, Free Translation, Verbatim Translation]. 中国翻译[Chinese Translators Journal] 7-10.&lt;br /&gt;
*Feng Shujian. 冯树鉴. (1993). 意译与直译笔谈. [Written Free Translation and Literal Translation]. 外语学刊[Foreign Language Research] 43-47.&lt;br /&gt;
*Feng Yongmei. 冯咏梅. (1999). 浅谈俄语成语翻译中民族文化特色的保留. [On the Preservation of National Cultural Characteristics in Russian Idiom Translation]. 解放军外国语学院学报[Journal of PLA Foreign Languages University] 97-100.&lt;br /&gt;
*Gong Linjing. 宫琳菁. (2015). 直译与意译——中国近现代代表人物观点之概述. [Literal Translation and Free Translation: An Overview of the Viewpoints of Representatives in Modern China]. 赤峰学院学报（汉文哲学社会科学版）[Journal of Chifeng University (Soc.Sci)] 192-193.&lt;br /&gt;
*Hu Guming, Shen Man. 胡谷明, 沈曼. (2011). 汉俄翻译中文化空缺词汇的翻译策略.[The Translation Strategies of Cultural Vacancies in Chinese-Russian Translation]. 中国俄语教学[Russian in China] 17-21.&lt;br /&gt;
*Jia Shufen. 贾淑芬. (1996). 简明俄汉谚语词典. [Concise Russian-Chinese Proverbs Dictionary]. 沈阳: 辽宁大学出版社[Shenyang: Liaoning University Publishing House].&lt;br /&gt;
*Li Quan’an. 李全安. (1990). 直译与意译之争是一场什么样的争论. [What kind of controversy is the dispute between literal translation and free translation]. 中国翻译[Chinese Translators Journal] 18-22.&lt;br /&gt;
*Tan Zaixi. 谭载喜. (1999). 中西译论的相似性.[Similarities between Chinese and Western Translation Theories]. 中国翻译[Chinese Translators Journal] 25-28.&lt;br /&gt;
*Wang Fuxiang, Wu Hanying. 王福祥,吴汉樱. (2014). 东方大学俄语系列：迷你俄语成语词典. [Oriental University Russian Series: Mini Dictionary of Russian Idioms]. 外语教学与研究出版社[Foreign Language Teaching and Research Press]&lt;br /&gt;
*Wang Zhuang. 王转. (1996). 直译与意译漫谈. [On Literal Translation and Free Translation]. 湖南教育学院学报[Journal of Educational Institute] 55-60.&lt;br /&gt;
*Xie Yuncai. 谢云才. (2002). 俄罗斯翻译理论的语言学派与文艺学派——两派文学翻译理论对比分析. [Linguistic Schools and Literary Schools of Russian Translation Theory: A Comparative Analysis of the Two Schools of Literary Translation Theories]. 外语学刊[Foreign Language Research] 97-101.&lt;br /&gt;
*Yang Shizhang. 杨仕章. (2002). 俄语现代翻译理论之概述. [An Overview of Russian Modern Translation Theory]. 解放军外国语学院学报[Journal of PLA Foreign Languages University] 62-65.&lt;br /&gt;
*Zhang Yi. 张艺. (2010). 从目的论看直译与意译之争. [The Controversy between Literal Translation and Free Translation from Skopos Theory]. 海外英语[Overseas English] 189-190.&lt;br /&gt;
*Zhou Changyu. 周长雨. (2010). 俄语谚语的翻译方法. [How to translate Russian proverbs]. 俄语学习[Russian Learning] 33-36.&lt;br /&gt;
&lt;br /&gt;
==Dialectical thinking in arguments between literal translation and free translation 	甘奉玉	Gan Fengyu  202070080584 英语笔译==&lt;br /&gt;
&lt;br /&gt;
===Abstract===&lt;br /&gt;
As two methods of translation, how to use literal translation and free translation has always been the focus of debate between Chinese and Western translation circles. Through the study of translation methods of literal translation and free translation at home and abroad, we can know that to some extent literal translation and free translation are two relative conceptions, so there will be word-for-word translation, that is, dead translation, and excessive free translation. However, these two are only two extremes of literal translation and free translation. In fact, although there are differences in definitions and application fields between literal translation and free translation, they are unified in common translation purpose, translation procedure and translation standard. Therefore, the two are contradictory and unified in translation activities. This is also the profound embodiment of the unity of opposites in materialist dialectics.&lt;br /&gt;
&lt;br /&gt;
===Key words===&lt;br /&gt;
literal translation, free translation, word-for-word translation, over free translation, unity of opposites&lt;br /&gt;
&lt;br /&gt;
===摘要===&lt;br /&gt;
作为翻译方法，直译(literal translation)与意译(free translation)怎样使用的问题一直是一个争论中西方翻译界不休的焦点。通过对国内外直译与意译的翻译方法的研究，我们可以得知，从某种程度而言，直译与意译是两个相对的概念, 所以才会有逐字翻译，即死译，与过度意译这两个完全对立的概念。但是，这两者只不过是直译与意译的两个极端点。其实，直译和意译虽然在概念定义，适用范围上有所差异，但却又统一于共同的翻译目的、翻译过程和翻译标准中。所以两者在翻译活动中应该是既对立又统一的矛盾体。而这也正是唯物辩证法中的对立统一矛盾观的深刻体现.&lt;br /&gt;
&lt;br /&gt;
===关键字===&lt;br /&gt;
直译； 意译； 死译； 过度意译； 对立统一&lt;br /&gt;
&lt;br /&gt;
===Introduction===&lt;br /&gt;
Throughout the translation history at home and abroad, the literal translation and free translation have always been a heat discussion in the translation circles. Someone absolutely approve literal translation and demean free translation, even pursue a dead translation, which creates an translated text difficult to understand. While some other people absolutely agree with free translation even advocate random acts, which means a random deletion in the translation practices and creates anther entirely different text. However, there are also a number of translators who have recognized that these two translation methods are not totally opposite. So they adopt a compromise and flexible way. That means they will choose the most appropriate one depending on the text demanding. Therefore, we can deduce from it that this eclectic translation is consistent with the Contradiction view of Unity of Opposite in Materialist Dialectics. In fact, literal translation and free translation are right a set of contradictions which are both opposite and unified. They complement each other into an integral one.&lt;br /&gt;
&lt;br /&gt;
The dispute between free translation and literal translation in Chinese translation circles first appeared in the dispute of &amp;quot;text&amp;quot; and &amp;quot;quality&amp;quot; in the Eastern Han Dynasty. During this period, Shi Dao-an, a senior monk in the Eastern Jin Dynasty, advocated literal translation and put forward that the translation should not be added or deleted but only make some adjustments to the word order. In the post-Qin period opposed to the Eastern Jin Dynasty, the monk Hatoyama advocated that the Buddhist scriptures should be translated freely. That is, the original text should be changed to adapt to the Chinese style. Subsequently, Xuanzang, a senior monk of the Tang Dynasty, drew lessons from their former translation achievements and put forward that both seeking truth and vulgarity. (Chen Fukang 2011, 14-38)That is, literal translation should be combined with free translation, not only one of them. At that time, some translators have noticed that literal translation and free translation are not completely opposite. After that, in modern times from the Opium War to the May 4th Movement, since Yan Fu has put forward the translation standard of faith, smoothness and elegance,  Lu Xun and Qu Qiubai ignited the dispute on faith and smoothness. Lu Xun is a typical literal translation school. He insists that faith first and smoothness second even tolerates incoherence. He adopts the method of dead translation and absolute translation. While Qu Qiubai believes that faith and smoothness are not opposed. From the New culture Movement(from 1915-1923) to the 1980s, Mao Dun also put forward that literal translation doesn't mean word-for-word translation without any addition or deletion. Since the reform and opening up, Xu Yuanchong has said that literal translation should be faithful to the original content first then to the original form and last to the smooth translated text. On the other hand, while free translation should be faithful to the original text first then to the smooth translated text and last to the original form. Therefore, although there are differences in translation methods between literal translation and free translation, their ultimate goal is to be faithful to the original content and express the original meaning.（Chen Fukang 2011, 288-333）&lt;br /&gt;
&lt;br /&gt;
Since Cicero, the first translation theorist in ancient China, put forward that avoid word-by-word translation as a speaker, the dispute between literal translation and free translation began to appear in the West. In ancient times, Perot insisted on dead translation in the translation of the Bible, which caused the translation quality to be too low. Poitius in the Middle Ages also advocated word-by-word translation and strict formal correspondence. In modern times, French translator Abulangour aimed to cater to readers in a way of over-free translation and arbitrary deletion. Even so, there are many translation theorists in the western translation world who advocated  eclectic and flexible translation. For example, in ancient times, Jerome advocated the flexible principle to apply in literary translation and religious translation differently. During the Renaissance, French Amyot emphasized the dialectical unity of content and form, free translation and literal translation. Moreover, some translators did not exercise their own translation ideas. During the Renaissance, Reichlin was one of them. Although he advocated word-by-word translation, he abandoned word-by-word translation in practice. This can also further explain that absolute promotion of literal translation or free translation is not a desirable translation method. In translation practice, we must take a suitable degree between the two in the way of combining literal translation and free translation at the same time to better serve for the target readers.(Tan Zaixi 2004, 5-15 )&lt;br /&gt;
&lt;br /&gt;
The purpose of this paper is to explore the dialectical thinking contained in the dispute between literal translation and free translation, that is, the viewpoint of unity of opposites. The first chapter is about the word-for-word translation, and the second chapter is about the over-free translation. From this, we can draw a conclusion that it is not advisable to regard literal translation and free translation as absolute opposites. The third chapter is about the eclectic translation, which is the correct method for us to learn and adopt. It is also a dialectical translation method that follows the view of unity of opposites. The fourth chapter will analyze the differences between literal translation and free translation. Then the fifth chapter focuses on the unity of literal translation and free translation in translation goals, translation procedures and translation standards. Through the discussion of the whole article, we can clearly see the unity of opposites between literal translation and free translation and draw a conclusion that we should apply dialectical translation in our translation practice and adopt the point of view of unity of opposites in translation theory. (He Lirong 2018, 40)&lt;br /&gt;
&lt;br /&gt;
===1.Dialectic thinking of the Unity of opposites===&lt;br /&gt;
The theory of unity of opposites is the core content of materialist dialectics theory. (Xu Guoliang 2020, 75) In the history of philosophy, the German philosopher Hegel first expounded the basic thought of contradiction theory from the standpoint of objective idealism. Later, Marx, Engels and Lenin critically absorbed Hegel's theory and developed contradiction theory into the core content of materialist dialectics theory. The theory of contradiction contains two basic problems, and one is the relationship between unity and opposition, while the other is the universality and particularity of contradiction, which involves a series of basic concepts of contradiction theory, such as basic contradiction and non-basic contradiction, fundamental contradiction and non-fundamental contradiction, principal contradiction and non-principal contradiction. Understanding these basic concepts and their relationship is the key to understand and grasp the contradiction theory completely and accurately and finally apply it to the practice of social life. (Yan Mengwei 2020, 41)&lt;br /&gt;
&lt;br /&gt;
The problem of unity and opposition of contradiction is actually about the nature of contradiction. We always know things from comparison. The so-called comparison is to find the similarities and differences between two things. The former is called unity and the latter is called opposition. The unity is relative and the opposition is absolute. It is worth emphasizing that the opposition of contradictions plays a key and decisive role in development, because development comes from the unity of opposites. This means that unity and opposition are two indispensable elements in the process of development. They complement and interact with each other.&lt;br /&gt;
&lt;br /&gt;
Literal translation and free translation are such a pair of contradictions. The opposition of the two is reflected in the absolute opposition between word-for-word translation and over-free translation. There are differences in their definition and application and similarities in their translation goals, procedures and standards.(Yang Ying 2019,161)&lt;br /&gt;
&lt;br /&gt;
===2.Word-for-word translation===&lt;br /&gt;
Literal translation is a method that not only maintains the original content, but also the original form. (Xu Yuanchong 1996,92) Fu Sinian and Zheng Zhenduo all advocate literal translation. In the history of modern Chinese translation, Lu Xun and his younger brother Zhou Zuoren's work of The Collection of Extraterritorial Fiction is regarded as the representatives of literal translation.&lt;br /&gt;
&lt;br /&gt;
In particular, literal translation is neither dead translation nor a mechanical verbatim translation. Because English and Chinese have different structures, it is impossible to translate word by word. From the perspective of linguistics, the biggest difference between them is that Chinese is parataxis while English is  hypotaxis. (Zhu Xiaojia 2008, 1)That is to say, in Chinese, a sentence is usually short with little modifier and connected words, while in English, several meanings can be expressed with complicated structure with assorted clauses and connected words into only a sentence.&lt;br /&gt;
&lt;br /&gt;
Besides, the English is a more static language in which nouns and adjective are always used, but the Chinese more dynamic one, verbs are more active. Finally, the former has a systematic grammar but the latter seems freely arranged.(Cao Huoqun 2005, 40)&lt;br /&gt;
&lt;br /&gt;
So, when we do some translating exercise, we should focus on their grammar structure to deal well. When the structure of the original text is inconsistent with that of the target language, continuing word-for-word translation will lead to formalism. Such a translated text is not intelligible for reader. That is to say, literal translation must be readable without any misunderstanding or violation of expression.&lt;br /&gt;
&lt;br /&gt;
===3.Over free translation===&lt;br /&gt;
Free translation refers to the method that maintains original content rather than original form. In the process of translation, in order to make the language clear and persuasive, the translator must try to conform to the language customs of target texts rather than adhere to the expressive pattern of the original work. Zhao Jingshen put forward that it is better to be smooth with some disloyalty instead of absolute loyalty. Obviously, Mr. Zhao Jingshen is in favor of free translation, and so does Mr. Yan Fu. Many of Yan Fu's classical works have adopted free translation, such as the Theory of Heaven is a typical example of free translation.&lt;br /&gt;
&lt;br /&gt;
When we translate from English to Chinese, especially some idioms that are in closer ties with western culture, we have to move or change these cultural barriers so that Chinese readers could understand easily. It is also true when translating Chinese into English. Under this condition, free translation will be more suitable and effective.&lt;br /&gt;
&lt;br /&gt;
However, free translation does not mean random translation. The latter means making up translated sentence by subjective imagination without analyzing the structure of the original text. It is also known as over-free translation. (Wu Shuang 2018, 107) In fact, when we translate, we must master the thought and style of the original and regard them as corresponding one of the target language. In addition, the theory, fact and logic of the original work should also be corresponding in the target language. We can not replace these features of the original with our personal thoughts, styles, facts, theories and logic. Only in this way can the contents not be changed after translation.&lt;br /&gt;
&lt;br /&gt;
===4.Dialectic translation===&lt;br /&gt;
Feng Qinghua put forward in the book of A Practical Translation Course that the so-called literal translation is a kind of translation method to maintain both the original content and the original form. If there are same language form and expressive effect between original and target text, we should adopt literal translation to deliver the same contents. While the so-called free translation is a method to keep the original content and style only not the original form. So if there are different language forms and expressive effects between the two texts, we should adopt free translation mostly. (Feng Qinghua 1997, 12)&lt;br /&gt;
&lt;br /&gt;
Therefore, Literal translation and free translation have their own advantages and restrictions. The former is beneficial to the transplantation of culture, while the latter can avoid obscurity in literal translation.  &lt;br /&gt;
&lt;br /&gt;
If in literal translation, we will translate the sentence “mashing a mirror is no way to make an ugly person beautiful, nor is it a way to make social problem evaporate” into “砸镜子不能使丑八怪变漂亮，也不能使社会问题烟消云散”, while if in free translation, we can turn it into “砸镜子并不能解决实际问题”. (Fan Zhongying 1994, 22) We can see the latter one is more concise and comprehensive to express the connotative meaning. While although the former are totally literal translation, we still feel it terrible. &lt;br /&gt;
&lt;br /&gt;
So, a translator should use these two translation strategies according to the actual situation to express the surface structure and deep meaning of the original text. The use of literal or free translation depends on the rules of both English and Chinese. In translation, if we can not directly adopt the structure and expression form of the original work, we must change the sentence structure and expressive way to convey the connotation of the original work. An excellent translated text is realized neither by simple literal translation nor by simple free translation but by the combination of two. In another word, we should adopt dialectic translation in our practice.&lt;br /&gt;
&lt;br /&gt;
===5.Opposition and unity between literal translatiuon and free translation===&lt;br /&gt;
&lt;br /&gt;
===5.1 Opposition===&lt;br /&gt;
&lt;br /&gt;
===5.1.1 Opposition in definition===&lt;br /&gt;
Qiao Zengrui defines literal translation in Chapter 4 of Translation Theory as a method that the translation deliberately retains the original form to maintain the content and style of the original. At the same time, He also defines free translation as a method that keep the original content and style by use of the same or similar expression as the original text in the target language regardless of the two different languages. The first one regards form as the only way, content and style as target, while the second directly takes no account of form. With this regard, the two totally opposite in definition.(Qiao Zengrui 2000,263)&lt;br /&gt;
&lt;br /&gt;
===5.1.2 Opposition in application fileld===&lt;br /&gt;
Generally speaking, literal translation is generally used to translate some political books, laws, treaties and scientific and technological documents, terms, idioms, and some simple sentences. (Wu Shuang 2018,178) The early translation of Buddhist scriptures of early Chinese generally followed this theory. So do the Marxism-Leninism works and Mao Zedong works. For example, “纸老虎” can only be translated as “paper tiger” but not “scarecrow”. The latter one was corrected by Mao Zedong when the interpreter translated it into “scarecrow”. President Mao emphasized that this word had two characteristics and if translated into scarecrow, it will lose duality. Because “纸老虎” in China means imperialism and reactionary, which seems terrible but no great power in it. Since it was made of paper, this tiger became soft in the damp and washed away when it rained. While scarecrow can scare away children and birds. So paper tiger is better than scarecrow.&lt;br /&gt;
&lt;br /&gt;
In the process of translation, there are many situations that literal translation can not be used, so we must adopt the method of free translation, especially the translation of literary works. (Wu Shuang, 2018, 178)On the one hand, there are many common traditional Chinese words that reflect the unique cultural concepts and cultural phenomena of our country, which can't translate directly into corresponding words in English. For instance, if we translate&amp;quot;初生牛犊不怕虎&amp;quot; into &amp;quot;A new born calf is not afraid of a tiger&amp;quot;, then our target readers in English-speaking countries may find it difficult to understand the substance of the literal meaning. ( Yang Yin 2019, 161)So here “The more wit, the less courage” will be better. On the other hand, some certain maxims, idioms and puns in English have no choice but to use free translation. (He Lirong 2018,43) For example&amp;quot; have a wolf in the stomach&amp;quot; means&amp;quot;饥肠辘辘&amp;quot; 饥饿难忍&amp;quot; rather than “肚子里有个豺狼”. Moreover, some exclusive English nouns should be free translated such as &amp;quot;the heel of Achilles&amp;quot; into&amp;quot;致命的弱点&amp;quot; instead of “阿克琉斯的脚后跟”.&lt;br /&gt;
&lt;br /&gt;
===5.2 Unity===&lt;br /&gt;
===5.2.1 Unity in translation goal===&lt;br /&gt;
In literal translation, loyalty to the original form should be put first, followed by loyalty to the original content and last pursuit of fluency and popularity in target language. In free translation, loyalty to the original content should be put first, then the fluency and popularity of the translation language are second, and the original form comes last. It can be seen that loyalty to the original content is the common purpose of literal translation and free translation.(Wu Shuang 2018, 108)&lt;br /&gt;
&lt;br /&gt;
The unity of literal translation and free translation is also reflected in the fact that the translation must be smooth and fluent and conform to the expressive habits of target language. If the translated text is obscure and unreadable without conformity to the habits of the target language and culture, the two translation strategies have not achieved the true unity, so the purpose of communication has not be achieved.&lt;br /&gt;
&lt;br /&gt;
Therefore, literal translation and free translation are two different translation methods used in translation. They are unified in the translation purpose to accurately and faithfully convey the original meaning and intention with the same form and spirit as original text.(He Lirong 2018, 41)&lt;br /&gt;
&lt;br /&gt;
===5.2.2 Unity in translation procedure===&lt;br /&gt;
The literal translation and free translation is unified in translation procedures. Both of them should conform to the following translation steps of understanding, expression and verification. &lt;br /&gt;
&lt;br /&gt;
Understanding is the first stage of translation process. It includes not only the understanding of language and cultural phenomena, but also logical relations. A translator should be good at analyzing ambiguous sentences and make correct judgment before translating. Expression is the process by which the translator reproduces the content of the original text into target language. Expression is the result of understanding, but understanding correctly does not mean expressing right. Therefore, we must learn many specific methods and techniques, such as literal translation, free translation, literal translation plus free translation, literal translation plus annotation, and so on. &lt;br /&gt;
The third stage is verification. In this stage, we must check the translation at least twice. In he first time, we should check whether there is any missing translation or wrong translation. And in the second time, we should check whether it's smooth and intelligible out of the original text.&lt;br /&gt;
&lt;br /&gt;
Whether literal translation or free translation, we must follow the three steps of understanding, expression and verification in translation practice. Understanding is the premise of expression, but understanding and expression are usually complementary and unified, which can not be separated completely. While understanding the original text, the translator also chooses the expressive way and further deepen his understanding.&lt;br /&gt;
&lt;br /&gt;
===5.2.3 Unity in translation standard===&lt;br /&gt;
On the establishment of translation standards, Chinese and foreign translation theorists in different historical periods put forward different views. In China, there are Ma Jianzhong's view of &amp;quot;good translation&amp;quot; on the basis of modern linguistic theory, Yan Fu's translation standards of &amp;quot;faith, smoothness, and elegance&amp;quot;, Chen Xiying's theory of “similarities in shape, meaning and spirit”, Lin Yutang's translation standards of “loyalty, smoothness and beauty”. In the West, there are Twelve Translation Principles of Bart, Three Principles of Tettler, Seven principles of Luther, and functional equivalence of Eugene. Nida and so on. All these translation standards are based on different social needs, translation contents, translation objects and  translation purposes.(He Lirong 2018, 42)&lt;br /&gt;
&lt;br /&gt;
No matter which translation standard, it is impossible to meet by only literal translation or only free translation. Therefore, the two translation methods are unified in any translation standard. So, they are inseparable unity of opposites.&lt;br /&gt;
&lt;br /&gt;
===6.Conclusion===&lt;br /&gt;
Literal translation and free translation are two different translation methods. Although they are different in conceptual definition and applicable field, in order to achieve a unified translation standard and achieve a common translation purpose, they both follow the same three steps of understanding, expression and verification. &lt;br /&gt;
&lt;br /&gt;
In the process of translation, if the target text has the same form and style as the original text, it can be translated literally. If there are different form and style, it should be translated freely. When the structure of the original text is inconsistent with that of the target language, sticking to word-for-word translation will cause stiff translation difficult to understand. In the same way, making up sentences through subjective assumption according to the literal meaning without analysis of original text will cause random translation disloyalty to the original one. &lt;br /&gt;
&lt;br /&gt;
Therefore, we can conclude that we should treat literal translation and free translation with a dialectical way and use these two translation methods flexibly to create wonderful translations in our concrete translation practice.&lt;br /&gt;
&lt;br /&gt;
===Bibliography===&lt;br /&gt;
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Siyu Zou. (2017). Dialectical Relationship between Translation Theory and Practice[P]. Proceedings of the 7th International Conference on Education, Management, Information and Mechanical Engineering (EMIM 2017).&lt;br /&gt;
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Chen Fukang 陈福康. (2011). 中国译学史 [History of translation studies in China]. Shanghai: Shanghai Foreign Language Press.&lt;br /&gt;
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Cao Huoqun 曹火群. (2005). 翻译中的辩证关系 [Dialectic relationships in translation]. 孝感学院学报 Journal of Xiaogan University (05) 39-43.&lt;br /&gt;
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Feng Qinghua 冯庆华. (2002). 实用翻译教程 [Practical translation course]. Shanghai：Shanghai Foreign Language Education Press.&lt;br /&gt;
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Fan Zhongying 范仲英. (1994). 实用翻译教程 [Practical Translation Course]. Beijing:Foreign Language Teaching and Research Press.&lt;br /&gt;
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He Lirong 何历蓉. (2018). 论“直译与意译”在英汉翻译中的对立与统一 [On the opposition and unity of literal translation and Free Translation in English-Chinese translation]. 宿州教育学院学报 journal of suzhou education institute 21(04):40-43.&lt;br /&gt;
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Qiao zengrui 乔曾锐. (2000). 译论—翻译经验与翻译艺术的评论和探讨 [Translation theory: A review of translation experience and the art of translation]. Beijing: China Industry and Commerce Joint Press.&lt;br /&gt;
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Tan Zaixi 谭载喜. (2004). 西方翻译简史 [A Brief History of Western translation]. Beijing：Commercial press.&lt;br /&gt;
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Wu Shuang 吴爽. (2018). 翻译的最高境界—直译与意译的完美统一[The highest level of translation - the perfect unity of literal translation and free translation].现代交际 Modern communication (08):107-108.&lt;br /&gt;
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Xu Guoliang 徐国亮. (2020). 对立统一：唯物辩证法的核心与列宁的发展 [Unity of opposites: The Core of Materialist Dialectics and The development of Lenin]. 中共中央党校（国家行政学院）学报 Journal of Party School of the CPC Central Committee (National Academy of Governance) 24(05):75-83.&lt;br /&gt;
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Xu Yuanchong 许渊冲. (1980). 直译与意译 [literal translation and free translation]. Journal of Foreign Languages (6).&lt;br /&gt;
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Xu Yuanchong 许渊冲. (1996). 译家之言 [The Word of the Translator].出版广角 View on Publishing(6):92-94.&lt;br /&gt;
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Yan Mengwei 阎孟伟. (2020). 关于唯物辩证法矛盾学说的几个基本问题 [Some basic questions about the contradiction theory of materialist dialectics]. 思想理论教育导刊 Journal of ideological and theoretical education (08):40-47.&lt;br /&gt;
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Yang Yin 杨颖. (2019).  浅谈直译与意译的动态统一 [On the dynamic unity of literal translation and free translation]. 海外英语 Overseas English (17):160-161.&lt;br /&gt;
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Zhu Xiaojia 朱晓嘉. (2008). 形合、意合的辩证观与翻译策略 [Dialectic thinking and Translation strategies of hypotaxis and Parataxis]. Nanjing: Nanjing Normal University.&lt;br /&gt;
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== Peter Newmark’s Improved Views on Literal Translation and Free Translation 赵茜 Zhao Xi,202070080627==&lt;br /&gt;
===Abstract===&lt;br /&gt;
The dispute over the two basic translation methods, literal translation and free translation, has never stopped since ancient times. In view of the basic problem of his argument, Peter Newmark, an English translation theorist divides the various translation methods into eight, points out that different translation methods should be taken according to different text characteristics and puts forward with semantic translation and communicative translation bases on years of translation researches. Semantic translation focuses on maintaining the content of the original text, while communicative translation emphasizes the effect of the translation. The author of this paper expresses some views on literal translation and free translation. Peter Newmark's theory has taken a big step forward from the fragmented and one-sided view of literal translation and free translation in the past, which has brought people out of the struggle between them and made people see the direction of further development of translation research.&lt;br /&gt;
&lt;br /&gt;
===Key words=== &lt;br /&gt;
Free translation, Literal translation, Peter Newmark, Semantic translation, Communicative translation&lt;br /&gt;
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===摘要===&lt;br /&gt;
直译与意译这两种翻译基本方法之争从古至今从未停止过。针对其争论的基本问题，英国翻译理论家彼得·纽马克把各种翻译方法分成了八种，指出应根据不同的文本特点釆取不同的翻译方法，并在多年翻译研究的基础上提出了语义翻译和交际翻译。语义翻译重点在强调保持原文的内容，而交际翻译更多强调的是译文的效果。本文作者也提出了对直译和意译的一些看法。彼得·纽马克的理论把人们以往对直译、意译的零散的、片面的观点向前推进了一大步，使人们从直译、意译之争中走出来并看到翻译研究进一步发展的方向。&lt;br /&gt;
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===关键词===&lt;br /&gt;
直译, 意译, 彼得·纽马克, 语义翻译, 交际翻译&lt;br /&gt;
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===Introduction===&lt;br /&gt;
According to Chinese and western translation history, no matter in China or in western countries, studies on translation theories and practice have been performed over two thousand years. Translation, as an ancient and extremely significant human thinking activity, is closely related to the development of language itself. And translation after more than two thousand years of development, has developed prosperously, appearing quantities of translation theories, translation schools and translators. However, the dispute between two translation methods, literal translation and free translation has been lasting from throughout history. The fundamental problem between literal translation and free translation is based on the relationship between content and form. To solve this fundamental problem of the dispute, Peter Newmark first points out that translation studies have been long beset by the time-honored theoretical debate over free and literal translation. A range of wider aspects of translation related to the contribution to the development of languages, its relation to meaning, the intention of translation, the readers' background, the type of discourse and the language universals have been long neglected. Therefore, according to Newmark's own translation practice, he puts forward right translation methods, word-for-word translation, literal translation, faithful translation, semantic translation, adaption, free translation, idiomatic translation and communicative translation, which provide to translators to consider and use. Although in the actual translation practice, translators have no necessity to distinguish such translation methods and even to use these methods, this proposal may help translators open their horizons and translate more appropriately. Among the eight translation methods, semantic translation and communicative translation proposed by Newmark own the advantages of other six methods, becoming the most ideal translation methods. Peter Newmark's semantic translation and communicative translation are highly valued and influence the practice of translation in general. (Li Minghan 2014, 3)&lt;br /&gt;
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===Literal Translation and Free Translation===&lt;br /&gt;
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====Brief Introduction of Literal Translation and Free Translation====&lt;br /&gt;
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From ancient times, translators hold various attitudes toward such two translation methods, literal translation and free translation. &lt;br /&gt;
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=====Literal Translation=====&lt;br /&gt;
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Literal translation is a translation method which not only keeps the substance of the original, but also keeps the form of the original. This definition implies that the translation version is expressing the content of the original and should spare no efforts to make every part of the translation version corresponding to every part in the original text including construction of sentence, meaning of the original words, metaphor of the original and so on. &lt;br /&gt;
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According to Liu Zhongde, literal translation can be summarized into &amp;quot;to reproduce both the ideological content and style of the entire literary work and retain as much as possible the figures of speech&amp;quot;. (Liu Zhongde 1991, 52) &lt;br /&gt;
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Xu Yuanchong defines literal translation as &amp;quot;the kind of translation which is faithful not only to the content but also to the form of the original.&amp;quot; (Xu Yuanchong 1984, 45)&lt;br /&gt;
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Newmark suggests that literal translation is like, &amp;quot;sometimes it is very difficult to define what is literal translation, it is believed that a translation can be regarded as the literal translation when the translator is not influenced but the foreign flavors.&amp;quot;(Newmark 2001, 46) &lt;br /&gt;
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Mr. Yang Xianyi holds that the translators should be as faithful as possible to the original image and too much explanation and creativity should be avoided. This means translators should try to use literal translation method to introduce imagery in the source language to the target language readers. The reason why those translators who insist on literal translation are that they think literal translation is the only way to keep faithful to the original. They endeavor to adopt from as similarly as possible to the original to show the original meaning, thinking that it's the truest reflection of the original. (Wang Zuoliang 1989, 43)&lt;br /&gt;
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=====Free Translation=====&lt;br /&gt;
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Free translation is a translation method which only keeps the substance of the original, but not keeps the form the original. Target language and source language have different forms to show the same substance, and they could not produce the same result. Free translation does not mean to delete or add content to the original, though it does not pay much attention to the form of the original. Otherwise, the translation would not be faithful to the original. Translators always discover the meaning behind the forms in the source language and dose their best to produce the same meaning in the target language, using the forms and structures in the target language. Consequently, what is supposed to change is the form and the code, and what should remain unchanged is the meaning and the message. &lt;br /&gt;
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Shuttle worth and Cowie define free translation as &amp;quot;a type of translation in which more attention is paid to producing a natural target language than to preserving the source language wording intact.&amp;quot; (Shuttle worth&amp;amp;Cowie 2004, 62)&lt;br /&gt;
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Free translation is the conveying of the discourse meaning of the speaker is not restricted by the structure and linguistic and rhetoric styles of the original text. (Ren Wen 2012, 18)&lt;br /&gt;
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Liu Zhongde has given his definition to free translation. According to his definition, free translation aims at transmitting the meaning regardless of the sentence forms and rhetorical devices. If translators are not able to  make the translated text faithful to the original text through literal translation, they may use their own words to explain the meaning of the text without considering the words and forms in original text. (Liu Zhongde 1991, 53-54)&lt;br /&gt;
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====Disputes over Free Translation and Literal Translation====&lt;br /&gt;
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In the past, translators generally believed that language and thought were unified, and language was form while thought was content. However, it was impossible to realize the consistence between language forms and ideological content, producing the contradiction between form and content, which is the problem between literal translation and free translation. Modern science has proved that language and thought are not a unity and constitutes a relationship between form and content. Language is only a symbolic system to express thoughts. Translation expresses the same idea by using two different language signals. &lt;br /&gt;
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Marcus Tullius Cicero is generously acknowledged to be the first person to put forward a systematic description of the practice of translation and he said &amp;quot;I did not translate them as an interpreter, but as an orator... I did not hold it necessary to render word for word, but I preserve the general style and force of language.&amp;quot; (Tan Zaixi 2018, 20) He puts forward mainly two viewpoints. Firstly, the translation should be as close as possible to the language habits of the target language. At that time, namely, the translation should correspond with Roman habits as much as possible to touch and resonate with the readers. What's more, he advocates free translation and opposes literal translation as he believes that free translation is superior to literal translation. The most important thing in translation is not the corresponding in form, but the meaning and thought in the source language. Cecero's thoughts have provided a guide for other translators and produced an effect on them. Since Cicero came up with his opinion, the disputes over literal translation and free translation has never been stopped. &lt;br /&gt;
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Eugene Nida holds that if all languages differ in form, then quite naturally the forms must be changed if one is to preserve the content. He is in favor of dynamic equivalence instead of formal correspondence, maintaining the original meanings. In this sense, Nida agrees with free translation, just as he expresses that translating means translating meaning. (Nida 1985, 119-125)&lt;br /&gt;
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Zhai Qiubai insists literal translation and claims that the correct translation is based on Chinese syntax and rhetoric and has its specific intentions. First of all, he regards translation as a part of Proletarian literature. Translation should systematically introduce proletarian revolution thoughts to Chinese readers. Furthermore, translation should help create modern Chinese language and literal translation is an approach. To preserve the spirit in the original text, some non-smoothness can be tolerated. (Cheng Yongsheng 2002, 65) &lt;br /&gt;
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Lu Xun defines clearly that translation must take into account of two sides: one is easy to understand, the other maintains the style of the original. This explanation refers that the translators must translate according to the original text rather than their own world view and aesthetic taste. The translators must try their best to maintain the style of the original author and inherit historic and national characters rather than imposing extrinsic aesthetic and social background culture of other people on the translation. (Chen Fukang 2000, 301)&lt;br /&gt;
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Mao Dun has pointed out that due to different language families of Chinese and English and different structures, word-by-word translation us almost impossible actually. Because word-by-word translation is difficult to achieve its ideal effect, any discussion related with literal translation and free translation is inevitably involved with the problem &amp;quot;what is the boundary between them?&amp;quot; He also holds that the so-called literal translation, superficially speaking, means not to alter the original words and sentences. (Xu Haiyan &amp;amp; Sun Weihong 2012, 80)&lt;br /&gt;
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In Xu Yuanchong's opinion, the criteria to judge literal translation and free translation is whether the translation is faithful to the original. If a translation is faithful to both meaning and form of the original text, it is literal translation. If a translation is only faithful to meaning rather than form, it is free translation. If a translation is only faithful to form rather than content, it is mechanical translation. And the standard to judge faithfulness are form and content. For translation, content is more significant than form. Besides, translators should use both literal translation and free translation. However, sometimes it is difficult to use literal translation or free translation in a translation, so it is not necessary to define literal translation or free translation in those situations. Xu argues that literal translation is not only being faithful to the content of the original text but also being close to its form. When Xu discusses the situations using literal translation or free translation, he often mentions readers and contexts, among which readers are more important. No matter literal translation or free translation, translators should put faithfulness to the content of the original text first, smoothness of target text form second, faithfulness to the form of the source text third. In other words, on the premise of faithfulness to the source language, translation should strive for smoothness of form. On the premise of smoothness of translation, translators should try their best to realize faithfulness to form of the original. If there is a contradiction between the smoothness and faithfulness of the original form, it is of no necessity to stick to the original form. These are the relationships between content and form, and literal translation and free translation. (Cheng Yongsheng 2002, 66)&lt;br /&gt;
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Whether in Chinese translation circle or in western translation circle, the contradiction between content and form, and literal translation and free translation exists and arouses heated discussion.&lt;br /&gt;
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===Semantic Translation and Communicative Translation===&lt;br /&gt;
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To solve the fundamental problem of free translation and literal translation, Peter Newmark, a renowned western translation theorist, linguist and professor of translation at the University of Surrey, combining with years of translation experience, has concluded and summarized a corresponding theory, semantic translation and communicative translation, whose core is the problem of literal translation and free translation. Semantic translation and communicative translation have been put forward against the background that the majority of scholars have argued for a long time whether to translate literally or freely. The concepts of communicative and semantic translation represent Newmark’s main contribution to general translation theory. (Newmark 1991, 10)&lt;br /&gt;
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====Semantic Translation====&lt;br /&gt;
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Newmark puts the definition of semantic translation as &amp;quot;Semantic translation, attempts to render, as closely as the semantic and syntactic structures of the second language allow, the exact contextual meaning of the original. &amp;quot; As this version of definition indicates, communicative translation focuses essentially upon the comprehension and response of TL receptors. Semantic translation severs for the source language author and gives a high priority to reflecting his thought patterns and stylistics. (Shuttleworth and Cowie 2004, 22) Here is an example.&lt;br /&gt;
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E.g. 谋事在人，成事在天。&lt;br /&gt;
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Yang Hsien-yi and Gladys Yang's Version: Man Proposes, Heaven disposes.&lt;br /&gt;
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In this example, the Chinese idiom means that a man has done his or her best to do something and as to whether he or she can achieve the goal, it depends on the fortune. “天” refers to the master of nature in ancient Chinese culture. This word is semantically translated into “heaven” as the translation emphasizes the original information and tries to preserve the favor, style and culture maintained in the source language.&lt;br /&gt;
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====Communicative Translation====&lt;br /&gt;
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Communicative translation attempts to produce on its readers an effect as close as possible to that obtained on the readers of the original. As this version of definition indicates, communicative translation centers around the semantic aspects of the source language texts. To be specific, in communicative translation, the emphasis should be on conveying the message of the original in a form, which conforms to the linguistic, cultural and pragmatic conventions of target language. Both content and language are readily acceptable and comprehensible to the readership. (Chen Boyu 2003, 4)&lt;br /&gt;
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Communicative translation intends to present the main idea of the original text and emphasize the social value generated by the translation. Communicative translation highlights on conveying the message expressed in the original and form of the the source language. Due to different textual functions, content and form should have different focuses. Texts of informative function emphasize on the information beyond the language, while texts of vocative function center on readers. The primary intention of translators is to convey the message to the target readers, without paying much attention to the style of the original. If it is necessary, translators can adjust grammar and words to better transmit the information. The change of forms is not only allowed, but also encouraged. (Zhang Linlin 2010, 17)&lt;br /&gt;
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E.g. 谋事在人，成事在天。&lt;br /&gt;
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Hawkes's Version: Man Proposes, God disposes.&lt;br /&gt;
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This translation is communicative translation. Different from the version of Yang, Hawkes translated &amp;quot;天&amp;quot; into &amp;quot;God&amp;quot;. In western culture, people believe that &amp;quot;God&amp;quot; is the master of nature. It renders the contextual meaning of the original in such a way that both content and language are readily acceptable and comprehensible to the readers.&lt;br /&gt;
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====Comparison Between Semantic Translation and Communicative Translation====&lt;br /&gt;
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The fundamental difference between semantic translation and communicative translation is that semantic translation attaches more importance to the content rather than effect and communicative translation is just opposite. &lt;br /&gt;
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Firstly, semantic translation is more objective, stresses accuracy and is submitted to the author, culture and meaning of the original. Communicative translation is more subjective, pays much attention to the readers' responses, and is submitted to the target language and its culture. Semantic translation and communicative translation have difference in expression form. &lt;br /&gt;
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Second, semantic translation make the translated text more close to the original form and retain the vocative effect as much as possible. If there is no much difference between the source and target language specifications, translation should maintain the length of sentences in the original text as well. Communicative translation will reorganize the syntax and utilize more common collocations or words to make translation more fluent, idiomatic and understandable. In the communicative translation, to make the translation brief and emphasize key information, translators should get rid of the bondage of the source language structure and make appropriate adjustments which are not allowed in the semantic translation, such as adjusting the logic relations in the original, making obscure concepts distinct, deleting repeated unnecessary details or redundant information, normalizing some peculiar expressions, and even correcting factual or writing mistakes. &lt;br /&gt;
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Thus, they have different functions. Semantic translation, performing expressive function, tries to preserve the language characteristics and unique expression forms of the source language to present thinking process of the author. Its translation judged by the target readers is likely to be smoother, simpler, clearer and more direct. While communicative translation is to convey message, performing vocative function. &lt;br /&gt;
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In addition, the key of communicative translation is immediacy which means the success of translation depends on the readers' responses. Semantic translation lays stress on faithfulness to the source text, but cannot neglect to convey the message contained in the source text. (Lin Xiaoqin 1987, 50)&lt;br /&gt;
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Here are some examples to better present the differences between semantic translation and communicative translation.&lt;br /&gt;
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E.g. 世人都晓神仙好。&lt;br /&gt;
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Yang Hsien-yi and Gladys Yang's Version: All men long to immortals.&lt;br /&gt;
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David Hawkes’s Version: All men knew that salvation should be won. &lt;br /&gt;
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In this example, “神仙” is the difficult point because there is no corresponding expression in English. In Chinese culture, “神仙” refers to transcendence and is a life with “supernatural forces” in human beings. Yang directly translated “神仙” as “immortals” because being an immortal is the highest ideal of Taoism. His translation is semantic translation. While Hawkes used “salvation” which is a concept in the Christianity. The creed of Christianity is to be saved from sins. And his translation is communicative translation. Yang chose to be faithful to the original text to preserve the concept in the Taoism. While Hawkes decided to pay more attention to religious background and mentality of the target readers. &lt;br /&gt;
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E.g. 真是“天有不测风云，人有旦夕祸福”。&lt;br /&gt;
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Yang Hsien-yi and Gladys Yang's Version: Truly, “storms gather without warning in nature, and had luck befalls men overnight.”&lt;br /&gt;
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David Hawkes’s Version: I know “the weather and human life are both unpredictable.”&lt;br /&gt;
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In this sentence, “天有不测风云，人有旦夕祸福” is a challenge in translation. It is a Chinese idiom which means the occurrences of some disasters are unpredictable in advance. According to antithesis habit in Chinese, Yang translated these two idioms into the corresponding English compound sentence, which adopted semantic translation. While Hawkes briefly translated into a single sentence, which adopted communicative translation. The former sentence may be appreciated by Chinese readers, and the simplified processing of the latter is easier for native English speakers to understand and accept because it conforms to the British and American expressions, especially in line with the habits of daily expression.&lt;br /&gt;
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E.g. Wet Paint!&lt;br /&gt;
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Version 1: 湿油漆&lt;br /&gt;
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Version 2: 油漆未干&lt;br /&gt;
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Version 3: 小心油漆&lt;br /&gt;
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Version 4: 勿触油漆&lt;br /&gt;
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This sentence is an official notice. From the four versions of the source text, there are differences among them. Version 1 is word-by-word translation, conveying an obscure message and not involving in any receptors. Version 2 just describes a fact that the paint is not dry but wet and does not present the informative function of the original. This notice aims to warn people not to do something and keep away from the paint. Version 3 and version 4 are free translations because they emphasize more on the content instead of form. The first and second version are semantic translation because they only describe the fact and tell readers the information that the paint is not dry. However, the third and fourth version are communicative translation which not only tell people the information but also play the warning function to notify readers not to touch the wet paint. &lt;br /&gt;
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However, semantic translation and communicative translation are not opposite. Newmark points out that the two should be viewed as a whole, instead of isolated or opposite parts. And a problem should be emphasized. Corresponding text-types can overlap. Semantic translation pays more attention to a mainly expressive text and communicative translation is more popular in mainly informative or vocative texts. In brief, translators should think the type of text over and ensure a good balance between them.&lt;br /&gt;
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====Text Typology====&lt;br /&gt;
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Language is a unique symbolic system, which has its own most important semantic system, as well as a functional system involving context. &lt;br /&gt;
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Newmark's text tppology theory is influenced by Reiss, Jacobson and other translators. In the book of Approaches to Translation, Newmark put forward three functional texts, including expressive text, informational text and vocative text. In accordance with these types of classification, Newmark summarized semantic translation and communicative translation. (Newmark 2001, 39)&lt;br /&gt;
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Expressive text mainly talks about the author's subjective emotions and his or her standpoints, which centers on the source language and the author regardless of the target readers' responses. Newmark points out that the expressive text includes three literary styles: &amp;quot;(1)serious imaginative literature such as poem, novels and dramas, (2) authoritative statements such as speech or statements from government officials or party's officials or party's leaders, documents and regulations and laws from government, and academic works from authorities, (3) autobiography, prose and personal correspondence without target readers.&amp;quot; (Newmark 2001, 55) Semantic translation is applicable to the expressive text, with a particular emphasis on the language features and language structure of the original language which is similar to literal translation.&lt;br /&gt;
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As for informative text, Newmark proposes that &amp;quot;typical informative texts are concerned with any topic of knowledge&amp;quot;. (Newmark 1988, 40) The informative text focuses on the information or the content provided in the text. According to Newmark, informative text includes textbooks, papers, reports, and minutes about science, industry, technology, economy, commerce and other areas of knowledge or events, which are mainly used to deliver information and reflect truth. In light of translation of informative text, Newmark proposes that communicative translation can be adopted to convey accurate meaning or the content of the source text to the target readers. (Newmark 2001, 67)&lt;br /&gt;
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&amp;quot;The function of vocative text is to call upon readers to act, to think, to feel and to react in the way intended by the text.&amp;quot; (Newmark 2001, 41) The vocative text includes all kinds of specifications, publicity materials, advertisements, notices and other persuasive words. Two factors must be emphasized in vocative text: one is the relationship between the author of the source text and readers of the source text and another is that translation is easy to be understood by the target readers, therefore, translators should take the source language and its cultural background into consideration in the course of translation practice. And communicative translation should also be used in the vocative text which means much attention should be paid on the target readers' understanding and reaction.&lt;br /&gt;
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===Newmark's Improved Views on Literal Translation and Free Translation===&lt;br /&gt;
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It can be said that literal translation and free translation in the past were had their own disadvantages. Newmark agrees with literal translation and he holds that &amp;quot;translation means filling the blank between two languages and even explaining is translating.&amp;quot; (Newmark 1999, 33) This indicates that he does not neglect the importance of free translation. If the language and grammar structure of the original are not that important, the fidelity of the translation can be lowered, creating more room for translation. This situation can mainly adopts free translation. He even believes that translators can create better translation than the original one. Communicative translation and free translation resemble when it comes to the preference for the message to the manner, and the content to the form of the original. In his masterpiece ''Approaches To Translation'', he analyzes and discusses the loss of meaning. As long as the loss of meaning in the translation is inevitable, content cannot separate from form. And complete faithfulness to the original is almost impossible because the so-called preserving the original meaning is relative. What's more, the content of a text should not be equal to referent in language, but include referent, rhyme, genre, style and so on. As the slogan, being faithful to the original, was too empty, some translators advocating literal translation did free translation and even paraphrased the original in the practice. Newmark holds that translators need to notice the content in four layers, the original text level, referred level, coherent language level and natural tone level. In this way, he transforms the empty slogan into concrete requirements in the translation practice and meanwhile criticized the disadvantages of literal translation. (Newmark 1999, 33)&lt;br /&gt;
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Likewise, the viewpoints of free translation are not advisable as well. Newmark criticizes the basis of free translation school, making the target readers obtain feelings similar to that of the original readers. He thinks the goal is too difficult to achieve because translators had problem in completely knowing the feelings and responses of the original readers. He further puts forward some reasons why this goal cannot be realized. As long as the same feelings cannot be obtained by the source and target readers, there exists no reason or judging basis of great amending or creative rewriting.  Free translation produces the matter rather than the manner, or the content rather than the form. Newmark regards it as usually a paraphrase much longer than the original, often prolix and pretentious, and not translation at all. In free translation, &amp;quot;more translation is paid to producing a natural reading TL text than to preserving the ST wording intact.&amp;quot; (Shuttleworth and Cowie 2004, 62)&lt;br /&gt;
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Newmark criticizes that the argument is theoretical without taking other important facets of translator's purpose, the nature of readership and text typology into consideration. Newmark claims the argument could come to a compromise if translators deal with two sides with another visual angle. In 1981, he proposed semantic translation and communicative translation to replace the old terms. (Newmark 1988, 45)&lt;br /&gt;
&amp;quot;(a) communicative translation, where the translator attempts to produce the same effect of the target language readers as produced by the original on the source language readers, and (b) semantic translation, where the translator attempts, with the bare syntactic and semantic constraints of the TL, to reproduce the precise contextual meaning of the author.&amp;quot; (Newmark 1981, 22) In order to better explain these two methods, he designed the form of a flattened diagram. (Newmark 1988, 45)&lt;br /&gt;
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                SL emphasis                            TL emphasis&lt;br /&gt;
   word for word translation                        Adaption&lt;br /&gt;
          Literal translation                     Free translation&lt;br /&gt;
          Faithful translation                  Idiomatic translation&lt;br /&gt;
            Semantic translation               Communicative translation&lt;br /&gt;
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The diagram indicates that there is a hugest gap between the translation guided by word for word translation and the translation guided by adaption, then between literal translation and free translation, faithful translation and idiomatic translation and semantic translation and communicative translation last. These eight translation methods are a continuity, and they complement each other and cannot be completely separated. In Newmark's opinion, adaption is the freest translation method, and suitable for drama and poem translation. Free translation reproduces the main content of the original and pay more attention to interpret and expound. Target texts guided by idiomatic translation are more natural, more fluent and more coherent. But due to adopt some unknown expressions, the original meaning may be distorted.&lt;br /&gt;
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Communicative translation possesses the advantages of adaption, free translation, idiomatic translation and semantic translation maintains the advantages of word for word translation, literal translation and faithful translation. Newmark maintains only by combining semantic translation and communicative translation can achieve two aims of translation-accuracy and conciseness. By distinguishing these right methods, he gives further refinements to the above definition of semantic translation and communicative translation. He adds one more element &amp;quot;aesthetic value&amp;quot;. Meanwhile, he gives up emphasizing the &amp;quot;effect&amp;quot;, and refines communicative translation to be more specific, &amp;quot;communicative translation attempts to render the exact contextual meaning of the original in such a way that both content an language are readily acceptable and comprehensible to the readership.&amp;quot; (Newmark 1988, 47)&lt;br /&gt;
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===My Thoughts on Literal Translation and Free Translation===&lt;br /&gt;
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The two translation methods, literal translation and free translation, are useful in the translation practice. Taking English-Chinese translation for example, in the translating process, translators can use the method of literal translation when the pattern of sentence in original text is similar with the Chinese one, and we can find some Chinese words being equivalent in meaning to the words used in the sentence of original text. In some cases there are some complex sentences that can be translated with the method of literal translation as well. As long as these sentences are short and the pattern of these sentences is relatively simple compared with other complex sentences, they can be translated by literal translation method. In English, the using of some metaphors and similes is almost similar to the way that they are used by in Chinese. For instance, &amp;quot;time flies&amp;quot; in English can be directly translated into Chinese as &amp;quot;时间飞逝&amp;quot;, as the Chinese people also describe time passing very fast in this way, which accords with the expression habit of Chinese.&lt;br /&gt;
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As English and Chinese are two kinds of different languages, there are many differences in various aspects, such as different grammar and language habits. In English there are some words or phrases we cannot find the relative words or phrases in Chinese. In this cases, using using literal translation method would not be proper. Under this condition, if the translator insists on using literal translation, the translation text will be difficult to be understood by the target readers. So in order to make the translation text readable, translators should adopt free translation. Under the direction of literal translation, translators will try their best to keep the flavor of original work, no matter on the material or the form. Literal translation is the effective method to keep the cultural flavor of original language. Therefore, when there are some cultural differences affecting the translation of culture-loaded words between the source language and the target language, free translation can become one of the translation strategies which provide possibility in reducing or even removing the restrictive factors in translation process. &lt;br /&gt;
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In the process of translation, it is an ideal way to combine literal translation and free translation because they mutually complement in many cases. When literal translation cannot express the original and basic content of the author and hinder readers to understand, it is crucial for the translator to use free translation to express the author's meaning. When free translation cannot meet the requirement of being faithful to the content of the original text, it is significant for the translation to use literal translation to show features ad the structure of the author's language.&lt;br /&gt;
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===Conclusion===&lt;br /&gt;
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The dispute between two translation methods, literal translation and free translation has been lasting from throughout history. The argument of them is based on the relationship between content and form. This paper attempts to introduce Peter Newmark's improved views on the literal translation and free translation. Newmark criticizes some disadvantages and proposes semantic translation and communicative translation. Semantic translation focuses on maintaining the content of the original text, while communicative translation emphasizes more on the effect of the translation. The author also shows opinions on literal translation and free translation. Peter Newmark's theory has taken a big step forward from one-sided view of literal translation and free translation in the past, which has provided the direction of further development of translation research.&lt;br /&gt;
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===References===&lt;br /&gt;
*Nida,E.A[尤金·A·奈达].(1985).''Translating means Translating meaning''《翻译即译意》.UNESCO: Publication of FIT. &lt;br /&gt;
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*Newmark, Peter[彼得·纽马克]. (1991). ''About Translation''《关于翻译》. North Somerset: Multilingual Matters&lt;br /&gt;
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*Newmark,Peter[彼得·纽马克].(1998). ''A Textbook of Translation''《翻译教科书》. London: Prentice-Hall International (UK) Ltd. &lt;br /&gt;
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*Newmark, Peter[彼得·纽马克]. (1981). ''Approaches to Translation''《翻译方法》. Oxford: Pergamon Press.&lt;br /&gt;
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*Shuttleworth &amp;amp; Cowie[沙特尔沃斯&amp;amp;考伊]. (2004). ''Dictionary of Translation Studies''《翻译研究词典》. Shanghai: Shanghai  Foreign Language Education Press.&lt;br /&gt;
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*陈伯雨 Chen Boyu. “翻译对等” 研究[Study on Translation Equivalence]. 辽宁师范大学[Liaoning Normal University]. 2003.&lt;br /&gt;
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*陈福康 Chen Fukang.《中国译学理论史稿（修订本）》[''Draft History of Chinese Translation Theory (Revised)'']. 上海：上海外语教育出版社[Shanghai Foreign Language Education Publishing House]. 2000.&lt;br /&gt;
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*程永生 Cheng Yongsheng.中国近现代直译与意译研究[Research on Modern Chinese Literal Translation and Free Translation]. 淮南工业学院学报(社会科学版)[Journal of Huainan Institute of Technology(Social Science)]. 2002.&lt;br /&gt;
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*李明瀚 Li Minghan.语义翻译和交际翻译在汉语政论文翻译中的应用[Semantic Translation and Communicative Translation in the Translation of Chinese Political Writings]. 辽宁大学[Liaoning University]. 2014.&lt;br /&gt;
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*林小芹 Lin Xiaoqin.纽马克论交际翻译与语义翻译[Newmark's Study on Communicative Translation and Semantic Translation]. 中国翻译[Chinese Translators Journal]. 1987. &lt;br /&gt;
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*刘重德 Liu Zhongde.文学翻译十讲[Ten Lectures on Literary Translation]. 北京：对外翻译出版社[Foreign Translation Press]. 1991.&lt;br /&gt;
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*任文 Ren Wen.交替传译[Consecutive Interpretation]. 北京：外语教学与研究出版社[Foreign Language Teaching and Research Press]. 2012.&lt;br /&gt;
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*谭载喜 Tan Zaixi.《西方翻译简史（增订版）》[''A Short History of Translation in the West(Updated Version)'']. 北京：商务印书馆[Commercial Press]. 2018.&lt;br /&gt;
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*王佐良 Wang Zuoliang.翻译：思考与试笔[Translation: Thinking and Writing]. 北京：外语教学与研究出版社 [Foreign Language Teaching and Research Press]. 1989.&lt;br /&gt;
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*许海燕,孙卫红.杨译本文化负载词的翻译——以《从百草园到三味书屋》为例[On C-E Translation of Culture-loaded Words by Yang Xianyi—A Case Study of From ''Hundred-plant Garden to Three-flavor Study''].陇东学院学报[Journal of Longdong University]. 2012.&lt;br /&gt;
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*许渊冲 Xu Yuanchong.翻译的艺术[The Art of Translation]. 北京：五洲传播出版社[China Intercontinental Press]. 1984.  &lt;br /&gt;
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*许渊冲Xuan Yuanchong.直译与意译[Literal Translation and Free Translation]. 上海外国语学院学报[Journal of Shanghai Institute of Foreign Languages]. 1980.&lt;br /&gt;
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='''Document Translation'''=&lt;br /&gt;
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==On translation of official documents of CangNan County	吴恺	Wu Kai==&lt;br /&gt;
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On Translation of Official Documents of Cangnan County&lt;br /&gt;
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Japanese Language and Literature, School of Foreign Languages, Hunan Normal University, Wu Kai--[[User:Wu Kai|Wu Kai]] ([[User talk:Wu Kai|talk]]) 04:45, 2 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
==='''Abstract'''===&lt;br /&gt;
As one of the forefronts of Zhejiang’s opening-up cause, Cangnan County in Zhejiang Province has been enjoying a rapid development and an ever-growing degree of opening-up with lasting vitality as it’s supported by national policies and nourished by the dividends of economic globalization since China's reform and opening-up. As China has ushered in a period of major changes rarely seen in a century, Cangnan County is also facing new opportunities and challenges. Under the background of this era, Cangnan County is expected to make good use of its own advantages, especially the geographical ones—it is close to countries and regions including Japan, South Korea, and Taiwan—and should spare no efforts to achieve a higher level of opening-up, and, in turn, further promote its development. As an embodiment of the collective will of the people of Cangnan County, the official document is one of the best manifestations of its governance and stability control capabilities. For this reason, the research on how to translate official documents is of great significance for that it offers a great opportunity for Cangnan County to re-examine itself and to show the rest of the world its achievement in building a culture-enriched county.&lt;br /&gt;
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==='''Key words'''===&lt;br /&gt;
 official document translation, Cangnan County, opening-up, Japan, South Korea&lt;br /&gt;
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==='''摘要'''===&lt;br /&gt;
自中国改革开放以来，浙江省苍南县作为全浙江对外开放的前沿阵地之一，得到了国家政策支持和经济全球化红利的滋润，苍南县发展水平与对外开放程度日新月异，全县活力持久带劲。随着中国迎来“百年未有之大变局”，苍南县也面临着新的机遇和挑战，在此时代背景下，苍南县应该利用好自身优势，特别是临近日本、韩国、台湾等国家与地区的地理优势，努力开展更高层次、更高水平的对外开放事业，促进苍南更好的发展。为此，作为苍南县人民集体意志的体现，苍南县的公文就是对外展示其治理水平、稳控能力的最好的体现之一。而对于苍南县公文的如何翻译的研究，是促使苍南县重新审视自己、推进苍南人文县情传播海外的良机，意义重大。&lt;br /&gt;
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==='''关键词'''===&lt;br /&gt;
公文翻译  苍南县  对外开放  日本  韩国&lt;br /&gt;
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==='''I. System and Translation of Official Documents of Cangnan County'''===&lt;br /&gt;
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The unique official document system adopted by Chinese government agencies is a special integration of the thousands-of-years excellent political traditions in China and the essence of the organizational structure of the socialist regime. As a county-level unit in China's local administrative structure, Cangnan County has an official document system that is consistent with the national ones in general while has its own features. Official documents of Cangnan County can be basically divided into the following types of writing: resolutions, decisions, orders, bulletins, announcements, notifications, opinions, notices, reports, requests for instructions, approvals, proposals, letters, and minutes. Above-mentioned categories are collectively known as official documents. Besides, there are also some types of practical writing, including summaries, plans, notes, memos, briefings, speeches, manuals and so on, that are often used in our day-to-day work.&lt;br /&gt;
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In addition to those characteristics of the official documents that are commonly seen in China, official documents of Cangnan County also have its own features, which is mainly reflected in the aspect of proprietary terminology. Cangnan County, which used to be a part of Pingyang County in Zhejiang Province, was officially designated as a county in 1981 with the approval of the Central Government. It takes its name Cangnan, which means “on the south of the Yucang Mountain”, from its geographical location. As a relatively young county-level administrative unit in China’s administrative divisions, Cangnan County has a complex natural endowment and cultural environment, which is the reason why there are many special proprietary terms used in the official documents of Cangnan County, such as “Beautiful South Gate of Zhejiang Province”, “Southern Ouyue (an ancient kingdom in modern Wenzhou and Taizhou)” , “South Gate of Jiangsu-Zhejiang Region” and so on. Moreover, Cangnan is also the birthplace of the “Wenzhou Model”. Since the implementation of policy for the exchange of production materials and commercial grains in 1984, Cangnan has become an important base for the experiments and development of Wenzhou's private economy and market economy, and, thus, has made a significant contribution to the great cause of China's reform and opening-up.&lt;br /&gt;
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To conclude, the unity of the official document system viewed from the national scope of China and the uniqueness of the official document system viewed from the local scope of Cangnan area are both reflections of the integration of economic, political, and cultural elements. Therefore, when translating the terms and sentences in these official documents, obviously, it is almost impossible to follow general translation theories, such as Yan Fu’s “faithfulness, expressiveness and elegance” theory which applies to literature translation, and Christiane Nord’ Skopos theory which emphasizes schematic analysis. Due to the features of the official documents of Cangnan County, it is hard to imagine the consequence it will cause if those Cangnan and Chinese elements they contain are missed when translating them. Therefore, the starting point for the translation and research of Cangnan official documents should be analyzing the official document itself, but not choosing which translation theory to apply.&lt;br /&gt;
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The translation method focusing on the official documents themselves is undoubtably the one that emphasizes the content while manages to achieve a similarity in form. Thus, the translation theory that meets the requirements of official document translation in Cangnan County shall be the functional equivalence theory of the American linguist Eugene A. Nida. Eugene A. Nida argued in his theory that translation is to use the most appropriate, natural and equivalent language to reproduce the informational function of the source language both semantically and stylistically. Nida’s definition of translation specified that translation is seeking equivalence not only in lexical meaning, but also in semantics, style and literary form. Translation should convey both the denotative and connotative meaning of a message. Regarding the equivalence of translation, he believed that the equivalence consists of four parts: lexical equivalence, syntactic equivalence, textual equivalence, and stylistic equivalence. Among the four aspects, he emphasized that the meaning the core and most important part, followed by the form. The form of a text is likely to conceal the cultural connotation of the source language and may, therefore, hinder cultural exchanges. Based on the above, the reasons why the functional equivalence theory is applicable to official document translation in Cangnan County can be concluded as follows:&lt;br /&gt;
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First, the functional equivalence theory advocates that the target text should be equivalent to the source text both semantically and culturally. Official documents of Cangnan County are carriers of profound political culture with Chinese characteristics and the cultural environment in Cangnan. When translating them, in addition to showing the political consciousness and judicial authority of Cangnan government agencies, the local culture of Cangnan must also be reflected in the translations.&lt;br /&gt;
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Second, the functional equivalence theory suggests that if the lexical meanings and cultural elements cannot be taken into account at the same time, the translator then may give up the equivalence in form and try to reproduce the semantic and cultural meaning of the source text by changing the form of the sentence. There are many specialized terms with Chinese characteristics and Cangnan’s characteristics in official documents of Cangnan County. When translating them, once there is no corresponding expression in the target language, other forms of expression must be adopted to retain the meanings of those specialized terms as much as possible.&lt;br /&gt;
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Third, the functional equivalence theory proposes that if the change in form is still not enough to express the semantic and cultural meaning of the expression in the source language, the translation technique of “heavy damage” can be adopted to resolve cultural differences , so that the source language and the target language can achieve equivalence in semantic meaning. “Heavy damage” refers to the transformation of the deep structure of the source language into the surface structure of the target language, that is, expressing the cultural connotation of the source text with expressions of the target language. It cannot be ruled out that there are words and sentences in the official document of Cangnan County that cannot be translated, and when this happens, the translator can only rely on his translation techniques and understanding ability to process them creatively.&lt;br /&gt;
Above are simply macro analyses of the official document system in Cangnan County, and when it comes to specific analyses, challenges we face will only be severer.&lt;br /&gt;
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==='''II. Stylistic Features and Translation of Official Documents in Cangnan County'''===&lt;br /&gt;
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Looking at the official documents of Cangnan County from the micro level, we can work on the study of its translation based on the following characteristics.&lt;br /&gt;
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'''1. Details and Accurate'''&lt;br /&gt;
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As an officially-written document geared for the needs of our people, wording of the official documents of Cangnan County has a very specific orientation. Almost all content words have very clear meanings and connotations.&lt;br /&gt;
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For example, the sentence “经研究，县政府决定召开市对县安全生产巡查反馈会暨突出问题集中教育警示会，现将有关事宜通知如下。(As discussed, the county government decided to convene a feedback meeting on city-to-county inspections of production safety and a meeting for education and warning on outstanding issues. The relevant matters are hereby notified as follows.)” in the document 《苍南县人民政府办公室关于召开市对县安全生产巡查反馈会暨突出问题集中教育警示会的通知》(“Notice of the Office of the People's Government of Cangnan County on Convening a Feedback Meeting on City-to-County Inspections of Production Safety and A Meeting For Education and Warning On Outstanding Issues”) (the office of the People's Government of Cangnan County on June 8th, 2020) conveys several points very accurately and clearly, including the decision maker, the type, content and theme of the meeting. Therefore, special attention must be paid to the integrity of the information delivered when translating this sentence. For example, it is translated into Japanese as “討議を通じて、県政府は県の安全生産状況に対する市政府の巡査結果反映会及び顕著問題教育警告会を開催することが決定した。関連事項を以下のようにお知らせする。”&lt;br /&gt;
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'''2. Precise and Compact'''&lt;br /&gt;
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The role of official documents is to exchange formal information between the upper and the lower, the people and the officials, and the relevant departments. Therefore, the wording of the official documents must be rigorous. No slang and loose sentences should be used, and excessive use of parentheses and descriptive modifiers should be avoided. Official documents of Cangnan County follow this rule as well, in which there will never be informal expressions like daily spoken words.&lt;br /&gt;
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For example, the expression “三、决策目录施行动态管理，因工作需要增减或变更重大行政决策事项的，承办单位应按照相关规定程序提请调整。(Third, the decision catalogue shall be managed in a dynamic way, the undertaker shall submit application for adjustments in accordance with the relevant regulations if any increase/decrease or change shall be made to the major administrative decision-making matters because of the need of actual work.)” in the document《关于公布苍南县2020年度重大行政决策事项目录的通知》(“Notice on Issuing the 2020 Annual Catalogue of Major Administrative Decision-Making Matters of Cangnan County”) (the office of the People's Government of Cangnan County on Sept. 20th, 2020) When translating this sentence into Japanese, the translator shall fully considers the preciseness of the original expression, and translate it as “三つ目、戦略目録動的管理施行、仕事需要によっての増減または変更が必要な場合、請負機構は関連規定の手順に従って調整を提出しなければならない。”&lt;br /&gt;
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'''3. Programmed and Standardized'''&lt;br /&gt;
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The purpose of official documents requires a stable and routine writing program so that the official business can be conducted in an orderly manner. It is essential that the document writing is reasonably programmed. It allows the officer to know what it is and what to do at a glance if a standardized official document program is followed. The standardization of the official documents of Cangnan County can be regarded as a tricky feature in their translation.&lt;br /&gt;
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For example, the expression “各乡镇人民政府，县政府直属各单位 (the people's government of all townships and towns and all directly affiliated institutions of the people’s government of Cangnan County)” in the document《关于公布苍南县2020年度重大行政决策事项目录的通知》(“Notice on Issuing the 2020 Annual Catalogue of Major Administrative Decision-Making Matters of Cangnan County”) (the Office of the People's Government of Cangnan County on Sept. 20th, 2020) is obviously a standardized addressing of the receiving units of an official document, and it should be translated into Japanese as “各郷鎮人民政府、県政府直属の各部門”.&lt;br /&gt;
Viewing from a micro perspective, we may find that special attention should be paid to many precise details when translating those official documents. It is of great significance that, during the cause of reform and opening-up, we strike a balance between the macro level and the micro level in official document translation, which will serve as a stage for Cangnan County to show itself to Japan, South Korea and other East Asian countries and regions.&lt;br /&gt;
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==='''III. Translation of Official Documents of Cangnan County under the Context of the Japanese Language'''===&lt;br /&gt;
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Cangnan County is one of the nearest administrative units to Japan in China, and Okinawa Prefecture in Japan and Cangnan County are neighbors facing each other across the sea. Furthermore, Cangnan County itself has ports in Xiaguan, Pacao, Yanting, Dayu and other places, and has the basic conditions for conducting small transactions of freights with Okinawa. However, due to the inadequacy policies, laws and regulations, a large portion of Japan’s trade with China, especially with Zhejiang Province, is still conducted in the three port cities, namely Ningbo, Zhoushan, and Hangzhou. Cangnan’s geographical advantages have never been given to full play. To Japan, Cangnan is not a total stranger. Wenzhou City has a great influence upon Japanese culture and history. Special local products such as Wenzhou green tea and Wenzhou satsuma orange are very attractive to Japanese people. Many of the business exchanges during the Kamakura Bakufu in Japan were happened between Hakata merchants and Wenzhou people. As an important subordinate region of Wenzhou City, Cangnan County naturally has left an impression on Japanese people when it comes to China.&lt;br /&gt;
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If Cangnan hopes to lay a foundation for the future cooperation with Japan through its cause of opening up to the outside world, it is of great importance that we study the methods and techniques to make the translation of Cangnan’s official documents to meet the specific context of the Japanese language, which is also a part of the cultural exchanges that will facilitate economic and trade cooperation between Japan and China. The political status of Cangnan County is equivalent to the one of regular cities and special wards in Japan, but this does not mean that the official documents of Cangnan County can be regarded as equivalents to the official documents released by the governments of the regular cities and special wards in Japan, and there are huge differences between their respective official documents in form, wording, Cultural connotation and etc. To better translate Cangnan official documents under the context of Japanese language, the following aspects must be paid attention to:&lt;br /&gt;
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1. Detailed Comparison of Types&lt;br /&gt;
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In the Japanese official document system, the word “公文” is different in meaning from the word “公文” in Chinese official document system. In Chinese “公文” means government official documents, while in Japanese “公文” generally refer to legal documents that have the force of law and the term “公文書” is the one that refers to government official documents, which roughly includes “外交文書” and “起案文”, “通達” , “命令”, “許可”, “通知書” and so on . When translating official documents of Cangnan County into Japanese, attention should be paid to the transformation of the types of the official documents. The classifications of official documents in China and Japan are different from each other.&lt;br /&gt;
For example, when translating documents such as “proposal letter”, “report” and the like into Japanese, the title should be translated as “建言書” and “報告書”, while “命令(order)”, “通知(notice)”, “提案(Proposal)” and etc. need no translation and can be titled with the original characters directly as “命令”, “通知”, “提案”, and can also be further translated into “命令状”, “通知書”, “提案書”. Those reflect the characteristics of the division of the types of the official document system in Japan.&lt;br /&gt;
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2. Careful Consideration of the Translation of Chinese Characters&lt;br /&gt;
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There are a large number of Chinese characters in Japanese. This will for sure be an advantage when translating official documents of Cangnan County into Japanese, however, at the same time, this is also a huge disadvantage. After all, those Chinese characters are Japanized Chinese characters, and their meanings and usages are more or less different from the original ones in Chinese.&lt;br /&gt;
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For example, the expression “设定全县森林防火期(setting the season of forest fire prevention)” in the document 《苍南县应急管理局局长王再忠关于&amp;lt;苍南县人民政府关于做好森林防火期护林防火工作的通告&amp;gt;的政策解读》(“Policy Interpretation Of ‘Notice of Doing Forest Protection and Fire Prevention during the Season of Forest Fire Prevention by the People's Government Of Cangnan County’ by the Director of Cangnan Emergency Management Agency Wang Zaizhong”) in could be translated character by character into Japanese as “全県域森林防火期間設定”. However, expressions such as “野外火源如何管理” cannot be translated in the same way, and must be processed accordingly and translated into Japanese as “野外の火の元が如何に処理すること”. When translating official documents of Cangnan County into Japanese, the translators must reject the preconceived thinking and native Chinese thinking, or it will lead to irreversible misunderstandings and mistakes.&lt;br /&gt;
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3. Mastery of the Equivalence of Semantic Meaning&lt;br /&gt;
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Chinese is an isolating language, in which the grammatical meaning is reflected by the order of words, while Japanese is an agglutinative language, in which auxiliary words and flexible usages of vocabulary are adopted to reflect the grammatical meaning. This requires the translators to have mastery of the equivalence of semantic meanings when translating official documents of Cangnan County into Japanese and try to achieve perfect equivalence in official document translation.&lt;br /&gt;
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For example, there is a expression as “全体公民必须认真贯彻‘以人为本、预防为主、积极扑救、有效消灾’的森林防灭火工作方针，一旦发现森林火灾，要立即向当地人民政府或森林防灭火指挥部办公室报告(all citizens must seriously implement the working policy of forest fire prevention and firefighting ‘people-oriented, prevention-focused, active in firefighting, effective in disaster relief’, once a forest fire is detected, it must be reported to the local people’s government or the forest fire prevention and firefighting headquarters office immediately)” in the document 《苍南县应急管理局局长王再忠关于&amp;lt;苍南县人民政府关于做好森林防火期护林防火工作的通告&amp;gt;的政策解读》(“Policy Interpretation Of ‘Notice of Doing Forest Protection and Fire Prevention during the Season of Forest Fire Prevention by the People's Government Of Cangnan County’ by the Director of Cangnan Emergency Management Agency Wang Zaizhong”). When dealing with long and complex sentences, the translator must be flexible in using translation techniques to decompose the sentences and translate them step by step, focusing on the balance between the form of the sentence and its semantic meaning. Based on this principle, the abovementioned sentence could be translated into Japanese as “人間本位、予防軸化、積極救助、有効消災という森林防火作業方針は全県民が必ず強固に守らなければならない。林に火事が発見された際、直ちに所轄人民政府や森林防火指揮部執務室に報告すること。”&lt;br /&gt;
&lt;br /&gt;
There is no doubt that, in terms of four-character idioms, allusions, new words of the era and etc., the translation of official documents of Cangnan County under the context of the Japanese language still has a long way to go, but the part that we should pay most attention to in translation is always the differences in culture between the source language and the target language. Only by keeping this basic point in mind at all times, will there be no huge mistakes being made when translating official documents of Cangnan County into Japanese.&lt;br /&gt;
&lt;br /&gt;
==='''Ⅳ. Translation of Official Documents of Cangnan County under the Context of the Korean Language'''===&lt;br /&gt;
&lt;br /&gt;
Zhejiang Province and South Korea have laid a good foundation for economic and trade cooperation projects, and a framework that is comprehensive, wide-ranging, and multi-level has been established for Zhejiang-South Korea cooperation. The advantages of the two regions are obviously complementary and the development potential for both sides and in between is huge. In September 2016, the Zhejiang China-Korea (Quzhou) Industrial Cooperation Park was approved as the first batch of “Zhejiang International Industrial Cooperation Parks” in Zhejiang Province. The total planned area is about 3,000 acres and the total planned investment is 12 billion yuan. Represented by the Zhejiang China-Korea Industrial Cooperation Park, a large number of economic and trade cooperation projects has been carried out with South Korea by Zhejiang Province. As an indispensable part of Zhejiang Province, Cangnan County is facing a huge gap in the cultural exchanges and economic cooperation with South Korea. How to elevate the level of Cangnan’s opening up to the outside world and advancing Cangnan’s economic, trade and cultural cooperation with South Korea is a question that is well worth exploring. Although Cangnan is further away from South Korea compared with regions in the north of Zhejiang, geographic location should never be a factor that hindering Cangnan’s economic, trade and cultural cooperation with South Korea. In an era of ever-deepening globalization, it is of great significance that we think about how to develop and promote the economic and trade and cultural cooperation between Cangnan and South Korea.&lt;br /&gt;
&lt;br /&gt;
Northern Zhejiang is a key area for economic, trade and cultural cooperation with South Korea. As the south gate of Zhejiang Province, if Cangnan County could open the door of economic, trade and cultural cooperation to South Korea, then this will inevitably bring extraordinary development opportunities to southern Zhejiang and make the pattern of Zhejiang and South Korea’s economic and cultural cooperation more balanced and healthy. The political status of Cangnan County is equivalent to the one of si(city), gu (district), and gun(county) in South Korea. Because of some historical reasons, South Korea is greatly influenced by Chinese culture. From the Three Kingdoms era of Joseon, to the Unified Silla Dynasty, the Wang’s Goryeo Dynasty, and the Yi’s Joseon Dynasty, the basic system of administrative divisions in South Korea is almost the same as the one in China, so the official document system of cities, districts, and counties in South Korea can be regarded as basically equivalent to the official document system of Cangnan County with only slight differences originated from the localized political and cultural traditions and the basic social condition of South Korea. Therefore, there are relatively fewer difficulties of translation when translating official documents of Cangnan County into Korean, aside from the barriers caused by Korean Hangul words. The translation of official documents of Cangnan County under the context Korean language requires attention to the following aspects:&lt;br /&gt;
&lt;br /&gt;
1. The Combination of Chinese characters and Hangul&lt;br /&gt;
&lt;br /&gt;
Modern Korean uses Hangul as the main written characters, but this does not mean that there is no place for Chinese characters in the Korean system. Since the launch of the abolition of Chinese characters movement in South Korea in the 1970s, Hangul did exactly achieved an overall penetration of every aspect of their daily life, but when it comes to important documents, Chinese characters still reserve a seat in the arena of South Korea’s history. Furthermore, a higher level of talent training is required now to meet the need of South Korea’s economic and social development, and the mastery of sinology has become, among all the necessary skills, one of the most straightforward evaluation criteria to access the qualified personnel. Thus, South Korea has restarted the Chinese character teaching movement. Nowadays, the official document system in South Korea has become one in which Hangul serves as the main language and the mixed use of Chinese characters and Hangul serves as a supplement. Just as how the mixed use of kana and Chinese characters in Japanese official documents may help in its translation, the mixed use of Chinese characters and Hangul also greatly facilitate the translation of official documents of Cangnan County into Korean. However, because Chinese characters used in Korea are composed of traditional Chinese characters and a small number of Korean self-made Chinese characters, we can not take it for granted that it is advisable to translate them word by word.&lt;br /&gt;
&lt;br /&gt;
For example, the title of the document《苍干任〔2020〕18号 王再忠等同志的任命》(“Cangnan Cadre Appointment [2020] No. 18: Appointment of Wang Zaizhong and etc.”) (the Office of CPC Cangnan Party Committee on March 27th, 2020) can be translated with the mixed use of Chinese characters and Hangul into Korean as《蒼南縣의 幹部任命〔2020〕18號 王再忠등 同志의任命》. Also, it be translated into Korean with Hangul alone as《참남현의 간부임명〔2020〕18호 왕재충등 동지의임명》.&lt;br /&gt;
&lt;br /&gt;
2. The Usage of Refined Language&lt;br /&gt;
&lt;br /&gt;
In recent years, South Korea has carried out reforms of the official document system, urging that the South Korean government agencies at all levels should use “refined(or purified) language”, that is, to write and publish official documents with words that are easy for the public to understand and have explicit meanings, reducing the cost of communication between the government and the public and, in this way, building a closer relationship between the government and the people, so that civil servants can communicate with the people more effectively. Refined language is a kind of common vernacular that differs from the official language. Although this trend of the wording of Korean official documents is not unconditional, but when compared with official documents of Cangnan County, which emphasize the solemnity and formality of official documents, this trend is the part that the translator has to pay his attention to.&lt;br /&gt;
&lt;br /&gt;
For example, when translating the expression “为加强行政规范性文件管理，切实推进依法行政，加快法治政府建设 (To strengthen the management of administrative normative documents, promote the administration in accordance with law, and accelerate the construction of a government ruled by law)” in the document《苍南县人民政府关于公布县政府及县政府办公室行政规范性文件清理结果的通知（有效）》(“Notice of the Office of the People's Government of Cangnan County on the Announcement of the Results of the Cleanup of the Administrative Normative Documents of the County Government and the County Government Offices (Effective)”) (the Office of the People's Government of Cangnan County on October 23th, 2020) , blunt expressions may not be that applicable and this expression translated into Korean in a more public-friendly way as “행정 규범적인 문서관리를 강화하기 위해, 법에따라 행정을 철저히 추진하고 법치정부의 건설을 가속화시킨다.”&lt;br /&gt;
&lt;br /&gt;
3. Mastery of the Equivalence of Semantic Meaning&lt;br /&gt;
&lt;br /&gt;
Like Japanese, Korean is also a typical agglutinative language. A sentence is formed by connecting independent words with various auxiliary words, and with a subordinating conjunction at the end of the sentence. Auxiliary words are just like glues, they exist after every subject, predicate, and object component of a Korean sentence to them together. For that these auxiliary words have no substantial meaning themselves, they must stay close to the main body in front, and a space must be put after. Therefore, when translating Chinese, which is an isolated language, into Korean, which is an agglutinative language, it is necessary to have mastery of the equivalence of the semantic meaning of the expression.&lt;br /&gt;
&lt;br /&gt;
For example, when translating the expression “全面实施全民参保计划，做好参保情况清查，提升参保信息质量，清理重复参保，稳定持续参保，减少漏保断保，实现应保尽保。(Fully implement the national social security plan, do a good job in checking the coverage of the social security, improve the quality of the collection of the information of the insured, clean up repeated insureds, stabilize the renewal of the social security, reduce the interruption of the social security, and achieve full social security coverage.)” in the document《关于做好2021年度城乡居民基本医疗保障工作的通知》(“Notice on Doing a Good Job in Basic Medical Security for Urban and Rural Residents in 2021”)( the Office of Medical Security Bureau of Cangnan County on November 5th, 2020), the translator should pay attention to the equivalence of semantic meaning of this long sentence and translated it into Korean as “전국민기본의료보험가입계획을 전면적으로 실시하고 기본의료보험가입상황을 철저히 조사하며 기본의료보험가입 정보의 질을 향상시키고 중복기본의료보험가입을 청산하며 안정적이고 지속적인 기본의료보험가입을 하며 보험누락을 줄이고 기본의료보험가입 을 실현해야 한다.”&lt;br /&gt;
&lt;br /&gt;
==='''Ⅴ. Studies of Official Document Translation and the Cause of Opening-up in Cangnan County'''===&lt;br /&gt;
&lt;br /&gt;
Based on the abovementioned basic characteristics of the official document system of Cangnan County, the notes for official documents translation under the context of the Japanese language and the notes for official documents translation under the context of the Korean language, we can see that official documents of Cangnan County is not as difficult to handle as something untranslatable. Cangnan County enjoys a good geographic location: it is located in the coast of the East China Sea, and is close to both Japan and South Korea, two strong economies in East Asia. However, Cangnan County has not yet made use of these favorable conditions to the fullest to promote cultural cooperation and trade with the two countries. Cangnan’s opening up to the outside world requires innovative thinking and an elaborate layout. Studies on the translation of official documents of Cangnan County, especially the translation of official documents under the context of the Japanese and Korean language, will help to explore the cultural spirit of the government institutions, and play an important role in building a good image of Cangnan County in East Asia and laying a foundation for Cangnan's cooperation with major countries and regions in East Asia .&lt;br /&gt;
&lt;br /&gt;
The world today is undergoing profound changes rarely in a century, and so is China. The tide of history moves on and Cangnan shall not stay out of the matter, but must follow it courageously and strive to open new doors for Cangnan's opening up to the outside world through the study of the official document translation of its own.&lt;br /&gt;
&lt;br /&gt;
===References===&lt;br /&gt;
&lt;br /&gt;
[1]Ziqi LIU. The Application of Functional Equivalence Theory in Scientific Translation：A Case Study of the Translation of Shipbuilding English[J]. CREATIVITY AND INNOVATION,2019,1(3).&lt;br /&gt;
&lt;br /&gt;
[2]Mu Dan. Discussion on Translation Activities Under the Guidance of Functional Equivalence Theory[J]. International Journal of Education and Management,2018,3(2).&lt;br /&gt;
&lt;br /&gt;
[3]李琳琳. 功能对等翻译理论与关联翻译理论比较研究[D].辽宁师范大学,2006.&lt;br /&gt;
&lt;br /&gt;
[4]赵娟廷. 汉韩公文语体对比研究[D].复旦大学,2003. &lt;br /&gt;
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[5]周萱. 《中国共产党怎样解决民族问题》（节选）中韩翻译报告[D].青岛大学,2017.&lt;br /&gt;
&lt;br /&gt;
[6]张利军. 《教学的游戏性研究》的汉日翻译实践报告[D].广西师范大学,2019.&lt;br /&gt;
&lt;br /&gt;
[7]栾亚琼. 《2015年山东省政府工作报告》汉日翻译实践报告[D].曲阜师范大学,2016.&lt;br /&gt;
&lt;br /&gt;
[8]占丽华. 源流与演变—日本地方公文书馆发展路径研究[D].山东大学,2020.&lt;br /&gt;
&lt;br /&gt;
[9]任清萍. 功能翻译理论视角下政府工作报告日译研究[D].外交学院,2020.&lt;br /&gt;
&lt;br /&gt;
[10]孙慧. 产业竞争力与区域经济增长[D].苏州大学,2006.&lt;br /&gt;
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--[[User:Wu Kai|Wu Kai]] ([[User talk:Wu Kai|talk]]) 04:45, 2 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
==The Translation Process and Methods of Translating English Long Sentences	周艺文	Zhou Yiwen==&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
===Abstract===&lt;br /&gt;
&lt;br /&gt;
The translation of long English sentences is a difficult point in English-Chinese translation. It is very important to understand the features of sentence structure and the translation process and methods of long English sentences. This paper studies the translation process and methods of English long sentences through the comparative study of English and Chinese language characteristics and specific English-Chinese translation analysis. This paper is divided into five parts. The first part introduces the characteristics of English long sentences. The second part contrasts  the language features of English with that of Chinese, which can be divided into three aspects: English sentences emphasize hypotaxis, Chinese sentences emphasize parataxis; English is a static language, while Chinese is a dynamic language; English prefers passive voice while Chinese prefers active voice. The third part expounds the characteristics of translating English long sentences, mainly from three aspects: cross-cultural communication, emphasis on form and clear language logic. The fourth part mainly analyzes the process of translating English long sentences through some examples. In the end, five translation methods are discussed, which are liner translation, reorganization translation, splitting translation, synthesis and insertion.&lt;br /&gt;
&lt;br /&gt;
===Key words===&lt;br /&gt;
&lt;br /&gt;
English long sentences; language characteristics; translation process; translation methods&lt;br /&gt;
&lt;br /&gt;
===摘要===&lt;br /&gt;
&lt;br /&gt;
英语长句翻译是英汉翻译的难点，了解英语长句的句子结构特点和翻译过程及方法在英汉翻译中十分重要。本文通过对比研究英汉语言特点及具体英汉译本分析对英语长句翻译过程和方法进行研究。本文分为五个部分，第一部分介绍了英语长句的特点。第二部分从英汉对比的角度剖析了英汉两种语言在句子结构上的差异，分为三个方面，即英语句子重形合，汉语句子重意合; 英语是静态语言，汉语是动态语言; 英语喜用被动语态，汉语喜用主动语态。第三部分阐述了翻译英语长句的特点，主要有跨文化交际性、重视形式以及明确逻辑关系三个方面。第四部分主要通过具体的句子分析英语长句的翻译步骤及过程。最后探讨了英语长句汉译时采用的五种翻译方法，即顺序法、变序法、分译法、综合法和插入法。&lt;br /&gt;
&lt;br /&gt;
===关键词===&lt;br /&gt;
&lt;br /&gt;
英语长句子；语言特点；翻译过程；翻译方法&lt;br /&gt;
&lt;br /&gt;
===1.Introduction===&lt;br /&gt;
&lt;br /&gt;
===2.Characteristics of English Long Sentences===&lt;br /&gt;
&lt;br /&gt;
English and Chinese have many similarities in basic sentence structure. The main elements of sentence structure mainly include subject, predicate, object, predicative, attribute, adverbial modifier, and complement. In English, the sentence emphasizes the form and the sentence has a tree structure, and the Chinese sentence emphasizes the parataxis, and the sentence has a bamboo structure.&lt;br /&gt;
The main characteristics of English long and difficult sentences are as follows:&lt;br /&gt;
(1) There are much more words, more complex sentence patterns, and more modifiers in these sense.&lt;br /&gt;
(2) Compared with simple sentences, long and difficult sentences often use inversion structure, and there are phenomena of omission and word order inversion.&lt;br /&gt;
(3) The reason for the formation of long and difficult sentences is that there are many long and difficult sentences with coordinate components, phrases, additional components, clauses, and coordinate sentences.&lt;br /&gt;
(4) The language structure of long and difficult sentences is relatively complex and has a strong sense of hierarchy.&lt;br /&gt;
&lt;br /&gt;
===3.Differences in sentence structure between English and Chinese===&lt;br /&gt;
&lt;br /&gt;
English and Chinese belong to different language systems, the former belongs to Indo-European language family, the latter belongs to Sino-Tibetan language family, so there are significant differences in syntax between them. In addition, the different cultures of English and Chinese will inevitably lead to the difference in sentence structure between the two languages, because language is the carrier and medium of culture. &lt;br /&gt;
&lt;br /&gt;
===3.1Hypotaxis vs. parataxis===&lt;br /&gt;
&lt;br /&gt;
English syntactic structure is hypotaxis while Chinese syntactic structure is parataxis. Hypotaxis is that the words or clauses in a sentence are connected together by means of linguistic formal means (such as using related words) to express grammatical meaning and logical relations(Jia 2002, 101). English emphasizes explicit connection, emphasizes form and structure, and often helps with various means of connection. As a result, the sentence structure is rigorous and lacks elasticity. English sentences are often made with relatives (who, whom, whose, which, that, where, when, etc.), conjunctions (but, however, unless, because, since, so, and, if, etc. ), preposition (in, about, without, throughout, according to, along with, etc.), and other connective means. Parataxis means that words and clauses are not connected by means of linguistic forms, and the grammatical meaning and logical relation in a sentence are expressed by the meaning of words and clauses(Jia 2002, 101). Chinese sentences are made with little or no means of formal connection, with emphasis on invisible coherence, function and meaning, so the sentence structure is loose and flexible.&lt;br /&gt;
Example 1: &lt;br /&gt;
Individuals develop within themselves an ability to persevere and tolerate things that are unexpected or bad, difficult to get through. &lt;br /&gt;
人们在内心修炼一种能力，在面对意外、不幸或者挑战时也能继续坚持和忍耐。 &lt;br /&gt;
In this sentence, “that...to get through” is a attributive clause to modify “things”, which is a kind of hypotaxis. The translation is not limited to the original sentence structure but follows Chinese expression habit, so the language is very smooth.&lt;br /&gt;
&lt;br /&gt;
==3.2Static language vs. dynamic language==&lt;br /&gt;
&lt;br /&gt;
==3.3 Passive voice vs. active voice==&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
==4.1Cross-cultural communication==&lt;br /&gt;
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==4.2Attaching great importance to form==&lt;br /&gt;
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==4.3Clearing language logic==&lt;br /&gt;
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===5.The process of translating long English sentences===&lt;br /&gt;
&lt;br /&gt;
===6.Methods of translating English long sentences===&lt;br /&gt;
&lt;br /&gt;
==6.1Liner translation==&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
==6.2Reorganization translation=&lt;br /&gt;
&lt;br /&gt;
==6.3Splitting translation==&lt;br /&gt;
&lt;br /&gt;
==6.4Synthesis==&lt;br /&gt;
&lt;br /&gt;
==6.5Insertion==&lt;br /&gt;
&lt;br /&gt;
===Conclusion===&lt;br /&gt;
&lt;br /&gt;
In the practice of the translation of long and difficult sentences, there is a higher requirement for translators’ English comprehension and expression ability. For the translation of long and difficult sentences in English, the translator should be familiar with the sentence structure and main ideas of long and difficult sentences in English, and make clear the main logical relationship with the content of the original text, so as to effectively analyze the structure of long and difficult sentences in English and choose the correct way of translation. In the specific translation practice, translators should, on the basis of understanding the grammatical features of English, choose reasonable translation methods and skills so as to achieve the accurate translation of long and difficult Sentences. Translation activities require a high level of English reading and comprehension, and the effective translation of long and difficult sentences requires translators to constantly improve their ability to summarize, update their English translation skills, and realize the summary and innovation of long and difficult sentences.&lt;br /&gt;
&lt;br /&gt;
===Bibliography===&lt;br /&gt;
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==Chinese-English Translation of News Headlines From the Perspective of Skopos Theory	张维虹	Zhang Weihong No.202070080648 英语口译 ==&lt;br /&gt;
&lt;br /&gt;
===Abstract===&lt;br /&gt;
In recent years, with the rapid development of the society and economy, the exchanges between China and the rest of the world are increasingly frequent. In this process, massive information is transmitted through the translation of news reports. As the eye of news, the translation quality of news headlines directly affects the effectiveness of news dissemination. Under the guidance of Skopos Theory of German Functionalist Translation School, this paper analyzes the characteristics of Chinese and English news headlines, illustrates the functions of news headlines and the translation criteria of news headlines, and puts forward translation strategies for Chinese-English news headlines, aiming at restoring the concise feature of news and realizing the purpose of news dissemination and social value.&lt;br /&gt;
&lt;br /&gt;
===key words===&lt;br /&gt;
News headlines translation; Skopos theory; translation strategies&lt;br /&gt;
&lt;br /&gt;
===摘要===&lt;br /&gt;
近年来，中国社会经济飞速发展，与外界交流日趋频繁，在此过程中大量信息传递需通过新闻报道翻译完成。而新闻标题作为新闻的眼睛，其翻译质量直接影响新闻传播的有效性。本文以德国功能翻译学派目的论为指导，分析中英新闻标题的特点，阐述新闻标题功能以及新闻标题翻译准则，并提出汉译英翻译策略，旨在还原新闻简明本色从而实现新闻传播目的和社会价值。&lt;br /&gt;
&lt;br /&gt;
===关键字===&lt;br /&gt;
新闻标题翻译；目的论；翻译策略&lt;br /&gt;
&lt;br /&gt;
===1. Introduction===&lt;br /&gt;
With the further development of world economy and culture, news is playing an increasingly important role in people's lives. We read news through TV, the Internet or newspapers and magazines to learn about current events. But we are confused by thousands of news and the information they carry, because we are all exposed to a world where the massive information is surrounding. There is no doubt that because we can read too much news, some news has been ignored. Therefore, a proper headline is the most important element which can be regarded as the only way to attract the target readers. Headlines are compared to the eyes of news reports, in which a clear, concise information must be contained to generate interests. (Hu Shuzhong, 2012: 199) That is to say, headlines are always vivid and eye-catching in newspapers, in order to attract readers and provide reading guidance. So, the translator must learn how to effectively screen and reconstruct the information in the Chinese-English translation of news headlines, so as to make it attractive to the target language readers. &lt;br /&gt;
&lt;br /&gt;
In addition, news translation is playing a significant role in the promotion of cross-cultural communication and mutual understanding as China are having more and more exchanges with the rest of the world with the rapid development of society and economy, the implementation of reform and opening-up and “go global” strategy. As the soul of news, headline and its translation are what the translator should pay attention to. &lt;br /&gt;
&lt;br /&gt;
There are lots of researches about C-E news translation and news headline translation. However, researches on Chinese-English news headlines translation are very few. According to statistics from CNKI, there are only two pages of researches on Chinese – English news headlines translation. Therefore, this paper is of great importance. &lt;br /&gt;
As functions for headlines are obvious, this paper takes Skopos as the theory guide to conduct the research. First, the paper will discuss the features and functions of news headlines. Then the paper tells some translation methods of Chinese-English news headlines from a perspective of Skopos Theory. At last, it draws a conclusion.&lt;br /&gt;
&lt;br /&gt;
===2. Overview of News Headlines===&lt;br /&gt;
&lt;br /&gt;
==== 2.1 Definition of news and news headlines==== &lt;br /&gt;
&lt;br /&gt;
News refers to the timeliest report of events that have just happened, are happening, or are going to happen and it is born to meet the need of propagation and communication of information in human society. (Xu Mingwu, 2003: 4) This definition prescribes the features and functions of news. News should be timely and propagate ideas and express information. &lt;br /&gt;
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News headlines are compared to the “eye” of news. According to the dictionary, “A head of a newspaper story or article, usually printed in large type and devised to summarize, give essential information about, or interest readers in reading the story or article that follows.” (Webster’s Third New International Dictionary, 1961: 1042) From the definition, we can see that news headlines tells the essence of the news; the function is to attract readers’ interests. The paper will discuss features and functions of news headlines in detail in the following part. &lt;br /&gt;
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====2.2 Features of news headlines==== &lt;br /&gt;
As a text genre, news headlines have their own features. Chinese and English news headlines share much in common, though they differ from each other in certain areas. Understandings about the differences and similarities of Chinese and English news headlines are important for translators. So, this chapter will analyze features of news headlines from the following aspects: grammar, rhetoric, culture and structure. &lt;br /&gt;
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===== 2.2.1 Grammatical features===== &lt;br /&gt;
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2.2.1.1 Lexical Feature&lt;br /&gt;
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a. Midget words&lt;br /&gt;
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A good headline must be clear to attract readers and be strong to save space. In other words, the headline should convey the intends of the news without confusion or ambiguity; the words should be powerful to persuade the headline consumer to read on. Theses two requirements determine the prevalence of powerful, or strong worlds – mostly verbs and nouns – in headlines. (Shen Jinbo, 1989:52) That is to say, powerful words are short, simple and concrete, for extensive or abstractive words can only lead to dullness and confusion. There are no such powerful words in Chinese, but Chinese headlines, on the premise of conveying the exact meanings also put emphasis on the shortness of words. &lt;br /&gt;
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[1]: Dancing gets Olympic status (China Daily Dec 9, 2020)&lt;br /&gt;
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[2]: 霹雳舞成巴黎奥运项目 (China Daily Dec 9, 2020)&lt;br /&gt;
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b. Numeral words&lt;br /&gt;
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Numbers are used in news headlines to highlight the key information, especially in economic and sports news. &lt;br /&gt;
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[3]: Pink diamond sold for $26.6M (China Daily Nov 23, 2020) &lt;br /&gt;
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[4]: 外储余额创4年多新高(China Daily Dec 9, 2020)&lt;br /&gt;
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c. Abbreviations &lt;br /&gt;
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The limitation of page space leads to the frequent use of abbreviation in headlines. English abbreviations, according to Lu Guoqiang (陆国强, 1984), consist of two major types: lipped words and initialisms or acronyms. The common types of abbreviation found in Chinese headlines, nevertheless, are mostly number-assisted summarizing, blending and subsituting. (Chen Lizhao, 2002:36)&lt;br /&gt;
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[5]: Intl student enrollment falls (China Daily, Nov 19, 2020)&lt;br /&gt;
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[6]: 第二届“一带一路”国际合作高峰论坛举行圆桌峰会 (People’s Daily, April 28, 2019) &lt;br /&gt;
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d. Vogue words &lt;br /&gt;
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“Freshness” is the life of news, which lies in the contents of the report. As the gist of the news, headline would certainly revel some of the new ideas or hot topics in order to catch the reader’s attention. Therefore, vogue words are frequently seen in headlines. &lt;br /&gt;
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[7]: 'Cooling-off period' added (China Daily Dec 8, 2020)&lt;br /&gt;
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[8]: “离婚冷静期”新规将施行 (China Daily Dec 8, 2020)&lt;br /&gt;
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2.2.1.2 Syntactical features&lt;br /&gt;
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a. Omission&lt;br /&gt;
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Omission appears in almost every headline. Eliminating the meaningless words can shorten the length of a headline and highlight the core information. In English headlines, all articles and some auxiliary verbs, lexical verbs, pronouns, and the subject and the predicate are often omitted, as they weigh little in giving information. Chinese headlines also omit those unimportant words, including individual measures, conjunctions, and auxiliary words as well.  &lt;br /&gt;
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[9] Biden declares victory (China Daily, Nov 10, 2020)&lt;br /&gt;
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[10] 研究：医患“互粉”对治疗不利 (China Daily, Nov 25, 2014)&lt;br /&gt;
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b. Voice&lt;br /&gt;
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Active voice is frequently adopted in news headlines. &lt;br /&gt;
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[11] UK approves Pfizer vaccine (China Daily Dec 4, 2020)&lt;br /&gt;
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[12]英国批准辉瑞新冠疫苗 (China Daily Dec 4, 2020)&lt;br /&gt;
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[13] Biden unveils economic team (China Daily Dec 2, 2020)&lt;br /&gt;
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[14]拜登拟提名耶伦任财长 (China Daily Dec 2, 2020)&lt;br /&gt;
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c. Tense&lt;br /&gt;
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One of distinct feature of news headlines, particularly in English news headlines, is the wide use of present tense, which save the space of “-ed” in the past tense. But sometimes past tense is used to indicate the timeline. While Chinese news headlines use different tenses, as they are not revealed by the different forms of verbs as in English. So, the auxiliary verbs or adverbs in Chinese news headlines tells the time of happening from. &lt;br /&gt;
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[15] COVID vaccine distribution (China Daily Dec 1, 2020)&lt;br /&gt;
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[16] 英美即将启动疫苗分配 (China Daily Dec 1, 2020)&lt;br /&gt;
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2.2.2 Rhetorical Features &lt;br /&gt;
The usual figures of speech found in headlines, English and Chinese alike, includes metaphor, simile, pun, alliteration and rhyme, repetition, allusion etc... They aimed at creating musical sound as well as vivid images to provide spiritual enjoyment to the readers. &lt;br /&gt;
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[1] 苹果发新机加入5G战局 (metaphor) (China Daily Oct 16, 2020) &lt;br /&gt;
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[2] 美国加州火灾蔓延 居民仿佛置身火星(simile) &lt;br /&gt;
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[3] This is what the Bay Area's skies looked like during the wildfires (simile) (China Daily Oct 16, 2020)&lt;br /&gt;
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===== 2.2.3 Cultural Features=====&lt;br /&gt;
Language is the carrier of culture. News, as a practical text genre, also bears cultural characteristics of a certain country or nation. These culture elements also appear in news headlines,&lt;br /&gt;
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=====2.2.4 Structural features =====&lt;br /&gt;
To achieve headline’s peculiarity and simplicity, some punctuation marks are used in English news headlines, which are not often used in Chinese news headlines. Though differences exist in this area, the pursuit of using punctuation marks in the same – to make the news headlines clear and easily perceptible. The usual rule for headlines is that the fewer punctuation marks, the better. &lt;br /&gt;
[1] 世界精神卫生日：超半数英国员工最担心就业问题&lt;br /&gt;
[2] World Mental Health Day: More than half of UK workers worry about finding a job&lt;br /&gt;
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====2.3 Functions of news headlines ====&lt;br /&gt;
According to the theory of text-style function by Peter Newmark, new headlines fulfill the following four functions: informative function, expressive function, aesthetic function and vocative function, which will be illustrated in this section. &lt;br /&gt;
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=====2.3.1informative Function =====&lt;br /&gt;
“The core of the informative function of language is external situation, the facts of a topic, reality outside language, including ideas or theories” (Newmark 2001: 40) That is to say, news headline tells readers the basic information and facts of the news. &lt;br /&gt;
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===2.3.2 Expressive Function ===&lt;br /&gt;
“The core of the expressive function is the mind of the speaker, the writer, the originator of the utterance. He uses the utterance to express his feelings irrespective of any response” (Newmark 2001: 39) The expressive function of a news headline is to reveal the writer’s or the editor’s attitude toward the news by using subjective words or rhetoric devices. &lt;br /&gt;
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=====2.3.3 aesthetic function=====&lt;br /&gt;
	“This is language designed to please the sense, firstly through its actual or imagined sound, and secondly through its metaphors. The rhythm, balance and contrast of sentences, clauses and words also play their part. (Newmark 2001: 42) As the eye of the news, headlines use elegant words, abbreviations, punctuations and so on to strengthen its aesthetic function. &lt;br /&gt;
=====2.3.4 vocative function=====&lt;br /&gt;
	The vocative function is reader-oriented. Here, the term “vocative” is interpreted as “calling upon” the readership to act, think or feel, in fact to “react” in the way intended by the text. (Newmark 2001: 41) Vocative words in news headlines can attract the readers to read the whole article, and in certain circumstances call upon the readers to take some actions after reading the news.&lt;br /&gt;
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===3. Skopos Theory===&lt;br /&gt;
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As has been mentioned in the last section, news headlines and their translation are function-oriented. The fundamental function or the “Skopos” is to attract the readers. Therefore, in this section, we will discuss Skopos theory and its three rules. &lt;br /&gt;
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====3.1 Development of the Skopos Theory====&lt;br /&gt;
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Skopos Theory was initially proposed by Katherina Reiss in her 1971 book Possibilities and Limits of Translation Criticism, which formed an early theory. According to Reiss, the ideal translation would be “one in which the aim in the target language is equivalence as regards the conceptual content, linguistic form and communicative function of a source language text” (Reiss 1977, translated in 1989: 112). Even though Reiss takes the concept of equivalence as the main focus of her analysis, she realized that in some cases, equivalence is impossible and, in some situation, not even desired. Therefore, she indicated that when we translate, we should in view of the function of the text. The idea of text typology including content-focused, form-focused and appeal-focused text put forward by Reiss, is another contribution of her to the Skopos theory. It is supposed to be the starting point for Skopos theory. &lt;br /&gt;
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Later, Hans Vermeer, the student of Reiss, made a major breakthrough in the limitations of equivalent theory and laid the theoretical foundation for it. He first mentioned the basic principles of Skopos Theory in 1978. He and Reiss jointly published Groundwork for a General Theory of Translation in 1984. In this book, Vermeer argues that translation should be seen as a fundamental action of transformation of the source text. As all actions are generally purposeful, translation also has purposes, which could have influences over the culture of the target language. (Groundwork for a General Theory of Translation, 1984) For Vermeer, translation cannot be treated as one-to-one transfer between source language and target language. In his research, on the basis of the source text, translation is a form of action. Some of other forms of translational action may relate to actions which giving like a consultant. Every translation is directed at an intended audience, since to translate means “to produce a text in a target setting for a target purpose and target addresses in target circumstances” (Vermeer, 1987a: 29). Vermeer’s Skopos Theory serves as the foundation for his general theory of translation. &lt;br /&gt;
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Later, two other German translators, Christiane Nord and Justa Holz Manttari, enriched and refined the Skopos theory. Mantarri’s theory is based on the rules of action theory and is intended to contain all forms of intercultural transmission, as well as those source or target texts which do not involved. (Nord, 2001: 12-13) Her theory reflects the role of the participants in the process of translation and the environment in which the process takes place. Nord, as the latest batch of German researchers, summarized the “Fidelity rule” and applied the Skopos theory extensively in the study of translation from multiple perspectives and related fields. Besides, Skopos theory has three principal rules which will be illustrated in the following section. &lt;br /&gt;
In conclusion, Reiss laid the foundation of Skopos theory. Vermeer, who summarized and outlined the rules to be followed in the process of Skopos theory in practice, became the founding father of the theory. Manttari focused on the specific issues of translation behavior and context in the translation process, while Nord made many contributions to the refinement of the theory and greatly expanded the practical application of this theory. &lt;br /&gt;
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==== 3.2 Three Rules of Skopos theory ==== &lt;br /&gt;
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There are three significant rules of Skopos theory including Skopos rule, coherence rule and fidelity rule, which will be discussed respectively as follows.&lt;br /&gt;
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===== 3.2.1 Skopos Rule=====&lt;br /&gt;
The Skopos rule is the top-ranking rule for any translation. That is to say, Skopos determines any translation action. “The translators should finish the task in a way that enables your translation to function in the situation in which it is used and with the people who want to use it and precisely in the way they want it to function. All in all, the end justifies the means.” (Nord, 2001:29)&lt;br /&gt;
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Translating is an international interaction as it is just said, and the Skopos rule has stable position after it appeared. In Vermeer’s term, intention is thought as an “aim oriented plan of action” (Vermeer, 1983:41) &lt;br /&gt;
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According to Vermeer, Skopos rule is that “Each text is produced for a given purpose and should serve this purpose. The Skopos rule thus reads as follows: translate in a way that enables your text to function in the situation in which it is used and with the people who want to use it and precisely in the way they want it to function.” (Vermeer, 1989a: 20, translated by Luo Dan) Skpos theory is the foundation for Chinese-English news headline translation model. All efforts made are intended for the Skopos of news headline translation because “the end justifies the means” &lt;br /&gt;
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=====3.2.2 Coherence Rule=====&lt;br /&gt;
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The coherence rule, another important rule of the Skpos theory indicates that “the target text must be interpretable as coherent with the target text receiver’s situation”. (Reiss and Vermeer, 1984: 113) That is to say that the target text must be translated in a way that it is clearly understood by the target readers, taking consideration of their existing knowledge and situation. &lt;br /&gt;
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===== 3.2.3 Fidelity Rule =====&lt;br /&gt;
Apart from intratextual coherence, there is intertextual coherence which refers to the relationship between the target text and the source text, which is presumed as a further principle, fidelity rule. The fidelity rule by Vermeer indicates that there have to be coherence between the target text and the source text. This means that target text should be faithful to its source text in a certain level of features, such as grammatical features, special collocations and rhetorical devices, or to some degree between a complete imitation and deviation. In accordance with the Skopos theory, the source text is no longer considered as the “sacred original”, and it is up to the translator to determine the aspect and the degree of the fidelity. In Vermeer’s opinion, any text is just an offer of information, and thus, any target text is an offer of information formulated by a translator in a target culture and language about an offer of information formulated by someone else in the source culture and language. (Nord 2001: 32) &lt;br /&gt;
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Three principal rules of Skopos theory have been illustrated as above. &lt;br /&gt;
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As for the relationship between the three rules, Reiss and Vermeer believe that the fidelity rule is subordinate to the coherence rule and both belong to the Skopos rule. If the skopos of the target text demands a change of function, the fidelity with the source text will no longer be taken as the only standard, but adequacy and appropriateness will be supplemented as the standard with regard to the skopos (Reiss and Vermeer, 1984: 139) &lt;br /&gt;
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====3.3 Summary ====&lt;br /&gt;
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This chapter introduced the development of Skopos theory and its three main principles, which intends to lay a theoretical foundation for Chinese-English news headlines translation. The function and skopos of news headline is to convey information and attract readers. In light of these, C-E news headlines translation, guided by Skopos theory, is a faithful re-creation.&lt;br /&gt;
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===4. Application of Skopos theory in Chinese-English Translation===&lt;br /&gt;
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As mentioned in the last chapter, Skopos theory specifies the purpose of translation. As far as the author concerned, the skopos of Chinese headline translation is to transfer information of latest events happened in China to English readers. All sorts of translation strategies and techniques can be adopted under the guidance of the skopos theory. Based on the dominant informative function of news headlines, new information should be transferred with fidelity and clarity. Moreover, considering the aesthetical function of headlines, the source text should be aesthetically handled to the target readers. This chapter will explain how skopos theory in applied in the translation of Chinese-English news headlines. Before that, the criteria of C-E news headlines translation will be discussed.&lt;br /&gt;
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====4.1 Criteria of News headline translation ====&lt;br /&gt;
According to the basis of translation criteria, the author discussed four criteria for Chinese news headline translation, including fidelity, readability, adaptability and rapidity. &lt;br /&gt;
===== 4.1.1Fidelity =====&lt;br /&gt;
Fidelity means to accurately convey the message of the source text. The translation of news headlines from Chinese to English is a kind of intercultural communication in which messages should be transferred objectively and accurately by reflecting the reality. For a translator, the first and foremost thing is to be loyal to the content of the source language and convey it in a precise way, particularly for the translation of news headlines. Considering this point of view, fidelity can be acted as a main rule for translating news headlines. &lt;br /&gt;
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=====4.1.2 Readability =====&lt;br /&gt;
Readability means the translation version is smooth for reading. This means, the translation should be easy for readers or audiences to read and understand. According to a survey on Beijing citizens’ newspaper reading and willingness by Chinese People’s university, vividness and readability ranked at the top of reasons for buying and reading newspaper. Therefore, translation of news headlines should consider about readability. If the rule of fidelity is viewed from the perspective of translation content, then the rule of readability can be treated as put forward from the perspective of translation form. The primary aim of news headline is to arouse readers interests as much as possible. &lt;br /&gt;
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=====4.1.3Adaptability =====&lt;br /&gt;
Adaptability means that the translated headline should be in an appropriate writing pattern related to news language. In other words, the style of target language and the source language should remain the same. Style is considered to be an essential and important portion in translation. Translation of news headlines is without exception. So, the translator must take serious consideration to the grammar and diction of English, and make sure that the version of new style is suitable when translating a Chinese news headline. &lt;br /&gt;
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===== 4.1.4Rapidity =====&lt;br /&gt;
Rapidity as the fourth request of news headline translation is the most significant one. It implies that the news headline translation should be carried out and complete at a given period of time without any delay. The news is more valuable if the time between happening and reporting is shorter. So, timeliness of news determines the rapidity of news translation, especially the translation of news headlines. &lt;br /&gt;
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====4.2 Strategies of E-C News Headlines Translation ====&lt;br /&gt;
News headlines is considered to be the soul of the news. Since Chinese and English readers are different in thinking patterns, education and cultural backgrounds, some proper translation methods should be taken into consideration to enable the readers to understand the news headlines easily. Under the guidance of Skopos theory, translations strategies including literal translation, free translation, amplification, omission, amplification, restructuring and adaptation are applied in news headlines translation. &lt;br /&gt;
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=====4.2.1 Literal translation=====&lt;br /&gt;
Literal translation, also called word-for-word translation, is the basic approach used in Chinese news headline translation, since it can retain both the form and contents of the original to the maximum. Here are some examples: &lt;br /&gt;
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[1] 疫情致牛仔裤销量骤减&lt;br /&gt;
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Pandemic leads to jeans sales slump&lt;br /&gt;
(China Daily Aug 10, 2020)&lt;br /&gt;
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The headline introduces that Covid-19 pandemic has led to jeans sales slump. “疫情”is translated into “Pandemic”, “牛仔裤销量”is translated to “jeans sales”, and “骤减” is translated into “slump”, which is exactly a literal translation. There’s no change of the form or style between the source text and the target text. &lt;br /&gt;
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[2] 新冠抗原检测试剂获批&lt;br /&gt;
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COVID antigen tests approved&lt;br /&gt;
(China Daily Nov 10, 2020)&lt;br /&gt;
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This example is a typical word-for-word translation. “新冠”, an abbreviation for “新冠病毒” is translated to “COVID”, short for coronavirus. “抗原检测” is translated into “antigen tests”, “获批”is translated to “approved”. We can see that in this example, the form and style and even the tense and voice of the source text and target text are the same. So, it is literal translation. &lt;br /&gt;
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[3] 成都将建首个大熊猫主题公园&lt;br /&gt;
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Chengdu Set to Get Unique Panda-themed Park &lt;br /&gt;
(China Daily, Jan 17, 2018) &lt;br /&gt;
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This is a literal translation, remaining the original form and style of the Chinese version. It uses midget words “set” and “get”, taking consideration of the style of English news headlines, in order to attract readers from different walks of life. At the same time, the Chinese noun “大熊猫主题” is converted to the English adjective “Panda-themed”, which is very concise and accurate.&lt;br /&gt;
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=====4.2.2 Free translation =====&lt;br /&gt;
Free translation is applied when the news headline of the source text is obscure and difficult to understand or there’s no equivalent words in the target language. Sometimes it is preferred because it adapts the original headlines to the target language. &lt;br /&gt;
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[4] 不要人夸颜色好，只留清气满乾坤&lt;br /&gt;
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Xi: China Welcomes Constructive Suggestions&lt;br /&gt;
(China Daily, Oct 25, 2017) &lt;br /&gt;
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The source text is a poem, cited by President Xi at the press conference of 19th CPC Central Committee Political Bureau to hear constructive suggestions from people both at home and abroad. The poem, Ink Plum written by a famous Chinese ancient poet, Wang Mian, carries rich cultural connotations and shows cultural confidence of China. If it is directly translated as “Not angling for compliments, we should be content that integrity fills the universe”, it will cause confusion to the target readers. Obviously, such a mechanical translation will discourage the reader from understanding the meaning of the poem. Therefore, the translation of this news headline should be based on the content of the news – Xi: Welcomes Constructive Suggestions. So, it is a typical example of free translation. &lt;br /&gt;
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[5]姜瑜：外资应凭实力在华竞争&lt;br /&gt;
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Foreign investors told to sharpen edge&lt;br /&gt;
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This example takes consideration of the reading habits and backgrounds of the target readers. “凭实力竞争” is translated to “sharpen one’s edge”, which is more understandable. “姜瑜”(Jiang Yu”, a heroic character in Chinese history is omitted. So, it is a free translation.&lt;br /&gt;
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=====4.2.3 Amplification =====&lt;br /&gt;
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Most of news headlines carry certain backgrounds, which are familiar to the source language readers, but alien to those who read the target language. So, translators have the responsibility to turn information rich in cultural connotation into something understandable to target readers. This is particularly significant in translating news headlines from the perspective of Skopos theory, because the purpose of such translating is to convey the information useful to target readers. As mentioned in the chapter before, Chinese news headlines usually carry rich cultural contents. Therefore, amplification is frequently used in Chines-English news headlines translation. &lt;br /&gt;
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[6] 水陆两栖飞机AG600首飞成功&lt;br /&gt;
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China’s First Large Amphibious Aircraft Makes a Successful Maiden Flight&lt;br /&gt;
(China Daily, Dec 25, 2018) &lt;br /&gt;
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Amplification is used in this translation. AG600, as called Kun Lun600, is the world’s largest amphibious aircraft developed by China. The translator adds a modifier “China’s first large” as a supplement of background to better inform the targe readers. &lt;br /&gt;
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[7] 共享单车来到“世界屋脊”&lt;br /&gt;
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Shared Bikes Climb to the “Roof of the World” (Tibet)&lt;br /&gt;
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“Roof of the World” is confusing for some target readers, so the translator adds “(Tibet)” at the end of the sentence to avoid ambiguity.&lt;br /&gt;
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=====4.2.4 Omission =====&lt;br /&gt;
Omission is a translation method to make the news headline simple and concise by eliminating the redundant verbs, pronouns, and other words in the source text. As Chinese usually use unnecessary modifiers, this method can highlight the main point of the news. &lt;br /&gt;
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[8] 对外汉语专家齐聚京城 共议国际汉语教师缺口问题&lt;br /&gt;
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Beijing forum addresses Chinese teacher shortage&lt;br /&gt;
(China.org.cn, Jul 21, 2021) &lt;br /&gt;
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In this example, the first sentence is translated into a phrase, so as to shorten the length of the news headline and more it more concise. What’s more, redundant words like “齐聚”, “共议” “问题” are omitted to point out main contents of the news. &lt;br /&gt;
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[9] '大流行病'当选年度词汇&lt;br /&gt;
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Word of the year: pandemic&lt;br /&gt;
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(China Daily, Dec 12, 2020)&lt;br /&gt;
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In the example, the verb “当选”(elected) in the source text is eliminated to save space.&lt;br /&gt;
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=====4.2.5 Restructuring =====&lt;br /&gt;
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Because the literal meaning the sentence does not work in the situation of the utterance, the translators have to find the vague information and convey it to the target readers. In news headline translation, special information needs to restructure. &lt;br /&gt;
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Restructuring refers to the rearrange of the words in logic order to make the translation more consistent and coherent. The target text should be acceptable and meaningful in a sense that it is coherent with the situation in which it is received. Once translated, the translator revises the order and rearranges all words into a perfect sentence. In doing so, the news is more logical and tuned with the habit of native readers’ thinking and reading. It is frequently used in translating news headlines from Chinese into English. &lt;br /&gt;
&lt;br /&gt;
[10] 疫情期间夫妻关系改善&lt;br /&gt;
&lt;br /&gt;
Marriages benefit from lockdown&lt;br /&gt;
(China Daily, Nov 23, 2020)&lt;br /&gt;
&lt;br /&gt;
The English version changes the structure of the Chinese news headline, and adds a preposition to show the logic of this sentence. By restructuring, English readers can better understand this news headline. &lt;br /&gt;
	&lt;br /&gt;
====4.2.6 Adaptation ====&lt;br /&gt;
&lt;br /&gt;
Adaptation is a translation method, which refers to selecting, adding, deleting and constructing cautiously instead of simply translating one word to another word. In order to make the translated version more proper to a certain readers or audiences, adaptation always make some essential changes for a special aim. Specific to C-E news headlines translation, the translator can take the Chinese news headlines as the basis and refer to the key news facts of the report, in order to offer as much information as possible to the target readers. &lt;br /&gt;
&lt;br /&gt;
[11] 高考将不再是 “一考定终身”&lt;br /&gt;
&lt;br /&gt;
Changes to Uni Eligibility&lt;br /&gt;
（People’s Daily, 2014）&lt;br /&gt;
 &lt;br /&gt;
In this example, “高考” refers to the National College Entrance Examination in China, which is an expression with Chinese characteristics. Therefore, based on the main idea of the news, the translator translated it into “Uni Eligibility”&lt;br /&gt;
	&lt;br /&gt;
[12] 中国女性主导财务决策&lt;br /&gt;
&lt;br /&gt;
'She' to power wealth management&lt;br /&gt;
(China Daily, Nov 23, 2020)&lt;br /&gt;
&lt;br /&gt;
Adaptation is used in this translation. According to contents of the news, women in different countries are mentioned. So, instead of translating “中国女性” into Chinese women, the English version adapted it into “she”, which adds interest and fun to the headline and thus can attract more readers.&lt;br /&gt;
&lt;br /&gt;
===4.3 Summary===&lt;br /&gt;
&lt;br /&gt;
===5. Conclusion===&lt;br /&gt;
News translation is a cultural transformation with certain purposes(skopos). While conveying the connotation of the information, news translation must also take into account the reception habits of readers into the target language. The purpose-oriented approach helps translators to break the language barriers in translation, and helps to convey culture and facilitate communication. The purposes and functions of translation determine the translation methods. In translation, the standard of translation should not be how to be faithful to the source text, to highlight the main points of the news and attract English readers. Therefore, there is more to be explored when applying the Skopos theory to Chinese-English news headlines.&lt;br /&gt;
===References===&lt;br /&gt;
&lt;br /&gt;
*Newmark, P.A Textbook of Translation[M]. Shanghai: Shanghai Foreign Language Education Press, 2001: 40-42.&lt;br /&gt;
&lt;br /&gt;
*Nord, Christiane. Translating as a Purposeful Activity [M]. Shanghai：Shanghai Foreign Language Education Press, 2001.&lt;br /&gt;
&lt;br /&gt;
*Vermeer, H. J. Skopos and Translationsauftrag – Aufsatze [M]. Second Edition. Heidelberg: University, 1989. &lt;br /&gt;
&lt;br /&gt;
*Vermeer, H. J. Skopos and Translation Commission [M]. Heidelberg: University, 1989.&lt;br /&gt;
&lt;br /&gt;
*Munday, J. Introducing Translation Studies: Theories and Applications[M]. London and New York: Routledge, 2001: 77-78.&lt;br /&gt;
&lt;br /&gt;
*Nida, E. A. Language, Culture and Translating[M]. Shanghai: Shanghai Foreign Language Education Press, 2001: 50-51. &lt;br /&gt;
&lt;br /&gt;
* Nida, E. A. Language and Culture—Contexts in Translating[M]. Shanghai: Shanghai Foreign Language Education Press, 2001: 38-41.&lt;br /&gt;
&lt;br /&gt;
* Schudson, M. The Power of News [M]. Cambridge, Mass: Harvard University press, 1995&lt;br /&gt;
&lt;br /&gt;
* 胡曙中. 语篇语言学导论[M]. 上海: 上海外语教育出版社, 2012.&lt;br /&gt;
&lt;br /&gt;
* 许明武. 新闻英语与翻译[M]. 北京: 中国对外翻译出版公司, 2003.&lt;br /&gt;
&lt;br /&gt;
* 沈金伯. 新闻英语文体探讨[J]. 《外国语》. 1989(1): 52-55 &lt;br /&gt;
&lt;br /&gt;
* 樊腾腾. 从目的论角度论英语新闻标题的翻译[D]. 广东外语外贸大学, 2006.&lt;br /&gt;
&lt;br /&gt;
* 刘宓庆. 当代翻译理论[M]. 中国对外翻译出版公司, 2003.&lt;br /&gt;
&lt;br /&gt;
* 王军,陈诗月.翻译目的论研究综述[J].现代交际,2017(18):102-103.&lt;br /&gt;
&lt;br /&gt;
* 陈丽昭. 中英新闻标题对比研究[D].福建师范大学,2002.&lt;br /&gt;
&lt;br /&gt;
* 王驰. 目的论在经济新闻标题英汉翻译中的应用[D].华中师范大学,2013.&lt;br /&gt;
&lt;br /&gt;
* 罗丹. 目的论视角下的中国日报网英语新闻标题的翻译策略[D].武汉科技大学,2012.&lt;br /&gt;
&lt;br /&gt;
* 唐婷. 从目的论看硬新闻标题的汉译英[D].南华大学,2010.&lt;br /&gt;
&lt;br /&gt;
* 刘芸希.目的论视角下新闻标题的英译研究[J].海外英语,2018(11):123-125.&lt;br /&gt;
&lt;br /&gt;
* 李中强. 新媒体背景下的汉语新闻英译研究[D].上海外国语大学,2012.&lt;br /&gt;
&lt;br /&gt;
==On Chinese-English Translation of Public Service Advertisements From the Perspective of Text-type Theory  司妤  Si Yu  Student No.202070080606==&lt;br /&gt;
&lt;br /&gt;
===Abstract===&lt;br /&gt;
&lt;br /&gt;
Public-service advertising is an advertising activity that provides free services to the community without the purpose of making profit. Since the founding of the People's Republic of China, public-service advertising activities have increased and played an important role in the moral and ideological education of society as a whole, such as fire and burglary prevention, forest protection, birth control, maintenance of public order, no spitting and so on, all of which are in the nature of public-service advertising.&lt;br /&gt;
With the improvement of China's status in the international society, the accuracy of the translation of PSAs, as a medium to convey Chinese culture, is attracting more and more attention. Accurate translations help to showcase Chinese culture to foreigners and promote communication, while incorrect translations can be laughable.&lt;br /&gt;
In some public occasions, I have noticed that there are many excellent PSAs, but there are also some &amp;quot;Chinglish&amp;quot; PSAs. This paper analyzes the text of PSAs using the Text-type theory, gives suggestions to improve the messy translation phenomenon, and summarizes several translation methods, hoping to provide reference for the translators of PSAs.&lt;br /&gt;
&lt;br /&gt;
===key words===&lt;br /&gt;
&lt;br /&gt;
Public-service advertisement;Text typeTheory;Translation methods&lt;br /&gt;
&lt;br /&gt;
===摘要===&lt;br /&gt;
&lt;br /&gt;
公益广告是不以营利为目的而为社会提供免费服务的广告活动。我国建国以后，公益性的广告活动日益增多，对全社会进行道德和思想教育发挥了重要作用，例如有关部门进行的防火防盗、保护森林、节制生育、维护公共秩序、不要随地吐痰等广告宣传，均属公益广告的性质。&lt;br /&gt;
随着中国在国际社会地位的提高，公益广告作为一种传递中国文化的媒介，其翻译的准确性日益受到人们的关注，翻译准确有利于向外国友人展示中国文化促进交流。翻译错误则容易贻笑大方。&lt;br /&gt;
在一些公众场合，笔者注意到不乏优秀的公益广告翻译，同时也仍有一些“中式英语”  公益广告存在，本文运用文本类型理论对公益广告文本进行分析，对乱译现象提出改进建议，总结了几点翻译方法，希望能够为公益文本译者提供借鉴。&lt;br /&gt;
&lt;br /&gt;
===关键字===&lt;br /&gt;
&lt;br /&gt;
公益广告；文本类型理论；翻译方法&lt;br /&gt;
&lt;br /&gt;
===Introduction===&lt;br /&gt;
&lt;br /&gt;
====Research Background====&lt;br /&gt;
&lt;br /&gt;
Economic and social development and the improvement of people's living standards have brought many unprecedented changes to people, making their lives more convenient and colorful. But along with it comes a series of social problems such as indiscriminate dumping of urban garbage, neglect of wildlife protection, lack of care for public property, smoking in public places, etc.These social problems have also been magnified by the advance of urbanization. At this time, public service advertisement (PSA)can offer help if we want to activate more people to solve them. There are many forms of public service advertisements, such as public service advertisement (PSA) clips, public service messages, and public service slogans. Each of these PSAs has its own textual characteristics, such as the PSA short film in the form of a short video, using a fascinating plot to illustrate the concept of public welfare; public service messages are simple but informative; public service slogans are neat and thought-provoking. The translation of these texts should be done according to the characteristics of the text in order to achieve the public service effect of the text. With China playing an increasingly important role in the international community, a large number of international conferences are being held in China, and the number of foreign travelers arriving in the country is on the rise. The accuracy of the translation of public service advertisements is especially important at this time, not only to help foreigners in their travel work in China, but also to promote Chinese culture and enhance their understanding of China.&lt;br /&gt;
&lt;br /&gt;
It is worth mentioning that the overall quality of the Chinese people has been significantly improved compared to a few years ago, and the appearance of more and more elites has made the society think more deeply about the accuracy of translation, which is conducive to building a good city image and improving the aesthetic level of city residents and tourists.&lt;br /&gt;
&lt;br /&gt;
Advertisements can be divided into commercial advertisements and public service advertisements according to content and purpose. Commercial advertisements are mostly published by enterprises, and their main purpose is to stimulate consumers and arouse their desire to consume, and their content is mostly product information.(Liu Xiaofang 2014)&lt;br /&gt;
&lt;br /&gt;
There are some definitions from different people. Berkowitz, a famous scholar, who makes a thorough study of advertisement for more than 25 years, states that PSA is generally sponsored by a non-profitable institution, civic group, religious organization, trade association, or political group with a central focus on public welfare (Berkowitz, 2004). In China, according to Zhang Minxin‟s definition, PSA is a sub-branch of non-commercial advertisement whose purposes are to serve the public interests. This kind of advertisement can push the public to change their attitudes and behaviors (Zhang Mingxin, 2004). There are some researchers at home and abroad trying to discover how public service advertisements work, such as: Judie Lannon (2008), Nancy Lee (2006), Josephson (2005) and other scholars hoping to discover the secrets behind public service advertisements and society, such as Charles Atkin (2001) and Pan Zehong (2001).&lt;br /&gt;
&lt;br /&gt;
====Research Significance and Objectives====&lt;br /&gt;
&lt;br /&gt;
As the influence of Chinese culture increases internationally, more and more foreigners want to learn about China. Some want to learn the Chinese language, others want to know more about the social situation. Public service advertisements (PSAs) provide such an opportunity to help them learn and better understand China. At the same time, some social problems, such as the new Cov-19 epidemic, SARS, and AIDS, may not only be a problem for China, but also for the whole world, and the PSAs can provide a Chinese perspective and Chinese wisdom to solve these problems. In addition, when a disaster occurs, such as the Wenchuan earthquake, which aroused the attention and sympathy of the internationalcommunity, and some friendly countries want to provide assistance, PSAs are extremely important. In this paper, the writer will analyze different public service advertisements from the perspective of text type theory and suggest translation suggestions.&lt;br /&gt;
&lt;br /&gt;
Public service advertisement texts are common texts in daily life, and many scholars have discussed them from various perspectives, including the theory of purpose, aesthetic perspective, semantic translation and communicative translation perspective. However, no scholars have analyzed them from the perspective of text type theory. The writer boldly proposes to look at public-interest text translation from such a perspective, which may lead to new insights.&lt;br /&gt;
&lt;br /&gt;
====Methodology====&lt;br /&gt;
&lt;br /&gt;
The texts in this paper are mostly from public service advertisements released by CCTV, publicservice text messages received by the public, and public service slogans around them. This paper adopts a descriptive approach to analyze the content and purpose of the texts in detail, and also gives its own suggestions on how to translate the public service texts.&lt;br /&gt;
&lt;br /&gt;
====Framework of this paper====&lt;br /&gt;
&lt;br /&gt;
This paper is divided into seven chapters.&lt;br /&gt;
Chapter 1 introduces the background, significance and purpose of the research, methodology, and general framework of this thesis.&lt;br /&gt;
Chapter 2 introduces the theoretical perspective used in this paper.&lt;br /&gt;
Chapter 3 analyzes the characteristics of public service texts from the perspective of content and text.&lt;br /&gt;
Chapter 4 gives examples of texts according to the three categories of text type theory and analyzes the more appropriate translations.&lt;br /&gt;
Chapter 5 lists the obvious mistranslations in PSAs and gives suggested versions of the translations.&lt;br /&gt;
Chapter 6 summarizes the methods that can be used to translate PSA texts.&lt;br /&gt;
Chapter 7 summarizes what has been discussed throughout the essay and reflects on the limitations of the essay.&lt;br /&gt;
&lt;br /&gt;
===Overview of Theoretical Foundation and Comparisons===&lt;br /&gt;
&lt;br /&gt;
====Reiss’s View of Text Type Theory====&lt;br /&gt;
&lt;br /&gt;
Katharina Reiss is the founder of the German functional school of translation, and in her book Possibilities and Limitations in Translation Criticism (1979) she presented the prototype of the functional school's theoretical ideas. Reiss's text types are divided into four main categories. She points out that content texts emphasize the depictive function, formal texts emphasize the expressive function, operative texts emphasize the persuasive function, and audio-visual texts emphasize the audio-visual function. function). Therefore, these text categories can also be referred to as informative text, expressive text, operative text, and audio-visual text, respectively. Correspondingly, there are four types of functions.(Li Zhi 2008) &lt;br /&gt;
&lt;br /&gt;
1. Content-based text&lt;br /&gt;
This type of text is content-based, and the text can be used to convey information and so on. When translating, the content should be restored to the greatest extent possible. These texts mainly include news reports and commentaries, business letters, cargo lists, instructions for use, operating instructions, and other professional works in technical fields.&lt;br /&gt;
&lt;br /&gt;
2. Formal texts&lt;br /&gt;
The focus of formal texts is on their aesthetic significance. When translating such texts, the translator should aim to create a similar text effect in the form. Formal texts include literary prose (short essays, biographies, pure literature), imaginative prose (anecdotes, short stories, novels, romances), and all forms of poetry (from didactic poetry to narrative poetry to purely emotional poetry).&lt;br /&gt;
If the form is not preserved in translation, the content of the text may be lost as a result.&lt;br /&gt;
&lt;br /&gt;
3. Operative texts&lt;br /&gt;
Operative texts are concerned with the response of the recipient of the text. This type of text clearly appeals to the recipient of the text through a certain point of view and with a certain purpose, expecting to receive the desired response. The representative texts are all operative texts in which the appealing element predominates, using advertisements, propaganda, sermons, debates, agitation or satirical texts that have an expressive purpose or linguistic expression.&lt;br /&gt;
&lt;br /&gt;
4. Audiovisual texts&lt;br /&gt;
Generally speaking, any text that requires some degree of non-verbal communication with the audience is an audio-visual text. This includes mainly radio and television scripts, such as radio news and reports, overviews of hot topics, and theater productions. In these texts, not only grammar and narration techniques, but also sound effects and visual devices (in television and film) play an important role.&lt;br /&gt;
&lt;br /&gt;
====Peter Newmark’s View of Text Type Theory====&lt;br /&gt;
&lt;br /&gt;
Peter Newmark is one of the leading figures in the linguistic school of British translation theory. Newmark also made a detailed classification of texts, and he summarized them into the following three types according to their contents:&lt;br /&gt;
&lt;br /&gt;
1. Expressive texts&lt;br /&gt;
This type of text focuses on the content of the text and the author's own point of view. Newmark divides them into three types of texts. (1) serious and imaginative literature, including lyric poetry, short stories, long novels, and plays; (2) authoritative texts, including a variety of texts whose authority comes from the author's status or linguistic ability, such as speeches and statements by senior government officials and political party leaders, legal regulations, documents, and literary and academic works written by authorities; (3) autobiographies, essays, and private letters that are straightforward and have no direct readership.(Jia Heping 2015)&lt;br /&gt;
&lt;br /&gt;
2. Informative texts&lt;br /&gt;
The text often contains some content that does not involve the emotional and opinion part, and this part of the content can have its practicality, which is the information function of the text. Typical informative texts include textbooks, technical reports, newspaper articles, scientific papers, conference proceedings, etc.&lt;br /&gt;
&lt;br /&gt;
3. Operative text&lt;br /&gt;
The function focuses on the response of the text receiver, and the text is set to get the desired response from the receiver, to produce certain influence on them or even change their concepts and behaviors. Typical vocative texts include notices, advertising campaigns, instructions, and persuasive texts (such as requests, appeals, etc.).&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
He classifies language functions into six categories, based on what the philosophers of language Bühler and Jacobson have said about language functions. He believes that a text may have one function or several functions, but that one of these functions is the main one, as explained below.&lt;br /&gt;
&lt;br /&gt;
1. Expressive function&lt;br /&gt;
Expression is a fundamental property of language. Expression is the process by which people use language to express their feelings, attitudes, and opinions. Expression focuses on output of the writer, not on the other person's reaction and feelings.&lt;br /&gt;
&lt;br /&gt;
2. Informative function&lt;br /&gt;
The content of the text is mainly fixed, not with emotion, can be used by people in certain situations.&lt;br /&gt;
&lt;br /&gt;
3. Operative function&lt;br /&gt;
This function focuses on the reaction of the recipient of the text, and the writer envisages the reaction of the recipient of the text when writing, in order to achieve the corresponding purpose.&lt;br /&gt;
&lt;br /&gt;
4. Aesthetic function&lt;br /&gt;
Language contains traces of history, which represents a certain aesthetic of people. The first means used for this function is sound, and the second is metaphor. In addition, the rhythm, balance and contrast of sentences and words also have a role. The aesthetic function is present in most of the text categories, moreover, it is indispensable for poems, nursery rhymes and some advertising campaigns.&lt;br /&gt;
&lt;br /&gt;
5. Interpersonal function&lt;br /&gt;
The interpersonal function is reflected in people's daily interactions and conversations. That is, language helps people establish relationships with each other.&lt;br /&gt;
&lt;br /&gt;
6..Meta-linguistic function &lt;br /&gt;
Meta-linguistic function is a special function of language, refers to the language of the language itself to explain, name, analyze, comment on the function. Some expressions in the text, such as “strictly speaking, literally, so called, so to speak, by definition, etc.”, are manifestations of the meta-linguistic function.&lt;br /&gt;
&lt;br /&gt;
Of the above six functions, the first three are the main ones, but within a text, there may be multiple functions, but the text itself has a focus, and rarely does textual knowledge contain purely one function.(Li Zhi 2008)&lt;br /&gt;
&lt;br /&gt;
====Similarities and Differences Between Reiss's and Newmark's View of Text Type Theory====&lt;br /&gt;
&lt;br /&gt;
=====Similarities=====&lt;br /&gt;
Both theories are based on Bühler's triadic approach to language function. Both have the same understanding of the division and characteristics of different kinds of texts.&lt;br /&gt;
Differences&lt;br /&gt;
&lt;br /&gt;
=====Differences=====&lt;br /&gt;
First of all, language used in lived interaction is the main basis for Rice's definition of text types, and these are classified as text types that value content. Newmark, on the other hand, regards such lived language as a special linguistic function, and many experts consider this understanding by Newmark problematic.&lt;br /&gt;
&lt;br /&gt;
Second, there is a significant difference in their views of instructions, with Rice classifying them as informative texts because of their ability to provide certain information to readers. Newmark, on the other hand, classifies it as a operative text because of its ability to guide people and thus change their behaviors. In my opinion, the text of instruction manuals is due to the nature of the product itself, and the readers have the will to act before reading the text, and the manuals only provide them with certain information, so they should belong to the information category.&lt;br /&gt;
&lt;br /&gt;
Furthermore, the language used in living interactions is the main basis for Rice's definition of text types, and these are classified as text types that value content. Newmark, however, regards this lived language as a special language function, and many experts think that this understanding of Newmark is problematic.(Jia Heping 2015)&lt;br /&gt;
&lt;br /&gt;
====Similarities and Differences Between Chinese and English PSA texts====&lt;br /&gt;
&lt;br /&gt;
=====Similarities=====&lt;br /&gt;
&lt;br /&gt;
1. Public service texts in both languages often use certain rhetorical techniques, such as personification, alliteration, and end-rhyme, in order to evoke a call to action.&lt;br /&gt;
&lt;br /&gt;
2. Public service texts in both languages often use short sentences, especially in public service slogans, which are easy to remember and achieve the desired effect.&lt;br /&gt;
&lt;br /&gt;
3. Both languages use idioms and sayings that have been around for a long time.&lt;br /&gt;
 &lt;br /&gt;
=====Differences=====&lt;br /&gt;
&lt;br /&gt;
1. Chinese public service texts are good at using strong words such as &amp;quot;forbidden&amp;quot;, while English texts use more euphemisms such as &amp;quot;Please&amp;quot;. When translating, we should respect the habits of the translating countries in order to better play the role of public welfare texts.&lt;br /&gt;
&lt;br /&gt;
2. Chinese public service texts tend to use poetry-like forms, with seven or five characters in order to be neatly matched. In English, they mostly use phrases of the same number of words to match each other.&lt;br /&gt;
&lt;br /&gt;
3.The translation of advertising slogans also needs to respect certain cultural differences, as Western societies emphasize the individual while the Chinese value collectivism. For example:&lt;br /&gt;
&lt;br /&gt;
Example 1：保护生态环境，造福子孙后代。&lt;br /&gt;
&lt;br /&gt;
Translation 1:Leave a sound ecological environment to your children.&lt;br /&gt;
&lt;br /&gt;
Such a slogan in Chinese emphasizes the impact on future generations without specifying whose children and grandchildren it is, but in the translation, the translator translates it as &amp;quot;Leave a sound ecological environment to your children.” to call on people to protect the environment.&lt;br /&gt;
&lt;br /&gt;
4. Westerners focus on direct expressions, while Chinese expressions are more subtle. For example:&lt;br /&gt;
&lt;br /&gt;
Example 2: 司机一滴酒，亲人两行泪。 &lt;br /&gt;
&lt;br /&gt;
Translation:Drink and drive costs your life.&lt;br /&gt;
&lt;br /&gt;
The sentence contrasts the words &amp;quot;酒&amp;quot; and &amp;quot;泪&amp;quot; without directly pointing out the possible serious consequences, leaving the reader to think about them and take actions. Instead, the translator simply translates it as &amp;quot;Drink and drive costs your life.”(Li Qingxue, Wang Huaiwang 2019)&lt;br /&gt;
&lt;br /&gt;
===Features of Public Service Advertisements===&lt;br /&gt;
&lt;br /&gt;
As an advertising method, public service advertisements have their own characteristics in many aspects. By analyzing the characteristics, we can accurately convey the idea that the PSA is trying to convey.&lt;br /&gt;
&lt;br /&gt;
====Content Features====&lt;br /&gt;
&lt;br /&gt;
1. The public welfare nature of PSAs is their essential feature, which is concerned with the common interests of the entire society. By observing the theme and content of the PSAs in both China and abroad, it can be seen that the topics of PSAs cover ecological protection, care for the earth, quality birth and education, opposing cults, advocating science, opposing war, advocating polite social mores, patriotism, and so on.&lt;br /&gt;
&lt;br /&gt;
2. Public service advertisements are non-profit in nature. It does not exist for an organization or a business entity, but rather to draw people’s attention to and activate action on social issues. Commercial advertising, on the other hand, exists for financial gain.&lt;br /&gt;
&lt;br /&gt;
3. Popularity. The public service advertisements are made for the general public. As the audience's cultural level, the ability to understand different, so public service advertisements must be easy to understand. It not only requires the spread of advertising content to have universal significance, but also the form of popular, concise, accessible language, easy to understand. Only in this way, the public service advertisement can really serve the purpose of the public.&lt;br /&gt;
&lt;br /&gt;
4. Creativity. The advertising market is so diverse that the only way to make advertisements spread to  the public is to design them in a creative and meaningful way that will make them known to&lt;br /&gt;
more people.&lt;br /&gt;
&lt;br /&gt;
====The Features of Text Forms====&lt;br /&gt;
&lt;br /&gt;
1.Advertising texts that we see in our daily lives include slogans, public service messages and public service videos, and so on. Advertising slogans are usually short and meaningful, with simple counterpoint sentences, and are operative texts. On the other hand,public service messages are mostly preventive messages issued by social organizations to help disseminate precautions and draw people’s attention to an unexpected situation in order to maintain social order. They are mostly informative texts. Most PSAs have a complete storyline, thought-provoking dialogue, and a short slogan that summarizes the message of the ad.&lt;br /&gt;
&lt;br /&gt;
2. Public service advertisements are often designed with certain rhetorical techniques to enhance the aesthetics of the ad, make it catchy to read, and ultimately leave a deep impression on the public.&lt;br /&gt;
&lt;br /&gt;
===Examples of C-E Translation of Public Service Advertisements===&lt;br /&gt;
&lt;br /&gt;
====Operative Text====&lt;br /&gt;
&lt;br /&gt;
Most of the PSAs are operative texts, and the pupose of operative texts in PSAs is to affect the public in order to attain the desired response from the advertisers. PSAs are created to publicize something of common social interest in order to attract attention and action, so the creative design of the advertisement should take this into account and retain the appealing elements of the original text when designing the advertisement.&lt;br /&gt;
&lt;br /&gt;
Example 3: 爱心播散 希望萌芽&lt;br /&gt;
&lt;br /&gt;
Translation: Spread love Sow hope&lt;br /&gt;
&lt;br /&gt;
The public service advertisement slogan is from a public service advertisement released by CCTV in 2016, which tells the story of Zhao Xiaoting, a student from Wuhan University, who volunteered to go to Guizhou to teach in the mountains. It was her selfless love that sowed hope for the children in the mountains. The ad reflects the great power of ordinary people and promotes the core values of socialism. It shows the power that volunteering can bring. The ad is very short, with a neat counterpoint, and the verb and noun have been swapped in the translation, with the verb being in front of the noun, indicating a dynamic process that can arouse the public's recognition of the act and inspire them to join in and contribute to the poor areas. The second verb in the original text is &amp;quot;萌芽&amp;quot;, but the translation uses &amp;quot;sow&amp;quot; to indicate the growth of hope, which is similar to the original text.(Jin Haibing 2005)&lt;br /&gt;
&lt;br /&gt;
Example 4: 有你在，就是家。&lt;br /&gt;
&lt;br /&gt;
Translation：You bring me warmth of home.&lt;br /&gt;
&lt;br /&gt;
In this short film, a father in a rural area has never been away from home, and because he misses his son, who has not been home for a long time, he sets out on his own to visit him. The father has to change various means of transportation to get to the city, and encounters many difficulties because his being unable to speak mandarin well. The helpless father finally gets help from the staff, through whom he contacts his son. Eventually they both cry, and the short film ends with the father sitting on his son's motorcycleand going home together. The short film is very touching, and through the process of going into the city to look for his son, it shows us how brave and gentle people can be for love. If we translate the text word by word in the original order, we can't express this meaning, so we use phrases like &amp;quot;bringing sb warmth&amp;quot; to express the meaning of the original Chinese.(Ye Qiuling 2020)&lt;br /&gt;
&lt;br /&gt;
====Informative Text====&lt;br /&gt;
&lt;br /&gt;
Public service messages are informatiive texts, mainly used to convey certain information, with straightforward and concise text content, and the translator only needs to express its literal meaning directly when translating.&lt;br /&gt;
&lt;br /&gt;
Example 5：请您收到来自境外、国内新冠疫情中高风险地区的邮件、包裹，先对物品表面进行消毒，或在阳台等室外空旷处放置一段时间再打开。处理完包裹、邮件后，应立即用肥皂或洗手液清洗双手，或用免洗手消毒剂进行消毒。洗手前双手不触碰口、鼻、眼等部位。疫情防控有您的参与才能胜利！&lt;br /&gt;
&lt;br /&gt;
Translation: If you receive mail or parcels from overseas or domestic areas at high risk of Cov-19 outbreak, please disinfect the suface of the items first, and leave them on the balcony or other outdoor open space for a period of time before opening them. Immediately after handling parcels and mail, wash your hands with soap and hand sanitizer, or disinfect them with hand sanitizer. Do not touch your mouth, nose, eyes or other parts of your body before washing your hands. Outbreak prevention and control can only be won with your participation!&lt;br /&gt;
&lt;br /&gt;
Example 6：应急公益短信:为严防新型冠状病毒感染的肺炎疫情，山东省严禁任何形式的野生动物交易活动，严禁野生动物对外扩散和转运贩卖。对于违反规定的经营者、经营场所将予以停业整顿、查封，涉嫌犯罪的，将移送公安机关。社会各界如有发现违法违规交易野生动物的，欢迎拔打12345等投诉举报。&lt;br /&gt;
&lt;br /&gt;
Translation: In order to prevent the outbreak of pneumonia due to new coronavirus infection, any form of wildlife trade is strictly prohibited in Shandong Province, and the proliferation and trafficking of wildlife is strictly prohibited. The company's main goal is to provide the best service to the public.&lt;br /&gt;
If you are suspected of committing a crime, you will be transferred to the public security organs. If any&lt;br /&gt;
illegal trade of wild animals is found, the community is welcome to call 12345 to report complaints.&lt;br /&gt;
&lt;br /&gt;
====Expressive Text====&lt;br /&gt;
&lt;br /&gt;
The purpose of an expressive text is to express emotions and attitudes, the language focuses on aesthetics, and the focus of the text is on the form of expression, which requires attention to equity in translation. With the development of the economy and society and the improvement of people's living standards, the aesthetic level of the masses is also improving, and accordingly, the translation of advertising slogans should also change to adapt to the improvement of people's aesthetics.&lt;br /&gt;
&lt;br /&gt;
Example 7：善行无痕 一种习惯的美丽&lt;br /&gt;
&lt;br /&gt;
Translation: Kindness is traceless. A habit of beauty.&lt;br /&gt;
&lt;br /&gt;
The slogan is from a public service advertisement by CCTV in 2016. In the short film, a wife walks into a room to rest after stopping on the balcony for a long time, and her husband comes back and intends to tum off the balcony light to save electricity. The wife stops the husband, and the camera turns to two elderly sanitation workers who are finishing their meal by the light of the lamp she left for them, which the young couple lit for them in the night.Such kindness is obviously not accidental,but has been a habit of the wife in the short film, and is therefore natural and touching. The ad is intended to call attention to good deeds and habit formation through a story like this one. The ad's slogan is a literal translation, with &amp;quot;善行&amp;quot; translated as &amp;quot;Kindness&amp;quot; and &amp;quot;无痕&amp;quot; as &amp;quot;traceless&amp;quot;.&amp;quot;The use of end-rhyme rhetoric, which pursues equivalence of expressions and enhances the rhythmic beauty of the language, impresses readers and influences their perceptions and habits of good deeds, serving as a public service advertisement.(LiQingxue, Wang Huaiwang 2019)&lt;br /&gt;
&lt;br /&gt;
Example 8：保护肺脏，珍爱生命。（禁烟广告）&lt;br /&gt;
&lt;br /&gt;
Translation: Save your lung, save your life.&lt;br /&gt;
&lt;br /&gt;
The slogan comes from an anti-smoking advertisement that uses the alliteration, “lung” and “life”, to emphasize that quitting smoking is about protecting your lungs and your life. The two “saves” remind people that smoking is harmful to their health and that they should quit smoking as soon as possible to save themselves.&lt;br /&gt;
&lt;br /&gt;
===Misinterpretation of Public Service Advertisemnts===&lt;br /&gt;
&lt;br /&gt;
====Chinglish====&lt;br /&gt;
Chinglish refers to word-for- word translations that do not consider translation strategies from the perspective of the receiving language and cultural differences, and often cause difficulties in comprehension for the receiving readers.&lt;br /&gt;
&lt;br /&gt;
Example 9：小心地滑&lt;br /&gt;
&lt;br /&gt;
Misinterpretation: Foot Care.&lt;br /&gt;
&lt;br /&gt;
Suggested translation: Mind your step.&lt;br /&gt;
&lt;br /&gt;
The above misinterpretation is translated word-for-word, which not only makes it difficult for the recipient readers to read, but also affects the image of the city as a whole, so more citizens are taking notice and taking action to reject &amp;quot;dead translation&amp;quot; and &amp;quot;Chinglish&amp;quot;. &lt;br /&gt;
&lt;br /&gt;
====Grammatical errors====&lt;br /&gt;
Most grammatical errors are caused by the translator's own incompetence, mainly in the use of articles, subject- predicate inconsistencies, mis-matching of verb phrases, and word confusion.&lt;br /&gt;
&lt;br /&gt;
Example 10：珍爱生命 远离毒品。&lt;br /&gt;
&lt;br /&gt;
Mistranslation: Yes to life, no to drugs.&lt;br /&gt;
&lt;br /&gt;
Suggested translation: Cherish life and avoid drugs.&lt;br /&gt;
&lt;br /&gt;
The public service advertisement came from an anti-drug advertisement, obviously the mistranslated structure of the translation does not fit English conventions.&lt;br /&gt;
&lt;br /&gt;
====Inappropriate Use of Words====&lt;br /&gt;
There are some words in English that are very similar to each other, and improper use of words means that the translator uses words haphazardly without clearly distinguishing between similar words, resulting in a misinterpretation.&lt;br /&gt;
&lt;br /&gt;
Example 11：关爱残障人士&lt;br /&gt;
&lt;br /&gt;
Improper translation: Care for the handicapped.&lt;br /&gt;
&lt;br /&gt;
Suggested translation: Care for the disabled.&lt;br /&gt;
&lt;br /&gt;
The slogan is from a public service advertisement in which the word &amp;quot;handicapped,&amp;quot; which translates to &amp;quot;the handicapped,&amp;quot; is now somewhat outdated and contains a certain amount of offensive language that sometimes causes people to be It would make more sense to change it to &amp;quot;the disabled&amp;quot;, relatively speaking.&lt;br /&gt;
&lt;br /&gt;
====Redundancy====&lt;br /&gt;
The redundancy is due to the fact that the translators do not fully understand the differences between Chinese and foreign cultures and the purpose of the text.&lt;br /&gt;
&lt;br /&gt;
Example12：一花一草皆生命 一枝一叶总关情&lt;br /&gt;
&lt;br /&gt;
Improper Translation: Alive as all living things each flower and leaf of grasses require our care.&lt;br /&gt;
&lt;br /&gt;
Suggested Translation: Please give me a chance to grow.&lt;br /&gt;
&lt;br /&gt;
The original translator intended to present a vivid description of the original slogan in front of people, but failed to consider that the slogan was intended to arouse people's love for flowers and plants. We suggest that the translation should start from the operative textual features of the slogan and combine it with the straightforward expression habits of foreigners to call on people to take care of flowers and plants in a more euphemistic way.&lt;br /&gt;
&lt;br /&gt;
===Methods of C-E Translation of Public Service Advertising===&lt;br /&gt;
&lt;br /&gt;
====Literal Translation====&lt;br /&gt;
&lt;br /&gt;
The main characteristics of literal translation are twofold: in the treatment of word meanings and rhetoric (e. g., metaphors), it does not use transitive techniques (this distinguishes &amp;quot;literal translation&amp;quot;from &amp;quot;free translation&amp;quot;); in the treatment of linguistic forms (i.e., lexical-syntactic structure), it allows appropriate changes and shifts (This distinguishes &amp;quot;literal translation&amp;quot; from &amp;quot;word- for-word translation&amp;quot;).(Xiong Bing 2013) For example.&lt;br /&gt;
&lt;br /&gt;
Example 13: 我的盛开需要你的关爱 &lt;br /&gt;
&lt;br /&gt;
Translation : Luxuriant flowers need your care.&lt;br /&gt;
&lt;br /&gt;
The translation retains the personification of the original, treating flowers as species with emotions, but directly specifies that &amp;quot;I&amp;quot; means &amp;quot;flower&amp;quot;, which is in line with the habit of expression of the target audience and serves as a reminder.&lt;br /&gt;
&lt;br /&gt;
Example 14: 节约用水就是珍爱生命&lt;br /&gt;
&lt;br /&gt;
Translation : To save water is to save life&lt;br /&gt;
&lt;br /&gt;
The original text translates &amp;quot;conserve water&amp;quot; and &amp;quot;cherish life&amp;quot; into a neat pairing, and the translation also translates them into a neat pairing, and the expression is in line with the habits of expression of the people in the receive language. Both the original text and the translation equate &amp;quot;conserve water&amp;quot; with &amp;quot;cherish life&amp;quot; to arouse the attention of the masses and advertise the importance of saving water.&lt;br /&gt;
&lt;br /&gt;
====Paraphrase====&lt;br /&gt;
&lt;br /&gt;
A paraphrase translation is one in which the translator does not stick to the details of the meaning of the original text, much less to its vocabulary and syntactic structure, but &amp;quot;uses the original text as a reference model&amp;quot; and either translates only the general meaning, gist or key information (or selectively some of it) by condensing it, or translates it into a text with more information compared to the original article. (Xiong Bing 2013) For example.&lt;br /&gt;
&lt;br /&gt;
Example 15:爱我,追我,千万别吻我。&lt;br /&gt;
&lt;br /&gt;
Translation: Drive carefully! &lt;br /&gt;
&lt;br /&gt;
The original text is from a public service advertisement advocating cautious driving. The translation does not follow the literal meaning, but rather the translator uses a paraphrasing technique after understanding the meaning of the sentence and chooses two words to express the meaning. It is short and serves as a warning to motorists.&lt;br /&gt;
&lt;br /&gt;
Example 16：手下留情花自香，脚下留意草如茵。&lt;br /&gt;
&lt;br /&gt;
Translation: Take care of grass and flowers, please.&lt;br /&gt;
&lt;br /&gt;
The original text is a public service slogan with Chinese cultural characteristics, but it is difficult to find a corresponding expression in English when translating. Here the translator uses an invocation to remind the masses.&lt;br /&gt;
&lt;br /&gt;
====Borrowing Translation====&lt;br /&gt;
&lt;br /&gt;
A borrowing Translation is an explanation that replaces the original word or phrase by borrowing the idiom of the target language. For example.&lt;br /&gt;
&lt;br /&gt;
Example 17: 爱心传递你我，文明就在身边。&lt;br /&gt;
&lt;br /&gt;
Translation: Where there is a love, there is a virtue.&lt;br /&gt;
&lt;br /&gt;
The original is a slogan from an advertisement for the Olympic Games, which is a medium for promoting the spirit of the Games and the country's outlook. The translator chose a well-known proverb from the translated country, &amp;quot;Where there is a will, there is a way,&amp;quot; to expand the publicity effect.&lt;br /&gt;
&lt;br /&gt;
Example 18: 让世界倾听我们的声音&lt;br /&gt;
&lt;br /&gt;
Translation : Let our voice be heard in the world.&lt;br /&gt;
&lt;br /&gt;
The original text was a slogan from a CCTV public service advertisement, which was based on the lyrics &amp;quot;Let our voice be heard.&lt;br /&gt;
&lt;br /&gt;
===Conclusion===&lt;br /&gt;
&lt;br /&gt;
In this paper, the writer divides and analyzes different texts and explain the approaches they take in translation. This perspective of using text type theory to analyze and discuss how to translate public service texts may be of some help to scholars.&lt;br /&gt;
&lt;br /&gt;
According to different texts, the text type theory has its own emphasis in translation, and different PSA texts are mostly operative texts, and sometimes one text has multiple textual characteristics, which translators can take into full consideration when choosing the emphasis and translation methods.&lt;br /&gt;
Public service translation is very different from commercial advertising translation, which is mainly used to educate the public, convey correct and positive values, encourage people to take actions to help others, and create a good social environment to resist bad behaviors. Generally speaking, it is necessary to consider the actual situation when translating the PSAs.&lt;br /&gt;
&lt;br /&gt;
Through analyzing the texts of PSAs, the author has made the following discoveries, and the translation of PSAs can be done according to the text type theory. Although there are some cultural differences between the two languages, the differences do not make translation difficult to achieve. If literal translation cannot translate the meaning of the source text, then paraphrase,borrowing translation and other translation methods can also be used.&lt;br /&gt;
&lt;br /&gt;
===Limitation===&lt;br /&gt;
&lt;br /&gt;
In this paper, I put forward some personal ideas, but in the final version, I can still find my own shortcomings. First of all, there is still a lack of richness of information due to the limitation of space. Secondly, the depth of my ideas is still insufficient, and I only hope that this article can provide some research ideas for researchers and contribute to the translation of public service texts.&lt;br /&gt;
&lt;br /&gt;
===References===&lt;br /&gt;
1.Jia Heping 贾和平. (2019). 论纽马克与赖斯的文本分类比较研究 [A Comparative Study on Newmark’s and Reiss’s Text Type Classification ]. &lt;br /&gt;
&lt;br /&gt;
2.Li Zhi 李治. (2008). 论纽马克与赖斯的文本分类比较研究 [Newmark’s and Reiss’s Text Type Classification and A Comparative Analysis of Translation Methodology ].&lt;br /&gt;
&lt;br /&gt;
3.Jin Haibing 金海兵. (2005). 试谈公益广告标语及其翻译 [On Analyzing Public Service Advertisements and Their Translation].&lt;br /&gt;
&lt;br /&gt;
4.Li Qingxue, Wang Huaiwang 李庆学 王怀望. (2019). 接受美学视角下的公益广告翻译 [A Study of English Translation of Public Service Advertisements from the Perspective of Reception Aesthetics].&lt;br /&gt;
&lt;br /&gt;
5.Ye Qiuling 叶秋伶. (2020). 语义翻译和交际翻译理论视角下中文公益广告英译——以央视公益广告为例 [English Translation of Chinese Public Service Advertisements from the Perspective of Semantic Translation and Communicative Translation Theory - Taking CCTV Public Service Advertisements as an Example].&lt;br /&gt;
&lt;br /&gt;
6.Liu Xiaofang 刘晓芳. (2015). 目的论视角下《中国日报》公益广告英译的探析 [The English Translation of PSAs in China Daily from the Perspective of Skopos theorie].&lt;br /&gt;
&lt;br /&gt;
7.Chen Yanhong 陈燕红. (2012).  文化视角中汉英公益广告的翻译策略 [Translation Strategies of Chinese-English Public Service Advertisements in Cultural Perspective].&lt;br /&gt;
&lt;br /&gt;
8.Xiong Bing 熊兵. (2013).  翻译研究中的概念混淆 [Conceptual Confusion in Translation Studies].&lt;/div&gt;</summary>
		<author><name>Song Jianru</name></author>
	</entry>
	<entry>
		<id>https://bou.de/u/index.php?title=History_of_Translation_Studies_8&amp;diff=113046</id>
		<title>History of Translation Studies 8</title>
		<link rel="alternate" type="text/html" href="https://bou.de/u/index.php?title=History_of_Translation_Studies_8&amp;diff=113046"/>
		<updated>2020-12-16T11:56:02Z</updated>

		<summary type="html">&lt;p&gt;Song Jianru: /* On the Chinese Translation of A Pale View of Hills from House's Translation Quality Assessment Model	宋建茹	Song Jianru */&lt;/p&gt;
&lt;hr /&gt;
&lt;div&gt;这里是《翻译学史》的书稿第八部分(Part 8)。麻烦各位同学看一下已经存在的章回（样品），自己再加进去新的一个章回（就是你们的学期论文）。请也帮助同学们把他们的论文改正。这样多次修改，大家的论文会越来越好。&lt;br /&gt;
&lt;br /&gt;
学期论文（结合学期所学，撰写一篇5000以上单词的英文论文，按照专业杂志的格式，题目、摘要、关键词和参考文摘需要英中，文章英）。学期论文成绩占70%，平时成绩（含课堂表现、展示及作业）占30%。&lt;br /&gt;
&lt;br /&gt;
*Link back to course homepage: [https://bou.de/u/wiki/Introduction_to_Translation_Studies Course Homepage Intro. to TS]&lt;br /&gt;
*Link back to the final exam paper section of the course homepage: [https://bou.de/u/wiki/Introduction_to_Translation_Studies#Final_Exam_Papers Final Exam Papers]&lt;br /&gt;
*Link to other parts of the final exam papers' website: [https://bou.de/u/index.php?title=History_of_Translation_Studies_1 Part 1], [https://bou.de/u/index.php?title=History_of_Translation_Studies_2 Part 2], [https://bou.de/u/index.php?title=History_of_Translation_Studies_3 Part 3], [https://bou.de/u/index.php?title=History_of_Translation_Studies_4 Part 4]; [https://bou.de/u/index.php?title=History_of_Translation_Studies_5 Part 5], [https://bou.de/u/index.php?title=History_of_Translation_Studies_6 Part 6], [https://bou.de/u/index.php?title=History_of_Translation_Studies_7 Part 7], [https://bou.de/u/index.php?title=History_of_Translation_Studies_8 Part 8]; [https://bou.de/u/index.php?title=History_of_Translation_Studies_9 Part 9], [https://bou.de/u/index.php?title=History_of_Translation_Studies_10 Part 10].&lt;br /&gt;
&lt;br /&gt;
='''History of Translation'''=&lt;br /&gt;
== Study on Brand Name Translation from the Perspective of Cultural Difference	谭鑫洁	Tan Xinjie==&lt;br /&gt;
&lt;br /&gt;
==='''Abstract'''===&lt;br /&gt;
&lt;br /&gt;
== Abstract: ==&lt;br /&gt;
&lt;br /&gt;
==='''key words'''===&lt;br /&gt;
&lt;br /&gt;
==='''摘要'''===&lt;br /&gt;
&lt;br /&gt;
==='''关键字'''===&lt;br /&gt;
&lt;br /&gt;
===Complete transcript of the content of the original work ===&lt;br /&gt;
&lt;br /&gt;
===Same style and manner of writing===&lt;br /&gt;
&lt;br /&gt;
===Equivalent effect===&lt;br /&gt;
&lt;br /&gt;
===Discussion===&lt;br /&gt;
&lt;br /&gt;
===Conclusion===&lt;br /&gt;
&lt;br /&gt;
===Bibliography===&lt;br /&gt;
&lt;br /&gt;
==A Comparative Study on the Translation History in Western Countries and China	王煜	Wang Yu==&lt;br /&gt;
&amp;lt;center&amp;gt;王煜，202020080645.&amp;lt;/center&amp;gt;&lt;br /&gt;
===Abstract===&lt;br /&gt;
Translation is an intercultural communication activity, translation activities have accelerated the development of human civilization and reduced the communication barriers between people of different countries or nations. With time goes by, things are in a state of flux and both the western and eastern countries have gradually formed their own history of translation, the study of translation history is a basic project of discipline construction. Though there are many differences among the translation histories of western countries and China, the two kinds of translation histories are still shining their own bright unique lights and have an indelible influence and contribution to human translation activities. This paper intends to make a brief comparison of translation histories between western countries and China, which includes the origins, the stages, the representatives of the stages, the significance and influence as well as the differences of the two translation histories.&lt;br /&gt;
&lt;br /&gt;
===Keywords===&lt;br /&gt;
Translation History of the West; Translation History of China; Comparative Study&lt;br /&gt;
&lt;br /&gt;
===中西翻译史对比研究===&lt;br /&gt;
&lt;br /&gt;
===摘要===&lt;br /&gt;
翻译是一种跨文化交流活动，翻译活动加快了人类文明发展步伐，减少了人们之间的沟通障碍。随着时代的变迁，中国和西方国家逐渐形成了各自的翻译史，翻译史的研究是学科建设的一项基础工程。尽管中西方翻译史在某些方面有所差异，但却都有着各自的独特性，并对人类的翻译活动产生了巨大的影响与贡献。文章将以中国和西方国家为主要对象，从二者翻译史起始，包含阶段和各阶段代表人物，影响意义，差异性出发，对二者的翻译史进行简略的对比研究。&lt;br /&gt;
&lt;br /&gt;
===关键词===&lt;br /&gt;
西方翻译史；中国翻译史；对比研究&lt;br /&gt;
&lt;br /&gt;
===1. Introduction===&lt;br /&gt;
No matter in China or in the west, translation plays an important role in knowledge-spreading. As an indispensable part of translatology, the study of translation history has made a great influence on translation activities, it has gradually become the focus of the literary and historical circles in recent years. Translation activities can be traced back to the origin of language, and the history of translation is almost as old as language itself, it is closely related to the changes in today's society. &amp;quot;Since the 1980s, the translation studies in the mainland of China have made remarkable progress in the curriculum design of Chinese and western translation history and the compilation of related works. In the early 1980s and 1990s, there were many related works came out one after another including History of Translation in China – before May Fourth（《中国翻译简史-“五四”运动以前部分》） written by Ma Zuyi, A Historical Manuscript of Chinese Translated Literature （《中国翻译文学史稿》）edited by Chen Yugang, and also the A Short History of Translation in the West（《西方翻译简史》） the author of which is Tan Zaixi. Thus, it opens the gate for the compilation of Chinese and western translation history works.&amp;quot;(Xie Tianzhen2009,Ⅴ) The history of western translation can be divided into five stages while the Chinese study of translation has a glorious history of more than two thousand years and has experienced five climaxes. Through the comparative study of Chinese and western translation history, it will help us to have a deeper understanding of Chinese and western translation activities and thus to gather a general full view of it, which will be a positive and meaningful attempt.&lt;br /&gt;
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===2. The Translation History of Western Countries===&lt;br /&gt;
Western translation activities are rich in a long history and a multiyear span. The history of western translation can be roughly divided into three stages: the traditional stage, the modern times and the contemporary. More specifically, it can be grouped into the ancient times, the middle ages, the Renaissance period and the time after WWⅡ.&lt;br /&gt;
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===2.1 The First Stage: Translation in the Ancient Times===&lt;br /&gt;
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The translation history of western countries first began in the the 3rd century BC. In a broad sense, the earliest translation in the west is the Old Testament translated by 72 Jewish scholars in Alexandria, ancient Egypt, between the 3rd and 2nd centuries BC; Strictly speaking, the first western translation is the Greek Homer Epic Odyssey translated by Andronicus in Rome in the middle of the third century BC.(Tan Zaixi2000,88-89) At the end of the 4th BC, during this time, the Greece began to decay and the Roman had became stronger and stronger with its military expansion. The expansion of the Roman Empire brought itself into contact with the splendid Greek culture, therefore, the Romans not only conquered the Greek city, but also inherited and developed the brilliant achievements of ancient Greek culture, and then created a  splendid cultural of its own era after Greece. So soon began a large scale translation activities, the activity of translating and introducing Greek classical works probably began in this period.(Liu Junping2009,8) Many famous translation theorists began to make their presences, namely Cicero, Quentin, Jerome and so on, also the famous Roman litterateurs like Andronicus, Naevius, Ennius, these great writers used Latin language to translate or adapt Homer’s epic or other Greece dramas.(Tan Zaixi2000, 89) Started the translation tradition and promoted the birth and development of Roman literature.&lt;br /&gt;
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===2.2 The Second Stage: Translation in the Middle Ages (4th-6th)===&lt;br /&gt;
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The second climax occurred in the late Roman Empire through the early Middle Ages and was religious in nature. In this period, translation was mainly related about the religious stuff. Religious forces have great influence in the west, Christianity strives to promote its own religion, thus, the Bible, the source and psychological weapon of the Christianism naturally meant a lot in religious world. Since the Old Testament of the Bible was written in Hebrew and Greek, respectively, it needed to be translated into Latin for effective circulation in Rome. &amp;quot;Jerome was a Latin Christian priest, he translated the Bible into Latin(Vulgute) according to the Hebrew version of the Bible.&amp;quot; This version had a great influence on medieval theology and was the most widely circulated and authoritative translation of the Middle Ages, marking an unprecedented level of Western translation.(Tan Zaixi2000, 89)&lt;br /&gt;
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===2.3 The Third Stage: Translation in the Middle Ages (11th-12th)===&lt;br /&gt;
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This period can also be called &amp;quot;the period of the Arab Centennial Translation Movement&amp;quot;,(Liu Junping2009,9) it lasted over two hundred years. In order to consolidate the rule and promote socio-economic and cultural development, the medieval Arab Empire undertook a massive, organized academic activity to translate and introduce the scientific and cultural classics of ancient Greece and the East. Translators of this period actively translated the most important works of Greek literature in all disciplines with an open mind and a strong desire for knowledge. Between the 11th and 12th centuries, Toledo became Europe’s academic center for its prosperous translation activities, the western translators who gathered here translated many works from Arabic into Latin. Cultural patterns and religious ideas converged here.(Tan Zaixi2000, 90) Until nowadays, the positive influence of the movement still plays an inherent role: numerous proprietary names such as ‘concept’, ‘category’ all are gradually established in Arabic. This movement not only facilitated the integration of the inner Arab world, but also, in fact, promoted the integration of the Western and Persian worlds.&lt;br /&gt;
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===2.4 The Fourth Stage: Translation in the Renaissance Period===&lt;br /&gt;
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The Renaissance movement is a European ideological and cultural movement which took place from the 14th century to the 16th century, and reached its peak in the 16th century and inspired a cascade of the development of science, art and literature. A large number of outstanding translators shown up and a series of excellent translation works had been produced. During this time, a great quantity of ancient Greek and Roman classics had been rediscovered and translated into various European languages, which had brought about a profound impact on the European nation states. Leonardo Buruni, who was one of the most influential cultural translation practitioners in the Renaissance period and was also one of the earliest representatives of humanistic translators in the history of western translation. He was famous for his translation of Plato and Aristotle. Humanists began to study the Bible with the method of studying classical literature, and translated the Bible into the national language, which led to the rise of the religious reform movement. In Germany, Martin Luther, a religious reformer, translated the first mass Bible which influenced most and ushered in a new era in the development of modern German; in Britain, Chapman, a writer and translator, translated Homer's Iliad and Odyssey from 1958 to 1616, and the translation and publication of the King James Bible in 1611 marked the formation of modern English.(Liu Junping2009,9) The renaissance played a very important role in the western history of the development of translation, it marked the national language status in the field of literature and translation having finally been consolidated, simultaneously, it showed the translation is playing a huge role in the formation and development of the national language, literature and thought.&lt;br /&gt;
During the the three hundred years that lasted from the 17th century to the 19th century, translation activities continued to move forward. Although its scale and influence could not be compared with that of the Renaissance, it still produced many excellent translators and translated works. The biggest feature was that translators not only continued to translate classical works, but also became interested in modern and contemporary works. The works of Cervantes, Shakespeare, Balzac, Goethe and other great writers had been repeatedly translated into various languages, and translations of Eastern literature have also been published.(Tan Zaixi2000, 91)&lt;br /&gt;
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===2.5 The Fifth Stage: Translation after WWⅡ===&lt;br /&gt;
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Although World War II has brought different degrees of blows to many countries, some western countries have used a large amount of capital to actively resume production, developed various social fields, and attached great importance to the person with ability. Western science and technology are changing with each passing day, driven by cybernetics, information theory and system theory, the world of knowledge and experience has been greatly expanded, and social and cultural exchanges have become increasingly close, which provided a solid material foundation and ideological guarantee for the prosperity of translation. With the growing in number or quantity of translation activities, the translation theory continues to develop, and the number of translation talents in various countries keeps on increasing. Translation has gradually expanded from traditional literary and religious translation to other fields, such as scientific and technical translation and business translation, and with the emergence of professional translators, the influence of translation has become more and more obvious, playing an important practical role. Distinctive features in this time, from the scope to the scale, effect, and to the forms, are all different from any time in the past, having made tremendous progress, the translation scale has exceed the past.&lt;br /&gt;
There are a large number of outstanding translators and translation theorists in the west, they have put forward their different points from different angles in different periods, which made a brilliant contribution to the history of western translation. The western translation activity promoted the cultural exchange and spread the ideas.(Tan Zaixi2000, 92)&lt;br /&gt;
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===3. The Translation History of China===&lt;br /&gt;
China has a long history with 5000 years of civilization. Since China is a multi-ethnic country, so translation plays an irreplaceable role in the communication between different nationalities. There is no reference to the history of translation in China, although there are some documents in the Xia and Shang Dynasties, we still can not discern the translation activities at that time from the existing records. &amp;quot;The song of the Yue Boatman can be regarded as the first poetry translation in Chinese history.&amp;quot;(Ma Zuyi1998,5) However, it was only an isolated translation activity and did not trigger a large-scale translation movement in China.&lt;br /&gt;
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===3.1 The First Stage：Translation of Ancient Buddhist Scriptures===&lt;br /&gt;
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The first climax of the Chinese translation history was the translation of ancient Buddhist scriptures. The Potala Sutra should be the earliest translation of Buddhist scriptures in China,it was also said that the Forty-Two Chapters Sutra is the earliest Chinese translation of the Buddha's sutras, however, the one that is proven to be reliable should be the book The Fifty Books of the Mingdu translated by An Shigao during the reign of Emperor Huan of the Eastern Han Dynasty.(Ma Zuyi1998,17)&lt;br /&gt;
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It has experienced four phases, each of which had its own features: the first was the starting period which was from the last year of emperor Huan in the Eastern Han Dynasty to the Western Jin Dynasty. Translators in this period were mainly Buddhist monks,(Ma Zuyi1998,33) However, the quality of the translated works depends on the ability of the translators’ understanding of Chinese, so the classics of the translated works are varied. Also, due to the shortage of learners' language knowledge , they usually used literal translation. The second perid was the developing time, from the Eastern Jin Dynasty to Sui Dynasty. The Buddhist scriptures continued to prevail under the rulers' advocacy and began to translated Buddhist scriptures in an organized way which was also use the literal translation. During this period, Shi Daoan put forward the famous theory of ‘Five losses of source texts and three difficulties in translation’. Meanwhile, through the translation and interpretation of nearly 400 volumes of Buddhist classics, kumarajiva first introduced Indian Buddhism to the Chinese people, which played an important role in the prosperity of Chinese Buddhism at that time.(Ma Zuyi1998,40) The translation in this time had changed from individual translation into group translation which had improved the quality if translation and as well made some progress in translation theories and skills.(Ma Zuyi1998,55) The third period was the heyday of the translation history took place in Tang Dynasty.(Ma Zuyi1998,58) Xuanzang was an important figure in promoting Sino Indian friendship and cultural exchanges in China's history，not only was he a great translator and organizer of translation, he was also a great translation theorist whose contribution to translation studies still remains significant today. As for the last period, it was in the Northern Song Dynasty, the studying of translating scriptures gradually withered, and during this period, the translation mainly focused on the esoteric classics translations.(Ma Zuyi1998,82)&lt;br /&gt;
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As part of Chinese history, especially as the link of the cultural development, Chinese ancient Buddhist sutra translation has contributed more than a lot.  The spread of Buddhist ethics contributed to the formation of Taoism in China.&lt;br /&gt;
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===3.2 The Second Stage：Technical Translation during the Yuan and Ming Dynasties===&lt;br /&gt;
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The translation of Buddhist scriptures gradually declined during the two hundred years of the Ming Dynasty. With the arrival of western Christian missionaries, China came into contact with Europe. In order to facilitate their relations with Chinese officials and intellectuals, the missionaries translated works of western science and technology as well as Christian texts assisted by Chinese officials. They also introduced the Chinese classics to the West. Matteo Ricci came to China on a mission to introduce Western scientific and technological knowledge. He pioneered the history of combining Chinese and Western translation to introduce Western scientific and technical literature, and was the first to translate the Four Books into Latin, he was the first to introduce Chinese texts to the West.(Ma Zuyi1998,263) From the Wanli period of the Ming Dynasty to the &amp;quot;new learning&amp;quot; period of the Qing Dynasty, there appeared translators who introduced science, literature and philosophy in Western Europe, represented by Xu Guangqi, Lin Shu and Yan Fu. Xu Guangqi was a patriotic scientist and organizer of the scientific and cultural movement in China at the end of the Ming Dynasty, and made outstanding achievements in introducing Western natural sciences and improving the level of science in China.&lt;br /&gt;
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===3.3 The Third Stage：Literary Translation in Late Qing Dynasty===&lt;br /&gt;
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After the Opium War, the Qing government organized a large number of scholars to translate western natural science books, Under the influence of the reform thought, a large number of translations introducing western political thoughts, scientific methods and some literary works appeared. The records of four continents, translated by Liang Jinde, Lin Zexu asked him to do so, was the first systematic introduction to the geographical knowledge of western countries in modern China.（Ma Zuyi1998,329）After the Sino-Japanese War of 1894-1895, Yan Fu translated the theory of evolution and put forward the triple criteria of ‘faithfulness, fluency and elegance’, which has  played a great guiding role in the translation practice of later generations, His translation promoted the development of &amp;quot;new learning&amp;quot; and enlightened the Chinese nation at that time. Another scholar Liang Qichao, who was a politician, thinker and encyclopedia scholar of that time and advocated that China needs to develop the translation career and cultivate translation talents at a full stretch. He has done fruitful research on the translation of Buddhist scriptures and the translation of science and technology between the Ming and Qing Dynasties.&lt;br /&gt;
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===3.4 The Fourth Stage：The Translation of Socialist and Communist Works===&lt;br /&gt;
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The May 4th Movement was a watershed in China's modern translation history, made a significant contribution to the introduction of foreign literature to China and the development of literature in China. After the May 4th movement, China's translation industry has ushered in a new historical period, translators in this period of time, by comparison with those during the late Qing dynasty, were more selective regarding source texts. Chinese translation scholars began to introduce the classic works of Marxism-Leninism and the literature of the proletariat. The translation of the Manifesto of the Communist Party was published during the May 4th movement. During this period, great changes have taken place in the content and form of translation work: vernacular began to replace classical Chinese, as a result, popular language becomes easy to understand, the excellent literary works of western countries have attracted more and more Chinese readers. Famous translators like Lu Xun, Mao Dun, Zheng Zhenduo, Guo Moruo, Zhu Shenghao, Lin Yutang, these scholars had translated a large number of foreign masterpieces and enriched the inner world of the Chinese people, Lu Xun once advocated that there should be an exotic atmosphere in the translated works which would familiarize the readers with the foreign cultures. He also believed that literal translation of culturally loaded words was one of the important means of enriching the mother tongue. These scholars helped the Chinese people to know more about the outside world and laid a good foundation for the systematization and scientization of translation theory in China.&lt;br /&gt;
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===3.5 The Fifth Stage：The Translation after 1949===&lt;br /&gt;
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The founding of the People's Republic of China in 1949 enabled translation to enter into a new era. With the founding of the new China, China's translation industry was also liberated. Translation became a very important part of the national cultural and educational cause. National organizations for translators were established in order to protect the interests and benefits of translators. The quantity and quality of translated works have grown by leaps and bounds. Since then, translation work has been an important part of the new socialist culture, and has been developing rapidly, making great achievements and perfecting translation theory. The classical works of Marxism-Leninism, excellent foreign literature, scientific and technical literature and the like were systematically introduced. There are large-scale translation like the translation of Marx and Lenin's works. In the 1950s, scientific and technical works to meet the demands of the national social and economic construction. In the 1970s, translation of United Nations documents after China was restored to its rightful seat in the United Nations. Also, literary translators became a very important part of China's literature and arts personnel. Qian Zhongshu He puts forward his &amp;quot;transmigration theory (化境说)&amp;quot; for literary translation. That is a literary translation is like the act of transmigration in which the souls, the spirit of the original text remain in the target text even although the carrier of them, the language, has changed. In 1978, two years after the end of disastrous &amp;quot;cultural revolution,&amp;quot; China adopted its &amp;quot;reform and open&amp;quot; policy. A new and dynamic atmosphere for translation emerged.&lt;br /&gt;
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===4.The Comparative Study Among the Two Kinds of Translation Histories===&lt;br /&gt;
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===4.1 The Similarities of the Western and Chinese Translation History===&lt;br /&gt;
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About the religious and translation, we can easily notice that in the history of Chinese and western translation, almost all the early translation activities were the translation of religious classics. The translation of religious classics had opened the curtain of Chinese and western translation history. The spread of religion is always accompanied by the translation of religious classics. It is not difficult for us to understand the reason: after the emergence of religion, in order to absorb more believers, it is necessary for the religious to spread widely across nations and countries. Therefore, from ancient times to the present, religion is always a kind of existence form of various national beliefs and cultures. It keeps on influencing the spiritual belief and behavior of the society.&lt;br /&gt;
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The translation activity has made great contributions to the establishment and development of national languages in various countries. For example, in the history of western translation, Martin Luther's Bible translation played an important role in the unification and development of German language and the establishment of modern German, what’s more, the English version of the Bible enriched the English vocabulary and benefited the modernization of English a lot. The same in China, the Buddhist scripture translation also enriched the use of Chinese vocabulary, in the ideological field, it not only laid the foundation for the establishment of Taoism, but also paved the way for the formation of &amp;quot;New Confucianism&amp;quot; in Song Dynasty. And we can not ignore the contribution of the literary translation in the first half of the 20th century in the establishment and development of modern vernacular Chinese. &lt;br /&gt;
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The translation activity helps to transmit cultural values and promote cultural exchange. Translation bears the mission of cultural exchange, the translation activities are trying to make a close connection between nations and countries and introduce the language and cultural habits of one nation to another. Such kind of efforts have enriched the vocabulary and promoted the exchange between areas. Jesuits who came to China in the late Ming and early Qing dynasties would translate Chinese classics and literary works into foreign languages, which, in a state of isolation between China and Europe, they have become the middlemen for the exchange of Chinese and Western civilizations.(Tan Zaixi1999)&lt;br /&gt;
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===4.2 The Differences Between the Western and Chinese Translation History===&lt;br /&gt;
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First is that, the time is different. Western translation predates Chinese translation by over 200 years. It is said that the reason is due to the differences in topography and geomorphology of the two parts. We all know that China possesses a great number of mountains and lakes, and in the ancient times, it would take quite a few days to send messages from one place to another place, especially when people in the remote areas, it would be a hard and long journey for them to head for a destination. So, there is difficulty in communicating among the various peoples in different nations, there will be delay of the communication and connection. As for the west, there are numerous plains, so it was much convenient and easier for the western people to communicate and exchange their ideas with each other, which set a ideal environment for the development of translation activity.&lt;br /&gt;
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Also, the position of the religious varies. The different traditional culture of the west and China has made the concept of religious of the two are quite varied from each other. Different religious cultures have different forms of expression and vocabulary of their own. In the west, the Bible is not only a religious classic but also an important mainstay of western culture and the foundation of Christian faith. Buddhism was introduced into China from India in the early years of AD and became a very important part of Chinese traditional culture, in order to consolidate his ruling position, the rulers ruled the people spiritually, and the doctrine of Buddhism was in line with the ruler's appetite, so it was first spread among the ruling class and gradually gained its legal status.&lt;br /&gt;
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The translation tradition of the west and China differs. One of the differences of them is the difference between single system and multiple system. “The simplicity of Chinese translation tradition is mainly in the narrow sense，though there are different kinds of translations of national languages in China, most of them are still dominated by the tradition of Chinese language and culture translation. “because they all occurred in the same environment of the language culture since ancient times, that is , the environment of Chinese language culture.” By way of contrast, In terms of space, the western translation tradition did not always develop in the same region. In the later formation and development process, it spread throughout all ethnic regions in Europe；In terms of time, the western translation tradition began in ancient Rome, and then evolved into the ancient Latin language and culture system. In the later period of the middle ages, the system expanded and evolved into many relatively independent ethnic systems. So the system of the west is more like a kind of multiple system instead of a single system like China.(Tan Zaixi2000,15)&lt;br /&gt;
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The Chinese and western translation concepts are different. Then, the translation theories are different. Chinese translation tradition pays more attention to practicality than to the theory. Like professor Tan Zaixi once said that: “What Chinese translators and translation theorists are most concerned about is how to deal with the difficulties in translation and how to deal with them.” however, western translation pays more attention to systematicness and theory. Secondly, the national characteristics of China and the West are also different. Relatively speaking, Western ideas are more open and China is conservative. For a long time, the Chinese people advocate authority and accept more challenges less, China's three cardinal principles and five constancies in religion are in sharp contrast to the religious reform in the West. Although the West also advocates authority and takes religion as its belief, it dares to break through dogmatism, which brings a breakthrough to western translation studies to a certain extent.&lt;br /&gt;
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===Conclusion===&lt;br /&gt;
History is a bridge connecting the past, the present and the future. Throughout the history of translation between China and the west, although the differences between them inevitably exist, the brilliant translation achievements made by both sides are remarkable: excellent translators, translation scholars, or outstanding  translation theory, translation works, all of these have opened up the way for our future translation research, they are leading people to the direction of knowledge, and constantly leading us to explore into the unknown field.&lt;br /&gt;
Mastering the history of a discipline can help us to see the direction of its development, we then will able to learn from the experience and lessons in this development process and use this kind of method to guide the development of this subject. To have contact with the history of translation is helpful for us to understand and improve the level of translation and develop the translation career. The achievements of our predecessors have accumulated valuable cultural heritages for us. We should sum up our predecessors' translation experience and continue to make our efforts for our country's translation cause.&lt;br /&gt;
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===References===&lt;br /&gt;
*Tan Zaixi. 谭载喜. (2000). 翻译学 [A Series of Translation Studies in China]. Wuhan: Hubei Education Press 湖北教育出版社.&lt;br /&gt;
*Xie Tianzhen. 谢天振. (2009). 中西翻译简史 [A Brief History of Translation in China and the  West]. Foreign Language Teaching and Research Press外语教学与研究出版社.&lt;br /&gt;
*Qi Jian. 戚健. (2017). 古罗马时期翻译思想新探 [A New Probe Into the Translation Thoughts in Ancient Rome]. 南昌航空大学学报：社会科学版Journal of Nanchang Hangkong University: Social Science (3) 68-74.&lt;br /&gt;
*Ma Zuyi. 马祖毅. (1998). 中国翻译简史-“五四”以前部分（修订本） [A Brief History of Chinese Translation: The Part Before the May 4th Movement] . China Translation Corporation中国对外翻译出版公司.&lt;br /&gt;
*Liu Junping. 刘军平. (2009). 西方翻译理论通史 [A General History of Western Translation Theory]. Wuhan: Wuhan University Press武汉大学出版社. &lt;br /&gt;
*Tan Zaixi. 谭载喜. (1999). 中国翻译与西方翻译[Chinese Translation and Western Translation]. 中国翻译 Chinese Translation Journal(5) 6-8.&lt;br /&gt;
*Wang Yong. 汪勇. (2008). 翻译与宗教传播[Translation and Religious Communication]. 中国校外教育理论 Education for Chinese After-school(26) 51-53.&lt;br /&gt;
*Li Xuan. 李璇. (2012). 中西翻译高潮之对比[Comparison of Translation Climax Between China and the West]. 青年文学家 Youth Literator(3) 131.&lt;br /&gt;
*Tan Zaixi. 谭载喜. (2000). 中西译论的相异性[The Differences Between the Chinese and Western Traditions of Translation Theories]. 中国翻译Chinese Translation Journal (1) 15-21.&lt;br /&gt;
*Tan Zaixi. 谭载喜. (1999). 中西译论的相似性[The Similarities Between the Chinese and Western Traditions of Translation Theories]. 中国翻译Chinese Translation Journal (6) 25-28.&lt;br /&gt;
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==Comparison and Translation Studies Between Chinese and Western Color Terms	方洁玲	Fang Jieling==&lt;br /&gt;
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=== Abstract ===&lt;br /&gt;
Color terms are terms used to describe the external color characteristics of things, and are very common in our lives. We use them not only to describe the external image of an object, but also to express our inner psychological feelings. Color words contain rich cultural connotations, which should not be understood simply from their literal meanings when translated, but from the different cultural connotations and extended meanings contained in the color words to understand and choose the meanings of the words. This paper first introduces the composition of color words in Chinese and English and makes a comparative analysis of their characteristics, then discusses the different meanings given to the six colors in Chinese and English, and then provides different translation methods that should be used in different situations, providing a certain reference for the English-Chinese translation.&lt;br /&gt;
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===Key words ===&lt;br /&gt;
color terms, cultural difference , reason ,translation methods&lt;br /&gt;
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=== 摘要 ===&lt;br /&gt;
颜色词是用来描述事物外在颜色特征的词语，在我们生活中非常常见。我们不仅用它描绘物体的外在形象，也用它表达内在心理感受。颜色词包含了丰富的文化内涵，在翻译的时候不能简单地从字面意思上理解，应从颜色词所包含的不同文化内涵和引申意义来理解和选择词义。本文将首先介绍中英颜色词的构成并对其特点进行对比分析，然后具体论述六种颜色在中英文中被赋予的不同意义，接着提供了面对不同情况应该采用的不同翻译方法，为英汉互译提供了一定的参考。&lt;br /&gt;
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=== 关键词 ===&lt;br /&gt;
颜色词 文化差异 原因 翻译方法&lt;br /&gt;
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=== 1.Introduction ===&lt;br /&gt;
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Color is an indispensable part of human life,it is because of the colorfulness of colors that the world is much more varied and pleasant. Color words not only have an important impact on people's vision, but also have a great impact on people's inner feelings and emotional expression. As an important part of language, color words are frequently used by human beings in English, but due to different histories, cultures, customs and habits, in the long run, different people have given specific meanings to various colors. Analyzing and comparing the different connotations of color words in Chinese and Western cultures and exploring the cultural differences between English and Chinese will be of great help to the translation work between English and Chinese. At the same time, translators will inevitably meet a lot of problems in the translation work. In this paper, we mainly discuss the composition and cultural connotation of color words between Chinese and English. In addition, we also propose some translation methods and make a brief conclusion.&lt;br /&gt;
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=== 2.Characteristics of the Composition of Chinese and Western Color Words ===&lt;br /&gt;
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Color words are words used to describe the color of different things. And they are the symbols that exist in human languages to record a large number of colors, which are generally considered to be adjectives in grammar.&lt;br /&gt;
In the historical development of Chinese color words, there are three types.(Cai Xiaomin2020,65) &lt;br /&gt;
(1) Basic words. These words are the most basic and objective, and are generally used to objectively describe the most direct external color state of an object. They are &amp;quot;white&amp;quot;, &amp;quot;black&amp;quot;, &amp;quot;red&amp;quot;, &amp;quot;yellow&amp;quot;, &amp;quot;blue &amp;quot;&amp;quot;Green&amp;quot; &amp;quot;Gray&amp;quot; &amp;quot;Purple&amp;quot; &amp;quot;Brown&amp;quot; and &amp;quot;orange&amp;quot;.&lt;br /&gt;
(2) Reference words. Reference words means that people specifically distinguish basic words to show different colors. These words are more detailed and specific than the basic words. For example, we tend to divide &amp;quot;green&amp;quot; into &amp;quot;dark green&amp;quot; &amp;quot;grass green&amp;quot; and so on.&lt;br /&gt;
(3)Descriptive words. Descriptive words comes from people's perception of nature. These words can not only distinguish colors, but also describe what they look like. Such color words are more literary and subjective.&lt;br /&gt;
Color words in English are mainly divided into basic color words and compound color words.&lt;br /&gt;
basic color words : (1) simple colors. For example, black, white. (2) Colors of plants. For example, orange, etc.&lt;br /&gt;
Compound color words : (1) the name of plant + simple color. For example, apple green. (2) Chemical name + simple color. For example, vermilion, etc&lt;br /&gt;
&lt;br /&gt;
=== 3.The Different Understanding and Perception of Colors in China and the West ===&lt;br /&gt;
Nature is colorful and can be described with many words. Generally speaking, black symbolizes oppression, white symbolizes purity and innocence, and green symbolizes life force. However, due to different histories and cultures, the same color may have different meanings. After a careful study of color words, it is easy to see that color words create various associations that have a great impact on a person's emotions and behavior. This is the main reason why people use color words to explain their moral character, emotions, and perceptions of things. Different cultures and ways of thinking lead to different meanings of color words, and this disparity can affect people's understanding of the meaning of the same word. For example, in English-speaking countries, white symbolizes purity and beauty, which is why brides wear white wedding dresses in Western weddings. However, in China, white is often used to express grief, and a white funeral dress is worn at a funeral. In this paper, we start with the six basic color words red, black, white, yellow, purple and blue, and compare their cultural connotations in English and Chinese, discussing the different understanding and cognition of colors in China and the West and the differences in cultural connotations between Chinese and Western cultures.&lt;br /&gt;
	&lt;br /&gt;
====3.1 红and Red ====&lt;br /&gt;
&lt;br /&gt;
In traditional Chinese culture, &amp;quot;红&amp;quot; represents joy, happiness, good luck, and prosperity. &amp;quot;红&amp;quot; is a color that cannot be absent from important events in China, such as the red couplets(红包), red lanterns（红灯笼）, and red packets（红包） during Chinese New Year festivals, the red dress of the bride at weddings, and other festive ceremonies in China. Similarly, words combining the word &amp;quot;红&amp;quot; generally mean prosperity, such as “hongguangmanmian”（红光满面）、”dahongdazi”(大红大紫)、”honghuo”(红火)、”hongren”(红人)、”hongrun”(红润), etc. In addition, during the revolutionary era, the color red also symbolized the modern Chinese revolution and power, such as the“hongsezhengquan”(红色政权)、”hongjun”(红军)、”hongqi”(红旗)、”hongge”(红歌)、”hongsewenjian”(红头文件)、”hongseganglin”(红色纲领), etc.(	Zhao Fenyan2019,232)&lt;br /&gt;
In the West, red refers to the color of blood, and when red is mentioned, it is generally associated with cruelty, violence, and bloodshed. For example, &amp;quot;red hands&amp;quot;, &amp;quot;red battle&amp;quot;, &amp;quot;the red rules&amp;quot; &amp;quot; red revenge&amp;quot;, the color red also symbolizes radical and violent revolution, as in &amp;quot;red activities&amp;quot;, but also danger and tension,such as &amp;quot;a red flag&amp;quot;. &amp;quot;red alert&amp;quot; &amp;quot;a red adventure story&amp;quot;, in addition to the above-mentioned symbolic meaning, the color red also has connotations of debauchery and obscenity.(Yan Wen2012,177)For example, red light district, a red waste of one's youth, and so on. The positive connotation of the color red in Western culture is due to the exchange and integration of different cultures, which is said to have been introduced to the West via Persia from the Far East. like red letter day、red envelope、the red carpet.&lt;br /&gt;
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====3.2 黑 and Black ====&lt;br /&gt;
&lt;br /&gt;
In Chinese history, “黑” is an honorable and dignified color, which had a high status in ancient times. During the Xia, Qin, and early Han dynasties, “黑” was the dress of emperors and officials, and the common people were only allowed to wear plain clothes, and then a restriction that was gradually relaxed after the Northern Song Dynasty. In China, the derivation of “黑” includes the positive meanings of stern, iron-faced, upright, and mysterious, such as in the art of theatrical masks, where the “黑脸” symbolizes the noble character of uprightness and selflessness. In addition to its positive connotations, “黑” sometimes symbolizes a derogatory meaning, indicating a counter-revolutionary, regressive, or stubborn party. For example, the ”阴曹地府” is said to be dark and sunless, and “黑”, as opposed to light, symbolizes darkness, death, terror, etc.&lt;br /&gt;
In the West, black is the color of death, symbolizing death, suffering, and grief, hence the black color of Western mourning garments. black tidings means &amp;quot;bad news&amp;quot;，Jesus was crucified on the Friday before Easter, The Black Friday is considered to be a &amp;quot;dangerous and ominous day&amp;quot;. Black also symbolizes &amp;quot;anger&amp;quot; and &amp;quot;irritation&amp;quot;, such as: black in the face,to look black at sb，Other words that express negative meanings，such as black sheep, black dog, black eye, black list, black and blue, black art, and other black symbols.(Wang Yu2012,151)In addition, black also represents seriousness, discretion, and pomp. Black suit and black dress have always been the most revered traditional clothing in the West. In solemn formal occasions, people like to wear black clothing. Symphony orchestra performers almost always wear black suits. The term &amp;quot;black-ball&amp;quot; refers to a costume ball. In business English, &amp;quot;a company in black&amp;quot; refers to a profitable business, where“ in black” means profitable, because on financial statements, profit figures are written in black ink.[6]&lt;br /&gt;
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====3.3 白 and White ====&lt;br /&gt;
 &lt;br /&gt;
In Chinese, “白” is often used to represent death, such as at funerals with white decorations, white flowers, and white mourning clothes, but there are also many words containing “白” that do not represent color at all, but rather the name of something or have another meaning,[8]such as”baicai”(白菜), “baixiong”（白熊）、 “baiyi”(白蚁)、”baijuan” (白卷)、 “baichi”(白痴), White&amp;quot; also means &amp;quot;pure, or unadulterated, such as”baikaishui”(白开水)、”baizhi”(白纸)、”baiqierou”(白切肉)etc. &amp;quot;White&amp;quot; also often means &amp;quot;in vain&amp;quot; or &amp;quot;without cost&amp;quot;, such as”baifeishi”(白费事)、“baida”（白搭）、”baisong” (白送)、“baishouqijia” (白手起家) etc(Chen Yongye2005,425) and The Chinese word “白” is also not the same as the English word &amp;quot;white&amp;quot;, which we can say the white people (白人), but is better translated as: She has a fair skin. In addition, it is difficult to summarize the exact meaning of some of the“白” in Chinese, For example “baihua”(白话) vernacular, “tanbai”（坦白）: to confess, to make a clean breast of something, etc.&lt;br /&gt;
In the West, however, white is considered as a symbol of purity, and it is customary to wear white wedding dresses and gowns at weddings, hence there exist the expressions like white-handed，a white lie，a white day, they treated us white etc.&lt;br /&gt;
	&lt;br /&gt;
====3.4 黄 and Yellow ====&lt;br /&gt;
&lt;br /&gt;
In traditional Chinese culture,”黄” is a symbol of power, honor, and nobility, in the Chinese feudal society, yellow is a symbol of imperial power and nobility, such as ”chonggao”(崇高)，”huangpao”(皇袍)、”huanggong”(皇宫)、”shengzhi”(圣旨) and so on. In modern Chinese, words such as “huangchengcheng”(黄澄澄),”huangcanvan”(黄灿灿)mean a good harvest and an auspicious day. ”黄” is a glorious color. And it is always associated with &amp;quot;honor&amp;quot;, &amp;quot;brilliance&amp;quot;, it is a symbol of &amp;quot;power&amp;quot; and &amp;quot;nobility&amp;quot;. To this day, ”黄” is still the symbol of ancient China, which is its positive meaning. Similarly, ”黄” has negative connotations, such as ”huangseshukan”(黄色书刊) , “huangseluxiang”(黄色录像) etc, but in the West, the term &amp;quot;the blue video&amp;quot;, &amp;quot;the blue talk&amp;quot; is used to describe the pornographic nature of the country. It means ”huangsedianying”(黄色电影)and ”huangsexinxi”(黄色信息)(Du Tianyu2020,188). In addition, ”黄” also means failure, sickness, or old age, such as ”huangji”(黄髫). The word ”黄” also means youth and ignorance.&lt;br /&gt;
In the West, in Western Christianity, yellow is a symbol of shame. Because in the Bible, Judas betrayed Jesus by wearing a yellow dress. Therefore, &amp;quot;yellow&amp;quot; has the connotation of betrayal .And it also means sadness, sickness, cowardice, etc. For example, &amp;quot;a yellow streak&amp;quot; means cowardice. &amp;quot;yellow&amp;quot; also has mean and vulgar semantics. In the 18th century, Americans often printed pornographic books on yellow paper. As a result, the low level of exaggeration and exaggerated distortion of facts used by newspapers and periodicals to attract readers was later extended to journalistic styles as well. For example, &amp;quot;yellow journalism&amp;quot; is a style of journalism that attempts to attract people in any way possible. [9]In English, Yellow Pages is the &amp;quot;yellow phone book&amp;quot;, and yellow boy is a slang term for &amp;quot;gold coin. The English words for Chinese ”黄” would be: pornographic, filthy, vulgar, obscene, etc. In English, blue is often used to mean ”黄”, such as blue jokes(下流的玩笑)、blue revolution (性解放)、blue films (黄色影片)、blue software (黄色软件)etc.(Chen Yongye2005,425) Some Chinese words have nothing to do with the English word yellow, such as blue jokes(下流的玩笑)、blue revolution (性解放)、blue films (黄色影片)、blue software (黄色软件)and so on.&lt;br /&gt;
	&lt;br /&gt;
====3.5 绿and Green ====&lt;br /&gt;
&lt;br /&gt;
In Chinese culture, “绿”represents vitality, and phrases related to”绿”express hope and vitality of people, such as“lüzhou”（绿洲）、“lvyiangran”（绿意盎然）. In today's China, ”绿”has a new symbolic meaning, such as: “lvseshipin”(绿色食品),”lvsechanye”(绿色产业), all referring to the concept of health, safety and non-pollution. The green light is also a signal for safe passage. In Chinese, a &amp;quot;lvmao&amp;quot; （绿帽）means that a man's wife is in an illicit relationship with someone else.(Hu Zongkang, Zhang Jun2019,153) However, in ancient Chinese culture, ”绿”means humbleness, because humble people wore green clothes. Also,”lvlinhaohan” (绿林好汉)means a barbarian who occupies a mountain and becomes king.&lt;br /&gt;
In traditional British culture, &amp;quot;Green&amp;quot; is a symbol of youth and vitality. It reminds people of the harmony and tranquility of nature. The &amp;quot;Green Peace Organization&amp;quot; is an organization that protects animals and plants. A dove with a green olive branch in its beak is a symbol of peace, &amp;quot;green winter&amp;quot; refers to a warm winter, and &amp;quot;in a green wood&amp;quot; refers to when people are young and strong. Green also represents a sense of madness and despair, just as Satan's image in the Bible is green. In addition, green in English also has a derogatory meaning of jealousy, lack of training, and childishness, such as “as green as grass”，’a green eye”，”a green hand”.(Chen Yuan陈缘2020,49) In addition, greenback means U.S. currency in English, and since U.S. dollar bills are green in color, green also means &amp;quot;money,&amp;quot; &amp;quot;bills,&amp;quot; or &amp;quot;economic power&amp;quot; in the United States.&lt;br /&gt;
	&lt;br /&gt;
====3.6 蓝 and Blue ====&lt;br /&gt;
&lt;br /&gt;
Blue is the color of the sea and clear skies, giving people a feeling of peace and tranquility. In Chinese, in addition to the color,”蓝” is often used together with other words to form phrases that have different meanings from the color. &lt;br /&gt;
For example, “蓝 青 官 话 “the standard Chinese spoken by the people with accent&lt;br /&gt;
“蓝本”script on which the works are based； model&lt;br /&gt;
“蓝图”（blue print）building plan&lt;br /&gt;
“蓝田生玉”the noble people usually come from the good family&lt;br /&gt;
“青出于蓝而胜于蓝 “the new coming from the old is better than the old .&lt;br /&gt;
But blue in English can be extended to depression, sadness, nervousness, immorality, obscenity, and pornography. For example :“feel blue“, ”be blue about future“,”Her mood is blue“,“be down with blues”,“sing the blues”,“blue devils”,“blue funk“,”blue revolution“, ”blue films“, ”blue jokes“, ”blue room” refers to a place in The White House where the president meets his friends and family. and the ”Blue Book“ refers to a book that contains the names of celebrities and important government officials.(Du Tianyu2020,187-188)&lt;br /&gt;
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=== 4.Reasons for the Difference in the English-Chinese Translation of Color Words ===&lt;br /&gt;
&lt;br /&gt;
Different countries and regions have different interpretations of color. The main reasons for this difference are geographical factors, historical factors, religious beliefs, and social systems, &lt;br /&gt;
	&lt;br /&gt;
====4.1 Geographic Factors ====&lt;br /&gt;
&lt;br /&gt;
Chinese civilization originated in the Yellow River Basin. The rich water resources and flat land of the Yellow River Basin have nurtured several generations of Chinese people. This is the main reason why the Chinese people love yellow. For generations, we Chinese people are also known as the “yanhuangzisun”(炎黄子孙)(Cai Xiaomin2020,66).Western civilization originated in ancient Rome. The only way out for Greece was to expand abroad. Therefore, blue became the favorite color of the Greeks.&lt;br /&gt;
	&lt;br /&gt;
==== 4.2 Historical and Cultural Factors ====&lt;br /&gt;
&lt;br /&gt;
A large number of color words have been created in different historical backgrounds and conditions. Therefore, it is important to understand the differences in the historical background and culture of different countries. For example, during the War of Resistance Against Japanese Aggression, our Party was called the”hongjun”(红军), which gave rise to expressions like “hongsezhengquan”(红色政权)、”hongjun”(红军)、”hongqi”(红旗)、”hongge”(红歌)、”hongsewenjian”(红头文件)、”hongseganglin”(红色纲领),etc.(Li Dan2018,132) In addition to some basic meanings, the color “红” in China also has some special historical meanings, such as the heroic and fearless revolutionary spirit. This is also the main reason why our national flag adopts the color red. Also in ancient China, yellow was a symbol of power, a color reserved for the royal family, representing the supreme authority, which meant that yellow robes were added to the flag. In the West, purple is used as a metaphor for &amp;quot;throne&amp;quot; and &amp;quot;prominence,&amp;quot; and the addition of a purple robe means rising to a position of prominence, because Western emperors and bishops have a tradition of wearing purple robes, such as :be born in the purple(生于皇室), be raised to the purple. In recent years, yellow has become more and more of a symbolic term in China for low taste, erotic vulgarity, and obscenity, such as”huangsedianying”(黄色电影)、”huangseshukan”(黄色书刊)、”huangseguangdie”(黄色光碟).etc. The &amp;quot;黄&amp;quot; in these names has nothing to do with the English &amp;quot;yellow&amp;quot;, these words in English are expressed like this pornographic, vulgar, obscene. It is very different from the associations in Chinese culture. The color vocabulary is visually and psychologically positive and derogatory for people of different nationalities.&lt;br /&gt;
&lt;br /&gt;
==== 4.3 Religious beliefs ====&lt;br /&gt;
&lt;br /&gt;
In China, the Five Element Theory is widely spread. Since &amp;quot;gold&amp;quot; is at the core of the theory, yellow becomes noble. In contrast, in the West, because yellow is stigmatized in Christianity and most people are Christians, many people dislike yellow and often even use it to convey negative connotations, according to &amp;quot;the Gospels&amp;quot; in the Bible's, in which Jesus was willing to be crucified, bleed to death, and be sacrificed with the blood of the Gospels. The Bible has been a classic of Christianity, and most people in Europe and the United States believe in Christianity. Since the Bible has always been a Christian classic, and most people in Europe and the United States are Christian, its influence on Western culture as a whole is immeasurable, and on English culture as well. Therefore, people think that &amp;quot;red&amp;quot; is associated with bloodshed, martyrdom, and bad things, and &amp;quot;red&amp;quot; makes them think of horrible things, such a“ red hand”( 沾 满 血 的 手 ),“ a red battle”( 血 战 ),“ to see the red light”(灾祸临头).&amp;quot;(Chen Yongye2005,425)In Chinese language, the color red is a symbol of honor, splendor, good fortune, and celebration. Such as: :“ 开门红”make/ get off to a good start,“ 满堂红”success in every field,“ 红 榜 ”honor roll,“ 红 运 ”goodluck,“ 红 事 ”wedding,“ 红 人 ”a favorite with someone in power etc.&amp;quot;.&lt;br /&gt;
&lt;br /&gt;
==== 4.4 Social System ====&lt;br /&gt;
&lt;br /&gt;
The use of different colors to represent political affiliations or national identities has long been a common practice among peoples of different social systems in China and the West due to their political, economic, and religious differences. In English, the true blue refers to the loyal members of a political party, especially the die-hard conservative members of the British party; White Paper or Blue Paper refers to a report or diplomatic document with blue or white covers issued by the British and American governments on a particular topic; Yellow Paper refers to the French and other countries. A government report of a country; Green Paper is a draft report for discussion by various committees; the Chinese use the term &amp;quot;红&amp;quot; to symbolizes the proletarian revolution, the meaning of which is derived from the book &amp;quot;Red Star Over China&amp;quot;(“红星照耀下的中国”,and is also translated into”西行漫记”) by American writer Edward Snow.(Li Dan2018,132)&lt;br /&gt;
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===5.Translation Methods of English-Chinese Color Words ===&lt;br /&gt;
 &lt;br /&gt;
From the above analysis, we can conclude that there are similarities and differences in the cultural connotations of Chinese and English color words. Therefore, in the translation of color words, it is impossible to generalize, so translators need to adapt to the local conditions and adopt an appropriate way to translate.&lt;br /&gt;
	&lt;br /&gt;
====5.1 Literal Translation ====&lt;br /&gt;
&lt;br /&gt;
Literal translation means that every effort should be made to maintain the linguistic style of the original work. At the same time, it requires that the target language should be fluent and easy to understand. There are similarities between English and Chinese languages and cultures. In the translation of English-Chinese color words, some color words can be found in the target language, while others have similar extended cultural meanings. Sometimes there is no similar extended meaning, but only a literal translation meaning, so the literal translation can also be used for translation.(Hu Zongkang, Zhang Jun,153)&lt;br /&gt;
For example, when the word black remains in its original color in the corresponding language, i.e, it has the same connotation, a literal translation is usually used.&lt;br /&gt;
black humor 黑色幽默 (an absurd, grotesque, or morbid humor in literature, especially in novels and plays)&lt;br /&gt;
black Friday黑色的星期五 (the Friday on which any disaster occurs)&lt;br /&gt;
black hand黑手党 (a secret organization that originated in Sicily, Italy, and has spread to the United States to engage in criminal activities)&lt;br /&gt;
black market 黑市、black- hearted 黑心的、blacklist 黑名单、black and white TV黑白电视, etc.(Chen Yuan2020,49）and red light district can be directly translated as“红灯区“, which refers to the neighborhoods where sex industries are concentrated in cities of certain countries and regions. Similarly, some color words in Chinese can be directly translated into English, for example:” 白露”, one of the 24 solar terms, is a culturally specific term in Chinese, which is completely unfamiliar to Western countries. Due to cultural exchanges, &amp;quot;white dew&amp;quot; is becoming more and more familiar to foreigners, and it has the same cultural meaning in English as &amp;quot;白露&amp;quot; in China. As another example, &amp;quot;绿油油&amp;quot; is a Chinese adjective used to describe the color of vibrant green leaves. We can translate it into English as &amp;quot;green and shiny&amp;quot; because the color words here are only used to describe objective points of view, and they have the same meaning.&lt;br /&gt;
	&lt;br /&gt;
==== 5.2 Free Translation ====&lt;br /&gt;
&lt;br /&gt;
Free translation. When the meaning of a color word in the original language is different from the meaning of the color word in the target language, the translator has to translate the meaning of the color word in the original language into the customary expression in the target language. In some cases, color words appear in both Chinese and English, but they do not have any color meaning; some are customary object names, while others give new meaning to them. In this case, the color itself cannot be focused on, so the colorless translation should be abandoned.This kind of translation based on the cultural background of two languages to correspond to the meaning is called &amp;quot;free translation&amp;quot;.(Chen Yuan2020,49）&lt;br /&gt;
Take black as an example, for instance, black lie--恶意的谎言、black and blue--青一块紫一块、black tea-- 红茶、black guard--恶棍、black coffee --不加牛奶的咖啡、pain somebody black-- 把某人描写成坏人、黑帮can be translated into “reactionary gang”、黑钱--ill-gotten money、黑面包 brown bread, and so on. Another example is that we often say &amp;quot;他是老师面前的“红人&amp;quot;, which is translated into English as &amp;quot;He is teacher's favourite student&amp;quot; ,”hongren”(红人)is an extended paraphrase of the Chinese, which does not mean literally, it means someone who is popular and be sought after by others, and the exact meaning needs to be contextualized. People from English-speaking countries will be confused if we translate it as &amp;quot;red people&amp;quot;. In English, the meaning of &amp;quot;one's favourite people&amp;quot; is somewhat similar to &amp;quot;红人&amp;quot;, so the phrase &amp;quot;one's favorite people&amp;quot; is appropriate. Another example is &amp;quot;a white elephant,&amp;quot; which is said to be a punishment given by the king of Thailand to his erring ministers in the past, as the cost of keeping white elephants is very high and would be a great financial burden. This word is very common in English, but a literal translation of &amp;quot;白象&amp;quot; would not have any connotation in Chinese, so it can be translated as &amp;quot;expensive and useless thing.（Jin Yan2012，130）&lt;br /&gt;
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===6. Conclusion ===&lt;br /&gt;
&lt;br /&gt;
This paper first discusses the construction of color words in Chinese and English, and then compares their compositional features. Secondly, six colors (red, black, yellow, white, green, blue) are taken as examples to analyze the cultural similarities and differences between Chinese and English color words. The reasons for the differences are divided into four main categories: geographical factors, historical factors, psychological factors, religious beliefs, and social systems, Finally, a solution to the problem is proposed, which provides a proper reference for translators when translating Chinese and English color words. When doing translation, translators can mainly use two different translation methods, namely, literal translation and free translation. When the Chinese cultural connotation of a color word in a sentence is the same as the English one, the literal translation can be used. When it is different from English, a free translation is appropriate. With the continuous penetration of globalization, people's languages and cultures are gradually interwoven, so does the meaning of color words, and also the similarities are expanding gradually. However, each nation-state has its own unique culture and customs, so the color words have completely different meanings in different regions and different languages. Therefore, when translating color terms, in order to translate the meaning of the text more accurately, the translator must have a deeper understanding of the color words.(Bao Dongjiao2005,107).In addition, the translator should not only learn translation skills, but also the history, geography, and culture of the country where the source and target language are located, which will help the accuracy of the translation. In short, the key to a good color word translation is the combination of translation skills and a deep understanding of the culture, as well as an accurate analysis of the color word.&lt;br /&gt;
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===7.Reference ===&lt;br /&gt;
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*Cai Xiaomin.蔡晓敏.( 2020).中英颜色词的对比与翻译研究[A comparative study of Chinese and English color words and their translation].海外英语[Overseas English],65-66.&lt;br /&gt;
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*Yan Wen.颜雯.(2012).翻译中颜色词的中西文化内涵差异[The difference between Chinese and Western cultural connotations of color words in translation].青年文学家·语言研究,[ Young Literati-Language Studies],177.&lt;br /&gt;
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*Jin Yan.金燕.(2012).浅析颜色词在中西文化下的翻译对比差异[An analysis of the contrasting differences in the translation of color words in Chinese and Western cultures].海外英语[Overseas English].&lt;br /&gt;
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*Zhao Fenyan.赵芬艳.(2019).试论中西颜色词的文化内涵及翻译策略[The cultural connotation of Chinese and Western color words and translation strategies].师资校企经验[Faculty school-enterprise experience],232-234.&lt;br /&gt;
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*Wang Yan, Zhang Bo.王艳,张博.(2012).谈中西文化对颜色的理解差异[Talking about the difference in the understanding of color between Chinese and Western cultures].教学实践[Teaching Practice],6-11.&lt;br /&gt;
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*Chen Yongye.陈永烨.(2005).英汉颜色词所表现的中西文化差异[The Chinese and Western cultural differences expressed by English and Chinese color words].辽宁工程技术大学学报[Journal of Liaoning University of Engineering and Technology],424-427.&lt;br /&gt;
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*Hu Zongkang, Zhang Jun.胡宗康,张军.(2019).英汉颜色词中“Green/绿”的对比与翻译方法研究[. Comparison and Translation of &amp;quot;Green/绿&amp;quot; in English and Chinese Color Words].文学教育[Literary Education],152-153.&lt;br /&gt;
&lt;br /&gt;
*Bao Dongjiao.鲍冬娇.(2015).中西红白颜色认知差异及翻译取向[Differences between Chinese and Western red and white color perception and translation orientation].湖北经济学院学报[Journal of Hubei University of Economics],106-107.&lt;br /&gt;
&lt;br /&gt;
*Li Dan.李丹.(2018).中西文化差异下的颜色词翻译[Translation of color words under the difference of Chinese and Western cultures].海外英语[Overseas English].&lt;br /&gt;
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*Li Hong.李虹.(2020).汉英颜色词翻译的差异性研究[A study of the differences between Chinese-English color word translations].文化长廊[Cultural Promenade].&lt;br /&gt;
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*Liu Mengqi, Chen Xingxing.刘梦琪,陈星星.(2020).浅谈颜色词的翻译[A brief discussion on the translation of color words].校园英语翻译研究[Campus English Translation Study].&lt;br /&gt;
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*Du Tianyu,杜恬雨.(2020).浅析文化差异对汉英颜色词翻译的影响[An analysis of the influence of cultural differences on the translation of Chinese-English color words].科教文汇[Science and Education],187-188.&lt;br /&gt;
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*Xu Yanping.许雁萍.(2009).中西文化中颜色词语的差异及其翻译[The Difference of Color Words in Chinese and Western Culture and Their Translation].文学语言学研究[Literary Linguistics Research],212-213.&lt;br /&gt;
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*Wang Yu.王羽.(2012).中西文化对比下颜色词的差异比较[Comparison of the differences in color words between Chinese and Western cultures].教育时空[Education Time],151.&lt;br /&gt;
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*Li Yun, Jia Aiguang.李云,贾爱光.(2020).大学英语教学中英汉基本颜色词翻译对比探讨[A Comparative Discussion on the Translation of English and Chinese Basic Color Words in University English Teaching].校园英语[Campus English],11-21.&lt;br /&gt;
&lt;br /&gt;
*Chen Yuan陈缘.(2020)英汉颜色词的文化差异与翻译[Cultural differences between English and Chinese color words and translation].海外英语[Overseas English],48-49.&lt;br /&gt;
&lt;br /&gt;
==Translation manipulated by ideology	许静	Xu Jing==&lt;br /&gt;
&lt;br /&gt;
==Comparison between the History of Chinese and Western Translation   周书尧   Zhou Shuyao==&lt;br /&gt;
&lt;br /&gt;
===Abstract===&lt;br /&gt;
Translation has existed since historical records. Translation goes hand in hand with human history, even before historical records. Whether in my country or Western countries, the long tradition of translation has become the most dazzling pearl in the process of human civilization.In addition, translation plays an indelible role in promoting cross-cultural communication and cultural communication.This article first discusses the history of translation in China from four stages , then discusses the five stages of western translation history , and finally compares and analyzes the similarities and differences between Chinese and Western translation histories, and puts forward some of the author's own views.&lt;br /&gt;
&lt;br /&gt;
===Key words===&lt;br /&gt;
The history of Chinese,The history of Western,the stages of  translation history,comparison&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
===摘要===&lt;br /&gt;
自历史记载以来,就存在翻译.翻译与人类的历史并道而驰,甚至先于历史记载.无论在我国,还是西方国家,悠久的翻译传统俨然成为人类文明进程中一颗最耀眼的明珠。此外，翻译在促进跨文化交流和文化传播上承担着不可磨灭的作用。本文首先从中国的四次翻译高潮论述中国的翻译史，再从西方的五次翻译高潮探讨西方的翻译史，最后对中西方翻译史的异同进行对比分析，提出一些笔者自己的看法。&lt;br /&gt;
&lt;br /&gt;
===关键词===&lt;br /&gt;
中国翻译史，西方翻译史，翻译高潮，对比&lt;br /&gt;
&lt;br /&gt;
===I.Introduction===&lt;br /&gt;
Since the 1980s, the Chinese translation studies community has made remarkable progress in the establishment of Chinese and Western translation history courses and the compilation of related works.In the 1980s and early 1990s,A Brief Introduction to the History of Translation in China from Ma Zuyi and other books of Chen Yugang and Tan Zaixi were published one after another,which raised the curtain for the compilation of Chinese and Western translation history works by the domestic translation scholars.The four stages in the history of Chinese translation have promoted the development of Chinese history, culture and society to varying degrees.The same as our country, Western translation has an age-old history.In a sense, the development of Western European civilization should first be attributed to the translators.The five stages in the history of European translation have promoted the exchanges of literature, art, science and trade between countries, and to a certain extent promoted the development of Chinese translation.In fact, when we examine the development trajectory of Chinese and Western translation activities and the evolution of translation concepts together, we find that there are some similarities between Chinese translation and Western translation.Especially in the evolution of Chinese and Western translation concepts, the two have very similar evolution laws.&lt;br /&gt;
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===Ⅱ.The history of Chinese translation===&lt;br /&gt;
According to records, there have been four stages in China's long history of translation development, leaving behind many classic discussions.From these four translation climaxes, we can see the translators, translation theories and practices that emerged in different periods in China.And these translation stages have had varying degrees of impact on China's history, culture, society, and literature, including the development of Chinese translation.&lt;br /&gt;
====2.1 The first stage:Ancient Translation History====&lt;br /&gt;
The translation of Buddhist scriptures from the Eastern Han Dynasty to the Tang and Song Dynasties (25-1279) can be regarded as the first important period in the history of Chinese translation, the initiation period of traditional Chinese translation theory, and the first large-scale, planned, Organized translation activities.A large number of Buddhist scriptures were introduced into our country from various countries in the Western Regions, which had a profound impact on our country's language, religious philosophy, painting, arts, etc.The Chinese translation of Buddhist scriptures with textual research should be translated by An Shigao（安室高） during the Eastern Han Dynasty (151 AD).From 148 AD to 170 AD, he translated more than 30 Buddhist scriptures in Luoyang, making great contributions to Buddhist translation and the spread of Buddhist culture in China.The translation of Lokaksema（支娄迦谶）, who was at the same time as An Shigao, was basically a word-for-word translation, which was not easy to understand. The literal translation in the Chinese translation community probably started from this time.Zhi Loujiachen were the masters of the literal translation school. In addition to them, the major translators include Lokaksema and Dharmaraksha（竺法护）. And most of these translators were “foreigners”.&lt;br /&gt;
Shi Daoan (314-385), who was an eminent monk, set up a translation workshop, ushering in the period of translation on a large scale. And a State Translation School was founded for this purpose. Shi daoan put forward the famous &amp;quot;five instances of losing the source and three instances of difficulties&amp;quot;, which had a great influence on later translation studies.(Li 2016,132)The Sui and Tang Dynasties were the prosperous period of Chinese Buddhist translation.Xuan Zang（玄奘）, Kumarajiva（鸠摩罗什）, and Zhen Di（真谛） of the Tang Dynasty are collectively known as the three major translators of Chinese Buddhism. In the translation of Buddhist scriptures, he fumbled and summed up the famous &amp;quot;Five do not flip&amp;quot;(五不翻原则）and “six methods of translation”. &amp;quot;Five do not flip&amp;quot;means translators should employ transliteration facing mysterious words, polyseme, culture-loaded words, conventional transliterating words and words showing respect. And the core of his translation theory can be concluded in one sentence. That is: it is necessary to seek truth and be straightforward.（既须求真又须喻俗)&lt;br /&gt;
The Buddhist translation of this period enriched the religious beliefs of the people, became the spiritual support of the people at that time, promoted the exchange between China and the world at that time, and made Buddhist scriptures an inseparable part of our traditional culture.&lt;br /&gt;
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====2.2 The stage two:Modern Translation History ====&lt;br /&gt;
During the Ming and Qing Dynasties (middle 14th to 19th centuries), there was a second stage of translation in Chinese history. During this period, the translation was mainly scientific and technological translation.This major shift was also decided by the Chinese and Western countries at the time in order to seek their own interests and finally reached an agreement on mutual terms.Western missionaries wanted to spread religious thought and culture in China, while Chinese scholars at that time were eager for knowledge and were keen on Western advanced science and technology in order to maintain the regime. In this way, the two needs complement each other, and the translation of Western scientific books is increasing. Increased, which promoted the great development of science and technology translation at that time.In 1868, the official translation and publishing organization of the Qing Dynasty, referred to as the Translation Museum, used the translation method from Western to Chinese, which means that foreign scholars interpret and Chinese scholars write and polish.(Liu 2016,148)The main representatives of translation activities in this period include Xu Guangqi（徐光启）, Li Zhizao （李之藻）, etc.Especially Xu Guangqi, known as the &amp;quot;Father of Western Translation&amp;quot;, does not understand foreign languages, and his translations are mainly through listening to narratives and co-translation and compilation.He proposed that the translation of Western history books should be prioritized and progressive，and put forward his own translation thought: &amp;quot;If you want to be superior, you must understand; before you can understand, you must first translate.&amp;quot;Although there were many translation achievements during this period, there was no systematic translation theory.Although the later translation museum had clear translation principles, its main purpose was to maintain its own rule by learning advanced Western technology.&lt;br /&gt;
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====2.3 The third stage: Contemporary Translation History ====&lt;br /&gt;
From the end of the 19th century to the beginning of the 20th century, China was in turmoil and internal and external troubles. Some rulers and intellectuals with capitalist ideas demanded to unite to resist the aggression of Western countries, and proposed reforms to strengthen themselves.Translation in this period is the boundary of modern Chinese translation history. Translation in the field of science and technology has gradually spread to the fields of literature, philosophy, economics, sociology, and ethics. China has entered a new stage of translation. The scale and influence of its translation activities all surpassed any period in modern times.At the end of the 19th century, Western academic translation represented by Ma Jianzhong （马建忠）and Yan Fu（严复）was a translation act driven by &amp;quot;national anxiety&amp;quot;, which promoted the expansion and deepening of foreign exchanges.(Liu 2016,148-149)In particular, Yan Fu's &amp;quot;faithfulness,expressiveness and elegance&amp;quot; translation standards have had a profound impact on translators' translation activities.&amp;quot;faithfulness&amp;quot; means loyalty, and &amp;quot;expressiveness&amp;quot; means unobstructed. In Yan Fu's interpretation, &amp;quot;elegance&amp;quot; means the translation strives to be elegant.The representative translator at that time was Lin Shu（林纾）. He proposed to pay attention to the purpose and function of translation, which meant that the translation should be able to achieve the expected goals and effects.When Lin Shu is translating, he emphasizes on subjective feelings, and the translator needs to communicate with the original author and the characters in the original work.A large number of translators, represented by Lin Shu, mostly adopt the principle of domestication and advocate free translation, which reflects the flexibility and openness of translation to a certain extent.During the May 4th Movement, the &amp;quot;New Youth&amp;quot; magazine was launched and began to translate western cultural thoughts and literary works. Representatives such as Chen Duxiu（陈独秀）, Hu Shi（胡适）, and Zhou Zuoren （周作人）all attached great importance to introducing foreign literature and foreign culture.Translation activities during this period included the introduction of scientific and technological knowledge and the dissemination of advanced ideas. The scale and the number of works all showed its important position in the history of translation.Moreover, the audience in this period has also expanded from intellectuals to part of the people, broadening the horizons of the Chinese people, increasing their knowledge, and playing a good catalytic role in modern intellectual circles.&lt;br /&gt;
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====2.4 The fourth stage: Present Translation====&lt;br /&gt;
Since the reform and opening up, China and the Western world have had a broader space for communication, and the translation industry has achieved prosperity and development.In an open China, from the initial learning from modern and contemporary Western translation theories, to actively conducting cultural exchanges with other countries, learning and exploring research methods, and focusing on cross-disciplinary comprehensive innovation, translation practices and theories have achieved unprecedented development.(Xu 2018,5)For example, cultural schools, structuralism, post-colonialism, and other translation theories have been translated into China in large numbers. Literary works involve politics, economy, culture, literature, art and other fields, and the quantity and variety greatly exceed the previous generations.Representatives at this time include Liu Miqing（刘宓庆）, Tan Zaixi（谭载喜）, Huang Long（黄龙） and others. Among them, Tan Zaixi compiled the book &amp;quot;A Brief History of Western Translation&amp;quot;. The whole book pays attention to absorb the relevant research results at home and abroad. It is important for various historical periods, especially since the 20th century. The representative tasks in the western translation field, translation works, schools of thought, etc. are described and commented, and the mutual promotion, evolution and development of translation practice and translation theory are analyzed and discussed in a simple way, which promotes the formation of a systematic translation theory in China.During this period, our research is no longer limited to the summary of translation practices and abstract induction of translation principles, but from the generalization of subjective thoughts to the description and analysis of specific translation phenomena, translation events and processes.Translation studies have changed from a single-paradigm study to a multi-paradigm study. In short, the reform and opening up has created a new situation in China's translation industry, constantly expanding research fields, and effectively promoting the development of Chinese translation studies.&lt;br /&gt;
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===Ⅲ.The history of western translation===&lt;br /&gt;
The same as our country, Western translation has a long history.In a sense, the development of Western European civilization should first be attributed to the translators.From the ancient Roman Empire to the modern European Community, literary, artistic, scientific, and trade exchanges between countries are all carried out through the work of translators. Throughout the whole process, the history of Western translation can be divided into five major development stages.Broadly speaking, the earliest translation in the West is The Septuagint.Strictly speaking, the first translation is the Homer epic &amp;quot;Odyssey&amp;quot; translated in Latin by Andronicus .Both the former and the latter began in the third century BC, with a history of more than two thousand years, and are an important part of the entire European history of development.(Tan 1985,36)&lt;br /&gt;
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====3.1 The first stage : Ancient====&lt;br /&gt;
Ancient translation mainly revolved around the Greek translation and Latin translation of the &amp;quot;The Bible. Old Testament&amp;quot; from the third century BC to the sixth century AD. Translation in this period can be divided into the first stage of ancient Greek literature translation and the second stage of religious translation.At the end of the fourth century BC, the Greek slave society began to decline, while the relatively backward Rome gradually became stronger.At this time, Greece has a certain cultural foundation and is still superior to Roman culture. Therefore, Greek culture has a greater attraction to Roman culture. The translation and introduction of Greek culture may begin in this period.It was only in the middle of the third century BC that recorded translations began to appear. Andronicus, Neveus, Ennius, and other excellent translators, who are known as the three ancestors of Roman literature, have translated a large number of Greek dramas in Latin.This large-scale translation first opened the situation of local translation in Europe. It spread Greek culture to Rome, promoted the development of Roman culture, and served as an important bridge for Rome and later generations to inherit ancient Greek literature.(Tan 1985,36)&lt;br /&gt;
The translation activities in the fourth to sixth centuries AD were mainly religious translation.In Europe, religious forces have always been strong and stubborn. From the very beginning, the Christian Church was hostile to secular literature, and tried to develop a religious culture that served its own interests.As the source of Christian thought and spiritual weapon, the &amp;quot;Bible&amp;quot; has naturally become the most concerned classic in the religious world.In 384 AD, Jerome was entrusted by the Roman Pope to compile a translation called &amp;quot;The New Testament&amp;quot;, which marked that the translation of the &amp;quot;Bible&amp;quot; had achieved an important position on par with the translation of secular literature.As Europe entered feudal society, religious translation was popularized, and the Bible was translated into various languages one after another.&lt;br /&gt;
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====3.2 The second stage : Middle Ages====&lt;br /&gt;
In the Middle Ages, Latin translation was no longer limited to religious documents. Eastern literature was translated and introduced to the East. The achievements of Arabic academic research promoted the development of Western translation.At that time, Western translators gathered in Toledo, Spain, and translated a large number of works from Arabic to Latin. This is the rare closely contact between Christians and Muslims in history.(Tan 2004,64)In the ninth and tenth centuries, Syrian scholars went to Athens to translate a large number of Greek classics into Syrian and brought them back to Baghdad. Baghdad established an important translation center, and many Greek classical works were translated into Arabic.Later, in the eleventh century, a large number of Arabic works appeared in Toledo. Translators translated these works into Latin. Toledo gradually became an academic center and translation center, becoming a &amp;quot;Translation Museum&amp;quot; similar to Baghdad. His translation and academic activities lasted for a hundred years, and the impact was also great.&lt;br /&gt;
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====3.3 The third stage :The Renaissance Period====&lt;br /&gt;
In the 14-16th century, the Renaissance took place in Europe. It was a great movement of ideological and literary innovation, and a great development in the history of Western translation. The translation practice and theoretical research of Western countries did not make a real leap until the Renaissance.During the Renaissance, Western translators constantly discovered new literary fields, unearthed new cultural heritage, and transplanted new ideas to the mainland. Translation at this time went deep into various fields such as ideology, politics, philosophy, literature, and religion, and involved some major works in ancient, modern and contemporary times.Translation in this period played an important role in the formation of national languages, marking the consolidation of the status of national languages in translation.(Tan 1985,37)&lt;br /&gt;
In Germany, Martin Luther created a precedent for the Reformation. His translation of the &amp;quot;Bible&amp;quot; through the people's language laid the foundation for the later standardization and standardization of German and played an important role in the unification of German.In France, &amp;quot;Celebrity biography&amp;quot; translated by the writer Amyot became an immortal literary translation in the history of translation in France and the entire West.In the United Kingdom, the translation of Greco-Roman history and literary works provided important historical materials and new ideological resources for the formation of an autocratic monarchy in the United Kingdom, which promoted the occurrence of the British bourgeois revolution and promoted Britain to become a modern nationalized country earlier.All in all, the ideological liberation movement of the Renaissance in Europe around 1500 had a profound and long-term impact on Europe, especially Western European society, and cultural translation played a crucial role as a bridge in this ideological liberation movement. It also shows that translation plays a huge role in the formation and development of national language, literature and thought.&lt;br /&gt;
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====3.4 The fourth stage :Since the end of the Second World War====&lt;br /&gt;
After the Second World War, the West entered a relatively stable period of peace, the economy was restored, production was secured, and science and technology developed rapidly. These are important material foundations for the development and progress of translation.(Tan 1985,37)Compared with the past, translation in the new period has undergone great changes. First, the scope of translation has been expanded. Traditional translation mainly focused on literary and religious works, while translation during this period expanded to the fields of technology and business.Second, the scale of translation is much larger than before. In the past, translation was mainly the work of a few high-level intellectuals. Nowadays, translation has become a profession, and there is even a professional team that has been specially trained.Third, the role of translation has also been enhanced, especially with the establishment of the European Community and the European Union, the process of globalization has accelerated, and the communication activities between countries are realized through translation. Therefore, translation plays a very important role in the economy, culture, science and technology of western countries.&lt;br /&gt;
The form of translation during this period has also undergone great changes, such as the strengthening of the professionalization of the translation business, the establishment of higher translation education and the training of professional translators.Especially the way of translation has broken the tradition, and machine translation has been developed and popularized.Since English and American scholars first discussed the possibility of using computers for translation in 1946, the development and application of translation machines have increasingly shown vitality after nearly 40 years of tortuous development. It is a challenge to traditional manual translation for thousands of years, and it is also a revolution of far-reaching significance in the history of translation.&lt;br /&gt;
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===Ⅳ.Comparison between the History of Chinese and Western Translation===&lt;br /&gt;
====4.1 Commonality====&lt;br /&gt;
Through the introduction of the Chinese translation history and the Western translation history in the above two chapters, it is not difficult to find that there are some similarities between the translation concepts and the evolution process of the two, especially the laws of evolution of the Chinese and Western translation concepts are very similar.&lt;br /&gt;
First of all, the initiation and development of large-scale Chinese and Western translation activities are closely related to the translation of religious documents.In the West it is the translation of the Bible, while in China it is the translation of Buddhist classics.In my opinion, this commonality is the origin of translation concepts such as &amp;quot;original supremacy&amp;quot; and &amp;quot;faithful original text&amp;quot; that have dominated the Chinese and Western translation circles for two thousand years.(Xie 2010,5)Looking back at history, when Chinese and Western ancient translators were translating these religious documents, they must be pious and absolutely faithful to the original text to translate word by word, lest they would distort the will of God and the teachings of the Buddha.Until the 1950s, due to the advent of the era of professional translation, the target of translation has evolved from religious documents and literary masterpieces to non-literary practical documents such as economy, technology, business, and entertainment. Since then, translation Views have been greatly changed.&lt;br /&gt;
Secondly, both in China and in the West, translation has played an important role in disseminating knowledge.When we compare the contribution of Chinese and Western translation in spreading knowledge together, this effect is further demonstrated.In the West, backward Rome developed rapidly due to the absorption of advanced Greek culture and became the later Roman Empire.In the Middle Ages, after the Baghdad Translation Center, the translation activities of the &amp;quot;Translation Museum&amp;quot; in Toledo, Spain.The translators provided a source of learning for the Western world by translating ancient Greek and Roman natural science works, philosophy and other classics translated by the Arabs into Latin, as well as the Arabs' own academic works.It is through these classical classics that Western talents began to come into contact with a large number of classical cultures and promoted the Renaissance. Its influence is reflected in all aspects of art, philosophy, literature, music, science and technology, politics, religion, and intellectual inquiry.For China, a large number of Buddhist scriptures from the Western Regions to China from the Han Dynasty to the Song Dynasty opened up the history of Chinese translation.The translation of science and technology at the end of the Ming Dynasty and the beginning of the Qing Dynasty was also influential in disseminating Western science and technology literature and promoting the development of China's natural science and engineering technology.In particular, the literary translation from the Opium War to the &amp;quot;May 4th&amp;quot; period was the dividing line of modern translation history. The translation from the field of science and technology gradually spread to the fields of literature, philosophy, economics, sociology, ethics, etc. In the new stage of translation, the scale and influence of its translation activities have exceeded any period in modern times.Since China's reform and opening up, translation has played a role in promoting communication between China and various countries. The development of the globalization process cannot be separated from the bridge and hub of translation.&lt;br /&gt;
Third, the role of translation in the establishment and development of national languages in various countries has some obvious commonalities in both the West and China.In the West, Martin Luther's Bible translation has played a very important role in the unification and development of German and modern German.The English translation of the &amp;quot;Bible&amp;quot; also contributes significantly to enriching English vocabulary and expressive means.As for China, Buddhist translation has enriched Chinese vocabulary, especially literary translation during the May Fourth Movement, which promoted the establishment and development of modern Chinese vernacular.The translation in the new era has also enriched the vocabulary to a certain extent.For example, the Chinese &amp;quot;人山人海&amp;quot; translates into English as &amp;quot;people mountain people sea&amp;quot;, and it is even included in the English dictionary.&lt;br /&gt;
Finally, regardless of Chinese and Western, translation also plays a vital role in conveying foreign social and cultural values.(Xie 2010,5)In the West, for example, the excavation, dissemination and development of the spirit of humanism during the Renaissance were largely due to the translation of ancient Greek and Roman classics.In China, Li Zhizao, Xu Guangqi and others' translations of Western social science masterpieces in the late Ming and early Qing dynasties broadened the horizons of the Chinese people and promoted the modernization of China.During the May Fourth Movement, Yan Fu, Lu Xun and others' translations of Western literature and dramas refreshed the Chinese worldview, increased the Chinese people's knowledge, and played a good catalytic role in modern intellectual circles.&lt;br /&gt;
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====4.2 Difference====&lt;br /&gt;
The last section elaborated from four aspects that the evolutionary laws of Chinese and Western translation history are very similar. Of course, the development of Chinese and Western translation history has its own unique performance, not only in the development period and nodes, but also in certain These aspects are even far apart.&lt;br /&gt;
Although the initiation and development of large-scale Chinese and Western translation activities are closely related to the translation of religious documents, the status of Buddhism in Chinese and Western social and political life is different.Religion plays an extremely important role in Western society. In Western Christian society, God is not only the creator and nurturer of the universe and mankind, but also the maker and arbitrator of the political and ethical order of the world. Is the primary source of Western moral standards.Therefore, the importance of &amp;quot;Bible&amp;quot; translation can be imagined.In China, imperial power is greater than divine power. Monarchs profess themselves to be the emperor, exercise power by the mandate of heaven, and enjoy supreme authority.Religion can only be spread and developed under the support and use of imperial power. Its essence is actually a tool to maintain rule, and it has never become a religious behavior for the whole people.In Chinese history, religion was never allowed to harm the ethical principles of feudal rule. Once harm occurred, it would be banned and eliminated.The extermination of Buddhism in the history of Chinese Buddhism and the &amp;quot;Chinese Etiquette Controversy&amp;quot; in the history of modern Chinese Catholicism are typical features.Therefore, the influence of Chinese Buddhist scripture translation is more in folk culture, and the effect of its influence is more manifested in a subtle form.For example, the change of world outlook, the penetration of language, the borrowing of the plots of Buddhist classics in literary works, and so on.Moreover, Chinese society uses blood as a bond and family as a unit. It is the blood relationship that closely connects family members.Festivals and weddings and funerals are always carried out on a family or family basis, not under the auspices of the church as in the West.&lt;br /&gt;
On the other hand, due to the differences in national characteristics between China and the West, the Chinese nation is more pragmatic, focusing on physical and mental cultivation, ethics and morality, paying attention to whether translation theory has practical effects, whether it can guide translation practice and solve various problems encountered in the translation process.(Xie 2010,6)The Western Christian culture and my country's Confucianism have formed a sharp contrast in this respect.Westerners influenced by Christian thought have a strong pioneering and innovative national character. They advocate speculation and pay more attention to the abstract, systematic and systematic nature of translation theories.They believe that the focus is on describing what kind of theory exists behind translation practice, and how to understand and interpret translation from a theoretical perspective.This makes the development path of the two translation theories different.If there were many similarities in the concepts and characteristics of Chinese and Western translation activities before the 1950s, then the differences in the development trends of the two translation theories in the later stages, especially from the end of the 19th century, became larger and larger.Western translation theories have been systematized earlier. Any research is carried out under the guidance of a certain theory, and the results of related disciplines are fully used to make the connotation (translation standard itself) and extension (research method) of translation standards become truly pluralistic. Which embodies a strong scientific spirit.However, Chinese translation theories have remained at the level of translation practice experience perception for a long time, which is largely subjective.In particular, the proponents of traditional translation theory pay attention to the unspoken artistic conception, giving people more space for association and comprehension, but they cannot make precise regulations for translation practice, which is implicit.&lt;br /&gt;
&lt;br /&gt;
===Ⅴ.conclusion===&lt;br /&gt;
It is precisely based on the above-mentioned understanding of the history of Chinese and Western translation from different aspects that &amp;quot;similarities have differences, and differences have similarities&amp;quot;, so I think that the history of Chinese and Western translation development should be described, analyzed and sorted in the same framework. It is possible.In this way, we can not only emphasize the common ground in the development of Chinese and Western translation, find the rules among them, but also show the uniqueness of the development of the two.This article adopts the method of compiling parallel narratives based on synchronic presentation, supplemented by diachronic combing, combining two seemingly unrelated development contexts in the history of Chinese and Western translation, and analyzing and describing them as a whole.And the development stages of Chinese and Western translation history are divided into stages according to the mainstream translation objects of the specific era, and then the internal laws of the evolution of Chinese and Western translation concepts are explored and revealed.&lt;br /&gt;
Generally speaking, translation and culture are inseparable, whether religious, political, or literary, they all grow up in the soil of culture.(Chen 2016,1)In the process of understanding Chinese and Western translation history, people also feel the cultural collision.Not only in the long history of the past, but in the 21st century today, translation is a bridge and a link between countries, and an indispensable existence in people's social, political, and economic life.At the same time, translation is also an art. Through translating works, we not only understand the beauty of each country's culture, but also realize that translation is originally an art.Translation is a rigorous and extensive academic science. Various forms of cultural exchanges between Chinese and Western languages, literature, philosophy, and religion require not only artistic performance, but also rigorous academic attitudes and systematic theories to support.Translators and scholars from different countries, languages and cultures have contributed their outstanding talents and wisdom in the field of translation. They have studied and published a wealth of academic theories and skills in translation studies from different perspectives, which have promoted the progress and development of society.&lt;br /&gt;
&lt;br /&gt;
===References===&lt;br /&gt;
Chen Fang 陈芳.(2016).西方翻译史的文化演进——评《西方翻译简史》[The Cultural Evolution of Western Translation History——A Review of &amp;quot;A short history of translation in the West&amp;quot;].当代教育学(06)Contemporary Education(2).&lt;br /&gt;
&lt;br /&gt;
Gong Yicai 龚亿财.(2020).论翻译在第三次翻译高潮中的特点及社会功能[On the features and social functions of translation in the third translation climax].吉林广播电视大学学报(Total No.217)Journal of Jilin Radio and TV University.&lt;br /&gt;
&lt;br /&gt;
Li Yin 李颖.(2016).从翻译史上的几个重要时期看中国翻译理论与实践的发展[Viewing the development of Chinese translation theory and practice from several important periods in the history of translation].湖北经济学院学报(Vol13 No.10)Journal of Hubei University of Economics.&lt;br /&gt;
&lt;br /&gt;
Liu Qiaoling 刘巧玲.(2016).从中国翻译史的四次高潮看主要译论及读者影响[Main translation theories and readers' influence from the four climaxes of Chinese translation history].黑龙江生态工程职业学院学报(Vol.29 No.5)Journal of Heilongjiang Vocational Institute of Ecological Engineering.&lt;br /&gt;
&lt;br /&gt;
Tan Zaixi 谭载喜.(1985).西方翻译史浅谈[On the history of Western translation].中国翻译(07)Chinese Translation(36-39).&lt;br /&gt;
&lt;br /&gt;
Tan Zaixi 谭载喜.(2004).西方翻译简史[A short history of translation in the West].商务印书馆The Commercial Press of Hongkong.&lt;br /&gt;
&lt;br /&gt;
Xu Jun许钧.(2018.06)改革开放以来中国翻译研究的发展之路[The development of Chinese translation studies since reform and opening up].Chinese Traslation Journal.&lt;br /&gt;
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Xie Tianzhen 谢天振.(2009)中西翻译简史[A brief history of Chinese and Western translation].外语教学与研究出版社Foreign Language Teaching and Research Press.&lt;br /&gt;
&lt;br /&gt;
Xie Tianzhen 谢天振.(2010)中西翻译史整体观探索[An exploration of the holistic view of Chinese and Western translation history].东方翻译(02)East Journal of Translation(4-8).&lt;br /&gt;
&lt;br /&gt;
='''Literal and Free Translation'''=&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
==Rethink Literal and Free Translation	彭永亮	Peng Yongliang==&lt;br /&gt;
&lt;br /&gt;
==On the Chinese Translation of ''A Pale View of Hills'' from House's Translation Quality Assessment Model	宋建茹	Song Jianru 202020080639==&lt;br /&gt;
&lt;br /&gt;
&amp;lt;center&amp;gt; 宋建茹 Song Jianru &amp;lt;/center&amp;gt;&lt;br /&gt;
&lt;br /&gt;
===Abstract===&lt;br /&gt;
&lt;br /&gt;
Translation quality assessment is an integral part of translation criticism. The first TQA model with comprehensive theories and practices Juliane House represented provides a significant reference for translation exercises. ''A Pale View of Hills'', as the first work of Kazuo Ishiguro, possesses a great research value on its narrative styles by virtue of memory and topics about migrants. As of 2011 when its Chinese translation was published, no scholar has evaluated it. This study applies House’s TQA model to assess the Chinese translation of ''A Pale View of Hills'' with qualitative and quantitative analysis from lexical, syntactic and textual aspects, in a bid to examine validity of the model on novel translation, which turns out that it is an overt and high-quality translation.&lt;br /&gt;
&lt;br /&gt;
=== Key Words===&lt;br /&gt;
&lt;br /&gt;
''A Pale View of Hills''; House's TQA model; novel translation&lt;br /&gt;
&lt;br /&gt;
===题目===&lt;br /&gt;
&lt;br /&gt;
从豪斯翻译质量评估模式谈《远山淡影》中文翻译&lt;br /&gt;
&lt;br /&gt;
=== 摘 要 ===&lt;br /&gt;
&lt;br /&gt;
翻译质量评估是翻译批评的核心课题。朱莉安·豪斯提出的第一个有完整的理论和实践的翻译质量评估模式，为翻译实践提供了重要参考。《远山淡影》是石黑一雄的处女作，其依托回忆的叙事风格和移民主题具有很高的研究价值。《远山淡影》中译本自2011年出版至今，尚未有学者对其进行评估研究。本文运用豪斯的翻译质量评估模式，采用定性与定量相结合的分析方式，从语场、语旨、语式等三个层面对原文和译文进行分析，开展《远山淡影》中译本的翻译质量评估研究，为豪斯翻译质量评估模式对小说翻译的运用进行进一步的探索和补充。通过分析，得出《远山淡影》中译本为显性翻译，翻译质量较高。''Italic text''&lt;br /&gt;
&lt;br /&gt;
=== 关键词 ===&lt;br /&gt;
&lt;br /&gt;
《远山淡影》；豪斯质量评估模式；小说翻译&lt;br /&gt;
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===Introduction===&lt;br /&gt;
&lt;br /&gt;
Translation criticism refers to the analysis and review of thoughts, activities and works of translation by virtue of relevant theories and views, in a bid to improve the overall quality of translators and translations. It is an integral part of translation studies. (Wang Enmian, 1999: 7) Translation quality assessment, as the integral and key part of translation criticism, plays a significant role in surveillance and promotion of translation quality. Among the extant translation quality assessment models, Juliane House’s ''A Model for Translation Quality Assessment and Translation Quality Assessment: A Model Revised'', based on Halliday's systemic functional linguistics and discourse analysis, are systematic, scientific and rational with a relatively complete system of parameters, quantitative methods and steps adhering to specific procedures. &lt;br /&gt;
&lt;br /&gt;
''A Pale View of Hills'', as Kazuo Ishiguro's first full-length novel, tells the life of the people in Nagasaki after WWII through the memory of protagonist Etsuko and explores recovery of trauma, collision between the old and new ideas, and kinship after war. The first person narrative, memory, humor and satire and international perspectives in the book became his major writing styles in the future. The novel won the Winifred Holtby Memorial Prize from the Royal Society. Its only Chinese translation at present, from Zhang Xiaoyi, is still not analyzed by the scholars. This paper uses House’s translation quality assessment model, with combination of qualitative and quantitative analysis, from field, tenor and mode to analyze the mismatches between original and translation in an attempt to assess the Chinese translation quality of ''A Pale View of Hills'' and further explore the application of House’s model in novel translation. The aim of the study is to promote scholars to regulate the behaviors of translation, to improve the quality of translation and translation evaluation, and to provide a reasonable way for establishing the interlingual conversion mechanism.&lt;br /&gt;
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The thesis consists of four chapters.&lt;br /&gt;
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After the Introduction, Chapter One gives a brief account of ''A Pale View of Hills'' and its research status, involving the author, background, content and influence. Chapter Two is a brief introduction of House’s TQA model, including its theoretic basis, parameter setting, operation steps and feasibility. Chapter Three is a detailed analysis of original and translation of ''A Pale View of Hills'' based on House’s model. Chapter Four is statement of translation quality assessment. Then we come to the last part, Conclusion.&lt;br /&gt;
&lt;br /&gt;
===I Overview and Research Status of ''A Pale View of Hills''===&lt;br /&gt;
''A Pale View of Hills'' is Kazuo Ishiguro's first novel, which laid a solid foundation for the formation of Ishiguro's writing style. The chapter mainly introduces the author, plot, theme and influence of the novel and analyzes its research status, in an attempt to master the material well and seek new perspectives for the paper.&lt;br /&gt;
&lt;br /&gt;
'''1.1 Overview of ''A Pale View of Hills'''''&lt;br /&gt;
&lt;br /&gt;
Kazuo Ishguro is a noble contemporary Japanese English writer, whose novels feature first person narrative, detailed depiction of loneliness, depression, self-deception and anxiety of characters' inner world and dual narrative strategy to deconstruct the narrator's self-identity, as well as discuss postwar trauma and migrant identity. He won Booker Prize, the British top literary prize, in 1989 and the Nobel Prize in literature in 2017. By virtue of his outstanding literary achievements, he is known as one of the Three Masters of English Migrant Literature together with Salman Rushdi and Naipaul.&lt;br /&gt;
&lt;br /&gt;
''A Pale View of Hills'', published in 1982, is Ishiguro's debut. The story, with postwar Nagasaki as its background, enjoys two clues: one is what happened when Niki (Etsuko’s little daughter) visited her mother after her sister Keiko died; the other is Etsuko’s memory about people and events in Nagasaki after the war. The two lines integrated together during the narrative, forming the illusory and imaginary impression. Many in-depth topics in this work are worth pondering: postwar trauma recovery, the collision between new and old ideas after war and discussion of family relations. Many marks in the work became his own styles: first-person narrative, memory, humor and satire, international perspectives. In addition, it won the Winifred Holtby Memorial Prize from the Royal Society and is still in print thirty years after its publication. This book, with its enormous emotion, unearths the abyss beneath the illusion of our connection to the world, whose artistic value and charm could be time-tested.&lt;br /&gt;
&lt;br /&gt;
'''1.2 Research Status of ''A Pale View of Hills'''''&lt;br /&gt;
&lt;br /&gt;
There are 54 papers about A Pale View of Hills in domestic researches. According to the statistics from HowNet (as shown in the figure below), the number of studies on the work has been mounting, especially after Kazuo Ishiguro won the Nobel Prize for Literature in 2017. The perspectives of these researches are mainly from identity anxiety, unreliable narrative and post-war trauma. In Identity Anxiety in Kazuo Ishiguro's A Pale View of Hills, Wang Fei discusses the identity anxiety of migrants, exploring manifestations, causes and influence of such anxiety on the characters. In Memory and Narrative Unreliability of A Pale View of Hills, He Xiaobing combined with the classical narratology to analyze how unreliable narration method is presented in the work and discussed the inner world of the characters. In Trauma in Kazuo Ishiguro's A Pale View of Hills, Liu Xiaoya explores the protagonist's trauma by using Sigmund Freud’s psychoanalysis theory and trauma theory (including post-freudian psychological trauma theory), contemporary trauma culture theory along with rhetorical narrative theory.&lt;br /&gt;
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[[File:picture1.pgn]]&lt;br /&gt;
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At abroad there are more perspectives about the studies of A Pale View of Hills. In addition to the main research directions of domestic scholars, such as identity anxiety of characters, unreliable narrative research and post-war trauma, cultural displacement, family relationship and the influence of region on personality presented in the works are also analyzed. ''The Impact of Place on Personality in Kazuo Ishiguro's A Pale View of Hills: An Eco-critical Study'' co-written by Awla, Yousif Hamad and Azad Sharif, from the perspective of ecocriticism, clarifies the fact that a place is able to define and guide the emotions and thoughts of characters, and analyzes the reasons why geography forms characters of people in order to draw people’s attention to the impact of surrounding environment on them. Ruth Forsythe's article ''Cultural Displacement and the Mother-daughter Relationship in Kazuo Ishiguro's A Pale View of Hills'' focuses more on the relationship between mother and daughter under cultural displacement. However, no scholars have analyzed the language itself from the perspective of systemic functional linguistics.&lt;br /&gt;
&lt;br /&gt;
The Chinese translation of A Pale View of Hills, Zhang Xiaoyi's version, was published by Shanghai Translation Publishing House in 2011, and the bilingual version in 2019. Up to now, there has no translation criticism or discussion about this translation. Since 2011 when it was translated, it came to draw the attention of scholars and readers. Translation is a direct factor that affects the integrity of author’s thought, the reader's perception and the accuracy of the scholar’s study, thus it is indispensable to use the House’s Translation Quality Assessment model to analyze the Chinese translation of ''A Pale View of Hills''.&lt;br /&gt;
===II Introduction of House's Translation Quality Assessment Model===&lt;br /&gt;
Juliane House's model was described as the first translation quality assessment model with complete theories and practices by international translation criticism, which could provide an important reference for translation learners and scholars. By introducing the theoretical basis, parameter system and operation steps of House's model, this chapter will discuss the feasibility of House’s model in the evaluation of the Chinese translation of A Pale View of Hills, in an effort to foster the application of House’s model in the quality evaluation of full-length novels.&lt;br /&gt;
&lt;br /&gt;
'''2.1 Theoretical Basis of House's Model'''&lt;br /&gt;
&lt;br /&gt;
The assessment of translation quality draws upon different translation standards, which are then embodied by the recognition about essence of translation. House deemed that crunch of the translation quality assessment lies in recognition of the nature of translation, namely that &amp;quot;translation is the replacement of a text in the source language by a semantically and pragmatically equivalent text in the target language.&amp;quot;(House, 1977: 30)&lt;br /&gt;
&lt;br /&gt;
In House's initial model in 1977, she drew upon language behavior theory, language and text function and context to divide the source language text into two situational dimensions: dimension of language user and dimension of language use. The former includes three aspects: geographical origin, social class and time. The latter includes five aspects: medium, participation, social role relationship, social attitude and province. The evaluation depends on the matching degree between                                                                                                                                                                                                                                                                                                                                                                                          original text and translation. The higher the matching degree is, the better the translation quality is. The quality evaluation of the translated text needs to state mismatching degree of each dimension in the whole context, that is, the description of the quantity of covert errors (errors in context dimension) and overt errors (referential mismatcher or grammatical violation of target language system).&lt;br /&gt;
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Based on myriad practice, House realized that the initial eight dimensions overlap in some parts. Therefore, in 1997, she revised the original model from the perspective of the context, unifying the previous eight parameters to field, tenor and mode. Field compares subject matter and social action of the original with that of translation. Tenor emphasizes the matching degree on the relationship of participants, time, region, position of author, social role relationship and social attitudes. Mode pays more attention to medium and participation. In addition, House incorporated &amp;quot;genre&amp;quot; into revision model in order to explain the deep structure of the text.&lt;br /&gt;
&lt;br /&gt;
'''2.2 Operation Steps of House's Model'''&lt;br /&gt;
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When evaluating the translation quality of the text, House's model focuses on comparison between original text and translation from field, tenor, mode and genre, clarifies and summarizes mismatches found in the text, so as to obtain a quality report of the translation. The detailed steps presented as follows: &lt;br /&gt;
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1) Analyze the register and genre of the original text to get its textual functional profile. The original text is analyzed from four dimensions: field, tenor, mode and genre. According to the analysis, “functional statement”, involving ideational and interpersonal functions, needs to be deduced.&lt;br /&gt;
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2)Compare the target text and the source text to find differences or mismatches. Through the comparative analysis between original and translation along the dimensions on the model, mismatches or differences found in the comparison are sorted out by virtue of overt errors or covert errors and expounded in detail one by one.&lt;br /&gt;
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3)Summarize the differences and mismatches demonstrated from the above steps in lexical, syntactic and textual aspects. Based on above statistics and statement, make the quality statement. The fewer the mismatches are, the better the translation quality is. If readers clearly realize the text a translation work, it is overt translation; while if not, it is covert translation.&lt;br /&gt;
&lt;br /&gt;
'''2.3 Feasibility of the Model in Chinese Translation of ''A Pale View of Hills'''''&lt;br /&gt;
&lt;br /&gt;
At present, there are 78 relevant studies on House’s Translation Assessment model, which are mainly divided into three directions: interpretation of House Translation Assessment model and its revision, evaluating translation of literary works along the model and evaluating translation of applied text along the model. Among them, evaluation of the translation of literary works accounts for 29, which enjoys the following two characteristics:&lt;br /&gt;
&lt;br /&gt;
1)There are merely a few researches applying House model to Chinese translation of literary works. Among the 29 journals and papers evaluating translation of literary works, there are 25 studies that attach great importance to the English translation and 4 to Chinese translation, which signifies that we need more researches of Chinese translation to support the validity of the model on different languages. Therefore, the paper, with the Chinese translation of A Pale View of Hills as its corpus, intends to examine the feasibility of the application of House’s model to Chinese translation.&lt;br /&gt;
&lt;br /&gt;
2)There are merely a few researches applying House model to the translation of full-length novels. Among the 29 journals and papers on evaluating translation of literary works, most of which focus on the evaluation of poems and prose, merely 5 studies are analysis of translation of full-length novels. English translation accounts for 3 and Chinese translation for 2, which demonstrates that we need more researches with full-length novels as corpus to support the validity of the model in different genres. Therefore, the paper, with the full-length novel A Pale View of Hills as its corpus, intends to examine the feasibility of the application of House’s model to full-length novels.&lt;br /&gt;
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In conclusion, given that the researches based on Chinese translation of full-length novels are insufficient, the paper will use the Chinese translation of A Pale View of Hills as its corpus to validate the feasibility of House’s TQA model.&lt;br /&gt;
&lt;br /&gt;
===III Comparison of Original and Translation of ''A Pale View of Hills'' Along House's Translation Quality Assessment Model===&lt;br /&gt;
''A Pale View of Hills'' is the debut of Kazuo Ishiguro, whose Chinese translation was published by Shanghai Translation Publishing House in 2011. House's Translation Quality Assessment model is the first objective model combining quantative analysis with qualitive analysis. The paper applies House’s Translation Quality Assessment model to Chinese translation of ''A Pale View of Hill'', comparing the source text and target text in lexical, syntactic and textual aspects along the three dimensions of register and summarizing the mismatches on field, tenor and mode, in an effort to quantitatively assess the translation quality of ''A Pale View of Hills''.&lt;br /&gt;
&lt;br /&gt;
'''3.1 Comparison on Field'''&lt;br /&gt;
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Field refers to the content or the topic of the text. It is concerned with subject matter and social action which covers the specificity of lexical items. After comparison between the source text and target text on field, there are 18 mismatches, 12 of which are overt errors and 6 covert errors. Among them, there are 9 lexical errors, 1 textual error and 8 syntactic errors. The lexical and textual errors are mainly covert errors, so in general their translation is of high quality. Although most of syntactic errors are not in line with the grammar of target language system, they won’t influence the understanding of the text. Therefore, by and large, translation on field are high-quality.&lt;br /&gt;
&lt;br /&gt;
'''3.1.1 Lexical Field'''&lt;br /&gt;
&lt;br /&gt;
Lexical field means the immediate or possible scenes or events evoked in people’s mind when they read or hear the words or lexical items. After the analysis of the original and target text, there are 9 mismatches, 4 of which are overt errors and 5 are covert ones. Most of them won’t block readers to master the overall meanings. Therefore, the translation quality on lexical items are relatively high. &lt;br /&gt;
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Example 1：&lt;br /&gt;
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...and the soaked surfaces of brick and concrete were drying all around us.&lt;br /&gt;
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湿透了的砖头和水泥开始变干。(P8)&lt;br /&gt;
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Concrete refers to building material that is made by mixing together cement, sand, small stones and water according to Oxford Dictionary, which includes cement rather than equates it. So, it is not very accurate to translate in this way even if the two words are similar. It is obviously an overt error. &lt;br /&gt;
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Example 2：&lt;br /&gt;
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As far as I remember, that was the first occasion I spoke to Mariko.&lt;br /&gt;
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我印象那是我第一次跟万里子说话。(P11)&lt;br /&gt;
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In the translation, “印象” as a noun refers to a mental picture that you have of what somebody/something is like or looks like. In the light of the rules or grammar of Chinese, it is hardly used as a verb. Thus, it is an overt error. &lt;br /&gt;
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Example 3：&lt;br /&gt;
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It's such a shame.&lt;br /&gt;
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真不像话。(P16)&lt;br /&gt;
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A shame is used to say that somthing is a cause for feeling sad or disappointed. In the original, the sentence is to express Etsuko’s pity to the homeless dogs and cats around her community rather than her distaste or complaint. Here it is translated into its other meaning when ignoring the context, belonging to a covert error. &lt;br /&gt;
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Example 4：&lt;br /&gt;
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Why don't you go into the kitchen for a little while?&lt;br /&gt;
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你为什么不到厨房去一会儿呢？(P26)&lt;br /&gt;
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In the translation, “去” is not very appropriate on the basis of grammar of Chinese, since it is such an action verb that does not match with state phrases. In the course of translation, some prepositions in English need to be transferred into verb in Chinese, which are supposed to pay attention to the rules of target language. Here it is obviously an overt error.&lt;br /&gt;
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Example 5：&lt;br /&gt;
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It's not appreciated simply because the product disappears so quickly.&lt;br /&gt;
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不能因为它的产品很快就消失了而不懂得欣赏。(P34)&lt;br /&gt;
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According to the context, Ogata-San believes that cooking is “as noble as painting or poetry”. So here the product refers to food cooked. Given the concrete expression in Chinese, the product is supposed to be translated more concretely in accordance with the context. It is a covert error.&lt;br /&gt;
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Example 6：&lt;br /&gt;
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Perhaps it is just my fancy that I felt a cold touch of unease there on that bank, a feeling not unlike premonition. &lt;br /&gt;
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这也许只是我的想象，但是那时我在河边觉得凉飕飕的，很不自在，像是感觉有事要发生。(P44)&lt;br /&gt;
&lt;br /&gt;
“Unease” refers to the feeling of being worried or unhappy about something. Given the above-mentioned, Etsuko worried about the safety of Mariko when she was not at home. It differs from its translation that means the feeling of being ill at ease. It is an overt error. &lt;br /&gt;
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Example 7：&lt;br /&gt;
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You mustn't suppose, Etsuko, simply because you've seen her in these…in these present surroundings, that she's some peasant's child.&lt;br /&gt;
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悦子，你不能因为……因为眼前的事物就认为她是什么贫农的孩子。(P51)&lt;br /&gt;
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Sachiko is not rich according to the context, so “peasant” intimates the meaning of poverty. Its translation explicitly represents it, which is accessible and intelligible. However, “贫农” enjoys extra cultural meaning in China, which could date back to the Cultural Revolution when lands was apportioned based on people’s wealth, so it might mislead readers to its political implication. It is a covert error.&lt;br /&gt;
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Example 8：&lt;br /&gt;
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“I must have been such a burden to you in those days,” I said, quietly.&lt;br /&gt;
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“我那时肯定成了您的负担，”我静静地说。(P68)&lt;br /&gt;
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Here “quiet” refers to making very little noise, which coincides with the act of saying. According to the context, Etsuko lowered her noise out of guilt when she realized she bothered her family when she practised violin before. However, its translation means the statement without any noise, which obviously contravenes the context, belonging to covert translation.&lt;br /&gt;
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Example 9：&lt;br /&gt;
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I could see something moving beside her in the shade.&lt;br /&gt;
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我看见她身旁的影子里有什么东西在动。(P14)&lt;br /&gt;
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“Shade” means an area that is dark and cool under or behind something, for example a tree or building, because the sun’s light does not get to it, rather than the shadow which the translator believed. As previously mentioned in the text, “Mariko was lying in the corner furthest from the sunlight”, which also signifies that it is impossible to exist dark shape under the light around Mariko. Thus, the translation of “shade” is not on a par with the context, belonging to a covert error.&lt;br /&gt;
&lt;br /&gt;
'''3.1.2 Syntactic Field'''&lt;br /&gt;
&lt;br /&gt;
Syntactic field means the immediate image appeared in people’s mind when they read the sentences. The mismatches in syntactic field are usually for the violation of rules of target language or misinterpreting the source text. On syntactic field, there are 8 mismatches, seven of which are overt errors and one is covert. Among the overt errors, seven sentences are not in line with the rules of target language, which won’t influence the ideational meaning. Therefore, the translation quality on syntactic field is high.&lt;br /&gt;
&lt;br /&gt;
Example 1：&lt;br /&gt;
&lt;br /&gt;
It did upset me, hearing about her.&lt;br /&gt;
&lt;br /&gt;
我真的很难过，听到她的死讯。(P4)&lt;br /&gt;
&lt;br /&gt;
Example 2：&lt;br /&gt;
&lt;br /&gt;
But I was sad though, when I heard.&lt;br /&gt;
&lt;br /&gt;
可是我真的很难过，听到她的消息。(P4)&lt;br /&gt;
&lt;br /&gt;
Example 3：&lt;br /&gt;
&lt;br /&gt;
It's certainly an amusing sort of experience, working in a noodle shop.&lt;br /&gt;
&lt;br /&gt;
这真是很有趣的经历，在面包店里工作。(P26)&lt;br /&gt;
&lt;br /&gt;
In English, the important or unknown information appeared firstly, and the second one follows. However, in Chinese, the second important presents at first, paving the foundation for the more pivotal or unknown one. In above three examples, their translation doesn’t adjust the sequence in line with target language rules. These are overt errors.&lt;br /&gt;
&lt;br /&gt;
Example 4：&lt;br /&gt;
&lt;br /&gt;
…certain arrangements I made have not gone as planned.&lt;br /&gt;
&lt;br /&gt;
一些事情没有照我计划的那样。(P17)&lt;br /&gt;
&lt;br /&gt;
The translation is not complete as the predicate verb “have gone” is not translated, which does not conform with the grammar of Chinese. It is an overt error.&lt;br /&gt;
&lt;br /&gt;
Example 5：&lt;br /&gt;
&lt;br /&gt;
She appeared to know them, for as she walked across the forecourt, she gave them a familiar greeting.&lt;br /&gt;
&lt;br /&gt;
看来她认识她们，边走过水泥地，边熟识地跟她们打招呼。(P26)&lt;br /&gt;
&lt;br /&gt;
The original is a compound-complex sentence with “for” for causal relation and “as” for coordinate relation. In the translation, the former is represented but the later isn’t, neither by conjunction words nor by clause sequence. It causes that the translation lacks of logic, belonging to an overt error.&lt;br /&gt;
&lt;br /&gt;
Example 6：&lt;br /&gt;
&lt;br /&gt;
It's an opportunity for a teacher to see the fruits of his work, and for the pupils to express their gratitude to him.&lt;br /&gt;
&lt;br /&gt;
这是一个机会让老师看看他的劳动成果，让学生们向他表示感谢。(P30)&lt;br /&gt;
&lt;br /&gt;
The translation adheres to the sequence of the original but ignores the fluency of the sentence. In English, attributives are at both ahead of and behind the objects; while in Chinese, they mostly are preceded. Therefore, the translation violates the grammar of the target language, belonging to an overt error.&lt;br /&gt;
&lt;br /&gt;
Example 7：&lt;br /&gt;
&lt;br /&gt;
There's nothing like a timely reminder of one's personal obligations.&lt;br /&gt;
&lt;br /&gt;
及时地提醒个人的责任之类的东西也没有。(P71)&lt;br /&gt;
&lt;br /&gt;
“There's nothing like” is a common sentence pattern in spoken English, meaning nothing else is able to match. The original would have expressed that “a timely reminder of one’s personal obligations” is the most important. The translator misunderstood the meaning utterly, making an overt error.  &lt;br /&gt;
&lt;br /&gt;
Example 8：&lt;br /&gt;
&lt;br /&gt;
It amazes me, how things have changed so much so quickly.&lt;br /&gt;
&lt;br /&gt;
太让我吃惊了，世道变得如此之大，如此之快。(P195)&lt;br /&gt;
&lt;br /&gt;
The translation, by and large, is in accordance with the original. Yet there is possibility for readers to be confused about the accuracy of words collocation. Although “so much” and “so quickly” modify the verb “change”, we have to respectively choose the proper words to collocate. It is a covert error. &lt;br /&gt;
&lt;br /&gt;
'''3.1.3 Textual Field'''&lt;br /&gt;
&lt;br /&gt;
On textual field, there is only one error---overt error. It is caused by misconstruing what the pronoun refers to. By and large, the translation, through the comprehensive analysis on textual field, is high-quality. &lt;br /&gt;
&lt;br /&gt;
Example 1：&lt;br /&gt;
&lt;br /&gt;
That's just not how it was though.&lt;br /&gt;
&lt;br /&gt;
但是我和她根本不是这样。(P4)&lt;br /&gt;
&lt;br /&gt;
According to “Sisters are supposed to be people you're close to, aren't they. You may not like them much, but you're still close to them”, it refers to the whole view instead of certain relationship between me and my sister. The referential meaning does not accord with that of the original. It is an overt error.&lt;br /&gt;
&lt;br /&gt;
'''3.2 Comparison on Tenor'''&lt;br /&gt;
&lt;br /&gt;
Tenor refers to the nature of the participants, the addresser and the addressee, and the relationship between them in terms of social power and social distance. After comparing the original and the translation of A Pale View of Hills, there are 8 mismatches on social attitude and social role relationship, one of which is an overt error and the rest are covert. In general, the translation is highly in accordance with the original so the quality is high on tenor. &lt;br /&gt;
&lt;br /&gt;
'''3.2.1 Social Attitude'''&lt;br /&gt;
&lt;br /&gt;
Social attitude refers to the social distance between communicators and the degree of formality of discourse. The misunderstanding of social attitude in the translation process will affect the readers' understanding of the characters in the novel. Therefore, mistakes in representing social attitude of characters should be minimized and even avoided in the translation process. There are 4 mismatches on social attitude in the translation: one is an overt error and the rest are covert errors. By and large, the translation on displaying the social attitude of the original is great. &lt;br /&gt;
&lt;br /&gt;
Example 1：&lt;br /&gt;
&lt;br /&gt;
The English are fond of their idea that our race has an instinct for suicide.&lt;br /&gt;
&lt;br /&gt;
英国人有个奇特的想法，觉得我们这个民族天生爱自杀。(P4)&lt;br /&gt;
&lt;br /&gt;
In the original text, the attitude of the character is relatively objective. However, in the translation, the attitude is represented overly by using an adjective, which might be translator’s understanding on author’s attitude. It limits different interpretation to the author’s attitude from readers. It is an overt error. &lt;br /&gt;
&lt;br /&gt;
Example 2：&lt;br /&gt;
&lt;br /&gt;
“Which are you hoping for, Etsuko?” he asked, eventually. “A boy or a girl?”&lt;br /&gt;
&lt;br /&gt;
“你想是男孩还是女孩呢，悦子？”过了一会儿他问道。(P35)&lt;br /&gt;
&lt;br /&gt;
Ogata-San would like to know Etsuko’s mind about the upcoming baby, but he is not sure if it is proper. At last, curiosity overpowers his hesitation. In the original text “eventually” signifies both time and emotion span. But the translation only manifests the time span. It is a covert error.&lt;br /&gt;
&lt;br /&gt;
Example 3：&lt;br /&gt;
&lt;br /&gt;
“Tell me, Etsuko,” he said, not looking up from his laces. “Have you met this Shigeo Matsuda?”&lt;br /&gt;
&lt;br /&gt;
“告诉我，悦子，”他头也不抬地说。“你见过这个松田重夫吗？”(P36-P37)&lt;br /&gt;
&lt;br /&gt;
Ogata-San, as Etsuko’s father-in-law and adopter after the war, gets along well with her. In the original text, Ogata-San is “not looking up” when speaking to Etsuko since he is lying his laces. The translation ignores the reason, which renders Ogata-San a cold man. It is a covert error.&lt;br /&gt;
&lt;br /&gt;
Example 4:&lt;br /&gt;
&lt;br /&gt;
I'm sure she'd be the first to agree with me about Kazuo mourning her like this.&lt;br /&gt;
&lt;br /&gt;
我肯定她会第一个同意我的观点，和夫不应该再这样想着他了。(P94)&lt;br /&gt;
&lt;br /&gt;
From the original, we can feel the love of Mrs. Fujiwara to her son. However, after reading its translation, we can feel nothing but her dominance. It signifies that the translation deviates from the original context. It is a covert error.&lt;br /&gt;
&lt;br /&gt;
'''3.2.2 Social Role Relationship'''&lt;br /&gt;
&lt;br /&gt;
Social role relationship refers to the social relation between the speaker and the receiver, that is, symmetry and asymmetry. The analysis on the social roles relationship in novels is generally from two aspects: relationship between the author and readers, and relationship between the various characters in the work. The former is remained utterly, while the latter is slightly different from that in the original. A total of 4 mismatches are found in the comparison, all of which are covert errors. In the full-text translation, the overall relationship between the characters is the same as that of the original text, and only a few mismatches are found. Therefore, on social role relationship, translation is of high quality.&lt;br /&gt;
&lt;br /&gt;
Example 1：&lt;br /&gt;
&lt;br /&gt;
She said it would be perfectly all right if you came and waited for her at my house.&lt;br /&gt;
&lt;br /&gt;
她说你可以到我家来等她。(P13)&lt;br /&gt;
&lt;br /&gt;
The translation omits “be perfectly all right if”, which takes the edge off the amiability from Etsuko to Mariko. Given the whole plot of the novel, Mariko is a phantom of Etsuko’s old daughter Keiko. The obscure feelings between Mariko and Etsuko are very important to implicate their special emotion. Therefore, the translation ignores to take a consideration of the context. It is a covert error.&lt;br /&gt;
&lt;br /&gt;
Example 2：&lt;br /&gt;
&lt;br /&gt;
As I say, this order came into the office the day you arrived. A real nuisance.&lt;br /&gt;
&lt;br /&gt;
我说过了，订单刚好在您来的那天来了。真是讨厌。(P29)&lt;br /&gt;
&lt;br /&gt;
On the basis of the context, Jiro (Etsuko’s husband) is explaining to his father Ogata-San that he is so busy that he could not accompany him. He feels apologetic about that. However, the tone of speaking in translation is impatient and a bit furious, which runs against that of the original. So, it is a covert error. &lt;br /&gt;
&lt;br /&gt;
Example 3：&lt;br /&gt;
&lt;br /&gt;
I should warn you, perhaps. My daughter has been in a somewhat difficult mood these past few days.&lt;br /&gt;
&lt;br /&gt;
也许我应该警告你。我女儿这几天情绪很不好。(P90)&lt;br /&gt;
&lt;br /&gt;
Warn enjoys two major meanings: to tell somebody about something, especially something dangerous or unpleasant that is likely to happen, so that they can avoid it; to strongly advise somebody to do or not to do something in order to avoid danger or punishment. In the original, Sachiko entrusts Etsuko to look after her daughter so the former one is appropriate. However, in the translation the later one is adopted, which is absolutely improper. It is a covert error. &lt;br /&gt;
&lt;br /&gt;
Example 4：&lt;br /&gt;
&lt;br /&gt;
Now listen carefully, or else you'll never find the noodle shop.&lt;br /&gt;
&lt;br /&gt;
现在您听好了，不然您永远也别想找到面馆。(P183)&lt;br /&gt;
&lt;br /&gt;
The sentence is said when Etsuko intends to tell Ogata-San the route to the restaurant of Mrs Fujiwara. On the basis of the context, Etsuko is very reverent to Ogata-San. However, the manner of translation is tough, which is not of a piece with the original. It doesn’t take account of the context, so it is a covert error.&lt;br /&gt;
&lt;br /&gt;
'''3.3 Comparison on Mode'''&lt;br /&gt;
&lt;br /&gt;
Mode can be divided into medium and participation. In the course of analyzing both the original and the translation, a total of 6 mismatches are found on the two dimensions and all of them are covert errors, which manifests the translation are generally of a piece with the original. The translation on mode is of high quality.&lt;br /&gt;
&lt;br /&gt;
'''3.3.1 Language Medium'''&lt;br /&gt;
&lt;br /&gt;
Language medium mainly refers to whether the form of language is spoken or written, simple or complex. The contrast between the model of the source text and the target text is mainly reflected in the linguistic features and diction features of text rather than language types used. The language of A Pale View of Hills is simple, delicate and easy to understand, with short sentence, plenty of dialogues between characters and a high degree of colloquialism. The overall style of the translation is similar with that of the original, with only 4 stylistic covert mismatches. Therefore, on language medium, the translation quality is great.&lt;br /&gt;
&lt;br /&gt;
Example 1：&lt;br /&gt;
&lt;br /&gt;
…on one side of the tracks at the foot of the hill could be seen a cluster of roofs.&lt;br /&gt;
&lt;br /&gt;
山脚下铁路的一侧是鳞次栉比的屋顶。(P8)&lt;br /&gt;
&lt;br /&gt;
Cluster means a group of things of the same type that grow or appear close together, whose translation accords with it in the ideational meaning. Nonetheless, “鳞次栉比” in Chinese is a four-character phrase that usually appears in formal written text. It is more complex than the style of the text. It is a covert error.&lt;br /&gt;
&lt;br /&gt;
Example 2：&lt;br /&gt;
&lt;br /&gt;
We're just rabble, like your husband says.Please don’t make a fuss, please sit down.&lt;br /&gt;
&lt;br /&gt;
正如您丈夫说的，我们只是两个混蛋。不用麻烦了，请坐下。(P74)&lt;br /&gt;
&lt;br /&gt;
The situation happens when Jiro’s colleagues come round. From the conversation between Jiro and his colleagues, it is found that they are very familiar and intimate. So, words such as “rabble” and “like” are of high colloquialism. Nevertheless, in the translation “正如” is a formal expression, which is not in line with the original. Thus, it is a covert error.&lt;br /&gt;
&lt;br /&gt;
Example 3：&lt;br /&gt;
&lt;br /&gt;
Blankets and laundry hung from many of the balconies.&lt;br /&gt;
&lt;br /&gt;
很多阳台上挂着毯子啦、洗的衣服啦。(P181)&lt;br /&gt;
&lt;br /&gt;
Example 4：&lt;br /&gt;
&lt;br /&gt;
Young women these days are all so headstrong. And forever talking about washing-machines and American dresses.&lt;br /&gt;
&lt;br /&gt;
现在女孩子任性得很。而且整天在讲什么洗衣机啦、洋裙啦。(P195)&lt;br /&gt;
&lt;br /&gt;
The two sentences are the description of the street which Etsuko and Ogata-San pass by when they intend to visit Shigeo. Etsuko is a calm and composed Japanese woman, whose language style is the same. Modal particles used in translation render the language abrupt and frisky. So, it is a covert error.&lt;br /&gt;
&lt;br /&gt;
'''3.3.2 Participation'''&lt;br /&gt;
&lt;br /&gt;
Participation refers to whether the speech is a simple monologue or a complex form that prompts the listeners or readers to participate indirectly, for example, by the transition between statements and questions and the special use of pronouns. The whole plot of A Pale View of Hills is a soliloquy narrated in the first person, interleaved with dialogues between different characters. Readers hardly could participate indirectly in it. The translation is basically in the same style as the original, except for the two following examples. The two declarative sentences are translated into a rhetorical question, which does not require readers to answer as well. Therefore, the translation is of high quality in terms of participation.&lt;br /&gt;
&lt;br /&gt;
Example 1：&lt;br /&gt;
&lt;br /&gt;
That’s no way to bring a child into the world, visiting the cemetery every week.&lt;br /&gt;
&lt;br /&gt;
这样怎么能把孩子带到这个世上呢？(P24)&lt;br /&gt;
&lt;br /&gt;
Example 2：&lt;br /&gt;
&lt;br /&gt;
It seems very disloyal.&lt;br /&gt;
&lt;br /&gt;
这不是忘恩负义吗？(P32)&lt;br /&gt;
&lt;br /&gt;
The quality statement of the Chinese Translation of A Pale View of Hills focuses on whether it is an overt transaltion or a covert translation and its matching degree. On the one hand, it is an overt translation. Accoring to above analysis, the translation is closely related to the culture of the sourse language text. From the translation, expressions with Japanese culture can be found clearly. On the other hand, it is of high quality. There are 32 mismatches in total, 18 mismatches on field, 8 on tenor and 6 on mode. Among them, there are 13 overt errors and 19 covert errors. Covert errors caused by ignoring the context and overt errors caused by violating the rules of target language inflict only a little ambiguity on ideational function, interpersonal function and the quality of the text.&lt;br /&gt;
&lt;br /&gt;
===IV Quality Statement of Chinese Translation of A Pale View of Hills===&lt;br /&gt;
The quality statement of the Chinese Translation of A Pale View of Hills focuses on its cultural participation degree and its matching degree. Based on the two aspects, this chapter will make a quality statement of the Chinese Translation of A Pale View of Hills.&lt;br /&gt;
&lt;br /&gt;
'''4.1 Overt Translation'''&lt;br /&gt;
&lt;br /&gt;
Overt translation refers to the obvious translation rather than the second original. The translation is obviously not aimed at the readers with target language, because the original text, literary works, political speeches and religious sermons, is closely related to the culture it is rooted in. But covert translation can be used as the second text, that is, independent writing. House deems that texts requiring overt translation have no special connection with their culture, and they are not unique to their culture, such as academic papers and travel brochures. She also believes that in overt translation, equivalence can only be established at the level of language/text, register and genre, but it is difficult to achieve equivalence in function. In contrast, the purpose of covert translation is to achieve functional equivalence, and there will be some deficiencies in language, register.&lt;br /&gt;
&lt;br /&gt;
In the contrast reading between the original and the translation, the obvious traces of the original can be found, for example, “你想她们还在打吗？” and “呃，我想小孩子是会打架的。但是我想我应该告诉你一声。还有你看，我想你女儿不是要去上学。”. In English, words representing speculation, such as “suppose” and “think”, are used frequently, while in Chinese they are not. Thus, the target text which remains these words possesses obvious sighs of translation. Furthermore, other signs in the translation, such as “欠了欠身”，show the culture of Japan when greeting. In conclusion, the target text of A Pale View of Hills is overt translation.&lt;br /&gt;
&lt;br /&gt;
'''4.2 High-quality Translation'''&lt;br /&gt;
&lt;br /&gt;
This study applies House’s TQA model to assess the Chinese translation of A Pale View of Hills on lexical, syntactic and textual aspects. On basis of analysis between the original and the translation, there are 18 mismatches on field, 8 on tenor and 6 on mode. Among them, there are 13 overt errors and 19 covert errors. Covert errors caused by ignoring the context and overt errors caused by violating the rules of target language inflict only a little ambiguity on ideational function, interpersonal function and the quality of the text. &lt;br /&gt;
&lt;br /&gt;
Chinese translation of A Pale View of Hills, by and large, consisting with the original, is of high quality. On the field, the translation, which transmits the subject matter and social action which covers the specificity of linguistic items, is in accordance with the original on lexical, syntactic and textual dimension in general; on the tenor, the representation of social attitude and social role relationship of the Chinese text is consistent with the English text; on the mode, the language of the translation is as simple and delicate as that of the original and the participation is of low level as well. Therefore, Zhang Xiaoyi’s Chinese translation of A Pale View of Hills is of high quality.&lt;br /&gt;
===Conclusion===&lt;br /&gt;
''A Pale View of Hills'', as the debut of Kazuo Ishiguro, involves many in-depth subjects, which initiates the development of author's peculiar writing style. House’s model is the first scientific and objective translation quality assessment mode with the integration of both theory and practice. This study applies House’s TQA model to assess the Chinese translation of ''A Pale View of Hills'' on lexical, syntactic and textual aspects. On basis of analysis between the original and the translation, there are 18 mismatches on field, 8 on tenor and 6 on mode. By and large, the Chinese translation of A Pale View of Hills is overt translation. Although a few mismatches can be found in the translation, they cause a little affect to the functions of the text and the presentation of the plot, role characters and role relationship of the whole novel. In conclusion, the translation is in line with the original on register and is of high quality.&lt;br /&gt;
&lt;br /&gt;
Different from the traditional evaluation methods, House's model, based on micro and macro criteria, both quantitative analysis and qualitative analysis, is the first scientific and objective translation quality assessment model with a complete theory and empirical evidence. It can be used as an auxiliary tool to find problems in translation so as to make modifications, which to some extent promotes the development of translation activities. However, in the actual operation process, although the translation quality assessment can be carried out according to parameters, the comparison results still rely on subjective judgment, which cannot utterly guarantee the scientificity of the final evaluation results. In addition, due to the large number of parameters, it takes a lot of time to compare the differences in vocabulary, sentence structure and discourse between the original text and the translation in the evaluation of full-length novel, so the evaluation is not very efficient. Although there are still some shortcomings in the House's model, it is still worth applying in the practice of translation criticism as a relatively complete and objective theoretical model.&lt;br /&gt;
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&lt;br /&gt;
==On the Relationship among Literal Translation, Free Translation, Domestication and Foreignization--韦洪朗 Wei Honglang,202020080647==&lt;br /&gt;
&lt;br /&gt;
===Abstract===&lt;br /&gt;
Abstract&lt;br /&gt;
This paper makes a systematic discussion on the relationship among literal translation, free translation, domestication and foreignization,which have been always controversial in translation history. Based on the theories and contents of free translation, literal translation, domestication and foreignization, this paper analyzes the similarities and differences between literal translation and free translation, foreignization and foreignization respectively. After cross-contrast analysis between them, it comprehensively sorts out the relationship between translation methods of literal translation and free translation and translation strategies of domestication and foreignization, and discusses their comprehensive application on the basis that domestication and foreignization are the extension of literal translation and free translation to cultural level, which has certain reference significance for further enriching translation practice.&lt;br /&gt;
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===Key words===&lt;br /&gt;
Key Words: Literal Translation; Free Translation; Domestication; Foreignization&lt;br /&gt;
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===摘要===&lt;br /&gt;
摘 要&lt;br /&gt;
本文就翻译史上备受争论的归化、异化和意译、直译的关系问题进行了系统的讨论。基于意译、直译和归化、异化的理论及其内容，分别分析直译和意译、异化和归化两对概念之间的异同，在他们之间进行交叉对比分析后，综合整理直译、意译的翻译方法和归化、异化翻译策略的关系，在继承归化和异化是直译和意译向文化层面的延伸的基础关系上，具体讨论他们之间的综合运用，为进一步丰富翻译实践具有一定的借鉴意义。&lt;br /&gt;
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===关键字===&lt;br /&gt;
关键词：意译；直译；归化；异化&lt;br /&gt;
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===Introduction===&lt;br /&gt;
  In the history, argues between literal translation and free translation have been lasting for so long. Since there existed so many countries and nations on the continent of Europe, communicating frequently with different languages, the skill and cognition of language translation naturally developed and achieved a lot. During those time, two main methods of translation called literal translation and free translation came into being and accompanied by the problem on choosing which of them. The earliest opinion of translating methods can go back to the period of Roman Empire, when Cicero put forward that free translation should be used in translating Greek texts into Latin, on account of that literal translation , “word for word translation”, couldn’t reflect Roman way of expression and couldn’t be easy-understanding and fluent as free translation, “sense for sense translation”. This view of point had a great and dominate influence at that time, which did not change until late Roman period, when Christianity were gradually in power and the necessity of spreading and translating Bible by the way “exactly what it is ” made literal translation become more popular. Then comes the renaissance, in which many linguisticians realized the importance of keeping the style and features of their own nations. Since then, the two translation methods have taken the lead and been debated endlessly in the translation field. By the 1960s and 1970s, when domesticating translation and foreignizing translation accordingly emerged with free translation and literal translation, reception theory, which upgraded the dominance of readers or we called receivers of translation, again made the domestic translating one-up. This kind of method was criticized by Venuti on its aggressivity of different cultures, based on which he officially put forward the two concepts of domestication and foreignization, which have been two central strategies in translation. So it’s vital to get a better understanding of those four concepts and make their relationships clear, which is of guiding significance to promote translation in practice.(Lu Shu, Wang Jintang 2005,115-116)&lt;br /&gt;
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===Table of Contents===&lt;br /&gt;
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Table of Contents&lt;br /&gt;
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Outline&lt;br /&gt;
I.Introduction&lt;br /&gt;
II.Literal Translation and Free Translation&lt;br /&gt;
2.1 Literal translation &lt;br /&gt;
2.2 Free translation  &lt;br /&gt;
2.3 Analysis with Examples of Literal translation and Free translation&lt;br /&gt;
2.3.1 On words&lt;br /&gt;
2.3.2 On sentence structures&lt;br /&gt;
2.3.3 On rhetorical means&lt;br /&gt;
2.4 The Relationships between Literal translation and Free translation&lt;br /&gt;
III.Domestication and Foreignization&lt;br /&gt;
3.1 Domestication&lt;br /&gt;
3.2 Foreignization&lt;br /&gt;
3.3 Analysis with Examples of Domestication and Foreignization&lt;br /&gt;
3.3.1 On politics&lt;br /&gt;
3.3.2 On culture&lt;br /&gt;
3.4 The Relationships between Domestication and Foreignization &lt;br /&gt;
IV.The Relationship among Literal Translation, Free Translation, Domestication and Foreignization&lt;br /&gt;
4.1 The Comparison among Literal Translation and Free Translation, Domestication and Foreignization&lt;br /&gt;
4.2 The Connection among Literal Translation and Free Translation, Domestication and Foreignization&lt;br /&gt;
4.2.1 Foreignization and Literal translation&lt;br /&gt;
4.2.2 domestication and free translation&lt;br /&gt;
4.2.3 Domestication and Literal translation&lt;br /&gt;
V.Conclusion&lt;br /&gt;
References&lt;br /&gt;
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===I.Introduction ===&lt;br /&gt;
I.Introduction &lt;br /&gt;
In the history, argues between literal translation and free translation have been lasting for so long. Since there existed so many countries and nations on the continent of Europe, communicating frequently with different languages, the skill and cognition of language translation naturally developed and achieved a lot. During those time, two main methods of translation called literal translation and free translation came into being and accompanied by the problem on choosing which of them. The earliest opinion of translating methods can go back to the period of Roman Empire, when Cicero put forward that free translation should be used in translating Greek texts into Latin, on account of that literal translation , “word for word translation”, couldn’t reflect Roman way of expression and couldn’t be easy-understanding and fluent as free translation, “sense for sense translation”. This view of point had a great and dominate influence at that time, which did not change until late Roman period, when Christianity were gradually in power and the necessity of spreading and translating Bible by the way “exactly what it is ” made literal translation become more popular. Then comes the renaissance, in which many linguisticians realized the importance of keeping the style and features of their own nations. Since then, the two translation methods have taken the lead and been debated endlessly in the translation field. By the 1960s and 1970s, when domesticating translation and foreignizing translation accordingly emerged with free translation and literal translation, reception theory, which upgraded the dominance of readers or we called receivers of translation, again made the domestic translating one-up. This kind of method was criticized by Venuti on its aggressivity of different cultures, based on which he officially put forward the two concepts of domestication and foreignization, which have been two central strategies in translation. So it’s vital to get a better understanding of those four concepts and make their relationships clear, which is of guiding significance to promote translation in practice.(Lu Shu, Wang Jintang 2005,115-116)  &lt;br /&gt;
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===II.Literal Translation and Free Translation===&lt;br /&gt;
II.Literal Translation and Free Translation&lt;br /&gt;
When seeing translation as shift of linguistic sign, the method of translating could be regarded as the specific approach used by the translator shifting the ST into TT, especially the two methods we mentioned before--literal translation and free translation.Peter Newmark, in his A Textbook of Translation, proposed that the common and only goal of translating should be repeating the meaning of ST, which means those translating methods exist for dealing with some problems happened during the process when translating.( Ma Shikui 2012,20)The meaning and structure of the ST might not be taken into account every time, so it’s important to search for a appropriate solution to deal with this kind of problem, that’s what literal translation and free translation do.&lt;br /&gt;
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===2.1 Literal translation ===&lt;br /&gt;
2.1 Literal translation &lt;br /&gt;
Literal translation is the one chosen when the original structure and the meaning of ST could both be perfectly taken into account, by adhering to strict original meaning and style of the TT, including the structures of sentences and rhetorical devices. “Word for word translation” could be counted as the original way of literal translation, like the translation of The Bible in the middle Age I showed before. But as the argue and relevant theories developing  till modern age, more and more experts realize and have a common sense that “word for word translation” can’t be equal to literal translation, since there always exist more or less differences among different languages. Personally speaking, the way Professor Fan Zhongying explains that literal translation means keeping the linguistic form of the SL, such as the words, the sentence structures and the rhetorical means, fluently and easily understood at the same time comprehensively interprets literal translation.(Joe Zeng Rui 2000,249)&lt;br /&gt;
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===2.2 Free translation===&lt;br /&gt;
2.2 Free translation&lt;br /&gt;
 It’s better if we can have it both ways, which cannot happened all the time. Thus, free translation might be better when translator can’t follow with the exact structure of SL. Free translation, “sense for sense translation”, refers to a kind of method used to translate the exact sense of the SL into the TL without retaining the sentence structures or the expression way of the SL. The supporters of free translation believe that the purpose of translation is to transform and convey the sense of the SL to the recipient of the TL, so it’s worthy to adopt an expression way closer to the TL, which is easier for the recipient to understand. Free translation has certain flexibility, which means the position of words and sentences can be adjusted. In order to facilitate readers' understanding, even some necessary supplements can be added.(Joe Zeng Rui 2000,249)&lt;br /&gt;
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===2.3 Analysis with Examples of Literal translation and Free translation===&lt;br /&gt;
2.3 Analysis with Examples of Literal translation and Free translation&lt;br /&gt;
Here are some specific examples of contrast between literal translation and free translation：&lt;br /&gt;
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===2.3.1 On words===&lt;br /&gt;
2.3.1 On words:&lt;br /&gt;
&amp;quot;Why do men have an Adam's Apple but women don't? &amp;quot;&lt;br /&gt;
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Literal translating: 为什么男人有喉结而女人没有呢？&lt;br /&gt;
Free translating: 为什么男人有亚当的苹果而女人没有呢？&lt;br /&gt;
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From above, the “Adam's apple” can be translated literally into &amp;quot;亚当的苹果&amp;quot;, but it can't reflect the original sense of the ST, because in the western world, &amp;quot;Adam's apple&amp;quot; refers to &amp;quot;喉结&amp;quot; in Chinese instead of literally meaning &amp;quot;亚当的苹果&amp;quot;, so free translation is more accurate here. In addition, it is worth mentioning that this example perfectly reflects the fit of sentence structure between Chinese and English. It also shows that translators should also be sure of the culture behind the SL.&lt;br /&gt;
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===2.3.2 On sentence structures===&lt;br /&gt;
2.3.2 On sentence structures:&lt;br /&gt;
&amp;quot;Here comes the bus!&amp;quot;&lt;br /&gt;
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Literal translating: 这来了巴士!&lt;br /&gt;
Free translating: 巴士来了!&lt;br /&gt;
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According to literal translating way, if following with the source structure of the English sentence, which is a inverted sentence in English by the way, the translation result is “这来了巴士”, which is obviously both incoherent and hard to understand in Chinese and even twist the sense of the ST. According to the sentence meaning, it should be translated into “巴士来了 ”, which is totally different from the ST in grammar though.&lt;br /&gt;
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===2.3.3 On rhetorical means===&lt;br /&gt;
2.3.3 On rhetorical means&lt;br /&gt;
&amp;quot;If Main Street didn' t understand this , Wall Street did.&amp;quot;(The Glory and the Dream, p .85)&lt;br /&gt;
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Literal translating: 如果主街不能理解这一点，华尔街可以。&lt;br /&gt;
Free translating: 这一点, 一般人不理解, 华尔街那些大老板们却是明白的。(Professor Wang Zongyan, 1983 :10)&lt;br /&gt;
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From this example, the key information is that Professor Wang Zongyan translates “Wall Street” into “华尔街的那些大老板们”. In Literature Translation, free translation is evidently more popular, because some literary images are difficult to express accurately through literal translation. In fact, the “Wall Street” here does not mean “Wall Street” itself, but people in power in Wall Street, so it is more appropriate for Professor Wang to translate it into “华尔街的那些老板们” by free translation. The reason of “Main Street”translating into “一般人”is the same.&lt;br /&gt;
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===2.4 The Relationships between literal translation and free translation===&lt;br /&gt;
2.4 The Relationships between literal translation and free translation&lt;br /&gt;
According to those demonstrations above, we can see that literal translation is more partial to SL and free translation considers more about TL users. The advantage of literal translation is to keep the style of the source language(show how other people talk), which plays a certain role in spreading the source language culture; the disadvantage is that sometimes it might be too long and difficult to understand, which hinders the communication and understanding between the two sides. Because free translation is biased towards the expression of the nation of the TL, its advantage is that it is more fluent and easy to understand, but its disadvantage is that it conceals the style of the source language and loses the role of translation as a cultural bridge, in which the translator's position seem not that important. All in all, I think it is best to combine the two translation methods organically in the process of translation. Just as professor Lu Dianyang proposed: “ Translate literally, if possible, or appeal to free translation.”(Zhao Jing 2011,61)&lt;br /&gt;
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===III.Domestication and Foreignization===&lt;br /&gt;
III.Domestication and Foreignization&lt;br /&gt;
Through the above introduction, we can know that with the change of historical environment, a period of political opposition and cultural exchange encountering a new period after World War II, the dispute between literal translation and free translation has reached a deeper level of development, which is the arrival of Foreignization and Domestication. Although Foreignization and Domestication were first formally proposed by Lawrence Venuti in The Translator's Invisibility in 1995, the translation strategy later called Domestication actually can be seen from Nida's translation theory of &amp;quot;dynamic equivalence&amp;quot;in 1964, which seeks for an expression whose meaning is closest to the SL and conforms to the habit of the TL expression way. Nida's theory has been strongly criticized by Venuti, who supports Deconstructivism, and holds that domesticating translation is an obliteration of the SL culture and a manifestation of cultural colonialism, which is manifested by its failure to comply with the expression of the source language culture. Based on this, on the contrary, Venuti shows strong support for foreignizating translation, and he thinks that this translation strategy of preserving the linguistic and cultural differences of the SL shows respect for the SL culture. The following part mainly clarifies the concepts and contents of these two translation strategies, which will helps to compare with literal translation and free translation mentioned above.（Chen Ying 2009,42）&lt;br /&gt;
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===3.1 Domestication ===&lt;br /&gt;
3.1 Domestication&lt;br /&gt;
Domestication refers to a translation strategy of dealing with the language forms, customs and cultural traditions, such as proverbs, idioms and allusions when translating, which tends to serve the readers of the target language. According to Eugene A.Nida's concept of natural equivalence, the translation version should be close to the original sense and intention in a most natural expression, therefore, the behavior pattern of the source language should be brought into the cultural understanding category of the target language as much as possible, which means that the recipients of the target language can avoid accepting the cultural expression of the source language in order to better understand the original intention.(Zhu Yuanzhong 2013,54)&lt;br /&gt;
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===3.2 Foreignization===&lt;br /&gt;
3.2 Foreignization&lt;br /&gt;
Venuti puts translation under the background of culture, society, politics and cultural consciousness, and reflects the different positions of different cultures in today's world through the choice of translation strategies, and regards translation as a tool to fight against inequality. From this, we can see the reason why he criticized domestication and vigorously advocated foreignization translation, which is to advocate that the translation should adapt and consider more the culture of the source language and the original author's habit of choosing words as much as possible. Thus, foreignizing translation tends to serve the SL culture, because he thinks that the translation version should take the source language culture as its destination and guide the reader to approach the original author.(Jiang Cui 2015,71-71)&lt;br /&gt;
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===3.3 Analysis with Examples of Domestication and Foreignization===&lt;br /&gt;
3.3 Analysis with Examples of Domestication and Foreignization&lt;br /&gt;
Examples for domesticating method and foreignizing method:&lt;br /&gt;
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===3.3.1 On Politics===&lt;br /&gt;
3.3.1 On Politics：동해 &amp;amp; にほんかい&lt;br /&gt;
Since the 19th century, the world has experienced two world wars and the Cold War period. During this long period, independent nation-states gradually chose their own country's &amp;quot;roads&amp;quot; and directions, which made different ideologies and political positions have a strong sense of existence in international relations, among which there were many translation contradictions caused by geopolitics. For example, the title of the sea area between South Korea and Japan has caused controversy between those two countries. South Korea has always called the sea area &amp;quot;동해&amp;quot;(East Sea) in history, but Japan continues to use the European navigator's giving name &amp;quot;Japan Sea&amp;quot;(にほんかい) and gradually gained international recognition from the 19th century. However, South Korean believes that the title change was imposed on South Korea by Japan colonizing Korea, which is a title that violates South Korea's territorial waters and disrespects South Korea. Something similar has happened many times in the world, which is the political difference on domestication and foreignization.(Pan Wenxiao 2020，https://weibo.com/ttarticle/p/show?id=2309404578145859666401)&lt;br /&gt;
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===3.3.2 On Culture===&lt;br /&gt;
3.3.2 On Culture：“情人眼里出西施。”&lt;br /&gt;
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Domesticating translation: Love is blind.&lt;br /&gt;
Foreignizing translation: The beauty Xi Shi is in the eye of lovers.&lt;br /&gt;
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This example shows well how different it could be between two cultures: the ST and the domesticating one of  TT express almost the same meaning in completely different ways, that is, lovers can only see each other's good thing. That is to say, if you want to convey the exact meaning of the original Chinese sentence to English speakers, then domesticating method is the best choice, although it will make the &amp;quot;translation results&amp;quot; look beyond recognition. However, if we choose foreignizing translation, especially retaining the word &amp;quot;Xi Shi&amp;quot;, it will give English speakers a chance to understand Chinese traditional culture (Xi Shi is a beautiful woman in the Spring and Autumn Period of China, and &amp;quot;西施&amp;quot; in &amp;quot;情人眼里出西施&amp;quot; means &amp;quot;beauty&amp;quot;), although such translating way may be difficult to understand at first.&lt;br /&gt;
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===3.4 The relationships between Domestication and Foreignization ===&lt;br /&gt;
3.4 The relationships between Domestication and Foreignization &lt;br /&gt;
Through the above analysis, it can be seen that domestication and foreignization also have their own merits and necessity. Although these two translation strategies were born in different historical backgrounds, their struggles to a certain extent reflect the struggle between the dominant position of stronger culture and weaker culture with different identities, which, of course is just one of those aspects, also reflect the problems of cultural communication: domesticating translation is conducive to conveying the meaning of the source language to the target language recipients without obstacles, especially in the case of great cultural differences existing, but this localization behavior will make it difficult for readers to learn what differences the two sides culture have, and in fact cultural diffusion will not be achieved. On the contrary, foreignization translation conveys the target text to readers according to the discourse mode of the source language culture, which can not only make readers realize the charm of different cultures, but also increase the expression ways of their own nation, but it is very likely that the meaning of the target text is difficult to understand. This contradiction is particularly prominent in the political level. Therefore, in translation practice, we should decide which way to choose in different contexts and in the face of different groups of people, so that the two can complement each other and have unity of opposites under proper application.(Zhu Yuanzhong 2013,54)&lt;br /&gt;
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===IV.The relationship among Literal Translation, Free Translation, Domestication and Foreignization===&lt;br /&gt;
IV.The relationship among Literal Translation, Free Translation, Domestication and Foreignization&lt;br /&gt;
Sun Zhili, a contemporary Chinese translator, said: &amp;quot;Historically, domestication and foreignization can be regarded as extensions of literal translation and free translation, but they are not completely equivalent to each other. The core issue of literal translation and free translation is how to deal with form and sense at the linguistic level, while domestication and foreignization break through the limitations of language factors and expand their horizons to language, culture and aesthetics. &amp;quot; (Sun Zhili 2011,27) Even after the above introduction, the boundary between literal translation, free translation, foreignization and domestication seems to be very vague. In order to better clarify the relationship between the two pairs of concepts, the following will distinguish and compare them. &lt;br /&gt;
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===4.1 The comparison among Literal Translation and Free Translation, Domestication and Foreignization===&lt;br /&gt;
4.1 The comparison among Literal Translation and Free Translation, Domestication and Foreignization&lt;br /&gt;
The same point: First of all, foreignization and domestication are extensions of literal translation and free translation, so the two pairs of relations are all methods put forward to guide translation practice; Secondly, relatively speaking, the roles of the two pairs of relations are very similar, especially in linguistic form: literal translation and foreignization both emphasize following the expression of the source text; Both free translation and domestication believe that in order to convey the sense of the source text accurately, the expression of the original text can be sacrificed.&lt;br /&gt;
The different points: The first point is that the scope is different, which leads to different objects: literal translation and free translation are proposed according to the different structures and characteristics of the source language and the target language, and their discussion focuses on the relationship between form and content, which belongs to the level of language conversion. Foreignization and domestication, as a product of cultural turn, is not only manifested in linguistic form, but also in cultural content. In other words, the emergence and development of foreignization and domestication raise the discussion of language level to the level of culture, poetics and politics. Obviously, the former is a micro translation method, while the latter is a macro translation strategy. Choosing specific translation methods under the guidance of the general direction of translation strategies can make good use of these two pairs of concepts when doing translation.&lt;br /&gt;
Second, the condition is different: Because literal translation and free translation are aimed at figuring out the issue of the text itself and the language structure, those two translation methods rely heavily on the text on linguistics, and have little room for evolution, development and independence, which make them relatively being static; However, domestication and foreignization do not have such problems. Their appearances were largely influenced by external social factors and the background of times and history, moreover, they focus on the external factors of translation too. Therefore, these two translation strategies are actually unstable and present a relatively dynamic state.(Zhao Jing 2011,62)&lt;br /&gt;
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===4.2 The connection among Literal Translation and Free Translation, Domestication and Foreignization===&lt;br /&gt;
It can be concluded that the basic relationship between these twopairs of concepts is that domestication and foreignization make the discussion of translation transition from pure language level to cultural level, not only paying attention to the internal transformation of language, but also starting to study the political and cultural environment outside language and text, which makes the change of translation’s function happen--from micro-analysis of language to macro-control of the social function of translation.(Chen Ying 2009,42)&lt;br /&gt;
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===4.2.1 Foreignization and Literal translation===&lt;br /&gt;
4.2.1 Foreignization and Literal translation&lt;br /&gt;
According to the comparative analysis in the previous section, we can conclude from their similarities that under normal circumstances, foreignization usually takes literal translation as method, or foreignizing translation usually includes literal translation methods, such as:(Lv Yinping 2007,138)&lt;br /&gt;
(1)Pandora’s box 潘多拉的盒子 &lt;br /&gt;
(2)the forbidden fruit 禁果&lt;br /&gt;
The above two examples clearly show the way literal translation do, which is also the result under the guidance of foreignizating translation strategy. &amp;quot;Pandora's box&amp;quot; comes from Greek mythology, which refers to the root of all evils, but the translation into Chinese, which is not “万恶之源”, has followed the European saying, and even quoted it in daily communication, which has played the purpose of &amp;quot;understanding other national cultures through translation&amp;quot;; Similarly, &amp;quot;forbidden fruit&amp;quot; comes from the Bible, which means something forbidden, but Chinese translation also follows the expression of the original way.&lt;br /&gt;
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===4.2.2 Domestication and Free translation===&lt;br /&gt;
4.2.2 Domestication and Free translation&lt;br /&gt;
Similarly, the shadow of free translation can often be found in domesticating translation. For example:(Lv Yinping 2007,137)&lt;br /&gt;
(1)drink like a fish 牛饮&lt;br /&gt;
(2)a fool’s paradise 黄粱美梦&lt;br /&gt;
As far as the first example is concerned, if literally translated into &amp;quot;像鱼一样喝水&amp;quot;, it is extremely out of line with the Chinese expression habit, and there is no such statement way in China, which leads to the consequences that translating versions are difficult to understand. However, if we translate &amp;quot;drink like a fish&amp;quot; into “牛饮” in Chinese, which does exists in China and has the same meaning as &amp;quot;drink like a fish&amp;quot; in English. Then the translation effect is not only interesting, but also easy to understand.&lt;br /&gt;
However, when doing actual translation practice, due to the variety and diversity of cultures, the methods and strategies used in text or language conversion are also comprehensive. We can find that the comprehensive and flexible use of literal translation and free translation, domestication and foreignization can make up for the regret of some traditional opposing ways(It is said that the two pairs of concepts are opposite and cannot coexist).&lt;br /&gt;
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===4.2.3 Domestication and Literal translation===&lt;br /&gt;
4.2.3 Domestication and Literal translation&lt;br /&gt;
Foreignizating translation is usually regarded as an extension of literal translation, which means that in general, literal translation methods are often used under the guidance of foreignization strategies, but in some special cases, literal translation can also coexist with domestication strategies.&lt;br /&gt;
(1) 什么时候都要谦虚谨慎，把尾巴夹紧一些。（Jia Wenbo 2000,11）&lt;br /&gt;
We must always be modest and prudent and must, so to speak, tuck our tail between our legs.&lt;br /&gt;
The meaning of &amp;quot;把尾巴夹紧&amp;quot; in Chinese coincides with &amp;quot;tuck tail between our legs&amp;quot; in English. At this one, it can be said that literal translation is the most suitable choice, which keeps the form and cultural connotation of the source language to the maximum extent, and at the same time coincides with the meaning and culture of the target language.&lt;br /&gt;
(2) 一石二鸟(Song Tianxi 2013,49)&lt;br /&gt;
Kill two birds with one stone.&lt;br /&gt;
Similarly, this is an example of having language structure and cultural meaning between China and Britain in both ways, which uses the method of literal translation but achieves the effect of domestication. But in Chinese, &amp;quot;一石二鸟&amp;quot; can also be synonymous with &amp;quot;一箭双雕&amp;quot; and &amp;quot;一举两得&amp;quot;, which can be chosen when translating &amp;quot;kill two birds with one stone&amp;quot; if you want, however, this way of using the method of free translation is not literal translation anymore.&lt;br /&gt;
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Domestication and literal translation can coexist under the situation when two sides of language structures and cultures can coincide at the same time, which exists by chance and cannot be forced; It is almost impossible to find examples of coexistence like foreignization and free translation. However, through the above argument, we can find that in translation practice, translators should practice the principle of &amp;quot;concrete analysis of specific problems&amp;quot;, flexibly and dialectically combine free translation and literal translation with domestication and foreignization, and avoid rigid translation methods, so as to better assume the responsibility of cultural exchange. &lt;br /&gt;
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===V.Conclusion===&lt;br /&gt;
V.Conclusion&lt;br /&gt;
Through the analysis above of the concepts and intensions of literal translation and free translation, domestication and foreignization, then we further arrive at and even deepen our understanding of the relationship between the two pairs of concepts, which is helpful for translators to approach the translation result and effect as much as possible on the basis of understanding the culture and language of both sides and combining with the practice through rational choice of translation strategies and translation methods under the guidance of the theories. After all, translation is not only a linguistic transformation, whose fundamental task is to reach communication and cultural exchange. Therefore, in a sense, translation plays the role of cultural &amp;quot;fax&amp;quot;. In order to coordinate the spread of the source language culture and the acceptance of the target language side, it is necessary to avoid rigid use of a single translation method and translation strategy, or solidifying the idea of translation guiding theory. After comprehensive consideration of translation purpose, target and recipient, it is a translator's duty to use translation method flexibly and dialectically, as being a &amp;quot;cultural bridge&amp;quot;.&lt;br /&gt;
&lt;br /&gt;
===References===&lt;br /&gt;
References&lt;br /&gt;
Sun Zhili 孙致礼.(2011).新编英汉翻译教程[A New Coursebook on English-Chinese Translation].上海:上海外语教育出版社.Shanghai:Shanghai Foreign Language Education Press&lt;br /&gt;
Sun Zhili 孙致礼.(2002).中国的文学翻译:从归化趋向异化[China’s Literary Translation: from Domestication to Foreignization].中国翻译Chinese Translators Journal(01):39-43.&lt;br /&gt;
Jia Wenbo 贾文波.(1999).汉英时文翻译-政治经济汉译英300句析[On Practical C-E Translation in Political &amp;amp; Economic Practice].北京:中国对外翻译出版公司Beijing:China Translation and Publishing Corporation.&lt;br /&gt;
Zhang Meifang 张美芳.(2004).翻译策略二分法透视[A dichotomous perspective in translation strategies].天津外国语学院学报Journal of Tianjin Foreign Studies University(03):1-6.&lt;br /&gt;
Zhao Jing 赵静.(2011).直译、意译与归化、异化之比较[Comparison between literal translation and free translation and Domestication and Foreignization].河南农业Henan agriculture(22):61-62.&lt;br /&gt;
Lv Yinping 吕银平.(2007).“直译与意译  归化与异化”译法之我见[My Opinion on Literal Translation, Free Translation, Domestication and Foreignization].宁夏师范学院学报Journal of Ningxia Teachers Univercity( Social Science)(04):136-138.&lt;br /&gt;
Venuti Lawrence.(1995). The Translator’s Invisibility .London&amp;amp;New York: Routledge.&lt;br /&gt;
&lt;br /&gt;
==On Chinese-to-English Translation of The Summer Palace from the Perspective of Functionalist Approaches to Translation	魏亚菲	Wei Yafei==&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
===Abstract===&lt;br /&gt;
Abstract&lt;br /&gt;
The Chinese-English translation of tourist texts, as a window for the external publicity of national history and culture, plays an important role in promoting the development of local tourism. The Summer Palace is well known for its large and priceless collection of cultural relics, which is among the first group of historical and cultural heritage sites in China to be placed under special state protection. &lt;br /&gt;
Based on the functionalist approach and the skopos rule, this paper discusses the problems existing in the translation of scenic spots in the Summer Palace from the perspectives of garden culture, historical culture and religious culture. Skopos theory holds that translation depends on communicative purpose. To achieve this goal, translators can choose different translation strategies. It is believed that the purpose of Chinese-English translation of scenic spots is to attract target readers and promote traditional culture. Therefore, when translating tourism materials, it is necessary not only to express the local cultural connotation, but also to consider the cross-cultural factors. The Chinese-English translation of the introduction of scenic spots guided by functionalist approach can make English readers have expectations of scenic spots and understand the cultural connotation of scenic spots. This paper aims to better promote the development and communication of Chinese culture and improve the level of tourism text translation in China by relying on the theory of functionalist approach.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
===Key words===&lt;br /&gt;
Key Words: functionalist approach，the Summer Palace，translation strategies&lt;br /&gt;
&lt;br /&gt;
===摘要===&lt;br /&gt;
摘 要&lt;br /&gt;
旅游资料的英译作为民族历史文化对外宣传的一道窗口,对地方旅游业的发展有着不可低估的促进作用。颐和园作为中国著名的皇家园林，具有浓厚的中国园林特色及优美的风景，同时也蕴涵着深厚文化内涵。&lt;br /&gt;
本篇旅游文本英译的分析以功能派翻译理论作为理论指导，以目的法则为主要原则，从颐和园的园林文化、历史文化和宗教文化三个角度出发对颐和园景点英译中存在的问题进行探讨。目的论认为译文取决于翻译目的，这个目的通常指的是交际目的。为达到这个目的，译者可以选择不同的翻译策略。也就是说，译者的翻译策略必须由译文的预期目的或功能决定，即所谓的“目的法则”。笔者认为景点介绍的汉英翻译的目的就是吸引译文读者以及弘扬传统文化，因此在翻译旅游资料的时候不仅要把当地的文化内涵表达出来，而且要考虑到跨文化的因素。而以功能派翻译理论为指导的景点介绍的汉英翻译，可以使英语读者通过译文产生对旅游景点的期盼，以及对景点文化内涵的理解。以颐和园景区内的翻译文本为例本，依托功能翻译理论，通过“发现问题，指出问题，解决问题”，以期更好地促进中国文化的传播与交流，提高我国现阶段旅游文本翻译的水平。&lt;br /&gt;
&lt;br /&gt;
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&lt;br /&gt;
===关键字===&lt;br /&gt;
关键词：功能翻译；颐和园；翻译目的；翻译策略&lt;br /&gt;
&lt;br /&gt;
===Introduction===&lt;br /&gt;
  Throughout the translation history at home and abroad, the literal translation and free translation have always been a heat discussion in the translation circles. Someone absolutely approve literal translation and demean free translation, even pursue a dead translation, which creates an translated text difficult to understand. While some other people absolutely agree with free translation even advocate random acts, which means a random deletion in the translation practices and creates anther entirely different text. However, there are also a number of translators who have recognized that these two translation methods are not totally opposite. So they adopt a compromise and flexible way. That means they will choose the most appropriate one depending on the text demanding. Therefore, we can deduce from it that this eclectic translation is consistent with the Contradiction view of Unity of Opposite in Materialist Dialectics. In fact, literal translation and free translation are right a set of contradictions which are both opposite and unified. They complement each other into an integral one.&lt;br /&gt;
&lt;br /&gt;
===Table of Contents===&lt;br /&gt;
&lt;br /&gt;
Table of Contents&lt;br /&gt;
&lt;br /&gt;
Outline&lt;br /&gt;
1.Introduction&lt;br /&gt;
2. Studies on Functionalist Approach&lt;br /&gt;
2.1 The Viewpoint of Functionalist Approach&lt;br /&gt;
2.1.1 Reiss’s Text Typology&lt;br /&gt;
2.1.2 Vermeer’s Skopos Theory&lt;br /&gt;
2.1.3 Manttari’s Theory of Translational Action&lt;br /&gt;
2.1.4 Nord’s Theory of Function plus Loyalty&lt;br /&gt;
2.2 The Application of Functionalist Approach &lt;br /&gt;
3.C-E Translation of the Summer Palace under Functionalist Approach&lt;br /&gt;
3.1 Garden Culture&lt;br /&gt;
3.2 Historical Culture &lt;br /&gt;
3.3 Religious Culture &lt;br /&gt;
4. Conclusion&lt;br /&gt;
References&lt;br /&gt;
&lt;br /&gt;
===Outline===&lt;br /&gt;
Outline&lt;br /&gt;
&lt;br /&gt;
Thesis Statement: Based on the main viewpoints of functionalist approaches to translation, this paper aims to give an analysis to C-E translation of the Summer Palace from cultural, historical and religious aspects, hoping to provide some translation strategies for other cultural attractions.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
1. Introduction&lt;br /&gt;
2. Studies on Functionalist Approaches&lt;br /&gt;
2.1 The Viewpoint of Functionalist Approach&lt;br /&gt;
2.1 Reiss’s Text Typology&lt;br /&gt;
2.2 Vermeer’s Skopos Theory&lt;br /&gt;
2.3 Manttari’s Theory of Translational Action&lt;br /&gt;
2.4 Nord’s Theory of Function plus Loyalty&lt;br /&gt;
2.2 The Application of Functionalist Approach&lt;br /&gt;
3. C-E Translation of the Summer Palace under Functionalist Approach&lt;br /&gt;
3.1 Garden Culture&lt;br /&gt;
3.2 Historical Culture&lt;br /&gt;
3.3 Religious Culture&lt;br /&gt;
4. Conclusion&lt;br /&gt;
&lt;br /&gt;
===1. Introduction ===&lt;br /&gt;
1. Introduction   &lt;br /&gt;
The Chinese-English translation of tourist texts is a bridge to spread the culture of classical Chinese gardens, so the accuracy of it has a direct impact on foreigners' understanding of the specific history and culture. &lt;br /&gt;
Functionalist approach has made a pioneering contribution to the translation of non-literary genres. Functional translation theory emphasizes the function of discourse, and believes that different types of discourse have different functions, so translators should choose appropriate translation strategies according to the type of source text and corresponding functions. Functionalist approach is to take the &amp;quot;skopos rule&amp;quot; as the highest standard, and any translation activity is a purposeful behavior. The ultimate goal and main function of scenic spot translation is to help people understand the main content of the scenic spot.&lt;br /&gt;
As a window for the publicity of national history and culture, the Chinese-to-English translation of tourist texts plays an important role in promoting the development of local tourism. Well known for its large and priceless collection of cultural relics, the Summer Palace was among the first group of historical and cultural heritage sites in China to be placed under special state protection. Based on the viewpoints of functionalist approach to translation, this paper aims to analyze C-E translation of the Summer Palace from cultural, historical and religious aspects, hoping to provide some translation strategies for other cultural attractions. &lt;br /&gt;
&lt;br /&gt;
===2. Studies on Functionalist Approaches===&lt;br /&gt;
2. Studies on Functionalist Approaches&lt;br /&gt;
Functionalism is a theory that advocates reader-centered translation, emphasizing the functions of texts and highlighting the communicative effects. It is believed that many unnecessary mistakes can be avoided and better results can be achieved by applying functionalist approach in Chinese-English translation of tourist text. &lt;br /&gt;
&lt;br /&gt;
===2.1 The Viewpoint of Functionalist Approaches===&lt;br /&gt;
2.1 The Viewpoint of Functionalist Approaches&lt;br /&gt;
Functionalist Translation Theory, also known as German Functionalist Translation Theory, was proposed by German scholars in the 1970s. It includes four main theories: Katharina Reiss’s Text Typology, Hans Vermeer’s Skopos Theory, Justa Holtz Manttari’s Theory of Translational Action and Christiane Nord’s Theory of Function plus Loyalty. This chapter aims to present the main ideas of this theory.&lt;br /&gt;
&lt;br /&gt;
===2.1.1 Reiss’s Text Typology===&lt;br /&gt;
2.1.1 Reiss’s Text Typology&lt;br /&gt;
In 1971, Reiss in her book Possibilities and Limitation of Translation Criticism first made text function as a standard of translation criticism, namelyevaluate the translated text from the relationship between the functions of the original and the translated text. She insists on the original-centered equivalence theory and holds the view that the ideal translation is to achieve the equivalence between the target text and the source text in terms of ideological content, linguistic form and communicative function. However, translation practice makes her realize that it’s difficult to achieve equivalence sometimes and that sometimes equivalence cannot be pursued. Because of the particularity of translation requirements, the function of the target text is not always the same as that of the source text. Therefore, the translator should give priority to the functional role of the target text rather than the principle of equivalence.&lt;br /&gt;
Reiss believes that in the normal situation the type of text decides the translator’s choice of a proper translation method (Reiss, 2004). Therefore, she divides text into four types: content-focused text, form-focused text, appeal-focused text and audio-media text. Content-focused text, also known as informative text, includes news reports, commercial correspondence, operating instructions, official documents, patent&lt;br /&gt;
specifications, essays, treaties, etc. For this text, the main function is to convey information revealed in language itself to readers. The emphasis is on content and topic, so the choice of language and style should serve this function. If both the source text and target text belong to informative text, the translator should represent the content and information of source text accurately and completely (Reiss, 2004)&lt;br /&gt;
Form-focused text, also known as expressive text, refers to literary works such as novels, poems and so on. “Distinct from ‘content’, which deals with what the author says, ‘form’ is concerned with how an author expresses himself” (Reiss, 2004). For expressive texts, information is only a supplement. What is dominant is the aesthetic factor. When translating such texts, the translator should pay attention to the aesthetic and artistic forms of the original text and to the differences between two cultural habits, trying to achieve the same effect as the source text. In a word, in a form-focused text the linguistic form of the source text determines the form in the target language (Reiss, 2004).&lt;br /&gt;
Appeal-focused text, also known as operative text, mainly includes notice, instruction manual, advertisement, publicity manual and so on. For operative texts, the primary task for the translator is to provoke a particular reaction on the hearers or readers to incite them to engage in specific actions, while content and form are subordinate. Therefore, to achieve the same effect, the translator need to change the content and stylistic features of the original text, try to keep the potential influential factors of the original text and seek functional equivalence (Reiss, 2004: 38-43). Audio-medial text, also known as multi-media text, refers to radio and television scripts, such as radio newscasts and reports, topical surveys and dramatic productions.&lt;br /&gt;
It is distinctive in its dependence on non-linguistic media and on graphic, acoustic, and visual kinds of expression. Only in combination with them can the whole complex literary form realize its full potential (Reiss, 2004). In conclusion, different texts determine different translation focuses and methods. In many cases, however, a text may have more than one function, which means that translators should integrate different translation strategies skillfully to achieve different functions of texts.&lt;br /&gt;
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===2.1.2 Vermeer’s Skopos Theory===&lt;br /&gt;
2.1.2 Vermeer’s Skopos Theory&lt;br /&gt;
Reiss’s student Vermeer, who broke the limitation of the theory of equivalent and took skopos to be the first criterion of translation process  proposed the key theory: Skopostheorie. According to Skopos Theory, when translating a text, the translator needs to consider the purpose of translation first and then choose the translation method according to the purpose, which means “the end justifies the means” (Nord, 2001). Vermeer believes that translation, like other human actions, is also a purposeful act. Translation often takes place in cultural backgrounds with different customs and values, so translation is not a simple equivalent transformation between languages. Skopos Theory does not focus on achieving the equivalence between the target text and the original text or the perfection of the target text, but on choosing the best translation strategy based on the analysis of the source text and the intended function of the target text. In a word, translation methods and strategies are determined by the intended purpose or function of the target text.&lt;br /&gt;
According to Skopos Theory, the first rule that all translators must follow is the Skopos Rule. Translation purpose can be divided into three categories: (1) the purpose of the translator, such as earning a living; (2) the communicative purpose of the translation, such as instructing the reader; (3) the purpose of using a particular translation method, such as the literal translation according to its structure to illustrate the peculiarities of grammatical structure in a language (Nord, 2001). In general, the communicative purpose is more important than the other two. The communicative purpose is usually determined by the initiator of the translation act, but the translator can take part in deciding. The second rule is the Coherence Rule. Coherence Rule requires that the translation conform to the criterion of intratextual coherence, which means that the translation must be accessible to recipients and meaningful in the target culture and in the communicative environment (Nord, 2001). The third rule is the Fidelity Rule. It means that there should be intertextual coherence between the source text and the target text, which means being faithful to the source text. Nevertheless, the degree and form of faithfulness lie in the target text and the degree that the translator understands the original text. Normally “Intertexual coherence is considered subordinate to intratexual coherence and both are subordinate to the Skopos rule” (Nord, 2001).&lt;br /&gt;
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===2.1.3 Manttari’s Theory of Translational Action===&lt;br /&gt;
2.1.3 Manttari’s Theory of Translational Action&lt;br /&gt;
Following Vermeer, Manttari develops Vermeer’s Skopos Theory and puts forward the Theory of Translational Action. He emphasizes three aspects: the behavior of the translation process, the role of the participants (the initiator, the translator and the target reader, etc.) and the environment (time, place and media) in which the translation process takes places. It views translation as “purpose-driven, outcome-oriented human interaction and construes the process of translation as message-transmitter compounds that involve intercultural transfer” (Mundy, 2001). According to Manttari, translation is “ a complex act to achieve a particular purpose” &lt;br /&gt;
(Nord, 2001). It is not about translating words, sentences or texts but is about guiding the intended cooperation over cultural barriers and promoting functional communication. Cooperation here means “transcultural communication” by Manttari.&lt;br /&gt;
The Theory of Translational Action attaches great importance to providing a functional communicative text for the recipient, a text suitable for the target culture in&lt;br /&gt;
form and style. Functional suitability is determined by the translator. The translator is&lt;br /&gt;
an expert in translation, whose role is to ensure the successful completion of cultural&lt;br /&gt;
transformation. In producing the target text, the analysis of the source text is necessary so that the translator can find out its structural and functional characteristics, which can be described by content and form. The need of the recipient is the decisive&lt;br /&gt;
factor for the target text.&lt;br /&gt;
In short, “the value of Manttari’s work is the placing of translation (or at least the professional non-literary translation which she describes) within its sociocultural&lt;br /&gt;
context, including the interplay between the translator and the initiating institution”&lt;br /&gt;
(Mundy, 2001).&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
===2.1.4 Nord’s Theory of Function plus Loyalty===&lt;br /&gt;
2.1.4 Nord’s Theory of Function plus Loyalty&lt;br /&gt;
Though skopos rule changes the focus of translation from the source language text to the target language text and the target receivers, it has some limitations. One is that different readers have different expectations, and the translation purpose cannot satisfy all the expectations of the target reader. Another is that the translation purpose may sometimes be against the intention of the source language. Therefore, based on the skopos rule, Nord introduces the loyalty principle. The principle of loyalty is a supplementary principle proposed by Nord to make up for the deficiency of skopos rule. According to the explanation of Nord, it is not the relationship between the original text and the target text, nor the equivalence between the original text and the form of the target text, but the consistency between the author of the original text, the initiator of the translation, the translator and the reader of the target text, which is the principle of loyalty. The proposal of the loyalty principle makes up for the mistakes that some radical skopos translators usually make, such as omitting and rewriting, which makes skopos theory more perfect and makes skopos theory more likely to guide the translation of literary works.&lt;br /&gt;
“Function” and “loyalty” are two pillars of Nord’s functionalist approach. “Function” refers to what a text means or is intended to mean from the receiver’s point of view”, while “loyalty” means that “target-text purpose should be compatible with the original author’s intention” (Nord,2001). It emphasizes the interpersonal relationship between the translator, the source-text sender, the target-text addresses and the initiator. Function plus loyalty enables the translator to avoid the limitations of skopos rule and try to achieve a balance between translation purpose and the source-text author’s intention”(Nord,2001). That is to say, when translating the original text, the translator should take into account the readers' cultural background, knowledge level and expectation of the translation, and choose the corresponding translation strategy according to the translation requirements. If the reader wants to read a word-for-word translation of the article, then the translator must meet the reader's requirements, otherwise he must explain to the reader why he chose his own translation method. The translator's job is to weigh two different cultures instead of imposing one culture on another. &lt;br /&gt;
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===2.2The Application of Functionalist Approach to the Tourist Texts.===&lt;br /&gt;
2.2The Application of Functionalist Approach to the Tourist Texts.&lt;br /&gt;
In the 1990s, Functionalist Translation Theory was introduced to China, and since then it has been applied to translation studies by Chinese translation scholars. In his article published in 1995, Zhang Nanfeng briefly introduces Skopos theory to China for the first time, and considers that Skopos theory is referential (Zhang Nanfeng, 1995). German Functionalist Translation Theory, a paper released in1999, is the first article in China which systematically introduces German Functionalist Translation Theory (Zhong Weihe &amp;amp; Zhong Yu, 1999). Based on an overview of Functionalist Translation Theory, Zhang Meifang focuses on introducing Nord’s theory, especially on the detailed analysis of Nord’s principle of loyalty (Zhang Meifang, 2005). Famous domestic scholars, such as Liu Junping (2009), Liu Miqing (2012) and Li Wenge (2004), also introduce this theory in their books. With the rise of Functionalist Translation Theory in China, someone has compared it with other theories. Zhu Haotong compares Skopos Theory with Functional Equivalence Theory to analyze the similarities and differences between them, and further reveals that Functionalist Translation Theory inherits the reasonable part of Nida’s Functional Equivalence Theory, which is an important breakthrough and supplement to solve the problems that Functional Equivalence Theory leaves (Zhu Haotong, 2006). Some scholars also combine theory with translation practice to explore the application of Functionalist Translation Theory to translation practice. Jia Yanli and Wang Hongjun point out that Skopos Theory has its limitations, but it is still of instruction and reference value for non-literary translation texts, such as advertisements and tourism materials (Jia Yanli &amp;amp; Wang Hongjun, 2012). Li Liangchen selects several famous tourist attractions in China to translate the on-site tour-guide commentary into English. Then he improves them under the guidance of Skopos Theory and sends out questionnaires to overseas tourists for further analysis. He argues that the translation of on-site tour-guide commentary which is guided by Skopos Theory is more favorable to conveying information to foreign visitors, to promoting cultural exchanges and to improving the image of China’s tourist destinations (Li Liangchen, 2013). In Pragmatic Translation: Theory &amp;amp; Practice, Wu Feng and He Qingji introduce Functionalist Translation Theory (Wu Feng &amp;amp; He Qingji, 2008) and the characteristics of tourism text and translation skills (Wu Feng &amp;amp; He Qingji, 2008). In this book, they also discuss the controversy over the Chinese name of Functionalist Translation Theory, and holds that “功能派翻译理论” is the most appropriate Chinese translation (Wu Feng &amp;amp; He Qingji, 2008).Based on his own translation practice and under the guidance of Functionalist Translation Theory, Wu Zixuan probes into some special phenomena in the English translation of CNN newsreels. The author believes that in the translation of external publicity, we should not stick to the standard of faithfulness to the original text, but should deal with the original text properly from the perspective of achieving the purpose of translation, such as rewriting, abridging. (Wu Zixuan, 2005).&lt;br /&gt;
Functionalist approach establishes a theoretical system of diversified translation standards dominated by skopos rule. From the definition of Functionalist approach, it can be seen that the advantage of it is that the translator can get rid of the bondage of the original text, study the translation process with &amp;quot;translation purpose&amp;quot; as the starting point, and determine the translation strategies and methods. This can give full play to the translator's own initiative, flexible processing of the original text, in order to achieve the translation of the communicative function. In addition, functionalist approach requires the translation to be examined in the cultural context of the reader. The reader can accept the translation and understand the meaning of the original text through the translation, so the translation can realize the communicative function. On the basis of such advantages, functionalist approach can be used to guide the English translation of garden scenic spots, and the translator can choose a wider range of translation strategies and break out of the constraints of the original text. &lt;br /&gt;
Only by clarifying the purpose of translation can we avoid these limitations in the English translation of garden attractions. When using functionalist approach to guide the English translation of Chinese classical garden scenic spots, it is necessary to flexibly choose translation strategies and methods, give full play to the advantages of skopos theory, and achieve the balance between &amp;quot;principle of purpose&amp;quot; and &amp;quot;principle of fidelity&amp;quot; as far as possible.&lt;br /&gt;
With the deepening of globalization and cross-cultural communication, tourismis becoming a major industry in the 21st century. The development of tourism can not only promote the economic development of a country but also promote the external dissemination of national culture. Therefore, tourism translation deserves attention. Tourism text is a typical informative and operational text, and the language is unique. It is full of gorgeous words, such as four-character expressions, verses, proper nouns and so on.&lt;br /&gt;
Tourism text materials include tourism advertising, tourism brochures, scenic spots signs and so on. In this paper, we focus on the introduction of Chinese gardens’ scenic spots, which is usually colorful in language and rich in literary style. Tourism text translation belongs to applied translation, which should play a series of practical functions to publicize the image and resources of the country or place and attract overseas tourists. Therefore, the translator of tourism text must be clear about the type and function of tourism text, and to grasp the ultimate purpose of the translation. &lt;br /&gt;
On tourism text translation, the communicative purpose of the translation should be placed in a central position. Furthermore, the tourism text has both the information function and the calling function. The information function and the calling function complement each other. Only when the target language readers acquire the expected tourism information and cultural knowledge can the calling function be realized and the purpose of tourism text translation be achieved. With different translation strategies, the translated version should both expressed contains basic information, and make the tourists feel the profound of the Chinese culture from the beautiful scenery. &lt;br /&gt;
Cultural tourism has long been the focus of international tourism, and understanding Chinese culture is the main purpose of inbound tourists, so the translation of tourism texts bears the mission of cultural transmission and cultural publicity. However, due to the great differences between Chinese and English culture and language, there are many difficulties in cultural transmission in tourism text translation. China has a long and splendid history and culture. When introducing the scenic spots of cultural relics and historic sites, we usually associate with many historical figures and stories. These terms are cultural blank for most foreign tourists, but this kind of cultural experience is also the most attractive place for foreign tourists. It is of great importance to pay attention to cultural differences in tourism translation and carry out cultural transmission effectively. Chinese and English languages have different logic views, and Chinese expressions in tourism texts value decoration. English expressions tend to be clear, concise and to the point. For example, Chinese tourism texts often use a four-character lattice, which is symmetrical, while there is no corresponding four-character lattice expression in English. Therefore, in Chinese-English translation of tourism texts with frequent use of four-character phrases, it is necessary to keep in mind the objective principle of functionalist approach and give priority to cultural communication instead of rigidly adhering to form.&lt;br /&gt;
&lt;br /&gt;
===3. C-E Translation of the Summer Palace under Functionalist Approach===&lt;br /&gt;
3. C-E Translation of the Summer Palace under Functionalist Approach&lt;br /&gt;
By studying the specific translation strategies made by predecessors, the following steps are also adopted in this paper: first, the translation strategies are determined according to the text type, such as faithful reproduction of the original information or rewriting; Secondly, the translation strategies are determined according to the potential purpose of the translation, such as paraphrasing or deleting poems, generalizing specific expressions and transliterating proper nouns. Thirdly, the translation strategies are defined with the tourists as the center, such as adding logical words, adding explanatory information and using plain English.&lt;br /&gt;
The Summer Palace epitomizes the philosophy and practice of Chinese garden design, which played a key role in the development of this cultural form throughout the east. It is an outstanding expression of the creative art of Chinese landscape garden design, incorporating the works of humankind and nature in a harmonious whole, which was once the most important place of political and diplomatic activity for the supreme rulers of the late Qing dynasty. Based on three aspects of the Summer Palace, namely, garden culture, historical culture and religious culture, this paper discusses the problems existing in the English translation of the scenic spots of the Summer Palace and puts forward corresponding countermeasures under the guidance of the skopos rule of functionalist translation theory.&lt;br /&gt;
&lt;br /&gt;
===3.1 Garden culture.===&lt;br /&gt;
3.1 Garden culture. &lt;br /&gt;
The Summer Palace is a classical garden famous for its magnificence and beauty. There are many temples in the garden, and the green waves of kunming lake ripple. Landscape and humanities complement each other, containing rich natural and cultural information, reflecting the characteristics of Chinese classical gardens. The garden cultural features of the three scenic spots, namely, the hall of clouds, the foxiang pavilion and the Wenchang courtyard, are particularly outstanding. Therefore, this paper takes these three scenic spots as examples to discuss the Chinese-English translation of the introduction of the Summer Palace.&lt;br /&gt;
(1)	排云殿、佛香阁景区是颐和园内建筑布局最完整、建筑形式最丰富的中轴建筑群体，殿、阁、廊、亭、桥、坊、碑等建筑约两万平方米。从临水的云辉玉宇牌坊至排云门、排云殿、德辉殿、佛香阁、众香界、智慧海、层层升高，排列有序，气势巍峨，金碧辉煌，将园林、寺庙和宫殿融为一体。&lt;br /&gt;
Translation：This scenic spot covers an area of 20,000 square meters with an assortment of buildings such as palaces, towers, corridors, pavilions, walkways, bridges, archways and inscribed stone steles. It comprises a well-arranged group of structures, all diverse in style, located in the center of the Summer Palace garden. This complex of structures, ranging from the Glowing Clouds and Holy Land Archway on the waterside, the Gate that Dispels the Clouds, the Hall that Dispels the Clouds, the Hall of Moral Glory, and the Tower of the Fragrance of the Buddha, to the Realm of Popular Fragrance and the Sea of Wisdom Temple, were built in an orderly manner running from the foot of the hill to its top, with gardens, temples and palaces harmoniously integrated into the whole。&lt;br /&gt;
Analysis：As we all know, the design style of ancient Chinese buildings is beautiful with &amp;quot;symmetry&amp;quot;. The &amp;quot;axis&amp;quot; in hall of clouds scenic spot refers to the layout of the Summer Palace from far to near and from top to bottom, which cannot be simply understood as the center. Simply translating &amp;quot;axis&amp;quot; as &amp;quot;center&amp;quot; cannot express accurately the meaning of &amp;quot;symmetry&amp;quot;. Comparatively speaking, &amp;quot;axis&amp;quot; can better reflect the architectural style of the scenic spot.&lt;br /&gt;
(2)	从临水的云辉玉宇牌坊至排云门、排云殿、德辉殿、佛香阁、众香界、智慧海，层层升高，排列有序，气势巍峨，金碧辉煌，将园林、寺庙和宫殿融为一体。&lt;br /&gt;
Translation：These structures，including Glowing Clouds and Holy Land Archway at lake side，the Gate of Dispelling Clouds，the Hall of Dispelling Clouds，the Hall of moral Glory，and the Tower of Buddhist Incense，the Realm of Multitudinous Fragrance and the Sea of Wisdom Temple，were built in an orderly manner ranging up the hill with gardens，temples and palaces harmoniously integrated. This manifests beauty，grace and splendor，reminiscent of the loftingness and grandeur of a once mighty empire.&lt;br /&gt;
Analysis：In terms of the characteristics of language, Chinese emphasizes parataxis and four-word antithesis. When describing and naming scenes, gorgeous words and poetic words are generally chosen in Chinese. But, English emphasizes hypotaxis, on the other hand, puts more emphasis on reproducing the original appearance of things, using simple and natural words and preferring direct description. In sign translation, the English translation pays more attention to accurate, concise and lively. In the above paragraph, &amp;quot;层层升高，排列有序，将园林、寺庙和宫殿融为一体&amp;quot; is an introduction to the architectural features of foxiang pavilion, in order to make tourists have a clear understanding of the overall layout and architectural features of the scenic spot. This information is essential and can be translated into detail. However, &amp;quot;气势巍峨，金碧辉煌&amp;quot; focuses on the subjective description, and its explicit translation needs more complicated words. If this paragraph is translated in detail, it is easy to drag the content and make the key information vague. Therefore, the deletion of the English translation of this sentence will not affect the basic information of the original text.&lt;br /&gt;
(3)	主阁（文昌阁）两层，内供铜铸文昌帝君和仙童、铜骑。文昌阁与万寿山西供武圣的宿云檐象征“文武辅弼”。&lt;br /&gt;
Translation: A bronze statue of the God Wenchang, statues of gaeries, and a bronze steed were placed in the two-story pavilion. This tower is pared with the Tower of Cloud- Retaining Eaves, located to the west of the Longevity Hill, in which a statue of the Martial God was placed. The God Wenchang and the Martial God together symbolize reining of the emperor supported by scholars and warriors.&lt;br /&gt;
Analysis: Two questions arise in Chinese-English translation. First, there are two translations of wenchang pavilion in the translation: pavilion and tower, which appear in the same sign. Two different translations of the same scenic spot name tend to make foreign tourists think that it refers to different scenic spots, which may cause difficulty in understanding. Second, the translation of Wenchang pavilion into &amp;quot;Wenchang Tower&amp;quot; is against the actual architectural characteristics. In fact, the meanings of &amp;quot;pavilion&amp;quot; and &amp;quot;tower&amp;quot; have both similarities and differences. According to the Oxford dictionary, Tower means &amp;quot;a tall narrow building or part of a building, especially of a church or castle&amp;quot;, mainly referring to the tower-shaped part of a building, usually a tall and slender structure, such as the Eiffel Tower. &amp;quot;Pavilion&amp;quot; means &amp;quot;a building that is meant to be more beautiful than usual, built as a shelter in a park or used for concerts and dances&amp;quot;. The top structure of the pavilion usually has rectangles, triangles, hexagons, etc. The common feature of them is that the top is supported by columns without walls. From the external structure of Wenchang pavilion, its bottom is solid and its top is supported by columns. Therefore, the pavilion can accurately reflect the architectural characteristics of Wenchang pavilion, so I think it should be translated as Wenchang pavilion.&lt;br /&gt;
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===3.2 Historical culture. ===&lt;br /&gt;
3.2 Historical culture. &lt;br /&gt;
The accurate Chinese-English translation of the introduction of the Summer Palace not only enables foreign tourists to understand the characteristics of Chinese gardens, but also enables foreign tourists to understand the historical knowledge of a specific period of China. However, the Chinese-English translation of the Summer Palace still has problems in accurately conveying the historical background of the scenic spots, such as the English translation of Wenchang pavilion scenic spot:&lt;br /&gt;
(4)	此景区始建于清乾隆十五年，一八六零年被英法联军烧毁，光绪时按原样重建。阁结构为八面三层四重檐，通高36.44米，耸立于20米高的石造台基上，气势雄伟，是颐和园全园的构图中心。阁内供奉有铜铸金裹千手观世音菩萨站像。像高五米，重万斤，为明代万历年间所造，在八根贯通全阁上下的承重铁梨木擎天柱的衬托下，美妙庄严，熠熠生辉，有极高的文物和艺术价值。&lt;br /&gt;
Translation: The Wenchang tower was first built in 1750 and rebuilt under Emperor Guangxu after  the Anglo-French Allied Forces builted it down in 1860. The octahedral tower has three stories with four-layered eaves, altogether 36.44 meters high. Standing upright on a 20 meter-high stone foundation, it constitutes the center of the Summer Palace landscape and serves to accentuate its magnificence. A statue of the thousand-handed Guanshiyin Buddha, cast in bronze and gilded with gold, stands inside the tower. The statue, five meters high and five tons in weight, was cast during the reign of Emperor Wanli of the Ming Dynasty. Set off by the eight imposing pillars which support the tower, it glows with beauty, grandeur and brilliance. Its historical, cultural and artistic value can hardly be overstated.&lt;br /&gt;
Analysis: “始建于乾隆十五年”only was translated into “was first built in 1750” and the “光绪年间重建” was translated into “rebuilt under Emperor Guangxu”.The first sentence does not show that 1750 was the fifteenth year of the reign of emperor Qianlong, and the second sentence does not give foreign visitors the exact date of the reign of emperor Guangxu. The change of time concept and the disunity of expression easily make foreign tourists feel confused. Therefore, the translation of the time and the historical dynasties should be accurate and meticulous, and the supplementary method should be used to not only describe the dynasties clearly, but also supplement the corresponding years, so as to achieve the standardization of the translation. In this way, foreign tourists can not only be clear about the time of the event, but also understand the Chinese historical dynasties. Consider as follows: the Wenchang Pavilion was first built in 1750 during Emperor Qianlong’s reign（1735- 1795）and rebuilt in 1886 under Emperor Guangxu（1875- 1908）after the Anglo- French Allied Forces burned it down in 1860.&lt;br /&gt;
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===3.3 Religious culture. ===&lt;br /&gt;
3.3 Religious culture. &lt;br /&gt;
Many scenic spots in the Summer Palace have a strong buddhist atmosphere. While visiting the scenic spots, foreign tourists can understand the profound buddhist culture. Wenchang pavilion in the Summer Palace is the representative of Chinese religious culture.&lt;br /&gt;
(5)	主阁两层，内供铜铸文昌帝君和仙童、铜特。文昌阁与万寿山西供武圣的宿云檐象征“文武辅弼”。&lt;br /&gt;
Translation: A bronze statue of the god，Wenchang，and statues of two followers，the celestial boy，and the bronze steed，were placed in the two- storey pavilion. This tower is pared with the tower of Cloud- Retaining Eaves，located to the west of the Longevity Hill，in which a statue of the Martial God was placed. The two towers symbolize the support by both scholars and warriors to the ruling emperor.&lt;br /&gt;
Analysis: It is well known that westerners believe in theism, which refers to god as supreme . In Chinese religious culture, people believe in atheism and do not believe in the existence of god. Therefore, it is inappropriate to translate &amp;quot;文昌帝军&amp;quot; and &amp;quot;武圣&amp;quot; into &amp;quot;the god, Wenchang&amp;quot; and &amp;quot;the Martial god&amp;quot; in the translation. In fact, the &amp;quot;文昌帝军&amp;quot; was Zhang yu, an emperor of Shu of Ning kang (374). And &amp;quot;武圣&amp;quot; refers to Guan yu in history. Therefore, the simple translation of  &amp;quot;God&amp;quot; is not in line with the traditional Chinese culture, which will not only cause western tourists to misunderstand that Chinese religious tradition also believes in God, but also fail to convey Chinese historical allusions and relevant historical figures. In contrast, if &amp;quot;文昌帝军&amp;quot; is translated as &amp;quot;the emperor, Wenchang&amp;quot; and &amp;quot;武圣&amp;quot; is translated as &amp;quot;the Martial Master (Guanyu)&amp;quot;, it can more faithfully convey the history and religious culture contained in the source language. &lt;br /&gt;
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===4. Conclusion===&lt;br /&gt;
4. Conclusion&lt;br /&gt;
To sum up, Under the guidance of the skopos rule of functionalist translation theory, translators should have a cross-cultural awareness, fully understand the reading psychology and cultural appreciation needs of target language readers, and use effective translation strategies and methods to achieve the purpose of tourism text translation. Functionalist approach has made a pioneering contribution to the translation of non-literary genres. Functional translation effectively eliminates the disadvantages of traditional word-for-word translation, improves the efficiency of translation, and helps readers to grasp the meaning of the original text.&lt;br /&gt;
 The importance of the translation of the Summer Palace lies in the profound garden culture, historical culture and religious culture. The English translation is not only helpful for international friends to know more about the garden characteristics of the Summer Palace, but also helpful for spreading the long history and profound culture of China. In order to attract target readers and promote traditional Chinese culture, it is not only necessary to carefully explore Chinese culture and history, but also to use the fuctionalist approach appropriately. &lt;br /&gt;
Translation is a complicated process. Functionalist approach stresses the function of the discourse, the purpose of translation. In the practice of translation, if the translator can get rid of the bondage of the original equivalence, actively playing to subjective initiative, fully understanding the original text, depending on the purpose of discourse and adopting different translation strategies, the effect and readability of translation can be improved.&lt;br /&gt;
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===References===&lt;br /&gt;
References&lt;br /&gt;
Hans Vermmer, “Skopos and Commission in Translation Action”, in the Translation Studies Reader,ed. Chesterman, London and Network:Routledge,p.221-232. 2000.   &lt;br /&gt;
Munday, Jeremy. Introducing Translation Studies: Theories and Applications. Routledge publishing.2001.&lt;br /&gt;
Mason, “Textual Practices and Audience Design: and Interactive View of the Tourist Brrochure”. In Navarro et al.(eds.). Pragmatics at Work: The Translation of Tourist Literature. Bern: Perter Lang. 157-176.2004.&lt;br /&gt;
Nord, Text Analysis in Translation: Theory, Methodology and Didactic Application of a Model for Translation-Oriented Text Analysis. Beijing: Foreign Language Teaching and Research Press. 2006.&lt;br /&gt;
Nord, Translating as a purposeful activity. Shanghai: SFLE PRESS, 2001:27,30,32,65,245.&lt;br /&gt;
Reiss, Katharina. Translation Criticism: The Potentials &amp;amp; Limitations. Shanghai Foreign Language Education Press. Shanghai. 2004.&lt;br /&gt;
Venuti, Lawrence. The Translator’s Invisibility: A History Translation. Routledge.1995.&lt;br /&gt;
方梦之、毛忠明， 英汉—汉英应用翻译教程，上海: 上海外语教育出版社，2004.&lt;br /&gt;
金惠康，跨文化旅游翻译，中国对外翻译出版公司，2004.  &lt;br /&gt;
贾文波，应用翻译功能论，北京：中国对外翻译出版公司，2004&lt;br /&gt;
孙艺风，文化翻译的困惑与挑战，中国翻译，2016年第3期.  &lt;br /&gt;
王宏志，翻译与创作，北京大学出版社，2000.&lt;br /&gt;
吴自选，德国功能派翻译理论与 CNN 新闻短片英译，中国科技翻译, 2005.&lt;br /&gt;
谢天振，当代国外翻译理论，天津：南开大学出版社，2005.&lt;br /&gt;
张南峰，走出死胡同建立翻译学. 中国翻译, 1995.&lt;br /&gt;
仲伟合，钟钰. 德国的功能派翻译理论. 中国翻译, 1999.&lt;br /&gt;
张美芳，功能加忠诚—介评克里丝汀· 诺德的功能翻译理论.上海外国语大学学报, 2005.&lt;br /&gt;
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==Contrast between Literal Translation and Free Translation	张雪仪	Zhang Xueyi==&lt;br /&gt;
&amp;lt;center&amp;gt;张雪仪 202020080668&amp;lt;/center&amp;gt;&lt;br /&gt;
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=== Abstract===&lt;br /&gt;
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The contrast between literal translation and free translation has always been the most discussed problem in translation studies. To compare these two translation methods, the basic point is to understand the purpose of translation. The ultimate goal of translation is to help different cultures communicate better, so that people who speak different languages can understand each other’s cultures. Due to the differences in social, historical and cultural backgrounds between languages, how to choose between the two translation strategies of literal translation and free translation requires translators to weigh the strengths and weaknesses of these two methods. This essay mainly compares literal translation and free translation between Chinese and Russian to help students and translators translate better.&lt;br /&gt;
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=== Key words ===&lt;br /&gt;
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Translation strategies, Literal translation,Free translation &lt;br /&gt;
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=== 摘要 ===&lt;br /&gt;
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直译与意译间的对比一直是翻译学中讨论度最高的问题。想要将这两种翻译方法进行对比，最基本的一点就是要明白翻译的目的是什么。翻译的最终目的在于帮助不同文化进行更好的交流，让使用不同语种的人相互理解彼此的文化。由于语种间社会历史文化背景的差异，如何在直译和意译这两种翻译策略中做出选择，就需要译者衡量两种方法的利弊。本文主要对汉语和俄语间直译和意译进行比较，以帮助学生和译者更好地进行翻译实践。&lt;br /&gt;
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=== 关键词 ===&lt;br /&gt;
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翻译策略，直译，意译&lt;br /&gt;
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=== Introduction ===&lt;br /&gt;
The former Soviet Union translation theorist Fedorov believes that “translation is an activity of expressing what has been used in one language as a unified whole of content and form, and accurately and completely expressed in another language.” Translation theorist Barhudaro The husband also wrote: &amp;quot;Translation is the process of changing the coherent discourse of one language into the coherent discourse of another language while maintaining its content and meaning.&amp;quot;(Cai Yi, Duan Jinghua 2000) Mr. Lu Xun once advocated &amp;quot;literal translation.&amp;quot; He said: &amp;quot;Translation must take both sides into consideration: one is of course to be easy to understand, the other is to maintain the fullness of the original.&amp;quot; The Chinese translator Zhang Peiji summed up the translation standard as &amp;quot;faithful and smooth.&amp;quot;(Gong Linjing 2015,192) To some extent, translation is a process of thinking re-creation, so certain standards and principles must be followed when translating. Translation standard is a measure of the quality of translation, it can guide translation practice, and it is a principle that must be followed in translation activities. Although each scholar has different opinions on the standard of translation, the final result he pursues is the same: the original text and the translated text express the same effect.In order to achieve the same effect, different translation methods have been derived from the translator's translation practice. The most basic and common ones are literal translation and free translation.&lt;br /&gt;
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Russian idioms and proverbs, as the crystallization of the wisdom of the Russian nation and the immortal fossils in the Russian language, are one of the best materials for the Chinese to understand and learn Russian history, culture, and society. Due to different geographical, historical and economic conditions, the Russian and Chinese ethnic groups have formed different cultural backgrounds. These distinctive backgrounds and characteristics have caused great difficulties for Chinese learning Russian to further understand Russia. This essay will take the Chinese translation of Russian idioms and proverbs as examples to study the basic definitions of literal translation and free translation, their respective advantages and disadvantages, and their relationships, in order to help students who learn Russian understand literal translation and free translation.&lt;br /&gt;
=== Controversy between literal translation and free translation===&lt;br /&gt;
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In different periods and different countries, people's views on translation theory have changed a lot, but the debate about literal translation and free translation has always existed.&lt;br /&gt;
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=== Controversy in Chinese Translation Community===&lt;br /&gt;
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Which is better, literal translation or free translation, has always been divided in Chinese translation community. This kind of controversy first occurred during the translation of Buddhist scriptures written in Sanskrit into Chinese. During the Wei, Jin, Southern and Northern Dynasties, the famous monk Dao An was the earliest representative of the literal translation in China. Dao An himself did not understand Sanskrit and was afraid that paraphrase would lose the maxims in Buddhist scriptures, so he advocated strict literal translation. However, Kumarajiva from India, who was invited by Dao An, advocated free translation. On the basis of fully understanding the original thought content and artistic style, the translation was appropriately deleted. Although Dao An and Kumarajiva are also engaged in the translation of Buddhist scriptures, the translation methods they adhere to were very different. This divergence continued into the Tang Dynasty. Xuan Zang, as the most famous monk in the Tang Dynasty, proposed a translation method that was completely different from the previous two translation methods—a combination of literal translation and free translation.(Wang Zhuan 1996,55)&lt;br /&gt;
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The contradiction between modern literal translation and free translation may be due to the different understanding of these two translation methods. The translator Sun Guiding believes that: literal translation is stuck to the structure of the original text and does not consider whether the Chinese is fluent and natural; while free translation is to use the inherent Chinese idioms and the most natural words and sentences as much as possible to achieve the effect of conveying the meaning of the original text. Former President of Wuhan University, Du Zuozhou, believes that literal translation means translating word by word according to the original text; free translation means translating according to the meaning of the original text, and the translation is more suitable for the common grammar of the translated language. The educator Meng Xiancheng believes that literal translation is a translation technology with different degrees of correctness. Literal translation is a translation that is faithful and correct according to the original text; free translation is a translation that summarizes the original meaning. Zhu Guangqian said: &amp;quot;The so-called 'literal translation' refers to the literal translation based on the original text. Every word and sentence are translated word by word, and the order of the words and sentences is not changed. The so-called ‘paraphrasing’ is to express the meaning of the original text in Chinese, and it does not have to be completely based on the literal and order of the original text. &amp;quot; Feng Shize believes that &amp;quot;translation and literal translation are up-and-down relations; between literal translation and free translation is the left-right relationship. If the reversal of word order and other methods are free translation, then the definition of free translation is equal to translation, and there is no other translation besides free translation. &amp;quot;(Feng Shize 1981,10) The principle of &amp;quot;faithfulness, expressiveness and elegance&amp;quot; put forward by the modern Chinese translator Yan Fu has long been the basic principle guiding translation practice. A large number of beginners who learn foreign languages regard &amp;quot;faithfulness and expressiveness&amp;quot; as translations that are completely faithful to the original text when translating.(Feng Shujian 1993,44) In fact, Yan Fu's translation requirements are a guiding principle for translation based on semantics. When translating, if the structure and expression of the original text cannot be directly adopted, the sentence structure and expression must be changed according to the characteristics of the target language. In addition, there are many differences between the original language and the target language in the word order, grammar, variants and rhetoric in the translation process. In many cases, there is no direct corresponding word. This requires the translator to consider the actual semantics, background and other factors. On the basis of the original meaning of the sentence, use an appropriate method to convey the content of the original work and reproduce the language style of the original work.&lt;br /&gt;
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In the Soviet Union, under the influence of ideology, Western translation theories could not be widely disseminated, but within the Soviet Union, translation theories similar to Western translation theories have been formed and developed, and two main schools of translation theory have been further differentiated — Linguistic Translation School and Literary Translation School. To a certain extent, the dispute between these two schools also reflects the debate on literal translation and free translation among translators' groups. In terms of the principles or standards of translation, the linguistic translation school believes that an ideal translation should be an equivalent translation, first of all linguistic correspondence, that is, the translation should have the same meaning as the corresponding language or discourse unit of the original; the literary translation school believes that translation pursues artistic correspondence, and linguistic correspondence must be subordinate to artistic correspondence. Therefore, it proposes that the aesthetic standards of translation should reproduce the artistic reality reflected by the unity of the original content and form. The characteristic is to use images to translate images, that is, to create the same image in different languages. In 1953, Andrei Venediktovich Fedorov, the leader of the linguistic translation school, published his work &amp;quot;Summary of Translation Theory&amp;quot;, which was the first monograph of the Soviet Union to study translation theory from the perspective of linguistics. The author proposes that translation theory is a branch of linguistics. Since the translation of any genre work must rely on the comparison of two languages, translation problems can only be solved in the field of language. Fedorov’s view was refuted by the literary translation school represented by Ivan Alexandrovich Kashikin. The literary translation school believes that aesthetic issues are the core of literary translation theory, and translation should be regarded as a form of language art, that is, translation should be studied from the perspective of literature and art.(Xie Yuncai 2002,99) In fact, the literary translation school emphasizes the translation of literary and artistic works, which belongs to the specific translation theory; while the research of the linguistic translation school focuses on the general translation theory, that is, the translation of all thematic works including literary works. The dispute between the two major translation theory schools of Russia and the Soviet Union provides another perspective for Chinese translators to explore the relationship between literal translation and free translation.&lt;br /&gt;
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=== The application of literal translation and free translation in the Chinese translation of Russian idioms ===&lt;br /&gt;
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The idioms of different nationalities are the most dynamic and expressive units at the lexical level in different languages, and they are also the units that can best reflect the characteristics of national culture in languages. The number of Russian idioms is extremely rich, it records and reflects all aspects of Russian national life. Due to the great differences in geographical locations and living customs between China and Russia, the national cultures reflected in Chinese and Russian must be quite different. One of the difficulties in idiom translation is its imagery. When translating idioms, both the meaning and the image must be considered. Although the Chinese and Russian cultures are very different, many of the commonalities of mankind, such as emotion and natural environment, have created conditions for mutual communication, mutual understanding and idiom translation between different languages.(Feng Yongmei 1999,97)&lt;br /&gt;
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=== Literal translation ===&lt;br /&gt;
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Generally speaking, the literal translation method refers to a translation method that directly translates the original text without changing the language characteristics and style of the original text on the basis of fully respecting the meaning of the original text. Chinese translation of Russian idioms by literal translation method has the advantage of being able to intuitively and faithfully express the meaning of the idiom, maintaining the unique style and imagery of the original text: the disadvantage is that the translated idiom may not be understood by the Chinese because of China and Russia have different historical, cultural backgrounds, grammatical structures, and language world landscapes, which can easily form obstacles in the process of understanding.(Zhou Changyu 2010,34)&lt;br /&gt;
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Translating Russian idioms by literal translation is further divided into two methods — literal translation into Chinese idioms and literal translation into non-idiom sentences or words.&lt;br /&gt;
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Literal translation of Russian idioms into Chinese idioms is suitable for the translation of Russian and Chinese idioms that are completely equivalent in image, structure, and meaning. The advantage is that it is easy to understand, and the translation is simple and fast.(Feng Yongmei 1999,98) E.g:&lt;br /&gt;
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домашнего  (своего) вора не убережешься. 家贼难防&lt;br /&gt;
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знать как свои пять пальцев (видно, как на ладони) 了如指掌&lt;br /&gt;
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подлить масла в огонь 火上浇油&lt;br /&gt;
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как рыба в воде 如鱼得水&lt;br /&gt;
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как ножом по сердцу 心如刀割&lt;br /&gt;
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как гром среди ясного неба 晴天霹雳&lt;br /&gt;
&lt;br /&gt;
на добро отвечают добром 善有善报&lt;br /&gt;
&lt;br /&gt;
копейка рубль бережет 财从细起&lt;br /&gt;
&lt;br /&gt;
мечты сбываются 梦想成真&lt;br /&gt;
&lt;br /&gt;
курица всегда следует за петухом 嫁鸡随鸡&lt;br /&gt;
&lt;br /&gt;
чего мало, того и дорого  (дорого то, что мало) 物以稀为贵(12)&lt;br /&gt;
&lt;br /&gt;
изгонять яд с помощью яда 以毒攻毒&lt;br /&gt;
&lt;br /&gt;
сидеть как на иголках 如坐针毡&lt;br /&gt;
&lt;br /&gt;
действия громче слов 事实胜于雄辩&lt;br /&gt;
&lt;br /&gt;
зарыть талант в землю 埋没人才&lt;br /&gt;
&lt;br /&gt;
висеть на волоске 千钧一发&lt;br /&gt;
&lt;br /&gt;
лить как из ведра 倾盆大雨(Wang Fuxiang, Wu Hanying 2014)&lt;br /&gt;
&lt;br /&gt;
The idioms in the above examples are completely equivalent in image, structure or meaning in Russian and Chinese, so Chinese idioms can be used for literal translation.  &lt;br /&gt;
&lt;br /&gt;
In fact, in the two languages, idioms with the same image, structure, and meaning are still in the minority, so it is more common to translate Russian idioms into non-Chinese idiom sentences or vocabulary. E.g:   &lt;br /&gt;
&lt;br /&gt;
настоять на своем 坚持自己&lt;br /&gt;
&lt;br /&gt;
камень с души свалился 心里的一块石头落地&lt;br /&gt;
&lt;br /&gt;
связать свою судьбу 把自己的命运与……相连&lt;br /&gt;
&lt;br /&gt;
быть на голову 高出一头&lt;br /&gt;
&lt;br /&gt;
вбивать в голову 往脑子里灌&lt;br /&gt;
&lt;br /&gt;
блеснуть метеором 像流星一样一闪而过&lt;br /&gt;
&lt;br /&gt;
с мизинец 小拇指这么大(Wang Fuxiang, Wu Hanying 2014)&lt;br /&gt;
&lt;br /&gt;
It is not difficult to find that the literal translation method can completely retain the original appearance of the idiom, show the common concept of human understanding of the world, and be beneficial to the cultural exchange between China and Russia.&lt;br /&gt;
&lt;br /&gt;
=== Free translation ===&lt;br /&gt;
&lt;br /&gt;
Another method commonly used in the Chinese translation of Russian idioms is free translation. Vocabulary gaps between languages are a common phenomenon, causing many difficulties for translation. There are many reasons for the vacancy of vocabulary, such as cultural reasons such as life experience, customs, religious beliefs, and linguistic reasons. There are roughly two ways to fill the language gaps — paraphrasing by replacing the image.and discarding images for free translation.(Feng Yongmei 1999,98)&lt;br /&gt;
&lt;br /&gt;
Russian says &amp;quot;Два медведя в одной берлоге не уживутся (一个洞穴容不下两头熊).&amp;quot;, while Chinese says &amp;quot;一山不容二虎&amp;quot;. Another example is &amp;quot;Скатерть со стола, и дружба сплыла (桌布一收，友谊不再) &amp;quot; in Russian, and &amp;quot;人走茶凉&amp;quot; in Chinese.(Wang Fuxiang, Wu Hanying 2014) This method belongs to paraphrasing by replacing the image.&lt;br /&gt;
&lt;br /&gt;
For the &amp;quot;harmony&amp;quot; of the translation, sometimes the translator has to choose to abandon the image for free translation. This is determined by both cultural and linguistic factors. Some linguistic features cannot be translated, and some idioms themselves are not strong enough. In this case, if Choosing a literal translation method will make readers confused.(Hu Guming, Shen Man 2011,18) E.g:&lt;br /&gt;
Как женился я на вашей матери да взял вот этот домишко в приданье, так думал, что богаче да лучше меня и людей нет, фертом ходил! (А. Островский)&lt;br /&gt;
我和你母亲一成亲，就得到了这栋作为陪嫁的屋子，当时我心想，再没有人比我更富足、更好的了。我那时可真是双手叉腰、得意洋洋的。&lt;br /&gt;
“Фертом” is the name of the letter “Ф” in ancient times.Its shape is like a person with hands on hips, and “фертом ходить” is an idiom evolved from body language. The cultural meaning of this idiom is &amp;quot;神气十足、得意洋洋、威武自负的样子&amp;quot; . The translation uses other idioms to complement the missing images in Chinese, clarify the meaning of the idiom, and convey the emotional color contained in the original idiom.(Hu Guming, Shen Man 2011,19)&lt;br /&gt;
&lt;br /&gt;
The idioms in a certain language are fixed and unchanged after long-term use and tempering, but the frequency of each idiom is different. Some idioms are universally used by the whole people, spread and used in a wide range, while some idioms are only used in written styles. In Russian literature, there are improved precise and interesting idioms. For example, in the works of the famous Russian fable writer Krylov, there are reduced idioms, such as “ медвежья услуга”（直译：熊的帮忙；意译：帮倒忙）， “ сильнее кошки зверя нет”（直译：再没有比猫更厉害的野兽；意译：井底之蛙）， “ зелен как виноград”（直译：葡萄还很青；意译：年轻人没经验).(Wang Fuxiang, Wu Hanying 2014) When translating literature, translators often need to learn cultural background knowledge, replace the image in the original idiom, and then convey it to Chinese readers.&lt;br /&gt;
Crows are a very common animal, usually black and gray. The description of crows in Chinese idioms is &amp;quot;the crows in the world are generally black（天下乌鸦一般黑）&amp;quot;. It can be seen that white crows are rare. However, &amp;quot;белая ворона&amp;quot; often appears in Russian literary works, as a metaphor for people who are different from the masses in terms of external characteristics or ideological qualities. In the Chinese and Russian concepts, the crow is a nasty animal. Although white crows are rare, this Russian idiom is usually derogatory, expressing disdain, contempt, or ridicule against the person. In Chinese, animal images are also used as a metaphor for &amp;quot;different people&amp;quot;, such as idioms that stand out from the crowd and phoenix feathers are rare. &amp;quot;Crane&amp;quot; and &amp;quot;phoenix&amp;quot; have always been regarded as precious and noble animals in traditional Chinese culture, so they cannot be compared with &amp;quot; Corresponding to &amp;quot;White Crow&amp;quot;, it is not suitable for translating &amp;quot;белая ворона&amp;quot;. Examples are as follows:&lt;br /&gt;
Он замкнулся, не вдается в разговоры — вот вам и белая ворона.（Сталин)&lt;br /&gt;
直译：他不与人交往，不与人交流，真是一只白乌鸦。&lt;br /&gt;
意译：他不与人交往，不与人交流，真是与众不同。&lt;br /&gt;
Боишься, что они среди нас белой вороной окажется. Недосягаемым экземпляром.(Кожевников В “Корни и крона”)&lt;br /&gt;
直译：你是担心他们会变成我们中间的白乌鸦，一个无法达到的例子。&lt;br /&gt;
意译：你是担心他们会变成我们中间标新立异，望尘莫及的人。&lt;br /&gt;
Most Chinese who come into contact with Russian are students majoring in Russian. The Russian idioms we usually encounter appear in textbooks. These idioms are often used by the Russian public and are easily understood and accepted by the Chinese. E.g:&lt;br /&gt;
&lt;br /&gt;
В Тулу со свим самоваром не ездят.&lt;br /&gt;
直译：去图拉不用带自己的茶炊。&lt;br /&gt;
意译：多此一举&lt;br /&gt;
&lt;br /&gt;
Честь лучше бесчестья.&lt;br /&gt;
直译：尊重比不尊重好。&lt;br /&gt;
意译：礼多人不怪。&lt;br /&gt;
&lt;br /&gt;
словно горя с плеч&lt;br /&gt;
直译：把山从肩膀下卸下&lt;br /&gt;
意译：如释重负&lt;br /&gt;
&lt;br /&gt;
выеденного яйца не стоит&lt;br /&gt;
直译：一个空蛋壳不值钱&lt;br /&gt;
意译：鸡毛蒜皮，一文不值&lt;br /&gt;
&lt;br /&gt;
чужими руками жар загребать&lt;br /&gt;
直译：用别人的手将红炭火拨成一堆&lt;br /&gt;
意译：坐享其成，不劳而获&lt;br /&gt;
&lt;br /&gt;
ни рыба, ни мясо&lt;br /&gt;
直译：没有鱼也没有肉&lt;br /&gt;
意译：不三不四，不伦不类&lt;br /&gt;
&lt;br /&gt;
лучше синица в руках, чем журавль в небе&lt;br /&gt;
直译：天上的仙鹤不如手中的山雀&lt;br /&gt;
意译：远亲不如近邻&lt;br /&gt;
&lt;br /&gt;
На языке мед, а под лед&lt;br /&gt;
直译：嘴上甜得像蜂蜜，心里冷得像冰&lt;br /&gt;
意译：笑里藏刀&lt;br /&gt;
&lt;br /&gt;
И на солнце есть пятна&lt;br /&gt;
直译：太阳上也有黑点&lt;br /&gt;
意译：人无完人&lt;br /&gt;
&lt;br /&gt;
семь раз отмерь, один раз отрежь&lt;br /&gt;
直译：测量了七次后再剪裁&lt;br /&gt;
意译：三思而后行(Wang Fuxiang, Wu Hanying 2014)&lt;br /&gt;
&lt;br /&gt;
Using free translation to translate Russian idioms requires the translator to accurately understand the meaning of the original text, because cultural differences make it impossible to literally translate. Only through the translator can an unobstructed bridge between Russian idioms and Chinese idioms be built.&lt;br /&gt;
&lt;br /&gt;
=== The application of literal translation and free translation in the Chinese translation of Russian proverbs ===&lt;br /&gt;
&lt;br /&gt;
There are often multiple translations of the same Russian proverb in Russian-Chinese dictionaries. On the one hand, because the translator uses different translation methods; on the other hand, because Russian proverbs have very rich connotations, a translation cannot perfectly interpret the inner meaning of the proverb. According to the context and the connotation of the proverbs, the most commonly used methods of Chinese translation of Russian proverbs are literal translation and free translation.(Feng Yongmei 1999,98)&lt;br /&gt;
&lt;br /&gt;
=== Literal translation ===&lt;br /&gt;
&lt;br /&gt;
In Russian and Chinese languages, some proverbs not only have the same meaning or implicit meaning, but also use the same or similar figurative images to express a certain kind of the same semantics, and they are completely consistent in content and form. In this case, the equivalent translation of synonymous Chinese proverbs can convey the information contained in the original image, which not only retains the rhetorical color of the original language, but also enables the reader to perfectly understand the original text. E.g:&lt;br /&gt;
&lt;br /&gt;
In Russian and Chinese languages, some proverbs not only have the same meaning or implicit meaning, but also use the same or similar figurative images to express a certain kind of the same semantics, and they are completely consistent in content and form. In this case, the equivalent translation of synonymous Chinese proverbs can convey the information contained in the original image, which not only retains the rhetorical color of the original language, but also enables the reader to perfectly understand the original text. The other situation is the experience that the Russians summed up in their long labor and life, which has evolved into a proverb, but the Chinese have not summed up this experience, so translating Russian proverbs into Chinese literally, Chinese people can understand them at a glance and increase their knowledge of the world. E.g:&lt;br /&gt;
&lt;br /&gt;
Беда не приходит одна. 祸不单行。&lt;br /&gt;
&lt;br /&gt;
Век живи, век учись. 活到老，学到老。&lt;br /&gt;
&lt;br /&gt;
Выше встанешь, дальше увидишь. 站得高，看得远。&lt;br /&gt;
&lt;br /&gt;
Лучше один раз увидеть, чем сто раз услышать. 百闻不如一见。&lt;br /&gt;
&lt;br /&gt;
Береги платье снову, а честь смолоду. 衣服要从新的时候爱惜，荣誉要从年轻时珍惜。&lt;br /&gt;
&lt;br /&gt;
Выше лба уши не растут. 耳朵高不过额头。&lt;br /&gt;
&lt;br /&gt;
Для милого друга семь верст не околица. 为了好友，多绕七里也不嫌远。&lt;br /&gt;
&lt;br /&gt;
Лучше умереть стоя, чем жить на коленях. 宁愿站着死，绝不站着生。&lt;br /&gt;
&lt;br /&gt;
Не имей сто рублей, а имей сто друзей. 宁要一百个朋友，不要一百个卢布。&lt;br /&gt;
&lt;br /&gt;
По одежке встречают, по уму провожают. 迎客时看衣，送客时看才智。(Jia Sufen 1996)&lt;br /&gt;
&lt;br /&gt;
There is another situation where the literal translation method can be used. Although the image in Russian proverbs is different from the commonly used images in Chinese, it is also easy to understand. For example, &amp;quot;Молодец против овец, а против молодца — сам овца.&amp;quot; In fact, this proverb can be paraphrased as &amp;quot;欺软怕硬 &amp;quot;, but in this way the translation discards the lively literal meaning of the original text. On the other hand, it is literally translated as &amp;quot;见到绵羊充好汉，碰到好汉成绵羊&amp;quot; , on the basis of retaining the original image, readers can easily understand the meaning of the original proverb. Another example is &amp;quot;Заяц от лисицы, а лягушка от зайца бежит. &amp;quot; can be translated as &amp;quot;一物降一物&amp;quot;, but the image in the original text was completely abandoned, if it is literally translated as &amp;quot;one thing drops one thing &amp;quot;狐惊兔，兔惊蛙&amp;quot;, this kind of translation is not only simple and clear, but also in line with the aesthetics of Chinese proverbs. In general, the literal translation not only retains the symmetrical rhetorical techniques in the original sentence, but also retains the symmetrical beauty of the original sentence structure. It not only conforms to the aesthetic characteristics of the original Russian text, but also shows the beauty of phonology and structure in Chinese.(Jia Sufen 1996)&lt;br /&gt;
&lt;br /&gt;
The translation of Russian proverbs by literal translation not only maintains the original language, but also transplants the unique image language of Russian proverbs into Chinese, which not only expands the horizons of Chinese readers, but also enriches the way of expression in Chinese.&lt;br /&gt;
&lt;br /&gt;
=== Free translation ===&lt;br /&gt;
&lt;br /&gt;
Due to the influence of cultural factors, many Russian and Chinese proverbs expressing the same semantics use different metaphors. Some Russian proverbs are difficult to retain the original image in the process of translation into Chinese. If literally translated according to the original image, due to the different national and cultural backgrounds of China and Russia, the translation is difficult to be accepted by the Chinese, and even misunderstood may occur. In order to accurately convey the meaning of the original text to readers, we can readjust the structure of the original text on the basis of a correct understanding of the meaning of the original text, and use standard Chinese expressions to reproduce Russian proverbs to avoid ambiguity and misunderstanding.&lt;br /&gt;
&lt;br /&gt;
There are some elements used in proverbs that foreigners cannot understand. For example, the Russian proverb &amp;quot;В огороде бузина, а в Киеве дядька.&amp;quot; is literally translated as &amp;quot;菜园里长接骨木，而基辅里住叔叔&amp;quot;, which cannot be understood by the Chinese. The four elements “огород” “бузина” “Киева” “дядька”, which contained in this proverb are completely unrelated. In fact, this proverb means that there is no logical relationship between what someone says, and the translator can directly paraphrase it as &amp;quot;胡说八道&amp;quot;, &amp;quot;前言不搭后语&amp;quot; or more easily understood &amp;quot;满嘴跑火车&amp;quot;. Another example is &amp;quot;На воре шапка горит.&amp;quot; literally means &amp;quot;the hat on the thief's head is on fire&amp;quot;. In fact, this proverb originated from a short story in the Kievan Rus period: someone’s money bag disappeared and he shouted &amp;quot;Catch the thief&amp;quot;, but no one knew where the thief was. This man had an idea and shouted, &amp;quot;The thief's hat is on fire.&amp;quot; After hearing this, the thief touched his hat unconsciously and exposed himself. Therefore, &amp;quot;На воре шапка горит.&amp;quot; can be paraphrased as &amp;quot;不打自招&amp;quot; or &amp;quot;做贼心虚.&amp;quot;(Jia Sufen 1996)&lt;br /&gt;
&lt;br /&gt;
Есть несколько русских пословиц, которые больше подходят для вольного перевода:&lt;br /&gt;
&lt;br /&gt;
От труда- радость, от безделья- усталость.&lt;br /&gt;
直译：快乐从劳动中来，疲劳从闲散中来。&lt;br /&gt;
意译：劳动使人快乐。&lt;br /&gt;
&lt;br /&gt;
Баба с возу- кобыле легче.&lt;br /&gt;
直译：农妇下了车，马儿就轻松。&lt;br /&gt;
意译：求之不得&lt;br /&gt;
&lt;br /&gt;
Герой не моего романа.&lt;br /&gt;
直译：不是我小说中的主人公。&lt;br /&gt;
意译：不是我的意中人。&lt;br /&gt;
&lt;br /&gt;
Терпенье (ученье\уменье) и труд всё перетрут.&lt;br /&gt;
直译：耐心和勤劳能克服一切。&lt;br /&gt;
意译：锲而不舍，金石可镂（只要功夫深，铁杵磨成针）。&lt;br /&gt;
&lt;br /&gt;
Чтобы узнать человека, надо с ним пуд соль съесть.&lt;br /&gt;
直译：想要了解一个人，应该和他吃一普特盐。&lt;br /&gt;
意译：日久见人心。&lt;br /&gt;
&lt;br /&gt;
Посади свинью за стол — она и ноги на стол.&lt;br /&gt;
直译：让猪入席，它会把爪子也伸上来。&lt;br /&gt;
意译：得寸进尺。&lt;br /&gt;
&lt;br /&gt;
Черного кобеля не отмоешь добела.&lt;br /&gt;
直译：黑色的狗洗不白。&lt;br /&gt;
意译：本性难改。&lt;br /&gt;
&lt;br /&gt;
Конь о четырех ногах, да спотыкается.&lt;br /&gt;
直译：马有四条腿，也会摔倒。&lt;br /&gt;
意译：聪明一世，糊涂一时。&lt;br /&gt;
&lt;br /&gt;
За что купил, за то и продаю.&lt;br /&gt;
直译：怎么买来，怎么卖出。&lt;br /&gt;
意译：人云亦云。&lt;br /&gt;
&lt;br /&gt;
Обжегшись на молоке, дуешь на воду.&lt;br /&gt;
直译：一旦被牛奶烫，喝水也要吹一吹。&lt;br /&gt;
意译：一种被蛇咬，十年怕井绳。(Jia Sufen 1996)&lt;br /&gt;
&lt;br /&gt;
=== Conclusion ===&lt;br /&gt;
 &lt;br /&gt;
In the process of translation, translators often feel that there are a lot of contradictions and differences between the two languages in terms of lexical structure, syntactic structure, expression methods and metaphors. In many cases, translators understand the original meaning but do not know how to express it in the target language, which leads to the debate about which is better, literal translation or free translation. When translators translate works that are more contradictory between bilinguals, translators often use free translation methods. When translating works that are consistent or have more common points than contradictions or conflicts between bilinguals, translators tend to choose literal translation .&lt;br /&gt;
&lt;br /&gt;
In fact, the relationship between literal translation and free translation is interdependent and inseparable. Therefore, when we translate an article or a book, it is not feasible to translate every sentence literally or freely. Only when the translator cleverly arranges the alternation of the two can it be possible to translate a better translation. When we comment on literal translation and free translation, we should consider the effects of the division of labor and cooperation between the two, and should not one-sidedly understand the advantages and disadvantages of literal translation and meaning.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
=== References ===&lt;br /&gt;
&lt;br /&gt;
*Cai Yi, Duan Jinghua. 蔡毅，段京华. (2000). 苏联翻译理论. [Soviet Translation Theory]. 武汉: 湖北教育出版社[Wuhan: Hubei Education Press].&lt;br /&gt;
*Feng Shize. 冯世则. (1981). 直译、意译、逐字译. [Literal Translation, Free Translation, Verbatim Translation]. 中国翻译[Chinese Translators Journal] 7-10.&lt;br /&gt;
*Feng Shujian. 冯树鉴. (1993). 意译与直译笔谈. [Written Free Translation and Literal Translation]. 外语学刊[Foreign Language Research] 43-47.&lt;br /&gt;
*Feng Yongmei. 冯咏梅. (1999). 浅谈俄语成语翻译中民族文化特色的保留. [On the Preservation of National Cultural Characteristics in Russian Idiom Translation]. 解放军外国语学院学报[Journal of PLA Foreign Languages University] 97-100.&lt;br /&gt;
*Gong Linjing. 宫琳菁. (2015). 直译与意译——中国近现代代表人物观点之概述. [Literal Translation and Free Translation: An Overview of the Viewpoints of Representatives in Modern China]. 赤峰学院学报（汉文哲学社会科学版）[Journal of Chifeng University (Soc.Sci)] 192-193.&lt;br /&gt;
*Hu Guming, Shen Man. 胡谷明, 沈曼. (2011). 汉俄翻译中文化空缺词汇的翻译策略.[The Translation Strategies of Cultural Vacancies in Chinese-Russian Translation]. 中国俄语教学[Russian in China] 17-21.&lt;br /&gt;
*Jia Shufen. 贾淑芬. (1996). 简明俄汉谚语词典. [Concise Russian-Chinese Proverbs Dictionary]. 沈阳: 辽宁大学出版社[Shenyang: Liaoning University Publishing House].&lt;br /&gt;
*Li Quan’an. 李全安. (1990). 直译与意译之争是一场什么样的争论. [What kind of controversy is the dispute between literal translation and free translation]. 中国翻译[Chinese Translators Journal] 18-22.&lt;br /&gt;
*Tan Zaixi. 谭载喜. (1999). 中西译论的相似性.[Similarities between Chinese and Western Translation Theories]. 中国翻译[Chinese Translators Journal] 25-28.&lt;br /&gt;
*Wang Fuxiang, Wu Hanying. 王福祥,吴汉樱. (2014). 东方大学俄语系列：迷你俄语成语词典. [Oriental University Russian Series: Mini Dictionary of Russian Idioms]. 外语教学与研究出版社[Foreign Language Teaching and Research Press]&lt;br /&gt;
*Wang Zhuang. 王转. (1996). 直译与意译漫谈. [On Literal Translation and Free Translation]. 湖南教育学院学报[Journal of Educational Institute] 55-60.&lt;br /&gt;
*Xie Yuncai. 谢云才. (2002). 俄罗斯翻译理论的语言学派与文艺学派——两派文学翻译理论对比分析. [Linguistic Schools and Literary Schools of Russian Translation Theory: A Comparative Analysis of the Two Schools of Literary Translation Theories]. 外语学刊[Foreign Language Research] 97-101.&lt;br /&gt;
*Yang Shizhang. 杨仕章. (2002). 俄语现代翻译理论之概述. [An Overview of Russian Modern Translation Theory]. 解放军外国语学院学报[Journal of PLA Foreign Languages University] 62-65.&lt;br /&gt;
*Zhang Yi. 张艺. (2010). 从目的论看直译与意译之争. [The Controversy between Literal Translation and Free Translation from Skopos Theory]. 海外英语[Overseas English] 189-190.&lt;br /&gt;
*Zhou Changyu. 周长雨. (2010). 俄语谚语的翻译方法. [How to translate Russian proverbs]. 俄语学习[Russian Learning] 33-36.&lt;br /&gt;
&lt;br /&gt;
==Dialectical thinking in arguments between literal translation and free translation 	甘奉玉	Gan Fengyu  202070080584 英语笔译==&lt;br /&gt;
&lt;br /&gt;
===Abstract===&lt;br /&gt;
As two methods of translation, how to use literal translation and free translation has always been the focus of debate between Chinese and Western translation circles. Through the study of translation methods of literal translation and free translation at home and abroad, we can know that to some extent literal translation and free translation are two relative conceptions, so there will be word-for-word translation, that is, dead translation, and excessive free translation. However, these two are only two extremes of literal translation and free translation. In fact, although there are differences in definitions and application fields between literal translation and free translation, they are unified in common translation purpose, translation procedure and translation standard. Therefore, the two are contradictory and unified in translation activities. This is also the profound embodiment of the unity of opposites in materialist dialectics.&lt;br /&gt;
&lt;br /&gt;
===Key words===&lt;br /&gt;
literal translation, free translation, word-for-word translation, over free translation, unity of opposites&lt;br /&gt;
&lt;br /&gt;
===摘要===&lt;br /&gt;
作为翻译方法，直译(literal translation)与意译(free translation)怎样使用的问题一直是一个争论中西方翻译界不休的焦点。通过对国内外直译与意译的翻译方法的研究，我们可以得知，从某种程度而言，直译与意译是两个相对的概念, 所以才会有逐字翻译，即死译，与过度意译这两个完全对立的概念。但是，这两者只不过是直译与意译的两个极端点。其实，直译和意译虽然在概念定义，适用范围上有所差异，但却又统一于共同的翻译目的、翻译过程和翻译标准中。所以两者在翻译活动中应该是既对立又统一的矛盾体。而这也正是唯物辩证法中的对立统一矛盾观的深刻体现.&lt;br /&gt;
&lt;br /&gt;
===关键字===&lt;br /&gt;
直译； 意译； 死译； 过度意译； 对立统一&lt;br /&gt;
&lt;br /&gt;
===Introduction===&lt;br /&gt;
Throughout the translation history at home and abroad, the literal translation and free translation have always been a heat discussion in the translation circles. Someone absolutely approve literal translation and demean free translation, even pursue a dead translation, which creates an translated text difficult to understand. While some other people absolutely agree with free translation even advocate random acts, which means a random deletion in the translation practices and creates anther entirely different text. However, there are also a number of translators who have recognized that these two translation methods are not totally opposite. So they adopt a compromise and flexible way. That means they will choose the most appropriate one depending on the text demanding. Therefore, we can deduce from it that this eclectic translation is consistent with the Contradiction view of Unity of Opposite in Materialist Dialectics. In fact, literal translation and free translation are right a set of contradictions which are both opposite and unified. They complement each other into an integral one.&lt;br /&gt;
&lt;br /&gt;
The dispute between free translation and literal translation in Chinese translation circles first appeared in the dispute of &amp;quot;text&amp;quot; and &amp;quot;quality&amp;quot; in the Eastern Han Dynasty. During this period, Shi Dao-an, a senior monk in the Eastern Jin Dynasty, advocated literal translation and put forward that the translation should not be added or deleted but only make some adjustments to the word order. In the post-Qin period opposed to the Eastern Jin Dynasty, the monk Hatoyama advocated that the Buddhist scriptures should be translated freely. That is, the original text should be changed to adapt to the Chinese style. Subsequently, Xuanzang, a senior monk of the Tang Dynasty, drew lessons from their former translation achievements and put forward that both seeking truth and vulgarity. (Chen Fukang 2011, 14-38)That is, literal translation should be combined with free translation, not only one of them. At that time, some translators have noticed that literal translation and free translation are not completely opposite. After that, in modern times from the Opium War to the May 4th Movement, since Yan Fu has put forward the translation standard of faith, smoothness and elegance,  Lu Xun and Qu Qiubai ignited the dispute on faith and smoothness. Lu Xun is a typical literal translation school. He insists that faith first and smoothness second even tolerates incoherence. He adopts the method of dead translation and absolute translation. While Qu Qiubai believes that faith and smoothness are not opposed. From the New culture Movement(from 1915-1923) to the 1980s, Mao Dun also put forward that literal translation doesn't mean word-for-word translation without any addition or deletion. Since the reform and opening up, Xu Yuanchong has said that literal translation should be faithful to the original content first then to the original form and last to the smooth translated text. On the other hand, while free translation should be faithful to the original text first then to the smooth translated text and last to the original form. Therefore, although there are differences in translation methods between literal translation and free translation, their ultimate goal is to be faithful to the original content and express the original meaning.（Chen Fukang 2011, 288-333）&lt;br /&gt;
&lt;br /&gt;
Since Cicero, the first translation theorist in ancient China, put forward that avoid word-by-word translation as a speaker, the dispute between literal translation and free translation began to appear in the West. In ancient times, Perot insisted on dead translation in the translation of the Bible, which caused the translation quality to be too low. Poitius in the Middle Ages also advocated word-by-word translation and strict formal correspondence. In modern times, French translator Abulangour aimed to cater to readers in a way of over-free translation and arbitrary deletion. Even so, there are many translation theorists in the western translation world who advocated  eclectic and flexible translation. For example, in ancient times, Jerome advocated the flexible principle to apply in literary translation and religious translation differently. During the Renaissance, French Amyot emphasized the dialectical unity of content and form, free translation and literal translation. Moreover, some translators did not exercise their own translation ideas. During the Renaissance, Reichlin was one of them. Although he advocated word-by-word translation, he abandoned word-by-word translation in practice. This can also further explain that absolute promotion of literal translation or free translation is not a desirable translation method. In translation practice, we must take a suitable degree between the two in the way of combining literal translation and free translation at the same time to better serve for the target readers.(Tan Zaixi 2004, 5-15 )&lt;br /&gt;
&lt;br /&gt;
The purpose of this paper is to explore the dialectical thinking contained in the dispute between literal translation and free translation, that is, the viewpoint of unity of opposites. The first chapter is about the word-for-word translation, and the second chapter is about the over-free translation. From this, we can draw a conclusion that it is not advisable to regard literal translation and free translation as absolute opposites. The third chapter is about the eclectic translation, which is the correct method for us to learn and adopt. It is also a dialectical translation method that follows the view of unity of opposites. The fourth chapter will analyze the differences between literal translation and free translation. Then the fifth chapter focuses on the unity of literal translation and free translation in translation goals, translation procedures and translation standards. Through the discussion of the whole article, we can clearly see the unity of opposites between literal translation and free translation and draw a conclusion that we should apply dialectical translation in our translation practice and adopt the point of view of unity of opposites in translation theory. (He Lirong 2018, 40)&lt;br /&gt;
&lt;br /&gt;
===1.Dialectic thinking of the Unity of opposites===&lt;br /&gt;
The theory of unity of opposites is the core content of materialist dialectics theory. (Xu Guoliang 2020, 75) In the history of philosophy, the German philosopher Hegel first expounded the basic thought of contradiction theory from the standpoint of objective idealism. Later, Marx, Engels and Lenin critically absorbed Hegel's theory and developed contradiction theory into the core content of materialist dialectics theory. The theory of contradiction contains two basic problems, and one is the relationship between unity and opposition, while the other is the universality and particularity of contradiction, which involves a series of basic concepts of contradiction theory, such as basic contradiction and non-basic contradiction, fundamental contradiction and non-fundamental contradiction, principal contradiction and non-principal contradiction. Understanding these basic concepts and their relationship is the key to understand and grasp the contradiction theory completely and accurately and finally apply it to the practice of social life. (Yan Mengwei 2020, 41)&lt;br /&gt;
&lt;br /&gt;
The problem of unity and opposition of contradiction is actually about the nature of contradiction. We always know things from comparison. The so-called comparison is to find the similarities and differences between two things. The former is called unity and the latter is called opposition. The unity is relative and the opposition is absolute. It is worth emphasizing that the opposition of contradictions plays a key and decisive role in development, because development comes from the unity of opposites. This means that unity and opposition are two indispensable elements in the process of development. They complement and interact with each other.&lt;br /&gt;
&lt;br /&gt;
Literal translation and free translation are such a pair of contradictions. The opposition of the two is reflected in the absolute opposition between word-for-word translation and over-free translation. There are differences in their definition and application and similarities in their translation goals, procedures and standards.(Yang Ying 2019,161)&lt;br /&gt;
&lt;br /&gt;
===2.Word-for-word translation===&lt;br /&gt;
Literal translation is a method that not only maintains the original content, but also the original form. (Xu Yuanchong 1996,92) Fu Sinian and Zheng Zhenduo all advocate literal translation. In the history of modern Chinese translation, Lu Xun and his younger brother Zhou Zuoren's work of The Collection of Extraterritorial Fiction is regarded as the representatives of literal translation.&lt;br /&gt;
&lt;br /&gt;
In particular, literal translation is neither dead translation nor a mechanical verbatim translation. Because English and Chinese have different structures, it is impossible to translate word by word. From the perspective of linguistics, the biggest difference between them is that Chinese is parataxis while English is  hypotaxis. (Zhu Xiaojia 2008, 1)That is to say, in Chinese, a sentence is usually short with little modifier and connected words, while in English, several meanings can be expressed with complicated structure with assorted clauses and connected words into only a sentence.&lt;br /&gt;
&lt;br /&gt;
Besides, the English is a more static language in which nouns and adjective are always used, but the Chinese more dynamic one, verbs are more active. Finally, the former has a systematic grammar but the latter seems freely arranged.(Cao Huoqun 2005, 40)&lt;br /&gt;
&lt;br /&gt;
So, when we do some translating exercise, we should focus on their grammar structure to deal well. When the structure of the original text is inconsistent with that of the target language, continuing word-for-word translation will lead to formalism. Such a translated text is not intelligible for reader. That is to say, literal translation must be readable without any misunderstanding or violation of expression.&lt;br /&gt;
&lt;br /&gt;
===3.Over free translation===&lt;br /&gt;
Free translation refers to the method that maintains original content rather than original form. In the process of translation, in order to make the language clear and persuasive, the translator must try to conform to the language customs of target texts rather than adhere to the expressive pattern of the original work. Zhao Jingshen put forward that it is better to be smooth with some disloyalty instead of absolute loyalty. Obviously, Mr. Zhao Jingshen is in favor of free translation, and so does Mr. Yan Fu. Many of Yan Fu's classical works have adopted free translation, such as the Theory of Heaven is a typical example of free translation.&lt;br /&gt;
&lt;br /&gt;
When we translate from English to Chinese, especially some idioms that are in closer ties with western culture, we have to move or change these cultural barriers so that Chinese readers could understand easily. It is also true when translating Chinese into English. Under this condition, free translation will be more suitable and effective.&lt;br /&gt;
&lt;br /&gt;
However, free translation does not mean random translation. The latter means making up translated sentence by subjective imagination without analyzing the structure of the original text. It is also known as over-free translation. (Wu Shuang 2018, 107) In fact, when we translate, we must master the thought and style of the original and regard them as corresponding one of the target language. In addition, the theory, fact and logic of the original work should also be corresponding in the target language. We can not replace these features of the original with our personal thoughts, styles, facts, theories and logic. Only in this way can the contents not be changed after translation.&lt;br /&gt;
&lt;br /&gt;
===4.Dialectic translation===&lt;br /&gt;
Feng Qinghua put forward in the book of A Practical Translation Course that the so-called literal translation is a kind of translation method to maintain both the original content and the original form. If there are same language form and expressive effect between original and target text, we should adopt literal translation to deliver the same contents. While the so-called free translation is a method to keep the original content and style only not the original form. So if there are different language forms and expressive effects between the two texts, we should adopt free translation mostly. (Feng Qinghua 1997, 12)&lt;br /&gt;
&lt;br /&gt;
Therefore, Literal translation and free translation have their own advantages and restrictions. The former is beneficial to the transplantation of culture, while the latter can avoid obscurity in literal translation.  &lt;br /&gt;
&lt;br /&gt;
If in literal translation, we will translate the sentence “mashing a mirror is no way to make an ugly person beautiful, nor is it a way to make social problem evaporate” into “砸镜子不能使丑八怪变漂亮，也不能使社会问题烟消云散”, while if in free translation, we can turn it into “砸镜子并不能解决实际问题”. (Fan Zhongying 1994, 22) We can see the latter one is more concise and comprehensive to express the connotative meaning. While although the former are totally literal translation, we still feel it terrible. &lt;br /&gt;
&lt;br /&gt;
So, a translator should use these two translation strategies according to the actual situation to express the surface structure and deep meaning of the original text. The use of literal or free translation depends on the rules of both English and Chinese. In translation, if we can not directly adopt the structure and expression form of the original work, we must change the sentence structure and expressive way to convey the connotation of the original work. An excellent translated text is realized neither by simple literal translation nor by simple free translation but by the combination of two. In another word, we should adopt dialectic translation in our practice.&lt;br /&gt;
&lt;br /&gt;
===5.Opposition and unity between literal translatiuon and free translation===&lt;br /&gt;
&lt;br /&gt;
===5.1 Opposition===&lt;br /&gt;
&lt;br /&gt;
===5.1.1 Opposition in definition===&lt;br /&gt;
Qiao Zengrui defines literal translation in Chapter 4 of Translation Theory as a method that the translation deliberately retains the original form to maintain the content and style of the original. At the same time, He also defines free translation as a method that keep the original content and style by use of the same or similar expression as the original text in the target language regardless of the two different languages. The first one regards form as the only way, content and style as target, while the second directly takes no account of form. With this regard, the two totally opposite in definition.(Qiao Zengrui 2000,263)&lt;br /&gt;
&lt;br /&gt;
===5.1.2 Opposition in application fileld===&lt;br /&gt;
Generally speaking, literal translation is generally used to translate some political books, laws, treaties and scientific and technological documents, terms, idioms, and some simple sentences. (Wu Shuang 2018,178) The early translation of Buddhist scriptures of early Chinese generally followed this theory. So do the Marxism-Leninism works and Mao Zedong works. For example, “纸老虎” can only be translated as “paper tiger” but not “scarecrow”. The latter one was corrected by Mao Zedong when the interpreter translated it into “scarecrow”. President Mao emphasized that this word had two characteristics and if translated into scarecrow, it will lose duality. Because “纸老虎” in China means imperialism and reactionary, which seems terrible but no great power in it. Since it was made of paper, this tiger became soft in the damp and washed away when it rained. While scarecrow can scare away children and birds. So paper tiger is better than scarecrow.&lt;br /&gt;
&lt;br /&gt;
In the process of translation, there are many situations that literal translation can not be used, so we must adopt the method of free translation, especially the translation of literary works. (Wu Shuang, 2018, 178)On the one hand, there are many common traditional Chinese words that reflect the unique cultural concepts and cultural phenomena of our country, which can't translate directly into corresponding words in English. For instance, if we translate&amp;quot;初生牛犊不怕虎&amp;quot; into &amp;quot;A new born calf is not afraid of a tiger&amp;quot;, then our target readers in English-speaking countries may find it difficult to understand the substance of the literal meaning. ( Yang Yin 2019, 161)So here “The more wit, the less courage” will be better. On the other hand, some certain maxims, idioms and puns in English have no choice but to use free translation. (He Lirong 2018,43) For example&amp;quot; have a wolf in the stomach&amp;quot; means&amp;quot;饥肠辘辘&amp;quot; 饥饿难忍&amp;quot; rather than “肚子里有个豺狼”. Moreover, some exclusive English nouns should be free translated such as &amp;quot;the heel of Achilles&amp;quot; into&amp;quot;致命的弱点&amp;quot; instead of “阿克琉斯的脚后跟”.&lt;br /&gt;
&lt;br /&gt;
===5.2 Unity===&lt;br /&gt;
===5.2.1 Unity in translation goal===&lt;br /&gt;
In literal translation, loyalty to the original form should be put first, followed by loyalty to the original content and last pursuit of fluency and popularity in target language. In free translation, loyalty to the original content should be put first, then the fluency and popularity of the translation language are second, and the original form comes last. It can be seen that loyalty to the original content is the common purpose of literal translation and free translation.(Wu Shuang 2018, 108)&lt;br /&gt;
&lt;br /&gt;
The unity of literal translation and free translation is also reflected in the fact that the translation must be smooth and fluent and conform to the expressive habits of target language. If the translated text is obscure and unreadable without conformity to the habits of the target language and culture, the two translation strategies have not achieved the true unity, so the purpose of communication has not be achieved.&lt;br /&gt;
&lt;br /&gt;
Therefore, literal translation and free translation are two different translation methods used in translation. They are unified in the translation purpose to accurately and faithfully convey the original meaning and intention with the same form and spirit as original text.(He Lirong 2018, 41)&lt;br /&gt;
&lt;br /&gt;
===5.2.2 Unity in translation procedure===&lt;br /&gt;
The literal translation and free translation is unified in translation procedures. Both of them should conform to the following translation steps of understanding, expression and verification. &lt;br /&gt;
&lt;br /&gt;
Understanding is the first stage of translation process. It includes not only the understanding of language and cultural phenomena, but also logical relations. A translator should be good at analyzing ambiguous sentences and make correct judgment before translating. Expression is the process by which the translator reproduces the content of the original text into target language. Expression is the result of understanding, but understanding correctly does not mean expressing right. Therefore, we must learn many specific methods and techniques, such as literal translation, free translation, literal translation plus free translation, literal translation plus annotation, and so on. &lt;br /&gt;
The third stage is verification. In this stage, we must check the translation at least twice. In he first time, we should check whether there is any missing translation or wrong translation. And in the second time, we should check whether it's smooth and intelligible out of the original text.&lt;br /&gt;
&lt;br /&gt;
Whether literal translation or free translation, we must follow the three steps of understanding, expression and verification in translation practice. Understanding is the premise of expression, but understanding and expression are usually complementary and unified, which can not be separated completely. While understanding the original text, the translator also chooses the expressive way and further deepen his understanding.&lt;br /&gt;
&lt;br /&gt;
===5.2.3 Unity in translation standard===&lt;br /&gt;
On the establishment of translation standards, Chinese and foreign translation theorists in different historical periods put forward different views. In China, there are Ma Jianzhong's view of &amp;quot;good translation&amp;quot; on the basis of modern linguistic theory, Yan Fu's translation standards of &amp;quot;faith, smoothness, and elegance&amp;quot;, Chen Xiying's theory of “similarities in shape, meaning and spirit”, Lin Yutang's translation standards of “loyalty, smoothness and beauty”. In the West, there are Twelve Translation Principles of Bart, Three Principles of Tettler, Seven principles of Luther, and functional equivalence of Eugene. Nida and so on. All these translation standards are based on different social needs, translation contents, translation objects and  translation purposes.(He Lirong 2018, 42)&lt;br /&gt;
&lt;br /&gt;
No matter which translation standard, it is impossible to meet by only literal translation or only free translation. Therefore, the two translation methods are unified in any translation standard. So, they are inseparable unity of opposites.&lt;br /&gt;
&lt;br /&gt;
===6.Conclusion===&lt;br /&gt;
Literal translation and free translation are two different translation methods. Although they are different in conceptual definition and applicable field, in order to achieve a unified translation standard and achieve a common translation purpose, they both follow the same three steps of understanding, expression and verification. &lt;br /&gt;
&lt;br /&gt;
In the process of translation, if the target text has the same form and style as the original text, it can be translated literally. If there are different form and style, it should be translated freely. When the structure of the original text is inconsistent with that of the target language, sticking to word-for-word translation will cause stiff translation difficult to understand. In the same way, making up sentences through subjective assumption according to the literal meaning without analysis of original text will cause random translation disloyalty to the original one. &lt;br /&gt;
&lt;br /&gt;
Therefore, we can conclude that we should treat literal translation and free translation with a dialectical way and use these two translation methods flexibly to create wonderful translations in our concrete translation practice.&lt;br /&gt;
&lt;br /&gt;
===Bibliography===&lt;br /&gt;
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Siyu Zou. (2017). Dialectical Relationship between Translation Theory and Practice[P]. Proceedings of the 7th International Conference on Education, Management, Information and Mechanical Engineering (EMIM 2017).&lt;br /&gt;
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Chen Fukang 陈福康. (2011). 中国译学史 [History of translation studies in China]. Shanghai: Shanghai Foreign Language Press.&lt;br /&gt;
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Cao Huoqun 曹火群. (2005). 翻译中的辩证关系 [Dialectic relationships in translation]. 孝感学院学报 Journal of Xiaogan University (05) 39-43.&lt;br /&gt;
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Feng Qinghua 冯庆华. (2002). 实用翻译教程 [Practical translation course]. Shanghai：Shanghai Foreign Language Education Press.&lt;br /&gt;
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Fan Zhongying 范仲英. (1994). 实用翻译教程 [Practical Translation Course]. Beijing:Foreign Language Teaching and Research Press.&lt;br /&gt;
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He Lirong 何历蓉. (2018). 论“直译与意译”在英汉翻译中的对立与统一 [On the opposition and unity of literal translation and Free Translation in English-Chinese translation]. 宿州教育学院学报 journal of suzhou education institute 21(04):40-43.&lt;br /&gt;
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Qiao zengrui 乔曾锐. (2000). 译论—翻译经验与翻译艺术的评论和探讨 [Translation theory: A review of translation experience and the art of translation]. Beijing: China Industry and Commerce Joint Press.&lt;br /&gt;
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Tan Zaixi 谭载喜. (2004). 西方翻译简史 [A Brief History of Western translation]. Beijing：Commercial press.&lt;br /&gt;
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Wu Shuang 吴爽. (2018). 翻译的最高境界—直译与意译的完美统一[The highest level of translation - the perfect unity of literal translation and free translation].现代交际 Modern communication (08):107-108.&lt;br /&gt;
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Xu Guoliang 徐国亮. (2020). 对立统一：唯物辩证法的核心与列宁的发展 [Unity of opposites: The Core of Materialist Dialectics and The development of Lenin]. 中共中央党校（国家行政学院）学报 Journal of Party School of the CPC Central Committee (National Academy of Governance) 24(05):75-83.&lt;br /&gt;
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Xu Yuanchong 许渊冲. (1980). 直译与意译 [literal translation and free translation]. Journal of Foreign Languages (6).&lt;br /&gt;
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Xu Yuanchong 许渊冲. (1996). 译家之言 [The Word of the Translator].出版广角 View on Publishing(6):92-94.&lt;br /&gt;
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Yan Mengwei 阎孟伟. (2020). 关于唯物辩证法矛盾学说的几个基本问题 [Some basic questions about the contradiction theory of materialist dialectics]. 思想理论教育导刊 Journal of ideological and theoretical education (08):40-47.&lt;br /&gt;
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Yang Yin 杨颖. (2019).  浅谈直译与意译的动态统一 [On the dynamic unity of literal translation and free translation]. 海外英语 Overseas English (17):160-161.&lt;br /&gt;
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Zhu Xiaojia 朱晓嘉. (2008). 形合、意合的辩证观与翻译策略 [Dialectic thinking and Translation strategies of hypotaxis and Parataxis]. Nanjing: Nanjing Normal University.&lt;br /&gt;
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== Peter Newmark’s Improved Views on Literal Translation and Free Translation 赵茜 Zhao Xi,202070080627==&lt;br /&gt;
===Abstract===&lt;br /&gt;
The dispute over the two basic translation methods, literal translation and free translation, has never stopped since ancient times. In view of the basic problem of his argument, Peter Newmark, an English translation theorist divides the various translation methods into eight, points out that different translation methods should be taken according to different text characteristics and puts forward with semantic translation and communicative translation bases on years of translation researches. Semantic translation focuses on maintaining the content of the original text, while communicative translation emphasizes the effect of the translation. The author of this paper expresses some views on literal translation and free translation. Peter Newmark's theory has taken a big step forward from the fragmented and one-sided view of literal translation and free translation in the past, which has brought people out of the struggle between them and made people see the direction of further development of translation research.&lt;br /&gt;
&lt;br /&gt;
===Key words=== &lt;br /&gt;
Free translation, Literal translation, Peter Newmark, Semantic translation, Communicative translation&lt;br /&gt;
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===摘要===&lt;br /&gt;
直译与意译这两种翻译基本方法之争从古至今从未停止过。针对其争论的基本问题，英国翻译理论家彼得·纽马克把各种翻译方法分成了八种，指出应根据不同的文本特点釆取不同的翻译方法，并在多年翻译研究的基础上提出了语义翻译和交际翻译。语义翻译重点在强调保持原文的内容，而交际翻译更多强调的是译文的效果。本文作者也提出了对直译和意译的一些看法。彼得·纽马克的理论把人们以往对直译、意译的零散的、片面的观点向前推进了一大步，使人们从直译、意译之争中走出来并看到翻译研究进一步发展的方向。&lt;br /&gt;
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===关键词===&lt;br /&gt;
直译, 意译, 彼得·纽马克, 语义翻译, 交际翻译&lt;br /&gt;
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===Introduction===&lt;br /&gt;
According to Chinese and western translation history, no matter in China or in western countries, studies on translation theories and practice have been performed over two thousand years. Translation, as an ancient and extremely significant human thinking activity, is closely related to the development of language itself. And translation after more than two thousand years of development, has developed prosperously, appearing quantities of translation theories, translation schools and translators. However, the dispute between two translation methods, literal translation and free translation has been lasting from throughout history. The fundamental problem between literal translation and free translation is based on the relationship between content and form. To solve this fundamental problem of the dispute, Peter Newmark first points out that translation studies have been long beset by the time-honored theoretical debate over free and literal translation. A range of wider aspects of translation related to the contribution to the development of languages, its relation to meaning, the intention of translation, the readers' background, the type of discourse and the language universals have been long neglected. Therefore, according to Newmark's own translation practice, he puts forward right translation methods, word-for-word translation, literal translation, faithful translation, semantic translation, adaption, free translation, idiomatic translation and communicative translation, which provide to translators to consider and use. Although in the actual translation practice, translators have no necessity to distinguish such translation methods and even to use these methods, this proposal may help translators open their horizons and translate more appropriately. Among the eight translation methods, semantic translation and communicative translation proposed by Newmark own the advantages of other six methods, becoming the most ideal translation methods. Peter Newmark's semantic translation and communicative translation are highly valued and influence the practice of translation in general. (Li Minghan 2014, 3)&lt;br /&gt;
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===Literal Translation and Free Translation===&lt;br /&gt;
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====Brief Introduction of Literal Translation and Free Translation====&lt;br /&gt;
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From ancient times, translators hold various attitudes toward such two translation methods, literal translation and free translation. &lt;br /&gt;
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=====Literal Translation=====&lt;br /&gt;
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Literal translation is a translation method which not only keeps the substance of the original, but also keeps the form of the original. This definition implies that the translation version is expressing the content of the original and should spare no efforts to make every part of the translation version corresponding to every part in the original text including construction of sentence, meaning of the original words, metaphor of the original and so on. &lt;br /&gt;
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According to Liu Zhongde, literal translation can be summarized into &amp;quot;to reproduce both the ideological content and style of the entire literary work and retain as much as possible the figures of speech&amp;quot;. (Liu Zhongde 1991, 52) &lt;br /&gt;
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Xu Yuanchong defines literal translation as &amp;quot;the kind of translation which is faithful not only to the content but also to the form of the original.&amp;quot; (Xu Yuanchong 1984, 45)&lt;br /&gt;
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Newmark suggests that literal translation is like, &amp;quot;sometimes it is very difficult to define what is literal translation, it is believed that a translation can be regarded as the literal translation when the translator is not influenced but the foreign flavors.&amp;quot;(Newmark 2001, 46) &lt;br /&gt;
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Mr. Yang Xianyi holds that the translators should be as faithful as possible to the original image and too much explanation and creativity should be avoided. This means translators should try to use literal translation method to introduce imagery in the source language to the target language readers. The reason why those translators who insist on literal translation are that they think literal translation is the only way to keep faithful to the original. They endeavor to adopt from as similarly as possible to the original to show the original meaning, thinking that it's the truest reflection of the original. (Wang Zuoliang 1989, 43)&lt;br /&gt;
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=====Free Translation=====&lt;br /&gt;
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Free translation is a translation method which only keeps the substance of the original, but not keeps the form the original. Target language and source language have different forms to show the same substance, and they could not produce the same result. Free translation does not mean to delete or add content to the original, though it does not pay much attention to the form of the original. Otherwise, the translation would not be faithful to the original. Translators always discover the meaning behind the forms in the source language and dose their best to produce the same meaning in the target language, using the forms and structures in the target language. Consequently, what is supposed to change is the form and the code, and what should remain unchanged is the meaning and the message. &lt;br /&gt;
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Shuttle worth and Cowie define free translation as &amp;quot;a type of translation in which more attention is paid to producing a natural target language than to preserving the source language wording intact.&amp;quot; (Shuttle worth&amp;amp;Cowie 2004, 62)&lt;br /&gt;
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Free translation is the conveying of the discourse meaning of the speaker is not restricted by the structure and linguistic and rhetoric styles of the original text. (Ren Wen 2012, 18)&lt;br /&gt;
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Liu Zhongde has given his definition to free translation. According to his definition, free translation aims at transmitting the meaning regardless of the sentence forms and rhetorical devices. If translators are not able to  make the translated text faithful to the original text through literal translation, they may use their own words to explain the meaning of the text without considering the words and forms in original text. (Liu Zhongde 1991, 53-54)&lt;br /&gt;
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====Disputes over Free Translation and Literal Translation====&lt;br /&gt;
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In the past, translators generally believed that language and thought were unified, and language was form while thought was content. However, it was impossible to realize the consistence between language forms and ideological content, producing the contradiction between form and content, which is the problem between literal translation and free translation. Modern science has proved that language and thought are not a unity and constitutes a relationship between form and content. Language is only a symbolic system to express thoughts. Translation expresses the same idea by using two different language signals. &lt;br /&gt;
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Marcus Tullius Cicero is generously acknowledged to be the first person to put forward a systematic description of the practice of translation and he said &amp;quot;I did not translate them as an interpreter, but as an orator... I did not hold it necessary to render word for word, but I preserve the general style and force of language.&amp;quot; (Tan Zaixi 2018, 20) He puts forward mainly two viewpoints. Firstly, the translation should be as close as possible to the language habits of the target language. At that time, namely, the translation should correspond with Roman habits as much as possible to touch and resonate with the readers. What's more, he advocates free translation and opposes literal translation as he believes that free translation is superior to literal translation. The most important thing in translation is not the corresponding in form, but the meaning and thought in the source language. Cecero's thoughts have provided a guide for other translators and produced an effect on them. Since Cicero came up with his opinion, the disputes over literal translation and free translation has never been stopped. &lt;br /&gt;
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Eugene Nida holds that if all languages differ in form, then quite naturally the forms must be changed if one is to preserve the content. He is in favor of dynamic equivalence instead of formal correspondence, maintaining the original meanings. In this sense, Nida agrees with free translation, just as he expresses that translating means translating meaning. (Nida 1985, 119-125)&lt;br /&gt;
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Zhai Qiubai insists literal translation and claims that the correct translation is based on Chinese syntax and rhetoric and has its specific intentions. First of all, he regards translation as a part of Proletarian literature. Translation should systematically introduce proletarian revolution thoughts to Chinese readers. Furthermore, translation should help create modern Chinese language and literal translation is an approach. To preserve the spirit in the original text, some non-smoothness can be tolerated. (Cheng Yongsheng 2002, 65) &lt;br /&gt;
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Lu Xun defines clearly that translation must take into account of two sides: one is easy to understand, the other maintains the style of the original. This explanation refers that the translators must translate according to the original text rather than their own world view and aesthetic taste. The translators must try their best to maintain the style of the original author and inherit historic and national characters rather than imposing extrinsic aesthetic and social background culture of other people on the translation. (Chen Fukang 2000, 301)&lt;br /&gt;
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Mao Dun has pointed out that due to different language families of Chinese and English and different structures, word-by-word translation us almost impossible actually. Because word-by-word translation is difficult to achieve its ideal effect, any discussion related with literal translation and free translation is inevitably involved with the problem &amp;quot;what is the boundary between them?&amp;quot; He also holds that the so-called literal translation, superficially speaking, means not to alter the original words and sentences. (Xu Haiyan &amp;amp; Sun Weihong 2012, 80)&lt;br /&gt;
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In Xu Yuanchong's opinion, the criteria to judge literal translation and free translation is whether the translation is faithful to the original. If a translation is faithful to both meaning and form of the original text, it is literal translation. If a translation is only faithful to meaning rather than form, it is free translation. If a translation is only faithful to form rather than content, it is mechanical translation. And the standard to judge faithfulness are form and content. For translation, content is more significant than form. Besides, translators should use both literal translation and free translation. However, sometimes it is difficult to use literal translation or free translation in a translation, so it is not necessary to define literal translation or free translation in those situations. Xu argues that literal translation is not only being faithful to the content of the original text but also being close to its form. When Xu discusses the situations using literal translation or free translation, he often mentions readers and contexts, among which readers are more important. No matter literal translation or free translation, translators should put faithfulness to the content of the original text first, smoothness of target text form second, faithfulness to the form of the source text third. In other words, on the premise of faithfulness to the source language, translation should strive for smoothness of form. On the premise of smoothness of translation, translators should try their best to realize faithfulness to form of the original. If there is a contradiction between the smoothness and faithfulness of the original form, it is of no necessity to stick to the original form. These are the relationships between content and form, and literal translation and free translation. (Cheng Yongsheng 2002, 66)&lt;br /&gt;
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Whether in Chinese translation circle or in western translation circle, the contradiction between content and form, and literal translation and free translation exists and arouses heated discussion.&lt;br /&gt;
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===Semantic Translation and Communicative Translation===&lt;br /&gt;
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To solve the fundamental problem of free translation and literal translation, Peter Newmark, a renowned western translation theorist, linguist and professor of translation at the University of Surrey, combining with years of translation experience, has concluded and summarized a corresponding theory, semantic translation and communicative translation, whose core is the problem of literal translation and free translation. Semantic translation and communicative translation have been put forward against the background that the majority of scholars have argued for a long time whether to translate literally or freely. The concepts of communicative and semantic translation represent Newmark’s main contribution to general translation theory. (Newmark 1991, 10)&lt;br /&gt;
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====Semantic Translation====&lt;br /&gt;
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Newmark puts the definition of semantic translation as &amp;quot;Semantic translation, attempts to render, as closely as the semantic and syntactic structures of the second language allow, the exact contextual meaning of the original. &amp;quot; As this version of definition indicates, communicative translation focuses essentially upon the comprehension and response of TL receptors. Semantic translation severs for the source language author and gives a high priority to reflecting his thought patterns and stylistics. (Shuttleworth and Cowie 2004, 22) Here is an example.&lt;br /&gt;
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E.g. 谋事在人，成事在天。&lt;br /&gt;
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Yang Hsien-yi and Gladys Yang's Version: Man Proposes, Heaven disposes.&lt;br /&gt;
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In this example, the Chinese idiom means that a man has done his or her best to do something and as to whether he or she can achieve the goal, it depends on the fortune. “天” refers to the master of nature in ancient Chinese culture. This word is semantically translated into “heaven” as the translation emphasizes the original information and tries to preserve the favor, style and culture maintained in the source language.&lt;br /&gt;
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====Communicative Translation====&lt;br /&gt;
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Communicative translation attempts to produce on its readers an effect as close as possible to that obtained on the readers of the original. As this version of definition indicates, communicative translation centers around the semantic aspects of the source language texts. To be specific, in communicative translation, the emphasis should be on conveying the message of the original in a form, which conforms to the linguistic, cultural and pragmatic conventions of target language. Both content and language are readily acceptable and comprehensible to the readership. (Chen Boyu 2003, 4)&lt;br /&gt;
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Communicative translation intends to present the main idea of the original text and emphasize the social value generated by the translation. Communicative translation highlights on conveying the message expressed in the original and form of the the source language. Due to different textual functions, content and form should have different focuses. Texts of informative function emphasize on the information beyond the language, while texts of vocative function center on readers. The primary intention of translators is to convey the message to the target readers, without paying much attention to the style of the original. If it is necessary, translators can adjust grammar and words to better transmit the information. The change of forms is not only allowed, but also encouraged. (Zhang Linlin 2010, 17)&lt;br /&gt;
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E.g. 谋事在人，成事在天。&lt;br /&gt;
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Hawkes's Version: Man Proposes, God disposes.&lt;br /&gt;
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This translation is communicative translation. Different from the version of Yang, Hawkes translated &amp;quot;天&amp;quot; into &amp;quot;God&amp;quot;. In western culture, people believe that &amp;quot;God&amp;quot; is the master of nature. It renders the contextual meaning of the original in such a way that both content and language are readily acceptable and comprehensible to the readers.&lt;br /&gt;
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====Comparison Between Semantic Translation and Communicative Translation====&lt;br /&gt;
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The fundamental difference between semantic translation and communicative translation is that semantic translation attaches more importance to the content rather than effect and communicative translation is just opposite. &lt;br /&gt;
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Firstly, semantic translation is more objective, stresses accuracy and is submitted to the author, culture and meaning of the original. Communicative translation is more subjective, pays much attention to the readers' responses, and is submitted to the target language and its culture. Semantic translation and communicative translation have difference in expression form. &lt;br /&gt;
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Second, semantic translation make the translated text more close to the original form and retain the vocative effect as much as possible. If there is no much difference between the source and target language specifications, translation should maintain the length of sentences in the original text as well. Communicative translation will reorganize the syntax and utilize more common collocations or words to make translation more fluent, idiomatic and understandable. In the communicative translation, to make the translation brief and emphasize key information, translators should get rid of the bondage of the source language structure and make appropriate adjustments which are not allowed in the semantic translation, such as adjusting the logic relations in the original, making obscure concepts distinct, deleting repeated unnecessary details or redundant information, normalizing some peculiar expressions, and even correcting factual or writing mistakes. &lt;br /&gt;
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Thus, they have different functions. Semantic translation, performing expressive function, tries to preserve the language characteristics and unique expression forms of the source language to present thinking process of the author. Its translation judged by the target readers is likely to be smoother, simpler, clearer and more direct. While communicative translation is to convey message, performing vocative function. &lt;br /&gt;
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In addition, the key of communicative translation is immediacy which means the success of translation depends on the readers' responses. Semantic translation lays stress on faithfulness to the source text, but cannot neglect to convey the message contained in the source text. (Lin Xiaoqin 1987, 50)&lt;br /&gt;
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Here are some examples to better present the differences between semantic translation and communicative translation.&lt;br /&gt;
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E.g. 世人都晓神仙好。&lt;br /&gt;
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Yang Hsien-yi and Gladys Yang's Version: All men long to immortals.&lt;br /&gt;
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David Hawkes’s Version: All men knew that salvation should be won. &lt;br /&gt;
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In this example, “神仙” is the difficult point because there is no corresponding expression in English. In Chinese culture, “神仙” refers to transcendence and is a life with “supernatural forces” in human beings. Yang directly translated “神仙” as “immortals” because being an immortal is the highest ideal of Taoism. His translation is semantic translation. While Hawkes used “salvation” which is a concept in the Christianity. The creed of Christianity is to be saved from sins. And his translation is communicative translation. Yang chose to be faithful to the original text to preserve the concept in the Taoism. While Hawkes decided to pay more attention to religious background and mentality of the target readers. &lt;br /&gt;
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E.g. 真是“天有不测风云，人有旦夕祸福”。&lt;br /&gt;
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Yang Hsien-yi and Gladys Yang's Version: Truly, “storms gather without warning in nature, and had luck befalls men overnight.”&lt;br /&gt;
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David Hawkes’s Version: I know “the weather and human life are both unpredictable.”&lt;br /&gt;
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In this sentence, “天有不测风云，人有旦夕祸福” is a challenge in translation. It is a Chinese idiom which means the occurrences of some disasters are unpredictable in advance. According to antithesis habit in Chinese, Yang translated these two idioms into the corresponding English compound sentence, which adopted semantic translation. While Hawkes briefly translated into a single sentence, which adopted communicative translation. The former sentence may be appreciated by Chinese readers, and the simplified processing of the latter is easier for native English speakers to understand and accept because it conforms to the British and American expressions, especially in line with the habits of daily expression.&lt;br /&gt;
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E.g. Wet Paint!&lt;br /&gt;
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Version 1: 湿油漆&lt;br /&gt;
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Version 2: 油漆未干&lt;br /&gt;
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Version 3: 小心油漆&lt;br /&gt;
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Version 4: 勿触油漆&lt;br /&gt;
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This sentence is an official notice. From the four versions of the source text, there are differences among them. Version 1 is word-by-word translation, conveying an obscure message and not involving in any receptors. Version 2 just describes a fact that the paint is not dry but wet and does not present the informative function of the original. This notice aims to warn people not to do something and keep away from the paint. Version 3 and version 4 are free translations because they emphasize more on the content instead of form. The first and second version are semantic translation because they only describe the fact and tell readers the information that the paint is not dry. However, the third and fourth version are communicative translation which not only tell people the information but also play the warning function to notify readers not to touch the wet paint. &lt;br /&gt;
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However, semantic translation and communicative translation are not opposite. Newmark points out that the two should be viewed as a whole, instead of isolated or opposite parts. And a problem should be emphasized. Corresponding text-types can overlap. Semantic translation pays more attention to a mainly expressive text and communicative translation is more popular in mainly informative or vocative texts. In brief, translators should think the type of text over and ensure a good balance between them.&lt;br /&gt;
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====Text Typology====&lt;br /&gt;
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Language is a unique symbolic system, which has its own most important semantic system, as well as a functional system involving context. &lt;br /&gt;
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Newmark's text tppology theory is influenced by Reiss, Jacobson and other translators. In the book of Approaches to Translation, Newmark put forward three functional texts, including expressive text, informational text and vocative text. In accordance with these types of classification, Newmark summarized semantic translation and communicative translation. (Newmark 2001, 39)&lt;br /&gt;
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Expressive text mainly talks about the author's subjective emotions and his or her standpoints, which centers on the source language and the author regardless of the target readers' responses. Newmark points out that the expressive text includes three literary styles: &amp;quot;(1)serious imaginative literature such as poem, novels and dramas, (2) authoritative statements such as speech or statements from government officials or party's officials or party's leaders, documents and regulations and laws from government, and academic works from authorities, (3) autobiography, prose and personal correspondence without target readers.&amp;quot; (Newmark 2001, 55) Semantic translation is applicable to the expressive text, with a particular emphasis on the language features and language structure of the original language which is similar to literal translation.&lt;br /&gt;
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As for informative text, Newmark proposes that &amp;quot;typical informative texts are concerned with any topic of knowledge&amp;quot;. (Newmark 1988, 40) The informative text focuses on the information or the content provided in the text. According to Newmark, informative text includes textbooks, papers, reports, and minutes about science, industry, technology, economy, commerce and other areas of knowledge or events, which are mainly used to deliver information and reflect truth. In light of translation of informative text, Newmark proposes that communicative translation can be adopted to convey accurate meaning or the content of the source text to the target readers. (Newmark 2001, 67)&lt;br /&gt;
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&amp;quot;The function of vocative text is to call upon readers to act, to think, to feel and to react in the way intended by the text.&amp;quot; (Newmark 2001, 41) The vocative text includes all kinds of specifications, publicity materials, advertisements, notices and other persuasive words. Two factors must be emphasized in vocative text: one is the relationship between the author of the source text and readers of the source text and another is that translation is easy to be understood by the target readers, therefore, translators should take the source language and its cultural background into consideration in the course of translation practice. And communicative translation should also be used in the vocative text which means much attention should be paid on the target readers' understanding and reaction.&lt;br /&gt;
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===Newmark's Improved Views on Literal Translation and Free Translation===&lt;br /&gt;
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It can be said that literal translation and free translation in the past were had their own disadvantages. Newmark agrees with literal translation and he holds that &amp;quot;translation means filling the blank between two languages and even explaining is translating.&amp;quot; (Newmark 1999, 33) This indicates that he does not neglect the importance of free translation. If the language and grammar structure of the original are not that important, the fidelity of the translation can be lowered, creating more room for translation. This situation can mainly adopts free translation. He even believes that translators can create better translation than the original one. Communicative translation and free translation resemble when it comes to the preference for the message to the manner, and the content to the form of the original. In his masterpiece ''Approaches To Translation'', he analyzes and discusses the loss of meaning. As long as the loss of meaning in the translation is inevitable, content cannot separate from form. And complete faithfulness to the original is almost impossible because the so-called preserving the original meaning is relative. What's more, the content of a text should not be equal to referent in language, but include referent, rhyme, genre, style and so on. As the slogan, being faithful to the original, was too empty, some translators advocating literal translation did free translation and even paraphrased the original in the practice. Newmark holds that translators need to notice the content in four layers, the original text level, referred level, coherent language level and natural tone level. In this way, he transforms the empty slogan into concrete requirements in the translation practice and meanwhile criticized the disadvantages of literal translation. (Newmark 1999, 33)&lt;br /&gt;
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Likewise, the viewpoints of free translation are not advisable as well. Newmark criticizes the basis of free translation school, making the target readers obtain feelings similar to that of the original readers. He thinks the goal is too difficult to achieve because translators had problem in completely knowing the feelings and responses of the original readers. He further puts forward some reasons why this goal cannot be realized. As long as the same feelings cannot be obtained by the source and target readers, there exists no reason or judging basis of great amending or creative rewriting.  Free translation produces the matter rather than the manner, or the content rather than the form. Newmark regards it as usually a paraphrase much longer than the original, often prolix and pretentious, and not translation at all. In free translation, &amp;quot;more translation is paid to producing a natural reading TL text than to preserving the ST wording intact.&amp;quot; (Shuttleworth and Cowie 2004, 62)&lt;br /&gt;
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Newmark criticizes that the argument is theoretical without taking other important facets of translator's purpose, the nature of readership and text typology into consideration. Newmark claims the argument could come to a compromise if translators deal with two sides with another visual angle. In 1981, he proposed semantic translation and communicative translation to replace the old terms. (Newmark 1988, 45)&lt;br /&gt;
&amp;quot;(a) communicative translation, where the translator attempts to produce the same effect of the target language readers as produced by the original on the source language readers, and (b) semantic translation, where the translator attempts, with the bare syntactic and semantic constraints of the TL, to reproduce the precise contextual meaning of the author.&amp;quot; (Newmark 1981, 22) In order to better explain these two methods, he designed the form of a flattened diagram. (Newmark 1988, 45)&lt;br /&gt;
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                SL emphasis                            TL emphasis&lt;br /&gt;
   word for word translation                        Adaption&lt;br /&gt;
          Literal translation                     Free translation&lt;br /&gt;
          Faithful translation                  Idiomatic translation&lt;br /&gt;
            Semantic translation               Communicative translation&lt;br /&gt;
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The diagram indicates that there is a hugest gap between the translation guided by word for word translation and the translation guided by adaption, then between literal translation and free translation, faithful translation and idiomatic translation and semantic translation and communicative translation last. These eight translation methods are a continuity, and they complement each other and cannot be completely separated. In Newmark's opinion, adaption is the freest translation method, and suitable for drama and poem translation. Free translation reproduces the main content of the original and pay more attention to interpret and expound. Target texts guided by idiomatic translation are more natural, more fluent and more coherent. But due to adopt some unknown expressions, the original meaning may be distorted.&lt;br /&gt;
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Communicative translation possesses the advantages of adaption, free translation, idiomatic translation and semantic translation maintains the advantages of word for word translation, literal translation and faithful translation. Newmark maintains only by combining semantic translation and communicative translation can achieve two aims of translation-accuracy and conciseness. By distinguishing these right methods, he gives further refinements to the above definition of semantic translation and communicative translation. He adds one more element &amp;quot;aesthetic value&amp;quot;. Meanwhile, he gives up emphasizing the &amp;quot;effect&amp;quot;, and refines communicative translation to be more specific, &amp;quot;communicative translation attempts to render the exact contextual meaning of the original in such a way that both content an language are readily acceptable and comprehensible to the readership.&amp;quot; (Newmark 1988, 47)&lt;br /&gt;
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===My Thoughts on Literal Translation and Free Translation===&lt;br /&gt;
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The two translation methods, literal translation and free translation, are useful in the translation practice. Taking English-Chinese translation for example, in the translating process, translators can use the method of literal translation when the pattern of sentence in original text is similar with the Chinese one, and we can find some Chinese words being equivalent in meaning to the words used in the sentence of original text. In some cases there are some complex sentences that can be translated with the method of literal translation as well. As long as these sentences are short and the pattern of these sentences is relatively simple compared with other complex sentences, they can be translated by literal translation method. In English, the using of some metaphors and similes is almost similar to the way that they are used by in Chinese. For instance, &amp;quot;time flies&amp;quot; in English can be directly translated into Chinese as &amp;quot;时间飞逝&amp;quot;, as the Chinese people also describe time passing very fast in this way, which accords with the expression habit of Chinese.&lt;br /&gt;
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As English and Chinese are two kinds of different languages, there are many differences in various aspects, such as different grammar and language habits. In English there are some words or phrases we cannot find the relative words or phrases in Chinese. In this cases, using using literal translation method would not be proper. Under this condition, if the translator insists on using literal translation, the translation text will be difficult to be understood by the target readers. So in order to make the translation text readable, translators should adopt free translation. Under the direction of literal translation, translators will try their best to keep the flavor of original work, no matter on the material or the form. Literal translation is the effective method to keep the cultural flavor of original language. Therefore, when there are some cultural differences affecting the translation of culture-loaded words between the source language and the target language, free translation can become one of the translation strategies which provide possibility in reducing or even removing the restrictive factors in translation process. &lt;br /&gt;
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In the process of translation, it is an ideal way to combine literal translation and free translation because they mutually complement in many cases. When literal translation cannot express the original and basic content of the author and hinder readers to understand, it is crucial for the translator to use free translation to express the author's meaning. When free translation cannot meet the requirement of being faithful to the content of the original text, it is significant for the translation to use literal translation to show features ad the structure of the author's language.&lt;br /&gt;
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===Conclusion===&lt;br /&gt;
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The dispute between two translation methods, literal translation and free translation has been lasting from throughout history. The argument of them is based on the relationship between content and form. This paper attempts to introduce Peter Newmark's improved views on the literal translation and free translation. Newmark criticizes some disadvantages and proposes semantic translation and communicative translation. Semantic translation focuses on maintaining the content of the original text, while communicative translation emphasizes more on the effect of the translation. The author also shows opinions on literal translation and free translation. Peter Newmark's theory has taken a big step forward from one-sided view of literal translation and free translation in the past, which has provided the direction of further development of translation research.&lt;br /&gt;
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===References===&lt;br /&gt;
*Nida,E.A[尤金·A·奈达].(1985).''Translating means Translating meaning''《翻译即译意》.UNESCO: Publication of FIT. &lt;br /&gt;
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*Newmark, Peter[彼得·纽马克]. (1991). ''About Translation''《关于翻译》. North Somerset: Multilingual Matters&lt;br /&gt;
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*Newmark,Peter[彼得·纽马克].(1998). ''A Textbook of Translation''《翻译教科书》. London: Prentice-Hall International (UK) Ltd. &lt;br /&gt;
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*Newmark, Peter[彼得·纽马克]. (1981). ''Approaches to Translation''《翻译方法》. Oxford: Pergamon Press.&lt;br /&gt;
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*Shuttleworth &amp;amp; Cowie[沙特尔沃斯&amp;amp;考伊]. (2004). ''Dictionary of Translation Studies''《翻译研究词典》. Shanghai: Shanghai  Foreign Language Education Press.&lt;br /&gt;
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*陈伯雨 Chen Boyu. “翻译对等” 研究[Study on Translation Equivalence]. 辽宁师范大学[Liaoning Normal University]. 2003.&lt;br /&gt;
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*陈福康 Chen Fukang.《中国译学理论史稿（修订本）》[''Draft History of Chinese Translation Theory (Revised)'']. 上海：上海外语教育出版社[Shanghai Foreign Language Education Publishing House]. 2000.&lt;br /&gt;
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*程永生 Cheng Yongsheng.中国近现代直译与意译研究[Research on Modern Chinese Literal Translation and Free Translation]. 淮南工业学院学报(社会科学版)[Journal of Huainan Institute of Technology(Social Science)]. 2002.&lt;br /&gt;
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*李明瀚 Li Minghan.语义翻译和交际翻译在汉语政论文翻译中的应用[Semantic Translation and Communicative Translation in the Translation of Chinese Political Writings]. 辽宁大学[Liaoning University]. 2014.&lt;br /&gt;
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*林小芹 Lin Xiaoqin.纽马克论交际翻译与语义翻译[Newmark's Study on Communicative Translation and Semantic Translation]. 中国翻译[Chinese Translators Journal]. 1987. &lt;br /&gt;
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*刘重德 Liu Zhongde.文学翻译十讲[Ten Lectures on Literary Translation]. 北京：对外翻译出版社[Foreign Translation Press]. 1991.&lt;br /&gt;
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*任文 Ren Wen.交替传译[Consecutive Interpretation]. 北京：外语教学与研究出版社[Foreign Language Teaching and Research Press]. 2012.&lt;br /&gt;
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*谭载喜 Tan Zaixi.《西方翻译简史（增订版）》[''A Short History of Translation in the West(Updated Version)'']. 北京：商务印书馆[Commercial Press]. 2018.&lt;br /&gt;
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*王佐良 Wang Zuoliang.翻译：思考与试笔[Translation: Thinking and Writing]. 北京：外语教学与研究出版社 [Foreign Language Teaching and Research Press]. 1989.&lt;br /&gt;
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*许海燕,孙卫红.杨译本文化负载词的翻译——以《从百草园到三味书屋》为例[On C-E Translation of Culture-loaded Words by Yang Xianyi—A Case Study of From ''Hundred-plant Garden to Three-flavor Study''].陇东学院学报[Journal of Longdong University]. 2012.&lt;br /&gt;
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*许渊冲 Xu Yuanchong.翻译的艺术[The Art of Translation]. 北京：五洲传播出版社[China Intercontinental Press]. 1984.  &lt;br /&gt;
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*许渊冲Xuan Yuanchong.直译与意译[Literal Translation and Free Translation]. 上海外国语学院学报[Journal of Shanghai Institute of Foreign Languages]. 1980.&lt;br /&gt;
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='''Document Translation'''=&lt;br /&gt;
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==On translation of official documents of CangNan County	吴恺	Wu Kai==&lt;br /&gt;
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On Translation of Official Documents of Cangnan County&lt;br /&gt;
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Japanese Language and Literature, School of Foreign Languages, Hunan Normal University, Wu Kai--[[User:Wu Kai|Wu Kai]] ([[User talk:Wu Kai|talk]]) 04:45, 2 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
==='''Abstract'''===&lt;br /&gt;
As one of the forefronts of Zhejiang’s opening-up cause, Cangnan County in Zhejiang Province has been enjoying a rapid development and an ever-growing degree of opening-up with lasting vitality as it’s supported by national policies and nourished by the dividends of economic globalization since China's reform and opening-up. As China has ushered in a period of major changes rarely seen in a century, Cangnan County is also facing new opportunities and challenges. Under the background of this era, Cangnan County is expected to make good use of its own advantages, especially the geographical ones—it is close to countries and regions including Japan, South Korea, and Taiwan—and should spare no efforts to achieve a higher level of opening-up, and, in turn, further promote its development. As an embodiment of the collective will of the people of Cangnan County, the official document is one of the best manifestations of its governance and stability control capabilities. For this reason, the research on how to translate official documents is of great significance for that it offers a great opportunity for Cangnan County to re-examine itself and to show the rest of the world its achievement in building a culture-enriched county.&lt;br /&gt;
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==='''Key words'''===&lt;br /&gt;
 official document translation, Cangnan County, opening-up, Japan, South Korea&lt;br /&gt;
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==='''摘要'''===&lt;br /&gt;
自中国改革开放以来，浙江省苍南县作为全浙江对外开放的前沿阵地之一，得到了国家政策支持和经济全球化红利的滋润，苍南县发展水平与对外开放程度日新月异，全县活力持久带劲。随着中国迎来“百年未有之大变局”，苍南县也面临着新的机遇和挑战，在此时代背景下，苍南县应该利用好自身优势，特别是临近日本、韩国、台湾等国家与地区的地理优势，努力开展更高层次、更高水平的对外开放事业，促进苍南更好的发展。为此，作为苍南县人民集体意志的体现，苍南县的公文就是对外展示其治理水平、稳控能力的最好的体现之一。而对于苍南县公文的如何翻译的研究，是促使苍南县重新审视自己、推进苍南人文县情传播海外的良机，意义重大。&lt;br /&gt;
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==='''关键词'''===&lt;br /&gt;
公文翻译  苍南县  对外开放  日本  韩国&lt;br /&gt;
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==='''I. System and Translation of Official Documents of Cangnan County'''===&lt;br /&gt;
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The unique official document system adopted by Chinese government agencies is a special integration of the thousands-of-years excellent political traditions in China and the essence of the organizational structure of the socialist regime. As a county-level unit in China's local administrative structure, Cangnan County has an official document system that is consistent with the national ones in general while has its own features. Official documents of Cangnan County can be basically divided into the following types of writing: resolutions, decisions, orders, bulletins, announcements, notifications, opinions, notices, reports, requests for instructions, approvals, proposals, letters, and minutes. Above-mentioned categories are collectively known as official documents. Besides, there are also some types of practical writing, including summaries, plans, notes, memos, briefings, speeches, manuals and so on, that are often used in our day-to-day work.&lt;br /&gt;
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In addition to those characteristics of the official documents that are commonly seen in China, official documents of Cangnan County also have its own features, which is mainly reflected in the aspect of proprietary terminology. Cangnan County, which used to be a part of Pingyang County in Zhejiang Province, was officially designated as a county in 1981 with the approval of the Central Government. It takes its name Cangnan, which means “on the south of the Yucang Mountain”, from its geographical location. As a relatively young county-level administrative unit in China’s administrative divisions, Cangnan County has a complex natural endowment and cultural environment, which is the reason why there are many special proprietary terms used in the official documents of Cangnan County, such as “Beautiful South Gate of Zhejiang Province”, “Southern Ouyue (an ancient kingdom in modern Wenzhou and Taizhou)” , “South Gate of Jiangsu-Zhejiang Region” and so on. Moreover, Cangnan is also the birthplace of the “Wenzhou Model”. Since the implementation of policy for the exchange of production materials and commercial grains in 1984, Cangnan has become an important base for the experiments and development of Wenzhou's private economy and market economy, and, thus, has made a significant contribution to the great cause of China's reform and opening-up.&lt;br /&gt;
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To conclude, the unity of the official document system viewed from the national scope of China and the uniqueness of the official document system viewed from the local scope of Cangnan area are both reflections of the integration of economic, political, and cultural elements. Therefore, when translating the terms and sentences in these official documents, obviously, it is almost impossible to follow general translation theories, such as Yan Fu’s “faithfulness, expressiveness and elegance” theory which applies to literature translation, and Christiane Nord’ Skopos theory which emphasizes schematic analysis. Due to the features of the official documents of Cangnan County, it is hard to imagine the consequence it will cause if those Cangnan and Chinese elements they contain are missed when translating them. Therefore, the starting point for the translation and research of Cangnan official documents should be analyzing the official document itself, but not choosing which translation theory to apply.&lt;br /&gt;
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The translation method focusing on the official documents themselves is undoubtably the one that emphasizes the content while manages to achieve a similarity in form. Thus, the translation theory that meets the requirements of official document translation in Cangnan County shall be the functional equivalence theory of the American linguist Eugene A. Nida. Eugene A. Nida argued in his theory that translation is to use the most appropriate, natural and equivalent language to reproduce the informational function of the source language both semantically and stylistically. Nida’s definition of translation specified that translation is seeking equivalence not only in lexical meaning, but also in semantics, style and literary form. Translation should convey both the denotative and connotative meaning of a message. Regarding the equivalence of translation, he believed that the equivalence consists of four parts: lexical equivalence, syntactic equivalence, textual equivalence, and stylistic equivalence. Among the four aspects, he emphasized that the meaning the core and most important part, followed by the form. The form of a text is likely to conceal the cultural connotation of the source language and may, therefore, hinder cultural exchanges. Based on the above, the reasons why the functional equivalence theory is applicable to official document translation in Cangnan County can be concluded as follows:&lt;br /&gt;
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First, the functional equivalence theory advocates that the target text should be equivalent to the source text both semantically and culturally. Official documents of Cangnan County are carriers of profound political culture with Chinese characteristics and the cultural environment in Cangnan. When translating them, in addition to showing the political consciousness and judicial authority of Cangnan government agencies, the local culture of Cangnan must also be reflected in the translations.&lt;br /&gt;
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Second, the functional equivalence theory suggests that if the lexical meanings and cultural elements cannot be taken into account at the same time, the translator then may give up the equivalence in form and try to reproduce the semantic and cultural meaning of the source text by changing the form of the sentence. There are many specialized terms with Chinese characteristics and Cangnan’s characteristics in official documents of Cangnan County. When translating them, once there is no corresponding expression in the target language, other forms of expression must be adopted to retain the meanings of those specialized terms as much as possible.&lt;br /&gt;
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Third, the functional equivalence theory proposes that if the change in form is still not enough to express the semantic and cultural meaning of the expression in the source language, the translation technique of “heavy damage” can be adopted to resolve cultural differences , so that the source language and the target language can achieve equivalence in semantic meaning. “Heavy damage” refers to the transformation of the deep structure of the source language into the surface structure of the target language, that is, expressing the cultural connotation of the source text with expressions of the target language. It cannot be ruled out that there are words and sentences in the official document of Cangnan County that cannot be translated, and when this happens, the translator can only rely on his translation techniques and understanding ability to process them creatively.&lt;br /&gt;
Above are simply macro analyses of the official document system in Cangnan County, and when it comes to specific analyses, challenges we face will only be severer.&lt;br /&gt;
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==='''II. Stylistic Features and Translation of Official Documents in Cangnan County'''===&lt;br /&gt;
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Looking at the official documents of Cangnan County from the micro level, we can work on the study of its translation based on the following characteristics.&lt;br /&gt;
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'''1. Details and Accurate'''&lt;br /&gt;
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As an officially-written document geared for the needs of our people, wording of the official documents of Cangnan County has a very specific orientation. Almost all content words have very clear meanings and connotations.&lt;br /&gt;
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For example, the sentence “经研究，县政府决定召开市对县安全生产巡查反馈会暨突出问题集中教育警示会，现将有关事宜通知如下。(As discussed, the county government decided to convene a feedback meeting on city-to-county inspections of production safety and a meeting for education and warning on outstanding issues. The relevant matters are hereby notified as follows.)” in the document 《苍南县人民政府办公室关于召开市对县安全生产巡查反馈会暨突出问题集中教育警示会的通知》(“Notice of the Office of the People's Government of Cangnan County on Convening a Feedback Meeting on City-to-County Inspections of Production Safety and A Meeting For Education and Warning On Outstanding Issues”) (the office of the People's Government of Cangnan County on June 8th, 2020) conveys several points very accurately and clearly, including the decision maker, the type, content and theme of the meeting. Therefore, special attention must be paid to the integrity of the information delivered when translating this sentence. For example, it is translated into Japanese as “討議を通じて、県政府は県の安全生産状況に対する市政府の巡査結果反映会及び顕著問題教育警告会を開催することが決定した。関連事項を以下のようにお知らせする。”&lt;br /&gt;
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'''2. Precise and Compact'''&lt;br /&gt;
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The role of official documents is to exchange formal information between the upper and the lower, the people and the officials, and the relevant departments. Therefore, the wording of the official documents must be rigorous. No slang and loose sentences should be used, and excessive use of parentheses and descriptive modifiers should be avoided. Official documents of Cangnan County follow this rule as well, in which there will never be informal expressions like daily spoken words.&lt;br /&gt;
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For example, the expression “三、决策目录施行动态管理，因工作需要增减或变更重大行政决策事项的，承办单位应按照相关规定程序提请调整。(Third, the decision catalogue shall be managed in a dynamic way, the undertaker shall submit application for adjustments in accordance with the relevant regulations if any increase/decrease or change shall be made to the major administrative decision-making matters because of the need of actual work.)” in the document《关于公布苍南县2020年度重大行政决策事项目录的通知》(“Notice on Issuing the 2020 Annual Catalogue of Major Administrative Decision-Making Matters of Cangnan County”) (the office of the People's Government of Cangnan County on Sept. 20th, 2020) When translating this sentence into Japanese, the translator shall fully considers the preciseness of the original expression, and translate it as “三つ目、戦略目録動的管理施行、仕事需要によっての増減または変更が必要な場合、請負機構は関連規定の手順に従って調整を提出しなければならない。”&lt;br /&gt;
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'''3. Programmed and Standardized'''&lt;br /&gt;
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The purpose of official documents requires a stable and routine writing program so that the official business can be conducted in an orderly manner. It is essential that the document writing is reasonably programmed. It allows the officer to know what it is and what to do at a glance if a standardized official document program is followed. The standardization of the official documents of Cangnan County can be regarded as a tricky feature in their translation.&lt;br /&gt;
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For example, the expression “各乡镇人民政府，县政府直属各单位 (the people's government of all townships and towns and all directly affiliated institutions of the people’s government of Cangnan County)” in the document《关于公布苍南县2020年度重大行政决策事项目录的通知》(“Notice on Issuing the 2020 Annual Catalogue of Major Administrative Decision-Making Matters of Cangnan County”) (the Office of the People's Government of Cangnan County on Sept. 20th, 2020) is obviously a standardized addressing of the receiving units of an official document, and it should be translated into Japanese as “各郷鎮人民政府、県政府直属の各部門”.&lt;br /&gt;
Viewing from a micro perspective, we may find that special attention should be paid to many precise details when translating those official documents. It is of great significance that, during the cause of reform and opening-up, we strike a balance between the macro level and the micro level in official document translation, which will serve as a stage for Cangnan County to show itself to Japan, South Korea and other East Asian countries and regions.&lt;br /&gt;
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==='''III. Translation of Official Documents of Cangnan County under the Context of the Japanese Language'''===&lt;br /&gt;
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Cangnan County is one of the nearest administrative units to Japan in China, and Okinawa Prefecture in Japan and Cangnan County are neighbors facing each other across the sea. Furthermore, Cangnan County itself has ports in Xiaguan, Pacao, Yanting, Dayu and other places, and has the basic conditions for conducting small transactions of freights with Okinawa. However, due to the inadequacy policies, laws and regulations, a large portion of Japan’s trade with China, especially with Zhejiang Province, is still conducted in the three port cities, namely Ningbo, Zhoushan, and Hangzhou. Cangnan’s geographical advantages have never been given to full play. To Japan, Cangnan is not a total stranger. Wenzhou City has a great influence upon Japanese culture and history. Special local products such as Wenzhou green tea and Wenzhou satsuma orange are very attractive to Japanese people. Many of the business exchanges during the Kamakura Bakufu in Japan were happened between Hakata merchants and Wenzhou people. As an important subordinate region of Wenzhou City, Cangnan County naturally has left an impression on Japanese people when it comes to China.&lt;br /&gt;
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If Cangnan hopes to lay a foundation for the future cooperation with Japan through its cause of opening up to the outside world, it is of great importance that we study the methods and techniques to make the translation of Cangnan’s official documents to meet the specific context of the Japanese language, which is also a part of the cultural exchanges that will facilitate economic and trade cooperation between Japan and China. The political status of Cangnan County is equivalent to the one of regular cities and special wards in Japan, but this does not mean that the official documents of Cangnan County can be regarded as equivalents to the official documents released by the governments of the regular cities and special wards in Japan, and there are huge differences between their respective official documents in form, wording, Cultural connotation and etc. To better translate Cangnan official documents under the context of Japanese language, the following aspects must be paid attention to:&lt;br /&gt;
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1. Detailed Comparison of Types&lt;br /&gt;
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In the Japanese official document system, the word “公文” is different in meaning from the word “公文” in Chinese official document system. In Chinese “公文” means government official documents, while in Japanese “公文” generally refer to legal documents that have the force of law and the term “公文書” is the one that refers to government official documents, which roughly includes “外交文書” and “起案文”, “通達” , “命令”, “許可”, “通知書” and so on . When translating official documents of Cangnan County into Japanese, attention should be paid to the transformation of the types of the official documents. The classifications of official documents in China and Japan are different from each other.&lt;br /&gt;
For example, when translating documents such as “proposal letter”, “report” and the like into Japanese, the title should be translated as “建言書” and “報告書”, while “命令(order)”, “通知(notice)”, “提案(Proposal)” and etc. need no translation and can be titled with the original characters directly as “命令”, “通知”, “提案”, and can also be further translated into “命令状”, “通知書”, “提案書”. Those reflect the characteristics of the division of the types of the official document system in Japan.&lt;br /&gt;
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2. Careful Consideration of the Translation of Chinese Characters&lt;br /&gt;
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There are a large number of Chinese characters in Japanese. This will for sure be an advantage when translating official documents of Cangnan County into Japanese, however, at the same time, this is also a huge disadvantage. After all, those Chinese characters are Japanized Chinese characters, and their meanings and usages are more or less different from the original ones in Chinese.&lt;br /&gt;
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For example, the expression “设定全县森林防火期(setting the season of forest fire prevention)” in the document 《苍南县应急管理局局长王再忠关于&amp;lt;苍南县人民政府关于做好森林防火期护林防火工作的通告&amp;gt;的政策解读》(“Policy Interpretation Of ‘Notice of Doing Forest Protection and Fire Prevention during the Season of Forest Fire Prevention by the People's Government Of Cangnan County’ by the Director of Cangnan Emergency Management Agency Wang Zaizhong”) in could be translated character by character into Japanese as “全県域森林防火期間設定”. However, expressions such as “野外火源如何管理” cannot be translated in the same way, and must be processed accordingly and translated into Japanese as “野外の火の元が如何に処理すること”. When translating official documents of Cangnan County into Japanese, the translators must reject the preconceived thinking and native Chinese thinking, or it will lead to irreversible misunderstandings and mistakes.&lt;br /&gt;
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3. Mastery of the Equivalence of Semantic Meaning&lt;br /&gt;
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Chinese is an isolating language, in which the grammatical meaning is reflected by the order of words, while Japanese is an agglutinative language, in which auxiliary words and flexible usages of vocabulary are adopted to reflect the grammatical meaning. This requires the translators to have mastery of the equivalence of semantic meanings when translating official documents of Cangnan County into Japanese and try to achieve perfect equivalence in official document translation.&lt;br /&gt;
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For example, there is a expression as “全体公民必须认真贯彻‘以人为本、预防为主、积极扑救、有效消灾’的森林防灭火工作方针，一旦发现森林火灾，要立即向当地人民政府或森林防灭火指挥部办公室报告(all citizens must seriously implement the working policy of forest fire prevention and firefighting ‘people-oriented, prevention-focused, active in firefighting, effective in disaster relief’, once a forest fire is detected, it must be reported to the local people’s government or the forest fire prevention and firefighting headquarters office immediately)” in the document 《苍南县应急管理局局长王再忠关于&amp;lt;苍南县人民政府关于做好森林防火期护林防火工作的通告&amp;gt;的政策解读》(“Policy Interpretation Of ‘Notice of Doing Forest Protection and Fire Prevention during the Season of Forest Fire Prevention by the People's Government Of Cangnan County’ by the Director of Cangnan Emergency Management Agency Wang Zaizhong”). When dealing with long and complex sentences, the translator must be flexible in using translation techniques to decompose the sentences and translate them step by step, focusing on the balance between the form of the sentence and its semantic meaning. Based on this principle, the abovementioned sentence could be translated into Japanese as “人間本位、予防軸化、積極救助、有効消災という森林防火作業方針は全県民が必ず強固に守らなければならない。林に火事が発見された際、直ちに所轄人民政府や森林防火指揮部執務室に報告すること。”&lt;br /&gt;
&lt;br /&gt;
There is no doubt that, in terms of four-character idioms, allusions, new words of the era and etc., the translation of official documents of Cangnan County under the context of the Japanese language still has a long way to go, but the part that we should pay most attention to in translation is always the differences in culture between the source language and the target language. Only by keeping this basic point in mind at all times, will there be no huge mistakes being made when translating official documents of Cangnan County into Japanese.&lt;br /&gt;
&lt;br /&gt;
==='''Ⅳ. Translation of Official Documents of Cangnan County under the Context of the Korean Language'''===&lt;br /&gt;
&lt;br /&gt;
Zhejiang Province and South Korea have laid a good foundation for economic and trade cooperation projects, and a framework that is comprehensive, wide-ranging, and multi-level has been established for Zhejiang-South Korea cooperation. The advantages of the two regions are obviously complementary and the development potential for both sides and in between is huge. In September 2016, the Zhejiang China-Korea (Quzhou) Industrial Cooperation Park was approved as the first batch of “Zhejiang International Industrial Cooperation Parks” in Zhejiang Province. The total planned area is about 3,000 acres and the total planned investment is 12 billion yuan. Represented by the Zhejiang China-Korea Industrial Cooperation Park, a large number of economic and trade cooperation projects has been carried out with South Korea by Zhejiang Province. As an indispensable part of Zhejiang Province, Cangnan County is facing a huge gap in the cultural exchanges and economic cooperation with South Korea. How to elevate the level of Cangnan’s opening up to the outside world and advancing Cangnan’s economic, trade and cultural cooperation with South Korea is a question that is well worth exploring. Although Cangnan is further away from South Korea compared with regions in the north of Zhejiang, geographic location should never be a factor that hindering Cangnan’s economic, trade and cultural cooperation with South Korea. In an era of ever-deepening globalization, it is of great significance that we think about how to develop and promote the economic and trade and cultural cooperation between Cangnan and South Korea.&lt;br /&gt;
&lt;br /&gt;
Northern Zhejiang is a key area for economic, trade and cultural cooperation with South Korea. As the south gate of Zhejiang Province, if Cangnan County could open the door of economic, trade and cultural cooperation to South Korea, then this will inevitably bring extraordinary development opportunities to southern Zhejiang and make the pattern of Zhejiang and South Korea’s economic and cultural cooperation more balanced and healthy. The political status of Cangnan County is equivalent to the one of si(city), gu (district), and gun(county) in South Korea. Because of some historical reasons, South Korea is greatly influenced by Chinese culture. From the Three Kingdoms era of Joseon, to the Unified Silla Dynasty, the Wang’s Goryeo Dynasty, and the Yi’s Joseon Dynasty, the basic system of administrative divisions in South Korea is almost the same as the one in China, so the official document system of cities, districts, and counties in South Korea can be regarded as basically equivalent to the official document system of Cangnan County with only slight differences originated from the localized political and cultural traditions and the basic social condition of South Korea. Therefore, there are relatively fewer difficulties of translation when translating official documents of Cangnan County into Korean, aside from the barriers caused by Korean Hangul words. The translation of official documents of Cangnan County under the context Korean language requires attention to the following aspects:&lt;br /&gt;
&lt;br /&gt;
1. The Combination of Chinese characters and Hangul&lt;br /&gt;
&lt;br /&gt;
Modern Korean uses Hangul as the main written characters, but this does not mean that there is no place for Chinese characters in the Korean system. Since the launch of the abolition of Chinese characters movement in South Korea in the 1970s, Hangul did exactly achieved an overall penetration of every aspect of their daily life, but when it comes to important documents, Chinese characters still reserve a seat in the arena of South Korea’s history. Furthermore, a higher level of talent training is required now to meet the need of South Korea’s economic and social development, and the mastery of sinology has become, among all the necessary skills, one of the most straightforward evaluation criteria to access the qualified personnel. Thus, South Korea has restarted the Chinese character teaching movement. Nowadays, the official document system in South Korea has become one in which Hangul serves as the main language and the mixed use of Chinese characters and Hangul serves as a supplement. Just as how the mixed use of kana and Chinese characters in Japanese official documents may help in its translation, the mixed use of Chinese characters and Hangul also greatly facilitate the translation of official documents of Cangnan County into Korean. However, because Chinese characters used in Korea are composed of traditional Chinese characters and a small number of Korean self-made Chinese characters, we can not take it for granted that it is advisable to translate them word by word.&lt;br /&gt;
&lt;br /&gt;
For example, the title of the document《苍干任〔2020〕18号 王再忠等同志的任命》(“Cangnan Cadre Appointment [2020] No. 18: Appointment of Wang Zaizhong and etc.”) (the Office of CPC Cangnan Party Committee on March 27th, 2020) can be translated with the mixed use of Chinese characters and Hangul into Korean as《蒼南縣의 幹部任命〔2020〕18號 王再忠등 同志의任命》. Also, it be translated into Korean with Hangul alone as《참남현의 간부임명〔2020〕18호 왕재충등 동지의임명》.&lt;br /&gt;
&lt;br /&gt;
2. The Usage of Refined Language&lt;br /&gt;
&lt;br /&gt;
In recent years, South Korea has carried out reforms of the official document system, urging that the South Korean government agencies at all levels should use “refined(or purified) language”, that is, to write and publish official documents with words that are easy for the public to understand and have explicit meanings, reducing the cost of communication between the government and the public and, in this way, building a closer relationship between the government and the people, so that civil servants can communicate with the people more effectively. Refined language is a kind of common vernacular that differs from the official language. Although this trend of the wording of Korean official documents is not unconditional, but when compared with official documents of Cangnan County, which emphasize the solemnity and formality of official documents, this trend is the part that the translator has to pay his attention to.&lt;br /&gt;
&lt;br /&gt;
For example, when translating the expression “为加强行政规范性文件管理，切实推进依法行政，加快法治政府建设 (To strengthen the management of administrative normative documents, promote the administration in accordance with law, and accelerate the construction of a government ruled by law)” in the document《苍南县人民政府关于公布县政府及县政府办公室行政规范性文件清理结果的通知（有效）》(“Notice of the Office of the People's Government of Cangnan County on the Announcement of the Results of the Cleanup of the Administrative Normative Documents of the County Government and the County Government Offices (Effective)”) (the Office of the People's Government of Cangnan County on October 23th, 2020) , blunt expressions may not be that applicable and this expression translated into Korean in a more public-friendly way as “행정 규범적인 문서관리를 강화하기 위해, 법에따라 행정을 철저히 추진하고 법치정부의 건설을 가속화시킨다.”&lt;br /&gt;
&lt;br /&gt;
3. Mastery of the Equivalence of Semantic Meaning&lt;br /&gt;
&lt;br /&gt;
Like Japanese, Korean is also a typical agglutinative language. A sentence is formed by connecting independent words with various auxiliary words, and with a subordinating conjunction at the end of the sentence. Auxiliary words are just like glues, they exist after every subject, predicate, and object component of a Korean sentence to them together. For that these auxiliary words have no substantial meaning themselves, they must stay close to the main body in front, and a space must be put after. Therefore, when translating Chinese, which is an isolated language, into Korean, which is an agglutinative language, it is necessary to have mastery of the equivalence of the semantic meaning of the expression.&lt;br /&gt;
&lt;br /&gt;
For example, when translating the expression “全面实施全民参保计划，做好参保情况清查，提升参保信息质量，清理重复参保，稳定持续参保，减少漏保断保，实现应保尽保。(Fully implement the national social security plan, do a good job in checking the coverage of the social security, improve the quality of the collection of the information of the insured, clean up repeated insureds, stabilize the renewal of the social security, reduce the interruption of the social security, and achieve full social security coverage.)” in the document《关于做好2021年度城乡居民基本医疗保障工作的通知》(“Notice on Doing a Good Job in Basic Medical Security for Urban and Rural Residents in 2021”)( the Office of Medical Security Bureau of Cangnan County on November 5th, 2020), the translator should pay attention to the equivalence of semantic meaning of this long sentence and translated it into Korean as “전국민기본의료보험가입계획을 전면적으로 실시하고 기본의료보험가입상황을 철저히 조사하며 기본의료보험가입 정보의 질을 향상시키고 중복기본의료보험가입을 청산하며 안정적이고 지속적인 기본의료보험가입을 하며 보험누락을 줄이고 기본의료보험가입 을 실현해야 한다.”&lt;br /&gt;
&lt;br /&gt;
==='''Ⅴ. Studies of Official Document Translation and the Cause of Opening-up in Cangnan County'''===&lt;br /&gt;
&lt;br /&gt;
Based on the abovementioned basic characteristics of the official document system of Cangnan County, the notes for official documents translation under the context of the Japanese language and the notes for official documents translation under the context of the Korean language, we can see that official documents of Cangnan County is not as difficult to handle as something untranslatable. Cangnan County enjoys a good geographic location: it is located in the coast of the East China Sea, and is close to both Japan and South Korea, two strong economies in East Asia. However, Cangnan County has not yet made use of these favorable conditions to the fullest to promote cultural cooperation and trade with the two countries. Cangnan’s opening up to the outside world requires innovative thinking and an elaborate layout. Studies on the translation of official documents of Cangnan County, especially the translation of official documents under the context of the Japanese and Korean language, will help to explore the cultural spirit of the government institutions, and play an important role in building a good image of Cangnan County in East Asia and laying a foundation for Cangnan's cooperation with major countries and regions in East Asia .&lt;br /&gt;
&lt;br /&gt;
The world today is undergoing profound changes rarely in a century, and so is China. The tide of history moves on and Cangnan shall not stay out of the matter, but must follow it courageously and strive to open new doors for Cangnan's opening up to the outside world through the study of the official document translation of its own.&lt;br /&gt;
&lt;br /&gt;
===References===&lt;br /&gt;
&lt;br /&gt;
[1]Ziqi LIU. The Application of Functional Equivalence Theory in Scientific Translation：A Case Study of the Translation of Shipbuilding English[J]. CREATIVITY AND INNOVATION,2019,1(3).&lt;br /&gt;
&lt;br /&gt;
[2]Mu Dan. Discussion on Translation Activities Under the Guidance of Functional Equivalence Theory[J]. International Journal of Education and Management,2018,3(2).&lt;br /&gt;
&lt;br /&gt;
[3]李琳琳. 功能对等翻译理论与关联翻译理论比较研究[D].辽宁师范大学,2006.&lt;br /&gt;
&lt;br /&gt;
[4]赵娟廷. 汉韩公文语体对比研究[D].复旦大学,2003. &lt;br /&gt;
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[5]周萱. 《中国共产党怎样解决民族问题》（节选）中韩翻译报告[D].青岛大学,2017.&lt;br /&gt;
&lt;br /&gt;
[6]张利军. 《教学的游戏性研究》的汉日翻译实践报告[D].广西师范大学,2019.&lt;br /&gt;
&lt;br /&gt;
[7]栾亚琼. 《2015年山东省政府工作报告》汉日翻译实践报告[D].曲阜师范大学,2016.&lt;br /&gt;
&lt;br /&gt;
[8]占丽华. 源流与演变—日本地方公文书馆发展路径研究[D].山东大学,2020.&lt;br /&gt;
&lt;br /&gt;
[9]任清萍. 功能翻译理论视角下政府工作报告日译研究[D].外交学院,2020.&lt;br /&gt;
&lt;br /&gt;
[10]孙慧. 产业竞争力与区域经济增长[D].苏州大学,2006.&lt;br /&gt;
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--[[User:Wu Kai|Wu Kai]] ([[User talk:Wu Kai|talk]]) 04:45, 2 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
==The Translation Process and Methods of Translating English Long Sentences	周艺文	Zhou Yiwen==&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
===Abstract===&lt;br /&gt;
&lt;br /&gt;
The translation of long English sentences is a difficult point in English-Chinese translation. It is very important to understand the features of sentence structure and the translation process and methods of long English sentences. This paper studies the translation process and methods of English long sentences through the comparative study of English and Chinese language characteristics and specific English-Chinese translation analysis. This paper is divided into five parts. The first part introduces the characteristics of English long sentences. The second part contrasts  the language features of English with that of Chinese, which can be divided into three aspects: English sentences emphasize hypotaxis, Chinese sentences emphasize parataxis; English is a static language, while Chinese is a dynamic language; English prefers passive voice while Chinese prefers active voice. The third part expounds the characteristics of translating English long sentences, mainly from three aspects: cross-cultural communication, emphasis on form and clear language logic. The fourth part mainly analyzes the process of translating English long sentences through some examples. In the end, five translation methods are discussed, which are liner translation, reorganization translation, splitting translation, synthesis and insertion.&lt;br /&gt;
&lt;br /&gt;
===Key words===&lt;br /&gt;
&lt;br /&gt;
English long sentences; language characteristics; translation process; translation methods&lt;br /&gt;
&lt;br /&gt;
===摘要===&lt;br /&gt;
&lt;br /&gt;
英语长句翻译是英汉翻译的难点，了解英语长句的句子结构特点和翻译过程及方法在英汉翻译中十分重要。本文通过对比研究英汉语言特点及具体英汉译本分析对英语长句翻译过程和方法进行研究。本文分为五个部分，第一部分介绍了英语长句的特点。第二部分从英汉对比的角度剖析了英汉两种语言在句子结构上的差异，分为三个方面，即英语句子重形合，汉语句子重意合; 英语是静态语言，汉语是动态语言; 英语喜用被动语态，汉语喜用主动语态。第三部分阐述了翻译英语长句的特点，主要有跨文化交际性、重视形式以及明确逻辑关系三个方面。第四部分主要通过具体的句子分析英语长句的翻译步骤及过程。最后探讨了英语长句汉译时采用的五种翻译方法，即顺序法、变序法、分译法、综合法和插入法。&lt;br /&gt;
&lt;br /&gt;
===关键词===&lt;br /&gt;
&lt;br /&gt;
英语长句子；语言特点；翻译过程；翻译方法&lt;br /&gt;
&lt;br /&gt;
===1.Introduction===&lt;br /&gt;
&lt;br /&gt;
===2.Characteristics of English Long Sentences===&lt;br /&gt;
&lt;br /&gt;
English and Chinese have many similarities in basic sentence structure. The main elements of sentence structure mainly include subject, predicate, object, predicative, attribute, adverbial modifier, and complement. In English, the sentence emphasizes the form and the sentence has a tree structure, and the Chinese sentence emphasizes the parataxis, and the sentence has a bamboo structure.&lt;br /&gt;
The main characteristics of English long and difficult sentences are as follows:&lt;br /&gt;
(1) There are much more words, more complex sentence patterns, and more modifiers in these sense.&lt;br /&gt;
(2) Compared with simple sentences, long and difficult sentences often use inversion structure, and there are phenomena of omission and word order inversion.&lt;br /&gt;
(3) The reason for the formation of long and difficult sentences is that there are many long and difficult sentences with coordinate components, phrases, additional components, clauses, and coordinate sentences.&lt;br /&gt;
(4) The language structure of long and difficult sentences is relatively complex and has a strong sense of hierarchy.&lt;br /&gt;
&lt;br /&gt;
===3.Differences in sentence structure between English and Chinese===&lt;br /&gt;
&lt;br /&gt;
English and Chinese belong to different language systems, the former belongs to Indo-European language family, the latter belongs to Sino-Tibetan language family, so there are significant differences in syntax between them. In addition, the different cultures of English and Chinese will inevitably lead to the difference in sentence structure between the two languages, because language is the carrier and medium of culture. &lt;br /&gt;
&lt;br /&gt;
===3.1Hypotaxis vs. parataxis===&lt;br /&gt;
&lt;br /&gt;
English syntactic structure is hypotaxis while Chinese syntactic structure is parataxis. Hypotaxis is that the words or clauses in a sentence are connected together by means of linguistic formal means (such as using related words) to express grammatical meaning and logical relations(Jia 2002, 101). English emphasizes explicit connection, emphasizes form and structure, and often helps with various means of connection. As a result, the sentence structure is rigorous and lacks elasticity. English sentences are often made with relatives (who, whom, whose, which, that, where, when, etc.), conjunctions (but, however, unless, because, since, so, and, if, etc. ), preposition (in, about, without, throughout, according to, along with, etc.), and other connective means. Parataxis means that words and clauses are not connected by means of linguistic forms, and the grammatical meaning and logical relation in a sentence are expressed by the meaning of words and clauses(Jia 2002, 101). Chinese sentences are made with little or no means of formal connection, with emphasis on invisible coherence, function and meaning, so the sentence structure is loose and flexible.&lt;br /&gt;
Example 1: &lt;br /&gt;
Individuals develop within themselves an ability to persevere and tolerate things that are unexpected or bad, difficult to get through. &lt;br /&gt;
人们在内心修炼一种能力，在面对意外、不幸或者挑战时也能继续坚持和忍耐。 &lt;br /&gt;
In this sentence, “that...to get through” is a attributive clause to modify “things”, which is a kind of hypotaxis. The translation is not limited to the original sentence structure but follows Chinese expression habit, so the language is very smooth.&lt;br /&gt;
&lt;br /&gt;
==3.2Static language vs. dynamic language==&lt;br /&gt;
&lt;br /&gt;
==3.3 Passive voice vs. active voice==&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
==4.1Cross-cultural communication==&lt;br /&gt;
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==4.2Attaching great importance to form==&lt;br /&gt;
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==4.3Clearing language logic==&lt;br /&gt;
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===5.The process of translating long English sentences===&lt;br /&gt;
&lt;br /&gt;
===6.Methods of translating English long sentences===&lt;br /&gt;
&lt;br /&gt;
==6.1Liner translation==&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
==6.2Reorganization translation=&lt;br /&gt;
&lt;br /&gt;
==6.3Splitting translation==&lt;br /&gt;
&lt;br /&gt;
==6.4Synthesis==&lt;br /&gt;
&lt;br /&gt;
==6.5Insertion==&lt;br /&gt;
&lt;br /&gt;
===Conclusion===&lt;br /&gt;
&lt;br /&gt;
In the practice of the translation of long and difficult sentences, there is a higher requirement for translators’ English comprehension and expression ability. For the translation of long and difficult sentences in English, the translator should be familiar with the sentence structure and main ideas of long and difficult sentences in English, and make clear the main logical relationship with the content of the original text, so as to effectively analyze the structure of long and difficult sentences in English and choose the correct way of translation. In the specific translation practice, translators should, on the basis of understanding the grammatical features of English, choose reasonable translation methods and skills so as to achieve the accurate translation of long and difficult Sentences. Translation activities require a high level of English reading and comprehension, and the effective translation of long and difficult sentences requires translators to constantly improve their ability to summarize, update their English translation skills, and realize the summary and innovation of long and difficult sentences.&lt;br /&gt;
&lt;br /&gt;
===Bibliography===&lt;br /&gt;
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==Chinese-English Translation of News Headlines From the Perspective of Skopos Theory	张维虹	Zhang Weihong No.202070080648 英语口译 ==&lt;br /&gt;
&lt;br /&gt;
===Abstract===&lt;br /&gt;
In recent years, with the rapid development of the society and economy, the exchanges between China and the rest of the world are increasingly frequent. In this process, massive information is transmitted through the translation of news reports. As the eye of news, the translation quality of news headlines directly affects the effectiveness of news dissemination. Under the guidance of Skopos Theory of German Functionalist Translation School, this paper analyzes the characteristics of Chinese and English news headlines, illustrates the functions of news headlines and the translation criteria of news headlines, and puts forward translation strategies for Chinese-English news headlines, aiming at restoring the concise feature of news and realizing the purpose of news dissemination and social value.&lt;br /&gt;
&lt;br /&gt;
===key words===&lt;br /&gt;
News headlines translation; Skopos theory; translation strategies&lt;br /&gt;
&lt;br /&gt;
===摘要===&lt;br /&gt;
近年来，中国社会经济飞速发展，与外界交流日趋频繁，在此过程中大量信息传递需通过新闻报道翻译完成。而新闻标题作为新闻的眼睛，其翻译质量直接影响新闻传播的有效性。本文以德国功能翻译学派目的论为指导，分析中英新闻标题的特点，阐述新闻标题功能以及新闻标题翻译准则，并提出汉译英翻译策略，旨在还原新闻简明本色从而实现新闻传播目的和社会价值。&lt;br /&gt;
&lt;br /&gt;
===关键字===&lt;br /&gt;
新闻标题翻译；目的论；翻译策略&lt;br /&gt;
&lt;br /&gt;
===1. Introduction===&lt;br /&gt;
With the further development of world economy and culture, news is playing an increasingly important role in people's lives. We read news through TV, the Internet or newspapers and magazines to learn about current events. But we are confused by thousands of news and the information they carry, because we are all exposed to a world where the massive information is surrounding. There is no doubt that because we can read too much news, some news has been ignored. Therefore, a proper headline is the most important element which can be regarded as the only way to attract the target readers. Headlines are compared to the eyes of news reports, in which a clear, concise information must be contained to generate interests. (Hu Shuzhong, 2012: 199) That is to say, headlines are always vivid and eye-catching in newspapers, in order to attract readers and provide reading guidance. So, the translator must learn how to effectively screen and reconstruct the information in the Chinese-English translation of news headlines, so as to make it attractive to the target language readers. &lt;br /&gt;
&lt;br /&gt;
In addition, news translation is playing a significant role in the promotion of cross-cultural communication and mutual understanding as China are having more and more exchanges with the rest of the world with the rapid development of society and economy, the implementation of reform and opening-up and “go global” strategy. As the soul of news, headline and its translation are what the translator should pay attention to. &lt;br /&gt;
&lt;br /&gt;
There are lots of researches about C-E news translation and news headline translation. However, researches on Chinese-English news headlines translation are very few. According to statistics from CNKI, there are only two pages of researches on Chinese – English news headlines translation. Therefore, this paper is of great importance. &lt;br /&gt;
As functions for headlines are obvious, this paper takes Skopos as the theory guide to conduct the research. First, the paper will discuss the features and functions of news headlines. Then the paper tells some translation methods of Chinese-English news headlines from a perspective of Skopos Theory. At last, it draws a conclusion.&lt;br /&gt;
&lt;br /&gt;
===2. Overview of News Headlines===&lt;br /&gt;
&lt;br /&gt;
==== 2.1 Definition of news and news headlines==== &lt;br /&gt;
&lt;br /&gt;
News refers to the timeliest report of events that have just happened, are happening, or are going to happen and it is born to meet the need of propagation and communication of information in human society. (Xu Mingwu, 2003: 4) This definition prescribes the features and functions of news. News should be timely and propagate ideas and express information. &lt;br /&gt;
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News headlines are compared to the “eye” of news. According to the dictionary, “A head of a newspaper story or article, usually printed in large type and devised to summarize, give essential information about, or interest readers in reading the story or article that follows.” (Webster’s Third New International Dictionary, 1961: 1042) From the definition, we can see that news headlines tells the essence of the news; the function is to attract readers’ interests. The paper will discuss features and functions of news headlines in detail in the following part. &lt;br /&gt;
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====2.2 Features of news headlines==== &lt;br /&gt;
As a text genre, news headlines have their own features. Chinese and English news headlines share much in common, though they differ from each other in certain areas. Understandings about the differences and similarities of Chinese and English news headlines are important for translators. So, this chapter will analyze features of news headlines from the following aspects: grammar, rhetoric, culture and structure. &lt;br /&gt;
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===== 2.2.1 Grammatical features===== &lt;br /&gt;
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2.2.1.1 Lexical Feature&lt;br /&gt;
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a. Midget words&lt;br /&gt;
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A good headline must be clear to attract readers and be strong to save space. In other words, the headline should convey the intends of the news without confusion or ambiguity; the words should be powerful to persuade the headline consumer to read on. Theses two requirements determine the prevalence of powerful, or strong worlds – mostly verbs and nouns – in headlines. (Shen Jinbo, 1989:52) That is to say, powerful words are short, simple and concrete, for extensive or abstractive words can only lead to dullness and confusion. There are no such powerful words in Chinese, but Chinese headlines, on the premise of conveying the exact meanings also put emphasis on the shortness of words. &lt;br /&gt;
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[1]: Dancing gets Olympic status (China Daily Dec 9, 2020)&lt;br /&gt;
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[2]: 霹雳舞成巴黎奥运项目 (China Daily Dec 9, 2020)&lt;br /&gt;
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b. Numeral words&lt;br /&gt;
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Numbers are used in news headlines to highlight the key information, especially in economic and sports news. &lt;br /&gt;
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[3]: Pink diamond sold for $26.6M (China Daily Nov 23, 2020) &lt;br /&gt;
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[4]: 外储余额创4年多新高(China Daily Dec 9, 2020)&lt;br /&gt;
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c. Abbreviations &lt;br /&gt;
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The limitation of page space leads to the frequent use of abbreviation in headlines. English abbreviations, according to Lu Guoqiang (陆国强, 1984), consist of two major types: lipped words and initialisms or acronyms. The common types of abbreviation found in Chinese headlines, nevertheless, are mostly number-assisted summarizing, blending and subsituting. (Chen Lizhao, 2002:36)&lt;br /&gt;
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[5]: Intl student enrollment falls (China Daily, Nov 19, 2020)&lt;br /&gt;
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[6]: 第二届“一带一路”国际合作高峰论坛举行圆桌峰会 (People’s Daily, April 28, 2019) &lt;br /&gt;
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d. Vogue words &lt;br /&gt;
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“Freshness” is the life of news, which lies in the contents of the report. As the gist of the news, headline would certainly revel some of the new ideas or hot topics in order to catch the reader’s attention. Therefore, vogue words are frequently seen in headlines. &lt;br /&gt;
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[7]: 'Cooling-off period' added (China Daily Dec 8, 2020)&lt;br /&gt;
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[8]: “离婚冷静期”新规将施行 (China Daily Dec 8, 2020)&lt;br /&gt;
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2.2.1.2 Syntactical features&lt;br /&gt;
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a. Omission&lt;br /&gt;
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Omission appears in almost every headline. Eliminating the meaningless words can shorten the length of a headline and highlight the core information. In English headlines, all articles and some auxiliary verbs, lexical verbs, pronouns, and the subject and the predicate are often omitted, as they weigh little in giving information. Chinese headlines also omit those unimportant words, including individual measures, conjunctions, and auxiliary words as well.  &lt;br /&gt;
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[9] Biden declares victory (China Daily, Nov 10, 2020)&lt;br /&gt;
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[10] 研究：医患“互粉”对治疗不利 (China Daily, Nov 25, 2014)&lt;br /&gt;
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b. Voice&lt;br /&gt;
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Active voice is frequently adopted in news headlines. &lt;br /&gt;
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[11] UK approves Pfizer vaccine (China Daily Dec 4, 2020)&lt;br /&gt;
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[12]英国批准辉瑞新冠疫苗 (China Daily Dec 4, 2020)&lt;br /&gt;
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[13] Biden unveils economic team (China Daily Dec 2, 2020)&lt;br /&gt;
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[14]拜登拟提名耶伦任财长 (China Daily Dec 2, 2020)&lt;br /&gt;
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c. Tense&lt;br /&gt;
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One of distinct feature of news headlines, particularly in English news headlines, is the wide use of present tense, which save the space of “-ed” in the past tense. But sometimes past tense is used to indicate the timeline. While Chinese news headlines use different tenses, as they are not revealed by the different forms of verbs as in English. So, the auxiliary verbs or adverbs in Chinese news headlines tells the time of happening from. &lt;br /&gt;
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[15] COVID vaccine distribution (China Daily Dec 1, 2020)&lt;br /&gt;
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[16] 英美即将启动疫苗分配 (China Daily Dec 1, 2020)&lt;br /&gt;
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2.2.2 Rhetorical Features &lt;br /&gt;
The usual figures of speech found in headlines, English and Chinese alike, includes metaphor, simile, pun, alliteration and rhyme, repetition, allusion etc... They aimed at creating musical sound as well as vivid images to provide spiritual enjoyment to the readers. &lt;br /&gt;
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[1] 苹果发新机加入5G战局 (metaphor) (China Daily Oct 16, 2020) &lt;br /&gt;
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[2] 美国加州火灾蔓延 居民仿佛置身火星(simile) &lt;br /&gt;
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[3] This is what the Bay Area's skies looked like during the wildfires (simile) (China Daily Oct 16, 2020)&lt;br /&gt;
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===== 2.2.3 Cultural Features=====&lt;br /&gt;
Language is the carrier of culture. News, as a practical text genre, also bears cultural characteristics of a certain country or nation. These culture elements also appear in news headlines,&lt;br /&gt;
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=====2.2.4 Structural features =====&lt;br /&gt;
To achieve headline’s peculiarity and simplicity, some punctuation marks are used in English news headlines, which are not often used in Chinese news headlines. Though differences exist in this area, the pursuit of using punctuation marks in the same – to make the news headlines clear and easily perceptible. The usual rule for headlines is that the fewer punctuation marks, the better. &lt;br /&gt;
[1] 世界精神卫生日：超半数英国员工最担心就业问题&lt;br /&gt;
[2] World Mental Health Day: More than half of UK workers worry about finding a job&lt;br /&gt;
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====2.3 Functions of news headlines ====&lt;br /&gt;
According to the theory of text-style function by Peter Newmark, new headlines fulfill the following four functions: informative function, expressive function, aesthetic function and vocative function, which will be illustrated in this section. &lt;br /&gt;
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=====2.3.1informative Function =====&lt;br /&gt;
“The core of the informative function of language is external situation, the facts of a topic, reality outside language, including ideas or theories” (Newmark 2001: 40) That is to say, news headline tells readers the basic information and facts of the news. &lt;br /&gt;
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===2.3.2 Expressive Function ===&lt;br /&gt;
“The core of the expressive function is the mind of the speaker, the writer, the originator of the utterance. He uses the utterance to express his feelings irrespective of any response” (Newmark 2001: 39) The expressive function of a news headline is to reveal the writer’s or the editor’s attitude toward the news by using subjective words or rhetoric devices. &lt;br /&gt;
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=====2.3.3 aesthetic function=====&lt;br /&gt;
	“This is language designed to please the sense, firstly through its actual or imagined sound, and secondly through its metaphors. The rhythm, balance and contrast of sentences, clauses and words also play their part. (Newmark 2001: 42) As the eye of the news, headlines use elegant words, abbreviations, punctuations and so on to strengthen its aesthetic function. &lt;br /&gt;
=====2.3.4 vocative function=====&lt;br /&gt;
	The vocative function is reader-oriented. Here, the term “vocative” is interpreted as “calling upon” the readership to act, think or feel, in fact to “react” in the way intended by the text. (Newmark 2001: 41) Vocative words in news headlines can attract the readers to read the whole article, and in certain circumstances call upon the readers to take some actions after reading the news.&lt;br /&gt;
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===3. Skopos Theory===&lt;br /&gt;
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As has been mentioned in the last section, news headlines and their translation are function-oriented. The fundamental function or the “Skopos” is to attract the readers. Therefore, in this section, we will discuss Skopos theory and its three rules. &lt;br /&gt;
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====3.1 Development of the Skopos Theory====&lt;br /&gt;
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Skopos Theory was initially proposed by Katherina Reiss in her 1971 book Possibilities and Limits of Translation Criticism, which formed an early theory. According to Reiss, the ideal translation would be “one in which the aim in the target language is equivalence as regards the conceptual content, linguistic form and communicative function of a source language text” (Reiss 1977, translated in 1989: 112). Even though Reiss takes the concept of equivalence as the main focus of her analysis, she realized that in some cases, equivalence is impossible and, in some situation, not even desired. Therefore, she indicated that when we translate, we should in view of the function of the text. The idea of text typology including content-focused, form-focused and appeal-focused text put forward by Reiss, is another contribution of her to the Skopos theory. It is supposed to be the starting point for Skopos theory. &lt;br /&gt;
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Later, Hans Vermeer, the student of Reiss, made a major breakthrough in the limitations of equivalent theory and laid the theoretical foundation for it. He first mentioned the basic principles of Skopos Theory in 1978. He and Reiss jointly published Groundwork for a General Theory of Translation in 1984. In this book, Vermeer argues that translation should be seen as a fundamental action of transformation of the source text. As all actions are generally purposeful, translation also has purposes, which could have influences over the culture of the target language. (Groundwork for a General Theory of Translation, 1984) For Vermeer, translation cannot be treated as one-to-one transfer between source language and target language. In his research, on the basis of the source text, translation is a form of action. Some of other forms of translational action may relate to actions which giving like a consultant. Every translation is directed at an intended audience, since to translate means “to produce a text in a target setting for a target purpose and target addresses in target circumstances” (Vermeer, 1987a: 29). Vermeer’s Skopos Theory serves as the foundation for his general theory of translation. &lt;br /&gt;
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Later, two other German translators, Christiane Nord and Justa Holz Manttari, enriched and refined the Skopos theory. Mantarri’s theory is based on the rules of action theory and is intended to contain all forms of intercultural transmission, as well as those source or target texts which do not involved. (Nord, 2001: 12-13) Her theory reflects the role of the participants in the process of translation and the environment in which the process takes place. Nord, as the latest batch of German researchers, summarized the “Fidelity rule” and applied the Skopos theory extensively in the study of translation from multiple perspectives and related fields. Besides, Skopos theory has three principal rules which will be illustrated in the following section. &lt;br /&gt;
In conclusion, Reiss laid the foundation of Skopos theory. Vermeer, who summarized and outlined the rules to be followed in the process of Skopos theory in practice, became the founding father of the theory. Manttari focused on the specific issues of translation behavior and context in the translation process, while Nord made many contributions to the refinement of the theory and greatly expanded the practical application of this theory. &lt;br /&gt;
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==== 3.2 Three Rules of Skopos theory ==== &lt;br /&gt;
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There are three significant rules of Skopos theory including Skopos rule, coherence rule and fidelity rule, which will be discussed respectively as follows.&lt;br /&gt;
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===== 3.2.1 Skopos Rule=====&lt;br /&gt;
The Skopos rule is the top-ranking rule for any translation. That is to say, Skopos determines any translation action. “The translators should finish the task in a way that enables your translation to function in the situation in which it is used and with the people who want to use it and precisely in the way they want it to function. All in all, the end justifies the means.” (Nord, 2001:29)&lt;br /&gt;
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Translating is an international interaction as it is just said, and the Skopos rule has stable position after it appeared. In Vermeer’s term, intention is thought as an “aim oriented plan of action” (Vermeer, 1983:41) &lt;br /&gt;
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According to Vermeer, Skopos rule is that “Each text is produced for a given purpose and should serve this purpose. The Skopos rule thus reads as follows: translate in a way that enables your text to function in the situation in which it is used and with the people who want to use it and precisely in the way they want it to function.” (Vermeer, 1989a: 20, translated by Luo Dan) Skpos theory is the foundation for Chinese-English news headline translation model. All efforts made are intended for the Skopos of news headline translation because “the end justifies the means” &lt;br /&gt;
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=====3.2.2 Coherence Rule=====&lt;br /&gt;
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The coherence rule, another important rule of the Skpos theory indicates that “the target text must be interpretable as coherent with the target text receiver’s situation”. (Reiss and Vermeer, 1984: 113) That is to say that the target text must be translated in a way that it is clearly understood by the target readers, taking consideration of their existing knowledge and situation. &lt;br /&gt;
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===== 3.2.3 Fidelity Rule =====&lt;br /&gt;
Apart from intratextual coherence, there is intertextual coherence which refers to the relationship between the target text and the source text, which is presumed as a further principle, fidelity rule. The fidelity rule by Vermeer indicates that there have to be coherence between the target text and the source text. This means that target text should be faithful to its source text in a certain level of features, such as grammatical features, special collocations and rhetorical devices, or to some degree between a complete imitation and deviation. In accordance with the Skopos theory, the source text is no longer considered as the “sacred original”, and it is up to the translator to determine the aspect and the degree of the fidelity. In Vermeer’s opinion, any text is just an offer of information, and thus, any target text is an offer of information formulated by a translator in a target culture and language about an offer of information formulated by someone else in the source culture and language. (Nord 2001: 32) &lt;br /&gt;
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Three principal rules of Skopos theory have been illustrated as above. &lt;br /&gt;
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As for the relationship between the three rules, Reiss and Vermeer believe that the fidelity rule is subordinate to the coherence rule and both belong to the Skopos rule. If the skopos of the target text demands a change of function, the fidelity with the source text will no longer be taken as the only standard, but adequacy and appropriateness will be supplemented as the standard with regard to the skopos (Reiss and Vermeer, 1984: 139) &lt;br /&gt;
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====3.3 Summary ====&lt;br /&gt;
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This chapter introduced the development of Skopos theory and its three main principles, which intends to lay a theoretical foundation for Chinese-English news headlines translation. The function and skopos of news headline is to convey information and attract readers. In light of these, C-E news headlines translation, guided by Skopos theory, is a faithful re-creation.&lt;br /&gt;
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===4. Application of Skopos theory in Chinese-English Translation===&lt;br /&gt;
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As mentioned in the last chapter, Skopos theory specifies the purpose of translation. As far as the author concerned, the skopos of Chinese headline translation is to transfer information of latest events happened in China to English readers. All sorts of translation strategies and techniques can be adopted under the guidance of the skopos theory. Based on the dominant informative function of news headlines, new information should be transferred with fidelity and clarity. Moreover, considering the aesthetical function of headlines, the source text should be aesthetically handled to the target readers. This chapter will explain how skopos theory in applied in the translation of Chinese-English news headlines. Before that, the criteria of C-E news headlines translation will be discussed.&lt;br /&gt;
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====4.1 Criteria of News headline translation ====&lt;br /&gt;
According to the basis of translation criteria, the author discussed four criteria for Chinese news headline translation, including fidelity, readability, adaptability and rapidity. &lt;br /&gt;
===== 4.1.1Fidelity =====&lt;br /&gt;
Fidelity means to accurately convey the message of the source text. The translation of news headlines from Chinese to English is a kind of intercultural communication in which messages should be transferred objectively and accurately by reflecting the reality. For a translator, the first and foremost thing is to be loyal to the content of the source language and convey it in a precise way, particularly for the translation of news headlines. Considering this point of view, fidelity can be acted as a main rule for translating news headlines. &lt;br /&gt;
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=====4.1.2 Readability =====&lt;br /&gt;
Readability means the translation version is smooth for reading. This means, the translation should be easy for readers or audiences to read and understand. According to a survey on Beijing citizens’ newspaper reading and willingness by Chinese People’s university, vividness and readability ranked at the top of reasons for buying and reading newspaper. Therefore, translation of news headlines should consider about readability. If the rule of fidelity is viewed from the perspective of translation content, then the rule of readability can be treated as put forward from the perspective of translation form. The primary aim of news headline is to arouse readers interests as much as possible. &lt;br /&gt;
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=====4.1.3Adaptability =====&lt;br /&gt;
Adaptability means that the translated headline should be in an appropriate writing pattern related to news language. In other words, the style of target language and the source language should remain the same. Style is considered to be an essential and important portion in translation. Translation of news headlines is without exception. So, the translator must take serious consideration to the grammar and diction of English, and make sure that the version of new style is suitable when translating a Chinese news headline. &lt;br /&gt;
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===== 4.1.4Rapidity =====&lt;br /&gt;
Rapidity as the fourth request of news headline translation is the most significant one. It implies that the news headline translation should be carried out and complete at a given period of time without any delay. The news is more valuable if the time between happening and reporting is shorter. So, timeliness of news determines the rapidity of news translation, especially the translation of news headlines. &lt;br /&gt;
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====4.2 Strategies of E-C News Headlines Translation ====&lt;br /&gt;
News headlines is considered to be the soul of the news. Since Chinese and English readers are different in thinking patterns, education and cultural backgrounds, some proper translation methods should be taken into consideration to enable the readers to understand the news headlines easily. Under the guidance of Skopos theory, translations strategies including literal translation, free translation, amplification, omission, amplification, restructuring and adaptation are applied in news headlines translation. &lt;br /&gt;
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=====4.2.1 Literal translation=====&lt;br /&gt;
Literal translation, also called word-for-word translation, is the basic approach used in Chinese news headline translation, since it can retain both the form and contents of the original to the maximum. Here are some examples: &lt;br /&gt;
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[1] 疫情致牛仔裤销量骤减&lt;br /&gt;
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Pandemic leads to jeans sales slump&lt;br /&gt;
(China Daily Aug 10, 2020)&lt;br /&gt;
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The headline introduces that Covid-19 pandemic has led to jeans sales slump. “疫情”is translated into “Pandemic”, “牛仔裤销量”is translated to “jeans sales”, and “骤减” is translated into “slump”, which is exactly a literal translation. There’s no change of the form or style between the source text and the target text. &lt;br /&gt;
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[2] 新冠抗原检测试剂获批&lt;br /&gt;
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COVID antigen tests approved&lt;br /&gt;
(China Daily Nov 10, 2020)&lt;br /&gt;
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This example is a typical word-for-word translation. “新冠”, an abbreviation for “新冠病毒” is translated to “COVID”, short for coronavirus. “抗原检测” is translated into “antigen tests”, “获批”is translated to “approved”. We can see that in this example, the form and style and even the tense and voice of the source text and target text are the same. So, it is literal translation. &lt;br /&gt;
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[3] 成都将建首个大熊猫主题公园&lt;br /&gt;
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Chengdu Set to Get Unique Panda-themed Park &lt;br /&gt;
(China Daily, Jan 17, 2018) &lt;br /&gt;
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This is a literal translation, remaining the original form and style of the Chinese version. It uses midget words “set” and “get”, taking consideration of the style of English news headlines, in order to attract readers from different walks of life. At the same time, the Chinese noun “大熊猫主题” is converted to the English adjective “Panda-themed”, which is very concise and accurate.&lt;br /&gt;
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=====4.2.2 Free translation =====&lt;br /&gt;
Free translation is applied when the news headline of the source text is obscure and difficult to understand or there’s no equivalent words in the target language. Sometimes it is preferred because it adapts the original headlines to the target language. &lt;br /&gt;
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[4] 不要人夸颜色好，只留清气满乾坤&lt;br /&gt;
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Xi: China Welcomes Constructive Suggestions&lt;br /&gt;
(China Daily, Oct 25, 2017) &lt;br /&gt;
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The source text is a poem, cited by President Xi at the press conference of 19th CPC Central Committee Political Bureau to hear constructive suggestions from people both at home and abroad. The poem, Ink Plum written by a famous Chinese ancient poet, Wang Mian, carries rich cultural connotations and shows cultural confidence of China. If it is directly translated as “Not angling for compliments, we should be content that integrity fills the universe”, it will cause confusion to the target readers. Obviously, such a mechanical translation will discourage the reader from understanding the meaning of the poem. Therefore, the translation of this news headline should be based on the content of the news – Xi: Welcomes Constructive Suggestions. So, it is a typical example of free translation. &lt;br /&gt;
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[5]姜瑜：外资应凭实力在华竞争&lt;br /&gt;
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Foreign investors told to sharpen edge&lt;br /&gt;
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This example takes consideration of the reading habits and backgrounds of the target readers. “凭实力竞争” is translated to “sharpen one’s edge”, which is more understandable. “姜瑜”(Jiang Yu”, a heroic character in Chinese history is omitted. So, it is a free translation.&lt;br /&gt;
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=====4.2.3 Amplification =====&lt;br /&gt;
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Most of news headlines carry certain backgrounds, which are familiar to the source language readers, but alien to those who read the target language. So, translators have the responsibility to turn information rich in cultural connotation into something understandable to target readers. This is particularly significant in translating news headlines from the perspective of Skopos theory, because the purpose of such translating is to convey the information useful to target readers. As mentioned in the chapter before, Chinese news headlines usually carry rich cultural contents. Therefore, amplification is frequently used in Chines-English news headlines translation. &lt;br /&gt;
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[6] 水陆两栖飞机AG600首飞成功&lt;br /&gt;
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China’s First Large Amphibious Aircraft Makes a Successful Maiden Flight&lt;br /&gt;
(China Daily, Dec 25, 2018) &lt;br /&gt;
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Amplification is used in this translation. AG600, as called Kun Lun600, is the world’s largest amphibious aircraft developed by China. The translator adds a modifier “China’s first large” as a supplement of background to better inform the targe readers. &lt;br /&gt;
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[7] 共享单车来到“世界屋脊”&lt;br /&gt;
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Shared Bikes Climb to the “Roof of the World” (Tibet)&lt;br /&gt;
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“Roof of the World” is confusing for some target readers, so the translator adds “(Tibet)” at the end of the sentence to avoid ambiguity.&lt;br /&gt;
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=====4.2.4 Omission =====&lt;br /&gt;
Omission is a translation method to make the news headline simple and concise by eliminating the redundant verbs, pronouns, and other words in the source text. As Chinese usually use unnecessary modifiers, this method can highlight the main point of the news. &lt;br /&gt;
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[8] 对外汉语专家齐聚京城 共议国际汉语教师缺口问题&lt;br /&gt;
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Beijing forum addresses Chinese teacher shortage&lt;br /&gt;
(China.org.cn, Jul 21, 2021) &lt;br /&gt;
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In this example, the first sentence is translated into a phrase, so as to shorten the length of the news headline and more it more concise. What’s more, redundant words like “齐聚”, “共议” “问题” are omitted to point out main contents of the news. &lt;br /&gt;
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[9] '大流行病'当选年度词汇&lt;br /&gt;
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Word of the year: pandemic&lt;br /&gt;
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(China Daily, Dec 12, 2020)&lt;br /&gt;
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In the example, the verb “当选”(elected) in the source text is eliminated to save space.&lt;br /&gt;
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=====4.2.5 Restructuring =====&lt;br /&gt;
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Because the literal meaning the sentence does not work in the situation of the utterance, the translators have to find the vague information and convey it to the target readers. In news headline translation, special information needs to restructure. &lt;br /&gt;
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Restructuring refers to the rearrange of the words in logic order to make the translation more consistent and coherent. The target text should be acceptable and meaningful in a sense that it is coherent with the situation in which it is received. Once translated, the translator revises the order and rearranges all words into a perfect sentence. In doing so, the news is more logical and tuned with the habit of native readers’ thinking and reading. It is frequently used in translating news headlines from Chinese into English. &lt;br /&gt;
&lt;br /&gt;
[10] 疫情期间夫妻关系改善&lt;br /&gt;
&lt;br /&gt;
Marriages benefit from lockdown&lt;br /&gt;
(China Daily, Nov 23, 2020)&lt;br /&gt;
&lt;br /&gt;
The English version changes the structure of the Chinese news headline, and adds a preposition to show the logic of this sentence. By restructuring, English readers can better understand this news headline. &lt;br /&gt;
	&lt;br /&gt;
====4.2.6 Adaptation ====&lt;br /&gt;
&lt;br /&gt;
Adaptation is a translation method, which refers to selecting, adding, deleting and constructing cautiously instead of simply translating one word to another word. In order to make the translated version more proper to a certain readers or audiences, adaptation always make some essential changes for a special aim. Specific to C-E news headlines translation, the translator can take the Chinese news headlines as the basis and refer to the key news facts of the report, in order to offer as much information as possible to the target readers. &lt;br /&gt;
&lt;br /&gt;
[11] 高考将不再是 “一考定终身”&lt;br /&gt;
&lt;br /&gt;
Changes to Uni Eligibility&lt;br /&gt;
（People’s Daily, 2014）&lt;br /&gt;
 &lt;br /&gt;
In this example, “高考” refers to the National College Entrance Examination in China, which is an expression with Chinese characteristics. Therefore, based on the main idea of the news, the translator translated it into “Uni Eligibility”&lt;br /&gt;
	&lt;br /&gt;
[12] 中国女性主导财务决策&lt;br /&gt;
&lt;br /&gt;
'She' to power wealth management&lt;br /&gt;
(China Daily, Nov 23, 2020)&lt;br /&gt;
&lt;br /&gt;
Adaptation is used in this translation. According to contents of the news, women in different countries are mentioned. So, instead of translating “中国女性” into Chinese women, the English version adapted it into “she”, which adds interest and fun to the headline and thus can attract more readers.&lt;br /&gt;
&lt;br /&gt;
===4.3 Summary===&lt;br /&gt;
&lt;br /&gt;
===5. Conclusion===&lt;br /&gt;
News translation is a cultural transformation with certain purposes(skopos). While conveying the connotation of the information, news translation must also take into account the reception habits of readers into the target language. The purpose-oriented approach helps translators to break the language barriers in translation, and helps to convey culture and facilitate communication. The purposes and functions of translation determine the translation methods. In translation, the standard of translation should not be how to be faithful to the source text, to highlight the main points of the news and attract English readers. Therefore, there is more to be explored when applying the Skopos theory to Chinese-English news headlines.&lt;br /&gt;
===References===&lt;br /&gt;
&lt;br /&gt;
*Newmark, P.A Textbook of Translation[M]. Shanghai: Shanghai Foreign Language Education Press, 2001: 40-42.&lt;br /&gt;
&lt;br /&gt;
*Nord, Christiane. Translating as a Purposeful Activity [M]. Shanghai：Shanghai Foreign Language Education Press, 2001.&lt;br /&gt;
&lt;br /&gt;
*Vermeer, H. J. Skopos and Translationsauftrag – Aufsatze [M]. Second Edition. Heidelberg: University, 1989. &lt;br /&gt;
&lt;br /&gt;
*Vermeer, H. J. Skopos and Translation Commission [M]. Heidelberg: University, 1989.&lt;br /&gt;
&lt;br /&gt;
*Munday, J. Introducing Translation Studies: Theories and Applications[M]. London and New York: Routledge, 2001: 77-78.&lt;br /&gt;
&lt;br /&gt;
*Nida, E. A. Language, Culture and Translating[M]. Shanghai: Shanghai Foreign Language Education Press, 2001: 50-51. &lt;br /&gt;
&lt;br /&gt;
* Nida, E. A. Language and Culture—Contexts in Translating[M]. Shanghai: Shanghai Foreign Language Education Press, 2001: 38-41.&lt;br /&gt;
&lt;br /&gt;
* Schudson, M. The Power of News [M]. Cambridge, Mass: Harvard University press, 1995&lt;br /&gt;
&lt;br /&gt;
* 胡曙中. 语篇语言学导论[M]. 上海: 上海外语教育出版社, 2012.&lt;br /&gt;
&lt;br /&gt;
* 许明武. 新闻英语与翻译[M]. 北京: 中国对外翻译出版公司, 2003.&lt;br /&gt;
&lt;br /&gt;
* 沈金伯. 新闻英语文体探讨[J]. 《外国语》. 1989(1): 52-55 &lt;br /&gt;
&lt;br /&gt;
* 樊腾腾. 从目的论角度论英语新闻标题的翻译[D]. 广东外语外贸大学, 2006.&lt;br /&gt;
&lt;br /&gt;
* 刘宓庆. 当代翻译理论[M]. 中国对外翻译出版公司, 2003.&lt;br /&gt;
&lt;br /&gt;
* 王军,陈诗月.翻译目的论研究综述[J].现代交际,2017(18):102-103.&lt;br /&gt;
&lt;br /&gt;
* 陈丽昭. 中英新闻标题对比研究[D].福建师范大学,2002.&lt;br /&gt;
&lt;br /&gt;
* 王驰. 目的论在经济新闻标题英汉翻译中的应用[D].华中师范大学,2013.&lt;br /&gt;
&lt;br /&gt;
* 罗丹. 目的论视角下的中国日报网英语新闻标题的翻译策略[D].武汉科技大学,2012.&lt;br /&gt;
&lt;br /&gt;
* 唐婷. 从目的论看硬新闻标题的汉译英[D].南华大学,2010.&lt;br /&gt;
&lt;br /&gt;
* 刘芸希.目的论视角下新闻标题的英译研究[J].海外英语,2018(11):123-125.&lt;br /&gt;
&lt;br /&gt;
* 李中强. 新媒体背景下的汉语新闻英译研究[D].上海外国语大学,2012.&lt;br /&gt;
&lt;br /&gt;
==On Chinese-English Translation of Public Service Advertisements From the Perspective of Text-type Theory  司妤  Si Yu  Student No.202070080606==&lt;br /&gt;
&lt;br /&gt;
===Abstract===&lt;br /&gt;
&lt;br /&gt;
Public-service advertising is an advertising activity that provides free services to the community without the purpose of making profit. Since the founding of the People's Republic of China, public-service advertising activities have increased and played an important role in the moral and ideological education of society as a whole, such as fire and burglary prevention, forest protection, birth control, maintenance of public order, no spitting and so on, all of which are in the nature of public-service advertising.&lt;br /&gt;
With the improvement of China's status in the international society, the accuracy of the translation of PSAs, as a medium to convey Chinese culture, is attracting more and more attention. Accurate translations help to showcase Chinese culture to foreigners and promote communication, while incorrect translations can be laughable.&lt;br /&gt;
In some public occasions, I have noticed that there are many excellent PSAs, but there are also some &amp;quot;Chinglish&amp;quot; PSAs. This paper analyzes the text of PSAs using the Text-type theory, gives suggestions to improve the messy translation phenomenon, and summarizes several translation methods, hoping to provide reference for the translators of PSAs.&lt;br /&gt;
&lt;br /&gt;
===key words===&lt;br /&gt;
&lt;br /&gt;
Public-service advertisement;Text typeTheory;Translation methods&lt;br /&gt;
&lt;br /&gt;
===摘要===&lt;br /&gt;
&lt;br /&gt;
公益广告是不以营利为目的而为社会提供免费服务的广告活动。我国建国以后，公益性的广告活动日益增多，对全社会进行道德和思想教育发挥了重要作用，例如有关部门进行的防火防盗、保护森林、节制生育、维护公共秩序、不要随地吐痰等广告宣传，均属公益广告的性质。&lt;br /&gt;
随着中国在国际社会地位的提高，公益广告作为一种传递中国文化的媒介，其翻译的准确性日益受到人们的关注，翻译准确有利于向外国友人展示中国文化促进交流。翻译错误则容易贻笑大方。&lt;br /&gt;
在一些公众场合，笔者注意到不乏优秀的公益广告翻译，同时也仍有一些“中式英语”  公益广告存在，本文运用文本类型理论对公益广告文本进行分析，对乱译现象提出改进建议，总结了几点翻译方法，希望能够为公益文本译者提供借鉴。&lt;br /&gt;
&lt;br /&gt;
===关键字===&lt;br /&gt;
&lt;br /&gt;
公益广告；文本类型理论；翻译方法&lt;br /&gt;
&lt;br /&gt;
===Introduction===&lt;br /&gt;
&lt;br /&gt;
====Research Background====&lt;br /&gt;
&lt;br /&gt;
Economic and social development and the improvement of people's living standards have brought many unprecedented changes to people, making their lives more convenient and colorful. But along with it comes a series of social problems such as indiscriminate dumping of urban garbage, neglect of wildlife protection, lack of care for public property, smoking in public places, etc.These social problems have also been magnified by the advance of urbanization. At this time, public service advertisement (PSA)can offer help if we want to activate more people to solve them. There are many forms of public service advertisements, such as public service advertisement (PSA) clips, public service messages, and public service slogans. Each of these PSAs has its own textual characteristics, such as the PSA short film in the form of a short video, using a fascinating plot to illustrate the concept of public welfare; public service messages are simple but informative; public service slogans are neat and thought-provoking. The translation of these texts should be done according to the characteristics of the text in order to achieve the public service effect of the text. With China playing an increasingly important role in the international community, a large number of international conferences are being held in China, and the number of foreign travelers arriving in the country is on the rise. The accuracy of the translation of public service advertisements is especially important at this time, not only to help foreigners in their travel work in China, but also to promote Chinese culture and enhance their understanding of China.&lt;br /&gt;
&lt;br /&gt;
It is worth mentioning that the overall quality of the Chinese people has been significantly improved compared to a few years ago, and the appearance of more and more elites has made the society think more deeply about the accuracy of translation, which is conducive to building a good city image and improving the aesthetic level of city residents and tourists.&lt;br /&gt;
&lt;br /&gt;
Advertisements can be divided into commercial advertisements and public service advertisements according to content and purpose. Commercial advertisements are mostly published by enterprises, and their main purpose is to stimulate consumers and arouse their desire to consume, and their content is mostly product information.(Liu Xiaofang 2014)&lt;br /&gt;
&lt;br /&gt;
There are some definitions from different people. Berkowitz, a famous scholar, who makes a thorough study of advertisement for more than 25 years, states that PSA is generally sponsored by a non-profitable institution, civic group, religious organization, trade association, or political group with a central focus on public welfare (Berkowitz, 2004). In China, according to Zhang Minxin‟s definition, PSA is a sub-branch of non-commercial advertisement whose purposes are to serve the public interests. This kind of advertisement can push the public to change their attitudes and behaviors (Zhang Mingxin, 2004). There are some researchers at home and abroad trying to discover how public service advertisements work, such as: Judie Lannon (2008), Nancy Lee (2006), Josephson (2005) and other scholars hoping to discover the secrets behind public service advertisements and society, such as Charles Atkin (2001) and Pan Zehong (2001).&lt;br /&gt;
&lt;br /&gt;
====Research Significance and Objectives====&lt;br /&gt;
&lt;br /&gt;
As the influence of Chinese culture increases internationally, more and more foreigners want to learn about China. Some want to learn the Chinese language, others want to know more about the social situation. Public service advertisements (PSAs) provide such an opportunity to help them learn and better understand China. At the same time, some social problems, such as the new Cov-19 epidemic, SARS, and AIDS, may not only be a problem for China, but also for the whole world, and the PSAs can provide a Chinese perspective and Chinese wisdom to solve these problems. In addition, when a disaster occurs, such as the Wenchuan earthquake, which aroused the attention and sympathy of the internationalcommunity, and some friendly countries want to provide assistance, PSAs are extremely important. In this paper, the writer will analyze different public service advertisements from the perspective of text type theory and suggest translation suggestions.&lt;br /&gt;
&lt;br /&gt;
Public service advertisement texts are common texts in daily life, and many scholars have discussed them from various perspectives, including the theory of purpose, aesthetic perspective, semantic translation and communicative translation perspective. However, no scholars have analyzed them from the perspective of text type theory. The writer boldly proposes to look at public-interest text translation from such a perspective, which may lead to new insights.&lt;br /&gt;
&lt;br /&gt;
====Methodology====&lt;br /&gt;
&lt;br /&gt;
The texts in this paper are mostly from public service advertisements released by CCTV, publicservice text messages received by the public, and public service slogans around them. This paper adopts a descriptive approach to analyze the content and purpose of the texts in detail, and also gives its own suggestions on how to translate the public service texts.&lt;br /&gt;
&lt;br /&gt;
====Framework of this paper====&lt;br /&gt;
&lt;br /&gt;
This paper is divided into seven chapters.&lt;br /&gt;
Chapter 1 introduces the background, significance and purpose of the research, methodology, and general framework of this thesis.&lt;br /&gt;
Chapter 2 introduces the theoretical perspective used in this paper.&lt;br /&gt;
Chapter 3 analyzes the characteristics of public service texts from the perspective of content and text.&lt;br /&gt;
Chapter 4 gives examples of texts according to the three categories of text type theory and analyzes the more appropriate translations.&lt;br /&gt;
Chapter 5 lists the obvious mistranslations in PSAs and gives suggested versions of the translations.&lt;br /&gt;
Chapter 6 summarizes the methods that can be used to translate PSA texts.&lt;br /&gt;
Chapter 7 summarizes what has been discussed throughout the essay and reflects on the limitations of the essay.&lt;br /&gt;
&lt;br /&gt;
===Overview of Theoretical Foundation and Comparisons===&lt;br /&gt;
&lt;br /&gt;
====Reiss’s View of Text Type Theory====&lt;br /&gt;
&lt;br /&gt;
Katharina Reiss is the founder of the German functional school of translation, and in her book Possibilities and Limitations in Translation Criticism (1979) she presented the prototype of the functional school's theoretical ideas. Reiss's text types are divided into four main categories. She points out that content texts emphasize the depictive function, formal texts emphasize the expressive function, operative texts emphasize the persuasive function, and audio-visual texts emphasize the audio-visual function. function). Therefore, these text categories can also be referred to as informative text, expressive text, operative text, and audio-visual text, respectively. Correspondingly, there are four types of functions.(Li Zhi 2008) &lt;br /&gt;
&lt;br /&gt;
1. Content-based text&lt;br /&gt;
This type of text is content-based, and the text can be used to convey information and so on. When translating, the content should be restored to the greatest extent possible. These texts mainly include news reports and commentaries, business letters, cargo lists, instructions for use, operating instructions, and other professional works in technical fields.&lt;br /&gt;
&lt;br /&gt;
2. Formal texts&lt;br /&gt;
The focus of formal texts is on their aesthetic significance. When translating such texts, the translator should aim to create a similar text effect in the form. Formal texts include literary prose (short essays, biographies, pure literature), imaginative prose (anecdotes, short stories, novels, romances), and all forms of poetry (from didactic poetry to narrative poetry to purely emotional poetry).&lt;br /&gt;
If the form is not preserved in translation, the content of the text may be lost as a result.&lt;br /&gt;
&lt;br /&gt;
3. Operative texts&lt;br /&gt;
Operative texts are concerned with the response of the recipient of the text. This type of text clearly appeals to the recipient of the text through a certain point of view and with a certain purpose, expecting to receive the desired response. The representative texts are all operative texts in which the appealing element predominates, using advertisements, propaganda, sermons, debates, agitation or satirical texts that have an expressive purpose or linguistic expression.&lt;br /&gt;
&lt;br /&gt;
4. Audiovisual texts&lt;br /&gt;
Generally speaking, any text that requires some degree of non-verbal communication with the audience is an audio-visual text. This includes mainly radio and television scripts, such as radio news and reports, overviews of hot topics, and theater productions. In these texts, not only grammar and narration techniques, but also sound effects and visual devices (in television and film) play an important role.&lt;br /&gt;
&lt;br /&gt;
====Peter Newmark’s View of Text Type Theory====&lt;br /&gt;
&lt;br /&gt;
Peter Newmark is one of the leading figures in the linguistic school of British translation theory. Newmark also made a detailed classification of texts, and he summarized them into the following three types according to their contents:&lt;br /&gt;
&lt;br /&gt;
1. Expressive texts&lt;br /&gt;
This type of text focuses on the content of the text and the author's own point of view. Newmark divides them into three types of texts. (1) serious and imaginative literature, including lyric poetry, short stories, long novels, and plays; (2) authoritative texts, including a variety of texts whose authority comes from the author's status or linguistic ability, such as speeches and statements by senior government officials and political party leaders, legal regulations, documents, and literary and academic works written by authorities; (3) autobiographies, essays, and private letters that are straightforward and have no direct readership.(Jia Heping 2015)&lt;br /&gt;
&lt;br /&gt;
2. Informative texts&lt;br /&gt;
The text often contains some content that does not involve the emotional and opinion part, and this part of the content can have its practicality, which is the information function of the text. Typical informative texts include textbooks, technical reports, newspaper articles, scientific papers, conference proceedings, etc.&lt;br /&gt;
&lt;br /&gt;
3. Operative text&lt;br /&gt;
The function focuses on the response of the text receiver, and the text is set to get the desired response from the receiver, to produce certain influence on them or even change their concepts and behaviors. Typical vocative texts include notices, advertising campaigns, instructions, and persuasive texts (such as requests, appeals, etc.).&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
He classifies language functions into six categories, based on what the philosophers of language Bühler and Jacobson have said about language functions. He believes that a text may have one function or several functions, but that one of these functions is the main one, as explained below.&lt;br /&gt;
&lt;br /&gt;
1. Expressive function&lt;br /&gt;
Expression is a fundamental property of language. Expression is the process by which people use language to express their feelings, attitudes, and opinions. Expression focuses on output of the writer, not on the other person's reaction and feelings.&lt;br /&gt;
&lt;br /&gt;
2. Informative function&lt;br /&gt;
The content of the text is mainly fixed, not with emotion, can be used by people in certain situations.&lt;br /&gt;
&lt;br /&gt;
3. Operative function&lt;br /&gt;
This function focuses on the reaction of the recipient of the text, and the writer envisages the reaction of the recipient of the text when writing, in order to achieve the corresponding purpose.&lt;br /&gt;
&lt;br /&gt;
4. Aesthetic function&lt;br /&gt;
Language contains traces of history, which represents a certain aesthetic of people. The first means used for this function is sound, and the second is metaphor. In addition, the rhythm, balance and contrast of sentences and words also have a role. The aesthetic function is present in most of the text categories, moreover, it is indispensable for poems, nursery rhymes and some advertising campaigns.&lt;br /&gt;
&lt;br /&gt;
5. Interpersonal function&lt;br /&gt;
The interpersonal function is reflected in people's daily interactions and conversations. That is, language helps people establish relationships with each other.&lt;br /&gt;
&lt;br /&gt;
6..Meta-linguistic function &lt;br /&gt;
Meta-linguistic function is a special function of language, refers to the language of the language itself to explain, name, analyze, comment on the function. Some expressions in the text, such as “strictly speaking, literally, so called, so to speak, by definition, etc.”, are manifestations of the meta-linguistic function.&lt;br /&gt;
&lt;br /&gt;
Of the above six functions, the first three are the main ones, but within a text, there may be multiple functions, but the text itself has a focus, and rarely does textual knowledge contain purely one function.(Li Zhi 2008)&lt;br /&gt;
&lt;br /&gt;
====Similarities and Differences Between Reiss's and Newmark's View of Text Type Theory====&lt;br /&gt;
&lt;br /&gt;
=====Similarities=====&lt;br /&gt;
Both theories are based on Bühler's triadic approach to language function. Both have the same understanding of the division and characteristics of different kinds of texts.&lt;br /&gt;
Differences&lt;br /&gt;
&lt;br /&gt;
=====Differences=====&lt;br /&gt;
First of all, language used in lived interaction is the main basis for Rice's definition of text types, and these are classified as text types that value content. Newmark, on the other hand, regards such lived language as a special linguistic function, and many experts consider this understanding by Newmark problematic.&lt;br /&gt;
&lt;br /&gt;
Second, there is a significant difference in their views of instructions, with Rice classifying them as informative texts because of their ability to provide certain information to readers. Newmark, on the other hand, classifies it as a operative text because of its ability to guide people and thus change their behaviors. In my opinion, the text of instruction manuals is due to the nature of the product itself, and the readers have the will to act before reading the text, and the manuals only provide them with certain information, so they should belong to the information category.&lt;br /&gt;
&lt;br /&gt;
Furthermore, the language used in living interactions is the main basis for Rice's definition of text types, and these are classified as text types that value content. Newmark, however, regards this lived language as a special language function, and many experts think that this understanding of Newmark is problematic.(Jia Heping 2015)&lt;br /&gt;
&lt;br /&gt;
====Similarities and Differences Between Chinese and English PSA texts====&lt;br /&gt;
&lt;br /&gt;
=====Similarities=====&lt;br /&gt;
&lt;br /&gt;
1. Public service texts in both languages often use certain rhetorical techniques, such as personification, alliteration, and end-rhyme, in order to evoke a call to action.&lt;br /&gt;
&lt;br /&gt;
2. Public service texts in both languages often use short sentences, especially in public service slogans, which are easy to remember and achieve the desired effect.&lt;br /&gt;
&lt;br /&gt;
3. Both languages use idioms and sayings that have been around for a long time.&lt;br /&gt;
 &lt;br /&gt;
=====Differences=====&lt;br /&gt;
&lt;br /&gt;
1. Chinese public service texts are good at using strong words such as &amp;quot;forbidden&amp;quot;, while English texts use more euphemisms such as &amp;quot;Please&amp;quot;. When translating, we should respect the habits of the translating countries in order to better play the role of public welfare texts.&lt;br /&gt;
&lt;br /&gt;
2. Chinese public service texts tend to use poetry-like forms, with seven or five characters in order to be neatly matched. In English, they mostly use phrases of the same number of words to match each other.&lt;br /&gt;
&lt;br /&gt;
3.The translation of advertising slogans also needs to respect certain cultural differences, as Western societies emphasize the individual while the Chinese value collectivism. For example:&lt;br /&gt;
&lt;br /&gt;
Example 1：保护生态环境，造福子孙后代。&lt;br /&gt;
&lt;br /&gt;
Translation 1:Leave a sound ecological environment to your children.&lt;br /&gt;
&lt;br /&gt;
Such a slogan in Chinese emphasizes the impact on future generations without specifying whose children and grandchildren it is, but in the translation, the translator translates it as &amp;quot;Leave a sound ecological environment to your children.” to call on people to protect the environment.&lt;br /&gt;
&lt;br /&gt;
4. Westerners focus on direct expressions, while Chinese expressions are more subtle. For example:&lt;br /&gt;
&lt;br /&gt;
Example 2: 司机一滴酒，亲人两行泪。 &lt;br /&gt;
&lt;br /&gt;
Translation:Drink and drive costs your life.&lt;br /&gt;
&lt;br /&gt;
The sentence contrasts the words &amp;quot;酒&amp;quot; and &amp;quot;泪&amp;quot; without directly pointing out the possible serious consequences, leaving the reader to think about them and take actions. Instead, the translator simply translates it as &amp;quot;Drink and drive costs your life.”(Li Qingxue, Wang Huaiwang 2019)&lt;br /&gt;
&lt;br /&gt;
===Features of Public Service Advertisements===&lt;br /&gt;
&lt;br /&gt;
As an advertising method, public service advertisements have their own characteristics in many aspects. By analyzing the characteristics, we can accurately convey the idea that the PSA is trying to convey.&lt;br /&gt;
&lt;br /&gt;
====Content Features====&lt;br /&gt;
&lt;br /&gt;
1. The public welfare nature of PSAs is their essential feature, which is concerned with the common interests of the entire society. By observing the theme and content of the PSAs in both China and abroad, it can be seen that the topics of PSAs cover ecological protection, care for the earth, quality birth and education, opposing cults, advocating science, opposing war, advocating polite social mores, patriotism, and so on.&lt;br /&gt;
&lt;br /&gt;
2. Public service advertisements are non-profit in nature. It does not exist for an organization or a business entity, but rather to draw people’s attention to and activate action on social issues. Commercial advertising, on the other hand, exists for financial gain.&lt;br /&gt;
&lt;br /&gt;
3. Popularity. The public service advertisements are made for the general public. As the audience's cultural level, the ability to understand different, so public service advertisements must be easy to understand. It not only requires the spread of advertising content to have universal significance, but also the form of popular, concise, accessible language, easy to understand. Only in this way, the public service advertisement can really serve the purpose of the public.&lt;br /&gt;
&lt;br /&gt;
4. Creativity. The advertising market is so diverse that the only way to make advertisements spread to  the public is to design them in a creative and meaningful way that will make them known to&lt;br /&gt;
more people.&lt;br /&gt;
&lt;br /&gt;
====The Features of Text Forms====&lt;br /&gt;
&lt;br /&gt;
1.Advertising texts that we see in our daily lives include slogans, public service messages and public service videos, and so on. Advertising slogans are usually short and meaningful, with simple counterpoint sentences, and are operative texts. On the other hand,public service messages are mostly preventive messages issued by social organizations to help disseminate precautions and draw people’s attention to an unexpected situation in order to maintain social order. They are mostly informative texts. Most PSAs have a complete storyline, thought-provoking dialogue, and a short slogan that summarizes the message of the ad.&lt;br /&gt;
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2. Public service advertisements are often designed with certain rhetorical techniques to enhance the aesthetics of the ad, make it catchy to read, and ultimately leave a deep impression on the public.&lt;br /&gt;
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===Examples of C-E Translation of Public Service Advertisements===&lt;br /&gt;
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====Operative Text====&lt;br /&gt;
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Most of the PSAs are operative texts, and the pupose of operative texts in PSAs is to affect the public in order to attain the desired response from the advertisers. PSAs are created to publicize something of common social interest in order to attract attention and action, so the creative design of the advertisement should take this into account and retain the appealing elements of the original text when designing the advertisement.&lt;br /&gt;
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Example 3: 爱心播散 希望萌芽&lt;br /&gt;
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Translation: Spread love Sow hope&lt;br /&gt;
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The public service advertisement slogan is from a public service advertisement released by CCTV in 2016, which tells the story of Zhao Xiaoting, a student from Wuhan University, who volunteered to go to Guizhou to teach in the mountains. It was her selfless love that sowed hope for the children in the mountains. The ad reflects the great power of ordinary people and promotes the core values of socialism. It shows the power that volunteering can bring. The ad is very short, with a neat counterpoint, and the verb and noun have been swapped in the translation, with the verb being in front of the noun, indicating a dynamic process that can arouse the public's recognition of the act and inspire them to join in and contribute to the poor areas. The second verb in the original text is &amp;quot;萌芽&amp;quot;, but the translation uses &amp;quot;sow&amp;quot; to indicate the growth of hope, which is similar to the original text.(Jin Haibing 2005)&lt;br /&gt;
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Example 4: 有你在，就是家。&lt;br /&gt;
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Translation：You bring me warmth of home.&lt;br /&gt;
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In this short film, a father in a rural area has never been away from home, and because he misses his son, who has not been home for a long time, he sets out on his own to visit him. The father has to change various means of transportation to get to the city, and encounters many difficulties because his being unable to speak mandarin well. The helpless father finally gets help from the staff, through whom he contacts his son. Eventually they both cry, and the short film ends with the father sitting on his son's motorcycleand going home together. The short film is very touching, and through the process of going into the city to look for his son, it shows us how brave and gentle people can be for love. If we translate the text word by word in the original order, we can't express this meaning, so we use phrases like &amp;quot;bringing sb warmth&amp;quot; to express the meaning of the original Chinese.(Ye Qiuling 2020)&lt;br /&gt;
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====Informative Text====&lt;br /&gt;
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Public service messages are informatiive texts, mainly used to convey certain information, with straightforward and concise text content, and the translator only needs to express its literal meaning directly when translating.&lt;br /&gt;
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Example 5：请您收到来自境外、国内新冠疫情中高风险地区的邮件、包裹，先对物品表面进行消毒，或在阳台等室外空旷处放置一段时间再打开。处理完包裹、邮件后，应立即用肥皂或洗手液清洗双手，或用免洗手消毒剂进行消毒。洗手前双手不触碰口、鼻、眼等部位。疫情防控有您的参与才能胜利！&lt;br /&gt;
&lt;br /&gt;
Translation: If you receive mail or parcels from overseas or domestic areas at high risk of Cov-19 outbreak, please disinfect the suface of the items first, and leave them on the balcony or other outdoor open space for a period of time before opening them. Immediately after handling parcels and mail, wash your hands with soap and hand sanitizer, or disinfect them with hand sanitizer. Do not touch your mouth, nose, eyes or other parts of your body before washing your hands. Outbreak prevention and control can only be won with your participation!&lt;br /&gt;
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Example 6：应急公益短信:为严防新型冠状病毒感染的肺炎疫情，山东省严禁任何形式的野生动物交易活动，严禁野生动物对外扩散和转运贩卖。对于违反规定的经营者、经营场所将予以停业整顿、查封，涉嫌犯罪的，将移送公安机关。社会各界如有发现违法违规交易野生动物的，欢迎拔打12345等投诉举报。&lt;br /&gt;
&lt;br /&gt;
Translation: In order to prevent the outbreak of pneumonia due to new coronavirus infection, any form of wildlife trade is strictly prohibited in Shandong Province, and the proliferation and trafficking of wildlife is strictly prohibited. The company's main goal is to provide the best service to the public.&lt;br /&gt;
If you are suspected of committing a crime, you will be transferred to the public security organs. If any&lt;br /&gt;
illegal trade of wild animals is found, the community is welcome to call 12345 to report complaints.&lt;br /&gt;
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====Expressive Text====&lt;br /&gt;
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The purpose of an expressive text is to express emotions and attitudes, the language focuses on aesthetics, and the focus of the text is on the form of expression, which requires attention to equity in translation. With the development of the economy and society and the improvement of people's living standards, the aesthetic level of the masses is also improving, and accordingly, the translation of advertising slogans should also change to adapt to the improvement of people's aesthetics.&lt;br /&gt;
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Example 7：善行无痕 一种习惯的美丽&lt;br /&gt;
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Translation: Kindness is traceless. A habit of beauty.&lt;br /&gt;
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The slogan is from a public service advertisement by CCTV in 2016. In the short film, a wife walks into a room to rest after stopping on the balcony for a long time, and her husband comes back and intends to tum off the balcony light to save electricity. The wife stops the husband, and the camera turns to two elderly sanitation workers who are finishing their meal by the light of the lamp she left for them, which the young couple lit for them in the night.Such kindness is obviously not accidental,but has been a habit of the wife in the short film, and is therefore natural and touching. The ad is intended to call attention to good deeds and habit formation through a story like this one. The ad's slogan is a literal translation, with &amp;quot;善行&amp;quot; translated as &amp;quot;Kindness&amp;quot; and &amp;quot;无痕&amp;quot; as &amp;quot;traceless&amp;quot;.&amp;quot;The use of end-rhyme rhetoric, which pursues equivalence of expressions and enhances the rhythmic beauty of the language, impresses readers and influences their perceptions and habits of good deeds, serving as a public service advertisement.(LiQingxue, Wang Huaiwang 2019)&lt;br /&gt;
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Example 8：保护肺脏，珍爱生命。（禁烟广告）&lt;br /&gt;
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Translation: Save your lung, save your life.&lt;br /&gt;
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The slogan comes from an anti-smoking advertisement that uses the alliteration, “lung” and “life”, to emphasize that quitting smoking is about protecting your lungs and your life. The two “saves” remind people that smoking is harmful to their health and that they should quit smoking as soon as possible to save themselves.&lt;br /&gt;
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===Misinterpretation of Public Service Advertisemnts===&lt;br /&gt;
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====Chinglish====&lt;br /&gt;
Chinglish refers to word-for- word translations that do not consider translation strategies from the perspective of the receiving language and cultural differences, and often cause difficulties in comprehension for the receiving readers.&lt;br /&gt;
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Example 9：小心地滑&lt;br /&gt;
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Misinterpretation: Foot Care.&lt;br /&gt;
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Suggested translation: Mind your step.&lt;br /&gt;
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The above misinterpretation is translated word-for-word, which not only makes it difficult for the recipient readers to read, but also affects the image of the city as a whole, so more citizens are taking notice and taking action to reject &amp;quot;dead translation&amp;quot; and &amp;quot;Chinglish&amp;quot;. &lt;br /&gt;
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====Grammatical errors====&lt;br /&gt;
Most grammatical errors are caused by the translator's own incompetence, mainly in the use of articles, subject- predicate inconsistencies, mis-matching of verb phrases, and word confusion.&lt;br /&gt;
&lt;br /&gt;
Example 10：珍爱生命 远离毒品。&lt;br /&gt;
&lt;br /&gt;
Mistranslation: Yes to life, no to drugs.&lt;br /&gt;
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Suggested translation: Cherish life and avoid drugs.&lt;br /&gt;
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The public service advertisement came from an anti-drug advertisement, obviously the mistranslated structure of the translation does not fit English conventions.&lt;br /&gt;
&lt;br /&gt;
====Inappropriate Use of Words====&lt;br /&gt;
There are some words in English that are very similar to each other, and improper use of words means that the translator uses words haphazardly without clearly distinguishing between similar words, resulting in a misinterpretation.&lt;br /&gt;
&lt;br /&gt;
Example 11：关爱残障人士&lt;br /&gt;
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Improper translation: Care for the handicapped.&lt;br /&gt;
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Suggested translation: Care for the disabled.&lt;br /&gt;
&lt;br /&gt;
The slogan is from a public service advertisement in which the word &amp;quot;handicapped,&amp;quot; which translates to &amp;quot;the handicapped,&amp;quot; is now somewhat outdated and contains a certain amount of offensive language that sometimes causes people to be It would make more sense to change it to &amp;quot;the disabled&amp;quot;, relatively speaking.&lt;br /&gt;
&lt;br /&gt;
====Redundancy====&lt;br /&gt;
The redundancy is due to the fact that the translators do not fully understand the differences between Chinese and foreign cultures and the purpose of the text.&lt;br /&gt;
&lt;br /&gt;
Example12：一花一草皆生命 一枝一叶总关情&lt;br /&gt;
&lt;br /&gt;
Improper Translation: Alive as all living things each flower and leaf of grasses require our care.&lt;br /&gt;
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Suggested Translation: Please give me a chance to grow.&lt;br /&gt;
&lt;br /&gt;
The original translator intended to present a vivid description of the original slogan in front of people, but failed to consider that the slogan was intended to arouse people's love for flowers and plants. We suggest that the translation should start from the operative textual features of the slogan and combine it with the straightforward expression habits of foreigners to call on people to take care of flowers and plants in a more euphemistic way.&lt;br /&gt;
&lt;br /&gt;
===Methods of C-E Translation of Public Service Advertising===&lt;br /&gt;
&lt;br /&gt;
====Literal Translation====&lt;br /&gt;
&lt;br /&gt;
The main characteristics of literal translation are twofold: in the treatment of word meanings and rhetoric (e. g., metaphors), it does not use transitive techniques (this distinguishes &amp;quot;literal translation&amp;quot;from &amp;quot;free translation&amp;quot;); in the treatment of linguistic forms (i.e., lexical-syntactic structure), it allows appropriate changes and shifts (This distinguishes &amp;quot;literal translation&amp;quot; from &amp;quot;word- for-word translation&amp;quot;).(Xiong Bing 2013) For example.&lt;br /&gt;
&lt;br /&gt;
Example 13: 我的盛开需要你的关爱 &lt;br /&gt;
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Translation : Luxuriant flowers need your care.&lt;br /&gt;
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The translation retains the personification of the original, treating flowers as species with emotions, but directly specifies that &amp;quot;I&amp;quot; means &amp;quot;flower&amp;quot;, which is in line with the habit of expression of the target audience and serves as a reminder.&lt;br /&gt;
&lt;br /&gt;
Example 14: 节约用水就是珍爱生命&lt;br /&gt;
&lt;br /&gt;
Translation : To save water is to save life&lt;br /&gt;
&lt;br /&gt;
The original text translates &amp;quot;conserve water&amp;quot; and &amp;quot;cherish life&amp;quot; into a neat pairing, and the translation also translates them into a neat pairing, and the expression is in line with the habits of expression of the people in the receive language. Both the original text and the translation equate &amp;quot;conserve water&amp;quot; with &amp;quot;cherish life&amp;quot; to arouse the attention of the masses and advertise the importance of saving water.&lt;br /&gt;
&lt;br /&gt;
====Paraphrase====&lt;br /&gt;
&lt;br /&gt;
A paraphrase translation is one in which the translator does not stick to the details of the meaning of the original text, much less to its vocabulary and syntactic structure, but &amp;quot;uses the original text as a reference model&amp;quot; and either translates only the general meaning, gist or key information (or selectively some of it) by condensing it, or translates it into a text with more information compared to the original article. (Xiong Bing 2013) For example.&lt;br /&gt;
&lt;br /&gt;
Example 15:爱我,追我,千万别吻我。&lt;br /&gt;
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Translation: Drive carefully! &lt;br /&gt;
&lt;br /&gt;
The original text is from a public service advertisement advocating cautious driving. The translation does not follow the literal meaning, but rather the translator uses a paraphrasing technique after understanding the meaning of the sentence and chooses two words to express the meaning. It is short and serves as a warning to motorists.&lt;br /&gt;
&lt;br /&gt;
Example 16：手下留情花自香，脚下留意草如茵。&lt;br /&gt;
&lt;br /&gt;
Translation: Take care of grass and flowers, please.&lt;br /&gt;
&lt;br /&gt;
The original text is a public service slogan with Chinese cultural characteristics, but it is difficult to find a corresponding expression in English when translating. Here the translator uses an invocation to remind the masses.&lt;br /&gt;
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====Borrowing Translation====&lt;br /&gt;
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A borrowing Translation is an explanation that replaces the original word or phrase by borrowing the idiom of the target language. For example.&lt;br /&gt;
&lt;br /&gt;
Example 17: 爱心传递你我，文明就在身边。&lt;br /&gt;
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Translation: Where there is a love, there is a virtue.&lt;br /&gt;
&lt;br /&gt;
The original is a slogan from an advertisement for the Olympic Games, which is a medium for promoting the spirit of the Games and the country's outlook. The translator chose a well-known proverb from the translated country, &amp;quot;Where there is a will, there is a way,&amp;quot; to expand the publicity effect.&lt;br /&gt;
&lt;br /&gt;
Example 18: 让世界倾听我们的声音&lt;br /&gt;
&lt;br /&gt;
Translation : Let our voice be heard in the world.&lt;br /&gt;
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The original text was a slogan from a CCTV public service advertisement, which was based on the lyrics &amp;quot;Let our voice be heard.&lt;br /&gt;
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===Conclusion===&lt;br /&gt;
&lt;br /&gt;
In this paper, the writer divides and analyzes different texts and explain the approaches they take in translation. This perspective of using text type theory to analyze and discuss how to translate public service texts may be of some help to scholars.&lt;br /&gt;
&lt;br /&gt;
According to different texts, the text type theory has its own emphasis in translation, and different PSA texts are mostly operative texts, and sometimes one text has multiple textual characteristics, which translators can take into full consideration when choosing the emphasis and translation methods.&lt;br /&gt;
Public service translation is very different from commercial advertising translation, which is mainly used to educate the public, convey correct and positive values, encourage people to take actions to help others, and create a good social environment to resist bad behaviors. Generally speaking, it is necessary to consider the actual situation when translating the PSAs.&lt;br /&gt;
&lt;br /&gt;
Through analyzing the texts of PSAs, the author has made the following discoveries, and the translation of PSAs can be done according to the text type theory. Although there are some cultural differences between the two languages, the differences do not make translation difficult to achieve. If literal translation cannot translate the meaning of the source text, then paraphrase,borrowing translation and other translation methods can also be used.&lt;br /&gt;
&lt;br /&gt;
===Limitation===&lt;br /&gt;
&lt;br /&gt;
In this paper, I put forward some personal ideas, but in the final version, I can still find my own shortcomings. First of all, there is still a lack of richness of information due to the limitation of space. Secondly, the depth of my ideas is still insufficient, and I only hope that this article can provide some research ideas for researchers and contribute to the translation of public service texts.&lt;br /&gt;
&lt;br /&gt;
===References===&lt;br /&gt;
1.Jia Heping 贾和平. (2019). 论纽马克与赖斯的文本分类比较研究 [A Comparative Study on Newmark’s and Reiss’s Text Type Classification ]. &lt;br /&gt;
&lt;br /&gt;
2.Li Zhi 李治. (2008). 论纽马克与赖斯的文本分类比较研究 [Newmark’s and Reiss’s Text Type Classification and A Comparative Analysis of Translation Methodology ].&lt;br /&gt;
&lt;br /&gt;
3.Jin Haibing 金海兵. (2005). 试谈公益广告标语及其翻译 [On Analyzing Public Service Advertisements and Their Translation].&lt;br /&gt;
&lt;br /&gt;
4.Li Qingxue, Wang Huaiwang 李庆学 王怀望. (2019). 接受美学视角下的公益广告翻译 [A Study of English Translation of Public Service Advertisements from the Perspective of Reception Aesthetics].&lt;br /&gt;
&lt;br /&gt;
5.Ye Qiuling 叶秋伶. (2020). 语义翻译和交际翻译理论视角下中文公益广告英译——以央视公益广告为例 [English Translation of Chinese Public Service Advertisements from the Perspective of Semantic Translation and Communicative Translation Theory - Taking CCTV Public Service Advertisements as an Example].&lt;br /&gt;
&lt;br /&gt;
6.Liu Xiaofang 刘晓芳. (2015). 目的论视角下《中国日报》公益广告英译的探析 [The English Translation of PSAs in China Daily from the Perspective of Skopos theorie].&lt;br /&gt;
&lt;br /&gt;
7.Chen Yanhong 陈燕红. (2012).  文化视角中汉英公益广告的翻译策略 [Translation Strategies of Chinese-English Public Service Advertisements in Cultural Perspective].&lt;br /&gt;
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8.Xiong Bing 熊兵. (2013).  翻译研究中的概念混淆 [Conceptual Confusion in Translation Studies].&lt;/div&gt;</summary>
		<author><name>Song Jianru</name></author>
	</entry>
	<entry>
		<id>https://bou.de/u/index.php?title=20201214_trans&amp;diff=111762</id>
		<title>20201214 trans</title>
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		<updated>2020-12-13T15:59:45Z</updated>

		<summary type="html">&lt;p&gt;Song Jianru: /* Song Jianru 宋建茹 */&lt;/p&gt;
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&lt;div&gt;==Cao Runxin 曹润鑫==&lt;br /&gt;
In fact, reportage research and composition along with organizing and performing in roving theatrical troupes became one of the principal modes of ”internship” for young writers in the socialist educational system as it emerged in Yan’an.&lt;br /&gt;
&lt;br /&gt;
Yang Shuo, Liu Baiyu, and Qin Mu were all in their twenties at this time, so they had limited literary experience before the 1940s.  Thus for Liu and Yang, the Yan’an years helped define for them what literature is supposed to be from process to product.  Qin Mu, however, never went to Yan’an; he spent the entire war in Guangdong, Guangxi and Guizhou.  Thus though he had experience with some of these procedures of production in progressive circles in those areas, Qin Mu was not saturated in this kind of cultural environment.&lt;br /&gt;
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事实上，在延安出现的社会主义教育体系中，报道文学的研究与创作和组织并参演剧团演出一起，成为青年作家的主要“实习”方式之一。&lt;br /&gt;
&lt;br /&gt;
杨朔，刘白羽和秦牧当时都是二十来岁，所以他们在四十年代前的文学经验有限。对于刘白羽和杨朔而言，那段延安时光帮助他们定义了文学是如何由形成到产出的。秦牧却没有去过延安，他的整个战争时期都是在广东，广西和贵州度过的。因此，即便他在一些抗战区域有相关经验，秦牧仍然是没有被这种文化环境所浸染的。--[[User:Cao Runxin|Cao Runxin]] ([[User talk:Cao Runxin|talk]]) 11:39, 13 December 2020 (UTC)&lt;br /&gt;
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==Chang Huiyue 常慧月==&lt;br /&gt;
Once socialism or communism took the position of power (as in Yan’an during the war against Japan and then throughout the PRC after 1949) critical prose writing (whether essays or reportage) as it had been practiced during wartime became much more dubious from the point of view of cultural officials, and nonfiction needed to become a vehicle of literary celebration of public, historical achievements.[	See for example Yang Shuo, ”Qian jin, gangtie de dajun” (March Forth, Great Army of Steel, 1949), Zhonghua sanwen zhencang ben, Yang Shuo juan (Beijing:  Renmin wenxue chubanshe, 1998) 25-33; ”Pingchang de ren” (An ordinary man, 1951) 25-33; ”Pingchang de ren” (An ordinary man, 1951), Yang Shuo juan 13-17, ”Gebi tan shang de chuntian” (Springtime on the Gobi, 1953), Yang Shuo juan 29-33. ]  This is precisely the familiar dilemma of Ding Ling, coming into Yan’an society well trained as a keen critic of her environment.  It was an awkward transition, except for those who came into the socialist educational cultural system while still relatively young.  To them the business of literature was that of constructing an unprecedented new vision.&lt;br /&gt;
&lt;br /&gt;
社会主义或者说共产主义曾经处于主导地位（如抗日时期的延安，然后贯穿1949中国成立以来整个时期）批判散文写作（无论是小品文还是报告文学）可以说，它已经在战时经过多次实践，从文化官员的角度来说，它变得更加不可信。纪实文学需要成为公众庆祝和历史成就的文学工具【如：杨朔《钢铁的大军》（前进，钢铁的大军，1949），中华散文珍藏本，杨朔卷（北京：人民文学出版社，1998）25-33；《平常的人》（平常的人，1951）25-33；杨朔卷13-17，《戈壁滩上的春天》（戈壁滩上的春天，1953），阳朔卷29-33】。这恰好是丁玲的困境，参加延安协会，作为同一批人中受到良好训练的敏锐批评家。除了那些参加社会主义教育文化系统但是相对年轻的人，这是一次尴尬的转变。对他们来说，文学事业正在建造一个前所未有的新视野。--[[User:Chang Huiyue|Chang Huiyue]] ([[User talk:Chang Huiyue|talk]]) 12:37, 13 December 2020 (UTC)&lt;br /&gt;
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==Chen Han 陈涵==&lt;br /&gt;
'''Writers’ changing roles changed literary prose'''&lt;br /&gt;
&lt;br /&gt;
Each of the three authors I am discussing here was born between 1913 and 1919, only a few short years after the fall of the Qing dynasty and the establishment of the Republic of China.  They were all in their late teens and early twenties at the outbreak of the war against Japan.  Being roughly the same age, they shared the same historical and cultural atmosphere, but being in different locations, engaged in the war in different capacities, their transition into the aesthetics of incongruous lyricism took different paths and thus embodied different tensions.&lt;br /&gt;
&lt;br /&gt;
'''作者的角色变化改变了文学散文的面貌'''&lt;br /&gt;
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我在此探讨的三位作家都出生于1913至1919年间，距清王朝灭亡和中华民国建立仅短短几年时间。抗日战争爆发时，三人都是十几岁到二十几岁。他们年龄相仿，有着相同的历史、文化氛围，但由于身在不同的地方，以不同的身份参加战争，他们向不协调抒情美学转型的路径不同，从而表现出不同的张力。--[[User:Chen Han|Chen Han]] ([[User talk:Chen Han|talk]]) 13:09, 11 December 2020 (UTC)&lt;br /&gt;
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'''作家角色的变化改变了散文的面貌'''&lt;br /&gt;
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我在此探讨的三位作家都出生于1913至1919年之间，是清王朝覆灭和中华民国建立后的短短几年。抗日战争爆发时，三人都是十几岁到二十出头。他们年龄相仿，处于相同的历史和文化氛围下，但由于身在不同的地方，以不同的方式参与战争，他们向不协调抒情美学转型的路径不同，从而表现出不同的张力。--[[User:Kang Lingfeng|Kang Lingfeng]] ([[User talk:Kang Lingfeng|talk]]) 10:55, 13 December 2020 (UTC)&lt;br /&gt;
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==Chen Hui 陈惠==&lt;br /&gt;
Yang Shuo[	1913-1968, orig. Yang Shujin(?), of Penglai County in Shandong.] is probably the most ”standard” of the three from the point of view of the Communist Party in that he went to Yan’an early (winter 1937) and worked under the direction of the party’s cultural apparatus for the duration of the war there, in the northwest, and in Guangzhou.  Like the reportage writer Huang Gang, he was of the right age for this Yan’an-based period to be his principal formative and educational experience, deeply conditioning his approach and attitude toward writing in the 1950s and 1960s.  That being said, Yang Shuo was more concerned with issues of literary quality and symbolic meaning than others writing under the direction of the CP, and this concern colored even his most famous works with puzzling tones of ambivalence and reservation.&lt;br /&gt;
==Chen Jiangning 陈江宁==&lt;br /&gt;
Liu Baiyu[	1916-?, orig. Liu Yuzan, of Beijing. See Niu Yunqing, Liu Baiyu pingzhuan (Chongqing:  Chongqing chubanshe, 1995).] arrived in Yan’an relatively early too, and was quickly immersed in its literary activism.  Only weeks after his arrival, and though Liu was only 22 at the time, Mao Zedong personally assigned him to lead a five-person escort for the American marine observer Evans Carson to visit the guerilla areas in Northern China (one of a variety of types of ”cultural worker” assignments in the communist base areas).  Despite this promising start and occasional contact with Mao, Liu published works that incurred the wrath of some critics and officials, became a target in the Yan’an zhengfeng campaign after Mao’s Talks, and underwent a process of mutual and self-criticism at the Central Party School.&lt;br /&gt;
刘柏宇[1916-?, 源自. 刘玉赞，北京. 参见牛云清, 刘柏宇 平专（重庆：重庆出版社，1995).]抵达延安也很早，并很快就投入到了当地的文学活动中去。在他抵达数周后，尽管刘当时才22岁，毛泽东亲自派他带领一个五人护卫队，并陪同美国海军观察员埃文斯·卡森参观中国北部的游击地区（一个派遣各种类型“文化工作者”的共产党基地）。尽管开了一个充满前景的好头以及偶尔会与毛主席接触，刘出版的作品还是引起了某些批评家和政府工作人员的不满，因此，他在毛泽东讲话后成了延安正风运动的目标，并在中央党校进行了互相批评以及自我批评的过程。--[[User:Chen Jiangning|Chen Jiangning]] ([[User talk:Chen Jiangning|talk]]) 15:33, 13 December 2020 (UTC)&lt;br /&gt;
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==Chen Jiaxin 陈佳欣==&lt;br /&gt;
Though the result of this painful process was apparently ”successful” (Liu went on to hold important cultural administrative positions in the PRC), it also alienated him from certain elements in the literary community and led him to take an aggressively authoritarian role as the Party secretary of the Writers’ Assocation during the Anti-Rightist Campaign in 1957 and 58.  This alienation is occasionally revealed in his sanwen works from that point on.&lt;br /&gt;
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Qin Mu[	1919-199?, orig. Lin Juefu, b. Singapore, of Chenghai County in Guangdong. See Huang Zhuocai, Weng Guangyu and Ai Zhiping, Qin Mu pingzhuan (Guangzhou: Huacheng chubanshe, 1989).] is one more step removed because he did not share the Yan’an experience with Yang and Liu. Though he was active in the literary resistance during the war against Japan, and though his biographers insist that he originally planned to go to Yan’an as early as 1938, he never went there (Huang, Weng and Ai, 1989, 26-27).  &lt;br /&gt;
==Chen Jingjing 陈静静==&lt;br /&gt;
Because he did belong to the age cohort and had the same basic inclinations, he did come into contact with the same organizations (the Communist Party, Wenxie) that the others did, and indeed could even have met Yang Shuo in Canton when Yang was sent there on assignment in 1938.  He also engaged in similar types of literary intervention, organizing and performing traveling anti-Japanese theater in the countryside, accompanying troops in the field as a writer, and publishing anti-Japanese and anti-KMT/US zawen in Rear or KMT area newspapers.  But his experience during the war was not a community experience:  Qin at first alone and later with his wife underwent the trials and tribulations of a writer at wartime as an individual, making his own decisions and contacting organizations only when the opportunity presented itself and he wished to do so.&lt;br /&gt;
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因为他确实属于同龄人并且具有相同的基本倾向，他也确实和其他人一样和同一个组织如共产党，文协有过接触，而且有可能甚至已经在1938年杨朔被派往广州执行任务时就已经见过杨朔了。他也参与了类似的文学干预活动，在乡村组织并参演巡回的抗日戏剧，以作家身份随同军队前往战场，并在后方或国民党报上发表了抗日及反抗国民党或美国的杂文。但他在这次战争中的经历并不是一次团体经历，秦牧一开始是一个人，之后和他的妻子作为个人作家在战争时期经历了考验和磨难，在此期间独立做出决定，只在机会到来之时或者需要时才会与组织联系。&lt;br /&gt;
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因为他与别人年纪相仿， 基本倾向相同，也都与共产党，文协等组织有过接触，而且有可能甚至已经在1938年杨朔被派往广州执行任务时就已经见过杨朔了。他也参与了类似的文学干预活动，在乡村组织并参演巡回的抗日戏剧，以作家身份随同军队前往战场，并在后方或国民党报上发表了抗日，反抗国民党或抗美的杂文。但他在这次战争中的经历并不是一次团体经历，秦牧一开始是一个人，之后和他的妻子作为个人作家在战争时期经历了考验和磨难，在此期间独立做出决定，只在机会到来之时或者需要时才会与组织联系。--[[User:Kang Haoyu|Kang Haoyu]] ([[User talk:Kang Haoyu|talk]]) 05:05, 13 December 2020 (UTC)&lt;br /&gt;
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==Chen Sha 陈莎==&lt;br /&gt;
Thus there is an especially independent streak about him that made relations between him and the Writer’s Association after 1949 somewhat strained.  He was attacked in the 1957 zhengfeng movement, and it was not until 1962 that he joined the Communist Party.&lt;br /&gt;
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Thus each of these writers exhibited different tensions as they approached writing after 1949, and particularly during and after the Hundred Flowers Campaign.  All of them, however, adopted sanwen as a vehicle to express themselves, and while these essays at time seem on the surface to be pat or fulsome propaganda, they continue to be colored by these at times very personal tensions that often make the essays more compelling reading in spite of themselves.&lt;br /&gt;
==Chen Sunfu 谌孙福==&lt;br /&gt;
'''Procedures and interests of socialist essays'''&lt;br /&gt;
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The sanwen of the late 1950s and early 1960s, because of a variety of different such personal and larger cultural tensions, manifest various kinds of ”incongruous lyricism.”  All three of these writers had their essays included in textbooks for junior high school and high school during the 1960s and 70s.  But these canonic texts represented only the completion of a gradual process of adjustment and must be viewed alongside earlier, less well-known efforts by these authors as well as their works in other genres, particularly fiction.&lt;br /&gt;
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社会散文的发展阶段和关注点&lt;br /&gt;
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由于不同的个人冲突和更严重的文化冲突，20世纪50年代末至60年代初的散文呈现出各种各样“不和谐的抒情性”。这三位作家的散文均已收录进20世纪六七十年代的中学教材中。这些经典文本仅代表着调整工作的逐渐完成。同时，我们得结合这些作家早期不太出名时的作品以及其他体裁的作品（尤其是小说）来看待那些经典文本。--[[User:Chen Sunfu|Chen Sunfu]] ([[User talk:Chen Sunfu|talk]]) 07:41, 9 December 2020 (UTC)&lt;br /&gt;
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由于各种各样的个人冲突乃至文化冲突，20世纪50年代末至60年代初的散文呈现出多样的“不和谐的抒情性”。在20世纪六七十年代的中学和高中教材中，这三位作家的散文均编撰进了课本。然而这些经典文本仅代表着调整工作的逐渐完成。同时，我们得结合这些作家早期不太出名时的作品以及其他体裁的作品（尤其是小说）来分析那些经典文本。--[[User:Mo Ling|Mo Ling]] ([[User talk:Mo Ling|talk]]) 12:44, 9 December 2020 (UTC)Mo Ling&lt;br /&gt;
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社会散文的发展和关注点&lt;br /&gt;
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由于各种个人冲突和愈发剧烈的文化冲突，20世纪50年代末至60年代初的散文呈现出各种各样的“不和谐的抒情性”。20世纪六七十年代，这三位作家的三位都被收录进中学教材中。而这些经典文本仅代表调整工作的逐步完成，要正确的看待这些经典文本，我们得结合这些作家早期不太出名时的作品以及其他体裁的作品（尤其是小说）。--[[User:Ji Tiantian|Ji Tiantian]] ([[User talk:Ji Tiantian|talk]]) 09:42, 10 December 2020 (UTC)&lt;br /&gt;
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==Chen Yongxiang 陈永相==&lt;br /&gt;
'''Friction with leftist aesthetics'''&lt;br /&gt;
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In the late 1950s and early 1960s the term sanwen was more frequently associated with ”lyricism” (shuqing) and opposed to ”expository” (shuoli) prose essays.  In practice, this is indicated by long descriptive passages, the frequent use of direct address to the reader in the second person as well as rhetorically loaded interrogative, imperative and expressive particles.  At particularly rhapsodic moments, socialist sanwen  texts take on a fu-like rhetoric, syntactic parallelism and a piling up of listed concrete objects and rich varieties of adverbs and adjectives.  One is attempted to associate this attempt at of verbal profusion with certain Republican period stylists like Zhu Ziqing and Yu Pingbo, but the socialist version is much more extravagant both in verbiage and emotional exhibitionism.&lt;br /&gt;
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与左派美学的摩擦&lt;br /&gt;
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在20世纪50年代末和60年代初，“散文”一词更多地与“抒情性”(抒情)联系在一起，而非“说理性”(说理)。在实践中，这表现在冗长的描述性段落，经常使用第二人称直接称呼读者，以及修辞性的疑问句、祈使句和表达性助词。在狂热表达的时候，社会主义性散文呈现出一种赋式的修辞、句法上的排比，具象堆砌以及华丽的词藻。有人试着将这种语言丰富的尝试与朱自清和俞平伯等某些民国时期风格明显的散文家联系起来，但社会主义性散文在语言和情感显露方面更加丰富。&lt;br /&gt;
--[[User:Chen Yongxiang|Chen Yongxiang]] ([[User talk:Chen Yongxiang|talk]]) 12:31, 13 December 2020 (UTC)&lt;br /&gt;
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==Cheng Yusi  成于思==&lt;br /&gt;
On the level of imagery, a general fascination with images of light, fire and torches left over from the war period[	Particularly evident in Liu Baiyu’s reportage works from the late 1940s.] remains but in part gives way to a new interest in flower imagery in the 1950s.[	Qin Mu’s essays and some of Yang Shuo’s are filled with varieties of flowers and plants, enjoyed in themselves and as symbols of other things. ]  Finally a strategy common to all three writers is to conceive of a vista or an experience as a living landscape painting, emphasizing a magnitude of vision and the accompanying emotional exhilaration.  In some cases, these highly visual essays are accompanied with illustrations uncannily consistent with the texts’ visualization of the landscape. &lt;br /&gt;
==Deng Jinxia 邓锦霞==&lt;br /&gt;
'''Yang Shuo'''&lt;br /&gt;
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Yang Shuo’s 1959 essay ”The Highest Peak of Taishan”[	Taishan jiding, wr. 1959, from Haishi.  Yang, 125-129.] features this kind of overt reference to landscape painting.  The text simply narrates the author’s ascent of the famous Shandong mountain, but the narrative structure of the climb is interwoven with a figurative structure consisting of three elements.   The first is the traditional landscape painting motif:  ”All the way from the foothills, looking closely at the mountain landscape, I felt like what was before me was not the lord of the Five Famous Mountains, but more like a green and blue landscape painting of astounding size,” (Yang, 125) an idea he develops as a conceit with figurative descriptive language.  Second, Yang writes ”after a while, I began to feel that I was not only looking at a landscape painting, but randomly flipping through a historical manuscript.”  (Yang, 126)&lt;br /&gt;
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'''杨朔'''&lt;br /&gt;
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杨朔于1959年创作的散文《泰山极顶》[《泰山极顶》创作于1959年，选自《海市》。 杨，125-129。]就是这种对山水画的公开引用。 文字只是讲述了作者在著名的山东山峰上的登顶，但攀登的叙事结构与由三个要素组成的形象结构交织在一起。 第一个是传统的山水画主题：“一路上从山脚往上爬，细看山景，我觉得挂在眼前的不是五岳独尊的泰山，却像一幅规模惊人的青绿山水画。”（Yang，125）。他将这种想法发展为一种比喻性的描述性语言。然后杨写道：“一时间，我又觉得自己不仅是在看画卷，却又象是在零零乱乱翻着一卷历史稿本。” （杨，126）--[[User:Deng Jinxia|Deng Jinxia]] ([[User talk:Deng Jinxia|talk]]) 03:29, 13 December 2020 (UTC)&lt;br /&gt;
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==Ding Daifeng 丁代凤==&lt;br /&gt;
This in reference to the calligraphy of famous visitors to the mountain carved into its sides and the legends and stories about them.  The third and last layer of figuration is the sense that the author is not climbing a mountain, but climbing into the sky.&lt;br /&gt;
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The touristy desire to see the sunrise from Taishan’s peak introduced at the essay’s outset and which teases the reader occasionally throughout the text is deftly frustrated in the rhetorical pursuit of what to the author is a higher aim:  the recontainment of a Taishan travelogue into the extolling of the historical achievements of socialism.  Once he has passed through the Southern Gate of Heaven, the author sees the Shandong landscape spread out at his feet, but what he notices are the grand commune wheat fields (amber waves of grain) as opposed to patchwork agricultural quilt of yore, and smoky plumes in the distance are not scattered homes but factories.&lt;br /&gt;
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这指的是著名游客在山上刻的书法以及他们的传说和故事。该比喻的第三层，也是最后一层指的意象不是作者在爬山，而是在攀向天空。 &lt;br /&gt;
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文章一开始就介绍了游客想从泰山山顶看日出的期望，这种期望偶尔会在整篇文章中戏弄读者，但在追求对作者来说是更高的目标的过程中，这种期望被巧妙地挫败了，即将泰山游记重新纳入那些值得赞美的社会主义历史成就中。一旦穿过南天门，作者就能看到在他脚下绵延的山东风景，但他注意到的不是往昔像被子一样拼凑的田块，而是壮观的公社麦田(琥珀色的谷浪)，远处像羽毛般的迷雾也不是分散的家庭，而是工厂。--[[User:Ding Daifeng|Ding Daifeng]] ([[User talk:Ding Daifeng|talk]]) 13:37, 10 December 2020 (UTC)&lt;br /&gt;
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山的两侧雕刻了著名游客的书法，这里参考了他们的书法，以及他们的传奇故事。第三层比喻，也是最后一层比喻，意不在于作者爬山，而是在于攀登高空。&lt;br /&gt;
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文章一开始就介绍：游客想从泰山顶观赏日出，然而在整篇文章中，作者为了追求更高目标：将泰山游记重塑为对社会主义历史成就的颂扬，灵活使用修辞，有时会逗弄读者，让读者受挫。游客一旦穿过南天门，作者就能看到整个山东省的美景在他脚下，但是作者却把注意力放在宽阔的公社麦田（琥珀色的麦浪），麦田对面是一块块农田，还有从远处飘散的羽毛似的迷雾，这迷雾不是从飘出来的，而是从工厂里出来的。--[[User:Gan Fengyu|Gan Fengyu]] ([[User talk:Gan Fengyu|talk]]) 14:11, 11 December 2020 (UTC)&lt;br /&gt;
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==Fang Jieling 方洁玲==&lt;br /&gt;
Though the weather had been clear at night near the peak when the party went to bed early in order to get up in time for the sunrise, fog and rain overnight linger to create an overcast sky at dawn.   But author’s socialist/communist landscape epiphany of the previous evening eclipses the banal tourist wish for a beautiful sunrise – he has seen ”another kind of” (metaphysical) sunrise, that of the Chinese people/nation on the horizon.&lt;br /&gt;
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In his essay about Kunming’s camellias,[	”Chahua fu” (Ode to the Camellia) written 1961, from Dongfeng di yi zhi.  Yang 134-37.] Yang Shuo opens with a discussion with an artist friend about what kind of painting would show the face of the ”motherland” (zuguo).  He then turns to his trip to Kunming after returning from travels abroad.&lt;br /&gt;
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为了（第二天）能按时起来看日出，游客们很早就上床睡觉了，夜晚在靠近顶峰的地方，天气很是晴朗，但是在黎明时分，一夜之间水雾缭绕，天空乌云密布 。但作者前一天晚上对的社会主义/共产主义景观的顿悟，使平庸的游客对期望看到美丽日出的愿望黯然失色--他看到了地平线上的中国人/民族的“另一种”（形而上的）日出。&lt;br /&gt;
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在他关于昆明的山茶花的文章中，[《茶花赋》写于1961年，摘自《东风第一枝》. 杨134-37] 杨朔开篇就写道与一位画家朋友讨论什么样的画能展示 &amp;quot;祖国&amp;quot;的面貌。 接着，他转而谈到从国外旅行回来后的昆明之行。--[[User:Fang Jieling|Fang Jieling]] ([[User talk:Fang Jieling|talk]]) 15:12, 13 December 2020 (UTC)&lt;br /&gt;
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顶峰附近晚上的天气已经晴朗，为了第二天能够早起赶上日出，这时聚会早早就结束了。雨雾逗留一整夜，黎明时变得灰蒙蒙的。但是作者前一天傍晚的社会主义/共产主义景观顿悟掩盖了普通游客对美丽日出的渴望，他看到了“另一种”（抽象的）日出，即地平线上的中国人/民族的日出。&lt;br /&gt;
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杨朔写关于昆明插茶花的散文时 [《茶花赋》出自《东风第一枝》杨朔134-37]，他先与一位艺术家朋友讨论哪种描绘可以展现“祖国”的面貌。之后，他谈论了从国外旅行回来后的昆明之行。--[[User:Chang Huiyue|Chang Huiyue]] ([[User talk:Chang Huiyue|talk]]) 15:36, 13 December 2020 (UTC)&lt;br /&gt;
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==Gan Fengyu 甘奉玉==&lt;br /&gt;
Especially as a ”northerner” he is struck by the beauty of the red camellia flowers around the city and in Huating Temple, where he is escorted by Jin Zhiwen, the landscaper.  His attention is drawn to one variety called ”Child’s Face” tongmian.  As is almost invariably the case in Yang Shuo essays, the subject he has chosen becomes an opportunity for the author to contemplate the symbolic resonances of its characteristics – in this case the camellia’s sensitivity to proper care, environment and natural enemies, but also the fact that great trees centuries old have been carefully cultivated with hundreds and even thousands of blossoms.  A detailed description of the gardener himself provides the author with the key to the signified:&lt;br /&gt;
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特别是作为一个北方人，他完全被这座城市周围，以及华亭寺内美丽的山茶花迷住了，在那里，景观设计师金志文护送着他。他的注意力也被一种名叫“孩童脸”的通棉所吸引。杨朔的散文中，大多总是如此，他选择的主题让作者有机会思考其特征，产生象征性共鸣-这种情况下，山茶花需要适当照顾，对环境和自然天敌很敏感，但事实也如此，百年老树都受到精心培育，开出数百甚至数千朵花。对园丁本人详尽描述也是作者了解其重要意义的关键。--[[User:Gan Fengyu|Gan Fengyu]] ([[User talk:Gan Fengyu|talk]]) 14:48, 11 December 2020 (UTC)&lt;br /&gt;
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特别是作为一个北方人，他完全被遍布在这座城市周围，以及华亭寺内的美丽山茶花迷住了，这一路有该市景观设计师金志文陪同着他。他的注意力也被一种名叫“孩童脸”的通棉所吸引。杨朔的散文中，大多总是如此，他选择的主题让作者有机会思考其特征，产生象征性共鸣-这种情况下，山茶花需要适当照顾，对环境和自然天敌很敏感，但事实也如此，百年老树都受到精心培育，开出数百甚至数千朵花。园丁本人的详尽描述也是作者了解所指之物的关键。--[[User:Gao Mingzhu|Gao Mingzhu]] ([[User talk:Gao Mingzhu|talk]]) 11:58, 13 December 2020 (UTC)&lt;br /&gt;
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==Gao Mingzhu 高明珠==&lt;br /&gt;
I fervently gazed at his hands, hands covered with mud-stained calluses.  Then I looked at his face, the wrinkles at the corners of his eyes were cut deep, and it was not necessary to ask about his background:  I could guess that he was a middle aged man who had been through a lot.  If he waled away from you and into the crowd, he would vanish immediately and it would be very hard to find him again – he was just that kind of very ordinary laborer.  But it is just this kind of person, month after month, year after year, exerting mind and body, cultivating flowers and plants with all his effort, beautifying our lives.  This is how beauty is created. (Yang, 136)&lt;br /&gt;
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我热切地注视着他的双手，那双手满是带泥的茧子。然后我看了看他的脸，他眼角的皱纹已经很深了。我没有必要再追问他的背景，因为我可以猜出他是一个饱受风霜的中年男人。如果他现在转身离开钻进人群里，他会很快消失在人海中，要再找到他就很难了——他就是这样一个十分普通的劳动者。但是正是这样普通的劳动者日复一日，年复一年的辛勤劳作，用身心浇灌花朵和树木，美化我们的生活。美就是这样被创造出来的。--[[User:Gao Mingzhu|Gao Mingzhu]] ([[User talk:Gao Mingzhu|talk]]) 14:02, 11 December 2020 (UTC)&lt;br /&gt;
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我热切地注视着他的手，那双手布满了沾满泥土的老茧。 然后我看了看他的脸，他眼角的皱纹很深。不用问他的背景， 我可以猜到他是一个饱经沧桑的中年男人。 如果他从你身边晃晃悠悠地走到人群中，他就会立刻消失在人海中，再想找到他就很难了--他就是那种很普通的劳动者。 但就是这样一个人，月复一月，年复一年，耗费着身心，用他的全部心血培育着花草，美化着我们的生活。 美就是这样被创造出来的。--[[User:Liubo|Liubo]] ([[User talk:Liubo|talk]]) 06:59, 13 December 2020 (UTC)&lt;br /&gt;
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==Gong Yumian 龚钰冕==&lt;br /&gt;
When author observes a group of schoolchildren who have come to see the camellias, the bond is cemented and the ”paint the face of the nation” riddle is solved – paint the Child Face Camelia.&lt;br /&gt;
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What is incongruous in Yang Shuo’s lyricism, in many other examples in addition to these, is that no matter how transparent the symbolism and fervent the message of his essay, there is almost always slight ambivalence introduced by negative elements at the fringes:  why does the glorification of socialist progress in ”Taishan’s Highest Peak” have to come at the expense of the famous sunrise?  What has Jin Zhiren ”been through” that has deepened his wrinkles, and why should that pain be related to the creation of beauty?&lt;br /&gt;
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==Gu Dongfang 顾东方==&lt;br /&gt;
'''Liu Baiyu'''&lt;br /&gt;
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Liu Baiyu’s transition toward sanwen in the PRC came from the direction of reportage literature.  Liu had established some reputation as a novelist on the literary scene through key connections he had made with Ba Jin, Zhang Tianyi, Ye Yiqun and other major figures in the 1930s.  But by 1949 it was his reportage collections, including Around the Northeast, The Light Shines Down on Shenyang, Cutting across the Central Plains, and The Torches Glow Red in the Yangtse River that were some of the best known works by a communist writer during the civil war in the late 1940s. &lt;br /&gt;
==Guan Qinqing 管钦清==&lt;br /&gt;
The late 1950s text ”Lamplight” revisits the experience of the battlefield in a much more peaceful China.  ”Lamplight” has a forceful, shrill rhetoric in its development of the image of glowing light through a number of different contexts, from war to socialist economic construction without losing the sense of militant struggle that informed the image of light for Liu from the beginning. [	”Denghuo” (Lamplight), Liu Baiyu, Hong manao ji (Red agate) (Beijing:  Wenhua yishu chubanshe, 1983) 5-11. ]  Evidently Liu, though he holds influential positions in the literary establishment of the time, feels alienated by certain elements on the literary scene, particularly in regard to the stigmatization of the experience of the battlefield:&lt;br /&gt;
==Gui Yizhi 桂一枝==&lt;br /&gt;
. . . nowadays some people treat the subject of war, regardless of right or wrong, regardless of green red black or white always make it look bloody, dark and horrible!  They call this ”through the soldier’s eyes,” ”foxhole realism”  Hai!  This makes those of us who have strapped puttees on our calves and have had the smell of gunpowder about the shoulders want to laugh our heads off.  What can you do?  There are brave soldiers who fight for what’s right; there are counter-revolutionary murderers; and there are cowardly traitors.  Since there are different kinds of soldiers, there have to be different soldier points of view, and there must be different kinds of ”foxhole reality.”  Perhaps there are those who would criticize me:  how did I get from lamplight to this argument about war, aren’t I getting way off track?  Actually, no.  The lamplight I am talking about may be a small matter, but it really is a reality of life at war.  Getting back to the subject, on the chill wilderness of the Songhua river, trudging through winter snows, wading through summer rapids, from lamplight I was able to understand a certain kind of warmth. (Liu, 7-8)&lt;br /&gt;
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...现如今，有些人对待战争话题上，无论对错，不分黑白，总把它们弄得血腥，黑暗又恐怖！他们称之为“通过士兵的眼睛”，“现实主义散兵坑”！这让我们那些腿上绑着绑腿，肩上扛着火药捧腹大笑。你可以做些什么？有勇敢的士兵为正义而战；有反革命的凶手；并且有懦弱的叛国贼。有不同种类的战士就应该有不同种的观点，还得要有不同种类的“现实主义散兵坑”。也许有些人会批评我：我怎么能从那些明亮的地方得出这些关于战争的言论，那我不是跑题了吗？其实上并没有。我在说的点也许是个小问题，但这确实映射出的是战争中实际生活。回到主题，在松花江寒冷的荒野上，穿越冬日的雪地，穿越夏日的急流，从光照下，我能够体会到某种温暖。--[[User:Gui Yizhi|Gui Yizhi]] ([[User talk:Gui Yizhi|talk]]) 15:30, 13 December 2020 (UTC)&lt;br /&gt;
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==Guo Lu 郭露==&lt;br /&gt;
&amp;quot;The Brilliance of Spring,&amp;quot;[”Qingchun de shanguang,” written 1959, in Hong manao ji, 23-33.] a lengthy, fu-like essay extolling ten years of socialism in China, manifests many of the distinguishing characteristics of Liu’s post-1949 sanwen.  Though written in the wake of the Anti-Rightist Campaign, it casts no shadow on the essay and though there is flower imagery, significantly, it does not emphasize diversity (as in ”hundred flowers”).  At about 6,000 characters, it is also much longer than most of Yang Shuo’s essays, which are usually about half that long, particularly those most revered and anthologized.  ”The Brilliance of Spring” does not start out with a clearly-defined topic; the occasion or motivation of its composition did not become obvious to me until near the end.&lt;br /&gt;
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&amp;quot;春光灿烂&amp;quot;（又名《青春的闪光》，写于1959年，载自《红玛瑙集》，23-33页。）这是一篇颂扬中国十年来社会主义发展的长篇巨作，表现了1949年后其散文的显著特点。即使写于反右运动之后，但其并未受其影响，虽然辞藻华丽，但并未没有强调多样性（如 &amp;quot;百花齐放&amp;quot;）。文章字数在6000字左右，也比杨朔的大多数散文要长得多，一般来说，杨朔的散文都在3000字左右，尤其是那些最受推崇的散文和文集。 &amp;quot;春光灿烂 &amp;quot;一开始并没有明确的主题，制造结尾我才明白它的创作场合和动机。--[[User:Guo Lu|Guo Lu]] ([[User talk:Guo Lu|talk]]) 08:01, 9 December 2020 (UTC)&lt;br /&gt;
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&amp;quot;春天的辉煌&amp;quot;，[《庆春德山岗》，写于1959年，载《红玛瑙集》，23-33页。]这是一篇颂扬中国社会主义十年的长篇文章，表现了刘勰1949年后散文的许多显著特点。 虽然写于反右运动之后，但没有给文章蒙上阴影，虽然有花的意象，但显著的是，它没有强调多样性（如 &amp;quot;百花&amp;quot;）。 它的字数在6000字左右，也比杨朔的大多数散文要长得多，一般来说，杨朔的散文都在一半左右，尤其是那些最受推崇的散文和文集。 &amp;quot;春光灿烂 &amp;quot;一开始并没有明确的主题，它的创作场合或动机直到接近尾声时我才明白。--[[User:Liu Yi|Liu Yi]] ([[User talk:Liu Yi|talk]]) 09:23, 9 December 2020 (UTC)&lt;br /&gt;
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==Han Haiyang 韩海洋==&lt;br /&gt;
The visualization with which the text begins juxtaposes a dawn construction scene complete with a handsome, rugged construction worker in Tian’anmen square with author’s memories of other occasions when he was ”right here, in this spot!” including most significantly, a vision of a Japanese tank rolling up from Qianmen, its treads gouging scars in the ground.  Liu also includes memories of the entry of the People’s Liberation Army into Beijing, and the ceremony at which Mao Zedong officially established the People’s Republic, but the author moves from one impression-layer to the next vaguely and ambiguously, punctuated with the refrain ”Here! It was right here!”&lt;br /&gt;
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这篇文章以视觉化形式开始，黎明时分，建筑工地上有一个帅气但是衣服破烂的建筑工人在天安门，伴随着作者其他场景的记忆，当他就在“那里，那个位置！”其中就一个很重要的回忆是，一个日本坦克从乾门进入，经过断层泥的地板。刘白羽还有些记忆是关于人民解放军回北京，和毛泽东宣布中国人民共和国成立大典的开幕式，但是作者仅是从一个印象层模糊的转到下一个，吃力的说：“那儿，就在那。”--[[User:Han Haiyang|Han Haiyang]] ([[User talk:Han Haiyang|talk]]) 13:18, 11 December 2020 (UTC)&lt;br /&gt;
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==Han Wanzhen 韩宛真==&lt;br /&gt;
Liu makes a conspicuous gesture away from the scene of Tian’anmen to other significant spaces including oilfields in the Western deserts, a poignant scene of a mother sending her son off to the Korean war, Anshan the ”city of steel,” a humble Party meeting among lumberjacks taking place in a shack deep in the forest far from Beijing, and other sites of significant material and spiritual progress in the PRC.  As the essay progresses, a new motif is picked up from the contemporary Tian’anmen scene and repeated with increasing frequency:  the ”radiant red face and brilliant eyes” of the young socialist citizens whose verbal pictures Liu paints.  There is much hyperbole and the extraordinary breadth of subject matter, convering ten years of socialist achievement packaged in spatial-visual tableaux, like a memorial display case or monument, which was the usual strategy of essays and reportage about the Korean War.&lt;br /&gt;
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刘白羽很明显地从天安门这一场景转向其他的景色描写，包括西部沙漠的油田，一个母亲送别儿子去参加朝鲜战争的辛酸场景，“钢都”鞍山，远离北京的深山密林中召开的一次党员会议以及其他的中国的重要的物质遗迹以及以及精神进步。随着文章的不断推进，一个新的主题从当代天安门的场景中产生，并以越来越高的频率重复着。在刘白羽的描述中，年轻的社会主义公民“红光满面，双眼炯炯有神”的口头画面。夸张的成分越多，题材的广度就非同一般，将十年的社会主义成就用空间和视觉的表象来包装起来，就像纪念展柜或纪念碑一样，这是有关朝鲜战争的文章和报道的惯用策略。--[[User:Han Wanzhen|Han Wanzhen]] ([[User talk:Han Wanzhen|talk]]) 10:52, 11 December 2020 (UTC)&lt;br /&gt;
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==He Changqi 何长琦==&lt;br /&gt;
Despite the desire to come into close contact with the masses through genuine experiences, it was more common for writers to come into contact with workers, peasants and soldiers through the organizational activities and connections of the Communist Party.  In Liu Baiyu’s essays from the 1950s and 60s, you can feel the author incongruously straining to make the most of his experience (straining to maximize its feeling of authenticity) and the characters he describes.[	”Xie zai taiyang chu sheng de shihou” (Written as the Sun Begins to Rise), Hong manao ji 34-52 [written 1959?]. ]  On the level of subject matter, since the (model) workers etc. he writes about are models and leaders, already part of the (embodiments of the) local Communist Party administrative apparatus, they too are straining to give the correct impression, put the right spin on their experiences and ideas, to behave in the way expected of them.&lt;br /&gt;
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尽管渴望通过真实的体验来密切联系群众，但作家更多的是通过共产党的组织活动和联系来接触工农兵。 读刘白羽在上个世纪五六十年代创作的文章中，你可以感觉到他为了使自身的经历（努力使其真实感最大化）和他所描述的人物发挥最大作用所做的努力是不太协调的。(《写在太阳初升的时候》，Hong manao ji 34-52 [写于1959年？])  在主体层面上，由于他所写的（模范）工人等都是模范和领袖，已经是（体现）地方共产党行政机关的一部分，他们也在努力给人以正确的印象，把自己的经验和思想正确地表达出来，按照人们所期望的方式去做。--[[User:He Changqi|He Changqi]] ([[User talk:He Changqi|talk]]) 15:26, 13 December 2020 (UTC)&lt;br /&gt;
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==Hu Baihui 胡百辉==&lt;br /&gt;
'''Qin Mu'''&lt;br /&gt;
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Qin Mu’s case might be distinguishable from the others by virtue of the fact that he established himself as a satirical (zawen) columnist during the civil war, and of course satire in general had to go after 1949.[	Interestingly, Qin Mu continued to write zawen in the 1950s and beyond, publishing a very popular collection in 1960 entitled Yihai shibei (Gathering Shells by the Sea of Art).  By then Qin’s zawen were not combative, but expository in nature, reflections on principles of artistic creation, so in a way Qin had redefined the zawen genre for himself.  The sanwen collection Hua cheng was published at roughly the same time as Yihai shibei and was distinguished by the author himself as ”more lyrical” than the ”expository” pieces in Yihai shibei.  Comparing the essays therein with those of Hua cheng, one is struck by formal differences (the Yihai shibei pieces are much shorter than those in Hua cheng) and by the almost complete lack of figurative or descriptive language in Yihai shibei.  However difficult it might be for us to define the differences between zawen and sanwen now, it seems clear that Qin Mu had a clear idea in his own literary practice.]  Fortunately he had been accustomed to making fun of Americans and the Guomindang which continued to be safe and politically correct targets in the 1950s, but he had to find positive things to write about as well, and considering his background and the ambiguity of his relationship with the Communist Party, this must have been a difficult transition for him, more difficult than it was for those who were already linked up with the party for years in Yan’an and other base areas.&lt;br /&gt;
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秦牧的情况可能与其他人有所区别，因为他在内战期间确立了自己的讽刺专栏作家的地位，当然讽刺一般都要在1949年以后才开始。[有趣的是，秦牧在1950年代及以后继续写杂文，1960年出版了一本很受欢迎的诗集，名为《逸海市北》（艺术之海收集贝壳）。此时的秦杂文不是好斗的，而是本质上的说明文，是对艺术创作原则的反思，在某种程度上，秦对杂文体裁进行了重新定义。三文集《华城》与《逸海市北》大致同一时间出版，作者认为《华城集》比《逸海市北》中的“说明文”作品“更抒情”。与《华城》的散文相比，形式上的差异（亦海市北比《华城》短得多）以及《沂海市北》几乎完全没有比喻或描写的语言。不管现在如何界定扎文和三文之间的区别有多困难，秦穆在自己的文学实践中似乎有一个清晰的想法。]幸运的是，他习惯于取笑美国人和20世纪50年代仍然是安全和政治正确目标的国民党，但他必须找到积极的一面写的东西也要写，考虑到他的背景并且与共产党交好，这对他来说一定是一个艰难的过渡，比那些在延安等根据地已经与党联系多年的人来说，难度更大。--[[User:Hu Baihui|Hu Baihui]] ([[User talk:Hu Baihui|talk]]) 07:46, 13 December 2020 (UTC)&lt;br /&gt;
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==Hu Huifang 胡慧芳==&lt;br /&gt;
In his 1960 essay ”Earth,” (Tudi), Qin Mu makes a figurative connection between earth how handfuls of earth can serve as symbols of wealth, power, sovereignty, political positions.  Part of the visualization involves (like Liu Baiyu) aerial views.  As war with its arial reconnaisance and bombing transformed the concept of China’s space into a contiguous whole rather than a network of locales, the wider availability of air travel in the 1950s added a visual dimension to this contiguity that reinforces the connection between earth, China’s physical expance, the map of China, and the concept of nation:&lt;br /&gt;
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秦牧在他1960年发表的论文《地球》（土地）中，将地球上的少数几个人如何象征着财富，权力，主权，政治地位作为形象的联系。 可视化的一部分涉及（如刘白玉）鸟瞰图。 随着战争的轰炸和轰炸将中国空间的概念转变为一个连续的整体，而不是一个地点网络，1950年代更广泛的航空旅行为这种连续性增加了视觉上的意义，从而加强了地球与中国物质扩张、中国地图和国家概念之间的联系 。&lt;br /&gt;
--[[User:Hu Huifang|Hu Huifang]] ([[User talk:Hu Huifang|talk]]) 03:57, 9 December 2020 (UTC)&lt;br /&gt;
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在他1960年的文章《土地》中，秦牧把土地比喻成财富、权力、主权和政治地位的象征。部分可视化包括(如刘白玉)空中视图。随着战争的勘察和轰炸，中国的太空的概念转变成一个连续的整体,而不是一个地区的网络,航空旅行的更广泛的可用性在1950年代增加了一个视觉维度，强化了地球之间的联系,中国物质扩张,中国的地图,和国家的概念:--[[User:Zhou Siqing|Zhou Siqing]] ([[User talk:Zhou Siqing|talk]]) 04:11, 9 December 2020 (UTC)&lt;br /&gt;
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秦牧在1960年的文章《地球》（Tudi）中，将地球如何撮合成财富、权力、主权、政治立场的象征做了形象化的联系。 部分视觉化涉及（像刘白羽一样）鸟瞰图。 由于战争的侦察和轰炸将中国的空间概念转化为一个连续的整体，而不是一个地点网络，20世纪50年代更广泛的航空旅行为这种连续性增加了一个视觉维度，加强了地球、中国的物理扩张、中国地图和国家概念之间的联系。--[[User:WuQiong|WuQiong]] ([[User talk:WuQiong|talk]]) 14:47, 9 December 2020 (UTC)&lt;br /&gt;
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==Hu Jin 胡瑾==&lt;br /&gt;
Once I gazed out an airplane window straight down upon the Pearl River delta; the heavens were crystal clear and I looked down and couldn’t help but cheer out loud because the Pearl River delta looked so magnificent that words couldn’t even describe it.  The network of rivers and lakes shimmered in the sunlight while the earth looked like a piece of dark green velvet.  The roads seemed as straight as if they had been sliced with a knife while the fields looked as neat as a chessboard.  Wow!  A hundred thousand years ago people looked to the skies for gods and miracles, but today the real miracle is taking place on the earth below.[	Qin Mu, Hua cheng (Guangzhou:  Zuojia chubanshe, 1961) 17-18.]&lt;br /&gt;
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一次，透过飞机窗外，我凝视着珠江三角洲：天空清澈见底，我低头一看，不禁大声欢呼起来，因为珠江三角洲看起来壮观无比，简直无可言喻。河流和湖泊交织着在阳光下闪烁，而大地看起来像一块深绿色的天鹅绒。道路看起来笔直的像是用刀子划的一样，而田野看起来像棋盘一样整齐。哇！十万年前，人们仰望天空寻找神灵和奇迹，但今天真正的奇迹发生在地下。--[[User:Hu Jin|Hu Jin]] ([[User talk:Hu Jin|talk]]) 12:51, 11 December 2020 (UTC)&lt;br /&gt;
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有一次，我透过飞机的窗户凝视着珠江三角洲;天上一片清澈，我低头一看，不禁欢呼起来，因为珠江三角洲是如此的壮丽，无法用语言来形容。河流和湖泊交织在阳光下闪闪发光，而大地看起来就像一块深绿色的天鹅绒。道路笔直得好似用刀划过一样，田野整齐得像棋盘一样。哇!十万年前，人们仰望天空寻找神灵和奇迹，但今天真正的奇迹就发生在这片土地下。--[[User:Yang Yue|Yang Yue]] ([[User talk:Yang Yue|talk]]) 08:45, 12 December 2020 (UTC)&lt;br /&gt;
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==Ji Tiantian 纪甜甜==&lt;br /&gt;
Many of Qin Mu’s essays in the collection Hua cheng (City of Flowers) imaginatively recreate an (occasionally ancient) historical scene, in a specific place the essay focuses on that the author is observing today (or at least gives that  impression) like Liu Baiyu’s ”right here on this spot” refrain.  In his 1956 essay ”Lyric on the Altar of the God of Grain,” the earthen, square altar referred to in the title is in Zhongshan park in Beijing, and was where aristocrats were traditionally enfoeffed by the emperor.[	Qin, 21-31.]  In many ways, this is a continuation of the previous essay (”Earth”), extending reflections on the material symbolism of earth and the glorious wisdom of the ancients.&lt;br /&gt;
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在《花城》这一散文集中，秦牧的许多文章都是在特定的地方，以想象的方式再现了一个历史场景（有时是古代的），即作者如今仍能观察到的某个特定的地方（或者至少给人这样的印象），就像刘白羽的叠句“就在这里”一样。在他1956年的散文《谷神祭坛抒情诗》中，标题中提到的土方祭坛位于北京的中山公园，是传统上皇帝分封贵族的地方。[秦，21-31.] 在许多方面，这是对前一篇文章（《大地》）的延续，扩展了对大地的物质象征和古人的光辉智慧的思考。--[[User:Ji Tiantian|Ji Tiantian]] ([[User talk:Ji Tiantian|talk]]) 09:22, 10 December 2020 (UTC)&lt;br /&gt;
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在《花城》这一散文集中，秦牧的许多文章都是在特定的地方，以想象的方式再创造一个历史场景（有时是古代的），即作者如今正在观察的某个特定的地方（或者至少给人这样的印象），就像刘白羽的叠句“就在这里”一样。在他1956年的散文《谷神祭坛抒情诗》中，标题中提到的土方祭坛位于北京的中山公园，在古代是皇帝分封贵族的地方。[秦，21-31.] 在许多方面，这是上一篇文章（《大地》）的延续，扩展了对大地的物质象征和古人的光辉智慧的思考。--[[User:Jiang Fengyi|Jiang Fengyi]] ([[User talk:Jiang Fengyi|talk]]) 09:42, 11 December 2020 (UTC)&lt;br /&gt;
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==Jiang Fengyi 蒋凤仪==&lt;br /&gt;
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This essay distinguishes itself by its relentless return to the altar itself, its self-conscious admiration of the brilliance of the ancients (with overtones of ethnic and cultural pride and reconciliation with the premodern culture of China) as well as a shrilly specific emphasis on unity as territorial sovereignty (”Once we liberate Taiwan and a few coastal islands, [our territorial] unity’s scope will be even more unprecedented.” 30)&lt;br /&gt;
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Qin Mu is at his most characteristic, though, in writing educational essays (zhishi xiaopin).  Also known as scientific xiaopin, the character of such writings would seem to be defined by their subject matter. [	Another writer of the post-Hundred Flowers period that writes a lot in this vein is Ma Nancun (Deng Tuo), whose popular Yanshan yehua column in Beijing Wanbao lasted for years and was published in four volumes in book form.]  But I would like to suggest that the transmission of modern scientific knowledge in these texts is not an end in itself, but rather one answer to the question of ”what to write about?” in socialist sanwen.  And it conveys (in addition to the knowledge or information), a certain scientistic, post-industrial atmosphere of enthusiasm that is a style as much as content.&lt;br /&gt;
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这篇文章的与众不同之处在于，它不遗余力地回到祭坛本身，自觉地仰慕古人的辉煌(带有民族和文化自豪感以及与中国前现代文化结合的色彩)，且明确强调领土的主权统一。(&amp;quot;一旦我们解放台湾和几个沿海岛屿，[我们的领土]统一的范围将更加空前绝后&amp;quot;。30)&lt;br /&gt;
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秦牧最有特色的是教育随笔（知识小品），也被称为科学随笔，这种随笔的特点由其主题决定。[ 百花齐放·百家争鸣期后，另一位在这方面写作较多的作家是马南邨(邓拓)，他在北京晚报上的《燕山夜话》专栏持续多年撰写文章，并出版了四卷书。] 但我想说的是，在这些文字中传递现代科学知识本身并不是目的，而是对社会散文中 &amp;quot;写什么？&amp;quot;这个问题的一个回答。而且它传达的（除了知识或信息外）是某种科学的、后工业化的热情环境，它展示风格的同时，也表达了内容。--[[User:Jiang Fengyi|Jiang Fengyi]] ([[User talk:Jiang Fengyi|talk]]) 09:29, 11 December 2020 (UTC)&lt;br /&gt;
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==Jiang Hao 姜好==&lt;br /&gt;
Qin Mu’s ”Xing xia” (Under the Stars, 1958)[	Qin, 49-60.] begins as a sweeping exploration of stars, moving from the universal experience of gazing at the skies and wondering about the questions of existence to the cultural perspectives of the beliefs and lore of the ancients and finally to the scientific perspective of the astronomical knowledge gathered in recent centuries, decades and years that confirm the author’s faith in science and industrial modernity.  The scientific knowledge in fact becomes a context or background against which to look back with some disdain at the superstitious quality of premodern beliefs, not only about the structure of the cosmos, but the extensions of such speculation into areas of human destiny and supernatural beliefs.&lt;br /&gt;
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秦牧的《星下集》(1958年)[ 秦，49-60.]以扫视星空的方式开始，从凝视天空、疑惑存在问题的普遍经验，到古人信仰和传说的文化视角，最后到近百年、数十年来收集的天文知识的科学视角，证实了作者对科学和工业现代性的信仰。科学知识实际上成为一种背景，在这种背景下，我们对前现代信仰的迷信特质有些不屑一顾，不仅是对宇宙结构的猜测，而且这种猜测延伸到人类命运和超自然信仰的领域。--[[User:Jiang Hao|Jiang Hao]] ([[User talk:Jiang Hao|talk]]) 03:33, 10 December 2020 (UTC)&lt;br /&gt;
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秦牧的《星下集》(1958年)[ 秦，49-60.]以扫视星空的方式作为开端，然后写到凝视天空、疑惑存在问题的普遍经验，又至古人信仰和传说的文化视角，最后到近百年、数十年来收集的天文知识的科学视角，证实了作者对科学和工业现代性的信仰。科学知识实际上成为一种背景，在这种背景下，我们对前现代信仰的迷信特质有些不屑一顾，不仅是对宇宙结构的猜测，而且这种猜测延伸到人类命运和超自然信仰的领域。--[[User:Yao Cheng|Yao Cheng]] ([[User talk:Yao Cheng|talk]]) 09:24, 10 December 2020 (UTC)&lt;br /&gt;
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==Jiang Qiwei 蒋淇玮==&lt;br /&gt;
Reading this essay one can see that one of the keys to Qin Mu’s popularity lay not in his conspicuously Marxist-Leninist politics, but in his sweeping, timeless, universal and seemingly all-inclusive scope of vision and contemplation.  Many or most of his essays give an exhilarating sense of vastness.&lt;br /&gt;
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But this essay does not reach its completion without being recontained, as are Yang Shuo’s landscape meditations, in a political context.  Written in the early years of Soviet space exploration, it seems obvious to Qin Mu that Soviet success in this area and the US’s failure is a clear sign of the direction of history.  He argues with almost excessive rhetorical force that the failure of space exploration and science in general under capitalism signifies the inability of the capitalist world view to free itself from outmoded beliefs, while socialism is easily and innocently aligned with scientific achievement and progress.&lt;br /&gt;
==Kang Haoyu 康浩宇==&lt;br /&gt;
Qin Mu’s often shrill diatribes on historical materialism and Marxism-Leninism in educational essays (zhishi xiaopin) like this one, or about the history of overseas Chinese or the cosmic theories of warring states philosophers is an incongruous, inverted reflection of Qin’s perennial status as an outsider to the PRC socialist literary orthodoxy, being victimized by literary officials like Liu Baiyu in the anti-rightist campaign and only being admitted to the Communist Party in 1962.  It is in his attempts to contain an ambitious gaze that can encompass human and natural history and the furthest reaches of space in a historicized polemic about the supremacy of Marxism-Leninism in the post war years that the incongruity of Qin Mu’s lyricism manifests itself.&lt;br /&gt;
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秦牧经常在教育论文中这样尖锐地抨击历史唯物主义和马列主义(知识小品文)，或海外华人史或战国哲学家的宇宙理论，认为这是一个不协调的，颠倒的反映。秦牧作为中国社会主义中正统的局外人，在反右运动中遭到刘白宇这样的文学官员迫害，直到1962年才被共产党接纳。他试图以一个包罗万象的视角，用抒情的方式表达对战后马克思主义主导地位的辩驳。--[[User:Kang Haoyu|Kang Haoyu]] ([[User talk:Kang Haoyu|talk]]) 04:59, 13 December 2020 (UTC)&lt;br /&gt;
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秦牧在这样的教育论文（知识小品）中，经常尖锐地抨击历史唯物主义和马列主义，或是关于华侨历史或战国哲人的宇宙理论，认为这些是不协调的。秦牧作为中国社会主义文学正统派的局外人，在反右运动中受到刘白羽等文学官员的迫害，直到1962年才被共产党接纳。正是在他试图在一场关于战后马列主义至高无上的历史化论战中，包含一种能够涵盖人类历史和自然历史以及最遥远的空间的雄心勃勃的目光，秦牧抒情诗的不协调性才得以体现。--[[User:Hu Baihui|Hu Baihui]] ([[User talk:Hu Baihui|talk]]) 07:52, 13 December 2020 (UTC)&lt;br /&gt;
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==Kang Lingfeng 康灵凤==&lt;br /&gt;
'''Conclusion'''&lt;br /&gt;
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The question of whether the ”real” world corresponds to the world these authors describe and narrate is moot; through the act of seeing or imagining the world as they do, they helped create the socialist world.  These authors did not slavishly obey orders, writing from formulae they were provided by superiors and other writers; they willingly engaged in the procedures of research and composition that were part and parcel of communist education and literary practice; what they wrote followed from their training, it was the logical and organic extension of that training.  They helped write the socialist world into existence.&lt;br /&gt;
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'''结论'''&lt;br /&gt;
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&amp;quot;真实&amp;quot;世界是否与作者们描述和叙述的世界相符，这个问题是无意义的；通过观察或者想象这个世界，他们帮助创造了社会主义世界。这些作者不盲目地服从命令，按照上级和其他的作者提供的公式写作；他们自愿从事研究和写作，这些是共产主义教育和文学实践的重要组成部分。作者们所写的是训练之后的结果，是训练的逻辑和有机的延伸。他们帮助建立了社会主义世界。&lt;br /&gt;
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&amp;quot;真实&amp;quot;世界是否与作者们描述和叙述的世界相符，这个问题是没有意义的；通过向他们一样去观察或者想象这个世界，他们就帮助创造了社会主义世界，这些作者不盲目地服从命令，按照上级和其他的作者提供的模板进行写作；他们自愿从事研究和写作，这些是共产主义教育和文学实践的重要组成部分。他们帮助建立了社会主义世界，他们帮助把社会主义世界写成了现实。--[[User:Fang Jieling|Fang Jieling]] ([[User talk:Fang Jieling|talk]]) 15:26, 13 December 2020 (UTC)&lt;br /&gt;
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==Kong Xianghui 孔祥慧==&lt;br /&gt;
Slavoj Zizek’s interpretation of Pascal that belief can actually emerge from deliberately going through the motions of ritual and imitating the faithful, and Zizek’s further point that ”reality” in any society is produced by ideological fantasies peculiar to it, suggest a similar interpretation of socialist sanwen.[	Slavoj Zizek, The Sublime Object  of Ideology (London:  Verso, 1989) 38-43.]  Going through the ritual motions of faith, the individual already believes without realizing it, he argues, and then it is only a matter of time before that belief gradually takes control of the conscious mind.  But within that ideological fantasy that is the representation of social reality, there are at the fringes and in the shadows suggestions of the impossibility of the vision.  What I have referred to as the ”incongruous” in Yang Shuo, Liu Baiyu and Qin Mu are those almost unconscious suggestions tainting the pristine vision.&lt;br /&gt;
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斯拉沃伊·齐泽克对帕斯卡的解释是，信仰实际上可以从刻意通过仪式和对信徒的模仿中产生，齐泽克进一步指出，任何社会中的“现实”都是由它特有的意识形态幻想产生的，这暗示了对社会主义散文的类似解释。[斯拉瓦伊·齐泽克，《崇高的意识形态》(伦敦:Verso, 1989) 38-43]他认为，通过信仰的仪式活动，个体已经在没有意识到的情况下相信了它，而这种信仰对于意识的控制只是时间问题。但是在意识形态的幻想中，社会现实代表在边缘和阴影中暗示着这种幻想的不可能性。我所说的杨烁、刘白羽和秦木作品中的“不协调”，是指那些几乎无意识的玷污了原始视觉的暗示。--[[User:Kong Xianghui|Kong Xianghui]] ([[User talk:Kong Xianghui|talk]]) 15:35, 13 December 2020 (UTC)&lt;br /&gt;
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==Kong Yanan 孔亚楠==&lt;br /&gt;
Reading literature from the first seventeen years of the People’s Republic of China requires as much attention to practices within the socialist orthodoxy as to dissidents and victims.  Against the prevalent view that socialist literary culture in China was a self-contained system introduced from the Soviet Union as if into a vacuum, socialist sanwen speaks to the mutability of that literary culture and the voice of individual writers in its development, however much sanwen may have been used for propaganda and indoctrination, it retained an ambiguity and reserve inherent in the genre since before the War gainst Japan.  Above all, I think this speaks to the enormous importance of various forms of sanwen in modern Chinese literary culture in general, and any general apprach to the modernn Chinese essay must further explore the legacy of socialist sanwen, particularly as today’s sanwen writers for the most part read the works of Yang Shuo, Liu Baiyu and Qin Mu in their middle school textbooks.&lt;br /&gt;
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中华人民共和国成立后的十七年，阅读文学要求将足够的注意力放在社会主义正统者、持不同政见者以及深受两者折磨的人的实践之中。当时流行的观点是中国的社会主义文学是从苏联引进的一个真空的封闭系统，与此相反，社会主义散文展现了文学文化和不断发展的个体作家的声音的可变性，然而，在抗日战争之前，很多散文曾经可能被用来宣传和灌输观念，所以它含有该体裁内在的模棱两可和含蓄的特点。综上所述，我认为这体现了不同形式的散文在中国现代文学文化总体上极其重要，任何对中国现代散文的进行的总体研究必须进一步探索社会主义散文遗产，特别是现今大部分的的散文家都会在中学课本上阅读杨朔、刘白羽和秦牧的作品。--[[User:Kong Yanan|Kong Yanan]] ([[User talk:Kong Yanan|talk]]) 12:59, 12 December 2020 (UTC)&lt;br /&gt;
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中华人民共和国成立后的十七年，阅读文学要求将足够的注意力放在社会主义正统者、持不同政见者以及深受两者折磨的人的实践之中。当时流行的观点是就像至于一个真空环境之下一样，中国的社会主义文学是从苏联引进的一个自我封闭系统，与此相反，社会主义散文展现了文学文化和不断发展的个体作家的声音的可变性，然而，在抗日战争之前，很多散文曾经可能被用来宣传和灌输观念，所以它含有该体裁内在的模棱两可和含蓄的特点。综上所述，我认为这体现了不同形式的散文在中国现代文学文化总体上极其重要，任何对中国现代散文的进行的总体研究必须进一步探索社会主义散文遗产，特别是现今大部分的的散文家都会在中学课本上阅读杨朔、刘白羽和秦牧的作品。--[[User:Kong Xianghui|Kong Xianghui]] ([[User talk:Kong Xianghui|talk]]) 15:40, 13 December 2020 (UTC)&lt;br /&gt;
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==Lei Fangyuan 雷方圆==&lt;br /&gt;
'''Tradition as Construct and the Search for a Modern Identity: A Reading of Traditional Gestures in Modern Chinese Essays of Place ''' [	This article is an extended version of the paper “The Self in the Landscape: Chinese Essays of Place in the Republican Era (1912-1949)” delivered at the conference The Modern Chinese Literary Essay: Defining the Self in the 20th Century, held in Achern, Germany, August 25-27, 2000.]&lt;br /&gt;
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''Alexandra R. Wagner''&lt;br /&gt;
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'''Abstract'''&lt;br /&gt;
Zhu Ziqing’s “The Qinhuai River Amidst the Sound of Oars and Shadows of Lamps” (Jiangsheng dengyingli de qinhuaihe, 1923), Yu Dafu’s “Spring Day on Diaotai” (Diaotai de chunzhou, 1932), and Fang Lingru’s “Travel Notes from the Langya Mountain” (Langyashan youji, 1936) are three modern Chinese essays in which place and memory serve as the main textual and conceptual elements through which the writers’ negotiation of identity and search for meaning unfolds. Examining these “essays of place” with a focus on the dynamics between place, on the one hand, and personal as well as cultural memory, on the other, challenges the prevailing views of modern travel or landscape essays as either lyrical evocations of scenery, backdrops for personal experiences and thoughts, or sources for information on locations.&lt;br /&gt;
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““作为建构的传统和对现代身份的寻求：对中国现代地方杂文中传统姿态的解读”” [本文是民国时期（1912-1949）中国地方散文《风景中的自我》的扩展版。在2000年8月25日至27日于德国阿彻恩举行的“中国现代文学论文：定义20世纪的自我”会议上发表。亚历山大·瓦格纳（Alexandra R.Wagner）&lt;br /&gt;
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'''摘要''' 朱自清的“桨声与灯影中的秦淮河”（桨声与灯影里的的秦淮河，1923年），郁达夫的“钓台春日”（钓台的春昼，1932），以及方令儒的“琅琊山” （琅琊山游记，1936年）是三篇中国现代散文，其中，地点和记忆是主要的文本和概念元素，通过这些文本和概念，作者进行了身份认同和对意义的寻求。审视这些“地方散文”，一方面侧重于地点与个人记忆以及文化记忆之间的动态关系，另一方面，挑战现代游记或风景散文的主流观点，认为它们要么是对风景的抒情，要么是个人经验和思想的背景，要么是地点信息的来源。--[[User:Lei Fangyuan|Lei Fangyuan]] ([[User talk:Lei Fangyuan|talk]]) 08:13, 13 December 2020 (UTC)&lt;br /&gt;
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==Lei Kuangxi 雷旷溪==&lt;br /&gt;
The aggregation of cultural and personal memory in these essays foregrounds the skepticism and uncertainty that characterize the mindset of Chinese writers situated in a transitional period moving from tradition to modernity. By questioning apparent meaning and literary convention, the essays are ultimately texts on writing as a continuous and open-ended exploration. &lt;br /&gt;
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Examining the “traditional gestures” central to the essays by Zhu, Yu, and Fang most prominently demonstrates this questioning of apparent meaning. Activities closely tied to places, such as climbing mountains, traversing lakes and rivers, and contemplating past history during visits to ruins and other sites are highly reminiscent of poetic onventions that have informed the long pre-modern literary history of travel and landscape writings.&lt;br /&gt;
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这些文章中文化和个人记忆的聚合，凸显了处于传统向现代过渡时期的中国作家心态的怀疑和不确定性。通过对表面意义和文学传统的质疑，这些文章归根结底是关于写作的文本，是一种持续而开放的探索。&lt;br /&gt;
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审视朱、余、方三家文章中的 &amp;quot;传统姿态&amp;quot;，最突出地体现了这种对表层意义的质疑。与地方密切相关的活动，如爬山、穿越湖泊、河流，以及在参观遗迹等过程中对过去历史的思考等，都让人高度联想到在漫长的前现代文学史上的游记和山水文章的诗学传统。--[[User:Lei kuangxi|Lei kuangxi]] ([[User talk:Lei kuangxi|talk]]) 05:41, 9 December 2020 (UTC)Lei Kuangxi&lt;br /&gt;
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这些文章中文化记忆和个人记忆的聚集，突出了处于从传统向现代过渡时期的中国作家的怀疑和不确定性特征。通过对表面意义和文学传统的质疑，这些文章最终成为关于写作的文本，是一种持续的、开放式的探索。&lt;br /&gt;
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对朱先生、于先生和方先生所著文章的核心“传统手势”的研究，最突出地证明了对表面意义的质疑。与地方紧密相连的活动，如爬山、穿越湖泊和河流，以及在参观遗迹和其他遗址时思考过去的历史，都让人联想到在漫长的前现代文学史的的游记和山水文章的诗学传统。--[[User:Yuan SHiqi|Yuan SHiqi]] ([[User talk:Yuan SHiqi|talk]]) 07:19, 9 December 2020 (UTC)&lt;br /&gt;
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==Li Haiquan 李海泉==&lt;br /&gt;
As manifestations of cultural memory, such activities are more than simply concrete actions; they are gestures, i.e. “acts made as a sign of attitude.” These traditional gestures suggest an affinity between pre-modern and modern texts, yet at the same time, the essays consistently question the significance and consequence of this apparent affinity. This questioning is achieved, first, by the authors’ encounters with people inhabiting the landscape, second, by introducing elements of imperfection and incompletion throughout the essays, and, third, by the self-referential aspects of the essays.&lt;br /&gt;
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作为文化记忆的表现形式，这些活动不仅仅是具体的行动。它们是手势，也就是“态度表征的行为”。这些传统手势表明了前现代文本和现代文本之间的密切关系，然而，同时这些文章始终对这种明显的亲和力的意义和结果存在质疑。这种质疑的实现，首先是通过作者与居住在这片风景中的人们的相遇；其次，通过在文章中引入不完美和不完善的元素；第三，通过文章的自我参照。--[[User:Li Haiquan|Li Haiquan]] ([[User talk:Li Haiquan|talk]]) 01:57, 10 December 2020 (UTC)&lt;br /&gt;
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作为文化记忆的表现形式，这种活动不仅仅是简单的具体行动，而是一种姿态，即 &amp;quot;作为一种态度的标志而做出的行为&amp;quot;。这些传统的姿态暗示了前现代和现代文本之间的密切关系，但与此同时，这些文章一直在质疑这种明显的密切关系的意义和后果。这种质疑的实现，一是通过作者与居住在风景中的人的相遇；二是通过在文章中引入不完美和不完整的元素；三是通过文章的自述来实现。--[[User:Jiang Hao|Jiang Hao]] ([[User talk:Jiang Hao|talk]]) 03:36, 10 December 2020 (UTC)&lt;br /&gt;
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作为文化记忆的体现，这些活动不仅仅是简单的具体行动； 它们是姿态，即“态度表征的行为”。 这些传统姿态暗示了前现代文本与现代文本之间的亲和力，但与此同时，论文也不断质疑这种明显亲和力的重要性和后果。 首先，作者与居住在风景中的人们相遇，然后是通过在论文中引入不完美和不完整的元素，其次是通过论文的自我参照。--[[User:Li Lingyue|Li Lingyue]] ([[User talk:Li Lingyue|talk]]) 12:01, 11 December 2020 (UTC)&lt;br /&gt;
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最为文化记忆的体现形式，这种活动不单单是具体的行动，它们更是一种姿态，也就是“用以表征态度的行为”。这些传统的姿态表明了前现代文本和现代文本之间的密切联系；然而，与此同时，这些文章也在不断地质疑这种表面联系的影响和结果。这种质疑，首先是通过作者与居住在当地的本地人的邂逅；其次是在全文中体现出一些不完美和不完整的因素；最后是通过文章的自我参照这三个步骤来实现的。--[[User:Han Wanzhen|Han Wanzhen]] ([[User talk:Han Wanzhen|talk]]) 12:19, 11 December 2020 (UTC)&lt;br /&gt;
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==Li Lili 李丽丽==&lt;br /&gt;
Adopting traditional gestures of contemplating place and past can be seen as an attempt to place the author in a privileged and thus assured position, offering him a way to authoritatively define himself within, yet separate from, his surroundings. However, encounters with people inhabiting the places make the author “interact” with these places. Rather than being objects of perception and contemplation only, places become parts of the perceiving and contemplating subject. The idea of place as distinct from the observer, providing a setting against which he can define himself as well as measure the changing times is deceptive.&lt;br /&gt;
采用传统的姿态来思考地方和过去，可以看作是将作者置于一种特权地位，从而保证他的地位，为其提供了一种根据周围环境给自己定义，但又与之分离的权威方式。然而，与居住在这些地方的人的相遇，使作者与这些地方产生了 &amp;quot;互动&amp;quot;。地方不只是感知和思考的对象，而是成为感知和思考主体的一部分。将地方与观察者区分开来，提供一个环境，让观察者可以据此来定义自己以及衡量时代的变化，这种想法是具有欺骗性的。--[[User:Li LIli|Li LIli]] ([[User talk:Li LIli|talk]]) 04:38, 11 December 2020 (UTC)Li Lili&lt;br /&gt;
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采用传统的姿态思考地方和过去，可以看作是将作者置于特权以及确定的地位的一种尝试，为其提供一种根据其周围环境，但又脱离其环境然而，给自己定义的权威性的方式。然而，和居住在这些地方的人相遇，使得作者和这些地方有了“互动”。地方除了作为感知和思考的物体，还成为了感知和思考主体的一部分。地点和观察者分离、提供观察者给自己下定义的背景、衡量时代的变化，这些想法都具有欺骗性。--[[User:Kong Yanan|Kong Yanan]] ([[User talk:Kong Yanan|talk]]) 13:40, 12 December 2020 (UTC)&lt;br /&gt;
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==Li Lingyue 李凌月==&lt;br /&gt;
In addition, elements of imperfection and incompletion disrupt the narrative in these essays and thus similarly question the reliability of traditional gestures in the search for stable definitions of selves. Self-referential aspects of the texts also draw attention to the essays’ constructedness, thus questioning the idea that the texts have a single, accurate (and thus authoritative) interpretation and significance.&lt;br /&gt;
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In sum, an “ironic” reading of the traditional gestures in these essays of place foregrounds the concept of tradition as a vital part and construct needed to engage in a discourse on tradition and modernity from which modern texts ultimately evolve.&lt;br /&gt;
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此外，不完美和不完整的因素扰乱了这些文章的叙述，因此同样质疑传统姿态在寻找稳定的自我定义时的可靠性。文本的自我参照方面也引起了对文章的结构性的关注，从而质疑了文本具有单一、准确（因而具有权威性）的解释和意义的观点。&lt;br /&gt;
总而言之，对这些散文中传统姿态的“讽刺”解读，预示了传统的概念作为现代性话语的一个重要组成部分，现代性最终需要从这一部分演变而来。--[[User:Li Lingyue|Li Lingyue]] ([[User talk:Li Lingyue|talk]]) 11:57, 11 December 2020 (UTC)&lt;br /&gt;
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此外，不完美和不完整的因素扰乱了这些文章的叙述，从而同样质疑传统姿态在寻求稳定的自我定义方面的可靠性。文本的自我参照性也引起了人们对文章建构性的关注，从而对文本具有单一的、准确的（因为也是权威的）解释和意义的观点提出了质疑。&lt;br /&gt;
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总之，对于这些地方性文章中传统姿态的“讽刺”解读，凸显了传统概念是参与传统与现代文本所需的重要部分和建构，而现代文本最终也是在这个基础上发展起来的。--[[User:Wu Yilu|Wu Yilu]] ([[User talk:Wu Yilu|talk]]) 09:14, 12 December 2020 (UTC)&lt;br /&gt;
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==Li Liqin 李丽琴==&lt;br /&gt;
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Zhu Ziqing’s “The Qinhuai River Amidst Sounds of Oars and Shadows of Lamps” (''Qinhuaihe''), Yu Dafu’s “Spring Day on Diaotai” (''Diaotai''), and Fang Lingru’s “Travel Notes from Langya Mountain” (''Langyashan''), are three notable essays of place in which place and memory serve as the main conceptual elements through which the writers’ negotiation of identity and meaning unfolds.  By questioning apparent meaning and literary convention, the texts become ultimately texts on writing as a continuous endeavor and exploration and thus texts on the open-ended nature of essays. &lt;br /&gt;
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In the essays, the authors engage in activities such as climbing mountains, traversing rivers, and contemplating history and historical figures while visiting ruins and other sites. &lt;br /&gt;
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Zhu Ziqing’s ''Jiangsheng dengyingli de Qinhuaihe'', written in 1923, was first published in the January 25, 1924 issue of ''Dongfang zazhi'' (Eastern Miscellany, founded in 1904). （文献无需翻译）	&lt;br /&gt;
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Yu Dafu’s ''Diaotai de chunzhou'', written in August 1932, first appeared in the inaugural issue of the journal ''Lunyu'' (Analects), on September 16, 1932. &lt;br /&gt;
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Fang Lingru’s ''Langyashan youji'' was written in April 1936 in Nanjing. Reprints in contemporary essay anthologies are taken from Fang’s essay collection Xin (Letters) published in 1945.（文献无需翻译）&lt;br /&gt;
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In this paper, the terms “writer” and “author” are used interchangeably.（文献无需翻译）&lt;br /&gt;
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朱自清的《浆声灯影里的秦淮河》（《秦淮河》）、郁达夫的《钓鱼台的春昼》（《钓鱼台》）和方令孺的《琅琊山游记》（ 《琅琊山》）是三篇有关地点的著名散文。在这几篇文章中，地点和回忆是主要的概念性元素，作者通过这些元素来具体展开关于身份认同以及具体含义的阐述。通过质疑明显的含义和文学习俗，这些文本最终象征着作者的不懈努力与探索，因此成为了文本的开放性文本。&lt;br /&gt;
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在这几篇散文中，作者在参观历史遗址时都参加了诸如爬山、过河、对历史以及历史人物进行深思的活动。&lt;br /&gt;
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Zhu Ziqing’s ''Jiangsheng dengyingli de Qinhuaihe'', written in 1923, was first published in the January 25, 1924 issue of ''Dongfang zazhi'' (Eastern Miscellany, founded in 1904). （文献无需翻译）	&lt;br /&gt;
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Yu Dafu’s ''Diaotai de chunzhou'', written in August 1932, first appeared in the inaugural issue of the journal ''Lunyu'' (Analects), on September 16, 1932. &lt;br /&gt;
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Fang Lingru’s ''Langyashan youji'' was written in April 1936 in Nanjing. Reprints in contemporary essay anthologies are taken from Fang’s essay collection Xin (Letters) published in 1945.（文献无需翻译）&lt;br /&gt;
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In this paper, the terms “writer” and “author” are used interchangeably.（文献无需翻译）--[[User:Li Liqin|Li Liqin]] ([[User talk:Li Liqin|talk]]) 11:26, 8 December 2020 (UTC)&lt;br /&gt;
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朱自清的《桨声灯影里的秦淮河》（秦淮河）、郁达夫的《钓鱼台上的春昼》（钓鱼台）、方灵如的《琅琊山游记》（琅琊山），这是三篇著名的关于地点的散文，其中地点和记忆是主要的概念要素，通过这些要素对作家的本体和意义的商讨逐步展开。通过对表面意义和文学惯例提出质疑，这些文本最终成为关于写作的文本，作为作者不断的努力和探索的一种象征，这些文本成为了关于散文开放性的文本。&lt;br /&gt;
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在这些散文中，作者在参观遗址和其他地方时，还参与了登山、穿越河流、思考历史和历史人物等活动。&lt;br /&gt;
--[[User:Xiao yining|Xiao yining]] ([[User talk:Xiao yining|talk]]) 04:52, 9 December 2020 (UTC)Xiao Yining&lt;br /&gt;
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朱自清的《桨声灯影里的秦淮河》（秦淮河）、郁达夫的《钓台上的春昼》（钓台）、方灵如的《琅琊山游记》（琅琊山），这是三篇著名的关于地点的散文，其中地点和记忆是主要的概念要素，通过这些要素对作家的本体和意义的商讨逐步展开。通过对表面意义和文学惯例提出质疑，这些文本最终成为关于写作的文本，作为作者不断的努力和探索的一种象征，这些文本成为了关于散文开放性的文本。--[[User:Lin Min|Lin Min]] ([[User talk:Lin Min|talk]]) 11:53, 10 December 2020 (UTC)&lt;br /&gt;
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朱自清的《桨声灯影里的秦淮河》（秦淮河）、郁达夫的《钓台的春昼》（钓台）、方令儒的《琅琊山游记》（琅琊山），这是三篇著名的关于地点的散文，其中地点和记忆是主要的概念要素，通过这些要素对作家的本体和意义的商讨逐步展开。通过对表面意义和文学惯例提出质疑，这些文本最终成为关于写作的文本，作为作者不断的努力和探索的一种象征，这些文本成为了关于散文开放性的文本。--[[User:Lei Fangyuan|Lei Fangyuan]] ([[User talk:Lei Fangyuan|talk]]) 08:10, 13 December 2020 (UTC)&lt;br /&gt;
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==Li Luyi 李璐伊==&lt;br /&gt;
For example, all three essays contain elements reminiscent of the poetic convention of contemplating the past (''huaigu''), often conveying regret over gone times and places. Images exposing the transience of human life in an enduring landscape suggest the writer’s uncertainty about the present and future, implying his desire to find a more lasting place within his existing surroundings.  &lt;br /&gt;
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In their apparent affinity to poetic conventions, traditional gestures seem to promise the writer a degree of authority and certainty in observing and interpreting surroundings and thus in determining his position and role in them. An ''ironic'' understanding and reading of such gestures in Zhu, Yu, and Fang's essays however, exposes the concept of tradition as construct indispensable for a discourse on modernity. &lt;br /&gt;
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Evoking and sharing the cultural memory of place writing, Zhu, Yu, and Fang’s essays not only contain, but also constitute traditional gestures.（文献无需翻译） &lt;br /&gt;
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FFor a concise explication of this poetic convention, see Hans H. Frankel, ''The Flowering Plum and the Palace Lady: Interpretations of Chinese Poetry'' (New Haven and London, 1976), chapter 9 “Contemplation of the Past.”（文献无需翻译）&lt;br /&gt;
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例如，这三篇文章都包含了凝视过去的诗学传统的元素（怀古），常常表达对逝去的时光和地方的遗憾。在一幅经久不衰的风景画中，展现人类生命的无常，暗示着作者对现在和未来的不确定性，暗示着他希望在现有的环境中找到一个更永恒的地点。&lt;br /&gt;
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传统的姿态与诗歌的传统有明显的亲近感，它似乎给了作者一定程度的权威性和确定性来观察和解释周围的环境，从而确定自己在其中的定位和角色。然而，通过对朱自清、郁达夫和方灵如的文章中这些姿态的反讽地理解和解读，揭示了传统观念构筑现代性话语所不可或缺的。--[[User:Li Luyi|Li Luyi]] ([[User talk:Li Luyi|talk]]) 05:50, 13 December 2020 (UTC)&lt;br /&gt;
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==Li Meng 李梦==&lt;br /&gt;
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Modern texts evolve from a questioning and reassessment of well-established meaning and value, rather than from a mere rejection of what are perceived to be traditional notions, customs, and ideals. Once tradition is divested of its absolute claim and subject to interpretation and reconstruction, modernity can emerge. &lt;br /&gt;
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Generally, the term “gesture” describes an activity as “something done to convey one’s intentions or attitude.”  The traveler’s activities are more than actions that have an obvious purpose, such as getting to a location or viewing a certain site. Roland Barthes’ notion of gestures in writing and writing as gesture suggests the multiplicity of meaning within essays of place and ultimately bears out the idea of essays of place as texts on writing. In ''The Responsibility of Forms'', Roland Barthes describes “gesture” in art as&lt;br /&gt;
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“Gesture.” Def.2. ''Oxford American Dictionary''. New York: Avon Books, 1980. （文献无需翻译）&lt;br /&gt;
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''The Oxford English Dictionary'' defines “gesture” as “a move or course of action undertaken as an expression of feeling or as a formality; especially a demonstration of friendly feeling, usually with the purpose of eliciting a favorable response from another.” Def.4.b. ''The Oxford English Dictionary''. 2nd Ed. (Clarendon Press: Oxford, 1989).（文献无需翻译）&lt;br /&gt;
现代文本从对已确立的意义和价值的质疑和重新评估演变而来，而不仅仅是对被认为是传统观念、习俗和理想的排斥。一旦剥夺了传统的绝对权利，接受了解释和重建，现代性就会出现。&lt;br /&gt;
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一般来说，“手势”指的是“为了传达某人的意图或态度的行动。旅行者的活动不仅仅是有明显目的的行动，比如到达某个地点或参观某个地点。罗兰·巴特关于书写中的手势和作为手势的书写的概念暗示了地点散文中意义的多样性，并最终证明了地点散文作为写作文本的观点。在《形式的责任》一书中，罗兰·巴特将艺术中的“姿态”描述为一种行为的多余。--[[User:Li Meng|Li Meng]] ([[User talk:Li Meng|talk]]) 15:12, 13 December 2020 (UTC)&lt;br /&gt;
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==Li Yongshan 李泳珊==&lt;br /&gt;
[s]omething like the surplus of an action. The action is transitive, it seeks only to provoke an object, a result; the gesture is the indeterminate and inexhaustible total of reasons, pulsions, indolences which surround the action with an atmosphere [. . .]. Hence, let us distinguish the message, which seeks to produce information, and the sign, which seeks to produce an intellection, from the gesture, which produces all the rest (the “surplus”) without necessarily seeking to produce anything. &lt;br /&gt;
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Traversing mountains and lakes are activities with a concrete objective. As “gestures” or “surplus action,” those activities are signs of attitudes that in Zhu, Yu, and Fang’s essays ultimately serve to constantly question and change meaning by providing possibility instead of demarcation of meaning and signification. &lt;br /&gt;
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Barthes, Roland. “''[Readings: Gesture] Cy Twombly: Works on Paper.” The Responsibility of Forms''. By Barthes. Trans. Richard Howard, (Berkeley and Los Angeles: University of California Press, 1985) 160.（文献无需翻译）&lt;br /&gt;
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According to Roland Barthes, every text is ultimately a product of gestures Discussing the work of American painter Cy Twombly (b. 1928), Roland Barthes furthermore says about the workings of gestures:（文献无需翻译）          &lt;br /&gt;
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[t]he artist [ . . . ] is by status an “operator” of gestures: he seeks to produce an effect and at the same time seeks no such thing; the effects he produces he has not obligatorily sought out; they are reversed, inadvertent effects which turn back upon him and thereupon provoke certain modifications, deviations, mitigations of the line, of the stroke. Thus in gesture is abolished the distinction between cause and effect, motivation and goal, expression and persuasion (Barthes 160).（文献无需翻译）&lt;br /&gt;
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==Li Yu 李玉==&lt;br /&gt;
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Zhu Ziqing’s ''Qinhuaihe'' describes a pleasure excursion on the Qinhuai River he and his friend Yu Pingbo embark on one summer evening. Singsong girls and their musicians, offering their services to passengers in the roaming boats, provide popular entertainment on the river. Zhu and Yu try to enjoy the atmosphere produced by a combination of natural scenery, history, lantern lights, and sound of oars and of music. Despite mingling with other boats whose passengers happily solicit the singsong girls’ services, they remain passive observers. Zhu's narrative culminates in his and Yu’s direct encounter with the singsong girls, who approach them to solicit business. This encounter mortifies and confounds Zhu, turning the trip into a disconcerting experience. Both Zhu and Yu reject the singsong girls’ solicitations, and soon after the encounter, they head back to the pier.    &lt;br /&gt;
==Lin Min 林敏==&lt;br /&gt;
Yu Dafu’s ''Diaotai'' describes his travels in the countryside after having hurriedly left Shanghai to avoid being rounded up by Nationalist forces in the spring of 1931. Watching boats taking locals to their ancestral graves, Yu decides to visit his hometown in time for the Qingming festival. After only a few days with relatives and friends however, he becomes restless and leaves for a trip to Diaotai (Fishing Terrace) on Fuchun Mountain. He stops over at Tonglu for the night and despite the late hour climbs Tongjun Mountain located across the river. The next day, Yu visits the memorial hall on Fuchun Mountain dedicated to the Eastern Han recluse Yan Ziling and then climbs the famous Diaotai.&lt;br /&gt;
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郁达夫的《钓台的春昼》一书中，描写了1931年春天他为逃避国民党军队的抓捕，匆匆离开上海后在乡下的旅行的故事。郁达夫看见船只把过世的当地人带回祖墓埋葬，于是他决定在清明节前回到家乡。 然而，与亲戚和朋友团圆几天之后，他变得躁动不安，便前往富春山钓台旅行。 他停留在桐庐过夜，尽管天色已晚，他爬上横跨在河面的桐郡山。 第二天，郁达夫参观了富春山纪念东汉隐士严子陵的纪念馆，攀登了著名的钓台。--[[User:Lin Min|Lin Min]] ([[User talk:Lin Min|talk]]) 11:51, 10 December 2020 (UTC)&lt;br /&gt;
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郁达夫的《钓台的春昼》描述了他在1931年春天为避免被国民党军队围捕，匆忙离开上海后在农村的旅行。看着载着当地人去往他们祖坟的船只，郁达夫决定在清明节的时候回家乡看看。然而，在与亲戚朋友相处几天后，他变得焦躁不安，便前往富春山的钓台。他在桐庐停留了一夜，尽管时间已晚，他还是爬上了河对岸的桐君山。第二天，郁达夫参观了富春山纪念东汉隐士严子陵的纪念馆，攀登了著名的钓台。--[[User:Ding Daifeng|Ding Daifeng]] ([[User talk:Ding Daifeng|talk]]) 13:50, 10 December 2020 (UTC)&lt;br /&gt;
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==Lin Xin 林鑫==&lt;br /&gt;
Fang Lingru and a group of friends visit various historic sites scattered in the mountains they traverse during a spring outing. The most famous site is the pavilion named by Ouyang Xiu and celebrated in his famous ''An Account of the Pavilion of the Drunken Old Man'' (Zuiweng ting ji).  The group decides to stay overnight at the ''Temple of Cultivation'' (Kaihua si), located deeper in the mountains, and spends the rest of the day touring the mountains and their cultural imprints guided by a monk. In the evening, the friends enjoy the nocturnal atmosphere and quietude of temple and mountains. The next day, the day of the Qingming festival, the group tours two more mountains before returning to Nanjing in the evening.&lt;br /&gt;
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在一次春游中，方令孺和一群朋友参观了散落在山间的诸多历史遗迹，其中最著名的景点是欧阳修在被广为流传的《醉翁亭记》中所命名的亭子。大家决定在深山中的开化寺过夜，并在僧人的带领下游览山中的文化古迹。傍晚时分，友人们都沉醉在寺庙和山林的夜色与静谧中。第二天，也就是清明节当天，又游览了两座山，傍晚时分才返回南京。--[[User:Lin Xin|Lin Xin]] ([[User talk:Lin Xin|talk]]) 06:36, 10 December 2020 (UTC)&lt;br /&gt;
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在一次春游中，方令孺和一群朋友参观了散落在山间的诸多历史遗迹，其中最著名的景点是欧阳修在被广为流传的《醉翁亭记》中所命名的亭子。大家决定在深山中的开化寺过夜。在休息之前，众人在僧人的带领下游览山中的文化古迹。傍晚时分，友人们都沉醉在寺庙和山林的夜色与静谧中。第二天，也就是清明节当天，大家又游览了两座山，傍晚时分才返回南京。--[[User:Liu Yiyu|Liu Yiyu]] ([[User talk:Liu Yiyu|talk]]) 09:48, 10 December 2020 (UTC)Liu Yiyu&lt;br /&gt;
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==Ling Zijin 凌子瑾==&lt;br /&gt;
All three essays contain attempts to adopt gestures of contemplating times and places while traversing varied landscapes. Yet, three elements in the essays destabilize significance and consequence of those gestures, undermining their power to confirm identities and signaling the questioning nature of the texts. These three elements are first the authors’ encounters with people inhabiting the landscape, second, elements of incompletion and ambiguity that unsettle the traditional gestures, and, third, as supplementary elements, the essays’ self-referential strategies. The following readings of Zhu, Yu, and Fang’s essays explain and illustrate one of each of these elements respectively.&lt;br /&gt;
这三篇文章都试图在穿越不同的风景时采用思考时间和地点的姿态。然而，文章中的三个因素动摇了这些姿态的意义和后果，削弱了它们确认身份的力量，并暗示了文本的质疑本质。这三个要素，一是作者与居住在这片风景中的人的接触，二是对传统姿态的不完善和模糊，三是作为补充的自我参照策略。以下阅读朱、于和方的文章，分别解释和说明这些元素中的一个。--[[User:Ling Zijin|Ling Zijin]] ([[User talk:Ling Zijin|talk]]) 11:47, 13 December 2020 (UTC)&lt;br /&gt;
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==Liu Bo 刘博==&lt;br /&gt;
'''Encounters with People in Zhu Ziqing’s Qinhuaihe'''&lt;br /&gt;
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Encounters with people populating the landscape have two effects. First, these encounters force the author to interact with the landscape. It becomes impossible for him to demarcate his position and identity by contemplating places from an autonomous vantage point.  Zhu and Yu’s encounter with the singsong girls is the central human encounter in Zhu’s ''Qinhuaihe''. Initially, the singsong girls’ presence on the river does not appear to displease or disconcert Zhu. However, he maintains this sanguine perception by keeping a distance to the singers’ boats. The distance allows him to assume the traditional gesture of traversing a river to take in and contemplate its scenery and history from an independent viewpoint.&lt;br /&gt;
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It is important to point out that a clear distinction between traveler and landscape does not mean the travelers’ disassociation from his surroundings. Rather it points to the clear demarcation of positions and roles necessary to form a stable unified whole from two distinct units.(文献无需翻译)&lt;br /&gt;
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'''朱自清的《秦淮河》中的相遇'''&lt;br /&gt;
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与居住在风景中的人的相遇有两个效果。首先，这中相遇迫使作者与场景互动。这样他就不能通过从对自己有利的视角来划分自己的位置和身份。 朱自清、郁达夫二人与歌女的相遇，是朱自清《秦淮河》中最核心的人际交往。起初，歌女们在江上的出现，似乎并没有让朱自清感到不快或不安。然而，他通过与歌女们的船保持一定的距离来维持这种乐观的看法。这种距离使他能够以一种传统的姿态在江上穿行，以独立的视角来欣赏和思考江上的风景和历史。&lt;br /&gt;
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需要指出的是，旅行者与风景的明确区分，并不意味着旅行者与周围环境的脱离。相反，它指向的是明确的位置和角色的划分，这对于从两个不同的环境中形成一个稳定的统一整体是必要的。--[[User:Liubo|Liubo]] ([[User talk:Liubo|talk]]) 06:51, 13 December 2020 (UTC)&lt;br /&gt;
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'“朱自清的《秦淮河》的相遇”&lt;br /&gt;
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遇到有人居住的景观有两个影响。首先，这些遭遇迫使作者与景观互动。对于他来说，通过从自治的有利位置考虑地点来划分自己的位置和身份变得不可能。朱和俞与歌星女孩的相遇是朱的《秦淮河》中人类的主要相遇。最初，歌星女孩在河上的存在似乎并没有使朱朱感到不悦或不安。但是，他通过与歌手的船保持一定距离来保持这种乐观的感觉。距离使他能够采取传统的穿越河流的姿势，从一个独立的角度来欣赏和思考河流的风景和历史。&lt;br /&gt;
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重要的是要指出，旅行者与风景之间的明显区别并不意味着旅行者与周围环境脱节。相反，它指出了从两个截然不同的单元形成一个稳定的统一整体所需的职位和角色的明确划分。--[[User:Ou Rong|Ou Rong]] ([[User talk:Ou Rong|talk]]) 08:05, 13 December 2020 (UTC)Ou Rong&lt;br /&gt;
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==Liu Jinxingqi 刘金惺琦==&lt;br /&gt;
The encounter with the singsong girls witnessed by other passengers unsettles gesture and atmosphere. By diminishing the safe distance between writer and observed place (which so far included the singers), the encounter forces Zhu to play an active role in his surroundings. The singers step out of the landscape picture, and Zhu becomes part of the place against his will.&lt;br /&gt;
Ironically, however, the ensuing interaction nevertheless exposes an unbridgeable gap between author and people inhabiting the landscape. Zhu’s confrontation with the singsong girls reinforces an experience of distance, misapprehension, and alienation rooted in the dilemma of modern intellectuals.&lt;br /&gt;
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朱自清与歌星女孩的相遇是在其他路人的围观下，这使得气氛紧张起来，他的行为也变得不安。 通过减少作家和被观察者之间的安全距离（到目前为止，包括歌手在内），相遇迫使朱自清在他的世界中发挥了积极作用。 歌手们走出了画面，而朱自清成为了其中的一部分，这是违背了他的意愿的。&lt;br /&gt;
然而，具有讽刺意味的是，随后的互动却暴露了作者与居住在画面中的人们之间不可逾越的鸿沟。朱自清与歌星女孩的对峙加强了距离感，误解和疏离感，这些都根植于现代知识分子所遇到的困境中。--[[User:Liu Jinxingqi|Liu Jinxingqi]] ([[User talk:Liu Jinxingqi|talk]]) 15:00, 13 December 2020 (UTC)&lt;br /&gt;
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==Liu Liu 刘柳==&lt;br /&gt;
Zhu is both tempted by the offer and ashamed about even entertaining such a sentiment. Being publicly approached by women who sell their services to men and confronting his inner conflicting emotion embarrasses Zhu, who considers himself a moral and modern individual professing to condemn the exploitation of underprivileged social groups. &lt;br /&gt;
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The text moves from the portrayal of external space and atmosphere to a detailed self-dissection of Zhu's psyche and thoughts, a strikingly modern feature. As Zhu's progressive sensibilities interfere with acting out his desire, this psychological passage further disrupts the cohesion of the text as traditional gesture.&lt;br /&gt;
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朱自清受到诱惑的同时又为自己的这种情绪感到羞愧。朱自清自认为是高尚现代的人，他公开谴责对于社会弱势群体的剥削，但是面对女人的当众搭讪和内心的矛盾情绪，朱自清却感到尴尬。&lt;br /&gt;
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文本从对外部空间和氛围的描写，转向对朱自清的心理和思想细致的自我剖析，具有显著的现代特征。由于朱自清的进步情感干扰了他的欲望的表现，这段心路历程进一步破坏了文本作为传统姿态的凝聚力。--[[User:Liu Liu|Liu Liu]] ([[User talk:Liu Liu|talk]]) 07:30, 9 December 2020 (UTC)&lt;br /&gt;
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朱自清在受到诱惑的同时，又为自己的这种情绪感到羞愧。他自认为是高尚的现代人，会公开谴责对于社会弱势群体的剥削，但是面对女人的当众搭讪，他的内心极为矛盾，感觉十分尴尬，&lt;br /&gt;
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文本通过对外部空间和氛围的描写，以及对朱自清的内心思想的自我剖析，均具有显著的现代特征。由于朱自清的先进情感干扰了他的欲望表现，这段心路历程进一步破坏了文本作为传统姿态的凝聚力。--[[User:Guo Lu|Guo Lu]] ([[User talk:Guo Lu|talk]]) 08:05, 9 December 2020 (UTC)&lt;br /&gt;
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朱自清在受到诱惑的同时，又为自己的这种情绪感到羞愧。他自认为是高尚的现代的人，他公开谴责对于社会弱势群体的剥削，但是面对女人的当众搭讪，他的内心极为矛盾，也十分地尴尬。&lt;br /&gt;
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文本通过对外部空间和氛围的描写，转向对朱自清的内心思想的自我剖析，具有显著的现代特征。朱自清的先进思想抑制了他的欲望，这段心路历程进一步破坏了文本作为传统姿态的凝聚力。--[[User:Liu Jinxingqi|Liu Jinxingqi]] ([[User talk:Liu Jinxingqi|talk]]) 15:09, 13 December 2020 (UTC)&lt;br /&gt;
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==Liu Ou 刘欧==&lt;br /&gt;
The encounter quickly deflates and undermines Zhu's attempt to adopt traditional gestures, causing confusion and conflict rather than reassurance of positions and identities in the river’s ultimately unpredictable space. Zhu’s experience of place is marked by a tension arising from an attempt to assert his independent position within his surroundings, the futility of the attempt, and the concurrent impossibility to become part of his surroundings.&lt;br /&gt;
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Significantly, only when Zhu’s inner conflict has abated somewhat, he and Yu are rewarded. On their way back, they pass a boat with a solitary singer coming toward them.&lt;br /&gt;
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==Liu Yangnuo 刘洋诺==&lt;br /&gt;
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The singer is sitting in the bow of the unlit boat, singing only to herself. This unexpected episode has an at least temporarily redeeming quality for Zhu. However, his feeling of contentment lasts only a fleeting instant, and soon he and Yu are back in the bustling amusement district. Importantly, Zhu and Yu do not truly encounter the solitary singer. Possibly, the singer did not even notice them. This brief moment comes closest to successfully adopting a traditional gesture. As long as they maintain a distance, fulfilling the significance of the gesture seems possible. Ultimately however, Zhu, not in control of the gesture, is unable to prolong this moment.&lt;br /&gt;
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歌者坐在没有灯光的船头，只对自己唱歌。这个意外的插曲，对朱棣来说，至少有一种短暂的满足。然而，他的满足感只持续了一瞬间，很快他就和余先生回到了繁华的游乐区。其实朱和宇并没有真正遇到那个孤独的歌手。也有可能歌手根本没有注意到他们。但这短暂的一瞬间最接近传统的姿态。只要他们保持一定的距离，传递这个姿态的意义似乎是可能的。然而最终由于朱先生没有保持好这一姿态，他没能延长这个瞬间。--[[User:Liu Yangnuo|Liu Yangnuo]] ([[User talk:Liu Yangnuo|talk]]) 09:49, 13 December 2020 (UTC)&lt;br /&gt;
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歌妓坐在没有灯光的船头，独自唱着歌。对朱自清来说，这个意外的插曲暂时弥补了之前的遗憾，然而，这种满足感只持续了一瞬间，很快他就和俞平伯回到了繁华的闹市。其实二人并没有真的遇到那个孤独的歌妓，也有可能歌妓根本没有注意到他们，但这短暂的一瞬间最接近传统的语言姿势。只要他们保持一定的距离，这个姿态的意义似乎就有可能被传达出来，然而最终由于朱自清没有维持这一姿态，所以没能延长这个瞬间。--[[User:Ouyang Ling|Ouyang Ling]] ([[User talk:Ouyang Ling|talk]]) 15:12, 13 December 2020 (UTC)&lt;br /&gt;
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==Liu Yi 刘艺==&lt;br /&gt;
He is left in utter despondency. Threat and intimidation Zhu experiences are signified well by the way he perceives his surroundings immediately after passing the lone singer’s boat. Passing under a tall bridge, it seems to Zhu “as if the darkness was opening its huge mouth, about to swallow [their] boat.”  Zhu is left in a no-man’s-land between private desire and modern awareness.&lt;br /&gt;
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'''Incompletion and Ambiguity in Yu Dafu’s ''Diaotai'''''&lt;br /&gt;
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Elements of incompletion and ambiguity further question the significance of traditional gestures. By unsettling the essay’s narrative, these elements suggest an ironic reading of the texts that undermines the reliability of traditional gestures when searching for stable definitions of selves and surroundings.&lt;br /&gt;
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他陷入了彻底的绝望。朱棣棣所经历的威胁和恐吓，从他经过独唱者的船后立即感知周围环境的方式就可以看出。经过一座高高的桥下，在朱棣看来，&amp;quot;仿佛黑暗张开了巨口，要把他们的船吞掉&amp;quot;。 朱先生在私欲与现代意识之间陷入了无人区。&lt;br /&gt;
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'''郁达夫的''钓鱼台''的不完整与模糊'''&lt;br /&gt;
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不完整和模棱两可的元素进一步质疑传统手势的意义。这些元素使文章的叙事变得不稳定，暗示了对文本的反讽性解读，破坏了传统手势在寻找自我和周围环境的稳定定义时的可靠性。--[[User:Liu Yi|Liu Yi]] ([[User talk:Liu Yi|talk]]) 09:20, 9 December 2020 (UTC)&lt;br /&gt;
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他陷入了深深的怅惘。经过歌舫后，他立即感知到周围环境变化，从这里就可以看出朱自清所感受到的压迫和不安。船过大中桥时，朱自清写道，&amp;quot;如黑暗张着巨口，要将我们的船吞了下去&amp;quot;。 朱先生在私欲与现代意识之间陷入了无人区。&lt;br /&gt;
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'''郁达夫《钓台的春昼》的不完整性与模糊性'''&lt;br /&gt;
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不完整性和模棱性的要素对传统手势的意义提出更多的质疑。通过打乱文章的叙述方式，这些要素暗示了对文本的反讽性解读，削弱了传统手势在寻找自我和周围环境的稳定定义时的可靠性。--[[User:Zhang Yu|Zhang Yu]] ([[User talk:Zhang Yu|talk]]) 04:55, 10 December 2020 (UTC)&lt;br /&gt;
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==Liu Yiyu 刘怡瑜==&lt;br /&gt;
Obstacles in Yu Dafu’s path paired with a restlessness he experiences in places destabilize the gestures he tries to adopt. The significance of his trip remains ambiguous.&lt;br /&gt;
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The evening before reaching Diaotai, Yu sets out to climb Tongjun Mountain to visit a Daoist temple. Upon disembarking from the ferryboat, he immediately falls over a loose rock on the dark and rugged mountain path. The image of a stumbling Yu on his solitary endeavor to climb the mountain at night is almost comical. His idea to climb the mountain at this hour appears unreasonable and undermines any effect the attempt to adopt a traditional gesture might have.&lt;br /&gt;
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郁达夫道路上的障碍，再加上与他在一些地方感到了不安，这都打破了他之前想要的姿态。他此行的意义依然模糊不清。&lt;br /&gt;
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在到达钓鱼台的前一天傍晚，郁达夫出发去爬桐君山，去一座道观。一下了渡船，在一条崎岖漆黑的山路上，他摔倒在了一块松动的石头上。跌跌撞撞的郁达夫在夜里独自爬山的形象几乎是滑稽的。他在这个时候爬山的想法显得很不合理，也打破了他想要的任何意义。--[[User:Liu Yiyu|Liu Yiyu]] ([[User talk:Liu Yiyu|talk]]) 09:19, 10 December 2020 (UTC)Liu Yiyu&lt;br /&gt;
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出现在郁达夫道路上的障碍，再加上他在一些地方感到的不安，都打破了他之前想要的姿态。他此行的意义依然模糊不清。&lt;br /&gt;
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在到达钓鱼台的前一天傍晚，为了参观一座道观，郁达夫出发去爬桐君山。一下了渡船，在一条崎岖漆黑的山路上，他被一块松动的石头绊倒了。跌跌撞撞的郁达夫在夜里独自爬山的形象几乎是滑稽的。他在这个时候爬山的想法显得很不合理，也破坏了采用传统姿态可能产生的任何影响。--[[User:Deng Jinxia|Deng Jinxia]] ([[User talk:Deng Jinxia|talk]]) 03:38, 13 December 2020 (UTC)&lt;br /&gt;
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==Liu Zhiwei 刘智伟==&lt;br /&gt;
The ferryman hands Yu a pack of matches to help him find the way. At first, Yu is “groping [his] way up the mountain,”  but as he approaches the top, moonlight begins to illuminate his path. A vast sky and a broad vista into the distance and onto the town seem to increase Yu’s chances of adopting the traditional gesture of contemplating place and past. As he approaches the temple however, an apparently locked gate in the low wall surrounding it obstructs Yu’s progress. After pacing up and down for a while not knowing what to do, he finally tries the gate, and surprisingly it opens. Ironically, Yu’s trip is delayed and almost cut short not by a locked gate but by his indecision and hesitation.&lt;br /&gt;
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渡船人递给他一包火柴帮他找路。一开始，郁正“摸索着上山”，但当他接近山顶时，月光开始照亮他的道路。辽阔的天空和小镇的广阔景色似乎增加了郁采用传统方式思考地方和过去的机会。然而，当他走近庙宇时，四周低矮的墙壁中一扇明显锁着的门阻碍了他的前进。在不知所措地踱来踱去后，他最终尝试开门，而门惊喜地被打开了。更具有讽刺意味的是郁的行程延误，不是因为一扇紧锁的大门，而是因为他的犹豫不决。--[[User:Liu Zhiwei|Liu Zhiwei]] ([[User talk:Liu Zhiwei|talk]]) 09:29, 13 December 2020 (UTC)&lt;br /&gt;
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船夫递给他一盒火柴帮助他找到路。起初，于是“摸索着上山”，但当他接近山顶时，月光开始照亮他的道路。广阔的天空和广阔的视野延伸到远处的城镇，似乎增加了俞正声采用传统的姿态，思考地点和过去的机会。然而，当他接近寺庙时，围绕寺庙的矮墙中一个明显被锁住的门阻碍了他的前进。他踱来踱去，不知如何是好，最后他试了试大门，结果门开了。具有讽刺意味的是，于的行程被推迟，甚至几乎被缩短，不是因为一扇锁着的门，而是因为他的优柔寡断和犹豫。--[[User:Ling Zijin|Ling Zijin]] ([[User talk:Ling Zijin|talk]]) 11:50, 13 December 2020 (UTC)&lt;br /&gt;
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==Lou Cancan 娄灿灿==&lt;br /&gt;
Although he finds the temple gates indeed securely shut for the night, Yu is at this point quite content to sit on the wall adjacent to the gate from where he can overlook the river and enjoy the scenery. He gazes at the stars, clouds, and moon above and the lights of the boats below gently wavering in the wind. At last, Yu’s position allows him to contemplate place and past from an elevated and independent vantage point. The unparalleled scenery of Tongjun Mountain inspires Yu to contemplate the lives of the Eastern Han (25-220 A.D.) recluse Yan Ziling and that of the two Dai brothers, Dai Bo and Dai Yong of the Easter Jin (317-420), who made this area their home.&lt;br /&gt;
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虽然他发现寺庙的门夜晚确实是紧紧关着的，但此时他还是很满足于坐在与门相邻的城墙上，从那里他可以俯瞰河流，欣赏风景。他凝视着天上的星星、云朵和月亮，以及下面在风中轻轻摇曳的船只的灯光。最后，郁达夫的位置让他能够从一个更高的、独立的有利位置思考过去。同郡山无与伦比的风景激发了郁达夫对东汉(公元25-220年)隐士严子陵和东晋(317-420年)戴波和戴勇的生活的思考，他们把这里作为自己的家。--[[User:Lou Cancan|Lou Cancan]] ([[User talk:Lou Cancan|talk]]) 13:53, 13 December 2020 (UTC)&lt;br /&gt;
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==Luo Weijia 罗维嘉==&lt;br /&gt;
Yu fully appreciates and identifies with their decision to lead a hermit’s life foreshadowing his own life of seclusion soon to begin. The clapper of the night watch in town finally wakes Yu to reality. Startled, he runs back head over heels to the boat. This abrupt ending to Yu’s reverie and his sudden anxiety to get back to the boat sharply contrast with the reflective atmosphere and sentiment of the passage. The traditional gesture is abruptly terminated. Like the clapper startling Yu, this abrupt ending to the nightly scene startles the reader.&lt;br /&gt;
==Luo Yuqing 罗雨晴==&lt;br /&gt;
On the boat to Diaotai, Yu, tired from admiring the scenery, falls asleep and dreams of a gathering with some old friends in an inn along the river. The text does not make it explicitly clear that Yu is dreaming. This becomes fully clear only when the boatman wakes Yu as they approach Diaotai. &lt;br /&gt;
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在去钓鱼台的船上，赏风景赏累了，他睡着了，梦见和几个老朋友在河边的客栈里聚会。文中并没有明确表示郁达夫是在做梦，只有当船夫在接近钓鱼台的时候把他叫醒，这才变得完全清楚。--[[User:Luo Yuqing|Luo Yuqing]] ([[User talk:Luo Yuqing|talk]]) 02:48, 13 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
In his dream, the friends chat and make merry, but after all has been said and done, the atmosphere turns cheerless and awkward. At the center of the dream is a poem Yu composed a few years ago at a similar occasion. It is a political poem written in traditional septa-syllabic regulated verse style, lamenting the chaotic state of the country and expressing the dissatisfaction of intellectuals with the government.&lt;br /&gt;
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在他的梦里，朋友们聊天，嬉戏，但这一切都结束后，气氛变得不愉快和尴尬起来。梦的中心是一首郁达夫几年前在类似场合写的一首诗。这是一首以传统的中隔音节律诗体写成的政治诗，哀叹国家的混乱状态，表达知识分子对政府的不满。--[[User:Luo Yuqing|Luo Yuqing]] ([[User talk:Luo Yuqing|talk]]) 02:48, 13 December 2020 (UTC)&lt;br /&gt;
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在去钓鱼台的船上，郁达夫疲于赏景，而后进入梦乡。他梦见和几个老朋友在河边的客栈里聚会。文中并未表明这是郁达夫在做梦，只有当船夫在临近钓鱼台叫醒他时，一切才水落石出。&lt;br /&gt;
在他的梦境里，朋友们一起聊天、嬉戏，但当一切都结束后，气氛变得无趣且尴尬。梦的中心出现郁达夫几年前在类似场合写的一首诗。这是一首以传统的中隔音节律诗体写成的政治诗，其哀叹国家的混沌，表达知识分子对政府部门的不满。&lt;br /&gt;
--[[User:Liu Zhiwei|Liu Zhiwei]] ([[User talk:Liu Zhiwei|talk]]) 09:42, 13 December 2020 (UTC)&lt;br /&gt;
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==Ma Juan 马娟==&lt;br /&gt;
One prominent traditional image in the poem is the loyal official who, “feigning madness,” (yang kuang) speaks the truth that goes unheeded. Here, a well-known traditional gesture is embedded in a text within a text. Before the gesture can come to full fruition, however, it is again terminated, this time by the boatman who wakes Yu.&lt;br /&gt;
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在这首诗中，一个突出的传统形象是这个忠诚的官员，他假装疯狂（佯狂）地说出了未被注意的真理。这里，一个众所众知的传统手势被嵌入到文本中的文本中。然而，在做这个手势之前，他这一次再次被叫醒于的船夫终止了。&lt;br /&gt;
Significantly, Yu's perception of his surrounding has completely changed. Before falling asleep, he saw green mountains encasing the clear river and sandbanks with blossoming flowers; in short, tranquil and picturesque scenery. As the boat approaches Diaotai, however, “river and mountain scenery all around had suddenly changed.” (文献无需翻译)&lt;br /&gt;
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很明显，于对他周围的看法改变了。在入睡之前，他看见连绵的青山环绕清澈的河流，沙洲上百花盛开，总之就是一幅祥和的如画风景。然而，当船接近钓台时，周围的山水画已经不知不觉间改变了。&lt;br /&gt;
&lt;br /&gt;
Zhu Ziqing, “Jiangsheng dengyingli de qinhuaihe,” Zhongguo xiandai youji xuan, eds. Ma Zhonglin, Yang Guozhang, and Wang Zhonghua (Beijing: Zhongguo lüyou chubanshe, 1982) 95.(文献无需翻译)&lt;br /&gt;
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Yu Dafu, “Diaotai de chunzhou,” Zhongguo xiandai youji xuan, eds. Ma Zhonglin, Yang Guozhang, and Wang Zhonghua (Beijing: Zhongguo lüyou chubanshe, 1982) 204.&lt;br /&gt;
&lt;br /&gt;
Yu Dafu, 206(文献无需翻译)--[[User:Majuan|Majuan]] ([[User talk:Majuan|talk]]) 10:44, 13 December 2020 (UTC)&lt;br /&gt;
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==Ma Shuya 马淑雅==&lt;br /&gt;
The river has narrowed and the mountains have moved extremely close, “as if ahead was no further way.”  The towering mountains create an oppressively lonely atmosphere, in which even the sound of the oars seems disheartened; the echo is audible only after a long while, amplifying the “ancient silence,” the “silence of extinction”  enveloping the boat. The sun is gone, and only a soughing wind comes and goes. &lt;br /&gt;
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The surrounding has turned ominous. Yu’s anticipation turns into apprehension. Compared to his reverie on Tongjun Mountain, Yu now perceives Diaotai as desolate and gloomy, eerily echoing the chaos and tumult evoked in his poem. He describes dilapidated stone structures overgrown with weeds.&lt;br /&gt;
==Ma Zhixing 马智星==&lt;br /&gt;
Approaching Yan Ziling’s ancestral hall, now no more than decrepit walls and broken tiles, Yu begins to feel “a little afraid, afraid to encounter the ghost of Master Yan, old and dried-up like strips from a towel gourd.”  Yu’s rapidly growing skepticism and discomfort upon approaching the setting further suggest the impossibility to find meaning and identity by adopting traditional gestures in places.&lt;br /&gt;
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On the Fishing Terrace, Yu is curiously reminded of a postcard depicting the William Tell Memorial Hall and its scenery in Switzerland. The colors of mountains and rivers he sees from Diaotai are strikingly similar to those on the “collotype postcard.”&lt;br /&gt;
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==Meng Ying 孟莹==&lt;br /&gt;
However, in the scenery he views from Diaotai, “the variations are a little greater, the surrounding in all directions is just a little more jumbled and chaotic, that’s all, but this is actually a plus, enough to represent the East’s desolate beauty of national degeneration.”  Ironically, Yu’s comparison between the postcard picture and his view stresses the similarities between the colors of the landscapes only. He views a place that in its very structure carries the marks of present crisis. Associating his description of the scenery with Switzerland generally associated with national stability and social order only intensifies the image of national chaos and debility. &lt;br /&gt;
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==Mo Ling 莫玲==&lt;br /&gt;
Superficially conforming to the traditional gesture of contemplating (and lamenting) place and past, the comparison here is not one between present and past, but one between two presents. Yu's view evokes scenery on a foreign postcard, which in its modern photographic quality and miniature size cannot evoke the past, challenging the idea of a traditional gesture. &lt;br /&gt;
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After having had some wine in the hall, Yu walks up to the Buddhist shrine whose derelict walls are covered with poems, most of them of poor quality. In a corner near the ceiling, he finds an inscription by the Qing loyalist and fellow villager Xia Lingfeng (Xia Zhenwu, 1854-1930), whose commitment Yu admires despite objecting to Xia’s political convictions. Yu inscribes the poem from his dream next to Xia’s.&lt;br /&gt;
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这里的对比并非介于今昔之间，而是两个现在时间的对比，从表面上看，这与传统的伤怀表达方式不谋而合。余想起了外国明信片上的风景，其现代摄影质量和微型尺寸无法唤起过去，因而挑战了传统的表达方式。&lt;br /&gt;
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在祠堂里喝了点酒后，俞走到佛龛前，佛龛斑驳的墙壁上满是诗词，其中大部分文采平平。在天花板附近的一个角落里，他发现了一首由夏灵凤（夏振武，1854-1930）题的词，夏灵凤是清朝的拥护者，也是本村的村民。尽管余反对夏灵凤的政治信念，但他仍然钦佩他的忠诚。因而余在夏灵凤的词旁边也作了一首诗。--[[User:Mo Ling|Mo Ling]] ([[User talk:Mo Ling|talk]]) 12:32, 9 December 2020 (UTC)Mo Ling&lt;br /&gt;
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虽然表面上符合传统的伤怀表现手法，但这里并非今昔对比，而是两个现时的比较。余秋雨的观点让人联想到外国明信片上的风景，以其现代摄影的质量和微型尺寸无法唤起过去，挑战了传统的表达方式。&lt;br /&gt;
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在祠堂里喝了点酒后，余秋雨走到佛龛前，佛堂废弃的墙壁上挂满了诗词，其中大都文采平平。在天花板附近的一个角落里，他发现了清朝忠臣、同乡夏灵凤（夏振武，1854-1930）的题词，虽反对夏的政治立场，但他还是很欣赏夏的忠诚，因将梦中的诗词题在夏的旁边。--[[User:Lin Xin|Lin Xin]] ([[User talk:Lin Xin|talk]]) 07:05, 10 December 2020 (UTC)&lt;br /&gt;
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==Mo Nan 莫南==&lt;br /&gt;
Initially, Yu's act of inscribing the poem suggests that he sympathizes and identifies with Xia. However, since Yu does object to the substance of Xia’s ideals and motives, the gesture of writing a poem next to Xia’s only stresses the ambiguity of such an act. With the gesture of inscribing his poem along with others of inferior quality and next to that of a Qing loyalist Yu willingly obscures his own political stance and inadvertently questions the relevance of his act. The traditional-style poem placed in an obscure corner on the wall as one among many is ineffective, and the gesture of inscribing it loses its significance. Yu’s position and role in his time and place remains ambiguous and difficult to define. Ironically, while Yu’s essay saves the poem and its context from obscurity, it also exposes the very ambiguity of his act.&lt;br /&gt;
==Nie Xiaolou 聂晓楼==&lt;br /&gt;
'''Self-referential strategy in Fang Lingru’s ''Langyashan'''''&lt;br /&gt;
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By foregrounding a texts’ constructedness, self-referential strategies question the idea of a texts’ definite and authoritative meaning. Suggesting the texts’ plurality of meaning further substantiates their significance in negotiating perspectives, positions, and identities.&lt;br /&gt;
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Concluding the narration of her two-day trip, Fang Lingru writes: “There are still many more scenic spots and ancient sites on Langya Mountain; if it’s meant to be, I’ll come another time to visit again. ''There is nothing more I can add to this piece'' (my emphasis).”  &lt;br /&gt;
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Fang Lingru, “Langyashan youji,” ''Zhongguo xiandai youji xuan'', eds. Ma Zhonglin, Yang Guozhang, and Wang Zhonghua (Beijing: Zhongguo lüyou chubanshe, 1982) 148.&lt;br /&gt;
==Ou Rong 欧蓉==&lt;br /&gt;
Yet, she goes on to recommend a particular dish and wine the group had at a restaurant in Chuzhou before returning to Nanjing. This rather banal and anticlimactic addendum to her narrative is then followed by two more paragraphs, describing her sentiments upon returning home. &lt;br /&gt;
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When I got home, it was already ten o’clock at night, and a fine drizzle filled the air. Just before leaving, the old monk Shangkuan had tied three Spring Azalea sprigs to my rickshaw, which I planted immediately upon coming home. Now the twigs have already developed tender sprouts; by this time next year, they will blossom. XX named them “Bodhi Shangkuan.”&lt;br /&gt;
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然而，在返回南京之前，她继续推荐该伙人在滁州一家饭店享用过的特殊菜肴和美酒。然后，在她叙述的这个平淡而滑稽的附录中再加上了两段，描述了她回家后的情绪。&lt;br /&gt;
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当我回到家时，已经是晚上十点了，细雨蒙蒙。临走时，老和尚尚宽把三只杜鹃花春天的小树枝绑在了我的人力车上，我刚回家时就把它们种了下来。现在，树枝已经长出嫩芽了。到明年这个时候，它们将会开花。 XX将其命名为“菩提上宽”。--[[User:Ou Rong|Ou Rong]] ([[User talk:Ou Rong|talk]]) 08:02, 13 December 2020 (UTC)Ou Rong&lt;br /&gt;
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然而，在返回南京前，她继续给这些人推荐他们此前在滁州一家饭店已经吃过的特别菜肴和美酒。她的叙述非常乏味且跟着一个虎头蛇尾的附录。之后，这段叙述之后又加了两端来描写她回家后的感受。&lt;br /&gt;
当我回到家，已经深夜十点了，且下着淅淅沥沥的小雨。在离开前，老和尚上宽把三个春季的杜鹃花小枝绑在了我的人力车上，一回家我就立即把它们种了。现在，这些小枝已经长出嫩芽了。明年这个时候，它们就会开花了。XX给其取名为“菩提上宽”--[[User:Majuan|Majuan]] ([[User talk:Majuan|talk]]) 11:06, 13 December 2020 (UTC)&lt;br /&gt;
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==Ouyang Jinglan 欧阳静兰==&lt;br /&gt;
I’ve been feeling extremely tired lately, but thinking back to the trip into the mountains, I can say that it was flawless, and I have no regrets.  &lt;br /&gt;
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It is a cliché to state at the end of a text that nothing can be added. Fang’s appended restaurant and food recommendation suggests her eagerness to relate every detail from the trip. However, extending her narrative by two paragraphs, she effectively contradicts her own assertion that everything worth saying has been said. This contradiction and the contrast between her matter-of-fact-style in which she ostensibly ends the essay and the intimate tone and personal content of the concluding paragraphs highlight the act of writing and constructing the text.&lt;br /&gt;
==Ouyang Ling 欧阳玲==&lt;br /&gt;
The final paragraphs further question the effect of adopting traditional gestures to find stable meaning and purpose in and through one’s surroundings. For Fang the gesture of translating visits to sites and ruins into detailed description evoke the past is not sufficient. Her encounter with the monk ultimately renders her experience on Langya Mountain significant. The flowers she received from him signify the possibility of growth, nurturing, and encouragement. By contrast, the significance of the sites themselves remains ambiguous.&lt;br /&gt;
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文中最后几段，方令孺进一步质疑了传统手势的效果，在传统手势中，文章的意义和目的仅仅通过环境体现出来。对方令孺来说，如果运用简单的翻译手势，只是详细描述到访的琅琊山遗址是远远不够的，因为与那名僧人的相遇才是她琅琊山一行最有意义的事情，她从僧人那里收到的花代表着生长的可能性、象征着养护和激励，相比之下，琅琊山遗址本身的意义确是模糊不清的。--[[User:Ouyang Ling|Ouyang Ling]] ([[User talk:Ouyang Ling|talk]]) 08:49, 10 December 2020 (UTC)Ouyang Ling&lt;br /&gt;
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在文中最后几段，方令孺进一步质疑了采用传统手势在环境中寻找稳定意义和目的而产生的效果。对方令孺来说，只对到访的琅琊山遗址进行详细描述是远远不够的。遇见这名僧人让她的琅琊山一行意义非凡。她从僧人那里收到的花象征着成长、呵护和鼓励。相比之下，琅琊山遗址本身的意义仍然是模糊的。--[[User:Peng Xiaoling|Peng Xiaoling]] ([[User talk:Peng Xiaoling|talk]]) 04:54, 11 December 2020 (UTC)&lt;br /&gt;
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==Peng Dan 彭丹==&lt;br /&gt;
The last two paragraphs of Fang’s essay complete the framework of personal reflection that encases the largely dispassionate narration of her trip. Personal memory is the ultimate locus of meaningful experience and the creative force underlying the essay. Exhausting facts and details in representing an experience does not bring a text to its end despite assertions to the contrary. Fang’s last sentence suggests that remembering the trip in close connection with the human encounter constitutes a source of satisfaction for her, rather than the emulation of traditional gestures that seem to promise an authoritative rendition of place and time. &lt;br /&gt;
==Peng Juan 彭娟==&lt;br /&gt;
Her memory and text are like the plant, living and changing. The gesture of announcing the end of her text is undermined by that same texts’ continuation. The self-referential strategy in Fang’s essay ultimately affirms possibility and potentiality not completeness and finality.&lt;br /&gt;
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Conclusion&lt;br /&gt;
The attempt to adopt established poetic gestures in Zhu, Yu, and Fang’s essays does not dispel the writer’s uncertainty and ambivalence in navigating, redefining, and asserting his (or her) role in a changed and changing environment. In each essay, various elements question reliability and significance of these gestures, highlighting the ambiguity of the writer’s experience and position in the places he visits.&lt;br /&gt;
Her memory and text are like the plant, living and changing. The gesture of announcing the end of her text is undermined by that same texts’ continuation. The self-referential strategy in Fang’s essay ultimately affirms possibility and potentiality not completeness and finality.&lt;br /&gt;
&lt;br /&gt;
'''Conclusion'''&lt;br /&gt;
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The attempt to adopt established poetic gestures in Zhu, Yu, and Fang’s essays does not dispel the writer’s uncertainty and ambivalence in navigating, redefining, and asserting his (or her) role in a changed and changing environment. In each essay, various elements question reliability and significance of these gestures, highlighting the ambiguity of the writer’s experience and position in the places he visits.&lt;br /&gt;
她的记忆和文章如同植物一般，充满活力且不断变化着。她宣布文本的结束，为相同文本的延续所破坏。方舟子论文中的提到的自我参照策略最终肯定了可能性和潜能，而非完整性和终结性。最终的结论就是，在朱、余、方的散文中采用的传统诗歌节奏并没有消除作者的不确定性和矛盾心理。在每篇文章中，不同的因素素质疑这些姿态的可靠性和意义，突出了作家的经验和地位在其所参观过地方的模糊性。--[[User:Pengjuan|Pengjuan]] ([[User talk:Pengjuan|talk]]) 08:01, 13 December 2020 (UTC)pengjuan&lt;br /&gt;
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==Peng Ruihong 彭锐宏==&lt;br /&gt;
Traditionally, the poet contemplating place and past was a solitary figure estranged from his times and surroundings, often questioning the present state of affairs. From the perspective of literary history, however, sharing this gesture and its variations with other poets in a long line of succession offered writers a way to secure rather than question their role and identity. Through canon formation and the writing of literary history, acts and themes such as contemplating places and past came to be understood as customary endeavors gaining and increasing their significance from their perceived continuity. Such understanding is part of the ''construction of traditions'' to legitimize poetic authority and continuity, or - as during the May Fourth movement - change and eradication.  &lt;br /&gt;
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Relevant to the argument here is the idea of canon formation and the way it works. The argument does by no means suggest that all texts based on or containing certain traditional gestures and conventions are indeed similar and unchanged over the long pre-modern period. Nor does it suggest that in pre-modern travel and landscape writings the writer can indeed successfully confirm his identity and role through following the conventions of his time. （文献无需翻译）&lt;br /&gt;
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传统上，这位诗人考虑的地方和过去是一个与他的时代和周围环境疏远的孤独人物，经常质疑现在的事态。但是，从文学史的角度来看，与其他诗人一路相继分享这种姿态及其变化，为作家提供了一种确保而不是质疑其角色和身份的方式。 通过教规的形成和文学史的写作，诸如冥想地点和过去之类的行为和主题被理解为习惯性的努力，这些努力和主题从其连续性中获得并增加了其重要性。种理解是使诗歌权威和连续性合法化的“传统建构”的一部分，或者像在“五四”运动中那样，改变和根除。&lt;br /&gt;
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与这里的论点相关的是佳能形成的思想及其运作方式。 该论点绝不暗示所有基于或包含某些传统手势和约定的文本在很长的前现代时期中确实是相似且不变的。 它也没有暗示在前现代的旅行和风景画中，作家确实可以通过遵循当时的惯例成功地确认其身份和作用。--[[User:Peng Ruihong|Peng Ruihong]] ([[User talk:Peng Ruihong|talk]]) 07:02, 10 December 2020 (UTC)&lt;br /&gt;
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==Peng Xiaoling 彭小玲==&lt;br /&gt;
Instead of confirming the writer’s authority as mediator and interpreter of time and place, traditional gestures in modern essays such as Zhu, Yu, and Fang’s foreground his precarious role and position within his time and place. Attempting to adopt traditional gestures ultimately exposes the gestures as constructs that do not provide an indisputable way of understanding and representing surroundings and one’s position and role in them. &lt;br /&gt;
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By deconstructing the cultural and literary traditions, May Fourth intellectuals and writers tried to establish a practical dichotomy between conservative past and progressive present and future to confer authority upon the modern text.&lt;br /&gt;
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朱、俞、方等人的现代散文没有肯定作者作为时间、地点的中间人和译者的权威，而是强调作者在时间和地点中的不稳定角色和地位。采用传统手势最终会将手势揭示为一种构造，而这种构造并没有为再现环境及理解手势的地位和作用提供一种无可争辩的方式。&lt;br /&gt;
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通过解构文化和文学传统，五四知识分子和作家试图在保守的过去与激进的现在甚至未来之间建立一种实用的赋予现代文本权威性的二分法。--[[User:Peng Xiaoling|Peng Xiaoling]] ([[User talk:Peng Xiaoling|talk]]) 04:53, 11 December 2020 (UTC)&lt;br /&gt;
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朱自清、郁达夫和方令孺等人在现代散文中的传统姿态非但没有确认作家作为时间、地点的中间人和译者的权威，反而凸显了他们在时间和地点中不稳定的角色和地位。试图采用传统姿态最终揭示作家姿态的方式称之为建构，这种建构并不能为理解和再现境以及作家在其中的地位和角色提供一种无可争议的方式。&lt;br /&gt;
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五四知识分子和作家通过对文化和文学传统的解构，试图在保守的过去和进步的现在与未来之间建立一种赋予现代文本权威的实用二分法。--[[User:Chen Han|Chen Han]] ([[User talk:Chen Han|talk]]) 14:03, 11 December 2020 (UTC)&lt;br /&gt;
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==Peng Yongliang 彭永亮==&lt;br /&gt;
As the above readings show however, modern texts inevitably comprise a ''discourse'' on what is made out to be tradition and modernity. This discourse inscribes, negotiates, and transforms tradition within the modern text albeit in an ever varying and irrepressible way. The texts’ complexity, subtexts, and plurality of meaning arises from a ''negotiation'' between familiar conventions and new and modern perspectives in search of identities, roles, and positions in a changing time and place. Ultimately, the texts are texts on writing as a continuous endeavor and exploration and thus texts on the open-ended nature of essays.&lt;br /&gt;
==Peng Yuzhi 彭育志==&lt;br /&gt;
'''From Historical Narrative to the World of Prose: The Essayistic Mode in Contemporary Chinese Literature'''&lt;br /&gt;
&lt;br /&gt;
''Wang Ban''&lt;br /&gt;
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'''Abstract'''&lt;br /&gt;
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As a genre, the essay in contemporary China can be seen as a symptom of the decline of historical consciousness and narrative.  This comes through most sharply when compared with the previously established literary paradigm: the Chinese novel in the realistic mode.  For many decades the fiction of revolutionary realism served as ideological apparatus and medium for providing coherent temporal perceptions about past, present, and future.&lt;br /&gt;
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'''从历史叙事到散文世界: 当代中国文学的散文模式'''&lt;br /&gt;
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''王班''&lt;br /&gt;
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'''摘要'''&lt;br /&gt;
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散文作为一种体裁在当代中国被视作历史意识和叙事走向衰弱的象征。当将其与先前建立的文学典范—现实主义模式的中文小说对比时，这一点尤为明显。数十年来，革命现实主义的小说都是意识形态的工具和媒介，它为提供连贯的对于过去，现在和未来的时间观念而服务。--[[User:Peng YuZhi|Peng YuZhi]] ([[User talk:Peng YuZhi|talk]]) 11:41, 11 December 2020 (UTC)&lt;br /&gt;
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'''从历史叙事到散文世界:中国当代文学的散文化模式'''&lt;br /&gt;
&lt;br /&gt;
''王班''&lt;br /&gt;
&lt;br /&gt;
'''摘要'''&lt;br /&gt;
&lt;br /&gt;
散文作为一种文学体裁，在当代中国被视为是一种历史意识和叙事意识衰落的表现。与之前确立的文学范式——现实主义模式下的中国小说相比，这一点表现得最为明显。几十年来，革命现实主义小说一直作为一种意识形态工具和媒介，提供了关于过去、现在和未来的连贯的时间感知。--[[User:Li Luyi|Li Luyi]] ([[User talk:Li Luyi|talk]]) 06:00, 13 December 2020 (UTC)&lt;br /&gt;
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'''从历史性叙事到散文世界：中国当代文学的散文模式'''&lt;br /&gt;
&lt;br /&gt;
''王班''&lt;br /&gt;
&lt;br /&gt;
'''摘要'''&lt;br /&gt;
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散文是一种文学体裁，中国当代的散文可以被视为历史性意识和叙事的衰落象征。与之前已建立的文学范式对比可明显得出这个结果：现实主义模式下的中国小说。许多年来，小说中革命性的现实主义是作为对过去，现在和未来提供连贯短暂的感知力的意识形态的结构和中介而服务的。--[[User:Wu Qi|Wu Qi]] ([[User talk:Wu Qi|talk]]) 10:00, 13 December 2020 (UTC)&lt;br /&gt;
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==Qi Kai 漆凯==&lt;br /&gt;
The realistic novel's central assumption is epic best described by Georg Lukacs, who construes the epic form as a projected ideal that is realizable through narrated social and historical actions.  Little thought needs to be taken to see that a revolutionary epic is a strenuous but finally triumphant harmony of ideal and reality.  The rise of the essay in the recent decades epitomizes the turn of literary writing from the epic coherence of ideal and life to the dispersed and fragmented sensory or sensual pleasures and sheer appreciation of images or anecdotes.&lt;br /&gt;
==Qu Miao 瞿淼==&lt;br /&gt;
The essay retreats from historical consciousness and responds warmly and lightheartedly to the advent of consumer culture.  It is designed to satisfy the modest needs of the urban consumer whose sensibility is becoming “essayistic,” prosaic, ahistorical and everyday, preoccupied with the most intimate and quotidian matters.  This paper takes a look back at Eileen Chang's thinking on the essay and attempts to trace the linkage between the modern essay and the rise of urban consumer culture.  Then through an analysis of Wang Anyi's novella ''The Story of Our Uncle'' (Shushu de gushi), I demonstrate how the retreat from historical consciousness to what I would call the essayistic structure of feeling is dramatized by Wang's groping, explorative essay/fiction. &lt;br /&gt;
==Quan Meixin 全美欣==&lt;br /&gt;
The main character Uncle's career illustrates the waning of historical consciousness.  This paper seeks to point out that the essay's ambivalence lies in its freedom from the straitjacket of the grand narrative and in its contribution to the withering of historical consciousness in the rising consumer culture in China.  &lt;br /&gt;
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'''The Essay and the Novel'''&lt;br /&gt;
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The essay as a cultural form can be grasped in its relation to the novel.  In twentieth-century China the novel in the epic, realistic mode had been the dominant form of literature and a pivotal ideological apparatus--probably up to the mid-1980s.  The Chinese realistic novel can be construed as epic in the way formulated by Georg Lukács.&lt;br /&gt;
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==Sagara Seydou ==&lt;br /&gt;
Its epic characteristic lies in its historical scope and teleology, its engagement with social and political issues, its intertwining of the individual's fate with collective projects, its aesthetics of the exemplary hero, and its striving for transcendence within everyday immanence.  The novel of socialist realism in the Mao era strove to achieve an imaginary unity of transcendent ideals and quotidian reality.  It depicts a universe in which the world and the self “never become permanent strangers to one another” (Lukács 29) and the individual's growth is of one piece with communal destiny.  In the post-Mao era, often dubbed the New Period, works of fiction appeared to be different but were still imbued with an epic impulse. &lt;br /&gt;
==Shi Diwen 石迪文==&lt;br /&gt;
It is true that the 1980s saw the emphatic upsurge of interest in the subjectivity of the autonomous individual, but far from an atomistic ego of appetitive self-interest, fictional characters were still figured as the subject of history.  For all its seeming revolt against the previously dominant mode, the image of the newly awakened modern self in the fiction of the New Period went hand in hand with the socio-historical process of socialist modernization, individuals serving as agents of this process.  Thus, Fredric Jameson's concept of national allegory--in which the individual's fate tells a larger story of collective destiny – was well received in Chinese criticism and made to apply with equal ease to the realistic novel of the Mao era as well as those advocating reforms.  &lt;br /&gt;
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Critics have noted that in the 1980s thought emancipation movement (sixiang jiefang), the fundamental literary mode and historical consciousness were derived from the Hegelian-Marxist version of the unity of subject and object, the individual and history.  So the self that was upheld was not an autonomous self cut off from the collectivity of social processes, but was assimilated and modeled by the requirements of the modernization drive.  See Qi Shuyu, 103-104.（文献无需翻译）&lt;br /&gt;
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诚然，在20世纪80年代，人们对自主个体的主体性产生了浓厚的兴趣，但小说中的人物角色远不是出于利己主义的欲望，而是仍然被视为历史的主体。新时期小说中新觉醒的现代自我的形象与社会主义现代化的社会历史进程携手前行，个人充当了这一进程的代理人。因此,詹姆逊的国家概念的寓言——个人的命运讲述一个更大的集体命运——在中国大受好评的批评,使平等轻松地应用于毛泽东时代的现实主义小说,以及那些鼓吹改革。&lt;br /&gt;
批评家们注意到，在20世纪80年代的思想解放运动中，主体与客体、个体与历史统一的黑格尔-马克思主义版本衍生出了基本的文学模式和历史意识。因此，所维护的自我并不是一个脱离社会过程的集体的自主的自我，而是被现代化进程的要求同化和塑造的自我。可见 Qi Shuyu, 103-104.--[[User:Shi Diwen|Shi Diwen]] ([[User talk:Shi Diwen|talk]]) 06:46, 13 December 2020 (UTC)&lt;br /&gt;
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==Shi Haiyao 石海瑶==&lt;br /&gt;
If this view of the novel sounds anachronistic to contemporary China, we may justify it by a reference to the striven-for unity of revolutionary ideals and social reality, of theory and practice, a prominent tenet in the utopian legacy of Marxism.  As literary counterpart of this projected unity the Chinese realistic novel presents a mythical and epic structure in which dream and history, individual and collective become one.  In Lukács the epic is contracted with the novel, because the latter is a form stripped of the former’s immediate and unproblematic unity of ideal and reality (56).&lt;br /&gt;
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如果这部小说的观点在当代中国听起来不合时宜，我们可以通过引用革命理想和社会现实、理论和实践的统一来证明其合理性，这是马克思主义乌托邦遗产中的一个突出宗旨。作为这种统一性的文学对应物，中国现实主义小说呈现出一种神话和史诗结构，在这种结构中，梦想和历史、个人和集体成为一体。 在卢卡斯看来，史诗是缩略的小说，因为后者是一种脱胎于前者的直接的、没有问题的理想与现实的统一的形式(56)。--[[User:Shi Haiyao|Shi Haiyao]] ([[User talk:Shi Haiyao|talk]]) 13:41, 13 December 2020 (UTC)&lt;br /&gt;
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如果这部小说的观点在当代中国听上去不合时宜，那么我们可以参照争取革命理想与社会现实、理论与实践的统一来证明其正确性，这是马克思主义乌托邦遗产中一个突出的信条。作为这种统一性的文学对应物，中国现实主义小说呈现出一种梦想与历史、个人与集体合一的神话史诗结构。在卢卡斯看来，史诗与小说紧密相连，因为后者是一种剥离了前者直接的、毫无问题的理想与现实统一的形式（56）。--[[User:Zhou Luoping|Zhou Luoping]] ([[User talk:Zhou Luoping|talk]]) 14:01, 13 December 2020 (UTC)&lt;br /&gt;
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==Si Yu 司妤==&lt;br /&gt;
In other words, the novel in the Western realistic tradition is troubled by the intrusion of time, which causes fractures in the epic, time-defying harmony between self and collectivity, dream and actuality.   But Lukács still insists that the novel is a kind of epic, because it strives to close the fissures created by the gap of time, hence potentially able to attain the epic status on a higher level. &lt;br /&gt;
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The gap between ideal and reality is minimized in the Chinese novel, which appears to be more epic than the realistic novel in the West.  The novel of revolutionary realism is closer to poetry, marked with tremendous lyricism, as Charles Laughlin notes with regard to the socialist sanwen in his essay “Incongruous Lyricism” in this volume.&lt;br /&gt;
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换句话说，西方现实主义传统小说因受到时间的侵扰而困扰，这种侵扰导致自我与集体、梦境与现实之间的史诗性、时间性和谐出现裂痕。但是卢卡斯仍然坚持小说也是一种史诗，因为小说试图对时间差造成的断裂进行修复，因此有潜在可能达到更高层次的史诗地位。&lt;br /&gt;
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在中国小说里，理想和现实的差距被最小化，中国小说看起来似乎比西方的现实小说更加具有史诗性质。革命现实主义小说更接近于诗，同时巨大的抒情性为标志，正如查尔斯·劳夫林在本卷文章“不协调的抒情诗”中提到的社会主义散文那样。--[[User:Si Yu|Si Yu]] ([[User talk:Si Yu|talk]]) 14:48, 12 December 2020 (UTC)&lt;br /&gt;
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==Song Jianru 宋建茹==&lt;br /&gt;
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It would not seem incongruous when lyrical exuberance, equated with revolutionary idealism and utopianism, is maximized in the novel as a way to transcend and close the gap between a historical time marked by imperialist invasions, sufferings, and poverty on the one hand, and the ultimate ideal of communism culminating in the epic harmony of ideal and reality, theory and practice, on the other.  The novel in this mode is supposed to be more than a text you read, curled up in your couch in a snowy winter night in solitary comfort.  It was ideological, educational, edifying, its grand narrative projecting material praxis.  It aimed to instigate you to go out into the streets or impoverished villages and get organized with other fellow humans to make history.&lt;br /&gt;
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和革命现实主义和乌托邦主义一样，慷慨激昂的抒情小说中一方面最大化地弥合了历史上帝国主义入侵时期苦难和贫穷之间的差距，另一方面，实现共产主义最终理想，实现理想与现实、理论与实践的史诗般的和谐。这种模式的小说应该远不止我们在寒冬飘雪的夜晚舒舒服服地蜷缩在沙发上阅读的文本。而是意识形态的、教育性的、启迪式的宏大叙事题材实践。这种小说旨在促使你上街或到贫穷的村庄，和其他人们组织起来创造历史。--[[User:Song Jianru|Song Jianru]] ([[User talk:Song Jianru|talk]]) 15:59, 13 December 2020 (UTC)&lt;br /&gt;
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==Su Lin  苏琳==&lt;br /&gt;
The rise of the essay in contemporary China is a sign that the novel in the epic mode has become an endangered species.  This is not merely the problem of genre, nor am I suggesting that readers are flocking to essays and abandoning novels.  My point is that the novel as a medium of envisioning social life and registering experiences of temporality is giving way to the essay, or more generally to the essayistic structure of sensibility.   I play with the idea of essayistic in order to refer to the essay as a canonical textual form as well as those discursive moments in other literary genres embodying an “essayistic” quality and a “prosaic” structure of feeling.&lt;br /&gt;
==Tan Xingyue 谭星越==&lt;br /&gt;
One crucial point to made is that this emotional structure accords with the everyday sensibility of a city-dweller and consumer.  This is one reason why it is instructive to contract the essayistic with the novel.  The essay deals with a prosaic and mundane world.  In Hayden White’s recapturing of Hegel’s distinction of poetry and prose, “The world in which prosaic utterance developed must be supposed to have been one in which experience had become atomized and denuded of its ideality and immediately apprehended significance, and voided of its richness and vitality” (87).This prosaic world of fragmented experience is to the Chinese novel as the Lukácsian novel is to the epic: a fall from an original oneness.  In contemporary China, neither the novel nor poetry seems to be a means of closing this widened gap.  My purpose in the essay is to examine the position of the essayistic in relation to the novel, and the related sensibilities in relation to history.&lt;br /&gt;
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关键的一点是，这种情感结构与城市居民和消费者的日常情感相符。这就是为什么说把散文家和小说联系起来是有益的。散文处理的是一个平淡且平凡的世界。在海登怀特对黑格尔的诗歌和散文的区分的重述中，他指出，&amp;quot;在散文性语句发展的世界里，经验已经被原子化，它的理想性和即刻领会的重要性被剥夺，它的丰富性和生命力丧失&amp;quot;（87）。这个由碎片化经验构成的散文性世界对于中国小说来说就像卢卡斯小说对于史诗的意义一样：从原始的单一性中堕落。在当代中国，无论是小说还是诗歌，似乎都不是弥合这一差距的手段。本文旨在考察散文家在小说中的地位，以及与历史相关的情感。--[[User:Tan Xingyue|Tan Xingyue]] ([[User talk:Tan Xingyue|talk]]) 07:39, 13 December 2020 (UTC)&lt;br /&gt;
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==Tan Xinjie 谭鑫洁==&lt;br /&gt;
The Hegelian Marxist perspective I sketched earlier is helpful here for understanding the shift from the novel to the essay.  For Hegel art is necessary because it strives for a seamless, organic apotheosis of transcendent spirit and mundane reality.  This view, though historical, can lead to two contradictory conclusions.  In Hegel art is historical because it is a stage of the Spirit's journey to its self-realization.  As art evolves as historically transitory forms of the Spirit, the movement of history leads to the abolition of certain forms of art, or the demise of art altogether.  On this account the novel would be a casualty of the Spirit’s historical movement and self-realization.   For Hegel art becomes problematic and obsolete because the “world of prose” has attained the empirical form erstwhile aspired to by art.  In the world of prose, the Spirit has realized itself both in thought and in socio-political praxis, exemplified by the Prussian state.&lt;br /&gt;
我前面所概述的黑格尔马克思主义观点有助于理解从小说到散文的转变。对于黑格尔来说，艺术是必要的，因为它努力实现超越精神和世俗现实的无缝、系统的神化。 这一观点虽然是历史的，但可以得出两个相互矛盾的结论。 黑格尔认为艺术是历史性的，因为它是圣灵走向自我实现过程中的一个阶段。 当艺术演变为历史上短暂的精神形式时，历史运动导致某些形式的艺术被废除或者完全消亡。 因此，小说将成为圣灵历史运动和自我实现的牺牲品。对于黑格尔来说，艺术变得有疑问和过时，因为“散文世界”已经达到了过去艺术所渴望的经验形式。 在散文的世界中，圣灵在思想和社会政治实践中都实现了自己，普鲁士国家就是例证。--[[User:Tan Xinjie|Tan Xinjie]] ([[User talk:Tan Xinjie|talk]]) 11:35, 13 December 2020 (UTC)&lt;br /&gt;
我前面所概述的黑格尔马克思主义观点有助于理解从小说到散文的转变。对于黑格尔来说，艺术是必要的，因为它努力实现超越精神和世俗现实的无缝、系统的神化。 这一观点虽然是历史的，但可以得出两个相互矛盾的结论。 黑格尔认为艺术是历史性的，因为它是圣灵走向自我实现过程中的一个阶段。 当艺术演变为历史上短暂的精神形式时，历史运动导致某些形式的艺术被废除或者完全消亡。 因此，小说将成为圣灵历史运动和自我实现的牺牲品。对于黑格尔来说，艺术变得困难重重且过时，因为“散文世界”已经达到了过去艺术所渴望的经验形式。在散文的世界中，圣灵在思想和社会政治实践中都实现了自己，普鲁士国家就是例证。--[[User:Xu Jia|Xu Jia]] ([[User talk:Xu Jia|talk]]) 13:57, 13 December 2020 (UTC)Xu Jia&lt;br /&gt;
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==Tan Yuanyuan 谭媛媛==&lt;br /&gt;
The polity embodied by the Prussian state is for Hegel is the epitome of theory put into practice, a real image of realized art.  As Luckács remarked of Hegel, “Thus art becomes problematic precisely because reality has become non-problematic” (Lukács 17).&lt;br /&gt;
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Lukács, however, draws a contrary lesson from this historical, or more precisely the “end-of-history,” “end of art” thesis.  Taking issue with Hegel's view of art as “aestheticized” body politic, Lukacs argues that the problem of the novel is a mirror image of a world gone out of joint.  In modern times the novel is still alive as the impulse of art is still pressing.  The novel is aesthetically and epistemologically vital and necessary not because the established reality has achieved what art can only dream.  On the contrary, the novel is a desperate attempt to patch up a broken reality and inject little doses of meaning into a world emptied of spontaneous and totalisable significance.&lt;br /&gt;
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普鲁士国家所体现的政体是黑格尔是付诸实践的理论缩影，是现实艺术的真实形象。 正如拉克奇（Luckács）评论的黑格尔的那样，“正是因为现实变得没有问题，艺术才成为问题所在”（卢卡奇17）。&lt;br /&gt;
然而，拉克奇从这一历史，或更确切地说是“历史终结”，“艺术终结”的论点得到了截然不同的教训。 卢卡奇对黑格尔将艺术视为“审美化的”身体政治的观点持怀疑态度，他认为这本小说的问题是一个脱离世界的镜像。 在现代，由于艺术的冲动仍在继续，小说仍然活着。 这部小说在美学和认识论上至关重要，并且不是必需的，因为既定的现实已经实现了艺术只能梦想的东西。 相反，这部小说是拼命的尝试，以修补一个破碎的现实，并向一个空洞的，自发的和可累积的意义中注入很少的意义。--[[User:Tan Yuanyuan|Tan Yuanyuan]] ([[User talk:Tan Yuanyuan|talk]]) 06:46, 9 December 2020 (UTC)&lt;br /&gt;
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对于黑格尔来说，普鲁士王国代表的政体是理论成为现实的缩影，是现实艺术的真正形象。正如卢卡奇(Luckács)评价黑格尔时所说的：“正是因为现实变得没有问题，艺术就成了问题所在。”（卢卡奇 17）&lt;br /&gt;
然而，拉克奇从这一历史，或更确切地说是“历史终结”，“艺术终结”的论点中得到了截然不同的教训。卢卡奇不认同黑格尔“将艺术看作美学政体”的观点，他认为这部小说的问题是一个脱离世界的镜像。艺术的冲击力仍在继续，因此现代小说依然保持着其生命力。这部小说在美学和认识论上至关重要，这是必需的，并不是因为既定的现实已经实现了艺术只能梦想的东西。 相反，这部小说是拼命的尝试，以修补一个破碎的现实，并向一个空洞的，自发的和可累积的意义中注入很少的意义。--[[User:Chen Sunfu|Chen Sunfu]] ([[User talk:Chen Sunfu|talk]]) 07:59, 9 December 2020 (UTC)&lt;br /&gt;
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==Tang Bei 汤蓓==&lt;br /&gt;
Therein lies its modern irony, the irony of dreaming the perfection of the world while knowing acutely the impossibility of perfection.  Interestingly, Lukács' insight into the ironic, self-reflexive nature of the novel provides a glimpse on the condition of the essay.  In the Chinese realistic novel, to be sure, the historical totality of communist utopia emerging out of a mundane reality is the shining symbol of inspiration, bearing a superficial resemblance to the Hegelian realization of Spirit in the state.  But the faith in the final triumph of communist utopia and the attainment of a fully emancipated society is presumed by the novelistic discourse as law-like and predetermined, hence realistic and inevitable.  Thus the decline of the novel, the novel in the epic mode, can be read as the decline of the grand, Marxist narrative of historical teleology.  In contrast, the rise of the essay harbingers a more fragmentary, disjoint, and private form of signifying practice that is springing up in the cracks and gaps of a fallen reality, a world out of joint.&lt;br /&gt;
&lt;br /&gt;
==Tang Ming 唐铭==&lt;br /&gt;
The world out of joint is a compelling image of today's China going commercialized, globalized, and fragmented in all aspects of life.  The phrase “out of joint' here is meant to denote both the explosive vitality and disorienting chaos, the drama and trauma of the Chinese scene unfolding in the past decade.  To grasp China as a vast market place, a rising consumer society, an emergent culture of mass media and spectacles, I refer the reader to numerous reports by journalists, economists, and a vast number of essays written by writers who have recently turned to the personal essay as a forum.   Literature, as a historical vision and ideological apparatus, is hanging in the balance.&lt;br /&gt;
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脱节是当今中国在生活各个方面走向商业化、全球化和碎片化的一个引人注目的形象特点。在这里，“脱节”一词意指蓬勃发展的活力和令人困惑的混乱，以及过去十年中中国社会的戏剧性和创伤。要了解中国是一个巨大的市场，一个正在崛起的消费社会，一个新兴的大众媒体文化和奇观，我建议读者参考大量的记者、经济学家的报道，以及大量的文章，这些文章的作者最近转向个人文章作为论坛。文学作为一种历史的视野和意识形态的工具，悬而不保。&lt;br /&gt;
--[[User:Tang Ming|Tang Ming]] ([[User talk:Tang Ming|talk]]) 04:46, 10 December 2020 (UTC)Tang Ming&lt;br /&gt;
失控的世界是当今中国走向商业化、全球化和生活各方面碎片化的一个引人注目的形象。 这里的 &amp;quot;失控 &amp;quot;一词，既是指活力无限，也是指混乱不堪，以及过去十年中国社会戏剧性的创伤。 要了解中国这个庞大的市场、崛起的消费社会、新兴的大众传媒和文化奇观，我推荐读者阅读众多记者、经济学家的报告，以及近来转而以个人散文为阵地的作家所写的大量文章。  文学，作为一种历史眼光和意识形态的工具，正处于悬而未决的状态。--[[User:Li LIli|Li LIli]] ([[User talk:Li LIli|talk]]) 04:59, 11 December 2020 (UTC)Li Lili&lt;br /&gt;
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==Tang Yiran 汤伊然==&lt;br /&gt;
Like many other spheres of culture, it has become commodified and entered the marketplace, being packaged into one more item in the mass media and entertainment industry.  This altered social context is crucial to understanding the essay as a literary form and a cultural medium of expression in contemporary China.  But this link between the culture of commodity and the essay, or the essayistic mode of writing and feeling, is not a brand new phenomenon of the last decade.&lt;br /&gt;
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For a tracing of the historical linkage we may turn to the earlier period in modern literary history.  Eileen Chang's essays and her reflection on the essay form are the compelling and successful instance of the marriage between the essay and mass culture.  Nicole Huang’s paper in this volume looks at some aspects of this marriage as manifest in Chang’s essay.&lt;br /&gt;
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==Tao Ye 陶冶==&lt;br /&gt;
This marriage finds its new manifestations in the work of the contemporary writer Wang Anyi, who is writing in a renewed urban context in many ways similar to that of Chiang.  An analysis of Eileen Chang's thinking on the essay will help us understand Wang's work.  Eileen Chang's views give the essay form a clear shape as it emerged in an urban and consumer culture.  Wang Anyi's essays and especially the essayistic moments in her fiction mark the return of this consumer-oriented genre under new historical circumstances.&lt;br /&gt;
&lt;br /&gt;
'''Eileen Chang and the Essay in the Urban Setting'''&lt;br /&gt;
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The story and essay writer Eileen Chang has been seen as one source for Wang Anyi's work.  Although Eileen Chang wrote fictions of urban life set in Shanghai and Hong Kong in a mixture of traditional and modernist styles, her writing is a sharp contrast and an antidote to the grand narrative of the May Fourth Enlightenment and revolution in modern Chinese literature.&lt;br /&gt;
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This view of Hegel's on art is evoked by Lukács in his preface to ''The Theory of the Novel'', 11-23.&lt;br /&gt;
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==Wang Meiling 王美玲==&lt;br /&gt;
Her stories relish the irrelevancies, minor manias, trivia, and anxieties and depict random episodes of the urbanite's life.  The intriguing depiction of the narrow romance and personality of the petty urbanites, ''xiaoshimin'', is her forte and attraction.  The prose of life in a cramped and congested urban setting is not only the hallmark of her fiction, but also constitutes the major themes of her essays.  While her essays correspond to and illuminate her fiction, her thoughts on essay writing serve to highlight the aesthetic quality of the essayistic in modern Chinese literature. &lt;br /&gt;
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Eileen Chang's essay collection ''Floating Words'' (sometimes translated as ”Written on Walter”) is a compelling example of the essay as it emerged in Chinese urban culture.  In the opening essay entitled “The Child Utters his Words without Constraints” (Tongyan wuji) she equates her essays to the chatty, whimsical, and willful airing of pent-up feelings whenever and wherever she can, like an unrestrained child. &lt;br /&gt;
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==Wang Xuan 王轩==&lt;br /&gt;
Writers like her, she says, have little to do with earth-quaking, epoch-making historical events and should drop the dream of immortality attainable from self-portrayal by writing a popular autobiography.  The satisfaction and salvation for a writer are writing “bits and pieces about matters concerning oneself” (7).  The matters of self-concern, as Chang continues, include money, dress, eating, important personages and their grotesque undersides, and family relations.  Within a few pages of this first essay we have a range of sundry themes expressing interest in consumer habit, survival in the city, personal and social relations in an increasingly compartmentalized urban culture.  Running down the table of contents of this essay collection, we have trouble classifying what the essays focus on, except to say that they essay opinion and play around with perceptions just about anything in city life.  They touch upon whatever flickers through the mind, passes in view, appeals to the senses, any stereotypical or routine scenes or acts in the urban setting.&lt;br /&gt;
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她说，像她这样的作家，与惊天动地、划时代的历史事件没有什么关系，应该放弃通过写一部受欢迎的自传来实现自我刻画而获得不朽的梦想。一个作家的满足和救赎是写“与自己有关的事情的点滴”(7)。正如章所述，自我关心的事情包括金钱、衣食、重要人物及其怪诞的内在以及家庭关系。在第一篇文章的几页里，我们有一系列不同的主题来表达对消费者习惯的兴趣，在城市的生存，个人和社会关系在一个日益分割的城市文化。顺着这篇文集的目录往下看，我们很难对这些文章的重点进行分类，除了说它们发表的观点和对城市生活中任何事情的看法。它们触及任何在脑海中闪现、在视野中闪现、触动感官的东西，以及城市中任何刻板的、常规的场景或行为。--[[User:Xiao Shuangling|Xiao Shuangling]] ([[User talk:Xiao Shuangling|talk]]) 07:37, 10 December 2020 (UTC)Xiao Shuangling&lt;br /&gt;
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她说，像她这样的作家，与惊天动地、划时代的历史事件没有什么关系，应该放弃通过写一部受欢迎的自传来实现自我刻画而获得不朽的梦想。一个作家的满足和救赎是写“与自己有关的事情的点滴”(7)。正如章所述，自我关心的事情包括金钱、衣食、重要人物及其怪诞的内在以及家庭关系。在第一篇文章的几页里，我们有一系列不同的主题来表达对消费者习惯，在城市中生存，在一个日益分割的城市文化中个人和社会的关系的兴趣。顺着这篇文集的目录往下看，我们很难对这些文章的重点进行分类，除了说它们发表的观点和对城市生活中任何事情的看法。它们触及一切在脑海中闪现、在视野中闪现、触动感官的东西，以及城市中任何刻板的、常规的场景或行为。--[[User:Blank|Blank]] ([[User talk:Blank|talk]]) 05:17, 11 December 2020 (UTC)&lt;br /&gt;
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==Wang Yu 王煜==&lt;br /&gt;
There are, to give a taste of their randomness and miscellany, pieces about living in an apartment, beating up people, private and intimate words, shallow impressions about art, changing dresses, woman, rains, the umbrellas, even about a routine act of going upstairs.  &lt;br /&gt;
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While it is surely impossible to box these essays into a general category and abstract a unifying principle, Eileen Chang points beyond this charmed collection of essays to the grand historical narrative and thus provides a useful reference point for what the essay refuses to do.  If it is not clear what the essay is, Chang shows what it is not. She sees the essay in its withdrawal from and rejection of historical discourse and in its all-consuming absorption in the mundane and fragmented urban scenes.  The nature of the essay seems to lie in its irrelevance to history as a literary principle:&lt;br /&gt;
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为了展现他们的随意和杂乱，有很多关于公寓生活，打架斗殴，私密话语的碎片，对于艺术，服饰变换，女性，雨天，雨伞，甚至上楼这种日常动作的浅谈。&lt;br /&gt;
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当然这些文章不可能被归入一个大概范畴，从而抽象为一个统一的原则，但张爱玲在这本迷人的散文集之外，指出了宏大的历史性叙事，从而为这篇文章不能做的事情提供了一个有用的参考点。如果不明白某篇文章是什么，张会说明这篇文章不是什么。她认为这篇文章是对历史话语的回避和拒绝，是对世俗和支离破碎的城市场景的全身心地投入。这篇文章的本质似乎在于它与作为文学原则的历史无关：--[[User:Wang Yu|Wang Yu]] ([[User talk:Wang Yu|talk]]) 06:00, 13 December 2020 (UTC)&lt;br /&gt;
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为了让人感受到它们的随意性和杂乱感，有关于公寓生活，打架斗殴，私密话语等碎片化场景，有关于艺术、换衣服、女人、雨、雨伞等浅薄印象，甚至有关于上楼的这种日常动作，都被记录下了。&lt;br /&gt;
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虽然肯定不可能把这些文章归入一个大类，抽象出一个统一的原则，但张爱玲却把这本充满魅力的文章集指向了宏大的历史叙事之外，从而为散文拒绝做的事情提供了一个有益的参考点。如果不清楚散文是什么，张爱玲就说明它不是什么。她看到了散文对历史话语的抽离和拒绝，看到了散文对平凡而零碎的城市场景的全盘吸收。散文的本质似乎在于，作为一种文学原则，它与历史无关。--[[User:Tan Xingyue|Tan Xingyue]] ([[User talk:Tan Xingyue|talk]]) 07:56, 13 December 2020 (UTC)&lt;br /&gt;
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==Wang Yuan 王源==&lt;br /&gt;
I have no desire to write history, nor am I qualified to make judgement on the historian's perceptions.  But privately I hope they would say more things that are irrelevant.  Reality as such is not systematic; it is like seven or eight chatter-boxes sounding simultaneously, creating confusion.  But amidst this incomprehensible sound and fury there occur moments of illumination, poignant and bright, enabling us to hear the tune and understand a bit, only to be swallowed up by the thickening darkness.  Painters, writers, and composers connect these chancy, fragmented discoveries and create artistic wholes.  (41)&lt;br /&gt;
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As a fiction writer Chang does not believe in artistic perfection.  She creates “imperfect” and flawed characters in her fiction, as she repeatedly claims.  In her essays she holds it important to write about the irrelevancies, for, as she proclaims, all life' charms are to be found in the irrelevancies. (42)&lt;br /&gt;
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==Wei Honglang 韦洪朗==&lt;br /&gt;
Eileen Chang's thinking on the essay reflects certain aspects of Chinese modernity that provides a context for understanding the essay form as an increasingly prominent cultural medium.  The essay for her is a writing practice opposed to the historically oriented and politically charged literature, to the teleological historical narrative, and to the monumental work of art.  Formalistically the essay is random, self-contradictory, expressive, and therapeutic.  Eileen Chang's essays are a radical departure from Lu Xun's miscellaneous essay (''zawen'').  Despite its similarly disjoint, personal, and casual form, the ''zawen'' à la Lu Xun is polemic, militant, acid, socially and political engaged.  It seizes upon the small and transitory but its gaze goes past them to the culturally and historically significant.  This engaged character puts the ''zawen'' in a close lineage with the didactic tradition of May Fourth literature aimed at raising readers' consciousness or jolting them out of the half-sleep of tradition and convention.&lt;br /&gt;
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张爱玲对散文的思考反映了中国现代性的某些方面，这为理解作为日益突出的文化媒介的散文形式提供了一个语境。对她来说，这篇散文是一种与历史导向和充满政治色彩的文学、目的论的历史叙事和不朽的艺术作品相对立的写作实践。从形式上来说，这篇散文是任意性的、自相矛盾的但又富有表现力和治疗性。张爱玲的文章是对鲁迅杂文的彻底背离。尽管鲁迅笔下的“杂文”体现出类似的不连贯性、个人化和随意的形式，但它是论战性的、激进的、尖刻的、社会的和政治的。鲁迅的文章捕捉到的是渺小而短暂的事物，但其目光越过它们，投向其背后体现的文化性和历史性。这个引人入胜的特点将“杂文”与五四文学的说教传统紧密联系在一起，旨在提高读者的意识，试图将他们从传统和习俗的沉睡中唤醒。--[[User:Wei Honglang|Wei Honglang]] ([[User talk:Wei Honglang|talk]]) 08:00, 13 December 2020 (UTC)&lt;br /&gt;
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==Wei Yafei 魏亚菲==&lt;br /&gt;
The rise of consumer mentality, urban culture, and the new role of the writer as a professional breadwinner brought to prominence the values of entertainment, charm, taste, performance, charisma, and glamour--values inherent to urban culture with a good appetite for entertainment, images, and spectacles.  This emergent socio-historical context was overshadowed and marginalized by the dominant political ideology and historical narrative in the decades after Eileen Chang's short-lived popularity. &lt;br /&gt;
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Andrew Jones of UC-Berkeley is at work to translate Eileen Chang’s essay collection into English and he uses the phrase “Written on Water.”&lt;br /&gt;
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In his recent book ''Shanghai Modern'' Professor Leo Lee has admirably traced Eileen Chang's writing and the commercial urban culture she was immersed in.  See the Chapter “Eileen Chang: Romances in a Fallen City,” 267-303.&lt;br /&gt;
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消费者心态，城市文化以及职业性养家糊口的新角色：作家的兴起，突显了娱乐，魅力，品味，表演，魅力和诱惑力的价值，这些都是城市文化所固有的价值，并且它们对于 娱乐，印象和景象有着不错的需求。 在张爱玲昙花一现之后的几十年中，这种新兴的社会历史背景被占主导地位的政治意识形态和历史叙事所掩盖和边缘化。&lt;br /&gt;
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加州大学伯克利分校的安德鲁·琼斯（Andrew Jones）正在将张爱玲的论文集翻译成英文，并使用了“在水上的书写”一词。&lt;br /&gt;
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在他最近的著作《上海现代》中，leo教授怀有钦佩地追溯了张爱玲的著作以及她所沉浸的商业城市文化。请参见《张爱玲：堕落的浪漫》 267-303章。--[[User:Weiyafei|Weiyafei]] ([[User talk:Weiyafei|talk]]) 14:51, 13 December 2020 (UTC)Weiyafei&lt;br /&gt;
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==Wen Sixing 文偲荇==&lt;br /&gt;
In the 1990s and in Wang Anyi's work, this historical context re-emerged with sharpness and vengeance.  I will argue that the fate of the essay or the aesthetic quality of the essayistic cannot be understood without considering the revival of urban and consumer culture and its increasing detachment from the historical consciousness.&lt;br /&gt;
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'''Telling a Story Where There is no Story to Tell'''&lt;br /&gt;
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Wang Anyi's work in the 1990s shows how deeply the urban mass culture has penetrated and transformed literature.  The novel in the epic mode depends upon some preconceived story pattern which delivers ideological and historical convictions about temporal perceptions of past, present, and future.  One symptom of the shift from the novel to the essay is the acute sense of lack of story, the sense that the archetypal stories that writers used to rely on to generate their narratives are no longer convincing.&lt;br /&gt;
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20世纪90年代，在王安忆的作品中，这一历史语境以尖锐和复仇的笔触重新出现。我认为，如果不考虑城市文化和消费文化的复兴及其与历史意识的日益分离，就无法理解散文的命运或散文的审美品质。&lt;br /&gt;
“在没有故事可讲的地方讲故事”&lt;br /&gt;
王安忆90年代的作品展现了城市大众文化对文学的渗透和改造。史诗模式下的小说依赖于一些先入为主的故事模式，这种模式提供了意识形态和历史信念，关于对过去、现在和未来的短暂感知。从小说到散文的转变的一个典型是故事的严重缺失，作家过去赖以形成叙事的原型故事不再令人信服。--[[User:Wensixing|Wensixing]] ([[User talk:Wensixing|talk]]) 04:00, 9 December 2020 (UTC)&lt;br /&gt;
----&lt;br /&gt;
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在20世纪90年代，以及在王安忆的作品中，这一历史语境以充满尖锐的笔调和复仇的情感重新出现。我认为，如果不考虑城市文化和消费文化的复兴及其与历史意识的日益分离，就无法理解散文的命运或散文的审美品质。&lt;br /&gt;
“在没有故事可讲的地方讲故事”&lt;br /&gt;
王安忆20世纪90年代的作品展现了城市大众文化对文学的渗透和改造。史诗模式下的小说依赖于一些先入为主的故事模式，这种模式传达了意识形态观念和历史观念，这些观念与对过去、现在和未来的短暂感知有关。从小说到散文的转变的一个典型表现是严重缺失故事的敏锐感觉，即作家过去赖以形成叙事的原型故事不再令人信服。--[[User:Yuan Tianyi|Yuan Tianyi]] ([[User talk:Yuan Tianyi|talk]]) 07:12, 9 December 2020 (UTC)&lt;br /&gt;
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在20世纪90年代，在王安忆的作品中，这一历史语境以充满尖锐的笔调和复仇的情感再现了。我认为，如果不考虑城市文化和消费文化的复兴及其与历史意识的日益分离，就无法理解散文的命运或散文的审美品质。&lt;br /&gt;
“在没有故事可讲的地方讲故事”&lt;br /&gt;
王安忆20世纪90年代的作品展现了城市大众文化对文学的渗透和改造。史诗模式下的小说依赖于一些先入为主的故事模式，这种模式传达了意识形态观念和历史观念，这些观念与对过去、现在和未来的短暂感知有关。从小说到散文的转变的一个典型表现是严重缺失故事的敏锐感觉，即作家过去赖以形成叙事的原型故事不再令人信服。--[[User:Weiyafei|Weiyafei]] ([[User talk:Weiyafei|talk]]) 14:53, 13 December 2020 (UTC)Weiyafei&lt;br /&gt;
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==Wen Xiaoyi 文晓艺==&lt;br /&gt;
For Wang Anyi this poverty of stories is directly linked to the urban setting.  The title of one of her essays on literature “The City Has no Story to Tell” (Chengshi wu gushi) highlights the disappearance of sharable, communicable narratives in the city's amorphous atmosphere and the anonymous urban crowd.  This essay makes quite clear the sociological transformations that have given rise to the generic shift from story to non-story, or from narrative fiction to the essayistic mode.  In it Wang sets up a contrast between the village community and urban social organization.  The tightly knit rural communities, such as villages and small towns, are the nurturing ground for sharable stories.  As the social relations are largely those of family, kinship or clan, human contact and communication are more intimate and primarily face to face.  Individuals act out their life stories in a pre-given trajectory and within a received social network of work, authority, and hierarchy.&lt;br /&gt;
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==Wu Kai 吴恺==&lt;br /&gt;
The stories both told and lived, recounted over and again against a backdrop of traditional orientation and self-evident norms.  Traditional values and age-old customs shape the stories people tell each other and assure their intelligibility and guarantee cultural continuity.  In short, the temporal and spatial perceptions are inherited and sedimented over time and can be repeated in new stories. &lt;br /&gt;
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This argument about village community brings to mind Benjamin's critique of the modern novel and re-evaluation of the communal storyteller.  The village community is embedded in an inexhaustible fund of stories and exemplified by the culturally cohesive role of the storyteller.   Benjamin's familiar argument takes on new significance when the contract between village and city is construed as a metaphoric tension between the self-assured story-telling in the epic mode of the Chinese novel and the disappearance of the story in the city.&lt;br /&gt;
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这些故事讲述和生活，在传统取向和不言而喻的规范的背景下一遍又一遍地叙述。传统价值观和古老的风俗习惯塑造了人们相互讲述的故事，保证了故事的可理解性和文化的连续性。简言之，时间和空间的感知是随着时间的推移而继承和沉淀的，并且可以在新的故事中重复。&lt;br /&gt;
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关于乡村社区的论点让我想到了本杰明对现代小说的批判和对公共叙事者的重新评价。 乡村社区被埋在无穷无尽的故事基金中，并以讲故事者的文化凝聚力为例。 当乡村与城市之间的契约被解释为中国小说史诗模式中的自我保证的故事讲述与城市中故事的消失之间的隐喻张力时，本杰明的熟悉论点具有新的意义。--[[User:Wu Kai|Wu Kai]] ([[User talk:Wu Kai|talk]]) 10:54, 11 December 2020 (UTC)&lt;br /&gt;
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==Wu Qi 吴琪==&lt;br /&gt;
More importantly, the tension foregrounds the accelerated modernization process that has rendered almost obsolete, in less than a decade, the relatively habitual and time-worn socio-psychic infrastructure.  It brings into sharp focus the market oriented, amorphous urban setting where the individual becomes atomic individuals, cut loose from the social moorings of kinship, community, and family, from lineage and history.   Thrown into the competitive marketplace and transient impersonal relations, the individual has to rely on his or her own ingenuity and resources..   Since they come from different areas and are isolated from each other in the compartmentalized life spheres and specialized work, urban dwellers only have their own vastly different stories to tell, stories which are narrowly biographical and not readily meaningful to other people.  There are more stories to tell, it is true, but the apparent multiplication of stories imply the poverty of a communicable story.&lt;br /&gt;
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更重要的是，紧张局势预示着加速的现代化进程，在不到十年的时间里，这一进程几乎淘汰了相对熟悉的社会心理基础设施，现在它已显得陈旧不堪。这种局势给以市场导向的形势和未定型的城镇环境带来了极大的关注度，在这里，独立的个体变得微不足道，疏远亲属、社区和家庭关系，疏离血缘关系和历史关系。 人们被迫投入竞争激烈的市场，投身于短暂的没有人情味的关系里，他们必须依靠自己的天赋和资源。因为来自不同的地方，他们与彼此因生活领域和特定工作而相互隔离，住在城市的人只能说说关于自己的截然不同的故事，这些故事只限于谈论自己，所以对于其他人没有可读性，也无意义。的确，是有很多的故事可以说，但是故事的激增也暗示了好传播故事的缺乏。--[[User:Wu Qi|Wu Qi]] ([[User talk:Wu Qi|talk]]) 09:45, 13 December 2020 (UTC)&lt;br /&gt;
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==Wu Qiong 吴琼==&lt;br /&gt;
This is what Wang means by saying there is lack of stories in the city.  The endlessly varied confusion and lack of common interest lead to disjoint, fragmentary, anecdotal, performance-driven forms of writing often found in essays written for the consumer's relaxed state of mind, or mindlessness after a nice dinner.&lt;br /&gt;
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'''From the Historical to the Essayistic: the Fall of the Intellectual'''&lt;br /&gt;
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Wang Anyi's ''The Story of Our Uncle'' illustrates the transition from the historically and ideological oriented literature to a form that could be characterized as essayistic. The novella was written in 1990, a time of drastic change for Chinese society and culture as a whole.  From a culture dominated by an ideologically oriented and centralized state China was moving quickly into a brave new world of frenzied economic development, investment, consumerism, and pop culture.  Something fundamental had drastically shaken the basic fabrics of Chinese society.&lt;br /&gt;
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这就是王先生所说的城市缺少故事的意思。 无穷无尽的各种困惑和缺乏共同的兴趣，导致了不连贯的、零碎的、轶事的、以表现为目的的写作形式，这些写作形式常常出现在为消费者轻松的心境而写的散文中，或者在一顿丰盛的晚餐后的无心之作中。&lt;br /&gt;
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'''从历史主义到文章主义：知识分子的堕落'''。&lt;br /&gt;
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王安忆的''舅舅的故事''说明了从历史性、意识形态性的文学向可称为散文性的形式过渡。这篇小说写于1990年，正是中国社会和整个文化发生剧烈变化的时期。 中国从一个以意识形态为导向、以中央集权为主导的文化，迅速进入一个经济疯狂发展、投资、消费主义和流行文化的勇敢新世界。 一些根本性的东西已经极大地动摇了中国社会的基本结构。--[[User:WuQiong|WuQiong]] ([[User talk:WuQiong|talk]]) 12:26, 9 December 2020 (UTC)&lt;br /&gt;
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王安忆的''叔叔的故事''表明了文学的形式由历史导向和意识形态导向往散文导向的过渡。这篇小说写于1990年，正是中国社会和整个文化发生剧烈变化的时期。 中国从一个以意识形态为导向、以中央集权为主导的文化，迅速进入一个经济疯狂发展、充盈着投资、消费主义和流行文化的崭新世界。 一些根本性的东西已经极大地动摇了中国社会的基本架构。--[[User:Zeng Fangyuan|Zeng Fangyuan]] ([[User talk:Zeng Fangyuan|talk]]) 06:53, 12 December 2020 (UTC)&lt;br /&gt;
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==Wu Xiang 邬香==&lt;br /&gt;
''The Story of Our Uncle'' registered a very sensitive aspect of the epoch-making changes in China.  Rather than interpret this novella as a literary text, I will look at it as a document tracing a shift in literary and social history.  Focusing on a novelist's career, the novella delineates the qualitative shift in the value and function of literature in a time when ideology and politics were giving way to the market, economic development, and consumerism--all under the rubric of modernization.  From the vicissitudes of a writer we may see how the novel as a cultural form loses its ground and how literary sensibility shifts to the essayistic.  This generic shift provides a glimpse onto the fundamental social transformations in the 1990s.&lt;br /&gt;
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《我们叔叔的故事》反映了中国划时代变化的一个非常敏感的方面。与其把这部中篇小说解读为文学文本，不如把它看作是一部追溯文学和社会历史变迁的文献。这部中篇小说以小说家的职业生涯为主线，描绘了在意识形态和政治逐渐让位于市场、经济发展和消费主义的时代，文学的价值和功能发生了质的转变，所有这些均为响应现代化的号召。从一个作家跌宕起伏的人生经历中，我们可以看到小说作为一种文化形式是如何失势的，文学情感是如何转向散文主义的。这种常见的转变让我们看到了20世纪90年代的基本社会变革。&lt;br /&gt;
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Critics have noticed the presence of essayistic quality in Wang's writing, especially in her fiction.In ''The Story of Our Uncle'', one finds the essayistic prevailing over narrative.&lt;br /&gt;
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评论家们已经发现了王安忆散文创作的本质，这一特点在科幻小说中表现突出。在《我们叔叔的故事》中人们发现散文的比重多余叙事。--[[User:Wu Xiang|Wu Xiang]] ([[User talk:Wu Xiang|talk]]) 14:47, 12 December 2020 (UTC)&lt;br /&gt;
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《叔叔的故事》记录了中国划时代变化的一个非常敏感的方面。与其将这部中篇小说解读为一个文学文本，不如将其视为一部追溯文学和社会历史变迁的文献。这部中篇小说以一个小说家的职业生涯为主线，描绘了在意识形态和政治让位于市场、经济发展和消费主义的现代化背景之下，文学的价值和功能发生了质的变化。从一个作家经历的沧桑巨变中，我们可以看到小说作为一种文化形式是如何失去地位的，文学感召力又是如何向散文主义转变的。这种普遍性的转变让我们看到20世纪90年代社会的根本性变化。&lt;br /&gt;
评论家们注意到了王安忆在创作的作品，尤其是她的小说中存在散文性。在《叔叔的故事》中，人们发现散文的成分多于叙事的成分。--[[User:Yuan Yuchen|Yuan Yuchen]] ([[User talk:Yuan Yuchen|talk]]) 02:43, 13 December 2020 (UTC)&lt;br /&gt;
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==Wu Yilu 吴一露==&lt;br /&gt;
The text reads more like an essay-- rambling, random, analytical, disjoint, gossipy, chatty--than a straight narration, a fact acknowledged by the author herself.  In this narrative-essay a young writer on behalf of his generation attempts make a biographical assessment of an older writer they call our uncle.  One would be disappointed to expect an engaging action or dramatic story.  Though the text retains the outward, apparent shape of a novella it is a hybrid composed of diverse genres, with literary and art criticisms, gossip, conjecture, history, philosophizing, anecdotes, and stories all rolled into one.  The narrator suggests that this novella is an essay in the double sense of textual form and playful, explorative literary exercise.   He proclaims in the opening paragraph that this is a story assembled out of a hodgepodge of elements, and there is no way to distinguish truth from falsehood.&lt;br /&gt;
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这篇文章读起来更像是一篇散文——散漫、随意、有条理、絮絮叨叨、喋喋不休——而不是直接的叙述，这一点作者也承认。在这篇叙述-散文中，一位年轻作者代表他这一代人试图对一位他们称之为叔叔的老作家进行传记性评价。如果有人以为这会是一个引人入胜的行动或者一个戏剧性的故事，那么他就要失望了。尽管文本保留了小说的外在明显特征，但是它是一个由不同体彩杂糅成的混合体，集文学、艺术批判、八卦、猜测、历史、哲学、轶事和故事于一体。叙述者认为，这篇小说是一篇具有双重意义的散文，既有文本形式，又有充满游戏趣味和探索性的文学练习。他开篇就宣称，这个故事是各种元素糅合而成的大杂烩，无法区分真假。--[[User:Wu Yilu|Wu Yilu]] ([[User talk:Wu Yilu|talk]]) 08:48, 12 December 2020 (UTC)&lt;br /&gt;
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==Wu Zijia 吴子佳==&lt;br /&gt;
“Many blanks need to be filled up with imagination and inference,” and the story is filled with “subjective coloring” (181).  The subjective, arbitrary, even whimsical character of the text is further associated, as the narrator notes, with the mode of production that writers have adopted as they are geared toward an emergent literary market.  Writers, the narrator says, are people who spend their time making up stories.  One day “we started circulating his (Uncle's) maxims.”  To the laborers like us the maxims are significant, for they are capital in commodity production and can produce surplus value, which can put back to expanded reproduction. ''The Story of Our Uncle'' is thus premised on fragmentary axioms, an arbitrary principle of composition, random fantasy, and the form of commodity.&lt;br /&gt;
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“许多空白需要想象和推断来填补”整个故事充满主观色彩.(181)正如叙述者所写“作家为了融入日益繁盛的文学市场，作品总有着一些主观，任意甚至任性的色彩”；作者是花时间编故事的人。有一天，“我们会开始传播他(叔叔)的格言。”对于像我们这样的劳动者来说，这些格言很重要，因为他们是商品生产的资本，可以生产剩余价值，这些剩余价值可以扩大再生产。因此，《我们叔叔的故事》是以支离破碎的公理、任意的构成原则、随机的幻想和商品的形式为前提的。--[[User:Wu Zijia|Wu Zijia]] ([[User talk:Wu Zijia|talk]]) 08:54, 11 December 2020 (UTC)Wu Zijia&lt;br /&gt;
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“许多空白需要想象和推断来填补”整个故事充满主观色彩.(181)正如叙述者所写“作家为了融入日益繁盛的文学市场，作品总有着一些主观，任意甚至任性的色彩”；作者是花时间编故事的人。有一天，“我们会开始流传他(叔叔)的格言。”对于像我们这样的劳动者来说，这些格言很重要，因为他们是商品生产的资本，可以生产剩余价值，这些剩余价值可以扩大再生产。因此，《我们叔叔的故事》是以支离破碎的公理、任意的创作原则、随机的幻想和商品的形式为前提的。--[[User:Wu Xiang|Wu Xiang]] ([[User talk:Wu Xiang|talk]]) 14:53, 12 December 2020 (UTC)&lt;br /&gt;
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==Xiao Shuangling 肖双玲==&lt;br /&gt;
In a strictly formalistic sense, Wang's text complies with the usual comments and generalizations on the essay as a literary form.  In Theodore Adorno's well-known essay entitled “The Essay as Form” we find numerous descriptions well suited to an analysis of the essay in the Chinese context.  Adorno pits the essay against the institutional system of philosophy, the discourse of scientific positivism, and its attendant socio-cultural condition of reification.  The essay is envisaged as an ''enfant terrible'' or a serious playboy seeking the utopia space of the pleasure principle.  Thus the essay turns up its nose to the notions of totality, completeness, systematicity, the universal and the eternal.  It is marked by fragments, excessive fantasy and interpretation, exploration, and experiments.  Its supposed form is actually formlessness.  Abandoning the rigid conceptual schemata, it seeks and engages the object in its historical specificity and quotidian trivia.&lt;br /&gt;
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从严格的形式主义意义上讲，王的文本符合论文中通常的评论和概括的文学形式。 在西奥多·阿多诺（Theodore Adorno）著名的论文《作为形式的散文》中，我们发现了许多非常适合在中国语境下对论文进行分析的描述。 阿多诺将这篇论文与哲学的制度体系，科学实证主义的话语以及随之而来的社会文化条件化相提并论。 这篇文章被认为是“恐怖的婴儿”或寻求娱乐原则的乌托邦空间的严肃的花花公子。 因此，本文对整体性，完整性，系统性，普遍性和永恒性的概念大加赞赏。 它的特点是碎片，过多的幻想和解释，探索和实验。 它的假定形式实际上是无形式。 它摒弃了僵化的概念图式，而是以对象的历史特殊性和“琐事琐事”来寻找和参与对象。--[[User:Xiao Shuangling|Xiao Shuangling]] ([[User talk:Xiao Shuangling|talk]]) 07:35, 10 December 2020 (UTC)Xiao Shuangling&lt;br /&gt;
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从严格的形式主义上讲，王的文本遵循了对散文作为一种文学形式的评论和概括。在西奥多·阿多诺（Theodore Adorno）著名的论文《文章的形式》中，我们发现许多描述都很适合在中国语境下对这篇文章进行分析。阿多诺将该文与哲学的制度体系，科学实证主义的话语以及随之而来物化的社会文化环境相对比。人们将这篇文章设想为“恐怖的婴儿”或是一个严肃的花花公子在追寻享乐主义的乌托邦。因此，文章对整体性，完整性，系统性，普遍性和永恒性加以批判。该文碎片化，充斥着幻想，过度解释，探索性和实验性；没有预设的形式，摒弃了僵化的概念图式；追求写作的历史特殊性和日常性。--[[User:Xu Mengdie|Xu Mengdie]] ([[User talk:Xu Mengdie|talk]]) 12:19, 10 December 2020 (UTC)Xu Mengdie&lt;br /&gt;
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==Xiao Ting 肖婷==&lt;br /&gt;
While Adorno's comments are apt and in tune with much of Eileen Chang and Wang Anyi's musings on the essay, the philosophical framework in Adorno that the essay rebels against is different: the essay is up against the high-minded conceptual tyranny of Western philosophical tradition.  In the Chinese literary convention the essay is not so clearly defined against something so established.  Its polemic pole, I have tried to argue throughout this essay, is to be identified as the Enlightenment and Marxist paradigm of teleological history and its literary counterpart: the novel of revolutionary realism.  &lt;br /&gt;
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The essay is a literary exploration trying to break out of the conceptual and discursive straitjacket.  Adorno quotes Max Bense and says that the essay “is distinguished from a treatise:&lt;br /&gt;
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虽然阿多诺的评论很贴切，与张爱玲、王安忆对散文的很多思索是一致的，但散文在阿多诺那里所反抗的哲学框架是不同的：散文是与西方哲学传统的高高在上的概念暴政对抗的。 在中国的文学传统中，散文所反抗的东西并不是那么明确的。 我试图通过这篇文章论证：散文应被认定为启蒙运动和马克思主义的心学史范式及其文学的对应物：革命现实主义小说。 &lt;br /&gt;
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本文是试图突破观念和话语束缚的文学探索。 阿多诺引用马克斯-本塞的话说，散文 &amp;quot;区别于论著。--[[User:Xiao Ting|Xiao Ting]] ([[User talk:Xiao Ting|talk]]) 02:00, 11 December 2020 (UTC)Xiao Ting&lt;br /&gt;
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虽然阿多诺的评论是恰当的，符合张爱玲和王安忆对散文的思考，但阿多诺的哲学框架是不同的：散文反对西方哲学传统高高在上的概念暴政。 在中国的文学传统中，散文并没有如此明确地定义反对既定的东西。我试图用本文论证，散文被认为是目的论历史的启蒙运动和马克思主义范式及其文学对应物：革命现实主义小说。&lt;br /&gt;
本文是一次试图打破概念和话语束缚的文学探索。 阿多诺引用了马克斯·本塞的话说，“这篇文章有别于一部专著：--[[User:Tan Xinjie|Tan Xinjie]] ([[User talk:Tan Xinjie|talk]]) 12:52, 13 December 2020 (UTC)&lt;br /&gt;
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==Xiao Xi 肖茜==&lt;br /&gt;
The person who writes essayistically is the one who composes as he experiments, who turns his object around, questions it, feels it, tests it, reflects on it, who attacks it from different sides and assembles what he sees in his mind's eye and puts into words what the object allows one to see under the condition created in the course of writing.  (17)&lt;br /&gt;
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The dropping of a grand, complete vision and opting for the incomplete, trivial, and the experimental are what makes for the essay.  The German word Versuch, attempt or essay, Adorno writes, is the place where “thought's utopian vision of hitting the bullseye is united with the consciousness of its own fallibility and provisional character” (16).  This “indicates . . . something about the form, something to be taken all the more seriously in that it takes place not systematically but rather as a characteristic of an intention groping its way” (16).&lt;br /&gt;
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See Wu Liang and Wang Anyi, “A Conversation on Reality and Fiction,” in Wang Anyi, Reality and Fiction (Jishi yu xugou) 325.&lt;br /&gt;
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Adorno, 3-23.&lt;br /&gt;
散文式写作的人是在实验中创作的人，他把客体转过来，质疑它，感受它，检验它，思考它，他从不同的角度攻击它，把他在脑海中看到的东西组合起来把客体在写作过程中创造的条件下允许人们看到的东西用文字表达出来。(17)&lt;br /&gt;
放弃宏大的、完整的愿景，选择不完整的、琐碎的、实验性的，是这篇文章的组成部分。德语单词Versuch，尝试或文章，阿多诺写道，是“思想命中靶心的乌托邦愿景与意识到自身的错误和临时特性相结合的地方”。这“表明……一些关于形式的东西，一些需要更加认真对待的东西因为它不是系统地发生的而是作为一种意图的特征去探索它的方式。&lt;br /&gt;
参见吴亮和王安忆《现实与小说的对话》，载于《王安忆:现实与小说》(季实余序购)325页。&lt;br /&gt;
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阿多诺,3-23。--[[User:XiaoXi|XiaoXi]] ([[User talk:XiaoXi|talk]]) 09:23, 13 December 2020 (UTC)Xiao Xi&lt;br /&gt;
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==Xiao Yining 肖伊宁==&lt;br /&gt;
An intention groping its way into the mysteries of the Uncle's life aptly describes the essayistic quality of Wang's novella.  As a text assembled out of disparate materials-- hearsay, gossips, and guesswork, fantasy, and conjecture, the narrative enacts a wide array of pre-given discourses and narrative patterns to grope at the “real” life of the Uncle.  These discourses and narratives are in their own turn commented on as objects of inquiry and critique on a “meta” level and treated as options in an experimental writing.  As an intellectual the Uncle is typical of hundreds of thousands others persecuted in the political campaigns whose suffering and re-instatement in the post-Cultural Revolution period is now a cliche.  But at the very outset the novella unpacks the myth of the suffering intellectual into forking paths of narrative.&lt;br /&gt;
&lt;br /&gt;
探索叔叔生活之谜的意图恰如其分地描述了王中篇小说的散文主义特质。作为一个由传闻、闲话、猜测、幻想和猜想这样不同的材料组合而成的文本,叙事中出现了大量预先设定的话语和叙事模式，以探索叔叔的“真实”生活。这些话语和叙述在“元”层面上作为探究和评判的对象被评论，并在实验性写作中被视为可选择的事物。作为一名知识分子，叔叔是在政治运动中遭受迫害的数十万人中的典型，他们在后文革时期的痛苦和恢复现在已成陈词滥调。但从一开始，这部中篇小说就把受苦知识分子的故事解构成了分岔的叙事路径。&lt;br /&gt;
--[[User:Xiao yining|Xiao yining]] ([[User talk:Xiao yining|talk]]) 04:28, 9 December 2020 (UTC)Xiao Yining&lt;br /&gt;
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一种试图探索叔叔生活奥秘的意图恰当地描述了王的小说的本质特征。作为一篇由不同材料-道听途说，流言，猜测，幻想和猜想-拼凑而成的文本，叙事赋予了大量预先给定的话语和叙事模式，以摸索叔叔的“真实”生活。这些论述和叙述依次被评论为“元”层面上的探究和批判对象，并在实验写作中被视为选项。作为一个知识分子，叔叔是成千上万在政治运动中受到迫害的人中的典型，他们在后文革时期的痛苦和重生现在已经是老生常谈了。但从一开始，中篇小说就将饱受苦难的知识分子的神话展开，开辟了叙事的道路。--[[User:YangHui|YangHui]] ([[User talk:YangHui|talk]]) 12:00, 9 December 2020 (UTC)&lt;br /&gt;
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==Xie Fan 解帆==&lt;br /&gt;
One can make up a narrative of the Uncle on his way to the place of exile, for instance, by recourse to a tragic-sublime scenario of political victims echoing Dostoevesky.  Riding in a beat-up truck drudging through the vast, snowy Siberian landscape in the Northwest plateau, the victim/hero would ponder the significance of life and fate with an elderly wise man.  One could also cast the Uncle in a lackluster, comic or even grotesque light, reduced to a mere creature of survival, trapped in a narrow village life.  Like thousands of other writers, Uncle was persecuted and exiled because of his writing.  But this fabled story of the tragic-heroic writer is again playfully retouched into three different versions by Uncles' own retelling after the fact.  In the first telling, his persecution is a political story, indicting the tyranny of the political system.  Then it is an existential story, intimating the mysterious and ironical workings of fate.Thirdly, it is a prophetic story, in the fashion of an Aesop fable, full of prescience and bodings of catastrophe.&lt;br /&gt;
&lt;br /&gt;
比如，人们可以利用陀思妥耶夫斯基式的政治受害者的悲情场景来编造一个叔叔流亡的故事。主人公坐在一辆破旧的卡车上，在广阔的、被白雪覆盖的东北高原上艰难前行，和一位智叟一起思考生命的意义。同样，人们也可以把叔叔塑造成一个毫无生气、滑稽甚至怪诞的形象，一个在小村庄中艰难求生的人。像其他成千上万的作家一样，遭到迫害和流放。但是这个英雄悲剧作家的传奇故事经过叔叔的叙述后，被幽默地改编成三个不同的版本。在第一个叙述中，他受到的迫害是一个政治故事，控诉政治制度中的暴政。其次，这是一个存在主义故事，暗示着命运的神秘和讽刺。第三，这是一个预言性故事，以伊索寓言的方式，充满了预言和大灾难的预兆。--[[User:XieFan|XieFan]] ([[User talk:XieFan|talk]]) 11:15, 11 December 2020 (UTC)&lt;br /&gt;
比如，人们可以通过陀思妥耶夫斯基式的政治受害者的悲情场景来编造一个叔叔去流亡地的故事。主人公坐在一辆破旧的卡车上，在广阔的、白雪覆盖的东北高原上艰难前行，他会和一位睿智的老人一起思考生命和命运的意义。人们也可以把叔叔塑造成一个毫无生气、滑稽甚至怪诞的形象，沦为一个被困在狭小乡村生活中的求生之物。像其他成千上万的作家一样，遭到迫害和流放。但是这个英雄悲剧作家的传奇故事在叔父们在事后的复述后又被幽默地改编成三个不同的版本。在第一个叙述中，他受到的迫害是一个政治故事，控诉政治制度的暴政。第二，这是一个存在主义的故事，暗示着命运的神秘和讽刺。第三，这是一个预言性的故事，以伊索寓言的方式，充满了预言和大灾难的预兆。--[[User:XiaoXi|XiaoXi]] ([[User talk:XiaoXi|talk]]) 09:26, 13 December 2020 (UTC)Xiao Xi&lt;br /&gt;
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==Xie Ziyi 谢子熠==&lt;br /&gt;
This intention groping its way into the Uncle's life draws upon various types of narrative patterns and aesthetic resources.  This is by no means a literary embellishment for pure rhetorical variety or pleasure.  The narration is saddled with the difficulties of understanding and getting the Uncle's life's straight.  The difficulty is not the usual generational gap, but reflects different historical experiences and memory that separate the young from the old.  This difference not only drives a wedge into the writers as a group, but also gives rise to the divergence of generic practice and the aesthetics informing it.  This divergence is the key to understanding the essay and the essayistic.&lt;br /&gt;
&lt;br /&gt;
进入叔叔生活的这种意图利用了各种类型的叙事模式和美学资源。 这绝不是纯粹的修辞变奏或娱乐的文学装饰。 叙述难于理解和理解叔叔的生活。 困难不是通常的代沟，而是反映了将年轻人与老年人区分开的不同的历史经验和记忆。 这种差异不仅使作为一个整体的作家成为楔子，而且引起了通用实践和为其提供信息的美学的差异。 这种差异是理解论文和论文论的关键。&lt;br /&gt;
--[[User:Ishikami|Ishikami]] ([[User talk:Ishikami|talk]]) 11:03, 11 December 2020 (UTC)&lt;br /&gt;
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这种对叔父生活的探索，借鉴了各种类型的叙事模式和审美资源。这绝不是一种纯粹的修辞变化或乐趣的文学修饰。故事的叙述充满了理解和理解叔叔生活的困难。困难不是通常的代沟，而是反映了不同的历史经验和记忆，把年轻人和老年人分开。这种差异不仅导致了作家群体的分裂，而且导致了一般实践和审美观的分歧。这种分歧是理解散文和散文家的关键。--[[User:Wu Kai|Wu Kai]] ([[User talk:Wu Kai|talk]]) 11:06, 11 December 2020 (UTC)&lt;br /&gt;
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这旨在用各种类型的叙事模式和审美资源探索叔叔的生活。这绝不是纯粹为了变换修辞或者获得乐趣而进行的文学修饰，而是叙述着理解叔叔生活的困难。困难不是普通的代沟，反映了年轻人和老年人的不同历史经历和记忆。这种差异不仅将作家群分裂开来，而且也导致了共性实践与传达共性实践的美学的分歧。这种分歧是理解散文和散文论的关键。--[[User:XieFan|XieFan]] ([[User talk:XieFan|talk]]) 11:27, 11 December 2020 (UTC)&lt;br /&gt;
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==Xu Jia 徐佳==&lt;br /&gt;
The older generation, having experienced political persecution and historical traumas at the first hand, is deeply grounded in a historical consciousness and a teleological narrative.  The Uncle is intensely committed to writing literature as praxis for social change.  His meteoric rise to the leading writer in the aftermath of the Cultural Revolution indicates that the position of what Gramsci called the “organic” intellectual remains strong, even thriving. The popularity of his novels shows that a work of literature can make a tremendous hit and is an effective medium for criticizing the flaws of the system and raising the social, political consciousness of readers.  It revives the legacy of the New Literature of May Fourth and is rightly re-baptized as the literature of the New Period (xin shiqi wenxue).  It is the voice of the farsighted and the vanguard in China's modernization drive.  Despite all his traumas and sufferings, the Uncle's generation, writers in their forties and over in the narrative time, remains firm in their belief in the organic totality of socio-historical process and the people's capacity in steering the course of history.  Literature is simply one vehicle that carries this historical mission.&lt;br /&gt;
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老一辈人亲身经历过政治迫害和历史创伤，有着较强的历史意识和目的性叙述能力。叔叔致力于以文学写作推动社会变革。他在 &amp;quot;文革 &amp;quot;后一跃成为领军作家，说明葛兰西所说的 &amp;quot;有机 &amp;quot;知识分子的地位依然稳固，甚至是蒸蒸日上。他创作的小说大受欢迎，这表明一部文学作品可以引起巨大的轰动，是批判制度缺陷，提高读者社会意识、政治意识的有效媒介。他的小说重扬了 &amp;quot;五四 &amp;quot;新文学的遗风，重新受洗为新时期文学。它是有远见之人的发声，是中国现代化进程中的先锋。叔叔那一代四十多岁的作家，在这段叙述时间里，尽管经历了种种创伤和苦难，但他们仍然坚信社会历史进程的有机整体性和人民引导历史进程的能力。文学只是承载这一历史使命的载体。--[[User:Xu Jia|Xu Jia]] ([[User talk:Xu Jia|talk]]) 13:46, 13 December 2020 (UTC)Xu Jia&lt;br /&gt;
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==Xu Jing 许晶==&lt;br /&gt;
The historical consciousness embodied by the Uncle is to find its corresponding form in an epic mode of writing: the realistic novel.  The Uncle's general outlook on the world is epic in the Lukácsian sense.  The young narrator captures this ''Weltanschauung'' very accurately: &lt;br /&gt;
&lt;br /&gt;
The political life of the past few decades has filled up his personal experience and life.  This enables Uncle to keep his worldview firmly anchored to reality and politics.  The state and government encompass the whole world for him and form the vast backdrop for human activity.  Patterns of people's behavior and conduct are but representatives of social life.  The concept of culture sounds very abstract and empty to him.  For him art should also perform real and political functions.  (214-215)&lt;br /&gt;
&lt;br /&gt;
==Xu Jing 许静==&lt;br /&gt;
The young generation, in contrast, is not so firmly grounded.  Growing up in a period when the dominant ideology is in decline, they are left floating in the winds of various imported ideologies and newfangled isms.  Creatures of the newly emergent market and players of nihilistic intellectual fashions, they produce literature without any commitment to a socio-historical mission.  Literature is but a playful, aesthetic game unburdened with any responsibility and weighty purposes.  Art has become an artful, artsy activity, floating free of socio-historical grounding.  Literary activity to them means, more specifically, attending pen conferences, pursuing hot fashions, innovating fresh forms and tastes, brandishing new theories, making up sensational and marketable stories.  All this also leads to the enhancement of a writer's charisma and even sexual appeal.  Indeed, to the young generation it is old fashioned to see literature as having historical or social significance; literature becomes more and more sexy and commercial.&lt;br /&gt;
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==Xu Mengdie 徐梦蝶==&lt;br /&gt;
The story of the Uncle is an allegory of withdrawal from history and the dangers involved, exemplified in his crisis-ridden metamorphosis from a historically grounded writer to a playful artist, from novelist to essay writer.  The Uncle's earlier success thrusts him to the status of literary celebrity and stardom: he becomes a prominent figure in the media.  As the younger writers pursue fashions and cater to new consumers with playful, entertaining, artsy literary goods, the Uncle feels the need to catch up.  His new position as a glamorous writer allows him to become a globetrotter.  At the invitation of literary and academic circles and literary institutions around world eager to know a newly opened China, he journeys from country to country giving talks and socializing at literary cocktail parties.  Increasingly, sightseeing and superficial impressions of exotic foreign countries become the only materials he can summon: he becomes a tourist and a writer of travelogue.&lt;br /&gt;
叔叔的故事寓意着从历史和其中的危险中脱身，从一个历史背景鲜明的作家变身成为爱打趣的艺术家，从一个小说家变成了散文作家，他经历了重重危机。叔叔的早期成功让他成为了文学名人，常常出现在媒体上。年轻作家追求时尚，他们创作有趣的，充满娱乐性，艺术性的作品来迎合消费者，叔叔觉得自己也该随上大流。作为知名的作家，他的新职位让他有机会环球旅行。文学和学术圈以及文学机构都想要了解刚刚开放的中国，他往返与不同国家进行演讲，参加各种酒会。渐渐地，他能写得的只有观光旅行和对异国的简单印象，于是他就成为了旅行家和游记作家。--[[User:Xu Mengdie|Xu Mengdie]] ([[User talk:Xu Mengdie|talk]]) 11:37, 10 December 2020 (UTC)Xu Mengdie&lt;br /&gt;
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《叔叔的故事》寓意着从历史和其中的危险中脱身，从一个历史背景鲜明的作家变身成为爱打趣的艺术家，从一个小说家变成了散文作家，他经历了重重危机。《叔叔的故事》早期成功让他成为了文学名人，常常出现在媒体上。年轻作家追求时尚，他们创作有趣的，充满娱乐性，艺术性的作品来迎合消费者，《叔叔的故事》也该随上大流。作为知名的作家，他的新职位让他有机会环球旅行。文学和学术圈以及文学机构都想要了解刚刚开放的中国，他往返与不同国家进行演讲，参加各种酒会。渐渐地，他能写得的只有观光旅行和对异国的简单印象，于是他就成为了旅行家和游记作家。--[[User:Yang Hairong|Yang Hairong]] ([[User talk:Yang Hairong|talk]]) 12:00, 13 December 2020 (UTC)&lt;br /&gt;
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==Xu Pengfei 许鹏飞==&lt;br /&gt;
Going along with the role of a player in an increasingly cosmopolitan, global, and consumer oriented literary market is a new philosophy of writing, which favors a showy, playful, essayistic quality at the expense of the epic, social and historical.  The Uncle is reborn, the younger narrator rightly observes, into a new life, and into an enclosed new realm of pure artistic creativity.  He addresses serious social problems playfully in the style of black humor and through anachronistic narrative techniques.  He becomes more and more detached from the grave political issues of the day.  His new outlook is derived from a purely aesthetic principle.&lt;br /&gt;
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在日益国际化、全球化和以消费者为导向的文学市场中，一种新的写作理念应运而生，它以牺牲史诗性、社会性和历史性为代价，追求炫耀性、趣味性和散文性。年轻的叙述者正确地观察到，文学叔叔重生了，他进入了一种新的生活，进入了一个封闭的纯艺术创造的新领域。他以黑色幽默的风格和不合时宜的叙述技巧，玩笑般地处理严重的社会问题。他与当今严重的政治问题越来越疏远。他的新观点是由纯粹的美学原则衍生而来。--[[User:Xu Pengfei|Xu Pengfei]] ([[User talk:Xu Pengfei|talk]]) 05:35, 9 December 2020 (UTC)Xu Pengfei&lt;br /&gt;
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在日益国际化、全球化和以消费者为导向的文学市场中，一种新的写作理念应运而生，它以牺牲史诗性、社会性和历史性为代价，追求炫耀性、趣味性和散文性。年轻的叙述者恰好观察到，文叔重生了，他进入了一种新的生活，进入了一个封闭的纯艺术创造的新领域。他以黑色幽默的风格和不合时宜的叙述技巧，玩笑般地处理严重的社会问题。他与当今严重的政治问题越来越疏远。他的新观点是由纯粹的美学原则衍生而来。--[[User:Tan Yuanyuan|Tan Yuanyuan]] ([[User talk:Tan Yuanyuan|talk]]) 06:50, 9 December 2020 (UTC)&lt;br /&gt;
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在日益国际化、全球化和以消费者为导向的文学市场中，一种新的写作理念应运而生，它以牺牲史诗性、社会性和历史性为代价，追求炫耀性、趣味性和随笔性。年轻的叙述者精确地观察到，文学叔叔重生了，他进入了一种新的生活，进入了一个封闭式的纯艺术创造的新领域。他以黑色幽默的风格和不合时宜的叙述技巧，戏谑般地处理严重的社会问题。他与越来越疏远当今严肃的政治问题。他的新观点是由纯粹的美学原则衍生而来。--[[User:Li Haiquan|Li Haiquan]] ([[User talk:Li Haiquan|talk]]) 02:21, 10 December 2020 (UTC)&lt;br /&gt;
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不断扩张的都市化，全球化，顾客为导向的市场，一种新的写作理念应运而生，它以牺牲史诗性，社会性和历史性为代价，追求炫耀性、趣味性、和散文性。年轻的叙述者恰好观察到，文叔再生了，他进入了一个新的生活，进入到一个封闭的纯艺术创造的新领域。他以黑色幽默的风格和 不合时宜的叙述技巧，玩笑般的对待严重的社会问题。他与当今严重的的政治问题越来越疏远。他的新观点是由纯粹的美学原则衍生而来。--[[User:Han Haiyang|Han Haiyang]] ([[User talk:Han Haiyang|talk]]) 13:36, 11 December 2020 (UTC)&lt;br /&gt;
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==Yang Chenting 杨晨婷==&lt;br /&gt;
Emptied of historical substance and filled up with fragmentary and rambling impressions in his global trips, both life and writing of the Uncle thin out into personal, irrelevant, discontinuous fragments.  His writing begins to take on the essayistic quality, and borders on sheer images or simulacra, getting closer and closer to those of the younger generation.  Real human relations are “only a literary conceit.” (227), he echoes the younger generation.  Within the aesthetic shelter the “Uncle can no longer become excited or moved and is immune to suffering.”  Tragic suffering is now only a literary category, and “the awareness of this is the hallmark of Uncle's becoming a pure writer” (225).  Parallel with this essayistic quality is the Uncle's changed life style.  His is more taken with things he would have considered vulgar, low, or quotidian;&lt;br /&gt;
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生活和写作都被历史的内涵掏空，随之被全球旅行中的零碎和漫不经心填满，让叔叔自己变成了个人的、无关紧要的、不连续的碎片。他的写作开始有了散文的气质，并接近于纯粹的影像或模拟，越来越接近年轻一代的人。真实的人与人之间的关系“只是一种文学上的臆想”。(227)，他与年轻一代遥相呼应。在审美的庇护下，“大叔再也不能变得兴奋或感动，而且对苦难免疫”。悲剧性的苦难现在只是一个文学范畴，“对这一点的认识是大叔成为一个纯粹作家的标志”（225）。与这种文章化特质并行的是大叔的生活方式的改变。他的更多的是对那些他认为庸俗、低级、庸常的东西的接受。--[[User:Yang chenting|Yang chenting]] ([[User talk:Yang chenting|talk]]) 08:11, 11 December 2020 (UTC)Yang Chenting&lt;br /&gt;
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在他的环球旅行中，历史的物质被清空，而充满了零碎的、漫无边际的印象，关于叔叔的生活和写作都逐渐变成个人的、无关的、不连续的片段。他的作品开始呈现出散文式的品质，接近纯粹的影像或拟像，越来越接近年轻一代的作品。真正的人际关系“只是一种文学幻想”。(227)，他回应了年轻一代。在美学的庇护下，“叔叔不再激动或感动，对痛苦免疫。”悲剧的痛苦现在只是一个文学类别，“意识到这一点是叔叔成为一个纯粹作家的标志”(225)。与这种随笔风格相对应的是叔叔生活方式的改变。他更喜欢那些他认为庸俗、低俗或司空见惯的事情;--[[User:Lou Cancan|Lou Cancan]] ([[User talk:Lou Cancan|talk]]) 14:02, 13 December 2020 (UTC)&lt;br /&gt;
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==Yang Hairong 杨海容==&lt;br /&gt;
he becomes more listless and yuppish.  He has developed a strong interest in women and sexual intrigues and conquests; he indulges in vulgarity and trivial pursuits, exulting in money and showy, exotic collectibles.  In short, he metamorphoses from an image of the epic novelist and organic intellectual to a middle class, professional writer, whose favored form is the essay and whose lifestyle takes on the “essayistic” quality of a ramble for self-pleasure.&lt;br /&gt;
&lt;br /&gt;
The transformation in the Uncle reflects the retreat of literature from a historically grounded medium to a form light-hearted, playful entertainment and a theatrical performance.  The problem with this change, as the novella's ending suggests, is that it is self-deceptive.  Despite the Uncle's willful creation of an aesthetic cocoon, history manages to intrude in the end as return of the repressed, in the person of his murderous son.  His son embodies all the painful memory and disgraceful experience of the Uncle's life, unfit for the epic treatment in his novels and repressed in his ethereal, airtight, essayistic experiments.&lt;br /&gt;
&lt;br /&gt;
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他变得更加无精打采而又热情洋溢。他对女性以及性爱和征服产生了浓厚的兴趣。他沉迷于庸俗和琐碎的追求，对金钱和艳丽的异国情调的收藏品狂喜不已。简而言之，他从史诗般的小说家和有机知识分子的形象变成了中产阶级专业作家，他的偏爱形式是随笔，其生活方式具有自我满足的“随笔”性质。--[[User:Yang Hairong|Yang Hairong]] ([[User talk:Yang Hairong|talk]]) 11:56, 13 December 2020 (UTC)&lt;br /&gt;
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《叔叔》的转变反映了文学从一种历史根基的媒介退缩到一种轻松、有趣的娱乐和戏剧表演的形式。正如中篇小说的结尾所暗示的那样，这种变化的问题在于它是自欺欺人的。尽管《叔叔》蓄意创造了一个美丽的茧，但由于被压抑者的归还，他的杀手之子最终还是入侵了历史。他的儿子体现了《叔叔》创造中所有的痛苦记忆和可耻的经历，不适合他小说中的史诗般的治疗方式，而对他空灵、透气、杂文主义的实验则表现出压抑。--[[User:Yang Hairong|Yang Hairong]] ([[User talk:Yang Hairong|talk]]) 11:56, 13 December 2020 (UTC)&lt;br /&gt;
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==Yang Hui 阳慧==&lt;br /&gt;
The son's attempted murder of his father signifies the revenge of a history that the Uncle is trying to shut off from the serene, trouble-free aesthetic realm.  Our concern, however, is not with the interpretation of the story per se, but with the way the Uncle's fate indicates the shift in literary form.  If the Uncle's story apparently traces the trajectory of a novelist to a writer who not only writes travelogues and essays but also is imbued with essayistic sensibility, then the essay in contemporary China is a release from the epic form of writing and historical discourse.  It is a release into the literary market and consumer taste, a response to the pervasive secularization of life and rising consumerism.&lt;br /&gt;
&lt;br /&gt;
儿子企图谋杀他父亲的行为象征着一段历史的复仇，而这段历史是叔叔试图将其与宁静、无烦恼的美学领域隔离开来的。然而，我们关心的不是故事本身的解释，而是叔叔的命运如何预示着文学形式的转变。如果“叔叔”的故事明显地将小说家的轨迹追溯到一个作家，他不仅写游记和散文，而且充满了散文情感，那么当代中国的散文就是从史诗形式的写作和历史话语中解放出来的。这是对文学市场和消费品味的释放，是对生活普遍世俗化和消费主义抬头的回应。--[[User:YangHui|YangHui]] ([[User talk:YangHui|talk]]) 11:59, 9 December 2020 (UTC)&lt;br /&gt;
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儿子企图谋杀他的父亲这一行为象征着一段极具历史意义的复仇，叔父试图从宁静、无忧无虑的美学领域中脱离出来。然而，我们的关注点不在于对故事本身的解读，而是叔父的命运如何预示着文学形式的转变。如果说《叔叔的故事》追溯了一个小说家转变为作家的轨迹——在写游记和随笔的同时，倾注了散文式的细腻情感——那么当代中国的随笔就是史诗写作和历史话语的一种释放。这是对文学市场和消费者口味的一种释放，是对无处不在的生活世俗化和消费主义抬头的回应。--[[User:Li Liqin|Li Liqin]] ([[User talk:Li Liqin|talk]]) 15:02, 9 December 2020 (UTC)&lt;br /&gt;
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==Yang Yi 杨逸==&lt;br /&gt;
It comes as the image of a loosening up of the previous, ideologically controlled life, which is now becoming more private, more disjoint and fragmented, more removed from the totalistic social and political process.  Yet history has not become the simulacrum to play with, as envisioned by the younger narrator or the Uncle himself as he catches up with the fashions.  China’s social reality does not square so nicely with the essayistic playfulness one may wish.  Thus the essay as a cultural form is caught in a tension between withdrawal from the burden of history and the possible return of the repressed.  &lt;br /&gt;
&lt;br /&gt;
==Yang Yue 杨悦==&lt;br /&gt;
'''Mulish Essays: the Genre of ''Zawen'' in Contemporary China&lt;br /&gt;
'''&lt;br /&gt;
&lt;br /&gt;
''Mary Scoggin''&lt;br /&gt;
&lt;br /&gt;
'''Abstract'''&lt;br /&gt;
&lt;br /&gt;
Tone in an essay is an ironic figure of speech; how can you channel that which is carried in sound through the ink of print? This paper illustrates the trope of tone through the particularly ,sonorous' work of ShaoYanxiang, an official poet who in retirement is better known for the essays in which he collapses poetry into polemic, his ''zawen''. The distinct and beleaguered social and cultural space for ''zawen'' in contemporary China reveals the mechanics, ideology and significance of tone in Chinese writing. Even more than other literary genres, ''zawen'' depends upon something within the earthy noise of moody, mulish voices to carry its messages. Like most poetry, but unlike most fiction and drama, ''zawen'' is itself a first person voice, not a representation of voices.&lt;br /&gt;
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拗口的文章：当代中国“杂文”的体裁&lt;br /&gt;
&lt;br /&gt;
玛丽·斯高格&lt;br /&gt;
&lt;br /&gt;
文章中的语气是一种讽刺的修辞手法;你怎么能通过印刷的油墨来引导声音中所携带的东西呢?本文通过邵云翔的《诗文》来说明这种修辞手法。邵云翔是一位官方诗人，他退休后以将诗歌化为论战体的杂文而闻名。在当代中国，“杂文”独特而又备受围攻的社会文化空间，揭示了“调”在汉语写作中的机制、意识形态和意义。与其他文学体裁相比，“杂文”更依赖于泥土般的喧嚣、忧郁、固执的声音来传达它的信息。像大多数诗歌一样，但又不像大多数小说和戏剧，“杂文”本身是第一人称的声音，而不是声音的代表。--[[User:Yang Yue|Yang Yue]] ([[User talk:Yang Yue|talk]]) 08:36, 12 December 2020 (UTC)&lt;br /&gt;
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==Yang Ziling 杨子泠==&lt;br /&gt;
Yet unlike poetry, which may need to be at least imagined to be read out loud, repeated and savored for full effect, ''zawen'''s ideal is to appear for a fleeting moment on the back page of a newspaper, to be received with the accompaniment of an enigmatic laugh, sigh or snort from the reader, and then thrown away quickly, before anyone can find their seat and sit in it, or take offence. While readers love and hate their morally and politically provocative ''zawen-of-the-moment'', writers string zawen across stretches of time and publishing organs to construct heavily intertextualized conversations. &lt;br /&gt;
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==Yao Cheng 姚诚==&lt;br /&gt;
Eventually they even preserve ''zawen'', long after the dizzying minutia of allusions, jokes and digs are forgotten, often compiling a career's worth of them into small print runs of volumes that they give away to friends and admirers as discursive portraits of themselves. Lu Xun's genre of the ,dagger and spear' is thus not only a sly political weapon, but also a complex sculpture of the self, chiseled by the cantankerous tones of social dialogue.&lt;br /&gt;
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In contemporary textbooks and manuals of Chinese essay composition, the “miscellaneous essay,” [literally, “mixed essay,” referred to as ''zawen'' hereafter] is presented as a particularly “Chinese” essay genre within a global view of universal literary categorization.&lt;br /&gt;
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杂文中的典故，笑话和挖苦的细节常令人茫然，在这些细节被人遗忘之后，“杂文这一体裁最终得以保存”， 读者经常将自身职业价值汇编成一些小册当做是自己的离散描述杂文，然后将分小册发给朋友和仰慕者。 因此，鲁迅的“匕首与长矛”流派不仅是狡猾的政治武器，而且是复杂的自我雕塑，为社交对话的残酷语调所勾勒。&lt;br /&gt;
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在当代中国散文写作的教科书和手册中，“杂文”（直译为“杂文”，以下简称杂文）在全球普遍文学分类的全球视野中被视为一种特别的“中国”散文类型。 --[[User:Yao Cheng|Yao Cheng]] ([[User talk:Yao Cheng|talk]]) 09:24, 10 December 2020 (UTC)&lt;br /&gt;
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最终，作者们甚至能在那些令人眼花缭乱的细枝末节的典故、笑话和挖苦被遗忘之后，仍然保留着&amp;quot;杂文&amp;quot;。他们常常把自己职业生涯的价值编成小本子，作为自己的话语肖像送给朋友和仰慕者。因此，鲁迅的 &amp;quot;匕首和长矛 &amp;quot;流派不仅是一种狡猾的政治武器，也是一种复杂的自我雕塑，被社会对话中的尖酸刻薄所雕琢。&lt;br /&gt;
在当代中国散文的教科书和手册中，&amp;quot;杂文&amp;quot;[字面意思是 &amp;quot;杂文&amp;quot;，以下简称杂文]被作为一种极具 &amp;quot;中国性&amp;quot;的文章体裁，呈现在普遍的文学分类的全球视野中。--[[User:Yao Jia|Yao Jia]] ([[User talk:Yao Jia|talk]]) 06:19, 11 December 2020 (UTC)&lt;br /&gt;
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最后，在那些令人眼花缭乱的细枝末节的典故、笑话和挖苦被遗忘之后，他们甚至仍然保存着杂文，常常把他们职业生涯的价值编成小本子，作为自己的语录送给朋友和崇拜者。因此，鲁迅的“匕首和长矛”流派不仅是一种狡猾的政治武器，也是一种复杂的自我雕塑，被社会对话中的尖酸刻薄所雕琢。&lt;br /&gt;
在当代中国作文的教科书和手册中，“混杂的文章”，【字面意思是“杂文”，以下简称杂文】被作为一种特别“中国”的文章体裁，呈现在普遍的文学分类的全球视野中。--[[User:Yang chenting|Yang chenting]] ([[User talk:Yang chenting|talk]]) 08:16, 11 December 2020 (UTC)Yang Chenting&lt;br /&gt;
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==Yao Jia 姚佳==&lt;br /&gt;
Lu Xun, the genre's initial back-handed champion, quipped sardonically that although he searched the standard encyclopedia thoroughly, he was unable to locate the genre of “tsa-wen” in any authoritative foreign classification.  Lu Xun's sarcasm includes both defiance and self-conscious uneasiness about a writing practice that Chinese circumstances, he felt, rendered peculiar and unseemly upon a world stage.  Compare the comments of a recent critic of ''zawen'':&lt;br /&gt;
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In Chinese affairs, there is a strange phenomenon that has held true until the present time, and that is; the value of any certain thing has to be established by a foreigner or by some common foreign publication.&lt;br /&gt;
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鲁迅是这一文体的最初的反对者。他曾讽刺说，他翻遍了标准的百科全书，但在任何权威的外国分类中都找不到 &amp;quot;tsa-wen &amp;quot;这一文体。 鲁迅的讽刺既有对一种写作方式的蔑视，也包含了自觉的不安，他认为中国的环境使这种写作方式在世界舞台上变得奇特而不雅。 比较最近的一位批评家对''杂文''的评论：&lt;br /&gt;
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在中国的事务中，有一种奇怪的现象一直持续到现在，那就是：任何一件事物的价值都必须由外国人或一些外国的普通出版物来确定。--[[User:Yao Jia|Yao Jia]] ([[User talk:Yao Jia|talk]]) 01:56, 11 December 2020 (UTC)&lt;br /&gt;
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鲁迅一开始就反对这一文体。他曾讽刺道，即使翻遍了标准的百科全书，也无法在任何权威的外国分类中都找到 &amp;quot;tsa-wen &amp;quot;这一文体。 鲁迅的讽刺既含有对这一文体的蔑视，也带着一丝不安，他认为中国当时的环境让这一文体在世界舞台上变得奇特而不雅。 比较一位批评家对''杂文''最近的评论：&lt;br /&gt;
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在中国，有一“怪象”一直持续到现在，那就是：任何一件事物的价值都必须由外国人或一些外国的普通出版物来确定。--[[User:Xiao Ting|Xiao Ting]] ([[User talk:Xiao Ting|talk]]) 08:07, 12 December 2020 (UTC)Xiao Ting&lt;br /&gt;
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==Yi Huan 易欢==&lt;br /&gt;
As for this thing called modern Chinese ''zawen'', because its Chinese characteristics are too strong, Westerners truly have a hard time understanding them, and thus have difficulty in researching this subject...  the American writer Pearl Buck said something like: 'this thing called ''zawen'' is too peculiar, you really cannot understand it.'  That is why only Chinese people themselves can evaluate this phenomenon called zawen.  (Yan Xiu in Zhang Hua [all translations by Scoggin unless otherwise noted])&lt;br /&gt;
In this passage, Yan Xiu, an eminent writer and critic, articulated Lu Xun's defiance of the foreign authority to categorize essay genre in a relatively explicit way, while also maintaining a typical ''zawen''-esque playfulness of style.  He continues his commentary;&lt;br /&gt;
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==Yi Zichu 义子楚==&lt;br /&gt;
But we do not need to worry about this long period of neglect in which foreigners do not recognize ''zawen.''  Even if a foreigner were to burst his/her mind researching Chinese zawen, I am afraid that they would not be able to research anything out of it even if they researched themselves flat broke and starving.  But Chinese people all understand them easily.  If they were not able to maintain the abiding appreciation and understanding of Chinese readers, this practice would have been lost.  The historical reasons and significance for the creation and propagation of ''zawen'' in China are worth serious research and theorizing (ibid.).&lt;br /&gt;
&lt;br /&gt;
Bravely dismissing the risk of bankruptcy, I do propose to research and theorize the culture of this funny genre of essay in all of its supposed inscrutability.&lt;br /&gt;
但是，我们不必担心长期以来外国人不承认杂文。虽然外国人来研究研究中国的杂文会大打折扣，因为他们无法研究其中的任何内容，尽管他们也研究自己的破产和饥饿。但杂文对中国人来说都很容易理解。 如果外国人不能保持对中国读者的长期欣赏和理解，这种事情便会不复存在。在中国创造和传播杂文的历史原因和意义值得认真研究和理论化（同上）。&lt;br /&gt;
虽然没有了破产的风险，但我真的建议去研究和论证这种有趣论文类型的文化，因为它具有所有假定的不可理解性。&lt;br /&gt;
--[[User:Yi Zichu|Yi Zichu]] ([[User talk:Yi Zichu|talk]]) 02:26, 12 December 2020 (UTC)&lt;br /&gt;
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但我们不必担心这种外国人长期不承认杂文的情况。即使一个外国人产生了其研究杂文的心思，恐怕他们自己研究得身无分文，饿死也研究不出来什么。但中国人都很容易理解他们。如果他们不能保持中国读者对他们的欣赏和理解，这种做法就会失传。杂文在中国产生和传播的历史原因和意义，是值得认真研究和理论化的（同上）。--[[User:Cao Runxin|Cao Runxin]] ([[User talk:Cao Runxin|talk]]) 11:48, 13 December 2020 (UTC)&lt;br /&gt;
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==You Yuting 游雨婷==&lt;br /&gt;
One ubiquitous characterization of zawen from textbooks and manuals is built upon the metaphor of the mule. This metaphor suggests a number of qualities, including hybrid vigor and strength, stubborn bad-temper, and resilience in the face of obstacles.  Mules kick, spit and bray with distinctive exuberance.  ''Zawen'' are often considered an awkward combination of “part-poetry, part politics” (Lin).  Cross-bred traits extend the qualities of a mule; ''zawen'' are bred to toil at the most difficult of human labor, they are strong, hard-working and rather famously unloved creatures, best known for their expressive obstinance.  &lt;br /&gt;
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So how does an essay kick, spit and bray?  In Chinese theoretical discussion of ''zawen'' the metaphor moves from kinetics to sound; ''zawen'''s kick is located in its “tone,” a term taken from music, although the sound here is can be distinctly unlovely.&lt;br /&gt;
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从教科书和手册中对杂文的一个普遍的描述是建立在骡子的隐喻之上的。这个比喻暗示了一些品质，包括混杂的活力和力量，顽固的坏脾气，以及面对障碍时的弹性。骡子的踢腿、吐口水和嘶叫有着独特的活力。“杂文”通常被认为是“部分诗歌，部分政治”的笨拙组合(林)。杂交的特性拓展了骡子的品质；杂文是被培养来从事最艰难的人类劳动的，他们强壮、勤劳，而且是出了名的不被喜爱的生物，最出名的是他们表现出的固执。&lt;br /&gt;
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那么，一篇文章是如何鞭笞、唾弃和咒骂的呢?在汉语“杂文”的理论探讨中，隐喻由动力转向声音；“杂文”的“踢腿”在它的“语气”，一个来自音乐的术语，尽管这里的声音可能明显是不可爱的。--[[User:You Yuting|You Yuting]] ([[User talk:You Yuting|talk]]) 14:44, 11 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
教科书和手册中对杂文的一个普遍的描述是建立在骡子的隐喻之上的。这个比喻表明了它的一些品质，包括混杂的活力和力量，顽固的坏脾气，以及面对障碍时的耐性。骡子的踢腿、吐口水和嘶叫有着独特的活力。“杂文”通常被认为是“部分诗歌，部分政治”的笨拙组合(林)。杂交的特性拓展了骡子的品质；杂文是被培养来从事最艰难的人类劳动的，他们强壮、勤劳，而且是出了名的不被喜爱的生物，最出名的是他们表现出的固执。&lt;br /&gt;
&lt;br /&gt;
那么，一篇文章是如何鞭笞、唾弃和咒骂的呢?在汉语“杂文”的理论探讨中，隐喻由动力转向声音；“杂文”的“踢腿”在它的“语气”，一个来自音乐的术语，尽管这里的声音可能明显是不可爱的。--[[User:Yu Ni|Yu Ni]] ([[User talk:Yu Ni|talk]]) 08:49, 13 December 2020 (UTC)&lt;br /&gt;
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==Yu Ni 余妮==&lt;br /&gt;
Elsewhere I have examined the function of “tone” through the lens of the published record of debate over tone between literary editors (see Scoggin 2001).  I have posited the idea that approaches to writing ''zawen'' fall into two interdependent strategies, one overt and one covert, both blending the tactics of politics and poetics in perfect measure.  Overt ''zawen'' are relatively bold and obvious in their churlish tone, reflecting confidence in a tolerant audience.  Covert ''zawen'' are sometimes difficult to identify, disguised or hidden within other genre of writing, but still drawing upon the distinctive tones of ''zawen'' through intertextuality and other tricks.  &lt;br /&gt;
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Below, I examine the mechanics of ''zawen'' tone through contrasting these two style of ''zawen'' issuing from a single pen, that of poet and noted ''zawen'' writer Shao Yanxiang.&lt;br /&gt;
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在其他地方，我通过已发表的文学编辑之间关于语气的争论记录（见Scoggin 2001）来考察“语气”的功能。我认为，杂文的写作方法可以分为两种相互依存的策略，一种是显性的，另一种是隐性的，两者都是政治策略和诗学策略的完美结合。公开的杂文相对大胆和明显的粗鲁语气，反映出对一个宽容的观众的信心。隐性扎文有时很难识别，伪装或隐藏在其他文体中，但仍然通过互文性和其他技巧利用扎文的独特音调。&lt;br /&gt;
下面，我通过对比诗人、著名杂文作家邵燕祥这两种杂文的风格，来探讨杂文声调的形成机制。--[[User:Yu Ni|Yu Ni]] ([[User talk:Yu Ni|talk]]) 08:34, 13 December 2020 (UTC)&lt;br /&gt;
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==Yuan Shiqi 袁诗琦==&lt;br /&gt;
The two essays discussed below form opposites sides of a spectrum of variable transparency, and vastly differing publishing circumstances, although they were composed only months apart by the same individual, one before and one after a specific political event in China.  I argue here that unifying the two ''zawen'' is a particular subset of modal tropes, qualified as the verbal equivalent to a mule's kick, bite or bray.  The expression of this unclearly delineated but distinctive subset of modal tropes is the single central mission of ''zawen'' as a genre in Chinese literature and society.  Chinese theoretical debates over “tone” specifically address the function of this kind of modal trope. While sometimes as bald and direct, as in the overt ''zawen'' “Pei pei pei! ”?discussed below, many zawen conceal their weapons, depending upon contextual circumstances of publishing to pack their punch, as does the essay “East Station,” also discussed below.&lt;br /&gt;
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下面讨论的这两篇文章形成了一系列不同的透明度和迥然不同的出版情况，尽管这两篇文章是由同一个人撰写的，前后仅相隔几个月，分别是在中国某一特定政治事件之前和之后。在这里我认为，统一两个“杂文”是模态修辞的一个特定子集，在言语上相当于“骡子的踢”、“咬”或“叫”。表达这种没有明确划定但独特的模态修辞子集，是“杂文”作为中国文学和社会的一个流派的唯一中心任务。中国关于“调”的理论争论主要针对这类模态修辞的功能。然而有时又很直接，就像在下面讨论的公开的“杂文”“呸呸呸”?中，许多杂文隐藏他们的武器，根据发表的语境环境进行重击，正如文章《东站》，也将在下面讨论。--[[User:Yuan SHiqi|Yuan SHiqi]] ([[User talk:Yuan SHiqi|talk]]) 07:09, 9 December 2020 (UTC)&lt;br /&gt;
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下面讨论的这两篇文章从相反的角度形成了一系列不同的透明度和迥然不同的出版情况，尽管这两篇文章由同一个人撰写，前后仅相隔几个月，分别是在中国某一特定政治事件之前和之后。在这里我认为，统一两个“杂文”是模态修辞的一个特定子集，在言语上相当于“骡子的踢”、“咬”或“叫”。表达这种没有明确划定但独特的模态修辞子集，是“杂文”作为中国文学和社会的一个流派的唯一中心任务。中国关于“调”的理论争论主要针对这类模态修辞的功能。然而有时又很直接，就像在下面讨论的公开的“杂文”“呸呸呸！”?中，许多杂文隐藏起他们的武器，根据发表的语境环境进行重击，正如将在下面讨论的文章《东站》。--[[User:Xu Pengfei|Xu Pengfei]] ([[User talk:Xu Pengfei|talk]]) 11:34, 9 December 2020 (UTC)Xu Pengfei&lt;br /&gt;
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==Yuan Tianyi 袁天翼==&lt;br /&gt;
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Both types of ''zawen'' should be read “ethnographically,” in concrete social and historical circumstances.  After covering some of the primary textual elements of ''zawen'', I will demonstrate the significance of more subtle contextual gestures of ''zawen'', which must be read out of the process of submitting and publishing ''zawen''.  Through the contrast of these two essays, I will explicate and generalize about the formation and mechanics and of tone in modern Chinese literary history, and offer a thesis upon the reception of Chinese literature in Western scholarship as well.&lt;br /&gt;
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杂文的两种类型都应该置于具体的社会和历史环境下，以“民族志”的方式解读。在介绍杂文一些基本的文章要素后，我会揭示杂文更细微的语境姿态的意义，而这个只能从提交和出版杂文的过程中解读出来。通过对比这两篇文章，我会我将对中国现代文学史上基调的形成、机制和基调进行阐述和概括，并就西方学术界接纳中国文学这件事发表一篇论文。--[[User:Yuan Tianyi|Yuan Tianyi]] ([[User talk:Yuan Tianyi|talk]]) 07:05, 9 December 2020 (UTC)&lt;br /&gt;
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==Yuan Yuchen 袁雨晨==&lt;br /&gt;
An Demonstrative Sample – “'Pei Pei Pei!'?”&lt;br /&gt;
''&lt;br /&gt;
A friend from outside literary circles asked me to find him some “pei pei pei!” essays to read, and I had to stare at him blankly with nothing to say.  He then explained that he had read in a newspaper that a certain provincial leader had announced at a banquet that there should be no more “pei pei pei – ing” all over the place, and so clearly there must be pei pei pei-ing all over the place. (Shao 1993, 181)&lt;br /&gt;
So begins an essay entitled “呸呸呸!”? composed in February of 1989.  I will return to the circumstances of publication shortly, but first I will demonstrate the trope of tone through this representative sample ''zawen.&lt;br /&gt;
''&lt;br /&gt;
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一个“呸呸呸！”的示例&lt;br /&gt;
一个文学圈外的朋友让我给他找来一些呸呸呸的文章来读一读，我只好面无表情地看着他，无话可说。他就解释说，他在报纸上看到某省领导在一次宴会上宣布，各地不应再说“呸！呸！呸！”了，所以很明显到处都在说呸！呸！呸！。(邵1993，181) 1989年2月创作的一篇题为《呸呸呸！》的文章是由此开始的。关于发表时的情形，我将在不久后再谈，但首先我会通过这篇有代表性的杂文样本来解释语气的特例。--[[User:Yuan Yuchen|Yuan Yuchen]] ([[User talk:Yuan Yuchen|talk]]) 02:26, 13 December 2020 (UTC)&lt;br /&gt;
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==Zeng Fangyuan 曾芳缘==&lt;br /&gt;
A word like “Pei!” contains what we can call a modal trope, a figure of speech that captures mood and emotion, expressing not only subjunctive or declamatory mood, as adverbial modal tropes such as “could” and “should” may do in English, but also more subtly embedded mood in the semantics of lexical items (the meanings in words) expressing outrage, joy, command, sarcasm, threat, pathos, irony (Friedrich, 30-32).  Usually modal tropes work together with other functions of language but in the case of “pei!” the modal trope is more nearly pure, it stands primarily for the emotional tone it communicates.  A parallel sample in English might be something like “tut, tut, tut!” although “tut” fails to pack the censorious reproach of the Chinese “pei!”&lt;br /&gt;
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像“呸！”一词包含一种我们可以称之为情态比喻的修辞手法，反应了说话人的心情和情绪，不仅表达了虚拟语气或宣告语气，和英语中的“可以”和“应该”这样的副词情态作用一样，而且更巧妙地将语气嵌入表达愤怒、喜悦的词汇项（单词中的含义）的语义中，用以表达命令，讽刺，威胁，悲伤，讽刺的情感（弗里德里希，30-32）。情态比喻通常与语言的其他功能共同作用，但在“呸！”这一例子中，情态比喻更接近其本身的作用，主要代表它所传达的情感基调。一个类似的英语例子可能是“tut, tut, tut!”（“啧啧，啧啧，啧啧！），但是“tut, tut”未能涵盖中文里“呸”的挑剔责备之意。--[[User:Zeng Fangyuan|Zeng Fangyuan]] ([[User talk:Zeng Fangyuan|talk]]) 06:07, 12 December 2020 (UTC)&lt;br /&gt;
像“呸！”一词包含一种我们可以称之为情态比喻的修辞手法，反应了说话人的语气和情感，不仅表达了虚拟语气或感叹语气，和英语中的“可以”和“应该”这样的副词情态作用一样，而且更巧妙地将语气嵌入表达愤怒、喜悦、命令、讽刺、威胁、伤感、反讽的词汇项（单词中的含义）的语义中（弗里德里希，30-32）。情态比喻通常与语言的其他功能共同作用，但在“呸！”这一例子中，情态比喻更接近其本身的作用，主要代表它所传达的情感基调。英语中一个类似的例子可能是“tut, tut, tut!”（“啧啧，啧啧，啧啧！），但是“tut, tut”未能涵盖中文里“呸”的挑剔责备之意。--[[User:Zeng Liang|Zeng Liang]] ([[User talk:Zeng Liang|talk]]) 09:39, 12 December 2020 (UTC)&lt;br /&gt;
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==Zeng Liang 曾良==&lt;br /&gt;
In the case of this title, modal functions are reinforced by several formal tropes.  Note the repetition (three pei's!) and the complex punctuation consisting of an exclamation point and a question mark, separated by quotation marks.  In the case of “Pei pei pei!”?, the ''zawen'''s own voice is not the primary expression of the tone of disgust.  The quotation marks invoke disgust only to distance it, while the question mark further challenges it.  The title alone demonstrates modal function with very little distraction; one character, two repetitions and three punctuation marks move this title in several modally intense directions at once with almost no referential content at all.&lt;br /&gt;
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就此标题而言，几个正式比喻加强了情态功能。注意引号将”呸！呸！呸！“以及由一个感叹号和一个问句组成的复杂标点分离开来。在”呸呸呸“的例子中，厌恶的语气并不主要是由”杂文“本身表达出来的，引号引起的厌恶只是为了疏远它，然而问号进一步挑战了它。标题本身只是用小小的娱乐意味展示了情态功能；一个汉字，两个重复和三个标点符号同时动摇了此标题的情态强度方向。--[[User:Zeng Liang|Zeng Liang]] ([[User talk:Zeng Liang|talk]]) 09:32, 12 December 2020 (UTC)&lt;br /&gt;
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就此标题而言，几个正式比喻加强了情态功能。注意重复“呸！呸！呸！”以及由一个感叹号和一个问句组成的复杂标点分离开来。在“呸呸呸”这一例子中，厌恶的语气并不主要由“杂文”本身表达，引号引起的厌恶只是为了疏远它，然而问号进一步挑战了它。标题本身只是用小小的娱乐意味展示了情态功能；一个汉字，两个重复和三个标点符号同时动摇了此标题的情态强度方向。--[[User:Zhang Yuxing|Zhang Yuxing]] ([[User talk:Zhang Yuxing|talk]]) 10:20, 12 December 2020 (UTC)&lt;br /&gt;
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==Zeng Xinyuan 曾心媛==&lt;br /&gt;
“Pei pei pei!”? performs a transparent metadiscursive comment upon ''zawen'', in this case defending the extracurricular genre favored by declasse intellectuals like Shao Yanxiang, himself, a “retired” poet who had resigned with bitterness from his career at the central Chinese poetry journal ''Shikan'', and devoted his post official career to writing zawen.  Upon learning of this unnamed “provincial leader's” complaint about “pei pei pei”-ing, and sensing that he himself bore some responsibility for this reportedly lamentable state of affairs, Shao writes that he discovered that the provincial leader had indeed characterized a kind of caustic, sarcastic disparaging discourse about the party, the nationality and the people, as “pei pei pei-ing all over the place” and that he had further warned that this kind of talk was spreading a mood of despair and hopelessness. &lt;br /&gt;
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==Zeng Yanhu 曾雁湖==&lt;br /&gt;
In the remainder of this essay Shao ridicules said provincial leader's complaint as circular, admitting no culpability on the part of his own fellow ''zawen''-writing social critics. &lt;br /&gt;
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The tone of “Pei pei pei!”? is that of pointed irony, expressed recursively upon three levels.  The first level is located in the words themselves, including the use of “pei” I have described above.  This “first order” irony, as I have described it (Scoggin 1997), is an elementary type of sarcasm, a part of the conventional rhetoric of any language, written or spoken, and not usually misunderstood by a competent interpreter.&lt;br /&gt;
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在文章的剩余部分绍讥讽道省领导的申诉是一个闭环，不承认他的同伴所写的社会批判性杂文有任何的罪恶。&lt;br /&gt;
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“呸呸呸”的语气是尖锐的讽刺，递进的传达着三个层次的含义。第一层含义是基于词语本身，包括我在前面所提到的“呸”的使用。正如我所描述的那样（Scoggin 1997），这种“一阶”讽刺是讽刺的一种基本类型，是任何语言的传统修辞学的一部分，无论书面或口语，通常都不会被有能力的口译员误解。--[[User:Fancy|Fancy]] ([[User talk:Fancy|talk]]) 09:34, 12 December 2020 (UTC)&lt;br /&gt;
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在文章的剩余部分绍讥讽道省领导的申诉是一个闭环，不承认他的同伴所写的社会批判性杂文有任何的罪恶。&lt;br /&gt;
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“呸呸呸”的语气是尖锐的讽刺，以递进的方式传达着三个层次的含义。第一层含义是基于词语本身，包括我在前面所提到的“呸”的使用。正如我所描述的那样（Scoggin 1997），这种“一阶”讽刺是讽刺的一种基本类型，是任何语言的传统修辞学的一部分，无论书面或口语，通常都不会被有能力的口译员所误解。--[[User:You Yuting|You Yuting]] ([[User talk:You Yuting|talk]]) 14:46, 11 December 2020 (UTC)&lt;br /&gt;
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==Zhang Hu 张虎==&lt;br /&gt;
Other examples of this level of tone in  “Pei pei pei!”? would include the attitude of “stupidity” Shao Yanxiang assumes when he claims that he looks for pei pei pei ing “all over the place” but cannot find any at all, and the repeated use of expressions he lifted from the pointedly unnamed “provincial leader's” talk, including the primary charge of “mockery, sarcasm and scornful dismissal” Shao is refuting, and also the leader's assertion of  “discipline and rectification,” which Shao has skillfully turned into a counter charge.  &lt;br /&gt;
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A second level of irony requires contextual knowledge on the part of the reader.  This includes assumptions that would be obvious to most readers.&lt;br /&gt;
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“呸呸呸!”？中这种程度的语气的例子包括，邵彦祥在“到处”寻找呸呸呸，却一无所获时所采取的“愚蠢”的态度，以及他从完全不知名的“省级领导”的谈话中反复使用的表达方式，包括主要的“嘲笑、讽刺和轻蔑的解雇”，邵逸祥反驳道，还有领导对“纪律严明”的断言，邵巧妙地把这句话变成了反击。&lt;br /&gt;
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第二层次的反讽需要读者的语境知识。这包括对大多数读者来说显而易见的假设。--[[User:Blank|Blank]] ([[User talk:Blank|talk]]) 05:03, 11 December 2020 (UTC)&lt;br /&gt;
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“呸呸呸！”中这种音调水平的其他示例吗？其中包括”愚蠢”的态度，邵燕翔宣称当他在“到处”寻找呸呸呸的时候，却在哪儿也找不见它了，以及从完全不知名的“省领导的”的讲话中，他指出了那些重复的使用，包括邵伟反驳的主要指控“嘲弄，嘲讽和轻蔑”，以及领导人对“纪律和整顿”的主张，邵伟已巧妙地将其反驳。&lt;br /&gt;
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第二层次的反讽需要需要该部分读者的语境知识。这包括了对于大多数读者来说都显而易见的假设。--[[User:Fancy|Fancy]] ([[User talk:Fancy|talk]]) 13:06, 12 December 2020 (UTC)&lt;br /&gt;
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==Zhang Hui 张慧==&lt;br /&gt;
For example, Shao Yanxiang claims that he has never heard of the idea that “literary publications should be of assistance in stabilizing the people's minds, increasing faith, and not demoralizing the people's will.”  But just such a position has clearly been long-standing socialist policy for many kinds of public writing, including media news and literature.  References to historical events in terms like the cultural revolution tones of “newspaper [published] by all the people” and Han Shaogong's controversial Post-Mao short story “Ba Ba Ba” fall somewhere in between the first and second levels of ironic tone.  &lt;br /&gt;
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A third level, which I have labeled “indexical irony,” makes use of immediately contextual information such as the actual publishing outlet of the essay (in this case, the mainstream ''Literature Journal'' essay column “Literature and the People's Lives,” which Shao mentions at the end of the article) and Shao's own writing persona.&lt;br /&gt;
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例如，邵彦祥声称他从未听说过“文学出版物应在稳定人民思想，增进信仰，不使人民意志消沉方面有所帮助”这一思想。 但是，这种立场显然已经成为包括媒体新闻和文学在内的许多公共写作的长期社会主义政策。 对历史事件的引用，例如“全民[报纸]的文化大革命”和韩少功备受争议的毛泽东短篇小说“八八八”，都介于第一和第二讽刺语调之间。&lt;br /&gt;
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第三个层次，我称之为 &amp;quot;索引性反讽&amp;quot;，利用文章的实际出版渠道（在这里，邵在文章结尾提到的主流''文学报''散文专栏 &amp;quot;文学与百姓生活&amp;quot;）和邵自己的写作人设等即时语境信息。--[[User:Zhang Hui|Zhang Hui]] ([[User talk:Zhang Hui|talk]]) 09:13, 9 December 2020 (UTC)&lt;br /&gt;
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比如，邵燕祥声称，他从来没有听说过 &amp;quot;文艺刊物要对稳定民心、增加信仰、不挫伤民心意志有帮助 &amp;quot;的观点。 但就这样的立场，显然是包括媒体新闻和文学在内的多种公开写作的长期社会主义政策。 像 &amp;quot;全民办报（出版）&amp;quot;的文革调子和韩少功的争议性后毛短篇小说《巴巴》等词语对历史事件的提及，都属于第一和第二层次的反讽调子。 &lt;br /&gt;
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第三层次，我称之为 &amp;quot;索引性反讽&amp;quot;，利用文章的实际出版渠道（在这里，邵逸夫在文章结尾提到的主流''文学报''散文专栏《文学与人民生活》）和邵逸夫自己的写作人设等即时语境信息。--[[User:Zhao Xiaoyan|Zhao Xiaoyan]] ([[User talk:Zhao Xiaoyan|talk]]) 09:17, 9 December 2020 (UTC)&lt;br /&gt;
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==Zhang Ling 张玲==&lt;br /&gt;
''Zawen'' often make extensive use of this third, intimately contextualized level.  In this case Shao claims that he can find no “pei pei pei” articles, but many readers would recognize that he himself is well known for writing ''zawen'' that would certainly qualify.&lt;br /&gt;
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In “Pei pei pei!”? Shao Yanxiang has deliberately sought out an accusation that he then counters with withering acerbity.  Complaint, combat and disgust are just the beginning of the range of contentious moods that ''zawen'' represent.  ''Zawen'' accuse, retaliate, needle, and snarl; but as I will demonstrate shortly, they can also moan and sigh with considerable subtly.  Either way they clothe all this, quite often, in word games of subterfuge and indirectness, which -- beyond the intellectual puzzle of circumlocution also common in other genres of verbal art -- carries the weight of ''zawen'''s mission in the singular feature of tone.&lt;br /&gt;
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“杂文”常常广泛运用第三层次，即与语境化紧密联系的层次。在这种情况下，邵燕祥声称他找不到“呸呸呸”的文章，但许多读者都知道，他本人以写“杂文”而闻名，这肯定是符合条件的。&lt;br /&gt;
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“呸呸呸!”? 邵燕祥故意找人指责他，然后用尖酸刻薄之语加以反驳。抱怨、战斗和厌恶只是“杂文”所代表的一系列有争议情绪的开始。“杂文”是指责、报复、针锋相对、咆哮的；但正如我稍后将演示的那样，它们也可以相当巧妙地呻吟和叹息。不管怎样，他们常常把这一切穿插在诡辩和间接的文字游戏中，这一点——除了在其他语言艺术流派中常见的迂回曲折的智力谜团之外——承载着“杂文”的使命，即声调的独特特征。--[[User:Zhang Ling|Zhang Ling]] ([[User talk:Zhang Ling|talk]]) 03:01, 12 December 2020 (UTC)&lt;br /&gt;
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==Zhang Peiwen 张佩闻==&lt;br /&gt;
As a ''zawen'' writer, the “provincial leader's” complaint is exactly the sort of accusation intellectuals like Shao Yanxiang are accustomed to facing. His defense links the ''zawen'' mission to many others we could find in diverse settings; he is also answering, for example, Spiro Agnew's famous condemnation of “nattering nabobs of negativism” in American public discourse, and displaying the cross-cultural breadth of a “Jeremiad,” evident in the travel-worthy allusion of the very term, rooted in biblical texts.  In this and other ''zawen'', Shao defends the contemporary Chinese genre of zawen as genre of protest and complaint.  He borrows the insult of a critic to distinguish thoughtless emotional battering from the carefully aimed spar, which is both his own ideal and the standard mission of the genre of ''zawen.''&lt;br /&gt;
作为一个“杂文”作家，对于来自“省领导”的批评，像邵彦翔这样的知识分子已经习惯面对。他对领导做出的解释让人们把写杂文和我们可以在不同环境中找到的其他任务联系起来;例如，他还解释了斯皮罗·阿格纽(Spiro Agnew)为什么要谴责美国公共演讲中著名的”喋喋不休的消极主义者，并说明了这种悲哀在跨文化上，在这个源自圣经的术语的典当中的广泛性。在这篇杂文和他其他的作品中，邵表示当代中国的杂文是用来表达抗议和不满的文体。他借用了批评家的侮辱言论来区分无意识的情感伤害和有意的争吵，这既是他自己的理想，也是“杂文”应该表现的。--[[User:Zhang Peiwen|Zhang Peiwen]] ([[User talk:Zhang Peiwen|talk]]) 15:08, 11 December 2020 (UTC)”&lt;br /&gt;
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作为一名“杂文”作家，“省领导”的抱怨正是像邵燕祥这样的知识分子习惯面对的那种指责。他对领导做出的解释让人们把写杂文和我们在不同环境中可以找到的许多其他任务联系起来；例如，他还回答了斯皮罗·阿格纽（Spiro Agnew）在美国公共话语中对“消极主义的喋喋不休”出名的谴责，并展示了&amp;quot;耶利米德&amp;quot;的跨文化广度，这一术语在源于圣经文本的关于旅行的字词中显而易见。 在《杂文》和其他杂文中，邵燕祥为当代中国的杂文流派做辩护，认为杂文是抗议和抱怨的流派。他借用批评家的侮辱来区分思想上的情感打击和精心策划的争吵，这既是他自己的理想， 也是 “杂文” 流派的标准使命。--[[User:Zhao Xi|Zhao Xi]] ([[User talk:Zhao Xi|talk]]) 09:05, 12 December 2020 (UTC)&lt;br /&gt;
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==Zhang Qi 张琪==&lt;br /&gt;
'''A Restrained Sample – “East Station”'''&lt;br /&gt;
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I have outlined how one essay demonstrates the function of ''zawen'' in a particularly transparent way, but some of the best and most effective zawen are covert operations.  On the opposite side of spectrum of transparency, we can place a relatively understated and “essay-like” ''zawen'', also by Shao Yanxiang. “East Station” was submitted for a national ''zawen'' competition in a southern evening newspaper in 1994.  It was judged too “sensitive” to publish by the zawen editor, but nevertheless it was privately noted by the editors as the unofficial winner of the competition.  At first glance there is very little to mark it as a ''zawen'' at all, not to mention a seditious ''zawen''.&lt;br /&gt;
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受约束的样本–“东站”'''&lt;br /&gt;
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我已经概述了一篇文章如何以一种特别透明的方式展示“ 杂文”的功能，但是一些最好，最有效的杂文是秘密行动。 在透明度范围的另一面，我们可以放一个相对低调的，也像邵燕香一样的“散文式”“ 杂文”。 1994年，“东方站”在南方晚报上提交给全国“ 杂文”竞赛。它被杂文编辑认为过于“敏感”而无法出版，但编辑私下指出它是非官方的比赛获胜者。乍一看，几乎没有什么可以将其标记为“ 杂文”的，更不用说煽动性的“ 杂文”了。--[[User:Zhangqi|Zhangqi]] ([[User talk:Zhangqi|talk]]) 05:47, 10 December 2020 (UTC)&lt;br /&gt;
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==Zhang Weihong 张维虹==&lt;br /&gt;
It is a rather lyrical survey of historical images centering upon  refugees, migrants, political and literary figures on their passages to and from Beijing.  It does, however, contain a few of the indications of first level irony that traditionally mark a ''zawen'', such as a “quotation” placed for its jarring effect, as in the opening passage below.&lt;br /&gt;
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Thirty years ago in Beijing, if you mentioned “East Station,” everybody would know that referred the Beijing East Station that lies to the outer East Side of  Front Gate.  Today this unremarkable construction, built in a half-westernized architectural style and sandwiched between the tall buildings of this noisy and busy city, supports a little sign that reads “Railway Workers Club.”  It is already an “ancient artifact,” long gone are the prosperous and glorious days of old.&lt;br /&gt;
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此文是以流民，移民，政治和文学人物往返北京为中心的历史形象的抒情研究。然而，它确实包含了一些传统上标记“杂文”的第一层讽刺的暗示，例如为了其刺耳效果而放置的“引语”，如下面的开头段落所示。&lt;br /&gt;
三十年前的北京，如果提到“东站”，大家都会知道是指位于正门外东侧的北京东站。如今，这座半西化建筑风格的不起眼的建筑，夹在喧嚣闹市的高楼大厦之间，支撑着一块“铁路工人俱乐部”的小牌子，已是“古文物”，昔日的繁华辉煌早已一去不复返了。&lt;br /&gt;
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==Zhang Xueyi 张雪仪==&lt;br /&gt;
The somber opening paragraph is in part marked as a zawen by the appearance of snapshot “quote,” in which what might have been a significant icon of Beijing history is reduced to a cheesy “Railway workers club” sign hanging on a architecturally half-breed building not even worthy of preservation.  Other ironic comments of this sort include Shao's sarcastic reference to Guo Moruo;&lt;br /&gt;
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And in March of 1949, when Guo Moruo and his democrats gathered together and arrived in Beijing, they were received with grand ceremonious welcome; the tears they wept were of joy.  At the time, he composed a poem “How much of the people's blood was spilled for this honor.&lt;br /&gt;
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沉闷的开场白部分是由快照“引文”的出现而标记为杂文的，其中可能是北京历史上的一个重要标志，被简化为一个俗气的“铁路工人俱乐部”标志，悬挂在一座半成品建筑上，甚至不值得保存。 其他类似的讽刺评论包括邵逸夫讽刺郭沫若；&lt;br /&gt;
1949年3月，当郭沫若和他的民主党人齐聚北京时，他们受到了隆重的欢迎，他们流下的泪水是喜悦的。当时，他写了一首诗“为了这个荣誉，人民的洒了多少鲜血。--[[User:Zhang Xueyi|Zhang Xueyi]] ([[User talk:Zhang Xueyi|talk]]) 13:02, 13 December 2020 (UTC)&lt;br /&gt;
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==Zhang Yinliu 张银柳==&lt;br /&gt;
Thinking of it, the tears fall, and happy laughter is unable to articulate in sound.”  -- I do not know why, but this poem was not collected in any of his later collections.&lt;br /&gt;
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In a similar but more deeply contextualized vein would be Shao Yanxiang's allusion to Tu Fu's escape during the An Lu Shan rebellion during the Tang Dynasty contained in the quoted term “fortuitous rescue.”  Shao's general structure in this piece is a recurring cyclical allegory that parallels the Japanese, the Nationalists and the Communists in bitter condemnation of the last, as only one more invasive army disturbing the lives of ordinary Chinese people.  The People's Traffic Police also take their place in this cycle, a silly reminder that we are still in the realm of ''zawen''.&lt;br /&gt;
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==Zhang Yu 张瑜==&lt;br /&gt;
Obviously this kind of first and second-level rhetorical sarcasm and historical irony alone is not enough to define an essay as a ''zawen'', but the difficulty of assigning an essay its genre is also no obstacle; ambiguous “mixedness” is part of ''zawen'''s identity.  This covert zawen depends most fundamentally upon indexical irony, to an extent that surpasses “Pei Pei Pei!”?, above.  One crucial feature that makes “East Station” a ''zawen'' is the entirely untextual fact that Shao Yanxiang submitted it in a competition specifically designated for ''zawen'' in a provincial evening newspaper.  The editors did not reject the piece as “non-''zawen'',” on the contrary, they complained that it contained too much of the requisite ''zawen'' pique.  In order to understand this, we must again go beyond the actual words of the piece.&lt;br /&gt;
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仅从一级和二级讽喻修辞及历史讽刺角度分析显然不足以将一篇文章定义为“杂文”，但将一篇文章分类的难题也不是什么障碍；含糊“混杂”是“杂文”的特点之一。杂文的隐蔽性更多地依赖于索引性讽刺，在某种程度上来说，它超越了“呸呸呸！”。把《东站》这篇文章归为“杂文”的一个关键因素是由于其完全无文本性这一事实，邵燕祥在地方晚报“杂文”特辑上发表这篇文章。编者也不否认这篇文章不是一篇“杂文”；相反地，他们抱怨这篇文章涵盖太多“杂文”必不可少的气息。为了解这一点，我们必须再次透过文字本身来看这篇文章。--[[User:Zhang Yu|Zhang Yu]] ([[User talk:Zhang Yu|talk]]) 14:49, 9 December 2020 (UTC)&lt;br /&gt;
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==Zhang Yujie 张毓婕==&lt;br /&gt;
In a late night conversation in which the managing editor and two guests including myself drank beer and discussed the ''zawen'' competition to which “East Station” was submitted, the editor mused about the publication that wasn't.  She said;&lt;br /&gt;
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Actually Shao Yanxiang submitted two manuscripts, but I had to return one.  (Reaching around to a drawer) Well, I wanted to return it to him, but then I couldn't bear to.  The original is still here, I wonder if you will understand?  It requires some background...At the time it was the head editor that rejected the manuscript.  He also felt badly, but there was no question but that it could not be printed, because it would certainly cause trouble...This happens with your friends, but I really felt uncomfortable about this one.&lt;br /&gt;
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在那个深夜，总编辑与包括我在内的两位客人喝了啤酒，我们还讨论了杂文竞赛，有本参赛的书叫“东站”。想到那本未出版的书。 编辑陷入了深思，她说：&lt;br /&gt;
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实际上邵炎祥上交了两份手稿，但我必须退回一份。 （她接着走到抽屉边）是的，我想把这份还给他，但我还是不忍心。 原稿还在这里，我想知道你们是否会明白？ 这需要对当时的背景有一些了解...当时是首席编辑拒绝了手稿。 他也感到难受，但无疑这本书不能被印刷出来，因为到时候肯定会引起麻烦……他是你们的朋友，但是我真的对此感到不舒服。--[[User:Zhang Yujie|Zhang Yujie]] ([[User talk:Zhang Yujie|talk]]) 07:44, 13 December 2020 (UTC)&lt;br /&gt;
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==Zhang Yuxing 张宇星==&lt;br /&gt;
Because this essay was just written so well.  He just wrote about the East Station, but he used Beijing East Station to talk about his view on everything. (Scoggin Fieldnotes)  &lt;br /&gt;
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She continued to discuss the essays that were just too “that way” (''neige le'') as they came in for the competition. “One day the police came and looked through that box all afternoon!” she added.  The managing editor's two guests that evening jumped on her comment, “They what!?” But she retained the appearance of serenely refusing to interpret this police visit as a sinister gesture.&lt;br /&gt;
It was just manuscripts, why should they look at those?  They said they were just reading, there were two of them, I really don't know, I guess they enjoyed reading them too.(ibid)&lt;br /&gt;
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因为这篇作文实在是写得太好了。他只是写了东站，但是他用北京东站来谈他对一切的看法。(史可法场记)&lt;br /&gt;
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她继续谈论参赛的散文，认为文章太&amp;quot;那样&amp;quot;了。她继续说道：“有一天，警察来了，整个下午都在翻阅那个盒子！”当晚，主编的两位客人突然评论道：“他们干什么！”但她平静地拒绝将这次警察访问解释为一种险恶姿态的外貌。&lt;br /&gt;
这只是手稿， 他们为什么要看那些？他们说他们只是在读书， 有两个， 我真的不清楚， 我想他们也喜欢读吧。（同上）--[[User:Zhang Yuxing|Zhang Yuxing]] ([[User talk:Zhang Yuxing|talk]]) 10:17, 12 December 2020 (UTC)&lt;br /&gt;
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因为这篇文章写得太好了。他只是写了东站，但他用北京东站谈他对一切的看法。(史可法场记)&lt;br /&gt;
她继续谈论参赛的散文，认为文章太&amp;quot;那样&amp;quot;（奈格乐）了。她继续说道：“有一天，警察来了，整个下午都在翻阅那个盒子！”当晚，总编辑的两位客人突然说道，“他们在干什么！？”但她仍然保持着平静的样子，拒绝把这次警方的访问解释为一种邪恶的姿态。&lt;br /&gt;
这只是手稿，他们为什么要看那些？他们说他们只是在看书，有两个，我真的不知道，我想他们也喜欢看吧。（同上）--[[User:Zhou Shuyao|Zhou Shuyao]] ([[User talk:Zhou Shuyao|talk]]) 11:14, 13 December 2020 (UTC)&lt;br /&gt;
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==Zhao Xi 赵茜==&lt;br /&gt;
When she finally found the manuscript (tucked away where snooping police would not have found it) she decided to give it to me.  She said she had called Shao Yanxiang to tell him that they could not print it, and even though he had said he understood, she still hated to bring the matter to his attention again by sending the essay back to him, and now it seemed too late. Since I was also acquainted with him, and clearly admired him, giving the manuscript to me as research material seemed to her to be a fitting conclusion to the whole matter. &lt;br /&gt;
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In the original manuscript of “East Station” is signed, as is the custom, with the date it was composed at the bottom, “September 13, 1989.”  Although it was submitted to the newspaper in 1994, in a private note scrawled to the editors, Shao added; “Please don't cut or change this date.&lt;br /&gt;
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当她终于找到手稿时（藏在窥探警察找不到的地方），她决定把它给我。她说，她曾打电话给邵燕祥，告诉他，他们不能打印。即使他说，他理解，她仍然不愿意再次提请他注意的问题，把文章给他，现在似乎为时已晚。由于我也认识他，显然很敬佩他，把手稿给我作为研究材料，在她看来是整个事情最合适的结果。--[[User:Zhao Xi|Zhao Xi]] ([[User talk:Zhao Xi|talk]]) 08:34, 12 December 2020 (UTC)&lt;br /&gt;
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在原稿上签着“东站”，按照习俗，与日期“1989年9月13日”一起在底部。虽然1994年它提交给了该报，但用一份私人便条向编辑们草草写了字，但邵补充说：“请不要剪掉或更改此日期。”--[[User:Zhao Xi|Zhao Xi]] ([[User talk:Zhao Xi|talk]]) 08:34, 12 December 2020 (UTC)&lt;br /&gt;
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终于她找到了手稿，并且决定把它给我。她说，她曾打电话给邵燕祥，告诉他，这本书不能印刷出版。邵燕祥说他理解，但她还是不愿意把手稿还给他，以免让他再次想起这件事，但现在似乎为时已晚。由于我也和他熟识，并且显然很敬佩他，把手稿给我当做研究材料，在她看来是最好的选择。--[[User:Zhang Yujie|Zhang Yujie]] ([[User talk:Zhang Yujie|talk]]) 07:51, 13 December 2020 (UTC)&lt;br /&gt;
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==Zhao Xiaoyan 赵晓燕==&lt;br /&gt;
The new railway station began operation in 1959, and this fits in parallel with 'more that thirty years ago' at the beginning of the essay.”  The emphasis upon these dates forces a new consideration of the essay as a whole.  Suddenly the parallel between Nationalist, Japanese and Communist cycles of refuge and expulsion he mentions are rendered a sinister reference to a modern “rebellion” in the spring and summer of 1989.  The date heightens the threat of Shao's concluding two sentences; “Today will also become history.  And every inch of Beijing earth will provide proof of its history.” The scrawled note links 30 years, 1989, “today,” and the defiant “inches of proof” that mark East Station as a zawen, even beyond the micro structure of submission channels.  For all its elusively distant tone, East Station suddenly became a pointed, angry, and, even in 1994, unpublishable ''zawen''.&lt;br /&gt;
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新火车站于1959年开始运营，这与文章开头的'三十多年前'相吻合&amp;quot;。对这些日期的强调，迫使我们对文章的整体进行新的考虑。突然间，他提到的国民党、日本和共产党的避难和驱逐周期之间的平衡，被恶意渲染成1989年春夏的现代 &amp;quot;叛乱 &amp;quot;。这个日期强调了邵的最后两句话：“今天也将成为历史。而北京大地的每一寸土地都将为其历史提供证明。&amp;quot; 这张潦草的纸条将30年、1989年、&amp;quot;今天 &amp;quot;和不顾一切的 &amp;quot;寸土寸金 &amp;quot;联系在一起，这标志着东站作为一个杂文，甚至超越了提交渠道的微观结构。尽管东站的语气难以捉摸，但它突然变成了一个尖锐的、愤怒的、甚至在1994年还无法出版的杂文。--[[User:Zhao Xiaoyan|Zhao Xiaoyan]] ([[User talk:Zhao Xiaoyan|talk]]) 09:15, 9 December 2020 (UTC)&lt;br /&gt;
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新火车站于1959年开始运营，与本文开头的“三十多年前”相适应。” 对这些日期的强调迫使我们对论文作为一个整体进行新的考虑。 他提到，国民党，日本人和共产党人的避难和驱逐循环之间的相似之处突然变成了对1989年春夏的现代“叛乱”的阴险参考。这一日期加剧了邵的结论的威胁。 今天也将成为历史。 北京的每一寸土地都将提供其历史的证明。” 散乱的笔记将1989年的30年（今天）与挑衅的“几分证据”联系起来，这标志着东站成为杂文，甚至超出了提交渠道的微观结构。 尽管遥不可及，但东站突然变得尖锐，愤怒，甚至在1994年，也无法发表“杂文”。--[[User:Zhang Hui|Zhang Hui]] ([[User talk:Zhang Hui|talk]]) 09:18, 9 December 2020 (UTC)&lt;br /&gt;
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==Zheng Huajun 郑华君==&lt;br /&gt;
'''A Larger Trend: Revealing Ugly Truth through Troubled Tones'''&lt;br /&gt;
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It is almost a matter of definition, then, that discordant, troubling tones are the characteristic, even of the most beautiful ''zawen''.  I have not illustrated “ugly” ''zawen'' here, but they do exist, and in profusion.  Many ''zawen'' are suffused in a preachy, pedantic tone that is sometimes quite off-putting to Chinese and non-Chinese readers alike.  And yet, like the larger category of essays in Chinese literature, ''zawen'' remain a popular staple in the literary supplements of Chinese newspapers, and many prominent writers turn later in their career to writing ''zawen''.  In contemporary history the “mule” genre of ''zawen'' has also played a significant political role far beyond its humble posture (see Scoggin 1997).&lt;br /&gt;
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一个更大的趋势。通过烦恼的语气来揭示丑陋的真相。&lt;br /&gt;
那么，这几乎是一个定义的问题，不和谐的、令人不安的音调是特征，即使是最美丽的杂文也是如此。我在这里没有说明 &amp;quot;丑陋 &amp;quot;的杂文，但它们确实存在，而且数量很多。很多文都充斥着一种说教的、迂腐的语气，有时让中国和非中国的读者都很不喜欢。然而，就像中国文学中更大的散文类别一样，杂文仍然是中国报刊文学副刊中的热门主打，许多著名作家在其职业生涯的后期都会转向写杂文。在当代历史上，&amp;quot;骡子 &amp;quot;文体也发挥了重要的政治作用，远远超出了它的卑微姿态（见Scoggin 1997）。--[[User:Zheng Huajun|Zheng Huajun]] ([[User talk:Zheng Huajun|talk]]) 08:57, 10 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
'''一个更大的趋势：用混乱的声音揭示丑陋的真相'''&lt;br /&gt;
这几乎是一个定义的问题，那么，不和谐的、麻烦的音调是特点，即使是最美丽的杂文也如此。我在这里没有说明“丑陋的”杂文，但它们确确实实存在，而且数量繁多。许多杂文充斥着一种说教、迂腐的语气，这对中国和外国读者来说有时是相当令人讨厌的。然而，与中国文学中较大的一类散文一样，杂文仍然是中国报纸文学副刊的主要内容，许多著名作家在后来的职业生涯中都转向写杂文。在当代历史上，“骡子”类型的杂文也发挥了重要的政治作用，远远超出了其谦卑的姿态（see Scoggin 1997）。--[[User:Zhang Xueyi|Zhang Xueyi]] ([[User talk:Zhang Xueyi|talk]]) 13:13, 13 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
==Zhou Luoping 周罗平==&lt;br /&gt;
What is it about this genre that draws prominent writers, and commands significant attention of the Chinese readership?  The answer lies, I think, in assumptions about the mechanics of tone rooted in Chinese literary history.  To examine this problem we need to leave particular zawen behind and examine a larger picture that views Chinese literature via the globalized perspective that contemporary Chinese critics take.&lt;br /&gt;
&lt;br /&gt;
''Zawen'' as a category causes problems for Chinese as well as non Chinese classification, but there is a revealing divide between Western and Chinese treatment of zawen.  With few exceptions, ''zawen'' has been neglected as a subject of the study of Chinese literature from outside of China until recently (the Achern conference on the Modern Chinese Literary Essay being a rare exception, with several papers devoted to zawen.)&lt;br /&gt;
&lt;br /&gt;
这种类型吸引了杰出的作家，并引起了中国读者的极大关注？我认为答案在于中国文学史的机械性假设。要审视这一问题，我们需要抛开特定的杂文，从当代中国批评家的全球化视角审视中国文学。&lt;br /&gt;
“杂文”作为一个范畴，给汉语和非汉语的分类都带来了问题，但中西方对“杂文”的处理有着明显的分歧。“杂文”是近年来国外华文文学研究中一个被忽视的课题，但也有少数例外（阿奇恩中国现代文学随笔会议是一个罕见的例外，有几篇论文专门讨论了扎文）。--[[User:Zhou Luoping|Zhou Luoping]] ([[User talk:Zhou Luoping|talk]]) 13:48, 13 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
==Zhou Shiqing 周诗卿==&lt;br /&gt;
While the problem of the status of zawen is not important in itself, I propose difficulties with this particular genre can reflect larger issues of significance to the study of Chinese literature and culture more generally.  ''Zawen'' can highlight some special features of Chinese writing that are latent in other, more respectable forms of Chinese literature and culture.  My research on ''zawen'' showed many instances of zawen being held up as a unique outgrowth of Chinese particularities, such as a fondness for brevity in verbal art, a tendency to take intellectuals more seriously than they are taken in contemporary societies elsewhere, as well as a few “perversions” that are supposedly unique to China, such as political tyranny that is strikingly detail-oriented, or collective aversion to verbal performance that is too straightforward (Scoggin 1997).&lt;br /&gt;
尽管杂文现状问题本身不是很重要，但是在更大层面上，即站在研究中国文学与文化的角度上看，克服掉研究这种特别类型的困难还是有很大意义的。“杂文”可以突显中国写作的一些独特特征，这些特征潜在于中国文学与文化中的其他更为体面的类型里面。在我对于“杂文”的研究里，展现了很多可证实杂文作为中国人性格发展结果的例子，比如说，喜爱口头表达的简洁，较比现代社会，以前的文人墨客被看得更重，以及一些中国独有的“反常”现象，比如明显关注细节的政治暴政或者对于过于直白的口头表现的集体厌恶。--[[User:Zhou Shiqing|Zhou Shiqing]] ([[User talk:Zhou Shiqing|talk]]) 08:51, 13 December 2020 (UTC)Zhou Shiqing&lt;br /&gt;
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==Zhou Shuyao 周书尧==&lt;br /&gt;
Some of these claims for Chinese exceptionalism may be overblown; but I think that the genre, driven by what I argue is its central mission of tone, makes observable certain strains and practices that have acted as stumbling blocks to international research on other aspects of  Chinese culture.  &lt;br /&gt;
&lt;br /&gt;
Chief among those obstacles to the study of Chinese literature is what I call the “bad literature” complaint.[	For recent affirmations of this complaint, see Huters 1990, McDougall 1997, Link, 2000.  Earlier views in American sinology tie &amp;quot;bad literature&amp;quot; directly to the effects of political tyranny. ]  Summarizing several quite different lines of argument, the suggestion is that with all the promise of Chinese literature holds as a naturally poetic language, with rich, revered and well-preserved traditions, with the particular visual and grammatical advantages of the Chinese character and linguistic structure, and further with dedicated literary “troops” to use the modern Chinese metaphor for institutions of organized and supported writers, modern Chinese literature has failed to produce truly great literature.&lt;br /&gt;
&lt;br /&gt;
这些对中国例外论的主张也许有些夸大其词。但我认为，在我所说的语调中心使命的推动下，这一体裁产生了一些明显的张力和做法，它们成为了国际上对中国文化其他方面研究的绊脚石。&lt;br /&gt;
在中国文学研究的这些障碍中，最主要的是我所说的“糟糕文学”抱怨。[最近对这一投诉的肯定，见胡志德1990，麦独,1997，林克，2000，美国汉学早期的观点将“糟糕文学”与政治暴政直接联系在一起。]总结几条截然不同的论据，我们的建议是，尽管中国文学的所有希望都是一种自然诗意的语言，有着丰富、受人尊敬和保存完好的传统，具有汉字和语言结构的独特视觉和语法优势，而且还具有专门的文学作品“军队”，用现代汉语比喻制度中有组织、有支持的作家，中国现代文学未能产生真正伟大的文学作品。--[[User:Zhou Shuyao|Zhou Shuyao]] ([[User talk:Zhou Shuyao|talk]]) 11:01, 13 December 2020 (UTC)&lt;br /&gt;
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==Zhou Siqing 周思庆==&lt;br /&gt;
Obviously this generalization is subject to objection at many, if not all of its points.  I would argue, however, that the consistency with which similar arguments emerge, defensible or not, points to themes of some significance.  Complaints frequently accrue over the following literary practices;&lt;br /&gt;
&lt;br /&gt;
1)Indulging in churlish tones, including hectoring, scolding and otherwise “yelling” in print&lt;br /&gt;
&lt;br /&gt;
2)Adhering to one or another “politically correct line” &lt;br /&gt;
&lt;br /&gt;
3)Participating in personal squabbles and vendettas, sometimes involving extraliterary persecution of both writers and targets &lt;br /&gt;
&lt;br /&gt;
4)Exhibiting an “obsession” with China, and an oversized sense of responsibility for its fate&lt;br /&gt;
&lt;br /&gt;
显然，这一概括在许多方面(如果不是全部观点的话)都遭到反对。然而，我要说的是，类似的论点出现的一致性，无论站得住脚与否，都指向了一些有意义的主题。对以下文学行为的抱怨不断增加;&lt;br /&gt;
1)肆无忌惮地使用粗鲁的语气，包括威吓、责骂以及在出版物中“大喊大叫”&lt;br /&gt;
2)坚持自己的“政治正确路线”&lt;br /&gt;
3)参与个人争吵和仇杀，有时还会对作者和被迫害的对象进行文学之外的迫害&lt;br /&gt;
4)表现出对中国的“痴迷”，以及对中国命运的过度责任感--[[User:Zhou Siqing|Zhou Siqing]] ([[User talk:Zhou Siqing|talk]]) 04:00, 9 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
显然，这一概括在许多方面(如果不是全部观点的话)都会遭到反对。然而，我（在此）要说的是，类似的论点出现的一致性，无论站得住脚与否，都指向了一些有意义的主题。对以下文学行为的抱怨不断增加;&lt;br /&gt;
1)肆无忌惮地使用粗鲁的语气，包括威吓、责骂以及在出版物中“大喊大叫”&lt;br /&gt;
2)坚持自己的“政治正确路线”&lt;br /&gt;
3)参与个人争吵和仇杀，有时还会对作者和被迫害的对象进行文学之外的迫害&lt;br /&gt;
4)表现出对中国的“痴迷”，以及对中国命运的过度责任感--[[User:Wensixing|Wensixing]] ([[User talk:Wensixing|talk]]) 04:03, 9 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
==Zhou Yiwen 周艺文==&lt;br /&gt;
Interestingly, these complaints of “bad literature” are usually not strongly refuted by Chinese literary critics.  Fair, true or not, this sort of summary criticism of  the Jeremiah complex in Chinese literature in general is relevant to my discussion because these very faults that warrant the most notice are deliberately magnified in the genre of ''zawen'', and may be, I believe, essentially outgrowths of an almost unconscious commitment to the type of tone that defines the ''zawen'' genre most purely.  I argue that what has happened here is that readers and analysts have failed to recognize a literary strategy that reflects deeper ideas about how tone is supposed to operate in verbal practice.&lt;br /&gt;
&lt;br /&gt;
有趣的是，中国文学评论家通常不会强烈反驳这些对“烂文学”的抱怨。不管是否公平与真实,在中国文学中，这种耶利米情结的总结批评大体上和我的研究是相关的,因为这些最值得注意的错误在&amp;quot; 杂文&amp;quot;中被故意放大了。我认为,这本质上也许是纯粹对定义“杂文”体裁语气类型的无意识承诺的发展。我认为，这里的问题在于，读者和分析人士未能认识到一种文学策略，这种策略反映了语气在口头练习中应该如何发挥作用的更深层次的观点。--[[User:Zhou Yiwen|Zhou Yiwen]] ([[User talk:Zhou Yiwen|talk]]) 08:08, 10 December 2020 (UTC)&lt;br /&gt;
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==Zhou Yuanqu 周园曲==&lt;br /&gt;
These “off” tones are not just flaws and mistakes resulting from tyranny or exaggeration, nor are they mere signs of amateur literary expression, the struggles of a culture trying to modernize.  Instead they are held to be nearly involuntary markers, not of beauty, but what we will have to call for lack of a better word, “truth,” revealed by critical examination of shortcomings and problems that appear to stem from, again for lack of a better word, “culture.”  Culture, in the high modern ideology adopted more or less wholesale in contemporary Chinese theoretical systems is opposed to the neutral modernity of newspaper editorials and literary short stories and the other canonical genres of modern writing practices. &lt;br /&gt;
&lt;br /&gt;
==Zhou Yujuan 周玉娟==&lt;br /&gt;
Culture is not general, it is particular and peculiar, and Chinese culture exerts a powerfully perverse influence upon most genres of literature practiced in China.&lt;br /&gt;
&lt;br /&gt;
Examining tone in the broader context of Chinese culture reveals some of particular ways that social exchange, reference and the other mundane duties that plain (neutral, modern) words are supposed to carry out, must be crosscut with characteristically Chinese tone in order to communicate with the authority of truth, in explicit defiance of social requirements for polite and face-saving locutions held to be necessary in a uniquely Chinese way.  Thus, complaint about “bad literature,” from a Chinese perspective may not be a mere reflection of failure but, rather, an expression of protest, a modal trope, mule's kick that works with stubborn tenacity to reveal unpleasant truths.&lt;br /&gt;
&lt;br /&gt;
文化不是普遍的，而是特殊又独特的，中国文化对中国过去大多数流派的实用文学产生了强大的反常影响。&lt;br /&gt;
&lt;br /&gt;
在更广泛的中国文化语境中考察语气揭示了一些特定的社会交换的方式，必须以具有中国特色的格调横切，参照语和普通词语（中性，现代）词语应该承担的角色必须与具有特色的汉语语调相交汇以便与真理的权威沟通。显然，这无视以独特的中国方式所必需的礼貌和爱面子的社会要求。因此，从中国人的角度来看:对“不良文学”的抱怨可能不仅仅是失败的反映，而是一种抗议的表达，一种情感化的的比喻，一种用顽强的韧性来揭示令人不快事实的骡踢。--[[User:ZHOUYUJUAN|ZHOUYUJUAN]] ([[User talk:ZHOUYUJUAN|talk]]) 02:51, 13 December 2020 (UTC)&lt;br /&gt;
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==Zhu Meimei 祝美梅==&lt;br /&gt;
''Zawen'' provide frequent commentary on precisely this issue.  Lan Ling, a major opponent of “New Tone” zawen theory provides a characteristically provocative commentary on writing “the ugly truth” through zawen.  In an essay that asks why such a fuss is made when a “upright and esteemed elderly writer” pronounces that he intends now to speak/write “the truth,” (he refers to Ba Jin, see ''Suiganlu'') Lan Ling demonstrates the difficulty of establishing truth through his own experience:&lt;br /&gt;
&lt;br /&gt;
It was several decades ago that they “struggled” me saying I was “reactionary.” I responded, “I am fundamentally not reactionary (''fandong''), in fact, I am actionary (''zhengdong'').”  They said, “There you go with sophistry, you are lying, who has ever heard of such a thing as 'actionary'?”  … But if what I said was false, that of course meant that what they said was true, and thus my political label was accomplished: “reactionary.”  After several decades this conclusion was overturned and rectified, so now what I had said became the truth.  (Lan, 85).  &lt;br /&gt;
&lt;br /&gt;
==Zhu Suyao 朱素瑶==&lt;br /&gt;
The irony and false fatalism of this ''zawen'' is characteristic of its style.  In this essay he claims to give up distinguishing the truth of his own speech; “No matter how difficult it is, this miserable person [I] still want to speak, and as for whether it is true or not, let someone else go analyze it.” (Lan, 85)  Lan Ling reveals that he has created, in the heat of struggle, a misnomer; there is no such word as “actionary.”  But, in the end, in its awkward and involuntary way, his retort rings true, what way is there to be, if not reactionary?  Displaying all four characteristics of the “bad literature” complaint I have listed above, this piece is still an admired ''zawen''.  It is the moody, but honest, kick of the mule.&lt;br /&gt;
&lt;br /&gt;
这种“杂文”中的反讽和错误的宿命论是其风格的特点。在这篇文章中他宣称放弃了甄别言论中的真伪；“不管有多困难，这个可怜的人[我]仍然想说，至于说的真假，就让别人去分析去吧。”（兰，85）兰陵表示，在激烈的斗争中，他出现过用词不当的情况；就比如没有像“actionary”这样的词。”但是最后他的反驳以笨拙和不自觉的方式听起来像是真的，即使不是反动派的话，还能是哪种呢？这篇文章展示了我以上所列举的“不良文学”的全部的四个特点，它仍然是一篇受人敬佩的“杂文”。它令人悲伤，但是真诚又执拗。--[[User:Zhu Suyao|Zhu Suyao]] ([[User talk:Zhu Suyao|talk]]) 14:25, 9 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
这类杂文的风格特点是讽刺和虚假的宿命论。在这篇文章中，他声称要放弃辨别自身言论的真假，&amp;quot;无论多么困难，这个可怜的人（我）还是要说，至于说的是不是真的，就让别人去分析吧&amp;quot;。(兰，85)兰陵透露，他在斗争的热潮中，创造了一个误区，没有 ’行动力‘这个词。”但是，最后，他以笨拙和不由自主的方式作出的反驳，听起来又像真的，如果不是反动性，还能有什么方式呢？这篇文章表现出我上面所批判列举的 &amp;quot;劣质文学 &amp;quot;的四个特征，但它仍然是一篇令人钦佩的杂文。它是有情调的，却诚实有执拗。--[[User:Zheng Huajun|Zheng Huajun]] ([[User talk:Zheng Huajun|talk]]) 09:09, 10 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
==Zhu Xu 朱旭==&lt;br /&gt;
''Tone in Historical Context''&lt;br /&gt;
&lt;br /&gt;
As evidence that it is the modal trope that inspired the genre of zawen from its inception, I conclude this essay with a brief look at historical manifestations of tone. It is key, and often part of the Chinese subtext, that the notion of tone (discussed alternately ''diao, yin, yun'') ultimately originates beyond words, in music. Even as a metaphor that must obliterate the acoustic qualities of sound when applied to written Chinese, tone maintains ties to the power of something that is in, or is like, sound, emphasizing physical, oral, informal and emotional qualities that are not part the rational process of exposition, this is the “poetry” of ''zawen''. Tone plays a role in a tremendous range of social events that surround and comprise writing.  It occurs in the figure of music as a central metaphor in the most influential theories of literature and poetry.&lt;br /&gt;
&lt;br /&gt;
历史背景下的音调&lt;br /&gt;
&lt;br /&gt;
为了证明这是情态修辞启发了扎文这一体裁的产生，我在这篇文章的结尾简要介绍了音调在历史中的表现。音调的概念（也是人们讨论的“调”，“音”，“韵”）最终源于音乐中的文字，这很关键，而且这也经常是中文潜台词的一部分。即使它作为一个隐喻，在应用于中文书写时，它必须消除声音的声学品质，但语气仍与声音中或类似声音的事物保持联系，强调客观，口头，非正式和情感方面的品质，而这并不是声音的一部分。理性的阐释过程，这就是杂文的“诗”。音调在围绕和组成写作的众多社交活动中发挥着作用。它出现在音乐人物中，成为最有影响力的文学和诗歌理论中的中心隐喻。--[[User:Zhu Xu|Zhu Xu]] ([[User talk:Zhu Xu|talk]]) 10:32, 13 December 2020 (UTC)&lt;br /&gt;
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==Zou Xinyu 邹鑫雨==&lt;br /&gt;
For example, spoiled music can signal a larger or more abstract disturbance; in the classic novel Dream of the Red Chamber a heroine breaks a string on a instrument and sees her impending death; in a well known folk story a high ranking official Yu Boya hits a sour note and knows that a potential assassin is lurking in the woods, listening.  Music figures centrally in the Confucian Great Preface to the Book of Odes:&lt;br /&gt;
&lt;br /&gt;
The affections emerge in sounds; when those sounds have patterning they are called “tones” [音] The tones of a well-managed aged are at rest and happy; its government is balanced.  The tones of an age of turmoil are bitter and full of anger; its government is perverse.  The tones of a ruined state are filled with lament and brooding; its people are in difficulty (Translated in Owen).&lt;br /&gt;
&lt;br /&gt;
例如，被破坏的音乐能预示更大或更抽象的不安。在经典小说《红楼梦》中，女主人公弄断了乐器上的一根弦，看到了自己即将到来的死亡。在一个广为人知的民间故事中，高官俞伯牙拨弄出了一个尖锐的音符，便知道有一个刺客正潜伏在树林里。音乐在儒家的《诗经大序》中占有核心地位。&lt;br /&gt;
&lt;br /&gt;
情感显现在声音里，当这些声音有了图式，就叫 &amp;quot;音&amp;quot;。在太平盛世里，音调是安然而欢快的，政通人和。在动荡年代里，音调是苦涩而充满愤怒的，政府是不作为的。破国的音调充满了哀叹和忧郁，人民处于水深火热之中（欧文译）。&lt;/div&gt;</summary>
		<author><name>Song Jianru</name></author>
	</entry>
	<entry>
		<id>https://bou.de/u/index.php?title=History_of_Translation_Studies_8&amp;diff=107980</id>
		<title>History of Translation Studies 8</title>
		<link rel="alternate" type="text/html" href="https://bou.de/u/index.php?title=History_of_Translation_Studies_8&amp;diff=107980"/>
		<updated>2020-12-06T15:36:53Z</updated>

		<summary type="html">&lt;p&gt;Song Jianru: /* Key Words */&lt;/p&gt;
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&lt;div&gt;这里是《翻译学史》的书稿第八部分(Part 8)。麻烦各位同学看一下已经存在的章回（样品），自己再加进去新的一个章回（就是你们的学期论文）。请也帮助同学们把他们的论文改正。这样多次修改，大家的论文会越来越好。&lt;br /&gt;
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学期论文（结合学期所学，撰写一篇5000以上单词的英文论文，按照专业杂志的格式，题目、摘要、关键词和参考文摘需要英中，文章英）。学期论文成绩占70%，平时成绩（含课堂表现、展示及作业）占30%。&lt;br /&gt;
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*Link back to course homepage: [https://bou.de/u/wiki/Introduction_to_Translation_Studies Course Homepage Intro. to TS]&lt;br /&gt;
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&lt;br /&gt;
='''History of Translation'''=&lt;br /&gt;
== Study on Brand Name Translation from the Perspective of Cultural Difference	谭鑫洁	Tan Xinjie==&lt;br /&gt;
&lt;br /&gt;
==='''Abstract'''===&lt;br /&gt;
&lt;br /&gt;
== Abstract: ==&lt;br /&gt;
&lt;br /&gt;
==='''key words'''===&lt;br /&gt;
&lt;br /&gt;
==='''摘要'''===&lt;br /&gt;
&lt;br /&gt;
==='''关键字'''===&lt;br /&gt;
&lt;br /&gt;
===Complete transcript of the content of the original work ===&lt;br /&gt;
&lt;br /&gt;
===Same style and manner of writing===&lt;br /&gt;
&lt;br /&gt;
===Equivalent effect===&lt;br /&gt;
&lt;br /&gt;
===Discussion===&lt;br /&gt;
&lt;br /&gt;
===Conclusion===&lt;br /&gt;
&lt;br /&gt;
===Bibliography===&lt;br /&gt;
&lt;br /&gt;
==A Comparative Study on the Translation History in Western Countries and China	王煜	Wang Yu==&lt;br /&gt;
===摘要===&lt;br /&gt;
翻译是一种跨文化交流活动，翻译活动加快了人类文明发展步伐，减少了人们之间的沟通障碍。随着时代的变迁，中国和西方国家逐渐形成了各自的翻译史，翻译史的研究是学科建设的一项基础工程。尽管中西方翻译史在某些方面有所差异，但却都有着各自的独特性，并对人类的翻译活动产生了巨大的影响与贡献。文章将以中国和西方国家为主要对象，从二者翻译史起始，包含阶段和各阶段代表人物，影响意义，差异性出发，对二者的翻译史进行简略的对比研究。&lt;br /&gt;
&lt;br /&gt;
===关键词===&lt;br /&gt;
翻译史；西方翻译史；中国翻译史&lt;br /&gt;
&lt;br /&gt;
===Abstract===&lt;br /&gt;
Translation is an intercultural communication activity, translation activities have accelerated the development of human civilization and reduced the communication barriers between people of different countries or nations. With time goes by, things are in a state of flux and both the western and eastern countries have gradually formed their own history of translation, the study of translation history is a basic project of discipline construction. Though there are many differences among the translation histories of western countries and China, the two kinds of translation histories are still shining their own bright unique lights and have an indelible influence and contribution to human translation activities. This paper intends to make a brief comparison of translation histories between western countries and China, which includes the origins, the stages, the representatives of the stages, the significance and influence as well as the differences of the two translation histories.&lt;br /&gt;
&lt;br /&gt;
===Keywords===&lt;br /&gt;
Translation history; Translation history of the West; Translation history of China &lt;br /&gt;
&lt;br /&gt;
===1. Introduction===&lt;br /&gt;
No matter in China or in the west, translation plays an important role in knowledge-spreading. As an indispensable part of translatology, the study of translation history has made a great influence on translation activities, it has gradually become the focus of the literary and historical circles in recent years. Translation activities can be traced back to the origin of language, and the history of translation is almost as old as language itself, it is closely related to the changes in today's society. Since the 1980s, the translation studies in the mainland of China have made remarkable progress in the curriculum design of Chinese and western translation history and the compilation of related works. In the early 1980s and 1990s, there were many related works came out one after another including A brief history of Chinese Translation: the part before the May 4th Movement（《中国翻译简史-“五四”运动以前部分》） written by Zuyi Ma, A historical manuscript of Chinese translated literature （《中国翻译文学史稿》）edited by Yugang Chen, and also the A Short History of Translation in the West（《西方翻译简史》） the author of which is Zaixi Tan. Thus, it opens the gate for the compilation of Chinese and western translation history works.（谢天振，2009） The history of western translation can be divided into five stages while the Chinese study of translation has a glorious history of more than two thousand years and has experienced five climaxes. Through the comparative study of Chinese and western translation history, it will help us to have a deeper understanding of Chinese and western translation activities and thus to gather a general full view of it, which will be a positive and meaningful attempt.&lt;br /&gt;
&lt;br /&gt;
2. The Translation History of Western Countries&lt;br /&gt;
Western translation activities are rich in a long history and a multiyear span. The history of western translation can be roughly divided into three stages: the traditional stage, the modern times and the contemporary. More specifically, it can be grouped into the ancient times, the middle ages, the Renaissance period and the time after WWⅡ.&lt;br /&gt;
&lt;br /&gt;
2.1 The First Stage: Translation in the Ancient Times&lt;br /&gt;
    &lt;br /&gt;
The translation history of western countries first began in the the 3rd century B.C. &amp;quot;In a broad sense, the earliest translation in the west is the Old Testament translated by 72 Jewish scholars in Alexandria, ancient Egypt, between the 3rd and 2nd centuries BC; Strictly speaking, the first western translation is the Greek Homer Epic Odyssey translated by Andronicus in Rome in the middle of the third century BC.”(谭载喜,2000) At the end of the 4th BC, during this time, the Greece began to decay and the Roman had became stronger and stronger with its military expansion. The expansion of the Roman Empire brought it into contact with the splendid Greek culture, therefore, the Romans not only conquered the Greek city, but also inherited and developed the brilliant achievements of ancient Greek culture, and then created a  splendid cultural of its own era after Greece. So soon began a large scale translation activities, the activity of translating and introducing Greek classical works probably began in this period.（刘军平,2009）Many famous translation theorists began to make their presences, namely Cicero, Quentin, Jerome and so on, also the famous Roman litterateurs like Andronicus, Naevius, Ennius, these great writers used Latin language to translate or adapt Homer’s epic or other Greece dramas. Started the translation tradition and promoted the birth and development of Roman literature.&lt;br /&gt;
&lt;br /&gt;
2.2 The Second Stage: Translation in the Middle Ages (4th-6th)&lt;br /&gt;
&lt;br /&gt;
2.3 The Third Stage: Translation in the Middle Ages (11th-12th)&lt;br /&gt;
&lt;br /&gt;
2.4 The Fourth Stage: Translation in the Renaissance Period&lt;br /&gt;
&lt;br /&gt;
2.5 The Fifth Stage: Translation after WWⅡ&lt;br /&gt;
&lt;br /&gt;
3. The Translation History of China--[[User:Wang Yu|Wang Yu]] ([[User talk:Wang Yu|talk]]) 08:38, 30 November 2020 (UTC)--[[User:Wang Yu|Wang Yu]] ([[User talk:Wang Yu|talk]]) 08:43, 30 November 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
==The Implications of Luther's Translation Principles amid Renaissance for Modern Literature Translation	方洁玲	Fang Jieling==&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
==Translation manipulated by ideology	许静	Xu Jing==&lt;br /&gt;
&lt;br /&gt;
==Comparison between the History of Chinese and Western Translation   周书尧   Zhou Shuyao==&lt;br /&gt;
&lt;br /&gt;
'''Abstract:'''There has a long history and culture Chinese and Western translation, and translation plays an indelible role in promoting cross-cultural communication and cultural communication. This article first discusses the history of translation in China from  four stages , then discusses the five stages of western translation history , and finally compares and analyzes the similarities and differences between Chinese and Western translation histories, and puts forward some of the author's own views.&lt;br /&gt;
&lt;br /&gt;
'''Key words:'''The history of Chinese,The history of Western,the stages of  translation history,comparison&lt;br /&gt;
&lt;br /&gt;
'''摘要：'''中西方翻译历史文化源远流长，翻译在促进跨文化交流和文化传播上承担着不可磨灭的作用。本文首先从中国的四次翻译高潮论述中国的翻译史，再从西方的五次翻译高潮探讨西方的翻译史，最后对中西方翻译史的异同进行对比分析，提出一些笔者自己的看法。&lt;br /&gt;
&lt;br /&gt;
'''关键词：'''中国翻译史，西方翻译史，翻译高潮，对比&lt;br /&gt;
&lt;br /&gt;
'''Ⅰ.Introduction'''&lt;br /&gt;
&lt;br /&gt;
Since the 1980s, the Chinese translation studies community has made remarkable progress in the establishment of Chinese and Western translation history courses and the compilation of related works.In the 1980s and early 1990s,A Brief Introduction to the History of Translation in China from Ma Zuyi and other books of Chen Yugang and Tan Zaixi were published one after another,which raised the curtain for the compilation of Chinese and Western translation history works by the domestic translation scholars.The four stages in the history of Chinese translation have promoted the development of Chinese history, culture and society to varying degrees.The same as our country, Western translation has an age-old history.In a sense, the development of Western European civilization should first be attributed to the translators.The five stages in the history of European translation have promoted the exchanges of literature, art, science and trade between countries, and to a certain extent promoted the development of Chinese translation.In fact, when we examine the development trajectory of Chinese and Western translation activities and the evolution of translation concepts together, we find that there are some similarities between Chinese translation and Western translation.Especially in the evolution of Chinese and Western translation concepts, the two have very similar evolution laws.&lt;br /&gt;
&lt;br /&gt;
='''Literal and Free Translation'''=&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
==Rethink Literal and Free Translation	彭永亮	Peng Yongliang==&lt;br /&gt;
&lt;br /&gt;
==On the Chinese Translation of ''A Pale View of Hills'' from House's Translation Quality Assessment Model	宋建茹	Song Jianru==&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
===Abstract===&lt;br /&gt;
&lt;br /&gt;
Translation quality assessment is an integral part of translation criticism. The first TQA model with comprehensive theories and practices Juliane House represented provides a significant reference for translation exercises. ''A Pale View of Hills'', as the first work of Kazuo Ishiguro, possesses a great research value on its narrative styles by virtue of memory and topics about migrants. As of 2011 when its Chinese translation was published, no scholar has evaluated it. This study applies House’s TQA model to assess the Chinese translation of ''A Pale View of Hills'' with qualitative and quantitative analysis from lexical, syntactic and textual aspects, in a bid to examine validity of the model on novel translation, which turns out that it is an overt and high-quality translation.&lt;br /&gt;
&lt;br /&gt;
=== Key Words===&lt;br /&gt;
&lt;br /&gt;
''A Pale View of Hills''; House's TQA model; novel translation&lt;br /&gt;
&lt;br /&gt;
=== 摘 要 ===&lt;br /&gt;
&lt;br /&gt;
翻译质量评估是翻译批评的核心课题。朱莉安·豪斯提出的第一个有完整的理论和实践的翻译质量评估模式，为翻译实践提供了重要参考。《远山淡影》是石黑一雄的处女作，其依托回忆的叙事风格和移民主题具有很高的研究价值。《远山淡影》中译本自2011年出版至今，尚未有学者对其进行评估研究。本文运用豪斯的翻译质量评估模式，采用定性与定量相结合的分析方式，从语场、语旨、语式等三个层面对原文和译文进行分析，开展《远山淡影》中译本的翻译质量评估研究，为豪斯翻译质量评估模式对小说翻译的运用进行进一步的探索和补充。通过分析，得出《远山淡影》中译本为显性翻译，翻译质量较高。''Italic text''&lt;br /&gt;
&lt;br /&gt;
=== 关键词 ===&lt;br /&gt;
&lt;br /&gt;
《远山淡影》；豪斯质量评估模式；小说翻译&lt;br /&gt;
===Introduction===&lt;br /&gt;
Translation criticism refers to the analysis and review of thoughts, activities and works of translation by virtue of relevant theories and views, in a bid to improve the overall quality of translators and translations. It is an integral part of translation studies. (Wang Enmian, 1999: 7) Translation quality assessment, as the integral and key part of translation criticism, plays a significant role in surveillance and promotion of translation quality. Among the extant translation quality assessment models, Juliane House’s ''A Model for Translation Quality Assessment and Translation Quality Assessment: A Model Revised'', based on Halliday's systemic functional linguistics and discourse analysis, are systematic, scientific and rational with a relatively complete system of parameters, quantitative methods and steps adhering to specific procedures. &lt;br /&gt;
&lt;br /&gt;
''A Pale View of Hills'', as Kazuo Ishiguro's first full-length novel, tells the life of the people in Nagasaki after WWII through the memory of protagonist Etsuko and explores recovery of trauma, collision between the old and new ideas, and kinship after war. The first person narrative, memory, humor and satire and international perspectives in the book became his major writing styles in the future. The novel won the Winifred Holtby Memorial Prize from the Royal Society. Its only Chinese translation at present, from Zhang Xiaoyi, is still not analyzed by the scholars. This paper uses House’s translation quality assessment model, with combination of qualitative and quantitative analysis, from field, tenor and mode to analyze the mismatches between original and translation in an attempt to assess the Chinese translation quality of ''A Pale View of Hills'' and further explore the application of House’s model in novel translation. The aim of the study is to promote scholars to regulate the behaviors of translation, to improve the quality of translation and translation evaluation, and to provide a reasonable way for establishing the interlingual conversion mechanism.&lt;br /&gt;
&lt;br /&gt;
The thesis consists of four chapters.&lt;br /&gt;
&lt;br /&gt;
After the Introduction, Chapter One gives a brief account of ''A Pale View of Hills'' and its research status, involving the author, background, content and influence. Chapter Two is a brief introduction of House’s TQA model, including its theoretic basis, parameter setting, operation steps and feasibility. Chapter Three is a detailed analysis of original and translation of ''A Pale View of Hills'' based on House’s model. Chapter Four is statement of translation quality assessment. Then we come to the last part, Conclusion.&lt;br /&gt;
===I Overview and Research Status of ''A Pale View of Hills''===&lt;br /&gt;
''A Pale View of Hills'' is Kazuo Ishiguro's first novel, which laid a solid foundation for the formation of Ishiguro's writing style. The chapter mainly introduces the author, plot, theme and influence of the novel and analyzes its research status, in an attempt to master the material well and seek new perspectives for the paper.&lt;br /&gt;
&lt;br /&gt;
'''1.1 Overview of ''A Pale View of Hills'''''&lt;br /&gt;
&lt;br /&gt;
Kazuo Ishguro is a noble contemporary Japanese English writer, whose novels feature first person narrative, detailed depiction of loneliness, depression, self-deception and anxiety of characters' inner world and dual narrative strategy to deconstruct the narrator's self-identity, as well as discuss postwar trauma and migrant identity. He won Booker Prize, the British top literary prize, in 1989 and the Nobel Prize in literature in 2017. By virtue of his outstanding literary achievements, he is known as one of the Three Masters of English Migrant Literature together with Salman Rushdi and Naipaul.&lt;br /&gt;
&lt;br /&gt;
''A Pale View of Hills'', published in 1982, is Ishiguro's debut. The story, with postwar Nagasaki as its background, enjoys two clues: one is what happened when Niki (Etsuko’s little daughter) visited her mother after her sister Keiko died; the other is Etsuko’s memory about people and events in Nagasaki after the war. The two lines integrated together during the narrative, forming the illusory and imaginary impression. Many in-depth topics in this work are worth pondering: postwar trauma recovery, the collision between new and old ideas after war and discussion of family relations. Many marks in the work became his own styles: first-person narrative, memory, humor and satire, international perspectives. In addition, it won the Winifred Holtby Memorial Prize from the Royal Society and is still in print thirty years after its publication. This book, with its enormous emotion, unearths the abyss beneath the illusion of our connection to the world, whose artistic value and charm could be time-tested.&lt;br /&gt;
&lt;br /&gt;
'''1.2 Research Status of ''A Pale View of Hills'''''&lt;br /&gt;
&lt;br /&gt;
There are 54 papers about A Pale View of Hills in domestic researches. According to the statistics from HowNet (as shown in the figure below), the number of studies on the work has been mounting, especially after Kazuo Ishiguro won the Nobel Prize for Literature in 2017. The perspectives of these researches are mainly from identity anxiety, unreliable narrative and post-war trauma. In Identity Anxiety in Kazuo Ishiguro's A Pale View of Hills, Wang Fei discusses the identity anxiety of migrants, exploring manifestations, causes and influence of such anxiety on the characters. In Memory and Narrative Unreliability of A Pale View of Hills, He Xiaobing combined with the classical narratology to analyze how unreliable narration method is presented in the work and discussed the inner world of the characters. In Trauma in Kazuo Ishiguro's A Pale View of Hills, Liu Xiaoya explores the protagonist's trauma by using Sigmund Freud’s psychoanalysis theory and trauma theory (including post-freudian psychological trauma theory), contemporary trauma culture theory along with rhetorical narrative theory.&lt;br /&gt;
&lt;br /&gt;
[[File:picture1.pgn]]&lt;br /&gt;
&lt;br /&gt;
At abroad there are more perspectives about the studies of A Pale View of Hills. In addition to the main research directions of domestic scholars, such as identity anxiety of characters, unreliable narrative research and post-war trauma, cultural displacement, family relationship and the influence of region on personality presented in the works are also analyzed. ''The Impact of Place on Personality in Kazuo Ishiguro's A Pale View of Hills: An Eco-critical Study'' co-written by Awla, Yousif Hamad and Azad Sharif, from the perspective of ecocriticism, clarifies the fact that a place is able to define and guide the emotions and thoughts of characters, and analyzes the reasons why geography forms characters of people in order to draw people’s attention to the impact of surrounding environment on them. Ruth Forsythe's article ''Cultural Displacement and the Mother-daughter Relationship in Kazuo Ishiguro's A Pale View of Hills'' focuses more on the relationship between mother and daughter under cultural displacement. However, no scholars have analyzed the language itself from the perspective of systemic functional linguistics.&lt;br /&gt;
&lt;br /&gt;
The Chinese translation of A Pale View of Hills, Zhang Xiaoyi's version, was published by Shanghai Translation Publishing House in 2011, and the bilingual version in 2019. Up to now, there has no translation criticism or discussion about this translation. Since 2011 when it was translated, it came to draw the attention of scholars and readers. Translation is a direct factor that affects the integrity of author’s thought, the reader's perception and the accuracy of the scholar’s study, thus it is indispensable to use the House’s Translation Quality Assessment model to analyze the Chinese translation of ''A Pale View of Hills''.&lt;br /&gt;
===II Introduction of House's Translation Quality Assessment Model===&lt;br /&gt;
Juliane House's model was described as the first translation quality assessment model with complete theories and practices by international translation criticism, which could provide an important reference for translation learners and scholars. By introducing the theoretical basis, parameter system and operation steps of House's model, this chapter will discuss the feasibility of House’s model in the evaluation of the Chinese translation of A Pale View of Hills, in an effort to foster the application of House’s model in the quality evaluation of full-length novels.&lt;br /&gt;
&lt;br /&gt;
'''2.1 Theoretical Basis of House's Model'''&lt;br /&gt;
&lt;br /&gt;
The assessment of translation quality draws upon different translation standards, which are then embodied by the recognition about essence of translation. House deemed that crunch of the translation quality assessment lies in recognition of the nature of translation, namely that &amp;quot;translation is the replacement of a text in the source language by a semantically and pragmatically equivalent text in the target language.&amp;quot;(House, 1977: 30)&lt;br /&gt;
&lt;br /&gt;
In House's initial model in 1977, she drew upon language behavior theory, language and text function and context to divide the source language text into two situational dimensions: dimension of language user and dimension of language use. The former includes three aspects: geographical origin, social class and time. The latter includes five aspects: medium, participation, social role relationship, social attitude and province. The evaluation depends on the matching degree between                                                                                                                                                                                                                                                                                                                                                                                          original text and translation. The higher the matching degree is, the better the translation quality is. The quality evaluation of the translated text needs to state mismatching degree of each dimension in the whole context, that is, the description of the quantity of covert errors (errors in context dimension) and overt errors (referential mismatcher or grammatical violation of target language system).&lt;br /&gt;
&lt;br /&gt;
Based on myriad practice, House realized that the initial eight dimensions overlap in some parts. Therefore, in 1997, she revised the original model from the perspective of the context, unifying the previous eight parameters to field, tenor and mode. Field compares subject matter and social action of the original with that of translation. Tenor emphasizes the matching degree on the relationship of participants, time, region, position of author, social role relationship and social attitudes. Mode pays more attention to medium and participation. In addition, House incorporated &amp;quot;genre&amp;quot; into revision model in order to explain the deep structure of the text.&lt;br /&gt;
&lt;br /&gt;
'''2.2 Operation Steps of House's Model'''&lt;br /&gt;
&lt;br /&gt;
When evaluating the translation quality of the text, House's model focuses on comparison between original text and translation from field, tenor, mode and genre, clarifies and summarizes mismatches found in the text, so as to obtain a quality report of the translation. The detailed steps presented as follows: &lt;br /&gt;
&lt;br /&gt;
1) Analyze the register and genre of the original text to get its textual functional profile. The original text is analyzed from four dimensions: field, tenor, mode and genre. According to the analysis, “functional statement”, involving ideational and interpersonal functions, needs to be deduced.&lt;br /&gt;
&lt;br /&gt;
2)Compare the target text and the source text to find differences or mismatches. Through the comparative analysis between original and translation along the dimensions on the model, mismatches or differences found in the comparison are sorted out by virtue of overt errors or covert errors and expounded in detail one by one.&lt;br /&gt;
&lt;br /&gt;
3)Summarize the differences and mismatches demonstrated from the above steps in lexical, syntactic and textual aspects. Based on above statistics and statement, make the quality statement. The fewer the mismatches are, the better the translation quality is. If readers clearly realize the text a translation work, it is overt translation; while if not, it is covert translation.&lt;br /&gt;
&lt;br /&gt;
'''2.3 Feasibility of the Model in Chinese Translation of ''A Pale View of Hills'''''&lt;br /&gt;
&lt;br /&gt;
At present, there are 78 relevant studies on House’s Translation Assessment model, which are mainly divided into three directions: interpretation of House Translation Assessment model and its revision, evaluating translation of literary works along the model and evaluating translation of applied text along the model. Among them, evaluation of the translation of literary works accounts for 29, which enjoys the following two characteristics:&lt;br /&gt;
&lt;br /&gt;
1)There are merely a few researches applying House model to Chinese translation of literary works. Among the 29 journals and papers evaluating translation of literary works, there are 25 studies that attach great importance to the English translation and 4 to Chinese translation, which signifies that we need more researches of Chinese translation to support the validity of the model on different languages. Therefore, the paper, with the Chinese translation of A Pale View of Hills as its corpus, intends to examine the feasibility of the application of House’s model to Chinese translation.&lt;br /&gt;
&lt;br /&gt;
2)There are merely a few researches applying House model to the translation of full-length novels. Among the 29 journals and papers on evaluating translation of literary works, most of which focus on the evaluation of poems and prose, merely 5 studies are analysis of translation of full-length novels. English translation accounts for 3 and Chinese translation for 2, which demonstrates that we need more researches with full-length novels as corpus to support the validity of the model in different genres. Therefore, the paper, with the full-length novel A Pale View of Hills as its corpus, intends to examine the feasibility of the application of House’s model to full-length novels.&lt;br /&gt;
&lt;br /&gt;
In conclusion, given that the researches based on Chinese translation of full-length novels are insufficient, the paper will use the Chinese translation of A Pale View of Hills as its corpus to validate the feasibility of House’s TQA model.&lt;br /&gt;
&lt;br /&gt;
===III Comparison of Original and Translation of ''A Pale View of Hills'' Along House's Translation Quality Assessment Model===&lt;br /&gt;
''A Pale View of Hills'' is the debut of Kazuo Ishiguro, whose Chinese translation was published by Shanghai Translation Publishing House in 2011. House's Translation Quality Assessment model is the first objective model combining quantative analysis with qualitive analysis. The paper applies House’s Translation Quality Assessment model to Chinese translation of ''A Pale View of Hill'', comparing the source text and target text in lexical, syntactic and textual aspects along the three dimensions of register and summarizing the mismatches on field, tenor and mode, in an effort to quantitatively assess the translation quality of ''A Pale View of Hills''.&lt;br /&gt;
&lt;br /&gt;
'''3.1 Comparison on Field'''&lt;br /&gt;
&lt;br /&gt;
Field refers to the content or the topic of the text. It is concerned with subject matter and social action which covers the specificity of lexical items. After comparison between the source text and target text on field, there are 18 mismatches, 12 of which are overt errors and 6 covert errors. Among them, there are 9 lexical errors, 1 textual error and 8 syntactic errors. The lexical and textual errors are mainly covert errors, so in general their translation is of high quality. Although most of syntactic errors are not in line with the grammar of target language system, they won’t influence the understanding of the text. Therefore, by and large, translation on field are high-quality.&lt;br /&gt;
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'''3.1.1 Lexical Field'''&lt;br /&gt;
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Lexical field means the immediate or possible scenes or events evoked in people’s mind when they read or hear the words or lexical items. After the analysis of the original and target text, there are 9 mismatches, 4 of which are overt errors and 5 are covert ones. Most of them won’t block readers to master the overall meanings. Therefore, the translation quality on lexical items are relatively high. &lt;br /&gt;
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Example 1：&lt;br /&gt;
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...and the soaked surfaces of brick and concrete were drying all around us.&lt;br /&gt;
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湿透了的砖头和水泥开始变干。(P8)&lt;br /&gt;
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Concrete refers to building material that is made by mixing together cement, sand, small stones and water according to Oxford Dictionary, which includes cement rather than equates it. So, it is not very accurate to translate in this way even if the two words are similar. It is obviously an overt error. &lt;br /&gt;
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Example 2：&lt;br /&gt;
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As far as I remember, that was the first occasion I spoke to Mariko.&lt;br /&gt;
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我印象那是我第一次跟万里子说话。(P11)&lt;br /&gt;
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In the translation, “印象” as a noun refers to a mental picture that you have of what somebody/something is like or looks like. In the light of the rules or grammar of Chinese, it is hardly used as a verb. Thus, it is an overt error. &lt;br /&gt;
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Example 3：&lt;br /&gt;
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It's such a shame.&lt;br /&gt;
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真不像话。(P16)&lt;br /&gt;
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A shame is used to say that somthing is a cause for feeling sad or disappointed. In the original, the sentence is to express Etsuko’s pity to the homeless dogs and cats around her community rather than her distaste or complaint. Here it is translated into its other meaning when ignoring the context, belonging to a covert error. &lt;br /&gt;
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Example 4：&lt;br /&gt;
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Why don't you go into the kitchen for a little while?&lt;br /&gt;
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你为什么不到厨房去一会儿呢？(P26)&lt;br /&gt;
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In the translation, “去” is not very appropriate on the basis of grammar of Chinese, since it is such an action verb that does not match with state phrases. In the course of translation, some prepositions in English need to be transferred into verb in Chinese, which are supposed to pay attention to the rules of target language. Here it is obviously an overt error.&lt;br /&gt;
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Example 5：&lt;br /&gt;
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It's not appreciated simply because the product disappears so quickly.&lt;br /&gt;
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不能因为它的产品很快就消失了而不懂得欣赏。(P34)&lt;br /&gt;
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According to the context, Ogata-San believes that cooking is “as noble as painting or poetry”. So here the product refers to food cooked. Given the concrete expression in Chinese, the product is supposed to be translated more concretely in accordance with the context. It is a covert error.&lt;br /&gt;
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Example 6：&lt;br /&gt;
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Perhaps it is just my fancy that I felt a cold touch of unease there on that bank, a feeling not unlike premonition. &lt;br /&gt;
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这也许只是我的想象，但是那时我在河边觉得凉飕飕的，很不自在，像是感觉有事要发生。(P44)&lt;br /&gt;
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“Unease” refers to the feeling of being worried or unhappy about something. Given the above-mentioned, Etsuko worried about the safety of Mariko when she was not at home. It differs from its translation that means the feeling of being ill at ease. It is an overt error. &lt;br /&gt;
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Example 7：&lt;br /&gt;
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You mustn't suppose, Etsuko, simply because you've seen her in these…in these present surroundings, that she's some peasant's child.&lt;br /&gt;
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悦子，你不能因为……因为眼前的事物就认为她是什么贫农的孩子。(P51)&lt;br /&gt;
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Sachiko is not rich according to the context, so “peasant” intimates the meaning of poverty. Its translation explicitly represents it, which is accessible and intelligible. However, “贫农” enjoys extra cultural meaning in China, which could date back to the Cultural Revolution when lands was apportioned based on people’s wealth, so it might mislead readers to its political implication. It is a covert error.&lt;br /&gt;
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Example 8：&lt;br /&gt;
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“I must have been such a burden to you in those days,” I said, quietly.&lt;br /&gt;
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“我那时肯定成了您的负担，”我静静地说。(P68)&lt;br /&gt;
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Here “quiet” refers to making very little noise, which coincides with the act of saying. According to the context, Etsuko lowered her noise out of guilt when she realized she bothered her family when she practised violin before. However, its translation means the statement without any noise, which obviously contravenes the context, belonging to covert translation.&lt;br /&gt;
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Example 9：&lt;br /&gt;
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I could see something moving beside her in the shade.&lt;br /&gt;
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我看见她身旁的影子里有什么东西在动。(P14)&lt;br /&gt;
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“Shade” means an area that is dark and cool under or behind something, for example a tree or building, because the sun’s light does not get to it, rather than the shadow which the translator believed. As previously mentioned in the text, “Mariko was lying in the corner furthest from the sunlight”, which also signifies that it is impossible to exist dark shape under the light around Mariko. Thus, the translation of “shade” is not on a par with the context, belonging to a covert error.&lt;br /&gt;
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'''3.1.2 Syntactic Field'''&lt;br /&gt;
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Syntactic field means the immediate image appeared in people’s mind when they read the sentences. The mismatches in syntactic field are usually for the violation of rules of target language or misinterpreting the source text. On syntactic field, there are 8 mismatches, seven of which are overt errors and one is covert. Among the overt errors, seven sentences are not in line with the rules of target language, which won’t influence the ideational meaning. Therefore, the translation quality on syntactic field is high.&lt;br /&gt;
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Example 1：&lt;br /&gt;
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It did upset me, hearing about her.&lt;br /&gt;
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我真的很难过，听到她的死讯。(P4)&lt;br /&gt;
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Example 2：&lt;br /&gt;
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But I was sad though, when I heard.&lt;br /&gt;
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可是我真的很难过，听到她的消息。(P4)&lt;br /&gt;
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Example 3：&lt;br /&gt;
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It's certainly an amusing sort of experience, working in a noodle shop.&lt;br /&gt;
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这真是很有趣的经历，在面包店里工作。(P26)&lt;br /&gt;
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In English, the important or unknown information appeared firstly, and the second one follows. However, in Chinese, the second important presents at first, paving the foundation for the more pivotal or unknown one. In above three examples, their translation doesn’t adjust the sequence in line with target language rules. These are overt errors.&lt;br /&gt;
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Example 4：&lt;br /&gt;
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…certain arrangements I made have not gone as planned.&lt;br /&gt;
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一些事情没有照我计划的那样。(P17)&lt;br /&gt;
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The translation is not complete as the predicate verb “have gone” is not translated, which does not conform with the grammar of Chinese. It is an overt error.&lt;br /&gt;
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Example 5：&lt;br /&gt;
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She appeared to know them, for as she walked across the forecourt, she gave them a familiar greeting.&lt;br /&gt;
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看来她认识她们，边走过水泥地，边熟识地跟她们打招呼。(P26)&lt;br /&gt;
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The original is a compound-complex sentence with “for” for causal relation and “as” for coordinate relation. In the translation, the former is represented but the later isn’t, neither by conjunction words nor by clause sequence. It causes that the translation lacks of logic, belonging to an overt error.&lt;br /&gt;
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Example 6：&lt;br /&gt;
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It's an opportunity for a teacher to see the fruits of his work, and for the pupils to express their gratitude to him.&lt;br /&gt;
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这是一个机会让老师看看他的劳动成果，让学生们向他表示感谢。(P30)&lt;br /&gt;
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The translation adheres to the sequence of the original but ignores the fluency of the sentence. In English, attributives are at both ahead of and behind the objects; while in Chinese, they mostly are preceded. Therefore, the translation violates the grammar of the target language, belonging to an overt error.&lt;br /&gt;
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Example 7：&lt;br /&gt;
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There's nothing like a timely reminder of one's personal obligations.&lt;br /&gt;
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及时地提醒个人的责任之类的东西也没有。(P71)&lt;br /&gt;
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“There's nothing like” is a common sentence pattern in spoken English, meaning nothing else is able to match. The original would have expressed that “a timely reminder of one’s personal obligations” is the most important. The translator misunderstood the meaning utterly, making an overt error.  &lt;br /&gt;
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Example 8：&lt;br /&gt;
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It amazes me, how things have changed so much so quickly.&lt;br /&gt;
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太让我吃惊了，世道变得如此之大，如此之快。(P195)&lt;br /&gt;
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The translation, by and large, is in accordance with the original. Yet there is possibility for readers to be confused about the accuracy of words collocation. Although “so much” and “so quickly” modify the verb “change”, we have to respectively choose the proper words to collocate. It is a covert error. &lt;br /&gt;
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'''3.1.3 Textual Field'''&lt;br /&gt;
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On textual field, there is only one error---overt error. It is caused by misconstruing what the pronoun refers to. By and large, the translation, through the comprehensive analysis on textual field, is high-quality. &lt;br /&gt;
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Example 1：&lt;br /&gt;
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That's just not how it was though.&lt;br /&gt;
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但是我和她根本不是这样。(P4)&lt;br /&gt;
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According to “Sisters are supposed to be people you're close to, aren't they. You may not like them much, but you're still close to them”, it refers to the whole view instead of certain relationship between me and my sister. The referential meaning does not accord with that of the original. It is an overt error.&lt;br /&gt;
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'''3.2 Comparison on Tenor'''&lt;br /&gt;
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Tenor refers to the nature of the participants, the addresser and the addressee, and the relationship between them in terms of social power and social distance. After comparing the original and the translation of A Pale View of Hills, there are 8 mismatches on social attitude and social role relationship, one of which is an overt error and the rest are covert. In general, the translation is highly in accordance with the original so the quality is high on tenor. &lt;br /&gt;
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'''3.2.1 Social Attitude'''&lt;br /&gt;
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Social attitude refers to the social distance between communicators and the degree of formality of discourse. The misunderstanding of social attitude in the translation process will affect the readers' understanding of the characters in the novel. Therefore, mistakes in representing social attitude of characters should be minimized and even avoided in the translation process. There are 4 mismatches on social attitude in the translation: one is an overt error and the rest are covert errors. By and large, the translation on displaying the social attitude of the original is great. &lt;br /&gt;
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Example 1：&lt;br /&gt;
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The English are fond of their idea that our race has an instinct for suicide.&lt;br /&gt;
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英国人有个奇特的想法，觉得我们这个民族天生爱自杀。(P4)&lt;br /&gt;
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In the original text, the attitude of the character is relatively objective. However, in the translation, the attitude is represented overly by using an adjective, which might be translator’s understanding on author’s attitude. It limits different interpretation to the author’s attitude from readers. It is an overt error. &lt;br /&gt;
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Example 2：&lt;br /&gt;
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“Which are you hoping for, Etsuko?” he asked, eventually. “A boy or a girl?”&lt;br /&gt;
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“你想是男孩还是女孩呢，悦子？”过了一会儿他问道。(P35)&lt;br /&gt;
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Ogata-San would like to know Etsuko’s mind about the upcoming baby, but he is not sure if it is proper. At last, curiosity overpowers his hesitation. In the original text “eventually” signifies both time and emotion span. But the translation only manifests the time span. It is a covert error.&lt;br /&gt;
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Example 3：&lt;br /&gt;
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“Tell me, Etsuko,” he said, not looking up from his laces. “Have you met this Shigeo Matsuda?”&lt;br /&gt;
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“告诉我，悦子，”他头也不抬地说。“你见过这个松田重夫吗？”(P36-P37)&lt;br /&gt;
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Ogata-San, as Etsuko’s father-in-law and adopter after the war, gets along well with her. In the original text, Ogata-San is “not looking up” when speaking to Etsuko since he is lying his laces. The translation ignores the reason, which renders Ogata-San a cold man. It is a covert error.&lt;br /&gt;
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Example 4:&lt;br /&gt;
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I'm sure she'd be the first to agree with me about Kazuo mourning her like this.&lt;br /&gt;
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我肯定她会第一个同意我的观点，和夫不应该再这样想着他了。(P94)&lt;br /&gt;
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From the original, we can feel the love of Mrs. Fujiwara to her son. However, after reading its translation, we can feel nothing but her dominance. It signifies that the translation deviates from the original context. It is a covert error.&lt;br /&gt;
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'''3.2.2 Social Role Relationship'''&lt;br /&gt;
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Social role relationship refers to the social relation between the speaker and the receiver, that is, symmetry and asymmetry. The analysis on the social roles relationship in novels is generally from two aspects: relationship between the author and readers, and relationship between the various characters in the work. The former is remained utterly, while the latter is slightly different from that in the original. A total of 4 mismatches are found in the comparison, all of which are covert errors. In the full-text translation, the overall relationship between the characters is the same as that of the original text, and only a few mismatches are found. Therefore, on social role relationship, translation is of high quality.&lt;br /&gt;
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Example 1：&lt;br /&gt;
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She said it would be perfectly all right if you came and waited for her at my house.&lt;br /&gt;
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她说你可以到我家来等她。(P13)&lt;br /&gt;
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The translation omits “be perfectly all right if”, which takes the edge off the amiability from Etsuko to Mariko. Given the whole plot of the novel, Mariko is a phantom of Etsuko’s old daughter Keiko. The obscure feelings between Mariko and Etsuko are very important to implicate their special emotion. Therefore, the translation ignores to take a consideration of the context. It is a covert error.&lt;br /&gt;
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Example 2：&lt;br /&gt;
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As I say, this order came into the office the day you arrived. A real nuisance.&lt;br /&gt;
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我说过了，订单刚好在您来的那天来了。真是讨厌。(P29)&lt;br /&gt;
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On the basis of the context, Jiro (Etsuko’s husband) is explaining to his father Ogata-San that he is so busy that he could not accompany him. He feels apologetic about that. However, the tone of speaking in translation is impatient and a bit furious, which runs against that of the original. So, it is a covert error. &lt;br /&gt;
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Example 3：&lt;br /&gt;
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I should warn you, perhaps. My daughter has been in a somewhat difficult mood these past few days.&lt;br /&gt;
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也许我应该警告你。我女儿这几天情绪很不好。(P90)&lt;br /&gt;
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Warn enjoys two major meanings: to tell somebody about something, especially something dangerous or unpleasant that is likely to happen, so that they can avoid it; to strongly advise somebody to do or not to do something in order to avoid danger or punishment. In the original, Sachiko entrusts Etsuko to look after her daughter so the former one is appropriate. However, in the translation the later one is adopted, which is absolutely improper. It is a covert error. &lt;br /&gt;
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Example 4：&lt;br /&gt;
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Now listen carefully, or else you'll never find the noodle shop.&lt;br /&gt;
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现在您听好了，不然您永远也别想找到面馆。(P183)&lt;br /&gt;
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The sentence is said when Etsuko intends to tell Ogata-San the route to the restaurant of Mrs Fujiwara. On the basis of the context, Etsuko is very reverent to Ogata-San. However, the manner of translation is tough, which is not of a piece with the original. It doesn’t take account of the context, so it is a covert error.&lt;br /&gt;
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'''3.3 Comparison on Mode'''&lt;br /&gt;
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Mode can be divided into medium and participation. In the course of analyzing both the original and the translation, a total of 6 mismatches are found on the two dimensions and all of them are covert errors, which manifests the translation are generally of a piece with the original. The translation on mode is of high quality.&lt;br /&gt;
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'''3.3.1 Language Medium'''&lt;br /&gt;
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Language medium mainly refers to whether the form of language is spoken or written, simple or complex. The contrast between the model of the source text and the target text is mainly reflected in the linguistic features and diction features of text rather than language types used. The language of A Pale View of Hills is simple, delicate and easy to understand, with short sentence, plenty of dialogues between characters and a high degree of colloquialism. The overall style of the translation is similar with that of the original, with only 4 stylistic covert mismatches. Therefore, on language medium, the translation quality is great.&lt;br /&gt;
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Example 1：&lt;br /&gt;
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…on one side of the tracks at the foot of the hill could be seen a cluster of roofs.&lt;br /&gt;
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山脚下铁路的一侧是鳞次栉比的屋顶。(P8)&lt;br /&gt;
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Cluster means a group of things of the same type that grow or appear close together, whose translation accords with it in the ideational meaning. Nonetheless, “鳞次栉比” in Chinese is a four-character phrase that usually appears in formal written text. It is more complex than the style of the text. It is a covert error.&lt;br /&gt;
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Example 2：&lt;br /&gt;
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We're just rabble, like your husband says.Please don’t make a fuss, please sit down.&lt;br /&gt;
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正如您丈夫说的，我们只是两个混蛋。不用麻烦了，请坐下。(P74)&lt;br /&gt;
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The situation happens when Jiro’s colleagues come round. From the conversation between Jiro and his colleagues, it is found that they are very familiar and intimate. So, words such as “rabble” and “like” are of high colloquialism. Nevertheless, in the translation “正如” is a formal expression, which is not in line with the original. Thus, it is a covert error.&lt;br /&gt;
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Example 3：&lt;br /&gt;
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Blankets and laundry hung from many of the balconies.&lt;br /&gt;
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很多阳台上挂着毯子啦、洗的衣服啦。(P181)&lt;br /&gt;
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Example 4：&lt;br /&gt;
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Young women these days are all so headstrong. And forever talking about washing-machines and American dresses.&lt;br /&gt;
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现在女孩子任性得很。而且整天在讲什么洗衣机啦、洋裙啦。(P195)&lt;br /&gt;
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The two sentences are the description of the street which Etsuko and Ogata-San pass by when they intend to visit Shigeo. Etsuko is a calm and composed Japanese woman, whose language style is the same. Modal particles used in translation render the language abrupt and frisky. So, it is a covert error.&lt;br /&gt;
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'''3.3.2 Participation'''&lt;br /&gt;
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Participation refers to whether the speech is a simple monologue or a complex form that prompts the listeners or readers to participate indirectly, for example, by the transition between statements and questions and the special use of pronouns. The whole plot of A Pale View of Hills is a soliloquy narrated in the first person, interleaved with dialogues between different characters. Readers hardly could participate indirectly in it. The translation is basically in the same style as the original, except for the two following examples. The two declarative sentences are translated into a rhetorical question, which does not require readers to answer as well. Therefore, the translation is of high quality in terms of participation.&lt;br /&gt;
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Example 1：&lt;br /&gt;
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That’s no way to bring a child into the world, visiting the cemetery every week.&lt;br /&gt;
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这样怎么能把孩子带到这个世上呢？(P24)&lt;br /&gt;
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Example 2：&lt;br /&gt;
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It seems very disloyal.&lt;br /&gt;
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这不是忘恩负义吗？(P32)&lt;br /&gt;
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The quality statement of the Chinese Translation of A Pale View of Hills focuses on whether it is an overt transaltion or a covert translation and its matching degree. On the one hand, it is an overt translation. Accoring to above analysis, the translation is closely related to the culture of the sourse language text. From the translation, expressions with Japanese culture can be found clearly. On the other hand, it is of high quality. There are 32 mismatches in total, 18 mismatches on field, 8 on tenor and 6 on mode. Among them, there are 13 overt errors and 19 covert errors. Covert errors caused by ignoring the context and overt errors caused by violating the rules of target language inflict only a little ambiguity on ideational function, interpersonal function and the quality of the text.&lt;br /&gt;
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===IV Quality Statement of Chinese Translation of A Pale View of Hills===&lt;br /&gt;
The quality statement of the Chinese Translation of A Pale View of Hills focuses on its cultural participation degree and its matching degree. Based on the two aspects, this chapter will make a quality statement of the Chinese Translation of A Pale View of Hills.&lt;br /&gt;
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'''4.1 Overt Translation'''&lt;br /&gt;
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Overt translation refers to the obvious translation rather than the second original. The translation is obviously not aimed at the readers with target language, because the original text, literary works, political speeches and religious sermons, is closely related to the culture it is rooted in. But covert translation can be used as the second text, that is, independent writing. House deems that texts requiring overt translation have no special connection with their culture, and they are not unique to their culture, such as academic papers and travel brochures. She also believes that in overt translation, equivalence can only be established at the level of language/text, register and genre, but it is difficult to achieve equivalence in function. In contrast, the purpose of covert translation is to achieve functional equivalence, and there will be some deficiencies in language, register.&lt;br /&gt;
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In the contrast reading between the original and the translation, the obvious traces of the original can be found, for example, “你想她们还在打吗？” and “呃，我想小孩子是会打架的。但是我想我应该告诉你一声。还有你看，我想你女儿不是要去上学。”. In English, words representing speculation, such as “suppose” and “think”, are used frequently, while in Chinese they are not. Thus, the target text which remains these words possesses obvious sighs of translation. Furthermore, other signs in the translation, such as “欠了欠身”，show the culture of Japan when greeting. In conclusion, the target text of A Pale View of Hills is overt translation.&lt;br /&gt;
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'''4.2 High-quality Translation'''&lt;br /&gt;
&lt;br /&gt;
This study applies House’s TQA model to assess the Chinese translation of A Pale View of Hills on lexical, syntactic and textual aspects. On basis of analysis between the original and the translation, there are 18 mismatches on field, 8 on tenor and 6 on mode. Among them, there are 13 overt errors and 19 covert errors. Covert errors caused by ignoring the context and overt errors caused by violating the rules of target language inflict only a little ambiguity on ideational function, interpersonal function and the quality of the text. &lt;br /&gt;
&lt;br /&gt;
Chinese translation of A Pale View of Hills, by and large, consisting with the original, is of high quality. On the field, the translation, which transmits the subject matter and social action which covers the specificity of linguistic items, is in accordance with the original on lexical, syntactic and textual dimension in general; on the tenor, the representation of social attitude and social role relationship of the Chinese text is consistent with the English text; on the mode, the language of the translation is as simple and delicate as that of the original and the participation is of low level as well. Therefore, Zhang Xiaoyi’s Chinese translation of A Pale View of Hills is of high quality.&lt;br /&gt;
===Conclusion===&lt;br /&gt;
''A Pale View of Hills'', as the debut of Kazuo Ishiguro, involves many in-depth subjects, which initiates the development of author's peculiar writing style. House’s model is the first scientific and objective translation quality assessment mode with the integration of both theory and practice. This study applies House’s TQA model to assess the Chinese translation of ''A Pale View of Hills'' on lexical, syntactic and textual aspects. On basis of analysis between the original and the translation, there are 18 mismatches on field, 8 on tenor and 6 on mode. By and large, the Chinese translation of A Pale View of Hills is overt translation. Although a few mismatches can be found in the translation, they cause a little affect to the functions of the text and the presentation of the plot, role characters and role relationship of the whole novel. In conclusion, the translation is in line with the original on register and is of high quality.&lt;br /&gt;
&lt;br /&gt;
Different from the traditional evaluation methods, House's model, based on micro and macro criteria, both quantitative analysis and qualitative analysis, is the first scientific and objective translation quality assessment model with a complete theory and empirical evidence. It can be used as an auxiliary tool to find problems in translation so as to make modifications, which to some extent promotes the development of translation activities. However, in the actual operation process, although the translation quality assessment can be carried out according to parameters, the comparison results still rely on subjective judgment, which cannot utterly guarantee the scientificity of the final evaluation results. In addition, due to the large number of parameters, it takes a lot of time to compare the differences in vocabulary, sentence structure and discourse between the original text and the translation in the evaluation of full-length novel, so the evaluation is not very efficient. Although there are still some shortcomings in the House's model, it is still worth applying in the practice of translation criticism as a relatively complete and objective theoretical model.&lt;br /&gt;
===Works Cited===&lt;br /&gt;
Awla, Y. N. The The Impact of Place on Personality in Kazuo Ishiguro’s A Pale View of Hills: An Eco-critical Study[J]. ''Journal of University of Raparin'', 2019, 6(2): 1-18.&lt;br /&gt;
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House, J. ''A Model for Translation Quality Assessment''[M]. Germany: Gunter Narr Verlag Tubingen, 1977.&lt;br /&gt;
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House, J. ''Translation Quality Assessment: A Model Revised''[M]. German: Gunter Narr Verlag Tubingen, 1997: 108. &lt;br /&gt;
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Newmark, P. ''A Textbook of Translation''[M]. Shanghai: Shanghai Foreign Language Education Press, 2001: 184.&lt;br /&gt;
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Reiss, L. ''Translation Criticism, the potentials &amp;amp; Limitations''[M]. Manchester: St. Jerome Publishing, 2000: 24-38.&lt;br /&gt;
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Forsythe, R. Cultural Displacement and the Mother-Daughter Relationship in Kazuo Ishiguro's ''A Pale View of Hills''[J]. ''West Virginia University Philological Papers'', 2005, 51.&lt;br /&gt;
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Jeremy M. ''Introduction Translation Studies: Theory and Applications''[M]. London and New York: Routledge, 2001: 92.&lt;br /&gt;
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丰玉芳, 王菲菲. 从豪斯的翻译质量评估模式看宋词翻译——以宋词《声声慢》和许渊冲英译本为例[J]. 扬州大学学报(人文社会科学版), 2015, 19(03): 114-121.&lt;br /&gt;
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贺晓冰. 论《远山淡影》的不可靠叙述与记忆[D]. 西安外国语大学, 2018.[10] 姜睿萍. 豪斯翻译质量评估模式在英汉互译中的可行性分析[D]. 哈尔滨工程大学, 2007. &lt;br /&gt;
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李菁, 王烟朦. 翻译质量评估研究的新里程—《翻译质量评估:过去和现在》评述[J]. 中国翻译, 2015, 36(04): 63-65.&lt;br /&gt;
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李晓林, 何绍斌. 朱莉安·豪斯的“翻译质量评估模式”运作过程可行性浅评[J]. 哈尔滨学院学报, 2010, 31(06): 127-1.&lt;br /&gt;
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李厥云. 论《远山淡影》的创伤记忆和身份叙事[J]. 长春大学报, 2017, 27(11): 45-49.&lt;br /&gt;
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刘晓亚. 《远山淡影》中的创伤研究[D]. 四川师范大学, 2015.&lt;br /&gt;
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司显柱. 朱莉安·豪斯的“翻译质量评估模式”批评[J]. 外语教学, 2005(03): 79-84.&lt;br /&gt;
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唐军, 王燕. 豪斯翻译质量评估模式在汉译英翻译中的应用——以朱自清《背影》的英译为例[J]. 合肥工业大学学报(社会科学版), 2011, 25(06): 129-135.&lt;br /&gt;
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王丽川. 《远山淡影》中的反讽解读[D]. 河南: 郑州大学, 2019.&lt;br /&gt;
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王飞. 石黑一雄中的身份焦虑[J]. 中南大学学报(社会科学版), 2017, 23(06): 152-157.&lt;br /&gt;
&lt;br /&gt;
周芬芬. 豪斯翻译质量评估模式的实践应用——以《荷塘月色》英译本为例[J]. 山西农业大学学报(社会科学版), 2013, 12(08): 782-786.&lt;br /&gt;
&lt;br /&gt;
==On the Relationship among Literal Translation, Free Translation, Domestication and Foreignization	韦洪朗	Wei Honglang==&lt;br /&gt;
&lt;br /&gt;
==On Chinese-to-English Translation of The Summer Palace from the Perspective of Functionalist Approaches to Translation	魏亚菲	Wei Yafei==&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
===Abstract===&lt;br /&gt;
Abstract&lt;br /&gt;
The Chinese-English translation of tourist texts, as a window for the external publicity of national history and culture, plays an important role in promoting the development of local tourism. The Summer Palace is well known for its large and priceless collection of cultural relics, which is among the first group of historical and cultural heritage sites in China to be placed under special state protection. &lt;br /&gt;
Based on the functionalist approach and the skopos rule, this paper discusses the problems existing in the translation of scenic spots in the Summer Palace from the perspectives of garden culture, historical culture and religious culture. Skopos theory holds that translation depends on communicative purpose. To achieve this goal, translators can choose different translation strategies. It is believed that the purpose of Chinese-English translation of scenic spots is to attract target readers and promote traditional culture. Therefore, when translating tourism materials, it is necessary not only to express the local cultural connotation, but also to consider the cross-cultural factors. The Chinese-English translation of the introduction of scenic spots guided by functionalist approach can make English readers have expectations of scenic spots and understand the cultural connotation of scenic spots. This paper aims to better promote the development and communication of Chinese culture and improve the level of tourism text translation in China by relying on the theory of functionalist approach.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
===Key words===&lt;br /&gt;
Key Words: functionalist approach，the Summer Palace，translation strategies&lt;br /&gt;
&lt;br /&gt;
===摘要===&lt;br /&gt;
摘 要&lt;br /&gt;
旅游资料的英译作为民族历史文化对外宣传的一道窗口,对地方旅游业的发展有着不可低估的促进作用。颐和园作为中国著名的皇家园林，具有浓厚的中国园林特色及优美的风景，同时也蕴涵着深厚文化内涵。&lt;br /&gt;
本篇旅游文本英译的分析以功能派翻译理论作为理论指导，以目的法则为主要原则，从颐和园的园林文化、历史文化和宗教文化三个角度出发对颐和园景点英译中存在的问题进行探讨。目的论认为译文取决于翻译目的，这个目的通常指的是交际目的。为达到这个目的，译者可以选择不同的翻译策略。也就是说，译者的翻译策略必须由译文的预期目的或功能决定，即所谓的“目的法则”。笔者认为景点介绍的汉英翻译的目的就是吸引译文读者以及弘扬传统文化，因此在翻译旅游资料的时候不仅要把当地的文化内涵表达出来，而且要考虑到跨文化的因素。而以功能派翻译理论为指导的景点介绍的汉英翻译，可以使英语读者通过译文产生对旅游景点的期盼，以及对景点文化内涵的理解。以颐和园景区内的翻译文本为例本，依托功能翻译理论，通过“发现问题，指出问题，解决问题”，以期更好地促进中国文化的传播与交流，提高我国现阶段旅游文本翻译的水平。&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
===关键字===&lt;br /&gt;
关键词：功能翻译；颐和园；翻译目的；翻译策略&lt;br /&gt;
&lt;br /&gt;
===Introduction===&lt;br /&gt;
  Throughout the translation history at home and abroad, the literal translation and free translation have always been a heat discussion in the translation circles. Someone absolutely approve literal translation and demean free translation, even pursue a dead translation, which creates an translated text difficult to understand. While some other people absolutely agree with free translation even advocate random acts, which means a random deletion in the translation practices and creates anther entirely different text. However, there are also a number of translators who have recognized that these two translation methods are not totally opposite. So they adopt a compromise and flexible way. That means they will choose the most appropriate one depending on the text demanding. Therefore, we can deduce from it that this eclectic translation is consistent with the Contradiction view of Unity of Opposite in Materialist Dialectics. In fact, literal translation and free translation are right a set of contradictions which are both opposite and unified. They complement each other into an integral one.&lt;br /&gt;
&lt;br /&gt;
===Table of Contents===&lt;br /&gt;
&lt;br /&gt;
Table of Contents&lt;br /&gt;
&lt;br /&gt;
Outline&lt;br /&gt;
1.Introduction&lt;br /&gt;
2. Studies on Functionalist Approach&lt;br /&gt;
2.1 The Viewpoint of Functionalist Approach&lt;br /&gt;
2.1.1 Reiss’s Text Typology&lt;br /&gt;
2.1.2 Vermeer’s Skopos Theory&lt;br /&gt;
2.1.3 Manttari’s Theory of Translational Action&lt;br /&gt;
2.1.4 Nord’s Theory of Function plus Loyalty&lt;br /&gt;
2.2 The Application of Functionalist Approach &lt;br /&gt;
3.C-E Translation of the Summer Palace under Functionalist Approach&lt;br /&gt;
3.1 Garden Culture&lt;br /&gt;
3.2 Historical Culture &lt;br /&gt;
3.3 Religious Culture &lt;br /&gt;
4. Conclusion&lt;br /&gt;
References&lt;br /&gt;
&lt;br /&gt;
===Outline===&lt;br /&gt;
Outline&lt;br /&gt;
&lt;br /&gt;
Thesis Statement: Based on the main viewpoints of functionalist approaches to translation, this paper aims to give an analysis to C-E translation of the Summer Palace from cultural, historical and religious aspects, hoping to provide some translation strategies for other cultural attractions.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
1. Introduction&lt;br /&gt;
2. Studies on Functionalist Approaches&lt;br /&gt;
2.1 The Viewpoint of Functionalist Approach&lt;br /&gt;
2.1 Reiss’s Text Typology&lt;br /&gt;
2.2 Vermeer’s Skopos Theory&lt;br /&gt;
2.3 Manttari’s Theory of Translational Action&lt;br /&gt;
2.4 Nord’s Theory of Function plus Loyalty&lt;br /&gt;
2.2 The Application of Functionalist Approach&lt;br /&gt;
3. C-E Translation of the Summer Palace under Functionalist Approach&lt;br /&gt;
3.1 Garden Culture&lt;br /&gt;
3.2 Historical Culture&lt;br /&gt;
3.3 Religious Culture&lt;br /&gt;
4. Conclusion&lt;br /&gt;
&lt;br /&gt;
===1. Introduction ===&lt;br /&gt;
1. Introduction   &lt;br /&gt;
The Chinese-English translation of tourist texts is a bridge to spread the culture of classical Chinese gardens, so the accuracy of it has a direct impact on foreigners' understanding of the specific history and culture. &lt;br /&gt;
Functionalist approach has made a pioneering contribution to the translation of non-literary genres. Functional translation theory emphasizes the function of discourse, and believes that different types of discourse have different functions, so translators should choose appropriate translation strategies according to the type of source text and corresponding functions. Functionalist approach is to take the &amp;quot;skopos rule&amp;quot; as the highest standard, and any translation activity is a purposeful behavior. The ultimate goal and main function of scenic spot translation is to help people understand the main content of the scenic spot.&lt;br /&gt;
As a window for the publicity of national history and culture, the Chinese-to-English translation of tourist texts plays an important role in promoting the development of local tourism. Well known for its large and priceless collection of cultural relics, the Summer Palace was among the first group of historical and cultural heritage sites in China to be placed under special state protection. Based on the viewpoints of functionalist approach to translation, this paper aims to analyze C-E translation of the Summer Palace from cultural, historical and religious aspects, hoping to provide some translation strategies for other cultural attractions. &lt;br /&gt;
&lt;br /&gt;
===2. Studies on Functionalist Approaches===&lt;br /&gt;
2. Studies on Functionalist Approaches&lt;br /&gt;
Functionalism is a theory that advocates reader-centered translation, emphasizing the functions of texts and highlighting the communicative effects. It is believed that many unnecessary mistakes can be avoided and better results can be achieved by applying functionalist approach in Chinese-English translation of tourist text. &lt;br /&gt;
&lt;br /&gt;
===2.1 The Viewpoint of Functionalist Approaches===&lt;br /&gt;
2.1 The Viewpoint of Functionalist Approaches&lt;br /&gt;
Functionalist Translation Theory, also known as German Functionalist Translation Theory, was proposed by German scholars in the 1970s. It includes four main theories: Katharina Reiss’s Text Typology, Hans Vermeer’s Skopos Theory, Justa Holtz Manttari’s Theory of Translational Action and Christiane Nord’s Theory of Function plus Loyalty. This chapter aims to present the main ideas of this theory.&lt;br /&gt;
&lt;br /&gt;
===2.1.1 Reiss’s Text Typology===&lt;br /&gt;
2.1.1 Reiss’s Text Typology&lt;br /&gt;
In 1971, Reiss in her book Possibilities and Limitation of Translation Criticism first made text function as a standard of translation criticism, namelyevaluate the translated text from the relationship between the functions of the original and the translated text. She insists on the original-centered equivalence theory and holds the view that the ideal translation is to achieve the equivalence between the target text and the source text in terms of ideological content, linguistic form and communicative function. However, translation practice makes her realize that it’s difficult to achieve equivalence sometimes and that sometimes equivalence cannot be pursued. Because of the particularity of translation requirements, the function of the target text is not always the same as that of the source text. Therefore, the translator should give priority to the functional role of the target text rather than the principle of equivalence.&lt;br /&gt;
Reiss believes that in the normal situation the type of text decides the translator’s choice of a proper translation method (Reiss, 2004). Therefore, she divides text into four types: content-focused text, form-focused text, appeal-focused text and audio-media text. Content-focused text, also known as informative text, includes news reports, commercial correspondence, operating instructions, official documents, patent&lt;br /&gt;
specifications, essays, treaties, etc. For this text, the main function is to convey information revealed in language itself to readers. The emphasis is on content and topic, so the choice of language and style should serve this function. If both the source text and target text belong to informative text, the translator should represent the content and information of source text accurately and completely (Reiss, 2004)&lt;br /&gt;
Form-focused text, also known as expressive text, refers to literary works such as novels, poems and so on. “Distinct from ‘content’, which deals with what the author says, ‘form’ is concerned with how an author expresses himself” (Reiss, 2004). For expressive texts, information is only a supplement. What is dominant is the aesthetic factor. When translating such texts, the translator should pay attention to the aesthetic and artistic forms of the original text and to the differences between two cultural habits, trying to achieve the same effect as the source text. In a word, in a form-focused text the linguistic form of the source text determines the form in the target language (Reiss, 2004).&lt;br /&gt;
Appeal-focused text, also known as operative text, mainly includes notice, instruction manual, advertisement, publicity manual and so on. For operative texts, the primary task for the translator is to provoke a particular reaction on the hearers or readers to incite them to engage in specific actions, while content and form are subordinate. Therefore, to achieve the same effect, the translator need to change the content and stylistic features of the original text, try to keep the potential influential factors of the original text and seek functional equivalence (Reiss, 2004: 38-43). Audio-medial text, also known as multi-media text, refers to radio and television scripts, such as radio newscasts and reports, topical surveys and dramatic productions.&lt;br /&gt;
It is distinctive in its dependence on non-linguistic media and on graphic, acoustic, and visual kinds of expression. Only in combination with them can the whole complex literary form realize its full potential (Reiss, 2004). In conclusion, different texts determine different translation focuses and methods. In many cases, however, a text may have more than one function, which means that translators should integrate different translation strategies skillfully to achieve different functions of texts.&lt;br /&gt;
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&lt;br /&gt;
===2.1.2 Vermeer’s Skopos Theory===&lt;br /&gt;
2.1.2 Vermeer’s Skopos Theory&lt;br /&gt;
Reiss’s student Vermeer, who broke the limitation of the theory of equivalent and took skopos to be the first criterion of translation process  proposed the key theory: Skopostheorie. According to Skopos Theory, when translating a text, the translator needs to consider the purpose of translation first and then choose the translation method according to the purpose, which means “the end justifies the means” (Nord, 2001). Vermeer believes that translation, like other human actions, is also a purposeful act. Translation often takes place in cultural backgrounds with different customs and values, so translation is not a simple equivalent transformation between languages. Skopos Theory does not focus on achieving the equivalence between the target text and the original text or the perfection of the target text, but on choosing the best translation strategy based on the analysis of the source text and the intended function of the target text. In a word, translation methods and strategies are determined by the intended purpose or function of the target text.&lt;br /&gt;
According to Skopos Theory, the first rule that all translators must follow is the Skopos Rule. Translation purpose can be divided into three categories: (1) the purpose of the translator, such as earning a living; (2) the communicative purpose of the translation, such as instructing the reader; (3) the purpose of using a particular translation method, such as the literal translation according to its structure to illustrate the peculiarities of grammatical structure in a language (Nord, 2001). In general, the communicative purpose is more important than the other two. The communicative purpose is usually determined by the initiator of the translation act, but the translator can take part in deciding. The second rule is the Coherence Rule. Coherence Rule requires that the translation conform to the criterion of intratextual coherence, which means that the translation must be accessible to recipients and meaningful in the target culture and in the communicative environment (Nord, 2001). The third rule is the Fidelity Rule. It means that there should be intertextual coherence between the source text and the target text, which means being faithful to the source text. Nevertheless, the degree and form of faithfulness lie in the target text and the degree that the translator understands the original text. Normally “Intertexual coherence is considered subordinate to intratexual coherence and both are subordinate to the Skopos rule” (Nord, 2001).&lt;br /&gt;
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&lt;br /&gt;
===2.1.3 Manttari’s Theory of Translational Action===&lt;br /&gt;
2.1.3 Manttari’s Theory of Translational Action&lt;br /&gt;
Following Vermeer, Manttari develops Vermeer’s Skopos Theory and puts forward the Theory of Translational Action. He emphasizes three aspects: the behavior of the translation process, the role of the participants (the initiator, the translator and the target reader, etc.) and the environment (time, place and media) in which the translation process takes places. It views translation as “purpose-driven, outcome-oriented human interaction and construes the process of translation as message-transmitter compounds that involve intercultural transfer” (Mundy, 2001). According to Manttari, translation is “ a complex act to achieve a particular purpose” &lt;br /&gt;
(Nord, 2001). It is not about translating words, sentences or texts but is about guiding the intended cooperation over cultural barriers and promoting functional communication. Cooperation here means “transcultural communication” by Manttari.&lt;br /&gt;
The Theory of Translational Action attaches great importance to providing a functional communicative text for the recipient, a text suitable for the target culture in&lt;br /&gt;
form and style. Functional suitability is determined by the translator. The translator is&lt;br /&gt;
an expert in translation, whose role is to ensure the successful completion of cultural&lt;br /&gt;
transformation. In producing the target text, the analysis of the source text is necessary so that the translator can find out its structural and functional characteristics, which can be described by content and form. The need of the recipient is the decisive&lt;br /&gt;
factor for the target text.&lt;br /&gt;
In short, “the value of Manttari’s work is the placing of translation (or at least the professional non-literary translation which she describes) within its sociocultural&lt;br /&gt;
context, including the interplay between the translator and the initiating institution”&lt;br /&gt;
(Mundy, 2001).&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
===2.1.4 Nord’s Theory of Function plus Loyalty===&lt;br /&gt;
2.1.4 Nord’s Theory of Function plus Loyalty&lt;br /&gt;
Though skopos rule changes the focus of translation from the source language text to the target language text and the target receivers, it has some limitations. One is that different readers have different expectations, and the translation purpose cannot satisfy all the expectations of the target reader. Another is that the translation purpose may sometimes be against the intention of the source language. Therefore, based on the skopos rule, Nord introduces the loyalty principle. The principle of loyalty is a supplementary principle proposed by Nord to make up for the deficiency of skopos rule. According to the explanation of Nord, it is not the relationship between the original text and the target text, nor the equivalence between the original text and the form of the target text, but the consistency between the author of the original text, the initiator of the translation, the translator and the reader of the target text, which is the principle of loyalty. The proposal of the loyalty principle makes up for the mistakes that some radical skopos translators usually make, such as omitting and rewriting, which makes skopos theory more perfect and makes skopos theory more likely to guide the translation of literary works.&lt;br /&gt;
“Function” and “loyalty” are two pillars of Nord’s functionalist approach. “Function” refers to what a text means or is intended to mean from the receiver’s point of view”, while “loyalty” means that “target-text purpose should be compatible with the original author’s intention” (Nord,2001). It emphasizes the interpersonal relationship between the translator, the source-text sender, the target-text addresses and the initiator. Function plus loyalty enables the translator to avoid the limitations of skopos rule and try to achieve a balance between translation purpose and the source-text author’s intention”(Nord,2001). That is to say, when translating the original text, the translator should take into account the readers' cultural background, knowledge level and expectation of the translation, and choose the corresponding translation strategy according to the translation requirements. If the reader wants to read a word-for-word translation of the article, then the translator must meet the reader's requirements, otherwise he must explain to the reader why he chose his own translation method. The translator's job is to weigh two different cultures instead of imposing one culture on another. &lt;br /&gt;
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&lt;br /&gt;
===2.2The Application of Functionalist Approach to the Tourist Texts.===&lt;br /&gt;
2.2The Application of Functionalist Approach to the Tourist Texts.&lt;br /&gt;
In the 1990s, Functionalist Translation Theory was introduced to China, and since then it has been applied to translation studies by Chinese translation scholars. In his article published in 1995, Zhang Nanfeng briefly introduces Skopos theory to China for the first time, and considers that Skopos theory is referential (Zhang Nanfeng, 1995). German Functionalist Translation Theory, a paper released in1999, is the first article in China which systematically introduces German Functionalist Translation Theory (Zhong Weihe &amp;amp; Zhong Yu, 1999). Based on an overview of Functionalist Translation Theory, Zhang Meifang focuses on introducing Nord’s theory, especially on the detailed analysis of Nord’s principle of loyalty (Zhang Meifang, 2005). Famous domestic scholars, such as Liu Junping (2009), Liu Miqing (2012) and Li Wenge (2004), also introduce this theory in their books. With the rise of Functionalist Translation Theory in China, someone has compared it with other theories. Zhu Haotong compares Skopos Theory with Functional Equivalence Theory to analyze the similarities and differences between them, and further reveals that Functionalist Translation Theory inherits the reasonable part of Nida’s Functional Equivalence Theory, which is an important breakthrough and supplement to solve the problems that Functional Equivalence Theory leaves (Zhu Haotong, 2006). Some scholars also combine theory with translation practice to explore the application of Functionalist Translation Theory to translation practice. Jia Yanli and Wang Hongjun point out that Skopos Theory has its limitations, but it is still of instruction and reference value for non-literary translation texts, such as advertisements and tourism materials (Jia Yanli &amp;amp; Wang Hongjun, 2012). Li Liangchen selects several famous tourist attractions in China to translate the on-site tour-guide commentary into English. Then he improves them under the guidance of Skopos Theory and sends out questionnaires to overseas tourists for further analysis. He argues that the translation of on-site tour-guide commentary which is guided by Skopos Theory is more favorable to conveying information to foreign visitors, to promoting cultural exchanges and to improving the image of China’s tourist destinations (Li Liangchen, 2013). In Pragmatic Translation: Theory &amp;amp; Practice, Wu Feng and He Qingji introduce Functionalist Translation Theory (Wu Feng &amp;amp; He Qingji, 2008) and the characteristics of tourism text and translation skills (Wu Feng &amp;amp; He Qingji, 2008). In this book, they also discuss the controversy over the Chinese name of Functionalist Translation Theory, and holds that “功能派翻译理论” is the most appropriate Chinese translation (Wu Feng &amp;amp; He Qingji, 2008).Based on his own translation practice and under the guidance of Functionalist Translation Theory, Wu Zixuan probes into some special phenomena in the English translation of CNN newsreels. The author believes that in the translation of external publicity, we should not stick to the standard of faithfulness to the original text, but should deal with the original text properly from the perspective of achieving the purpose of translation, such as rewriting, abridging. (Wu Zixuan, 2005).&lt;br /&gt;
Functionalist approach establishes a theoretical system of diversified translation standards dominated by skopos rule. From the definition of Functionalist approach, it can be seen that the advantage of it is that the translator can get rid of the bondage of the original text, study the translation process with &amp;quot;translation purpose&amp;quot; as the starting point, and determine the translation strategies and methods. This can give full play to the translator's own initiative, flexible processing of the original text, in order to achieve the translation of the communicative function. In addition, functionalist approach requires the translation to be examined in the cultural context of the reader. The reader can accept the translation and understand the meaning of the original text through the translation, so the translation can realize the communicative function. On the basis of such advantages, functionalist approach can be used to guide the English translation of garden scenic spots, and the translator can choose a wider range of translation strategies and break out of the constraints of the original text. &lt;br /&gt;
Only by clarifying the purpose of translation can we avoid these limitations in the English translation of garden attractions. When using functionalist approach to guide the English translation of Chinese classical garden scenic spots, it is necessary to flexibly choose translation strategies and methods, give full play to the advantages of skopos theory, and achieve the balance between &amp;quot;principle of purpose&amp;quot; and &amp;quot;principle of fidelity&amp;quot; as far as possible.&lt;br /&gt;
With the deepening of globalization and cross-cultural communication, tourismis becoming a major industry in the 21st century. The development of tourism can not only promote the economic development of a country but also promote the external dissemination of national culture. Therefore, tourism translation deserves attention. Tourism text is a typical informative and operational text, and the language is unique. It is full of gorgeous words, such as four-character expressions, verses, proper nouns and so on.&lt;br /&gt;
Tourism text materials include tourism advertising, tourism brochures, scenic spots signs and so on. In this paper, we focus on the introduction of Chinese gardens’ scenic spots, which is usually colorful in language and rich in literary style. Tourism text translation belongs to applied translation, which should play a series of practical functions to publicize the image and resources of the country or place and attract overseas tourists. Therefore, the translator of tourism text must be clear about the type and function of tourism text, and to grasp the ultimate purpose of the translation. &lt;br /&gt;
On tourism text translation, the communicative purpose of the translation should be placed in a central position. Furthermore, the tourism text has both the information function and the calling function. The information function and the calling function complement each other. Only when the target language readers acquire the expected tourism information and cultural knowledge can the calling function be realized and the purpose of tourism text translation be achieved. With different translation strategies, the translated version should both expressed contains basic information, and make the tourists feel the profound of the Chinese culture from the beautiful scenery. &lt;br /&gt;
Cultural tourism has long been the focus of international tourism, and understanding Chinese culture is the main purpose of inbound tourists, so the translation of tourism texts bears the mission of cultural transmission and cultural publicity. However, due to the great differences between Chinese and English culture and language, there are many difficulties in cultural transmission in tourism text translation. China has a long and splendid history and culture. When introducing the scenic spots of cultural relics and historic sites, we usually associate with many historical figures and stories. These terms are cultural blank for most foreign tourists, but this kind of cultural experience is also the most attractive place for foreign tourists. It is of great importance to pay attention to cultural differences in tourism translation and carry out cultural transmission effectively. Chinese and English languages have different logic views, and Chinese expressions in tourism texts value decoration. English expressions tend to be clear, concise and to the point. For example, Chinese tourism texts often use a four-character lattice, which is symmetrical, while there is no corresponding four-character lattice expression in English. Therefore, in Chinese-English translation of tourism texts with frequent use of four-character phrases, it is necessary to keep in mind the objective principle of functionalist approach and give priority to cultural communication instead of rigidly adhering to form.&lt;br /&gt;
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===3. C-E Translation of the Summer Palace under Functionalist Approach===&lt;br /&gt;
3. C-E Translation of the Summer Palace under Functionalist Approach&lt;br /&gt;
By studying the specific translation strategies made by predecessors, the following steps are also adopted in this paper: first, the translation strategies are determined according to the text type, such as faithful reproduction of the original information or rewriting; Secondly, the translation strategies are determined according to the potential purpose of the translation, such as paraphrasing or deleting poems, generalizing specific expressions and transliterating proper nouns. Thirdly, the translation strategies are defined with the tourists as the center, such as adding logical words, adding explanatory information and using plain English.&lt;br /&gt;
The Summer Palace epitomizes the philosophy and practice of Chinese garden design, which played a key role in the development of this cultural form throughout the east. It is an outstanding expression of the creative art of Chinese landscape garden design, incorporating the works of humankind and nature in a harmonious whole, which was once the most important place of political and diplomatic activity for the supreme rulers of the late Qing dynasty. Based on three aspects of the Summer Palace, namely, garden culture, historical culture and religious culture, this paper discusses the problems existing in the English translation of the scenic spots of the Summer Palace and puts forward corresponding countermeasures under the guidance of the skopos rule of functionalist translation theory.&lt;br /&gt;
&lt;br /&gt;
===3.1 Garden culture.===&lt;br /&gt;
3.1 Garden culture. &lt;br /&gt;
The Summer Palace is a classical garden famous for its magnificence and beauty. There are many temples in the garden, and the green waves of kunming lake ripple. Landscape and humanities complement each other, containing rich natural and cultural information, reflecting the characteristics of Chinese classical gardens. The garden cultural features of the three scenic spots, namely, the hall of clouds, the foxiang pavilion and the Wenchang courtyard, are particularly outstanding. Therefore, this paper takes these three scenic spots as examples to discuss the Chinese-English translation of the introduction of the Summer Palace.&lt;br /&gt;
(1)	排云殿、佛香阁景区是颐和园内建筑布局最完整、建筑形式最丰富的中轴建筑群体，殿、阁、廊、亭、桥、坊、碑等建筑约两万平方米。从临水的云辉玉宇牌坊至排云门、排云殿、德辉殿、佛香阁、众香界、智慧海、层层升高，排列有序，气势巍峨，金碧辉煌，将园林、寺庙和宫殿融为一体。&lt;br /&gt;
Translation：This scenic spot covers an area of 20,000 square meters with an assortment of buildings such as palaces, towers, corridors, pavilions, walkways, bridges, archways and inscribed stone steles. It comprises a well-arranged group of structures, all diverse in style, located in the center of the Summer Palace garden. This complex of structures, ranging from the Glowing Clouds and Holy Land Archway on the waterside, the Gate that Dispels the Clouds, the Hall that Dispels the Clouds, the Hall of Moral Glory, and the Tower of the Fragrance of the Buddha, to the Realm of Popular Fragrance and the Sea of Wisdom Temple, were built in an orderly manner running from the foot of the hill to its top, with gardens, temples and palaces harmoniously integrated into the whole。&lt;br /&gt;
Analysis：As we all know, the design style of ancient Chinese buildings is beautiful with &amp;quot;symmetry&amp;quot;. The &amp;quot;axis&amp;quot; in hall of clouds scenic spot refers to the layout of the Summer Palace from far to near and from top to bottom, which cannot be simply understood as the center. Simply translating &amp;quot;axis&amp;quot; as &amp;quot;center&amp;quot; cannot express accurately the meaning of &amp;quot;symmetry&amp;quot;. Comparatively speaking, &amp;quot;axis&amp;quot; can better reflect the architectural style of the scenic spot.&lt;br /&gt;
(2)	从临水的云辉玉宇牌坊至排云门、排云殿、德辉殿、佛香阁、众香界、智慧海，层层升高，排列有序，气势巍峨，金碧辉煌，将园林、寺庙和宫殿融为一体。&lt;br /&gt;
Translation：These structures，including Glowing Clouds and Holy Land Archway at lake side，the Gate of Dispelling Clouds，the Hall of Dispelling Clouds，the Hall of moral Glory，and the Tower of Buddhist Incense，the Realm of Multitudinous Fragrance and the Sea of Wisdom Temple，were built in an orderly manner ranging up the hill with gardens，temples and palaces harmoniously integrated. This manifests beauty，grace and splendor，reminiscent of the loftingness and grandeur of a once mighty empire.&lt;br /&gt;
Analysis：In terms of the characteristics of language, Chinese emphasizes parataxis and four-word antithesis. When describing and naming scenes, gorgeous words and poetic words are generally chosen in Chinese. But, English emphasizes hypotaxis, on the other hand, puts more emphasis on reproducing the original appearance of things, using simple and natural words and preferring direct description. In sign translation, the English translation pays more attention to accurate, concise and lively. In the above paragraph, &amp;quot;层层升高，排列有序，将园林、寺庙和宫殿融为一体&amp;quot; is an introduction to the architectural features of foxiang pavilion, in order to make tourists have a clear understanding of the overall layout and architectural features of the scenic spot. This information is essential and can be translated into detail. However, &amp;quot;气势巍峨，金碧辉煌&amp;quot; focuses on the subjective description, and its explicit translation needs more complicated words. If this paragraph is translated in detail, it is easy to drag the content and make the key information vague. Therefore, the deletion of the English translation of this sentence will not affect the basic information of the original text.&lt;br /&gt;
(3)	主阁（文昌阁）两层，内供铜铸文昌帝君和仙童、铜骑。文昌阁与万寿山西供武圣的宿云檐象征“文武辅弼”。&lt;br /&gt;
Translation: A bronze statue of the God Wenchang, statues of gaeries, and a bronze steed were placed in the two-story pavilion. This tower is pared with the Tower of Cloud- Retaining Eaves, located to the west of the Longevity Hill, in which a statue of the Martial God was placed. The God Wenchang and the Martial God together symbolize reining of the emperor supported by scholars and warriors.&lt;br /&gt;
Analysis: Two questions arise in Chinese-English translation. First, there are two translations of wenchang pavilion in the translation: pavilion and tower, which appear in the same sign. Two different translations of the same scenic spot name tend to make foreign tourists think that it refers to different scenic spots, which may cause difficulty in understanding. Second, the translation of Wenchang pavilion into &amp;quot;Wenchang Tower&amp;quot; is against the actual architectural characteristics. In fact, the meanings of &amp;quot;pavilion&amp;quot; and &amp;quot;tower&amp;quot; have both similarities and differences. According to the Oxford dictionary, Tower means &amp;quot;a tall narrow building or part of a building, especially of a church or castle&amp;quot;, mainly referring to the tower-shaped part of a building, usually a tall and slender structure, such as the Eiffel Tower. &amp;quot;Pavilion&amp;quot; means &amp;quot;a building that is meant to be more beautiful than usual, built as a shelter in a park or used for concerts and dances&amp;quot;. The top structure of the pavilion usually has rectangles, triangles, hexagons, etc. The common feature of them is that the top is supported by columns without walls. From the external structure of Wenchang pavilion, its bottom is solid and its top is supported by columns. Therefore, the pavilion can accurately reflect the architectural characteristics of Wenchang pavilion, so I think it should be translated as Wenchang pavilion.&lt;br /&gt;
&lt;br /&gt;
===3.2 Historical culture. ===&lt;br /&gt;
3.2 Historical culture. &lt;br /&gt;
The accurate Chinese-English translation of the introduction of the Summer Palace not only enables foreign tourists to understand the characteristics of Chinese gardens, but also enables foreign tourists to understand the historical knowledge of a specific period of China. However, the Chinese-English translation of the Summer Palace still has problems in accurately conveying the historical background of the scenic spots, such as the English translation of Wenchang pavilion scenic spot:&lt;br /&gt;
(4)	此景区始建于清乾隆十五年，一八六零年被英法联军烧毁，光绪时按原样重建。阁结构为八面三层四重檐，通高36.44米，耸立于20米高的石造台基上，气势雄伟，是颐和园全园的构图中心。阁内供奉有铜铸金裹千手观世音菩萨站像。像高五米，重万斤，为明代万历年间所造，在八根贯通全阁上下的承重铁梨木擎天柱的衬托下，美妙庄严，熠熠生辉，有极高的文物和艺术价值。&lt;br /&gt;
Translation: The Wenchang tower was first built in 1750 and rebuilt under Emperor Guangxu after  the Anglo-French Allied Forces builted it down in 1860. The octahedral tower has three stories with four-layered eaves, altogether 36.44 meters high. Standing upright on a 20 meter-high stone foundation, it constitutes the center of the Summer Palace landscape and serves to accentuate its magnificence. A statue of the thousand-handed Guanshiyin Buddha, cast in bronze and gilded with gold, stands inside the tower. The statue, five meters high and five tons in weight, was cast during the reign of Emperor Wanli of the Ming Dynasty. Set off by the eight imposing pillars which support the tower, it glows with beauty, grandeur and brilliance. Its historical, cultural and artistic value can hardly be overstated.&lt;br /&gt;
Analysis: “始建于乾隆十五年”only was translated into “was first built in 1750” and the “光绪年间重建” was translated into “rebuilt under Emperor Guangxu”.The first sentence does not show that 1750 was the fifteenth year of the reign of emperor Qianlong, and the second sentence does not give foreign visitors the exact date of the reign of emperor Guangxu. The change of time concept and the disunity of expression easily make foreign tourists feel confused. Therefore, the translation of the time and the historical dynasties should be accurate and meticulous, and the supplementary method should be used to not only describe the dynasties clearly, but also supplement the corresponding years, so as to achieve the standardization of the translation. In this way, foreign tourists can not only be clear about the time of the event, but also understand the Chinese historical dynasties. Consider as follows: the Wenchang Pavilion was first built in 1750 during Emperor Qianlong’s reign（1735- 1795）and rebuilt in 1886 under Emperor Guangxu（1875- 1908）after the Anglo- French Allied Forces burned it down in 1860.&lt;br /&gt;
&lt;br /&gt;
===3.3 Religious culture. ===&lt;br /&gt;
3.3 Religious culture. &lt;br /&gt;
Many scenic spots in the Summer Palace have a strong buddhist atmosphere. While visiting the scenic spots, foreign tourists can understand the profound buddhist culture. Wenchang pavilion in the Summer Palace is the representative of Chinese religious culture.&lt;br /&gt;
(5)	主阁两层，内供铜铸文昌帝君和仙童、铜特。文昌阁与万寿山西供武圣的宿云檐象征“文武辅弼”。&lt;br /&gt;
Translation: A bronze statue of the god，Wenchang，and statues of two followers，the celestial boy，and the bronze steed，were placed in the two- storey pavilion. This tower is pared with the tower of Cloud- Retaining Eaves，located to the west of the Longevity Hill，in which a statue of the Martial God was placed. The two towers symbolize the support by both scholars and warriors to the ruling emperor.&lt;br /&gt;
Analysis: It is well known that westerners believe in theism, which refers to god as supreme . In Chinese religious culture, people believe in atheism and do not believe in the existence of god. Therefore, it is inappropriate to translate &amp;quot;文昌帝军&amp;quot; and &amp;quot;武圣&amp;quot; into &amp;quot;the god, Wenchang&amp;quot; and &amp;quot;the Martial god&amp;quot; in the translation. In fact, the &amp;quot;文昌帝军&amp;quot; was Zhang yu, an emperor of Shu of Ning kang (374). And &amp;quot;武圣&amp;quot; refers to Guan yu in history. Therefore, the simple translation of  &amp;quot;God&amp;quot; is not in line with the traditional Chinese culture, which will not only cause western tourists to misunderstand that Chinese religious tradition also believes in God, but also fail to convey Chinese historical allusions and relevant historical figures. In contrast, if &amp;quot;文昌帝军&amp;quot; is translated as &amp;quot;the emperor, Wenchang&amp;quot; and &amp;quot;武圣&amp;quot; is translated as &amp;quot;the Martial Master (Guanyu)&amp;quot;, it can more faithfully convey the history and religious culture contained in the source language. &lt;br /&gt;
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===4. Conclusion===&lt;br /&gt;
4. Conclusion&lt;br /&gt;
To sum up, Under the guidance of the skopos rule of functionalist translation theory, translators should have a cross-cultural awareness, fully understand the reading psychology and cultural appreciation needs of target language readers, and use effective translation strategies and methods to achieve the purpose of tourism text translation. Functionalist approach has made a pioneering contribution to the translation of non-literary genres. Functional translation effectively eliminates the disadvantages of traditional word-for-word translation, improves the efficiency of translation, and helps readers to grasp the meaning of the original text.&lt;br /&gt;
 The importance of the translation of the Summer Palace lies in the profound garden culture, historical culture and religious culture. The English translation is not only helpful for international friends to know more about the garden characteristics of the Summer Palace, but also helpful for spreading the long history and profound culture of China. In order to attract target readers and promote traditional Chinese culture, it is not only necessary to carefully explore Chinese culture and history, but also to use the fuctionalist approach appropriately. &lt;br /&gt;
Translation is a complicated process. Functionalist approach stresses the function of the discourse, the purpose of translation. In the practice of translation, if the translator can get rid of the bondage of the original equivalence, actively playing to subjective initiative, fully understanding the original text, depending on the purpose of discourse and adopting different translation strategies, the effect and readability of translation can be improved.&lt;br /&gt;
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===References===&lt;br /&gt;
References&lt;br /&gt;
Hans Vermmer, “Skopos and Commission in Translation Action”, in the Translation Studies Reader,ed. Chesterman, London and Network:Routledge,p.221-232. 2000.   &lt;br /&gt;
Munday, Jeremy. Introducing Translation Studies: Theories and Applications. Routledge publishing.2001.&lt;br /&gt;
Mason, “Textual Practices and Audience Design: and Interactive View of the Tourist Brrochure”. In Navarro et al.(eds.). Pragmatics at Work: The Translation of Tourist Literature. Bern: Perter Lang. 157-176.2004.&lt;br /&gt;
Nord, Text Analysis in Translation: Theory, Methodology and Didactic Application of a Model for Translation-Oriented Text Analysis. Beijing: Foreign Language Teaching and Research Press. 2006.&lt;br /&gt;
Nord, Translating as a purposeful activity. Shanghai: SFLE PRESS, 2001:27,30,32,65,245.&lt;br /&gt;
Reiss, Katharina. Translation Criticism: The Potentials &amp;amp; Limitations. Shanghai Foreign Language Education Press. Shanghai. 2004.&lt;br /&gt;
Venuti, Lawrence. The Translator’s Invisibility: A History Translation. Routledge.1995.&lt;br /&gt;
方梦之、毛忠明， 英汉—汉英应用翻译教程，上海: 上海外语教育出版社，2004.&lt;br /&gt;
金惠康，跨文化旅游翻译，中国对外翻译出版公司，2004.  &lt;br /&gt;
贾文波，应用翻译功能论，北京：中国对外翻译出版公司，2004&lt;br /&gt;
孙艺风，文化翻译的困惑与挑战，中国翻译，2016年第3期.  &lt;br /&gt;
王宏志，翻译与创作，北京大学出版社，2000.&lt;br /&gt;
吴自选，德国功能派翻译理论与 CNN 新闻短片英译，中国科技翻译, 2005.&lt;br /&gt;
谢天振，当代国外翻译理论，天津：南开大学出版社，2005.&lt;br /&gt;
张南峰，走出死胡同建立翻译学. 中国翻译, 1995.&lt;br /&gt;
仲伟合，钟钰. 德国的功能派翻译理论. 中国翻译, 1999.&lt;br /&gt;
张美芳，功能加忠诚—介评克里丝汀· 诺德的功能翻译理论.上海外国语大学学报, 2005.&lt;br /&gt;
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==Contrast between Literal Translation and Free Translation	张雪仪	Zhang Xueyi==&lt;br /&gt;
'''Abstract：'''&lt;br /&gt;
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The contrast between literal translation and free translation has always been the most discussed problem in translation studies. To compare these two translation methods, the basic point is to understand the purpose of translation. The ultimate goal of translation is to help different cultures communicate better, so that people who speak different languages can understand each other’s cultures. Due to the differences in social, historical and cultural backgrounds between languages, how to choose between the two translation strategies of literal translation and free translation requires translators to weigh the strengths and weaknesses of these two methods. This essay mainly compares literal translation and free translation between Chinese and Russian to help students and translators translate better.&lt;br /&gt;
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'''Key words：'''&lt;br /&gt;
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Translation strategies, Literal translation,Free translation &lt;br /&gt;
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'''摘要：'''&lt;br /&gt;
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直译与意译间的对比一直是翻译学中讨论度最高的问题。想要将这两种翻译方法进行对比，最基本的一点就是要明白翻译的目的是什么。翻译的最终目的在于帮助不同文化进行更好的交流，让使用不同语种的人相互理解彼此的文化。由于语种间社会历史文化背景的差异，如何在直译和意译这两种翻译策略中做出选择，就需要译者衡量两种方法的利弊。本文主要对汉语和俄语间直译和意译进行比较，以帮助学生和译者更好地进行翻译实践。&lt;br /&gt;
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'''关键词：'''&lt;br /&gt;
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翻译策略，直译，意译&lt;br /&gt;
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'''1.Introduction'''&lt;br /&gt;
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The former Soviet Union translation theorist Fedorov believed: “Translation is an activity that expresses what has been used in one language as a unified whole of content and form, and accurately and completely expressed in another language.” Translation theorist Barr Hudarov also wrote: &amp;quot;Translation is the process of changing the coherent discourse of one language into the coherent discourse of another language while maintaining its content and meaning.&amp;quot; To some extent, translation is a process of thinking re-creation, so certain standards and principles must be followed when translating. Translation standard is a measure of the quality of translation, it can guide translation practice, and it is a principle that must be followed in translation activities. Although each scholar has different opinions on the standard of translation, the final result he pursues is the same: the original text and the translated text express the same effect. In order to achieve the same effect, different translation methods have been derived, of which literal translation and free translation are the most commonly used.&lt;br /&gt;
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Russian idioms and proverbs, as the crystallization of the wisdom of the Russian nation and the immortal fossils in the Russian language, are one of the best materials for the Chinese to understand and learn Russian history, culture, and society. Due to different geographical, historical and economic conditions, the Russian and Chinese ethnic groups have formed different cultural backgrounds. These distinctive backgrounds and characteristics have caused great difficulties for Chinese learning Russian to further understand Russia. This essay studies the basic definitions of literal translation and free translation, their respective advantages and disadvantages and their mutual relations, and strive to solve how to use the translation methods of literal and free translation to properly translate Russian idioms and proverbs, and how to reflect the cultural background and language characteristics of Russian idioms and proverbs in the translation .&lt;br /&gt;
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'''2.Different views of &amp;quot;literal translation&amp;quot; and &amp;quot;free translation&amp;quot;'''&lt;br /&gt;
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In different periods and different countries, people's views on translation theory have changed a lot, but the debate about literal translation and free translation has always existed.&lt;br /&gt;
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In China, the contradiction between literal translation and free translation may initially be due to the different understanding of these two translation methods. The translator Sun Guiding believes that: literal translation is stuck to the structure of the original text and does not consider whether the Chinese is fluent and natural; while free translation is to use the inherent Chinese idioms and the most natural words and sentences as much as possible to achieve the effect of conveying the meaning of the original text. Former President of Wuhan University, Du Zuozhou, believes that literal translation means translating word by word according to the original text; free translation means translating according to the meaning of the original text, and the translation is more suitable for the common grammar of the translated language. The educator Meng Xiancheng believes that literal translation is a translation technology with different degrees of correctness. Literal translation is a translation that is faithful and correct according to the original text; free translation is a translation that summarizes the original meaning. Zhu Guangqian said: &amp;quot;The so-called 'literal translation' refers to the literal translation based on the original text. Every word and sentence are translated word by word, and the order of the words and sentences is not changed. The so-called ‘paraphrasing’ is to express the meaning of the original text in Chinese, and it does not have to be completely based on the literal and order of the original text. &amp;quot; The principle of &amp;quot;faithfulness, expressiveness and elegance&amp;quot; put forward by the modern Chinese translator Yan Fu has long been the basic principle guiding translation practice. A large number of beginners who learn foreign languages regard &amp;quot;faithfulness and expressiveness&amp;quot; as translations that are completely faithful to the original text when translating. In fact, Yan Fu's translation requirements are a guiding principle for translation based on semantics. When translating, if the structure and expression of the original text cannot be directly adopted, the sentence structure and expression must be changed according to the characteristics of the target language. In addition, there are many differences between the original language and the target language in the word order, grammar, variants and rhetoric in the translation process. In many cases, there is no direct corresponding word. This requires the translator to consider the actual semantics, background and other factors. On the basis of the original meaning of the sentence, use an appropriate method to convey the content of the original work and reproduce the language style of the original work.&lt;br /&gt;
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In the Soviet Union, under the influence of ideology, Western translation theories could not be widely disseminated, but within the Soviet Union, translation theories similar to Western translation theories have been formed and developed, and two main schools of translation theory have been further differentiated — Linguistic Translation School and Literary Translation School. To a certain extent, the dispute between these two schools also reflects the debate on literal translation and free translation among translators' groups. In terms of the principles or standards of translation, the linguistic translation school believes that an ideal translation should be an equivalent translation, first of all linguistic correspondence, that is, the translation should have the same meaning as the corresponding language or discourse unit of the original; the literary translation school believes that translation pursues artistic correspondence, and linguistic correspondence must be subordinate to artistic correspondence. Therefore, it proposes that the aesthetic standards of translation should reproduce the artistic reality reflected by the unity of the original content and form. The characteristic is to use images to translate images, that is, to create the same image in different languages. In 1953, Andrei Venediktovich Fedorov, the leader of the linguistic translation school, published his work &amp;quot;Summary of Translation Theory&amp;quot;, which was the first monograph of the Soviet Union to study translation theory from the perspective of linguistics. The author proposes that translation theory is a branch of linguistics. Since the translation of any genre work must rely on the comparison of two languages, translation problems can only be solved in the field of language. Fedorov’s view was refuted by the literary translation school represented by Ivan Alexandrovich Kashikin. The literary translation school believes that aesthetic issues are the core of literary translation theory, and translation should be regarded as a form of language art, that is, translation should be studied from the perspective of literature and art. In fact, the literary translation school emphasizes the translation of literary and artistic works, which belongs to the specific translation theory; while the research of the linguistic translation school focuses on the general translation theory, that is, the translation of all thematic works including literary works. The dispute between the two major translation theory schools of Russia and the Soviet Union provides another perspective for Chinese translators to explore the relationship between literal translation and free translation.&lt;br /&gt;
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'''3.The application of literal translation and free translation in the Chinese translation of Russian idioms'''&lt;br /&gt;
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The idioms of different nationalities are the most dynamic and expressive units at the lexical level in different languages, and they are also the units that can best reflect the characteristics of national culture in languages. The number of Russian idioms is extremely rich, it records and reflects all aspects of Russian national life. Due to the great differences in geographical locations and living customs between China and Russia, the national cultures reflected in Chinese and Russian must be quite different. One of the difficulties in idiom translation is its imagery. When translating idioms, both the meaning and the image must be considered. Although the Chinese and Russian cultures are very different, many of the commonalities of mankind, such as emotion and natural environment, have created conditions for mutual communication, mutual understanding and idiom translation between different languages.&lt;br /&gt;
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'''3.1 Literal translation'''&lt;br /&gt;
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Generally speaking, the literal translation method refers to a translation method that directly translates the original text without changing the language characteristics and style of the original text on the basis of fully respecting the meaning of the original text. Chinese translation of Russian idioms by literal translation method has the advantage of being able to intuitively and faithfully express the meaning of the idiom, maintaining the unique style and imagery of the original text: the disadvantage is that the translated idiom may not be understood by the Chinese because of China and Russia have different historical, cultural backgrounds, grammatical structures, and language world landscapes, which can easily form obstacles in the process of understanding.&lt;br /&gt;
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Translating Russian idioms by literal translation is further divided into two methods — literal translation into Chinese idioms and literal translation into non-idiom sentences or words.&lt;br /&gt;
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Literal translation of Russian idioms into Chinese idioms is suitable for the translation of Russian and Chinese idioms that are completely equivalent in image, structure, and meaning. The advantage is that it is easy to understand, and the translation is simple and fast. E.g:&lt;br /&gt;
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(1)домашнего  (своего) вора не убережешься. 家贼难防&lt;br /&gt;
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(2)знать как свои пять пальцев (видно, как на ладони) 了如指掌&lt;br /&gt;
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(3)подлить масла в огонь 火上浇油&lt;br /&gt;
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(4)как рыба в воде 如鱼得水&lt;br /&gt;
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(5)как ножом по сердцу 心如刀割&lt;br /&gt;
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(6)как гром среди ясного неба 晴天霹雳&lt;br /&gt;
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(7)на добро отвечают добром 善有善报&lt;br /&gt;
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(8)копейка рубль бережет 财从细起&lt;br /&gt;
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(9)мечты сбываются 梦想成真&lt;br /&gt;
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(10)курица всегда следует за петухом 嫁鸡随鸡&lt;br /&gt;
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(11)чего мало, того и дорого  (дорого то, что мало) 物以稀为贵(12)&lt;br /&gt;
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(12)изгонять яд с помощью яда 以毒攻毒&lt;br /&gt;
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(13)сидеть как на иголках 如坐针毡&lt;br /&gt;
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(14)действия громче слов 事实胜于雄辩&lt;br /&gt;
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(15)зарыть талант в землю 埋没人才&lt;br /&gt;
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(16)висеть на волоске 千钧一发&lt;br /&gt;
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(17)лить как из ведра 倾盆大雨&lt;br /&gt;
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The idioms in the above examples are completely equivalent in image, structure or meaning in Russian and Chinese, so Chinese idioms can be used for literal translation. &lt;br /&gt;
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In fact, in the two languages, idioms with the same image, structure, and meaning are still in the minority, so it is more common to translate Russian idioms into non-Chinese idiom sentences or vocabulary. E.g:   &lt;br /&gt;
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настоять на своем 坚持自己&lt;br /&gt;
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камень с души свалился 心里的一块石头落地&lt;br /&gt;
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связать свою судьбу 把自己的命运与……相连&lt;br /&gt;
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быть на голову 高出一头&lt;br /&gt;
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вбивать в голову 往脑子里灌&lt;br /&gt;
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блеснуть метеором 像流星一样一闪而过&lt;br /&gt;
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с мизинец 小拇指这么大&lt;br /&gt;
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It is not difficult to find that the literal translation method can completely retain the original appearance of the idiom, show the common concept of human understanding of the world, and be beneficial to the cultural exchange between China and Russia.&lt;br /&gt;
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'''3.2 Free translation'''&lt;br /&gt;
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Another method commonly used in the Chinese translation of Russian idioms is free translation. Free translation is to readjust the structure of the original text on the basis of keeping the original meaning of the idiom unchanged, and then reconstruct the Russian idiom with the way of thinking and expression in Chinese. This is because the figurative images used in many Russian idioms are inconsistent with those used in Chinese. If the original image is used in translation, it will cause a barrier to understanding. The advantage of free translation of Russian idioms is that it eliminates obstacles to understanding, but the disadvantage is that it cannot completely retain the original style and cultural characteristics. E.g:&lt;br /&gt;
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(1)В Тулу со свим самоваром не ездят.&lt;br /&gt;
直译：去图拉不用带自己的茶炊。&lt;br /&gt;
意译：多此一举&lt;br /&gt;
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(2)Честь лучше бесчестья.&lt;br /&gt;
直译：尊重比不尊重好。&lt;br /&gt;
意译：礼多人不怪。&lt;br /&gt;
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(3)словно горя с плеч&lt;br /&gt;
直译：把山从肩膀下卸下&lt;br /&gt;
意译：如释重负&lt;br /&gt;
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(4)выеденного яйца не стоит&lt;br /&gt;
直译：一个空蛋壳不值钱&lt;br /&gt;
意译：鸡毛蒜皮，一文不值&lt;br /&gt;
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(5)чужими руками жар загребать&lt;br /&gt;
直译：用别人的手将红炭火拨成一堆&lt;br /&gt;
意译：坐享其成，不劳而获&lt;br /&gt;
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(6)ни рыба, ни мясо&lt;br /&gt;
直译：没有鱼也没有肉&lt;br /&gt;
意译：不三不四，不伦不类&lt;br /&gt;
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(7)лучше синица в руках, чем журавль в небе&lt;br /&gt;
直译：天上的仙鹤不如手中的山雀&lt;br /&gt;
意译：远亲不如近邻&lt;br /&gt;
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(8)На языке мед, а под лед&lt;br /&gt;
直译：嘴上甜得像蜂蜜，心里冷得像冰&lt;br /&gt;
意译：笑里藏刀&lt;br /&gt;
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(9)И на солнце есть пятна&lt;br /&gt;
直译：太阳上也有黑点&lt;br /&gt;
意译：人无完人&lt;br /&gt;
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(10)семь раз отмерь, один раз отрежь&lt;br /&gt;
直译：测量了七次后再剪裁&lt;br /&gt;
意译：三思而后行&lt;br /&gt;
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Using free translation to translate Russian idioms requires the translator to accurately understand the meaning of the original text, because cultural differences make it impossible to literally translate. Only through the translator can an unobstructed bridge between Russian idioms and Chinese idioms be built.&lt;br /&gt;
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'''4.The application of literal translation and free translation in the Chinese translation of Russian proverbs'''&lt;br /&gt;
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There are often multiple translations of the same Russian proverb in Russian-Chinese dictionaries. On the one hand, because the translator uses different translation methods; on the other hand, because Russian proverbs have very rich connotations, a translation cannot perfectly interpret the inner meaning of the proverb. According to the context and the connotation of the proverbs, the most commonly used methods of Chinese translation of Russian proverbs are literal translation and free translation.&lt;br /&gt;
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'''4.1 Literal translation'''&lt;br /&gt;
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In Russian and Chinese languages, some proverbs not only have the same meaning or implicit meaning, but also use the same or similar figurative images to express a certain kind of the same semantics, and they are completely consistent in content and form. In this case, the equivalent translation of synonymous Chinese proverbs can convey the information contained in the original image, which not only retains the rhetorical color of the original language, but also enables the reader to perfectly understand the original text. E.g:&lt;br /&gt;
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(1)Куй железо, пока горячо. 趁热打铁。&lt;br /&gt;
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(2)Беда не приходит одна. 祸不单行。&lt;br /&gt;
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(3)Сытый голодного не разумеет. 饱汉不知饿汉饥。&lt;br /&gt;
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(4)Век живи, век учись. 活到老，学到老。&lt;br /&gt;
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(5)Выше встанешь, дальше увидишь. 站得高，看得远。&lt;br /&gt;
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(6)Лучше один раз увидеть, чем сто раз услышать. 百闻不如一见。&lt;br /&gt;
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(7)Нет дыма без огня. 无火不生烟。&lt;br /&gt;
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(8)Шила в мешке не утаишь. 口袋藏不住锥子。&lt;br /&gt;
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(9)Береги платье снову, а честь смолоду. 衣服要从新的时候爱惜，荣誉要从年轻时珍惜。&lt;br /&gt;
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(10)Выше лба уши не растут. 耳朵高不过额头。&lt;br /&gt;
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(11)Для милого друга семь верст не околица. 为了好友，多绕七里也不嫌远。&lt;br /&gt;
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(12)Как Новый год встретишь, так его и проведешь. 怎么迎新年，就怎么过一年。&lt;br /&gt;
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(13)Лучше умереть стоя, чем жить на коленях. 宁愿站着死，绝不站着生。&lt;br /&gt;
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(14)Не имей сто рублей, а имей сто друзей. 宁要一百个朋友，不要一百个卢布。&lt;br /&gt;
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По одежке встречают, по уму провожают. 迎客时看衣，送客时看才智。&lt;br /&gt;
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==Dialectical thinking in arguments between literal translation and free translation 	甘奉玉	Gan Fengyu==&lt;br /&gt;
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===Abstract===&lt;br /&gt;
  As two methods of translation, how to use literal translation and free translation has always been the focus of debate between Chinese and Western translation circles. Through the study of translation methods of literal translation and free translation at home and abroad, we can know that to some extent literal translation and free translation are two relative conceptions, so there will be word-for-word translation, that is, dead translation, and excessive free translation. However, these two are only two extremes of literal translation and free translation. In fact, although there are differences in definitions and application fields between literal translation and free translation, they are unified in common translation purpose, translation procedure and translation standard. Therefore, the two are contradictory and unified in translation activities. This is also the profound embodiment of the unity of opposites in materialist dialectics.--[[User:Gan Fengyu|Gan Fengyu]] ([[User talk:Gan Fengyu|talk]]) 07:46, 10 November 2020 (UTC)&lt;br /&gt;
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===Key words===&lt;br /&gt;
literal translation, free translation, word-for-word translation, over free translation, unity of opposites&lt;br /&gt;
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===摘要===&lt;br /&gt;
  作为翻译方法，直译(literal translation)与意译(free translation)怎样使用的问题一直是一个争论中西方翻译界不休的焦点。通过对国内外直译与意译的翻译方法的研究，我们可以得知，从某种程度而言，直译与意译是两个相对的概念, 所以才会有逐字翻译，即死译，与过度意译这两个完全对立的概念。但是，这两者只不过是直译与意译的两个极端点。其实，直译和意译虽然在概念定义，适用范围上有所差异，但却又统一于共同的翻译目的、翻译过程和翻译标准中。所以两者在翻译活动中应该是既对立又统一的矛盾体。而这也正是唯物辩证法中的对立统一矛盾观的深刻体现。--[[User:Gan Fengyu|Gan Fengyu]] ([[User talk:Gan Fengyu|talk]]) 07:50, 10 November 2020 (UTC)&lt;br /&gt;
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===关键字===&lt;br /&gt;
直译； 意译； 死译； 过度意译； 对立统一&lt;br /&gt;
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===Introduction===&lt;br /&gt;
  Throughout the translation history at home and abroad, the literal translation and free translation have always been a heat discussion in the translation circles. Someone absolutely approve literal translation and demean free translation, even pursue a dead translation, which creates an translated text difficult to understand. While some other people absolutely agree with free translation even advocate random acts, which means a random deletion in the translation practices and creates anther entirely different text. However, there are also a number of translators who have recognized that these two translation methods are not totally opposite. So they adopt a compromise and flexible way. That means they will choose the most appropriate one depending on the text demanding. Therefore, we can deduce from it that this eclectic translation is consistent with the Contradiction view of Unity of Opposite in Materialist Dialectics. In fact, literal translation and free translation are right a set of contradictions which are both opposite and unified. They complement each other into an integral one.&lt;br /&gt;
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===1.Dialectic thinking of the Unity of opposites===&lt;br /&gt;
===2.Word-for-word translation===&lt;br /&gt;
===3.Over free translation===&lt;br /&gt;
===4.Eclectic translation===&lt;br /&gt;
===5.Opposition and unity between literal translatiuon and free translation===&lt;br /&gt;
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===5.1 Opposition===&lt;br /&gt;
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===5.1.1 Opposition in definition===&lt;br /&gt;
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===5.1.2 Opposition in application fileld===&lt;br /&gt;
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===5.2 Unity===&lt;br /&gt;
===5.2.1 Unity in translation goal===&lt;br /&gt;
===5.2.2 Unity in translation procedure===&lt;br /&gt;
===5.2.3 Unity in translation standard===&lt;br /&gt;
===6.Conclusion===&lt;br /&gt;
===Bibliography===&lt;br /&gt;
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== Peter Newmark’s Improved Views on Literal Translation and Free Translation 赵茜 Zhao Xi==&lt;br /&gt;
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='''Document Translation'''=&lt;br /&gt;
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==On translation of official documents of CangNan County	吴恺	Wu Kai==&lt;br /&gt;
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On Translation of Official Documents of Cangnan County&lt;br /&gt;
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Japanese Language and Literature, School of Foreign Languages, Hunan Normal University, Wu Kai--[[User:Wu Kai|Wu Kai]] ([[User talk:Wu Kai|talk]]) 04:45, 2 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
==='''Abstract'''===&lt;br /&gt;
As one of the forefronts of Zhejiang’s opening-up cause, Cangnan County in Zhejiang Province has been enjoying a rapid development and an ever-growing degree of opening-up with lasting vitality as it’s supported by national policies and nourished by the dividends of economic globalization since China's reform and opening-up. As China has ushered in a period of major changes rarely seen in a century, Cangnan County is also facing new opportunities and challenges. Under the background of this era, Cangnan County is expected to make good use of its own advantages, especially the geographical ones—it is close to countries and regions including Japan, South Korea, and Taiwan—and should spare no efforts to achieve a higher level of opening-up, and, in turn, further promote its development. As an embodiment of the collective will of the people of Cangnan County, the official document is one of the best manifestations of its governance and stability control capabilities. For this reason, the research on how to translate official documents is of great significance for that it offers a great opportunity for Cangnan County to re-examine itself and to show the rest of the world its achievement in building a culture-enriched county.&lt;br /&gt;
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==='''Key words'''===&lt;br /&gt;
 official document translation, Cangnan County, opening-up, Japan, South Korea&lt;br /&gt;
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==='''摘要'''===&lt;br /&gt;
自中国改革开放以来，浙江省苍南县作为全浙江对外开放的前沿阵地之一，得到了国家政策支持和经济全球化红利的滋润，苍南县发展水平与对外开放程度日新月异，全县活力持久带劲。随着中国迎来“百年未有之大变局”，苍南县也面临着新的机遇和挑战，在此时代背景下，苍南县应该利用好自身优势，特别是临近日本、韩国、台湾等国家与地区的地理优势，努力开展更高层次、更高水平的对外开放事业，促进苍南更好的发展。为此，作为苍南县人民集体意志的体现，苍南县的公文就是对外展示其治理水平、稳控能力的最好的体现之一。而对于苍南县公文的如何翻译的研究，是促使苍南县重新审视自己、推进苍南人文县情传播海外的良机，意义重大。&lt;br /&gt;
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==='''关键词'''===&lt;br /&gt;
公文翻译  苍南县  对外开放  日本  韩国&lt;br /&gt;
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==='''I. System and Translation of Official Documents of Cangnan County'''===&lt;br /&gt;
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The unique official document system adopted by Chinese government agencies is a special integration of the thousands-of-years excellent political traditions in China and the essence of the organizational structure of the socialist regime. As a county-level unit in China's local administrative structure, Cangnan County has an official document system that is consistent with the national ones in general while has its own features. Official documents of Cangnan County can be basically divided into the following types of writing: resolutions, decisions, orders, bulletins, announcements, notifications, opinions, notices, reports, requests for instructions, approvals, proposals, letters, and minutes. Above-mentioned categories are collectively known as official documents. Besides, there are also some types of practical writing, including summaries, plans, notes, memos, briefings, speeches, manuals and so on, that are often used in our day-to-day work.&lt;br /&gt;
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In addition to those characteristics of the official documents that are commonly seen in China, official documents of Cangnan County also have its own features, which is mainly reflected in the aspect of proprietary terminology. Cangnan County, which used to be a part of Pingyang County in Zhejiang Province, was officially designated as a county in 1981 with the approval of the Central Government. It takes its name Cangnan, which means “on the south of the Yucang Mountain”, from its geographical location. As a relatively young county-level administrative unit in China’s administrative divisions, Cangnan County has a complex natural endowment and cultural environment, which is the reason why there are many special proprietary terms used in the official documents of Cangnan County, such as “Beautiful South Gate of Zhejiang Province”, “Southern Ouyue (an ancient kingdom in modern Wenzhou and Taizhou)” , “South Gate of Jiangsu-Zhejiang Region” and so on. Moreover, Cangnan is also the birthplace of the “Wenzhou Model”. Since the implementation of policy for the exchange of production materials and commercial grains in 1984, Cangnan has become an important base for the experiments and development of Wenzhou's private economy and market economy, and, thus, has made a significant contribution to the great cause of China's reform and opening-up.&lt;br /&gt;
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To conclude, the unity of the official document system viewed from the national scope of China and the uniqueness of the official document system viewed from the local scope of Cangnan area are both reflections of the integration of economic, political, and cultural elements. Therefore, when translating the terms and sentences in these official documents, obviously, it is almost impossible to follow general translation theories, such as Yan Fu’s “faithfulness, expressiveness and elegance” theory which applies to literature translation, and Christiane Nord’ Skopos theory which emphasizes schematic analysis. Due to the features of the official documents of Cangnan County, it is hard to imagine the consequence it will cause if those Cangnan and Chinese elements they contain are missed when translating them. Therefore, the starting point for the translation and research of Cangnan official documents should be analyzing the official document itself, but not choosing which translation theory to apply.&lt;br /&gt;
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The translation method focusing on the official documents themselves is undoubtably the one that emphasizes the content while manages to achieve a similarity in form. Thus, the translation theory that meets the requirements of official document translation in Cangnan County shall be the functional equivalence theory of the American linguist Eugene A. Nida. Eugene A. Nida argued in his theory that translation is to use the most appropriate, natural and equivalent language to reproduce the informational function of the source language both semantically and stylistically. Nida’s definition of translation specified that translation is seeking equivalence not only in lexical meaning, but also in semantics, style and literary form. Translation should convey both the denotative and connotative meaning of a message. Regarding the equivalence of translation, he believed that the equivalence consists of four parts: lexical equivalence, syntactic equivalence, textual equivalence, and stylistic equivalence. Among the four aspects, he emphasized that the meaning the core and most important part, followed by the form. The form of a text is likely to conceal the cultural connotation of the source language and may, therefore, hinder cultural exchanges. Based on the above, the reasons why the functional equivalence theory is applicable to official document translation in Cangnan County can be concluded as follows:&lt;br /&gt;
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First, the functional equivalence theory advocates that the target text should be equivalent to the source text both semantically and culturally. Official documents of Cangnan County are carriers of profound political culture with Chinese characteristics and the cultural environment in Cangnan. When translating them, in addition to showing the political consciousness and judicial authority of Cangnan government agencies, the local culture of Cangnan must also be reflected in the translations.&lt;br /&gt;
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Second, the functional equivalence theory suggests that if the lexical meanings and cultural elements cannot be taken into account at the same time, the translator then may give up the equivalence in form and try to reproduce the semantic and cultural meaning of the source text by changing the form of the sentence. There are many specialized terms with Chinese characteristics and Cangnan’s characteristics in official documents of Cangnan County. When translating them, once there is no corresponding expression in the target language, other forms of expression must be adopted to retain the meanings of those specialized terms as much as possible.&lt;br /&gt;
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Third, the functional equivalence theory proposes that if the change in form is still not enough to express the semantic and cultural meaning of the expression in the source language, the translation technique of “heavy damage” can be adopted to resolve cultural differences , so that the source language and the target language can achieve equivalence in semantic meaning. “Heavy damage” refers to the transformation of the deep structure of the source language into the surface structure of the target language, that is, expressing the cultural connotation of the source text with expressions of the target language. It cannot be ruled out that there are words and sentences in the official document of Cangnan County that cannot be translated, and when this happens, the translator can only rely on his translation techniques and understanding ability to process them creatively.&lt;br /&gt;
Above are simply macro analyses of the official document system in Cangnan County, and when it comes to specific analyses, challenges we face will only be severer.&lt;br /&gt;
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==='''II. Stylistic Features and Translation of Official Documents in Cangnan County'''===&lt;br /&gt;
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Looking at the official documents of Cangnan County from the micro level, we can work on the study of its translation based on the following characteristics.&lt;br /&gt;
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'''1. Details and Accurate'''&lt;br /&gt;
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As an officially-written document geared for the needs of our people, wording of the official documents of Cangnan County has a very specific orientation. Almost all content words have very clear meanings and connotations.&lt;br /&gt;
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For example, the sentence “经研究，县政府决定召开市对县安全生产巡查反馈会暨突出问题集中教育警示会，现将有关事宜通知如下。(As discussed, the county government decided to convene a feedback meeting on city-to-county inspections of production safety and a meeting for education and warning on outstanding issues. The relevant matters are hereby notified as follows.)” in the document 《苍南县人民政府办公室关于召开市对县安全生产巡查反馈会暨突出问题集中教育警示会的通知》(“Notice of the Office of the People's Government of Cangnan County on Convening a Feedback Meeting on City-to-County Inspections of Production Safety and A Meeting For Education and Warning On Outstanding Issues”) (the office of the People's Government of Cangnan County on June 8th, 2020) conveys several points very accurately and clearly, including the decision maker, the type, content and theme of the meeting. Therefore, special attention must be paid to the integrity of the information delivered when translating this sentence. For example, it is translated into Japanese as “討議を通じて、県政府は県の安全生産状況に対する市政府の巡査結果反映会及び顕著問題教育警告会を開催することが決定した。関連事項を以下のようにお知らせする。”&lt;br /&gt;
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'''2. Precise and Compact'''&lt;br /&gt;
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The role of official documents is to exchange formal information between the upper and the lower, the people and the officials, and the relevant departments. Therefore, the wording of the official documents must be rigorous. No slang and loose sentences should be used, and excessive use of parentheses and descriptive modifiers should be avoided. Official documents of Cangnan County follow this rule as well, in which there will never be informal expressions like daily spoken words.&lt;br /&gt;
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For example, the expression “三、决策目录施行动态管理，因工作需要增减或变更重大行政决策事项的，承办单位应按照相关规定程序提请调整。(Third, the decision catalogue shall be managed in a dynamic way, the undertaker shall submit application for adjustments in accordance with the relevant regulations if any increase/decrease or change shall be made to the major administrative decision-making matters because of the need of actual work.)” in the document《关于公布苍南县2020年度重大行政决策事项目录的通知》(“Notice on Issuing the 2020 Annual Catalogue of Major Administrative Decision-Making Matters of Cangnan County”) (the office of the People's Government of Cangnan County on Sept. 20th, 2020) When translating this sentence into Japanese, the translator shall fully considers the preciseness of the original expression, and translate it as “三つ目、戦略目録動的管理施行、仕事需要によっての増減または変更が必要な場合、請負機構は関連規定の手順に従って調整を提出しなければならない。”&lt;br /&gt;
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'''3. Programmed and Standardized'''&lt;br /&gt;
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The purpose of official documents requires a stable and routine writing program so that the official business can be conducted in an orderly manner. It is essential that the document writing is reasonably programmed. It allows the officer to know what it is and what to do at a glance if a standardized official document program is followed. The standardization of the official documents of Cangnan County can be regarded as a tricky feature in their translation.&lt;br /&gt;
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For example, the expression “各乡镇人民政府，县政府直属各单位 (the people's government of all townships and towns and all directly affiliated institutions of the people’s government of Cangnan County)” in the document《关于公布苍南县2020年度重大行政决策事项目录的通知》(“Notice on Issuing the 2020 Annual Catalogue of Major Administrative Decision-Making Matters of Cangnan County”) (the Office of the People's Government of Cangnan County on Sept. 20th, 2020) is obviously a standardized addressing of the receiving units of an official document, and it should be translated into Japanese as “各郷鎮人民政府、県政府直属の各部門”.&lt;br /&gt;
Viewing from a micro perspective, we may find that special attention should be paid to many precise details when translating those official documents. It is of great significance that, during the cause of reform and opening-up, we strike a balance between the macro level and the micro level in official document translation, which will serve as a stage for Cangnan County to show itself to Japan, South Korea and other East Asian countries and regions.&lt;br /&gt;
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==='''III. Translation of Official Documents of Cangnan County under the Context of the Japanese Language'''===&lt;br /&gt;
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Cangnan County is one of the nearest administrative units to Japan in China, and Okinawa Prefecture in Japan and Cangnan County are neighbors facing each other across the sea. Furthermore, Cangnan County itself has ports in Xiaguan, Pacao, Yanting, Dayu and other places, and has the basic conditions for conducting small transactions of freights with Okinawa. However, due to the inadequacy policies, laws and regulations, a large portion of Japan’s trade with China, especially with Zhejiang Province, is still conducted in the three port cities, namely Ningbo, Zhoushan, and Hangzhou. Cangnan’s geographical advantages have never been given to full play. To Japan, Cangnan is not a total stranger. Wenzhou City has a great influence upon Japanese culture and history. Special local products such as Wenzhou green tea and Wenzhou satsuma orange are very attractive to Japanese people. Many of the business exchanges during the Kamakura Bakufu in Japan were happened between Hakata merchants and Wenzhou people. As an important subordinate region of Wenzhou City, Cangnan County naturally has left an impression on Japanese people when it comes to China.&lt;br /&gt;
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If Cangnan hopes to lay a foundation for the future cooperation with Japan through its cause of opening up to the outside world, it is of great importance that we study the methods and techniques to make the translation of Cangnan’s official documents to meet the specific context of the Japanese language, which is also a part of the cultural exchanges that will facilitate economic and trade cooperation between Japan and China. The political status of Cangnan County is equivalent to the one of regular cities and special wards in Japan, but this does not mean that the official documents of Cangnan County can be regarded as equivalents to the official documents released by the governments of the regular cities and special wards in Japan, and there are huge differences between their respective official documents in form, wording, Cultural connotation and etc. To better translate Cangnan official documents under the context of Japanese language, the following aspects must be paid attention to:&lt;br /&gt;
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1. Detailed Comparison of Types&lt;br /&gt;
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In the Japanese official document system, the word “公文” is different in meaning from the word “公文” in Chinese official document system. In Chinese “公文” means government official documents, while in Japanese “公文” generally refer to legal documents that have the force of law and the term “公文書” is the one that refers to government official documents, which roughly includes “外交文書” and “起案文”, “通達” , “命令”, “許可”, “通知書” and so on . When translating official documents of Cangnan County into Japanese, attention should be paid to the transformation of the types of the official documents. The classifications of official documents in China and Japan are different from each other.&lt;br /&gt;
For example, when translating documents such as “proposal letter”, “report” and the like into Japanese, the title should be translated as “建言書” and “報告書”, while “命令(order)”, “通知(notice)”, “提案(Proposal)” and etc. need no translation and can be titled with the original characters directly as “命令”, “通知”, “提案”, and can also be further translated into “命令状”, “通知書”, “提案書”. Those reflect the characteristics of the division of the types of the official document system in Japan.&lt;br /&gt;
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2. Careful Consideration of the Translation of Chinese Characters&lt;br /&gt;
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There are a large number of Chinese characters in Japanese. This will for sure be an advantage when translating official documents of Cangnan County into Japanese, however, at the same time, this is also a huge disadvantage. After all, those Chinese characters are Japanized Chinese characters, and their meanings and usages are more or less different from the original ones in Chinese.&lt;br /&gt;
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For example, the expression “设定全县森林防火期(setting the season of forest fire prevention)” in the document 《苍南县应急管理局局长王再忠关于&amp;lt;苍南县人民政府关于做好森林防火期护林防火工作的通告&amp;gt;的政策解读》(“Policy Interpretation Of ‘Notice of Doing Forest Protection and Fire Prevention during the Season of Forest Fire Prevention by the People's Government Of Cangnan County’ by the Director of Cangnan Emergency Management Agency Wang Zaizhong”) in could be translated character by character into Japanese as “全県域森林防火期間設定”. However, expressions such as “野外火源如何管理” cannot be translated in the same way, and must be processed accordingly and translated into Japanese as “野外の火の元が如何に処理すること”. When translating official documents of Cangnan County into Japanese, the translators must reject the preconceived thinking and native Chinese thinking, or it will lead to irreversible misunderstandings and mistakes.&lt;br /&gt;
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3. Mastery of the Equivalence of Semantic Meaning&lt;br /&gt;
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Chinese is an isolating language, in which the grammatical meaning is reflected by the order of words, while Japanese is an agglutinative language, in which auxiliary words and flexible usages of vocabulary are adopted to reflect the grammatical meaning. This requires the translators to have mastery of the equivalence of semantic meanings when translating official documents of Cangnan County into Japanese and try to achieve perfect equivalence in official document translation.&lt;br /&gt;
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For example, there is a expression as “全体公民必须认真贯彻‘以人为本、预防为主、积极扑救、有效消灾’的森林防灭火工作方针，一旦发现森林火灾，要立即向当地人民政府或森林防灭火指挥部办公室报告(all citizens must seriously implement the working policy of forest fire prevention and firefighting ‘people-oriented, prevention-focused, active in firefighting, effective in disaster relief’, once a forest fire is detected, it must be reported to the local people’s government or the forest fire prevention and firefighting headquarters office immediately)” in the document 《苍南县应急管理局局长王再忠关于&amp;lt;苍南县人民政府关于做好森林防火期护林防火工作的通告&amp;gt;的政策解读》(“Policy Interpretation Of ‘Notice of Doing Forest Protection and Fire Prevention during the Season of Forest Fire Prevention by the People's Government Of Cangnan County’ by the Director of Cangnan Emergency Management Agency Wang Zaizhong”). When dealing with long and complex sentences, the translator must be flexible in using translation techniques to decompose the sentences and translate them step by step, focusing on the balance between the form of the sentence and its semantic meaning. Based on this principle, the abovementioned sentence could be translated into Japanese as “人間本位、予防軸化、積極救助、有効消災という森林防火作業方針は全県民が必ず強固に守らなければならない。林に火事が発見された際、直ちに所轄人民政府や森林防火指揮部執務室に報告すること。”&lt;br /&gt;
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There is no doubt that, in terms of four-character idioms, allusions, new words of the era and etc., the translation of official documents of Cangnan County under the context of the Japanese language still has a long way to go, but the part that we should pay most attention to in translation is always the differences in culture between the source language and the target language. Only by keeping this basic point in mind at all times, will there be no huge mistakes being made when translating official documents of Cangnan County into Japanese.&lt;br /&gt;
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==='''Ⅳ. Translation of Official Documents of Cangnan County under the Context of the Korean Language'''===&lt;br /&gt;
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Zhejiang Province and South Korea have laid a good foundation for economic and trade cooperation projects, and a framework that is comprehensive, wide-ranging, and multi-level has been established for Zhejiang-South Korea cooperation. The advantages of the two regions are obviously complementary and the development potential for both sides and in between is huge. In September 2016, the Zhejiang China-Korea (Quzhou) Industrial Cooperation Park was approved as the first batch of “Zhejiang International Industrial Cooperation Parks” in Zhejiang Province. The total planned area is about 3,000 acres and the total planned investment is 12 billion yuan. Represented by the Zhejiang China-Korea Industrial Cooperation Park, a large number of economic and trade cooperation projects has been carried out with South Korea by Zhejiang Province. As an indispensable part of Zhejiang Province, Cangnan County is facing a huge gap in the cultural exchanges and economic cooperation with South Korea. How to elevate the level of Cangnan’s opening up to the outside world and advancing Cangnan’s economic, trade and cultural cooperation with South Korea is a question that is well worth exploring. Although Cangnan is further away from South Korea compared with regions in the north of Zhejiang, geographic location should never be a factor that hindering Cangnan’s economic, trade and cultural cooperation with South Korea. In an era of ever-deepening globalization, it is of great significance that we think about how to develop and promote the economic and trade and cultural cooperation between Cangnan and South Korea.&lt;br /&gt;
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Northern Zhejiang is a key area for economic, trade and cultural cooperation with South Korea. As the south gate of Zhejiang Province, if Cangnan County could open the door of economic, trade and cultural cooperation to South Korea, then this will inevitably bring extraordinary development opportunities to southern Zhejiang and make the pattern of Zhejiang and South Korea’s economic and cultural cooperation more balanced and healthy. The political status of Cangnan County is equivalent to the one of si(city), gu (district), and gun(county) in South Korea. Because of some historical reasons, South Korea is greatly influenced by Chinese culture. From the Three Kingdoms era of Joseon, to the Unified Silla Dynasty, the Wang’s Goryeo Dynasty, and the Yi’s Joseon Dynasty, the basic system of administrative divisions in South Korea is almost the same as the one in China, so the official document system of cities, districts, and counties in South Korea can be regarded as basically equivalent to the official document system of Cangnan County with only slight differences originated from the localized political and cultural traditions and the basic social condition of South Korea. Therefore, there are relatively fewer difficulties of translation when translating official documents of Cangnan County into Korean, aside from the barriers caused by Korean Hangul words. The translation of official documents of Cangnan County under the context Korean language requires attention to the following aspects:&lt;br /&gt;
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1. The Combination of Chinese characters and Hangul&lt;br /&gt;
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Modern Korean uses Hangul as the main written characters, but this does not mean that there is no place for Chinese characters in the Korean system. Since the launch of the abolition of Chinese characters movement in South Korea in the 1970s, Hangul did exactly achieved an overall penetration of every aspect of their daily life, but when it comes to important documents, Chinese characters still reserve a seat in the arena of South Korea’s history. Furthermore, a higher level of talent training is required now to meet the need of South Korea’s economic and social development, and the mastery of sinology has become, among all the necessary skills, one of the most straightforward evaluation criteria to access the qualified personnel. Thus, South Korea has restarted the Chinese character teaching movement. Nowadays, the official document system in South Korea has become one in which Hangul serves as the main language and the mixed use of Chinese characters and Hangul serves as a supplement. Just as how the mixed use of kana and Chinese characters in Japanese official documents may help in its translation, the mixed use of Chinese characters and Hangul also greatly facilitate the translation of official documents of Cangnan County into Korean. However, because Chinese characters used in Korea are composed of traditional Chinese characters and a small number of Korean self-made Chinese characters, we can not take it for granted that it is advisable to translate them word by word.&lt;br /&gt;
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For example, the title of the document《苍干任〔2020〕18号 王再忠等同志的任命》(“Cangnan Cadre Appointment [2020] No. 18: Appointment of Wang Zaizhong and etc.”) (the Office of CPC Cangnan Party Committee on March 27th, 2020) can be translated with the mixed use of Chinese characters and Hangul into Korean as《蒼南縣의 幹部任命〔2020〕18號 王再忠등 同志의任命》. Also, it be translated into Korean with Hangul alone as《참남현의 간부임명〔2020〕18호 왕재충등 동지의임명》.&lt;br /&gt;
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2. The Usage of Refined Language&lt;br /&gt;
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In recent years, South Korea has carried out reforms of the official document system, urging that the South Korean government agencies at all levels should use “refined(or purified) language”, that is, to write and publish official documents with words that are easy for the public to understand and have explicit meanings, reducing the cost of communication between the government and the public and, in this way, building a closer relationship between the government and the people, so that civil servants can communicate with the people more effectively. Refined language is a kind of common vernacular that differs from the official language. Although this trend of the wording of Korean official documents is not unconditional, but when compared with official documents of Cangnan County, which emphasize the solemnity and formality of official documents, this trend is the part that the translator has to pay his attention to.&lt;br /&gt;
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For example, when translating the expression “为加强行政规范性文件管理，切实推进依法行政，加快法治政府建设 (To strengthen the management of administrative normative documents, promote the administration in accordance with law, and accelerate the construction of a government ruled by law)” in the document《苍南县人民政府关于公布县政府及县政府办公室行政规范性文件清理结果的通知（有效）》(“Notice of the Office of the People's Government of Cangnan County on the Announcement of the Results of the Cleanup of the Administrative Normative Documents of the County Government and the County Government Offices (Effective)”) (the Office of the People's Government of Cangnan County on October 23th, 2020) , blunt expressions may not be that applicable and this expression translated into Korean in a more public-friendly way as “행정 규범적인 문서관리를 강화하기 위해, 법에따라 행정을 철저히 추진하고 법치정부의 건설을 가속화시킨다.”&lt;br /&gt;
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3. Mastery of the Equivalence of Semantic Meaning&lt;br /&gt;
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Like Japanese, Korean is also a typical agglutinative language. A sentence is formed by connecting independent words with various auxiliary words, and with a subordinating conjunction at the end of the sentence. Auxiliary words are just like glues, they exist after every subject, predicate, and object component of a Korean sentence to them together. For that these auxiliary words have no substantial meaning themselves, they must stay close to the main body in front, and a space must be put after. Therefore, when translating Chinese, which is an isolated language, into Korean, which is an agglutinative language, it is necessary to have mastery of the equivalence of the semantic meaning of the expression.&lt;br /&gt;
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For example, when translating the expression “全面实施全民参保计划，做好参保情况清查，提升参保信息质量，清理重复参保，稳定持续参保，减少漏保断保，实现应保尽保。(Fully implement the national social security plan, do a good job in checking the coverage of the social security, improve the quality of the collection of the information of the insured, clean up repeated insureds, stabilize the renewal of the social security, reduce the interruption of the social security, and achieve full social security coverage.)” in the document《关于做好2021年度城乡居民基本医疗保障工作的通知》(“Notice on Doing a Good Job in Basic Medical Security for Urban and Rural Residents in 2021”)( the Office of Medical Security Bureau of Cangnan County on November 5th, 2020), the translator should pay attention to the equivalence of semantic meaning of this long sentence and translated it into Korean as “전국민기본의료보험가입계획을 전면적으로 실시하고 기본의료보험가입상황을 철저히 조사하며 기본의료보험가입 정보의 질을 향상시키고 중복기본의료보험가입을 청산하며 안정적이고 지속적인 기본의료보험가입을 하며 보험누락을 줄이고 기본의료보험가입 을 실현해야 한다.”&lt;br /&gt;
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==='''Ⅴ. Studies of Official Document Translation and the Cause of Opening-up in Cangnan County'''===&lt;br /&gt;
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Based on the abovementioned basic characteristics of the official document system of Cangnan County, the notes for official documents translation under the context of the Japanese language and the notes for official documents translation under the context of the Korean language, we can see that official documents of Cangnan County is not as difficult to handle as something untranslatable. Cangnan County enjoys a good geographic location: it is located in the coast of the East China Sea, and is close to both Japan and South Korea, two strong economies in East Asia. However, Cangnan County has not yet made use of these favorable conditions to the fullest to promote cultural cooperation and trade with the two countries. Cangnan’s opening up to the outside world requires innovative thinking and an elaborate layout. Studies on the translation of official documents of Cangnan County, especially the translation of official documents under the context of the Japanese and Korean language, will help to explore the cultural spirit of the government institutions, and play an important role in building a good image of Cangnan County in East Asia and laying a foundation for Cangnan's cooperation with major countries and regions in East Asia .&lt;br /&gt;
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The world today is undergoing profound changes rarely in a century, and so is China. The tide of history moves on and Cangnan shall not stay out of the matter, but must follow it courageously and strive to open new doors for Cangnan's opening up to the outside world through the study of the official document translation of its own.&lt;br /&gt;
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===References===&lt;br /&gt;
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[5]周萱. 《中国共产党怎样解决民族问题》（节选）中韩翻译报告[D].青岛大学,2017.&lt;br /&gt;
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[6]张利军. 《教学的游戏性研究》的汉日翻译实践报告[D].广西师范大学,2019.&lt;br /&gt;
&lt;br /&gt;
[7]栾亚琼. 《2015年山东省政府工作报告》汉日翻译实践报告[D].曲阜师范大学,2016.&lt;br /&gt;
&lt;br /&gt;
[8]占丽华. 源流与演变—日本地方公文书馆发展路径研究[D].山东大学,2020.&lt;br /&gt;
&lt;br /&gt;
[9]任清萍. 功能翻译理论视角下政府工作报告日译研究[D].外交学院,2020.&lt;br /&gt;
&lt;br /&gt;
[10]孙慧. 产业竞争力与区域经济增长[D].苏州大学,2006.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
--[[User:Wu Kai|Wu Kai]] ([[User talk:Wu Kai|talk]]) 04:45, 2 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
==The Translation Process and Methods of Translating English Long Sentences	周艺文	Zhou Yiwen==&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
===Abstract===&lt;br /&gt;
===Key words===&lt;br /&gt;
===摘要===&lt;br /&gt;
===关键词===&lt;br /&gt;
===Introduction===&lt;br /&gt;
&lt;br /&gt;
===Conclusion===&lt;br /&gt;
===Bibliography===&lt;br /&gt;
&lt;br /&gt;
==Chinese-English Translation of News Headlines From the Perspective of Skopos Theory	张维虹	Zhang Weihong==&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
==='''Abstract'''===&lt;br /&gt;
&lt;br /&gt;
==='''key words'''===&lt;br /&gt;
&lt;br /&gt;
News headlines; Skopos theory; translation&lt;br /&gt;
&lt;br /&gt;
==='''摘要'''===&lt;br /&gt;
社会的飞速发展使得人们的阅读方式发生了巨大的改变, 通过阅 读新闻标题来获取消息和了解事实, 成为大多数人的不二之选, 新闻标题 翻译也就越来越具有其必要性。 新闻标题的重要性堪比一部使人印象深刻 的电影名, 一则响亮的广告语, 一本撩人心弦的书名。 较之娱乐新闻, 时 政新闻略显严肃客观, 又因当今科技物质的飞速发展, 时政新闻的点阅数 量明显少于以消遣娱乐为目的的娱乐新闻。 怎样提高时政新闻的阅读量, 怎样使得时政新闻如同娱乐新闻一般深受广大人民的喜爱, 这不仅是新闻 编辑者们的挑战, 也是新闻翻译界的难题。 本文以德国功能派翻译目的论 为理论指导, 结合新闻学及编辑学的相关学科知识, 通过对中英时政新闻 标题的对比分析, 旨在对时政新闻标题的汉译英提出翻译策略, 让国外读者正确客观无误的了解中国的时事政策。&lt;br /&gt;
&lt;br /&gt;
==='''关键字'''===&lt;br /&gt;
&lt;br /&gt;
===Introduction===&lt;br /&gt;
&lt;br /&gt;
===Skopos Theory===&lt;br /&gt;
&lt;br /&gt;
===Features of News Headlines===&lt;br /&gt;
&lt;br /&gt;
===Chinese-English Translation Methods of News Headlines from the Skopos Perspective===&lt;br /&gt;
&lt;br /&gt;
===Conclusion===&lt;br /&gt;
&lt;br /&gt;
===Bibliography===&lt;br /&gt;
&lt;br /&gt;
==On Chinese-English Translation of Public Service Advertisements From the Perspective of Text-type Theory  司妤  Si Yu==&lt;br /&gt;
&lt;br /&gt;
==='''Abstract'''===&lt;br /&gt;
&lt;br /&gt;
==='''key words'''===&lt;br /&gt;
&lt;br /&gt;
==='''摘要'''===&lt;br /&gt;
&lt;br /&gt;
==='''关键字'''===&lt;br /&gt;
&lt;br /&gt;
===Text-type Theory===&lt;br /&gt;
&lt;br /&gt;
===Features of Public Service Advertisements===&lt;br /&gt;
&lt;br /&gt;
====Content Features====&lt;br /&gt;
&lt;br /&gt;
====Text Features====&lt;br /&gt;
&lt;br /&gt;
===Examples of C-E Translation of Public Service Advertisements===&lt;br /&gt;
&lt;br /&gt;
===Mistranslation of Public Service Advertisements===&lt;br /&gt;
&lt;br /&gt;
===Methods of C-E Translation of Public Service Advertisements===&lt;br /&gt;
&lt;br /&gt;
===Conclusion===&lt;/div&gt;</summary>
		<author><name>Song Jianru</name></author>
	</entry>
	<entry>
		<id>https://bou.de/u/index.php?title=History_of_Translation_Studies_8&amp;diff=107978</id>
		<title>History of Translation Studies 8</title>
		<link rel="alternate" type="text/html" href="https://bou.de/u/index.php?title=History_of_Translation_Studies_8&amp;diff=107978"/>
		<updated>2020-12-06T15:36:00Z</updated>

		<summary type="html">&lt;p&gt;Song Jianru: /* On the Chinese Translation of A Pale View of Hills from House’s Translation Quality Assessment Model	宋建茹	Song Jianru */&lt;/p&gt;
&lt;hr /&gt;
&lt;div&gt;这里是《翻译学史》的书稿第八部分(Part 8)。麻烦各位同学看一下已经存在的章回（样品），自己再加进去新的一个章回（就是你们的学期论文）。请也帮助同学们把他们的论文改正。这样多次修改，大家的论文会越来越好。&lt;br /&gt;
&lt;br /&gt;
学期论文（结合学期所学，撰写一篇5000以上单词的英文论文，按照专业杂志的格式，题目、摘要、关键词和参考文摘需要英中，文章英）。学期论文成绩占70%，平时成绩（含课堂表现、展示及作业）占30%。&lt;br /&gt;
&lt;br /&gt;
*Link back to course homepage: [https://bou.de/u/wiki/Introduction_to_Translation_Studies Course Homepage Intro. to TS]&lt;br /&gt;
*Link back to the final exam paper section of the course homepage: [https://bou.de/u/wiki/Introduction_to_Translation_Studies#Final_Exam_Papers Final Exam Papers]&lt;br /&gt;
*Link to other parts of the final exam papers: [https://bou.de/u/index.php?title=History_of_Translation_Studies_1 Final Exam Papers Part 1]&lt;br /&gt;
*Link to other parts of the final exam papers: [https://bou.de/u/index.php?title=History_of_Translation_Studies_2 Final Exam Papers Part 2]&lt;br /&gt;
*Link to other parts of the final exam papers: [https://bou.de/u/index.php?title=History_of_Translation_Studies_3 Final Exam Papers Part 3]&lt;br /&gt;
*Link to other parts of the final exam papers: [https://bou.de/u/index.php?title=History_of_Translation_Studies_4 Final Exam Papers Part 4]&lt;br /&gt;
*Link to other parts of the final exam papers: [https://bou.de/u/index.php?title=History_of_Translation_Studies_5 Final Exam Papers Part 5]&lt;br /&gt;
*Link to other parts of the final exam papers: [https://bou.de/u/index.php?title=History_of_Translation_Studies_6 Final Exam Papers Part 6]&lt;br /&gt;
*Link to other parts of the final exam papers: [https://bou.de/u/index.php?title=History_of_Translation_Studies_7 Final Exam Papers Part 7]&lt;br /&gt;
*Link to other parts of the final exam papers: [https://bou.de/u/index.php?title=History_of_Translation_Studies_8 Final Exam Papers Part 8]&lt;br /&gt;
*Link to other parts of the final exam papers: [https://bou.de/u/index.php?title=History_of_Translation_Studies_9 Final Exam Papers Part 9]&lt;br /&gt;
*Link to other parts of the final exam papers: [https://bou.de/u/index.php?title=History_of_Translation_Studies_10 Final Exam Papers Part 10]&lt;br /&gt;
&lt;br /&gt;
='''History of Translation'''=&lt;br /&gt;
== Study on Brand Name Translation from the Perspective of Cultural Difference	谭鑫洁	Tan Xinjie==&lt;br /&gt;
&lt;br /&gt;
==='''Abstract'''===&lt;br /&gt;
&lt;br /&gt;
== Abstract: ==&lt;br /&gt;
&lt;br /&gt;
==='''key words'''===&lt;br /&gt;
&lt;br /&gt;
==='''摘要'''===&lt;br /&gt;
&lt;br /&gt;
==='''关键字'''===&lt;br /&gt;
&lt;br /&gt;
===Complete transcript of the content of the original work ===&lt;br /&gt;
&lt;br /&gt;
===Same style and manner of writing===&lt;br /&gt;
&lt;br /&gt;
===Equivalent effect===&lt;br /&gt;
&lt;br /&gt;
===Discussion===&lt;br /&gt;
&lt;br /&gt;
===Conclusion===&lt;br /&gt;
&lt;br /&gt;
===Bibliography===&lt;br /&gt;
&lt;br /&gt;
==A Comparative Study on the Translation History in Western Countries and China	王煜	Wang Yu==&lt;br /&gt;
===摘要===&lt;br /&gt;
翻译是一种跨文化交流活动，翻译活动加快了人类文明发展步伐，减少了人们之间的沟通障碍。随着时代的变迁，中国和西方国家逐渐形成了各自的翻译史，翻译史的研究是学科建设的一项基础工程。尽管中西方翻译史在某些方面有所差异，但却都有着各自的独特性，并对人类的翻译活动产生了巨大的影响与贡献。文章将以中国和西方国家为主要对象，从二者翻译史起始，包含阶段和各阶段代表人物，影响意义，差异性出发，对二者的翻译史进行简略的对比研究。&lt;br /&gt;
&lt;br /&gt;
===关键词===&lt;br /&gt;
翻译史；西方翻译史；中国翻译史&lt;br /&gt;
&lt;br /&gt;
===Abstract===&lt;br /&gt;
Translation is an intercultural communication activity, translation activities have accelerated the development of human civilization and reduced the communication barriers between people of different countries or nations. With time goes by, things are in a state of flux and both the western and eastern countries have gradually formed their own history of translation, the study of translation history is a basic project of discipline construction. Though there are many differences among the translation histories of western countries and China, the two kinds of translation histories are still shining their own bright unique lights and have an indelible influence and contribution to human translation activities. This paper intends to make a brief comparison of translation histories between western countries and China, which includes the origins, the stages, the representatives of the stages, the significance and influence as well as the differences of the two translation histories.&lt;br /&gt;
&lt;br /&gt;
===Keywords===&lt;br /&gt;
Translation history; Translation history of the West; Translation history of China &lt;br /&gt;
&lt;br /&gt;
===1. Introduction===&lt;br /&gt;
No matter in China or in the west, translation plays an important role in knowledge-spreading. As an indispensable part of translatology, the study of translation history has made a great influence on translation activities, it has gradually become the focus of the literary and historical circles in recent years. Translation activities can be traced back to the origin of language, and the history of translation is almost as old as language itself, it is closely related to the changes in today's society. Since the 1980s, the translation studies in the mainland of China have made remarkable progress in the curriculum design of Chinese and western translation history and the compilation of related works. In the early 1980s and 1990s, there were many related works came out one after another including A brief history of Chinese Translation: the part before the May 4th Movement（《中国翻译简史-“五四”运动以前部分》） written by Zuyi Ma, A historical manuscript of Chinese translated literature （《中国翻译文学史稿》）edited by Yugang Chen, and also the A Short History of Translation in the West（《西方翻译简史》） the author of which is Zaixi Tan. Thus, it opens the gate for the compilation of Chinese and western translation history works.（谢天振，2009） The history of western translation can be divided into five stages while the Chinese study of translation has a glorious history of more than two thousand years and has experienced five climaxes. Through the comparative study of Chinese and western translation history, it will help us to have a deeper understanding of Chinese and western translation activities and thus to gather a general full view of it, which will be a positive and meaningful attempt.&lt;br /&gt;
&lt;br /&gt;
2. The Translation History of Western Countries&lt;br /&gt;
Western translation activities are rich in a long history and a multiyear span. The history of western translation can be roughly divided into three stages: the traditional stage, the modern times and the contemporary. More specifically, it can be grouped into the ancient times, the middle ages, the Renaissance period and the time after WWⅡ.&lt;br /&gt;
&lt;br /&gt;
2.1 The First Stage: Translation in the Ancient Times&lt;br /&gt;
    &lt;br /&gt;
The translation history of western countries first began in the the 3rd century B.C. &amp;quot;In a broad sense, the earliest translation in the west is the Old Testament translated by 72 Jewish scholars in Alexandria, ancient Egypt, between the 3rd and 2nd centuries BC; Strictly speaking, the first western translation is the Greek Homer Epic Odyssey translated by Andronicus in Rome in the middle of the third century BC.”(谭载喜,2000) At the end of the 4th BC, during this time, the Greece began to decay and the Roman had became stronger and stronger with its military expansion. The expansion of the Roman Empire brought it into contact with the splendid Greek culture, therefore, the Romans not only conquered the Greek city, but also inherited and developed the brilliant achievements of ancient Greek culture, and then created a  splendid cultural of its own era after Greece. So soon began a large scale translation activities, the activity of translating and introducing Greek classical works probably began in this period.（刘军平,2009）Many famous translation theorists began to make their presences, namely Cicero, Quentin, Jerome and so on, also the famous Roman litterateurs like Andronicus, Naevius, Ennius, these great writers used Latin language to translate or adapt Homer’s epic or other Greece dramas. Started the translation tradition and promoted the birth and development of Roman literature.&lt;br /&gt;
&lt;br /&gt;
2.2 The Second Stage: Translation in the Middle Ages (4th-6th)&lt;br /&gt;
&lt;br /&gt;
2.3 The Third Stage: Translation in the Middle Ages (11th-12th)&lt;br /&gt;
&lt;br /&gt;
2.4 The Fourth Stage: Translation in the Renaissance Period&lt;br /&gt;
&lt;br /&gt;
2.5 The Fifth Stage: Translation after WWⅡ&lt;br /&gt;
&lt;br /&gt;
3. The Translation History of China--[[User:Wang Yu|Wang Yu]] ([[User talk:Wang Yu|talk]]) 08:38, 30 November 2020 (UTC)--[[User:Wang Yu|Wang Yu]] ([[User talk:Wang Yu|talk]]) 08:43, 30 November 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
==The Implications of Luther's Translation Principles amid Renaissance for Modern Literature Translation	方洁玲	Fang Jieling==&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
==Translation manipulated by ideology	许静	Xu Jing==&lt;br /&gt;
&lt;br /&gt;
==Comparison between the History of Chinese and Western Translation   周书尧   Zhou Shuyao==&lt;br /&gt;
&lt;br /&gt;
'''Abstract:'''There has a long history and culture Chinese and Western translation, and translation plays an indelible role in promoting cross-cultural communication and cultural communication. This article first discusses the history of translation in China from  four stages , then discusses the five stages of western translation history , and finally compares and analyzes the similarities and differences between Chinese and Western translation histories, and puts forward some of the author's own views.&lt;br /&gt;
&lt;br /&gt;
'''Key words:'''The history of Chinese,The history of Western,the stages of  translation history,comparison&lt;br /&gt;
&lt;br /&gt;
'''摘要：'''中西方翻译历史文化源远流长，翻译在促进跨文化交流和文化传播上承担着不可磨灭的作用。本文首先从中国的四次翻译高潮论述中国的翻译史，再从西方的五次翻译高潮探讨西方的翻译史，最后对中西方翻译史的异同进行对比分析，提出一些笔者自己的看法。&lt;br /&gt;
&lt;br /&gt;
'''关键词：'''中国翻译史，西方翻译史，翻译高潮，对比&lt;br /&gt;
&lt;br /&gt;
'''Ⅰ.Introduction'''&lt;br /&gt;
&lt;br /&gt;
Since the 1980s, the Chinese translation studies community has made remarkable progress in the establishment of Chinese and Western translation history courses and the compilation of related works.In the 1980s and early 1990s,A Brief Introduction to the History of Translation in China from Ma Zuyi and other books of Chen Yugang and Tan Zaixi were published one after another,which raised the curtain for the compilation of Chinese and Western translation history works by the domestic translation scholars.The four stages in the history of Chinese translation have promoted the development of Chinese history, culture and society to varying degrees.The same as our country, Western translation has an age-old history.In a sense, the development of Western European civilization should first be attributed to the translators.The five stages in the history of European translation have promoted the exchanges of literature, art, science and trade between countries, and to a certain extent promoted the development of Chinese translation.In fact, when we examine the development trajectory of Chinese and Western translation activities and the evolution of translation concepts together, we find that there are some similarities between Chinese translation and Western translation.Especially in the evolution of Chinese and Western translation concepts, the two have very similar evolution laws.&lt;br /&gt;
&lt;br /&gt;
='''Literal and Free Translation'''=&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
==Rethink Literal and Free Translation	彭永亮	Peng Yongliang==&lt;br /&gt;
&lt;br /&gt;
==On the Chinese Translation of ''A Pale View of Hills'' from House's Translation Quality Assessment Model	宋建茹	Song Jianru==&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
===Abstract===&lt;br /&gt;
&lt;br /&gt;
Translation quality assessment is an integral part of translation criticism. The first TQA model with comprehensive theories and practices Juliane House represented provides a significant reference for translation exercises. ''A Pale View of Hills'', as the first work of Kazuo Ishiguro, possesses a great research value on its narrative styles by virtue of memory and topics about migrants. As of 2011 when its Chinese translation was published, no scholar has evaluated it. This study applies House’s TQA model to assess the Chinese translation of ''A Pale View of Hills'' with qualitative and quantitative analysis from lexical, syntactic and textual aspects, in a bid to examine validity of the model on novel translation, which turns out that it is an overt and high-quality translation.&lt;br /&gt;
&lt;br /&gt;
=== Key Words===&lt;br /&gt;
&lt;br /&gt;
''A Pale View of Hills''; House’s TQA model; novel translation&lt;br /&gt;
&lt;br /&gt;
=== 摘 要 ===&lt;br /&gt;
&lt;br /&gt;
翻译质量评估是翻译批评的核心课题。朱莉安·豪斯提出的第一个有完整的理论和实践的翻译质量评估模式，为翻译实践提供了重要参考。《远山淡影》是石黑一雄的处女作，其依托回忆的叙事风格和移民主题具有很高的研究价值。《远山淡影》中译本自2011年出版至今，尚未有学者对其进行评估研究。本文运用豪斯的翻译质量评估模式，采用定性与定量相结合的分析方式，从语场、语旨、语式等三个层面对原文和译文进行分析，开展《远山淡影》中译本的翻译质量评估研究，为豪斯翻译质量评估模式对小说翻译的运用进行进一步的探索和补充。通过分析，得出《远山淡影》中译本为显性翻译，翻译质量较高。''Italic text''&lt;br /&gt;
&lt;br /&gt;
=== 关键词 ===&lt;br /&gt;
&lt;br /&gt;
《远山淡影》；豪斯质量评估模式；小说翻译&lt;br /&gt;
===Introduction===&lt;br /&gt;
Translation criticism refers to the analysis and review of thoughts, activities and works of translation by virtue of relevant theories and views, in a bid to improve the overall quality of translators and translations. It is an integral part of translation studies. (Wang Enmian, 1999: 7) Translation quality assessment, as the integral and key part of translation criticism, plays a significant role in surveillance and promotion of translation quality. Among the extant translation quality assessment models, Juliane House’s ''A Model for Translation Quality Assessment and Translation Quality Assessment: A Model Revised'', based on Halliday's systemic functional linguistics and discourse analysis, are systematic, scientific and rational with a relatively complete system of parameters, quantitative methods and steps adhering to specific procedures. &lt;br /&gt;
&lt;br /&gt;
''A Pale View of Hills'', as Kazuo Ishiguro's first full-length novel, tells the life of the people in Nagasaki after WWII through the memory of protagonist Etsuko and explores recovery of trauma, collision between the old and new ideas, and kinship after war. The first person narrative, memory, humor and satire and international perspectives in the book became his major writing styles in the future. The novel won the Winifred Holtby Memorial Prize from the Royal Society. Its only Chinese translation at present, from Zhang Xiaoyi, is still not analyzed by the scholars. This paper uses House’s translation quality assessment model, with combination of qualitative and quantitative analysis, from field, tenor and mode to analyze the mismatches between original and translation in an attempt to assess the Chinese translation quality of ''A Pale View of Hills'' and further explore the application of House’s model in novel translation. The aim of the study is to promote scholars to regulate the behaviors of translation, to improve the quality of translation and translation evaluation, and to provide a reasonable way for establishing the interlingual conversion mechanism.&lt;br /&gt;
&lt;br /&gt;
The thesis consists of four chapters.&lt;br /&gt;
&lt;br /&gt;
After the Introduction, Chapter One gives a brief account of ''A Pale View of Hills'' and its research status, involving the author, background, content and influence. Chapter Two is a brief introduction of House’s TQA model, including its theoretic basis, parameter setting, operation steps and feasibility. Chapter Three is a detailed analysis of original and translation of ''A Pale View of Hills'' based on House’s model. Chapter Four is statement of translation quality assessment. Then we come to the last part, Conclusion.&lt;br /&gt;
===I Overview and Research Status of ''A Pale View of Hills''===&lt;br /&gt;
''A Pale View of Hills'' is Kazuo Ishiguro's first novel, which laid a solid foundation for the formation of Ishiguro's writing style. The chapter mainly introduces the author, plot, theme and influence of the novel and analyzes its research status, in an attempt to master the material well and seek new perspectives for the paper.&lt;br /&gt;
&lt;br /&gt;
'''1.1 Overview of ''A Pale View of Hills'''''&lt;br /&gt;
&lt;br /&gt;
Kazuo Ishguro is a noble contemporary Japanese English writer, whose novels feature first person narrative, detailed depiction of loneliness, depression, self-deception and anxiety of characters' inner world and dual narrative strategy to deconstruct the narrator's self-identity, as well as discuss postwar trauma and migrant identity. He won Booker Prize, the British top literary prize, in 1989 and the Nobel Prize in literature in 2017. By virtue of his outstanding literary achievements, he is known as one of the Three Masters of English Migrant Literature together with Salman Rushdi and Naipaul.&lt;br /&gt;
&lt;br /&gt;
''A Pale View of Hills'', published in 1982, is Ishiguro's debut. The story, with postwar Nagasaki as its background, enjoys two clues: one is what happened when Niki (Etsuko’s little daughter) visited her mother after her sister Keiko died; the other is Etsuko’s memory about people and events in Nagasaki after the war. The two lines integrated together during the narrative, forming the illusory and imaginary impression. Many in-depth topics in this work are worth pondering: postwar trauma recovery, the collision between new and old ideas after war and discussion of family relations. Many marks in the work became his own styles: first-person narrative, memory, humor and satire, international perspectives. In addition, it won the Winifred Holtby Memorial Prize from the Royal Society and is still in print thirty years after its publication. This book, with its enormous emotion, unearths the abyss beneath the illusion of our connection to the world, whose artistic value and charm could be time-tested.&lt;br /&gt;
&lt;br /&gt;
'''1.2 Research Status of ''A Pale View of Hills'''''&lt;br /&gt;
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There are 54 papers about A Pale View of Hills in domestic researches. According to the statistics from HowNet (as shown in the figure below), the number of studies on the work has been mounting, especially after Kazuo Ishiguro won the Nobel Prize for Literature in 2017. The perspectives of these researches are mainly from identity anxiety, unreliable narrative and post-war trauma. In Identity Anxiety in Kazuo Ishiguro's A Pale View of Hills, Wang Fei discusses the identity anxiety of migrants, exploring manifestations, causes and influence of such anxiety on the characters. In Memory and Narrative Unreliability of A Pale View of Hills, He Xiaobing combined with the classical narratology to analyze how unreliable narration method is presented in the work and discussed the inner world of the characters. In Trauma in Kazuo Ishiguro's A Pale View of Hills, Liu Xiaoya explores the protagonist's trauma by using Sigmund Freud’s psychoanalysis theory and trauma theory (including post-freudian psychological trauma theory), contemporary trauma culture theory along with rhetorical narrative theory.&lt;br /&gt;
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[[File:picture1.pgn]]&lt;br /&gt;
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At abroad there are more perspectives about the studies of A Pale View of Hills. In addition to the main research directions of domestic scholars, such as identity anxiety of characters, unreliable narrative research and post-war trauma, cultural displacement, family relationship and the influence of region on personality presented in the works are also analyzed. ''The Impact of Place on Personality in Kazuo Ishiguro's A Pale View of Hills: An Eco-critical Study'' co-written by Awla, Yousif Hamad and Azad Sharif, from the perspective of ecocriticism, clarifies the fact that a place is able to define and guide the emotions and thoughts of characters, and analyzes the reasons why geography forms characters of people in order to draw people’s attention to the impact of surrounding environment on them. Ruth Forsythe's article ''Cultural Displacement and the Mother-daughter Relationship in Kazuo Ishiguro's A Pale View of Hills'' focuses more on the relationship between mother and daughter under cultural displacement. However, no scholars have analyzed the language itself from the perspective of systemic functional linguistics.&lt;br /&gt;
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The Chinese translation of A Pale View of Hills, Zhang Xiaoyi's version, was published by Shanghai Translation Publishing House in 2011, and the bilingual version in 2019. Up to now, there has no translation criticism or discussion about this translation. Since 2011 when it was translated, it came to draw the attention of scholars and readers. Translation is a direct factor that affects the integrity of author’s thought, the reader's perception and the accuracy of the scholar’s study, thus it is indispensable to use the House’s Translation Quality Assessment model to analyze the Chinese translation of ''A Pale View of Hills''.&lt;br /&gt;
===II Introduction of House's Translation Quality Assessment Model===&lt;br /&gt;
Juliane House's model was described as the first translation quality assessment model with complete theories and practices by international translation criticism, which could provide an important reference for translation learners and scholars. By introducing the theoretical basis, parameter system and operation steps of House's model, this chapter will discuss the feasibility of House’s model in the evaluation of the Chinese translation of A Pale View of Hills, in an effort to foster the application of House’s model in the quality evaluation of full-length novels.&lt;br /&gt;
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'''2.1 Theoretical Basis of House's Model'''&lt;br /&gt;
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The assessment of translation quality draws upon different translation standards, which are then embodied by the recognition about essence of translation. House deemed that crunch of the translation quality assessment lies in recognition of the nature of translation, namely that &amp;quot;translation is the replacement of a text in the source language by a semantically and pragmatically equivalent text in the target language.&amp;quot;(House, 1977: 30)&lt;br /&gt;
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In House's initial model in 1977, she drew upon language behavior theory, language and text function and context to divide the source language text into two situational dimensions: dimension of language user and dimension of language use. The former includes three aspects: geographical origin, social class and time. The latter includes five aspects: medium, participation, social role relationship, social attitude and province. The evaluation depends on the matching degree between                                                                                                                                                                                                                                                                                                                                                                                          original text and translation. The higher the matching degree is, the better the translation quality is. The quality evaluation of the translated text needs to state mismatching degree of each dimension in the whole context, that is, the description of the quantity of covert errors (errors in context dimension) and overt errors (referential mismatcher or grammatical violation of target language system).&lt;br /&gt;
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Based on myriad practice, House realized that the initial eight dimensions overlap in some parts. Therefore, in 1997, she revised the original model from the perspective of the context, unifying the previous eight parameters to field, tenor and mode. Field compares subject matter and social action of the original with that of translation. Tenor emphasizes the matching degree on the relationship of participants, time, region, position of author, social role relationship and social attitudes. Mode pays more attention to medium and participation. In addition, House incorporated &amp;quot;genre&amp;quot; into revision model in order to explain the deep structure of the text.&lt;br /&gt;
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'''2.2 Operation Steps of House's Model'''&lt;br /&gt;
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When evaluating the translation quality of the text, House's model focuses on comparison between original text and translation from field, tenor, mode and genre, clarifies and summarizes mismatches found in the text, so as to obtain a quality report of the translation. The detailed steps presented as follows: &lt;br /&gt;
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1) Analyze the register and genre of the original text to get its textual functional profile. The original text is analyzed from four dimensions: field, tenor, mode and genre. According to the analysis, “functional statement”, involving ideational and interpersonal functions, needs to be deduced.&lt;br /&gt;
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2)Compare the target text and the source text to find differences or mismatches. Through the comparative analysis between original and translation along the dimensions on the model, mismatches or differences found in the comparison are sorted out by virtue of overt errors or covert errors and expounded in detail one by one.&lt;br /&gt;
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3)Summarize the differences and mismatches demonstrated from the above steps in lexical, syntactic and textual aspects. Based on above statistics and statement, make the quality statement. The fewer the mismatches are, the better the translation quality is. If readers clearly realize the text a translation work, it is overt translation; while if not, it is covert translation.&lt;br /&gt;
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'''2.3 Feasibility of the Model in Chinese Translation of ''A Pale View of Hills'''''&lt;br /&gt;
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At present, there are 78 relevant studies on House’s Translation Assessment model, which are mainly divided into three directions: interpretation of House Translation Assessment model and its revision, evaluating translation of literary works along the model and evaluating translation of applied text along the model. Among them, evaluation of the translation of literary works accounts for 29, which enjoys the following two characteristics:&lt;br /&gt;
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1)There are merely a few researches applying House model to Chinese translation of literary works. Among the 29 journals and papers evaluating translation of literary works, there are 25 studies that attach great importance to the English translation and 4 to Chinese translation, which signifies that we need more researches of Chinese translation to support the validity of the model on different languages. Therefore, the paper, with the Chinese translation of A Pale View of Hills as its corpus, intends to examine the feasibility of the application of House’s model to Chinese translation.&lt;br /&gt;
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2)There are merely a few researches applying House model to the translation of full-length novels. Among the 29 journals and papers on evaluating translation of literary works, most of which focus on the evaluation of poems and prose, merely 5 studies are analysis of translation of full-length novels. English translation accounts for 3 and Chinese translation for 2, which demonstrates that we need more researches with full-length novels as corpus to support the validity of the model in different genres. Therefore, the paper, with the full-length novel A Pale View of Hills as its corpus, intends to examine the feasibility of the application of House’s model to full-length novels.&lt;br /&gt;
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In conclusion, given that the researches based on Chinese translation of full-length novels are insufficient, the paper will use the Chinese translation of A Pale View of Hills as its corpus to validate the feasibility of House’s TQA model.&lt;br /&gt;
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===III Comparison of Original and Translation of ''A Pale View of Hills'' Along House's Translation Quality Assessment Model===&lt;br /&gt;
''A Pale View of Hills'' is the debut of Kazuo Ishiguro, whose Chinese translation was published by Shanghai Translation Publishing House in 2011. House's Translation Quality Assessment model is the first objective model combining quantative analysis with qualitive analysis. The paper applies House’s Translation Quality Assessment model to Chinese translation of ''A Pale View of Hill'', comparing the source text and target text in lexical, syntactic and textual aspects along the three dimensions of register and summarizing the mismatches on field, tenor and mode, in an effort to quantitatively assess the translation quality of ''A Pale View of Hills''.&lt;br /&gt;
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'''3.1 Comparison on Field'''&lt;br /&gt;
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Field refers to the content or the topic of the text. It is concerned with subject matter and social action which covers the specificity of lexical items. After comparison between the source text and target text on field, there are 18 mismatches, 12 of which are overt errors and 6 covert errors. Among them, there are 9 lexical errors, 1 textual error and 8 syntactic errors. The lexical and textual errors are mainly covert errors, so in general their translation is of high quality. Although most of syntactic errors are not in line with the grammar of target language system, they won’t influence the understanding of the text. Therefore, by and large, translation on field are high-quality.&lt;br /&gt;
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'''3.1.1 Lexical Field'''&lt;br /&gt;
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Lexical field means the immediate or possible scenes or events evoked in people’s mind when they read or hear the words or lexical items. After the analysis of the original and target text, there are 9 mismatches, 4 of which are overt errors and 5 are covert ones. Most of them won’t block readers to master the overall meanings. Therefore, the translation quality on lexical items are relatively high. &lt;br /&gt;
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Example 1：&lt;br /&gt;
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...and the soaked surfaces of brick and concrete were drying all around us.&lt;br /&gt;
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湿透了的砖头和水泥开始变干。(P8)&lt;br /&gt;
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Concrete refers to building material that is made by mixing together cement, sand, small stones and water according to Oxford Dictionary, which includes cement rather than equates it. So, it is not very accurate to translate in this way even if the two words are similar. It is obviously an overt error. &lt;br /&gt;
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Example 2：&lt;br /&gt;
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As far as I remember, that was the first occasion I spoke to Mariko.&lt;br /&gt;
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我印象那是我第一次跟万里子说话。(P11)&lt;br /&gt;
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In the translation, “印象” as a noun refers to a mental picture that you have of what somebody/something is like or looks like. In the light of the rules or grammar of Chinese, it is hardly used as a verb. Thus, it is an overt error. &lt;br /&gt;
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Example 3：&lt;br /&gt;
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It's such a shame.&lt;br /&gt;
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真不像话。(P16)&lt;br /&gt;
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A shame is used to say that somthing is a cause for feeling sad or disappointed. In the original, the sentence is to express Etsuko’s pity to the homeless dogs and cats around her community rather than her distaste or complaint. Here it is translated into its other meaning when ignoring the context, belonging to a covert error. &lt;br /&gt;
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Example 4：&lt;br /&gt;
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Why don't you go into the kitchen for a little while?&lt;br /&gt;
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你为什么不到厨房去一会儿呢？(P26)&lt;br /&gt;
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In the translation, “去” is not very appropriate on the basis of grammar of Chinese, since it is such an action verb that does not match with state phrases. In the course of translation, some prepositions in English need to be transferred into verb in Chinese, which are supposed to pay attention to the rules of target language. Here it is obviously an overt error.&lt;br /&gt;
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Example 5：&lt;br /&gt;
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It's not appreciated simply because the product disappears so quickly.&lt;br /&gt;
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不能因为它的产品很快就消失了而不懂得欣赏。(P34)&lt;br /&gt;
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According to the context, Ogata-San believes that cooking is “as noble as painting or poetry”. So here the product refers to food cooked. Given the concrete expression in Chinese, the product is supposed to be translated more concretely in accordance with the context. It is a covert error.&lt;br /&gt;
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Example 6：&lt;br /&gt;
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Perhaps it is just my fancy that I felt a cold touch of unease there on that bank, a feeling not unlike premonition. &lt;br /&gt;
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这也许只是我的想象，但是那时我在河边觉得凉飕飕的，很不自在，像是感觉有事要发生。(P44)&lt;br /&gt;
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“Unease” refers to the feeling of being worried or unhappy about something. Given the above-mentioned, Etsuko worried about the safety of Mariko when she was not at home. It differs from its translation that means the feeling of being ill at ease. It is an overt error. &lt;br /&gt;
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Example 7：&lt;br /&gt;
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You mustn't suppose, Etsuko, simply because you've seen her in these…in these present surroundings, that she's some peasant's child.&lt;br /&gt;
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悦子，你不能因为……因为眼前的事物就认为她是什么贫农的孩子。(P51)&lt;br /&gt;
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Sachiko is not rich according to the context, so “peasant” intimates the meaning of poverty. Its translation explicitly represents it, which is accessible and intelligible. However, “贫农” enjoys extra cultural meaning in China, which could date back to the Cultural Revolution when lands was apportioned based on people’s wealth, so it might mislead readers to its political implication. It is a covert error.&lt;br /&gt;
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Example 8：&lt;br /&gt;
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“I must have been such a burden to you in those days,” I said, quietly.&lt;br /&gt;
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“我那时肯定成了您的负担，”我静静地说。(P68)&lt;br /&gt;
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Here “quiet” refers to making very little noise, which coincides with the act of saying. According to the context, Etsuko lowered her noise out of guilt when she realized she bothered her family when she practised violin before. However, its translation means the statement without any noise, which obviously contravenes the context, belonging to covert translation.&lt;br /&gt;
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Example 9：&lt;br /&gt;
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I could see something moving beside her in the shade.&lt;br /&gt;
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我看见她身旁的影子里有什么东西在动。(P14)&lt;br /&gt;
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“Shade” means an area that is dark and cool under or behind something, for example a tree or building, because the sun’s light does not get to it, rather than the shadow which the translator believed. As previously mentioned in the text, “Mariko was lying in the corner furthest from the sunlight”, which also signifies that it is impossible to exist dark shape under the light around Mariko. Thus, the translation of “shade” is not on a par with the context, belonging to a covert error.&lt;br /&gt;
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'''3.1.2 Syntactic Field'''&lt;br /&gt;
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Syntactic field means the immediate image appeared in people’s mind when they read the sentences. The mismatches in syntactic field are usually for the violation of rules of target language or misinterpreting the source text. On syntactic field, there are 8 mismatches, seven of which are overt errors and one is covert. Among the overt errors, seven sentences are not in line with the rules of target language, which won’t influence the ideational meaning. Therefore, the translation quality on syntactic field is high.&lt;br /&gt;
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Example 1：&lt;br /&gt;
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It did upset me, hearing about her.&lt;br /&gt;
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我真的很难过，听到她的死讯。(P4)&lt;br /&gt;
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Example 2：&lt;br /&gt;
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But I was sad though, when I heard.&lt;br /&gt;
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可是我真的很难过，听到她的消息。(P4)&lt;br /&gt;
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Example 3：&lt;br /&gt;
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It's certainly an amusing sort of experience, working in a noodle shop.&lt;br /&gt;
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这真是很有趣的经历，在面包店里工作。(P26)&lt;br /&gt;
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In English, the important or unknown information appeared firstly, and the second one follows. However, in Chinese, the second important presents at first, paving the foundation for the more pivotal or unknown one. In above three examples, their translation doesn’t adjust the sequence in line with target language rules. These are overt errors.&lt;br /&gt;
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Example 4：&lt;br /&gt;
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…certain arrangements I made have not gone as planned.&lt;br /&gt;
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一些事情没有照我计划的那样。(P17)&lt;br /&gt;
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The translation is not complete as the predicate verb “have gone” is not translated, which does not conform with the grammar of Chinese. It is an overt error.&lt;br /&gt;
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Example 5：&lt;br /&gt;
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She appeared to know them, for as she walked across the forecourt, she gave them a familiar greeting.&lt;br /&gt;
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看来她认识她们，边走过水泥地，边熟识地跟她们打招呼。(P26)&lt;br /&gt;
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The original is a compound-complex sentence with “for” for causal relation and “as” for coordinate relation. In the translation, the former is represented but the later isn’t, neither by conjunction words nor by clause sequence. It causes that the translation lacks of logic, belonging to an overt error.&lt;br /&gt;
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Example 6：&lt;br /&gt;
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It's an opportunity for a teacher to see the fruits of his work, and for the pupils to express their gratitude to him.&lt;br /&gt;
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这是一个机会让老师看看他的劳动成果，让学生们向他表示感谢。(P30)&lt;br /&gt;
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The translation adheres to the sequence of the original but ignores the fluency of the sentence. In English, attributives are at both ahead of and behind the objects; while in Chinese, they mostly are preceded. Therefore, the translation violates the grammar of the target language, belonging to an overt error.&lt;br /&gt;
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Example 7：&lt;br /&gt;
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There's nothing like a timely reminder of one's personal obligations.&lt;br /&gt;
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及时地提醒个人的责任之类的东西也没有。(P71)&lt;br /&gt;
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“There's nothing like” is a common sentence pattern in spoken English, meaning nothing else is able to match. The original would have expressed that “a timely reminder of one’s personal obligations” is the most important. The translator misunderstood the meaning utterly, making an overt error.  &lt;br /&gt;
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Example 8：&lt;br /&gt;
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It amazes me, how things have changed so much so quickly.&lt;br /&gt;
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太让我吃惊了，世道变得如此之大，如此之快。(P195)&lt;br /&gt;
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The translation, by and large, is in accordance with the original. Yet there is possibility for readers to be confused about the accuracy of words collocation. Although “so much” and “so quickly” modify the verb “change”, we have to respectively choose the proper words to collocate. It is a covert error. &lt;br /&gt;
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'''3.1.3 Textual Field'''&lt;br /&gt;
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On textual field, there is only one error---overt error. It is caused by misconstruing what the pronoun refers to. By and large, the translation, through the comprehensive analysis on textual field, is high-quality. &lt;br /&gt;
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Example 1：&lt;br /&gt;
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That's just not how it was though.&lt;br /&gt;
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但是我和她根本不是这样。(P4)&lt;br /&gt;
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According to “Sisters are supposed to be people you're close to, aren't they. You may not like them much, but you're still close to them”, it refers to the whole view instead of certain relationship between me and my sister. The referential meaning does not accord with that of the original. It is an overt error.&lt;br /&gt;
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'''3.2 Comparison on Tenor'''&lt;br /&gt;
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Tenor refers to the nature of the participants, the addresser and the addressee, and the relationship between them in terms of social power and social distance. After comparing the original and the translation of A Pale View of Hills, there are 8 mismatches on social attitude and social role relationship, one of which is an overt error and the rest are covert. In general, the translation is highly in accordance with the original so the quality is high on tenor. &lt;br /&gt;
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'''3.2.1 Social Attitude'''&lt;br /&gt;
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Social attitude refers to the social distance between communicators and the degree of formality of discourse. The misunderstanding of social attitude in the translation process will affect the readers' understanding of the characters in the novel. Therefore, mistakes in representing social attitude of characters should be minimized and even avoided in the translation process. There are 4 mismatches on social attitude in the translation: one is an overt error and the rest are covert errors. By and large, the translation on displaying the social attitude of the original is great. &lt;br /&gt;
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Example 1：&lt;br /&gt;
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The English are fond of their idea that our race has an instinct for suicide.&lt;br /&gt;
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英国人有个奇特的想法，觉得我们这个民族天生爱自杀。(P4)&lt;br /&gt;
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In the original text, the attitude of the character is relatively objective. However, in the translation, the attitude is represented overly by using an adjective, which might be translator’s understanding on author’s attitude. It limits different interpretation to the author’s attitude from readers. It is an overt error. &lt;br /&gt;
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Example 2：&lt;br /&gt;
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“Which are you hoping for, Etsuko?” he asked, eventually. “A boy or a girl?”&lt;br /&gt;
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“你想是男孩还是女孩呢，悦子？”过了一会儿他问道。(P35)&lt;br /&gt;
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Ogata-San would like to know Etsuko’s mind about the upcoming baby, but he is not sure if it is proper. At last, curiosity overpowers his hesitation. In the original text “eventually” signifies both time and emotion span. But the translation only manifests the time span. It is a covert error.&lt;br /&gt;
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Example 3：&lt;br /&gt;
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“Tell me, Etsuko,” he said, not looking up from his laces. “Have you met this Shigeo Matsuda?”&lt;br /&gt;
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“告诉我，悦子，”他头也不抬地说。“你见过这个松田重夫吗？”(P36-P37)&lt;br /&gt;
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Ogata-San, as Etsuko’s father-in-law and adopter after the war, gets along well with her. In the original text, Ogata-San is “not looking up” when speaking to Etsuko since he is lying his laces. The translation ignores the reason, which renders Ogata-San a cold man. It is a covert error.&lt;br /&gt;
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Example 4:&lt;br /&gt;
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I'm sure she'd be the first to agree with me about Kazuo mourning her like this.&lt;br /&gt;
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我肯定她会第一个同意我的观点，和夫不应该再这样想着他了。(P94)&lt;br /&gt;
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From the original, we can feel the love of Mrs. Fujiwara to her son. However, after reading its translation, we can feel nothing but her dominance. It signifies that the translation deviates from the original context. It is a covert error.&lt;br /&gt;
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'''3.2.2 Social Role Relationship'''&lt;br /&gt;
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Social role relationship refers to the social relation between the speaker and the receiver, that is, symmetry and asymmetry. The analysis on the social roles relationship in novels is generally from two aspects: relationship between the author and readers, and relationship between the various characters in the work. The former is remained utterly, while the latter is slightly different from that in the original. A total of 4 mismatches are found in the comparison, all of which are covert errors. In the full-text translation, the overall relationship between the characters is the same as that of the original text, and only a few mismatches are found. Therefore, on social role relationship, translation is of high quality.&lt;br /&gt;
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Example 1：&lt;br /&gt;
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She said it would be perfectly all right if you came and waited for her at my house.&lt;br /&gt;
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她说你可以到我家来等她。(P13)&lt;br /&gt;
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The translation omits “be perfectly all right if”, which takes the edge off the amiability from Etsuko to Mariko. Given the whole plot of the novel, Mariko is a phantom of Etsuko’s old daughter Keiko. The obscure feelings between Mariko and Etsuko are very important to implicate their special emotion. Therefore, the translation ignores to take a consideration of the context. It is a covert error.&lt;br /&gt;
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Example 2：&lt;br /&gt;
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As I say, this order came into the office the day you arrived. A real nuisance.&lt;br /&gt;
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我说过了，订单刚好在您来的那天来了。真是讨厌。(P29)&lt;br /&gt;
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On the basis of the context, Jiro (Etsuko’s husband) is explaining to his father Ogata-San that he is so busy that he could not accompany him. He feels apologetic about that. However, the tone of speaking in translation is impatient and a bit furious, which runs against that of the original. So, it is a covert error. &lt;br /&gt;
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Example 3：&lt;br /&gt;
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I should warn you, perhaps. My daughter has been in a somewhat difficult mood these past few days.&lt;br /&gt;
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也许我应该警告你。我女儿这几天情绪很不好。(P90)&lt;br /&gt;
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Warn enjoys two major meanings: to tell somebody about something, especially something dangerous or unpleasant that is likely to happen, so that they can avoid it; to strongly advise somebody to do or not to do something in order to avoid danger or punishment. In the original, Sachiko entrusts Etsuko to look after her daughter so the former one is appropriate. However, in the translation the later one is adopted, which is absolutely improper. It is a covert error. &lt;br /&gt;
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Example 4：&lt;br /&gt;
&lt;br /&gt;
Now listen carefully, or else you'll never find the noodle shop.&lt;br /&gt;
&lt;br /&gt;
现在您听好了，不然您永远也别想找到面馆。(P183)&lt;br /&gt;
&lt;br /&gt;
The sentence is said when Etsuko intends to tell Ogata-San the route to the restaurant of Mrs Fujiwara. On the basis of the context, Etsuko is very reverent to Ogata-San. However, the manner of translation is tough, which is not of a piece with the original. It doesn’t take account of the context, so it is a covert error.&lt;br /&gt;
&lt;br /&gt;
'''3.3 Comparison on Mode'''&lt;br /&gt;
&lt;br /&gt;
Mode can be divided into medium and participation. In the course of analyzing both the original and the translation, a total of 6 mismatches are found on the two dimensions and all of them are covert errors, which manifests the translation are generally of a piece with the original. The translation on mode is of high quality.&lt;br /&gt;
&lt;br /&gt;
'''3.3.1 Language Medium'''&lt;br /&gt;
&lt;br /&gt;
Language medium mainly refers to whether the form of language is spoken or written, simple or complex. The contrast between the model of the source text and the target text is mainly reflected in the linguistic features and diction features of text rather than language types used. The language of A Pale View of Hills is simple, delicate and easy to understand, with short sentence, plenty of dialogues between characters and a high degree of colloquialism. The overall style of the translation is similar with that of the original, with only 4 stylistic covert mismatches. Therefore, on language medium, the translation quality is great.&lt;br /&gt;
&lt;br /&gt;
Example 1：&lt;br /&gt;
&lt;br /&gt;
…on one side of the tracks at the foot of the hill could be seen a cluster of roofs.&lt;br /&gt;
&lt;br /&gt;
山脚下铁路的一侧是鳞次栉比的屋顶。(P8)&lt;br /&gt;
&lt;br /&gt;
Cluster means a group of things of the same type that grow or appear close together, whose translation accords with it in the ideational meaning. Nonetheless, “鳞次栉比” in Chinese is a four-character phrase that usually appears in formal written text. It is more complex than the style of the text. It is a covert error.&lt;br /&gt;
&lt;br /&gt;
Example 2：&lt;br /&gt;
&lt;br /&gt;
We're just rabble, like your husband says.Please don’t make a fuss, please sit down.&lt;br /&gt;
&lt;br /&gt;
正如您丈夫说的，我们只是两个混蛋。不用麻烦了，请坐下。(P74)&lt;br /&gt;
&lt;br /&gt;
The situation happens when Jiro’s colleagues come round. From the conversation between Jiro and his colleagues, it is found that they are very familiar and intimate. So, words such as “rabble” and “like” are of high colloquialism. Nevertheless, in the translation “正如” is a formal expression, which is not in line with the original. Thus, it is a covert error.&lt;br /&gt;
&lt;br /&gt;
Example 3：&lt;br /&gt;
&lt;br /&gt;
Blankets and laundry hung from many of the balconies.&lt;br /&gt;
&lt;br /&gt;
很多阳台上挂着毯子啦、洗的衣服啦。(P181)&lt;br /&gt;
&lt;br /&gt;
Example 4：&lt;br /&gt;
&lt;br /&gt;
Young women these days are all so headstrong. And forever talking about washing-machines and American dresses.&lt;br /&gt;
&lt;br /&gt;
现在女孩子任性得很。而且整天在讲什么洗衣机啦、洋裙啦。(P195)&lt;br /&gt;
&lt;br /&gt;
The two sentences are the description of the street which Etsuko and Ogata-San pass by when they intend to visit Shigeo. Etsuko is a calm and composed Japanese woman, whose language style is the same. Modal particles used in translation render the language abrupt and frisky. So, it is a covert error.&lt;br /&gt;
&lt;br /&gt;
'''3.3.2 Participation'''&lt;br /&gt;
&lt;br /&gt;
Participation refers to whether the speech is a simple monologue or a complex form that prompts the listeners or readers to participate indirectly, for example, by the transition between statements and questions and the special use of pronouns. The whole plot of A Pale View of Hills is a soliloquy narrated in the first person, interleaved with dialogues between different characters. Readers hardly could participate indirectly in it. The translation is basically in the same style as the original, except for the two following examples. The two declarative sentences are translated into a rhetorical question, which does not require readers to answer as well. Therefore, the translation is of high quality in terms of participation.&lt;br /&gt;
&lt;br /&gt;
Example 1：&lt;br /&gt;
&lt;br /&gt;
That’s no way to bring a child into the world, visiting the cemetery every week.&lt;br /&gt;
&lt;br /&gt;
这样怎么能把孩子带到这个世上呢？(P24)&lt;br /&gt;
&lt;br /&gt;
Example 2：&lt;br /&gt;
&lt;br /&gt;
It seems very disloyal.&lt;br /&gt;
&lt;br /&gt;
这不是忘恩负义吗？(P32)&lt;br /&gt;
&lt;br /&gt;
The quality statement of the Chinese Translation of A Pale View of Hills focuses on whether it is an overt transaltion or a covert translation and its matching degree. On the one hand, it is an overt translation. Accoring to above analysis, the translation is closely related to the culture of the sourse language text. From the translation, expressions with Japanese culture can be found clearly. On the other hand, it is of high quality. There are 32 mismatches in total, 18 mismatches on field, 8 on tenor and 6 on mode. Among them, there are 13 overt errors and 19 covert errors. Covert errors caused by ignoring the context and overt errors caused by violating the rules of target language inflict only a little ambiguity on ideational function, interpersonal function and the quality of the text.&lt;br /&gt;
&lt;br /&gt;
===IV Quality Statement of Chinese Translation of A Pale View of Hills===&lt;br /&gt;
The quality statement of the Chinese Translation of A Pale View of Hills focuses on its cultural participation degree and its matching degree. Based on the two aspects, this chapter will make a quality statement of the Chinese Translation of A Pale View of Hills.&lt;br /&gt;
&lt;br /&gt;
'''4.1 Overt Translation'''&lt;br /&gt;
&lt;br /&gt;
Overt translation refers to the obvious translation rather than the second original. The translation is obviously not aimed at the readers with target language, because the original text, literary works, political speeches and religious sermons, is closely related to the culture it is rooted in. But covert translation can be used as the second text, that is, independent writing. House deems that texts requiring overt translation have no special connection with their culture, and they are not unique to their culture, such as academic papers and travel brochures. She also believes that in overt translation, equivalence can only be established at the level of language/text, register and genre, but it is difficult to achieve equivalence in function. In contrast, the purpose of covert translation is to achieve functional equivalence, and there will be some deficiencies in language, register.&lt;br /&gt;
&lt;br /&gt;
In the contrast reading between the original and the translation, the obvious traces of the original can be found, for example, “你想她们还在打吗？” and “呃，我想小孩子是会打架的。但是我想我应该告诉你一声。还有你看，我想你女儿不是要去上学。”. In English, words representing speculation, such as “suppose” and “think”, are used frequently, while in Chinese they are not. Thus, the target text which remains these words possesses obvious sighs of translation. Furthermore, other signs in the translation, such as “欠了欠身”，show the culture of Japan when greeting. In conclusion, the target text of A Pale View of Hills is overt translation.&lt;br /&gt;
&lt;br /&gt;
'''4.2 High-quality Translation'''&lt;br /&gt;
&lt;br /&gt;
This study applies House’s TQA model to assess the Chinese translation of A Pale View of Hills on lexical, syntactic and textual aspects. On basis of analysis between the original and the translation, there are 18 mismatches on field, 8 on tenor and 6 on mode. Among them, there are 13 overt errors and 19 covert errors. Covert errors caused by ignoring the context and overt errors caused by violating the rules of target language inflict only a little ambiguity on ideational function, interpersonal function and the quality of the text. &lt;br /&gt;
&lt;br /&gt;
Chinese translation of A Pale View of Hills, by and large, consisting with the original, is of high quality. On the field, the translation, which transmits the subject matter and social action which covers the specificity of linguistic items, is in accordance with the original on lexical, syntactic and textual dimension in general; on the tenor, the representation of social attitude and social role relationship of the Chinese text is consistent with the English text; on the mode, the language of the translation is as simple and delicate as that of the original and the participation is of low level as well. Therefore, Zhang Xiaoyi’s Chinese translation of A Pale View of Hills is of high quality.&lt;br /&gt;
===Conclusion===&lt;br /&gt;
''A Pale View of Hills'', as the debut of Kazuo Ishiguro, involves many in-depth subjects, which initiates the development of author's peculiar writing style. House’s model is the first scientific and objective translation quality assessment mode with the integration of both theory and practice. This study applies House’s TQA model to assess the Chinese translation of ''A Pale View of Hills'' on lexical, syntactic and textual aspects. On basis of analysis between the original and the translation, there are 18 mismatches on field, 8 on tenor and 6 on mode. By and large, the Chinese translation of A Pale View of Hills is overt translation. Although a few mismatches can be found in the translation, they cause a little affect to the functions of the text and the presentation of the plot, role characters and role relationship of the whole novel. In conclusion, the translation is in line with the original on register and is of high quality.&lt;br /&gt;
&lt;br /&gt;
Different from the traditional evaluation methods, House's model, based on micro and macro criteria, both quantitative analysis and qualitative analysis, is the first scientific and objective translation quality assessment model with a complete theory and empirical evidence. It can be used as an auxiliary tool to find problems in translation so as to make modifications, which to some extent promotes the development of translation activities. However, in the actual operation process, although the translation quality assessment can be carried out according to parameters, the comparison results still rely on subjective judgment, which cannot utterly guarantee the scientificity of the final evaluation results. In addition, due to the large number of parameters, it takes a lot of time to compare the differences in vocabulary, sentence structure and discourse between the original text and the translation in the evaluation of full-length novel, so the evaluation is not very efficient. Although there are still some shortcomings in the House's model, it is still worth applying in the practice of translation criticism as a relatively complete and objective theoretical model.&lt;br /&gt;
===Works Cited===&lt;br /&gt;
Awla, Y. N. The The Impact of Place on Personality in Kazuo Ishiguro’s A Pale View of Hills: An Eco-critical Study[J]. ''Journal of University of Raparin'', 2019, 6(2): 1-18.&lt;br /&gt;
&lt;br /&gt;
House, J. ''A Model for Translation Quality Assessment''[M]. Germany: Gunter Narr Verlag Tubingen, 1977.&lt;br /&gt;
&lt;br /&gt;
House, J. ''Translation Quality Assessment: A Model Revised''[M]. German: Gunter Narr Verlag Tubingen, 1997: 108. &lt;br /&gt;
&lt;br /&gt;
Newmark, P. ''A Textbook of Translation''[M]. Shanghai: Shanghai Foreign Language Education Press, 2001: 184.&lt;br /&gt;
&lt;br /&gt;
Reiss, L. ''Translation Criticism, the potentials &amp;amp; Limitations''[M]. Manchester: St. Jerome Publishing, 2000: 24-38.&lt;br /&gt;
&lt;br /&gt;
Forsythe, R. Cultural Displacement and the Mother-Daughter Relationship in Kazuo Ishiguro's ''A Pale View of Hills''[J]. ''West Virginia University Philological Papers'', 2005, 51.&lt;br /&gt;
&lt;br /&gt;
Jeremy M. ''Introduction Translation Studies: Theory and Applications''[M]. London and New York: Routledge, 2001: 92.&lt;br /&gt;
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丰玉芳, 王菲菲. 从豪斯的翻译质量评估模式看宋词翻译——以宋词《声声慢》和许渊冲英译本为例[J]. 扬州大学学报(人文社会科学版), 2015, 19(03): 114-121.&lt;br /&gt;
&lt;br /&gt;
贺晓冰. 论《远山淡影》的不可靠叙述与记忆[D]. 西安外国语大学, 2018.[10] 姜睿萍. 豪斯翻译质量评估模式在英汉互译中的可行性分析[D]. 哈尔滨工程大学, 2007. &lt;br /&gt;
&lt;br /&gt;
李菁, 王烟朦. 翻译质量评估研究的新里程—《翻译质量评估:过去和现在》评述[J]. 中国翻译, 2015, 36(04): 63-65.&lt;br /&gt;
&lt;br /&gt;
李晓林, 何绍斌. 朱莉安·豪斯的“翻译质量评估模式”运作过程可行性浅评[J]. 哈尔滨学院学报, 2010, 31(06): 127-1.&lt;br /&gt;
&lt;br /&gt;
李厥云. 论《远山淡影》的创伤记忆和身份叙事[J]. 长春大学报, 2017, 27(11): 45-49.&lt;br /&gt;
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刘晓亚. 《远山淡影》中的创伤研究[D]. 四川师范大学, 2015.&lt;br /&gt;
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司显柱. 朱莉安·豪斯的“翻译质量评估模式”批评[J]. 外语教学, 2005(03): 79-84.&lt;br /&gt;
&lt;br /&gt;
唐军, 王燕. 豪斯翻译质量评估模式在汉译英翻译中的应用——以朱自清《背影》的英译为例[J]. 合肥工业大学学报(社会科学版), 2011, 25(06): 129-135.&lt;br /&gt;
&lt;br /&gt;
王丽川. 《远山淡影》中的反讽解读[D]. 河南: 郑州大学, 2019.&lt;br /&gt;
&lt;br /&gt;
王飞. 石黑一雄中的身份焦虑[J]. 中南大学学报(社会科学版), 2017, 23(06): 152-157.&lt;br /&gt;
&lt;br /&gt;
周芬芬. 豪斯翻译质量评估模式的实践应用——以《荷塘月色》英译本为例[J]. 山西农业大学学报(社会科学版), 2013, 12(08): 782-786.&lt;br /&gt;
&lt;br /&gt;
==On the Relationship among Literal Translation, Free Translation, Domestication and Foreignization	韦洪朗	Wei Honglang==&lt;br /&gt;
&lt;br /&gt;
==On Chinese-to-English Translation of The Summer Palace from the Perspective of Functionalist Approaches to Translation	魏亚菲	Wei Yafei==&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
===Abstract===&lt;br /&gt;
Abstract&lt;br /&gt;
The Chinese-English translation of tourist texts, as a window for the external publicity of national history and culture, plays an important role in promoting the development of local tourism. The Summer Palace is well known for its large and priceless collection of cultural relics, which is among the first group of historical and cultural heritage sites in China to be placed under special state protection. &lt;br /&gt;
Based on the functionalist approach and the skopos rule, this paper discusses the problems existing in the translation of scenic spots in the Summer Palace from the perspectives of garden culture, historical culture and religious culture. Skopos theory holds that translation depends on communicative purpose. To achieve this goal, translators can choose different translation strategies. It is believed that the purpose of Chinese-English translation of scenic spots is to attract target readers and promote traditional culture. Therefore, when translating tourism materials, it is necessary not only to express the local cultural connotation, but also to consider the cross-cultural factors. The Chinese-English translation of the introduction of scenic spots guided by functionalist approach can make English readers have expectations of scenic spots and understand the cultural connotation of scenic spots. This paper aims to better promote the development and communication of Chinese culture and improve the level of tourism text translation in China by relying on the theory of functionalist approach.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
===Key words===&lt;br /&gt;
Key Words: functionalist approach，the Summer Palace，translation strategies&lt;br /&gt;
&lt;br /&gt;
===摘要===&lt;br /&gt;
摘 要&lt;br /&gt;
旅游资料的英译作为民族历史文化对外宣传的一道窗口,对地方旅游业的发展有着不可低估的促进作用。颐和园作为中国著名的皇家园林，具有浓厚的中国园林特色及优美的风景，同时也蕴涵着深厚文化内涵。&lt;br /&gt;
本篇旅游文本英译的分析以功能派翻译理论作为理论指导，以目的法则为主要原则，从颐和园的园林文化、历史文化和宗教文化三个角度出发对颐和园景点英译中存在的问题进行探讨。目的论认为译文取决于翻译目的，这个目的通常指的是交际目的。为达到这个目的，译者可以选择不同的翻译策略。也就是说，译者的翻译策略必须由译文的预期目的或功能决定，即所谓的“目的法则”。笔者认为景点介绍的汉英翻译的目的就是吸引译文读者以及弘扬传统文化，因此在翻译旅游资料的时候不仅要把当地的文化内涵表达出来，而且要考虑到跨文化的因素。而以功能派翻译理论为指导的景点介绍的汉英翻译，可以使英语读者通过译文产生对旅游景点的期盼，以及对景点文化内涵的理解。以颐和园景区内的翻译文本为例本，依托功能翻译理论，通过“发现问题，指出问题，解决问题”，以期更好地促进中国文化的传播与交流，提高我国现阶段旅游文本翻译的水平。&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
===关键字===&lt;br /&gt;
关键词：功能翻译；颐和园；翻译目的；翻译策略&lt;br /&gt;
&lt;br /&gt;
===Introduction===&lt;br /&gt;
  Throughout the translation history at home and abroad, the literal translation and free translation have always been a heat discussion in the translation circles. Someone absolutely approve literal translation and demean free translation, even pursue a dead translation, which creates an translated text difficult to understand. While some other people absolutely agree with free translation even advocate random acts, which means a random deletion in the translation practices and creates anther entirely different text. However, there are also a number of translators who have recognized that these two translation methods are not totally opposite. So they adopt a compromise and flexible way. That means they will choose the most appropriate one depending on the text demanding. Therefore, we can deduce from it that this eclectic translation is consistent with the Contradiction view of Unity of Opposite in Materialist Dialectics. In fact, literal translation and free translation are right a set of contradictions which are both opposite and unified. They complement each other into an integral one.&lt;br /&gt;
&lt;br /&gt;
===Table of Contents===&lt;br /&gt;
&lt;br /&gt;
Table of Contents&lt;br /&gt;
&lt;br /&gt;
Outline&lt;br /&gt;
1.Introduction&lt;br /&gt;
2. Studies on Functionalist Approach&lt;br /&gt;
2.1 The Viewpoint of Functionalist Approach&lt;br /&gt;
2.1.1 Reiss’s Text Typology&lt;br /&gt;
2.1.2 Vermeer’s Skopos Theory&lt;br /&gt;
2.1.3 Manttari’s Theory of Translational Action&lt;br /&gt;
2.1.4 Nord’s Theory of Function plus Loyalty&lt;br /&gt;
2.2 The Application of Functionalist Approach &lt;br /&gt;
3.C-E Translation of the Summer Palace under Functionalist Approach&lt;br /&gt;
3.1 Garden Culture&lt;br /&gt;
3.2 Historical Culture &lt;br /&gt;
3.3 Religious Culture &lt;br /&gt;
4. Conclusion&lt;br /&gt;
References&lt;br /&gt;
&lt;br /&gt;
===Outline===&lt;br /&gt;
Outline&lt;br /&gt;
&lt;br /&gt;
Thesis Statement: Based on the main viewpoints of functionalist approaches to translation, this paper aims to give an analysis to C-E translation of the Summer Palace from cultural, historical and religious aspects, hoping to provide some translation strategies for other cultural attractions.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
1. Introduction&lt;br /&gt;
2. Studies on Functionalist Approaches&lt;br /&gt;
2.1 The Viewpoint of Functionalist Approach&lt;br /&gt;
2.1 Reiss’s Text Typology&lt;br /&gt;
2.2 Vermeer’s Skopos Theory&lt;br /&gt;
2.3 Manttari’s Theory of Translational Action&lt;br /&gt;
2.4 Nord’s Theory of Function plus Loyalty&lt;br /&gt;
2.2 The Application of Functionalist Approach&lt;br /&gt;
3. C-E Translation of the Summer Palace under Functionalist Approach&lt;br /&gt;
3.1 Garden Culture&lt;br /&gt;
3.2 Historical Culture&lt;br /&gt;
3.3 Religious Culture&lt;br /&gt;
4. Conclusion&lt;br /&gt;
&lt;br /&gt;
===1. Introduction ===&lt;br /&gt;
1. Introduction   &lt;br /&gt;
The Chinese-English translation of tourist texts is a bridge to spread the culture of classical Chinese gardens, so the accuracy of it has a direct impact on foreigners' understanding of the specific history and culture. &lt;br /&gt;
Functionalist approach has made a pioneering contribution to the translation of non-literary genres. Functional translation theory emphasizes the function of discourse, and believes that different types of discourse have different functions, so translators should choose appropriate translation strategies according to the type of source text and corresponding functions. Functionalist approach is to take the &amp;quot;skopos rule&amp;quot; as the highest standard, and any translation activity is a purposeful behavior. The ultimate goal and main function of scenic spot translation is to help people understand the main content of the scenic spot.&lt;br /&gt;
As a window for the publicity of national history and culture, the Chinese-to-English translation of tourist texts plays an important role in promoting the development of local tourism. Well known for its large and priceless collection of cultural relics, the Summer Palace was among the first group of historical and cultural heritage sites in China to be placed under special state protection. Based on the viewpoints of functionalist approach to translation, this paper aims to analyze C-E translation of the Summer Palace from cultural, historical and religious aspects, hoping to provide some translation strategies for other cultural attractions. &lt;br /&gt;
&lt;br /&gt;
===2. Studies on Functionalist Approaches===&lt;br /&gt;
2. Studies on Functionalist Approaches&lt;br /&gt;
Functionalism is a theory that advocates reader-centered translation, emphasizing the functions of texts and highlighting the communicative effects. It is believed that many unnecessary mistakes can be avoided and better results can be achieved by applying functionalist approach in Chinese-English translation of tourist text. &lt;br /&gt;
&lt;br /&gt;
===2.1 The Viewpoint of Functionalist Approaches===&lt;br /&gt;
2.1 The Viewpoint of Functionalist Approaches&lt;br /&gt;
Functionalist Translation Theory, also known as German Functionalist Translation Theory, was proposed by German scholars in the 1970s. It includes four main theories: Katharina Reiss’s Text Typology, Hans Vermeer’s Skopos Theory, Justa Holtz Manttari’s Theory of Translational Action and Christiane Nord’s Theory of Function plus Loyalty. This chapter aims to present the main ideas of this theory.&lt;br /&gt;
&lt;br /&gt;
===2.1.1 Reiss’s Text Typology===&lt;br /&gt;
2.1.1 Reiss’s Text Typology&lt;br /&gt;
In 1971, Reiss in her book Possibilities and Limitation of Translation Criticism first made text function as a standard of translation criticism, namelyevaluate the translated text from the relationship between the functions of the original and the translated text. She insists on the original-centered equivalence theory and holds the view that the ideal translation is to achieve the equivalence between the target text and the source text in terms of ideological content, linguistic form and communicative function. However, translation practice makes her realize that it’s difficult to achieve equivalence sometimes and that sometimes equivalence cannot be pursued. Because of the particularity of translation requirements, the function of the target text is not always the same as that of the source text. Therefore, the translator should give priority to the functional role of the target text rather than the principle of equivalence.&lt;br /&gt;
Reiss believes that in the normal situation the type of text decides the translator’s choice of a proper translation method (Reiss, 2004). Therefore, she divides text into four types: content-focused text, form-focused text, appeal-focused text and audio-media text. Content-focused text, also known as informative text, includes news reports, commercial correspondence, operating instructions, official documents, patent&lt;br /&gt;
specifications, essays, treaties, etc. For this text, the main function is to convey information revealed in language itself to readers. The emphasis is on content and topic, so the choice of language and style should serve this function. If both the source text and target text belong to informative text, the translator should represent the content and information of source text accurately and completely (Reiss, 2004)&lt;br /&gt;
Form-focused text, also known as expressive text, refers to literary works such as novels, poems and so on. “Distinct from ‘content’, which deals with what the author says, ‘form’ is concerned with how an author expresses himself” (Reiss, 2004). For expressive texts, information is only a supplement. What is dominant is the aesthetic factor. When translating such texts, the translator should pay attention to the aesthetic and artistic forms of the original text and to the differences between two cultural habits, trying to achieve the same effect as the source text. In a word, in a form-focused text the linguistic form of the source text determines the form in the target language (Reiss, 2004).&lt;br /&gt;
Appeal-focused text, also known as operative text, mainly includes notice, instruction manual, advertisement, publicity manual and so on. For operative texts, the primary task for the translator is to provoke a particular reaction on the hearers or readers to incite them to engage in specific actions, while content and form are subordinate. Therefore, to achieve the same effect, the translator need to change the content and stylistic features of the original text, try to keep the potential influential factors of the original text and seek functional equivalence (Reiss, 2004: 38-43). Audio-medial text, also known as multi-media text, refers to radio and television scripts, such as radio newscasts and reports, topical surveys and dramatic productions.&lt;br /&gt;
It is distinctive in its dependence on non-linguistic media and on graphic, acoustic, and visual kinds of expression. Only in combination with them can the whole complex literary form realize its full potential (Reiss, 2004). In conclusion, different texts determine different translation focuses and methods. In many cases, however, a text may have more than one function, which means that translators should integrate different translation strategies skillfully to achieve different functions of texts.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
===2.1.2 Vermeer’s Skopos Theory===&lt;br /&gt;
2.1.2 Vermeer’s Skopos Theory&lt;br /&gt;
Reiss’s student Vermeer, who broke the limitation of the theory of equivalent and took skopos to be the first criterion of translation process  proposed the key theory: Skopostheorie. According to Skopos Theory, when translating a text, the translator needs to consider the purpose of translation first and then choose the translation method according to the purpose, which means “the end justifies the means” (Nord, 2001). Vermeer believes that translation, like other human actions, is also a purposeful act. Translation often takes place in cultural backgrounds with different customs and values, so translation is not a simple equivalent transformation between languages. Skopos Theory does not focus on achieving the equivalence between the target text and the original text or the perfection of the target text, but on choosing the best translation strategy based on the analysis of the source text and the intended function of the target text. In a word, translation methods and strategies are determined by the intended purpose or function of the target text.&lt;br /&gt;
According to Skopos Theory, the first rule that all translators must follow is the Skopos Rule. Translation purpose can be divided into three categories: (1) the purpose of the translator, such as earning a living; (2) the communicative purpose of the translation, such as instructing the reader; (3) the purpose of using a particular translation method, such as the literal translation according to its structure to illustrate the peculiarities of grammatical structure in a language (Nord, 2001). In general, the communicative purpose is more important than the other two. The communicative purpose is usually determined by the initiator of the translation act, but the translator can take part in deciding. The second rule is the Coherence Rule. Coherence Rule requires that the translation conform to the criterion of intratextual coherence, which means that the translation must be accessible to recipients and meaningful in the target culture and in the communicative environment (Nord, 2001). The third rule is the Fidelity Rule. It means that there should be intertextual coherence between the source text and the target text, which means being faithful to the source text. Nevertheless, the degree and form of faithfulness lie in the target text and the degree that the translator understands the original text. Normally “Intertexual coherence is considered subordinate to intratexual coherence and both are subordinate to the Skopos rule” (Nord, 2001).&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
===2.1.3 Manttari’s Theory of Translational Action===&lt;br /&gt;
2.1.3 Manttari’s Theory of Translational Action&lt;br /&gt;
Following Vermeer, Manttari develops Vermeer’s Skopos Theory and puts forward the Theory of Translational Action. He emphasizes three aspects: the behavior of the translation process, the role of the participants (the initiator, the translator and the target reader, etc.) and the environment (time, place and media) in which the translation process takes places. It views translation as “purpose-driven, outcome-oriented human interaction and construes the process of translation as message-transmitter compounds that involve intercultural transfer” (Mundy, 2001). According to Manttari, translation is “ a complex act to achieve a particular purpose” &lt;br /&gt;
(Nord, 2001). It is not about translating words, sentences or texts but is about guiding the intended cooperation over cultural barriers and promoting functional communication. Cooperation here means “transcultural communication” by Manttari.&lt;br /&gt;
The Theory of Translational Action attaches great importance to providing a functional communicative text for the recipient, a text suitable for the target culture in&lt;br /&gt;
form and style. Functional suitability is determined by the translator. The translator is&lt;br /&gt;
an expert in translation, whose role is to ensure the successful completion of cultural&lt;br /&gt;
transformation. In producing the target text, the analysis of the source text is necessary so that the translator can find out its structural and functional characteristics, which can be described by content and form. The need of the recipient is the decisive&lt;br /&gt;
factor for the target text.&lt;br /&gt;
In short, “the value of Manttari’s work is the placing of translation (or at least the professional non-literary translation which she describes) within its sociocultural&lt;br /&gt;
context, including the interplay between the translator and the initiating institution”&lt;br /&gt;
(Mundy, 2001).&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
===2.1.4 Nord’s Theory of Function plus Loyalty===&lt;br /&gt;
2.1.4 Nord’s Theory of Function plus Loyalty&lt;br /&gt;
Though skopos rule changes the focus of translation from the source language text to the target language text and the target receivers, it has some limitations. One is that different readers have different expectations, and the translation purpose cannot satisfy all the expectations of the target reader. Another is that the translation purpose may sometimes be against the intention of the source language. Therefore, based on the skopos rule, Nord introduces the loyalty principle. The principle of loyalty is a supplementary principle proposed by Nord to make up for the deficiency of skopos rule. According to the explanation of Nord, it is not the relationship between the original text and the target text, nor the equivalence between the original text and the form of the target text, but the consistency between the author of the original text, the initiator of the translation, the translator and the reader of the target text, which is the principle of loyalty. The proposal of the loyalty principle makes up for the mistakes that some radical skopos translators usually make, such as omitting and rewriting, which makes skopos theory more perfect and makes skopos theory more likely to guide the translation of literary works.&lt;br /&gt;
“Function” and “loyalty” are two pillars of Nord’s functionalist approach. “Function” refers to what a text means or is intended to mean from the receiver’s point of view”, while “loyalty” means that “target-text purpose should be compatible with the original author’s intention” (Nord,2001). It emphasizes the interpersonal relationship between the translator, the source-text sender, the target-text addresses and the initiator. Function plus loyalty enables the translator to avoid the limitations of skopos rule and try to achieve a balance between translation purpose and the source-text author’s intention”(Nord,2001). That is to say, when translating the original text, the translator should take into account the readers' cultural background, knowledge level and expectation of the translation, and choose the corresponding translation strategy according to the translation requirements. If the reader wants to read a word-for-word translation of the article, then the translator must meet the reader's requirements, otherwise he must explain to the reader why he chose his own translation method. The translator's job is to weigh two different cultures instead of imposing one culture on another. &lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
===2.2The Application of Functionalist Approach to the Tourist Texts.===&lt;br /&gt;
2.2The Application of Functionalist Approach to the Tourist Texts.&lt;br /&gt;
In the 1990s, Functionalist Translation Theory was introduced to China, and since then it has been applied to translation studies by Chinese translation scholars. In his article published in 1995, Zhang Nanfeng briefly introduces Skopos theory to China for the first time, and considers that Skopos theory is referential (Zhang Nanfeng, 1995). German Functionalist Translation Theory, a paper released in1999, is the first article in China which systematically introduces German Functionalist Translation Theory (Zhong Weihe &amp;amp; Zhong Yu, 1999). Based on an overview of Functionalist Translation Theory, Zhang Meifang focuses on introducing Nord’s theory, especially on the detailed analysis of Nord’s principle of loyalty (Zhang Meifang, 2005). Famous domestic scholars, such as Liu Junping (2009), Liu Miqing (2012) and Li Wenge (2004), also introduce this theory in their books. With the rise of Functionalist Translation Theory in China, someone has compared it with other theories. Zhu Haotong compares Skopos Theory with Functional Equivalence Theory to analyze the similarities and differences between them, and further reveals that Functionalist Translation Theory inherits the reasonable part of Nida’s Functional Equivalence Theory, which is an important breakthrough and supplement to solve the problems that Functional Equivalence Theory leaves (Zhu Haotong, 2006). Some scholars also combine theory with translation practice to explore the application of Functionalist Translation Theory to translation practice. Jia Yanli and Wang Hongjun point out that Skopos Theory has its limitations, but it is still of instruction and reference value for non-literary translation texts, such as advertisements and tourism materials (Jia Yanli &amp;amp; Wang Hongjun, 2012). Li Liangchen selects several famous tourist attractions in China to translate the on-site tour-guide commentary into English. Then he improves them under the guidance of Skopos Theory and sends out questionnaires to overseas tourists for further analysis. He argues that the translation of on-site tour-guide commentary which is guided by Skopos Theory is more favorable to conveying information to foreign visitors, to promoting cultural exchanges and to improving the image of China’s tourist destinations (Li Liangchen, 2013). In Pragmatic Translation: Theory &amp;amp; Practice, Wu Feng and He Qingji introduce Functionalist Translation Theory (Wu Feng &amp;amp; He Qingji, 2008) and the characteristics of tourism text and translation skills (Wu Feng &amp;amp; He Qingji, 2008). In this book, they also discuss the controversy over the Chinese name of Functionalist Translation Theory, and holds that “功能派翻译理论” is the most appropriate Chinese translation (Wu Feng &amp;amp; He Qingji, 2008).Based on his own translation practice and under the guidance of Functionalist Translation Theory, Wu Zixuan probes into some special phenomena in the English translation of CNN newsreels. The author believes that in the translation of external publicity, we should not stick to the standard of faithfulness to the original text, but should deal with the original text properly from the perspective of achieving the purpose of translation, such as rewriting, abridging. (Wu Zixuan, 2005).&lt;br /&gt;
Functionalist approach establishes a theoretical system of diversified translation standards dominated by skopos rule. From the definition of Functionalist approach, it can be seen that the advantage of it is that the translator can get rid of the bondage of the original text, study the translation process with &amp;quot;translation purpose&amp;quot; as the starting point, and determine the translation strategies and methods. This can give full play to the translator's own initiative, flexible processing of the original text, in order to achieve the translation of the communicative function. In addition, functionalist approach requires the translation to be examined in the cultural context of the reader. The reader can accept the translation and understand the meaning of the original text through the translation, so the translation can realize the communicative function. On the basis of such advantages, functionalist approach can be used to guide the English translation of garden scenic spots, and the translator can choose a wider range of translation strategies and break out of the constraints of the original text. &lt;br /&gt;
Only by clarifying the purpose of translation can we avoid these limitations in the English translation of garden attractions. When using functionalist approach to guide the English translation of Chinese classical garden scenic spots, it is necessary to flexibly choose translation strategies and methods, give full play to the advantages of skopos theory, and achieve the balance between &amp;quot;principle of purpose&amp;quot; and &amp;quot;principle of fidelity&amp;quot; as far as possible.&lt;br /&gt;
With the deepening of globalization and cross-cultural communication, tourismis becoming a major industry in the 21st century. The development of tourism can not only promote the economic development of a country but also promote the external dissemination of national culture. Therefore, tourism translation deserves attention. Tourism text is a typical informative and operational text, and the language is unique. It is full of gorgeous words, such as four-character expressions, verses, proper nouns and so on.&lt;br /&gt;
Tourism text materials include tourism advertising, tourism brochures, scenic spots signs and so on. In this paper, we focus on the introduction of Chinese gardens’ scenic spots, which is usually colorful in language and rich in literary style. Tourism text translation belongs to applied translation, which should play a series of practical functions to publicize the image and resources of the country or place and attract overseas tourists. Therefore, the translator of tourism text must be clear about the type and function of tourism text, and to grasp the ultimate purpose of the translation. &lt;br /&gt;
On tourism text translation, the communicative purpose of the translation should be placed in a central position. Furthermore, the tourism text has both the information function and the calling function. The information function and the calling function complement each other. Only when the target language readers acquire the expected tourism information and cultural knowledge can the calling function be realized and the purpose of tourism text translation be achieved. With different translation strategies, the translated version should both expressed contains basic information, and make the tourists feel the profound of the Chinese culture from the beautiful scenery. &lt;br /&gt;
Cultural tourism has long been the focus of international tourism, and understanding Chinese culture is the main purpose of inbound tourists, so the translation of tourism texts bears the mission of cultural transmission and cultural publicity. However, due to the great differences between Chinese and English culture and language, there are many difficulties in cultural transmission in tourism text translation. China has a long and splendid history and culture. When introducing the scenic spots of cultural relics and historic sites, we usually associate with many historical figures and stories. These terms are cultural blank for most foreign tourists, but this kind of cultural experience is also the most attractive place for foreign tourists. It is of great importance to pay attention to cultural differences in tourism translation and carry out cultural transmission effectively. Chinese and English languages have different logic views, and Chinese expressions in tourism texts value decoration. English expressions tend to be clear, concise and to the point. For example, Chinese tourism texts often use a four-character lattice, which is symmetrical, while there is no corresponding four-character lattice expression in English. Therefore, in Chinese-English translation of tourism texts with frequent use of four-character phrases, it is necessary to keep in mind the objective principle of functionalist approach and give priority to cultural communication instead of rigidly adhering to form.&lt;br /&gt;
&lt;br /&gt;
===3. C-E Translation of the Summer Palace under Functionalist Approach===&lt;br /&gt;
3. C-E Translation of the Summer Palace under Functionalist Approach&lt;br /&gt;
By studying the specific translation strategies made by predecessors, the following steps are also adopted in this paper: first, the translation strategies are determined according to the text type, such as faithful reproduction of the original information or rewriting; Secondly, the translation strategies are determined according to the potential purpose of the translation, such as paraphrasing or deleting poems, generalizing specific expressions and transliterating proper nouns. Thirdly, the translation strategies are defined with the tourists as the center, such as adding logical words, adding explanatory information and using plain English.&lt;br /&gt;
The Summer Palace epitomizes the philosophy and practice of Chinese garden design, which played a key role in the development of this cultural form throughout the east. It is an outstanding expression of the creative art of Chinese landscape garden design, incorporating the works of humankind and nature in a harmonious whole, which was once the most important place of political and diplomatic activity for the supreme rulers of the late Qing dynasty. Based on three aspects of the Summer Palace, namely, garden culture, historical culture and religious culture, this paper discusses the problems existing in the English translation of the scenic spots of the Summer Palace and puts forward corresponding countermeasures under the guidance of the skopos rule of functionalist translation theory.&lt;br /&gt;
&lt;br /&gt;
===3.1 Garden culture.===&lt;br /&gt;
3.1 Garden culture. &lt;br /&gt;
The Summer Palace is a classical garden famous for its magnificence and beauty. There are many temples in the garden, and the green waves of kunming lake ripple. Landscape and humanities complement each other, containing rich natural and cultural information, reflecting the characteristics of Chinese classical gardens. The garden cultural features of the three scenic spots, namely, the hall of clouds, the foxiang pavilion and the Wenchang courtyard, are particularly outstanding. Therefore, this paper takes these three scenic spots as examples to discuss the Chinese-English translation of the introduction of the Summer Palace.&lt;br /&gt;
(1)	排云殿、佛香阁景区是颐和园内建筑布局最完整、建筑形式最丰富的中轴建筑群体，殿、阁、廊、亭、桥、坊、碑等建筑约两万平方米。从临水的云辉玉宇牌坊至排云门、排云殿、德辉殿、佛香阁、众香界、智慧海、层层升高，排列有序，气势巍峨，金碧辉煌，将园林、寺庙和宫殿融为一体。&lt;br /&gt;
Translation：This scenic spot covers an area of 20,000 square meters with an assortment of buildings such as palaces, towers, corridors, pavilions, walkways, bridges, archways and inscribed stone steles. It comprises a well-arranged group of structures, all diverse in style, located in the center of the Summer Palace garden. This complex of structures, ranging from the Glowing Clouds and Holy Land Archway on the waterside, the Gate that Dispels the Clouds, the Hall that Dispels the Clouds, the Hall of Moral Glory, and the Tower of the Fragrance of the Buddha, to the Realm of Popular Fragrance and the Sea of Wisdom Temple, were built in an orderly manner running from the foot of the hill to its top, with gardens, temples and palaces harmoniously integrated into the whole。&lt;br /&gt;
Analysis：As we all know, the design style of ancient Chinese buildings is beautiful with &amp;quot;symmetry&amp;quot;. The &amp;quot;axis&amp;quot; in hall of clouds scenic spot refers to the layout of the Summer Palace from far to near and from top to bottom, which cannot be simply understood as the center. Simply translating &amp;quot;axis&amp;quot; as &amp;quot;center&amp;quot; cannot express accurately the meaning of &amp;quot;symmetry&amp;quot;. Comparatively speaking, &amp;quot;axis&amp;quot; can better reflect the architectural style of the scenic spot.&lt;br /&gt;
(2)	从临水的云辉玉宇牌坊至排云门、排云殿、德辉殿、佛香阁、众香界、智慧海，层层升高，排列有序，气势巍峨，金碧辉煌，将园林、寺庙和宫殿融为一体。&lt;br /&gt;
Translation：These structures，including Glowing Clouds and Holy Land Archway at lake side，the Gate of Dispelling Clouds，the Hall of Dispelling Clouds，the Hall of moral Glory，and the Tower of Buddhist Incense，the Realm of Multitudinous Fragrance and the Sea of Wisdom Temple，were built in an orderly manner ranging up the hill with gardens，temples and palaces harmoniously integrated. This manifests beauty，grace and splendor，reminiscent of the loftingness and grandeur of a once mighty empire.&lt;br /&gt;
Analysis：In terms of the characteristics of language, Chinese emphasizes parataxis and four-word antithesis. When describing and naming scenes, gorgeous words and poetic words are generally chosen in Chinese. But, English emphasizes hypotaxis, on the other hand, puts more emphasis on reproducing the original appearance of things, using simple and natural words and preferring direct description. In sign translation, the English translation pays more attention to accurate, concise and lively. In the above paragraph, &amp;quot;层层升高，排列有序，将园林、寺庙和宫殿融为一体&amp;quot; is an introduction to the architectural features of foxiang pavilion, in order to make tourists have a clear understanding of the overall layout and architectural features of the scenic spot. This information is essential and can be translated into detail. However, &amp;quot;气势巍峨，金碧辉煌&amp;quot; focuses on the subjective description, and its explicit translation needs more complicated words. If this paragraph is translated in detail, it is easy to drag the content and make the key information vague. Therefore, the deletion of the English translation of this sentence will not affect the basic information of the original text.&lt;br /&gt;
(3)	主阁（文昌阁）两层，内供铜铸文昌帝君和仙童、铜骑。文昌阁与万寿山西供武圣的宿云檐象征“文武辅弼”。&lt;br /&gt;
Translation: A bronze statue of the God Wenchang, statues of gaeries, and a bronze steed were placed in the two-story pavilion. This tower is pared with the Tower of Cloud- Retaining Eaves, located to the west of the Longevity Hill, in which a statue of the Martial God was placed. The God Wenchang and the Martial God together symbolize reining of the emperor supported by scholars and warriors.&lt;br /&gt;
Analysis: Two questions arise in Chinese-English translation. First, there are two translations of wenchang pavilion in the translation: pavilion and tower, which appear in the same sign. Two different translations of the same scenic spot name tend to make foreign tourists think that it refers to different scenic spots, which may cause difficulty in understanding. Second, the translation of Wenchang pavilion into &amp;quot;Wenchang Tower&amp;quot; is against the actual architectural characteristics. In fact, the meanings of &amp;quot;pavilion&amp;quot; and &amp;quot;tower&amp;quot; have both similarities and differences. According to the Oxford dictionary, Tower means &amp;quot;a tall narrow building or part of a building, especially of a church or castle&amp;quot;, mainly referring to the tower-shaped part of a building, usually a tall and slender structure, such as the Eiffel Tower. &amp;quot;Pavilion&amp;quot; means &amp;quot;a building that is meant to be more beautiful than usual, built as a shelter in a park or used for concerts and dances&amp;quot;. The top structure of the pavilion usually has rectangles, triangles, hexagons, etc. The common feature of them is that the top is supported by columns without walls. From the external structure of Wenchang pavilion, its bottom is solid and its top is supported by columns. Therefore, the pavilion can accurately reflect the architectural characteristics of Wenchang pavilion, so I think it should be translated as Wenchang pavilion.&lt;br /&gt;
&lt;br /&gt;
===3.2 Historical culture. ===&lt;br /&gt;
3.2 Historical culture. &lt;br /&gt;
The accurate Chinese-English translation of the introduction of the Summer Palace not only enables foreign tourists to understand the characteristics of Chinese gardens, but also enables foreign tourists to understand the historical knowledge of a specific period of China. However, the Chinese-English translation of the Summer Palace still has problems in accurately conveying the historical background of the scenic spots, such as the English translation of Wenchang pavilion scenic spot:&lt;br /&gt;
(4)	此景区始建于清乾隆十五年，一八六零年被英法联军烧毁，光绪时按原样重建。阁结构为八面三层四重檐，通高36.44米，耸立于20米高的石造台基上，气势雄伟，是颐和园全园的构图中心。阁内供奉有铜铸金裹千手观世音菩萨站像。像高五米，重万斤，为明代万历年间所造，在八根贯通全阁上下的承重铁梨木擎天柱的衬托下，美妙庄严，熠熠生辉，有极高的文物和艺术价值。&lt;br /&gt;
Translation: The Wenchang tower was first built in 1750 and rebuilt under Emperor Guangxu after  the Anglo-French Allied Forces builted it down in 1860. The octahedral tower has three stories with four-layered eaves, altogether 36.44 meters high. Standing upright on a 20 meter-high stone foundation, it constitutes the center of the Summer Palace landscape and serves to accentuate its magnificence. A statue of the thousand-handed Guanshiyin Buddha, cast in bronze and gilded with gold, stands inside the tower. The statue, five meters high and five tons in weight, was cast during the reign of Emperor Wanli of the Ming Dynasty. Set off by the eight imposing pillars which support the tower, it glows with beauty, grandeur and brilliance. Its historical, cultural and artistic value can hardly be overstated.&lt;br /&gt;
Analysis: “始建于乾隆十五年”only was translated into “was first built in 1750” and the “光绪年间重建” was translated into “rebuilt under Emperor Guangxu”.The first sentence does not show that 1750 was the fifteenth year of the reign of emperor Qianlong, and the second sentence does not give foreign visitors the exact date of the reign of emperor Guangxu. The change of time concept and the disunity of expression easily make foreign tourists feel confused. Therefore, the translation of the time and the historical dynasties should be accurate and meticulous, and the supplementary method should be used to not only describe the dynasties clearly, but also supplement the corresponding years, so as to achieve the standardization of the translation. In this way, foreign tourists can not only be clear about the time of the event, but also understand the Chinese historical dynasties. Consider as follows: the Wenchang Pavilion was first built in 1750 during Emperor Qianlong’s reign（1735- 1795）and rebuilt in 1886 under Emperor Guangxu（1875- 1908）after the Anglo- French Allied Forces burned it down in 1860.&lt;br /&gt;
&lt;br /&gt;
===3.3 Religious culture. ===&lt;br /&gt;
3.3 Religious culture. &lt;br /&gt;
Many scenic spots in the Summer Palace have a strong buddhist atmosphere. While visiting the scenic spots, foreign tourists can understand the profound buddhist culture. Wenchang pavilion in the Summer Palace is the representative of Chinese religious culture.&lt;br /&gt;
(5)	主阁两层，内供铜铸文昌帝君和仙童、铜特。文昌阁与万寿山西供武圣的宿云檐象征“文武辅弼”。&lt;br /&gt;
Translation: A bronze statue of the god，Wenchang，and statues of two followers，the celestial boy，and the bronze steed，were placed in the two- storey pavilion. This tower is pared with the tower of Cloud- Retaining Eaves，located to the west of the Longevity Hill，in which a statue of the Martial God was placed. The two towers symbolize the support by both scholars and warriors to the ruling emperor.&lt;br /&gt;
Analysis: It is well known that westerners believe in theism, which refers to god as supreme . In Chinese religious culture, people believe in atheism and do not believe in the existence of god. Therefore, it is inappropriate to translate &amp;quot;文昌帝军&amp;quot; and &amp;quot;武圣&amp;quot; into &amp;quot;the god, Wenchang&amp;quot; and &amp;quot;the Martial god&amp;quot; in the translation. In fact, the &amp;quot;文昌帝军&amp;quot; was Zhang yu, an emperor of Shu of Ning kang (374). And &amp;quot;武圣&amp;quot; refers to Guan yu in history. Therefore, the simple translation of  &amp;quot;God&amp;quot; is not in line with the traditional Chinese culture, which will not only cause western tourists to misunderstand that Chinese religious tradition also believes in God, but also fail to convey Chinese historical allusions and relevant historical figures. In contrast, if &amp;quot;文昌帝军&amp;quot; is translated as &amp;quot;the emperor, Wenchang&amp;quot; and &amp;quot;武圣&amp;quot; is translated as &amp;quot;the Martial Master (Guanyu)&amp;quot;, it can more faithfully convey the history and religious culture contained in the source language. &lt;br /&gt;
&lt;br /&gt;
===4. Conclusion===&lt;br /&gt;
4. Conclusion&lt;br /&gt;
To sum up, Under the guidance of the skopos rule of functionalist translation theory, translators should have a cross-cultural awareness, fully understand the reading psychology and cultural appreciation needs of target language readers, and use effective translation strategies and methods to achieve the purpose of tourism text translation. Functionalist approach has made a pioneering contribution to the translation of non-literary genres. Functional translation effectively eliminates the disadvantages of traditional word-for-word translation, improves the efficiency of translation, and helps readers to grasp the meaning of the original text.&lt;br /&gt;
 The importance of the translation of the Summer Palace lies in the profound garden culture, historical culture and religious culture. The English translation is not only helpful for international friends to know more about the garden characteristics of the Summer Palace, but also helpful for spreading the long history and profound culture of China. In order to attract target readers and promote traditional Chinese culture, it is not only necessary to carefully explore Chinese culture and history, but also to use the fuctionalist approach appropriately. &lt;br /&gt;
Translation is a complicated process. Functionalist approach stresses the function of the discourse, the purpose of translation. In the practice of translation, if the translator can get rid of the bondage of the original equivalence, actively playing to subjective initiative, fully understanding the original text, depending on the purpose of discourse and adopting different translation strategies, the effect and readability of translation can be improved.&lt;br /&gt;
&lt;br /&gt;
===References===&lt;br /&gt;
References&lt;br /&gt;
Hans Vermmer, “Skopos and Commission in Translation Action”, in the Translation Studies Reader,ed. Chesterman, London and Network:Routledge,p.221-232. 2000.   &lt;br /&gt;
Munday, Jeremy. Introducing Translation Studies: Theories and Applications. Routledge publishing.2001.&lt;br /&gt;
Mason, “Textual Practices and Audience Design: and Interactive View of the Tourist Brrochure”. In Navarro et al.(eds.). Pragmatics at Work: The Translation of Tourist Literature. Bern: Perter Lang. 157-176.2004.&lt;br /&gt;
Nord, Text Analysis in Translation: Theory, Methodology and Didactic Application of a Model for Translation-Oriented Text Analysis. Beijing: Foreign Language Teaching and Research Press. 2006.&lt;br /&gt;
Nord, Translating as a purposeful activity. Shanghai: SFLE PRESS, 2001:27,30,32,65,245.&lt;br /&gt;
Reiss, Katharina. Translation Criticism: The Potentials &amp;amp; Limitations. Shanghai Foreign Language Education Press. Shanghai. 2004.&lt;br /&gt;
Venuti, Lawrence. The Translator’s Invisibility: A History Translation. Routledge.1995.&lt;br /&gt;
方梦之、毛忠明， 英汉—汉英应用翻译教程，上海: 上海外语教育出版社，2004.&lt;br /&gt;
金惠康，跨文化旅游翻译，中国对外翻译出版公司，2004.  &lt;br /&gt;
贾文波，应用翻译功能论，北京：中国对外翻译出版公司，2004&lt;br /&gt;
孙艺风，文化翻译的困惑与挑战，中国翻译，2016年第3期.  &lt;br /&gt;
王宏志，翻译与创作，北京大学出版社，2000.&lt;br /&gt;
吴自选，德国功能派翻译理论与 CNN 新闻短片英译，中国科技翻译, 2005.&lt;br /&gt;
谢天振，当代国外翻译理论，天津：南开大学出版社，2005.&lt;br /&gt;
张南峰，走出死胡同建立翻译学. 中国翻译, 1995.&lt;br /&gt;
仲伟合，钟钰. 德国的功能派翻译理论. 中国翻译, 1999.&lt;br /&gt;
张美芳，功能加忠诚—介评克里丝汀· 诺德的功能翻译理论.上海外国语大学学报, 2005.&lt;br /&gt;
&lt;br /&gt;
==Contrast between Literal Translation and Free Translation	张雪仪	Zhang Xueyi==&lt;br /&gt;
'''Abstract：'''&lt;br /&gt;
&lt;br /&gt;
The contrast between literal translation and free translation has always been the most discussed problem in translation studies. To compare these two translation methods, the basic point is to understand the purpose of translation. The ultimate goal of translation is to help different cultures communicate better, so that people who speak different languages can understand each other’s cultures. Due to the differences in social, historical and cultural backgrounds between languages, how to choose between the two translation strategies of literal translation and free translation requires translators to weigh the strengths and weaknesses of these two methods. This essay mainly compares literal translation and free translation between Chinese and Russian to help students and translators translate better.&lt;br /&gt;
&lt;br /&gt;
'''Key words：'''&lt;br /&gt;
&lt;br /&gt;
Translation strategies, Literal translation,Free translation &lt;br /&gt;
&lt;br /&gt;
'''摘要：'''&lt;br /&gt;
&lt;br /&gt;
直译与意译间的对比一直是翻译学中讨论度最高的问题。想要将这两种翻译方法进行对比，最基本的一点就是要明白翻译的目的是什么。翻译的最终目的在于帮助不同文化进行更好的交流，让使用不同语种的人相互理解彼此的文化。由于语种间社会历史文化背景的差异，如何在直译和意译这两种翻译策略中做出选择，就需要译者衡量两种方法的利弊。本文主要对汉语和俄语间直译和意译进行比较，以帮助学生和译者更好地进行翻译实践。&lt;br /&gt;
&lt;br /&gt;
'''关键词：'''&lt;br /&gt;
&lt;br /&gt;
翻译策略，直译，意译&lt;br /&gt;
&lt;br /&gt;
'''1.Introduction'''&lt;br /&gt;
&lt;br /&gt;
The former Soviet Union translation theorist Fedorov believed: “Translation is an activity that expresses what has been used in one language as a unified whole of content and form, and accurately and completely expressed in another language.” Translation theorist Barr Hudarov also wrote: &amp;quot;Translation is the process of changing the coherent discourse of one language into the coherent discourse of another language while maintaining its content and meaning.&amp;quot; To some extent, translation is a process of thinking re-creation, so certain standards and principles must be followed when translating. Translation standard is a measure of the quality of translation, it can guide translation practice, and it is a principle that must be followed in translation activities. Although each scholar has different opinions on the standard of translation, the final result he pursues is the same: the original text and the translated text express the same effect. In order to achieve the same effect, different translation methods have been derived, of which literal translation and free translation are the most commonly used.&lt;br /&gt;
&lt;br /&gt;
Russian idioms and proverbs, as the crystallization of the wisdom of the Russian nation and the immortal fossils in the Russian language, are one of the best materials for the Chinese to understand and learn Russian history, culture, and society. Due to different geographical, historical and economic conditions, the Russian and Chinese ethnic groups have formed different cultural backgrounds. These distinctive backgrounds and characteristics have caused great difficulties for Chinese learning Russian to further understand Russia. This essay studies the basic definitions of literal translation and free translation, their respective advantages and disadvantages and their mutual relations, and strive to solve how to use the translation methods of literal and free translation to properly translate Russian idioms and proverbs, and how to reflect the cultural background and language characteristics of Russian idioms and proverbs in the translation .&lt;br /&gt;
&lt;br /&gt;
'''2.Different views of &amp;quot;literal translation&amp;quot; and &amp;quot;free translation&amp;quot;'''&lt;br /&gt;
&lt;br /&gt;
In different periods and different countries, people's views on translation theory have changed a lot, but the debate about literal translation and free translation has always existed.&lt;br /&gt;
&lt;br /&gt;
In China, the contradiction between literal translation and free translation may initially be due to the different understanding of these two translation methods. The translator Sun Guiding believes that: literal translation is stuck to the structure of the original text and does not consider whether the Chinese is fluent and natural; while free translation is to use the inherent Chinese idioms and the most natural words and sentences as much as possible to achieve the effect of conveying the meaning of the original text. Former President of Wuhan University, Du Zuozhou, believes that literal translation means translating word by word according to the original text; free translation means translating according to the meaning of the original text, and the translation is more suitable for the common grammar of the translated language. The educator Meng Xiancheng believes that literal translation is a translation technology with different degrees of correctness. Literal translation is a translation that is faithful and correct according to the original text; free translation is a translation that summarizes the original meaning. Zhu Guangqian said: &amp;quot;The so-called 'literal translation' refers to the literal translation based on the original text. Every word and sentence are translated word by word, and the order of the words and sentences is not changed. The so-called ‘paraphrasing’ is to express the meaning of the original text in Chinese, and it does not have to be completely based on the literal and order of the original text. &amp;quot; The principle of &amp;quot;faithfulness, expressiveness and elegance&amp;quot; put forward by the modern Chinese translator Yan Fu has long been the basic principle guiding translation practice. A large number of beginners who learn foreign languages regard &amp;quot;faithfulness and expressiveness&amp;quot; as translations that are completely faithful to the original text when translating. In fact, Yan Fu's translation requirements are a guiding principle for translation based on semantics. When translating, if the structure and expression of the original text cannot be directly adopted, the sentence structure and expression must be changed according to the characteristics of the target language. In addition, there are many differences between the original language and the target language in the word order, grammar, variants and rhetoric in the translation process. In many cases, there is no direct corresponding word. This requires the translator to consider the actual semantics, background and other factors. On the basis of the original meaning of the sentence, use an appropriate method to convey the content of the original work and reproduce the language style of the original work.&lt;br /&gt;
&lt;br /&gt;
In the Soviet Union, under the influence of ideology, Western translation theories could not be widely disseminated, but within the Soviet Union, translation theories similar to Western translation theories have been formed and developed, and two main schools of translation theory have been further differentiated — Linguistic Translation School and Literary Translation School. To a certain extent, the dispute between these two schools also reflects the debate on literal translation and free translation among translators' groups. In terms of the principles or standards of translation, the linguistic translation school believes that an ideal translation should be an equivalent translation, first of all linguistic correspondence, that is, the translation should have the same meaning as the corresponding language or discourse unit of the original; the literary translation school believes that translation pursues artistic correspondence, and linguistic correspondence must be subordinate to artistic correspondence. Therefore, it proposes that the aesthetic standards of translation should reproduce the artistic reality reflected by the unity of the original content and form. The characteristic is to use images to translate images, that is, to create the same image in different languages. In 1953, Andrei Venediktovich Fedorov, the leader of the linguistic translation school, published his work &amp;quot;Summary of Translation Theory&amp;quot;, which was the first monograph of the Soviet Union to study translation theory from the perspective of linguistics. The author proposes that translation theory is a branch of linguistics. Since the translation of any genre work must rely on the comparison of two languages, translation problems can only be solved in the field of language. Fedorov’s view was refuted by the literary translation school represented by Ivan Alexandrovich Kashikin. The literary translation school believes that aesthetic issues are the core of literary translation theory, and translation should be regarded as a form of language art, that is, translation should be studied from the perspective of literature and art. In fact, the literary translation school emphasizes the translation of literary and artistic works, which belongs to the specific translation theory; while the research of the linguistic translation school focuses on the general translation theory, that is, the translation of all thematic works including literary works. The dispute between the two major translation theory schools of Russia and the Soviet Union provides another perspective for Chinese translators to explore the relationship between literal translation and free translation.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
'''3.The application of literal translation and free translation in the Chinese translation of Russian idioms'''&lt;br /&gt;
&lt;br /&gt;
The idioms of different nationalities are the most dynamic and expressive units at the lexical level in different languages, and they are also the units that can best reflect the characteristics of national culture in languages. The number of Russian idioms is extremely rich, it records and reflects all aspects of Russian national life. Due to the great differences in geographical locations and living customs between China and Russia, the national cultures reflected in Chinese and Russian must be quite different. One of the difficulties in idiom translation is its imagery. When translating idioms, both the meaning and the image must be considered. Although the Chinese and Russian cultures are very different, many of the commonalities of mankind, such as emotion and natural environment, have created conditions for mutual communication, mutual understanding and idiom translation between different languages.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
'''3.1 Literal translation'''&lt;br /&gt;
&lt;br /&gt;
Generally speaking, the literal translation method refers to a translation method that directly translates the original text without changing the language characteristics and style of the original text on the basis of fully respecting the meaning of the original text. Chinese translation of Russian idioms by literal translation method has the advantage of being able to intuitively and faithfully express the meaning of the idiom, maintaining the unique style and imagery of the original text: the disadvantage is that the translated idiom may not be understood by the Chinese because of China and Russia have different historical, cultural backgrounds, grammatical structures, and language world landscapes, which can easily form obstacles in the process of understanding.&lt;br /&gt;
&lt;br /&gt;
Translating Russian idioms by literal translation is further divided into two methods — literal translation into Chinese idioms and literal translation into non-idiom sentences or words.&lt;br /&gt;
&lt;br /&gt;
Literal translation of Russian idioms into Chinese idioms is suitable for the translation of Russian and Chinese idioms that are completely equivalent in image, structure, and meaning. The advantage is that it is easy to understand, and the translation is simple and fast. E.g:&lt;br /&gt;
&lt;br /&gt;
(1)домашнего  (своего) вора не убережешься. 家贼难防&lt;br /&gt;
&lt;br /&gt;
(2)знать как свои пять пальцев (видно, как на ладони) 了如指掌&lt;br /&gt;
&lt;br /&gt;
(3)подлить масла в огонь 火上浇油&lt;br /&gt;
&lt;br /&gt;
(4)как рыба в воде 如鱼得水&lt;br /&gt;
&lt;br /&gt;
(5)как ножом по сердцу 心如刀割&lt;br /&gt;
&lt;br /&gt;
(6)как гром среди ясного неба 晴天霹雳&lt;br /&gt;
&lt;br /&gt;
(7)на добро отвечают добром 善有善报&lt;br /&gt;
&lt;br /&gt;
(8)копейка рубль бережет 财从细起&lt;br /&gt;
&lt;br /&gt;
(9)мечты сбываются 梦想成真&lt;br /&gt;
&lt;br /&gt;
(10)курица всегда следует за петухом 嫁鸡随鸡&lt;br /&gt;
&lt;br /&gt;
(11)чего мало, того и дорого  (дорого то, что мало) 物以稀为贵(12)&lt;br /&gt;
&lt;br /&gt;
(12)изгонять яд с помощью яда 以毒攻毒&lt;br /&gt;
&lt;br /&gt;
(13)сидеть как на иголках 如坐针毡&lt;br /&gt;
&lt;br /&gt;
(14)действия громче слов 事实胜于雄辩&lt;br /&gt;
&lt;br /&gt;
(15)зарыть талант в землю 埋没人才&lt;br /&gt;
&lt;br /&gt;
(16)висеть на волоске 千钧一发&lt;br /&gt;
&lt;br /&gt;
(17)лить как из ведра 倾盆大雨&lt;br /&gt;
&lt;br /&gt;
The idioms in the above examples are completely equivalent in image, structure or meaning in Russian and Chinese, so Chinese idioms can be used for literal translation. &lt;br /&gt;
&lt;br /&gt;
In fact, in the two languages, idioms with the same image, structure, and meaning are still in the minority, so it is more common to translate Russian idioms into non-Chinese idiom sentences or vocabulary. E.g:   &lt;br /&gt;
&lt;br /&gt;
настоять на своем 坚持自己&lt;br /&gt;
&lt;br /&gt;
камень с души свалился 心里的一块石头落地&lt;br /&gt;
&lt;br /&gt;
связать свою судьбу 把自己的命运与……相连&lt;br /&gt;
&lt;br /&gt;
быть на голову 高出一头&lt;br /&gt;
&lt;br /&gt;
вбивать в голову 往脑子里灌&lt;br /&gt;
&lt;br /&gt;
блеснуть метеором 像流星一样一闪而过&lt;br /&gt;
&lt;br /&gt;
с мизинец 小拇指这么大&lt;br /&gt;
&lt;br /&gt;
It is not difficult to find that the literal translation method can completely retain the original appearance of the idiom, show the common concept of human understanding of the world, and be beneficial to the cultural exchange between China and Russia.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
'''3.2 Free translation'''&lt;br /&gt;
&lt;br /&gt;
Another method commonly used in the Chinese translation of Russian idioms is free translation. Free translation is to readjust the structure of the original text on the basis of keeping the original meaning of the idiom unchanged, and then reconstruct the Russian idiom with the way of thinking and expression in Chinese. This is because the figurative images used in many Russian idioms are inconsistent with those used in Chinese. If the original image is used in translation, it will cause a barrier to understanding. The advantage of free translation of Russian idioms is that it eliminates obstacles to understanding, but the disadvantage is that it cannot completely retain the original style and cultural characteristics. E.g:&lt;br /&gt;
&lt;br /&gt;
(1)В Тулу со свим самоваром не ездят.&lt;br /&gt;
直译：去图拉不用带自己的茶炊。&lt;br /&gt;
意译：多此一举&lt;br /&gt;
&lt;br /&gt;
(2)Честь лучше бесчестья.&lt;br /&gt;
直译：尊重比不尊重好。&lt;br /&gt;
意译：礼多人不怪。&lt;br /&gt;
&lt;br /&gt;
(3)словно горя с плеч&lt;br /&gt;
直译：把山从肩膀下卸下&lt;br /&gt;
意译：如释重负&lt;br /&gt;
&lt;br /&gt;
(4)выеденного яйца не стоит&lt;br /&gt;
直译：一个空蛋壳不值钱&lt;br /&gt;
意译：鸡毛蒜皮，一文不值&lt;br /&gt;
&lt;br /&gt;
(5)чужими руками жар загребать&lt;br /&gt;
直译：用别人的手将红炭火拨成一堆&lt;br /&gt;
意译：坐享其成，不劳而获&lt;br /&gt;
&lt;br /&gt;
(6)ни рыба, ни мясо&lt;br /&gt;
直译：没有鱼也没有肉&lt;br /&gt;
意译：不三不四，不伦不类&lt;br /&gt;
&lt;br /&gt;
(7)лучше синица в руках, чем журавль в небе&lt;br /&gt;
直译：天上的仙鹤不如手中的山雀&lt;br /&gt;
意译：远亲不如近邻&lt;br /&gt;
&lt;br /&gt;
(8)На языке мед, а под лед&lt;br /&gt;
直译：嘴上甜得像蜂蜜，心里冷得像冰&lt;br /&gt;
意译：笑里藏刀&lt;br /&gt;
&lt;br /&gt;
(9)И на солнце есть пятна&lt;br /&gt;
直译：太阳上也有黑点&lt;br /&gt;
意译：人无完人&lt;br /&gt;
&lt;br /&gt;
(10)семь раз отмерь, один раз отрежь&lt;br /&gt;
直译：测量了七次后再剪裁&lt;br /&gt;
意译：三思而后行&lt;br /&gt;
&lt;br /&gt;
Using free translation to translate Russian idioms requires the translator to accurately understand the meaning of the original text, because cultural differences make it impossible to literally translate. Only through the translator can an unobstructed bridge between Russian idioms and Chinese idioms be built.&lt;br /&gt;
&lt;br /&gt;
'''4.The application of literal translation and free translation in the Chinese translation of Russian proverbs'''&lt;br /&gt;
&lt;br /&gt;
There are often multiple translations of the same Russian proverb in Russian-Chinese dictionaries. On the one hand, because the translator uses different translation methods; on the other hand, because Russian proverbs have very rich connotations, a translation cannot perfectly interpret the inner meaning of the proverb. According to the context and the connotation of the proverbs, the most commonly used methods of Chinese translation of Russian proverbs are literal translation and free translation.&lt;br /&gt;
&lt;br /&gt;
'''4.1 Literal translation'''&lt;br /&gt;
&lt;br /&gt;
In Russian and Chinese languages, some proverbs not only have the same meaning or implicit meaning, but also use the same or similar figurative images to express a certain kind of the same semantics, and they are completely consistent in content and form. In this case, the equivalent translation of synonymous Chinese proverbs can convey the information contained in the original image, which not only retains the rhetorical color of the original language, but also enables the reader to perfectly understand the original text. E.g:&lt;br /&gt;
&lt;br /&gt;
(1)Куй железо, пока горячо. 趁热打铁。&lt;br /&gt;
&lt;br /&gt;
(2)Беда не приходит одна. 祸不单行。&lt;br /&gt;
&lt;br /&gt;
(3)Сытый голодного не разумеет. 饱汉不知饿汉饥。&lt;br /&gt;
&lt;br /&gt;
(4)Век живи, век учись. 活到老，学到老。&lt;br /&gt;
&lt;br /&gt;
(5)Выше встанешь, дальше увидишь. 站得高，看得远。&lt;br /&gt;
&lt;br /&gt;
(6)Лучше один раз увидеть, чем сто раз услышать. 百闻不如一见。&lt;br /&gt;
&lt;br /&gt;
(7)Нет дыма без огня. 无火不生烟。&lt;br /&gt;
&lt;br /&gt;
(8)Шила в мешке не утаишь. 口袋藏不住锥子。&lt;br /&gt;
&lt;br /&gt;
(9)Береги платье снову, а честь смолоду. 衣服要从新的时候爱惜，荣誉要从年轻时珍惜。&lt;br /&gt;
&lt;br /&gt;
(10)Выше лба уши не растут. 耳朵高不过额头。&lt;br /&gt;
&lt;br /&gt;
(11)Для милого друга семь верст не околица. 为了好友，多绕七里也不嫌远。&lt;br /&gt;
&lt;br /&gt;
(12)Как Новый год встретишь, так его и проведешь. 怎么迎新年，就怎么过一年。&lt;br /&gt;
&lt;br /&gt;
(13)Лучше умереть стоя, чем жить на коленях. 宁愿站着死，绝不站着生。&lt;br /&gt;
&lt;br /&gt;
(14)Не имей сто рублей, а имей сто друзей. 宁要一百个朋友，不要一百个卢布。&lt;br /&gt;
&lt;br /&gt;
По одежке встречают, по уму провожают. 迎客时看衣，送客时看才智。&lt;br /&gt;
&lt;br /&gt;
==Dialectical thinking in arguments between literal translation and free translation 	甘奉玉	Gan Fengyu==&lt;br /&gt;
&lt;br /&gt;
===Abstract===&lt;br /&gt;
  As two methods of translation, how to use literal translation and free translation has always been the focus of debate between Chinese and Western translation circles. Through the study of translation methods of literal translation and free translation at home and abroad, we can know that to some extent literal translation and free translation are two relative conceptions, so there will be word-for-word translation, that is, dead translation, and excessive free translation. However, these two are only two extremes of literal translation and free translation. In fact, although there are differences in definitions and application fields between literal translation and free translation, they are unified in common translation purpose, translation procedure and translation standard. Therefore, the two are contradictory and unified in translation activities. This is also the profound embodiment of the unity of opposites in materialist dialectics.--[[User:Gan Fengyu|Gan Fengyu]] ([[User talk:Gan Fengyu|talk]]) 07:46, 10 November 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
===Key words===&lt;br /&gt;
literal translation, free translation, word-for-word translation, over free translation, unity of opposites&lt;br /&gt;
&lt;br /&gt;
===摘要===&lt;br /&gt;
  作为翻译方法，直译(literal translation)与意译(free translation)怎样使用的问题一直是一个争论中西方翻译界不休的焦点。通过对国内外直译与意译的翻译方法的研究，我们可以得知，从某种程度而言，直译与意译是两个相对的概念, 所以才会有逐字翻译，即死译，与过度意译这两个完全对立的概念。但是，这两者只不过是直译与意译的两个极端点。其实，直译和意译虽然在概念定义，适用范围上有所差异，但却又统一于共同的翻译目的、翻译过程和翻译标准中。所以两者在翻译活动中应该是既对立又统一的矛盾体。而这也正是唯物辩证法中的对立统一矛盾观的深刻体现。--[[User:Gan Fengyu|Gan Fengyu]] ([[User talk:Gan Fengyu|talk]]) 07:50, 10 November 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
===关键字===&lt;br /&gt;
直译； 意译； 死译； 过度意译； 对立统一&lt;br /&gt;
&lt;br /&gt;
===Introduction===&lt;br /&gt;
  Throughout the translation history at home and abroad, the literal translation and free translation have always been a heat discussion in the translation circles. Someone absolutely approve literal translation and demean free translation, even pursue a dead translation, which creates an translated text difficult to understand. While some other people absolutely agree with free translation even advocate random acts, which means a random deletion in the translation practices and creates anther entirely different text. However, there are also a number of translators who have recognized that these two translation methods are not totally opposite. So they adopt a compromise and flexible way. That means they will choose the most appropriate one depending on the text demanding. Therefore, we can deduce from it that this eclectic translation is consistent with the Contradiction view of Unity of Opposite in Materialist Dialectics. In fact, literal translation and free translation are right a set of contradictions which are both opposite and unified. They complement each other into an integral one.&lt;br /&gt;
&lt;br /&gt;
===1.Dialectic thinking of the Unity of opposites===&lt;br /&gt;
===2.Word-for-word translation===&lt;br /&gt;
===3.Over free translation===&lt;br /&gt;
===4.Eclectic translation===&lt;br /&gt;
===5.Opposition and unity between literal translatiuon and free translation===&lt;br /&gt;
&lt;br /&gt;
===5.1 Opposition===&lt;br /&gt;
&lt;br /&gt;
===5.1.1 Opposition in definition===&lt;br /&gt;
&lt;br /&gt;
===5.1.2 Opposition in application fileld===&lt;br /&gt;
&lt;br /&gt;
===5.2 Unity===&lt;br /&gt;
===5.2.1 Unity in translation goal===&lt;br /&gt;
===5.2.2 Unity in translation procedure===&lt;br /&gt;
===5.2.3 Unity in translation standard===&lt;br /&gt;
===6.Conclusion===&lt;br /&gt;
===Bibliography===&lt;br /&gt;
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== Peter Newmark’s Improved Views on Literal Translation and Free Translation 赵茜 Zhao Xi==&lt;br /&gt;
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='''Document Translation'''=&lt;br /&gt;
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==On translation of official documents of CangNan County	吴恺	Wu Kai==&lt;br /&gt;
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On Translation of Official Documents of Cangnan County&lt;br /&gt;
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Japanese Language and Literature, School of Foreign Languages, Hunan Normal University, Wu Kai--[[User:Wu Kai|Wu Kai]] ([[User talk:Wu Kai|talk]]) 04:45, 2 December 2020 (UTC)&lt;br /&gt;
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==='''Abstract'''===&lt;br /&gt;
As one of the forefronts of Zhejiang’s opening-up cause, Cangnan County in Zhejiang Province has been enjoying a rapid development and an ever-growing degree of opening-up with lasting vitality as it’s supported by national policies and nourished by the dividends of economic globalization since China's reform and opening-up. As China has ushered in a period of major changes rarely seen in a century, Cangnan County is also facing new opportunities and challenges. Under the background of this era, Cangnan County is expected to make good use of its own advantages, especially the geographical ones—it is close to countries and regions including Japan, South Korea, and Taiwan—and should spare no efforts to achieve a higher level of opening-up, and, in turn, further promote its development. As an embodiment of the collective will of the people of Cangnan County, the official document is one of the best manifestations of its governance and stability control capabilities. For this reason, the research on how to translate official documents is of great significance for that it offers a great opportunity for Cangnan County to re-examine itself and to show the rest of the world its achievement in building a culture-enriched county.&lt;br /&gt;
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==='''Key words'''===&lt;br /&gt;
 official document translation, Cangnan County, opening-up, Japan, South Korea&lt;br /&gt;
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==='''摘要'''===&lt;br /&gt;
自中国改革开放以来，浙江省苍南县作为全浙江对外开放的前沿阵地之一，得到了国家政策支持和经济全球化红利的滋润，苍南县发展水平与对外开放程度日新月异，全县活力持久带劲。随着中国迎来“百年未有之大变局”，苍南县也面临着新的机遇和挑战，在此时代背景下，苍南县应该利用好自身优势，特别是临近日本、韩国、台湾等国家与地区的地理优势，努力开展更高层次、更高水平的对外开放事业，促进苍南更好的发展。为此，作为苍南县人民集体意志的体现，苍南县的公文就是对外展示其治理水平、稳控能力的最好的体现之一。而对于苍南县公文的如何翻译的研究，是促使苍南县重新审视自己、推进苍南人文县情传播海外的良机，意义重大。&lt;br /&gt;
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==='''关键词'''===&lt;br /&gt;
公文翻译  苍南县  对外开放  日本  韩国&lt;br /&gt;
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==='''I. System and Translation of Official Documents of Cangnan County'''===&lt;br /&gt;
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The unique official document system adopted by Chinese government agencies is a special integration of the thousands-of-years excellent political traditions in China and the essence of the organizational structure of the socialist regime. As a county-level unit in China's local administrative structure, Cangnan County has an official document system that is consistent with the national ones in general while has its own features. Official documents of Cangnan County can be basically divided into the following types of writing: resolutions, decisions, orders, bulletins, announcements, notifications, opinions, notices, reports, requests for instructions, approvals, proposals, letters, and minutes. Above-mentioned categories are collectively known as official documents. Besides, there are also some types of practical writing, including summaries, plans, notes, memos, briefings, speeches, manuals and so on, that are often used in our day-to-day work.&lt;br /&gt;
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In addition to those characteristics of the official documents that are commonly seen in China, official documents of Cangnan County also have its own features, which is mainly reflected in the aspect of proprietary terminology. Cangnan County, which used to be a part of Pingyang County in Zhejiang Province, was officially designated as a county in 1981 with the approval of the Central Government. It takes its name Cangnan, which means “on the south of the Yucang Mountain”, from its geographical location. As a relatively young county-level administrative unit in China’s administrative divisions, Cangnan County has a complex natural endowment and cultural environment, which is the reason why there are many special proprietary terms used in the official documents of Cangnan County, such as “Beautiful South Gate of Zhejiang Province”, “Southern Ouyue (an ancient kingdom in modern Wenzhou and Taizhou)” , “South Gate of Jiangsu-Zhejiang Region” and so on. Moreover, Cangnan is also the birthplace of the “Wenzhou Model”. Since the implementation of policy for the exchange of production materials and commercial grains in 1984, Cangnan has become an important base for the experiments and development of Wenzhou's private economy and market economy, and, thus, has made a significant contribution to the great cause of China's reform and opening-up.&lt;br /&gt;
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To conclude, the unity of the official document system viewed from the national scope of China and the uniqueness of the official document system viewed from the local scope of Cangnan area are both reflections of the integration of economic, political, and cultural elements. Therefore, when translating the terms and sentences in these official documents, obviously, it is almost impossible to follow general translation theories, such as Yan Fu’s “faithfulness, expressiveness and elegance” theory which applies to literature translation, and Christiane Nord’ Skopos theory which emphasizes schematic analysis. Due to the features of the official documents of Cangnan County, it is hard to imagine the consequence it will cause if those Cangnan and Chinese elements they contain are missed when translating them. Therefore, the starting point for the translation and research of Cangnan official documents should be analyzing the official document itself, but not choosing which translation theory to apply.&lt;br /&gt;
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The translation method focusing on the official documents themselves is undoubtably the one that emphasizes the content while manages to achieve a similarity in form. Thus, the translation theory that meets the requirements of official document translation in Cangnan County shall be the functional equivalence theory of the American linguist Eugene A. Nida. Eugene A. Nida argued in his theory that translation is to use the most appropriate, natural and equivalent language to reproduce the informational function of the source language both semantically and stylistically. Nida’s definition of translation specified that translation is seeking equivalence not only in lexical meaning, but also in semantics, style and literary form. Translation should convey both the denotative and connotative meaning of a message. Regarding the equivalence of translation, he believed that the equivalence consists of four parts: lexical equivalence, syntactic equivalence, textual equivalence, and stylistic equivalence. Among the four aspects, he emphasized that the meaning the core and most important part, followed by the form. The form of a text is likely to conceal the cultural connotation of the source language and may, therefore, hinder cultural exchanges. Based on the above, the reasons why the functional equivalence theory is applicable to official document translation in Cangnan County can be concluded as follows:&lt;br /&gt;
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First, the functional equivalence theory advocates that the target text should be equivalent to the source text both semantically and culturally. Official documents of Cangnan County are carriers of profound political culture with Chinese characteristics and the cultural environment in Cangnan. When translating them, in addition to showing the political consciousness and judicial authority of Cangnan government agencies, the local culture of Cangnan must also be reflected in the translations.&lt;br /&gt;
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Second, the functional equivalence theory suggests that if the lexical meanings and cultural elements cannot be taken into account at the same time, the translator then may give up the equivalence in form and try to reproduce the semantic and cultural meaning of the source text by changing the form of the sentence. There are many specialized terms with Chinese characteristics and Cangnan’s characteristics in official documents of Cangnan County. When translating them, once there is no corresponding expression in the target language, other forms of expression must be adopted to retain the meanings of those specialized terms as much as possible.&lt;br /&gt;
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Third, the functional equivalence theory proposes that if the change in form is still not enough to express the semantic and cultural meaning of the expression in the source language, the translation technique of “heavy damage” can be adopted to resolve cultural differences , so that the source language and the target language can achieve equivalence in semantic meaning. “Heavy damage” refers to the transformation of the deep structure of the source language into the surface structure of the target language, that is, expressing the cultural connotation of the source text with expressions of the target language. It cannot be ruled out that there are words and sentences in the official document of Cangnan County that cannot be translated, and when this happens, the translator can only rely on his translation techniques and understanding ability to process them creatively.&lt;br /&gt;
Above are simply macro analyses of the official document system in Cangnan County, and when it comes to specific analyses, challenges we face will only be severer.&lt;br /&gt;
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==='''II. Stylistic Features and Translation of Official Documents in Cangnan County'''===&lt;br /&gt;
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Looking at the official documents of Cangnan County from the micro level, we can work on the study of its translation based on the following characteristics.&lt;br /&gt;
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'''1. Details and Accurate'''&lt;br /&gt;
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As an officially-written document geared for the needs of our people, wording of the official documents of Cangnan County has a very specific orientation. Almost all content words have very clear meanings and connotations.&lt;br /&gt;
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For example, the sentence “经研究，县政府决定召开市对县安全生产巡查反馈会暨突出问题集中教育警示会，现将有关事宜通知如下。(As discussed, the county government decided to convene a feedback meeting on city-to-county inspections of production safety and a meeting for education and warning on outstanding issues. The relevant matters are hereby notified as follows.)” in the document 《苍南县人民政府办公室关于召开市对县安全生产巡查反馈会暨突出问题集中教育警示会的通知》(“Notice of the Office of the People's Government of Cangnan County on Convening a Feedback Meeting on City-to-County Inspections of Production Safety and A Meeting For Education and Warning On Outstanding Issues”) (the office of the People's Government of Cangnan County on June 8th, 2020) conveys several points very accurately and clearly, including the decision maker, the type, content and theme of the meeting. Therefore, special attention must be paid to the integrity of the information delivered when translating this sentence. For example, it is translated into Japanese as “討議を通じて、県政府は県の安全生産状況に対する市政府の巡査結果反映会及び顕著問題教育警告会を開催することが決定した。関連事項を以下のようにお知らせする。”&lt;br /&gt;
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'''2. Precise and Compact'''&lt;br /&gt;
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The role of official documents is to exchange formal information between the upper and the lower, the people and the officials, and the relevant departments. Therefore, the wording of the official documents must be rigorous. No slang and loose sentences should be used, and excessive use of parentheses and descriptive modifiers should be avoided. Official documents of Cangnan County follow this rule as well, in which there will never be informal expressions like daily spoken words.&lt;br /&gt;
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For example, the expression “三、决策目录施行动态管理，因工作需要增减或变更重大行政决策事项的，承办单位应按照相关规定程序提请调整。(Third, the decision catalogue shall be managed in a dynamic way, the undertaker shall submit application for adjustments in accordance with the relevant regulations if any increase/decrease or change shall be made to the major administrative decision-making matters because of the need of actual work.)” in the document《关于公布苍南县2020年度重大行政决策事项目录的通知》(“Notice on Issuing the 2020 Annual Catalogue of Major Administrative Decision-Making Matters of Cangnan County”) (the office of the People's Government of Cangnan County on Sept. 20th, 2020) When translating this sentence into Japanese, the translator shall fully considers the preciseness of the original expression, and translate it as “三つ目、戦略目録動的管理施行、仕事需要によっての増減または変更が必要な場合、請負機構は関連規定の手順に従って調整を提出しなければならない。”&lt;br /&gt;
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'''3. Programmed and Standardized'''&lt;br /&gt;
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The purpose of official documents requires a stable and routine writing program so that the official business can be conducted in an orderly manner. It is essential that the document writing is reasonably programmed. It allows the officer to know what it is and what to do at a glance if a standardized official document program is followed. The standardization of the official documents of Cangnan County can be regarded as a tricky feature in their translation.&lt;br /&gt;
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For example, the expression “各乡镇人民政府，县政府直属各单位 (the people's government of all townships and towns and all directly affiliated institutions of the people’s government of Cangnan County)” in the document《关于公布苍南县2020年度重大行政决策事项目录的通知》(“Notice on Issuing the 2020 Annual Catalogue of Major Administrative Decision-Making Matters of Cangnan County”) (the Office of the People's Government of Cangnan County on Sept. 20th, 2020) is obviously a standardized addressing of the receiving units of an official document, and it should be translated into Japanese as “各郷鎮人民政府、県政府直属の各部門”.&lt;br /&gt;
Viewing from a micro perspective, we may find that special attention should be paid to many precise details when translating those official documents. It is of great significance that, during the cause of reform and opening-up, we strike a balance between the macro level and the micro level in official document translation, which will serve as a stage for Cangnan County to show itself to Japan, South Korea and other East Asian countries and regions.&lt;br /&gt;
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==='''III. Translation of Official Documents of Cangnan County under the Context of the Japanese Language'''===&lt;br /&gt;
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Cangnan County is one of the nearest administrative units to Japan in China, and Okinawa Prefecture in Japan and Cangnan County are neighbors facing each other across the sea. Furthermore, Cangnan County itself has ports in Xiaguan, Pacao, Yanting, Dayu and other places, and has the basic conditions for conducting small transactions of freights with Okinawa. However, due to the inadequacy policies, laws and regulations, a large portion of Japan’s trade with China, especially with Zhejiang Province, is still conducted in the three port cities, namely Ningbo, Zhoushan, and Hangzhou. Cangnan’s geographical advantages have never been given to full play. To Japan, Cangnan is not a total stranger. Wenzhou City has a great influence upon Japanese culture and history. Special local products such as Wenzhou green tea and Wenzhou satsuma orange are very attractive to Japanese people. Many of the business exchanges during the Kamakura Bakufu in Japan were happened between Hakata merchants and Wenzhou people. As an important subordinate region of Wenzhou City, Cangnan County naturally has left an impression on Japanese people when it comes to China.&lt;br /&gt;
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If Cangnan hopes to lay a foundation for the future cooperation with Japan through its cause of opening up to the outside world, it is of great importance that we study the methods and techniques to make the translation of Cangnan’s official documents to meet the specific context of the Japanese language, which is also a part of the cultural exchanges that will facilitate economic and trade cooperation between Japan and China. The political status of Cangnan County is equivalent to the one of regular cities and special wards in Japan, but this does not mean that the official documents of Cangnan County can be regarded as equivalents to the official documents released by the governments of the regular cities and special wards in Japan, and there are huge differences between their respective official documents in form, wording, Cultural connotation and etc. To better translate Cangnan official documents under the context of Japanese language, the following aspects must be paid attention to:&lt;br /&gt;
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1. Detailed Comparison of Types&lt;br /&gt;
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In the Japanese official document system, the word “公文” is different in meaning from the word “公文” in Chinese official document system. In Chinese “公文” means government official documents, while in Japanese “公文” generally refer to legal documents that have the force of law and the term “公文書” is the one that refers to government official documents, which roughly includes “外交文書” and “起案文”, “通達” , “命令”, “許可”, “通知書” and so on . When translating official documents of Cangnan County into Japanese, attention should be paid to the transformation of the types of the official documents. The classifications of official documents in China and Japan are different from each other.&lt;br /&gt;
For example, when translating documents such as “proposal letter”, “report” and the like into Japanese, the title should be translated as “建言書” and “報告書”, while “命令(order)”, “通知(notice)”, “提案(Proposal)” and etc. need no translation and can be titled with the original characters directly as “命令”, “通知”, “提案”, and can also be further translated into “命令状”, “通知書”, “提案書”. Those reflect the characteristics of the division of the types of the official document system in Japan.&lt;br /&gt;
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2. Careful Consideration of the Translation of Chinese Characters&lt;br /&gt;
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There are a large number of Chinese characters in Japanese. This will for sure be an advantage when translating official documents of Cangnan County into Japanese, however, at the same time, this is also a huge disadvantage. After all, those Chinese characters are Japanized Chinese characters, and their meanings and usages are more or less different from the original ones in Chinese.&lt;br /&gt;
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For example, the expression “设定全县森林防火期(setting the season of forest fire prevention)” in the document 《苍南县应急管理局局长王再忠关于&amp;lt;苍南县人民政府关于做好森林防火期护林防火工作的通告&amp;gt;的政策解读》(“Policy Interpretation Of ‘Notice of Doing Forest Protection and Fire Prevention during the Season of Forest Fire Prevention by the People's Government Of Cangnan County’ by the Director of Cangnan Emergency Management Agency Wang Zaizhong”) in could be translated character by character into Japanese as “全県域森林防火期間設定”. However, expressions such as “野外火源如何管理” cannot be translated in the same way, and must be processed accordingly and translated into Japanese as “野外の火の元が如何に処理すること”. When translating official documents of Cangnan County into Japanese, the translators must reject the preconceived thinking and native Chinese thinking, or it will lead to irreversible misunderstandings and mistakes.&lt;br /&gt;
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3. Mastery of the Equivalence of Semantic Meaning&lt;br /&gt;
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Chinese is an isolating language, in which the grammatical meaning is reflected by the order of words, while Japanese is an agglutinative language, in which auxiliary words and flexible usages of vocabulary are adopted to reflect the grammatical meaning. This requires the translators to have mastery of the equivalence of semantic meanings when translating official documents of Cangnan County into Japanese and try to achieve perfect equivalence in official document translation.&lt;br /&gt;
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For example, there is a expression as “全体公民必须认真贯彻‘以人为本、预防为主、积极扑救、有效消灾’的森林防灭火工作方针，一旦发现森林火灾，要立即向当地人民政府或森林防灭火指挥部办公室报告(all citizens must seriously implement the working policy of forest fire prevention and firefighting ‘people-oriented, prevention-focused, active in firefighting, effective in disaster relief’, once a forest fire is detected, it must be reported to the local people’s government or the forest fire prevention and firefighting headquarters office immediately)” in the document 《苍南县应急管理局局长王再忠关于&amp;lt;苍南县人民政府关于做好森林防火期护林防火工作的通告&amp;gt;的政策解读》(“Policy Interpretation Of ‘Notice of Doing Forest Protection and Fire Prevention during the Season of Forest Fire Prevention by the People's Government Of Cangnan County’ by the Director of Cangnan Emergency Management Agency Wang Zaizhong”). When dealing with long and complex sentences, the translator must be flexible in using translation techniques to decompose the sentences and translate them step by step, focusing on the balance between the form of the sentence and its semantic meaning. Based on this principle, the abovementioned sentence could be translated into Japanese as “人間本位、予防軸化、積極救助、有効消災という森林防火作業方針は全県民が必ず強固に守らなければならない。林に火事が発見された際、直ちに所轄人民政府や森林防火指揮部執務室に報告すること。”&lt;br /&gt;
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There is no doubt that, in terms of four-character idioms, allusions, new words of the era and etc., the translation of official documents of Cangnan County under the context of the Japanese language still has a long way to go, but the part that we should pay most attention to in translation is always the differences in culture between the source language and the target language. Only by keeping this basic point in mind at all times, will there be no huge mistakes being made when translating official documents of Cangnan County into Japanese.&lt;br /&gt;
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==='''Ⅳ. Translation of Official Documents of Cangnan County under the Context of the Korean Language'''===&lt;br /&gt;
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Zhejiang Province and South Korea have laid a good foundation for economic and trade cooperation projects, and a framework that is comprehensive, wide-ranging, and multi-level has been established for Zhejiang-South Korea cooperation. The advantages of the two regions are obviously complementary and the development potential for both sides and in between is huge. In September 2016, the Zhejiang China-Korea (Quzhou) Industrial Cooperation Park was approved as the first batch of “Zhejiang International Industrial Cooperation Parks” in Zhejiang Province. The total planned area is about 3,000 acres and the total planned investment is 12 billion yuan. Represented by the Zhejiang China-Korea Industrial Cooperation Park, a large number of economic and trade cooperation projects has been carried out with South Korea by Zhejiang Province. As an indispensable part of Zhejiang Province, Cangnan County is facing a huge gap in the cultural exchanges and economic cooperation with South Korea. How to elevate the level of Cangnan’s opening up to the outside world and advancing Cangnan’s economic, trade and cultural cooperation with South Korea is a question that is well worth exploring. Although Cangnan is further away from South Korea compared with regions in the north of Zhejiang, geographic location should never be a factor that hindering Cangnan’s economic, trade and cultural cooperation with South Korea. In an era of ever-deepening globalization, it is of great significance that we think about how to develop and promote the economic and trade and cultural cooperation between Cangnan and South Korea.&lt;br /&gt;
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Northern Zhejiang is a key area for economic, trade and cultural cooperation with South Korea. As the south gate of Zhejiang Province, if Cangnan County could open the door of economic, trade and cultural cooperation to South Korea, then this will inevitably bring extraordinary development opportunities to southern Zhejiang and make the pattern of Zhejiang and South Korea’s economic and cultural cooperation more balanced and healthy. The political status of Cangnan County is equivalent to the one of si(city), gu (district), and gun(county) in South Korea. Because of some historical reasons, South Korea is greatly influenced by Chinese culture. From the Three Kingdoms era of Joseon, to the Unified Silla Dynasty, the Wang’s Goryeo Dynasty, and the Yi’s Joseon Dynasty, the basic system of administrative divisions in South Korea is almost the same as the one in China, so the official document system of cities, districts, and counties in South Korea can be regarded as basically equivalent to the official document system of Cangnan County with only slight differences originated from the localized political and cultural traditions and the basic social condition of South Korea. Therefore, there are relatively fewer difficulties of translation when translating official documents of Cangnan County into Korean, aside from the barriers caused by Korean Hangul words. The translation of official documents of Cangnan County under the context Korean language requires attention to the following aspects:&lt;br /&gt;
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1. The Combination of Chinese characters and Hangul&lt;br /&gt;
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Modern Korean uses Hangul as the main written characters, but this does not mean that there is no place for Chinese characters in the Korean system. Since the launch of the abolition of Chinese characters movement in South Korea in the 1970s, Hangul did exactly achieved an overall penetration of every aspect of their daily life, but when it comes to important documents, Chinese characters still reserve a seat in the arena of South Korea’s history. Furthermore, a higher level of talent training is required now to meet the need of South Korea’s economic and social development, and the mastery of sinology has become, among all the necessary skills, one of the most straightforward evaluation criteria to access the qualified personnel. Thus, South Korea has restarted the Chinese character teaching movement. Nowadays, the official document system in South Korea has become one in which Hangul serves as the main language and the mixed use of Chinese characters and Hangul serves as a supplement. Just as how the mixed use of kana and Chinese characters in Japanese official documents may help in its translation, the mixed use of Chinese characters and Hangul also greatly facilitate the translation of official documents of Cangnan County into Korean. However, because Chinese characters used in Korea are composed of traditional Chinese characters and a small number of Korean self-made Chinese characters, we can not take it for granted that it is advisable to translate them word by word.&lt;br /&gt;
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For example, the title of the document《苍干任〔2020〕18号 王再忠等同志的任命》(“Cangnan Cadre Appointment [2020] No. 18: Appointment of Wang Zaizhong and etc.”) (the Office of CPC Cangnan Party Committee on March 27th, 2020) can be translated with the mixed use of Chinese characters and Hangul into Korean as《蒼南縣의 幹部任命〔2020〕18號 王再忠등 同志의任命》. Also, it be translated into Korean with Hangul alone as《참남현의 간부임명〔2020〕18호 왕재충등 동지의임명》.&lt;br /&gt;
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2. The Usage of Refined Language&lt;br /&gt;
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In recent years, South Korea has carried out reforms of the official document system, urging that the South Korean government agencies at all levels should use “refined(or purified) language”, that is, to write and publish official documents with words that are easy for the public to understand and have explicit meanings, reducing the cost of communication between the government and the public and, in this way, building a closer relationship between the government and the people, so that civil servants can communicate with the people more effectively. Refined language is a kind of common vernacular that differs from the official language. Although this trend of the wording of Korean official documents is not unconditional, but when compared with official documents of Cangnan County, which emphasize the solemnity and formality of official documents, this trend is the part that the translator has to pay his attention to.&lt;br /&gt;
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For example, when translating the expression “为加强行政规范性文件管理，切实推进依法行政，加快法治政府建设 (To strengthen the management of administrative normative documents, promote the administration in accordance with law, and accelerate the construction of a government ruled by law)” in the document《苍南县人民政府关于公布县政府及县政府办公室行政规范性文件清理结果的通知（有效）》(“Notice of the Office of the People's Government of Cangnan County on the Announcement of the Results of the Cleanup of the Administrative Normative Documents of the County Government and the County Government Offices (Effective)”) (the Office of the People's Government of Cangnan County on October 23th, 2020) , blunt expressions may not be that applicable and this expression translated into Korean in a more public-friendly way as “행정 규범적인 문서관리를 강화하기 위해, 법에따라 행정을 철저히 추진하고 법치정부의 건설을 가속화시킨다.”&lt;br /&gt;
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3. Mastery of the Equivalence of Semantic Meaning&lt;br /&gt;
&lt;br /&gt;
Like Japanese, Korean is also a typical agglutinative language. A sentence is formed by connecting independent words with various auxiliary words, and with a subordinating conjunction at the end of the sentence. Auxiliary words are just like glues, they exist after every subject, predicate, and object component of a Korean sentence to them together. For that these auxiliary words have no substantial meaning themselves, they must stay close to the main body in front, and a space must be put after. Therefore, when translating Chinese, which is an isolated language, into Korean, which is an agglutinative language, it is necessary to have mastery of the equivalence of the semantic meaning of the expression.&lt;br /&gt;
&lt;br /&gt;
For example, when translating the expression “全面实施全民参保计划，做好参保情况清查，提升参保信息质量，清理重复参保，稳定持续参保，减少漏保断保，实现应保尽保。(Fully implement the national social security plan, do a good job in checking the coverage of the social security, improve the quality of the collection of the information of the insured, clean up repeated insureds, stabilize the renewal of the social security, reduce the interruption of the social security, and achieve full social security coverage.)” in the document《关于做好2021年度城乡居民基本医疗保障工作的通知》(“Notice on Doing a Good Job in Basic Medical Security for Urban and Rural Residents in 2021”)( the Office of Medical Security Bureau of Cangnan County on November 5th, 2020), the translator should pay attention to the equivalence of semantic meaning of this long sentence and translated it into Korean as “전국민기본의료보험가입계획을 전면적으로 실시하고 기본의료보험가입상황을 철저히 조사하며 기본의료보험가입 정보의 질을 향상시키고 중복기본의료보험가입을 청산하며 안정적이고 지속적인 기본의료보험가입을 하며 보험누락을 줄이고 기본의료보험가입 을 실현해야 한다.”&lt;br /&gt;
&lt;br /&gt;
==='''Ⅴ. Studies of Official Document Translation and the Cause of Opening-up in Cangnan County'''===&lt;br /&gt;
&lt;br /&gt;
Based on the abovementioned basic characteristics of the official document system of Cangnan County, the notes for official documents translation under the context of the Japanese language and the notes for official documents translation under the context of the Korean language, we can see that official documents of Cangnan County is not as difficult to handle as something untranslatable. Cangnan County enjoys a good geographic location: it is located in the coast of the East China Sea, and is close to both Japan and South Korea, two strong economies in East Asia. However, Cangnan County has not yet made use of these favorable conditions to the fullest to promote cultural cooperation and trade with the two countries. Cangnan’s opening up to the outside world requires innovative thinking and an elaborate layout. Studies on the translation of official documents of Cangnan County, especially the translation of official documents under the context of the Japanese and Korean language, will help to explore the cultural spirit of the government institutions, and play an important role in building a good image of Cangnan County in East Asia and laying a foundation for Cangnan's cooperation with major countries and regions in East Asia .&lt;br /&gt;
&lt;br /&gt;
The world today is undergoing profound changes rarely in a century, and so is China. The tide of history moves on and Cangnan shall not stay out of the matter, but must follow it courageously and strive to open new doors for Cangnan's opening up to the outside world through the study of the official document translation of its own.&lt;br /&gt;
&lt;br /&gt;
===References===&lt;br /&gt;
&lt;br /&gt;
[1]Ziqi LIU. The Application of Functional Equivalence Theory in Scientific Translation：A Case Study of the Translation of Shipbuilding English[J]. CREATIVITY AND INNOVATION,2019,1(3).&lt;br /&gt;
&lt;br /&gt;
[2]Mu Dan. Discussion on Translation Activities Under the Guidance of Functional Equivalence Theory[J]. International Journal of Education and Management,2018,3(2).&lt;br /&gt;
&lt;br /&gt;
[3]李琳琳. 功能对等翻译理论与关联翻译理论比较研究[D].辽宁师范大学,2006.&lt;br /&gt;
&lt;br /&gt;
[4]赵娟廷. 汉韩公文语体对比研究[D].复旦大学,2003. &lt;br /&gt;
&lt;br /&gt;
[5]周萱. 《中国共产党怎样解决民族问题》（节选）中韩翻译报告[D].青岛大学,2017.&lt;br /&gt;
&lt;br /&gt;
[6]张利军. 《教学的游戏性研究》的汉日翻译实践报告[D].广西师范大学,2019.&lt;br /&gt;
&lt;br /&gt;
[7]栾亚琼. 《2015年山东省政府工作报告》汉日翻译实践报告[D].曲阜师范大学,2016.&lt;br /&gt;
&lt;br /&gt;
[8]占丽华. 源流与演变—日本地方公文书馆发展路径研究[D].山东大学,2020.&lt;br /&gt;
&lt;br /&gt;
[9]任清萍. 功能翻译理论视角下政府工作报告日译研究[D].外交学院,2020.&lt;br /&gt;
&lt;br /&gt;
[10]孙慧. 产业竞争力与区域经济增长[D].苏州大学,2006.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
--[[User:Wu Kai|Wu Kai]] ([[User talk:Wu Kai|talk]]) 04:45, 2 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
==The Translation Process and Methods of Translating English Long Sentences	周艺文	Zhou Yiwen==&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
===Abstract===&lt;br /&gt;
===Key words===&lt;br /&gt;
===摘要===&lt;br /&gt;
===关键词===&lt;br /&gt;
===Introduction===&lt;br /&gt;
&lt;br /&gt;
===Conclusion===&lt;br /&gt;
===Bibliography===&lt;br /&gt;
&lt;br /&gt;
==Chinese-English Translation of News Headlines From the Perspective of Skopos Theory	张维虹	Zhang Weihong==&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
==='''Abstract'''===&lt;br /&gt;
&lt;br /&gt;
==='''key words'''===&lt;br /&gt;
&lt;br /&gt;
News headlines; Skopos theory; translation&lt;br /&gt;
&lt;br /&gt;
==='''摘要'''===&lt;br /&gt;
社会的飞速发展使得人们的阅读方式发生了巨大的改变, 通过阅 读新闻标题来获取消息和了解事实, 成为大多数人的不二之选, 新闻标题 翻译也就越来越具有其必要性。 新闻标题的重要性堪比一部使人印象深刻 的电影名, 一则响亮的广告语, 一本撩人心弦的书名。 较之娱乐新闻, 时 政新闻略显严肃客观, 又因当今科技物质的飞速发展, 时政新闻的点阅数 量明显少于以消遣娱乐为目的的娱乐新闻。 怎样提高时政新闻的阅读量, 怎样使得时政新闻如同娱乐新闻一般深受广大人民的喜爱, 这不仅是新闻 编辑者们的挑战, 也是新闻翻译界的难题。 本文以德国功能派翻译目的论 为理论指导, 结合新闻学及编辑学的相关学科知识, 通过对中英时政新闻 标题的对比分析, 旨在对时政新闻标题的汉译英提出翻译策略, 让国外读者正确客观无误的了解中国的时事政策。&lt;br /&gt;
&lt;br /&gt;
==='''关键字'''===&lt;br /&gt;
&lt;br /&gt;
===Introduction===&lt;br /&gt;
&lt;br /&gt;
===Skopos Theory===&lt;br /&gt;
&lt;br /&gt;
===Features of News Headlines===&lt;br /&gt;
&lt;br /&gt;
===Chinese-English Translation Methods of News Headlines from the Skopos Perspective===&lt;br /&gt;
&lt;br /&gt;
===Conclusion===&lt;br /&gt;
&lt;br /&gt;
===Bibliography===&lt;br /&gt;
&lt;br /&gt;
==On Chinese-English Translation of Public Service Advertisements From the Perspective of Text-type Theory  司妤  Si Yu==&lt;br /&gt;
&lt;br /&gt;
==='''Abstract'''===&lt;br /&gt;
&lt;br /&gt;
==='''key words'''===&lt;br /&gt;
&lt;br /&gt;
==='''摘要'''===&lt;br /&gt;
&lt;br /&gt;
==='''关键字'''===&lt;br /&gt;
&lt;br /&gt;
===Text-type Theory===&lt;br /&gt;
&lt;br /&gt;
===Features of Public Service Advertisements===&lt;br /&gt;
&lt;br /&gt;
====Content Features====&lt;br /&gt;
&lt;br /&gt;
====Text Features====&lt;br /&gt;
&lt;br /&gt;
===Examples of C-E Translation of Public Service Advertisements===&lt;br /&gt;
&lt;br /&gt;
===Mistranslation of Public Service Advertisements===&lt;br /&gt;
&lt;br /&gt;
===Methods of C-E Translation of Public Service Advertisements===&lt;br /&gt;
&lt;br /&gt;
===Conclusion===&lt;/div&gt;</summary>
		<author><name>Song Jianru</name></author>
	</entry>
	<entry>
		<id>https://bou.de/u/index.php?title=History_of_Translation_Studies_8&amp;diff=107955</id>
		<title>History of Translation Studies 8</title>
		<link rel="alternate" type="text/html" href="https://bou.de/u/index.php?title=History_of_Translation_Studies_8&amp;diff=107955"/>
		<updated>2020-12-06T15:28:49Z</updated>

		<summary type="html">&lt;p&gt;Song Jianru: /* Conclusion */&lt;/p&gt;
&lt;hr /&gt;
&lt;div&gt;这里是《翻译学史》的书稿第八部分(Part 8)。麻烦各位同学看一下已经存在的章回（样品），自己再加进去新的一个章回（就是你们的学期论文）。请也帮助同学们把他们的论文改正。这样多次修改，大家的论文会越来越好。&lt;br /&gt;
&lt;br /&gt;
学期论文（结合学期所学，撰写一篇5000以上单词的英文论文，按照专业杂志的格式，题目、摘要、关键词和参考文摘需要英中，文章英）。学期论文成绩占70%，平时成绩（含课堂表现、展示及作业）占30%。&lt;br /&gt;
&lt;br /&gt;
*Link back to course homepage: [https://bou.de/u/wiki/Introduction_to_Translation_Studies Course Homepage Intro. to TS]&lt;br /&gt;
*Link back to the final exam paper section of the course homepage: [https://bou.de/u/wiki/Introduction_to_Translation_Studies#Final_Exam_Papers Final Exam Papers]&lt;br /&gt;
*Link to other parts of the final exam papers: [https://bou.de/u/index.php?title=History_of_Translation_Studies_1 Final Exam Papers Part 1]&lt;br /&gt;
*Link to other parts of the final exam papers: [https://bou.de/u/index.php?title=History_of_Translation_Studies_2 Final Exam Papers Part 2]&lt;br /&gt;
*Link to other parts of the final exam papers: [https://bou.de/u/index.php?title=History_of_Translation_Studies_3 Final Exam Papers Part 3]&lt;br /&gt;
*Link to other parts of the final exam papers: [https://bou.de/u/index.php?title=History_of_Translation_Studies_4 Final Exam Papers Part 4]&lt;br /&gt;
*Link to other parts of the final exam papers: [https://bou.de/u/index.php?title=History_of_Translation_Studies_5 Final Exam Papers Part 5]&lt;br /&gt;
*Link to other parts of the final exam papers: [https://bou.de/u/index.php?title=History_of_Translation_Studies_6 Final Exam Papers Part 6]&lt;br /&gt;
*Link to other parts of the final exam papers: [https://bou.de/u/index.php?title=History_of_Translation_Studies_7 Final Exam Papers Part 7]&lt;br /&gt;
*Link to other parts of the final exam papers: [https://bou.de/u/index.php?title=History_of_Translation_Studies_8 Final Exam Papers Part 8]&lt;br /&gt;
*Link to other parts of the final exam papers: [https://bou.de/u/index.php?title=History_of_Translation_Studies_9 Final Exam Papers Part 9]&lt;br /&gt;
*Link to other parts of the final exam papers: [https://bou.de/u/index.php?title=History_of_Translation_Studies_10 Final Exam Papers Part 10]&lt;br /&gt;
&lt;br /&gt;
='''History of Translation'''=&lt;br /&gt;
== Study on Brand Name Translation from the Perspective of Cultural Difference	谭鑫洁	Tan Xinjie==&lt;br /&gt;
&lt;br /&gt;
==='''Abstract'''===&lt;br /&gt;
&lt;br /&gt;
== Abstract: ==&lt;br /&gt;
&lt;br /&gt;
==='''key words'''===&lt;br /&gt;
&lt;br /&gt;
==='''摘要'''===&lt;br /&gt;
&lt;br /&gt;
==='''关键字'''===&lt;br /&gt;
&lt;br /&gt;
===Complete transcript of the content of the original work ===&lt;br /&gt;
&lt;br /&gt;
===Same style and manner of writing===&lt;br /&gt;
&lt;br /&gt;
===Equivalent effect===&lt;br /&gt;
&lt;br /&gt;
===Discussion===&lt;br /&gt;
&lt;br /&gt;
===Conclusion===&lt;br /&gt;
&lt;br /&gt;
===Bibliography===&lt;br /&gt;
&lt;br /&gt;
==A Comparative Study on the Translation History in Western Countries and China	王煜	Wang Yu==&lt;br /&gt;
===摘要===&lt;br /&gt;
翻译是一种跨文化交流活动，翻译活动加快了人类文明发展步伐，减少了人们之间的沟通障碍。随着时代的变迁，中国和西方国家逐渐形成了各自的翻译史，翻译史的研究是学科建设的一项基础工程。尽管中西方翻译史在某些方面有所差异，但却都有着各自的独特性，并对人类的翻译活动产生了巨大的影响与贡献。文章将以中国和西方国家为主要对象，从二者翻译史起始，包含阶段和各阶段代表人物，影响意义，差异性出发，对二者的翻译史进行简略的对比研究。&lt;br /&gt;
&lt;br /&gt;
===关键词===&lt;br /&gt;
翻译史；西方翻译史；中国翻译史&lt;br /&gt;
&lt;br /&gt;
===Abstract===&lt;br /&gt;
Translation is an intercultural communication activity, translation activities have accelerated the development of human civilization and reduced the communication barriers between people of different countries or nations. With time goes by, things are in a state of flux and both the western and eastern countries have gradually formed their own history of translation, the study of translation history is a basic project of discipline construction. Though there are many differences among the translation histories of western countries and China, the two kinds of translation histories are still shining their own bright unique lights and have an indelible influence and contribution to human translation activities. This paper intends to make a brief comparison of translation histories between western countries and China, which includes the origins, the stages, the representatives of the stages, the significance and influence as well as the differences of the two translation histories.&lt;br /&gt;
&lt;br /&gt;
===Keywords===&lt;br /&gt;
Translation history; Translation history of the West; Translation history of China &lt;br /&gt;
&lt;br /&gt;
===1. Introduction===&lt;br /&gt;
No matter in China or in the west, translation plays an important role in knowledge-spreading. As an indispensable part of translatology, the study of translation history has made a great influence on translation activities, it has gradually become the focus of the literary and historical circles in recent years. Translation activities can be traced back to the origin of language, and the history of translation is almost as old as language itself, it is closely related to the changes in today's society. Since the 1980s, the translation studies in the mainland of China have made remarkable progress in the curriculum design of Chinese and western translation history and the compilation of related works. In the early 1980s and 1990s, there were many related works came out one after another including A brief history of Chinese Translation: the part before the May 4th Movement（《中国翻译简史-“五四”运动以前部分》） written by Zuyi Ma, A historical manuscript of Chinese translated literature （《中国翻译文学史稿》）edited by Yugang Chen, and also the A Short History of Translation in the West（《西方翻译简史》） the author of which is Zaixi Tan. Thus, it opens the gate for the compilation of Chinese and western translation history works.（谢天振，2009） The history of western translation can be divided into five stages while the Chinese study of translation has a glorious history of more than two thousand years and has experienced five climaxes. Through the comparative study of Chinese and western translation history, it will help us to have a deeper understanding of Chinese and western translation activities and thus to gather a general full view of it, which will be a positive and meaningful attempt.&lt;br /&gt;
&lt;br /&gt;
2. The Translation History of Western Countries&lt;br /&gt;
Western translation activities are rich in a long history and a multiyear span. The history of western translation can be roughly divided into three stages: the traditional stage, the modern times and the contemporary. More specifically, it can be grouped into the ancient times, the middle ages, the Renaissance period and the time after WWⅡ.&lt;br /&gt;
&lt;br /&gt;
2.1 The First Stage: Translation in the Ancient Times&lt;br /&gt;
    &lt;br /&gt;
The translation history of western countries first began in the the 3rd century B.C. &amp;quot;In a broad sense, the earliest translation in the west is the Old Testament translated by 72 Jewish scholars in Alexandria, ancient Egypt, between the 3rd and 2nd centuries BC; Strictly speaking, the first western translation is the Greek Homer Epic Odyssey translated by Andronicus in Rome in the middle of the third century BC.”(谭载喜,2000) At the end of the 4th BC, during this time, the Greece began to decay and the Roman had became stronger and stronger with its military expansion. The expansion of the Roman Empire brought it into contact with the splendid Greek culture, therefore, the Romans not only conquered the Greek city, but also inherited and developed the brilliant achievements of ancient Greek culture, and then created a  splendid cultural of its own era after Greece. So soon began a large scale translation activities, the activity of translating and introducing Greek classical works probably began in this period.（刘军平,2009）Many famous translation theorists began to make their presences, namely Cicero, Quentin, Jerome and so on, also the famous Roman litterateurs like Andronicus, Naevius, Ennius, these great writers used Latin language to translate or adapt Homer’s epic or other Greece dramas. Started the translation tradition and promoted the birth and development of Roman literature.&lt;br /&gt;
&lt;br /&gt;
2.2 The Second Stage: Translation in the Middle Ages (4th-6th)&lt;br /&gt;
&lt;br /&gt;
2.3 The Third Stage: Translation in the Middle Ages (11th-12th)&lt;br /&gt;
&lt;br /&gt;
2.4 The Fourth Stage: Translation in the Renaissance Period&lt;br /&gt;
&lt;br /&gt;
2.5 The Fifth Stage: Translation after WWⅡ&lt;br /&gt;
&lt;br /&gt;
3. The Translation History of China--[[User:Wang Yu|Wang Yu]] ([[User talk:Wang Yu|talk]]) 08:38, 30 November 2020 (UTC)--[[User:Wang Yu|Wang Yu]] ([[User talk:Wang Yu|talk]]) 08:43, 30 November 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
==The Implications of Luther's Translation Principles amid Renaissance for Modern Literature Translation	方洁玲	Fang Jieling==&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
==Translation manipulated by ideology	许静	Xu Jing==&lt;br /&gt;
&lt;br /&gt;
==Comparison between the History of Chinese and Western Translation   周书尧   Zhou Shuyao==&lt;br /&gt;
&lt;br /&gt;
'''Abstract:'''There has a long history and culture Chinese and Western translation, and translation plays an indelible role in promoting cross-cultural communication and cultural communication. This article first discusses the history of translation in China from  four stages , then discusses the five stages of western translation history , and finally compares and analyzes the similarities and differences between Chinese and Western translation histories, and puts forward some of the author's own views.&lt;br /&gt;
&lt;br /&gt;
'''Key words:'''The history of Chinese,The history of Western,the stages of  translation history,comparison&lt;br /&gt;
&lt;br /&gt;
'''摘要：'''中西方翻译历史文化源远流长，翻译在促进跨文化交流和文化传播上承担着不可磨灭的作用。本文首先从中国的四次翻译高潮论述中国的翻译史，再从西方的五次翻译高潮探讨西方的翻译史，最后对中西方翻译史的异同进行对比分析，提出一些笔者自己的看法。&lt;br /&gt;
&lt;br /&gt;
'''关键词：'''中国翻译史，西方翻译史，翻译高潮，对比&lt;br /&gt;
&lt;br /&gt;
'''Ⅰ.Introduction'''&lt;br /&gt;
&lt;br /&gt;
Since the 1980s, the Chinese translation studies community has made remarkable progress in the establishment of Chinese and Western translation history courses and the compilation of related works.In the 1980s and early 1990s,A Brief Introduction to the History of Translation in China from Ma Zuyi and other books of Chen Yugang and Tan Zaixi were published one after another,which raised the curtain for the compilation of Chinese and Western translation history works by the domestic translation scholars.The four stages in the history of Chinese translation have promoted the development of Chinese history, culture and society to varying degrees.The same as our country, Western translation has an age-old history.In a sense, the development of Western European civilization should first be attributed to the translators.The five stages in the history of European translation have promoted the exchanges of literature, art, science and trade between countries, and to a certain extent promoted the development of Chinese translation.In fact, when we examine the development trajectory of Chinese and Western translation activities and the evolution of translation concepts together, we find that there are some similarities between Chinese translation and Western translation.Especially in the evolution of Chinese and Western translation concepts, the two have very similar evolution laws.&lt;br /&gt;
&lt;br /&gt;
='''Literal and Free Translation'''=&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
==Rethink Literal and Free Translation	彭永亮	Peng Yongliang==&lt;br /&gt;
&lt;br /&gt;
==On the Chinese Translation of A Pale View of Hills from House’s Translation Quality Assessment Model	宋建茹	Song Jianru==&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
===Abstract===&lt;br /&gt;
&lt;br /&gt;
Translation quality assessment is an integral part of translation criticism. The first TQA model with comprehensive theories and practices Juliane House represented provides a significant reference for translation exercises. ''A Pale View of Hills'', as the first work of Kazuo Ishiguro, possesses a great research value on its narrative styles by virtue of memory and topics about migrants. As of 2011 when its Chinese translation was published, no scholar has evaluated it. This study applies House’s TQA model to assess the Chinese translation of ''A Pale View of Hills'' with qualitative and quantitative analysis from lexical, syntactic and textual aspects, in a bid to examine validity of the model on novel translation, which turns out that it is an overt and high-quality translation.&lt;br /&gt;
&lt;br /&gt;
=== Key Words===&lt;br /&gt;
&lt;br /&gt;
''A Pale View of Hills''; House’s TQA model; novel translation&lt;br /&gt;
&lt;br /&gt;
=== 摘 要 ===&lt;br /&gt;
&lt;br /&gt;
翻译质量评估是翻译批评的核心课题。朱莉安·豪斯提出的第一个有完整的理论和实践的翻译质量评估模式，为翻译实践提供了重要参考。《远山淡影》是石黑一雄的处女作，其依托回忆的叙事风格和移民主题具有很高的研究价值。《远山淡影》中译本自2011年出版至今，尚未有学者对其进行评估研究。本文运用豪斯的翻译质量评估模式，采用定性与定量相结合的分析方式，从语场、语旨、语式等三个层面对原文和译文进行分析，开展《远山淡影》中译本的翻译质量评估研究，为豪斯翻译质量评估模式对小说翻译的运用进行进一步的探索和补充。通过分析，得出《远山淡影》中译本为显性翻译，翻译质量较高。''Italic text''&lt;br /&gt;
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=== 关键词 ===&lt;br /&gt;
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《远山淡影》；豪斯质量评估模式；小说翻译&lt;br /&gt;
===Introduction===&lt;br /&gt;
Translation criticism refers to the analysis and review of thoughts, activities and works of translation by virtue of relevant theories and views, in a bid to improve the overall quality of translators and translations. It is an integral part of translation studies. (Wang Enmian, 1999: 7) Translation quality assessment, as the integral and key part of translation criticism, plays a significant role in surveillance and promotion of translation quality. Among the extant translation quality assessment models, Juliane House’s ''A Model for Translation Quality Assessment and Translation Quality Assessment: A Model Revised'', based on Halliday's systemic functional linguistics and discourse analysis, are systematic, scientific and rational with a relatively complete system of parameters, quantitative methods and steps adhering to specific procedures. &lt;br /&gt;
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''A Pale View of Hills'', as Kazuo Ishiguro's first full-length novel, tells the life of the people in Nagasaki after WWII through the memory of protagonist Etsuko and explores recovery of trauma, collision between the old and new ideas, and kinship after war. The first person narrative, memory, humor and satire and international perspectives in the book became his major writing styles in the future. The novel won the Winifred Holtby Memorial Prize from the Royal Society. Its only Chinese translation at present, from Zhang Xiaoyi, is still not analyzed by the scholars. This paper uses House’s translation quality assessment model, with combination of qualitative and quantitative analysis, from field, tenor and mode to analyze the mismatches between original and translation in an attempt to assess the Chinese translation quality of ''A Pale View of Hills'' and further explore the application of House’s model in novel translation. The aim of the study is to promote scholars to regulate the behaviors of translation, to improve the quality of translation and translation evaluation, and to provide a reasonable way for establishing the interlingual conversion mechanism.&lt;br /&gt;
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The thesis consists of four chapters.&lt;br /&gt;
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After the Introduction, Chapter One gives a brief account of A Pale View of Hills and its research status, involving the author, background, content and influence. Chapter Two is a brief introduction of House’s TQA model, including its theoretic basis, parameter setting, operation steps and feasibility. Chapter Three is a detailed analysis of original and translation of A Pale View of Hills based on House’s model. Chapter Four is statement of translation quality assessment. Then we come to the last part, Conclusion.&lt;br /&gt;
===I Overview and Research Status of A Pale View of Hills===&lt;br /&gt;
''A Pale View of Hills'' is Kazuo Ishiguro's first novel, which laid a solid foundation for the formation of Ishiguro's writing style. The chapter mainly introduces the author, plot, theme and influence of the novel and analyzes its research status, in an attempt to master the material well and seek new perspectives for the paper.&lt;br /&gt;
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'''1.1 Overview of A Pale View of Hills'''&lt;br /&gt;
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Kazuo Ishguro is a noble contemporary Japanese English writer, whose novels feature first person narrative, detailed depiction of loneliness, depression, self-deception and anxiety of characters’ inner world and dual narrative strategy to deconstruct the narrator's self-identity, as well as discuss postwar trauma and migrant identity. He won Booker Prize, the British top literary prize, in 1989 and the Nobel Prize in literature in 2017. By virtue of his outstanding literary achievements, he is known as one of the Three Masters of English Migrant Literature together with Salman Rushdi and Naipaul.&lt;br /&gt;
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A Pale View of Hills, published in 1982, is Ishiguro's debut. The story, with postwar Nagasaki as its background, enjoys two clues: one is what happened when Niki (Etsuko’s little daughter) visited her mother after her sister Keiko died; the other is Etsuko’s memory about people and events in Nagasaki after the war. The two lines integrated together during the narrative, forming the illusory and imaginary impression. Many in-depth topics in this work are worth pondering: postwar trauma recovery, the collision between new and old ideas after war and discussion of family relations. Many marks in the work became his own styles: first-person narrative, memory, humor and satire, international perspectives. In addition, it won the Winifred Holtby Memorial Prize from the Royal Society and is still in print thirty years after its publication. This book, with its enormous emotion, unearths the abyss beneath the illusion of our connection to the world, whose artistic value and charm could be time-tested.&lt;br /&gt;
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'''1.2 Research Status of A Pale View of Hills'''&lt;br /&gt;
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There are 54 papers about A Pale View of Hills in domestic researches. According to the statistics from HowNet (as shown in the figure below), the number of studies on the work has been mounting, especially after Kazuo Ishiguro won the Nobel Prize for Literature in 2017. The perspectives of these researches are mainly from identity anxiety, unreliable narrative and post-war trauma. In Identity Anxiety in Kazuo Ishiguro's A Pale View of Hills, Wang Fei discusses the identity anxiety of migrants, exploring manifestations, causes and influence of such anxiety on the characters. In Memory and Narrative Unreliability of A Pale View of Hills, He Xiaobing combined with the classical narratology to analyze how unreliable narration method is presented in the work and discussed the inner world of the characters. In Trauma in Kazuo Ishiguro's A Pale View of Hills, Liu Xiaoya explores the protagonist's trauma by using Sigmund Freud’s psychoanalysis theory and trauma theory (including post-freudian psychological trauma theory), contemporary trauma culture theory along with rhetorical narrative theory.&lt;br /&gt;
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At abroad there are more perspectives about the studies of A Pale View of Hills. In addition to the main research directions of domestic scholars, such as identity anxiety of characters, unreliable narrative research and post-war trauma, cultural displacement, family relationship and the influence of region on personality presented in the works are also analyzed. The Impact of Place on Personality in Kazuo Ishiguro's A Pale View of Hills: An Eco-critical Study co-written by Awla, Yousif Hamad and Azad Sharif, from the perspective of ecocriticism, clarifies the fact that a place is able to define and guide the emotions and thoughts of characters, and analyzes the reasons why geography forms characters of people in order to draw people’s attention to the impact of surrounding environment on them. Ruth Forsythe's article Cultural Displacement and the Mother-daughter Relationship in Kazuo Ishiguro's A Pale View of Hills focuses more on the relationship between mother and daughter under cultural displacement. However, no scholars have analyzed the language itself from the perspective of systemic functional linguistics.&lt;br /&gt;
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The Chinese translation of A Pale View of Hills, Zhang Xiaoyi’s version, was published by Shanghai Translation Publishing House in 2011, and the bilingual version in 2019. Up to now, there has no translation criticism or discussion about this translation. Since 2011 when it was translated, it came to draw the attention of scholars and readers. Translation is a direct factor that affects the integrity of author’s thought, the reader's perception and the accuracy of the scholar’s study, thus it is indispensable to use the House’s Translation Quality Assessment model to analyze the Chinese translation of A Pale View of Hills.&lt;br /&gt;
===II Introduction of House's Translation Quality Assessment Model===&lt;br /&gt;
Juliane House's model was described as the first translation quality assessment model with complete theories and practices by international translation criticism, which could provide an important reference for translation learners and scholars. By introducing the theoretical basis, parameter system and operation steps of House’s model, this chapter will discuss the feasibility of House’s model in the evaluation of the Chinese translation of A Pale View of Hills, in an effort to foster the application of House’s model in the quality evaluation of full-length novels.&lt;br /&gt;
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'''2.1 Theoretical Basis of House's Model'''&lt;br /&gt;
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The assessment of translation quality draws upon different translation standards, which are then embodied by the recognition about essence of translation. House deemed that crunch of the translation quality assessment lies in recognition of the nature of translation, namely that “translation is the replacement of a text in the source language by a semantically and pragmatically equivalent text in the target language.” (House, 1977: 30)&lt;br /&gt;
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In House’s initial model in 1977, she drew upon language behavior theory, language and text function and context to divide the source language text into two situational dimensions: dimension of language user and dimension of language use. The former includes three aspects: geographical origin, social class and time. The latter includes five aspects: medium, participation, social role relationship, social attitude and province. The evaluation depends on the matching degree between                                                                                                                                                                                                                                                                                                                                                                                          original text and translation. The higher the matching degree is, the better the translation quality is. The quality evaluation of the translated text needs to state mismatching degree of each dimension in the whole context, that is, the description of the quantity of covert errors (errors in context dimension) and overt errors (referential mismatcher or grammatical violation of target language system).&lt;br /&gt;
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Based on myriad practice, House realized that the initial eight dimensions overlap in some parts. Therefore, in 1997, she revised the original model from the perspective of the context, unifying the previous eight parameters to field, tenor and mode. Field compares subject matter and social action of the original with that of translation. Tenor emphasizes the matching degree on the relationship of participants, time, region, position of author, social role relationship and social attitudes. Mode pays more attention to medium and participation. In addition, House incorporated &amp;quot;genre&amp;quot; into revision model in order to explain the deep structure of the text.&lt;br /&gt;
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'''2.2 Operation Steps of House's Model'''&lt;br /&gt;
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When evaluating the translation quality of the text, House's model focuses on comparison between original text and translation from field, tenor, mode and genre, clarifies and summarizes mismatches found in the text, so as to obtain a quality report of the translation. The detailed steps presented as follows: &lt;br /&gt;
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1) Analyze the register and genre of the original text to get its textual functional profile. The original text is analyzed from four dimensions: field, tenor, mode and genre. According to the analysis, “functional statement”, involving ideational and interpersonal functions, needs to be deduced.&lt;br /&gt;
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2)Compare the target text and the source text to find differences or mismatches. Through the comparative analysis between original and translation along the dimensions on the model, mismatches or differences found in the comparison are sorted out by virtue of overt errors or covert errors and expounded in detail one by one.&lt;br /&gt;
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3)Summarize the differences and mismatches demonstrated from the above steps in lexical, syntactic and textual aspects. Based on above statistics and statement, make the quality statement. The fewer the mismatches are, the better the translation quality is. If readers clearly realize the text a translation work, it is overt translation; while if not, it is covert translation.&lt;br /&gt;
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'''2.3 Feasibility of the Model in Chinese Translation of A Pale View of Hills'''&lt;br /&gt;
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At present, there are 78 relevant studies on House’s Translation Assessment model, which are mainly divided into three directions: interpretation of House Translation Assessment model and its revision, evaluating translation of literary works along the model and evaluating translation of applied text along the model. Among them, evaluation of the translation of literary works accounts for 29, which enjoys the following two characteristics:&lt;br /&gt;
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1)There are merely a few researches applying House model to Chinese translation of literary works. Among the 29 journals and papers evaluating translation of literary works, there are 25 studies that attach great importance to the English translation and 4 to Chinese translation, which signifies that we need more researches of Chinese translation to support the validity of the model on different languages. Therefore, the paper, with the Chinese translation of A Pale View of Hills as its corpus, intends to examine the feasibility of the application of House’s model to Chinese translation.&lt;br /&gt;
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2)There are merely a few researches applying House model to the translation of full-length novels. Among the 29 journals and papers on evaluating translation of literary works, most of which focus on the evaluation of poems and prose, merely 5 studies are analysis of translation of full-length novels. English translation accounts for 3 and Chinese translation for 2, which demonstrates that we need more researches with full-length novels as corpus to support the validity of the model in different genres. Therefore, the paper, with the full-length novel A Pale View of Hills as its corpus, intends to examine the feasibility of the application of House’s model to full-length novels.&lt;br /&gt;
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In conclusion, given that the researches based on Chinese translation of full-length novels are insufficient, the paper will use the Chinese translation of A Pale View of Hills as its corpus to validate the feasibility of House’s TQA model.&lt;br /&gt;
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===III Comparison of Original and Translation of '''A Pale View of Hills''' Along House's Translation Quality Assessment Model===&lt;br /&gt;
''A Pale View of Hills'' is the debut of Kazuo Ishiguro, whose Chinese translation was published by Shanghai Translation Publishing House in 2011. House's Translation Quality Assessment model is the first objective model combining quantative analysis with qualitive analysis. The paper applies House’s Translation Quality Assessment model to Chinese translation of ''A Pale View of Hill'', comparing the source text and target text in lexical, syntactic and textual aspects along the three dimensions of register and summarizing the mismatches on field, tenor and mode, in an effort to quantitatively assess the translation quality of ''A Pale View of Hills''.&lt;br /&gt;
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'''3.1 Comparison on Field'''&lt;br /&gt;
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Field refers to the content or the topic of the text. It is concerned with subject matter and social action which covers the specificity of lexical items. After comparison between the source text and target text on field, there are 18 mismatches, 12 of which are overt errors and 6 covert errors. Among them, there are 9 lexical errors, 1 textual error and 8 syntactic errors. The lexical and textual errors are mainly covert errors, so in general their translation is of high quality. Although most of syntactic errors are not in line with the grammar of target language system, they won’t influence the understanding of the text. Therefore, by and large, translation on field are high-quality.&lt;br /&gt;
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'''3.1.1 Lexical Field'''&lt;br /&gt;
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Lexical field means the immediate or possible scenes or events evoked in people’s mind when they read or hear the words or lexical items. After the analysis of the original and target text, there are 9 mismatches, 4 of which are overt errors and 5 are covert ones. Most of them won’t block readers to master the overall meanings. Therefore, the translation quality on lexical items are relatively high. &lt;br /&gt;
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Example 1：&lt;br /&gt;
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...and the soaked surfaces of brick and concrete were drying all around us.&lt;br /&gt;
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湿透了的砖头和水泥开始变干。(P8)&lt;br /&gt;
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Concrete refers to building material that is made by mixing together cement, sand, small stones and water according to Oxford Dictionary, which includes cement rather than equates it. So, it is not very accurate to translate in this way even if the two words are similar. It is obviously an overt error. &lt;br /&gt;
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Example 2：&lt;br /&gt;
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As far as I remember, that was the first occasion I spoke to Mariko.&lt;br /&gt;
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我印象那是我第一次跟万里子说话。(P11)&lt;br /&gt;
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In the translation, “印象” as a noun refers to a mental picture that you have of what somebody/something is like or looks like. In the light of the rules or grammar of Chinese, it is hardly used as a verb. Thus, it is an overt error. &lt;br /&gt;
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Example 3：&lt;br /&gt;
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It's such a shame.&lt;br /&gt;
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真不像话。(P16)&lt;br /&gt;
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A shame is used to say that somthing is a cause for feeling sad or disappointed. In the original, the sentence is to express Etsuko’s pity to the homeless dogs and cats around her community rather than her distaste or complaint. Here it is translated into its other meaning when ignoring the context, belonging to a covert error. &lt;br /&gt;
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Example 4：&lt;br /&gt;
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Why don't you go into the kitchen for a little while?&lt;br /&gt;
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你为什么不到厨房去一会儿呢？(P26)&lt;br /&gt;
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In the translation, “去” is not very appropriate on the basis of grammar of Chinese, since it is such an action verb that does not match with state phrases. In the course of translation, some prepositions in English need to be transferred into verb in Chinese, which are supposed to pay attention to the rules of target language. Here it is obviously an overt error.&lt;br /&gt;
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Example 5：&lt;br /&gt;
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It's not appreciated simply because the product disappears so quickly.&lt;br /&gt;
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不能因为它的产品很快就消失了而不懂得欣赏。(P34)&lt;br /&gt;
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According to the context, Ogata-San believes that cooking is “as noble as painting or poetry”. So here the product refers to food cooked. Given the concrete expression in Chinese, the product is supposed to be translated more concretely in accordance with the context. It is a covert error.&lt;br /&gt;
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Example 6：&lt;br /&gt;
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Perhaps it is just my fancy that I felt a cold touch of unease there on that bank, a feeling not unlike premonition. &lt;br /&gt;
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这也许只是我的想象，但是那时我在河边觉得凉飕飕的，很不自在，像是感觉有事要发生。(P44)&lt;br /&gt;
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“Unease” refers to the feeling of being worried or unhappy about something. Given the above-mentioned, Etsuko worried about the safety of Mariko when she was not at home. It differs from its translation that means the feeling of being ill at ease. It is an overt error. &lt;br /&gt;
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Example 7：&lt;br /&gt;
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You mustn't suppose, Etsuko, simply because you've seen her in these…in these present surroundings, that she's some peasant's child.&lt;br /&gt;
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悦子，你不能因为……因为眼前的事物就认为她是什么贫农的孩子。(P51)&lt;br /&gt;
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Sachiko is not rich according to the context, so “peasant” intimates the meaning of poverty. Its translation explicitly represents it, which is accessible and intelligible. However, “贫农” enjoys extra cultural meaning in China, which could date back to the Cultural Revolution when lands was apportioned based on people’s wealth, so it might mislead readers to its political implication. It is a covert error.&lt;br /&gt;
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Example 8：&lt;br /&gt;
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“I must have been such a burden to you in those days,” I said, quietly.&lt;br /&gt;
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“我那时肯定成了您的负担，”我静静地说。(P68)&lt;br /&gt;
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Here “quiet” refers to making very little noise, which coincides with the act of saying. According to the context, Etsuko lowered her noise out of guilt when she realized she bothered her family when she practised violin before. However, its translation means the statement without any noise, which obviously contravenes the context, belonging to covert translation.&lt;br /&gt;
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Example 9：&lt;br /&gt;
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I could see something moving beside her in the shade.&lt;br /&gt;
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我看见她身旁的影子里有什么东西在动。(P14)&lt;br /&gt;
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“Shade” means an area that is dark and cool under or behind something, for example a tree or building, because the sun’s light does not get to it, rather than the shadow which the translator believed. As previously mentioned in the text, “Mariko was lying in the corner furthest from the sunlight”, which also signifies that it is impossible to exist dark shape under the light around Mariko. Thus, the translation of “shade” is not on a par with the context, belonging to a covert error.&lt;br /&gt;
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'''3.1.2 Syntactic Field'''&lt;br /&gt;
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Syntactic field means the immediate image appeared in people’s mind when they read the sentences. The mismatches in syntactic field are usually for the violation of rules of target language or misinterpreting the source text. On syntactic field, there are 8 mismatches, seven of which are overt errors and one is covert. Among the overt errors, seven sentences are not in line with the rules of target language, which won’t influence the ideational meaning. Therefore, the translation quality on syntactic field is high.&lt;br /&gt;
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Example 1：&lt;br /&gt;
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It did upset me, hearing about her.&lt;br /&gt;
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我真的很难过，听到她的死讯。(P4)&lt;br /&gt;
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Example 2：&lt;br /&gt;
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But I was sad though, when I heard.&lt;br /&gt;
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可是我真的很难过，听到她的消息。(P4)&lt;br /&gt;
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Example 3：&lt;br /&gt;
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It's certainly an amusing sort of experience, working in a noodle shop.&lt;br /&gt;
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这真是很有趣的经历，在面包店里工作。(P26)&lt;br /&gt;
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In English, the important or unknown information appeared firstly, and the second one follows. However, in Chinese, the second important presents at first, paving the foundation for the more pivotal or unknown one. In above three examples, their translation doesn’t adjust the sequence in line with target language rules. These are overt errors.&lt;br /&gt;
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Example 4：&lt;br /&gt;
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…certain arrangements I made have not gone as planned.&lt;br /&gt;
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一些事情没有照我计划的那样。(P17)&lt;br /&gt;
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The translation is not complete as the predicate verb “have gone” is not translated, which does not conform with the grammar of Chinese. It is an overt error.&lt;br /&gt;
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Example 5：&lt;br /&gt;
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She appeared to know them, for as she walked across the forecourt, she gave them a familiar greeting.&lt;br /&gt;
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看来她认识她们，边走过水泥地，边熟识地跟她们打招呼。(P26)&lt;br /&gt;
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The original is a compound-complex sentence with “for” for causal relation and “as” for coordinate relation. In the translation, the former is represented but the later isn’t, neither by conjunction words nor by clause sequence. It causes that the translation lacks of logic, belonging to an overt error.&lt;br /&gt;
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Example 6：&lt;br /&gt;
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It's an opportunity for a teacher to see the fruits of his work, and for the pupils to express their gratitude to him.&lt;br /&gt;
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这是一个机会让老师看看他的劳动成果，让学生们向他表示感谢。(P30)&lt;br /&gt;
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The translation adheres to the sequence of the original but ignores the fluency of the sentence. In English, attributives are at both ahead of and behind the objects; while in Chinese, they mostly are preceded. Therefore, the translation violates the grammar of the target language, belonging to an overt error.&lt;br /&gt;
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Example 7：&lt;br /&gt;
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There's nothing like a timely reminder of one's personal obligations.&lt;br /&gt;
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及时地提醒个人的责任之类的东西也没有。(P71)&lt;br /&gt;
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“There's nothing like” is a common sentence pattern in spoken English, meaning nothing else is able to match. The original would have expressed that “a timely reminder of one’s personal obligations” is the most important. The translator misunderstood the meaning utterly, making an overt error.  &lt;br /&gt;
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Example 8：&lt;br /&gt;
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It amazes me, how things have changed so much so quickly.&lt;br /&gt;
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太让我吃惊了，世道变得如此之大，如此之快。(P195)&lt;br /&gt;
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The translation, by and large, is in accordance with the original. Yet there is possibility for readers to be confused about the accuracy of words collocation. Although “so much” and “so quickly” modify the verb “change”, we have to respectively choose the proper words to collocate. It is a covert error. &lt;br /&gt;
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'''3.1.3 Textual Field'''&lt;br /&gt;
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On textual field, there is only one error---overt error. It is caused by misconstruing what the pronoun refers to. By and large, the translation, through the comprehensive analysis on textual field, is high-quality. &lt;br /&gt;
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Example 1：&lt;br /&gt;
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That's just not how it was though.&lt;br /&gt;
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但是我和她根本不是这样。(P4)&lt;br /&gt;
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According to “Sisters are supposed to be people you're close to, aren't they. You may not like them much, but you're still close to them”, it refers to the whole view instead of certain relationship between me and my sister. The referential meaning does not accord with that of the original. It is an overt error.&lt;br /&gt;
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'''3.2 Comparison on Tenor'''&lt;br /&gt;
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Tenor refers to the nature of the participants, the addresser and the addressee, and the relationship between them in terms of social power and social distance. After comparing the original and the translation of A Pale View of Hills, there are 8 mismatches on social attitude and social role relationship, one of which is an overt error and the rest are covert. In general, the translation is highly in accordance with the original so the quality is high on tenor. &lt;br /&gt;
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'''3.2.1 Social Attitude'''&lt;br /&gt;
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Social attitude refers to the social distance between communicators and the degree of formality of discourse. The misunderstanding of social attitude in the translation process will affect the readers' understanding of the characters in the novel. Therefore, mistakes in representing social attitude of characters should be minimized and even avoided in the translation process. There are 4 mismatches on social attitude in the translation: one is an overt error and the rest are covert errors. By and large, the translation on displaying the social attitude of the original is great. &lt;br /&gt;
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Example 1：&lt;br /&gt;
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The English are fond of their idea that our race has an instinct for suicide.&lt;br /&gt;
&lt;br /&gt;
英国人有个奇特的想法，觉得我们这个民族天生爱自杀。(P4)&lt;br /&gt;
&lt;br /&gt;
In the original text, the attitude of the character is relatively objective. However, in the translation, the attitude is represented overly by using an adjective, which might be translator’s understanding on author’s attitude. It limits different interpretation to the author’s attitude from readers. It is an overt error. &lt;br /&gt;
&lt;br /&gt;
Example 2：&lt;br /&gt;
&lt;br /&gt;
“Which are you hoping for, Etsuko?” he asked, eventually. “A boy or a girl?”&lt;br /&gt;
&lt;br /&gt;
“你想是男孩还是女孩呢，悦子？”过了一会儿他问道。(P35)&lt;br /&gt;
&lt;br /&gt;
Ogata-San would like to know Etsuko’s mind about the upcoming baby, but he is not sure if it is proper. At last, curiosity overpowers his hesitation. In the original text “eventually” signifies both time and emotion span. But the translation only manifests the time span. It is a covert error.&lt;br /&gt;
&lt;br /&gt;
Example 3：&lt;br /&gt;
&lt;br /&gt;
“Tell me, Etsuko,” he said, not looking up from his laces. “Have you met this Shigeo Matsuda?”&lt;br /&gt;
&lt;br /&gt;
“告诉我，悦子，”他头也不抬地说。“你见过这个松田重夫吗？”(P36-P37)&lt;br /&gt;
&lt;br /&gt;
Ogata-San, as Etsuko’s father-in-law and adopter after the war, gets along well with her. In the original text, Ogata-San is “not looking up” when speaking to Etsuko since he is lying his laces. The translation ignores the reason, which renders Ogata-San a cold man. It is a covert error.&lt;br /&gt;
&lt;br /&gt;
Example 4:&lt;br /&gt;
&lt;br /&gt;
I'm sure she'd be the first to agree with me about Kazuo mourning her like this.&lt;br /&gt;
&lt;br /&gt;
我肯定她会第一个同意我的观点，和夫不应该再这样想着他了。(P94)&lt;br /&gt;
&lt;br /&gt;
From the original, we can feel the love of Mrs. Fujiwara to her son. However, after reading its translation, we can feel nothing but her dominance. It signifies that the translation deviates from the original context. It is a covert error.&lt;br /&gt;
&lt;br /&gt;
'''3.2.2 Social Role Relationship'''&lt;br /&gt;
&lt;br /&gt;
Social role relationship refers to the social relation between the speaker and the receiver, that is, symmetry and asymmetry. The analysis on the social roles relationship in novels is generally from two aspects: relationship between the author and readers, and relationship between the various characters in the work. The former is remained utterly, while the latter is slightly different from that in the original. A total of 4 mismatches are found in the comparison, all of which are covert errors. In the full-text translation, the overall relationship between the characters is the same as that of the original text, and only a few mismatches are found. Therefore, on social role relationship, translation is of high quality.&lt;br /&gt;
&lt;br /&gt;
Example 1：&lt;br /&gt;
&lt;br /&gt;
She said it would be perfectly all right if you came and waited for her at my house.&lt;br /&gt;
&lt;br /&gt;
她说你可以到我家来等她。(P13)&lt;br /&gt;
&lt;br /&gt;
The translation omits “be perfectly all right if”, which takes the edge off the amiability from Etsuko to Mariko. Given the whole plot of the novel, Mariko is a phantom of Etsuko’s old daughter Keiko. The obscure feelings between Mariko and Etsuko are very important to implicate their special emotion. Therefore, the translation ignores to take a consideration of the context. It is a covert error.&lt;br /&gt;
&lt;br /&gt;
Example 2：&lt;br /&gt;
&lt;br /&gt;
As I say, this order came into the office the day you arrived. A real nuisance.&lt;br /&gt;
&lt;br /&gt;
我说过了，订单刚好在您来的那天来了。真是讨厌。(P29)&lt;br /&gt;
&lt;br /&gt;
On the basis of the context, Jiro (Etsuko’s husband) is explaining to his father Ogata-San that he is so busy that he could not accompany him. He feels apologetic about that. However, the tone of speaking in translation is impatient and a bit furious, which runs against that of the original. So, it is a covert error. &lt;br /&gt;
&lt;br /&gt;
Example 3：&lt;br /&gt;
&lt;br /&gt;
I should warn you, perhaps. My daughter has been in a somewhat difficult mood these past few days.&lt;br /&gt;
&lt;br /&gt;
也许我应该警告你。我女儿这几天情绪很不好。(P90)&lt;br /&gt;
&lt;br /&gt;
Warn enjoys two major meanings: to tell somebody about something, especially something dangerous or unpleasant that is likely to happen, so that they can avoid it; to strongly advise somebody to do or not to do something in order to avoid danger or punishment. In the original, Sachiko entrusts Etsuko to look after her daughter so the former one is appropriate. However, in the translation the later one is adopted, which is absolutely improper. It is a covert error. &lt;br /&gt;
&lt;br /&gt;
Example 4：&lt;br /&gt;
&lt;br /&gt;
Now listen carefully, or else you'll never find the noodle shop.&lt;br /&gt;
&lt;br /&gt;
现在您听好了，不然您永远也别想找到面馆。(P183)&lt;br /&gt;
&lt;br /&gt;
The sentence is said when Etsuko intends to tell Ogata-San the route to the restaurant of Mrs Fujiwara. On the basis of the context, Etsuko is very reverent to Ogata-San. However, the manner of translation is tough, which is not of a piece with the original. It doesn’t take account of the context, so it is a covert error.&lt;br /&gt;
&lt;br /&gt;
'''3.3 Comparison on Mode'''&lt;br /&gt;
&lt;br /&gt;
Mode can be divided into medium and participation. In the course of analyzing both the original and the translation, a total of 6 mismatches are found on the two dimensions and all of them are covert errors, which manifests the translation are generally of a piece with the original. The translation on mode is of high quality.&lt;br /&gt;
&lt;br /&gt;
'''3.3.1 Language Medium'''&lt;br /&gt;
&lt;br /&gt;
Language medium mainly refers to whether the form of language is spoken or written, simple or complex. The contrast between the model of the source text and the target text is mainly reflected in the linguistic features and diction features of text rather than language types used. The language of A Pale View of Hills is simple, delicate and easy to understand, with short sentence, plenty of dialogues between characters and a high degree of colloquialism. The overall style of the translation is similar with that of the original, with only 4 stylistic covert mismatches. Therefore, on language medium, the translation quality is great.&lt;br /&gt;
&lt;br /&gt;
Example 1：&lt;br /&gt;
&lt;br /&gt;
…on one side of the tracks at the foot of the hill could be seen a cluster of roofs.&lt;br /&gt;
&lt;br /&gt;
山脚下铁路的一侧是鳞次栉比的屋顶。(P8)&lt;br /&gt;
&lt;br /&gt;
Cluster means a group of things of the same type that grow or appear close together, whose translation accords with it in the ideational meaning. Nonetheless, “鳞次栉比” in Chinese is a four-character phrase that usually appears in formal written text. It is more complex than the style of the text. It is a covert error.&lt;br /&gt;
&lt;br /&gt;
Example 2：&lt;br /&gt;
&lt;br /&gt;
We're just rabble, like your husband says.Please don’t make a fuss, please sit down.&lt;br /&gt;
&lt;br /&gt;
正如您丈夫说的，我们只是两个混蛋。不用麻烦了，请坐下。(P74)&lt;br /&gt;
&lt;br /&gt;
The situation happens when Jiro’s colleagues come round. From the conversation between Jiro and his colleagues, it is found that they are very familiar and intimate. So, words such as “rabble” and “like” are of high colloquialism. Nevertheless, in the translation “正如” is a formal expression, which is not in line with the original. Thus, it is a covert error.&lt;br /&gt;
&lt;br /&gt;
Example 3：&lt;br /&gt;
&lt;br /&gt;
Blankets and laundry hung from many of the balconies.&lt;br /&gt;
&lt;br /&gt;
很多阳台上挂着毯子啦、洗的衣服啦。(P181)&lt;br /&gt;
&lt;br /&gt;
Example 4：&lt;br /&gt;
&lt;br /&gt;
Young women these days are all so headstrong. And forever talking about washing-machines and American dresses.&lt;br /&gt;
&lt;br /&gt;
现在女孩子任性得很。而且整天在讲什么洗衣机啦、洋裙啦。(P195)&lt;br /&gt;
&lt;br /&gt;
The two sentences are the description of the street which Etsuko and Ogata-San pass by when they intend to visit Shigeo. Etsuko is a calm and composed Japanese woman, whose language style is the same. Modal particles used in translation render the language abrupt and frisky. So, it is a covert error.&lt;br /&gt;
&lt;br /&gt;
'''3.3.2 Participation'''&lt;br /&gt;
&lt;br /&gt;
Participation refers to whether the speech is a simple monologue or a complex form that prompts the listeners or readers to participate indirectly, for example, by the transition between statements and questions and the special use of pronouns. The whole plot of A Pale View of Hills is a soliloquy narrated in the first person, interleaved with dialogues between different characters. Readers hardly could participate indirectly in it. The translation is basically in the same style as the original, except for the two following examples. The two declarative sentences are translated into a rhetorical question, which does not require readers to answer as well. Therefore, the translation is of high quality in terms of participation.&lt;br /&gt;
&lt;br /&gt;
Example 1：&lt;br /&gt;
&lt;br /&gt;
That’s no way to bring a child into the world, visiting the cemetery every week.&lt;br /&gt;
&lt;br /&gt;
这样怎么能把孩子带到这个世上呢？(P24)&lt;br /&gt;
&lt;br /&gt;
Example 2：&lt;br /&gt;
&lt;br /&gt;
It seems very disloyal.&lt;br /&gt;
&lt;br /&gt;
这不是忘恩负义吗？(P32)&lt;br /&gt;
&lt;br /&gt;
The quality statement of the Chinese Translation of A Pale View of Hills focuses on whether it is an overt transaltion or a covert translation and its matching degree. On the one hand, it is an overt translation. Accoring to above analysis, the translation is closely related to the culture of the sourse language text. From the translation, expressions with Japanese culture can be found clearly. On the other hand, it is of high quality. There are 32 mismatches in total, 18 mismatches on field, 8 on tenor and 6 on mode. Among them, there are 13 overt errors and 19 covert errors. Covert errors caused by ignoring the context and overt errors caused by violating the rules of target language inflict only a little ambiguity on ideational function, interpersonal function and the quality of the text.&lt;br /&gt;
&lt;br /&gt;
===IV Quality Statement of Chinese Translation of A Pale View of Hills===&lt;br /&gt;
The quality statement of the Chinese Translation of A Pale View of Hills focuses on its cultural participation degree and its matching degree. Based on the two aspects, this chapter will make a quality statement of the Chinese Translation of A Pale View of Hills.&lt;br /&gt;
&lt;br /&gt;
'''4.1 Overt Translation'''&lt;br /&gt;
&lt;br /&gt;
Overt translation refers to the obvious translation rather than the second original. The translation is obviously not aimed at the readers with target language, because the original text, literary works, political speeches and religious sermons, is closely related to the culture it is rooted in. But covert translation can be used as the second text, that is, independent writing. House deems that texts requiring overt translation have no special connection with their culture, and they are not unique to their culture, such as academic papers and travel brochures. She also believes that in overt translation, equivalence can only be established at the level of language/text, register and genre, but it is difficult to achieve equivalence in function. In contrast, the purpose of covert translation is to achieve functional equivalence, and there will be some deficiencies in language, register.&lt;br /&gt;
&lt;br /&gt;
In the contrast reading between the original and the translation, the obvious traces of the original can be found, for example, “你想她们还在打吗？” and “呃，我想小孩子是会打架的。但是我想我应该告诉你一声。还有你看，我想你女儿不是要去上学。”. In English, words representing speculation, such as “suppose” and “think”, are used frequently, while in Chinese they are not. Thus, the target text which remains these words possesses obvious sighs of translation. Furthermore, other signs in the translation, such as “欠了欠身”，show the culture of Japan when greeting. In conclusion, the target text of A Pale View of Hills is overt translation.&lt;br /&gt;
&lt;br /&gt;
'''4.2 High-quality Translation'''&lt;br /&gt;
&lt;br /&gt;
This study applies House’s TQA model to assess the Chinese translation of A Pale View of Hills on lexical, syntactic and textual aspects. On basis of analysis between the original and the translation, there are 18 mismatches on field, 8 on tenor and 6 on mode. Among them, there are 13 overt errors and 19 covert errors. Covert errors caused by ignoring the context and overt errors caused by violating the rules of target language inflict only a little ambiguity on ideational function, interpersonal function and the quality of the text. &lt;br /&gt;
&lt;br /&gt;
Chinese translation of A Pale View of Hills, by and large, consisting with the original, is of high quality. On the field, the translation, which transmits the subject matter and social action which covers the specificity of linguistic items, is in accordance with the original on lexical, syntactic and textual dimension in general; on the tenor, the representation of social attitude and social role relationship of the Chinese text is consistent with the English text; on the mode, the language of the translation is as simple and delicate as that of the original and the participation is of low level as well. Therefore, Zhang Xiaoyi’s Chinese translation of A Pale View of Hills is of high quality.&lt;br /&gt;
===Conclusion===&lt;br /&gt;
''A Pale View of Hills'', as the debut of Kazuo Ishiguro, involves many in-depth subjects, which initiates the development of author's peculiar writing style. House’s model is the first scientific and objective translation quality assessment mode with the integration of both theory and practice. This study applies House’s TQA model to assess the Chinese translation of ''A Pale View of Hills'' on lexical, syntactic and textual aspects. On basis of analysis between the original and the translation, there are 18 mismatches on field, 8 on tenor and 6 on mode. By and large, the Chinese translation of A Pale View of Hills is overt translation. Although a few mismatches can be found in the translation, they cause a little affect to the functions of the text and the presentation of the plot, role characters and role relationship of the whole novel. In conclusion, the translation is in line with the original on register and is of high quality.&lt;br /&gt;
&lt;br /&gt;
Different from the traditional evaluation methods, House's model, based on micro and macro criteria, both quantitative analysis and qualitative analysis, is the first scientific and objective translation quality assessment model with a complete theory and empirical evidence. It can be used as an auxiliary tool to find problems in translation so as to make modifications, which to some extent promotes the development of translation activities. However, in the actual operation process, although the translation quality assessment can be carried out according to parameters, the comparison results still rely on subjective judgment, which cannot utterly guarantee the scientificity of the final evaluation results. In addition, due to the large number of parameters, it takes a lot of time to compare the differences in vocabulary, sentence structure and discourse between the original text and the translation in the evaluation of full-length novel, so the evaluation is not very efficient. Although there are still some shortcomings in the House's model, it is still worth applying in the practice of translation criticism as a relatively complete and objective theoretical model.&lt;br /&gt;
===Works Cited===&lt;br /&gt;
Awla, Y. N. The The Impact of Place on Personality in Kazuo Ishiguro’s A Pale View of Hills: An Eco-critical Study[J]. ''Journal of University of Raparin'', 2019, 6(2): 1-18.&lt;br /&gt;
&lt;br /&gt;
House, J. ''A Model for Translation Quality Assessment''[M]. Germany: Gunter Narr Verlag Tubingen, 1977.&lt;br /&gt;
&lt;br /&gt;
House, J. ''Translation Quality Assessment: A Model Revised''[M]. German: Gunter Narr Verlag Tubingen, 1997: 108. &lt;br /&gt;
&lt;br /&gt;
Newmark, P. ''A Textbook of Translation''[M]. Shanghai: Shanghai Foreign Language Education Press, 2001: 184.&lt;br /&gt;
&lt;br /&gt;
Reiss, L. ''Translation Criticism, the potentials &amp;amp; Limitations''[M]. Manchester: St. Jerome Publishing, 2000: 24-38.&lt;br /&gt;
&lt;br /&gt;
Forsythe, R. Cultural Displacement and the Mother-Daughter Relationship in Kazuo Ishiguro's ''A Pale View of Hills''[J]. ''West Virginia University Philological Papers'', 2005, 51.&lt;br /&gt;
&lt;br /&gt;
Jeremy M. ''Introduction Translation Studies: Theory and Applications''[M]. London and New York: Routledge, 2001: 92.&lt;br /&gt;
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丰玉芳, 王菲菲. 从豪斯的翻译质量评估模式看宋词翻译——以宋词《声声慢》和许渊冲英译本为例[J]. 扬州大学学报(人文社会科学版), 2015, 19(03): 114-121.&lt;br /&gt;
&lt;br /&gt;
贺晓冰. 论《远山淡影》的不可靠叙述与记忆[D]. 西安外国语大学, 2018.[10] 姜睿萍. 豪斯翻译质量评估模式在英汉互译中的可行性分析[D]. 哈尔滨工程大学, 2007. &lt;br /&gt;
&lt;br /&gt;
李菁, 王烟朦. 翻译质量评估研究的新里程—《翻译质量评估:过去和现在》评述[J]. 中国翻译, 2015, 36(04): 63-65.&lt;br /&gt;
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李晓林, 何绍斌. 朱莉安·豪斯的“翻译质量评估模式”运作过程可行性浅评[J]. 哈尔滨学院学报, 2010, 31(06): 127-1.&lt;br /&gt;
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李厥云. 论《远山淡影》的创伤记忆和身份叙事[J]. 长春大学报, 2017, 27(11): 45-49.&lt;br /&gt;
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刘晓亚. 《远山淡影》中的创伤研究[D]. 四川师范大学, 2015.&lt;br /&gt;
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司显柱. 朱莉安·豪斯的“翻译质量评估模式”批评[J]. 外语教学, 2005(03): 79-84.&lt;br /&gt;
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唐军, 王燕. 豪斯翻译质量评估模式在汉译英翻译中的应用——以朱自清《背影》的英译为例[J]. 合肥工业大学学报(社会科学版), 2011, 25(06): 129-135.&lt;br /&gt;
&lt;br /&gt;
王丽川. 《远山淡影》中的反讽解读[D]. 河南: 郑州大学, 2019.&lt;br /&gt;
&lt;br /&gt;
王飞. 石黑一雄中的身份焦虑[J]. 中南大学学报(社会科学版), 2017, 23(06): 152-157.&lt;br /&gt;
&lt;br /&gt;
周芬芬. 豪斯翻译质量评估模式的实践应用——以《荷塘月色》英译本为例[J]. 山西农业大学学报(社会科学版), 2013, 12(08): 782-786.&lt;br /&gt;
&lt;br /&gt;
==On the Relationship among Literal Translation, Free Translation, Domestication and Foreignization	韦洪朗	Wei Honglang==&lt;br /&gt;
&lt;br /&gt;
==On Chinese-to-English Translation of The Summer Palace from the Perspective of Functionalist Approaches to Translation	魏亚菲	Wei Yafei==&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
===Abstract===&lt;br /&gt;
Abstract&lt;br /&gt;
The Chinese-English translation of tourist texts, as a window for the external publicity of national history and culture, plays an important role in promoting the development of local tourism. The Summer Palace is well known for its large and priceless collection of cultural relics, which is among the first group of historical and cultural heritage sites in China to be placed under special state protection. &lt;br /&gt;
Based on the functionalist approach and the skopos rule, this paper discusses the problems existing in the translation of scenic spots in the Summer Palace from the perspectives of garden culture, historical culture and religious culture. Skopos theory holds that translation depends on communicative purpose. To achieve this goal, translators can choose different translation strategies. It is believed that the purpose of Chinese-English translation of scenic spots is to attract target readers and promote traditional culture. Therefore, when translating tourism materials, it is necessary not only to express the local cultural connotation, but also to consider the cross-cultural factors. The Chinese-English translation of the introduction of scenic spots guided by functionalist approach can make English readers have expectations of scenic spots and understand the cultural connotation of scenic spots. This paper aims to better promote the development and communication of Chinese culture and improve the level of tourism text translation in China by relying on the theory of functionalist approach.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
===Key words===&lt;br /&gt;
Key Words: functionalist approach，the Summer Palace，translation strategies&lt;br /&gt;
&lt;br /&gt;
===摘要===&lt;br /&gt;
摘 要&lt;br /&gt;
旅游资料的英译作为民族历史文化对外宣传的一道窗口,对地方旅游业的发展有着不可低估的促进作用。颐和园作为中国著名的皇家园林，具有浓厚的中国园林特色及优美的风景，同时也蕴涵着深厚文化内涵。&lt;br /&gt;
本篇旅游文本英译的分析以功能派翻译理论作为理论指导，以目的法则为主要原则，从颐和园的园林文化、历史文化和宗教文化三个角度出发对颐和园景点英译中存在的问题进行探讨。目的论认为译文取决于翻译目的，这个目的通常指的是交际目的。为达到这个目的，译者可以选择不同的翻译策略。也就是说，译者的翻译策略必须由译文的预期目的或功能决定，即所谓的“目的法则”。笔者认为景点介绍的汉英翻译的目的就是吸引译文读者以及弘扬传统文化，因此在翻译旅游资料的时候不仅要把当地的文化内涵表达出来，而且要考虑到跨文化的因素。而以功能派翻译理论为指导的景点介绍的汉英翻译，可以使英语读者通过译文产生对旅游景点的期盼，以及对景点文化内涵的理解。以颐和园景区内的翻译文本为例本，依托功能翻译理论，通过“发现问题，指出问题，解决问题”，以期更好地促进中国文化的传播与交流，提高我国现阶段旅游文本翻译的水平。&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
===关键字===&lt;br /&gt;
关键词：功能翻译；颐和园；翻译目的；翻译策略&lt;br /&gt;
&lt;br /&gt;
===Introduction===&lt;br /&gt;
  Throughout the translation history at home and abroad, the literal translation and free translation have always been a heat discussion in the translation circles. Someone absolutely approve literal translation and demean free translation, even pursue a dead translation, which creates an translated text difficult to understand. While some other people absolutely agree with free translation even advocate random acts, which means a random deletion in the translation practices and creates anther entirely different text. However, there are also a number of translators who have recognized that these two translation methods are not totally opposite. So they adopt a compromise and flexible way. That means they will choose the most appropriate one depending on the text demanding. Therefore, we can deduce from it that this eclectic translation is consistent with the Contradiction view of Unity of Opposite in Materialist Dialectics. In fact, literal translation and free translation are right a set of contradictions which are both opposite and unified. They complement each other into an integral one.&lt;br /&gt;
&lt;br /&gt;
===Table of Contents===&lt;br /&gt;
&lt;br /&gt;
Table of Contents&lt;br /&gt;
&lt;br /&gt;
Outline&lt;br /&gt;
1.Introduction&lt;br /&gt;
2. Studies on Functionalist Approach&lt;br /&gt;
2.1 The Viewpoint of Functionalist Approach&lt;br /&gt;
2.1.1 Reiss’s Text Typology&lt;br /&gt;
2.1.2 Vermeer’s Skopos Theory&lt;br /&gt;
2.1.3 Manttari’s Theory of Translational Action&lt;br /&gt;
2.1.4 Nord’s Theory of Function plus Loyalty&lt;br /&gt;
2.2 The Application of Functionalist Approach &lt;br /&gt;
3.C-E Translation of the Summer Palace under Functionalist Approach&lt;br /&gt;
3.1 Garden Culture&lt;br /&gt;
3.2 Historical Culture &lt;br /&gt;
3.3 Religious Culture &lt;br /&gt;
4. Conclusion&lt;br /&gt;
References&lt;br /&gt;
&lt;br /&gt;
===Outline===&lt;br /&gt;
Outline&lt;br /&gt;
&lt;br /&gt;
Thesis Statement: Based on the main viewpoints of functionalist approaches to translation, this paper aims to give an analysis to C-E translation of the Summer Palace from cultural, historical and religious aspects, hoping to provide some translation strategies for other cultural attractions.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
1. Introduction&lt;br /&gt;
2. Studies on Functionalist Approaches&lt;br /&gt;
2.1 The Viewpoint of Functionalist Approach&lt;br /&gt;
2.1 Reiss’s Text Typology&lt;br /&gt;
2.2 Vermeer’s Skopos Theory&lt;br /&gt;
2.3 Manttari’s Theory of Translational Action&lt;br /&gt;
2.4 Nord’s Theory of Function plus Loyalty&lt;br /&gt;
2.2 The Application of Functionalist Approach&lt;br /&gt;
3. C-E Translation of the Summer Palace under Functionalist Approach&lt;br /&gt;
3.1 Garden Culture&lt;br /&gt;
3.2 Historical Culture&lt;br /&gt;
3.3 Religious Culture&lt;br /&gt;
4. Conclusion&lt;br /&gt;
&lt;br /&gt;
===1. Introduction ===&lt;br /&gt;
1. Introduction   &lt;br /&gt;
The Chinese-English translation of tourist texts is a bridge to spread the culture of classical Chinese gardens, so the accuracy of it has a direct impact on foreigners' understanding of the specific history and culture. &lt;br /&gt;
Functionalist approach has made a pioneering contribution to the translation of non-literary genres. Functional translation theory emphasizes the function of discourse, and believes that different types of discourse have different functions, so translators should choose appropriate translation strategies according to the type of source text and corresponding functions. Functionalist approach is to take the &amp;quot;skopos rule&amp;quot; as the highest standard, and any translation activity is a purposeful behavior. The ultimate goal and main function of scenic spot translation is to help people understand the main content of the scenic spot.&lt;br /&gt;
As a window for the publicity of national history and culture, the Chinese-to-English translation of tourist texts plays an important role in promoting the development of local tourism. Well known for its large and priceless collection of cultural relics, the Summer Palace was among the first group of historical and cultural heritage sites in China to be placed under special state protection. Based on the viewpoints of functionalist approach to translation, this paper aims to analyze C-E translation of the Summer Palace from cultural, historical and religious aspects, hoping to provide some translation strategies for other cultural attractions. &lt;br /&gt;
&lt;br /&gt;
===2. Studies on Functionalist Approaches===&lt;br /&gt;
2. Studies on Functionalist Approaches&lt;br /&gt;
Functionalism is a theory that advocates reader-centered translation, emphasizing the functions of texts and highlighting the communicative effects. It is believed that many unnecessary mistakes can be avoided and better results can be achieved by applying functionalist approach in Chinese-English translation of tourist text. &lt;br /&gt;
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===2.1 The Viewpoint of Functionalist Approaches===&lt;br /&gt;
2.1 The Viewpoint of Functionalist Approaches&lt;br /&gt;
Functionalist Translation Theory, also known as German Functionalist Translation Theory, was proposed by German scholars in the 1970s. It includes four main theories: Katharina Reiss’s Text Typology, Hans Vermeer’s Skopos Theory, Justa Holtz Manttari’s Theory of Translational Action and Christiane Nord’s Theory of Function plus Loyalty. This chapter aims to present the main ideas of this theory.&lt;br /&gt;
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===2.1.1 Reiss’s Text Typology===&lt;br /&gt;
2.1.1 Reiss’s Text Typology&lt;br /&gt;
In 1971, Reiss in her book Possibilities and Limitation of Translation Criticism first made text function as a standard of translation criticism, namelyevaluate the translated text from the relationship between the functions of the original and the translated text. She insists on the original-centered equivalence theory and holds the view that the ideal translation is to achieve the equivalence between the target text and the source text in terms of ideological content, linguistic form and communicative function. However, translation practice makes her realize that it’s difficult to achieve equivalence sometimes and that sometimes equivalence cannot be pursued. Because of the particularity of translation requirements, the function of the target text is not always the same as that of the source text. Therefore, the translator should give priority to the functional role of the target text rather than the principle of equivalence.&lt;br /&gt;
Reiss believes that in the normal situation the type of text decides the translator’s choice of a proper translation method (Reiss, 2004). Therefore, she divides text into four types: content-focused text, form-focused text, appeal-focused text and audio-media text. Content-focused text, also known as informative text, includes news reports, commercial correspondence, operating instructions, official documents, patent&lt;br /&gt;
specifications, essays, treaties, etc. For this text, the main function is to convey information revealed in language itself to readers. The emphasis is on content and topic, so the choice of language and style should serve this function. If both the source text and target text belong to informative text, the translator should represent the content and information of source text accurately and completely (Reiss, 2004)&lt;br /&gt;
Form-focused text, also known as expressive text, refers to literary works such as novels, poems and so on. “Distinct from ‘content’, which deals with what the author says, ‘form’ is concerned with how an author expresses himself” (Reiss, 2004). For expressive texts, information is only a supplement. What is dominant is the aesthetic factor. When translating such texts, the translator should pay attention to the aesthetic and artistic forms of the original text and to the differences between two cultural habits, trying to achieve the same effect as the source text. In a word, in a form-focused text the linguistic form of the source text determines the form in the target language (Reiss, 2004).&lt;br /&gt;
Appeal-focused text, also known as operative text, mainly includes notice, instruction manual, advertisement, publicity manual and so on. For operative texts, the primary task for the translator is to provoke a particular reaction on the hearers or readers to incite them to engage in specific actions, while content and form are subordinate. Therefore, to achieve the same effect, the translator need to change the content and stylistic features of the original text, try to keep the potential influential factors of the original text and seek functional equivalence (Reiss, 2004: 38-43). Audio-medial text, also known as multi-media text, refers to radio and television scripts, such as radio newscasts and reports, topical surveys and dramatic productions.&lt;br /&gt;
It is distinctive in its dependence on non-linguistic media and on graphic, acoustic, and visual kinds of expression. Only in combination with them can the whole complex literary form realize its full potential (Reiss, 2004). In conclusion, different texts determine different translation focuses and methods. In many cases, however, a text may have more than one function, which means that translators should integrate different translation strategies skillfully to achieve different functions of texts.&lt;br /&gt;
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===2.1.2 Vermeer’s Skopos Theory===&lt;br /&gt;
2.1.2 Vermeer’s Skopos Theory&lt;br /&gt;
Reiss’s student Vermeer, who broke the limitation of the theory of equivalent and took skopos to be the first criterion of translation process  proposed the key theory: Skopostheorie. According to Skopos Theory, when translating a text, the translator needs to consider the purpose of translation first and then choose the translation method according to the purpose, which means “the end justifies the means” (Nord, 2001). Vermeer believes that translation, like other human actions, is also a purposeful act. Translation often takes place in cultural backgrounds with different customs and values, so translation is not a simple equivalent transformation between languages. Skopos Theory does not focus on achieving the equivalence between the target text and the original text or the perfection of the target text, but on choosing the best translation strategy based on the analysis of the source text and the intended function of the target text. In a word, translation methods and strategies are determined by the intended purpose or function of the target text.&lt;br /&gt;
According to Skopos Theory, the first rule that all translators must follow is the Skopos Rule. Translation purpose can be divided into three categories: (1) the purpose of the translator, such as earning a living; (2) the communicative purpose of the translation, such as instructing the reader; (3) the purpose of using a particular translation method, such as the literal translation according to its structure to illustrate the peculiarities of grammatical structure in a language (Nord, 2001). In general, the communicative purpose is more important than the other two. The communicative purpose is usually determined by the initiator of the translation act, but the translator can take part in deciding. The second rule is the Coherence Rule. Coherence Rule requires that the translation conform to the criterion of intratextual coherence, which means that the translation must be accessible to recipients and meaningful in the target culture and in the communicative environment (Nord, 2001). The third rule is the Fidelity Rule. It means that there should be intertextual coherence between the source text and the target text, which means being faithful to the source text. Nevertheless, the degree and form of faithfulness lie in the target text and the degree that the translator understands the original text. Normally “Intertexual coherence is considered subordinate to intratexual coherence and both are subordinate to the Skopos rule” (Nord, 2001).&lt;br /&gt;
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===2.1.3 Manttari’s Theory of Translational Action===&lt;br /&gt;
2.1.3 Manttari’s Theory of Translational Action&lt;br /&gt;
Following Vermeer, Manttari develops Vermeer’s Skopos Theory and puts forward the Theory of Translational Action. He emphasizes three aspects: the behavior of the translation process, the role of the participants (the initiator, the translator and the target reader, etc.) and the environment (time, place and media) in which the translation process takes places. It views translation as “purpose-driven, outcome-oriented human interaction and construes the process of translation as message-transmitter compounds that involve intercultural transfer” (Mundy, 2001). According to Manttari, translation is “ a complex act to achieve a particular purpose” &lt;br /&gt;
(Nord, 2001). It is not about translating words, sentences or texts but is about guiding the intended cooperation over cultural barriers and promoting functional communication. Cooperation here means “transcultural communication” by Manttari.&lt;br /&gt;
The Theory of Translational Action attaches great importance to providing a functional communicative text for the recipient, a text suitable for the target culture in&lt;br /&gt;
form and style. Functional suitability is determined by the translator. The translator is&lt;br /&gt;
an expert in translation, whose role is to ensure the successful completion of cultural&lt;br /&gt;
transformation. In producing the target text, the analysis of the source text is necessary so that the translator can find out its structural and functional characteristics, which can be described by content and form. The need of the recipient is the decisive&lt;br /&gt;
factor for the target text.&lt;br /&gt;
In short, “the value of Manttari’s work is the placing of translation (or at least the professional non-literary translation which she describes) within its sociocultural&lt;br /&gt;
context, including the interplay between the translator and the initiating institution”&lt;br /&gt;
(Mundy, 2001).&lt;br /&gt;
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===2.1.4 Nord’s Theory of Function plus Loyalty===&lt;br /&gt;
2.1.4 Nord’s Theory of Function plus Loyalty&lt;br /&gt;
Though skopos rule changes the focus of translation from the source language text to the target language text and the target receivers, it has some limitations. One is that different readers have different expectations, and the translation purpose cannot satisfy all the expectations of the target reader. Another is that the translation purpose may sometimes be against the intention of the source language. Therefore, based on the skopos rule, Nord introduces the loyalty principle. The principle of loyalty is a supplementary principle proposed by Nord to make up for the deficiency of skopos rule. According to the explanation of Nord, it is not the relationship between the original text and the target text, nor the equivalence between the original text and the form of the target text, but the consistency between the author of the original text, the initiator of the translation, the translator and the reader of the target text, which is the principle of loyalty. The proposal of the loyalty principle makes up for the mistakes that some radical skopos translators usually make, such as omitting and rewriting, which makes skopos theory more perfect and makes skopos theory more likely to guide the translation of literary works.&lt;br /&gt;
“Function” and “loyalty” are two pillars of Nord’s functionalist approach. “Function” refers to what a text means or is intended to mean from the receiver’s point of view”, while “loyalty” means that “target-text purpose should be compatible with the original author’s intention” (Nord,2001). It emphasizes the interpersonal relationship between the translator, the source-text sender, the target-text addresses and the initiator. Function plus loyalty enables the translator to avoid the limitations of skopos rule and try to achieve a balance between translation purpose and the source-text author’s intention”(Nord,2001). That is to say, when translating the original text, the translator should take into account the readers' cultural background, knowledge level and expectation of the translation, and choose the corresponding translation strategy according to the translation requirements. If the reader wants to read a word-for-word translation of the article, then the translator must meet the reader's requirements, otherwise he must explain to the reader why he chose his own translation method. The translator's job is to weigh two different cultures instead of imposing one culture on another. &lt;br /&gt;
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===2.2The Application of Functionalist Approach to the Tourist Texts.===&lt;br /&gt;
2.2The Application of Functionalist Approach to the Tourist Texts.&lt;br /&gt;
In the 1990s, Functionalist Translation Theory was introduced to China, and since then it has been applied to translation studies by Chinese translation scholars. In his article published in 1995, Zhang Nanfeng briefly introduces Skopos theory to China for the first time, and considers that Skopos theory is referential (Zhang Nanfeng, 1995). German Functionalist Translation Theory, a paper released in1999, is the first article in China which systematically introduces German Functionalist Translation Theory (Zhong Weihe &amp;amp; Zhong Yu, 1999). Based on an overview of Functionalist Translation Theory, Zhang Meifang focuses on introducing Nord’s theory, especially on the detailed analysis of Nord’s principle of loyalty (Zhang Meifang, 2005). Famous domestic scholars, such as Liu Junping (2009), Liu Miqing (2012) and Li Wenge (2004), also introduce this theory in their books. With the rise of Functionalist Translation Theory in China, someone has compared it with other theories. Zhu Haotong compares Skopos Theory with Functional Equivalence Theory to analyze the similarities and differences between them, and further reveals that Functionalist Translation Theory inherits the reasonable part of Nida’s Functional Equivalence Theory, which is an important breakthrough and supplement to solve the problems that Functional Equivalence Theory leaves (Zhu Haotong, 2006). Some scholars also combine theory with translation practice to explore the application of Functionalist Translation Theory to translation practice. Jia Yanli and Wang Hongjun point out that Skopos Theory has its limitations, but it is still of instruction and reference value for non-literary translation texts, such as advertisements and tourism materials (Jia Yanli &amp;amp; Wang Hongjun, 2012). Li Liangchen selects several famous tourist attractions in China to translate the on-site tour-guide commentary into English. Then he improves them under the guidance of Skopos Theory and sends out questionnaires to overseas tourists for further analysis. He argues that the translation of on-site tour-guide commentary which is guided by Skopos Theory is more favorable to conveying information to foreign visitors, to promoting cultural exchanges and to improving the image of China’s tourist destinations (Li Liangchen, 2013). In Pragmatic Translation: Theory &amp;amp; Practice, Wu Feng and He Qingji introduce Functionalist Translation Theory (Wu Feng &amp;amp; He Qingji, 2008) and the characteristics of tourism text and translation skills (Wu Feng &amp;amp; He Qingji, 2008). In this book, they also discuss the controversy over the Chinese name of Functionalist Translation Theory, and holds that “功能派翻译理论” is the most appropriate Chinese translation (Wu Feng &amp;amp; He Qingji, 2008).Based on his own translation practice and under the guidance of Functionalist Translation Theory, Wu Zixuan probes into some special phenomena in the English translation of CNN newsreels. The author believes that in the translation of external publicity, we should not stick to the standard of faithfulness to the original text, but should deal with the original text properly from the perspective of achieving the purpose of translation, such as rewriting, abridging. (Wu Zixuan, 2005).&lt;br /&gt;
Functionalist approach establishes a theoretical system of diversified translation standards dominated by skopos rule. From the definition of Functionalist approach, it can be seen that the advantage of it is that the translator can get rid of the bondage of the original text, study the translation process with &amp;quot;translation purpose&amp;quot; as the starting point, and determine the translation strategies and methods. This can give full play to the translator's own initiative, flexible processing of the original text, in order to achieve the translation of the communicative function. In addition, functionalist approach requires the translation to be examined in the cultural context of the reader. The reader can accept the translation and understand the meaning of the original text through the translation, so the translation can realize the communicative function. On the basis of such advantages, functionalist approach can be used to guide the English translation of garden scenic spots, and the translator can choose a wider range of translation strategies and break out of the constraints of the original text. &lt;br /&gt;
Only by clarifying the purpose of translation can we avoid these limitations in the English translation of garden attractions. When using functionalist approach to guide the English translation of Chinese classical garden scenic spots, it is necessary to flexibly choose translation strategies and methods, give full play to the advantages of skopos theory, and achieve the balance between &amp;quot;principle of purpose&amp;quot; and &amp;quot;principle of fidelity&amp;quot; as far as possible.&lt;br /&gt;
With the deepening of globalization and cross-cultural communication, tourismis becoming a major industry in the 21st century. The development of tourism can not only promote the economic development of a country but also promote the external dissemination of national culture. Therefore, tourism translation deserves attention. Tourism text is a typical informative and operational text, and the language is unique. It is full of gorgeous words, such as four-character expressions, verses, proper nouns and so on.&lt;br /&gt;
Tourism text materials include tourism advertising, tourism brochures, scenic spots signs and so on. In this paper, we focus on the introduction of Chinese gardens’ scenic spots, which is usually colorful in language and rich in literary style. Tourism text translation belongs to applied translation, which should play a series of practical functions to publicize the image and resources of the country or place and attract overseas tourists. Therefore, the translator of tourism text must be clear about the type and function of tourism text, and to grasp the ultimate purpose of the translation. &lt;br /&gt;
On tourism text translation, the communicative purpose of the translation should be placed in a central position. Furthermore, the tourism text has both the information function and the calling function. The information function and the calling function complement each other. Only when the target language readers acquire the expected tourism information and cultural knowledge can the calling function be realized and the purpose of tourism text translation be achieved. With different translation strategies, the translated version should both expressed contains basic information, and make the tourists feel the profound of the Chinese culture from the beautiful scenery. &lt;br /&gt;
Cultural tourism has long been the focus of international tourism, and understanding Chinese culture is the main purpose of inbound tourists, so the translation of tourism texts bears the mission of cultural transmission and cultural publicity. However, due to the great differences between Chinese and English culture and language, there are many difficulties in cultural transmission in tourism text translation. China has a long and splendid history and culture. When introducing the scenic spots of cultural relics and historic sites, we usually associate with many historical figures and stories. These terms are cultural blank for most foreign tourists, but this kind of cultural experience is also the most attractive place for foreign tourists. It is of great importance to pay attention to cultural differences in tourism translation and carry out cultural transmission effectively. Chinese and English languages have different logic views, and Chinese expressions in tourism texts value decoration. English expressions tend to be clear, concise and to the point. For example, Chinese tourism texts often use a four-character lattice, which is symmetrical, while there is no corresponding four-character lattice expression in English. Therefore, in Chinese-English translation of tourism texts with frequent use of four-character phrases, it is necessary to keep in mind the objective principle of functionalist approach and give priority to cultural communication instead of rigidly adhering to form.&lt;br /&gt;
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===3. C-E Translation of the Summer Palace under Functionalist Approach===&lt;br /&gt;
3. C-E Translation of the Summer Palace under Functionalist Approach&lt;br /&gt;
By studying the specific translation strategies made by predecessors, the following steps are also adopted in this paper: first, the translation strategies are determined according to the text type, such as faithful reproduction of the original information or rewriting; Secondly, the translation strategies are determined according to the potential purpose of the translation, such as paraphrasing or deleting poems, generalizing specific expressions and transliterating proper nouns. Thirdly, the translation strategies are defined with the tourists as the center, such as adding logical words, adding explanatory information and using plain English.&lt;br /&gt;
The Summer Palace epitomizes the philosophy and practice of Chinese garden design, which played a key role in the development of this cultural form throughout the east. It is an outstanding expression of the creative art of Chinese landscape garden design, incorporating the works of humankind and nature in a harmonious whole, which was once the most important place of political and diplomatic activity for the supreme rulers of the late Qing dynasty. Based on three aspects of the Summer Palace, namely, garden culture, historical culture and religious culture, this paper discusses the problems existing in the English translation of the scenic spots of the Summer Palace and puts forward corresponding countermeasures under the guidance of the skopos rule of functionalist translation theory.&lt;br /&gt;
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===3.1 Garden culture.===&lt;br /&gt;
3.1 Garden culture. &lt;br /&gt;
The Summer Palace is a classical garden famous for its magnificence and beauty. There are many temples in the garden, and the green waves of kunming lake ripple. Landscape and humanities complement each other, containing rich natural and cultural information, reflecting the characteristics of Chinese classical gardens. The garden cultural features of the three scenic spots, namely, the hall of clouds, the foxiang pavilion and the Wenchang courtyard, are particularly outstanding. Therefore, this paper takes these three scenic spots as examples to discuss the Chinese-English translation of the introduction of the Summer Palace.&lt;br /&gt;
(1)	排云殿、佛香阁景区是颐和园内建筑布局最完整、建筑形式最丰富的中轴建筑群体，殿、阁、廊、亭、桥、坊、碑等建筑约两万平方米。从临水的云辉玉宇牌坊至排云门、排云殿、德辉殿、佛香阁、众香界、智慧海、层层升高，排列有序，气势巍峨，金碧辉煌，将园林、寺庙和宫殿融为一体。&lt;br /&gt;
Translation：This scenic spot covers an area of 20,000 square meters with an assortment of buildings such as palaces, towers, corridors, pavilions, walkways, bridges, archways and inscribed stone steles. It comprises a well-arranged group of structures, all diverse in style, located in the center of the Summer Palace garden. This complex of structures, ranging from the Glowing Clouds and Holy Land Archway on the waterside, the Gate that Dispels the Clouds, the Hall that Dispels the Clouds, the Hall of Moral Glory, and the Tower of the Fragrance of the Buddha, to the Realm of Popular Fragrance and the Sea of Wisdom Temple, were built in an orderly manner running from the foot of the hill to its top, with gardens, temples and palaces harmoniously integrated into the whole。&lt;br /&gt;
Analysis：As we all know, the design style of ancient Chinese buildings is beautiful with &amp;quot;symmetry&amp;quot;. The &amp;quot;axis&amp;quot; in hall of clouds scenic spot refers to the layout of the Summer Palace from far to near and from top to bottom, which cannot be simply understood as the center. Simply translating &amp;quot;axis&amp;quot; as &amp;quot;center&amp;quot; cannot express accurately the meaning of &amp;quot;symmetry&amp;quot;. Comparatively speaking, &amp;quot;axis&amp;quot; can better reflect the architectural style of the scenic spot.&lt;br /&gt;
(2)	从临水的云辉玉宇牌坊至排云门、排云殿、德辉殿、佛香阁、众香界、智慧海，层层升高，排列有序，气势巍峨，金碧辉煌，将园林、寺庙和宫殿融为一体。&lt;br /&gt;
Translation：These structures，including Glowing Clouds and Holy Land Archway at lake side，the Gate of Dispelling Clouds，the Hall of Dispelling Clouds，the Hall of moral Glory，and the Tower of Buddhist Incense，the Realm of Multitudinous Fragrance and the Sea of Wisdom Temple，were built in an orderly manner ranging up the hill with gardens，temples and palaces harmoniously integrated. This manifests beauty，grace and splendor，reminiscent of the loftingness and grandeur of a once mighty empire.&lt;br /&gt;
Analysis：In terms of the characteristics of language, Chinese emphasizes parataxis and four-word antithesis. When describing and naming scenes, gorgeous words and poetic words are generally chosen in Chinese. But, English emphasizes hypotaxis, on the other hand, puts more emphasis on reproducing the original appearance of things, using simple and natural words and preferring direct description. In sign translation, the English translation pays more attention to accurate, concise and lively. In the above paragraph, &amp;quot;层层升高，排列有序，将园林、寺庙和宫殿融为一体&amp;quot; is an introduction to the architectural features of foxiang pavilion, in order to make tourists have a clear understanding of the overall layout and architectural features of the scenic spot. This information is essential and can be translated into detail. However, &amp;quot;气势巍峨，金碧辉煌&amp;quot; focuses on the subjective description, and its explicit translation needs more complicated words. If this paragraph is translated in detail, it is easy to drag the content and make the key information vague. Therefore, the deletion of the English translation of this sentence will not affect the basic information of the original text.&lt;br /&gt;
(3)	主阁（文昌阁）两层，内供铜铸文昌帝君和仙童、铜骑。文昌阁与万寿山西供武圣的宿云檐象征“文武辅弼”。&lt;br /&gt;
Translation: A bronze statue of the God Wenchang, statues of gaeries, and a bronze steed were placed in the two-story pavilion. This tower is pared with the Tower of Cloud- Retaining Eaves, located to the west of the Longevity Hill, in which a statue of the Martial God was placed. The God Wenchang and the Martial God together symbolize reining of the emperor supported by scholars and warriors.&lt;br /&gt;
Analysis: Two questions arise in Chinese-English translation. First, there are two translations of wenchang pavilion in the translation: pavilion and tower, which appear in the same sign. Two different translations of the same scenic spot name tend to make foreign tourists think that it refers to different scenic spots, which may cause difficulty in understanding. Second, the translation of Wenchang pavilion into &amp;quot;Wenchang Tower&amp;quot; is against the actual architectural characteristics. In fact, the meanings of &amp;quot;pavilion&amp;quot; and &amp;quot;tower&amp;quot; have both similarities and differences. According to the Oxford dictionary, Tower means &amp;quot;a tall narrow building or part of a building, especially of a church or castle&amp;quot;, mainly referring to the tower-shaped part of a building, usually a tall and slender structure, such as the Eiffel Tower. &amp;quot;Pavilion&amp;quot; means &amp;quot;a building that is meant to be more beautiful than usual, built as a shelter in a park or used for concerts and dances&amp;quot;. The top structure of the pavilion usually has rectangles, triangles, hexagons, etc. The common feature of them is that the top is supported by columns without walls. From the external structure of Wenchang pavilion, its bottom is solid and its top is supported by columns. Therefore, the pavilion can accurately reflect the architectural characteristics of Wenchang pavilion, so I think it should be translated as Wenchang pavilion.&lt;br /&gt;
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===3.2 Historical culture. ===&lt;br /&gt;
3.2 Historical culture. &lt;br /&gt;
The accurate Chinese-English translation of the introduction of the Summer Palace not only enables foreign tourists to understand the characteristics of Chinese gardens, but also enables foreign tourists to understand the historical knowledge of a specific period of China. However, the Chinese-English translation of the Summer Palace still has problems in accurately conveying the historical background of the scenic spots, such as the English translation of Wenchang pavilion scenic spot:&lt;br /&gt;
(4)	此景区始建于清乾隆十五年，一八六零年被英法联军烧毁，光绪时按原样重建。阁结构为八面三层四重檐，通高36.44米，耸立于20米高的石造台基上，气势雄伟，是颐和园全园的构图中心。阁内供奉有铜铸金裹千手观世音菩萨站像。像高五米，重万斤，为明代万历年间所造，在八根贯通全阁上下的承重铁梨木擎天柱的衬托下，美妙庄严，熠熠生辉，有极高的文物和艺术价值。&lt;br /&gt;
Translation: The Wenchang tower was first built in 1750 and rebuilt under Emperor Guangxu after  the Anglo-French Allied Forces builted it down in 1860. The octahedral tower has three stories with four-layered eaves, altogether 36.44 meters high. Standing upright on a 20 meter-high stone foundation, it constitutes the center of the Summer Palace landscape and serves to accentuate its magnificence. A statue of the thousand-handed Guanshiyin Buddha, cast in bronze and gilded with gold, stands inside the tower. The statue, five meters high and five tons in weight, was cast during the reign of Emperor Wanli of the Ming Dynasty. Set off by the eight imposing pillars which support the tower, it glows with beauty, grandeur and brilliance. Its historical, cultural and artistic value can hardly be overstated.&lt;br /&gt;
Analysis: “始建于乾隆十五年”only was translated into “was first built in 1750” and the “光绪年间重建” was translated into “rebuilt under Emperor Guangxu”.The first sentence does not show that 1750 was the fifteenth year of the reign of emperor Qianlong, and the second sentence does not give foreign visitors the exact date of the reign of emperor Guangxu. The change of time concept and the disunity of expression easily make foreign tourists feel confused. Therefore, the translation of the time and the historical dynasties should be accurate and meticulous, and the supplementary method should be used to not only describe the dynasties clearly, but also supplement the corresponding years, so as to achieve the standardization of the translation. In this way, foreign tourists can not only be clear about the time of the event, but also understand the Chinese historical dynasties. Consider as follows: the Wenchang Pavilion was first built in 1750 during Emperor Qianlong’s reign（1735- 1795）and rebuilt in 1886 under Emperor Guangxu（1875- 1908）after the Anglo- French Allied Forces burned it down in 1860.&lt;br /&gt;
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===3.3 Religious culture. ===&lt;br /&gt;
3.3 Religious culture. &lt;br /&gt;
Many scenic spots in the Summer Palace have a strong buddhist atmosphere. While visiting the scenic spots, foreign tourists can understand the profound buddhist culture. Wenchang pavilion in the Summer Palace is the representative of Chinese religious culture.&lt;br /&gt;
(5)	主阁两层，内供铜铸文昌帝君和仙童、铜特。文昌阁与万寿山西供武圣的宿云檐象征“文武辅弼”。&lt;br /&gt;
Translation: A bronze statue of the god，Wenchang，and statues of two followers，the celestial boy，and the bronze steed，were placed in the two- storey pavilion. This tower is pared with the tower of Cloud- Retaining Eaves，located to the west of the Longevity Hill，in which a statue of the Martial God was placed. The two towers symbolize the support by both scholars and warriors to the ruling emperor.&lt;br /&gt;
Analysis: It is well known that westerners believe in theism, which refers to god as supreme . In Chinese religious culture, people believe in atheism and do not believe in the existence of god. Therefore, it is inappropriate to translate &amp;quot;文昌帝军&amp;quot; and &amp;quot;武圣&amp;quot; into &amp;quot;the god, Wenchang&amp;quot; and &amp;quot;the Martial god&amp;quot; in the translation. In fact, the &amp;quot;文昌帝军&amp;quot; was Zhang yu, an emperor of Shu of Ning kang (374). And &amp;quot;武圣&amp;quot; refers to Guan yu in history. Therefore, the simple translation of  &amp;quot;God&amp;quot; is not in line with the traditional Chinese culture, which will not only cause western tourists to misunderstand that Chinese religious tradition also believes in God, but also fail to convey Chinese historical allusions and relevant historical figures. In contrast, if &amp;quot;文昌帝军&amp;quot; is translated as &amp;quot;the emperor, Wenchang&amp;quot; and &amp;quot;武圣&amp;quot; is translated as &amp;quot;the Martial Master (Guanyu)&amp;quot;, it can more faithfully convey the history and religious culture contained in the source language. &lt;br /&gt;
&lt;br /&gt;
===4. Conclusion===&lt;br /&gt;
4. Conclusion&lt;br /&gt;
To sum up, Under the guidance of the skopos rule of functionalist translation theory, translators should have a cross-cultural awareness, fully understand the reading psychology and cultural appreciation needs of target language readers, and use effective translation strategies and methods to achieve the purpose of tourism text translation. Functionalist approach has made a pioneering contribution to the translation of non-literary genres. Functional translation effectively eliminates the disadvantages of traditional word-for-word translation, improves the efficiency of translation, and helps readers to grasp the meaning of the original text.&lt;br /&gt;
 The importance of the translation of the Summer Palace lies in the profound garden culture, historical culture and religious culture. The English translation is not only helpful for international friends to know more about the garden characteristics of the Summer Palace, but also helpful for spreading the long history and profound culture of China. In order to attract target readers and promote traditional Chinese culture, it is not only necessary to carefully explore Chinese culture and history, but also to use the fuctionalist approach appropriately. &lt;br /&gt;
Translation is a complicated process. Functionalist approach stresses the function of the discourse, the purpose of translation. In the practice of translation, if the translator can get rid of the bondage of the original equivalence, actively playing to subjective initiative, fully understanding the original text, depending on the purpose of discourse and adopting different translation strategies, the effect and readability of translation can be improved.&lt;br /&gt;
&lt;br /&gt;
===References===&lt;br /&gt;
References&lt;br /&gt;
Hans Vermmer, “Skopos and Commission in Translation Action”, in the Translation Studies Reader,ed. Chesterman, London and Network:Routledge,p.221-232. 2000.   &lt;br /&gt;
Munday, Jeremy. Introducing Translation Studies: Theories and Applications. Routledge publishing.2001.&lt;br /&gt;
Mason, “Textual Practices and Audience Design: and Interactive View of the Tourist Brrochure”. In Navarro et al.(eds.). Pragmatics at Work: The Translation of Tourist Literature. Bern: Perter Lang. 157-176.2004.&lt;br /&gt;
Nord, Text Analysis in Translation: Theory, Methodology and Didactic Application of a Model for Translation-Oriented Text Analysis. Beijing: Foreign Language Teaching and Research Press. 2006.&lt;br /&gt;
Nord, Translating as a purposeful activity. Shanghai: SFLE PRESS, 2001:27,30,32,65,245.&lt;br /&gt;
Reiss, Katharina. Translation Criticism: The Potentials &amp;amp; Limitations. Shanghai Foreign Language Education Press. Shanghai. 2004.&lt;br /&gt;
Venuti, Lawrence. The Translator’s Invisibility: A History Translation. Routledge.1995.&lt;br /&gt;
方梦之、毛忠明， 英汉—汉英应用翻译教程，上海: 上海外语教育出版社，2004.&lt;br /&gt;
金惠康，跨文化旅游翻译，中国对外翻译出版公司，2004.  &lt;br /&gt;
贾文波，应用翻译功能论，北京：中国对外翻译出版公司，2004&lt;br /&gt;
孙艺风，文化翻译的困惑与挑战，中国翻译，2016年第3期.  &lt;br /&gt;
王宏志，翻译与创作，北京大学出版社，2000.&lt;br /&gt;
吴自选，德国功能派翻译理论与 CNN 新闻短片英译，中国科技翻译, 2005.&lt;br /&gt;
谢天振，当代国外翻译理论，天津：南开大学出版社，2005.&lt;br /&gt;
张南峰，走出死胡同建立翻译学. 中国翻译, 1995.&lt;br /&gt;
仲伟合，钟钰. 德国的功能派翻译理论. 中国翻译, 1999.&lt;br /&gt;
张美芳，功能加忠诚—介评克里丝汀· 诺德的功能翻译理论.上海外国语大学学报, 2005.&lt;br /&gt;
&lt;br /&gt;
==Contrast between Literal Translation and Free Translation	张雪仪	Zhang Xueyi==&lt;br /&gt;
'''Abstract：'''&lt;br /&gt;
&lt;br /&gt;
The contrast between literal translation and free translation has always been the most discussed problem in translation studies. To compare these two translation methods, the basic point is to understand the purpose of translation. The ultimate goal of translation is to help different cultures communicate better, so that people who speak different languages can understand each other’s cultures. Due to the differences in social, historical and cultural backgrounds between languages, how to choose between the two translation strategies of literal translation and free translation requires translators to weigh the strengths and weaknesses of these two methods. This essay mainly compares literal translation and free translation between Chinese and Russian to help students and translators translate better.&lt;br /&gt;
&lt;br /&gt;
'''Key words：'''&lt;br /&gt;
&lt;br /&gt;
Translation strategies, Literal translation,Free translation &lt;br /&gt;
&lt;br /&gt;
'''摘要：'''&lt;br /&gt;
&lt;br /&gt;
直译与意译间的对比一直是翻译学中讨论度最高的问题。想要将这两种翻译方法进行对比，最基本的一点就是要明白翻译的目的是什么。翻译的最终目的在于帮助不同文化进行更好的交流，让使用不同语种的人相互理解彼此的文化。由于语种间社会历史文化背景的差异，如何在直译和意译这两种翻译策略中做出选择，就需要译者衡量两种方法的利弊。本文主要对汉语和俄语间直译和意译进行比较，以帮助学生和译者更好地进行翻译实践。&lt;br /&gt;
&lt;br /&gt;
'''关键词：'''&lt;br /&gt;
&lt;br /&gt;
翻译策略，直译，意译&lt;br /&gt;
&lt;br /&gt;
'''1.Introduction'''&lt;br /&gt;
&lt;br /&gt;
The former Soviet Union translation theorist Fedorov believed: “Translation is an activity that expresses what has been used in one language as a unified whole of content and form, and accurately and completely expressed in another language.” Translation theorist Barr Hudarov also wrote: &amp;quot;Translation is the process of changing the coherent discourse of one language into the coherent discourse of another language while maintaining its content and meaning.&amp;quot; To some extent, translation is a process of thinking re-creation, so certain standards and principles must be followed when translating. Translation standard is a measure of the quality of translation, it can guide translation practice, and it is a principle that must be followed in translation activities. Although each scholar has different opinions on the standard of translation, the final result he pursues is the same: the original text and the translated text express the same effect. In order to achieve the same effect, different translation methods have been derived, of which literal translation and free translation are the most commonly used.&lt;br /&gt;
&lt;br /&gt;
Russian idioms and proverbs, as the crystallization of the wisdom of the Russian nation and the immortal fossils in the Russian language, are one of the best materials for the Chinese to understand and learn Russian history, culture, and society. Due to different geographical, historical and economic conditions, the Russian and Chinese ethnic groups have formed different cultural backgrounds. These distinctive backgrounds and characteristics have caused great difficulties for Chinese learning Russian to further understand Russia. This essay studies the basic definitions of literal translation and free translation, their respective advantages and disadvantages and their mutual relations, and strive to solve how to use the translation methods of literal and free translation to properly translate Russian idioms and proverbs, and how to reflect the cultural background and language characteristics of Russian idioms and proverbs in the translation .&lt;br /&gt;
&lt;br /&gt;
'''2.Different views of &amp;quot;literal translation&amp;quot; and &amp;quot;free translation&amp;quot;'''&lt;br /&gt;
&lt;br /&gt;
In different periods and different countries, people's views on translation theory have changed a lot, but the debate about literal translation and free translation has always existed.&lt;br /&gt;
&lt;br /&gt;
In China, the contradiction between literal translation and free translation may initially be due to the different understanding of these two translation methods. The translator Sun Guiding believes that: literal translation is stuck to the structure of the original text and does not consider whether the Chinese is fluent and natural; while free translation is to use the inherent Chinese idioms and the most natural words and sentences as much as possible to achieve the effect of conveying the meaning of the original text. Former President of Wuhan University, Du Zuozhou, believes that literal translation means translating word by word according to the original text; free translation means translating according to the meaning of the original text, and the translation is more suitable for the common grammar of the translated language. The educator Meng Xiancheng believes that literal translation is a translation technology with different degrees of correctness. Literal translation is a translation that is faithful and correct according to the original text; free translation is a translation that summarizes the original meaning. Zhu Guangqian said: &amp;quot;The so-called 'literal translation' refers to the literal translation based on the original text. Every word and sentence are translated word by word, and the order of the words and sentences is not changed. The so-called ‘paraphrasing’ is to express the meaning of the original text in Chinese, and it does not have to be completely based on the literal and order of the original text. &amp;quot; The principle of &amp;quot;faithfulness, expressiveness and elegance&amp;quot; put forward by the modern Chinese translator Yan Fu has long been the basic principle guiding translation practice. A large number of beginners who learn foreign languages regard &amp;quot;faithfulness and expressiveness&amp;quot; as translations that are completely faithful to the original text when translating. In fact, Yan Fu's translation requirements are a guiding principle for translation based on semantics. When translating, if the structure and expression of the original text cannot be directly adopted, the sentence structure and expression must be changed according to the characteristics of the target language. In addition, there are many differences between the original language and the target language in the word order, grammar, variants and rhetoric in the translation process. In many cases, there is no direct corresponding word. This requires the translator to consider the actual semantics, background and other factors. On the basis of the original meaning of the sentence, use an appropriate method to convey the content of the original work and reproduce the language style of the original work.&lt;br /&gt;
&lt;br /&gt;
In the Soviet Union, under the influence of ideology, Western translation theories could not be widely disseminated, but within the Soviet Union, translation theories similar to Western translation theories have been formed and developed, and two main schools of translation theory have been further differentiated — Linguistic Translation School and Literary Translation School. To a certain extent, the dispute between these two schools also reflects the debate on literal translation and free translation among translators' groups. In terms of the principles or standards of translation, the linguistic translation school believes that an ideal translation should be an equivalent translation, first of all linguistic correspondence, that is, the translation should have the same meaning as the corresponding language or discourse unit of the original; the literary translation school believes that translation pursues artistic correspondence, and linguistic correspondence must be subordinate to artistic correspondence. Therefore, it proposes that the aesthetic standards of translation should reproduce the artistic reality reflected by the unity of the original content and form. The characteristic is to use images to translate images, that is, to create the same image in different languages. In 1953, Andrei Venediktovich Fedorov, the leader of the linguistic translation school, published his work &amp;quot;Summary of Translation Theory&amp;quot;, which was the first monograph of the Soviet Union to study translation theory from the perspective of linguistics. The author proposes that translation theory is a branch of linguistics. Since the translation of any genre work must rely on the comparison of two languages, translation problems can only be solved in the field of language. Fedorov’s view was refuted by the literary translation school represented by Ivan Alexandrovich Kashikin. The literary translation school believes that aesthetic issues are the core of literary translation theory, and translation should be regarded as a form of language art, that is, translation should be studied from the perspective of literature and art. In fact, the literary translation school emphasizes the translation of literary and artistic works, which belongs to the specific translation theory; while the research of the linguistic translation school focuses on the general translation theory, that is, the translation of all thematic works including literary works. The dispute between the two major translation theory schools of Russia and the Soviet Union provides another perspective for Chinese translators to explore the relationship between literal translation and free translation.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
'''3.The application of literal translation and free translation in the Chinese translation of Russian idioms'''&lt;br /&gt;
&lt;br /&gt;
The idioms of different nationalities are the most dynamic and expressive units at the lexical level in different languages, and they are also the units that can best reflect the characteristics of national culture in languages. The number of Russian idioms is extremely rich, it records and reflects all aspects of Russian national life. Due to the great differences in geographical locations and living customs between China and Russia, the national cultures reflected in Chinese and Russian must be quite different. One of the difficulties in idiom translation is its imagery. When translating idioms, both the meaning and the image must be considered. Although the Chinese and Russian cultures are very different, many of the commonalities of mankind, such as emotion and natural environment, have created conditions for mutual communication, mutual understanding and idiom translation between different languages.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
'''3.1 Literal translation'''&lt;br /&gt;
&lt;br /&gt;
Generally speaking, the literal translation method refers to a translation method that directly translates the original text without changing the language characteristics and style of the original text on the basis of fully respecting the meaning of the original text. Chinese translation of Russian idioms by literal translation method has the advantage of being able to intuitively and faithfully express the meaning of the idiom, maintaining the unique style and imagery of the original text: the disadvantage is that the translated idiom may not be understood by the Chinese because of China and Russia have different historical, cultural backgrounds, grammatical structures, and language world landscapes, which can easily form obstacles in the process of understanding.&lt;br /&gt;
&lt;br /&gt;
Translating Russian idioms by literal translation is further divided into two methods — literal translation into Chinese idioms and literal translation into non-idiom sentences or words.&lt;br /&gt;
&lt;br /&gt;
Literal translation of Russian idioms into Chinese idioms is suitable for the translation of Russian and Chinese idioms that are completely equivalent in image, structure, and meaning. The advantage is that it is easy to understand, and the translation is simple and fast. E.g:&lt;br /&gt;
&lt;br /&gt;
(1)домашнего  (своего) вора не убережешься. 家贼难防&lt;br /&gt;
&lt;br /&gt;
(2)знать как свои пять пальцев (видно, как на ладони) 了如指掌&lt;br /&gt;
&lt;br /&gt;
(3)подлить масла в огонь 火上浇油&lt;br /&gt;
&lt;br /&gt;
(4)как рыба в воде 如鱼得水&lt;br /&gt;
&lt;br /&gt;
(5)как ножом по сердцу 心如刀割&lt;br /&gt;
&lt;br /&gt;
(6)как гром среди ясного неба 晴天霹雳&lt;br /&gt;
&lt;br /&gt;
(7)на добро отвечают добром 善有善报&lt;br /&gt;
&lt;br /&gt;
(8)копейка рубль бережет 财从细起&lt;br /&gt;
&lt;br /&gt;
(9)мечты сбываются 梦想成真&lt;br /&gt;
&lt;br /&gt;
(10)курица всегда следует за петухом 嫁鸡随鸡&lt;br /&gt;
&lt;br /&gt;
(11)чего мало, того и дорого  (дорого то, что мало) 物以稀为贵(12)&lt;br /&gt;
&lt;br /&gt;
(12)изгонять яд с помощью яда 以毒攻毒&lt;br /&gt;
&lt;br /&gt;
(13)сидеть как на иголках 如坐针毡&lt;br /&gt;
&lt;br /&gt;
(14)действия громче слов 事实胜于雄辩&lt;br /&gt;
&lt;br /&gt;
(15)зарыть талант в землю 埋没人才&lt;br /&gt;
&lt;br /&gt;
(16)висеть на волоске 千钧一发&lt;br /&gt;
&lt;br /&gt;
(17)лить как из ведра 倾盆大雨&lt;br /&gt;
&lt;br /&gt;
The idioms in the above examples are completely equivalent in image, structure or meaning in Russian and Chinese, so Chinese idioms can be used for literal translation. &lt;br /&gt;
&lt;br /&gt;
In fact, in the two languages, idioms with the same image, structure, and meaning are still in the minority, so it is more common to translate Russian idioms into non-Chinese idiom sentences or vocabulary. E.g:   &lt;br /&gt;
&lt;br /&gt;
настоять на своем 坚持自己&lt;br /&gt;
&lt;br /&gt;
камень с души свалился 心里的一块石头落地&lt;br /&gt;
&lt;br /&gt;
связать свою судьбу 把自己的命运与……相连&lt;br /&gt;
&lt;br /&gt;
быть на голову 高出一头&lt;br /&gt;
&lt;br /&gt;
вбивать в голову 往脑子里灌&lt;br /&gt;
&lt;br /&gt;
блеснуть метеором 像流星一样一闪而过&lt;br /&gt;
&lt;br /&gt;
с мизинец 小拇指这么大&lt;br /&gt;
&lt;br /&gt;
It is not difficult to find that the literal translation method can completely retain the original appearance of the idiom, show the common concept of human understanding of the world, and be beneficial to the cultural exchange between China and Russia.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
'''3.2 Free translation'''&lt;br /&gt;
&lt;br /&gt;
Another method commonly used in the Chinese translation of Russian idioms is free translation. Free translation is to readjust the structure of the original text on the basis of keeping the original meaning of the idiom unchanged, and then reconstruct the Russian idiom with the way of thinking and expression in Chinese. This is because the figurative images used in many Russian idioms are inconsistent with those used in Chinese. If the original image is used in translation, it will cause a barrier to understanding. The advantage of free translation of Russian idioms is that it eliminates obstacles to understanding, but the disadvantage is that it cannot completely retain the original style and cultural characteristics. E.g:&lt;br /&gt;
&lt;br /&gt;
(1)В Тулу со свим самоваром не ездят.&lt;br /&gt;
直译：去图拉不用带自己的茶炊。&lt;br /&gt;
意译：多此一举&lt;br /&gt;
&lt;br /&gt;
(2)Честь лучше бесчестья.&lt;br /&gt;
直译：尊重比不尊重好。&lt;br /&gt;
意译：礼多人不怪。&lt;br /&gt;
&lt;br /&gt;
(3)словно горя с плеч&lt;br /&gt;
直译：把山从肩膀下卸下&lt;br /&gt;
意译：如释重负&lt;br /&gt;
&lt;br /&gt;
(4)выеденного яйца не стоит&lt;br /&gt;
直译：一个空蛋壳不值钱&lt;br /&gt;
意译：鸡毛蒜皮，一文不值&lt;br /&gt;
&lt;br /&gt;
(5)чужими руками жар загребать&lt;br /&gt;
直译：用别人的手将红炭火拨成一堆&lt;br /&gt;
意译：坐享其成，不劳而获&lt;br /&gt;
&lt;br /&gt;
(6)ни рыба, ни мясо&lt;br /&gt;
直译：没有鱼也没有肉&lt;br /&gt;
意译：不三不四，不伦不类&lt;br /&gt;
&lt;br /&gt;
(7)лучше синица в руках, чем журавль в небе&lt;br /&gt;
直译：天上的仙鹤不如手中的山雀&lt;br /&gt;
意译：远亲不如近邻&lt;br /&gt;
&lt;br /&gt;
(8)На языке мед, а под лед&lt;br /&gt;
直译：嘴上甜得像蜂蜜，心里冷得像冰&lt;br /&gt;
意译：笑里藏刀&lt;br /&gt;
&lt;br /&gt;
(9)И на солнце есть пятна&lt;br /&gt;
直译：太阳上也有黑点&lt;br /&gt;
意译：人无完人&lt;br /&gt;
&lt;br /&gt;
(10)семь раз отмерь, один раз отрежь&lt;br /&gt;
直译：测量了七次后再剪裁&lt;br /&gt;
意译：三思而后行&lt;br /&gt;
&lt;br /&gt;
Using free translation to translate Russian idioms requires the translator to accurately understand the meaning of the original text, because cultural differences make it impossible to literally translate. Only through the translator can an unobstructed bridge between Russian idioms and Chinese idioms be built.&lt;br /&gt;
&lt;br /&gt;
'''4.The application of literal translation and free translation in the Chinese translation of Russian proverbs'''&lt;br /&gt;
&lt;br /&gt;
There are often multiple translations of the same Russian proverb in Russian-Chinese dictionaries. On the one hand, because the translator uses different translation methods; on the other hand, because Russian proverbs have very rich connotations, a translation cannot perfectly interpret the inner meaning of the proverb. According to the context and the connotation of the proverbs, the most commonly used methods of Chinese translation of Russian proverbs are literal translation and free translation.&lt;br /&gt;
&lt;br /&gt;
'''4.1 Literal translation'''&lt;br /&gt;
&lt;br /&gt;
In Russian and Chinese languages, some proverbs not only have the same meaning or implicit meaning, but also use the same or similar figurative images to express a certain kind of the same semantics, and they are completely consistent in content and form. In this case, the equivalent translation of synonymous Chinese proverbs can convey the information contained in the original image, which not only retains the rhetorical color of the original language, but also enables the reader to perfectly understand the original text. E.g:&lt;br /&gt;
&lt;br /&gt;
(1)Куй железо, пока горячо. 趁热打铁。&lt;br /&gt;
&lt;br /&gt;
(2)Беда не приходит одна. 祸不单行。&lt;br /&gt;
&lt;br /&gt;
(3)Сытый голодного не разумеет. 饱汉不知饿汉饥。&lt;br /&gt;
&lt;br /&gt;
(4)Век живи, век учись. 活到老，学到老。&lt;br /&gt;
&lt;br /&gt;
(5)Выше встанешь, дальше увидишь. 站得高，看得远。&lt;br /&gt;
&lt;br /&gt;
(6)Лучше один раз увидеть, чем сто раз услышать. 百闻不如一见。&lt;br /&gt;
&lt;br /&gt;
(7)Нет дыма без огня. 无火不生烟。&lt;br /&gt;
&lt;br /&gt;
(8)Шила в мешке не утаишь. 口袋藏不住锥子。&lt;br /&gt;
&lt;br /&gt;
(9)Береги платье снову, а честь смолоду. 衣服要从新的时候爱惜，荣誉要从年轻时珍惜。&lt;br /&gt;
&lt;br /&gt;
(10)Выше лба уши не растут. 耳朵高不过额头。&lt;br /&gt;
&lt;br /&gt;
(11)Для милого друга семь верст не околица. 为了好友，多绕七里也不嫌远。&lt;br /&gt;
&lt;br /&gt;
(12)Как Новый год встретишь, так его и проведешь. 怎么迎新年，就怎么过一年。&lt;br /&gt;
&lt;br /&gt;
(13)Лучше умереть стоя, чем жить на коленях. 宁愿站着死，绝不站着生。&lt;br /&gt;
&lt;br /&gt;
(14)Не имей сто рублей, а имей сто друзей. 宁要一百个朋友，不要一百个卢布。&lt;br /&gt;
&lt;br /&gt;
По одежке встречают, по уму провожают. 迎客时看衣，送客时看才智。&lt;br /&gt;
&lt;br /&gt;
==Dialectical thinking in arguments between literal translation and free translation 	甘奉玉	Gan Fengyu==&lt;br /&gt;
&lt;br /&gt;
===Abstract===&lt;br /&gt;
  As two methods of translation, how to use literal translation and free translation has always been the focus of debate between Chinese and Western translation circles. Through the study of translation methods of literal translation and free translation at home and abroad, we can know that to some extent literal translation and free translation are two relative conceptions, so there will be word-for-word translation, that is, dead translation, and excessive free translation. However, these two are only two extremes of literal translation and free translation. In fact, although there are differences in definitions and application fields between literal translation and free translation, they are unified in common translation purpose, translation procedure and translation standard. Therefore, the two are contradictory and unified in translation activities. This is also the profound embodiment of the unity of opposites in materialist dialectics.--[[User:Gan Fengyu|Gan Fengyu]] ([[User talk:Gan Fengyu|talk]]) 07:46, 10 November 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
===Key words===&lt;br /&gt;
literal translation, free translation, word-for-word translation, over free translation, unity of opposites&lt;br /&gt;
&lt;br /&gt;
===摘要===&lt;br /&gt;
  作为翻译方法，直译(literal translation)与意译(free translation)怎样使用的问题一直是一个争论中西方翻译界不休的焦点。通过对国内外直译与意译的翻译方法的研究，我们可以得知，从某种程度而言，直译与意译是两个相对的概念, 所以才会有逐字翻译，即死译，与过度意译这两个完全对立的概念。但是，这两者只不过是直译与意译的两个极端点。其实，直译和意译虽然在概念定义，适用范围上有所差异，但却又统一于共同的翻译目的、翻译过程和翻译标准中。所以两者在翻译活动中应该是既对立又统一的矛盾体。而这也正是唯物辩证法中的对立统一矛盾观的深刻体现。--[[User:Gan Fengyu|Gan Fengyu]] ([[User talk:Gan Fengyu|talk]]) 07:50, 10 November 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
===关键字===&lt;br /&gt;
直译； 意译； 死译； 过度意译； 对立统一&lt;br /&gt;
&lt;br /&gt;
===Introduction===&lt;br /&gt;
  Throughout the translation history at home and abroad, the literal translation and free translation have always been a heat discussion in the translation circles. Someone absolutely approve literal translation and demean free translation, even pursue a dead translation, which creates an translated text difficult to understand. While some other people absolutely agree with free translation even advocate random acts, which means a random deletion in the translation practices and creates anther entirely different text. However, there are also a number of translators who have recognized that these two translation methods are not totally opposite. So they adopt a compromise and flexible way. That means they will choose the most appropriate one depending on the text demanding. Therefore, we can deduce from it that this eclectic translation is consistent with the Contradiction view of Unity of Opposite in Materialist Dialectics. In fact, literal translation and free translation are right a set of contradictions which are both opposite and unified. They complement each other into an integral one.&lt;br /&gt;
&lt;br /&gt;
===1.Dialectic thinking of the Unity of opposites===&lt;br /&gt;
===2.Word-for-word translation===&lt;br /&gt;
===3.Over free translation===&lt;br /&gt;
===4.Eclectic translation===&lt;br /&gt;
===5.Opposition and unity between literal translatiuon and free translation===&lt;br /&gt;
&lt;br /&gt;
===5.1 Opposition===&lt;br /&gt;
&lt;br /&gt;
===5.1.1 Opposition in definition===&lt;br /&gt;
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===5.1.2 Opposition in application fileld===&lt;br /&gt;
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===5.2 Unity===&lt;br /&gt;
===5.2.1 Unity in translation goal===&lt;br /&gt;
===5.2.2 Unity in translation procedure===&lt;br /&gt;
===5.2.3 Unity in translation standard===&lt;br /&gt;
===6.Conclusion===&lt;br /&gt;
===Bibliography===&lt;br /&gt;
&lt;br /&gt;
== Peter Newmark’s Improved Views on Literal Translation and Free Translation 赵茜 Zhao Xi==&lt;br /&gt;
&lt;br /&gt;
='''Document Translation'''=&lt;br /&gt;
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&lt;br /&gt;
==On translation of official documents of CangNan County	吴恺	Wu Kai==&lt;br /&gt;
&lt;br /&gt;
On Translation of Official Documents of Cangnan County&lt;br /&gt;
&lt;br /&gt;
Japanese Language and Literature, School of Foreign Languages, Hunan Normal University, Wu Kai--[[User:Wu Kai|Wu Kai]] ([[User talk:Wu Kai|talk]]) 04:45, 2 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
==='''Abstract'''===&lt;br /&gt;
As one of the forefronts of Zhejiang’s opening-up cause, Cangnan County in Zhejiang Province has been enjoying a rapid development and an ever-growing degree of opening-up with lasting vitality as it’s supported by national policies and nourished by the dividends of economic globalization since China's reform and opening-up. As China has ushered in a period of major changes rarely seen in a century, Cangnan County is also facing new opportunities and challenges. Under the background of this era, Cangnan County is expected to make good use of its own advantages, especially the geographical ones—it is close to countries and regions including Japan, South Korea, and Taiwan—and should spare no efforts to achieve a higher level of opening-up, and, in turn, further promote its development. As an embodiment of the collective will of the people of Cangnan County, the official document is one of the best manifestations of its governance and stability control capabilities. For this reason, the research on how to translate official documents is of great significance for that it offers a great opportunity for Cangnan County to re-examine itself and to show the rest of the world its achievement in building a culture-enriched county.&lt;br /&gt;
&lt;br /&gt;
==='''Key words'''===&lt;br /&gt;
 official document translation, Cangnan County, opening-up, Japan, South Korea&lt;br /&gt;
&lt;br /&gt;
==='''摘要'''===&lt;br /&gt;
自中国改革开放以来，浙江省苍南县作为全浙江对外开放的前沿阵地之一，得到了国家政策支持和经济全球化红利的滋润，苍南县发展水平与对外开放程度日新月异，全县活力持久带劲。随着中国迎来“百年未有之大变局”，苍南县也面临着新的机遇和挑战，在此时代背景下，苍南县应该利用好自身优势，特别是临近日本、韩国、台湾等国家与地区的地理优势，努力开展更高层次、更高水平的对外开放事业，促进苍南更好的发展。为此，作为苍南县人民集体意志的体现，苍南县的公文就是对外展示其治理水平、稳控能力的最好的体现之一。而对于苍南县公文的如何翻译的研究，是促使苍南县重新审视自己、推进苍南人文县情传播海外的良机，意义重大。&lt;br /&gt;
&lt;br /&gt;
==='''关键词'''===&lt;br /&gt;
公文翻译  苍南县  对外开放  日本  韩国&lt;br /&gt;
&lt;br /&gt;
==='''I. System and Translation of Official Documents of Cangnan County'''===&lt;br /&gt;
&lt;br /&gt;
The unique official document system adopted by Chinese government agencies is a special integration of the thousands-of-years excellent political traditions in China and the essence of the organizational structure of the socialist regime. As a county-level unit in China's local administrative structure, Cangnan County has an official document system that is consistent with the national ones in general while has its own features. Official documents of Cangnan County can be basically divided into the following types of writing: resolutions, decisions, orders, bulletins, announcements, notifications, opinions, notices, reports, requests for instructions, approvals, proposals, letters, and minutes. Above-mentioned categories are collectively known as official documents. Besides, there are also some types of practical writing, including summaries, plans, notes, memos, briefings, speeches, manuals and so on, that are often used in our day-to-day work.&lt;br /&gt;
&lt;br /&gt;
In addition to those characteristics of the official documents that are commonly seen in China, official documents of Cangnan County also have its own features, which is mainly reflected in the aspect of proprietary terminology. Cangnan County, which used to be a part of Pingyang County in Zhejiang Province, was officially designated as a county in 1981 with the approval of the Central Government. It takes its name Cangnan, which means “on the south of the Yucang Mountain”, from its geographical location. As a relatively young county-level administrative unit in China’s administrative divisions, Cangnan County has a complex natural endowment and cultural environment, which is the reason why there are many special proprietary terms used in the official documents of Cangnan County, such as “Beautiful South Gate of Zhejiang Province”, “Southern Ouyue (an ancient kingdom in modern Wenzhou and Taizhou)” , “South Gate of Jiangsu-Zhejiang Region” and so on. Moreover, Cangnan is also the birthplace of the “Wenzhou Model”. Since the implementation of policy for the exchange of production materials and commercial grains in 1984, Cangnan has become an important base for the experiments and development of Wenzhou's private economy and market economy, and, thus, has made a significant contribution to the great cause of China's reform and opening-up.&lt;br /&gt;
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To conclude, the unity of the official document system viewed from the national scope of China and the uniqueness of the official document system viewed from the local scope of Cangnan area are both reflections of the integration of economic, political, and cultural elements. Therefore, when translating the terms and sentences in these official documents, obviously, it is almost impossible to follow general translation theories, such as Yan Fu’s “faithfulness, expressiveness and elegance” theory which applies to literature translation, and Christiane Nord’ Skopos theory which emphasizes schematic analysis. Due to the features of the official documents of Cangnan County, it is hard to imagine the consequence it will cause if those Cangnan and Chinese elements they contain are missed when translating them. Therefore, the starting point for the translation and research of Cangnan official documents should be analyzing the official document itself, but not choosing which translation theory to apply.&lt;br /&gt;
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The translation method focusing on the official documents themselves is undoubtably the one that emphasizes the content while manages to achieve a similarity in form. Thus, the translation theory that meets the requirements of official document translation in Cangnan County shall be the functional equivalence theory of the American linguist Eugene A. Nida. Eugene A. Nida argued in his theory that translation is to use the most appropriate, natural and equivalent language to reproduce the informational function of the source language both semantically and stylistically. Nida’s definition of translation specified that translation is seeking equivalence not only in lexical meaning, but also in semantics, style and literary form. Translation should convey both the denotative and connotative meaning of a message. Regarding the equivalence of translation, he believed that the equivalence consists of four parts: lexical equivalence, syntactic equivalence, textual equivalence, and stylistic equivalence. Among the four aspects, he emphasized that the meaning the core and most important part, followed by the form. The form of a text is likely to conceal the cultural connotation of the source language and may, therefore, hinder cultural exchanges. Based on the above, the reasons why the functional equivalence theory is applicable to official document translation in Cangnan County can be concluded as follows:&lt;br /&gt;
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First, the functional equivalence theory advocates that the target text should be equivalent to the source text both semantically and culturally. Official documents of Cangnan County are carriers of profound political culture with Chinese characteristics and the cultural environment in Cangnan. When translating them, in addition to showing the political consciousness and judicial authority of Cangnan government agencies, the local culture of Cangnan must also be reflected in the translations.&lt;br /&gt;
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Second, the functional equivalence theory suggests that if the lexical meanings and cultural elements cannot be taken into account at the same time, the translator then may give up the equivalence in form and try to reproduce the semantic and cultural meaning of the source text by changing the form of the sentence. There are many specialized terms with Chinese characteristics and Cangnan’s characteristics in official documents of Cangnan County. When translating them, once there is no corresponding expression in the target language, other forms of expression must be adopted to retain the meanings of those specialized terms as much as possible.&lt;br /&gt;
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Third, the functional equivalence theory proposes that if the change in form is still not enough to express the semantic and cultural meaning of the expression in the source language, the translation technique of “heavy damage” can be adopted to resolve cultural differences , so that the source language and the target language can achieve equivalence in semantic meaning. “Heavy damage” refers to the transformation of the deep structure of the source language into the surface structure of the target language, that is, expressing the cultural connotation of the source text with expressions of the target language. It cannot be ruled out that there are words and sentences in the official document of Cangnan County that cannot be translated, and when this happens, the translator can only rely on his translation techniques and understanding ability to process them creatively.&lt;br /&gt;
Above are simply macro analyses of the official document system in Cangnan County, and when it comes to specific analyses, challenges we face will only be severer.&lt;br /&gt;
&lt;br /&gt;
==='''II. Stylistic Features and Translation of Official Documents in Cangnan County'''===&lt;br /&gt;
&lt;br /&gt;
Looking at the official documents of Cangnan County from the micro level, we can work on the study of its translation based on the following characteristics.&lt;br /&gt;
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'''1. Details and Accurate'''&lt;br /&gt;
&lt;br /&gt;
As an officially-written document geared for the needs of our people, wording of the official documents of Cangnan County has a very specific orientation. Almost all content words have very clear meanings and connotations.&lt;br /&gt;
&lt;br /&gt;
For example, the sentence “经研究，县政府决定召开市对县安全生产巡查反馈会暨突出问题集中教育警示会，现将有关事宜通知如下。(As discussed, the county government decided to convene a feedback meeting on city-to-county inspections of production safety and a meeting for education and warning on outstanding issues. The relevant matters are hereby notified as follows.)” in the document 《苍南县人民政府办公室关于召开市对县安全生产巡查反馈会暨突出问题集中教育警示会的通知》(“Notice of the Office of the People's Government of Cangnan County on Convening a Feedback Meeting on City-to-County Inspections of Production Safety and A Meeting For Education and Warning On Outstanding Issues”) (the office of the People's Government of Cangnan County on June 8th, 2020) conveys several points very accurately and clearly, including the decision maker, the type, content and theme of the meeting. Therefore, special attention must be paid to the integrity of the information delivered when translating this sentence. For example, it is translated into Japanese as “討議を通じて、県政府は県の安全生産状況に対する市政府の巡査結果反映会及び顕著問題教育警告会を開催することが決定した。関連事項を以下のようにお知らせする。”&lt;br /&gt;
&lt;br /&gt;
'''2. Precise and Compact'''&lt;br /&gt;
&lt;br /&gt;
The role of official documents is to exchange formal information between the upper and the lower, the people and the officials, and the relevant departments. Therefore, the wording of the official documents must be rigorous. No slang and loose sentences should be used, and excessive use of parentheses and descriptive modifiers should be avoided. Official documents of Cangnan County follow this rule as well, in which there will never be informal expressions like daily spoken words.&lt;br /&gt;
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For example, the expression “三、决策目录施行动态管理，因工作需要增减或变更重大行政决策事项的，承办单位应按照相关规定程序提请调整。(Third, the decision catalogue shall be managed in a dynamic way, the undertaker shall submit application for adjustments in accordance with the relevant regulations if any increase/decrease or change shall be made to the major administrative decision-making matters because of the need of actual work.)” in the document《关于公布苍南县2020年度重大行政决策事项目录的通知》(“Notice on Issuing the 2020 Annual Catalogue of Major Administrative Decision-Making Matters of Cangnan County”) (the office of the People's Government of Cangnan County on Sept. 20th, 2020) When translating this sentence into Japanese, the translator shall fully considers the preciseness of the original expression, and translate it as “三つ目、戦略目録動的管理施行、仕事需要によっての増減または変更が必要な場合、請負機構は関連規定の手順に従って調整を提出しなければならない。”&lt;br /&gt;
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'''3. Programmed and Standardized'''&lt;br /&gt;
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The purpose of official documents requires a stable and routine writing program so that the official business can be conducted in an orderly manner. It is essential that the document writing is reasonably programmed. It allows the officer to know what it is and what to do at a glance if a standardized official document program is followed. The standardization of the official documents of Cangnan County can be regarded as a tricky feature in their translation.&lt;br /&gt;
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For example, the expression “各乡镇人民政府，县政府直属各单位 (the people's government of all townships and towns and all directly affiliated institutions of the people’s government of Cangnan County)” in the document《关于公布苍南县2020年度重大行政决策事项目录的通知》(“Notice on Issuing the 2020 Annual Catalogue of Major Administrative Decision-Making Matters of Cangnan County”) (the Office of the People's Government of Cangnan County on Sept. 20th, 2020) is obviously a standardized addressing of the receiving units of an official document, and it should be translated into Japanese as “各郷鎮人民政府、県政府直属の各部門”.&lt;br /&gt;
Viewing from a micro perspective, we may find that special attention should be paid to many precise details when translating those official documents. It is of great significance that, during the cause of reform and opening-up, we strike a balance between the macro level and the micro level in official document translation, which will serve as a stage for Cangnan County to show itself to Japan, South Korea and other East Asian countries and regions.&lt;br /&gt;
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==='''III. Translation of Official Documents of Cangnan County under the Context of the Japanese Language'''===&lt;br /&gt;
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Cangnan County is one of the nearest administrative units to Japan in China, and Okinawa Prefecture in Japan and Cangnan County are neighbors facing each other across the sea. Furthermore, Cangnan County itself has ports in Xiaguan, Pacao, Yanting, Dayu and other places, and has the basic conditions for conducting small transactions of freights with Okinawa. However, due to the inadequacy policies, laws and regulations, a large portion of Japan’s trade with China, especially with Zhejiang Province, is still conducted in the three port cities, namely Ningbo, Zhoushan, and Hangzhou. Cangnan’s geographical advantages have never been given to full play. To Japan, Cangnan is not a total stranger. Wenzhou City has a great influence upon Japanese culture and history. Special local products such as Wenzhou green tea and Wenzhou satsuma orange are very attractive to Japanese people. Many of the business exchanges during the Kamakura Bakufu in Japan were happened between Hakata merchants and Wenzhou people. As an important subordinate region of Wenzhou City, Cangnan County naturally has left an impression on Japanese people when it comes to China.&lt;br /&gt;
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If Cangnan hopes to lay a foundation for the future cooperation with Japan through its cause of opening up to the outside world, it is of great importance that we study the methods and techniques to make the translation of Cangnan’s official documents to meet the specific context of the Japanese language, which is also a part of the cultural exchanges that will facilitate economic and trade cooperation between Japan and China. The political status of Cangnan County is equivalent to the one of regular cities and special wards in Japan, but this does not mean that the official documents of Cangnan County can be regarded as equivalents to the official documents released by the governments of the regular cities and special wards in Japan, and there are huge differences between their respective official documents in form, wording, Cultural connotation and etc. To better translate Cangnan official documents under the context of Japanese language, the following aspects must be paid attention to:&lt;br /&gt;
&lt;br /&gt;
1. Detailed Comparison of Types&lt;br /&gt;
&lt;br /&gt;
In the Japanese official document system, the word “公文” is different in meaning from the word “公文” in Chinese official document system. In Chinese “公文” means government official documents, while in Japanese “公文” generally refer to legal documents that have the force of law and the term “公文書” is the one that refers to government official documents, which roughly includes “外交文書” and “起案文”, “通達” , “命令”, “許可”, “通知書” and so on . When translating official documents of Cangnan County into Japanese, attention should be paid to the transformation of the types of the official documents. The classifications of official documents in China and Japan are different from each other.&lt;br /&gt;
For example, when translating documents such as “proposal letter”, “report” and the like into Japanese, the title should be translated as “建言書” and “報告書”, while “命令(order)”, “通知(notice)”, “提案(Proposal)” and etc. need no translation and can be titled with the original characters directly as “命令”, “通知”, “提案”, and can also be further translated into “命令状”, “通知書”, “提案書”. Those reflect the characteristics of the division of the types of the official document system in Japan.&lt;br /&gt;
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2. Careful Consideration of the Translation of Chinese Characters&lt;br /&gt;
&lt;br /&gt;
There are a large number of Chinese characters in Japanese. This will for sure be an advantage when translating official documents of Cangnan County into Japanese, however, at the same time, this is also a huge disadvantage. After all, those Chinese characters are Japanized Chinese characters, and their meanings and usages are more or less different from the original ones in Chinese.&lt;br /&gt;
&lt;br /&gt;
For example, the expression “设定全县森林防火期(setting the season of forest fire prevention)” in the document 《苍南县应急管理局局长王再忠关于&amp;lt;苍南县人民政府关于做好森林防火期护林防火工作的通告&amp;gt;的政策解读》(“Policy Interpretation Of ‘Notice of Doing Forest Protection and Fire Prevention during the Season of Forest Fire Prevention by the People's Government Of Cangnan County’ by the Director of Cangnan Emergency Management Agency Wang Zaizhong”) in could be translated character by character into Japanese as “全県域森林防火期間設定”. However, expressions such as “野外火源如何管理” cannot be translated in the same way, and must be processed accordingly and translated into Japanese as “野外の火の元が如何に処理すること”. When translating official documents of Cangnan County into Japanese, the translators must reject the preconceived thinking and native Chinese thinking, or it will lead to irreversible misunderstandings and mistakes.&lt;br /&gt;
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3. Mastery of the Equivalence of Semantic Meaning&lt;br /&gt;
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Chinese is an isolating language, in which the grammatical meaning is reflected by the order of words, while Japanese is an agglutinative language, in which auxiliary words and flexible usages of vocabulary are adopted to reflect the grammatical meaning. This requires the translators to have mastery of the equivalence of semantic meanings when translating official documents of Cangnan County into Japanese and try to achieve perfect equivalence in official document translation.&lt;br /&gt;
&lt;br /&gt;
For example, there is a expression as “全体公民必须认真贯彻‘以人为本、预防为主、积极扑救、有效消灾’的森林防灭火工作方针，一旦发现森林火灾，要立即向当地人民政府或森林防灭火指挥部办公室报告(all citizens must seriously implement the working policy of forest fire prevention and firefighting ‘people-oriented, prevention-focused, active in firefighting, effective in disaster relief’, once a forest fire is detected, it must be reported to the local people’s government or the forest fire prevention and firefighting headquarters office immediately)” in the document 《苍南县应急管理局局长王再忠关于&amp;lt;苍南县人民政府关于做好森林防火期护林防火工作的通告&amp;gt;的政策解读》(“Policy Interpretation Of ‘Notice of Doing Forest Protection and Fire Prevention during the Season of Forest Fire Prevention by the People's Government Of Cangnan County’ by the Director of Cangnan Emergency Management Agency Wang Zaizhong”). When dealing with long and complex sentences, the translator must be flexible in using translation techniques to decompose the sentences and translate them step by step, focusing on the balance between the form of the sentence and its semantic meaning. Based on this principle, the abovementioned sentence could be translated into Japanese as “人間本位、予防軸化、積極救助、有効消災という森林防火作業方針は全県民が必ず強固に守らなければならない。林に火事が発見された際、直ちに所轄人民政府や森林防火指揮部執務室に報告すること。”&lt;br /&gt;
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There is no doubt that, in terms of four-character idioms, allusions, new words of the era and etc., the translation of official documents of Cangnan County under the context of the Japanese language still has a long way to go, but the part that we should pay most attention to in translation is always the differences in culture between the source language and the target language. Only by keeping this basic point in mind at all times, will there be no huge mistakes being made when translating official documents of Cangnan County into Japanese.&lt;br /&gt;
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==='''Ⅳ. Translation of Official Documents of Cangnan County under the Context of the Korean Language'''===&lt;br /&gt;
&lt;br /&gt;
Zhejiang Province and South Korea have laid a good foundation for economic and trade cooperation projects, and a framework that is comprehensive, wide-ranging, and multi-level has been established for Zhejiang-South Korea cooperation. The advantages of the two regions are obviously complementary and the development potential for both sides and in between is huge. In September 2016, the Zhejiang China-Korea (Quzhou) Industrial Cooperation Park was approved as the first batch of “Zhejiang International Industrial Cooperation Parks” in Zhejiang Province. The total planned area is about 3,000 acres and the total planned investment is 12 billion yuan. Represented by the Zhejiang China-Korea Industrial Cooperation Park, a large number of economic and trade cooperation projects has been carried out with South Korea by Zhejiang Province. As an indispensable part of Zhejiang Province, Cangnan County is facing a huge gap in the cultural exchanges and economic cooperation with South Korea. How to elevate the level of Cangnan’s opening up to the outside world and advancing Cangnan’s economic, trade and cultural cooperation with South Korea is a question that is well worth exploring. Although Cangnan is further away from South Korea compared with regions in the north of Zhejiang, geographic location should never be a factor that hindering Cangnan’s economic, trade and cultural cooperation with South Korea. In an era of ever-deepening globalization, it is of great significance that we think about how to develop and promote the economic and trade and cultural cooperation between Cangnan and South Korea.&lt;br /&gt;
&lt;br /&gt;
Northern Zhejiang is a key area for economic, trade and cultural cooperation with South Korea. As the south gate of Zhejiang Province, if Cangnan County could open the door of economic, trade and cultural cooperation to South Korea, then this will inevitably bring extraordinary development opportunities to southern Zhejiang and make the pattern of Zhejiang and South Korea’s economic and cultural cooperation more balanced and healthy. The political status of Cangnan County is equivalent to the one of si(city), gu (district), and gun(county) in South Korea. Because of some historical reasons, South Korea is greatly influenced by Chinese culture. From the Three Kingdoms era of Joseon, to the Unified Silla Dynasty, the Wang’s Goryeo Dynasty, and the Yi’s Joseon Dynasty, the basic system of administrative divisions in South Korea is almost the same as the one in China, so the official document system of cities, districts, and counties in South Korea can be regarded as basically equivalent to the official document system of Cangnan County with only slight differences originated from the localized political and cultural traditions and the basic social condition of South Korea. Therefore, there are relatively fewer difficulties of translation when translating official documents of Cangnan County into Korean, aside from the barriers caused by Korean Hangul words. The translation of official documents of Cangnan County under the context Korean language requires attention to the following aspects:&lt;br /&gt;
&lt;br /&gt;
1. The Combination of Chinese characters and Hangul&lt;br /&gt;
&lt;br /&gt;
Modern Korean uses Hangul as the main written characters, but this does not mean that there is no place for Chinese characters in the Korean system. Since the launch of the abolition of Chinese characters movement in South Korea in the 1970s, Hangul did exactly achieved an overall penetration of every aspect of their daily life, but when it comes to important documents, Chinese characters still reserve a seat in the arena of South Korea’s history. Furthermore, a higher level of talent training is required now to meet the need of South Korea’s economic and social development, and the mastery of sinology has become, among all the necessary skills, one of the most straightforward evaluation criteria to access the qualified personnel. Thus, South Korea has restarted the Chinese character teaching movement. Nowadays, the official document system in South Korea has become one in which Hangul serves as the main language and the mixed use of Chinese characters and Hangul serves as a supplement. Just as how the mixed use of kana and Chinese characters in Japanese official documents may help in its translation, the mixed use of Chinese characters and Hangul also greatly facilitate the translation of official documents of Cangnan County into Korean. However, because Chinese characters used in Korea are composed of traditional Chinese characters and a small number of Korean self-made Chinese characters, we can not take it for granted that it is advisable to translate them word by word.&lt;br /&gt;
&lt;br /&gt;
For example, the title of the document《苍干任〔2020〕18号 王再忠等同志的任命》(“Cangnan Cadre Appointment [2020] No. 18: Appointment of Wang Zaizhong and etc.”) (the Office of CPC Cangnan Party Committee on March 27th, 2020) can be translated with the mixed use of Chinese characters and Hangul into Korean as《蒼南縣의 幹部任命〔2020〕18號 王再忠등 同志의任命》. Also, it be translated into Korean with Hangul alone as《참남현의 간부임명〔2020〕18호 왕재충등 동지의임명》.&lt;br /&gt;
&lt;br /&gt;
2. The Usage of Refined Language&lt;br /&gt;
&lt;br /&gt;
In recent years, South Korea has carried out reforms of the official document system, urging that the South Korean government agencies at all levels should use “refined(or purified) language”, that is, to write and publish official documents with words that are easy for the public to understand and have explicit meanings, reducing the cost of communication between the government and the public and, in this way, building a closer relationship between the government and the people, so that civil servants can communicate with the people more effectively. Refined language is a kind of common vernacular that differs from the official language. Although this trend of the wording of Korean official documents is not unconditional, but when compared with official documents of Cangnan County, which emphasize the solemnity and formality of official documents, this trend is the part that the translator has to pay his attention to.&lt;br /&gt;
&lt;br /&gt;
For example, when translating the expression “为加强行政规范性文件管理，切实推进依法行政，加快法治政府建设 (To strengthen the management of administrative normative documents, promote the administration in accordance with law, and accelerate the construction of a government ruled by law)” in the document《苍南县人民政府关于公布县政府及县政府办公室行政规范性文件清理结果的通知（有效）》(“Notice of the Office of the People's Government of Cangnan County on the Announcement of the Results of the Cleanup of the Administrative Normative Documents of the County Government and the County Government Offices (Effective)”) (the Office of the People's Government of Cangnan County on October 23th, 2020) , blunt expressions may not be that applicable and this expression translated into Korean in a more public-friendly way as “행정 규범적인 문서관리를 강화하기 위해, 법에따라 행정을 철저히 추진하고 법치정부의 건설을 가속화시킨다.”&lt;br /&gt;
&lt;br /&gt;
3. Mastery of the Equivalence of Semantic Meaning&lt;br /&gt;
&lt;br /&gt;
Like Japanese, Korean is also a typical agglutinative language. A sentence is formed by connecting independent words with various auxiliary words, and with a subordinating conjunction at the end of the sentence. Auxiliary words are just like glues, they exist after every subject, predicate, and object component of a Korean sentence to them together. For that these auxiliary words have no substantial meaning themselves, they must stay close to the main body in front, and a space must be put after. Therefore, when translating Chinese, which is an isolated language, into Korean, which is an agglutinative language, it is necessary to have mastery of the equivalence of the semantic meaning of the expression.&lt;br /&gt;
&lt;br /&gt;
For example, when translating the expression “全面实施全民参保计划，做好参保情况清查，提升参保信息质量，清理重复参保，稳定持续参保，减少漏保断保，实现应保尽保。(Fully implement the national social security plan, do a good job in checking the coverage of the social security, improve the quality of the collection of the information of the insured, clean up repeated insureds, stabilize the renewal of the social security, reduce the interruption of the social security, and achieve full social security coverage.)” in the document《关于做好2021年度城乡居民基本医疗保障工作的通知》(“Notice on Doing a Good Job in Basic Medical Security for Urban and Rural Residents in 2021”)( the Office of Medical Security Bureau of Cangnan County on November 5th, 2020), the translator should pay attention to the equivalence of semantic meaning of this long sentence and translated it into Korean as “전국민기본의료보험가입계획을 전면적으로 실시하고 기본의료보험가입상황을 철저히 조사하며 기본의료보험가입 정보의 질을 향상시키고 중복기본의료보험가입을 청산하며 안정적이고 지속적인 기본의료보험가입을 하며 보험누락을 줄이고 기본의료보험가입 을 실현해야 한다.”&lt;br /&gt;
&lt;br /&gt;
==='''Ⅴ. Studies of Official Document Translation and the Cause of Opening-up in Cangnan County'''===&lt;br /&gt;
&lt;br /&gt;
Based on the abovementioned basic characteristics of the official document system of Cangnan County, the notes for official documents translation under the context of the Japanese language and the notes for official documents translation under the context of the Korean language, we can see that official documents of Cangnan County is not as difficult to handle as something untranslatable. Cangnan County enjoys a good geographic location: it is located in the coast of the East China Sea, and is close to both Japan and South Korea, two strong economies in East Asia. However, Cangnan County has not yet made use of these favorable conditions to the fullest to promote cultural cooperation and trade with the two countries. Cangnan’s opening up to the outside world requires innovative thinking and an elaborate layout. Studies on the translation of official documents of Cangnan County, especially the translation of official documents under the context of the Japanese and Korean language, will help to explore the cultural spirit of the government institutions, and play an important role in building a good image of Cangnan County in East Asia and laying a foundation for Cangnan's cooperation with major countries and regions in East Asia .&lt;br /&gt;
&lt;br /&gt;
The world today is undergoing profound changes rarely in a century, and so is China. The tide of history moves on and Cangnan shall not stay out of the matter, but must follow it courageously and strive to open new doors for Cangnan's opening up to the outside world through the study of the official document translation of its own.&lt;br /&gt;
&lt;br /&gt;
===References===&lt;br /&gt;
&lt;br /&gt;
[1]Ziqi LIU. The Application of Functional Equivalence Theory in Scientific Translation：A Case Study of the Translation of Shipbuilding English[J]. CREATIVITY AND INNOVATION,2019,1(3).&lt;br /&gt;
&lt;br /&gt;
[2]Mu Dan. Discussion on Translation Activities Under the Guidance of Functional Equivalence Theory[J]. International Journal of Education and Management,2018,3(2).&lt;br /&gt;
&lt;br /&gt;
[3]李琳琳. 功能对等翻译理论与关联翻译理论比较研究[D].辽宁师范大学,2006.&lt;br /&gt;
&lt;br /&gt;
[4]赵娟廷. 汉韩公文语体对比研究[D].复旦大学,2003. &lt;br /&gt;
&lt;br /&gt;
[5]周萱. 《中国共产党怎样解决民族问题》（节选）中韩翻译报告[D].青岛大学,2017.&lt;br /&gt;
&lt;br /&gt;
[6]张利军. 《教学的游戏性研究》的汉日翻译实践报告[D].广西师范大学,2019.&lt;br /&gt;
&lt;br /&gt;
[7]栾亚琼. 《2015年山东省政府工作报告》汉日翻译实践报告[D].曲阜师范大学,2016.&lt;br /&gt;
&lt;br /&gt;
[8]占丽华. 源流与演变—日本地方公文书馆发展路径研究[D].山东大学,2020.&lt;br /&gt;
&lt;br /&gt;
[9]任清萍. 功能翻译理论视角下政府工作报告日译研究[D].外交学院,2020.&lt;br /&gt;
&lt;br /&gt;
[10]孙慧. 产业竞争力与区域经济增长[D].苏州大学,2006.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
--[[User:Wu Kai|Wu Kai]] ([[User talk:Wu Kai|talk]]) 04:45, 2 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
==The Translation Process and Methods of Translating English Long Sentences	周艺文	Zhou Yiwen==&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
===Abstract===&lt;br /&gt;
===Key words===&lt;br /&gt;
===摘要===&lt;br /&gt;
===关键词===&lt;br /&gt;
===Introduction===&lt;br /&gt;
&lt;br /&gt;
===Conclusion===&lt;br /&gt;
===Bibliography===&lt;br /&gt;
&lt;br /&gt;
==Chinese-English Translation of News Headlines From the Perspective of Skopos Theory	张维虹	Zhang Weihong==&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
==='''Abstract'''===&lt;br /&gt;
&lt;br /&gt;
==='''key words'''===&lt;br /&gt;
&lt;br /&gt;
News headlines; Skopos theory; translation&lt;br /&gt;
&lt;br /&gt;
==='''摘要'''===&lt;br /&gt;
社会的飞速发展使得人们的阅读方式发生了巨大的改变, 通过阅 读新闻标题来获取消息和了解事实, 成为大多数人的不二之选, 新闻标题 翻译也就越来越具有其必要性。 新闻标题的重要性堪比一部使人印象深刻 的电影名, 一则响亮的广告语, 一本撩人心弦的书名。 较之娱乐新闻, 时 政新闻略显严肃客观, 又因当今科技物质的飞速发展, 时政新闻的点阅数 量明显少于以消遣娱乐为目的的娱乐新闻。 怎样提高时政新闻的阅读量, 怎样使得时政新闻如同娱乐新闻一般深受广大人民的喜爱, 这不仅是新闻 编辑者们的挑战, 也是新闻翻译界的难题。 本文以德国功能派翻译目的论 为理论指导, 结合新闻学及编辑学的相关学科知识, 通过对中英时政新闻 标题的对比分析, 旨在对时政新闻标题的汉译英提出翻译策略, 让国外读者正确客观无误的了解中国的时事政策。&lt;br /&gt;
&lt;br /&gt;
==='''关键字'''===&lt;br /&gt;
&lt;br /&gt;
===Introduction===&lt;br /&gt;
&lt;br /&gt;
===Skopos Theory===&lt;br /&gt;
&lt;br /&gt;
===Features of News Headlines===&lt;br /&gt;
&lt;br /&gt;
===Chinese-English Translation Methods of News Headlines from the Skopos Perspective===&lt;br /&gt;
&lt;br /&gt;
===Conclusion===&lt;br /&gt;
&lt;br /&gt;
===Bibliography===&lt;br /&gt;
&lt;br /&gt;
==On Chinese-English Translation of Public Service Advertisements From the Perspective of Text-type Theory  司妤  Si Yu==&lt;br /&gt;
&lt;br /&gt;
==='''Abstract'''===&lt;br /&gt;
&lt;br /&gt;
==='''key words'''===&lt;br /&gt;
&lt;br /&gt;
==='''摘要'''===&lt;br /&gt;
&lt;br /&gt;
==='''关键字'''===&lt;br /&gt;
&lt;br /&gt;
===Text-type Theory===&lt;br /&gt;
&lt;br /&gt;
===Features of Public Service Advertisements===&lt;br /&gt;
&lt;br /&gt;
====Content Features====&lt;br /&gt;
&lt;br /&gt;
====Text Features====&lt;br /&gt;
&lt;br /&gt;
===Examples of C-E Translation of Public Service Advertisements===&lt;br /&gt;
&lt;br /&gt;
===Mistranslation of Public Service Advertisements===&lt;br /&gt;
&lt;br /&gt;
===Methods of C-E Translation of Public Service Advertisements===&lt;br /&gt;
&lt;br /&gt;
===Conclusion===&lt;/div&gt;</summary>
		<author><name>Song Jianru</name></author>
	</entry>
	<entry>
		<id>https://bou.de/u/index.php?title=History_of_Translation_Studies_8&amp;diff=107949</id>
		<title>History of Translation Studies 8</title>
		<link rel="alternate" type="text/html" href="https://bou.de/u/index.php?title=History_of_Translation_Studies_8&amp;diff=107949"/>
		<updated>2020-12-06T15:22:41Z</updated>

		<summary type="html">&lt;p&gt;Song Jianru: /* IV Quality Statement of Chinese Translation of A Pale View of Hills */&lt;/p&gt;
&lt;hr /&gt;
&lt;div&gt;这里是《翻译学史》的书稿第八部分(Part 8)。麻烦各位同学看一下已经存在的章回（样品），自己再加进去新的一个章回（就是你们的学期论文）。请也帮助同学们把他们的论文改正。这样多次修改，大家的论文会越来越好。&lt;br /&gt;
&lt;br /&gt;
学期论文（结合学期所学，撰写一篇5000以上单词的英文论文，按照专业杂志的格式，题目、摘要、关键词和参考文摘需要英中，文章英）。学期论文成绩占70%，平时成绩（含课堂表现、展示及作业）占30%。&lt;br /&gt;
&lt;br /&gt;
*Link back to course homepage: [https://bou.de/u/wiki/Introduction_to_Translation_Studies Course Homepage Intro. to TS]&lt;br /&gt;
*Link back to the final exam paper section of the course homepage: [https://bou.de/u/wiki/Introduction_to_Translation_Studies#Final_Exam_Papers Final Exam Papers]&lt;br /&gt;
*Link to other parts of the final exam papers: [https://bou.de/u/index.php?title=History_of_Translation_Studies_1 Final Exam Papers Part 1]&lt;br /&gt;
*Link to other parts of the final exam papers: [https://bou.de/u/index.php?title=History_of_Translation_Studies_2 Final Exam Papers Part 2]&lt;br /&gt;
*Link to other parts of the final exam papers: [https://bou.de/u/index.php?title=History_of_Translation_Studies_3 Final Exam Papers Part 3]&lt;br /&gt;
*Link to other parts of the final exam papers: [https://bou.de/u/index.php?title=History_of_Translation_Studies_4 Final Exam Papers Part 4]&lt;br /&gt;
*Link to other parts of the final exam papers: [https://bou.de/u/index.php?title=History_of_Translation_Studies_5 Final Exam Papers Part 5]&lt;br /&gt;
*Link to other parts of the final exam papers: [https://bou.de/u/index.php?title=History_of_Translation_Studies_6 Final Exam Papers Part 6]&lt;br /&gt;
*Link to other parts of the final exam papers: [https://bou.de/u/index.php?title=History_of_Translation_Studies_7 Final Exam Papers Part 7]&lt;br /&gt;
*Link to other parts of the final exam papers: [https://bou.de/u/index.php?title=History_of_Translation_Studies_8 Final Exam Papers Part 8]&lt;br /&gt;
*Link to other parts of the final exam papers: [https://bou.de/u/index.php?title=History_of_Translation_Studies_9 Final Exam Papers Part 9]&lt;br /&gt;
*Link to other parts of the final exam papers: [https://bou.de/u/index.php?title=History_of_Translation_Studies_10 Final Exam Papers Part 10]&lt;br /&gt;
&lt;br /&gt;
='''History of Translation'''=&lt;br /&gt;
== Study on Brand Name Translation from the Perspective of Cultural Difference	谭鑫洁	Tan Xinjie==&lt;br /&gt;
&lt;br /&gt;
==='''Abstract'''===&lt;br /&gt;
&lt;br /&gt;
== Abstract: ==&lt;br /&gt;
&lt;br /&gt;
==='''key words'''===&lt;br /&gt;
&lt;br /&gt;
==='''摘要'''===&lt;br /&gt;
&lt;br /&gt;
==='''关键字'''===&lt;br /&gt;
&lt;br /&gt;
===Complete transcript of the content of the original work ===&lt;br /&gt;
&lt;br /&gt;
===Same style and manner of writing===&lt;br /&gt;
&lt;br /&gt;
===Equivalent effect===&lt;br /&gt;
&lt;br /&gt;
===Discussion===&lt;br /&gt;
&lt;br /&gt;
===Conclusion===&lt;br /&gt;
&lt;br /&gt;
===Bibliography===&lt;br /&gt;
&lt;br /&gt;
==A Comparative Study on the Translation History in Western Countries and China	王煜	Wang Yu==&lt;br /&gt;
===摘要===&lt;br /&gt;
翻译是一种跨文化交流活动，翻译活动加快了人类文明发展步伐，减少了人们之间的沟通障碍。随着时代的变迁，中国和西方国家逐渐形成了各自的翻译史，翻译史的研究是学科建设的一项基础工程。尽管中西方翻译史在某些方面有所差异，但却都有着各自的独特性，并对人类的翻译活动产生了巨大的影响与贡献。文章将以中国和西方国家为主要对象，从二者翻译史起始，包含阶段和各阶段代表人物，影响意义，差异性出发，对二者的翻译史进行简略的对比研究。&lt;br /&gt;
&lt;br /&gt;
===关键词===&lt;br /&gt;
翻译史；西方翻译史；中国翻译史&lt;br /&gt;
&lt;br /&gt;
===Abstract===&lt;br /&gt;
Translation is an intercultural communication activity, translation activities have accelerated the development of human civilization and reduced the communication barriers between people of different countries or nations. With time goes by, things are in a state of flux and both the western and eastern countries have gradually formed their own history of translation, the study of translation history is a basic project of discipline construction. Though there are many differences among the translation histories of western countries and China, the two kinds of translation histories are still shining their own bright unique lights and have an indelible influence and contribution to human translation activities. This paper intends to make a brief comparison of translation histories between western countries and China, which includes the origins, the stages, the representatives of the stages, the significance and influence as well as the differences of the two translation histories.&lt;br /&gt;
&lt;br /&gt;
===Keywords===&lt;br /&gt;
Translation history; Translation history of the West; Translation history of China &lt;br /&gt;
&lt;br /&gt;
===1. Introduction===&lt;br /&gt;
No matter in China or in the west, translation plays an important role in knowledge-spreading. As an indispensable part of translatology, the study of translation history has made a great influence on translation activities, it has gradually become the focus of the literary and historical circles in recent years. Translation activities can be traced back to the origin of language, and the history of translation is almost as old as language itself, it is closely related to the changes in today's society. Since the 1980s, the translation studies in the mainland of China have made remarkable progress in the curriculum design of Chinese and western translation history and the compilation of related works. In the early 1980s and 1990s, there were many related works came out one after another including A brief history of Chinese Translation: the part before the May 4th Movement（《中国翻译简史-“五四”运动以前部分》） written by Zuyi Ma, A historical manuscript of Chinese translated literature （《中国翻译文学史稿》）edited by Yugang Chen, and also the A Short History of Translation in the West（《西方翻译简史》） the author of which is Zaixi Tan. Thus, it opens the gate for the compilation of Chinese and western translation history works.（谢天振，2009） The history of western translation can be divided into five stages while the Chinese study of translation has a glorious history of more than two thousand years and has experienced five climaxes. Through the comparative study of Chinese and western translation history, it will help us to have a deeper understanding of Chinese and western translation activities and thus to gather a general full view of it, which will be a positive and meaningful attempt.&lt;br /&gt;
&lt;br /&gt;
2. The Translation History of Western Countries&lt;br /&gt;
Western translation activities are rich in a long history and a multiyear span. The history of western translation can be roughly divided into three stages: the traditional stage, the modern times and the contemporary. More specifically, it can be grouped into the ancient times, the middle ages, the Renaissance period and the time after WWⅡ.&lt;br /&gt;
&lt;br /&gt;
2.1 The First Stage: Translation in the Ancient Times&lt;br /&gt;
    &lt;br /&gt;
The translation history of western countries first began in the the 3rd century B.C. &amp;quot;In a broad sense, the earliest translation in the west is the Old Testament translated by 72 Jewish scholars in Alexandria, ancient Egypt, between the 3rd and 2nd centuries BC; Strictly speaking, the first western translation is the Greek Homer Epic Odyssey translated by Andronicus in Rome in the middle of the third century BC.”(谭载喜,2000) At the end of the 4th BC, during this time, the Greece began to decay and the Roman had became stronger and stronger with its military expansion. The expansion of the Roman Empire brought it into contact with the splendid Greek culture, therefore, the Romans not only conquered the Greek city, but also inherited and developed the brilliant achievements of ancient Greek culture, and then created a  splendid cultural of its own era after Greece. So soon began a large scale translation activities, the activity of translating and introducing Greek classical works probably began in this period.（刘军平,2009）Many famous translation theorists began to make their presences, namely Cicero, Quentin, Jerome and so on, also the famous Roman litterateurs like Andronicus, Naevius, Ennius, these great writers used Latin language to translate or adapt Homer’s epic or other Greece dramas. Started the translation tradition and promoted the birth and development of Roman literature.&lt;br /&gt;
&lt;br /&gt;
2.2 The Second Stage: Translation in the Middle Ages (4th-6th)&lt;br /&gt;
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2.3 The Third Stage: Translation in the Middle Ages (11th-12th)&lt;br /&gt;
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2.4 The Fourth Stage: Translation in the Renaissance Period&lt;br /&gt;
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2.5 The Fifth Stage: Translation after WWⅡ&lt;br /&gt;
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3. The Translation History of China--[[User:Wang Yu|Wang Yu]] ([[User talk:Wang Yu|talk]]) 08:38, 30 November 2020 (UTC)--[[User:Wang Yu|Wang Yu]] ([[User talk:Wang Yu|talk]]) 08:43, 30 November 2020 (UTC)&lt;br /&gt;
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==The Implications of Luther's Translation Principles amid Renaissance for Modern Literature Translation	方洁玲	Fang Jieling==&lt;br /&gt;
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==Translation manipulated by ideology	许静	Xu Jing==&lt;br /&gt;
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==Comparison between the History of Chinese and Western Translation   周书尧   Zhou Shuyao==&lt;br /&gt;
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'''Abstract:'''There has a long history and culture Chinese and Western translation, and translation plays an indelible role in promoting cross-cultural communication and cultural communication. This article first discusses the history of translation in China from  four stages , then discusses the five stages of western translation history , and finally compares and analyzes the similarities and differences between Chinese and Western translation histories, and puts forward some of the author's own views.&lt;br /&gt;
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'''Key words:'''The history of Chinese,The history of Western,the stages of  translation history,comparison&lt;br /&gt;
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'''摘要：'''中西方翻译历史文化源远流长，翻译在促进跨文化交流和文化传播上承担着不可磨灭的作用。本文首先从中国的四次翻译高潮论述中国的翻译史，再从西方的五次翻译高潮探讨西方的翻译史，最后对中西方翻译史的异同进行对比分析，提出一些笔者自己的看法。&lt;br /&gt;
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'''关键词：'''中国翻译史，西方翻译史，翻译高潮，对比&lt;br /&gt;
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'''Ⅰ.Introduction'''&lt;br /&gt;
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Since the 1980s, the Chinese translation studies community has made remarkable progress in the establishment of Chinese and Western translation history courses and the compilation of related works.In the 1980s and early 1990s,A Brief Introduction to the History of Translation in China from Ma Zuyi and other books of Chen Yugang and Tan Zaixi were published one after another,which raised the curtain for the compilation of Chinese and Western translation history works by the domestic translation scholars.The four stages in the history of Chinese translation have promoted the development of Chinese history, culture and society to varying degrees.The same as our country, Western translation has an age-old history.In a sense, the development of Western European civilization should first be attributed to the translators.The five stages in the history of European translation have promoted the exchanges of literature, art, science and trade between countries, and to a certain extent promoted the development of Chinese translation.In fact, when we examine the development trajectory of Chinese and Western translation activities and the evolution of translation concepts together, we find that there are some similarities between Chinese translation and Western translation.Especially in the evolution of Chinese and Western translation concepts, the two have very similar evolution laws.&lt;br /&gt;
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='''Literal and Free Translation'''=&lt;br /&gt;
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==Rethink Literal and Free Translation	彭永亮	Peng Yongliang==&lt;br /&gt;
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==On the Chinese Translation of A Pale View of Hills from House’s Translation Quality Assessment Model	宋建茹	Song Jianru==&lt;br /&gt;
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===Abstract===&lt;br /&gt;
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Translation quality assessment is an integral part of translation criticism. The first TQA model with comprehensive theories and practices Juliane House represented provides a significant reference for translation exercises. ''A Pale View of Hills'', as the first work of Kazuo Ishiguro, possesses a great research value on its narrative styles by virtue of memory and topics about migrants. As of 2011 when its Chinese translation was published, no scholar has evaluated it. This study applies House’s TQA model to assess the Chinese translation of ''A Pale View of Hills'' with qualitative and quantitative analysis from lexical, syntactic and textual aspects, in a bid to examine validity of the model on novel translation, which turns out that it is an overt and high-quality translation.&lt;br /&gt;
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=== Key Words===&lt;br /&gt;
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''A Pale View of Hills''; House’s TQA model; novel translation&lt;br /&gt;
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=== 摘 要 ===&lt;br /&gt;
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翻译质量评估是翻译批评的核心课题。朱莉安·豪斯提出的第一个有完整的理论和实践的翻译质量评估模式，为翻译实践提供了重要参考。《远山淡影》是石黑一雄的处女作，其依托回忆的叙事风格和移民主题具有很高的研究价值。《远山淡影》中译本自2011年出版至今，尚未有学者对其进行评估研究。本文运用豪斯的翻译质量评估模式，采用定性与定量相结合的分析方式，从语场、语旨、语式等三个层面对原文和译文进行分析，开展《远山淡影》中译本的翻译质量评估研究，为豪斯翻译质量评估模式对小说翻译的运用进行进一步的探索和补充。通过分析，得出《远山淡影》中译本为显性翻译，翻译质量较高。''Italic text''&lt;br /&gt;
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=== 关键词 ===&lt;br /&gt;
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《远山淡影》；豪斯质量评估模式；小说翻译&lt;br /&gt;
===Introduction===&lt;br /&gt;
Translation criticism refers to the analysis and review of thoughts, activities and works of translation by virtue of relevant theories and views, in a bid to improve the overall quality of translators and translations. It is an integral part of translation studies. (Wang Enmian, 1999: 7) Translation quality assessment, as the integral and key part of translation criticism, plays a significant role in surveillance and promotion of translation quality. Among the extant translation quality assessment models, Juliane House’s ''A Model for Translation Quality Assessment and Translation Quality Assessment: A Model Revised'', based on Halliday's systemic functional linguistics and discourse analysis, are systematic, scientific and rational with a relatively complete system of parameters, quantitative methods and steps adhering to specific procedures. &lt;br /&gt;
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''A Pale View of Hills'', as Kazuo Ishiguro's first full-length novel, tells the life of the people in Nagasaki after WWII through the memory of protagonist Etsuko and explores recovery of trauma, collision between the old and new ideas, and kinship after war. The first person narrative, memory, humor and satire and international perspectives in the book became his major writing styles in the future. The novel won the Winifred Holtby Memorial Prize from the Royal Society. Its only Chinese translation at present, from Zhang Xiaoyi, is still not analyzed by the scholars. This paper uses House’s translation quality assessment model, with combination of qualitative and quantitative analysis, from field, tenor and mode to analyze the mismatches between original and translation in an attempt to assess the Chinese translation quality of ''A Pale View of Hills'' and further explore the application of House’s model in novel translation. The aim of the study is to promote scholars to regulate the behaviors of translation, to improve the quality of translation and translation evaluation, and to provide a reasonable way for establishing the interlingual conversion mechanism.&lt;br /&gt;
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The thesis consists of four chapters.&lt;br /&gt;
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After the Introduction, Chapter One gives a brief account of A Pale View of Hills and its research status, involving the author, background, content and influence. Chapter Two is a brief introduction of House’s TQA model, including its theoretic basis, parameter setting, operation steps and feasibility. Chapter Three is a detailed analysis of original and translation of A Pale View of Hills based on House’s model. Chapter Four is statement of translation quality assessment. Then we come to the last part, Conclusion.&lt;br /&gt;
===I Overview and Research Status of A Pale View of Hills===&lt;br /&gt;
''A Pale View of Hills'' is Kazuo Ishiguro's first novel, which laid a solid foundation for the formation of Ishiguro's writing style. The chapter mainly introduces the author, plot, theme and influence of the novel and analyzes its research status, in an attempt to master the material well and seek new perspectives for the paper.&lt;br /&gt;
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'''1.1 Overview of A Pale View of Hills'''&lt;br /&gt;
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Kazuo Ishguro is a noble contemporary Japanese English writer, whose novels feature first person narrative, detailed depiction of loneliness, depression, self-deception and anxiety of characters’ inner world and dual narrative strategy to deconstruct the narrator's self-identity, as well as discuss postwar trauma and migrant identity. He won Booker Prize, the British top literary prize, in 1989 and the Nobel Prize in literature in 2017. By virtue of his outstanding literary achievements, he is known as one of the Three Masters of English Migrant Literature together with Salman Rushdi and Naipaul.&lt;br /&gt;
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A Pale View of Hills, published in 1982, is Ishiguro's debut. The story, with postwar Nagasaki as its background, enjoys two clues: one is what happened when Niki (Etsuko’s little daughter) visited her mother after her sister Keiko died; the other is Etsuko’s memory about people and events in Nagasaki after the war. The two lines integrated together during the narrative, forming the illusory and imaginary impression. Many in-depth topics in this work are worth pondering: postwar trauma recovery, the collision between new and old ideas after war and discussion of family relations. Many marks in the work became his own styles: first-person narrative, memory, humor and satire, international perspectives. In addition, it won the Winifred Holtby Memorial Prize from the Royal Society and is still in print thirty years after its publication. This book, with its enormous emotion, unearths the abyss beneath the illusion of our connection to the world, whose artistic value and charm could be time-tested.&lt;br /&gt;
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'''1.2 Research Status of A Pale View of Hills'''&lt;br /&gt;
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There are 54 papers about A Pale View of Hills in domestic researches. According to the statistics from HowNet (as shown in the figure below), the number of studies on the work has been mounting, especially after Kazuo Ishiguro won the Nobel Prize for Literature in 2017. The perspectives of these researches are mainly from identity anxiety, unreliable narrative and post-war trauma. In Identity Anxiety in Kazuo Ishiguro's A Pale View of Hills, Wang Fei discusses the identity anxiety of migrants, exploring manifestations, causes and influence of such anxiety on the characters. In Memory and Narrative Unreliability of A Pale View of Hills, He Xiaobing combined with the classical narratology to analyze how unreliable narration method is presented in the work and discussed the inner world of the characters. In Trauma in Kazuo Ishiguro's A Pale View of Hills, Liu Xiaoya explores the protagonist's trauma by using Sigmund Freud’s psychoanalysis theory and trauma theory (including post-freudian psychological trauma theory), contemporary trauma culture theory along with rhetorical narrative theory.&lt;br /&gt;
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[[File:picture1.pgn]]&lt;br /&gt;
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At abroad there are more perspectives about the studies of A Pale View of Hills. In addition to the main research directions of domestic scholars, such as identity anxiety of characters, unreliable narrative research and post-war trauma, cultural displacement, family relationship and the influence of region on personality presented in the works are also analyzed. The Impact of Place on Personality in Kazuo Ishiguro's A Pale View of Hills: An Eco-critical Study co-written by Awla, Yousif Hamad and Azad Sharif, from the perspective of ecocriticism, clarifies the fact that a place is able to define and guide the emotions and thoughts of characters, and analyzes the reasons why geography forms characters of people in order to draw people’s attention to the impact of surrounding environment on them. Ruth Forsythe's article Cultural Displacement and the Mother-daughter Relationship in Kazuo Ishiguro's A Pale View of Hills focuses more on the relationship between mother and daughter under cultural displacement. However, no scholars have analyzed the language itself from the perspective of systemic functional linguistics.&lt;br /&gt;
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The Chinese translation of A Pale View of Hills, Zhang Xiaoyi’s version, was published by Shanghai Translation Publishing House in 2011, and the bilingual version in 2019. Up to now, there has no translation criticism or discussion about this translation. Since 2011 when it was translated, it came to draw the attention of scholars and readers. Translation is a direct factor that affects the integrity of author’s thought, the reader's perception and the accuracy of the scholar’s study, thus it is indispensable to use the House’s Translation Quality Assessment model to analyze the Chinese translation of A Pale View of Hills.&lt;br /&gt;
===II Introduction of House's Translation Quality Assessment Model===&lt;br /&gt;
Juliane House's model was described as the first translation quality assessment model with complete theories and practices by international translation criticism, which could provide an important reference for translation learners and scholars. By introducing the theoretical basis, parameter system and operation steps of House’s model, this chapter will discuss the feasibility of House’s model in the evaluation of the Chinese translation of A Pale View of Hills, in an effort to foster the application of House’s model in the quality evaluation of full-length novels.&lt;br /&gt;
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'''2.1 Theoretical Basis of House's Model'''&lt;br /&gt;
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The assessment of translation quality draws upon different translation standards, which are then embodied by the recognition about essence of translation. House deemed that crunch of the translation quality assessment lies in recognition of the nature of translation, namely that “translation is the replacement of a text in the source language by a semantically and pragmatically equivalent text in the target language.” (House, 1977: 30)&lt;br /&gt;
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In House’s initial model in 1977, she drew upon language behavior theory, language and text function and context to divide the source language text into two situational dimensions: dimension of language user and dimension of language use. The former includes three aspects: geographical origin, social class and time. The latter includes five aspects: medium, participation, social role relationship, social attitude and province. The evaluation depends on the matching degree between                                                                                                                                                                                                                                                                                                                                                                                          original text and translation. The higher the matching degree is, the better the translation quality is. The quality evaluation of the translated text needs to state mismatching degree of each dimension in the whole context, that is, the description of the quantity of covert errors (errors in context dimension) and overt errors (referential mismatcher or grammatical violation of target language system).&lt;br /&gt;
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Based on myriad practice, House realized that the initial eight dimensions overlap in some parts. Therefore, in 1997, she revised the original model from the perspective of the context, unifying the previous eight parameters to field, tenor and mode. Field compares subject matter and social action of the original with that of translation. Tenor emphasizes the matching degree on the relationship of participants, time, region, position of author, social role relationship and social attitudes. Mode pays more attention to medium and participation. In addition, House incorporated &amp;quot;genre&amp;quot; into revision model in order to explain the deep structure of the text.&lt;br /&gt;
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'''2.2 Operation Steps of House's Model'''&lt;br /&gt;
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When evaluating the translation quality of the text, House's model focuses on comparison between original text and translation from field, tenor, mode and genre, clarifies and summarizes mismatches found in the text, so as to obtain a quality report of the translation. The detailed steps presented as follows: &lt;br /&gt;
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1) Analyze the register and genre of the original text to get its textual functional profile. The original text is analyzed from four dimensions: field, tenor, mode and genre. According to the analysis, “functional statement”, involving ideational and interpersonal functions, needs to be deduced.&lt;br /&gt;
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2)Compare the target text and the source text to find differences or mismatches. Through the comparative analysis between original and translation along the dimensions on the model, mismatches or differences found in the comparison are sorted out by virtue of overt errors or covert errors and expounded in detail one by one.&lt;br /&gt;
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3)Summarize the differences and mismatches demonstrated from the above steps in lexical, syntactic and textual aspects. Based on above statistics and statement, make the quality statement. The fewer the mismatches are, the better the translation quality is. If readers clearly realize the text a translation work, it is overt translation; while if not, it is covert translation.&lt;br /&gt;
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'''2.3 Feasibility of the Model in Chinese Translation of A Pale View of Hills'''&lt;br /&gt;
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At present, there are 78 relevant studies on House’s Translation Assessment model, which are mainly divided into three directions: interpretation of House Translation Assessment model and its revision, evaluating translation of literary works along the model and evaluating translation of applied text along the model. Among them, evaluation of the translation of literary works accounts for 29, which enjoys the following two characteristics:&lt;br /&gt;
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1)There are merely a few researches applying House model to Chinese translation of literary works. Among the 29 journals and papers evaluating translation of literary works, there are 25 studies that attach great importance to the English translation and 4 to Chinese translation, which signifies that we need more researches of Chinese translation to support the validity of the model on different languages. Therefore, the paper, with the Chinese translation of A Pale View of Hills as its corpus, intends to examine the feasibility of the application of House’s model to Chinese translation.&lt;br /&gt;
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2)There are merely a few researches applying House model to the translation of full-length novels. Among the 29 journals and papers on evaluating translation of literary works, most of which focus on the evaluation of poems and prose, merely 5 studies are analysis of translation of full-length novels. English translation accounts for 3 and Chinese translation for 2, which demonstrates that we need more researches with full-length novels as corpus to support the validity of the model in different genres. Therefore, the paper, with the full-length novel A Pale View of Hills as its corpus, intends to examine the feasibility of the application of House’s model to full-length novels.&lt;br /&gt;
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In conclusion, given that the researches based on Chinese translation of full-length novels are insufficient, the paper will use the Chinese translation of A Pale View of Hills as its corpus to validate the feasibility of House’s TQA model.&lt;br /&gt;
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===III Comparison of Original and Translation of '''A Pale View of Hills''' Along House's Translation Quality Assessment Model===&lt;br /&gt;
''A Pale View of Hills'' is the debut of Kazuo Ishiguro, whose Chinese translation was published by Shanghai Translation Publishing House in 2011. House's Translation Quality Assessment model is the first objective model combining quantative analysis with qualitive analysis. The paper applies House’s Translation Quality Assessment model to Chinese translation of ''A Pale View of Hill'', comparing the source text and target text in lexical, syntactic and textual aspects along the three dimensions of register and summarizing the mismatches on field, tenor and mode, in an effort to quantitatively assess the translation quality of ''A Pale View of Hills''.&lt;br /&gt;
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'''3.1 Comparison on Field'''&lt;br /&gt;
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Field refers to the content or the topic of the text. It is concerned with subject matter and social action which covers the specificity of lexical items. After comparison between the source text and target text on field, there are 18 mismatches, 12 of which are overt errors and 6 covert errors. Among them, there are 9 lexical errors, 1 textual error and 8 syntactic errors. The lexical and textual errors are mainly covert errors, so in general their translation is of high quality. Although most of syntactic errors are not in line with the grammar of target language system, they won’t influence the understanding of the text. Therefore, by and large, translation on field are high-quality.&lt;br /&gt;
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'''3.1.1 Lexical Field'''&lt;br /&gt;
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Lexical field means the immediate or possible scenes or events evoked in people’s mind when they read or hear the words or lexical items. After the analysis of the original and target text, there are 9 mismatches, 4 of which are overt errors and 5 are covert ones. Most of them won’t block readers to master the overall meanings. Therefore, the translation quality on lexical items are relatively high. &lt;br /&gt;
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Example 1：&lt;br /&gt;
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...and the soaked surfaces of brick and concrete were drying all around us.&lt;br /&gt;
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湿透了的砖头和水泥开始变干。(P8)&lt;br /&gt;
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Concrete refers to building material that is made by mixing together cement, sand, small stones and water according to Oxford Dictionary, which includes cement rather than equates it. So, it is not very accurate to translate in this way even if the two words are similar. It is obviously an overt error. &lt;br /&gt;
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Example 2：&lt;br /&gt;
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As far as I remember, that was the first occasion I spoke to Mariko.&lt;br /&gt;
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我印象那是我第一次跟万里子说话。(P11)&lt;br /&gt;
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In the translation, “印象” as a noun refers to a mental picture that you have of what somebody/something is like or looks like. In the light of the rules or grammar of Chinese, it is hardly used as a verb. Thus, it is an overt error. &lt;br /&gt;
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Example 3：&lt;br /&gt;
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It's such a shame.&lt;br /&gt;
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真不像话。(P16)&lt;br /&gt;
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A shame is used to say that somthing is a cause for feeling sad or disappointed. In the original, the sentence is to express Etsuko’s pity to the homeless dogs and cats around her community rather than her distaste or complaint. Here it is translated into its other meaning when ignoring the context, belonging to a covert error. &lt;br /&gt;
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Example 4：&lt;br /&gt;
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Why don't you go into the kitchen for a little while?&lt;br /&gt;
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你为什么不到厨房去一会儿呢？(P26)&lt;br /&gt;
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In the translation, “去” is not very appropriate on the basis of grammar of Chinese, since it is such an action verb that does not match with state phrases. In the course of translation, some prepositions in English need to be transferred into verb in Chinese, which are supposed to pay attention to the rules of target language. Here it is obviously an overt error.&lt;br /&gt;
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Example 5：&lt;br /&gt;
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It's not appreciated simply because the product disappears so quickly.&lt;br /&gt;
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不能因为它的产品很快就消失了而不懂得欣赏。(P34)&lt;br /&gt;
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According to the context, Ogata-San believes that cooking is “as noble as painting or poetry”. So here the product refers to food cooked. Given the concrete expression in Chinese, the product is supposed to be translated more concretely in accordance with the context. It is a covert error.&lt;br /&gt;
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Example 6：&lt;br /&gt;
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Perhaps it is just my fancy that I felt a cold touch of unease there on that bank, a feeling not unlike premonition. &lt;br /&gt;
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这也许只是我的想象，但是那时我在河边觉得凉飕飕的，很不自在，像是感觉有事要发生。(P44)&lt;br /&gt;
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“Unease” refers to the feeling of being worried or unhappy about something. Given the above-mentioned, Etsuko worried about the safety of Mariko when she was not at home. It differs from its translation that means the feeling of being ill at ease. It is an overt error. &lt;br /&gt;
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Example 7：&lt;br /&gt;
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You mustn't suppose, Etsuko, simply because you've seen her in these…in these present surroundings, that she's some peasant's child.&lt;br /&gt;
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悦子，你不能因为……因为眼前的事物就认为她是什么贫农的孩子。(P51)&lt;br /&gt;
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Sachiko is not rich according to the context, so “peasant” intimates the meaning of poverty. Its translation explicitly represents it, which is accessible and intelligible. However, “贫农” enjoys extra cultural meaning in China, which could date back to the Cultural Revolution when lands was apportioned based on people’s wealth, so it might mislead readers to its political implication. It is a covert error.&lt;br /&gt;
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Example 8：&lt;br /&gt;
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“I must have been such a burden to you in those days,” I said, quietly.&lt;br /&gt;
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“我那时肯定成了您的负担，”我静静地说。(P68)&lt;br /&gt;
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Here “quiet” refers to making very little noise, which coincides with the act of saying. According to the context, Etsuko lowered her noise out of guilt when she realized she bothered her family when she practised violin before. However, its translation means the statement without any noise, which obviously contravenes the context, belonging to covert translation.&lt;br /&gt;
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Example 9：&lt;br /&gt;
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I could see something moving beside her in the shade.&lt;br /&gt;
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我看见她身旁的影子里有什么东西在动。(P14)&lt;br /&gt;
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“Shade” means an area that is dark and cool under or behind something, for example a tree or building, because the sun’s light does not get to it, rather than the shadow which the translator believed. As previously mentioned in the text, “Mariko was lying in the corner furthest from the sunlight”, which also signifies that it is impossible to exist dark shape under the light around Mariko. Thus, the translation of “shade” is not on a par with the context, belonging to a covert error.&lt;br /&gt;
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'''3.1.2 Syntactic Field'''&lt;br /&gt;
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Syntactic field means the immediate image appeared in people’s mind when they read the sentences. The mismatches in syntactic field are usually for the violation of rules of target language or misinterpreting the source text. On syntactic field, there are 8 mismatches, seven of which are overt errors and one is covert. Among the overt errors, seven sentences are not in line with the rules of target language, which won’t influence the ideational meaning. Therefore, the translation quality on syntactic field is high.&lt;br /&gt;
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Example 1：&lt;br /&gt;
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It did upset me, hearing about her.&lt;br /&gt;
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我真的很难过，听到她的死讯。(P4)&lt;br /&gt;
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Example 2：&lt;br /&gt;
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But I was sad though, when I heard.&lt;br /&gt;
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可是我真的很难过，听到她的消息。(P4)&lt;br /&gt;
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Example 3：&lt;br /&gt;
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It's certainly an amusing sort of experience, working in a noodle shop.&lt;br /&gt;
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这真是很有趣的经历，在面包店里工作。(P26)&lt;br /&gt;
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In English, the important or unknown information appeared firstly, and the second one follows. However, in Chinese, the second important presents at first, paving the foundation for the more pivotal or unknown one. In above three examples, their translation doesn’t adjust the sequence in line with target language rules. These are overt errors.&lt;br /&gt;
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Example 4：&lt;br /&gt;
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…certain arrangements I made have not gone as planned.&lt;br /&gt;
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一些事情没有照我计划的那样。(P17)&lt;br /&gt;
&lt;br /&gt;
The translation is not complete as the predicate verb “have gone” is not translated, which does not conform with the grammar of Chinese. It is an overt error.&lt;br /&gt;
&lt;br /&gt;
Example 5：&lt;br /&gt;
&lt;br /&gt;
She appeared to know them, for as she walked across the forecourt, she gave them a familiar greeting.&lt;br /&gt;
&lt;br /&gt;
看来她认识她们，边走过水泥地，边熟识地跟她们打招呼。(P26)&lt;br /&gt;
&lt;br /&gt;
The original is a compound-complex sentence with “for” for causal relation and “as” for coordinate relation. In the translation, the former is represented but the later isn’t, neither by conjunction words nor by clause sequence. It causes that the translation lacks of logic, belonging to an overt error.&lt;br /&gt;
&lt;br /&gt;
Example 6：&lt;br /&gt;
&lt;br /&gt;
It's an opportunity for a teacher to see the fruits of his work, and for the pupils to express their gratitude to him.&lt;br /&gt;
&lt;br /&gt;
这是一个机会让老师看看他的劳动成果，让学生们向他表示感谢。(P30)&lt;br /&gt;
&lt;br /&gt;
The translation adheres to the sequence of the original but ignores the fluency of the sentence. In English, attributives are at both ahead of and behind the objects; while in Chinese, they mostly are preceded. Therefore, the translation violates the grammar of the target language, belonging to an overt error.&lt;br /&gt;
&lt;br /&gt;
Example 7：&lt;br /&gt;
&lt;br /&gt;
There's nothing like a timely reminder of one's personal obligations.&lt;br /&gt;
&lt;br /&gt;
及时地提醒个人的责任之类的东西也没有。(P71)&lt;br /&gt;
&lt;br /&gt;
“There's nothing like” is a common sentence pattern in spoken English, meaning nothing else is able to match. The original would have expressed that “a timely reminder of one’s personal obligations” is the most important. The translator misunderstood the meaning utterly, making an overt error.  &lt;br /&gt;
&lt;br /&gt;
Example 8：&lt;br /&gt;
&lt;br /&gt;
It amazes me, how things have changed so much so quickly.&lt;br /&gt;
&lt;br /&gt;
太让我吃惊了，世道变得如此之大，如此之快。(P195)&lt;br /&gt;
&lt;br /&gt;
The translation, by and large, is in accordance with the original. Yet there is possibility for readers to be confused about the accuracy of words collocation. Although “so much” and “so quickly” modify the verb “change”, we have to respectively choose the proper words to collocate. It is a covert error. &lt;br /&gt;
&lt;br /&gt;
'''3.1.3 Textual Field'''&lt;br /&gt;
&lt;br /&gt;
On textual field, there is only one error---overt error. It is caused by misconstruing what the pronoun refers to. By and large, the translation, through the comprehensive analysis on textual field, is high-quality. &lt;br /&gt;
&lt;br /&gt;
Example 1：&lt;br /&gt;
&lt;br /&gt;
That's just not how it was though.&lt;br /&gt;
&lt;br /&gt;
但是我和她根本不是这样。(P4)&lt;br /&gt;
&lt;br /&gt;
According to “Sisters are supposed to be people you're close to, aren't they. You may not like them much, but you're still close to them”, it refers to the whole view instead of certain relationship between me and my sister. The referential meaning does not accord with that of the original. It is an overt error.&lt;br /&gt;
&lt;br /&gt;
'''3.2 Comparison on Tenor'''&lt;br /&gt;
&lt;br /&gt;
Tenor refers to the nature of the participants, the addresser and the addressee, and the relationship between them in terms of social power and social distance. After comparing the original and the translation of A Pale View of Hills, there are 8 mismatches on social attitude and social role relationship, one of which is an overt error and the rest are covert. In general, the translation is highly in accordance with the original so the quality is high on tenor. &lt;br /&gt;
&lt;br /&gt;
'''3.2.1 Social Attitude'''&lt;br /&gt;
&lt;br /&gt;
Social attitude refers to the social distance between communicators and the degree of formality of discourse. The misunderstanding of social attitude in the translation process will affect the readers' understanding of the characters in the novel. Therefore, mistakes in representing social attitude of characters should be minimized and even avoided in the translation process. There are 4 mismatches on social attitude in the translation: one is an overt error and the rest are covert errors. By and large, the translation on displaying the social attitude of the original is great. &lt;br /&gt;
&lt;br /&gt;
Example 1：&lt;br /&gt;
&lt;br /&gt;
The English are fond of their idea that our race has an instinct for suicide.&lt;br /&gt;
&lt;br /&gt;
英国人有个奇特的想法，觉得我们这个民族天生爱自杀。(P4)&lt;br /&gt;
&lt;br /&gt;
In the original text, the attitude of the character is relatively objective. However, in the translation, the attitude is represented overly by using an adjective, which might be translator’s understanding on author’s attitude. It limits different interpretation to the author’s attitude from readers. It is an overt error. &lt;br /&gt;
&lt;br /&gt;
Example 2：&lt;br /&gt;
&lt;br /&gt;
“Which are you hoping for, Etsuko?” he asked, eventually. “A boy or a girl?”&lt;br /&gt;
&lt;br /&gt;
“你想是男孩还是女孩呢，悦子？”过了一会儿他问道。(P35)&lt;br /&gt;
&lt;br /&gt;
Ogata-San would like to know Etsuko’s mind about the upcoming baby, but he is not sure if it is proper. At last, curiosity overpowers his hesitation. In the original text “eventually” signifies both time and emotion span. But the translation only manifests the time span. It is a covert error.&lt;br /&gt;
&lt;br /&gt;
Example 3：&lt;br /&gt;
&lt;br /&gt;
“Tell me, Etsuko,” he said, not looking up from his laces. “Have you met this Shigeo Matsuda?”&lt;br /&gt;
&lt;br /&gt;
“告诉我，悦子，”他头也不抬地说。“你见过这个松田重夫吗？”(P36-P37)&lt;br /&gt;
&lt;br /&gt;
Ogata-San, as Etsuko’s father-in-law and adopter after the war, gets along well with her. In the original text, Ogata-San is “not looking up” when speaking to Etsuko since he is lying his laces. The translation ignores the reason, which renders Ogata-San a cold man. It is a covert error.&lt;br /&gt;
&lt;br /&gt;
Example 4:&lt;br /&gt;
&lt;br /&gt;
I'm sure she'd be the first to agree with me about Kazuo mourning her like this.&lt;br /&gt;
&lt;br /&gt;
我肯定她会第一个同意我的观点，和夫不应该再这样想着他了。(P94)&lt;br /&gt;
&lt;br /&gt;
From the original, we can feel the love of Mrs. Fujiwara to her son. However, after reading its translation, we can feel nothing but her dominance. It signifies that the translation deviates from the original context. It is a covert error.&lt;br /&gt;
&lt;br /&gt;
'''3.2.2 Social Role Relationship'''&lt;br /&gt;
&lt;br /&gt;
Social role relationship refers to the social relation between the speaker and the receiver, that is, symmetry and asymmetry. The analysis on the social roles relationship in novels is generally from two aspects: relationship between the author and readers, and relationship between the various characters in the work. The former is remained utterly, while the latter is slightly different from that in the original. A total of 4 mismatches are found in the comparison, all of which are covert errors. In the full-text translation, the overall relationship between the characters is the same as that of the original text, and only a few mismatches are found. Therefore, on social role relationship, translation is of high quality.&lt;br /&gt;
&lt;br /&gt;
Example 1：&lt;br /&gt;
&lt;br /&gt;
She said it would be perfectly all right if you came and waited for her at my house.&lt;br /&gt;
&lt;br /&gt;
她说你可以到我家来等她。(P13)&lt;br /&gt;
&lt;br /&gt;
The translation omits “be perfectly all right if”, which takes the edge off the amiability from Etsuko to Mariko. Given the whole plot of the novel, Mariko is a phantom of Etsuko’s old daughter Keiko. The obscure feelings between Mariko and Etsuko are very important to implicate their special emotion. Therefore, the translation ignores to take a consideration of the context. It is a covert error.&lt;br /&gt;
&lt;br /&gt;
Example 2：&lt;br /&gt;
&lt;br /&gt;
As I say, this order came into the office the day you arrived. A real nuisance.&lt;br /&gt;
&lt;br /&gt;
我说过了，订单刚好在您来的那天来了。真是讨厌。(P29)&lt;br /&gt;
&lt;br /&gt;
On the basis of the context, Jiro (Etsuko’s husband) is explaining to his father Ogata-San that he is so busy that he could not accompany him. He feels apologetic about that. However, the tone of speaking in translation is impatient and a bit furious, which runs against that of the original. So, it is a covert error. &lt;br /&gt;
&lt;br /&gt;
Example 3：&lt;br /&gt;
&lt;br /&gt;
I should warn you, perhaps. My daughter has been in a somewhat difficult mood these past few days.&lt;br /&gt;
&lt;br /&gt;
也许我应该警告你。我女儿这几天情绪很不好。(P90)&lt;br /&gt;
&lt;br /&gt;
Warn enjoys two major meanings: to tell somebody about something, especially something dangerous or unpleasant that is likely to happen, so that they can avoid it; to strongly advise somebody to do or not to do something in order to avoid danger or punishment. In the original, Sachiko entrusts Etsuko to look after her daughter so the former one is appropriate. However, in the translation the later one is adopted, which is absolutely improper. It is a covert error. &lt;br /&gt;
&lt;br /&gt;
Example 4：&lt;br /&gt;
&lt;br /&gt;
Now listen carefully, or else you'll never find the noodle shop.&lt;br /&gt;
&lt;br /&gt;
现在您听好了，不然您永远也别想找到面馆。(P183)&lt;br /&gt;
&lt;br /&gt;
The sentence is said when Etsuko intends to tell Ogata-San the route to the restaurant of Mrs Fujiwara. On the basis of the context, Etsuko is very reverent to Ogata-San. However, the manner of translation is tough, which is not of a piece with the original. It doesn’t take account of the context, so it is a covert error.&lt;br /&gt;
&lt;br /&gt;
'''3.3 Comparison on Mode'''&lt;br /&gt;
&lt;br /&gt;
Mode can be divided into medium and participation. In the course of analyzing both the original and the translation, a total of 6 mismatches are found on the two dimensions and all of them are covert errors, which manifests the translation are generally of a piece with the original. The translation on mode is of high quality.&lt;br /&gt;
&lt;br /&gt;
'''3.3.1 Language Medium'''&lt;br /&gt;
&lt;br /&gt;
Language medium mainly refers to whether the form of language is spoken or written, simple or complex. The contrast between the model of the source text and the target text is mainly reflected in the linguistic features and diction features of text rather than language types used. The language of A Pale View of Hills is simple, delicate and easy to understand, with short sentence, plenty of dialogues between characters and a high degree of colloquialism. The overall style of the translation is similar with that of the original, with only 4 stylistic covert mismatches. Therefore, on language medium, the translation quality is great.&lt;br /&gt;
&lt;br /&gt;
Example 1：&lt;br /&gt;
&lt;br /&gt;
…on one side of the tracks at the foot of the hill could be seen a cluster of roofs.&lt;br /&gt;
&lt;br /&gt;
山脚下铁路的一侧是鳞次栉比的屋顶。(P8)&lt;br /&gt;
&lt;br /&gt;
Cluster means a group of things of the same type that grow or appear close together, whose translation accords with it in the ideational meaning. Nonetheless, “鳞次栉比” in Chinese is a four-character phrase that usually appears in formal written text. It is more complex than the style of the text. It is a covert error.&lt;br /&gt;
&lt;br /&gt;
Example 2：&lt;br /&gt;
&lt;br /&gt;
We're just rabble, like your husband says.Please don’t make a fuss, please sit down.&lt;br /&gt;
&lt;br /&gt;
正如您丈夫说的，我们只是两个混蛋。不用麻烦了，请坐下。(P74)&lt;br /&gt;
&lt;br /&gt;
The situation happens when Jiro’s colleagues come round. From the conversation between Jiro and his colleagues, it is found that they are very familiar and intimate. So, words such as “rabble” and “like” are of high colloquialism. Nevertheless, in the translation “正如” is a formal expression, which is not in line with the original. Thus, it is a covert error.&lt;br /&gt;
&lt;br /&gt;
Example 3：&lt;br /&gt;
&lt;br /&gt;
Blankets and laundry hung from many of the balconies.&lt;br /&gt;
&lt;br /&gt;
很多阳台上挂着毯子啦、洗的衣服啦。(P181)&lt;br /&gt;
&lt;br /&gt;
Example 4：&lt;br /&gt;
&lt;br /&gt;
Young women these days are all so headstrong. And forever talking about washing-machines and American dresses.&lt;br /&gt;
&lt;br /&gt;
现在女孩子任性得很。而且整天在讲什么洗衣机啦、洋裙啦。(P195)&lt;br /&gt;
&lt;br /&gt;
The two sentences are the description of the street which Etsuko and Ogata-San pass by when they intend to visit Shigeo. Etsuko is a calm and composed Japanese woman, whose language style is the same. Modal particles used in translation render the language abrupt and frisky. So, it is a covert error.&lt;br /&gt;
&lt;br /&gt;
'''3.3.2 Participation'''&lt;br /&gt;
&lt;br /&gt;
Participation refers to whether the speech is a simple monologue or a complex form that prompts the listeners or readers to participate indirectly, for example, by the transition between statements and questions and the special use of pronouns. The whole plot of A Pale View of Hills is a soliloquy narrated in the first person, interleaved with dialogues between different characters. Readers hardly could participate indirectly in it. The translation is basically in the same style as the original, except for the two following examples. The two declarative sentences are translated into a rhetorical question, which does not require readers to answer as well. Therefore, the translation is of high quality in terms of participation.&lt;br /&gt;
&lt;br /&gt;
Example 1：&lt;br /&gt;
&lt;br /&gt;
That’s no way to bring a child into the world, visiting the cemetery every week.&lt;br /&gt;
&lt;br /&gt;
这样怎么能把孩子带到这个世上呢？(P24)&lt;br /&gt;
&lt;br /&gt;
Example 2：&lt;br /&gt;
&lt;br /&gt;
It seems very disloyal.&lt;br /&gt;
&lt;br /&gt;
这不是忘恩负义吗？(P32)&lt;br /&gt;
&lt;br /&gt;
The quality statement of the Chinese Translation of A Pale View of Hills focuses on whether it is an overt transaltion or a covert translation and its matching degree. On the one hand, it is an overt translation. Accoring to above analysis, the translation is closely related to the culture of the sourse language text. From the translation, expressions with Japanese culture can be found clearly. On the other hand, it is of high quality. There are 32 mismatches in total, 18 mismatches on field, 8 on tenor and 6 on mode. Among them, there are 13 overt errors and 19 covert errors. Covert errors caused by ignoring the context and overt errors caused by violating the rules of target language inflict only a little ambiguity on ideational function, interpersonal function and the quality of the text.&lt;br /&gt;
&lt;br /&gt;
===IV Quality Statement of Chinese Translation of A Pale View of Hills===&lt;br /&gt;
The quality statement of the Chinese Translation of A Pale View of Hills focuses on its cultural participation degree and its matching degree. Based on the two aspects, this chapter will make a quality statement of the Chinese Translation of A Pale View of Hills.&lt;br /&gt;
&lt;br /&gt;
'''4.1 Overt Translation'''&lt;br /&gt;
&lt;br /&gt;
Overt translation refers to the obvious translation rather than the second original. The translation is obviously not aimed at the readers with target language, because the original text, literary works, political speeches and religious sermons, is closely related to the culture it is rooted in. But covert translation can be used as the second text, that is, independent writing. House deems that texts requiring overt translation have no special connection with their culture, and they are not unique to their culture, such as academic papers and travel brochures. She also believes that in overt translation, equivalence can only be established at the level of language/text, register and genre, but it is difficult to achieve equivalence in function. In contrast, the purpose of covert translation is to achieve functional equivalence, and there will be some deficiencies in language, register.&lt;br /&gt;
&lt;br /&gt;
In the contrast reading between the original and the translation, the obvious traces of the original can be found, for example, “你想她们还在打吗？” and “呃，我想小孩子是会打架的。但是我想我应该告诉你一声。还有你看，我想你女儿不是要去上学。”. In English, words representing speculation, such as “suppose” and “think”, are used frequently, while in Chinese they are not. Thus, the target text which remains these words possesses obvious sighs of translation. Furthermore, other signs in the translation, such as “欠了欠身”，show the culture of Japan when greeting. In conclusion, the target text of A Pale View of Hills is overt translation.&lt;br /&gt;
&lt;br /&gt;
'''4.2 High-quality Translation'''&lt;br /&gt;
&lt;br /&gt;
This study applies House’s TQA model to assess the Chinese translation of A Pale View of Hills on lexical, syntactic and textual aspects. On basis of analysis between the original and the translation, there are 18 mismatches on field, 8 on tenor and 6 on mode. Among them, there are 13 overt errors and 19 covert errors. Covert errors caused by ignoring the context and overt errors caused by violating the rules of target language inflict only a little ambiguity on ideational function, interpersonal function and the quality of the text. &lt;br /&gt;
&lt;br /&gt;
Chinese translation of A Pale View of Hills, by and large, consisting with the original, is of high quality. On the field, the translation, which transmits the subject matter and social action which covers the specificity of linguistic items, is in accordance with the original on lexical, syntactic and textual dimension in general; on the tenor, the representation of social attitude and social role relationship of the Chinese text is consistent with the English text; on the mode, the language of the translation is as simple and delicate as that of the original and the participation is of low level as well. Therefore, Zhang Xiaoyi’s Chinese translation of A Pale View of Hills is of high quality.&lt;br /&gt;
===Conclusion===&lt;br /&gt;
A Pale View of Hills, as the debut of Kazuo Ishiguro, involves many in-depth subjects, which initiates the development of author's peculiar writing style. House’s model is the first scientific and objective translation quality assessment mode with the integration of both theory and practice. This study applies House’s TQA model to assess the Chinese translation of A Pale View of Hills on lexical, syntactic and textual aspects. On basis of analysis between the original and the translation, there are 18 mismatches on field, 8 on tenor and 6 on mode. By and large, the Chinese translation of A Pale View of Hills is overt translation. Although a few mismatches can be found in the translation, they cause a little affect to the functions of the text and the presentation of the plot, role characters and role relationship of the whole novel. In conclusion, the translation is in line with the original on register and is of high quality.&lt;br /&gt;
&lt;br /&gt;
Different from the traditional evaluation methods, House’s model, based on micro and macro criteria, both quantitative analysis and qualitative analysis, is the first scientific and objective translation quality assessment model with a complete theory and empirical evidence. It can be used as an auxiliary tool to find problems in translation so as to make modifications, which to some extent promotes the development of translation activities. However, in the actual operation process, although the translation quality assessment can be carried out according to parameters, the comparison results still rely on subjective judgment, which cannot utterly guarantee the scientificity of the final evaluation results. In addition, due to the large number of parameters, it takes a lot of time to compare the differences in vocabulary, sentence structure and discourse between the original text and the translation in the evaluation of full-length novel, so the evaluation is not very efficient. Although there are still some shortcomings in the House’s model, it is still worth applying in the practice of translation criticism as a relatively complete and objective theoretical model.&lt;br /&gt;
&lt;br /&gt;
==On the Relationship among Literal Translation, Free Translation, Domestication and Foreignization	韦洪朗	Wei Honglang==&lt;br /&gt;
&lt;br /&gt;
==On Chinese-to-English Translation of The Summer Palace from the Perspective of Functionalist Approaches to Translation	魏亚菲	Wei Yafei==&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
===Abstract===&lt;br /&gt;
Abstract&lt;br /&gt;
The Chinese-English translation of tourist texts, as a window for the external publicity of national history and culture, plays an important role in promoting the development of local tourism. The Summer Palace is well known for its large and priceless collection of cultural relics, which is among the first group of historical and cultural heritage sites in China to be placed under special state protection. &lt;br /&gt;
Based on the functionalist approach and the skopos rule, this paper discusses the problems existing in the translation of scenic spots in the Summer Palace from the perspectives of garden culture, historical culture and religious culture. Skopos theory holds that translation depends on communicative purpose. To achieve this goal, translators can choose different translation strategies. It is believed that the purpose of Chinese-English translation of scenic spots is to attract target readers and promote traditional culture. Therefore, when translating tourism materials, it is necessary not only to express the local cultural connotation, but also to consider the cross-cultural factors. The Chinese-English translation of the introduction of scenic spots guided by functionalist approach can make English readers have expectations of scenic spots and understand the cultural connotation of scenic spots. This paper aims to better promote the development and communication of Chinese culture and improve the level of tourism text translation in China by relying on the theory of functionalist approach.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
===Key words===&lt;br /&gt;
Key Words: functionalist approach，the Summer Palace，translation strategies&lt;br /&gt;
&lt;br /&gt;
===摘要===&lt;br /&gt;
摘 要&lt;br /&gt;
旅游资料的英译作为民族历史文化对外宣传的一道窗口,对地方旅游业的发展有着不可低估的促进作用。颐和园作为中国著名的皇家园林，具有浓厚的中国园林特色及优美的风景，同时也蕴涵着深厚文化内涵。&lt;br /&gt;
本篇旅游文本英译的分析以功能派翻译理论作为理论指导，以目的法则为主要原则，从颐和园的园林文化、历史文化和宗教文化三个角度出发对颐和园景点英译中存在的问题进行探讨。目的论认为译文取决于翻译目的，这个目的通常指的是交际目的。为达到这个目的，译者可以选择不同的翻译策略。也就是说，译者的翻译策略必须由译文的预期目的或功能决定，即所谓的“目的法则”。笔者认为景点介绍的汉英翻译的目的就是吸引译文读者以及弘扬传统文化，因此在翻译旅游资料的时候不仅要把当地的文化内涵表达出来，而且要考虑到跨文化的因素。而以功能派翻译理论为指导的景点介绍的汉英翻译，可以使英语读者通过译文产生对旅游景点的期盼，以及对景点文化内涵的理解。以颐和园景区内的翻译文本为例本，依托功能翻译理论，通过“发现问题，指出问题，解决问题”，以期更好地促进中国文化的传播与交流，提高我国现阶段旅游文本翻译的水平。&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
===关键字===&lt;br /&gt;
关键词：功能翻译；颐和园；翻译目的；翻译策略&lt;br /&gt;
&lt;br /&gt;
===Introduction===&lt;br /&gt;
  Throughout the translation history at home and abroad, the literal translation and free translation have always been a heat discussion in the translation circles. Someone absolutely approve literal translation and demean free translation, even pursue a dead translation, which creates an translated text difficult to understand. While some other people absolutely agree with free translation even advocate random acts, which means a random deletion in the translation practices and creates anther entirely different text. However, there are also a number of translators who have recognized that these two translation methods are not totally opposite. So they adopt a compromise and flexible way. That means they will choose the most appropriate one depending on the text demanding. Therefore, we can deduce from it that this eclectic translation is consistent with the Contradiction view of Unity of Opposite in Materialist Dialectics. In fact, literal translation and free translation are right a set of contradictions which are both opposite and unified. They complement each other into an integral one.&lt;br /&gt;
&lt;br /&gt;
===Table of Contents===&lt;br /&gt;
&lt;br /&gt;
Table of Contents&lt;br /&gt;
&lt;br /&gt;
Outline&lt;br /&gt;
1.Introduction&lt;br /&gt;
2. Studies on Functionalist Approach&lt;br /&gt;
2.1 The Viewpoint of Functionalist Approach&lt;br /&gt;
2.1.1 Reiss’s Text Typology&lt;br /&gt;
2.1.2 Vermeer’s Skopos Theory&lt;br /&gt;
2.1.3 Manttari’s Theory of Translational Action&lt;br /&gt;
2.1.4 Nord’s Theory of Function plus Loyalty&lt;br /&gt;
2.2 The Application of Functionalist Approach &lt;br /&gt;
3.C-E Translation of the Summer Palace under Functionalist Approach&lt;br /&gt;
3.1 Garden Culture&lt;br /&gt;
3.2 Historical Culture &lt;br /&gt;
3.3 Religious Culture &lt;br /&gt;
4. Conclusion&lt;br /&gt;
References&lt;br /&gt;
&lt;br /&gt;
===Outline===&lt;br /&gt;
Outline&lt;br /&gt;
&lt;br /&gt;
Thesis Statement: Based on the main viewpoints of functionalist approaches to translation, this paper aims to give an analysis to C-E translation of the Summer Palace from cultural, historical and religious aspects, hoping to provide some translation strategies for other cultural attractions.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
1. Introduction&lt;br /&gt;
2. Studies on Functionalist Approaches&lt;br /&gt;
2.1 The Viewpoint of Functionalist Approach&lt;br /&gt;
2.1 Reiss’s Text Typology&lt;br /&gt;
2.2 Vermeer’s Skopos Theory&lt;br /&gt;
2.3 Manttari’s Theory of Translational Action&lt;br /&gt;
2.4 Nord’s Theory of Function plus Loyalty&lt;br /&gt;
2.2 The Application of Functionalist Approach&lt;br /&gt;
3. C-E Translation of the Summer Palace under Functionalist Approach&lt;br /&gt;
3.1 Garden Culture&lt;br /&gt;
3.2 Historical Culture&lt;br /&gt;
3.3 Religious Culture&lt;br /&gt;
4. Conclusion&lt;br /&gt;
&lt;br /&gt;
===1. Introduction ===&lt;br /&gt;
1. Introduction   &lt;br /&gt;
The Chinese-English translation of tourist texts is a bridge to spread the culture of classical Chinese gardens, so the accuracy of it has a direct impact on foreigners' understanding of the specific history and culture. &lt;br /&gt;
Functionalist approach has made a pioneering contribution to the translation of non-literary genres. Functional translation theory emphasizes the function of discourse, and believes that different types of discourse have different functions, so translators should choose appropriate translation strategies according to the type of source text and corresponding functions. Functionalist approach is to take the &amp;quot;skopos rule&amp;quot; as the highest standard, and any translation activity is a purposeful behavior. The ultimate goal and main function of scenic spot translation is to help people understand the main content of the scenic spot.&lt;br /&gt;
As a window for the publicity of national history and culture, the Chinese-to-English translation of tourist texts plays an important role in promoting the development of local tourism. Well known for its large and priceless collection of cultural relics, the Summer Palace was among the first group of historical and cultural heritage sites in China to be placed under special state protection. Based on the viewpoints of functionalist approach to translation, this paper aims to analyze C-E translation of the Summer Palace from cultural, historical and religious aspects, hoping to provide some translation strategies for other cultural attractions. &lt;br /&gt;
&lt;br /&gt;
===2. Studies on Functionalist Approaches===&lt;br /&gt;
2. Studies on Functionalist Approaches&lt;br /&gt;
Functionalism is a theory that advocates reader-centered translation, emphasizing the functions of texts and highlighting the communicative effects. It is believed that many unnecessary mistakes can be avoided and better results can be achieved by applying functionalist approach in Chinese-English translation of tourist text. &lt;br /&gt;
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===2.1 The Viewpoint of Functionalist Approaches===&lt;br /&gt;
2.1 The Viewpoint of Functionalist Approaches&lt;br /&gt;
Functionalist Translation Theory, also known as German Functionalist Translation Theory, was proposed by German scholars in the 1970s. It includes four main theories: Katharina Reiss’s Text Typology, Hans Vermeer’s Skopos Theory, Justa Holtz Manttari’s Theory of Translational Action and Christiane Nord’s Theory of Function plus Loyalty. This chapter aims to present the main ideas of this theory.&lt;br /&gt;
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===2.1.1 Reiss’s Text Typology===&lt;br /&gt;
2.1.1 Reiss’s Text Typology&lt;br /&gt;
In 1971, Reiss in her book Possibilities and Limitation of Translation Criticism first made text function as a standard of translation criticism, namelyevaluate the translated text from the relationship between the functions of the original and the translated text. She insists on the original-centered equivalence theory and holds the view that the ideal translation is to achieve the equivalence between the target text and the source text in terms of ideological content, linguistic form and communicative function. However, translation practice makes her realize that it’s difficult to achieve equivalence sometimes and that sometimes equivalence cannot be pursued. Because of the particularity of translation requirements, the function of the target text is not always the same as that of the source text. Therefore, the translator should give priority to the functional role of the target text rather than the principle of equivalence.&lt;br /&gt;
Reiss believes that in the normal situation the type of text decides the translator’s choice of a proper translation method (Reiss, 2004). Therefore, she divides text into four types: content-focused text, form-focused text, appeal-focused text and audio-media text. Content-focused text, also known as informative text, includes news reports, commercial correspondence, operating instructions, official documents, patent&lt;br /&gt;
specifications, essays, treaties, etc. For this text, the main function is to convey information revealed in language itself to readers. The emphasis is on content and topic, so the choice of language and style should serve this function. If both the source text and target text belong to informative text, the translator should represent the content and information of source text accurately and completely (Reiss, 2004)&lt;br /&gt;
Form-focused text, also known as expressive text, refers to literary works such as novels, poems and so on. “Distinct from ‘content’, which deals with what the author says, ‘form’ is concerned with how an author expresses himself” (Reiss, 2004). For expressive texts, information is only a supplement. What is dominant is the aesthetic factor. When translating such texts, the translator should pay attention to the aesthetic and artistic forms of the original text and to the differences between two cultural habits, trying to achieve the same effect as the source text. In a word, in a form-focused text the linguistic form of the source text determines the form in the target language (Reiss, 2004).&lt;br /&gt;
Appeal-focused text, also known as operative text, mainly includes notice, instruction manual, advertisement, publicity manual and so on. For operative texts, the primary task for the translator is to provoke a particular reaction on the hearers or readers to incite them to engage in specific actions, while content and form are subordinate. Therefore, to achieve the same effect, the translator need to change the content and stylistic features of the original text, try to keep the potential influential factors of the original text and seek functional equivalence (Reiss, 2004: 38-43). Audio-medial text, also known as multi-media text, refers to radio and television scripts, such as radio newscasts and reports, topical surveys and dramatic productions.&lt;br /&gt;
It is distinctive in its dependence on non-linguistic media and on graphic, acoustic, and visual kinds of expression. Only in combination with them can the whole complex literary form realize its full potential (Reiss, 2004). In conclusion, different texts determine different translation focuses and methods. In many cases, however, a text may have more than one function, which means that translators should integrate different translation strategies skillfully to achieve different functions of texts.&lt;br /&gt;
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===2.1.2 Vermeer’s Skopos Theory===&lt;br /&gt;
2.1.2 Vermeer’s Skopos Theory&lt;br /&gt;
Reiss’s student Vermeer, who broke the limitation of the theory of equivalent and took skopos to be the first criterion of translation process  proposed the key theory: Skopostheorie. According to Skopos Theory, when translating a text, the translator needs to consider the purpose of translation first and then choose the translation method according to the purpose, which means “the end justifies the means” (Nord, 2001). Vermeer believes that translation, like other human actions, is also a purposeful act. Translation often takes place in cultural backgrounds with different customs and values, so translation is not a simple equivalent transformation between languages. Skopos Theory does not focus on achieving the equivalence between the target text and the original text or the perfection of the target text, but on choosing the best translation strategy based on the analysis of the source text and the intended function of the target text. In a word, translation methods and strategies are determined by the intended purpose or function of the target text.&lt;br /&gt;
According to Skopos Theory, the first rule that all translators must follow is the Skopos Rule. Translation purpose can be divided into three categories: (1) the purpose of the translator, such as earning a living; (2) the communicative purpose of the translation, such as instructing the reader; (3) the purpose of using a particular translation method, such as the literal translation according to its structure to illustrate the peculiarities of grammatical structure in a language (Nord, 2001). In general, the communicative purpose is more important than the other two. The communicative purpose is usually determined by the initiator of the translation act, but the translator can take part in deciding. The second rule is the Coherence Rule. Coherence Rule requires that the translation conform to the criterion of intratextual coherence, which means that the translation must be accessible to recipients and meaningful in the target culture and in the communicative environment (Nord, 2001). The third rule is the Fidelity Rule. It means that there should be intertextual coherence between the source text and the target text, which means being faithful to the source text. Nevertheless, the degree and form of faithfulness lie in the target text and the degree that the translator understands the original text. Normally “Intertexual coherence is considered subordinate to intratexual coherence and both are subordinate to the Skopos rule” (Nord, 2001).&lt;br /&gt;
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===2.1.3 Manttari’s Theory of Translational Action===&lt;br /&gt;
2.1.3 Manttari’s Theory of Translational Action&lt;br /&gt;
Following Vermeer, Manttari develops Vermeer’s Skopos Theory and puts forward the Theory of Translational Action. He emphasizes three aspects: the behavior of the translation process, the role of the participants (the initiator, the translator and the target reader, etc.) and the environment (time, place and media) in which the translation process takes places. It views translation as “purpose-driven, outcome-oriented human interaction and construes the process of translation as message-transmitter compounds that involve intercultural transfer” (Mundy, 2001). According to Manttari, translation is “ a complex act to achieve a particular purpose” &lt;br /&gt;
(Nord, 2001). It is not about translating words, sentences or texts but is about guiding the intended cooperation over cultural barriers and promoting functional communication. Cooperation here means “transcultural communication” by Manttari.&lt;br /&gt;
The Theory of Translational Action attaches great importance to providing a functional communicative text for the recipient, a text suitable for the target culture in&lt;br /&gt;
form and style. Functional suitability is determined by the translator. The translator is&lt;br /&gt;
an expert in translation, whose role is to ensure the successful completion of cultural&lt;br /&gt;
transformation. In producing the target text, the analysis of the source text is necessary so that the translator can find out its structural and functional characteristics, which can be described by content and form. The need of the recipient is the decisive&lt;br /&gt;
factor for the target text.&lt;br /&gt;
In short, “the value of Manttari’s work is the placing of translation (or at least the professional non-literary translation which she describes) within its sociocultural&lt;br /&gt;
context, including the interplay between the translator and the initiating institution”&lt;br /&gt;
(Mundy, 2001).&lt;br /&gt;
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===2.1.4 Nord’s Theory of Function plus Loyalty===&lt;br /&gt;
2.1.4 Nord’s Theory of Function plus Loyalty&lt;br /&gt;
Though skopos rule changes the focus of translation from the source language text to the target language text and the target receivers, it has some limitations. One is that different readers have different expectations, and the translation purpose cannot satisfy all the expectations of the target reader. Another is that the translation purpose may sometimes be against the intention of the source language. Therefore, based on the skopos rule, Nord introduces the loyalty principle. The principle of loyalty is a supplementary principle proposed by Nord to make up for the deficiency of skopos rule. According to the explanation of Nord, it is not the relationship between the original text and the target text, nor the equivalence between the original text and the form of the target text, but the consistency between the author of the original text, the initiator of the translation, the translator and the reader of the target text, which is the principle of loyalty. The proposal of the loyalty principle makes up for the mistakes that some radical skopos translators usually make, such as omitting and rewriting, which makes skopos theory more perfect and makes skopos theory more likely to guide the translation of literary works.&lt;br /&gt;
“Function” and “loyalty” are two pillars of Nord’s functionalist approach. “Function” refers to what a text means or is intended to mean from the receiver’s point of view”, while “loyalty” means that “target-text purpose should be compatible with the original author’s intention” (Nord,2001). It emphasizes the interpersonal relationship between the translator, the source-text sender, the target-text addresses and the initiator. Function plus loyalty enables the translator to avoid the limitations of skopos rule and try to achieve a balance between translation purpose and the source-text author’s intention”(Nord,2001). That is to say, when translating the original text, the translator should take into account the readers' cultural background, knowledge level and expectation of the translation, and choose the corresponding translation strategy according to the translation requirements. If the reader wants to read a word-for-word translation of the article, then the translator must meet the reader's requirements, otherwise he must explain to the reader why he chose his own translation method. The translator's job is to weigh two different cultures instead of imposing one culture on another. &lt;br /&gt;
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===2.2The Application of Functionalist Approach to the Tourist Texts.===&lt;br /&gt;
2.2The Application of Functionalist Approach to the Tourist Texts.&lt;br /&gt;
In the 1990s, Functionalist Translation Theory was introduced to China, and since then it has been applied to translation studies by Chinese translation scholars. In his article published in 1995, Zhang Nanfeng briefly introduces Skopos theory to China for the first time, and considers that Skopos theory is referential (Zhang Nanfeng, 1995). German Functionalist Translation Theory, a paper released in1999, is the first article in China which systematically introduces German Functionalist Translation Theory (Zhong Weihe &amp;amp; Zhong Yu, 1999). Based on an overview of Functionalist Translation Theory, Zhang Meifang focuses on introducing Nord’s theory, especially on the detailed analysis of Nord’s principle of loyalty (Zhang Meifang, 2005). Famous domestic scholars, such as Liu Junping (2009), Liu Miqing (2012) and Li Wenge (2004), also introduce this theory in their books. With the rise of Functionalist Translation Theory in China, someone has compared it with other theories. Zhu Haotong compares Skopos Theory with Functional Equivalence Theory to analyze the similarities and differences between them, and further reveals that Functionalist Translation Theory inherits the reasonable part of Nida’s Functional Equivalence Theory, which is an important breakthrough and supplement to solve the problems that Functional Equivalence Theory leaves (Zhu Haotong, 2006). Some scholars also combine theory with translation practice to explore the application of Functionalist Translation Theory to translation practice. Jia Yanli and Wang Hongjun point out that Skopos Theory has its limitations, but it is still of instruction and reference value for non-literary translation texts, such as advertisements and tourism materials (Jia Yanli &amp;amp; Wang Hongjun, 2012). Li Liangchen selects several famous tourist attractions in China to translate the on-site tour-guide commentary into English. Then he improves them under the guidance of Skopos Theory and sends out questionnaires to overseas tourists for further analysis. He argues that the translation of on-site tour-guide commentary which is guided by Skopos Theory is more favorable to conveying information to foreign visitors, to promoting cultural exchanges and to improving the image of China’s tourist destinations (Li Liangchen, 2013). In Pragmatic Translation: Theory &amp;amp; Practice, Wu Feng and He Qingji introduce Functionalist Translation Theory (Wu Feng &amp;amp; He Qingji, 2008) and the characteristics of tourism text and translation skills (Wu Feng &amp;amp; He Qingji, 2008). In this book, they also discuss the controversy over the Chinese name of Functionalist Translation Theory, and holds that “功能派翻译理论” is the most appropriate Chinese translation (Wu Feng &amp;amp; He Qingji, 2008).Based on his own translation practice and under the guidance of Functionalist Translation Theory, Wu Zixuan probes into some special phenomena in the English translation of CNN newsreels. The author believes that in the translation of external publicity, we should not stick to the standard of faithfulness to the original text, but should deal with the original text properly from the perspective of achieving the purpose of translation, such as rewriting, abridging. (Wu Zixuan, 2005).&lt;br /&gt;
Functionalist approach establishes a theoretical system of diversified translation standards dominated by skopos rule. From the definition of Functionalist approach, it can be seen that the advantage of it is that the translator can get rid of the bondage of the original text, study the translation process with &amp;quot;translation purpose&amp;quot; as the starting point, and determine the translation strategies and methods. This can give full play to the translator's own initiative, flexible processing of the original text, in order to achieve the translation of the communicative function. In addition, functionalist approach requires the translation to be examined in the cultural context of the reader. The reader can accept the translation and understand the meaning of the original text through the translation, so the translation can realize the communicative function. On the basis of such advantages, functionalist approach can be used to guide the English translation of garden scenic spots, and the translator can choose a wider range of translation strategies and break out of the constraints of the original text. &lt;br /&gt;
Only by clarifying the purpose of translation can we avoid these limitations in the English translation of garden attractions. When using functionalist approach to guide the English translation of Chinese classical garden scenic spots, it is necessary to flexibly choose translation strategies and methods, give full play to the advantages of skopos theory, and achieve the balance between &amp;quot;principle of purpose&amp;quot; and &amp;quot;principle of fidelity&amp;quot; as far as possible.&lt;br /&gt;
With the deepening of globalization and cross-cultural communication, tourismis becoming a major industry in the 21st century. The development of tourism can not only promote the economic development of a country but also promote the external dissemination of national culture. Therefore, tourism translation deserves attention. Tourism text is a typical informative and operational text, and the language is unique. It is full of gorgeous words, such as four-character expressions, verses, proper nouns and so on.&lt;br /&gt;
Tourism text materials include tourism advertising, tourism brochures, scenic spots signs and so on. In this paper, we focus on the introduction of Chinese gardens’ scenic spots, which is usually colorful in language and rich in literary style. Tourism text translation belongs to applied translation, which should play a series of practical functions to publicize the image and resources of the country or place and attract overseas tourists. Therefore, the translator of tourism text must be clear about the type and function of tourism text, and to grasp the ultimate purpose of the translation. &lt;br /&gt;
On tourism text translation, the communicative purpose of the translation should be placed in a central position. Furthermore, the tourism text has both the information function and the calling function. The information function and the calling function complement each other. Only when the target language readers acquire the expected tourism information and cultural knowledge can the calling function be realized and the purpose of tourism text translation be achieved. With different translation strategies, the translated version should both expressed contains basic information, and make the tourists feel the profound of the Chinese culture from the beautiful scenery. &lt;br /&gt;
Cultural tourism has long been the focus of international tourism, and understanding Chinese culture is the main purpose of inbound tourists, so the translation of tourism texts bears the mission of cultural transmission and cultural publicity. However, due to the great differences between Chinese and English culture and language, there are many difficulties in cultural transmission in tourism text translation. China has a long and splendid history and culture. When introducing the scenic spots of cultural relics and historic sites, we usually associate with many historical figures and stories. These terms are cultural blank for most foreign tourists, but this kind of cultural experience is also the most attractive place for foreign tourists. It is of great importance to pay attention to cultural differences in tourism translation and carry out cultural transmission effectively. Chinese and English languages have different logic views, and Chinese expressions in tourism texts value decoration. English expressions tend to be clear, concise and to the point. For example, Chinese tourism texts often use a four-character lattice, which is symmetrical, while there is no corresponding four-character lattice expression in English. Therefore, in Chinese-English translation of tourism texts with frequent use of four-character phrases, it is necessary to keep in mind the objective principle of functionalist approach and give priority to cultural communication instead of rigidly adhering to form.&lt;br /&gt;
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===3. C-E Translation of the Summer Palace under Functionalist Approach===&lt;br /&gt;
3. C-E Translation of the Summer Palace under Functionalist Approach&lt;br /&gt;
By studying the specific translation strategies made by predecessors, the following steps are also adopted in this paper: first, the translation strategies are determined according to the text type, such as faithful reproduction of the original information or rewriting; Secondly, the translation strategies are determined according to the potential purpose of the translation, such as paraphrasing or deleting poems, generalizing specific expressions and transliterating proper nouns. Thirdly, the translation strategies are defined with the tourists as the center, such as adding logical words, adding explanatory information and using plain English.&lt;br /&gt;
The Summer Palace epitomizes the philosophy and practice of Chinese garden design, which played a key role in the development of this cultural form throughout the east. It is an outstanding expression of the creative art of Chinese landscape garden design, incorporating the works of humankind and nature in a harmonious whole, which was once the most important place of political and diplomatic activity for the supreme rulers of the late Qing dynasty. Based on three aspects of the Summer Palace, namely, garden culture, historical culture and religious culture, this paper discusses the problems existing in the English translation of the scenic spots of the Summer Palace and puts forward corresponding countermeasures under the guidance of the skopos rule of functionalist translation theory.&lt;br /&gt;
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===3.1 Garden culture.===&lt;br /&gt;
3.1 Garden culture. &lt;br /&gt;
The Summer Palace is a classical garden famous for its magnificence and beauty. There are many temples in the garden, and the green waves of kunming lake ripple. Landscape and humanities complement each other, containing rich natural and cultural information, reflecting the characteristics of Chinese classical gardens. The garden cultural features of the three scenic spots, namely, the hall of clouds, the foxiang pavilion and the Wenchang courtyard, are particularly outstanding. Therefore, this paper takes these three scenic spots as examples to discuss the Chinese-English translation of the introduction of the Summer Palace.&lt;br /&gt;
(1)	排云殿、佛香阁景区是颐和园内建筑布局最完整、建筑形式最丰富的中轴建筑群体，殿、阁、廊、亭、桥、坊、碑等建筑约两万平方米。从临水的云辉玉宇牌坊至排云门、排云殿、德辉殿、佛香阁、众香界、智慧海、层层升高，排列有序，气势巍峨，金碧辉煌，将园林、寺庙和宫殿融为一体。&lt;br /&gt;
Translation：This scenic spot covers an area of 20,000 square meters with an assortment of buildings such as palaces, towers, corridors, pavilions, walkways, bridges, archways and inscribed stone steles. It comprises a well-arranged group of structures, all diverse in style, located in the center of the Summer Palace garden. This complex of structures, ranging from the Glowing Clouds and Holy Land Archway on the waterside, the Gate that Dispels the Clouds, the Hall that Dispels the Clouds, the Hall of Moral Glory, and the Tower of the Fragrance of the Buddha, to the Realm of Popular Fragrance and the Sea of Wisdom Temple, were built in an orderly manner running from the foot of the hill to its top, with gardens, temples and palaces harmoniously integrated into the whole。&lt;br /&gt;
Analysis：As we all know, the design style of ancient Chinese buildings is beautiful with &amp;quot;symmetry&amp;quot;. The &amp;quot;axis&amp;quot; in hall of clouds scenic spot refers to the layout of the Summer Palace from far to near and from top to bottom, which cannot be simply understood as the center. Simply translating &amp;quot;axis&amp;quot; as &amp;quot;center&amp;quot; cannot express accurately the meaning of &amp;quot;symmetry&amp;quot;. Comparatively speaking, &amp;quot;axis&amp;quot; can better reflect the architectural style of the scenic spot.&lt;br /&gt;
(2)	从临水的云辉玉宇牌坊至排云门、排云殿、德辉殿、佛香阁、众香界、智慧海，层层升高，排列有序，气势巍峨，金碧辉煌，将园林、寺庙和宫殿融为一体。&lt;br /&gt;
Translation：These structures，including Glowing Clouds and Holy Land Archway at lake side，the Gate of Dispelling Clouds，the Hall of Dispelling Clouds，the Hall of moral Glory，and the Tower of Buddhist Incense，the Realm of Multitudinous Fragrance and the Sea of Wisdom Temple，were built in an orderly manner ranging up the hill with gardens，temples and palaces harmoniously integrated. This manifests beauty，grace and splendor，reminiscent of the loftingness and grandeur of a once mighty empire.&lt;br /&gt;
Analysis：In terms of the characteristics of language, Chinese emphasizes parataxis and four-word antithesis. When describing and naming scenes, gorgeous words and poetic words are generally chosen in Chinese. But, English emphasizes hypotaxis, on the other hand, puts more emphasis on reproducing the original appearance of things, using simple and natural words and preferring direct description. In sign translation, the English translation pays more attention to accurate, concise and lively. In the above paragraph, &amp;quot;层层升高，排列有序，将园林、寺庙和宫殿融为一体&amp;quot; is an introduction to the architectural features of foxiang pavilion, in order to make tourists have a clear understanding of the overall layout and architectural features of the scenic spot. This information is essential and can be translated into detail. However, &amp;quot;气势巍峨，金碧辉煌&amp;quot; focuses on the subjective description, and its explicit translation needs more complicated words. If this paragraph is translated in detail, it is easy to drag the content and make the key information vague. Therefore, the deletion of the English translation of this sentence will not affect the basic information of the original text.&lt;br /&gt;
(3)	主阁（文昌阁）两层，内供铜铸文昌帝君和仙童、铜骑。文昌阁与万寿山西供武圣的宿云檐象征“文武辅弼”。&lt;br /&gt;
Translation: A bronze statue of the God Wenchang, statues of gaeries, and a bronze steed were placed in the two-story pavilion. This tower is pared with the Tower of Cloud- Retaining Eaves, located to the west of the Longevity Hill, in which a statue of the Martial God was placed. The God Wenchang and the Martial God together symbolize reining of the emperor supported by scholars and warriors.&lt;br /&gt;
Analysis: Two questions arise in Chinese-English translation. First, there are two translations of wenchang pavilion in the translation: pavilion and tower, which appear in the same sign. Two different translations of the same scenic spot name tend to make foreign tourists think that it refers to different scenic spots, which may cause difficulty in understanding. Second, the translation of Wenchang pavilion into &amp;quot;Wenchang Tower&amp;quot; is against the actual architectural characteristics. In fact, the meanings of &amp;quot;pavilion&amp;quot; and &amp;quot;tower&amp;quot; have both similarities and differences. According to the Oxford dictionary, Tower means &amp;quot;a tall narrow building or part of a building, especially of a church or castle&amp;quot;, mainly referring to the tower-shaped part of a building, usually a tall and slender structure, such as the Eiffel Tower. &amp;quot;Pavilion&amp;quot; means &amp;quot;a building that is meant to be more beautiful than usual, built as a shelter in a park or used for concerts and dances&amp;quot;. The top structure of the pavilion usually has rectangles, triangles, hexagons, etc. The common feature of them is that the top is supported by columns without walls. From the external structure of Wenchang pavilion, its bottom is solid and its top is supported by columns. Therefore, the pavilion can accurately reflect the architectural characteristics of Wenchang pavilion, so I think it should be translated as Wenchang pavilion.&lt;br /&gt;
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===3.2 Historical culture. ===&lt;br /&gt;
3.2 Historical culture. &lt;br /&gt;
The accurate Chinese-English translation of the introduction of the Summer Palace not only enables foreign tourists to understand the characteristics of Chinese gardens, but also enables foreign tourists to understand the historical knowledge of a specific period of China. However, the Chinese-English translation of the Summer Palace still has problems in accurately conveying the historical background of the scenic spots, such as the English translation of Wenchang pavilion scenic spot:&lt;br /&gt;
(4)	此景区始建于清乾隆十五年，一八六零年被英法联军烧毁，光绪时按原样重建。阁结构为八面三层四重檐，通高36.44米，耸立于20米高的石造台基上，气势雄伟，是颐和园全园的构图中心。阁内供奉有铜铸金裹千手观世音菩萨站像。像高五米，重万斤，为明代万历年间所造，在八根贯通全阁上下的承重铁梨木擎天柱的衬托下，美妙庄严，熠熠生辉，有极高的文物和艺术价值。&lt;br /&gt;
Translation: The Wenchang tower was first built in 1750 and rebuilt under Emperor Guangxu after  the Anglo-French Allied Forces builted it down in 1860. The octahedral tower has three stories with four-layered eaves, altogether 36.44 meters high. Standing upright on a 20 meter-high stone foundation, it constitutes the center of the Summer Palace landscape and serves to accentuate its magnificence. A statue of the thousand-handed Guanshiyin Buddha, cast in bronze and gilded with gold, stands inside the tower. The statue, five meters high and five tons in weight, was cast during the reign of Emperor Wanli of the Ming Dynasty. Set off by the eight imposing pillars which support the tower, it glows with beauty, grandeur and brilliance. Its historical, cultural and artistic value can hardly be overstated.&lt;br /&gt;
Analysis: “始建于乾隆十五年”only was translated into “was first built in 1750” and the “光绪年间重建” was translated into “rebuilt under Emperor Guangxu”.The first sentence does not show that 1750 was the fifteenth year of the reign of emperor Qianlong, and the second sentence does not give foreign visitors the exact date of the reign of emperor Guangxu. The change of time concept and the disunity of expression easily make foreign tourists feel confused. Therefore, the translation of the time and the historical dynasties should be accurate and meticulous, and the supplementary method should be used to not only describe the dynasties clearly, but also supplement the corresponding years, so as to achieve the standardization of the translation. In this way, foreign tourists can not only be clear about the time of the event, but also understand the Chinese historical dynasties. Consider as follows: the Wenchang Pavilion was first built in 1750 during Emperor Qianlong’s reign（1735- 1795）and rebuilt in 1886 under Emperor Guangxu（1875- 1908）after the Anglo- French Allied Forces burned it down in 1860.&lt;br /&gt;
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===3.3 Religious culture. ===&lt;br /&gt;
3.3 Religious culture. &lt;br /&gt;
Many scenic spots in the Summer Palace have a strong buddhist atmosphere. While visiting the scenic spots, foreign tourists can understand the profound buddhist culture. Wenchang pavilion in the Summer Palace is the representative of Chinese religious culture.&lt;br /&gt;
(5)	主阁两层，内供铜铸文昌帝君和仙童、铜特。文昌阁与万寿山西供武圣的宿云檐象征“文武辅弼”。&lt;br /&gt;
Translation: A bronze statue of the god，Wenchang，and statues of two followers，the celestial boy，and the bronze steed，were placed in the two- storey pavilion. This tower is pared with the tower of Cloud- Retaining Eaves，located to the west of the Longevity Hill，in which a statue of the Martial God was placed. The two towers symbolize the support by both scholars and warriors to the ruling emperor.&lt;br /&gt;
Analysis: It is well known that westerners believe in theism, which refers to god as supreme . In Chinese religious culture, people believe in atheism and do not believe in the existence of god. Therefore, it is inappropriate to translate &amp;quot;文昌帝军&amp;quot; and &amp;quot;武圣&amp;quot; into &amp;quot;the god, Wenchang&amp;quot; and &amp;quot;the Martial god&amp;quot; in the translation. In fact, the &amp;quot;文昌帝军&amp;quot; was Zhang yu, an emperor of Shu of Ning kang (374). And &amp;quot;武圣&amp;quot; refers to Guan yu in history. Therefore, the simple translation of  &amp;quot;God&amp;quot; is not in line with the traditional Chinese culture, which will not only cause western tourists to misunderstand that Chinese religious tradition also believes in God, but also fail to convey Chinese historical allusions and relevant historical figures. In contrast, if &amp;quot;文昌帝军&amp;quot; is translated as &amp;quot;the emperor, Wenchang&amp;quot; and &amp;quot;武圣&amp;quot; is translated as &amp;quot;the Martial Master (Guanyu)&amp;quot;, it can more faithfully convey the history and religious culture contained in the source language. &lt;br /&gt;
&lt;br /&gt;
===4. Conclusion===&lt;br /&gt;
4. Conclusion&lt;br /&gt;
To sum up, Under the guidance of the skopos rule of functionalist translation theory, translators should have a cross-cultural awareness, fully understand the reading psychology and cultural appreciation needs of target language readers, and use effective translation strategies and methods to achieve the purpose of tourism text translation. Functionalist approach has made a pioneering contribution to the translation of non-literary genres. Functional translation effectively eliminates the disadvantages of traditional word-for-word translation, improves the efficiency of translation, and helps readers to grasp the meaning of the original text.&lt;br /&gt;
 The importance of the translation of the Summer Palace lies in the profound garden culture, historical culture and religious culture. The English translation is not only helpful for international friends to know more about the garden characteristics of the Summer Palace, but also helpful for spreading the long history and profound culture of China. In order to attract target readers and promote traditional Chinese culture, it is not only necessary to carefully explore Chinese culture and history, but also to use the fuctionalist approach appropriately. &lt;br /&gt;
Translation is a complicated process. Functionalist approach stresses the function of the discourse, the purpose of translation. In the practice of translation, if the translator can get rid of the bondage of the original equivalence, actively playing to subjective initiative, fully understanding the original text, depending on the purpose of discourse and adopting different translation strategies, the effect and readability of translation can be improved.&lt;br /&gt;
&lt;br /&gt;
===References===&lt;br /&gt;
References&lt;br /&gt;
Hans Vermmer, “Skopos and Commission in Translation Action”, in the Translation Studies Reader,ed. Chesterman, London and Network:Routledge,p.221-232. 2000.   &lt;br /&gt;
Munday, Jeremy. Introducing Translation Studies: Theories and Applications. Routledge publishing.2001.&lt;br /&gt;
Mason, “Textual Practices and Audience Design: and Interactive View of the Tourist Brrochure”. In Navarro et al.(eds.). Pragmatics at Work: The Translation of Tourist Literature. Bern: Perter Lang. 157-176.2004.&lt;br /&gt;
Nord, Text Analysis in Translation: Theory, Methodology and Didactic Application of a Model for Translation-Oriented Text Analysis. Beijing: Foreign Language Teaching and Research Press. 2006.&lt;br /&gt;
Nord, Translating as a purposeful activity. Shanghai: SFLE PRESS, 2001:27,30,32,65,245.&lt;br /&gt;
Reiss, Katharina. Translation Criticism: The Potentials &amp;amp; Limitations. Shanghai Foreign Language Education Press. Shanghai. 2004.&lt;br /&gt;
Venuti, Lawrence. The Translator’s Invisibility: A History Translation. Routledge.1995.&lt;br /&gt;
方梦之、毛忠明， 英汉—汉英应用翻译教程，上海: 上海外语教育出版社，2004.&lt;br /&gt;
金惠康，跨文化旅游翻译，中国对外翻译出版公司，2004.  &lt;br /&gt;
贾文波，应用翻译功能论，北京：中国对外翻译出版公司，2004&lt;br /&gt;
孙艺风，文化翻译的困惑与挑战，中国翻译，2016年第3期.  &lt;br /&gt;
王宏志，翻译与创作，北京大学出版社，2000.&lt;br /&gt;
吴自选，德国功能派翻译理论与 CNN 新闻短片英译，中国科技翻译, 2005.&lt;br /&gt;
谢天振，当代国外翻译理论，天津：南开大学出版社，2005.&lt;br /&gt;
张南峰，走出死胡同建立翻译学. 中国翻译, 1995.&lt;br /&gt;
仲伟合，钟钰. 德国的功能派翻译理论. 中国翻译, 1999.&lt;br /&gt;
张美芳，功能加忠诚—介评克里丝汀· 诺德的功能翻译理论.上海外国语大学学报, 2005.&lt;br /&gt;
&lt;br /&gt;
==Contrast between Literal Translation and Free Translation	张雪仪	Zhang Xueyi==&lt;br /&gt;
'''Abstract：'''&lt;br /&gt;
&lt;br /&gt;
The contrast between literal translation and free translation has always been the most discussed problem in translation studies. To compare these two translation methods, the basic point is to understand the purpose of translation. The ultimate goal of translation is to help different cultures communicate better, so that people who speak different languages can understand each other’s cultures. Due to the differences in social, historical and cultural backgrounds between languages, how to choose between the two translation strategies of literal translation and free translation requires translators to weigh the strengths and weaknesses of these two methods. This essay mainly compares literal translation and free translation between Chinese and Russian to help students and translators translate better.&lt;br /&gt;
&lt;br /&gt;
'''Key words：'''&lt;br /&gt;
&lt;br /&gt;
Translation strategies, Literal translation,Free translation &lt;br /&gt;
&lt;br /&gt;
'''摘要：'''&lt;br /&gt;
&lt;br /&gt;
直译与意译间的对比一直是翻译学中讨论度最高的问题。想要将这两种翻译方法进行对比，最基本的一点就是要明白翻译的目的是什么。翻译的最终目的在于帮助不同文化进行更好的交流，让使用不同语种的人相互理解彼此的文化。由于语种间社会历史文化背景的差异，如何在直译和意译这两种翻译策略中做出选择，就需要译者衡量两种方法的利弊。本文主要对汉语和俄语间直译和意译进行比较，以帮助学生和译者更好地进行翻译实践。&lt;br /&gt;
&lt;br /&gt;
'''关键词：'''&lt;br /&gt;
&lt;br /&gt;
翻译策略，直译，意译&lt;br /&gt;
&lt;br /&gt;
'''1.Introduction'''&lt;br /&gt;
&lt;br /&gt;
The former Soviet Union translation theorist Fedorov believed: “Translation is an activity that expresses what has been used in one language as a unified whole of content and form, and accurately and completely expressed in another language.” Translation theorist Barr Hudarov also wrote: &amp;quot;Translation is the process of changing the coherent discourse of one language into the coherent discourse of another language while maintaining its content and meaning.&amp;quot; To some extent, translation is a process of thinking re-creation, so certain standards and principles must be followed when translating. Translation standard is a measure of the quality of translation, it can guide translation practice, and it is a principle that must be followed in translation activities. Although each scholar has different opinions on the standard of translation, the final result he pursues is the same: the original text and the translated text express the same effect. In order to achieve the same effect, different translation methods have been derived, of which literal translation and free translation are the most commonly used.&lt;br /&gt;
&lt;br /&gt;
Russian idioms and proverbs, as the crystallization of the wisdom of the Russian nation and the immortal fossils in the Russian language, are one of the best materials for the Chinese to understand and learn Russian history, culture, and society. Due to different geographical, historical and economic conditions, the Russian and Chinese ethnic groups have formed different cultural backgrounds. These distinctive backgrounds and characteristics have caused great difficulties for Chinese learning Russian to further understand Russia. This essay studies the basic definitions of literal translation and free translation, their respective advantages and disadvantages and their mutual relations, and strive to solve how to use the translation methods of literal and free translation to properly translate Russian idioms and proverbs, and how to reflect the cultural background and language characteristics of Russian idioms and proverbs in the translation .&lt;br /&gt;
&lt;br /&gt;
'''2.Different views of &amp;quot;literal translation&amp;quot; and &amp;quot;free translation&amp;quot;'''&lt;br /&gt;
&lt;br /&gt;
In different periods and different countries, people's views on translation theory have changed a lot, but the debate about literal translation and free translation has always existed.&lt;br /&gt;
&lt;br /&gt;
In China, the contradiction between literal translation and free translation may initially be due to the different understanding of these two translation methods. The translator Sun Guiding believes that: literal translation is stuck to the structure of the original text and does not consider whether the Chinese is fluent and natural; while free translation is to use the inherent Chinese idioms and the most natural words and sentences as much as possible to achieve the effect of conveying the meaning of the original text. Former President of Wuhan University, Du Zuozhou, believes that literal translation means translating word by word according to the original text; free translation means translating according to the meaning of the original text, and the translation is more suitable for the common grammar of the translated language. The educator Meng Xiancheng believes that literal translation is a translation technology with different degrees of correctness. Literal translation is a translation that is faithful and correct according to the original text; free translation is a translation that summarizes the original meaning. Zhu Guangqian said: &amp;quot;The so-called 'literal translation' refers to the literal translation based on the original text. Every word and sentence are translated word by word, and the order of the words and sentences is not changed. The so-called ‘paraphrasing’ is to express the meaning of the original text in Chinese, and it does not have to be completely based on the literal and order of the original text. &amp;quot; The principle of &amp;quot;faithfulness, expressiveness and elegance&amp;quot; put forward by the modern Chinese translator Yan Fu has long been the basic principle guiding translation practice. A large number of beginners who learn foreign languages regard &amp;quot;faithfulness and expressiveness&amp;quot; as translations that are completely faithful to the original text when translating. In fact, Yan Fu's translation requirements are a guiding principle for translation based on semantics. When translating, if the structure and expression of the original text cannot be directly adopted, the sentence structure and expression must be changed according to the characteristics of the target language. In addition, there are many differences between the original language and the target language in the word order, grammar, variants and rhetoric in the translation process. In many cases, there is no direct corresponding word. This requires the translator to consider the actual semantics, background and other factors. On the basis of the original meaning of the sentence, use an appropriate method to convey the content of the original work and reproduce the language style of the original work.&lt;br /&gt;
&lt;br /&gt;
In the Soviet Union, under the influence of ideology, Western translation theories could not be widely disseminated, but within the Soviet Union, translation theories similar to Western translation theories have been formed and developed, and two main schools of translation theory have been further differentiated — Linguistic Translation School and Literary Translation School. To a certain extent, the dispute between these two schools also reflects the debate on literal translation and free translation among translators' groups. In terms of the principles or standards of translation, the linguistic translation school believes that an ideal translation should be an equivalent translation, first of all linguistic correspondence, that is, the translation should have the same meaning as the corresponding language or discourse unit of the original; the literary translation school believes that translation pursues artistic correspondence, and linguistic correspondence must be subordinate to artistic correspondence. Therefore, it proposes that the aesthetic standards of translation should reproduce the artistic reality reflected by the unity of the original content and form. The characteristic is to use images to translate images, that is, to create the same image in different languages. In 1953, Andrei Venediktovich Fedorov, the leader of the linguistic translation school, published his work &amp;quot;Summary of Translation Theory&amp;quot;, which was the first monograph of the Soviet Union to study translation theory from the perspective of linguistics. The author proposes that translation theory is a branch of linguistics. Since the translation of any genre work must rely on the comparison of two languages, translation problems can only be solved in the field of language. Fedorov’s view was refuted by the literary translation school represented by Ivan Alexandrovich Kashikin. The literary translation school believes that aesthetic issues are the core of literary translation theory, and translation should be regarded as a form of language art, that is, translation should be studied from the perspective of literature and art. In fact, the literary translation school emphasizes the translation of literary and artistic works, which belongs to the specific translation theory; while the research of the linguistic translation school focuses on the general translation theory, that is, the translation of all thematic works including literary works. The dispute between the two major translation theory schools of Russia and the Soviet Union provides another perspective for Chinese translators to explore the relationship between literal translation and free translation.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
'''3.The application of literal translation and free translation in the Chinese translation of Russian idioms'''&lt;br /&gt;
&lt;br /&gt;
The idioms of different nationalities are the most dynamic and expressive units at the lexical level in different languages, and they are also the units that can best reflect the characteristics of national culture in languages. The number of Russian idioms is extremely rich, it records and reflects all aspects of Russian national life. Due to the great differences in geographical locations and living customs between China and Russia, the national cultures reflected in Chinese and Russian must be quite different. One of the difficulties in idiom translation is its imagery. When translating idioms, both the meaning and the image must be considered. Although the Chinese and Russian cultures are very different, many of the commonalities of mankind, such as emotion and natural environment, have created conditions for mutual communication, mutual understanding and idiom translation between different languages.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
'''3.1 Literal translation'''&lt;br /&gt;
&lt;br /&gt;
Generally speaking, the literal translation method refers to a translation method that directly translates the original text without changing the language characteristics and style of the original text on the basis of fully respecting the meaning of the original text. Chinese translation of Russian idioms by literal translation method has the advantage of being able to intuitively and faithfully express the meaning of the idiom, maintaining the unique style and imagery of the original text: the disadvantage is that the translated idiom may not be understood by the Chinese because of China and Russia have different historical, cultural backgrounds, grammatical structures, and language world landscapes, which can easily form obstacles in the process of understanding.&lt;br /&gt;
&lt;br /&gt;
Translating Russian idioms by literal translation is further divided into two methods — literal translation into Chinese idioms and literal translation into non-idiom sentences or words.&lt;br /&gt;
&lt;br /&gt;
Literal translation of Russian idioms into Chinese idioms is suitable for the translation of Russian and Chinese idioms that are completely equivalent in image, structure, and meaning. The advantage is that it is easy to understand, and the translation is simple and fast. E.g:&lt;br /&gt;
&lt;br /&gt;
(1)домашнего  (своего) вора не убережешься. 家贼难防&lt;br /&gt;
&lt;br /&gt;
(2)знать как свои пять пальцев (видно, как на ладони) 了如指掌&lt;br /&gt;
&lt;br /&gt;
(3)подлить масла в огонь 火上浇油&lt;br /&gt;
&lt;br /&gt;
(4)как рыба в воде 如鱼得水&lt;br /&gt;
&lt;br /&gt;
(5)как ножом по сердцу 心如刀割&lt;br /&gt;
&lt;br /&gt;
(6)как гром среди ясного неба 晴天霹雳&lt;br /&gt;
&lt;br /&gt;
(7)на добро отвечают добром 善有善报&lt;br /&gt;
&lt;br /&gt;
(8)копейка рубль бережет 财从细起&lt;br /&gt;
&lt;br /&gt;
(9)мечты сбываются 梦想成真&lt;br /&gt;
&lt;br /&gt;
(10)курица всегда следует за петухом 嫁鸡随鸡&lt;br /&gt;
&lt;br /&gt;
(11)чего мало, того и дорого  (дорого то, что мало) 物以稀为贵(12)&lt;br /&gt;
&lt;br /&gt;
(12)изгонять яд с помощью яда 以毒攻毒&lt;br /&gt;
&lt;br /&gt;
(13)сидеть как на иголках 如坐针毡&lt;br /&gt;
&lt;br /&gt;
(14)действия громче слов 事实胜于雄辩&lt;br /&gt;
&lt;br /&gt;
(15)зарыть талант в землю 埋没人才&lt;br /&gt;
&lt;br /&gt;
(16)висеть на волоске 千钧一发&lt;br /&gt;
&lt;br /&gt;
(17)лить как из ведра 倾盆大雨&lt;br /&gt;
&lt;br /&gt;
The idioms in the above examples are completely equivalent in image, structure or meaning in Russian and Chinese, so Chinese idioms can be used for literal translation. &lt;br /&gt;
&lt;br /&gt;
In fact, in the two languages, idioms with the same image, structure, and meaning are still in the minority, so it is more common to translate Russian idioms into non-Chinese idiom sentences or vocabulary. E.g:   &lt;br /&gt;
&lt;br /&gt;
настоять на своем 坚持自己&lt;br /&gt;
&lt;br /&gt;
камень с души свалился 心里的一块石头落地&lt;br /&gt;
&lt;br /&gt;
связать свою судьбу 把自己的命运与……相连&lt;br /&gt;
&lt;br /&gt;
быть на голову 高出一头&lt;br /&gt;
&lt;br /&gt;
вбивать в голову 往脑子里灌&lt;br /&gt;
&lt;br /&gt;
блеснуть метеором 像流星一样一闪而过&lt;br /&gt;
&lt;br /&gt;
с мизинец 小拇指这么大&lt;br /&gt;
&lt;br /&gt;
It is not difficult to find that the literal translation method can completely retain the original appearance of the idiom, show the common concept of human understanding of the world, and be beneficial to the cultural exchange between China and Russia.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
'''3.2 Free translation'''&lt;br /&gt;
&lt;br /&gt;
Another method commonly used in the Chinese translation of Russian idioms is free translation. Free translation is to readjust the structure of the original text on the basis of keeping the original meaning of the idiom unchanged, and then reconstruct the Russian idiom with the way of thinking and expression in Chinese. This is because the figurative images used in many Russian idioms are inconsistent with those used in Chinese. If the original image is used in translation, it will cause a barrier to understanding. The advantage of free translation of Russian idioms is that it eliminates obstacles to understanding, but the disadvantage is that it cannot completely retain the original style and cultural characteristics. E.g:&lt;br /&gt;
&lt;br /&gt;
(1)В Тулу со свим самоваром не ездят.&lt;br /&gt;
直译：去图拉不用带自己的茶炊。&lt;br /&gt;
意译：多此一举&lt;br /&gt;
&lt;br /&gt;
(2)Честь лучше бесчестья.&lt;br /&gt;
直译：尊重比不尊重好。&lt;br /&gt;
意译：礼多人不怪。&lt;br /&gt;
&lt;br /&gt;
(3)словно горя с плеч&lt;br /&gt;
直译：把山从肩膀下卸下&lt;br /&gt;
意译：如释重负&lt;br /&gt;
&lt;br /&gt;
(4)выеденного яйца не стоит&lt;br /&gt;
直译：一个空蛋壳不值钱&lt;br /&gt;
意译：鸡毛蒜皮，一文不值&lt;br /&gt;
&lt;br /&gt;
(5)чужими руками жар загребать&lt;br /&gt;
直译：用别人的手将红炭火拨成一堆&lt;br /&gt;
意译：坐享其成，不劳而获&lt;br /&gt;
&lt;br /&gt;
(6)ни рыба, ни мясо&lt;br /&gt;
直译：没有鱼也没有肉&lt;br /&gt;
意译：不三不四，不伦不类&lt;br /&gt;
&lt;br /&gt;
(7)лучше синица в руках, чем журавль в небе&lt;br /&gt;
直译：天上的仙鹤不如手中的山雀&lt;br /&gt;
意译：远亲不如近邻&lt;br /&gt;
&lt;br /&gt;
(8)На языке мед, а под лед&lt;br /&gt;
直译：嘴上甜得像蜂蜜，心里冷得像冰&lt;br /&gt;
意译：笑里藏刀&lt;br /&gt;
&lt;br /&gt;
(9)И на солнце есть пятна&lt;br /&gt;
直译：太阳上也有黑点&lt;br /&gt;
意译：人无完人&lt;br /&gt;
&lt;br /&gt;
(10)семь раз отмерь, один раз отрежь&lt;br /&gt;
直译：测量了七次后再剪裁&lt;br /&gt;
意译：三思而后行&lt;br /&gt;
&lt;br /&gt;
Using free translation to translate Russian idioms requires the translator to accurately understand the meaning of the original text, because cultural differences make it impossible to literally translate. Only through the translator can an unobstructed bridge between Russian idioms and Chinese idioms be built.&lt;br /&gt;
&lt;br /&gt;
'''4.The application of literal translation and free translation in the Chinese translation of Russian proverbs'''&lt;br /&gt;
&lt;br /&gt;
There are often multiple translations of the same Russian proverb in Russian-Chinese dictionaries. On the one hand, because the translator uses different translation methods; on the other hand, because Russian proverbs have very rich connotations, a translation cannot perfectly interpret the inner meaning of the proverb. According to the context and the connotation of the proverbs, the most commonly used methods of Chinese translation of Russian proverbs are literal translation and free translation.&lt;br /&gt;
&lt;br /&gt;
'''4.1 Literal translation'''&lt;br /&gt;
&lt;br /&gt;
In Russian and Chinese languages, some proverbs not only have the same meaning or implicit meaning, but also use the same or similar figurative images to express a certain kind of the same semantics, and they are completely consistent in content and form. In this case, the equivalent translation of synonymous Chinese proverbs can convey the information contained in the original image, which not only retains the rhetorical color of the original language, but also enables the reader to perfectly understand the original text. E.g:&lt;br /&gt;
&lt;br /&gt;
(1)Куй железо, пока горячо. 趁热打铁。&lt;br /&gt;
&lt;br /&gt;
(2)Беда не приходит одна. 祸不单行。&lt;br /&gt;
&lt;br /&gt;
(3)Сытый голодного не разумеет. 饱汉不知饿汉饥。&lt;br /&gt;
&lt;br /&gt;
(4)Век живи, век учись. 活到老，学到老。&lt;br /&gt;
&lt;br /&gt;
(5)Выше встанешь, дальше увидишь. 站得高，看得远。&lt;br /&gt;
&lt;br /&gt;
(6)Лучше один раз увидеть, чем сто раз услышать. 百闻不如一见。&lt;br /&gt;
&lt;br /&gt;
(7)Нет дыма без огня. 无火不生烟。&lt;br /&gt;
&lt;br /&gt;
(8)Шила в мешке не утаишь. 口袋藏不住锥子。&lt;br /&gt;
&lt;br /&gt;
(9)Береги платье снову, а честь смолоду. 衣服要从新的时候爱惜，荣誉要从年轻时珍惜。&lt;br /&gt;
&lt;br /&gt;
(10)Выше лба уши не растут. 耳朵高不过额头。&lt;br /&gt;
&lt;br /&gt;
(11)Для милого друга семь верст не околица. 为了好友，多绕七里也不嫌远。&lt;br /&gt;
&lt;br /&gt;
(12)Как Новый год встретишь, так его и проведешь. 怎么迎新年，就怎么过一年。&lt;br /&gt;
&lt;br /&gt;
(13)Лучше умереть стоя, чем жить на коленях. 宁愿站着死，绝不站着生。&lt;br /&gt;
&lt;br /&gt;
(14)Не имей сто рублей, а имей сто друзей. 宁要一百个朋友，不要一百个卢布。&lt;br /&gt;
&lt;br /&gt;
По одежке встречают, по уму провожают. 迎客时看衣，送客时看才智。&lt;br /&gt;
&lt;br /&gt;
==Dialectical thinking in arguments between literal translation and free translation 	甘奉玉	Gan Fengyu==&lt;br /&gt;
&lt;br /&gt;
===Abstract===&lt;br /&gt;
  As two methods of translation, how to use literal translation and free translation has always been the focus of debate between Chinese and Western translation circles. Through the study of translation methods of literal translation and free translation at home and abroad, we can know that to some extent literal translation and free translation are two relative conceptions, so there will be word-for-word translation, that is, dead translation, and excessive free translation. However, these two are only two extremes of literal translation and free translation. In fact, although there are differences in definitions and application fields between literal translation and free translation, they are unified in common translation purpose, translation procedure and translation standard. Therefore, the two are contradictory and unified in translation activities. This is also the profound embodiment of the unity of opposites in materialist dialectics.--[[User:Gan Fengyu|Gan Fengyu]] ([[User talk:Gan Fengyu|talk]]) 07:46, 10 November 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
===Key words===&lt;br /&gt;
literal translation, free translation, word-for-word translation, over free translation, unity of opposites&lt;br /&gt;
&lt;br /&gt;
===摘要===&lt;br /&gt;
  作为翻译方法，直译(literal translation)与意译(free translation)怎样使用的问题一直是一个争论中西方翻译界不休的焦点。通过对国内外直译与意译的翻译方法的研究，我们可以得知，从某种程度而言，直译与意译是两个相对的概念, 所以才会有逐字翻译，即死译，与过度意译这两个完全对立的概念。但是，这两者只不过是直译与意译的两个极端点。其实，直译和意译虽然在概念定义，适用范围上有所差异，但却又统一于共同的翻译目的、翻译过程和翻译标准中。所以两者在翻译活动中应该是既对立又统一的矛盾体。而这也正是唯物辩证法中的对立统一矛盾观的深刻体现。--[[User:Gan Fengyu|Gan Fengyu]] ([[User talk:Gan Fengyu|talk]]) 07:50, 10 November 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
===关键字===&lt;br /&gt;
直译； 意译； 死译； 过度意译； 对立统一&lt;br /&gt;
&lt;br /&gt;
===Introduction===&lt;br /&gt;
  Throughout the translation history at home and abroad, the literal translation and free translation have always been a heat discussion in the translation circles. Someone absolutely approve literal translation and demean free translation, even pursue a dead translation, which creates an translated text difficult to understand. While some other people absolutely agree with free translation even advocate random acts, which means a random deletion in the translation practices and creates anther entirely different text. However, there are also a number of translators who have recognized that these two translation methods are not totally opposite. So they adopt a compromise and flexible way. That means they will choose the most appropriate one depending on the text demanding. Therefore, we can deduce from it that this eclectic translation is consistent with the Contradiction view of Unity of Opposite in Materialist Dialectics. In fact, literal translation and free translation are right a set of contradictions which are both opposite and unified. They complement each other into an integral one.&lt;br /&gt;
&lt;br /&gt;
===1.Dialectic thinking of the Unity of opposites===&lt;br /&gt;
===2.Word-for-word translation===&lt;br /&gt;
===3.Over free translation===&lt;br /&gt;
===4.Eclectic translation===&lt;br /&gt;
===5.Opposition and unity between literal translatiuon and free translation===&lt;br /&gt;
&lt;br /&gt;
===5.1 Opposition===&lt;br /&gt;
&lt;br /&gt;
===5.1.1 Opposition in definition===&lt;br /&gt;
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===5.1.2 Opposition in application fileld===&lt;br /&gt;
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===5.2 Unity===&lt;br /&gt;
===5.2.1 Unity in translation goal===&lt;br /&gt;
===5.2.2 Unity in translation procedure===&lt;br /&gt;
===5.2.3 Unity in translation standard===&lt;br /&gt;
===6.Conclusion===&lt;br /&gt;
===Bibliography===&lt;br /&gt;
&lt;br /&gt;
== Peter Newmark’s Improved Views on Literal Translation and Free Translation 赵茜 Zhao Xi==&lt;br /&gt;
&lt;br /&gt;
='''Document Translation'''=&lt;br /&gt;
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&lt;br /&gt;
==On translation of official documents of CangNan County	吴恺	Wu Kai==&lt;br /&gt;
&lt;br /&gt;
On Translation of Official Documents of Cangnan County&lt;br /&gt;
&lt;br /&gt;
Japanese Language and Literature, School of Foreign Languages, Hunan Normal University, Wu Kai--[[User:Wu Kai|Wu Kai]] ([[User talk:Wu Kai|talk]]) 04:45, 2 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
==='''Abstract'''===&lt;br /&gt;
As one of the forefronts of Zhejiang’s opening-up cause, Cangnan County in Zhejiang Province has been enjoying a rapid development and an ever-growing degree of opening-up with lasting vitality as it’s supported by national policies and nourished by the dividends of economic globalization since China's reform and opening-up. As China has ushered in a period of major changes rarely seen in a century, Cangnan County is also facing new opportunities and challenges. Under the background of this era, Cangnan County is expected to make good use of its own advantages, especially the geographical ones—it is close to countries and regions including Japan, South Korea, and Taiwan—and should spare no efforts to achieve a higher level of opening-up, and, in turn, further promote its development. As an embodiment of the collective will of the people of Cangnan County, the official document is one of the best manifestations of its governance and stability control capabilities. For this reason, the research on how to translate official documents is of great significance for that it offers a great opportunity for Cangnan County to re-examine itself and to show the rest of the world its achievement in building a culture-enriched county.&lt;br /&gt;
&lt;br /&gt;
==='''Key words'''===&lt;br /&gt;
 official document translation, Cangnan County, opening-up, Japan, South Korea&lt;br /&gt;
&lt;br /&gt;
==='''摘要'''===&lt;br /&gt;
自中国改革开放以来，浙江省苍南县作为全浙江对外开放的前沿阵地之一，得到了国家政策支持和经济全球化红利的滋润，苍南县发展水平与对外开放程度日新月异，全县活力持久带劲。随着中国迎来“百年未有之大变局”，苍南县也面临着新的机遇和挑战，在此时代背景下，苍南县应该利用好自身优势，特别是临近日本、韩国、台湾等国家与地区的地理优势，努力开展更高层次、更高水平的对外开放事业，促进苍南更好的发展。为此，作为苍南县人民集体意志的体现，苍南县的公文就是对外展示其治理水平、稳控能力的最好的体现之一。而对于苍南县公文的如何翻译的研究，是促使苍南县重新审视自己、推进苍南人文县情传播海外的良机，意义重大。&lt;br /&gt;
&lt;br /&gt;
==='''关键词'''===&lt;br /&gt;
公文翻译  苍南县  对外开放  日本  韩国&lt;br /&gt;
&lt;br /&gt;
==='''I. System and Translation of Official Documents of Cangnan County'''===&lt;br /&gt;
&lt;br /&gt;
The unique official document system adopted by Chinese government agencies is a special integration of the thousands-of-years excellent political traditions in China and the essence of the organizational structure of the socialist regime. As a county-level unit in China's local administrative structure, Cangnan County has an official document system that is consistent with the national ones in general while has its own features. Official documents of Cangnan County can be basically divided into the following types of writing: resolutions, decisions, orders, bulletins, announcements, notifications, opinions, notices, reports, requests for instructions, approvals, proposals, letters, and minutes. Above-mentioned categories are collectively known as official documents. Besides, there are also some types of practical writing, including summaries, plans, notes, memos, briefings, speeches, manuals and so on, that are often used in our day-to-day work.&lt;br /&gt;
&lt;br /&gt;
In addition to those characteristics of the official documents that are commonly seen in China, official documents of Cangnan County also have its own features, which is mainly reflected in the aspect of proprietary terminology. Cangnan County, which used to be a part of Pingyang County in Zhejiang Province, was officially designated as a county in 1981 with the approval of the Central Government. It takes its name Cangnan, which means “on the south of the Yucang Mountain”, from its geographical location. As a relatively young county-level administrative unit in China’s administrative divisions, Cangnan County has a complex natural endowment and cultural environment, which is the reason why there are many special proprietary terms used in the official documents of Cangnan County, such as “Beautiful South Gate of Zhejiang Province”, “Southern Ouyue (an ancient kingdom in modern Wenzhou and Taizhou)” , “South Gate of Jiangsu-Zhejiang Region” and so on. Moreover, Cangnan is also the birthplace of the “Wenzhou Model”. Since the implementation of policy for the exchange of production materials and commercial grains in 1984, Cangnan has become an important base for the experiments and development of Wenzhou's private economy and market economy, and, thus, has made a significant contribution to the great cause of China's reform and opening-up.&lt;br /&gt;
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To conclude, the unity of the official document system viewed from the national scope of China and the uniqueness of the official document system viewed from the local scope of Cangnan area are both reflections of the integration of economic, political, and cultural elements. Therefore, when translating the terms and sentences in these official documents, obviously, it is almost impossible to follow general translation theories, such as Yan Fu’s “faithfulness, expressiveness and elegance” theory which applies to literature translation, and Christiane Nord’ Skopos theory which emphasizes schematic analysis. Due to the features of the official documents of Cangnan County, it is hard to imagine the consequence it will cause if those Cangnan and Chinese elements they contain are missed when translating them. Therefore, the starting point for the translation and research of Cangnan official documents should be analyzing the official document itself, but not choosing which translation theory to apply.&lt;br /&gt;
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The translation method focusing on the official documents themselves is undoubtably the one that emphasizes the content while manages to achieve a similarity in form. Thus, the translation theory that meets the requirements of official document translation in Cangnan County shall be the functional equivalence theory of the American linguist Eugene A. Nida. Eugene A. Nida argued in his theory that translation is to use the most appropriate, natural and equivalent language to reproduce the informational function of the source language both semantically and stylistically. Nida’s definition of translation specified that translation is seeking equivalence not only in lexical meaning, but also in semantics, style and literary form. Translation should convey both the denotative and connotative meaning of a message. Regarding the equivalence of translation, he believed that the equivalence consists of four parts: lexical equivalence, syntactic equivalence, textual equivalence, and stylistic equivalence. Among the four aspects, he emphasized that the meaning the core and most important part, followed by the form. The form of a text is likely to conceal the cultural connotation of the source language and may, therefore, hinder cultural exchanges. Based on the above, the reasons why the functional equivalence theory is applicable to official document translation in Cangnan County can be concluded as follows:&lt;br /&gt;
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First, the functional equivalence theory advocates that the target text should be equivalent to the source text both semantically and culturally. Official documents of Cangnan County are carriers of profound political culture with Chinese characteristics and the cultural environment in Cangnan. When translating them, in addition to showing the political consciousness and judicial authority of Cangnan government agencies, the local culture of Cangnan must also be reflected in the translations.&lt;br /&gt;
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Second, the functional equivalence theory suggests that if the lexical meanings and cultural elements cannot be taken into account at the same time, the translator then may give up the equivalence in form and try to reproduce the semantic and cultural meaning of the source text by changing the form of the sentence. There are many specialized terms with Chinese characteristics and Cangnan’s characteristics in official documents of Cangnan County. When translating them, once there is no corresponding expression in the target language, other forms of expression must be adopted to retain the meanings of those specialized terms as much as possible.&lt;br /&gt;
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Third, the functional equivalence theory proposes that if the change in form is still not enough to express the semantic and cultural meaning of the expression in the source language, the translation technique of “heavy damage” can be adopted to resolve cultural differences , so that the source language and the target language can achieve equivalence in semantic meaning. “Heavy damage” refers to the transformation of the deep structure of the source language into the surface structure of the target language, that is, expressing the cultural connotation of the source text with expressions of the target language. It cannot be ruled out that there are words and sentences in the official document of Cangnan County that cannot be translated, and when this happens, the translator can only rely on his translation techniques and understanding ability to process them creatively.&lt;br /&gt;
Above are simply macro analyses of the official document system in Cangnan County, and when it comes to specific analyses, challenges we face will only be severer.&lt;br /&gt;
&lt;br /&gt;
==='''II. Stylistic Features and Translation of Official Documents in Cangnan County'''===&lt;br /&gt;
&lt;br /&gt;
Looking at the official documents of Cangnan County from the micro level, we can work on the study of its translation based on the following characteristics.&lt;br /&gt;
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'''1. Details and Accurate'''&lt;br /&gt;
&lt;br /&gt;
As an officially-written document geared for the needs of our people, wording of the official documents of Cangnan County has a very specific orientation. Almost all content words have very clear meanings and connotations.&lt;br /&gt;
&lt;br /&gt;
For example, the sentence “经研究，县政府决定召开市对县安全生产巡查反馈会暨突出问题集中教育警示会，现将有关事宜通知如下。(As discussed, the county government decided to convene a feedback meeting on city-to-county inspections of production safety and a meeting for education and warning on outstanding issues. The relevant matters are hereby notified as follows.)” in the document 《苍南县人民政府办公室关于召开市对县安全生产巡查反馈会暨突出问题集中教育警示会的通知》(“Notice of the Office of the People's Government of Cangnan County on Convening a Feedback Meeting on City-to-County Inspections of Production Safety and A Meeting For Education and Warning On Outstanding Issues”) (the office of the People's Government of Cangnan County on June 8th, 2020) conveys several points very accurately and clearly, including the decision maker, the type, content and theme of the meeting. Therefore, special attention must be paid to the integrity of the information delivered when translating this sentence. For example, it is translated into Japanese as “討議を通じて、県政府は県の安全生産状況に対する市政府の巡査結果反映会及び顕著問題教育警告会を開催することが決定した。関連事項を以下のようにお知らせする。”&lt;br /&gt;
&lt;br /&gt;
'''2. Precise and Compact'''&lt;br /&gt;
&lt;br /&gt;
The role of official documents is to exchange formal information between the upper and the lower, the people and the officials, and the relevant departments. Therefore, the wording of the official documents must be rigorous. No slang and loose sentences should be used, and excessive use of parentheses and descriptive modifiers should be avoided. Official documents of Cangnan County follow this rule as well, in which there will never be informal expressions like daily spoken words.&lt;br /&gt;
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For example, the expression “三、决策目录施行动态管理，因工作需要增减或变更重大行政决策事项的，承办单位应按照相关规定程序提请调整。(Third, the decision catalogue shall be managed in a dynamic way, the undertaker shall submit application for adjustments in accordance with the relevant regulations if any increase/decrease or change shall be made to the major administrative decision-making matters because of the need of actual work.)” in the document《关于公布苍南县2020年度重大行政决策事项目录的通知》(“Notice on Issuing the 2020 Annual Catalogue of Major Administrative Decision-Making Matters of Cangnan County”) (the office of the People's Government of Cangnan County on Sept. 20th, 2020) When translating this sentence into Japanese, the translator shall fully considers the preciseness of the original expression, and translate it as “三つ目、戦略目録動的管理施行、仕事需要によっての増減または変更が必要な場合、請負機構は関連規定の手順に従って調整を提出しなければならない。”&lt;br /&gt;
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'''3. Programmed and Standardized'''&lt;br /&gt;
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The purpose of official documents requires a stable and routine writing program so that the official business can be conducted in an orderly manner. It is essential that the document writing is reasonably programmed. It allows the officer to know what it is and what to do at a glance if a standardized official document program is followed. The standardization of the official documents of Cangnan County can be regarded as a tricky feature in their translation.&lt;br /&gt;
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For example, the expression “各乡镇人民政府，县政府直属各单位 (the people's government of all townships and towns and all directly affiliated institutions of the people’s government of Cangnan County)” in the document《关于公布苍南县2020年度重大行政决策事项目录的通知》(“Notice on Issuing the 2020 Annual Catalogue of Major Administrative Decision-Making Matters of Cangnan County”) (the Office of the People's Government of Cangnan County on Sept. 20th, 2020) is obviously a standardized addressing of the receiving units of an official document, and it should be translated into Japanese as “各郷鎮人民政府、県政府直属の各部門”.&lt;br /&gt;
Viewing from a micro perspective, we may find that special attention should be paid to many precise details when translating those official documents. It is of great significance that, during the cause of reform and opening-up, we strike a balance between the macro level and the micro level in official document translation, which will serve as a stage for Cangnan County to show itself to Japan, South Korea and other East Asian countries and regions.&lt;br /&gt;
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==='''III. Translation of Official Documents of Cangnan County under the Context of the Japanese Language'''===&lt;br /&gt;
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Cangnan County is one of the nearest administrative units to Japan in China, and Okinawa Prefecture in Japan and Cangnan County are neighbors facing each other across the sea. Furthermore, Cangnan County itself has ports in Xiaguan, Pacao, Yanting, Dayu and other places, and has the basic conditions for conducting small transactions of freights with Okinawa. However, due to the inadequacy policies, laws and regulations, a large portion of Japan’s trade with China, especially with Zhejiang Province, is still conducted in the three port cities, namely Ningbo, Zhoushan, and Hangzhou. Cangnan’s geographical advantages have never been given to full play. To Japan, Cangnan is not a total stranger. Wenzhou City has a great influence upon Japanese culture and history. Special local products such as Wenzhou green tea and Wenzhou satsuma orange are very attractive to Japanese people. Many of the business exchanges during the Kamakura Bakufu in Japan were happened between Hakata merchants and Wenzhou people. As an important subordinate region of Wenzhou City, Cangnan County naturally has left an impression on Japanese people when it comes to China.&lt;br /&gt;
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If Cangnan hopes to lay a foundation for the future cooperation with Japan through its cause of opening up to the outside world, it is of great importance that we study the methods and techniques to make the translation of Cangnan’s official documents to meet the specific context of the Japanese language, which is also a part of the cultural exchanges that will facilitate economic and trade cooperation between Japan and China. The political status of Cangnan County is equivalent to the one of regular cities and special wards in Japan, but this does not mean that the official documents of Cangnan County can be regarded as equivalents to the official documents released by the governments of the regular cities and special wards in Japan, and there are huge differences between their respective official documents in form, wording, Cultural connotation and etc. To better translate Cangnan official documents under the context of Japanese language, the following aspects must be paid attention to:&lt;br /&gt;
&lt;br /&gt;
1. Detailed Comparison of Types&lt;br /&gt;
&lt;br /&gt;
In the Japanese official document system, the word “公文” is different in meaning from the word “公文” in Chinese official document system. In Chinese “公文” means government official documents, while in Japanese “公文” generally refer to legal documents that have the force of law and the term “公文書” is the one that refers to government official documents, which roughly includes “外交文書” and “起案文”, “通達” , “命令”, “許可”, “通知書” and so on . When translating official documents of Cangnan County into Japanese, attention should be paid to the transformation of the types of the official documents. The classifications of official documents in China and Japan are different from each other.&lt;br /&gt;
For example, when translating documents such as “proposal letter”, “report” and the like into Japanese, the title should be translated as “建言書” and “報告書”, while “命令(order)”, “通知(notice)”, “提案(Proposal)” and etc. need no translation and can be titled with the original characters directly as “命令”, “通知”, “提案”, and can also be further translated into “命令状”, “通知書”, “提案書”. Those reflect the characteristics of the division of the types of the official document system in Japan.&lt;br /&gt;
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2. Careful Consideration of the Translation of Chinese Characters&lt;br /&gt;
&lt;br /&gt;
There are a large number of Chinese characters in Japanese. This will for sure be an advantage when translating official documents of Cangnan County into Japanese, however, at the same time, this is also a huge disadvantage. After all, those Chinese characters are Japanized Chinese characters, and their meanings and usages are more or less different from the original ones in Chinese.&lt;br /&gt;
&lt;br /&gt;
For example, the expression “设定全县森林防火期(setting the season of forest fire prevention)” in the document 《苍南县应急管理局局长王再忠关于&amp;lt;苍南县人民政府关于做好森林防火期护林防火工作的通告&amp;gt;的政策解读》(“Policy Interpretation Of ‘Notice of Doing Forest Protection and Fire Prevention during the Season of Forest Fire Prevention by the People's Government Of Cangnan County’ by the Director of Cangnan Emergency Management Agency Wang Zaizhong”) in could be translated character by character into Japanese as “全県域森林防火期間設定”. However, expressions such as “野外火源如何管理” cannot be translated in the same way, and must be processed accordingly and translated into Japanese as “野外の火の元が如何に処理すること”. When translating official documents of Cangnan County into Japanese, the translators must reject the preconceived thinking and native Chinese thinking, or it will lead to irreversible misunderstandings and mistakes.&lt;br /&gt;
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3. Mastery of the Equivalence of Semantic Meaning&lt;br /&gt;
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Chinese is an isolating language, in which the grammatical meaning is reflected by the order of words, while Japanese is an agglutinative language, in which auxiliary words and flexible usages of vocabulary are adopted to reflect the grammatical meaning. This requires the translators to have mastery of the equivalence of semantic meanings when translating official documents of Cangnan County into Japanese and try to achieve perfect equivalence in official document translation.&lt;br /&gt;
&lt;br /&gt;
For example, there is a expression as “全体公民必须认真贯彻‘以人为本、预防为主、积极扑救、有效消灾’的森林防灭火工作方针，一旦发现森林火灾，要立即向当地人民政府或森林防灭火指挥部办公室报告(all citizens must seriously implement the working policy of forest fire prevention and firefighting ‘people-oriented, prevention-focused, active in firefighting, effective in disaster relief’, once a forest fire is detected, it must be reported to the local people’s government or the forest fire prevention and firefighting headquarters office immediately)” in the document 《苍南县应急管理局局长王再忠关于&amp;lt;苍南县人民政府关于做好森林防火期护林防火工作的通告&amp;gt;的政策解读》(“Policy Interpretation Of ‘Notice of Doing Forest Protection and Fire Prevention during the Season of Forest Fire Prevention by the People's Government Of Cangnan County’ by the Director of Cangnan Emergency Management Agency Wang Zaizhong”). When dealing with long and complex sentences, the translator must be flexible in using translation techniques to decompose the sentences and translate them step by step, focusing on the balance between the form of the sentence and its semantic meaning. Based on this principle, the abovementioned sentence could be translated into Japanese as “人間本位、予防軸化、積極救助、有効消災という森林防火作業方針は全県民が必ず強固に守らなければならない。林に火事が発見された際、直ちに所轄人民政府や森林防火指揮部執務室に報告すること。”&lt;br /&gt;
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There is no doubt that, in terms of four-character idioms, allusions, new words of the era and etc., the translation of official documents of Cangnan County under the context of the Japanese language still has a long way to go, but the part that we should pay most attention to in translation is always the differences in culture between the source language and the target language. Only by keeping this basic point in mind at all times, will there be no huge mistakes being made when translating official documents of Cangnan County into Japanese.&lt;br /&gt;
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==='''Ⅳ. Translation of Official Documents of Cangnan County under the Context of the Korean Language'''===&lt;br /&gt;
&lt;br /&gt;
Zhejiang Province and South Korea have laid a good foundation for economic and trade cooperation projects, and a framework that is comprehensive, wide-ranging, and multi-level has been established for Zhejiang-South Korea cooperation. The advantages of the two regions are obviously complementary and the development potential for both sides and in between is huge. In September 2016, the Zhejiang China-Korea (Quzhou) Industrial Cooperation Park was approved as the first batch of “Zhejiang International Industrial Cooperation Parks” in Zhejiang Province. The total planned area is about 3,000 acres and the total planned investment is 12 billion yuan. Represented by the Zhejiang China-Korea Industrial Cooperation Park, a large number of economic and trade cooperation projects has been carried out with South Korea by Zhejiang Province. As an indispensable part of Zhejiang Province, Cangnan County is facing a huge gap in the cultural exchanges and economic cooperation with South Korea. How to elevate the level of Cangnan’s opening up to the outside world and advancing Cangnan’s economic, trade and cultural cooperation with South Korea is a question that is well worth exploring. Although Cangnan is further away from South Korea compared with regions in the north of Zhejiang, geographic location should never be a factor that hindering Cangnan’s economic, trade and cultural cooperation with South Korea. In an era of ever-deepening globalization, it is of great significance that we think about how to develop and promote the economic and trade and cultural cooperation between Cangnan and South Korea.&lt;br /&gt;
&lt;br /&gt;
Northern Zhejiang is a key area for economic, trade and cultural cooperation with South Korea. As the south gate of Zhejiang Province, if Cangnan County could open the door of economic, trade and cultural cooperation to South Korea, then this will inevitably bring extraordinary development opportunities to southern Zhejiang and make the pattern of Zhejiang and South Korea’s economic and cultural cooperation more balanced and healthy. The political status of Cangnan County is equivalent to the one of si(city), gu (district), and gun(county) in South Korea. Because of some historical reasons, South Korea is greatly influenced by Chinese culture. From the Three Kingdoms era of Joseon, to the Unified Silla Dynasty, the Wang’s Goryeo Dynasty, and the Yi’s Joseon Dynasty, the basic system of administrative divisions in South Korea is almost the same as the one in China, so the official document system of cities, districts, and counties in South Korea can be regarded as basically equivalent to the official document system of Cangnan County with only slight differences originated from the localized political and cultural traditions and the basic social condition of South Korea. Therefore, there are relatively fewer difficulties of translation when translating official documents of Cangnan County into Korean, aside from the barriers caused by Korean Hangul words. The translation of official documents of Cangnan County under the context Korean language requires attention to the following aspects:&lt;br /&gt;
&lt;br /&gt;
1. The Combination of Chinese characters and Hangul&lt;br /&gt;
&lt;br /&gt;
Modern Korean uses Hangul as the main written characters, but this does not mean that there is no place for Chinese characters in the Korean system. Since the launch of the abolition of Chinese characters movement in South Korea in the 1970s, Hangul did exactly achieved an overall penetration of every aspect of their daily life, but when it comes to important documents, Chinese characters still reserve a seat in the arena of South Korea’s history. Furthermore, a higher level of talent training is required now to meet the need of South Korea’s economic and social development, and the mastery of sinology has become, among all the necessary skills, one of the most straightforward evaluation criteria to access the qualified personnel. Thus, South Korea has restarted the Chinese character teaching movement. Nowadays, the official document system in South Korea has become one in which Hangul serves as the main language and the mixed use of Chinese characters and Hangul serves as a supplement. Just as how the mixed use of kana and Chinese characters in Japanese official documents may help in its translation, the mixed use of Chinese characters and Hangul also greatly facilitate the translation of official documents of Cangnan County into Korean. However, because Chinese characters used in Korea are composed of traditional Chinese characters and a small number of Korean self-made Chinese characters, we can not take it for granted that it is advisable to translate them word by word.&lt;br /&gt;
&lt;br /&gt;
For example, the title of the document《苍干任〔2020〕18号 王再忠等同志的任命》(“Cangnan Cadre Appointment [2020] No. 18: Appointment of Wang Zaizhong and etc.”) (the Office of CPC Cangnan Party Committee on March 27th, 2020) can be translated with the mixed use of Chinese characters and Hangul into Korean as《蒼南縣의 幹部任命〔2020〕18號 王再忠등 同志의任命》. Also, it be translated into Korean with Hangul alone as《참남현의 간부임명〔2020〕18호 왕재충등 동지의임명》.&lt;br /&gt;
&lt;br /&gt;
2. The Usage of Refined Language&lt;br /&gt;
&lt;br /&gt;
In recent years, South Korea has carried out reforms of the official document system, urging that the South Korean government agencies at all levels should use “refined(or purified) language”, that is, to write and publish official documents with words that are easy for the public to understand and have explicit meanings, reducing the cost of communication between the government and the public and, in this way, building a closer relationship between the government and the people, so that civil servants can communicate with the people more effectively. Refined language is a kind of common vernacular that differs from the official language. Although this trend of the wording of Korean official documents is not unconditional, but when compared with official documents of Cangnan County, which emphasize the solemnity and formality of official documents, this trend is the part that the translator has to pay his attention to.&lt;br /&gt;
&lt;br /&gt;
For example, when translating the expression “为加强行政规范性文件管理，切实推进依法行政，加快法治政府建设 (To strengthen the management of administrative normative documents, promote the administration in accordance with law, and accelerate the construction of a government ruled by law)” in the document《苍南县人民政府关于公布县政府及县政府办公室行政规范性文件清理结果的通知（有效）》(“Notice of the Office of the People's Government of Cangnan County on the Announcement of the Results of the Cleanup of the Administrative Normative Documents of the County Government and the County Government Offices (Effective)”) (the Office of the People's Government of Cangnan County on October 23th, 2020) , blunt expressions may not be that applicable and this expression translated into Korean in a more public-friendly way as “행정 규범적인 문서관리를 강화하기 위해, 법에따라 행정을 철저히 추진하고 법치정부의 건설을 가속화시킨다.”&lt;br /&gt;
&lt;br /&gt;
3. Mastery of the Equivalence of Semantic Meaning&lt;br /&gt;
&lt;br /&gt;
Like Japanese, Korean is also a typical agglutinative language. A sentence is formed by connecting independent words with various auxiliary words, and with a subordinating conjunction at the end of the sentence. Auxiliary words are just like glues, they exist after every subject, predicate, and object component of a Korean sentence to them together. For that these auxiliary words have no substantial meaning themselves, they must stay close to the main body in front, and a space must be put after. Therefore, when translating Chinese, which is an isolated language, into Korean, which is an agglutinative language, it is necessary to have mastery of the equivalence of the semantic meaning of the expression.&lt;br /&gt;
&lt;br /&gt;
For example, when translating the expression “全面实施全民参保计划，做好参保情况清查，提升参保信息质量，清理重复参保，稳定持续参保，减少漏保断保，实现应保尽保。(Fully implement the national social security plan, do a good job in checking the coverage of the social security, improve the quality of the collection of the information of the insured, clean up repeated insureds, stabilize the renewal of the social security, reduce the interruption of the social security, and achieve full social security coverage.)” in the document《关于做好2021年度城乡居民基本医疗保障工作的通知》(“Notice on Doing a Good Job in Basic Medical Security for Urban and Rural Residents in 2021”)( the Office of Medical Security Bureau of Cangnan County on November 5th, 2020), the translator should pay attention to the equivalence of semantic meaning of this long sentence and translated it into Korean as “전국민기본의료보험가입계획을 전면적으로 실시하고 기본의료보험가입상황을 철저히 조사하며 기본의료보험가입 정보의 질을 향상시키고 중복기본의료보험가입을 청산하며 안정적이고 지속적인 기본의료보험가입을 하며 보험누락을 줄이고 기본의료보험가입 을 실현해야 한다.”&lt;br /&gt;
&lt;br /&gt;
==='''Ⅴ. Studies of Official Document Translation and the Cause of Opening-up in Cangnan County'''===&lt;br /&gt;
&lt;br /&gt;
Based on the abovementioned basic characteristics of the official document system of Cangnan County, the notes for official documents translation under the context of the Japanese language and the notes for official documents translation under the context of the Korean language, we can see that official documents of Cangnan County is not as difficult to handle as something untranslatable. Cangnan County enjoys a good geographic location: it is located in the coast of the East China Sea, and is close to both Japan and South Korea, two strong economies in East Asia. However, Cangnan County has not yet made use of these favorable conditions to the fullest to promote cultural cooperation and trade with the two countries. Cangnan’s opening up to the outside world requires innovative thinking and an elaborate layout. Studies on the translation of official documents of Cangnan County, especially the translation of official documents under the context of the Japanese and Korean language, will help to explore the cultural spirit of the government institutions, and play an important role in building a good image of Cangnan County in East Asia and laying a foundation for Cangnan's cooperation with major countries and regions in East Asia .&lt;br /&gt;
&lt;br /&gt;
The world today is undergoing profound changes rarely in a century, and so is China. The tide of history moves on and Cangnan shall not stay out of the matter, but must follow it courageously and strive to open new doors for Cangnan's opening up to the outside world through the study of the official document translation of its own.&lt;br /&gt;
&lt;br /&gt;
===References===&lt;br /&gt;
&lt;br /&gt;
[1]Ziqi LIU. The Application of Functional Equivalence Theory in Scientific Translation：A Case Study of the Translation of Shipbuilding English[J]. CREATIVITY AND INNOVATION,2019,1(3).&lt;br /&gt;
&lt;br /&gt;
[2]Mu Dan. Discussion on Translation Activities Under the Guidance of Functional Equivalence Theory[J]. International Journal of Education and Management,2018,3(2).&lt;br /&gt;
&lt;br /&gt;
[3]李琳琳. 功能对等翻译理论与关联翻译理论比较研究[D].辽宁师范大学,2006.&lt;br /&gt;
&lt;br /&gt;
[4]赵娟廷. 汉韩公文语体对比研究[D].复旦大学,2003. &lt;br /&gt;
&lt;br /&gt;
[5]周萱. 《中国共产党怎样解决民族问题》（节选）中韩翻译报告[D].青岛大学,2017.&lt;br /&gt;
&lt;br /&gt;
[6]张利军. 《教学的游戏性研究》的汉日翻译实践报告[D].广西师范大学,2019.&lt;br /&gt;
&lt;br /&gt;
[7]栾亚琼. 《2015年山东省政府工作报告》汉日翻译实践报告[D].曲阜师范大学,2016.&lt;br /&gt;
&lt;br /&gt;
[8]占丽华. 源流与演变—日本地方公文书馆发展路径研究[D].山东大学,2020.&lt;br /&gt;
&lt;br /&gt;
[9]任清萍. 功能翻译理论视角下政府工作报告日译研究[D].外交学院,2020.&lt;br /&gt;
&lt;br /&gt;
[10]孙慧. 产业竞争力与区域经济增长[D].苏州大学,2006.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
--[[User:Wu Kai|Wu Kai]] ([[User talk:Wu Kai|talk]]) 04:45, 2 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
==The Translation Process and Methods of Translating English Long Sentences	周艺文	Zhou Yiwen==&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
===Abstract===&lt;br /&gt;
===Key words===&lt;br /&gt;
===摘要===&lt;br /&gt;
===关键词===&lt;br /&gt;
===Introduction===&lt;br /&gt;
&lt;br /&gt;
===Conclusion===&lt;br /&gt;
===Bibliography===&lt;br /&gt;
&lt;br /&gt;
==Chinese-English Translation of News Headlines From the Perspective of Skopos Theory	张维虹	Zhang Weihong==&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
==='''Abstract'''===&lt;br /&gt;
&lt;br /&gt;
==='''key words'''===&lt;br /&gt;
&lt;br /&gt;
News headlines; Skopos theory; translation&lt;br /&gt;
&lt;br /&gt;
==='''摘要'''===&lt;br /&gt;
社会的飞速发展使得人们的阅读方式发生了巨大的改变, 通过阅 读新闻标题来获取消息和了解事实, 成为大多数人的不二之选, 新闻标题 翻译也就越来越具有其必要性。 新闻标题的重要性堪比一部使人印象深刻 的电影名, 一则响亮的广告语, 一本撩人心弦的书名。 较之娱乐新闻, 时 政新闻略显严肃客观, 又因当今科技物质的飞速发展, 时政新闻的点阅数 量明显少于以消遣娱乐为目的的娱乐新闻。 怎样提高时政新闻的阅读量, 怎样使得时政新闻如同娱乐新闻一般深受广大人民的喜爱, 这不仅是新闻 编辑者们的挑战, 也是新闻翻译界的难题。 本文以德国功能派翻译目的论 为理论指导, 结合新闻学及编辑学的相关学科知识, 通过对中英时政新闻 标题的对比分析, 旨在对时政新闻标题的汉译英提出翻译策略, 让国外读者正确客观无误的了解中国的时事政策。&lt;br /&gt;
&lt;br /&gt;
==='''关键字'''===&lt;br /&gt;
&lt;br /&gt;
===Introduction===&lt;br /&gt;
&lt;br /&gt;
===Skopos Theory===&lt;br /&gt;
&lt;br /&gt;
===Features of News Headlines===&lt;br /&gt;
&lt;br /&gt;
===Chinese-English Translation Methods of News Headlines from the Skopos Perspective===&lt;br /&gt;
&lt;br /&gt;
===Conclusion===&lt;br /&gt;
&lt;br /&gt;
===Bibliography===&lt;br /&gt;
&lt;br /&gt;
==On Chinese-English Translation of Public Service Advertisements From the Perspective of Text-type Theory  司妤  Si Yu==&lt;br /&gt;
&lt;br /&gt;
==='''Abstract'''===&lt;br /&gt;
&lt;br /&gt;
==='''key words'''===&lt;br /&gt;
&lt;br /&gt;
==='''摘要'''===&lt;br /&gt;
&lt;br /&gt;
==='''关键字'''===&lt;br /&gt;
&lt;br /&gt;
===Text-type Theory===&lt;br /&gt;
&lt;br /&gt;
===Features of Public Service Advertisements===&lt;br /&gt;
&lt;br /&gt;
====Content Features====&lt;br /&gt;
&lt;br /&gt;
====Text Features====&lt;br /&gt;
&lt;br /&gt;
===Examples of C-E Translation of Public Service Advertisements===&lt;br /&gt;
&lt;br /&gt;
===Mistranslation of Public Service Advertisements===&lt;br /&gt;
&lt;br /&gt;
===Methods of C-E Translation of Public Service Advertisements===&lt;br /&gt;
&lt;br /&gt;
===Conclusion===&lt;/div&gt;</summary>
		<author><name>Song Jianru</name></author>
	</entry>
	<entry>
		<id>https://bou.de/u/index.php?title=History_of_Translation_Studies_8&amp;diff=107948</id>
		<title>History of Translation Studies 8</title>
		<link rel="alternate" type="text/html" href="https://bou.de/u/index.php?title=History_of_Translation_Studies_8&amp;diff=107948"/>
		<updated>2020-12-06T15:19:23Z</updated>

		<summary type="html">&lt;p&gt;Song Jianru: /* III Comparison of Original and Translation of A Pale View of Hills Along House's Translation Quality Assessment Model */&lt;/p&gt;
&lt;hr /&gt;
&lt;div&gt;这里是《翻译学史》的书稿第八部分(Part 8)。麻烦各位同学看一下已经存在的章回（样品），自己再加进去新的一个章回（就是你们的学期论文）。请也帮助同学们把他们的论文改正。这样多次修改，大家的论文会越来越好。&lt;br /&gt;
&lt;br /&gt;
学期论文（结合学期所学，撰写一篇5000以上单词的英文论文，按照专业杂志的格式，题目、摘要、关键词和参考文摘需要英中，文章英）。学期论文成绩占70%，平时成绩（含课堂表现、展示及作业）占30%。&lt;br /&gt;
&lt;br /&gt;
*Link back to course homepage: [https://bou.de/u/wiki/Introduction_to_Translation_Studies Course Homepage Intro. to TS]&lt;br /&gt;
*Link back to the final exam paper section of the course homepage: [https://bou.de/u/wiki/Introduction_to_Translation_Studies#Final_Exam_Papers Final Exam Papers]&lt;br /&gt;
*Link to other parts of the final exam papers: [https://bou.de/u/index.php?title=History_of_Translation_Studies_1 Final Exam Papers Part 1]&lt;br /&gt;
*Link to other parts of the final exam papers: [https://bou.de/u/index.php?title=History_of_Translation_Studies_2 Final Exam Papers Part 2]&lt;br /&gt;
*Link to other parts of the final exam papers: [https://bou.de/u/index.php?title=History_of_Translation_Studies_3 Final Exam Papers Part 3]&lt;br /&gt;
*Link to other parts of the final exam papers: [https://bou.de/u/index.php?title=History_of_Translation_Studies_4 Final Exam Papers Part 4]&lt;br /&gt;
*Link to other parts of the final exam papers: [https://bou.de/u/index.php?title=History_of_Translation_Studies_5 Final Exam Papers Part 5]&lt;br /&gt;
*Link to other parts of the final exam papers: [https://bou.de/u/index.php?title=History_of_Translation_Studies_6 Final Exam Papers Part 6]&lt;br /&gt;
*Link to other parts of the final exam papers: [https://bou.de/u/index.php?title=History_of_Translation_Studies_7 Final Exam Papers Part 7]&lt;br /&gt;
*Link to other parts of the final exam papers: [https://bou.de/u/index.php?title=History_of_Translation_Studies_8 Final Exam Papers Part 8]&lt;br /&gt;
*Link to other parts of the final exam papers: [https://bou.de/u/index.php?title=History_of_Translation_Studies_9 Final Exam Papers Part 9]&lt;br /&gt;
*Link to other parts of the final exam papers: [https://bou.de/u/index.php?title=History_of_Translation_Studies_10 Final Exam Papers Part 10]&lt;br /&gt;
&lt;br /&gt;
='''History of Translation'''=&lt;br /&gt;
== Study on Brand Name Translation from the Perspective of Cultural Difference	谭鑫洁	Tan Xinjie==&lt;br /&gt;
&lt;br /&gt;
==='''Abstract'''===&lt;br /&gt;
&lt;br /&gt;
== Abstract: ==&lt;br /&gt;
&lt;br /&gt;
==='''key words'''===&lt;br /&gt;
&lt;br /&gt;
==='''摘要'''===&lt;br /&gt;
&lt;br /&gt;
==='''关键字'''===&lt;br /&gt;
&lt;br /&gt;
===Complete transcript of the content of the original work ===&lt;br /&gt;
&lt;br /&gt;
===Same style and manner of writing===&lt;br /&gt;
&lt;br /&gt;
===Equivalent effect===&lt;br /&gt;
&lt;br /&gt;
===Discussion===&lt;br /&gt;
&lt;br /&gt;
===Conclusion===&lt;br /&gt;
&lt;br /&gt;
===Bibliography===&lt;br /&gt;
&lt;br /&gt;
==A Comparative Study on the Translation History in Western Countries and China	王煜	Wang Yu==&lt;br /&gt;
===摘要===&lt;br /&gt;
翻译是一种跨文化交流活动，翻译活动加快了人类文明发展步伐，减少了人们之间的沟通障碍。随着时代的变迁，中国和西方国家逐渐形成了各自的翻译史，翻译史的研究是学科建设的一项基础工程。尽管中西方翻译史在某些方面有所差异，但却都有着各自的独特性，并对人类的翻译活动产生了巨大的影响与贡献。文章将以中国和西方国家为主要对象，从二者翻译史起始，包含阶段和各阶段代表人物，影响意义，差异性出发，对二者的翻译史进行简略的对比研究。&lt;br /&gt;
&lt;br /&gt;
===关键词===&lt;br /&gt;
翻译史；西方翻译史；中国翻译史&lt;br /&gt;
&lt;br /&gt;
===Abstract===&lt;br /&gt;
Translation is an intercultural communication activity, translation activities have accelerated the development of human civilization and reduced the communication barriers between people of different countries or nations. With time goes by, things are in a state of flux and both the western and eastern countries have gradually formed their own history of translation, the study of translation history is a basic project of discipline construction. Though there are many differences among the translation histories of western countries and China, the two kinds of translation histories are still shining their own bright unique lights and have an indelible influence and contribution to human translation activities. This paper intends to make a brief comparison of translation histories between western countries and China, which includes the origins, the stages, the representatives of the stages, the significance and influence as well as the differences of the two translation histories.&lt;br /&gt;
&lt;br /&gt;
===Keywords===&lt;br /&gt;
Translation history; Translation history of the West; Translation history of China &lt;br /&gt;
&lt;br /&gt;
===1. Introduction===&lt;br /&gt;
No matter in China or in the west, translation plays an important role in knowledge-spreading. As an indispensable part of translatology, the study of translation history has made a great influence on translation activities, it has gradually become the focus of the literary and historical circles in recent years. Translation activities can be traced back to the origin of language, and the history of translation is almost as old as language itself, it is closely related to the changes in today's society. Since the 1980s, the translation studies in the mainland of China have made remarkable progress in the curriculum design of Chinese and western translation history and the compilation of related works. In the early 1980s and 1990s, there were many related works came out one after another including A brief history of Chinese Translation: the part before the May 4th Movement（《中国翻译简史-“五四”运动以前部分》） written by Zuyi Ma, A historical manuscript of Chinese translated literature （《中国翻译文学史稿》）edited by Yugang Chen, and also the A Short History of Translation in the West（《西方翻译简史》） the author of which is Zaixi Tan. Thus, it opens the gate for the compilation of Chinese and western translation history works.（谢天振，2009） The history of western translation can be divided into five stages while the Chinese study of translation has a glorious history of more than two thousand years and has experienced five climaxes. Through the comparative study of Chinese and western translation history, it will help us to have a deeper understanding of Chinese and western translation activities and thus to gather a general full view of it, which will be a positive and meaningful attempt.&lt;br /&gt;
&lt;br /&gt;
2. The Translation History of Western Countries&lt;br /&gt;
Western translation activities are rich in a long history and a multiyear span. The history of western translation can be roughly divided into three stages: the traditional stage, the modern times and the contemporary. More specifically, it can be grouped into the ancient times, the middle ages, the Renaissance period and the time after WWⅡ.&lt;br /&gt;
&lt;br /&gt;
2.1 The First Stage: Translation in the Ancient Times&lt;br /&gt;
    &lt;br /&gt;
The translation history of western countries first began in the the 3rd century B.C. &amp;quot;In a broad sense, the earliest translation in the west is the Old Testament translated by 72 Jewish scholars in Alexandria, ancient Egypt, between the 3rd and 2nd centuries BC; Strictly speaking, the first western translation is the Greek Homer Epic Odyssey translated by Andronicus in Rome in the middle of the third century BC.”(谭载喜,2000) At the end of the 4th BC, during this time, the Greece began to decay and the Roman had became stronger and stronger with its military expansion. The expansion of the Roman Empire brought it into contact with the splendid Greek culture, therefore, the Romans not only conquered the Greek city, but also inherited and developed the brilliant achievements of ancient Greek culture, and then created a  splendid cultural of its own era after Greece. So soon began a large scale translation activities, the activity of translating and introducing Greek classical works probably began in this period.（刘军平,2009）Many famous translation theorists began to make their presences, namely Cicero, Quentin, Jerome and so on, also the famous Roman litterateurs like Andronicus, Naevius, Ennius, these great writers used Latin language to translate or adapt Homer’s epic or other Greece dramas. Started the translation tradition and promoted the birth and development of Roman literature.&lt;br /&gt;
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2.2 The Second Stage: Translation in the Middle Ages (4th-6th)&lt;br /&gt;
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2.3 The Third Stage: Translation in the Middle Ages (11th-12th)&lt;br /&gt;
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2.4 The Fourth Stage: Translation in the Renaissance Period&lt;br /&gt;
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2.5 The Fifth Stage: Translation after WWⅡ&lt;br /&gt;
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3. The Translation History of China--[[User:Wang Yu|Wang Yu]] ([[User talk:Wang Yu|talk]]) 08:38, 30 November 2020 (UTC)--[[User:Wang Yu|Wang Yu]] ([[User talk:Wang Yu|talk]]) 08:43, 30 November 2020 (UTC)&lt;br /&gt;
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==The Implications of Luther's Translation Principles amid Renaissance for Modern Literature Translation	方洁玲	Fang Jieling==&lt;br /&gt;
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==Translation manipulated by ideology	许静	Xu Jing==&lt;br /&gt;
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==Comparison between the History of Chinese and Western Translation   周书尧   Zhou Shuyao==&lt;br /&gt;
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'''Abstract:'''There has a long history and culture Chinese and Western translation, and translation plays an indelible role in promoting cross-cultural communication and cultural communication. This article first discusses the history of translation in China from  four stages , then discusses the five stages of western translation history , and finally compares and analyzes the similarities and differences between Chinese and Western translation histories, and puts forward some of the author's own views.&lt;br /&gt;
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'''Key words:'''The history of Chinese,The history of Western,the stages of  translation history,comparison&lt;br /&gt;
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'''摘要：'''中西方翻译历史文化源远流长，翻译在促进跨文化交流和文化传播上承担着不可磨灭的作用。本文首先从中国的四次翻译高潮论述中国的翻译史，再从西方的五次翻译高潮探讨西方的翻译史，最后对中西方翻译史的异同进行对比分析，提出一些笔者自己的看法。&lt;br /&gt;
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'''关键词：'''中国翻译史，西方翻译史，翻译高潮，对比&lt;br /&gt;
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'''Ⅰ.Introduction'''&lt;br /&gt;
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Since the 1980s, the Chinese translation studies community has made remarkable progress in the establishment of Chinese and Western translation history courses and the compilation of related works.In the 1980s and early 1990s,A Brief Introduction to the History of Translation in China from Ma Zuyi and other books of Chen Yugang and Tan Zaixi were published one after another,which raised the curtain for the compilation of Chinese and Western translation history works by the domestic translation scholars.The four stages in the history of Chinese translation have promoted the development of Chinese history, culture and society to varying degrees.The same as our country, Western translation has an age-old history.In a sense, the development of Western European civilization should first be attributed to the translators.The five stages in the history of European translation have promoted the exchanges of literature, art, science and trade between countries, and to a certain extent promoted the development of Chinese translation.In fact, when we examine the development trajectory of Chinese and Western translation activities and the evolution of translation concepts together, we find that there are some similarities between Chinese translation and Western translation.Especially in the evolution of Chinese and Western translation concepts, the two have very similar evolution laws.&lt;br /&gt;
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='''Literal and Free Translation'''=&lt;br /&gt;
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==Rethink Literal and Free Translation	彭永亮	Peng Yongliang==&lt;br /&gt;
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==On the Chinese Translation of A Pale View of Hills from House’s Translation Quality Assessment Model	宋建茹	Song Jianru==&lt;br /&gt;
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===Abstract===&lt;br /&gt;
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Translation quality assessment is an integral part of translation criticism. The first TQA model with comprehensive theories and practices Juliane House represented provides a significant reference for translation exercises. ''A Pale View of Hills'', as the first work of Kazuo Ishiguro, possesses a great research value on its narrative styles by virtue of memory and topics about migrants. As of 2011 when its Chinese translation was published, no scholar has evaluated it. This study applies House’s TQA model to assess the Chinese translation of ''A Pale View of Hills'' with qualitative and quantitative analysis from lexical, syntactic and textual aspects, in a bid to examine validity of the model on novel translation, which turns out that it is an overt and high-quality translation.&lt;br /&gt;
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=== Key Words===&lt;br /&gt;
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''A Pale View of Hills''; House’s TQA model; novel translation&lt;br /&gt;
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=== 摘 要 ===&lt;br /&gt;
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翻译质量评估是翻译批评的核心课题。朱莉安·豪斯提出的第一个有完整的理论和实践的翻译质量评估模式，为翻译实践提供了重要参考。《远山淡影》是石黑一雄的处女作，其依托回忆的叙事风格和移民主题具有很高的研究价值。《远山淡影》中译本自2011年出版至今，尚未有学者对其进行评估研究。本文运用豪斯的翻译质量评估模式，采用定性与定量相结合的分析方式，从语场、语旨、语式等三个层面对原文和译文进行分析，开展《远山淡影》中译本的翻译质量评估研究，为豪斯翻译质量评估模式对小说翻译的运用进行进一步的探索和补充。通过分析，得出《远山淡影》中译本为显性翻译，翻译质量较高。''Italic text''&lt;br /&gt;
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=== 关键词 ===&lt;br /&gt;
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《远山淡影》；豪斯质量评估模式；小说翻译&lt;br /&gt;
===Introduction===&lt;br /&gt;
Translation criticism refers to the analysis and review of thoughts, activities and works of translation by virtue of relevant theories and views, in a bid to improve the overall quality of translators and translations. It is an integral part of translation studies. (Wang Enmian, 1999: 7) Translation quality assessment, as the integral and key part of translation criticism, plays a significant role in surveillance and promotion of translation quality. Among the extant translation quality assessment models, Juliane House’s ''A Model for Translation Quality Assessment and Translation Quality Assessment: A Model Revised'', based on Halliday's systemic functional linguistics and discourse analysis, are systematic, scientific and rational with a relatively complete system of parameters, quantitative methods and steps adhering to specific procedures. &lt;br /&gt;
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''A Pale View of Hills'', as Kazuo Ishiguro's first full-length novel, tells the life of the people in Nagasaki after WWII through the memory of protagonist Etsuko and explores recovery of trauma, collision between the old and new ideas, and kinship after war. The first person narrative, memory, humor and satire and international perspectives in the book became his major writing styles in the future. The novel won the Winifred Holtby Memorial Prize from the Royal Society. Its only Chinese translation at present, from Zhang Xiaoyi, is still not analyzed by the scholars. This paper uses House’s translation quality assessment model, with combination of qualitative and quantitative analysis, from field, tenor and mode to analyze the mismatches between original and translation in an attempt to assess the Chinese translation quality of ''A Pale View of Hills'' and further explore the application of House’s model in novel translation. The aim of the study is to promote scholars to regulate the behaviors of translation, to improve the quality of translation and translation evaluation, and to provide a reasonable way for establishing the interlingual conversion mechanism.&lt;br /&gt;
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The thesis consists of four chapters.&lt;br /&gt;
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After the Introduction, Chapter One gives a brief account of A Pale View of Hills and its research status, involving the author, background, content and influence. Chapter Two is a brief introduction of House’s TQA model, including its theoretic basis, parameter setting, operation steps and feasibility. Chapter Three is a detailed analysis of original and translation of A Pale View of Hills based on House’s model. Chapter Four is statement of translation quality assessment. Then we come to the last part, Conclusion.&lt;br /&gt;
===I Overview and Research Status of A Pale View of Hills===&lt;br /&gt;
''A Pale View of Hills'' is Kazuo Ishiguro's first novel, which laid a solid foundation for the formation of Ishiguro's writing style. The chapter mainly introduces the author, plot, theme and influence of the novel and analyzes its research status, in an attempt to master the material well and seek new perspectives for the paper.&lt;br /&gt;
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'''1.1 Overview of A Pale View of Hills'''&lt;br /&gt;
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Kazuo Ishguro is a noble contemporary Japanese English writer, whose novels feature first person narrative, detailed depiction of loneliness, depression, self-deception and anxiety of characters’ inner world and dual narrative strategy to deconstruct the narrator's self-identity, as well as discuss postwar trauma and migrant identity. He won Booker Prize, the British top literary prize, in 1989 and the Nobel Prize in literature in 2017. By virtue of his outstanding literary achievements, he is known as one of the Three Masters of English Migrant Literature together with Salman Rushdi and Naipaul.&lt;br /&gt;
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A Pale View of Hills, published in 1982, is Ishiguro's debut. The story, with postwar Nagasaki as its background, enjoys two clues: one is what happened when Niki (Etsuko’s little daughter) visited her mother after her sister Keiko died; the other is Etsuko’s memory about people and events in Nagasaki after the war. The two lines integrated together during the narrative, forming the illusory and imaginary impression. Many in-depth topics in this work are worth pondering: postwar trauma recovery, the collision between new and old ideas after war and discussion of family relations. Many marks in the work became his own styles: first-person narrative, memory, humor and satire, international perspectives. In addition, it won the Winifred Holtby Memorial Prize from the Royal Society and is still in print thirty years after its publication. This book, with its enormous emotion, unearths the abyss beneath the illusion of our connection to the world, whose artistic value and charm could be time-tested.&lt;br /&gt;
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'''1.2 Research Status of A Pale View of Hills'''&lt;br /&gt;
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There are 54 papers about A Pale View of Hills in domestic researches. According to the statistics from HowNet (as shown in the figure below), the number of studies on the work has been mounting, especially after Kazuo Ishiguro won the Nobel Prize for Literature in 2017. The perspectives of these researches are mainly from identity anxiety, unreliable narrative and post-war trauma. In Identity Anxiety in Kazuo Ishiguro's A Pale View of Hills, Wang Fei discusses the identity anxiety of migrants, exploring manifestations, causes and influence of such anxiety on the characters. In Memory and Narrative Unreliability of A Pale View of Hills, He Xiaobing combined with the classical narratology to analyze how unreliable narration method is presented in the work and discussed the inner world of the characters. In Trauma in Kazuo Ishiguro's A Pale View of Hills, Liu Xiaoya explores the protagonist's trauma by using Sigmund Freud’s psychoanalysis theory and trauma theory (including post-freudian psychological trauma theory), contemporary trauma culture theory along with rhetorical narrative theory.&lt;br /&gt;
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[[File:picture1.pgn]]&lt;br /&gt;
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At abroad there are more perspectives about the studies of A Pale View of Hills. In addition to the main research directions of domestic scholars, such as identity anxiety of characters, unreliable narrative research and post-war trauma, cultural displacement, family relationship and the influence of region on personality presented in the works are also analyzed. The Impact of Place on Personality in Kazuo Ishiguro's A Pale View of Hills: An Eco-critical Study co-written by Awla, Yousif Hamad and Azad Sharif, from the perspective of ecocriticism, clarifies the fact that a place is able to define and guide the emotions and thoughts of characters, and analyzes the reasons why geography forms characters of people in order to draw people’s attention to the impact of surrounding environment on them. Ruth Forsythe's article Cultural Displacement and the Mother-daughter Relationship in Kazuo Ishiguro's A Pale View of Hills focuses more on the relationship between mother and daughter under cultural displacement. However, no scholars have analyzed the language itself from the perspective of systemic functional linguistics.&lt;br /&gt;
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The Chinese translation of A Pale View of Hills, Zhang Xiaoyi’s version, was published by Shanghai Translation Publishing House in 2011, and the bilingual version in 2019. Up to now, there has no translation criticism or discussion about this translation. Since 2011 when it was translated, it came to draw the attention of scholars and readers. Translation is a direct factor that affects the integrity of author’s thought, the reader's perception and the accuracy of the scholar’s study, thus it is indispensable to use the House’s Translation Quality Assessment model to analyze the Chinese translation of A Pale View of Hills.&lt;br /&gt;
===II Introduction of House's Translation Quality Assessment Model===&lt;br /&gt;
Juliane House's model was described as the first translation quality assessment model with complete theories and practices by international translation criticism, which could provide an important reference for translation learners and scholars. By introducing the theoretical basis, parameter system and operation steps of House’s model, this chapter will discuss the feasibility of House’s model in the evaluation of the Chinese translation of A Pale View of Hills, in an effort to foster the application of House’s model in the quality evaluation of full-length novels.&lt;br /&gt;
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'''2.1 Theoretical Basis of House's Model'''&lt;br /&gt;
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The assessment of translation quality draws upon different translation standards, which are then embodied by the recognition about essence of translation. House deemed that crunch of the translation quality assessment lies in recognition of the nature of translation, namely that “translation is the replacement of a text in the source language by a semantically and pragmatically equivalent text in the target language.” (House, 1977: 30)&lt;br /&gt;
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In House’s initial model in 1977, she drew upon language behavior theory, language and text function and context to divide the source language text into two situational dimensions: dimension of language user and dimension of language use. The former includes three aspects: geographical origin, social class and time. The latter includes five aspects: medium, participation, social role relationship, social attitude and province. The evaluation depends on the matching degree between                                                                                                                                                                                                                                                                                                                                                                                          original text and translation. The higher the matching degree is, the better the translation quality is. The quality evaluation of the translated text needs to state mismatching degree of each dimension in the whole context, that is, the description of the quantity of covert errors (errors in context dimension) and overt errors (referential mismatcher or grammatical violation of target language system).&lt;br /&gt;
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Based on myriad practice, House realized that the initial eight dimensions overlap in some parts. Therefore, in 1997, she revised the original model from the perspective of the context, unifying the previous eight parameters to field, tenor and mode. Field compares subject matter and social action of the original with that of translation. Tenor emphasizes the matching degree on the relationship of participants, time, region, position of author, social role relationship and social attitudes. Mode pays more attention to medium and participation. In addition, House incorporated &amp;quot;genre&amp;quot; into revision model in order to explain the deep structure of the text.&lt;br /&gt;
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'''2.2 Operation Steps of House's Model'''&lt;br /&gt;
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When evaluating the translation quality of the text, House's model focuses on comparison between original text and translation from field, tenor, mode and genre, clarifies and summarizes mismatches found in the text, so as to obtain a quality report of the translation. The detailed steps presented as follows: &lt;br /&gt;
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1) Analyze the register and genre of the original text to get its textual functional profile. The original text is analyzed from four dimensions: field, tenor, mode and genre. According to the analysis, “functional statement”, involving ideational and interpersonal functions, needs to be deduced.&lt;br /&gt;
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2)Compare the target text and the source text to find differences or mismatches. Through the comparative analysis between original and translation along the dimensions on the model, mismatches or differences found in the comparison are sorted out by virtue of overt errors or covert errors and expounded in detail one by one.&lt;br /&gt;
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3)Summarize the differences and mismatches demonstrated from the above steps in lexical, syntactic and textual aspects. Based on above statistics and statement, make the quality statement. The fewer the mismatches are, the better the translation quality is. If readers clearly realize the text a translation work, it is overt translation; while if not, it is covert translation.&lt;br /&gt;
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'''2.3 Feasibility of the Model in Chinese Translation of A Pale View of Hills'''&lt;br /&gt;
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At present, there are 78 relevant studies on House’s Translation Assessment model, which are mainly divided into three directions: interpretation of House Translation Assessment model and its revision, evaluating translation of literary works along the model and evaluating translation of applied text along the model. Among them, evaluation of the translation of literary works accounts for 29, which enjoys the following two characteristics:&lt;br /&gt;
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1)There are merely a few researches applying House model to Chinese translation of literary works. Among the 29 journals and papers evaluating translation of literary works, there are 25 studies that attach great importance to the English translation and 4 to Chinese translation, which signifies that we need more researches of Chinese translation to support the validity of the model on different languages. Therefore, the paper, with the Chinese translation of A Pale View of Hills as its corpus, intends to examine the feasibility of the application of House’s model to Chinese translation.&lt;br /&gt;
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2)There are merely a few researches applying House model to the translation of full-length novels. Among the 29 journals and papers on evaluating translation of literary works, most of which focus on the evaluation of poems and prose, merely 5 studies are analysis of translation of full-length novels. English translation accounts for 3 and Chinese translation for 2, which demonstrates that we need more researches with full-length novels as corpus to support the validity of the model in different genres. Therefore, the paper, with the full-length novel A Pale View of Hills as its corpus, intends to examine the feasibility of the application of House’s model to full-length novels.&lt;br /&gt;
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In conclusion, given that the researches based on Chinese translation of full-length novels are insufficient, the paper will use the Chinese translation of A Pale View of Hills as its corpus to validate the feasibility of House’s TQA model.&lt;br /&gt;
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===III Comparison of Original and Translation of '''A Pale View of Hills''' Along House's Translation Quality Assessment Model===&lt;br /&gt;
''A Pale View of Hills'' is the debut of Kazuo Ishiguro, whose Chinese translation was published by Shanghai Translation Publishing House in 2011. House's Translation Quality Assessment model is the first objective model combining quantative analysis with qualitive analysis. The paper applies House’s Translation Quality Assessment model to Chinese translation of ''A Pale View of Hill'', comparing the source text and target text in lexical, syntactic and textual aspects along the three dimensions of register and summarizing the mismatches on field, tenor and mode, in an effort to quantitatively assess the translation quality of ''A Pale View of Hills''.&lt;br /&gt;
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'''3.1 Comparison on Field'''&lt;br /&gt;
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Field refers to the content or the topic of the text. It is concerned with subject matter and social action which covers the specificity of lexical items. After comparison between the source text and target text on field, there are 18 mismatches, 12 of which are overt errors and 6 covert errors. Among them, there are 9 lexical errors, 1 textual error and 8 syntactic errors. The lexical and textual errors are mainly covert errors, so in general their translation is of high quality. Although most of syntactic errors are not in line with the grammar of target language system, they won’t influence the understanding of the text. Therefore, by and large, translation on field are high-quality.&lt;br /&gt;
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'''3.1.1 Lexical Field'''&lt;br /&gt;
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Lexical field means the immediate or possible scenes or events evoked in people’s mind when they read or hear the words or lexical items. After the analysis of the original and target text, there are 9 mismatches, 4 of which are overt errors and 5 are covert ones. Most of them won’t block readers to master the overall meanings. Therefore, the translation quality on lexical items are relatively high. &lt;br /&gt;
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Example 1：&lt;br /&gt;
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...and the soaked surfaces of brick and concrete were drying all around us.&lt;br /&gt;
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湿透了的砖头和水泥开始变干。(P8)&lt;br /&gt;
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Concrete refers to building material that is made by mixing together cement, sand, small stones and water according to Oxford Dictionary, which includes cement rather than equates it. So, it is not very accurate to translate in this way even if the two words are similar. It is obviously an overt error. &lt;br /&gt;
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Example 2：&lt;br /&gt;
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As far as I remember, that was the first occasion I spoke to Mariko.&lt;br /&gt;
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我印象那是我第一次跟万里子说话。(P11)&lt;br /&gt;
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In the translation, “印象” as a noun refers to a mental picture that you have of what somebody/something is like or looks like. In the light of the rules or grammar of Chinese, it is hardly used as a verb. Thus, it is an overt error. &lt;br /&gt;
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Example 3：&lt;br /&gt;
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It's such a shame.&lt;br /&gt;
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真不像话。(P16)&lt;br /&gt;
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A shame is used to say that somthing is a cause for feeling sad or disappointed. In the original, the sentence is to express Etsuko’s pity to the homeless dogs and cats around her community rather than her distaste or complaint. Here it is translated into its other meaning when ignoring the context, belonging to a covert error. &lt;br /&gt;
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Example 4：&lt;br /&gt;
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Why don't you go into the kitchen for a little while?&lt;br /&gt;
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你为什么不到厨房去一会儿呢？(P26)&lt;br /&gt;
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In the translation, “去” is not very appropriate on the basis of grammar of Chinese, since it is such an action verb that does not match with state phrases. In the course of translation, some prepositions in English need to be transferred into verb in Chinese, which are supposed to pay attention to the rules of target language. Here it is obviously an overt error.&lt;br /&gt;
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Example 5：&lt;br /&gt;
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It's not appreciated simply because the product disappears so quickly.&lt;br /&gt;
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不能因为它的产品很快就消失了而不懂得欣赏。(P34)&lt;br /&gt;
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According to the context, Ogata-San believes that cooking is “as noble as painting or poetry”. So here the product refers to food cooked. Given the concrete expression in Chinese, the product is supposed to be translated more concretely in accordance with the context. It is a covert error.&lt;br /&gt;
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Example 6：&lt;br /&gt;
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Perhaps it is just my fancy that I felt a cold touch of unease there on that bank, a feeling not unlike premonition. &lt;br /&gt;
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这也许只是我的想象，但是那时我在河边觉得凉飕飕的，很不自在，像是感觉有事要发生。(P44)&lt;br /&gt;
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“Unease” refers to the feeling of being worried or unhappy about something. Given the above-mentioned, Etsuko worried about the safety of Mariko when she was not at home. It differs from its translation that means the feeling of being ill at ease. It is an overt error. &lt;br /&gt;
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Example 7：&lt;br /&gt;
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You mustn't suppose, Etsuko, simply because you've seen her in these…in these present surroundings, that she's some peasant's child.&lt;br /&gt;
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悦子，你不能因为……因为眼前的事物就认为她是什么贫农的孩子。(P51)&lt;br /&gt;
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Sachiko is not rich according to the context, so “peasant” intimates the meaning of poverty. Its translation explicitly represents it, which is accessible and intelligible. However, “贫农” enjoys extra cultural meaning in China, which could date back to the Cultural Revolution when lands was apportioned based on people’s wealth, so it might mislead readers to its political implication. It is a covert error.&lt;br /&gt;
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Example 8：&lt;br /&gt;
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“I must have been such a burden to you in those days,” I said, quietly.&lt;br /&gt;
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“我那时肯定成了您的负担，”我静静地说。(P68)&lt;br /&gt;
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Here “quiet” refers to making very little noise, which coincides with the act of saying. According to the context, Etsuko lowered her noise out of guilt when she realized she bothered her family when she practised violin before. However, its translation means the statement without any noise, which obviously contravenes the context, belonging to covert translation.&lt;br /&gt;
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Example 9：&lt;br /&gt;
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I could see something moving beside her in the shade.&lt;br /&gt;
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我看见她身旁的影子里有什么东西在动。(P14)&lt;br /&gt;
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“Shade” means an area that is dark and cool under or behind something, for example a tree or building, because the sun’s light does not get to it, rather than the shadow which the translator believed. As previously mentioned in the text, “Mariko was lying in the corner furthest from the sunlight”, which also signifies that it is impossible to exist dark shape under the light around Mariko. Thus, the translation of “shade” is not on a par with the context, belonging to a covert error.&lt;br /&gt;
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'''3.1.2 Syntactic Field'''&lt;br /&gt;
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Syntactic field means the immediate image appeared in people’s mind when they read the sentences. The mismatches in syntactic field are usually for the violation of rules of target language or misinterpreting the source text. On syntactic field, there are 8 mismatches, seven of which are overt errors and one is covert. Among the overt errors, seven sentences are not in line with the rules of target language, which won’t influence the ideational meaning. Therefore, the translation quality on syntactic field is high.&lt;br /&gt;
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Example 1：&lt;br /&gt;
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It did upset me, hearing about her.&lt;br /&gt;
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我真的很难过，听到她的死讯。(P4)&lt;br /&gt;
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Example 2：&lt;br /&gt;
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But I was sad though, when I heard.&lt;br /&gt;
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可是我真的很难过，听到她的消息。(P4)&lt;br /&gt;
&lt;br /&gt;
Example 3：&lt;br /&gt;
&lt;br /&gt;
It's certainly an amusing sort of experience, working in a noodle shop.&lt;br /&gt;
&lt;br /&gt;
这真是很有趣的经历，在面包店里工作。(P26)&lt;br /&gt;
&lt;br /&gt;
In English, the important or unknown information appeared firstly, and the second one follows. However, in Chinese, the second important presents at first, paving the foundation for the more pivotal or unknown one. In above three examples, their translation doesn’t adjust the sequence in line with target language rules. These are overt errors.&lt;br /&gt;
&lt;br /&gt;
Example 4：&lt;br /&gt;
&lt;br /&gt;
…certain arrangements I made have not gone as planned.&lt;br /&gt;
&lt;br /&gt;
一些事情没有照我计划的那样。(P17)&lt;br /&gt;
&lt;br /&gt;
The translation is not complete as the predicate verb “have gone” is not translated, which does not conform with the grammar of Chinese. It is an overt error.&lt;br /&gt;
&lt;br /&gt;
Example 5：&lt;br /&gt;
&lt;br /&gt;
She appeared to know them, for as she walked across the forecourt, she gave them a familiar greeting.&lt;br /&gt;
&lt;br /&gt;
看来她认识她们，边走过水泥地，边熟识地跟她们打招呼。(P26)&lt;br /&gt;
&lt;br /&gt;
The original is a compound-complex sentence with “for” for causal relation and “as” for coordinate relation. In the translation, the former is represented but the later isn’t, neither by conjunction words nor by clause sequence. It causes that the translation lacks of logic, belonging to an overt error.&lt;br /&gt;
&lt;br /&gt;
Example 6：&lt;br /&gt;
&lt;br /&gt;
It's an opportunity for a teacher to see the fruits of his work, and for the pupils to express their gratitude to him.&lt;br /&gt;
&lt;br /&gt;
这是一个机会让老师看看他的劳动成果，让学生们向他表示感谢。(P30)&lt;br /&gt;
&lt;br /&gt;
The translation adheres to the sequence of the original but ignores the fluency of the sentence. In English, attributives are at both ahead of and behind the objects; while in Chinese, they mostly are preceded. Therefore, the translation violates the grammar of the target language, belonging to an overt error.&lt;br /&gt;
&lt;br /&gt;
Example 7：&lt;br /&gt;
&lt;br /&gt;
There's nothing like a timely reminder of one's personal obligations.&lt;br /&gt;
&lt;br /&gt;
及时地提醒个人的责任之类的东西也没有。(P71)&lt;br /&gt;
&lt;br /&gt;
“There's nothing like” is a common sentence pattern in spoken English, meaning nothing else is able to match. The original would have expressed that “a timely reminder of one’s personal obligations” is the most important. The translator misunderstood the meaning utterly, making an overt error.  &lt;br /&gt;
&lt;br /&gt;
Example 8：&lt;br /&gt;
&lt;br /&gt;
It amazes me, how things have changed so much so quickly.&lt;br /&gt;
&lt;br /&gt;
太让我吃惊了，世道变得如此之大，如此之快。(P195)&lt;br /&gt;
&lt;br /&gt;
The translation, by and large, is in accordance with the original. Yet there is possibility for readers to be confused about the accuracy of words collocation. Although “so much” and “so quickly” modify the verb “change”, we have to respectively choose the proper words to collocate. It is a covert error. &lt;br /&gt;
&lt;br /&gt;
'''3.1.3 Textual Field'''&lt;br /&gt;
&lt;br /&gt;
On textual field, there is only one error---overt error. It is caused by misconstruing what the pronoun refers to. By and large, the translation, through the comprehensive analysis on textual field, is high-quality. &lt;br /&gt;
&lt;br /&gt;
Example 1：&lt;br /&gt;
&lt;br /&gt;
That's just not how it was though.&lt;br /&gt;
&lt;br /&gt;
但是我和她根本不是这样。(P4)&lt;br /&gt;
&lt;br /&gt;
According to “Sisters are supposed to be people you're close to, aren't they. You may not like them much, but you're still close to them”, it refers to the whole view instead of certain relationship between me and my sister. The referential meaning does not accord with that of the original. It is an overt error.&lt;br /&gt;
&lt;br /&gt;
'''3.2 Comparison on Tenor'''&lt;br /&gt;
&lt;br /&gt;
Tenor refers to the nature of the participants, the addresser and the addressee, and the relationship between them in terms of social power and social distance. After comparing the original and the translation of A Pale View of Hills, there are 8 mismatches on social attitude and social role relationship, one of which is an overt error and the rest are covert. In general, the translation is highly in accordance with the original so the quality is high on tenor. &lt;br /&gt;
&lt;br /&gt;
'''3.2.1 Social Attitude'''&lt;br /&gt;
&lt;br /&gt;
Social attitude refers to the social distance between communicators and the degree of formality of discourse. The misunderstanding of social attitude in the translation process will affect the readers' understanding of the characters in the novel. Therefore, mistakes in representing social attitude of characters should be minimized and even avoided in the translation process. There are 4 mismatches on social attitude in the translation: one is an overt error and the rest are covert errors. By and large, the translation on displaying the social attitude of the original is great. &lt;br /&gt;
&lt;br /&gt;
Example 1：&lt;br /&gt;
&lt;br /&gt;
The English are fond of their idea that our race has an instinct for suicide.&lt;br /&gt;
&lt;br /&gt;
英国人有个奇特的想法，觉得我们这个民族天生爱自杀。(P4)&lt;br /&gt;
&lt;br /&gt;
In the original text, the attitude of the character is relatively objective. However, in the translation, the attitude is represented overly by using an adjective, which might be translator’s understanding on author’s attitude. It limits different interpretation to the author’s attitude from readers. It is an overt error. &lt;br /&gt;
&lt;br /&gt;
Example 2：&lt;br /&gt;
&lt;br /&gt;
“Which are you hoping for, Etsuko?” he asked, eventually. “A boy or a girl?”&lt;br /&gt;
&lt;br /&gt;
“你想是男孩还是女孩呢，悦子？”过了一会儿他问道。(P35)&lt;br /&gt;
&lt;br /&gt;
Ogata-San would like to know Etsuko’s mind about the upcoming baby, but he is not sure if it is proper. At last, curiosity overpowers his hesitation. In the original text “eventually” signifies both time and emotion span. But the translation only manifests the time span. It is a covert error.&lt;br /&gt;
&lt;br /&gt;
Example 3：&lt;br /&gt;
&lt;br /&gt;
“Tell me, Etsuko,” he said, not looking up from his laces. “Have you met this Shigeo Matsuda?”&lt;br /&gt;
&lt;br /&gt;
“告诉我，悦子，”他头也不抬地说。“你见过这个松田重夫吗？”(P36-P37)&lt;br /&gt;
&lt;br /&gt;
Ogata-San, as Etsuko’s father-in-law and adopter after the war, gets along well with her. In the original text, Ogata-San is “not looking up” when speaking to Etsuko since he is lying his laces. The translation ignores the reason, which renders Ogata-San a cold man. It is a covert error.&lt;br /&gt;
&lt;br /&gt;
Example 4:&lt;br /&gt;
&lt;br /&gt;
I'm sure she'd be the first to agree with me about Kazuo mourning her like this.&lt;br /&gt;
&lt;br /&gt;
我肯定她会第一个同意我的观点，和夫不应该再这样想着他了。(P94)&lt;br /&gt;
&lt;br /&gt;
From the original, we can feel the love of Mrs. Fujiwara to her son. However, after reading its translation, we can feel nothing but her dominance. It signifies that the translation deviates from the original context. It is a covert error.&lt;br /&gt;
&lt;br /&gt;
'''3.2.2 Social Role Relationship'''&lt;br /&gt;
&lt;br /&gt;
Social role relationship refers to the social relation between the speaker and the receiver, that is, symmetry and asymmetry. The analysis on the social roles relationship in novels is generally from two aspects: relationship between the author and readers, and relationship between the various characters in the work. The former is remained utterly, while the latter is slightly different from that in the original. A total of 4 mismatches are found in the comparison, all of which are covert errors. In the full-text translation, the overall relationship between the characters is the same as that of the original text, and only a few mismatches are found. Therefore, on social role relationship, translation is of high quality.&lt;br /&gt;
&lt;br /&gt;
Example 1：&lt;br /&gt;
&lt;br /&gt;
She said it would be perfectly all right if you came and waited for her at my house.&lt;br /&gt;
&lt;br /&gt;
她说你可以到我家来等她。(P13)&lt;br /&gt;
&lt;br /&gt;
The translation omits “be perfectly all right if”, which takes the edge off the amiability from Etsuko to Mariko. Given the whole plot of the novel, Mariko is a phantom of Etsuko’s old daughter Keiko. The obscure feelings between Mariko and Etsuko are very important to implicate their special emotion. Therefore, the translation ignores to take a consideration of the context. It is a covert error.&lt;br /&gt;
&lt;br /&gt;
Example 2：&lt;br /&gt;
&lt;br /&gt;
As I say, this order came into the office the day you arrived. A real nuisance.&lt;br /&gt;
&lt;br /&gt;
我说过了，订单刚好在您来的那天来了。真是讨厌。(P29)&lt;br /&gt;
&lt;br /&gt;
On the basis of the context, Jiro (Etsuko’s husband) is explaining to his father Ogata-San that he is so busy that he could not accompany him. He feels apologetic about that. However, the tone of speaking in translation is impatient and a bit furious, which runs against that of the original. So, it is a covert error. &lt;br /&gt;
&lt;br /&gt;
Example 3：&lt;br /&gt;
&lt;br /&gt;
I should warn you, perhaps. My daughter has been in a somewhat difficult mood these past few days.&lt;br /&gt;
&lt;br /&gt;
也许我应该警告你。我女儿这几天情绪很不好。(P90)&lt;br /&gt;
&lt;br /&gt;
Warn enjoys two major meanings: to tell somebody about something, especially something dangerous or unpleasant that is likely to happen, so that they can avoid it; to strongly advise somebody to do or not to do something in order to avoid danger or punishment. In the original, Sachiko entrusts Etsuko to look after her daughter so the former one is appropriate. However, in the translation the later one is adopted, which is absolutely improper. It is a covert error. &lt;br /&gt;
&lt;br /&gt;
Example 4：&lt;br /&gt;
&lt;br /&gt;
Now listen carefully, or else you'll never find the noodle shop.&lt;br /&gt;
&lt;br /&gt;
现在您听好了，不然您永远也别想找到面馆。(P183)&lt;br /&gt;
&lt;br /&gt;
The sentence is said when Etsuko intends to tell Ogata-San the route to the restaurant of Mrs Fujiwara. On the basis of the context, Etsuko is very reverent to Ogata-San. However, the manner of translation is tough, which is not of a piece with the original. It doesn’t take account of the context, so it is a covert error.&lt;br /&gt;
&lt;br /&gt;
'''3.3 Comparison on Mode'''&lt;br /&gt;
&lt;br /&gt;
Mode can be divided into medium and participation. In the course of analyzing both the original and the translation, a total of 6 mismatches are found on the two dimensions and all of them are covert errors, which manifests the translation are generally of a piece with the original. The translation on mode is of high quality.&lt;br /&gt;
&lt;br /&gt;
'''3.3.1 Language Medium'''&lt;br /&gt;
&lt;br /&gt;
Language medium mainly refers to whether the form of language is spoken or written, simple or complex. The contrast between the model of the source text and the target text is mainly reflected in the linguistic features and diction features of text rather than language types used. The language of A Pale View of Hills is simple, delicate and easy to understand, with short sentence, plenty of dialogues between characters and a high degree of colloquialism. The overall style of the translation is similar with that of the original, with only 4 stylistic covert mismatches. Therefore, on language medium, the translation quality is great.&lt;br /&gt;
&lt;br /&gt;
Example 1：&lt;br /&gt;
&lt;br /&gt;
…on one side of the tracks at the foot of the hill could be seen a cluster of roofs.&lt;br /&gt;
&lt;br /&gt;
山脚下铁路的一侧是鳞次栉比的屋顶。(P8)&lt;br /&gt;
&lt;br /&gt;
Cluster means a group of things of the same type that grow or appear close together, whose translation accords with it in the ideational meaning. Nonetheless, “鳞次栉比” in Chinese is a four-character phrase that usually appears in formal written text. It is more complex than the style of the text. It is a covert error.&lt;br /&gt;
&lt;br /&gt;
Example 2：&lt;br /&gt;
&lt;br /&gt;
We're just rabble, like your husband says.Please don’t make a fuss, please sit down.&lt;br /&gt;
&lt;br /&gt;
正如您丈夫说的，我们只是两个混蛋。不用麻烦了，请坐下。(P74)&lt;br /&gt;
&lt;br /&gt;
The situation happens when Jiro’s colleagues come round. From the conversation between Jiro and his colleagues, it is found that they are very familiar and intimate. So, words such as “rabble” and “like” are of high colloquialism. Nevertheless, in the translation “正如” is a formal expression, which is not in line with the original. Thus, it is a covert error.&lt;br /&gt;
&lt;br /&gt;
Example 3：&lt;br /&gt;
&lt;br /&gt;
Blankets and laundry hung from many of the balconies.&lt;br /&gt;
&lt;br /&gt;
很多阳台上挂着毯子啦、洗的衣服啦。(P181)&lt;br /&gt;
&lt;br /&gt;
Example 4：&lt;br /&gt;
&lt;br /&gt;
Young women these days are all so headstrong. And forever talking about washing-machines and American dresses.&lt;br /&gt;
&lt;br /&gt;
现在女孩子任性得很。而且整天在讲什么洗衣机啦、洋裙啦。(P195)&lt;br /&gt;
&lt;br /&gt;
The two sentences are the description of the street which Etsuko and Ogata-San pass by when they intend to visit Shigeo. Etsuko is a calm and composed Japanese woman, whose language style is the same. Modal particles used in translation render the language abrupt and frisky. So, it is a covert error.&lt;br /&gt;
&lt;br /&gt;
'''3.3.2 Participation'''&lt;br /&gt;
&lt;br /&gt;
Participation refers to whether the speech is a simple monologue or a complex form that prompts the listeners or readers to participate indirectly, for example, by the transition between statements and questions and the special use of pronouns. The whole plot of A Pale View of Hills is a soliloquy narrated in the first person, interleaved with dialogues between different characters. Readers hardly could participate indirectly in it. The translation is basically in the same style as the original, except for the two following examples. The two declarative sentences are translated into a rhetorical question, which does not require readers to answer as well. Therefore, the translation is of high quality in terms of participation.&lt;br /&gt;
&lt;br /&gt;
Example 1：&lt;br /&gt;
&lt;br /&gt;
That’s no way to bring a child into the world, visiting the cemetery every week.&lt;br /&gt;
&lt;br /&gt;
这样怎么能把孩子带到这个世上呢？(P24)&lt;br /&gt;
&lt;br /&gt;
Example 2：&lt;br /&gt;
&lt;br /&gt;
It seems very disloyal.&lt;br /&gt;
&lt;br /&gt;
这不是忘恩负义吗？(P32)&lt;br /&gt;
&lt;br /&gt;
The quality statement of the Chinese Translation of A Pale View of Hills focuses on whether it is an overt transaltion or a covert translation and its matching degree. On the one hand, it is an overt translation. Accoring to above analysis, the translation is closely related to the culture of the sourse language text. From the translation, expressions with Japanese culture can be found clearly. On the other hand, it is of high quality. There are 32 mismatches in total, 18 mismatches on field, 8 on tenor and 6 on mode. Among them, there are 13 overt errors and 19 covert errors. Covert errors caused by ignoring the context and overt errors caused by violating the rules of target language inflict only a little ambiguity on ideational function, interpersonal function and the quality of the text.&lt;br /&gt;
&lt;br /&gt;
===IV Quality Statement of Chinese Translation of A Pale View of Hills===&lt;br /&gt;
&lt;br /&gt;
==On the Relationship among Literal Translation, Free Translation, Domestication and Foreignization	韦洪朗	Wei Honglang==&lt;br /&gt;
&lt;br /&gt;
==On Chinese-to-English Translation of The Summer Palace from the Perspective of Functionalist Approaches to Translation	魏亚菲	Wei Yafei==&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
===Abstract===&lt;br /&gt;
Abstract&lt;br /&gt;
The Chinese-English translation of tourist texts, as a window for the external publicity of national history and culture, plays an important role in promoting the development of local tourism. The Summer Palace is well known for its large and priceless collection of cultural relics, which is among the first group of historical and cultural heritage sites in China to be placed under special state protection. &lt;br /&gt;
Based on the functionalist approach and the skopos rule, this paper discusses the problems existing in the translation of scenic spots in the Summer Palace from the perspectives of garden culture, historical culture and religious culture. Skopos theory holds that translation depends on communicative purpose. To achieve this goal, translators can choose different translation strategies. It is believed that the purpose of Chinese-English translation of scenic spots is to attract target readers and promote traditional culture. Therefore, when translating tourism materials, it is necessary not only to express the local cultural connotation, but also to consider the cross-cultural factors. The Chinese-English translation of the introduction of scenic spots guided by functionalist approach can make English readers have expectations of scenic spots and understand the cultural connotation of scenic spots. This paper aims to better promote the development and communication of Chinese culture and improve the level of tourism text translation in China by relying on the theory of functionalist approach.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
===Key words===&lt;br /&gt;
Key Words: functionalist approach，the Summer Palace，translation strategies&lt;br /&gt;
&lt;br /&gt;
===摘要===&lt;br /&gt;
摘 要&lt;br /&gt;
旅游资料的英译作为民族历史文化对外宣传的一道窗口,对地方旅游业的发展有着不可低估的促进作用。颐和园作为中国著名的皇家园林，具有浓厚的中国园林特色及优美的风景，同时也蕴涵着深厚文化内涵。&lt;br /&gt;
本篇旅游文本英译的分析以功能派翻译理论作为理论指导，以目的法则为主要原则，从颐和园的园林文化、历史文化和宗教文化三个角度出发对颐和园景点英译中存在的问题进行探讨。目的论认为译文取决于翻译目的，这个目的通常指的是交际目的。为达到这个目的，译者可以选择不同的翻译策略。也就是说，译者的翻译策略必须由译文的预期目的或功能决定，即所谓的“目的法则”。笔者认为景点介绍的汉英翻译的目的就是吸引译文读者以及弘扬传统文化，因此在翻译旅游资料的时候不仅要把当地的文化内涵表达出来，而且要考虑到跨文化的因素。而以功能派翻译理论为指导的景点介绍的汉英翻译，可以使英语读者通过译文产生对旅游景点的期盼，以及对景点文化内涵的理解。以颐和园景区内的翻译文本为例本，依托功能翻译理论，通过“发现问题，指出问题，解决问题”，以期更好地促进中国文化的传播与交流，提高我国现阶段旅游文本翻译的水平。&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
===关键字===&lt;br /&gt;
关键词：功能翻译；颐和园；翻译目的；翻译策略&lt;br /&gt;
&lt;br /&gt;
===Introduction===&lt;br /&gt;
  Throughout the translation history at home and abroad, the literal translation and free translation have always been a heat discussion in the translation circles. Someone absolutely approve literal translation and demean free translation, even pursue a dead translation, which creates an translated text difficult to understand. While some other people absolutely agree with free translation even advocate random acts, which means a random deletion in the translation practices and creates anther entirely different text. However, there are also a number of translators who have recognized that these two translation methods are not totally opposite. So they adopt a compromise and flexible way. That means they will choose the most appropriate one depending on the text demanding. Therefore, we can deduce from it that this eclectic translation is consistent with the Contradiction view of Unity of Opposite in Materialist Dialectics. In fact, literal translation and free translation are right a set of contradictions which are both opposite and unified. They complement each other into an integral one.&lt;br /&gt;
&lt;br /&gt;
===Table of Contents===&lt;br /&gt;
&lt;br /&gt;
Table of Contents&lt;br /&gt;
&lt;br /&gt;
Outline&lt;br /&gt;
1.Introduction&lt;br /&gt;
2. Studies on Functionalist Approach&lt;br /&gt;
2.1 The Viewpoint of Functionalist Approach&lt;br /&gt;
2.1.1 Reiss’s Text Typology&lt;br /&gt;
2.1.2 Vermeer’s Skopos Theory&lt;br /&gt;
2.1.3 Manttari’s Theory of Translational Action&lt;br /&gt;
2.1.4 Nord’s Theory of Function plus Loyalty&lt;br /&gt;
2.2 The Application of Functionalist Approach &lt;br /&gt;
3.C-E Translation of the Summer Palace under Functionalist Approach&lt;br /&gt;
3.1 Garden Culture&lt;br /&gt;
3.2 Historical Culture &lt;br /&gt;
3.3 Religious Culture &lt;br /&gt;
4. Conclusion&lt;br /&gt;
References&lt;br /&gt;
&lt;br /&gt;
===Outline===&lt;br /&gt;
Outline&lt;br /&gt;
&lt;br /&gt;
Thesis Statement: Based on the main viewpoints of functionalist approaches to translation, this paper aims to give an analysis to C-E translation of the Summer Palace from cultural, historical and religious aspects, hoping to provide some translation strategies for other cultural attractions.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
1. Introduction&lt;br /&gt;
2. Studies on Functionalist Approaches&lt;br /&gt;
2.1 The Viewpoint of Functionalist Approach&lt;br /&gt;
2.1 Reiss’s Text Typology&lt;br /&gt;
2.2 Vermeer’s Skopos Theory&lt;br /&gt;
2.3 Manttari’s Theory of Translational Action&lt;br /&gt;
2.4 Nord’s Theory of Function plus Loyalty&lt;br /&gt;
2.2 The Application of Functionalist Approach&lt;br /&gt;
3. C-E Translation of the Summer Palace under Functionalist Approach&lt;br /&gt;
3.1 Garden Culture&lt;br /&gt;
3.2 Historical Culture&lt;br /&gt;
3.3 Religious Culture&lt;br /&gt;
4. Conclusion&lt;br /&gt;
&lt;br /&gt;
===1. Introduction ===&lt;br /&gt;
1. Introduction   &lt;br /&gt;
The Chinese-English translation of tourist texts is a bridge to spread the culture of classical Chinese gardens, so the accuracy of it has a direct impact on foreigners' understanding of the specific history and culture. &lt;br /&gt;
Functionalist approach has made a pioneering contribution to the translation of non-literary genres. Functional translation theory emphasizes the function of discourse, and believes that different types of discourse have different functions, so translators should choose appropriate translation strategies according to the type of source text and corresponding functions. Functionalist approach is to take the &amp;quot;skopos rule&amp;quot; as the highest standard, and any translation activity is a purposeful behavior. The ultimate goal and main function of scenic spot translation is to help people understand the main content of the scenic spot.&lt;br /&gt;
As a window for the publicity of national history and culture, the Chinese-to-English translation of tourist texts plays an important role in promoting the development of local tourism. Well known for its large and priceless collection of cultural relics, the Summer Palace was among the first group of historical and cultural heritage sites in China to be placed under special state protection. Based on the viewpoints of functionalist approach to translation, this paper aims to analyze C-E translation of the Summer Palace from cultural, historical and religious aspects, hoping to provide some translation strategies for other cultural attractions. &lt;br /&gt;
&lt;br /&gt;
===2. Studies on Functionalist Approaches===&lt;br /&gt;
2. Studies on Functionalist Approaches&lt;br /&gt;
Functionalism is a theory that advocates reader-centered translation, emphasizing the functions of texts and highlighting the communicative effects. It is believed that many unnecessary mistakes can be avoided and better results can be achieved by applying functionalist approach in Chinese-English translation of tourist text. &lt;br /&gt;
&lt;br /&gt;
===2.1 The Viewpoint of Functionalist Approaches===&lt;br /&gt;
2.1 The Viewpoint of Functionalist Approaches&lt;br /&gt;
Functionalist Translation Theory, also known as German Functionalist Translation Theory, was proposed by German scholars in the 1970s. It includes four main theories: Katharina Reiss’s Text Typology, Hans Vermeer’s Skopos Theory, Justa Holtz Manttari’s Theory of Translational Action and Christiane Nord’s Theory of Function plus Loyalty. This chapter aims to present the main ideas of this theory.&lt;br /&gt;
&lt;br /&gt;
===2.1.1 Reiss’s Text Typology===&lt;br /&gt;
2.1.1 Reiss’s Text Typology&lt;br /&gt;
In 1971, Reiss in her book Possibilities and Limitation of Translation Criticism first made text function as a standard of translation criticism, namelyevaluate the translated text from the relationship between the functions of the original and the translated text. She insists on the original-centered equivalence theory and holds the view that the ideal translation is to achieve the equivalence between the target text and the source text in terms of ideological content, linguistic form and communicative function. However, translation practice makes her realize that it’s difficult to achieve equivalence sometimes and that sometimes equivalence cannot be pursued. Because of the particularity of translation requirements, the function of the target text is not always the same as that of the source text. Therefore, the translator should give priority to the functional role of the target text rather than the principle of equivalence.&lt;br /&gt;
Reiss believes that in the normal situation the type of text decides the translator’s choice of a proper translation method (Reiss, 2004). Therefore, she divides text into four types: content-focused text, form-focused text, appeal-focused text and audio-media text. Content-focused text, also known as informative text, includes news reports, commercial correspondence, operating instructions, official documents, patent&lt;br /&gt;
specifications, essays, treaties, etc. For this text, the main function is to convey information revealed in language itself to readers. The emphasis is on content and topic, so the choice of language and style should serve this function. If both the source text and target text belong to informative text, the translator should represent the content and information of source text accurately and completely (Reiss, 2004)&lt;br /&gt;
Form-focused text, also known as expressive text, refers to literary works such as novels, poems and so on. “Distinct from ‘content’, which deals with what the author says, ‘form’ is concerned with how an author expresses himself” (Reiss, 2004). For expressive texts, information is only a supplement. What is dominant is the aesthetic factor. When translating such texts, the translator should pay attention to the aesthetic and artistic forms of the original text and to the differences between two cultural habits, trying to achieve the same effect as the source text. In a word, in a form-focused text the linguistic form of the source text determines the form in the target language (Reiss, 2004).&lt;br /&gt;
Appeal-focused text, also known as operative text, mainly includes notice, instruction manual, advertisement, publicity manual and so on. For operative texts, the primary task for the translator is to provoke a particular reaction on the hearers or readers to incite them to engage in specific actions, while content and form are subordinate. Therefore, to achieve the same effect, the translator need to change the content and stylistic features of the original text, try to keep the potential influential factors of the original text and seek functional equivalence (Reiss, 2004: 38-43). Audio-medial text, also known as multi-media text, refers to radio and television scripts, such as radio newscasts and reports, topical surveys and dramatic productions.&lt;br /&gt;
It is distinctive in its dependence on non-linguistic media and on graphic, acoustic, and visual kinds of expression. Only in combination with them can the whole complex literary form realize its full potential (Reiss, 2004). In conclusion, different texts determine different translation focuses and methods. In many cases, however, a text may have more than one function, which means that translators should integrate different translation strategies skillfully to achieve different functions of texts.&lt;br /&gt;
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===2.1.2 Vermeer’s Skopos Theory===&lt;br /&gt;
2.1.2 Vermeer’s Skopos Theory&lt;br /&gt;
Reiss’s student Vermeer, who broke the limitation of the theory of equivalent and took skopos to be the first criterion of translation process  proposed the key theory: Skopostheorie. According to Skopos Theory, when translating a text, the translator needs to consider the purpose of translation first and then choose the translation method according to the purpose, which means “the end justifies the means” (Nord, 2001). Vermeer believes that translation, like other human actions, is also a purposeful act. Translation often takes place in cultural backgrounds with different customs and values, so translation is not a simple equivalent transformation between languages. Skopos Theory does not focus on achieving the equivalence between the target text and the original text or the perfection of the target text, but on choosing the best translation strategy based on the analysis of the source text and the intended function of the target text. In a word, translation methods and strategies are determined by the intended purpose or function of the target text.&lt;br /&gt;
According to Skopos Theory, the first rule that all translators must follow is the Skopos Rule. Translation purpose can be divided into three categories: (1) the purpose of the translator, such as earning a living; (2) the communicative purpose of the translation, such as instructing the reader; (3) the purpose of using a particular translation method, such as the literal translation according to its structure to illustrate the peculiarities of grammatical structure in a language (Nord, 2001). In general, the communicative purpose is more important than the other two. The communicative purpose is usually determined by the initiator of the translation act, but the translator can take part in deciding. The second rule is the Coherence Rule. Coherence Rule requires that the translation conform to the criterion of intratextual coherence, which means that the translation must be accessible to recipients and meaningful in the target culture and in the communicative environment (Nord, 2001). The third rule is the Fidelity Rule. It means that there should be intertextual coherence between the source text and the target text, which means being faithful to the source text. Nevertheless, the degree and form of faithfulness lie in the target text and the degree that the translator understands the original text. Normally “Intertexual coherence is considered subordinate to intratexual coherence and both are subordinate to the Skopos rule” (Nord, 2001).&lt;br /&gt;
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===2.1.3 Manttari’s Theory of Translational Action===&lt;br /&gt;
2.1.3 Manttari’s Theory of Translational Action&lt;br /&gt;
Following Vermeer, Manttari develops Vermeer’s Skopos Theory and puts forward the Theory of Translational Action. He emphasizes three aspects: the behavior of the translation process, the role of the participants (the initiator, the translator and the target reader, etc.) and the environment (time, place and media) in which the translation process takes places. It views translation as “purpose-driven, outcome-oriented human interaction and construes the process of translation as message-transmitter compounds that involve intercultural transfer” (Mundy, 2001). According to Manttari, translation is “ a complex act to achieve a particular purpose” &lt;br /&gt;
(Nord, 2001). It is not about translating words, sentences or texts but is about guiding the intended cooperation over cultural barriers and promoting functional communication. Cooperation here means “transcultural communication” by Manttari.&lt;br /&gt;
The Theory of Translational Action attaches great importance to providing a functional communicative text for the recipient, a text suitable for the target culture in&lt;br /&gt;
form and style. Functional suitability is determined by the translator. The translator is&lt;br /&gt;
an expert in translation, whose role is to ensure the successful completion of cultural&lt;br /&gt;
transformation. In producing the target text, the analysis of the source text is necessary so that the translator can find out its structural and functional characteristics, which can be described by content and form. The need of the recipient is the decisive&lt;br /&gt;
factor for the target text.&lt;br /&gt;
In short, “the value of Manttari’s work is the placing of translation (or at least the professional non-literary translation which she describes) within its sociocultural&lt;br /&gt;
context, including the interplay between the translator and the initiating institution”&lt;br /&gt;
(Mundy, 2001).&lt;br /&gt;
&lt;br /&gt;
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===2.1.4 Nord’s Theory of Function plus Loyalty===&lt;br /&gt;
2.1.4 Nord’s Theory of Function plus Loyalty&lt;br /&gt;
Though skopos rule changes the focus of translation from the source language text to the target language text and the target receivers, it has some limitations. One is that different readers have different expectations, and the translation purpose cannot satisfy all the expectations of the target reader. Another is that the translation purpose may sometimes be against the intention of the source language. Therefore, based on the skopos rule, Nord introduces the loyalty principle. The principle of loyalty is a supplementary principle proposed by Nord to make up for the deficiency of skopos rule. According to the explanation of Nord, it is not the relationship between the original text and the target text, nor the equivalence between the original text and the form of the target text, but the consistency between the author of the original text, the initiator of the translation, the translator and the reader of the target text, which is the principle of loyalty. The proposal of the loyalty principle makes up for the mistakes that some radical skopos translators usually make, such as omitting and rewriting, which makes skopos theory more perfect and makes skopos theory more likely to guide the translation of literary works.&lt;br /&gt;
“Function” and “loyalty” are two pillars of Nord’s functionalist approach. “Function” refers to what a text means or is intended to mean from the receiver’s point of view”, while “loyalty” means that “target-text purpose should be compatible with the original author’s intention” (Nord,2001). It emphasizes the interpersonal relationship between the translator, the source-text sender, the target-text addresses and the initiator. Function plus loyalty enables the translator to avoid the limitations of skopos rule and try to achieve a balance between translation purpose and the source-text author’s intention”(Nord,2001). That is to say, when translating the original text, the translator should take into account the readers' cultural background, knowledge level and expectation of the translation, and choose the corresponding translation strategy according to the translation requirements. If the reader wants to read a word-for-word translation of the article, then the translator must meet the reader's requirements, otherwise he must explain to the reader why he chose his own translation method. The translator's job is to weigh two different cultures instead of imposing one culture on another. &lt;br /&gt;
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===2.2The Application of Functionalist Approach to the Tourist Texts.===&lt;br /&gt;
2.2The Application of Functionalist Approach to the Tourist Texts.&lt;br /&gt;
In the 1990s, Functionalist Translation Theory was introduced to China, and since then it has been applied to translation studies by Chinese translation scholars. In his article published in 1995, Zhang Nanfeng briefly introduces Skopos theory to China for the first time, and considers that Skopos theory is referential (Zhang Nanfeng, 1995). German Functionalist Translation Theory, a paper released in1999, is the first article in China which systematically introduces German Functionalist Translation Theory (Zhong Weihe &amp;amp; Zhong Yu, 1999). Based on an overview of Functionalist Translation Theory, Zhang Meifang focuses on introducing Nord’s theory, especially on the detailed analysis of Nord’s principle of loyalty (Zhang Meifang, 2005). Famous domestic scholars, such as Liu Junping (2009), Liu Miqing (2012) and Li Wenge (2004), also introduce this theory in their books. With the rise of Functionalist Translation Theory in China, someone has compared it with other theories. Zhu Haotong compares Skopos Theory with Functional Equivalence Theory to analyze the similarities and differences between them, and further reveals that Functionalist Translation Theory inherits the reasonable part of Nida’s Functional Equivalence Theory, which is an important breakthrough and supplement to solve the problems that Functional Equivalence Theory leaves (Zhu Haotong, 2006). Some scholars also combine theory with translation practice to explore the application of Functionalist Translation Theory to translation practice. Jia Yanli and Wang Hongjun point out that Skopos Theory has its limitations, but it is still of instruction and reference value for non-literary translation texts, such as advertisements and tourism materials (Jia Yanli &amp;amp; Wang Hongjun, 2012). Li Liangchen selects several famous tourist attractions in China to translate the on-site tour-guide commentary into English. Then he improves them under the guidance of Skopos Theory and sends out questionnaires to overseas tourists for further analysis. He argues that the translation of on-site tour-guide commentary which is guided by Skopos Theory is more favorable to conveying information to foreign visitors, to promoting cultural exchanges and to improving the image of China’s tourist destinations (Li Liangchen, 2013). In Pragmatic Translation: Theory &amp;amp; Practice, Wu Feng and He Qingji introduce Functionalist Translation Theory (Wu Feng &amp;amp; He Qingji, 2008) and the characteristics of tourism text and translation skills (Wu Feng &amp;amp; He Qingji, 2008). In this book, they also discuss the controversy over the Chinese name of Functionalist Translation Theory, and holds that “功能派翻译理论” is the most appropriate Chinese translation (Wu Feng &amp;amp; He Qingji, 2008).Based on his own translation practice and under the guidance of Functionalist Translation Theory, Wu Zixuan probes into some special phenomena in the English translation of CNN newsreels. The author believes that in the translation of external publicity, we should not stick to the standard of faithfulness to the original text, but should deal with the original text properly from the perspective of achieving the purpose of translation, such as rewriting, abridging. (Wu Zixuan, 2005).&lt;br /&gt;
Functionalist approach establishes a theoretical system of diversified translation standards dominated by skopos rule. From the definition of Functionalist approach, it can be seen that the advantage of it is that the translator can get rid of the bondage of the original text, study the translation process with &amp;quot;translation purpose&amp;quot; as the starting point, and determine the translation strategies and methods. This can give full play to the translator's own initiative, flexible processing of the original text, in order to achieve the translation of the communicative function. In addition, functionalist approach requires the translation to be examined in the cultural context of the reader. The reader can accept the translation and understand the meaning of the original text through the translation, so the translation can realize the communicative function. On the basis of such advantages, functionalist approach can be used to guide the English translation of garden scenic spots, and the translator can choose a wider range of translation strategies and break out of the constraints of the original text. &lt;br /&gt;
Only by clarifying the purpose of translation can we avoid these limitations in the English translation of garden attractions. When using functionalist approach to guide the English translation of Chinese classical garden scenic spots, it is necessary to flexibly choose translation strategies and methods, give full play to the advantages of skopos theory, and achieve the balance between &amp;quot;principle of purpose&amp;quot; and &amp;quot;principle of fidelity&amp;quot; as far as possible.&lt;br /&gt;
With the deepening of globalization and cross-cultural communication, tourismis becoming a major industry in the 21st century. The development of tourism can not only promote the economic development of a country but also promote the external dissemination of national culture. Therefore, tourism translation deserves attention. Tourism text is a typical informative and operational text, and the language is unique. It is full of gorgeous words, such as four-character expressions, verses, proper nouns and so on.&lt;br /&gt;
Tourism text materials include tourism advertising, tourism brochures, scenic spots signs and so on. In this paper, we focus on the introduction of Chinese gardens’ scenic spots, which is usually colorful in language and rich in literary style. Tourism text translation belongs to applied translation, which should play a series of practical functions to publicize the image and resources of the country or place and attract overseas tourists. Therefore, the translator of tourism text must be clear about the type and function of tourism text, and to grasp the ultimate purpose of the translation. &lt;br /&gt;
On tourism text translation, the communicative purpose of the translation should be placed in a central position. Furthermore, the tourism text has both the information function and the calling function. The information function and the calling function complement each other. Only when the target language readers acquire the expected tourism information and cultural knowledge can the calling function be realized and the purpose of tourism text translation be achieved. With different translation strategies, the translated version should both expressed contains basic information, and make the tourists feel the profound of the Chinese culture from the beautiful scenery. &lt;br /&gt;
Cultural tourism has long been the focus of international tourism, and understanding Chinese culture is the main purpose of inbound tourists, so the translation of tourism texts bears the mission of cultural transmission and cultural publicity. However, due to the great differences between Chinese and English culture and language, there are many difficulties in cultural transmission in tourism text translation. China has a long and splendid history and culture. When introducing the scenic spots of cultural relics and historic sites, we usually associate with many historical figures and stories. These terms are cultural blank for most foreign tourists, but this kind of cultural experience is also the most attractive place for foreign tourists. It is of great importance to pay attention to cultural differences in tourism translation and carry out cultural transmission effectively. Chinese and English languages have different logic views, and Chinese expressions in tourism texts value decoration. English expressions tend to be clear, concise and to the point. For example, Chinese tourism texts often use a four-character lattice, which is symmetrical, while there is no corresponding four-character lattice expression in English. Therefore, in Chinese-English translation of tourism texts with frequent use of four-character phrases, it is necessary to keep in mind the objective principle of functionalist approach and give priority to cultural communication instead of rigidly adhering to form.&lt;br /&gt;
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===3. C-E Translation of the Summer Palace under Functionalist Approach===&lt;br /&gt;
3. C-E Translation of the Summer Palace under Functionalist Approach&lt;br /&gt;
By studying the specific translation strategies made by predecessors, the following steps are also adopted in this paper: first, the translation strategies are determined according to the text type, such as faithful reproduction of the original information or rewriting; Secondly, the translation strategies are determined according to the potential purpose of the translation, such as paraphrasing or deleting poems, generalizing specific expressions and transliterating proper nouns. Thirdly, the translation strategies are defined with the tourists as the center, such as adding logical words, adding explanatory information and using plain English.&lt;br /&gt;
The Summer Palace epitomizes the philosophy and practice of Chinese garden design, which played a key role in the development of this cultural form throughout the east. It is an outstanding expression of the creative art of Chinese landscape garden design, incorporating the works of humankind and nature in a harmonious whole, which was once the most important place of political and diplomatic activity for the supreme rulers of the late Qing dynasty. Based on three aspects of the Summer Palace, namely, garden culture, historical culture and religious culture, this paper discusses the problems existing in the English translation of the scenic spots of the Summer Palace and puts forward corresponding countermeasures under the guidance of the skopos rule of functionalist translation theory.&lt;br /&gt;
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===3.1 Garden culture.===&lt;br /&gt;
3.1 Garden culture. &lt;br /&gt;
The Summer Palace is a classical garden famous for its magnificence and beauty. There are many temples in the garden, and the green waves of kunming lake ripple. Landscape and humanities complement each other, containing rich natural and cultural information, reflecting the characteristics of Chinese classical gardens. The garden cultural features of the three scenic spots, namely, the hall of clouds, the foxiang pavilion and the Wenchang courtyard, are particularly outstanding. Therefore, this paper takes these three scenic spots as examples to discuss the Chinese-English translation of the introduction of the Summer Palace.&lt;br /&gt;
(1)	排云殿、佛香阁景区是颐和园内建筑布局最完整、建筑形式最丰富的中轴建筑群体，殿、阁、廊、亭、桥、坊、碑等建筑约两万平方米。从临水的云辉玉宇牌坊至排云门、排云殿、德辉殿、佛香阁、众香界、智慧海、层层升高，排列有序，气势巍峨，金碧辉煌，将园林、寺庙和宫殿融为一体。&lt;br /&gt;
Translation：This scenic spot covers an area of 20,000 square meters with an assortment of buildings such as palaces, towers, corridors, pavilions, walkways, bridges, archways and inscribed stone steles. It comprises a well-arranged group of structures, all diverse in style, located in the center of the Summer Palace garden. This complex of structures, ranging from the Glowing Clouds and Holy Land Archway on the waterside, the Gate that Dispels the Clouds, the Hall that Dispels the Clouds, the Hall of Moral Glory, and the Tower of the Fragrance of the Buddha, to the Realm of Popular Fragrance and the Sea of Wisdom Temple, were built in an orderly manner running from the foot of the hill to its top, with gardens, temples and palaces harmoniously integrated into the whole。&lt;br /&gt;
Analysis：As we all know, the design style of ancient Chinese buildings is beautiful with &amp;quot;symmetry&amp;quot;. The &amp;quot;axis&amp;quot; in hall of clouds scenic spot refers to the layout of the Summer Palace from far to near and from top to bottom, which cannot be simply understood as the center. Simply translating &amp;quot;axis&amp;quot; as &amp;quot;center&amp;quot; cannot express accurately the meaning of &amp;quot;symmetry&amp;quot;. Comparatively speaking, &amp;quot;axis&amp;quot; can better reflect the architectural style of the scenic spot.&lt;br /&gt;
(2)	从临水的云辉玉宇牌坊至排云门、排云殿、德辉殿、佛香阁、众香界、智慧海，层层升高，排列有序，气势巍峨，金碧辉煌，将园林、寺庙和宫殿融为一体。&lt;br /&gt;
Translation：These structures，including Glowing Clouds and Holy Land Archway at lake side，the Gate of Dispelling Clouds，the Hall of Dispelling Clouds，the Hall of moral Glory，and the Tower of Buddhist Incense，the Realm of Multitudinous Fragrance and the Sea of Wisdom Temple，were built in an orderly manner ranging up the hill with gardens，temples and palaces harmoniously integrated. This manifests beauty，grace and splendor，reminiscent of the loftingness and grandeur of a once mighty empire.&lt;br /&gt;
Analysis：In terms of the characteristics of language, Chinese emphasizes parataxis and four-word antithesis. When describing and naming scenes, gorgeous words and poetic words are generally chosen in Chinese. But, English emphasizes hypotaxis, on the other hand, puts more emphasis on reproducing the original appearance of things, using simple and natural words and preferring direct description. In sign translation, the English translation pays more attention to accurate, concise and lively. In the above paragraph, &amp;quot;层层升高，排列有序，将园林、寺庙和宫殿融为一体&amp;quot; is an introduction to the architectural features of foxiang pavilion, in order to make tourists have a clear understanding of the overall layout and architectural features of the scenic spot. This information is essential and can be translated into detail. However, &amp;quot;气势巍峨，金碧辉煌&amp;quot; focuses on the subjective description, and its explicit translation needs more complicated words. If this paragraph is translated in detail, it is easy to drag the content and make the key information vague. Therefore, the deletion of the English translation of this sentence will not affect the basic information of the original text.&lt;br /&gt;
(3)	主阁（文昌阁）两层，内供铜铸文昌帝君和仙童、铜骑。文昌阁与万寿山西供武圣的宿云檐象征“文武辅弼”。&lt;br /&gt;
Translation: A bronze statue of the God Wenchang, statues of gaeries, and a bronze steed were placed in the two-story pavilion. This tower is pared with the Tower of Cloud- Retaining Eaves, located to the west of the Longevity Hill, in which a statue of the Martial God was placed. The God Wenchang and the Martial God together symbolize reining of the emperor supported by scholars and warriors.&lt;br /&gt;
Analysis: Two questions arise in Chinese-English translation. First, there are two translations of wenchang pavilion in the translation: pavilion and tower, which appear in the same sign. Two different translations of the same scenic spot name tend to make foreign tourists think that it refers to different scenic spots, which may cause difficulty in understanding. Second, the translation of Wenchang pavilion into &amp;quot;Wenchang Tower&amp;quot; is against the actual architectural characteristics. In fact, the meanings of &amp;quot;pavilion&amp;quot; and &amp;quot;tower&amp;quot; have both similarities and differences. According to the Oxford dictionary, Tower means &amp;quot;a tall narrow building or part of a building, especially of a church or castle&amp;quot;, mainly referring to the tower-shaped part of a building, usually a tall and slender structure, such as the Eiffel Tower. &amp;quot;Pavilion&amp;quot; means &amp;quot;a building that is meant to be more beautiful than usual, built as a shelter in a park or used for concerts and dances&amp;quot;. The top structure of the pavilion usually has rectangles, triangles, hexagons, etc. The common feature of them is that the top is supported by columns without walls. From the external structure of Wenchang pavilion, its bottom is solid and its top is supported by columns. Therefore, the pavilion can accurately reflect the architectural characteristics of Wenchang pavilion, so I think it should be translated as Wenchang pavilion.&lt;br /&gt;
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===3.2 Historical culture. ===&lt;br /&gt;
3.2 Historical culture. &lt;br /&gt;
The accurate Chinese-English translation of the introduction of the Summer Palace not only enables foreign tourists to understand the characteristics of Chinese gardens, but also enables foreign tourists to understand the historical knowledge of a specific period of China. However, the Chinese-English translation of the Summer Palace still has problems in accurately conveying the historical background of the scenic spots, such as the English translation of Wenchang pavilion scenic spot:&lt;br /&gt;
(4)	此景区始建于清乾隆十五年，一八六零年被英法联军烧毁，光绪时按原样重建。阁结构为八面三层四重檐，通高36.44米，耸立于20米高的石造台基上，气势雄伟，是颐和园全园的构图中心。阁内供奉有铜铸金裹千手观世音菩萨站像。像高五米，重万斤，为明代万历年间所造，在八根贯通全阁上下的承重铁梨木擎天柱的衬托下，美妙庄严，熠熠生辉，有极高的文物和艺术价值。&lt;br /&gt;
Translation: The Wenchang tower was first built in 1750 and rebuilt under Emperor Guangxu after  the Anglo-French Allied Forces builted it down in 1860. The octahedral tower has three stories with four-layered eaves, altogether 36.44 meters high. Standing upright on a 20 meter-high stone foundation, it constitutes the center of the Summer Palace landscape and serves to accentuate its magnificence. A statue of the thousand-handed Guanshiyin Buddha, cast in bronze and gilded with gold, stands inside the tower. The statue, five meters high and five tons in weight, was cast during the reign of Emperor Wanli of the Ming Dynasty. Set off by the eight imposing pillars which support the tower, it glows with beauty, grandeur and brilliance. Its historical, cultural and artistic value can hardly be overstated.&lt;br /&gt;
Analysis: “始建于乾隆十五年”only was translated into “was first built in 1750” and the “光绪年间重建” was translated into “rebuilt under Emperor Guangxu”.The first sentence does not show that 1750 was the fifteenth year of the reign of emperor Qianlong, and the second sentence does not give foreign visitors the exact date of the reign of emperor Guangxu. The change of time concept and the disunity of expression easily make foreign tourists feel confused. Therefore, the translation of the time and the historical dynasties should be accurate and meticulous, and the supplementary method should be used to not only describe the dynasties clearly, but also supplement the corresponding years, so as to achieve the standardization of the translation. In this way, foreign tourists can not only be clear about the time of the event, but also understand the Chinese historical dynasties. Consider as follows: the Wenchang Pavilion was first built in 1750 during Emperor Qianlong’s reign（1735- 1795）and rebuilt in 1886 under Emperor Guangxu（1875- 1908）after the Anglo- French Allied Forces burned it down in 1860.&lt;br /&gt;
&lt;br /&gt;
===3.3 Religious culture. ===&lt;br /&gt;
3.3 Religious culture. &lt;br /&gt;
Many scenic spots in the Summer Palace have a strong buddhist atmosphere. While visiting the scenic spots, foreign tourists can understand the profound buddhist culture. Wenchang pavilion in the Summer Palace is the representative of Chinese religious culture.&lt;br /&gt;
(5)	主阁两层，内供铜铸文昌帝君和仙童、铜特。文昌阁与万寿山西供武圣的宿云檐象征“文武辅弼”。&lt;br /&gt;
Translation: A bronze statue of the god，Wenchang，and statues of two followers，the celestial boy，and the bronze steed，were placed in the two- storey pavilion. This tower is pared with the tower of Cloud- Retaining Eaves，located to the west of the Longevity Hill，in which a statue of the Martial God was placed. The two towers symbolize the support by both scholars and warriors to the ruling emperor.&lt;br /&gt;
Analysis: It is well known that westerners believe in theism, which refers to god as supreme . In Chinese religious culture, people believe in atheism and do not believe in the existence of god. Therefore, it is inappropriate to translate &amp;quot;文昌帝军&amp;quot; and &amp;quot;武圣&amp;quot; into &amp;quot;the god, Wenchang&amp;quot; and &amp;quot;the Martial god&amp;quot; in the translation. In fact, the &amp;quot;文昌帝军&amp;quot; was Zhang yu, an emperor of Shu of Ning kang (374). And &amp;quot;武圣&amp;quot; refers to Guan yu in history. Therefore, the simple translation of  &amp;quot;God&amp;quot; is not in line with the traditional Chinese culture, which will not only cause western tourists to misunderstand that Chinese religious tradition also believes in God, but also fail to convey Chinese historical allusions and relevant historical figures. In contrast, if &amp;quot;文昌帝军&amp;quot; is translated as &amp;quot;the emperor, Wenchang&amp;quot; and &amp;quot;武圣&amp;quot; is translated as &amp;quot;the Martial Master (Guanyu)&amp;quot;, it can more faithfully convey the history and religious culture contained in the source language. &lt;br /&gt;
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===4. Conclusion===&lt;br /&gt;
4. Conclusion&lt;br /&gt;
To sum up, Under the guidance of the skopos rule of functionalist translation theory, translators should have a cross-cultural awareness, fully understand the reading psychology and cultural appreciation needs of target language readers, and use effective translation strategies and methods to achieve the purpose of tourism text translation. Functionalist approach has made a pioneering contribution to the translation of non-literary genres. Functional translation effectively eliminates the disadvantages of traditional word-for-word translation, improves the efficiency of translation, and helps readers to grasp the meaning of the original text.&lt;br /&gt;
 The importance of the translation of the Summer Palace lies in the profound garden culture, historical culture and religious culture. The English translation is not only helpful for international friends to know more about the garden characteristics of the Summer Palace, but also helpful for spreading the long history and profound culture of China. In order to attract target readers and promote traditional Chinese culture, it is not only necessary to carefully explore Chinese culture and history, but also to use the fuctionalist approach appropriately. &lt;br /&gt;
Translation is a complicated process. Functionalist approach stresses the function of the discourse, the purpose of translation. In the practice of translation, if the translator can get rid of the bondage of the original equivalence, actively playing to subjective initiative, fully understanding the original text, depending on the purpose of discourse and adopting different translation strategies, the effect and readability of translation can be improved.&lt;br /&gt;
&lt;br /&gt;
===References===&lt;br /&gt;
References&lt;br /&gt;
Hans Vermmer, “Skopos and Commission in Translation Action”, in the Translation Studies Reader,ed. Chesterman, London and Network:Routledge,p.221-232. 2000.   &lt;br /&gt;
Munday, Jeremy. Introducing Translation Studies: Theories and Applications. Routledge publishing.2001.&lt;br /&gt;
Mason, “Textual Practices and Audience Design: and Interactive View of the Tourist Brrochure”. In Navarro et al.(eds.). Pragmatics at Work: The Translation of Tourist Literature. Bern: Perter Lang. 157-176.2004.&lt;br /&gt;
Nord, Text Analysis in Translation: Theory, Methodology and Didactic Application of a Model for Translation-Oriented Text Analysis. Beijing: Foreign Language Teaching and Research Press. 2006.&lt;br /&gt;
Nord, Translating as a purposeful activity. Shanghai: SFLE PRESS, 2001:27,30,32,65,245.&lt;br /&gt;
Reiss, Katharina. Translation Criticism: The Potentials &amp;amp; Limitations. Shanghai Foreign Language Education Press. Shanghai. 2004.&lt;br /&gt;
Venuti, Lawrence. The Translator’s Invisibility: A History Translation. Routledge.1995.&lt;br /&gt;
方梦之、毛忠明， 英汉—汉英应用翻译教程，上海: 上海外语教育出版社，2004.&lt;br /&gt;
金惠康，跨文化旅游翻译，中国对外翻译出版公司，2004.  &lt;br /&gt;
贾文波，应用翻译功能论，北京：中国对外翻译出版公司，2004&lt;br /&gt;
孙艺风，文化翻译的困惑与挑战，中国翻译，2016年第3期.  &lt;br /&gt;
王宏志，翻译与创作，北京大学出版社，2000.&lt;br /&gt;
吴自选，德国功能派翻译理论与 CNN 新闻短片英译，中国科技翻译, 2005.&lt;br /&gt;
谢天振，当代国外翻译理论，天津：南开大学出版社，2005.&lt;br /&gt;
张南峰，走出死胡同建立翻译学. 中国翻译, 1995.&lt;br /&gt;
仲伟合，钟钰. 德国的功能派翻译理论. 中国翻译, 1999.&lt;br /&gt;
张美芳，功能加忠诚—介评克里丝汀· 诺德的功能翻译理论.上海外国语大学学报, 2005.&lt;br /&gt;
&lt;br /&gt;
==Contrast between Literal Translation and Free Translation	张雪仪	Zhang Xueyi==&lt;br /&gt;
'''Abstract：'''&lt;br /&gt;
&lt;br /&gt;
The contrast between literal translation and free translation has always been the most discussed problem in translation studies. To compare these two translation methods, the basic point is to understand the purpose of translation. The ultimate goal of translation is to help different cultures communicate better, so that people who speak different languages can understand each other’s cultures. Due to the differences in social, historical and cultural backgrounds between languages, how to choose between the two translation strategies of literal translation and free translation requires translators to weigh the strengths and weaknesses of these two methods. This essay mainly compares literal translation and free translation between Chinese and Russian to help students and translators translate better.&lt;br /&gt;
&lt;br /&gt;
'''Key words：'''&lt;br /&gt;
&lt;br /&gt;
Translation strategies, Literal translation,Free translation &lt;br /&gt;
&lt;br /&gt;
'''摘要：'''&lt;br /&gt;
&lt;br /&gt;
直译与意译间的对比一直是翻译学中讨论度最高的问题。想要将这两种翻译方法进行对比，最基本的一点就是要明白翻译的目的是什么。翻译的最终目的在于帮助不同文化进行更好的交流，让使用不同语种的人相互理解彼此的文化。由于语种间社会历史文化背景的差异，如何在直译和意译这两种翻译策略中做出选择，就需要译者衡量两种方法的利弊。本文主要对汉语和俄语间直译和意译进行比较，以帮助学生和译者更好地进行翻译实践。&lt;br /&gt;
&lt;br /&gt;
'''关键词：'''&lt;br /&gt;
&lt;br /&gt;
翻译策略，直译，意译&lt;br /&gt;
&lt;br /&gt;
'''1.Introduction'''&lt;br /&gt;
&lt;br /&gt;
The former Soviet Union translation theorist Fedorov believed: “Translation is an activity that expresses what has been used in one language as a unified whole of content and form, and accurately and completely expressed in another language.” Translation theorist Barr Hudarov also wrote: &amp;quot;Translation is the process of changing the coherent discourse of one language into the coherent discourse of another language while maintaining its content and meaning.&amp;quot; To some extent, translation is a process of thinking re-creation, so certain standards and principles must be followed when translating. Translation standard is a measure of the quality of translation, it can guide translation practice, and it is a principle that must be followed in translation activities. Although each scholar has different opinions on the standard of translation, the final result he pursues is the same: the original text and the translated text express the same effect. In order to achieve the same effect, different translation methods have been derived, of which literal translation and free translation are the most commonly used.&lt;br /&gt;
&lt;br /&gt;
Russian idioms and proverbs, as the crystallization of the wisdom of the Russian nation and the immortal fossils in the Russian language, are one of the best materials for the Chinese to understand and learn Russian history, culture, and society. Due to different geographical, historical and economic conditions, the Russian and Chinese ethnic groups have formed different cultural backgrounds. These distinctive backgrounds and characteristics have caused great difficulties for Chinese learning Russian to further understand Russia. This essay studies the basic definitions of literal translation and free translation, their respective advantages and disadvantages and their mutual relations, and strive to solve how to use the translation methods of literal and free translation to properly translate Russian idioms and proverbs, and how to reflect the cultural background and language characteristics of Russian idioms and proverbs in the translation .&lt;br /&gt;
&lt;br /&gt;
'''2.Different views of &amp;quot;literal translation&amp;quot; and &amp;quot;free translation&amp;quot;'''&lt;br /&gt;
&lt;br /&gt;
In different periods and different countries, people's views on translation theory have changed a lot, but the debate about literal translation and free translation has always existed.&lt;br /&gt;
&lt;br /&gt;
In China, the contradiction between literal translation and free translation may initially be due to the different understanding of these two translation methods. The translator Sun Guiding believes that: literal translation is stuck to the structure of the original text and does not consider whether the Chinese is fluent and natural; while free translation is to use the inherent Chinese idioms and the most natural words and sentences as much as possible to achieve the effect of conveying the meaning of the original text. Former President of Wuhan University, Du Zuozhou, believes that literal translation means translating word by word according to the original text; free translation means translating according to the meaning of the original text, and the translation is more suitable for the common grammar of the translated language. The educator Meng Xiancheng believes that literal translation is a translation technology with different degrees of correctness. Literal translation is a translation that is faithful and correct according to the original text; free translation is a translation that summarizes the original meaning. Zhu Guangqian said: &amp;quot;The so-called 'literal translation' refers to the literal translation based on the original text. Every word and sentence are translated word by word, and the order of the words and sentences is not changed. The so-called ‘paraphrasing’ is to express the meaning of the original text in Chinese, and it does not have to be completely based on the literal and order of the original text. &amp;quot; The principle of &amp;quot;faithfulness, expressiveness and elegance&amp;quot; put forward by the modern Chinese translator Yan Fu has long been the basic principle guiding translation practice. A large number of beginners who learn foreign languages regard &amp;quot;faithfulness and expressiveness&amp;quot; as translations that are completely faithful to the original text when translating. In fact, Yan Fu's translation requirements are a guiding principle for translation based on semantics. When translating, if the structure and expression of the original text cannot be directly adopted, the sentence structure and expression must be changed according to the characteristics of the target language. In addition, there are many differences between the original language and the target language in the word order, grammar, variants and rhetoric in the translation process. In many cases, there is no direct corresponding word. This requires the translator to consider the actual semantics, background and other factors. On the basis of the original meaning of the sentence, use an appropriate method to convey the content of the original work and reproduce the language style of the original work.&lt;br /&gt;
&lt;br /&gt;
In the Soviet Union, under the influence of ideology, Western translation theories could not be widely disseminated, but within the Soviet Union, translation theories similar to Western translation theories have been formed and developed, and two main schools of translation theory have been further differentiated — Linguistic Translation School and Literary Translation School. To a certain extent, the dispute between these two schools also reflects the debate on literal translation and free translation among translators' groups. In terms of the principles or standards of translation, the linguistic translation school believes that an ideal translation should be an equivalent translation, first of all linguistic correspondence, that is, the translation should have the same meaning as the corresponding language or discourse unit of the original; the literary translation school believes that translation pursues artistic correspondence, and linguistic correspondence must be subordinate to artistic correspondence. Therefore, it proposes that the aesthetic standards of translation should reproduce the artistic reality reflected by the unity of the original content and form. The characteristic is to use images to translate images, that is, to create the same image in different languages. In 1953, Andrei Venediktovich Fedorov, the leader of the linguistic translation school, published his work &amp;quot;Summary of Translation Theory&amp;quot;, which was the first monograph of the Soviet Union to study translation theory from the perspective of linguistics. The author proposes that translation theory is a branch of linguistics. Since the translation of any genre work must rely on the comparison of two languages, translation problems can only be solved in the field of language. Fedorov’s view was refuted by the literary translation school represented by Ivan Alexandrovich Kashikin. The literary translation school believes that aesthetic issues are the core of literary translation theory, and translation should be regarded as a form of language art, that is, translation should be studied from the perspective of literature and art. In fact, the literary translation school emphasizes the translation of literary and artistic works, which belongs to the specific translation theory; while the research of the linguistic translation school focuses on the general translation theory, that is, the translation of all thematic works including literary works. The dispute between the two major translation theory schools of Russia and the Soviet Union provides another perspective for Chinese translators to explore the relationship between literal translation and free translation.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
'''3.The application of literal translation and free translation in the Chinese translation of Russian idioms'''&lt;br /&gt;
&lt;br /&gt;
The idioms of different nationalities are the most dynamic and expressive units at the lexical level in different languages, and they are also the units that can best reflect the characteristics of national culture in languages. The number of Russian idioms is extremely rich, it records and reflects all aspects of Russian national life. Due to the great differences in geographical locations and living customs between China and Russia, the national cultures reflected in Chinese and Russian must be quite different. One of the difficulties in idiom translation is its imagery. When translating idioms, both the meaning and the image must be considered. Although the Chinese and Russian cultures are very different, many of the commonalities of mankind, such as emotion and natural environment, have created conditions for mutual communication, mutual understanding and idiom translation between different languages.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
'''3.1 Literal translation'''&lt;br /&gt;
&lt;br /&gt;
Generally speaking, the literal translation method refers to a translation method that directly translates the original text without changing the language characteristics and style of the original text on the basis of fully respecting the meaning of the original text. Chinese translation of Russian idioms by literal translation method has the advantage of being able to intuitively and faithfully express the meaning of the idiom, maintaining the unique style and imagery of the original text: the disadvantage is that the translated idiom may not be understood by the Chinese because of China and Russia have different historical, cultural backgrounds, grammatical structures, and language world landscapes, which can easily form obstacles in the process of understanding.&lt;br /&gt;
&lt;br /&gt;
Translating Russian idioms by literal translation is further divided into two methods — literal translation into Chinese idioms and literal translation into non-idiom sentences or words.&lt;br /&gt;
&lt;br /&gt;
Literal translation of Russian idioms into Chinese idioms is suitable for the translation of Russian and Chinese idioms that are completely equivalent in image, structure, and meaning. The advantage is that it is easy to understand, and the translation is simple and fast. E.g:&lt;br /&gt;
&lt;br /&gt;
(1)домашнего  (своего) вора не убережешься. 家贼难防&lt;br /&gt;
&lt;br /&gt;
(2)знать как свои пять пальцев (видно, как на ладони) 了如指掌&lt;br /&gt;
&lt;br /&gt;
(3)подлить масла в огонь 火上浇油&lt;br /&gt;
&lt;br /&gt;
(4)как рыба в воде 如鱼得水&lt;br /&gt;
&lt;br /&gt;
(5)как ножом по сердцу 心如刀割&lt;br /&gt;
&lt;br /&gt;
(6)как гром среди ясного неба 晴天霹雳&lt;br /&gt;
&lt;br /&gt;
(7)на добро отвечают добром 善有善报&lt;br /&gt;
&lt;br /&gt;
(8)копейка рубль бережет 财从细起&lt;br /&gt;
&lt;br /&gt;
(9)мечты сбываются 梦想成真&lt;br /&gt;
&lt;br /&gt;
(10)курица всегда следует за петухом 嫁鸡随鸡&lt;br /&gt;
&lt;br /&gt;
(11)чего мало, того и дорого  (дорого то, что мало) 物以稀为贵(12)&lt;br /&gt;
&lt;br /&gt;
(12)изгонять яд с помощью яда 以毒攻毒&lt;br /&gt;
&lt;br /&gt;
(13)сидеть как на иголках 如坐针毡&lt;br /&gt;
&lt;br /&gt;
(14)действия громче слов 事实胜于雄辩&lt;br /&gt;
&lt;br /&gt;
(15)зарыть талант в землю 埋没人才&lt;br /&gt;
&lt;br /&gt;
(16)висеть на волоске 千钧一发&lt;br /&gt;
&lt;br /&gt;
(17)лить как из ведра 倾盆大雨&lt;br /&gt;
&lt;br /&gt;
The idioms in the above examples are completely equivalent in image, structure or meaning in Russian and Chinese, so Chinese idioms can be used for literal translation. &lt;br /&gt;
&lt;br /&gt;
In fact, in the two languages, idioms with the same image, structure, and meaning are still in the minority, so it is more common to translate Russian idioms into non-Chinese idiom sentences or vocabulary. E.g:   &lt;br /&gt;
&lt;br /&gt;
настоять на своем 坚持自己&lt;br /&gt;
&lt;br /&gt;
камень с души свалился 心里的一块石头落地&lt;br /&gt;
&lt;br /&gt;
связать свою судьбу 把自己的命运与……相连&lt;br /&gt;
&lt;br /&gt;
быть на голову 高出一头&lt;br /&gt;
&lt;br /&gt;
вбивать в голову 往脑子里灌&lt;br /&gt;
&lt;br /&gt;
блеснуть метеором 像流星一样一闪而过&lt;br /&gt;
&lt;br /&gt;
с мизинец 小拇指这么大&lt;br /&gt;
&lt;br /&gt;
It is not difficult to find that the literal translation method can completely retain the original appearance of the idiom, show the common concept of human understanding of the world, and be beneficial to the cultural exchange between China and Russia.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
'''3.2 Free translation'''&lt;br /&gt;
&lt;br /&gt;
Another method commonly used in the Chinese translation of Russian idioms is free translation. Free translation is to readjust the structure of the original text on the basis of keeping the original meaning of the idiom unchanged, and then reconstruct the Russian idiom with the way of thinking and expression in Chinese. This is because the figurative images used in many Russian idioms are inconsistent with those used in Chinese. If the original image is used in translation, it will cause a barrier to understanding. The advantage of free translation of Russian idioms is that it eliminates obstacles to understanding, but the disadvantage is that it cannot completely retain the original style and cultural characteristics. E.g:&lt;br /&gt;
&lt;br /&gt;
(1)В Тулу со свим самоваром не ездят.&lt;br /&gt;
直译：去图拉不用带自己的茶炊。&lt;br /&gt;
意译：多此一举&lt;br /&gt;
&lt;br /&gt;
(2)Честь лучше бесчестья.&lt;br /&gt;
直译：尊重比不尊重好。&lt;br /&gt;
意译：礼多人不怪。&lt;br /&gt;
&lt;br /&gt;
(3)словно горя с плеч&lt;br /&gt;
直译：把山从肩膀下卸下&lt;br /&gt;
意译：如释重负&lt;br /&gt;
&lt;br /&gt;
(4)выеденного яйца не стоит&lt;br /&gt;
直译：一个空蛋壳不值钱&lt;br /&gt;
意译：鸡毛蒜皮，一文不值&lt;br /&gt;
&lt;br /&gt;
(5)чужими руками жар загребать&lt;br /&gt;
直译：用别人的手将红炭火拨成一堆&lt;br /&gt;
意译：坐享其成，不劳而获&lt;br /&gt;
&lt;br /&gt;
(6)ни рыба, ни мясо&lt;br /&gt;
直译：没有鱼也没有肉&lt;br /&gt;
意译：不三不四，不伦不类&lt;br /&gt;
&lt;br /&gt;
(7)лучше синица в руках, чем журавль в небе&lt;br /&gt;
直译：天上的仙鹤不如手中的山雀&lt;br /&gt;
意译：远亲不如近邻&lt;br /&gt;
&lt;br /&gt;
(8)На языке мед, а под лед&lt;br /&gt;
直译：嘴上甜得像蜂蜜，心里冷得像冰&lt;br /&gt;
意译：笑里藏刀&lt;br /&gt;
&lt;br /&gt;
(9)И на солнце есть пятна&lt;br /&gt;
直译：太阳上也有黑点&lt;br /&gt;
意译：人无完人&lt;br /&gt;
&lt;br /&gt;
(10)семь раз отмерь, один раз отрежь&lt;br /&gt;
直译：测量了七次后再剪裁&lt;br /&gt;
意译：三思而后行&lt;br /&gt;
&lt;br /&gt;
Using free translation to translate Russian idioms requires the translator to accurately understand the meaning of the original text, because cultural differences make it impossible to literally translate. Only through the translator can an unobstructed bridge between Russian idioms and Chinese idioms be built.&lt;br /&gt;
&lt;br /&gt;
'''4.The application of literal translation and free translation in the Chinese translation of Russian proverbs'''&lt;br /&gt;
&lt;br /&gt;
There are often multiple translations of the same Russian proverb in Russian-Chinese dictionaries. On the one hand, because the translator uses different translation methods; on the other hand, because Russian proverbs have very rich connotations, a translation cannot perfectly interpret the inner meaning of the proverb. According to the context and the connotation of the proverbs, the most commonly used methods of Chinese translation of Russian proverbs are literal translation and free translation.&lt;br /&gt;
&lt;br /&gt;
'''4.1 Literal translation'''&lt;br /&gt;
&lt;br /&gt;
In Russian and Chinese languages, some proverbs not only have the same meaning or implicit meaning, but also use the same or similar figurative images to express a certain kind of the same semantics, and they are completely consistent in content and form. In this case, the equivalent translation of synonymous Chinese proverbs can convey the information contained in the original image, which not only retains the rhetorical color of the original language, but also enables the reader to perfectly understand the original text. E.g:&lt;br /&gt;
&lt;br /&gt;
(1)Куй железо, пока горячо. 趁热打铁。&lt;br /&gt;
&lt;br /&gt;
(2)Беда не приходит одна. 祸不单行。&lt;br /&gt;
&lt;br /&gt;
(3)Сытый голодного не разумеет. 饱汉不知饿汉饥。&lt;br /&gt;
&lt;br /&gt;
(4)Век живи, век учись. 活到老，学到老。&lt;br /&gt;
&lt;br /&gt;
(5)Выше встанешь, дальше увидишь. 站得高，看得远。&lt;br /&gt;
&lt;br /&gt;
(6)Лучше один раз увидеть, чем сто раз услышать. 百闻不如一见。&lt;br /&gt;
&lt;br /&gt;
(7)Нет дыма без огня. 无火不生烟。&lt;br /&gt;
&lt;br /&gt;
(8)Шила в мешке не утаишь. 口袋藏不住锥子。&lt;br /&gt;
&lt;br /&gt;
(9)Береги платье снову, а честь смолоду. 衣服要从新的时候爱惜，荣誉要从年轻时珍惜。&lt;br /&gt;
&lt;br /&gt;
(10)Выше лба уши не растут. 耳朵高不过额头。&lt;br /&gt;
&lt;br /&gt;
(11)Для милого друга семь верст не околица. 为了好友，多绕七里也不嫌远。&lt;br /&gt;
&lt;br /&gt;
(12)Как Новый год встретишь, так его и проведешь. 怎么迎新年，就怎么过一年。&lt;br /&gt;
&lt;br /&gt;
(13)Лучше умереть стоя, чем жить на коленях. 宁愿站着死，绝不站着生。&lt;br /&gt;
&lt;br /&gt;
(14)Не имей сто рублей, а имей сто друзей. 宁要一百个朋友，不要一百个卢布。&lt;br /&gt;
&lt;br /&gt;
По одежке встречают, по уму провожают. 迎客时看衣，送客时看才智。&lt;br /&gt;
&lt;br /&gt;
==Dialectical thinking in arguments between literal translation and free translation 	甘奉玉	Gan Fengyu==&lt;br /&gt;
&lt;br /&gt;
===Abstract===&lt;br /&gt;
  As two methods of translation, how to use literal translation and free translation has always been the focus of debate between Chinese and Western translation circles. Through the study of translation methods of literal translation and free translation at home and abroad, we can know that to some extent literal translation and free translation are two relative conceptions, so there will be word-for-word translation, that is, dead translation, and excessive free translation. However, these two are only two extremes of literal translation and free translation. In fact, although there are differences in definitions and application fields between literal translation and free translation, they are unified in common translation purpose, translation procedure and translation standard. Therefore, the two are contradictory and unified in translation activities. This is also the profound embodiment of the unity of opposites in materialist dialectics.--[[User:Gan Fengyu|Gan Fengyu]] ([[User talk:Gan Fengyu|talk]]) 07:46, 10 November 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
===Key words===&lt;br /&gt;
literal translation, free translation, word-for-word translation, over free translation, unity of opposites&lt;br /&gt;
&lt;br /&gt;
===摘要===&lt;br /&gt;
  作为翻译方法，直译(literal translation)与意译(free translation)怎样使用的问题一直是一个争论中西方翻译界不休的焦点。通过对国内外直译与意译的翻译方法的研究，我们可以得知，从某种程度而言，直译与意译是两个相对的概念, 所以才会有逐字翻译，即死译，与过度意译这两个完全对立的概念。但是，这两者只不过是直译与意译的两个极端点。其实，直译和意译虽然在概念定义，适用范围上有所差异，但却又统一于共同的翻译目的、翻译过程和翻译标准中。所以两者在翻译活动中应该是既对立又统一的矛盾体。而这也正是唯物辩证法中的对立统一矛盾观的深刻体现。--[[User:Gan Fengyu|Gan Fengyu]] ([[User talk:Gan Fengyu|talk]]) 07:50, 10 November 2020 (UTC)&lt;br /&gt;
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===关键字===&lt;br /&gt;
直译； 意译； 死译； 过度意译； 对立统一&lt;br /&gt;
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===Introduction===&lt;br /&gt;
  Throughout the translation history at home and abroad, the literal translation and free translation have always been a heat discussion in the translation circles. Someone absolutely approve literal translation and demean free translation, even pursue a dead translation, which creates an translated text difficult to understand. While some other people absolutely agree with free translation even advocate random acts, which means a random deletion in the translation practices and creates anther entirely different text. However, there are also a number of translators who have recognized that these two translation methods are not totally opposite. So they adopt a compromise and flexible way. That means they will choose the most appropriate one depending on the text demanding. Therefore, we can deduce from it that this eclectic translation is consistent with the Contradiction view of Unity of Opposite in Materialist Dialectics. In fact, literal translation and free translation are right a set of contradictions which are both opposite and unified. They complement each other into an integral one.&lt;br /&gt;
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===1.Dialectic thinking of the Unity of opposites===&lt;br /&gt;
===2.Word-for-word translation===&lt;br /&gt;
===3.Over free translation===&lt;br /&gt;
===4.Eclectic translation===&lt;br /&gt;
===5.Opposition and unity between literal translatiuon and free translation===&lt;br /&gt;
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===5.1 Opposition===&lt;br /&gt;
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===5.1.1 Opposition in definition===&lt;br /&gt;
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===5.1.2 Opposition in application fileld===&lt;br /&gt;
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===5.2 Unity===&lt;br /&gt;
===5.2.1 Unity in translation goal===&lt;br /&gt;
===5.2.2 Unity in translation procedure===&lt;br /&gt;
===5.2.3 Unity in translation standard===&lt;br /&gt;
===6.Conclusion===&lt;br /&gt;
===Bibliography===&lt;br /&gt;
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== Peter Newmark’s Improved Views on Literal Translation and Free Translation 赵茜 Zhao Xi==&lt;br /&gt;
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='''Document Translation'''=&lt;br /&gt;
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==On translation of official documents of CangNan County	吴恺	Wu Kai==&lt;br /&gt;
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On Translation of Official Documents of Cangnan County&lt;br /&gt;
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Japanese Language and Literature, School of Foreign Languages, Hunan Normal University, Wu Kai--[[User:Wu Kai|Wu Kai]] ([[User talk:Wu Kai|talk]]) 04:45, 2 December 2020 (UTC)&lt;br /&gt;
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==='''Abstract'''===&lt;br /&gt;
As one of the forefronts of Zhejiang’s opening-up cause, Cangnan County in Zhejiang Province has been enjoying a rapid development and an ever-growing degree of opening-up with lasting vitality as it’s supported by national policies and nourished by the dividends of economic globalization since China's reform and opening-up. As China has ushered in a period of major changes rarely seen in a century, Cangnan County is also facing new opportunities and challenges. Under the background of this era, Cangnan County is expected to make good use of its own advantages, especially the geographical ones—it is close to countries and regions including Japan, South Korea, and Taiwan—and should spare no efforts to achieve a higher level of opening-up, and, in turn, further promote its development. As an embodiment of the collective will of the people of Cangnan County, the official document is one of the best manifestations of its governance and stability control capabilities. For this reason, the research on how to translate official documents is of great significance for that it offers a great opportunity for Cangnan County to re-examine itself and to show the rest of the world its achievement in building a culture-enriched county.&lt;br /&gt;
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==='''Key words'''===&lt;br /&gt;
 official document translation, Cangnan County, opening-up, Japan, South Korea&lt;br /&gt;
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==='''摘要'''===&lt;br /&gt;
自中国改革开放以来，浙江省苍南县作为全浙江对外开放的前沿阵地之一，得到了国家政策支持和经济全球化红利的滋润，苍南县发展水平与对外开放程度日新月异，全县活力持久带劲。随着中国迎来“百年未有之大变局”，苍南县也面临着新的机遇和挑战，在此时代背景下，苍南县应该利用好自身优势，特别是临近日本、韩国、台湾等国家与地区的地理优势，努力开展更高层次、更高水平的对外开放事业，促进苍南更好的发展。为此，作为苍南县人民集体意志的体现，苍南县的公文就是对外展示其治理水平、稳控能力的最好的体现之一。而对于苍南县公文的如何翻译的研究，是促使苍南县重新审视自己、推进苍南人文县情传播海外的良机，意义重大。&lt;br /&gt;
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==='''关键词'''===&lt;br /&gt;
公文翻译  苍南县  对外开放  日本  韩国&lt;br /&gt;
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==='''I. System and Translation of Official Documents of Cangnan County'''===&lt;br /&gt;
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The unique official document system adopted by Chinese government agencies is a special integration of the thousands-of-years excellent political traditions in China and the essence of the organizational structure of the socialist regime. As a county-level unit in China's local administrative structure, Cangnan County has an official document system that is consistent with the national ones in general while has its own features. Official documents of Cangnan County can be basically divided into the following types of writing: resolutions, decisions, orders, bulletins, announcements, notifications, opinions, notices, reports, requests for instructions, approvals, proposals, letters, and minutes. Above-mentioned categories are collectively known as official documents. Besides, there are also some types of practical writing, including summaries, plans, notes, memos, briefings, speeches, manuals and so on, that are often used in our day-to-day work.&lt;br /&gt;
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In addition to those characteristics of the official documents that are commonly seen in China, official documents of Cangnan County also have its own features, which is mainly reflected in the aspect of proprietary terminology. Cangnan County, which used to be a part of Pingyang County in Zhejiang Province, was officially designated as a county in 1981 with the approval of the Central Government. It takes its name Cangnan, which means “on the south of the Yucang Mountain”, from its geographical location. As a relatively young county-level administrative unit in China’s administrative divisions, Cangnan County has a complex natural endowment and cultural environment, which is the reason why there are many special proprietary terms used in the official documents of Cangnan County, such as “Beautiful South Gate of Zhejiang Province”, “Southern Ouyue (an ancient kingdom in modern Wenzhou and Taizhou)” , “South Gate of Jiangsu-Zhejiang Region” and so on. Moreover, Cangnan is also the birthplace of the “Wenzhou Model”. Since the implementation of policy for the exchange of production materials and commercial grains in 1984, Cangnan has become an important base for the experiments and development of Wenzhou's private economy and market economy, and, thus, has made a significant contribution to the great cause of China's reform and opening-up.&lt;br /&gt;
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To conclude, the unity of the official document system viewed from the national scope of China and the uniqueness of the official document system viewed from the local scope of Cangnan area are both reflections of the integration of economic, political, and cultural elements. Therefore, when translating the terms and sentences in these official documents, obviously, it is almost impossible to follow general translation theories, such as Yan Fu’s “faithfulness, expressiveness and elegance” theory which applies to literature translation, and Christiane Nord’ Skopos theory which emphasizes schematic analysis. Due to the features of the official documents of Cangnan County, it is hard to imagine the consequence it will cause if those Cangnan and Chinese elements they contain are missed when translating them. Therefore, the starting point for the translation and research of Cangnan official documents should be analyzing the official document itself, but not choosing which translation theory to apply.&lt;br /&gt;
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The translation method focusing on the official documents themselves is undoubtably the one that emphasizes the content while manages to achieve a similarity in form. Thus, the translation theory that meets the requirements of official document translation in Cangnan County shall be the functional equivalence theory of the American linguist Eugene A. Nida. Eugene A. Nida argued in his theory that translation is to use the most appropriate, natural and equivalent language to reproduce the informational function of the source language both semantically and stylistically. Nida’s definition of translation specified that translation is seeking equivalence not only in lexical meaning, but also in semantics, style and literary form. Translation should convey both the denotative and connotative meaning of a message. Regarding the equivalence of translation, he believed that the equivalence consists of four parts: lexical equivalence, syntactic equivalence, textual equivalence, and stylistic equivalence. Among the four aspects, he emphasized that the meaning the core and most important part, followed by the form. The form of a text is likely to conceal the cultural connotation of the source language and may, therefore, hinder cultural exchanges. Based on the above, the reasons why the functional equivalence theory is applicable to official document translation in Cangnan County can be concluded as follows:&lt;br /&gt;
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First, the functional equivalence theory advocates that the target text should be equivalent to the source text both semantically and culturally. Official documents of Cangnan County are carriers of profound political culture with Chinese characteristics and the cultural environment in Cangnan. When translating them, in addition to showing the political consciousness and judicial authority of Cangnan government agencies, the local culture of Cangnan must also be reflected in the translations.&lt;br /&gt;
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Second, the functional equivalence theory suggests that if the lexical meanings and cultural elements cannot be taken into account at the same time, the translator then may give up the equivalence in form and try to reproduce the semantic and cultural meaning of the source text by changing the form of the sentence. There are many specialized terms with Chinese characteristics and Cangnan’s characteristics in official documents of Cangnan County. When translating them, once there is no corresponding expression in the target language, other forms of expression must be adopted to retain the meanings of those specialized terms as much as possible.&lt;br /&gt;
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Third, the functional equivalence theory proposes that if the change in form is still not enough to express the semantic and cultural meaning of the expression in the source language, the translation technique of “heavy damage” can be adopted to resolve cultural differences , so that the source language and the target language can achieve equivalence in semantic meaning. “Heavy damage” refers to the transformation of the deep structure of the source language into the surface structure of the target language, that is, expressing the cultural connotation of the source text with expressions of the target language. It cannot be ruled out that there are words and sentences in the official document of Cangnan County that cannot be translated, and when this happens, the translator can only rely on his translation techniques and understanding ability to process them creatively.&lt;br /&gt;
Above are simply macro analyses of the official document system in Cangnan County, and when it comes to specific analyses, challenges we face will only be severer.&lt;br /&gt;
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==='''II. Stylistic Features and Translation of Official Documents in Cangnan County'''===&lt;br /&gt;
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Looking at the official documents of Cangnan County from the micro level, we can work on the study of its translation based on the following characteristics.&lt;br /&gt;
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'''1. Details and Accurate'''&lt;br /&gt;
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As an officially-written document geared for the needs of our people, wording of the official documents of Cangnan County has a very specific orientation. Almost all content words have very clear meanings and connotations.&lt;br /&gt;
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For example, the sentence “经研究，县政府决定召开市对县安全生产巡查反馈会暨突出问题集中教育警示会，现将有关事宜通知如下。(As discussed, the county government decided to convene a feedback meeting on city-to-county inspections of production safety and a meeting for education and warning on outstanding issues. The relevant matters are hereby notified as follows.)” in the document 《苍南县人民政府办公室关于召开市对县安全生产巡查反馈会暨突出问题集中教育警示会的通知》(“Notice of the Office of the People's Government of Cangnan County on Convening a Feedback Meeting on City-to-County Inspections of Production Safety and A Meeting For Education and Warning On Outstanding Issues”) (the office of the People's Government of Cangnan County on June 8th, 2020) conveys several points very accurately and clearly, including the decision maker, the type, content and theme of the meeting. Therefore, special attention must be paid to the integrity of the information delivered when translating this sentence. For example, it is translated into Japanese as “討議を通じて、県政府は県の安全生産状況に対する市政府の巡査結果反映会及び顕著問題教育警告会を開催することが決定した。関連事項を以下のようにお知らせする。”&lt;br /&gt;
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'''2. Precise and Compact'''&lt;br /&gt;
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The role of official documents is to exchange formal information between the upper and the lower, the people and the officials, and the relevant departments. Therefore, the wording of the official documents must be rigorous. No slang and loose sentences should be used, and excessive use of parentheses and descriptive modifiers should be avoided. Official documents of Cangnan County follow this rule as well, in which there will never be informal expressions like daily spoken words.&lt;br /&gt;
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For example, the expression “三、决策目录施行动态管理，因工作需要增减或变更重大行政决策事项的，承办单位应按照相关规定程序提请调整。(Third, the decision catalogue shall be managed in a dynamic way, the undertaker shall submit application for adjustments in accordance with the relevant regulations if any increase/decrease or change shall be made to the major administrative decision-making matters because of the need of actual work.)” in the document《关于公布苍南县2020年度重大行政决策事项目录的通知》(“Notice on Issuing the 2020 Annual Catalogue of Major Administrative Decision-Making Matters of Cangnan County”) (the office of the People's Government of Cangnan County on Sept. 20th, 2020) When translating this sentence into Japanese, the translator shall fully considers the preciseness of the original expression, and translate it as “三つ目、戦略目録動的管理施行、仕事需要によっての増減または変更が必要な場合、請負機構は関連規定の手順に従って調整を提出しなければならない。”&lt;br /&gt;
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'''3. Programmed and Standardized'''&lt;br /&gt;
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The purpose of official documents requires a stable and routine writing program so that the official business can be conducted in an orderly manner. It is essential that the document writing is reasonably programmed. It allows the officer to know what it is and what to do at a glance if a standardized official document program is followed. The standardization of the official documents of Cangnan County can be regarded as a tricky feature in their translation.&lt;br /&gt;
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For example, the expression “各乡镇人民政府，县政府直属各单位 (the people's government of all townships and towns and all directly affiliated institutions of the people’s government of Cangnan County)” in the document《关于公布苍南县2020年度重大行政决策事项目录的通知》(“Notice on Issuing the 2020 Annual Catalogue of Major Administrative Decision-Making Matters of Cangnan County”) (the Office of the People's Government of Cangnan County on Sept. 20th, 2020) is obviously a standardized addressing of the receiving units of an official document, and it should be translated into Japanese as “各郷鎮人民政府、県政府直属の各部門”.&lt;br /&gt;
Viewing from a micro perspective, we may find that special attention should be paid to many precise details when translating those official documents. It is of great significance that, during the cause of reform and opening-up, we strike a balance between the macro level and the micro level in official document translation, which will serve as a stage for Cangnan County to show itself to Japan, South Korea and other East Asian countries and regions.&lt;br /&gt;
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==='''III. Translation of Official Documents of Cangnan County under the Context of the Japanese Language'''===&lt;br /&gt;
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Cangnan County is one of the nearest administrative units to Japan in China, and Okinawa Prefecture in Japan and Cangnan County are neighbors facing each other across the sea. Furthermore, Cangnan County itself has ports in Xiaguan, Pacao, Yanting, Dayu and other places, and has the basic conditions for conducting small transactions of freights with Okinawa. However, due to the inadequacy policies, laws and regulations, a large portion of Japan’s trade with China, especially with Zhejiang Province, is still conducted in the three port cities, namely Ningbo, Zhoushan, and Hangzhou. Cangnan’s geographical advantages have never been given to full play. To Japan, Cangnan is not a total stranger. Wenzhou City has a great influence upon Japanese culture and history. Special local products such as Wenzhou green tea and Wenzhou satsuma orange are very attractive to Japanese people. Many of the business exchanges during the Kamakura Bakufu in Japan were happened between Hakata merchants and Wenzhou people. As an important subordinate region of Wenzhou City, Cangnan County naturally has left an impression on Japanese people when it comes to China.&lt;br /&gt;
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If Cangnan hopes to lay a foundation for the future cooperation with Japan through its cause of opening up to the outside world, it is of great importance that we study the methods and techniques to make the translation of Cangnan’s official documents to meet the specific context of the Japanese language, which is also a part of the cultural exchanges that will facilitate economic and trade cooperation between Japan and China. The political status of Cangnan County is equivalent to the one of regular cities and special wards in Japan, but this does not mean that the official documents of Cangnan County can be regarded as equivalents to the official documents released by the governments of the regular cities and special wards in Japan, and there are huge differences between their respective official documents in form, wording, Cultural connotation and etc. To better translate Cangnan official documents under the context of Japanese language, the following aspects must be paid attention to:&lt;br /&gt;
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1. Detailed Comparison of Types&lt;br /&gt;
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In the Japanese official document system, the word “公文” is different in meaning from the word “公文” in Chinese official document system. In Chinese “公文” means government official documents, while in Japanese “公文” generally refer to legal documents that have the force of law and the term “公文書” is the one that refers to government official documents, which roughly includes “外交文書” and “起案文”, “通達” , “命令”, “許可”, “通知書” and so on . When translating official documents of Cangnan County into Japanese, attention should be paid to the transformation of the types of the official documents. The classifications of official documents in China and Japan are different from each other.&lt;br /&gt;
For example, when translating documents such as “proposal letter”, “report” and the like into Japanese, the title should be translated as “建言書” and “報告書”, while “命令(order)”, “通知(notice)”, “提案(Proposal)” and etc. need no translation and can be titled with the original characters directly as “命令”, “通知”, “提案”, and can also be further translated into “命令状”, “通知書”, “提案書”. Those reflect the characteristics of the division of the types of the official document system in Japan.&lt;br /&gt;
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2. Careful Consideration of the Translation of Chinese Characters&lt;br /&gt;
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There are a large number of Chinese characters in Japanese. This will for sure be an advantage when translating official documents of Cangnan County into Japanese, however, at the same time, this is also a huge disadvantage. After all, those Chinese characters are Japanized Chinese characters, and their meanings and usages are more or less different from the original ones in Chinese.&lt;br /&gt;
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For example, the expression “设定全县森林防火期(setting the season of forest fire prevention)” in the document 《苍南县应急管理局局长王再忠关于&amp;lt;苍南县人民政府关于做好森林防火期护林防火工作的通告&amp;gt;的政策解读》(“Policy Interpretation Of ‘Notice of Doing Forest Protection and Fire Prevention during the Season of Forest Fire Prevention by the People's Government Of Cangnan County’ by the Director of Cangnan Emergency Management Agency Wang Zaizhong”) in could be translated character by character into Japanese as “全県域森林防火期間設定”. However, expressions such as “野外火源如何管理” cannot be translated in the same way, and must be processed accordingly and translated into Japanese as “野外の火の元が如何に処理すること”. When translating official documents of Cangnan County into Japanese, the translators must reject the preconceived thinking and native Chinese thinking, or it will lead to irreversible misunderstandings and mistakes.&lt;br /&gt;
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3. Mastery of the Equivalence of Semantic Meaning&lt;br /&gt;
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Chinese is an isolating language, in which the grammatical meaning is reflected by the order of words, while Japanese is an agglutinative language, in which auxiliary words and flexible usages of vocabulary are adopted to reflect the grammatical meaning. This requires the translators to have mastery of the equivalence of semantic meanings when translating official documents of Cangnan County into Japanese and try to achieve perfect equivalence in official document translation.&lt;br /&gt;
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For example, there is a expression as “全体公民必须认真贯彻‘以人为本、预防为主、积极扑救、有效消灾’的森林防灭火工作方针，一旦发现森林火灾，要立即向当地人民政府或森林防灭火指挥部办公室报告(all citizens must seriously implement the working policy of forest fire prevention and firefighting ‘people-oriented, prevention-focused, active in firefighting, effective in disaster relief’, once a forest fire is detected, it must be reported to the local people’s government or the forest fire prevention and firefighting headquarters office immediately)” in the document 《苍南县应急管理局局长王再忠关于&amp;lt;苍南县人民政府关于做好森林防火期护林防火工作的通告&amp;gt;的政策解读》(“Policy Interpretation Of ‘Notice of Doing Forest Protection and Fire Prevention during the Season of Forest Fire Prevention by the People's Government Of Cangnan County’ by the Director of Cangnan Emergency Management Agency Wang Zaizhong”). When dealing with long and complex sentences, the translator must be flexible in using translation techniques to decompose the sentences and translate them step by step, focusing on the balance between the form of the sentence and its semantic meaning. Based on this principle, the abovementioned sentence could be translated into Japanese as “人間本位、予防軸化、積極救助、有効消災という森林防火作業方針は全県民が必ず強固に守らなければならない。林に火事が発見された際、直ちに所轄人民政府や森林防火指揮部執務室に報告すること。”&lt;br /&gt;
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There is no doubt that, in terms of four-character idioms, allusions, new words of the era and etc., the translation of official documents of Cangnan County under the context of the Japanese language still has a long way to go, but the part that we should pay most attention to in translation is always the differences in culture between the source language and the target language. Only by keeping this basic point in mind at all times, will there be no huge mistakes being made when translating official documents of Cangnan County into Japanese.&lt;br /&gt;
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==='''Ⅳ. Translation of Official Documents of Cangnan County under the Context of the Korean Language'''===&lt;br /&gt;
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Zhejiang Province and South Korea have laid a good foundation for economic and trade cooperation projects, and a framework that is comprehensive, wide-ranging, and multi-level has been established for Zhejiang-South Korea cooperation. The advantages of the two regions are obviously complementary and the development potential for both sides and in between is huge. In September 2016, the Zhejiang China-Korea (Quzhou) Industrial Cooperation Park was approved as the first batch of “Zhejiang International Industrial Cooperation Parks” in Zhejiang Province. The total planned area is about 3,000 acres and the total planned investment is 12 billion yuan. Represented by the Zhejiang China-Korea Industrial Cooperation Park, a large number of economic and trade cooperation projects has been carried out with South Korea by Zhejiang Province. As an indispensable part of Zhejiang Province, Cangnan County is facing a huge gap in the cultural exchanges and economic cooperation with South Korea. How to elevate the level of Cangnan’s opening up to the outside world and advancing Cangnan’s economic, trade and cultural cooperation with South Korea is a question that is well worth exploring. Although Cangnan is further away from South Korea compared with regions in the north of Zhejiang, geographic location should never be a factor that hindering Cangnan’s economic, trade and cultural cooperation with South Korea. In an era of ever-deepening globalization, it is of great significance that we think about how to develop and promote the economic and trade and cultural cooperation between Cangnan and South Korea.&lt;br /&gt;
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Northern Zhejiang is a key area for economic, trade and cultural cooperation with South Korea. As the south gate of Zhejiang Province, if Cangnan County could open the door of economic, trade and cultural cooperation to South Korea, then this will inevitably bring extraordinary development opportunities to southern Zhejiang and make the pattern of Zhejiang and South Korea’s economic and cultural cooperation more balanced and healthy. The political status of Cangnan County is equivalent to the one of si(city), gu (district), and gun(county) in South Korea. Because of some historical reasons, South Korea is greatly influenced by Chinese culture. From the Three Kingdoms era of Joseon, to the Unified Silla Dynasty, the Wang’s Goryeo Dynasty, and the Yi’s Joseon Dynasty, the basic system of administrative divisions in South Korea is almost the same as the one in China, so the official document system of cities, districts, and counties in South Korea can be regarded as basically equivalent to the official document system of Cangnan County with only slight differences originated from the localized political and cultural traditions and the basic social condition of South Korea. Therefore, there are relatively fewer difficulties of translation when translating official documents of Cangnan County into Korean, aside from the barriers caused by Korean Hangul words. The translation of official documents of Cangnan County under the context Korean language requires attention to the following aspects:&lt;br /&gt;
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1. The Combination of Chinese characters and Hangul&lt;br /&gt;
&lt;br /&gt;
Modern Korean uses Hangul as the main written characters, but this does not mean that there is no place for Chinese characters in the Korean system. Since the launch of the abolition of Chinese characters movement in South Korea in the 1970s, Hangul did exactly achieved an overall penetration of every aspect of their daily life, but when it comes to important documents, Chinese characters still reserve a seat in the arena of South Korea’s history. Furthermore, a higher level of talent training is required now to meet the need of South Korea’s economic and social development, and the mastery of sinology has become, among all the necessary skills, one of the most straightforward evaluation criteria to access the qualified personnel. Thus, South Korea has restarted the Chinese character teaching movement. Nowadays, the official document system in South Korea has become one in which Hangul serves as the main language and the mixed use of Chinese characters and Hangul serves as a supplement. Just as how the mixed use of kana and Chinese characters in Japanese official documents may help in its translation, the mixed use of Chinese characters and Hangul also greatly facilitate the translation of official documents of Cangnan County into Korean. However, because Chinese characters used in Korea are composed of traditional Chinese characters and a small number of Korean self-made Chinese characters, we can not take it for granted that it is advisable to translate them word by word.&lt;br /&gt;
&lt;br /&gt;
For example, the title of the document《苍干任〔2020〕18号 王再忠等同志的任命》(“Cangnan Cadre Appointment [2020] No. 18: Appointment of Wang Zaizhong and etc.”) (the Office of CPC Cangnan Party Committee on March 27th, 2020) can be translated with the mixed use of Chinese characters and Hangul into Korean as《蒼南縣의 幹部任命〔2020〕18號 王再忠등 同志의任命》. Also, it be translated into Korean with Hangul alone as《참남현의 간부임명〔2020〕18호 왕재충등 동지의임명》.&lt;br /&gt;
&lt;br /&gt;
2. The Usage of Refined Language&lt;br /&gt;
&lt;br /&gt;
In recent years, South Korea has carried out reforms of the official document system, urging that the South Korean government agencies at all levels should use “refined(or purified) language”, that is, to write and publish official documents with words that are easy for the public to understand and have explicit meanings, reducing the cost of communication between the government and the public and, in this way, building a closer relationship between the government and the people, so that civil servants can communicate with the people more effectively. Refined language is a kind of common vernacular that differs from the official language. Although this trend of the wording of Korean official documents is not unconditional, but when compared with official documents of Cangnan County, which emphasize the solemnity and formality of official documents, this trend is the part that the translator has to pay his attention to.&lt;br /&gt;
&lt;br /&gt;
For example, when translating the expression “为加强行政规范性文件管理，切实推进依法行政，加快法治政府建设 (To strengthen the management of administrative normative documents, promote the administration in accordance with law, and accelerate the construction of a government ruled by law)” in the document《苍南县人民政府关于公布县政府及县政府办公室行政规范性文件清理结果的通知（有效）》(“Notice of the Office of the People's Government of Cangnan County on the Announcement of the Results of the Cleanup of the Administrative Normative Documents of the County Government and the County Government Offices (Effective)”) (the Office of the People's Government of Cangnan County on October 23th, 2020) , blunt expressions may not be that applicable and this expression translated into Korean in a more public-friendly way as “행정 규범적인 문서관리를 강화하기 위해, 법에따라 행정을 철저히 추진하고 법치정부의 건설을 가속화시킨다.”&lt;br /&gt;
&lt;br /&gt;
3. Mastery of the Equivalence of Semantic Meaning&lt;br /&gt;
&lt;br /&gt;
Like Japanese, Korean is also a typical agglutinative language. A sentence is formed by connecting independent words with various auxiliary words, and with a subordinating conjunction at the end of the sentence. Auxiliary words are just like glues, they exist after every subject, predicate, and object component of a Korean sentence to them together. For that these auxiliary words have no substantial meaning themselves, they must stay close to the main body in front, and a space must be put after. Therefore, when translating Chinese, which is an isolated language, into Korean, which is an agglutinative language, it is necessary to have mastery of the equivalence of the semantic meaning of the expression.&lt;br /&gt;
&lt;br /&gt;
For example, when translating the expression “全面实施全民参保计划，做好参保情况清查，提升参保信息质量，清理重复参保，稳定持续参保，减少漏保断保，实现应保尽保。(Fully implement the national social security plan, do a good job in checking the coverage of the social security, improve the quality of the collection of the information of the insured, clean up repeated insureds, stabilize the renewal of the social security, reduce the interruption of the social security, and achieve full social security coverage.)” in the document《关于做好2021年度城乡居民基本医疗保障工作的通知》(“Notice on Doing a Good Job in Basic Medical Security for Urban and Rural Residents in 2021”)( the Office of Medical Security Bureau of Cangnan County on November 5th, 2020), the translator should pay attention to the equivalence of semantic meaning of this long sentence and translated it into Korean as “전국민기본의료보험가입계획을 전면적으로 실시하고 기본의료보험가입상황을 철저히 조사하며 기본의료보험가입 정보의 질을 향상시키고 중복기본의료보험가입을 청산하며 안정적이고 지속적인 기본의료보험가입을 하며 보험누락을 줄이고 기본의료보험가입 을 실현해야 한다.”&lt;br /&gt;
&lt;br /&gt;
==='''Ⅴ. Studies of Official Document Translation and the Cause of Opening-up in Cangnan County'''===&lt;br /&gt;
&lt;br /&gt;
Based on the abovementioned basic characteristics of the official document system of Cangnan County, the notes for official documents translation under the context of the Japanese language and the notes for official documents translation under the context of the Korean language, we can see that official documents of Cangnan County is not as difficult to handle as something untranslatable. Cangnan County enjoys a good geographic location: it is located in the coast of the East China Sea, and is close to both Japan and South Korea, two strong economies in East Asia. However, Cangnan County has not yet made use of these favorable conditions to the fullest to promote cultural cooperation and trade with the two countries. Cangnan’s opening up to the outside world requires innovative thinking and an elaborate layout. Studies on the translation of official documents of Cangnan County, especially the translation of official documents under the context of the Japanese and Korean language, will help to explore the cultural spirit of the government institutions, and play an important role in building a good image of Cangnan County in East Asia and laying a foundation for Cangnan's cooperation with major countries and regions in East Asia .&lt;br /&gt;
&lt;br /&gt;
The world today is undergoing profound changes rarely in a century, and so is China. The tide of history moves on and Cangnan shall not stay out of the matter, but must follow it courageously and strive to open new doors for Cangnan's opening up to the outside world through the study of the official document translation of its own.&lt;br /&gt;
&lt;br /&gt;
===References===&lt;br /&gt;
&lt;br /&gt;
[1]Ziqi LIU. The Application of Functional Equivalence Theory in Scientific Translation：A Case Study of the Translation of Shipbuilding English[J]. CREATIVITY AND INNOVATION,2019,1(3).&lt;br /&gt;
&lt;br /&gt;
[2]Mu Dan. Discussion on Translation Activities Under the Guidance of Functional Equivalence Theory[J]. International Journal of Education and Management,2018,3(2).&lt;br /&gt;
&lt;br /&gt;
[3]李琳琳. 功能对等翻译理论与关联翻译理论比较研究[D].辽宁师范大学,2006.&lt;br /&gt;
&lt;br /&gt;
[4]赵娟廷. 汉韩公文语体对比研究[D].复旦大学,2003. &lt;br /&gt;
&lt;br /&gt;
[5]周萱. 《中国共产党怎样解决民族问题》（节选）中韩翻译报告[D].青岛大学,2017.&lt;br /&gt;
&lt;br /&gt;
[6]张利军. 《教学的游戏性研究》的汉日翻译实践报告[D].广西师范大学,2019.&lt;br /&gt;
&lt;br /&gt;
[7]栾亚琼. 《2015年山东省政府工作报告》汉日翻译实践报告[D].曲阜师范大学,2016.&lt;br /&gt;
&lt;br /&gt;
[8]占丽华. 源流与演变—日本地方公文书馆发展路径研究[D].山东大学,2020.&lt;br /&gt;
&lt;br /&gt;
[9]任清萍. 功能翻译理论视角下政府工作报告日译研究[D].外交学院,2020.&lt;br /&gt;
&lt;br /&gt;
[10]孙慧. 产业竞争力与区域经济增长[D].苏州大学,2006.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
--[[User:Wu Kai|Wu Kai]] ([[User talk:Wu Kai|talk]]) 04:45, 2 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
==The Translation Process and Methods of Translating English Long Sentences	周艺文	Zhou Yiwen==&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
===Abstract===&lt;br /&gt;
===Key words===&lt;br /&gt;
===摘要===&lt;br /&gt;
===关键词===&lt;br /&gt;
===Introduction===&lt;br /&gt;
&lt;br /&gt;
===Conclusion===&lt;br /&gt;
===Bibliography===&lt;br /&gt;
&lt;br /&gt;
==Chinese-English Translation of News Headlines From the Perspective of Skopos Theory	张维虹	Zhang Weihong==&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
==='''Abstract'''===&lt;br /&gt;
&lt;br /&gt;
==='''key words'''===&lt;br /&gt;
&lt;br /&gt;
News headlines; Skopos theory; translation&lt;br /&gt;
&lt;br /&gt;
==='''摘要'''===&lt;br /&gt;
社会的飞速发展使得人们的阅读方式发生了巨大的改变, 通过阅 读新闻标题来获取消息和了解事实, 成为大多数人的不二之选, 新闻标题 翻译也就越来越具有其必要性。 新闻标题的重要性堪比一部使人印象深刻 的电影名, 一则响亮的广告语, 一本撩人心弦的书名。 较之娱乐新闻, 时 政新闻略显严肃客观, 又因当今科技物质的飞速发展, 时政新闻的点阅数 量明显少于以消遣娱乐为目的的娱乐新闻。 怎样提高时政新闻的阅读量, 怎样使得时政新闻如同娱乐新闻一般深受广大人民的喜爱, 这不仅是新闻 编辑者们的挑战, 也是新闻翻译界的难题。 本文以德国功能派翻译目的论 为理论指导, 结合新闻学及编辑学的相关学科知识, 通过对中英时政新闻 标题的对比分析, 旨在对时政新闻标题的汉译英提出翻译策略, 让国外读者正确客观无误的了解中国的时事政策。&lt;br /&gt;
&lt;br /&gt;
==='''关键字'''===&lt;br /&gt;
&lt;br /&gt;
===Introduction===&lt;br /&gt;
&lt;br /&gt;
===Skopos Theory===&lt;br /&gt;
&lt;br /&gt;
===Features of News Headlines===&lt;br /&gt;
&lt;br /&gt;
===Chinese-English Translation Methods of News Headlines from the Skopos Perspective===&lt;br /&gt;
&lt;br /&gt;
===Conclusion===&lt;br /&gt;
&lt;br /&gt;
===Bibliography===&lt;br /&gt;
&lt;br /&gt;
==On Chinese-English Translation of Public Service Advertisements From the Perspective of Text-type Theory  司妤  Si Yu==&lt;br /&gt;
&lt;br /&gt;
==='''Abstract'''===&lt;br /&gt;
&lt;br /&gt;
==='''key words'''===&lt;br /&gt;
&lt;br /&gt;
==='''摘要'''===&lt;br /&gt;
&lt;br /&gt;
==='''关键字'''===&lt;br /&gt;
&lt;br /&gt;
===Text-type Theory===&lt;br /&gt;
&lt;br /&gt;
===Features of Public Service Advertisements===&lt;br /&gt;
&lt;br /&gt;
====Content Features====&lt;br /&gt;
&lt;br /&gt;
====Text Features====&lt;br /&gt;
&lt;br /&gt;
===Examples of C-E Translation of Public Service Advertisements===&lt;br /&gt;
&lt;br /&gt;
===Mistranslation of Public Service Advertisements===&lt;br /&gt;
&lt;br /&gt;
===Methods of C-E Translation of Public Service Advertisements===&lt;br /&gt;
&lt;br /&gt;
===Conclusion===&lt;/div&gt;</summary>
		<author><name>Song Jianru</name></author>
	</entry>
	<entry>
		<id>https://bou.de/u/index.php?title=History_of_Translation_Studies_8&amp;diff=107947</id>
		<title>History of Translation Studies 8</title>
		<link rel="alternate" type="text/html" href="https://bou.de/u/index.php?title=History_of_Translation_Studies_8&amp;diff=107947"/>
		<updated>2020-12-06T15:17:57Z</updated>

		<summary type="html">&lt;p&gt;Song Jianru: /* III Comparison of Original and Translation of A Pale View of Hills Along House's Translation Quality Assessment Model */&lt;/p&gt;
&lt;hr /&gt;
&lt;div&gt;这里是《翻译学史》的书稿第八部分(Part 8)。麻烦各位同学看一下已经存在的章回（样品），自己再加进去新的一个章回（就是你们的学期论文）。请也帮助同学们把他们的论文改正。这样多次修改，大家的论文会越来越好。&lt;br /&gt;
&lt;br /&gt;
学期论文（结合学期所学，撰写一篇5000以上单词的英文论文，按照专业杂志的格式，题目、摘要、关键词和参考文摘需要英中，文章英）。学期论文成绩占70%，平时成绩（含课堂表现、展示及作业）占30%。&lt;br /&gt;
&lt;br /&gt;
*Link back to course homepage: [https://bou.de/u/wiki/Introduction_to_Translation_Studies Course Homepage Intro. to TS]&lt;br /&gt;
*Link back to the final exam paper section of the course homepage: [https://bou.de/u/wiki/Introduction_to_Translation_Studies#Final_Exam_Papers Final Exam Papers]&lt;br /&gt;
*Link to other parts of the final exam papers: [https://bou.de/u/index.php?title=History_of_Translation_Studies_1 Final Exam Papers Part 1]&lt;br /&gt;
*Link to other parts of the final exam papers: [https://bou.de/u/index.php?title=History_of_Translation_Studies_2 Final Exam Papers Part 2]&lt;br /&gt;
*Link to other parts of the final exam papers: [https://bou.de/u/index.php?title=History_of_Translation_Studies_3 Final Exam Papers Part 3]&lt;br /&gt;
*Link to other parts of the final exam papers: [https://bou.de/u/index.php?title=History_of_Translation_Studies_4 Final Exam Papers Part 4]&lt;br /&gt;
*Link to other parts of the final exam papers: [https://bou.de/u/index.php?title=History_of_Translation_Studies_5 Final Exam Papers Part 5]&lt;br /&gt;
*Link to other parts of the final exam papers: [https://bou.de/u/index.php?title=History_of_Translation_Studies_6 Final Exam Papers Part 6]&lt;br /&gt;
*Link to other parts of the final exam papers: [https://bou.de/u/index.php?title=History_of_Translation_Studies_7 Final Exam Papers Part 7]&lt;br /&gt;
*Link to other parts of the final exam papers: [https://bou.de/u/index.php?title=History_of_Translation_Studies_8 Final Exam Papers Part 8]&lt;br /&gt;
*Link to other parts of the final exam papers: [https://bou.de/u/index.php?title=History_of_Translation_Studies_9 Final Exam Papers Part 9]&lt;br /&gt;
*Link to other parts of the final exam papers: [https://bou.de/u/index.php?title=History_of_Translation_Studies_10 Final Exam Papers Part 10]&lt;br /&gt;
&lt;br /&gt;
='''History of Translation'''=&lt;br /&gt;
== Study on Brand Name Translation from the Perspective of Cultural Difference	谭鑫洁	Tan Xinjie==&lt;br /&gt;
&lt;br /&gt;
==='''Abstract'''===&lt;br /&gt;
&lt;br /&gt;
== Abstract: ==&lt;br /&gt;
&lt;br /&gt;
==='''key words'''===&lt;br /&gt;
&lt;br /&gt;
==='''摘要'''===&lt;br /&gt;
&lt;br /&gt;
==='''关键字'''===&lt;br /&gt;
&lt;br /&gt;
===Complete transcript of the content of the original work ===&lt;br /&gt;
&lt;br /&gt;
===Same style and manner of writing===&lt;br /&gt;
&lt;br /&gt;
===Equivalent effect===&lt;br /&gt;
&lt;br /&gt;
===Discussion===&lt;br /&gt;
&lt;br /&gt;
===Conclusion===&lt;br /&gt;
&lt;br /&gt;
===Bibliography===&lt;br /&gt;
&lt;br /&gt;
==A Comparative Study on the Translation History in Western Countries and China	王煜	Wang Yu==&lt;br /&gt;
===摘要===&lt;br /&gt;
翻译是一种跨文化交流活动，翻译活动加快了人类文明发展步伐，减少了人们之间的沟通障碍。随着时代的变迁，中国和西方国家逐渐形成了各自的翻译史，翻译史的研究是学科建设的一项基础工程。尽管中西方翻译史在某些方面有所差异，但却都有着各自的独特性，并对人类的翻译活动产生了巨大的影响与贡献。文章将以中国和西方国家为主要对象，从二者翻译史起始，包含阶段和各阶段代表人物，影响意义，差异性出发，对二者的翻译史进行简略的对比研究。&lt;br /&gt;
&lt;br /&gt;
===关键词===&lt;br /&gt;
翻译史；西方翻译史；中国翻译史&lt;br /&gt;
&lt;br /&gt;
===Abstract===&lt;br /&gt;
Translation is an intercultural communication activity, translation activities have accelerated the development of human civilization and reduced the communication barriers between people of different countries or nations. With time goes by, things are in a state of flux and both the western and eastern countries have gradually formed their own history of translation, the study of translation history is a basic project of discipline construction. Though there are many differences among the translation histories of western countries and China, the two kinds of translation histories are still shining their own bright unique lights and have an indelible influence and contribution to human translation activities. This paper intends to make a brief comparison of translation histories between western countries and China, which includes the origins, the stages, the representatives of the stages, the significance and influence as well as the differences of the two translation histories.&lt;br /&gt;
&lt;br /&gt;
===Keywords===&lt;br /&gt;
Translation history; Translation history of the West; Translation history of China &lt;br /&gt;
&lt;br /&gt;
===1. Introduction===&lt;br /&gt;
No matter in China or in the west, translation plays an important role in knowledge-spreading. As an indispensable part of translatology, the study of translation history has made a great influence on translation activities, it has gradually become the focus of the literary and historical circles in recent years. Translation activities can be traced back to the origin of language, and the history of translation is almost as old as language itself, it is closely related to the changes in today's society. Since the 1980s, the translation studies in the mainland of China have made remarkable progress in the curriculum design of Chinese and western translation history and the compilation of related works. In the early 1980s and 1990s, there were many related works came out one after another including A brief history of Chinese Translation: the part before the May 4th Movement（《中国翻译简史-“五四”运动以前部分》） written by Zuyi Ma, A historical manuscript of Chinese translated literature （《中国翻译文学史稿》）edited by Yugang Chen, and also the A Short History of Translation in the West（《西方翻译简史》） the author of which is Zaixi Tan. Thus, it opens the gate for the compilation of Chinese and western translation history works.（谢天振，2009） The history of western translation can be divided into five stages while the Chinese study of translation has a glorious history of more than two thousand years and has experienced five climaxes. Through the comparative study of Chinese and western translation history, it will help us to have a deeper understanding of Chinese and western translation activities and thus to gather a general full view of it, which will be a positive and meaningful attempt.&lt;br /&gt;
&lt;br /&gt;
2. The Translation History of Western Countries&lt;br /&gt;
Western translation activities are rich in a long history and a multiyear span. The history of western translation can be roughly divided into three stages: the traditional stage, the modern times and the contemporary. More specifically, it can be grouped into the ancient times, the middle ages, the Renaissance period and the time after WWⅡ.&lt;br /&gt;
&lt;br /&gt;
2.1 The First Stage: Translation in the Ancient Times&lt;br /&gt;
    &lt;br /&gt;
The translation history of western countries first began in the the 3rd century B.C. &amp;quot;In a broad sense, the earliest translation in the west is the Old Testament translated by 72 Jewish scholars in Alexandria, ancient Egypt, between the 3rd and 2nd centuries BC; Strictly speaking, the first western translation is the Greek Homer Epic Odyssey translated by Andronicus in Rome in the middle of the third century BC.”(谭载喜,2000) At the end of the 4th BC, during this time, the Greece began to decay and the Roman had became stronger and stronger with its military expansion. The expansion of the Roman Empire brought it into contact with the splendid Greek culture, therefore, the Romans not only conquered the Greek city, but also inherited and developed the brilliant achievements of ancient Greek culture, and then created a  splendid cultural of its own era after Greece. So soon began a large scale translation activities, the activity of translating and introducing Greek classical works probably began in this period.（刘军平,2009）Many famous translation theorists began to make their presences, namely Cicero, Quentin, Jerome and so on, also the famous Roman litterateurs like Andronicus, Naevius, Ennius, these great writers used Latin language to translate or adapt Homer’s epic or other Greece dramas. Started the translation tradition and promoted the birth and development of Roman literature.&lt;br /&gt;
&lt;br /&gt;
2.2 The Second Stage: Translation in the Middle Ages (4th-6th)&lt;br /&gt;
&lt;br /&gt;
2.3 The Third Stage: Translation in the Middle Ages (11th-12th)&lt;br /&gt;
&lt;br /&gt;
2.4 The Fourth Stage: Translation in the Renaissance Period&lt;br /&gt;
&lt;br /&gt;
2.5 The Fifth Stage: Translation after WWⅡ&lt;br /&gt;
&lt;br /&gt;
3. The Translation History of China--[[User:Wang Yu|Wang Yu]] ([[User talk:Wang Yu|talk]]) 08:38, 30 November 2020 (UTC)--[[User:Wang Yu|Wang Yu]] ([[User talk:Wang Yu|talk]]) 08:43, 30 November 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
==The Implications of Luther's Translation Principles amid Renaissance for Modern Literature Translation	方洁玲	Fang Jieling==&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
==Translation manipulated by ideology	许静	Xu Jing==&lt;br /&gt;
&lt;br /&gt;
==Comparison between the History of Chinese and Western Translation   周书尧   Zhou Shuyao==&lt;br /&gt;
&lt;br /&gt;
'''Abstract:'''There has a long history and culture Chinese and Western translation, and translation plays an indelible role in promoting cross-cultural communication and cultural communication. This article first discusses the history of translation in China from  four stages , then discusses the five stages of western translation history , and finally compares and analyzes the similarities and differences between Chinese and Western translation histories, and puts forward some of the author's own views.&lt;br /&gt;
&lt;br /&gt;
'''Key words:'''The history of Chinese,The history of Western,the stages of  translation history,comparison&lt;br /&gt;
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'''摘要：'''中西方翻译历史文化源远流长，翻译在促进跨文化交流和文化传播上承担着不可磨灭的作用。本文首先从中国的四次翻译高潮论述中国的翻译史，再从西方的五次翻译高潮探讨西方的翻译史，最后对中西方翻译史的异同进行对比分析，提出一些笔者自己的看法。&lt;br /&gt;
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'''关键词：'''中国翻译史，西方翻译史，翻译高潮，对比&lt;br /&gt;
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'''Ⅰ.Introduction'''&lt;br /&gt;
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Since the 1980s, the Chinese translation studies community has made remarkable progress in the establishment of Chinese and Western translation history courses and the compilation of related works.In the 1980s and early 1990s,A Brief Introduction to the History of Translation in China from Ma Zuyi and other books of Chen Yugang and Tan Zaixi were published one after another,which raised the curtain for the compilation of Chinese and Western translation history works by the domestic translation scholars.The four stages in the history of Chinese translation have promoted the development of Chinese history, culture and society to varying degrees.The same as our country, Western translation has an age-old history.In a sense, the development of Western European civilization should first be attributed to the translators.The five stages in the history of European translation have promoted the exchanges of literature, art, science and trade between countries, and to a certain extent promoted the development of Chinese translation.In fact, when we examine the development trajectory of Chinese and Western translation activities and the evolution of translation concepts together, we find that there are some similarities between Chinese translation and Western translation.Especially in the evolution of Chinese and Western translation concepts, the two have very similar evolution laws.&lt;br /&gt;
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='''Literal and Free Translation'''=&lt;br /&gt;
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==Rethink Literal and Free Translation	彭永亮	Peng Yongliang==&lt;br /&gt;
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==On the Chinese Translation of A Pale View of Hills from House’s Translation Quality Assessment Model	宋建茹	Song Jianru==&lt;br /&gt;
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===Abstract===&lt;br /&gt;
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Translation quality assessment is an integral part of translation criticism. The first TQA model with comprehensive theories and practices Juliane House represented provides a significant reference for translation exercises. ''A Pale View of Hills'', as the first work of Kazuo Ishiguro, possesses a great research value on its narrative styles by virtue of memory and topics about migrants. As of 2011 when its Chinese translation was published, no scholar has evaluated it. This study applies House’s TQA model to assess the Chinese translation of ''A Pale View of Hills'' with qualitative and quantitative analysis from lexical, syntactic and textual aspects, in a bid to examine validity of the model on novel translation, which turns out that it is an overt and high-quality translation.&lt;br /&gt;
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=== Key Words===&lt;br /&gt;
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''A Pale View of Hills''; House’s TQA model; novel translation&lt;br /&gt;
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=== 摘 要 ===&lt;br /&gt;
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翻译质量评估是翻译批评的核心课题。朱莉安·豪斯提出的第一个有完整的理论和实践的翻译质量评估模式，为翻译实践提供了重要参考。《远山淡影》是石黑一雄的处女作，其依托回忆的叙事风格和移民主题具有很高的研究价值。《远山淡影》中译本自2011年出版至今，尚未有学者对其进行评估研究。本文运用豪斯的翻译质量评估模式，采用定性与定量相结合的分析方式，从语场、语旨、语式等三个层面对原文和译文进行分析，开展《远山淡影》中译本的翻译质量评估研究，为豪斯翻译质量评估模式对小说翻译的运用进行进一步的探索和补充。通过分析，得出《远山淡影》中译本为显性翻译，翻译质量较高。''Italic text''&lt;br /&gt;
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=== 关键词 ===&lt;br /&gt;
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《远山淡影》；豪斯质量评估模式；小说翻译&lt;br /&gt;
===Introduction===&lt;br /&gt;
Translation criticism refers to the analysis and review of thoughts, activities and works of translation by virtue of relevant theories and views, in a bid to improve the overall quality of translators and translations. It is an integral part of translation studies. (Wang Enmian, 1999: 7) Translation quality assessment, as the integral and key part of translation criticism, plays a significant role in surveillance and promotion of translation quality. Among the extant translation quality assessment models, Juliane House’s ''A Model for Translation Quality Assessment and Translation Quality Assessment: A Model Revised'', based on Halliday's systemic functional linguistics and discourse analysis, are systematic, scientific and rational with a relatively complete system of parameters, quantitative methods and steps adhering to specific procedures. &lt;br /&gt;
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''A Pale View of Hills'', as Kazuo Ishiguro's first full-length novel, tells the life of the people in Nagasaki after WWII through the memory of protagonist Etsuko and explores recovery of trauma, collision between the old and new ideas, and kinship after war. The first person narrative, memory, humor and satire and international perspectives in the book became his major writing styles in the future. The novel won the Winifred Holtby Memorial Prize from the Royal Society. Its only Chinese translation at present, from Zhang Xiaoyi, is still not analyzed by the scholars. This paper uses House’s translation quality assessment model, with combination of qualitative and quantitative analysis, from field, tenor and mode to analyze the mismatches between original and translation in an attempt to assess the Chinese translation quality of ''A Pale View of Hills'' and further explore the application of House’s model in novel translation. The aim of the study is to promote scholars to regulate the behaviors of translation, to improve the quality of translation and translation evaluation, and to provide a reasonable way for establishing the interlingual conversion mechanism.&lt;br /&gt;
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The thesis consists of four chapters.&lt;br /&gt;
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After the Introduction, Chapter One gives a brief account of A Pale View of Hills and its research status, involving the author, background, content and influence. Chapter Two is a brief introduction of House’s TQA model, including its theoretic basis, parameter setting, operation steps and feasibility. Chapter Three is a detailed analysis of original and translation of A Pale View of Hills based on House’s model. Chapter Four is statement of translation quality assessment. Then we come to the last part, Conclusion.&lt;br /&gt;
===I Overview and Research Status of A Pale View of Hills===&lt;br /&gt;
''A Pale View of Hills'' is Kazuo Ishiguro's first novel, which laid a solid foundation for the formation of Ishiguro's writing style. The chapter mainly introduces the author, plot, theme and influence of the novel and analyzes its research status, in an attempt to master the material well and seek new perspectives for the paper.&lt;br /&gt;
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'''1.1 Overview of A Pale View of Hills'''&lt;br /&gt;
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Kazuo Ishguro is a noble contemporary Japanese English writer, whose novels feature first person narrative, detailed depiction of loneliness, depression, self-deception and anxiety of characters’ inner world and dual narrative strategy to deconstruct the narrator's self-identity, as well as discuss postwar trauma and migrant identity. He won Booker Prize, the British top literary prize, in 1989 and the Nobel Prize in literature in 2017. By virtue of his outstanding literary achievements, he is known as one of the Three Masters of English Migrant Literature together with Salman Rushdi and Naipaul.&lt;br /&gt;
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A Pale View of Hills, published in 1982, is Ishiguro's debut. The story, with postwar Nagasaki as its background, enjoys two clues: one is what happened when Niki (Etsuko’s little daughter) visited her mother after her sister Keiko died; the other is Etsuko’s memory about people and events in Nagasaki after the war. The two lines integrated together during the narrative, forming the illusory and imaginary impression. Many in-depth topics in this work are worth pondering: postwar trauma recovery, the collision between new and old ideas after war and discussion of family relations. Many marks in the work became his own styles: first-person narrative, memory, humor and satire, international perspectives. In addition, it won the Winifred Holtby Memorial Prize from the Royal Society and is still in print thirty years after its publication. This book, with its enormous emotion, unearths the abyss beneath the illusion of our connection to the world, whose artistic value and charm could be time-tested.&lt;br /&gt;
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'''1.2 Research Status of A Pale View of Hills'''&lt;br /&gt;
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There are 54 papers about A Pale View of Hills in domestic researches. According to the statistics from HowNet (as shown in the figure below), the number of studies on the work has been mounting, especially after Kazuo Ishiguro won the Nobel Prize for Literature in 2017. The perspectives of these researches are mainly from identity anxiety, unreliable narrative and post-war trauma. In Identity Anxiety in Kazuo Ishiguro's A Pale View of Hills, Wang Fei discusses the identity anxiety of migrants, exploring manifestations, causes and influence of such anxiety on the characters. In Memory and Narrative Unreliability of A Pale View of Hills, He Xiaobing combined with the classical narratology to analyze how unreliable narration method is presented in the work and discussed the inner world of the characters. In Trauma in Kazuo Ishiguro's A Pale View of Hills, Liu Xiaoya explores the protagonist's trauma by using Sigmund Freud’s psychoanalysis theory and trauma theory (including post-freudian psychological trauma theory), contemporary trauma culture theory along with rhetorical narrative theory.&lt;br /&gt;
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[[File:picture1.pgn]]&lt;br /&gt;
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At abroad there are more perspectives about the studies of A Pale View of Hills. In addition to the main research directions of domestic scholars, such as identity anxiety of characters, unreliable narrative research and post-war trauma, cultural displacement, family relationship and the influence of region on personality presented in the works are also analyzed. The Impact of Place on Personality in Kazuo Ishiguro's A Pale View of Hills: An Eco-critical Study co-written by Awla, Yousif Hamad and Azad Sharif, from the perspective of ecocriticism, clarifies the fact that a place is able to define and guide the emotions and thoughts of characters, and analyzes the reasons why geography forms characters of people in order to draw people’s attention to the impact of surrounding environment on them. Ruth Forsythe's article Cultural Displacement and the Mother-daughter Relationship in Kazuo Ishiguro's A Pale View of Hills focuses more on the relationship between mother and daughter under cultural displacement. However, no scholars have analyzed the language itself from the perspective of systemic functional linguistics.&lt;br /&gt;
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The Chinese translation of A Pale View of Hills, Zhang Xiaoyi’s version, was published by Shanghai Translation Publishing House in 2011, and the bilingual version in 2019. Up to now, there has no translation criticism or discussion about this translation. Since 2011 when it was translated, it came to draw the attention of scholars and readers. Translation is a direct factor that affects the integrity of author’s thought, the reader's perception and the accuracy of the scholar’s study, thus it is indispensable to use the House’s Translation Quality Assessment model to analyze the Chinese translation of A Pale View of Hills.&lt;br /&gt;
===II Introduction of House's Translation Quality Assessment Model===&lt;br /&gt;
Juliane House's model was described as the first translation quality assessment model with complete theories and practices by international translation criticism, which could provide an important reference for translation learners and scholars. By introducing the theoretical basis, parameter system and operation steps of House’s model, this chapter will discuss the feasibility of House’s model in the evaluation of the Chinese translation of A Pale View of Hills, in an effort to foster the application of House’s model in the quality evaluation of full-length novels.&lt;br /&gt;
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'''2.1 Theoretical Basis of House's Model'''&lt;br /&gt;
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The assessment of translation quality draws upon different translation standards, which are then embodied by the recognition about essence of translation. House deemed that crunch of the translation quality assessment lies in recognition of the nature of translation, namely that “translation is the replacement of a text in the source language by a semantically and pragmatically equivalent text in the target language.” (House, 1977: 30)&lt;br /&gt;
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In House’s initial model in 1977, she drew upon language behavior theory, language and text function and context to divide the source language text into two situational dimensions: dimension of language user and dimension of language use. The former includes three aspects: geographical origin, social class and time. The latter includes five aspects: medium, participation, social role relationship, social attitude and province. The evaluation depends on the matching degree between                                                                                                                                                                                                                                                                                                                                                                                          original text and translation. The higher the matching degree is, the better the translation quality is. The quality evaluation of the translated text needs to state mismatching degree of each dimension in the whole context, that is, the description of the quantity of covert errors (errors in context dimension) and overt errors (referential mismatcher or grammatical violation of target language system).&lt;br /&gt;
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Based on myriad practice, House realized that the initial eight dimensions overlap in some parts. Therefore, in 1997, she revised the original model from the perspective of the context, unifying the previous eight parameters to field, tenor and mode. Field compares subject matter and social action of the original with that of translation. Tenor emphasizes the matching degree on the relationship of participants, time, region, position of author, social role relationship and social attitudes. Mode pays more attention to medium and participation. In addition, House incorporated &amp;quot;genre&amp;quot; into revision model in order to explain the deep structure of the text.&lt;br /&gt;
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'''2.2 Operation Steps of House's Model'''&lt;br /&gt;
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When evaluating the translation quality of the text, House's model focuses on comparison between original text and translation from field, tenor, mode and genre, clarifies and summarizes mismatches found in the text, so as to obtain a quality report of the translation. The detailed steps presented as follows: &lt;br /&gt;
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1) Analyze the register and genre of the original text to get its textual functional profile. The original text is analyzed from four dimensions: field, tenor, mode and genre. According to the analysis, “functional statement”, involving ideational and interpersonal functions, needs to be deduced.&lt;br /&gt;
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2)Compare the target text and the source text to find differences or mismatches. Through the comparative analysis between original and translation along the dimensions on the model, mismatches or differences found in the comparison are sorted out by virtue of overt errors or covert errors and expounded in detail one by one.&lt;br /&gt;
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3)Summarize the differences and mismatches demonstrated from the above steps in lexical, syntactic and textual aspects. Based on above statistics and statement, make the quality statement. The fewer the mismatches are, the better the translation quality is. If readers clearly realize the text a translation work, it is overt translation; while if not, it is covert translation.&lt;br /&gt;
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'''2.3 Feasibility of the Model in Chinese Translation of A Pale View of Hills'''&lt;br /&gt;
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At present, there are 78 relevant studies on House’s Translation Assessment model, which are mainly divided into three directions: interpretation of House Translation Assessment model and its revision, evaluating translation of literary works along the model and evaluating translation of applied text along the model. Among them, evaluation of the translation of literary works accounts for 29, which enjoys the following two characteristics:&lt;br /&gt;
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1)There are merely a few researches applying House model to Chinese translation of literary works. Among the 29 journals and papers evaluating translation of literary works, there are 25 studies that attach great importance to the English translation and 4 to Chinese translation, which signifies that we need more researches of Chinese translation to support the validity of the model on different languages. Therefore, the paper, with the Chinese translation of A Pale View of Hills as its corpus, intends to examine the feasibility of the application of House’s model to Chinese translation.&lt;br /&gt;
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2)There are merely a few researches applying House model to the translation of full-length novels. Among the 29 journals and papers on evaluating translation of literary works, most of which focus on the evaluation of poems and prose, merely 5 studies are analysis of translation of full-length novels. English translation accounts for 3 and Chinese translation for 2, which demonstrates that we need more researches with full-length novels as corpus to support the validity of the model in different genres. Therefore, the paper, with the full-length novel A Pale View of Hills as its corpus, intends to examine the feasibility of the application of House’s model to full-length novels.&lt;br /&gt;
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In conclusion, given that the researches based on Chinese translation of full-length novels are insufficient, the paper will use the Chinese translation of A Pale View of Hills as its corpus to validate the feasibility of House’s TQA model.&lt;br /&gt;
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===III Comparison of Original and Translation of '''A Pale View of Hills''' Along House's Translation Quality Assessment Model===&lt;br /&gt;
''A Pale View of Hills'' is the debut of Kazuo Ishiguro, whose Chinese translation was published by Shanghai Translation Publishing House in 2011. House's Translation Quality Assessment model is the first objective model combining quantative analysis with qualitive analysis. The paper applies House’s Translation Quality Assessment model to Chinese translation of ''A Pale View of Hill'', comparing the source text and target text in lexical, syntactic and textual aspects along the three dimensions of register and summarizing the mismatches on field, tenor and mode, in an effort to quantitatively assess the translation quality of '''A Pale View of Hills'''.&lt;br /&gt;
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'''3.1 Comparison on Field'''&lt;br /&gt;
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Field refers to the content or the topic of the text. It is concerned with subject matter and social action which covers the specificity of lexical items. After comparison between the source text and target text on field, there are 18 mismatches, 12 of which are overt errors and 6 covert errors. Among them, there are 9 lexical errors, 1 textual error and 8 syntactic errors. The lexical and textual errors are mainly covert errors, so in general their translation is of high quality. Although most of syntactic errors are not in line with the grammar of target language system, they won’t influence the understanding of the text. Therefore, by and large, translation on field are high-quality.&lt;br /&gt;
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'''3.1.1 Lexical Field'''&lt;br /&gt;
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Lexical field means the immediate or possible scenes or events evoked in people’s mind when they read or hear the words or lexical items. After the analysis of the original and target text, there are 9 mismatches, 4 of which are overt errors and 5 are covert ones. Most of them won’t block readers to master the overall meanings. Therefore, the translation quality on lexical items are relatively high. &lt;br /&gt;
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Example 1：&lt;br /&gt;
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...and the soaked surfaces of brick and concrete were drying all around us.&lt;br /&gt;
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湿透了的砖头和水泥开始变干。(P8)&lt;br /&gt;
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Concrete refers to building material that is made by mixing together cement, sand, small stones and water according to Oxford Dictionary, which includes cement rather than equates it. So, it is not very accurate to translate in this way even if the two words are similar. It is obviously an overt error. &lt;br /&gt;
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Example 2：&lt;br /&gt;
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As far as I remember, that was the first occasion I spoke to Mariko.&lt;br /&gt;
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我印象那是我第一次跟万里子说话。(P11)&lt;br /&gt;
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In the translation, “印象” as a noun refers to a mental picture that you have of what somebody/something is like or looks like. In the light of the rules or grammar of Chinese, it is hardly used as a verb. Thus, it is an overt error. &lt;br /&gt;
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Example 3：&lt;br /&gt;
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It's such a shame.&lt;br /&gt;
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真不像话。(P16)&lt;br /&gt;
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A shame is used to say that somthing is a cause for feeling sad or disappointed. In the original, the sentence is to express Etsuko’s pity to the homeless dogs and cats around her community rather than her distaste or complaint. Here it is translated into its other meaning when ignoring the context, belonging to a covert error. &lt;br /&gt;
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Example 4：&lt;br /&gt;
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Why don't you go into the kitchen for a little while?&lt;br /&gt;
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你为什么不到厨房去一会儿呢？(P26)&lt;br /&gt;
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In the translation, “去” is not very appropriate on the basis of grammar of Chinese, since it is such an action verb that does not match with state phrases. In the course of translation, some prepositions in English need to be transferred into verb in Chinese, which are supposed to pay attention to the rules of target language. Here it is obviously an overt error.&lt;br /&gt;
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Example 5：&lt;br /&gt;
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It's not appreciated simply because the product disappears so quickly.&lt;br /&gt;
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不能因为它的产品很快就消失了而不懂得欣赏。(P34)&lt;br /&gt;
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According to the context, Ogata-San believes that cooking is “as noble as painting or poetry”. So here the product refers to food cooked. Given the concrete expression in Chinese, the product is supposed to be translated more concretely in accordance with the context. It is a covert error.&lt;br /&gt;
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Example 6：&lt;br /&gt;
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Perhaps it is just my fancy that I felt a cold touch of unease there on that bank, a feeling not unlike premonition. &lt;br /&gt;
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这也许只是我的想象，但是那时我在河边觉得凉飕飕的，很不自在，像是感觉有事要发生。(P44)&lt;br /&gt;
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“Unease” refers to the feeling of being worried or unhappy about something. Given the above-mentioned, Etsuko worried about the safety of Mariko when she was not at home. It differs from its translation that means the feeling of being ill at ease. It is an overt error. &lt;br /&gt;
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Example 7：&lt;br /&gt;
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You mustn't suppose, Etsuko, simply because you've seen her in these…in these present surroundings, that she's some peasant's child.&lt;br /&gt;
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悦子，你不能因为……因为眼前的事物就认为她是什么贫农的孩子。(P51)&lt;br /&gt;
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Sachiko is not rich according to the context, so “peasant” intimates the meaning of poverty. Its translation explicitly represents it, which is accessible and intelligible. However, “贫农” enjoys extra cultural meaning in China, which could date back to the Cultural Revolution when lands was apportioned based on people’s wealth, so it might mislead readers to its political implication. It is a covert error.&lt;br /&gt;
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Example 8：&lt;br /&gt;
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“I must have been such a burden to you in those days,” I said, quietly.&lt;br /&gt;
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“我那时肯定成了您的负担，”我静静地说。(P68)&lt;br /&gt;
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Here “quiet” refers to making very little noise, which coincides with the act of saying. According to the context, Etsuko lowered her noise out of guilt when she realized she bothered her family when she practised violin before. However, its translation means the statement without any noise, which obviously contravenes the context, belonging to covert translation.&lt;br /&gt;
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Example 9：&lt;br /&gt;
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I could see something moving beside her in the shade.&lt;br /&gt;
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我看见她身旁的影子里有什么东西在动。(P14)&lt;br /&gt;
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“Shade” means an area that is dark and cool under or behind something, for example a tree or building, because the sun’s light does not get to it, rather than the shadow which the translator believed. As previously mentioned in the text, “Mariko was lying in the corner furthest from the sunlight”, which also signifies that it is impossible to exist dark shape under the light around Mariko. Thus, the translation of “shade” is not on a par with the context, belonging to a covert error.&lt;br /&gt;
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'''3.1.2 Syntactic Field'''&lt;br /&gt;
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Syntactic field means the immediate image appeared in people’s mind when they read the sentences. The mismatches in syntactic field are usually for the violation of rules of target language or misinterpreting the source text. On syntactic field, there are 8 mismatches, seven of which are overt errors and one is covert. Among the overt errors, seven sentences are not in line with the rules of target language, which won’t influence the ideational meaning. Therefore, the translation quality on syntactic field is high.&lt;br /&gt;
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Example 1：&lt;br /&gt;
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It did upset me, hearing about her.&lt;br /&gt;
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我真的很难过，听到她的死讯。(P4)&lt;br /&gt;
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Example 2：&lt;br /&gt;
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But I was sad though, when I heard.&lt;br /&gt;
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可是我真的很难过，听到她的消息。(P4)&lt;br /&gt;
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Example 3：&lt;br /&gt;
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It's certainly an amusing sort of experience, working in a noodle shop.&lt;br /&gt;
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这真是很有趣的经历，在面包店里工作。(P26)&lt;br /&gt;
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In English, the important or unknown information appeared firstly, and the second one follows. However, in Chinese, the second important presents at first, paving the foundation for the more pivotal or unknown one. In above three examples, their translation doesn’t adjust the sequence in line with target language rules. These are overt errors.&lt;br /&gt;
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Example 4：&lt;br /&gt;
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…certain arrangements I made have not gone as planned.&lt;br /&gt;
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一些事情没有照我计划的那样。(P17)&lt;br /&gt;
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The translation is not complete as the predicate verb “have gone” is not translated, which does not conform with the grammar of Chinese. It is an overt error.&lt;br /&gt;
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Example 5：&lt;br /&gt;
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She appeared to know them, for as she walked across the forecourt, she gave them a familiar greeting.&lt;br /&gt;
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看来她认识她们，边走过水泥地，边熟识地跟她们打招呼。(P26)&lt;br /&gt;
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The original is a compound-complex sentence with “for” for causal relation and “as” for coordinate relation. In the translation, the former is represented but the later isn’t, neither by conjunction words nor by clause sequence. It causes that the translation lacks of logic, belonging to an overt error.&lt;br /&gt;
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Example 6：&lt;br /&gt;
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It's an opportunity for a teacher to see the fruits of his work, and for the pupils to express their gratitude to him.&lt;br /&gt;
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这是一个机会让老师看看他的劳动成果，让学生们向他表示感谢。(P30)&lt;br /&gt;
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The translation adheres to the sequence of the original but ignores the fluency of the sentence. In English, attributives are at both ahead of and behind the objects; while in Chinese, they mostly are preceded. Therefore, the translation violates the grammar of the target language, belonging to an overt error.&lt;br /&gt;
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Example 7：&lt;br /&gt;
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There's nothing like a timely reminder of one's personal obligations.&lt;br /&gt;
&lt;br /&gt;
及时地提醒个人的责任之类的东西也没有。(P71)&lt;br /&gt;
&lt;br /&gt;
“There's nothing like” is a common sentence pattern in spoken English, meaning nothing else is able to match. The original would have expressed that “a timely reminder of one’s personal obligations” is the most important. The translator misunderstood the meaning utterly, making an overt error.  &lt;br /&gt;
&lt;br /&gt;
Example 8：&lt;br /&gt;
&lt;br /&gt;
It amazes me, how things have changed so much so quickly.&lt;br /&gt;
&lt;br /&gt;
太让我吃惊了，世道变得如此之大，如此之快。(P195)&lt;br /&gt;
&lt;br /&gt;
The translation, by and large, is in accordance with the original. Yet there is possibility for readers to be confused about the accuracy of words collocation. Although “so much” and “so quickly” modify the verb “change”, we have to respectively choose the proper words to collocate. It is a covert error. &lt;br /&gt;
&lt;br /&gt;
'''3.1.3 Textual Field'''&lt;br /&gt;
&lt;br /&gt;
On textual field, there is only one error---overt error. It is caused by misconstruing what the pronoun refers to. By and large, the translation, through the comprehensive analysis on textual field, is high-quality. &lt;br /&gt;
&lt;br /&gt;
Example 1：&lt;br /&gt;
&lt;br /&gt;
That's just not how it was though.&lt;br /&gt;
&lt;br /&gt;
但是我和她根本不是这样。(P4)&lt;br /&gt;
&lt;br /&gt;
According to “Sisters are supposed to be people you're close to, aren't they. You may not like them much, but you're still close to them”, it refers to the whole view instead of certain relationship between me and my sister. The referential meaning does not accord with that of the original. It is an overt error.&lt;br /&gt;
&lt;br /&gt;
'''3.2 Comparison on Tenor'''&lt;br /&gt;
&lt;br /&gt;
Tenor refers to the nature of the participants, the addresser and the addressee, and the relationship between them in terms of social power and social distance. After comparing the original and the translation of A Pale View of Hills, there are 8 mismatches on social attitude and social role relationship, one of which is an overt error and the rest are covert. In general, the translation is highly in accordance with the original so the quality is high on tenor. &lt;br /&gt;
&lt;br /&gt;
'''3.2.1 Social Attitude'''&lt;br /&gt;
&lt;br /&gt;
Social attitude refers to the social distance between communicators and the degree of formality of discourse. The misunderstanding of social attitude in the translation process will affect the readers' understanding of the characters in the novel. Therefore, mistakes in representing social attitude of characters should be minimized and even avoided in the translation process. There are 4 mismatches on social attitude in the translation: one is an overt error and the rest are covert errors. By and large, the translation on displaying the social attitude of the original is great. &lt;br /&gt;
&lt;br /&gt;
Example 1：&lt;br /&gt;
&lt;br /&gt;
The English are fond of their idea that our race has an instinct for suicide.&lt;br /&gt;
&lt;br /&gt;
英国人有个奇特的想法，觉得我们这个民族天生爱自杀。(P4)&lt;br /&gt;
&lt;br /&gt;
In the original text, the attitude of the character is relatively objective. However, in the translation, the attitude is represented overly by using an adjective, which might be translator’s understanding on author’s attitude. It limits different interpretation to the author’s attitude from readers. It is an overt error. &lt;br /&gt;
&lt;br /&gt;
Example 2：&lt;br /&gt;
&lt;br /&gt;
“Which are you hoping for, Etsuko?” he asked, eventually. “A boy or a girl?”&lt;br /&gt;
&lt;br /&gt;
“你想是男孩还是女孩呢，悦子？”过了一会儿他问道。(P35)&lt;br /&gt;
&lt;br /&gt;
Ogata-San would like to know Etsuko’s mind about the upcoming baby, but he is not sure if it is proper. At last, curiosity overpowers his hesitation. In the original text “eventually” signifies both time and emotion span. But the translation only manifests the time span. It is a covert error.&lt;br /&gt;
&lt;br /&gt;
Example 3：&lt;br /&gt;
&lt;br /&gt;
“Tell me, Etsuko,” he said, not looking up from his laces. “Have you met this Shigeo Matsuda?”&lt;br /&gt;
&lt;br /&gt;
“告诉我，悦子，”他头也不抬地说。“你见过这个松田重夫吗？”(P36-P37)&lt;br /&gt;
&lt;br /&gt;
Ogata-San, as Etsuko’s father-in-law and adopter after the war, gets along well with her. In the original text, Ogata-San is “not looking up” when speaking to Etsuko since he is lying his laces. The translation ignores the reason, which renders Ogata-San a cold man. It is a covert error.&lt;br /&gt;
&lt;br /&gt;
Example 4:&lt;br /&gt;
&lt;br /&gt;
I'm sure she'd be the first to agree with me about Kazuo mourning her like this.&lt;br /&gt;
&lt;br /&gt;
我肯定她会第一个同意我的观点，和夫不应该再这样想着他了。(P94)&lt;br /&gt;
&lt;br /&gt;
From the original, we can feel the love of Mrs. Fujiwara to her son. However, after reading its translation, we can feel nothing but her dominance. It signifies that the translation deviates from the original context. It is a covert error.&lt;br /&gt;
&lt;br /&gt;
'''3.2.2 Social Role Relationship'''&lt;br /&gt;
&lt;br /&gt;
Social role relationship refers to the social relation between the speaker and the receiver, that is, symmetry and asymmetry. The analysis on the social roles relationship in novels is generally from two aspects: relationship between the author and readers, and relationship between the various characters in the work. The former is remained utterly, while the latter is slightly different from that in the original. A total of 4 mismatches are found in the comparison, all of which are covert errors. In the full-text translation, the overall relationship between the characters is the same as that of the original text, and only a few mismatches are found. Therefore, on social role relationship, translation is of high quality.&lt;br /&gt;
&lt;br /&gt;
Example 1：&lt;br /&gt;
&lt;br /&gt;
She said it would be perfectly all right if you came and waited for her at my house.&lt;br /&gt;
&lt;br /&gt;
她说你可以到我家来等她。(P13)&lt;br /&gt;
&lt;br /&gt;
The translation omits “be perfectly all right if”, which takes the edge off the amiability from Etsuko to Mariko. Given the whole plot of the novel, Mariko is a phantom of Etsuko’s old daughter Keiko. The obscure feelings between Mariko and Etsuko are very important to implicate their special emotion. Therefore, the translation ignores to take a consideration of the context. It is a covert error.&lt;br /&gt;
&lt;br /&gt;
Example 2：&lt;br /&gt;
&lt;br /&gt;
As I say, this order came into the office the day you arrived. A real nuisance.&lt;br /&gt;
&lt;br /&gt;
我说过了，订单刚好在您来的那天来了。真是讨厌。(P29)&lt;br /&gt;
&lt;br /&gt;
On the basis of the context, Jiro (Etsuko’s husband) is explaining to his father Ogata-San that he is so busy that he could not accompany him. He feels apologetic about that. However, the tone of speaking in translation is impatient and a bit furious, which runs against that of the original. So, it is a covert error. &lt;br /&gt;
&lt;br /&gt;
Example 3：&lt;br /&gt;
&lt;br /&gt;
I should warn you, perhaps. My daughter has been in a somewhat difficult mood these past few days.&lt;br /&gt;
&lt;br /&gt;
也许我应该警告你。我女儿这几天情绪很不好。(P90)&lt;br /&gt;
&lt;br /&gt;
Warn enjoys two major meanings: to tell somebody about something, especially something dangerous or unpleasant that is likely to happen, so that they can avoid it; to strongly advise somebody to do or not to do something in order to avoid danger or punishment. In the original, Sachiko entrusts Etsuko to look after her daughter so the former one is appropriate. However, in the translation the later one is adopted, which is absolutely improper. It is a covert error. &lt;br /&gt;
&lt;br /&gt;
Example 4：&lt;br /&gt;
&lt;br /&gt;
Now listen carefully, or else you'll never find the noodle shop.&lt;br /&gt;
&lt;br /&gt;
现在您听好了，不然您永远也别想找到面馆。(P183)&lt;br /&gt;
&lt;br /&gt;
The sentence is said when Etsuko intends to tell Ogata-San the route to the restaurant of Mrs Fujiwara. On the basis of the context, Etsuko is very reverent to Ogata-San. However, the manner of translation is tough, which is not of a piece with the original. It doesn’t take account of the context, so it is a covert error.&lt;br /&gt;
&lt;br /&gt;
'''3.3 Comparison on Mode'''&lt;br /&gt;
&lt;br /&gt;
Mode can be divided into medium and participation. In the course of analyzing both the original and the translation, a total of 6 mismatches are found on the two dimensions and all of them are covert errors, which manifests the translation are generally of a piece with the original. The translation on mode is of high quality.&lt;br /&gt;
&lt;br /&gt;
'''3.3.1 Language Medium'''&lt;br /&gt;
&lt;br /&gt;
Language medium mainly refers to whether the form of language is spoken or written, simple or complex. The contrast between the model of the source text and the target text is mainly reflected in the linguistic features and diction features of text rather than language types used. The language of A Pale View of Hills is simple, delicate and easy to understand, with short sentence, plenty of dialogues between characters and a high degree of colloquialism. The overall style of the translation is similar with that of the original, with only 4 stylistic covert mismatches. Therefore, on language medium, the translation quality is great.&lt;br /&gt;
&lt;br /&gt;
Example 1：&lt;br /&gt;
&lt;br /&gt;
…on one side of the tracks at the foot of the hill could be seen a cluster of roofs.&lt;br /&gt;
&lt;br /&gt;
山脚下铁路的一侧是鳞次栉比的屋顶。(P8)&lt;br /&gt;
&lt;br /&gt;
Cluster means a group of things of the same type that grow or appear close together, whose translation accords with it in the ideational meaning. Nonetheless, “鳞次栉比” in Chinese is a four-character phrase that usually appears in formal written text. It is more complex than the style of the text. It is a covert error.&lt;br /&gt;
&lt;br /&gt;
Example 2：&lt;br /&gt;
&lt;br /&gt;
We're just rabble, like your husband says.Please don’t make a fuss, please sit down.&lt;br /&gt;
&lt;br /&gt;
正如您丈夫说的，我们只是两个混蛋。不用麻烦了，请坐下。(P74)&lt;br /&gt;
&lt;br /&gt;
The situation happens when Jiro’s colleagues come round. From the conversation between Jiro and his colleagues, it is found that they are very familiar and intimate. So, words such as “rabble” and “like” are of high colloquialism. Nevertheless, in the translation “正如” is a formal expression, which is not in line with the original. Thus, it is a covert error.&lt;br /&gt;
&lt;br /&gt;
Example 3：&lt;br /&gt;
&lt;br /&gt;
Blankets and laundry hung from many of the balconies.&lt;br /&gt;
&lt;br /&gt;
很多阳台上挂着毯子啦、洗的衣服啦。(P181)&lt;br /&gt;
&lt;br /&gt;
Example 4：&lt;br /&gt;
&lt;br /&gt;
Young women these days are all so headstrong. And forever talking about washing-machines and American dresses.&lt;br /&gt;
&lt;br /&gt;
现在女孩子任性得很。而且整天在讲什么洗衣机啦、洋裙啦。(P195)&lt;br /&gt;
&lt;br /&gt;
The two sentences are the description of the street which Etsuko and Ogata-San pass by when they intend to visit Shigeo. Etsuko is a calm and composed Japanese woman, whose language style is the same. Modal particles used in translation render the language abrupt and frisky. So, it is a covert error.&lt;br /&gt;
&lt;br /&gt;
'''3.3.2 Participation'''&lt;br /&gt;
&lt;br /&gt;
Participation refers to whether the speech is a simple monologue or a complex form that prompts the listeners or readers to participate indirectly, for example, by the transition between statements and questions and the special use of pronouns. The whole plot of A Pale View of Hills is a soliloquy narrated in the first person, interleaved with dialogues between different characters. Readers hardly could participate indirectly in it. The translation is basically in the same style as the original, except for the two following examples. The two declarative sentences are translated into a rhetorical question, which does not require readers to answer as well. Therefore, the translation is of high quality in terms of participation.&lt;br /&gt;
&lt;br /&gt;
Example 1：&lt;br /&gt;
&lt;br /&gt;
That’s no way to bring a child into the world, visiting the cemetery every week.&lt;br /&gt;
&lt;br /&gt;
这样怎么能把孩子带到这个世上呢？(P24)&lt;br /&gt;
&lt;br /&gt;
Example 2：&lt;br /&gt;
&lt;br /&gt;
It seems very disloyal.&lt;br /&gt;
&lt;br /&gt;
这不是忘恩负义吗？(P32)&lt;br /&gt;
&lt;br /&gt;
The quality statement of the Chinese Translation of A Pale View of Hills focuses on whether it is an overt transaltion or a covert translation and its matching degree. On the one hand, it is an overt translation. Accoring to above analysis, the translation is closely related to the culture of the sourse language text. From the translation, expressions with Japanese culture can be found clearly. On the other hand, it is of high quality. There are 32 mismatches in total, 18 mismatches on field, 8 on tenor and 6 on mode. Among them, there are 13 overt errors and 19 covert errors. Covert errors caused by ignoring the context and overt errors caused by violating the rules of target language inflict only a little ambiguity on ideational function, interpersonal function and the quality of the text. &lt;br /&gt;
===IV Quality Statement of Chinese Translation of A Pale View of Hills===&lt;br /&gt;
&lt;br /&gt;
==On the Relationship among Literal Translation, Free Translation, Domestication and Foreignization	韦洪朗	Wei Honglang==&lt;br /&gt;
&lt;br /&gt;
==On Chinese-to-English Translation of The Summer Palace from the Perspective of Functionalist Approaches to Translation	魏亚菲	Wei Yafei==&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
===Abstract===&lt;br /&gt;
Abstract&lt;br /&gt;
The Chinese-English translation of tourist texts, as a window for the external publicity of national history and culture, plays an important role in promoting the development of local tourism. The Summer Palace is well known for its large and priceless collection of cultural relics, which is among the first group of historical and cultural heritage sites in China to be placed under special state protection. &lt;br /&gt;
Based on the functionalist approach and the skopos rule, this paper discusses the problems existing in the translation of scenic spots in the Summer Palace from the perspectives of garden culture, historical culture and religious culture. Skopos theory holds that translation depends on communicative purpose. To achieve this goal, translators can choose different translation strategies. It is believed that the purpose of Chinese-English translation of scenic spots is to attract target readers and promote traditional culture. Therefore, when translating tourism materials, it is necessary not only to express the local cultural connotation, but also to consider the cross-cultural factors. The Chinese-English translation of the introduction of scenic spots guided by functionalist approach can make English readers have expectations of scenic spots and understand the cultural connotation of scenic spots. This paper aims to better promote the development and communication of Chinese culture and improve the level of tourism text translation in China by relying on the theory of functionalist approach.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
===Key words===&lt;br /&gt;
Key Words: functionalist approach，the Summer Palace，translation strategies&lt;br /&gt;
&lt;br /&gt;
===摘要===&lt;br /&gt;
摘 要&lt;br /&gt;
旅游资料的英译作为民族历史文化对外宣传的一道窗口,对地方旅游业的发展有着不可低估的促进作用。颐和园作为中国著名的皇家园林，具有浓厚的中国园林特色及优美的风景，同时也蕴涵着深厚文化内涵。&lt;br /&gt;
本篇旅游文本英译的分析以功能派翻译理论作为理论指导，以目的法则为主要原则，从颐和园的园林文化、历史文化和宗教文化三个角度出发对颐和园景点英译中存在的问题进行探讨。目的论认为译文取决于翻译目的，这个目的通常指的是交际目的。为达到这个目的，译者可以选择不同的翻译策略。也就是说，译者的翻译策略必须由译文的预期目的或功能决定，即所谓的“目的法则”。笔者认为景点介绍的汉英翻译的目的就是吸引译文读者以及弘扬传统文化，因此在翻译旅游资料的时候不仅要把当地的文化内涵表达出来，而且要考虑到跨文化的因素。而以功能派翻译理论为指导的景点介绍的汉英翻译，可以使英语读者通过译文产生对旅游景点的期盼，以及对景点文化内涵的理解。以颐和园景区内的翻译文本为例本，依托功能翻译理论，通过“发现问题，指出问题，解决问题”，以期更好地促进中国文化的传播与交流，提高我国现阶段旅游文本翻译的水平。&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
===关键字===&lt;br /&gt;
关键词：功能翻译；颐和园；翻译目的；翻译策略&lt;br /&gt;
&lt;br /&gt;
===Introduction===&lt;br /&gt;
  Throughout the translation history at home and abroad, the literal translation and free translation have always been a heat discussion in the translation circles. Someone absolutely approve literal translation and demean free translation, even pursue a dead translation, which creates an translated text difficult to understand. While some other people absolutely agree with free translation even advocate random acts, which means a random deletion in the translation practices and creates anther entirely different text. However, there are also a number of translators who have recognized that these two translation methods are not totally opposite. So they adopt a compromise and flexible way. That means they will choose the most appropriate one depending on the text demanding. Therefore, we can deduce from it that this eclectic translation is consistent with the Contradiction view of Unity of Opposite in Materialist Dialectics. In fact, literal translation and free translation are right a set of contradictions which are both opposite and unified. They complement each other into an integral one.&lt;br /&gt;
&lt;br /&gt;
===Table of Contents===&lt;br /&gt;
&lt;br /&gt;
Table of Contents&lt;br /&gt;
&lt;br /&gt;
Outline&lt;br /&gt;
1.Introduction&lt;br /&gt;
2. Studies on Functionalist Approach&lt;br /&gt;
2.1 The Viewpoint of Functionalist Approach&lt;br /&gt;
2.1.1 Reiss’s Text Typology&lt;br /&gt;
2.1.2 Vermeer’s Skopos Theory&lt;br /&gt;
2.1.3 Manttari’s Theory of Translational Action&lt;br /&gt;
2.1.4 Nord’s Theory of Function plus Loyalty&lt;br /&gt;
2.2 The Application of Functionalist Approach &lt;br /&gt;
3.C-E Translation of the Summer Palace under Functionalist Approach&lt;br /&gt;
3.1 Garden Culture&lt;br /&gt;
3.2 Historical Culture &lt;br /&gt;
3.3 Religious Culture &lt;br /&gt;
4. Conclusion&lt;br /&gt;
References&lt;br /&gt;
&lt;br /&gt;
===Outline===&lt;br /&gt;
Outline&lt;br /&gt;
&lt;br /&gt;
Thesis Statement: Based on the main viewpoints of functionalist approaches to translation, this paper aims to give an analysis to C-E translation of the Summer Palace from cultural, historical and religious aspects, hoping to provide some translation strategies for other cultural attractions.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
1. Introduction&lt;br /&gt;
2. Studies on Functionalist Approaches&lt;br /&gt;
2.1 The Viewpoint of Functionalist Approach&lt;br /&gt;
2.1 Reiss’s Text Typology&lt;br /&gt;
2.2 Vermeer’s Skopos Theory&lt;br /&gt;
2.3 Manttari’s Theory of Translational Action&lt;br /&gt;
2.4 Nord’s Theory of Function plus Loyalty&lt;br /&gt;
2.2 The Application of Functionalist Approach&lt;br /&gt;
3. C-E Translation of the Summer Palace under Functionalist Approach&lt;br /&gt;
3.1 Garden Culture&lt;br /&gt;
3.2 Historical Culture&lt;br /&gt;
3.3 Religious Culture&lt;br /&gt;
4. Conclusion&lt;br /&gt;
&lt;br /&gt;
===1. Introduction ===&lt;br /&gt;
1. Introduction   &lt;br /&gt;
The Chinese-English translation of tourist texts is a bridge to spread the culture of classical Chinese gardens, so the accuracy of it has a direct impact on foreigners' understanding of the specific history and culture. &lt;br /&gt;
Functionalist approach has made a pioneering contribution to the translation of non-literary genres. Functional translation theory emphasizes the function of discourse, and believes that different types of discourse have different functions, so translators should choose appropriate translation strategies according to the type of source text and corresponding functions. Functionalist approach is to take the &amp;quot;skopos rule&amp;quot; as the highest standard, and any translation activity is a purposeful behavior. The ultimate goal and main function of scenic spot translation is to help people understand the main content of the scenic spot.&lt;br /&gt;
As a window for the publicity of national history and culture, the Chinese-to-English translation of tourist texts plays an important role in promoting the development of local tourism. Well known for its large and priceless collection of cultural relics, the Summer Palace was among the first group of historical and cultural heritage sites in China to be placed under special state protection. Based on the viewpoints of functionalist approach to translation, this paper aims to analyze C-E translation of the Summer Palace from cultural, historical and religious aspects, hoping to provide some translation strategies for other cultural attractions. &lt;br /&gt;
&lt;br /&gt;
===2. Studies on Functionalist Approaches===&lt;br /&gt;
2. Studies on Functionalist Approaches&lt;br /&gt;
Functionalism is a theory that advocates reader-centered translation, emphasizing the functions of texts and highlighting the communicative effects. It is believed that many unnecessary mistakes can be avoided and better results can be achieved by applying functionalist approach in Chinese-English translation of tourist text. &lt;br /&gt;
&lt;br /&gt;
===2.1 The Viewpoint of Functionalist Approaches===&lt;br /&gt;
2.1 The Viewpoint of Functionalist Approaches&lt;br /&gt;
Functionalist Translation Theory, also known as German Functionalist Translation Theory, was proposed by German scholars in the 1970s. It includes four main theories: Katharina Reiss’s Text Typology, Hans Vermeer’s Skopos Theory, Justa Holtz Manttari’s Theory of Translational Action and Christiane Nord’s Theory of Function plus Loyalty. This chapter aims to present the main ideas of this theory.&lt;br /&gt;
&lt;br /&gt;
===2.1.1 Reiss’s Text Typology===&lt;br /&gt;
2.1.1 Reiss’s Text Typology&lt;br /&gt;
In 1971, Reiss in her book Possibilities and Limitation of Translation Criticism first made text function as a standard of translation criticism, namelyevaluate the translated text from the relationship between the functions of the original and the translated text. She insists on the original-centered equivalence theory and holds the view that the ideal translation is to achieve the equivalence between the target text and the source text in terms of ideological content, linguistic form and communicative function. However, translation practice makes her realize that it’s difficult to achieve equivalence sometimes and that sometimes equivalence cannot be pursued. Because of the particularity of translation requirements, the function of the target text is not always the same as that of the source text. Therefore, the translator should give priority to the functional role of the target text rather than the principle of equivalence.&lt;br /&gt;
Reiss believes that in the normal situation the type of text decides the translator’s choice of a proper translation method (Reiss, 2004). Therefore, she divides text into four types: content-focused text, form-focused text, appeal-focused text and audio-media text. Content-focused text, also known as informative text, includes news reports, commercial correspondence, operating instructions, official documents, patent&lt;br /&gt;
specifications, essays, treaties, etc. For this text, the main function is to convey information revealed in language itself to readers. The emphasis is on content and topic, so the choice of language and style should serve this function. If both the source text and target text belong to informative text, the translator should represent the content and information of source text accurately and completely (Reiss, 2004)&lt;br /&gt;
Form-focused text, also known as expressive text, refers to literary works such as novels, poems and so on. “Distinct from ‘content’, which deals with what the author says, ‘form’ is concerned with how an author expresses himself” (Reiss, 2004). For expressive texts, information is only a supplement. What is dominant is the aesthetic factor. When translating such texts, the translator should pay attention to the aesthetic and artistic forms of the original text and to the differences between two cultural habits, trying to achieve the same effect as the source text. In a word, in a form-focused text the linguistic form of the source text determines the form in the target language (Reiss, 2004).&lt;br /&gt;
Appeal-focused text, also known as operative text, mainly includes notice, instruction manual, advertisement, publicity manual and so on. For operative texts, the primary task for the translator is to provoke a particular reaction on the hearers or readers to incite them to engage in specific actions, while content and form are subordinate. Therefore, to achieve the same effect, the translator need to change the content and stylistic features of the original text, try to keep the potential influential factors of the original text and seek functional equivalence (Reiss, 2004: 38-43). Audio-medial text, also known as multi-media text, refers to radio and television scripts, such as radio newscasts and reports, topical surveys and dramatic productions.&lt;br /&gt;
It is distinctive in its dependence on non-linguistic media and on graphic, acoustic, and visual kinds of expression. Only in combination with them can the whole complex literary form realize its full potential (Reiss, 2004). In conclusion, different texts determine different translation focuses and methods. In many cases, however, a text may have more than one function, which means that translators should integrate different translation strategies skillfully to achieve different functions of texts.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
===2.1.2 Vermeer’s Skopos Theory===&lt;br /&gt;
2.1.2 Vermeer’s Skopos Theory&lt;br /&gt;
Reiss’s student Vermeer, who broke the limitation of the theory of equivalent and took skopos to be the first criterion of translation process  proposed the key theory: Skopostheorie. According to Skopos Theory, when translating a text, the translator needs to consider the purpose of translation first and then choose the translation method according to the purpose, which means “the end justifies the means” (Nord, 2001). Vermeer believes that translation, like other human actions, is also a purposeful act. Translation often takes place in cultural backgrounds with different customs and values, so translation is not a simple equivalent transformation between languages. Skopos Theory does not focus on achieving the equivalence between the target text and the original text or the perfection of the target text, but on choosing the best translation strategy based on the analysis of the source text and the intended function of the target text. In a word, translation methods and strategies are determined by the intended purpose or function of the target text.&lt;br /&gt;
According to Skopos Theory, the first rule that all translators must follow is the Skopos Rule. Translation purpose can be divided into three categories: (1) the purpose of the translator, such as earning a living; (2) the communicative purpose of the translation, such as instructing the reader; (3) the purpose of using a particular translation method, such as the literal translation according to its structure to illustrate the peculiarities of grammatical structure in a language (Nord, 2001). In general, the communicative purpose is more important than the other two. The communicative purpose is usually determined by the initiator of the translation act, but the translator can take part in deciding. The second rule is the Coherence Rule. Coherence Rule requires that the translation conform to the criterion of intratextual coherence, which means that the translation must be accessible to recipients and meaningful in the target culture and in the communicative environment (Nord, 2001). The third rule is the Fidelity Rule. It means that there should be intertextual coherence between the source text and the target text, which means being faithful to the source text. Nevertheless, the degree and form of faithfulness lie in the target text and the degree that the translator understands the original text. Normally “Intertexual coherence is considered subordinate to intratexual coherence and both are subordinate to the Skopos rule” (Nord, 2001).&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
===2.1.3 Manttari’s Theory of Translational Action===&lt;br /&gt;
2.1.3 Manttari’s Theory of Translational Action&lt;br /&gt;
Following Vermeer, Manttari develops Vermeer’s Skopos Theory and puts forward the Theory of Translational Action. He emphasizes three aspects: the behavior of the translation process, the role of the participants (the initiator, the translator and the target reader, etc.) and the environment (time, place and media) in which the translation process takes places. It views translation as “purpose-driven, outcome-oriented human interaction and construes the process of translation as message-transmitter compounds that involve intercultural transfer” (Mundy, 2001). According to Manttari, translation is “ a complex act to achieve a particular purpose” &lt;br /&gt;
(Nord, 2001). It is not about translating words, sentences or texts but is about guiding the intended cooperation over cultural barriers and promoting functional communication. Cooperation here means “transcultural communication” by Manttari.&lt;br /&gt;
The Theory of Translational Action attaches great importance to providing a functional communicative text for the recipient, a text suitable for the target culture in&lt;br /&gt;
form and style. Functional suitability is determined by the translator. The translator is&lt;br /&gt;
an expert in translation, whose role is to ensure the successful completion of cultural&lt;br /&gt;
transformation. In producing the target text, the analysis of the source text is necessary so that the translator can find out its structural and functional characteristics, which can be described by content and form. The need of the recipient is the decisive&lt;br /&gt;
factor for the target text.&lt;br /&gt;
In short, “the value of Manttari’s work is the placing of translation (or at least the professional non-literary translation which she describes) within its sociocultural&lt;br /&gt;
context, including the interplay between the translator and the initiating institution”&lt;br /&gt;
(Mundy, 2001).&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
===2.1.4 Nord’s Theory of Function plus Loyalty===&lt;br /&gt;
2.1.4 Nord’s Theory of Function plus Loyalty&lt;br /&gt;
Though skopos rule changes the focus of translation from the source language text to the target language text and the target receivers, it has some limitations. One is that different readers have different expectations, and the translation purpose cannot satisfy all the expectations of the target reader. Another is that the translation purpose may sometimes be against the intention of the source language. Therefore, based on the skopos rule, Nord introduces the loyalty principle. The principle of loyalty is a supplementary principle proposed by Nord to make up for the deficiency of skopos rule. According to the explanation of Nord, it is not the relationship between the original text and the target text, nor the equivalence between the original text and the form of the target text, but the consistency between the author of the original text, the initiator of the translation, the translator and the reader of the target text, which is the principle of loyalty. The proposal of the loyalty principle makes up for the mistakes that some radical skopos translators usually make, such as omitting and rewriting, which makes skopos theory more perfect and makes skopos theory more likely to guide the translation of literary works.&lt;br /&gt;
“Function” and “loyalty” are two pillars of Nord’s functionalist approach. “Function” refers to what a text means or is intended to mean from the receiver’s point of view”, while “loyalty” means that “target-text purpose should be compatible with the original author’s intention” (Nord,2001). It emphasizes the interpersonal relationship between the translator, the source-text sender, the target-text addresses and the initiator. Function plus loyalty enables the translator to avoid the limitations of skopos rule and try to achieve a balance between translation purpose and the source-text author’s intention”(Nord,2001). That is to say, when translating the original text, the translator should take into account the readers' cultural background, knowledge level and expectation of the translation, and choose the corresponding translation strategy according to the translation requirements. If the reader wants to read a word-for-word translation of the article, then the translator must meet the reader's requirements, otherwise he must explain to the reader why he chose his own translation method. The translator's job is to weigh two different cultures instead of imposing one culture on another. &lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
===2.2The Application of Functionalist Approach to the Tourist Texts.===&lt;br /&gt;
2.2The Application of Functionalist Approach to the Tourist Texts.&lt;br /&gt;
In the 1990s, Functionalist Translation Theory was introduced to China, and since then it has been applied to translation studies by Chinese translation scholars. In his article published in 1995, Zhang Nanfeng briefly introduces Skopos theory to China for the first time, and considers that Skopos theory is referential (Zhang Nanfeng, 1995). German Functionalist Translation Theory, a paper released in1999, is the first article in China which systematically introduces German Functionalist Translation Theory (Zhong Weihe &amp;amp; Zhong Yu, 1999). Based on an overview of Functionalist Translation Theory, Zhang Meifang focuses on introducing Nord’s theory, especially on the detailed analysis of Nord’s principle of loyalty (Zhang Meifang, 2005). Famous domestic scholars, such as Liu Junping (2009), Liu Miqing (2012) and Li Wenge (2004), also introduce this theory in their books. With the rise of Functionalist Translation Theory in China, someone has compared it with other theories. Zhu Haotong compares Skopos Theory with Functional Equivalence Theory to analyze the similarities and differences between them, and further reveals that Functionalist Translation Theory inherits the reasonable part of Nida’s Functional Equivalence Theory, which is an important breakthrough and supplement to solve the problems that Functional Equivalence Theory leaves (Zhu Haotong, 2006). Some scholars also combine theory with translation practice to explore the application of Functionalist Translation Theory to translation practice. Jia Yanli and Wang Hongjun point out that Skopos Theory has its limitations, but it is still of instruction and reference value for non-literary translation texts, such as advertisements and tourism materials (Jia Yanli &amp;amp; Wang Hongjun, 2012). Li Liangchen selects several famous tourist attractions in China to translate the on-site tour-guide commentary into English. Then he improves them under the guidance of Skopos Theory and sends out questionnaires to overseas tourists for further analysis. He argues that the translation of on-site tour-guide commentary which is guided by Skopos Theory is more favorable to conveying information to foreign visitors, to promoting cultural exchanges and to improving the image of China’s tourist destinations (Li Liangchen, 2013). In Pragmatic Translation: Theory &amp;amp; Practice, Wu Feng and He Qingji introduce Functionalist Translation Theory (Wu Feng &amp;amp; He Qingji, 2008) and the characteristics of tourism text and translation skills (Wu Feng &amp;amp; He Qingji, 2008). In this book, they also discuss the controversy over the Chinese name of Functionalist Translation Theory, and holds that “功能派翻译理论” is the most appropriate Chinese translation (Wu Feng &amp;amp; He Qingji, 2008).Based on his own translation practice and under the guidance of Functionalist Translation Theory, Wu Zixuan probes into some special phenomena in the English translation of CNN newsreels. The author believes that in the translation of external publicity, we should not stick to the standard of faithfulness to the original text, but should deal with the original text properly from the perspective of achieving the purpose of translation, such as rewriting, abridging. (Wu Zixuan, 2005).&lt;br /&gt;
Functionalist approach establishes a theoretical system of diversified translation standards dominated by skopos rule. From the definition of Functionalist approach, it can be seen that the advantage of it is that the translator can get rid of the bondage of the original text, study the translation process with &amp;quot;translation purpose&amp;quot; as the starting point, and determine the translation strategies and methods. This can give full play to the translator's own initiative, flexible processing of the original text, in order to achieve the translation of the communicative function. In addition, functionalist approach requires the translation to be examined in the cultural context of the reader. The reader can accept the translation and understand the meaning of the original text through the translation, so the translation can realize the communicative function. On the basis of such advantages, functionalist approach can be used to guide the English translation of garden scenic spots, and the translator can choose a wider range of translation strategies and break out of the constraints of the original text. &lt;br /&gt;
Only by clarifying the purpose of translation can we avoid these limitations in the English translation of garden attractions. When using functionalist approach to guide the English translation of Chinese classical garden scenic spots, it is necessary to flexibly choose translation strategies and methods, give full play to the advantages of skopos theory, and achieve the balance between &amp;quot;principle of purpose&amp;quot; and &amp;quot;principle of fidelity&amp;quot; as far as possible.&lt;br /&gt;
With the deepening of globalization and cross-cultural communication, tourismis becoming a major industry in the 21st century. The development of tourism can not only promote the economic development of a country but also promote the external dissemination of national culture. Therefore, tourism translation deserves attention. Tourism text is a typical informative and operational text, and the language is unique. It is full of gorgeous words, such as four-character expressions, verses, proper nouns and so on.&lt;br /&gt;
Tourism text materials include tourism advertising, tourism brochures, scenic spots signs and so on. In this paper, we focus on the introduction of Chinese gardens’ scenic spots, which is usually colorful in language and rich in literary style. Tourism text translation belongs to applied translation, which should play a series of practical functions to publicize the image and resources of the country or place and attract overseas tourists. Therefore, the translator of tourism text must be clear about the type and function of tourism text, and to grasp the ultimate purpose of the translation. &lt;br /&gt;
On tourism text translation, the communicative purpose of the translation should be placed in a central position. Furthermore, the tourism text has both the information function and the calling function. The information function and the calling function complement each other. Only when the target language readers acquire the expected tourism information and cultural knowledge can the calling function be realized and the purpose of tourism text translation be achieved. With different translation strategies, the translated version should both expressed contains basic information, and make the tourists feel the profound of the Chinese culture from the beautiful scenery. &lt;br /&gt;
Cultural tourism has long been the focus of international tourism, and understanding Chinese culture is the main purpose of inbound tourists, so the translation of tourism texts bears the mission of cultural transmission and cultural publicity. However, due to the great differences between Chinese and English culture and language, there are many difficulties in cultural transmission in tourism text translation. China has a long and splendid history and culture. When introducing the scenic spots of cultural relics and historic sites, we usually associate with many historical figures and stories. These terms are cultural blank for most foreign tourists, but this kind of cultural experience is also the most attractive place for foreign tourists. It is of great importance to pay attention to cultural differences in tourism translation and carry out cultural transmission effectively. Chinese and English languages have different logic views, and Chinese expressions in tourism texts value decoration. English expressions tend to be clear, concise and to the point. For example, Chinese tourism texts often use a four-character lattice, which is symmetrical, while there is no corresponding four-character lattice expression in English. Therefore, in Chinese-English translation of tourism texts with frequent use of four-character phrases, it is necessary to keep in mind the objective principle of functionalist approach and give priority to cultural communication instead of rigidly adhering to form.&lt;br /&gt;
&lt;br /&gt;
===3. C-E Translation of the Summer Palace under Functionalist Approach===&lt;br /&gt;
3. C-E Translation of the Summer Palace under Functionalist Approach&lt;br /&gt;
By studying the specific translation strategies made by predecessors, the following steps are also adopted in this paper: first, the translation strategies are determined according to the text type, such as faithful reproduction of the original information or rewriting; Secondly, the translation strategies are determined according to the potential purpose of the translation, such as paraphrasing or deleting poems, generalizing specific expressions and transliterating proper nouns. Thirdly, the translation strategies are defined with the tourists as the center, such as adding logical words, adding explanatory information and using plain English.&lt;br /&gt;
The Summer Palace epitomizes the philosophy and practice of Chinese garden design, which played a key role in the development of this cultural form throughout the east. It is an outstanding expression of the creative art of Chinese landscape garden design, incorporating the works of humankind and nature in a harmonious whole, which was once the most important place of political and diplomatic activity for the supreme rulers of the late Qing dynasty. Based on three aspects of the Summer Palace, namely, garden culture, historical culture and religious culture, this paper discusses the problems existing in the English translation of the scenic spots of the Summer Palace and puts forward corresponding countermeasures under the guidance of the skopos rule of functionalist translation theory.&lt;br /&gt;
&lt;br /&gt;
===3.1 Garden culture.===&lt;br /&gt;
3.1 Garden culture. &lt;br /&gt;
The Summer Palace is a classical garden famous for its magnificence and beauty. There are many temples in the garden, and the green waves of kunming lake ripple. Landscape and humanities complement each other, containing rich natural and cultural information, reflecting the characteristics of Chinese classical gardens. The garden cultural features of the three scenic spots, namely, the hall of clouds, the foxiang pavilion and the Wenchang courtyard, are particularly outstanding. Therefore, this paper takes these three scenic spots as examples to discuss the Chinese-English translation of the introduction of the Summer Palace.&lt;br /&gt;
(1)	排云殿、佛香阁景区是颐和园内建筑布局最完整、建筑形式最丰富的中轴建筑群体，殿、阁、廊、亭、桥、坊、碑等建筑约两万平方米。从临水的云辉玉宇牌坊至排云门、排云殿、德辉殿、佛香阁、众香界、智慧海、层层升高，排列有序，气势巍峨，金碧辉煌，将园林、寺庙和宫殿融为一体。&lt;br /&gt;
Translation：This scenic spot covers an area of 20,000 square meters with an assortment of buildings such as palaces, towers, corridors, pavilions, walkways, bridges, archways and inscribed stone steles. It comprises a well-arranged group of structures, all diverse in style, located in the center of the Summer Palace garden. This complex of structures, ranging from the Glowing Clouds and Holy Land Archway on the waterside, the Gate that Dispels the Clouds, the Hall that Dispels the Clouds, the Hall of Moral Glory, and the Tower of the Fragrance of the Buddha, to the Realm of Popular Fragrance and the Sea of Wisdom Temple, were built in an orderly manner running from the foot of the hill to its top, with gardens, temples and palaces harmoniously integrated into the whole。&lt;br /&gt;
Analysis：As we all know, the design style of ancient Chinese buildings is beautiful with &amp;quot;symmetry&amp;quot;. The &amp;quot;axis&amp;quot; in hall of clouds scenic spot refers to the layout of the Summer Palace from far to near and from top to bottom, which cannot be simply understood as the center. Simply translating &amp;quot;axis&amp;quot; as &amp;quot;center&amp;quot; cannot express accurately the meaning of &amp;quot;symmetry&amp;quot;. Comparatively speaking, &amp;quot;axis&amp;quot; can better reflect the architectural style of the scenic spot.&lt;br /&gt;
(2)	从临水的云辉玉宇牌坊至排云门、排云殿、德辉殿、佛香阁、众香界、智慧海，层层升高，排列有序，气势巍峨，金碧辉煌，将园林、寺庙和宫殿融为一体。&lt;br /&gt;
Translation：These structures，including Glowing Clouds and Holy Land Archway at lake side，the Gate of Dispelling Clouds，the Hall of Dispelling Clouds，the Hall of moral Glory，and the Tower of Buddhist Incense，the Realm of Multitudinous Fragrance and the Sea of Wisdom Temple，were built in an orderly manner ranging up the hill with gardens，temples and palaces harmoniously integrated. This manifests beauty，grace and splendor，reminiscent of the loftingness and grandeur of a once mighty empire.&lt;br /&gt;
Analysis：In terms of the characteristics of language, Chinese emphasizes parataxis and four-word antithesis. When describing and naming scenes, gorgeous words and poetic words are generally chosen in Chinese. But, English emphasizes hypotaxis, on the other hand, puts more emphasis on reproducing the original appearance of things, using simple and natural words and preferring direct description. In sign translation, the English translation pays more attention to accurate, concise and lively. In the above paragraph, &amp;quot;层层升高，排列有序，将园林、寺庙和宫殿融为一体&amp;quot; is an introduction to the architectural features of foxiang pavilion, in order to make tourists have a clear understanding of the overall layout and architectural features of the scenic spot. This information is essential and can be translated into detail. However, &amp;quot;气势巍峨，金碧辉煌&amp;quot; focuses on the subjective description, and its explicit translation needs more complicated words. If this paragraph is translated in detail, it is easy to drag the content and make the key information vague. Therefore, the deletion of the English translation of this sentence will not affect the basic information of the original text.&lt;br /&gt;
(3)	主阁（文昌阁）两层，内供铜铸文昌帝君和仙童、铜骑。文昌阁与万寿山西供武圣的宿云檐象征“文武辅弼”。&lt;br /&gt;
Translation: A bronze statue of the God Wenchang, statues of gaeries, and a bronze steed were placed in the two-story pavilion. This tower is pared with the Tower of Cloud- Retaining Eaves, located to the west of the Longevity Hill, in which a statue of the Martial God was placed. The God Wenchang and the Martial God together symbolize reining of the emperor supported by scholars and warriors.&lt;br /&gt;
Analysis: Two questions arise in Chinese-English translation. First, there are two translations of wenchang pavilion in the translation: pavilion and tower, which appear in the same sign. Two different translations of the same scenic spot name tend to make foreign tourists think that it refers to different scenic spots, which may cause difficulty in understanding. Second, the translation of Wenchang pavilion into &amp;quot;Wenchang Tower&amp;quot; is against the actual architectural characteristics. In fact, the meanings of &amp;quot;pavilion&amp;quot; and &amp;quot;tower&amp;quot; have both similarities and differences. According to the Oxford dictionary, Tower means &amp;quot;a tall narrow building or part of a building, especially of a church or castle&amp;quot;, mainly referring to the tower-shaped part of a building, usually a tall and slender structure, such as the Eiffel Tower. &amp;quot;Pavilion&amp;quot; means &amp;quot;a building that is meant to be more beautiful than usual, built as a shelter in a park or used for concerts and dances&amp;quot;. The top structure of the pavilion usually has rectangles, triangles, hexagons, etc. The common feature of them is that the top is supported by columns without walls. From the external structure of Wenchang pavilion, its bottom is solid and its top is supported by columns. Therefore, the pavilion can accurately reflect the architectural characteristics of Wenchang pavilion, so I think it should be translated as Wenchang pavilion.&lt;br /&gt;
&lt;br /&gt;
===3.2 Historical culture. ===&lt;br /&gt;
3.2 Historical culture. &lt;br /&gt;
The accurate Chinese-English translation of the introduction of the Summer Palace not only enables foreign tourists to understand the characteristics of Chinese gardens, but also enables foreign tourists to understand the historical knowledge of a specific period of China. However, the Chinese-English translation of the Summer Palace still has problems in accurately conveying the historical background of the scenic spots, such as the English translation of Wenchang pavilion scenic spot:&lt;br /&gt;
(4)	此景区始建于清乾隆十五年，一八六零年被英法联军烧毁，光绪时按原样重建。阁结构为八面三层四重檐，通高36.44米，耸立于20米高的石造台基上，气势雄伟，是颐和园全园的构图中心。阁内供奉有铜铸金裹千手观世音菩萨站像。像高五米，重万斤，为明代万历年间所造，在八根贯通全阁上下的承重铁梨木擎天柱的衬托下，美妙庄严，熠熠生辉，有极高的文物和艺术价值。&lt;br /&gt;
Translation: The Wenchang tower was first built in 1750 and rebuilt under Emperor Guangxu after  the Anglo-French Allied Forces builted it down in 1860. The octahedral tower has three stories with four-layered eaves, altogether 36.44 meters high. Standing upright on a 20 meter-high stone foundation, it constitutes the center of the Summer Palace landscape and serves to accentuate its magnificence. A statue of the thousand-handed Guanshiyin Buddha, cast in bronze and gilded with gold, stands inside the tower. The statue, five meters high and five tons in weight, was cast during the reign of Emperor Wanli of the Ming Dynasty. Set off by the eight imposing pillars which support the tower, it glows with beauty, grandeur and brilliance. Its historical, cultural and artistic value can hardly be overstated.&lt;br /&gt;
Analysis: “始建于乾隆十五年”only was translated into “was first built in 1750” and the “光绪年间重建” was translated into “rebuilt under Emperor Guangxu”.The first sentence does not show that 1750 was the fifteenth year of the reign of emperor Qianlong, and the second sentence does not give foreign visitors the exact date of the reign of emperor Guangxu. The change of time concept and the disunity of expression easily make foreign tourists feel confused. Therefore, the translation of the time and the historical dynasties should be accurate and meticulous, and the supplementary method should be used to not only describe the dynasties clearly, but also supplement the corresponding years, so as to achieve the standardization of the translation. In this way, foreign tourists can not only be clear about the time of the event, but also understand the Chinese historical dynasties. Consider as follows: the Wenchang Pavilion was first built in 1750 during Emperor Qianlong’s reign（1735- 1795）and rebuilt in 1886 under Emperor Guangxu（1875- 1908）after the Anglo- French Allied Forces burned it down in 1860.&lt;br /&gt;
&lt;br /&gt;
===3.3 Religious culture. ===&lt;br /&gt;
3.3 Religious culture. &lt;br /&gt;
Many scenic spots in the Summer Palace have a strong buddhist atmosphere. While visiting the scenic spots, foreign tourists can understand the profound buddhist culture. Wenchang pavilion in the Summer Palace is the representative of Chinese religious culture.&lt;br /&gt;
(5)	主阁两层，内供铜铸文昌帝君和仙童、铜特。文昌阁与万寿山西供武圣的宿云檐象征“文武辅弼”。&lt;br /&gt;
Translation: A bronze statue of the god，Wenchang，and statues of two followers，the celestial boy，and the bronze steed，were placed in the two- storey pavilion. This tower is pared with the tower of Cloud- Retaining Eaves，located to the west of the Longevity Hill，in which a statue of the Martial God was placed. The two towers symbolize the support by both scholars and warriors to the ruling emperor.&lt;br /&gt;
Analysis: It is well known that westerners believe in theism, which refers to god as supreme . In Chinese religious culture, people believe in atheism and do not believe in the existence of god. Therefore, it is inappropriate to translate &amp;quot;文昌帝军&amp;quot; and &amp;quot;武圣&amp;quot; into &amp;quot;the god, Wenchang&amp;quot; and &amp;quot;the Martial god&amp;quot; in the translation. In fact, the &amp;quot;文昌帝军&amp;quot; was Zhang yu, an emperor of Shu of Ning kang (374). And &amp;quot;武圣&amp;quot; refers to Guan yu in history. Therefore, the simple translation of  &amp;quot;God&amp;quot; is not in line with the traditional Chinese culture, which will not only cause western tourists to misunderstand that Chinese religious tradition also believes in God, but also fail to convey Chinese historical allusions and relevant historical figures. In contrast, if &amp;quot;文昌帝军&amp;quot; is translated as &amp;quot;the emperor, Wenchang&amp;quot; and &amp;quot;武圣&amp;quot; is translated as &amp;quot;the Martial Master (Guanyu)&amp;quot;, it can more faithfully convey the history and religious culture contained in the source language. &lt;br /&gt;
&lt;br /&gt;
===4. Conclusion===&lt;br /&gt;
4. Conclusion&lt;br /&gt;
To sum up, Under the guidance of the skopos rule of functionalist translation theory, translators should have a cross-cultural awareness, fully understand the reading psychology and cultural appreciation needs of target language readers, and use effective translation strategies and methods to achieve the purpose of tourism text translation. Functionalist approach has made a pioneering contribution to the translation of non-literary genres. Functional translation effectively eliminates the disadvantages of traditional word-for-word translation, improves the efficiency of translation, and helps readers to grasp the meaning of the original text.&lt;br /&gt;
 The importance of the translation of the Summer Palace lies in the profound garden culture, historical culture and religious culture. The English translation is not only helpful for international friends to know more about the garden characteristics of the Summer Palace, but also helpful for spreading the long history and profound culture of China. In order to attract target readers and promote traditional Chinese culture, it is not only necessary to carefully explore Chinese culture and history, but also to use the fuctionalist approach appropriately. &lt;br /&gt;
Translation is a complicated process. Functionalist approach stresses the function of the discourse, the purpose of translation. In the practice of translation, if the translator can get rid of the bondage of the original equivalence, actively playing to subjective initiative, fully understanding the original text, depending on the purpose of discourse and adopting different translation strategies, the effect and readability of translation can be improved.&lt;br /&gt;
&lt;br /&gt;
===References===&lt;br /&gt;
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张南峰，走出死胡同建立翻译学. 中国翻译, 1995.&lt;br /&gt;
仲伟合，钟钰. 德国的功能派翻译理论. 中国翻译, 1999.&lt;br /&gt;
张美芳，功能加忠诚—介评克里丝汀· 诺德的功能翻译理论.上海外国语大学学报, 2005.&lt;br /&gt;
&lt;br /&gt;
==Contrast between Literal Translation and Free Translation	张雪仪	Zhang Xueyi==&lt;br /&gt;
'''Abstract：'''&lt;br /&gt;
&lt;br /&gt;
The contrast between literal translation and free translation has always been the most discussed problem in translation studies. To compare these two translation methods, the basic point is to understand the purpose of translation. The ultimate goal of translation is to help different cultures communicate better, so that people who speak different languages can understand each other’s cultures. Due to the differences in social, historical and cultural backgrounds between languages, how to choose between the two translation strategies of literal translation and free translation requires translators to weigh the strengths and weaknesses of these two methods. This essay mainly compares literal translation and free translation between Chinese and Russian to help students and translators translate better.&lt;br /&gt;
&lt;br /&gt;
'''Key words：'''&lt;br /&gt;
&lt;br /&gt;
Translation strategies, Literal translation,Free translation &lt;br /&gt;
&lt;br /&gt;
'''摘要：'''&lt;br /&gt;
&lt;br /&gt;
直译与意译间的对比一直是翻译学中讨论度最高的问题。想要将这两种翻译方法进行对比，最基本的一点就是要明白翻译的目的是什么。翻译的最终目的在于帮助不同文化进行更好的交流，让使用不同语种的人相互理解彼此的文化。由于语种间社会历史文化背景的差异，如何在直译和意译这两种翻译策略中做出选择，就需要译者衡量两种方法的利弊。本文主要对汉语和俄语间直译和意译进行比较，以帮助学生和译者更好地进行翻译实践。&lt;br /&gt;
&lt;br /&gt;
'''关键词：'''&lt;br /&gt;
&lt;br /&gt;
翻译策略，直译，意译&lt;br /&gt;
&lt;br /&gt;
'''1.Introduction'''&lt;br /&gt;
&lt;br /&gt;
The former Soviet Union translation theorist Fedorov believed: “Translation is an activity that expresses what has been used in one language as a unified whole of content and form, and accurately and completely expressed in another language.” Translation theorist Barr Hudarov also wrote: &amp;quot;Translation is the process of changing the coherent discourse of one language into the coherent discourse of another language while maintaining its content and meaning.&amp;quot; To some extent, translation is a process of thinking re-creation, so certain standards and principles must be followed when translating. Translation standard is a measure of the quality of translation, it can guide translation practice, and it is a principle that must be followed in translation activities. Although each scholar has different opinions on the standard of translation, the final result he pursues is the same: the original text and the translated text express the same effect. In order to achieve the same effect, different translation methods have been derived, of which literal translation and free translation are the most commonly used.&lt;br /&gt;
&lt;br /&gt;
Russian idioms and proverbs, as the crystallization of the wisdom of the Russian nation and the immortal fossils in the Russian language, are one of the best materials for the Chinese to understand and learn Russian history, culture, and society. Due to different geographical, historical and economic conditions, the Russian and Chinese ethnic groups have formed different cultural backgrounds. These distinctive backgrounds and characteristics have caused great difficulties for Chinese learning Russian to further understand Russia. This essay studies the basic definitions of literal translation and free translation, their respective advantages and disadvantages and their mutual relations, and strive to solve how to use the translation methods of literal and free translation to properly translate Russian idioms and proverbs, and how to reflect the cultural background and language characteristics of Russian idioms and proverbs in the translation .&lt;br /&gt;
&lt;br /&gt;
'''2.Different views of &amp;quot;literal translation&amp;quot; and &amp;quot;free translation&amp;quot;'''&lt;br /&gt;
&lt;br /&gt;
In different periods and different countries, people's views on translation theory have changed a lot, but the debate about literal translation and free translation has always existed.&lt;br /&gt;
&lt;br /&gt;
In China, the contradiction between literal translation and free translation may initially be due to the different understanding of these two translation methods. The translator Sun Guiding believes that: literal translation is stuck to the structure of the original text and does not consider whether the Chinese is fluent and natural; while free translation is to use the inherent Chinese idioms and the most natural words and sentences as much as possible to achieve the effect of conveying the meaning of the original text. Former President of Wuhan University, Du Zuozhou, believes that literal translation means translating word by word according to the original text; free translation means translating according to the meaning of the original text, and the translation is more suitable for the common grammar of the translated language. The educator Meng Xiancheng believes that literal translation is a translation technology with different degrees of correctness. Literal translation is a translation that is faithful and correct according to the original text; free translation is a translation that summarizes the original meaning. Zhu Guangqian said: &amp;quot;The so-called 'literal translation' refers to the literal translation based on the original text. Every word and sentence are translated word by word, and the order of the words and sentences is not changed. The so-called ‘paraphrasing’ is to express the meaning of the original text in Chinese, and it does not have to be completely based on the literal and order of the original text. &amp;quot; The principle of &amp;quot;faithfulness, expressiveness and elegance&amp;quot; put forward by the modern Chinese translator Yan Fu has long been the basic principle guiding translation practice. A large number of beginners who learn foreign languages regard &amp;quot;faithfulness and expressiveness&amp;quot; as translations that are completely faithful to the original text when translating. In fact, Yan Fu's translation requirements are a guiding principle for translation based on semantics. When translating, if the structure and expression of the original text cannot be directly adopted, the sentence structure and expression must be changed according to the characteristics of the target language. In addition, there are many differences between the original language and the target language in the word order, grammar, variants and rhetoric in the translation process. In many cases, there is no direct corresponding word. This requires the translator to consider the actual semantics, background and other factors. On the basis of the original meaning of the sentence, use an appropriate method to convey the content of the original work and reproduce the language style of the original work.&lt;br /&gt;
&lt;br /&gt;
In the Soviet Union, under the influence of ideology, Western translation theories could not be widely disseminated, but within the Soviet Union, translation theories similar to Western translation theories have been formed and developed, and two main schools of translation theory have been further differentiated — Linguistic Translation School and Literary Translation School. To a certain extent, the dispute between these two schools also reflects the debate on literal translation and free translation among translators' groups. In terms of the principles or standards of translation, the linguistic translation school believes that an ideal translation should be an equivalent translation, first of all linguistic correspondence, that is, the translation should have the same meaning as the corresponding language or discourse unit of the original; the literary translation school believes that translation pursues artistic correspondence, and linguistic correspondence must be subordinate to artistic correspondence. Therefore, it proposes that the aesthetic standards of translation should reproduce the artistic reality reflected by the unity of the original content and form. The characteristic is to use images to translate images, that is, to create the same image in different languages. In 1953, Andrei Venediktovich Fedorov, the leader of the linguistic translation school, published his work &amp;quot;Summary of Translation Theory&amp;quot;, which was the first monograph of the Soviet Union to study translation theory from the perspective of linguistics. The author proposes that translation theory is a branch of linguistics. Since the translation of any genre work must rely on the comparison of two languages, translation problems can only be solved in the field of language. Fedorov’s view was refuted by the literary translation school represented by Ivan Alexandrovich Kashikin. The literary translation school believes that aesthetic issues are the core of literary translation theory, and translation should be regarded as a form of language art, that is, translation should be studied from the perspective of literature and art. In fact, the literary translation school emphasizes the translation of literary and artistic works, which belongs to the specific translation theory; while the research of the linguistic translation school focuses on the general translation theory, that is, the translation of all thematic works including literary works. The dispute between the two major translation theory schools of Russia and the Soviet Union provides another perspective for Chinese translators to explore the relationship between literal translation and free translation.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
'''3.The application of literal translation and free translation in the Chinese translation of Russian idioms'''&lt;br /&gt;
&lt;br /&gt;
The idioms of different nationalities are the most dynamic and expressive units at the lexical level in different languages, and they are also the units that can best reflect the characteristics of national culture in languages. The number of Russian idioms is extremely rich, it records and reflects all aspects of Russian national life. Due to the great differences in geographical locations and living customs between China and Russia, the national cultures reflected in Chinese and Russian must be quite different. One of the difficulties in idiom translation is its imagery. When translating idioms, both the meaning and the image must be considered. Although the Chinese and Russian cultures are very different, many of the commonalities of mankind, such as emotion and natural environment, have created conditions for mutual communication, mutual understanding and idiom translation between different languages.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
'''3.1 Literal translation'''&lt;br /&gt;
&lt;br /&gt;
Generally speaking, the literal translation method refers to a translation method that directly translates the original text without changing the language characteristics and style of the original text on the basis of fully respecting the meaning of the original text. Chinese translation of Russian idioms by literal translation method has the advantage of being able to intuitively and faithfully express the meaning of the idiom, maintaining the unique style and imagery of the original text: the disadvantage is that the translated idiom may not be understood by the Chinese because of China and Russia have different historical, cultural backgrounds, grammatical structures, and language world landscapes, which can easily form obstacles in the process of understanding.&lt;br /&gt;
&lt;br /&gt;
Translating Russian idioms by literal translation is further divided into two methods — literal translation into Chinese idioms and literal translation into non-idiom sentences or words.&lt;br /&gt;
&lt;br /&gt;
Literal translation of Russian idioms into Chinese idioms is suitable for the translation of Russian and Chinese idioms that are completely equivalent in image, structure, and meaning. The advantage is that it is easy to understand, and the translation is simple and fast. E.g:&lt;br /&gt;
&lt;br /&gt;
(1)домашнего  (своего) вора не убережешься. 家贼难防&lt;br /&gt;
&lt;br /&gt;
(2)знать как свои пять пальцев (видно, как на ладони) 了如指掌&lt;br /&gt;
&lt;br /&gt;
(3)подлить масла в огонь 火上浇油&lt;br /&gt;
&lt;br /&gt;
(4)как рыба в воде 如鱼得水&lt;br /&gt;
&lt;br /&gt;
(5)как ножом по сердцу 心如刀割&lt;br /&gt;
&lt;br /&gt;
(6)как гром среди ясного неба 晴天霹雳&lt;br /&gt;
&lt;br /&gt;
(7)на добро отвечают добром 善有善报&lt;br /&gt;
&lt;br /&gt;
(8)копейка рубль бережет 财从细起&lt;br /&gt;
&lt;br /&gt;
(9)мечты сбываются 梦想成真&lt;br /&gt;
&lt;br /&gt;
(10)курица всегда следует за петухом 嫁鸡随鸡&lt;br /&gt;
&lt;br /&gt;
(11)чего мало, того и дорого  (дорого то, что мало) 物以稀为贵(12)&lt;br /&gt;
&lt;br /&gt;
(12)изгонять яд с помощью яда 以毒攻毒&lt;br /&gt;
&lt;br /&gt;
(13)сидеть как на иголках 如坐针毡&lt;br /&gt;
&lt;br /&gt;
(14)действия громче слов 事实胜于雄辩&lt;br /&gt;
&lt;br /&gt;
(15)зарыть талант в землю 埋没人才&lt;br /&gt;
&lt;br /&gt;
(16)висеть на волоске 千钧一发&lt;br /&gt;
&lt;br /&gt;
(17)лить как из ведра 倾盆大雨&lt;br /&gt;
&lt;br /&gt;
The idioms in the above examples are completely equivalent in image, structure or meaning in Russian and Chinese, so Chinese idioms can be used for literal translation. &lt;br /&gt;
&lt;br /&gt;
In fact, in the two languages, idioms with the same image, structure, and meaning are still in the minority, so it is more common to translate Russian idioms into non-Chinese idiom sentences or vocabulary. E.g:   &lt;br /&gt;
&lt;br /&gt;
настоять на своем 坚持自己&lt;br /&gt;
&lt;br /&gt;
камень с души свалился 心里的一块石头落地&lt;br /&gt;
&lt;br /&gt;
связать свою судьбу 把自己的命运与……相连&lt;br /&gt;
&lt;br /&gt;
быть на голову 高出一头&lt;br /&gt;
&lt;br /&gt;
вбивать в голову 往脑子里灌&lt;br /&gt;
&lt;br /&gt;
блеснуть метеором 像流星一样一闪而过&lt;br /&gt;
&lt;br /&gt;
с мизинец 小拇指这么大&lt;br /&gt;
&lt;br /&gt;
It is not difficult to find that the literal translation method can completely retain the original appearance of the idiom, show the common concept of human understanding of the world, and be beneficial to the cultural exchange between China and Russia.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
'''3.2 Free translation'''&lt;br /&gt;
&lt;br /&gt;
Another method commonly used in the Chinese translation of Russian idioms is free translation. Free translation is to readjust the structure of the original text on the basis of keeping the original meaning of the idiom unchanged, and then reconstruct the Russian idiom with the way of thinking and expression in Chinese. This is because the figurative images used in many Russian idioms are inconsistent with those used in Chinese. If the original image is used in translation, it will cause a barrier to understanding. The advantage of free translation of Russian idioms is that it eliminates obstacles to understanding, but the disadvantage is that it cannot completely retain the original style and cultural characteristics. E.g:&lt;br /&gt;
&lt;br /&gt;
(1)В Тулу со свим самоваром не ездят.&lt;br /&gt;
直译：去图拉不用带自己的茶炊。&lt;br /&gt;
意译：多此一举&lt;br /&gt;
&lt;br /&gt;
(2)Честь лучше бесчестья.&lt;br /&gt;
直译：尊重比不尊重好。&lt;br /&gt;
意译：礼多人不怪。&lt;br /&gt;
&lt;br /&gt;
(3)словно горя с плеч&lt;br /&gt;
直译：把山从肩膀下卸下&lt;br /&gt;
意译：如释重负&lt;br /&gt;
&lt;br /&gt;
(4)выеденного яйца не стоит&lt;br /&gt;
直译：一个空蛋壳不值钱&lt;br /&gt;
意译：鸡毛蒜皮，一文不值&lt;br /&gt;
&lt;br /&gt;
(5)чужими руками жар загребать&lt;br /&gt;
直译：用别人的手将红炭火拨成一堆&lt;br /&gt;
意译：坐享其成，不劳而获&lt;br /&gt;
&lt;br /&gt;
(6)ни рыба, ни мясо&lt;br /&gt;
直译：没有鱼也没有肉&lt;br /&gt;
意译：不三不四，不伦不类&lt;br /&gt;
&lt;br /&gt;
(7)лучше синица в руках, чем журавль в небе&lt;br /&gt;
直译：天上的仙鹤不如手中的山雀&lt;br /&gt;
意译：远亲不如近邻&lt;br /&gt;
&lt;br /&gt;
(8)На языке мед, а под лед&lt;br /&gt;
直译：嘴上甜得像蜂蜜，心里冷得像冰&lt;br /&gt;
意译：笑里藏刀&lt;br /&gt;
&lt;br /&gt;
(9)И на солнце есть пятна&lt;br /&gt;
直译：太阳上也有黑点&lt;br /&gt;
意译：人无完人&lt;br /&gt;
&lt;br /&gt;
(10)семь раз отмерь, один раз отрежь&lt;br /&gt;
直译：测量了七次后再剪裁&lt;br /&gt;
意译：三思而后行&lt;br /&gt;
&lt;br /&gt;
Using free translation to translate Russian idioms requires the translator to accurately understand the meaning of the original text, because cultural differences make it impossible to literally translate. Only through the translator can an unobstructed bridge between Russian idioms and Chinese idioms be built.&lt;br /&gt;
&lt;br /&gt;
'''4.The application of literal translation and free translation in the Chinese translation of Russian proverbs'''&lt;br /&gt;
&lt;br /&gt;
There are often multiple translations of the same Russian proverb in Russian-Chinese dictionaries. On the one hand, because the translator uses different translation methods; on the other hand, because Russian proverbs have very rich connotations, a translation cannot perfectly interpret the inner meaning of the proverb. According to the context and the connotation of the proverbs, the most commonly used methods of Chinese translation of Russian proverbs are literal translation and free translation.&lt;br /&gt;
&lt;br /&gt;
'''4.1 Literal translation'''&lt;br /&gt;
&lt;br /&gt;
In Russian and Chinese languages, some proverbs not only have the same meaning or implicit meaning, but also use the same or similar figurative images to express a certain kind of the same semantics, and they are completely consistent in content and form. In this case, the equivalent translation of synonymous Chinese proverbs can convey the information contained in the original image, which not only retains the rhetorical color of the original language, but also enables the reader to perfectly understand the original text. E.g:&lt;br /&gt;
&lt;br /&gt;
(1)Куй железо, пока горячо. 趁热打铁。&lt;br /&gt;
&lt;br /&gt;
(2)Беда не приходит одна. 祸不单行。&lt;br /&gt;
&lt;br /&gt;
(3)Сытый голодного не разумеет. 饱汉不知饿汉饥。&lt;br /&gt;
&lt;br /&gt;
(4)Век живи, век учись. 活到老，学到老。&lt;br /&gt;
&lt;br /&gt;
(5)Выше встанешь, дальше увидишь. 站得高，看得远。&lt;br /&gt;
&lt;br /&gt;
(6)Лучше один раз увидеть, чем сто раз услышать. 百闻不如一见。&lt;br /&gt;
&lt;br /&gt;
(7)Нет дыма без огня. 无火不生烟。&lt;br /&gt;
&lt;br /&gt;
(8)Шила в мешке не утаишь. 口袋藏不住锥子。&lt;br /&gt;
&lt;br /&gt;
(9)Береги платье снову, а честь смолоду. 衣服要从新的时候爱惜，荣誉要从年轻时珍惜。&lt;br /&gt;
&lt;br /&gt;
(10)Выше лба уши не растут. 耳朵高不过额头。&lt;br /&gt;
&lt;br /&gt;
(11)Для милого друга семь верст не околица. 为了好友，多绕七里也不嫌远。&lt;br /&gt;
&lt;br /&gt;
(12)Как Новый год встретишь, так его и проведешь. 怎么迎新年，就怎么过一年。&lt;br /&gt;
&lt;br /&gt;
(13)Лучше умереть стоя, чем жить на коленях. 宁愿站着死，绝不站着生。&lt;br /&gt;
&lt;br /&gt;
(14)Не имей сто рублей, а имей сто друзей. 宁要一百个朋友，不要一百个卢布。&lt;br /&gt;
&lt;br /&gt;
По одежке встречают, по уму провожают. 迎客时看衣，送客时看才智。&lt;br /&gt;
&lt;br /&gt;
==Dialectical thinking in arguments between literal translation and free translation 	甘奉玉	Gan Fengyu==&lt;br /&gt;
&lt;br /&gt;
===Abstract===&lt;br /&gt;
  As two methods of translation, how to use literal translation and free translation has always been the focus of debate between Chinese and Western translation circles. Through the study of translation methods of literal translation and free translation at home and abroad, we can know that to some extent literal translation and free translation are two relative conceptions, so there will be word-for-word translation, that is, dead translation, and excessive free translation. However, these two are only two extremes of literal translation and free translation. In fact, although there are differences in definitions and application fields between literal translation and free translation, they are unified in common translation purpose, translation procedure and translation standard. Therefore, the two are contradictory and unified in translation activities. This is also the profound embodiment of the unity of opposites in materialist dialectics.--[[User:Gan Fengyu|Gan Fengyu]] ([[User talk:Gan Fengyu|talk]]) 07:46, 10 November 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
===Key words===&lt;br /&gt;
literal translation, free translation, word-for-word translation, over free translation, unity of opposites&lt;br /&gt;
&lt;br /&gt;
===摘要===&lt;br /&gt;
  作为翻译方法，直译(literal translation)与意译(free translation)怎样使用的问题一直是一个争论中西方翻译界不休的焦点。通过对国内外直译与意译的翻译方法的研究，我们可以得知，从某种程度而言，直译与意译是两个相对的概念, 所以才会有逐字翻译，即死译，与过度意译这两个完全对立的概念。但是，这两者只不过是直译与意译的两个极端点。其实，直译和意译虽然在概念定义，适用范围上有所差异，但却又统一于共同的翻译目的、翻译过程和翻译标准中。所以两者在翻译活动中应该是既对立又统一的矛盾体。而这也正是唯物辩证法中的对立统一矛盾观的深刻体现。--[[User:Gan Fengyu|Gan Fengyu]] ([[User talk:Gan Fengyu|talk]]) 07:50, 10 November 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
===关键字===&lt;br /&gt;
直译； 意译； 死译； 过度意译； 对立统一&lt;br /&gt;
&lt;br /&gt;
===Introduction===&lt;br /&gt;
  Throughout the translation history at home and abroad, the literal translation and free translation have always been a heat discussion in the translation circles. Someone absolutely approve literal translation and demean free translation, even pursue a dead translation, which creates an translated text difficult to understand. While some other people absolutely agree with free translation even advocate random acts, which means a random deletion in the translation practices and creates anther entirely different text. However, there are also a number of translators who have recognized that these two translation methods are not totally opposite. So they adopt a compromise and flexible way. That means they will choose the most appropriate one depending on the text demanding. Therefore, we can deduce from it that this eclectic translation is consistent with the Contradiction view of Unity of Opposite in Materialist Dialectics. In fact, literal translation and free translation are right a set of contradictions which are both opposite and unified. They complement each other into an integral one.&lt;br /&gt;
&lt;br /&gt;
===1.Dialectic thinking of the Unity of opposites===&lt;br /&gt;
===2.Word-for-word translation===&lt;br /&gt;
===3.Over free translation===&lt;br /&gt;
===4.Eclectic translation===&lt;br /&gt;
===5.Opposition and unity between literal translatiuon and free translation===&lt;br /&gt;
&lt;br /&gt;
===5.1 Opposition===&lt;br /&gt;
&lt;br /&gt;
===5.1.1 Opposition in definition===&lt;br /&gt;
&lt;br /&gt;
===5.1.2 Opposition in application fileld===&lt;br /&gt;
&lt;br /&gt;
===5.2 Unity===&lt;br /&gt;
===5.2.1 Unity in translation goal===&lt;br /&gt;
===5.2.2 Unity in translation procedure===&lt;br /&gt;
===5.2.3 Unity in translation standard===&lt;br /&gt;
===6.Conclusion===&lt;br /&gt;
===Bibliography===&lt;br /&gt;
&lt;br /&gt;
== Peter Newmark’s Improved Views on Literal Translation and Free Translation 赵茜 Zhao Xi==&lt;br /&gt;
&lt;br /&gt;
='''Document Translation'''=&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
==On translation of official documents of CangNan County	吴恺	Wu Kai==&lt;br /&gt;
&lt;br /&gt;
On Translation of Official Documents of Cangnan County&lt;br /&gt;
&lt;br /&gt;
Japanese Language and Literature, School of Foreign Languages, Hunan Normal University, Wu Kai--[[User:Wu Kai|Wu Kai]] ([[User talk:Wu Kai|talk]]) 04:45, 2 December 2020 (UTC)&lt;br /&gt;
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==='''Abstract'''===&lt;br /&gt;
As one of the forefronts of Zhejiang’s opening-up cause, Cangnan County in Zhejiang Province has been enjoying a rapid development and an ever-growing degree of opening-up with lasting vitality as it’s supported by national policies and nourished by the dividends of economic globalization since China's reform and opening-up. As China has ushered in a period of major changes rarely seen in a century, Cangnan County is also facing new opportunities and challenges. Under the background of this era, Cangnan County is expected to make good use of its own advantages, especially the geographical ones—it is close to countries and regions including Japan, South Korea, and Taiwan—and should spare no efforts to achieve a higher level of opening-up, and, in turn, further promote its development. As an embodiment of the collective will of the people of Cangnan County, the official document is one of the best manifestations of its governance and stability control capabilities. For this reason, the research on how to translate official documents is of great significance for that it offers a great opportunity for Cangnan County to re-examine itself and to show the rest of the world its achievement in building a culture-enriched county.&lt;br /&gt;
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==='''Key words'''===&lt;br /&gt;
 official document translation, Cangnan County, opening-up, Japan, South Korea&lt;br /&gt;
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==='''摘要'''===&lt;br /&gt;
自中国改革开放以来，浙江省苍南县作为全浙江对外开放的前沿阵地之一，得到了国家政策支持和经济全球化红利的滋润，苍南县发展水平与对外开放程度日新月异，全县活力持久带劲。随着中国迎来“百年未有之大变局”，苍南县也面临着新的机遇和挑战，在此时代背景下，苍南县应该利用好自身优势，特别是临近日本、韩国、台湾等国家与地区的地理优势，努力开展更高层次、更高水平的对外开放事业，促进苍南更好的发展。为此，作为苍南县人民集体意志的体现，苍南县的公文就是对外展示其治理水平、稳控能力的最好的体现之一。而对于苍南县公文的如何翻译的研究，是促使苍南县重新审视自己、推进苍南人文县情传播海外的良机，意义重大。&lt;br /&gt;
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==='''关键词'''===&lt;br /&gt;
公文翻译  苍南县  对外开放  日本  韩国&lt;br /&gt;
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==='''I. System and Translation of Official Documents of Cangnan County'''===&lt;br /&gt;
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The unique official document system adopted by Chinese government agencies is a special integration of the thousands-of-years excellent political traditions in China and the essence of the organizational structure of the socialist regime. As a county-level unit in China's local administrative structure, Cangnan County has an official document system that is consistent with the national ones in general while has its own features. Official documents of Cangnan County can be basically divided into the following types of writing: resolutions, decisions, orders, bulletins, announcements, notifications, opinions, notices, reports, requests for instructions, approvals, proposals, letters, and minutes. Above-mentioned categories are collectively known as official documents. Besides, there are also some types of practical writing, including summaries, plans, notes, memos, briefings, speeches, manuals and so on, that are often used in our day-to-day work.&lt;br /&gt;
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In addition to those characteristics of the official documents that are commonly seen in China, official documents of Cangnan County also have its own features, which is mainly reflected in the aspect of proprietary terminology. Cangnan County, which used to be a part of Pingyang County in Zhejiang Province, was officially designated as a county in 1981 with the approval of the Central Government. It takes its name Cangnan, which means “on the south of the Yucang Mountain”, from its geographical location. As a relatively young county-level administrative unit in China’s administrative divisions, Cangnan County has a complex natural endowment and cultural environment, which is the reason why there are many special proprietary terms used in the official documents of Cangnan County, such as “Beautiful South Gate of Zhejiang Province”, “Southern Ouyue (an ancient kingdom in modern Wenzhou and Taizhou)” , “South Gate of Jiangsu-Zhejiang Region” and so on. Moreover, Cangnan is also the birthplace of the “Wenzhou Model”. Since the implementation of policy for the exchange of production materials and commercial grains in 1984, Cangnan has become an important base for the experiments and development of Wenzhou's private economy and market economy, and, thus, has made a significant contribution to the great cause of China's reform and opening-up.&lt;br /&gt;
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To conclude, the unity of the official document system viewed from the national scope of China and the uniqueness of the official document system viewed from the local scope of Cangnan area are both reflections of the integration of economic, political, and cultural elements. Therefore, when translating the terms and sentences in these official documents, obviously, it is almost impossible to follow general translation theories, such as Yan Fu’s “faithfulness, expressiveness and elegance” theory which applies to literature translation, and Christiane Nord’ Skopos theory which emphasizes schematic analysis. Due to the features of the official documents of Cangnan County, it is hard to imagine the consequence it will cause if those Cangnan and Chinese elements they contain are missed when translating them. Therefore, the starting point for the translation and research of Cangnan official documents should be analyzing the official document itself, but not choosing which translation theory to apply.&lt;br /&gt;
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The translation method focusing on the official documents themselves is undoubtably the one that emphasizes the content while manages to achieve a similarity in form. Thus, the translation theory that meets the requirements of official document translation in Cangnan County shall be the functional equivalence theory of the American linguist Eugene A. Nida. Eugene A. Nida argued in his theory that translation is to use the most appropriate, natural and equivalent language to reproduce the informational function of the source language both semantically and stylistically. Nida’s definition of translation specified that translation is seeking equivalence not only in lexical meaning, but also in semantics, style and literary form. Translation should convey both the denotative and connotative meaning of a message. Regarding the equivalence of translation, he believed that the equivalence consists of four parts: lexical equivalence, syntactic equivalence, textual equivalence, and stylistic equivalence. Among the four aspects, he emphasized that the meaning the core and most important part, followed by the form. The form of a text is likely to conceal the cultural connotation of the source language and may, therefore, hinder cultural exchanges. Based on the above, the reasons why the functional equivalence theory is applicable to official document translation in Cangnan County can be concluded as follows:&lt;br /&gt;
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First, the functional equivalence theory advocates that the target text should be equivalent to the source text both semantically and culturally. Official documents of Cangnan County are carriers of profound political culture with Chinese characteristics and the cultural environment in Cangnan. When translating them, in addition to showing the political consciousness and judicial authority of Cangnan government agencies, the local culture of Cangnan must also be reflected in the translations.&lt;br /&gt;
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Second, the functional equivalence theory suggests that if the lexical meanings and cultural elements cannot be taken into account at the same time, the translator then may give up the equivalence in form and try to reproduce the semantic and cultural meaning of the source text by changing the form of the sentence. There are many specialized terms with Chinese characteristics and Cangnan’s characteristics in official documents of Cangnan County. When translating them, once there is no corresponding expression in the target language, other forms of expression must be adopted to retain the meanings of those specialized terms as much as possible.&lt;br /&gt;
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Third, the functional equivalence theory proposes that if the change in form is still not enough to express the semantic and cultural meaning of the expression in the source language, the translation technique of “heavy damage” can be adopted to resolve cultural differences , so that the source language and the target language can achieve equivalence in semantic meaning. “Heavy damage” refers to the transformation of the deep structure of the source language into the surface structure of the target language, that is, expressing the cultural connotation of the source text with expressions of the target language. It cannot be ruled out that there are words and sentences in the official document of Cangnan County that cannot be translated, and when this happens, the translator can only rely on his translation techniques and understanding ability to process them creatively.&lt;br /&gt;
Above are simply macro analyses of the official document system in Cangnan County, and when it comes to specific analyses, challenges we face will only be severer.&lt;br /&gt;
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==='''II. Stylistic Features and Translation of Official Documents in Cangnan County'''===&lt;br /&gt;
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Looking at the official documents of Cangnan County from the micro level, we can work on the study of its translation based on the following characteristics.&lt;br /&gt;
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'''1. Details and Accurate'''&lt;br /&gt;
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As an officially-written document geared for the needs of our people, wording of the official documents of Cangnan County has a very specific orientation. Almost all content words have very clear meanings and connotations.&lt;br /&gt;
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For example, the sentence “经研究，县政府决定召开市对县安全生产巡查反馈会暨突出问题集中教育警示会，现将有关事宜通知如下。(As discussed, the county government decided to convene a feedback meeting on city-to-county inspections of production safety and a meeting for education and warning on outstanding issues. The relevant matters are hereby notified as follows.)” in the document 《苍南县人民政府办公室关于召开市对县安全生产巡查反馈会暨突出问题集中教育警示会的通知》(“Notice of the Office of the People's Government of Cangnan County on Convening a Feedback Meeting on City-to-County Inspections of Production Safety and A Meeting For Education and Warning On Outstanding Issues”) (the office of the People's Government of Cangnan County on June 8th, 2020) conveys several points very accurately and clearly, including the decision maker, the type, content and theme of the meeting. Therefore, special attention must be paid to the integrity of the information delivered when translating this sentence. For example, it is translated into Japanese as “討議を通じて、県政府は県の安全生産状況に対する市政府の巡査結果反映会及び顕著問題教育警告会を開催することが決定した。関連事項を以下のようにお知らせする。”&lt;br /&gt;
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'''2. Precise and Compact'''&lt;br /&gt;
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The role of official documents is to exchange formal information between the upper and the lower, the people and the officials, and the relevant departments. Therefore, the wording of the official documents must be rigorous. No slang and loose sentences should be used, and excessive use of parentheses and descriptive modifiers should be avoided. Official documents of Cangnan County follow this rule as well, in which there will never be informal expressions like daily spoken words.&lt;br /&gt;
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For example, the expression “三、决策目录施行动态管理，因工作需要增减或变更重大行政决策事项的，承办单位应按照相关规定程序提请调整。(Third, the decision catalogue shall be managed in a dynamic way, the undertaker shall submit application for adjustments in accordance with the relevant regulations if any increase/decrease or change shall be made to the major administrative decision-making matters because of the need of actual work.)” in the document《关于公布苍南县2020年度重大行政决策事项目录的通知》(“Notice on Issuing the 2020 Annual Catalogue of Major Administrative Decision-Making Matters of Cangnan County”) (the office of the People's Government of Cangnan County on Sept. 20th, 2020) When translating this sentence into Japanese, the translator shall fully considers the preciseness of the original expression, and translate it as “三つ目、戦略目録動的管理施行、仕事需要によっての増減または変更が必要な場合、請負機構は関連規定の手順に従って調整を提出しなければならない。”&lt;br /&gt;
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'''3. Programmed and Standardized'''&lt;br /&gt;
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The purpose of official documents requires a stable and routine writing program so that the official business can be conducted in an orderly manner. It is essential that the document writing is reasonably programmed. It allows the officer to know what it is and what to do at a glance if a standardized official document program is followed. The standardization of the official documents of Cangnan County can be regarded as a tricky feature in their translation.&lt;br /&gt;
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For example, the expression “各乡镇人民政府，县政府直属各单位 (the people's government of all townships and towns and all directly affiliated institutions of the people’s government of Cangnan County)” in the document《关于公布苍南县2020年度重大行政决策事项目录的通知》(“Notice on Issuing the 2020 Annual Catalogue of Major Administrative Decision-Making Matters of Cangnan County”) (the Office of the People's Government of Cangnan County on Sept. 20th, 2020) is obviously a standardized addressing of the receiving units of an official document, and it should be translated into Japanese as “各郷鎮人民政府、県政府直属の各部門”.&lt;br /&gt;
Viewing from a micro perspective, we may find that special attention should be paid to many precise details when translating those official documents. It is of great significance that, during the cause of reform and opening-up, we strike a balance between the macro level and the micro level in official document translation, which will serve as a stage for Cangnan County to show itself to Japan, South Korea and other East Asian countries and regions.&lt;br /&gt;
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==='''III. Translation of Official Documents of Cangnan County under the Context of the Japanese Language'''===&lt;br /&gt;
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Cangnan County is one of the nearest administrative units to Japan in China, and Okinawa Prefecture in Japan and Cangnan County are neighbors facing each other across the sea. Furthermore, Cangnan County itself has ports in Xiaguan, Pacao, Yanting, Dayu and other places, and has the basic conditions for conducting small transactions of freights with Okinawa. However, due to the inadequacy policies, laws and regulations, a large portion of Japan’s trade with China, especially with Zhejiang Province, is still conducted in the three port cities, namely Ningbo, Zhoushan, and Hangzhou. Cangnan’s geographical advantages have never been given to full play. To Japan, Cangnan is not a total stranger. Wenzhou City has a great influence upon Japanese culture and history. Special local products such as Wenzhou green tea and Wenzhou satsuma orange are very attractive to Japanese people. Many of the business exchanges during the Kamakura Bakufu in Japan were happened between Hakata merchants and Wenzhou people. As an important subordinate region of Wenzhou City, Cangnan County naturally has left an impression on Japanese people when it comes to China.&lt;br /&gt;
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If Cangnan hopes to lay a foundation for the future cooperation with Japan through its cause of opening up to the outside world, it is of great importance that we study the methods and techniques to make the translation of Cangnan’s official documents to meet the specific context of the Japanese language, which is also a part of the cultural exchanges that will facilitate economic and trade cooperation between Japan and China. The political status of Cangnan County is equivalent to the one of regular cities and special wards in Japan, but this does not mean that the official documents of Cangnan County can be regarded as equivalents to the official documents released by the governments of the regular cities and special wards in Japan, and there are huge differences between their respective official documents in form, wording, Cultural connotation and etc. To better translate Cangnan official documents under the context of Japanese language, the following aspects must be paid attention to:&lt;br /&gt;
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1. Detailed Comparison of Types&lt;br /&gt;
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In the Japanese official document system, the word “公文” is different in meaning from the word “公文” in Chinese official document system. In Chinese “公文” means government official documents, while in Japanese “公文” generally refer to legal documents that have the force of law and the term “公文書” is the one that refers to government official documents, which roughly includes “外交文書” and “起案文”, “通達” , “命令”, “許可”, “通知書” and so on . When translating official documents of Cangnan County into Japanese, attention should be paid to the transformation of the types of the official documents. The classifications of official documents in China and Japan are different from each other.&lt;br /&gt;
For example, when translating documents such as “proposal letter”, “report” and the like into Japanese, the title should be translated as “建言書” and “報告書”, while “命令(order)”, “通知(notice)”, “提案(Proposal)” and etc. need no translation and can be titled with the original characters directly as “命令”, “通知”, “提案”, and can also be further translated into “命令状”, “通知書”, “提案書”. Those reflect the characteristics of the division of the types of the official document system in Japan.&lt;br /&gt;
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2. Careful Consideration of the Translation of Chinese Characters&lt;br /&gt;
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There are a large number of Chinese characters in Japanese. This will for sure be an advantage when translating official documents of Cangnan County into Japanese, however, at the same time, this is also a huge disadvantage. After all, those Chinese characters are Japanized Chinese characters, and their meanings and usages are more or less different from the original ones in Chinese.&lt;br /&gt;
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For example, the expression “设定全县森林防火期(setting the season of forest fire prevention)” in the document 《苍南县应急管理局局长王再忠关于&amp;lt;苍南县人民政府关于做好森林防火期护林防火工作的通告&amp;gt;的政策解读》(“Policy Interpretation Of ‘Notice of Doing Forest Protection and Fire Prevention during the Season of Forest Fire Prevention by the People's Government Of Cangnan County’ by the Director of Cangnan Emergency Management Agency Wang Zaizhong”) in could be translated character by character into Japanese as “全県域森林防火期間設定”. However, expressions such as “野外火源如何管理” cannot be translated in the same way, and must be processed accordingly and translated into Japanese as “野外の火の元が如何に処理すること”. When translating official documents of Cangnan County into Japanese, the translators must reject the preconceived thinking and native Chinese thinking, or it will lead to irreversible misunderstandings and mistakes.&lt;br /&gt;
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3. Mastery of the Equivalence of Semantic Meaning&lt;br /&gt;
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Chinese is an isolating language, in which the grammatical meaning is reflected by the order of words, while Japanese is an agglutinative language, in which auxiliary words and flexible usages of vocabulary are adopted to reflect the grammatical meaning. This requires the translators to have mastery of the equivalence of semantic meanings when translating official documents of Cangnan County into Japanese and try to achieve perfect equivalence in official document translation.&lt;br /&gt;
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For example, there is a expression as “全体公民必须认真贯彻‘以人为本、预防为主、积极扑救、有效消灾’的森林防灭火工作方针，一旦发现森林火灾，要立即向当地人民政府或森林防灭火指挥部办公室报告(all citizens must seriously implement the working policy of forest fire prevention and firefighting ‘people-oriented, prevention-focused, active in firefighting, effective in disaster relief’, once a forest fire is detected, it must be reported to the local people’s government or the forest fire prevention and firefighting headquarters office immediately)” in the document 《苍南县应急管理局局长王再忠关于&amp;lt;苍南县人民政府关于做好森林防火期护林防火工作的通告&amp;gt;的政策解读》(“Policy Interpretation Of ‘Notice of Doing Forest Protection and Fire Prevention during the Season of Forest Fire Prevention by the People's Government Of Cangnan County’ by the Director of Cangnan Emergency Management Agency Wang Zaizhong”). When dealing with long and complex sentences, the translator must be flexible in using translation techniques to decompose the sentences and translate them step by step, focusing on the balance between the form of the sentence and its semantic meaning. Based on this principle, the abovementioned sentence could be translated into Japanese as “人間本位、予防軸化、積極救助、有効消災という森林防火作業方針は全県民が必ず強固に守らなければならない。林に火事が発見された際、直ちに所轄人民政府や森林防火指揮部執務室に報告すること。”&lt;br /&gt;
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There is no doubt that, in terms of four-character idioms, allusions, new words of the era and etc., the translation of official documents of Cangnan County under the context of the Japanese language still has a long way to go, but the part that we should pay most attention to in translation is always the differences in culture between the source language and the target language. Only by keeping this basic point in mind at all times, will there be no huge mistakes being made when translating official documents of Cangnan County into Japanese.&lt;br /&gt;
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==='''Ⅳ. Translation of Official Documents of Cangnan County under the Context of the Korean Language'''===&lt;br /&gt;
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Zhejiang Province and South Korea have laid a good foundation for economic and trade cooperation projects, and a framework that is comprehensive, wide-ranging, and multi-level has been established for Zhejiang-South Korea cooperation. The advantages of the two regions are obviously complementary and the development potential for both sides and in between is huge. In September 2016, the Zhejiang China-Korea (Quzhou) Industrial Cooperation Park was approved as the first batch of “Zhejiang International Industrial Cooperation Parks” in Zhejiang Province. The total planned area is about 3,000 acres and the total planned investment is 12 billion yuan. Represented by the Zhejiang China-Korea Industrial Cooperation Park, a large number of economic and trade cooperation projects has been carried out with South Korea by Zhejiang Province. As an indispensable part of Zhejiang Province, Cangnan County is facing a huge gap in the cultural exchanges and economic cooperation with South Korea. How to elevate the level of Cangnan’s opening up to the outside world and advancing Cangnan’s economic, trade and cultural cooperation with South Korea is a question that is well worth exploring. Although Cangnan is further away from South Korea compared with regions in the north of Zhejiang, geographic location should never be a factor that hindering Cangnan’s economic, trade and cultural cooperation with South Korea. In an era of ever-deepening globalization, it is of great significance that we think about how to develop and promote the economic and trade and cultural cooperation between Cangnan and South Korea.&lt;br /&gt;
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Northern Zhejiang is a key area for economic, trade and cultural cooperation with South Korea. As the south gate of Zhejiang Province, if Cangnan County could open the door of economic, trade and cultural cooperation to South Korea, then this will inevitably bring extraordinary development opportunities to southern Zhejiang and make the pattern of Zhejiang and South Korea’s economic and cultural cooperation more balanced and healthy. The political status of Cangnan County is equivalent to the one of si(city), gu (district), and gun(county) in South Korea. Because of some historical reasons, South Korea is greatly influenced by Chinese culture. From the Three Kingdoms era of Joseon, to the Unified Silla Dynasty, the Wang’s Goryeo Dynasty, and the Yi’s Joseon Dynasty, the basic system of administrative divisions in South Korea is almost the same as the one in China, so the official document system of cities, districts, and counties in South Korea can be regarded as basically equivalent to the official document system of Cangnan County with only slight differences originated from the localized political and cultural traditions and the basic social condition of South Korea. Therefore, there are relatively fewer difficulties of translation when translating official documents of Cangnan County into Korean, aside from the barriers caused by Korean Hangul words. The translation of official documents of Cangnan County under the context Korean language requires attention to the following aspects:&lt;br /&gt;
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1. The Combination of Chinese characters and Hangul&lt;br /&gt;
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Modern Korean uses Hangul as the main written characters, but this does not mean that there is no place for Chinese characters in the Korean system. Since the launch of the abolition of Chinese characters movement in South Korea in the 1970s, Hangul did exactly achieved an overall penetration of every aspect of their daily life, but when it comes to important documents, Chinese characters still reserve a seat in the arena of South Korea’s history. Furthermore, a higher level of talent training is required now to meet the need of South Korea’s economic and social development, and the mastery of sinology has become, among all the necessary skills, one of the most straightforward evaluation criteria to access the qualified personnel. Thus, South Korea has restarted the Chinese character teaching movement. Nowadays, the official document system in South Korea has become one in which Hangul serves as the main language and the mixed use of Chinese characters and Hangul serves as a supplement. Just as how the mixed use of kana and Chinese characters in Japanese official documents may help in its translation, the mixed use of Chinese characters and Hangul also greatly facilitate the translation of official documents of Cangnan County into Korean. However, because Chinese characters used in Korea are composed of traditional Chinese characters and a small number of Korean self-made Chinese characters, we can not take it for granted that it is advisable to translate them word by word.&lt;br /&gt;
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For example, the title of the document《苍干任〔2020〕18号 王再忠等同志的任命》(“Cangnan Cadre Appointment [2020] No. 18: Appointment of Wang Zaizhong and etc.”) (the Office of CPC Cangnan Party Committee on March 27th, 2020) can be translated with the mixed use of Chinese characters and Hangul into Korean as《蒼南縣의 幹部任命〔2020〕18號 王再忠등 同志의任命》. Also, it be translated into Korean with Hangul alone as《참남현의 간부임명〔2020〕18호 왕재충등 동지의임명》.&lt;br /&gt;
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2. The Usage of Refined Language&lt;br /&gt;
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In recent years, South Korea has carried out reforms of the official document system, urging that the South Korean government agencies at all levels should use “refined(or purified) language”, that is, to write and publish official documents with words that are easy for the public to understand and have explicit meanings, reducing the cost of communication between the government and the public and, in this way, building a closer relationship between the government and the people, so that civil servants can communicate with the people more effectively. Refined language is a kind of common vernacular that differs from the official language. Although this trend of the wording of Korean official documents is not unconditional, but when compared with official documents of Cangnan County, which emphasize the solemnity and formality of official documents, this trend is the part that the translator has to pay his attention to.&lt;br /&gt;
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For example, when translating the expression “为加强行政规范性文件管理，切实推进依法行政，加快法治政府建设 (To strengthen the management of administrative normative documents, promote the administration in accordance with law, and accelerate the construction of a government ruled by law)” in the document《苍南县人民政府关于公布县政府及县政府办公室行政规范性文件清理结果的通知（有效）》(“Notice of the Office of the People's Government of Cangnan County on the Announcement of the Results of the Cleanup of the Administrative Normative Documents of the County Government and the County Government Offices (Effective)”) (the Office of the People's Government of Cangnan County on October 23th, 2020) , blunt expressions may not be that applicable and this expression translated into Korean in a more public-friendly way as “행정 규범적인 문서관리를 강화하기 위해, 법에따라 행정을 철저히 추진하고 법치정부의 건설을 가속화시킨다.”&lt;br /&gt;
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3. Mastery of the Equivalence of Semantic Meaning&lt;br /&gt;
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Like Japanese, Korean is also a typical agglutinative language. A sentence is formed by connecting independent words with various auxiliary words, and with a subordinating conjunction at the end of the sentence. Auxiliary words are just like glues, they exist after every subject, predicate, and object component of a Korean sentence to them together. For that these auxiliary words have no substantial meaning themselves, they must stay close to the main body in front, and a space must be put after. Therefore, when translating Chinese, which is an isolated language, into Korean, which is an agglutinative language, it is necessary to have mastery of the equivalence of the semantic meaning of the expression.&lt;br /&gt;
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For example, when translating the expression “全面实施全民参保计划，做好参保情况清查，提升参保信息质量，清理重复参保，稳定持续参保，减少漏保断保，实现应保尽保。(Fully implement the national social security plan, do a good job in checking the coverage of the social security, improve the quality of the collection of the information of the insured, clean up repeated insureds, stabilize the renewal of the social security, reduce the interruption of the social security, and achieve full social security coverage.)” in the document《关于做好2021年度城乡居民基本医疗保障工作的通知》(“Notice on Doing a Good Job in Basic Medical Security for Urban and Rural Residents in 2021”)( the Office of Medical Security Bureau of Cangnan County on November 5th, 2020), the translator should pay attention to the equivalence of semantic meaning of this long sentence and translated it into Korean as “전국민기본의료보험가입계획을 전면적으로 실시하고 기본의료보험가입상황을 철저히 조사하며 기본의료보험가입 정보의 질을 향상시키고 중복기본의료보험가입을 청산하며 안정적이고 지속적인 기본의료보험가입을 하며 보험누락을 줄이고 기본의료보험가입 을 실현해야 한다.”&lt;br /&gt;
&lt;br /&gt;
==='''Ⅴ. Studies of Official Document Translation and the Cause of Opening-up in Cangnan County'''===&lt;br /&gt;
&lt;br /&gt;
Based on the abovementioned basic characteristics of the official document system of Cangnan County, the notes for official documents translation under the context of the Japanese language and the notes for official documents translation under the context of the Korean language, we can see that official documents of Cangnan County is not as difficult to handle as something untranslatable. Cangnan County enjoys a good geographic location: it is located in the coast of the East China Sea, and is close to both Japan and South Korea, two strong economies in East Asia. However, Cangnan County has not yet made use of these favorable conditions to the fullest to promote cultural cooperation and trade with the two countries. Cangnan’s opening up to the outside world requires innovative thinking and an elaborate layout. Studies on the translation of official documents of Cangnan County, especially the translation of official documents under the context of the Japanese and Korean language, will help to explore the cultural spirit of the government institutions, and play an important role in building a good image of Cangnan County in East Asia and laying a foundation for Cangnan's cooperation with major countries and regions in East Asia .&lt;br /&gt;
&lt;br /&gt;
The world today is undergoing profound changes rarely in a century, and so is China. The tide of history moves on and Cangnan shall not stay out of the matter, but must follow it courageously and strive to open new doors for Cangnan's opening up to the outside world through the study of the official document translation of its own.&lt;br /&gt;
&lt;br /&gt;
===References===&lt;br /&gt;
&lt;br /&gt;
[1]Ziqi LIU. The Application of Functional Equivalence Theory in Scientific Translation：A Case Study of the Translation of Shipbuilding English[J]. CREATIVITY AND INNOVATION,2019,1(3).&lt;br /&gt;
&lt;br /&gt;
[2]Mu Dan. Discussion on Translation Activities Under the Guidance of Functional Equivalence Theory[J]. International Journal of Education and Management,2018,3(2).&lt;br /&gt;
&lt;br /&gt;
[3]李琳琳. 功能对等翻译理论与关联翻译理论比较研究[D].辽宁师范大学,2006.&lt;br /&gt;
&lt;br /&gt;
[4]赵娟廷. 汉韩公文语体对比研究[D].复旦大学,2003. &lt;br /&gt;
&lt;br /&gt;
[5]周萱. 《中国共产党怎样解决民族问题》（节选）中韩翻译报告[D].青岛大学,2017.&lt;br /&gt;
&lt;br /&gt;
[6]张利军. 《教学的游戏性研究》的汉日翻译实践报告[D].广西师范大学,2019.&lt;br /&gt;
&lt;br /&gt;
[7]栾亚琼. 《2015年山东省政府工作报告》汉日翻译实践报告[D].曲阜师范大学,2016.&lt;br /&gt;
&lt;br /&gt;
[8]占丽华. 源流与演变—日本地方公文书馆发展路径研究[D].山东大学,2020.&lt;br /&gt;
&lt;br /&gt;
[9]任清萍. 功能翻译理论视角下政府工作报告日译研究[D].外交学院,2020.&lt;br /&gt;
&lt;br /&gt;
[10]孙慧. 产业竞争力与区域经济增长[D].苏州大学,2006.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
--[[User:Wu Kai|Wu Kai]] ([[User talk:Wu Kai|talk]]) 04:45, 2 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
==The Translation Process and Methods of Translating English Long Sentences	周艺文	Zhou Yiwen==&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
===Abstract===&lt;br /&gt;
===Key words===&lt;br /&gt;
===摘要===&lt;br /&gt;
===关键词===&lt;br /&gt;
===Introduction===&lt;br /&gt;
&lt;br /&gt;
===Conclusion===&lt;br /&gt;
===Bibliography===&lt;br /&gt;
&lt;br /&gt;
==Chinese-English Translation of News Headlines From the Perspective of Skopos Theory	张维虹	Zhang Weihong==&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
==='''Abstract'''===&lt;br /&gt;
&lt;br /&gt;
==='''key words'''===&lt;br /&gt;
&lt;br /&gt;
News headlines; Skopos theory; translation&lt;br /&gt;
&lt;br /&gt;
==='''摘要'''===&lt;br /&gt;
社会的飞速发展使得人们的阅读方式发生了巨大的改变, 通过阅 读新闻标题来获取消息和了解事实, 成为大多数人的不二之选, 新闻标题 翻译也就越来越具有其必要性。 新闻标题的重要性堪比一部使人印象深刻 的电影名, 一则响亮的广告语, 一本撩人心弦的书名。 较之娱乐新闻, 时 政新闻略显严肃客观, 又因当今科技物质的飞速发展, 时政新闻的点阅数 量明显少于以消遣娱乐为目的的娱乐新闻。 怎样提高时政新闻的阅读量, 怎样使得时政新闻如同娱乐新闻一般深受广大人民的喜爱, 这不仅是新闻 编辑者们的挑战, 也是新闻翻译界的难题。 本文以德国功能派翻译目的论 为理论指导, 结合新闻学及编辑学的相关学科知识, 通过对中英时政新闻 标题的对比分析, 旨在对时政新闻标题的汉译英提出翻译策略, 让国外读者正确客观无误的了解中国的时事政策。&lt;br /&gt;
&lt;br /&gt;
==='''关键字'''===&lt;br /&gt;
&lt;br /&gt;
===Introduction===&lt;br /&gt;
&lt;br /&gt;
===Skopos Theory===&lt;br /&gt;
&lt;br /&gt;
===Features of News Headlines===&lt;br /&gt;
&lt;br /&gt;
===Chinese-English Translation Methods of News Headlines from the Skopos Perspective===&lt;br /&gt;
&lt;br /&gt;
===Conclusion===&lt;br /&gt;
&lt;br /&gt;
===Bibliography===&lt;br /&gt;
&lt;br /&gt;
==On Chinese-English Translation of Public Service Advertisements From the Perspective of Text-type Theory  司妤  Si Yu==&lt;br /&gt;
&lt;br /&gt;
==='''Abstract'''===&lt;br /&gt;
&lt;br /&gt;
==='''key words'''===&lt;br /&gt;
&lt;br /&gt;
==='''摘要'''===&lt;br /&gt;
&lt;br /&gt;
==='''关键字'''===&lt;br /&gt;
&lt;br /&gt;
===Text-type Theory===&lt;br /&gt;
&lt;br /&gt;
===Features of Public Service Advertisements===&lt;br /&gt;
&lt;br /&gt;
====Content Features====&lt;br /&gt;
&lt;br /&gt;
====Text Features====&lt;br /&gt;
&lt;br /&gt;
===Examples of C-E Translation of Public Service Advertisements===&lt;br /&gt;
&lt;br /&gt;
===Mistranslation of Public Service Advertisements===&lt;br /&gt;
&lt;br /&gt;
===Methods of C-E Translation of Public Service Advertisements===&lt;br /&gt;
&lt;br /&gt;
===Conclusion===&lt;/div&gt;</summary>
		<author><name>Song Jianru</name></author>
	</entry>
	<entry>
		<id>https://bou.de/u/index.php?title=History_of_Translation_Studies_8&amp;diff=107944</id>
		<title>History of Translation Studies 8</title>
		<link rel="alternate" type="text/html" href="https://bou.de/u/index.php?title=History_of_Translation_Studies_8&amp;diff=107944"/>
		<updated>2020-12-06T15:08:27Z</updated>

		<summary type="html">&lt;p&gt;Song Jianru: /* II Introduction of House’s Translation Quality Assessment Model */&lt;/p&gt;
&lt;hr /&gt;
&lt;div&gt;这里是《翻译学史》的书稿第八部分(Part 8)。麻烦各位同学看一下已经存在的章回（样品），自己再加进去新的一个章回（就是你们的学期论文）。请也帮助同学们把他们的论文改正。这样多次修改，大家的论文会越来越好。&lt;br /&gt;
&lt;br /&gt;
学期论文（结合学期所学，撰写一篇5000以上单词的英文论文，按照专业杂志的格式，题目、摘要、关键词和参考文摘需要英中，文章英）。学期论文成绩占70%，平时成绩（含课堂表现、展示及作业）占30%。&lt;br /&gt;
&lt;br /&gt;
*Link back to course homepage: [https://bou.de/u/wiki/Introduction_to_Translation_Studies Course Homepage Intro. to TS]&lt;br /&gt;
*Link back to the final exam paper section of the course homepage: [https://bou.de/u/wiki/Introduction_to_Translation_Studies#Final_Exam_Papers Final Exam Papers]&lt;br /&gt;
*Link to other parts of the final exam papers: [https://bou.de/u/index.php?title=History_of_Translation_Studies_1 Final Exam Papers Part 1]&lt;br /&gt;
*Link to other parts of the final exam papers: [https://bou.de/u/index.php?title=History_of_Translation_Studies_2 Final Exam Papers Part 2]&lt;br /&gt;
*Link to other parts of the final exam papers: [https://bou.de/u/index.php?title=History_of_Translation_Studies_3 Final Exam Papers Part 3]&lt;br /&gt;
*Link to other parts of the final exam papers: [https://bou.de/u/index.php?title=History_of_Translation_Studies_4 Final Exam Papers Part 4]&lt;br /&gt;
*Link to other parts of the final exam papers: [https://bou.de/u/index.php?title=History_of_Translation_Studies_5 Final Exam Papers Part 5]&lt;br /&gt;
*Link to other parts of the final exam papers: [https://bou.de/u/index.php?title=History_of_Translation_Studies_6 Final Exam Papers Part 6]&lt;br /&gt;
*Link to other parts of the final exam papers: [https://bou.de/u/index.php?title=History_of_Translation_Studies_7 Final Exam Papers Part 7]&lt;br /&gt;
*Link to other parts of the final exam papers: [https://bou.de/u/index.php?title=History_of_Translation_Studies_8 Final Exam Papers Part 8]&lt;br /&gt;
*Link to other parts of the final exam papers: [https://bou.de/u/index.php?title=History_of_Translation_Studies_9 Final Exam Papers Part 9]&lt;br /&gt;
*Link to other parts of the final exam papers: [https://bou.de/u/index.php?title=History_of_Translation_Studies_10 Final Exam Papers Part 10]&lt;br /&gt;
&lt;br /&gt;
='''History of Translation'''=&lt;br /&gt;
== Study on Brand Name Translation from the Perspective of Cultural Difference	谭鑫洁	Tan Xinjie==&lt;br /&gt;
&lt;br /&gt;
==='''Abstract'''===&lt;br /&gt;
&lt;br /&gt;
== Abstract: ==&lt;br /&gt;
&lt;br /&gt;
==='''key words'''===&lt;br /&gt;
&lt;br /&gt;
==='''摘要'''===&lt;br /&gt;
&lt;br /&gt;
==='''关键字'''===&lt;br /&gt;
&lt;br /&gt;
===Complete transcript of the content of the original work ===&lt;br /&gt;
&lt;br /&gt;
===Same style and manner of writing===&lt;br /&gt;
&lt;br /&gt;
===Equivalent effect===&lt;br /&gt;
&lt;br /&gt;
===Discussion===&lt;br /&gt;
&lt;br /&gt;
===Conclusion===&lt;br /&gt;
&lt;br /&gt;
===Bibliography===&lt;br /&gt;
&lt;br /&gt;
==A Comparative Study on the Translation History in Western Countries and China	王煜	Wang Yu==&lt;br /&gt;
===摘要===&lt;br /&gt;
翻译是一种跨文化交流活动，翻译活动加快了人类文明发展步伐，减少了人们之间的沟通障碍。随着时代的变迁，中国和西方国家逐渐形成了各自的翻译史，翻译史的研究是学科建设的一项基础工程。尽管中西方翻译史在某些方面有所差异，但却都有着各自的独特性，并对人类的翻译活动产生了巨大的影响与贡献。文章将以中国和西方国家为主要对象，从二者翻译史起始，包含阶段和各阶段代表人物，影响意义，差异性出发，对二者的翻译史进行简略的对比研究。&lt;br /&gt;
&lt;br /&gt;
===关键词===&lt;br /&gt;
翻译史；西方翻译史；中国翻译史&lt;br /&gt;
&lt;br /&gt;
===Abstract===&lt;br /&gt;
Translation is an intercultural communication activity, translation activities have accelerated the development of human civilization and reduced the communication barriers between people of different countries or nations. With time goes by, things are in a state of flux and both the western and eastern countries have gradually formed their own history of translation, the study of translation history is a basic project of discipline construction. Though there are many differences among the translation histories of western countries and China, the two kinds of translation histories are still shining their own bright unique lights and have an indelible influence and contribution to human translation activities. This paper intends to make a brief comparison of translation histories between western countries and China, which includes the origins, the stages, the representatives of the stages, the significance and influence as well as the differences of the two translation histories.&lt;br /&gt;
&lt;br /&gt;
===Keywords===&lt;br /&gt;
Translation history; Translation history of the West; Translation history of China &lt;br /&gt;
&lt;br /&gt;
===1. Introduction===&lt;br /&gt;
No matter in China or in the west, translation plays an important role in knowledge-spreading. As an indispensable part of translatology, the study of translation history has made a great influence on translation activities, it has gradually become the focus of the literary and historical circles in recent years. Translation activities can be traced back to the origin of language, and the history of translation is almost as old as language itself, it is closely related to the changes in today's society. Since the 1980s, the translation studies in the mainland of China have made remarkable progress in the curriculum design of Chinese and western translation history and the compilation of related works. In the early 1980s and 1990s, there were many related works came out one after another including A brief history of Chinese Translation: the part before the May 4th Movement（《中国翻译简史-“五四”运动以前部分》） written by Zuyi Ma, A historical manuscript of Chinese translated literature （《中国翻译文学史稿》）edited by Yugang Chen, and also the A Short History of Translation in the West（《西方翻译简史》） the author of which is Zaixi Tan. Thus, it opens the gate for the compilation of Chinese and western translation history works.（谢天振，2009） The history of western translation can be divided into five stages while the Chinese study of translation has a glorious history of more than two thousand years and has experienced five climaxes. Through the comparative study of Chinese and western translation history, it will help us to have a deeper understanding of Chinese and western translation activities and thus to gather a general full view of it, which will be a positive and meaningful attempt.&lt;br /&gt;
&lt;br /&gt;
2. The Translation History of Western Countries&lt;br /&gt;
Western translation activities are rich in a long history and a multiyear span. The history of western translation can be roughly divided into three stages: the traditional stage, the modern times and the contemporary. More specifically, it can be grouped into the ancient times, the middle ages, the Renaissance period and the time after WWⅡ.&lt;br /&gt;
&lt;br /&gt;
2.1 The First Stage: Translation in the Ancient Times&lt;br /&gt;
    &lt;br /&gt;
The translation history of western countries first began in the the 3rd century B.C. &amp;quot;In a broad sense, the earliest translation in the west is the Old Testament translated by 72 Jewish scholars in Alexandria, ancient Egypt, between the 3rd and 2nd centuries BC; Strictly speaking, the first western translation is the Greek Homer Epic Odyssey translated by Andronicus in Rome in the middle of the third century BC.”(谭载喜,2000) At the end of the 4th BC, during this time, the Greece began to decay and the Roman had became stronger and stronger with its military expansion. The expansion of the Roman Empire brought it into contact with the splendid Greek culture, therefore, the Romans not only conquered the Greek city, but also inherited and developed the brilliant achievements of ancient Greek culture, and then created a  splendid cultural of its own era after Greece. So soon began a large scale translation activities, the activity of translating and introducing Greek classical works probably began in this period.（刘军平,2009）Many famous translation theorists began to make their presences, namely Cicero, Quentin, Jerome and so on, also the famous Roman litterateurs like Andronicus, Naevius, Ennius, these great writers used Latin language to translate or adapt Homer’s epic or other Greece dramas. Started the translation tradition and promoted the birth and development of Roman literature.&lt;br /&gt;
&lt;br /&gt;
2.2 The Second Stage: Translation in the Middle Ages (4th-6th)&lt;br /&gt;
&lt;br /&gt;
2.3 The Third Stage: Translation in the Middle Ages (11th-12th)&lt;br /&gt;
&lt;br /&gt;
2.4 The Fourth Stage: Translation in the Renaissance Period&lt;br /&gt;
&lt;br /&gt;
2.5 The Fifth Stage: Translation after WWⅡ&lt;br /&gt;
&lt;br /&gt;
3. The Translation History of China--[[User:Wang Yu|Wang Yu]] ([[User talk:Wang Yu|talk]]) 08:38, 30 November 2020 (UTC)--[[User:Wang Yu|Wang Yu]] ([[User talk:Wang Yu|talk]]) 08:43, 30 November 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
==The Implications of Luther's Translation Principles amid Renaissance for Modern Literature Translation	方洁玲	Fang Jieling==&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
==Translation manipulated by ideology	许静	Xu Jing==&lt;br /&gt;
&lt;br /&gt;
==Comparison between the History of Chinese and Western Translation   周书尧   Zhou Shuyao==&lt;br /&gt;
&lt;br /&gt;
'''Abstract:'''There has a long history and culture Chinese and Western translation, and translation plays an indelible role in promoting cross-cultural communication and cultural communication. This article first discusses the history of translation in China from  four stages , then discusses the five stages of western translation history , and finally compares and analyzes the similarities and differences between Chinese and Western translation histories, and puts forward some of the author's own views.&lt;br /&gt;
&lt;br /&gt;
'''Key words:'''The history of Chinese,The history of Western,the stages of  translation history,comparison&lt;br /&gt;
&lt;br /&gt;
'''摘要：'''中西方翻译历史文化源远流长，翻译在促进跨文化交流和文化传播上承担着不可磨灭的作用。本文首先从中国的四次翻译高潮论述中国的翻译史，再从西方的五次翻译高潮探讨西方的翻译史，最后对中西方翻译史的异同进行对比分析，提出一些笔者自己的看法。&lt;br /&gt;
&lt;br /&gt;
'''关键词：'''中国翻译史，西方翻译史，翻译高潮，对比&lt;br /&gt;
&lt;br /&gt;
'''Ⅰ.Introduction'''&lt;br /&gt;
&lt;br /&gt;
Since the 1980s, the Chinese translation studies community has made remarkable progress in the establishment of Chinese and Western translation history courses and the compilation of related works.In the 1980s and early 1990s,A Brief Introduction to the History of Translation in China from Ma Zuyi and other books of Chen Yugang and Tan Zaixi were published one after another,which raised the curtain for the compilation of Chinese and Western translation history works by the domestic translation scholars.The four stages in the history of Chinese translation have promoted the development of Chinese history, culture and society to varying degrees.The same as our country, Western translation has an age-old history.In a sense, the development of Western European civilization should first be attributed to the translators.The five stages in the history of European translation have promoted the exchanges of literature, art, science and trade between countries, and to a certain extent promoted the development of Chinese translation.In fact, when we examine the development trajectory of Chinese and Western translation activities and the evolution of translation concepts together, we find that there are some similarities between Chinese translation and Western translation.Especially in the evolution of Chinese and Western translation concepts, the two have very similar evolution laws.&lt;br /&gt;
&lt;br /&gt;
='''Literal and Free Translation'''=&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
==Rethink Literal and Free Translation	彭永亮	Peng Yongliang==&lt;br /&gt;
&lt;br /&gt;
==On the Chinese Translation of A Pale View of Hills from House’s Translation Quality Assessment Model	宋建茹	Song Jianru==&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
===Abstract===&lt;br /&gt;
&lt;br /&gt;
Translation quality assessment is an integral part of translation criticism. The first TQA model with comprehensive theories and practices Juliane House represented provides a significant reference for translation exercises. ''A Pale View of Hills'', as the first work of Kazuo Ishiguro, possesses a great research value on its narrative styles by virtue of memory and topics about migrants. As of 2011 when its Chinese translation was published, no scholar has evaluated it. This study applies House’s TQA model to assess the Chinese translation of ''A Pale View of Hills'' with qualitative and quantitative analysis from lexical, syntactic and textual aspects, in a bid to examine validity of the model on novel translation, which turns out that it is an overt and high-quality translation.&lt;br /&gt;
&lt;br /&gt;
=== Key Words===&lt;br /&gt;
&lt;br /&gt;
''A Pale View of Hills''; House’s TQA model; novel translation&lt;br /&gt;
&lt;br /&gt;
=== 摘 要 ===&lt;br /&gt;
&lt;br /&gt;
翻译质量评估是翻译批评的核心课题。朱莉安·豪斯提出的第一个有完整的理论和实践的翻译质量评估模式，为翻译实践提供了重要参考。《远山淡影》是石黑一雄的处女作，其依托回忆的叙事风格和移民主题具有很高的研究价值。《远山淡影》中译本自2011年出版至今，尚未有学者对其进行评估研究。本文运用豪斯的翻译质量评估模式，采用定性与定量相结合的分析方式，从语场、语旨、语式等三个层面对原文和译文进行分析，开展《远山淡影》中译本的翻译质量评估研究，为豪斯翻译质量评估模式对小说翻译的运用进行进一步的探索和补充。通过分析，得出《远山淡影》中译本为显性翻译，翻译质量较高。''Italic text''&lt;br /&gt;
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=== 关键词 ===&lt;br /&gt;
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《远山淡影》；豪斯质量评估模式；小说翻译&lt;br /&gt;
===Introduction===&lt;br /&gt;
Translation criticism refers to the analysis and review of thoughts, activities and works of translation by virtue of relevant theories and views, in a bid to improve the overall quality of translators and translations. It is an integral part of translation studies. (Wang Enmian, 1999: 7) Translation quality assessment, as the integral and key part of translation criticism, plays a significant role in surveillance and promotion of translation quality. Among the extant translation quality assessment models, Juliane House’s ''A Model for Translation Quality Assessment and Translation Quality Assessment: A Model Revised'', based on Halliday's systemic functional linguistics and discourse analysis, are systematic, scientific and rational with a relatively complete system of parameters, quantitative methods and steps adhering to specific procedures. &lt;br /&gt;
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''A Pale View of Hills'', as Kazuo Ishiguro's first full-length novel, tells the life of the people in Nagasaki after WWII through the memory of protagonist Etsuko and explores recovery of trauma, collision between the old and new ideas, and kinship after war. The first person narrative, memory, humor and satire and international perspectives in the book became his major writing styles in the future. The novel won the Winifred Holtby Memorial Prize from the Royal Society. Its only Chinese translation at present, from Zhang Xiaoyi, is still not analyzed by the scholars. This paper uses House’s translation quality assessment model, with combination of qualitative and quantitative analysis, from field, tenor and mode to analyze the mismatches between original and translation in an attempt to assess the Chinese translation quality of ''A Pale View of Hills'' and further explore the application of House’s model in novel translation. The aim of the study is to promote scholars to regulate the behaviors of translation, to improve the quality of translation and translation evaluation, and to provide a reasonable way for establishing the interlingual conversion mechanism.&lt;br /&gt;
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The thesis consists of four chapters.&lt;br /&gt;
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After the Introduction, Chapter One gives a brief account of A Pale View of Hills and its research status, involving the author, background, content and influence. Chapter Two is a brief introduction of House’s TQA model, including its theoretic basis, parameter setting, operation steps and feasibility. Chapter Three is a detailed analysis of original and translation of A Pale View of Hills based on House’s model. Chapter Four is statement of translation quality assessment. Then we come to the last part, Conclusion.&lt;br /&gt;
===I Overview and Research Status of A Pale View of Hills===&lt;br /&gt;
''A Pale View of Hills'' is Kazuo Ishiguro's first novel, which laid a solid foundation for the formation of Ishiguro's writing style. The chapter mainly introduces the author, plot, theme and influence of the novel and analyzes its research status, in an attempt to master the material well and seek new perspectives for the paper.&lt;br /&gt;
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'''1.1 Overview of A Pale View of Hills'''&lt;br /&gt;
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Kazuo Ishguro is a noble contemporary Japanese English writer, whose novels feature first person narrative, detailed depiction of loneliness, depression, self-deception and anxiety of characters’ inner world and dual narrative strategy to deconstruct the narrator's self-identity, as well as discuss postwar trauma and migrant identity. He won Booker Prize, the British top literary prize, in 1989 and the Nobel Prize in literature in 2017. By virtue of his outstanding literary achievements, he is known as one of the Three Masters of English Migrant Literature together with Salman Rushdi and Naipaul.&lt;br /&gt;
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A Pale View of Hills, published in 1982, is Ishiguro's debut. The story, with postwar Nagasaki as its background, enjoys two clues: one is what happened when Niki (Etsuko’s little daughter) visited her mother after her sister Keiko died; the other is Etsuko’s memory about people and events in Nagasaki after the war. The two lines integrated together during the narrative, forming the illusory and imaginary impression. Many in-depth topics in this work are worth pondering: postwar trauma recovery, the collision between new and old ideas after war and discussion of family relations. Many marks in the work became his own styles: first-person narrative, memory, humor and satire, international perspectives. In addition, it won the Winifred Holtby Memorial Prize from the Royal Society and is still in print thirty years after its publication. This book, with its enormous emotion, unearths the abyss beneath the illusion of our connection to the world, whose artistic value and charm could be time-tested.&lt;br /&gt;
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'''1.2 Research Status of A Pale View of Hills'''&lt;br /&gt;
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There are 54 papers about A Pale View of Hills in domestic researches. According to the statistics from HowNet (as shown in the figure below), the number of studies on the work has been mounting, especially after Kazuo Ishiguro won the Nobel Prize for Literature in 2017. The perspectives of these researches are mainly from identity anxiety, unreliable narrative and post-war trauma. In Identity Anxiety in Kazuo Ishiguro's A Pale View of Hills, Wang Fei discusses the identity anxiety of migrants, exploring manifestations, causes and influence of such anxiety on the characters. In Memory and Narrative Unreliability of A Pale View of Hills, He Xiaobing combined with the classical narratology to analyze how unreliable narration method is presented in the work and discussed the inner world of the characters. In Trauma in Kazuo Ishiguro's A Pale View of Hills, Liu Xiaoya explores the protagonist's trauma by using Sigmund Freud’s psychoanalysis theory and trauma theory (including post-freudian psychological trauma theory), contemporary trauma culture theory along with rhetorical narrative theory.&lt;br /&gt;
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At abroad there are more perspectives about the studies of A Pale View of Hills. In addition to the main research directions of domestic scholars, such as identity anxiety of characters, unreliable narrative research and post-war trauma, cultural displacement, family relationship and the influence of region on personality presented in the works are also analyzed. The Impact of Place on Personality in Kazuo Ishiguro's A Pale View of Hills: An Eco-critical Study co-written by Awla, Yousif Hamad and Azad Sharif, from the perspective of ecocriticism, clarifies the fact that a place is able to define and guide the emotions and thoughts of characters, and analyzes the reasons why geography forms characters of people in order to draw people’s attention to the impact of surrounding environment on them. Ruth Forsythe's article Cultural Displacement and the Mother-daughter Relationship in Kazuo Ishiguro's A Pale View of Hills focuses more on the relationship between mother and daughter under cultural displacement. However, no scholars have analyzed the language itself from the perspective of systemic functional linguistics.&lt;br /&gt;
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The Chinese translation of A Pale View of Hills, Zhang Xiaoyi’s version, was published by Shanghai Translation Publishing House in 2011, and the bilingual version in 2019. Up to now, there has no translation criticism or discussion about this translation. Since 2011 when it was translated, it came to draw the attention of scholars and readers. Translation is a direct factor that affects the integrity of author’s thought, the reader's perception and the accuracy of the scholar’s study, thus it is indispensable to use the House’s Translation Quality Assessment model to analyze the Chinese translation of A Pale View of Hills.&lt;br /&gt;
===II Introduction of House's Translation Quality Assessment Model===&lt;br /&gt;
Juliane House's model was described as the first translation quality assessment model with complete theories and practices by international translation criticism, which could provide an important reference for translation learners and scholars. By introducing the theoretical basis, parameter system and operation steps of House’s model, this chapter will discuss the feasibility of House’s model in the evaluation of the Chinese translation of A Pale View of Hills, in an effort to foster the application of House’s model in the quality evaluation of full-length novels.&lt;br /&gt;
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'''2.1 Theoretical Basis of House's Model'''&lt;br /&gt;
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The assessment of translation quality draws upon different translation standards, which are then embodied by the recognition about essence of translation. House deemed that crunch of the translation quality assessment lies in recognition of the nature of translation, namely that “translation is the replacement of a text in the source language by a semantically and pragmatically equivalent text in the target language.” (House, 1977: 30)&lt;br /&gt;
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In House’s initial model in 1977, she drew upon language behavior theory, language and text function and context to divide the source language text into two situational dimensions: dimension of language user and dimension of language use. The former includes three aspects: geographical origin, social class and time. The latter includes five aspects: medium, participation, social role relationship, social attitude and province. The evaluation depends on the matching degree between                                                                                                                                                                                                                                                                                                                                                                                          original text and translation. The higher the matching degree is, the better the translation quality is. The quality evaluation of the translated text needs to state mismatching degree of each dimension in the whole context, that is, the description of the quantity of covert errors (errors in context dimension) and overt errors (referential mismatcher or grammatical violation of target language system).&lt;br /&gt;
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Based on myriad practice, House realized that the initial eight dimensions overlap in some parts. Therefore, in 1997, she revised the original model from the perspective of the context, unifying the previous eight parameters to field, tenor and mode. Field compares subject matter and social action of the original with that of translation. Tenor emphasizes the matching degree on the relationship of participants, time, region, position of author, social role relationship and social attitudes. Mode pays more attention to medium and participation. In addition, House incorporated &amp;quot;genre&amp;quot; into revision model in order to explain the deep structure of the text.&lt;br /&gt;
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'''2.2 Operation Steps of House's Model'''&lt;br /&gt;
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When evaluating the translation quality of the text, House's model focuses on comparison between original text and translation from field, tenor, mode and genre, clarifies and summarizes mismatches found in the text, so as to obtain a quality report of the translation. The detailed steps presented as follows: &lt;br /&gt;
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1) Analyze the register and genre of the original text to get its textual functional profile. The original text is analyzed from four dimensions: field, tenor, mode and genre. According to the analysis, “functional statement”, involving ideational and interpersonal functions, needs to be deduced.&lt;br /&gt;
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2)Compare the target text and the source text to find differences or mismatches. Through the comparative analysis between original and translation along the dimensions on the model, mismatches or differences found in the comparison are sorted out by virtue of overt errors or covert errors and expounded in detail one by one.&lt;br /&gt;
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3)Summarize the differences and mismatches demonstrated from the above steps in lexical, syntactic and textual aspects. Based on above statistics and statement, make the quality statement. The fewer the mismatches are, the better the translation quality is. If readers clearly realize the text a translation work, it is overt translation; while if not, it is covert translation.&lt;br /&gt;
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'''2.3 Feasibility of the Model in Chinese Translation of A Pale View of Hills'''&lt;br /&gt;
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At present, there are 78 relevant studies on House’s Translation Assessment model, which are mainly divided into three directions: interpretation of House Translation Assessment model and its revision, evaluating translation of literary works along the model and evaluating translation of applied text along the model. Among them, evaluation of the translation of literary works accounts for 29, which enjoys the following two characteristics:&lt;br /&gt;
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1)There are merely a few researches applying House model to Chinese translation of literary works. Among the 29 journals and papers evaluating translation of literary works, there are 25 studies that attach great importance to the English translation and 4 to Chinese translation, which signifies that we need more researches of Chinese translation to support the validity of the model on different languages. Therefore, the paper, with the Chinese translation of A Pale View of Hills as its corpus, intends to examine the feasibility of the application of House’s model to Chinese translation.&lt;br /&gt;
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2)There are merely a few researches applying House model to the translation of full-length novels. Among the 29 journals and papers on evaluating translation of literary works, most of which focus on the evaluation of poems and prose, merely 5 studies are analysis of translation of full-length novels. English translation accounts for 3 and Chinese translation for 2, which demonstrates that we need more researches with full-length novels as corpus to support the validity of the model in different genres. Therefore, the paper, with the full-length novel A Pale View of Hills as its corpus, intends to examine the feasibility of the application of House’s model to full-length novels.&lt;br /&gt;
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In conclusion, given that the researches based on Chinese translation of full-length novels are insufficient, the paper will use the Chinese translation of A Pale View of Hills as its corpus to validate the feasibility of House’s TQA model.&lt;br /&gt;
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===III Comparison of Original and Translation of '''A Pale View of Hills''' Along House's Translation Quality Assessment Model===&lt;br /&gt;
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==On the Relationship among Literal Translation, Free Translation, Domestication and Foreignization	韦洪朗	Wei Honglang==&lt;br /&gt;
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==On Chinese-to-English Translation of The Summer Palace from the Perspective of Functionalist Approaches to Translation	魏亚菲	Wei Yafei==&lt;br /&gt;
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===Abstract===&lt;br /&gt;
Abstract&lt;br /&gt;
The Chinese-English translation of tourist texts, as a window for the external publicity of national history and culture, plays an important role in promoting the development of local tourism. The Summer Palace is well known for its large and priceless collection of cultural relics, which is among the first group of historical and cultural heritage sites in China to be placed under special state protection. &lt;br /&gt;
Based on the functionalist approach and the skopos rule, this paper discusses the problems existing in the translation of scenic spots in the Summer Palace from the perspectives of garden culture, historical culture and religious culture. Skopos theory holds that translation depends on communicative purpose. To achieve this goal, translators can choose different translation strategies. It is believed that the purpose of Chinese-English translation of scenic spots is to attract target readers and promote traditional culture. Therefore, when translating tourism materials, it is necessary not only to express the local cultural connotation, but also to consider the cross-cultural factors. The Chinese-English translation of the introduction of scenic spots guided by functionalist approach can make English readers have expectations of scenic spots and understand the cultural connotation of scenic spots. This paper aims to better promote the development and communication of Chinese culture and improve the level of tourism text translation in China by relying on the theory of functionalist approach.&lt;br /&gt;
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===Key words===&lt;br /&gt;
Key Words: functionalist approach，the Summer Palace，translation strategies&lt;br /&gt;
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===摘要===&lt;br /&gt;
摘 要&lt;br /&gt;
旅游资料的英译作为民族历史文化对外宣传的一道窗口,对地方旅游业的发展有着不可低估的促进作用。颐和园作为中国著名的皇家园林，具有浓厚的中国园林特色及优美的风景，同时也蕴涵着深厚文化内涵。&lt;br /&gt;
本篇旅游文本英译的分析以功能派翻译理论作为理论指导，以目的法则为主要原则，从颐和园的园林文化、历史文化和宗教文化三个角度出发对颐和园景点英译中存在的问题进行探讨。目的论认为译文取决于翻译目的，这个目的通常指的是交际目的。为达到这个目的，译者可以选择不同的翻译策略。也就是说，译者的翻译策略必须由译文的预期目的或功能决定，即所谓的“目的法则”。笔者认为景点介绍的汉英翻译的目的就是吸引译文读者以及弘扬传统文化，因此在翻译旅游资料的时候不仅要把当地的文化内涵表达出来，而且要考虑到跨文化的因素。而以功能派翻译理论为指导的景点介绍的汉英翻译，可以使英语读者通过译文产生对旅游景点的期盼，以及对景点文化内涵的理解。以颐和园景区内的翻译文本为例本，依托功能翻译理论，通过“发现问题，指出问题，解决问题”，以期更好地促进中国文化的传播与交流，提高我国现阶段旅游文本翻译的水平。&lt;br /&gt;
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===关键字===&lt;br /&gt;
关键词：功能翻译；颐和园；翻译目的；翻译策略&lt;br /&gt;
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===Introduction===&lt;br /&gt;
  Throughout the translation history at home and abroad, the literal translation and free translation have always been a heat discussion in the translation circles. Someone absolutely approve literal translation and demean free translation, even pursue a dead translation, which creates an translated text difficult to understand. While some other people absolutely agree with free translation even advocate random acts, which means a random deletion in the translation practices and creates anther entirely different text. However, there are also a number of translators who have recognized that these two translation methods are not totally opposite. So they adopt a compromise and flexible way. That means they will choose the most appropriate one depending on the text demanding. Therefore, we can deduce from it that this eclectic translation is consistent with the Contradiction view of Unity of Opposite in Materialist Dialectics. In fact, literal translation and free translation are right a set of contradictions which are both opposite and unified. They complement each other into an integral one.&lt;br /&gt;
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===Table of Contents===&lt;br /&gt;
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Table of Contents&lt;br /&gt;
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Outline&lt;br /&gt;
1.Introduction&lt;br /&gt;
2. Studies on Functionalist Approach&lt;br /&gt;
2.1 The Viewpoint of Functionalist Approach&lt;br /&gt;
2.1.1 Reiss’s Text Typology&lt;br /&gt;
2.1.2 Vermeer’s Skopos Theory&lt;br /&gt;
2.1.3 Manttari’s Theory of Translational Action&lt;br /&gt;
2.1.4 Nord’s Theory of Function plus Loyalty&lt;br /&gt;
2.2 The Application of Functionalist Approach &lt;br /&gt;
3.C-E Translation of the Summer Palace under Functionalist Approach&lt;br /&gt;
3.1 Garden Culture&lt;br /&gt;
3.2 Historical Culture &lt;br /&gt;
3.3 Religious Culture &lt;br /&gt;
4. Conclusion&lt;br /&gt;
References&lt;br /&gt;
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===Outline===&lt;br /&gt;
Outline&lt;br /&gt;
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Thesis Statement: Based on the main viewpoints of functionalist approaches to translation, this paper aims to give an analysis to C-E translation of the Summer Palace from cultural, historical and religious aspects, hoping to provide some translation strategies for other cultural attractions.&lt;br /&gt;
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1. Introduction&lt;br /&gt;
2. Studies on Functionalist Approaches&lt;br /&gt;
2.1 The Viewpoint of Functionalist Approach&lt;br /&gt;
2.1 Reiss’s Text Typology&lt;br /&gt;
2.2 Vermeer’s Skopos Theory&lt;br /&gt;
2.3 Manttari’s Theory of Translational Action&lt;br /&gt;
2.4 Nord’s Theory of Function plus Loyalty&lt;br /&gt;
2.2 The Application of Functionalist Approach&lt;br /&gt;
3. C-E Translation of the Summer Palace under Functionalist Approach&lt;br /&gt;
3.1 Garden Culture&lt;br /&gt;
3.2 Historical Culture&lt;br /&gt;
3.3 Religious Culture&lt;br /&gt;
4. Conclusion&lt;br /&gt;
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===1. Introduction ===&lt;br /&gt;
1. Introduction   &lt;br /&gt;
The Chinese-English translation of tourist texts is a bridge to spread the culture of classical Chinese gardens, so the accuracy of it has a direct impact on foreigners' understanding of the specific history and culture. &lt;br /&gt;
Functionalist approach has made a pioneering contribution to the translation of non-literary genres. Functional translation theory emphasizes the function of discourse, and believes that different types of discourse have different functions, so translators should choose appropriate translation strategies according to the type of source text and corresponding functions. Functionalist approach is to take the &amp;quot;skopos rule&amp;quot; as the highest standard, and any translation activity is a purposeful behavior. The ultimate goal and main function of scenic spot translation is to help people understand the main content of the scenic spot.&lt;br /&gt;
As a window for the publicity of national history and culture, the Chinese-to-English translation of tourist texts plays an important role in promoting the development of local tourism. Well known for its large and priceless collection of cultural relics, the Summer Palace was among the first group of historical and cultural heritage sites in China to be placed under special state protection. Based on the viewpoints of functionalist approach to translation, this paper aims to analyze C-E translation of the Summer Palace from cultural, historical and religious aspects, hoping to provide some translation strategies for other cultural attractions. &lt;br /&gt;
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===2. Studies on Functionalist Approaches===&lt;br /&gt;
2. Studies on Functionalist Approaches&lt;br /&gt;
Functionalism is a theory that advocates reader-centered translation, emphasizing the functions of texts and highlighting the communicative effects. It is believed that many unnecessary mistakes can be avoided and better results can be achieved by applying functionalist approach in Chinese-English translation of tourist text. &lt;br /&gt;
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===2.1 The Viewpoint of Functionalist Approaches===&lt;br /&gt;
2.1 The Viewpoint of Functionalist Approaches&lt;br /&gt;
Functionalist Translation Theory, also known as German Functionalist Translation Theory, was proposed by German scholars in the 1970s. It includes four main theories: Katharina Reiss’s Text Typology, Hans Vermeer’s Skopos Theory, Justa Holtz Manttari’s Theory of Translational Action and Christiane Nord’s Theory of Function plus Loyalty. This chapter aims to present the main ideas of this theory.&lt;br /&gt;
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===2.1.1 Reiss’s Text Typology===&lt;br /&gt;
2.1.1 Reiss’s Text Typology&lt;br /&gt;
In 1971, Reiss in her book Possibilities and Limitation of Translation Criticism first made text function as a standard of translation criticism, namelyevaluate the translated text from the relationship between the functions of the original and the translated text. She insists on the original-centered equivalence theory and holds the view that the ideal translation is to achieve the equivalence between the target text and the source text in terms of ideological content, linguistic form and communicative function. However, translation practice makes her realize that it’s difficult to achieve equivalence sometimes and that sometimes equivalence cannot be pursued. Because of the particularity of translation requirements, the function of the target text is not always the same as that of the source text. Therefore, the translator should give priority to the functional role of the target text rather than the principle of equivalence.&lt;br /&gt;
Reiss believes that in the normal situation the type of text decides the translator’s choice of a proper translation method (Reiss, 2004). Therefore, she divides text into four types: content-focused text, form-focused text, appeal-focused text and audio-media text. Content-focused text, also known as informative text, includes news reports, commercial correspondence, operating instructions, official documents, patent&lt;br /&gt;
specifications, essays, treaties, etc. For this text, the main function is to convey information revealed in language itself to readers. The emphasis is on content and topic, so the choice of language and style should serve this function. If both the source text and target text belong to informative text, the translator should represent the content and information of source text accurately and completely (Reiss, 2004)&lt;br /&gt;
Form-focused text, also known as expressive text, refers to literary works such as novels, poems and so on. “Distinct from ‘content’, which deals with what the author says, ‘form’ is concerned with how an author expresses himself” (Reiss, 2004). For expressive texts, information is only a supplement. What is dominant is the aesthetic factor. When translating such texts, the translator should pay attention to the aesthetic and artistic forms of the original text and to the differences between two cultural habits, trying to achieve the same effect as the source text. In a word, in a form-focused text the linguistic form of the source text determines the form in the target language (Reiss, 2004).&lt;br /&gt;
Appeal-focused text, also known as operative text, mainly includes notice, instruction manual, advertisement, publicity manual and so on. For operative texts, the primary task for the translator is to provoke a particular reaction on the hearers or readers to incite them to engage in specific actions, while content and form are subordinate. Therefore, to achieve the same effect, the translator need to change the content and stylistic features of the original text, try to keep the potential influential factors of the original text and seek functional equivalence (Reiss, 2004: 38-43). Audio-medial text, also known as multi-media text, refers to radio and television scripts, such as radio newscasts and reports, topical surveys and dramatic productions.&lt;br /&gt;
It is distinctive in its dependence on non-linguistic media and on graphic, acoustic, and visual kinds of expression. Only in combination with them can the whole complex literary form realize its full potential (Reiss, 2004). In conclusion, different texts determine different translation focuses and methods. In many cases, however, a text may have more than one function, which means that translators should integrate different translation strategies skillfully to achieve different functions of texts.&lt;br /&gt;
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===2.1.2 Vermeer’s Skopos Theory===&lt;br /&gt;
2.1.2 Vermeer’s Skopos Theory&lt;br /&gt;
Reiss’s student Vermeer, who broke the limitation of the theory of equivalent and took skopos to be the first criterion of translation process  proposed the key theory: Skopostheorie. According to Skopos Theory, when translating a text, the translator needs to consider the purpose of translation first and then choose the translation method according to the purpose, which means “the end justifies the means” (Nord, 2001). Vermeer believes that translation, like other human actions, is also a purposeful act. Translation often takes place in cultural backgrounds with different customs and values, so translation is not a simple equivalent transformation between languages. Skopos Theory does not focus on achieving the equivalence between the target text and the original text or the perfection of the target text, but on choosing the best translation strategy based on the analysis of the source text and the intended function of the target text. In a word, translation methods and strategies are determined by the intended purpose or function of the target text.&lt;br /&gt;
According to Skopos Theory, the first rule that all translators must follow is the Skopos Rule. Translation purpose can be divided into three categories: (1) the purpose of the translator, such as earning a living; (2) the communicative purpose of the translation, such as instructing the reader; (3) the purpose of using a particular translation method, such as the literal translation according to its structure to illustrate the peculiarities of grammatical structure in a language (Nord, 2001). In general, the communicative purpose is more important than the other two. The communicative purpose is usually determined by the initiator of the translation act, but the translator can take part in deciding. The second rule is the Coherence Rule. Coherence Rule requires that the translation conform to the criterion of intratextual coherence, which means that the translation must be accessible to recipients and meaningful in the target culture and in the communicative environment (Nord, 2001). The third rule is the Fidelity Rule. It means that there should be intertextual coherence between the source text and the target text, which means being faithful to the source text. Nevertheless, the degree and form of faithfulness lie in the target text and the degree that the translator understands the original text. Normally “Intertexual coherence is considered subordinate to intratexual coherence and both are subordinate to the Skopos rule” (Nord, 2001).&lt;br /&gt;
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===2.1.3 Manttari’s Theory of Translational Action===&lt;br /&gt;
2.1.3 Manttari’s Theory of Translational Action&lt;br /&gt;
Following Vermeer, Manttari develops Vermeer’s Skopos Theory and puts forward the Theory of Translational Action. He emphasizes three aspects: the behavior of the translation process, the role of the participants (the initiator, the translator and the target reader, etc.) and the environment (time, place and media) in which the translation process takes places. It views translation as “purpose-driven, outcome-oriented human interaction and construes the process of translation as message-transmitter compounds that involve intercultural transfer” (Mundy, 2001). According to Manttari, translation is “ a complex act to achieve a particular purpose” &lt;br /&gt;
(Nord, 2001). It is not about translating words, sentences or texts but is about guiding the intended cooperation over cultural barriers and promoting functional communication. Cooperation here means “transcultural communication” by Manttari.&lt;br /&gt;
The Theory of Translational Action attaches great importance to providing a functional communicative text for the recipient, a text suitable for the target culture in&lt;br /&gt;
form and style. Functional suitability is determined by the translator. The translator is&lt;br /&gt;
an expert in translation, whose role is to ensure the successful completion of cultural&lt;br /&gt;
transformation. In producing the target text, the analysis of the source text is necessary so that the translator can find out its structural and functional characteristics, which can be described by content and form. The need of the recipient is the decisive&lt;br /&gt;
factor for the target text.&lt;br /&gt;
In short, “the value of Manttari’s work is the placing of translation (or at least the professional non-literary translation which she describes) within its sociocultural&lt;br /&gt;
context, including the interplay between the translator and the initiating institution”&lt;br /&gt;
(Mundy, 2001).&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
===2.1.4 Nord’s Theory of Function plus Loyalty===&lt;br /&gt;
2.1.4 Nord’s Theory of Function plus Loyalty&lt;br /&gt;
Though skopos rule changes the focus of translation from the source language text to the target language text and the target receivers, it has some limitations. One is that different readers have different expectations, and the translation purpose cannot satisfy all the expectations of the target reader. Another is that the translation purpose may sometimes be against the intention of the source language. Therefore, based on the skopos rule, Nord introduces the loyalty principle. The principle of loyalty is a supplementary principle proposed by Nord to make up for the deficiency of skopos rule. According to the explanation of Nord, it is not the relationship between the original text and the target text, nor the equivalence between the original text and the form of the target text, but the consistency between the author of the original text, the initiator of the translation, the translator and the reader of the target text, which is the principle of loyalty. The proposal of the loyalty principle makes up for the mistakes that some radical skopos translators usually make, such as omitting and rewriting, which makes skopos theory more perfect and makes skopos theory more likely to guide the translation of literary works.&lt;br /&gt;
“Function” and “loyalty” are two pillars of Nord’s functionalist approach. “Function” refers to what a text means or is intended to mean from the receiver’s point of view”, while “loyalty” means that “target-text purpose should be compatible with the original author’s intention” (Nord,2001). It emphasizes the interpersonal relationship between the translator, the source-text sender, the target-text addresses and the initiator. Function plus loyalty enables the translator to avoid the limitations of skopos rule and try to achieve a balance between translation purpose and the source-text author’s intention”(Nord,2001). That is to say, when translating the original text, the translator should take into account the readers' cultural background, knowledge level and expectation of the translation, and choose the corresponding translation strategy according to the translation requirements. If the reader wants to read a word-for-word translation of the article, then the translator must meet the reader's requirements, otherwise he must explain to the reader why he chose his own translation method. The translator's job is to weigh two different cultures instead of imposing one culture on another. &lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
===2.2The Application of Functionalist Approach to the Tourist Texts.===&lt;br /&gt;
2.2The Application of Functionalist Approach to the Tourist Texts.&lt;br /&gt;
In the 1990s, Functionalist Translation Theory was introduced to China, and since then it has been applied to translation studies by Chinese translation scholars. In his article published in 1995, Zhang Nanfeng briefly introduces Skopos theory to China for the first time, and considers that Skopos theory is referential (Zhang Nanfeng, 1995). German Functionalist Translation Theory, a paper released in1999, is the first article in China which systematically introduces German Functionalist Translation Theory (Zhong Weihe &amp;amp; Zhong Yu, 1999). Based on an overview of Functionalist Translation Theory, Zhang Meifang focuses on introducing Nord’s theory, especially on the detailed analysis of Nord’s principle of loyalty (Zhang Meifang, 2005). Famous domestic scholars, such as Liu Junping (2009), Liu Miqing (2012) and Li Wenge (2004), also introduce this theory in their books. With the rise of Functionalist Translation Theory in China, someone has compared it with other theories. Zhu Haotong compares Skopos Theory with Functional Equivalence Theory to analyze the similarities and differences between them, and further reveals that Functionalist Translation Theory inherits the reasonable part of Nida’s Functional Equivalence Theory, which is an important breakthrough and supplement to solve the problems that Functional Equivalence Theory leaves (Zhu Haotong, 2006). Some scholars also combine theory with translation practice to explore the application of Functionalist Translation Theory to translation practice. Jia Yanli and Wang Hongjun point out that Skopos Theory has its limitations, but it is still of instruction and reference value for non-literary translation texts, such as advertisements and tourism materials (Jia Yanli &amp;amp; Wang Hongjun, 2012). Li Liangchen selects several famous tourist attractions in China to translate the on-site tour-guide commentary into English. Then he improves them under the guidance of Skopos Theory and sends out questionnaires to overseas tourists for further analysis. He argues that the translation of on-site tour-guide commentary which is guided by Skopos Theory is more favorable to conveying information to foreign visitors, to promoting cultural exchanges and to improving the image of China’s tourist destinations (Li Liangchen, 2013). In Pragmatic Translation: Theory &amp;amp; Practice, Wu Feng and He Qingji introduce Functionalist Translation Theory (Wu Feng &amp;amp; He Qingji, 2008) and the characteristics of tourism text and translation skills (Wu Feng &amp;amp; He Qingji, 2008). In this book, they also discuss the controversy over the Chinese name of Functionalist Translation Theory, and holds that “功能派翻译理论” is the most appropriate Chinese translation (Wu Feng &amp;amp; He Qingji, 2008).Based on his own translation practice and under the guidance of Functionalist Translation Theory, Wu Zixuan probes into some special phenomena in the English translation of CNN newsreels. The author believes that in the translation of external publicity, we should not stick to the standard of faithfulness to the original text, but should deal with the original text properly from the perspective of achieving the purpose of translation, such as rewriting, abridging. (Wu Zixuan, 2005).&lt;br /&gt;
Functionalist approach establishes a theoretical system of diversified translation standards dominated by skopos rule. From the definition of Functionalist approach, it can be seen that the advantage of it is that the translator can get rid of the bondage of the original text, study the translation process with &amp;quot;translation purpose&amp;quot; as the starting point, and determine the translation strategies and methods. This can give full play to the translator's own initiative, flexible processing of the original text, in order to achieve the translation of the communicative function. In addition, functionalist approach requires the translation to be examined in the cultural context of the reader. The reader can accept the translation and understand the meaning of the original text through the translation, so the translation can realize the communicative function. On the basis of such advantages, functionalist approach can be used to guide the English translation of garden scenic spots, and the translator can choose a wider range of translation strategies and break out of the constraints of the original text. &lt;br /&gt;
Only by clarifying the purpose of translation can we avoid these limitations in the English translation of garden attractions. When using functionalist approach to guide the English translation of Chinese classical garden scenic spots, it is necessary to flexibly choose translation strategies and methods, give full play to the advantages of skopos theory, and achieve the balance between &amp;quot;principle of purpose&amp;quot; and &amp;quot;principle of fidelity&amp;quot; as far as possible.&lt;br /&gt;
With the deepening of globalization and cross-cultural communication, tourismis becoming a major industry in the 21st century. The development of tourism can not only promote the economic development of a country but also promote the external dissemination of national culture. Therefore, tourism translation deserves attention. Tourism text is a typical informative and operational text, and the language is unique. It is full of gorgeous words, such as four-character expressions, verses, proper nouns and so on.&lt;br /&gt;
Tourism text materials include tourism advertising, tourism brochures, scenic spots signs and so on. In this paper, we focus on the introduction of Chinese gardens’ scenic spots, which is usually colorful in language and rich in literary style. Tourism text translation belongs to applied translation, which should play a series of practical functions to publicize the image and resources of the country or place and attract overseas tourists. Therefore, the translator of tourism text must be clear about the type and function of tourism text, and to grasp the ultimate purpose of the translation. &lt;br /&gt;
On tourism text translation, the communicative purpose of the translation should be placed in a central position. Furthermore, the tourism text has both the information function and the calling function. The information function and the calling function complement each other. Only when the target language readers acquire the expected tourism information and cultural knowledge can the calling function be realized and the purpose of tourism text translation be achieved. With different translation strategies, the translated version should both expressed contains basic information, and make the tourists feel the profound of the Chinese culture from the beautiful scenery. &lt;br /&gt;
Cultural tourism has long been the focus of international tourism, and understanding Chinese culture is the main purpose of inbound tourists, so the translation of tourism texts bears the mission of cultural transmission and cultural publicity. However, due to the great differences between Chinese and English culture and language, there are many difficulties in cultural transmission in tourism text translation. China has a long and splendid history and culture. When introducing the scenic spots of cultural relics and historic sites, we usually associate with many historical figures and stories. These terms are cultural blank for most foreign tourists, but this kind of cultural experience is also the most attractive place for foreign tourists. It is of great importance to pay attention to cultural differences in tourism translation and carry out cultural transmission effectively. Chinese and English languages have different logic views, and Chinese expressions in tourism texts value decoration. English expressions tend to be clear, concise and to the point. For example, Chinese tourism texts often use a four-character lattice, which is symmetrical, while there is no corresponding four-character lattice expression in English. Therefore, in Chinese-English translation of tourism texts with frequent use of four-character phrases, it is necessary to keep in mind the objective principle of functionalist approach and give priority to cultural communication instead of rigidly adhering to form.&lt;br /&gt;
&lt;br /&gt;
===3. C-E Translation of the Summer Palace under Functionalist Approach===&lt;br /&gt;
3. C-E Translation of the Summer Palace under Functionalist Approach&lt;br /&gt;
By studying the specific translation strategies made by predecessors, the following steps are also adopted in this paper: first, the translation strategies are determined according to the text type, such as faithful reproduction of the original information or rewriting; Secondly, the translation strategies are determined according to the potential purpose of the translation, such as paraphrasing or deleting poems, generalizing specific expressions and transliterating proper nouns. Thirdly, the translation strategies are defined with the tourists as the center, such as adding logical words, adding explanatory information and using plain English.&lt;br /&gt;
The Summer Palace epitomizes the philosophy and practice of Chinese garden design, which played a key role in the development of this cultural form throughout the east. It is an outstanding expression of the creative art of Chinese landscape garden design, incorporating the works of humankind and nature in a harmonious whole, which was once the most important place of political and diplomatic activity for the supreme rulers of the late Qing dynasty. Based on three aspects of the Summer Palace, namely, garden culture, historical culture and religious culture, this paper discusses the problems existing in the English translation of the scenic spots of the Summer Palace and puts forward corresponding countermeasures under the guidance of the skopos rule of functionalist translation theory.&lt;br /&gt;
&lt;br /&gt;
===3.1 Garden culture.===&lt;br /&gt;
3.1 Garden culture. &lt;br /&gt;
The Summer Palace is a classical garden famous for its magnificence and beauty. There are many temples in the garden, and the green waves of kunming lake ripple. Landscape and humanities complement each other, containing rich natural and cultural information, reflecting the characteristics of Chinese classical gardens. The garden cultural features of the three scenic spots, namely, the hall of clouds, the foxiang pavilion and the Wenchang courtyard, are particularly outstanding. Therefore, this paper takes these three scenic spots as examples to discuss the Chinese-English translation of the introduction of the Summer Palace.&lt;br /&gt;
(1)	排云殿、佛香阁景区是颐和园内建筑布局最完整、建筑形式最丰富的中轴建筑群体，殿、阁、廊、亭、桥、坊、碑等建筑约两万平方米。从临水的云辉玉宇牌坊至排云门、排云殿、德辉殿、佛香阁、众香界、智慧海、层层升高，排列有序，气势巍峨，金碧辉煌，将园林、寺庙和宫殿融为一体。&lt;br /&gt;
Translation：This scenic spot covers an area of 20,000 square meters with an assortment of buildings such as palaces, towers, corridors, pavilions, walkways, bridges, archways and inscribed stone steles. It comprises a well-arranged group of structures, all diverse in style, located in the center of the Summer Palace garden. This complex of structures, ranging from the Glowing Clouds and Holy Land Archway on the waterside, the Gate that Dispels the Clouds, the Hall that Dispels the Clouds, the Hall of Moral Glory, and the Tower of the Fragrance of the Buddha, to the Realm of Popular Fragrance and the Sea of Wisdom Temple, were built in an orderly manner running from the foot of the hill to its top, with gardens, temples and palaces harmoniously integrated into the whole。&lt;br /&gt;
Analysis：As we all know, the design style of ancient Chinese buildings is beautiful with &amp;quot;symmetry&amp;quot;. The &amp;quot;axis&amp;quot; in hall of clouds scenic spot refers to the layout of the Summer Palace from far to near and from top to bottom, which cannot be simply understood as the center. Simply translating &amp;quot;axis&amp;quot; as &amp;quot;center&amp;quot; cannot express accurately the meaning of &amp;quot;symmetry&amp;quot;. Comparatively speaking, &amp;quot;axis&amp;quot; can better reflect the architectural style of the scenic spot.&lt;br /&gt;
(2)	从临水的云辉玉宇牌坊至排云门、排云殿、德辉殿、佛香阁、众香界、智慧海，层层升高，排列有序，气势巍峨，金碧辉煌，将园林、寺庙和宫殿融为一体。&lt;br /&gt;
Translation：These structures，including Glowing Clouds and Holy Land Archway at lake side，the Gate of Dispelling Clouds，the Hall of Dispelling Clouds，the Hall of moral Glory，and the Tower of Buddhist Incense，the Realm of Multitudinous Fragrance and the Sea of Wisdom Temple，were built in an orderly manner ranging up the hill with gardens，temples and palaces harmoniously integrated. This manifests beauty，grace and splendor，reminiscent of the loftingness and grandeur of a once mighty empire.&lt;br /&gt;
Analysis：In terms of the characteristics of language, Chinese emphasizes parataxis and four-word antithesis. When describing and naming scenes, gorgeous words and poetic words are generally chosen in Chinese. But, English emphasizes hypotaxis, on the other hand, puts more emphasis on reproducing the original appearance of things, using simple and natural words and preferring direct description. In sign translation, the English translation pays more attention to accurate, concise and lively. In the above paragraph, &amp;quot;层层升高，排列有序，将园林、寺庙和宫殿融为一体&amp;quot; is an introduction to the architectural features of foxiang pavilion, in order to make tourists have a clear understanding of the overall layout and architectural features of the scenic spot. This information is essential and can be translated into detail. However, &amp;quot;气势巍峨，金碧辉煌&amp;quot; focuses on the subjective description, and its explicit translation needs more complicated words. If this paragraph is translated in detail, it is easy to drag the content and make the key information vague. Therefore, the deletion of the English translation of this sentence will not affect the basic information of the original text.&lt;br /&gt;
(3)	主阁（文昌阁）两层，内供铜铸文昌帝君和仙童、铜骑。文昌阁与万寿山西供武圣的宿云檐象征“文武辅弼”。&lt;br /&gt;
Translation: A bronze statue of the God Wenchang, statues of gaeries, and a bronze steed were placed in the two-story pavilion. This tower is pared with the Tower of Cloud- Retaining Eaves, located to the west of the Longevity Hill, in which a statue of the Martial God was placed. The God Wenchang and the Martial God together symbolize reining of the emperor supported by scholars and warriors.&lt;br /&gt;
Analysis: Two questions arise in Chinese-English translation. First, there are two translations of wenchang pavilion in the translation: pavilion and tower, which appear in the same sign. Two different translations of the same scenic spot name tend to make foreign tourists think that it refers to different scenic spots, which may cause difficulty in understanding. Second, the translation of Wenchang pavilion into &amp;quot;Wenchang Tower&amp;quot; is against the actual architectural characteristics. In fact, the meanings of &amp;quot;pavilion&amp;quot; and &amp;quot;tower&amp;quot; have both similarities and differences. According to the Oxford dictionary, Tower means &amp;quot;a tall narrow building or part of a building, especially of a church or castle&amp;quot;, mainly referring to the tower-shaped part of a building, usually a tall and slender structure, such as the Eiffel Tower. &amp;quot;Pavilion&amp;quot; means &amp;quot;a building that is meant to be more beautiful than usual, built as a shelter in a park or used for concerts and dances&amp;quot;. The top structure of the pavilion usually has rectangles, triangles, hexagons, etc. The common feature of them is that the top is supported by columns without walls. From the external structure of Wenchang pavilion, its bottom is solid and its top is supported by columns. Therefore, the pavilion can accurately reflect the architectural characteristics of Wenchang pavilion, so I think it should be translated as Wenchang pavilion.&lt;br /&gt;
&lt;br /&gt;
===3.2 Historical culture. ===&lt;br /&gt;
3.2 Historical culture. &lt;br /&gt;
The accurate Chinese-English translation of the introduction of the Summer Palace not only enables foreign tourists to understand the characteristics of Chinese gardens, but also enables foreign tourists to understand the historical knowledge of a specific period of China. However, the Chinese-English translation of the Summer Palace still has problems in accurately conveying the historical background of the scenic spots, such as the English translation of Wenchang pavilion scenic spot:&lt;br /&gt;
(4)	此景区始建于清乾隆十五年，一八六零年被英法联军烧毁，光绪时按原样重建。阁结构为八面三层四重檐，通高36.44米，耸立于20米高的石造台基上，气势雄伟，是颐和园全园的构图中心。阁内供奉有铜铸金裹千手观世音菩萨站像。像高五米，重万斤，为明代万历年间所造，在八根贯通全阁上下的承重铁梨木擎天柱的衬托下，美妙庄严，熠熠生辉，有极高的文物和艺术价值。&lt;br /&gt;
Translation: The Wenchang tower was first built in 1750 and rebuilt under Emperor Guangxu after  the Anglo-French Allied Forces builted it down in 1860. The octahedral tower has three stories with four-layered eaves, altogether 36.44 meters high. Standing upright on a 20 meter-high stone foundation, it constitutes the center of the Summer Palace landscape and serves to accentuate its magnificence. A statue of the thousand-handed Guanshiyin Buddha, cast in bronze and gilded with gold, stands inside the tower. The statue, five meters high and five tons in weight, was cast during the reign of Emperor Wanli of the Ming Dynasty. Set off by the eight imposing pillars which support the tower, it glows with beauty, grandeur and brilliance. Its historical, cultural and artistic value can hardly be overstated.&lt;br /&gt;
Analysis: “始建于乾隆十五年”only was translated into “was first built in 1750” and the “光绪年间重建” was translated into “rebuilt under Emperor Guangxu”.The first sentence does not show that 1750 was the fifteenth year of the reign of emperor Qianlong, and the second sentence does not give foreign visitors the exact date of the reign of emperor Guangxu. The change of time concept and the disunity of expression easily make foreign tourists feel confused. Therefore, the translation of the time and the historical dynasties should be accurate and meticulous, and the supplementary method should be used to not only describe the dynasties clearly, but also supplement the corresponding years, so as to achieve the standardization of the translation. In this way, foreign tourists can not only be clear about the time of the event, but also understand the Chinese historical dynasties. Consider as follows: the Wenchang Pavilion was first built in 1750 during Emperor Qianlong’s reign（1735- 1795）and rebuilt in 1886 under Emperor Guangxu（1875- 1908）after the Anglo- French Allied Forces burned it down in 1860.&lt;br /&gt;
&lt;br /&gt;
===3.3 Religious culture. ===&lt;br /&gt;
3.3 Religious culture. &lt;br /&gt;
Many scenic spots in the Summer Palace have a strong buddhist atmosphere. While visiting the scenic spots, foreign tourists can understand the profound buddhist culture. Wenchang pavilion in the Summer Palace is the representative of Chinese religious culture.&lt;br /&gt;
(5)	主阁两层，内供铜铸文昌帝君和仙童、铜特。文昌阁与万寿山西供武圣的宿云檐象征“文武辅弼”。&lt;br /&gt;
Translation: A bronze statue of the god，Wenchang，and statues of two followers，the celestial boy，and the bronze steed，were placed in the two- storey pavilion. This tower is pared with the tower of Cloud- Retaining Eaves，located to the west of the Longevity Hill，in which a statue of the Martial God was placed. The two towers symbolize the support by both scholars and warriors to the ruling emperor.&lt;br /&gt;
Analysis: It is well known that westerners believe in theism, which refers to god as supreme . In Chinese religious culture, people believe in atheism and do not believe in the existence of god. Therefore, it is inappropriate to translate &amp;quot;文昌帝军&amp;quot; and &amp;quot;武圣&amp;quot; into &amp;quot;the god, Wenchang&amp;quot; and &amp;quot;the Martial god&amp;quot; in the translation. In fact, the &amp;quot;文昌帝军&amp;quot; was Zhang yu, an emperor of Shu of Ning kang (374). And &amp;quot;武圣&amp;quot; refers to Guan yu in history. Therefore, the simple translation of  &amp;quot;God&amp;quot; is not in line with the traditional Chinese culture, which will not only cause western tourists to misunderstand that Chinese religious tradition also believes in God, but also fail to convey Chinese historical allusions and relevant historical figures. In contrast, if &amp;quot;文昌帝军&amp;quot; is translated as &amp;quot;the emperor, Wenchang&amp;quot; and &amp;quot;武圣&amp;quot; is translated as &amp;quot;the Martial Master (Guanyu)&amp;quot;, it can more faithfully convey the history and religious culture contained in the source language. &lt;br /&gt;
&lt;br /&gt;
===4. Conclusion===&lt;br /&gt;
4. Conclusion&lt;br /&gt;
To sum up, Under the guidance of the skopos rule of functionalist translation theory, translators should have a cross-cultural awareness, fully understand the reading psychology and cultural appreciation needs of target language readers, and use effective translation strategies and methods to achieve the purpose of tourism text translation. Functionalist approach has made a pioneering contribution to the translation of non-literary genres. Functional translation effectively eliminates the disadvantages of traditional word-for-word translation, improves the efficiency of translation, and helps readers to grasp the meaning of the original text.&lt;br /&gt;
 The importance of the translation of the Summer Palace lies in the profound garden culture, historical culture and religious culture. The English translation is not only helpful for international friends to know more about the garden characteristics of the Summer Palace, but also helpful for spreading the long history and profound culture of China. In order to attract target readers and promote traditional Chinese culture, it is not only necessary to carefully explore Chinese culture and history, but also to use the fuctionalist approach appropriately. &lt;br /&gt;
Translation is a complicated process. Functionalist approach stresses the function of the discourse, the purpose of translation. In the practice of translation, if the translator can get rid of the bondage of the original equivalence, actively playing to subjective initiative, fully understanding the original text, depending on the purpose of discourse and adopting different translation strategies, the effect and readability of translation can be improved.&lt;br /&gt;
&lt;br /&gt;
===References===&lt;br /&gt;
References&lt;br /&gt;
Hans Vermmer, “Skopos and Commission in Translation Action”, in the Translation Studies Reader,ed. Chesterman, London and Network:Routledge,p.221-232. 2000.   &lt;br /&gt;
Munday, Jeremy. Introducing Translation Studies: Theories and Applications. Routledge publishing.2001.&lt;br /&gt;
Mason, “Textual Practices and Audience Design: and Interactive View of the Tourist Brrochure”. In Navarro et al.(eds.). Pragmatics at Work: The Translation of Tourist Literature. Bern: Perter Lang. 157-176.2004.&lt;br /&gt;
Nord, Text Analysis in Translation: Theory, Methodology and Didactic Application of a Model for Translation-Oriented Text Analysis. Beijing: Foreign Language Teaching and Research Press. 2006.&lt;br /&gt;
Nord, Translating as a purposeful activity. Shanghai: SFLE PRESS, 2001:27,30,32,65,245.&lt;br /&gt;
Reiss, Katharina. Translation Criticism: The Potentials &amp;amp; Limitations. Shanghai Foreign Language Education Press. Shanghai. 2004.&lt;br /&gt;
Venuti, Lawrence. The Translator’s Invisibility: A History Translation. Routledge.1995.&lt;br /&gt;
方梦之、毛忠明， 英汉—汉英应用翻译教程，上海: 上海外语教育出版社，2004.&lt;br /&gt;
金惠康，跨文化旅游翻译，中国对外翻译出版公司，2004.  &lt;br /&gt;
贾文波，应用翻译功能论，北京：中国对外翻译出版公司，2004&lt;br /&gt;
孙艺风，文化翻译的困惑与挑战，中国翻译，2016年第3期.  &lt;br /&gt;
王宏志，翻译与创作，北京大学出版社，2000.&lt;br /&gt;
吴自选，德国功能派翻译理论与 CNN 新闻短片英译，中国科技翻译, 2005.&lt;br /&gt;
谢天振，当代国外翻译理论，天津：南开大学出版社，2005.&lt;br /&gt;
张南峰，走出死胡同建立翻译学. 中国翻译, 1995.&lt;br /&gt;
仲伟合，钟钰. 德国的功能派翻译理论. 中国翻译, 1999.&lt;br /&gt;
张美芳，功能加忠诚—介评克里丝汀· 诺德的功能翻译理论.上海外国语大学学报, 2005.&lt;br /&gt;
&lt;br /&gt;
==Contrast between Literal Translation and Free Translation	张雪仪	Zhang Xueyi==&lt;br /&gt;
'''Abstract：'''&lt;br /&gt;
&lt;br /&gt;
The contrast between literal translation and free translation has always been the most discussed problem in translation studies. To compare these two translation methods, the basic point is to understand the purpose of translation. The ultimate goal of translation is to help different cultures communicate better, so that people who speak different languages can understand each other’s cultures. Due to the differences in social, historical and cultural backgrounds between languages, how to choose between the two translation strategies of literal translation and free translation requires translators to weigh the strengths and weaknesses of these two methods. This essay mainly compares literal translation and free translation between Chinese and Russian to help students and translators translate better.&lt;br /&gt;
&lt;br /&gt;
'''Key words：'''&lt;br /&gt;
&lt;br /&gt;
Translation strategies, Literal translation,Free translation &lt;br /&gt;
&lt;br /&gt;
'''摘要：'''&lt;br /&gt;
&lt;br /&gt;
直译与意译间的对比一直是翻译学中讨论度最高的问题。想要将这两种翻译方法进行对比，最基本的一点就是要明白翻译的目的是什么。翻译的最终目的在于帮助不同文化进行更好的交流，让使用不同语种的人相互理解彼此的文化。由于语种间社会历史文化背景的差异，如何在直译和意译这两种翻译策略中做出选择，就需要译者衡量两种方法的利弊。本文主要对汉语和俄语间直译和意译进行比较，以帮助学生和译者更好地进行翻译实践。&lt;br /&gt;
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'''关键词：'''&lt;br /&gt;
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翻译策略，直译，意译&lt;br /&gt;
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'''1.Introduction'''&lt;br /&gt;
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The former Soviet Union translation theorist Fedorov believed: “Translation is an activity that expresses what has been used in one language as a unified whole of content and form, and accurately and completely expressed in another language.” Translation theorist Barr Hudarov also wrote: &amp;quot;Translation is the process of changing the coherent discourse of one language into the coherent discourse of another language while maintaining its content and meaning.&amp;quot; To some extent, translation is a process of thinking re-creation, so certain standards and principles must be followed when translating. Translation standard is a measure of the quality of translation, it can guide translation practice, and it is a principle that must be followed in translation activities. Although each scholar has different opinions on the standard of translation, the final result he pursues is the same: the original text and the translated text express the same effect. In order to achieve the same effect, different translation methods have been derived, of which literal translation and free translation are the most commonly used.&lt;br /&gt;
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Russian idioms and proverbs, as the crystallization of the wisdom of the Russian nation and the immortal fossils in the Russian language, are one of the best materials for the Chinese to understand and learn Russian history, culture, and society. Due to different geographical, historical and economic conditions, the Russian and Chinese ethnic groups have formed different cultural backgrounds. These distinctive backgrounds and characteristics have caused great difficulties for Chinese learning Russian to further understand Russia. This essay studies the basic definitions of literal translation and free translation, their respective advantages and disadvantages and their mutual relations, and strive to solve how to use the translation methods of literal and free translation to properly translate Russian idioms and proverbs, and how to reflect the cultural background and language characteristics of Russian idioms and proverbs in the translation .&lt;br /&gt;
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'''2.Different views of &amp;quot;literal translation&amp;quot; and &amp;quot;free translation&amp;quot;'''&lt;br /&gt;
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In different periods and different countries, people's views on translation theory have changed a lot, but the debate about literal translation and free translation has always existed.&lt;br /&gt;
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In China, the contradiction between literal translation and free translation may initially be due to the different understanding of these two translation methods. The translator Sun Guiding believes that: literal translation is stuck to the structure of the original text and does not consider whether the Chinese is fluent and natural; while free translation is to use the inherent Chinese idioms and the most natural words and sentences as much as possible to achieve the effect of conveying the meaning of the original text. Former President of Wuhan University, Du Zuozhou, believes that literal translation means translating word by word according to the original text; free translation means translating according to the meaning of the original text, and the translation is more suitable for the common grammar of the translated language. The educator Meng Xiancheng believes that literal translation is a translation technology with different degrees of correctness. Literal translation is a translation that is faithful and correct according to the original text; free translation is a translation that summarizes the original meaning. Zhu Guangqian said: &amp;quot;The so-called 'literal translation' refers to the literal translation based on the original text. Every word and sentence are translated word by word, and the order of the words and sentences is not changed. The so-called ‘paraphrasing’ is to express the meaning of the original text in Chinese, and it does not have to be completely based on the literal and order of the original text. &amp;quot; The principle of &amp;quot;faithfulness, expressiveness and elegance&amp;quot; put forward by the modern Chinese translator Yan Fu has long been the basic principle guiding translation practice. A large number of beginners who learn foreign languages regard &amp;quot;faithfulness and expressiveness&amp;quot; as translations that are completely faithful to the original text when translating. In fact, Yan Fu's translation requirements are a guiding principle for translation based on semantics. When translating, if the structure and expression of the original text cannot be directly adopted, the sentence structure and expression must be changed according to the characteristics of the target language. In addition, there are many differences between the original language and the target language in the word order, grammar, variants and rhetoric in the translation process. In many cases, there is no direct corresponding word. This requires the translator to consider the actual semantics, background and other factors. On the basis of the original meaning of the sentence, use an appropriate method to convey the content of the original work and reproduce the language style of the original work.&lt;br /&gt;
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In the Soviet Union, under the influence of ideology, Western translation theories could not be widely disseminated, but within the Soviet Union, translation theories similar to Western translation theories have been formed and developed, and two main schools of translation theory have been further differentiated — Linguistic Translation School and Literary Translation School. To a certain extent, the dispute between these two schools also reflects the debate on literal translation and free translation among translators' groups. In terms of the principles or standards of translation, the linguistic translation school believes that an ideal translation should be an equivalent translation, first of all linguistic correspondence, that is, the translation should have the same meaning as the corresponding language or discourse unit of the original; the literary translation school believes that translation pursues artistic correspondence, and linguistic correspondence must be subordinate to artistic correspondence. Therefore, it proposes that the aesthetic standards of translation should reproduce the artistic reality reflected by the unity of the original content and form. The characteristic is to use images to translate images, that is, to create the same image in different languages. In 1953, Andrei Venediktovich Fedorov, the leader of the linguistic translation school, published his work &amp;quot;Summary of Translation Theory&amp;quot;, which was the first monograph of the Soviet Union to study translation theory from the perspective of linguistics. The author proposes that translation theory is a branch of linguistics. Since the translation of any genre work must rely on the comparison of two languages, translation problems can only be solved in the field of language. Fedorov’s view was refuted by the literary translation school represented by Ivan Alexandrovich Kashikin. The literary translation school believes that aesthetic issues are the core of literary translation theory, and translation should be regarded as a form of language art, that is, translation should be studied from the perspective of literature and art. In fact, the literary translation school emphasizes the translation of literary and artistic works, which belongs to the specific translation theory; while the research of the linguistic translation school focuses on the general translation theory, that is, the translation of all thematic works including literary works. The dispute between the two major translation theory schools of Russia and the Soviet Union provides another perspective for Chinese translators to explore the relationship between literal translation and free translation.&lt;br /&gt;
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'''3.The application of literal translation and free translation in the Chinese translation of Russian idioms'''&lt;br /&gt;
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The idioms of different nationalities are the most dynamic and expressive units at the lexical level in different languages, and they are also the units that can best reflect the characteristics of national culture in languages. The number of Russian idioms is extremely rich, it records and reflects all aspects of Russian national life. Due to the great differences in geographical locations and living customs between China and Russia, the national cultures reflected in Chinese and Russian must be quite different. One of the difficulties in idiom translation is its imagery. When translating idioms, both the meaning and the image must be considered. Although the Chinese and Russian cultures are very different, many of the commonalities of mankind, such as emotion and natural environment, have created conditions for mutual communication, mutual understanding and idiom translation between different languages.&lt;br /&gt;
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'''3.1 Literal translation'''&lt;br /&gt;
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Generally speaking, the literal translation method refers to a translation method that directly translates the original text without changing the language characteristics and style of the original text on the basis of fully respecting the meaning of the original text. Chinese translation of Russian idioms by literal translation method has the advantage of being able to intuitively and faithfully express the meaning of the idiom, maintaining the unique style and imagery of the original text: the disadvantage is that the translated idiom may not be understood by the Chinese because of China and Russia have different historical, cultural backgrounds, grammatical structures, and language world landscapes, which can easily form obstacles in the process of understanding.&lt;br /&gt;
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Translating Russian idioms by literal translation is further divided into two methods — literal translation into Chinese idioms and literal translation into non-idiom sentences or words.&lt;br /&gt;
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Literal translation of Russian idioms into Chinese idioms is suitable for the translation of Russian and Chinese idioms that are completely equivalent in image, structure, and meaning. The advantage is that it is easy to understand, and the translation is simple and fast. E.g:&lt;br /&gt;
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(1)домашнего  (своего) вора не убережешься. 家贼难防&lt;br /&gt;
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(2)знать как свои пять пальцев (видно, как на ладони) 了如指掌&lt;br /&gt;
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(3)подлить масла в огонь 火上浇油&lt;br /&gt;
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(4)как рыба в воде 如鱼得水&lt;br /&gt;
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(5)как ножом по сердцу 心如刀割&lt;br /&gt;
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(6)как гром среди ясного неба 晴天霹雳&lt;br /&gt;
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(7)на добро отвечают добром 善有善报&lt;br /&gt;
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(8)копейка рубль бережет 财从细起&lt;br /&gt;
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(9)мечты сбываются 梦想成真&lt;br /&gt;
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(10)курица всегда следует за петухом 嫁鸡随鸡&lt;br /&gt;
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(11)чего мало, того и дорого  (дорого то, что мало) 物以稀为贵(12)&lt;br /&gt;
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(12)изгонять яд с помощью яда 以毒攻毒&lt;br /&gt;
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(13)сидеть как на иголках 如坐针毡&lt;br /&gt;
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(14)действия громче слов 事实胜于雄辩&lt;br /&gt;
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(15)зарыть талант в землю 埋没人才&lt;br /&gt;
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(16)висеть на волоске 千钧一发&lt;br /&gt;
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(17)лить как из ведра 倾盆大雨&lt;br /&gt;
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The idioms in the above examples are completely equivalent in image, structure or meaning in Russian and Chinese, so Chinese idioms can be used for literal translation. &lt;br /&gt;
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In fact, in the two languages, idioms with the same image, structure, and meaning are still in the minority, so it is more common to translate Russian idioms into non-Chinese idiom sentences or vocabulary. E.g:   &lt;br /&gt;
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настоять на своем 坚持自己&lt;br /&gt;
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камень с души свалился 心里的一块石头落地&lt;br /&gt;
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связать свою судьбу 把自己的命运与……相连&lt;br /&gt;
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быть на голову 高出一头&lt;br /&gt;
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вбивать в голову 往脑子里灌&lt;br /&gt;
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блеснуть метеором 像流星一样一闪而过&lt;br /&gt;
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с мизинец 小拇指这么大&lt;br /&gt;
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It is not difficult to find that the literal translation method can completely retain the original appearance of the idiom, show the common concept of human understanding of the world, and be beneficial to the cultural exchange between China and Russia.&lt;br /&gt;
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'''3.2 Free translation'''&lt;br /&gt;
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Another method commonly used in the Chinese translation of Russian idioms is free translation. Free translation is to readjust the structure of the original text on the basis of keeping the original meaning of the idiom unchanged, and then reconstruct the Russian idiom with the way of thinking and expression in Chinese. This is because the figurative images used in many Russian idioms are inconsistent with those used in Chinese. If the original image is used in translation, it will cause a barrier to understanding. The advantage of free translation of Russian idioms is that it eliminates obstacles to understanding, but the disadvantage is that it cannot completely retain the original style and cultural characteristics. E.g:&lt;br /&gt;
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(1)В Тулу со свим самоваром не ездят.&lt;br /&gt;
直译：去图拉不用带自己的茶炊。&lt;br /&gt;
意译：多此一举&lt;br /&gt;
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(2)Честь лучше бесчестья.&lt;br /&gt;
直译：尊重比不尊重好。&lt;br /&gt;
意译：礼多人不怪。&lt;br /&gt;
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(3)словно горя с плеч&lt;br /&gt;
直译：把山从肩膀下卸下&lt;br /&gt;
意译：如释重负&lt;br /&gt;
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(4)выеденного яйца не стоит&lt;br /&gt;
直译：一个空蛋壳不值钱&lt;br /&gt;
意译：鸡毛蒜皮，一文不值&lt;br /&gt;
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(5)чужими руками жар загребать&lt;br /&gt;
直译：用别人的手将红炭火拨成一堆&lt;br /&gt;
意译：坐享其成，不劳而获&lt;br /&gt;
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(6)ни рыба, ни мясо&lt;br /&gt;
直译：没有鱼也没有肉&lt;br /&gt;
意译：不三不四，不伦不类&lt;br /&gt;
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(7)лучше синица в руках, чем журавль в небе&lt;br /&gt;
直译：天上的仙鹤不如手中的山雀&lt;br /&gt;
意译：远亲不如近邻&lt;br /&gt;
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(8)На языке мед, а под лед&lt;br /&gt;
直译：嘴上甜得像蜂蜜，心里冷得像冰&lt;br /&gt;
意译：笑里藏刀&lt;br /&gt;
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(9)И на солнце есть пятна&lt;br /&gt;
直译：太阳上也有黑点&lt;br /&gt;
意译：人无完人&lt;br /&gt;
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(10)семь раз отмерь, один раз отрежь&lt;br /&gt;
直译：测量了七次后再剪裁&lt;br /&gt;
意译：三思而后行&lt;br /&gt;
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Using free translation to translate Russian idioms requires the translator to accurately understand the meaning of the original text, because cultural differences make it impossible to literally translate. Only through the translator can an unobstructed bridge between Russian idioms and Chinese idioms be built.&lt;br /&gt;
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'''4.The application of literal translation and free translation in the Chinese translation of Russian proverbs'''&lt;br /&gt;
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There are often multiple translations of the same Russian proverb in Russian-Chinese dictionaries. On the one hand, because the translator uses different translation methods; on the other hand, because Russian proverbs have very rich connotations, a translation cannot perfectly interpret the inner meaning of the proverb. According to the context and the connotation of the proverbs, the most commonly used methods of Chinese translation of Russian proverbs are literal translation and free translation.&lt;br /&gt;
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'''4.1 Literal translation'''&lt;br /&gt;
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In Russian and Chinese languages, some proverbs not only have the same meaning or implicit meaning, but also use the same or similar figurative images to express a certain kind of the same semantics, and they are completely consistent in content and form. In this case, the equivalent translation of synonymous Chinese proverbs can convey the information contained in the original image, which not only retains the rhetorical color of the original language, but also enables the reader to perfectly understand the original text. E.g:&lt;br /&gt;
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(1)Куй железо, пока горячо. 趁热打铁。&lt;br /&gt;
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(2)Беда не приходит одна. 祸不单行。&lt;br /&gt;
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(3)Сытый голодного не разумеет. 饱汉不知饿汉饥。&lt;br /&gt;
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(4)Век живи, век учись. 活到老，学到老。&lt;br /&gt;
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(5)Выше встанешь, дальше увидишь. 站得高，看得远。&lt;br /&gt;
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(6)Лучше один раз увидеть, чем сто раз услышать. 百闻不如一见。&lt;br /&gt;
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(7)Нет дыма без огня. 无火不生烟。&lt;br /&gt;
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(8)Шила в мешке не утаишь. 口袋藏不住锥子。&lt;br /&gt;
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(9)Береги платье снову, а честь смолоду. 衣服要从新的时候爱惜，荣誉要从年轻时珍惜。&lt;br /&gt;
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(10)Выше лба уши не растут. 耳朵高不过额头。&lt;br /&gt;
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(11)Для милого друга семь верст не околица. 为了好友，多绕七里也不嫌远。&lt;br /&gt;
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(12)Как Новый год встретишь, так его и проведешь. 怎么迎新年，就怎么过一年。&lt;br /&gt;
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(13)Лучше умереть стоя, чем жить на коленях. 宁愿站着死，绝不站着生。&lt;br /&gt;
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(14)Не имей сто рублей, а имей сто друзей. 宁要一百个朋友，不要一百个卢布。&lt;br /&gt;
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По одежке встречают, по уму провожают. 迎客时看衣，送客时看才智。&lt;br /&gt;
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==Dialectical thinking in arguments between literal translation and free translation 	甘奉玉	Gan Fengyu==&lt;br /&gt;
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===Abstract===&lt;br /&gt;
  As two methods of translation, how to use literal translation and free translation has always been the focus of debate between Chinese and Western translation circles. Through the study of translation methods of literal translation and free translation at home and abroad, we can know that to some extent literal translation and free translation are two relative conceptions, so there will be word-for-word translation, that is, dead translation, and excessive free translation. However, these two are only two extremes of literal translation and free translation. In fact, although there are differences in definitions and application fields between literal translation and free translation, they are unified in common translation purpose, translation procedure and translation standard. Therefore, the two are contradictory and unified in translation activities. This is also the profound embodiment of the unity of opposites in materialist dialectics.--[[User:Gan Fengyu|Gan Fengyu]] ([[User talk:Gan Fengyu|talk]]) 07:46, 10 November 2020 (UTC)&lt;br /&gt;
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===Key words===&lt;br /&gt;
literal translation, free translation, word-for-word translation, over free translation, unity of opposites&lt;br /&gt;
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===摘要===&lt;br /&gt;
  作为翻译方法，直译(literal translation)与意译(free translation)怎样使用的问题一直是一个争论中西方翻译界不休的焦点。通过对国内外直译与意译的翻译方法的研究，我们可以得知，从某种程度而言，直译与意译是两个相对的概念, 所以才会有逐字翻译，即死译，与过度意译这两个完全对立的概念。但是，这两者只不过是直译与意译的两个极端点。其实，直译和意译虽然在概念定义，适用范围上有所差异，但却又统一于共同的翻译目的、翻译过程和翻译标准中。所以两者在翻译活动中应该是既对立又统一的矛盾体。而这也正是唯物辩证法中的对立统一矛盾观的深刻体现。--[[User:Gan Fengyu|Gan Fengyu]] ([[User talk:Gan Fengyu|talk]]) 07:50, 10 November 2020 (UTC)&lt;br /&gt;
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===关键字===&lt;br /&gt;
直译； 意译； 死译； 过度意译； 对立统一&lt;br /&gt;
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===Introduction===&lt;br /&gt;
  Throughout the translation history at home and abroad, the literal translation and free translation have always been a heat discussion in the translation circles. Someone absolutely approve literal translation and demean free translation, even pursue a dead translation, which creates an translated text difficult to understand. While some other people absolutely agree with free translation even advocate random acts, which means a random deletion in the translation practices and creates anther entirely different text. However, there are also a number of translators who have recognized that these two translation methods are not totally opposite. So they adopt a compromise and flexible way. That means they will choose the most appropriate one depending on the text demanding. Therefore, we can deduce from it that this eclectic translation is consistent with the Contradiction view of Unity of Opposite in Materialist Dialectics. In fact, literal translation and free translation are right a set of contradictions which are both opposite and unified. They complement each other into an integral one.&lt;br /&gt;
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===1.Dialectic thinking of the Unity of opposites===&lt;br /&gt;
===2.Word-for-word translation===&lt;br /&gt;
===3.Over free translation===&lt;br /&gt;
===4.Eclectic translation===&lt;br /&gt;
===5.Opposition and unity between literal translatiuon and free translation===&lt;br /&gt;
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===5.1 Opposition===&lt;br /&gt;
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===5.1.1 Opposition in definition===&lt;br /&gt;
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===5.1.2 Opposition in application fileld===&lt;br /&gt;
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===5.2 Unity===&lt;br /&gt;
===5.2.1 Unity in translation goal===&lt;br /&gt;
===5.2.2 Unity in translation procedure===&lt;br /&gt;
===5.2.3 Unity in translation standard===&lt;br /&gt;
===6.Conclusion===&lt;br /&gt;
===Bibliography===&lt;br /&gt;
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== Peter Newmark’s Improved Views on Literal Translation and Free Translation 赵茜 Zhao Xi==&lt;br /&gt;
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='''Document Translation'''=&lt;br /&gt;
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==On translation of official documents of CangNan County	吴恺	Wu Kai==&lt;br /&gt;
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On Translation of Official Documents of Cangnan County&lt;br /&gt;
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Japanese Language and Literature, School of Foreign Languages, Hunan Normal University, Wu Kai--[[User:Wu Kai|Wu Kai]] ([[User talk:Wu Kai|talk]]) 04:45, 2 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
==='''Abstract'''===&lt;br /&gt;
As one of the forefronts of Zhejiang’s opening-up cause, Cangnan County in Zhejiang Province has been enjoying a rapid development and an ever-growing degree of opening-up with lasting vitality as it’s supported by national policies and nourished by the dividends of economic globalization since China's reform and opening-up. As China has ushered in a period of major changes rarely seen in a century, Cangnan County is also facing new opportunities and challenges. Under the background of this era, Cangnan County is expected to make good use of its own advantages, especially the geographical ones—it is close to countries and regions including Japan, South Korea, and Taiwan—and should spare no efforts to achieve a higher level of opening-up, and, in turn, further promote its development. As an embodiment of the collective will of the people of Cangnan County, the official document is one of the best manifestations of its governance and stability control capabilities. For this reason, the research on how to translate official documents is of great significance for that it offers a great opportunity for Cangnan County to re-examine itself and to show the rest of the world its achievement in building a culture-enriched county.&lt;br /&gt;
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==='''Key words'''===&lt;br /&gt;
 official document translation, Cangnan County, opening-up, Japan, South Korea&lt;br /&gt;
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==='''摘要'''===&lt;br /&gt;
自中国改革开放以来，浙江省苍南县作为全浙江对外开放的前沿阵地之一，得到了国家政策支持和经济全球化红利的滋润，苍南县发展水平与对外开放程度日新月异，全县活力持久带劲。随着中国迎来“百年未有之大变局”，苍南县也面临着新的机遇和挑战，在此时代背景下，苍南县应该利用好自身优势，特别是临近日本、韩国、台湾等国家与地区的地理优势，努力开展更高层次、更高水平的对外开放事业，促进苍南更好的发展。为此，作为苍南县人民集体意志的体现，苍南县的公文就是对外展示其治理水平、稳控能力的最好的体现之一。而对于苍南县公文的如何翻译的研究，是促使苍南县重新审视自己、推进苍南人文县情传播海外的良机，意义重大。&lt;br /&gt;
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==='''关键词'''===&lt;br /&gt;
公文翻译  苍南县  对外开放  日本  韩国&lt;br /&gt;
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==='''I. System and Translation of Official Documents of Cangnan County'''===&lt;br /&gt;
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The unique official document system adopted by Chinese government agencies is a special integration of the thousands-of-years excellent political traditions in China and the essence of the organizational structure of the socialist regime. As a county-level unit in China's local administrative structure, Cangnan County has an official document system that is consistent with the national ones in general while has its own features. Official documents of Cangnan County can be basically divided into the following types of writing: resolutions, decisions, orders, bulletins, announcements, notifications, opinions, notices, reports, requests for instructions, approvals, proposals, letters, and minutes. Above-mentioned categories are collectively known as official documents. Besides, there are also some types of practical writing, including summaries, plans, notes, memos, briefings, speeches, manuals and so on, that are often used in our day-to-day work.&lt;br /&gt;
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In addition to those characteristics of the official documents that are commonly seen in China, official documents of Cangnan County also have its own features, which is mainly reflected in the aspect of proprietary terminology. Cangnan County, which used to be a part of Pingyang County in Zhejiang Province, was officially designated as a county in 1981 with the approval of the Central Government. It takes its name Cangnan, which means “on the south of the Yucang Mountain”, from its geographical location. As a relatively young county-level administrative unit in China’s administrative divisions, Cangnan County has a complex natural endowment and cultural environment, which is the reason why there are many special proprietary terms used in the official documents of Cangnan County, such as “Beautiful South Gate of Zhejiang Province”, “Southern Ouyue (an ancient kingdom in modern Wenzhou and Taizhou)” , “South Gate of Jiangsu-Zhejiang Region” and so on. Moreover, Cangnan is also the birthplace of the “Wenzhou Model”. Since the implementation of policy for the exchange of production materials and commercial grains in 1984, Cangnan has become an important base for the experiments and development of Wenzhou's private economy and market economy, and, thus, has made a significant contribution to the great cause of China's reform and opening-up.&lt;br /&gt;
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To conclude, the unity of the official document system viewed from the national scope of China and the uniqueness of the official document system viewed from the local scope of Cangnan area are both reflections of the integration of economic, political, and cultural elements. Therefore, when translating the terms and sentences in these official documents, obviously, it is almost impossible to follow general translation theories, such as Yan Fu’s “faithfulness, expressiveness and elegance” theory which applies to literature translation, and Christiane Nord’ Skopos theory which emphasizes schematic analysis. Due to the features of the official documents of Cangnan County, it is hard to imagine the consequence it will cause if those Cangnan and Chinese elements they contain are missed when translating them. Therefore, the starting point for the translation and research of Cangnan official documents should be analyzing the official document itself, but not choosing which translation theory to apply.&lt;br /&gt;
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The translation method focusing on the official documents themselves is undoubtably the one that emphasizes the content while manages to achieve a similarity in form. Thus, the translation theory that meets the requirements of official document translation in Cangnan County shall be the functional equivalence theory of the American linguist Eugene A. Nida. Eugene A. Nida argued in his theory that translation is to use the most appropriate, natural and equivalent language to reproduce the informational function of the source language both semantically and stylistically. Nida’s definition of translation specified that translation is seeking equivalence not only in lexical meaning, but also in semantics, style and literary form. Translation should convey both the denotative and connotative meaning of a message. Regarding the equivalence of translation, he believed that the equivalence consists of four parts: lexical equivalence, syntactic equivalence, textual equivalence, and stylistic equivalence. Among the four aspects, he emphasized that the meaning the core and most important part, followed by the form. The form of a text is likely to conceal the cultural connotation of the source language and may, therefore, hinder cultural exchanges. Based on the above, the reasons why the functional equivalence theory is applicable to official document translation in Cangnan County can be concluded as follows:&lt;br /&gt;
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First, the functional equivalence theory advocates that the target text should be equivalent to the source text both semantically and culturally. Official documents of Cangnan County are carriers of profound political culture with Chinese characteristics and the cultural environment in Cangnan. When translating them, in addition to showing the political consciousness and judicial authority of Cangnan government agencies, the local culture of Cangnan must also be reflected in the translations.&lt;br /&gt;
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Second, the functional equivalence theory suggests that if the lexical meanings and cultural elements cannot be taken into account at the same time, the translator then may give up the equivalence in form and try to reproduce the semantic and cultural meaning of the source text by changing the form of the sentence. There are many specialized terms with Chinese characteristics and Cangnan’s characteristics in official documents of Cangnan County. When translating them, once there is no corresponding expression in the target language, other forms of expression must be adopted to retain the meanings of those specialized terms as much as possible.&lt;br /&gt;
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Third, the functional equivalence theory proposes that if the change in form is still not enough to express the semantic and cultural meaning of the expression in the source language, the translation technique of “heavy damage” can be adopted to resolve cultural differences , so that the source language and the target language can achieve equivalence in semantic meaning. “Heavy damage” refers to the transformation of the deep structure of the source language into the surface structure of the target language, that is, expressing the cultural connotation of the source text with expressions of the target language. It cannot be ruled out that there are words and sentences in the official document of Cangnan County that cannot be translated, and when this happens, the translator can only rely on his translation techniques and understanding ability to process them creatively.&lt;br /&gt;
Above are simply macro analyses of the official document system in Cangnan County, and when it comes to specific analyses, challenges we face will only be severer.&lt;br /&gt;
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==='''II. Stylistic Features and Translation of Official Documents in Cangnan County'''===&lt;br /&gt;
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Looking at the official documents of Cangnan County from the micro level, we can work on the study of its translation based on the following characteristics.&lt;br /&gt;
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'''1. Details and Accurate'''&lt;br /&gt;
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As an officially-written document geared for the needs of our people, wording of the official documents of Cangnan County has a very specific orientation. Almost all content words have very clear meanings and connotations.&lt;br /&gt;
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For example, the sentence “经研究，县政府决定召开市对县安全生产巡查反馈会暨突出问题集中教育警示会，现将有关事宜通知如下。(As discussed, the county government decided to convene a feedback meeting on city-to-county inspections of production safety and a meeting for education and warning on outstanding issues. The relevant matters are hereby notified as follows.)” in the document 《苍南县人民政府办公室关于召开市对县安全生产巡查反馈会暨突出问题集中教育警示会的通知》(“Notice of the Office of the People's Government of Cangnan County on Convening a Feedback Meeting on City-to-County Inspections of Production Safety and A Meeting For Education and Warning On Outstanding Issues”) (the office of the People's Government of Cangnan County on June 8th, 2020) conveys several points very accurately and clearly, including the decision maker, the type, content and theme of the meeting. Therefore, special attention must be paid to the integrity of the information delivered when translating this sentence. For example, it is translated into Japanese as “討議を通じて、県政府は県の安全生産状況に対する市政府の巡査結果反映会及び顕著問題教育警告会を開催することが決定した。関連事項を以下のようにお知らせする。”&lt;br /&gt;
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'''2. Precise and Compact'''&lt;br /&gt;
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The role of official documents is to exchange formal information between the upper and the lower, the people and the officials, and the relevant departments. Therefore, the wording of the official documents must be rigorous. No slang and loose sentences should be used, and excessive use of parentheses and descriptive modifiers should be avoided. Official documents of Cangnan County follow this rule as well, in which there will never be informal expressions like daily spoken words.&lt;br /&gt;
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For example, the expression “三、决策目录施行动态管理，因工作需要增减或变更重大行政决策事项的，承办单位应按照相关规定程序提请调整。(Third, the decision catalogue shall be managed in a dynamic way, the undertaker shall submit application for adjustments in accordance with the relevant regulations if any increase/decrease or change shall be made to the major administrative decision-making matters because of the need of actual work.)” in the document《关于公布苍南县2020年度重大行政决策事项目录的通知》(“Notice on Issuing the 2020 Annual Catalogue of Major Administrative Decision-Making Matters of Cangnan County”) (the office of the People's Government of Cangnan County on Sept. 20th, 2020) When translating this sentence into Japanese, the translator shall fully considers the preciseness of the original expression, and translate it as “三つ目、戦略目録動的管理施行、仕事需要によっての増減または変更が必要な場合、請負機構は関連規定の手順に従って調整を提出しなければならない。”&lt;br /&gt;
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'''3. Programmed and Standardized'''&lt;br /&gt;
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The purpose of official documents requires a stable and routine writing program so that the official business can be conducted in an orderly manner. It is essential that the document writing is reasonably programmed. It allows the officer to know what it is and what to do at a glance if a standardized official document program is followed. The standardization of the official documents of Cangnan County can be regarded as a tricky feature in their translation.&lt;br /&gt;
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For example, the expression “各乡镇人民政府，县政府直属各单位 (the people's government of all townships and towns and all directly affiliated institutions of the people’s government of Cangnan County)” in the document《关于公布苍南县2020年度重大行政决策事项目录的通知》(“Notice on Issuing the 2020 Annual Catalogue of Major Administrative Decision-Making Matters of Cangnan County”) (the Office of the People's Government of Cangnan County on Sept. 20th, 2020) is obviously a standardized addressing of the receiving units of an official document, and it should be translated into Japanese as “各郷鎮人民政府、県政府直属の各部門”.&lt;br /&gt;
Viewing from a micro perspective, we may find that special attention should be paid to many precise details when translating those official documents. It is of great significance that, during the cause of reform and opening-up, we strike a balance between the macro level and the micro level in official document translation, which will serve as a stage for Cangnan County to show itself to Japan, South Korea and other East Asian countries and regions.&lt;br /&gt;
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==='''III. Translation of Official Documents of Cangnan County under the Context of the Japanese Language'''===&lt;br /&gt;
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Cangnan County is one of the nearest administrative units to Japan in China, and Okinawa Prefecture in Japan and Cangnan County are neighbors facing each other across the sea. Furthermore, Cangnan County itself has ports in Xiaguan, Pacao, Yanting, Dayu and other places, and has the basic conditions for conducting small transactions of freights with Okinawa. However, due to the inadequacy policies, laws and regulations, a large portion of Japan’s trade with China, especially with Zhejiang Province, is still conducted in the three port cities, namely Ningbo, Zhoushan, and Hangzhou. Cangnan’s geographical advantages have never been given to full play. To Japan, Cangnan is not a total stranger. Wenzhou City has a great influence upon Japanese culture and history. Special local products such as Wenzhou green tea and Wenzhou satsuma orange are very attractive to Japanese people. Many of the business exchanges during the Kamakura Bakufu in Japan were happened between Hakata merchants and Wenzhou people. As an important subordinate region of Wenzhou City, Cangnan County naturally has left an impression on Japanese people when it comes to China.&lt;br /&gt;
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If Cangnan hopes to lay a foundation for the future cooperation with Japan through its cause of opening up to the outside world, it is of great importance that we study the methods and techniques to make the translation of Cangnan’s official documents to meet the specific context of the Japanese language, which is also a part of the cultural exchanges that will facilitate economic and trade cooperation between Japan and China. The political status of Cangnan County is equivalent to the one of regular cities and special wards in Japan, but this does not mean that the official documents of Cangnan County can be regarded as equivalents to the official documents released by the governments of the regular cities and special wards in Japan, and there are huge differences between their respective official documents in form, wording, Cultural connotation and etc. To better translate Cangnan official documents under the context of Japanese language, the following aspects must be paid attention to:&lt;br /&gt;
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1. Detailed Comparison of Types&lt;br /&gt;
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In the Japanese official document system, the word “公文” is different in meaning from the word “公文” in Chinese official document system. In Chinese “公文” means government official documents, while in Japanese “公文” generally refer to legal documents that have the force of law and the term “公文書” is the one that refers to government official documents, which roughly includes “外交文書” and “起案文”, “通達” , “命令”, “許可”, “通知書” and so on . When translating official documents of Cangnan County into Japanese, attention should be paid to the transformation of the types of the official documents. The classifications of official documents in China and Japan are different from each other.&lt;br /&gt;
For example, when translating documents such as “proposal letter”, “report” and the like into Japanese, the title should be translated as “建言書” and “報告書”, while “命令(order)”, “通知(notice)”, “提案(Proposal)” and etc. need no translation and can be titled with the original characters directly as “命令”, “通知”, “提案”, and can also be further translated into “命令状”, “通知書”, “提案書”. Those reflect the characteristics of the division of the types of the official document system in Japan.&lt;br /&gt;
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2. Careful Consideration of the Translation of Chinese Characters&lt;br /&gt;
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There are a large number of Chinese characters in Japanese. This will for sure be an advantage when translating official documents of Cangnan County into Japanese, however, at the same time, this is also a huge disadvantage. After all, those Chinese characters are Japanized Chinese characters, and their meanings and usages are more or less different from the original ones in Chinese.&lt;br /&gt;
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For example, the expression “设定全县森林防火期(setting the season of forest fire prevention)” in the document 《苍南县应急管理局局长王再忠关于&amp;lt;苍南县人民政府关于做好森林防火期护林防火工作的通告&amp;gt;的政策解读》(“Policy Interpretation Of ‘Notice of Doing Forest Protection and Fire Prevention during the Season of Forest Fire Prevention by the People's Government Of Cangnan County’ by the Director of Cangnan Emergency Management Agency Wang Zaizhong”) in could be translated character by character into Japanese as “全県域森林防火期間設定”. However, expressions such as “野外火源如何管理” cannot be translated in the same way, and must be processed accordingly and translated into Japanese as “野外の火の元が如何に処理すること”. When translating official documents of Cangnan County into Japanese, the translators must reject the preconceived thinking and native Chinese thinking, or it will lead to irreversible misunderstandings and mistakes.&lt;br /&gt;
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3. Mastery of the Equivalence of Semantic Meaning&lt;br /&gt;
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Chinese is an isolating language, in which the grammatical meaning is reflected by the order of words, while Japanese is an agglutinative language, in which auxiliary words and flexible usages of vocabulary are adopted to reflect the grammatical meaning. This requires the translators to have mastery of the equivalence of semantic meanings when translating official documents of Cangnan County into Japanese and try to achieve perfect equivalence in official document translation.&lt;br /&gt;
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For example, there is a expression as “全体公民必须认真贯彻‘以人为本、预防为主、积极扑救、有效消灾’的森林防灭火工作方针，一旦发现森林火灾，要立即向当地人民政府或森林防灭火指挥部办公室报告(all citizens must seriously implement the working policy of forest fire prevention and firefighting ‘people-oriented, prevention-focused, active in firefighting, effective in disaster relief’, once a forest fire is detected, it must be reported to the local people’s government or the forest fire prevention and firefighting headquarters office immediately)” in the document 《苍南县应急管理局局长王再忠关于&amp;lt;苍南县人民政府关于做好森林防火期护林防火工作的通告&amp;gt;的政策解读》(“Policy Interpretation Of ‘Notice of Doing Forest Protection and Fire Prevention during the Season of Forest Fire Prevention by the People's Government Of Cangnan County’ by the Director of Cangnan Emergency Management Agency Wang Zaizhong”). When dealing with long and complex sentences, the translator must be flexible in using translation techniques to decompose the sentences and translate them step by step, focusing on the balance between the form of the sentence and its semantic meaning. Based on this principle, the abovementioned sentence could be translated into Japanese as “人間本位、予防軸化、積極救助、有効消災という森林防火作業方針は全県民が必ず強固に守らなければならない。林に火事が発見された際、直ちに所轄人民政府や森林防火指揮部執務室に報告すること。”&lt;br /&gt;
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There is no doubt that, in terms of four-character idioms, allusions, new words of the era and etc., the translation of official documents of Cangnan County under the context of the Japanese language still has a long way to go, but the part that we should pay most attention to in translation is always the differences in culture between the source language and the target language. Only by keeping this basic point in mind at all times, will there be no huge mistakes being made when translating official documents of Cangnan County into Japanese.&lt;br /&gt;
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==='''Ⅳ. Translation of Official Documents of Cangnan County under the Context of the Korean Language'''===&lt;br /&gt;
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Zhejiang Province and South Korea have laid a good foundation for economic and trade cooperation projects, and a framework that is comprehensive, wide-ranging, and multi-level has been established for Zhejiang-South Korea cooperation. The advantages of the two regions are obviously complementary and the development potential for both sides and in between is huge. In September 2016, the Zhejiang China-Korea (Quzhou) Industrial Cooperation Park was approved as the first batch of “Zhejiang International Industrial Cooperation Parks” in Zhejiang Province. The total planned area is about 3,000 acres and the total planned investment is 12 billion yuan. Represented by the Zhejiang China-Korea Industrial Cooperation Park, a large number of economic and trade cooperation projects has been carried out with South Korea by Zhejiang Province. As an indispensable part of Zhejiang Province, Cangnan County is facing a huge gap in the cultural exchanges and economic cooperation with South Korea. How to elevate the level of Cangnan’s opening up to the outside world and advancing Cangnan’s economic, trade and cultural cooperation with South Korea is a question that is well worth exploring. Although Cangnan is further away from South Korea compared with regions in the north of Zhejiang, geographic location should never be a factor that hindering Cangnan’s economic, trade and cultural cooperation with South Korea. In an era of ever-deepening globalization, it is of great significance that we think about how to develop and promote the economic and trade and cultural cooperation between Cangnan and South Korea.&lt;br /&gt;
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Northern Zhejiang is a key area for economic, trade and cultural cooperation with South Korea. As the south gate of Zhejiang Province, if Cangnan County could open the door of economic, trade and cultural cooperation to South Korea, then this will inevitably bring extraordinary development opportunities to southern Zhejiang and make the pattern of Zhejiang and South Korea’s economic and cultural cooperation more balanced and healthy. The political status of Cangnan County is equivalent to the one of si(city), gu (district), and gun(county) in South Korea. Because of some historical reasons, South Korea is greatly influenced by Chinese culture. From the Three Kingdoms era of Joseon, to the Unified Silla Dynasty, the Wang’s Goryeo Dynasty, and the Yi’s Joseon Dynasty, the basic system of administrative divisions in South Korea is almost the same as the one in China, so the official document system of cities, districts, and counties in South Korea can be regarded as basically equivalent to the official document system of Cangnan County with only slight differences originated from the localized political and cultural traditions and the basic social condition of South Korea. Therefore, there are relatively fewer difficulties of translation when translating official documents of Cangnan County into Korean, aside from the barriers caused by Korean Hangul words. The translation of official documents of Cangnan County under the context Korean language requires attention to the following aspects:&lt;br /&gt;
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1. The Combination of Chinese characters and Hangul&lt;br /&gt;
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Modern Korean uses Hangul as the main written characters, but this does not mean that there is no place for Chinese characters in the Korean system. Since the launch of the abolition of Chinese characters movement in South Korea in the 1970s, Hangul did exactly achieved an overall penetration of every aspect of their daily life, but when it comes to important documents, Chinese characters still reserve a seat in the arena of South Korea’s history. Furthermore, a higher level of talent training is required now to meet the need of South Korea’s economic and social development, and the mastery of sinology has become, among all the necessary skills, one of the most straightforward evaluation criteria to access the qualified personnel. Thus, South Korea has restarted the Chinese character teaching movement. Nowadays, the official document system in South Korea has become one in which Hangul serves as the main language and the mixed use of Chinese characters and Hangul serves as a supplement. Just as how the mixed use of kana and Chinese characters in Japanese official documents may help in its translation, the mixed use of Chinese characters and Hangul also greatly facilitate the translation of official documents of Cangnan County into Korean. However, because Chinese characters used in Korea are composed of traditional Chinese characters and a small number of Korean self-made Chinese characters, we can not take it for granted that it is advisable to translate them word by word.&lt;br /&gt;
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For example, the title of the document《苍干任〔2020〕18号 王再忠等同志的任命》(“Cangnan Cadre Appointment [2020] No. 18: Appointment of Wang Zaizhong and etc.”) (the Office of CPC Cangnan Party Committee on March 27th, 2020) can be translated with the mixed use of Chinese characters and Hangul into Korean as《蒼南縣의 幹部任命〔2020〕18號 王再忠등 同志의任命》. Also, it be translated into Korean with Hangul alone as《참남현의 간부임명〔2020〕18호 왕재충등 동지의임명》.&lt;br /&gt;
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2. The Usage of Refined Language&lt;br /&gt;
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In recent years, South Korea has carried out reforms of the official document system, urging that the South Korean government agencies at all levels should use “refined(or purified) language”, that is, to write and publish official documents with words that are easy for the public to understand and have explicit meanings, reducing the cost of communication between the government and the public and, in this way, building a closer relationship between the government and the people, so that civil servants can communicate with the people more effectively. Refined language is a kind of common vernacular that differs from the official language. Although this trend of the wording of Korean official documents is not unconditional, but when compared with official documents of Cangnan County, which emphasize the solemnity and formality of official documents, this trend is the part that the translator has to pay his attention to.&lt;br /&gt;
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For example, when translating the expression “为加强行政规范性文件管理，切实推进依法行政，加快法治政府建设 (To strengthen the management of administrative normative documents, promote the administration in accordance with law, and accelerate the construction of a government ruled by law)” in the document《苍南县人民政府关于公布县政府及县政府办公室行政规范性文件清理结果的通知（有效）》(“Notice of the Office of the People's Government of Cangnan County on the Announcement of the Results of the Cleanup of the Administrative Normative Documents of the County Government and the County Government Offices (Effective)”) (the Office of the People's Government of Cangnan County on October 23th, 2020) , blunt expressions may not be that applicable and this expression translated into Korean in a more public-friendly way as “행정 규범적인 문서관리를 강화하기 위해, 법에따라 행정을 철저히 추진하고 법치정부의 건설을 가속화시킨다.”&lt;br /&gt;
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3. Mastery of the Equivalence of Semantic Meaning&lt;br /&gt;
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Like Japanese, Korean is also a typical agglutinative language. A sentence is formed by connecting independent words with various auxiliary words, and with a subordinating conjunction at the end of the sentence. Auxiliary words are just like glues, they exist after every subject, predicate, and object component of a Korean sentence to them together. For that these auxiliary words have no substantial meaning themselves, they must stay close to the main body in front, and a space must be put after. Therefore, when translating Chinese, which is an isolated language, into Korean, which is an agglutinative language, it is necessary to have mastery of the equivalence of the semantic meaning of the expression.&lt;br /&gt;
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For example, when translating the expression “全面实施全民参保计划，做好参保情况清查，提升参保信息质量，清理重复参保，稳定持续参保，减少漏保断保，实现应保尽保。(Fully implement the national social security plan, do a good job in checking the coverage of the social security, improve the quality of the collection of the information of the insured, clean up repeated insureds, stabilize the renewal of the social security, reduce the interruption of the social security, and achieve full social security coverage.)” in the document《关于做好2021年度城乡居民基本医疗保障工作的通知》(“Notice on Doing a Good Job in Basic Medical Security for Urban and Rural Residents in 2021”)( the Office of Medical Security Bureau of Cangnan County on November 5th, 2020), the translator should pay attention to the equivalence of semantic meaning of this long sentence and translated it into Korean as “전국민기본의료보험가입계획을 전면적으로 실시하고 기본의료보험가입상황을 철저히 조사하며 기본의료보험가입 정보의 질을 향상시키고 중복기본의료보험가입을 청산하며 안정적이고 지속적인 기본의료보험가입을 하며 보험누락을 줄이고 기본의료보험가입 을 실현해야 한다.”&lt;br /&gt;
&lt;br /&gt;
==='''Ⅴ. Studies of Official Document Translation and the Cause of Opening-up in Cangnan County'''===&lt;br /&gt;
&lt;br /&gt;
Based on the abovementioned basic characteristics of the official document system of Cangnan County, the notes for official documents translation under the context of the Japanese language and the notes for official documents translation under the context of the Korean language, we can see that official documents of Cangnan County is not as difficult to handle as something untranslatable. Cangnan County enjoys a good geographic location: it is located in the coast of the East China Sea, and is close to both Japan and South Korea, two strong economies in East Asia. However, Cangnan County has not yet made use of these favorable conditions to the fullest to promote cultural cooperation and trade with the two countries. Cangnan’s opening up to the outside world requires innovative thinking and an elaborate layout. Studies on the translation of official documents of Cangnan County, especially the translation of official documents under the context of the Japanese and Korean language, will help to explore the cultural spirit of the government institutions, and play an important role in building a good image of Cangnan County in East Asia and laying a foundation for Cangnan's cooperation with major countries and regions in East Asia .&lt;br /&gt;
&lt;br /&gt;
The world today is undergoing profound changes rarely in a century, and so is China. The tide of history moves on and Cangnan shall not stay out of the matter, but must follow it courageously and strive to open new doors for Cangnan's opening up to the outside world through the study of the official document translation of its own.&lt;br /&gt;
&lt;br /&gt;
===References===&lt;br /&gt;
&lt;br /&gt;
[1]Ziqi LIU. The Application of Functional Equivalence Theory in Scientific Translation：A Case Study of the Translation of Shipbuilding English[J]. CREATIVITY AND INNOVATION,2019,1(3).&lt;br /&gt;
&lt;br /&gt;
[2]Mu Dan. Discussion on Translation Activities Under the Guidance of Functional Equivalence Theory[J]. International Journal of Education and Management,2018,3(2).&lt;br /&gt;
&lt;br /&gt;
[3]李琳琳. 功能对等翻译理论与关联翻译理论比较研究[D].辽宁师范大学,2006.&lt;br /&gt;
&lt;br /&gt;
[4]赵娟廷. 汉韩公文语体对比研究[D].复旦大学,2003. &lt;br /&gt;
&lt;br /&gt;
[5]周萱. 《中国共产党怎样解决民族问题》（节选）中韩翻译报告[D].青岛大学,2017.&lt;br /&gt;
&lt;br /&gt;
[6]张利军. 《教学的游戏性研究》的汉日翻译实践报告[D].广西师范大学,2019.&lt;br /&gt;
&lt;br /&gt;
[7]栾亚琼. 《2015年山东省政府工作报告》汉日翻译实践报告[D].曲阜师范大学,2016.&lt;br /&gt;
&lt;br /&gt;
[8]占丽华. 源流与演变—日本地方公文书馆发展路径研究[D].山东大学,2020.&lt;br /&gt;
&lt;br /&gt;
[9]任清萍. 功能翻译理论视角下政府工作报告日译研究[D].外交学院,2020.&lt;br /&gt;
&lt;br /&gt;
[10]孙慧. 产业竞争力与区域经济增长[D].苏州大学,2006.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
--[[User:Wu Kai|Wu Kai]] ([[User talk:Wu Kai|talk]]) 04:45, 2 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
==The Translation Process and Methods of Translating English Long Sentences	周艺文	Zhou Yiwen==&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
===Abstract===&lt;br /&gt;
===Key words===&lt;br /&gt;
===摘要===&lt;br /&gt;
===关键词===&lt;br /&gt;
===Introduction===&lt;br /&gt;
&lt;br /&gt;
===Conclusion===&lt;br /&gt;
===Bibliography===&lt;br /&gt;
&lt;br /&gt;
==Chinese-English Translation of News Headlines From the Perspective of Skopos Theory	张维虹	Zhang Weihong==&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
==='''Abstract'''===&lt;br /&gt;
&lt;br /&gt;
==='''key words'''===&lt;br /&gt;
&lt;br /&gt;
News headlines; Skopos theory; translation&lt;br /&gt;
&lt;br /&gt;
==='''摘要'''===&lt;br /&gt;
社会的飞速发展使得人们的阅读方式发生了巨大的改变, 通过阅 读新闻标题来获取消息和了解事实, 成为大多数人的不二之选, 新闻标题 翻译也就越来越具有其必要性。 新闻标题的重要性堪比一部使人印象深刻 的电影名, 一则响亮的广告语, 一本撩人心弦的书名。 较之娱乐新闻, 时 政新闻略显严肃客观, 又因当今科技物质的飞速发展, 时政新闻的点阅数 量明显少于以消遣娱乐为目的的娱乐新闻。 怎样提高时政新闻的阅读量, 怎样使得时政新闻如同娱乐新闻一般深受广大人民的喜爱, 这不仅是新闻 编辑者们的挑战, 也是新闻翻译界的难题。 本文以德国功能派翻译目的论 为理论指导, 结合新闻学及编辑学的相关学科知识, 通过对中英时政新闻 标题的对比分析, 旨在对时政新闻标题的汉译英提出翻译策略, 让国外读者正确客观无误的了解中国的时事政策。&lt;br /&gt;
&lt;br /&gt;
==='''关键字'''===&lt;br /&gt;
&lt;br /&gt;
===Introduction===&lt;br /&gt;
&lt;br /&gt;
===Skopos Theory===&lt;br /&gt;
&lt;br /&gt;
===Features of News Headlines===&lt;br /&gt;
&lt;br /&gt;
===Chinese-English Translation Methods of News Headlines from the Skopos Perspective===&lt;br /&gt;
&lt;br /&gt;
===Conclusion===&lt;br /&gt;
&lt;br /&gt;
===Bibliography===&lt;br /&gt;
&lt;br /&gt;
==On Chinese-English Translation of Public Service Advertisements From the Perspective of Text-type Theory  司妤  Si Yu==&lt;br /&gt;
&lt;br /&gt;
==='''Abstract'''===&lt;br /&gt;
&lt;br /&gt;
==='''key words'''===&lt;br /&gt;
&lt;br /&gt;
==='''摘要'''===&lt;br /&gt;
&lt;br /&gt;
==='''关键字'''===&lt;/div&gt;</summary>
		<author><name>Song Jianru</name></author>
	</entry>
	<entry>
		<id>https://bou.de/u/index.php?title=History_of_Translation_Studies_8&amp;diff=107943</id>
		<title>History of Translation Studies 8</title>
		<link rel="alternate" type="text/html" href="https://bou.de/u/index.php?title=History_of_Translation_Studies_8&amp;diff=107943"/>
		<updated>2020-12-06T15:07:16Z</updated>

		<summary type="html">&lt;p&gt;Song Jianru: /* II Introduction of House’s Translation Quality Assessment Model */&lt;/p&gt;
&lt;hr /&gt;
&lt;div&gt;这里是《翻译学史》的书稿第八部分(Part 8)。麻烦各位同学看一下已经存在的章回（样品），自己再加进去新的一个章回（就是你们的学期论文）。请也帮助同学们把他们的论文改正。这样多次修改，大家的论文会越来越好。&lt;br /&gt;
&lt;br /&gt;
学期论文（结合学期所学，撰写一篇5000以上单词的英文论文，按照专业杂志的格式，题目、摘要、关键词和参考文摘需要英中，文章英）。学期论文成绩占70%，平时成绩（含课堂表现、展示及作业）占30%。&lt;br /&gt;
&lt;br /&gt;
*Link back to course homepage: [https://bou.de/u/wiki/Introduction_to_Translation_Studies Course Homepage Intro. to TS]&lt;br /&gt;
*Link back to the final exam paper section of the course homepage: [https://bou.de/u/wiki/Introduction_to_Translation_Studies#Final_Exam_Papers Final Exam Papers]&lt;br /&gt;
*Link to other parts of the final exam papers: [https://bou.de/u/index.php?title=History_of_Translation_Studies_1 Final Exam Papers Part 1]&lt;br /&gt;
*Link to other parts of the final exam papers: [https://bou.de/u/index.php?title=History_of_Translation_Studies_2 Final Exam Papers Part 2]&lt;br /&gt;
*Link to other parts of the final exam papers: [https://bou.de/u/index.php?title=History_of_Translation_Studies_3 Final Exam Papers Part 3]&lt;br /&gt;
*Link to other parts of the final exam papers: [https://bou.de/u/index.php?title=History_of_Translation_Studies_4 Final Exam Papers Part 4]&lt;br /&gt;
*Link to other parts of the final exam papers: [https://bou.de/u/index.php?title=History_of_Translation_Studies_5 Final Exam Papers Part 5]&lt;br /&gt;
*Link to other parts of the final exam papers: [https://bou.de/u/index.php?title=History_of_Translation_Studies_6 Final Exam Papers Part 6]&lt;br /&gt;
*Link to other parts of the final exam papers: [https://bou.de/u/index.php?title=History_of_Translation_Studies_7 Final Exam Papers Part 7]&lt;br /&gt;
*Link to other parts of the final exam papers: [https://bou.de/u/index.php?title=History_of_Translation_Studies_8 Final Exam Papers Part 8]&lt;br /&gt;
*Link to other parts of the final exam papers: [https://bou.de/u/index.php?title=History_of_Translation_Studies_9 Final Exam Papers Part 9]&lt;br /&gt;
*Link to other parts of the final exam papers: [https://bou.de/u/index.php?title=History_of_Translation_Studies_10 Final Exam Papers Part 10]&lt;br /&gt;
&lt;br /&gt;
='''History of Translation'''=&lt;br /&gt;
== Study on Brand Name Translation from the Perspective of Cultural Difference	谭鑫洁	Tan Xinjie==&lt;br /&gt;
&lt;br /&gt;
==='''Abstract'''===&lt;br /&gt;
&lt;br /&gt;
== Abstract: ==&lt;br /&gt;
&lt;br /&gt;
==='''key words'''===&lt;br /&gt;
&lt;br /&gt;
==='''摘要'''===&lt;br /&gt;
&lt;br /&gt;
==='''关键字'''===&lt;br /&gt;
&lt;br /&gt;
===Complete transcript of the content of the original work ===&lt;br /&gt;
&lt;br /&gt;
===Same style and manner of writing===&lt;br /&gt;
&lt;br /&gt;
===Equivalent effect===&lt;br /&gt;
&lt;br /&gt;
===Discussion===&lt;br /&gt;
&lt;br /&gt;
===Conclusion===&lt;br /&gt;
&lt;br /&gt;
===Bibliography===&lt;br /&gt;
&lt;br /&gt;
==A Comparative Study on the Translation History in Western Countries and China	王煜	Wang Yu==&lt;br /&gt;
===摘要===&lt;br /&gt;
翻译是一种跨文化交流活动，翻译活动加快了人类文明发展步伐，减少了人们之间的沟通障碍。随着时代的变迁，中国和西方国家逐渐形成了各自的翻译史，翻译史的研究是学科建设的一项基础工程。尽管中西方翻译史在某些方面有所差异，但却都有着各自的独特性，并对人类的翻译活动产生了巨大的影响与贡献。文章将以中国和西方国家为主要对象，从二者翻译史起始，包含阶段和各阶段代表人物，影响意义，差异性出发，对二者的翻译史进行简略的对比研究。&lt;br /&gt;
&lt;br /&gt;
===关键词===&lt;br /&gt;
翻译史；西方翻译史；中国翻译史&lt;br /&gt;
&lt;br /&gt;
===Abstract===&lt;br /&gt;
Translation is an intercultural communication activity, translation activities have accelerated the development of human civilization and reduced the communication barriers between people of different countries or nations. With time goes by, things are in a state of flux and both the western and eastern countries have gradually formed their own history of translation, the study of translation history is a basic project of discipline construction. Though there are many differences among the translation histories of western countries and China, the two kinds of translation histories are still shining their own bright unique lights and have an indelible influence and contribution to human translation activities. This paper intends to make a brief comparison of translation histories between western countries and China, which includes the origins, the stages, the representatives of the stages, the significance and influence as well as the differences of the two translation histories.&lt;br /&gt;
&lt;br /&gt;
===Keywords===&lt;br /&gt;
Translation history; Translation history of the West; Translation history of China &lt;br /&gt;
&lt;br /&gt;
===1. Introduction===&lt;br /&gt;
No matter in China or in the west, translation plays an important role in knowledge-spreading. As an indispensable part of translatology, the study of translation history has made a great influence on translation activities, it has gradually become the focus of the literary and historical circles in recent years. Translation activities can be traced back to the origin of language, and the history of translation is almost as old as language itself, it is closely related to the changes in today's society. Since the 1980s, the translation studies in the mainland of China have made remarkable progress in the curriculum design of Chinese and western translation history and the compilation of related works. In the early 1980s and 1990s, there were many related works came out one after another including A brief history of Chinese Translation: the part before the May 4th Movement（《中国翻译简史-“五四”运动以前部分》） written by Zuyi Ma, A historical manuscript of Chinese translated literature （《中国翻译文学史稿》）edited by Yugang Chen, and also the A Short History of Translation in the West（《西方翻译简史》） the author of which is Zaixi Tan. Thus, it opens the gate for the compilation of Chinese and western translation history works.（谢天振，2009） The history of western translation can be divided into five stages while the Chinese study of translation has a glorious history of more than two thousand years and has experienced five climaxes. Through the comparative study of Chinese and western translation history, it will help us to have a deeper understanding of Chinese and western translation activities and thus to gather a general full view of it, which will be a positive and meaningful attempt.&lt;br /&gt;
&lt;br /&gt;
2. The Translation History of Western Countries&lt;br /&gt;
Western translation activities are rich in a long history and a multiyear span. The history of western translation can be roughly divided into three stages: the traditional stage, the modern times and the contemporary. More specifically, it can be grouped into the ancient times, the middle ages, the Renaissance period and the time after WWⅡ.&lt;br /&gt;
&lt;br /&gt;
2.1 The First Stage: Translation in the Ancient Times&lt;br /&gt;
    &lt;br /&gt;
The translation history of western countries first began in the the 3rd century B.C. &amp;quot;In a broad sense, the earliest translation in the west is the Old Testament translated by 72 Jewish scholars in Alexandria, ancient Egypt, between the 3rd and 2nd centuries BC; Strictly speaking, the first western translation is the Greek Homer Epic Odyssey translated by Andronicus in Rome in the middle of the third century BC.”(谭载喜,2000) At the end of the 4th BC, during this time, the Greece began to decay and the Roman had became stronger and stronger with its military expansion. The expansion of the Roman Empire brought it into contact with the splendid Greek culture, therefore, the Romans not only conquered the Greek city, but also inherited and developed the brilliant achievements of ancient Greek culture, and then created a  splendid cultural of its own era after Greece. So soon began a large scale translation activities, the activity of translating and introducing Greek classical works probably began in this period.（刘军平,2009）Many famous translation theorists began to make their presences, namely Cicero, Quentin, Jerome and so on, also the famous Roman litterateurs like Andronicus, Naevius, Ennius, these great writers used Latin language to translate or adapt Homer’s epic or other Greece dramas. Started the translation tradition and promoted the birth and development of Roman literature.&lt;br /&gt;
&lt;br /&gt;
2.2 The Second Stage: Translation in the Middle Ages (4th-6th)&lt;br /&gt;
&lt;br /&gt;
2.3 The Third Stage: Translation in the Middle Ages (11th-12th)&lt;br /&gt;
&lt;br /&gt;
2.4 The Fourth Stage: Translation in the Renaissance Period&lt;br /&gt;
&lt;br /&gt;
2.5 The Fifth Stage: Translation after WWⅡ&lt;br /&gt;
&lt;br /&gt;
3. The Translation History of China--[[User:Wang Yu|Wang Yu]] ([[User talk:Wang Yu|talk]]) 08:38, 30 November 2020 (UTC)--[[User:Wang Yu|Wang Yu]] ([[User talk:Wang Yu|talk]]) 08:43, 30 November 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
==The Implications of Luther's Translation Principles amid Renaissance for Modern Literature Translation	方洁玲	Fang Jieling==&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
==Translation manipulated by ideology	许静	Xu Jing==&lt;br /&gt;
&lt;br /&gt;
==Comparison between the History of Chinese and Western Translation   周书尧   Zhou Shuyao==&lt;br /&gt;
&lt;br /&gt;
'''Abstract:'''There has a long history and culture Chinese and Western translation, and translation plays an indelible role in promoting cross-cultural communication and cultural communication. This article first discusses the history of translation in China from  four stages , then discusses the five stages of western translation history , and finally compares and analyzes the similarities and differences between Chinese and Western translation histories, and puts forward some of the author's own views.&lt;br /&gt;
&lt;br /&gt;
'''Key words:'''The history of Chinese,The history of Western,the stages of  translation history,comparison&lt;br /&gt;
&lt;br /&gt;
'''摘要：'''中西方翻译历史文化源远流长，翻译在促进跨文化交流和文化传播上承担着不可磨灭的作用。本文首先从中国的四次翻译高潮论述中国的翻译史，再从西方的五次翻译高潮探讨西方的翻译史，最后对中西方翻译史的异同进行对比分析，提出一些笔者自己的看法。&lt;br /&gt;
&lt;br /&gt;
'''关键词：'''中国翻译史，西方翻译史，翻译高潮，对比&lt;br /&gt;
&lt;br /&gt;
'''Ⅰ.Introduction'''&lt;br /&gt;
&lt;br /&gt;
Since the 1980s, the Chinese translation studies community has made remarkable progress in the establishment of Chinese and Western translation history courses and the compilation of related works.In the 1980s and early 1990s,A Brief Introduction to the History of Translation in China from Ma Zuyi and other books of Chen Yugang and Tan Zaixi were published one after another,which raised the curtain for the compilation of Chinese and Western translation history works by the domestic translation scholars.The four stages in the history of Chinese translation have promoted the development of Chinese history, culture and society to varying degrees.The same as our country, Western translation has an age-old history.In a sense, the development of Western European civilization should first be attributed to the translators.The five stages in the history of European translation have promoted the exchanges of literature, art, science and trade between countries, and to a certain extent promoted the development of Chinese translation.In fact, when we examine the development trajectory of Chinese and Western translation activities and the evolution of translation concepts together, we find that there are some similarities between Chinese translation and Western translation.Especially in the evolution of Chinese and Western translation concepts, the two have very similar evolution laws.&lt;br /&gt;
&lt;br /&gt;
='''Literal and Free Translation'''=&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
==Rethink Literal and Free Translation	彭永亮	Peng Yongliang==&lt;br /&gt;
&lt;br /&gt;
==On the Chinese Translation of A Pale View of Hills from House’s Translation Quality Assessment Model	宋建茹	Song Jianru==&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
===Abstract===&lt;br /&gt;
&lt;br /&gt;
Translation quality assessment is an integral part of translation criticism. The first TQA model with comprehensive theories and practices Juliane House represented provides a significant reference for translation exercises. ''A Pale View of Hills'', as the first work of Kazuo Ishiguro, possesses a great research value on its narrative styles by virtue of memory and topics about migrants. As of 2011 when its Chinese translation was published, no scholar has evaluated it. This study applies House’s TQA model to assess the Chinese translation of ''A Pale View of Hills'' with qualitative and quantitative analysis from lexical, syntactic and textual aspects, in a bid to examine validity of the model on novel translation, which turns out that it is an overt and high-quality translation.&lt;br /&gt;
&lt;br /&gt;
=== Key Words===&lt;br /&gt;
&lt;br /&gt;
''A Pale View of Hills''; House’s TQA model; novel translation&lt;br /&gt;
&lt;br /&gt;
=== 摘 要 ===&lt;br /&gt;
&lt;br /&gt;
翻译质量评估是翻译批评的核心课题。朱莉安·豪斯提出的第一个有完整的理论和实践的翻译质量评估模式，为翻译实践提供了重要参考。《远山淡影》是石黑一雄的处女作，其依托回忆的叙事风格和移民主题具有很高的研究价值。《远山淡影》中译本自2011年出版至今，尚未有学者对其进行评估研究。本文运用豪斯的翻译质量评估模式，采用定性与定量相结合的分析方式，从语场、语旨、语式等三个层面对原文和译文进行分析，开展《远山淡影》中译本的翻译质量评估研究，为豪斯翻译质量评估模式对小说翻译的运用进行进一步的探索和补充。通过分析，得出《远山淡影》中译本为显性翻译，翻译质量较高。''Italic text''&lt;br /&gt;
&lt;br /&gt;
=== 关键词 ===&lt;br /&gt;
&lt;br /&gt;
《远山淡影》；豪斯质量评估模式；小说翻译&lt;br /&gt;
===Introduction===&lt;br /&gt;
Translation criticism refers to the analysis and review of thoughts, activities and works of translation by virtue of relevant theories and views, in a bid to improve the overall quality of translators and translations. It is an integral part of translation studies. (Wang Enmian, 1999: 7) Translation quality assessment, as the integral and key part of translation criticism, plays a significant role in surveillance and promotion of translation quality. Among the extant translation quality assessment models, Juliane House’s ''A Model for Translation Quality Assessment and Translation Quality Assessment: A Model Revised'', based on Halliday's systemic functional linguistics and discourse analysis, are systematic, scientific and rational with a relatively complete system of parameters, quantitative methods and steps adhering to specific procedures. &lt;br /&gt;
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''A Pale View of Hills'', as Kazuo Ishiguro's first full-length novel, tells the life of the people in Nagasaki after WWII through the memory of protagonist Etsuko and explores recovery of trauma, collision between the old and new ideas, and kinship after war. The first person narrative, memory, humor and satire and international perspectives in the book became his major writing styles in the future. The novel won the Winifred Holtby Memorial Prize from the Royal Society. Its only Chinese translation at present, from Zhang Xiaoyi, is still not analyzed by the scholars. This paper uses House’s translation quality assessment model, with combination of qualitative and quantitative analysis, from field, tenor and mode to analyze the mismatches between original and translation in an attempt to assess the Chinese translation quality of ''A Pale View of Hills'' and further explore the application of House’s model in novel translation. The aim of the study is to promote scholars to regulate the behaviors of translation, to improve the quality of translation and translation evaluation, and to provide a reasonable way for establishing the interlingual conversion mechanism.&lt;br /&gt;
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The thesis consists of four chapters.&lt;br /&gt;
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After the Introduction, Chapter One gives a brief account of A Pale View of Hills and its research status, involving the author, background, content and influence. Chapter Two is a brief introduction of House’s TQA model, including its theoretic basis, parameter setting, operation steps and feasibility. Chapter Three is a detailed analysis of original and translation of A Pale View of Hills based on House’s model. Chapter Four is statement of translation quality assessment. Then we come to the last part, Conclusion.&lt;br /&gt;
===I Overview and Research Status of A Pale View of Hills===&lt;br /&gt;
''A Pale View of Hills'' is Kazuo Ishiguro's first novel, which laid a solid foundation for the formation of Ishiguro's writing style. The chapter mainly introduces the author, plot, theme and influence of the novel and analyzes its research status, in an attempt to master the material well and seek new perspectives for the paper.&lt;br /&gt;
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'''1.1 Overview of A Pale View of Hills'''&lt;br /&gt;
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Kazuo Ishguro is a noble contemporary Japanese English writer, whose novels feature first person narrative, detailed depiction of loneliness, depression, self-deception and anxiety of characters’ inner world and dual narrative strategy to deconstruct the narrator's self-identity, as well as discuss postwar trauma and migrant identity. He won Booker Prize, the British top literary prize, in 1989 and the Nobel Prize in literature in 2017. By virtue of his outstanding literary achievements, he is known as one of the Three Masters of English Migrant Literature together with Salman Rushdi and Naipaul.&lt;br /&gt;
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A Pale View of Hills, published in 1982, is Ishiguro's debut. The story, with postwar Nagasaki as its background, enjoys two clues: one is what happened when Niki (Etsuko’s little daughter) visited her mother after her sister Keiko died; the other is Etsuko’s memory about people and events in Nagasaki after the war. The two lines integrated together during the narrative, forming the illusory and imaginary impression. Many in-depth topics in this work are worth pondering: postwar trauma recovery, the collision between new and old ideas after war and discussion of family relations. Many marks in the work became his own styles: first-person narrative, memory, humor and satire, international perspectives. In addition, it won the Winifred Holtby Memorial Prize from the Royal Society and is still in print thirty years after its publication. This book, with its enormous emotion, unearths the abyss beneath the illusion of our connection to the world, whose artistic value and charm could be time-tested.&lt;br /&gt;
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'''1.2 Research Status of A Pale View of Hills'''&lt;br /&gt;
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There are 54 papers about A Pale View of Hills in domestic researches. According to the statistics from HowNet (as shown in the figure below), the number of studies on the work has been mounting, especially after Kazuo Ishiguro won the Nobel Prize for Literature in 2017. The perspectives of these researches are mainly from identity anxiety, unreliable narrative and post-war trauma. In Identity Anxiety in Kazuo Ishiguro's A Pale View of Hills, Wang Fei discusses the identity anxiety of migrants, exploring manifestations, causes and influence of such anxiety on the characters. In Memory and Narrative Unreliability of A Pale View of Hills, He Xiaobing combined with the classical narratology to analyze how unreliable narration method is presented in the work and discussed the inner world of the characters. In Trauma in Kazuo Ishiguro's A Pale View of Hills, Liu Xiaoya explores the protagonist's trauma by using Sigmund Freud’s psychoanalysis theory and trauma theory (including post-freudian psychological trauma theory), contemporary trauma culture theory along with rhetorical narrative theory.&lt;br /&gt;
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At abroad there are more perspectives about the studies of A Pale View of Hills. In addition to the main research directions of domestic scholars, such as identity anxiety of characters, unreliable narrative research and post-war trauma, cultural displacement, family relationship and the influence of region on personality presented in the works are also analyzed. The Impact of Place on Personality in Kazuo Ishiguro's A Pale View of Hills: An Eco-critical Study co-written by Awla, Yousif Hamad and Azad Sharif, from the perspective of ecocriticism, clarifies the fact that a place is able to define and guide the emotions and thoughts of characters, and analyzes the reasons why geography forms characters of people in order to draw people’s attention to the impact of surrounding environment on them. Ruth Forsythe's article Cultural Displacement and the Mother-daughter Relationship in Kazuo Ishiguro's A Pale View of Hills focuses more on the relationship between mother and daughter under cultural displacement. However, no scholars have analyzed the language itself from the perspective of systemic functional linguistics.&lt;br /&gt;
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The Chinese translation of A Pale View of Hills, Zhang Xiaoyi’s version, was published by Shanghai Translation Publishing House in 2011, and the bilingual version in 2019. Up to now, there has no translation criticism or discussion about this translation. Since 2011 when it was translated, it came to draw the attention of scholars and readers. Translation is a direct factor that affects the integrity of author’s thought, the reader's perception and the accuracy of the scholar’s study, thus it is indispensable to use the House’s Translation Quality Assessment model to analyze the Chinese translation of A Pale View of Hills.&lt;br /&gt;
===II Introduction of House’s Translation Quality Assessment Model===&lt;br /&gt;
Juliane House's model was described as the first translation quality assessment model with complete theories and practices by international translation criticism, which could provide an important reference for translation learners and scholars. By introducing the theoretical basis, parameter system and operation steps of House’s model, this chapter will discuss the feasibility of House’s model in the evaluation of the Chinese translation of A Pale View of Hills, in an effort to foster the application of House’s model in the quality evaluation of full-length novels.&lt;br /&gt;
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'''2.1 Theoretical Basis of House’s Model'''&lt;br /&gt;
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The assessment of translation quality draws upon different translation standards, which are then embodied by the recognition about essence of translation. House deemed that crunch of the translation quality assessment lies in recognition of the nature of translation, namely that “translation is the replacement of a text in the source language by a semantically and pragmatically equivalent text in the target language.” (House, 1977: 30)&lt;br /&gt;
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In House’s initial model in 1977, she drew upon language behavior theory, language and text function and context to divide the source language text into two situational dimensions: dimension of language user and dimension of language use. The former includes three aspects: geographical origin, social class and time. The latter includes five aspects: medium, participation, social role relationship, social attitude and province. The evaluation depends on the matching degree between                                                                                                                                                                                                                                                                                                                                                                                          original text and translation. The higher the matching degree is, the better the translation quality is. The quality evaluation of the translated text needs to state mismatching degree of each dimension in the whole context, that is, the description of the quantity of covert errors (errors in context dimension) and overt errors (referential mismatcher or grammatical violation of target language system).&lt;br /&gt;
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Based on myriad practice, House realized that the initial eight dimensions overlap in some parts. Therefore, in 1997, she revised the original model from the perspective of the context, unifying the previous eight parameters to field, tenor and mode. Field compares subject matter and social action of the original with that of translation. Tenor emphasizes the matching degree on the relationship of participants, time, region, position of author, social role relationship and social attitudes. Mode pays more attention to medium and participation. In addition, House incorporated &amp;quot;genre&amp;quot; into revision model in order to explain the deep structure of the text.&lt;br /&gt;
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'''2.2 Operation Steps of House’s Model'''&lt;br /&gt;
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When evaluating the translation quality of the text, House’s model focuses on comparison between original text and translation from field, tenor, mode and genre, clarifies and summarizes mismatches found in the text, so as to obtain a quality report of the translation. The detailed steps presented as follows: &lt;br /&gt;
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1) Analyze the register and genre of the original text to get its textual functional profile. The original text is analyzed from four dimensions: field, tenor, mode and genre. According to the analysis, “functional statement”, involving ideational and interpersonal functions, needs to be deduced.&lt;br /&gt;
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2)Compare the target text and the source text to find differences or mismatches. Through the comparative analysis between original and translation along the dimensions on the model, mismatches or differences found in the comparison are sorted out by virtue of overt errors or covert errors and expounded in detail one by one.&lt;br /&gt;
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3)Summarize the differences and mismatches demonstrated from the above steps in lexical, syntactic and textual aspects. Based on above statistics and statement, make the quality statement. The fewer the mismatches are, the better the translation quality is. If readers clearly realize the text a translation work, it is overt translation; while if not, it is covert translation.&lt;br /&gt;
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'''2.3 Feasibility of the Model in Chinese Translation of A Pale View of Hills'''&lt;br /&gt;
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At present, there are 78 relevant studies on House’s Translation Assessment model, which are mainly divided into three directions: interpretation of House Translation Assessment model and its revision, evaluating translation of literary works along the model and evaluating translation of applied text along the model. Among them, evaluation of the translation of literary works accounts for 29, which enjoys the following two characteristics:&lt;br /&gt;
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1)There are merely a few researches applying House model to Chinese translation of literary works. Among the 29 journals and papers evaluating translation of literary works, there are 25 studies that attach great importance to the English translation and 4 to Chinese translation, which signifies that we need more researches of Chinese translation to support the validity of the model on different languages. Therefore, the paper, with the Chinese translation of A Pale View of Hills as its corpus, intends to examine the feasibility of the application of House’s model to Chinese translation.&lt;br /&gt;
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2)There are merely a few researches applying House model to the translation of full-length novels. Among the 29 journals and papers on evaluating translation of literary works, most of which focus on the evaluation of poems and prose, merely 5 studies are analysis of translation of full-length novels. English translation accounts for 3 and Chinese translation for 2, which demonstrates that we need more researches with full-length novels as corpus to support the validity of the model in different genres. Therefore, the paper, with the full-length novel A Pale View of Hills as its corpus, intends to examine the feasibility of the application of House’s model to full-length novels.&lt;br /&gt;
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   In conclusion, given that the researches based on Chinese translation of full-length novels are insufficient, the paper will use the Chinese translation of A Pale View of Hills as its corpus to validate the feasibility of House’s TQA model.&lt;br /&gt;
===III Comparison of Original and Translation of '''A Pale View of Hills''' Along House's Translation Quality Assessment Model===&lt;br /&gt;
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==On the Relationship among Literal Translation, Free Translation, Domestication and Foreignization	韦洪朗	Wei Honglang==&lt;br /&gt;
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==On Chinese-to-English Translation of The Summer Palace from the Perspective of Functionalist Approaches to Translation	魏亚菲	Wei Yafei==&lt;br /&gt;
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===Abstract===&lt;br /&gt;
Abstract&lt;br /&gt;
The Chinese-English translation of tourist texts, as a window for the external publicity of national history and culture, plays an important role in promoting the development of local tourism. The Summer Palace is well known for its large and priceless collection of cultural relics, which is among the first group of historical and cultural heritage sites in China to be placed under special state protection. &lt;br /&gt;
Based on the functionalist approach and the skopos rule, this paper discusses the problems existing in the translation of scenic spots in the Summer Palace from the perspectives of garden culture, historical culture and religious culture. Skopos theory holds that translation depends on communicative purpose. To achieve this goal, translators can choose different translation strategies. It is believed that the purpose of Chinese-English translation of scenic spots is to attract target readers and promote traditional culture. Therefore, when translating tourism materials, it is necessary not only to express the local cultural connotation, but also to consider the cross-cultural factors. The Chinese-English translation of the introduction of scenic spots guided by functionalist approach can make English readers have expectations of scenic spots and understand the cultural connotation of scenic spots. This paper aims to better promote the development and communication of Chinese culture and improve the level of tourism text translation in China by relying on the theory of functionalist approach.&lt;br /&gt;
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===Key words===&lt;br /&gt;
Key Words: functionalist approach，the Summer Palace，translation strategies&lt;br /&gt;
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===摘要===&lt;br /&gt;
摘 要&lt;br /&gt;
旅游资料的英译作为民族历史文化对外宣传的一道窗口,对地方旅游业的发展有着不可低估的促进作用。颐和园作为中国著名的皇家园林，具有浓厚的中国园林特色及优美的风景，同时也蕴涵着深厚文化内涵。&lt;br /&gt;
本篇旅游文本英译的分析以功能派翻译理论作为理论指导，以目的法则为主要原则，从颐和园的园林文化、历史文化和宗教文化三个角度出发对颐和园景点英译中存在的问题进行探讨。目的论认为译文取决于翻译目的，这个目的通常指的是交际目的。为达到这个目的，译者可以选择不同的翻译策略。也就是说，译者的翻译策略必须由译文的预期目的或功能决定，即所谓的“目的法则”。笔者认为景点介绍的汉英翻译的目的就是吸引译文读者以及弘扬传统文化，因此在翻译旅游资料的时候不仅要把当地的文化内涵表达出来，而且要考虑到跨文化的因素。而以功能派翻译理论为指导的景点介绍的汉英翻译，可以使英语读者通过译文产生对旅游景点的期盼，以及对景点文化内涵的理解。以颐和园景区内的翻译文本为例本，依托功能翻译理论，通过“发现问题，指出问题，解决问题”，以期更好地促进中国文化的传播与交流，提高我国现阶段旅游文本翻译的水平。&lt;br /&gt;
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===关键字===&lt;br /&gt;
关键词：功能翻译；颐和园；翻译目的；翻译策略&lt;br /&gt;
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===Introduction===&lt;br /&gt;
  Throughout the translation history at home and abroad, the literal translation and free translation have always been a heat discussion in the translation circles. Someone absolutely approve literal translation and demean free translation, even pursue a dead translation, which creates an translated text difficult to understand. While some other people absolutely agree with free translation even advocate random acts, which means a random deletion in the translation practices and creates anther entirely different text. However, there are also a number of translators who have recognized that these two translation methods are not totally opposite. So they adopt a compromise and flexible way. That means they will choose the most appropriate one depending on the text demanding. Therefore, we can deduce from it that this eclectic translation is consistent with the Contradiction view of Unity of Opposite in Materialist Dialectics. In fact, literal translation and free translation are right a set of contradictions which are both opposite and unified. They complement each other into an integral one.&lt;br /&gt;
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===Table of Contents===&lt;br /&gt;
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Table of Contents&lt;br /&gt;
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Outline&lt;br /&gt;
1.Introduction&lt;br /&gt;
2. Studies on Functionalist Approach&lt;br /&gt;
2.1 The Viewpoint of Functionalist Approach&lt;br /&gt;
2.1.1 Reiss’s Text Typology&lt;br /&gt;
2.1.2 Vermeer’s Skopos Theory&lt;br /&gt;
2.1.3 Manttari’s Theory of Translational Action&lt;br /&gt;
2.1.4 Nord’s Theory of Function plus Loyalty&lt;br /&gt;
2.2 The Application of Functionalist Approach &lt;br /&gt;
3.C-E Translation of the Summer Palace under Functionalist Approach&lt;br /&gt;
3.1 Garden Culture&lt;br /&gt;
3.2 Historical Culture &lt;br /&gt;
3.3 Religious Culture &lt;br /&gt;
4. Conclusion&lt;br /&gt;
References&lt;br /&gt;
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===Outline===&lt;br /&gt;
Outline&lt;br /&gt;
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Thesis Statement: Based on the main viewpoints of functionalist approaches to translation, this paper aims to give an analysis to C-E translation of the Summer Palace from cultural, historical and religious aspects, hoping to provide some translation strategies for other cultural attractions.&lt;br /&gt;
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1. Introduction&lt;br /&gt;
2. Studies on Functionalist Approaches&lt;br /&gt;
2.1 The Viewpoint of Functionalist Approach&lt;br /&gt;
2.1 Reiss’s Text Typology&lt;br /&gt;
2.2 Vermeer’s Skopos Theory&lt;br /&gt;
2.3 Manttari’s Theory of Translational Action&lt;br /&gt;
2.4 Nord’s Theory of Function plus Loyalty&lt;br /&gt;
2.2 The Application of Functionalist Approach&lt;br /&gt;
3. C-E Translation of the Summer Palace under Functionalist Approach&lt;br /&gt;
3.1 Garden Culture&lt;br /&gt;
3.2 Historical Culture&lt;br /&gt;
3.3 Religious Culture&lt;br /&gt;
4. Conclusion&lt;br /&gt;
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===1. Introduction ===&lt;br /&gt;
1. Introduction   &lt;br /&gt;
The Chinese-English translation of tourist texts is a bridge to spread the culture of classical Chinese gardens, so the accuracy of it has a direct impact on foreigners' understanding of the specific history and culture. &lt;br /&gt;
Functionalist approach has made a pioneering contribution to the translation of non-literary genres. Functional translation theory emphasizes the function of discourse, and believes that different types of discourse have different functions, so translators should choose appropriate translation strategies according to the type of source text and corresponding functions. Functionalist approach is to take the &amp;quot;skopos rule&amp;quot; as the highest standard, and any translation activity is a purposeful behavior. The ultimate goal and main function of scenic spot translation is to help people understand the main content of the scenic spot.&lt;br /&gt;
As a window for the publicity of national history and culture, the Chinese-to-English translation of tourist texts plays an important role in promoting the development of local tourism. Well known for its large and priceless collection of cultural relics, the Summer Palace was among the first group of historical and cultural heritage sites in China to be placed under special state protection. Based on the viewpoints of functionalist approach to translation, this paper aims to analyze C-E translation of the Summer Palace from cultural, historical and religious aspects, hoping to provide some translation strategies for other cultural attractions. &lt;br /&gt;
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===2. Studies on Functionalist Approaches===&lt;br /&gt;
2. Studies on Functionalist Approaches&lt;br /&gt;
Functionalism is a theory that advocates reader-centered translation, emphasizing the functions of texts and highlighting the communicative effects. It is believed that many unnecessary mistakes can be avoided and better results can be achieved by applying functionalist approach in Chinese-English translation of tourist text. &lt;br /&gt;
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===2.1 The Viewpoint of Functionalist Approaches===&lt;br /&gt;
2.1 The Viewpoint of Functionalist Approaches&lt;br /&gt;
Functionalist Translation Theory, also known as German Functionalist Translation Theory, was proposed by German scholars in the 1970s. It includes four main theories: Katharina Reiss’s Text Typology, Hans Vermeer’s Skopos Theory, Justa Holtz Manttari’s Theory of Translational Action and Christiane Nord’s Theory of Function plus Loyalty. This chapter aims to present the main ideas of this theory.&lt;br /&gt;
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===2.1.1 Reiss’s Text Typology===&lt;br /&gt;
2.1.1 Reiss’s Text Typology&lt;br /&gt;
In 1971, Reiss in her book Possibilities and Limitation of Translation Criticism first made text function as a standard of translation criticism, namelyevaluate the translated text from the relationship between the functions of the original and the translated text. She insists on the original-centered equivalence theory and holds the view that the ideal translation is to achieve the equivalence between the target text and the source text in terms of ideological content, linguistic form and communicative function. However, translation practice makes her realize that it’s difficult to achieve equivalence sometimes and that sometimes equivalence cannot be pursued. Because of the particularity of translation requirements, the function of the target text is not always the same as that of the source text. Therefore, the translator should give priority to the functional role of the target text rather than the principle of equivalence.&lt;br /&gt;
Reiss believes that in the normal situation the type of text decides the translator’s choice of a proper translation method (Reiss, 2004). Therefore, she divides text into four types: content-focused text, form-focused text, appeal-focused text and audio-media text. Content-focused text, also known as informative text, includes news reports, commercial correspondence, operating instructions, official documents, patent&lt;br /&gt;
specifications, essays, treaties, etc. For this text, the main function is to convey information revealed in language itself to readers. The emphasis is on content and topic, so the choice of language and style should serve this function. If both the source text and target text belong to informative text, the translator should represent the content and information of source text accurately and completely (Reiss, 2004)&lt;br /&gt;
Form-focused text, also known as expressive text, refers to literary works such as novels, poems and so on. “Distinct from ‘content’, which deals with what the author says, ‘form’ is concerned with how an author expresses himself” (Reiss, 2004). For expressive texts, information is only a supplement. What is dominant is the aesthetic factor. When translating such texts, the translator should pay attention to the aesthetic and artistic forms of the original text and to the differences between two cultural habits, trying to achieve the same effect as the source text. In a word, in a form-focused text the linguistic form of the source text determines the form in the target language (Reiss, 2004).&lt;br /&gt;
Appeal-focused text, also known as operative text, mainly includes notice, instruction manual, advertisement, publicity manual and so on. For operative texts, the primary task for the translator is to provoke a particular reaction on the hearers or readers to incite them to engage in specific actions, while content and form are subordinate. Therefore, to achieve the same effect, the translator need to change the content and stylistic features of the original text, try to keep the potential influential factors of the original text and seek functional equivalence (Reiss, 2004: 38-43). Audio-medial text, also known as multi-media text, refers to radio and television scripts, such as radio newscasts and reports, topical surveys and dramatic productions.&lt;br /&gt;
It is distinctive in its dependence on non-linguistic media and on graphic, acoustic, and visual kinds of expression. Only in combination with them can the whole complex literary form realize its full potential (Reiss, 2004). In conclusion, different texts determine different translation focuses and methods. In many cases, however, a text may have more than one function, which means that translators should integrate different translation strategies skillfully to achieve different functions of texts.&lt;br /&gt;
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===2.1.2 Vermeer’s Skopos Theory===&lt;br /&gt;
2.1.2 Vermeer’s Skopos Theory&lt;br /&gt;
Reiss’s student Vermeer, who broke the limitation of the theory of equivalent and took skopos to be the first criterion of translation process  proposed the key theory: Skopostheorie. According to Skopos Theory, when translating a text, the translator needs to consider the purpose of translation first and then choose the translation method according to the purpose, which means “the end justifies the means” (Nord, 2001). Vermeer believes that translation, like other human actions, is also a purposeful act. Translation often takes place in cultural backgrounds with different customs and values, so translation is not a simple equivalent transformation between languages. Skopos Theory does not focus on achieving the equivalence between the target text and the original text or the perfection of the target text, but on choosing the best translation strategy based on the analysis of the source text and the intended function of the target text. In a word, translation methods and strategies are determined by the intended purpose or function of the target text.&lt;br /&gt;
According to Skopos Theory, the first rule that all translators must follow is the Skopos Rule. Translation purpose can be divided into three categories: (1) the purpose of the translator, such as earning a living; (2) the communicative purpose of the translation, such as instructing the reader; (3) the purpose of using a particular translation method, such as the literal translation according to its structure to illustrate the peculiarities of grammatical structure in a language (Nord, 2001). In general, the communicative purpose is more important than the other two. The communicative purpose is usually determined by the initiator of the translation act, but the translator can take part in deciding. The second rule is the Coherence Rule. Coherence Rule requires that the translation conform to the criterion of intratextual coherence, which means that the translation must be accessible to recipients and meaningful in the target culture and in the communicative environment (Nord, 2001). The third rule is the Fidelity Rule. It means that there should be intertextual coherence between the source text and the target text, which means being faithful to the source text. Nevertheless, the degree and form of faithfulness lie in the target text and the degree that the translator understands the original text. Normally “Intertexual coherence is considered subordinate to intratexual coherence and both are subordinate to the Skopos rule” (Nord, 2001).&lt;br /&gt;
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===2.1.3 Manttari’s Theory of Translational Action===&lt;br /&gt;
2.1.3 Manttari’s Theory of Translational Action&lt;br /&gt;
Following Vermeer, Manttari develops Vermeer’s Skopos Theory and puts forward the Theory of Translational Action. He emphasizes three aspects: the behavior of the translation process, the role of the participants (the initiator, the translator and the target reader, etc.) and the environment (time, place and media) in which the translation process takes places. It views translation as “purpose-driven, outcome-oriented human interaction and construes the process of translation as message-transmitter compounds that involve intercultural transfer” (Mundy, 2001). According to Manttari, translation is “ a complex act to achieve a particular purpose” &lt;br /&gt;
(Nord, 2001). It is not about translating words, sentences or texts but is about guiding the intended cooperation over cultural barriers and promoting functional communication. Cooperation here means “transcultural communication” by Manttari.&lt;br /&gt;
The Theory of Translational Action attaches great importance to providing a functional communicative text for the recipient, a text suitable for the target culture in&lt;br /&gt;
form and style. Functional suitability is determined by the translator. The translator is&lt;br /&gt;
an expert in translation, whose role is to ensure the successful completion of cultural&lt;br /&gt;
transformation. In producing the target text, the analysis of the source text is necessary so that the translator can find out its structural and functional characteristics, which can be described by content and form. The need of the recipient is the decisive&lt;br /&gt;
factor for the target text.&lt;br /&gt;
In short, “the value of Manttari’s work is the placing of translation (or at least the professional non-literary translation which she describes) within its sociocultural&lt;br /&gt;
context, including the interplay between the translator and the initiating institution”&lt;br /&gt;
(Mundy, 2001).&lt;br /&gt;
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===2.1.4 Nord’s Theory of Function plus Loyalty===&lt;br /&gt;
2.1.4 Nord’s Theory of Function plus Loyalty&lt;br /&gt;
Though skopos rule changes the focus of translation from the source language text to the target language text and the target receivers, it has some limitations. One is that different readers have different expectations, and the translation purpose cannot satisfy all the expectations of the target reader. Another is that the translation purpose may sometimes be against the intention of the source language. Therefore, based on the skopos rule, Nord introduces the loyalty principle. The principle of loyalty is a supplementary principle proposed by Nord to make up for the deficiency of skopos rule. According to the explanation of Nord, it is not the relationship between the original text and the target text, nor the equivalence between the original text and the form of the target text, but the consistency between the author of the original text, the initiator of the translation, the translator and the reader of the target text, which is the principle of loyalty. The proposal of the loyalty principle makes up for the mistakes that some radical skopos translators usually make, such as omitting and rewriting, which makes skopos theory more perfect and makes skopos theory more likely to guide the translation of literary works.&lt;br /&gt;
“Function” and “loyalty” are two pillars of Nord’s functionalist approach. “Function” refers to what a text means or is intended to mean from the receiver’s point of view”, while “loyalty” means that “target-text purpose should be compatible with the original author’s intention” (Nord,2001). It emphasizes the interpersonal relationship between the translator, the source-text sender, the target-text addresses and the initiator. Function plus loyalty enables the translator to avoid the limitations of skopos rule and try to achieve a balance between translation purpose and the source-text author’s intention”(Nord,2001). That is to say, when translating the original text, the translator should take into account the readers' cultural background, knowledge level and expectation of the translation, and choose the corresponding translation strategy according to the translation requirements. If the reader wants to read a word-for-word translation of the article, then the translator must meet the reader's requirements, otherwise he must explain to the reader why he chose his own translation method. The translator's job is to weigh two different cultures instead of imposing one culture on another. &lt;br /&gt;
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===2.2The Application of Functionalist Approach to the Tourist Texts.===&lt;br /&gt;
2.2The Application of Functionalist Approach to the Tourist Texts.&lt;br /&gt;
In the 1990s, Functionalist Translation Theory was introduced to China, and since then it has been applied to translation studies by Chinese translation scholars. In his article published in 1995, Zhang Nanfeng briefly introduces Skopos theory to China for the first time, and considers that Skopos theory is referential (Zhang Nanfeng, 1995). German Functionalist Translation Theory, a paper released in1999, is the first article in China which systematically introduces German Functionalist Translation Theory (Zhong Weihe &amp;amp; Zhong Yu, 1999). Based on an overview of Functionalist Translation Theory, Zhang Meifang focuses on introducing Nord’s theory, especially on the detailed analysis of Nord’s principle of loyalty (Zhang Meifang, 2005). Famous domestic scholars, such as Liu Junping (2009), Liu Miqing (2012) and Li Wenge (2004), also introduce this theory in their books. With the rise of Functionalist Translation Theory in China, someone has compared it with other theories. Zhu Haotong compares Skopos Theory with Functional Equivalence Theory to analyze the similarities and differences between them, and further reveals that Functionalist Translation Theory inherits the reasonable part of Nida’s Functional Equivalence Theory, which is an important breakthrough and supplement to solve the problems that Functional Equivalence Theory leaves (Zhu Haotong, 2006). Some scholars also combine theory with translation practice to explore the application of Functionalist Translation Theory to translation practice. Jia Yanli and Wang Hongjun point out that Skopos Theory has its limitations, but it is still of instruction and reference value for non-literary translation texts, such as advertisements and tourism materials (Jia Yanli &amp;amp; Wang Hongjun, 2012). Li Liangchen selects several famous tourist attractions in China to translate the on-site tour-guide commentary into English. Then he improves them under the guidance of Skopos Theory and sends out questionnaires to overseas tourists for further analysis. He argues that the translation of on-site tour-guide commentary which is guided by Skopos Theory is more favorable to conveying information to foreign visitors, to promoting cultural exchanges and to improving the image of China’s tourist destinations (Li Liangchen, 2013). In Pragmatic Translation: Theory &amp;amp; Practice, Wu Feng and He Qingji introduce Functionalist Translation Theory (Wu Feng &amp;amp; He Qingji, 2008) and the characteristics of tourism text and translation skills (Wu Feng &amp;amp; He Qingji, 2008). In this book, they also discuss the controversy over the Chinese name of Functionalist Translation Theory, and holds that “功能派翻译理论” is the most appropriate Chinese translation (Wu Feng &amp;amp; He Qingji, 2008).Based on his own translation practice and under the guidance of Functionalist Translation Theory, Wu Zixuan probes into some special phenomena in the English translation of CNN newsreels. The author believes that in the translation of external publicity, we should not stick to the standard of faithfulness to the original text, but should deal with the original text properly from the perspective of achieving the purpose of translation, such as rewriting, abridging. (Wu Zixuan, 2005).&lt;br /&gt;
Functionalist approach establishes a theoretical system of diversified translation standards dominated by skopos rule. From the definition of Functionalist approach, it can be seen that the advantage of it is that the translator can get rid of the bondage of the original text, study the translation process with &amp;quot;translation purpose&amp;quot; as the starting point, and determine the translation strategies and methods. This can give full play to the translator's own initiative, flexible processing of the original text, in order to achieve the translation of the communicative function. In addition, functionalist approach requires the translation to be examined in the cultural context of the reader. The reader can accept the translation and understand the meaning of the original text through the translation, so the translation can realize the communicative function. On the basis of such advantages, functionalist approach can be used to guide the English translation of garden scenic spots, and the translator can choose a wider range of translation strategies and break out of the constraints of the original text. &lt;br /&gt;
Only by clarifying the purpose of translation can we avoid these limitations in the English translation of garden attractions. When using functionalist approach to guide the English translation of Chinese classical garden scenic spots, it is necessary to flexibly choose translation strategies and methods, give full play to the advantages of skopos theory, and achieve the balance between &amp;quot;principle of purpose&amp;quot; and &amp;quot;principle of fidelity&amp;quot; as far as possible.&lt;br /&gt;
With the deepening of globalization and cross-cultural communication, tourismis becoming a major industry in the 21st century. The development of tourism can not only promote the economic development of a country but also promote the external dissemination of national culture. Therefore, tourism translation deserves attention. Tourism text is a typical informative and operational text, and the language is unique. It is full of gorgeous words, such as four-character expressions, verses, proper nouns and so on.&lt;br /&gt;
Tourism text materials include tourism advertising, tourism brochures, scenic spots signs and so on. In this paper, we focus on the introduction of Chinese gardens’ scenic spots, which is usually colorful in language and rich in literary style. Tourism text translation belongs to applied translation, which should play a series of practical functions to publicize the image and resources of the country or place and attract overseas tourists. Therefore, the translator of tourism text must be clear about the type and function of tourism text, and to grasp the ultimate purpose of the translation. &lt;br /&gt;
On tourism text translation, the communicative purpose of the translation should be placed in a central position. Furthermore, the tourism text has both the information function and the calling function. The information function and the calling function complement each other. Only when the target language readers acquire the expected tourism information and cultural knowledge can the calling function be realized and the purpose of tourism text translation be achieved. With different translation strategies, the translated version should both expressed contains basic information, and make the tourists feel the profound of the Chinese culture from the beautiful scenery. &lt;br /&gt;
Cultural tourism has long been the focus of international tourism, and understanding Chinese culture is the main purpose of inbound tourists, so the translation of tourism texts bears the mission of cultural transmission and cultural publicity. However, due to the great differences between Chinese and English culture and language, there are many difficulties in cultural transmission in tourism text translation. China has a long and splendid history and culture. When introducing the scenic spots of cultural relics and historic sites, we usually associate with many historical figures and stories. These terms are cultural blank for most foreign tourists, but this kind of cultural experience is also the most attractive place for foreign tourists. It is of great importance to pay attention to cultural differences in tourism translation and carry out cultural transmission effectively. Chinese and English languages have different logic views, and Chinese expressions in tourism texts value decoration. English expressions tend to be clear, concise and to the point. For example, Chinese tourism texts often use a four-character lattice, which is symmetrical, while there is no corresponding four-character lattice expression in English. Therefore, in Chinese-English translation of tourism texts with frequent use of four-character phrases, it is necessary to keep in mind the objective principle of functionalist approach and give priority to cultural communication instead of rigidly adhering to form.&lt;br /&gt;
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===3. C-E Translation of the Summer Palace under Functionalist Approach===&lt;br /&gt;
3. C-E Translation of the Summer Palace under Functionalist Approach&lt;br /&gt;
By studying the specific translation strategies made by predecessors, the following steps are also adopted in this paper: first, the translation strategies are determined according to the text type, such as faithful reproduction of the original information or rewriting; Secondly, the translation strategies are determined according to the potential purpose of the translation, such as paraphrasing or deleting poems, generalizing specific expressions and transliterating proper nouns. Thirdly, the translation strategies are defined with the tourists as the center, such as adding logical words, adding explanatory information and using plain English.&lt;br /&gt;
The Summer Palace epitomizes the philosophy and practice of Chinese garden design, which played a key role in the development of this cultural form throughout the east. It is an outstanding expression of the creative art of Chinese landscape garden design, incorporating the works of humankind and nature in a harmonious whole, which was once the most important place of political and diplomatic activity for the supreme rulers of the late Qing dynasty. Based on three aspects of the Summer Palace, namely, garden culture, historical culture and religious culture, this paper discusses the problems existing in the English translation of the scenic spots of the Summer Palace and puts forward corresponding countermeasures under the guidance of the skopos rule of functionalist translation theory.&lt;br /&gt;
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===3.1 Garden culture.===&lt;br /&gt;
3.1 Garden culture. &lt;br /&gt;
The Summer Palace is a classical garden famous for its magnificence and beauty. There are many temples in the garden, and the green waves of kunming lake ripple. Landscape and humanities complement each other, containing rich natural and cultural information, reflecting the characteristics of Chinese classical gardens. The garden cultural features of the three scenic spots, namely, the hall of clouds, the foxiang pavilion and the Wenchang courtyard, are particularly outstanding. Therefore, this paper takes these three scenic spots as examples to discuss the Chinese-English translation of the introduction of the Summer Palace.&lt;br /&gt;
(1)	排云殿、佛香阁景区是颐和园内建筑布局最完整、建筑形式最丰富的中轴建筑群体，殿、阁、廊、亭、桥、坊、碑等建筑约两万平方米。从临水的云辉玉宇牌坊至排云门、排云殿、德辉殿、佛香阁、众香界、智慧海、层层升高，排列有序，气势巍峨，金碧辉煌，将园林、寺庙和宫殿融为一体。&lt;br /&gt;
Translation：This scenic spot covers an area of 20,000 square meters with an assortment of buildings such as palaces, towers, corridors, pavilions, walkways, bridges, archways and inscribed stone steles. It comprises a well-arranged group of structures, all diverse in style, located in the center of the Summer Palace garden. This complex of structures, ranging from the Glowing Clouds and Holy Land Archway on the waterside, the Gate that Dispels the Clouds, the Hall that Dispels the Clouds, the Hall of Moral Glory, and the Tower of the Fragrance of the Buddha, to the Realm of Popular Fragrance and the Sea of Wisdom Temple, were built in an orderly manner running from the foot of the hill to its top, with gardens, temples and palaces harmoniously integrated into the whole。&lt;br /&gt;
Analysis：As we all know, the design style of ancient Chinese buildings is beautiful with &amp;quot;symmetry&amp;quot;. The &amp;quot;axis&amp;quot; in hall of clouds scenic spot refers to the layout of the Summer Palace from far to near and from top to bottom, which cannot be simply understood as the center. Simply translating &amp;quot;axis&amp;quot; as &amp;quot;center&amp;quot; cannot express accurately the meaning of &amp;quot;symmetry&amp;quot;. Comparatively speaking, &amp;quot;axis&amp;quot; can better reflect the architectural style of the scenic spot.&lt;br /&gt;
(2)	从临水的云辉玉宇牌坊至排云门、排云殿、德辉殿、佛香阁、众香界、智慧海，层层升高，排列有序，气势巍峨，金碧辉煌，将园林、寺庙和宫殿融为一体。&lt;br /&gt;
Translation：These structures，including Glowing Clouds and Holy Land Archway at lake side，the Gate of Dispelling Clouds，the Hall of Dispelling Clouds，the Hall of moral Glory，and the Tower of Buddhist Incense，the Realm of Multitudinous Fragrance and the Sea of Wisdom Temple，were built in an orderly manner ranging up the hill with gardens，temples and palaces harmoniously integrated. This manifests beauty，grace and splendor，reminiscent of the loftingness and grandeur of a once mighty empire.&lt;br /&gt;
Analysis：In terms of the characteristics of language, Chinese emphasizes parataxis and four-word antithesis. When describing and naming scenes, gorgeous words and poetic words are generally chosen in Chinese. But, English emphasizes hypotaxis, on the other hand, puts more emphasis on reproducing the original appearance of things, using simple and natural words and preferring direct description. In sign translation, the English translation pays more attention to accurate, concise and lively. In the above paragraph, &amp;quot;层层升高，排列有序，将园林、寺庙和宫殿融为一体&amp;quot; is an introduction to the architectural features of foxiang pavilion, in order to make tourists have a clear understanding of the overall layout and architectural features of the scenic spot. This information is essential and can be translated into detail. However, &amp;quot;气势巍峨，金碧辉煌&amp;quot; focuses on the subjective description, and its explicit translation needs more complicated words. If this paragraph is translated in detail, it is easy to drag the content and make the key information vague. Therefore, the deletion of the English translation of this sentence will not affect the basic information of the original text.&lt;br /&gt;
(3)	主阁（文昌阁）两层，内供铜铸文昌帝君和仙童、铜骑。文昌阁与万寿山西供武圣的宿云檐象征“文武辅弼”。&lt;br /&gt;
Translation: A bronze statue of the God Wenchang, statues of gaeries, and a bronze steed were placed in the two-story pavilion. This tower is pared with the Tower of Cloud- Retaining Eaves, located to the west of the Longevity Hill, in which a statue of the Martial God was placed. The God Wenchang and the Martial God together symbolize reining of the emperor supported by scholars and warriors.&lt;br /&gt;
Analysis: Two questions arise in Chinese-English translation. First, there are two translations of wenchang pavilion in the translation: pavilion and tower, which appear in the same sign. Two different translations of the same scenic spot name tend to make foreign tourists think that it refers to different scenic spots, which may cause difficulty in understanding. Second, the translation of Wenchang pavilion into &amp;quot;Wenchang Tower&amp;quot; is against the actual architectural characteristics. In fact, the meanings of &amp;quot;pavilion&amp;quot; and &amp;quot;tower&amp;quot; have both similarities and differences. According to the Oxford dictionary, Tower means &amp;quot;a tall narrow building or part of a building, especially of a church or castle&amp;quot;, mainly referring to the tower-shaped part of a building, usually a tall and slender structure, such as the Eiffel Tower. &amp;quot;Pavilion&amp;quot; means &amp;quot;a building that is meant to be more beautiful than usual, built as a shelter in a park or used for concerts and dances&amp;quot;. The top structure of the pavilion usually has rectangles, triangles, hexagons, etc. The common feature of them is that the top is supported by columns without walls. From the external structure of Wenchang pavilion, its bottom is solid and its top is supported by columns. Therefore, the pavilion can accurately reflect the architectural characteristics of Wenchang pavilion, so I think it should be translated as Wenchang pavilion.&lt;br /&gt;
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===3.2 Historical culture. ===&lt;br /&gt;
3.2 Historical culture. &lt;br /&gt;
The accurate Chinese-English translation of the introduction of the Summer Palace not only enables foreign tourists to understand the characteristics of Chinese gardens, but also enables foreign tourists to understand the historical knowledge of a specific period of China. However, the Chinese-English translation of the Summer Palace still has problems in accurately conveying the historical background of the scenic spots, such as the English translation of Wenchang pavilion scenic spot:&lt;br /&gt;
(4)	此景区始建于清乾隆十五年，一八六零年被英法联军烧毁，光绪时按原样重建。阁结构为八面三层四重檐，通高36.44米，耸立于20米高的石造台基上，气势雄伟，是颐和园全园的构图中心。阁内供奉有铜铸金裹千手观世音菩萨站像。像高五米，重万斤，为明代万历年间所造，在八根贯通全阁上下的承重铁梨木擎天柱的衬托下，美妙庄严，熠熠生辉，有极高的文物和艺术价值。&lt;br /&gt;
Translation: The Wenchang tower was first built in 1750 and rebuilt under Emperor Guangxu after  the Anglo-French Allied Forces builted it down in 1860. The octahedral tower has three stories with four-layered eaves, altogether 36.44 meters high. Standing upright on a 20 meter-high stone foundation, it constitutes the center of the Summer Palace landscape and serves to accentuate its magnificence. A statue of the thousand-handed Guanshiyin Buddha, cast in bronze and gilded with gold, stands inside the tower. The statue, five meters high and five tons in weight, was cast during the reign of Emperor Wanli of the Ming Dynasty. Set off by the eight imposing pillars which support the tower, it glows with beauty, grandeur and brilliance. Its historical, cultural and artistic value can hardly be overstated.&lt;br /&gt;
Analysis: “始建于乾隆十五年”only was translated into “was first built in 1750” and the “光绪年间重建” was translated into “rebuilt under Emperor Guangxu”.The first sentence does not show that 1750 was the fifteenth year of the reign of emperor Qianlong, and the second sentence does not give foreign visitors the exact date of the reign of emperor Guangxu. The change of time concept and the disunity of expression easily make foreign tourists feel confused. Therefore, the translation of the time and the historical dynasties should be accurate and meticulous, and the supplementary method should be used to not only describe the dynasties clearly, but also supplement the corresponding years, so as to achieve the standardization of the translation. In this way, foreign tourists can not only be clear about the time of the event, but also understand the Chinese historical dynasties. Consider as follows: the Wenchang Pavilion was first built in 1750 during Emperor Qianlong’s reign（1735- 1795）and rebuilt in 1886 under Emperor Guangxu（1875- 1908）after the Anglo- French Allied Forces burned it down in 1860.&lt;br /&gt;
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===3.3 Religious culture. ===&lt;br /&gt;
3.3 Religious culture. &lt;br /&gt;
Many scenic spots in the Summer Palace have a strong buddhist atmosphere. While visiting the scenic spots, foreign tourists can understand the profound buddhist culture. Wenchang pavilion in the Summer Palace is the representative of Chinese religious culture.&lt;br /&gt;
(5)	主阁两层，内供铜铸文昌帝君和仙童、铜特。文昌阁与万寿山西供武圣的宿云檐象征“文武辅弼”。&lt;br /&gt;
Translation: A bronze statue of the god，Wenchang，and statues of two followers，the celestial boy，and the bronze steed，were placed in the two- storey pavilion. This tower is pared with the tower of Cloud- Retaining Eaves，located to the west of the Longevity Hill，in which a statue of the Martial God was placed. The two towers symbolize the support by both scholars and warriors to the ruling emperor.&lt;br /&gt;
Analysis: It is well known that westerners believe in theism, which refers to god as supreme . In Chinese religious culture, people believe in atheism and do not believe in the existence of god. Therefore, it is inappropriate to translate &amp;quot;文昌帝军&amp;quot; and &amp;quot;武圣&amp;quot; into &amp;quot;the god, Wenchang&amp;quot; and &amp;quot;the Martial god&amp;quot; in the translation. In fact, the &amp;quot;文昌帝军&amp;quot; was Zhang yu, an emperor of Shu of Ning kang (374). And &amp;quot;武圣&amp;quot; refers to Guan yu in history. Therefore, the simple translation of  &amp;quot;God&amp;quot; is not in line with the traditional Chinese culture, which will not only cause western tourists to misunderstand that Chinese religious tradition also believes in God, but also fail to convey Chinese historical allusions and relevant historical figures. In contrast, if &amp;quot;文昌帝军&amp;quot; is translated as &amp;quot;the emperor, Wenchang&amp;quot; and &amp;quot;武圣&amp;quot; is translated as &amp;quot;the Martial Master (Guanyu)&amp;quot;, it can more faithfully convey the history and religious culture contained in the source language. &lt;br /&gt;
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===4. Conclusion===&lt;br /&gt;
4. Conclusion&lt;br /&gt;
To sum up, Under the guidance of the skopos rule of functionalist translation theory, translators should have a cross-cultural awareness, fully understand the reading psychology and cultural appreciation needs of target language readers, and use effective translation strategies and methods to achieve the purpose of tourism text translation. Functionalist approach has made a pioneering contribution to the translation of non-literary genres. Functional translation effectively eliminates the disadvantages of traditional word-for-word translation, improves the efficiency of translation, and helps readers to grasp the meaning of the original text.&lt;br /&gt;
 The importance of the translation of the Summer Palace lies in the profound garden culture, historical culture and religious culture. The English translation is not only helpful for international friends to know more about the garden characteristics of the Summer Palace, but also helpful for spreading the long history and profound culture of China. In order to attract target readers and promote traditional Chinese culture, it is not only necessary to carefully explore Chinese culture and history, but also to use the fuctionalist approach appropriately. &lt;br /&gt;
Translation is a complicated process. Functionalist approach stresses the function of the discourse, the purpose of translation. In the practice of translation, if the translator can get rid of the bondage of the original equivalence, actively playing to subjective initiative, fully understanding the original text, depending on the purpose of discourse and adopting different translation strategies, the effect and readability of translation can be improved.&lt;br /&gt;
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===References===&lt;br /&gt;
References&lt;br /&gt;
Hans Vermmer, “Skopos and Commission in Translation Action”, in the Translation Studies Reader,ed. Chesterman, London and Network:Routledge,p.221-232. 2000.   &lt;br /&gt;
Munday, Jeremy. Introducing Translation Studies: Theories and Applications. Routledge publishing.2001.&lt;br /&gt;
Mason, “Textual Practices and Audience Design: and Interactive View of the Tourist Brrochure”. In Navarro et al.(eds.). Pragmatics at Work: The Translation of Tourist Literature. Bern: Perter Lang. 157-176.2004.&lt;br /&gt;
Nord, Text Analysis in Translation: Theory, Methodology and Didactic Application of a Model for Translation-Oriented Text Analysis. Beijing: Foreign Language Teaching and Research Press. 2006.&lt;br /&gt;
Nord, Translating as a purposeful activity. Shanghai: SFLE PRESS, 2001:27,30,32,65,245.&lt;br /&gt;
Reiss, Katharina. Translation Criticism: The Potentials &amp;amp; Limitations. Shanghai Foreign Language Education Press. Shanghai. 2004.&lt;br /&gt;
Venuti, Lawrence. The Translator’s Invisibility: A History Translation. Routledge.1995.&lt;br /&gt;
方梦之、毛忠明， 英汉—汉英应用翻译教程，上海: 上海外语教育出版社，2004.&lt;br /&gt;
金惠康，跨文化旅游翻译，中国对外翻译出版公司，2004.  &lt;br /&gt;
贾文波，应用翻译功能论，北京：中国对外翻译出版公司，2004&lt;br /&gt;
孙艺风，文化翻译的困惑与挑战，中国翻译，2016年第3期.  &lt;br /&gt;
王宏志，翻译与创作，北京大学出版社，2000.&lt;br /&gt;
吴自选，德国功能派翻译理论与 CNN 新闻短片英译，中国科技翻译, 2005.&lt;br /&gt;
谢天振，当代国外翻译理论，天津：南开大学出版社，2005.&lt;br /&gt;
张南峰，走出死胡同建立翻译学. 中国翻译, 1995.&lt;br /&gt;
仲伟合，钟钰. 德国的功能派翻译理论. 中国翻译, 1999.&lt;br /&gt;
张美芳，功能加忠诚—介评克里丝汀· 诺德的功能翻译理论.上海外国语大学学报, 2005.&lt;br /&gt;
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==Contrast between Literal Translation and Free Translation	张雪仪	Zhang Xueyi==&lt;br /&gt;
'''Abstract：'''&lt;br /&gt;
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The contrast between literal translation and free translation has always been the most discussed problem in translation studies. To compare these two translation methods, the basic point is to understand the purpose of translation. The ultimate goal of translation is to help different cultures communicate better, so that people who speak different languages can understand each other’s cultures. Due to the differences in social, historical and cultural backgrounds between languages, how to choose between the two translation strategies of literal translation and free translation requires translators to weigh the strengths and weaknesses of these two methods. This essay mainly compares literal translation and free translation between Chinese and Russian to help students and translators translate better.&lt;br /&gt;
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'''Key words：'''&lt;br /&gt;
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Translation strategies, Literal translation,Free translation &lt;br /&gt;
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'''摘要：'''&lt;br /&gt;
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直译与意译间的对比一直是翻译学中讨论度最高的问题。想要将这两种翻译方法进行对比，最基本的一点就是要明白翻译的目的是什么。翻译的最终目的在于帮助不同文化进行更好的交流，让使用不同语种的人相互理解彼此的文化。由于语种间社会历史文化背景的差异，如何在直译和意译这两种翻译策略中做出选择，就需要译者衡量两种方法的利弊。本文主要对汉语和俄语间直译和意译进行比较，以帮助学生和译者更好地进行翻译实践。&lt;br /&gt;
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'''关键词：'''&lt;br /&gt;
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翻译策略，直译，意译&lt;br /&gt;
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'''1.Introduction'''&lt;br /&gt;
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The former Soviet Union translation theorist Fedorov believed: “Translation is an activity that expresses what has been used in one language as a unified whole of content and form, and accurately and completely expressed in another language.” Translation theorist Barr Hudarov also wrote: &amp;quot;Translation is the process of changing the coherent discourse of one language into the coherent discourse of another language while maintaining its content and meaning.&amp;quot; To some extent, translation is a process of thinking re-creation, so certain standards and principles must be followed when translating. Translation standard is a measure of the quality of translation, it can guide translation practice, and it is a principle that must be followed in translation activities. Although each scholar has different opinions on the standard of translation, the final result he pursues is the same: the original text and the translated text express the same effect. In order to achieve the same effect, different translation methods have been derived, of which literal translation and free translation are the most commonly used.&lt;br /&gt;
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Russian idioms and proverbs, as the crystallization of the wisdom of the Russian nation and the immortal fossils in the Russian language, are one of the best materials for the Chinese to understand and learn Russian history, culture, and society. Due to different geographical, historical and economic conditions, the Russian and Chinese ethnic groups have formed different cultural backgrounds. These distinctive backgrounds and characteristics have caused great difficulties for Chinese learning Russian to further understand Russia. This essay studies the basic definitions of literal translation and free translation, their respective advantages and disadvantages and their mutual relations, and strive to solve how to use the translation methods of literal and free translation to properly translate Russian idioms and proverbs, and how to reflect the cultural background and language characteristics of Russian idioms and proverbs in the translation .&lt;br /&gt;
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'''2.Different views of &amp;quot;literal translation&amp;quot; and &amp;quot;free translation&amp;quot;'''&lt;br /&gt;
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In different periods and different countries, people's views on translation theory have changed a lot, but the debate about literal translation and free translation has always existed.&lt;br /&gt;
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In China, the contradiction between literal translation and free translation may initially be due to the different understanding of these two translation methods. The translator Sun Guiding believes that: literal translation is stuck to the structure of the original text and does not consider whether the Chinese is fluent and natural; while free translation is to use the inherent Chinese idioms and the most natural words and sentences as much as possible to achieve the effect of conveying the meaning of the original text. Former President of Wuhan University, Du Zuozhou, believes that literal translation means translating word by word according to the original text; free translation means translating according to the meaning of the original text, and the translation is more suitable for the common grammar of the translated language. The educator Meng Xiancheng believes that literal translation is a translation technology with different degrees of correctness. Literal translation is a translation that is faithful and correct according to the original text; free translation is a translation that summarizes the original meaning. Zhu Guangqian said: &amp;quot;The so-called 'literal translation' refers to the literal translation based on the original text. Every word and sentence are translated word by word, and the order of the words and sentences is not changed. The so-called ‘paraphrasing’ is to express the meaning of the original text in Chinese, and it does not have to be completely based on the literal and order of the original text. &amp;quot; The principle of &amp;quot;faithfulness, expressiveness and elegance&amp;quot; put forward by the modern Chinese translator Yan Fu has long been the basic principle guiding translation practice. A large number of beginners who learn foreign languages regard &amp;quot;faithfulness and expressiveness&amp;quot; as translations that are completely faithful to the original text when translating. In fact, Yan Fu's translation requirements are a guiding principle for translation based on semantics. When translating, if the structure and expression of the original text cannot be directly adopted, the sentence structure and expression must be changed according to the characteristics of the target language. In addition, there are many differences between the original language and the target language in the word order, grammar, variants and rhetoric in the translation process. In many cases, there is no direct corresponding word. This requires the translator to consider the actual semantics, background and other factors. On the basis of the original meaning of the sentence, use an appropriate method to convey the content of the original work and reproduce the language style of the original work.&lt;br /&gt;
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In the Soviet Union, under the influence of ideology, Western translation theories could not be widely disseminated, but within the Soviet Union, translation theories similar to Western translation theories have been formed and developed, and two main schools of translation theory have been further differentiated — Linguistic Translation School and Literary Translation School. To a certain extent, the dispute between these two schools also reflects the debate on literal translation and free translation among translators' groups. In terms of the principles or standards of translation, the linguistic translation school believes that an ideal translation should be an equivalent translation, first of all linguistic correspondence, that is, the translation should have the same meaning as the corresponding language or discourse unit of the original; the literary translation school believes that translation pursues artistic correspondence, and linguistic correspondence must be subordinate to artistic correspondence. Therefore, it proposes that the aesthetic standards of translation should reproduce the artistic reality reflected by the unity of the original content and form. The characteristic is to use images to translate images, that is, to create the same image in different languages. In 1953, Andrei Venediktovich Fedorov, the leader of the linguistic translation school, published his work &amp;quot;Summary of Translation Theory&amp;quot;, which was the first monograph of the Soviet Union to study translation theory from the perspective of linguistics. The author proposes that translation theory is a branch of linguistics. Since the translation of any genre work must rely on the comparison of two languages, translation problems can only be solved in the field of language. Fedorov’s view was refuted by the literary translation school represented by Ivan Alexandrovich Kashikin. The literary translation school believes that aesthetic issues are the core of literary translation theory, and translation should be regarded as a form of language art, that is, translation should be studied from the perspective of literature and art. In fact, the literary translation school emphasizes the translation of literary and artistic works, which belongs to the specific translation theory; while the research of the linguistic translation school focuses on the general translation theory, that is, the translation of all thematic works including literary works. The dispute between the two major translation theory schools of Russia and the Soviet Union provides another perspective for Chinese translators to explore the relationship between literal translation and free translation.&lt;br /&gt;
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'''3.The application of literal translation and free translation in the Chinese translation of Russian idioms'''&lt;br /&gt;
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The idioms of different nationalities are the most dynamic and expressive units at the lexical level in different languages, and they are also the units that can best reflect the characteristics of national culture in languages. The number of Russian idioms is extremely rich, it records and reflects all aspects of Russian national life. Due to the great differences in geographical locations and living customs between China and Russia, the national cultures reflected in Chinese and Russian must be quite different. One of the difficulties in idiom translation is its imagery. When translating idioms, both the meaning and the image must be considered. Although the Chinese and Russian cultures are very different, many of the commonalities of mankind, such as emotion and natural environment, have created conditions for mutual communication, mutual understanding and idiom translation between different languages.&lt;br /&gt;
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'''3.1 Literal translation'''&lt;br /&gt;
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Generally speaking, the literal translation method refers to a translation method that directly translates the original text without changing the language characteristics and style of the original text on the basis of fully respecting the meaning of the original text. Chinese translation of Russian idioms by literal translation method has the advantage of being able to intuitively and faithfully express the meaning of the idiom, maintaining the unique style and imagery of the original text: the disadvantage is that the translated idiom may not be understood by the Chinese because of China and Russia have different historical, cultural backgrounds, grammatical structures, and language world landscapes, which can easily form obstacles in the process of understanding.&lt;br /&gt;
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Translating Russian idioms by literal translation is further divided into two methods — literal translation into Chinese idioms and literal translation into non-idiom sentences or words.&lt;br /&gt;
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Literal translation of Russian idioms into Chinese idioms is suitable for the translation of Russian and Chinese idioms that are completely equivalent in image, structure, and meaning. The advantage is that it is easy to understand, and the translation is simple and fast. E.g:&lt;br /&gt;
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(1)домашнего  (своего) вора не убережешься. 家贼难防&lt;br /&gt;
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(2)знать как свои пять пальцев (видно, как на ладони) 了如指掌&lt;br /&gt;
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(3)подлить масла в огонь 火上浇油&lt;br /&gt;
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(4)как рыба в воде 如鱼得水&lt;br /&gt;
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(5)как ножом по сердцу 心如刀割&lt;br /&gt;
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(6)как гром среди ясного неба 晴天霹雳&lt;br /&gt;
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(7)на добро отвечают добром 善有善报&lt;br /&gt;
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(8)копейка рубль бережет 财从细起&lt;br /&gt;
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(9)мечты сбываются 梦想成真&lt;br /&gt;
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(10)курица всегда следует за петухом 嫁鸡随鸡&lt;br /&gt;
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(11)чего мало, того и дорого  (дорого то, что мало) 物以稀为贵(12)&lt;br /&gt;
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(12)изгонять яд с помощью яда 以毒攻毒&lt;br /&gt;
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(13)сидеть как на иголках 如坐针毡&lt;br /&gt;
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(14)действия громче слов 事实胜于雄辩&lt;br /&gt;
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(15)зарыть талант в землю 埋没人才&lt;br /&gt;
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(16)висеть на волоске 千钧一发&lt;br /&gt;
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(17)лить как из ведра 倾盆大雨&lt;br /&gt;
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The idioms in the above examples are completely equivalent in image, structure or meaning in Russian and Chinese, so Chinese idioms can be used for literal translation. &lt;br /&gt;
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In fact, in the two languages, idioms with the same image, structure, and meaning are still in the minority, so it is more common to translate Russian idioms into non-Chinese idiom sentences or vocabulary. E.g:   &lt;br /&gt;
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настоять на своем 坚持自己&lt;br /&gt;
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камень с души свалился 心里的一块石头落地&lt;br /&gt;
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связать свою судьбу 把自己的命运与……相连&lt;br /&gt;
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быть на голову 高出一头&lt;br /&gt;
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вбивать в голову 往脑子里灌&lt;br /&gt;
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блеснуть метеором 像流星一样一闪而过&lt;br /&gt;
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с мизинец 小拇指这么大&lt;br /&gt;
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It is not difficult to find that the literal translation method can completely retain the original appearance of the idiom, show the common concept of human understanding of the world, and be beneficial to the cultural exchange between China and Russia.&lt;br /&gt;
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'''3.2 Free translation'''&lt;br /&gt;
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Another method commonly used in the Chinese translation of Russian idioms is free translation. Free translation is to readjust the structure of the original text on the basis of keeping the original meaning of the idiom unchanged, and then reconstruct the Russian idiom with the way of thinking and expression in Chinese. This is because the figurative images used in many Russian idioms are inconsistent with those used in Chinese. If the original image is used in translation, it will cause a barrier to understanding. The advantage of free translation of Russian idioms is that it eliminates obstacles to understanding, but the disadvantage is that it cannot completely retain the original style and cultural characteristics. E.g:&lt;br /&gt;
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(1)В Тулу со свим самоваром не ездят.&lt;br /&gt;
直译：去图拉不用带自己的茶炊。&lt;br /&gt;
意译：多此一举&lt;br /&gt;
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(2)Честь лучше бесчестья.&lt;br /&gt;
直译：尊重比不尊重好。&lt;br /&gt;
意译：礼多人不怪。&lt;br /&gt;
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(3)словно горя с плеч&lt;br /&gt;
直译：把山从肩膀下卸下&lt;br /&gt;
意译：如释重负&lt;br /&gt;
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(4)выеденного яйца не стоит&lt;br /&gt;
直译：一个空蛋壳不值钱&lt;br /&gt;
意译：鸡毛蒜皮，一文不值&lt;br /&gt;
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(5)чужими руками жар загребать&lt;br /&gt;
直译：用别人的手将红炭火拨成一堆&lt;br /&gt;
意译：坐享其成，不劳而获&lt;br /&gt;
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(6)ни рыба, ни мясо&lt;br /&gt;
直译：没有鱼也没有肉&lt;br /&gt;
意译：不三不四，不伦不类&lt;br /&gt;
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(7)лучше синица в руках, чем журавль в небе&lt;br /&gt;
直译：天上的仙鹤不如手中的山雀&lt;br /&gt;
意译：远亲不如近邻&lt;br /&gt;
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(8)На языке мед, а под лед&lt;br /&gt;
直译：嘴上甜得像蜂蜜，心里冷得像冰&lt;br /&gt;
意译：笑里藏刀&lt;br /&gt;
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(9)И на солнце есть пятна&lt;br /&gt;
直译：太阳上也有黑点&lt;br /&gt;
意译：人无完人&lt;br /&gt;
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(10)семь раз отмерь, один раз отрежь&lt;br /&gt;
直译：测量了七次后再剪裁&lt;br /&gt;
意译：三思而后行&lt;br /&gt;
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Using free translation to translate Russian idioms requires the translator to accurately understand the meaning of the original text, because cultural differences make it impossible to literally translate. Only through the translator can an unobstructed bridge between Russian idioms and Chinese idioms be built.&lt;br /&gt;
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'''4.The application of literal translation and free translation in the Chinese translation of Russian proverbs'''&lt;br /&gt;
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There are often multiple translations of the same Russian proverb in Russian-Chinese dictionaries. On the one hand, because the translator uses different translation methods; on the other hand, because Russian proverbs have very rich connotations, a translation cannot perfectly interpret the inner meaning of the proverb. According to the context and the connotation of the proverbs, the most commonly used methods of Chinese translation of Russian proverbs are literal translation and free translation.&lt;br /&gt;
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'''4.1 Literal translation'''&lt;br /&gt;
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In Russian and Chinese languages, some proverbs not only have the same meaning or implicit meaning, but also use the same or similar figurative images to express a certain kind of the same semantics, and they are completely consistent in content and form. In this case, the equivalent translation of synonymous Chinese proverbs can convey the information contained in the original image, which not only retains the rhetorical color of the original language, but also enables the reader to perfectly understand the original text. E.g:&lt;br /&gt;
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(1)Куй железо, пока горячо. 趁热打铁。&lt;br /&gt;
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(2)Беда не приходит одна. 祸不单行。&lt;br /&gt;
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(3)Сытый голодного не разумеет. 饱汉不知饿汉饥。&lt;br /&gt;
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(4)Век живи, век учись. 活到老，学到老。&lt;br /&gt;
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(5)Выше встанешь, дальше увидишь. 站得高，看得远。&lt;br /&gt;
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(6)Лучше один раз увидеть, чем сто раз услышать. 百闻不如一见。&lt;br /&gt;
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(7)Нет дыма без огня. 无火不生烟。&lt;br /&gt;
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(8)Шила в мешке не утаишь. 口袋藏不住锥子。&lt;br /&gt;
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(9)Береги платье снову, а честь смолоду. 衣服要从新的时候爱惜，荣誉要从年轻时珍惜。&lt;br /&gt;
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(10)Выше лба уши не растут. 耳朵高不过额头。&lt;br /&gt;
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(11)Для милого друга семь верст не околица. 为了好友，多绕七里也不嫌远。&lt;br /&gt;
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(12)Как Новый год встретишь, так его и проведешь. 怎么迎新年，就怎么过一年。&lt;br /&gt;
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(13)Лучше умереть стоя, чем жить на коленях. 宁愿站着死，绝不站着生。&lt;br /&gt;
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(14)Не имей сто рублей, а имей сто друзей. 宁要一百个朋友，不要一百个卢布。&lt;br /&gt;
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По одежке встречают, по уму провожают. 迎客时看衣，送客时看才智。&lt;br /&gt;
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==Dialectical thinking in arguments between literal translation and free translation 	甘奉玉	Gan Fengyu==&lt;br /&gt;
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===Abstract===&lt;br /&gt;
  As two methods of translation, how to use literal translation and free translation has always been the focus of debate between Chinese and Western translation circles. Through the study of translation methods of literal translation and free translation at home and abroad, we can know that to some extent literal translation and free translation are two relative conceptions, so there will be word-for-word translation, that is, dead translation, and excessive free translation. However, these two are only two extremes of literal translation and free translation. In fact, although there are differences in definitions and application fields between literal translation and free translation, they are unified in common translation purpose, translation procedure and translation standard. Therefore, the two are contradictory and unified in translation activities. This is also the profound embodiment of the unity of opposites in materialist dialectics.--[[User:Gan Fengyu|Gan Fengyu]] ([[User talk:Gan Fengyu|talk]]) 07:46, 10 November 2020 (UTC)&lt;br /&gt;
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===Key words===&lt;br /&gt;
literal translation, free translation, word-for-word translation, over free translation, unity of opposites&lt;br /&gt;
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===摘要===&lt;br /&gt;
  作为翻译方法，直译(literal translation)与意译(free translation)怎样使用的问题一直是一个争论中西方翻译界不休的焦点。通过对国内外直译与意译的翻译方法的研究，我们可以得知，从某种程度而言，直译与意译是两个相对的概念, 所以才会有逐字翻译，即死译，与过度意译这两个完全对立的概念。但是，这两者只不过是直译与意译的两个极端点。其实，直译和意译虽然在概念定义，适用范围上有所差异，但却又统一于共同的翻译目的、翻译过程和翻译标准中。所以两者在翻译活动中应该是既对立又统一的矛盾体。而这也正是唯物辩证法中的对立统一矛盾观的深刻体现。--[[User:Gan Fengyu|Gan Fengyu]] ([[User talk:Gan Fengyu|talk]]) 07:50, 10 November 2020 (UTC)&lt;br /&gt;
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===关键字===&lt;br /&gt;
直译； 意译； 死译； 过度意译； 对立统一&lt;br /&gt;
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===Introduction===&lt;br /&gt;
  Throughout the translation history at home and abroad, the literal translation and free translation have always been a heat discussion in the translation circles. Someone absolutely approve literal translation and demean free translation, even pursue a dead translation, which creates an translated text difficult to understand. While some other people absolutely agree with free translation even advocate random acts, which means a random deletion in the translation practices and creates anther entirely different text. However, there are also a number of translators who have recognized that these two translation methods are not totally opposite. So they adopt a compromise and flexible way. That means they will choose the most appropriate one depending on the text demanding. Therefore, we can deduce from it that this eclectic translation is consistent with the Contradiction view of Unity of Opposite in Materialist Dialectics. In fact, literal translation and free translation are right a set of contradictions which are both opposite and unified. They complement each other into an integral one.&lt;br /&gt;
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===1.Dialectic thinking of the Unity of opposites===&lt;br /&gt;
===2.Word-for-word translation===&lt;br /&gt;
===3.Over free translation===&lt;br /&gt;
===4.Eclectic translation===&lt;br /&gt;
===5.Opposition and unity between literal translatiuon and free translation===&lt;br /&gt;
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===5.1 Opposition===&lt;br /&gt;
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===5.1.1 Opposition in definition===&lt;br /&gt;
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===5.1.2 Opposition in application fileld===&lt;br /&gt;
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===5.2 Unity===&lt;br /&gt;
===5.2.1 Unity in translation goal===&lt;br /&gt;
===5.2.2 Unity in translation procedure===&lt;br /&gt;
===5.2.3 Unity in translation standard===&lt;br /&gt;
===6.Conclusion===&lt;br /&gt;
===Bibliography===&lt;br /&gt;
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== Peter Newmark’s Improved Views on Literal Translation and Free Translation 赵茜 Zhao Xi==&lt;br /&gt;
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='''Document Translation'''=&lt;br /&gt;
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==On translation of official documents of CangNan County	吴恺	Wu Kai==&lt;br /&gt;
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On Translation of Official Documents of Cangnan County&lt;br /&gt;
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Japanese Language and Literature, School of Foreign Languages, Hunan Normal University, Wu Kai--[[User:Wu Kai|Wu Kai]] ([[User talk:Wu Kai|talk]]) 04:45, 2 December 2020 (UTC)&lt;br /&gt;
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==='''Abstract'''===&lt;br /&gt;
As one of the forefronts of Zhejiang’s opening-up cause, Cangnan County in Zhejiang Province has been enjoying a rapid development and an ever-growing degree of opening-up with lasting vitality as it’s supported by national policies and nourished by the dividends of economic globalization since China's reform and opening-up. As China has ushered in a period of major changes rarely seen in a century, Cangnan County is also facing new opportunities and challenges. Under the background of this era, Cangnan County is expected to make good use of its own advantages, especially the geographical ones—it is close to countries and regions including Japan, South Korea, and Taiwan—and should spare no efforts to achieve a higher level of opening-up, and, in turn, further promote its development. As an embodiment of the collective will of the people of Cangnan County, the official document is one of the best manifestations of its governance and stability control capabilities. For this reason, the research on how to translate official documents is of great significance for that it offers a great opportunity for Cangnan County to re-examine itself and to show the rest of the world its achievement in building a culture-enriched county.&lt;br /&gt;
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==='''Key words'''===&lt;br /&gt;
 official document translation, Cangnan County, opening-up, Japan, South Korea&lt;br /&gt;
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==='''摘要'''===&lt;br /&gt;
自中国改革开放以来，浙江省苍南县作为全浙江对外开放的前沿阵地之一，得到了国家政策支持和经济全球化红利的滋润，苍南县发展水平与对外开放程度日新月异，全县活力持久带劲。随着中国迎来“百年未有之大变局”，苍南县也面临着新的机遇和挑战，在此时代背景下，苍南县应该利用好自身优势，特别是临近日本、韩国、台湾等国家与地区的地理优势，努力开展更高层次、更高水平的对外开放事业，促进苍南更好的发展。为此，作为苍南县人民集体意志的体现，苍南县的公文就是对外展示其治理水平、稳控能力的最好的体现之一。而对于苍南县公文的如何翻译的研究，是促使苍南县重新审视自己、推进苍南人文县情传播海外的良机，意义重大。&lt;br /&gt;
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==='''关键词'''===&lt;br /&gt;
公文翻译  苍南县  对外开放  日本  韩国&lt;br /&gt;
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==='''I. System and Translation of Official Documents of Cangnan County'''===&lt;br /&gt;
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The unique official document system adopted by Chinese government agencies is a special integration of the thousands-of-years excellent political traditions in China and the essence of the organizational structure of the socialist regime. As a county-level unit in China's local administrative structure, Cangnan County has an official document system that is consistent with the national ones in general while has its own features. Official documents of Cangnan County can be basically divided into the following types of writing: resolutions, decisions, orders, bulletins, announcements, notifications, opinions, notices, reports, requests for instructions, approvals, proposals, letters, and minutes. Above-mentioned categories are collectively known as official documents. Besides, there are also some types of practical writing, including summaries, plans, notes, memos, briefings, speeches, manuals and so on, that are often used in our day-to-day work.&lt;br /&gt;
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In addition to those characteristics of the official documents that are commonly seen in China, official documents of Cangnan County also have its own features, which is mainly reflected in the aspect of proprietary terminology. Cangnan County, which used to be a part of Pingyang County in Zhejiang Province, was officially designated as a county in 1981 with the approval of the Central Government. It takes its name Cangnan, which means “on the south of the Yucang Mountain”, from its geographical location. As a relatively young county-level administrative unit in China’s administrative divisions, Cangnan County has a complex natural endowment and cultural environment, which is the reason why there are many special proprietary terms used in the official documents of Cangnan County, such as “Beautiful South Gate of Zhejiang Province”, “Southern Ouyue (an ancient kingdom in modern Wenzhou and Taizhou)” , “South Gate of Jiangsu-Zhejiang Region” and so on. Moreover, Cangnan is also the birthplace of the “Wenzhou Model”. Since the implementation of policy for the exchange of production materials and commercial grains in 1984, Cangnan has become an important base for the experiments and development of Wenzhou's private economy and market economy, and, thus, has made a significant contribution to the great cause of China's reform and opening-up.&lt;br /&gt;
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To conclude, the unity of the official document system viewed from the national scope of China and the uniqueness of the official document system viewed from the local scope of Cangnan area are both reflections of the integration of economic, political, and cultural elements. Therefore, when translating the terms and sentences in these official documents, obviously, it is almost impossible to follow general translation theories, such as Yan Fu’s “faithfulness, expressiveness and elegance” theory which applies to literature translation, and Christiane Nord’ Skopos theory which emphasizes schematic analysis. Due to the features of the official documents of Cangnan County, it is hard to imagine the consequence it will cause if those Cangnan and Chinese elements they contain are missed when translating them. Therefore, the starting point for the translation and research of Cangnan official documents should be analyzing the official document itself, but not choosing which translation theory to apply.&lt;br /&gt;
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The translation method focusing on the official documents themselves is undoubtably the one that emphasizes the content while manages to achieve a similarity in form. Thus, the translation theory that meets the requirements of official document translation in Cangnan County shall be the functional equivalence theory of the American linguist Eugene A. Nida. Eugene A. Nida argued in his theory that translation is to use the most appropriate, natural and equivalent language to reproduce the informational function of the source language both semantically and stylistically. Nida’s definition of translation specified that translation is seeking equivalence not only in lexical meaning, but also in semantics, style and literary form. Translation should convey both the denotative and connotative meaning of a message. Regarding the equivalence of translation, he believed that the equivalence consists of four parts: lexical equivalence, syntactic equivalence, textual equivalence, and stylistic equivalence. Among the four aspects, he emphasized that the meaning the core and most important part, followed by the form. The form of a text is likely to conceal the cultural connotation of the source language and may, therefore, hinder cultural exchanges. Based on the above, the reasons why the functional equivalence theory is applicable to official document translation in Cangnan County can be concluded as follows:&lt;br /&gt;
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First, the functional equivalence theory advocates that the target text should be equivalent to the source text both semantically and culturally. Official documents of Cangnan County are carriers of profound political culture with Chinese characteristics and the cultural environment in Cangnan. When translating them, in addition to showing the political consciousness and judicial authority of Cangnan government agencies, the local culture of Cangnan must also be reflected in the translations.&lt;br /&gt;
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Second, the functional equivalence theory suggests that if the lexical meanings and cultural elements cannot be taken into account at the same time, the translator then may give up the equivalence in form and try to reproduce the semantic and cultural meaning of the source text by changing the form of the sentence. There are many specialized terms with Chinese characteristics and Cangnan’s characteristics in official documents of Cangnan County. When translating them, once there is no corresponding expression in the target language, other forms of expression must be adopted to retain the meanings of those specialized terms as much as possible.&lt;br /&gt;
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Third, the functional equivalence theory proposes that if the change in form is still not enough to express the semantic and cultural meaning of the expression in the source language, the translation technique of “heavy damage” can be adopted to resolve cultural differences , so that the source language and the target language can achieve equivalence in semantic meaning. “Heavy damage” refers to the transformation of the deep structure of the source language into the surface structure of the target language, that is, expressing the cultural connotation of the source text with expressions of the target language. It cannot be ruled out that there are words and sentences in the official document of Cangnan County that cannot be translated, and when this happens, the translator can only rely on his translation techniques and understanding ability to process them creatively.&lt;br /&gt;
Above are simply macro analyses of the official document system in Cangnan County, and when it comes to specific analyses, challenges we face will only be severer.&lt;br /&gt;
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==='''II. Stylistic Features and Translation of Official Documents in Cangnan County'''===&lt;br /&gt;
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Looking at the official documents of Cangnan County from the micro level, we can work on the study of its translation based on the following characteristics.&lt;br /&gt;
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'''1. Details and Accurate'''&lt;br /&gt;
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As an officially-written document geared for the needs of our people, wording of the official documents of Cangnan County has a very specific orientation. Almost all content words have very clear meanings and connotations.&lt;br /&gt;
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For example, the sentence “经研究，县政府决定召开市对县安全生产巡查反馈会暨突出问题集中教育警示会，现将有关事宜通知如下。(As discussed, the county government decided to convene a feedback meeting on city-to-county inspections of production safety and a meeting for education and warning on outstanding issues. The relevant matters are hereby notified as follows.)” in the document 《苍南县人民政府办公室关于召开市对县安全生产巡查反馈会暨突出问题集中教育警示会的通知》(“Notice of the Office of the People's Government of Cangnan County on Convening a Feedback Meeting on City-to-County Inspections of Production Safety and A Meeting For Education and Warning On Outstanding Issues”) (the office of the People's Government of Cangnan County on June 8th, 2020) conveys several points very accurately and clearly, including the decision maker, the type, content and theme of the meeting. Therefore, special attention must be paid to the integrity of the information delivered when translating this sentence. For example, it is translated into Japanese as “討議を通じて、県政府は県の安全生産状況に対する市政府の巡査結果反映会及び顕著問題教育警告会を開催することが決定した。関連事項を以下のようにお知らせする。”&lt;br /&gt;
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'''2. Precise and Compact'''&lt;br /&gt;
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The role of official documents is to exchange formal information between the upper and the lower, the people and the officials, and the relevant departments. Therefore, the wording of the official documents must be rigorous. No slang and loose sentences should be used, and excessive use of parentheses and descriptive modifiers should be avoided. Official documents of Cangnan County follow this rule as well, in which there will never be informal expressions like daily spoken words.&lt;br /&gt;
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For example, the expression “三、决策目录施行动态管理，因工作需要增减或变更重大行政决策事项的，承办单位应按照相关规定程序提请调整。(Third, the decision catalogue shall be managed in a dynamic way, the undertaker shall submit application for adjustments in accordance with the relevant regulations if any increase/decrease or change shall be made to the major administrative decision-making matters because of the need of actual work.)” in the document《关于公布苍南县2020年度重大行政决策事项目录的通知》(“Notice on Issuing the 2020 Annual Catalogue of Major Administrative Decision-Making Matters of Cangnan County”) (the office of the People's Government of Cangnan County on Sept. 20th, 2020) When translating this sentence into Japanese, the translator shall fully considers the preciseness of the original expression, and translate it as “三つ目、戦略目録動的管理施行、仕事需要によっての増減または変更が必要な場合、請負機構は関連規定の手順に従って調整を提出しなければならない。”&lt;br /&gt;
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'''3. Programmed and Standardized'''&lt;br /&gt;
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The purpose of official documents requires a stable and routine writing program so that the official business can be conducted in an orderly manner. It is essential that the document writing is reasonably programmed. It allows the officer to know what it is and what to do at a glance if a standardized official document program is followed. The standardization of the official documents of Cangnan County can be regarded as a tricky feature in their translation.&lt;br /&gt;
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For example, the expression “各乡镇人民政府，县政府直属各单位 (the people's government of all townships and towns and all directly affiliated institutions of the people’s government of Cangnan County)” in the document《关于公布苍南县2020年度重大行政决策事项目录的通知》(“Notice on Issuing the 2020 Annual Catalogue of Major Administrative Decision-Making Matters of Cangnan County”) (the Office of the People's Government of Cangnan County on Sept. 20th, 2020) is obviously a standardized addressing of the receiving units of an official document, and it should be translated into Japanese as “各郷鎮人民政府、県政府直属の各部門”.&lt;br /&gt;
Viewing from a micro perspective, we may find that special attention should be paid to many precise details when translating those official documents. It is of great significance that, during the cause of reform and opening-up, we strike a balance between the macro level and the micro level in official document translation, which will serve as a stage for Cangnan County to show itself to Japan, South Korea and other East Asian countries and regions.&lt;br /&gt;
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==='''III. Translation of Official Documents of Cangnan County under the Context of the Japanese Language'''===&lt;br /&gt;
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Cangnan County is one of the nearest administrative units to Japan in China, and Okinawa Prefecture in Japan and Cangnan County are neighbors facing each other across the sea. Furthermore, Cangnan County itself has ports in Xiaguan, Pacao, Yanting, Dayu and other places, and has the basic conditions for conducting small transactions of freights with Okinawa. However, due to the inadequacy policies, laws and regulations, a large portion of Japan’s trade with China, especially with Zhejiang Province, is still conducted in the three port cities, namely Ningbo, Zhoushan, and Hangzhou. Cangnan’s geographical advantages have never been given to full play. To Japan, Cangnan is not a total stranger. Wenzhou City has a great influence upon Japanese culture and history. Special local products such as Wenzhou green tea and Wenzhou satsuma orange are very attractive to Japanese people. Many of the business exchanges during the Kamakura Bakufu in Japan were happened between Hakata merchants and Wenzhou people. As an important subordinate region of Wenzhou City, Cangnan County naturally has left an impression on Japanese people when it comes to China.&lt;br /&gt;
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If Cangnan hopes to lay a foundation for the future cooperation with Japan through its cause of opening up to the outside world, it is of great importance that we study the methods and techniques to make the translation of Cangnan’s official documents to meet the specific context of the Japanese language, which is also a part of the cultural exchanges that will facilitate economic and trade cooperation between Japan and China. The political status of Cangnan County is equivalent to the one of regular cities and special wards in Japan, but this does not mean that the official documents of Cangnan County can be regarded as equivalents to the official documents released by the governments of the regular cities and special wards in Japan, and there are huge differences between their respective official documents in form, wording, Cultural connotation and etc. To better translate Cangnan official documents under the context of Japanese language, the following aspects must be paid attention to:&lt;br /&gt;
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1. Detailed Comparison of Types&lt;br /&gt;
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In the Japanese official document system, the word “公文” is different in meaning from the word “公文” in Chinese official document system. In Chinese “公文” means government official documents, while in Japanese “公文” generally refer to legal documents that have the force of law and the term “公文書” is the one that refers to government official documents, which roughly includes “外交文書” and “起案文”, “通達” , “命令”, “許可”, “通知書” and so on . When translating official documents of Cangnan County into Japanese, attention should be paid to the transformation of the types of the official documents. The classifications of official documents in China and Japan are different from each other.&lt;br /&gt;
For example, when translating documents such as “proposal letter”, “report” and the like into Japanese, the title should be translated as “建言書” and “報告書”, while “命令(order)”, “通知(notice)”, “提案(Proposal)” and etc. need no translation and can be titled with the original characters directly as “命令”, “通知”, “提案”, and can also be further translated into “命令状”, “通知書”, “提案書”. Those reflect the characteristics of the division of the types of the official document system in Japan.&lt;br /&gt;
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2. Careful Consideration of the Translation of Chinese Characters&lt;br /&gt;
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There are a large number of Chinese characters in Japanese. This will for sure be an advantage when translating official documents of Cangnan County into Japanese, however, at the same time, this is also a huge disadvantage. After all, those Chinese characters are Japanized Chinese characters, and their meanings and usages are more or less different from the original ones in Chinese.&lt;br /&gt;
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For example, the expression “设定全县森林防火期(setting the season of forest fire prevention)” in the document 《苍南县应急管理局局长王再忠关于&amp;lt;苍南县人民政府关于做好森林防火期护林防火工作的通告&amp;gt;的政策解读》(“Policy Interpretation Of ‘Notice of Doing Forest Protection and Fire Prevention during the Season of Forest Fire Prevention by the People's Government Of Cangnan County’ by the Director of Cangnan Emergency Management Agency Wang Zaizhong”) in could be translated character by character into Japanese as “全県域森林防火期間設定”. However, expressions such as “野外火源如何管理” cannot be translated in the same way, and must be processed accordingly and translated into Japanese as “野外の火の元が如何に処理すること”. When translating official documents of Cangnan County into Japanese, the translators must reject the preconceived thinking and native Chinese thinking, or it will lead to irreversible misunderstandings and mistakes.&lt;br /&gt;
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3. Mastery of the Equivalence of Semantic Meaning&lt;br /&gt;
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Chinese is an isolating language, in which the grammatical meaning is reflected by the order of words, while Japanese is an agglutinative language, in which auxiliary words and flexible usages of vocabulary are adopted to reflect the grammatical meaning. This requires the translators to have mastery of the equivalence of semantic meanings when translating official documents of Cangnan County into Japanese and try to achieve perfect equivalence in official document translation.&lt;br /&gt;
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For example, there is a expression as “全体公民必须认真贯彻‘以人为本、预防为主、积极扑救、有效消灾’的森林防灭火工作方针，一旦发现森林火灾，要立即向当地人民政府或森林防灭火指挥部办公室报告(all citizens must seriously implement the working policy of forest fire prevention and firefighting ‘people-oriented, prevention-focused, active in firefighting, effective in disaster relief’, once a forest fire is detected, it must be reported to the local people’s government or the forest fire prevention and firefighting headquarters office immediately)” in the document 《苍南县应急管理局局长王再忠关于&amp;lt;苍南县人民政府关于做好森林防火期护林防火工作的通告&amp;gt;的政策解读》(“Policy Interpretation Of ‘Notice of Doing Forest Protection and Fire Prevention during the Season of Forest Fire Prevention by the People's Government Of Cangnan County’ by the Director of Cangnan Emergency Management Agency Wang Zaizhong”). When dealing with long and complex sentences, the translator must be flexible in using translation techniques to decompose the sentences and translate them step by step, focusing on the balance between the form of the sentence and its semantic meaning. Based on this principle, the abovementioned sentence could be translated into Japanese as “人間本位、予防軸化、積極救助、有効消災という森林防火作業方針は全県民が必ず強固に守らなければならない。林に火事が発見された際、直ちに所轄人民政府や森林防火指揮部執務室に報告すること。”&lt;br /&gt;
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There is no doubt that, in terms of four-character idioms, allusions, new words of the era and etc., the translation of official documents of Cangnan County under the context of the Japanese language still has a long way to go, but the part that we should pay most attention to in translation is always the differences in culture between the source language and the target language. Only by keeping this basic point in mind at all times, will there be no huge mistakes being made when translating official documents of Cangnan County into Japanese.&lt;br /&gt;
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==='''Ⅳ. Translation of Official Documents of Cangnan County under the Context of the Korean Language'''===&lt;br /&gt;
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Zhejiang Province and South Korea have laid a good foundation for economic and trade cooperation projects, and a framework that is comprehensive, wide-ranging, and multi-level has been established for Zhejiang-South Korea cooperation. The advantages of the two regions are obviously complementary and the development potential for both sides and in between is huge. In September 2016, the Zhejiang China-Korea (Quzhou) Industrial Cooperation Park was approved as the first batch of “Zhejiang International Industrial Cooperation Parks” in Zhejiang Province. The total planned area is about 3,000 acres and the total planned investment is 12 billion yuan. Represented by the Zhejiang China-Korea Industrial Cooperation Park, a large number of economic and trade cooperation projects has been carried out with South Korea by Zhejiang Province. As an indispensable part of Zhejiang Province, Cangnan County is facing a huge gap in the cultural exchanges and economic cooperation with South Korea. How to elevate the level of Cangnan’s opening up to the outside world and advancing Cangnan’s economic, trade and cultural cooperation with South Korea is a question that is well worth exploring. Although Cangnan is further away from South Korea compared with regions in the north of Zhejiang, geographic location should never be a factor that hindering Cangnan’s economic, trade and cultural cooperation with South Korea. In an era of ever-deepening globalization, it is of great significance that we think about how to develop and promote the economic and trade and cultural cooperation between Cangnan and South Korea.&lt;br /&gt;
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Northern Zhejiang is a key area for economic, trade and cultural cooperation with South Korea. As the south gate of Zhejiang Province, if Cangnan County could open the door of economic, trade and cultural cooperation to South Korea, then this will inevitably bring extraordinary development opportunities to southern Zhejiang and make the pattern of Zhejiang and South Korea’s economic and cultural cooperation more balanced and healthy. The political status of Cangnan County is equivalent to the one of si(city), gu (district), and gun(county) in South Korea. Because of some historical reasons, South Korea is greatly influenced by Chinese culture. From the Three Kingdoms era of Joseon, to the Unified Silla Dynasty, the Wang’s Goryeo Dynasty, and the Yi’s Joseon Dynasty, the basic system of administrative divisions in South Korea is almost the same as the one in China, so the official document system of cities, districts, and counties in South Korea can be regarded as basically equivalent to the official document system of Cangnan County with only slight differences originated from the localized political and cultural traditions and the basic social condition of South Korea. Therefore, there are relatively fewer difficulties of translation when translating official documents of Cangnan County into Korean, aside from the barriers caused by Korean Hangul words. The translation of official documents of Cangnan County under the context Korean language requires attention to the following aspects:&lt;br /&gt;
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1. The Combination of Chinese characters and Hangul&lt;br /&gt;
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Modern Korean uses Hangul as the main written characters, but this does not mean that there is no place for Chinese characters in the Korean system. Since the launch of the abolition of Chinese characters movement in South Korea in the 1970s, Hangul did exactly achieved an overall penetration of every aspect of their daily life, but when it comes to important documents, Chinese characters still reserve a seat in the arena of South Korea’s history. Furthermore, a higher level of talent training is required now to meet the need of South Korea’s economic and social development, and the mastery of sinology has become, among all the necessary skills, one of the most straightforward evaluation criteria to access the qualified personnel. Thus, South Korea has restarted the Chinese character teaching movement. Nowadays, the official document system in South Korea has become one in which Hangul serves as the main language and the mixed use of Chinese characters and Hangul serves as a supplement. Just as how the mixed use of kana and Chinese characters in Japanese official documents may help in its translation, the mixed use of Chinese characters and Hangul also greatly facilitate the translation of official documents of Cangnan County into Korean. However, because Chinese characters used in Korea are composed of traditional Chinese characters and a small number of Korean self-made Chinese characters, we can not take it for granted that it is advisable to translate them word by word.&lt;br /&gt;
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For example, the title of the document《苍干任〔2020〕18号 王再忠等同志的任命》(“Cangnan Cadre Appointment [2020] No. 18: Appointment of Wang Zaizhong and etc.”) (the Office of CPC Cangnan Party Committee on March 27th, 2020) can be translated with the mixed use of Chinese characters and Hangul into Korean as《蒼南縣의 幹部任命〔2020〕18號 王再忠등 同志의任命》. Also, it be translated into Korean with Hangul alone as《참남현의 간부임명〔2020〕18호 왕재충등 동지의임명》.&lt;br /&gt;
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2. The Usage of Refined Language&lt;br /&gt;
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In recent years, South Korea has carried out reforms of the official document system, urging that the South Korean government agencies at all levels should use “refined(or purified) language”, that is, to write and publish official documents with words that are easy for the public to understand and have explicit meanings, reducing the cost of communication between the government and the public and, in this way, building a closer relationship between the government and the people, so that civil servants can communicate with the people more effectively. Refined language is a kind of common vernacular that differs from the official language. Although this trend of the wording of Korean official documents is not unconditional, but when compared with official documents of Cangnan County, which emphasize the solemnity and formality of official documents, this trend is the part that the translator has to pay his attention to.&lt;br /&gt;
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For example, when translating the expression “为加强行政规范性文件管理，切实推进依法行政，加快法治政府建设 (To strengthen the management of administrative normative documents, promote the administration in accordance with law, and accelerate the construction of a government ruled by law)” in the document《苍南县人民政府关于公布县政府及县政府办公室行政规范性文件清理结果的通知（有效）》(“Notice of the Office of the People's Government of Cangnan County on the Announcement of the Results of the Cleanup of the Administrative Normative Documents of the County Government and the County Government Offices (Effective)”) (the Office of the People's Government of Cangnan County on October 23th, 2020) , blunt expressions may not be that applicable and this expression translated into Korean in a more public-friendly way as “행정 규범적인 문서관리를 강화하기 위해, 법에따라 행정을 철저히 추진하고 법치정부의 건설을 가속화시킨다.”&lt;br /&gt;
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3. Mastery of the Equivalence of Semantic Meaning&lt;br /&gt;
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Like Japanese, Korean is also a typical agglutinative language. A sentence is formed by connecting independent words with various auxiliary words, and with a subordinating conjunction at the end of the sentence. Auxiliary words are just like glues, they exist after every subject, predicate, and object component of a Korean sentence to them together. For that these auxiliary words have no substantial meaning themselves, they must stay close to the main body in front, and a space must be put after. Therefore, when translating Chinese, which is an isolated language, into Korean, which is an agglutinative language, it is necessary to have mastery of the equivalence of the semantic meaning of the expression.&lt;br /&gt;
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For example, when translating the expression “全面实施全民参保计划，做好参保情况清查，提升参保信息质量，清理重复参保，稳定持续参保，减少漏保断保，实现应保尽保。(Fully implement the national social security plan, do a good job in checking the coverage of the social security, improve the quality of the collection of the information of the insured, clean up repeated insureds, stabilize the renewal of the social security, reduce the interruption of the social security, and achieve full social security coverage.)” in the document《关于做好2021年度城乡居民基本医疗保障工作的通知》(“Notice on Doing a Good Job in Basic Medical Security for Urban and Rural Residents in 2021”)( the Office of Medical Security Bureau of Cangnan County on November 5th, 2020), the translator should pay attention to the equivalence of semantic meaning of this long sentence and translated it into Korean as “전국민기본의료보험가입계획을 전면적으로 실시하고 기본의료보험가입상황을 철저히 조사하며 기본의료보험가입 정보의 질을 향상시키고 중복기본의료보험가입을 청산하며 안정적이고 지속적인 기본의료보험가입을 하며 보험누락을 줄이고 기본의료보험가입 을 실현해야 한다.”&lt;br /&gt;
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==='''Ⅴ. Studies of Official Document Translation and the Cause of Opening-up in Cangnan County'''===&lt;br /&gt;
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Based on the abovementioned basic characteristics of the official document system of Cangnan County, the notes for official documents translation under the context of the Japanese language and the notes for official documents translation under the context of the Korean language, we can see that official documents of Cangnan County is not as difficult to handle as something untranslatable. Cangnan County enjoys a good geographic location: it is located in the coast of the East China Sea, and is close to both Japan and South Korea, two strong economies in East Asia. However, Cangnan County has not yet made use of these favorable conditions to the fullest to promote cultural cooperation and trade with the two countries. Cangnan’s opening up to the outside world requires innovative thinking and an elaborate layout. Studies on the translation of official documents of Cangnan County, especially the translation of official documents under the context of the Japanese and Korean language, will help to explore the cultural spirit of the government institutions, and play an important role in building a good image of Cangnan County in East Asia and laying a foundation for Cangnan's cooperation with major countries and regions in East Asia .&lt;br /&gt;
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The world today is undergoing profound changes rarely in a century, and so is China. The tide of history moves on and Cangnan shall not stay out of the matter, but must follow it courageously and strive to open new doors for Cangnan's opening up to the outside world through the study of the official document translation of its own.&lt;br /&gt;
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===References===&lt;br /&gt;
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[1]Ziqi LIU. The Application of Functional Equivalence Theory in Scientific Translation：A Case Study of the Translation of Shipbuilding English[J]. CREATIVITY AND INNOVATION,2019,1(3).&lt;br /&gt;
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[2]Mu Dan. Discussion on Translation Activities Under the Guidance of Functional Equivalence Theory[J]. International Journal of Education and Management,2018,3(2).&lt;br /&gt;
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[3]李琳琳. 功能对等翻译理论与关联翻译理论比较研究[D].辽宁师范大学,2006.&lt;br /&gt;
&lt;br /&gt;
[4]赵娟廷. 汉韩公文语体对比研究[D].复旦大学,2003. &lt;br /&gt;
&lt;br /&gt;
[5]周萱. 《中国共产党怎样解决民族问题》（节选）中韩翻译报告[D].青岛大学,2017.&lt;br /&gt;
&lt;br /&gt;
[6]张利军. 《教学的游戏性研究》的汉日翻译实践报告[D].广西师范大学,2019.&lt;br /&gt;
&lt;br /&gt;
[7]栾亚琼. 《2015年山东省政府工作报告》汉日翻译实践报告[D].曲阜师范大学,2016.&lt;br /&gt;
&lt;br /&gt;
[8]占丽华. 源流与演变—日本地方公文书馆发展路径研究[D].山东大学,2020.&lt;br /&gt;
&lt;br /&gt;
[9]任清萍. 功能翻译理论视角下政府工作报告日译研究[D].外交学院,2020.&lt;br /&gt;
&lt;br /&gt;
[10]孙慧. 产业竞争力与区域经济增长[D].苏州大学,2006.&lt;br /&gt;
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&lt;br /&gt;
--[[User:Wu Kai|Wu Kai]] ([[User talk:Wu Kai|talk]]) 04:45, 2 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
==The Translation Process and Methods of Translating English Long Sentences	周艺文	Zhou Yiwen==&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
===Abstract===&lt;br /&gt;
===Key words===&lt;br /&gt;
===摘要===&lt;br /&gt;
===关键词===&lt;br /&gt;
===Introduction===&lt;br /&gt;
&lt;br /&gt;
===Conclusion===&lt;br /&gt;
===Bibliography===&lt;br /&gt;
&lt;br /&gt;
==Chinese-English Translation of News Headlines From the Perspective of Skopos Theory	张维虹	Zhang Weihong==&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
==='''Abstract'''===&lt;br /&gt;
&lt;br /&gt;
==='''key words'''===&lt;br /&gt;
&lt;br /&gt;
News headlines; Skopos theory; translation&lt;br /&gt;
&lt;br /&gt;
==='''摘要'''===&lt;br /&gt;
社会的飞速发展使得人们的阅读方式发生了巨大的改变, 通过阅 读新闻标题来获取消息和了解事实, 成为大多数人的不二之选, 新闻标题 翻译也就越来越具有其必要性。 新闻标题的重要性堪比一部使人印象深刻 的电影名, 一则响亮的广告语, 一本撩人心弦的书名。 较之娱乐新闻, 时 政新闻略显严肃客观, 又因当今科技物质的飞速发展, 时政新闻的点阅数 量明显少于以消遣娱乐为目的的娱乐新闻。 怎样提高时政新闻的阅读量, 怎样使得时政新闻如同娱乐新闻一般深受广大人民的喜爱, 这不仅是新闻 编辑者们的挑战, 也是新闻翻译界的难题。 本文以德国功能派翻译目的论 为理论指导, 结合新闻学及编辑学的相关学科知识, 通过对中英时政新闻 标题的对比分析, 旨在对时政新闻标题的汉译英提出翻译策略, 让国外读者正确客观无误的了解中国的时事政策。&lt;br /&gt;
&lt;br /&gt;
==='''关键字'''===&lt;br /&gt;
&lt;br /&gt;
===Introduction===&lt;br /&gt;
&lt;br /&gt;
===Skopos Theory===&lt;br /&gt;
&lt;br /&gt;
===Features of News Headlines===&lt;br /&gt;
&lt;br /&gt;
===Chinese-English Translation Methods of News Headlines from the Skopos Perspective===&lt;br /&gt;
&lt;br /&gt;
===Conclusion===&lt;br /&gt;
&lt;br /&gt;
===Bibliography===&lt;br /&gt;
&lt;br /&gt;
==On Chinese-English Translation of Public Service Advertisements From the Perspective of Text-type Theory  司妤  Si Yu==&lt;br /&gt;
&lt;br /&gt;
==='''Abstract'''===&lt;br /&gt;
&lt;br /&gt;
==='''key words'''===&lt;br /&gt;
&lt;br /&gt;
==='''摘要'''===&lt;br /&gt;
&lt;br /&gt;
==='''关键字'''===&lt;/div&gt;</summary>
		<author><name>Song Jianru</name></author>
	</entry>
	<entry>
		<id>https://bou.de/u/index.php?title=History_of_Translation_Studies_8&amp;diff=107942</id>
		<title>History of Translation Studies 8</title>
		<link rel="alternate" type="text/html" href="https://bou.de/u/index.php?title=History_of_Translation_Studies_8&amp;diff=107942"/>
		<updated>2020-12-06T15:03:16Z</updated>

		<summary type="html">&lt;p&gt;Song Jianru: /* I Overview and Research Status of A Pale View of Hills */&lt;/p&gt;
&lt;hr /&gt;
&lt;div&gt;这里是《翻译学史》的书稿第八部分(Part 8)。麻烦各位同学看一下已经存在的章回（样品），自己再加进去新的一个章回（就是你们的学期论文）。请也帮助同学们把他们的论文改正。这样多次修改，大家的论文会越来越好。&lt;br /&gt;
&lt;br /&gt;
学期论文（结合学期所学，撰写一篇5000以上单词的英文论文，按照专业杂志的格式，题目、摘要、关键词和参考文摘需要英中，文章英）。学期论文成绩占70%，平时成绩（含课堂表现、展示及作业）占30%。&lt;br /&gt;
&lt;br /&gt;
*Link back to course homepage: [https://bou.de/u/wiki/Introduction_to_Translation_Studies Course Homepage Intro. to TS]&lt;br /&gt;
*Link back to the final exam paper section of the course homepage: [https://bou.de/u/wiki/Introduction_to_Translation_Studies#Final_Exam_Papers Final Exam Papers]&lt;br /&gt;
*Link to other parts of the final exam papers: [https://bou.de/u/index.php?title=History_of_Translation_Studies_1 Final Exam Papers Part 1]&lt;br /&gt;
*Link to other parts of the final exam papers: [https://bou.de/u/index.php?title=History_of_Translation_Studies_2 Final Exam Papers Part 2]&lt;br /&gt;
*Link to other parts of the final exam papers: [https://bou.de/u/index.php?title=History_of_Translation_Studies_3 Final Exam Papers Part 3]&lt;br /&gt;
*Link to other parts of the final exam papers: [https://bou.de/u/index.php?title=History_of_Translation_Studies_4 Final Exam Papers Part 4]&lt;br /&gt;
*Link to other parts of the final exam papers: [https://bou.de/u/index.php?title=History_of_Translation_Studies_5 Final Exam Papers Part 5]&lt;br /&gt;
*Link to other parts of the final exam papers: [https://bou.de/u/index.php?title=History_of_Translation_Studies_6 Final Exam Papers Part 6]&lt;br /&gt;
*Link to other parts of the final exam papers: [https://bou.de/u/index.php?title=History_of_Translation_Studies_7 Final Exam Papers Part 7]&lt;br /&gt;
*Link to other parts of the final exam papers: [https://bou.de/u/index.php?title=History_of_Translation_Studies_8 Final Exam Papers Part 8]&lt;br /&gt;
*Link to other parts of the final exam papers: [https://bou.de/u/index.php?title=History_of_Translation_Studies_9 Final Exam Papers Part 9]&lt;br /&gt;
*Link to other parts of the final exam papers: [https://bou.de/u/index.php?title=History_of_Translation_Studies_10 Final Exam Papers Part 10]&lt;br /&gt;
&lt;br /&gt;
='''History of Translation'''=&lt;br /&gt;
== Study on Brand Name Translation from the Perspective of Cultural Difference	谭鑫洁	Tan Xinjie==&lt;br /&gt;
&lt;br /&gt;
==='''Abstract'''===&lt;br /&gt;
&lt;br /&gt;
== Abstract: ==&lt;br /&gt;
&lt;br /&gt;
==='''key words'''===&lt;br /&gt;
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==='''摘要'''===&lt;br /&gt;
&lt;br /&gt;
==='''关键字'''===&lt;br /&gt;
&lt;br /&gt;
===Complete transcript of the content of the original work ===&lt;br /&gt;
&lt;br /&gt;
===Same style and manner of writing===&lt;br /&gt;
&lt;br /&gt;
===Equivalent effect===&lt;br /&gt;
&lt;br /&gt;
===Discussion===&lt;br /&gt;
&lt;br /&gt;
===Conclusion===&lt;br /&gt;
&lt;br /&gt;
===Bibliography===&lt;br /&gt;
&lt;br /&gt;
==A Comparative Study on the Translation History in Western Countries and China	王煜	Wang Yu==&lt;br /&gt;
===摘要===&lt;br /&gt;
翻译是一种跨文化交流活动，翻译活动加快了人类文明发展步伐，减少了人们之间的沟通障碍。随着时代的变迁，中国和西方国家逐渐形成了各自的翻译史，翻译史的研究是学科建设的一项基础工程。尽管中西方翻译史在某些方面有所差异，但却都有着各自的独特性，并对人类的翻译活动产生了巨大的影响与贡献。文章将以中国和西方国家为主要对象，从二者翻译史起始，包含阶段和各阶段代表人物，影响意义，差异性出发，对二者的翻译史进行简略的对比研究。&lt;br /&gt;
&lt;br /&gt;
===关键词===&lt;br /&gt;
翻译史；西方翻译史；中国翻译史&lt;br /&gt;
&lt;br /&gt;
===Abstract===&lt;br /&gt;
Translation is an intercultural communication activity, translation activities have accelerated the development of human civilization and reduced the communication barriers between people of different countries or nations. With time goes by, things are in a state of flux and both the western and eastern countries have gradually formed their own history of translation, the study of translation history is a basic project of discipline construction. Though there are many differences among the translation histories of western countries and China, the two kinds of translation histories are still shining their own bright unique lights and have an indelible influence and contribution to human translation activities. This paper intends to make a brief comparison of translation histories between western countries and China, which includes the origins, the stages, the representatives of the stages, the significance and influence as well as the differences of the two translation histories.&lt;br /&gt;
&lt;br /&gt;
===Keywords===&lt;br /&gt;
Translation history; Translation history of the West; Translation history of China &lt;br /&gt;
&lt;br /&gt;
===1. Introduction===&lt;br /&gt;
No matter in China or in the west, translation plays an important role in knowledge-spreading. As an indispensable part of translatology, the study of translation history has made a great influence on translation activities, it has gradually become the focus of the literary and historical circles in recent years. Translation activities can be traced back to the origin of language, and the history of translation is almost as old as language itself, it is closely related to the changes in today's society. Since the 1980s, the translation studies in the mainland of China have made remarkable progress in the curriculum design of Chinese and western translation history and the compilation of related works. In the early 1980s and 1990s, there were many related works came out one after another including A brief history of Chinese Translation: the part before the May 4th Movement（《中国翻译简史-“五四”运动以前部分》） written by Zuyi Ma, A historical manuscript of Chinese translated literature （《中国翻译文学史稿》）edited by Yugang Chen, and also the A Short History of Translation in the West（《西方翻译简史》） the author of which is Zaixi Tan. Thus, it opens the gate for the compilation of Chinese and western translation history works.（谢天振，2009） The history of western translation can be divided into five stages while the Chinese study of translation has a glorious history of more than two thousand years and has experienced five climaxes. Through the comparative study of Chinese and western translation history, it will help us to have a deeper understanding of Chinese and western translation activities and thus to gather a general full view of it, which will be a positive and meaningful attempt.&lt;br /&gt;
&lt;br /&gt;
2. The Translation History of Western Countries&lt;br /&gt;
Western translation activities are rich in a long history and a multiyear span. The history of western translation can be roughly divided into three stages: the traditional stage, the modern times and the contemporary. More specifically, it can be grouped into the ancient times, the middle ages, the Renaissance period and the time after WWⅡ.&lt;br /&gt;
&lt;br /&gt;
2.1 The First Stage: Translation in the Ancient Times&lt;br /&gt;
    &lt;br /&gt;
The translation history of western countries first began in the the 3rd century B.C. &amp;quot;In a broad sense, the earliest translation in the west is the Old Testament translated by 72 Jewish scholars in Alexandria, ancient Egypt, between the 3rd and 2nd centuries BC; Strictly speaking, the first western translation is the Greek Homer Epic Odyssey translated by Andronicus in Rome in the middle of the third century BC.”(谭载喜,2000) At the end of the 4th BC, during this time, the Greece began to decay and the Roman had became stronger and stronger with its military expansion. The expansion of the Roman Empire brought it into contact with the splendid Greek culture, therefore, the Romans not only conquered the Greek city, but also inherited and developed the brilliant achievements of ancient Greek culture, and then created a  splendid cultural of its own era after Greece. So soon began a large scale translation activities, the activity of translating and introducing Greek classical works probably began in this period.（刘军平,2009）Many famous translation theorists began to make their presences, namely Cicero, Quentin, Jerome and so on, also the famous Roman litterateurs like Andronicus, Naevius, Ennius, these great writers used Latin language to translate or adapt Homer’s epic or other Greece dramas. Started the translation tradition and promoted the birth and development of Roman literature.&lt;br /&gt;
&lt;br /&gt;
2.2 The Second Stage: Translation in the Middle Ages (4th-6th)&lt;br /&gt;
&lt;br /&gt;
2.3 The Third Stage: Translation in the Middle Ages (11th-12th)&lt;br /&gt;
&lt;br /&gt;
2.4 The Fourth Stage: Translation in the Renaissance Period&lt;br /&gt;
&lt;br /&gt;
2.5 The Fifth Stage: Translation after WWⅡ&lt;br /&gt;
&lt;br /&gt;
3. The Translation History of China--[[User:Wang Yu|Wang Yu]] ([[User talk:Wang Yu|talk]]) 08:38, 30 November 2020 (UTC)--[[User:Wang Yu|Wang Yu]] ([[User talk:Wang Yu|talk]]) 08:43, 30 November 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
==The Implications of Luther's Translation Principles amid Renaissance for Modern Literature Translation	方洁玲	Fang Jieling==&lt;br /&gt;
&lt;br /&gt;
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==Translation manipulated by ideology	许静	Xu Jing==&lt;br /&gt;
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==Comparison between the History of Chinese and Western Translation   周书尧   Zhou Shuyao==&lt;br /&gt;
&lt;br /&gt;
'''Abstract:'''There has a long history and culture Chinese and Western translation, and translation plays an indelible role in promoting cross-cultural communication and cultural communication. This article first discusses the history of translation in China from  four stages , then discusses the five stages of western translation history , and finally compares and analyzes the similarities and differences between Chinese and Western translation histories, and puts forward some of the author's own views.&lt;br /&gt;
&lt;br /&gt;
'''Key words:'''The history of Chinese,The history of Western,the stages of  translation history,comparison&lt;br /&gt;
&lt;br /&gt;
'''摘要：'''中西方翻译历史文化源远流长，翻译在促进跨文化交流和文化传播上承担着不可磨灭的作用。本文首先从中国的四次翻译高潮论述中国的翻译史，再从西方的五次翻译高潮探讨西方的翻译史，最后对中西方翻译史的异同进行对比分析，提出一些笔者自己的看法。&lt;br /&gt;
&lt;br /&gt;
'''关键词：'''中国翻译史，西方翻译史，翻译高潮，对比&lt;br /&gt;
&lt;br /&gt;
'''Ⅰ.Introduction'''&lt;br /&gt;
&lt;br /&gt;
Since the 1980s, the Chinese translation studies community has made remarkable progress in the establishment of Chinese and Western translation history courses and the compilation of related works.In the 1980s and early 1990s,A Brief Introduction to the History of Translation in China from Ma Zuyi and other books of Chen Yugang and Tan Zaixi were published one after another,which raised the curtain for the compilation of Chinese and Western translation history works by the domestic translation scholars.The four stages in the history of Chinese translation have promoted the development of Chinese history, culture and society to varying degrees.The same as our country, Western translation has an age-old history.In a sense, the development of Western European civilization should first be attributed to the translators.The five stages in the history of European translation have promoted the exchanges of literature, art, science and trade between countries, and to a certain extent promoted the development of Chinese translation.In fact, when we examine the development trajectory of Chinese and Western translation activities and the evolution of translation concepts together, we find that there are some similarities between Chinese translation and Western translation.Especially in the evolution of Chinese and Western translation concepts, the two have very similar evolution laws.&lt;br /&gt;
&lt;br /&gt;
='''Literal and Free Translation'''=&lt;br /&gt;
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==Rethink Literal and Free Translation	彭永亮	Peng Yongliang==&lt;br /&gt;
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==On the Chinese Translation of A Pale View of Hills from House’s Translation Quality Assessment Model	宋建茹	Song Jianru==&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
===Abstract===&lt;br /&gt;
&lt;br /&gt;
Translation quality assessment is an integral part of translation criticism. The first TQA model with comprehensive theories and practices Juliane House represented provides a significant reference for translation exercises. ''A Pale View of Hills'', as the first work of Kazuo Ishiguro, possesses a great research value on its narrative styles by virtue of memory and topics about migrants. As of 2011 when its Chinese translation was published, no scholar has evaluated it. This study applies House’s TQA model to assess the Chinese translation of ''A Pale View of Hills'' with qualitative and quantitative analysis from lexical, syntactic and textual aspects, in a bid to examine validity of the model on novel translation, which turns out that it is an overt and high-quality translation.&lt;br /&gt;
&lt;br /&gt;
=== Key Words===&lt;br /&gt;
&lt;br /&gt;
''A Pale View of Hills''; House’s TQA model; novel translation&lt;br /&gt;
&lt;br /&gt;
=== 摘 要 ===&lt;br /&gt;
&lt;br /&gt;
翻译质量评估是翻译批评的核心课题。朱莉安·豪斯提出的第一个有完整的理论和实践的翻译质量评估模式，为翻译实践提供了重要参考。《远山淡影》是石黑一雄的处女作，其依托回忆的叙事风格和移民主题具有很高的研究价值。《远山淡影》中译本自2011年出版至今，尚未有学者对其进行评估研究。本文运用豪斯的翻译质量评估模式，采用定性与定量相结合的分析方式，从语场、语旨、语式等三个层面对原文和译文进行分析，开展《远山淡影》中译本的翻译质量评估研究，为豪斯翻译质量评估模式对小说翻译的运用进行进一步的探索和补充。通过分析，得出《远山淡影》中译本为显性翻译，翻译质量较高。''Italic text''&lt;br /&gt;
&lt;br /&gt;
=== 关键词 ===&lt;br /&gt;
&lt;br /&gt;
《远山淡影》；豪斯质量评估模式；小说翻译&lt;br /&gt;
===Introduction===&lt;br /&gt;
Translation criticism refers to the analysis and review of thoughts, activities and works of translation by virtue of relevant theories and views, in a bid to improve the overall quality of translators and translations. It is an integral part of translation studies. (Wang Enmian, 1999: 7) Translation quality assessment, as the integral and key part of translation criticism, plays a significant role in surveillance and promotion of translation quality. Among the extant translation quality assessment models, Juliane House’s ''A Model for Translation Quality Assessment and Translation Quality Assessment: A Model Revised'', based on Halliday's systemic functional linguistics and discourse analysis, are systematic, scientific and rational with a relatively complete system of parameters, quantitative methods and steps adhering to specific procedures. &lt;br /&gt;
&lt;br /&gt;
''A Pale View of Hills'', as Kazuo Ishiguro's first full-length novel, tells the life of the people in Nagasaki after WWII through the memory of protagonist Etsuko and explores recovery of trauma, collision between the old and new ideas, and kinship after war. The first person narrative, memory, humor and satire and international perspectives in the book became his major writing styles in the future. The novel won the Winifred Holtby Memorial Prize from the Royal Society. Its only Chinese translation at present, from Zhang Xiaoyi, is still not analyzed by the scholars. This paper uses House’s translation quality assessment model, with combination of qualitative and quantitative analysis, from field, tenor and mode to analyze the mismatches between original and translation in an attempt to assess the Chinese translation quality of ''A Pale View of Hills'' and further explore the application of House’s model in novel translation. The aim of the study is to promote scholars to regulate the behaviors of translation, to improve the quality of translation and translation evaluation, and to provide a reasonable way for establishing the interlingual conversion mechanism.&lt;br /&gt;
&lt;br /&gt;
The thesis consists of four chapters.&lt;br /&gt;
&lt;br /&gt;
After the Introduction, Chapter One gives a brief account of A Pale View of Hills and its research status, involving the author, background, content and influence. Chapter Two is a brief introduction of House’s TQA model, including its theoretic basis, parameter setting, operation steps and feasibility. Chapter Three is a detailed analysis of original and translation of A Pale View of Hills based on House’s model. Chapter Four is statement of translation quality assessment. Then we come to the last part, Conclusion.&lt;br /&gt;
===I Overview and Research Status of A Pale View of Hills===&lt;br /&gt;
''A Pale View of Hills'' is Kazuo Ishiguro's first novel, which laid a solid foundation for the formation of Ishiguro's writing style. The chapter mainly introduces the author, plot, theme and influence of the novel and analyzes its research status, in an attempt to master the material well and seek new perspectives for the paper.&lt;br /&gt;
&lt;br /&gt;
'''1.1 Overview of A Pale View of Hills'''&lt;br /&gt;
&lt;br /&gt;
Kazuo Ishguro is a noble contemporary Japanese English writer, whose novels feature first person narrative, detailed depiction of loneliness, depression, self-deception and anxiety of characters’ inner world and dual narrative strategy to deconstruct the narrator's self-identity, as well as discuss postwar trauma and migrant identity. He won Booker Prize, the British top literary prize, in 1989 and the Nobel Prize in literature in 2017. By virtue of his outstanding literary achievements, he is known as one of the Three Masters of English Migrant Literature together with Salman Rushdi and Naipaul.&lt;br /&gt;
&lt;br /&gt;
A Pale View of Hills, published in 1982, is Ishiguro's debut. The story, with postwar Nagasaki as its background, enjoys two clues: one is what happened when Niki (Etsuko’s little daughter) visited her mother after her sister Keiko died; the other is Etsuko’s memory about people and events in Nagasaki after the war. The two lines integrated together during the narrative, forming the illusory and imaginary impression. Many in-depth topics in this work are worth pondering: postwar trauma recovery, the collision between new and old ideas after war and discussion of family relations. Many marks in the work became his own styles: first-person narrative, memory, humor and satire, international perspectives. In addition, it won the Winifred Holtby Memorial Prize from the Royal Society and is still in print thirty years after its publication. This book, with its enormous emotion, unearths the abyss beneath the illusion of our connection to the world, whose artistic value and charm could be time-tested.&lt;br /&gt;
&lt;br /&gt;
'''1.2 Research Status of A Pale View of Hills'''&lt;br /&gt;
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There are 54 papers about A Pale View of Hills in domestic researches. According to the statistics from HowNet (as shown in the figure below), the number of studies on the work has been mounting, especially after Kazuo Ishiguro won the Nobel Prize for Literature in 2017. The perspectives of these researches are mainly from identity anxiety, unreliable narrative and post-war trauma. In Identity Anxiety in Kazuo Ishiguro's A Pale View of Hills, Wang Fei discusses the identity anxiety of migrants, exploring manifestations, causes and influence of such anxiety on the characters. In Memory and Narrative Unreliability of A Pale View of Hills, He Xiaobing combined with the classical narratology to analyze how unreliable narration method is presented in the work and discussed the inner world of the characters. In Trauma in Kazuo Ishiguro's A Pale View of Hills, Liu Xiaoya explores the protagonist's trauma by using Sigmund Freud’s psychoanalysis theory and trauma theory (including post-freudian psychological trauma theory), contemporary trauma culture theory along with rhetorical narrative theory.&lt;br /&gt;
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At abroad there are more perspectives about the studies of A Pale View of Hills. In addition to the main research directions of domestic scholars, such as identity anxiety of characters, unreliable narrative research and post-war trauma, cultural displacement, family relationship and the influence of region on personality presented in the works are also analyzed. The Impact of Place on Personality in Kazuo Ishiguro's A Pale View of Hills: An Eco-critical Study co-written by Awla, Yousif Hamad and Azad Sharif, from the perspective of ecocriticism, clarifies the fact that a place is able to define and guide the emotions and thoughts of characters, and analyzes the reasons why geography forms characters of people in order to draw people’s attention to the impact of surrounding environment on them. Ruth Forsythe's article Cultural Displacement and the Mother-daughter Relationship in Kazuo Ishiguro's A Pale View of Hills focuses more on the relationship between mother and daughter under cultural displacement. However, no scholars have analyzed the language itself from the perspective of systemic functional linguistics.&lt;br /&gt;
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The Chinese translation of A Pale View of Hills, Zhang Xiaoyi’s version, was published by Shanghai Translation Publishing House in 2011, and the bilingual version in 2019. Up to now, there has no translation criticism or discussion about this translation. Since 2011 when it was translated, it came to draw the attention of scholars and readers. Translation is a direct factor that affects the integrity of author’s thought, the reader's perception and the accuracy of the scholar’s study, thus it is indispensable to use the House’s Translation Quality Assessment model to analyze the Chinese translation of A Pale View of Hills.&lt;br /&gt;
===II Introduction of House’s Translation Quality Assessment Model===&lt;br /&gt;
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==On the Relationship among Literal Translation, Free Translation, Domestication and Foreignization	韦洪朗	Wei Honglang==&lt;br /&gt;
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==On Chinese-to-English Translation of The Summer Palace from the Perspective of Functionalist Approaches to Translation	魏亚菲	Wei Yafei==&lt;br /&gt;
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===Abstract===&lt;br /&gt;
Abstract&lt;br /&gt;
The Chinese-English translation of tourist texts, as a window for the external publicity of national history and culture, plays an important role in promoting the development of local tourism. The Summer Palace is well known for its large and priceless collection of cultural relics, which is among the first group of historical and cultural heritage sites in China to be placed under special state protection. &lt;br /&gt;
Based on the functionalist approach and the skopos rule, this paper discusses the problems existing in the translation of scenic spots in the Summer Palace from the perspectives of garden culture, historical culture and religious culture. Skopos theory holds that translation depends on communicative purpose. To achieve this goal, translators can choose different translation strategies. It is believed that the purpose of Chinese-English translation of scenic spots is to attract target readers and promote traditional culture. Therefore, when translating tourism materials, it is necessary not only to express the local cultural connotation, but also to consider the cross-cultural factors. The Chinese-English translation of the introduction of scenic spots guided by functionalist approach can make English readers have expectations of scenic spots and understand the cultural connotation of scenic spots. This paper aims to better promote the development and communication of Chinese culture and improve the level of tourism text translation in China by relying on the theory of functionalist approach.&lt;br /&gt;
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===Key words===&lt;br /&gt;
Key Words: functionalist approach，the Summer Palace，translation strategies&lt;br /&gt;
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===摘要===&lt;br /&gt;
摘 要&lt;br /&gt;
旅游资料的英译作为民族历史文化对外宣传的一道窗口,对地方旅游业的发展有着不可低估的促进作用。颐和园作为中国著名的皇家园林，具有浓厚的中国园林特色及优美的风景，同时也蕴涵着深厚文化内涵。&lt;br /&gt;
本篇旅游文本英译的分析以功能派翻译理论作为理论指导，以目的法则为主要原则，从颐和园的园林文化、历史文化和宗教文化三个角度出发对颐和园景点英译中存在的问题进行探讨。目的论认为译文取决于翻译目的，这个目的通常指的是交际目的。为达到这个目的，译者可以选择不同的翻译策略。也就是说，译者的翻译策略必须由译文的预期目的或功能决定，即所谓的“目的法则”。笔者认为景点介绍的汉英翻译的目的就是吸引译文读者以及弘扬传统文化，因此在翻译旅游资料的时候不仅要把当地的文化内涵表达出来，而且要考虑到跨文化的因素。而以功能派翻译理论为指导的景点介绍的汉英翻译，可以使英语读者通过译文产生对旅游景点的期盼，以及对景点文化内涵的理解。以颐和园景区内的翻译文本为例本，依托功能翻译理论，通过“发现问题，指出问题，解决问题”，以期更好地促进中国文化的传播与交流，提高我国现阶段旅游文本翻译的水平。&lt;br /&gt;
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===关键字===&lt;br /&gt;
关键词：功能翻译；颐和园；翻译目的；翻译策略&lt;br /&gt;
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===Introduction===&lt;br /&gt;
  Throughout the translation history at home and abroad, the literal translation and free translation have always been a heat discussion in the translation circles. Someone absolutely approve literal translation and demean free translation, even pursue a dead translation, which creates an translated text difficult to understand. While some other people absolutely agree with free translation even advocate random acts, which means a random deletion in the translation practices and creates anther entirely different text. However, there are also a number of translators who have recognized that these two translation methods are not totally opposite. So they adopt a compromise and flexible way. That means they will choose the most appropriate one depending on the text demanding. Therefore, we can deduce from it that this eclectic translation is consistent with the Contradiction view of Unity of Opposite in Materialist Dialectics. In fact, literal translation and free translation are right a set of contradictions which are both opposite and unified. They complement each other into an integral one.&lt;br /&gt;
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===Table of Contents===&lt;br /&gt;
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Table of Contents&lt;br /&gt;
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Outline&lt;br /&gt;
1.Introduction&lt;br /&gt;
2. Studies on Functionalist Approach&lt;br /&gt;
2.1 The Viewpoint of Functionalist Approach&lt;br /&gt;
2.1.1 Reiss’s Text Typology&lt;br /&gt;
2.1.2 Vermeer’s Skopos Theory&lt;br /&gt;
2.1.3 Manttari’s Theory of Translational Action&lt;br /&gt;
2.1.4 Nord’s Theory of Function plus Loyalty&lt;br /&gt;
2.2 The Application of Functionalist Approach &lt;br /&gt;
3.C-E Translation of the Summer Palace under Functionalist Approach&lt;br /&gt;
3.1 Garden Culture&lt;br /&gt;
3.2 Historical Culture &lt;br /&gt;
3.3 Religious Culture &lt;br /&gt;
4. Conclusion&lt;br /&gt;
References&lt;br /&gt;
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===Outline===&lt;br /&gt;
Outline&lt;br /&gt;
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Thesis Statement: Based on the main viewpoints of functionalist approaches to translation, this paper aims to give an analysis to C-E translation of the Summer Palace from cultural, historical and religious aspects, hoping to provide some translation strategies for other cultural attractions.&lt;br /&gt;
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1. Introduction&lt;br /&gt;
2. Studies on Functionalist Approaches&lt;br /&gt;
2.1 The Viewpoint of Functionalist Approach&lt;br /&gt;
2.1 Reiss’s Text Typology&lt;br /&gt;
2.2 Vermeer’s Skopos Theory&lt;br /&gt;
2.3 Manttari’s Theory of Translational Action&lt;br /&gt;
2.4 Nord’s Theory of Function plus Loyalty&lt;br /&gt;
2.2 The Application of Functionalist Approach&lt;br /&gt;
3. C-E Translation of the Summer Palace under Functionalist Approach&lt;br /&gt;
3.1 Garden Culture&lt;br /&gt;
3.2 Historical Culture&lt;br /&gt;
3.3 Religious Culture&lt;br /&gt;
4. Conclusion&lt;br /&gt;
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===1. Introduction ===&lt;br /&gt;
1. Introduction   &lt;br /&gt;
The Chinese-English translation of tourist texts is a bridge to spread the culture of classical Chinese gardens, so the accuracy of it has a direct impact on foreigners' understanding of the specific history and culture. &lt;br /&gt;
Functionalist approach has made a pioneering contribution to the translation of non-literary genres. Functional translation theory emphasizes the function of discourse, and believes that different types of discourse have different functions, so translators should choose appropriate translation strategies according to the type of source text and corresponding functions. Functionalist approach is to take the &amp;quot;skopos rule&amp;quot; as the highest standard, and any translation activity is a purposeful behavior. The ultimate goal and main function of scenic spot translation is to help people understand the main content of the scenic spot.&lt;br /&gt;
As a window for the publicity of national history and culture, the Chinese-to-English translation of tourist texts plays an important role in promoting the development of local tourism. Well known for its large and priceless collection of cultural relics, the Summer Palace was among the first group of historical and cultural heritage sites in China to be placed under special state protection. Based on the viewpoints of functionalist approach to translation, this paper aims to analyze C-E translation of the Summer Palace from cultural, historical and religious aspects, hoping to provide some translation strategies for other cultural attractions. &lt;br /&gt;
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===2. Studies on Functionalist Approaches===&lt;br /&gt;
2. Studies on Functionalist Approaches&lt;br /&gt;
Functionalism is a theory that advocates reader-centered translation, emphasizing the functions of texts and highlighting the communicative effects. It is believed that many unnecessary mistakes can be avoided and better results can be achieved by applying functionalist approach in Chinese-English translation of tourist text. &lt;br /&gt;
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===2.1 The Viewpoint of Functionalist Approaches===&lt;br /&gt;
2.1 The Viewpoint of Functionalist Approaches&lt;br /&gt;
Functionalist Translation Theory, also known as German Functionalist Translation Theory, was proposed by German scholars in the 1970s. It includes four main theories: Katharina Reiss’s Text Typology, Hans Vermeer’s Skopos Theory, Justa Holtz Manttari’s Theory of Translational Action and Christiane Nord’s Theory of Function plus Loyalty. This chapter aims to present the main ideas of this theory.&lt;br /&gt;
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===2.1.1 Reiss’s Text Typology===&lt;br /&gt;
2.1.1 Reiss’s Text Typology&lt;br /&gt;
In 1971, Reiss in her book Possibilities and Limitation of Translation Criticism first made text function as a standard of translation criticism, namelyevaluate the translated text from the relationship between the functions of the original and the translated text. She insists on the original-centered equivalence theory and holds the view that the ideal translation is to achieve the equivalence between the target text and the source text in terms of ideological content, linguistic form and communicative function. However, translation practice makes her realize that it’s difficult to achieve equivalence sometimes and that sometimes equivalence cannot be pursued. Because of the particularity of translation requirements, the function of the target text is not always the same as that of the source text. Therefore, the translator should give priority to the functional role of the target text rather than the principle of equivalence.&lt;br /&gt;
Reiss believes that in the normal situation the type of text decides the translator’s choice of a proper translation method (Reiss, 2004). Therefore, she divides text into four types: content-focused text, form-focused text, appeal-focused text and audio-media text. Content-focused text, also known as informative text, includes news reports, commercial correspondence, operating instructions, official documents, patent&lt;br /&gt;
specifications, essays, treaties, etc. For this text, the main function is to convey information revealed in language itself to readers. The emphasis is on content and topic, so the choice of language and style should serve this function. If both the source text and target text belong to informative text, the translator should represent the content and information of source text accurately and completely (Reiss, 2004)&lt;br /&gt;
Form-focused text, also known as expressive text, refers to literary works such as novels, poems and so on. “Distinct from ‘content’, which deals with what the author says, ‘form’ is concerned with how an author expresses himself” (Reiss, 2004). For expressive texts, information is only a supplement. What is dominant is the aesthetic factor. When translating such texts, the translator should pay attention to the aesthetic and artistic forms of the original text and to the differences between two cultural habits, trying to achieve the same effect as the source text. In a word, in a form-focused text the linguistic form of the source text determines the form in the target language (Reiss, 2004).&lt;br /&gt;
Appeal-focused text, also known as operative text, mainly includes notice, instruction manual, advertisement, publicity manual and so on. For operative texts, the primary task for the translator is to provoke a particular reaction on the hearers or readers to incite them to engage in specific actions, while content and form are subordinate. Therefore, to achieve the same effect, the translator need to change the content and stylistic features of the original text, try to keep the potential influential factors of the original text and seek functional equivalence (Reiss, 2004: 38-43). Audio-medial text, also known as multi-media text, refers to radio and television scripts, such as radio newscasts and reports, topical surveys and dramatic productions.&lt;br /&gt;
It is distinctive in its dependence on non-linguistic media and on graphic, acoustic, and visual kinds of expression. Only in combination with them can the whole complex literary form realize its full potential (Reiss, 2004). In conclusion, different texts determine different translation focuses and methods. In many cases, however, a text may have more than one function, which means that translators should integrate different translation strategies skillfully to achieve different functions of texts.&lt;br /&gt;
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===2.1.2 Vermeer’s Skopos Theory===&lt;br /&gt;
2.1.2 Vermeer’s Skopos Theory&lt;br /&gt;
Reiss’s student Vermeer, who broke the limitation of the theory of equivalent and took skopos to be the first criterion of translation process  proposed the key theory: Skopostheorie. According to Skopos Theory, when translating a text, the translator needs to consider the purpose of translation first and then choose the translation method according to the purpose, which means “the end justifies the means” (Nord, 2001). Vermeer believes that translation, like other human actions, is also a purposeful act. Translation often takes place in cultural backgrounds with different customs and values, so translation is not a simple equivalent transformation between languages. Skopos Theory does not focus on achieving the equivalence between the target text and the original text or the perfection of the target text, but on choosing the best translation strategy based on the analysis of the source text and the intended function of the target text. In a word, translation methods and strategies are determined by the intended purpose or function of the target text.&lt;br /&gt;
According to Skopos Theory, the first rule that all translators must follow is the Skopos Rule. Translation purpose can be divided into three categories: (1) the purpose of the translator, such as earning a living; (2) the communicative purpose of the translation, such as instructing the reader; (3) the purpose of using a particular translation method, such as the literal translation according to its structure to illustrate the peculiarities of grammatical structure in a language (Nord, 2001). In general, the communicative purpose is more important than the other two. The communicative purpose is usually determined by the initiator of the translation act, but the translator can take part in deciding. The second rule is the Coherence Rule. Coherence Rule requires that the translation conform to the criterion of intratextual coherence, which means that the translation must be accessible to recipients and meaningful in the target culture and in the communicative environment (Nord, 2001). The third rule is the Fidelity Rule. It means that there should be intertextual coherence between the source text and the target text, which means being faithful to the source text. Nevertheless, the degree and form of faithfulness lie in the target text and the degree that the translator understands the original text. Normally “Intertexual coherence is considered subordinate to intratexual coherence and both are subordinate to the Skopos rule” (Nord, 2001).&lt;br /&gt;
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===2.1.3 Manttari’s Theory of Translational Action===&lt;br /&gt;
2.1.3 Manttari’s Theory of Translational Action&lt;br /&gt;
Following Vermeer, Manttari develops Vermeer’s Skopos Theory and puts forward the Theory of Translational Action. He emphasizes three aspects: the behavior of the translation process, the role of the participants (the initiator, the translator and the target reader, etc.) and the environment (time, place and media) in which the translation process takes places. It views translation as “purpose-driven, outcome-oriented human interaction and construes the process of translation as message-transmitter compounds that involve intercultural transfer” (Mundy, 2001). According to Manttari, translation is “ a complex act to achieve a particular purpose” &lt;br /&gt;
(Nord, 2001). It is not about translating words, sentences or texts but is about guiding the intended cooperation over cultural barriers and promoting functional communication. Cooperation here means “transcultural communication” by Manttari.&lt;br /&gt;
The Theory of Translational Action attaches great importance to providing a functional communicative text for the recipient, a text suitable for the target culture in&lt;br /&gt;
form and style. Functional suitability is determined by the translator. The translator is&lt;br /&gt;
an expert in translation, whose role is to ensure the successful completion of cultural&lt;br /&gt;
transformation. In producing the target text, the analysis of the source text is necessary so that the translator can find out its structural and functional characteristics, which can be described by content and form. The need of the recipient is the decisive&lt;br /&gt;
factor for the target text.&lt;br /&gt;
In short, “the value of Manttari’s work is the placing of translation (or at least the professional non-literary translation which she describes) within its sociocultural&lt;br /&gt;
context, including the interplay between the translator and the initiating institution”&lt;br /&gt;
(Mundy, 2001).&lt;br /&gt;
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===2.1.4 Nord’s Theory of Function plus Loyalty===&lt;br /&gt;
2.1.4 Nord’s Theory of Function plus Loyalty&lt;br /&gt;
Though skopos rule changes the focus of translation from the source language text to the target language text and the target receivers, it has some limitations. One is that different readers have different expectations, and the translation purpose cannot satisfy all the expectations of the target reader. Another is that the translation purpose may sometimes be against the intention of the source language. Therefore, based on the skopos rule, Nord introduces the loyalty principle. The principle of loyalty is a supplementary principle proposed by Nord to make up for the deficiency of skopos rule. According to the explanation of Nord, it is not the relationship between the original text and the target text, nor the equivalence between the original text and the form of the target text, but the consistency between the author of the original text, the initiator of the translation, the translator and the reader of the target text, which is the principle of loyalty. The proposal of the loyalty principle makes up for the mistakes that some radical skopos translators usually make, such as omitting and rewriting, which makes skopos theory more perfect and makes skopos theory more likely to guide the translation of literary works.&lt;br /&gt;
“Function” and “loyalty” are two pillars of Nord’s functionalist approach. “Function” refers to what a text means or is intended to mean from the receiver’s point of view”, while “loyalty” means that “target-text purpose should be compatible with the original author’s intention” (Nord,2001). It emphasizes the interpersonal relationship between the translator, the source-text sender, the target-text addresses and the initiator. Function plus loyalty enables the translator to avoid the limitations of skopos rule and try to achieve a balance between translation purpose and the source-text author’s intention”(Nord,2001). That is to say, when translating the original text, the translator should take into account the readers' cultural background, knowledge level and expectation of the translation, and choose the corresponding translation strategy according to the translation requirements. If the reader wants to read a word-for-word translation of the article, then the translator must meet the reader's requirements, otherwise he must explain to the reader why he chose his own translation method. The translator's job is to weigh two different cultures instead of imposing one culture on another. &lt;br /&gt;
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===2.2The Application of Functionalist Approach to the Tourist Texts.===&lt;br /&gt;
2.2The Application of Functionalist Approach to the Tourist Texts.&lt;br /&gt;
In the 1990s, Functionalist Translation Theory was introduced to China, and since then it has been applied to translation studies by Chinese translation scholars. In his article published in 1995, Zhang Nanfeng briefly introduces Skopos theory to China for the first time, and considers that Skopos theory is referential (Zhang Nanfeng, 1995). German Functionalist Translation Theory, a paper released in1999, is the first article in China which systematically introduces German Functionalist Translation Theory (Zhong Weihe &amp;amp; Zhong Yu, 1999). Based on an overview of Functionalist Translation Theory, Zhang Meifang focuses on introducing Nord’s theory, especially on the detailed analysis of Nord’s principle of loyalty (Zhang Meifang, 2005). Famous domestic scholars, such as Liu Junping (2009), Liu Miqing (2012) and Li Wenge (2004), also introduce this theory in their books. With the rise of Functionalist Translation Theory in China, someone has compared it with other theories. Zhu Haotong compares Skopos Theory with Functional Equivalence Theory to analyze the similarities and differences between them, and further reveals that Functionalist Translation Theory inherits the reasonable part of Nida’s Functional Equivalence Theory, which is an important breakthrough and supplement to solve the problems that Functional Equivalence Theory leaves (Zhu Haotong, 2006). Some scholars also combine theory with translation practice to explore the application of Functionalist Translation Theory to translation practice. Jia Yanli and Wang Hongjun point out that Skopos Theory has its limitations, but it is still of instruction and reference value for non-literary translation texts, such as advertisements and tourism materials (Jia Yanli &amp;amp; Wang Hongjun, 2012). Li Liangchen selects several famous tourist attractions in China to translate the on-site tour-guide commentary into English. Then he improves them under the guidance of Skopos Theory and sends out questionnaires to overseas tourists for further analysis. He argues that the translation of on-site tour-guide commentary which is guided by Skopos Theory is more favorable to conveying information to foreign visitors, to promoting cultural exchanges and to improving the image of China’s tourist destinations (Li Liangchen, 2013). In Pragmatic Translation: Theory &amp;amp; Practice, Wu Feng and He Qingji introduce Functionalist Translation Theory (Wu Feng &amp;amp; He Qingji, 2008) and the characteristics of tourism text and translation skills (Wu Feng &amp;amp; He Qingji, 2008). In this book, they also discuss the controversy over the Chinese name of Functionalist Translation Theory, and holds that “功能派翻译理论” is the most appropriate Chinese translation (Wu Feng &amp;amp; He Qingji, 2008).Based on his own translation practice and under the guidance of Functionalist Translation Theory, Wu Zixuan probes into some special phenomena in the English translation of CNN newsreels. The author believes that in the translation of external publicity, we should not stick to the standard of faithfulness to the original text, but should deal with the original text properly from the perspective of achieving the purpose of translation, such as rewriting, abridging. (Wu Zixuan, 2005).&lt;br /&gt;
Functionalist approach establishes a theoretical system of diversified translation standards dominated by skopos rule. From the definition of Functionalist approach, it can be seen that the advantage of it is that the translator can get rid of the bondage of the original text, study the translation process with &amp;quot;translation purpose&amp;quot; as the starting point, and determine the translation strategies and methods. This can give full play to the translator's own initiative, flexible processing of the original text, in order to achieve the translation of the communicative function. In addition, functionalist approach requires the translation to be examined in the cultural context of the reader. The reader can accept the translation and understand the meaning of the original text through the translation, so the translation can realize the communicative function. On the basis of such advantages, functionalist approach can be used to guide the English translation of garden scenic spots, and the translator can choose a wider range of translation strategies and break out of the constraints of the original text. &lt;br /&gt;
Only by clarifying the purpose of translation can we avoid these limitations in the English translation of garden attractions. When using functionalist approach to guide the English translation of Chinese classical garden scenic spots, it is necessary to flexibly choose translation strategies and methods, give full play to the advantages of skopos theory, and achieve the balance between &amp;quot;principle of purpose&amp;quot; and &amp;quot;principle of fidelity&amp;quot; as far as possible.&lt;br /&gt;
With the deepening of globalization and cross-cultural communication, tourismis becoming a major industry in the 21st century. The development of tourism can not only promote the economic development of a country but also promote the external dissemination of national culture. Therefore, tourism translation deserves attention. Tourism text is a typical informative and operational text, and the language is unique. It is full of gorgeous words, such as four-character expressions, verses, proper nouns and so on.&lt;br /&gt;
Tourism text materials include tourism advertising, tourism brochures, scenic spots signs and so on. In this paper, we focus on the introduction of Chinese gardens’ scenic spots, which is usually colorful in language and rich in literary style. Tourism text translation belongs to applied translation, which should play a series of practical functions to publicize the image and resources of the country or place and attract overseas tourists. Therefore, the translator of tourism text must be clear about the type and function of tourism text, and to grasp the ultimate purpose of the translation. &lt;br /&gt;
On tourism text translation, the communicative purpose of the translation should be placed in a central position. Furthermore, the tourism text has both the information function and the calling function. The information function and the calling function complement each other. Only when the target language readers acquire the expected tourism information and cultural knowledge can the calling function be realized and the purpose of tourism text translation be achieved. With different translation strategies, the translated version should both expressed contains basic information, and make the tourists feel the profound of the Chinese culture from the beautiful scenery. &lt;br /&gt;
Cultural tourism has long been the focus of international tourism, and understanding Chinese culture is the main purpose of inbound tourists, so the translation of tourism texts bears the mission of cultural transmission and cultural publicity. However, due to the great differences between Chinese and English culture and language, there are many difficulties in cultural transmission in tourism text translation. China has a long and splendid history and culture. When introducing the scenic spots of cultural relics and historic sites, we usually associate with many historical figures and stories. These terms are cultural blank for most foreign tourists, but this kind of cultural experience is also the most attractive place for foreign tourists. It is of great importance to pay attention to cultural differences in tourism translation and carry out cultural transmission effectively. Chinese and English languages have different logic views, and Chinese expressions in tourism texts value decoration. English expressions tend to be clear, concise and to the point. For example, Chinese tourism texts often use a four-character lattice, which is symmetrical, while there is no corresponding four-character lattice expression in English. Therefore, in Chinese-English translation of tourism texts with frequent use of four-character phrases, it is necessary to keep in mind the objective principle of functionalist approach and give priority to cultural communication instead of rigidly adhering to form.&lt;br /&gt;
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===3. C-E Translation of the Summer Palace under Functionalist Approach===&lt;br /&gt;
3. C-E Translation of the Summer Palace under Functionalist Approach&lt;br /&gt;
By studying the specific translation strategies made by predecessors, the following steps are also adopted in this paper: first, the translation strategies are determined according to the text type, such as faithful reproduction of the original information or rewriting; Secondly, the translation strategies are determined according to the potential purpose of the translation, such as paraphrasing or deleting poems, generalizing specific expressions and transliterating proper nouns. Thirdly, the translation strategies are defined with the tourists as the center, such as adding logical words, adding explanatory information and using plain English.&lt;br /&gt;
The Summer Palace epitomizes the philosophy and practice of Chinese garden design, which played a key role in the development of this cultural form throughout the east. It is an outstanding expression of the creative art of Chinese landscape garden design, incorporating the works of humankind and nature in a harmonious whole, which was once the most important place of political and diplomatic activity for the supreme rulers of the late Qing dynasty. Based on three aspects of the Summer Palace, namely, garden culture, historical culture and religious culture, this paper discusses the problems existing in the English translation of the scenic spots of the Summer Palace and puts forward corresponding countermeasures under the guidance of the skopos rule of functionalist translation theory.&lt;br /&gt;
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===3.1 Garden culture.===&lt;br /&gt;
3.1 Garden culture. &lt;br /&gt;
The Summer Palace is a classical garden famous for its magnificence and beauty. There are many temples in the garden, and the green waves of kunming lake ripple. Landscape and humanities complement each other, containing rich natural and cultural information, reflecting the characteristics of Chinese classical gardens. The garden cultural features of the three scenic spots, namely, the hall of clouds, the foxiang pavilion and the Wenchang courtyard, are particularly outstanding. Therefore, this paper takes these three scenic spots as examples to discuss the Chinese-English translation of the introduction of the Summer Palace.&lt;br /&gt;
(1)	排云殿、佛香阁景区是颐和园内建筑布局最完整、建筑形式最丰富的中轴建筑群体，殿、阁、廊、亭、桥、坊、碑等建筑约两万平方米。从临水的云辉玉宇牌坊至排云门、排云殿、德辉殿、佛香阁、众香界、智慧海、层层升高，排列有序，气势巍峨，金碧辉煌，将园林、寺庙和宫殿融为一体。&lt;br /&gt;
Translation：This scenic spot covers an area of 20,000 square meters with an assortment of buildings such as palaces, towers, corridors, pavilions, walkways, bridges, archways and inscribed stone steles. It comprises a well-arranged group of structures, all diverse in style, located in the center of the Summer Palace garden. This complex of structures, ranging from the Glowing Clouds and Holy Land Archway on the waterside, the Gate that Dispels the Clouds, the Hall that Dispels the Clouds, the Hall of Moral Glory, and the Tower of the Fragrance of the Buddha, to the Realm of Popular Fragrance and the Sea of Wisdom Temple, were built in an orderly manner running from the foot of the hill to its top, with gardens, temples and palaces harmoniously integrated into the whole。&lt;br /&gt;
Analysis：As we all know, the design style of ancient Chinese buildings is beautiful with &amp;quot;symmetry&amp;quot;. The &amp;quot;axis&amp;quot; in hall of clouds scenic spot refers to the layout of the Summer Palace from far to near and from top to bottom, which cannot be simply understood as the center. Simply translating &amp;quot;axis&amp;quot; as &amp;quot;center&amp;quot; cannot express accurately the meaning of &amp;quot;symmetry&amp;quot;. Comparatively speaking, &amp;quot;axis&amp;quot; can better reflect the architectural style of the scenic spot.&lt;br /&gt;
(2)	从临水的云辉玉宇牌坊至排云门、排云殿、德辉殿、佛香阁、众香界、智慧海，层层升高，排列有序，气势巍峨，金碧辉煌，将园林、寺庙和宫殿融为一体。&lt;br /&gt;
Translation：These structures，including Glowing Clouds and Holy Land Archway at lake side，the Gate of Dispelling Clouds，the Hall of Dispelling Clouds，the Hall of moral Glory，and the Tower of Buddhist Incense，the Realm of Multitudinous Fragrance and the Sea of Wisdom Temple，were built in an orderly manner ranging up the hill with gardens，temples and palaces harmoniously integrated. This manifests beauty，grace and splendor，reminiscent of the loftingness and grandeur of a once mighty empire.&lt;br /&gt;
Analysis：In terms of the characteristics of language, Chinese emphasizes parataxis and four-word antithesis. When describing and naming scenes, gorgeous words and poetic words are generally chosen in Chinese. But, English emphasizes hypotaxis, on the other hand, puts more emphasis on reproducing the original appearance of things, using simple and natural words and preferring direct description. In sign translation, the English translation pays more attention to accurate, concise and lively. In the above paragraph, &amp;quot;层层升高，排列有序，将园林、寺庙和宫殿融为一体&amp;quot; is an introduction to the architectural features of foxiang pavilion, in order to make tourists have a clear understanding of the overall layout and architectural features of the scenic spot. This information is essential and can be translated into detail. However, &amp;quot;气势巍峨，金碧辉煌&amp;quot; focuses on the subjective description, and its explicit translation needs more complicated words. If this paragraph is translated in detail, it is easy to drag the content and make the key information vague. Therefore, the deletion of the English translation of this sentence will not affect the basic information of the original text.&lt;br /&gt;
(3)	主阁（文昌阁）两层，内供铜铸文昌帝君和仙童、铜骑。文昌阁与万寿山西供武圣的宿云檐象征“文武辅弼”。&lt;br /&gt;
Translation: A bronze statue of the God Wenchang, statues of gaeries, and a bronze steed were placed in the two-story pavilion. This tower is pared with the Tower of Cloud- Retaining Eaves, located to the west of the Longevity Hill, in which a statue of the Martial God was placed. The God Wenchang and the Martial God together symbolize reining of the emperor supported by scholars and warriors.&lt;br /&gt;
Analysis: Two questions arise in Chinese-English translation. First, there are two translations of wenchang pavilion in the translation: pavilion and tower, which appear in the same sign. Two different translations of the same scenic spot name tend to make foreign tourists think that it refers to different scenic spots, which may cause difficulty in understanding. Second, the translation of Wenchang pavilion into &amp;quot;Wenchang Tower&amp;quot; is against the actual architectural characteristics. In fact, the meanings of &amp;quot;pavilion&amp;quot; and &amp;quot;tower&amp;quot; have both similarities and differences. According to the Oxford dictionary, Tower means &amp;quot;a tall narrow building or part of a building, especially of a church or castle&amp;quot;, mainly referring to the tower-shaped part of a building, usually a tall and slender structure, such as the Eiffel Tower. &amp;quot;Pavilion&amp;quot; means &amp;quot;a building that is meant to be more beautiful than usual, built as a shelter in a park or used for concerts and dances&amp;quot;. The top structure of the pavilion usually has rectangles, triangles, hexagons, etc. The common feature of them is that the top is supported by columns without walls. From the external structure of Wenchang pavilion, its bottom is solid and its top is supported by columns. Therefore, the pavilion can accurately reflect the architectural characteristics of Wenchang pavilion, so I think it should be translated as Wenchang pavilion.&lt;br /&gt;
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===3.2 Historical culture. ===&lt;br /&gt;
3.2 Historical culture. &lt;br /&gt;
The accurate Chinese-English translation of the introduction of the Summer Palace not only enables foreign tourists to understand the characteristics of Chinese gardens, but also enables foreign tourists to understand the historical knowledge of a specific period of China. However, the Chinese-English translation of the Summer Palace still has problems in accurately conveying the historical background of the scenic spots, such as the English translation of Wenchang pavilion scenic spot:&lt;br /&gt;
(4)	此景区始建于清乾隆十五年，一八六零年被英法联军烧毁，光绪时按原样重建。阁结构为八面三层四重檐，通高36.44米，耸立于20米高的石造台基上，气势雄伟，是颐和园全园的构图中心。阁内供奉有铜铸金裹千手观世音菩萨站像。像高五米，重万斤，为明代万历年间所造，在八根贯通全阁上下的承重铁梨木擎天柱的衬托下，美妙庄严，熠熠生辉，有极高的文物和艺术价值。&lt;br /&gt;
Translation: The Wenchang tower was first built in 1750 and rebuilt under Emperor Guangxu after  the Anglo-French Allied Forces builted it down in 1860. The octahedral tower has three stories with four-layered eaves, altogether 36.44 meters high. Standing upright on a 20 meter-high stone foundation, it constitutes the center of the Summer Palace landscape and serves to accentuate its magnificence. A statue of the thousand-handed Guanshiyin Buddha, cast in bronze and gilded with gold, stands inside the tower. The statue, five meters high and five tons in weight, was cast during the reign of Emperor Wanli of the Ming Dynasty. Set off by the eight imposing pillars which support the tower, it glows with beauty, grandeur and brilliance. Its historical, cultural and artistic value can hardly be overstated.&lt;br /&gt;
Analysis: “始建于乾隆十五年”only was translated into “was first built in 1750” and the “光绪年间重建” was translated into “rebuilt under Emperor Guangxu”.The first sentence does not show that 1750 was the fifteenth year of the reign of emperor Qianlong, and the second sentence does not give foreign visitors the exact date of the reign of emperor Guangxu. The change of time concept and the disunity of expression easily make foreign tourists feel confused. Therefore, the translation of the time and the historical dynasties should be accurate and meticulous, and the supplementary method should be used to not only describe the dynasties clearly, but also supplement the corresponding years, so as to achieve the standardization of the translation. In this way, foreign tourists can not only be clear about the time of the event, but also understand the Chinese historical dynasties. Consider as follows: the Wenchang Pavilion was first built in 1750 during Emperor Qianlong’s reign（1735- 1795）and rebuilt in 1886 under Emperor Guangxu（1875- 1908）after the Anglo- French Allied Forces burned it down in 1860.&lt;br /&gt;
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===3.3 Religious culture. ===&lt;br /&gt;
3.3 Religious culture. &lt;br /&gt;
Many scenic spots in the Summer Palace have a strong buddhist atmosphere. While visiting the scenic spots, foreign tourists can understand the profound buddhist culture. Wenchang pavilion in the Summer Palace is the representative of Chinese religious culture.&lt;br /&gt;
(5)	主阁两层，内供铜铸文昌帝君和仙童、铜特。文昌阁与万寿山西供武圣的宿云檐象征“文武辅弼”。&lt;br /&gt;
Translation: A bronze statue of the god，Wenchang，and statues of two followers，the celestial boy，and the bronze steed，were placed in the two- storey pavilion. This tower is pared with the tower of Cloud- Retaining Eaves，located to the west of the Longevity Hill，in which a statue of the Martial God was placed. The two towers symbolize the support by both scholars and warriors to the ruling emperor.&lt;br /&gt;
Analysis: It is well known that westerners believe in theism, which refers to god as supreme . In Chinese religious culture, people believe in atheism and do not believe in the existence of god. Therefore, it is inappropriate to translate &amp;quot;文昌帝军&amp;quot; and &amp;quot;武圣&amp;quot; into &amp;quot;the god, Wenchang&amp;quot; and &amp;quot;the Martial god&amp;quot; in the translation. In fact, the &amp;quot;文昌帝军&amp;quot; was Zhang yu, an emperor of Shu of Ning kang (374). And &amp;quot;武圣&amp;quot; refers to Guan yu in history. Therefore, the simple translation of  &amp;quot;God&amp;quot; is not in line with the traditional Chinese culture, which will not only cause western tourists to misunderstand that Chinese religious tradition also believes in God, but also fail to convey Chinese historical allusions and relevant historical figures. In contrast, if &amp;quot;文昌帝军&amp;quot; is translated as &amp;quot;the emperor, Wenchang&amp;quot; and &amp;quot;武圣&amp;quot; is translated as &amp;quot;the Martial Master (Guanyu)&amp;quot;, it can more faithfully convey the history and religious culture contained in the source language. &lt;br /&gt;
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===4. Conclusion===&lt;br /&gt;
4. Conclusion&lt;br /&gt;
To sum up, Under the guidance of the skopos rule of functionalist translation theory, translators should have a cross-cultural awareness, fully understand the reading psychology and cultural appreciation needs of target language readers, and use effective translation strategies and methods to achieve the purpose of tourism text translation. Functionalist approach has made a pioneering contribution to the translation of non-literary genres. Functional translation effectively eliminates the disadvantages of traditional word-for-word translation, improves the efficiency of translation, and helps readers to grasp the meaning of the original text.&lt;br /&gt;
 The importance of the translation of the Summer Palace lies in the profound garden culture, historical culture and religious culture. The English translation is not only helpful for international friends to know more about the garden characteristics of the Summer Palace, but also helpful for spreading the long history and profound culture of China. In order to attract target readers and promote traditional Chinese culture, it is not only necessary to carefully explore Chinese culture and history, but also to use the fuctionalist approach appropriately. &lt;br /&gt;
Translation is a complicated process. Functionalist approach stresses the function of the discourse, the purpose of translation. In the practice of translation, if the translator can get rid of the bondage of the original equivalence, actively playing to subjective initiative, fully understanding the original text, depending on the purpose of discourse and adopting different translation strategies, the effect and readability of translation can be improved.&lt;br /&gt;
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===References===&lt;br /&gt;
References&lt;br /&gt;
Hans Vermmer, “Skopos and Commission in Translation Action”, in the Translation Studies Reader,ed. Chesterman, London and Network:Routledge,p.221-232. 2000.   &lt;br /&gt;
Munday, Jeremy. Introducing Translation Studies: Theories and Applications. Routledge publishing.2001.&lt;br /&gt;
Mason, “Textual Practices and Audience Design: and Interactive View of the Tourist Brrochure”. In Navarro et al.(eds.). Pragmatics at Work: The Translation of Tourist Literature. Bern: Perter Lang. 157-176.2004.&lt;br /&gt;
Nord, Text Analysis in Translation: Theory, Methodology and Didactic Application of a Model for Translation-Oriented Text Analysis. Beijing: Foreign Language Teaching and Research Press. 2006.&lt;br /&gt;
Nord, Translating as a purposeful activity. Shanghai: SFLE PRESS, 2001:27,30,32,65,245.&lt;br /&gt;
Reiss, Katharina. Translation Criticism: The Potentials &amp;amp; Limitations. Shanghai Foreign Language Education Press. Shanghai. 2004.&lt;br /&gt;
Venuti, Lawrence. The Translator’s Invisibility: A History Translation. Routledge.1995.&lt;br /&gt;
方梦之、毛忠明， 英汉—汉英应用翻译教程，上海: 上海外语教育出版社，2004.&lt;br /&gt;
金惠康，跨文化旅游翻译，中国对外翻译出版公司，2004.  &lt;br /&gt;
贾文波，应用翻译功能论，北京：中国对外翻译出版公司，2004&lt;br /&gt;
孙艺风，文化翻译的困惑与挑战，中国翻译，2016年第3期.  &lt;br /&gt;
王宏志，翻译与创作，北京大学出版社，2000.&lt;br /&gt;
吴自选，德国功能派翻译理论与 CNN 新闻短片英译，中国科技翻译, 2005.&lt;br /&gt;
谢天振，当代国外翻译理论，天津：南开大学出版社，2005.&lt;br /&gt;
张南峰，走出死胡同建立翻译学. 中国翻译, 1995.&lt;br /&gt;
仲伟合，钟钰. 德国的功能派翻译理论. 中国翻译, 1999.&lt;br /&gt;
张美芳，功能加忠诚—介评克里丝汀· 诺德的功能翻译理论.上海外国语大学学报, 2005.&lt;br /&gt;
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==Contrast between Literal Translation and Free Translation	张雪仪	Zhang Xueyi==&lt;br /&gt;
'''Abstract：'''&lt;br /&gt;
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The contrast between literal translation and free translation has always been the most discussed problem in translation studies. To compare these two translation methods, the basic point is to understand the purpose of translation. The ultimate goal of translation is to help different cultures communicate better, so that people who speak different languages can understand each other’s cultures. Due to the differences in social, historical and cultural backgrounds between languages, how to choose between the two translation strategies of literal translation and free translation requires translators to weigh the strengths and weaknesses of these two methods. This essay mainly compares literal translation and free translation between Chinese and Russian to help students and translators translate better.&lt;br /&gt;
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'''Key words：'''&lt;br /&gt;
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Translation strategies, Literal translation,Free translation &lt;br /&gt;
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'''摘要：'''&lt;br /&gt;
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直译与意译间的对比一直是翻译学中讨论度最高的问题。想要将这两种翻译方法进行对比，最基本的一点就是要明白翻译的目的是什么。翻译的最终目的在于帮助不同文化进行更好的交流，让使用不同语种的人相互理解彼此的文化。由于语种间社会历史文化背景的差异，如何在直译和意译这两种翻译策略中做出选择，就需要译者衡量两种方法的利弊。本文主要对汉语和俄语间直译和意译进行比较，以帮助学生和译者更好地进行翻译实践。&lt;br /&gt;
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'''关键词：'''&lt;br /&gt;
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翻译策略，直译，意译&lt;br /&gt;
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'''1.Introduction'''&lt;br /&gt;
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The former Soviet Union translation theorist Fedorov believed: “Translation is an activity that expresses what has been used in one language as a unified whole of content and form, and accurately and completely expressed in another language.” Translation theorist Barr Hudarov also wrote: &amp;quot;Translation is the process of changing the coherent discourse of one language into the coherent discourse of another language while maintaining its content and meaning.&amp;quot; To some extent, translation is a process of thinking re-creation, so certain standards and principles must be followed when translating. Translation standard is a measure of the quality of translation, it can guide translation practice, and it is a principle that must be followed in translation activities. Although each scholar has different opinions on the standard of translation, the final result he pursues is the same: the original text and the translated text express the same effect. In order to achieve the same effect, different translation methods have been derived, of which literal translation and free translation are the most commonly used.&lt;br /&gt;
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Russian idioms and proverbs, as the crystallization of the wisdom of the Russian nation and the immortal fossils in the Russian language, are one of the best materials for the Chinese to understand and learn Russian history, culture, and society. Due to different geographical, historical and economic conditions, the Russian and Chinese ethnic groups have formed different cultural backgrounds. These distinctive backgrounds and characteristics have caused great difficulties for Chinese learning Russian to further understand Russia. This essay studies the basic definitions of literal translation and free translation, their respective advantages and disadvantages and their mutual relations, and strive to solve how to use the translation methods of literal and free translation to properly translate Russian idioms and proverbs, and how to reflect the cultural background and language characteristics of Russian idioms and proverbs in the translation .&lt;br /&gt;
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'''2.Different views of &amp;quot;literal translation&amp;quot; and &amp;quot;free translation&amp;quot;'''&lt;br /&gt;
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In different periods and different countries, people's views on translation theory have changed a lot, but the debate about literal translation and free translation has always existed.&lt;br /&gt;
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In China, the contradiction between literal translation and free translation may initially be due to the different understanding of these two translation methods. The translator Sun Guiding believes that: literal translation is stuck to the structure of the original text and does not consider whether the Chinese is fluent and natural; while free translation is to use the inherent Chinese idioms and the most natural words and sentences as much as possible to achieve the effect of conveying the meaning of the original text. Former President of Wuhan University, Du Zuozhou, believes that literal translation means translating word by word according to the original text; free translation means translating according to the meaning of the original text, and the translation is more suitable for the common grammar of the translated language. The educator Meng Xiancheng believes that literal translation is a translation technology with different degrees of correctness. Literal translation is a translation that is faithful and correct according to the original text; free translation is a translation that summarizes the original meaning. Zhu Guangqian said: &amp;quot;The so-called 'literal translation' refers to the literal translation based on the original text. Every word and sentence are translated word by word, and the order of the words and sentences is not changed. The so-called ‘paraphrasing’ is to express the meaning of the original text in Chinese, and it does not have to be completely based on the literal and order of the original text. &amp;quot; The principle of &amp;quot;faithfulness, expressiveness and elegance&amp;quot; put forward by the modern Chinese translator Yan Fu has long been the basic principle guiding translation practice. A large number of beginners who learn foreign languages regard &amp;quot;faithfulness and expressiveness&amp;quot; as translations that are completely faithful to the original text when translating. In fact, Yan Fu's translation requirements are a guiding principle for translation based on semantics. When translating, if the structure and expression of the original text cannot be directly adopted, the sentence structure and expression must be changed according to the characteristics of the target language. In addition, there are many differences between the original language and the target language in the word order, grammar, variants and rhetoric in the translation process. In many cases, there is no direct corresponding word. This requires the translator to consider the actual semantics, background and other factors. On the basis of the original meaning of the sentence, use an appropriate method to convey the content of the original work and reproduce the language style of the original work.&lt;br /&gt;
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In the Soviet Union, under the influence of ideology, Western translation theories could not be widely disseminated, but within the Soviet Union, translation theories similar to Western translation theories have been formed and developed, and two main schools of translation theory have been further differentiated — Linguistic Translation School and Literary Translation School. To a certain extent, the dispute between these two schools also reflects the debate on literal translation and free translation among translators' groups. In terms of the principles or standards of translation, the linguistic translation school believes that an ideal translation should be an equivalent translation, first of all linguistic correspondence, that is, the translation should have the same meaning as the corresponding language or discourse unit of the original; the literary translation school believes that translation pursues artistic correspondence, and linguistic correspondence must be subordinate to artistic correspondence. Therefore, it proposes that the aesthetic standards of translation should reproduce the artistic reality reflected by the unity of the original content and form. The characteristic is to use images to translate images, that is, to create the same image in different languages. In 1953, Andrei Venediktovich Fedorov, the leader of the linguistic translation school, published his work &amp;quot;Summary of Translation Theory&amp;quot;, which was the first monograph of the Soviet Union to study translation theory from the perspective of linguistics. The author proposes that translation theory is a branch of linguistics. Since the translation of any genre work must rely on the comparison of two languages, translation problems can only be solved in the field of language. Fedorov’s view was refuted by the literary translation school represented by Ivan Alexandrovich Kashikin. The literary translation school believes that aesthetic issues are the core of literary translation theory, and translation should be regarded as a form of language art, that is, translation should be studied from the perspective of literature and art. In fact, the literary translation school emphasizes the translation of literary and artistic works, which belongs to the specific translation theory; while the research of the linguistic translation school focuses on the general translation theory, that is, the translation of all thematic works including literary works. The dispute between the two major translation theory schools of Russia and the Soviet Union provides another perspective for Chinese translators to explore the relationship between literal translation and free translation.&lt;br /&gt;
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'''3.The application of literal translation and free translation in the Chinese translation of Russian idioms'''&lt;br /&gt;
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The idioms of different nationalities are the most dynamic and expressive units at the lexical level in different languages, and they are also the units that can best reflect the characteristics of national culture in languages. The number of Russian idioms is extremely rich, it records and reflects all aspects of Russian national life. Due to the great differences in geographical locations and living customs between China and Russia, the national cultures reflected in Chinese and Russian must be quite different. One of the difficulties in idiom translation is its imagery. When translating idioms, both the meaning and the image must be considered. Although the Chinese and Russian cultures are very different, many of the commonalities of mankind, such as emotion and natural environment, have created conditions for mutual communication, mutual understanding and idiom translation between different languages.&lt;br /&gt;
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'''3.1 Literal translation'''&lt;br /&gt;
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Generally speaking, the literal translation method refers to a translation method that directly translates the original text without changing the language characteristics and style of the original text on the basis of fully respecting the meaning of the original text. Chinese translation of Russian idioms by literal translation method has the advantage of being able to intuitively and faithfully express the meaning of the idiom, maintaining the unique style and imagery of the original text: the disadvantage is that the translated idiom may not be understood by the Chinese because of China and Russia have different historical, cultural backgrounds, grammatical structures, and language world landscapes, which can easily form obstacles in the process of understanding.&lt;br /&gt;
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Translating Russian idioms by literal translation is further divided into two methods — literal translation into Chinese idioms and literal translation into non-idiom sentences or words.&lt;br /&gt;
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Literal translation of Russian idioms into Chinese idioms is suitable for the translation of Russian and Chinese idioms that are completely equivalent in image, structure, and meaning. The advantage is that it is easy to understand, and the translation is simple and fast. E.g:&lt;br /&gt;
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(1)домашнего  (своего) вора не убережешься. 家贼难防&lt;br /&gt;
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(2)знать как свои пять пальцев (видно, как на ладони) 了如指掌&lt;br /&gt;
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(3)подлить масла в огонь 火上浇油&lt;br /&gt;
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(4)как рыба в воде 如鱼得水&lt;br /&gt;
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(5)как ножом по сердцу 心如刀割&lt;br /&gt;
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(6)как гром среди ясного неба 晴天霹雳&lt;br /&gt;
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(7)на добро отвечают добром 善有善报&lt;br /&gt;
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(8)копейка рубль бережет 财从细起&lt;br /&gt;
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(9)мечты сбываются 梦想成真&lt;br /&gt;
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(10)курица всегда следует за петухом 嫁鸡随鸡&lt;br /&gt;
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(11)чего мало, того и дорого  (дорого то, что мало) 物以稀为贵(12)&lt;br /&gt;
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(12)изгонять яд с помощью яда 以毒攻毒&lt;br /&gt;
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(13)сидеть как на иголках 如坐针毡&lt;br /&gt;
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(14)действия громче слов 事实胜于雄辩&lt;br /&gt;
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(15)зарыть талант в землю 埋没人才&lt;br /&gt;
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(16)висеть на волоске 千钧一发&lt;br /&gt;
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(17)лить как из ведра 倾盆大雨&lt;br /&gt;
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The idioms in the above examples are completely equivalent in image, structure or meaning in Russian and Chinese, so Chinese idioms can be used for literal translation. &lt;br /&gt;
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In fact, in the two languages, idioms with the same image, structure, and meaning are still in the minority, so it is more common to translate Russian idioms into non-Chinese idiom sentences or vocabulary. E.g:   &lt;br /&gt;
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настоять на своем 坚持自己&lt;br /&gt;
&lt;br /&gt;
камень с души свалился 心里的一块石头落地&lt;br /&gt;
&lt;br /&gt;
связать свою судьбу 把自己的命运与……相连&lt;br /&gt;
&lt;br /&gt;
быть на голову 高出一头&lt;br /&gt;
&lt;br /&gt;
вбивать в голову 往脑子里灌&lt;br /&gt;
&lt;br /&gt;
блеснуть метеором 像流星一样一闪而过&lt;br /&gt;
&lt;br /&gt;
с мизинец 小拇指这么大&lt;br /&gt;
&lt;br /&gt;
It is not difficult to find that the literal translation method can completely retain the original appearance of the idiom, show the common concept of human understanding of the world, and be beneficial to the cultural exchange between China and Russia.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
'''3.2 Free translation'''&lt;br /&gt;
&lt;br /&gt;
Another method commonly used in the Chinese translation of Russian idioms is free translation. Free translation is to readjust the structure of the original text on the basis of keeping the original meaning of the idiom unchanged, and then reconstruct the Russian idiom with the way of thinking and expression in Chinese. This is because the figurative images used in many Russian idioms are inconsistent with those used in Chinese. If the original image is used in translation, it will cause a barrier to understanding. The advantage of free translation of Russian idioms is that it eliminates obstacles to understanding, but the disadvantage is that it cannot completely retain the original style and cultural characteristics. E.g:&lt;br /&gt;
&lt;br /&gt;
(1)В Тулу со свим самоваром не ездят.&lt;br /&gt;
直译：去图拉不用带自己的茶炊。&lt;br /&gt;
意译：多此一举&lt;br /&gt;
&lt;br /&gt;
(2)Честь лучше бесчестья.&lt;br /&gt;
直译：尊重比不尊重好。&lt;br /&gt;
意译：礼多人不怪。&lt;br /&gt;
&lt;br /&gt;
(3)словно горя с плеч&lt;br /&gt;
直译：把山从肩膀下卸下&lt;br /&gt;
意译：如释重负&lt;br /&gt;
&lt;br /&gt;
(4)выеденного яйца не стоит&lt;br /&gt;
直译：一个空蛋壳不值钱&lt;br /&gt;
意译：鸡毛蒜皮，一文不值&lt;br /&gt;
&lt;br /&gt;
(5)чужими руками жар загребать&lt;br /&gt;
直译：用别人的手将红炭火拨成一堆&lt;br /&gt;
意译：坐享其成，不劳而获&lt;br /&gt;
&lt;br /&gt;
(6)ни рыба, ни мясо&lt;br /&gt;
直译：没有鱼也没有肉&lt;br /&gt;
意译：不三不四，不伦不类&lt;br /&gt;
&lt;br /&gt;
(7)лучше синица в руках, чем журавль в небе&lt;br /&gt;
直译：天上的仙鹤不如手中的山雀&lt;br /&gt;
意译：远亲不如近邻&lt;br /&gt;
&lt;br /&gt;
(8)На языке мед, а под лед&lt;br /&gt;
直译：嘴上甜得像蜂蜜，心里冷得像冰&lt;br /&gt;
意译：笑里藏刀&lt;br /&gt;
&lt;br /&gt;
(9)И на солнце есть пятна&lt;br /&gt;
直译：太阳上也有黑点&lt;br /&gt;
意译：人无完人&lt;br /&gt;
&lt;br /&gt;
(10)семь раз отмерь, один раз отрежь&lt;br /&gt;
直译：测量了七次后再剪裁&lt;br /&gt;
意译：三思而后行&lt;br /&gt;
&lt;br /&gt;
Using free translation to translate Russian idioms requires the translator to accurately understand the meaning of the original text, because cultural differences make it impossible to literally translate. Only through the translator can an unobstructed bridge between Russian idioms and Chinese idioms be built.&lt;br /&gt;
&lt;br /&gt;
'''4.The application of literal translation and free translation in the Chinese translation of Russian proverbs'''&lt;br /&gt;
&lt;br /&gt;
There are often multiple translations of the same Russian proverb in Russian-Chinese dictionaries. On the one hand, because the translator uses different translation methods; on the other hand, because Russian proverbs have very rich connotations, a translation cannot perfectly interpret the inner meaning of the proverb. According to the context and the connotation of the proverbs, the most commonly used methods of Chinese translation of Russian proverbs are literal translation and free translation.&lt;br /&gt;
&lt;br /&gt;
'''4.1 Literal translation'''&lt;br /&gt;
&lt;br /&gt;
In Russian and Chinese languages, some proverbs not only have the same meaning or implicit meaning, but also use the same or similar figurative images to express a certain kind of the same semantics, and they are completely consistent in content and form. In this case, the equivalent translation of synonymous Chinese proverbs can convey the information contained in the original image, which not only retains the rhetorical color of the original language, but also enables the reader to perfectly understand the original text. E.g:&lt;br /&gt;
&lt;br /&gt;
(1)Куй железо, пока горячо. 趁热打铁。&lt;br /&gt;
&lt;br /&gt;
(2)Беда не приходит одна. 祸不单行。&lt;br /&gt;
&lt;br /&gt;
(3)Сытый голодного не разумеет. 饱汉不知饿汉饥。&lt;br /&gt;
&lt;br /&gt;
(4)Век живи, век учись. 活到老，学到老。&lt;br /&gt;
&lt;br /&gt;
(5)Выше встанешь, дальше увидишь. 站得高，看得远。&lt;br /&gt;
&lt;br /&gt;
(6)Лучше один раз увидеть, чем сто раз услышать. 百闻不如一见。&lt;br /&gt;
&lt;br /&gt;
(7)Нет дыма без огня. 无火不生烟。&lt;br /&gt;
&lt;br /&gt;
(8)Шила в мешке не утаишь. 口袋藏不住锥子。&lt;br /&gt;
&lt;br /&gt;
(9)Береги платье снову, а честь смолоду. 衣服要从新的时候爱惜，荣誉要从年轻时珍惜。&lt;br /&gt;
&lt;br /&gt;
(10)Выше лба уши не растут. 耳朵高不过额头。&lt;br /&gt;
&lt;br /&gt;
(11)Для милого друга семь верст не околица. 为了好友，多绕七里也不嫌远。&lt;br /&gt;
&lt;br /&gt;
(12)Как Новый год встретишь, так его и проведешь. 怎么迎新年，就怎么过一年。&lt;br /&gt;
&lt;br /&gt;
(13)Лучше умереть стоя, чем жить на коленях. 宁愿站着死，绝不站着生。&lt;br /&gt;
&lt;br /&gt;
(14)Не имей сто рублей, а имей сто друзей. 宁要一百个朋友，不要一百个卢布。&lt;br /&gt;
&lt;br /&gt;
По одежке встречают, по уму провожают. 迎客时看衣，送客时看才智。&lt;br /&gt;
&lt;br /&gt;
==Dialectical thinking in arguments between literal translation and free translation 	甘奉玉	Gan Fengyu==&lt;br /&gt;
&lt;br /&gt;
===Abstract===&lt;br /&gt;
  As two methods of translation, how to use literal translation and free translation has always been the focus of debate between Chinese and Western translation circles. Through the study of translation methods of literal translation and free translation at home and abroad, we can know that to some extent literal translation and free translation are two relative conceptions, so there will be word-for-word translation, that is, dead translation, and excessive free translation. However, these two are only two extremes of literal translation and free translation. In fact, although there are differences in definitions and application fields between literal translation and free translation, they are unified in common translation purpose, translation procedure and translation standard. Therefore, the two are contradictory and unified in translation activities. This is also the profound embodiment of the unity of opposites in materialist dialectics.--[[User:Gan Fengyu|Gan Fengyu]] ([[User talk:Gan Fengyu|talk]]) 07:46, 10 November 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
===Key words===&lt;br /&gt;
literal translation, free translation, word-for-word translation, over free translation, unity of opposites&lt;br /&gt;
&lt;br /&gt;
===摘要===&lt;br /&gt;
  作为翻译方法，直译(literal translation)与意译(free translation)怎样使用的问题一直是一个争论中西方翻译界不休的焦点。通过对国内外直译与意译的翻译方法的研究，我们可以得知，从某种程度而言，直译与意译是两个相对的概念, 所以才会有逐字翻译，即死译，与过度意译这两个完全对立的概念。但是，这两者只不过是直译与意译的两个极端点。其实，直译和意译虽然在概念定义，适用范围上有所差异，但却又统一于共同的翻译目的、翻译过程和翻译标准中。所以两者在翻译活动中应该是既对立又统一的矛盾体。而这也正是唯物辩证法中的对立统一矛盾观的深刻体现。--[[User:Gan Fengyu|Gan Fengyu]] ([[User talk:Gan Fengyu|talk]]) 07:50, 10 November 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
===关键字===&lt;br /&gt;
直译； 意译； 死译； 过度意译； 对立统一&lt;br /&gt;
&lt;br /&gt;
===Introduction===&lt;br /&gt;
  Throughout the translation history at home and abroad, the literal translation and free translation have always been a heat discussion in the translation circles. Someone absolutely approve literal translation and demean free translation, even pursue a dead translation, which creates an translated text difficult to understand. While some other people absolutely agree with free translation even advocate random acts, which means a random deletion in the translation practices and creates anther entirely different text. However, there are also a number of translators who have recognized that these two translation methods are not totally opposite. So they adopt a compromise and flexible way. That means they will choose the most appropriate one depending on the text demanding. Therefore, we can deduce from it that this eclectic translation is consistent with the Contradiction view of Unity of Opposite in Materialist Dialectics. In fact, literal translation and free translation are right a set of contradictions which are both opposite and unified. They complement each other into an integral one.&lt;br /&gt;
&lt;br /&gt;
===1.Dialectic thinking of the Unity of opposites===&lt;br /&gt;
===2.Word-for-word translation===&lt;br /&gt;
===3.Over free translation===&lt;br /&gt;
===4.Eclectic translation===&lt;br /&gt;
===5.Opposition and unity between literal translatiuon and free translation===&lt;br /&gt;
&lt;br /&gt;
===5.1 Opposition===&lt;br /&gt;
&lt;br /&gt;
===5.1.1 Opposition in definition===&lt;br /&gt;
&lt;br /&gt;
===5.1.2 Opposition in application fileld===&lt;br /&gt;
&lt;br /&gt;
===5.2 Unity===&lt;br /&gt;
===5.2.1 Unity in translation goal===&lt;br /&gt;
===5.2.2 Unity in translation procedure===&lt;br /&gt;
===5.2.3 Unity in translation standard===&lt;br /&gt;
===6.Conclusion===&lt;br /&gt;
===Bibliography===&lt;br /&gt;
&lt;br /&gt;
== Peter Newmark’s Improved Views on Literal Translation and Free Translation 赵茜 Zhao Xi==&lt;br /&gt;
&lt;br /&gt;
='''Document Translation'''=&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
==On translation of official documents of CangNan County	吴恺	Wu Kai==&lt;br /&gt;
&lt;br /&gt;
On Translation of Official Documents of Cangnan County&lt;br /&gt;
&lt;br /&gt;
Japanese Language and Literature, School of Foreign Languages, Hunan Normal University, Wu Kai--[[User:Wu Kai|Wu Kai]] ([[User talk:Wu Kai|talk]]) 04:45, 2 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
==='''Abstract'''===&lt;br /&gt;
As one of the forefronts of Zhejiang’s opening-up cause, Cangnan County in Zhejiang Province has been enjoying a rapid development and an ever-growing degree of opening-up with lasting vitality as it’s supported by national policies and nourished by the dividends of economic globalization since China's reform and opening-up. As China has ushered in a period of major changes rarely seen in a century, Cangnan County is also facing new opportunities and challenges. Under the background of this era, Cangnan County is expected to make good use of its own advantages, especially the geographical ones—it is close to countries and regions including Japan, South Korea, and Taiwan—and should spare no efforts to achieve a higher level of opening-up, and, in turn, further promote its development. As an embodiment of the collective will of the people of Cangnan County, the official document is one of the best manifestations of its governance and stability control capabilities. For this reason, the research on how to translate official documents is of great significance for that it offers a great opportunity for Cangnan County to re-examine itself and to show the rest of the world its achievement in building a culture-enriched county.&lt;br /&gt;
&lt;br /&gt;
==='''Key words'''===&lt;br /&gt;
 official document translation, Cangnan County, opening-up, Japan, South Korea&lt;br /&gt;
&lt;br /&gt;
==='''摘要'''===&lt;br /&gt;
自中国改革开放以来，浙江省苍南县作为全浙江对外开放的前沿阵地之一，得到了国家政策支持和经济全球化红利的滋润，苍南县发展水平与对外开放程度日新月异，全县活力持久带劲。随着中国迎来“百年未有之大变局”，苍南县也面临着新的机遇和挑战，在此时代背景下，苍南县应该利用好自身优势，特别是临近日本、韩国、台湾等国家与地区的地理优势，努力开展更高层次、更高水平的对外开放事业，促进苍南更好的发展。为此，作为苍南县人民集体意志的体现，苍南县的公文就是对外展示其治理水平、稳控能力的最好的体现之一。而对于苍南县公文的如何翻译的研究，是促使苍南县重新审视自己、推进苍南人文县情传播海外的良机，意义重大。&lt;br /&gt;
&lt;br /&gt;
==='''关键词'''===&lt;br /&gt;
公文翻译  苍南县  对外开放  日本  韩国&lt;br /&gt;
&lt;br /&gt;
==='''I. System and Translation of Official Documents of Cangnan County'''===&lt;br /&gt;
&lt;br /&gt;
The unique official document system adopted by Chinese government agencies is a special integration of the thousands-of-years excellent political traditions in China and the essence of the organizational structure of the socialist regime. As a county-level unit in China's local administrative structure, Cangnan County has an official document system that is consistent with the national ones in general while has its own features. Official documents of Cangnan County can be basically divided into the following types of writing: resolutions, decisions, orders, bulletins, announcements, notifications, opinions, notices, reports, requests for instructions, approvals, proposals, letters, and minutes. Above-mentioned categories are collectively known as official documents. Besides, there are also some types of practical writing, including summaries, plans, notes, memos, briefings, speeches, manuals and so on, that are often used in our day-to-day work.&lt;br /&gt;
&lt;br /&gt;
In addition to those characteristics of the official documents that are commonly seen in China, official documents of Cangnan County also have its own features, which is mainly reflected in the aspect of proprietary terminology. Cangnan County, which used to be a part of Pingyang County in Zhejiang Province, was officially designated as a county in 1981 with the approval of the Central Government. It takes its name Cangnan, which means “on the south of the Yucang Mountain”, from its geographical location. As a relatively young county-level administrative unit in China’s administrative divisions, Cangnan County has a complex natural endowment and cultural environment, which is the reason why there are many special proprietary terms used in the official documents of Cangnan County, such as “Beautiful South Gate of Zhejiang Province”, “Southern Ouyue (an ancient kingdom in modern Wenzhou and Taizhou)” , “South Gate of Jiangsu-Zhejiang Region” and so on. Moreover, Cangnan is also the birthplace of the “Wenzhou Model”. Since the implementation of policy for the exchange of production materials and commercial grains in 1984, Cangnan has become an important base for the experiments and development of Wenzhou's private economy and market economy, and, thus, has made a significant contribution to the great cause of China's reform and opening-up.&lt;br /&gt;
&lt;br /&gt;
To conclude, the unity of the official document system viewed from the national scope of China and the uniqueness of the official document system viewed from the local scope of Cangnan area are both reflections of the integration of economic, political, and cultural elements. Therefore, when translating the terms and sentences in these official documents, obviously, it is almost impossible to follow general translation theories, such as Yan Fu’s “faithfulness, expressiveness and elegance” theory which applies to literature translation, and Christiane Nord’ Skopos theory which emphasizes schematic analysis. Due to the features of the official documents of Cangnan County, it is hard to imagine the consequence it will cause if those Cangnan and Chinese elements they contain are missed when translating them. Therefore, the starting point for the translation and research of Cangnan official documents should be analyzing the official document itself, but not choosing which translation theory to apply.&lt;br /&gt;
&lt;br /&gt;
The translation method focusing on the official documents themselves is undoubtably the one that emphasizes the content while manages to achieve a similarity in form. Thus, the translation theory that meets the requirements of official document translation in Cangnan County shall be the functional equivalence theory of the American linguist Eugene A. Nida. Eugene A. Nida argued in his theory that translation is to use the most appropriate, natural and equivalent language to reproduce the informational function of the source language both semantically and stylistically. Nida’s definition of translation specified that translation is seeking equivalence not only in lexical meaning, but also in semantics, style and literary form. Translation should convey both the denotative and connotative meaning of a message. Regarding the equivalence of translation, he believed that the equivalence consists of four parts: lexical equivalence, syntactic equivalence, textual equivalence, and stylistic equivalence. Among the four aspects, he emphasized that the meaning the core and most important part, followed by the form. The form of a text is likely to conceal the cultural connotation of the source language and may, therefore, hinder cultural exchanges. Based on the above, the reasons why the functional equivalence theory is applicable to official document translation in Cangnan County can be concluded as follows:&lt;br /&gt;
&lt;br /&gt;
First, the functional equivalence theory advocates that the target text should be equivalent to the source text both semantically and culturally. Official documents of Cangnan County are carriers of profound political culture with Chinese characteristics and the cultural environment in Cangnan. When translating them, in addition to showing the political consciousness and judicial authority of Cangnan government agencies, the local culture of Cangnan must also be reflected in the translations.&lt;br /&gt;
&lt;br /&gt;
Second, the functional equivalence theory suggests that if the lexical meanings and cultural elements cannot be taken into account at the same time, the translator then may give up the equivalence in form and try to reproduce the semantic and cultural meaning of the source text by changing the form of the sentence. There are many specialized terms with Chinese characteristics and Cangnan’s characteristics in official documents of Cangnan County. When translating them, once there is no corresponding expression in the target language, other forms of expression must be adopted to retain the meanings of those specialized terms as much as possible.&lt;br /&gt;
&lt;br /&gt;
Third, the functional equivalence theory proposes that if the change in form is still not enough to express the semantic and cultural meaning of the expression in the source language, the translation technique of “heavy damage” can be adopted to resolve cultural differences , so that the source language and the target language can achieve equivalence in semantic meaning. “Heavy damage” refers to the transformation of the deep structure of the source language into the surface structure of the target language, that is, expressing the cultural connotation of the source text with expressions of the target language. It cannot be ruled out that there are words and sentences in the official document of Cangnan County that cannot be translated, and when this happens, the translator can only rely on his translation techniques and understanding ability to process them creatively.&lt;br /&gt;
Above are simply macro analyses of the official document system in Cangnan County, and when it comes to specific analyses, challenges we face will only be severer.&lt;br /&gt;
&lt;br /&gt;
==='''II. Stylistic Features and Translation of Official Documents in Cangnan County'''===&lt;br /&gt;
&lt;br /&gt;
Looking at the official documents of Cangnan County from the micro level, we can work on the study of its translation based on the following characteristics.&lt;br /&gt;
&lt;br /&gt;
'''1. Details and Accurate'''&lt;br /&gt;
&lt;br /&gt;
As an officially-written document geared for the needs of our people, wording of the official documents of Cangnan County has a very specific orientation. Almost all content words have very clear meanings and connotations.&lt;br /&gt;
&lt;br /&gt;
For example, the sentence “经研究，县政府决定召开市对县安全生产巡查反馈会暨突出问题集中教育警示会，现将有关事宜通知如下。(As discussed, the county government decided to convene a feedback meeting on city-to-county inspections of production safety and a meeting for education and warning on outstanding issues. The relevant matters are hereby notified as follows.)” in the document 《苍南县人民政府办公室关于召开市对县安全生产巡查反馈会暨突出问题集中教育警示会的通知》(“Notice of the Office of the People's Government of Cangnan County on Convening a Feedback Meeting on City-to-County Inspections of Production Safety and A Meeting For Education and Warning On Outstanding Issues”) (the office of the People's Government of Cangnan County on June 8th, 2020) conveys several points very accurately and clearly, including the decision maker, the type, content and theme of the meeting. Therefore, special attention must be paid to the integrity of the information delivered when translating this sentence. For example, it is translated into Japanese as “討議を通じて、県政府は県の安全生産状況に対する市政府の巡査結果反映会及び顕著問題教育警告会を開催することが決定した。関連事項を以下のようにお知らせする。”&lt;br /&gt;
&lt;br /&gt;
'''2. Precise and Compact'''&lt;br /&gt;
&lt;br /&gt;
The role of official documents is to exchange formal information between the upper and the lower, the people and the officials, and the relevant departments. Therefore, the wording of the official documents must be rigorous. No slang and loose sentences should be used, and excessive use of parentheses and descriptive modifiers should be avoided. Official documents of Cangnan County follow this rule as well, in which there will never be informal expressions like daily spoken words.&lt;br /&gt;
&lt;br /&gt;
For example, the expression “三、决策目录施行动态管理，因工作需要增减或变更重大行政决策事项的，承办单位应按照相关规定程序提请调整。(Third, the decision catalogue shall be managed in a dynamic way, the undertaker shall submit application for adjustments in accordance with the relevant regulations if any increase/decrease or change shall be made to the major administrative decision-making matters because of the need of actual work.)” in the document《关于公布苍南县2020年度重大行政决策事项目录的通知》(“Notice on Issuing the 2020 Annual Catalogue of Major Administrative Decision-Making Matters of Cangnan County”) (the office of the People's Government of Cangnan County on Sept. 20th, 2020) When translating this sentence into Japanese, the translator shall fully considers the preciseness of the original expression, and translate it as “三つ目、戦略目録動的管理施行、仕事需要によっての増減または変更が必要な場合、請負機構は関連規定の手順に従って調整を提出しなければならない。”&lt;br /&gt;
&lt;br /&gt;
'''3. Programmed and Standardized'''&lt;br /&gt;
&lt;br /&gt;
The purpose of official documents requires a stable and routine writing program so that the official business can be conducted in an orderly manner. It is essential that the document writing is reasonably programmed. It allows the officer to know what it is and what to do at a glance if a standardized official document program is followed. The standardization of the official documents of Cangnan County can be regarded as a tricky feature in their translation.&lt;br /&gt;
&lt;br /&gt;
For example, the expression “各乡镇人民政府，县政府直属各单位 (the people's government of all townships and towns and all directly affiliated institutions of the people’s government of Cangnan County)” in the document《关于公布苍南县2020年度重大行政决策事项目录的通知》(“Notice on Issuing the 2020 Annual Catalogue of Major Administrative Decision-Making Matters of Cangnan County”) (the Office of the People's Government of Cangnan County on Sept. 20th, 2020) is obviously a standardized addressing of the receiving units of an official document, and it should be translated into Japanese as “各郷鎮人民政府、県政府直属の各部門”.&lt;br /&gt;
Viewing from a micro perspective, we may find that special attention should be paid to many precise details when translating those official documents. It is of great significance that, during the cause of reform and opening-up, we strike a balance between the macro level and the micro level in official document translation, which will serve as a stage for Cangnan County to show itself to Japan, South Korea and other East Asian countries and regions.&lt;br /&gt;
&lt;br /&gt;
==='''III. Translation of Official Documents of Cangnan County under the Context of the Japanese Language'''===&lt;br /&gt;
&lt;br /&gt;
Cangnan County is one of the nearest administrative units to Japan in China, and Okinawa Prefecture in Japan and Cangnan County are neighbors facing each other across the sea. Furthermore, Cangnan County itself has ports in Xiaguan, Pacao, Yanting, Dayu and other places, and has the basic conditions for conducting small transactions of freights with Okinawa. However, due to the inadequacy policies, laws and regulations, a large portion of Japan’s trade with China, especially with Zhejiang Province, is still conducted in the three port cities, namely Ningbo, Zhoushan, and Hangzhou. Cangnan’s geographical advantages have never been given to full play. To Japan, Cangnan is not a total stranger. Wenzhou City has a great influence upon Japanese culture and history. Special local products such as Wenzhou green tea and Wenzhou satsuma orange are very attractive to Japanese people. Many of the business exchanges during the Kamakura Bakufu in Japan were happened between Hakata merchants and Wenzhou people. As an important subordinate region of Wenzhou City, Cangnan County naturally has left an impression on Japanese people when it comes to China.&lt;br /&gt;
&lt;br /&gt;
If Cangnan hopes to lay a foundation for the future cooperation with Japan through its cause of opening up to the outside world, it is of great importance that we study the methods and techniques to make the translation of Cangnan’s official documents to meet the specific context of the Japanese language, which is also a part of the cultural exchanges that will facilitate economic and trade cooperation between Japan and China. The political status of Cangnan County is equivalent to the one of regular cities and special wards in Japan, but this does not mean that the official documents of Cangnan County can be regarded as equivalents to the official documents released by the governments of the regular cities and special wards in Japan, and there are huge differences between their respective official documents in form, wording, Cultural connotation and etc. To better translate Cangnan official documents under the context of Japanese language, the following aspects must be paid attention to:&lt;br /&gt;
&lt;br /&gt;
1. Detailed Comparison of Types&lt;br /&gt;
&lt;br /&gt;
In the Japanese official document system, the word “公文” is different in meaning from the word “公文” in Chinese official document system. In Chinese “公文” means government official documents, while in Japanese “公文” generally refer to legal documents that have the force of law and the term “公文書” is the one that refers to government official documents, which roughly includes “外交文書” and “起案文”, “通達” , “命令”, “許可”, “通知書” and so on . When translating official documents of Cangnan County into Japanese, attention should be paid to the transformation of the types of the official documents. The classifications of official documents in China and Japan are different from each other.&lt;br /&gt;
For example, when translating documents such as “proposal letter”, “report” and the like into Japanese, the title should be translated as “建言書” and “報告書”, while “命令(order)”, “通知(notice)”, “提案(Proposal)” and etc. need no translation and can be titled with the original characters directly as “命令”, “通知”, “提案”, and can also be further translated into “命令状”, “通知書”, “提案書”. Those reflect the characteristics of the division of the types of the official document system in Japan.&lt;br /&gt;
&lt;br /&gt;
2. Careful Consideration of the Translation of Chinese Characters&lt;br /&gt;
&lt;br /&gt;
There are a large number of Chinese characters in Japanese. This will for sure be an advantage when translating official documents of Cangnan County into Japanese, however, at the same time, this is also a huge disadvantage. After all, those Chinese characters are Japanized Chinese characters, and their meanings and usages are more or less different from the original ones in Chinese.&lt;br /&gt;
&lt;br /&gt;
For example, the expression “设定全县森林防火期(setting the season of forest fire prevention)” in the document 《苍南县应急管理局局长王再忠关于&amp;lt;苍南县人民政府关于做好森林防火期护林防火工作的通告&amp;gt;的政策解读》(“Policy Interpretation Of ‘Notice of Doing Forest Protection and Fire Prevention during the Season of Forest Fire Prevention by the People's Government Of Cangnan County’ by the Director of Cangnan Emergency Management Agency Wang Zaizhong”) in could be translated character by character into Japanese as “全県域森林防火期間設定”. However, expressions such as “野外火源如何管理” cannot be translated in the same way, and must be processed accordingly and translated into Japanese as “野外の火の元が如何に処理すること”. When translating official documents of Cangnan County into Japanese, the translators must reject the preconceived thinking and native Chinese thinking, or it will lead to irreversible misunderstandings and mistakes.&lt;br /&gt;
&lt;br /&gt;
3. Mastery of the Equivalence of Semantic Meaning&lt;br /&gt;
&lt;br /&gt;
Chinese is an isolating language, in which the grammatical meaning is reflected by the order of words, while Japanese is an agglutinative language, in which auxiliary words and flexible usages of vocabulary are adopted to reflect the grammatical meaning. This requires the translators to have mastery of the equivalence of semantic meanings when translating official documents of Cangnan County into Japanese and try to achieve perfect equivalence in official document translation.&lt;br /&gt;
&lt;br /&gt;
For example, there is a expression as “全体公民必须认真贯彻‘以人为本、预防为主、积极扑救、有效消灾’的森林防灭火工作方针，一旦发现森林火灾，要立即向当地人民政府或森林防灭火指挥部办公室报告(all citizens must seriously implement the working policy of forest fire prevention and firefighting ‘people-oriented, prevention-focused, active in firefighting, effective in disaster relief’, once a forest fire is detected, it must be reported to the local people’s government or the forest fire prevention and firefighting headquarters office immediately)” in the document 《苍南县应急管理局局长王再忠关于&amp;lt;苍南县人民政府关于做好森林防火期护林防火工作的通告&amp;gt;的政策解读》(“Policy Interpretation Of ‘Notice of Doing Forest Protection and Fire Prevention during the Season of Forest Fire Prevention by the People's Government Of Cangnan County’ by the Director of Cangnan Emergency Management Agency Wang Zaizhong”). When dealing with long and complex sentences, the translator must be flexible in using translation techniques to decompose the sentences and translate them step by step, focusing on the balance between the form of the sentence and its semantic meaning. Based on this principle, the abovementioned sentence could be translated into Japanese as “人間本位、予防軸化、積極救助、有効消災という森林防火作業方針は全県民が必ず強固に守らなければならない。林に火事が発見された際、直ちに所轄人民政府や森林防火指揮部執務室に報告すること。”&lt;br /&gt;
&lt;br /&gt;
There is no doubt that, in terms of four-character idioms, allusions, new words of the era and etc., the translation of official documents of Cangnan County under the context of the Japanese language still has a long way to go, but the part that we should pay most attention to in translation is always the differences in culture between the source language and the target language. Only by keeping this basic point in mind at all times, will there be no huge mistakes being made when translating official documents of Cangnan County into Japanese.&lt;br /&gt;
&lt;br /&gt;
==='''Ⅳ. Translation of Official Documents of Cangnan County under the Context of the Korean Language'''===&lt;br /&gt;
&lt;br /&gt;
Zhejiang Province and South Korea have laid a good foundation for economic and trade cooperation projects, and a framework that is comprehensive, wide-ranging, and multi-level has been established for Zhejiang-South Korea cooperation. The advantages of the two regions are obviously complementary and the development potential for both sides and in between is huge. In September 2016, the Zhejiang China-Korea (Quzhou) Industrial Cooperation Park was approved as the first batch of “Zhejiang International Industrial Cooperation Parks” in Zhejiang Province. The total planned area is about 3,000 acres and the total planned investment is 12 billion yuan. Represented by the Zhejiang China-Korea Industrial Cooperation Park, a large number of economic and trade cooperation projects has been carried out with South Korea by Zhejiang Province. As an indispensable part of Zhejiang Province, Cangnan County is facing a huge gap in the cultural exchanges and economic cooperation with South Korea. How to elevate the level of Cangnan’s opening up to the outside world and advancing Cangnan’s economic, trade and cultural cooperation with South Korea is a question that is well worth exploring. Although Cangnan is further away from South Korea compared with regions in the north of Zhejiang, geographic location should never be a factor that hindering Cangnan’s economic, trade and cultural cooperation with South Korea. In an era of ever-deepening globalization, it is of great significance that we think about how to develop and promote the economic and trade and cultural cooperation between Cangnan and South Korea.&lt;br /&gt;
&lt;br /&gt;
Northern Zhejiang is a key area for economic, trade and cultural cooperation with South Korea. As the south gate of Zhejiang Province, if Cangnan County could open the door of economic, trade and cultural cooperation to South Korea, then this will inevitably bring extraordinary development opportunities to southern Zhejiang and make the pattern of Zhejiang and South Korea’s economic and cultural cooperation more balanced and healthy. The political status of Cangnan County is equivalent to the one of si(city), gu (district), and gun(county) in South Korea. Because of some historical reasons, South Korea is greatly influenced by Chinese culture. From the Three Kingdoms era of Joseon, to the Unified Silla Dynasty, the Wang’s Goryeo Dynasty, and the Yi’s Joseon Dynasty, the basic system of administrative divisions in South Korea is almost the same as the one in China, so the official document system of cities, districts, and counties in South Korea can be regarded as basically equivalent to the official document system of Cangnan County with only slight differences originated from the localized political and cultural traditions and the basic social condition of South Korea. Therefore, there are relatively fewer difficulties of translation when translating official documents of Cangnan County into Korean, aside from the barriers caused by Korean Hangul words. The translation of official documents of Cangnan County under the context Korean language requires attention to the following aspects:&lt;br /&gt;
&lt;br /&gt;
1. The Combination of Chinese characters and Hangul&lt;br /&gt;
&lt;br /&gt;
Modern Korean uses Hangul as the main written characters, but this does not mean that there is no place for Chinese characters in the Korean system. Since the launch of the abolition of Chinese characters movement in South Korea in the 1970s, Hangul did exactly achieved an overall penetration of every aspect of their daily life, but when it comes to important documents, Chinese characters still reserve a seat in the arena of South Korea’s history. Furthermore, a higher level of talent training is required now to meet the need of South Korea’s economic and social development, and the mastery of sinology has become, among all the necessary skills, one of the most straightforward evaluation criteria to access the qualified personnel. Thus, South Korea has restarted the Chinese character teaching movement. Nowadays, the official document system in South Korea has become one in which Hangul serves as the main language and the mixed use of Chinese characters and Hangul serves as a supplement. Just as how the mixed use of kana and Chinese characters in Japanese official documents may help in its translation, the mixed use of Chinese characters and Hangul also greatly facilitate the translation of official documents of Cangnan County into Korean. However, because Chinese characters used in Korea are composed of traditional Chinese characters and a small number of Korean self-made Chinese characters, we can not take it for granted that it is advisable to translate them word by word.&lt;br /&gt;
&lt;br /&gt;
For example, the title of the document《苍干任〔2020〕18号 王再忠等同志的任命》(“Cangnan Cadre Appointment [2020] No. 18: Appointment of Wang Zaizhong and etc.”) (the Office of CPC Cangnan Party Committee on March 27th, 2020) can be translated with the mixed use of Chinese characters and Hangul into Korean as《蒼南縣의 幹部任命〔2020〕18號 王再忠등 同志의任命》. Also, it be translated into Korean with Hangul alone as《참남현의 간부임명〔2020〕18호 왕재충등 동지의임명》.&lt;br /&gt;
&lt;br /&gt;
2. The Usage of Refined Language&lt;br /&gt;
&lt;br /&gt;
In recent years, South Korea has carried out reforms of the official document system, urging that the South Korean government agencies at all levels should use “refined(or purified) language”, that is, to write and publish official documents with words that are easy for the public to understand and have explicit meanings, reducing the cost of communication between the government and the public and, in this way, building a closer relationship between the government and the people, so that civil servants can communicate with the people more effectively. Refined language is a kind of common vernacular that differs from the official language. Although this trend of the wording of Korean official documents is not unconditional, but when compared with official documents of Cangnan County, which emphasize the solemnity and formality of official documents, this trend is the part that the translator has to pay his attention to.&lt;br /&gt;
&lt;br /&gt;
For example, when translating the expression “为加强行政规范性文件管理，切实推进依法行政，加快法治政府建设 (To strengthen the management of administrative normative documents, promote the administration in accordance with law, and accelerate the construction of a government ruled by law)” in the document《苍南县人民政府关于公布县政府及县政府办公室行政规范性文件清理结果的通知（有效）》(“Notice of the Office of the People's Government of Cangnan County on the Announcement of the Results of the Cleanup of the Administrative Normative Documents of the County Government and the County Government Offices (Effective)”) (the Office of the People's Government of Cangnan County on October 23th, 2020) , blunt expressions may not be that applicable and this expression translated into Korean in a more public-friendly way as “행정 규범적인 문서관리를 강화하기 위해, 법에따라 행정을 철저히 추진하고 법치정부의 건설을 가속화시킨다.”&lt;br /&gt;
&lt;br /&gt;
3. Mastery of the Equivalence of Semantic Meaning&lt;br /&gt;
&lt;br /&gt;
Like Japanese, Korean is also a typical agglutinative language. A sentence is formed by connecting independent words with various auxiliary words, and with a subordinating conjunction at the end of the sentence. Auxiliary words are just like glues, they exist after every subject, predicate, and object component of a Korean sentence to them together. For that these auxiliary words have no substantial meaning themselves, they must stay close to the main body in front, and a space must be put after. Therefore, when translating Chinese, which is an isolated language, into Korean, which is an agglutinative language, it is necessary to have mastery of the equivalence of the semantic meaning of the expression.&lt;br /&gt;
&lt;br /&gt;
For example, when translating the expression “全面实施全民参保计划，做好参保情况清查，提升参保信息质量，清理重复参保，稳定持续参保，减少漏保断保，实现应保尽保。(Fully implement the national social security plan, do a good job in checking the coverage of the social security, improve the quality of the collection of the information of the insured, clean up repeated insureds, stabilize the renewal of the social security, reduce the interruption of the social security, and achieve full social security coverage.)” in the document《关于做好2021年度城乡居民基本医疗保障工作的通知》(“Notice on Doing a Good Job in Basic Medical Security for Urban and Rural Residents in 2021”)( the Office of Medical Security Bureau of Cangnan County on November 5th, 2020), the translator should pay attention to the equivalence of semantic meaning of this long sentence and translated it into Korean as “전국민기본의료보험가입계획을 전면적으로 실시하고 기본의료보험가입상황을 철저히 조사하며 기본의료보험가입 정보의 질을 향상시키고 중복기본의료보험가입을 청산하며 안정적이고 지속적인 기본의료보험가입을 하며 보험누락을 줄이고 기본의료보험가입 을 실현해야 한다.”&lt;br /&gt;
&lt;br /&gt;
==='''Ⅴ. Studies of Official Document Translation and the Cause of Opening-up in Cangnan County'''===&lt;br /&gt;
&lt;br /&gt;
Based on the abovementioned basic characteristics of the official document system of Cangnan County, the notes for official documents translation under the context of the Japanese language and the notes for official documents translation under the context of the Korean language, we can see that official documents of Cangnan County is not as difficult to handle as something untranslatable. Cangnan County enjoys a good geographic location: it is located in the coast of the East China Sea, and is close to both Japan and South Korea, two strong economies in East Asia. However, Cangnan County has not yet made use of these favorable conditions to the fullest to promote cultural cooperation and trade with the two countries. Cangnan’s opening up to the outside world requires innovative thinking and an elaborate layout. Studies on the translation of official documents of Cangnan County, especially the translation of official documents under the context of the Japanese and Korean language, will help to explore the cultural spirit of the government institutions, and play an important role in building a good image of Cangnan County in East Asia and laying a foundation for Cangnan's cooperation with major countries and regions in East Asia .&lt;br /&gt;
&lt;br /&gt;
The world today is undergoing profound changes rarely in a century, and so is China. The tide of history moves on and Cangnan shall not stay out of the matter, but must follow it courageously and strive to open new doors for Cangnan's opening up to the outside world through the study of the official document translation of its own.&lt;br /&gt;
&lt;br /&gt;
===References===&lt;br /&gt;
&lt;br /&gt;
[1]Ziqi LIU. The Application of Functional Equivalence Theory in Scientific Translation：A Case Study of the Translation of Shipbuilding English[J]. CREATIVITY AND INNOVATION,2019,1(3).&lt;br /&gt;
&lt;br /&gt;
[2]Mu Dan. Discussion on Translation Activities Under the Guidance of Functional Equivalence Theory[J]. International Journal of Education and Management,2018,3(2).&lt;br /&gt;
&lt;br /&gt;
[3]李琳琳. 功能对等翻译理论与关联翻译理论比较研究[D].辽宁师范大学,2006.&lt;br /&gt;
&lt;br /&gt;
[4]赵娟廷. 汉韩公文语体对比研究[D].复旦大学,2003. &lt;br /&gt;
&lt;br /&gt;
[5]周萱. 《中国共产党怎样解决民族问题》（节选）中韩翻译报告[D].青岛大学,2017.&lt;br /&gt;
&lt;br /&gt;
[6]张利军. 《教学的游戏性研究》的汉日翻译实践报告[D].广西师范大学,2019.&lt;br /&gt;
&lt;br /&gt;
[7]栾亚琼. 《2015年山东省政府工作报告》汉日翻译实践报告[D].曲阜师范大学,2016.&lt;br /&gt;
&lt;br /&gt;
[8]占丽华. 源流与演变—日本地方公文书馆发展路径研究[D].山东大学,2020.&lt;br /&gt;
&lt;br /&gt;
[9]任清萍. 功能翻译理论视角下政府工作报告日译研究[D].外交学院,2020.&lt;br /&gt;
&lt;br /&gt;
[10]孙慧. 产业竞争力与区域经济增长[D].苏州大学,2006.&lt;br /&gt;
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--[[User:Wu Kai|Wu Kai]] ([[User talk:Wu Kai|talk]]) 04:45, 2 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
==The Translation Process and Methods of Translating English Long Sentences	周艺文	Zhou Yiwen==&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
===Abstract===&lt;br /&gt;
===Key words===&lt;br /&gt;
===摘要===&lt;br /&gt;
===关键词===&lt;br /&gt;
===Introduction===&lt;br /&gt;
&lt;br /&gt;
===Conclusion===&lt;br /&gt;
===Bibliography===&lt;br /&gt;
&lt;br /&gt;
==Chinese-English Translation of News Headlines From the Perspective of Skopos Theory	张维虹	Zhang Weihong==&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
==='''Abstract'''===&lt;br /&gt;
&lt;br /&gt;
==='''key words'''===&lt;br /&gt;
&lt;br /&gt;
News headlines; Skopos theory; translation&lt;br /&gt;
&lt;br /&gt;
==='''摘要'''===&lt;br /&gt;
社会的飞速发展使得人们的阅读方式发生了巨大的改变, 通过阅 读新闻标题来获取消息和了解事实, 成为大多数人的不二之选, 新闻标题 翻译也就越来越具有其必要性。 新闻标题的重要性堪比一部使人印象深刻 的电影名, 一则响亮的广告语, 一本撩人心弦的书名。 较之娱乐新闻, 时 政新闻略显严肃客观, 又因当今科技物质的飞速发展, 时政新闻的点阅数 量明显少于以消遣娱乐为目的的娱乐新闻。 怎样提高时政新闻的阅读量, 怎样使得时政新闻如同娱乐新闻一般深受广大人民的喜爱, 这不仅是新闻 编辑者们的挑战, 也是新闻翻译界的难题。 本文以德国功能派翻译目的论 为理论指导, 结合新闻学及编辑学的相关学科知识, 通过对中英时政新闻 标题的对比分析, 旨在对时政新闻标题的汉译英提出翻译策略, 让国外读者正确客观无误的了解中国的时事政策。&lt;br /&gt;
&lt;br /&gt;
==='''关键字'''===&lt;br /&gt;
&lt;br /&gt;
===Introduction===&lt;br /&gt;
&lt;br /&gt;
===Skopos Theory===&lt;br /&gt;
&lt;br /&gt;
===Features of News Headlines===&lt;br /&gt;
&lt;br /&gt;
===Chinese-English Translation Methods of News Headlines from the Skopos Perspective===&lt;br /&gt;
&lt;br /&gt;
===Conclusion===&lt;br /&gt;
&lt;br /&gt;
===Bibliography===&lt;br /&gt;
&lt;br /&gt;
==On Chinese-English Translation of Public Service Advertisements From the Perspective of Text-type Theory  司妤  Si Yu==&lt;br /&gt;
&lt;br /&gt;
==='''Abstract'''===&lt;br /&gt;
&lt;br /&gt;
==='''key words'''===&lt;br /&gt;
&lt;br /&gt;
==='''摘要'''===&lt;br /&gt;
&lt;br /&gt;
==='''关键字'''===&lt;/div&gt;</summary>
		<author><name>Song Jianru</name></author>
	</entry>
	<entry>
		<id>https://bou.de/u/index.php?title=History_of_Translation_Studies_8&amp;diff=107937</id>
		<title>History of Translation Studies 8</title>
		<link rel="alternate" type="text/html" href="https://bou.de/u/index.php?title=History_of_Translation_Studies_8&amp;diff=107937"/>
		<updated>2020-12-06T14:59:19Z</updated>

		<summary type="html">&lt;p&gt;Song Jianru: /* I Overview and Research Status of A Pale View of Hills */&lt;/p&gt;
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&lt;div&gt;这里是《翻译学史》的书稿第八部分(Part 8)。麻烦各位同学看一下已经存在的章回（样品），自己再加进去新的一个章回（就是你们的学期论文）。请也帮助同学们把他们的论文改正。这样多次修改，大家的论文会越来越好。&lt;br /&gt;
&lt;br /&gt;
学期论文（结合学期所学，撰写一篇5000以上单词的英文论文，按照专业杂志的格式，题目、摘要、关键词和参考文摘需要英中，文章英）。学期论文成绩占70%，平时成绩（含课堂表现、展示及作业）占30%。&lt;br /&gt;
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*Link back to course homepage: [https://bou.de/u/wiki/Introduction_to_Translation_Studies Course Homepage Intro. to TS]&lt;br /&gt;
*Link back to the final exam paper section of the course homepage: [https://bou.de/u/wiki/Introduction_to_Translation_Studies#Final_Exam_Papers Final Exam Papers]&lt;br /&gt;
*Link to other parts of the final exam papers: [https://bou.de/u/index.php?title=History_of_Translation_Studies_1 Final Exam Papers Part 1]&lt;br /&gt;
*Link to other parts of the final exam papers: [https://bou.de/u/index.php?title=History_of_Translation_Studies_2 Final Exam Papers Part 2]&lt;br /&gt;
*Link to other parts of the final exam papers: [https://bou.de/u/index.php?title=History_of_Translation_Studies_3 Final Exam Papers Part 3]&lt;br /&gt;
*Link to other parts of the final exam papers: [https://bou.de/u/index.php?title=History_of_Translation_Studies_4 Final Exam Papers Part 4]&lt;br /&gt;
*Link to other parts of the final exam papers: [https://bou.de/u/index.php?title=History_of_Translation_Studies_5 Final Exam Papers Part 5]&lt;br /&gt;
*Link to other parts of the final exam papers: [https://bou.de/u/index.php?title=History_of_Translation_Studies_6 Final Exam Papers Part 6]&lt;br /&gt;
*Link to other parts of the final exam papers: [https://bou.de/u/index.php?title=History_of_Translation_Studies_7 Final Exam Papers Part 7]&lt;br /&gt;
*Link to other parts of the final exam papers: [https://bou.de/u/index.php?title=History_of_Translation_Studies_8 Final Exam Papers Part 8]&lt;br /&gt;
*Link to other parts of the final exam papers: [https://bou.de/u/index.php?title=History_of_Translation_Studies_9 Final Exam Papers Part 9]&lt;br /&gt;
*Link to other parts of the final exam papers: [https://bou.de/u/index.php?title=History_of_Translation_Studies_10 Final Exam Papers Part 10]&lt;br /&gt;
&lt;br /&gt;
='''History of Translation'''=&lt;br /&gt;
== Study on Brand Name Translation from the Perspective of Cultural Difference	谭鑫洁	Tan Xinjie==&lt;br /&gt;
&lt;br /&gt;
==='''Abstract'''===&lt;br /&gt;
&lt;br /&gt;
== Abstract: ==&lt;br /&gt;
&lt;br /&gt;
==='''key words'''===&lt;br /&gt;
&lt;br /&gt;
==='''摘要'''===&lt;br /&gt;
&lt;br /&gt;
==='''关键字'''===&lt;br /&gt;
&lt;br /&gt;
===Complete transcript of the content of the original work ===&lt;br /&gt;
&lt;br /&gt;
===Same style and manner of writing===&lt;br /&gt;
&lt;br /&gt;
===Equivalent effect===&lt;br /&gt;
&lt;br /&gt;
===Discussion===&lt;br /&gt;
&lt;br /&gt;
===Conclusion===&lt;br /&gt;
&lt;br /&gt;
===Bibliography===&lt;br /&gt;
&lt;br /&gt;
==A Comparative Study on the Translation History in Western Countries and China	王煜	Wang Yu==&lt;br /&gt;
===摘要===&lt;br /&gt;
翻译是一种跨文化交流活动，翻译活动加快了人类文明发展步伐，减少了人们之间的沟通障碍。随着时代的变迁，中国和西方国家逐渐形成了各自的翻译史，翻译史的研究是学科建设的一项基础工程。尽管中西方翻译史在某些方面有所差异，但却都有着各自的独特性，并对人类的翻译活动产生了巨大的影响与贡献。文章将以中国和西方国家为主要对象，从二者翻译史起始，包含阶段和各阶段代表人物，影响意义，差异性出发，对二者的翻译史进行简略的对比研究。&lt;br /&gt;
&lt;br /&gt;
===关键词===&lt;br /&gt;
翻译史；西方翻译史；中国翻译史&lt;br /&gt;
&lt;br /&gt;
===Abstract===&lt;br /&gt;
Translation is an intercultural communication activity, translation activities have accelerated the development of human civilization and reduced the communication barriers between people of different countries or nations. With time goes by, things are in a state of flux and both the western and eastern countries have gradually formed their own history of translation, the study of translation history is a basic project of discipline construction. Though there are many differences among the translation histories of western countries and China, the two kinds of translation histories are still shining their own bright unique lights and have an indelible influence and contribution to human translation activities. This paper intends to make a brief comparison of translation histories between western countries and China, which includes the origins, the stages, the representatives of the stages, the significance and influence as well as the differences of the two translation histories.&lt;br /&gt;
&lt;br /&gt;
===Keywords===&lt;br /&gt;
Translation history; Translation history of the West; Translation history of China &lt;br /&gt;
&lt;br /&gt;
===1. Introduction===&lt;br /&gt;
No matter in China or in the west, translation plays an important role in knowledge-spreading. As an indispensable part of translatology, the study of translation history has made a great influence on translation activities, it has gradually become the focus of the literary and historical circles in recent years. Translation activities can be traced back to the origin of language, and the history of translation is almost as old as language itself, it is closely related to the changes in today's society. Since the 1980s, the translation studies in the mainland of China have made remarkable progress in the curriculum design of Chinese and western translation history and the compilation of related works. In the early 1980s and 1990s, there were many related works came out one after another including A brief history of Chinese Translation: the part before the May 4th Movement（《中国翻译简史-“五四”运动以前部分》） written by Zuyi Ma, A historical manuscript of Chinese translated literature （《中国翻译文学史稿》）edited by Yugang Chen, and also the A Short History of Translation in the West（《西方翻译简史》） the author of which is Zaixi Tan. Thus, it opens the gate for the compilation of Chinese and western translation history works.（谢天振，2009） The history of western translation can be divided into five stages while the Chinese study of translation has a glorious history of more than two thousand years and has experienced five climaxes. Through the comparative study of Chinese and western translation history, it will help us to have a deeper understanding of Chinese and western translation activities and thus to gather a general full view of it, which will be a positive and meaningful attempt.&lt;br /&gt;
&lt;br /&gt;
2. The Translation History of Western Countries&lt;br /&gt;
Western translation activities are rich in a long history and a multiyear span. The history of western translation can be roughly divided into three stages: the traditional stage, the modern times and the contemporary. More specifically, it can be grouped into the ancient times, the middle ages, the Renaissance period and the time after WWⅡ.&lt;br /&gt;
&lt;br /&gt;
2.1 The First Stage: Translation in the Ancient Times&lt;br /&gt;
    &lt;br /&gt;
The translation history of western countries first began in the the 3rd century B.C. &amp;quot;In a broad sense, the earliest translation in the west is the Old Testament translated by 72 Jewish scholars in Alexandria, ancient Egypt, between the 3rd and 2nd centuries BC; Strictly speaking, the first western translation is the Greek Homer Epic Odyssey translated by Andronicus in Rome in the middle of the third century BC.”(谭载喜,2000) At the end of the 4th BC, during this time, the Greece began to decay and the Roman had became stronger and stronger with its military expansion. The expansion of the Roman Empire brought it into contact with the splendid Greek culture, therefore, the Romans not only conquered the Greek city, but also inherited and developed the brilliant achievements of ancient Greek culture, and then created a  splendid cultural of its own era after Greece. So soon began a large scale translation activities, the activity of translating and introducing Greek classical works probably began in this period.（刘军平,2009）Many famous translation theorists began to make their presences, namely Cicero, Quentin, Jerome and so on, also the famous Roman litterateurs like Andronicus, Naevius, Ennius, these great writers used Latin language to translate or adapt Homer’s epic or other Greece dramas. Started the translation tradition and promoted the birth and development of Roman literature.&lt;br /&gt;
&lt;br /&gt;
2.2 The Second Stage: Translation in the Middle Ages (4th-6th)&lt;br /&gt;
&lt;br /&gt;
2.3 The Third Stage: Translation in the Middle Ages (11th-12th)&lt;br /&gt;
&lt;br /&gt;
2.4 The Fourth Stage: Translation in the Renaissance Period&lt;br /&gt;
&lt;br /&gt;
2.5 The Fifth Stage: Translation after WWⅡ&lt;br /&gt;
&lt;br /&gt;
3. The Translation History of China--[[User:Wang Yu|Wang Yu]] ([[User talk:Wang Yu|talk]]) 08:38, 30 November 2020 (UTC)--[[User:Wang Yu|Wang Yu]] ([[User talk:Wang Yu|talk]]) 08:43, 30 November 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
==The Implications of Luther's Translation Principles amid Renaissance for Modern Literature Translation	方洁玲	Fang Jieling==&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
==Translation manipulated by ideology	许静	Xu Jing==&lt;br /&gt;
&lt;br /&gt;
==Comparison between the History of Chinese and Western Translation   周书尧   Zhou Shuyao==&lt;br /&gt;
&lt;br /&gt;
'''Abstract:'''There has a long history and culture Chinese and Western translation, and translation plays an indelible role in promoting cross-cultural communication and cultural communication. This article first discusses the history of translation in China from  four stages , then discusses the five stages of western translation history , and finally compares and analyzes the similarities and differences between Chinese and Western translation histories, and puts forward some of the author's own views.&lt;br /&gt;
&lt;br /&gt;
'''Key words:'''The history of Chinese,The history of Western,the stages of  translation history,comparison&lt;br /&gt;
&lt;br /&gt;
'''摘要：'''中西方翻译历史文化源远流长，翻译在促进跨文化交流和文化传播上承担着不可磨灭的作用。本文首先从中国的四次翻译高潮论述中国的翻译史，再从西方的五次翻译高潮探讨西方的翻译史，最后对中西方翻译史的异同进行对比分析，提出一些笔者自己的看法。&lt;br /&gt;
&lt;br /&gt;
'''关键词：'''中国翻译史，西方翻译史，翻译高潮，对比&lt;br /&gt;
&lt;br /&gt;
'''Ⅰ.Introduction'''&lt;br /&gt;
&lt;br /&gt;
Since the 1980s, the Chinese translation studies community has made remarkable progress in the establishment of Chinese and Western translation history courses and the compilation of related works.In the 1980s and early 1990s,A Brief Introduction to the History of Translation in China from Ma Zuyi and other books of Chen Yugang and Tan Zaixi were published one after another,which raised the curtain for the compilation of Chinese and Western translation history works by the domestic translation scholars.The four stages in the history of Chinese translation have promoted the development of Chinese history, culture and society to varying degrees.The same as our country, Western translation has an age-old history.In a sense, the development of Western European civilization should first be attributed to the translators.The five stages in the history of European translation have promoted the exchanges of literature, art, science and trade between countries, and to a certain extent promoted the development of Chinese translation.In fact, when we examine the development trajectory of Chinese and Western translation activities and the evolution of translation concepts together, we find that there are some similarities between Chinese translation and Western translation.Especially in the evolution of Chinese and Western translation concepts, the two have very similar evolution laws.&lt;br /&gt;
&lt;br /&gt;
='''Literal and Free Translation'''=&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
==Rethink Literal and Free Translation	彭永亮	Peng Yongliang==&lt;br /&gt;
&lt;br /&gt;
==On the Chinese Translation of A Pale View of Hills from House’s Translation Quality Assessment Model	宋建茹	Song Jianru==&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
===Abstract===&lt;br /&gt;
&lt;br /&gt;
Translation quality assessment is an integral part of translation criticism. The first TQA model with comprehensive theories and practices Juliane House represented provides a significant reference for translation exercises. ''A Pale View of Hills'', as the first work of Kazuo Ishiguro, possesses a great research value on its narrative styles by virtue of memory and topics about migrants. As of 2011 when its Chinese translation was published, no scholar has evaluated it. This study applies House’s TQA model to assess the Chinese translation of ''A Pale View of Hills'' with qualitative and quantitative analysis from lexical, syntactic and textual aspects, in a bid to examine validity of the model on novel translation, which turns out that it is an overt and high-quality translation.&lt;br /&gt;
&lt;br /&gt;
=== Key Words===&lt;br /&gt;
&lt;br /&gt;
''A Pale View of Hills''; House’s TQA model; novel translation&lt;br /&gt;
&lt;br /&gt;
=== 摘 要 ===&lt;br /&gt;
&lt;br /&gt;
翻译质量评估是翻译批评的核心课题。朱莉安·豪斯提出的第一个有完整的理论和实践的翻译质量评估模式，为翻译实践提供了重要参考。《远山淡影》是石黑一雄的处女作，其依托回忆的叙事风格和移民主题具有很高的研究价值。《远山淡影》中译本自2011年出版至今，尚未有学者对其进行评估研究。本文运用豪斯的翻译质量评估模式，采用定性与定量相结合的分析方式，从语场、语旨、语式等三个层面对原文和译文进行分析，开展《远山淡影》中译本的翻译质量评估研究，为豪斯翻译质量评估模式对小说翻译的运用进行进一步的探索和补充。通过分析，得出《远山淡影》中译本为显性翻译，翻译质量较高。''Italic text''&lt;br /&gt;
&lt;br /&gt;
=== 关键词 ===&lt;br /&gt;
&lt;br /&gt;
《远山淡影》；豪斯质量评估模式；小说翻译&lt;br /&gt;
===Introduction===&lt;br /&gt;
Translation criticism refers to the analysis and review of thoughts, activities and works of translation by virtue of relevant theories and views, in a bid to improve the overall quality of translators and translations. It is an integral part of translation studies. (Wang Enmian, 1999: 7) Translation quality assessment, as the integral and key part of translation criticism, plays a significant role in surveillance and promotion of translation quality. Among the extant translation quality assessment models, Juliane House’s ''A Model for Translation Quality Assessment and Translation Quality Assessment: A Model Revised'', based on Halliday's systemic functional linguistics and discourse analysis, are systematic, scientific and rational with a relatively complete system of parameters, quantitative methods and steps adhering to specific procedures. &lt;br /&gt;
&lt;br /&gt;
''A Pale View of Hills'', as Kazuo Ishiguro's first full-length novel, tells the life of the people in Nagasaki after WWII through the memory of protagonist Etsuko and explores recovery of trauma, collision between the old and new ideas, and kinship after war. The first person narrative, memory, humor and satire and international perspectives in the book became his major writing styles in the future. The novel won the Winifred Holtby Memorial Prize from the Royal Society. Its only Chinese translation at present, from Zhang Xiaoyi, is still not analyzed by the scholars. This paper uses House’s translation quality assessment model, with combination of qualitative and quantitative analysis, from field, tenor and mode to analyze the mismatches between original and translation in an attempt to assess the Chinese translation quality of ''A Pale View of Hills'' and further explore the application of House’s model in novel translation. The aim of the study is to promote scholars to regulate the behaviors of translation, to improve the quality of translation and translation evaluation, and to provide a reasonable way for establishing the interlingual conversion mechanism.&lt;br /&gt;
&lt;br /&gt;
The thesis consists of four chapters.&lt;br /&gt;
&lt;br /&gt;
After the Introduction, Chapter One gives a brief account of A Pale View of Hills and its research status, involving the author, background, content and influence. Chapter Two is a brief introduction of House’s TQA model, including its theoretic basis, parameter setting, operation steps and feasibility. Chapter Three is a detailed analysis of original and translation of A Pale View of Hills based on House’s model. Chapter Four is statement of translation quality assessment. Then we come to the last part, Conclusion.&lt;br /&gt;
===I Overview and Research Status of A Pale View of Hills===&lt;br /&gt;
''A Pale View of Hills'' is Kazuo Ishiguro's first novel, which laid a solid foundation for the formation of Ishiguro's writing style. The chapter mainly introduces the author, plot, theme and influence of the novel and analyzes its research status, in an attempt to master the material well and seek new perspectives for the paper.&lt;br /&gt;
&lt;br /&gt;
'''1.1 Overview of A Pale View of Hills'''&lt;br /&gt;
&lt;br /&gt;
Kazuo Ishguro is a noble contemporary Japanese English writer, whose novels feature first person narrative, detailed depiction of loneliness, depression, self-deception and anxiety of characters’ inner world and dual narrative strategy to deconstruct the narrator's self-identity, as well as discuss postwar trauma and migrant identity. He won Booker Prize, the British top literary prize, in 1989 and the Nobel Prize in literature in 2017. By virtue of his outstanding literary achievements, he is known as one of the Three Masters of English Migrant Literature together with Salman Rushdi and Naipaul.&lt;br /&gt;
&lt;br /&gt;
A Pale View of Hills, published in 1982, is Ishiguro's debut. The story, with postwar Nagasaki as its background, enjoys two clues: one is what happened when Niki (Etsuko’s little daughter) visited her mother after her sister Keiko died; the other is Etsuko’s memory about people and events in Nagasaki after the war. The two lines integrated together during the narrative, forming the illusory and imaginary impression. Many in-depth topics in this work are worth pondering: postwar trauma recovery, the collision between new and old ideas after war and discussion of family relations. Many marks in the work became his own styles: first-person narrative, memory, humor and satire, international perspectives. In addition, it won the Winifred Holtby Memorial Prize from the Royal Society and is still in print thirty years after its publication. This book, with its enormous emotion, unearths the abyss beneath the illusion of our connection to the world, whose artistic value and charm could be time-tested.&lt;br /&gt;
&lt;br /&gt;
'''1.2 Research Status of A Pale View of Hills'''&lt;br /&gt;
&lt;br /&gt;
There are 54 papers about A Pale View of Hills in domestic researches. According to the statistics from HowNet (as shown in the figure below), the number of studies on the work has been mounting, especially after Kazuo Ishiguro won the Nobel Prize for Literature in 2017. The perspectives of these researches are mainly from identity anxiety, unreliable narrative and post-war trauma. In Identity Anxiety in Kazuo Ishiguro's A Pale View of Hills, Wang Fei discusses the identity anxiety of migrants, exploring manifestations, causes and influence of such anxiety on the characters. In Memory and Narrative Unreliability of A Pale View of Hills, He Xiaobing combined with the classical narratology to analyze how unreliable narration method is presented in the work and discussed the inner world of the characters. In Trauma in Kazuo Ishiguro's A Pale View of Hills, Liu Xiaoya explores the protagonist's trauma by using Sigmund Freud’s psychoanalysis theory and trauma theory (including post-freudian psychological trauma theory), contemporary trauma culture theory along with rhetorical narrative theory.&lt;br /&gt;
&lt;br /&gt;
[[File:picture1.pgn]]&lt;br /&gt;
&lt;br /&gt;
At abroad there are more perspectives about the studies of A Pale View of Hills. In addition to the main research directions of domestic scholars, such as identity anxiety of characters, unreliable narrative research and post-war trauma, cultural displacement, family relationship and the influence of region on personality presented in the works are also analyzed. The Impact of Place on Personality in Kazuo Ishiguro's A Pale View of Hills: An Eco-critical Study co-written by Awla, Yousif Hamad and Azad Sharif, from the perspective of ecocriticism, clarifies the fact that a place is able to define and guide the emotions and thoughts of characters, and analyzes the reasons why geography forms characters of people in order to draw people’s attention to the impact of surrounding environment on them. Ruth Forsythe's article Cultural Displacement and the Mother-daughter Relationship in Kazuo Ishiguro's A Pale View of Hills focuses more on the relationship between mother and daughter under cultural displacement. However, no scholars have analyzed the language itself from the perspective of systemic functional linguistics.&lt;br /&gt;
&lt;br /&gt;
The Chinese translation of A Pale View of Hills, Zhang Xiaoyi’s version, was published by Shanghai Translation Publishing House in 2011, and the bilingual version in 2019. Up to now, there has no translation criticism or discussion about this translation. Since 2011 when it was translated, it came to draw the attention of scholars and readers. Translation is a direct factor that affects the integrity of author’s thought, the reader's perception and the accuracy of the scholar’s study, thus it is indispensable to use the House’s Translation Quality Assessment model to analyze the Chinese translation of A Pale View of Hills.&lt;br /&gt;
&lt;br /&gt;
==On the Relationship among Literal Translation, Free Translation, Domestication and Foreignization	韦洪朗	Wei Honglang==&lt;br /&gt;
&lt;br /&gt;
==On Chinese-to-English Translation of The Summer Palace from the Perspective of Functionalist Approaches to Translation	魏亚菲	Wei Yafei==&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
===Abstract===&lt;br /&gt;
Abstract&lt;br /&gt;
The Chinese-English translation of tourist texts, as a window for the external publicity of national history and culture, plays an important role in promoting the development of local tourism. The Summer Palace is well known for its large and priceless collection of cultural relics, which is among the first group of historical and cultural heritage sites in China to be placed under special state protection. &lt;br /&gt;
Based on the functionalist approach and the skopos rule, this paper discusses the problems existing in the translation of scenic spots in the Summer Palace from the perspectives of garden culture, historical culture and religious culture. Skopos theory holds that translation depends on communicative purpose. To achieve this goal, translators can choose different translation strategies. It is believed that the purpose of Chinese-English translation of scenic spots is to attract target readers and promote traditional culture. Therefore, when translating tourism materials, it is necessary not only to express the local cultural connotation, but also to consider the cross-cultural factors. The Chinese-English translation of the introduction of scenic spots guided by functionalist approach can make English readers have expectations of scenic spots and understand the cultural connotation of scenic spots. This paper aims to better promote the development and communication of Chinese culture and improve the level of tourism text translation in China by relying on the theory of functionalist approach.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
===Key words===&lt;br /&gt;
Key Words: functionalist approach，the Summer Palace，translation strategies&lt;br /&gt;
&lt;br /&gt;
===摘要===&lt;br /&gt;
摘 要&lt;br /&gt;
旅游资料的英译作为民族历史文化对外宣传的一道窗口,对地方旅游业的发展有着不可低估的促进作用。颐和园作为中国著名的皇家园林，具有浓厚的中国园林特色及优美的风景，同时也蕴涵着深厚文化内涵。&lt;br /&gt;
本篇旅游文本英译的分析以功能派翻译理论作为理论指导，以目的法则为主要原则，从颐和园的园林文化、历史文化和宗教文化三个角度出发对颐和园景点英译中存在的问题进行探讨。目的论认为译文取决于翻译目的，这个目的通常指的是交际目的。为达到这个目的，译者可以选择不同的翻译策略。也就是说，译者的翻译策略必须由译文的预期目的或功能决定，即所谓的“目的法则”。笔者认为景点介绍的汉英翻译的目的就是吸引译文读者以及弘扬传统文化，因此在翻译旅游资料的时候不仅要把当地的文化内涵表达出来，而且要考虑到跨文化的因素。而以功能派翻译理论为指导的景点介绍的汉英翻译，可以使英语读者通过译文产生对旅游景点的期盼，以及对景点文化内涵的理解。以颐和园景区内的翻译文本为例本，依托功能翻译理论，通过“发现问题，指出问题，解决问题”，以期更好地促进中国文化的传播与交流，提高我国现阶段旅游文本翻译的水平。&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
===关键字===&lt;br /&gt;
关键词：功能翻译；颐和园；翻译目的；翻译策略&lt;br /&gt;
&lt;br /&gt;
===Introduction===&lt;br /&gt;
  Throughout the translation history at home and abroad, the literal translation and free translation have always been a heat discussion in the translation circles. Someone absolutely approve literal translation and demean free translation, even pursue a dead translation, which creates an translated text difficult to understand. While some other people absolutely agree with free translation even advocate random acts, which means a random deletion in the translation practices and creates anther entirely different text. However, there are also a number of translators who have recognized that these two translation methods are not totally opposite. So they adopt a compromise and flexible way. That means they will choose the most appropriate one depending on the text demanding. Therefore, we can deduce from it that this eclectic translation is consistent with the Contradiction view of Unity of Opposite in Materialist Dialectics. In fact, literal translation and free translation are right a set of contradictions which are both opposite and unified. They complement each other into an integral one.&lt;br /&gt;
&lt;br /&gt;
===Table of Contents===&lt;br /&gt;
&lt;br /&gt;
Table of Contents&lt;br /&gt;
&lt;br /&gt;
Outline&lt;br /&gt;
1.Introduction&lt;br /&gt;
2. Studies on Functionalist Approach&lt;br /&gt;
2.1 The Viewpoint of Functionalist Approach&lt;br /&gt;
2.1.1 Reiss’s Text Typology&lt;br /&gt;
2.1.2 Vermeer’s Skopos Theory&lt;br /&gt;
2.1.3 Manttari’s Theory of Translational Action&lt;br /&gt;
2.1.4 Nord’s Theory of Function plus Loyalty&lt;br /&gt;
2.2 The Application of Functionalist Approach &lt;br /&gt;
3.C-E Translation of the Summer Palace under Functionalist Approach&lt;br /&gt;
3.1 Garden Culture&lt;br /&gt;
3.2 Historical Culture &lt;br /&gt;
3.3 Religious Culture &lt;br /&gt;
4. Conclusion&lt;br /&gt;
References&lt;br /&gt;
&lt;br /&gt;
===Outline===&lt;br /&gt;
Outline&lt;br /&gt;
&lt;br /&gt;
Thesis Statement: Based on the main viewpoints of functionalist approaches to translation, this paper aims to give an analysis to C-E translation of the Summer Palace from cultural, historical and religious aspects, hoping to provide some translation strategies for other cultural attractions.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
1. Introduction&lt;br /&gt;
2. Studies on Functionalist Approaches&lt;br /&gt;
2.1 The Viewpoint of Functionalist Approach&lt;br /&gt;
2.1 Reiss’s Text Typology&lt;br /&gt;
2.2 Vermeer’s Skopos Theory&lt;br /&gt;
2.3 Manttari’s Theory of Translational Action&lt;br /&gt;
2.4 Nord’s Theory of Function plus Loyalty&lt;br /&gt;
2.2 The Application of Functionalist Approach&lt;br /&gt;
3. C-E Translation of the Summer Palace under Functionalist Approach&lt;br /&gt;
3.1 Garden Culture&lt;br /&gt;
3.2 Historical Culture&lt;br /&gt;
3.3 Religious Culture&lt;br /&gt;
4. Conclusion&lt;br /&gt;
&lt;br /&gt;
===1. Introduction ===&lt;br /&gt;
1. Introduction   &lt;br /&gt;
The Chinese-English translation of tourist texts is a bridge to spread the culture of classical Chinese gardens, so the accuracy of it has a direct impact on foreigners' understanding of the specific history and culture. &lt;br /&gt;
Functionalist approach has made a pioneering contribution to the translation of non-literary genres. Functional translation theory emphasizes the function of discourse, and believes that different types of discourse have different functions, so translators should choose appropriate translation strategies according to the type of source text and corresponding functions. Functionalist approach is to take the &amp;quot;skopos rule&amp;quot; as the highest standard, and any translation activity is a purposeful behavior. The ultimate goal and main function of scenic spot translation is to help people understand the main content of the scenic spot.&lt;br /&gt;
As a window for the publicity of national history and culture, the Chinese-to-English translation of tourist texts plays an important role in promoting the development of local tourism. Well known for its large and priceless collection of cultural relics, the Summer Palace was among the first group of historical and cultural heritage sites in China to be placed under special state protection. Based on the viewpoints of functionalist approach to translation, this paper aims to analyze C-E translation of the Summer Palace from cultural, historical and religious aspects, hoping to provide some translation strategies for other cultural attractions. &lt;br /&gt;
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===2. Studies on Functionalist Approaches===&lt;br /&gt;
2. Studies on Functionalist Approaches&lt;br /&gt;
Functionalism is a theory that advocates reader-centered translation, emphasizing the functions of texts and highlighting the communicative effects. It is believed that many unnecessary mistakes can be avoided and better results can be achieved by applying functionalist approach in Chinese-English translation of tourist text. &lt;br /&gt;
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===2.1 The Viewpoint of Functionalist Approaches===&lt;br /&gt;
2.1 The Viewpoint of Functionalist Approaches&lt;br /&gt;
Functionalist Translation Theory, also known as German Functionalist Translation Theory, was proposed by German scholars in the 1970s. It includes four main theories: Katharina Reiss’s Text Typology, Hans Vermeer’s Skopos Theory, Justa Holtz Manttari’s Theory of Translational Action and Christiane Nord’s Theory of Function plus Loyalty. This chapter aims to present the main ideas of this theory.&lt;br /&gt;
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===2.1.1 Reiss’s Text Typology===&lt;br /&gt;
2.1.1 Reiss’s Text Typology&lt;br /&gt;
In 1971, Reiss in her book Possibilities and Limitation of Translation Criticism first made text function as a standard of translation criticism, namelyevaluate the translated text from the relationship between the functions of the original and the translated text. She insists on the original-centered equivalence theory and holds the view that the ideal translation is to achieve the equivalence between the target text and the source text in terms of ideological content, linguistic form and communicative function. However, translation practice makes her realize that it’s difficult to achieve equivalence sometimes and that sometimes equivalence cannot be pursued. Because of the particularity of translation requirements, the function of the target text is not always the same as that of the source text. Therefore, the translator should give priority to the functional role of the target text rather than the principle of equivalence.&lt;br /&gt;
Reiss believes that in the normal situation the type of text decides the translator’s choice of a proper translation method (Reiss, 2004). Therefore, she divides text into four types: content-focused text, form-focused text, appeal-focused text and audio-media text. Content-focused text, also known as informative text, includes news reports, commercial correspondence, operating instructions, official documents, patent&lt;br /&gt;
specifications, essays, treaties, etc. For this text, the main function is to convey information revealed in language itself to readers. The emphasis is on content and topic, so the choice of language and style should serve this function. If both the source text and target text belong to informative text, the translator should represent the content and information of source text accurately and completely (Reiss, 2004)&lt;br /&gt;
Form-focused text, also known as expressive text, refers to literary works such as novels, poems and so on. “Distinct from ‘content’, which deals with what the author says, ‘form’ is concerned with how an author expresses himself” (Reiss, 2004). For expressive texts, information is only a supplement. What is dominant is the aesthetic factor. When translating such texts, the translator should pay attention to the aesthetic and artistic forms of the original text and to the differences between two cultural habits, trying to achieve the same effect as the source text. In a word, in a form-focused text the linguistic form of the source text determines the form in the target language (Reiss, 2004).&lt;br /&gt;
Appeal-focused text, also known as operative text, mainly includes notice, instruction manual, advertisement, publicity manual and so on. For operative texts, the primary task for the translator is to provoke a particular reaction on the hearers or readers to incite them to engage in specific actions, while content and form are subordinate. Therefore, to achieve the same effect, the translator need to change the content and stylistic features of the original text, try to keep the potential influential factors of the original text and seek functional equivalence (Reiss, 2004: 38-43). Audio-medial text, also known as multi-media text, refers to radio and television scripts, such as radio newscasts and reports, topical surveys and dramatic productions.&lt;br /&gt;
It is distinctive in its dependence on non-linguistic media and on graphic, acoustic, and visual kinds of expression. Only in combination with them can the whole complex literary form realize its full potential (Reiss, 2004). In conclusion, different texts determine different translation focuses and methods. In many cases, however, a text may have more than one function, which means that translators should integrate different translation strategies skillfully to achieve different functions of texts.&lt;br /&gt;
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===2.1.2 Vermeer’s Skopos Theory===&lt;br /&gt;
2.1.2 Vermeer’s Skopos Theory&lt;br /&gt;
Reiss’s student Vermeer, who broke the limitation of the theory of equivalent and took skopos to be the first criterion of translation process  proposed the key theory: Skopostheorie. According to Skopos Theory, when translating a text, the translator needs to consider the purpose of translation first and then choose the translation method according to the purpose, which means “the end justifies the means” (Nord, 2001). Vermeer believes that translation, like other human actions, is also a purposeful act. Translation often takes place in cultural backgrounds with different customs and values, so translation is not a simple equivalent transformation between languages. Skopos Theory does not focus on achieving the equivalence between the target text and the original text or the perfection of the target text, but on choosing the best translation strategy based on the analysis of the source text and the intended function of the target text. In a word, translation methods and strategies are determined by the intended purpose or function of the target text.&lt;br /&gt;
According to Skopos Theory, the first rule that all translators must follow is the Skopos Rule. Translation purpose can be divided into three categories: (1) the purpose of the translator, such as earning a living; (2) the communicative purpose of the translation, such as instructing the reader; (3) the purpose of using a particular translation method, such as the literal translation according to its structure to illustrate the peculiarities of grammatical structure in a language (Nord, 2001). In general, the communicative purpose is more important than the other two. The communicative purpose is usually determined by the initiator of the translation act, but the translator can take part in deciding. The second rule is the Coherence Rule. Coherence Rule requires that the translation conform to the criterion of intratextual coherence, which means that the translation must be accessible to recipients and meaningful in the target culture and in the communicative environment (Nord, 2001). The third rule is the Fidelity Rule. It means that there should be intertextual coherence between the source text and the target text, which means being faithful to the source text. Nevertheless, the degree and form of faithfulness lie in the target text and the degree that the translator understands the original text. Normally “Intertexual coherence is considered subordinate to intratexual coherence and both are subordinate to the Skopos rule” (Nord, 2001).&lt;br /&gt;
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===2.1.3 Manttari’s Theory of Translational Action===&lt;br /&gt;
2.1.3 Manttari’s Theory of Translational Action&lt;br /&gt;
Following Vermeer, Manttari develops Vermeer’s Skopos Theory and puts forward the Theory of Translational Action. He emphasizes three aspects: the behavior of the translation process, the role of the participants (the initiator, the translator and the target reader, etc.) and the environment (time, place and media) in which the translation process takes places. It views translation as “purpose-driven, outcome-oriented human interaction and construes the process of translation as message-transmitter compounds that involve intercultural transfer” (Mundy, 2001). According to Manttari, translation is “ a complex act to achieve a particular purpose” &lt;br /&gt;
(Nord, 2001). It is not about translating words, sentences or texts but is about guiding the intended cooperation over cultural barriers and promoting functional communication. Cooperation here means “transcultural communication” by Manttari.&lt;br /&gt;
The Theory of Translational Action attaches great importance to providing a functional communicative text for the recipient, a text suitable for the target culture in&lt;br /&gt;
form and style. Functional suitability is determined by the translator. The translator is&lt;br /&gt;
an expert in translation, whose role is to ensure the successful completion of cultural&lt;br /&gt;
transformation. In producing the target text, the analysis of the source text is necessary so that the translator can find out its structural and functional characteristics, which can be described by content and form. The need of the recipient is the decisive&lt;br /&gt;
factor for the target text.&lt;br /&gt;
In short, “the value of Manttari’s work is the placing of translation (or at least the professional non-literary translation which she describes) within its sociocultural&lt;br /&gt;
context, including the interplay between the translator and the initiating institution”&lt;br /&gt;
(Mundy, 2001).&lt;br /&gt;
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===2.1.4 Nord’s Theory of Function plus Loyalty===&lt;br /&gt;
2.1.4 Nord’s Theory of Function plus Loyalty&lt;br /&gt;
Though skopos rule changes the focus of translation from the source language text to the target language text and the target receivers, it has some limitations. One is that different readers have different expectations, and the translation purpose cannot satisfy all the expectations of the target reader. Another is that the translation purpose may sometimes be against the intention of the source language. Therefore, based on the skopos rule, Nord introduces the loyalty principle. The principle of loyalty is a supplementary principle proposed by Nord to make up for the deficiency of skopos rule. According to the explanation of Nord, it is not the relationship between the original text and the target text, nor the equivalence between the original text and the form of the target text, but the consistency between the author of the original text, the initiator of the translation, the translator and the reader of the target text, which is the principle of loyalty. The proposal of the loyalty principle makes up for the mistakes that some radical skopos translators usually make, such as omitting and rewriting, which makes skopos theory more perfect and makes skopos theory more likely to guide the translation of literary works.&lt;br /&gt;
“Function” and “loyalty” are two pillars of Nord’s functionalist approach. “Function” refers to what a text means or is intended to mean from the receiver’s point of view”, while “loyalty” means that “target-text purpose should be compatible with the original author’s intention” (Nord,2001). It emphasizes the interpersonal relationship between the translator, the source-text sender, the target-text addresses and the initiator. Function plus loyalty enables the translator to avoid the limitations of skopos rule and try to achieve a balance between translation purpose and the source-text author’s intention”(Nord,2001). That is to say, when translating the original text, the translator should take into account the readers' cultural background, knowledge level and expectation of the translation, and choose the corresponding translation strategy according to the translation requirements. If the reader wants to read a word-for-word translation of the article, then the translator must meet the reader's requirements, otherwise he must explain to the reader why he chose his own translation method. The translator's job is to weigh two different cultures instead of imposing one culture on another. &lt;br /&gt;
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===2.2The Application of Functionalist Approach to the Tourist Texts.===&lt;br /&gt;
2.2The Application of Functionalist Approach to the Tourist Texts.&lt;br /&gt;
In the 1990s, Functionalist Translation Theory was introduced to China, and since then it has been applied to translation studies by Chinese translation scholars. In his article published in 1995, Zhang Nanfeng briefly introduces Skopos theory to China for the first time, and considers that Skopos theory is referential (Zhang Nanfeng, 1995). German Functionalist Translation Theory, a paper released in1999, is the first article in China which systematically introduces German Functionalist Translation Theory (Zhong Weihe &amp;amp; Zhong Yu, 1999). Based on an overview of Functionalist Translation Theory, Zhang Meifang focuses on introducing Nord’s theory, especially on the detailed analysis of Nord’s principle of loyalty (Zhang Meifang, 2005). Famous domestic scholars, such as Liu Junping (2009), Liu Miqing (2012) and Li Wenge (2004), also introduce this theory in their books. With the rise of Functionalist Translation Theory in China, someone has compared it with other theories. Zhu Haotong compares Skopos Theory with Functional Equivalence Theory to analyze the similarities and differences between them, and further reveals that Functionalist Translation Theory inherits the reasonable part of Nida’s Functional Equivalence Theory, which is an important breakthrough and supplement to solve the problems that Functional Equivalence Theory leaves (Zhu Haotong, 2006). Some scholars also combine theory with translation practice to explore the application of Functionalist Translation Theory to translation practice. Jia Yanli and Wang Hongjun point out that Skopos Theory has its limitations, but it is still of instruction and reference value for non-literary translation texts, such as advertisements and tourism materials (Jia Yanli &amp;amp; Wang Hongjun, 2012). Li Liangchen selects several famous tourist attractions in China to translate the on-site tour-guide commentary into English. Then he improves them under the guidance of Skopos Theory and sends out questionnaires to overseas tourists for further analysis. He argues that the translation of on-site tour-guide commentary which is guided by Skopos Theory is more favorable to conveying information to foreign visitors, to promoting cultural exchanges and to improving the image of China’s tourist destinations (Li Liangchen, 2013). In Pragmatic Translation: Theory &amp;amp; Practice, Wu Feng and He Qingji introduce Functionalist Translation Theory (Wu Feng &amp;amp; He Qingji, 2008) and the characteristics of tourism text and translation skills (Wu Feng &amp;amp; He Qingji, 2008). In this book, they also discuss the controversy over the Chinese name of Functionalist Translation Theory, and holds that “功能派翻译理论” is the most appropriate Chinese translation (Wu Feng &amp;amp; He Qingji, 2008).Based on his own translation practice and under the guidance of Functionalist Translation Theory, Wu Zixuan probes into some special phenomena in the English translation of CNN newsreels. The author believes that in the translation of external publicity, we should not stick to the standard of faithfulness to the original text, but should deal with the original text properly from the perspective of achieving the purpose of translation, such as rewriting, abridging. (Wu Zixuan, 2005).&lt;br /&gt;
Functionalist approach establishes a theoretical system of diversified translation standards dominated by skopos rule. From the definition of Functionalist approach, it can be seen that the advantage of it is that the translator can get rid of the bondage of the original text, study the translation process with &amp;quot;translation purpose&amp;quot; as the starting point, and determine the translation strategies and methods. This can give full play to the translator's own initiative, flexible processing of the original text, in order to achieve the translation of the communicative function. In addition, functionalist approach requires the translation to be examined in the cultural context of the reader. The reader can accept the translation and understand the meaning of the original text through the translation, so the translation can realize the communicative function. On the basis of such advantages, functionalist approach can be used to guide the English translation of garden scenic spots, and the translator can choose a wider range of translation strategies and break out of the constraints of the original text. &lt;br /&gt;
Only by clarifying the purpose of translation can we avoid these limitations in the English translation of garden attractions. When using functionalist approach to guide the English translation of Chinese classical garden scenic spots, it is necessary to flexibly choose translation strategies and methods, give full play to the advantages of skopos theory, and achieve the balance between &amp;quot;principle of purpose&amp;quot; and &amp;quot;principle of fidelity&amp;quot; as far as possible.&lt;br /&gt;
With the deepening of globalization and cross-cultural communication, tourismis becoming a major industry in the 21st century. The development of tourism can not only promote the economic development of a country but also promote the external dissemination of national culture. Therefore, tourism translation deserves attention. Tourism text is a typical informative and operational text, and the language is unique. It is full of gorgeous words, such as four-character expressions, verses, proper nouns and so on.&lt;br /&gt;
Tourism text materials include tourism advertising, tourism brochures, scenic spots signs and so on. In this paper, we focus on the introduction of Chinese gardens’ scenic spots, which is usually colorful in language and rich in literary style. Tourism text translation belongs to applied translation, which should play a series of practical functions to publicize the image and resources of the country or place and attract overseas tourists. Therefore, the translator of tourism text must be clear about the type and function of tourism text, and to grasp the ultimate purpose of the translation. &lt;br /&gt;
On tourism text translation, the communicative purpose of the translation should be placed in a central position. Furthermore, the tourism text has both the information function and the calling function. The information function and the calling function complement each other. Only when the target language readers acquire the expected tourism information and cultural knowledge can the calling function be realized and the purpose of tourism text translation be achieved. With different translation strategies, the translated version should both expressed contains basic information, and make the tourists feel the profound of the Chinese culture from the beautiful scenery. &lt;br /&gt;
Cultural tourism has long been the focus of international tourism, and understanding Chinese culture is the main purpose of inbound tourists, so the translation of tourism texts bears the mission of cultural transmission and cultural publicity. However, due to the great differences between Chinese and English culture and language, there are many difficulties in cultural transmission in tourism text translation. China has a long and splendid history and culture. When introducing the scenic spots of cultural relics and historic sites, we usually associate with many historical figures and stories. These terms are cultural blank for most foreign tourists, but this kind of cultural experience is also the most attractive place for foreign tourists. It is of great importance to pay attention to cultural differences in tourism translation and carry out cultural transmission effectively. Chinese and English languages have different logic views, and Chinese expressions in tourism texts value decoration. English expressions tend to be clear, concise and to the point. For example, Chinese tourism texts often use a four-character lattice, which is symmetrical, while there is no corresponding four-character lattice expression in English. Therefore, in Chinese-English translation of tourism texts with frequent use of four-character phrases, it is necessary to keep in mind the objective principle of functionalist approach and give priority to cultural communication instead of rigidly adhering to form.&lt;br /&gt;
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===3. C-E Translation of the Summer Palace under Functionalist Approach===&lt;br /&gt;
3. C-E Translation of the Summer Palace under Functionalist Approach&lt;br /&gt;
By studying the specific translation strategies made by predecessors, the following steps are also adopted in this paper: first, the translation strategies are determined according to the text type, such as faithful reproduction of the original information or rewriting; Secondly, the translation strategies are determined according to the potential purpose of the translation, such as paraphrasing or deleting poems, generalizing specific expressions and transliterating proper nouns. Thirdly, the translation strategies are defined with the tourists as the center, such as adding logical words, adding explanatory information and using plain English.&lt;br /&gt;
The Summer Palace epitomizes the philosophy and practice of Chinese garden design, which played a key role in the development of this cultural form throughout the east. It is an outstanding expression of the creative art of Chinese landscape garden design, incorporating the works of humankind and nature in a harmonious whole, which was once the most important place of political and diplomatic activity for the supreme rulers of the late Qing dynasty. Based on three aspects of the Summer Palace, namely, garden culture, historical culture and religious culture, this paper discusses the problems existing in the English translation of the scenic spots of the Summer Palace and puts forward corresponding countermeasures under the guidance of the skopos rule of functionalist translation theory.&lt;br /&gt;
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===3.1 Garden culture.===&lt;br /&gt;
3.1 Garden culture. &lt;br /&gt;
The Summer Palace is a classical garden famous for its magnificence and beauty. There are many temples in the garden, and the green waves of kunming lake ripple. Landscape and humanities complement each other, containing rich natural and cultural information, reflecting the characteristics of Chinese classical gardens. The garden cultural features of the three scenic spots, namely, the hall of clouds, the foxiang pavilion and the Wenchang courtyard, are particularly outstanding. Therefore, this paper takes these three scenic spots as examples to discuss the Chinese-English translation of the introduction of the Summer Palace.&lt;br /&gt;
(1)	排云殿、佛香阁景区是颐和园内建筑布局最完整、建筑形式最丰富的中轴建筑群体，殿、阁、廊、亭、桥、坊、碑等建筑约两万平方米。从临水的云辉玉宇牌坊至排云门、排云殿、德辉殿、佛香阁、众香界、智慧海、层层升高，排列有序，气势巍峨，金碧辉煌，将园林、寺庙和宫殿融为一体。&lt;br /&gt;
Translation：This scenic spot covers an area of 20,000 square meters with an assortment of buildings such as palaces, towers, corridors, pavilions, walkways, bridges, archways and inscribed stone steles. It comprises a well-arranged group of structures, all diverse in style, located in the center of the Summer Palace garden. This complex of structures, ranging from the Glowing Clouds and Holy Land Archway on the waterside, the Gate that Dispels the Clouds, the Hall that Dispels the Clouds, the Hall of Moral Glory, and the Tower of the Fragrance of the Buddha, to the Realm of Popular Fragrance and the Sea of Wisdom Temple, were built in an orderly manner running from the foot of the hill to its top, with gardens, temples and palaces harmoniously integrated into the whole。&lt;br /&gt;
Analysis：As we all know, the design style of ancient Chinese buildings is beautiful with &amp;quot;symmetry&amp;quot;. The &amp;quot;axis&amp;quot; in hall of clouds scenic spot refers to the layout of the Summer Palace from far to near and from top to bottom, which cannot be simply understood as the center. Simply translating &amp;quot;axis&amp;quot; as &amp;quot;center&amp;quot; cannot express accurately the meaning of &amp;quot;symmetry&amp;quot;. Comparatively speaking, &amp;quot;axis&amp;quot; can better reflect the architectural style of the scenic spot.&lt;br /&gt;
(2)	从临水的云辉玉宇牌坊至排云门、排云殿、德辉殿、佛香阁、众香界、智慧海，层层升高，排列有序，气势巍峨，金碧辉煌，将园林、寺庙和宫殿融为一体。&lt;br /&gt;
Translation：These structures，including Glowing Clouds and Holy Land Archway at lake side，the Gate of Dispelling Clouds，the Hall of Dispelling Clouds，the Hall of moral Glory，and the Tower of Buddhist Incense，the Realm of Multitudinous Fragrance and the Sea of Wisdom Temple，were built in an orderly manner ranging up the hill with gardens，temples and palaces harmoniously integrated. This manifests beauty，grace and splendor，reminiscent of the loftingness and grandeur of a once mighty empire.&lt;br /&gt;
Analysis：In terms of the characteristics of language, Chinese emphasizes parataxis and four-word antithesis. When describing and naming scenes, gorgeous words and poetic words are generally chosen in Chinese. But, English emphasizes hypotaxis, on the other hand, puts more emphasis on reproducing the original appearance of things, using simple and natural words and preferring direct description. In sign translation, the English translation pays more attention to accurate, concise and lively. In the above paragraph, &amp;quot;层层升高，排列有序，将园林、寺庙和宫殿融为一体&amp;quot; is an introduction to the architectural features of foxiang pavilion, in order to make tourists have a clear understanding of the overall layout and architectural features of the scenic spot. This information is essential and can be translated into detail. However, &amp;quot;气势巍峨，金碧辉煌&amp;quot; focuses on the subjective description, and its explicit translation needs more complicated words. If this paragraph is translated in detail, it is easy to drag the content and make the key information vague. Therefore, the deletion of the English translation of this sentence will not affect the basic information of the original text.&lt;br /&gt;
(3)	主阁（文昌阁）两层，内供铜铸文昌帝君和仙童、铜骑。文昌阁与万寿山西供武圣的宿云檐象征“文武辅弼”。&lt;br /&gt;
Translation: A bronze statue of the God Wenchang, statues of gaeries, and a bronze steed were placed in the two-story pavilion. This tower is pared with the Tower of Cloud- Retaining Eaves, located to the west of the Longevity Hill, in which a statue of the Martial God was placed. The God Wenchang and the Martial God together symbolize reining of the emperor supported by scholars and warriors.&lt;br /&gt;
Analysis: Two questions arise in Chinese-English translation. First, there are two translations of wenchang pavilion in the translation: pavilion and tower, which appear in the same sign. Two different translations of the same scenic spot name tend to make foreign tourists think that it refers to different scenic spots, which may cause difficulty in understanding. Second, the translation of Wenchang pavilion into &amp;quot;Wenchang Tower&amp;quot; is against the actual architectural characteristics. In fact, the meanings of &amp;quot;pavilion&amp;quot; and &amp;quot;tower&amp;quot; have both similarities and differences. According to the Oxford dictionary, Tower means &amp;quot;a tall narrow building or part of a building, especially of a church or castle&amp;quot;, mainly referring to the tower-shaped part of a building, usually a tall and slender structure, such as the Eiffel Tower. &amp;quot;Pavilion&amp;quot; means &amp;quot;a building that is meant to be more beautiful than usual, built as a shelter in a park or used for concerts and dances&amp;quot;. The top structure of the pavilion usually has rectangles, triangles, hexagons, etc. The common feature of them is that the top is supported by columns without walls. From the external structure of Wenchang pavilion, its bottom is solid and its top is supported by columns. Therefore, the pavilion can accurately reflect the architectural characteristics of Wenchang pavilion, so I think it should be translated as Wenchang pavilion.&lt;br /&gt;
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===3.2 Historical culture. ===&lt;br /&gt;
3.2 Historical culture. &lt;br /&gt;
The accurate Chinese-English translation of the introduction of the Summer Palace not only enables foreign tourists to understand the characteristics of Chinese gardens, but also enables foreign tourists to understand the historical knowledge of a specific period of China. However, the Chinese-English translation of the Summer Palace still has problems in accurately conveying the historical background of the scenic spots, such as the English translation of Wenchang pavilion scenic spot:&lt;br /&gt;
(4)	此景区始建于清乾隆十五年，一八六零年被英法联军烧毁，光绪时按原样重建。阁结构为八面三层四重檐，通高36.44米，耸立于20米高的石造台基上，气势雄伟，是颐和园全园的构图中心。阁内供奉有铜铸金裹千手观世音菩萨站像。像高五米，重万斤，为明代万历年间所造，在八根贯通全阁上下的承重铁梨木擎天柱的衬托下，美妙庄严，熠熠生辉，有极高的文物和艺术价值。&lt;br /&gt;
Translation: The Wenchang tower was first built in 1750 and rebuilt under Emperor Guangxu after  the Anglo-French Allied Forces builted it down in 1860. The octahedral tower has three stories with four-layered eaves, altogether 36.44 meters high. Standing upright on a 20 meter-high stone foundation, it constitutes the center of the Summer Palace landscape and serves to accentuate its magnificence. A statue of the thousand-handed Guanshiyin Buddha, cast in bronze and gilded with gold, stands inside the tower. The statue, five meters high and five tons in weight, was cast during the reign of Emperor Wanli of the Ming Dynasty. Set off by the eight imposing pillars which support the tower, it glows with beauty, grandeur and brilliance. Its historical, cultural and artistic value can hardly be overstated.&lt;br /&gt;
Analysis: “始建于乾隆十五年”only was translated into “was first built in 1750” and the “光绪年间重建” was translated into “rebuilt under Emperor Guangxu”.The first sentence does not show that 1750 was the fifteenth year of the reign of emperor Qianlong, and the second sentence does not give foreign visitors the exact date of the reign of emperor Guangxu. The change of time concept and the disunity of expression easily make foreign tourists feel confused. Therefore, the translation of the time and the historical dynasties should be accurate and meticulous, and the supplementary method should be used to not only describe the dynasties clearly, but also supplement the corresponding years, so as to achieve the standardization of the translation. In this way, foreign tourists can not only be clear about the time of the event, but also understand the Chinese historical dynasties. Consider as follows: the Wenchang Pavilion was first built in 1750 during Emperor Qianlong’s reign（1735- 1795）and rebuilt in 1886 under Emperor Guangxu（1875- 1908）after the Anglo- French Allied Forces burned it down in 1860.&lt;br /&gt;
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===3.3 Religious culture. ===&lt;br /&gt;
3.3 Religious culture. &lt;br /&gt;
Many scenic spots in the Summer Palace have a strong buddhist atmosphere. While visiting the scenic spots, foreign tourists can understand the profound buddhist culture. Wenchang pavilion in the Summer Palace is the representative of Chinese religious culture.&lt;br /&gt;
(5)	主阁两层，内供铜铸文昌帝君和仙童、铜特。文昌阁与万寿山西供武圣的宿云檐象征“文武辅弼”。&lt;br /&gt;
Translation: A bronze statue of the god，Wenchang，and statues of two followers，the celestial boy，and the bronze steed，were placed in the two- storey pavilion. This tower is pared with the tower of Cloud- Retaining Eaves，located to the west of the Longevity Hill，in which a statue of the Martial God was placed. The two towers symbolize the support by both scholars and warriors to the ruling emperor.&lt;br /&gt;
Analysis: It is well known that westerners believe in theism, which refers to god as supreme . In Chinese religious culture, people believe in atheism and do not believe in the existence of god. Therefore, it is inappropriate to translate &amp;quot;文昌帝军&amp;quot; and &amp;quot;武圣&amp;quot; into &amp;quot;the god, Wenchang&amp;quot; and &amp;quot;the Martial god&amp;quot; in the translation. In fact, the &amp;quot;文昌帝军&amp;quot; was Zhang yu, an emperor of Shu of Ning kang (374). And &amp;quot;武圣&amp;quot; refers to Guan yu in history. Therefore, the simple translation of  &amp;quot;God&amp;quot; is not in line with the traditional Chinese culture, which will not only cause western tourists to misunderstand that Chinese religious tradition also believes in God, but also fail to convey Chinese historical allusions and relevant historical figures. In contrast, if &amp;quot;文昌帝军&amp;quot; is translated as &amp;quot;the emperor, Wenchang&amp;quot; and &amp;quot;武圣&amp;quot; is translated as &amp;quot;the Martial Master (Guanyu)&amp;quot;, it can more faithfully convey the history and religious culture contained in the source language. &lt;br /&gt;
&lt;br /&gt;
===4. Conclusion===&lt;br /&gt;
4. Conclusion&lt;br /&gt;
To sum up, Under the guidance of the skopos rule of functionalist translation theory, translators should have a cross-cultural awareness, fully understand the reading psychology and cultural appreciation needs of target language readers, and use effective translation strategies and methods to achieve the purpose of tourism text translation. Functionalist approach has made a pioneering contribution to the translation of non-literary genres. Functional translation effectively eliminates the disadvantages of traditional word-for-word translation, improves the efficiency of translation, and helps readers to grasp the meaning of the original text.&lt;br /&gt;
 The importance of the translation of the Summer Palace lies in the profound garden culture, historical culture and religious culture. The English translation is not only helpful for international friends to know more about the garden characteristics of the Summer Palace, but also helpful for spreading the long history and profound culture of China. In order to attract target readers and promote traditional Chinese culture, it is not only necessary to carefully explore Chinese culture and history, but also to use the fuctionalist approach appropriately. &lt;br /&gt;
Translation is a complicated process. Functionalist approach stresses the function of the discourse, the purpose of translation. In the practice of translation, if the translator can get rid of the bondage of the original equivalence, actively playing to subjective initiative, fully understanding the original text, depending on the purpose of discourse and adopting different translation strategies, the effect and readability of translation can be improved.&lt;br /&gt;
&lt;br /&gt;
===References===&lt;br /&gt;
References&lt;br /&gt;
Hans Vermmer, “Skopos and Commission in Translation Action”, in the Translation Studies Reader,ed. Chesterman, London and Network:Routledge,p.221-232. 2000.   &lt;br /&gt;
Munday, Jeremy. Introducing Translation Studies: Theories and Applications. Routledge publishing.2001.&lt;br /&gt;
Mason, “Textual Practices and Audience Design: and Interactive View of the Tourist Brrochure”. In Navarro et al.(eds.). Pragmatics at Work: The Translation of Tourist Literature. Bern: Perter Lang. 157-176.2004.&lt;br /&gt;
Nord, Text Analysis in Translation: Theory, Methodology and Didactic Application of a Model for Translation-Oriented Text Analysis. Beijing: Foreign Language Teaching and Research Press. 2006.&lt;br /&gt;
Nord, Translating as a purposeful activity. Shanghai: SFLE PRESS, 2001:27,30,32,65,245.&lt;br /&gt;
Reiss, Katharina. Translation Criticism: The Potentials &amp;amp; Limitations. Shanghai Foreign Language Education Press. Shanghai. 2004.&lt;br /&gt;
Venuti, Lawrence. The Translator’s Invisibility: A History Translation. Routledge.1995.&lt;br /&gt;
方梦之、毛忠明， 英汉—汉英应用翻译教程，上海: 上海外语教育出版社，2004.&lt;br /&gt;
金惠康，跨文化旅游翻译，中国对外翻译出版公司，2004.  &lt;br /&gt;
贾文波，应用翻译功能论，北京：中国对外翻译出版公司，2004&lt;br /&gt;
孙艺风，文化翻译的困惑与挑战，中国翻译，2016年第3期.  &lt;br /&gt;
王宏志，翻译与创作，北京大学出版社，2000.&lt;br /&gt;
吴自选，德国功能派翻译理论与 CNN 新闻短片英译，中国科技翻译, 2005.&lt;br /&gt;
谢天振，当代国外翻译理论，天津：南开大学出版社，2005.&lt;br /&gt;
张南峰，走出死胡同建立翻译学. 中国翻译, 1995.&lt;br /&gt;
仲伟合，钟钰. 德国的功能派翻译理论. 中国翻译, 1999.&lt;br /&gt;
张美芳，功能加忠诚—介评克里丝汀· 诺德的功能翻译理论.上海外国语大学学报, 2005.&lt;br /&gt;
&lt;br /&gt;
==Contrast between Literal Translation and Free Translation	张雪仪	Zhang Xueyi==&lt;br /&gt;
'''Abstract：'''&lt;br /&gt;
&lt;br /&gt;
The contrast between literal translation and free translation has always been the most discussed problem in translation studies. To compare these two translation methods, the basic point is to understand the purpose of translation. The ultimate goal of translation is to help different cultures communicate better, so that people who speak different languages can understand each other’s cultures. Due to the differences in social, historical and cultural backgrounds between languages, how to choose between the two translation strategies of literal translation and free translation requires translators to weigh the strengths and weaknesses of these two methods. This essay mainly compares literal translation and free translation between Chinese and Russian to help students and translators translate better.&lt;br /&gt;
&lt;br /&gt;
'''Key words：'''&lt;br /&gt;
&lt;br /&gt;
Translation strategies, Literal translation,Free translation &lt;br /&gt;
&lt;br /&gt;
'''摘要：'''&lt;br /&gt;
&lt;br /&gt;
直译与意译间的对比一直是翻译学中讨论度最高的问题。想要将这两种翻译方法进行对比，最基本的一点就是要明白翻译的目的是什么。翻译的最终目的在于帮助不同文化进行更好的交流，让使用不同语种的人相互理解彼此的文化。由于语种间社会历史文化背景的差异，如何在直译和意译这两种翻译策略中做出选择，就需要译者衡量两种方法的利弊。本文主要对汉语和俄语间直译和意译进行比较，以帮助学生和译者更好地进行翻译实践。&lt;br /&gt;
&lt;br /&gt;
'''关键词：'''&lt;br /&gt;
&lt;br /&gt;
翻译策略，直译，意译&lt;br /&gt;
&lt;br /&gt;
'''1.Introduction'''&lt;br /&gt;
&lt;br /&gt;
The former Soviet Union translation theorist Fedorov believed: “Translation is an activity that expresses what has been used in one language as a unified whole of content and form, and accurately and completely expressed in another language.” Translation theorist Barr Hudarov also wrote: &amp;quot;Translation is the process of changing the coherent discourse of one language into the coherent discourse of another language while maintaining its content and meaning.&amp;quot; To some extent, translation is a process of thinking re-creation, so certain standards and principles must be followed when translating. Translation standard is a measure of the quality of translation, it can guide translation practice, and it is a principle that must be followed in translation activities. Although each scholar has different opinions on the standard of translation, the final result he pursues is the same: the original text and the translated text express the same effect. In order to achieve the same effect, different translation methods have been derived, of which literal translation and free translation are the most commonly used.&lt;br /&gt;
&lt;br /&gt;
Russian idioms and proverbs, as the crystallization of the wisdom of the Russian nation and the immortal fossils in the Russian language, are one of the best materials for the Chinese to understand and learn Russian history, culture, and society. Due to different geographical, historical and economic conditions, the Russian and Chinese ethnic groups have formed different cultural backgrounds. These distinctive backgrounds and characteristics have caused great difficulties for Chinese learning Russian to further understand Russia. This essay studies the basic definitions of literal translation and free translation, their respective advantages and disadvantages and their mutual relations, and strive to solve how to use the translation methods of literal and free translation to properly translate Russian idioms and proverbs, and how to reflect the cultural background and language characteristics of Russian idioms and proverbs in the translation .&lt;br /&gt;
&lt;br /&gt;
'''2.Different views of &amp;quot;literal translation&amp;quot; and &amp;quot;free translation&amp;quot;'''&lt;br /&gt;
&lt;br /&gt;
In different periods and different countries, people's views on translation theory have changed a lot, but the debate about literal translation and free translation has always existed.&lt;br /&gt;
&lt;br /&gt;
In China, the contradiction between literal translation and free translation may initially be due to the different understanding of these two translation methods. The translator Sun Guiding believes that: literal translation is stuck to the structure of the original text and does not consider whether the Chinese is fluent and natural; while free translation is to use the inherent Chinese idioms and the most natural words and sentences as much as possible to achieve the effect of conveying the meaning of the original text. Former President of Wuhan University, Du Zuozhou, believes that literal translation means translating word by word according to the original text; free translation means translating according to the meaning of the original text, and the translation is more suitable for the common grammar of the translated language. The educator Meng Xiancheng believes that literal translation is a translation technology with different degrees of correctness. Literal translation is a translation that is faithful and correct according to the original text; free translation is a translation that summarizes the original meaning. Zhu Guangqian said: &amp;quot;The so-called 'literal translation' refers to the literal translation based on the original text. Every word and sentence are translated word by word, and the order of the words and sentences is not changed. The so-called ‘paraphrasing’ is to express the meaning of the original text in Chinese, and it does not have to be completely based on the literal and order of the original text. &amp;quot; The principle of &amp;quot;faithfulness, expressiveness and elegance&amp;quot; put forward by the modern Chinese translator Yan Fu has long been the basic principle guiding translation practice. A large number of beginners who learn foreign languages regard &amp;quot;faithfulness and expressiveness&amp;quot; as translations that are completely faithful to the original text when translating. In fact, Yan Fu's translation requirements are a guiding principle for translation based on semantics. When translating, if the structure and expression of the original text cannot be directly adopted, the sentence structure and expression must be changed according to the characteristics of the target language. In addition, there are many differences between the original language and the target language in the word order, grammar, variants and rhetoric in the translation process. In many cases, there is no direct corresponding word. This requires the translator to consider the actual semantics, background and other factors. On the basis of the original meaning of the sentence, use an appropriate method to convey the content of the original work and reproduce the language style of the original work.&lt;br /&gt;
&lt;br /&gt;
In the Soviet Union, under the influence of ideology, Western translation theories could not be widely disseminated, but within the Soviet Union, translation theories similar to Western translation theories have been formed and developed, and two main schools of translation theory have been further differentiated — Linguistic Translation School and Literary Translation School. To a certain extent, the dispute between these two schools also reflects the debate on literal translation and free translation among translators' groups. In terms of the principles or standards of translation, the linguistic translation school believes that an ideal translation should be an equivalent translation, first of all linguistic correspondence, that is, the translation should have the same meaning as the corresponding language or discourse unit of the original; the literary translation school believes that translation pursues artistic correspondence, and linguistic correspondence must be subordinate to artistic correspondence. Therefore, it proposes that the aesthetic standards of translation should reproduce the artistic reality reflected by the unity of the original content and form. The characteristic is to use images to translate images, that is, to create the same image in different languages. In 1953, Andrei Venediktovich Fedorov, the leader of the linguistic translation school, published his work &amp;quot;Summary of Translation Theory&amp;quot;, which was the first monograph of the Soviet Union to study translation theory from the perspective of linguistics. The author proposes that translation theory is a branch of linguistics. Since the translation of any genre work must rely on the comparison of two languages, translation problems can only be solved in the field of language. Fedorov’s view was refuted by the literary translation school represented by Ivan Alexandrovich Kashikin. The literary translation school believes that aesthetic issues are the core of literary translation theory, and translation should be regarded as a form of language art, that is, translation should be studied from the perspective of literature and art. In fact, the literary translation school emphasizes the translation of literary and artistic works, which belongs to the specific translation theory; while the research of the linguistic translation school focuses on the general translation theory, that is, the translation of all thematic works including literary works. The dispute between the two major translation theory schools of Russia and the Soviet Union provides another perspective for Chinese translators to explore the relationship between literal translation and free translation.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
'''3.The application of literal translation and free translation in the Chinese translation of Russian idioms'''&lt;br /&gt;
&lt;br /&gt;
The idioms of different nationalities are the most dynamic and expressive units at the lexical level in different languages, and they are also the units that can best reflect the characteristics of national culture in languages. The number of Russian idioms is extremely rich, it records and reflects all aspects of Russian national life. Due to the great differences in geographical locations and living customs between China and Russia, the national cultures reflected in Chinese and Russian must be quite different. One of the difficulties in idiom translation is its imagery. When translating idioms, both the meaning and the image must be considered. Although the Chinese and Russian cultures are very different, many of the commonalities of mankind, such as emotion and natural environment, have created conditions for mutual communication, mutual understanding and idiom translation between different languages.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
'''3.1 Literal translation'''&lt;br /&gt;
&lt;br /&gt;
Generally speaking, the literal translation method refers to a translation method that directly translates the original text without changing the language characteristics and style of the original text on the basis of fully respecting the meaning of the original text. Chinese translation of Russian idioms by literal translation method has the advantage of being able to intuitively and faithfully express the meaning of the idiom, maintaining the unique style and imagery of the original text: the disadvantage is that the translated idiom may not be understood by the Chinese because of China and Russia have different historical, cultural backgrounds, grammatical structures, and language world landscapes, which can easily form obstacles in the process of understanding.&lt;br /&gt;
&lt;br /&gt;
Translating Russian idioms by literal translation is further divided into two methods — literal translation into Chinese idioms and literal translation into non-idiom sentences or words.&lt;br /&gt;
&lt;br /&gt;
Literal translation of Russian idioms into Chinese idioms is suitable for the translation of Russian and Chinese idioms that are completely equivalent in image, structure, and meaning. The advantage is that it is easy to understand, and the translation is simple and fast. E.g:&lt;br /&gt;
&lt;br /&gt;
(1)домашнего  (своего) вора не убережешься. 家贼难防&lt;br /&gt;
&lt;br /&gt;
(2)знать как свои пять пальцев (видно, как на ладони) 了如指掌&lt;br /&gt;
&lt;br /&gt;
(3)подлить масла в огонь 火上浇油&lt;br /&gt;
&lt;br /&gt;
(4)как рыба в воде 如鱼得水&lt;br /&gt;
&lt;br /&gt;
(5)как ножом по сердцу 心如刀割&lt;br /&gt;
&lt;br /&gt;
(6)как гром среди ясного неба 晴天霹雳&lt;br /&gt;
&lt;br /&gt;
(7)на добро отвечают добром 善有善报&lt;br /&gt;
&lt;br /&gt;
(8)копейка рубль бережет 财从细起&lt;br /&gt;
&lt;br /&gt;
(9)мечты сбываются 梦想成真&lt;br /&gt;
&lt;br /&gt;
(10)курица всегда следует за петухом 嫁鸡随鸡&lt;br /&gt;
&lt;br /&gt;
(11)чего мало, того и дорого  (дорого то, что мало) 物以稀为贵(12)&lt;br /&gt;
&lt;br /&gt;
(12)изгонять яд с помощью яда 以毒攻毒&lt;br /&gt;
&lt;br /&gt;
(13)сидеть как на иголках 如坐针毡&lt;br /&gt;
&lt;br /&gt;
(14)действия громче слов 事实胜于雄辩&lt;br /&gt;
&lt;br /&gt;
(15)зарыть талант в землю 埋没人才&lt;br /&gt;
&lt;br /&gt;
(16)висеть на волоске 千钧一发&lt;br /&gt;
&lt;br /&gt;
(17)лить как из ведра 倾盆大雨&lt;br /&gt;
&lt;br /&gt;
The idioms in the above examples are completely equivalent in image, structure or meaning in Russian and Chinese, so Chinese idioms can be used for literal translation. &lt;br /&gt;
&lt;br /&gt;
In fact, in the two languages, idioms with the same image, structure, and meaning are still in the minority, so it is more common to translate Russian idioms into non-Chinese idiom sentences or vocabulary. E.g:   &lt;br /&gt;
&lt;br /&gt;
настоять на своем 坚持自己&lt;br /&gt;
&lt;br /&gt;
камень с души свалился 心里的一块石头落地&lt;br /&gt;
&lt;br /&gt;
связать свою судьбу 把自己的命运与……相连&lt;br /&gt;
&lt;br /&gt;
быть на голову 高出一头&lt;br /&gt;
&lt;br /&gt;
вбивать в голову 往脑子里灌&lt;br /&gt;
&lt;br /&gt;
блеснуть метеором 像流星一样一闪而过&lt;br /&gt;
&lt;br /&gt;
с мизинец 小拇指这么大&lt;br /&gt;
&lt;br /&gt;
It is not difficult to find that the literal translation method can completely retain the original appearance of the idiom, show the common concept of human understanding of the world, and be beneficial to the cultural exchange between China and Russia.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
'''3.2 Free translation'''&lt;br /&gt;
&lt;br /&gt;
Another method commonly used in the Chinese translation of Russian idioms is free translation. Free translation is to readjust the structure of the original text on the basis of keeping the original meaning of the idiom unchanged, and then reconstruct the Russian idiom with the way of thinking and expression in Chinese. This is because the figurative images used in many Russian idioms are inconsistent with those used in Chinese. If the original image is used in translation, it will cause a barrier to understanding. The advantage of free translation of Russian idioms is that it eliminates obstacles to understanding, but the disadvantage is that it cannot completely retain the original style and cultural characteristics. E.g:&lt;br /&gt;
&lt;br /&gt;
(1)В Тулу со свим самоваром не ездят.&lt;br /&gt;
直译：去图拉不用带自己的茶炊。&lt;br /&gt;
意译：多此一举&lt;br /&gt;
&lt;br /&gt;
(2)Честь лучше бесчестья.&lt;br /&gt;
直译：尊重比不尊重好。&lt;br /&gt;
意译：礼多人不怪。&lt;br /&gt;
&lt;br /&gt;
(3)словно горя с плеч&lt;br /&gt;
直译：把山从肩膀下卸下&lt;br /&gt;
意译：如释重负&lt;br /&gt;
&lt;br /&gt;
(4)выеденного яйца не стоит&lt;br /&gt;
直译：一个空蛋壳不值钱&lt;br /&gt;
意译：鸡毛蒜皮，一文不值&lt;br /&gt;
&lt;br /&gt;
(5)чужими руками жар загребать&lt;br /&gt;
直译：用别人的手将红炭火拨成一堆&lt;br /&gt;
意译：坐享其成，不劳而获&lt;br /&gt;
&lt;br /&gt;
(6)ни рыба, ни мясо&lt;br /&gt;
直译：没有鱼也没有肉&lt;br /&gt;
意译：不三不四，不伦不类&lt;br /&gt;
&lt;br /&gt;
(7)лучше синица в руках, чем журавль в небе&lt;br /&gt;
直译：天上的仙鹤不如手中的山雀&lt;br /&gt;
意译：远亲不如近邻&lt;br /&gt;
&lt;br /&gt;
(8)На языке мед, а под лед&lt;br /&gt;
直译：嘴上甜得像蜂蜜，心里冷得像冰&lt;br /&gt;
意译：笑里藏刀&lt;br /&gt;
&lt;br /&gt;
(9)И на солнце есть пятна&lt;br /&gt;
直译：太阳上也有黑点&lt;br /&gt;
意译：人无完人&lt;br /&gt;
&lt;br /&gt;
(10)семь раз отмерь, один раз отрежь&lt;br /&gt;
直译：测量了七次后再剪裁&lt;br /&gt;
意译：三思而后行&lt;br /&gt;
&lt;br /&gt;
Using free translation to translate Russian idioms requires the translator to accurately understand the meaning of the original text, because cultural differences make it impossible to literally translate. Only through the translator can an unobstructed bridge between Russian idioms and Chinese idioms be built.&lt;br /&gt;
&lt;br /&gt;
'''4.The application of literal translation and free translation in the Chinese translation of Russian proverbs'''&lt;br /&gt;
&lt;br /&gt;
There are often multiple translations of the same Russian proverb in Russian-Chinese dictionaries. On the one hand, because the translator uses different translation methods; on the other hand, because Russian proverbs have very rich connotations, a translation cannot perfectly interpret the inner meaning of the proverb. According to the context and the connotation of the proverbs, the most commonly used methods of Chinese translation of Russian proverbs are literal translation and free translation.&lt;br /&gt;
&lt;br /&gt;
'''4.1 Literal translation'''&lt;br /&gt;
&lt;br /&gt;
In Russian and Chinese languages, some proverbs not only have the same meaning or implicit meaning, but also use the same or similar figurative images to express a certain kind of the same semantics, and they are completely consistent in content and form. In this case, the equivalent translation of synonymous Chinese proverbs can convey the information contained in the original image, which not only retains the rhetorical color of the original language, but also enables the reader to perfectly understand the original text. E.g:&lt;br /&gt;
&lt;br /&gt;
(1)Куй железо, пока горячо. 趁热打铁。&lt;br /&gt;
&lt;br /&gt;
(2)Беда не приходит одна. 祸不单行。&lt;br /&gt;
&lt;br /&gt;
(3)Сытый голодного не разумеет. 饱汉不知饿汉饥。&lt;br /&gt;
&lt;br /&gt;
(4)Век живи, век учись. 活到老，学到老。&lt;br /&gt;
&lt;br /&gt;
(5)Выше встанешь, дальше увидишь. 站得高，看得远。&lt;br /&gt;
&lt;br /&gt;
(6)Лучше один раз увидеть, чем сто раз услышать. 百闻不如一见。&lt;br /&gt;
&lt;br /&gt;
(7)Нет дыма без огня. 无火不生烟。&lt;br /&gt;
&lt;br /&gt;
(8)Шила в мешке не утаишь. 口袋藏不住锥子。&lt;br /&gt;
&lt;br /&gt;
(9)Береги платье снову, а честь смолоду. 衣服要从新的时候爱惜，荣誉要从年轻时珍惜。&lt;br /&gt;
&lt;br /&gt;
(10)Выше лба уши не растут. 耳朵高不过额头。&lt;br /&gt;
&lt;br /&gt;
(11)Для милого друга семь верст не околица. 为了好友，多绕七里也不嫌远。&lt;br /&gt;
&lt;br /&gt;
(12)Как Новый год встретишь, так его и проведешь. 怎么迎新年，就怎么过一年。&lt;br /&gt;
&lt;br /&gt;
(13)Лучше умереть стоя, чем жить на коленях. 宁愿站着死，绝不站着生。&lt;br /&gt;
&lt;br /&gt;
(14)Не имей сто рублей, а имей сто друзей. 宁要一百个朋友，不要一百个卢布。&lt;br /&gt;
&lt;br /&gt;
По одежке встречают, по уму провожают. 迎客时看衣，送客时看才智。&lt;br /&gt;
&lt;br /&gt;
==Dialectical thinking in arguments between literal translation and free translation 	甘奉玉	Gan Fengyu==&lt;br /&gt;
&lt;br /&gt;
===Abstract===&lt;br /&gt;
  As two methods of translation, how to use literal translation and free translation has always been the focus of debate between Chinese and Western translation circles. Through the study of translation methods of literal translation and free translation at home and abroad, we can know that to some extent literal translation and free translation are two relative conceptions, so there will be word-for-word translation, that is, dead translation, and excessive free translation. However, these two are only two extremes of literal translation and free translation. In fact, although there are differences in definitions and application fields between literal translation and free translation, they are unified in common translation purpose, translation procedure and translation standard. Therefore, the two are contradictory and unified in translation activities. This is also the profound embodiment of the unity of opposites in materialist dialectics.--[[User:Gan Fengyu|Gan Fengyu]] ([[User talk:Gan Fengyu|talk]]) 07:46, 10 November 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
===Key words===&lt;br /&gt;
literal translation, free translation, word-for-word translation, over free translation, unity of opposites&lt;br /&gt;
&lt;br /&gt;
===摘要===&lt;br /&gt;
  作为翻译方法，直译(literal translation)与意译(free translation)怎样使用的问题一直是一个争论中西方翻译界不休的焦点。通过对国内外直译与意译的翻译方法的研究，我们可以得知，从某种程度而言，直译与意译是两个相对的概念, 所以才会有逐字翻译，即死译，与过度意译这两个完全对立的概念。但是，这两者只不过是直译与意译的两个极端点。其实，直译和意译虽然在概念定义，适用范围上有所差异，但却又统一于共同的翻译目的、翻译过程和翻译标准中。所以两者在翻译活动中应该是既对立又统一的矛盾体。而这也正是唯物辩证法中的对立统一矛盾观的深刻体现。--[[User:Gan Fengyu|Gan Fengyu]] ([[User talk:Gan Fengyu|talk]]) 07:50, 10 November 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
===关键字===&lt;br /&gt;
直译； 意译； 死译； 过度意译； 对立统一&lt;br /&gt;
&lt;br /&gt;
===Introduction===&lt;br /&gt;
  Throughout the translation history at home and abroad, the literal translation and free translation have always been a heat discussion in the translation circles. Someone absolutely approve literal translation and demean free translation, even pursue a dead translation, which creates an translated text difficult to understand. While some other people absolutely agree with free translation even advocate random acts, which means a random deletion in the translation practices and creates anther entirely different text. However, there are also a number of translators who have recognized that these two translation methods are not totally opposite. So they adopt a compromise and flexible way. That means they will choose the most appropriate one depending on the text demanding. Therefore, we can deduce from it that this eclectic translation is consistent with the Contradiction view of Unity of Opposite in Materialist Dialectics. In fact, literal translation and free translation are right a set of contradictions which are both opposite and unified. They complement each other into an integral one.&lt;br /&gt;
&lt;br /&gt;
===1.Dialectic thinking of the Unity of opposites===&lt;br /&gt;
===2.Word-for-word translation===&lt;br /&gt;
===3.Over free translation===&lt;br /&gt;
===4.Eclectic translation===&lt;br /&gt;
===5.Opposition and unity between literal translatiuon and free translation===&lt;br /&gt;
&lt;br /&gt;
===5.1 Opposition===&lt;br /&gt;
&lt;br /&gt;
===5.1.1 Opposition in definition===&lt;br /&gt;
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===5.1.2 Opposition in application fileld===&lt;br /&gt;
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===5.2 Unity===&lt;br /&gt;
===5.2.1 Unity in translation goal===&lt;br /&gt;
===5.2.2 Unity in translation procedure===&lt;br /&gt;
===5.2.3 Unity in translation standard===&lt;br /&gt;
===6.Conclusion===&lt;br /&gt;
===Bibliography===&lt;br /&gt;
&lt;br /&gt;
== Peter Newmark’s Improved Views on Literal Translation and Free Translation 赵茜 Zhao Xi==&lt;br /&gt;
&lt;br /&gt;
='''Document Translation'''=&lt;br /&gt;
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&lt;br /&gt;
==On translation of official documents of CangNan County	吴恺	Wu Kai==&lt;br /&gt;
&lt;br /&gt;
On Translation of Official Documents of Cangnan County&lt;br /&gt;
&lt;br /&gt;
Japanese Language and Literature, School of Foreign Languages, Hunan Normal University, Wu Kai--[[User:Wu Kai|Wu Kai]] ([[User talk:Wu Kai|talk]]) 04:45, 2 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
==='''Abstract'''===&lt;br /&gt;
As one of the forefronts of Zhejiang’s opening-up cause, Cangnan County in Zhejiang Province has been enjoying a rapid development and an ever-growing degree of opening-up with lasting vitality as it’s supported by national policies and nourished by the dividends of economic globalization since China's reform and opening-up. As China has ushered in a period of major changes rarely seen in a century, Cangnan County is also facing new opportunities and challenges. Under the background of this era, Cangnan County is expected to make good use of its own advantages, especially the geographical ones—it is close to countries and regions including Japan, South Korea, and Taiwan—and should spare no efforts to achieve a higher level of opening-up, and, in turn, further promote its development. As an embodiment of the collective will of the people of Cangnan County, the official document is one of the best manifestations of its governance and stability control capabilities. For this reason, the research on how to translate official documents is of great significance for that it offers a great opportunity for Cangnan County to re-examine itself and to show the rest of the world its achievement in building a culture-enriched county.&lt;br /&gt;
&lt;br /&gt;
==='''Key words'''===&lt;br /&gt;
 official document translation, Cangnan County, opening-up, Japan, South Korea&lt;br /&gt;
&lt;br /&gt;
==='''摘要'''===&lt;br /&gt;
自中国改革开放以来，浙江省苍南县作为全浙江对外开放的前沿阵地之一，得到了国家政策支持和经济全球化红利的滋润，苍南县发展水平与对外开放程度日新月异，全县活力持久带劲。随着中国迎来“百年未有之大变局”，苍南县也面临着新的机遇和挑战，在此时代背景下，苍南县应该利用好自身优势，特别是临近日本、韩国、台湾等国家与地区的地理优势，努力开展更高层次、更高水平的对外开放事业，促进苍南更好的发展。为此，作为苍南县人民集体意志的体现，苍南县的公文就是对外展示其治理水平、稳控能力的最好的体现之一。而对于苍南县公文的如何翻译的研究，是促使苍南县重新审视自己、推进苍南人文县情传播海外的良机，意义重大。&lt;br /&gt;
&lt;br /&gt;
==='''关键词'''===&lt;br /&gt;
公文翻译  苍南县  对外开放  日本  韩国&lt;br /&gt;
&lt;br /&gt;
==='''I. System and Translation of Official Documents of Cangnan County'''===&lt;br /&gt;
&lt;br /&gt;
The unique official document system adopted by Chinese government agencies is a special integration of the thousands-of-years excellent political traditions in China and the essence of the organizational structure of the socialist regime. As a county-level unit in China's local administrative structure, Cangnan County has an official document system that is consistent with the national ones in general while has its own features. Official documents of Cangnan County can be basically divided into the following types of writing: resolutions, decisions, orders, bulletins, announcements, notifications, opinions, notices, reports, requests for instructions, approvals, proposals, letters, and minutes. Above-mentioned categories are collectively known as official documents. Besides, there are also some types of practical writing, including summaries, plans, notes, memos, briefings, speeches, manuals and so on, that are often used in our day-to-day work.&lt;br /&gt;
&lt;br /&gt;
In addition to those characteristics of the official documents that are commonly seen in China, official documents of Cangnan County also have its own features, which is mainly reflected in the aspect of proprietary terminology. Cangnan County, which used to be a part of Pingyang County in Zhejiang Province, was officially designated as a county in 1981 with the approval of the Central Government. It takes its name Cangnan, which means “on the south of the Yucang Mountain”, from its geographical location. As a relatively young county-level administrative unit in China’s administrative divisions, Cangnan County has a complex natural endowment and cultural environment, which is the reason why there are many special proprietary terms used in the official documents of Cangnan County, such as “Beautiful South Gate of Zhejiang Province”, “Southern Ouyue (an ancient kingdom in modern Wenzhou and Taizhou)” , “South Gate of Jiangsu-Zhejiang Region” and so on. Moreover, Cangnan is also the birthplace of the “Wenzhou Model”. Since the implementation of policy for the exchange of production materials and commercial grains in 1984, Cangnan has become an important base for the experiments and development of Wenzhou's private economy and market economy, and, thus, has made a significant contribution to the great cause of China's reform and opening-up.&lt;br /&gt;
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To conclude, the unity of the official document system viewed from the national scope of China and the uniqueness of the official document system viewed from the local scope of Cangnan area are both reflections of the integration of economic, political, and cultural elements. Therefore, when translating the terms and sentences in these official documents, obviously, it is almost impossible to follow general translation theories, such as Yan Fu’s “faithfulness, expressiveness and elegance” theory which applies to literature translation, and Christiane Nord’ Skopos theory which emphasizes schematic analysis. Due to the features of the official documents of Cangnan County, it is hard to imagine the consequence it will cause if those Cangnan and Chinese elements they contain are missed when translating them. Therefore, the starting point for the translation and research of Cangnan official documents should be analyzing the official document itself, but not choosing which translation theory to apply.&lt;br /&gt;
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The translation method focusing on the official documents themselves is undoubtably the one that emphasizes the content while manages to achieve a similarity in form. Thus, the translation theory that meets the requirements of official document translation in Cangnan County shall be the functional equivalence theory of the American linguist Eugene A. Nida. Eugene A. Nida argued in his theory that translation is to use the most appropriate, natural and equivalent language to reproduce the informational function of the source language both semantically and stylistically. Nida’s definition of translation specified that translation is seeking equivalence not only in lexical meaning, but also in semantics, style and literary form. Translation should convey both the denotative and connotative meaning of a message. Regarding the equivalence of translation, he believed that the equivalence consists of four parts: lexical equivalence, syntactic equivalence, textual equivalence, and stylistic equivalence. Among the four aspects, he emphasized that the meaning the core and most important part, followed by the form. The form of a text is likely to conceal the cultural connotation of the source language and may, therefore, hinder cultural exchanges. Based on the above, the reasons why the functional equivalence theory is applicable to official document translation in Cangnan County can be concluded as follows:&lt;br /&gt;
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First, the functional equivalence theory advocates that the target text should be equivalent to the source text both semantically and culturally. Official documents of Cangnan County are carriers of profound political culture with Chinese characteristics and the cultural environment in Cangnan. When translating them, in addition to showing the political consciousness and judicial authority of Cangnan government agencies, the local culture of Cangnan must also be reflected in the translations.&lt;br /&gt;
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Second, the functional equivalence theory suggests that if the lexical meanings and cultural elements cannot be taken into account at the same time, the translator then may give up the equivalence in form and try to reproduce the semantic and cultural meaning of the source text by changing the form of the sentence. There are many specialized terms with Chinese characteristics and Cangnan’s characteristics in official documents of Cangnan County. When translating them, once there is no corresponding expression in the target language, other forms of expression must be adopted to retain the meanings of those specialized terms as much as possible.&lt;br /&gt;
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Third, the functional equivalence theory proposes that if the change in form is still not enough to express the semantic and cultural meaning of the expression in the source language, the translation technique of “heavy damage” can be adopted to resolve cultural differences , so that the source language and the target language can achieve equivalence in semantic meaning. “Heavy damage” refers to the transformation of the deep structure of the source language into the surface structure of the target language, that is, expressing the cultural connotation of the source text with expressions of the target language. It cannot be ruled out that there are words and sentences in the official document of Cangnan County that cannot be translated, and when this happens, the translator can only rely on his translation techniques and understanding ability to process them creatively.&lt;br /&gt;
Above are simply macro analyses of the official document system in Cangnan County, and when it comes to specific analyses, challenges we face will only be severer.&lt;br /&gt;
&lt;br /&gt;
==='''II. Stylistic Features and Translation of Official Documents in Cangnan County'''===&lt;br /&gt;
&lt;br /&gt;
Looking at the official documents of Cangnan County from the micro level, we can work on the study of its translation based on the following characteristics.&lt;br /&gt;
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'''1. Details and Accurate'''&lt;br /&gt;
&lt;br /&gt;
As an officially-written document geared for the needs of our people, wording of the official documents of Cangnan County has a very specific orientation. Almost all content words have very clear meanings and connotations.&lt;br /&gt;
&lt;br /&gt;
For example, the sentence “经研究，县政府决定召开市对县安全生产巡查反馈会暨突出问题集中教育警示会，现将有关事宜通知如下。(As discussed, the county government decided to convene a feedback meeting on city-to-county inspections of production safety and a meeting for education and warning on outstanding issues. The relevant matters are hereby notified as follows.)” in the document 《苍南县人民政府办公室关于召开市对县安全生产巡查反馈会暨突出问题集中教育警示会的通知》(“Notice of the Office of the People's Government of Cangnan County on Convening a Feedback Meeting on City-to-County Inspections of Production Safety and A Meeting For Education and Warning On Outstanding Issues”) (the office of the People's Government of Cangnan County on June 8th, 2020) conveys several points very accurately and clearly, including the decision maker, the type, content and theme of the meeting. Therefore, special attention must be paid to the integrity of the information delivered when translating this sentence. For example, it is translated into Japanese as “討議を通じて、県政府は県の安全生産状況に対する市政府の巡査結果反映会及び顕著問題教育警告会を開催することが決定した。関連事項を以下のようにお知らせする。”&lt;br /&gt;
&lt;br /&gt;
'''2. Precise and Compact'''&lt;br /&gt;
&lt;br /&gt;
The role of official documents is to exchange formal information between the upper and the lower, the people and the officials, and the relevant departments. Therefore, the wording of the official documents must be rigorous. No slang and loose sentences should be used, and excessive use of parentheses and descriptive modifiers should be avoided. Official documents of Cangnan County follow this rule as well, in which there will never be informal expressions like daily spoken words.&lt;br /&gt;
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For example, the expression “三、决策目录施行动态管理，因工作需要增减或变更重大行政决策事项的，承办单位应按照相关规定程序提请调整。(Third, the decision catalogue shall be managed in a dynamic way, the undertaker shall submit application for adjustments in accordance with the relevant regulations if any increase/decrease or change shall be made to the major administrative decision-making matters because of the need of actual work.)” in the document《关于公布苍南县2020年度重大行政决策事项目录的通知》(“Notice on Issuing the 2020 Annual Catalogue of Major Administrative Decision-Making Matters of Cangnan County”) (the office of the People's Government of Cangnan County on Sept. 20th, 2020) When translating this sentence into Japanese, the translator shall fully considers the preciseness of the original expression, and translate it as “三つ目、戦略目録動的管理施行、仕事需要によっての増減または変更が必要な場合、請負機構は関連規定の手順に従って調整を提出しなければならない。”&lt;br /&gt;
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'''3. Programmed and Standardized'''&lt;br /&gt;
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The purpose of official documents requires a stable and routine writing program so that the official business can be conducted in an orderly manner. It is essential that the document writing is reasonably programmed. It allows the officer to know what it is and what to do at a glance if a standardized official document program is followed. The standardization of the official documents of Cangnan County can be regarded as a tricky feature in their translation.&lt;br /&gt;
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For example, the expression “各乡镇人民政府，县政府直属各单位 (the people's government of all townships and towns and all directly affiliated institutions of the people’s government of Cangnan County)” in the document《关于公布苍南县2020年度重大行政决策事项目录的通知》(“Notice on Issuing the 2020 Annual Catalogue of Major Administrative Decision-Making Matters of Cangnan County”) (the Office of the People's Government of Cangnan County on Sept. 20th, 2020) is obviously a standardized addressing of the receiving units of an official document, and it should be translated into Japanese as “各郷鎮人民政府、県政府直属の各部門”.&lt;br /&gt;
Viewing from a micro perspective, we may find that special attention should be paid to many precise details when translating those official documents. It is of great significance that, during the cause of reform and opening-up, we strike a balance between the macro level and the micro level in official document translation, which will serve as a stage for Cangnan County to show itself to Japan, South Korea and other East Asian countries and regions.&lt;br /&gt;
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==='''III. Translation of Official Documents of Cangnan County under the Context of the Japanese Language'''===&lt;br /&gt;
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Cangnan County is one of the nearest administrative units to Japan in China, and Okinawa Prefecture in Japan and Cangnan County are neighbors facing each other across the sea. Furthermore, Cangnan County itself has ports in Xiaguan, Pacao, Yanting, Dayu and other places, and has the basic conditions for conducting small transactions of freights with Okinawa. However, due to the inadequacy policies, laws and regulations, a large portion of Japan’s trade with China, especially with Zhejiang Province, is still conducted in the three port cities, namely Ningbo, Zhoushan, and Hangzhou. Cangnan’s geographical advantages have never been given to full play. To Japan, Cangnan is not a total stranger. Wenzhou City has a great influence upon Japanese culture and history. Special local products such as Wenzhou green tea and Wenzhou satsuma orange are very attractive to Japanese people. Many of the business exchanges during the Kamakura Bakufu in Japan were happened between Hakata merchants and Wenzhou people. As an important subordinate region of Wenzhou City, Cangnan County naturally has left an impression on Japanese people when it comes to China.&lt;br /&gt;
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If Cangnan hopes to lay a foundation for the future cooperation with Japan through its cause of opening up to the outside world, it is of great importance that we study the methods and techniques to make the translation of Cangnan’s official documents to meet the specific context of the Japanese language, which is also a part of the cultural exchanges that will facilitate economic and trade cooperation between Japan and China. The political status of Cangnan County is equivalent to the one of regular cities and special wards in Japan, but this does not mean that the official documents of Cangnan County can be regarded as equivalents to the official documents released by the governments of the regular cities and special wards in Japan, and there are huge differences between their respective official documents in form, wording, Cultural connotation and etc. To better translate Cangnan official documents under the context of Japanese language, the following aspects must be paid attention to:&lt;br /&gt;
&lt;br /&gt;
1. Detailed Comparison of Types&lt;br /&gt;
&lt;br /&gt;
In the Japanese official document system, the word “公文” is different in meaning from the word “公文” in Chinese official document system. In Chinese “公文” means government official documents, while in Japanese “公文” generally refer to legal documents that have the force of law and the term “公文書” is the one that refers to government official documents, which roughly includes “外交文書” and “起案文”, “通達” , “命令”, “許可”, “通知書” and so on . When translating official documents of Cangnan County into Japanese, attention should be paid to the transformation of the types of the official documents. The classifications of official documents in China and Japan are different from each other.&lt;br /&gt;
For example, when translating documents such as “proposal letter”, “report” and the like into Japanese, the title should be translated as “建言書” and “報告書”, while “命令(order)”, “通知(notice)”, “提案(Proposal)” and etc. need no translation and can be titled with the original characters directly as “命令”, “通知”, “提案”, and can also be further translated into “命令状”, “通知書”, “提案書”. Those reflect the characteristics of the division of the types of the official document system in Japan.&lt;br /&gt;
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2. Careful Consideration of the Translation of Chinese Characters&lt;br /&gt;
&lt;br /&gt;
There are a large number of Chinese characters in Japanese. This will for sure be an advantage when translating official documents of Cangnan County into Japanese, however, at the same time, this is also a huge disadvantage. After all, those Chinese characters are Japanized Chinese characters, and their meanings and usages are more or less different from the original ones in Chinese.&lt;br /&gt;
&lt;br /&gt;
For example, the expression “设定全县森林防火期(setting the season of forest fire prevention)” in the document 《苍南县应急管理局局长王再忠关于&amp;lt;苍南县人民政府关于做好森林防火期护林防火工作的通告&amp;gt;的政策解读》(“Policy Interpretation Of ‘Notice of Doing Forest Protection and Fire Prevention during the Season of Forest Fire Prevention by the People's Government Of Cangnan County’ by the Director of Cangnan Emergency Management Agency Wang Zaizhong”) in could be translated character by character into Japanese as “全県域森林防火期間設定”. However, expressions such as “野外火源如何管理” cannot be translated in the same way, and must be processed accordingly and translated into Japanese as “野外の火の元が如何に処理すること”. When translating official documents of Cangnan County into Japanese, the translators must reject the preconceived thinking and native Chinese thinking, or it will lead to irreversible misunderstandings and mistakes.&lt;br /&gt;
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3. Mastery of the Equivalence of Semantic Meaning&lt;br /&gt;
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Chinese is an isolating language, in which the grammatical meaning is reflected by the order of words, while Japanese is an agglutinative language, in which auxiliary words and flexible usages of vocabulary are adopted to reflect the grammatical meaning. This requires the translators to have mastery of the equivalence of semantic meanings when translating official documents of Cangnan County into Japanese and try to achieve perfect equivalence in official document translation.&lt;br /&gt;
&lt;br /&gt;
For example, there is a expression as “全体公民必须认真贯彻‘以人为本、预防为主、积极扑救、有效消灾’的森林防灭火工作方针，一旦发现森林火灾，要立即向当地人民政府或森林防灭火指挥部办公室报告(all citizens must seriously implement the working policy of forest fire prevention and firefighting ‘people-oriented, prevention-focused, active in firefighting, effective in disaster relief’, once a forest fire is detected, it must be reported to the local people’s government or the forest fire prevention and firefighting headquarters office immediately)” in the document 《苍南县应急管理局局长王再忠关于&amp;lt;苍南县人民政府关于做好森林防火期护林防火工作的通告&amp;gt;的政策解读》(“Policy Interpretation Of ‘Notice of Doing Forest Protection and Fire Prevention during the Season of Forest Fire Prevention by the People's Government Of Cangnan County’ by the Director of Cangnan Emergency Management Agency Wang Zaizhong”). When dealing with long and complex sentences, the translator must be flexible in using translation techniques to decompose the sentences and translate them step by step, focusing on the balance between the form of the sentence and its semantic meaning. Based on this principle, the abovementioned sentence could be translated into Japanese as “人間本位、予防軸化、積極救助、有効消災という森林防火作業方針は全県民が必ず強固に守らなければならない。林に火事が発見された際、直ちに所轄人民政府や森林防火指揮部執務室に報告すること。”&lt;br /&gt;
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There is no doubt that, in terms of four-character idioms, allusions, new words of the era and etc., the translation of official documents of Cangnan County under the context of the Japanese language still has a long way to go, but the part that we should pay most attention to in translation is always the differences in culture between the source language and the target language. Only by keeping this basic point in mind at all times, will there be no huge mistakes being made when translating official documents of Cangnan County into Japanese.&lt;br /&gt;
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==='''Ⅳ. Translation of Official Documents of Cangnan County under the Context of the Korean Language'''===&lt;br /&gt;
&lt;br /&gt;
Zhejiang Province and South Korea have laid a good foundation for economic and trade cooperation projects, and a framework that is comprehensive, wide-ranging, and multi-level has been established for Zhejiang-South Korea cooperation. The advantages of the two regions are obviously complementary and the development potential for both sides and in between is huge. In September 2016, the Zhejiang China-Korea (Quzhou) Industrial Cooperation Park was approved as the first batch of “Zhejiang International Industrial Cooperation Parks” in Zhejiang Province. The total planned area is about 3,000 acres and the total planned investment is 12 billion yuan. Represented by the Zhejiang China-Korea Industrial Cooperation Park, a large number of economic and trade cooperation projects has been carried out with South Korea by Zhejiang Province. As an indispensable part of Zhejiang Province, Cangnan County is facing a huge gap in the cultural exchanges and economic cooperation with South Korea. How to elevate the level of Cangnan’s opening up to the outside world and advancing Cangnan’s economic, trade and cultural cooperation with South Korea is a question that is well worth exploring. Although Cangnan is further away from South Korea compared with regions in the north of Zhejiang, geographic location should never be a factor that hindering Cangnan’s economic, trade and cultural cooperation with South Korea. In an era of ever-deepening globalization, it is of great significance that we think about how to develop and promote the economic and trade and cultural cooperation between Cangnan and South Korea.&lt;br /&gt;
&lt;br /&gt;
Northern Zhejiang is a key area for economic, trade and cultural cooperation with South Korea. As the south gate of Zhejiang Province, if Cangnan County could open the door of economic, trade and cultural cooperation to South Korea, then this will inevitably bring extraordinary development opportunities to southern Zhejiang and make the pattern of Zhejiang and South Korea’s economic and cultural cooperation more balanced and healthy. The political status of Cangnan County is equivalent to the one of si(city), gu (district), and gun(county) in South Korea. Because of some historical reasons, South Korea is greatly influenced by Chinese culture. From the Three Kingdoms era of Joseon, to the Unified Silla Dynasty, the Wang’s Goryeo Dynasty, and the Yi’s Joseon Dynasty, the basic system of administrative divisions in South Korea is almost the same as the one in China, so the official document system of cities, districts, and counties in South Korea can be regarded as basically equivalent to the official document system of Cangnan County with only slight differences originated from the localized political and cultural traditions and the basic social condition of South Korea. Therefore, there are relatively fewer difficulties of translation when translating official documents of Cangnan County into Korean, aside from the barriers caused by Korean Hangul words. The translation of official documents of Cangnan County under the context Korean language requires attention to the following aspects:&lt;br /&gt;
&lt;br /&gt;
1. The Combination of Chinese characters and Hangul&lt;br /&gt;
&lt;br /&gt;
Modern Korean uses Hangul as the main written characters, but this does not mean that there is no place for Chinese characters in the Korean system. Since the launch of the abolition of Chinese characters movement in South Korea in the 1970s, Hangul did exactly achieved an overall penetration of every aspect of their daily life, but when it comes to important documents, Chinese characters still reserve a seat in the arena of South Korea’s history. Furthermore, a higher level of talent training is required now to meet the need of South Korea’s economic and social development, and the mastery of sinology has become, among all the necessary skills, one of the most straightforward evaluation criteria to access the qualified personnel. Thus, South Korea has restarted the Chinese character teaching movement. Nowadays, the official document system in South Korea has become one in which Hangul serves as the main language and the mixed use of Chinese characters and Hangul serves as a supplement. Just as how the mixed use of kana and Chinese characters in Japanese official documents may help in its translation, the mixed use of Chinese characters and Hangul also greatly facilitate the translation of official documents of Cangnan County into Korean. However, because Chinese characters used in Korea are composed of traditional Chinese characters and a small number of Korean self-made Chinese characters, we can not take it for granted that it is advisable to translate them word by word.&lt;br /&gt;
&lt;br /&gt;
For example, the title of the document《苍干任〔2020〕18号 王再忠等同志的任命》(“Cangnan Cadre Appointment [2020] No. 18: Appointment of Wang Zaizhong and etc.”) (the Office of CPC Cangnan Party Committee on March 27th, 2020) can be translated with the mixed use of Chinese characters and Hangul into Korean as《蒼南縣의 幹部任命〔2020〕18號 王再忠등 同志의任命》. Also, it be translated into Korean with Hangul alone as《참남현의 간부임명〔2020〕18호 왕재충등 동지의임명》.&lt;br /&gt;
&lt;br /&gt;
2. The Usage of Refined Language&lt;br /&gt;
&lt;br /&gt;
In recent years, South Korea has carried out reforms of the official document system, urging that the South Korean government agencies at all levels should use “refined(or purified) language”, that is, to write and publish official documents with words that are easy for the public to understand and have explicit meanings, reducing the cost of communication between the government and the public and, in this way, building a closer relationship between the government and the people, so that civil servants can communicate with the people more effectively. Refined language is a kind of common vernacular that differs from the official language. Although this trend of the wording of Korean official documents is not unconditional, but when compared with official documents of Cangnan County, which emphasize the solemnity and formality of official documents, this trend is the part that the translator has to pay his attention to.&lt;br /&gt;
&lt;br /&gt;
For example, when translating the expression “为加强行政规范性文件管理，切实推进依法行政，加快法治政府建设 (To strengthen the management of administrative normative documents, promote the administration in accordance with law, and accelerate the construction of a government ruled by law)” in the document《苍南县人民政府关于公布县政府及县政府办公室行政规范性文件清理结果的通知（有效）》(“Notice of the Office of the People's Government of Cangnan County on the Announcement of the Results of the Cleanup of the Administrative Normative Documents of the County Government and the County Government Offices (Effective)”) (the Office of the People's Government of Cangnan County on October 23th, 2020) , blunt expressions may not be that applicable and this expression translated into Korean in a more public-friendly way as “행정 규범적인 문서관리를 강화하기 위해, 법에따라 행정을 철저히 추진하고 법치정부의 건설을 가속화시킨다.”&lt;br /&gt;
&lt;br /&gt;
3. Mastery of the Equivalence of Semantic Meaning&lt;br /&gt;
&lt;br /&gt;
Like Japanese, Korean is also a typical agglutinative language. A sentence is formed by connecting independent words with various auxiliary words, and with a subordinating conjunction at the end of the sentence. Auxiliary words are just like glues, they exist after every subject, predicate, and object component of a Korean sentence to them together. For that these auxiliary words have no substantial meaning themselves, they must stay close to the main body in front, and a space must be put after. Therefore, when translating Chinese, which is an isolated language, into Korean, which is an agglutinative language, it is necessary to have mastery of the equivalence of the semantic meaning of the expression.&lt;br /&gt;
&lt;br /&gt;
For example, when translating the expression “全面实施全民参保计划，做好参保情况清查，提升参保信息质量，清理重复参保，稳定持续参保，减少漏保断保，实现应保尽保。(Fully implement the national social security plan, do a good job in checking the coverage of the social security, improve the quality of the collection of the information of the insured, clean up repeated insureds, stabilize the renewal of the social security, reduce the interruption of the social security, and achieve full social security coverage.)” in the document《关于做好2021年度城乡居民基本医疗保障工作的通知》(“Notice on Doing a Good Job in Basic Medical Security for Urban and Rural Residents in 2021”)( the Office of Medical Security Bureau of Cangnan County on November 5th, 2020), the translator should pay attention to the equivalence of semantic meaning of this long sentence and translated it into Korean as “전국민기본의료보험가입계획을 전면적으로 실시하고 기본의료보험가입상황을 철저히 조사하며 기본의료보험가입 정보의 질을 향상시키고 중복기본의료보험가입을 청산하며 안정적이고 지속적인 기본의료보험가입을 하며 보험누락을 줄이고 기본의료보험가입 을 실현해야 한다.”&lt;br /&gt;
&lt;br /&gt;
==='''Ⅴ. Studies of Official Document Translation and the Cause of Opening-up in Cangnan County'''===&lt;br /&gt;
&lt;br /&gt;
Based on the abovementioned basic characteristics of the official document system of Cangnan County, the notes for official documents translation under the context of the Japanese language and the notes for official documents translation under the context of the Korean language, we can see that official documents of Cangnan County is not as difficult to handle as something untranslatable. Cangnan County enjoys a good geographic location: it is located in the coast of the East China Sea, and is close to both Japan and South Korea, two strong economies in East Asia. However, Cangnan County has not yet made use of these favorable conditions to the fullest to promote cultural cooperation and trade with the two countries. Cangnan’s opening up to the outside world requires innovative thinking and an elaborate layout. Studies on the translation of official documents of Cangnan County, especially the translation of official documents under the context of the Japanese and Korean language, will help to explore the cultural spirit of the government institutions, and play an important role in building a good image of Cangnan County in East Asia and laying a foundation for Cangnan's cooperation with major countries and regions in East Asia .&lt;br /&gt;
&lt;br /&gt;
The world today is undergoing profound changes rarely in a century, and so is China. The tide of history moves on and Cangnan shall not stay out of the matter, but must follow it courageously and strive to open new doors for Cangnan's opening up to the outside world through the study of the official document translation of its own.&lt;br /&gt;
&lt;br /&gt;
===References===&lt;br /&gt;
&lt;br /&gt;
[1]Ziqi LIU. The Application of Functional Equivalence Theory in Scientific Translation：A Case Study of the Translation of Shipbuilding English[J]. CREATIVITY AND INNOVATION,2019,1(3).&lt;br /&gt;
&lt;br /&gt;
[2]Mu Dan. Discussion on Translation Activities Under the Guidance of Functional Equivalence Theory[J]. International Journal of Education and Management,2018,3(2).&lt;br /&gt;
&lt;br /&gt;
[3]李琳琳. 功能对等翻译理论与关联翻译理论比较研究[D].辽宁师范大学,2006.&lt;br /&gt;
&lt;br /&gt;
[4]赵娟廷. 汉韩公文语体对比研究[D].复旦大学,2003. &lt;br /&gt;
&lt;br /&gt;
[5]周萱. 《中国共产党怎样解决民族问题》（节选）中韩翻译报告[D].青岛大学,2017.&lt;br /&gt;
&lt;br /&gt;
[6]张利军. 《教学的游戏性研究》的汉日翻译实践报告[D].广西师范大学,2019.&lt;br /&gt;
&lt;br /&gt;
[7]栾亚琼. 《2015年山东省政府工作报告》汉日翻译实践报告[D].曲阜师范大学,2016.&lt;br /&gt;
&lt;br /&gt;
[8]占丽华. 源流与演变—日本地方公文书馆发展路径研究[D].山东大学,2020.&lt;br /&gt;
&lt;br /&gt;
[9]任清萍. 功能翻译理论视角下政府工作报告日译研究[D].外交学院,2020.&lt;br /&gt;
&lt;br /&gt;
[10]孙慧. 产业竞争力与区域经济增长[D].苏州大学,2006.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
--[[User:Wu Kai|Wu Kai]] ([[User talk:Wu Kai|talk]]) 04:45, 2 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
==The Translation Process and Methods of Translating English Long Sentences	周艺文	Zhou Yiwen==&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
===Abstract===&lt;br /&gt;
===Key words===&lt;br /&gt;
===摘要===&lt;br /&gt;
===关键词===&lt;br /&gt;
===Introduction===&lt;br /&gt;
&lt;br /&gt;
===Conclusion===&lt;br /&gt;
===Bibliography===&lt;br /&gt;
&lt;br /&gt;
==Chinese-English Translation of News Headlines From the Perspective of Skopos Theory	张维虹	Zhang Weihong==&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
==='''Abstract'''===&lt;br /&gt;
&lt;br /&gt;
==='''key words'''===&lt;br /&gt;
&lt;br /&gt;
News headlines; Skopos theory; translation&lt;br /&gt;
&lt;br /&gt;
==='''摘要'''===&lt;br /&gt;
社会的飞速发展使得人们的阅读方式发生了巨大的改变, 通过阅 读新闻标题来获取消息和了解事实, 成为大多数人的不二之选, 新闻标题 翻译也就越来越具有其必要性。 新闻标题的重要性堪比一部使人印象深刻 的电影名, 一则响亮的广告语, 一本撩人心弦的书名。 较之娱乐新闻, 时 政新闻略显严肃客观, 又因当今科技物质的飞速发展, 时政新闻的点阅数 量明显少于以消遣娱乐为目的的娱乐新闻。 怎样提高时政新闻的阅读量, 怎样使得时政新闻如同娱乐新闻一般深受广大人民的喜爱, 这不仅是新闻 编辑者们的挑战, 也是新闻翻译界的难题。 本文以德国功能派翻译目的论 为理论指导, 结合新闻学及编辑学的相关学科知识, 通过对中英时政新闻 标题的对比分析, 旨在对时政新闻标题的汉译英提出翻译策略, 让国外读者正确客观无误的了解中国的时事政策。&lt;br /&gt;
&lt;br /&gt;
==='''关键字'''===&lt;br /&gt;
&lt;br /&gt;
===Introduction===&lt;br /&gt;
&lt;br /&gt;
===Skopos Theory===&lt;br /&gt;
&lt;br /&gt;
===Features of News Headlines===&lt;br /&gt;
&lt;br /&gt;
===Chinese-English Translation Methods of News Headlines from the Skopos Perspective===&lt;br /&gt;
&lt;br /&gt;
===Conclusion===&lt;br /&gt;
&lt;br /&gt;
===Bibliography===&lt;br /&gt;
&lt;br /&gt;
==On Chinese-English Translation of Public Service Advertisements From the Perspective of Text-type Theory  司妤  Si Yu==&lt;br /&gt;
&lt;br /&gt;
==='''Abstract'''===&lt;br /&gt;
&lt;br /&gt;
==='''key words'''===&lt;br /&gt;
&lt;br /&gt;
==='''摘要'''===&lt;br /&gt;
&lt;br /&gt;
==='''关键字'''===&lt;/div&gt;</summary>
		<author><name>Song Jianru</name></author>
	</entry>
	<entry>
		<id>https://bou.de/u/index.php?title=History_of_Translation_Studies_8&amp;diff=107933</id>
		<title>History of Translation Studies 8</title>
		<link rel="alternate" type="text/html" href="https://bou.de/u/index.php?title=History_of_Translation_Studies_8&amp;diff=107933"/>
		<updated>2020-12-06T14:55:10Z</updated>

		<summary type="html">&lt;p&gt;Song Jianru: /* Introduction */&lt;/p&gt;
&lt;hr /&gt;
&lt;div&gt;这里是《翻译学史》的书稿第八部分(Part 8)。麻烦各位同学看一下已经存在的章回（样品），自己再加进去新的一个章回（就是你们的学期论文）。请也帮助同学们把他们的论文改正。这样多次修改，大家的论文会越来越好。&lt;br /&gt;
&lt;br /&gt;
学期论文（结合学期所学，撰写一篇5000以上单词的英文论文，按照专业杂志的格式，题目、摘要、关键词和参考文摘需要英中，文章英）。学期论文成绩占70%，平时成绩（含课堂表现、展示及作业）占30%。&lt;br /&gt;
&lt;br /&gt;
*Link back to course homepage: [https://bou.de/u/wiki/Introduction_to_Translation_Studies Course Homepage Intro. to TS]&lt;br /&gt;
*Link back to the final exam paper section of the course homepage: [https://bou.de/u/wiki/Introduction_to_Translation_Studies#Final_Exam_Papers Final Exam Papers]&lt;br /&gt;
*Link to other parts of the final exam papers: [https://bou.de/u/index.php?title=History_of_Translation_Studies_1 Final Exam Papers Part 1]&lt;br /&gt;
*Link to other parts of the final exam papers: [https://bou.de/u/index.php?title=History_of_Translation_Studies_2 Final Exam Papers Part 2]&lt;br /&gt;
*Link to other parts of the final exam papers: [https://bou.de/u/index.php?title=History_of_Translation_Studies_3 Final Exam Papers Part 3]&lt;br /&gt;
*Link to other parts of the final exam papers: [https://bou.de/u/index.php?title=History_of_Translation_Studies_4 Final Exam Papers Part 4]&lt;br /&gt;
*Link to other parts of the final exam papers: [https://bou.de/u/index.php?title=History_of_Translation_Studies_5 Final Exam Papers Part 5]&lt;br /&gt;
*Link to other parts of the final exam papers: [https://bou.de/u/index.php?title=History_of_Translation_Studies_6 Final Exam Papers Part 6]&lt;br /&gt;
*Link to other parts of the final exam papers: [https://bou.de/u/index.php?title=History_of_Translation_Studies_7 Final Exam Papers Part 7]&lt;br /&gt;
*Link to other parts of the final exam papers: [https://bou.de/u/index.php?title=History_of_Translation_Studies_8 Final Exam Papers Part 8]&lt;br /&gt;
*Link to other parts of the final exam papers: [https://bou.de/u/index.php?title=History_of_Translation_Studies_9 Final Exam Papers Part 9]&lt;br /&gt;
*Link to other parts of the final exam papers: [https://bou.de/u/index.php?title=History_of_Translation_Studies_10 Final Exam Papers Part 10]&lt;br /&gt;
&lt;br /&gt;
='''History of Translation'''=&lt;br /&gt;
== Study on Brand Name Translation from the Perspective of Cultural Difference	谭鑫洁	Tan Xinjie==&lt;br /&gt;
&lt;br /&gt;
==='''Abstract'''===&lt;br /&gt;
&lt;br /&gt;
== Abstract: ==&lt;br /&gt;
&lt;br /&gt;
==='''key words'''===&lt;br /&gt;
&lt;br /&gt;
==='''摘要'''===&lt;br /&gt;
&lt;br /&gt;
==='''关键字'''===&lt;br /&gt;
&lt;br /&gt;
===Complete transcript of the content of the original work ===&lt;br /&gt;
&lt;br /&gt;
===Same style and manner of writing===&lt;br /&gt;
&lt;br /&gt;
===Equivalent effect===&lt;br /&gt;
&lt;br /&gt;
===Discussion===&lt;br /&gt;
&lt;br /&gt;
===Conclusion===&lt;br /&gt;
&lt;br /&gt;
===Bibliography===&lt;br /&gt;
&lt;br /&gt;
==A Comparative Study on the Translation History in Western Countries and China	王煜	Wang Yu==&lt;br /&gt;
===摘要===&lt;br /&gt;
翻译是一种跨文化交流活动，翻译活动加快了人类文明发展步伐，减少了人们之间的沟通障碍。随着时代的变迁，中国和西方国家逐渐形成了各自的翻译史，翻译史的研究是学科建设的一项基础工程。尽管中西方翻译史在某些方面有所差异，但却都有着各自的独特性，并对人类的翻译活动产生了巨大的影响与贡献。文章将以中国和西方国家为主要对象，从二者翻译史起始，包含阶段和各阶段代表人物，影响意义，差异性出发，对二者的翻译史进行简略的对比研究。&lt;br /&gt;
&lt;br /&gt;
===关键词===&lt;br /&gt;
翻译史；西方翻译史；中国翻译史&lt;br /&gt;
&lt;br /&gt;
===Abstract===&lt;br /&gt;
Translation is an intercultural communication activity, translation activities have accelerated the development of human civilization and reduced the communication barriers between people of different countries or nations. With time goes by, things are in a state of flux and both the western and eastern countries have gradually formed their own history of translation, the study of translation history is a basic project of discipline construction. Though there are many differences among the translation histories of western countries and China, the two kinds of translation histories are still shining their own bright unique lights and have an indelible influence and contribution to human translation activities. This paper intends to make a brief comparison of translation histories between western countries and China, which includes the origins, the stages, the representatives of the stages, the significance and influence as well as the differences of the two translation histories.&lt;br /&gt;
&lt;br /&gt;
===Keywords===&lt;br /&gt;
Translation history; Translation history of the West; Translation history of China &lt;br /&gt;
&lt;br /&gt;
===1. Introduction===&lt;br /&gt;
No matter in China or in the west, translation plays an important role in knowledge-spreading. As an indispensable part of translatology, the study of translation history has made a great influence on translation activities, it has gradually become the focus of the literary and historical circles in recent years. Translation activities can be traced back to the origin of language, and the history of translation is almost as old as language itself, it is closely related to the changes in today's society. Since the 1980s, the translation studies in the mainland of China have made remarkable progress in the curriculum design of Chinese and western translation history and the compilation of related works. In the early 1980s and 1990s, there were many related works came out one after another including A brief history of Chinese Translation: the part before the May 4th Movement（《中国翻译简史-“五四”运动以前部分》） written by Zuyi Ma, A historical manuscript of Chinese translated literature （《中国翻译文学史稿》）edited by Yugang Chen, and also the A Short History of Translation in the West（《西方翻译简史》） the author of which is Zaixi Tan. Thus, it opens the gate for the compilation of Chinese and western translation history works.（谢天振，2009） The history of western translation can be divided into five stages while the Chinese study of translation has a glorious history of more than two thousand years and has experienced five climaxes. Through the comparative study of Chinese and western translation history, it will help us to have a deeper understanding of Chinese and western translation activities and thus to gather a general full view of it, which will be a positive and meaningful attempt.&lt;br /&gt;
&lt;br /&gt;
2. The Translation History of Western Countries&lt;br /&gt;
Western translation activities are rich in a long history and a multiyear span. The history of western translation can be roughly divided into three stages: the traditional stage, the modern times and the contemporary. More specifically, it can be grouped into the ancient times, the middle ages, the Renaissance period and the time after WWⅡ.&lt;br /&gt;
&lt;br /&gt;
2.1 The First Stage: Translation in the Ancient Times&lt;br /&gt;
    &lt;br /&gt;
The translation history of western countries first began in the the 3rd century B.C. &amp;quot;In a broad sense, the earliest translation in the west is the Old Testament translated by 72 Jewish scholars in Alexandria, ancient Egypt, between the 3rd and 2nd centuries BC; Strictly speaking, the first western translation is the Greek Homer Epic Odyssey translated by Andronicus in Rome in the middle of the third century BC.”(谭载喜,2000) At the end of the 4th BC, during this time, the Greece began to decay and the Roman had became stronger and stronger with its military expansion. The expansion of the Roman Empire brought it into contact with the splendid Greek culture, therefore, the Romans not only conquered the Greek city, but also inherited and developed the brilliant achievements of ancient Greek culture, and then created a  splendid cultural of its own era after Greece. So soon began a large scale translation activities, the activity of translating and introducing Greek classical works probably began in this period.（刘军平,2009）Many famous translation theorists began to make their presences, namely Cicero, Quentin, Jerome and so on, also the famous Roman litterateurs like Andronicus, Naevius, Ennius, these great writers used Latin language to translate or adapt Homer’s epic or other Greece dramas. Started the translation tradition and promoted the birth and development of Roman literature.&lt;br /&gt;
&lt;br /&gt;
2.2 The Second Stage: Translation in the Middle Ages (4th-6th)&lt;br /&gt;
&lt;br /&gt;
2.3 The Third Stage: Translation in the Middle Ages (11th-12th)&lt;br /&gt;
&lt;br /&gt;
2.4 The Fourth Stage: Translation in the Renaissance Period&lt;br /&gt;
&lt;br /&gt;
2.5 The Fifth Stage: Translation after WWⅡ&lt;br /&gt;
&lt;br /&gt;
3. The Translation History of China--[[User:Wang Yu|Wang Yu]] ([[User talk:Wang Yu|talk]]) 08:38, 30 November 2020 (UTC)--[[User:Wang Yu|Wang Yu]] ([[User talk:Wang Yu|talk]]) 08:43, 30 November 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
==The Implications of Luther's Translation Principles amid Renaissance for Modern Literature Translation	方洁玲	Fang Jieling==&lt;br /&gt;
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==Translation manipulated by ideology	许静	Xu Jing==&lt;br /&gt;
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==Comparison between the History of Chinese and Western Translation   周书尧   Zhou Shuyao==&lt;br /&gt;
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'''Abstract:'''There has a long history and culture Chinese and Western translation, and translation plays an indelible role in promoting cross-cultural communication and cultural communication. This article first discusses the history of translation in China from  four stages , then discusses the five stages of western translation history , and finally compares and analyzes the similarities and differences between Chinese and Western translation histories, and puts forward some of the author's own views.&lt;br /&gt;
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'''Key words:'''The history of Chinese,The history of Western,the stages of  translation history,comparison&lt;br /&gt;
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'''摘要：'''中西方翻译历史文化源远流长，翻译在促进跨文化交流和文化传播上承担着不可磨灭的作用。本文首先从中国的四次翻译高潮论述中国的翻译史，再从西方的五次翻译高潮探讨西方的翻译史，最后对中西方翻译史的异同进行对比分析，提出一些笔者自己的看法。&lt;br /&gt;
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'''关键词：'''中国翻译史，西方翻译史，翻译高潮，对比&lt;br /&gt;
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'''Ⅰ.Introduction'''&lt;br /&gt;
&lt;br /&gt;
Since the 1980s, the Chinese translation studies community has made remarkable progress in the establishment of Chinese and Western translation history courses and the compilation of related works.In the 1980s and early 1990s,A Brief Introduction to the History of Translation in China from Ma Zuyi and other books of Chen Yugang and Tan Zaixi were published one after another,which raised the curtain for the compilation of Chinese and Western translation history works by the domestic translation scholars.The four stages in the history of Chinese translation have promoted the development of Chinese history, culture and society to varying degrees.The same as our country, Western translation has an age-old history.In a sense, the development of Western European civilization should first be attributed to the translators.The five stages in the history of European translation have promoted the exchanges of literature, art, science and trade between countries, and to a certain extent promoted the development of Chinese translation.In fact, when we examine the development trajectory of Chinese and Western translation activities and the evolution of translation concepts together, we find that there are some similarities between Chinese translation and Western translation.Especially in the evolution of Chinese and Western translation concepts, the two have very similar evolution laws.&lt;br /&gt;
&lt;br /&gt;
='''Literal and Free Translation'''=&lt;br /&gt;
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==Rethink Literal and Free Translation	彭永亮	Peng Yongliang==&lt;br /&gt;
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==On the Chinese Translation of A Pale View of Hills from House’s Translation Quality Assessment Model	宋建茹	Song Jianru==&lt;br /&gt;
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===Abstract===&lt;br /&gt;
&lt;br /&gt;
Translation quality assessment is an integral part of translation criticism. The first TQA model with comprehensive theories and practices Juliane House represented provides a significant reference for translation exercises. ''A Pale View of Hills'', as the first work of Kazuo Ishiguro, possesses a great research value on its narrative styles by virtue of memory and topics about migrants. As of 2011 when its Chinese translation was published, no scholar has evaluated it. This study applies House’s TQA model to assess the Chinese translation of ''A Pale View of Hills'' with qualitative and quantitative analysis from lexical, syntactic and textual aspects, in a bid to examine validity of the model on novel translation, which turns out that it is an overt and high-quality translation.&lt;br /&gt;
&lt;br /&gt;
=== Key Words===&lt;br /&gt;
&lt;br /&gt;
''A Pale View of Hills''; House’s TQA model; novel translation&lt;br /&gt;
&lt;br /&gt;
=== 摘 要 ===&lt;br /&gt;
&lt;br /&gt;
翻译质量评估是翻译批评的核心课题。朱莉安·豪斯提出的第一个有完整的理论和实践的翻译质量评估模式，为翻译实践提供了重要参考。《远山淡影》是石黑一雄的处女作，其依托回忆的叙事风格和移民主题具有很高的研究价值。《远山淡影》中译本自2011年出版至今，尚未有学者对其进行评估研究。本文运用豪斯的翻译质量评估模式，采用定性与定量相结合的分析方式，从语场、语旨、语式等三个层面对原文和译文进行分析，开展《远山淡影》中译本的翻译质量评估研究，为豪斯翻译质量评估模式对小说翻译的运用进行进一步的探索和补充。通过分析，得出《远山淡影》中译本为显性翻译，翻译质量较高。''Italic text''&lt;br /&gt;
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=== 关键词 ===&lt;br /&gt;
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《远山淡影》；豪斯质量评估模式；小说翻译&lt;br /&gt;
===Introduction===&lt;br /&gt;
Translation criticism refers to the analysis and review of thoughts, activities and works of translation by virtue of relevant theories and views, in a bid to improve the overall quality of translators and translations. It is an integral part of translation studies. (Wang Enmian, 1999: 7) Translation quality assessment, as the integral and key part of translation criticism, plays a significant role in surveillance and promotion of translation quality. Among the extant translation quality assessment models, Juliane House’s ''A Model for Translation Quality Assessment and Translation Quality Assessment: A Model Revised'', based on Halliday's systemic functional linguistics and discourse analysis, are systematic, scientific and rational with a relatively complete system of parameters, quantitative methods and steps adhering to specific procedures. &lt;br /&gt;
&lt;br /&gt;
''A Pale View of Hills'', as Kazuo Ishiguro's first full-length novel, tells the life of the people in Nagasaki after WWII through the memory of protagonist Etsuko and explores recovery of trauma, collision between the old and new ideas, and kinship after war. The first person narrative, memory, humor and satire and international perspectives in the book became his major writing styles in the future. The novel won the Winifred Holtby Memorial Prize from the Royal Society. Its only Chinese translation at present, from Zhang Xiaoyi, is still not analyzed by the scholars. This paper uses House’s translation quality assessment model, with combination of qualitative and quantitative analysis, from field, tenor and mode to analyze the mismatches between original and translation in an attempt to assess the Chinese translation quality of ''A Pale View of Hills'' and further explore the application of House’s model in novel translation. The aim of the study is to promote scholars to regulate the behaviors of translation, to improve the quality of translation and translation evaluation, and to provide a reasonable way for establishing the interlingual conversion mechanism.&lt;br /&gt;
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The thesis consists of four chapters.&lt;br /&gt;
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After the Introduction, Chapter One gives a brief account of A Pale View of Hills and its research status, involving the author, background, content and influence. Chapter Two is a brief introduction of House’s TQA model, including its theoretic basis, parameter setting, operation steps and feasibility. Chapter Three is a detailed analysis of original and translation of A Pale View of Hills based on House’s model. Chapter Four is statement of translation quality assessment. Then we come to the last part, Conclusion.&lt;br /&gt;
===I Overview and Research Status of A Pale View of Hills===&lt;br /&gt;
''A Pale View of Hills'' is Kazuo Ishiguro's first novel, which laid a solid foundation for the formation of Ishiguro's writing style. The chapter mainly introduces the author, plot, theme and influence of the novel and analyzes its research status, in an attempt to master the material well and seek new perspectives for the paper.&lt;br /&gt;
&lt;br /&gt;
'''1.1 Overview of A Pale View of Hills'''&lt;br /&gt;
Kazuo Ishguro is a noble contemporary Japanese English writer, whose novels feature first person narrative, detailed depiction of loneliness, depression, self-deception and anxiety of characters’ inner world and dual narrative strategy to deconstruct the narrator's self-identity, as well as discuss postwar trauma and migrant identity. He won Booker Prize, the British top literary prize, in 1989 and the Nobel Prize in literature in 2017. By virtue of his outstanding literary achievements, he is known as one of the Three Masters of English Migrant Literature together with Salman Rushdi and Naipaul.&lt;br /&gt;
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A Pale View of Hills, published in 1982, is Ishiguro's debut. The story, with postwar Nagasaki as its background, enjoys two clues: one is what happened when Niki (Etsuko’s little daughter) visited her mother after her sister Keiko died; the other is Etsuko’s memory about people and events in Nagasaki after the war. The two lines integrated together during the narrative, forming the illusory and imaginary impression. Many in-depth topics in this work are worth pondering: postwar trauma recovery, the collision between new and old ideas after war and discussion of family relations. Many marks in the work became his own styles: first-person narrative, memory, humor and satire, international perspectives. In addition, it won the Winifred Holtby Memorial Prize from the Royal Society and is still in print thirty years after its publication. This book, with its enormous emotion, unearths the abyss beneath the illusion of our connection to the world, whose artistic value and charm could be time-tested.&lt;br /&gt;
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==On the Relationship among Literal Translation, Free Translation, Domestication and Foreignization	韦洪朗	Wei Honglang==&lt;br /&gt;
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==On Chinese-to-English Translation of The Summer Palace from the Perspective of Functionalist Approaches to Translation	魏亚菲	Wei Yafei==&lt;br /&gt;
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===Abstract===&lt;br /&gt;
Abstract&lt;br /&gt;
The Chinese-English translation of tourist texts, as a window for the external publicity of national history and culture, plays an important role in promoting the development of local tourism. The Summer Palace is well known for its large and priceless collection of cultural relics, which is among the first group of historical and cultural heritage sites in China to be placed under special state protection. &lt;br /&gt;
Based on the functionalist approach and the skopos rule, this paper discusses the problems existing in the translation of scenic spots in the Summer Palace from the perspectives of garden culture, historical culture and religious culture. Skopos theory holds that translation depends on communicative purpose. To achieve this goal, translators can choose different translation strategies. It is believed that the purpose of Chinese-English translation of scenic spots is to attract target readers and promote traditional culture. Therefore, when translating tourism materials, it is necessary not only to express the local cultural connotation, but also to consider the cross-cultural factors. The Chinese-English translation of the introduction of scenic spots guided by functionalist approach can make English readers have expectations of scenic spots and understand the cultural connotation of scenic spots. This paper aims to better promote the development and communication of Chinese culture and improve the level of tourism text translation in China by relying on the theory of functionalist approach.&lt;br /&gt;
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===Key words===&lt;br /&gt;
Key Words: functionalist approach，the Summer Palace，translation strategies&lt;br /&gt;
&lt;br /&gt;
===摘要===&lt;br /&gt;
摘 要&lt;br /&gt;
旅游资料的英译作为民族历史文化对外宣传的一道窗口,对地方旅游业的发展有着不可低估的促进作用。颐和园作为中国著名的皇家园林，具有浓厚的中国园林特色及优美的风景，同时也蕴涵着深厚文化内涵。&lt;br /&gt;
本篇旅游文本英译的分析以功能派翻译理论作为理论指导，以目的法则为主要原则，从颐和园的园林文化、历史文化和宗教文化三个角度出发对颐和园景点英译中存在的问题进行探讨。目的论认为译文取决于翻译目的，这个目的通常指的是交际目的。为达到这个目的，译者可以选择不同的翻译策略。也就是说，译者的翻译策略必须由译文的预期目的或功能决定，即所谓的“目的法则”。笔者认为景点介绍的汉英翻译的目的就是吸引译文读者以及弘扬传统文化，因此在翻译旅游资料的时候不仅要把当地的文化内涵表达出来，而且要考虑到跨文化的因素。而以功能派翻译理论为指导的景点介绍的汉英翻译，可以使英语读者通过译文产生对旅游景点的期盼，以及对景点文化内涵的理解。以颐和园景区内的翻译文本为例本，依托功能翻译理论，通过“发现问题，指出问题，解决问题”，以期更好地促进中国文化的传播与交流，提高我国现阶段旅游文本翻译的水平。&lt;br /&gt;
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===关键字===&lt;br /&gt;
关键词：功能翻译；颐和园；翻译目的；翻译策略&lt;br /&gt;
&lt;br /&gt;
===Introduction===&lt;br /&gt;
  Throughout the translation history at home and abroad, the literal translation and free translation have always been a heat discussion in the translation circles. Someone absolutely approve literal translation and demean free translation, even pursue a dead translation, which creates an translated text difficult to understand. While some other people absolutely agree with free translation even advocate random acts, which means a random deletion in the translation practices and creates anther entirely different text. However, there are also a number of translators who have recognized that these two translation methods are not totally opposite. So they adopt a compromise and flexible way. That means they will choose the most appropriate one depending on the text demanding. Therefore, we can deduce from it that this eclectic translation is consistent with the Contradiction view of Unity of Opposite in Materialist Dialectics. In fact, literal translation and free translation are right a set of contradictions which are both opposite and unified. They complement each other into an integral one.&lt;br /&gt;
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===Table of Contents===&lt;br /&gt;
&lt;br /&gt;
Table of Contents&lt;br /&gt;
&lt;br /&gt;
Outline&lt;br /&gt;
1.Introduction&lt;br /&gt;
2. Studies on Functionalist Approach&lt;br /&gt;
2.1 The Viewpoint of Functionalist Approach&lt;br /&gt;
2.1.1 Reiss’s Text Typology&lt;br /&gt;
2.1.2 Vermeer’s Skopos Theory&lt;br /&gt;
2.1.3 Manttari’s Theory of Translational Action&lt;br /&gt;
2.1.4 Nord’s Theory of Function plus Loyalty&lt;br /&gt;
2.2 The Application of Functionalist Approach &lt;br /&gt;
3.C-E Translation of the Summer Palace under Functionalist Approach&lt;br /&gt;
3.1 Garden Culture&lt;br /&gt;
3.2 Historical Culture &lt;br /&gt;
3.3 Religious Culture &lt;br /&gt;
4. Conclusion&lt;br /&gt;
References&lt;br /&gt;
&lt;br /&gt;
===Outline===&lt;br /&gt;
Outline&lt;br /&gt;
&lt;br /&gt;
Thesis Statement: Based on the main viewpoints of functionalist approaches to translation, this paper aims to give an analysis to C-E translation of the Summer Palace from cultural, historical and religious aspects, hoping to provide some translation strategies for other cultural attractions.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
1. Introduction&lt;br /&gt;
2. Studies on Functionalist Approaches&lt;br /&gt;
2.1 The Viewpoint of Functionalist Approach&lt;br /&gt;
2.1 Reiss’s Text Typology&lt;br /&gt;
2.2 Vermeer’s Skopos Theory&lt;br /&gt;
2.3 Manttari’s Theory of Translational Action&lt;br /&gt;
2.4 Nord’s Theory of Function plus Loyalty&lt;br /&gt;
2.2 The Application of Functionalist Approach&lt;br /&gt;
3. C-E Translation of the Summer Palace under Functionalist Approach&lt;br /&gt;
3.1 Garden Culture&lt;br /&gt;
3.2 Historical Culture&lt;br /&gt;
3.3 Religious Culture&lt;br /&gt;
4. Conclusion&lt;br /&gt;
&lt;br /&gt;
===1. Introduction ===&lt;br /&gt;
1. Introduction   &lt;br /&gt;
The Chinese-English translation of tourist texts is a bridge to spread the culture of classical Chinese gardens, so the accuracy of it has a direct impact on foreigners' understanding of the specific history and culture. &lt;br /&gt;
Functionalist approach has made a pioneering contribution to the translation of non-literary genres. Functional translation theory emphasizes the function of discourse, and believes that different types of discourse have different functions, so translators should choose appropriate translation strategies according to the type of source text and corresponding functions. Functionalist approach is to take the &amp;quot;skopos rule&amp;quot; as the highest standard, and any translation activity is a purposeful behavior. The ultimate goal and main function of scenic spot translation is to help people understand the main content of the scenic spot.&lt;br /&gt;
As a window for the publicity of national history and culture, the Chinese-to-English translation of tourist texts plays an important role in promoting the development of local tourism. Well known for its large and priceless collection of cultural relics, the Summer Palace was among the first group of historical and cultural heritage sites in China to be placed under special state protection. Based on the viewpoints of functionalist approach to translation, this paper aims to analyze C-E translation of the Summer Palace from cultural, historical and religious aspects, hoping to provide some translation strategies for other cultural attractions. &lt;br /&gt;
&lt;br /&gt;
===2. Studies on Functionalist Approaches===&lt;br /&gt;
2. Studies on Functionalist Approaches&lt;br /&gt;
Functionalism is a theory that advocates reader-centered translation, emphasizing the functions of texts and highlighting the communicative effects. It is believed that many unnecessary mistakes can be avoided and better results can be achieved by applying functionalist approach in Chinese-English translation of tourist text. &lt;br /&gt;
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===2.1 The Viewpoint of Functionalist Approaches===&lt;br /&gt;
2.1 The Viewpoint of Functionalist Approaches&lt;br /&gt;
Functionalist Translation Theory, also known as German Functionalist Translation Theory, was proposed by German scholars in the 1970s. It includes four main theories: Katharina Reiss’s Text Typology, Hans Vermeer’s Skopos Theory, Justa Holtz Manttari’s Theory of Translational Action and Christiane Nord’s Theory of Function plus Loyalty. This chapter aims to present the main ideas of this theory.&lt;br /&gt;
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===2.1.1 Reiss’s Text Typology===&lt;br /&gt;
2.1.1 Reiss’s Text Typology&lt;br /&gt;
In 1971, Reiss in her book Possibilities and Limitation of Translation Criticism first made text function as a standard of translation criticism, namelyevaluate the translated text from the relationship between the functions of the original and the translated text. She insists on the original-centered equivalence theory and holds the view that the ideal translation is to achieve the equivalence between the target text and the source text in terms of ideological content, linguistic form and communicative function. However, translation practice makes her realize that it’s difficult to achieve equivalence sometimes and that sometimes equivalence cannot be pursued. Because of the particularity of translation requirements, the function of the target text is not always the same as that of the source text. Therefore, the translator should give priority to the functional role of the target text rather than the principle of equivalence.&lt;br /&gt;
Reiss believes that in the normal situation the type of text decides the translator’s choice of a proper translation method (Reiss, 2004). Therefore, she divides text into four types: content-focused text, form-focused text, appeal-focused text and audio-media text. Content-focused text, also known as informative text, includes news reports, commercial correspondence, operating instructions, official documents, patent&lt;br /&gt;
specifications, essays, treaties, etc. For this text, the main function is to convey information revealed in language itself to readers. The emphasis is on content and topic, so the choice of language and style should serve this function. If both the source text and target text belong to informative text, the translator should represent the content and information of source text accurately and completely (Reiss, 2004)&lt;br /&gt;
Form-focused text, also known as expressive text, refers to literary works such as novels, poems and so on. “Distinct from ‘content’, which deals with what the author says, ‘form’ is concerned with how an author expresses himself” (Reiss, 2004). For expressive texts, information is only a supplement. What is dominant is the aesthetic factor. When translating such texts, the translator should pay attention to the aesthetic and artistic forms of the original text and to the differences between two cultural habits, trying to achieve the same effect as the source text. In a word, in a form-focused text the linguistic form of the source text determines the form in the target language (Reiss, 2004).&lt;br /&gt;
Appeal-focused text, also known as operative text, mainly includes notice, instruction manual, advertisement, publicity manual and so on. For operative texts, the primary task for the translator is to provoke a particular reaction on the hearers or readers to incite them to engage in specific actions, while content and form are subordinate. Therefore, to achieve the same effect, the translator need to change the content and stylistic features of the original text, try to keep the potential influential factors of the original text and seek functional equivalence (Reiss, 2004: 38-43). Audio-medial text, also known as multi-media text, refers to radio and television scripts, such as radio newscasts and reports, topical surveys and dramatic productions.&lt;br /&gt;
It is distinctive in its dependence on non-linguistic media and on graphic, acoustic, and visual kinds of expression. Only in combination with them can the whole complex literary form realize its full potential (Reiss, 2004). In conclusion, different texts determine different translation focuses and methods. In many cases, however, a text may have more than one function, which means that translators should integrate different translation strategies skillfully to achieve different functions of texts.&lt;br /&gt;
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===2.1.2 Vermeer’s Skopos Theory===&lt;br /&gt;
2.1.2 Vermeer’s Skopos Theory&lt;br /&gt;
Reiss’s student Vermeer, who broke the limitation of the theory of equivalent and took skopos to be the first criterion of translation process  proposed the key theory: Skopostheorie. According to Skopos Theory, when translating a text, the translator needs to consider the purpose of translation first and then choose the translation method according to the purpose, which means “the end justifies the means” (Nord, 2001). Vermeer believes that translation, like other human actions, is also a purposeful act. Translation often takes place in cultural backgrounds with different customs and values, so translation is not a simple equivalent transformation between languages. Skopos Theory does not focus on achieving the equivalence between the target text and the original text or the perfection of the target text, but on choosing the best translation strategy based on the analysis of the source text and the intended function of the target text. In a word, translation methods and strategies are determined by the intended purpose or function of the target text.&lt;br /&gt;
According to Skopos Theory, the first rule that all translators must follow is the Skopos Rule. Translation purpose can be divided into three categories: (1) the purpose of the translator, such as earning a living; (2) the communicative purpose of the translation, such as instructing the reader; (3) the purpose of using a particular translation method, such as the literal translation according to its structure to illustrate the peculiarities of grammatical structure in a language (Nord, 2001). In general, the communicative purpose is more important than the other two. The communicative purpose is usually determined by the initiator of the translation act, but the translator can take part in deciding. The second rule is the Coherence Rule. Coherence Rule requires that the translation conform to the criterion of intratextual coherence, which means that the translation must be accessible to recipients and meaningful in the target culture and in the communicative environment (Nord, 2001). The third rule is the Fidelity Rule. It means that there should be intertextual coherence between the source text and the target text, which means being faithful to the source text. Nevertheless, the degree and form of faithfulness lie in the target text and the degree that the translator understands the original text. Normally “Intertexual coherence is considered subordinate to intratexual coherence and both are subordinate to the Skopos rule” (Nord, 2001).&lt;br /&gt;
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===2.1.3 Manttari’s Theory of Translational Action===&lt;br /&gt;
2.1.3 Manttari’s Theory of Translational Action&lt;br /&gt;
Following Vermeer, Manttari develops Vermeer’s Skopos Theory and puts forward the Theory of Translational Action. He emphasizes three aspects: the behavior of the translation process, the role of the participants (the initiator, the translator and the target reader, etc.) and the environment (time, place and media) in which the translation process takes places. It views translation as “purpose-driven, outcome-oriented human interaction and construes the process of translation as message-transmitter compounds that involve intercultural transfer” (Mundy, 2001). According to Manttari, translation is “ a complex act to achieve a particular purpose” &lt;br /&gt;
(Nord, 2001). It is not about translating words, sentences or texts but is about guiding the intended cooperation over cultural barriers and promoting functional communication. Cooperation here means “transcultural communication” by Manttari.&lt;br /&gt;
The Theory of Translational Action attaches great importance to providing a functional communicative text for the recipient, a text suitable for the target culture in&lt;br /&gt;
form and style. Functional suitability is determined by the translator. The translator is&lt;br /&gt;
an expert in translation, whose role is to ensure the successful completion of cultural&lt;br /&gt;
transformation. In producing the target text, the analysis of the source text is necessary so that the translator can find out its structural and functional characteristics, which can be described by content and form. The need of the recipient is the decisive&lt;br /&gt;
factor for the target text.&lt;br /&gt;
In short, “the value of Manttari’s work is the placing of translation (or at least the professional non-literary translation which she describes) within its sociocultural&lt;br /&gt;
context, including the interplay between the translator and the initiating institution”&lt;br /&gt;
(Mundy, 2001).&lt;br /&gt;
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===2.1.4 Nord’s Theory of Function plus Loyalty===&lt;br /&gt;
2.1.4 Nord’s Theory of Function plus Loyalty&lt;br /&gt;
Though skopos rule changes the focus of translation from the source language text to the target language text and the target receivers, it has some limitations. One is that different readers have different expectations, and the translation purpose cannot satisfy all the expectations of the target reader. Another is that the translation purpose may sometimes be against the intention of the source language. Therefore, based on the skopos rule, Nord introduces the loyalty principle. The principle of loyalty is a supplementary principle proposed by Nord to make up for the deficiency of skopos rule. According to the explanation of Nord, it is not the relationship between the original text and the target text, nor the equivalence between the original text and the form of the target text, but the consistency between the author of the original text, the initiator of the translation, the translator and the reader of the target text, which is the principle of loyalty. The proposal of the loyalty principle makes up for the mistakes that some radical skopos translators usually make, such as omitting and rewriting, which makes skopos theory more perfect and makes skopos theory more likely to guide the translation of literary works.&lt;br /&gt;
“Function” and “loyalty” are two pillars of Nord’s functionalist approach. “Function” refers to what a text means or is intended to mean from the receiver’s point of view”, while “loyalty” means that “target-text purpose should be compatible with the original author’s intention” (Nord,2001). It emphasizes the interpersonal relationship between the translator, the source-text sender, the target-text addresses and the initiator. Function plus loyalty enables the translator to avoid the limitations of skopos rule and try to achieve a balance between translation purpose and the source-text author’s intention”(Nord,2001). That is to say, when translating the original text, the translator should take into account the readers' cultural background, knowledge level and expectation of the translation, and choose the corresponding translation strategy according to the translation requirements. If the reader wants to read a word-for-word translation of the article, then the translator must meet the reader's requirements, otherwise he must explain to the reader why he chose his own translation method. The translator's job is to weigh two different cultures instead of imposing one culture on another. &lt;br /&gt;
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&lt;br /&gt;
===2.2The Application of Functionalist Approach to the Tourist Texts.===&lt;br /&gt;
2.2The Application of Functionalist Approach to the Tourist Texts.&lt;br /&gt;
In the 1990s, Functionalist Translation Theory was introduced to China, and since then it has been applied to translation studies by Chinese translation scholars. In his article published in 1995, Zhang Nanfeng briefly introduces Skopos theory to China for the first time, and considers that Skopos theory is referential (Zhang Nanfeng, 1995). German Functionalist Translation Theory, a paper released in1999, is the first article in China which systematically introduces German Functionalist Translation Theory (Zhong Weihe &amp;amp; Zhong Yu, 1999). Based on an overview of Functionalist Translation Theory, Zhang Meifang focuses on introducing Nord’s theory, especially on the detailed analysis of Nord’s principle of loyalty (Zhang Meifang, 2005). Famous domestic scholars, such as Liu Junping (2009), Liu Miqing (2012) and Li Wenge (2004), also introduce this theory in their books. With the rise of Functionalist Translation Theory in China, someone has compared it with other theories. Zhu Haotong compares Skopos Theory with Functional Equivalence Theory to analyze the similarities and differences between them, and further reveals that Functionalist Translation Theory inherits the reasonable part of Nida’s Functional Equivalence Theory, which is an important breakthrough and supplement to solve the problems that Functional Equivalence Theory leaves (Zhu Haotong, 2006). Some scholars also combine theory with translation practice to explore the application of Functionalist Translation Theory to translation practice. Jia Yanli and Wang Hongjun point out that Skopos Theory has its limitations, but it is still of instruction and reference value for non-literary translation texts, such as advertisements and tourism materials (Jia Yanli &amp;amp; Wang Hongjun, 2012). Li Liangchen selects several famous tourist attractions in China to translate the on-site tour-guide commentary into English. Then he improves them under the guidance of Skopos Theory and sends out questionnaires to overseas tourists for further analysis. He argues that the translation of on-site tour-guide commentary which is guided by Skopos Theory is more favorable to conveying information to foreign visitors, to promoting cultural exchanges and to improving the image of China’s tourist destinations (Li Liangchen, 2013). In Pragmatic Translation: Theory &amp;amp; Practice, Wu Feng and He Qingji introduce Functionalist Translation Theory (Wu Feng &amp;amp; He Qingji, 2008) and the characteristics of tourism text and translation skills (Wu Feng &amp;amp; He Qingji, 2008). In this book, they also discuss the controversy over the Chinese name of Functionalist Translation Theory, and holds that “功能派翻译理论” is the most appropriate Chinese translation (Wu Feng &amp;amp; He Qingji, 2008).Based on his own translation practice and under the guidance of Functionalist Translation Theory, Wu Zixuan probes into some special phenomena in the English translation of CNN newsreels. The author believes that in the translation of external publicity, we should not stick to the standard of faithfulness to the original text, but should deal with the original text properly from the perspective of achieving the purpose of translation, such as rewriting, abridging. (Wu Zixuan, 2005).&lt;br /&gt;
Functionalist approach establishes a theoretical system of diversified translation standards dominated by skopos rule. From the definition of Functionalist approach, it can be seen that the advantage of it is that the translator can get rid of the bondage of the original text, study the translation process with &amp;quot;translation purpose&amp;quot; as the starting point, and determine the translation strategies and methods. This can give full play to the translator's own initiative, flexible processing of the original text, in order to achieve the translation of the communicative function. In addition, functionalist approach requires the translation to be examined in the cultural context of the reader. The reader can accept the translation and understand the meaning of the original text through the translation, so the translation can realize the communicative function. On the basis of such advantages, functionalist approach can be used to guide the English translation of garden scenic spots, and the translator can choose a wider range of translation strategies and break out of the constraints of the original text. &lt;br /&gt;
Only by clarifying the purpose of translation can we avoid these limitations in the English translation of garden attractions. When using functionalist approach to guide the English translation of Chinese classical garden scenic spots, it is necessary to flexibly choose translation strategies and methods, give full play to the advantages of skopos theory, and achieve the balance between &amp;quot;principle of purpose&amp;quot; and &amp;quot;principle of fidelity&amp;quot; as far as possible.&lt;br /&gt;
With the deepening of globalization and cross-cultural communication, tourismis becoming a major industry in the 21st century. The development of tourism can not only promote the economic development of a country but also promote the external dissemination of national culture. Therefore, tourism translation deserves attention. Tourism text is a typical informative and operational text, and the language is unique. It is full of gorgeous words, such as four-character expressions, verses, proper nouns and so on.&lt;br /&gt;
Tourism text materials include tourism advertising, tourism brochures, scenic spots signs and so on. In this paper, we focus on the introduction of Chinese gardens’ scenic spots, which is usually colorful in language and rich in literary style. Tourism text translation belongs to applied translation, which should play a series of practical functions to publicize the image and resources of the country or place and attract overseas tourists. Therefore, the translator of tourism text must be clear about the type and function of tourism text, and to grasp the ultimate purpose of the translation. &lt;br /&gt;
On tourism text translation, the communicative purpose of the translation should be placed in a central position. Furthermore, the tourism text has both the information function and the calling function. The information function and the calling function complement each other. Only when the target language readers acquire the expected tourism information and cultural knowledge can the calling function be realized and the purpose of tourism text translation be achieved. With different translation strategies, the translated version should both expressed contains basic information, and make the tourists feel the profound of the Chinese culture from the beautiful scenery. &lt;br /&gt;
Cultural tourism has long been the focus of international tourism, and understanding Chinese culture is the main purpose of inbound tourists, so the translation of tourism texts bears the mission of cultural transmission and cultural publicity. However, due to the great differences between Chinese and English culture and language, there are many difficulties in cultural transmission in tourism text translation. China has a long and splendid history and culture. When introducing the scenic spots of cultural relics and historic sites, we usually associate with many historical figures and stories. These terms are cultural blank for most foreign tourists, but this kind of cultural experience is also the most attractive place for foreign tourists. It is of great importance to pay attention to cultural differences in tourism translation and carry out cultural transmission effectively. Chinese and English languages have different logic views, and Chinese expressions in tourism texts value decoration. English expressions tend to be clear, concise and to the point. For example, Chinese tourism texts often use a four-character lattice, which is symmetrical, while there is no corresponding four-character lattice expression in English. Therefore, in Chinese-English translation of tourism texts with frequent use of four-character phrases, it is necessary to keep in mind the objective principle of functionalist approach and give priority to cultural communication instead of rigidly adhering to form.&lt;br /&gt;
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===3. C-E Translation of the Summer Palace under Functionalist Approach===&lt;br /&gt;
3. C-E Translation of the Summer Palace under Functionalist Approach&lt;br /&gt;
By studying the specific translation strategies made by predecessors, the following steps are also adopted in this paper: first, the translation strategies are determined according to the text type, such as faithful reproduction of the original information or rewriting; Secondly, the translation strategies are determined according to the potential purpose of the translation, such as paraphrasing or deleting poems, generalizing specific expressions and transliterating proper nouns. Thirdly, the translation strategies are defined with the tourists as the center, such as adding logical words, adding explanatory information and using plain English.&lt;br /&gt;
The Summer Palace epitomizes the philosophy and practice of Chinese garden design, which played a key role in the development of this cultural form throughout the east. It is an outstanding expression of the creative art of Chinese landscape garden design, incorporating the works of humankind and nature in a harmonious whole, which was once the most important place of political and diplomatic activity for the supreme rulers of the late Qing dynasty. Based on three aspects of the Summer Palace, namely, garden culture, historical culture and religious culture, this paper discusses the problems existing in the English translation of the scenic spots of the Summer Palace and puts forward corresponding countermeasures under the guidance of the skopos rule of functionalist translation theory.&lt;br /&gt;
&lt;br /&gt;
===3.1 Garden culture.===&lt;br /&gt;
3.1 Garden culture. &lt;br /&gt;
The Summer Palace is a classical garden famous for its magnificence and beauty. There are many temples in the garden, and the green waves of kunming lake ripple. Landscape and humanities complement each other, containing rich natural and cultural information, reflecting the characteristics of Chinese classical gardens. The garden cultural features of the three scenic spots, namely, the hall of clouds, the foxiang pavilion and the Wenchang courtyard, are particularly outstanding. Therefore, this paper takes these three scenic spots as examples to discuss the Chinese-English translation of the introduction of the Summer Palace.&lt;br /&gt;
(1)	排云殿、佛香阁景区是颐和园内建筑布局最完整、建筑形式最丰富的中轴建筑群体，殿、阁、廊、亭、桥、坊、碑等建筑约两万平方米。从临水的云辉玉宇牌坊至排云门、排云殿、德辉殿、佛香阁、众香界、智慧海、层层升高，排列有序，气势巍峨，金碧辉煌，将园林、寺庙和宫殿融为一体。&lt;br /&gt;
Translation：This scenic spot covers an area of 20,000 square meters with an assortment of buildings such as palaces, towers, corridors, pavilions, walkways, bridges, archways and inscribed stone steles. It comprises a well-arranged group of structures, all diverse in style, located in the center of the Summer Palace garden. This complex of structures, ranging from the Glowing Clouds and Holy Land Archway on the waterside, the Gate that Dispels the Clouds, the Hall that Dispels the Clouds, the Hall of Moral Glory, and the Tower of the Fragrance of the Buddha, to the Realm of Popular Fragrance and the Sea of Wisdom Temple, were built in an orderly manner running from the foot of the hill to its top, with gardens, temples and palaces harmoniously integrated into the whole。&lt;br /&gt;
Analysis：As we all know, the design style of ancient Chinese buildings is beautiful with &amp;quot;symmetry&amp;quot;. The &amp;quot;axis&amp;quot; in hall of clouds scenic spot refers to the layout of the Summer Palace from far to near and from top to bottom, which cannot be simply understood as the center. Simply translating &amp;quot;axis&amp;quot; as &amp;quot;center&amp;quot; cannot express accurately the meaning of &amp;quot;symmetry&amp;quot;. Comparatively speaking, &amp;quot;axis&amp;quot; can better reflect the architectural style of the scenic spot.&lt;br /&gt;
(2)	从临水的云辉玉宇牌坊至排云门、排云殿、德辉殿、佛香阁、众香界、智慧海，层层升高，排列有序，气势巍峨，金碧辉煌，将园林、寺庙和宫殿融为一体。&lt;br /&gt;
Translation：These structures，including Glowing Clouds and Holy Land Archway at lake side，the Gate of Dispelling Clouds，the Hall of Dispelling Clouds，the Hall of moral Glory，and the Tower of Buddhist Incense，the Realm of Multitudinous Fragrance and the Sea of Wisdom Temple，were built in an orderly manner ranging up the hill with gardens，temples and palaces harmoniously integrated. This manifests beauty，grace and splendor，reminiscent of the loftingness and grandeur of a once mighty empire.&lt;br /&gt;
Analysis：In terms of the characteristics of language, Chinese emphasizes parataxis and four-word antithesis. When describing and naming scenes, gorgeous words and poetic words are generally chosen in Chinese. But, English emphasizes hypotaxis, on the other hand, puts more emphasis on reproducing the original appearance of things, using simple and natural words and preferring direct description. In sign translation, the English translation pays more attention to accurate, concise and lively. In the above paragraph, &amp;quot;层层升高，排列有序，将园林、寺庙和宫殿融为一体&amp;quot; is an introduction to the architectural features of foxiang pavilion, in order to make tourists have a clear understanding of the overall layout and architectural features of the scenic spot. This information is essential and can be translated into detail. However, &amp;quot;气势巍峨，金碧辉煌&amp;quot; focuses on the subjective description, and its explicit translation needs more complicated words. If this paragraph is translated in detail, it is easy to drag the content and make the key information vague. Therefore, the deletion of the English translation of this sentence will not affect the basic information of the original text.&lt;br /&gt;
(3)	主阁（文昌阁）两层，内供铜铸文昌帝君和仙童、铜骑。文昌阁与万寿山西供武圣的宿云檐象征“文武辅弼”。&lt;br /&gt;
Translation: A bronze statue of the God Wenchang, statues of gaeries, and a bronze steed were placed in the two-story pavilion. This tower is pared with the Tower of Cloud- Retaining Eaves, located to the west of the Longevity Hill, in which a statue of the Martial God was placed. The God Wenchang and the Martial God together symbolize reining of the emperor supported by scholars and warriors.&lt;br /&gt;
Analysis: Two questions arise in Chinese-English translation. First, there are two translations of wenchang pavilion in the translation: pavilion and tower, which appear in the same sign. Two different translations of the same scenic spot name tend to make foreign tourists think that it refers to different scenic spots, which may cause difficulty in understanding. Second, the translation of Wenchang pavilion into &amp;quot;Wenchang Tower&amp;quot; is against the actual architectural characteristics. In fact, the meanings of &amp;quot;pavilion&amp;quot; and &amp;quot;tower&amp;quot; have both similarities and differences. According to the Oxford dictionary, Tower means &amp;quot;a tall narrow building or part of a building, especially of a church or castle&amp;quot;, mainly referring to the tower-shaped part of a building, usually a tall and slender structure, such as the Eiffel Tower. &amp;quot;Pavilion&amp;quot; means &amp;quot;a building that is meant to be more beautiful than usual, built as a shelter in a park or used for concerts and dances&amp;quot;. The top structure of the pavilion usually has rectangles, triangles, hexagons, etc. The common feature of them is that the top is supported by columns without walls. From the external structure of Wenchang pavilion, its bottom is solid and its top is supported by columns. Therefore, the pavilion can accurately reflect the architectural characteristics of Wenchang pavilion, so I think it should be translated as Wenchang pavilion.&lt;br /&gt;
&lt;br /&gt;
===3.2 Historical culture. ===&lt;br /&gt;
3.2 Historical culture. &lt;br /&gt;
The accurate Chinese-English translation of the introduction of the Summer Palace not only enables foreign tourists to understand the characteristics of Chinese gardens, but also enables foreign tourists to understand the historical knowledge of a specific period of China. However, the Chinese-English translation of the Summer Palace still has problems in accurately conveying the historical background of the scenic spots, such as the English translation of Wenchang pavilion scenic spot:&lt;br /&gt;
(4)	此景区始建于清乾隆十五年，一八六零年被英法联军烧毁，光绪时按原样重建。阁结构为八面三层四重檐，通高36.44米，耸立于20米高的石造台基上，气势雄伟，是颐和园全园的构图中心。阁内供奉有铜铸金裹千手观世音菩萨站像。像高五米，重万斤，为明代万历年间所造，在八根贯通全阁上下的承重铁梨木擎天柱的衬托下，美妙庄严，熠熠生辉，有极高的文物和艺术价值。&lt;br /&gt;
Translation: The Wenchang tower was first built in 1750 and rebuilt under Emperor Guangxu after  the Anglo-French Allied Forces builted it down in 1860. The octahedral tower has three stories with four-layered eaves, altogether 36.44 meters high. Standing upright on a 20 meter-high stone foundation, it constitutes the center of the Summer Palace landscape and serves to accentuate its magnificence. A statue of the thousand-handed Guanshiyin Buddha, cast in bronze and gilded with gold, stands inside the tower. The statue, five meters high and five tons in weight, was cast during the reign of Emperor Wanli of the Ming Dynasty. Set off by the eight imposing pillars which support the tower, it glows with beauty, grandeur and brilliance. Its historical, cultural and artistic value can hardly be overstated.&lt;br /&gt;
Analysis: “始建于乾隆十五年”only was translated into “was first built in 1750” and the “光绪年间重建” was translated into “rebuilt under Emperor Guangxu”.The first sentence does not show that 1750 was the fifteenth year of the reign of emperor Qianlong, and the second sentence does not give foreign visitors the exact date of the reign of emperor Guangxu. The change of time concept and the disunity of expression easily make foreign tourists feel confused. Therefore, the translation of the time and the historical dynasties should be accurate and meticulous, and the supplementary method should be used to not only describe the dynasties clearly, but also supplement the corresponding years, so as to achieve the standardization of the translation. In this way, foreign tourists can not only be clear about the time of the event, but also understand the Chinese historical dynasties. Consider as follows: the Wenchang Pavilion was first built in 1750 during Emperor Qianlong’s reign（1735- 1795）and rebuilt in 1886 under Emperor Guangxu（1875- 1908）after the Anglo- French Allied Forces burned it down in 1860.&lt;br /&gt;
&lt;br /&gt;
===3.3 Religious culture. ===&lt;br /&gt;
3.3 Religious culture. &lt;br /&gt;
Many scenic spots in the Summer Palace have a strong buddhist atmosphere. While visiting the scenic spots, foreign tourists can understand the profound buddhist culture. Wenchang pavilion in the Summer Palace is the representative of Chinese religious culture.&lt;br /&gt;
(5)	主阁两层，内供铜铸文昌帝君和仙童、铜特。文昌阁与万寿山西供武圣的宿云檐象征“文武辅弼”。&lt;br /&gt;
Translation: A bronze statue of the god，Wenchang，and statues of two followers，the celestial boy，and the bronze steed，were placed in the two- storey pavilion. This tower is pared with the tower of Cloud- Retaining Eaves，located to the west of the Longevity Hill，in which a statue of the Martial God was placed. The two towers symbolize the support by both scholars and warriors to the ruling emperor.&lt;br /&gt;
Analysis: It is well known that westerners believe in theism, which refers to god as supreme . In Chinese religious culture, people believe in atheism and do not believe in the existence of god. Therefore, it is inappropriate to translate &amp;quot;文昌帝军&amp;quot; and &amp;quot;武圣&amp;quot; into &amp;quot;the god, Wenchang&amp;quot; and &amp;quot;the Martial god&amp;quot; in the translation. In fact, the &amp;quot;文昌帝军&amp;quot; was Zhang yu, an emperor of Shu of Ning kang (374). And &amp;quot;武圣&amp;quot; refers to Guan yu in history. Therefore, the simple translation of  &amp;quot;God&amp;quot; is not in line with the traditional Chinese culture, which will not only cause western tourists to misunderstand that Chinese religious tradition also believes in God, but also fail to convey Chinese historical allusions and relevant historical figures. In contrast, if &amp;quot;文昌帝军&amp;quot; is translated as &amp;quot;the emperor, Wenchang&amp;quot; and &amp;quot;武圣&amp;quot; is translated as &amp;quot;the Martial Master (Guanyu)&amp;quot;, it can more faithfully convey the history and religious culture contained in the source language. &lt;br /&gt;
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===4. Conclusion===&lt;br /&gt;
4. Conclusion&lt;br /&gt;
To sum up, Under the guidance of the skopos rule of functionalist translation theory, translators should have a cross-cultural awareness, fully understand the reading psychology and cultural appreciation needs of target language readers, and use effective translation strategies and methods to achieve the purpose of tourism text translation. Functionalist approach has made a pioneering contribution to the translation of non-literary genres. Functional translation effectively eliminates the disadvantages of traditional word-for-word translation, improves the efficiency of translation, and helps readers to grasp the meaning of the original text.&lt;br /&gt;
 The importance of the translation of the Summer Palace lies in the profound garden culture, historical culture and religious culture. The English translation is not only helpful for international friends to know more about the garden characteristics of the Summer Palace, but also helpful for spreading the long history and profound culture of China. In order to attract target readers and promote traditional Chinese culture, it is not only necessary to carefully explore Chinese culture and history, but also to use the fuctionalist approach appropriately. &lt;br /&gt;
Translation is a complicated process. Functionalist approach stresses the function of the discourse, the purpose of translation. In the practice of translation, if the translator can get rid of the bondage of the original equivalence, actively playing to subjective initiative, fully understanding the original text, depending on the purpose of discourse and adopting different translation strategies, the effect and readability of translation can be improved.&lt;br /&gt;
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===References===&lt;br /&gt;
References&lt;br /&gt;
Hans Vermmer, “Skopos and Commission in Translation Action”, in the Translation Studies Reader,ed. Chesterman, London and Network:Routledge,p.221-232. 2000.   &lt;br /&gt;
Munday, Jeremy. Introducing Translation Studies: Theories and Applications. Routledge publishing.2001.&lt;br /&gt;
Mason, “Textual Practices and Audience Design: and Interactive View of the Tourist Brrochure”. In Navarro et al.(eds.). Pragmatics at Work: The Translation of Tourist Literature. Bern: Perter Lang. 157-176.2004.&lt;br /&gt;
Nord, Text Analysis in Translation: Theory, Methodology and Didactic Application of a Model for Translation-Oriented Text Analysis. Beijing: Foreign Language Teaching and Research Press. 2006.&lt;br /&gt;
Nord, Translating as a purposeful activity. Shanghai: SFLE PRESS, 2001:27,30,32,65,245.&lt;br /&gt;
Reiss, Katharina. Translation Criticism: The Potentials &amp;amp; Limitations. Shanghai Foreign Language Education Press. Shanghai. 2004.&lt;br /&gt;
Venuti, Lawrence. The Translator’s Invisibility: A History Translation. Routledge.1995.&lt;br /&gt;
方梦之、毛忠明， 英汉—汉英应用翻译教程，上海: 上海外语教育出版社，2004.&lt;br /&gt;
金惠康，跨文化旅游翻译，中国对外翻译出版公司，2004.  &lt;br /&gt;
贾文波，应用翻译功能论，北京：中国对外翻译出版公司，2004&lt;br /&gt;
孙艺风，文化翻译的困惑与挑战，中国翻译，2016年第3期.  &lt;br /&gt;
王宏志，翻译与创作，北京大学出版社，2000.&lt;br /&gt;
吴自选，德国功能派翻译理论与 CNN 新闻短片英译，中国科技翻译, 2005.&lt;br /&gt;
谢天振，当代国外翻译理论，天津：南开大学出版社，2005.&lt;br /&gt;
张南峰，走出死胡同建立翻译学. 中国翻译, 1995.&lt;br /&gt;
仲伟合，钟钰. 德国的功能派翻译理论. 中国翻译, 1999.&lt;br /&gt;
张美芳，功能加忠诚—介评克里丝汀· 诺德的功能翻译理论.上海外国语大学学报, 2005.&lt;br /&gt;
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==Contrast between Literal Translation and Free Translation	张雪仪	Zhang Xueyi==&lt;br /&gt;
'''Abstract：'''&lt;br /&gt;
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The contrast between literal translation and free translation has always been the most discussed problem in translation studies. To compare these two translation methods, the basic point is to understand the purpose of translation. The ultimate goal of translation is to help different cultures communicate better, so that people who speak different languages can understand each other’s cultures. Due to the differences in social, historical and cultural backgrounds between languages, how to choose between the two translation strategies of literal translation and free translation requires translators to weigh the strengths and weaknesses of these two methods. This essay mainly compares literal translation and free translation between Chinese and Russian to help students and translators translate better.&lt;br /&gt;
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'''Key words：'''&lt;br /&gt;
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Translation strategies, Literal translation,Free translation &lt;br /&gt;
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'''摘要：'''&lt;br /&gt;
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直译与意译间的对比一直是翻译学中讨论度最高的问题。想要将这两种翻译方法进行对比，最基本的一点就是要明白翻译的目的是什么。翻译的最终目的在于帮助不同文化进行更好的交流，让使用不同语种的人相互理解彼此的文化。由于语种间社会历史文化背景的差异，如何在直译和意译这两种翻译策略中做出选择，就需要译者衡量两种方法的利弊。本文主要对汉语和俄语间直译和意译进行比较，以帮助学生和译者更好地进行翻译实践。&lt;br /&gt;
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'''关键词：'''&lt;br /&gt;
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翻译策略，直译，意译&lt;br /&gt;
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'''1.Introduction'''&lt;br /&gt;
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The former Soviet Union translation theorist Fedorov believed: “Translation is an activity that expresses what has been used in one language as a unified whole of content and form, and accurately and completely expressed in another language.” Translation theorist Barr Hudarov also wrote: &amp;quot;Translation is the process of changing the coherent discourse of one language into the coherent discourse of another language while maintaining its content and meaning.&amp;quot; To some extent, translation is a process of thinking re-creation, so certain standards and principles must be followed when translating. Translation standard is a measure of the quality of translation, it can guide translation practice, and it is a principle that must be followed in translation activities. Although each scholar has different opinions on the standard of translation, the final result he pursues is the same: the original text and the translated text express the same effect. In order to achieve the same effect, different translation methods have been derived, of which literal translation and free translation are the most commonly used.&lt;br /&gt;
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Russian idioms and proverbs, as the crystallization of the wisdom of the Russian nation and the immortal fossils in the Russian language, are one of the best materials for the Chinese to understand and learn Russian history, culture, and society. Due to different geographical, historical and economic conditions, the Russian and Chinese ethnic groups have formed different cultural backgrounds. These distinctive backgrounds and characteristics have caused great difficulties for Chinese learning Russian to further understand Russia. This essay studies the basic definitions of literal translation and free translation, their respective advantages and disadvantages and their mutual relations, and strive to solve how to use the translation methods of literal and free translation to properly translate Russian idioms and proverbs, and how to reflect the cultural background and language characteristics of Russian idioms and proverbs in the translation .&lt;br /&gt;
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'''2.Different views of &amp;quot;literal translation&amp;quot; and &amp;quot;free translation&amp;quot;'''&lt;br /&gt;
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In different periods and different countries, people's views on translation theory have changed a lot, but the debate about literal translation and free translation has always existed.&lt;br /&gt;
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In China, the contradiction between literal translation and free translation may initially be due to the different understanding of these two translation methods. The translator Sun Guiding believes that: literal translation is stuck to the structure of the original text and does not consider whether the Chinese is fluent and natural; while free translation is to use the inherent Chinese idioms and the most natural words and sentences as much as possible to achieve the effect of conveying the meaning of the original text. Former President of Wuhan University, Du Zuozhou, believes that literal translation means translating word by word according to the original text; free translation means translating according to the meaning of the original text, and the translation is more suitable for the common grammar of the translated language. The educator Meng Xiancheng believes that literal translation is a translation technology with different degrees of correctness. Literal translation is a translation that is faithful and correct according to the original text; free translation is a translation that summarizes the original meaning. Zhu Guangqian said: &amp;quot;The so-called 'literal translation' refers to the literal translation based on the original text. Every word and sentence are translated word by word, and the order of the words and sentences is not changed. The so-called ‘paraphrasing’ is to express the meaning of the original text in Chinese, and it does not have to be completely based on the literal and order of the original text. &amp;quot; The principle of &amp;quot;faithfulness, expressiveness and elegance&amp;quot; put forward by the modern Chinese translator Yan Fu has long been the basic principle guiding translation practice. A large number of beginners who learn foreign languages regard &amp;quot;faithfulness and expressiveness&amp;quot; as translations that are completely faithful to the original text when translating. In fact, Yan Fu's translation requirements are a guiding principle for translation based on semantics. When translating, if the structure and expression of the original text cannot be directly adopted, the sentence structure and expression must be changed according to the characteristics of the target language. In addition, there are many differences between the original language and the target language in the word order, grammar, variants and rhetoric in the translation process. In many cases, there is no direct corresponding word. This requires the translator to consider the actual semantics, background and other factors. On the basis of the original meaning of the sentence, use an appropriate method to convey the content of the original work and reproduce the language style of the original work.&lt;br /&gt;
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In the Soviet Union, under the influence of ideology, Western translation theories could not be widely disseminated, but within the Soviet Union, translation theories similar to Western translation theories have been formed and developed, and two main schools of translation theory have been further differentiated — Linguistic Translation School and Literary Translation School. To a certain extent, the dispute between these two schools also reflects the debate on literal translation and free translation among translators' groups. In terms of the principles or standards of translation, the linguistic translation school believes that an ideal translation should be an equivalent translation, first of all linguistic correspondence, that is, the translation should have the same meaning as the corresponding language or discourse unit of the original; the literary translation school believes that translation pursues artistic correspondence, and linguistic correspondence must be subordinate to artistic correspondence. Therefore, it proposes that the aesthetic standards of translation should reproduce the artistic reality reflected by the unity of the original content and form. The characteristic is to use images to translate images, that is, to create the same image in different languages. In 1953, Andrei Venediktovich Fedorov, the leader of the linguistic translation school, published his work &amp;quot;Summary of Translation Theory&amp;quot;, which was the first monograph of the Soviet Union to study translation theory from the perspective of linguistics. The author proposes that translation theory is a branch of linguistics. Since the translation of any genre work must rely on the comparison of two languages, translation problems can only be solved in the field of language. Fedorov’s view was refuted by the literary translation school represented by Ivan Alexandrovich Kashikin. The literary translation school believes that aesthetic issues are the core of literary translation theory, and translation should be regarded as a form of language art, that is, translation should be studied from the perspective of literature and art. In fact, the literary translation school emphasizes the translation of literary and artistic works, which belongs to the specific translation theory; while the research of the linguistic translation school focuses on the general translation theory, that is, the translation of all thematic works including literary works. The dispute between the two major translation theory schools of Russia and the Soviet Union provides another perspective for Chinese translators to explore the relationship between literal translation and free translation.&lt;br /&gt;
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'''3.The application of literal translation and free translation in the Chinese translation of Russian idioms'''&lt;br /&gt;
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The idioms of different nationalities are the most dynamic and expressive units at the lexical level in different languages, and they are also the units that can best reflect the characteristics of national culture in languages. The number of Russian idioms is extremely rich, it records and reflects all aspects of Russian national life. Due to the great differences in geographical locations and living customs between China and Russia, the national cultures reflected in Chinese and Russian must be quite different. One of the difficulties in idiom translation is its imagery. When translating idioms, both the meaning and the image must be considered. Although the Chinese and Russian cultures are very different, many of the commonalities of mankind, such as emotion and natural environment, have created conditions for mutual communication, mutual understanding and idiom translation between different languages.&lt;br /&gt;
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'''3.1 Literal translation'''&lt;br /&gt;
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Generally speaking, the literal translation method refers to a translation method that directly translates the original text without changing the language characteristics and style of the original text on the basis of fully respecting the meaning of the original text. Chinese translation of Russian idioms by literal translation method has the advantage of being able to intuitively and faithfully express the meaning of the idiom, maintaining the unique style and imagery of the original text: the disadvantage is that the translated idiom may not be understood by the Chinese because of China and Russia have different historical, cultural backgrounds, grammatical structures, and language world landscapes, which can easily form obstacles in the process of understanding.&lt;br /&gt;
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Translating Russian idioms by literal translation is further divided into two methods — literal translation into Chinese idioms and literal translation into non-idiom sentences or words.&lt;br /&gt;
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Literal translation of Russian idioms into Chinese idioms is suitable for the translation of Russian and Chinese idioms that are completely equivalent in image, structure, and meaning. The advantage is that it is easy to understand, and the translation is simple and fast. E.g:&lt;br /&gt;
&lt;br /&gt;
(1)домашнего  (своего) вора не убережешься. 家贼难防&lt;br /&gt;
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(2)знать как свои пять пальцев (видно, как на ладони) 了如指掌&lt;br /&gt;
&lt;br /&gt;
(3)подлить масла в огонь 火上浇油&lt;br /&gt;
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(4)как рыба в воде 如鱼得水&lt;br /&gt;
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(5)как ножом по сердцу 心如刀割&lt;br /&gt;
&lt;br /&gt;
(6)как гром среди ясного неба 晴天霹雳&lt;br /&gt;
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(7)на добро отвечают добром 善有善报&lt;br /&gt;
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(8)копейка рубль бережет 财从细起&lt;br /&gt;
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(9)мечты сбываются 梦想成真&lt;br /&gt;
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(10)курица всегда следует за петухом 嫁鸡随鸡&lt;br /&gt;
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(11)чего мало, того и дорого  (дорого то, что мало) 物以稀为贵(12)&lt;br /&gt;
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(12)изгонять яд с помощью яда 以毒攻毒&lt;br /&gt;
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(13)сидеть как на иголках 如坐针毡&lt;br /&gt;
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(14)действия громче слов 事实胜于雄辩&lt;br /&gt;
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(15)зарыть талант в землю 埋没人才&lt;br /&gt;
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(16)висеть на волоске 千钧一发&lt;br /&gt;
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(17)лить как из ведра 倾盆大雨&lt;br /&gt;
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The idioms in the above examples are completely equivalent in image, structure or meaning in Russian and Chinese, so Chinese idioms can be used for literal translation. &lt;br /&gt;
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In fact, in the two languages, idioms with the same image, structure, and meaning are still in the minority, so it is more common to translate Russian idioms into non-Chinese idiom sentences or vocabulary. E.g:   &lt;br /&gt;
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настоять на своем 坚持自己&lt;br /&gt;
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камень с души свалился 心里的一块石头落地&lt;br /&gt;
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связать свою судьбу 把自己的命运与……相连&lt;br /&gt;
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быть на голову 高出一头&lt;br /&gt;
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вбивать в голову 往脑子里灌&lt;br /&gt;
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блеснуть метеором 像流星一样一闪而过&lt;br /&gt;
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с мизинец 小拇指这么大&lt;br /&gt;
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It is not difficult to find that the literal translation method can completely retain the original appearance of the idiom, show the common concept of human understanding of the world, and be beneficial to the cultural exchange between China and Russia.&lt;br /&gt;
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'''3.2 Free translation'''&lt;br /&gt;
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Another method commonly used in the Chinese translation of Russian idioms is free translation. Free translation is to readjust the structure of the original text on the basis of keeping the original meaning of the idiom unchanged, and then reconstruct the Russian idiom with the way of thinking and expression in Chinese. This is because the figurative images used in many Russian idioms are inconsistent with those used in Chinese. If the original image is used in translation, it will cause a barrier to understanding. The advantage of free translation of Russian idioms is that it eliminates obstacles to understanding, but the disadvantage is that it cannot completely retain the original style and cultural characteristics. E.g:&lt;br /&gt;
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(1)В Тулу со свим самоваром не ездят.&lt;br /&gt;
直译：去图拉不用带自己的茶炊。&lt;br /&gt;
意译：多此一举&lt;br /&gt;
&lt;br /&gt;
(2)Честь лучше бесчестья.&lt;br /&gt;
直译：尊重比不尊重好。&lt;br /&gt;
意译：礼多人不怪。&lt;br /&gt;
&lt;br /&gt;
(3)словно горя с плеч&lt;br /&gt;
直译：把山从肩膀下卸下&lt;br /&gt;
意译：如释重负&lt;br /&gt;
&lt;br /&gt;
(4)выеденного яйца не стоит&lt;br /&gt;
直译：一个空蛋壳不值钱&lt;br /&gt;
意译：鸡毛蒜皮，一文不值&lt;br /&gt;
&lt;br /&gt;
(5)чужими руками жар загребать&lt;br /&gt;
直译：用别人的手将红炭火拨成一堆&lt;br /&gt;
意译：坐享其成，不劳而获&lt;br /&gt;
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(6)ни рыба, ни мясо&lt;br /&gt;
直译：没有鱼也没有肉&lt;br /&gt;
意译：不三不四，不伦不类&lt;br /&gt;
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(7)лучше синица в руках, чем журавль в небе&lt;br /&gt;
直译：天上的仙鹤不如手中的山雀&lt;br /&gt;
意译：远亲不如近邻&lt;br /&gt;
&lt;br /&gt;
(8)На языке мед, а под лед&lt;br /&gt;
直译：嘴上甜得像蜂蜜，心里冷得像冰&lt;br /&gt;
意译：笑里藏刀&lt;br /&gt;
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(9)И на солнце есть пятна&lt;br /&gt;
直译：太阳上也有黑点&lt;br /&gt;
意译：人无完人&lt;br /&gt;
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(10)семь раз отмерь, один раз отрежь&lt;br /&gt;
直译：测量了七次后再剪裁&lt;br /&gt;
意译：三思而后行&lt;br /&gt;
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Using free translation to translate Russian idioms requires the translator to accurately understand the meaning of the original text, because cultural differences make it impossible to literally translate. Only through the translator can an unobstructed bridge between Russian idioms and Chinese idioms be built.&lt;br /&gt;
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'''4.The application of literal translation and free translation in the Chinese translation of Russian proverbs'''&lt;br /&gt;
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There are often multiple translations of the same Russian proverb in Russian-Chinese dictionaries. On the one hand, because the translator uses different translation methods; on the other hand, because Russian proverbs have very rich connotations, a translation cannot perfectly interpret the inner meaning of the proverb. According to the context and the connotation of the proverbs, the most commonly used methods of Chinese translation of Russian proverbs are literal translation and free translation.&lt;br /&gt;
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'''4.1 Literal translation'''&lt;br /&gt;
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In Russian and Chinese languages, some proverbs not only have the same meaning or implicit meaning, but also use the same or similar figurative images to express a certain kind of the same semantics, and they are completely consistent in content and form. In this case, the equivalent translation of synonymous Chinese proverbs can convey the information contained in the original image, which not only retains the rhetorical color of the original language, but also enables the reader to perfectly understand the original text. E.g:&lt;br /&gt;
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(1)Куй железо, пока горячо. 趁热打铁。&lt;br /&gt;
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(2)Беда не приходит одна. 祸不单行。&lt;br /&gt;
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(3)Сытый голодного не разумеет. 饱汉不知饿汉饥。&lt;br /&gt;
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(4)Век живи, век учись. 活到老，学到老。&lt;br /&gt;
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(5)Выше встанешь, дальше увидишь. 站得高，看得远。&lt;br /&gt;
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(6)Лучше один раз увидеть, чем сто раз услышать. 百闻不如一见。&lt;br /&gt;
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(7)Нет дыма без огня. 无火不生烟。&lt;br /&gt;
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(8)Шила в мешке не утаишь. 口袋藏不住锥子。&lt;br /&gt;
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(9)Береги платье снову, а честь смолоду. 衣服要从新的时候爱惜，荣誉要从年轻时珍惜。&lt;br /&gt;
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(10)Выше лба уши не растут. 耳朵高不过额头。&lt;br /&gt;
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(11)Для милого друга семь верст не околица. 为了好友，多绕七里也不嫌远。&lt;br /&gt;
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(12)Как Новый год встретишь, так его и проведешь. 怎么迎新年，就怎么过一年。&lt;br /&gt;
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(13)Лучше умереть стоя, чем жить на коленях. 宁愿站着死，绝不站着生。&lt;br /&gt;
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(14)Не имей сто рублей, а имей сто друзей. 宁要一百个朋友，不要一百个卢布。&lt;br /&gt;
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По одежке встречают, по уму провожают. 迎客时看衣，送客时看才智。&lt;br /&gt;
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==Dialectical thinking in arguments between literal translation and free translation 	甘奉玉	Gan Fengyu==&lt;br /&gt;
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===Abstract===&lt;br /&gt;
  As two methods of translation, how to use literal translation and free translation has always been the focus of debate between Chinese and Western translation circles. Through the study of translation methods of literal translation and free translation at home and abroad, we can know that to some extent literal translation and free translation are two relative conceptions, so there will be word-for-word translation, that is, dead translation, and excessive free translation. However, these two are only two extremes of literal translation and free translation. In fact, although there are differences in definitions and application fields between literal translation and free translation, they are unified in common translation purpose, translation procedure and translation standard. Therefore, the two are contradictory and unified in translation activities. This is also the profound embodiment of the unity of opposites in materialist dialectics.--[[User:Gan Fengyu|Gan Fengyu]] ([[User talk:Gan Fengyu|talk]]) 07:46, 10 November 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
===Key words===&lt;br /&gt;
literal translation, free translation, word-for-word translation, over free translation, unity of opposites&lt;br /&gt;
&lt;br /&gt;
===摘要===&lt;br /&gt;
  作为翻译方法，直译(literal translation)与意译(free translation)怎样使用的问题一直是一个争论中西方翻译界不休的焦点。通过对国内外直译与意译的翻译方法的研究，我们可以得知，从某种程度而言，直译与意译是两个相对的概念, 所以才会有逐字翻译，即死译，与过度意译这两个完全对立的概念。但是，这两者只不过是直译与意译的两个极端点。其实，直译和意译虽然在概念定义，适用范围上有所差异，但却又统一于共同的翻译目的、翻译过程和翻译标准中。所以两者在翻译活动中应该是既对立又统一的矛盾体。而这也正是唯物辩证法中的对立统一矛盾观的深刻体现。--[[User:Gan Fengyu|Gan Fengyu]] ([[User talk:Gan Fengyu|talk]]) 07:50, 10 November 2020 (UTC)&lt;br /&gt;
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===关键字===&lt;br /&gt;
直译； 意译； 死译； 过度意译； 对立统一&lt;br /&gt;
&lt;br /&gt;
===Introduction===&lt;br /&gt;
  Throughout the translation history at home and abroad, the literal translation and free translation have always been a heat discussion in the translation circles. Someone absolutely approve literal translation and demean free translation, even pursue a dead translation, which creates an translated text difficult to understand. While some other people absolutely agree with free translation even advocate random acts, which means a random deletion in the translation practices and creates anther entirely different text. However, there are also a number of translators who have recognized that these two translation methods are not totally opposite. So they adopt a compromise and flexible way. That means they will choose the most appropriate one depending on the text demanding. Therefore, we can deduce from it that this eclectic translation is consistent with the Contradiction view of Unity of Opposite in Materialist Dialectics. In fact, literal translation and free translation are right a set of contradictions which are both opposite and unified. They complement each other into an integral one.&lt;br /&gt;
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===1.Dialectic thinking of the Unity of opposites===&lt;br /&gt;
===2.Word-for-word translation===&lt;br /&gt;
===3.Over free translation===&lt;br /&gt;
===4.Eclectic translation===&lt;br /&gt;
===5.Opposition and unity between literal translatiuon and free translation===&lt;br /&gt;
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===5.1 Opposition===&lt;br /&gt;
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===5.1.1 Opposition in definition===&lt;br /&gt;
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===5.1.2 Opposition in application fileld===&lt;br /&gt;
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===5.2 Unity===&lt;br /&gt;
===5.2.1 Unity in translation goal===&lt;br /&gt;
===5.2.2 Unity in translation procedure===&lt;br /&gt;
===5.2.3 Unity in translation standard===&lt;br /&gt;
===6.Conclusion===&lt;br /&gt;
===Bibliography===&lt;br /&gt;
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== Peter Newmark’s Improved Views on Literal Translation and Free Translation 赵茜 Zhao Xi==&lt;br /&gt;
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='''Document Translation'''=&lt;br /&gt;
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==On translation of official documents of CangNan County	吴恺	Wu Kai==&lt;br /&gt;
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On Translation of Official Documents of Cangnan County&lt;br /&gt;
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Japanese Language and Literature, School of Foreign Languages, Hunan Normal University, Wu Kai--[[User:Wu Kai|Wu Kai]] ([[User talk:Wu Kai|talk]]) 04:45, 2 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
==='''Abstract'''===&lt;br /&gt;
As one of the forefronts of Zhejiang’s opening-up cause, Cangnan County in Zhejiang Province has been enjoying a rapid development and an ever-growing degree of opening-up with lasting vitality as it’s supported by national policies and nourished by the dividends of economic globalization since China's reform and opening-up. As China has ushered in a period of major changes rarely seen in a century, Cangnan County is also facing new opportunities and challenges. Under the background of this era, Cangnan County is expected to make good use of its own advantages, especially the geographical ones—it is close to countries and regions including Japan, South Korea, and Taiwan—and should spare no efforts to achieve a higher level of opening-up, and, in turn, further promote its development. As an embodiment of the collective will of the people of Cangnan County, the official document is one of the best manifestations of its governance and stability control capabilities. For this reason, the research on how to translate official documents is of great significance for that it offers a great opportunity for Cangnan County to re-examine itself and to show the rest of the world its achievement in building a culture-enriched county.&lt;br /&gt;
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==='''Key words'''===&lt;br /&gt;
 official document translation, Cangnan County, opening-up, Japan, South Korea&lt;br /&gt;
&lt;br /&gt;
==='''摘要'''===&lt;br /&gt;
自中国改革开放以来，浙江省苍南县作为全浙江对外开放的前沿阵地之一，得到了国家政策支持和经济全球化红利的滋润，苍南县发展水平与对外开放程度日新月异，全县活力持久带劲。随着中国迎来“百年未有之大变局”，苍南县也面临着新的机遇和挑战，在此时代背景下，苍南县应该利用好自身优势，特别是临近日本、韩国、台湾等国家与地区的地理优势，努力开展更高层次、更高水平的对外开放事业，促进苍南更好的发展。为此，作为苍南县人民集体意志的体现，苍南县的公文就是对外展示其治理水平、稳控能力的最好的体现之一。而对于苍南县公文的如何翻译的研究，是促使苍南县重新审视自己、推进苍南人文县情传播海外的良机，意义重大。&lt;br /&gt;
&lt;br /&gt;
==='''关键词'''===&lt;br /&gt;
公文翻译  苍南县  对外开放  日本  韩国&lt;br /&gt;
&lt;br /&gt;
==='''I. System and Translation of Official Documents of Cangnan County'''===&lt;br /&gt;
&lt;br /&gt;
The unique official document system adopted by Chinese government agencies is a special integration of the thousands-of-years excellent political traditions in China and the essence of the organizational structure of the socialist regime. As a county-level unit in China's local administrative structure, Cangnan County has an official document system that is consistent with the national ones in general while has its own features. Official documents of Cangnan County can be basically divided into the following types of writing: resolutions, decisions, orders, bulletins, announcements, notifications, opinions, notices, reports, requests for instructions, approvals, proposals, letters, and minutes. Above-mentioned categories are collectively known as official documents. Besides, there are also some types of practical writing, including summaries, plans, notes, memos, briefings, speeches, manuals and so on, that are often used in our day-to-day work.&lt;br /&gt;
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In addition to those characteristics of the official documents that are commonly seen in China, official documents of Cangnan County also have its own features, which is mainly reflected in the aspect of proprietary terminology. Cangnan County, which used to be a part of Pingyang County in Zhejiang Province, was officially designated as a county in 1981 with the approval of the Central Government. It takes its name Cangnan, which means “on the south of the Yucang Mountain”, from its geographical location. As a relatively young county-level administrative unit in China’s administrative divisions, Cangnan County has a complex natural endowment and cultural environment, which is the reason why there are many special proprietary terms used in the official documents of Cangnan County, such as “Beautiful South Gate of Zhejiang Province”, “Southern Ouyue (an ancient kingdom in modern Wenzhou and Taizhou)” , “South Gate of Jiangsu-Zhejiang Region” and so on. Moreover, Cangnan is also the birthplace of the “Wenzhou Model”. Since the implementation of policy for the exchange of production materials and commercial grains in 1984, Cangnan has become an important base for the experiments and development of Wenzhou's private economy and market economy, and, thus, has made a significant contribution to the great cause of China's reform and opening-up.&lt;br /&gt;
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To conclude, the unity of the official document system viewed from the national scope of China and the uniqueness of the official document system viewed from the local scope of Cangnan area are both reflections of the integration of economic, political, and cultural elements. Therefore, when translating the terms and sentences in these official documents, obviously, it is almost impossible to follow general translation theories, such as Yan Fu’s “faithfulness, expressiveness and elegance” theory which applies to literature translation, and Christiane Nord’ Skopos theory which emphasizes schematic analysis. Due to the features of the official documents of Cangnan County, it is hard to imagine the consequence it will cause if those Cangnan and Chinese elements they contain are missed when translating them. Therefore, the starting point for the translation and research of Cangnan official documents should be analyzing the official document itself, but not choosing which translation theory to apply.&lt;br /&gt;
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The translation method focusing on the official documents themselves is undoubtably the one that emphasizes the content while manages to achieve a similarity in form. Thus, the translation theory that meets the requirements of official document translation in Cangnan County shall be the functional equivalence theory of the American linguist Eugene A. Nida. Eugene A. Nida argued in his theory that translation is to use the most appropriate, natural and equivalent language to reproduce the informational function of the source language both semantically and stylistically. Nida’s definition of translation specified that translation is seeking equivalence not only in lexical meaning, but also in semantics, style and literary form. Translation should convey both the denotative and connotative meaning of a message. Regarding the equivalence of translation, he believed that the equivalence consists of four parts: lexical equivalence, syntactic equivalence, textual equivalence, and stylistic equivalence. Among the four aspects, he emphasized that the meaning the core and most important part, followed by the form. The form of a text is likely to conceal the cultural connotation of the source language and may, therefore, hinder cultural exchanges. Based on the above, the reasons why the functional equivalence theory is applicable to official document translation in Cangnan County can be concluded as follows:&lt;br /&gt;
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First, the functional equivalence theory advocates that the target text should be equivalent to the source text both semantically and culturally. Official documents of Cangnan County are carriers of profound political culture with Chinese characteristics and the cultural environment in Cangnan. When translating them, in addition to showing the political consciousness and judicial authority of Cangnan government agencies, the local culture of Cangnan must also be reflected in the translations.&lt;br /&gt;
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Second, the functional equivalence theory suggests that if the lexical meanings and cultural elements cannot be taken into account at the same time, the translator then may give up the equivalence in form and try to reproduce the semantic and cultural meaning of the source text by changing the form of the sentence. There are many specialized terms with Chinese characteristics and Cangnan’s characteristics in official documents of Cangnan County. When translating them, once there is no corresponding expression in the target language, other forms of expression must be adopted to retain the meanings of those specialized terms as much as possible.&lt;br /&gt;
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Third, the functional equivalence theory proposes that if the change in form is still not enough to express the semantic and cultural meaning of the expression in the source language, the translation technique of “heavy damage” can be adopted to resolve cultural differences , so that the source language and the target language can achieve equivalence in semantic meaning. “Heavy damage” refers to the transformation of the deep structure of the source language into the surface structure of the target language, that is, expressing the cultural connotation of the source text with expressions of the target language. It cannot be ruled out that there are words and sentences in the official document of Cangnan County that cannot be translated, and when this happens, the translator can only rely on his translation techniques and understanding ability to process them creatively.&lt;br /&gt;
Above are simply macro analyses of the official document system in Cangnan County, and when it comes to specific analyses, challenges we face will only be severer.&lt;br /&gt;
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==='''II. Stylistic Features and Translation of Official Documents in Cangnan County'''===&lt;br /&gt;
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Looking at the official documents of Cangnan County from the micro level, we can work on the study of its translation based on the following characteristics.&lt;br /&gt;
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'''1. Details and Accurate'''&lt;br /&gt;
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As an officially-written document geared for the needs of our people, wording of the official documents of Cangnan County has a very specific orientation. Almost all content words have very clear meanings and connotations.&lt;br /&gt;
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For example, the sentence “经研究，县政府决定召开市对县安全生产巡查反馈会暨突出问题集中教育警示会，现将有关事宜通知如下。(As discussed, the county government decided to convene a feedback meeting on city-to-county inspections of production safety and a meeting for education and warning on outstanding issues. The relevant matters are hereby notified as follows.)” in the document 《苍南县人民政府办公室关于召开市对县安全生产巡查反馈会暨突出问题集中教育警示会的通知》(“Notice of the Office of the People's Government of Cangnan County on Convening a Feedback Meeting on City-to-County Inspections of Production Safety and A Meeting For Education and Warning On Outstanding Issues”) (the office of the People's Government of Cangnan County on June 8th, 2020) conveys several points very accurately and clearly, including the decision maker, the type, content and theme of the meeting. Therefore, special attention must be paid to the integrity of the information delivered when translating this sentence. For example, it is translated into Japanese as “討議を通じて、県政府は県の安全生産状況に対する市政府の巡査結果反映会及び顕著問題教育警告会を開催することが決定した。関連事項を以下のようにお知らせする。”&lt;br /&gt;
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'''2. Precise and Compact'''&lt;br /&gt;
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The role of official documents is to exchange formal information between the upper and the lower, the people and the officials, and the relevant departments. Therefore, the wording of the official documents must be rigorous. No slang and loose sentences should be used, and excessive use of parentheses and descriptive modifiers should be avoided. Official documents of Cangnan County follow this rule as well, in which there will never be informal expressions like daily spoken words.&lt;br /&gt;
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For example, the expression “三、决策目录施行动态管理，因工作需要增减或变更重大行政决策事项的，承办单位应按照相关规定程序提请调整。(Third, the decision catalogue shall be managed in a dynamic way, the undertaker shall submit application for adjustments in accordance with the relevant regulations if any increase/decrease or change shall be made to the major administrative decision-making matters because of the need of actual work.)” in the document《关于公布苍南县2020年度重大行政决策事项目录的通知》(“Notice on Issuing the 2020 Annual Catalogue of Major Administrative Decision-Making Matters of Cangnan County”) (the office of the People's Government of Cangnan County on Sept. 20th, 2020) When translating this sentence into Japanese, the translator shall fully considers the preciseness of the original expression, and translate it as “三つ目、戦略目録動的管理施行、仕事需要によっての増減または変更が必要な場合、請負機構は関連規定の手順に従って調整を提出しなければならない。”&lt;br /&gt;
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'''3. Programmed and Standardized'''&lt;br /&gt;
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The purpose of official documents requires a stable and routine writing program so that the official business can be conducted in an orderly manner. It is essential that the document writing is reasonably programmed. It allows the officer to know what it is and what to do at a glance if a standardized official document program is followed. The standardization of the official documents of Cangnan County can be regarded as a tricky feature in their translation.&lt;br /&gt;
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For example, the expression “各乡镇人民政府，县政府直属各单位 (the people's government of all townships and towns and all directly affiliated institutions of the people’s government of Cangnan County)” in the document《关于公布苍南县2020年度重大行政决策事项目录的通知》(“Notice on Issuing the 2020 Annual Catalogue of Major Administrative Decision-Making Matters of Cangnan County”) (the Office of the People's Government of Cangnan County on Sept. 20th, 2020) is obviously a standardized addressing of the receiving units of an official document, and it should be translated into Japanese as “各郷鎮人民政府、県政府直属の各部門”.&lt;br /&gt;
Viewing from a micro perspective, we may find that special attention should be paid to many precise details when translating those official documents. It is of great significance that, during the cause of reform and opening-up, we strike a balance between the macro level and the micro level in official document translation, which will serve as a stage for Cangnan County to show itself to Japan, South Korea and other East Asian countries and regions.&lt;br /&gt;
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==='''III. Translation of Official Documents of Cangnan County under the Context of the Japanese Language'''===&lt;br /&gt;
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Cangnan County is one of the nearest administrative units to Japan in China, and Okinawa Prefecture in Japan and Cangnan County are neighbors facing each other across the sea. Furthermore, Cangnan County itself has ports in Xiaguan, Pacao, Yanting, Dayu and other places, and has the basic conditions for conducting small transactions of freights with Okinawa. However, due to the inadequacy policies, laws and regulations, a large portion of Japan’s trade with China, especially with Zhejiang Province, is still conducted in the three port cities, namely Ningbo, Zhoushan, and Hangzhou. Cangnan’s geographical advantages have never been given to full play. To Japan, Cangnan is not a total stranger. Wenzhou City has a great influence upon Japanese culture and history. Special local products such as Wenzhou green tea and Wenzhou satsuma orange are very attractive to Japanese people. Many of the business exchanges during the Kamakura Bakufu in Japan were happened between Hakata merchants and Wenzhou people. As an important subordinate region of Wenzhou City, Cangnan County naturally has left an impression on Japanese people when it comes to China.&lt;br /&gt;
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If Cangnan hopes to lay a foundation for the future cooperation with Japan through its cause of opening up to the outside world, it is of great importance that we study the methods and techniques to make the translation of Cangnan’s official documents to meet the specific context of the Japanese language, which is also a part of the cultural exchanges that will facilitate economic and trade cooperation between Japan and China. The political status of Cangnan County is equivalent to the one of regular cities and special wards in Japan, but this does not mean that the official documents of Cangnan County can be regarded as equivalents to the official documents released by the governments of the regular cities and special wards in Japan, and there are huge differences between their respective official documents in form, wording, Cultural connotation and etc. To better translate Cangnan official documents under the context of Japanese language, the following aspects must be paid attention to:&lt;br /&gt;
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1. Detailed Comparison of Types&lt;br /&gt;
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In the Japanese official document system, the word “公文” is different in meaning from the word “公文” in Chinese official document system. In Chinese “公文” means government official documents, while in Japanese “公文” generally refer to legal documents that have the force of law and the term “公文書” is the one that refers to government official documents, which roughly includes “外交文書” and “起案文”, “通達” , “命令”, “許可”, “通知書” and so on . When translating official documents of Cangnan County into Japanese, attention should be paid to the transformation of the types of the official documents. The classifications of official documents in China and Japan are different from each other.&lt;br /&gt;
For example, when translating documents such as “proposal letter”, “report” and the like into Japanese, the title should be translated as “建言書” and “報告書”, while “命令(order)”, “通知(notice)”, “提案(Proposal)” and etc. need no translation and can be titled with the original characters directly as “命令”, “通知”, “提案”, and can also be further translated into “命令状”, “通知書”, “提案書”. Those reflect the characteristics of the division of the types of the official document system in Japan.&lt;br /&gt;
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2. Careful Consideration of the Translation of Chinese Characters&lt;br /&gt;
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There are a large number of Chinese characters in Japanese. This will for sure be an advantage when translating official documents of Cangnan County into Japanese, however, at the same time, this is also a huge disadvantage. After all, those Chinese characters are Japanized Chinese characters, and their meanings and usages are more or less different from the original ones in Chinese.&lt;br /&gt;
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For example, the expression “设定全县森林防火期(setting the season of forest fire prevention)” in the document 《苍南县应急管理局局长王再忠关于&amp;lt;苍南县人民政府关于做好森林防火期护林防火工作的通告&amp;gt;的政策解读》(“Policy Interpretation Of ‘Notice of Doing Forest Protection and Fire Prevention during the Season of Forest Fire Prevention by the People's Government Of Cangnan County’ by the Director of Cangnan Emergency Management Agency Wang Zaizhong”) in could be translated character by character into Japanese as “全県域森林防火期間設定”. However, expressions such as “野外火源如何管理” cannot be translated in the same way, and must be processed accordingly and translated into Japanese as “野外の火の元が如何に処理すること”. When translating official documents of Cangnan County into Japanese, the translators must reject the preconceived thinking and native Chinese thinking, or it will lead to irreversible misunderstandings and mistakes.&lt;br /&gt;
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3. Mastery of the Equivalence of Semantic Meaning&lt;br /&gt;
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Chinese is an isolating language, in which the grammatical meaning is reflected by the order of words, while Japanese is an agglutinative language, in which auxiliary words and flexible usages of vocabulary are adopted to reflect the grammatical meaning. This requires the translators to have mastery of the equivalence of semantic meanings when translating official documents of Cangnan County into Japanese and try to achieve perfect equivalence in official document translation.&lt;br /&gt;
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For example, there is a expression as “全体公民必须认真贯彻‘以人为本、预防为主、积极扑救、有效消灾’的森林防灭火工作方针，一旦发现森林火灾，要立即向当地人民政府或森林防灭火指挥部办公室报告(all citizens must seriously implement the working policy of forest fire prevention and firefighting ‘people-oriented, prevention-focused, active in firefighting, effective in disaster relief’, once a forest fire is detected, it must be reported to the local people’s government or the forest fire prevention and firefighting headquarters office immediately)” in the document 《苍南县应急管理局局长王再忠关于&amp;lt;苍南县人民政府关于做好森林防火期护林防火工作的通告&amp;gt;的政策解读》(“Policy Interpretation Of ‘Notice of Doing Forest Protection and Fire Prevention during the Season of Forest Fire Prevention by the People's Government Of Cangnan County’ by the Director of Cangnan Emergency Management Agency Wang Zaizhong”). When dealing with long and complex sentences, the translator must be flexible in using translation techniques to decompose the sentences and translate them step by step, focusing on the balance between the form of the sentence and its semantic meaning. Based on this principle, the abovementioned sentence could be translated into Japanese as “人間本位、予防軸化、積極救助、有効消災という森林防火作業方針は全県民が必ず強固に守らなければならない。林に火事が発見された際、直ちに所轄人民政府や森林防火指揮部執務室に報告すること。”&lt;br /&gt;
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There is no doubt that, in terms of four-character idioms, allusions, new words of the era and etc., the translation of official documents of Cangnan County under the context of the Japanese language still has a long way to go, but the part that we should pay most attention to in translation is always the differences in culture between the source language and the target language. Only by keeping this basic point in mind at all times, will there be no huge mistakes being made when translating official documents of Cangnan County into Japanese.&lt;br /&gt;
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==='''Ⅳ. Translation of Official Documents of Cangnan County under the Context of the Korean Language'''===&lt;br /&gt;
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Zhejiang Province and South Korea have laid a good foundation for economic and trade cooperation projects, and a framework that is comprehensive, wide-ranging, and multi-level has been established for Zhejiang-South Korea cooperation. The advantages of the two regions are obviously complementary and the development potential for both sides and in between is huge. In September 2016, the Zhejiang China-Korea (Quzhou) Industrial Cooperation Park was approved as the first batch of “Zhejiang International Industrial Cooperation Parks” in Zhejiang Province. The total planned area is about 3,000 acres and the total planned investment is 12 billion yuan. Represented by the Zhejiang China-Korea Industrial Cooperation Park, a large number of economic and trade cooperation projects has been carried out with South Korea by Zhejiang Province. As an indispensable part of Zhejiang Province, Cangnan County is facing a huge gap in the cultural exchanges and economic cooperation with South Korea. How to elevate the level of Cangnan’s opening up to the outside world and advancing Cangnan’s economic, trade and cultural cooperation with South Korea is a question that is well worth exploring. Although Cangnan is further away from South Korea compared with regions in the north of Zhejiang, geographic location should never be a factor that hindering Cangnan’s economic, trade and cultural cooperation with South Korea. In an era of ever-deepening globalization, it is of great significance that we think about how to develop and promote the economic and trade and cultural cooperation between Cangnan and South Korea.&lt;br /&gt;
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Northern Zhejiang is a key area for economic, trade and cultural cooperation with South Korea. As the south gate of Zhejiang Province, if Cangnan County could open the door of economic, trade and cultural cooperation to South Korea, then this will inevitably bring extraordinary development opportunities to southern Zhejiang and make the pattern of Zhejiang and South Korea’s economic and cultural cooperation more balanced and healthy. The political status of Cangnan County is equivalent to the one of si(city), gu (district), and gun(county) in South Korea. Because of some historical reasons, South Korea is greatly influenced by Chinese culture. From the Three Kingdoms era of Joseon, to the Unified Silla Dynasty, the Wang’s Goryeo Dynasty, and the Yi’s Joseon Dynasty, the basic system of administrative divisions in South Korea is almost the same as the one in China, so the official document system of cities, districts, and counties in South Korea can be regarded as basically equivalent to the official document system of Cangnan County with only slight differences originated from the localized political and cultural traditions and the basic social condition of South Korea. Therefore, there are relatively fewer difficulties of translation when translating official documents of Cangnan County into Korean, aside from the barriers caused by Korean Hangul words. The translation of official documents of Cangnan County under the context Korean language requires attention to the following aspects:&lt;br /&gt;
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1. The Combination of Chinese characters and Hangul&lt;br /&gt;
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Modern Korean uses Hangul as the main written characters, but this does not mean that there is no place for Chinese characters in the Korean system. Since the launch of the abolition of Chinese characters movement in South Korea in the 1970s, Hangul did exactly achieved an overall penetration of every aspect of their daily life, but when it comes to important documents, Chinese characters still reserve a seat in the arena of South Korea’s history. Furthermore, a higher level of talent training is required now to meet the need of South Korea’s economic and social development, and the mastery of sinology has become, among all the necessary skills, one of the most straightforward evaluation criteria to access the qualified personnel. Thus, South Korea has restarted the Chinese character teaching movement. Nowadays, the official document system in South Korea has become one in which Hangul serves as the main language and the mixed use of Chinese characters and Hangul serves as a supplement. Just as how the mixed use of kana and Chinese characters in Japanese official documents may help in its translation, the mixed use of Chinese characters and Hangul also greatly facilitate the translation of official documents of Cangnan County into Korean. However, because Chinese characters used in Korea are composed of traditional Chinese characters and a small number of Korean self-made Chinese characters, we can not take it for granted that it is advisable to translate them word by word.&lt;br /&gt;
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For example, the title of the document《苍干任〔2020〕18号 王再忠等同志的任命》(“Cangnan Cadre Appointment [2020] No. 18: Appointment of Wang Zaizhong and etc.”) (the Office of CPC Cangnan Party Committee on March 27th, 2020) can be translated with the mixed use of Chinese characters and Hangul into Korean as《蒼南縣의 幹部任命〔2020〕18號 王再忠등 同志의任命》. Also, it be translated into Korean with Hangul alone as《참남현의 간부임명〔2020〕18호 왕재충등 동지의임명》.&lt;br /&gt;
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2. The Usage of Refined Language&lt;br /&gt;
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In recent years, South Korea has carried out reforms of the official document system, urging that the South Korean government agencies at all levels should use “refined(or purified) language”, that is, to write and publish official documents with words that are easy for the public to understand and have explicit meanings, reducing the cost of communication between the government and the public and, in this way, building a closer relationship between the government and the people, so that civil servants can communicate with the people more effectively. Refined language is a kind of common vernacular that differs from the official language. Although this trend of the wording of Korean official documents is not unconditional, but when compared with official documents of Cangnan County, which emphasize the solemnity and formality of official documents, this trend is the part that the translator has to pay his attention to.&lt;br /&gt;
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For example, when translating the expression “为加强行政规范性文件管理，切实推进依法行政，加快法治政府建设 (To strengthen the management of administrative normative documents, promote the administration in accordance with law, and accelerate the construction of a government ruled by law)” in the document《苍南县人民政府关于公布县政府及县政府办公室行政规范性文件清理结果的通知（有效）》(“Notice of the Office of the People's Government of Cangnan County on the Announcement of the Results of the Cleanup of the Administrative Normative Documents of the County Government and the County Government Offices (Effective)”) (the Office of the People's Government of Cangnan County on October 23th, 2020) , blunt expressions may not be that applicable and this expression translated into Korean in a more public-friendly way as “행정 규범적인 문서관리를 강화하기 위해, 법에따라 행정을 철저히 추진하고 법치정부의 건설을 가속화시킨다.”&lt;br /&gt;
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3. Mastery of the Equivalence of Semantic Meaning&lt;br /&gt;
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Like Japanese, Korean is also a typical agglutinative language. A sentence is formed by connecting independent words with various auxiliary words, and with a subordinating conjunction at the end of the sentence. Auxiliary words are just like glues, they exist after every subject, predicate, and object component of a Korean sentence to them together. For that these auxiliary words have no substantial meaning themselves, they must stay close to the main body in front, and a space must be put after. Therefore, when translating Chinese, which is an isolated language, into Korean, which is an agglutinative language, it is necessary to have mastery of the equivalence of the semantic meaning of the expression.&lt;br /&gt;
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For example, when translating the expression “全面实施全民参保计划，做好参保情况清查，提升参保信息质量，清理重复参保，稳定持续参保，减少漏保断保，实现应保尽保。(Fully implement the national social security plan, do a good job in checking the coverage of the social security, improve the quality of the collection of the information of the insured, clean up repeated insureds, stabilize the renewal of the social security, reduce the interruption of the social security, and achieve full social security coverage.)” in the document《关于做好2021年度城乡居民基本医疗保障工作的通知》(“Notice on Doing a Good Job in Basic Medical Security for Urban and Rural Residents in 2021”)( the Office of Medical Security Bureau of Cangnan County on November 5th, 2020), the translator should pay attention to the equivalence of semantic meaning of this long sentence and translated it into Korean as “전국민기본의료보험가입계획을 전면적으로 실시하고 기본의료보험가입상황을 철저히 조사하며 기본의료보험가입 정보의 질을 향상시키고 중복기본의료보험가입을 청산하며 안정적이고 지속적인 기본의료보험가입을 하며 보험누락을 줄이고 기본의료보험가입 을 실현해야 한다.”&lt;br /&gt;
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==='''Ⅴ. Studies of Official Document Translation and the Cause of Opening-up in Cangnan County'''===&lt;br /&gt;
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Based on the abovementioned basic characteristics of the official document system of Cangnan County, the notes for official documents translation under the context of the Japanese language and the notes for official documents translation under the context of the Korean language, we can see that official documents of Cangnan County is not as difficult to handle as something untranslatable. Cangnan County enjoys a good geographic location: it is located in the coast of the East China Sea, and is close to both Japan and South Korea, two strong economies in East Asia. However, Cangnan County has not yet made use of these favorable conditions to the fullest to promote cultural cooperation and trade with the two countries. Cangnan’s opening up to the outside world requires innovative thinking and an elaborate layout. Studies on the translation of official documents of Cangnan County, especially the translation of official documents under the context of the Japanese and Korean language, will help to explore the cultural spirit of the government institutions, and play an important role in building a good image of Cangnan County in East Asia and laying a foundation for Cangnan's cooperation with major countries and regions in East Asia .&lt;br /&gt;
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The world today is undergoing profound changes rarely in a century, and so is China. The tide of history moves on and Cangnan shall not stay out of the matter, but must follow it courageously and strive to open new doors for Cangnan's opening up to the outside world through the study of the official document translation of its own.&lt;br /&gt;
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===References===&lt;br /&gt;
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[5]周萱. 《中国共产党怎样解决民族问题》（节选）中韩翻译报告[D].青岛大学,2017.&lt;br /&gt;
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[6]张利军. 《教学的游戏性研究》的汉日翻译实践报告[D].广西师范大学,2019.&lt;br /&gt;
&lt;br /&gt;
[7]栾亚琼. 《2015年山东省政府工作报告》汉日翻译实践报告[D].曲阜师范大学,2016.&lt;br /&gt;
&lt;br /&gt;
[8]占丽华. 源流与演变—日本地方公文书馆发展路径研究[D].山东大学,2020.&lt;br /&gt;
&lt;br /&gt;
[9]任清萍. 功能翻译理论视角下政府工作报告日译研究[D].外交学院,2020.&lt;br /&gt;
&lt;br /&gt;
[10]孙慧. 产业竞争力与区域经济增长[D].苏州大学,2006.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
--[[User:Wu Kai|Wu Kai]] ([[User talk:Wu Kai|talk]]) 04:45, 2 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
==The Translation Process and Methods of Translating English Long Sentences	周艺文	Zhou Yiwen==&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
===Abstract===&lt;br /&gt;
===Key words===&lt;br /&gt;
===摘要===&lt;br /&gt;
===关键词===&lt;br /&gt;
===Introduction===&lt;br /&gt;
&lt;br /&gt;
===Conclusion===&lt;br /&gt;
===Bibliography===&lt;br /&gt;
&lt;br /&gt;
==Chinese-English Translation of News Headlines From the Perspective of Skopos Theory	张维虹	Zhang Weihong==&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
==='''Abstract'''===&lt;br /&gt;
&lt;br /&gt;
==='''key words'''===&lt;br /&gt;
&lt;br /&gt;
News headlines; Skopos theory; translation&lt;br /&gt;
&lt;br /&gt;
==='''摘要'''===&lt;br /&gt;
社会的飞速发展使得人们的阅读方式发生了巨大的改变, 通过阅 读新闻标题来获取消息和了解事实, 成为大多数人的不二之选, 新闻标题 翻译也就越来越具有其必要性。 新闻标题的重要性堪比一部使人印象深刻 的电影名, 一则响亮的广告语, 一本撩人心弦的书名。 较之娱乐新闻, 时 政新闻略显严肃客观, 又因当今科技物质的飞速发展, 时政新闻的点阅数 量明显少于以消遣娱乐为目的的娱乐新闻。 怎样提高时政新闻的阅读量, 怎样使得时政新闻如同娱乐新闻一般深受广大人民的喜爱, 这不仅是新闻 编辑者们的挑战, 也是新闻翻译界的难题。 本文以德国功能派翻译目的论 为理论指导, 结合新闻学及编辑学的相关学科知识, 通过对中英时政新闻 标题的对比分析, 旨在对时政新闻标题的汉译英提出翻译策略, 让国外读者正确客观无误的了解中国的时事政策。&lt;br /&gt;
&lt;br /&gt;
==='''关键字'''===&lt;br /&gt;
&lt;br /&gt;
===Introduction===&lt;br /&gt;
&lt;br /&gt;
===Skopos Theory===&lt;br /&gt;
&lt;br /&gt;
===Features of News Headlines===&lt;br /&gt;
&lt;br /&gt;
===Chinese-English Translation Methods of News Headlines from the Skopos Perspective===&lt;br /&gt;
&lt;br /&gt;
===Conclusion===&lt;br /&gt;
&lt;br /&gt;
===Bibliography===&lt;br /&gt;
&lt;br /&gt;
==On Chinese-English Translation of Public Service Advertisements From the Perspective of Text-type Theory  司妤  Si Yu==&lt;br /&gt;
&lt;br /&gt;
==='''Abstract'''===&lt;br /&gt;
&lt;br /&gt;
==='''key words'''===&lt;br /&gt;
&lt;br /&gt;
==='''摘要'''===&lt;br /&gt;
&lt;br /&gt;
==='''关键字'''===&lt;/div&gt;</summary>
		<author><name>Song Jianru</name></author>
	</entry>
	<entry>
		<id>https://bou.de/u/index.php?title=History_of_Translation_Studies_8&amp;diff=107932</id>
		<title>History of Translation Studies 8</title>
		<link rel="alternate" type="text/html" href="https://bou.de/u/index.php?title=History_of_Translation_Studies_8&amp;diff=107932"/>
		<updated>2020-12-06T14:51:16Z</updated>

		<summary type="html">&lt;p&gt;Song Jianru: /* 关键词 */&lt;/p&gt;
&lt;hr /&gt;
&lt;div&gt;这里是《翻译学史》的书稿第八部分(Part 8)。麻烦各位同学看一下已经存在的章回（样品），自己再加进去新的一个章回（就是你们的学期论文）。请也帮助同学们把他们的论文改正。这样多次修改，大家的论文会越来越好。&lt;br /&gt;
&lt;br /&gt;
学期论文（结合学期所学，撰写一篇5000以上单词的英文论文，按照专业杂志的格式，题目、摘要、关键词和参考文摘需要英中，文章英）。学期论文成绩占70%，平时成绩（含课堂表现、展示及作业）占30%。&lt;br /&gt;
&lt;br /&gt;
*Link back to course homepage: [https://bou.de/u/wiki/Introduction_to_Translation_Studies Course Homepage Intro. to TS]&lt;br /&gt;
*Link back to the final exam paper section of the course homepage: [https://bou.de/u/wiki/Introduction_to_Translation_Studies#Final_Exam_Papers Final Exam Papers]&lt;br /&gt;
*Link to other parts of the final exam papers: [https://bou.de/u/index.php?title=History_of_Translation_Studies_1 Final Exam Papers Part 1]&lt;br /&gt;
*Link to other parts of the final exam papers: [https://bou.de/u/index.php?title=History_of_Translation_Studies_2 Final Exam Papers Part 2]&lt;br /&gt;
*Link to other parts of the final exam papers: [https://bou.de/u/index.php?title=History_of_Translation_Studies_3 Final Exam Papers Part 3]&lt;br /&gt;
*Link to other parts of the final exam papers: [https://bou.de/u/index.php?title=History_of_Translation_Studies_4 Final Exam Papers Part 4]&lt;br /&gt;
*Link to other parts of the final exam papers: [https://bou.de/u/index.php?title=History_of_Translation_Studies_5 Final Exam Papers Part 5]&lt;br /&gt;
*Link to other parts of the final exam papers: [https://bou.de/u/index.php?title=History_of_Translation_Studies_6 Final Exam Papers Part 6]&lt;br /&gt;
*Link to other parts of the final exam papers: [https://bou.de/u/index.php?title=History_of_Translation_Studies_7 Final Exam Papers Part 7]&lt;br /&gt;
*Link to other parts of the final exam papers: [https://bou.de/u/index.php?title=History_of_Translation_Studies_8 Final Exam Papers Part 8]&lt;br /&gt;
*Link to other parts of the final exam papers: [https://bou.de/u/index.php?title=History_of_Translation_Studies_9 Final Exam Papers Part 9]&lt;br /&gt;
*Link to other parts of the final exam papers: [https://bou.de/u/index.php?title=History_of_Translation_Studies_10 Final Exam Papers Part 10]&lt;br /&gt;
&lt;br /&gt;
='''History of Translation'''=&lt;br /&gt;
== Study on Brand Name Translation from the Perspective of Cultural Difference	谭鑫洁	Tan Xinjie==&lt;br /&gt;
&lt;br /&gt;
==='''Abstract'''===&lt;br /&gt;
&lt;br /&gt;
== Abstract: ==&lt;br /&gt;
&lt;br /&gt;
==='''key words'''===&lt;br /&gt;
&lt;br /&gt;
==='''摘要'''===&lt;br /&gt;
&lt;br /&gt;
==='''关键字'''===&lt;br /&gt;
&lt;br /&gt;
===Complete transcript of the content of the original work ===&lt;br /&gt;
&lt;br /&gt;
===Same style and manner of writing===&lt;br /&gt;
&lt;br /&gt;
===Equivalent effect===&lt;br /&gt;
&lt;br /&gt;
===Discussion===&lt;br /&gt;
&lt;br /&gt;
===Conclusion===&lt;br /&gt;
&lt;br /&gt;
===Bibliography===&lt;br /&gt;
&lt;br /&gt;
==A Comparative Study on the Translation History in Western Countries and China	王煜	Wang Yu==&lt;br /&gt;
===摘要===&lt;br /&gt;
翻译是一种跨文化交流活动，翻译活动加快了人类文明发展步伐，减少了人们之间的沟通障碍。随着时代的变迁，中国和西方国家逐渐形成了各自的翻译史，翻译史的研究是学科建设的一项基础工程。尽管中西方翻译史在某些方面有所差异，但却都有着各自的独特性，并对人类的翻译活动产生了巨大的影响与贡献。文章将以中国和西方国家为主要对象，从二者翻译史起始，包含阶段和各阶段代表人物，影响意义，差异性出发，对二者的翻译史进行简略的对比研究。&lt;br /&gt;
&lt;br /&gt;
===关键词===&lt;br /&gt;
翻译史；西方翻译史；中国翻译史&lt;br /&gt;
&lt;br /&gt;
===Abstract===&lt;br /&gt;
Translation is an intercultural communication activity, translation activities have accelerated the development of human civilization and reduced the communication barriers between people of different countries or nations. With time goes by, things are in a state of flux and both the western and eastern countries have gradually formed their own history of translation, the study of translation history is a basic project of discipline construction. Though there are many differences among the translation histories of western countries and China, the two kinds of translation histories are still shining their own bright unique lights and have an indelible influence and contribution to human translation activities. This paper intends to make a brief comparison of translation histories between western countries and China, which includes the origins, the stages, the representatives of the stages, the significance and influence as well as the differences of the two translation histories.&lt;br /&gt;
&lt;br /&gt;
===Keywords===&lt;br /&gt;
Translation history; Translation history of the West; Translation history of China &lt;br /&gt;
&lt;br /&gt;
===1. Introduction===&lt;br /&gt;
No matter in China or in the west, translation plays an important role in knowledge-spreading. As an indispensable part of translatology, the study of translation history has made a great influence on translation activities, it has gradually become the focus of the literary and historical circles in recent years. Translation activities can be traced back to the origin of language, and the history of translation is almost as old as language itself, it is closely related to the changes in today's society. Since the 1980s, the translation studies in the mainland of China have made remarkable progress in the curriculum design of Chinese and western translation history and the compilation of related works. In the early 1980s and 1990s, there were many related works came out one after another including A brief history of Chinese Translation: the part before the May 4th Movement（《中国翻译简史-“五四”运动以前部分》） written by Zuyi Ma, A historical manuscript of Chinese translated literature （《中国翻译文学史稿》）edited by Yugang Chen, and also the A Short History of Translation in the West（《西方翻译简史》） the author of which is Zaixi Tan. Thus, it opens the gate for the compilation of Chinese and western translation history works.（谢天振，2009） The history of western translation can be divided into five stages while the Chinese study of translation has a glorious history of more than two thousand years and has experienced five climaxes. Through the comparative study of Chinese and western translation history, it will help us to have a deeper understanding of Chinese and western translation activities and thus to gather a general full view of it, which will be a positive and meaningful attempt.&lt;br /&gt;
&lt;br /&gt;
2. The Translation History of Western Countries&lt;br /&gt;
Western translation activities are rich in a long history and a multiyear span. The history of western translation can be roughly divided into three stages: the traditional stage, the modern times and the contemporary. More specifically, it can be grouped into the ancient times, the middle ages, the Renaissance period and the time after WWⅡ.&lt;br /&gt;
&lt;br /&gt;
2.1 The First Stage: Translation in the Ancient Times&lt;br /&gt;
    &lt;br /&gt;
The translation history of western countries first began in the the 3rd century B.C. &amp;quot;In a broad sense, the earliest translation in the west is the Old Testament translated by 72 Jewish scholars in Alexandria, ancient Egypt, between the 3rd and 2nd centuries BC; Strictly speaking, the first western translation is the Greek Homer Epic Odyssey translated by Andronicus in Rome in the middle of the third century BC.”(谭载喜,2000) At the end of the 4th BC, during this time, the Greece began to decay and the Roman had became stronger and stronger with its military expansion. The expansion of the Roman Empire brought it into contact with the splendid Greek culture, therefore, the Romans not only conquered the Greek city, but also inherited and developed the brilliant achievements of ancient Greek culture, and then created a  splendid cultural of its own era after Greece. So soon began a large scale translation activities, the activity of translating and introducing Greek classical works probably began in this period.（刘军平,2009）Many famous translation theorists began to make their presences, namely Cicero, Quentin, Jerome and so on, also the famous Roman litterateurs like Andronicus, Naevius, Ennius, these great writers used Latin language to translate or adapt Homer’s epic or other Greece dramas. Started the translation tradition and promoted the birth and development of Roman literature.&lt;br /&gt;
&lt;br /&gt;
2.2 The Second Stage: Translation in the Middle Ages (4th-6th)&lt;br /&gt;
&lt;br /&gt;
2.3 The Third Stage: Translation in the Middle Ages (11th-12th)&lt;br /&gt;
&lt;br /&gt;
2.4 The Fourth Stage: Translation in the Renaissance Period&lt;br /&gt;
&lt;br /&gt;
2.5 The Fifth Stage: Translation after WWⅡ&lt;br /&gt;
&lt;br /&gt;
3. The Translation History of China--[[User:Wang Yu|Wang Yu]] ([[User talk:Wang Yu|talk]]) 08:38, 30 November 2020 (UTC)--[[User:Wang Yu|Wang Yu]] ([[User talk:Wang Yu|talk]]) 08:43, 30 November 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
==The Implications of Luther's Translation Principles amid Renaissance for Modern Literature Translation	方洁玲	Fang Jieling==&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
==Translation manipulated by ideology	许静	Xu Jing==&lt;br /&gt;
&lt;br /&gt;
==Comparison between the History of Chinese and Western Translation   周书尧   Zhou Shuyao==&lt;br /&gt;
&lt;br /&gt;
'''Abstract:'''There has a long history and culture Chinese and Western translation, and translation plays an indelible role in promoting cross-cultural communication and cultural communication. This article first discusses the history of translation in China from  four stages , then discusses the five stages of western translation history , and finally compares and analyzes the similarities and differences between Chinese and Western translation histories, and puts forward some of the author's own views.&lt;br /&gt;
&lt;br /&gt;
'''Key words:'''The history of Chinese,The history of Western,the stages of  translation history,comparison&lt;br /&gt;
&lt;br /&gt;
'''摘要：'''中西方翻译历史文化源远流长，翻译在促进跨文化交流和文化传播上承担着不可磨灭的作用。本文首先从中国的四次翻译高潮论述中国的翻译史，再从西方的五次翻译高潮探讨西方的翻译史，最后对中西方翻译史的异同进行对比分析，提出一些笔者自己的看法。&lt;br /&gt;
&lt;br /&gt;
'''关键词：'''中国翻译史，西方翻译史，翻译高潮，对比&lt;br /&gt;
&lt;br /&gt;
'''Ⅰ.Introduction'''&lt;br /&gt;
&lt;br /&gt;
Since the 1980s, the Chinese translation studies community has made remarkable progress in the establishment of Chinese and Western translation history courses and the compilation of related works.In the 1980s and early 1990s,A Brief Introduction to the History of Translation in China from Ma Zuyi and other books of Chen Yugang and Tan Zaixi were published one after another,which raised the curtain for the compilation of Chinese and Western translation history works by the domestic translation scholars.The four stages in the history of Chinese translation have promoted the development of Chinese history, culture and society to varying degrees.The same as our country, Western translation has an age-old history.In a sense, the development of Western European civilization should first be attributed to the translators.The five stages in the history of European translation have promoted the exchanges of literature, art, science and trade between countries, and to a certain extent promoted the development of Chinese translation.In fact, when we examine the development trajectory of Chinese and Western translation activities and the evolution of translation concepts together, we find that there are some similarities between Chinese translation and Western translation.Especially in the evolution of Chinese and Western translation concepts, the two have very similar evolution laws.&lt;br /&gt;
&lt;br /&gt;
='''Literal and Free Translation'''=&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
==Rethink Literal and Free Translation	彭永亮	Peng Yongliang==&lt;br /&gt;
&lt;br /&gt;
==On the Chinese Translation of A Pale View of Hills from House’s Translation Quality Assessment Model	宋建茹	Song Jianru==&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
===Abstract===&lt;br /&gt;
&lt;br /&gt;
Translation quality assessment is an integral part of translation criticism. The first TQA model with comprehensive theories and practices Juliane House represented provides a significant reference for translation exercises. ''A Pale View of Hills'', as the first work of Kazuo Ishiguro, possesses a great research value on its narrative styles by virtue of memory and topics about migrants. As of 2011 when its Chinese translation was published, no scholar has evaluated it. This study applies House’s TQA model to assess the Chinese translation of ''A Pale View of Hills'' with qualitative and quantitative analysis from lexical, syntactic and textual aspects, in a bid to examine validity of the model on novel translation, which turns out that it is an overt and high-quality translation.&lt;br /&gt;
&lt;br /&gt;
=== Key Words===&lt;br /&gt;
&lt;br /&gt;
''A Pale View of Hills''; House’s TQA model; novel translation&lt;br /&gt;
&lt;br /&gt;
=== 摘 要 ===&lt;br /&gt;
&lt;br /&gt;
翻译质量评估是翻译批评的核心课题。朱莉安·豪斯提出的第一个有完整的理论和实践的翻译质量评估模式，为翻译实践提供了重要参考。《远山淡影》是石黑一雄的处女作，其依托回忆的叙事风格和移民主题具有很高的研究价值。《远山淡影》中译本自2011年出版至今，尚未有学者对其进行评估研究。本文运用豪斯的翻译质量评估模式，采用定性与定量相结合的分析方式，从语场、语旨、语式等三个层面对原文和译文进行分析，开展《远山淡影》中译本的翻译质量评估研究，为豪斯翻译质量评估模式对小说翻译的运用进行进一步的探索和补充。通过分析，得出《远山淡影》中译本为显性翻译，翻译质量较高。''Italic text''&lt;br /&gt;
&lt;br /&gt;
=== 关键词 ===&lt;br /&gt;
&lt;br /&gt;
《远山淡影》；豪斯质量评估模式；小说翻译&lt;br /&gt;
===Introduction===&lt;br /&gt;
Translation criticism refers to the analysis and review of thoughts, activities and works of translation by virtue of relevant theories and views, in a bid to improve the overall quality of translators and translations. It is an integral part of translation studies. (Wang Enmian, 1999: 7) Translation quality assessment, as the integral and key part of translation criticism, plays a significant role in surveillance and promotion of translation quality. Among the extant translation quality assessment models, Juliane House’s A Model for Translation Quality Assessment and Translation Quality Assessment: A Model Revised, based on Halliday's systemic functional linguistics and discourse analysis, are systematic, scientific and rational with a relatively complete system of parameters, quantitative methods and steps adhering to specific procedures. &lt;br /&gt;
&lt;br /&gt;
A Pale View of Hills, as Kazuo Ishiguro's first full-length novel, tells the life of the people in Nagasaki after WWII through the memory of protagonist Etsuko and explores recovery of trauma, collision between the old and new ideas, and kinship after war. The first person narrative, memory, humor and satire and international perspectives in the book became his major writing styles in the future. The novel won the Winifred Holtby Memorial Prize from the Royal Society. Its only Chinese translation at present, from Zhang Xiaoyi, is still not analyzed by the scholars. This paper uses House’s translation quality assessment model, with combination of qualitative and quantitative analysis, from field, tenor and mode to analyze the mismatches between original and translation in an attempt to assess the Chinese translation quality of A Pale View of Hills and further explore the application of House’s model in novel translation. The aim of the study is to promote scholars to regulate the behaviors of translation, to improve the quality of translation and translation evaluation, and to provide a reasonable way for establishing the interlingual conversion mechanism.&lt;br /&gt;
&lt;br /&gt;
The thesis consists of four chapters.&lt;br /&gt;
&lt;br /&gt;
After the Introduction, Chapter One gives a brief account of A Pale View of Hills and its research status, involving the author, background, content and influence. Chapter Two is a brief introduction of House’s TQA model, including its theoretic basis, parameter setting, operation steps and feasibility. Chapter Three is a detailed analysis of original and translation of A Pale View of Hills based on House’s model. Chapter Four is statement of translation quality assessment. Then we come to the last part, Conclusion.&lt;br /&gt;
&lt;br /&gt;
==On the Relationship among Literal Translation, Free Translation, Domestication and Foreignization	韦洪朗	Wei Honglang==&lt;br /&gt;
&lt;br /&gt;
==On Chinese-to-English Translation of The Summer Palace from the Perspective of Functionalist Approaches to Translation	魏亚菲	Wei Yafei==&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
===Abstract===&lt;br /&gt;
Abstract&lt;br /&gt;
The Chinese-English translation of tourist texts, as a window for the external publicity of national history and culture, plays an important role in promoting the development of local tourism. The Summer Palace is well known for its large and priceless collection of cultural relics, which is among the first group of historical and cultural heritage sites in China to be placed under special state protection. &lt;br /&gt;
Based on the functionalist approach and the skopos rule, this paper discusses the problems existing in the translation of scenic spots in the Summer Palace from the perspectives of garden culture, historical culture and religious culture. Skopos theory holds that translation depends on communicative purpose. To achieve this goal, translators can choose different translation strategies. It is believed that the purpose of Chinese-English translation of scenic spots is to attract target readers and promote traditional culture. Therefore, when translating tourism materials, it is necessary not only to express the local cultural connotation, but also to consider the cross-cultural factors. The Chinese-English translation of the introduction of scenic spots guided by functionalist approach can make English readers have expectations of scenic spots and understand the cultural connotation of scenic spots. This paper aims to better promote the development and communication of Chinese culture and improve the level of tourism text translation in China by relying on the theory of functionalist approach.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
===Key words===&lt;br /&gt;
Key Words: functionalist approach，the Summer Palace，translation strategies&lt;br /&gt;
&lt;br /&gt;
===摘要===&lt;br /&gt;
摘 要&lt;br /&gt;
旅游资料的英译作为民族历史文化对外宣传的一道窗口,对地方旅游业的发展有着不可低估的促进作用。颐和园作为中国著名的皇家园林，具有浓厚的中国园林特色及优美的风景，同时也蕴涵着深厚文化内涵。&lt;br /&gt;
本篇旅游文本英译的分析以功能派翻译理论作为理论指导，以目的法则为主要原则，从颐和园的园林文化、历史文化和宗教文化三个角度出发对颐和园景点英译中存在的问题进行探讨。目的论认为译文取决于翻译目的，这个目的通常指的是交际目的。为达到这个目的，译者可以选择不同的翻译策略。也就是说，译者的翻译策略必须由译文的预期目的或功能决定，即所谓的“目的法则”。笔者认为景点介绍的汉英翻译的目的就是吸引译文读者以及弘扬传统文化，因此在翻译旅游资料的时候不仅要把当地的文化内涵表达出来，而且要考虑到跨文化的因素。而以功能派翻译理论为指导的景点介绍的汉英翻译，可以使英语读者通过译文产生对旅游景点的期盼，以及对景点文化内涵的理解。以颐和园景区内的翻译文本为例本，依托功能翻译理论，通过“发现问题，指出问题，解决问题”，以期更好地促进中国文化的传播与交流，提高我国现阶段旅游文本翻译的水平。&lt;br /&gt;
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===关键字===&lt;br /&gt;
关键词：功能翻译；颐和园；翻译目的；翻译策略&lt;br /&gt;
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===Introduction===&lt;br /&gt;
  Throughout the translation history at home and abroad, the literal translation and free translation have always been a heat discussion in the translation circles. Someone absolutely approve literal translation and demean free translation, even pursue a dead translation, which creates an translated text difficult to understand. While some other people absolutely agree with free translation even advocate random acts, which means a random deletion in the translation practices and creates anther entirely different text. However, there are also a number of translators who have recognized that these two translation methods are not totally opposite. So they adopt a compromise and flexible way. That means they will choose the most appropriate one depending on the text demanding. Therefore, we can deduce from it that this eclectic translation is consistent with the Contradiction view of Unity of Opposite in Materialist Dialectics. In fact, literal translation and free translation are right a set of contradictions which are both opposite and unified. They complement each other into an integral one.&lt;br /&gt;
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===Table of Contents===&lt;br /&gt;
&lt;br /&gt;
Table of Contents&lt;br /&gt;
&lt;br /&gt;
Outline&lt;br /&gt;
1.Introduction&lt;br /&gt;
2. Studies on Functionalist Approach&lt;br /&gt;
2.1 The Viewpoint of Functionalist Approach&lt;br /&gt;
2.1.1 Reiss’s Text Typology&lt;br /&gt;
2.1.2 Vermeer’s Skopos Theory&lt;br /&gt;
2.1.3 Manttari’s Theory of Translational Action&lt;br /&gt;
2.1.4 Nord’s Theory of Function plus Loyalty&lt;br /&gt;
2.2 The Application of Functionalist Approach &lt;br /&gt;
3.C-E Translation of the Summer Palace under Functionalist Approach&lt;br /&gt;
3.1 Garden Culture&lt;br /&gt;
3.2 Historical Culture &lt;br /&gt;
3.3 Religious Culture &lt;br /&gt;
4. Conclusion&lt;br /&gt;
References&lt;br /&gt;
&lt;br /&gt;
===Outline===&lt;br /&gt;
Outline&lt;br /&gt;
&lt;br /&gt;
Thesis Statement: Based on the main viewpoints of functionalist approaches to translation, this paper aims to give an analysis to C-E translation of the Summer Palace from cultural, historical and religious aspects, hoping to provide some translation strategies for other cultural attractions.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
1. Introduction&lt;br /&gt;
2. Studies on Functionalist Approaches&lt;br /&gt;
2.1 The Viewpoint of Functionalist Approach&lt;br /&gt;
2.1 Reiss’s Text Typology&lt;br /&gt;
2.2 Vermeer’s Skopos Theory&lt;br /&gt;
2.3 Manttari’s Theory of Translational Action&lt;br /&gt;
2.4 Nord’s Theory of Function plus Loyalty&lt;br /&gt;
2.2 The Application of Functionalist Approach&lt;br /&gt;
3. C-E Translation of the Summer Palace under Functionalist Approach&lt;br /&gt;
3.1 Garden Culture&lt;br /&gt;
3.2 Historical Culture&lt;br /&gt;
3.3 Religious Culture&lt;br /&gt;
4. Conclusion&lt;br /&gt;
&lt;br /&gt;
===1. Introduction ===&lt;br /&gt;
1. Introduction   &lt;br /&gt;
The Chinese-English translation of tourist texts is a bridge to spread the culture of classical Chinese gardens, so the accuracy of it has a direct impact on foreigners' understanding of the specific history and culture. &lt;br /&gt;
Functionalist approach has made a pioneering contribution to the translation of non-literary genres. Functional translation theory emphasizes the function of discourse, and believes that different types of discourse have different functions, so translators should choose appropriate translation strategies according to the type of source text and corresponding functions. Functionalist approach is to take the &amp;quot;skopos rule&amp;quot; as the highest standard, and any translation activity is a purposeful behavior. The ultimate goal and main function of scenic spot translation is to help people understand the main content of the scenic spot.&lt;br /&gt;
As a window for the publicity of national history and culture, the Chinese-to-English translation of tourist texts plays an important role in promoting the development of local tourism. Well known for its large and priceless collection of cultural relics, the Summer Palace was among the first group of historical and cultural heritage sites in China to be placed under special state protection. Based on the viewpoints of functionalist approach to translation, this paper aims to analyze C-E translation of the Summer Palace from cultural, historical and religious aspects, hoping to provide some translation strategies for other cultural attractions. &lt;br /&gt;
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===2. Studies on Functionalist Approaches===&lt;br /&gt;
2. Studies on Functionalist Approaches&lt;br /&gt;
Functionalism is a theory that advocates reader-centered translation, emphasizing the functions of texts and highlighting the communicative effects. It is believed that many unnecessary mistakes can be avoided and better results can be achieved by applying functionalist approach in Chinese-English translation of tourist text. &lt;br /&gt;
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===2.1 The Viewpoint of Functionalist Approaches===&lt;br /&gt;
2.1 The Viewpoint of Functionalist Approaches&lt;br /&gt;
Functionalist Translation Theory, also known as German Functionalist Translation Theory, was proposed by German scholars in the 1970s. It includes four main theories: Katharina Reiss’s Text Typology, Hans Vermeer’s Skopos Theory, Justa Holtz Manttari’s Theory of Translational Action and Christiane Nord’s Theory of Function plus Loyalty. This chapter aims to present the main ideas of this theory.&lt;br /&gt;
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===2.1.1 Reiss’s Text Typology===&lt;br /&gt;
2.1.1 Reiss’s Text Typology&lt;br /&gt;
In 1971, Reiss in her book Possibilities and Limitation of Translation Criticism first made text function as a standard of translation criticism, namelyevaluate the translated text from the relationship between the functions of the original and the translated text. She insists on the original-centered equivalence theory and holds the view that the ideal translation is to achieve the equivalence between the target text and the source text in terms of ideological content, linguistic form and communicative function. However, translation practice makes her realize that it’s difficult to achieve equivalence sometimes and that sometimes equivalence cannot be pursued. Because of the particularity of translation requirements, the function of the target text is not always the same as that of the source text. Therefore, the translator should give priority to the functional role of the target text rather than the principle of equivalence.&lt;br /&gt;
Reiss believes that in the normal situation the type of text decides the translator’s choice of a proper translation method (Reiss, 2004). Therefore, she divides text into four types: content-focused text, form-focused text, appeal-focused text and audio-media text. Content-focused text, also known as informative text, includes news reports, commercial correspondence, operating instructions, official documents, patent&lt;br /&gt;
specifications, essays, treaties, etc. For this text, the main function is to convey information revealed in language itself to readers. The emphasis is on content and topic, so the choice of language and style should serve this function. If both the source text and target text belong to informative text, the translator should represent the content and information of source text accurately and completely (Reiss, 2004)&lt;br /&gt;
Form-focused text, also known as expressive text, refers to literary works such as novels, poems and so on. “Distinct from ‘content’, which deals with what the author says, ‘form’ is concerned with how an author expresses himself” (Reiss, 2004). For expressive texts, information is only a supplement. What is dominant is the aesthetic factor. When translating such texts, the translator should pay attention to the aesthetic and artistic forms of the original text and to the differences between two cultural habits, trying to achieve the same effect as the source text. In a word, in a form-focused text the linguistic form of the source text determines the form in the target language (Reiss, 2004).&lt;br /&gt;
Appeal-focused text, also known as operative text, mainly includes notice, instruction manual, advertisement, publicity manual and so on. For operative texts, the primary task for the translator is to provoke a particular reaction on the hearers or readers to incite them to engage in specific actions, while content and form are subordinate. Therefore, to achieve the same effect, the translator need to change the content and stylistic features of the original text, try to keep the potential influential factors of the original text and seek functional equivalence (Reiss, 2004: 38-43). Audio-medial text, also known as multi-media text, refers to radio and television scripts, such as radio newscasts and reports, topical surveys and dramatic productions.&lt;br /&gt;
It is distinctive in its dependence on non-linguistic media and on graphic, acoustic, and visual kinds of expression. Only in combination with them can the whole complex literary form realize its full potential (Reiss, 2004). In conclusion, different texts determine different translation focuses and methods. In many cases, however, a text may have more than one function, which means that translators should integrate different translation strategies skillfully to achieve different functions of texts.&lt;br /&gt;
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===2.1.2 Vermeer’s Skopos Theory===&lt;br /&gt;
2.1.2 Vermeer’s Skopos Theory&lt;br /&gt;
Reiss’s student Vermeer, who broke the limitation of the theory of equivalent and took skopos to be the first criterion of translation process  proposed the key theory: Skopostheorie. According to Skopos Theory, when translating a text, the translator needs to consider the purpose of translation first and then choose the translation method according to the purpose, which means “the end justifies the means” (Nord, 2001). Vermeer believes that translation, like other human actions, is also a purposeful act. Translation often takes place in cultural backgrounds with different customs and values, so translation is not a simple equivalent transformation between languages. Skopos Theory does not focus on achieving the equivalence between the target text and the original text or the perfection of the target text, but on choosing the best translation strategy based on the analysis of the source text and the intended function of the target text. In a word, translation methods and strategies are determined by the intended purpose or function of the target text.&lt;br /&gt;
According to Skopos Theory, the first rule that all translators must follow is the Skopos Rule. Translation purpose can be divided into three categories: (1) the purpose of the translator, such as earning a living; (2) the communicative purpose of the translation, such as instructing the reader; (3) the purpose of using a particular translation method, such as the literal translation according to its structure to illustrate the peculiarities of grammatical structure in a language (Nord, 2001). In general, the communicative purpose is more important than the other two. The communicative purpose is usually determined by the initiator of the translation act, but the translator can take part in deciding. The second rule is the Coherence Rule. Coherence Rule requires that the translation conform to the criterion of intratextual coherence, which means that the translation must be accessible to recipients and meaningful in the target culture and in the communicative environment (Nord, 2001). The third rule is the Fidelity Rule. It means that there should be intertextual coherence between the source text and the target text, which means being faithful to the source text. Nevertheless, the degree and form of faithfulness lie in the target text and the degree that the translator understands the original text. Normally “Intertexual coherence is considered subordinate to intratexual coherence and both are subordinate to the Skopos rule” (Nord, 2001).&lt;br /&gt;
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===2.1.3 Manttari’s Theory of Translational Action===&lt;br /&gt;
2.1.3 Manttari’s Theory of Translational Action&lt;br /&gt;
Following Vermeer, Manttari develops Vermeer’s Skopos Theory and puts forward the Theory of Translational Action. He emphasizes three aspects: the behavior of the translation process, the role of the participants (the initiator, the translator and the target reader, etc.) and the environment (time, place and media) in which the translation process takes places. It views translation as “purpose-driven, outcome-oriented human interaction and construes the process of translation as message-transmitter compounds that involve intercultural transfer” (Mundy, 2001). According to Manttari, translation is “ a complex act to achieve a particular purpose” &lt;br /&gt;
(Nord, 2001). It is not about translating words, sentences or texts but is about guiding the intended cooperation over cultural barriers and promoting functional communication. Cooperation here means “transcultural communication” by Manttari.&lt;br /&gt;
The Theory of Translational Action attaches great importance to providing a functional communicative text for the recipient, a text suitable for the target culture in&lt;br /&gt;
form and style. Functional suitability is determined by the translator. The translator is&lt;br /&gt;
an expert in translation, whose role is to ensure the successful completion of cultural&lt;br /&gt;
transformation. In producing the target text, the analysis of the source text is necessary so that the translator can find out its structural and functional characteristics, which can be described by content and form. The need of the recipient is the decisive&lt;br /&gt;
factor for the target text.&lt;br /&gt;
In short, “the value of Manttari’s work is the placing of translation (or at least the professional non-literary translation which she describes) within its sociocultural&lt;br /&gt;
context, including the interplay between the translator and the initiating institution”&lt;br /&gt;
(Mundy, 2001).&lt;br /&gt;
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===2.1.4 Nord’s Theory of Function plus Loyalty===&lt;br /&gt;
2.1.4 Nord’s Theory of Function plus Loyalty&lt;br /&gt;
Though skopos rule changes the focus of translation from the source language text to the target language text and the target receivers, it has some limitations. One is that different readers have different expectations, and the translation purpose cannot satisfy all the expectations of the target reader. Another is that the translation purpose may sometimes be against the intention of the source language. Therefore, based on the skopos rule, Nord introduces the loyalty principle. The principle of loyalty is a supplementary principle proposed by Nord to make up for the deficiency of skopos rule. According to the explanation of Nord, it is not the relationship between the original text and the target text, nor the equivalence between the original text and the form of the target text, but the consistency between the author of the original text, the initiator of the translation, the translator and the reader of the target text, which is the principle of loyalty. The proposal of the loyalty principle makes up for the mistakes that some radical skopos translators usually make, such as omitting and rewriting, which makes skopos theory more perfect and makes skopos theory more likely to guide the translation of literary works.&lt;br /&gt;
“Function” and “loyalty” are two pillars of Nord’s functionalist approach. “Function” refers to what a text means or is intended to mean from the receiver’s point of view”, while “loyalty” means that “target-text purpose should be compatible with the original author’s intention” (Nord,2001). It emphasizes the interpersonal relationship between the translator, the source-text sender, the target-text addresses and the initiator. Function plus loyalty enables the translator to avoid the limitations of skopos rule and try to achieve a balance between translation purpose and the source-text author’s intention”(Nord,2001). That is to say, when translating the original text, the translator should take into account the readers' cultural background, knowledge level and expectation of the translation, and choose the corresponding translation strategy according to the translation requirements. If the reader wants to read a word-for-word translation of the article, then the translator must meet the reader's requirements, otherwise he must explain to the reader why he chose his own translation method. The translator's job is to weigh two different cultures instead of imposing one culture on another. &lt;br /&gt;
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===2.2The Application of Functionalist Approach to the Tourist Texts.===&lt;br /&gt;
2.2The Application of Functionalist Approach to the Tourist Texts.&lt;br /&gt;
In the 1990s, Functionalist Translation Theory was introduced to China, and since then it has been applied to translation studies by Chinese translation scholars. In his article published in 1995, Zhang Nanfeng briefly introduces Skopos theory to China for the first time, and considers that Skopos theory is referential (Zhang Nanfeng, 1995). German Functionalist Translation Theory, a paper released in1999, is the first article in China which systematically introduces German Functionalist Translation Theory (Zhong Weihe &amp;amp; Zhong Yu, 1999). Based on an overview of Functionalist Translation Theory, Zhang Meifang focuses on introducing Nord’s theory, especially on the detailed analysis of Nord’s principle of loyalty (Zhang Meifang, 2005). Famous domestic scholars, such as Liu Junping (2009), Liu Miqing (2012) and Li Wenge (2004), also introduce this theory in their books. With the rise of Functionalist Translation Theory in China, someone has compared it with other theories. Zhu Haotong compares Skopos Theory with Functional Equivalence Theory to analyze the similarities and differences between them, and further reveals that Functionalist Translation Theory inherits the reasonable part of Nida’s Functional Equivalence Theory, which is an important breakthrough and supplement to solve the problems that Functional Equivalence Theory leaves (Zhu Haotong, 2006). Some scholars also combine theory with translation practice to explore the application of Functionalist Translation Theory to translation practice. Jia Yanli and Wang Hongjun point out that Skopos Theory has its limitations, but it is still of instruction and reference value for non-literary translation texts, such as advertisements and tourism materials (Jia Yanli &amp;amp; Wang Hongjun, 2012). Li Liangchen selects several famous tourist attractions in China to translate the on-site tour-guide commentary into English. Then he improves them under the guidance of Skopos Theory and sends out questionnaires to overseas tourists for further analysis. He argues that the translation of on-site tour-guide commentary which is guided by Skopos Theory is more favorable to conveying information to foreign visitors, to promoting cultural exchanges and to improving the image of China’s tourist destinations (Li Liangchen, 2013). In Pragmatic Translation: Theory &amp;amp; Practice, Wu Feng and He Qingji introduce Functionalist Translation Theory (Wu Feng &amp;amp; He Qingji, 2008) and the characteristics of tourism text and translation skills (Wu Feng &amp;amp; He Qingji, 2008). In this book, they also discuss the controversy over the Chinese name of Functionalist Translation Theory, and holds that “功能派翻译理论” is the most appropriate Chinese translation (Wu Feng &amp;amp; He Qingji, 2008).Based on his own translation practice and under the guidance of Functionalist Translation Theory, Wu Zixuan probes into some special phenomena in the English translation of CNN newsreels. The author believes that in the translation of external publicity, we should not stick to the standard of faithfulness to the original text, but should deal with the original text properly from the perspective of achieving the purpose of translation, such as rewriting, abridging. (Wu Zixuan, 2005).&lt;br /&gt;
Functionalist approach establishes a theoretical system of diversified translation standards dominated by skopos rule. From the definition of Functionalist approach, it can be seen that the advantage of it is that the translator can get rid of the bondage of the original text, study the translation process with &amp;quot;translation purpose&amp;quot; as the starting point, and determine the translation strategies and methods. This can give full play to the translator's own initiative, flexible processing of the original text, in order to achieve the translation of the communicative function. In addition, functionalist approach requires the translation to be examined in the cultural context of the reader. The reader can accept the translation and understand the meaning of the original text through the translation, so the translation can realize the communicative function. On the basis of such advantages, functionalist approach can be used to guide the English translation of garden scenic spots, and the translator can choose a wider range of translation strategies and break out of the constraints of the original text. &lt;br /&gt;
Only by clarifying the purpose of translation can we avoid these limitations in the English translation of garden attractions. When using functionalist approach to guide the English translation of Chinese classical garden scenic spots, it is necessary to flexibly choose translation strategies and methods, give full play to the advantages of skopos theory, and achieve the balance between &amp;quot;principle of purpose&amp;quot; and &amp;quot;principle of fidelity&amp;quot; as far as possible.&lt;br /&gt;
With the deepening of globalization and cross-cultural communication, tourismis becoming a major industry in the 21st century. The development of tourism can not only promote the economic development of a country but also promote the external dissemination of national culture. Therefore, tourism translation deserves attention. Tourism text is a typical informative and operational text, and the language is unique. It is full of gorgeous words, such as four-character expressions, verses, proper nouns and so on.&lt;br /&gt;
Tourism text materials include tourism advertising, tourism brochures, scenic spots signs and so on. In this paper, we focus on the introduction of Chinese gardens’ scenic spots, which is usually colorful in language and rich in literary style. Tourism text translation belongs to applied translation, which should play a series of practical functions to publicize the image and resources of the country or place and attract overseas tourists. Therefore, the translator of tourism text must be clear about the type and function of tourism text, and to grasp the ultimate purpose of the translation. &lt;br /&gt;
On tourism text translation, the communicative purpose of the translation should be placed in a central position. Furthermore, the tourism text has both the information function and the calling function. The information function and the calling function complement each other. Only when the target language readers acquire the expected tourism information and cultural knowledge can the calling function be realized and the purpose of tourism text translation be achieved. With different translation strategies, the translated version should both expressed contains basic information, and make the tourists feel the profound of the Chinese culture from the beautiful scenery. &lt;br /&gt;
Cultural tourism has long been the focus of international tourism, and understanding Chinese culture is the main purpose of inbound tourists, so the translation of tourism texts bears the mission of cultural transmission and cultural publicity. However, due to the great differences between Chinese and English culture and language, there are many difficulties in cultural transmission in tourism text translation. China has a long and splendid history and culture. When introducing the scenic spots of cultural relics and historic sites, we usually associate with many historical figures and stories. These terms are cultural blank for most foreign tourists, but this kind of cultural experience is also the most attractive place for foreign tourists. It is of great importance to pay attention to cultural differences in tourism translation and carry out cultural transmission effectively. Chinese and English languages have different logic views, and Chinese expressions in tourism texts value decoration. English expressions tend to be clear, concise and to the point. For example, Chinese tourism texts often use a four-character lattice, which is symmetrical, while there is no corresponding four-character lattice expression in English. Therefore, in Chinese-English translation of tourism texts with frequent use of four-character phrases, it is necessary to keep in mind the objective principle of functionalist approach and give priority to cultural communication instead of rigidly adhering to form.&lt;br /&gt;
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===3. C-E Translation of the Summer Palace under Functionalist Approach===&lt;br /&gt;
3. C-E Translation of the Summer Palace under Functionalist Approach&lt;br /&gt;
By studying the specific translation strategies made by predecessors, the following steps are also adopted in this paper: first, the translation strategies are determined according to the text type, such as faithful reproduction of the original information or rewriting; Secondly, the translation strategies are determined according to the potential purpose of the translation, such as paraphrasing or deleting poems, generalizing specific expressions and transliterating proper nouns. Thirdly, the translation strategies are defined with the tourists as the center, such as adding logical words, adding explanatory information and using plain English.&lt;br /&gt;
The Summer Palace epitomizes the philosophy and practice of Chinese garden design, which played a key role in the development of this cultural form throughout the east. It is an outstanding expression of the creative art of Chinese landscape garden design, incorporating the works of humankind and nature in a harmonious whole, which was once the most important place of political and diplomatic activity for the supreme rulers of the late Qing dynasty. Based on three aspects of the Summer Palace, namely, garden culture, historical culture and religious culture, this paper discusses the problems existing in the English translation of the scenic spots of the Summer Palace and puts forward corresponding countermeasures under the guidance of the skopos rule of functionalist translation theory.&lt;br /&gt;
&lt;br /&gt;
===3.1 Garden culture.===&lt;br /&gt;
3.1 Garden culture. &lt;br /&gt;
The Summer Palace is a classical garden famous for its magnificence and beauty. There are many temples in the garden, and the green waves of kunming lake ripple. Landscape and humanities complement each other, containing rich natural and cultural information, reflecting the characteristics of Chinese classical gardens. The garden cultural features of the three scenic spots, namely, the hall of clouds, the foxiang pavilion and the Wenchang courtyard, are particularly outstanding. Therefore, this paper takes these three scenic spots as examples to discuss the Chinese-English translation of the introduction of the Summer Palace.&lt;br /&gt;
(1)	排云殿、佛香阁景区是颐和园内建筑布局最完整、建筑形式最丰富的中轴建筑群体，殿、阁、廊、亭、桥、坊、碑等建筑约两万平方米。从临水的云辉玉宇牌坊至排云门、排云殿、德辉殿、佛香阁、众香界、智慧海、层层升高，排列有序，气势巍峨，金碧辉煌，将园林、寺庙和宫殿融为一体。&lt;br /&gt;
Translation：This scenic spot covers an area of 20,000 square meters with an assortment of buildings such as palaces, towers, corridors, pavilions, walkways, bridges, archways and inscribed stone steles. It comprises a well-arranged group of structures, all diverse in style, located in the center of the Summer Palace garden. This complex of structures, ranging from the Glowing Clouds and Holy Land Archway on the waterside, the Gate that Dispels the Clouds, the Hall that Dispels the Clouds, the Hall of Moral Glory, and the Tower of the Fragrance of the Buddha, to the Realm of Popular Fragrance and the Sea of Wisdom Temple, were built in an orderly manner running from the foot of the hill to its top, with gardens, temples and palaces harmoniously integrated into the whole。&lt;br /&gt;
Analysis：As we all know, the design style of ancient Chinese buildings is beautiful with &amp;quot;symmetry&amp;quot;. The &amp;quot;axis&amp;quot; in hall of clouds scenic spot refers to the layout of the Summer Palace from far to near and from top to bottom, which cannot be simply understood as the center. Simply translating &amp;quot;axis&amp;quot; as &amp;quot;center&amp;quot; cannot express accurately the meaning of &amp;quot;symmetry&amp;quot;. Comparatively speaking, &amp;quot;axis&amp;quot; can better reflect the architectural style of the scenic spot.&lt;br /&gt;
(2)	从临水的云辉玉宇牌坊至排云门、排云殿、德辉殿、佛香阁、众香界、智慧海，层层升高，排列有序，气势巍峨，金碧辉煌，将园林、寺庙和宫殿融为一体。&lt;br /&gt;
Translation：These structures，including Glowing Clouds and Holy Land Archway at lake side，the Gate of Dispelling Clouds，the Hall of Dispelling Clouds，the Hall of moral Glory，and the Tower of Buddhist Incense，the Realm of Multitudinous Fragrance and the Sea of Wisdom Temple，were built in an orderly manner ranging up the hill with gardens，temples and palaces harmoniously integrated. This manifests beauty，grace and splendor，reminiscent of the loftingness and grandeur of a once mighty empire.&lt;br /&gt;
Analysis：In terms of the characteristics of language, Chinese emphasizes parataxis and four-word antithesis. When describing and naming scenes, gorgeous words and poetic words are generally chosen in Chinese. But, English emphasizes hypotaxis, on the other hand, puts more emphasis on reproducing the original appearance of things, using simple and natural words and preferring direct description. In sign translation, the English translation pays more attention to accurate, concise and lively. In the above paragraph, &amp;quot;层层升高，排列有序，将园林、寺庙和宫殿融为一体&amp;quot; is an introduction to the architectural features of foxiang pavilion, in order to make tourists have a clear understanding of the overall layout and architectural features of the scenic spot. This information is essential and can be translated into detail. However, &amp;quot;气势巍峨，金碧辉煌&amp;quot; focuses on the subjective description, and its explicit translation needs more complicated words. If this paragraph is translated in detail, it is easy to drag the content and make the key information vague. Therefore, the deletion of the English translation of this sentence will not affect the basic information of the original text.&lt;br /&gt;
(3)	主阁（文昌阁）两层，内供铜铸文昌帝君和仙童、铜骑。文昌阁与万寿山西供武圣的宿云檐象征“文武辅弼”。&lt;br /&gt;
Translation: A bronze statue of the God Wenchang, statues of gaeries, and a bronze steed were placed in the two-story pavilion. This tower is pared with the Tower of Cloud- Retaining Eaves, located to the west of the Longevity Hill, in which a statue of the Martial God was placed. The God Wenchang and the Martial God together symbolize reining of the emperor supported by scholars and warriors.&lt;br /&gt;
Analysis: Two questions arise in Chinese-English translation. First, there are two translations of wenchang pavilion in the translation: pavilion and tower, which appear in the same sign. Two different translations of the same scenic spot name tend to make foreign tourists think that it refers to different scenic spots, which may cause difficulty in understanding. Second, the translation of Wenchang pavilion into &amp;quot;Wenchang Tower&amp;quot; is against the actual architectural characteristics. In fact, the meanings of &amp;quot;pavilion&amp;quot; and &amp;quot;tower&amp;quot; have both similarities and differences. According to the Oxford dictionary, Tower means &amp;quot;a tall narrow building or part of a building, especially of a church or castle&amp;quot;, mainly referring to the tower-shaped part of a building, usually a tall and slender structure, such as the Eiffel Tower. &amp;quot;Pavilion&amp;quot; means &amp;quot;a building that is meant to be more beautiful than usual, built as a shelter in a park or used for concerts and dances&amp;quot;. The top structure of the pavilion usually has rectangles, triangles, hexagons, etc. The common feature of them is that the top is supported by columns without walls. From the external structure of Wenchang pavilion, its bottom is solid and its top is supported by columns. Therefore, the pavilion can accurately reflect the architectural characteristics of Wenchang pavilion, so I think it should be translated as Wenchang pavilion.&lt;br /&gt;
&lt;br /&gt;
===3.2 Historical culture. ===&lt;br /&gt;
3.2 Historical culture. &lt;br /&gt;
The accurate Chinese-English translation of the introduction of the Summer Palace not only enables foreign tourists to understand the characteristics of Chinese gardens, but also enables foreign tourists to understand the historical knowledge of a specific period of China. However, the Chinese-English translation of the Summer Palace still has problems in accurately conveying the historical background of the scenic spots, such as the English translation of Wenchang pavilion scenic spot:&lt;br /&gt;
(4)	此景区始建于清乾隆十五年，一八六零年被英法联军烧毁，光绪时按原样重建。阁结构为八面三层四重檐，通高36.44米，耸立于20米高的石造台基上，气势雄伟，是颐和园全园的构图中心。阁内供奉有铜铸金裹千手观世音菩萨站像。像高五米，重万斤，为明代万历年间所造，在八根贯通全阁上下的承重铁梨木擎天柱的衬托下，美妙庄严，熠熠生辉，有极高的文物和艺术价值。&lt;br /&gt;
Translation: The Wenchang tower was first built in 1750 and rebuilt under Emperor Guangxu after  the Anglo-French Allied Forces builted it down in 1860. The octahedral tower has three stories with four-layered eaves, altogether 36.44 meters high. Standing upright on a 20 meter-high stone foundation, it constitutes the center of the Summer Palace landscape and serves to accentuate its magnificence. A statue of the thousand-handed Guanshiyin Buddha, cast in bronze and gilded with gold, stands inside the tower. The statue, five meters high and five tons in weight, was cast during the reign of Emperor Wanli of the Ming Dynasty. Set off by the eight imposing pillars which support the tower, it glows with beauty, grandeur and brilliance. Its historical, cultural and artistic value can hardly be overstated.&lt;br /&gt;
Analysis: “始建于乾隆十五年”only was translated into “was first built in 1750” and the “光绪年间重建” was translated into “rebuilt under Emperor Guangxu”.The first sentence does not show that 1750 was the fifteenth year of the reign of emperor Qianlong, and the second sentence does not give foreign visitors the exact date of the reign of emperor Guangxu. The change of time concept and the disunity of expression easily make foreign tourists feel confused. Therefore, the translation of the time and the historical dynasties should be accurate and meticulous, and the supplementary method should be used to not only describe the dynasties clearly, but also supplement the corresponding years, so as to achieve the standardization of the translation. In this way, foreign tourists can not only be clear about the time of the event, but also understand the Chinese historical dynasties. Consider as follows: the Wenchang Pavilion was first built in 1750 during Emperor Qianlong’s reign（1735- 1795）and rebuilt in 1886 under Emperor Guangxu（1875- 1908）after the Anglo- French Allied Forces burned it down in 1860.&lt;br /&gt;
&lt;br /&gt;
===3.3 Religious culture. ===&lt;br /&gt;
3.3 Religious culture. &lt;br /&gt;
Many scenic spots in the Summer Palace have a strong buddhist atmosphere. While visiting the scenic spots, foreign tourists can understand the profound buddhist culture. Wenchang pavilion in the Summer Palace is the representative of Chinese religious culture.&lt;br /&gt;
(5)	主阁两层，内供铜铸文昌帝君和仙童、铜特。文昌阁与万寿山西供武圣的宿云檐象征“文武辅弼”。&lt;br /&gt;
Translation: A bronze statue of the god，Wenchang，and statues of two followers，the celestial boy，and the bronze steed，were placed in the two- storey pavilion. This tower is pared with the tower of Cloud- Retaining Eaves，located to the west of the Longevity Hill，in which a statue of the Martial God was placed. The two towers symbolize the support by both scholars and warriors to the ruling emperor.&lt;br /&gt;
Analysis: It is well known that westerners believe in theism, which refers to god as supreme . In Chinese religious culture, people believe in atheism and do not believe in the existence of god. Therefore, it is inappropriate to translate &amp;quot;文昌帝军&amp;quot; and &amp;quot;武圣&amp;quot; into &amp;quot;the god, Wenchang&amp;quot; and &amp;quot;the Martial god&amp;quot; in the translation. In fact, the &amp;quot;文昌帝军&amp;quot; was Zhang yu, an emperor of Shu of Ning kang (374). And &amp;quot;武圣&amp;quot; refers to Guan yu in history. Therefore, the simple translation of  &amp;quot;God&amp;quot; is not in line with the traditional Chinese culture, which will not only cause western tourists to misunderstand that Chinese religious tradition also believes in God, but also fail to convey Chinese historical allusions and relevant historical figures. In contrast, if &amp;quot;文昌帝军&amp;quot; is translated as &amp;quot;the emperor, Wenchang&amp;quot; and &amp;quot;武圣&amp;quot; is translated as &amp;quot;the Martial Master (Guanyu)&amp;quot;, it can more faithfully convey the history and religious culture contained in the source language. &lt;br /&gt;
&lt;br /&gt;
===4. Conclusion===&lt;br /&gt;
4. Conclusion&lt;br /&gt;
To sum up, Under the guidance of the skopos rule of functionalist translation theory, translators should have a cross-cultural awareness, fully understand the reading psychology and cultural appreciation needs of target language readers, and use effective translation strategies and methods to achieve the purpose of tourism text translation. Functionalist approach has made a pioneering contribution to the translation of non-literary genres. Functional translation effectively eliminates the disadvantages of traditional word-for-word translation, improves the efficiency of translation, and helps readers to grasp the meaning of the original text.&lt;br /&gt;
 The importance of the translation of the Summer Palace lies in the profound garden culture, historical culture and religious culture. The English translation is not only helpful for international friends to know more about the garden characteristics of the Summer Palace, but also helpful for spreading the long history and profound culture of China. In order to attract target readers and promote traditional Chinese culture, it is not only necessary to carefully explore Chinese culture and history, but also to use the fuctionalist approach appropriately. &lt;br /&gt;
Translation is a complicated process. Functionalist approach stresses the function of the discourse, the purpose of translation. In the practice of translation, if the translator can get rid of the bondage of the original equivalence, actively playing to subjective initiative, fully understanding the original text, depending on the purpose of discourse and adopting different translation strategies, the effect and readability of translation can be improved.&lt;br /&gt;
&lt;br /&gt;
===References===&lt;br /&gt;
References&lt;br /&gt;
Hans Vermmer, “Skopos and Commission in Translation Action”, in the Translation Studies Reader,ed. Chesterman, London and Network:Routledge,p.221-232. 2000.   &lt;br /&gt;
Munday, Jeremy. Introducing Translation Studies: Theories and Applications. Routledge publishing.2001.&lt;br /&gt;
Mason, “Textual Practices and Audience Design: and Interactive View of the Tourist Brrochure”. In Navarro et al.(eds.). Pragmatics at Work: The Translation of Tourist Literature. Bern: Perter Lang. 157-176.2004.&lt;br /&gt;
Nord, Text Analysis in Translation: Theory, Methodology and Didactic Application of a Model for Translation-Oriented Text Analysis. Beijing: Foreign Language Teaching and Research Press. 2006.&lt;br /&gt;
Nord, Translating as a purposeful activity. Shanghai: SFLE PRESS, 2001:27,30,32,65,245.&lt;br /&gt;
Reiss, Katharina. Translation Criticism: The Potentials &amp;amp; Limitations. Shanghai Foreign Language Education Press. Shanghai. 2004.&lt;br /&gt;
Venuti, Lawrence. The Translator’s Invisibility: A History Translation. Routledge.1995.&lt;br /&gt;
方梦之、毛忠明， 英汉—汉英应用翻译教程，上海: 上海外语教育出版社，2004.&lt;br /&gt;
金惠康，跨文化旅游翻译，中国对外翻译出版公司，2004.  &lt;br /&gt;
贾文波，应用翻译功能论，北京：中国对外翻译出版公司，2004&lt;br /&gt;
孙艺风，文化翻译的困惑与挑战，中国翻译，2016年第3期.  &lt;br /&gt;
王宏志，翻译与创作，北京大学出版社，2000.&lt;br /&gt;
吴自选，德国功能派翻译理论与 CNN 新闻短片英译，中国科技翻译, 2005.&lt;br /&gt;
谢天振，当代国外翻译理论，天津：南开大学出版社，2005.&lt;br /&gt;
张南峰，走出死胡同建立翻译学. 中国翻译, 1995.&lt;br /&gt;
仲伟合，钟钰. 德国的功能派翻译理论. 中国翻译, 1999.&lt;br /&gt;
张美芳，功能加忠诚—介评克里丝汀· 诺德的功能翻译理论.上海外国语大学学报, 2005.&lt;br /&gt;
&lt;br /&gt;
==Contrast between Literal Translation and Free Translation	张雪仪	Zhang Xueyi==&lt;br /&gt;
'''Abstract：'''&lt;br /&gt;
&lt;br /&gt;
The contrast between literal translation and free translation has always been the most discussed problem in translation studies. To compare these two translation methods, the basic point is to understand the purpose of translation. The ultimate goal of translation is to help different cultures communicate better, so that people who speak different languages can understand each other’s cultures. Due to the differences in social, historical and cultural backgrounds between languages, how to choose between the two translation strategies of literal translation and free translation requires translators to weigh the strengths and weaknesses of these two methods. This essay mainly compares literal translation and free translation between Chinese and Russian to help students and translators translate better.&lt;br /&gt;
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'''Key words：'''&lt;br /&gt;
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Translation strategies, Literal translation,Free translation &lt;br /&gt;
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'''摘要：'''&lt;br /&gt;
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直译与意译间的对比一直是翻译学中讨论度最高的问题。想要将这两种翻译方法进行对比，最基本的一点就是要明白翻译的目的是什么。翻译的最终目的在于帮助不同文化进行更好的交流，让使用不同语种的人相互理解彼此的文化。由于语种间社会历史文化背景的差异，如何在直译和意译这两种翻译策略中做出选择，就需要译者衡量两种方法的利弊。本文主要对汉语和俄语间直译和意译进行比较，以帮助学生和译者更好地进行翻译实践。&lt;br /&gt;
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'''关键词：'''&lt;br /&gt;
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翻译策略，直译，意译&lt;br /&gt;
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'''1.Introduction'''&lt;br /&gt;
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The former Soviet Union translation theorist Fedorov believed: “Translation is an activity that expresses what has been used in one language as a unified whole of content and form, and accurately and completely expressed in another language.” Translation theorist Barr Hudarov also wrote: &amp;quot;Translation is the process of changing the coherent discourse of one language into the coherent discourse of another language while maintaining its content and meaning.&amp;quot; To some extent, translation is a process of thinking re-creation, so certain standards and principles must be followed when translating. Translation standard is a measure of the quality of translation, it can guide translation practice, and it is a principle that must be followed in translation activities. Although each scholar has different opinions on the standard of translation, the final result he pursues is the same: the original text and the translated text express the same effect. In order to achieve the same effect, different translation methods have been derived, of which literal translation and free translation are the most commonly used.&lt;br /&gt;
&lt;br /&gt;
Russian idioms and proverbs, as the crystallization of the wisdom of the Russian nation and the immortal fossils in the Russian language, are one of the best materials for the Chinese to understand and learn Russian history, culture, and society. Due to different geographical, historical and economic conditions, the Russian and Chinese ethnic groups have formed different cultural backgrounds. These distinctive backgrounds and characteristics have caused great difficulties for Chinese learning Russian to further understand Russia. This essay studies the basic definitions of literal translation and free translation, their respective advantages and disadvantages and their mutual relations, and strive to solve how to use the translation methods of literal and free translation to properly translate Russian idioms and proverbs, and how to reflect the cultural background and language characteristics of Russian idioms and proverbs in the translation .&lt;br /&gt;
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'''2.Different views of &amp;quot;literal translation&amp;quot; and &amp;quot;free translation&amp;quot;'''&lt;br /&gt;
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In different periods and different countries, people's views on translation theory have changed a lot, but the debate about literal translation and free translation has always existed.&lt;br /&gt;
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In China, the contradiction between literal translation and free translation may initially be due to the different understanding of these two translation methods. The translator Sun Guiding believes that: literal translation is stuck to the structure of the original text and does not consider whether the Chinese is fluent and natural; while free translation is to use the inherent Chinese idioms and the most natural words and sentences as much as possible to achieve the effect of conveying the meaning of the original text. Former President of Wuhan University, Du Zuozhou, believes that literal translation means translating word by word according to the original text; free translation means translating according to the meaning of the original text, and the translation is more suitable for the common grammar of the translated language. The educator Meng Xiancheng believes that literal translation is a translation technology with different degrees of correctness. Literal translation is a translation that is faithful and correct according to the original text; free translation is a translation that summarizes the original meaning. Zhu Guangqian said: &amp;quot;The so-called 'literal translation' refers to the literal translation based on the original text. Every word and sentence are translated word by word, and the order of the words and sentences is not changed. The so-called ‘paraphrasing’ is to express the meaning of the original text in Chinese, and it does not have to be completely based on the literal and order of the original text. &amp;quot; The principle of &amp;quot;faithfulness, expressiveness and elegance&amp;quot; put forward by the modern Chinese translator Yan Fu has long been the basic principle guiding translation practice. A large number of beginners who learn foreign languages regard &amp;quot;faithfulness and expressiveness&amp;quot; as translations that are completely faithful to the original text when translating. In fact, Yan Fu's translation requirements are a guiding principle for translation based on semantics. When translating, if the structure and expression of the original text cannot be directly adopted, the sentence structure and expression must be changed according to the characteristics of the target language. In addition, there are many differences between the original language and the target language in the word order, grammar, variants and rhetoric in the translation process. In many cases, there is no direct corresponding word. This requires the translator to consider the actual semantics, background and other factors. On the basis of the original meaning of the sentence, use an appropriate method to convey the content of the original work and reproduce the language style of the original work.&lt;br /&gt;
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In the Soviet Union, under the influence of ideology, Western translation theories could not be widely disseminated, but within the Soviet Union, translation theories similar to Western translation theories have been formed and developed, and two main schools of translation theory have been further differentiated — Linguistic Translation School and Literary Translation School. To a certain extent, the dispute between these two schools also reflects the debate on literal translation and free translation among translators' groups. In terms of the principles or standards of translation, the linguistic translation school believes that an ideal translation should be an equivalent translation, first of all linguistic correspondence, that is, the translation should have the same meaning as the corresponding language or discourse unit of the original; the literary translation school believes that translation pursues artistic correspondence, and linguistic correspondence must be subordinate to artistic correspondence. Therefore, it proposes that the aesthetic standards of translation should reproduce the artistic reality reflected by the unity of the original content and form. The characteristic is to use images to translate images, that is, to create the same image in different languages. In 1953, Andrei Venediktovich Fedorov, the leader of the linguistic translation school, published his work &amp;quot;Summary of Translation Theory&amp;quot;, which was the first monograph of the Soviet Union to study translation theory from the perspective of linguistics. The author proposes that translation theory is a branch of linguistics. Since the translation of any genre work must rely on the comparison of two languages, translation problems can only be solved in the field of language. Fedorov’s view was refuted by the literary translation school represented by Ivan Alexandrovich Kashikin. The literary translation school believes that aesthetic issues are the core of literary translation theory, and translation should be regarded as a form of language art, that is, translation should be studied from the perspective of literature and art. In fact, the literary translation school emphasizes the translation of literary and artistic works, which belongs to the specific translation theory; while the research of the linguistic translation school focuses on the general translation theory, that is, the translation of all thematic works including literary works. The dispute between the two major translation theory schools of Russia and the Soviet Union provides another perspective for Chinese translators to explore the relationship between literal translation and free translation.&lt;br /&gt;
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'''3.The application of literal translation and free translation in the Chinese translation of Russian idioms'''&lt;br /&gt;
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The idioms of different nationalities are the most dynamic and expressive units at the lexical level in different languages, and they are also the units that can best reflect the characteristics of national culture in languages. The number of Russian idioms is extremely rich, it records and reflects all aspects of Russian national life. Due to the great differences in geographical locations and living customs between China and Russia, the national cultures reflected in Chinese and Russian must be quite different. One of the difficulties in idiom translation is its imagery. When translating idioms, both the meaning and the image must be considered. Although the Chinese and Russian cultures are very different, many of the commonalities of mankind, such as emotion and natural environment, have created conditions for mutual communication, mutual understanding and idiom translation between different languages.&lt;br /&gt;
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'''3.1 Literal translation'''&lt;br /&gt;
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Generally speaking, the literal translation method refers to a translation method that directly translates the original text without changing the language characteristics and style of the original text on the basis of fully respecting the meaning of the original text. Chinese translation of Russian idioms by literal translation method has the advantage of being able to intuitively and faithfully express the meaning of the idiom, maintaining the unique style and imagery of the original text: the disadvantage is that the translated idiom may not be understood by the Chinese because of China and Russia have different historical, cultural backgrounds, grammatical structures, and language world landscapes, which can easily form obstacles in the process of understanding.&lt;br /&gt;
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Translating Russian idioms by literal translation is further divided into two methods — literal translation into Chinese idioms and literal translation into non-idiom sentences or words.&lt;br /&gt;
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Literal translation of Russian idioms into Chinese idioms is suitable for the translation of Russian and Chinese idioms that are completely equivalent in image, structure, and meaning. The advantage is that it is easy to understand, and the translation is simple and fast. E.g:&lt;br /&gt;
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(1)домашнего  (своего) вора не убережешься. 家贼难防&lt;br /&gt;
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(2)знать как свои пять пальцев (видно, как на ладони) 了如指掌&lt;br /&gt;
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(3)подлить масла в огонь 火上浇油&lt;br /&gt;
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(4)как рыба в воде 如鱼得水&lt;br /&gt;
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(5)как ножом по сердцу 心如刀割&lt;br /&gt;
&lt;br /&gt;
(6)как гром среди ясного неба 晴天霹雳&lt;br /&gt;
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(7)на добро отвечают добром 善有善报&lt;br /&gt;
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(8)копейка рубль бережет 财从细起&lt;br /&gt;
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(9)мечты сбываются 梦想成真&lt;br /&gt;
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(10)курица всегда следует за петухом 嫁鸡随鸡&lt;br /&gt;
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(11)чего мало, того и дорого  (дорого то, что мало) 物以稀为贵(12)&lt;br /&gt;
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(12)изгонять яд с помощью яда 以毒攻毒&lt;br /&gt;
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(13)сидеть как на иголках 如坐针毡&lt;br /&gt;
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(14)действия громче слов 事实胜于雄辩&lt;br /&gt;
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(15)зарыть талант в землю 埋没人才&lt;br /&gt;
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(16)висеть на волоске 千钧一发&lt;br /&gt;
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(17)лить как из ведра 倾盆大雨&lt;br /&gt;
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The idioms in the above examples are completely equivalent in image, structure or meaning in Russian and Chinese, so Chinese idioms can be used for literal translation. &lt;br /&gt;
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In fact, in the two languages, idioms with the same image, structure, and meaning are still in the minority, so it is more common to translate Russian idioms into non-Chinese idiom sentences or vocabulary. E.g:   &lt;br /&gt;
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настоять на своем 坚持自己&lt;br /&gt;
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камень с души свалился 心里的一块石头落地&lt;br /&gt;
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связать свою судьбу 把自己的命运与……相连&lt;br /&gt;
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быть на голову 高出一头&lt;br /&gt;
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вбивать в голову 往脑子里灌&lt;br /&gt;
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блеснуть метеором 像流星一样一闪而过&lt;br /&gt;
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с мизинец 小拇指这么大&lt;br /&gt;
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It is not difficult to find that the literal translation method can completely retain the original appearance of the idiom, show the common concept of human understanding of the world, and be beneficial to the cultural exchange between China and Russia.&lt;br /&gt;
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'''3.2 Free translation'''&lt;br /&gt;
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Another method commonly used in the Chinese translation of Russian idioms is free translation. Free translation is to readjust the structure of the original text on the basis of keeping the original meaning of the idiom unchanged, and then reconstruct the Russian idiom with the way of thinking and expression in Chinese. This is because the figurative images used in many Russian idioms are inconsistent with those used in Chinese. If the original image is used in translation, it will cause a barrier to understanding. The advantage of free translation of Russian idioms is that it eliminates obstacles to understanding, but the disadvantage is that it cannot completely retain the original style and cultural characteristics. E.g:&lt;br /&gt;
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(1)В Тулу со свим самоваром не ездят.&lt;br /&gt;
直译：去图拉不用带自己的茶炊。&lt;br /&gt;
意译：多此一举&lt;br /&gt;
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(2)Честь лучше бесчестья.&lt;br /&gt;
直译：尊重比不尊重好。&lt;br /&gt;
意译：礼多人不怪。&lt;br /&gt;
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(3)словно горя с плеч&lt;br /&gt;
直译：把山从肩膀下卸下&lt;br /&gt;
意译：如释重负&lt;br /&gt;
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(4)выеденного яйца не стоит&lt;br /&gt;
直译：一个空蛋壳不值钱&lt;br /&gt;
意译：鸡毛蒜皮，一文不值&lt;br /&gt;
&lt;br /&gt;
(5)чужими руками жар загребать&lt;br /&gt;
直译：用别人的手将红炭火拨成一堆&lt;br /&gt;
意译：坐享其成，不劳而获&lt;br /&gt;
&lt;br /&gt;
(6)ни рыба, ни мясо&lt;br /&gt;
直译：没有鱼也没有肉&lt;br /&gt;
意译：不三不四，不伦不类&lt;br /&gt;
&lt;br /&gt;
(7)лучше синица в руках, чем журавль в небе&lt;br /&gt;
直译：天上的仙鹤不如手中的山雀&lt;br /&gt;
意译：远亲不如近邻&lt;br /&gt;
&lt;br /&gt;
(8)На языке мед, а под лед&lt;br /&gt;
直译：嘴上甜得像蜂蜜，心里冷得像冰&lt;br /&gt;
意译：笑里藏刀&lt;br /&gt;
&lt;br /&gt;
(9)И на солнце есть пятна&lt;br /&gt;
直译：太阳上也有黑点&lt;br /&gt;
意译：人无完人&lt;br /&gt;
&lt;br /&gt;
(10)семь раз отмерь, один раз отрежь&lt;br /&gt;
直译：测量了七次后再剪裁&lt;br /&gt;
意译：三思而后行&lt;br /&gt;
&lt;br /&gt;
Using free translation to translate Russian idioms requires the translator to accurately understand the meaning of the original text, because cultural differences make it impossible to literally translate. Only through the translator can an unobstructed bridge between Russian idioms and Chinese idioms be built.&lt;br /&gt;
&lt;br /&gt;
'''4.The application of literal translation and free translation in the Chinese translation of Russian proverbs'''&lt;br /&gt;
&lt;br /&gt;
There are often multiple translations of the same Russian proverb in Russian-Chinese dictionaries. On the one hand, because the translator uses different translation methods; on the other hand, because Russian proverbs have very rich connotations, a translation cannot perfectly interpret the inner meaning of the proverb. According to the context and the connotation of the proverbs, the most commonly used methods of Chinese translation of Russian proverbs are literal translation and free translation.&lt;br /&gt;
&lt;br /&gt;
'''4.1 Literal translation'''&lt;br /&gt;
&lt;br /&gt;
In Russian and Chinese languages, some proverbs not only have the same meaning or implicit meaning, but also use the same or similar figurative images to express a certain kind of the same semantics, and they are completely consistent in content and form. In this case, the equivalent translation of synonymous Chinese proverbs can convey the information contained in the original image, which not only retains the rhetorical color of the original language, but also enables the reader to perfectly understand the original text. E.g:&lt;br /&gt;
&lt;br /&gt;
(1)Куй железо, пока горячо. 趁热打铁。&lt;br /&gt;
&lt;br /&gt;
(2)Беда не приходит одна. 祸不单行。&lt;br /&gt;
&lt;br /&gt;
(3)Сытый голодного не разумеет. 饱汉不知饿汉饥。&lt;br /&gt;
&lt;br /&gt;
(4)Век живи, век учись. 活到老，学到老。&lt;br /&gt;
&lt;br /&gt;
(5)Выше встанешь, дальше увидишь. 站得高，看得远。&lt;br /&gt;
&lt;br /&gt;
(6)Лучше один раз увидеть, чем сто раз услышать. 百闻不如一见。&lt;br /&gt;
&lt;br /&gt;
(7)Нет дыма без огня. 无火不生烟。&lt;br /&gt;
&lt;br /&gt;
(8)Шила в мешке не утаишь. 口袋藏不住锥子。&lt;br /&gt;
&lt;br /&gt;
(9)Береги платье снову, а честь смолоду. 衣服要从新的时候爱惜，荣誉要从年轻时珍惜。&lt;br /&gt;
&lt;br /&gt;
(10)Выше лба уши не растут. 耳朵高不过额头。&lt;br /&gt;
&lt;br /&gt;
(11)Для милого друга семь верст не околица. 为了好友，多绕七里也不嫌远。&lt;br /&gt;
&lt;br /&gt;
(12)Как Новый год встретишь, так его и проведешь. 怎么迎新年，就怎么过一年。&lt;br /&gt;
&lt;br /&gt;
(13)Лучше умереть стоя, чем жить на коленях. 宁愿站着死，绝不站着生。&lt;br /&gt;
&lt;br /&gt;
(14)Не имей сто рублей, а имей сто друзей. 宁要一百个朋友，不要一百个卢布。&lt;br /&gt;
&lt;br /&gt;
По одежке встречают, по уму провожают. 迎客时看衣，送客时看才智。&lt;br /&gt;
&lt;br /&gt;
==Dialectical thinking in arguments between literal translation and free translation 	甘奉玉	Gan Fengyu==&lt;br /&gt;
&lt;br /&gt;
===Abstract===&lt;br /&gt;
  As two methods of translation, how to use literal translation and free translation has always been the focus of debate between Chinese and Western translation circles. Through the study of translation methods of literal translation and free translation at home and abroad, we can know that to some extent literal translation and free translation are two relative conceptions, so there will be word-for-word translation, that is, dead translation, and excessive free translation. However, these two are only two extremes of literal translation and free translation. In fact, although there are differences in definitions and application fields between literal translation and free translation, they are unified in common translation purpose, translation procedure and translation standard. Therefore, the two are contradictory and unified in translation activities. This is also the profound embodiment of the unity of opposites in materialist dialectics.--[[User:Gan Fengyu|Gan Fengyu]] ([[User talk:Gan Fengyu|talk]]) 07:46, 10 November 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
===Key words===&lt;br /&gt;
literal translation, free translation, word-for-word translation, over free translation, unity of opposites&lt;br /&gt;
&lt;br /&gt;
===摘要===&lt;br /&gt;
  作为翻译方法，直译(literal translation)与意译(free translation)怎样使用的问题一直是一个争论中西方翻译界不休的焦点。通过对国内外直译与意译的翻译方法的研究，我们可以得知，从某种程度而言，直译与意译是两个相对的概念, 所以才会有逐字翻译，即死译，与过度意译这两个完全对立的概念。但是，这两者只不过是直译与意译的两个极端点。其实，直译和意译虽然在概念定义，适用范围上有所差异，但却又统一于共同的翻译目的、翻译过程和翻译标准中。所以两者在翻译活动中应该是既对立又统一的矛盾体。而这也正是唯物辩证法中的对立统一矛盾观的深刻体现。--[[User:Gan Fengyu|Gan Fengyu]] ([[User talk:Gan Fengyu|talk]]) 07:50, 10 November 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
===关键字===&lt;br /&gt;
直译； 意译； 死译； 过度意译； 对立统一&lt;br /&gt;
&lt;br /&gt;
===Introduction===&lt;br /&gt;
  Throughout the translation history at home and abroad, the literal translation and free translation have always been a heat discussion in the translation circles. Someone absolutely approve literal translation and demean free translation, even pursue a dead translation, which creates an translated text difficult to understand. While some other people absolutely agree with free translation even advocate random acts, which means a random deletion in the translation practices and creates anther entirely different text. However, there are also a number of translators who have recognized that these two translation methods are not totally opposite. So they adopt a compromise and flexible way. That means they will choose the most appropriate one depending on the text demanding. Therefore, we can deduce from it that this eclectic translation is consistent with the Contradiction view of Unity of Opposite in Materialist Dialectics. In fact, literal translation and free translation are right a set of contradictions which are both opposite and unified. They complement each other into an integral one.&lt;br /&gt;
&lt;br /&gt;
===1.Dialectic thinking of the Unity of opposites===&lt;br /&gt;
===2.Word-for-word translation===&lt;br /&gt;
===3.Over free translation===&lt;br /&gt;
===4.Eclectic translation===&lt;br /&gt;
===5.Opposition and unity between literal translatiuon and free translation===&lt;br /&gt;
&lt;br /&gt;
===5.1 Opposition===&lt;br /&gt;
&lt;br /&gt;
===5.1.1 Opposition in definition===&lt;br /&gt;
&lt;br /&gt;
===5.1.2 Opposition in application fileld===&lt;br /&gt;
&lt;br /&gt;
===5.2 Unity===&lt;br /&gt;
===5.2.1 Unity in translation goal===&lt;br /&gt;
===5.2.2 Unity in translation procedure===&lt;br /&gt;
===5.2.3 Unity in translation standard===&lt;br /&gt;
===6.Conclusion===&lt;br /&gt;
===Bibliography===&lt;br /&gt;
&lt;br /&gt;
== Peter Newmark’s Improved Views on Literal Translation and Free Translation 赵茜 Zhao Xi==&lt;br /&gt;
&lt;br /&gt;
='''Document Translation'''=&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
==On translation of official documents of CangNan County	吴恺	Wu Kai==&lt;br /&gt;
&lt;br /&gt;
On Translation of Official Documents of Cangnan County&lt;br /&gt;
&lt;br /&gt;
Japanese Language and Literature, School of Foreign Languages, Hunan Normal University, Wu Kai--[[User:Wu Kai|Wu Kai]] ([[User talk:Wu Kai|talk]]) 04:45, 2 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
==='''Abstract'''===&lt;br /&gt;
As one of the forefronts of Zhejiang’s opening-up cause, Cangnan County in Zhejiang Province has been enjoying a rapid development and an ever-growing degree of opening-up with lasting vitality as it’s supported by national policies and nourished by the dividends of economic globalization since China's reform and opening-up. As China has ushered in a period of major changes rarely seen in a century, Cangnan County is also facing new opportunities and challenges. Under the background of this era, Cangnan County is expected to make good use of its own advantages, especially the geographical ones—it is close to countries and regions including Japan, South Korea, and Taiwan—and should spare no efforts to achieve a higher level of opening-up, and, in turn, further promote its development. As an embodiment of the collective will of the people of Cangnan County, the official document is one of the best manifestations of its governance and stability control capabilities. For this reason, the research on how to translate official documents is of great significance for that it offers a great opportunity for Cangnan County to re-examine itself and to show the rest of the world its achievement in building a culture-enriched county.&lt;br /&gt;
&lt;br /&gt;
==='''Key words'''===&lt;br /&gt;
 official document translation, Cangnan County, opening-up, Japan, South Korea&lt;br /&gt;
&lt;br /&gt;
==='''摘要'''===&lt;br /&gt;
自中国改革开放以来，浙江省苍南县作为全浙江对外开放的前沿阵地之一，得到了国家政策支持和经济全球化红利的滋润，苍南县发展水平与对外开放程度日新月异，全县活力持久带劲。随着中国迎来“百年未有之大变局”，苍南县也面临着新的机遇和挑战，在此时代背景下，苍南县应该利用好自身优势，特别是临近日本、韩国、台湾等国家与地区的地理优势，努力开展更高层次、更高水平的对外开放事业，促进苍南更好的发展。为此，作为苍南县人民集体意志的体现，苍南县的公文就是对外展示其治理水平、稳控能力的最好的体现之一。而对于苍南县公文的如何翻译的研究，是促使苍南县重新审视自己、推进苍南人文县情传播海外的良机，意义重大。&lt;br /&gt;
&lt;br /&gt;
==='''关键词'''===&lt;br /&gt;
公文翻译  苍南县  对外开放  日本  韩国&lt;br /&gt;
&lt;br /&gt;
==='''I. System and Translation of Official Documents of Cangnan County'''===&lt;br /&gt;
&lt;br /&gt;
The unique official document system adopted by Chinese government agencies is a special integration of the thousands-of-years excellent political traditions in China and the essence of the organizational structure of the socialist regime. As a county-level unit in China's local administrative structure, Cangnan County has an official document system that is consistent with the national ones in general while has its own features. Official documents of Cangnan County can be basically divided into the following types of writing: resolutions, decisions, orders, bulletins, announcements, notifications, opinions, notices, reports, requests for instructions, approvals, proposals, letters, and minutes. Above-mentioned categories are collectively known as official documents. Besides, there are also some types of practical writing, including summaries, plans, notes, memos, briefings, speeches, manuals and so on, that are often used in our day-to-day work.&lt;br /&gt;
&lt;br /&gt;
In addition to those characteristics of the official documents that are commonly seen in China, official documents of Cangnan County also have its own features, which is mainly reflected in the aspect of proprietary terminology. Cangnan County, which used to be a part of Pingyang County in Zhejiang Province, was officially designated as a county in 1981 with the approval of the Central Government. It takes its name Cangnan, which means “on the south of the Yucang Mountain”, from its geographical location. As a relatively young county-level administrative unit in China’s administrative divisions, Cangnan County has a complex natural endowment and cultural environment, which is the reason why there are many special proprietary terms used in the official documents of Cangnan County, such as “Beautiful South Gate of Zhejiang Province”, “Southern Ouyue (an ancient kingdom in modern Wenzhou and Taizhou)” , “South Gate of Jiangsu-Zhejiang Region” and so on. Moreover, Cangnan is also the birthplace of the “Wenzhou Model”. Since the implementation of policy for the exchange of production materials and commercial grains in 1984, Cangnan has become an important base for the experiments and development of Wenzhou's private economy and market economy, and, thus, has made a significant contribution to the great cause of China's reform and opening-up.&lt;br /&gt;
&lt;br /&gt;
To conclude, the unity of the official document system viewed from the national scope of China and the uniqueness of the official document system viewed from the local scope of Cangnan area are both reflections of the integration of economic, political, and cultural elements. Therefore, when translating the terms and sentences in these official documents, obviously, it is almost impossible to follow general translation theories, such as Yan Fu’s “faithfulness, expressiveness and elegance” theory which applies to literature translation, and Christiane Nord’ Skopos theory which emphasizes schematic analysis. Due to the features of the official documents of Cangnan County, it is hard to imagine the consequence it will cause if those Cangnan and Chinese elements they contain are missed when translating them. Therefore, the starting point for the translation and research of Cangnan official documents should be analyzing the official document itself, but not choosing which translation theory to apply.&lt;br /&gt;
&lt;br /&gt;
The translation method focusing on the official documents themselves is undoubtably the one that emphasizes the content while manages to achieve a similarity in form. Thus, the translation theory that meets the requirements of official document translation in Cangnan County shall be the functional equivalence theory of the American linguist Eugene A. Nida. Eugene A. Nida argued in his theory that translation is to use the most appropriate, natural and equivalent language to reproduce the informational function of the source language both semantically and stylistically. Nida’s definition of translation specified that translation is seeking equivalence not only in lexical meaning, but also in semantics, style and literary form. Translation should convey both the denotative and connotative meaning of a message. Regarding the equivalence of translation, he believed that the equivalence consists of four parts: lexical equivalence, syntactic equivalence, textual equivalence, and stylistic equivalence. Among the four aspects, he emphasized that the meaning the core and most important part, followed by the form. The form of a text is likely to conceal the cultural connotation of the source language and may, therefore, hinder cultural exchanges. Based on the above, the reasons why the functional equivalence theory is applicable to official document translation in Cangnan County can be concluded as follows:&lt;br /&gt;
&lt;br /&gt;
First, the functional equivalence theory advocates that the target text should be equivalent to the source text both semantically and culturally. Official documents of Cangnan County are carriers of profound political culture with Chinese characteristics and the cultural environment in Cangnan. When translating them, in addition to showing the political consciousness and judicial authority of Cangnan government agencies, the local culture of Cangnan must also be reflected in the translations.&lt;br /&gt;
&lt;br /&gt;
Second, the functional equivalence theory suggests that if the lexical meanings and cultural elements cannot be taken into account at the same time, the translator then may give up the equivalence in form and try to reproduce the semantic and cultural meaning of the source text by changing the form of the sentence. There are many specialized terms with Chinese characteristics and Cangnan’s characteristics in official documents of Cangnan County. When translating them, once there is no corresponding expression in the target language, other forms of expression must be adopted to retain the meanings of those specialized terms as much as possible.&lt;br /&gt;
&lt;br /&gt;
Third, the functional equivalence theory proposes that if the change in form is still not enough to express the semantic and cultural meaning of the expression in the source language, the translation technique of “heavy damage” can be adopted to resolve cultural differences , so that the source language and the target language can achieve equivalence in semantic meaning. “Heavy damage” refers to the transformation of the deep structure of the source language into the surface structure of the target language, that is, expressing the cultural connotation of the source text with expressions of the target language. It cannot be ruled out that there are words and sentences in the official document of Cangnan County that cannot be translated, and when this happens, the translator can only rely on his translation techniques and understanding ability to process them creatively.&lt;br /&gt;
Above are simply macro analyses of the official document system in Cangnan County, and when it comes to specific analyses, challenges we face will only be severer.&lt;br /&gt;
&lt;br /&gt;
==='''II. Stylistic Features and Translation of Official Documents in Cangnan County'''===&lt;br /&gt;
&lt;br /&gt;
Looking at the official documents of Cangnan County from the micro level, we can work on the study of its translation based on the following characteristics.&lt;br /&gt;
&lt;br /&gt;
'''1. Details and Accurate'''&lt;br /&gt;
&lt;br /&gt;
As an officially-written document geared for the needs of our people, wording of the official documents of Cangnan County has a very specific orientation. Almost all content words have very clear meanings and connotations.&lt;br /&gt;
&lt;br /&gt;
For example, the sentence “经研究，县政府决定召开市对县安全生产巡查反馈会暨突出问题集中教育警示会，现将有关事宜通知如下。(As discussed, the county government decided to convene a feedback meeting on city-to-county inspections of production safety and a meeting for education and warning on outstanding issues. The relevant matters are hereby notified as follows.)” in the document 《苍南县人民政府办公室关于召开市对县安全生产巡查反馈会暨突出问题集中教育警示会的通知》(“Notice of the Office of the People's Government of Cangnan County on Convening a Feedback Meeting on City-to-County Inspections of Production Safety and A Meeting For Education and Warning On Outstanding Issues”) (the office of the People's Government of Cangnan County on June 8th, 2020) conveys several points very accurately and clearly, including the decision maker, the type, content and theme of the meeting. Therefore, special attention must be paid to the integrity of the information delivered when translating this sentence. For example, it is translated into Japanese as “討議を通じて、県政府は県の安全生産状況に対する市政府の巡査結果反映会及び顕著問題教育警告会を開催することが決定した。関連事項を以下のようにお知らせする。”&lt;br /&gt;
&lt;br /&gt;
'''2. Precise and Compact'''&lt;br /&gt;
&lt;br /&gt;
The role of official documents is to exchange formal information between the upper and the lower, the people and the officials, and the relevant departments. Therefore, the wording of the official documents must be rigorous. No slang and loose sentences should be used, and excessive use of parentheses and descriptive modifiers should be avoided. Official documents of Cangnan County follow this rule as well, in which there will never be informal expressions like daily spoken words.&lt;br /&gt;
&lt;br /&gt;
For example, the expression “三、决策目录施行动态管理，因工作需要增减或变更重大行政决策事项的，承办单位应按照相关规定程序提请调整。(Third, the decision catalogue shall be managed in a dynamic way, the undertaker shall submit application for adjustments in accordance with the relevant regulations if any increase/decrease or change shall be made to the major administrative decision-making matters because of the need of actual work.)” in the document《关于公布苍南县2020年度重大行政决策事项目录的通知》(“Notice on Issuing the 2020 Annual Catalogue of Major Administrative Decision-Making Matters of Cangnan County”) (the office of the People's Government of Cangnan County on Sept. 20th, 2020) When translating this sentence into Japanese, the translator shall fully considers the preciseness of the original expression, and translate it as “三つ目、戦略目録動的管理施行、仕事需要によっての増減または変更が必要な場合、請負機構は関連規定の手順に従って調整を提出しなければならない。”&lt;br /&gt;
&lt;br /&gt;
'''3. Programmed and Standardized'''&lt;br /&gt;
&lt;br /&gt;
The purpose of official documents requires a stable and routine writing program so that the official business can be conducted in an orderly manner. It is essential that the document writing is reasonably programmed. It allows the officer to know what it is and what to do at a glance if a standardized official document program is followed. The standardization of the official documents of Cangnan County can be regarded as a tricky feature in their translation.&lt;br /&gt;
&lt;br /&gt;
For example, the expression “各乡镇人民政府，县政府直属各单位 (the people's government of all townships and towns and all directly affiliated institutions of the people’s government of Cangnan County)” in the document《关于公布苍南县2020年度重大行政决策事项目录的通知》(“Notice on Issuing the 2020 Annual Catalogue of Major Administrative Decision-Making Matters of Cangnan County”) (the Office of the People's Government of Cangnan County on Sept. 20th, 2020) is obviously a standardized addressing of the receiving units of an official document, and it should be translated into Japanese as “各郷鎮人民政府、県政府直属の各部門”.&lt;br /&gt;
Viewing from a micro perspective, we may find that special attention should be paid to many precise details when translating those official documents. It is of great significance that, during the cause of reform and opening-up, we strike a balance between the macro level and the micro level in official document translation, which will serve as a stage for Cangnan County to show itself to Japan, South Korea and other East Asian countries and regions.&lt;br /&gt;
&lt;br /&gt;
==='''III. Translation of Official Documents of Cangnan County under the Context of the Japanese Language'''===&lt;br /&gt;
&lt;br /&gt;
Cangnan County is one of the nearest administrative units to Japan in China, and Okinawa Prefecture in Japan and Cangnan County are neighbors facing each other across the sea. Furthermore, Cangnan County itself has ports in Xiaguan, Pacao, Yanting, Dayu and other places, and has the basic conditions for conducting small transactions of freights with Okinawa. However, due to the inadequacy policies, laws and regulations, a large portion of Japan’s trade with China, especially with Zhejiang Province, is still conducted in the three port cities, namely Ningbo, Zhoushan, and Hangzhou. Cangnan’s geographical advantages have never been given to full play. To Japan, Cangnan is not a total stranger. Wenzhou City has a great influence upon Japanese culture and history. Special local products such as Wenzhou green tea and Wenzhou satsuma orange are very attractive to Japanese people. Many of the business exchanges during the Kamakura Bakufu in Japan were happened between Hakata merchants and Wenzhou people. As an important subordinate region of Wenzhou City, Cangnan County naturally has left an impression on Japanese people when it comes to China.&lt;br /&gt;
&lt;br /&gt;
If Cangnan hopes to lay a foundation for the future cooperation with Japan through its cause of opening up to the outside world, it is of great importance that we study the methods and techniques to make the translation of Cangnan’s official documents to meet the specific context of the Japanese language, which is also a part of the cultural exchanges that will facilitate economic and trade cooperation between Japan and China. The political status of Cangnan County is equivalent to the one of regular cities and special wards in Japan, but this does not mean that the official documents of Cangnan County can be regarded as equivalents to the official documents released by the governments of the regular cities and special wards in Japan, and there are huge differences between their respective official documents in form, wording, Cultural connotation and etc. To better translate Cangnan official documents under the context of Japanese language, the following aspects must be paid attention to:&lt;br /&gt;
&lt;br /&gt;
1. Detailed Comparison of Types&lt;br /&gt;
&lt;br /&gt;
In the Japanese official document system, the word “公文” is different in meaning from the word “公文” in Chinese official document system. In Chinese “公文” means government official documents, while in Japanese “公文” generally refer to legal documents that have the force of law and the term “公文書” is the one that refers to government official documents, which roughly includes “外交文書” and “起案文”, “通達” , “命令”, “許可”, “通知書” and so on . When translating official documents of Cangnan County into Japanese, attention should be paid to the transformation of the types of the official documents. The classifications of official documents in China and Japan are different from each other.&lt;br /&gt;
For example, when translating documents such as “proposal letter”, “report” and the like into Japanese, the title should be translated as “建言書” and “報告書”, while “命令(order)”, “通知(notice)”, “提案(Proposal)” and etc. need no translation and can be titled with the original characters directly as “命令”, “通知”, “提案”, and can also be further translated into “命令状”, “通知書”, “提案書”. Those reflect the characteristics of the division of the types of the official document system in Japan.&lt;br /&gt;
&lt;br /&gt;
2. Careful Consideration of the Translation of Chinese Characters&lt;br /&gt;
&lt;br /&gt;
There are a large number of Chinese characters in Japanese. This will for sure be an advantage when translating official documents of Cangnan County into Japanese, however, at the same time, this is also a huge disadvantage. After all, those Chinese characters are Japanized Chinese characters, and their meanings and usages are more or less different from the original ones in Chinese.&lt;br /&gt;
&lt;br /&gt;
For example, the expression “设定全县森林防火期(setting the season of forest fire prevention)” in the document 《苍南县应急管理局局长王再忠关于&amp;lt;苍南县人民政府关于做好森林防火期护林防火工作的通告&amp;gt;的政策解读》(“Policy Interpretation Of ‘Notice of Doing Forest Protection and Fire Prevention during the Season of Forest Fire Prevention by the People's Government Of Cangnan County’ by the Director of Cangnan Emergency Management Agency Wang Zaizhong”) in could be translated character by character into Japanese as “全県域森林防火期間設定”. However, expressions such as “野外火源如何管理” cannot be translated in the same way, and must be processed accordingly and translated into Japanese as “野外の火の元が如何に処理すること”. When translating official documents of Cangnan County into Japanese, the translators must reject the preconceived thinking and native Chinese thinking, or it will lead to irreversible misunderstandings and mistakes.&lt;br /&gt;
&lt;br /&gt;
3. Mastery of the Equivalence of Semantic Meaning&lt;br /&gt;
&lt;br /&gt;
Chinese is an isolating language, in which the grammatical meaning is reflected by the order of words, while Japanese is an agglutinative language, in which auxiliary words and flexible usages of vocabulary are adopted to reflect the grammatical meaning. This requires the translators to have mastery of the equivalence of semantic meanings when translating official documents of Cangnan County into Japanese and try to achieve perfect equivalence in official document translation.&lt;br /&gt;
&lt;br /&gt;
For example, there is a expression as “全体公民必须认真贯彻‘以人为本、预防为主、积极扑救、有效消灾’的森林防灭火工作方针，一旦发现森林火灾，要立即向当地人民政府或森林防灭火指挥部办公室报告(all citizens must seriously implement the working policy of forest fire prevention and firefighting ‘people-oriented, prevention-focused, active in firefighting, effective in disaster relief’, once a forest fire is detected, it must be reported to the local people’s government or the forest fire prevention and firefighting headquarters office immediately)” in the document 《苍南县应急管理局局长王再忠关于&amp;lt;苍南县人民政府关于做好森林防火期护林防火工作的通告&amp;gt;的政策解读》(“Policy Interpretation Of ‘Notice of Doing Forest Protection and Fire Prevention during the Season of Forest Fire Prevention by the People's Government Of Cangnan County’ by the Director of Cangnan Emergency Management Agency Wang Zaizhong”). When dealing with long and complex sentences, the translator must be flexible in using translation techniques to decompose the sentences and translate them step by step, focusing on the balance between the form of the sentence and its semantic meaning. Based on this principle, the abovementioned sentence could be translated into Japanese as “人間本位、予防軸化、積極救助、有効消災という森林防火作業方針は全県民が必ず強固に守らなければならない。林に火事が発見された際、直ちに所轄人民政府や森林防火指揮部執務室に報告すること。”&lt;br /&gt;
&lt;br /&gt;
There is no doubt that, in terms of four-character idioms, allusions, new words of the era and etc., the translation of official documents of Cangnan County under the context of the Japanese language still has a long way to go, but the part that we should pay most attention to in translation is always the differences in culture between the source language and the target language. Only by keeping this basic point in mind at all times, will there be no huge mistakes being made when translating official documents of Cangnan County into Japanese.&lt;br /&gt;
&lt;br /&gt;
==='''Ⅳ. Translation of Official Documents of Cangnan County under the Context of the Korean Language'''===&lt;br /&gt;
&lt;br /&gt;
Zhejiang Province and South Korea have laid a good foundation for economic and trade cooperation projects, and a framework that is comprehensive, wide-ranging, and multi-level has been established for Zhejiang-South Korea cooperation. The advantages of the two regions are obviously complementary and the development potential for both sides and in between is huge. In September 2016, the Zhejiang China-Korea (Quzhou) Industrial Cooperation Park was approved as the first batch of “Zhejiang International Industrial Cooperation Parks” in Zhejiang Province. The total planned area is about 3,000 acres and the total planned investment is 12 billion yuan. Represented by the Zhejiang China-Korea Industrial Cooperation Park, a large number of economic and trade cooperation projects has been carried out with South Korea by Zhejiang Province. As an indispensable part of Zhejiang Province, Cangnan County is facing a huge gap in the cultural exchanges and economic cooperation with South Korea. How to elevate the level of Cangnan’s opening up to the outside world and advancing Cangnan’s economic, trade and cultural cooperation with South Korea is a question that is well worth exploring. Although Cangnan is further away from South Korea compared with regions in the north of Zhejiang, geographic location should never be a factor that hindering Cangnan’s economic, trade and cultural cooperation with South Korea. In an era of ever-deepening globalization, it is of great significance that we think about how to develop and promote the economic and trade and cultural cooperation between Cangnan and South Korea.&lt;br /&gt;
&lt;br /&gt;
Northern Zhejiang is a key area for economic, trade and cultural cooperation with South Korea. As the south gate of Zhejiang Province, if Cangnan County could open the door of economic, trade and cultural cooperation to South Korea, then this will inevitably bring extraordinary development opportunities to southern Zhejiang and make the pattern of Zhejiang and South Korea’s economic and cultural cooperation more balanced and healthy. The political status of Cangnan County is equivalent to the one of si(city), gu (district), and gun(county) in South Korea. Because of some historical reasons, South Korea is greatly influenced by Chinese culture. From the Three Kingdoms era of Joseon, to the Unified Silla Dynasty, the Wang’s Goryeo Dynasty, and the Yi’s Joseon Dynasty, the basic system of administrative divisions in South Korea is almost the same as the one in China, so the official document system of cities, districts, and counties in South Korea can be regarded as basically equivalent to the official document system of Cangnan County with only slight differences originated from the localized political and cultural traditions and the basic social condition of South Korea. Therefore, there are relatively fewer difficulties of translation when translating official documents of Cangnan County into Korean, aside from the barriers caused by Korean Hangul words. The translation of official documents of Cangnan County under the context Korean language requires attention to the following aspects:&lt;br /&gt;
&lt;br /&gt;
1. The Combination of Chinese characters and Hangul&lt;br /&gt;
&lt;br /&gt;
Modern Korean uses Hangul as the main written characters, but this does not mean that there is no place for Chinese characters in the Korean system. Since the launch of the abolition of Chinese characters movement in South Korea in the 1970s, Hangul did exactly achieved an overall penetration of every aspect of their daily life, but when it comes to important documents, Chinese characters still reserve a seat in the arena of South Korea’s history. Furthermore, a higher level of talent training is required now to meet the need of South Korea’s economic and social development, and the mastery of sinology has become, among all the necessary skills, one of the most straightforward evaluation criteria to access the qualified personnel. Thus, South Korea has restarted the Chinese character teaching movement. Nowadays, the official document system in South Korea has become one in which Hangul serves as the main language and the mixed use of Chinese characters and Hangul serves as a supplement. Just as how the mixed use of kana and Chinese characters in Japanese official documents may help in its translation, the mixed use of Chinese characters and Hangul also greatly facilitate the translation of official documents of Cangnan County into Korean. However, because Chinese characters used in Korea are composed of traditional Chinese characters and a small number of Korean self-made Chinese characters, we can not take it for granted that it is advisable to translate them word by word.&lt;br /&gt;
&lt;br /&gt;
For example, the title of the document《苍干任〔2020〕18号 王再忠等同志的任命》(“Cangnan Cadre Appointment [2020] No. 18: Appointment of Wang Zaizhong and etc.”) (the Office of CPC Cangnan Party Committee on March 27th, 2020) can be translated with the mixed use of Chinese characters and Hangul into Korean as《蒼南縣의 幹部任命〔2020〕18號 王再忠등 同志의任命》. Also, it be translated into Korean with Hangul alone as《참남현의 간부임명〔2020〕18호 왕재충등 동지의임명》.&lt;br /&gt;
&lt;br /&gt;
2. The Usage of Refined Language&lt;br /&gt;
&lt;br /&gt;
In recent years, South Korea has carried out reforms of the official document system, urging that the South Korean government agencies at all levels should use “refined(or purified) language”, that is, to write and publish official documents with words that are easy for the public to understand and have explicit meanings, reducing the cost of communication between the government and the public and, in this way, building a closer relationship between the government and the people, so that civil servants can communicate with the people more effectively. Refined language is a kind of common vernacular that differs from the official language. Although this trend of the wording of Korean official documents is not unconditional, but when compared with official documents of Cangnan County, which emphasize the solemnity and formality of official documents, this trend is the part that the translator has to pay his attention to.&lt;br /&gt;
&lt;br /&gt;
For example, when translating the expression “为加强行政规范性文件管理，切实推进依法行政，加快法治政府建设 (To strengthen the management of administrative normative documents, promote the administration in accordance with law, and accelerate the construction of a government ruled by law)” in the document《苍南县人民政府关于公布县政府及县政府办公室行政规范性文件清理结果的通知（有效）》(“Notice of the Office of the People's Government of Cangnan County on the Announcement of the Results of the Cleanup of the Administrative Normative Documents of the County Government and the County Government Offices (Effective)”) (the Office of the People's Government of Cangnan County on October 23th, 2020) , blunt expressions may not be that applicable and this expression translated into Korean in a more public-friendly way as “행정 규범적인 문서관리를 강화하기 위해, 법에따라 행정을 철저히 추진하고 법치정부의 건설을 가속화시킨다.”&lt;br /&gt;
&lt;br /&gt;
3. Mastery of the Equivalence of Semantic Meaning&lt;br /&gt;
&lt;br /&gt;
Like Japanese, Korean is also a typical agglutinative language. A sentence is formed by connecting independent words with various auxiliary words, and with a subordinating conjunction at the end of the sentence. Auxiliary words are just like glues, they exist after every subject, predicate, and object component of a Korean sentence to them together. For that these auxiliary words have no substantial meaning themselves, they must stay close to the main body in front, and a space must be put after. Therefore, when translating Chinese, which is an isolated language, into Korean, which is an agglutinative language, it is necessary to have mastery of the equivalence of the semantic meaning of the expression.&lt;br /&gt;
&lt;br /&gt;
For example, when translating the expression “全面实施全民参保计划，做好参保情况清查，提升参保信息质量，清理重复参保，稳定持续参保，减少漏保断保，实现应保尽保。(Fully implement the national social security plan, do a good job in checking the coverage of the social security, improve the quality of the collection of the information of the insured, clean up repeated insureds, stabilize the renewal of the social security, reduce the interruption of the social security, and achieve full social security coverage.)” in the document《关于做好2021年度城乡居民基本医疗保障工作的通知》(“Notice on Doing a Good Job in Basic Medical Security for Urban and Rural Residents in 2021”)( the Office of Medical Security Bureau of Cangnan County on November 5th, 2020), the translator should pay attention to the equivalence of semantic meaning of this long sentence and translated it into Korean as “전국민기본의료보험가입계획을 전면적으로 실시하고 기본의료보험가입상황을 철저히 조사하며 기본의료보험가입 정보의 질을 향상시키고 중복기본의료보험가입을 청산하며 안정적이고 지속적인 기본의료보험가입을 하며 보험누락을 줄이고 기본의료보험가입 을 실현해야 한다.”&lt;br /&gt;
&lt;br /&gt;
==='''Ⅴ. Studies of Official Document Translation and the Cause of Opening-up in Cangnan County'''===&lt;br /&gt;
&lt;br /&gt;
Based on the abovementioned basic characteristics of the official document system of Cangnan County, the notes for official documents translation under the context of the Japanese language and the notes for official documents translation under the context of the Korean language, we can see that official documents of Cangnan County is not as difficult to handle as something untranslatable. Cangnan County enjoys a good geographic location: it is located in the coast of the East China Sea, and is close to both Japan and South Korea, two strong economies in East Asia. However, Cangnan County has not yet made use of these favorable conditions to the fullest to promote cultural cooperation and trade with the two countries. Cangnan’s opening up to the outside world requires innovative thinking and an elaborate layout. Studies on the translation of official documents of Cangnan County, especially the translation of official documents under the context of the Japanese and Korean language, will help to explore the cultural spirit of the government institutions, and play an important role in building a good image of Cangnan County in East Asia and laying a foundation for Cangnan's cooperation with major countries and regions in East Asia .&lt;br /&gt;
&lt;br /&gt;
The world today is undergoing profound changes rarely in a century, and so is China. The tide of history moves on and Cangnan shall not stay out of the matter, but must follow it courageously and strive to open new doors for Cangnan's opening up to the outside world through the study of the official document translation of its own.&lt;br /&gt;
&lt;br /&gt;
===References===&lt;br /&gt;
&lt;br /&gt;
[1]Ziqi LIU. The Application of Functional Equivalence Theory in Scientific Translation：A Case Study of the Translation of Shipbuilding English[J]. CREATIVITY AND INNOVATION,2019,1(3).&lt;br /&gt;
&lt;br /&gt;
[2]Mu Dan. Discussion on Translation Activities Under the Guidance of Functional Equivalence Theory[J]. International Journal of Education and Management,2018,3(2).&lt;br /&gt;
&lt;br /&gt;
[3]李琳琳. 功能对等翻译理论与关联翻译理论比较研究[D].辽宁师范大学,2006.&lt;br /&gt;
&lt;br /&gt;
[4]赵娟廷. 汉韩公文语体对比研究[D].复旦大学,2003. &lt;br /&gt;
&lt;br /&gt;
[5]周萱. 《中国共产党怎样解决民族问题》（节选）中韩翻译报告[D].青岛大学,2017.&lt;br /&gt;
&lt;br /&gt;
[6]张利军. 《教学的游戏性研究》的汉日翻译实践报告[D].广西师范大学,2019.&lt;br /&gt;
&lt;br /&gt;
[7]栾亚琼. 《2015年山东省政府工作报告》汉日翻译实践报告[D].曲阜师范大学,2016.&lt;br /&gt;
&lt;br /&gt;
[8]占丽华. 源流与演变—日本地方公文书馆发展路径研究[D].山东大学,2020.&lt;br /&gt;
&lt;br /&gt;
[9]任清萍. 功能翻译理论视角下政府工作报告日译研究[D].外交学院,2020.&lt;br /&gt;
&lt;br /&gt;
[10]孙慧. 产业竞争力与区域经济增长[D].苏州大学,2006.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
--[[User:Wu Kai|Wu Kai]] ([[User talk:Wu Kai|talk]]) 04:45, 2 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
==The Translation Process and Methods of Translating English Long Sentences	周艺文	Zhou Yiwen==&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
===Abstract===&lt;br /&gt;
===Key words===&lt;br /&gt;
===摘要===&lt;br /&gt;
===关键词===&lt;br /&gt;
===Introduction===&lt;br /&gt;
&lt;br /&gt;
===Conclusion===&lt;br /&gt;
===Bibliography===&lt;br /&gt;
&lt;br /&gt;
==Chinese-English Translation of News Headlines From the Perspective of Skopos Theory	张维虹	Zhang Weihong==&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
==='''Abstract'''===&lt;br /&gt;
&lt;br /&gt;
==='''key words'''===&lt;br /&gt;
&lt;br /&gt;
News headlines; Skopos theory; translation&lt;br /&gt;
&lt;br /&gt;
==='''摘要'''===&lt;br /&gt;
社会的飞速发展使得人们的阅读方式发生了巨大的改变, 通过阅 读新闻标题来获取消息和了解事实, 成为大多数人的不二之选, 新闻标题 翻译也就越来越具有其必要性。 新闻标题的重要性堪比一部使人印象深刻 的电影名, 一则响亮的广告语, 一本撩人心弦的书名。 较之娱乐新闻, 时 政新闻略显严肃客观, 又因当今科技物质的飞速发展, 时政新闻的点阅数 量明显少于以消遣娱乐为目的的娱乐新闻。 怎样提高时政新闻的阅读量, 怎样使得时政新闻如同娱乐新闻一般深受广大人民的喜爱, 这不仅是新闻 编辑者们的挑战, 也是新闻翻译界的难题。 本文以德国功能派翻译目的论 为理论指导, 结合新闻学及编辑学的相关学科知识, 通过对中英时政新闻 标题的对比分析, 旨在对时政新闻标题的汉译英提出翻译策略, 让国外读者正确客观无误的了解中国的时事政策。&lt;br /&gt;
&lt;br /&gt;
==='''关键字'''===&lt;br /&gt;
&lt;br /&gt;
===Introduction===&lt;br /&gt;
&lt;br /&gt;
===Skopos Theory===&lt;br /&gt;
&lt;br /&gt;
===Features of News Headlines===&lt;br /&gt;
&lt;br /&gt;
===Chinese-English Translation Methods of News Headlines from the Skopos Perspective===&lt;br /&gt;
&lt;br /&gt;
===Conclusion===&lt;br /&gt;
&lt;br /&gt;
===Bibliography===&lt;br /&gt;
&lt;br /&gt;
==On Chinese-English Translation of Public Service Advertisements From the Perspective of Text-type Theory  司妤  Si Yu==&lt;br /&gt;
&lt;br /&gt;
==='''Abstract'''===&lt;br /&gt;
&lt;br /&gt;
==='''key words'''===&lt;br /&gt;
&lt;br /&gt;
==='''摘要'''===&lt;br /&gt;
&lt;br /&gt;
==='''关键字'''===&lt;/div&gt;</summary>
		<author><name>Song Jianru</name></author>
	</entry>
	<entry>
		<id>https://bou.de/u/index.php?title=History_of_Translation_Studies_8&amp;diff=107920</id>
		<title>History of Translation Studies 8</title>
		<link rel="alternate" type="text/html" href="https://bou.de/u/index.php?title=History_of_Translation_Studies_8&amp;diff=107920"/>
		<updated>2020-12-06T14:35:25Z</updated>

		<summary type="html">&lt;p&gt;Song Jianru: /* 摘 要 */&lt;/p&gt;
&lt;hr /&gt;
&lt;div&gt;这里是《翻译学史》的书稿第八部分(Part 8)。麻烦各位同学看一下已经存在的章回（样品），自己再加进去新的一个章回（就是你们的学期论文）。请也帮助同学们把他们的论文改正。这样多次修改，大家的论文会越来越好。&lt;br /&gt;
&lt;br /&gt;
学期论文（结合学期所学，撰写一篇5000以上单词的英文论文，按照专业杂志的格式，题目、摘要、关键词和参考文摘需要英中，文章英）。学期论文成绩占70%，平时成绩（含课堂表现、展示及作业）占30%。&lt;br /&gt;
&lt;br /&gt;
*Link back to course homepage: [https://bou.de/u/wiki/Introduction_to_Translation_Studies Course Homepage Intro. to TS]&lt;br /&gt;
*Link back to the final exam paper section of the course homepage: [https://bou.de/u/wiki/Introduction_to_Translation_Studies#Final_Exam_Papers Final Exam Papers]&lt;br /&gt;
*Link to other parts of the final exam papers: [https://bou.de/u/index.php?title=History_of_Translation_Studies_1 Final Exam Papers Part 1]&lt;br /&gt;
*Link to other parts of the final exam papers: [https://bou.de/u/index.php?title=History_of_Translation_Studies_2 Final Exam Papers Part 2]&lt;br /&gt;
*Link to other parts of the final exam papers: [https://bou.de/u/index.php?title=History_of_Translation_Studies_3 Final Exam Papers Part 3]&lt;br /&gt;
*Link to other parts of the final exam papers: [https://bou.de/u/index.php?title=History_of_Translation_Studies_4 Final Exam Papers Part 4]&lt;br /&gt;
*Link to other parts of the final exam papers: [https://bou.de/u/index.php?title=History_of_Translation_Studies_5 Final Exam Papers Part 5]&lt;br /&gt;
*Link to other parts of the final exam papers: [https://bou.de/u/index.php?title=History_of_Translation_Studies_6 Final Exam Papers Part 6]&lt;br /&gt;
*Link to other parts of the final exam papers: [https://bou.de/u/index.php?title=History_of_Translation_Studies_7 Final Exam Papers Part 7]&lt;br /&gt;
*Link to other parts of the final exam papers: [https://bou.de/u/index.php?title=History_of_Translation_Studies_8 Final Exam Papers Part 8]&lt;br /&gt;
*Link to other parts of the final exam papers: [https://bou.de/u/index.php?title=History_of_Translation_Studies_9 Final Exam Papers Part 9]&lt;br /&gt;
*Link to other parts of the final exam papers: [https://bou.de/u/index.php?title=History_of_Translation_Studies_10 Final Exam Papers Part 10]&lt;br /&gt;
&lt;br /&gt;
='''History of Translation'''=&lt;br /&gt;
== Study on Brand Name Translation from the Perspective of Cultural Difference	谭鑫洁	Tan Xinjie==&lt;br /&gt;
&lt;br /&gt;
==='''Abstract'''===&lt;br /&gt;
&lt;br /&gt;
== Abstract: ==&lt;br /&gt;
&lt;br /&gt;
==='''key words'''===&lt;br /&gt;
&lt;br /&gt;
==='''摘要'''===&lt;br /&gt;
&lt;br /&gt;
==='''关键字'''===&lt;br /&gt;
&lt;br /&gt;
===Complete transcript of the content of the original work ===&lt;br /&gt;
&lt;br /&gt;
===Same style and manner of writing===&lt;br /&gt;
&lt;br /&gt;
===Equivalent effect===&lt;br /&gt;
&lt;br /&gt;
===Discussion===&lt;br /&gt;
&lt;br /&gt;
===Conclusion===&lt;br /&gt;
&lt;br /&gt;
===Bibliography===&lt;br /&gt;
&lt;br /&gt;
==A Comparative Study on the Translation History in Western Countries and China	王煜	Wang Yu==&lt;br /&gt;
===摘要===&lt;br /&gt;
翻译是一种跨文化交流活动，翻译活动加快了人类文明发展步伐，减少了人们之间的沟通障碍。随着时代的变迁，中国和西方国家逐渐形成了各自的翻译史，翻译史的研究是学科建设的一项基础工程。尽管中西方翻译史在某些方面有所差异，但却都有着各自的独特性，并对人类的翻译活动产生了巨大的影响与贡献。文章将以中国和西方国家为主要对象，从二者翻译史起始，包含阶段和各阶段代表人物，影响意义，差异性出发，对二者的翻译史进行简略的对比研究。&lt;br /&gt;
&lt;br /&gt;
===关键词===&lt;br /&gt;
翻译史；西方翻译史；中国翻译史&lt;br /&gt;
&lt;br /&gt;
===Abstract===&lt;br /&gt;
Translation is an intercultural communication activity, translation activities have accelerated the development of human civilization and reduced the communication barriers between people of different countries or nations. With time goes by, things are in a state of flux and both the western and eastern countries have gradually formed their own history of translation, the study of translation history is a basic project of discipline construction. Though there are many differences among the translation histories of western countries and China, the two kinds of translation histories are still shining their own bright unique lights and have an indelible influence and contribution to human translation activities. This paper intends to make a brief comparison of translation histories between western countries and China, which includes the origins, the stages, the representatives of the stages, the significance and influence as well as the differences of the two translation histories.&lt;br /&gt;
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===Keywords===&lt;br /&gt;
Translation history; Translation history of the West; Translation history of China &lt;br /&gt;
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===1. Introduction===&lt;br /&gt;
No matter in China or in the west, translation plays an important role in knowledge-spreading. As an indispensable part of translatology, the study of translation history has made a great influence on translation activities, it has gradually become the focus of the literary and historical circles in recent years. Translation activities can be traced back to the origin of language, and the history of translation is almost as old as language itself, it is closely related to the changes in today's society. Since the 1980s, the translation studies in the mainland of China have made remarkable progress in the curriculum design of Chinese and western translation history and the compilation of related works. In the early 1980s and 1990s, there were many related works came out one after another including A brief history of Chinese Translation: the part before the May 4th Movement（《中国翻译简史-“五四”运动以前部分》） written by Zuyi Ma, A historical manuscript of Chinese translated literature （《中国翻译文学史稿》）edited by Yugang Chen, and also the A Short History of Translation in the West（《西方翻译简史》） the author of which is Zaixi Tan. Thus, it opens the gate for the compilation of Chinese and western translation history works.（谢天振，2009） The history of western translation can be divided into five stages while the Chinese study of translation has a glorious history of more than two thousand years and has experienced five climaxes. Through the comparative study of Chinese and western translation history, it will help us to have a deeper understanding of Chinese and western translation activities and thus to gather a general full view of it, which will be a positive and meaningful attempt.&lt;br /&gt;
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2. The Translation History of Western Countries&lt;br /&gt;
Western translation activities are rich in a long history and a multiyear span. The history of western translation can be roughly divided into three stages: the traditional stage, the modern times and the contemporary. More specifically, it can be grouped into the ancient times, the middle ages, the Renaissance period and the time after WWⅡ.&lt;br /&gt;
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2.1 The First Stage: Translation in the Ancient Times&lt;br /&gt;
    &lt;br /&gt;
The translation history of western countries first began in the the 3rd century B.C. &amp;quot;In a broad sense, the earliest translation in the west is the Old Testament translated by 72 Jewish scholars in Alexandria, ancient Egypt, between the 3rd and 2nd centuries BC; Strictly speaking, the first western translation is the Greek Homer Epic Odyssey translated by Andronicus in Rome in the middle of the third century BC.”(谭载喜,2000) At the end of the 4th BC, during this time, the Greece began to decay and the Roman had became stronger and stronger with its military expansion. The expansion of the Roman Empire brought it into contact with the splendid Greek culture, therefore, the Romans not only conquered the Greek city, but also inherited and developed the brilliant achievements of ancient Greek culture, and then created a  splendid cultural of its own era after Greece. So soon began a large scale translation activities, the activity of translating and introducing Greek classical works probably began in this period.（刘军平,2009）Many famous translation theorists began to make their presences, namely Cicero, Quentin, Jerome and so on, also the famous Roman litterateurs like Andronicus, Naevius, Ennius, these great writers used Latin language to translate or adapt Homer’s epic or other Greece dramas. Started the translation tradition and promoted the birth and development of Roman literature.&lt;br /&gt;
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2.2 The Second Stage: Translation in the Middle Ages (4th-6th)&lt;br /&gt;
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2.3 The Third Stage: Translation in the Middle Ages (11th-12th)&lt;br /&gt;
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2.4 The Fourth Stage: Translation in the Renaissance Period&lt;br /&gt;
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2.5 The Fifth Stage: Translation after WWⅡ&lt;br /&gt;
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3. The Translation History of China--[[User:Wang Yu|Wang Yu]] ([[User talk:Wang Yu|talk]]) 08:38, 30 November 2020 (UTC)--[[User:Wang Yu|Wang Yu]] ([[User talk:Wang Yu|talk]]) 08:43, 30 November 2020 (UTC)&lt;br /&gt;
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==The Implications of Luther's Translation Principles amid Renaissance for Modern Literature Translation	方洁玲	Fang Jieling==&lt;br /&gt;
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==Translation manipulated by ideology	许静	Xu Jing==&lt;br /&gt;
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==Comparison between the History of Chinese and Western Translation   周书尧   Zhou Shuyao==&lt;br /&gt;
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'''Abstract:'''There has a long history and culture Chinese and Western translation, and translation plays an indelible role in promoting cross-cultural communication and cultural communication. This article first discusses the history of translation in China from  four stages , then discusses the five stages of western translation history , and finally compares and analyzes the similarities and differences between Chinese and Western translation histories, and puts forward some of the author's own views.&lt;br /&gt;
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'''Key words:'''The history of Chinese,The history of Western,the stages of  translation history,comparison&lt;br /&gt;
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'''摘要：'''中西方翻译历史文化源远流长，翻译在促进跨文化交流和文化传播上承担着不可磨灭的作用。本文首先从中国的四次翻译高潮论述中国的翻译史，再从西方的五次翻译高潮探讨西方的翻译史，最后对中西方翻译史的异同进行对比分析，提出一些笔者自己的看法。&lt;br /&gt;
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'''关键词：'''中国翻译史，西方翻译史，翻译高潮，对比&lt;br /&gt;
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'''Ⅰ.Introduction'''&lt;br /&gt;
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Since the 1980s, the Chinese translation studies community has made remarkable progress in the establishment of Chinese and Western translation history courses and the compilation of related works.In the 1980s and early 1990s,A Brief Introduction to the History of Translation in China from Ma Zuyi and other books of Chen Yugang and Tan Zaixi were published one after another,which raised the curtain for the compilation of Chinese and Western translation history works by the domestic translation scholars.The four stages in the history of Chinese translation have promoted the development of Chinese history, culture and society to varying degrees.The same as our country, Western translation has an age-old history.In a sense, the development of Western European civilization should first be attributed to the translators.The five stages in the history of European translation have promoted the exchanges of literature, art, science and trade between countries, and to a certain extent promoted the development of Chinese translation.In fact, when we examine the development trajectory of Chinese and Western translation activities and the evolution of translation concepts together, we find that there are some similarities between Chinese translation and Western translation.Especially in the evolution of Chinese and Western translation concepts, the two have very similar evolution laws.&lt;br /&gt;
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='''Literal and Free Translation'''=&lt;br /&gt;
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==Rethink Literal and Free Translation	彭永亮	Peng Yongliang==&lt;br /&gt;
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==On the Chinese Translation of A Pale View of Hills from House’s Translation Quality Assessment Model	宋建茹	Song Jianru==&lt;br /&gt;
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===Abstract===&lt;br /&gt;
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Translation quality assessment is an integral part of translation criticism. The first TQA model with comprehensive theories and practices Juliane House represented provides a significant reference for translation exercises. ''A Pale View of Hills'', as the first work of Kazuo Ishiguro, possesses a great research value on its narrative styles by virtue of memory and topics about migrants. As of 2011 when its Chinese translation was published, no scholar has evaluated it. This study applies House’s TQA model to assess the Chinese translation of ''A Pale View of Hills'' with qualitative and quantitative analysis from lexical, syntactic and textual aspects, in a bid to examine validity of the model on novel translation, which turns out that it is an overt and high-quality translation.&lt;br /&gt;
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=== Key Words===&lt;br /&gt;
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''A Pale View of Hills''; House’s TQA model; novel translation&lt;br /&gt;
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=== 摘 要 ===&lt;br /&gt;
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翻译质量评估是翻译批评的核心课题。朱莉安·豪斯提出的第一个有完整的理论和实践的翻译质量评估模式，为翻译实践提供了重要参考。《远山淡影》是石黑一雄的处女作，其依托回忆的叙事风格和移民主题具有很高的研究价值。《远山淡影》中译本自2011年出版至今，尚未有学者对其进行评估研究。本文运用豪斯的翻译质量评估模式，采用定性与定量相结合的分析方式，从语场、语旨、语式等三个层面对原文和译文进行分析，开展《远山淡影》中译本的翻译质量评估研究，为豪斯翻译质量评估模式对小说翻译的运用进行进一步的探索和补充。通过分析，得出《远山淡影》中译本为显性翻译，翻译质量较高。''Italic text''&lt;br /&gt;
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== 关键词 ==&lt;br /&gt;
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《远山淡影》；豪斯质量评估模式；小说翻译&lt;br /&gt;
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==On the Relationship among Literal Translation, Free Translation, Domestication and Foreignization	韦洪朗	Wei Honglang==&lt;br /&gt;
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==On Chinese-to-English Translation of The Summer Palace from the Perspective of Functionalist Approaches to Translation	魏亚菲	Wei Yafei==&lt;br /&gt;
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===Abstract===&lt;br /&gt;
Abstract&lt;br /&gt;
The Chinese-English translation of tourist texts, as a window for the external publicity of national history and culture, plays an important role in promoting the development of local tourism. The Summer Palace is well known for its large and priceless collection of cultural relics, which is among the first group of historical and cultural heritage sites in China to be placed under special state protection. &lt;br /&gt;
Based on the functionalist approach and the skopos rule, this paper discusses the problems existing in the translation of scenic spots in the Summer Palace from the perspectives of garden culture, historical culture and religious culture. Skopos theory holds that translation depends on communicative purpose. To achieve this goal, translators can choose different translation strategies. It is believed that the purpose of Chinese-English translation of scenic spots is to attract target readers and promote traditional culture. Therefore, when translating tourism materials, it is necessary not only to express the local cultural connotation, but also to consider the cross-cultural factors. The Chinese-English translation of the introduction of scenic spots guided by functionalist approach can make English readers have expectations of scenic spots and understand the cultural connotation of scenic spots. This paper aims to better promote the development and communication of Chinese culture and improve the level of tourism text translation in China by relying on the theory of functionalist approach.&lt;br /&gt;
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===Key words===&lt;br /&gt;
Key Words: functionalist approach，the Summer Palace，translation strategies&lt;br /&gt;
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===摘要===&lt;br /&gt;
摘 要&lt;br /&gt;
旅游资料的英译作为民族历史文化对外宣传的一道窗口,对地方旅游业的发展有着不可低估的促进作用。颐和园作为中国著名的皇家园林，具有浓厚的中国园林特色及优美的风景，同时也蕴涵着深厚文化内涵。&lt;br /&gt;
本篇旅游文本英译的分析以功能派翻译理论作为理论指导，以目的法则为主要原则，从颐和园的园林文化、历史文化和宗教文化三个角度出发对颐和园景点英译中存在的问题进行探讨。目的论认为译文取决于翻译目的，这个目的通常指的是交际目的。为达到这个目的，译者可以选择不同的翻译策略。也就是说，译者的翻译策略必须由译文的预期目的或功能决定，即所谓的“目的法则”。笔者认为景点介绍的汉英翻译的目的就是吸引译文读者以及弘扬传统文化，因此在翻译旅游资料的时候不仅要把当地的文化内涵表达出来，而且要考虑到跨文化的因素。而以功能派翻译理论为指导的景点介绍的汉英翻译，可以使英语读者通过译文产生对旅游景点的期盼，以及对景点文化内涵的理解。以颐和园景区内的翻译文本为例本，依托功能翻译理论，通过“发现问题，指出问题，解决问题”，以期更好地促进中国文化的传播与交流，提高我国现阶段旅游文本翻译的水平。&lt;br /&gt;
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===关键字===&lt;br /&gt;
关键词：功能翻译；颐和园；翻译目的；翻译策略&lt;br /&gt;
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===Introduction===&lt;br /&gt;
  Throughout the translation history at home and abroad, the literal translation and free translation have always been a heat discussion in the translation circles. Someone absolutely approve literal translation and demean free translation, even pursue a dead translation, which creates an translated text difficult to understand. While some other people absolutely agree with free translation even advocate random acts, which means a random deletion in the translation practices and creates anther entirely different text. However, there are also a number of translators who have recognized that these two translation methods are not totally opposite. So they adopt a compromise and flexible way. That means they will choose the most appropriate one depending on the text demanding. Therefore, we can deduce from it that this eclectic translation is consistent with the Contradiction view of Unity of Opposite in Materialist Dialectics. In fact, literal translation and free translation are right a set of contradictions which are both opposite and unified. They complement each other into an integral one.&lt;br /&gt;
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===Table of Contents===&lt;br /&gt;
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Table of Contents&lt;br /&gt;
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Outline&lt;br /&gt;
1.Introduction&lt;br /&gt;
2. Studies on Functionalist Approach&lt;br /&gt;
2.1 The Viewpoint of Functionalist Approach&lt;br /&gt;
2.1.1 Reiss’s Text Typology&lt;br /&gt;
2.1.2 Vermeer’s Skopos Theory&lt;br /&gt;
2.1.3 Manttari’s Theory of Translational Action&lt;br /&gt;
2.1.4 Nord’s Theory of Function plus Loyalty&lt;br /&gt;
2.2 The Application of Functionalist Approach &lt;br /&gt;
3.C-E Translation of the Summer Palace under Functionalist Approach&lt;br /&gt;
3.1 Garden Culture&lt;br /&gt;
3.2 Historical Culture &lt;br /&gt;
3.3 Religious Culture &lt;br /&gt;
4. Conclusion&lt;br /&gt;
References&lt;br /&gt;
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===Outline===&lt;br /&gt;
Outline&lt;br /&gt;
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Thesis Statement: Based on the main viewpoints of functionalist approaches to translation, this paper aims to give an analysis to C-E translation of the Summer Palace from cultural, historical and religious aspects, hoping to provide some translation strategies for other cultural attractions.&lt;br /&gt;
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1. Introduction&lt;br /&gt;
2. Studies on Functionalist Approaches&lt;br /&gt;
2.1 The Viewpoint of Functionalist Approach&lt;br /&gt;
2.1 Reiss’s Text Typology&lt;br /&gt;
2.2 Vermeer’s Skopos Theory&lt;br /&gt;
2.3 Manttari’s Theory of Translational Action&lt;br /&gt;
2.4 Nord’s Theory of Function plus Loyalty&lt;br /&gt;
2.2 The Application of Functionalist Approach&lt;br /&gt;
3. C-E Translation of the Summer Palace under Functionalist Approach&lt;br /&gt;
3.1 Garden Culture&lt;br /&gt;
3.2 Historical Culture&lt;br /&gt;
3.3 Religious Culture&lt;br /&gt;
4. Conclusion&lt;br /&gt;
&lt;br /&gt;
===1. Introduction ===&lt;br /&gt;
1. Introduction   &lt;br /&gt;
The Chinese-English translation of tourist texts is a bridge to spread the culture of classical Chinese gardens, so the accuracy of it has a direct impact on foreigners' understanding of the specific history and culture. &lt;br /&gt;
Functionalist approach has made a pioneering contribution to the translation of non-literary genres. Functional translation theory emphasizes the function of discourse, and believes that different types of discourse have different functions, so translators should choose appropriate translation strategies according to the type of source text and corresponding functions. Functionalist approach is to take the &amp;quot;skopos rule&amp;quot; as the highest standard, and any translation activity is a purposeful behavior. The ultimate goal and main function of scenic spot translation is to help people understand the main content of the scenic spot.&lt;br /&gt;
As a window for the publicity of national history and culture, the Chinese-to-English translation of tourist texts plays an important role in promoting the development of local tourism. Well known for its large and priceless collection of cultural relics, the Summer Palace was among the first group of historical and cultural heritage sites in China to be placed under special state protection. Based on the viewpoints of functionalist approach to translation, this paper aims to analyze C-E translation of the Summer Palace from cultural, historical and religious aspects, hoping to provide some translation strategies for other cultural attractions. &lt;br /&gt;
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===2. Studies on Functionalist Approaches===&lt;br /&gt;
2. Studies on Functionalist Approaches&lt;br /&gt;
Functionalism is a theory that advocates reader-centered translation, emphasizing the functions of texts and highlighting the communicative effects. It is believed that many unnecessary mistakes can be avoided and better results can be achieved by applying functionalist approach in Chinese-English translation of tourist text. &lt;br /&gt;
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===2.1 The Viewpoint of Functionalist Approaches===&lt;br /&gt;
2.1 The Viewpoint of Functionalist Approaches&lt;br /&gt;
Functionalist Translation Theory, also known as German Functionalist Translation Theory, was proposed by German scholars in the 1970s. It includes four main theories: Katharina Reiss’s Text Typology, Hans Vermeer’s Skopos Theory, Justa Holtz Manttari’s Theory of Translational Action and Christiane Nord’s Theory of Function plus Loyalty. This chapter aims to present the main ideas of this theory.&lt;br /&gt;
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===2.1.1 Reiss’s Text Typology===&lt;br /&gt;
2.1.1 Reiss’s Text Typology&lt;br /&gt;
In 1971, Reiss in her book Possibilities and Limitation of Translation Criticism first made text function as a standard of translation criticism, namelyevaluate the translated text from the relationship between the functions of the original and the translated text. She insists on the original-centered equivalence theory and holds the view that the ideal translation is to achieve the equivalence between the target text and the source text in terms of ideological content, linguistic form and communicative function. However, translation practice makes her realize that it’s difficult to achieve equivalence sometimes and that sometimes equivalence cannot be pursued. Because of the particularity of translation requirements, the function of the target text is not always the same as that of the source text. Therefore, the translator should give priority to the functional role of the target text rather than the principle of equivalence.&lt;br /&gt;
Reiss believes that in the normal situation the type of text decides the translator’s choice of a proper translation method (Reiss, 2004). Therefore, she divides text into four types: content-focused text, form-focused text, appeal-focused text and audio-media text. Content-focused text, also known as informative text, includes news reports, commercial correspondence, operating instructions, official documents, patent&lt;br /&gt;
specifications, essays, treaties, etc. For this text, the main function is to convey information revealed in language itself to readers. The emphasis is on content and topic, so the choice of language and style should serve this function. If both the source text and target text belong to informative text, the translator should represent the content and information of source text accurately and completely (Reiss, 2004)&lt;br /&gt;
Form-focused text, also known as expressive text, refers to literary works such as novels, poems and so on. “Distinct from ‘content’, which deals with what the author says, ‘form’ is concerned with how an author expresses himself” (Reiss, 2004). For expressive texts, information is only a supplement. What is dominant is the aesthetic factor. When translating such texts, the translator should pay attention to the aesthetic and artistic forms of the original text and to the differences between two cultural habits, trying to achieve the same effect as the source text. In a word, in a form-focused text the linguistic form of the source text determines the form in the target language (Reiss, 2004).&lt;br /&gt;
Appeal-focused text, also known as operative text, mainly includes notice, instruction manual, advertisement, publicity manual and so on. For operative texts, the primary task for the translator is to provoke a particular reaction on the hearers or readers to incite them to engage in specific actions, while content and form are subordinate. Therefore, to achieve the same effect, the translator need to change the content and stylistic features of the original text, try to keep the potential influential factors of the original text and seek functional equivalence (Reiss, 2004: 38-43). Audio-medial text, also known as multi-media text, refers to radio and television scripts, such as radio newscasts and reports, topical surveys and dramatic productions.&lt;br /&gt;
It is distinctive in its dependence on non-linguistic media and on graphic, acoustic, and visual kinds of expression. Only in combination with them can the whole complex literary form realize its full potential (Reiss, 2004). In conclusion, different texts determine different translation focuses and methods. In many cases, however, a text may have more than one function, which means that translators should integrate different translation strategies skillfully to achieve different functions of texts.&lt;br /&gt;
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===2.1.2 Vermeer’s Skopos Theory===&lt;br /&gt;
2.1.2 Vermeer’s Skopos Theory&lt;br /&gt;
Reiss’s student Vermeer, who broke the limitation of the theory of equivalent and took skopos to be the first criterion of translation process  proposed the key theory: Skopostheorie. According to Skopos Theory, when translating a text, the translator needs to consider the purpose of translation first and then choose the translation method according to the purpose, which means “the end justifies the means” (Nord, 2001). Vermeer believes that translation, like other human actions, is also a purposeful act. Translation often takes place in cultural backgrounds with different customs and values, so translation is not a simple equivalent transformation between languages. Skopos Theory does not focus on achieving the equivalence between the target text and the original text or the perfection of the target text, but on choosing the best translation strategy based on the analysis of the source text and the intended function of the target text. In a word, translation methods and strategies are determined by the intended purpose or function of the target text.&lt;br /&gt;
According to Skopos Theory, the first rule that all translators must follow is the Skopos Rule. Translation purpose can be divided into three categories: (1) the purpose of the translator, such as earning a living; (2) the communicative purpose of the translation, such as instructing the reader; (3) the purpose of using a particular translation method, such as the literal translation according to its structure to illustrate the peculiarities of grammatical structure in a language (Nord, 2001). In general, the communicative purpose is more important than the other two. The communicative purpose is usually determined by the initiator of the translation act, but the translator can take part in deciding. The second rule is the Coherence Rule. Coherence Rule requires that the translation conform to the criterion of intratextual coherence, which means that the translation must be accessible to recipients and meaningful in the target culture and in the communicative environment (Nord, 2001). The third rule is the Fidelity Rule. It means that there should be intertextual coherence between the source text and the target text, which means being faithful to the source text. Nevertheless, the degree and form of faithfulness lie in the target text and the degree that the translator understands the original text. Normally “Intertexual coherence is considered subordinate to intratexual coherence and both are subordinate to the Skopos rule” (Nord, 2001).&lt;br /&gt;
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===2.1.3 Manttari’s Theory of Translational Action===&lt;br /&gt;
2.1.3 Manttari’s Theory of Translational Action&lt;br /&gt;
Following Vermeer, Manttari develops Vermeer’s Skopos Theory and puts forward the Theory of Translational Action. He emphasizes three aspects: the behavior of the translation process, the role of the participants (the initiator, the translator and the target reader, etc.) and the environment (time, place and media) in which the translation process takes places. It views translation as “purpose-driven, outcome-oriented human interaction and construes the process of translation as message-transmitter compounds that involve intercultural transfer” (Mundy, 2001). According to Manttari, translation is “ a complex act to achieve a particular purpose” &lt;br /&gt;
(Nord, 2001). It is not about translating words, sentences or texts but is about guiding the intended cooperation over cultural barriers and promoting functional communication. Cooperation here means “transcultural communication” by Manttari.&lt;br /&gt;
The Theory of Translational Action attaches great importance to providing a functional communicative text for the recipient, a text suitable for the target culture in&lt;br /&gt;
form and style. Functional suitability is determined by the translator. The translator is&lt;br /&gt;
an expert in translation, whose role is to ensure the successful completion of cultural&lt;br /&gt;
transformation. In producing the target text, the analysis of the source text is necessary so that the translator can find out its structural and functional characteristics, which can be described by content and form. The need of the recipient is the decisive&lt;br /&gt;
factor for the target text.&lt;br /&gt;
In short, “the value of Manttari’s work is the placing of translation (or at least the professional non-literary translation which she describes) within its sociocultural&lt;br /&gt;
context, including the interplay between the translator and the initiating institution”&lt;br /&gt;
(Mundy, 2001).&lt;br /&gt;
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===2.1.4 Nord’s Theory of Function plus Loyalty===&lt;br /&gt;
2.1.4 Nord’s Theory of Function plus Loyalty&lt;br /&gt;
Though skopos rule changes the focus of translation from the source language text to the target language text and the target receivers, it has some limitations. One is that different readers have different expectations, and the translation purpose cannot satisfy all the expectations of the target reader. Another is that the translation purpose may sometimes be against the intention of the source language. Therefore, based on the skopos rule, Nord introduces the loyalty principle. The principle of loyalty is a supplementary principle proposed by Nord to make up for the deficiency of skopos rule. According to the explanation of Nord, it is not the relationship between the original text and the target text, nor the equivalence between the original text and the form of the target text, but the consistency between the author of the original text, the initiator of the translation, the translator and the reader of the target text, which is the principle of loyalty. The proposal of the loyalty principle makes up for the mistakes that some radical skopos translators usually make, such as omitting and rewriting, which makes skopos theory more perfect and makes skopos theory more likely to guide the translation of literary works.&lt;br /&gt;
“Function” and “loyalty” are two pillars of Nord’s functionalist approach. “Function” refers to what a text means or is intended to mean from the receiver’s point of view”, while “loyalty” means that “target-text purpose should be compatible with the original author’s intention” (Nord,2001). It emphasizes the interpersonal relationship between the translator, the source-text sender, the target-text addresses and the initiator. Function plus loyalty enables the translator to avoid the limitations of skopos rule and try to achieve a balance between translation purpose and the source-text author’s intention”(Nord,2001). That is to say, when translating the original text, the translator should take into account the readers' cultural background, knowledge level and expectation of the translation, and choose the corresponding translation strategy according to the translation requirements. If the reader wants to read a word-for-word translation of the article, then the translator must meet the reader's requirements, otherwise he must explain to the reader why he chose his own translation method. The translator's job is to weigh two different cultures instead of imposing one culture on another. &lt;br /&gt;
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===2.2The Application of Functionalist Approach to the Tourist Texts.===&lt;br /&gt;
2.2The Application of Functionalist Approach to the Tourist Texts.&lt;br /&gt;
In the 1990s, Functionalist Translation Theory was introduced to China, and since then it has been applied to translation studies by Chinese translation scholars. In his article published in 1995, Zhang Nanfeng briefly introduces Skopos theory to China for the first time, and considers that Skopos theory is referential (Zhang Nanfeng, 1995). German Functionalist Translation Theory, a paper released in1999, is the first article in China which systematically introduces German Functionalist Translation Theory (Zhong Weihe &amp;amp; Zhong Yu, 1999). Based on an overview of Functionalist Translation Theory, Zhang Meifang focuses on introducing Nord’s theory, especially on the detailed analysis of Nord’s principle of loyalty (Zhang Meifang, 2005). Famous domestic scholars, such as Liu Junping (2009), Liu Miqing (2012) and Li Wenge (2004), also introduce this theory in their books. With the rise of Functionalist Translation Theory in China, someone has compared it with other theories. Zhu Haotong compares Skopos Theory with Functional Equivalence Theory to analyze the similarities and differences between them, and further reveals that Functionalist Translation Theory inherits the reasonable part of Nida’s Functional Equivalence Theory, which is an important breakthrough and supplement to solve the problems that Functional Equivalence Theory leaves (Zhu Haotong, 2006). Some scholars also combine theory with translation practice to explore the application of Functionalist Translation Theory to translation practice. Jia Yanli and Wang Hongjun point out that Skopos Theory has its limitations, but it is still of instruction and reference value for non-literary translation texts, such as advertisements and tourism materials (Jia Yanli &amp;amp; Wang Hongjun, 2012). Li Liangchen selects several famous tourist attractions in China to translate the on-site tour-guide commentary into English. Then he improves them under the guidance of Skopos Theory and sends out questionnaires to overseas tourists for further analysis. He argues that the translation of on-site tour-guide commentary which is guided by Skopos Theory is more favorable to conveying information to foreign visitors, to promoting cultural exchanges and to improving the image of China’s tourist destinations (Li Liangchen, 2013). In Pragmatic Translation: Theory &amp;amp; Practice, Wu Feng and He Qingji introduce Functionalist Translation Theory (Wu Feng &amp;amp; He Qingji, 2008) and the characteristics of tourism text and translation skills (Wu Feng &amp;amp; He Qingji, 2008). In this book, they also discuss the controversy over the Chinese name of Functionalist Translation Theory, and holds that “功能派翻译理论” is the most appropriate Chinese translation (Wu Feng &amp;amp; He Qingji, 2008).Based on his own translation practice and under the guidance of Functionalist Translation Theory, Wu Zixuan probes into some special phenomena in the English translation of CNN newsreels. The author believes that in the translation of external publicity, we should not stick to the standard of faithfulness to the original text, but should deal with the original text properly from the perspective of achieving the purpose of translation, such as rewriting, abridging. (Wu Zixuan, 2005).&lt;br /&gt;
Functionalist approach establishes a theoretical system of diversified translation standards dominated by skopos rule. From the definition of Functionalist approach, it can be seen that the advantage of it is that the translator can get rid of the bondage of the original text, study the translation process with &amp;quot;translation purpose&amp;quot; as the starting point, and determine the translation strategies and methods. This can give full play to the translator's own initiative, flexible processing of the original text, in order to achieve the translation of the communicative function. In addition, functionalist approach requires the translation to be examined in the cultural context of the reader. The reader can accept the translation and understand the meaning of the original text through the translation, so the translation can realize the communicative function. On the basis of such advantages, functionalist approach can be used to guide the English translation of garden scenic spots, and the translator can choose a wider range of translation strategies and break out of the constraints of the original text. &lt;br /&gt;
Only by clarifying the purpose of translation can we avoid these limitations in the English translation of garden attractions. When using functionalist approach to guide the English translation of Chinese classical garden scenic spots, it is necessary to flexibly choose translation strategies and methods, give full play to the advantages of skopos theory, and achieve the balance between &amp;quot;principle of purpose&amp;quot; and &amp;quot;principle of fidelity&amp;quot; as far as possible.&lt;br /&gt;
With the deepening of globalization and cross-cultural communication, tourismis becoming a major industry in the 21st century. The development of tourism can not only promote the economic development of a country but also promote the external dissemination of national culture. Therefore, tourism translation deserves attention. Tourism text is a typical informative and operational text, and the language is unique. It is full of gorgeous words, such as four-character expressions, verses, proper nouns and so on.&lt;br /&gt;
Tourism text materials include tourism advertising, tourism brochures, scenic spots signs and so on. In this paper, we focus on the introduction of Chinese gardens’ scenic spots, which is usually colorful in language and rich in literary style. Tourism text translation belongs to applied translation, which should play a series of practical functions to publicize the image and resources of the country or place and attract overseas tourists. Therefore, the translator of tourism text must be clear about the type and function of tourism text, and to grasp the ultimate purpose of the translation. &lt;br /&gt;
On tourism text translation, the communicative purpose of the translation should be placed in a central position. Furthermore, the tourism text has both the information function and the calling function. The information function and the calling function complement each other. Only when the target language readers acquire the expected tourism information and cultural knowledge can the calling function be realized and the purpose of tourism text translation be achieved. With different translation strategies, the translated version should both expressed contains basic information, and make the tourists feel the profound of the Chinese culture from the beautiful scenery. &lt;br /&gt;
Cultural tourism has long been the focus of international tourism, and understanding Chinese culture is the main purpose of inbound tourists, so the translation of tourism texts bears the mission of cultural transmission and cultural publicity. However, due to the great differences between Chinese and English culture and language, there are many difficulties in cultural transmission in tourism text translation. China has a long and splendid history and culture. When introducing the scenic spots of cultural relics and historic sites, we usually associate with many historical figures and stories. These terms are cultural blank for most foreign tourists, but this kind of cultural experience is also the most attractive place for foreign tourists. It is of great importance to pay attention to cultural differences in tourism translation and carry out cultural transmission effectively. Chinese and English languages have different logic views, and Chinese expressions in tourism texts value decoration. English expressions tend to be clear, concise and to the point. For example, Chinese tourism texts often use a four-character lattice, which is symmetrical, while there is no corresponding four-character lattice expression in English. Therefore, in Chinese-English translation of tourism texts with frequent use of four-character phrases, it is necessary to keep in mind the objective principle of functionalist approach and give priority to cultural communication instead of rigidly adhering to form.&lt;br /&gt;
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===3. C-E Translation of the Summer Palace under Functionalist Approach===&lt;br /&gt;
3. C-E Translation of the Summer Palace under Functionalist Approach&lt;br /&gt;
By studying the specific translation strategies made by predecessors, the following steps are also adopted in this paper: first, the translation strategies are determined according to the text type, such as faithful reproduction of the original information or rewriting; Secondly, the translation strategies are determined according to the potential purpose of the translation, such as paraphrasing or deleting poems, generalizing specific expressions and transliterating proper nouns. Thirdly, the translation strategies are defined with the tourists as the center, such as adding logical words, adding explanatory information and using plain English.&lt;br /&gt;
The Summer Palace epitomizes the philosophy and practice of Chinese garden design, which played a key role in the development of this cultural form throughout the east. It is an outstanding expression of the creative art of Chinese landscape garden design, incorporating the works of humankind and nature in a harmonious whole, which was once the most important place of political and diplomatic activity for the supreme rulers of the late Qing dynasty. Based on three aspects of the Summer Palace, namely, garden culture, historical culture and religious culture, this paper discusses the problems existing in the English translation of the scenic spots of the Summer Palace and puts forward corresponding countermeasures under the guidance of the skopos rule of functionalist translation theory.&lt;br /&gt;
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===3.1 Garden culture.===&lt;br /&gt;
3.1 Garden culture. &lt;br /&gt;
The Summer Palace is a classical garden famous for its magnificence and beauty. There are many temples in the garden, and the green waves of kunming lake ripple. Landscape and humanities complement each other, containing rich natural and cultural information, reflecting the characteristics of Chinese classical gardens. The garden cultural features of the three scenic spots, namely, the hall of clouds, the foxiang pavilion and the Wenchang courtyard, are particularly outstanding. Therefore, this paper takes these three scenic spots as examples to discuss the Chinese-English translation of the introduction of the Summer Palace.&lt;br /&gt;
(1)	排云殿、佛香阁景区是颐和园内建筑布局最完整、建筑形式最丰富的中轴建筑群体，殿、阁、廊、亭、桥、坊、碑等建筑约两万平方米。从临水的云辉玉宇牌坊至排云门、排云殿、德辉殿、佛香阁、众香界、智慧海、层层升高，排列有序，气势巍峨，金碧辉煌，将园林、寺庙和宫殿融为一体。&lt;br /&gt;
Translation：This scenic spot covers an area of 20,000 square meters with an assortment of buildings such as palaces, towers, corridors, pavilions, walkways, bridges, archways and inscribed stone steles. It comprises a well-arranged group of structures, all diverse in style, located in the center of the Summer Palace garden. This complex of structures, ranging from the Glowing Clouds and Holy Land Archway on the waterside, the Gate that Dispels the Clouds, the Hall that Dispels the Clouds, the Hall of Moral Glory, and the Tower of the Fragrance of the Buddha, to the Realm of Popular Fragrance and the Sea of Wisdom Temple, were built in an orderly manner running from the foot of the hill to its top, with gardens, temples and palaces harmoniously integrated into the whole。&lt;br /&gt;
Analysis：As we all know, the design style of ancient Chinese buildings is beautiful with &amp;quot;symmetry&amp;quot;. The &amp;quot;axis&amp;quot; in hall of clouds scenic spot refers to the layout of the Summer Palace from far to near and from top to bottom, which cannot be simply understood as the center. Simply translating &amp;quot;axis&amp;quot; as &amp;quot;center&amp;quot; cannot express accurately the meaning of &amp;quot;symmetry&amp;quot;. Comparatively speaking, &amp;quot;axis&amp;quot; can better reflect the architectural style of the scenic spot.&lt;br /&gt;
(2)	从临水的云辉玉宇牌坊至排云门、排云殿、德辉殿、佛香阁、众香界、智慧海，层层升高，排列有序，气势巍峨，金碧辉煌，将园林、寺庙和宫殿融为一体。&lt;br /&gt;
Translation：These structures，including Glowing Clouds and Holy Land Archway at lake side，the Gate of Dispelling Clouds，the Hall of Dispelling Clouds，the Hall of moral Glory，and the Tower of Buddhist Incense，the Realm of Multitudinous Fragrance and the Sea of Wisdom Temple，were built in an orderly manner ranging up the hill with gardens，temples and palaces harmoniously integrated. This manifests beauty，grace and splendor，reminiscent of the loftingness and grandeur of a once mighty empire.&lt;br /&gt;
Analysis：In terms of the characteristics of language, Chinese emphasizes parataxis and four-word antithesis. When describing and naming scenes, gorgeous words and poetic words are generally chosen in Chinese. But, English emphasizes hypotaxis, on the other hand, puts more emphasis on reproducing the original appearance of things, using simple and natural words and preferring direct description. In sign translation, the English translation pays more attention to accurate, concise and lively. In the above paragraph, &amp;quot;层层升高，排列有序，将园林、寺庙和宫殿融为一体&amp;quot; is an introduction to the architectural features of foxiang pavilion, in order to make tourists have a clear understanding of the overall layout and architectural features of the scenic spot. This information is essential and can be translated into detail. However, &amp;quot;气势巍峨，金碧辉煌&amp;quot; focuses on the subjective description, and its explicit translation needs more complicated words. If this paragraph is translated in detail, it is easy to drag the content and make the key information vague. Therefore, the deletion of the English translation of this sentence will not affect the basic information of the original text.&lt;br /&gt;
(3)	主阁（文昌阁）两层，内供铜铸文昌帝君和仙童、铜骑。文昌阁与万寿山西供武圣的宿云檐象征“文武辅弼”。&lt;br /&gt;
Translation: A bronze statue of the God Wenchang, statues of gaeries, and a bronze steed were placed in the two-story pavilion. This tower is pared with the Tower of Cloud- Retaining Eaves, located to the west of the Longevity Hill, in which a statue of the Martial God was placed. The God Wenchang and the Martial God together symbolize reining of the emperor supported by scholars and warriors.&lt;br /&gt;
Analysis: Two questions arise in Chinese-English translation. First, there are two translations of wenchang pavilion in the translation: pavilion and tower, which appear in the same sign. Two different translations of the same scenic spot name tend to make foreign tourists think that it refers to different scenic spots, which may cause difficulty in understanding. Second, the translation of Wenchang pavilion into &amp;quot;Wenchang Tower&amp;quot; is against the actual architectural characteristics. In fact, the meanings of &amp;quot;pavilion&amp;quot; and &amp;quot;tower&amp;quot; have both similarities and differences. According to the Oxford dictionary, Tower means &amp;quot;a tall narrow building or part of a building, especially of a church or castle&amp;quot;, mainly referring to the tower-shaped part of a building, usually a tall and slender structure, such as the Eiffel Tower. &amp;quot;Pavilion&amp;quot; means &amp;quot;a building that is meant to be more beautiful than usual, built as a shelter in a park or used for concerts and dances&amp;quot;. The top structure of the pavilion usually has rectangles, triangles, hexagons, etc. The common feature of them is that the top is supported by columns without walls. From the external structure of Wenchang pavilion, its bottom is solid and its top is supported by columns. Therefore, the pavilion can accurately reflect the architectural characteristics of Wenchang pavilion, so I think it should be translated as Wenchang pavilion.&lt;br /&gt;
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===3.2 Historical culture. ===&lt;br /&gt;
3.2 Historical culture. &lt;br /&gt;
The accurate Chinese-English translation of the introduction of the Summer Palace not only enables foreign tourists to understand the characteristics of Chinese gardens, but also enables foreign tourists to understand the historical knowledge of a specific period of China. However, the Chinese-English translation of the Summer Palace still has problems in accurately conveying the historical background of the scenic spots, such as the English translation of Wenchang pavilion scenic spot:&lt;br /&gt;
(4)	此景区始建于清乾隆十五年，一八六零年被英法联军烧毁，光绪时按原样重建。阁结构为八面三层四重檐，通高36.44米，耸立于20米高的石造台基上，气势雄伟，是颐和园全园的构图中心。阁内供奉有铜铸金裹千手观世音菩萨站像。像高五米，重万斤，为明代万历年间所造，在八根贯通全阁上下的承重铁梨木擎天柱的衬托下，美妙庄严，熠熠生辉，有极高的文物和艺术价值。&lt;br /&gt;
Translation: The Wenchang tower was first built in 1750 and rebuilt under Emperor Guangxu after  the Anglo-French Allied Forces builted it down in 1860. The octahedral tower has three stories with four-layered eaves, altogether 36.44 meters high. Standing upright on a 20 meter-high stone foundation, it constitutes the center of the Summer Palace landscape and serves to accentuate its magnificence. A statue of the thousand-handed Guanshiyin Buddha, cast in bronze and gilded with gold, stands inside the tower. The statue, five meters high and five tons in weight, was cast during the reign of Emperor Wanli of the Ming Dynasty. Set off by the eight imposing pillars which support the tower, it glows with beauty, grandeur and brilliance. Its historical, cultural and artistic value can hardly be overstated.&lt;br /&gt;
Analysis: “始建于乾隆十五年”only was translated into “was first built in 1750” and the “光绪年间重建” was translated into “rebuilt under Emperor Guangxu”.The first sentence does not show that 1750 was the fifteenth year of the reign of emperor Qianlong, and the second sentence does not give foreign visitors the exact date of the reign of emperor Guangxu. The change of time concept and the disunity of expression easily make foreign tourists feel confused. Therefore, the translation of the time and the historical dynasties should be accurate and meticulous, and the supplementary method should be used to not only describe the dynasties clearly, but also supplement the corresponding years, so as to achieve the standardization of the translation. In this way, foreign tourists can not only be clear about the time of the event, but also understand the Chinese historical dynasties. Consider as follows: the Wenchang Pavilion was first built in 1750 during Emperor Qianlong’s reign（1735- 1795）and rebuilt in 1886 under Emperor Guangxu（1875- 1908）after the Anglo- French Allied Forces burned it down in 1860.&lt;br /&gt;
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===3.3 Religious culture. ===&lt;br /&gt;
3.3 Religious culture. &lt;br /&gt;
Many scenic spots in the Summer Palace have a strong buddhist atmosphere. While visiting the scenic spots, foreign tourists can understand the profound buddhist culture. Wenchang pavilion in the Summer Palace is the representative of Chinese religious culture.&lt;br /&gt;
(5)	主阁两层，内供铜铸文昌帝君和仙童、铜特。文昌阁与万寿山西供武圣的宿云檐象征“文武辅弼”。&lt;br /&gt;
Translation: A bronze statue of the god，Wenchang，and statues of two followers，the celestial boy，and the bronze steed，were placed in the two- storey pavilion. This tower is pared with the tower of Cloud- Retaining Eaves，located to the west of the Longevity Hill，in which a statue of the Martial God was placed. The two towers symbolize the support by both scholars and warriors to the ruling emperor.&lt;br /&gt;
Analysis: It is well known that westerners believe in theism, which refers to god as supreme . In Chinese religious culture, people believe in atheism and do not believe in the existence of god. Therefore, it is inappropriate to translate &amp;quot;文昌帝军&amp;quot; and &amp;quot;武圣&amp;quot; into &amp;quot;the god, Wenchang&amp;quot; and &amp;quot;the Martial god&amp;quot; in the translation. In fact, the &amp;quot;文昌帝军&amp;quot; was Zhang yu, an emperor of Shu of Ning kang (374). And &amp;quot;武圣&amp;quot; refers to Guan yu in history. Therefore, the simple translation of  &amp;quot;God&amp;quot; is not in line with the traditional Chinese culture, which will not only cause western tourists to misunderstand that Chinese religious tradition also believes in God, but also fail to convey Chinese historical allusions and relevant historical figures. In contrast, if &amp;quot;文昌帝军&amp;quot; is translated as &amp;quot;the emperor, Wenchang&amp;quot; and &amp;quot;武圣&amp;quot; is translated as &amp;quot;the Martial Master (Guanyu)&amp;quot;, it can more faithfully convey the history and religious culture contained in the source language. &lt;br /&gt;
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===4. Conclusion===&lt;br /&gt;
4. Conclusion&lt;br /&gt;
To sum up, Under the guidance of the skopos rule of functionalist translation theory, translators should have a cross-cultural awareness, fully understand the reading psychology and cultural appreciation needs of target language readers, and use effective translation strategies and methods to achieve the purpose of tourism text translation. Functionalist approach has made a pioneering contribution to the translation of non-literary genres. Functional translation effectively eliminates the disadvantages of traditional word-for-word translation, improves the efficiency of translation, and helps readers to grasp the meaning of the original text.&lt;br /&gt;
 The importance of the translation of the Summer Palace lies in the profound garden culture, historical culture and religious culture. The English translation is not only helpful for international friends to know more about the garden characteristics of the Summer Palace, but also helpful for spreading the long history and profound culture of China. In order to attract target readers and promote traditional Chinese culture, it is not only necessary to carefully explore Chinese culture and history, but also to use the fuctionalist approach appropriately. &lt;br /&gt;
Translation is a complicated process. Functionalist approach stresses the function of the discourse, the purpose of translation. In the practice of translation, if the translator can get rid of the bondage of the original equivalence, actively playing to subjective initiative, fully understanding the original text, depending on the purpose of discourse and adopting different translation strategies, the effect and readability of translation can be improved.&lt;br /&gt;
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===References===&lt;br /&gt;
References&lt;br /&gt;
Hans Vermmer, “Skopos and Commission in Translation Action”, in the Translation Studies Reader,ed. Chesterman, London and Network:Routledge,p.221-232. 2000.   &lt;br /&gt;
Munday, Jeremy. Introducing Translation Studies: Theories and Applications. Routledge publishing.2001.&lt;br /&gt;
Mason, “Textual Practices and Audience Design: and Interactive View of the Tourist Brrochure”. In Navarro et al.(eds.). Pragmatics at Work: The Translation of Tourist Literature. Bern: Perter Lang. 157-176.2004.&lt;br /&gt;
Nord, Text Analysis in Translation: Theory, Methodology and Didactic Application of a Model for Translation-Oriented Text Analysis. Beijing: Foreign Language Teaching and Research Press. 2006.&lt;br /&gt;
Nord, Translating as a purposeful activity. Shanghai: SFLE PRESS, 2001:27,30,32,65,245.&lt;br /&gt;
Reiss, Katharina. Translation Criticism: The Potentials &amp;amp; Limitations. Shanghai Foreign Language Education Press. Shanghai. 2004.&lt;br /&gt;
Venuti, Lawrence. The Translator’s Invisibility: A History Translation. Routledge.1995.&lt;br /&gt;
方梦之、毛忠明， 英汉—汉英应用翻译教程，上海: 上海外语教育出版社，2004.&lt;br /&gt;
金惠康，跨文化旅游翻译，中国对外翻译出版公司，2004.  &lt;br /&gt;
贾文波，应用翻译功能论，北京：中国对外翻译出版公司，2004&lt;br /&gt;
孙艺风，文化翻译的困惑与挑战，中国翻译，2016年第3期.  &lt;br /&gt;
王宏志，翻译与创作，北京大学出版社，2000.&lt;br /&gt;
吴自选，德国功能派翻译理论与 CNN 新闻短片英译，中国科技翻译, 2005.&lt;br /&gt;
谢天振，当代国外翻译理论，天津：南开大学出版社，2005.&lt;br /&gt;
张南峰，走出死胡同建立翻译学. 中国翻译, 1995.&lt;br /&gt;
仲伟合，钟钰. 德国的功能派翻译理论. 中国翻译, 1999.&lt;br /&gt;
张美芳，功能加忠诚—介评克里丝汀· 诺德的功能翻译理论.上海外国语大学学报, 2005.&lt;br /&gt;
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==Contrast between Literal Translation and Free Translation	张雪仪	Zhang Xueyi==&lt;br /&gt;
'''Abstract：'''&lt;br /&gt;
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The contrast between literal translation and free translation has always been the most discussed problem in translation studies. To compare these two translation methods, the basic point is to understand the purpose of translation. The ultimate goal of translation is to help different cultures communicate better, so that people who speak different languages can understand each other’s cultures. Due to the differences in social, historical and cultural backgrounds between languages, how to choose between the two translation strategies of literal translation and free translation requires translators to weigh the strengths and weaknesses of these two methods. This essay mainly compares literal translation and free translation between Chinese and Russian to help students and translators translate better.&lt;br /&gt;
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'''Key words：'''&lt;br /&gt;
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Translation strategies, Literal translation,Free translation &lt;br /&gt;
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'''摘要：'''&lt;br /&gt;
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直译与意译间的对比一直是翻译学中讨论度最高的问题。想要将这两种翻译方法进行对比，最基本的一点就是要明白翻译的目的是什么。翻译的最终目的在于帮助不同文化进行更好的交流，让使用不同语种的人相互理解彼此的文化。由于语种间社会历史文化背景的差异，如何在直译和意译这两种翻译策略中做出选择，就需要译者衡量两种方法的利弊。本文主要对汉语和俄语间直译和意译进行比较，以帮助学生和译者更好地进行翻译实践。&lt;br /&gt;
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'''关键词：'''&lt;br /&gt;
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翻译策略，直译，意译&lt;br /&gt;
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'''1.Introduction'''&lt;br /&gt;
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The former Soviet Union translation theorist Fedorov believed: “Translation is an activity that expresses what has been used in one language as a unified whole of content and form, and accurately and completely expressed in another language.” Translation theorist Barr Hudarov also wrote: &amp;quot;Translation is the process of changing the coherent discourse of one language into the coherent discourse of another language while maintaining its content and meaning.&amp;quot; To some extent, translation is a process of thinking re-creation, so certain standards and principles must be followed when translating. Translation standard is a measure of the quality of translation, it can guide translation practice, and it is a principle that must be followed in translation activities. Although each scholar has different opinions on the standard of translation, the final result he pursues is the same: the original text and the translated text express the same effect. In order to achieve the same effect, different translation methods have been derived, of which literal translation and free translation are the most commonly used.&lt;br /&gt;
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Russian idioms and proverbs, as the crystallization of the wisdom of the Russian nation and the immortal fossils in the Russian language, are one of the best materials for the Chinese to understand and learn Russian history, culture, and society. Due to different geographical, historical and economic conditions, the Russian and Chinese ethnic groups have formed different cultural backgrounds. These distinctive backgrounds and characteristics have caused great difficulties for Chinese learning Russian to further understand Russia. This essay studies the basic definitions of literal translation and free translation, their respective advantages and disadvantages and their mutual relations, and strive to solve how to use the translation methods of literal and free translation to properly translate Russian idioms and proverbs, and how to reflect the cultural background and language characteristics of Russian idioms and proverbs in the translation .&lt;br /&gt;
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'''2.Different views of &amp;quot;literal translation&amp;quot; and &amp;quot;free translation&amp;quot;'''&lt;br /&gt;
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In different periods and different countries, people's views on translation theory have changed a lot, but the debate about literal translation and free translation has always existed.&lt;br /&gt;
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In China, the contradiction between literal translation and free translation may initially be due to the different understanding of these two translation methods. The translator Sun Guiding believes that: literal translation is stuck to the structure of the original text and does not consider whether the Chinese is fluent and natural; while free translation is to use the inherent Chinese idioms and the most natural words and sentences as much as possible to achieve the effect of conveying the meaning of the original text. Former President of Wuhan University, Du Zuozhou, believes that literal translation means translating word by word according to the original text; free translation means translating according to the meaning of the original text, and the translation is more suitable for the common grammar of the translated language. The educator Meng Xiancheng believes that literal translation is a translation technology with different degrees of correctness. Literal translation is a translation that is faithful and correct according to the original text; free translation is a translation that summarizes the original meaning. Zhu Guangqian said: &amp;quot;The so-called 'literal translation' refers to the literal translation based on the original text. Every word and sentence are translated word by word, and the order of the words and sentences is not changed. The so-called ‘paraphrasing’ is to express the meaning of the original text in Chinese, and it does not have to be completely based on the literal and order of the original text. &amp;quot; The principle of &amp;quot;faithfulness, expressiveness and elegance&amp;quot; put forward by the modern Chinese translator Yan Fu has long been the basic principle guiding translation practice. A large number of beginners who learn foreign languages regard &amp;quot;faithfulness and expressiveness&amp;quot; as translations that are completely faithful to the original text when translating. In fact, Yan Fu's translation requirements are a guiding principle for translation based on semantics. When translating, if the structure and expression of the original text cannot be directly adopted, the sentence structure and expression must be changed according to the characteristics of the target language. In addition, there are many differences between the original language and the target language in the word order, grammar, variants and rhetoric in the translation process. In many cases, there is no direct corresponding word. This requires the translator to consider the actual semantics, background and other factors. On the basis of the original meaning of the sentence, use an appropriate method to convey the content of the original work and reproduce the language style of the original work.&lt;br /&gt;
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In the Soviet Union, under the influence of ideology, Western translation theories could not be widely disseminated, but within the Soviet Union, translation theories similar to Western translation theories have been formed and developed, and two main schools of translation theory have been further differentiated — Linguistic Translation School and Literary Translation School. To a certain extent, the dispute between these two schools also reflects the debate on literal translation and free translation among translators' groups. In terms of the principles or standards of translation, the linguistic translation school believes that an ideal translation should be an equivalent translation, first of all linguistic correspondence, that is, the translation should have the same meaning as the corresponding language or discourse unit of the original; the literary translation school believes that translation pursues artistic correspondence, and linguistic correspondence must be subordinate to artistic correspondence. Therefore, it proposes that the aesthetic standards of translation should reproduce the artistic reality reflected by the unity of the original content and form. The characteristic is to use images to translate images, that is, to create the same image in different languages. In 1953, Andrei Venediktovich Fedorov, the leader of the linguistic translation school, published his work &amp;quot;Summary of Translation Theory&amp;quot;, which was the first monograph of the Soviet Union to study translation theory from the perspective of linguistics. The author proposes that translation theory is a branch of linguistics. Since the translation of any genre work must rely on the comparison of two languages, translation problems can only be solved in the field of language. Fedorov’s view was refuted by the literary translation school represented by Ivan Alexandrovich Kashikin. The literary translation school believes that aesthetic issues are the core of literary translation theory, and translation should be regarded as a form of language art, that is, translation should be studied from the perspective of literature and art. In fact, the literary translation school emphasizes the translation of literary and artistic works, which belongs to the specific translation theory; while the research of the linguistic translation school focuses on the general translation theory, that is, the translation of all thematic works including literary works. The dispute between the two major translation theory schools of Russia and the Soviet Union provides another perspective for Chinese translators to explore the relationship between literal translation and free translation.&lt;br /&gt;
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'''3.The application of literal translation and free translation in the Chinese translation of Russian idioms'''&lt;br /&gt;
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The idioms of different nationalities are the most dynamic and expressive units at the lexical level in different languages, and they are also the units that can best reflect the characteristics of national culture in languages. The number of Russian idioms is extremely rich, it records and reflects all aspects of Russian national life. Due to the great differences in geographical locations and living customs between China and Russia, the national cultures reflected in Chinese and Russian must be quite different. One of the difficulties in idiom translation is its imagery. When translating idioms, both the meaning and the image must be considered. Although the Chinese and Russian cultures are very different, many of the commonalities of mankind, such as emotion and natural environment, have created conditions for mutual communication, mutual understanding and idiom translation between different languages.&lt;br /&gt;
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'''3.1 Literal translation'''&lt;br /&gt;
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Generally speaking, the literal translation method refers to a translation method that directly translates the original text without changing the language characteristics and style of the original text on the basis of fully respecting the meaning of the original text. Chinese translation of Russian idioms by literal translation method has the advantage of being able to intuitively and faithfully express the meaning of the idiom, maintaining the unique style and imagery of the original text: the disadvantage is that the translated idiom may not be understood by the Chinese because of China and Russia have different historical, cultural backgrounds, grammatical structures, and language world landscapes, which can easily form obstacles in the process of understanding.&lt;br /&gt;
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Translating Russian idioms by literal translation is further divided into two methods — literal translation into Chinese idioms and literal translation into non-idiom sentences or words.&lt;br /&gt;
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Literal translation of Russian idioms into Chinese idioms is suitable for the translation of Russian and Chinese idioms that are completely equivalent in image, structure, and meaning. The advantage is that it is easy to understand, and the translation is simple and fast. E.g:&lt;br /&gt;
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(1)домашнего  (своего) вора не убережешься. 家贼难防&lt;br /&gt;
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(2)знать как свои пять пальцев (видно, как на ладони) 了如指掌&lt;br /&gt;
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(3)подлить масла в огонь 火上浇油&lt;br /&gt;
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(4)как рыба в воде 如鱼得水&lt;br /&gt;
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(5)как ножом по сердцу 心如刀割&lt;br /&gt;
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(6)как гром среди ясного неба 晴天霹雳&lt;br /&gt;
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(7)на добро отвечают добром 善有善报&lt;br /&gt;
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(8)копейка рубль бережет 财从细起&lt;br /&gt;
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(9)мечты сбываются 梦想成真&lt;br /&gt;
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(10)курица всегда следует за петухом 嫁鸡随鸡&lt;br /&gt;
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(11)чего мало, того и дорого  (дорого то, что мало) 物以稀为贵(12)&lt;br /&gt;
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(12)изгонять яд с помощью яда 以毒攻毒&lt;br /&gt;
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(13)сидеть как на иголках 如坐针毡&lt;br /&gt;
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(14)действия громче слов 事实胜于雄辩&lt;br /&gt;
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(15)зарыть талант в землю 埋没人才&lt;br /&gt;
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(16)висеть на волоске 千钧一发&lt;br /&gt;
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(17)лить как из ведра 倾盆大雨&lt;br /&gt;
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The idioms in the above examples are completely equivalent in image, structure or meaning in Russian and Chinese, so Chinese idioms can be used for literal translation. &lt;br /&gt;
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In fact, in the two languages, idioms with the same image, structure, and meaning are still in the minority, so it is more common to translate Russian idioms into non-Chinese idiom sentences or vocabulary. E.g:   &lt;br /&gt;
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настоять на своем 坚持自己&lt;br /&gt;
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камень с души свалился 心里的一块石头落地&lt;br /&gt;
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связать свою судьбу 把自己的命运与……相连&lt;br /&gt;
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быть на голову 高出一头&lt;br /&gt;
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вбивать в голову 往脑子里灌&lt;br /&gt;
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блеснуть метеором 像流星一样一闪而过&lt;br /&gt;
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с мизинец 小拇指这么大&lt;br /&gt;
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It is not difficult to find that the literal translation method can completely retain the original appearance of the idiom, show the common concept of human understanding of the world, and be beneficial to the cultural exchange between China and Russia.&lt;br /&gt;
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'''3.2 Free translation'''&lt;br /&gt;
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Another method commonly used in the Chinese translation of Russian idioms is free translation. Free translation is to readjust the structure of the original text on the basis of keeping the original meaning of the idiom unchanged, and then reconstruct the Russian idiom with the way of thinking and expression in Chinese. This is because the figurative images used in many Russian idioms are inconsistent with those used in Chinese. If the original image is used in translation, it will cause a barrier to understanding. The advantage of free translation of Russian idioms is that it eliminates obstacles to understanding, but the disadvantage is that it cannot completely retain the original style and cultural characteristics. E.g:&lt;br /&gt;
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(1)В Тулу со свим самоваром не ездят.&lt;br /&gt;
直译：去图拉不用带自己的茶炊。&lt;br /&gt;
意译：多此一举&lt;br /&gt;
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(2)Честь лучше бесчестья.&lt;br /&gt;
直译：尊重比不尊重好。&lt;br /&gt;
意译：礼多人不怪。&lt;br /&gt;
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(3)словно горя с плеч&lt;br /&gt;
直译：把山从肩膀下卸下&lt;br /&gt;
意译：如释重负&lt;br /&gt;
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(4)выеденного яйца не стоит&lt;br /&gt;
直译：一个空蛋壳不值钱&lt;br /&gt;
意译：鸡毛蒜皮，一文不值&lt;br /&gt;
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(5)чужими руками жар загребать&lt;br /&gt;
直译：用别人的手将红炭火拨成一堆&lt;br /&gt;
意译：坐享其成，不劳而获&lt;br /&gt;
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(6)ни рыба, ни мясо&lt;br /&gt;
直译：没有鱼也没有肉&lt;br /&gt;
意译：不三不四，不伦不类&lt;br /&gt;
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(7)лучше синица в руках, чем журавль в небе&lt;br /&gt;
直译：天上的仙鹤不如手中的山雀&lt;br /&gt;
意译：远亲不如近邻&lt;br /&gt;
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(8)На языке мед, а под лед&lt;br /&gt;
直译：嘴上甜得像蜂蜜，心里冷得像冰&lt;br /&gt;
意译：笑里藏刀&lt;br /&gt;
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(9)И на солнце есть пятна&lt;br /&gt;
直译：太阳上也有黑点&lt;br /&gt;
意译：人无完人&lt;br /&gt;
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(10)семь раз отмерь, один раз отрежь&lt;br /&gt;
直译：测量了七次后再剪裁&lt;br /&gt;
意译：三思而后行&lt;br /&gt;
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Using free translation to translate Russian idioms requires the translator to accurately understand the meaning of the original text, because cultural differences make it impossible to literally translate. Only through the translator can an unobstructed bridge between Russian idioms and Chinese idioms be built.&lt;br /&gt;
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'''4.The application of literal translation and free translation in the Chinese translation of Russian proverbs'''&lt;br /&gt;
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There are often multiple translations of the same Russian proverb in Russian-Chinese dictionaries. On the one hand, because the translator uses different translation methods; on the other hand, because Russian proverbs have very rich connotations, a translation cannot perfectly interpret the inner meaning of the proverb. According to the context and the connotation of the proverbs, the most commonly used methods of Chinese translation of Russian proverbs are literal translation and free translation.&lt;br /&gt;
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'''4.1 Literal translation'''&lt;br /&gt;
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In Russian and Chinese languages, some proverbs not only have the same meaning or implicit meaning, but also use the same or similar figurative images to express a certain kind of the same semantics, and they are completely consistent in content and form. In this case, the equivalent translation of synonymous Chinese proverbs can convey the information contained in the original image, which not only retains the rhetorical color of the original language, but also enables the reader to perfectly understand the original text. E.g:&lt;br /&gt;
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(1)Куй железо, пока горячо. 趁热打铁。&lt;br /&gt;
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(2)Беда не приходит одна. 祸不单行。&lt;br /&gt;
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(3)Сытый голодного не разумеет. 饱汉不知饿汉饥。&lt;br /&gt;
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(4)Век живи, век учись. 活到老，学到老。&lt;br /&gt;
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(5)Выше встанешь, дальше увидишь. 站得高，看得远。&lt;br /&gt;
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(6)Лучше один раз увидеть, чем сто раз услышать. 百闻不如一见。&lt;br /&gt;
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(7)Нет дыма без огня. 无火不生烟。&lt;br /&gt;
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(8)Шила в мешке не утаишь. 口袋藏不住锥子。&lt;br /&gt;
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(9)Береги платье снову, а честь смолоду. 衣服要从新的时候爱惜，荣誉要从年轻时珍惜。&lt;br /&gt;
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(10)Выше лба уши не растут. 耳朵高不过额头。&lt;br /&gt;
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(11)Для милого друга семь верст не околица. 为了好友，多绕七里也不嫌远。&lt;br /&gt;
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(12)Как Новый год встретишь, так его и проведешь. 怎么迎新年，就怎么过一年。&lt;br /&gt;
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(13)Лучше умереть стоя, чем жить на коленях. 宁愿站着死，绝不站着生。&lt;br /&gt;
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(14)Не имей сто рублей, а имей сто друзей. 宁要一百个朋友，不要一百个卢布。&lt;br /&gt;
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По одежке встречают, по уму провожают. 迎客时看衣，送客时看才智。&lt;br /&gt;
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==Dialectical thinking in arguments between literal translation and free translation 	甘奉玉	Gan Fengyu==&lt;br /&gt;
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===Abstract===&lt;br /&gt;
  As two methods of translation, how to use literal translation and free translation has always been the focus of debate between Chinese and Western translation circles. Through the study of translation methods of literal translation and free translation at home and abroad, we can know that to some extent literal translation and free translation are two relative conceptions, so there will be word-for-word translation, that is, dead translation, and excessive free translation. However, these two are only two extremes of literal translation and free translation. In fact, although there are differences in definitions and application fields between literal translation and free translation, they are unified in common translation purpose, translation procedure and translation standard. Therefore, the two are contradictory and unified in translation activities. This is also the profound embodiment of the unity of opposites in materialist dialectics.--[[User:Gan Fengyu|Gan Fengyu]] ([[User talk:Gan Fengyu|talk]]) 07:46, 10 November 2020 (UTC)&lt;br /&gt;
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===Key words===&lt;br /&gt;
literal translation, free translation, word-for-word translation, over free translation, unity of opposites&lt;br /&gt;
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===摘要===&lt;br /&gt;
  作为翻译方法，直译(literal translation)与意译(free translation)怎样使用的问题一直是一个争论中西方翻译界不休的焦点。通过对国内外直译与意译的翻译方法的研究，我们可以得知，从某种程度而言，直译与意译是两个相对的概念, 所以才会有逐字翻译，即死译，与过度意译这两个完全对立的概念。但是，这两者只不过是直译与意译的两个极端点。其实，直译和意译虽然在概念定义，适用范围上有所差异，但却又统一于共同的翻译目的、翻译过程和翻译标准中。所以两者在翻译活动中应该是既对立又统一的矛盾体。而这也正是唯物辩证法中的对立统一矛盾观的深刻体现。--[[User:Gan Fengyu|Gan Fengyu]] ([[User talk:Gan Fengyu|talk]]) 07:50, 10 November 2020 (UTC)&lt;br /&gt;
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===关键字===&lt;br /&gt;
直译； 意译； 死译； 过度意译； 对立统一&lt;br /&gt;
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===Introduction===&lt;br /&gt;
  Throughout the translation history at home and abroad, the literal translation and free translation have always been a heat discussion in the translation circles. Someone absolutely approve literal translation and demean free translation, even pursue a dead translation, which creates an translated text difficult to understand. While some other people absolutely agree with free translation even advocate random acts, which means a random deletion in the translation practices and creates anther entirely different text. However, there are also a number of translators who have recognized that these two translation methods are not totally opposite. So they adopt a compromise and flexible way. That means they will choose the most appropriate one depending on the text demanding. Therefore, we can deduce from it that this eclectic translation is consistent with the Contradiction view of Unity of Opposite in Materialist Dialectics. In fact, literal translation and free translation are right a set of contradictions which are both opposite and unified. They complement each other into an integral one.&lt;br /&gt;
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===1.Dialectic thinking of the Unity of opposites===&lt;br /&gt;
===2.Word-for-word translation===&lt;br /&gt;
===3.Over free translation===&lt;br /&gt;
===4.Eclectic translation===&lt;br /&gt;
===5.Opposition and unity between literal translatiuon and free translation===&lt;br /&gt;
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===5.1 Opposition===&lt;br /&gt;
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===5.1.1 Opposition in definition===&lt;br /&gt;
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===5.1.2 Opposition in application fileld===&lt;br /&gt;
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===5.2 Unity===&lt;br /&gt;
===5.2.1 Unity in translation goal===&lt;br /&gt;
===5.2.2 Unity in translation procedure===&lt;br /&gt;
===5.2.3 Unity in translation standard===&lt;br /&gt;
===6.Conclusion===&lt;br /&gt;
===Bibliography===&lt;br /&gt;
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== Peter Newmark’s Improved Views on Literal Translation and Free Translation 赵茜 Zhao Xi==&lt;br /&gt;
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='''Document Translation'''=&lt;br /&gt;
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==On translation of official documents of CangNan County	吴恺	Wu Kai==&lt;br /&gt;
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On Translation of Official Documents of Cangnan County&lt;br /&gt;
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Japanese Language and Literature, School of Foreign Languages, Hunan Normal University, Wu Kai--[[User:Wu Kai|Wu Kai]] ([[User talk:Wu Kai|talk]]) 04:45, 2 December 2020 (UTC)&lt;br /&gt;
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==='''Abstract'''===&lt;br /&gt;
As one of the forefronts of Zhejiang’s opening-up cause, Cangnan County in Zhejiang Province has been enjoying a rapid development and an ever-growing degree of opening-up with lasting vitality as it’s supported by national policies and nourished by the dividends of economic globalization since China's reform and opening-up. As China has ushered in a period of major changes rarely seen in a century, Cangnan County is also facing new opportunities and challenges. Under the background of this era, Cangnan County is expected to make good use of its own advantages, especially the geographical ones—it is close to countries and regions including Japan, South Korea, and Taiwan—and should spare no efforts to achieve a higher level of opening-up, and, in turn, further promote its development. As an embodiment of the collective will of the people of Cangnan County, the official document is one of the best manifestations of its governance and stability control capabilities. For this reason, the research on how to translate official documents is of great significance for that it offers a great opportunity for Cangnan County to re-examine itself and to show the rest of the world its achievement in building a culture-enriched county.&lt;br /&gt;
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==='''Key words'''===&lt;br /&gt;
 official document translation, Cangnan County, opening-up, Japan, South Korea&lt;br /&gt;
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==='''摘要'''===&lt;br /&gt;
自中国改革开放以来，浙江省苍南县作为全浙江对外开放的前沿阵地之一，得到了国家政策支持和经济全球化红利的滋润，苍南县发展水平与对外开放程度日新月异，全县活力持久带劲。随着中国迎来“百年未有之大变局”，苍南县也面临着新的机遇和挑战，在此时代背景下，苍南县应该利用好自身优势，特别是临近日本、韩国、台湾等国家与地区的地理优势，努力开展更高层次、更高水平的对外开放事业，促进苍南更好的发展。为此，作为苍南县人民集体意志的体现，苍南县的公文就是对外展示其治理水平、稳控能力的最好的体现之一。而对于苍南县公文的如何翻译的研究，是促使苍南县重新审视自己、推进苍南人文县情传播海外的良机，意义重大。&lt;br /&gt;
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==='''关键词'''===&lt;br /&gt;
公文翻译  苍南县  对外开放  日本  韩国&lt;br /&gt;
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==='''I. System and Translation of Official Documents of Cangnan County'''===&lt;br /&gt;
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The unique official document system adopted by Chinese government agencies is a special integration of the thousands-of-years excellent political traditions in China and the essence of the organizational structure of the socialist regime. As a county-level unit in China's local administrative structure, Cangnan County has an official document system that is consistent with the national ones in general while has its own features. Official documents of Cangnan County can be basically divided into the following types of writing: resolutions, decisions, orders, bulletins, announcements, notifications, opinions, notices, reports, requests for instructions, approvals, proposals, letters, and minutes. Above-mentioned categories are collectively known as official documents. Besides, there are also some types of practical writing, including summaries, plans, notes, memos, briefings, speeches, manuals and so on, that are often used in our day-to-day work.&lt;br /&gt;
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In addition to those characteristics of the official documents that are commonly seen in China, official documents of Cangnan County also have its own features, which is mainly reflected in the aspect of proprietary terminology. Cangnan County, which used to be a part of Pingyang County in Zhejiang Province, was officially designated as a county in 1981 with the approval of the Central Government. It takes its name Cangnan, which means “on the south of the Yucang Mountain”, from its geographical location. As a relatively young county-level administrative unit in China’s administrative divisions, Cangnan County has a complex natural endowment and cultural environment, which is the reason why there are many special proprietary terms used in the official documents of Cangnan County, such as “Beautiful South Gate of Zhejiang Province”, “Southern Ouyue (an ancient kingdom in modern Wenzhou and Taizhou)” , “South Gate of Jiangsu-Zhejiang Region” and so on. Moreover, Cangnan is also the birthplace of the “Wenzhou Model”. Since the implementation of policy for the exchange of production materials and commercial grains in 1984, Cangnan has become an important base for the experiments and development of Wenzhou's private economy and market economy, and, thus, has made a significant contribution to the great cause of China's reform and opening-up.&lt;br /&gt;
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To conclude, the unity of the official document system viewed from the national scope of China and the uniqueness of the official document system viewed from the local scope of Cangnan area are both reflections of the integration of economic, political, and cultural elements. Therefore, when translating the terms and sentences in these official documents, obviously, it is almost impossible to follow general translation theories, such as Yan Fu’s “faithfulness, expressiveness and elegance” theory which applies to literature translation, and Christiane Nord’ Skopos theory which emphasizes schematic analysis. Due to the features of the official documents of Cangnan County, it is hard to imagine the consequence it will cause if those Cangnan and Chinese elements they contain are missed when translating them. Therefore, the starting point for the translation and research of Cangnan official documents should be analyzing the official document itself, but not choosing which translation theory to apply.&lt;br /&gt;
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The translation method focusing on the official documents themselves is undoubtably the one that emphasizes the content while manages to achieve a similarity in form. Thus, the translation theory that meets the requirements of official document translation in Cangnan County shall be the functional equivalence theory of the American linguist Eugene A. Nida. Eugene A. Nida argued in his theory that translation is to use the most appropriate, natural and equivalent language to reproduce the informational function of the source language both semantically and stylistically. Nida’s definition of translation specified that translation is seeking equivalence not only in lexical meaning, but also in semantics, style and literary form. Translation should convey both the denotative and connotative meaning of a message. Regarding the equivalence of translation, he believed that the equivalence consists of four parts: lexical equivalence, syntactic equivalence, textual equivalence, and stylistic equivalence. Among the four aspects, he emphasized that the meaning the core and most important part, followed by the form. The form of a text is likely to conceal the cultural connotation of the source language and may, therefore, hinder cultural exchanges. Based on the above, the reasons why the functional equivalence theory is applicable to official document translation in Cangnan County can be concluded as follows:&lt;br /&gt;
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First, the functional equivalence theory advocates that the target text should be equivalent to the source text both semantically and culturally. Official documents of Cangnan County are carriers of profound political culture with Chinese characteristics and the cultural environment in Cangnan. When translating them, in addition to showing the political consciousness and judicial authority of Cangnan government agencies, the local culture of Cangnan must also be reflected in the translations.&lt;br /&gt;
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Second, the functional equivalence theory suggests that if the lexical meanings and cultural elements cannot be taken into account at the same time, the translator then may give up the equivalence in form and try to reproduce the semantic and cultural meaning of the source text by changing the form of the sentence. There are many specialized terms with Chinese characteristics and Cangnan’s characteristics in official documents of Cangnan County. When translating them, once there is no corresponding expression in the target language, other forms of expression must be adopted to retain the meanings of those specialized terms as much as possible.&lt;br /&gt;
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Third, the functional equivalence theory proposes that if the change in form is still not enough to express the semantic and cultural meaning of the expression in the source language, the translation technique of “heavy damage” can be adopted to resolve cultural differences , so that the source language and the target language can achieve equivalence in semantic meaning. “Heavy damage” refers to the transformation of the deep structure of the source language into the surface structure of the target language, that is, expressing the cultural connotation of the source text with expressions of the target language. It cannot be ruled out that there are words and sentences in the official document of Cangnan County that cannot be translated, and when this happens, the translator can only rely on his translation techniques and understanding ability to process them creatively.&lt;br /&gt;
Above are simply macro analyses of the official document system in Cangnan County, and when it comes to specific analyses, challenges we face will only be severer.&lt;br /&gt;
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==='''II. Stylistic Features and Translation of Official Documents in Cangnan County'''===&lt;br /&gt;
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Looking at the official documents of Cangnan County from the micro level, we can work on the study of its translation based on the following characteristics.&lt;br /&gt;
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'''1. Details and Accurate'''&lt;br /&gt;
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As an officially-written document geared for the needs of our people, wording of the official documents of Cangnan County has a very specific orientation. Almost all content words have very clear meanings and connotations.&lt;br /&gt;
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For example, the sentence “经研究，县政府决定召开市对县安全生产巡查反馈会暨突出问题集中教育警示会，现将有关事宜通知如下。(As discussed, the county government decided to convene a feedback meeting on city-to-county inspections of production safety and a meeting for education and warning on outstanding issues. The relevant matters are hereby notified as follows.)” in the document 《苍南县人民政府办公室关于召开市对县安全生产巡查反馈会暨突出问题集中教育警示会的通知》(“Notice of the Office of the People's Government of Cangnan County on Convening a Feedback Meeting on City-to-County Inspections of Production Safety and A Meeting For Education and Warning On Outstanding Issues”) (the office of the People's Government of Cangnan County on June 8th, 2020) conveys several points very accurately and clearly, including the decision maker, the type, content and theme of the meeting. Therefore, special attention must be paid to the integrity of the information delivered when translating this sentence. For example, it is translated into Japanese as “討議を通じて、県政府は県の安全生産状況に対する市政府の巡査結果反映会及び顕著問題教育警告会を開催することが決定した。関連事項を以下のようにお知らせする。”&lt;br /&gt;
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'''2. Precise and Compact'''&lt;br /&gt;
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The role of official documents is to exchange formal information between the upper and the lower, the people and the officials, and the relevant departments. Therefore, the wording of the official documents must be rigorous. No slang and loose sentences should be used, and excessive use of parentheses and descriptive modifiers should be avoided. Official documents of Cangnan County follow this rule as well, in which there will never be informal expressions like daily spoken words.&lt;br /&gt;
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For example, the expression “三、决策目录施行动态管理，因工作需要增减或变更重大行政决策事项的，承办单位应按照相关规定程序提请调整。(Third, the decision catalogue shall be managed in a dynamic way, the undertaker shall submit application for adjustments in accordance with the relevant regulations if any increase/decrease or change shall be made to the major administrative decision-making matters because of the need of actual work.)” in the document《关于公布苍南县2020年度重大行政决策事项目录的通知》(“Notice on Issuing the 2020 Annual Catalogue of Major Administrative Decision-Making Matters of Cangnan County”) (the office of the People's Government of Cangnan County on Sept. 20th, 2020) When translating this sentence into Japanese, the translator shall fully considers the preciseness of the original expression, and translate it as “三つ目、戦略目録動的管理施行、仕事需要によっての増減または変更が必要な場合、請負機構は関連規定の手順に従って調整を提出しなければならない。”&lt;br /&gt;
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'''3. Programmed and Standardized'''&lt;br /&gt;
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The purpose of official documents requires a stable and routine writing program so that the official business can be conducted in an orderly manner. It is essential that the document writing is reasonably programmed. It allows the officer to know what it is and what to do at a glance if a standardized official document program is followed. The standardization of the official documents of Cangnan County can be regarded as a tricky feature in their translation.&lt;br /&gt;
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For example, the expression “各乡镇人民政府，县政府直属各单位 (the people's government of all townships and towns and all directly affiliated institutions of the people’s government of Cangnan County)” in the document《关于公布苍南县2020年度重大行政决策事项目录的通知》(“Notice on Issuing the 2020 Annual Catalogue of Major Administrative Decision-Making Matters of Cangnan County”) (the Office of the People's Government of Cangnan County on Sept. 20th, 2020) is obviously a standardized addressing of the receiving units of an official document, and it should be translated into Japanese as “各郷鎮人民政府、県政府直属の各部門”.&lt;br /&gt;
Viewing from a micro perspective, we may find that special attention should be paid to many precise details when translating those official documents. It is of great significance that, during the cause of reform and opening-up, we strike a balance between the macro level and the micro level in official document translation, which will serve as a stage for Cangnan County to show itself to Japan, South Korea and other East Asian countries and regions.&lt;br /&gt;
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==='''III. Translation of Official Documents of Cangnan County under the Context of the Japanese Language'''===&lt;br /&gt;
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Cangnan County is one of the nearest administrative units to Japan in China, and Okinawa Prefecture in Japan and Cangnan County are neighbors facing each other across the sea. Furthermore, Cangnan County itself has ports in Xiaguan, Pacao, Yanting, Dayu and other places, and has the basic conditions for conducting small transactions of freights with Okinawa. However, due to the inadequacy policies, laws and regulations, a large portion of Japan’s trade with China, especially with Zhejiang Province, is still conducted in the three port cities, namely Ningbo, Zhoushan, and Hangzhou. Cangnan’s geographical advantages have never been given to full play. To Japan, Cangnan is not a total stranger. Wenzhou City has a great influence upon Japanese culture and history. Special local products such as Wenzhou green tea and Wenzhou satsuma orange are very attractive to Japanese people. Many of the business exchanges during the Kamakura Bakufu in Japan were happened between Hakata merchants and Wenzhou people. As an important subordinate region of Wenzhou City, Cangnan County naturally has left an impression on Japanese people when it comes to China.&lt;br /&gt;
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If Cangnan hopes to lay a foundation for the future cooperation with Japan through its cause of opening up to the outside world, it is of great importance that we study the methods and techniques to make the translation of Cangnan’s official documents to meet the specific context of the Japanese language, which is also a part of the cultural exchanges that will facilitate economic and trade cooperation between Japan and China. The political status of Cangnan County is equivalent to the one of regular cities and special wards in Japan, but this does not mean that the official documents of Cangnan County can be regarded as equivalents to the official documents released by the governments of the regular cities and special wards in Japan, and there are huge differences between their respective official documents in form, wording, Cultural connotation and etc. To better translate Cangnan official documents under the context of Japanese language, the following aspects must be paid attention to:&lt;br /&gt;
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1. Detailed Comparison of Types&lt;br /&gt;
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In the Japanese official document system, the word “公文” is different in meaning from the word “公文” in Chinese official document system. In Chinese “公文” means government official documents, while in Japanese “公文” generally refer to legal documents that have the force of law and the term “公文書” is the one that refers to government official documents, which roughly includes “外交文書” and “起案文”, “通達” , “命令”, “許可”, “通知書” and so on . When translating official documents of Cangnan County into Japanese, attention should be paid to the transformation of the types of the official documents. The classifications of official documents in China and Japan are different from each other.&lt;br /&gt;
For example, when translating documents such as “proposal letter”, “report” and the like into Japanese, the title should be translated as “建言書” and “報告書”, while “命令(order)”, “通知(notice)”, “提案(Proposal)” and etc. need no translation and can be titled with the original characters directly as “命令”, “通知”, “提案”, and can also be further translated into “命令状”, “通知書”, “提案書”. Those reflect the characteristics of the division of the types of the official document system in Japan.&lt;br /&gt;
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2. Careful Consideration of the Translation of Chinese Characters&lt;br /&gt;
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There are a large number of Chinese characters in Japanese. This will for sure be an advantage when translating official documents of Cangnan County into Japanese, however, at the same time, this is also a huge disadvantage. After all, those Chinese characters are Japanized Chinese characters, and their meanings and usages are more or less different from the original ones in Chinese.&lt;br /&gt;
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For example, the expression “设定全县森林防火期(setting the season of forest fire prevention)” in the document 《苍南县应急管理局局长王再忠关于&amp;lt;苍南县人民政府关于做好森林防火期护林防火工作的通告&amp;gt;的政策解读》(“Policy Interpretation Of ‘Notice of Doing Forest Protection and Fire Prevention during the Season of Forest Fire Prevention by the People's Government Of Cangnan County’ by the Director of Cangnan Emergency Management Agency Wang Zaizhong”) in could be translated character by character into Japanese as “全県域森林防火期間設定”. However, expressions such as “野外火源如何管理” cannot be translated in the same way, and must be processed accordingly and translated into Japanese as “野外の火の元が如何に処理すること”. When translating official documents of Cangnan County into Japanese, the translators must reject the preconceived thinking and native Chinese thinking, or it will lead to irreversible misunderstandings and mistakes.&lt;br /&gt;
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3. Mastery of the Equivalence of Semantic Meaning&lt;br /&gt;
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Chinese is an isolating language, in which the grammatical meaning is reflected by the order of words, while Japanese is an agglutinative language, in which auxiliary words and flexible usages of vocabulary are adopted to reflect the grammatical meaning. This requires the translators to have mastery of the equivalence of semantic meanings when translating official documents of Cangnan County into Japanese and try to achieve perfect equivalence in official document translation.&lt;br /&gt;
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For example, there is a expression as “全体公民必须认真贯彻‘以人为本、预防为主、积极扑救、有效消灾’的森林防灭火工作方针，一旦发现森林火灾，要立即向当地人民政府或森林防灭火指挥部办公室报告(all citizens must seriously implement the working policy of forest fire prevention and firefighting ‘people-oriented, prevention-focused, active in firefighting, effective in disaster relief’, once a forest fire is detected, it must be reported to the local people’s government or the forest fire prevention and firefighting headquarters office immediately)” in the document 《苍南县应急管理局局长王再忠关于&amp;lt;苍南县人民政府关于做好森林防火期护林防火工作的通告&amp;gt;的政策解读》(“Policy Interpretation Of ‘Notice of Doing Forest Protection and Fire Prevention during the Season of Forest Fire Prevention by the People's Government Of Cangnan County’ by the Director of Cangnan Emergency Management Agency Wang Zaizhong”). When dealing with long and complex sentences, the translator must be flexible in using translation techniques to decompose the sentences and translate them step by step, focusing on the balance between the form of the sentence and its semantic meaning. Based on this principle, the abovementioned sentence could be translated into Japanese as “人間本位、予防軸化、積極救助、有効消災という森林防火作業方針は全県民が必ず強固に守らなければならない。林に火事が発見された際、直ちに所轄人民政府や森林防火指揮部執務室に報告すること。”&lt;br /&gt;
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There is no doubt that, in terms of four-character idioms, allusions, new words of the era and etc., the translation of official documents of Cangnan County under the context of the Japanese language still has a long way to go, but the part that we should pay most attention to in translation is always the differences in culture between the source language and the target language. Only by keeping this basic point in mind at all times, will there be no huge mistakes being made when translating official documents of Cangnan County into Japanese.&lt;br /&gt;
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==='''Ⅳ. Translation of Official Documents of Cangnan County under the Context of the Korean Language'''===&lt;br /&gt;
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Zhejiang Province and South Korea have laid a good foundation for economic and trade cooperation projects, and a framework that is comprehensive, wide-ranging, and multi-level has been established for Zhejiang-South Korea cooperation. The advantages of the two regions are obviously complementary and the development potential for both sides and in between is huge. In September 2016, the Zhejiang China-Korea (Quzhou) Industrial Cooperation Park was approved as the first batch of “Zhejiang International Industrial Cooperation Parks” in Zhejiang Province. The total planned area is about 3,000 acres and the total planned investment is 12 billion yuan. Represented by the Zhejiang China-Korea Industrial Cooperation Park, a large number of economic and trade cooperation projects has been carried out with South Korea by Zhejiang Province. As an indispensable part of Zhejiang Province, Cangnan County is facing a huge gap in the cultural exchanges and economic cooperation with South Korea. How to elevate the level of Cangnan’s opening up to the outside world and advancing Cangnan’s economic, trade and cultural cooperation with South Korea is a question that is well worth exploring. Although Cangnan is further away from South Korea compared with regions in the north of Zhejiang, geographic location should never be a factor that hindering Cangnan’s economic, trade and cultural cooperation with South Korea. In an era of ever-deepening globalization, it is of great significance that we think about how to develop and promote the economic and trade and cultural cooperation between Cangnan and South Korea.&lt;br /&gt;
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Northern Zhejiang is a key area for economic, trade and cultural cooperation with South Korea. As the south gate of Zhejiang Province, if Cangnan County could open the door of economic, trade and cultural cooperation to South Korea, then this will inevitably bring extraordinary development opportunities to southern Zhejiang and make the pattern of Zhejiang and South Korea’s economic and cultural cooperation more balanced and healthy. The political status of Cangnan County is equivalent to the one of si(city), gu (district), and gun(county) in South Korea. Because of some historical reasons, South Korea is greatly influenced by Chinese culture. From the Three Kingdoms era of Joseon, to the Unified Silla Dynasty, the Wang’s Goryeo Dynasty, and the Yi’s Joseon Dynasty, the basic system of administrative divisions in South Korea is almost the same as the one in China, so the official document system of cities, districts, and counties in South Korea can be regarded as basically equivalent to the official document system of Cangnan County with only slight differences originated from the localized political and cultural traditions and the basic social condition of South Korea. Therefore, there are relatively fewer difficulties of translation when translating official documents of Cangnan County into Korean, aside from the barriers caused by Korean Hangul words. The translation of official documents of Cangnan County under the context Korean language requires attention to the following aspects:&lt;br /&gt;
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1. The Combination of Chinese characters and Hangul&lt;br /&gt;
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Modern Korean uses Hangul as the main written characters, but this does not mean that there is no place for Chinese characters in the Korean system. Since the launch of the abolition of Chinese characters movement in South Korea in the 1970s, Hangul did exactly achieved an overall penetration of every aspect of their daily life, but when it comes to important documents, Chinese characters still reserve a seat in the arena of South Korea’s history. Furthermore, a higher level of talent training is required now to meet the need of South Korea’s economic and social development, and the mastery of sinology has become, among all the necessary skills, one of the most straightforward evaluation criteria to access the qualified personnel. Thus, South Korea has restarted the Chinese character teaching movement. Nowadays, the official document system in South Korea has become one in which Hangul serves as the main language and the mixed use of Chinese characters and Hangul serves as a supplement. Just as how the mixed use of kana and Chinese characters in Japanese official documents may help in its translation, the mixed use of Chinese characters and Hangul also greatly facilitate the translation of official documents of Cangnan County into Korean. However, because Chinese characters used in Korea are composed of traditional Chinese characters and a small number of Korean self-made Chinese characters, we can not take it for granted that it is advisable to translate them word by word.&lt;br /&gt;
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For example, the title of the document《苍干任〔2020〕18号 王再忠等同志的任命》(“Cangnan Cadre Appointment [2020] No. 18: Appointment of Wang Zaizhong and etc.”) (the Office of CPC Cangnan Party Committee on March 27th, 2020) can be translated with the mixed use of Chinese characters and Hangul into Korean as《蒼南縣의 幹部任命〔2020〕18號 王再忠등 同志의任命》. Also, it be translated into Korean with Hangul alone as《참남현의 간부임명〔2020〕18호 왕재충등 동지의임명》.&lt;br /&gt;
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2. The Usage of Refined Language&lt;br /&gt;
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In recent years, South Korea has carried out reforms of the official document system, urging that the South Korean government agencies at all levels should use “refined(or purified) language”, that is, to write and publish official documents with words that are easy for the public to understand and have explicit meanings, reducing the cost of communication between the government and the public and, in this way, building a closer relationship between the government and the people, so that civil servants can communicate with the people more effectively. Refined language is a kind of common vernacular that differs from the official language. Although this trend of the wording of Korean official documents is not unconditional, but when compared with official documents of Cangnan County, which emphasize the solemnity and formality of official documents, this trend is the part that the translator has to pay his attention to.&lt;br /&gt;
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For example, when translating the expression “为加强行政规范性文件管理，切实推进依法行政，加快法治政府建设 (To strengthen the management of administrative normative documents, promote the administration in accordance with law, and accelerate the construction of a government ruled by law)” in the document《苍南县人民政府关于公布县政府及县政府办公室行政规范性文件清理结果的通知（有效）》(“Notice of the Office of the People's Government of Cangnan County on the Announcement of the Results of the Cleanup of the Administrative Normative Documents of the County Government and the County Government Offices (Effective)”) (the Office of the People's Government of Cangnan County on October 23th, 2020) , blunt expressions may not be that applicable and this expression translated into Korean in a more public-friendly way as “행정 규범적인 문서관리를 강화하기 위해, 법에따라 행정을 철저히 추진하고 법치정부의 건설을 가속화시킨다.”&lt;br /&gt;
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3. Mastery of the Equivalence of Semantic Meaning&lt;br /&gt;
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Like Japanese, Korean is also a typical agglutinative language. A sentence is formed by connecting independent words with various auxiliary words, and with a subordinating conjunction at the end of the sentence. Auxiliary words are just like glues, they exist after every subject, predicate, and object component of a Korean sentence to them together. For that these auxiliary words have no substantial meaning themselves, they must stay close to the main body in front, and a space must be put after. Therefore, when translating Chinese, which is an isolated language, into Korean, which is an agglutinative language, it is necessary to have mastery of the equivalence of the semantic meaning of the expression.&lt;br /&gt;
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For example, when translating the expression “全面实施全民参保计划，做好参保情况清查，提升参保信息质量，清理重复参保，稳定持续参保，减少漏保断保，实现应保尽保。(Fully implement the national social security plan, do a good job in checking the coverage of the social security, improve the quality of the collection of the information of the insured, clean up repeated insureds, stabilize the renewal of the social security, reduce the interruption of the social security, and achieve full social security coverage.)” in the document《关于做好2021年度城乡居民基本医疗保障工作的通知》(“Notice on Doing a Good Job in Basic Medical Security for Urban and Rural Residents in 2021”)( the Office of Medical Security Bureau of Cangnan County on November 5th, 2020), the translator should pay attention to the equivalence of semantic meaning of this long sentence and translated it into Korean as “전국민기본의료보험가입계획을 전면적으로 실시하고 기본의료보험가입상황을 철저히 조사하며 기본의료보험가입 정보의 질을 향상시키고 중복기본의료보험가입을 청산하며 안정적이고 지속적인 기본의료보험가입을 하며 보험누락을 줄이고 기본의료보험가입 을 실현해야 한다.”&lt;br /&gt;
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==='''Ⅴ. Studies of Official Document Translation and the Cause of Opening-up in Cangnan County'''===&lt;br /&gt;
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Based on the abovementioned basic characteristics of the official document system of Cangnan County, the notes for official documents translation under the context of the Japanese language and the notes for official documents translation under the context of the Korean language, we can see that official documents of Cangnan County is not as difficult to handle as something untranslatable. Cangnan County enjoys a good geographic location: it is located in the coast of the East China Sea, and is close to both Japan and South Korea, two strong economies in East Asia. However, Cangnan County has not yet made use of these favorable conditions to the fullest to promote cultural cooperation and trade with the two countries. Cangnan’s opening up to the outside world requires innovative thinking and an elaborate layout. Studies on the translation of official documents of Cangnan County, especially the translation of official documents under the context of the Japanese and Korean language, will help to explore the cultural spirit of the government institutions, and play an important role in building a good image of Cangnan County in East Asia and laying a foundation for Cangnan's cooperation with major countries and regions in East Asia .&lt;br /&gt;
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The world today is undergoing profound changes rarely in a century, and so is China. The tide of history moves on and Cangnan shall not stay out of the matter, but must follow it courageously and strive to open new doors for Cangnan's opening up to the outside world through the study of the official document translation of its own.&lt;br /&gt;
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===References===&lt;br /&gt;
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[1]Ziqi LIU. The Application of Functional Equivalence Theory in Scientific Translation：A Case Study of the Translation of Shipbuilding English[J]. CREATIVITY AND INNOVATION,2019,1(3).&lt;br /&gt;
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[2]Mu Dan. Discussion on Translation Activities Under the Guidance of Functional Equivalence Theory[J]. International Journal of Education and Management,2018,3(2).&lt;br /&gt;
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[3]李琳琳. 功能对等翻译理论与关联翻译理论比较研究[D].辽宁师范大学,2006.&lt;br /&gt;
&lt;br /&gt;
[4]赵娟廷. 汉韩公文语体对比研究[D].复旦大学,2003. &lt;br /&gt;
&lt;br /&gt;
[5]周萱. 《中国共产党怎样解决民族问题》（节选）中韩翻译报告[D].青岛大学,2017.&lt;br /&gt;
&lt;br /&gt;
[6]张利军. 《教学的游戏性研究》的汉日翻译实践报告[D].广西师范大学,2019.&lt;br /&gt;
&lt;br /&gt;
[7]栾亚琼. 《2015年山东省政府工作报告》汉日翻译实践报告[D].曲阜师范大学,2016.&lt;br /&gt;
&lt;br /&gt;
[8]占丽华. 源流与演变—日本地方公文书馆发展路径研究[D].山东大学,2020.&lt;br /&gt;
&lt;br /&gt;
[9]任清萍. 功能翻译理论视角下政府工作报告日译研究[D].外交学院,2020.&lt;br /&gt;
&lt;br /&gt;
[10]孙慧. 产业竞争力与区域经济增长[D].苏州大学,2006.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
--[[User:Wu Kai|Wu Kai]] ([[User talk:Wu Kai|talk]]) 04:45, 2 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
==The Translation Process and Methods of Translating English Long Sentences	周艺文	Zhou Yiwen==&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
===Abstract===&lt;br /&gt;
===Key words===&lt;br /&gt;
===摘要===&lt;br /&gt;
===关键词===&lt;br /&gt;
===Introduction===&lt;br /&gt;
&lt;br /&gt;
===Conclusion===&lt;br /&gt;
===Bibliography===&lt;br /&gt;
&lt;br /&gt;
==Chinese-English Translation of News Headlines From the Perspective of Skopos Theory	张维虹	Zhang Weihong==&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
==='''Abstract'''===&lt;br /&gt;
&lt;br /&gt;
==='''key words'''===&lt;br /&gt;
&lt;br /&gt;
News headlines; Skopos theory; translation&lt;br /&gt;
&lt;br /&gt;
==='''摘要'''===&lt;br /&gt;
社会的飞速发展使得人们的阅读方式发生了巨大的改变, 通过阅 读新闻标题来获取消息和了解事实, 成为大多数人的不二之选, 新闻标题 翻译也就越来越具有其必要性。 新闻标题的重要性堪比一部使人印象深刻 的电影名, 一则响亮的广告语, 一本撩人心弦的书名。 较之娱乐新闻, 时 政新闻略显严肃客观, 又因当今科技物质的飞速发展, 时政新闻的点阅数 量明显少于以消遣娱乐为目的的娱乐新闻。 怎样提高时政新闻的阅读量, 怎样使得时政新闻如同娱乐新闻一般深受广大人民的喜爱, 这不仅是新闻 编辑者们的挑战, 也是新闻翻译界的难题。 本文以德国功能派翻译目的论 为理论指导, 结合新闻学及编辑学的相关学科知识, 通过对中英时政新闻 标题的对比分析, 旨在对时政新闻标题的汉译英提出翻译策略, 让国外读者正确客观无误的了解中国的时事政策。&lt;br /&gt;
&lt;br /&gt;
==='''关键字'''===&lt;br /&gt;
&lt;br /&gt;
===Introduction===&lt;br /&gt;
&lt;br /&gt;
===Skopos Theory===&lt;br /&gt;
&lt;br /&gt;
===Features of News Headlines===&lt;br /&gt;
&lt;br /&gt;
===Chinese-English Translation Methods of News Headlines from the Skopos Perspective===&lt;br /&gt;
&lt;br /&gt;
===Conclusion===&lt;br /&gt;
&lt;br /&gt;
===Bibliography===&lt;br /&gt;
&lt;br /&gt;
==On Chinese-English Translation of Public Service Advertisements From the Perspective of Text-type Theory  司妤  Si Yu==&lt;br /&gt;
&lt;br /&gt;
==='''Abstract'''===&lt;br /&gt;
&lt;br /&gt;
==='''key words'''===&lt;br /&gt;
&lt;br /&gt;
==='''摘要'''===&lt;br /&gt;
&lt;br /&gt;
==='''关键字'''===&lt;/div&gt;</summary>
		<author><name>Song Jianru</name></author>
	</entry>
	<entry>
		<id>https://bou.de/u/index.php?title=History_of_Translation_Studies_8&amp;diff=107917</id>
		<title>History of Translation Studies 8</title>
		<link rel="alternate" type="text/html" href="https://bou.de/u/index.php?title=History_of_Translation_Studies_8&amp;diff=107917"/>
		<updated>2020-12-06T14:34:44Z</updated>

		<summary type="html">&lt;p&gt;Song Jianru: /* Key Words */&lt;/p&gt;
&lt;hr /&gt;
&lt;div&gt;这里是《翻译学史》的书稿第八部分(Part 8)。麻烦各位同学看一下已经存在的章回（样品），自己再加进去新的一个章回（就是你们的学期论文）。请也帮助同学们把他们的论文改正。这样多次修改，大家的论文会越来越好。&lt;br /&gt;
&lt;br /&gt;
学期论文（结合学期所学，撰写一篇5000以上单词的英文论文，按照专业杂志的格式，题目、摘要、关键词和参考文摘需要英中，文章英）。学期论文成绩占70%，平时成绩（含课堂表现、展示及作业）占30%。&lt;br /&gt;
&lt;br /&gt;
*Link back to course homepage: [https://bou.de/u/wiki/Introduction_to_Translation_Studies Course Homepage Intro. to TS]&lt;br /&gt;
*Link back to the final exam paper section of the course homepage: [https://bou.de/u/wiki/Introduction_to_Translation_Studies#Final_Exam_Papers Final Exam Papers]&lt;br /&gt;
*Link to other parts of the final exam papers: [https://bou.de/u/index.php?title=History_of_Translation_Studies_1 Final Exam Papers Part 1]&lt;br /&gt;
*Link to other parts of the final exam papers: [https://bou.de/u/index.php?title=History_of_Translation_Studies_2 Final Exam Papers Part 2]&lt;br /&gt;
*Link to other parts of the final exam papers: [https://bou.de/u/index.php?title=History_of_Translation_Studies_3 Final Exam Papers Part 3]&lt;br /&gt;
*Link to other parts of the final exam papers: [https://bou.de/u/index.php?title=History_of_Translation_Studies_4 Final Exam Papers Part 4]&lt;br /&gt;
*Link to other parts of the final exam papers: [https://bou.de/u/index.php?title=History_of_Translation_Studies_5 Final Exam Papers Part 5]&lt;br /&gt;
*Link to other parts of the final exam papers: [https://bou.de/u/index.php?title=History_of_Translation_Studies_6 Final Exam Papers Part 6]&lt;br /&gt;
*Link to other parts of the final exam papers: [https://bou.de/u/index.php?title=History_of_Translation_Studies_7 Final Exam Papers Part 7]&lt;br /&gt;
*Link to other parts of the final exam papers: [https://bou.de/u/index.php?title=History_of_Translation_Studies_8 Final Exam Papers Part 8]&lt;br /&gt;
*Link to other parts of the final exam papers: [https://bou.de/u/index.php?title=History_of_Translation_Studies_9 Final Exam Papers Part 9]&lt;br /&gt;
*Link to other parts of the final exam papers: [https://bou.de/u/index.php?title=History_of_Translation_Studies_10 Final Exam Papers Part 10]&lt;br /&gt;
&lt;br /&gt;
='''History of Translation'''=&lt;br /&gt;
== Study on Brand Name Translation from the Perspective of Cultural Difference	谭鑫洁	Tan Xinjie==&lt;br /&gt;
&lt;br /&gt;
==='''Abstract'''===&lt;br /&gt;
&lt;br /&gt;
== Abstract: ==&lt;br /&gt;
&lt;br /&gt;
==='''key words'''===&lt;br /&gt;
&lt;br /&gt;
==='''摘要'''===&lt;br /&gt;
&lt;br /&gt;
==='''关键字'''===&lt;br /&gt;
&lt;br /&gt;
===Complete transcript of the content of the original work ===&lt;br /&gt;
&lt;br /&gt;
===Same style and manner of writing===&lt;br /&gt;
&lt;br /&gt;
===Equivalent effect===&lt;br /&gt;
&lt;br /&gt;
===Discussion===&lt;br /&gt;
&lt;br /&gt;
===Conclusion===&lt;br /&gt;
&lt;br /&gt;
===Bibliography===&lt;br /&gt;
&lt;br /&gt;
==A Comparative Study on the Translation History in Western Countries and China	王煜	Wang Yu==&lt;br /&gt;
===摘要===&lt;br /&gt;
翻译是一种跨文化交流活动，翻译活动加快了人类文明发展步伐，减少了人们之间的沟通障碍。随着时代的变迁，中国和西方国家逐渐形成了各自的翻译史，翻译史的研究是学科建设的一项基础工程。尽管中西方翻译史在某些方面有所差异，但却都有着各自的独特性，并对人类的翻译活动产生了巨大的影响与贡献。文章将以中国和西方国家为主要对象，从二者翻译史起始，包含阶段和各阶段代表人物，影响意义，差异性出发，对二者的翻译史进行简略的对比研究。&lt;br /&gt;
&lt;br /&gt;
===关键词===&lt;br /&gt;
翻译史；西方翻译史；中国翻译史&lt;br /&gt;
&lt;br /&gt;
===Abstract===&lt;br /&gt;
Translation is an intercultural communication activity, translation activities have accelerated the development of human civilization and reduced the communication barriers between people of different countries or nations. With time goes by, things are in a state of flux and both the western and eastern countries have gradually formed their own history of translation, the study of translation history is a basic project of discipline construction. Though there are many differences among the translation histories of western countries and China, the two kinds of translation histories are still shining their own bright unique lights and have an indelible influence and contribution to human translation activities. This paper intends to make a brief comparison of translation histories between western countries and China, which includes the origins, the stages, the representatives of the stages, the significance and influence as well as the differences of the two translation histories.&lt;br /&gt;
&lt;br /&gt;
===Keywords===&lt;br /&gt;
Translation history; Translation history of the West; Translation history of China &lt;br /&gt;
&lt;br /&gt;
===1. Introduction===&lt;br /&gt;
No matter in China or in the west, translation plays an important role in knowledge-spreading. As an indispensable part of translatology, the study of translation history has made a great influence on translation activities, it has gradually become the focus of the literary and historical circles in recent years. Translation activities can be traced back to the origin of language, and the history of translation is almost as old as language itself, it is closely related to the changes in today's society. Since the 1980s, the translation studies in the mainland of China have made remarkable progress in the curriculum design of Chinese and western translation history and the compilation of related works. In the early 1980s and 1990s, there were many related works came out one after another including A brief history of Chinese Translation: the part before the May 4th Movement（《中国翻译简史-“五四”运动以前部分》） written by Zuyi Ma, A historical manuscript of Chinese translated literature （《中国翻译文学史稿》）edited by Yugang Chen, and also the A Short History of Translation in the West（《西方翻译简史》） the author of which is Zaixi Tan. Thus, it opens the gate for the compilation of Chinese and western translation history works.（谢天振，2009） The history of western translation can be divided into five stages while the Chinese study of translation has a glorious history of more than two thousand years and has experienced five climaxes. Through the comparative study of Chinese and western translation history, it will help us to have a deeper understanding of Chinese and western translation activities and thus to gather a general full view of it, which will be a positive and meaningful attempt.&lt;br /&gt;
&lt;br /&gt;
2. The Translation History of Western Countries&lt;br /&gt;
Western translation activities are rich in a long history and a multiyear span. The history of western translation can be roughly divided into three stages: the traditional stage, the modern times and the contemporary. More specifically, it can be grouped into the ancient times, the middle ages, the Renaissance period and the time after WWⅡ.&lt;br /&gt;
&lt;br /&gt;
2.1 The First Stage: Translation in the Ancient Times&lt;br /&gt;
    &lt;br /&gt;
The translation history of western countries first began in the the 3rd century B.C. &amp;quot;In a broad sense, the earliest translation in the west is the Old Testament translated by 72 Jewish scholars in Alexandria, ancient Egypt, between the 3rd and 2nd centuries BC; Strictly speaking, the first western translation is the Greek Homer Epic Odyssey translated by Andronicus in Rome in the middle of the third century BC.”(谭载喜,2000) At the end of the 4th BC, during this time, the Greece began to decay and the Roman had became stronger and stronger with its military expansion. The expansion of the Roman Empire brought it into contact with the splendid Greek culture, therefore, the Romans not only conquered the Greek city, but also inherited and developed the brilliant achievements of ancient Greek culture, and then created a  splendid cultural of its own era after Greece. So soon began a large scale translation activities, the activity of translating and introducing Greek classical works probably began in this period.（刘军平,2009）Many famous translation theorists began to make their presences, namely Cicero, Quentin, Jerome and so on, also the famous Roman litterateurs like Andronicus, Naevius, Ennius, these great writers used Latin language to translate or adapt Homer’s epic or other Greece dramas. Started the translation tradition and promoted the birth and development of Roman literature.&lt;br /&gt;
&lt;br /&gt;
2.2 The Second Stage: Translation in the Middle Ages (4th-6th)&lt;br /&gt;
&lt;br /&gt;
2.3 The Third Stage: Translation in the Middle Ages (11th-12th)&lt;br /&gt;
&lt;br /&gt;
2.4 The Fourth Stage: Translation in the Renaissance Period&lt;br /&gt;
&lt;br /&gt;
2.5 The Fifth Stage: Translation after WWⅡ&lt;br /&gt;
&lt;br /&gt;
3. The Translation History of China--[[User:Wang Yu|Wang Yu]] ([[User talk:Wang Yu|talk]]) 08:38, 30 November 2020 (UTC)--[[User:Wang Yu|Wang Yu]] ([[User talk:Wang Yu|talk]]) 08:43, 30 November 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
==The Implications of Luther's Translation Principles amid Renaissance for Modern Literature Translation	方洁玲	Fang Jieling==&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
==Translation manipulated by ideology	许静	Xu Jing==&lt;br /&gt;
&lt;br /&gt;
==Comparison between the History of Chinese and Western Translation   周书尧   Zhou Shuyao==&lt;br /&gt;
&lt;br /&gt;
'''Abstract:'''There has a long history and culture Chinese and Western translation, and translation plays an indelible role in promoting cross-cultural communication and cultural communication. This article first discusses the history of translation in China from  four stages , then discusses the five stages of western translation history , and finally compares and analyzes the similarities and differences between Chinese and Western translation histories, and puts forward some of the author's own views.&lt;br /&gt;
&lt;br /&gt;
'''Key words:'''The history of Chinese,The history of Western,the stages of  translation history,comparison&lt;br /&gt;
&lt;br /&gt;
'''摘要：'''中西方翻译历史文化源远流长，翻译在促进跨文化交流和文化传播上承担着不可磨灭的作用。本文首先从中国的四次翻译高潮论述中国的翻译史，再从西方的五次翻译高潮探讨西方的翻译史，最后对中西方翻译史的异同进行对比分析，提出一些笔者自己的看法。&lt;br /&gt;
&lt;br /&gt;
'''关键词：'''中国翻译史，西方翻译史，翻译高潮，对比&lt;br /&gt;
&lt;br /&gt;
'''Ⅰ.Introduction'''&lt;br /&gt;
&lt;br /&gt;
Since the 1980s, the Chinese translation studies community has made remarkable progress in the establishment of Chinese and Western translation history courses and the compilation of related works.In the 1980s and early 1990s,A Brief Introduction to the History of Translation in China from Ma Zuyi and other books of Chen Yugang and Tan Zaixi were published one after another,which raised the curtain for the compilation of Chinese and Western translation history works by the domestic translation scholars.The four stages in the history of Chinese translation have promoted the development of Chinese history, culture and society to varying degrees.The same as our country, Western translation has an age-old history.In a sense, the development of Western European civilization should first be attributed to the translators.The five stages in the history of European translation have promoted the exchanges of literature, art, science and trade between countries, and to a certain extent promoted the development of Chinese translation.In fact, when we examine the development trajectory of Chinese and Western translation activities and the evolution of translation concepts together, we find that there are some similarities between Chinese translation and Western translation.Especially in the evolution of Chinese and Western translation concepts, the two have very similar evolution laws.&lt;br /&gt;
&lt;br /&gt;
='''Literal and Free Translation'''=&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
==Rethink Literal and Free Translation	彭永亮	Peng Yongliang==&lt;br /&gt;
&lt;br /&gt;
==On the Chinese Translation of A Pale View of Hills from House’s Translation Quality Assessment Model	宋建茹	Song Jianru==&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
===Abstract===&lt;br /&gt;
&lt;br /&gt;
Translation quality assessment is an integral part of translation criticism. The first TQA model with comprehensive theories and practices Juliane House represented provides a significant reference for translation exercises. ''A Pale View of Hills'', as the first work of Kazuo Ishiguro, possesses a great research value on its narrative styles by virtue of memory and topics about migrants. As of 2011 when its Chinese translation was published, no scholar has evaluated it. This study applies House’s TQA model to assess the Chinese translation of ''A Pale View of Hills'' with qualitative and quantitative analysis from lexical, syntactic and textual aspects, in a bid to examine validity of the model on novel translation, which turns out that it is an overt and high-quality translation.&lt;br /&gt;
&lt;br /&gt;
=== Key Words===&lt;br /&gt;
&lt;br /&gt;
''A Pale View of Hills''; House’s TQA model; novel translation&lt;br /&gt;
&lt;br /&gt;
== 摘 要 ==&lt;br /&gt;
&lt;br /&gt;
翻译质量评估是翻译批评的核心课题。朱莉安·豪斯提出的第一个有完整的理论和实践的翻译质量评估模式，为翻译实践提供了重要参考。《远山淡影》是石黑一雄的处女作，其依托回忆的叙事风格和移民主题具有很高的研究价值。《远山淡影》中译本自2011年出版至今，尚未有学者对其进行评估研究。本文运用豪斯的翻译质量评估模式，采用定性与定量相结合的分析方式，从语场、语旨、语式等三个层面对原文和译文进行分析，开展《远山淡影》中译本的翻译质量评估研究，为豪斯翻译质量评估模式对小说翻译的运用进行进一步的探索和补充。通过分析，得出《远山淡影》中译本为显性翻译，翻译质量较高。&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
== 关键词 ==&lt;br /&gt;
&lt;br /&gt;
《远山淡影》；豪斯质量评估模式；小说翻译&lt;br /&gt;
&lt;br /&gt;
==On the Relationship among Literal Translation, Free Translation, Domestication and Foreignization	韦洪朗	Wei Honglang==&lt;br /&gt;
&lt;br /&gt;
==On Chinese-to-English Translation of The Summer Palace from the Perspective of Functionalist Approaches to Translation	魏亚菲	Wei Yafei==&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
===Abstract===&lt;br /&gt;
Abstract&lt;br /&gt;
The Chinese-English translation of tourist texts, as a window for the external publicity of national history and culture, plays an important role in promoting the development of local tourism. The Summer Palace is well known for its large and priceless collection of cultural relics, which is among the first group of historical and cultural heritage sites in China to be placed under special state protection. &lt;br /&gt;
Based on the functionalist approach and the skopos rule, this paper discusses the problems existing in the translation of scenic spots in the Summer Palace from the perspectives of garden culture, historical culture and religious culture. Skopos theory holds that translation depends on communicative purpose. To achieve this goal, translators can choose different translation strategies. It is believed that the purpose of Chinese-English translation of scenic spots is to attract target readers and promote traditional culture. Therefore, when translating tourism materials, it is necessary not only to express the local cultural connotation, but also to consider the cross-cultural factors. The Chinese-English translation of the introduction of scenic spots guided by functionalist approach can make English readers have expectations of scenic spots and understand the cultural connotation of scenic spots. This paper aims to better promote the development and communication of Chinese culture and improve the level of tourism text translation in China by relying on the theory of functionalist approach.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
===Key words===&lt;br /&gt;
Key Words: functionalist approach，the Summer Palace，translation strategies&lt;br /&gt;
&lt;br /&gt;
===摘要===&lt;br /&gt;
摘 要&lt;br /&gt;
旅游资料的英译作为民族历史文化对外宣传的一道窗口,对地方旅游业的发展有着不可低估的促进作用。颐和园作为中国著名的皇家园林，具有浓厚的中国园林特色及优美的风景，同时也蕴涵着深厚文化内涵。&lt;br /&gt;
本篇旅游文本英译的分析以功能派翻译理论作为理论指导，以目的法则为主要原则，从颐和园的园林文化、历史文化和宗教文化三个角度出发对颐和园景点英译中存在的问题进行探讨。目的论认为译文取决于翻译目的，这个目的通常指的是交际目的。为达到这个目的，译者可以选择不同的翻译策略。也就是说，译者的翻译策略必须由译文的预期目的或功能决定，即所谓的“目的法则”。笔者认为景点介绍的汉英翻译的目的就是吸引译文读者以及弘扬传统文化，因此在翻译旅游资料的时候不仅要把当地的文化内涵表达出来，而且要考虑到跨文化的因素。而以功能派翻译理论为指导的景点介绍的汉英翻译，可以使英语读者通过译文产生对旅游景点的期盼，以及对景点文化内涵的理解。以颐和园景区内的翻译文本为例本，依托功能翻译理论，通过“发现问题，指出问题，解决问题”，以期更好地促进中国文化的传播与交流，提高我国现阶段旅游文本翻译的水平。&lt;br /&gt;
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===关键字===&lt;br /&gt;
关键词：功能翻译；颐和园；翻译目的；翻译策略&lt;br /&gt;
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===Introduction===&lt;br /&gt;
  Throughout the translation history at home and abroad, the literal translation and free translation have always been a heat discussion in the translation circles. Someone absolutely approve literal translation and demean free translation, even pursue a dead translation, which creates an translated text difficult to understand. While some other people absolutely agree with free translation even advocate random acts, which means a random deletion in the translation practices and creates anther entirely different text. However, there are also a number of translators who have recognized that these two translation methods are not totally opposite. So they adopt a compromise and flexible way. That means they will choose the most appropriate one depending on the text demanding. Therefore, we can deduce from it that this eclectic translation is consistent with the Contradiction view of Unity of Opposite in Materialist Dialectics. In fact, literal translation and free translation are right a set of contradictions which are both opposite and unified. They complement each other into an integral one.&lt;br /&gt;
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===Table of Contents===&lt;br /&gt;
&lt;br /&gt;
Table of Contents&lt;br /&gt;
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Outline&lt;br /&gt;
1.Introduction&lt;br /&gt;
2. Studies on Functionalist Approach&lt;br /&gt;
2.1 The Viewpoint of Functionalist Approach&lt;br /&gt;
2.1.1 Reiss’s Text Typology&lt;br /&gt;
2.1.2 Vermeer’s Skopos Theory&lt;br /&gt;
2.1.3 Manttari’s Theory of Translational Action&lt;br /&gt;
2.1.4 Nord’s Theory of Function plus Loyalty&lt;br /&gt;
2.2 The Application of Functionalist Approach &lt;br /&gt;
3.C-E Translation of the Summer Palace under Functionalist Approach&lt;br /&gt;
3.1 Garden Culture&lt;br /&gt;
3.2 Historical Culture &lt;br /&gt;
3.3 Religious Culture &lt;br /&gt;
4. Conclusion&lt;br /&gt;
References&lt;br /&gt;
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===Outline===&lt;br /&gt;
Outline&lt;br /&gt;
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Thesis Statement: Based on the main viewpoints of functionalist approaches to translation, this paper aims to give an analysis to C-E translation of the Summer Palace from cultural, historical and religious aspects, hoping to provide some translation strategies for other cultural attractions.&lt;br /&gt;
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1. Introduction&lt;br /&gt;
2. Studies on Functionalist Approaches&lt;br /&gt;
2.1 The Viewpoint of Functionalist Approach&lt;br /&gt;
2.1 Reiss’s Text Typology&lt;br /&gt;
2.2 Vermeer’s Skopos Theory&lt;br /&gt;
2.3 Manttari’s Theory of Translational Action&lt;br /&gt;
2.4 Nord’s Theory of Function plus Loyalty&lt;br /&gt;
2.2 The Application of Functionalist Approach&lt;br /&gt;
3. C-E Translation of the Summer Palace under Functionalist Approach&lt;br /&gt;
3.1 Garden Culture&lt;br /&gt;
3.2 Historical Culture&lt;br /&gt;
3.3 Religious Culture&lt;br /&gt;
4. Conclusion&lt;br /&gt;
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===1. Introduction ===&lt;br /&gt;
1. Introduction   &lt;br /&gt;
The Chinese-English translation of tourist texts is a bridge to spread the culture of classical Chinese gardens, so the accuracy of it has a direct impact on foreigners' understanding of the specific history and culture. &lt;br /&gt;
Functionalist approach has made a pioneering contribution to the translation of non-literary genres. Functional translation theory emphasizes the function of discourse, and believes that different types of discourse have different functions, so translators should choose appropriate translation strategies according to the type of source text and corresponding functions. Functionalist approach is to take the &amp;quot;skopos rule&amp;quot; as the highest standard, and any translation activity is a purposeful behavior. The ultimate goal and main function of scenic spot translation is to help people understand the main content of the scenic spot.&lt;br /&gt;
As a window for the publicity of national history and culture, the Chinese-to-English translation of tourist texts plays an important role in promoting the development of local tourism. Well known for its large and priceless collection of cultural relics, the Summer Palace was among the first group of historical and cultural heritage sites in China to be placed under special state protection. Based on the viewpoints of functionalist approach to translation, this paper aims to analyze C-E translation of the Summer Palace from cultural, historical and religious aspects, hoping to provide some translation strategies for other cultural attractions. &lt;br /&gt;
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===2. Studies on Functionalist Approaches===&lt;br /&gt;
2. Studies on Functionalist Approaches&lt;br /&gt;
Functionalism is a theory that advocates reader-centered translation, emphasizing the functions of texts and highlighting the communicative effects. It is believed that many unnecessary mistakes can be avoided and better results can be achieved by applying functionalist approach in Chinese-English translation of tourist text. &lt;br /&gt;
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===2.1 The Viewpoint of Functionalist Approaches===&lt;br /&gt;
2.1 The Viewpoint of Functionalist Approaches&lt;br /&gt;
Functionalist Translation Theory, also known as German Functionalist Translation Theory, was proposed by German scholars in the 1970s. It includes four main theories: Katharina Reiss’s Text Typology, Hans Vermeer’s Skopos Theory, Justa Holtz Manttari’s Theory of Translational Action and Christiane Nord’s Theory of Function plus Loyalty. This chapter aims to present the main ideas of this theory.&lt;br /&gt;
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===2.1.1 Reiss’s Text Typology===&lt;br /&gt;
2.1.1 Reiss’s Text Typology&lt;br /&gt;
In 1971, Reiss in her book Possibilities and Limitation of Translation Criticism first made text function as a standard of translation criticism, namelyevaluate the translated text from the relationship between the functions of the original and the translated text. She insists on the original-centered equivalence theory and holds the view that the ideal translation is to achieve the equivalence between the target text and the source text in terms of ideological content, linguistic form and communicative function. However, translation practice makes her realize that it’s difficult to achieve equivalence sometimes and that sometimes equivalence cannot be pursued. Because of the particularity of translation requirements, the function of the target text is not always the same as that of the source text. Therefore, the translator should give priority to the functional role of the target text rather than the principle of equivalence.&lt;br /&gt;
Reiss believes that in the normal situation the type of text decides the translator’s choice of a proper translation method (Reiss, 2004). Therefore, she divides text into four types: content-focused text, form-focused text, appeal-focused text and audio-media text. Content-focused text, also known as informative text, includes news reports, commercial correspondence, operating instructions, official documents, patent&lt;br /&gt;
specifications, essays, treaties, etc. For this text, the main function is to convey information revealed in language itself to readers. The emphasis is on content and topic, so the choice of language and style should serve this function. If both the source text and target text belong to informative text, the translator should represent the content and information of source text accurately and completely (Reiss, 2004)&lt;br /&gt;
Form-focused text, also known as expressive text, refers to literary works such as novels, poems and so on. “Distinct from ‘content’, which deals with what the author says, ‘form’ is concerned with how an author expresses himself” (Reiss, 2004). For expressive texts, information is only a supplement. What is dominant is the aesthetic factor. When translating such texts, the translator should pay attention to the aesthetic and artistic forms of the original text and to the differences between two cultural habits, trying to achieve the same effect as the source text. In a word, in a form-focused text the linguistic form of the source text determines the form in the target language (Reiss, 2004).&lt;br /&gt;
Appeal-focused text, also known as operative text, mainly includes notice, instruction manual, advertisement, publicity manual and so on. For operative texts, the primary task for the translator is to provoke a particular reaction on the hearers or readers to incite them to engage in specific actions, while content and form are subordinate. Therefore, to achieve the same effect, the translator need to change the content and stylistic features of the original text, try to keep the potential influential factors of the original text and seek functional equivalence (Reiss, 2004: 38-43). Audio-medial text, also known as multi-media text, refers to radio and television scripts, such as radio newscasts and reports, topical surveys and dramatic productions.&lt;br /&gt;
It is distinctive in its dependence on non-linguistic media and on graphic, acoustic, and visual kinds of expression. Only in combination with them can the whole complex literary form realize its full potential (Reiss, 2004). In conclusion, different texts determine different translation focuses and methods. In many cases, however, a text may have more than one function, which means that translators should integrate different translation strategies skillfully to achieve different functions of texts.&lt;br /&gt;
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===2.1.2 Vermeer’s Skopos Theory===&lt;br /&gt;
2.1.2 Vermeer’s Skopos Theory&lt;br /&gt;
Reiss’s student Vermeer, who broke the limitation of the theory of equivalent and took skopos to be the first criterion of translation process  proposed the key theory: Skopostheorie. According to Skopos Theory, when translating a text, the translator needs to consider the purpose of translation first and then choose the translation method according to the purpose, which means “the end justifies the means” (Nord, 2001). Vermeer believes that translation, like other human actions, is also a purposeful act. Translation often takes place in cultural backgrounds with different customs and values, so translation is not a simple equivalent transformation between languages. Skopos Theory does not focus on achieving the equivalence between the target text and the original text or the perfection of the target text, but on choosing the best translation strategy based on the analysis of the source text and the intended function of the target text. In a word, translation methods and strategies are determined by the intended purpose or function of the target text.&lt;br /&gt;
According to Skopos Theory, the first rule that all translators must follow is the Skopos Rule. Translation purpose can be divided into three categories: (1) the purpose of the translator, such as earning a living; (2) the communicative purpose of the translation, such as instructing the reader; (3) the purpose of using a particular translation method, such as the literal translation according to its structure to illustrate the peculiarities of grammatical structure in a language (Nord, 2001). In general, the communicative purpose is more important than the other two. The communicative purpose is usually determined by the initiator of the translation act, but the translator can take part in deciding. The second rule is the Coherence Rule. Coherence Rule requires that the translation conform to the criterion of intratextual coherence, which means that the translation must be accessible to recipients and meaningful in the target culture and in the communicative environment (Nord, 2001). The third rule is the Fidelity Rule. It means that there should be intertextual coherence between the source text and the target text, which means being faithful to the source text. Nevertheless, the degree and form of faithfulness lie in the target text and the degree that the translator understands the original text. Normally “Intertexual coherence is considered subordinate to intratexual coherence and both are subordinate to the Skopos rule” (Nord, 2001).&lt;br /&gt;
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===2.1.3 Manttari’s Theory of Translational Action===&lt;br /&gt;
2.1.3 Manttari’s Theory of Translational Action&lt;br /&gt;
Following Vermeer, Manttari develops Vermeer’s Skopos Theory and puts forward the Theory of Translational Action. He emphasizes three aspects: the behavior of the translation process, the role of the participants (the initiator, the translator and the target reader, etc.) and the environment (time, place and media) in which the translation process takes places. It views translation as “purpose-driven, outcome-oriented human interaction and construes the process of translation as message-transmitter compounds that involve intercultural transfer” (Mundy, 2001). According to Manttari, translation is “ a complex act to achieve a particular purpose” &lt;br /&gt;
(Nord, 2001). It is not about translating words, sentences or texts but is about guiding the intended cooperation over cultural barriers and promoting functional communication. Cooperation here means “transcultural communication” by Manttari.&lt;br /&gt;
The Theory of Translational Action attaches great importance to providing a functional communicative text for the recipient, a text suitable for the target culture in&lt;br /&gt;
form and style. Functional suitability is determined by the translator. The translator is&lt;br /&gt;
an expert in translation, whose role is to ensure the successful completion of cultural&lt;br /&gt;
transformation. In producing the target text, the analysis of the source text is necessary so that the translator can find out its structural and functional characteristics, which can be described by content and form. The need of the recipient is the decisive&lt;br /&gt;
factor for the target text.&lt;br /&gt;
In short, “the value of Manttari’s work is the placing of translation (or at least the professional non-literary translation which she describes) within its sociocultural&lt;br /&gt;
context, including the interplay between the translator and the initiating institution”&lt;br /&gt;
(Mundy, 2001).&lt;br /&gt;
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===2.1.4 Nord’s Theory of Function plus Loyalty===&lt;br /&gt;
2.1.4 Nord’s Theory of Function plus Loyalty&lt;br /&gt;
Though skopos rule changes the focus of translation from the source language text to the target language text and the target receivers, it has some limitations. One is that different readers have different expectations, and the translation purpose cannot satisfy all the expectations of the target reader. Another is that the translation purpose may sometimes be against the intention of the source language. Therefore, based on the skopos rule, Nord introduces the loyalty principle. The principle of loyalty is a supplementary principle proposed by Nord to make up for the deficiency of skopos rule. According to the explanation of Nord, it is not the relationship between the original text and the target text, nor the equivalence between the original text and the form of the target text, but the consistency between the author of the original text, the initiator of the translation, the translator and the reader of the target text, which is the principle of loyalty. The proposal of the loyalty principle makes up for the mistakes that some radical skopos translators usually make, such as omitting and rewriting, which makes skopos theory more perfect and makes skopos theory more likely to guide the translation of literary works.&lt;br /&gt;
“Function” and “loyalty” are two pillars of Nord’s functionalist approach. “Function” refers to what a text means or is intended to mean from the receiver’s point of view”, while “loyalty” means that “target-text purpose should be compatible with the original author’s intention” (Nord,2001). It emphasizes the interpersonal relationship between the translator, the source-text sender, the target-text addresses and the initiator. Function plus loyalty enables the translator to avoid the limitations of skopos rule and try to achieve a balance between translation purpose and the source-text author’s intention”(Nord,2001). That is to say, when translating the original text, the translator should take into account the readers' cultural background, knowledge level and expectation of the translation, and choose the corresponding translation strategy according to the translation requirements. If the reader wants to read a word-for-word translation of the article, then the translator must meet the reader's requirements, otherwise he must explain to the reader why he chose his own translation method. The translator's job is to weigh two different cultures instead of imposing one culture on another. &lt;br /&gt;
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===2.2The Application of Functionalist Approach to the Tourist Texts.===&lt;br /&gt;
2.2The Application of Functionalist Approach to the Tourist Texts.&lt;br /&gt;
In the 1990s, Functionalist Translation Theory was introduced to China, and since then it has been applied to translation studies by Chinese translation scholars. In his article published in 1995, Zhang Nanfeng briefly introduces Skopos theory to China for the first time, and considers that Skopos theory is referential (Zhang Nanfeng, 1995). German Functionalist Translation Theory, a paper released in1999, is the first article in China which systematically introduces German Functionalist Translation Theory (Zhong Weihe &amp;amp; Zhong Yu, 1999). Based on an overview of Functionalist Translation Theory, Zhang Meifang focuses on introducing Nord’s theory, especially on the detailed analysis of Nord’s principle of loyalty (Zhang Meifang, 2005). Famous domestic scholars, such as Liu Junping (2009), Liu Miqing (2012) and Li Wenge (2004), also introduce this theory in their books. With the rise of Functionalist Translation Theory in China, someone has compared it with other theories. Zhu Haotong compares Skopos Theory with Functional Equivalence Theory to analyze the similarities and differences between them, and further reveals that Functionalist Translation Theory inherits the reasonable part of Nida’s Functional Equivalence Theory, which is an important breakthrough and supplement to solve the problems that Functional Equivalence Theory leaves (Zhu Haotong, 2006). Some scholars also combine theory with translation practice to explore the application of Functionalist Translation Theory to translation practice. Jia Yanli and Wang Hongjun point out that Skopos Theory has its limitations, but it is still of instruction and reference value for non-literary translation texts, such as advertisements and tourism materials (Jia Yanli &amp;amp; Wang Hongjun, 2012). Li Liangchen selects several famous tourist attractions in China to translate the on-site tour-guide commentary into English. Then he improves them under the guidance of Skopos Theory and sends out questionnaires to overseas tourists for further analysis. He argues that the translation of on-site tour-guide commentary which is guided by Skopos Theory is more favorable to conveying information to foreign visitors, to promoting cultural exchanges and to improving the image of China’s tourist destinations (Li Liangchen, 2013). In Pragmatic Translation: Theory &amp;amp; Practice, Wu Feng and He Qingji introduce Functionalist Translation Theory (Wu Feng &amp;amp; He Qingji, 2008) and the characteristics of tourism text and translation skills (Wu Feng &amp;amp; He Qingji, 2008). In this book, they also discuss the controversy over the Chinese name of Functionalist Translation Theory, and holds that “功能派翻译理论” is the most appropriate Chinese translation (Wu Feng &amp;amp; He Qingji, 2008).Based on his own translation practice and under the guidance of Functionalist Translation Theory, Wu Zixuan probes into some special phenomena in the English translation of CNN newsreels. The author believes that in the translation of external publicity, we should not stick to the standard of faithfulness to the original text, but should deal with the original text properly from the perspective of achieving the purpose of translation, such as rewriting, abridging. (Wu Zixuan, 2005).&lt;br /&gt;
Functionalist approach establishes a theoretical system of diversified translation standards dominated by skopos rule. From the definition of Functionalist approach, it can be seen that the advantage of it is that the translator can get rid of the bondage of the original text, study the translation process with &amp;quot;translation purpose&amp;quot; as the starting point, and determine the translation strategies and methods. This can give full play to the translator's own initiative, flexible processing of the original text, in order to achieve the translation of the communicative function. In addition, functionalist approach requires the translation to be examined in the cultural context of the reader. The reader can accept the translation and understand the meaning of the original text through the translation, so the translation can realize the communicative function. On the basis of such advantages, functionalist approach can be used to guide the English translation of garden scenic spots, and the translator can choose a wider range of translation strategies and break out of the constraints of the original text. &lt;br /&gt;
Only by clarifying the purpose of translation can we avoid these limitations in the English translation of garden attractions. When using functionalist approach to guide the English translation of Chinese classical garden scenic spots, it is necessary to flexibly choose translation strategies and methods, give full play to the advantages of skopos theory, and achieve the balance between &amp;quot;principle of purpose&amp;quot; and &amp;quot;principle of fidelity&amp;quot; as far as possible.&lt;br /&gt;
With the deepening of globalization and cross-cultural communication, tourismis becoming a major industry in the 21st century. The development of tourism can not only promote the economic development of a country but also promote the external dissemination of national culture. Therefore, tourism translation deserves attention. Tourism text is a typical informative and operational text, and the language is unique. It is full of gorgeous words, such as four-character expressions, verses, proper nouns and so on.&lt;br /&gt;
Tourism text materials include tourism advertising, tourism brochures, scenic spots signs and so on. In this paper, we focus on the introduction of Chinese gardens’ scenic spots, which is usually colorful in language and rich in literary style. Tourism text translation belongs to applied translation, which should play a series of practical functions to publicize the image and resources of the country or place and attract overseas tourists. Therefore, the translator of tourism text must be clear about the type and function of tourism text, and to grasp the ultimate purpose of the translation. &lt;br /&gt;
On tourism text translation, the communicative purpose of the translation should be placed in a central position. Furthermore, the tourism text has both the information function and the calling function. The information function and the calling function complement each other. Only when the target language readers acquire the expected tourism information and cultural knowledge can the calling function be realized and the purpose of tourism text translation be achieved. With different translation strategies, the translated version should both expressed contains basic information, and make the tourists feel the profound of the Chinese culture from the beautiful scenery. &lt;br /&gt;
Cultural tourism has long been the focus of international tourism, and understanding Chinese culture is the main purpose of inbound tourists, so the translation of tourism texts bears the mission of cultural transmission and cultural publicity. However, due to the great differences between Chinese and English culture and language, there are many difficulties in cultural transmission in tourism text translation. China has a long and splendid history and culture. When introducing the scenic spots of cultural relics and historic sites, we usually associate with many historical figures and stories. These terms are cultural blank for most foreign tourists, but this kind of cultural experience is also the most attractive place for foreign tourists. It is of great importance to pay attention to cultural differences in tourism translation and carry out cultural transmission effectively. Chinese and English languages have different logic views, and Chinese expressions in tourism texts value decoration. English expressions tend to be clear, concise and to the point. For example, Chinese tourism texts often use a four-character lattice, which is symmetrical, while there is no corresponding four-character lattice expression in English. Therefore, in Chinese-English translation of tourism texts with frequent use of four-character phrases, it is necessary to keep in mind the objective principle of functionalist approach and give priority to cultural communication instead of rigidly adhering to form.&lt;br /&gt;
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===3. C-E Translation of the Summer Palace under Functionalist Approach===&lt;br /&gt;
3. C-E Translation of the Summer Palace under Functionalist Approach&lt;br /&gt;
By studying the specific translation strategies made by predecessors, the following steps are also adopted in this paper: first, the translation strategies are determined according to the text type, such as faithful reproduction of the original information or rewriting; Secondly, the translation strategies are determined according to the potential purpose of the translation, such as paraphrasing or deleting poems, generalizing specific expressions and transliterating proper nouns. Thirdly, the translation strategies are defined with the tourists as the center, such as adding logical words, adding explanatory information and using plain English.&lt;br /&gt;
The Summer Palace epitomizes the philosophy and practice of Chinese garden design, which played a key role in the development of this cultural form throughout the east. It is an outstanding expression of the creative art of Chinese landscape garden design, incorporating the works of humankind and nature in a harmonious whole, which was once the most important place of political and diplomatic activity for the supreme rulers of the late Qing dynasty. Based on three aspects of the Summer Palace, namely, garden culture, historical culture and religious culture, this paper discusses the problems existing in the English translation of the scenic spots of the Summer Palace and puts forward corresponding countermeasures under the guidance of the skopos rule of functionalist translation theory.&lt;br /&gt;
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===3.1 Garden culture.===&lt;br /&gt;
3.1 Garden culture. &lt;br /&gt;
The Summer Palace is a classical garden famous for its magnificence and beauty. There are many temples in the garden, and the green waves of kunming lake ripple. Landscape and humanities complement each other, containing rich natural and cultural information, reflecting the characteristics of Chinese classical gardens. The garden cultural features of the three scenic spots, namely, the hall of clouds, the foxiang pavilion and the Wenchang courtyard, are particularly outstanding. Therefore, this paper takes these three scenic spots as examples to discuss the Chinese-English translation of the introduction of the Summer Palace.&lt;br /&gt;
(1)	排云殿、佛香阁景区是颐和园内建筑布局最完整、建筑形式最丰富的中轴建筑群体，殿、阁、廊、亭、桥、坊、碑等建筑约两万平方米。从临水的云辉玉宇牌坊至排云门、排云殿、德辉殿、佛香阁、众香界、智慧海、层层升高，排列有序，气势巍峨，金碧辉煌，将园林、寺庙和宫殿融为一体。&lt;br /&gt;
Translation：This scenic spot covers an area of 20,000 square meters with an assortment of buildings such as palaces, towers, corridors, pavilions, walkways, bridges, archways and inscribed stone steles. It comprises a well-arranged group of structures, all diverse in style, located in the center of the Summer Palace garden. This complex of structures, ranging from the Glowing Clouds and Holy Land Archway on the waterside, the Gate that Dispels the Clouds, the Hall that Dispels the Clouds, the Hall of Moral Glory, and the Tower of the Fragrance of the Buddha, to the Realm of Popular Fragrance and the Sea of Wisdom Temple, were built in an orderly manner running from the foot of the hill to its top, with gardens, temples and palaces harmoniously integrated into the whole。&lt;br /&gt;
Analysis：As we all know, the design style of ancient Chinese buildings is beautiful with &amp;quot;symmetry&amp;quot;. The &amp;quot;axis&amp;quot; in hall of clouds scenic spot refers to the layout of the Summer Palace from far to near and from top to bottom, which cannot be simply understood as the center. Simply translating &amp;quot;axis&amp;quot; as &amp;quot;center&amp;quot; cannot express accurately the meaning of &amp;quot;symmetry&amp;quot;. Comparatively speaking, &amp;quot;axis&amp;quot; can better reflect the architectural style of the scenic spot.&lt;br /&gt;
(2)	从临水的云辉玉宇牌坊至排云门、排云殿、德辉殿、佛香阁、众香界、智慧海，层层升高，排列有序，气势巍峨，金碧辉煌，将园林、寺庙和宫殿融为一体。&lt;br /&gt;
Translation：These structures，including Glowing Clouds and Holy Land Archway at lake side，the Gate of Dispelling Clouds，the Hall of Dispelling Clouds，the Hall of moral Glory，and the Tower of Buddhist Incense，the Realm of Multitudinous Fragrance and the Sea of Wisdom Temple，were built in an orderly manner ranging up the hill with gardens，temples and palaces harmoniously integrated. This manifests beauty，grace and splendor，reminiscent of the loftingness and grandeur of a once mighty empire.&lt;br /&gt;
Analysis：In terms of the characteristics of language, Chinese emphasizes parataxis and four-word antithesis. When describing and naming scenes, gorgeous words and poetic words are generally chosen in Chinese. But, English emphasizes hypotaxis, on the other hand, puts more emphasis on reproducing the original appearance of things, using simple and natural words and preferring direct description. In sign translation, the English translation pays more attention to accurate, concise and lively. In the above paragraph, &amp;quot;层层升高，排列有序，将园林、寺庙和宫殿融为一体&amp;quot; is an introduction to the architectural features of foxiang pavilion, in order to make tourists have a clear understanding of the overall layout and architectural features of the scenic spot. This information is essential and can be translated into detail. However, &amp;quot;气势巍峨，金碧辉煌&amp;quot; focuses on the subjective description, and its explicit translation needs more complicated words. If this paragraph is translated in detail, it is easy to drag the content and make the key information vague. Therefore, the deletion of the English translation of this sentence will not affect the basic information of the original text.&lt;br /&gt;
(3)	主阁（文昌阁）两层，内供铜铸文昌帝君和仙童、铜骑。文昌阁与万寿山西供武圣的宿云檐象征“文武辅弼”。&lt;br /&gt;
Translation: A bronze statue of the God Wenchang, statues of gaeries, and a bronze steed were placed in the two-story pavilion. This tower is pared with the Tower of Cloud- Retaining Eaves, located to the west of the Longevity Hill, in which a statue of the Martial God was placed. The God Wenchang and the Martial God together symbolize reining of the emperor supported by scholars and warriors.&lt;br /&gt;
Analysis: Two questions arise in Chinese-English translation. First, there are two translations of wenchang pavilion in the translation: pavilion and tower, which appear in the same sign. Two different translations of the same scenic spot name tend to make foreign tourists think that it refers to different scenic spots, which may cause difficulty in understanding. Second, the translation of Wenchang pavilion into &amp;quot;Wenchang Tower&amp;quot; is against the actual architectural characteristics. In fact, the meanings of &amp;quot;pavilion&amp;quot; and &amp;quot;tower&amp;quot; have both similarities and differences. According to the Oxford dictionary, Tower means &amp;quot;a tall narrow building or part of a building, especially of a church or castle&amp;quot;, mainly referring to the tower-shaped part of a building, usually a tall and slender structure, such as the Eiffel Tower. &amp;quot;Pavilion&amp;quot; means &amp;quot;a building that is meant to be more beautiful than usual, built as a shelter in a park or used for concerts and dances&amp;quot;. The top structure of the pavilion usually has rectangles, triangles, hexagons, etc. The common feature of them is that the top is supported by columns without walls. From the external structure of Wenchang pavilion, its bottom is solid and its top is supported by columns. Therefore, the pavilion can accurately reflect the architectural characteristics of Wenchang pavilion, so I think it should be translated as Wenchang pavilion.&lt;br /&gt;
&lt;br /&gt;
===3.2 Historical culture. ===&lt;br /&gt;
3.2 Historical culture. &lt;br /&gt;
The accurate Chinese-English translation of the introduction of the Summer Palace not only enables foreign tourists to understand the characteristics of Chinese gardens, but also enables foreign tourists to understand the historical knowledge of a specific period of China. However, the Chinese-English translation of the Summer Palace still has problems in accurately conveying the historical background of the scenic spots, such as the English translation of Wenchang pavilion scenic spot:&lt;br /&gt;
(4)	此景区始建于清乾隆十五年，一八六零年被英法联军烧毁，光绪时按原样重建。阁结构为八面三层四重檐，通高36.44米，耸立于20米高的石造台基上，气势雄伟，是颐和园全园的构图中心。阁内供奉有铜铸金裹千手观世音菩萨站像。像高五米，重万斤，为明代万历年间所造，在八根贯通全阁上下的承重铁梨木擎天柱的衬托下，美妙庄严，熠熠生辉，有极高的文物和艺术价值。&lt;br /&gt;
Translation: The Wenchang tower was first built in 1750 and rebuilt under Emperor Guangxu after  the Anglo-French Allied Forces builted it down in 1860. The octahedral tower has three stories with four-layered eaves, altogether 36.44 meters high. Standing upright on a 20 meter-high stone foundation, it constitutes the center of the Summer Palace landscape and serves to accentuate its magnificence. A statue of the thousand-handed Guanshiyin Buddha, cast in bronze and gilded with gold, stands inside the tower. The statue, five meters high and five tons in weight, was cast during the reign of Emperor Wanli of the Ming Dynasty. Set off by the eight imposing pillars which support the tower, it glows with beauty, grandeur and brilliance. Its historical, cultural and artistic value can hardly be overstated.&lt;br /&gt;
Analysis: “始建于乾隆十五年”only was translated into “was first built in 1750” and the “光绪年间重建” was translated into “rebuilt under Emperor Guangxu”.The first sentence does not show that 1750 was the fifteenth year of the reign of emperor Qianlong, and the second sentence does not give foreign visitors the exact date of the reign of emperor Guangxu. The change of time concept and the disunity of expression easily make foreign tourists feel confused. Therefore, the translation of the time and the historical dynasties should be accurate and meticulous, and the supplementary method should be used to not only describe the dynasties clearly, but also supplement the corresponding years, so as to achieve the standardization of the translation. In this way, foreign tourists can not only be clear about the time of the event, but also understand the Chinese historical dynasties. Consider as follows: the Wenchang Pavilion was first built in 1750 during Emperor Qianlong’s reign（1735- 1795）and rebuilt in 1886 under Emperor Guangxu（1875- 1908）after the Anglo- French Allied Forces burned it down in 1860.&lt;br /&gt;
&lt;br /&gt;
===3.3 Religious culture. ===&lt;br /&gt;
3.3 Religious culture. &lt;br /&gt;
Many scenic spots in the Summer Palace have a strong buddhist atmosphere. While visiting the scenic spots, foreign tourists can understand the profound buddhist culture. Wenchang pavilion in the Summer Palace is the representative of Chinese religious culture.&lt;br /&gt;
(5)	主阁两层，内供铜铸文昌帝君和仙童、铜特。文昌阁与万寿山西供武圣的宿云檐象征“文武辅弼”。&lt;br /&gt;
Translation: A bronze statue of the god，Wenchang，and statues of two followers，the celestial boy，and the bronze steed，were placed in the two- storey pavilion. This tower is pared with the tower of Cloud- Retaining Eaves，located to the west of the Longevity Hill，in which a statue of the Martial God was placed. The two towers symbolize the support by both scholars and warriors to the ruling emperor.&lt;br /&gt;
Analysis: It is well known that westerners believe in theism, which refers to god as supreme . In Chinese religious culture, people believe in atheism and do not believe in the existence of god. Therefore, it is inappropriate to translate &amp;quot;文昌帝军&amp;quot; and &amp;quot;武圣&amp;quot; into &amp;quot;the god, Wenchang&amp;quot; and &amp;quot;the Martial god&amp;quot; in the translation. In fact, the &amp;quot;文昌帝军&amp;quot; was Zhang yu, an emperor of Shu of Ning kang (374). And &amp;quot;武圣&amp;quot; refers to Guan yu in history. Therefore, the simple translation of  &amp;quot;God&amp;quot; is not in line with the traditional Chinese culture, which will not only cause western tourists to misunderstand that Chinese religious tradition also believes in God, but also fail to convey Chinese historical allusions and relevant historical figures. In contrast, if &amp;quot;文昌帝军&amp;quot; is translated as &amp;quot;the emperor, Wenchang&amp;quot; and &amp;quot;武圣&amp;quot; is translated as &amp;quot;the Martial Master (Guanyu)&amp;quot;, it can more faithfully convey the history and religious culture contained in the source language. &lt;br /&gt;
&lt;br /&gt;
===4. Conclusion===&lt;br /&gt;
4. Conclusion&lt;br /&gt;
To sum up, Under the guidance of the skopos rule of functionalist translation theory, translators should have a cross-cultural awareness, fully understand the reading psychology and cultural appreciation needs of target language readers, and use effective translation strategies and methods to achieve the purpose of tourism text translation. Functionalist approach has made a pioneering contribution to the translation of non-literary genres. Functional translation effectively eliminates the disadvantages of traditional word-for-word translation, improves the efficiency of translation, and helps readers to grasp the meaning of the original text.&lt;br /&gt;
 The importance of the translation of the Summer Palace lies in the profound garden culture, historical culture and religious culture. The English translation is not only helpful for international friends to know more about the garden characteristics of the Summer Palace, but also helpful for spreading the long history and profound culture of China. In order to attract target readers and promote traditional Chinese culture, it is not only necessary to carefully explore Chinese culture and history, but also to use the fuctionalist approach appropriately. &lt;br /&gt;
Translation is a complicated process. Functionalist approach stresses the function of the discourse, the purpose of translation. In the practice of translation, if the translator can get rid of the bondage of the original equivalence, actively playing to subjective initiative, fully understanding the original text, depending on the purpose of discourse and adopting different translation strategies, the effect and readability of translation can be improved.&lt;br /&gt;
&lt;br /&gt;
===References===&lt;br /&gt;
References&lt;br /&gt;
Hans Vermmer, “Skopos and Commission in Translation Action”, in the Translation Studies Reader,ed. Chesterman, London and Network:Routledge,p.221-232. 2000.   &lt;br /&gt;
Munday, Jeremy. Introducing Translation Studies: Theories and Applications. Routledge publishing.2001.&lt;br /&gt;
Mason, “Textual Practices and Audience Design: and Interactive View of the Tourist Brrochure”. In Navarro et al.(eds.). Pragmatics at Work: The Translation of Tourist Literature. Bern: Perter Lang. 157-176.2004.&lt;br /&gt;
Nord, Text Analysis in Translation: Theory, Methodology and Didactic Application of a Model for Translation-Oriented Text Analysis. Beijing: Foreign Language Teaching and Research Press. 2006.&lt;br /&gt;
Nord, Translating as a purposeful activity. Shanghai: SFLE PRESS, 2001:27,30,32,65,245.&lt;br /&gt;
Reiss, Katharina. Translation Criticism: The Potentials &amp;amp; Limitations. Shanghai Foreign Language Education Press. Shanghai. 2004.&lt;br /&gt;
Venuti, Lawrence. The Translator’s Invisibility: A History Translation. Routledge.1995.&lt;br /&gt;
方梦之、毛忠明， 英汉—汉英应用翻译教程，上海: 上海外语教育出版社，2004.&lt;br /&gt;
金惠康，跨文化旅游翻译，中国对外翻译出版公司，2004.  &lt;br /&gt;
贾文波，应用翻译功能论，北京：中国对外翻译出版公司，2004&lt;br /&gt;
孙艺风，文化翻译的困惑与挑战，中国翻译，2016年第3期.  &lt;br /&gt;
王宏志，翻译与创作，北京大学出版社，2000.&lt;br /&gt;
吴自选，德国功能派翻译理论与 CNN 新闻短片英译，中国科技翻译, 2005.&lt;br /&gt;
谢天振，当代国外翻译理论，天津：南开大学出版社，2005.&lt;br /&gt;
张南峰，走出死胡同建立翻译学. 中国翻译, 1995.&lt;br /&gt;
仲伟合，钟钰. 德国的功能派翻译理论. 中国翻译, 1999.&lt;br /&gt;
张美芳，功能加忠诚—介评克里丝汀· 诺德的功能翻译理论.上海外国语大学学报, 2005.&lt;br /&gt;
&lt;br /&gt;
==Contrast between Literal Translation and Free Translation	张雪仪	Zhang Xueyi==&lt;br /&gt;
'''Abstract：'''&lt;br /&gt;
&lt;br /&gt;
The contrast between literal translation and free translation has always been the most discussed problem in translation studies. To compare these two translation methods, the basic point is to understand the purpose of translation. The ultimate goal of translation is to help different cultures communicate better, so that people who speak different languages can understand each other’s cultures. Due to the differences in social, historical and cultural backgrounds between languages, how to choose between the two translation strategies of literal translation and free translation requires translators to weigh the strengths and weaknesses of these two methods. This essay mainly compares literal translation and free translation between Chinese and Russian to help students and translators translate better.&lt;br /&gt;
&lt;br /&gt;
'''Key words：'''&lt;br /&gt;
&lt;br /&gt;
Translation strategies, Literal translation,Free translation &lt;br /&gt;
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'''摘要：'''&lt;br /&gt;
&lt;br /&gt;
直译与意译间的对比一直是翻译学中讨论度最高的问题。想要将这两种翻译方法进行对比，最基本的一点就是要明白翻译的目的是什么。翻译的最终目的在于帮助不同文化进行更好的交流，让使用不同语种的人相互理解彼此的文化。由于语种间社会历史文化背景的差异，如何在直译和意译这两种翻译策略中做出选择，就需要译者衡量两种方法的利弊。本文主要对汉语和俄语间直译和意译进行比较，以帮助学生和译者更好地进行翻译实践。&lt;br /&gt;
&lt;br /&gt;
'''关键词：'''&lt;br /&gt;
&lt;br /&gt;
翻译策略，直译，意译&lt;br /&gt;
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'''1.Introduction'''&lt;br /&gt;
&lt;br /&gt;
The former Soviet Union translation theorist Fedorov believed: “Translation is an activity that expresses what has been used in one language as a unified whole of content and form, and accurately and completely expressed in another language.” Translation theorist Barr Hudarov also wrote: &amp;quot;Translation is the process of changing the coherent discourse of one language into the coherent discourse of another language while maintaining its content and meaning.&amp;quot; To some extent, translation is a process of thinking re-creation, so certain standards and principles must be followed when translating. Translation standard is a measure of the quality of translation, it can guide translation practice, and it is a principle that must be followed in translation activities. Although each scholar has different opinions on the standard of translation, the final result he pursues is the same: the original text and the translated text express the same effect. In order to achieve the same effect, different translation methods have been derived, of which literal translation and free translation are the most commonly used.&lt;br /&gt;
&lt;br /&gt;
Russian idioms and proverbs, as the crystallization of the wisdom of the Russian nation and the immortal fossils in the Russian language, are one of the best materials for the Chinese to understand and learn Russian history, culture, and society. Due to different geographical, historical and economic conditions, the Russian and Chinese ethnic groups have formed different cultural backgrounds. These distinctive backgrounds and characteristics have caused great difficulties for Chinese learning Russian to further understand Russia. This essay studies the basic definitions of literal translation and free translation, their respective advantages and disadvantages and their mutual relations, and strive to solve how to use the translation methods of literal and free translation to properly translate Russian idioms and proverbs, and how to reflect the cultural background and language characteristics of Russian idioms and proverbs in the translation .&lt;br /&gt;
&lt;br /&gt;
'''2.Different views of &amp;quot;literal translation&amp;quot; and &amp;quot;free translation&amp;quot;'''&lt;br /&gt;
&lt;br /&gt;
In different periods and different countries, people's views on translation theory have changed a lot, but the debate about literal translation and free translation has always existed.&lt;br /&gt;
&lt;br /&gt;
In China, the contradiction between literal translation and free translation may initially be due to the different understanding of these two translation methods. The translator Sun Guiding believes that: literal translation is stuck to the structure of the original text and does not consider whether the Chinese is fluent and natural; while free translation is to use the inherent Chinese idioms and the most natural words and sentences as much as possible to achieve the effect of conveying the meaning of the original text. Former President of Wuhan University, Du Zuozhou, believes that literal translation means translating word by word according to the original text; free translation means translating according to the meaning of the original text, and the translation is more suitable for the common grammar of the translated language. The educator Meng Xiancheng believes that literal translation is a translation technology with different degrees of correctness. Literal translation is a translation that is faithful and correct according to the original text; free translation is a translation that summarizes the original meaning. Zhu Guangqian said: &amp;quot;The so-called 'literal translation' refers to the literal translation based on the original text. Every word and sentence are translated word by word, and the order of the words and sentences is not changed. The so-called ‘paraphrasing’ is to express the meaning of the original text in Chinese, and it does not have to be completely based on the literal and order of the original text. &amp;quot; The principle of &amp;quot;faithfulness, expressiveness and elegance&amp;quot; put forward by the modern Chinese translator Yan Fu has long been the basic principle guiding translation practice. A large number of beginners who learn foreign languages regard &amp;quot;faithfulness and expressiveness&amp;quot; as translations that are completely faithful to the original text when translating. In fact, Yan Fu's translation requirements are a guiding principle for translation based on semantics. When translating, if the structure and expression of the original text cannot be directly adopted, the sentence structure and expression must be changed according to the characteristics of the target language. In addition, there are many differences between the original language and the target language in the word order, grammar, variants and rhetoric in the translation process. In many cases, there is no direct corresponding word. This requires the translator to consider the actual semantics, background and other factors. On the basis of the original meaning of the sentence, use an appropriate method to convey the content of the original work and reproduce the language style of the original work.&lt;br /&gt;
&lt;br /&gt;
In the Soviet Union, under the influence of ideology, Western translation theories could not be widely disseminated, but within the Soviet Union, translation theories similar to Western translation theories have been formed and developed, and two main schools of translation theory have been further differentiated — Linguistic Translation School and Literary Translation School. To a certain extent, the dispute between these two schools also reflects the debate on literal translation and free translation among translators' groups. In terms of the principles or standards of translation, the linguistic translation school believes that an ideal translation should be an equivalent translation, first of all linguistic correspondence, that is, the translation should have the same meaning as the corresponding language or discourse unit of the original; the literary translation school believes that translation pursues artistic correspondence, and linguistic correspondence must be subordinate to artistic correspondence. Therefore, it proposes that the aesthetic standards of translation should reproduce the artistic reality reflected by the unity of the original content and form. The characteristic is to use images to translate images, that is, to create the same image in different languages. In 1953, Andrei Venediktovich Fedorov, the leader of the linguistic translation school, published his work &amp;quot;Summary of Translation Theory&amp;quot;, which was the first monograph of the Soviet Union to study translation theory from the perspective of linguistics. The author proposes that translation theory is a branch of linguistics. Since the translation of any genre work must rely on the comparison of two languages, translation problems can only be solved in the field of language. Fedorov’s view was refuted by the literary translation school represented by Ivan Alexandrovich Kashikin. The literary translation school believes that aesthetic issues are the core of literary translation theory, and translation should be regarded as a form of language art, that is, translation should be studied from the perspective of literature and art. In fact, the literary translation school emphasizes the translation of literary and artistic works, which belongs to the specific translation theory; while the research of the linguistic translation school focuses on the general translation theory, that is, the translation of all thematic works including literary works. The dispute between the two major translation theory schools of Russia and the Soviet Union provides another perspective for Chinese translators to explore the relationship between literal translation and free translation.&lt;br /&gt;
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&lt;br /&gt;
'''3.The application of literal translation and free translation in the Chinese translation of Russian idioms'''&lt;br /&gt;
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The idioms of different nationalities are the most dynamic and expressive units at the lexical level in different languages, and they are also the units that can best reflect the characteristics of national culture in languages. The number of Russian idioms is extremely rich, it records and reflects all aspects of Russian national life. Due to the great differences in geographical locations and living customs between China and Russia, the national cultures reflected in Chinese and Russian must be quite different. One of the difficulties in idiom translation is its imagery. When translating idioms, both the meaning and the image must be considered. Although the Chinese and Russian cultures are very different, many of the commonalities of mankind, such as emotion and natural environment, have created conditions for mutual communication, mutual understanding and idiom translation between different languages.&lt;br /&gt;
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&lt;br /&gt;
'''3.1 Literal translation'''&lt;br /&gt;
&lt;br /&gt;
Generally speaking, the literal translation method refers to a translation method that directly translates the original text without changing the language characteristics and style of the original text on the basis of fully respecting the meaning of the original text. Chinese translation of Russian idioms by literal translation method has the advantage of being able to intuitively and faithfully express the meaning of the idiom, maintaining the unique style and imagery of the original text: the disadvantage is that the translated idiom may not be understood by the Chinese because of China and Russia have different historical, cultural backgrounds, grammatical structures, and language world landscapes, which can easily form obstacles in the process of understanding.&lt;br /&gt;
&lt;br /&gt;
Translating Russian idioms by literal translation is further divided into two methods — literal translation into Chinese idioms and literal translation into non-idiom sentences or words.&lt;br /&gt;
&lt;br /&gt;
Literal translation of Russian idioms into Chinese idioms is suitable for the translation of Russian and Chinese idioms that are completely equivalent in image, structure, and meaning. The advantage is that it is easy to understand, and the translation is simple and fast. E.g:&lt;br /&gt;
&lt;br /&gt;
(1)домашнего  (своего) вора не убережешься. 家贼难防&lt;br /&gt;
&lt;br /&gt;
(2)знать как свои пять пальцев (видно, как на ладони) 了如指掌&lt;br /&gt;
&lt;br /&gt;
(3)подлить масла в огонь 火上浇油&lt;br /&gt;
&lt;br /&gt;
(4)как рыба в воде 如鱼得水&lt;br /&gt;
&lt;br /&gt;
(5)как ножом по сердцу 心如刀割&lt;br /&gt;
&lt;br /&gt;
(6)как гром среди ясного неба 晴天霹雳&lt;br /&gt;
&lt;br /&gt;
(7)на добро отвечают добром 善有善报&lt;br /&gt;
&lt;br /&gt;
(8)копейка рубль бережет 财从细起&lt;br /&gt;
&lt;br /&gt;
(9)мечты сбываются 梦想成真&lt;br /&gt;
&lt;br /&gt;
(10)курица всегда следует за петухом 嫁鸡随鸡&lt;br /&gt;
&lt;br /&gt;
(11)чего мало, того и дорого  (дорого то, что мало) 物以稀为贵(12)&lt;br /&gt;
&lt;br /&gt;
(12)изгонять яд с помощью яда 以毒攻毒&lt;br /&gt;
&lt;br /&gt;
(13)сидеть как на иголках 如坐针毡&lt;br /&gt;
&lt;br /&gt;
(14)действия громче слов 事实胜于雄辩&lt;br /&gt;
&lt;br /&gt;
(15)зарыть талант в землю 埋没人才&lt;br /&gt;
&lt;br /&gt;
(16)висеть на волоске 千钧一发&lt;br /&gt;
&lt;br /&gt;
(17)лить как из ведра 倾盆大雨&lt;br /&gt;
&lt;br /&gt;
The idioms in the above examples are completely equivalent in image, structure or meaning in Russian and Chinese, so Chinese idioms can be used for literal translation. &lt;br /&gt;
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In fact, in the two languages, idioms with the same image, structure, and meaning are still in the minority, so it is more common to translate Russian idioms into non-Chinese idiom sentences or vocabulary. E.g:   &lt;br /&gt;
&lt;br /&gt;
настоять на своем 坚持自己&lt;br /&gt;
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камень с души свалился 心里的一块石头落地&lt;br /&gt;
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связать свою судьбу 把自己的命运与……相连&lt;br /&gt;
&lt;br /&gt;
быть на голову 高出一头&lt;br /&gt;
&lt;br /&gt;
вбивать в голову 往脑子里灌&lt;br /&gt;
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блеснуть метеором 像流星一样一闪而过&lt;br /&gt;
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с мизинец 小拇指这么大&lt;br /&gt;
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It is not difficult to find that the literal translation method can completely retain the original appearance of the idiom, show the common concept of human understanding of the world, and be beneficial to the cultural exchange between China and Russia.&lt;br /&gt;
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'''3.2 Free translation'''&lt;br /&gt;
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Another method commonly used in the Chinese translation of Russian idioms is free translation. Free translation is to readjust the structure of the original text on the basis of keeping the original meaning of the idiom unchanged, and then reconstruct the Russian idiom with the way of thinking and expression in Chinese. This is because the figurative images used in many Russian idioms are inconsistent with those used in Chinese. If the original image is used in translation, it will cause a barrier to understanding. The advantage of free translation of Russian idioms is that it eliminates obstacles to understanding, but the disadvantage is that it cannot completely retain the original style and cultural characteristics. E.g:&lt;br /&gt;
&lt;br /&gt;
(1)В Тулу со свим самоваром не ездят.&lt;br /&gt;
直译：去图拉不用带自己的茶炊。&lt;br /&gt;
意译：多此一举&lt;br /&gt;
&lt;br /&gt;
(2)Честь лучше бесчестья.&lt;br /&gt;
直译：尊重比不尊重好。&lt;br /&gt;
意译：礼多人不怪。&lt;br /&gt;
&lt;br /&gt;
(3)словно горя с плеч&lt;br /&gt;
直译：把山从肩膀下卸下&lt;br /&gt;
意译：如释重负&lt;br /&gt;
&lt;br /&gt;
(4)выеденного яйца не стоит&lt;br /&gt;
直译：一个空蛋壳不值钱&lt;br /&gt;
意译：鸡毛蒜皮，一文不值&lt;br /&gt;
&lt;br /&gt;
(5)чужими руками жар загребать&lt;br /&gt;
直译：用别人的手将红炭火拨成一堆&lt;br /&gt;
意译：坐享其成，不劳而获&lt;br /&gt;
&lt;br /&gt;
(6)ни рыба, ни мясо&lt;br /&gt;
直译：没有鱼也没有肉&lt;br /&gt;
意译：不三不四，不伦不类&lt;br /&gt;
&lt;br /&gt;
(7)лучше синица в руках, чем журавль в небе&lt;br /&gt;
直译：天上的仙鹤不如手中的山雀&lt;br /&gt;
意译：远亲不如近邻&lt;br /&gt;
&lt;br /&gt;
(8)На языке мед, а под лед&lt;br /&gt;
直译：嘴上甜得像蜂蜜，心里冷得像冰&lt;br /&gt;
意译：笑里藏刀&lt;br /&gt;
&lt;br /&gt;
(9)И на солнце есть пятна&lt;br /&gt;
直译：太阳上也有黑点&lt;br /&gt;
意译：人无完人&lt;br /&gt;
&lt;br /&gt;
(10)семь раз отмерь, один раз отрежь&lt;br /&gt;
直译：测量了七次后再剪裁&lt;br /&gt;
意译：三思而后行&lt;br /&gt;
&lt;br /&gt;
Using free translation to translate Russian idioms requires the translator to accurately understand the meaning of the original text, because cultural differences make it impossible to literally translate. Only through the translator can an unobstructed bridge between Russian idioms and Chinese idioms be built.&lt;br /&gt;
&lt;br /&gt;
'''4.The application of literal translation and free translation in the Chinese translation of Russian proverbs'''&lt;br /&gt;
&lt;br /&gt;
There are often multiple translations of the same Russian proverb in Russian-Chinese dictionaries. On the one hand, because the translator uses different translation methods; on the other hand, because Russian proverbs have very rich connotations, a translation cannot perfectly interpret the inner meaning of the proverb. According to the context and the connotation of the proverbs, the most commonly used methods of Chinese translation of Russian proverbs are literal translation and free translation.&lt;br /&gt;
&lt;br /&gt;
'''4.1 Literal translation'''&lt;br /&gt;
&lt;br /&gt;
In Russian and Chinese languages, some proverbs not only have the same meaning or implicit meaning, but also use the same or similar figurative images to express a certain kind of the same semantics, and they are completely consistent in content and form. In this case, the equivalent translation of synonymous Chinese proverbs can convey the information contained in the original image, which not only retains the rhetorical color of the original language, but also enables the reader to perfectly understand the original text. E.g:&lt;br /&gt;
&lt;br /&gt;
(1)Куй железо, пока горячо. 趁热打铁。&lt;br /&gt;
&lt;br /&gt;
(2)Беда не приходит одна. 祸不单行。&lt;br /&gt;
&lt;br /&gt;
(3)Сытый голодного не разумеет. 饱汉不知饿汉饥。&lt;br /&gt;
&lt;br /&gt;
(4)Век живи, век учись. 活到老，学到老。&lt;br /&gt;
&lt;br /&gt;
(5)Выше встанешь, дальше увидишь. 站得高，看得远。&lt;br /&gt;
&lt;br /&gt;
(6)Лучше один раз увидеть, чем сто раз услышать. 百闻不如一见。&lt;br /&gt;
&lt;br /&gt;
(7)Нет дыма без огня. 无火不生烟。&lt;br /&gt;
&lt;br /&gt;
(8)Шила в мешке не утаишь. 口袋藏不住锥子。&lt;br /&gt;
&lt;br /&gt;
(9)Береги платье снову, а честь смолоду. 衣服要从新的时候爱惜，荣誉要从年轻时珍惜。&lt;br /&gt;
&lt;br /&gt;
(10)Выше лба уши не растут. 耳朵高不过额头。&lt;br /&gt;
&lt;br /&gt;
(11)Для милого друга семь верст не околица. 为了好友，多绕七里也不嫌远。&lt;br /&gt;
&lt;br /&gt;
(12)Как Новый год встретишь, так его и проведешь. 怎么迎新年，就怎么过一年。&lt;br /&gt;
&lt;br /&gt;
(13)Лучше умереть стоя, чем жить на коленях. 宁愿站着死，绝不站着生。&lt;br /&gt;
&lt;br /&gt;
(14)Не имей сто рублей, а имей сто друзей. 宁要一百个朋友，不要一百个卢布。&lt;br /&gt;
&lt;br /&gt;
По одежке встречают, по уму провожают. 迎客时看衣，送客时看才智。&lt;br /&gt;
&lt;br /&gt;
==Dialectical thinking in arguments between literal translation and free translation 	甘奉玉	Gan Fengyu==&lt;br /&gt;
&lt;br /&gt;
===Abstract===&lt;br /&gt;
  As two methods of translation, how to use literal translation and free translation has always been the focus of debate between Chinese and Western translation circles. Through the study of translation methods of literal translation and free translation at home and abroad, we can know that to some extent literal translation and free translation are two relative conceptions, so there will be word-for-word translation, that is, dead translation, and excessive free translation. However, these two are only two extremes of literal translation and free translation. In fact, although there are differences in definitions and application fields between literal translation and free translation, they are unified in common translation purpose, translation procedure and translation standard. Therefore, the two are contradictory and unified in translation activities. This is also the profound embodiment of the unity of opposites in materialist dialectics.--[[User:Gan Fengyu|Gan Fengyu]] ([[User talk:Gan Fengyu|talk]]) 07:46, 10 November 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
===Key words===&lt;br /&gt;
literal translation, free translation, word-for-word translation, over free translation, unity of opposites&lt;br /&gt;
&lt;br /&gt;
===摘要===&lt;br /&gt;
  作为翻译方法，直译(literal translation)与意译(free translation)怎样使用的问题一直是一个争论中西方翻译界不休的焦点。通过对国内外直译与意译的翻译方法的研究，我们可以得知，从某种程度而言，直译与意译是两个相对的概念, 所以才会有逐字翻译，即死译，与过度意译这两个完全对立的概念。但是，这两者只不过是直译与意译的两个极端点。其实，直译和意译虽然在概念定义，适用范围上有所差异，但却又统一于共同的翻译目的、翻译过程和翻译标准中。所以两者在翻译活动中应该是既对立又统一的矛盾体。而这也正是唯物辩证法中的对立统一矛盾观的深刻体现。--[[User:Gan Fengyu|Gan Fengyu]] ([[User talk:Gan Fengyu|talk]]) 07:50, 10 November 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
===关键字===&lt;br /&gt;
直译； 意译； 死译； 过度意译； 对立统一&lt;br /&gt;
&lt;br /&gt;
===Introduction===&lt;br /&gt;
  Throughout the translation history at home and abroad, the literal translation and free translation have always been a heat discussion in the translation circles. Someone absolutely approve literal translation and demean free translation, even pursue a dead translation, which creates an translated text difficult to understand. While some other people absolutely agree with free translation even advocate random acts, which means a random deletion in the translation practices and creates anther entirely different text. However, there are also a number of translators who have recognized that these two translation methods are not totally opposite. So they adopt a compromise and flexible way. That means they will choose the most appropriate one depending on the text demanding. Therefore, we can deduce from it that this eclectic translation is consistent with the Contradiction view of Unity of Opposite in Materialist Dialectics. In fact, literal translation and free translation are right a set of contradictions which are both opposite and unified. They complement each other into an integral one.&lt;br /&gt;
&lt;br /&gt;
===1.Dialectic thinking of the Unity of opposites===&lt;br /&gt;
===2.Word-for-word translation===&lt;br /&gt;
===3.Over free translation===&lt;br /&gt;
===4.Eclectic translation===&lt;br /&gt;
===5.Opposition and unity between literal translatiuon and free translation===&lt;br /&gt;
&lt;br /&gt;
===5.1 Opposition===&lt;br /&gt;
&lt;br /&gt;
===5.1.1 Opposition in definition===&lt;br /&gt;
&lt;br /&gt;
===5.1.2 Opposition in application fileld===&lt;br /&gt;
&lt;br /&gt;
===5.2 Unity===&lt;br /&gt;
===5.2.1 Unity in translation goal===&lt;br /&gt;
===5.2.2 Unity in translation procedure===&lt;br /&gt;
===5.2.3 Unity in translation standard===&lt;br /&gt;
===6.Conclusion===&lt;br /&gt;
===Bibliography===&lt;br /&gt;
&lt;br /&gt;
== Peter Newmark’s Improved Views on Literal Translation and Free Translation 赵茜 Zhao Xi==&lt;br /&gt;
&lt;br /&gt;
='''Document Translation'''=&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
==On translation of official documents of CangNan County	吴恺	Wu Kai==&lt;br /&gt;
&lt;br /&gt;
On Translation of Official Documents of Cangnan County&lt;br /&gt;
&lt;br /&gt;
Japanese Language and Literature, School of Foreign Languages, Hunan Normal University, Wu Kai--[[User:Wu Kai|Wu Kai]] ([[User talk:Wu Kai|talk]]) 04:45, 2 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
==='''Abstract'''===&lt;br /&gt;
As one of the forefronts of Zhejiang’s opening-up cause, Cangnan County in Zhejiang Province has been enjoying a rapid development and an ever-growing degree of opening-up with lasting vitality as it’s supported by national policies and nourished by the dividends of economic globalization since China's reform and opening-up. As China has ushered in a period of major changes rarely seen in a century, Cangnan County is also facing new opportunities and challenges. Under the background of this era, Cangnan County is expected to make good use of its own advantages, especially the geographical ones—it is close to countries and regions including Japan, South Korea, and Taiwan—and should spare no efforts to achieve a higher level of opening-up, and, in turn, further promote its development. As an embodiment of the collective will of the people of Cangnan County, the official document is one of the best manifestations of its governance and stability control capabilities. For this reason, the research on how to translate official documents is of great significance for that it offers a great opportunity for Cangnan County to re-examine itself and to show the rest of the world its achievement in building a culture-enriched county.&lt;br /&gt;
&lt;br /&gt;
==='''Key words'''===&lt;br /&gt;
 official document translation, Cangnan County, opening-up, Japan, South Korea&lt;br /&gt;
&lt;br /&gt;
==='''摘要'''===&lt;br /&gt;
自中国改革开放以来，浙江省苍南县作为全浙江对外开放的前沿阵地之一，得到了国家政策支持和经济全球化红利的滋润，苍南县发展水平与对外开放程度日新月异，全县活力持久带劲。随着中国迎来“百年未有之大变局”，苍南县也面临着新的机遇和挑战，在此时代背景下，苍南县应该利用好自身优势，特别是临近日本、韩国、台湾等国家与地区的地理优势，努力开展更高层次、更高水平的对外开放事业，促进苍南更好的发展。为此，作为苍南县人民集体意志的体现，苍南县的公文就是对外展示其治理水平、稳控能力的最好的体现之一。而对于苍南县公文的如何翻译的研究，是促使苍南县重新审视自己、推进苍南人文县情传播海外的良机，意义重大。&lt;br /&gt;
&lt;br /&gt;
==='''关键词'''===&lt;br /&gt;
公文翻译  苍南县  对外开放  日本  韩国&lt;br /&gt;
&lt;br /&gt;
==='''I. System and Translation of Official Documents of Cangnan County'''===&lt;br /&gt;
&lt;br /&gt;
The unique official document system adopted by Chinese government agencies is a special integration of the thousands-of-years excellent political traditions in China and the essence of the organizational structure of the socialist regime. As a county-level unit in China's local administrative structure, Cangnan County has an official document system that is consistent with the national ones in general while has its own features. Official documents of Cangnan County can be basically divided into the following types of writing: resolutions, decisions, orders, bulletins, announcements, notifications, opinions, notices, reports, requests for instructions, approvals, proposals, letters, and minutes. Above-mentioned categories are collectively known as official documents. Besides, there are also some types of practical writing, including summaries, plans, notes, memos, briefings, speeches, manuals and so on, that are often used in our day-to-day work.&lt;br /&gt;
&lt;br /&gt;
In addition to those characteristics of the official documents that are commonly seen in China, official documents of Cangnan County also have its own features, which is mainly reflected in the aspect of proprietary terminology. Cangnan County, which used to be a part of Pingyang County in Zhejiang Province, was officially designated as a county in 1981 with the approval of the Central Government. It takes its name Cangnan, which means “on the south of the Yucang Mountain”, from its geographical location. As a relatively young county-level administrative unit in China’s administrative divisions, Cangnan County has a complex natural endowment and cultural environment, which is the reason why there are many special proprietary terms used in the official documents of Cangnan County, such as “Beautiful South Gate of Zhejiang Province”, “Southern Ouyue (an ancient kingdom in modern Wenzhou and Taizhou)” , “South Gate of Jiangsu-Zhejiang Region” and so on. Moreover, Cangnan is also the birthplace of the “Wenzhou Model”. Since the implementation of policy for the exchange of production materials and commercial grains in 1984, Cangnan has become an important base for the experiments and development of Wenzhou's private economy and market economy, and, thus, has made a significant contribution to the great cause of China's reform and opening-up.&lt;br /&gt;
&lt;br /&gt;
To conclude, the unity of the official document system viewed from the national scope of China and the uniqueness of the official document system viewed from the local scope of Cangnan area are both reflections of the integration of economic, political, and cultural elements. Therefore, when translating the terms and sentences in these official documents, obviously, it is almost impossible to follow general translation theories, such as Yan Fu’s “faithfulness, expressiveness and elegance” theory which applies to literature translation, and Christiane Nord’ Skopos theory which emphasizes schematic analysis. Due to the features of the official documents of Cangnan County, it is hard to imagine the consequence it will cause if those Cangnan and Chinese elements they contain are missed when translating them. Therefore, the starting point for the translation and research of Cangnan official documents should be analyzing the official document itself, but not choosing which translation theory to apply.&lt;br /&gt;
&lt;br /&gt;
The translation method focusing on the official documents themselves is undoubtably the one that emphasizes the content while manages to achieve a similarity in form. Thus, the translation theory that meets the requirements of official document translation in Cangnan County shall be the functional equivalence theory of the American linguist Eugene A. Nida. Eugene A. Nida argued in his theory that translation is to use the most appropriate, natural and equivalent language to reproduce the informational function of the source language both semantically and stylistically. Nida’s definition of translation specified that translation is seeking equivalence not only in lexical meaning, but also in semantics, style and literary form. Translation should convey both the denotative and connotative meaning of a message. Regarding the equivalence of translation, he believed that the equivalence consists of four parts: lexical equivalence, syntactic equivalence, textual equivalence, and stylistic equivalence. Among the four aspects, he emphasized that the meaning the core and most important part, followed by the form. The form of a text is likely to conceal the cultural connotation of the source language and may, therefore, hinder cultural exchanges. Based on the above, the reasons why the functional equivalence theory is applicable to official document translation in Cangnan County can be concluded as follows:&lt;br /&gt;
&lt;br /&gt;
First, the functional equivalence theory advocates that the target text should be equivalent to the source text both semantically and culturally. Official documents of Cangnan County are carriers of profound political culture with Chinese characteristics and the cultural environment in Cangnan. When translating them, in addition to showing the political consciousness and judicial authority of Cangnan government agencies, the local culture of Cangnan must also be reflected in the translations.&lt;br /&gt;
&lt;br /&gt;
Second, the functional equivalence theory suggests that if the lexical meanings and cultural elements cannot be taken into account at the same time, the translator then may give up the equivalence in form and try to reproduce the semantic and cultural meaning of the source text by changing the form of the sentence. There are many specialized terms with Chinese characteristics and Cangnan’s characteristics in official documents of Cangnan County. When translating them, once there is no corresponding expression in the target language, other forms of expression must be adopted to retain the meanings of those specialized terms as much as possible.&lt;br /&gt;
&lt;br /&gt;
Third, the functional equivalence theory proposes that if the change in form is still not enough to express the semantic and cultural meaning of the expression in the source language, the translation technique of “heavy damage” can be adopted to resolve cultural differences , so that the source language and the target language can achieve equivalence in semantic meaning. “Heavy damage” refers to the transformation of the deep structure of the source language into the surface structure of the target language, that is, expressing the cultural connotation of the source text with expressions of the target language. It cannot be ruled out that there are words and sentences in the official document of Cangnan County that cannot be translated, and when this happens, the translator can only rely on his translation techniques and understanding ability to process them creatively.&lt;br /&gt;
Above are simply macro analyses of the official document system in Cangnan County, and when it comes to specific analyses, challenges we face will only be severer.&lt;br /&gt;
&lt;br /&gt;
==='''II. Stylistic Features and Translation of Official Documents in Cangnan County'''===&lt;br /&gt;
&lt;br /&gt;
Looking at the official documents of Cangnan County from the micro level, we can work on the study of its translation based on the following characteristics.&lt;br /&gt;
&lt;br /&gt;
'''1. Details and Accurate'''&lt;br /&gt;
&lt;br /&gt;
As an officially-written document geared for the needs of our people, wording of the official documents of Cangnan County has a very specific orientation. Almost all content words have very clear meanings and connotations.&lt;br /&gt;
&lt;br /&gt;
For example, the sentence “经研究，县政府决定召开市对县安全生产巡查反馈会暨突出问题集中教育警示会，现将有关事宜通知如下。(As discussed, the county government decided to convene a feedback meeting on city-to-county inspections of production safety and a meeting for education and warning on outstanding issues. The relevant matters are hereby notified as follows.)” in the document 《苍南县人民政府办公室关于召开市对县安全生产巡查反馈会暨突出问题集中教育警示会的通知》(“Notice of the Office of the People's Government of Cangnan County on Convening a Feedback Meeting on City-to-County Inspections of Production Safety and A Meeting For Education and Warning On Outstanding Issues”) (the office of the People's Government of Cangnan County on June 8th, 2020) conveys several points very accurately and clearly, including the decision maker, the type, content and theme of the meeting. Therefore, special attention must be paid to the integrity of the information delivered when translating this sentence. For example, it is translated into Japanese as “討議を通じて、県政府は県の安全生産状況に対する市政府の巡査結果反映会及び顕著問題教育警告会を開催することが決定した。関連事項を以下のようにお知らせする。”&lt;br /&gt;
&lt;br /&gt;
'''2. Precise and Compact'''&lt;br /&gt;
&lt;br /&gt;
The role of official documents is to exchange formal information between the upper and the lower, the people and the officials, and the relevant departments. Therefore, the wording of the official documents must be rigorous. No slang and loose sentences should be used, and excessive use of parentheses and descriptive modifiers should be avoided. Official documents of Cangnan County follow this rule as well, in which there will never be informal expressions like daily spoken words.&lt;br /&gt;
&lt;br /&gt;
For example, the expression “三、决策目录施行动态管理，因工作需要增减或变更重大行政决策事项的，承办单位应按照相关规定程序提请调整。(Third, the decision catalogue shall be managed in a dynamic way, the undertaker shall submit application for adjustments in accordance with the relevant regulations if any increase/decrease or change shall be made to the major administrative decision-making matters because of the need of actual work.)” in the document《关于公布苍南县2020年度重大行政决策事项目录的通知》(“Notice on Issuing the 2020 Annual Catalogue of Major Administrative Decision-Making Matters of Cangnan County”) (the office of the People's Government of Cangnan County on Sept. 20th, 2020) When translating this sentence into Japanese, the translator shall fully considers the preciseness of the original expression, and translate it as “三つ目、戦略目録動的管理施行、仕事需要によっての増減または変更が必要な場合、請負機構は関連規定の手順に従って調整を提出しなければならない。”&lt;br /&gt;
&lt;br /&gt;
'''3. Programmed and Standardized'''&lt;br /&gt;
&lt;br /&gt;
The purpose of official documents requires a stable and routine writing program so that the official business can be conducted in an orderly manner. It is essential that the document writing is reasonably programmed. It allows the officer to know what it is and what to do at a glance if a standardized official document program is followed. The standardization of the official documents of Cangnan County can be regarded as a tricky feature in their translation.&lt;br /&gt;
&lt;br /&gt;
For example, the expression “各乡镇人民政府，县政府直属各单位 (the people's government of all townships and towns and all directly affiliated institutions of the people’s government of Cangnan County)” in the document《关于公布苍南县2020年度重大行政决策事项目录的通知》(“Notice on Issuing the 2020 Annual Catalogue of Major Administrative Decision-Making Matters of Cangnan County”) (the Office of the People's Government of Cangnan County on Sept. 20th, 2020) is obviously a standardized addressing of the receiving units of an official document, and it should be translated into Japanese as “各郷鎮人民政府、県政府直属の各部門”.&lt;br /&gt;
Viewing from a micro perspective, we may find that special attention should be paid to many precise details when translating those official documents. It is of great significance that, during the cause of reform and opening-up, we strike a balance between the macro level and the micro level in official document translation, which will serve as a stage for Cangnan County to show itself to Japan, South Korea and other East Asian countries and regions.&lt;br /&gt;
&lt;br /&gt;
==='''III. Translation of Official Documents of Cangnan County under the Context of the Japanese Language'''===&lt;br /&gt;
&lt;br /&gt;
Cangnan County is one of the nearest administrative units to Japan in China, and Okinawa Prefecture in Japan and Cangnan County are neighbors facing each other across the sea. Furthermore, Cangnan County itself has ports in Xiaguan, Pacao, Yanting, Dayu and other places, and has the basic conditions for conducting small transactions of freights with Okinawa. However, due to the inadequacy policies, laws and regulations, a large portion of Japan’s trade with China, especially with Zhejiang Province, is still conducted in the three port cities, namely Ningbo, Zhoushan, and Hangzhou. Cangnan’s geographical advantages have never been given to full play. To Japan, Cangnan is not a total stranger. Wenzhou City has a great influence upon Japanese culture and history. Special local products such as Wenzhou green tea and Wenzhou satsuma orange are very attractive to Japanese people. Many of the business exchanges during the Kamakura Bakufu in Japan were happened between Hakata merchants and Wenzhou people. As an important subordinate region of Wenzhou City, Cangnan County naturally has left an impression on Japanese people when it comes to China.&lt;br /&gt;
&lt;br /&gt;
If Cangnan hopes to lay a foundation for the future cooperation with Japan through its cause of opening up to the outside world, it is of great importance that we study the methods and techniques to make the translation of Cangnan’s official documents to meet the specific context of the Japanese language, which is also a part of the cultural exchanges that will facilitate economic and trade cooperation between Japan and China. The political status of Cangnan County is equivalent to the one of regular cities and special wards in Japan, but this does not mean that the official documents of Cangnan County can be regarded as equivalents to the official documents released by the governments of the regular cities and special wards in Japan, and there are huge differences between their respective official documents in form, wording, Cultural connotation and etc. To better translate Cangnan official documents under the context of Japanese language, the following aspects must be paid attention to:&lt;br /&gt;
&lt;br /&gt;
1. Detailed Comparison of Types&lt;br /&gt;
&lt;br /&gt;
In the Japanese official document system, the word “公文” is different in meaning from the word “公文” in Chinese official document system. In Chinese “公文” means government official documents, while in Japanese “公文” generally refer to legal documents that have the force of law and the term “公文書” is the one that refers to government official documents, which roughly includes “外交文書” and “起案文”, “通達” , “命令”, “許可”, “通知書” and so on . When translating official documents of Cangnan County into Japanese, attention should be paid to the transformation of the types of the official documents. The classifications of official documents in China and Japan are different from each other.&lt;br /&gt;
For example, when translating documents such as “proposal letter”, “report” and the like into Japanese, the title should be translated as “建言書” and “報告書”, while “命令(order)”, “通知(notice)”, “提案(Proposal)” and etc. need no translation and can be titled with the original characters directly as “命令”, “通知”, “提案”, and can also be further translated into “命令状”, “通知書”, “提案書”. Those reflect the characteristics of the division of the types of the official document system in Japan.&lt;br /&gt;
&lt;br /&gt;
2. Careful Consideration of the Translation of Chinese Characters&lt;br /&gt;
&lt;br /&gt;
There are a large number of Chinese characters in Japanese. This will for sure be an advantage when translating official documents of Cangnan County into Japanese, however, at the same time, this is also a huge disadvantage. After all, those Chinese characters are Japanized Chinese characters, and their meanings and usages are more or less different from the original ones in Chinese.&lt;br /&gt;
&lt;br /&gt;
For example, the expression “设定全县森林防火期(setting the season of forest fire prevention)” in the document 《苍南县应急管理局局长王再忠关于&amp;lt;苍南县人民政府关于做好森林防火期护林防火工作的通告&amp;gt;的政策解读》(“Policy Interpretation Of ‘Notice of Doing Forest Protection and Fire Prevention during the Season of Forest Fire Prevention by the People's Government Of Cangnan County’ by the Director of Cangnan Emergency Management Agency Wang Zaizhong”) in could be translated character by character into Japanese as “全県域森林防火期間設定”. However, expressions such as “野外火源如何管理” cannot be translated in the same way, and must be processed accordingly and translated into Japanese as “野外の火の元が如何に処理すること”. When translating official documents of Cangnan County into Japanese, the translators must reject the preconceived thinking and native Chinese thinking, or it will lead to irreversible misunderstandings and mistakes.&lt;br /&gt;
&lt;br /&gt;
3. Mastery of the Equivalence of Semantic Meaning&lt;br /&gt;
&lt;br /&gt;
Chinese is an isolating language, in which the grammatical meaning is reflected by the order of words, while Japanese is an agglutinative language, in which auxiliary words and flexible usages of vocabulary are adopted to reflect the grammatical meaning. This requires the translators to have mastery of the equivalence of semantic meanings when translating official documents of Cangnan County into Japanese and try to achieve perfect equivalence in official document translation.&lt;br /&gt;
&lt;br /&gt;
For example, there is a expression as “全体公民必须认真贯彻‘以人为本、预防为主、积极扑救、有效消灾’的森林防灭火工作方针，一旦发现森林火灾，要立即向当地人民政府或森林防灭火指挥部办公室报告(all citizens must seriously implement the working policy of forest fire prevention and firefighting ‘people-oriented, prevention-focused, active in firefighting, effective in disaster relief’, once a forest fire is detected, it must be reported to the local people’s government or the forest fire prevention and firefighting headquarters office immediately)” in the document 《苍南县应急管理局局长王再忠关于&amp;lt;苍南县人民政府关于做好森林防火期护林防火工作的通告&amp;gt;的政策解读》(“Policy Interpretation Of ‘Notice of Doing Forest Protection and Fire Prevention during the Season of Forest Fire Prevention by the People's Government Of Cangnan County’ by the Director of Cangnan Emergency Management Agency Wang Zaizhong”). When dealing with long and complex sentences, the translator must be flexible in using translation techniques to decompose the sentences and translate them step by step, focusing on the balance between the form of the sentence and its semantic meaning. Based on this principle, the abovementioned sentence could be translated into Japanese as “人間本位、予防軸化、積極救助、有効消災という森林防火作業方針は全県民が必ず強固に守らなければならない。林に火事が発見された際、直ちに所轄人民政府や森林防火指揮部執務室に報告すること。”&lt;br /&gt;
&lt;br /&gt;
There is no doubt that, in terms of four-character idioms, allusions, new words of the era and etc., the translation of official documents of Cangnan County under the context of the Japanese language still has a long way to go, but the part that we should pay most attention to in translation is always the differences in culture between the source language and the target language. Only by keeping this basic point in mind at all times, will there be no huge mistakes being made when translating official documents of Cangnan County into Japanese.&lt;br /&gt;
&lt;br /&gt;
==='''Ⅳ. Translation of Official Documents of Cangnan County under the Context of the Korean Language'''===&lt;br /&gt;
&lt;br /&gt;
Zhejiang Province and South Korea have laid a good foundation for economic and trade cooperation projects, and a framework that is comprehensive, wide-ranging, and multi-level has been established for Zhejiang-South Korea cooperation. The advantages of the two regions are obviously complementary and the development potential for both sides and in between is huge. In September 2016, the Zhejiang China-Korea (Quzhou) Industrial Cooperation Park was approved as the first batch of “Zhejiang International Industrial Cooperation Parks” in Zhejiang Province. The total planned area is about 3,000 acres and the total planned investment is 12 billion yuan. Represented by the Zhejiang China-Korea Industrial Cooperation Park, a large number of economic and trade cooperation projects has been carried out with South Korea by Zhejiang Province. As an indispensable part of Zhejiang Province, Cangnan County is facing a huge gap in the cultural exchanges and economic cooperation with South Korea. How to elevate the level of Cangnan’s opening up to the outside world and advancing Cangnan’s economic, trade and cultural cooperation with South Korea is a question that is well worth exploring. Although Cangnan is further away from South Korea compared with regions in the north of Zhejiang, geographic location should never be a factor that hindering Cangnan’s economic, trade and cultural cooperation with South Korea. In an era of ever-deepening globalization, it is of great significance that we think about how to develop and promote the economic and trade and cultural cooperation between Cangnan and South Korea.&lt;br /&gt;
&lt;br /&gt;
Northern Zhejiang is a key area for economic, trade and cultural cooperation with South Korea. As the south gate of Zhejiang Province, if Cangnan County could open the door of economic, trade and cultural cooperation to South Korea, then this will inevitably bring extraordinary development opportunities to southern Zhejiang and make the pattern of Zhejiang and South Korea’s economic and cultural cooperation more balanced and healthy. The political status of Cangnan County is equivalent to the one of si(city), gu (district), and gun(county) in South Korea. Because of some historical reasons, South Korea is greatly influenced by Chinese culture. From the Three Kingdoms era of Joseon, to the Unified Silla Dynasty, the Wang’s Goryeo Dynasty, and the Yi’s Joseon Dynasty, the basic system of administrative divisions in South Korea is almost the same as the one in China, so the official document system of cities, districts, and counties in South Korea can be regarded as basically equivalent to the official document system of Cangnan County with only slight differences originated from the localized political and cultural traditions and the basic social condition of South Korea. Therefore, there are relatively fewer difficulties of translation when translating official documents of Cangnan County into Korean, aside from the barriers caused by Korean Hangul words. The translation of official documents of Cangnan County under the context Korean language requires attention to the following aspects:&lt;br /&gt;
&lt;br /&gt;
1. The Combination of Chinese characters and Hangul&lt;br /&gt;
&lt;br /&gt;
Modern Korean uses Hangul as the main written characters, but this does not mean that there is no place for Chinese characters in the Korean system. Since the launch of the abolition of Chinese characters movement in South Korea in the 1970s, Hangul did exactly achieved an overall penetration of every aspect of their daily life, but when it comes to important documents, Chinese characters still reserve a seat in the arena of South Korea’s history. Furthermore, a higher level of talent training is required now to meet the need of South Korea’s economic and social development, and the mastery of sinology has become, among all the necessary skills, one of the most straightforward evaluation criteria to access the qualified personnel. Thus, South Korea has restarted the Chinese character teaching movement. Nowadays, the official document system in South Korea has become one in which Hangul serves as the main language and the mixed use of Chinese characters and Hangul serves as a supplement. Just as how the mixed use of kana and Chinese characters in Japanese official documents may help in its translation, the mixed use of Chinese characters and Hangul also greatly facilitate the translation of official documents of Cangnan County into Korean. However, because Chinese characters used in Korea are composed of traditional Chinese characters and a small number of Korean self-made Chinese characters, we can not take it for granted that it is advisable to translate them word by word.&lt;br /&gt;
&lt;br /&gt;
For example, the title of the document《苍干任〔2020〕18号 王再忠等同志的任命》(“Cangnan Cadre Appointment [2020] No. 18: Appointment of Wang Zaizhong and etc.”) (the Office of CPC Cangnan Party Committee on March 27th, 2020) can be translated with the mixed use of Chinese characters and Hangul into Korean as《蒼南縣의 幹部任命〔2020〕18號 王再忠등 同志의任命》. Also, it be translated into Korean with Hangul alone as《참남현의 간부임명〔2020〕18호 왕재충등 동지의임명》.&lt;br /&gt;
&lt;br /&gt;
2. The Usage of Refined Language&lt;br /&gt;
&lt;br /&gt;
In recent years, South Korea has carried out reforms of the official document system, urging that the South Korean government agencies at all levels should use “refined(or purified) language”, that is, to write and publish official documents with words that are easy for the public to understand and have explicit meanings, reducing the cost of communication between the government and the public and, in this way, building a closer relationship between the government and the people, so that civil servants can communicate with the people more effectively. Refined language is a kind of common vernacular that differs from the official language. Although this trend of the wording of Korean official documents is not unconditional, but when compared with official documents of Cangnan County, which emphasize the solemnity and formality of official documents, this trend is the part that the translator has to pay his attention to.&lt;br /&gt;
&lt;br /&gt;
For example, when translating the expression “为加强行政规范性文件管理，切实推进依法行政，加快法治政府建设 (To strengthen the management of administrative normative documents, promote the administration in accordance with law, and accelerate the construction of a government ruled by law)” in the document《苍南县人民政府关于公布县政府及县政府办公室行政规范性文件清理结果的通知（有效）》(“Notice of the Office of the People's Government of Cangnan County on the Announcement of the Results of the Cleanup of the Administrative Normative Documents of the County Government and the County Government Offices (Effective)”) (the Office of the People's Government of Cangnan County on October 23th, 2020) , blunt expressions may not be that applicable and this expression translated into Korean in a more public-friendly way as “행정 규범적인 문서관리를 강화하기 위해, 법에따라 행정을 철저히 추진하고 법치정부의 건설을 가속화시킨다.”&lt;br /&gt;
&lt;br /&gt;
3. Mastery of the Equivalence of Semantic Meaning&lt;br /&gt;
&lt;br /&gt;
Like Japanese, Korean is also a typical agglutinative language. A sentence is formed by connecting independent words with various auxiliary words, and with a subordinating conjunction at the end of the sentence. Auxiliary words are just like glues, they exist after every subject, predicate, and object component of a Korean sentence to them together. For that these auxiliary words have no substantial meaning themselves, they must stay close to the main body in front, and a space must be put after. Therefore, when translating Chinese, which is an isolated language, into Korean, which is an agglutinative language, it is necessary to have mastery of the equivalence of the semantic meaning of the expression.&lt;br /&gt;
&lt;br /&gt;
For example, when translating the expression “全面实施全民参保计划，做好参保情况清查，提升参保信息质量，清理重复参保，稳定持续参保，减少漏保断保，实现应保尽保。(Fully implement the national social security plan, do a good job in checking the coverage of the social security, improve the quality of the collection of the information of the insured, clean up repeated insureds, stabilize the renewal of the social security, reduce the interruption of the social security, and achieve full social security coverage.)” in the document《关于做好2021年度城乡居民基本医疗保障工作的通知》(“Notice on Doing a Good Job in Basic Medical Security for Urban and Rural Residents in 2021”)( the Office of Medical Security Bureau of Cangnan County on November 5th, 2020), the translator should pay attention to the equivalence of semantic meaning of this long sentence and translated it into Korean as “전국민기본의료보험가입계획을 전면적으로 실시하고 기본의료보험가입상황을 철저히 조사하며 기본의료보험가입 정보의 질을 향상시키고 중복기본의료보험가입을 청산하며 안정적이고 지속적인 기본의료보험가입을 하며 보험누락을 줄이고 기본의료보험가입 을 실현해야 한다.”&lt;br /&gt;
&lt;br /&gt;
==='''Ⅴ. Studies of Official Document Translation and the Cause of Opening-up in Cangnan County'''===&lt;br /&gt;
&lt;br /&gt;
Based on the abovementioned basic characteristics of the official document system of Cangnan County, the notes for official documents translation under the context of the Japanese language and the notes for official documents translation under the context of the Korean language, we can see that official documents of Cangnan County is not as difficult to handle as something untranslatable. Cangnan County enjoys a good geographic location: it is located in the coast of the East China Sea, and is close to both Japan and South Korea, two strong economies in East Asia. However, Cangnan County has not yet made use of these favorable conditions to the fullest to promote cultural cooperation and trade with the two countries. Cangnan’s opening up to the outside world requires innovative thinking and an elaborate layout. Studies on the translation of official documents of Cangnan County, especially the translation of official documents under the context of the Japanese and Korean language, will help to explore the cultural spirit of the government institutions, and play an important role in building a good image of Cangnan County in East Asia and laying a foundation for Cangnan's cooperation with major countries and regions in East Asia .&lt;br /&gt;
&lt;br /&gt;
The world today is undergoing profound changes rarely in a century, and so is China. The tide of history moves on and Cangnan shall not stay out of the matter, but must follow it courageously and strive to open new doors for Cangnan's opening up to the outside world through the study of the official document translation of its own.&lt;br /&gt;
&lt;br /&gt;
===References===&lt;br /&gt;
&lt;br /&gt;
[1]Ziqi LIU. The Application of Functional Equivalence Theory in Scientific Translation：A Case Study of the Translation of Shipbuilding English[J]. CREATIVITY AND INNOVATION,2019,1(3).&lt;br /&gt;
&lt;br /&gt;
[2]Mu Dan. Discussion on Translation Activities Under the Guidance of Functional Equivalence Theory[J]. International Journal of Education and Management,2018,3(2).&lt;br /&gt;
&lt;br /&gt;
[3]李琳琳. 功能对等翻译理论与关联翻译理论比较研究[D].辽宁师范大学,2006.&lt;br /&gt;
&lt;br /&gt;
[4]赵娟廷. 汉韩公文语体对比研究[D].复旦大学,2003. &lt;br /&gt;
&lt;br /&gt;
[5]周萱. 《中国共产党怎样解决民族问题》（节选）中韩翻译报告[D].青岛大学,2017.&lt;br /&gt;
&lt;br /&gt;
[6]张利军. 《教学的游戏性研究》的汉日翻译实践报告[D].广西师范大学,2019.&lt;br /&gt;
&lt;br /&gt;
[7]栾亚琼. 《2015年山东省政府工作报告》汉日翻译实践报告[D].曲阜师范大学,2016.&lt;br /&gt;
&lt;br /&gt;
[8]占丽华. 源流与演变—日本地方公文书馆发展路径研究[D].山东大学,2020.&lt;br /&gt;
&lt;br /&gt;
[9]任清萍. 功能翻译理论视角下政府工作报告日译研究[D].外交学院,2020.&lt;br /&gt;
&lt;br /&gt;
[10]孙慧. 产业竞争力与区域经济增长[D].苏州大学,2006.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
--[[User:Wu Kai|Wu Kai]] ([[User talk:Wu Kai|talk]]) 04:45, 2 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
==The Translation Process and Methods of Translating English Long Sentences	周艺文	Zhou Yiwen==&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
===Abstract===&lt;br /&gt;
===Key words===&lt;br /&gt;
===摘要===&lt;br /&gt;
===关键词===&lt;br /&gt;
===Introduction===&lt;br /&gt;
&lt;br /&gt;
===Conclusion===&lt;br /&gt;
===Bibliography===&lt;br /&gt;
&lt;br /&gt;
==Chinese-English Translation of News Headlines From the Perspective of Skopos Theory	张维虹	Zhang Weihong==&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
==='''Abstract'''===&lt;br /&gt;
&lt;br /&gt;
==='''key words'''===&lt;br /&gt;
&lt;br /&gt;
News headlines; Skopos theory; translation&lt;br /&gt;
&lt;br /&gt;
==='''摘要'''===&lt;br /&gt;
社会的飞速发展使得人们的阅读方式发生了巨大的改变, 通过阅 读新闻标题来获取消息和了解事实, 成为大多数人的不二之选, 新闻标题 翻译也就越来越具有其必要性。 新闻标题的重要性堪比一部使人印象深刻 的电影名, 一则响亮的广告语, 一本撩人心弦的书名。 较之娱乐新闻, 时 政新闻略显严肃客观, 又因当今科技物质的飞速发展, 时政新闻的点阅数 量明显少于以消遣娱乐为目的的娱乐新闻。 怎样提高时政新闻的阅读量, 怎样使得时政新闻如同娱乐新闻一般深受广大人民的喜爱, 这不仅是新闻 编辑者们的挑战, 也是新闻翻译界的难题。 本文以德国功能派翻译目的论 为理论指导, 结合新闻学及编辑学的相关学科知识, 通过对中英时政新闻 标题的对比分析, 旨在对时政新闻标题的汉译英提出翻译策略, 让国外读者正确客观无误的了解中国的时事政策。&lt;br /&gt;
&lt;br /&gt;
==='''关键字'''===&lt;br /&gt;
&lt;br /&gt;
===Introduction===&lt;br /&gt;
&lt;br /&gt;
===Skopos Theory===&lt;br /&gt;
&lt;br /&gt;
===Features of News Headlines===&lt;br /&gt;
&lt;br /&gt;
===Chinese-English Translation Methods of News Headlines from the Skopos Perspective===&lt;br /&gt;
&lt;br /&gt;
===Conclusion===&lt;br /&gt;
&lt;br /&gt;
===Bibliography===&lt;/div&gt;</summary>
		<author><name>Song Jianru</name></author>
	</entry>
	<entry>
		<id>https://bou.de/u/index.php?title=History_of_Translation_Studies_8&amp;diff=107913</id>
		<title>History of Translation Studies 8</title>
		<link rel="alternate" type="text/html" href="https://bou.de/u/index.php?title=History_of_Translation_Studies_8&amp;diff=107913"/>
		<updated>2020-12-06T14:32:09Z</updated>

		<summary type="html">&lt;p&gt;Song Jianru: /* Abstract */&lt;/p&gt;
&lt;hr /&gt;
&lt;div&gt;这里是《翻译学史》的书稿第八部分(Part 8)。麻烦各位同学看一下已经存在的章回（样品），自己再加进去新的一个章回（就是你们的学期论文）。请也帮助同学们把他们的论文改正。这样多次修改，大家的论文会越来越好。&lt;br /&gt;
&lt;br /&gt;
学期论文（结合学期所学，撰写一篇5000以上单词的英文论文，按照专业杂志的格式，题目、摘要、关键词和参考文摘需要英中，文章英）。学期论文成绩占70%，平时成绩（含课堂表现、展示及作业）占30%。&lt;br /&gt;
&lt;br /&gt;
*Link back to course homepage: [https://bou.de/u/wiki/Introduction_to_Translation_Studies Course Homepage Intro. to TS]&lt;br /&gt;
*Link back to the final exam paper section of the course homepage: [https://bou.de/u/wiki/Introduction_to_Translation_Studies#Final_Exam_Papers Final Exam Papers]&lt;br /&gt;
*Link to other parts of the final exam papers: [https://bou.de/u/index.php?title=History_of_Translation_Studies_1 Final Exam Papers Part 1]&lt;br /&gt;
*Link to other parts of the final exam papers: [https://bou.de/u/index.php?title=History_of_Translation_Studies_2 Final Exam Papers Part 2]&lt;br /&gt;
*Link to other parts of the final exam papers: [https://bou.de/u/index.php?title=History_of_Translation_Studies_3 Final Exam Papers Part 3]&lt;br /&gt;
*Link to other parts of the final exam papers: [https://bou.de/u/index.php?title=History_of_Translation_Studies_4 Final Exam Papers Part 4]&lt;br /&gt;
*Link to other parts of the final exam papers: [https://bou.de/u/index.php?title=History_of_Translation_Studies_5 Final Exam Papers Part 5]&lt;br /&gt;
*Link to other parts of the final exam papers: [https://bou.de/u/index.php?title=History_of_Translation_Studies_6 Final Exam Papers Part 6]&lt;br /&gt;
*Link to other parts of the final exam papers: [https://bou.de/u/index.php?title=History_of_Translation_Studies_7 Final Exam Papers Part 7]&lt;br /&gt;
*Link to other parts of the final exam papers: [https://bou.de/u/index.php?title=History_of_Translation_Studies_8 Final Exam Papers Part 8]&lt;br /&gt;
*Link to other parts of the final exam papers: [https://bou.de/u/index.php?title=History_of_Translation_Studies_9 Final Exam Papers Part 9]&lt;br /&gt;
*Link to other parts of the final exam papers: [https://bou.de/u/index.php?title=History_of_Translation_Studies_10 Final Exam Papers Part 10]&lt;br /&gt;
&lt;br /&gt;
='''History of Translation'''=&lt;br /&gt;
== Study on Brand Name Translation from the Perspective of Cultural Difference	谭鑫洁	Tan Xinjie==&lt;br /&gt;
&lt;br /&gt;
==='''Abstract'''===&lt;br /&gt;
&lt;br /&gt;
== Abstract: ==&lt;br /&gt;
&lt;br /&gt;
==='''key words'''===&lt;br /&gt;
&lt;br /&gt;
==='''摘要'''===&lt;br /&gt;
&lt;br /&gt;
==='''关键字'''===&lt;br /&gt;
&lt;br /&gt;
===Complete transcript of the content of the original work ===&lt;br /&gt;
&lt;br /&gt;
===Same style and manner of writing===&lt;br /&gt;
&lt;br /&gt;
===Equivalent effect===&lt;br /&gt;
&lt;br /&gt;
===Discussion===&lt;br /&gt;
&lt;br /&gt;
===Conclusion===&lt;br /&gt;
&lt;br /&gt;
===Bibliography===&lt;br /&gt;
&lt;br /&gt;
==A Comparative Study on the Translation History in Western Countries and China	王煜	Wang Yu==&lt;br /&gt;
===摘要===&lt;br /&gt;
翻译是一种跨文化交流活动，翻译活动加快了人类文明发展步伐，减少了人们之间的沟通障碍。随着时代的变迁，中国和西方国家逐渐形成了各自的翻译史，翻译史的研究是学科建设的一项基础工程。尽管中西方翻译史在某些方面有所差异，但却都有着各自的独特性，并对人类的翻译活动产生了巨大的影响与贡献。文章将以中国和西方国家为主要对象，从二者翻译史起始，包含阶段和各阶段代表人物，影响意义，差异性出发，对二者的翻译史进行简略的对比研究。&lt;br /&gt;
&lt;br /&gt;
===关键词===&lt;br /&gt;
翻译史；西方翻译史；中国翻译史&lt;br /&gt;
&lt;br /&gt;
===Abstract===&lt;br /&gt;
Translation is an intercultural communication activity, translation activities have accelerated the development of human civilization and reduced the communication barriers between people of different countries or nations. With time goes by, things are in a state of flux and both the western and eastern countries have gradually formed their own history of translation, the study of translation history is a basic project of discipline construction. Though there are many differences among the translation histories of western countries and China, the two kinds of translation histories are still shining their own bright unique lights and have an indelible influence and contribution to human translation activities. This paper intends to make a brief comparison of translation histories between western countries and China, which includes the origins, the stages, the representatives of the stages, the significance and influence as well as the differences of the two translation histories.&lt;br /&gt;
&lt;br /&gt;
===Keywords===&lt;br /&gt;
Translation history; Translation history of the West; Translation history of China &lt;br /&gt;
&lt;br /&gt;
===1. Introduction===&lt;br /&gt;
No matter in China or in the west, translation plays an important role in knowledge-spreading. As an indispensable part of translatology, the study of translation history has made a great influence on translation activities, it has gradually become the focus of the literary and historical circles in recent years. Translation activities can be traced back to the origin of language, and the history of translation is almost as old as language itself, it is closely related to the changes in today's society. Since the 1980s, the translation studies in the mainland of China have made remarkable progress in the curriculum design of Chinese and western translation history and the compilation of related works. In the early 1980s and 1990s, there were many related works came out one after another including A brief history of Chinese Translation: the part before the May 4th Movement（《中国翻译简史-“五四”运动以前部分》） written by Zuyi Ma, A historical manuscript of Chinese translated literature （《中国翻译文学史稿》）edited by Yugang Chen, and also the A Short History of Translation in the West（《西方翻译简史》） the author of which is Zaixi Tan. Thus, it opens the gate for the compilation of Chinese and western translation history works.（谢天振，2009） The history of western translation can be divided into five stages while the Chinese study of translation has a glorious history of more than two thousand years and has experienced five climaxes. Through the comparative study of Chinese and western translation history, it will help us to have a deeper understanding of Chinese and western translation activities and thus to gather a general full view of it, which will be a positive and meaningful attempt.&lt;br /&gt;
&lt;br /&gt;
2. The Translation History of Western Countries&lt;br /&gt;
Western translation activities are rich in a long history and a multiyear span. The history of western translation can be roughly divided into three stages: the traditional stage, the modern times and the contemporary. More specifically, it can be grouped into the ancient times, the middle ages, the Renaissance period and the time after WWⅡ.&lt;br /&gt;
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2.1 The First Stage: Translation in the Ancient Times&lt;br /&gt;
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The translation history of western countries first began in the the 3rd century B.C. &amp;quot;In a broad sense, the earliest translation in the west is the Old Testament translated by 72 Jewish scholars in Alexandria, ancient Egypt, between the 3rd and 2nd centuries BC; Strictly speaking, the first western translation is the Greek Homer Epic Odyssey translated by Andronicus in Rome in the middle of the third century BC.”(谭载喜,2000) At the end of the 4th BC, during this time, the Greece began to decay and the Roman had became stronger and stronger with its military expansion. The expansion of the Roman Empire brought it into contact with the splendid Greek culture, therefore, the Romans not only conquered the Greek city, but also inherited and developed the brilliant achievements of ancient Greek culture, and then created a  splendid cultural of its own era after Greece. So soon began a large scale translation activities, the activity of translating and introducing Greek classical works probably began in this period.（刘军平,2009）Many famous translation theorists began to make their presences, namely Cicero, Quentin, Jerome and so on, also the famous Roman litterateurs like Andronicus, Naevius, Ennius, these great writers used Latin language to translate or adapt Homer’s epic or other Greece dramas. Started the translation tradition and promoted the birth and development of Roman literature.&lt;br /&gt;
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2.2 The Second Stage: Translation in the Middle Ages (4th-6th)&lt;br /&gt;
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2.3 The Third Stage: Translation in the Middle Ages (11th-12th)&lt;br /&gt;
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2.4 The Fourth Stage: Translation in the Renaissance Period&lt;br /&gt;
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2.5 The Fifth Stage: Translation after WWⅡ&lt;br /&gt;
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3. The Translation History of China--[[User:Wang Yu|Wang Yu]] ([[User talk:Wang Yu|talk]]) 08:38, 30 November 2020 (UTC)--[[User:Wang Yu|Wang Yu]] ([[User talk:Wang Yu|talk]]) 08:43, 30 November 2020 (UTC)&lt;br /&gt;
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==The Implications of Luther's Translation Principles amid Renaissance for Modern Literature Translation	方洁玲	Fang Jieling==&lt;br /&gt;
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==Translation manipulated by ideology	许静	Xu Jing==&lt;br /&gt;
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==Comparison between the History of Chinese and Western Translation   周书尧   Zhou Shuyao==&lt;br /&gt;
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'''Abstract:'''There has a long history and culture Chinese and Western translation, and translation plays an indelible role in promoting cross-cultural communication and cultural communication. This article first discusses the history of translation in China from  four stages , then discusses the five stages of western translation history , and finally compares and analyzes the similarities and differences between Chinese and Western translation histories, and puts forward some of the author's own views.&lt;br /&gt;
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'''Key words:'''The history of Chinese,The history of Western,the stages of  translation history,comparison&lt;br /&gt;
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'''摘要：'''中西方翻译历史文化源远流长，翻译在促进跨文化交流和文化传播上承担着不可磨灭的作用。本文首先从中国的四次翻译高潮论述中国的翻译史，再从西方的五次翻译高潮探讨西方的翻译史，最后对中西方翻译史的异同进行对比分析，提出一些笔者自己的看法。&lt;br /&gt;
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'''关键词：'''中国翻译史，西方翻译史，翻译高潮，对比&lt;br /&gt;
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'''Ⅰ.Introduction'''&lt;br /&gt;
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Since the 1980s, the Chinese translation studies community has made remarkable progress in the establishment of Chinese and Western translation history courses and the compilation of related works.In the 1980s and early 1990s,A Brief Introduction to the History of Translation in China from Ma Zuyi and other books of Chen Yugang and Tan Zaixi were published one after another,which raised the curtain for the compilation of Chinese and Western translation history works by the domestic translation scholars.The four stages in the history of Chinese translation have promoted the development of Chinese history, culture and society to varying degrees.The same as our country, Western translation has an age-old history.In a sense, the development of Western European civilization should first be attributed to the translators.The five stages in the history of European translation have promoted the exchanges of literature, art, science and trade between countries, and to a certain extent promoted the development of Chinese translation.In fact, when we examine the development trajectory of Chinese and Western translation activities and the evolution of translation concepts together, we find that there are some similarities between Chinese translation and Western translation.Especially in the evolution of Chinese and Western translation concepts, the two have very similar evolution laws.&lt;br /&gt;
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='''Literal and Free Translation'''=&lt;br /&gt;
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==Rethink Literal and Free Translation	彭永亮	Peng Yongliang==&lt;br /&gt;
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==On the Chinese Translation of A Pale View of Hills from House’s Translation Quality Assessment Model	宋建茹	Song Jianru==&lt;br /&gt;
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===Abstract===&lt;br /&gt;
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Translation quality assessment is an integral part of translation criticism. The first TQA model with comprehensive theories and practices Juliane House represented provides a significant reference for translation exercises. ''A Pale View of Hills'', as the first work of Kazuo Ishiguro, possesses a great research value on its narrative styles by virtue of memory and topics about migrants. As of 2011 when its Chinese translation was published, no scholar has evaluated it. This study applies House’s TQA model to assess the Chinese translation of ''A Pale View of Hills'' with qualitative and quantitative analysis from lexical, syntactic and textual aspects, in a bid to examine validity of the model on novel translation, which turns out that it is an overt and high-quality translation.&lt;br /&gt;
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== Key Words ==&lt;br /&gt;
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''A Pale View of Hills''; House’s TQA model; novel translation&lt;br /&gt;
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== 摘 要 ==&lt;br /&gt;
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翻译质量评估是翻译批评的核心课题。朱莉安·豪斯提出的第一个有完整的理论和实践的翻译质量评估模式，为翻译实践提供了重要参考。《远山淡影》是石黑一雄的处女作，其依托回忆的叙事风格和移民主题具有很高的研究价值。《远山淡影》中译本自2011年出版至今，尚未有学者对其进行评估研究。本文运用豪斯的翻译质量评估模式，采用定性与定量相结合的分析方式，从语场、语旨、语式等三个层面对原文和译文进行分析，开展《远山淡影》中译本的翻译质量评估研究，为豪斯翻译质量评估模式对小说翻译的运用进行进一步的探索和补充。通过分析，得出《远山淡影》中译本为显性翻译，翻译质量较高。&lt;br /&gt;
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== 关键词 ==&lt;br /&gt;
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《远山淡影》；豪斯质量评估模式；小说翻译&lt;br /&gt;
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==On the Relationship among Literal Translation, Free Translation, Domestication and Foreignization	韦洪朗	Wei Honglang==&lt;br /&gt;
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==On Chinese-to-English Translation of The Summer Palace from the Perspective of Functionalist Approaches to Translation	魏亚菲	Wei Yafei==&lt;br /&gt;
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===Abstract===&lt;br /&gt;
Abstract&lt;br /&gt;
The Chinese-English translation of tourist texts, as a window for the external publicity of national history and culture, plays an important role in promoting the development of local tourism. The Summer Palace is well known for its large and priceless collection of cultural relics, which is among the first group of historical and cultural heritage sites in China to be placed under special state protection. &lt;br /&gt;
Based on the functionalist approach and the skopos rule, this paper discusses the problems existing in the translation of scenic spots in the Summer Palace from the perspectives of garden culture, historical culture and religious culture. Skopos theory holds that translation depends on communicative purpose. To achieve this goal, translators can choose different translation strategies. It is believed that the purpose of Chinese-English translation of scenic spots is to attract target readers and promote traditional culture. Therefore, when translating tourism materials, it is necessary not only to express the local cultural connotation, but also to consider the cross-cultural factors. The Chinese-English translation of the introduction of scenic spots guided by functionalist approach can make English readers have expectations of scenic spots and understand the cultural connotation of scenic spots. This paper aims to better promote the development and communication of Chinese culture and improve the level of tourism text translation in China by relying on the theory of functionalist approach.&lt;br /&gt;
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===Key words===&lt;br /&gt;
Key Words: functionalist approach，the Summer Palace，translation strategies&lt;br /&gt;
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===摘要===&lt;br /&gt;
摘 要&lt;br /&gt;
旅游资料的英译作为民族历史文化对外宣传的一道窗口,对地方旅游业的发展有着不可低估的促进作用。颐和园作为中国著名的皇家园林，具有浓厚的中国园林特色及优美的风景，同时也蕴涵着深厚文化内涵。&lt;br /&gt;
本篇旅游文本英译的分析以功能派翻译理论作为理论指导，以目的法则为主要原则，从颐和园的园林文化、历史文化和宗教文化三个角度出发对颐和园景点英译中存在的问题进行探讨。目的论认为译文取决于翻译目的，这个目的通常指的是交际目的。为达到这个目的，译者可以选择不同的翻译策略。也就是说，译者的翻译策略必须由译文的预期目的或功能决定，即所谓的“目的法则”。笔者认为景点介绍的汉英翻译的目的就是吸引译文读者以及弘扬传统文化，因此在翻译旅游资料的时候不仅要把当地的文化内涵表达出来，而且要考虑到跨文化的因素。而以功能派翻译理论为指导的景点介绍的汉英翻译，可以使英语读者通过译文产生对旅游景点的期盼，以及对景点文化内涵的理解。以颐和园景区内的翻译文本为例本，依托功能翻译理论，通过“发现问题，指出问题，解决问题”，以期更好地促进中国文化的传播与交流，提高我国现阶段旅游文本翻译的水平。&lt;br /&gt;
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===关键字===&lt;br /&gt;
关键词：功能翻译；颐和园；翻译目的；翻译策略&lt;br /&gt;
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===Introduction===&lt;br /&gt;
  Throughout the translation history at home and abroad, the literal translation and free translation have always been a heat discussion in the translation circles. Someone absolutely approve literal translation and demean free translation, even pursue a dead translation, which creates an translated text difficult to understand. While some other people absolutely agree with free translation even advocate random acts, which means a random deletion in the translation practices and creates anther entirely different text. However, there are also a number of translators who have recognized that these two translation methods are not totally opposite. So they adopt a compromise and flexible way. That means they will choose the most appropriate one depending on the text demanding. Therefore, we can deduce from it that this eclectic translation is consistent with the Contradiction view of Unity of Opposite in Materialist Dialectics. In fact, literal translation and free translation are right a set of contradictions which are both opposite and unified. They complement each other into an integral one.&lt;br /&gt;
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===Table of Contents===&lt;br /&gt;
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Table of Contents&lt;br /&gt;
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Outline&lt;br /&gt;
1.Introduction&lt;br /&gt;
2. Studies on Functionalist Approach&lt;br /&gt;
2.1 The Viewpoint of Functionalist Approach&lt;br /&gt;
2.1.1 Reiss’s Text Typology&lt;br /&gt;
2.1.2 Vermeer’s Skopos Theory&lt;br /&gt;
2.1.3 Manttari’s Theory of Translational Action&lt;br /&gt;
2.1.4 Nord’s Theory of Function plus Loyalty&lt;br /&gt;
2.2 The Application of Functionalist Approach &lt;br /&gt;
3.C-E Translation of the Summer Palace under Functionalist Approach&lt;br /&gt;
3.1 Garden Culture&lt;br /&gt;
3.2 Historical Culture &lt;br /&gt;
3.3 Religious Culture &lt;br /&gt;
4. Conclusion&lt;br /&gt;
References&lt;br /&gt;
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===Outline===&lt;br /&gt;
Outline&lt;br /&gt;
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Thesis Statement: Based on the main viewpoints of functionalist approaches to translation, this paper aims to give an analysis to C-E translation of the Summer Palace from cultural, historical and religious aspects, hoping to provide some translation strategies for other cultural attractions.&lt;br /&gt;
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1. Introduction&lt;br /&gt;
2. Studies on Functionalist Approaches&lt;br /&gt;
2.1 The Viewpoint of Functionalist Approach&lt;br /&gt;
2.1 Reiss’s Text Typology&lt;br /&gt;
2.2 Vermeer’s Skopos Theory&lt;br /&gt;
2.3 Manttari’s Theory of Translational Action&lt;br /&gt;
2.4 Nord’s Theory of Function plus Loyalty&lt;br /&gt;
2.2 The Application of Functionalist Approach&lt;br /&gt;
3. C-E Translation of the Summer Palace under Functionalist Approach&lt;br /&gt;
3.1 Garden Culture&lt;br /&gt;
3.2 Historical Culture&lt;br /&gt;
3.3 Religious Culture&lt;br /&gt;
4. Conclusion&lt;br /&gt;
&lt;br /&gt;
===1. Introduction ===&lt;br /&gt;
1. Introduction   &lt;br /&gt;
The Chinese-English translation of tourist texts is a bridge to spread the culture of classical Chinese gardens, so the accuracy of it has a direct impact on foreigners' understanding of the specific history and culture. &lt;br /&gt;
Functionalist approach has made a pioneering contribution to the translation of non-literary genres. Functional translation theory emphasizes the function of discourse, and believes that different types of discourse have different functions, so translators should choose appropriate translation strategies according to the type of source text and corresponding functions. Functionalist approach is to take the &amp;quot;skopos rule&amp;quot; as the highest standard, and any translation activity is a purposeful behavior. The ultimate goal and main function of scenic spot translation is to help people understand the main content of the scenic spot.&lt;br /&gt;
As a window for the publicity of national history and culture, the Chinese-to-English translation of tourist texts plays an important role in promoting the development of local tourism. Well known for its large and priceless collection of cultural relics, the Summer Palace was among the first group of historical and cultural heritage sites in China to be placed under special state protection. Based on the viewpoints of functionalist approach to translation, this paper aims to analyze C-E translation of the Summer Palace from cultural, historical and religious aspects, hoping to provide some translation strategies for other cultural attractions. &lt;br /&gt;
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===2. Studies on Functionalist Approaches===&lt;br /&gt;
2. Studies on Functionalist Approaches&lt;br /&gt;
Functionalism is a theory that advocates reader-centered translation, emphasizing the functions of texts and highlighting the communicative effects. It is believed that many unnecessary mistakes can be avoided and better results can be achieved by applying functionalist approach in Chinese-English translation of tourist text. &lt;br /&gt;
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===2.1 The Viewpoint of Functionalist Approaches===&lt;br /&gt;
2.1 The Viewpoint of Functionalist Approaches&lt;br /&gt;
Functionalist Translation Theory, also known as German Functionalist Translation Theory, was proposed by German scholars in the 1970s. It includes four main theories: Katharina Reiss’s Text Typology, Hans Vermeer’s Skopos Theory, Justa Holtz Manttari’s Theory of Translational Action and Christiane Nord’s Theory of Function plus Loyalty. This chapter aims to present the main ideas of this theory.&lt;br /&gt;
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===2.1.1 Reiss’s Text Typology===&lt;br /&gt;
2.1.1 Reiss’s Text Typology&lt;br /&gt;
In 1971, Reiss in her book Possibilities and Limitation of Translation Criticism first made text function as a standard of translation criticism, namelyevaluate the translated text from the relationship between the functions of the original and the translated text. She insists on the original-centered equivalence theory and holds the view that the ideal translation is to achieve the equivalence between the target text and the source text in terms of ideological content, linguistic form and communicative function. However, translation practice makes her realize that it’s difficult to achieve equivalence sometimes and that sometimes equivalence cannot be pursued. Because of the particularity of translation requirements, the function of the target text is not always the same as that of the source text. Therefore, the translator should give priority to the functional role of the target text rather than the principle of equivalence.&lt;br /&gt;
Reiss believes that in the normal situation the type of text decides the translator’s choice of a proper translation method (Reiss, 2004). Therefore, she divides text into four types: content-focused text, form-focused text, appeal-focused text and audio-media text. Content-focused text, also known as informative text, includes news reports, commercial correspondence, operating instructions, official documents, patent&lt;br /&gt;
specifications, essays, treaties, etc. For this text, the main function is to convey information revealed in language itself to readers. The emphasis is on content and topic, so the choice of language and style should serve this function. If both the source text and target text belong to informative text, the translator should represent the content and information of source text accurately and completely (Reiss, 2004)&lt;br /&gt;
Form-focused text, also known as expressive text, refers to literary works such as novels, poems and so on. “Distinct from ‘content’, which deals with what the author says, ‘form’ is concerned with how an author expresses himself” (Reiss, 2004). For expressive texts, information is only a supplement. What is dominant is the aesthetic factor. When translating such texts, the translator should pay attention to the aesthetic and artistic forms of the original text and to the differences between two cultural habits, trying to achieve the same effect as the source text. In a word, in a form-focused text the linguistic form of the source text determines the form in the target language (Reiss, 2004).&lt;br /&gt;
Appeal-focused text, also known as operative text, mainly includes notice, instruction manual, advertisement, publicity manual and so on. For operative texts, the primary task for the translator is to provoke a particular reaction on the hearers or readers to incite them to engage in specific actions, while content and form are subordinate. Therefore, to achieve the same effect, the translator need to change the content and stylistic features of the original text, try to keep the potential influential factors of the original text and seek functional equivalence (Reiss, 2004: 38-43). Audio-medial text, also known as multi-media text, refers to radio and television scripts, such as radio newscasts and reports, topical surveys and dramatic productions.&lt;br /&gt;
It is distinctive in its dependence on non-linguistic media and on graphic, acoustic, and visual kinds of expression. Only in combination with them can the whole complex literary form realize its full potential (Reiss, 2004). In conclusion, different texts determine different translation focuses and methods. In many cases, however, a text may have more than one function, which means that translators should integrate different translation strategies skillfully to achieve different functions of texts.&lt;br /&gt;
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===2.1.2 Vermeer’s Skopos Theory===&lt;br /&gt;
2.1.2 Vermeer’s Skopos Theory&lt;br /&gt;
Reiss’s student Vermeer, who broke the limitation of the theory of equivalent and took skopos to be the first criterion of translation process  proposed the key theory: Skopostheorie. According to Skopos Theory, when translating a text, the translator needs to consider the purpose of translation first and then choose the translation method according to the purpose, which means “the end justifies the means” (Nord, 2001). Vermeer believes that translation, like other human actions, is also a purposeful act. Translation often takes place in cultural backgrounds with different customs and values, so translation is not a simple equivalent transformation between languages. Skopos Theory does not focus on achieving the equivalence between the target text and the original text or the perfection of the target text, but on choosing the best translation strategy based on the analysis of the source text and the intended function of the target text. In a word, translation methods and strategies are determined by the intended purpose or function of the target text.&lt;br /&gt;
According to Skopos Theory, the first rule that all translators must follow is the Skopos Rule. Translation purpose can be divided into three categories: (1) the purpose of the translator, such as earning a living; (2) the communicative purpose of the translation, such as instructing the reader; (3) the purpose of using a particular translation method, such as the literal translation according to its structure to illustrate the peculiarities of grammatical structure in a language (Nord, 2001). In general, the communicative purpose is more important than the other two. The communicative purpose is usually determined by the initiator of the translation act, but the translator can take part in deciding. The second rule is the Coherence Rule. Coherence Rule requires that the translation conform to the criterion of intratextual coherence, which means that the translation must be accessible to recipients and meaningful in the target culture and in the communicative environment (Nord, 2001). The third rule is the Fidelity Rule. It means that there should be intertextual coherence between the source text and the target text, which means being faithful to the source text. Nevertheless, the degree and form of faithfulness lie in the target text and the degree that the translator understands the original text. Normally “Intertexual coherence is considered subordinate to intratexual coherence and both are subordinate to the Skopos rule” (Nord, 2001).&lt;br /&gt;
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===2.1.3 Manttari’s Theory of Translational Action===&lt;br /&gt;
2.1.3 Manttari’s Theory of Translational Action&lt;br /&gt;
Following Vermeer, Manttari develops Vermeer’s Skopos Theory and puts forward the Theory of Translational Action. He emphasizes three aspects: the behavior of the translation process, the role of the participants (the initiator, the translator and the target reader, etc.) and the environment (time, place and media) in which the translation process takes places. It views translation as “purpose-driven, outcome-oriented human interaction and construes the process of translation as message-transmitter compounds that involve intercultural transfer” (Mundy, 2001). According to Manttari, translation is “ a complex act to achieve a particular purpose” &lt;br /&gt;
(Nord, 2001). It is not about translating words, sentences or texts but is about guiding the intended cooperation over cultural barriers and promoting functional communication. Cooperation here means “transcultural communication” by Manttari.&lt;br /&gt;
The Theory of Translational Action attaches great importance to providing a functional communicative text for the recipient, a text suitable for the target culture in&lt;br /&gt;
form and style. Functional suitability is determined by the translator. The translator is&lt;br /&gt;
an expert in translation, whose role is to ensure the successful completion of cultural&lt;br /&gt;
transformation. In producing the target text, the analysis of the source text is necessary so that the translator can find out its structural and functional characteristics, which can be described by content and form. The need of the recipient is the decisive&lt;br /&gt;
factor for the target text.&lt;br /&gt;
In short, “the value of Manttari’s work is the placing of translation (or at least the professional non-literary translation which she describes) within its sociocultural&lt;br /&gt;
context, including the interplay between the translator and the initiating institution”&lt;br /&gt;
(Mundy, 2001).&lt;br /&gt;
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===2.1.4 Nord’s Theory of Function plus Loyalty===&lt;br /&gt;
2.1.4 Nord’s Theory of Function plus Loyalty&lt;br /&gt;
Though skopos rule changes the focus of translation from the source language text to the target language text and the target receivers, it has some limitations. One is that different readers have different expectations, and the translation purpose cannot satisfy all the expectations of the target reader. Another is that the translation purpose may sometimes be against the intention of the source language. Therefore, based on the skopos rule, Nord introduces the loyalty principle. The principle of loyalty is a supplementary principle proposed by Nord to make up for the deficiency of skopos rule. According to the explanation of Nord, it is not the relationship between the original text and the target text, nor the equivalence between the original text and the form of the target text, but the consistency between the author of the original text, the initiator of the translation, the translator and the reader of the target text, which is the principle of loyalty. The proposal of the loyalty principle makes up for the mistakes that some radical skopos translators usually make, such as omitting and rewriting, which makes skopos theory more perfect and makes skopos theory more likely to guide the translation of literary works.&lt;br /&gt;
“Function” and “loyalty” are two pillars of Nord’s functionalist approach. “Function” refers to what a text means or is intended to mean from the receiver’s point of view”, while “loyalty” means that “target-text purpose should be compatible with the original author’s intention” (Nord,2001). It emphasizes the interpersonal relationship between the translator, the source-text sender, the target-text addresses and the initiator. Function plus loyalty enables the translator to avoid the limitations of skopos rule and try to achieve a balance between translation purpose and the source-text author’s intention”(Nord,2001). That is to say, when translating the original text, the translator should take into account the readers' cultural background, knowledge level and expectation of the translation, and choose the corresponding translation strategy according to the translation requirements. If the reader wants to read a word-for-word translation of the article, then the translator must meet the reader's requirements, otherwise he must explain to the reader why he chose his own translation method. The translator's job is to weigh two different cultures instead of imposing one culture on another. &lt;br /&gt;
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===2.2The Application of Functionalist Approach to the Tourist Texts.===&lt;br /&gt;
2.2The Application of Functionalist Approach to the Tourist Texts.&lt;br /&gt;
In the 1990s, Functionalist Translation Theory was introduced to China, and since then it has been applied to translation studies by Chinese translation scholars. In his article published in 1995, Zhang Nanfeng briefly introduces Skopos theory to China for the first time, and considers that Skopos theory is referential (Zhang Nanfeng, 1995). German Functionalist Translation Theory, a paper released in1999, is the first article in China which systematically introduces German Functionalist Translation Theory (Zhong Weihe &amp;amp; Zhong Yu, 1999). Based on an overview of Functionalist Translation Theory, Zhang Meifang focuses on introducing Nord’s theory, especially on the detailed analysis of Nord’s principle of loyalty (Zhang Meifang, 2005). Famous domestic scholars, such as Liu Junping (2009), Liu Miqing (2012) and Li Wenge (2004), also introduce this theory in their books. With the rise of Functionalist Translation Theory in China, someone has compared it with other theories. Zhu Haotong compares Skopos Theory with Functional Equivalence Theory to analyze the similarities and differences between them, and further reveals that Functionalist Translation Theory inherits the reasonable part of Nida’s Functional Equivalence Theory, which is an important breakthrough and supplement to solve the problems that Functional Equivalence Theory leaves (Zhu Haotong, 2006). Some scholars also combine theory with translation practice to explore the application of Functionalist Translation Theory to translation practice. Jia Yanli and Wang Hongjun point out that Skopos Theory has its limitations, but it is still of instruction and reference value for non-literary translation texts, such as advertisements and tourism materials (Jia Yanli &amp;amp; Wang Hongjun, 2012). Li Liangchen selects several famous tourist attractions in China to translate the on-site tour-guide commentary into English. Then he improves them under the guidance of Skopos Theory and sends out questionnaires to overseas tourists for further analysis. He argues that the translation of on-site tour-guide commentary which is guided by Skopos Theory is more favorable to conveying information to foreign visitors, to promoting cultural exchanges and to improving the image of China’s tourist destinations (Li Liangchen, 2013). In Pragmatic Translation: Theory &amp;amp; Practice, Wu Feng and He Qingji introduce Functionalist Translation Theory (Wu Feng &amp;amp; He Qingji, 2008) and the characteristics of tourism text and translation skills (Wu Feng &amp;amp; He Qingji, 2008). In this book, they also discuss the controversy over the Chinese name of Functionalist Translation Theory, and holds that “功能派翻译理论” is the most appropriate Chinese translation (Wu Feng &amp;amp; He Qingji, 2008).Based on his own translation practice and under the guidance of Functionalist Translation Theory, Wu Zixuan probes into some special phenomena in the English translation of CNN newsreels. The author believes that in the translation of external publicity, we should not stick to the standard of faithfulness to the original text, but should deal with the original text properly from the perspective of achieving the purpose of translation, such as rewriting, abridging. (Wu Zixuan, 2005).&lt;br /&gt;
Functionalist approach establishes a theoretical system of diversified translation standards dominated by skopos rule. From the definition of Functionalist approach, it can be seen that the advantage of it is that the translator can get rid of the bondage of the original text, study the translation process with &amp;quot;translation purpose&amp;quot; as the starting point, and determine the translation strategies and methods. This can give full play to the translator's own initiative, flexible processing of the original text, in order to achieve the translation of the communicative function. In addition, functionalist approach requires the translation to be examined in the cultural context of the reader. The reader can accept the translation and understand the meaning of the original text through the translation, so the translation can realize the communicative function. On the basis of such advantages, functionalist approach can be used to guide the English translation of garden scenic spots, and the translator can choose a wider range of translation strategies and break out of the constraints of the original text. &lt;br /&gt;
Only by clarifying the purpose of translation can we avoid these limitations in the English translation of garden attractions. When using functionalist approach to guide the English translation of Chinese classical garden scenic spots, it is necessary to flexibly choose translation strategies and methods, give full play to the advantages of skopos theory, and achieve the balance between &amp;quot;principle of purpose&amp;quot; and &amp;quot;principle of fidelity&amp;quot; as far as possible.&lt;br /&gt;
With the deepening of globalization and cross-cultural communication, tourismis becoming a major industry in the 21st century. The development of tourism can not only promote the economic development of a country but also promote the external dissemination of national culture. Therefore, tourism translation deserves attention. Tourism text is a typical informative and operational text, and the language is unique. It is full of gorgeous words, such as four-character expressions, verses, proper nouns and so on.&lt;br /&gt;
Tourism text materials include tourism advertising, tourism brochures, scenic spots signs and so on. In this paper, we focus on the introduction of Chinese gardens’ scenic spots, which is usually colorful in language and rich in literary style. Tourism text translation belongs to applied translation, which should play a series of practical functions to publicize the image and resources of the country or place and attract overseas tourists. Therefore, the translator of tourism text must be clear about the type and function of tourism text, and to grasp the ultimate purpose of the translation. &lt;br /&gt;
On tourism text translation, the communicative purpose of the translation should be placed in a central position. Furthermore, the tourism text has both the information function and the calling function. The information function and the calling function complement each other. Only when the target language readers acquire the expected tourism information and cultural knowledge can the calling function be realized and the purpose of tourism text translation be achieved. With different translation strategies, the translated version should both expressed contains basic information, and make the tourists feel the profound of the Chinese culture from the beautiful scenery. &lt;br /&gt;
Cultural tourism has long been the focus of international tourism, and understanding Chinese culture is the main purpose of inbound tourists, so the translation of tourism texts bears the mission of cultural transmission and cultural publicity. However, due to the great differences between Chinese and English culture and language, there are many difficulties in cultural transmission in tourism text translation. China has a long and splendid history and culture. When introducing the scenic spots of cultural relics and historic sites, we usually associate with many historical figures and stories. These terms are cultural blank for most foreign tourists, but this kind of cultural experience is also the most attractive place for foreign tourists. It is of great importance to pay attention to cultural differences in tourism translation and carry out cultural transmission effectively. Chinese and English languages have different logic views, and Chinese expressions in tourism texts value decoration. English expressions tend to be clear, concise and to the point. For example, Chinese tourism texts often use a four-character lattice, which is symmetrical, while there is no corresponding four-character lattice expression in English. Therefore, in Chinese-English translation of tourism texts with frequent use of four-character phrases, it is necessary to keep in mind the objective principle of functionalist approach and give priority to cultural communication instead of rigidly adhering to form.&lt;br /&gt;
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===3. C-E Translation of the Summer Palace under Functionalist Approach===&lt;br /&gt;
3. C-E Translation of the Summer Palace under Functionalist Approach&lt;br /&gt;
By studying the specific translation strategies made by predecessors, the following steps are also adopted in this paper: first, the translation strategies are determined according to the text type, such as faithful reproduction of the original information or rewriting; Secondly, the translation strategies are determined according to the potential purpose of the translation, such as paraphrasing or deleting poems, generalizing specific expressions and transliterating proper nouns. Thirdly, the translation strategies are defined with the tourists as the center, such as adding logical words, adding explanatory information and using plain English.&lt;br /&gt;
The Summer Palace epitomizes the philosophy and practice of Chinese garden design, which played a key role in the development of this cultural form throughout the east. It is an outstanding expression of the creative art of Chinese landscape garden design, incorporating the works of humankind and nature in a harmonious whole, which was once the most important place of political and diplomatic activity for the supreme rulers of the late Qing dynasty. Based on three aspects of the Summer Palace, namely, garden culture, historical culture and religious culture, this paper discusses the problems existing in the English translation of the scenic spots of the Summer Palace and puts forward corresponding countermeasures under the guidance of the skopos rule of functionalist translation theory.&lt;br /&gt;
&lt;br /&gt;
===3.1 Garden culture.===&lt;br /&gt;
3.1 Garden culture. &lt;br /&gt;
The Summer Palace is a classical garden famous for its magnificence and beauty. There are many temples in the garden, and the green waves of kunming lake ripple. Landscape and humanities complement each other, containing rich natural and cultural information, reflecting the characteristics of Chinese classical gardens. The garden cultural features of the three scenic spots, namely, the hall of clouds, the foxiang pavilion and the Wenchang courtyard, are particularly outstanding. Therefore, this paper takes these three scenic spots as examples to discuss the Chinese-English translation of the introduction of the Summer Palace.&lt;br /&gt;
(1)	排云殿、佛香阁景区是颐和园内建筑布局最完整、建筑形式最丰富的中轴建筑群体，殿、阁、廊、亭、桥、坊、碑等建筑约两万平方米。从临水的云辉玉宇牌坊至排云门、排云殿、德辉殿、佛香阁、众香界、智慧海、层层升高，排列有序，气势巍峨，金碧辉煌，将园林、寺庙和宫殿融为一体。&lt;br /&gt;
Translation：This scenic spot covers an area of 20,000 square meters with an assortment of buildings such as palaces, towers, corridors, pavilions, walkways, bridges, archways and inscribed stone steles. It comprises a well-arranged group of structures, all diverse in style, located in the center of the Summer Palace garden. This complex of structures, ranging from the Glowing Clouds and Holy Land Archway on the waterside, the Gate that Dispels the Clouds, the Hall that Dispels the Clouds, the Hall of Moral Glory, and the Tower of the Fragrance of the Buddha, to the Realm of Popular Fragrance and the Sea of Wisdom Temple, were built in an orderly manner running from the foot of the hill to its top, with gardens, temples and palaces harmoniously integrated into the whole。&lt;br /&gt;
Analysis：As we all know, the design style of ancient Chinese buildings is beautiful with &amp;quot;symmetry&amp;quot;. The &amp;quot;axis&amp;quot; in hall of clouds scenic spot refers to the layout of the Summer Palace from far to near and from top to bottom, which cannot be simply understood as the center. Simply translating &amp;quot;axis&amp;quot; as &amp;quot;center&amp;quot; cannot express accurately the meaning of &amp;quot;symmetry&amp;quot;. Comparatively speaking, &amp;quot;axis&amp;quot; can better reflect the architectural style of the scenic spot.&lt;br /&gt;
(2)	从临水的云辉玉宇牌坊至排云门、排云殿、德辉殿、佛香阁、众香界、智慧海，层层升高，排列有序，气势巍峨，金碧辉煌，将园林、寺庙和宫殿融为一体。&lt;br /&gt;
Translation：These structures，including Glowing Clouds and Holy Land Archway at lake side，the Gate of Dispelling Clouds，the Hall of Dispelling Clouds，the Hall of moral Glory，and the Tower of Buddhist Incense，the Realm of Multitudinous Fragrance and the Sea of Wisdom Temple，were built in an orderly manner ranging up the hill with gardens，temples and palaces harmoniously integrated. This manifests beauty，grace and splendor，reminiscent of the loftingness and grandeur of a once mighty empire.&lt;br /&gt;
Analysis：In terms of the characteristics of language, Chinese emphasizes parataxis and four-word antithesis. When describing and naming scenes, gorgeous words and poetic words are generally chosen in Chinese. But, English emphasizes hypotaxis, on the other hand, puts more emphasis on reproducing the original appearance of things, using simple and natural words and preferring direct description. In sign translation, the English translation pays more attention to accurate, concise and lively. In the above paragraph, &amp;quot;层层升高，排列有序，将园林、寺庙和宫殿融为一体&amp;quot; is an introduction to the architectural features of foxiang pavilion, in order to make tourists have a clear understanding of the overall layout and architectural features of the scenic spot. This information is essential and can be translated into detail. However, &amp;quot;气势巍峨，金碧辉煌&amp;quot; focuses on the subjective description, and its explicit translation needs more complicated words. If this paragraph is translated in detail, it is easy to drag the content and make the key information vague. Therefore, the deletion of the English translation of this sentence will not affect the basic information of the original text.&lt;br /&gt;
(3)	主阁（文昌阁）两层，内供铜铸文昌帝君和仙童、铜骑。文昌阁与万寿山西供武圣的宿云檐象征“文武辅弼”。&lt;br /&gt;
Translation: A bronze statue of the God Wenchang, statues of gaeries, and a bronze steed were placed in the two-story pavilion. This tower is pared with the Tower of Cloud- Retaining Eaves, located to the west of the Longevity Hill, in which a statue of the Martial God was placed. The God Wenchang and the Martial God together symbolize reining of the emperor supported by scholars and warriors.&lt;br /&gt;
Analysis: Two questions arise in Chinese-English translation. First, there are two translations of wenchang pavilion in the translation: pavilion and tower, which appear in the same sign. Two different translations of the same scenic spot name tend to make foreign tourists think that it refers to different scenic spots, which may cause difficulty in understanding. Second, the translation of Wenchang pavilion into &amp;quot;Wenchang Tower&amp;quot; is against the actual architectural characteristics. In fact, the meanings of &amp;quot;pavilion&amp;quot; and &amp;quot;tower&amp;quot; have both similarities and differences. According to the Oxford dictionary, Tower means &amp;quot;a tall narrow building or part of a building, especially of a church or castle&amp;quot;, mainly referring to the tower-shaped part of a building, usually a tall and slender structure, such as the Eiffel Tower. &amp;quot;Pavilion&amp;quot; means &amp;quot;a building that is meant to be more beautiful than usual, built as a shelter in a park or used for concerts and dances&amp;quot;. The top structure of the pavilion usually has rectangles, triangles, hexagons, etc. The common feature of them is that the top is supported by columns without walls. From the external structure of Wenchang pavilion, its bottom is solid and its top is supported by columns. Therefore, the pavilion can accurately reflect the architectural characteristics of Wenchang pavilion, so I think it should be translated as Wenchang pavilion.&lt;br /&gt;
&lt;br /&gt;
===3.2 Historical culture. ===&lt;br /&gt;
3.2 Historical culture. &lt;br /&gt;
The accurate Chinese-English translation of the introduction of the Summer Palace not only enables foreign tourists to understand the characteristics of Chinese gardens, but also enables foreign tourists to understand the historical knowledge of a specific period of China. However, the Chinese-English translation of the Summer Palace still has problems in accurately conveying the historical background of the scenic spots, such as the English translation of Wenchang pavilion scenic spot:&lt;br /&gt;
(4)	此景区始建于清乾隆十五年，一八六零年被英法联军烧毁，光绪时按原样重建。阁结构为八面三层四重檐，通高36.44米，耸立于20米高的石造台基上，气势雄伟，是颐和园全园的构图中心。阁内供奉有铜铸金裹千手观世音菩萨站像。像高五米，重万斤，为明代万历年间所造，在八根贯通全阁上下的承重铁梨木擎天柱的衬托下，美妙庄严，熠熠生辉，有极高的文物和艺术价值。&lt;br /&gt;
Translation: The Wenchang tower was first built in 1750 and rebuilt under Emperor Guangxu after  the Anglo-French Allied Forces builted it down in 1860. The octahedral tower has three stories with four-layered eaves, altogether 36.44 meters high. Standing upright on a 20 meter-high stone foundation, it constitutes the center of the Summer Palace landscape and serves to accentuate its magnificence. A statue of the thousand-handed Guanshiyin Buddha, cast in bronze and gilded with gold, stands inside the tower. The statue, five meters high and five tons in weight, was cast during the reign of Emperor Wanli of the Ming Dynasty. Set off by the eight imposing pillars which support the tower, it glows with beauty, grandeur and brilliance. Its historical, cultural and artistic value can hardly be overstated.&lt;br /&gt;
Analysis: “始建于乾隆十五年”only was translated into “was first built in 1750” and the “光绪年间重建” was translated into “rebuilt under Emperor Guangxu”.The first sentence does not show that 1750 was the fifteenth year of the reign of emperor Qianlong, and the second sentence does not give foreign visitors the exact date of the reign of emperor Guangxu. The change of time concept and the disunity of expression easily make foreign tourists feel confused. Therefore, the translation of the time and the historical dynasties should be accurate and meticulous, and the supplementary method should be used to not only describe the dynasties clearly, but also supplement the corresponding years, so as to achieve the standardization of the translation. In this way, foreign tourists can not only be clear about the time of the event, but also understand the Chinese historical dynasties. Consider as follows: the Wenchang Pavilion was first built in 1750 during Emperor Qianlong’s reign（1735- 1795）and rebuilt in 1886 under Emperor Guangxu（1875- 1908）after the Anglo- French Allied Forces burned it down in 1860.&lt;br /&gt;
&lt;br /&gt;
===3.3 Religious culture. ===&lt;br /&gt;
3.3 Religious culture. &lt;br /&gt;
Many scenic spots in the Summer Palace have a strong buddhist atmosphere. While visiting the scenic spots, foreign tourists can understand the profound buddhist culture. Wenchang pavilion in the Summer Palace is the representative of Chinese religious culture.&lt;br /&gt;
(5)	主阁两层，内供铜铸文昌帝君和仙童、铜特。文昌阁与万寿山西供武圣的宿云檐象征“文武辅弼”。&lt;br /&gt;
Translation: A bronze statue of the god，Wenchang，and statues of two followers，the celestial boy，and the bronze steed，were placed in the two- storey pavilion. This tower is pared with the tower of Cloud- Retaining Eaves，located to the west of the Longevity Hill，in which a statue of the Martial God was placed. The two towers symbolize the support by both scholars and warriors to the ruling emperor.&lt;br /&gt;
Analysis: It is well known that westerners believe in theism, which refers to god as supreme . In Chinese religious culture, people believe in atheism and do not believe in the existence of god. Therefore, it is inappropriate to translate &amp;quot;文昌帝军&amp;quot; and &amp;quot;武圣&amp;quot; into &amp;quot;the god, Wenchang&amp;quot; and &amp;quot;the Martial god&amp;quot; in the translation. In fact, the &amp;quot;文昌帝军&amp;quot; was Zhang yu, an emperor of Shu of Ning kang (374). And &amp;quot;武圣&amp;quot; refers to Guan yu in history. Therefore, the simple translation of  &amp;quot;God&amp;quot; is not in line with the traditional Chinese culture, which will not only cause western tourists to misunderstand that Chinese religious tradition also believes in God, but also fail to convey Chinese historical allusions and relevant historical figures. In contrast, if &amp;quot;文昌帝军&amp;quot; is translated as &amp;quot;the emperor, Wenchang&amp;quot; and &amp;quot;武圣&amp;quot; is translated as &amp;quot;the Martial Master (Guanyu)&amp;quot;, it can more faithfully convey the history and religious culture contained in the source language. &lt;br /&gt;
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===4. Conclusion===&lt;br /&gt;
4. Conclusion&lt;br /&gt;
To sum up, Under the guidance of the skopos rule of functionalist translation theory, translators should have a cross-cultural awareness, fully understand the reading psychology and cultural appreciation needs of target language readers, and use effective translation strategies and methods to achieve the purpose of tourism text translation. Functionalist approach has made a pioneering contribution to the translation of non-literary genres. Functional translation effectively eliminates the disadvantages of traditional word-for-word translation, improves the efficiency of translation, and helps readers to grasp the meaning of the original text.&lt;br /&gt;
 The importance of the translation of the Summer Palace lies in the profound garden culture, historical culture and religious culture. The English translation is not only helpful for international friends to know more about the garden characteristics of the Summer Palace, but also helpful for spreading the long history and profound culture of China. In order to attract target readers and promote traditional Chinese culture, it is not only necessary to carefully explore Chinese culture and history, but also to use the fuctionalist approach appropriately. &lt;br /&gt;
Translation is a complicated process. Functionalist approach stresses the function of the discourse, the purpose of translation. In the practice of translation, if the translator can get rid of the bondage of the original equivalence, actively playing to subjective initiative, fully understanding the original text, depending on the purpose of discourse and adopting different translation strategies, the effect and readability of translation can be improved.&lt;br /&gt;
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===References===&lt;br /&gt;
References&lt;br /&gt;
Hans Vermmer, “Skopos and Commission in Translation Action”, in the Translation Studies Reader,ed. Chesterman, London and Network:Routledge,p.221-232. 2000.   &lt;br /&gt;
Munday, Jeremy. Introducing Translation Studies: Theories and Applications. Routledge publishing.2001.&lt;br /&gt;
Mason, “Textual Practices and Audience Design: and Interactive View of the Tourist Brrochure”. In Navarro et al.(eds.). Pragmatics at Work: The Translation of Tourist Literature. Bern: Perter Lang. 157-176.2004.&lt;br /&gt;
Nord, Text Analysis in Translation: Theory, Methodology and Didactic Application of a Model for Translation-Oriented Text Analysis. Beijing: Foreign Language Teaching and Research Press. 2006.&lt;br /&gt;
Nord, Translating as a purposeful activity. Shanghai: SFLE PRESS, 2001:27,30,32,65,245.&lt;br /&gt;
Reiss, Katharina. Translation Criticism: The Potentials &amp;amp; Limitations. Shanghai Foreign Language Education Press. Shanghai. 2004.&lt;br /&gt;
Venuti, Lawrence. The Translator’s Invisibility: A History Translation. Routledge.1995.&lt;br /&gt;
方梦之、毛忠明， 英汉—汉英应用翻译教程，上海: 上海外语教育出版社，2004.&lt;br /&gt;
金惠康，跨文化旅游翻译，中国对外翻译出版公司，2004.  &lt;br /&gt;
贾文波，应用翻译功能论，北京：中国对外翻译出版公司，2004&lt;br /&gt;
孙艺风，文化翻译的困惑与挑战，中国翻译，2016年第3期.  &lt;br /&gt;
王宏志，翻译与创作，北京大学出版社，2000.&lt;br /&gt;
吴自选，德国功能派翻译理论与 CNN 新闻短片英译，中国科技翻译, 2005.&lt;br /&gt;
谢天振，当代国外翻译理论，天津：南开大学出版社，2005.&lt;br /&gt;
张南峰，走出死胡同建立翻译学. 中国翻译, 1995.&lt;br /&gt;
仲伟合，钟钰. 德国的功能派翻译理论. 中国翻译, 1999.&lt;br /&gt;
张美芳，功能加忠诚—介评克里丝汀· 诺德的功能翻译理论.上海外国语大学学报, 2005.&lt;br /&gt;
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==Contrast between Literal Translation and Free Translation	张雪仪	Zhang Xueyi==&lt;br /&gt;
'''Abstract：'''&lt;br /&gt;
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The contrast between literal translation and free translation has always been the most discussed problem in translation studies. To compare these two translation methods, the basic point is to understand the purpose of translation. The ultimate goal of translation is to help different cultures communicate better, so that people who speak different languages can understand each other’s cultures. Due to the differences in social, historical and cultural backgrounds between languages, how to choose between the two translation strategies of literal translation and free translation requires translators to weigh the strengths and weaknesses of these two methods. This essay mainly compares literal translation and free translation between Chinese and Russian to help students and translators translate better.&lt;br /&gt;
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'''Key words：'''&lt;br /&gt;
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Translation strategies, Literal translation,Free translation &lt;br /&gt;
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'''摘要：'''&lt;br /&gt;
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直译与意译间的对比一直是翻译学中讨论度最高的问题。想要将这两种翻译方法进行对比，最基本的一点就是要明白翻译的目的是什么。翻译的最终目的在于帮助不同文化进行更好的交流，让使用不同语种的人相互理解彼此的文化。由于语种间社会历史文化背景的差异，如何在直译和意译这两种翻译策略中做出选择，就需要译者衡量两种方法的利弊。本文主要对汉语和俄语间直译和意译进行比较，以帮助学生和译者更好地进行翻译实践。&lt;br /&gt;
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'''关键词：'''&lt;br /&gt;
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翻译策略，直译，意译&lt;br /&gt;
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'''1.Introduction'''&lt;br /&gt;
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The former Soviet Union translation theorist Fedorov believed: “Translation is an activity that expresses what has been used in one language as a unified whole of content and form, and accurately and completely expressed in another language.” Translation theorist Barr Hudarov also wrote: &amp;quot;Translation is the process of changing the coherent discourse of one language into the coherent discourse of another language while maintaining its content and meaning.&amp;quot; To some extent, translation is a process of thinking re-creation, so certain standards and principles must be followed when translating. Translation standard is a measure of the quality of translation, it can guide translation practice, and it is a principle that must be followed in translation activities. Although each scholar has different opinions on the standard of translation, the final result he pursues is the same: the original text and the translated text express the same effect. In order to achieve the same effect, different translation methods have been derived, of which literal translation and free translation are the most commonly used.&lt;br /&gt;
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Russian idioms and proverbs, as the crystallization of the wisdom of the Russian nation and the immortal fossils in the Russian language, are one of the best materials for the Chinese to understand and learn Russian history, culture, and society. Due to different geographical, historical and economic conditions, the Russian and Chinese ethnic groups have formed different cultural backgrounds. These distinctive backgrounds and characteristics have caused great difficulties for Chinese learning Russian to further understand Russia. This essay studies the basic definitions of literal translation and free translation, their respective advantages and disadvantages and their mutual relations, and strive to solve how to use the translation methods of literal and free translation to properly translate Russian idioms and proverbs, and how to reflect the cultural background and language characteristics of Russian idioms and proverbs in the translation .&lt;br /&gt;
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'''2.Different views of &amp;quot;literal translation&amp;quot; and &amp;quot;free translation&amp;quot;'''&lt;br /&gt;
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In different periods and different countries, people's views on translation theory have changed a lot, but the debate about literal translation and free translation has always existed.&lt;br /&gt;
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In China, the contradiction between literal translation and free translation may initially be due to the different understanding of these two translation methods. The translator Sun Guiding believes that: literal translation is stuck to the structure of the original text and does not consider whether the Chinese is fluent and natural; while free translation is to use the inherent Chinese idioms and the most natural words and sentences as much as possible to achieve the effect of conveying the meaning of the original text. Former President of Wuhan University, Du Zuozhou, believes that literal translation means translating word by word according to the original text; free translation means translating according to the meaning of the original text, and the translation is more suitable for the common grammar of the translated language. The educator Meng Xiancheng believes that literal translation is a translation technology with different degrees of correctness. Literal translation is a translation that is faithful and correct according to the original text; free translation is a translation that summarizes the original meaning. Zhu Guangqian said: &amp;quot;The so-called 'literal translation' refers to the literal translation based on the original text. Every word and sentence are translated word by word, and the order of the words and sentences is not changed. The so-called ‘paraphrasing’ is to express the meaning of the original text in Chinese, and it does not have to be completely based on the literal and order of the original text. &amp;quot; The principle of &amp;quot;faithfulness, expressiveness and elegance&amp;quot; put forward by the modern Chinese translator Yan Fu has long been the basic principle guiding translation practice. A large number of beginners who learn foreign languages regard &amp;quot;faithfulness and expressiveness&amp;quot; as translations that are completely faithful to the original text when translating. In fact, Yan Fu's translation requirements are a guiding principle for translation based on semantics. When translating, if the structure and expression of the original text cannot be directly adopted, the sentence structure and expression must be changed according to the characteristics of the target language. In addition, there are many differences between the original language and the target language in the word order, grammar, variants and rhetoric in the translation process. In many cases, there is no direct corresponding word. This requires the translator to consider the actual semantics, background and other factors. On the basis of the original meaning of the sentence, use an appropriate method to convey the content of the original work and reproduce the language style of the original work.&lt;br /&gt;
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In the Soviet Union, under the influence of ideology, Western translation theories could not be widely disseminated, but within the Soviet Union, translation theories similar to Western translation theories have been formed and developed, and two main schools of translation theory have been further differentiated — Linguistic Translation School and Literary Translation School. To a certain extent, the dispute between these two schools also reflects the debate on literal translation and free translation among translators' groups. In terms of the principles or standards of translation, the linguistic translation school believes that an ideal translation should be an equivalent translation, first of all linguistic correspondence, that is, the translation should have the same meaning as the corresponding language or discourse unit of the original; the literary translation school believes that translation pursues artistic correspondence, and linguistic correspondence must be subordinate to artistic correspondence. Therefore, it proposes that the aesthetic standards of translation should reproduce the artistic reality reflected by the unity of the original content and form. The characteristic is to use images to translate images, that is, to create the same image in different languages. In 1953, Andrei Venediktovich Fedorov, the leader of the linguistic translation school, published his work &amp;quot;Summary of Translation Theory&amp;quot;, which was the first monograph of the Soviet Union to study translation theory from the perspective of linguistics. The author proposes that translation theory is a branch of linguistics. Since the translation of any genre work must rely on the comparison of two languages, translation problems can only be solved in the field of language. Fedorov’s view was refuted by the literary translation school represented by Ivan Alexandrovich Kashikin. The literary translation school believes that aesthetic issues are the core of literary translation theory, and translation should be regarded as a form of language art, that is, translation should be studied from the perspective of literature and art. In fact, the literary translation school emphasizes the translation of literary and artistic works, which belongs to the specific translation theory; while the research of the linguistic translation school focuses on the general translation theory, that is, the translation of all thematic works including literary works. The dispute between the two major translation theory schools of Russia and the Soviet Union provides another perspective for Chinese translators to explore the relationship between literal translation and free translation.&lt;br /&gt;
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'''3.The application of literal translation and free translation in the Chinese translation of Russian idioms'''&lt;br /&gt;
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The idioms of different nationalities are the most dynamic and expressive units at the lexical level in different languages, and they are also the units that can best reflect the characteristics of national culture in languages. The number of Russian idioms is extremely rich, it records and reflects all aspects of Russian national life. Due to the great differences in geographical locations and living customs between China and Russia, the national cultures reflected in Chinese and Russian must be quite different. One of the difficulties in idiom translation is its imagery. When translating idioms, both the meaning and the image must be considered. Although the Chinese and Russian cultures are very different, many of the commonalities of mankind, such as emotion and natural environment, have created conditions for mutual communication, mutual understanding and idiom translation between different languages.&lt;br /&gt;
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'''3.1 Literal translation'''&lt;br /&gt;
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Generally speaking, the literal translation method refers to a translation method that directly translates the original text without changing the language characteristics and style of the original text on the basis of fully respecting the meaning of the original text. Chinese translation of Russian idioms by literal translation method has the advantage of being able to intuitively and faithfully express the meaning of the idiom, maintaining the unique style and imagery of the original text: the disadvantage is that the translated idiom may not be understood by the Chinese because of China and Russia have different historical, cultural backgrounds, grammatical structures, and language world landscapes, which can easily form obstacles in the process of understanding.&lt;br /&gt;
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Translating Russian idioms by literal translation is further divided into two methods — literal translation into Chinese idioms and literal translation into non-idiom sentences or words.&lt;br /&gt;
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Literal translation of Russian idioms into Chinese idioms is suitable for the translation of Russian and Chinese idioms that are completely equivalent in image, structure, and meaning. The advantage is that it is easy to understand, and the translation is simple and fast. E.g:&lt;br /&gt;
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(1)домашнего  (своего) вора не убережешься. 家贼难防&lt;br /&gt;
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(2)знать как свои пять пальцев (видно, как на ладони) 了如指掌&lt;br /&gt;
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(3)подлить масла в огонь 火上浇油&lt;br /&gt;
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(4)как рыба в воде 如鱼得水&lt;br /&gt;
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(5)как ножом по сердцу 心如刀割&lt;br /&gt;
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(6)как гром среди ясного неба 晴天霹雳&lt;br /&gt;
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(7)на добро отвечают добром 善有善报&lt;br /&gt;
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(8)копейка рубль бережет 财从细起&lt;br /&gt;
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(9)мечты сбываются 梦想成真&lt;br /&gt;
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(10)курица всегда следует за петухом 嫁鸡随鸡&lt;br /&gt;
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(11)чего мало, того и дорого  (дорого то, что мало) 物以稀为贵(12)&lt;br /&gt;
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(12)изгонять яд с помощью яда 以毒攻毒&lt;br /&gt;
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(13)сидеть как на иголках 如坐针毡&lt;br /&gt;
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(14)действия громче слов 事实胜于雄辩&lt;br /&gt;
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(15)зарыть талант в землю 埋没人才&lt;br /&gt;
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(16)висеть на волоске 千钧一发&lt;br /&gt;
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(17)лить как из ведра 倾盆大雨&lt;br /&gt;
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The idioms in the above examples are completely equivalent in image, structure or meaning in Russian and Chinese, so Chinese idioms can be used for literal translation. &lt;br /&gt;
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In fact, in the two languages, idioms with the same image, structure, and meaning are still in the minority, so it is more common to translate Russian idioms into non-Chinese idiom sentences or vocabulary. E.g:   &lt;br /&gt;
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настоять на своем 坚持自己&lt;br /&gt;
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камень с души свалился 心里的一块石头落地&lt;br /&gt;
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связать свою судьбу 把自己的命运与……相连&lt;br /&gt;
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быть на голову 高出一头&lt;br /&gt;
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вбивать в голову 往脑子里灌&lt;br /&gt;
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блеснуть метеором 像流星一样一闪而过&lt;br /&gt;
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с мизинец 小拇指这么大&lt;br /&gt;
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It is not difficult to find that the literal translation method can completely retain the original appearance of the idiom, show the common concept of human understanding of the world, and be beneficial to the cultural exchange between China and Russia.&lt;br /&gt;
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'''3.2 Free translation'''&lt;br /&gt;
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Another method commonly used in the Chinese translation of Russian idioms is free translation. Free translation is to readjust the structure of the original text on the basis of keeping the original meaning of the idiom unchanged, and then reconstruct the Russian idiom with the way of thinking and expression in Chinese. This is because the figurative images used in many Russian idioms are inconsistent with those used in Chinese. If the original image is used in translation, it will cause a barrier to understanding. The advantage of free translation of Russian idioms is that it eliminates obstacles to understanding, but the disadvantage is that it cannot completely retain the original style and cultural characteristics. E.g:&lt;br /&gt;
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(1)В Тулу со свим самоваром не ездят.&lt;br /&gt;
直译：去图拉不用带自己的茶炊。&lt;br /&gt;
意译：多此一举&lt;br /&gt;
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(2)Честь лучше бесчестья.&lt;br /&gt;
直译：尊重比不尊重好。&lt;br /&gt;
意译：礼多人不怪。&lt;br /&gt;
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(3)словно горя с плеч&lt;br /&gt;
直译：把山从肩膀下卸下&lt;br /&gt;
意译：如释重负&lt;br /&gt;
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(4)выеденного яйца не стоит&lt;br /&gt;
直译：一个空蛋壳不值钱&lt;br /&gt;
意译：鸡毛蒜皮，一文不值&lt;br /&gt;
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(5)чужими руками жар загребать&lt;br /&gt;
直译：用别人的手将红炭火拨成一堆&lt;br /&gt;
意译：坐享其成，不劳而获&lt;br /&gt;
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(6)ни рыба, ни мясо&lt;br /&gt;
直译：没有鱼也没有肉&lt;br /&gt;
意译：不三不四，不伦不类&lt;br /&gt;
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(7)лучше синица в руках, чем журавль в небе&lt;br /&gt;
直译：天上的仙鹤不如手中的山雀&lt;br /&gt;
意译：远亲不如近邻&lt;br /&gt;
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(8)На языке мед, а под лед&lt;br /&gt;
直译：嘴上甜得像蜂蜜，心里冷得像冰&lt;br /&gt;
意译：笑里藏刀&lt;br /&gt;
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(9)И на солнце есть пятна&lt;br /&gt;
直译：太阳上也有黑点&lt;br /&gt;
意译：人无完人&lt;br /&gt;
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(10)семь раз отмерь, один раз отрежь&lt;br /&gt;
直译：测量了七次后再剪裁&lt;br /&gt;
意译：三思而后行&lt;br /&gt;
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Using free translation to translate Russian idioms requires the translator to accurately understand the meaning of the original text, because cultural differences make it impossible to literally translate. Only through the translator can an unobstructed bridge between Russian idioms and Chinese idioms be built.&lt;br /&gt;
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'''4.The application of literal translation and free translation in the Chinese translation of Russian proverbs'''&lt;br /&gt;
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There are often multiple translations of the same Russian proverb in Russian-Chinese dictionaries. On the one hand, because the translator uses different translation methods; on the other hand, because Russian proverbs have very rich connotations, a translation cannot perfectly interpret the inner meaning of the proverb. According to the context and the connotation of the proverbs, the most commonly used methods of Chinese translation of Russian proverbs are literal translation and free translation.&lt;br /&gt;
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'''4.1 Literal translation'''&lt;br /&gt;
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In Russian and Chinese languages, some proverbs not only have the same meaning or implicit meaning, but also use the same or similar figurative images to express a certain kind of the same semantics, and they are completely consistent in content and form. In this case, the equivalent translation of synonymous Chinese proverbs can convey the information contained in the original image, which not only retains the rhetorical color of the original language, but also enables the reader to perfectly understand the original text. E.g:&lt;br /&gt;
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(1)Куй железо, пока горячо. 趁热打铁。&lt;br /&gt;
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(2)Беда не приходит одна. 祸不单行。&lt;br /&gt;
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(3)Сытый голодного не разумеет. 饱汉不知饿汉饥。&lt;br /&gt;
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(4)Век живи, век учись. 活到老，学到老。&lt;br /&gt;
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(5)Выше встанешь, дальше увидишь. 站得高，看得远。&lt;br /&gt;
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(6)Лучше один раз увидеть, чем сто раз услышать. 百闻不如一见。&lt;br /&gt;
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(7)Нет дыма без огня. 无火不生烟。&lt;br /&gt;
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(8)Шила в мешке не утаишь. 口袋藏不住锥子。&lt;br /&gt;
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(9)Береги платье снову, а честь смолоду. 衣服要从新的时候爱惜，荣誉要从年轻时珍惜。&lt;br /&gt;
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(10)Выше лба уши не растут. 耳朵高不过额头。&lt;br /&gt;
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(11)Для милого друга семь верст не околица. 为了好友，多绕七里也不嫌远。&lt;br /&gt;
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(12)Как Новый год встретишь, так его и проведешь. 怎么迎新年，就怎么过一年。&lt;br /&gt;
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(13)Лучше умереть стоя, чем жить на коленях. 宁愿站着死，绝不站着生。&lt;br /&gt;
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(14)Не имей сто рублей, а имей сто друзей. 宁要一百个朋友，不要一百个卢布。&lt;br /&gt;
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По одежке встречают, по уму провожают. 迎客时看衣，送客时看才智。&lt;br /&gt;
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==Dialectical thinking in arguments between literal translation and free translation 	甘奉玉	Gan Fengyu==&lt;br /&gt;
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===Abstract===&lt;br /&gt;
  As two methods of translation, how to use literal translation and free translation has always been the focus of debate between Chinese and Western translation circles. Through the study of translation methods of literal translation and free translation at home and abroad, we can know that to some extent literal translation and free translation are two relative conceptions, so there will be word-for-word translation, that is, dead translation, and excessive free translation. However, these two are only two extremes of literal translation and free translation. In fact, although there are differences in definitions and application fields between literal translation and free translation, they are unified in common translation purpose, translation procedure and translation standard. Therefore, the two are contradictory and unified in translation activities. This is also the profound embodiment of the unity of opposites in materialist dialectics.--[[User:Gan Fengyu|Gan Fengyu]] ([[User talk:Gan Fengyu|talk]]) 07:46, 10 November 2020 (UTC)&lt;br /&gt;
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===Key words===&lt;br /&gt;
literal translation, free translation, word-for-word translation, over free translation, unity of opposites&lt;br /&gt;
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===摘要===&lt;br /&gt;
  作为翻译方法，直译(literal translation)与意译(free translation)怎样使用的问题一直是一个争论中西方翻译界不休的焦点。通过对国内外直译与意译的翻译方法的研究，我们可以得知，从某种程度而言，直译与意译是两个相对的概念, 所以才会有逐字翻译，即死译，与过度意译这两个完全对立的概念。但是，这两者只不过是直译与意译的两个极端点。其实，直译和意译虽然在概念定义，适用范围上有所差异，但却又统一于共同的翻译目的、翻译过程和翻译标准中。所以两者在翻译活动中应该是既对立又统一的矛盾体。而这也正是唯物辩证法中的对立统一矛盾观的深刻体现。--[[User:Gan Fengyu|Gan Fengyu]] ([[User talk:Gan Fengyu|talk]]) 07:50, 10 November 2020 (UTC)&lt;br /&gt;
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===关键字===&lt;br /&gt;
直译； 意译； 死译； 过度意译； 对立统一&lt;br /&gt;
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===Introduction===&lt;br /&gt;
  Throughout the translation history at home and abroad, the literal translation and free translation have always been a heat discussion in the translation circles. Someone absolutely approve literal translation and demean free translation, even pursue a dead translation, which creates an translated text difficult to understand. While some other people absolutely agree with free translation even advocate random acts, which means a random deletion in the translation practices and creates anther entirely different text. However, there are also a number of translators who have recognized that these two translation methods are not totally opposite. So they adopt a compromise and flexible way. That means they will choose the most appropriate one depending on the text demanding. Therefore, we can deduce from it that this eclectic translation is consistent with the Contradiction view of Unity of Opposite in Materialist Dialectics. In fact, literal translation and free translation are right a set of contradictions which are both opposite and unified. They complement each other into an integral one.&lt;br /&gt;
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===1.Dialectic thinking of the Unity of opposites===&lt;br /&gt;
===2.Word-for-word translation===&lt;br /&gt;
===3.Over free translation===&lt;br /&gt;
===4.Eclectic translation===&lt;br /&gt;
===5.Opposition and unity between literal translatiuon and free translation===&lt;br /&gt;
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===5.1 Opposition===&lt;br /&gt;
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===5.1.1 Opposition in definition===&lt;br /&gt;
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===5.1.2 Opposition in application fileld===&lt;br /&gt;
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===5.2 Unity===&lt;br /&gt;
===5.2.1 Unity in translation goal===&lt;br /&gt;
===5.2.2 Unity in translation procedure===&lt;br /&gt;
===5.2.3 Unity in translation standard===&lt;br /&gt;
===6.Conclusion===&lt;br /&gt;
===Bibliography===&lt;br /&gt;
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== Peter Newmark’s Improved Views on Literal Translation and Free Translation 赵茜 Zhao Xi==&lt;br /&gt;
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='''Document Translation'''=&lt;br /&gt;
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==On translation of official documents of CangNan County	吴恺	Wu Kai==&lt;br /&gt;
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On Translation of Official Documents of Cangnan County&lt;br /&gt;
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Japanese Language and Literature, School of Foreign Languages, Hunan Normal University, Wu Kai--[[User:Wu Kai|Wu Kai]] ([[User talk:Wu Kai|talk]]) 04:45, 2 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
==='''Abstract'''===&lt;br /&gt;
As one of the forefronts of Zhejiang’s opening-up cause, Cangnan County in Zhejiang Province has been enjoying a rapid development and an ever-growing degree of opening-up with lasting vitality as it’s supported by national policies and nourished by the dividends of economic globalization since China's reform and opening-up. As China has ushered in a period of major changes rarely seen in a century, Cangnan County is also facing new opportunities and challenges. Under the background of this era, Cangnan County is expected to make good use of its own advantages, especially the geographical ones—it is close to countries and regions including Japan, South Korea, and Taiwan—and should spare no efforts to achieve a higher level of opening-up, and, in turn, further promote its development. As an embodiment of the collective will of the people of Cangnan County, the official document is one of the best manifestations of its governance and stability control capabilities. For this reason, the research on how to translate official documents is of great significance for that it offers a great opportunity for Cangnan County to re-examine itself and to show the rest of the world its achievement in building a culture-enriched county.&lt;br /&gt;
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==='''Key words'''===&lt;br /&gt;
 official document translation, Cangnan County, opening-up, Japan, South Korea&lt;br /&gt;
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==='''摘要'''===&lt;br /&gt;
自中国改革开放以来，浙江省苍南县作为全浙江对外开放的前沿阵地之一，得到了国家政策支持和经济全球化红利的滋润，苍南县发展水平与对外开放程度日新月异，全县活力持久带劲。随着中国迎来“百年未有之大变局”，苍南县也面临着新的机遇和挑战，在此时代背景下，苍南县应该利用好自身优势，特别是临近日本、韩国、台湾等国家与地区的地理优势，努力开展更高层次、更高水平的对外开放事业，促进苍南更好的发展。为此，作为苍南县人民集体意志的体现，苍南县的公文就是对外展示其治理水平、稳控能力的最好的体现之一。而对于苍南县公文的如何翻译的研究，是促使苍南县重新审视自己、推进苍南人文县情传播海外的良机，意义重大。&lt;br /&gt;
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==='''关键词'''===&lt;br /&gt;
公文翻译  苍南县  对外开放  日本  韩国&lt;br /&gt;
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==='''I. System and Translation of Official Documents of Cangnan County'''===&lt;br /&gt;
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The unique official document system adopted by Chinese government agencies is a special integration of the thousands-of-years excellent political traditions in China and the essence of the organizational structure of the socialist regime. As a county-level unit in China's local administrative structure, Cangnan County has an official document system that is consistent with the national ones in general while has its own features. Official documents of Cangnan County can be basically divided into the following types of writing: resolutions, decisions, orders, bulletins, announcements, notifications, opinions, notices, reports, requests for instructions, approvals, proposals, letters, and minutes. Above-mentioned categories are collectively known as official documents. Besides, there are also some types of practical writing, including summaries, plans, notes, memos, briefings, speeches, manuals and so on, that are often used in our day-to-day work.&lt;br /&gt;
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In addition to those characteristics of the official documents that are commonly seen in China, official documents of Cangnan County also have its own features, which is mainly reflected in the aspect of proprietary terminology. Cangnan County, which used to be a part of Pingyang County in Zhejiang Province, was officially designated as a county in 1981 with the approval of the Central Government. It takes its name Cangnan, which means “on the south of the Yucang Mountain”, from its geographical location. As a relatively young county-level administrative unit in China’s administrative divisions, Cangnan County has a complex natural endowment and cultural environment, which is the reason why there are many special proprietary terms used in the official documents of Cangnan County, such as “Beautiful South Gate of Zhejiang Province”, “Southern Ouyue (an ancient kingdom in modern Wenzhou and Taizhou)” , “South Gate of Jiangsu-Zhejiang Region” and so on. Moreover, Cangnan is also the birthplace of the “Wenzhou Model”. Since the implementation of policy for the exchange of production materials and commercial grains in 1984, Cangnan has become an important base for the experiments and development of Wenzhou's private economy and market economy, and, thus, has made a significant contribution to the great cause of China's reform and opening-up.&lt;br /&gt;
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To conclude, the unity of the official document system viewed from the national scope of China and the uniqueness of the official document system viewed from the local scope of Cangnan area are both reflections of the integration of economic, political, and cultural elements. Therefore, when translating the terms and sentences in these official documents, obviously, it is almost impossible to follow general translation theories, such as Yan Fu’s “faithfulness, expressiveness and elegance” theory which applies to literature translation, and Christiane Nord’ Skopos theory which emphasizes schematic analysis. Due to the features of the official documents of Cangnan County, it is hard to imagine the consequence it will cause if those Cangnan and Chinese elements they contain are missed when translating them. Therefore, the starting point for the translation and research of Cangnan official documents should be analyzing the official document itself, but not choosing which translation theory to apply.&lt;br /&gt;
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The translation method focusing on the official documents themselves is undoubtably the one that emphasizes the content while manages to achieve a similarity in form. Thus, the translation theory that meets the requirements of official document translation in Cangnan County shall be the functional equivalence theory of the American linguist Eugene A. Nida. Eugene A. Nida argued in his theory that translation is to use the most appropriate, natural and equivalent language to reproduce the informational function of the source language both semantically and stylistically. Nida’s definition of translation specified that translation is seeking equivalence not only in lexical meaning, but also in semantics, style and literary form. Translation should convey both the denotative and connotative meaning of a message. Regarding the equivalence of translation, he believed that the equivalence consists of four parts: lexical equivalence, syntactic equivalence, textual equivalence, and stylistic equivalence. Among the four aspects, he emphasized that the meaning the core and most important part, followed by the form. The form of a text is likely to conceal the cultural connotation of the source language and may, therefore, hinder cultural exchanges. Based on the above, the reasons why the functional equivalence theory is applicable to official document translation in Cangnan County can be concluded as follows:&lt;br /&gt;
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First, the functional equivalence theory advocates that the target text should be equivalent to the source text both semantically and culturally. Official documents of Cangnan County are carriers of profound political culture with Chinese characteristics and the cultural environment in Cangnan. When translating them, in addition to showing the political consciousness and judicial authority of Cangnan government agencies, the local culture of Cangnan must also be reflected in the translations.&lt;br /&gt;
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Second, the functional equivalence theory suggests that if the lexical meanings and cultural elements cannot be taken into account at the same time, the translator then may give up the equivalence in form and try to reproduce the semantic and cultural meaning of the source text by changing the form of the sentence. There are many specialized terms with Chinese characteristics and Cangnan’s characteristics in official documents of Cangnan County. When translating them, once there is no corresponding expression in the target language, other forms of expression must be adopted to retain the meanings of those specialized terms as much as possible.&lt;br /&gt;
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Third, the functional equivalence theory proposes that if the change in form is still not enough to express the semantic and cultural meaning of the expression in the source language, the translation technique of “heavy damage” can be adopted to resolve cultural differences , so that the source language and the target language can achieve equivalence in semantic meaning. “Heavy damage” refers to the transformation of the deep structure of the source language into the surface structure of the target language, that is, expressing the cultural connotation of the source text with expressions of the target language. It cannot be ruled out that there are words and sentences in the official document of Cangnan County that cannot be translated, and when this happens, the translator can only rely on his translation techniques and understanding ability to process them creatively.&lt;br /&gt;
Above are simply macro analyses of the official document system in Cangnan County, and when it comes to specific analyses, challenges we face will only be severer.&lt;br /&gt;
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==='''II. Stylistic Features and Translation of Official Documents in Cangnan County'''===&lt;br /&gt;
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Looking at the official documents of Cangnan County from the micro level, we can work on the study of its translation based on the following characteristics.&lt;br /&gt;
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'''1. Details and Accurate'''&lt;br /&gt;
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As an officially-written document geared for the needs of our people, wording of the official documents of Cangnan County has a very specific orientation. Almost all content words have very clear meanings and connotations.&lt;br /&gt;
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For example, the sentence “经研究，县政府决定召开市对县安全生产巡查反馈会暨突出问题集中教育警示会，现将有关事宜通知如下。(As discussed, the county government decided to convene a feedback meeting on city-to-county inspections of production safety and a meeting for education and warning on outstanding issues. The relevant matters are hereby notified as follows.)” in the document 《苍南县人民政府办公室关于召开市对县安全生产巡查反馈会暨突出问题集中教育警示会的通知》(“Notice of the Office of the People's Government of Cangnan County on Convening a Feedback Meeting on City-to-County Inspections of Production Safety and A Meeting For Education and Warning On Outstanding Issues”) (the office of the People's Government of Cangnan County on June 8th, 2020) conveys several points very accurately and clearly, including the decision maker, the type, content and theme of the meeting. Therefore, special attention must be paid to the integrity of the information delivered when translating this sentence. For example, it is translated into Japanese as “討議を通じて、県政府は県の安全生産状況に対する市政府の巡査結果反映会及び顕著問題教育警告会を開催することが決定した。関連事項を以下のようにお知らせする。”&lt;br /&gt;
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'''2. Precise and Compact'''&lt;br /&gt;
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The role of official documents is to exchange formal information between the upper and the lower, the people and the officials, and the relevant departments. Therefore, the wording of the official documents must be rigorous. No slang and loose sentences should be used, and excessive use of parentheses and descriptive modifiers should be avoided. Official documents of Cangnan County follow this rule as well, in which there will never be informal expressions like daily spoken words.&lt;br /&gt;
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For example, the expression “三、决策目录施行动态管理，因工作需要增减或变更重大行政决策事项的，承办单位应按照相关规定程序提请调整。(Third, the decision catalogue shall be managed in a dynamic way, the undertaker shall submit application for adjustments in accordance with the relevant regulations if any increase/decrease or change shall be made to the major administrative decision-making matters because of the need of actual work.)” in the document《关于公布苍南县2020年度重大行政决策事项目录的通知》(“Notice on Issuing the 2020 Annual Catalogue of Major Administrative Decision-Making Matters of Cangnan County”) (the office of the People's Government of Cangnan County on Sept. 20th, 2020) When translating this sentence into Japanese, the translator shall fully considers the preciseness of the original expression, and translate it as “三つ目、戦略目録動的管理施行、仕事需要によっての増減または変更が必要な場合、請負機構は関連規定の手順に従って調整を提出しなければならない。”&lt;br /&gt;
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'''3. Programmed and Standardized'''&lt;br /&gt;
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The purpose of official documents requires a stable and routine writing program so that the official business can be conducted in an orderly manner. It is essential that the document writing is reasonably programmed. It allows the officer to know what it is and what to do at a glance if a standardized official document program is followed. The standardization of the official documents of Cangnan County can be regarded as a tricky feature in their translation.&lt;br /&gt;
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For example, the expression “各乡镇人民政府，县政府直属各单位 (the people's government of all townships and towns and all directly affiliated institutions of the people’s government of Cangnan County)” in the document《关于公布苍南县2020年度重大行政决策事项目录的通知》(“Notice on Issuing the 2020 Annual Catalogue of Major Administrative Decision-Making Matters of Cangnan County”) (the Office of the People's Government of Cangnan County on Sept. 20th, 2020) is obviously a standardized addressing of the receiving units of an official document, and it should be translated into Japanese as “各郷鎮人民政府、県政府直属の各部門”.&lt;br /&gt;
Viewing from a micro perspective, we may find that special attention should be paid to many precise details when translating those official documents. It is of great significance that, during the cause of reform and opening-up, we strike a balance between the macro level and the micro level in official document translation, which will serve as a stage for Cangnan County to show itself to Japan, South Korea and other East Asian countries and regions.&lt;br /&gt;
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==='''III. Translation of Official Documents of Cangnan County under the Context of the Japanese Language'''===&lt;br /&gt;
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Cangnan County is one of the nearest administrative units to Japan in China, and Okinawa Prefecture in Japan and Cangnan County are neighbors facing each other across the sea. Furthermore, Cangnan County itself has ports in Xiaguan, Pacao, Yanting, Dayu and other places, and has the basic conditions for conducting small transactions of freights with Okinawa. However, due to the inadequacy policies, laws and regulations, a large portion of Japan’s trade with China, especially with Zhejiang Province, is still conducted in the three port cities, namely Ningbo, Zhoushan, and Hangzhou. Cangnan’s geographical advantages have never been given to full play. To Japan, Cangnan is not a total stranger. Wenzhou City has a great influence upon Japanese culture and history. Special local products such as Wenzhou green tea and Wenzhou satsuma orange are very attractive to Japanese people. Many of the business exchanges during the Kamakura Bakufu in Japan were happened between Hakata merchants and Wenzhou people. As an important subordinate region of Wenzhou City, Cangnan County naturally has left an impression on Japanese people when it comes to China.&lt;br /&gt;
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If Cangnan hopes to lay a foundation for the future cooperation with Japan through its cause of opening up to the outside world, it is of great importance that we study the methods and techniques to make the translation of Cangnan’s official documents to meet the specific context of the Japanese language, which is also a part of the cultural exchanges that will facilitate economic and trade cooperation between Japan and China. The political status of Cangnan County is equivalent to the one of regular cities and special wards in Japan, but this does not mean that the official documents of Cangnan County can be regarded as equivalents to the official documents released by the governments of the regular cities and special wards in Japan, and there are huge differences between their respective official documents in form, wording, Cultural connotation and etc. To better translate Cangnan official documents under the context of Japanese language, the following aspects must be paid attention to:&lt;br /&gt;
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1. Detailed Comparison of Types&lt;br /&gt;
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In the Japanese official document system, the word “公文” is different in meaning from the word “公文” in Chinese official document system. In Chinese “公文” means government official documents, while in Japanese “公文” generally refer to legal documents that have the force of law and the term “公文書” is the one that refers to government official documents, which roughly includes “外交文書” and “起案文”, “通達” , “命令”, “許可”, “通知書” and so on . When translating official documents of Cangnan County into Japanese, attention should be paid to the transformation of the types of the official documents. The classifications of official documents in China and Japan are different from each other.&lt;br /&gt;
For example, when translating documents such as “proposal letter”, “report” and the like into Japanese, the title should be translated as “建言書” and “報告書”, while “命令(order)”, “通知(notice)”, “提案(Proposal)” and etc. need no translation and can be titled with the original characters directly as “命令”, “通知”, “提案”, and can also be further translated into “命令状”, “通知書”, “提案書”. Those reflect the characteristics of the division of the types of the official document system in Japan.&lt;br /&gt;
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2. Careful Consideration of the Translation of Chinese Characters&lt;br /&gt;
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There are a large number of Chinese characters in Japanese. This will for sure be an advantage when translating official documents of Cangnan County into Japanese, however, at the same time, this is also a huge disadvantage. After all, those Chinese characters are Japanized Chinese characters, and their meanings and usages are more or less different from the original ones in Chinese.&lt;br /&gt;
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For example, the expression “设定全县森林防火期(setting the season of forest fire prevention)” in the document 《苍南县应急管理局局长王再忠关于&amp;lt;苍南县人民政府关于做好森林防火期护林防火工作的通告&amp;gt;的政策解读》(“Policy Interpretation Of ‘Notice of Doing Forest Protection and Fire Prevention during the Season of Forest Fire Prevention by the People's Government Of Cangnan County’ by the Director of Cangnan Emergency Management Agency Wang Zaizhong”) in could be translated character by character into Japanese as “全県域森林防火期間設定”. However, expressions such as “野外火源如何管理” cannot be translated in the same way, and must be processed accordingly and translated into Japanese as “野外の火の元が如何に処理すること”. When translating official documents of Cangnan County into Japanese, the translators must reject the preconceived thinking and native Chinese thinking, or it will lead to irreversible misunderstandings and mistakes.&lt;br /&gt;
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3. Mastery of the Equivalence of Semantic Meaning&lt;br /&gt;
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Chinese is an isolating language, in which the grammatical meaning is reflected by the order of words, while Japanese is an agglutinative language, in which auxiliary words and flexible usages of vocabulary are adopted to reflect the grammatical meaning. This requires the translators to have mastery of the equivalence of semantic meanings when translating official documents of Cangnan County into Japanese and try to achieve perfect equivalence in official document translation.&lt;br /&gt;
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For example, there is a expression as “全体公民必须认真贯彻‘以人为本、预防为主、积极扑救、有效消灾’的森林防灭火工作方针，一旦发现森林火灾，要立即向当地人民政府或森林防灭火指挥部办公室报告(all citizens must seriously implement the working policy of forest fire prevention and firefighting ‘people-oriented, prevention-focused, active in firefighting, effective in disaster relief’, once a forest fire is detected, it must be reported to the local people’s government or the forest fire prevention and firefighting headquarters office immediately)” in the document 《苍南县应急管理局局长王再忠关于&amp;lt;苍南县人民政府关于做好森林防火期护林防火工作的通告&amp;gt;的政策解读》(“Policy Interpretation Of ‘Notice of Doing Forest Protection and Fire Prevention during the Season of Forest Fire Prevention by the People's Government Of Cangnan County’ by the Director of Cangnan Emergency Management Agency Wang Zaizhong”). When dealing with long and complex sentences, the translator must be flexible in using translation techniques to decompose the sentences and translate them step by step, focusing on the balance between the form of the sentence and its semantic meaning. Based on this principle, the abovementioned sentence could be translated into Japanese as “人間本位、予防軸化、積極救助、有効消災という森林防火作業方針は全県民が必ず強固に守らなければならない。林に火事が発見された際、直ちに所轄人民政府や森林防火指揮部執務室に報告すること。”&lt;br /&gt;
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There is no doubt that, in terms of four-character idioms, allusions, new words of the era and etc., the translation of official documents of Cangnan County under the context of the Japanese language still has a long way to go, but the part that we should pay most attention to in translation is always the differences in culture between the source language and the target language. Only by keeping this basic point in mind at all times, will there be no huge mistakes being made when translating official documents of Cangnan County into Japanese.&lt;br /&gt;
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==='''Ⅳ. Translation of Official Documents of Cangnan County under the Context of the Korean Language'''===&lt;br /&gt;
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Zhejiang Province and South Korea have laid a good foundation for economic and trade cooperation projects, and a framework that is comprehensive, wide-ranging, and multi-level has been established for Zhejiang-South Korea cooperation. The advantages of the two regions are obviously complementary and the development potential for both sides and in between is huge. In September 2016, the Zhejiang China-Korea (Quzhou) Industrial Cooperation Park was approved as the first batch of “Zhejiang International Industrial Cooperation Parks” in Zhejiang Province. The total planned area is about 3,000 acres and the total planned investment is 12 billion yuan. Represented by the Zhejiang China-Korea Industrial Cooperation Park, a large number of economic and trade cooperation projects has been carried out with South Korea by Zhejiang Province. As an indispensable part of Zhejiang Province, Cangnan County is facing a huge gap in the cultural exchanges and economic cooperation with South Korea. How to elevate the level of Cangnan’s opening up to the outside world and advancing Cangnan’s economic, trade and cultural cooperation with South Korea is a question that is well worth exploring. Although Cangnan is further away from South Korea compared with regions in the north of Zhejiang, geographic location should never be a factor that hindering Cangnan’s economic, trade and cultural cooperation with South Korea. In an era of ever-deepening globalization, it is of great significance that we think about how to develop and promote the economic and trade and cultural cooperation between Cangnan and South Korea.&lt;br /&gt;
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Northern Zhejiang is a key area for economic, trade and cultural cooperation with South Korea. As the south gate of Zhejiang Province, if Cangnan County could open the door of economic, trade and cultural cooperation to South Korea, then this will inevitably bring extraordinary development opportunities to southern Zhejiang and make the pattern of Zhejiang and South Korea’s economic and cultural cooperation more balanced and healthy. The political status of Cangnan County is equivalent to the one of si(city), gu (district), and gun(county) in South Korea. Because of some historical reasons, South Korea is greatly influenced by Chinese culture. From the Three Kingdoms era of Joseon, to the Unified Silla Dynasty, the Wang’s Goryeo Dynasty, and the Yi’s Joseon Dynasty, the basic system of administrative divisions in South Korea is almost the same as the one in China, so the official document system of cities, districts, and counties in South Korea can be regarded as basically equivalent to the official document system of Cangnan County with only slight differences originated from the localized political and cultural traditions and the basic social condition of South Korea. Therefore, there are relatively fewer difficulties of translation when translating official documents of Cangnan County into Korean, aside from the barriers caused by Korean Hangul words. The translation of official documents of Cangnan County under the context Korean language requires attention to the following aspects:&lt;br /&gt;
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1. The Combination of Chinese characters and Hangul&lt;br /&gt;
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Modern Korean uses Hangul as the main written characters, but this does not mean that there is no place for Chinese characters in the Korean system. Since the launch of the abolition of Chinese characters movement in South Korea in the 1970s, Hangul did exactly achieved an overall penetration of every aspect of their daily life, but when it comes to important documents, Chinese characters still reserve a seat in the arena of South Korea’s history. Furthermore, a higher level of talent training is required now to meet the need of South Korea’s economic and social development, and the mastery of sinology has become, among all the necessary skills, one of the most straightforward evaluation criteria to access the qualified personnel. Thus, South Korea has restarted the Chinese character teaching movement. Nowadays, the official document system in South Korea has become one in which Hangul serves as the main language and the mixed use of Chinese characters and Hangul serves as a supplement. Just as how the mixed use of kana and Chinese characters in Japanese official documents may help in its translation, the mixed use of Chinese characters and Hangul also greatly facilitate the translation of official documents of Cangnan County into Korean. However, because Chinese characters used in Korea are composed of traditional Chinese characters and a small number of Korean self-made Chinese characters, we can not take it for granted that it is advisable to translate them word by word.&lt;br /&gt;
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For example, the title of the document《苍干任〔2020〕18号 王再忠等同志的任命》(“Cangnan Cadre Appointment [2020] No. 18: Appointment of Wang Zaizhong and etc.”) (the Office of CPC Cangnan Party Committee on March 27th, 2020) can be translated with the mixed use of Chinese characters and Hangul into Korean as《蒼南縣의 幹部任命〔2020〕18號 王再忠등 同志의任命》. Also, it be translated into Korean with Hangul alone as《참남현의 간부임명〔2020〕18호 왕재충등 동지의임명》.&lt;br /&gt;
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2. The Usage of Refined Language&lt;br /&gt;
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In recent years, South Korea has carried out reforms of the official document system, urging that the South Korean government agencies at all levels should use “refined(or purified) language”, that is, to write and publish official documents with words that are easy for the public to understand and have explicit meanings, reducing the cost of communication between the government and the public and, in this way, building a closer relationship between the government and the people, so that civil servants can communicate with the people more effectively. Refined language is a kind of common vernacular that differs from the official language. Although this trend of the wording of Korean official documents is not unconditional, but when compared with official documents of Cangnan County, which emphasize the solemnity and formality of official documents, this trend is the part that the translator has to pay his attention to.&lt;br /&gt;
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For example, when translating the expression “为加强行政规范性文件管理，切实推进依法行政，加快法治政府建设 (To strengthen the management of administrative normative documents, promote the administration in accordance with law, and accelerate the construction of a government ruled by law)” in the document《苍南县人民政府关于公布县政府及县政府办公室行政规范性文件清理结果的通知（有效）》(“Notice of the Office of the People's Government of Cangnan County on the Announcement of the Results of the Cleanup of the Administrative Normative Documents of the County Government and the County Government Offices (Effective)”) (the Office of the People's Government of Cangnan County on October 23th, 2020) , blunt expressions may not be that applicable and this expression translated into Korean in a more public-friendly way as “행정 규범적인 문서관리를 강화하기 위해, 법에따라 행정을 철저히 추진하고 법치정부의 건설을 가속화시킨다.”&lt;br /&gt;
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3. Mastery of the Equivalence of Semantic Meaning&lt;br /&gt;
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Like Japanese, Korean is also a typical agglutinative language. A sentence is formed by connecting independent words with various auxiliary words, and with a subordinating conjunction at the end of the sentence. Auxiliary words are just like glues, they exist after every subject, predicate, and object component of a Korean sentence to them together. For that these auxiliary words have no substantial meaning themselves, they must stay close to the main body in front, and a space must be put after. Therefore, when translating Chinese, which is an isolated language, into Korean, which is an agglutinative language, it is necessary to have mastery of the equivalence of the semantic meaning of the expression.&lt;br /&gt;
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For example, when translating the expression “全面实施全民参保计划，做好参保情况清查，提升参保信息质量，清理重复参保，稳定持续参保，减少漏保断保，实现应保尽保。(Fully implement the national social security plan, do a good job in checking the coverage of the social security, improve the quality of the collection of the information of the insured, clean up repeated insureds, stabilize the renewal of the social security, reduce the interruption of the social security, and achieve full social security coverage.)” in the document《关于做好2021年度城乡居民基本医疗保障工作的通知》(“Notice on Doing a Good Job in Basic Medical Security for Urban and Rural Residents in 2021”)( the Office of Medical Security Bureau of Cangnan County on November 5th, 2020), the translator should pay attention to the equivalence of semantic meaning of this long sentence and translated it into Korean as “전국민기본의료보험가입계획을 전면적으로 실시하고 기본의료보험가입상황을 철저히 조사하며 기본의료보험가입 정보의 질을 향상시키고 중복기본의료보험가입을 청산하며 안정적이고 지속적인 기본의료보험가입을 하며 보험누락을 줄이고 기본의료보험가입 을 실현해야 한다.”&lt;br /&gt;
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==='''Ⅴ. Studies of Official Document Translation and the Cause of Opening-up in Cangnan County'''===&lt;br /&gt;
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Based on the abovementioned basic characteristics of the official document system of Cangnan County, the notes for official documents translation under the context of the Japanese language and the notes for official documents translation under the context of the Korean language, we can see that official documents of Cangnan County is not as difficult to handle as something untranslatable. Cangnan County enjoys a good geographic location: it is located in the coast of the East China Sea, and is close to both Japan and South Korea, two strong economies in East Asia. However, Cangnan County has not yet made use of these favorable conditions to the fullest to promote cultural cooperation and trade with the two countries. Cangnan’s opening up to the outside world requires innovative thinking and an elaborate layout. Studies on the translation of official documents of Cangnan County, especially the translation of official documents under the context of the Japanese and Korean language, will help to explore the cultural spirit of the government institutions, and play an important role in building a good image of Cangnan County in East Asia and laying a foundation for Cangnan's cooperation with major countries and regions in East Asia .&lt;br /&gt;
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The world today is undergoing profound changes rarely in a century, and so is China. The tide of history moves on and Cangnan shall not stay out of the matter, but must follow it courageously and strive to open new doors for Cangnan's opening up to the outside world through the study of the official document translation of its own.&lt;br /&gt;
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===References===&lt;br /&gt;
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[5]周萱. 《中国共产党怎样解决民族问题》（节选）中韩翻译报告[D].青岛大学,2017.&lt;br /&gt;
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[6]张利军. 《教学的游戏性研究》的汉日翻译实践报告[D].广西师范大学,2019.&lt;br /&gt;
&lt;br /&gt;
[7]栾亚琼. 《2015年山东省政府工作报告》汉日翻译实践报告[D].曲阜师范大学,2016.&lt;br /&gt;
&lt;br /&gt;
[8]占丽华. 源流与演变—日本地方公文书馆发展路径研究[D].山东大学,2020.&lt;br /&gt;
&lt;br /&gt;
[9]任清萍. 功能翻译理论视角下政府工作报告日译研究[D].外交学院,2020.&lt;br /&gt;
&lt;br /&gt;
[10]孙慧. 产业竞争力与区域经济增长[D].苏州大学,2006.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
--[[User:Wu Kai|Wu Kai]] ([[User talk:Wu Kai|talk]]) 04:45, 2 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
==The Translation Process and Methods of Translating English Long Sentences	周艺文	Zhou Yiwen==&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
===Abstract===&lt;br /&gt;
===Key words===&lt;br /&gt;
===摘要===&lt;br /&gt;
===关键词===&lt;br /&gt;
===Introduction===&lt;br /&gt;
&lt;br /&gt;
===Conclusion===&lt;br /&gt;
===Bibliography===&lt;br /&gt;
&lt;br /&gt;
==Chinese-English Translation of News Headlines From the Perspective of Skopos Theory	张维虹	Zhang Weihong==&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
==='''Abstract'''===&lt;br /&gt;
&lt;br /&gt;
==='''key words'''===&lt;br /&gt;
&lt;br /&gt;
News headlines; Skopos theory; translation&lt;br /&gt;
&lt;br /&gt;
==='''摘要'''===&lt;br /&gt;
社会的飞速发展使得人们的阅读方式发生了巨大的改变, 通过阅 读新闻标题来获取消息和了解事实, 成为大多数人的不二之选, 新闻标题 翻译也就越来越具有其必要性。 新闻标题的重要性堪比一部使人印象深刻 的电影名, 一则响亮的广告语, 一本撩人心弦的书名。 较之娱乐新闻, 时 政新闻略显严肃客观, 又因当今科技物质的飞速发展, 时政新闻的点阅数 量明显少于以消遣娱乐为目的的娱乐新闻。 怎样提高时政新闻的阅读量, 怎样使得时政新闻如同娱乐新闻一般深受广大人民的喜爱, 这不仅是新闻 编辑者们的挑战, 也是新闻翻译界的难题。 本文以德国功能派翻译目的论 为理论指导, 结合新闻学及编辑学的相关学科知识, 通过对中英时政新闻 标题的对比分析, 旨在对时政新闻标题的汉译英提出翻译策略, 让国外读者正确客观无误的了解中国的时事政策。&lt;br /&gt;
&lt;br /&gt;
==='''关键字'''===&lt;br /&gt;
&lt;br /&gt;
===Introduction===&lt;br /&gt;
&lt;br /&gt;
===Skopos Theory===&lt;br /&gt;
&lt;br /&gt;
===Features of News Headlines===&lt;br /&gt;
&lt;br /&gt;
===Chinese-English Translation Methods of News Headlines from the Skopos Perspective===&lt;br /&gt;
&lt;br /&gt;
===Conclusion===&lt;br /&gt;
&lt;br /&gt;
===Bibliography===&lt;/div&gt;</summary>
		<author><name>Song Jianru</name></author>
	</entry>
	<entry>
		<id>https://bou.de/u/index.php?title=History_of_Translation_Studies_8&amp;diff=107907</id>
		<title>History of Translation Studies 8</title>
		<link rel="alternate" type="text/html" href="https://bou.de/u/index.php?title=History_of_Translation_Studies_8&amp;diff=107907"/>
		<updated>2020-12-06T14:29:32Z</updated>

		<summary type="html">&lt;p&gt;Song Jianru: /* Key Words */&lt;/p&gt;
&lt;hr /&gt;
&lt;div&gt;这里是《翻译学史》的书稿第八部分(Part 8)。麻烦各位同学看一下已经存在的章回（样品），自己再加进去新的一个章回（就是你们的学期论文）。请也帮助同学们把他们的论文改正。这样多次修改，大家的论文会越来越好。&lt;br /&gt;
&lt;br /&gt;
学期论文（结合学期所学，撰写一篇5000以上单词的英文论文，按照专业杂志的格式，题目、摘要、关键词和参考文摘需要英中，文章英）。学期论文成绩占70%，平时成绩（含课堂表现、展示及作业）占30%。&lt;br /&gt;
&lt;br /&gt;
*Link back to course homepage: [https://bou.de/u/wiki/Introduction_to_Translation_Studies Course Homepage Intro. to TS]&lt;br /&gt;
*Link back to the final exam paper section of the course homepage: [https://bou.de/u/wiki/Introduction_to_Translation_Studies#Final_Exam_Papers Final Exam Papers]&lt;br /&gt;
*Link to other parts of the final exam papers: [https://bou.de/u/index.php?title=History_of_Translation_Studies_1 Final Exam Papers Part 1]&lt;br /&gt;
*Link to other parts of the final exam papers: [https://bou.de/u/index.php?title=History_of_Translation_Studies_2 Final Exam Papers Part 2]&lt;br /&gt;
*Link to other parts of the final exam papers: [https://bou.de/u/index.php?title=History_of_Translation_Studies_3 Final Exam Papers Part 3]&lt;br /&gt;
*Link to other parts of the final exam papers: [https://bou.de/u/index.php?title=History_of_Translation_Studies_4 Final Exam Papers Part 4]&lt;br /&gt;
*Link to other parts of the final exam papers: [https://bou.de/u/index.php?title=History_of_Translation_Studies_5 Final Exam Papers Part 5]&lt;br /&gt;
*Link to other parts of the final exam papers: [https://bou.de/u/index.php?title=History_of_Translation_Studies_6 Final Exam Papers Part 6]&lt;br /&gt;
*Link to other parts of the final exam papers: [https://bou.de/u/index.php?title=History_of_Translation_Studies_7 Final Exam Papers Part 7]&lt;br /&gt;
*Link to other parts of the final exam papers: [https://bou.de/u/index.php?title=History_of_Translation_Studies_8 Final Exam Papers Part 8]&lt;br /&gt;
*Link to other parts of the final exam papers: [https://bou.de/u/index.php?title=History_of_Translation_Studies_9 Final Exam Papers Part 9]&lt;br /&gt;
*Link to other parts of the final exam papers: [https://bou.de/u/index.php?title=History_of_Translation_Studies_10 Final Exam Papers Part 10]&lt;br /&gt;
&lt;br /&gt;
='''History of Translation'''=&lt;br /&gt;
== Study on Brand Name Translation from the Perspective of Cultural Difference	谭鑫洁	Tan Xinjie==&lt;br /&gt;
&lt;br /&gt;
==='''Abstract'''===&lt;br /&gt;
&lt;br /&gt;
== Abstract: ==&lt;br /&gt;
&lt;br /&gt;
==='''key words'''===&lt;br /&gt;
&lt;br /&gt;
==='''摘要'''===&lt;br /&gt;
&lt;br /&gt;
==='''关键字'''===&lt;br /&gt;
&lt;br /&gt;
===Complete transcript of the content of the original work ===&lt;br /&gt;
&lt;br /&gt;
===Same style and manner of writing===&lt;br /&gt;
&lt;br /&gt;
===Equivalent effect===&lt;br /&gt;
&lt;br /&gt;
===Discussion===&lt;br /&gt;
&lt;br /&gt;
===Conclusion===&lt;br /&gt;
&lt;br /&gt;
===Bibliography===&lt;br /&gt;
&lt;br /&gt;
==A Comparative Study on the Translation History in Western Countries and China	王煜	Wang Yu==&lt;br /&gt;
===摘要===&lt;br /&gt;
翻译是一种跨文化交流活动，翻译活动加快了人类文明发展步伐，减少了人们之间的沟通障碍。随着时代的变迁，中国和西方国家逐渐形成了各自的翻译史，翻译史的研究是学科建设的一项基础工程。尽管中西方翻译史在某些方面有所差异，但却都有着各自的独特性，并对人类的翻译活动产生了巨大的影响与贡献。文章将以中国和西方国家为主要对象，从二者翻译史起始，包含阶段和各阶段代表人物，影响意义，差异性出发，对二者的翻译史进行简略的对比研究。&lt;br /&gt;
&lt;br /&gt;
===关键词===&lt;br /&gt;
翻译史；西方翻译史；中国翻译史&lt;br /&gt;
&lt;br /&gt;
===Abstract===&lt;br /&gt;
Translation is an intercultural communication activity, translation activities have accelerated the development of human civilization and reduced the communication barriers between people of different countries or nations. With time goes by, things are in a state of flux and both the western and eastern countries have gradually formed their own history of translation, the study of translation history is a basic project of discipline construction. Though there are many differences among the translation histories of western countries and China, the two kinds of translation histories are still shining their own bright unique lights and have an indelible influence and contribution to human translation activities. This paper intends to make a brief comparison of translation histories between western countries and China, which includes the origins, the stages, the representatives of the stages, the significance and influence as well as the differences of the two translation histories.&lt;br /&gt;
&lt;br /&gt;
===Keywords===&lt;br /&gt;
Translation history; Translation history of the West; Translation history of China &lt;br /&gt;
&lt;br /&gt;
===1. Introduction===&lt;br /&gt;
No matter in China or in the west, translation plays an important role in knowledge-spreading. As an indispensable part of translatology, the study of translation history has made a great influence on translation activities, it has gradually become the focus of the literary and historical circles in recent years. Translation activities can be traced back to the origin of language, and the history of translation is almost as old as language itself, it is closely related to the changes in today's society. Since the 1980s, the translation studies in the mainland of China have made remarkable progress in the curriculum design of Chinese and western translation history and the compilation of related works. In the early 1980s and 1990s, there were many related works came out one after another including A brief history of Chinese Translation: the part before the May 4th Movement（《中国翻译简史-“五四”运动以前部分》） written by Zuyi Ma, A historical manuscript of Chinese translated literature （《中国翻译文学史稿》）edited by Yugang Chen, and also the A Short History of Translation in the West（《西方翻译简史》） the author of which is Zaixi Tan. Thus, it opens the gate for the compilation of Chinese and western translation history works.（谢天振，2009） The history of western translation can be divided into five stages while the Chinese study of translation has a glorious history of more than two thousand years and has experienced five climaxes. Through the comparative study of Chinese and western translation history, it will help us to have a deeper understanding of Chinese and western translation activities and thus to gather a general full view of it, which will be a positive and meaningful attempt.&lt;br /&gt;
&lt;br /&gt;
2. The Translation History of Western Countries&lt;br /&gt;
Western translation activities are rich in a long history and a multiyear span. The history of western translation can be roughly divided into three stages: the traditional stage, the modern times and the contemporary. More specifically, it can be grouped into the ancient times, the middle ages, the Renaissance period and the time after WWⅡ.&lt;br /&gt;
&lt;br /&gt;
2.1 The First Stage: Translation in the Ancient Times&lt;br /&gt;
    &lt;br /&gt;
The translation history of western countries first began in the the 3rd century B.C. &amp;quot;In a broad sense, the earliest translation in the west is the Old Testament translated by 72 Jewish scholars in Alexandria, ancient Egypt, between the 3rd and 2nd centuries BC; Strictly speaking, the first western translation is the Greek Homer Epic Odyssey translated by Andronicus in Rome in the middle of the third century BC.”(谭载喜,2000) At the end of the 4th BC, during this time, the Greece began to decay and the Roman had became stronger and stronger with its military expansion. The expansion of the Roman Empire brought it into contact with the splendid Greek culture, therefore, the Romans not only conquered the Greek city, but also inherited and developed the brilliant achievements of ancient Greek culture, and then created a  splendid cultural of its own era after Greece. So soon began a large scale translation activities, the activity of translating and introducing Greek classical works probably began in this period.（刘军平,2009）Many famous translation theorists began to make their presences, namely Cicero, Quentin, Jerome and so on, also the famous Roman litterateurs like Andronicus, Naevius, Ennius, these great writers used Latin language to translate or adapt Homer’s epic or other Greece dramas. Started the translation tradition and promoted the birth and development of Roman literature.&lt;br /&gt;
&lt;br /&gt;
2.2 The Second Stage: Translation in the Middle Ages (4th-6th)&lt;br /&gt;
&lt;br /&gt;
2.3 The Third Stage: Translation in the Middle Ages (11th-12th)&lt;br /&gt;
&lt;br /&gt;
2.4 The Fourth Stage: Translation in the Renaissance Period&lt;br /&gt;
&lt;br /&gt;
2.5 The Fifth Stage: Translation after WWⅡ&lt;br /&gt;
&lt;br /&gt;
3. The Translation History of China--[[User:Wang Yu|Wang Yu]] ([[User talk:Wang Yu|talk]]) 08:38, 30 November 2020 (UTC)--[[User:Wang Yu|Wang Yu]] ([[User talk:Wang Yu|talk]]) 08:43, 30 November 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
==The Implications of Luther's Translation Principles amid Renaissance for Modern Literature Translation	方洁玲	Fang Jieling==&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
==Translation manipulated by ideology	许静	Xu Jing==&lt;br /&gt;
&lt;br /&gt;
==Comparison between the History of Chinese and Western Translation   周书尧   Zhou Shuyao==&lt;br /&gt;
&lt;br /&gt;
'''Abstract:'''There has a long history and culture Chinese and Western translation, and translation plays an indelible role in promoting cross-cultural communication and cultural communication. This article first discusses the history of translation in China from  four stages , then discusses the five stages of western translation history , and finally compares and analyzes the similarities and differences between Chinese and Western translation histories, and puts forward some of the author's own views.&lt;br /&gt;
&lt;br /&gt;
'''Key words:'''The history of Chinese,The history of Western,the stages of  translation history,comparison&lt;br /&gt;
&lt;br /&gt;
'''摘要：'''中西方翻译历史文化源远流长，翻译在促进跨文化交流和文化传播上承担着不可磨灭的作用。本文首先从中国的四次翻译高潮论述中国的翻译史，再从西方的五次翻译高潮探讨西方的翻译史，最后对中西方翻译史的异同进行对比分析，提出一些笔者自己的看法。&lt;br /&gt;
&lt;br /&gt;
'''关键词：'''中国翻译史，西方翻译史，翻译高潮，对比&lt;br /&gt;
&lt;br /&gt;
'''Ⅰ.Introduction'''&lt;br /&gt;
&lt;br /&gt;
Since the 1980s, the Chinese translation studies community has made remarkable progress in the establishment of Chinese and Western translation history courses and the compilation of related works.In the 1980s and early 1990s,A Brief Introduction to the History of Translation in China from Ma Zuyi and other books of Chen Yugang and Tan Zaixi were published one after another,which raised the curtain for the compilation of Chinese and Western translation history works by the domestic translation scholars.The four stages in the history of Chinese translation have promoted the development of Chinese history, culture and society to varying degrees.The same as our country, Western translation has an age-old history.In a sense, the development of Western European civilization should first be attributed to the translators.The five stages in the history of European translation have promoted the exchanges of literature, art, science and trade between countries, and to a certain extent promoted the development of Chinese translation.In fact, when we examine the development trajectory of Chinese and Western translation activities and the evolution of translation concepts together, we find that there are some similarities between Chinese translation and Western translation.Especially in the evolution of Chinese and Western translation concepts, the two have very similar evolution laws.&lt;br /&gt;
&lt;br /&gt;
='''Literal and Free Translation'''=&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
==Rethink Literal and Free Translation	彭永亮	Peng Yongliang==&lt;br /&gt;
&lt;br /&gt;
==On the Chinese Translation of A Pale View of Hills from House’s Translation Quality Assessment Model	宋建茹	Song Jianru==&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
== Abstract ==&lt;br /&gt;
&lt;br /&gt;
Translation quality assessment is an integral part of translation criticism. The first TQA model with comprehensive theories and practices Juliane House represented provides a significant reference for translation exercises. ''A Pale View of Hills'', as the first work of Kazuo Ishiguro, possesses a great research value on its narrative styles by virtue of memory and topics about migrants. As of 2011 when its Chinese translation was published, no scholar has evaluated it. This study applies House’s TQA model to assess the Chinese translation of ''A Pale View of Hills'' with qualitative and quantitative analysis from lexical, syntactic and textual aspects, in a bid to examine validity of the model on novel translation, which turns out that it is an overt and high-quality translation.&lt;br /&gt;
&lt;br /&gt;
== Key Words ==&lt;br /&gt;
&lt;br /&gt;
''A Pale View of Hills''; House’s TQA model; novel translation&lt;br /&gt;
&lt;br /&gt;
== 摘 要 ==&lt;br /&gt;
&lt;br /&gt;
翻译质量评估是翻译批评的核心课题。朱莉安·豪斯提出的第一个有完整的理论和实践的翻译质量评估模式，为翻译实践提供了重要参考。《远山淡影》是石黑一雄的处女作，其依托回忆的叙事风格和移民主题具有很高的研究价值。《远山淡影》中译本自2011年出版至今，尚未有学者对其进行评估研究。本文运用豪斯的翻译质量评估模式，采用定性与定量相结合的分析方式，从语场、语旨、语式等三个层面对原文和译文进行分析，开展《远山淡影》中译本的翻译质量评估研究，为豪斯翻译质量评估模式对小说翻译的运用进行进一步的探索和补充。通过分析，得出《远山淡影》中译本为显性翻译，翻译质量较高。&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
== 关键词 ==&lt;br /&gt;
&lt;br /&gt;
《远山淡影》；豪斯质量评估模式；小说翻译&lt;br /&gt;
&lt;br /&gt;
==On the Relationship among Literal Translation, Free Translation, Domestication and Foreignization	韦洪朗	Wei Honglang==&lt;br /&gt;
&lt;br /&gt;
==On Chinese-to-English Translation of The Summer Palace from the Perspective of Functionalist Approaches to Translation	魏亚菲	Wei Yafei==&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
===Abstract===&lt;br /&gt;
Abstract&lt;br /&gt;
The Chinese-English translation of tourist texts, as a window for the external publicity of national history and culture, plays an important role in promoting the development of local tourism. The Summer Palace is well known for its large and priceless collection of cultural relics, which is among the first group of historical and cultural heritage sites in China to be placed under special state protection. &lt;br /&gt;
Based on the functionalist approach and the skopos rule, this paper discusses the problems existing in the translation of scenic spots in the Summer Palace from the perspectives of garden culture, historical culture and religious culture. Skopos theory holds that translation depends on communicative purpose. To achieve this goal, translators can choose different translation strategies. It is believed that the purpose of Chinese-English translation of scenic spots is to attract target readers and promote traditional culture. Therefore, when translating tourism materials, it is necessary not only to express the local cultural connotation, but also to consider the cross-cultural factors. The Chinese-English translation of the introduction of scenic spots guided by functionalist approach can make English readers have expectations of scenic spots and understand the cultural connotation of scenic spots. This paper aims to better promote the development and communication of Chinese culture and improve the level of tourism text translation in China by relying on the theory of functionalist approach.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
===Key words===&lt;br /&gt;
Key Words: functionalist approach，the Summer Palace，translation strategies&lt;br /&gt;
&lt;br /&gt;
===摘要===&lt;br /&gt;
摘 要&lt;br /&gt;
旅游资料的英译作为民族历史文化对外宣传的一道窗口,对地方旅游业的发展有着不可低估的促进作用。颐和园作为中国著名的皇家园林，具有浓厚的中国园林特色及优美的风景，同时也蕴涵着深厚文化内涵。&lt;br /&gt;
本篇旅游文本英译的分析以功能派翻译理论作为理论指导，以目的法则为主要原则，从颐和园的园林文化、历史文化和宗教文化三个角度出发对颐和园景点英译中存在的问题进行探讨。目的论认为译文取决于翻译目的，这个目的通常指的是交际目的。为达到这个目的，译者可以选择不同的翻译策略。也就是说，译者的翻译策略必须由译文的预期目的或功能决定，即所谓的“目的法则”。笔者认为景点介绍的汉英翻译的目的就是吸引译文读者以及弘扬传统文化，因此在翻译旅游资料的时候不仅要把当地的文化内涵表达出来，而且要考虑到跨文化的因素。而以功能派翻译理论为指导的景点介绍的汉英翻译，可以使英语读者通过译文产生对旅游景点的期盼，以及对景点文化内涵的理解。以颐和园景区内的翻译文本为例本，依托功能翻译理论，通过“发现问题，指出问题，解决问题”，以期更好地促进中国文化的传播与交流，提高我国现阶段旅游文本翻译的水平。&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
===关键字===&lt;br /&gt;
关键词：功能翻译；颐和园；翻译目的；翻译策略&lt;br /&gt;
&lt;br /&gt;
===Introduction===&lt;br /&gt;
  Throughout the translation history at home and abroad, the literal translation and free translation have always been a heat discussion in the translation circles. Someone absolutely approve literal translation and demean free translation, even pursue a dead translation, which creates an translated text difficult to understand. While some other people absolutely agree with free translation even advocate random acts, which means a random deletion in the translation practices and creates anther entirely different text. However, there are also a number of translators who have recognized that these two translation methods are not totally opposite. So they adopt a compromise and flexible way. That means they will choose the most appropriate one depending on the text demanding. Therefore, we can deduce from it that this eclectic translation is consistent with the Contradiction view of Unity of Opposite in Materialist Dialectics. In fact, literal translation and free translation are right a set of contradictions which are both opposite and unified. They complement each other into an integral one.&lt;br /&gt;
&lt;br /&gt;
===Table of Contents===&lt;br /&gt;
&lt;br /&gt;
Table of Contents&lt;br /&gt;
&lt;br /&gt;
Outline&lt;br /&gt;
1.Introduction&lt;br /&gt;
2. Studies on Functionalist Approach&lt;br /&gt;
2.1 The Viewpoint of Functionalist Approach&lt;br /&gt;
2.1.1 Reiss’s Text Typology&lt;br /&gt;
2.1.2 Vermeer’s Skopos Theory&lt;br /&gt;
2.1.3 Manttari’s Theory of Translational Action&lt;br /&gt;
2.1.4 Nord’s Theory of Function plus Loyalty&lt;br /&gt;
2.2 The Application of Functionalist Approach &lt;br /&gt;
3.C-E Translation of the Summer Palace under Functionalist Approach&lt;br /&gt;
3.1 Garden Culture&lt;br /&gt;
3.2 Historical Culture &lt;br /&gt;
3.3 Religious Culture &lt;br /&gt;
4. Conclusion&lt;br /&gt;
References&lt;br /&gt;
&lt;br /&gt;
===Outline===&lt;br /&gt;
Outline&lt;br /&gt;
&lt;br /&gt;
Thesis Statement: Based on the main viewpoints of functionalist approaches to translation, this paper aims to give an analysis to C-E translation of the Summer Palace from cultural, historical and religious aspects, hoping to provide some translation strategies for other cultural attractions.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
1. Introduction&lt;br /&gt;
2. Studies on Functionalist Approaches&lt;br /&gt;
2.1 The Viewpoint of Functionalist Approach&lt;br /&gt;
2.1 Reiss’s Text Typology&lt;br /&gt;
2.2 Vermeer’s Skopos Theory&lt;br /&gt;
2.3 Manttari’s Theory of Translational Action&lt;br /&gt;
2.4 Nord’s Theory of Function plus Loyalty&lt;br /&gt;
2.2 The Application of Functionalist Approach&lt;br /&gt;
3. C-E Translation of the Summer Palace under Functionalist Approach&lt;br /&gt;
3.1 Garden Culture&lt;br /&gt;
3.2 Historical Culture&lt;br /&gt;
3.3 Religious Culture&lt;br /&gt;
4. Conclusion&lt;br /&gt;
&lt;br /&gt;
===1. Introduction ===&lt;br /&gt;
1. Introduction   &lt;br /&gt;
The Chinese-English translation of tourist texts is a bridge to spread the culture of classical Chinese gardens, so the accuracy of it has a direct impact on foreigners' understanding of the specific history and culture. &lt;br /&gt;
Functionalist approach has made a pioneering contribution to the translation of non-literary genres. Functional translation theory emphasizes the function of discourse, and believes that different types of discourse have different functions, so translators should choose appropriate translation strategies according to the type of source text and corresponding functions. Functionalist approach is to take the &amp;quot;skopos rule&amp;quot; as the highest standard, and any translation activity is a purposeful behavior. The ultimate goal and main function of scenic spot translation is to help people understand the main content of the scenic spot.&lt;br /&gt;
As a window for the publicity of national history and culture, the Chinese-to-English translation of tourist texts plays an important role in promoting the development of local tourism. Well known for its large and priceless collection of cultural relics, the Summer Palace was among the first group of historical and cultural heritage sites in China to be placed under special state protection. Based on the viewpoints of functionalist approach to translation, this paper aims to analyze C-E translation of the Summer Palace from cultural, historical and religious aspects, hoping to provide some translation strategies for other cultural attractions. &lt;br /&gt;
&lt;br /&gt;
===2. Studies on Functionalist Approaches===&lt;br /&gt;
2. Studies on Functionalist Approaches&lt;br /&gt;
Functionalism is a theory that advocates reader-centered translation, emphasizing the functions of texts and highlighting the communicative effects. It is believed that many unnecessary mistakes can be avoided and better results can be achieved by applying functionalist approach in Chinese-English translation of tourist text. &lt;br /&gt;
&lt;br /&gt;
===2.1 The Viewpoint of Functionalist Approaches===&lt;br /&gt;
2.1 The Viewpoint of Functionalist Approaches&lt;br /&gt;
Functionalist Translation Theory, also known as German Functionalist Translation Theory, was proposed by German scholars in the 1970s. It includes four main theories: Katharina Reiss’s Text Typology, Hans Vermeer’s Skopos Theory, Justa Holtz Manttari’s Theory of Translational Action and Christiane Nord’s Theory of Function plus Loyalty. This chapter aims to present the main ideas of this theory.&lt;br /&gt;
&lt;br /&gt;
===2.1.1 Reiss’s Text Typology===&lt;br /&gt;
2.1.1 Reiss’s Text Typology&lt;br /&gt;
In 1971, Reiss in her book Possibilities and Limitation of Translation Criticism first made text function as a standard of translation criticism, namelyevaluate the translated text from the relationship between the functions of the original and the translated text. She insists on the original-centered equivalence theory and holds the view that the ideal translation is to achieve the equivalence between the target text and the source text in terms of ideological content, linguistic form and communicative function. However, translation practice makes her realize that it’s difficult to achieve equivalence sometimes and that sometimes equivalence cannot be pursued. Because of the particularity of translation requirements, the function of the target text is not always the same as that of the source text. Therefore, the translator should give priority to the functional role of the target text rather than the principle of equivalence.&lt;br /&gt;
Reiss believes that in the normal situation the type of text decides the translator’s choice of a proper translation method (Reiss, 2004). Therefore, she divides text into four types: content-focused text, form-focused text, appeal-focused text and audio-media text. Content-focused text, also known as informative text, includes news reports, commercial correspondence, operating instructions, official documents, patent&lt;br /&gt;
specifications, essays, treaties, etc. For this text, the main function is to convey information revealed in language itself to readers. The emphasis is on content and topic, so the choice of language and style should serve this function. If both the source text and target text belong to informative text, the translator should represent the content and information of source text accurately and completely (Reiss, 2004)&lt;br /&gt;
Form-focused text, also known as expressive text, refers to literary works such as novels, poems and so on. “Distinct from ‘content’, which deals with what the author says, ‘form’ is concerned with how an author expresses himself” (Reiss, 2004). For expressive texts, information is only a supplement. What is dominant is the aesthetic factor. When translating such texts, the translator should pay attention to the aesthetic and artistic forms of the original text and to the differences between two cultural habits, trying to achieve the same effect as the source text. In a word, in a form-focused text the linguistic form of the source text determines the form in the target language (Reiss, 2004).&lt;br /&gt;
Appeal-focused text, also known as operative text, mainly includes notice, instruction manual, advertisement, publicity manual and so on. For operative texts, the primary task for the translator is to provoke a particular reaction on the hearers or readers to incite them to engage in specific actions, while content and form are subordinate. Therefore, to achieve the same effect, the translator need to change the content and stylistic features of the original text, try to keep the potential influential factors of the original text and seek functional equivalence (Reiss, 2004: 38-43). Audio-medial text, also known as multi-media text, refers to radio and television scripts, such as radio newscasts and reports, topical surveys and dramatic productions.&lt;br /&gt;
It is distinctive in its dependence on non-linguistic media and on graphic, acoustic, and visual kinds of expression. Only in combination with them can the whole complex literary form realize its full potential (Reiss, 2004). In conclusion, different texts determine different translation focuses and methods. In many cases, however, a text may have more than one function, which means that translators should integrate different translation strategies skillfully to achieve different functions of texts.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
===2.1.2 Vermeer’s Skopos Theory===&lt;br /&gt;
2.1.2 Vermeer’s Skopos Theory&lt;br /&gt;
Reiss’s student Vermeer, who broke the limitation of the theory of equivalent and took skopos to be the first criterion of translation process  proposed the key theory: Skopostheorie. According to Skopos Theory, when translating a text, the translator needs to consider the purpose of translation first and then choose the translation method according to the purpose, which means “the end justifies the means” (Nord, 2001). Vermeer believes that translation, like other human actions, is also a purposeful act. Translation often takes place in cultural backgrounds with different customs and values, so translation is not a simple equivalent transformation between languages. Skopos Theory does not focus on achieving the equivalence between the target text and the original text or the perfection of the target text, but on choosing the best translation strategy based on the analysis of the source text and the intended function of the target text. In a word, translation methods and strategies are determined by the intended purpose or function of the target text.&lt;br /&gt;
According to Skopos Theory, the first rule that all translators must follow is the Skopos Rule. Translation purpose can be divided into three categories: (1) the purpose of the translator, such as earning a living; (2) the communicative purpose of the translation, such as instructing the reader; (3) the purpose of using a particular translation method, such as the literal translation according to its structure to illustrate the peculiarities of grammatical structure in a language (Nord, 2001). In general, the communicative purpose is more important than the other two. The communicative purpose is usually determined by the initiator of the translation act, but the translator can take part in deciding. The second rule is the Coherence Rule. Coherence Rule requires that the translation conform to the criterion of intratextual coherence, which means that the translation must be accessible to recipients and meaningful in the target culture and in the communicative environment (Nord, 2001). The third rule is the Fidelity Rule. It means that there should be intertextual coherence between the source text and the target text, which means being faithful to the source text. Nevertheless, the degree and form of faithfulness lie in the target text and the degree that the translator understands the original text. Normally “Intertexual coherence is considered subordinate to intratexual coherence and both are subordinate to the Skopos rule” (Nord, 2001).&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
===2.1.3 Manttari’s Theory of Translational Action===&lt;br /&gt;
2.1.3 Manttari’s Theory of Translational Action&lt;br /&gt;
Following Vermeer, Manttari develops Vermeer’s Skopos Theory and puts forward the Theory of Translational Action. He emphasizes three aspects: the behavior of the translation process, the role of the participants (the initiator, the translator and the target reader, etc.) and the environment (time, place and media) in which the translation process takes places. It views translation as “purpose-driven, outcome-oriented human interaction and construes the process of translation as message-transmitter compounds that involve intercultural transfer” (Mundy, 2001). According to Manttari, translation is “ a complex act to achieve a particular purpose” &lt;br /&gt;
(Nord, 2001). It is not about translating words, sentences or texts but is about guiding the intended cooperation over cultural barriers and promoting functional communication. Cooperation here means “transcultural communication” by Manttari.&lt;br /&gt;
The Theory of Translational Action attaches great importance to providing a functional communicative text for the recipient, a text suitable for the target culture in&lt;br /&gt;
form and style. Functional suitability is determined by the translator. The translator is&lt;br /&gt;
an expert in translation, whose role is to ensure the successful completion of cultural&lt;br /&gt;
transformation. In producing the target text, the analysis of the source text is necessary so that the translator can find out its structural and functional characteristics, which can be described by content and form. The need of the recipient is the decisive&lt;br /&gt;
factor for the target text.&lt;br /&gt;
In short, “the value of Manttari’s work is the placing of translation (or at least the professional non-literary translation which she describes) within its sociocultural&lt;br /&gt;
context, including the interplay between the translator and the initiating institution”&lt;br /&gt;
(Mundy, 2001).&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
===2.1.4 Nord’s Theory of Function plus Loyalty===&lt;br /&gt;
2.1.4 Nord’s Theory of Function plus Loyalty&lt;br /&gt;
Though skopos rule changes the focus of translation from the source language text to the target language text and the target receivers, it has some limitations. One is that different readers have different expectations, and the translation purpose cannot satisfy all the expectations of the target reader. Another is that the translation purpose may sometimes be against the intention of the source language. Therefore, based on the skopos rule, Nord introduces the loyalty principle. The principle of loyalty is a supplementary principle proposed by Nord to make up for the deficiency of skopos rule. According to the explanation of Nord, it is not the relationship between the original text and the target text, nor the equivalence between the original text and the form of the target text, but the consistency between the author of the original text, the initiator of the translation, the translator and the reader of the target text, which is the principle of loyalty. The proposal of the loyalty principle makes up for the mistakes that some radical skopos translators usually make, such as omitting and rewriting, which makes skopos theory more perfect and makes skopos theory more likely to guide the translation of literary works.&lt;br /&gt;
“Function” and “loyalty” are two pillars of Nord’s functionalist approach. “Function” refers to what a text means or is intended to mean from the receiver’s point of view”, while “loyalty” means that “target-text purpose should be compatible with the original author’s intention” (Nord,2001). It emphasizes the interpersonal relationship between the translator, the source-text sender, the target-text addresses and the initiator. Function plus loyalty enables the translator to avoid the limitations of skopos rule and try to achieve a balance between translation purpose and the source-text author’s intention”(Nord,2001). That is to say, when translating the original text, the translator should take into account the readers' cultural background, knowledge level and expectation of the translation, and choose the corresponding translation strategy according to the translation requirements. If the reader wants to read a word-for-word translation of the article, then the translator must meet the reader's requirements, otherwise he must explain to the reader why he chose his own translation method. The translator's job is to weigh two different cultures instead of imposing one culture on another. &lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
===2.2The Application of Functionalist Approach to the Tourist Texts.===&lt;br /&gt;
2.2The Application of Functionalist Approach to the Tourist Texts.&lt;br /&gt;
In the 1990s, Functionalist Translation Theory was introduced to China, and since then it has been applied to translation studies by Chinese translation scholars. In his article published in 1995, Zhang Nanfeng briefly introduces Skopos theory to China for the first time, and considers that Skopos theory is referential (Zhang Nanfeng, 1995). German Functionalist Translation Theory, a paper released in1999, is the first article in China which systematically introduces German Functionalist Translation Theory (Zhong Weihe &amp;amp; Zhong Yu, 1999). Based on an overview of Functionalist Translation Theory, Zhang Meifang focuses on introducing Nord’s theory, especially on the detailed analysis of Nord’s principle of loyalty (Zhang Meifang, 2005). Famous domestic scholars, such as Liu Junping (2009), Liu Miqing (2012) and Li Wenge (2004), also introduce this theory in their books. With the rise of Functionalist Translation Theory in China, someone has compared it with other theories. Zhu Haotong compares Skopos Theory with Functional Equivalence Theory to analyze the similarities and differences between them, and further reveals that Functionalist Translation Theory inherits the reasonable part of Nida’s Functional Equivalence Theory, which is an important breakthrough and supplement to solve the problems that Functional Equivalence Theory leaves (Zhu Haotong, 2006). Some scholars also combine theory with translation practice to explore the application of Functionalist Translation Theory to translation practice. Jia Yanli and Wang Hongjun point out that Skopos Theory has its limitations, but it is still of instruction and reference value for non-literary translation texts, such as advertisements and tourism materials (Jia Yanli &amp;amp; Wang Hongjun, 2012). Li Liangchen selects several famous tourist attractions in China to translate the on-site tour-guide commentary into English. Then he improves them under the guidance of Skopos Theory and sends out questionnaires to overseas tourists for further analysis. He argues that the translation of on-site tour-guide commentary which is guided by Skopos Theory is more favorable to conveying information to foreign visitors, to promoting cultural exchanges and to improving the image of China’s tourist destinations (Li Liangchen, 2013). In Pragmatic Translation: Theory &amp;amp; Practice, Wu Feng and He Qingji introduce Functionalist Translation Theory (Wu Feng &amp;amp; He Qingji, 2008) and the characteristics of tourism text and translation skills (Wu Feng &amp;amp; He Qingji, 2008). In this book, they also discuss the controversy over the Chinese name of Functionalist Translation Theory, and holds that “功能派翻译理论” is the most appropriate Chinese translation (Wu Feng &amp;amp; He Qingji, 2008).Based on his own translation practice and under the guidance of Functionalist Translation Theory, Wu Zixuan probes into some special phenomena in the English translation of CNN newsreels. The author believes that in the translation of external publicity, we should not stick to the standard of faithfulness to the original text, but should deal with the original text properly from the perspective of achieving the purpose of translation, such as rewriting, abridging. (Wu Zixuan, 2005).&lt;br /&gt;
Functionalist approach establishes a theoretical system of diversified translation standards dominated by skopos rule. From the definition of Functionalist approach, it can be seen that the advantage of it is that the translator can get rid of the bondage of the original text, study the translation process with &amp;quot;translation purpose&amp;quot; as the starting point, and determine the translation strategies and methods. This can give full play to the translator's own initiative, flexible processing of the original text, in order to achieve the translation of the communicative function. In addition, functionalist approach requires the translation to be examined in the cultural context of the reader. The reader can accept the translation and understand the meaning of the original text through the translation, so the translation can realize the communicative function. On the basis of such advantages, functionalist approach can be used to guide the English translation of garden scenic spots, and the translator can choose a wider range of translation strategies and break out of the constraints of the original text. &lt;br /&gt;
Only by clarifying the purpose of translation can we avoid these limitations in the English translation of garden attractions. When using functionalist approach to guide the English translation of Chinese classical garden scenic spots, it is necessary to flexibly choose translation strategies and methods, give full play to the advantages of skopos theory, and achieve the balance between &amp;quot;principle of purpose&amp;quot; and &amp;quot;principle of fidelity&amp;quot; as far as possible.&lt;br /&gt;
With the deepening of globalization and cross-cultural communication, tourismis becoming a major industry in the 21st century. The development of tourism can not only promote the economic development of a country but also promote the external dissemination of national culture. Therefore, tourism translation deserves attention. Tourism text is a typical informative and operational text, and the language is unique. It is full of gorgeous words, such as four-character expressions, verses, proper nouns and so on.&lt;br /&gt;
Tourism text materials include tourism advertising, tourism brochures, scenic spots signs and so on. In this paper, we focus on the introduction of Chinese gardens’ scenic spots, which is usually colorful in language and rich in literary style. Tourism text translation belongs to applied translation, which should play a series of practical functions to publicize the image and resources of the country or place and attract overseas tourists. Therefore, the translator of tourism text must be clear about the type and function of tourism text, and to grasp the ultimate purpose of the translation. &lt;br /&gt;
On tourism text translation, the communicative purpose of the translation should be placed in a central position. Furthermore, the tourism text has both the information function and the calling function. The information function and the calling function complement each other. Only when the target language readers acquire the expected tourism information and cultural knowledge can the calling function be realized and the purpose of tourism text translation be achieved. With different translation strategies, the translated version should both expressed contains basic information, and make the tourists feel the profound of the Chinese culture from the beautiful scenery. &lt;br /&gt;
Cultural tourism has long been the focus of international tourism, and understanding Chinese culture is the main purpose of inbound tourists, so the translation of tourism texts bears the mission of cultural transmission and cultural publicity. However, due to the great differences between Chinese and English culture and language, there are many difficulties in cultural transmission in tourism text translation. China has a long and splendid history and culture. When introducing the scenic spots of cultural relics and historic sites, we usually associate with many historical figures and stories. These terms are cultural blank for most foreign tourists, but this kind of cultural experience is also the most attractive place for foreign tourists. It is of great importance to pay attention to cultural differences in tourism translation and carry out cultural transmission effectively. Chinese and English languages have different logic views, and Chinese expressions in tourism texts value decoration. English expressions tend to be clear, concise and to the point. For example, Chinese tourism texts often use a four-character lattice, which is symmetrical, while there is no corresponding four-character lattice expression in English. Therefore, in Chinese-English translation of tourism texts with frequent use of four-character phrases, it is necessary to keep in mind the objective principle of functionalist approach and give priority to cultural communication instead of rigidly adhering to form.&lt;br /&gt;
&lt;br /&gt;
===3. C-E Translation of the Summer Palace under Functionalist Approach===&lt;br /&gt;
3. C-E Translation of the Summer Palace under Functionalist Approach&lt;br /&gt;
By studying the specific translation strategies made by predecessors, the following steps are also adopted in this paper: first, the translation strategies are determined according to the text type, such as faithful reproduction of the original information or rewriting; Secondly, the translation strategies are determined according to the potential purpose of the translation, such as paraphrasing or deleting poems, generalizing specific expressions and transliterating proper nouns. Thirdly, the translation strategies are defined with the tourists as the center, such as adding logical words, adding explanatory information and using plain English.&lt;br /&gt;
The Summer Palace epitomizes the philosophy and practice of Chinese garden design, which played a key role in the development of this cultural form throughout the east. It is an outstanding expression of the creative art of Chinese landscape garden design, incorporating the works of humankind and nature in a harmonious whole, which was once the most important place of political and diplomatic activity for the supreme rulers of the late Qing dynasty. Based on three aspects of the Summer Palace, namely, garden culture, historical culture and religious culture, this paper discusses the problems existing in the English translation of the scenic spots of the Summer Palace and puts forward corresponding countermeasures under the guidance of the skopos rule of functionalist translation theory.&lt;br /&gt;
&lt;br /&gt;
===3.1 Garden culture.===&lt;br /&gt;
3.1 Garden culture. &lt;br /&gt;
The Summer Palace is a classical garden famous for its magnificence and beauty. There are many temples in the garden, and the green waves of kunming lake ripple. Landscape and humanities complement each other, containing rich natural and cultural information, reflecting the characteristics of Chinese classical gardens. The garden cultural features of the three scenic spots, namely, the hall of clouds, the foxiang pavilion and the Wenchang courtyard, are particularly outstanding. Therefore, this paper takes these three scenic spots as examples to discuss the Chinese-English translation of the introduction of the Summer Palace.&lt;br /&gt;
(1)	排云殿、佛香阁景区是颐和园内建筑布局最完整、建筑形式最丰富的中轴建筑群体，殿、阁、廊、亭、桥、坊、碑等建筑约两万平方米。从临水的云辉玉宇牌坊至排云门、排云殿、德辉殿、佛香阁、众香界、智慧海、层层升高，排列有序，气势巍峨，金碧辉煌，将园林、寺庙和宫殿融为一体。&lt;br /&gt;
Translation：This scenic spot covers an area of 20,000 square meters with an assortment of buildings such as palaces, towers, corridors, pavilions, walkways, bridges, archways and inscribed stone steles. It comprises a well-arranged group of structures, all diverse in style, located in the center of the Summer Palace garden. This complex of structures, ranging from the Glowing Clouds and Holy Land Archway on the waterside, the Gate that Dispels the Clouds, the Hall that Dispels the Clouds, the Hall of Moral Glory, and the Tower of the Fragrance of the Buddha, to the Realm of Popular Fragrance and the Sea of Wisdom Temple, were built in an orderly manner running from the foot of the hill to its top, with gardens, temples and palaces harmoniously integrated into the whole。&lt;br /&gt;
Analysis：As we all know, the design style of ancient Chinese buildings is beautiful with &amp;quot;symmetry&amp;quot;. The &amp;quot;axis&amp;quot; in hall of clouds scenic spot refers to the layout of the Summer Palace from far to near and from top to bottom, which cannot be simply understood as the center. Simply translating &amp;quot;axis&amp;quot; as &amp;quot;center&amp;quot; cannot express accurately the meaning of &amp;quot;symmetry&amp;quot;. Comparatively speaking, &amp;quot;axis&amp;quot; can better reflect the architectural style of the scenic spot.&lt;br /&gt;
(2)	从临水的云辉玉宇牌坊至排云门、排云殿、德辉殿、佛香阁、众香界、智慧海，层层升高，排列有序，气势巍峨，金碧辉煌，将园林、寺庙和宫殿融为一体。&lt;br /&gt;
Translation：These structures，including Glowing Clouds and Holy Land Archway at lake side，the Gate of Dispelling Clouds，the Hall of Dispelling Clouds，the Hall of moral Glory，and the Tower of Buddhist Incense，the Realm of Multitudinous Fragrance and the Sea of Wisdom Temple，were built in an orderly manner ranging up the hill with gardens，temples and palaces harmoniously integrated. This manifests beauty，grace and splendor，reminiscent of the loftingness and grandeur of a once mighty empire.&lt;br /&gt;
Analysis：In terms of the characteristics of language, Chinese emphasizes parataxis and four-word antithesis. When describing and naming scenes, gorgeous words and poetic words are generally chosen in Chinese. But, English emphasizes hypotaxis, on the other hand, puts more emphasis on reproducing the original appearance of things, using simple and natural words and preferring direct description. In sign translation, the English translation pays more attention to accurate, concise and lively. In the above paragraph, &amp;quot;层层升高，排列有序，将园林、寺庙和宫殿融为一体&amp;quot; is an introduction to the architectural features of foxiang pavilion, in order to make tourists have a clear understanding of the overall layout and architectural features of the scenic spot. This information is essential and can be translated into detail. However, &amp;quot;气势巍峨，金碧辉煌&amp;quot; focuses on the subjective description, and its explicit translation needs more complicated words. If this paragraph is translated in detail, it is easy to drag the content and make the key information vague. Therefore, the deletion of the English translation of this sentence will not affect the basic information of the original text.&lt;br /&gt;
(3)	主阁（文昌阁）两层，内供铜铸文昌帝君和仙童、铜骑。文昌阁与万寿山西供武圣的宿云檐象征“文武辅弼”。&lt;br /&gt;
Translation: A bronze statue of the God Wenchang, statues of gaeries, and a bronze steed were placed in the two-story pavilion. This tower is pared with the Tower of Cloud- Retaining Eaves, located to the west of the Longevity Hill, in which a statue of the Martial God was placed. The God Wenchang and the Martial God together symbolize reining of the emperor supported by scholars and warriors.&lt;br /&gt;
Analysis: Two questions arise in Chinese-English translation. First, there are two translations of wenchang pavilion in the translation: pavilion and tower, which appear in the same sign. Two different translations of the same scenic spot name tend to make foreign tourists think that it refers to different scenic spots, which may cause difficulty in understanding. Second, the translation of Wenchang pavilion into &amp;quot;Wenchang Tower&amp;quot; is against the actual architectural characteristics. In fact, the meanings of &amp;quot;pavilion&amp;quot; and &amp;quot;tower&amp;quot; have both similarities and differences. According to the Oxford dictionary, Tower means &amp;quot;a tall narrow building or part of a building, especially of a church or castle&amp;quot;, mainly referring to the tower-shaped part of a building, usually a tall and slender structure, such as the Eiffel Tower. &amp;quot;Pavilion&amp;quot; means &amp;quot;a building that is meant to be more beautiful than usual, built as a shelter in a park or used for concerts and dances&amp;quot;. The top structure of the pavilion usually has rectangles, triangles, hexagons, etc. The common feature of them is that the top is supported by columns without walls. From the external structure of Wenchang pavilion, its bottom is solid and its top is supported by columns. Therefore, the pavilion can accurately reflect the architectural characteristics of Wenchang pavilion, so I think it should be translated as Wenchang pavilion.&lt;br /&gt;
&lt;br /&gt;
===3.2 Historical culture. ===&lt;br /&gt;
3.2 Historical culture. &lt;br /&gt;
The accurate Chinese-English translation of the introduction of the Summer Palace not only enables foreign tourists to understand the characteristics of Chinese gardens, but also enables foreign tourists to understand the historical knowledge of a specific period of China. However, the Chinese-English translation of the Summer Palace still has problems in accurately conveying the historical background of the scenic spots, such as the English translation of Wenchang pavilion scenic spot:&lt;br /&gt;
(4)	此景区始建于清乾隆十五年，一八六零年被英法联军烧毁，光绪时按原样重建。阁结构为八面三层四重檐，通高36.44米，耸立于20米高的石造台基上，气势雄伟，是颐和园全园的构图中心。阁内供奉有铜铸金裹千手观世音菩萨站像。像高五米，重万斤，为明代万历年间所造，在八根贯通全阁上下的承重铁梨木擎天柱的衬托下，美妙庄严，熠熠生辉，有极高的文物和艺术价值。&lt;br /&gt;
Translation: The Wenchang tower was first built in 1750 and rebuilt under Emperor Guangxu after  the Anglo-French Allied Forces builted it down in 1860. The octahedral tower has three stories with four-layered eaves, altogether 36.44 meters high. Standing upright on a 20 meter-high stone foundation, it constitutes the center of the Summer Palace landscape and serves to accentuate its magnificence. A statue of the thousand-handed Guanshiyin Buddha, cast in bronze and gilded with gold, stands inside the tower. The statue, five meters high and five tons in weight, was cast during the reign of Emperor Wanli of the Ming Dynasty. Set off by the eight imposing pillars which support the tower, it glows with beauty, grandeur and brilliance. Its historical, cultural and artistic value can hardly be overstated.&lt;br /&gt;
Analysis: “始建于乾隆十五年”only was translated into “was first built in 1750” and the “光绪年间重建” was translated into “rebuilt under Emperor Guangxu”.The first sentence does not show that 1750 was the fifteenth year of the reign of emperor Qianlong, and the second sentence does not give foreign visitors the exact date of the reign of emperor Guangxu. The change of time concept and the disunity of expression easily make foreign tourists feel confused. Therefore, the translation of the time and the historical dynasties should be accurate and meticulous, and the supplementary method should be used to not only describe the dynasties clearly, but also supplement the corresponding years, so as to achieve the standardization of the translation. In this way, foreign tourists can not only be clear about the time of the event, but also understand the Chinese historical dynasties. Consider as follows: the Wenchang Pavilion was first built in 1750 during Emperor Qianlong’s reign（1735- 1795）and rebuilt in 1886 under Emperor Guangxu（1875- 1908）after the Anglo- French Allied Forces burned it down in 1860.&lt;br /&gt;
&lt;br /&gt;
===3.3 Religious culture. ===&lt;br /&gt;
3.3 Religious culture. &lt;br /&gt;
Many scenic spots in the Summer Palace have a strong buddhist atmosphere. While visiting the scenic spots, foreign tourists can understand the profound buddhist culture. Wenchang pavilion in the Summer Palace is the representative of Chinese religious culture.&lt;br /&gt;
(5)	主阁两层，内供铜铸文昌帝君和仙童、铜特。文昌阁与万寿山西供武圣的宿云檐象征“文武辅弼”。&lt;br /&gt;
Translation: A bronze statue of the god，Wenchang，and statues of two followers，the celestial boy，and the bronze steed，were placed in the two- storey pavilion. This tower is pared with the tower of Cloud- Retaining Eaves，located to the west of the Longevity Hill，in which a statue of the Martial God was placed. The two towers symbolize the support by both scholars and warriors to the ruling emperor.&lt;br /&gt;
Analysis: It is well known that westerners believe in theism, which refers to god as supreme . In Chinese religious culture, people believe in atheism and do not believe in the existence of god. Therefore, it is inappropriate to translate &amp;quot;文昌帝军&amp;quot; and &amp;quot;武圣&amp;quot; into &amp;quot;the god, Wenchang&amp;quot; and &amp;quot;the Martial god&amp;quot; in the translation. In fact, the &amp;quot;文昌帝军&amp;quot; was Zhang yu, an emperor of Shu of Ning kang (374). And &amp;quot;武圣&amp;quot; refers to Guan yu in history. Therefore, the simple translation of  &amp;quot;God&amp;quot; is not in line with the traditional Chinese culture, which will not only cause western tourists to misunderstand that Chinese religious tradition also believes in God, but also fail to convey Chinese historical allusions and relevant historical figures. In contrast, if &amp;quot;文昌帝军&amp;quot; is translated as &amp;quot;the emperor, Wenchang&amp;quot; and &amp;quot;武圣&amp;quot; is translated as &amp;quot;the Martial Master (Guanyu)&amp;quot;, it can more faithfully convey the history and religious culture contained in the source language. &lt;br /&gt;
&lt;br /&gt;
===4. Conclusion===&lt;br /&gt;
4. Conclusion&lt;br /&gt;
To sum up, Under the guidance of the skopos rule of functionalist translation theory, translators should have a cross-cultural awareness, fully understand the reading psychology and cultural appreciation needs of target language readers, and use effective translation strategies and methods to achieve the purpose of tourism text translation. Functionalist approach has made a pioneering contribution to the translation of non-literary genres. Functional translation effectively eliminates the disadvantages of traditional word-for-word translation, improves the efficiency of translation, and helps readers to grasp the meaning of the original text.&lt;br /&gt;
 The importance of the translation of the Summer Palace lies in the profound garden culture, historical culture and religious culture. The English translation is not only helpful for international friends to know more about the garden characteristics of the Summer Palace, but also helpful for spreading the long history and profound culture of China. In order to attract target readers and promote traditional Chinese culture, it is not only necessary to carefully explore Chinese culture and history, but also to use the fuctionalist approach appropriately. &lt;br /&gt;
Translation is a complicated process. Functionalist approach stresses the function of the discourse, the purpose of translation. In the practice of translation, if the translator can get rid of the bondage of the original equivalence, actively playing to subjective initiative, fully understanding the original text, depending on the purpose of discourse and adopting different translation strategies, the effect and readability of translation can be improved.&lt;br /&gt;
&lt;br /&gt;
===References===&lt;br /&gt;
References&lt;br /&gt;
Hans Vermmer, “Skopos and Commission in Translation Action”, in the Translation Studies Reader,ed. Chesterman, London and Network:Routledge,p.221-232. 2000.   &lt;br /&gt;
Munday, Jeremy. Introducing Translation Studies: Theories and Applications. Routledge publishing.2001.&lt;br /&gt;
Mason, “Textual Practices and Audience Design: and Interactive View of the Tourist Brrochure”. In Navarro et al.(eds.). Pragmatics at Work: The Translation of Tourist Literature. Bern: Perter Lang. 157-176.2004.&lt;br /&gt;
Nord, Text Analysis in Translation: Theory, Methodology and Didactic Application of a Model for Translation-Oriented Text Analysis. Beijing: Foreign Language Teaching and Research Press. 2006.&lt;br /&gt;
Nord, Translating as a purposeful activity. Shanghai: SFLE PRESS, 2001:27,30,32,65,245.&lt;br /&gt;
Reiss, Katharina. Translation Criticism: The Potentials &amp;amp; Limitations. Shanghai Foreign Language Education Press. Shanghai. 2004.&lt;br /&gt;
Venuti, Lawrence. The Translator’s Invisibility: A History Translation. Routledge.1995.&lt;br /&gt;
方梦之、毛忠明， 英汉—汉英应用翻译教程，上海: 上海外语教育出版社，2004.&lt;br /&gt;
金惠康，跨文化旅游翻译，中国对外翻译出版公司，2004.  &lt;br /&gt;
贾文波，应用翻译功能论，北京：中国对外翻译出版公司，2004&lt;br /&gt;
孙艺风，文化翻译的困惑与挑战，中国翻译，2016年第3期.  &lt;br /&gt;
王宏志，翻译与创作，北京大学出版社，2000.&lt;br /&gt;
吴自选，德国功能派翻译理论与 CNN 新闻短片英译，中国科技翻译, 2005.&lt;br /&gt;
谢天振，当代国外翻译理论，天津：南开大学出版社，2005.&lt;br /&gt;
张南峰，走出死胡同建立翻译学. 中国翻译, 1995.&lt;br /&gt;
仲伟合，钟钰. 德国的功能派翻译理论. 中国翻译, 1999.&lt;br /&gt;
张美芳，功能加忠诚—介评克里丝汀· 诺德的功能翻译理论.上海外国语大学学报, 2005.&lt;br /&gt;
&lt;br /&gt;
==Contrast between Literal Translation and Free Translation	张雪仪	Zhang Xueyi==&lt;br /&gt;
'''Abstract：'''&lt;br /&gt;
&lt;br /&gt;
The contrast between literal translation and free translation has always been the most discussed problem in translation studies. To compare these two translation methods, the basic point is to understand the purpose of translation. The ultimate goal of translation is to help different cultures communicate better, so that people who speak different languages can understand each other’s cultures. Due to the differences in social, historical and cultural backgrounds between languages, how to choose between the two translation strategies of literal translation and free translation requires translators to weigh the strengths and weaknesses of these two methods. This essay mainly compares literal translation and free translation between Chinese and Russian to help students and translators translate better.&lt;br /&gt;
&lt;br /&gt;
'''Key words：'''&lt;br /&gt;
&lt;br /&gt;
Translation strategies, Literal translation,Free translation &lt;br /&gt;
&lt;br /&gt;
'''摘要：'''&lt;br /&gt;
&lt;br /&gt;
直译与意译间的对比一直是翻译学中讨论度最高的问题。想要将这两种翻译方法进行对比，最基本的一点就是要明白翻译的目的是什么。翻译的最终目的在于帮助不同文化进行更好的交流，让使用不同语种的人相互理解彼此的文化。由于语种间社会历史文化背景的差异，如何在直译和意译这两种翻译策略中做出选择，就需要译者衡量两种方法的利弊。本文主要对汉语和俄语间直译和意译进行比较，以帮助学生和译者更好地进行翻译实践。&lt;br /&gt;
&lt;br /&gt;
'''关键词：'''&lt;br /&gt;
&lt;br /&gt;
翻译策略，直译，意译&lt;br /&gt;
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'''1.Introduction'''&lt;br /&gt;
&lt;br /&gt;
The former Soviet Union translation theorist Fedorov believed: “Translation is an activity that expresses what has been used in one language as a unified whole of content and form, and accurately and completely expressed in another language.” Translation theorist Barr Hudarov also wrote: &amp;quot;Translation is the process of changing the coherent discourse of one language into the coherent discourse of another language while maintaining its content and meaning.&amp;quot; To some extent, translation is a process of thinking re-creation, so certain standards and principles must be followed when translating. Translation standard is a measure of the quality of translation, it can guide translation practice, and it is a principle that must be followed in translation activities. Although each scholar has different opinions on the standard of translation, the final result he pursues is the same: the original text and the translated text express the same effect. In order to achieve the same effect, different translation methods have been derived, of which literal translation and free translation are the most commonly used.&lt;br /&gt;
&lt;br /&gt;
Russian idioms and proverbs, as the crystallization of the wisdom of the Russian nation and the immortal fossils in the Russian language, are one of the best materials for the Chinese to understand and learn Russian history, culture, and society. Due to different geographical, historical and economic conditions, the Russian and Chinese ethnic groups have formed different cultural backgrounds. These distinctive backgrounds and characteristics have caused great difficulties for Chinese learning Russian to further understand Russia. This essay studies the basic definitions of literal translation and free translation, their respective advantages and disadvantages and their mutual relations, and strive to solve how to use the translation methods of literal and free translation to properly translate Russian idioms and proverbs, and how to reflect the cultural background and language characteristics of Russian idioms and proverbs in the translation .&lt;br /&gt;
&lt;br /&gt;
'''2.Different views of &amp;quot;literal translation&amp;quot; and &amp;quot;free translation&amp;quot;'''&lt;br /&gt;
&lt;br /&gt;
In different periods and different countries, people's views on translation theory have changed a lot, but the debate about literal translation and free translation has always existed.&lt;br /&gt;
&lt;br /&gt;
In China, the contradiction between literal translation and free translation may initially be due to the different understanding of these two translation methods. The translator Sun Guiding believes that: literal translation is stuck to the structure of the original text and does not consider whether the Chinese is fluent and natural; while free translation is to use the inherent Chinese idioms and the most natural words and sentences as much as possible to achieve the effect of conveying the meaning of the original text. Former President of Wuhan University, Du Zuozhou, believes that literal translation means translating word by word according to the original text; free translation means translating according to the meaning of the original text, and the translation is more suitable for the common grammar of the translated language. The educator Meng Xiancheng believes that literal translation is a translation technology with different degrees of correctness. Literal translation is a translation that is faithful and correct according to the original text; free translation is a translation that summarizes the original meaning. Zhu Guangqian said: &amp;quot;The so-called 'literal translation' refers to the literal translation based on the original text. Every word and sentence are translated word by word, and the order of the words and sentences is not changed. The so-called ‘paraphrasing’ is to express the meaning of the original text in Chinese, and it does not have to be completely based on the literal and order of the original text. &amp;quot; The principle of &amp;quot;faithfulness, expressiveness and elegance&amp;quot; put forward by the modern Chinese translator Yan Fu has long been the basic principle guiding translation practice. A large number of beginners who learn foreign languages regard &amp;quot;faithfulness and expressiveness&amp;quot; as translations that are completely faithful to the original text when translating. In fact, Yan Fu's translation requirements are a guiding principle for translation based on semantics. When translating, if the structure and expression of the original text cannot be directly adopted, the sentence structure and expression must be changed according to the characteristics of the target language. In addition, there are many differences between the original language and the target language in the word order, grammar, variants and rhetoric in the translation process. In many cases, there is no direct corresponding word. This requires the translator to consider the actual semantics, background and other factors. On the basis of the original meaning of the sentence, use an appropriate method to convey the content of the original work and reproduce the language style of the original work.&lt;br /&gt;
&lt;br /&gt;
In the Soviet Union, under the influence of ideology, Western translation theories could not be widely disseminated, but within the Soviet Union, translation theories similar to Western translation theories have been formed and developed, and two main schools of translation theory have been further differentiated — Linguistic Translation School and Literary Translation School. To a certain extent, the dispute between these two schools also reflects the debate on literal translation and free translation among translators' groups. In terms of the principles or standards of translation, the linguistic translation school believes that an ideal translation should be an equivalent translation, first of all linguistic correspondence, that is, the translation should have the same meaning as the corresponding language or discourse unit of the original; the literary translation school believes that translation pursues artistic correspondence, and linguistic correspondence must be subordinate to artistic correspondence. Therefore, it proposes that the aesthetic standards of translation should reproduce the artistic reality reflected by the unity of the original content and form. The characteristic is to use images to translate images, that is, to create the same image in different languages. In 1953, Andrei Venediktovich Fedorov, the leader of the linguistic translation school, published his work &amp;quot;Summary of Translation Theory&amp;quot;, which was the first monograph of the Soviet Union to study translation theory from the perspective of linguistics. The author proposes that translation theory is a branch of linguistics. Since the translation of any genre work must rely on the comparison of two languages, translation problems can only be solved in the field of language. Fedorov’s view was refuted by the literary translation school represented by Ivan Alexandrovich Kashikin. The literary translation school believes that aesthetic issues are the core of literary translation theory, and translation should be regarded as a form of language art, that is, translation should be studied from the perspective of literature and art. In fact, the literary translation school emphasizes the translation of literary and artistic works, which belongs to the specific translation theory; while the research of the linguistic translation school focuses on the general translation theory, that is, the translation of all thematic works including literary works. The dispute between the two major translation theory schools of Russia and the Soviet Union provides another perspective for Chinese translators to explore the relationship between literal translation and free translation.&lt;br /&gt;
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&lt;br /&gt;
'''3.The application of literal translation and free translation in the Chinese translation of Russian idioms'''&lt;br /&gt;
&lt;br /&gt;
The idioms of different nationalities are the most dynamic and expressive units at the lexical level in different languages, and they are also the units that can best reflect the characteristics of national culture in languages. The number of Russian idioms is extremely rich, it records and reflects all aspects of Russian national life. Due to the great differences in geographical locations and living customs between China and Russia, the national cultures reflected in Chinese and Russian must be quite different. One of the difficulties in idiom translation is its imagery. When translating idioms, both the meaning and the image must be considered. Although the Chinese and Russian cultures are very different, many of the commonalities of mankind, such as emotion and natural environment, have created conditions for mutual communication, mutual understanding and idiom translation between different languages.&lt;br /&gt;
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&lt;br /&gt;
'''3.1 Literal translation'''&lt;br /&gt;
&lt;br /&gt;
Generally speaking, the literal translation method refers to a translation method that directly translates the original text without changing the language characteristics and style of the original text on the basis of fully respecting the meaning of the original text. Chinese translation of Russian idioms by literal translation method has the advantage of being able to intuitively and faithfully express the meaning of the idiom, maintaining the unique style and imagery of the original text: the disadvantage is that the translated idiom may not be understood by the Chinese because of China and Russia have different historical, cultural backgrounds, grammatical structures, and language world landscapes, which can easily form obstacles in the process of understanding.&lt;br /&gt;
&lt;br /&gt;
Translating Russian idioms by literal translation is further divided into two methods — literal translation into Chinese idioms and literal translation into non-idiom sentences or words.&lt;br /&gt;
&lt;br /&gt;
Literal translation of Russian idioms into Chinese idioms is suitable for the translation of Russian and Chinese idioms that are completely equivalent in image, structure, and meaning. The advantage is that it is easy to understand, and the translation is simple and fast. E.g:&lt;br /&gt;
&lt;br /&gt;
(1)домашнего  (своего) вора не убережешься. 家贼难防&lt;br /&gt;
&lt;br /&gt;
(2)знать как свои пять пальцев (видно, как на ладони) 了如指掌&lt;br /&gt;
&lt;br /&gt;
(3)подлить масла в огонь 火上浇油&lt;br /&gt;
&lt;br /&gt;
(4)как рыба в воде 如鱼得水&lt;br /&gt;
&lt;br /&gt;
(5)как ножом по сердцу 心如刀割&lt;br /&gt;
&lt;br /&gt;
(6)как гром среди ясного неба 晴天霹雳&lt;br /&gt;
&lt;br /&gt;
(7)на добро отвечают добром 善有善报&lt;br /&gt;
&lt;br /&gt;
(8)копейка рубль бережет 财从细起&lt;br /&gt;
&lt;br /&gt;
(9)мечты сбываются 梦想成真&lt;br /&gt;
&lt;br /&gt;
(10)курица всегда следует за петухом 嫁鸡随鸡&lt;br /&gt;
&lt;br /&gt;
(11)чего мало, того и дорого  (дорого то, что мало) 物以稀为贵(12)&lt;br /&gt;
&lt;br /&gt;
(12)изгонять яд с помощью яда 以毒攻毒&lt;br /&gt;
&lt;br /&gt;
(13)сидеть как на иголках 如坐针毡&lt;br /&gt;
&lt;br /&gt;
(14)действия громче слов 事实胜于雄辩&lt;br /&gt;
&lt;br /&gt;
(15)зарыть талант в землю 埋没人才&lt;br /&gt;
&lt;br /&gt;
(16)висеть на волоске 千钧一发&lt;br /&gt;
&lt;br /&gt;
(17)лить как из ведра 倾盆大雨&lt;br /&gt;
&lt;br /&gt;
The idioms in the above examples are completely equivalent in image, structure or meaning in Russian and Chinese, so Chinese idioms can be used for literal translation. &lt;br /&gt;
&lt;br /&gt;
In fact, in the two languages, idioms with the same image, structure, and meaning are still in the minority, so it is more common to translate Russian idioms into non-Chinese idiom sentences or vocabulary. E.g:   &lt;br /&gt;
&lt;br /&gt;
настоять на своем 坚持自己&lt;br /&gt;
&lt;br /&gt;
камень с души свалился 心里的一块石头落地&lt;br /&gt;
&lt;br /&gt;
связать свою судьбу 把自己的命运与……相连&lt;br /&gt;
&lt;br /&gt;
быть на голову 高出一头&lt;br /&gt;
&lt;br /&gt;
вбивать в голову 往脑子里灌&lt;br /&gt;
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блеснуть метеором 像流星一样一闪而过&lt;br /&gt;
&lt;br /&gt;
с мизинец 小拇指这么大&lt;br /&gt;
&lt;br /&gt;
It is not difficult to find that the literal translation method can completely retain the original appearance of the idiom, show the common concept of human understanding of the world, and be beneficial to the cultural exchange between China and Russia.&lt;br /&gt;
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'''3.2 Free translation'''&lt;br /&gt;
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Another method commonly used in the Chinese translation of Russian idioms is free translation. Free translation is to readjust the structure of the original text on the basis of keeping the original meaning of the idiom unchanged, and then reconstruct the Russian idiom with the way of thinking and expression in Chinese. This is because the figurative images used in many Russian idioms are inconsistent with those used in Chinese. If the original image is used in translation, it will cause a barrier to understanding. The advantage of free translation of Russian idioms is that it eliminates obstacles to understanding, but the disadvantage is that it cannot completely retain the original style and cultural characteristics. E.g:&lt;br /&gt;
&lt;br /&gt;
(1)В Тулу со свим самоваром не ездят.&lt;br /&gt;
直译：去图拉不用带自己的茶炊。&lt;br /&gt;
意译：多此一举&lt;br /&gt;
&lt;br /&gt;
(2)Честь лучше бесчестья.&lt;br /&gt;
直译：尊重比不尊重好。&lt;br /&gt;
意译：礼多人不怪。&lt;br /&gt;
&lt;br /&gt;
(3)словно горя с плеч&lt;br /&gt;
直译：把山从肩膀下卸下&lt;br /&gt;
意译：如释重负&lt;br /&gt;
&lt;br /&gt;
(4)выеденного яйца не стоит&lt;br /&gt;
直译：一个空蛋壳不值钱&lt;br /&gt;
意译：鸡毛蒜皮，一文不值&lt;br /&gt;
&lt;br /&gt;
(5)чужими руками жар загребать&lt;br /&gt;
直译：用别人的手将红炭火拨成一堆&lt;br /&gt;
意译：坐享其成，不劳而获&lt;br /&gt;
&lt;br /&gt;
(6)ни рыба, ни мясо&lt;br /&gt;
直译：没有鱼也没有肉&lt;br /&gt;
意译：不三不四，不伦不类&lt;br /&gt;
&lt;br /&gt;
(7)лучше синица в руках, чем журавль в небе&lt;br /&gt;
直译：天上的仙鹤不如手中的山雀&lt;br /&gt;
意译：远亲不如近邻&lt;br /&gt;
&lt;br /&gt;
(8)На языке мед, а под лед&lt;br /&gt;
直译：嘴上甜得像蜂蜜，心里冷得像冰&lt;br /&gt;
意译：笑里藏刀&lt;br /&gt;
&lt;br /&gt;
(9)И на солнце есть пятна&lt;br /&gt;
直译：太阳上也有黑点&lt;br /&gt;
意译：人无完人&lt;br /&gt;
&lt;br /&gt;
(10)семь раз отмерь, один раз отрежь&lt;br /&gt;
直译：测量了七次后再剪裁&lt;br /&gt;
意译：三思而后行&lt;br /&gt;
&lt;br /&gt;
Using free translation to translate Russian idioms requires the translator to accurately understand the meaning of the original text, because cultural differences make it impossible to literally translate. Only through the translator can an unobstructed bridge between Russian idioms and Chinese idioms be built.&lt;br /&gt;
&lt;br /&gt;
'''4.The application of literal translation and free translation in the Chinese translation of Russian proverbs'''&lt;br /&gt;
&lt;br /&gt;
There are often multiple translations of the same Russian proverb in Russian-Chinese dictionaries. On the one hand, because the translator uses different translation methods; on the other hand, because Russian proverbs have very rich connotations, a translation cannot perfectly interpret the inner meaning of the proverb. According to the context and the connotation of the proverbs, the most commonly used methods of Chinese translation of Russian proverbs are literal translation and free translation.&lt;br /&gt;
&lt;br /&gt;
'''4.1 Literal translation'''&lt;br /&gt;
&lt;br /&gt;
In Russian and Chinese languages, some proverbs not only have the same meaning or implicit meaning, but also use the same or similar figurative images to express a certain kind of the same semantics, and they are completely consistent in content and form. In this case, the equivalent translation of synonymous Chinese proverbs can convey the information contained in the original image, which not only retains the rhetorical color of the original language, but also enables the reader to perfectly understand the original text. E.g:&lt;br /&gt;
&lt;br /&gt;
(1)Куй железо, пока горячо. 趁热打铁。&lt;br /&gt;
&lt;br /&gt;
(2)Беда не приходит одна. 祸不单行。&lt;br /&gt;
&lt;br /&gt;
(3)Сытый голодного не разумеет. 饱汉不知饿汉饥。&lt;br /&gt;
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(4)Век живи, век учись. 活到老，学到老。&lt;br /&gt;
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(5)Выше встанешь, дальше увидишь. 站得高，看得远。&lt;br /&gt;
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(6)Лучше один раз увидеть, чем сто раз услышать. 百闻不如一见。&lt;br /&gt;
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(7)Нет дыма без огня. 无火不生烟。&lt;br /&gt;
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(8)Шила в мешке не утаишь. 口袋藏不住锥子。&lt;br /&gt;
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(9)Береги платье снову, а честь смолоду. 衣服要从新的时候爱惜，荣誉要从年轻时珍惜。&lt;br /&gt;
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(10)Выше лба уши не растут. 耳朵高不过额头。&lt;br /&gt;
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(11)Для милого друга семь верст не околица. 为了好友，多绕七里也不嫌远。&lt;br /&gt;
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(12)Как Новый год встретишь, так его и проведешь. 怎么迎新年，就怎么过一年。&lt;br /&gt;
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(13)Лучше умереть стоя, чем жить на коленях. 宁愿站着死，绝不站着生。&lt;br /&gt;
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(14)Не имей сто рублей, а имей сто друзей. 宁要一百个朋友，不要一百个卢布。&lt;br /&gt;
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По одежке встречают, по уму провожают. 迎客时看衣，送客时看才智。&lt;br /&gt;
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==Dialectical thinking in arguments between literal translation and free translation 	甘奉玉	Gan Fengyu==&lt;br /&gt;
&lt;br /&gt;
===Abstract===&lt;br /&gt;
  As two methods of translation, how to use literal translation and free translation has always been the focus of debate between Chinese and Western translation circles. Through the study of translation methods of literal translation and free translation at home and abroad, we can know that to some extent literal translation and free translation are two relative conceptions, so there will be word-for-word translation, that is, dead translation, and excessive free translation. However, these two are only two extremes of literal translation and free translation. In fact, although there are differences in definitions and application fields between literal translation and free translation, they are unified in common translation purpose, translation procedure and translation standard. Therefore, the two are contradictory and unified in translation activities. This is also the profound embodiment of the unity of opposites in materialist dialectics.--[[User:Gan Fengyu|Gan Fengyu]] ([[User talk:Gan Fengyu|talk]]) 07:46, 10 November 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
===Key words===&lt;br /&gt;
literal translation, free translation, word-for-word translation, over free translation, unity of opposites&lt;br /&gt;
&lt;br /&gt;
===摘要===&lt;br /&gt;
  作为翻译方法，直译(literal translation)与意译(free translation)怎样使用的问题一直是一个争论中西方翻译界不休的焦点。通过对国内外直译与意译的翻译方法的研究，我们可以得知，从某种程度而言，直译与意译是两个相对的概念, 所以才会有逐字翻译，即死译，与过度意译这两个完全对立的概念。但是，这两者只不过是直译与意译的两个极端点。其实，直译和意译虽然在概念定义，适用范围上有所差异，但却又统一于共同的翻译目的、翻译过程和翻译标准中。所以两者在翻译活动中应该是既对立又统一的矛盾体。而这也正是唯物辩证法中的对立统一矛盾观的深刻体现。--[[User:Gan Fengyu|Gan Fengyu]] ([[User talk:Gan Fengyu|talk]]) 07:50, 10 November 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
===关键字===&lt;br /&gt;
直译； 意译； 死译； 过度意译； 对立统一&lt;br /&gt;
&lt;br /&gt;
===Introduction===&lt;br /&gt;
  Throughout the translation history at home and abroad, the literal translation and free translation have always been a heat discussion in the translation circles. Someone absolutely approve literal translation and demean free translation, even pursue a dead translation, which creates an translated text difficult to understand. While some other people absolutely agree with free translation even advocate random acts, which means a random deletion in the translation practices and creates anther entirely different text. However, there are also a number of translators who have recognized that these two translation methods are not totally opposite. So they adopt a compromise and flexible way. That means they will choose the most appropriate one depending on the text demanding. Therefore, we can deduce from it that this eclectic translation is consistent with the Contradiction view of Unity of Opposite in Materialist Dialectics. In fact, literal translation and free translation are right a set of contradictions which are both opposite and unified. They complement each other into an integral one.&lt;br /&gt;
&lt;br /&gt;
===1.Dialectic thinking of the Unity of opposites===&lt;br /&gt;
===2.Word-for-word translation===&lt;br /&gt;
===3.Over free translation===&lt;br /&gt;
===4.Eclectic translation===&lt;br /&gt;
===5.Opposition and unity between literal translatiuon and free translation===&lt;br /&gt;
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===5.1 Opposition===&lt;br /&gt;
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===5.1.1 Opposition in definition===&lt;br /&gt;
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===5.1.2 Opposition in application fileld===&lt;br /&gt;
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===5.2 Unity===&lt;br /&gt;
===5.2.1 Unity in translation goal===&lt;br /&gt;
===5.2.2 Unity in translation procedure===&lt;br /&gt;
===5.2.3 Unity in translation standard===&lt;br /&gt;
===6.Conclusion===&lt;br /&gt;
===Bibliography===&lt;br /&gt;
&lt;br /&gt;
== Peter Newmark’s Improved Views on Literal Translation and Free Translation 赵茜 Zhao Xi==&lt;br /&gt;
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='''Document Translation'''=&lt;br /&gt;
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==On translation of official documents of CangNan County	吴恺	Wu Kai==&lt;br /&gt;
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On Translation of Official Documents of Cangnan County&lt;br /&gt;
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Japanese Language and Literature, School of Foreign Languages, Hunan Normal University, Wu Kai--[[User:Wu Kai|Wu Kai]] ([[User talk:Wu Kai|talk]]) 04:45, 2 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
==='''Abstract'''===&lt;br /&gt;
As one of the forefronts of Zhejiang’s opening-up cause, Cangnan County in Zhejiang Province has been enjoying a rapid development and an ever-growing degree of opening-up with lasting vitality as it’s supported by national policies and nourished by the dividends of economic globalization since China's reform and opening-up. As China has ushered in a period of major changes rarely seen in a century, Cangnan County is also facing new opportunities and challenges. Under the background of this era, Cangnan County is expected to make good use of its own advantages, especially the geographical ones—it is close to countries and regions including Japan, South Korea, and Taiwan—and should spare no efforts to achieve a higher level of opening-up, and, in turn, further promote its development. As an embodiment of the collective will of the people of Cangnan County, the official document is one of the best manifestations of its governance and stability control capabilities. For this reason, the research on how to translate official documents is of great significance for that it offers a great opportunity for Cangnan County to re-examine itself and to show the rest of the world its achievement in building a culture-enriched county.&lt;br /&gt;
&lt;br /&gt;
==='''Key words'''===&lt;br /&gt;
 official document translation, Cangnan County, opening-up, Japan, South Korea&lt;br /&gt;
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==='''摘要'''===&lt;br /&gt;
自中国改革开放以来，浙江省苍南县作为全浙江对外开放的前沿阵地之一，得到了国家政策支持和经济全球化红利的滋润，苍南县发展水平与对外开放程度日新月异，全县活力持久带劲。随着中国迎来“百年未有之大变局”，苍南县也面临着新的机遇和挑战，在此时代背景下，苍南县应该利用好自身优势，特别是临近日本、韩国、台湾等国家与地区的地理优势，努力开展更高层次、更高水平的对外开放事业，促进苍南更好的发展。为此，作为苍南县人民集体意志的体现，苍南县的公文就是对外展示其治理水平、稳控能力的最好的体现之一。而对于苍南县公文的如何翻译的研究，是促使苍南县重新审视自己、推进苍南人文县情传播海外的良机，意义重大。&lt;br /&gt;
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==='''关键词'''===&lt;br /&gt;
公文翻译  苍南县  对外开放  日本  韩国&lt;br /&gt;
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==='''I. System and Translation of Official Documents of Cangnan County'''===&lt;br /&gt;
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The unique official document system adopted by Chinese government agencies is a special integration of the thousands-of-years excellent political traditions in China and the essence of the organizational structure of the socialist regime. As a county-level unit in China's local administrative structure, Cangnan County has an official document system that is consistent with the national ones in general while has its own features. Official documents of Cangnan County can be basically divided into the following types of writing: resolutions, decisions, orders, bulletins, announcements, notifications, opinions, notices, reports, requests for instructions, approvals, proposals, letters, and minutes. Above-mentioned categories are collectively known as official documents. Besides, there are also some types of practical writing, including summaries, plans, notes, memos, briefings, speeches, manuals and so on, that are often used in our day-to-day work.&lt;br /&gt;
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In addition to those characteristics of the official documents that are commonly seen in China, official documents of Cangnan County also have its own features, which is mainly reflected in the aspect of proprietary terminology. Cangnan County, which used to be a part of Pingyang County in Zhejiang Province, was officially designated as a county in 1981 with the approval of the Central Government. It takes its name Cangnan, which means “on the south of the Yucang Mountain”, from its geographical location. As a relatively young county-level administrative unit in China’s administrative divisions, Cangnan County has a complex natural endowment and cultural environment, which is the reason why there are many special proprietary terms used in the official documents of Cangnan County, such as “Beautiful South Gate of Zhejiang Province”, “Southern Ouyue (an ancient kingdom in modern Wenzhou and Taizhou)” , “South Gate of Jiangsu-Zhejiang Region” and so on. Moreover, Cangnan is also the birthplace of the “Wenzhou Model”. Since the implementation of policy for the exchange of production materials and commercial grains in 1984, Cangnan has become an important base for the experiments and development of Wenzhou's private economy and market economy, and, thus, has made a significant contribution to the great cause of China's reform and opening-up.&lt;br /&gt;
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To conclude, the unity of the official document system viewed from the national scope of China and the uniqueness of the official document system viewed from the local scope of Cangnan area are both reflections of the integration of economic, political, and cultural elements. Therefore, when translating the terms and sentences in these official documents, obviously, it is almost impossible to follow general translation theories, such as Yan Fu’s “faithfulness, expressiveness and elegance” theory which applies to literature translation, and Christiane Nord’ Skopos theory which emphasizes schematic analysis. Due to the features of the official documents of Cangnan County, it is hard to imagine the consequence it will cause if those Cangnan and Chinese elements they contain are missed when translating them. Therefore, the starting point for the translation and research of Cangnan official documents should be analyzing the official document itself, but not choosing which translation theory to apply.&lt;br /&gt;
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The translation method focusing on the official documents themselves is undoubtably the one that emphasizes the content while manages to achieve a similarity in form. Thus, the translation theory that meets the requirements of official document translation in Cangnan County shall be the functional equivalence theory of the American linguist Eugene A. Nida. Eugene A. Nida argued in his theory that translation is to use the most appropriate, natural and equivalent language to reproduce the informational function of the source language both semantically and stylistically. Nida’s definition of translation specified that translation is seeking equivalence not only in lexical meaning, but also in semantics, style and literary form. Translation should convey both the denotative and connotative meaning of a message. Regarding the equivalence of translation, he believed that the equivalence consists of four parts: lexical equivalence, syntactic equivalence, textual equivalence, and stylistic equivalence. Among the four aspects, he emphasized that the meaning the core and most important part, followed by the form. The form of a text is likely to conceal the cultural connotation of the source language and may, therefore, hinder cultural exchanges. Based on the above, the reasons why the functional equivalence theory is applicable to official document translation in Cangnan County can be concluded as follows:&lt;br /&gt;
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First, the functional equivalence theory advocates that the target text should be equivalent to the source text both semantically and culturally. Official documents of Cangnan County are carriers of profound political culture with Chinese characteristics and the cultural environment in Cangnan. When translating them, in addition to showing the political consciousness and judicial authority of Cangnan government agencies, the local culture of Cangnan must also be reflected in the translations.&lt;br /&gt;
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Second, the functional equivalence theory suggests that if the lexical meanings and cultural elements cannot be taken into account at the same time, the translator then may give up the equivalence in form and try to reproduce the semantic and cultural meaning of the source text by changing the form of the sentence. There are many specialized terms with Chinese characteristics and Cangnan’s characteristics in official documents of Cangnan County. When translating them, once there is no corresponding expression in the target language, other forms of expression must be adopted to retain the meanings of those specialized terms as much as possible.&lt;br /&gt;
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Third, the functional equivalence theory proposes that if the change in form is still not enough to express the semantic and cultural meaning of the expression in the source language, the translation technique of “heavy damage” can be adopted to resolve cultural differences , so that the source language and the target language can achieve equivalence in semantic meaning. “Heavy damage” refers to the transformation of the deep structure of the source language into the surface structure of the target language, that is, expressing the cultural connotation of the source text with expressions of the target language. It cannot be ruled out that there are words and sentences in the official document of Cangnan County that cannot be translated, and when this happens, the translator can only rely on his translation techniques and understanding ability to process them creatively.&lt;br /&gt;
Above are simply macro analyses of the official document system in Cangnan County, and when it comes to specific analyses, challenges we face will only be severer.&lt;br /&gt;
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==='''II. Stylistic Features and Translation of Official Documents in Cangnan County'''===&lt;br /&gt;
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Looking at the official documents of Cangnan County from the micro level, we can work on the study of its translation based on the following characteristics.&lt;br /&gt;
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'''1. Details and Accurate'''&lt;br /&gt;
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As an officially-written document geared for the needs of our people, wording of the official documents of Cangnan County has a very specific orientation. Almost all content words have very clear meanings and connotations.&lt;br /&gt;
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For example, the sentence “经研究，县政府决定召开市对县安全生产巡查反馈会暨突出问题集中教育警示会，现将有关事宜通知如下。(As discussed, the county government decided to convene a feedback meeting on city-to-county inspections of production safety and a meeting for education and warning on outstanding issues. The relevant matters are hereby notified as follows.)” in the document 《苍南县人民政府办公室关于召开市对县安全生产巡查反馈会暨突出问题集中教育警示会的通知》(“Notice of the Office of the People's Government of Cangnan County on Convening a Feedback Meeting on City-to-County Inspections of Production Safety and A Meeting For Education and Warning On Outstanding Issues”) (the office of the People's Government of Cangnan County on June 8th, 2020) conveys several points very accurately and clearly, including the decision maker, the type, content and theme of the meeting. Therefore, special attention must be paid to the integrity of the information delivered when translating this sentence. For example, it is translated into Japanese as “討議を通じて、県政府は県の安全生産状況に対する市政府の巡査結果反映会及び顕著問題教育警告会を開催することが決定した。関連事項を以下のようにお知らせする。”&lt;br /&gt;
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'''2. Precise and Compact'''&lt;br /&gt;
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The role of official documents is to exchange formal information between the upper and the lower, the people and the officials, and the relevant departments. Therefore, the wording of the official documents must be rigorous. No slang and loose sentences should be used, and excessive use of parentheses and descriptive modifiers should be avoided. Official documents of Cangnan County follow this rule as well, in which there will never be informal expressions like daily spoken words.&lt;br /&gt;
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For example, the expression “三、决策目录施行动态管理，因工作需要增减或变更重大行政决策事项的，承办单位应按照相关规定程序提请调整。(Third, the decision catalogue shall be managed in a dynamic way, the undertaker shall submit application for adjustments in accordance with the relevant regulations if any increase/decrease or change shall be made to the major administrative decision-making matters because of the need of actual work.)” in the document《关于公布苍南县2020年度重大行政决策事项目录的通知》(“Notice on Issuing the 2020 Annual Catalogue of Major Administrative Decision-Making Matters of Cangnan County”) (the office of the People's Government of Cangnan County on Sept. 20th, 2020) When translating this sentence into Japanese, the translator shall fully considers the preciseness of the original expression, and translate it as “三つ目、戦略目録動的管理施行、仕事需要によっての増減または変更が必要な場合、請負機構は関連規定の手順に従って調整を提出しなければならない。”&lt;br /&gt;
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'''3. Programmed and Standardized'''&lt;br /&gt;
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The purpose of official documents requires a stable and routine writing program so that the official business can be conducted in an orderly manner. It is essential that the document writing is reasonably programmed. It allows the officer to know what it is and what to do at a glance if a standardized official document program is followed. The standardization of the official documents of Cangnan County can be regarded as a tricky feature in their translation.&lt;br /&gt;
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For example, the expression “各乡镇人民政府，县政府直属各单位 (the people's government of all townships and towns and all directly affiliated institutions of the people’s government of Cangnan County)” in the document《关于公布苍南县2020年度重大行政决策事项目录的通知》(“Notice on Issuing the 2020 Annual Catalogue of Major Administrative Decision-Making Matters of Cangnan County”) (the Office of the People's Government of Cangnan County on Sept. 20th, 2020) is obviously a standardized addressing of the receiving units of an official document, and it should be translated into Japanese as “各郷鎮人民政府、県政府直属の各部門”.&lt;br /&gt;
Viewing from a micro perspective, we may find that special attention should be paid to many precise details when translating those official documents. It is of great significance that, during the cause of reform and opening-up, we strike a balance between the macro level and the micro level in official document translation, which will serve as a stage for Cangnan County to show itself to Japan, South Korea and other East Asian countries and regions.&lt;br /&gt;
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==='''III. Translation of Official Documents of Cangnan County under the Context of the Japanese Language'''===&lt;br /&gt;
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Cangnan County is one of the nearest administrative units to Japan in China, and Okinawa Prefecture in Japan and Cangnan County are neighbors facing each other across the sea. Furthermore, Cangnan County itself has ports in Xiaguan, Pacao, Yanting, Dayu and other places, and has the basic conditions for conducting small transactions of freights with Okinawa. However, due to the inadequacy policies, laws and regulations, a large portion of Japan’s trade with China, especially with Zhejiang Province, is still conducted in the three port cities, namely Ningbo, Zhoushan, and Hangzhou. Cangnan’s geographical advantages have never been given to full play. To Japan, Cangnan is not a total stranger. Wenzhou City has a great influence upon Japanese culture and history. Special local products such as Wenzhou green tea and Wenzhou satsuma orange are very attractive to Japanese people. Many of the business exchanges during the Kamakura Bakufu in Japan were happened between Hakata merchants and Wenzhou people. As an important subordinate region of Wenzhou City, Cangnan County naturally has left an impression on Japanese people when it comes to China.&lt;br /&gt;
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If Cangnan hopes to lay a foundation for the future cooperation with Japan through its cause of opening up to the outside world, it is of great importance that we study the methods and techniques to make the translation of Cangnan’s official documents to meet the specific context of the Japanese language, which is also a part of the cultural exchanges that will facilitate economic and trade cooperation between Japan and China. The political status of Cangnan County is equivalent to the one of regular cities and special wards in Japan, but this does not mean that the official documents of Cangnan County can be regarded as equivalents to the official documents released by the governments of the regular cities and special wards in Japan, and there are huge differences between their respective official documents in form, wording, Cultural connotation and etc. To better translate Cangnan official documents under the context of Japanese language, the following aspects must be paid attention to:&lt;br /&gt;
&lt;br /&gt;
1. Detailed Comparison of Types&lt;br /&gt;
&lt;br /&gt;
In the Japanese official document system, the word “公文” is different in meaning from the word “公文” in Chinese official document system. In Chinese “公文” means government official documents, while in Japanese “公文” generally refer to legal documents that have the force of law and the term “公文書” is the one that refers to government official documents, which roughly includes “外交文書” and “起案文”, “通達” , “命令”, “許可”, “通知書” and so on . When translating official documents of Cangnan County into Japanese, attention should be paid to the transformation of the types of the official documents. The classifications of official documents in China and Japan are different from each other.&lt;br /&gt;
For example, when translating documents such as “proposal letter”, “report” and the like into Japanese, the title should be translated as “建言書” and “報告書”, while “命令(order)”, “通知(notice)”, “提案(Proposal)” and etc. need no translation and can be titled with the original characters directly as “命令”, “通知”, “提案”, and can also be further translated into “命令状”, “通知書”, “提案書”. Those reflect the characteristics of the division of the types of the official document system in Japan.&lt;br /&gt;
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2. Careful Consideration of the Translation of Chinese Characters&lt;br /&gt;
&lt;br /&gt;
There are a large number of Chinese characters in Japanese. This will for sure be an advantage when translating official documents of Cangnan County into Japanese, however, at the same time, this is also a huge disadvantage. After all, those Chinese characters are Japanized Chinese characters, and their meanings and usages are more or less different from the original ones in Chinese.&lt;br /&gt;
&lt;br /&gt;
For example, the expression “设定全县森林防火期(setting the season of forest fire prevention)” in the document 《苍南县应急管理局局长王再忠关于&amp;lt;苍南县人民政府关于做好森林防火期护林防火工作的通告&amp;gt;的政策解读》(“Policy Interpretation Of ‘Notice of Doing Forest Protection and Fire Prevention during the Season of Forest Fire Prevention by the People's Government Of Cangnan County’ by the Director of Cangnan Emergency Management Agency Wang Zaizhong”) in could be translated character by character into Japanese as “全県域森林防火期間設定”. However, expressions such as “野外火源如何管理” cannot be translated in the same way, and must be processed accordingly and translated into Japanese as “野外の火の元が如何に処理すること”. When translating official documents of Cangnan County into Japanese, the translators must reject the preconceived thinking and native Chinese thinking, or it will lead to irreversible misunderstandings and mistakes.&lt;br /&gt;
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3. Mastery of the Equivalence of Semantic Meaning&lt;br /&gt;
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Chinese is an isolating language, in which the grammatical meaning is reflected by the order of words, while Japanese is an agglutinative language, in which auxiliary words and flexible usages of vocabulary are adopted to reflect the grammatical meaning. This requires the translators to have mastery of the equivalence of semantic meanings when translating official documents of Cangnan County into Japanese and try to achieve perfect equivalence in official document translation.&lt;br /&gt;
&lt;br /&gt;
For example, there is a expression as “全体公民必须认真贯彻‘以人为本、预防为主、积极扑救、有效消灾’的森林防灭火工作方针，一旦发现森林火灾，要立即向当地人民政府或森林防灭火指挥部办公室报告(all citizens must seriously implement the working policy of forest fire prevention and firefighting ‘people-oriented, prevention-focused, active in firefighting, effective in disaster relief’, once a forest fire is detected, it must be reported to the local people’s government or the forest fire prevention and firefighting headquarters office immediately)” in the document 《苍南县应急管理局局长王再忠关于&amp;lt;苍南县人民政府关于做好森林防火期护林防火工作的通告&amp;gt;的政策解读》(“Policy Interpretation Of ‘Notice of Doing Forest Protection and Fire Prevention during the Season of Forest Fire Prevention by the People's Government Of Cangnan County’ by the Director of Cangnan Emergency Management Agency Wang Zaizhong”). When dealing with long and complex sentences, the translator must be flexible in using translation techniques to decompose the sentences and translate them step by step, focusing on the balance between the form of the sentence and its semantic meaning. Based on this principle, the abovementioned sentence could be translated into Japanese as “人間本位、予防軸化、積極救助、有効消災という森林防火作業方針は全県民が必ず強固に守らなければならない。林に火事が発見された際、直ちに所轄人民政府や森林防火指揮部執務室に報告すること。”&lt;br /&gt;
&lt;br /&gt;
There is no doubt that, in terms of four-character idioms, allusions, new words of the era and etc., the translation of official documents of Cangnan County under the context of the Japanese language still has a long way to go, but the part that we should pay most attention to in translation is always the differences in culture between the source language and the target language. Only by keeping this basic point in mind at all times, will there be no huge mistakes being made when translating official documents of Cangnan County into Japanese.&lt;br /&gt;
&lt;br /&gt;
==='''Ⅳ. Translation of Official Documents of Cangnan County under the Context of the Korean Language'''===&lt;br /&gt;
&lt;br /&gt;
Zhejiang Province and South Korea have laid a good foundation for economic and trade cooperation projects, and a framework that is comprehensive, wide-ranging, and multi-level has been established for Zhejiang-South Korea cooperation. The advantages of the two regions are obviously complementary and the development potential for both sides and in between is huge. In September 2016, the Zhejiang China-Korea (Quzhou) Industrial Cooperation Park was approved as the first batch of “Zhejiang International Industrial Cooperation Parks” in Zhejiang Province. The total planned area is about 3,000 acres and the total planned investment is 12 billion yuan. Represented by the Zhejiang China-Korea Industrial Cooperation Park, a large number of economic and trade cooperation projects has been carried out with South Korea by Zhejiang Province. As an indispensable part of Zhejiang Province, Cangnan County is facing a huge gap in the cultural exchanges and economic cooperation with South Korea. How to elevate the level of Cangnan’s opening up to the outside world and advancing Cangnan’s economic, trade and cultural cooperation with South Korea is a question that is well worth exploring. Although Cangnan is further away from South Korea compared with regions in the north of Zhejiang, geographic location should never be a factor that hindering Cangnan’s economic, trade and cultural cooperation with South Korea. In an era of ever-deepening globalization, it is of great significance that we think about how to develop and promote the economic and trade and cultural cooperation between Cangnan and South Korea.&lt;br /&gt;
&lt;br /&gt;
Northern Zhejiang is a key area for economic, trade and cultural cooperation with South Korea. As the south gate of Zhejiang Province, if Cangnan County could open the door of economic, trade and cultural cooperation to South Korea, then this will inevitably bring extraordinary development opportunities to southern Zhejiang and make the pattern of Zhejiang and South Korea’s economic and cultural cooperation more balanced and healthy. The political status of Cangnan County is equivalent to the one of si(city), gu (district), and gun(county) in South Korea. Because of some historical reasons, South Korea is greatly influenced by Chinese culture. From the Three Kingdoms era of Joseon, to the Unified Silla Dynasty, the Wang’s Goryeo Dynasty, and the Yi’s Joseon Dynasty, the basic system of administrative divisions in South Korea is almost the same as the one in China, so the official document system of cities, districts, and counties in South Korea can be regarded as basically equivalent to the official document system of Cangnan County with only slight differences originated from the localized political and cultural traditions and the basic social condition of South Korea. Therefore, there are relatively fewer difficulties of translation when translating official documents of Cangnan County into Korean, aside from the barriers caused by Korean Hangul words. The translation of official documents of Cangnan County under the context Korean language requires attention to the following aspects:&lt;br /&gt;
&lt;br /&gt;
1. The Combination of Chinese characters and Hangul&lt;br /&gt;
&lt;br /&gt;
Modern Korean uses Hangul as the main written characters, but this does not mean that there is no place for Chinese characters in the Korean system. Since the launch of the abolition of Chinese characters movement in South Korea in the 1970s, Hangul did exactly achieved an overall penetration of every aspect of their daily life, but when it comes to important documents, Chinese characters still reserve a seat in the arena of South Korea’s history. Furthermore, a higher level of talent training is required now to meet the need of South Korea’s economic and social development, and the mastery of sinology has become, among all the necessary skills, one of the most straightforward evaluation criteria to access the qualified personnel. Thus, South Korea has restarted the Chinese character teaching movement. Nowadays, the official document system in South Korea has become one in which Hangul serves as the main language and the mixed use of Chinese characters and Hangul serves as a supplement. Just as how the mixed use of kana and Chinese characters in Japanese official documents may help in its translation, the mixed use of Chinese characters and Hangul also greatly facilitate the translation of official documents of Cangnan County into Korean. However, because Chinese characters used in Korea are composed of traditional Chinese characters and a small number of Korean self-made Chinese characters, we can not take it for granted that it is advisable to translate them word by word.&lt;br /&gt;
&lt;br /&gt;
For example, the title of the document《苍干任〔2020〕18号 王再忠等同志的任命》(“Cangnan Cadre Appointment [2020] No. 18: Appointment of Wang Zaizhong and etc.”) (the Office of CPC Cangnan Party Committee on March 27th, 2020) can be translated with the mixed use of Chinese characters and Hangul into Korean as《蒼南縣의 幹部任命〔2020〕18號 王再忠등 同志의任命》. Also, it be translated into Korean with Hangul alone as《참남현의 간부임명〔2020〕18호 왕재충등 동지의임명》.&lt;br /&gt;
&lt;br /&gt;
2. The Usage of Refined Language&lt;br /&gt;
&lt;br /&gt;
In recent years, South Korea has carried out reforms of the official document system, urging that the South Korean government agencies at all levels should use “refined(or purified) language”, that is, to write and publish official documents with words that are easy for the public to understand and have explicit meanings, reducing the cost of communication between the government and the public and, in this way, building a closer relationship between the government and the people, so that civil servants can communicate with the people more effectively. Refined language is a kind of common vernacular that differs from the official language. Although this trend of the wording of Korean official documents is not unconditional, but when compared with official documents of Cangnan County, which emphasize the solemnity and formality of official documents, this trend is the part that the translator has to pay his attention to.&lt;br /&gt;
&lt;br /&gt;
For example, when translating the expression “为加强行政规范性文件管理，切实推进依法行政，加快法治政府建设 (To strengthen the management of administrative normative documents, promote the administration in accordance with law, and accelerate the construction of a government ruled by law)” in the document《苍南县人民政府关于公布县政府及县政府办公室行政规范性文件清理结果的通知（有效）》(“Notice of the Office of the People's Government of Cangnan County on the Announcement of the Results of the Cleanup of the Administrative Normative Documents of the County Government and the County Government Offices (Effective)”) (the Office of the People's Government of Cangnan County on October 23th, 2020) , blunt expressions may not be that applicable and this expression translated into Korean in a more public-friendly way as “행정 규범적인 문서관리를 강화하기 위해, 법에따라 행정을 철저히 추진하고 법치정부의 건설을 가속화시킨다.”&lt;br /&gt;
&lt;br /&gt;
3. Mastery of the Equivalence of Semantic Meaning&lt;br /&gt;
&lt;br /&gt;
Like Japanese, Korean is also a typical agglutinative language. A sentence is formed by connecting independent words with various auxiliary words, and with a subordinating conjunction at the end of the sentence. Auxiliary words are just like glues, they exist after every subject, predicate, and object component of a Korean sentence to them together. For that these auxiliary words have no substantial meaning themselves, they must stay close to the main body in front, and a space must be put after. Therefore, when translating Chinese, which is an isolated language, into Korean, which is an agglutinative language, it is necessary to have mastery of the equivalence of the semantic meaning of the expression.&lt;br /&gt;
&lt;br /&gt;
For example, when translating the expression “全面实施全民参保计划，做好参保情况清查，提升参保信息质量，清理重复参保，稳定持续参保，减少漏保断保，实现应保尽保。(Fully implement the national social security plan, do a good job in checking the coverage of the social security, improve the quality of the collection of the information of the insured, clean up repeated insureds, stabilize the renewal of the social security, reduce the interruption of the social security, and achieve full social security coverage.)” in the document《关于做好2021年度城乡居民基本医疗保障工作的通知》(“Notice on Doing a Good Job in Basic Medical Security for Urban and Rural Residents in 2021”)( the Office of Medical Security Bureau of Cangnan County on November 5th, 2020), the translator should pay attention to the equivalence of semantic meaning of this long sentence and translated it into Korean as “전국민기본의료보험가입계획을 전면적으로 실시하고 기본의료보험가입상황을 철저히 조사하며 기본의료보험가입 정보의 질을 향상시키고 중복기본의료보험가입을 청산하며 안정적이고 지속적인 기본의료보험가입을 하며 보험누락을 줄이고 기본의료보험가입 을 실현해야 한다.”&lt;br /&gt;
&lt;br /&gt;
==='''Ⅴ. Studies of Official Document Translation and the Cause of Opening-up in Cangnan County'''===&lt;br /&gt;
&lt;br /&gt;
Based on the abovementioned basic characteristics of the official document system of Cangnan County, the notes for official documents translation under the context of the Japanese language and the notes for official documents translation under the context of the Korean language, we can see that official documents of Cangnan County is not as difficult to handle as something untranslatable. Cangnan County enjoys a good geographic location: it is located in the coast of the East China Sea, and is close to both Japan and South Korea, two strong economies in East Asia. However, Cangnan County has not yet made use of these favorable conditions to the fullest to promote cultural cooperation and trade with the two countries. Cangnan’s opening up to the outside world requires innovative thinking and an elaborate layout. Studies on the translation of official documents of Cangnan County, especially the translation of official documents under the context of the Japanese and Korean language, will help to explore the cultural spirit of the government institutions, and play an important role in building a good image of Cangnan County in East Asia and laying a foundation for Cangnan's cooperation with major countries and regions in East Asia .&lt;br /&gt;
&lt;br /&gt;
The world today is undergoing profound changes rarely in a century, and so is China. The tide of history moves on and Cangnan shall not stay out of the matter, but must follow it courageously and strive to open new doors for Cangnan's opening up to the outside world through the study of the official document translation of its own.&lt;br /&gt;
&lt;br /&gt;
===References===&lt;br /&gt;
&lt;br /&gt;
[1]Ziqi LIU. The Application of Functional Equivalence Theory in Scientific Translation：A Case Study of the Translation of Shipbuilding English[J]. CREATIVITY AND INNOVATION,2019,1(3).&lt;br /&gt;
&lt;br /&gt;
[2]Mu Dan. Discussion on Translation Activities Under the Guidance of Functional Equivalence Theory[J]. International Journal of Education and Management,2018,3(2).&lt;br /&gt;
&lt;br /&gt;
[3]李琳琳. 功能对等翻译理论与关联翻译理论比较研究[D].辽宁师范大学,2006.&lt;br /&gt;
&lt;br /&gt;
[4]赵娟廷. 汉韩公文语体对比研究[D].复旦大学,2003. &lt;br /&gt;
&lt;br /&gt;
[5]周萱. 《中国共产党怎样解决民族问题》（节选）中韩翻译报告[D].青岛大学,2017.&lt;br /&gt;
&lt;br /&gt;
[6]张利军. 《教学的游戏性研究》的汉日翻译实践报告[D].广西师范大学,2019.&lt;br /&gt;
&lt;br /&gt;
[7]栾亚琼. 《2015年山东省政府工作报告》汉日翻译实践报告[D].曲阜师范大学,2016.&lt;br /&gt;
&lt;br /&gt;
[8]占丽华. 源流与演变—日本地方公文书馆发展路径研究[D].山东大学,2020.&lt;br /&gt;
&lt;br /&gt;
[9]任清萍. 功能翻译理论视角下政府工作报告日译研究[D].外交学院,2020.&lt;br /&gt;
&lt;br /&gt;
[10]孙慧. 产业竞争力与区域经济增长[D].苏州大学,2006.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
--[[User:Wu Kai|Wu Kai]] ([[User talk:Wu Kai|talk]]) 04:45, 2 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
==The Translation Process and Methods of Translating English Long Sentences	周艺文	Zhou Yiwen==&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
===Abstract===&lt;br /&gt;
===Key words===&lt;br /&gt;
===摘要===&lt;br /&gt;
===关键词===&lt;br /&gt;
===Introduction===&lt;br /&gt;
&lt;br /&gt;
===Conclusion===&lt;br /&gt;
===Bibliography===&lt;br /&gt;
&lt;br /&gt;
==Chinese-English Translation of News Headlines From the Perspective of Skopos Theory	张维虹	Zhang Weihong==&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
==='''Abstract'''===&lt;br /&gt;
&lt;br /&gt;
==='''key words'''===&lt;br /&gt;
&lt;br /&gt;
News headlines; Skopos theory; translation&lt;br /&gt;
&lt;br /&gt;
==='''摘要'''===&lt;br /&gt;
社会的飞速发展使得人们的阅读方式发生了巨大的改变, 通过阅 读新闻标题来获取消息和了解事实, 成为大多数人的不二之选, 新闻标题 翻译也就越来越具有其必要性。 新闻标题的重要性堪比一部使人印象深刻 的电影名, 一则响亮的广告语, 一本撩人心弦的书名。 较之娱乐新闻, 时 政新闻略显严肃客观, 又因当今科技物质的飞速发展, 时政新闻的点阅数 量明显少于以消遣娱乐为目的的娱乐新闻。 怎样提高时政新闻的阅读量, 怎样使得时政新闻如同娱乐新闻一般深受广大人民的喜爱, 这不仅是新闻 编辑者们的挑战, 也是新闻翻译界的难题。 本文以德国功能派翻译目的论 为理论指导, 结合新闻学及编辑学的相关学科知识, 通过对中英时政新闻 标题的对比分析, 旨在对时政新闻标题的汉译英提出翻译策略, 让国外读者正确客观无误的了解中国的时事政策。&lt;br /&gt;
&lt;br /&gt;
==='''关键字'''===&lt;br /&gt;
&lt;br /&gt;
===Introduction===&lt;br /&gt;
&lt;br /&gt;
===Skopos Theory===&lt;br /&gt;
&lt;br /&gt;
===Features of News Headlines===&lt;br /&gt;
&lt;br /&gt;
===Chinese-English Translation Methods of News Headlines from the Skopos Perspective===&lt;br /&gt;
&lt;br /&gt;
===Conclusion===&lt;br /&gt;
&lt;br /&gt;
===Bibliography===&lt;/div&gt;</summary>
		<author><name>Song Jianru</name></author>
	</entry>
	<entry>
		<id>https://bou.de/u/index.php?title=History_of_Translation_Studies_8&amp;diff=107906</id>
		<title>History of Translation Studies 8</title>
		<link rel="alternate" type="text/html" href="https://bou.de/u/index.php?title=History_of_Translation_Studies_8&amp;diff=107906"/>
		<updated>2020-12-06T14:28:39Z</updated>

		<summary type="html">&lt;p&gt;Song Jianru: /* Abstract */&lt;/p&gt;
&lt;hr /&gt;
&lt;div&gt;这里是《翻译学史》的书稿第八部分(Part 8)。麻烦各位同学看一下已经存在的章回（样品），自己再加进去新的一个章回（就是你们的学期论文）。请也帮助同学们把他们的论文改正。这样多次修改，大家的论文会越来越好。&lt;br /&gt;
&lt;br /&gt;
学期论文（结合学期所学，撰写一篇5000以上单词的英文论文，按照专业杂志的格式，题目、摘要、关键词和参考文摘需要英中，文章英）。学期论文成绩占70%，平时成绩（含课堂表现、展示及作业）占30%。&lt;br /&gt;
&lt;br /&gt;
*Link back to course homepage: [https://bou.de/u/wiki/Introduction_to_Translation_Studies Course Homepage Intro. to TS]&lt;br /&gt;
*Link back to the final exam paper section of the course homepage: [https://bou.de/u/wiki/Introduction_to_Translation_Studies#Final_Exam_Papers Final Exam Papers]&lt;br /&gt;
*Link to other parts of the final exam papers: [https://bou.de/u/index.php?title=History_of_Translation_Studies_1 Final Exam Papers Part 1]&lt;br /&gt;
*Link to other parts of the final exam papers: [https://bou.de/u/index.php?title=History_of_Translation_Studies_2 Final Exam Papers Part 2]&lt;br /&gt;
*Link to other parts of the final exam papers: [https://bou.de/u/index.php?title=History_of_Translation_Studies_3 Final Exam Papers Part 3]&lt;br /&gt;
*Link to other parts of the final exam papers: [https://bou.de/u/index.php?title=History_of_Translation_Studies_4 Final Exam Papers Part 4]&lt;br /&gt;
*Link to other parts of the final exam papers: [https://bou.de/u/index.php?title=History_of_Translation_Studies_5 Final Exam Papers Part 5]&lt;br /&gt;
*Link to other parts of the final exam papers: [https://bou.de/u/index.php?title=History_of_Translation_Studies_6 Final Exam Papers Part 6]&lt;br /&gt;
*Link to other parts of the final exam papers: [https://bou.de/u/index.php?title=History_of_Translation_Studies_7 Final Exam Papers Part 7]&lt;br /&gt;
*Link to other parts of the final exam papers: [https://bou.de/u/index.php?title=History_of_Translation_Studies_8 Final Exam Papers Part 8]&lt;br /&gt;
*Link to other parts of the final exam papers: [https://bou.de/u/index.php?title=History_of_Translation_Studies_9 Final Exam Papers Part 9]&lt;br /&gt;
*Link to other parts of the final exam papers: [https://bou.de/u/index.php?title=History_of_Translation_Studies_10 Final Exam Papers Part 10]&lt;br /&gt;
&lt;br /&gt;
='''History of Translation'''=&lt;br /&gt;
== Study on Brand Name Translation from the Perspective of Cultural Difference	谭鑫洁	Tan Xinjie==&lt;br /&gt;
&lt;br /&gt;
==='''Abstract'''===&lt;br /&gt;
&lt;br /&gt;
== Abstract: ==&lt;br /&gt;
&lt;br /&gt;
==='''key words'''===&lt;br /&gt;
&lt;br /&gt;
==='''摘要'''===&lt;br /&gt;
&lt;br /&gt;
==='''关键字'''===&lt;br /&gt;
&lt;br /&gt;
===Complete transcript of the content of the original work ===&lt;br /&gt;
&lt;br /&gt;
===Same style and manner of writing===&lt;br /&gt;
&lt;br /&gt;
===Equivalent effect===&lt;br /&gt;
&lt;br /&gt;
===Discussion===&lt;br /&gt;
&lt;br /&gt;
===Conclusion===&lt;br /&gt;
&lt;br /&gt;
===Bibliography===&lt;br /&gt;
&lt;br /&gt;
==A Comparative Study on the Translation History in Western Countries and China	王煜	Wang Yu==&lt;br /&gt;
===摘要===&lt;br /&gt;
翻译是一种跨文化交流活动，翻译活动加快了人类文明发展步伐，减少了人们之间的沟通障碍。随着时代的变迁，中国和西方国家逐渐形成了各自的翻译史，翻译史的研究是学科建设的一项基础工程。尽管中西方翻译史在某些方面有所差异，但却都有着各自的独特性，并对人类的翻译活动产生了巨大的影响与贡献。文章将以中国和西方国家为主要对象，从二者翻译史起始，包含阶段和各阶段代表人物，影响意义，差异性出发，对二者的翻译史进行简略的对比研究。&lt;br /&gt;
&lt;br /&gt;
===关键词===&lt;br /&gt;
翻译史；西方翻译史；中国翻译史&lt;br /&gt;
&lt;br /&gt;
===Abstract===&lt;br /&gt;
Translation is an intercultural communication activity, translation activities have accelerated the development of human civilization and reduced the communication barriers between people of different countries or nations. With time goes by, things are in a state of flux and both the western and eastern countries have gradually formed their own history of translation, the study of translation history is a basic project of discipline construction. Though there are many differences among the translation histories of western countries and China, the two kinds of translation histories are still shining their own bright unique lights and have an indelible influence and contribution to human translation activities. This paper intends to make a brief comparison of translation histories between western countries and China, which includes the origins, the stages, the representatives of the stages, the significance and influence as well as the differences of the two translation histories.&lt;br /&gt;
&lt;br /&gt;
===Keywords===&lt;br /&gt;
Translation history; Translation history of the West; Translation history of China &lt;br /&gt;
&lt;br /&gt;
===1. Introduction===&lt;br /&gt;
No matter in China or in the west, translation plays an important role in knowledge-spreading. As an indispensable part of translatology, the study of translation history has made a great influence on translation activities, it has gradually become the focus of the literary and historical circles in recent years. Translation activities can be traced back to the origin of language, and the history of translation is almost as old as language itself, it is closely related to the changes in today's society. Since the 1980s, the translation studies in the mainland of China have made remarkable progress in the curriculum design of Chinese and western translation history and the compilation of related works. In the early 1980s and 1990s, there were many related works came out one after another including A brief history of Chinese Translation: the part before the May 4th Movement（《中国翻译简史-“五四”运动以前部分》） written by Zuyi Ma, A historical manuscript of Chinese translated literature （《中国翻译文学史稿》）edited by Yugang Chen, and also the A Short History of Translation in the West（《西方翻译简史》） the author of which is Zaixi Tan. Thus, it opens the gate for the compilation of Chinese and western translation history works.（谢天振，2009） The history of western translation can be divided into five stages while the Chinese study of translation has a glorious history of more than two thousand years and has experienced five climaxes. Through the comparative study of Chinese and western translation history, it will help us to have a deeper understanding of Chinese and western translation activities and thus to gather a general full view of it, which will be a positive and meaningful attempt.&lt;br /&gt;
&lt;br /&gt;
2. The Translation History of Western Countries&lt;br /&gt;
Western translation activities are rich in a long history and a multiyear span. The history of western translation can be roughly divided into three stages: the traditional stage, the modern times and the contemporary. More specifically, it can be grouped into the ancient times, the middle ages, the Renaissance period and the time after WWⅡ.&lt;br /&gt;
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2.1 The First Stage: Translation in the Ancient Times&lt;br /&gt;
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The translation history of western countries first began in the the 3rd century B.C. &amp;quot;In a broad sense, the earliest translation in the west is the Old Testament translated by 72 Jewish scholars in Alexandria, ancient Egypt, between the 3rd and 2nd centuries BC; Strictly speaking, the first western translation is the Greek Homer Epic Odyssey translated by Andronicus in Rome in the middle of the third century BC.”(谭载喜,2000) At the end of the 4th BC, during this time, the Greece began to decay and the Roman had became stronger and stronger with its military expansion. The expansion of the Roman Empire brought it into contact with the splendid Greek culture, therefore, the Romans not only conquered the Greek city, but also inherited and developed the brilliant achievements of ancient Greek culture, and then created a  splendid cultural of its own era after Greece. So soon began a large scale translation activities, the activity of translating and introducing Greek classical works probably began in this period.（刘军平,2009）Many famous translation theorists began to make their presences, namely Cicero, Quentin, Jerome and so on, also the famous Roman litterateurs like Andronicus, Naevius, Ennius, these great writers used Latin language to translate or adapt Homer’s epic or other Greece dramas. Started the translation tradition and promoted the birth and development of Roman literature.&lt;br /&gt;
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2.2 The Second Stage: Translation in the Middle Ages (4th-6th)&lt;br /&gt;
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2.3 The Third Stage: Translation in the Middle Ages (11th-12th)&lt;br /&gt;
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2.4 The Fourth Stage: Translation in the Renaissance Period&lt;br /&gt;
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2.5 The Fifth Stage: Translation after WWⅡ&lt;br /&gt;
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3. The Translation History of China--[[User:Wang Yu|Wang Yu]] ([[User talk:Wang Yu|talk]]) 08:38, 30 November 2020 (UTC)--[[User:Wang Yu|Wang Yu]] ([[User talk:Wang Yu|talk]]) 08:43, 30 November 2020 (UTC)&lt;br /&gt;
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==The Implications of Luther's Translation Principles amid Renaissance for Modern Literature Translation	方洁玲	Fang Jieling==&lt;br /&gt;
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==Translation manipulated by ideology	许静	Xu Jing==&lt;br /&gt;
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==Comparison between the History of Chinese and Western Translation   周书尧   Zhou Shuyao==&lt;br /&gt;
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'''Abstract:'''There has a long history and culture Chinese and Western translation, and translation plays an indelible role in promoting cross-cultural communication and cultural communication. This article first discusses the history of translation in China from  four stages , then discusses the five stages of western translation history , and finally compares and analyzes the similarities and differences between Chinese and Western translation histories, and puts forward some of the author's own views.&lt;br /&gt;
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'''Key words:'''The history of Chinese,The history of Western,the stages of  translation history,comparison&lt;br /&gt;
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'''摘要：'''中西方翻译历史文化源远流长，翻译在促进跨文化交流和文化传播上承担着不可磨灭的作用。本文首先从中国的四次翻译高潮论述中国的翻译史，再从西方的五次翻译高潮探讨西方的翻译史，最后对中西方翻译史的异同进行对比分析，提出一些笔者自己的看法。&lt;br /&gt;
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'''关键词：'''中国翻译史，西方翻译史，翻译高潮，对比&lt;br /&gt;
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'''Ⅰ.Introduction'''&lt;br /&gt;
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Since the 1980s, the Chinese translation studies community has made remarkable progress in the establishment of Chinese and Western translation history courses and the compilation of related works.In the 1980s and early 1990s,A Brief Introduction to the History of Translation in China from Ma Zuyi and other books of Chen Yugang and Tan Zaixi were published one after another,which raised the curtain for the compilation of Chinese and Western translation history works by the domestic translation scholars.The four stages in the history of Chinese translation have promoted the development of Chinese history, culture and society to varying degrees.The same as our country, Western translation has an age-old history.In a sense, the development of Western European civilization should first be attributed to the translators.The five stages in the history of European translation have promoted the exchanges of literature, art, science and trade between countries, and to a certain extent promoted the development of Chinese translation.In fact, when we examine the development trajectory of Chinese and Western translation activities and the evolution of translation concepts together, we find that there are some similarities between Chinese translation and Western translation.Especially in the evolution of Chinese and Western translation concepts, the two have very similar evolution laws.&lt;br /&gt;
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='''Literal and Free Translation'''=&lt;br /&gt;
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==Rethink Literal and Free Translation	彭永亮	Peng Yongliang==&lt;br /&gt;
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==On the Chinese Translation of A Pale View of Hills from House’s Translation Quality Assessment Model	宋建茹	Song Jianru==&lt;br /&gt;
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== Abstract ==&lt;br /&gt;
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Translation quality assessment is an integral part of translation criticism. The first TQA model with comprehensive theories and practices Juliane House represented provides a significant reference for translation exercises. ''A Pale View of Hills'', as the first work of Kazuo Ishiguro, possesses a great research value on its narrative styles by virtue of memory and topics about migrants. As of 2011 when its Chinese translation was published, no scholar has evaluated it. This study applies House’s TQA model to assess the Chinese translation of ''A Pale View of Hills'' with qualitative and quantitative analysis from lexical, syntactic and textual aspects, in a bid to examine validity of the model on novel translation, which turns out that it is an overt and high-quality translation.&lt;br /&gt;
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== Key Words ==&lt;br /&gt;
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''A Pale View of Hills''; House’s TQA model; novel translation&lt;br /&gt;
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== 摘 要 ==&lt;br /&gt;
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翻译质量评估是翻译批评的核心课题。朱莉安·豪斯提出的第一个有完整的理论和实践的翻译质量评估模式，为翻译实践提供了重要参考。《远山淡影》是石黑一雄的处女作，其依托回忆的叙事风格和移民主题具有很高的研究价值。《远山淡影》中译本自2011年出版至今，尚未有学者对其进行评估研究。本文运用豪斯的翻译质量评估模式，采用定性与定量相结合的分析方式，从语场、语旨、语式等三个层面对原文和译文进行分析，开展《远山淡影》中译本的翻译质量评估研究，为豪斯翻译质量评估模式对小说翻译的运用进行进一步的探索和补充。通过分析，得出《远山淡影》中译本为显性翻译，翻译质量较高。&lt;br /&gt;
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== 关键词 ==&lt;br /&gt;
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《远山淡影》；豪斯质量评估模式；小说翻译&lt;br /&gt;
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==On the Relationship among Literal Translation, Free Translation, Domestication and Foreignization	韦洪朗	Wei Honglang==&lt;br /&gt;
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==On Chinese-to-English Translation of The Summer Palace from the Perspective of Functionalist Approaches to Translation	魏亚菲	Wei Yafei==&lt;br /&gt;
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===Abstract===&lt;br /&gt;
Abstract&lt;br /&gt;
The Chinese-English translation of tourist texts, as a window for the external publicity of national history and culture, plays an important role in promoting the development of local tourism. The Summer Palace is well known for its large and priceless collection of cultural relics, which is among the first group of historical and cultural heritage sites in China to be placed under special state protection. &lt;br /&gt;
Based on the functionalist approach and the skopos rule, this paper discusses the problems existing in the translation of scenic spots in the Summer Palace from the perspectives of garden culture, historical culture and religious culture. Skopos theory holds that translation depends on communicative purpose. To achieve this goal, translators can choose different translation strategies. It is believed that the purpose of Chinese-English translation of scenic spots is to attract target readers and promote traditional culture. Therefore, when translating tourism materials, it is necessary not only to express the local cultural connotation, but also to consider the cross-cultural factors. The Chinese-English translation of the introduction of scenic spots guided by functionalist approach can make English readers have expectations of scenic spots and understand the cultural connotation of scenic spots. This paper aims to better promote the development and communication of Chinese culture and improve the level of tourism text translation in China by relying on the theory of functionalist approach.&lt;br /&gt;
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===Key words===&lt;br /&gt;
Key Words: functionalist approach，the Summer Palace，translation strategies&lt;br /&gt;
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===摘要===&lt;br /&gt;
摘 要&lt;br /&gt;
旅游资料的英译作为民族历史文化对外宣传的一道窗口,对地方旅游业的发展有着不可低估的促进作用。颐和园作为中国著名的皇家园林，具有浓厚的中国园林特色及优美的风景，同时也蕴涵着深厚文化内涵。&lt;br /&gt;
本篇旅游文本英译的分析以功能派翻译理论作为理论指导，以目的法则为主要原则，从颐和园的园林文化、历史文化和宗教文化三个角度出发对颐和园景点英译中存在的问题进行探讨。目的论认为译文取决于翻译目的，这个目的通常指的是交际目的。为达到这个目的，译者可以选择不同的翻译策略。也就是说，译者的翻译策略必须由译文的预期目的或功能决定，即所谓的“目的法则”。笔者认为景点介绍的汉英翻译的目的就是吸引译文读者以及弘扬传统文化，因此在翻译旅游资料的时候不仅要把当地的文化内涵表达出来，而且要考虑到跨文化的因素。而以功能派翻译理论为指导的景点介绍的汉英翻译，可以使英语读者通过译文产生对旅游景点的期盼，以及对景点文化内涵的理解。以颐和园景区内的翻译文本为例本，依托功能翻译理论，通过“发现问题，指出问题，解决问题”，以期更好地促进中国文化的传播与交流，提高我国现阶段旅游文本翻译的水平。&lt;br /&gt;
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===关键字===&lt;br /&gt;
关键词：功能翻译；颐和园；翻译目的；翻译策略&lt;br /&gt;
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===Introduction===&lt;br /&gt;
  Throughout the translation history at home and abroad, the literal translation and free translation have always been a heat discussion in the translation circles. Someone absolutely approve literal translation and demean free translation, even pursue a dead translation, which creates an translated text difficult to understand. While some other people absolutely agree with free translation even advocate random acts, which means a random deletion in the translation practices and creates anther entirely different text. However, there are also a number of translators who have recognized that these two translation methods are not totally opposite. So they adopt a compromise and flexible way. That means they will choose the most appropriate one depending on the text demanding. Therefore, we can deduce from it that this eclectic translation is consistent with the Contradiction view of Unity of Opposite in Materialist Dialectics. In fact, literal translation and free translation are right a set of contradictions which are both opposite and unified. They complement each other into an integral one.&lt;br /&gt;
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===Table of Contents===&lt;br /&gt;
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Table of Contents&lt;br /&gt;
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Outline&lt;br /&gt;
1.Introduction&lt;br /&gt;
2. Studies on Functionalist Approach&lt;br /&gt;
2.1 The Viewpoint of Functionalist Approach&lt;br /&gt;
2.1.1 Reiss’s Text Typology&lt;br /&gt;
2.1.2 Vermeer’s Skopos Theory&lt;br /&gt;
2.1.3 Manttari’s Theory of Translational Action&lt;br /&gt;
2.1.4 Nord’s Theory of Function plus Loyalty&lt;br /&gt;
2.2 The Application of Functionalist Approach &lt;br /&gt;
3.C-E Translation of the Summer Palace under Functionalist Approach&lt;br /&gt;
3.1 Garden Culture&lt;br /&gt;
3.2 Historical Culture &lt;br /&gt;
3.3 Religious Culture &lt;br /&gt;
4. Conclusion&lt;br /&gt;
References&lt;br /&gt;
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===Outline===&lt;br /&gt;
Outline&lt;br /&gt;
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Thesis Statement: Based on the main viewpoints of functionalist approaches to translation, this paper aims to give an analysis to C-E translation of the Summer Palace from cultural, historical and religious aspects, hoping to provide some translation strategies for other cultural attractions.&lt;br /&gt;
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1. Introduction&lt;br /&gt;
2. Studies on Functionalist Approaches&lt;br /&gt;
2.1 The Viewpoint of Functionalist Approach&lt;br /&gt;
2.1 Reiss’s Text Typology&lt;br /&gt;
2.2 Vermeer’s Skopos Theory&lt;br /&gt;
2.3 Manttari’s Theory of Translational Action&lt;br /&gt;
2.4 Nord’s Theory of Function plus Loyalty&lt;br /&gt;
2.2 The Application of Functionalist Approach&lt;br /&gt;
3. C-E Translation of the Summer Palace under Functionalist Approach&lt;br /&gt;
3.1 Garden Culture&lt;br /&gt;
3.2 Historical Culture&lt;br /&gt;
3.3 Religious Culture&lt;br /&gt;
4. Conclusion&lt;br /&gt;
&lt;br /&gt;
===1. Introduction ===&lt;br /&gt;
1. Introduction   &lt;br /&gt;
The Chinese-English translation of tourist texts is a bridge to spread the culture of classical Chinese gardens, so the accuracy of it has a direct impact on foreigners' understanding of the specific history and culture. &lt;br /&gt;
Functionalist approach has made a pioneering contribution to the translation of non-literary genres. Functional translation theory emphasizes the function of discourse, and believes that different types of discourse have different functions, so translators should choose appropriate translation strategies according to the type of source text and corresponding functions. Functionalist approach is to take the &amp;quot;skopos rule&amp;quot; as the highest standard, and any translation activity is a purposeful behavior. The ultimate goal and main function of scenic spot translation is to help people understand the main content of the scenic spot.&lt;br /&gt;
As a window for the publicity of national history and culture, the Chinese-to-English translation of tourist texts plays an important role in promoting the development of local tourism. Well known for its large and priceless collection of cultural relics, the Summer Palace was among the first group of historical and cultural heritage sites in China to be placed under special state protection. Based on the viewpoints of functionalist approach to translation, this paper aims to analyze C-E translation of the Summer Palace from cultural, historical and religious aspects, hoping to provide some translation strategies for other cultural attractions. &lt;br /&gt;
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===2. Studies on Functionalist Approaches===&lt;br /&gt;
2. Studies on Functionalist Approaches&lt;br /&gt;
Functionalism is a theory that advocates reader-centered translation, emphasizing the functions of texts and highlighting the communicative effects. It is believed that many unnecessary mistakes can be avoided and better results can be achieved by applying functionalist approach in Chinese-English translation of tourist text. &lt;br /&gt;
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===2.1 The Viewpoint of Functionalist Approaches===&lt;br /&gt;
2.1 The Viewpoint of Functionalist Approaches&lt;br /&gt;
Functionalist Translation Theory, also known as German Functionalist Translation Theory, was proposed by German scholars in the 1970s. It includes four main theories: Katharina Reiss’s Text Typology, Hans Vermeer’s Skopos Theory, Justa Holtz Manttari’s Theory of Translational Action and Christiane Nord’s Theory of Function plus Loyalty. This chapter aims to present the main ideas of this theory.&lt;br /&gt;
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===2.1.1 Reiss’s Text Typology===&lt;br /&gt;
2.1.1 Reiss’s Text Typology&lt;br /&gt;
In 1971, Reiss in her book Possibilities and Limitation of Translation Criticism first made text function as a standard of translation criticism, namelyevaluate the translated text from the relationship between the functions of the original and the translated text. She insists on the original-centered equivalence theory and holds the view that the ideal translation is to achieve the equivalence between the target text and the source text in terms of ideological content, linguistic form and communicative function. However, translation practice makes her realize that it’s difficult to achieve equivalence sometimes and that sometimes equivalence cannot be pursued. Because of the particularity of translation requirements, the function of the target text is not always the same as that of the source text. Therefore, the translator should give priority to the functional role of the target text rather than the principle of equivalence.&lt;br /&gt;
Reiss believes that in the normal situation the type of text decides the translator’s choice of a proper translation method (Reiss, 2004). Therefore, she divides text into four types: content-focused text, form-focused text, appeal-focused text and audio-media text. Content-focused text, also known as informative text, includes news reports, commercial correspondence, operating instructions, official documents, patent&lt;br /&gt;
specifications, essays, treaties, etc. For this text, the main function is to convey information revealed in language itself to readers. The emphasis is on content and topic, so the choice of language and style should serve this function. If both the source text and target text belong to informative text, the translator should represent the content and information of source text accurately and completely (Reiss, 2004)&lt;br /&gt;
Form-focused text, also known as expressive text, refers to literary works such as novels, poems and so on. “Distinct from ‘content’, which deals with what the author says, ‘form’ is concerned with how an author expresses himself” (Reiss, 2004). For expressive texts, information is only a supplement. What is dominant is the aesthetic factor. When translating such texts, the translator should pay attention to the aesthetic and artistic forms of the original text and to the differences between two cultural habits, trying to achieve the same effect as the source text. In a word, in a form-focused text the linguistic form of the source text determines the form in the target language (Reiss, 2004).&lt;br /&gt;
Appeal-focused text, also known as operative text, mainly includes notice, instruction manual, advertisement, publicity manual and so on. For operative texts, the primary task for the translator is to provoke a particular reaction on the hearers or readers to incite them to engage in specific actions, while content and form are subordinate. Therefore, to achieve the same effect, the translator need to change the content and stylistic features of the original text, try to keep the potential influential factors of the original text and seek functional equivalence (Reiss, 2004: 38-43). Audio-medial text, also known as multi-media text, refers to radio and television scripts, such as radio newscasts and reports, topical surveys and dramatic productions.&lt;br /&gt;
It is distinctive in its dependence on non-linguistic media and on graphic, acoustic, and visual kinds of expression. Only in combination with them can the whole complex literary form realize its full potential (Reiss, 2004). In conclusion, different texts determine different translation focuses and methods. In many cases, however, a text may have more than one function, which means that translators should integrate different translation strategies skillfully to achieve different functions of texts.&lt;br /&gt;
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===2.1.2 Vermeer’s Skopos Theory===&lt;br /&gt;
2.1.2 Vermeer’s Skopos Theory&lt;br /&gt;
Reiss’s student Vermeer, who broke the limitation of the theory of equivalent and took skopos to be the first criterion of translation process  proposed the key theory: Skopostheorie. According to Skopos Theory, when translating a text, the translator needs to consider the purpose of translation first and then choose the translation method according to the purpose, which means “the end justifies the means” (Nord, 2001). Vermeer believes that translation, like other human actions, is also a purposeful act. Translation often takes place in cultural backgrounds with different customs and values, so translation is not a simple equivalent transformation between languages. Skopos Theory does not focus on achieving the equivalence between the target text and the original text or the perfection of the target text, but on choosing the best translation strategy based on the analysis of the source text and the intended function of the target text. In a word, translation methods and strategies are determined by the intended purpose or function of the target text.&lt;br /&gt;
According to Skopos Theory, the first rule that all translators must follow is the Skopos Rule. Translation purpose can be divided into three categories: (1) the purpose of the translator, such as earning a living; (2) the communicative purpose of the translation, such as instructing the reader; (3) the purpose of using a particular translation method, such as the literal translation according to its structure to illustrate the peculiarities of grammatical structure in a language (Nord, 2001). In general, the communicative purpose is more important than the other two. The communicative purpose is usually determined by the initiator of the translation act, but the translator can take part in deciding. The second rule is the Coherence Rule. Coherence Rule requires that the translation conform to the criterion of intratextual coherence, which means that the translation must be accessible to recipients and meaningful in the target culture and in the communicative environment (Nord, 2001). The third rule is the Fidelity Rule. It means that there should be intertextual coherence between the source text and the target text, which means being faithful to the source text. Nevertheless, the degree and form of faithfulness lie in the target text and the degree that the translator understands the original text. Normally “Intertexual coherence is considered subordinate to intratexual coherence and both are subordinate to the Skopos rule” (Nord, 2001).&lt;br /&gt;
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===2.1.3 Manttari’s Theory of Translational Action===&lt;br /&gt;
2.1.3 Manttari’s Theory of Translational Action&lt;br /&gt;
Following Vermeer, Manttari develops Vermeer’s Skopos Theory and puts forward the Theory of Translational Action. He emphasizes three aspects: the behavior of the translation process, the role of the participants (the initiator, the translator and the target reader, etc.) and the environment (time, place and media) in which the translation process takes places. It views translation as “purpose-driven, outcome-oriented human interaction and construes the process of translation as message-transmitter compounds that involve intercultural transfer” (Mundy, 2001). According to Manttari, translation is “ a complex act to achieve a particular purpose” &lt;br /&gt;
(Nord, 2001). It is not about translating words, sentences or texts but is about guiding the intended cooperation over cultural barriers and promoting functional communication. Cooperation here means “transcultural communication” by Manttari.&lt;br /&gt;
The Theory of Translational Action attaches great importance to providing a functional communicative text for the recipient, a text suitable for the target culture in&lt;br /&gt;
form and style. Functional suitability is determined by the translator. The translator is&lt;br /&gt;
an expert in translation, whose role is to ensure the successful completion of cultural&lt;br /&gt;
transformation. In producing the target text, the analysis of the source text is necessary so that the translator can find out its structural and functional characteristics, which can be described by content and form. The need of the recipient is the decisive&lt;br /&gt;
factor for the target text.&lt;br /&gt;
In short, “the value of Manttari’s work is the placing of translation (or at least the professional non-literary translation which she describes) within its sociocultural&lt;br /&gt;
context, including the interplay between the translator and the initiating institution”&lt;br /&gt;
(Mundy, 2001).&lt;br /&gt;
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===2.1.4 Nord’s Theory of Function plus Loyalty===&lt;br /&gt;
2.1.4 Nord’s Theory of Function plus Loyalty&lt;br /&gt;
Though skopos rule changes the focus of translation from the source language text to the target language text and the target receivers, it has some limitations. One is that different readers have different expectations, and the translation purpose cannot satisfy all the expectations of the target reader. Another is that the translation purpose may sometimes be against the intention of the source language. Therefore, based on the skopos rule, Nord introduces the loyalty principle. The principle of loyalty is a supplementary principle proposed by Nord to make up for the deficiency of skopos rule. According to the explanation of Nord, it is not the relationship between the original text and the target text, nor the equivalence between the original text and the form of the target text, but the consistency between the author of the original text, the initiator of the translation, the translator and the reader of the target text, which is the principle of loyalty. The proposal of the loyalty principle makes up for the mistakes that some radical skopos translators usually make, such as omitting and rewriting, which makes skopos theory more perfect and makes skopos theory more likely to guide the translation of literary works.&lt;br /&gt;
“Function” and “loyalty” are two pillars of Nord’s functionalist approach. “Function” refers to what a text means or is intended to mean from the receiver’s point of view”, while “loyalty” means that “target-text purpose should be compatible with the original author’s intention” (Nord,2001). It emphasizes the interpersonal relationship between the translator, the source-text sender, the target-text addresses and the initiator. Function plus loyalty enables the translator to avoid the limitations of skopos rule and try to achieve a balance between translation purpose and the source-text author’s intention”(Nord,2001). That is to say, when translating the original text, the translator should take into account the readers' cultural background, knowledge level and expectation of the translation, and choose the corresponding translation strategy according to the translation requirements. If the reader wants to read a word-for-word translation of the article, then the translator must meet the reader's requirements, otherwise he must explain to the reader why he chose his own translation method. The translator's job is to weigh two different cultures instead of imposing one culture on another. &lt;br /&gt;
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===2.2The Application of Functionalist Approach to the Tourist Texts.===&lt;br /&gt;
2.2The Application of Functionalist Approach to the Tourist Texts.&lt;br /&gt;
In the 1990s, Functionalist Translation Theory was introduced to China, and since then it has been applied to translation studies by Chinese translation scholars. In his article published in 1995, Zhang Nanfeng briefly introduces Skopos theory to China for the first time, and considers that Skopos theory is referential (Zhang Nanfeng, 1995). German Functionalist Translation Theory, a paper released in1999, is the first article in China which systematically introduces German Functionalist Translation Theory (Zhong Weihe &amp;amp; Zhong Yu, 1999). Based on an overview of Functionalist Translation Theory, Zhang Meifang focuses on introducing Nord’s theory, especially on the detailed analysis of Nord’s principle of loyalty (Zhang Meifang, 2005). Famous domestic scholars, such as Liu Junping (2009), Liu Miqing (2012) and Li Wenge (2004), also introduce this theory in their books. With the rise of Functionalist Translation Theory in China, someone has compared it with other theories. Zhu Haotong compares Skopos Theory with Functional Equivalence Theory to analyze the similarities and differences between them, and further reveals that Functionalist Translation Theory inherits the reasonable part of Nida’s Functional Equivalence Theory, which is an important breakthrough and supplement to solve the problems that Functional Equivalence Theory leaves (Zhu Haotong, 2006). Some scholars also combine theory with translation practice to explore the application of Functionalist Translation Theory to translation practice. Jia Yanli and Wang Hongjun point out that Skopos Theory has its limitations, but it is still of instruction and reference value for non-literary translation texts, such as advertisements and tourism materials (Jia Yanli &amp;amp; Wang Hongjun, 2012). Li Liangchen selects several famous tourist attractions in China to translate the on-site tour-guide commentary into English. Then he improves them under the guidance of Skopos Theory and sends out questionnaires to overseas tourists for further analysis. He argues that the translation of on-site tour-guide commentary which is guided by Skopos Theory is more favorable to conveying information to foreign visitors, to promoting cultural exchanges and to improving the image of China’s tourist destinations (Li Liangchen, 2013). In Pragmatic Translation: Theory &amp;amp; Practice, Wu Feng and He Qingji introduce Functionalist Translation Theory (Wu Feng &amp;amp; He Qingji, 2008) and the characteristics of tourism text and translation skills (Wu Feng &amp;amp; He Qingji, 2008). In this book, they also discuss the controversy over the Chinese name of Functionalist Translation Theory, and holds that “功能派翻译理论” is the most appropriate Chinese translation (Wu Feng &amp;amp; He Qingji, 2008).Based on his own translation practice and under the guidance of Functionalist Translation Theory, Wu Zixuan probes into some special phenomena in the English translation of CNN newsreels. The author believes that in the translation of external publicity, we should not stick to the standard of faithfulness to the original text, but should deal with the original text properly from the perspective of achieving the purpose of translation, such as rewriting, abridging. (Wu Zixuan, 2005).&lt;br /&gt;
Functionalist approach establishes a theoretical system of diversified translation standards dominated by skopos rule. From the definition of Functionalist approach, it can be seen that the advantage of it is that the translator can get rid of the bondage of the original text, study the translation process with &amp;quot;translation purpose&amp;quot; as the starting point, and determine the translation strategies and methods. This can give full play to the translator's own initiative, flexible processing of the original text, in order to achieve the translation of the communicative function. In addition, functionalist approach requires the translation to be examined in the cultural context of the reader. The reader can accept the translation and understand the meaning of the original text through the translation, so the translation can realize the communicative function. On the basis of such advantages, functionalist approach can be used to guide the English translation of garden scenic spots, and the translator can choose a wider range of translation strategies and break out of the constraints of the original text. &lt;br /&gt;
Only by clarifying the purpose of translation can we avoid these limitations in the English translation of garden attractions. When using functionalist approach to guide the English translation of Chinese classical garden scenic spots, it is necessary to flexibly choose translation strategies and methods, give full play to the advantages of skopos theory, and achieve the balance between &amp;quot;principle of purpose&amp;quot; and &amp;quot;principle of fidelity&amp;quot; as far as possible.&lt;br /&gt;
With the deepening of globalization and cross-cultural communication, tourismis becoming a major industry in the 21st century. The development of tourism can not only promote the economic development of a country but also promote the external dissemination of national culture. Therefore, tourism translation deserves attention. Tourism text is a typical informative and operational text, and the language is unique. It is full of gorgeous words, such as four-character expressions, verses, proper nouns and so on.&lt;br /&gt;
Tourism text materials include tourism advertising, tourism brochures, scenic spots signs and so on. In this paper, we focus on the introduction of Chinese gardens’ scenic spots, which is usually colorful in language and rich in literary style. Tourism text translation belongs to applied translation, which should play a series of practical functions to publicize the image and resources of the country or place and attract overseas tourists. Therefore, the translator of tourism text must be clear about the type and function of tourism text, and to grasp the ultimate purpose of the translation. &lt;br /&gt;
On tourism text translation, the communicative purpose of the translation should be placed in a central position. Furthermore, the tourism text has both the information function and the calling function. The information function and the calling function complement each other. Only when the target language readers acquire the expected tourism information and cultural knowledge can the calling function be realized and the purpose of tourism text translation be achieved. With different translation strategies, the translated version should both expressed contains basic information, and make the tourists feel the profound of the Chinese culture from the beautiful scenery. &lt;br /&gt;
Cultural tourism has long been the focus of international tourism, and understanding Chinese culture is the main purpose of inbound tourists, so the translation of tourism texts bears the mission of cultural transmission and cultural publicity. However, due to the great differences between Chinese and English culture and language, there are many difficulties in cultural transmission in tourism text translation. China has a long and splendid history and culture. When introducing the scenic spots of cultural relics and historic sites, we usually associate with many historical figures and stories. These terms are cultural blank for most foreign tourists, but this kind of cultural experience is also the most attractive place for foreign tourists. It is of great importance to pay attention to cultural differences in tourism translation and carry out cultural transmission effectively. Chinese and English languages have different logic views, and Chinese expressions in tourism texts value decoration. English expressions tend to be clear, concise and to the point. For example, Chinese tourism texts often use a four-character lattice, which is symmetrical, while there is no corresponding four-character lattice expression in English. Therefore, in Chinese-English translation of tourism texts with frequent use of four-character phrases, it is necessary to keep in mind the objective principle of functionalist approach and give priority to cultural communication instead of rigidly adhering to form.&lt;br /&gt;
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===3. C-E Translation of the Summer Palace under Functionalist Approach===&lt;br /&gt;
3. C-E Translation of the Summer Palace under Functionalist Approach&lt;br /&gt;
By studying the specific translation strategies made by predecessors, the following steps are also adopted in this paper: first, the translation strategies are determined according to the text type, such as faithful reproduction of the original information or rewriting; Secondly, the translation strategies are determined according to the potential purpose of the translation, such as paraphrasing or deleting poems, generalizing specific expressions and transliterating proper nouns. Thirdly, the translation strategies are defined with the tourists as the center, such as adding logical words, adding explanatory information and using plain English.&lt;br /&gt;
The Summer Palace epitomizes the philosophy and practice of Chinese garden design, which played a key role in the development of this cultural form throughout the east. It is an outstanding expression of the creative art of Chinese landscape garden design, incorporating the works of humankind and nature in a harmonious whole, which was once the most important place of political and diplomatic activity for the supreme rulers of the late Qing dynasty. Based on three aspects of the Summer Palace, namely, garden culture, historical culture and religious culture, this paper discusses the problems existing in the English translation of the scenic spots of the Summer Palace and puts forward corresponding countermeasures under the guidance of the skopos rule of functionalist translation theory.&lt;br /&gt;
&lt;br /&gt;
===3.1 Garden culture.===&lt;br /&gt;
3.1 Garden culture. &lt;br /&gt;
The Summer Palace is a classical garden famous for its magnificence and beauty. There are many temples in the garden, and the green waves of kunming lake ripple. Landscape and humanities complement each other, containing rich natural and cultural information, reflecting the characteristics of Chinese classical gardens. The garden cultural features of the three scenic spots, namely, the hall of clouds, the foxiang pavilion and the Wenchang courtyard, are particularly outstanding. Therefore, this paper takes these three scenic spots as examples to discuss the Chinese-English translation of the introduction of the Summer Palace.&lt;br /&gt;
(1)	排云殿、佛香阁景区是颐和园内建筑布局最完整、建筑形式最丰富的中轴建筑群体，殿、阁、廊、亭、桥、坊、碑等建筑约两万平方米。从临水的云辉玉宇牌坊至排云门、排云殿、德辉殿、佛香阁、众香界、智慧海、层层升高，排列有序，气势巍峨，金碧辉煌，将园林、寺庙和宫殿融为一体。&lt;br /&gt;
Translation：This scenic spot covers an area of 20,000 square meters with an assortment of buildings such as palaces, towers, corridors, pavilions, walkways, bridges, archways and inscribed stone steles. It comprises a well-arranged group of structures, all diverse in style, located in the center of the Summer Palace garden. This complex of structures, ranging from the Glowing Clouds and Holy Land Archway on the waterside, the Gate that Dispels the Clouds, the Hall that Dispels the Clouds, the Hall of Moral Glory, and the Tower of the Fragrance of the Buddha, to the Realm of Popular Fragrance and the Sea of Wisdom Temple, were built in an orderly manner running from the foot of the hill to its top, with gardens, temples and palaces harmoniously integrated into the whole。&lt;br /&gt;
Analysis：As we all know, the design style of ancient Chinese buildings is beautiful with &amp;quot;symmetry&amp;quot;. The &amp;quot;axis&amp;quot; in hall of clouds scenic spot refers to the layout of the Summer Palace from far to near and from top to bottom, which cannot be simply understood as the center. Simply translating &amp;quot;axis&amp;quot; as &amp;quot;center&amp;quot; cannot express accurately the meaning of &amp;quot;symmetry&amp;quot;. Comparatively speaking, &amp;quot;axis&amp;quot; can better reflect the architectural style of the scenic spot.&lt;br /&gt;
(2)	从临水的云辉玉宇牌坊至排云门、排云殿、德辉殿、佛香阁、众香界、智慧海，层层升高，排列有序，气势巍峨，金碧辉煌，将园林、寺庙和宫殿融为一体。&lt;br /&gt;
Translation：These structures，including Glowing Clouds and Holy Land Archway at lake side，the Gate of Dispelling Clouds，the Hall of Dispelling Clouds，the Hall of moral Glory，and the Tower of Buddhist Incense，the Realm of Multitudinous Fragrance and the Sea of Wisdom Temple，were built in an orderly manner ranging up the hill with gardens，temples and palaces harmoniously integrated. This manifests beauty，grace and splendor，reminiscent of the loftingness and grandeur of a once mighty empire.&lt;br /&gt;
Analysis：In terms of the characteristics of language, Chinese emphasizes parataxis and four-word antithesis. When describing and naming scenes, gorgeous words and poetic words are generally chosen in Chinese. But, English emphasizes hypotaxis, on the other hand, puts more emphasis on reproducing the original appearance of things, using simple and natural words and preferring direct description. In sign translation, the English translation pays more attention to accurate, concise and lively. In the above paragraph, &amp;quot;层层升高，排列有序，将园林、寺庙和宫殿融为一体&amp;quot; is an introduction to the architectural features of foxiang pavilion, in order to make tourists have a clear understanding of the overall layout and architectural features of the scenic spot. This information is essential and can be translated into detail. However, &amp;quot;气势巍峨，金碧辉煌&amp;quot; focuses on the subjective description, and its explicit translation needs more complicated words. If this paragraph is translated in detail, it is easy to drag the content and make the key information vague. Therefore, the deletion of the English translation of this sentence will not affect the basic information of the original text.&lt;br /&gt;
(3)	主阁（文昌阁）两层，内供铜铸文昌帝君和仙童、铜骑。文昌阁与万寿山西供武圣的宿云檐象征“文武辅弼”。&lt;br /&gt;
Translation: A bronze statue of the God Wenchang, statues of gaeries, and a bronze steed were placed in the two-story pavilion. This tower is pared with the Tower of Cloud- Retaining Eaves, located to the west of the Longevity Hill, in which a statue of the Martial God was placed. The God Wenchang and the Martial God together symbolize reining of the emperor supported by scholars and warriors.&lt;br /&gt;
Analysis: Two questions arise in Chinese-English translation. First, there are two translations of wenchang pavilion in the translation: pavilion and tower, which appear in the same sign. Two different translations of the same scenic spot name tend to make foreign tourists think that it refers to different scenic spots, which may cause difficulty in understanding. Second, the translation of Wenchang pavilion into &amp;quot;Wenchang Tower&amp;quot; is against the actual architectural characteristics. In fact, the meanings of &amp;quot;pavilion&amp;quot; and &amp;quot;tower&amp;quot; have both similarities and differences. According to the Oxford dictionary, Tower means &amp;quot;a tall narrow building or part of a building, especially of a church or castle&amp;quot;, mainly referring to the tower-shaped part of a building, usually a tall and slender structure, such as the Eiffel Tower. &amp;quot;Pavilion&amp;quot; means &amp;quot;a building that is meant to be more beautiful than usual, built as a shelter in a park or used for concerts and dances&amp;quot;. The top structure of the pavilion usually has rectangles, triangles, hexagons, etc. The common feature of them is that the top is supported by columns without walls. From the external structure of Wenchang pavilion, its bottom is solid and its top is supported by columns. Therefore, the pavilion can accurately reflect the architectural characteristics of Wenchang pavilion, so I think it should be translated as Wenchang pavilion.&lt;br /&gt;
&lt;br /&gt;
===3.2 Historical culture. ===&lt;br /&gt;
3.2 Historical culture. &lt;br /&gt;
The accurate Chinese-English translation of the introduction of the Summer Palace not only enables foreign tourists to understand the characteristics of Chinese gardens, but also enables foreign tourists to understand the historical knowledge of a specific period of China. However, the Chinese-English translation of the Summer Palace still has problems in accurately conveying the historical background of the scenic spots, such as the English translation of Wenchang pavilion scenic spot:&lt;br /&gt;
(4)	此景区始建于清乾隆十五年，一八六零年被英法联军烧毁，光绪时按原样重建。阁结构为八面三层四重檐，通高36.44米，耸立于20米高的石造台基上，气势雄伟，是颐和园全园的构图中心。阁内供奉有铜铸金裹千手观世音菩萨站像。像高五米，重万斤，为明代万历年间所造，在八根贯通全阁上下的承重铁梨木擎天柱的衬托下，美妙庄严，熠熠生辉，有极高的文物和艺术价值。&lt;br /&gt;
Translation: The Wenchang tower was first built in 1750 and rebuilt under Emperor Guangxu after  the Anglo-French Allied Forces builted it down in 1860. The octahedral tower has three stories with four-layered eaves, altogether 36.44 meters high. Standing upright on a 20 meter-high stone foundation, it constitutes the center of the Summer Palace landscape and serves to accentuate its magnificence. A statue of the thousand-handed Guanshiyin Buddha, cast in bronze and gilded with gold, stands inside the tower. The statue, five meters high and five tons in weight, was cast during the reign of Emperor Wanli of the Ming Dynasty. Set off by the eight imposing pillars which support the tower, it glows with beauty, grandeur and brilliance. Its historical, cultural and artistic value can hardly be overstated.&lt;br /&gt;
Analysis: “始建于乾隆十五年”only was translated into “was first built in 1750” and the “光绪年间重建” was translated into “rebuilt under Emperor Guangxu”.The first sentence does not show that 1750 was the fifteenth year of the reign of emperor Qianlong, and the second sentence does not give foreign visitors the exact date of the reign of emperor Guangxu. The change of time concept and the disunity of expression easily make foreign tourists feel confused. Therefore, the translation of the time and the historical dynasties should be accurate and meticulous, and the supplementary method should be used to not only describe the dynasties clearly, but also supplement the corresponding years, so as to achieve the standardization of the translation. In this way, foreign tourists can not only be clear about the time of the event, but also understand the Chinese historical dynasties. Consider as follows: the Wenchang Pavilion was first built in 1750 during Emperor Qianlong’s reign（1735- 1795）and rebuilt in 1886 under Emperor Guangxu（1875- 1908）after the Anglo- French Allied Forces burned it down in 1860.&lt;br /&gt;
&lt;br /&gt;
===3.3 Religious culture. ===&lt;br /&gt;
3.3 Religious culture. &lt;br /&gt;
Many scenic spots in the Summer Palace have a strong buddhist atmosphere. While visiting the scenic spots, foreign tourists can understand the profound buddhist culture. Wenchang pavilion in the Summer Palace is the representative of Chinese religious culture.&lt;br /&gt;
(5)	主阁两层，内供铜铸文昌帝君和仙童、铜特。文昌阁与万寿山西供武圣的宿云檐象征“文武辅弼”。&lt;br /&gt;
Translation: A bronze statue of the god，Wenchang，and statues of two followers，the celestial boy，and the bronze steed，were placed in the two- storey pavilion. This tower is pared with the tower of Cloud- Retaining Eaves，located to the west of the Longevity Hill，in which a statue of the Martial God was placed. The two towers symbolize the support by both scholars and warriors to the ruling emperor.&lt;br /&gt;
Analysis: It is well known that westerners believe in theism, which refers to god as supreme . In Chinese religious culture, people believe in atheism and do not believe in the existence of god. Therefore, it is inappropriate to translate &amp;quot;文昌帝军&amp;quot; and &amp;quot;武圣&amp;quot; into &amp;quot;the god, Wenchang&amp;quot; and &amp;quot;the Martial god&amp;quot; in the translation. In fact, the &amp;quot;文昌帝军&amp;quot; was Zhang yu, an emperor of Shu of Ning kang (374). And &amp;quot;武圣&amp;quot; refers to Guan yu in history. Therefore, the simple translation of  &amp;quot;God&amp;quot; is not in line with the traditional Chinese culture, which will not only cause western tourists to misunderstand that Chinese religious tradition also believes in God, but also fail to convey Chinese historical allusions and relevant historical figures. In contrast, if &amp;quot;文昌帝军&amp;quot; is translated as &amp;quot;the emperor, Wenchang&amp;quot; and &amp;quot;武圣&amp;quot; is translated as &amp;quot;the Martial Master (Guanyu)&amp;quot;, it can more faithfully convey the history and religious culture contained in the source language. &lt;br /&gt;
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===4. Conclusion===&lt;br /&gt;
4. Conclusion&lt;br /&gt;
To sum up, Under the guidance of the skopos rule of functionalist translation theory, translators should have a cross-cultural awareness, fully understand the reading psychology and cultural appreciation needs of target language readers, and use effective translation strategies and methods to achieve the purpose of tourism text translation. Functionalist approach has made a pioneering contribution to the translation of non-literary genres. Functional translation effectively eliminates the disadvantages of traditional word-for-word translation, improves the efficiency of translation, and helps readers to grasp the meaning of the original text.&lt;br /&gt;
 The importance of the translation of the Summer Palace lies in the profound garden culture, historical culture and religious culture. The English translation is not only helpful for international friends to know more about the garden characteristics of the Summer Palace, but also helpful for spreading the long history and profound culture of China. In order to attract target readers and promote traditional Chinese culture, it is not only necessary to carefully explore Chinese culture and history, but also to use the fuctionalist approach appropriately. &lt;br /&gt;
Translation is a complicated process. Functionalist approach stresses the function of the discourse, the purpose of translation. In the practice of translation, if the translator can get rid of the bondage of the original equivalence, actively playing to subjective initiative, fully understanding the original text, depending on the purpose of discourse and adopting different translation strategies, the effect and readability of translation can be improved.&lt;br /&gt;
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===References===&lt;br /&gt;
References&lt;br /&gt;
Hans Vermmer, “Skopos and Commission in Translation Action”, in the Translation Studies Reader,ed. Chesterman, London and Network:Routledge,p.221-232. 2000.   &lt;br /&gt;
Munday, Jeremy. Introducing Translation Studies: Theories and Applications. Routledge publishing.2001.&lt;br /&gt;
Mason, “Textual Practices and Audience Design: and Interactive View of the Tourist Brrochure”. In Navarro et al.(eds.). Pragmatics at Work: The Translation of Tourist Literature. Bern: Perter Lang. 157-176.2004.&lt;br /&gt;
Nord, Text Analysis in Translation: Theory, Methodology and Didactic Application of a Model for Translation-Oriented Text Analysis. Beijing: Foreign Language Teaching and Research Press. 2006.&lt;br /&gt;
Nord, Translating as a purposeful activity. Shanghai: SFLE PRESS, 2001:27,30,32,65,245.&lt;br /&gt;
Reiss, Katharina. Translation Criticism: The Potentials &amp;amp; Limitations. Shanghai Foreign Language Education Press. Shanghai. 2004.&lt;br /&gt;
Venuti, Lawrence. The Translator’s Invisibility: A History Translation. Routledge.1995.&lt;br /&gt;
方梦之、毛忠明， 英汉—汉英应用翻译教程，上海: 上海外语教育出版社，2004.&lt;br /&gt;
金惠康，跨文化旅游翻译，中国对外翻译出版公司，2004.  &lt;br /&gt;
贾文波，应用翻译功能论，北京：中国对外翻译出版公司，2004&lt;br /&gt;
孙艺风，文化翻译的困惑与挑战，中国翻译，2016年第3期.  &lt;br /&gt;
王宏志，翻译与创作，北京大学出版社，2000.&lt;br /&gt;
吴自选，德国功能派翻译理论与 CNN 新闻短片英译，中国科技翻译, 2005.&lt;br /&gt;
谢天振，当代国外翻译理论，天津：南开大学出版社，2005.&lt;br /&gt;
张南峰，走出死胡同建立翻译学. 中国翻译, 1995.&lt;br /&gt;
仲伟合，钟钰. 德国的功能派翻译理论. 中国翻译, 1999.&lt;br /&gt;
张美芳，功能加忠诚—介评克里丝汀· 诺德的功能翻译理论.上海外国语大学学报, 2005.&lt;br /&gt;
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==Contrast between Literal Translation and Free Translation	张雪仪	Zhang Xueyi==&lt;br /&gt;
'''Abstract：'''&lt;br /&gt;
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The contrast between literal translation and free translation has always been the most discussed problem in translation studies. To compare these two translation methods, the basic point is to understand the purpose of translation. The ultimate goal of translation is to help different cultures communicate better, so that people who speak different languages can understand each other’s cultures. Due to the differences in social, historical and cultural backgrounds between languages, how to choose between the two translation strategies of literal translation and free translation requires translators to weigh the strengths and weaknesses of these two methods. This essay mainly compares literal translation and free translation between Chinese and Russian to help students and translators translate better.&lt;br /&gt;
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'''Key words：'''&lt;br /&gt;
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Translation strategies, Literal translation,Free translation &lt;br /&gt;
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'''摘要：'''&lt;br /&gt;
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直译与意译间的对比一直是翻译学中讨论度最高的问题。想要将这两种翻译方法进行对比，最基本的一点就是要明白翻译的目的是什么。翻译的最终目的在于帮助不同文化进行更好的交流，让使用不同语种的人相互理解彼此的文化。由于语种间社会历史文化背景的差异，如何在直译和意译这两种翻译策略中做出选择，就需要译者衡量两种方法的利弊。本文主要对汉语和俄语间直译和意译进行比较，以帮助学生和译者更好地进行翻译实践。&lt;br /&gt;
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'''关键词：'''&lt;br /&gt;
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翻译策略，直译，意译&lt;br /&gt;
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'''1.Introduction'''&lt;br /&gt;
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The former Soviet Union translation theorist Fedorov believed: “Translation is an activity that expresses what has been used in one language as a unified whole of content and form, and accurately and completely expressed in another language.” Translation theorist Barr Hudarov also wrote: &amp;quot;Translation is the process of changing the coherent discourse of one language into the coherent discourse of another language while maintaining its content and meaning.&amp;quot; To some extent, translation is a process of thinking re-creation, so certain standards and principles must be followed when translating. Translation standard is a measure of the quality of translation, it can guide translation practice, and it is a principle that must be followed in translation activities. Although each scholar has different opinions on the standard of translation, the final result he pursues is the same: the original text and the translated text express the same effect. In order to achieve the same effect, different translation methods have been derived, of which literal translation and free translation are the most commonly used.&lt;br /&gt;
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Russian idioms and proverbs, as the crystallization of the wisdom of the Russian nation and the immortal fossils in the Russian language, are one of the best materials for the Chinese to understand and learn Russian history, culture, and society. Due to different geographical, historical and economic conditions, the Russian and Chinese ethnic groups have formed different cultural backgrounds. These distinctive backgrounds and characteristics have caused great difficulties for Chinese learning Russian to further understand Russia. This essay studies the basic definitions of literal translation and free translation, their respective advantages and disadvantages and their mutual relations, and strive to solve how to use the translation methods of literal and free translation to properly translate Russian idioms and proverbs, and how to reflect the cultural background and language characteristics of Russian idioms and proverbs in the translation .&lt;br /&gt;
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'''2.Different views of &amp;quot;literal translation&amp;quot; and &amp;quot;free translation&amp;quot;'''&lt;br /&gt;
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In different periods and different countries, people's views on translation theory have changed a lot, but the debate about literal translation and free translation has always existed.&lt;br /&gt;
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In China, the contradiction between literal translation and free translation may initially be due to the different understanding of these two translation methods. The translator Sun Guiding believes that: literal translation is stuck to the structure of the original text and does not consider whether the Chinese is fluent and natural; while free translation is to use the inherent Chinese idioms and the most natural words and sentences as much as possible to achieve the effect of conveying the meaning of the original text. Former President of Wuhan University, Du Zuozhou, believes that literal translation means translating word by word according to the original text; free translation means translating according to the meaning of the original text, and the translation is more suitable for the common grammar of the translated language. The educator Meng Xiancheng believes that literal translation is a translation technology with different degrees of correctness. Literal translation is a translation that is faithful and correct according to the original text; free translation is a translation that summarizes the original meaning. Zhu Guangqian said: &amp;quot;The so-called 'literal translation' refers to the literal translation based on the original text. Every word and sentence are translated word by word, and the order of the words and sentences is not changed. The so-called ‘paraphrasing’ is to express the meaning of the original text in Chinese, and it does not have to be completely based on the literal and order of the original text. &amp;quot; The principle of &amp;quot;faithfulness, expressiveness and elegance&amp;quot; put forward by the modern Chinese translator Yan Fu has long been the basic principle guiding translation practice. A large number of beginners who learn foreign languages regard &amp;quot;faithfulness and expressiveness&amp;quot; as translations that are completely faithful to the original text when translating. In fact, Yan Fu's translation requirements are a guiding principle for translation based on semantics. When translating, if the structure and expression of the original text cannot be directly adopted, the sentence structure and expression must be changed according to the characteristics of the target language. In addition, there are many differences between the original language and the target language in the word order, grammar, variants and rhetoric in the translation process. In many cases, there is no direct corresponding word. This requires the translator to consider the actual semantics, background and other factors. On the basis of the original meaning of the sentence, use an appropriate method to convey the content of the original work and reproduce the language style of the original work.&lt;br /&gt;
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In the Soviet Union, under the influence of ideology, Western translation theories could not be widely disseminated, but within the Soviet Union, translation theories similar to Western translation theories have been formed and developed, and two main schools of translation theory have been further differentiated — Linguistic Translation School and Literary Translation School. To a certain extent, the dispute between these two schools also reflects the debate on literal translation and free translation among translators' groups. In terms of the principles or standards of translation, the linguistic translation school believes that an ideal translation should be an equivalent translation, first of all linguistic correspondence, that is, the translation should have the same meaning as the corresponding language or discourse unit of the original; the literary translation school believes that translation pursues artistic correspondence, and linguistic correspondence must be subordinate to artistic correspondence. Therefore, it proposes that the aesthetic standards of translation should reproduce the artistic reality reflected by the unity of the original content and form. The characteristic is to use images to translate images, that is, to create the same image in different languages. In 1953, Andrei Venediktovich Fedorov, the leader of the linguistic translation school, published his work &amp;quot;Summary of Translation Theory&amp;quot;, which was the first monograph of the Soviet Union to study translation theory from the perspective of linguistics. The author proposes that translation theory is a branch of linguistics. Since the translation of any genre work must rely on the comparison of two languages, translation problems can only be solved in the field of language. Fedorov’s view was refuted by the literary translation school represented by Ivan Alexandrovich Kashikin. The literary translation school believes that aesthetic issues are the core of literary translation theory, and translation should be regarded as a form of language art, that is, translation should be studied from the perspective of literature and art. In fact, the literary translation school emphasizes the translation of literary and artistic works, which belongs to the specific translation theory; while the research of the linguistic translation school focuses on the general translation theory, that is, the translation of all thematic works including literary works. The dispute between the two major translation theory schools of Russia and the Soviet Union provides another perspective for Chinese translators to explore the relationship between literal translation and free translation.&lt;br /&gt;
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'''3.The application of literal translation and free translation in the Chinese translation of Russian idioms'''&lt;br /&gt;
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The idioms of different nationalities are the most dynamic and expressive units at the lexical level in different languages, and they are also the units that can best reflect the characteristics of national culture in languages. The number of Russian idioms is extremely rich, it records and reflects all aspects of Russian national life. Due to the great differences in geographical locations and living customs between China and Russia, the national cultures reflected in Chinese and Russian must be quite different. One of the difficulties in idiom translation is its imagery. When translating idioms, both the meaning and the image must be considered. Although the Chinese and Russian cultures are very different, many of the commonalities of mankind, such as emotion and natural environment, have created conditions for mutual communication, mutual understanding and idiom translation between different languages.&lt;br /&gt;
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'''3.1 Literal translation'''&lt;br /&gt;
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Generally speaking, the literal translation method refers to a translation method that directly translates the original text without changing the language characteristics and style of the original text on the basis of fully respecting the meaning of the original text. Chinese translation of Russian idioms by literal translation method has the advantage of being able to intuitively and faithfully express the meaning of the idiom, maintaining the unique style and imagery of the original text: the disadvantage is that the translated idiom may not be understood by the Chinese because of China and Russia have different historical, cultural backgrounds, grammatical structures, and language world landscapes, which can easily form obstacles in the process of understanding.&lt;br /&gt;
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Translating Russian idioms by literal translation is further divided into two methods — literal translation into Chinese idioms and literal translation into non-idiom sentences or words.&lt;br /&gt;
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Literal translation of Russian idioms into Chinese idioms is suitable for the translation of Russian and Chinese idioms that are completely equivalent in image, structure, and meaning. The advantage is that it is easy to understand, and the translation is simple and fast. E.g:&lt;br /&gt;
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(1)домашнего  (своего) вора не убережешься. 家贼难防&lt;br /&gt;
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(2)знать как свои пять пальцев (видно, как на ладони) 了如指掌&lt;br /&gt;
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(3)подлить масла в огонь 火上浇油&lt;br /&gt;
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(4)как рыба в воде 如鱼得水&lt;br /&gt;
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(5)как ножом по сердцу 心如刀割&lt;br /&gt;
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(6)как гром среди ясного неба 晴天霹雳&lt;br /&gt;
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(7)на добро отвечают добром 善有善报&lt;br /&gt;
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(8)копейка рубль бережет 财从细起&lt;br /&gt;
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(9)мечты сбываются 梦想成真&lt;br /&gt;
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(10)курица всегда следует за петухом 嫁鸡随鸡&lt;br /&gt;
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(11)чего мало, того и дорого  (дорого то, что мало) 物以稀为贵(12)&lt;br /&gt;
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(12)изгонять яд с помощью яда 以毒攻毒&lt;br /&gt;
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(13)сидеть как на иголках 如坐针毡&lt;br /&gt;
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(14)действия громче слов 事实胜于雄辩&lt;br /&gt;
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(15)зарыть талант в землю 埋没人才&lt;br /&gt;
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(16)висеть на волоске 千钧一发&lt;br /&gt;
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(17)лить как из ведра 倾盆大雨&lt;br /&gt;
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The idioms in the above examples are completely equivalent in image, structure or meaning in Russian and Chinese, so Chinese idioms can be used for literal translation. &lt;br /&gt;
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In fact, in the two languages, idioms with the same image, structure, and meaning are still in the minority, so it is more common to translate Russian idioms into non-Chinese idiom sentences or vocabulary. E.g:   &lt;br /&gt;
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настоять на своем 坚持自己&lt;br /&gt;
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камень с души свалился 心里的一块石头落地&lt;br /&gt;
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связать свою судьбу 把自己的命运与……相连&lt;br /&gt;
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быть на голову 高出一头&lt;br /&gt;
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вбивать в голову 往脑子里灌&lt;br /&gt;
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блеснуть метеором 像流星一样一闪而过&lt;br /&gt;
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с мизинец 小拇指这么大&lt;br /&gt;
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It is not difficult to find that the literal translation method can completely retain the original appearance of the idiom, show the common concept of human understanding of the world, and be beneficial to the cultural exchange between China and Russia.&lt;br /&gt;
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'''3.2 Free translation'''&lt;br /&gt;
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Another method commonly used in the Chinese translation of Russian idioms is free translation. Free translation is to readjust the structure of the original text on the basis of keeping the original meaning of the idiom unchanged, and then reconstruct the Russian idiom with the way of thinking and expression in Chinese. This is because the figurative images used in many Russian idioms are inconsistent with those used in Chinese. If the original image is used in translation, it will cause a barrier to understanding. The advantage of free translation of Russian idioms is that it eliminates obstacles to understanding, but the disadvantage is that it cannot completely retain the original style and cultural characteristics. E.g:&lt;br /&gt;
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(1)В Тулу со свим самоваром не ездят.&lt;br /&gt;
直译：去图拉不用带自己的茶炊。&lt;br /&gt;
意译：多此一举&lt;br /&gt;
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(2)Честь лучше бесчестья.&lt;br /&gt;
直译：尊重比不尊重好。&lt;br /&gt;
意译：礼多人不怪。&lt;br /&gt;
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(3)словно горя с плеч&lt;br /&gt;
直译：把山从肩膀下卸下&lt;br /&gt;
意译：如释重负&lt;br /&gt;
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(4)выеденного яйца не стоит&lt;br /&gt;
直译：一个空蛋壳不值钱&lt;br /&gt;
意译：鸡毛蒜皮，一文不值&lt;br /&gt;
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(5)чужими руками жар загребать&lt;br /&gt;
直译：用别人的手将红炭火拨成一堆&lt;br /&gt;
意译：坐享其成，不劳而获&lt;br /&gt;
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(6)ни рыба, ни мясо&lt;br /&gt;
直译：没有鱼也没有肉&lt;br /&gt;
意译：不三不四，不伦不类&lt;br /&gt;
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(7)лучше синица в руках, чем журавль в небе&lt;br /&gt;
直译：天上的仙鹤不如手中的山雀&lt;br /&gt;
意译：远亲不如近邻&lt;br /&gt;
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(8)На языке мед, а под лед&lt;br /&gt;
直译：嘴上甜得像蜂蜜，心里冷得像冰&lt;br /&gt;
意译：笑里藏刀&lt;br /&gt;
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(9)И на солнце есть пятна&lt;br /&gt;
直译：太阳上也有黑点&lt;br /&gt;
意译：人无完人&lt;br /&gt;
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(10)семь раз отмерь, один раз отрежь&lt;br /&gt;
直译：测量了七次后再剪裁&lt;br /&gt;
意译：三思而后行&lt;br /&gt;
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Using free translation to translate Russian idioms requires the translator to accurately understand the meaning of the original text, because cultural differences make it impossible to literally translate. Only through the translator can an unobstructed bridge between Russian idioms and Chinese idioms be built.&lt;br /&gt;
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'''4.The application of literal translation and free translation in the Chinese translation of Russian proverbs'''&lt;br /&gt;
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There are often multiple translations of the same Russian proverb in Russian-Chinese dictionaries. On the one hand, because the translator uses different translation methods; on the other hand, because Russian proverbs have very rich connotations, a translation cannot perfectly interpret the inner meaning of the proverb. According to the context and the connotation of the proverbs, the most commonly used methods of Chinese translation of Russian proverbs are literal translation and free translation.&lt;br /&gt;
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'''4.1 Literal translation'''&lt;br /&gt;
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In Russian and Chinese languages, some proverbs not only have the same meaning or implicit meaning, but also use the same or similar figurative images to express a certain kind of the same semantics, and they are completely consistent in content and form. In this case, the equivalent translation of synonymous Chinese proverbs can convey the information contained in the original image, which not only retains the rhetorical color of the original language, but also enables the reader to perfectly understand the original text. E.g:&lt;br /&gt;
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(1)Куй железо, пока горячо. 趁热打铁。&lt;br /&gt;
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(2)Беда не приходит одна. 祸不单行。&lt;br /&gt;
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(3)Сытый голодного не разумеет. 饱汉不知饿汉饥。&lt;br /&gt;
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(4)Век живи, век учись. 活到老，学到老。&lt;br /&gt;
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(5)Выше встанешь, дальше увидишь. 站得高，看得远。&lt;br /&gt;
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(6)Лучше один раз увидеть, чем сто раз услышать. 百闻不如一见。&lt;br /&gt;
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(7)Нет дыма без огня. 无火不生烟。&lt;br /&gt;
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(8)Шила в мешке не утаишь. 口袋藏不住锥子。&lt;br /&gt;
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(9)Береги платье снову, а честь смолоду. 衣服要从新的时候爱惜，荣誉要从年轻时珍惜。&lt;br /&gt;
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(10)Выше лба уши не растут. 耳朵高不过额头。&lt;br /&gt;
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(11)Для милого друга семь верст не околица. 为了好友，多绕七里也不嫌远。&lt;br /&gt;
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(12)Как Новый год встретишь, так его и проведешь. 怎么迎新年，就怎么过一年。&lt;br /&gt;
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(13)Лучше умереть стоя, чем жить на коленях. 宁愿站着死，绝不站着生。&lt;br /&gt;
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(14)Не имей сто рублей, а имей сто друзей. 宁要一百个朋友，不要一百个卢布。&lt;br /&gt;
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По одежке встречают, по уму провожают. 迎客时看衣，送客时看才智。&lt;br /&gt;
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==Dialectical thinking in arguments between literal translation and free translation 	甘奉玉	Gan Fengyu==&lt;br /&gt;
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===Abstract===&lt;br /&gt;
  As two methods of translation, how to use literal translation and free translation has always been the focus of debate between Chinese and Western translation circles. Through the study of translation methods of literal translation and free translation at home and abroad, we can know that to some extent literal translation and free translation are two relative conceptions, so there will be word-for-word translation, that is, dead translation, and excessive free translation. However, these two are only two extremes of literal translation and free translation. In fact, although there are differences in definitions and application fields between literal translation and free translation, they are unified in common translation purpose, translation procedure and translation standard. Therefore, the two are contradictory and unified in translation activities. This is also the profound embodiment of the unity of opposites in materialist dialectics.--[[User:Gan Fengyu|Gan Fengyu]] ([[User talk:Gan Fengyu|talk]]) 07:46, 10 November 2020 (UTC)&lt;br /&gt;
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===Key words===&lt;br /&gt;
literal translation, free translation, word-for-word translation, over free translation, unity of opposites&lt;br /&gt;
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===摘要===&lt;br /&gt;
  作为翻译方法，直译(literal translation)与意译(free translation)怎样使用的问题一直是一个争论中西方翻译界不休的焦点。通过对国内外直译与意译的翻译方法的研究，我们可以得知，从某种程度而言，直译与意译是两个相对的概念, 所以才会有逐字翻译，即死译，与过度意译这两个完全对立的概念。但是，这两者只不过是直译与意译的两个极端点。其实，直译和意译虽然在概念定义，适用范围上有所差异，但却又统一于共同的翻译目的、翻译过程和翻译标准中。所以两者在翻译活动中应该是既对立又统一的矛盾体。而这也正是唯物辩证法中的对立统一矛盾观的深刻体现。--[[User:Gan Fengyu|Gan Fengyu]] ([[User talk:Gan Fengyu|talk]]) 07:50, 10 November 2020 (UTC)&lt;br /&gt;
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===关键字===&lt;br /&gt;
直译； 意译； 死译； 过度意译； 对立统一&lt;br /&gt;
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===Introduction===&lt;br /&gt;
  Throughout the translation history at home and abroad, the literal translation and free translation have always been a heat discussion in the translation circles. Someone absolutely approve literal translation and demean free translation, even pursue a dead translation, which creates an translated text difficult to understand. While some other people absolutely agree with free translation even advocate random acts, which means a random deletion in the translation practices and creates anther entirely different text. However, there are also a number of translators who have recognized that these two translation methods are not totally opposite. So they adopt a compromise and flexible way. That means they will choose the most appropriate one depending on the text demanding. Therefore, we can deduce from it that this eclectic translation is consistent with the Contradiction view of Unity of Opposite in Materialist Dialectics. In fact, literal translation and free translation are right a set of contradictions which are both opposite and unified. They complement each other into an integral one.&lt;br /&gt;
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===1.Dialectic thinking of the Unity of opposites===&lt;br /&gt;
===2.Word-for-word translation===&lt;br /&gt;
===3.Over free translation===&lt;br /&gt;
===4.Eclectic translation===&lt;br /&gt;
===5.Opposition and unity between literal translatiuon and free translation===&lt;br /&gt;
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===5.1 Opposition===&lt;br /&gt;
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===5.1.1 Opposition in definition===&lt;br /&gt;
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===5.1.2 Opposition in application fileld===&lt;br /&gt;
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===5.2 Unity===&lt;br /&gt;
===5.2.1 Unity in translation goal===&lt;br /&gt;
===5.2.2 Unity in translation procedure===&lt;br /&gt;
===5.2.3 Unity in translation standard===&lt;br /&gt;
===6.Conclusion===&lt;br /&gt;
===Bibliography===&lt;br /&gt;
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== Peter Newmark’s Improved Views on Literal Translation and Free Translation 赵茜 Zhao Xi==&lt;br /&gt;
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='''Document Translation'''=&lt;br /&gt;
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==On translation of official documents of CangNan County	吴恺	Wu Kai==&lt;br /&gt;
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On Translation of Official Documents of Cangnan County&lt;br /&gt;
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Japanese Language and Literature, School of Foreign Languages, Hunan Normal University, Wu Kai--[[User:Wu Kai|Wu Kai]] ([[User talk:Wu Kai|talk]]) 04:45, 2 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
==='''Abstract'''===&lt;br /&gt;
As one of the forefronts of Zhejiang’s opening-up cause, Cangnan County in Zhejiang Province has been enjoying a rapid development and an ever-growing degree of opening-up with lasting vitality as it’s supported by national policies and nourished by the dividends of economic globalization since China's reform and opening-up. As China has ushered in a period of major changes rarely seen in a century, Cangnan County is also facing new opportunities and challenges. Under the background of this era, Cangnan County is expected to make good use of its own advantages, especially the geographical ones—it is close to countries and regions including Japan, South Korea, and Taiwan—and should spare no efforts to achieve a higher level of opening-up, and, in turn, further promote its development. As an embodiment of the collective will of the people of Cangnan County, the official document is one of the best manifestations of its governance and stability control capabilities. For this reason, the research on how to translate official documents is of great significance for that it offers a great opportunity for Cangnan County to re-examine itself and to show the rest of the world its achievement in building a culture-enriched county.&lt;br /&gt;
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==='''Key words'''===&lt;br /&gt;
 official document translation, Cangnan County, opening-up, Japan, South Korea&lt;br /&gt;
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==='''摘要'''===&lt;br /&gt;
自中国改革开放以来，浙江省苍南县作为全浙江对外开放的前沿阵地之一，得到了国家政策支持和经济全球化红利的滋润，苍南县发展水平与对外开放程度日新月异，全县活力持久带劲。随着中国迎来“百年未有之大变局”，苍南县也面临着新的机遇和挑战，在此时代背景下，苍南县应该利用好自身优势，特别是临近日本、韩国、台湾等国家与地区的地理优势，努力开展更高层次、更高水平的对外开放事业，促进苍南更好的发展。为此，作为苍南县人民集体意志的体现，苍南县的公文就是对外展示其治理水平、稳控能力的最好的体现之一。而对于苍南县公文的如何翻译的研究，是促使苍南县重新审视自己、推进苍南人文县情传播海外的良机，意义重大。&lt;br /&gt;
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==='''关键词'''===&lt;br /&gt;
公文翻译  苍南县  对外开放  日本  韩国&lt;br /&gt;
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==='''I. System and Translation of Official Documents of Cangnan County'''===&lt;br /&gt;
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The unique official document system adopted by Chinese government agencies is a special integration of the thousands-of-years excellent political traditions in China and the essence of the organizational structure of the socialist regime. As a county-level unit in China's local administrative structure, Cangnan County has an official document system that is consistent with the national ones in general while has its own features. Official documents of Cangnan County can be basically divided into the following types of writing: resolutions, decisions, orders, bulletins, announcements, notifications, opinions, notices, reports, requests for instructions, approvals, proposals, letters, and minutes. Above-mentioned categories are collectively known as official documents. Besides, there are also some types of practical writing, including summaries, plans, notes, memos, briefings, speeches, manuals and so on, that are often used in our day-to-day work.&lt;br /&gt;
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In addition to those characteristics of the official documents that are commonly seen in China, official documents of Cangnan County also have its own features, which is mainly reflected in the aspect of proprietary terminology. Cangnan County, which used to be a part of Pingyang County in Zhejiang Province, was officially designated as a county in 1981 with the approval of the Central Government. It takes its name Cangnan, which means “on the south of the Yucang Mountain”, from its geographical location. As a relatively young county-level administrative unit in China’s administrative divisions, Cangnan County has a complex natural endowment and cultural environment, which is the reason why there are many special proprietary terms used in the official documents of Cangnan County, such as “Beautiful South Gate of Zhejiang Province”, “Southern Ouyue (an ancient kingdom in modern Wenzhou and Taizhou)” , “South Gate of Jiangsu-Zhejiang Region” and so on. Moreover, Cangnan is also the birthplace of the “Wenzhou Model”. Since the implementation of policy for the exchange of production materials and commercial grains in 1984, Cangnan has become an important base for the experiments and development of Wenzhou's private economy and market economy, and, thus, has made a significant contribution to the great cause of China's reform and opening-up.&lt;br /&gt;
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To conclude, the unity of the official document system viewed from the national scope of China and the uniqueness of the official document system viewed from the local scope of Cangnan area are both reflections of the integration of economic, political, and cultural elements. Therefore, when translating the terms and sentences in these official documents, obviously, it is almost impossible to follow general translation theories, such as Yan Fu’s “faithfulness, expressiveness and elegance” theory which applies to literature translation, and Christiane Nord’ Skopos theory which emphasizes schematic analysis. Due to the features of the official documents of Cangnan County, it is hard to imagine the consequence it will cause if those Cangnan and Chinese elements they contain are missed when translating them. Therefore, the starting point for the translation and research of Cangnan official documents should be analyzing the official document itself, but not choosing which translation theory to apply.&lt;br /&gt;
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The translation method focusing on the official documents themselves is undoubtably the one that emphasizes the content while manages to achieve a similarity in form. Thus, the translation theory that meets the requirements of official document translation in Cangnan County shall be the functional equivalence theory of the American linguist Eugene A. Nida. Eugene A. Nida argued in his theory that translation is to use the most appropriate, natural and equivalent language to reproduce the informational function of the source language both semantically and stylistically. Nida’s definition of translation specified that translation is seeking equivalence not only in lexical meaning, but also in semantics, style and literary form. Translation should convey both the denotative and connotative meaning of a message. Regarding the equivalence of translation, he believed that the equivalence consists of four parts: lexical equivalence, syntactic equivalence, textual equivalence, and stylistic equivalence. Among the four aspects, he emphasized that the meaning the core and most important part, followed by the form. The form of a text is likely to conceal the cultural connotation of the source language and may, therefore, hinder cultural exchanges. Based on the above, the reasons why the functional equivalence theory is applicable to official document translation in Cangnan County can be concluded as follows:&lt;br /&gt;
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First, the functional equivalence theory advocates that the target text should be equivalent to the source text both semantically and culturally. Official documents of Cangnan County are carriers of profound political culture with Chinese characteristics and the cultural environment in Cangnan. When translating them, in addition to showing the political consciousness and judicial authority of Cangnan government agencies, the local culture of Cangnan must also be reflected in the translations.&lt;br /&gt;
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Second, the functional equivalence theory suggests that if the lexical meanings and cultural elements cannot be taken into account at the same time, the translator then may give up the equivalence in form and try to reproduce the semantic and cultural meaning of the source text by changing the form of the sentence. There are many specialized terms with Chinese characteristics and Cangnan’s characteristics in official documents of Cangnan County. When translating them, once there is no corresponding expression in the target language, other forms of expression must be adopted to retain the meanings of those specialized terms as much as possible.&lt;br /&gt;
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Third, the functional equivalence theory proposes that if the change in form is still not enough to express the semantic and cultural meaning of the expression in the source language, the translation technique of “heavy damage” can be adopted to resolve cultural differences , so that the source language and the target language can achieve equivalence in semantic meaning. “Heavy damage” refers to the transformation of the deep structure of the source language into the surface structure of the target language, that is, expressing the cultural connotation of the source text with expressions of the target language. It cannot be ruled out that there are words and sentences in the official document of Cangnan County that cannot be translated, and when this happens, the translator can only rely on his translation techniques and understanding ability to process them creatively.&lt;br /&gt;
Above are simply macro analyses of the official document system in Cangnan County, and when it comes to specific analyses, challenges we face will only be severer.&lt;br /&gt;
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==='''II. Stylistic Features and Translation of Official Documents in Cangnan County'''===&lt;br /&gt;
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Looking at the official documents of Cangnan County from the micro level, we can work on the study of its translation based on the following characteristics.&lt;br /&gt;
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'''1. Details and Accurate'''&lt;br /&gt;
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As an officially-written document geared for the needs of our people, wording of the official documents of Cangnan County has a very specific orientation. Almost all content words have very clear meanings and connotations.&lt;br /&gt;
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For example, the sentence “经研究，县政府决定召开市对县安全生产巡查反馈会暨突出问题集中教育警示会，现将有关事宜通知如下。(As discussed, the county government decided to convene a feedback meeting on city-to-county inspections of production safety and a meeting for education and warning on outstanding issues. The relevant matters are hereby notified as follows.)” in the document 《苍南县人民政府办公室关于召开市对县安全生产巡查反馈会暨突出问题集中教育警示会的通知》(“Notice of the Office of the People's Government of Cangnan County on Convening a Feedback Meeting on City-to-County Inspections of Production Safety and A Meeting For Education and Warning On Outstanding Issues”) (the office of the People's Government of Cangnan County on June 8th, 2020) conveys several points very accurately and clearly, including the decision maker, the type, content and theme of the meeting. Therefore, special attention must be paid to the integrity of the information delivered when translating this sentence. For example, it is translated into Japanese as “討議を通じて、県政府は県の安全生産状況に対する市政府の巡査結果反映会及び顕著問題教育警告会を開催することが決定した。関連事項を以下のようにお知らせする。”&lt;br /&gt;
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'''2. Precise and Compact'''&lt;br /&gt;
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The role of official documents is to exchange formal information between the upper and the lower, the people and the officials, and the relevant departments. Therefore, the wording of the official documents must be rigorous. No slang and loose sentences should be used, and excessive use of parentheses and descriptive modifiers should be avoided. Official documents of Cangnan County follow this rule as well, in which there will never be informal expressions like daily spoken words.&lt;br /&gt;
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For example, the expression “三、决策目录施行动态管理，因工作需要增减或变更重大行政决策事项的，承办单位应按照相关规定程序提请调整。(Third, the decision catalogue shall be managed in a dynamic way, the undertaker shall submit application for adjustments in accordance with the relevant regulations if any increase/decrease or change shall be made to the major administrative decision-making matters because of the need of actual work.)” in the document《关于公布苍南县2020年度重大行政决策事项目录的通知》(“Notice on Issuing the 2020 Annual Catalogue of Major Administrative Decision-Making Matters of Cangnan County”) (the office of the People's Government of Cangnan County on Sept. 20th, 2020) When translating this sentence into Japanese, the translator shall fully considers the preciseness of the original expression, and translate it as “三つ目、戦略目録動的管理施行、仕事需要によっての増減または変更が必要な場合、請負機構は関連規定の手順に従って調整を提出しなければならない。”&lt;br /&gt;
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'''3. Programmed and Standardized'''&lt;br /&gt;
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The purpose of official documents requires a stable and routine writing program so that the official business can be conducted in an orderly manner. It is essential that the document writing is reasonably programmed. It allows the officer to know what it is and what to do at a glance if a standardized official document program is followed. The standardization of the official documents of Cangnan County can be regarded as a tricky feature in their translation.&lt;br /&gt;
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For example, the expression “各乡镇人民政府，县政府直属各单位 (the people's government of all townships and towns and all directly affiliated institutions of the people’s government of Cangnan County)” in the document《关于公布苍南县2020年度重大行政决策事项目录的通知》(“Notice on Issuing the 2020 Annual Catalogue of Major Administrative Decision-Making Matters of Cangnan County”) (the Office of the People's Government of Cangnan County on Sept. 20th, 2020) is obviously a standardized addressing of the receiving units of an official document, and it should be translated into Japanese as “各郷鎮人民政府、県政府直属の各部門”.&lt;br /&gt;
Viewing from a micro perspective, we may find that special attention should be paid to many precise details when translating those official documents. It is of great significance that, during the cause of reform and opening-up, we strike a balance between the macro level and the micro level in official document translation, which will serve as a stage for Cangnan County to show itself to Japan, South Korea and other East Asian countries and regions.&lt;br /&gt;
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==='''III. Translation of Official Documents of Cangnan County under the Context of the Japanese Language'''===&lt;br /&gt;
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Cangnan County is one of the nearest administrative units to Japan in China, and Okinawa Prefecture in Japan and Cangnan County are neighbors facing each other across the sea. Furthermore, Cangnan County itself has ports in Xiaguan, Pacao, Yanting, Dayu and other places, and has the basic conditions for conducting small transactions of freights with Okinawa. However, due to the inadequacy policies, laws and regulations, a large portion of Japan’s trade with China, especially with Zhejiang Province, is still conducted in the three port cities, namely Ningbo, Zhoushan, and Hangzhou. Cangnan’s geographical advantages have never been given to full play. To Japan, Cangnan is not a total stranger. Wenzhou City has a great influence upon Japanese culture and history. Special local products such as Wenzhou green tea and Wenzhou satsuma orange are very attractive to Japanese people. Many of the business exchanges during the Kamakura Bakufu in Japan were happened between Hakata merchants and Wenzhou people. As an important subordinate region of Wenzhou City, Cangnan County naturally has left an impression on Japanese people when it comes to China.&lt;br /&gt;
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If Cangnan hopes to lay a foundation for the future cooperation with Japan through its cause of opening up to the outside world, it is of great importance that we study the methods and techniques to make the translation of Cangnan’s official documents to meet the specific context of the Japanese language, which is also a part of the cultural exchanges that will facilitate economic and trade cooperation between Japan and China. The political status of Cangnan County is equivalent to the one of regular cities and special wards in Japan, but this does not mean that the official documents of Cangnan County can be regarded as equivalents to the official documents released by the governments of the regular cities and special wards in Japan, and there are huge differences between their respective official documents in form, wording, Cultural connotation and etc. To better translate Cangnan official documents under the context of Japanese language, the following aspects must be paid attention to:&lt;br /&gt;
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1. Detailed Comparison of Types&lt;br /&gt;
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In the Japanese official document system, the word “公文” is different in meaning from the word “公文” in Chinese official document system. In Chinese “公文” means government official documents, while in Japanese “公文” generally refer to legal documents that have the force of law and the term “公文書” is the one that refers to government official documents, which roughly includes “外交文書” and “起案文”, “通達” , “命令”, “許可”, “通知書” and so on . When translating official documents of Cangnan County into Japanese, attention should be paid to the transformation of the types of the official documents. The classifications of official documents in China and Japan are different from each other.&lt;br /&gt;
For example, when translating documents such as “proposal letter”, “report” and the like into Japanese, the title should be translated as “建言書” and “報告書”, while “命令(order)”, “通知(notice)”, “提案(Proposal)” and etc. need no translation and can be titled with the original characters directly as “命令”, “通知”, “提案”, and can also be further translated into “命令状”, “通知書”, “提案書”. Those reflect the characteristics of the division of the types of the official document system in Japan.&lt;br /&gt;
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2. Careful Consideration of the Translation of Chinese Characters&lt;br /&gt;
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There are a large number of Chinese characters in Japanese. This will for sure be an advantage when translating official documents of Cangnan County into Japanese, however, at the same time, this is also a huge disadvantage. After all, those Chinese characters are Japanized Chinese characters, and their meanings and usages are more or less different from the original ones in Chinese.&lt;br /&gt;
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For example, the expression “设定全县森林防火期(setting the season of forest fire prevention)” in the document 《苍南县应急管理局局长王再忠关于&amp;lt;苍南县人民政府关于做好森林防火期护林防火工作的通告&amp;gt;的政策解读》(“Policy Interpretation Of ‘Notice of Doing Forest Protection and Fire Prevention during the Season of Forest Fire Prevention by the People's Government Of Cangnan County’ by the Director of Cangnan Emergency Management Agency Wang Zaizhong”) in could be translated character by character into Japanese as “全県域森林防火期間設定”. However, expressions such as “野外火源如何管理” cannot be translated in the same way, and must be processed accordingly and translated into Japanese as “野外の火の元が如何に処理すること”. When translating official documents of Cangnan County into Japanese, the translators must reject the preconceived thinking and native Chinese thinking, or it will lead to irreversible misunderstandings and mistakes.&lt;br /&gt;
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3. Mastery of the Equivalence of Semantic Meaning&lt;br /&gt;
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Chinese is an isolating language, in which the grammatical meaning is reflected by the order of words, while Japanese is an agglutinative language, in which auxiliary words and flexible usages of vocabulary are adopted to reflect the grammatical meaning. This requires the translators to have mastery of the equivalence of semantic meanings when translating official documents of Cangnan County into Japanese and try to achieve perfect equivalence in official document translation.&lt;br /&gt;
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For example, there is a expression as “全体公民必须认真贯彻‘以人为本、预防为主、积极扑救、有效消灾’的森林防灭火工作方针，一旦发现森林火灾，要立即向当地人民政府或森林防灭火指挥部办公室报告(all citizens must seriously implement the working policy of forest fire prevention and firefighting ‘people-oriented, prevention-focused, active in firefighting, effective in disaster relief’, once a forest fire is detected, it must be reported to the local people’s government or the forest fire prevention and firefighting headquarters office immediately)” in the document 《苍南县应急管理局局长王再忠关于&amp;lt;苍南县人民政府关于做好森林防火期护林防火工作的通告&amp;gt;的政策解读》(“Policy Interpretation Of ‘Notice of Doing Forest Protection and Fire Prevention during the Season of Forest Fire Prevention by the People's Government Of Cangnan County’ by the Director of Cangnan Emergency Management Agency Wang Zaizhong”). When dealing with long and complex sentences, the translator must be flexible in using translation techniques to decompose the sentences and translate them step by step, focusing on the balance between the form of the sentence and its semantic meaning. Based on this principle, the abovementioned sentence could be translated into Japanese as “人間本位、予防軸化、積極救助、有効消災という森林防火作業方針は全県民が必ず強固に守らなければならない。林に火事が発見された際、直ちに所轄人民政府や森林防火指揮部執務室に報告すること。”&lt;br /&gt;
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There is no doubt that, in terms of four-character idioms, allusions, new words of the era and etc., the translation of official documents of Cangnan County under the context of the Japanese language still has a long way to go, but the part that we should pay most attention to in translation is always the differences in culture between the source language and the target language. Only by keeping this basic point in mind at all times, will there be no huge mistakes being made when translating official documents of Cangnan County into Japanese.&lt;br /&gt;
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==='''Ⅳ. Translation of Official Documents of Cangnan County under the Context of the Korean Language'''===&lt;br /&gt;
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Zhejiang Province and South Korea have laid a good foundation for economic and trade cooperation projects, and a framework that is comprehensive, wide-ranging, and multi-level has been established for Zhejiang-South Korea cooperation. The advantages of the two regions are obviously complementary and the development potential for both sides and in between is huge. In September 2016, the Zhejiang China-Korea (Quzhou) Industrial Cooperation Park was approved as the first batch of “Zhejiang International Industrial Cooperation Parks” in Zhejiang Province. The total planned area is about 3,000 acres and the total planned investment is 12 billion yuan. Represented by the Zhejiang China-Korea Industrial Cooperation Park, a large number of economic and trade cooperation projects has been carried out with South Korea by Zhejiang Province. As an indispensable part of Zhejiang Province, Cangnan County is facing a huge gap in the cultural exchanges and economic cooperation with South Korea. How to elevate the level of Cangnan’s opening up to the outside world and advancing Cangnan’s economic, trade and cultural cooperation with South Korea is a question that is well worth exploring. Although Cangnan is further away from South Korea compared with regions in the north of Zhejiang, geographic location should never be a factor that hindering Cangnan’s economic, trade and cultural cooperation with South Korea. In an era of ever-deepening globalization, it is of great significance that we think about how to develop and promote the economic and trade and cultural cooperation between Cangnan and South Korea.&lt;br /&gt;
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Northern Zhejiang is a key area for economic, trade and cultural cooperation with South Korea. As the south gate of Zhejiang Province, if Cangnan County could open the door of economic, trade and cultural cooperation to South Korea, then this will inevitably bring extraordinary development opportunities to southern Zhejiang and make the pattern of Zhejiang and South Korea’s economic and cultural cooperation more balanced and healthy. The political status of Cangnan County is equivalent to the one of si(city), gu (district), and gun(county) in South Korea. Because of some historical reasons, South Korea is greatly influenced by Chinese culture. From the Three Kingdoms era of Joseon, to the Unified Silla Dynasty, the Wang’s Goryeo Dynasty, and the Yi’s Joseon Dynasty, the basic system of administrative divisions in South Korea is almost the same as the one in China, so the official document system of cities, districts, and counties in South Korea can be regarded as basically equivalent to the official document system of Cangnan County with only slight differences originated from the localized political and cultural traditions and the basic social condition of South Korea. Therefore, there are relatively fewer difficulties of translation when translating official documents of Cangnan County into Korean, aside from the barriers caused by Korean Hangul words. The translation of official documents of Cangnan County under the context Korean language requires attention to the following aspects:&lt;br /&gt;
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1. The Combination of Chinese characters and Hangul&lt;br /&gt;
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Modern Korean uses Hangul as the main written characters, but this does not mean that there is no place for Chinese characters in the Korean system. Since the launch of the abolition of Chinese characters movement in South Korea in the 1970s, Hangul did exactly achieved an overall penetration of every aspect of their daily life, but when it comes to important documents, Chinese characters still reserve a seat in the arena of South Korea’s history. Furthermore, a higher level of talent training is required now to meet the need of South Korea’s economic and social development, and the mastery of sinology has become, among all the necessary skills, one of the most straightforward evaluation criteria to access the qualified personnel. Thus, South Korea has restarted the Chinese character teaching movement. Nowadays, the official document system in South Korea has become one in which Hangul serves as the main language and the mixed use of Chinese characters and Hangul serves as a supplement. Just as how the mixed use of kana and Chinese characters in Japanese official documents may help in its translation, the mixed use of Chinese characters and Hangul also greatly facilitate the translation of official documents of Cangnan County into Korean. However, because Chinese characters used in Korea are composed of traditional Chinese characters and a small number of Korean self-made Chinese characters, we can not take it for granted that it is advisable to translate them word by word.&lt;br /&gt;
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For example, the title of the document《苍干任〔2020〕18号 王再忠等同志的任命》(“Cangnan Cadre Appointment [2020] No. 18: Appointment of Wang Zaizhong and etc.”) (the Office of CPC Cangnan Party Committee on March 27th, 2020) can be translated with the mixed use of Chinese characters and Hangul into Korean as《蒼南縣의 幹部任命〔2020〕18號 王再忠등 同志의任命》. Also, it be translated into Korean with Hangul alone as《참남현의 간부임명〔2020〕18호 왕재충등 동지의임명》.&lt;br /&gt;
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2. The Usage of Refined Language&lt;br /&gt;
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In recent years, South Korea has carried out reforms of the official document system, urging that the South Korean government agencies at all levels should use “refined(or purified) language”, that is, to write and publish official documents with words that are easy for the public to understand and have explicit meanings, reducing the cost of communication between the government and the public and, in this way, building a closer relationship between the government and the people, so that civil servants can communicate with the people more effectively. Refined language is a kind of common vernacular that differs from the official language. Although this trend of the wording of Korean official documents is not unconditional, but when compared with official documents of Cangnan County, which emphasize the solemnity and formality of official documents, this trend is the part that the translator has to pay his attention to.&lt;br /&gt;
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For example, when translating the expression “为加强行政规范性文件管理，切实推进依法行政，加快法治政府建设 (To strengthen the management of administrative normative documents, promote the administration in accordance with law, and accelerate the construction of a government ruled by law)” in the document《苍南县人民政府关于公布县政府及县政府办公室行政规范性文件清理结果的通知（有效）》(“Notice of the Office of the People's Government of Cangnan County on the Announcement of the Results of the Cleanup of the Administrative Normative Documents of the County Government and the County Government Offices (Effective)”) (the Office of the People's Government of Cangnan County on October 23th, 2020) , blunt expressions may not be that applicable and this expression translated into Korean in a more public-friendly way as “행정 규범적인 문서관리를 강화하기 위해, 법에따라 행정을 철저히 추진하고 법치정부의 건설을 가속화시킨다.”&lt;br /&gt;
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3. Mastery of the Equivalence of Semantic Meaning&lt;br /&gt;
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Like Japanese, Korean is also a typical agglutinative language. A sentence is formed by connecting independent words with various auxiliary words, and with a subordinating conjunction at the end of the sentence. Auxiliary words are just like glues, they exist after every subject, predicate, and object component of a Korean sentence to them together. For that these auxiliary words have no substantial meaning themselves, they must stay close to the main body in front, and a space must be put after. Therefore, when translating Chinese, which is an isolated language, into Korean, which is an agglutinative language, it is necessary to have mastery of the equivalence of the semantic meaning of the expression.&lt;br /&gt;
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For example, when translating the expression “全面实施全民参保计划，做好参保情况清查，提升参保信息质量，清理重复参保，稳定持续参保，减少漏保断保，实现应保尽保。(Fully implement the national social security plan, do a good job in checking the coverage of the social security, improve the quality of the collection of the information of the insured, clean up repeated insureds, stabilize the renewal of the social security, reduce the interruption of the social security, and achieve full social security coverage.)” in the document《关于做好2021年度城乡居民基本医疗保障工作的通知》(“Notice on Doing a Good Job in Basic Medical Security for Urban and Rural Residents in 2021”)( the Office of Medical Security Bureau of Cangnan County on November 5th, 2020), the translator should pay attention to the equivalence of semantic meaning of this long sentence and translated it into Korean as “전국민기본의료보험가입계획을 전면적으로 실시하고 기본의료보험가입상황을 철저히 조사하며 기본의료보험가입 정보의 질을 향상시키고 중복기본의료보험가입을 청산하며 안정적이고 지속적인 기본의료보험가입을 하며 보험누락을 줄이고 기본의료보험가입 을 실현해야 한다.”&lt;br /&gt;
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==='''Ⅴ. Studies of Official Document Translation and the Cause of Opening-up in Cangnan County'''===&lt;br /&gt;
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Based on the abovementioned basic characteristics of the official document system of Cangnan County, the notes for official documents translation under the context of the Japanese language and the notes for official documents translation under the context of the Korean language, we can see that official documents of Cangnan County is not as difficult to handle as something untranslatable. Cangnan County enjoys a good geographic location: it is located in the coast of the East China Sea, and is close to both Japan and South Korea, two strong economies in East Asia. However, Cangnan County has not yet made use of these favorable conditions to the fullest to promote cultural cooperation and trade with the two countries. Cangnan’s opening up to the outside world requires innovative thinking and an elaborate layout. Studies on the translation of official documents of Cangnan County, especially the translation of official documents under the context of the Japanese and Korean language, will help to explore the cultural spirit of the government institutions, and play an important role in building a good image of Cangnan County in East Asia and laying a foundation for Cangnan's cooperation with major countries and regions in East Asia .&lt;br /&gt;
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The world today is undergoing profound changes rarely in a century, and so is China. The tide of history moves on and Cangnan shall not stay out of the matter, but must follow it courageously and strive to open new doors for Cangnan's opening up to the outside world through the study of the official document translation of its own.&lt;br /&gt;
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===References===&lt;br /&gt;
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[5]周萱. 《中国共产党怎样解决民族问题》（节选）中韩翻译报告[D].青岛大学,2017.&lt;br /&gt;
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[6]张利军. 《教学的游戏性研究》的汉日翻译实践报告[D].广西师范大学,2019.&lt;br /&gt;
&lt;br /&gt;
[7]栾亚琼. 《2015年山东省政府工作报告》汉日翻译实践报告[D].曲阜师范大学,2016.&lt;br /&gt;
&lt;br /&gt;
[8]占丽华. 源流与演变—日本地方公文书馆发展路径研究[D].山东大学,2020.&lt;br /&gt;
&lt;br /&gt;
[9]任清萍. 功能翻译理论视角下政府工作报告日译研究[D].外交学院,2020.&lt;br /&gt;
&lt;br /&gt;
[10]孙慧. 产业竞争力与区域经济增长[D].苏州大学,2006.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
--[[User:Wu Kai|Wu Kai]] ([[User talk:Wu Kai|talk]]) 04:45, 2 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
==The Translation Process and Methods of Translating English Long Sentences	周艺文	Zhou Yiwen==&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
===Abstract===&lt;br /&gt;
===Key words===&lt;br /&gt;
===摘要===&lt;br /&gt;
===关键词===&lt;br /&gt;
===Introduction===&lt;br /&gt;
&lt;br /&gt;
===Conclusion===&lt;br /&gt;
===Bibliography===&lt;br /&gt;
&lt;br /&gt;
==Chinese-English Translation of News Headlines From the Perspective of Skopos Theory	张维虹	Zhang Weihong==&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
==='''Abstract'''===&lt;br /&gt;
&lt;br /&gt;
==='''key words'''===&lt;br /&gt;
&lt;br /&gt;
News headlines; Skopos theory; translation&lt;br /&gt;
&lt;br /&gt;
==='''摘要'''===&lt;br /&gt;
社会的飞速发展使得人们的阅读方式发生了巨大的改变, 通过阅 读新闻标题来获取消息和了解事实, 成为大多数人的不二之选, 新闻标题 翻译也就越来越具有其必要性。 新闻标题的重要性堪比一部使人印象深刻 的电影名, 一则响亮的广告语, 一本撩人心弦的书名。 较之娱乐新闻, 时 政新闻略显严肃客观, 又因当今科技物质的飞速发展, 时政新闻的点阅数 量明显少于以消遣娱乐为目的的娱乐新闻。 怎样提高时政新闻的阅读量, 怎样使得时政新闻如同娱乐新闻一般深受广大人民的喜爱, 这不仅是新闻 编辑者们的挑战, 也是新闻翻译界的难题。 本文以德国功能派翻译目的论 为理论指导, 结合新闻学及编辑学的相关学科知识, 通过对中英时政新闻 标题的对比分析, 旨在对时政新闻标题的汉译英提出翻译策略, 让国外读者正确客观无误的了解中国的时事政策。&lt;br /&gt;
&lt;br /&gt;
==='''关键字'''===&lt;br /&gt;
&lt;br /&gt;
===Introduction===&lt;br /&gt;
&lt;br /&gt;
===Skopos Theory===&lt;br /&gt;
&lt;br /&gt;
===Features of News Headlines===&lt;br /&gt;
&lt;br /&gt;
===Chinese-English Translation Methods of News Headlines from the Skopos Perspective===&lt;br /&gt;
&lt;br /&gt;
===Conclusion===&lt;br /&gt;
&lt;br /&gt;
===Bibliography===&lt;/div&gt;</summary>
		<author><name>Song Jianru</name></author>
	</entry>
	<entry>
		<id>https://bou.de/u/index.php?title=History_of_Translation_Studies_8&amp;diff=107903</id>
		<title>History of Translation Studies 8</title>
		<link rel="alternate" type="text/html" href="https://bou.de/u/index.php?title=History_of_Translation_Studies_8&amp;diff=107903"/>
		<updated>2020-12-06T14:24:14Z</updated>

		<summary type="html">&lt;p&gt;Song Jianru: /* On the Chinese Translation of A Pale View of Hills from House’s Translation Quality Assessment Model	宋建茹	Song Jianru */&lt;/p&gt;
&lt;hr /&gt;
&lt;div&gt;这里是《翻译学史》的书稿第八部分(Part 8)。麻烦各位同学看一下已经存在的章回（样品），自己再加进去新的一个章回（就是你们的学期论文）。请也帮助同学们把他们的论文改正。这样多次修改，大家的论文会越来越好。&lt;br /&gt;
&lt;br /&gt;
学期论文（结合学期所学，撰写一篇5000以上单词的英文论文，按照专业杂志的格式，题目、摘要、关键词和参考文摘需要英中，文章英）。学期论文成绩占70%，平时成绩（含课堂表现、展示及作业）占30%。&lt;br /&gt;
&lt;br /&gt;
*Link back to course homepage: [https://bou.de/u/wiki/Introduction_to_Translation_Studies Course Homepage Intro. to TS]&lt;br /&gt;
*Link back to the final exam paper section of the course homepage: [https://bou.de/u/wiki/Introduction_to_Translation_Studies#Final_Exam_Papers Final Exam Papers]&lt;br /&gt;
*Link to other parts of the final exam papers: [https://bou.de/u/index.php?title=History_of_Translation_Studies_1 Final Exam Papers Part 1]&lt;br /&gt;
*Link to other parts of the final exam papers: [https://bou.de/u/index.php?title=History_of_Translation_Studies_2 Final Exam Papers Part 2]&lt;br /&gt;
*Link to other parts of the final exam papers: [https://bou.de/u/index.php?title=History_of_Translation_Studies_3 Final Exam Papers Part 3]&lt;br /&gt;
*Link to other parts of the final exam papers: [https://bou.de/u/index.php?title=History_of_Translation_Studies_4 Final Exam Papers Part 4]&lt;br /&gt;
*Link to other parts of the final exam papers: [https://bou.de/u/index.php?title=History_of_Translation_Studies_5 Final Exam Papers Part 5]&lt;br /&gt;
*Link to other parts of the final exam papers: [https://bou.de/u/index.php?title=History_of_Translation_Studies_6 Final Exam Papers Part 6]&lt;br /&gt;
*Link to other parts of the final exam papers: [https://bou.de/u/index.php?title=History_of_Translation_Studies_7 Final Exam Papers Part 7]&lt;br /&gt;
*Link to other parts of the final exam papers: [https://bou.de/u/index.php?title=History_of_Translation_Studies_8 Final Exam Papers Part 8]&lt;br /&gt;
*Link to other parts of the final exam papers: [https://bou.de/u/index.php?title=History_of_Translation_Studies_9 Final Exam Papers Part 9]&lt;br /&gt;
*Link to other parts of the final exam papers: [https://bou.de/u/index.php?title=History_of_Translation_Studies_10 Final Exam Papers Part 10]&lt;br /&gt;
&lt;br /&gt;
='''History of Translation'''=&lt;br /&gt;
== Study on Brand Name Translation from the Perspective of Cultural Difference	谭鑫洁	Tan Xinjie==&lt;br /&gt;
&lt;br /&gt;
==='''Abstract'''===&lt;br /&gt;
&lt;br /&gt;
== Abstract: ==&lt;br /&gt;
&lt;br /&gt;
==='''key words'''===&lt;br /&gt;
&lt;br /&gt;
==='''摘要'''===&lt;br /&gt;
&lt;br /&gt;
==='''关键字'''===&lt;br /&gt;
&lt;br /&gt;
===Complete transcript of the content of the original work ===&lt;br /&gt;
&lt;br /&gt;
===Same style and manner of writing===&lt;br /&gt;
&lt;br /&gt;
===Equivalent effect===&lt;br /&gt;
&lt;br /&gt;
===Discussion===&lt;br /&gt;
&lt;br /&gt;
===Conclusion===&lt;br /&gt;
&lt;br /&gt;
===Bibliography===&lt;br /&gt;
&lt;br /&gt;
==A Comparative Study on the Translation History in Western Countries and China	王煜	Wang Yu==&lt;br /&gt;
===摘要===&lt;br /&gt;
翻译是一种跨文化交流活动，翻译活动加快了人类文明发展步伐，减少了人们之间的沟通障碍。随着时代的变迁，中国和西方国家逐渐形成了各自的翻译史，翻译史的研究是学科建设的一项基础工程。尽管中西方翻译史在某些方面有所差异，但却都有着各自的独特性，并对人类的翻译活动产生了巨大的影响与贡献。文章将以中国和西方国家为主要对象，从二者翻译史起始，包含阶段和各阶段代表人物，影响意义，差异性出发，对二者的翻译史进行简略的对比研究。&lt;br /&gt;
&lt;br /&gt;
===关键词===&lt;br /&gt;
翻译史；西方翻译史；中国翻译史&lt;br /&gt;
&lt;br /&gt;
===Abstract===&lt;br /&gt;
Translation is an intercultural communication activity, translation activities have accelerated the development of human civilization and reduced the communication barriers between people of different countries or nations. With time goes by, things are in a state of flux and both the western and eastern countries have gradually formed their own history of translation, the study of translation history is a basic project of discipline construction. Though there are many differences among the translation histories of western countries and China, the two kinds of translation histories are still shining their own bright unique lights and have an indelible influence and contribution to human translation activities. This paper intends to make a brief comparison of translation histories between western countries and China, which includes the origins, the stages, the representatives of the stages, the significance and influence as well as the differences of the two translation histories.&lt;br /&gt;
&lt;br /&gt;
===Keywords===&lt;br /&gt;
Translation history; Translation history of the West; Translation history of China &lt;br /&gt;
&lt;br /&gt;
===1. Introduction===&lt;br /&gt;
No matter in China or in the west, translation plays an important role in knowledge-spreading. As an indispensable part of translatology, the study of translation history has made a great influence on translation activities, it has gradually become the focus of the literary and historical circles in recent years. Translation activities can be traced back to the origin of language, and the history of translation is almost as old as language itself, it is closely related to the changes in today's society. Since the 1980s, the translation studies in the mainland of China have made remarkable progress in the curriculum design of Chinese and western translation history and the compilation of related works. In the early 1980s and 1990s, there were many related works came out one after another including A brief history of Chinese Translation: the part before the May 4th Movement（《中国翻译简史-“五四”运动以前部分》） written by Zuyi Ma, A historical manuscript of Chinese translated literature （《中国翻译文学史稿》）edited by Yugang Chen, and also the A Short History of Translation in the West（《西方翻译简史》） the author of which is Zaixi Tan. Thus, it opens the gate for the compilation of Chinese and western translation history works.（谢天振，2009） The history of western translation can be divided into five stages while the Chinese study of translation has a glorious history of more than two thousand years and has experienced five climaxes. Through the comparative study of Chinese and western translation history, it will help us to have a deeper understanding of Chinese and western translation activities and thus to gather a general full view of it, which will be a positive and meaningful attempt.&lt;br /&gt;
&lt;br /&gt;
2. The Translation History of Western Countries&lt;br /&gt;
Western translation activities are rich in a long history and a multiyear span. The history of western translation can be roughly divided into three stages: the traditional stage, the modern times and the contemporary. More specifically, it can be grouped into the ancient times, the middle ages, the Renaissance period and the time after WWⅡ.&lt;br /&gt;
&lt;br /&gt;
2.1 The First Stage: Translation in the Ancient Times&lt;br /&gt;
    &lt;br /&gt;
The translation history of western countries first began in the the 3rd century B.C. &amp;quot;In a broad sense, the earliest translation in the west is the Old Testament translated by 72 Jewish scholars in Alexandria, ancient Egypt, between the 3rd and 2nd centuries BC; Strictly speaking, the first western translation is the Greek Homer Epic Odyssey translated by Andronicus in Rome in the middle of the third century BC.”(谭载喜,2000) At the end of the 4th BC, during this time, the Greece began to decay and the Roman had became stronger and stronger with its military expansion. The expansion of the Roman Empire brought it into contact with the splendid Greek culture, therefore, the Romans not only conquered the Greek city, but also inherited and developed the brilliant achievements of ancient Greek culture, and then created a  splendid cultural of its own era after Greece. So soon began a large scale translation activities, the activity of translating and introducing Greek classical works probably began in this period.（刘军平,2009）Many famous translation theorists began to make their presences, namely Cicero, Quentin, Jerome and so on, also the famous Roman litterateurs like Andronicus, Naevius, Ennius, these great writers used Latin language to translate or adapt Homer’s epic or other Greece dramas. Started the translation tradition and promoted the birth and development of Roman literature.&lt;br /&gt;
&lt;br /&gt;
2.2 The Second Stage: Translation in the Middle Ages (4th-6th)&lt;br /&gt;
&lt;br /&gt;
2.3 The Third Stage: Translation in the Middle Ages (11th-12th)&lt;br /&gt;
&lt;br /&gt;
2.4 The Fourth Stage: Translation in the Renaissance Period&lt;br /&gt;
&lt;br /&gt;
2.5 The Fifth Stage: Translation after WWⅡ&lt;br /&gt;
&lt;br /&gt;
3. The Translation History of China--[[User:Wang Yu|Wang Yu]] ([[User talk:Wang Yu|talk]]) 08:38, 30 November 2020 (UTC)--[[User:Wang Yu|Wang Yu]] ([[User talk:Wang Yu|talk]]) 08:43, 30 November 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
==The Implications of Luther's Translation Principles amid Renaissance for Modern Literature Translation	方洁玲	Fang Jieling==&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
==Translation manipulated by ideology	许静	Xu Jing==&lt;br /&gt;
&lt;br /&gt;
==Comparison between the History of Chinese and Western Translation   周书尧   Zhou Shuyao==&lt;br /&gt;
&lt;br /&gt;
'''Abstract:'''There has a long history and culture Chinese and Western translation, and translation plays an indelible role in promoting cross-cultural communication and cultural communication. This article first discusses the history of translation in China from  four stages , then discusses the five stages of western translation history , and finally compares and analyzes the similarities and differences between Chinese and Western translation histories, and puts forward some of the author's own views.&lt;br /&gt;
&lt;br /&gt;
'''Key words:'''The history of Chinese,The history of Western,the stages of  translation history,comparison&lt;br /&gt;
&lt;br /&gt;
'''摘要：'''中西方翻译历史文化源远流长，翻译在促进跨文化交流和文化传播上承担着不可磨灭的作用。本文首先从中国的四次翻译高潮论述中国的翻译史，再从西方的五次翻译高潮探讨西方的翻译史，最后对中西方翻译史的异同进行对比分析，提出一些笔者自己的看法。&lt;br /&gt;
&lt;br /&gt;
'''关键词：'''中国翻译史，西方翻译史，翻译高潮，对比&lt;br /&gt;
&lt;br /&gt;
'''Ⅰ.Introduction'''&lt;br /&gt;
&lt;br /&gt;
Since the 1980s, the Chinese translation studies community has made remarkable progress in the establishment of Chinese and Western translation history courses and the compilation of related works.In the 1980s and early 1990s,A Brief Introduction to the History of Translation in China from Ma Zuyi and other books of Chen Yugang and Tan Zaixi were published one after another,which raised the curtain for the compilation of Chinese and Western translation history works by the domestic translation scholars.The four stages in the history of Chinese translation have promoted the development of Chinese history, culture and society to varying degrees.The same as our country, Western translation has an age-old history.In a sense, the development of Western European civilization should first be attributed to the translators.The five stages in the history of European translation have promoted the exchanges of literature, art, science and trade between countries, and to a certain extent promoted the development of Chinese translation.In fact, when we examine the development trajectory of Chinese and Western translation activities and the evolution of translation concepts together, we find that there are some similarities between Chinese translation and Western translation.Especially in the evolution of Chinese and Western translation concepts, the two have very similar evolution laws.&lt;br /&gt;
&lt;br /&gt;
='''Literal and Free Translation'''=&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
==Rethink Literal and Free Translation	彭永亮	Peng Yongliang==&lt;br /&gt;
&lt;br /&gt;
==On the Chinese Translation of A Pale View of Hills from House’s Translation Quality Assessment Model	宋建茹	Song Jianru==&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
== Abstract ==&lt;br /&gt;
&lt;br /&gt;
Translation quality assessment is an integral part of translation criticism. The first TQA model with comprehensive theories and practices Juliane House represented provides a significant reference for translation exercises. ''A Pale View of Hills'', as the first work of Kazuo Ishiguro, possesses a great research value on its narrative styles by virtue of memory and topics about migrants. As of 2011 when its Chinese translation was published, no scholar has evaluated it. This study applies House’s TQA model to assess the Chinese translation of ''A Pale View of Hills'' with qualitative and quantitative analysis from lexical, syntactic and textual aspects, in a bid to examine validity of the model on novel translation, which turns out that it is an overt and high-quality translation.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
== Key Words ==&lt;br /&gt;
&lt;br /&gt;
''A Pale View of Hills''; House’s TQA model; novel translation&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
== 摘 要 ==&lt;br /&gt;
&lt;br /&gt;
翻译质量评估是翻译批评的核心课题。朱莉安·豪斯提出的第一个有完整的理论和实践的翻译质量评估模式，为翻译实践提供了重要参考。《远山淡影》是石黑一雄的处女作，其依托回忆的叙事风格和移民主题具有很高的研究价值。《远山淡影》中译本自2011年出版至今，尚未有学者对其进行评估研究。本文运用豪斯的翻译质量评估模式，采用定性与定量相结合的分析方式，从语场、语旨、语式等三个层面对原文和译文进行分析，开展《远山淡影》中译本的翻译质量评估研究，为豪斯翻译质量评估模式对小说翻译的运用进行进一步的探索和补充。通过分析，得出《远山淡影》中译本为显性翻译，翻译质量较高。&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
== 关键词 ==&lt;br /&gt;
&lt;br /&gt;
《远山淡影》；豪斯质量评估模式；小说翻译&lt;br /&gt;
&lt;br /&gt;
==On the Relationship among Literal Translation, Free Translation, Domestication and Foreignization	韦洪朗	Wei Honglang==&lt;br /&gt;
&lt;br /&gt;
==On Chinese-to-English Translation of The Summer Palace from the Perspective of Functionalist Approaches to Translation	魏亚菲	Wei Yafei==&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
===Abstract===&lt;br /&gt;
Abstract&lt;br /&gt;
The Chinese-English translation of tourist texts, as a window for the external publicity of national history and culture, plays an important role in promoting the development of local tourism. The Summer Palace is well known for its large and priceless collection of cultural relics, which is among the first group of historical and cultural heritage sites in China to be placed under special state protection. &lt;br /&gt;
Based on the functionalist approach and the skopos rule, this paper discusses the problems existing in the translation of scenic spots in the Summer Palace from the perspectives of garden culture, historical culture and religious culture. Skopos theory holds that translation depends on communicative purpose. To achieve this goal, translators can choose different translation strategies. It is believed that the purpose of Chinese-English translation of scenic spots is to attract target readers and promote traditional culture. Therefore, when translating tourism materials, it is necessary not only to express the local cultural connotation, but also to consider the cross-cultural factors. The Chinese-English translation of the introduction of scenic spots guided by functionalist approach can make English readers have expectations of scenic spots and understand the cultural connotation of scenic spots. This paper aims to better promote the development and communication of Chinese culture and improve the level of tourism text translation in China by relying on the theory of functionalist approach.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
===Key words===&lt;br /&gt;
Key Words: functionalist approach，the Summer Palace，translation strategies&lt;br /&gt;
&lt;br /&gt;
===摘要===&lt;br /&gt;
摘 要&lt;br /&gt;
旅游资料的英译作为民族历史文化对外宣传的一道窗口,对地方旅游业的发展有着不可低估的促进作用。颐和园作为中国著名的皇家园林，具有浓厚的中国园林特色及优美的风景，同时也蕴涵着深厚文化内涵。&lt;br /&gt;
本篇旅游文本英译的分析以功能派翻译理论作为理论指导，以目的法则为主要原则，从颐和园的园林文化、历史文化和宗教文化三个角度出发对颐和园景点英译中存在的问题进行探讨。目的论认为译文取决于翻译目的，这个目的通常指的是交际目的。为达到这个目的，译者可以选择不同的翻译策略。也就是说，译者的翻译策略必须由译文的预期目的或功能决定，即所谓的“目的法则”。笔者认为景点介绍的汉英翻译的目的就是吸引译文读者以及弘扬传统文化，因此在翻译旅游资料的时候不仅要把当地的文化内涵表达出来，而且要考虑到跨文化的因素。而以功能派翻译理论为指导的景点介绍的汉英翻译，可以使英语读者通过译文产生对旅游景点的期盼，以及对景点文化内涵的理解。以颐和园景区内的翻译文本为例本，依托功能翻译理论，通过“发现问题，指出问题，解决问题”，以期更好地促进中国文化的传播与交流，提高我国现阶段旅游文本翻译的水平。&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
===关键字===&lt;br /&gt;
关键词：功能翻译；颐和园；翻译目的；翻译策略&lt;br /&gt;
&lt;br /&gt;
===Introduction===&lt;br /&gt;
  Throughout the translation history at home and abroad, the literal translation and free translation have always been a heat discussion in the translation circles. Someone absolutely approve literal translation and demean free translation, even pursue a dead translation, which creates an translated text difficult to understand. While some other people absolutely agree with free translation even advocate random acts, which means a random deletion in the translation practices and creates anther entirely different text. However, there are also a number of translators who have recognized that these two translation methods are not totally opposite. So they adopt a compromise and flexible way. That means they will choose the most appropriate one depending on the text demanding. Therefore, we can deduce from it that this eclectic translation is consistent with the Contradiction view of Unity of Opposite in Materialist Dialectics. In fact, literal translation and free translation are right a set of contradictions which are both opposite and unified. They complement each other into an integral one.&lt;br /&gt;
&lt;br /&gt;
===Table of Contents===&lt;br /&gt;
&lt;br /&gt;
Table of Contents&lt;br /&gt;
&lt;br /&gt;
Outline&lt;br /&gt;
1.Introduction&lt;br /&gt;
2. Studies on Functionalist Approach&lt;br /&gt;
2.1 The Viewpoint of Functionalist Approach&lt;br /&gt;
2.1.1 Reiss’s Text Typology&lt;br /&gt;
2.1.2 Vermeer’s Skopos Theory&lt;br /&gt;
2.1.3 Manttari’s Theory of Translational Action&lt;br /&gt;
2.1.4 Nord’s Theory of Function plus Loyalty&lt;br /&gt;
2.2 The Application of Functionalist Approach &lt;br /&gt;
3.C-E Translation of the Summer Palace under Functionalist Approach&lt;br /&gt;
3.1 Garden Culture&lt;br /&gt;
3.2 Historical Culture &lt;br /&gt;
3.3 Religious Culture &lt;br /&gt;
4. Conclusion&lt;br /&gt;
References&lt;br /&gt;
&lt;br /&gt;
===Outline===&lt;br /&gt;
Outline&lt;br /&gt;
&lt;br /&gt;
Thesis Statement: Based on the main viewpoints of functionalist approaches to translation, this paper aims to give an analysis to C-E translation of the Summer Palace from cultural, historical and religious aspects, hoping to provide some translation strategies for other cultural attractions.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
1. Introduction&lt;br /&gt;
2. Studies on Functionalist Approaches&lt;br /&gt;
2.1 The Viewpoint of Functionalist Approach&lt;br /&gt;
2.1 Reiss’s Text Typology&lt;br /&gt;
2.2 Vermeer’s Skopos Theory&lt;br /&gt;
2.3 Manttari’s Theory of Translational Action&lt;br /&gt;
2.4 Nord’s Theory of Function plus Loyalty&lt;br /&gt;
2.2 The Application of Functionalist Approach&lt;br /&gt;
3. C-E Translation of the Summer Palace under Functionalist Approach&lt;br /&gt;
3.1 Garden Culture&lt;br /&gt;
3.2 Historical Culture&lt;br /&gt;
3.3 Religious Culture&lt;br /&gt;
4. Conclusion&lt;br /&gt;
&lt;br /&gt;
===1. Introduction ===&lt;br /&gt;
1. Introduction   &lt;br /&gt;
The Chinese-English translation of tourist texts is a bridge to spread the culture of classical Chinese gardens, so the accuracy of it has a direct impact on foreigners' understanding of the specific history and culture. &lt;br /&gt;
Functionalist approach has made a pioneering contribution to the translation of non-literary genres. Functional translation theory emphasizes the function of discourse, and believes that different types of discourse have different functions, so translators should choose appropriate translation strategies according to the type of source text and corresponding functions. Functionalist approach is to take the &amp;quot;skopos rule&amp;quot; as the highest standard, and any translation activity is a purposeful behavior. The ultimate goal and main function of scenic spot translation is to help people understand the main content of the scenic spot.&lt;br /&gt;
As a window for the publicity of national history and culture, the Chinese-to-English translation of tourist texts plays an important role in promoting the development of local tourism. Well known for its large and priceless collection of cultural relics, the Summer Palace was among the first group of historical and cultural heritage sites in China to be placed under special state protection. Based on the viewpoints of functionalist approach to translation, this paper aims to analyze C-E translation of the Summer Palace from cultural, historical and religious aspects, hoping to provide some translation strategies for other cultural attractions. &lt;br /&gt;
&lt;br /&gt;
===2. Studies on Functionalist Approaches===&lt;br /&gt;
2. Studies on Functionalist Approaches&lt;br /&gt;
Functionalism is a theory that advocates reader-centered translation, emphasizing the functions of texts and highlighting the communicative effects. It is believed that many unnecessary mistakes can be avoided and better results can be achieved by applying functionalist approach in Chinese-English translation of tourist text. &lt;br /&gt;
&lt;br /&gt;
===2.1 The Viewpoint of Functionalist Approaches===&lt;br /&gt;
2.1 The Viewpoint of Functionalist Approaches&lt;br /&gt;
Functionalist Translation Theory, also known as German Functionalist Translation Theory, was proposed by German scholars in the 1970s. It includes four main theories: Katharina Reiss’s Text Typology, Hans Vermeer’s Skopos Theory, Justa Holtz Manttari’s Theory of Translational Action and Christiane Nord’s Theory of Function plus Loyalty. This chapter aims to present the main ideas of this theory.&lt;br /&gt;
&lt;br /&gt;
===2.1.1 Reiss’s Text Typology===&lt;br /&gt;
2.1.1 Reiss’s Text Typology&lt;br /&gt;
In 1971, Reiss in her book Possibilities and Limitation of Translation Criticism first made text function as a standard of translation criticism, namelyevaluate the translated text from the relationship between the functions of the original and the translated text. She insists on the original-centered equivalence theory and holds the view that the ideal translation is to achieve the equivalence between the target text and the source text in terms of ideological content, linguistic form and communicative function. However, translation practice makes her realize that it’s difficult to achieve equivalence sometimes and that sometimes equivalence cannot be pursued. Because of the particularity of translation requirements, the function of the target text is not always the same as that of the source text. Therefore, the translator should give priority to the functional role of the target text rather than the principle of equivalence.&lt;br /&gt;
Reiss believes that in the normal situation the type of text decides the translator’s choice of a proper translation method (Reiss, 2004). Therefore, she divides text into four types: content-focused text, form-focused text, appeal-focused text and audio-media text. Content-focused text, also known as informative text, includes news reports, commercial correspondence, operating instructions, official documents, patent&lt;br /&gt;
specifications, essays, treaties, etc. For this text, the main function is to convey information revealed in language itself to readers. The emphasis is on content and topic, so the choice of language and style should serve this function. If both the source text and target text belong to informative text, the translator should represent the content and information of source text accurately and completely (Reiss, 2004)&lt;br /&gt;
Form-focused text, also known as expressive text, refers to literary works such as novels, poems and so on. “Distinct from ‘content’, which deals with what the author says, ‘form’ is concerned with how an author expresses himself” (Reiss, 2004). For expressive texts, information is only a supplement. What is dominant is the aesthetic factor. When translating such texts, the translator should pay attention to the aesthetic and artistic forms of the original text and to the differences between two cultural habits, trying to achieve the same effect as the source text. In a word, in a form-focused text the linguistic form of the source text determines the form in the target language (Reiss, 2004).&lt;br /&gt;
Appeal-focused text, also known as operative text, mainly includes notice, instruction manual, advertisement, publicity manual and so on. For operative texts, the primary task for the translator is to provoke a particular reaction on the hearers or readers to incite them to engage in specific actions, while content and form are subordinate. Therefore, to achieve the same effect, the translator need to change the content and stylistic features of the original text, try to keep the potential influential factors of the original text and seek functional equivalence (Reiss, 2004: 38-43). Audio-medial text, also known as multi-media text, refers to radio and television scripts, such as radio newscasts and reports, topical surveys and dramatic productions.&lt;br /&gt;
It is distinctive in its dependence on non-linguistic media and on graphic, acoustic, and visual kinds of expression. Only in combination with them can the whole complex literary form realize its full potential (Reiss, 2004). In conclusion, different texts determine different translation focuses and methods. In many cases, however, a text may have more than one function, which means that translators should integrate different translation strategies skillfully to achieve different functions of texts.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
===2.1.2 Vermeer’s Skopos Theory===&lt;br /&gt;
2.1.2 Vermeer’s Skopos Theory&lt;br /&gt;
Reiss’s student Vermeer, who broke the limitation of the theory of equivalent and took skopos to be the first criterion of translation process  proposed the key theory: Skopostheorie. According to Skopos Theory, when translating a text, the translator needs to consider the purpose of translation first and then choose the translation method according to the purpose, which means “the end justifies the means” (Nord, 2001). Vermeer believes that translation, like other human actions, is also a purposeful act. Translation often takes place in cultural backgrounds with different customs and values, so translation is not a simple equivalent transformation between languages. Skopos Theory does not focus on achieving the equivalence between the target text and the original text or the perfection of the target text, but on choosing the best translation strategy based on the analysis of the source text and the intended function of the target text. In a word, translation methods and strategies are determined by the intended purpose or function of the target text.&lt;br /&gt;
According to Skopos Theory, the first rule that all translators must follow is the Skopos Rule. Translation purpose can be divided into three categories: (1) the purpose of the translator, such as earning a living; (2) the communicative purpose of the translation, such as instructing the reader; (3) the purpose of using a particular translation method, such as the literal translation according to its structure to illustrate the peculiarities of grammatical structure in a language (Nord, 2001). In general, the communicative purpose is more important than the other two. The communicative purpose is usually determined by the initiator of the translation act, but the translator can take part in deciding. The second rule is the Coherence Rule. Coherence Rule requires that the translation conform to the criterion of intratextual coherence, which means that the translation must be accessible to recipients and meaningful in the target culture and in the communicative environment (Nord, 2001). The third rule is the Fidelity Rule. It means that there should be intertextual coherence between the source text and the target text, which means being faithful to the source text. Nevertheless, the degree and form of faithfulness lie in the target text and the degree that the translator understands the original text. Normally “Intertexual coherence is considered subordinate to intratexual coherence and both are subordinate to the Skopos rule” (Nord, 2001).&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
===2.1.3 Manttari’s Theory of Translational Action===&lt;br /&gt;
2.1.3 Manttari’s Theory of Translational Action&lt;br /&gt;
Following Vermeer, Manttari develops Vermeer’s Skopos Theory and puts forward the Theory of Translational Action. He emphasizes three aspects: the behavior of the translation process, the role of the participants (the initiator, the translator and the target reader, etc.) and the environment (time, place and media) in which the translation process takes places. It views translation as “purpose-driven, outcome-oriented human interaction and construes the process of translation as message-transmitter compounds that involve intercultural transfer” (Mundy, 2001). According to Manttari, translation is “ a complex act to achieve a particular purpose” &lt;br /&gt;
(Nord, 2001). It is not about translating words, sentences or texts but is about guiding the intended cooperation over cultural barriers and promoting functional communication. Cooperation here means “transcultural communication” by Manttari.&lt;br /&gt;
The Theory of Translational Action attaches great importance to providing a functional communicative text for the recipient, a text suitable for the target culture in&lt;br /&gt;
form and style. Functional suitability is determined by the translator. The translator is&lt;br /&gt;
an expert in translation, whose role is to ensure the successful completion of cultural&lt;br /&gt;
transformation. In producing the target text, the analysis of the source text is necessary so that the translator can find out its structural and functional characteristics, which can be described by content and form. The need of the recipient is the decisive&lt;br /&gt;
factor for the target text.&lt;br /&gt;
In short, “the value of Manttari’s work is the placing of translation (or at least the professional non-literary translation which she describes) within its sociocultural&lt;br /&gt;
context, including the interplay between the translator and the initiating institution”&lt;br /&gt;
(Mundy, 2001).&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
===2.1.4 Nord’s Theory of Function plus Loyalty===&lt;br /&gt;
2.1.4 Nord’s Theory of Function plus Loyalty&lt;br /&gt;
Though skopos rule changes the focus of translation from the source language text to the target language text and the target receivers, it has some limitations. One is that different readers have different expectations, and the translation purpose cannot satisfy all the expectations of the target reader. Another is that the translation purpose may sometimes be against the intention of the source language. Therefore, based on the skopos rule, Nord introduces the loyalty principle. The principle of loyalty is a supplementary principle proposed by Nord to make up for the deficiency of skopos rule. According to the explanation of Nord, it is not the relationship between the original text and the target text, nor the equivalence between the original text and the form of the target text, but the consistency between the author of the original text, the initiator of the translation, the translator and the reader of the target text, which is the principle of loyalty. The proposal of the loyalty principle makes up for the mistakes that some radical skopos translators usually make, such as omitting and rewriting, which makes skopos theory more perfect and makes skopos theory more likely to guide the translation of literary works.&lt;br /&gt;
“Function” and “loyalty” are two pillars of Nord’s functionalist approach. “Function” refers to what a text means or is intended to mean from the receiver’s point of view”, while “loyalty” means that “target-text purpose should be compatible with the original author’s intention” (Nord,2001). It emphasizes the interpersonal relationship between the translator, the source-text sender, the target-text addresses and the initiator. Function plus loyalty enables the translator to avoid the limitations of skopos rule and try to achieve a balance between translation purpose and the source-text author’s intention”(Nord,2001). That is to say, when translating the original text, the translator should take into account the readers' cultural background, knowledge level and expectation of the translation, and choose the corresponding translation strategy according to the translation requirements. If the reader wants to read a word-for-word translation of the article, then the translator must meet the reader's requirements, otherwise he must explain to the reader why he chose his own translation method. The translator's job is to weigh two different cultures instead of imposing one culture on another. &lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
===2.2The Application of Functionalist Approach to the Tourist Texts.===&lt;br /&gt;
2.2The Application of Functionalist Approach to the Tourist Texts.&lt;br /&gt;
In the 1990s, Functionalist Translation Theory was introduced to China, and since then it has been applied to translation studies by Chinese translation scholars. In his article published in 1995, Zhang Nanfeng briefly introduces Skopos theory to China for the first time, and considers that Skopos theory is referential (Zhang Nanfeng, 1995). German Functionalist Translation Theory, a paper released in1999, is the first article in China which systematically introduces German Functionalist Translation Theory (Zhong Weihe &amp;amp; Zhong Yu, 1999). Based on an overview of Functionalist Translation Theory, Zhang Meifang focuses on introducing Nord’s theory, especially on the detailed analysis of Nord’s principle of loyalty (Zhang Meifang, 2005). Famous domestic scholars, such as Liu Junping (2009), Liu Miqing (2012) and Li Wenge (2004), also introduce this theory in their books. With the rise of Functionalist Translation Theory in China, someone has compared it with other theories. Zhu Haotong compares Skopos Theory with Functional Equivalence Theory to analyze the similarities and differences between them, and further reveals that Functionalist Translation Theory inherits the reasonable part of Nida’s Functional Equivalence Theory, which is an important breakthrough and supplement to solve the problems that Functional Equivalence Theory leaves (Zhu Haotong, 2006). Some scholars also combine theory with translation practice to explore the application of Functionalist Translation Theory to translation practice. Jia Yanli and Wang Hongjun point out that Skopos Theory has its limitations, but it is still of instruction and reference value for non-literary translation texts, such as advertisements and tourism materials (Jia Yanli &amp;amp; Wang Hongjun, 2012). Li Liangchen selects several famous tourist attractions in China to translate the on-site tour-guide commentary into English. Then he improves them under the guidance of Skopos Theory and sends out questionnaires to overseas tourists for further analysis. He argues that the translation of on-site tour-guide commentary which is guided by Skopos Theory is more favorable to conveying information to foreign visitors, to promoting cultural exchanges and to improving the image of China’s tourist destinations (Li Liangchen, 2013). In Pragmatic Translation: Theory &amp;amp; Practice, Wu Feng and He Qingji introduce Functionalist Translation Theory (Wu Feng &amp;amp; He Qingji, 2008) and the characteristics of tourism text and translation skills (Wu Feng &amp;amp; He Qingji, 2008). In this book, they also discuss the controversy over the Chinese name of Functionalist Translation Theory, and holds that “功能派翻译理论” is the most appropriate Chinese translation (Wu Feng &amp;amp; He Qingji, 2008).Based on his own translation practice and under the guidance of Functionalist Translation Theory, Wu Zixuan probes into some special phenomena in the English translation of CNN newsreels. The author believes that in the translation of external publicity, we should not stick to the standard of faithfulness to the original text, but should deal with the original text properly from the perspective of achieving the purpose of translation, such as rewriting, abridging. (Wu Zixuan, 2005).&lt;br /&gt;
Functionalist approach establishes a theoretical system of diversified translation standards dominated by skopos rule. From the definition of Functionalist approach, it can be seen that the advantage of it is that the translator can get rid of the bondage of the original text, study the translation process with &amp;quot;translation purpose&amp;quot; as the starting point, and determine the translation strategies and methods. This can give full play to the translator's own initiative, flexible processing of the original text, in order to achieve the translation of the communicative function. In addition, functionalist approach requires the translation to be examined in the cultural context of the reader. The reader can accept the translation and understand the meaning of the original text through the translation, so the translation can realize the communicative function. On the basis of such advantages, functionalist approach can be used to guide the English translation of garden scenic spots, and the translator can choose a wider range of translation strategies and break out of the constraints of the original text. &lt;br /&gt;
Only by clarifying the purpose of translation can we avoid these limitations in the English translation of garden attractions. When using functionalist approach to guide the English translation of Chinese classical garden scenic spots, it is necessary to flexibly choose translation strategies and methods, give full play to the advantages of skopos theory, and achieve the balance between &amp;quot;principle of purpose&amp;quot; and &amp;quot;principle of fidelity&amp;quot; as far as possible.&lt;br /&gt;
With the deepening of globalization and cross-cultural communication, tourismis becoming a major industry in the 21st century. The development of tourism can not only promote the economic development of a country but also promote the external dissemination of national culture. Therefore, tourism translation deserves attention. Tourism text is a typical informative and operational text, and the language is unique. It is full of gorgeous words, such as four-character expressions, verses, proper nouns and so on.&lt;br /&gt;
Tourism text materials include tourism advertising, tourism brochures, scenic spots signs and so on. In this paper, we focus on the introduction of Chinese gardens’ scenic spots, which is usually colorful in language and rich in literary style. Tourism text translation belongs to applied translation, which should play a series of practical functions to publicize the image and resources of the country or place and attract overseas tourists. Therefore, the translator of tourism text must be clear about the type and function of tourism text, and to grasp the ultimate purpose of the translation. &lt;br /&gt;
On tourism text translation, the communicative purpose of the translation should be placed in a central position. Furthermore, the tourism text has both the information function and the calling function. The information function and the calling function complement each other. Only when the target language readers acquire the expected tourism information and cultural knowledge can the calling function be realized and the purpose of tourism text translation be achieved. With different translation strategies, the translated version should both expressed contains basic information, and make the tourists feel the profound of the Chinese culture from the beautiful scenery. &lt;br /&gt;
Cultural tourism has long been the focus of international tourism, and understanding Chinese culture is the main purpose of inbound tourists, so the translation of tourism texts bears the mission of cultural transmission and cultural publicity. However, due to the great differences between Chinese and English culture and language, there are many difficulties in cultural transmission in tourism text translation. China has a long and splendid history and culture. When introducing the scenic spots of cultural relics and historic sites, we usually associate with many historical figures and stories. These terms are cultural blank for most foreign tourists, but this kind of cultural experience is also the most attractive place for foreign tourists. It is of great importance to pay attention to cultural differences in tourism translation and carry out cultural transmission effectively. Chinese and English languages have different logic views, and Chinese expressions in tourism texts value decoration. English expressions tend to be clear, concise and to the point. For example, Chinese tourism texts often use a four-character lattice, which is symmetrical, while there is no corresponding four-character lattice expression in English. Therefore, in Chinese-English translation of tourism texts with frequent use of four-character phrases, it is necessary to keep in mind the objective principle of functionalist approach and give priority to cultural communication instead of rigidly adhering to form.&lt;br /&gt;
&lt;br /&gt;
===3. C-E Translation of the Summer Palace under Functionalist Approach===&lt;br /&gt;
3. C-E Translation of the Summer Palace under Functionalist Approach&lt;br /&gt;
By studying the specific translation strategies made by predecessors, the following steps are also adopted in this paper: first, the translation strategies are determined according to the text type, such as faithful reproduction of the original information or rewriting; Secondly, the translation strategies are determined according to the potential purpose of the translation, such as paraphrasing or deleting poems, generalizing specific expressions and transliterating proper nouns. Thirdly, the translation strategies are defined with the tourists as the center, such as adding logical words, adding explanatory information and using plain English.&lt;br /&gt;
The Summer Palace epitomizes the philosophy and practice of Chinese garden design, which played a key role in the development of this cultural form throughout the east. It is an outstanding expression of the creative art of Chinese landscape garden design, incorporating the works of humankind and nature in a harmonious whole, which was once the most important place of political and diplomatic activity for the supreme rulers of the late Qing dynasty. Based on three aspects of the Summer Palace, namely, garden culture, historical culture and religious culture, this paper discusses the problems existing in the English translation of the scenic spots of the Summer Palace and puts forward corresponding countermeasures under the guidance of the skopos rule of functionalist translation theory.&lt;br /&gt;
&lt;br /&gt;
===3.1 Garden culture.===&lt;br /&gt;
3.1 Garden culture. &lt;br /&gt;
The Summer Palace is a classical garden famous for its magnificence and beauty. There are many temples in the garden, and the green waves of kunming lake ripple. Landscape and humanities complement each other, containing rich natural and cultural information, reflecting the characteristics of Chinese classical gardens. The garden cultural features of the three scenic spots, namely, the hall of clouds, the foxiang pavilion and the Wenchang courtyard, are particularly outstanding. Therefore, this paper takes these three scenic spots as examples to discuss the Chinese-English translation of the introduction of the Summer Palace.&lt;br /&gt;
(1)	排云殿、佛香阁景区是颐和园内建筑布局最完整、建筑形式最丰富的中轴建筑群体，殿、阁、廊、亭、桥、坊、碑等建筑约两万平方米。从临水的云辉玉宇牌坊至排云门、排云殿、德辉殿、佛香阁、众香界、智慧海、层层升高，排列有序，气势巍峨，金碧辉煌，将园林、寺庙和宫殿融为一体。&lt;br /&gt;
Translation：This scenic spot covers an area of 20,000 square meters with an assortment of buildings such as palaces, towers, corridors, pavilions, walkways, bridges, archways and inscribed stone steles. It comprises a well-arranged group of structures, all diverse in style, located in the center of the Summer Palace garden. This complex of structures, ranging from the Glowing Clouds and Holy Land Archway on the waterside, the Gate that Dispels the Clouds, the Hall that Dispels the Clouds, the Hall of Moral Glory, and the Tower of the Fragrance of the Buddha, to the Realm of Popular Fragrance and the Sea of Wisdom Temple, were built in an orderly manner running from the foot of the hill to its top, with gardens, temples and palaces harmoniously integrated into the whole。&lt;br /&gt;
Analysis：As we all know, the design style of ancient Chinese buildings is beautiful with &amp;quot;symmetry&amp;quot;. The &amp;quot;axis&amp;quot; in hall of clouds scenic spot refers to the layout of the Summer Palace from far to near and from top to bottom, which cannot be simply understood as the center. Simply translating &amp;quot;axis&amp;quot; as &amp;quot;center&amp;quot; cannot express accurately the meaning of &amp;quot;symmetry&amp;quot;. Comparatively speaking, &amp;quot;axis&amp;quot; can better reflect the architectural style of the scenic spot.&lt;br /&gt;
(2)	从临水的云辉玉宇牌坊至排云门、排云殿、德辉殿、佛香阁、众香界、智慧海，层层升高，排列有序，气势巍峨，金碧辉煌，将园林、寺庙和宫殿融为一体。&lt;br /&gt;
Translation：These structures，including Glowing Clouds and Holy Land Archway at lake side，the Gate of Dispelling Clouds，the Hall of Dispelling Clouds，the Hall of moral Glory，and the Tower of Buddhist Incense，the Realm of Multitudinous Fragrance and the Sea of Wisdom Temple，were built in an orderly manner ranging up the hill with gardens，temples and palaces harmoniously integrated. This manifests beauty，grace and splendor，reminiscent of the loftingness and grandeur of a once mighty empire.&lt;br /&gt;
Analysis：In terms of the characteristics of language, Chinese emphasizes parataxis and four-word antithesis. When describing and naming scenes, gorgeous words and poetic words are generally chosen in Chinese. But, English emphasizes hypotaxis, on the other hand, puts more emphasis on reproducing the original appearance of things, using simple and natural words and preferring direct description. In sign translation, the English translation pays more attention to accurate, concise and lively. In the above paragraph, &amp;quot;层层升高，排列有序，将园林、寺庙和宫殿融为一体&amp;quot; is an introduction to the architectural features of foxiang pavilion, in order to make tourists have a clear understanding of the overall layout and architectural features of the scenic spot. This information is essential and can be translated into detail. However, &amp;quot;气势巍峨，金碧辉煌&amp;quot; focuses on the subjective description, and its explicit translation needs more complicated words. If this paragraph is translated in detail, it is easy to drag the content and make the key information vague. Therefore, the deletion of the English translation of this sentence will not affect the basic information of the original text.&lt;br /&gt;
(3)	主阁（文昌阁）两层，内供铜铸文昌帝君和仙童、铜骑。文昌阁与万寿山西供武圣的宿云檐象征“文武辅弼”。&lt;br /&gt;
Translation: A bronze statue of the God Wenchang, statues of gaeries, and a bronze steed were placed in the two-story pavilion. This tower is pared with the Tower of Cloud- Retaining Eaves, located to the west of the Longevity Hill, in which a statue of the Martial God was placed. The God Wenchang and the Martial God together symbolize reining of the emperor supported by scholars and warriors.&lt;br /&gt;
Analysis: Two questions arise in Chinese-English translation. First, there are two translations of wenchang pavilion in the translation: pavilion and tower, which appear in the same sign. Two different translations of the same scenic spot name tend to make foreign tourists think that it refers to different scenic spots, which may cause difficulty in understanding. Second, the translation of Wenchang pavilion into &amp;quot;Wenchang Tower&amp;quot; is against the actual architectural characteristics. In fact, the meanings of &amp;quot;pavilion&amp;quot; and &amp;quot;tower&amp;quot; have both similarities and differences. According to the Oxford dictionary, Tower means &amp;quot;a tall narrow building or part of a building, especially of a church or castle&amp;quot;, mainly referring to the tower-shaped part of a building, usually a tall and slender structure, such as the Eiffel Tower. &amp;quot;Pavilion&amp;quot; means &amp;quot;a building that is meant to be more beautiful than usual, built as a shelter in a park or used for concerts and dances&amp;quot;. The top structure of the pavilion usually has rectangles, triangles, hexagons, etc. The common feature of them is that the top is supported by columns without walls. From the external structure of Wenchang pavilion, its bottom is solid and its top is supported by columns. Therefore, the pavilion can accurately reflect the architectural characteristics of Wenchang pavilion, so I think it should be translated as Wenchang pavilion.&lt;br /&gt;
&lt;br /&gt;
===3.2 Historical culture. ===&lt;br /&gt;
3.2 Historical culture. &lt;br /&gt;
The accurate Chinese-English translation of the introduction of the Summer Palace not only enables foreign tourists to understand the characteristics of Chinese gardens, but also enables foreign tourists to understand the historical knowledge of a specific period of China. However, the Chinese-English translation of the Summer Palace still has problems in accurately conveying the historical background of the scenic spots, such as the English translation of Wenchang pavilion scenic spot:&lt;br /&gt;
(4)	此景区始建于清乾隆十五年，一八六零年被英法联军烧毁，光绪时按原样重建。阁结构为八面三层四重檐，通高36.44米，耸立于20米高的石造台基上，气势雄伟，是颐和园全园的构图中心。阁内供奉有铜铸金裹千手观世音菩萨站像。像高五米，重万斤，为明代万历年间所造，在八根贯通全阁上下的承重铁梨木擎天柱的衬托下，美妙庄严，熠熠生辉，有极高的文物和艺术价值。&lt;br /&gt;
Translation: The Wenchang tower was first built in 1750 and rebuilt under Emperor Guangxu after  the Anglo-French Allied Forces builted it down in 1860. The octahedral tower has three stories with four-layered eaves, altogether 36.44 meters high. Standing upright on a 20 meter-high stone foundation, it constitutes the center of the Summer Palace landscape and serves to accentuate its magnificence. A statue of the thousand-handed Guanshiyin Buddha, cast in bronze and gilded with gold, stands inside the tower. The statue, five meters high and five tons in weight, was cast during the reign of Emperor Wanli of the Ming Dynasty. Set off by the eight imposing pillars which support the tower, it glows with beauty, grandeur and brilliance. Its historical, cultural and artistic value can hardly be overstated.&lt;br /&gt;
Analysis: “始建于乾隆十五年”only was translated into “was first built in 1750” and the “光绪年间重建” was translated into “rebuilt under Emperor Guangxu”.The first sentence does not show that 1750 was the fifteenth year of the reign of emperor Qianlong, and the second sentence does not give foreign visitors the exact date of the reign of emperor Guangxu. The change of time concept and the disunity of expression easily make foreign tourists feel confused. Therefore, the translation of the time and the historical dynasties should be accurate and meticulous, and the supplementary method should be used to not only describe the dynasties clearly, but also supplement the corresponding years, so as to achieve the standardization of the translation. In this way, foreign tourists can not only be clear about the time of the event, but also understand the Chinese historical dynasties. Consider as follows: the Wenchang Pavilion was first built in 1750 during Emperor Qianlong’s reign（1735- 1795）and rebuilt in 1886 under Emperor Guangxu（1875- 1908）after the Anglo- French Allied Forces burned it down in 1860.&lt;br /&gt;
&lt;br /&gt;
===3.3 Religious culture. ===&lt;br /&gt;
3.3 Religious culture. &lt;br /&gt;
Many scenic spots in the Summer Palace have a strong buddhist atmosphere. While visiting the scenic spots, foreign tourists can understand the profound buddhist culture. Wenchang pavilion in the Summer Palace is the representative of Chinese religious culture.&lt;br /&gt;
(5)	主阁两层，内供铜铸文昌帝君和仙童、铜特。文昌阁与万寿山西供武圣的宿云檐象征“文武辅弼”。&lt;br /&gt;
Translation: A bronze statue of the god，Wenchang，and statues of two followers，the celestial boy，and the bronze steed，were placed in the two- storey pavilion. This tower is pared with the tower of Cloud- Retaining Eaves，located to the west of the Longevity Hill，in which a statue of the Martial God was placed. The two towers symbolize the support by both scholars and warriors to the ruling emperor.&lt;br /&gt;
Analysis: It is well known that westerners believe in theism, which refers to god as supreme . In Chinese religious culture, people believe in atheism and do not believe in the existence of god. Therefore, it is inappropriate to translate &amp;quot;文昌帝军&amp;quot; and &amp;quot;武圣&amp;quot; into &amp;quot;the god, Wenchang&amp;quot; and &amp;quot;the Martial god&amp;quot; in the translation. In fact, the &amp;quot;文昌帝军&amp;quot; was Zhang yu, an emperor of Shu of Ning kang (374). And &amp;quot;武圣&amp;quot; refers to Guan yu in history. Therefore, the simple translation of  &amp;quot;God&amp;quot; is not in line with the traditional Chinese culture, which will not only cause western tourists to misunderstand that Chinese religious tradition also believes in God, but also fail to convey Chinese historical allusions and relevant historical figures. In contrast, if &amp;quot;文昌帝军&amp;quot; is translated as &amp;quot;the emperor, Wenchang&amp;quot; and &amp;quot;武圣&amp;quot; is translated as &amp;quot;the Martial Master (Guanyu)&amp;quot;, it can more faithfully convey the history and religious culture contained in the source language. &lt;br /&gt;
&lt;br /&gt;
===4. Conclusion===&lt;br /&gt;
4. Conclusion&lt;br /&gt;
To sum up, Under the guidance of the skopos rule of functionalist translation theory, translators should have a cross-cultural awareness, fully understand the reading psychology and cultural appreciation needs of target language readers, and use effective translation strategies and methods to achieve the purpose of tourism text translation. Functionalist approach has made a pioneering contribution to the translation of non-literary genres. Functional translation effectively eliminates the disadvantages of traditional word-for-word translation, improves the efficiency of translation, and helps readers to grasp the meaning of the original text.&lt;br /&gt;
 The importance of the translation of the Summer Palace lies in the profound garden culture, historical culture and religious culture. The English translation is not only helpful for international friends to know more about the garden characteristics of the Summer Palace, but also helpful for spreading the long history and profound culture of China. In order to attract target readers and promote traditional Chinese culture, it is not only necessary to carefully explore Chinese culture and history, but also to use the fuctionalist approach appropriately. &lt;br /&gt;
Translation is a complicated process. Functionalist approach stresses the function of the discourse, the purpose of translation. In the practice of translation, if the translator can get rid of the bondage of the original equivalence, actively playing to subjective initiative, fully understanding the original text, depending on the purpose of discourse and adopting different translation strategies, the effect and readability of translation can be improved.&lt;br /&gt;
&lt;br /&gt;
===References===&lt;br /&gt;
References&lt;br /&gt;
Hans Vermmer, “Skopos and Commission in Translation Action”, in the Translation Studies Reader,ed. Chesterman, London and Network:Routledge,p.221-232. 2000.   &lt;br /&gt;
Munday, Jeremy. Introducing Translation Studies: Theories and Applications. Routledge publishing.2001.&lt;br /&gt;
Mason, “Textual Practices and Audience Design: and Interactive View of the Tourist Brrochure”. In Navarro et al.(eds.). Pragmatics at Work: The Translation of Tourist Literature. Bern: Perter Lang. 157-176.2004.&lt;br /&gt;
Nord, Text Analysis in Translation: Theory, Methodology and Didactic Application of a Model for Translation-Oriented Text Analysis. Beijing: Foreign Language Teaching and Research Press. 2006.&lt;br /&gt;
Nord, Translating as a purposeful activity. Shanghai: SFLE PRESS, 2001:27,30,32,65,245.&lt;br /&gt;
Reiss, Katharina. Translation Criticism: The Potentials &amp;amp; Limitations. Shanghai Foreign Language Education Press. Shanghai. 2004.&lt;br /&gt;
Venuti, Lawrence. The Translator’s Invisibility: A History Translation. Routledge.1995.&lt;br /&gt;
方梦之、毛忠明， 英汉—汉英应用翻译教程，上海: 上海外语教育出版社，2004.&lt;br /&gt;
金惠康，跨文化旅游翻译，中国对外翻译出版公司，2004.  &lt;br /&gt;
贾文波，应用翻译功能论，北京：中国对外翻译出版公司，2004&lt;br /&gt;
孙艺风，文化翻译的困惑与挑战，中国翻译，2016年第3期.  &lt;br /&gt;
王宏志，翻译与创作，北京大学出版社，2000.&lt;br /&gt;
吴自选，德国功能派翻译理论与 CNN 新闻短片英译，中国科技翻译, 2005.&lt;br /&gt;
谢天振，当代国外翻译理论，天津：南开大学出版社，2005.&lt;br /&gt;
张南峰，走出死胡同建立翻译学. 中国翻译, 1995.&lt;br /&gt;
仲伟合，钟钰. 德国的功能派翻译理论. 中国翻译, 1999.&lt;br /&gt;
张美芳，功能加忠诚—介评克里丝汀· 诺德的功能翻译理论.上海外国语大学学报, 2005.&lt;br /&gt;
&lt;br /&gt;
==Contrast between Literal Translation and Free Translation	张雪仪	Zhang Xueyi==&lt;br /&gt;
'''Abstract：'''&lt;br /&gt;
&lt;br /&gt;
The contrast between literal translation and free translation has always been the most discussed problem in translation studies. To compare these two translation methods, the basic point is to understand the purpose of translation. The ultimate goal of translation is to help different cultures communicate better, so that people who speak different languages can understand each other’s cultures. Due to the differences in social, historical and cultural backgrounds between languages, how to choose between the two translation strategies of literal translation and free translation requires translators to weigh the strengths and weaknesses of these two methods. This essay mainly compares literal translation and free translation between Chinese and Russian to help students and translators translate better.&lt;br /&gt;
&lt;br /&gt;
'''Key words：'''&lt;br /&gt;
&lt;br /&gt;
Translation strategies, Literal translation,Free translation &lt;br /&gt;
&lt;br /&gt;
'''摘要：'''&lt;br /&gt;
&lt;br /&gt;
直译与意译间的对比一直是翻译学中讨论度最高的问题。想要将这两种翻译方法进行对比，最基本的一点就是要明白翻译的目的是什么。翻译的最终目的在于帮助不同文化进行更好的交流，让使用不同语种的人相互理解彼此的文化。由于语种间社会历史文化背景的差异，如何在直译和意译这两种翻译策略中做出选择，就需要译者衡量两种方法的利弊。本文主要对汉语和俄语间直译和意译进行比较，以帮助学生和译者更好地进行翻译实践。&lt;br /&gt;
&lt;br /&gt;
'''关键词：'''&lt;br /&gt;
&lt;br /&gt;
翻译策略，直译，意译&lt;br /&gt;
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'''1.Introduction'''&lt;br /&gt;
&lt;br /&gt;
The former Soviet Union translation theorist Fedorov believed: “Translation is an activity that expresses what has been used in one language as a unified whole of content and form, and accurately and completely expressed in another language.” Translation theorist Barr Hudarov also wrote: &amp;quot;Translation is the process of changing the coherent discourse of one language into the coherent discourse of another language while maintaining its content and meaning.&amp;quot; To some extent, translation is a process of thinking re-creation, so certain standards and principles must be followed when translating. Translation standard is a measure of the quality of translation, it can guide translation practice, and it is a principle that must be followed in translation activities. Although each scholar has different opinions on the standard of translation, the final result he pursues is the same: the original text and the translated text express the same effect. In order to achieve the same effect, different translation methods have been derived, of which literal translation and free translation are the most commonly used.&lt;br /&gt;
&lt;br /&gt;
Russian idioms and proverbs, as the crystallization of the wisdom of the Russian nation and the immortal fossils in the Russian language, are one of the best materials for the Chinese to understand and learn Russian history, culture, and society. Due to different geographical, historical and economic conditions, the Russian and Chinese ethnic groups have formed different cultural backgrounds. These distinctive backgrounds and characteristics have caused great difficulties for Chinese learning Russian to further understand Russia. This essay studies the basic definitions of literal translation and free translation, their respective advantages and disadvantages and their mutual relations, and strive to solve how to use the translation methods of literal and free translation to properly translate Russian idioms and proverbs, and how to reflect the cultural background and language characteristics of Russian idioms and proverbs in the translation .&lt;br /&gt;
&lt;br /&gt;
'''2.Different views of &amp;quot;literal translation&amp;quot; and &amp;quot;free translation&amp;quot;'''&lt;br /&gt;
&lt;br /&gt;
In different periods and different countries, people's views on translation theory have changed a lot, but the debate about literal translation and free translation has always existed.&lt;br /&gt;
&lt;br /&gt;
In China, the contradiction between literal translation and free translation may initially be due to the different understanding of these two translation methods. The translator Sun Guiding believes that: literal translation is stuck to the structure of the original text and does not consider whether the Chinese is fluent and natural; while free translation is to use the inherent Chinese idioms and the most natural words and sentences as much as possible to achieve the effect of conveying the meaning of the original text. Former President of Wuhan University, Du Zuozhou, believes that literal translation means translating word by word according to the original text; free translation means translating according to the meaning of the original text, and the translation is more suitable for the common grammar of the translated language. The educator Meng Xiancheng believes that literal translation is a translation technology with different degrees of correctness. Literal translation is a translation that is faithful and correct according to the original text; free translation is a translation that summarizes the original meaning. Zhu Guangqian said: &amp;quot;The so-called 'literal translation' refers to the literal translation based on the original text. Every word and sentence are translated word by word, and the order of the words and sentences is not changed. The so-called ‘paraphrasing’ is to express the meaning of the original text in Chinese, and it does not have to be completely based on the literal and order of the original text. &amp;quot; The principle of &amp;quot;faithfulness, expressiveness and elegance&amp;quot; put forward by the modern Chinese translator Yan Fu has long been the basic principle guiding translation practice. A large number of beginners who learn foreign languages regard &amp;quot;faithfulness and expressiveness&amp;quot; as translations that are completely faithful to the original text when translating. In fact, Yan Fu's translation requirements are a guiding principle for translation based on semantics. When translating, if the structure and expression of the original text cannot be directly adopted, the sentence structure and expression must be changed according to the characteristics of the target language. In addition, there are many differences between the original language and the target language in the word order, grammar, variants and rhetoric in the translation process. In many cases, there is no direct corresponding word. This requires the translator to consider the actual semantics, background and other factors. On the basis of the original meaning of the sentence, use an appropriate method to convey the content of the original work and reproduce the language style of the original work.&lt;br /&gt;
&lt;br /&gt;
In the Soviet Union, under the influence of ideology, Western translation theories could not be widely disseminated, but within the Soviet Union, translation theories similar to Western translation theories have been formed and developed, and two main schools of translation theory have been further differentiated — Linguistic Translation School and Literary Translation School. To a certain extent, the dispute between these two schools also reflects the debate on literal translation and free translation among translators' groups. In terms of the principles or standards of translation, the linguistic translation school believes that an ideal translation should be an equivalent translation, first of all linguistic correspondence, that is, the translation should have the same meaning as the corresponding language or discourse unit of the original; the literary translation school believes that translation pursues artistic correspondence, and linguistic correspondence must be subordinate to artistic correspondence. Therefore, it proposes that the aesthetic standards of translation should reproduce the artistic reality reflected by the unity of the original content and form. The characteristic is to use images to translate images, that is, to create the same image in different languages. In 1953, Andrei Venediktovich Fedorov, the leader of the linguistic translation school, published his work &amp;quot;Summary of Translation Theory&amp;quot;, which was the first monograph of the Soviet Union to study translation theory from the perspective of linguistics. The author proposes that translation theory is a branch of linguistics. Since the translation of any genre work must rely on the comparison of two languages, translation problems can only be solved in the field of language. Fedorov’s view was refuted by the literary translation school represented by Ivan Alexandrovich Kashikin. The literary translation school believes that aesthetic issues are the core of literary translation theory, and translation should be regarded as a form of language art, that is, translation should be studied from the perspective of literature and art. In fact, the literary translation school emphasizes the translation of literary and artistic works, which belongs to the specific translation theory; while the research of the linguistic translation school focuses on the general translation theory, that is, the translation of all thematic works including literary works. The dispute between the two major translation theory schools of Russia and the Soviet Union provides another perspective for Chinese translators to explore the relationship between literal translation and free translation.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
'''3.The application of literal translation and free translation in the Chinese translation of Russian idioms'''&lt;br /&gt;
&lt;br /&gt;
The idioms of different nationalities are the most dynamic and expressive units at the lexical level in different languages, and they are also the units that can best reflect the characteristics of national culture in languages. The number of Russian idioms is extremely rich, it records and reflects all aspects of Russian national life. Due to the great differences in geographical locations and living customs between China and Russia, the national cultures reflected in Chinese and Russian must be quite different. One of the difficulties in idiom translation is its imagery. When translating idioms, both the meaning and the image must be considered. Although the Chinese and Russian cultures are very different, many of the commonalities of mankind, such as emotion and natural environment, have created conditions for mutual communication, mutual understanding and idiom translation between different languages.&lt;br /&gt;
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&lt;br /&gt;
'''3.1 Literal translation'''&lt;br /&gt;
&lt;br /&gt;
Generally speaking, the literal translation method refers to a translation method that directly translates the original text without changing the language characteristics and style of the original text on the basis of fully respecting the meaning of the original text. Chinese translation of Russian idioms by literal translation method has the advantage of being able to intuitively and faithfully express the meaning of the idiom, maintaining the unique style and imagery of the original text: the disadvantage is that the translated idiom may not be understood by the Chinese because of China and Russia have different historical, cultural backgrounds, grammatical structures, and language world landscapes, which can easily form obstacles in the process of understanding.&lt;br /&gt;
&lt;br /&gt;
Translating Russian idioms by literal translation is further divided into two methods — literal translation into Chinese idioms and literal translation into non-idiom sentences or words.&lt;br /&gt;
&lt;br /&gt;
Literal translation of Russian idioms into Chinese idioms is suitable for the translation of Russian and Chinese idioms that are completely equivalent in image, structure, and meaning. The advantage is that it is easy to understand, and the translation is simple and fast. E.g:&lt;br /&gt;
&lt;br /&gt;
(1)домашнего  (своего) вора не убережешься. 家贼难防&lt;br /&gt;
&lt;br /&gt;
(2)знать как свои пять пальцев (видно, как на ладони) 了如指掌&lt;br /&gt;
&lt;br /&gt;
(3)подлить масла в огонь 火上浇油&lt;br /&gt;
&lt;br /&gt;
(4)как рыба в воде 如鱼得水&lt;br /&gt;
&lt;br /&gt;
(5)как ножом по сердцу 心如刀割&lt;br /&gt;
&lt;br /&gt;
(6)как гром среди ясного неба 晴天霹雳&lt;br /&gt;
&lt;br /&gt;
(7)на добро отвечают добром 善有善报&lt;br /&gt;
&lt;br /&gt;
(8)копейка рубль бережет 财从细起&lt;br /&gt;
&lt;br /&gt;
(9)мечты сбываются 梦想成真&lt;br /&gt;
&lt;br /&gt;
(10)курица всегда следует за петухом 嫁鸡随鸡&lt;br /&gt;
&lt;br /&gt;
(11)чего мало, того и дорого  (дорого то, что мало) 物以稀为贵(12)&lt;br /&gt;
&lt;br /&gt;
(12)изгонять яд с помощью яда 以毒攻毒&lt;br /&gt;
&lt;br /&gt;
(13)сидеть как на иголках 如坐针毡&lt;br /&gt;
&lt;br /&gt;
(14)действия громче слов 事实胜于雄辩&lt;br /&gt;
&lt;br /&gt;
(15)зарыть талант в землю 埋没人才&lt;br /&gt;
&lt;br /&gt;
(16)висеть на волоске 千钧一发&lt;br /&gt;
&lt;br /&gt;
(17)лить как из ведра 倾盆大雨&lt;br /&gt;
&lt;br /&gt;
The idioms in the above examples are completely equivalent in image, structure or meaning in Russian and Chinese, so Chinese idioms can be used for literal translation. &lt;br /&gt;
&lt;br /&gt;
In fact, in the two languages, idioms with the same image, structure, and meaning are still in the minority, so it is more common to translate Russian idioms into non-Chinese idiom sentences or vocabulary. E.g:   &lt;br /&gt;
&lt;br /&gt;
настоять на своем 坚持自己&lt;br /&gt;
&lt;br /&gt;
камень с души свалился 心里的一块石头落地&lt;br /&gt;
&lt;br /&gt;
связать свою судьбу 把自己的命运与……相连&lt;br /&gt;
&lt;br /&gt;
быть на голову 高出一头&lt;br /&gt;
&lt;br /&gt;
вбивать в голову 往脑子里灌&lt;br /&gt;
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блеснуть метеором 像流星一样一闪而过&lt;br /&gt;
&lt;br /&gt;
с мизинец 小拇指这么大&lt;br /&gt;
&lt;br /&gt;
It is not difficult to find that the literal translation method can completely retain the original appearance of the idiom, show the common concept of human understanding of the world, and be beneficial to the cultural exchange between China and Russia.&lt;br /&gt;
&lt;br /&gt;
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'''3.2 Free translation'''&lt;br /&gt;
&lt;br /&gt;
Another method commonly used in the Chinese translation of Russian idioms is free translation. Free translation is to readjust the structure of the original text on the basis of keeping the original meaning of the idiom unchanged, and then reconstruct the Russian idiom with the way of thinking and expression in Chinese. This is because the figurative images used in many Russian idioms are inconsistent with those used in Chinese. If the original image is used in translation, it will cause a barrier to understanding. The advantage of free translation of Russian idioms is that it eliminates obstacles to understanding, but the disadvantage is that it cannot completely retain the original style and cultural characteristics. E.g:&lt;br /&gt;
&lt;br /&gt;
(1)В Тулу со свим самоваром не ездят.&lt;br /&gt;
直译：去图拉不用带自己的茶炊。&lt;br /&gt;
意译：多此一举&lt;br /&gt;
&lt;br /&gt;
(2)Честь лучше бесчестья.&lt;br /&gt;
直译：尊重比不尊重好。&lt;br /&gt;
意译：礼多人不怪。&lt;br /&gt;
&lt;br /&gt;
(3)словно горя с плеч&lt;br /&gt;
直译：把山从肩膀下卸下&lt;br /&gt;
意译：如释重负&lt;br /&gt;
&lt;br /&gt;
(4)выеденного яйца не стоит&lt;br /&gt;
直译：一个空蛋壳不值钱&lt;br /&gt;
意译：鸡毛蒜皮，一文不值&lt;br /&gt;
&lt;br /&gt;
(5)чужими руками жар загребать&lt;br /&gt;
直译：用别人的手将红炭火拨成一堆&lt;br /&gt;
意译：坐享其成，不劳而获&lt;br /&gt;
&lt;br /&gt;
(6)ни рыба, ни мясо&lt;br /&gt;
直译：没有鱼也没有肉&lt;br /&gt;
意译：不三不四，不伦不类&lt;br /&gt;
&lt;br /&gt;
(7)лучше синица в руках, чем журавль в небе&lt;br /&gt;
直译：天上的仙鹤不如手中的山雀&lt;br /&gt;
意译：远亲不如近邻&lt;br /&gt;
&lt;br /&gt;
(8)На языке мед, а под лед&lt;br /&gt;
直译：嘴上甜得像蜂蜜，心里冷得像冰&lt;br /&gt;
意译：笑里藏刀&lt;br /&gt;
&lt;br /&gt;
(9)И на солнце есть пятна&lt;br /&gt;
直译：太阳上也有黑点&lt;br /&gt;
意译：人无完人&lt;br /&gt;
&lt;br /&gt;
(10)семь раз отмерь, один раз отрежь&lt;br /&gt;
直译：测量了七次后再剪裁&lt;br /&gt;
意译：三思而后行&lt;br /&gt;
&lt;br /&gt;
Using free translation to translate Russian idioms requires the translator to accurately understand the meaning of the original text, because cultural differences make it impossible to literally translate. Only through the translator can an unobstructed bridge between Russian idioms and Chinese idioms be built.&lt;br /&gt;
&lt;br /&gt;
'''4.The application of literal translation and free translation in the Chinese translation of Russian proverbs'''&lt;br /&gt;
&lt;br /&gt;
There are often multiple translations of the same Russian proverb in Russian-Chinese dictionaries. On the one hand, because the translator uses different translation methods; on the other hand, because Russian proverbs have very rich connotations, a translation cannot perfectly interpret the inner meaning of the proverb. According to the context and the connotation of the proverbs, the most commonly used methods of Chinese translation of Russian proverbs are literal translation and free translation.&lt;br /&gt;
&lt;br /&gt;
'''4.1 Literal translation'''&lt;br /&gt;
&lt;br /&gt;
In Russian and Chinese languages, some proverbs not only have the same meaning or implicit meaning, but also use the same or similar figurative images to express a certain kind of the same semantics, and they are completely consistent in content and form. In this case, the equivalent translation of synonymous Chinese proverbs can convey the information contained in the original image, which not only retains the rhetorical color of the original language, but also enables the reader to perfectly understand the original text. E.g:&lt;br /&gt;
&lt;br /&gt;
(1)Куй железо, пока горячо. 趁热打铁。&lt;br /&gt;
&lt;br /&gt;
(2)Беда не приходит одна. 祸不单行。&lt;br /&gt;
&lt;br /&gt;
(3)Сытый голодного не разумеет. 饱汉不知饿汉饥。&lt;br /&gt;
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(4)Век живи, век учись. 活到老，学到老。&lt;br /&gt;
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(5)Выше встанешь, дальше увидишь. 站得高，看得远。&lt;br /&gt;
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(6)Лучше один раз увидеть, чем сто раз услышать. 百闻不如一见。&lt;br /&gt;
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(7)Нет дыма без огня. 无火不生烟。&lt;br /&gt;
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(8)Шила в мешке не утаишь. 口袋藏不住锥子。&lt;br /&gt;
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(9)Береги платье снову, а честь смолоду. 衣服要从新的时候爱惜，荣誉要从年轻时珍惜。&lt;br /&gt;
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(10)Выше лба уши не растут. 耳朵高不过额头。&lt;br /&gt;
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(11)Для милого друга семь верст не околица. 为了好友，多绕七里也不嫌远。&lt;br /&gt;
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(12)Как Новый год встретишь, так его и проведешь. 怎么迎新年，就怎么过一年。&lt;br /&gt;
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(13)Лучше умереть стоя, чем жить на коленях. 宁愿站着死，绝不站着生。&lt;br /&gt;
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(14)Не имей сто рублей, а имей сто друзей. 宁要一百个朋友，不要一百个卢布。&lt;br /&gt;
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По одежке встречают, по уму провожают. 迎客时看衣，送客时看才智。&lt;br /&gt;
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==Dialectical thinking in arguments between literal translation and free translation 	甘奉玉	Gan Fengyu==&lt;br /&gt;
&lt;br /&gt;
===Abstract===&lt;br /&gt;
  As two methods of translation, how to use literal translation and free translation has always been the focus of debate between Chinese and Western translation circles. Through the study of translation methods of literal translation and free translation at home and abroad, we can know that to some extent literal translation and free translation are two relative conceptions, so there will be word-for-word translation, that is, dead translation, and excessive free translation. However, these two are only two extremes of literal translation and free translation. In fact, although there are differences in definitions and application fields between literal translation and free translation, they are unified in common translation purpose, translation procedure and translation standard. Therefore, the two are contradictory and unified in translation activities. This is also the profound embodiment of the unity of opposites in materialist dialectics.--[[User:Gan Fengyu|Gan Fengyu]] ([[User talk:Gan Fengyu|talk]]) 07:46, 10 November 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
===Key words===&lt;br /&gt;
literal translation, free translation, word-for-word translation, over free translation, unity of opposites&lt;br /&gt;
&lt;br /&gt;
===摘要===&lt;br /&gt;
  作为翻译方法，直译(literal translation)与意译(free translation)怎样使用的问题一直是一个争论中西方翻译界不休的焦点。通过对国内外直译与意译的翻译方法的研究，我们可以得知，从某种程度而言，直译与意译是两个相对的概念, 所以才会有逐字翻译，即死译，与过度意译这两个完全对立的概念。但是，这两者只不过是直译与意译的两个极端点。其实，直译和意译虽然在概念定义，适用范围上有所差异，但却又统一于共同的翻译目的、翻译过程和翻译标准中。所以两者在翻译活动中应该是既对立又统一的矛盾体。而这也正是唯物辩证法中的对立统一矛盾观的深刻体现。--[[User:Gan Fengyu|Gan Fengyu]] ([[User talk:Gan Fengyu|talk]]) 07:50, 10 November 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
===关键字===&lt;br /&gt;
直译； 意译； 死译； 过度意译； 对立统一&lt;br /&gt;
&lt;br /&gt;
===Introduction===&lt;br /&gt;
  Throughout the translation history at home and abroad, the literal translation and free translation have always been a heat discussion in the translation circles. Someone absolutely approve literal translation and demean free translation, even pursue a dead translation, which creates an translated text difficult to understand. While some other people absolutely agree with free translation even advocate random acts, which means a random deletion in the translation practices and creates anther entirely different text. However, there are also a number of translators who have recognized that these two translation methods are not totally opposite. So they adopt a compromise and flexible way. That means they will choose the most appropriate one depending on the text demanding. Therefore, we can deduce from it that this eclectic translation is consistent with the Contradiction view of Unity of Opposite in Materialist Dialectics. In fact, literal translation and free translation are right a set of contradictions which are both opposite and unified. They complement each other into an integral one.&lt;br /&gt;
&lt;br /&gt;
===1.Dialectic thinking of the Unity of opposites===&lt;br /&gt;
===2.Word-for-word translation===&lt;br /&gt;
===3.Over free translation===&lt;br /&gt;
===4.Eclectic translation===&lt;br /&gt;
===5.Opposition and unity between literal translatiuon and free translation===&lt;br /&gt;
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===5.1 Opposition===&lt;br /&gt;
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===5.1.1 Opposition in definition===&lt;br /&gt;
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===5.1.2 Opposition in application fileld===&lt;br /&gt;
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===5.2 Unity===&lt;br /&gt;
===5.2.1 Unity in translation goal===&lt;br /&gt;
===5.2.2 Unity in translation procedure===&lt;br /&gt;
===5.2.3 Unity in translation standard===&lt;br /&gt;
===6.Conclusion===&lt;br /&gt;
===Bibliography===&lt;br /&gt;
&lt;br /&gt;
== Peter Newmark’s Improved Views on Literal Translation and Free Translation 赵茜 Zhao Xi==&lt;br /&gt;
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='''Document Translation'''=&lt;br /&gt;
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==On translation of official documents of CangNan County	吴恺	Wu Kai==&lt;br /&gt;
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On Translation of Official Documents of Cangnan County&lt;br /&gt;
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Japanese Language and Literature, School of Foreign Languages, Hunan Normal University, Wu Kai--[[User:Wu Kai|Wu Kai]] ([[User talk:Wu Kai|talk]]) 04:45, 2 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
==='''Abstract'''===&lt;br /&gt;
As one of the forefronts of Zhejiang’s opening-up cause, Cangnan County in Zhejiang Province has been enjoying a rapid development and an ever-growing degree of opening-up with lasting vitality as it’s supported by national policies and nourished by the dividends of economic globalization since China's reform and opening-up. As China has ushered in a period of major changes rarely seen in a century, Cangnan County is also facing new opportunities and challenges. Under the background of this era, Cangnan County is expected to make good use of its own advantages, especially the geographical ones—it is close to countries and regions including Japan, South Korea, and Taiwan—and should spare no efforts to achieve a higher level of opening-up, and, in turn, further promote its development. As an embodiment of the collective will of the people of Cangnan County, the official document is one of the best manifestations of its governance and stability control capabilities. For this reason, the research on how to translate official documents is of great significance for that it offers a great opportunity for Cangnan County to re-examine itself and to show the rest of the world its achievement in building a culture-enriched county.&lt;br /&gt;
&lt;br /&gt;
==='''Key words'''===&lt;br /&gt;
 official document translation, Cangnan County, opening-up, Japan, South Korea&lt;br /&gt;
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==='''摘要'''===&lt;br /&gt;
自中国改革开放以来，浙江省苍南县作为全浙江对外开放的前沿阵地之一，得到了国家政策支持和经济全球化红利的滋润，苍南县发展水平与对外开放程度日新月异，全县活力持久带劲。随着中国迎来“百年未有之大变局”，苍南县也面临着新的机遇和挑战，在此时代背景下，苍南县应该利用好自身优势，特别是临近日本、韩国、台湾等国家与地区的地理优势，努力开展更高层次、更高水平的对外开放事业，促进苍南更好的发展。为此，作为苍南县人民集体意志的体现，苍南县的公文就是对外展示其治理水平、稳控能力的最好的体现之一。而对于苍南县公文的如何翻译的研究，是促使苍南县重新审视自己、推进苍南人文县情传播海外的良机，意义重大。&lt;br /&gt;
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==='''关键词'''===&lt;br /&gt;
公文翻译  苍南县  对外开放  日本  韩国&lt;br /&gt;
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==='''I. System and Translation of Official Documents of Cangnan County'''===&lt;br /&gt;
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The unique official document system adopted by Chinese government agencies is a special integration of the thousands-of-years excellent political traditions in China and the essence of the organizational structure of the socialist regime. As a county-level unit in China's local administrative structure, Cangnan County has an official document system that is consistent with the national ones in general while has its own features. Official documents of Cangnan County can be basically divided into the following types of writing: resolutions, decisions, orders, bulletins, announcements, notifications, opinions, notices, reports, requests for instructions, approvals, proposals, letters, and minutes. Above-mentioned categories are collectively known as official documents. Besides, there are also some types of practical writing, including summaries, plans, notes, memos, briefings, speeches, manuals and so on, that are often used in our day-to-day work.&lt;br /&gt;
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In addition to those characteristics of the official documents that are commonly seen in China, official documents of Cangnan County also have its own features, which is mainly reflected in the aspect of proprietary terminology. Cangnan County, which used to be a part of Pingyang County in Zhejiang Province, was officially designated as a county in 1981 with the approval of the Central Government. It takes its name Cangnan, which means “on the south of the Yucang Mountain”, from its geographical location. As a relatively young county-level administrative unit in China’s administrative divisions, Cangnan County has a complex natural endowment and cultural environment, which is the reason why there are many special proprietary terms used in the official documents of Cangnan County, such as “Beautiful South Gate of Zhejiang Province”, “Southern Ouyue (an ancient kingdom in modern Wenzhou and Taizhou)” , “South Gate of Jiangsu-Zhejiang Region” and so on. Moreover, Cangnan is also the birthplace of the “Wenzhou Model”. Since the implementation of policy for the exchange of production materials and commercial grains in 1984, Cangnan has become an important base for the experiments and development of Wenzhou's private economy and market economy, and, thus, has made a significant contribution to the great cause of China's reform and opening-up.&lt;br /&gt;
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To conclude, the unity of the official document system viewed from the national scope of China and the uniqueness of the official document system viewed from the local scope of Cangnan area are both reflections of the integration of economic, political, and cultural elements. Therefore, when translating the terms and sentences in these official documents, obviously, it is almost impossible to follow general translation theories, such as Yan Fu’s “faithfulness, expressiveness and elegance” theory which applies to literature translation, and Christiane Nord’ Skopos theory which emphasizes schematic analysis. Due to the features of the official documents of Cangnan County, it is hard to imagine the consequence it will cause if those Cangnan and Chinese elements they contain are missed when translating them. Therefore, the starting point for the translation and research of Cangnan official documents should be analyzing the official document itself, but not choosing which translation theory to apply.&lt;br /&gt;
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The translation method focusing on the official documents themselves is undoubtably the one that emphasizes the content while manages to achieve a similarity in form. Thus, the translation theory that meets the requirements of official document translation in Cangnan County shall be the functional equivalence theory of the American linguist Eugene A. Nida. Eugene A. Nida argued in his theory that translation is to use the most appropriate, natural and equivalent language to reproduce the informational function of the source language both semantically and stylistically. Nida’s definition of translation specified that translation is seeking equivalence not only in lexical meaning, but also in semantics, style and literary form. Translation should convey both the denotative and connotative meaning of a message. Regarding the equivalence of translation, he believed that the equivalence consists of four parts: lexical equivalence, syntactic equivalence, textual equivalence, and stylistic equivalence. Among the four aspects, he emphasized that the meaning the core and most important part, followed by the form. The form of a text is likely to conceal the cultural connotation of the source language and may, therefore, hinder cultural exchanges. Based on the above, the reasons why the functional equivalence theory is applicable to official document translation in Cangnan County can be concluded as follows:&lt;br /&gt;
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First, the functional equivalence theory advocates that the target text should be equivalent to the source text both semantically and culturally. Official documents of Cangnan County are carriers of profound political culture with Chinese characteristics and the cultural environment in Cangnan. When translating them, in addition to showing the political consciousness and judicial authority of Cangnan government agencies, the local culture of Cangnan must also be reflected in the translations.&lt;br /&gt;
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Second, the functional equivalence theory suggests that if the lexical meanings and cultural elements cannot be taken into account at the same time, the translator then may give up the equivalence in form and try to reproduce the semantic and cultural meaning of the source text by changing the form of the sentence. There are many specialized terms with Chinese characteristics and Cangnan’s characteristics in official documents of Cangnan County. When translating them, once there is no corresponding expression in the target language, other forms of expression must be adopted to retain the meanings of those specialized terms as much as possible.&lt;br /&gt;
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Third, the functional equivalence theory proposes that if the change in form is still not enough to express the semantic and cultural meaning of the expression in the source language, the translation technique of “heavy damage” can be adopted to resolve cultural differences , so that the source language and the target language can achieve equivalence in semantic meaning. “Heavy damage” refers to the transformation of the deep structure of the source language into the surface structure of the target language, that is, expressing the cultural connotation of the source text with expressions of the target language. It cannot be ruled out that there are words and sentences in the official document of Cangnan County that cannot be translated, and when this happens, the translator can only rely on his translation techniques and understanding ability to process them creatively.&lt;br /&gt;
Above are simply macro analyses of the official document system in Cangnan County, and when it comes to specific analyses, challenges we face will only be severer.&lt;br /&gt;
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==='''II. Stylistic Features and Translation of Official Documents in Cangnan County'''===&lt;br /&gt;
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Looking at the official documents of Cangnan County from the micro level, we can work on the study of its translation based on the following characteristics.&lt;br /&gt;
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'''1. Details and Accurate'''&lt;br /&gt;
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As an officially-written document geared for the needs of our people, wording of the official documents of Cangnan County has a very specific orientation. Almost all content words have very clear meanings and connotations.&lt;br /&gt;
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For example, the sentence “经研究，县政府决定召开市对县安全生产巡查反馈会暨突出问题集中教育警示会，现将有关事宜通知如下。(As discussed, the county government decided to convene a feedback meeting on city-to-county inspections of production safety and a meeting for education and warning on outstanding issues. The relevant matters are hereby notified as follows.)” in the document 《苍南县人民政府办公室关于召开市对县安全生产巡查反馈会暨突出问题集中教育警示会的通知》(“Notice of the Office of the People's Government of Cangnan County on Convening a Feedback Meeting on City-to-County Inspections of Production Safety and A Meeting For Education and Warning On Outstanding Issues”) (the office of the People's Government of Cangnan County on June 8th, 2020) conveys several points very accurately and clearly, including the decision maker, the type, content and theme of the meeting. Therefore, special attention must be paid to the integrity of the information delivered when translating this sentence. For example, it is translated into Japanese as “討議を通じて、県政府は県の安全生産状況に対する市政府の巡査結果反映会及び顕著問題教育警告会を開催することが決定した。関連事項を以下のようにお知らせする。”&lt;br /&gt;
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'''2. Precise and Compact'''&lt;br /&gt;
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The role of official documents is to exchange formal information between the upper and the lower, the people and the officials, and the relevant departments. Therefore, the wording of the official documents must be rigorous. No slang and loose sentences should be used, and excessive use of parentheses and descriptive modifiers should be avoided. Official documents of Cangnan County follow this rule as well, in which there will never be informal expressions like daily spoken words.&lt;br /&gt;
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For example, the expression “三、决策目录施行动态管理，因工作需要增减或变更重大行政决策事项的，承办单位应按照相关规定程序提请调整。(Third, the decision catalogue shall be managed in a dynamic way, the undertaker shall submit application for adjustments in accordance with the relevant regulations if any increase/decrease or change shall be made to the major administrative decision-making matters because of the need of actual work.)” in the document《关于公布苍南县2020年度重大行政决策事项目录的通知》(“Notice on Issuing the 2020 Annual Catalogue of Major Administrative Decision-Making Matters of Cangnan County”) (the office of the People's Government of Cangnan County on Sept. 20th, 2020) When translating this sentence into Japanese, the translator shall fully considers the preciseness of the original expression, and translate it as “三つ目、戦略目録動的管理施行、仕事需要によっての増減または変更が必要な場合、請負機構は関連規定の手順に従って調整を提出しなければならない。”&lt;br /&gt;
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'''3. Programmed and Standardized'''&lt;br /&gt;
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The purpose of official documents requires a stable and routine writing program so that the official business can be conducted in an orderly manner. It is essential that the document writing is reasonably programmed. It allows the officer to know what it is and what to do at a glance if a standardized official document program is followed. The standardization of the official documents of Cangnan County can be regarded as a tricky feature in their translation.&lt;br /&gt;
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For example, the expression “各乡镇人民政府，县政府直属各单位 (the people's government of all townships and towns and all directly affiliated institutions of the people’s government of Cangnan County)” in the document《关于公布苍南县2020年度重大行政决策事项目录的通知》(“Notice on Issuing the 2020 Annual Catalogue of Major Administrative Decision-Making Matters of Cangnan County”) (the Office of the People's Government of Cangnan County on Sept. 20th, 2020) is obviously a standardized addressing of the receiving units of an official document, and it should be translated into Japanese as “各郷鎮人民政府、県政府直属の各部門”.&lt;br /&gt;
Viewing from a micro perspective, we may find that special attention should be paid to many precise details when translating those official documents. It is of great significance that, during the cause of reform and opening-up, we strike a balance between the macro level and the micro level in official document translation, which will serve as a stage for Cangnan County to show itself to Japan, South Korea and other East Asian countries and regions.&lt;br /&gt;
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==='''III. Translation of Official Documents of Cangnan County under the Context of the Japanese Language'''===&lt;br /&gt;
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Cangnan County is one of the nearest administrative units to Japan in China, and Okinawa Prefecture in Japan and Cangnan County are neighbors facing each other across the sea. Furthermore, Cangnan County itself has ports in Xiaguan, Pacao, Yanting, Dayu and other places, and has the basic conditions for conducting small transactions of freights with Okinawa. However, due to the inadequacy policies, laws and regulations, a large portion of Japan’s trade with China, especially with Zhejiang Province, is still conducted in the three port cities, namely Ningbo, Zhoushan, and Hangzhou. Cangnan’s geographical advantages have never been given to full play. To Japan, Cangnan is not a total stranger. Wenzhou City has a great influence upon Japanese culture and history. Special local products such as Wenzhou green tea and Wenzhou satsuma orange are very attractive to Japanese people. Many of the business exchanges during the Kamakura Bakufu in Japan were happened between Hakata merchants and Wenzhou people. As an important subordinate region of Wenzhou City, Cangnan County naturally has left an impression on Japanese people when it comes to China.&lt;br /&gt;
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If Cangnan hopes to lay a foundation for the future cooperation with Japan through its cause of opening up to the outside world, it is of great importance that we study the methods and techniques to make the translation of Cangnan’s official documents to meet the specific context of the Japanese language, which is also a part of the cultural exchanges that will facilitate economic and trade cooperation between Japan and China. The political status of Cangnan County is equivalent to the one of regular cities and special wards in Japan, but this does not mean that the official documents of Cangnan County can be regarded as equivalents to the official documents released by the governments of the regular cities and special wards in Japan, and there are huge differences between their respective official documents in form, wording, Cultural connotation and etc. To better translate Cangnan official documents under the context of Japanese language, the following aspects must be paid attention to:&lt;br /&gt;
&lt;br /&gt;
1. Detailed Comparison of Types&lt;br /&gt;
&lt;br /&gt;
In the Japanese official document system, the word “公文” is different in meaning from the word “公文” in Chinese official document system. In Chinese “公文” means government official documents, while in Japanese “公文” generally refer to legal documents that have the force of law and the term “公文書” is the one that refers to government official documents, which roughly includes “外交文書” and “起案文”, “通達” , “命令”, “許可”, “通知書” and so on . When translating official documents of Cangnan County into Japanese, attention should be paid to the transformation of the types of the official documents. The classifications of official documents in China and Japan are different from each other.&lt;br /&gt;
For example, when translating documents such as “proposal letter”, “report” and the like into Japanese, the title should be translated as “建言書” and “報告書”, while “命令(order)”, “通知(notice)”, “提案(Proposal)” and etc. need no translation and can be titled with the original characters directly as “命令”, “通知”, “提案”, and can also be further translated into “命令状”, “通知書”, “提案書”. Those reflect the characteristics of the division of the types of the official document system in Japan.&lt;br /&gt;
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2. Careful Consideration of the Translation of Chinese Characters&lt;br /&gt;
&lt;br /&gt;
There are a large number of Chinese characters in Japanese. This will for sure be an advantage when translating official documents of Cangnan County into Japanese, however, at the same time, this is also a huge disadvantage. After all, those Chinese characters are Japanized Chinese characters, and their meanings and usages are more or less different from the original ones in Chinese.&lt;br /&gt;
&lt;br /&gt;
For example, the expression “设定全县森林防火期(setting the season of forest fire prevention)” in the document 《苍南县应急管理局局长王再忠关于&amp;lt;苍南县人民政府关于做好森林防火期护林防火工作的通告&amp;gt;的政策解读》(“Policy Interpretation Of ‘Notice of Doing Forest Protection and Fire Prevention during the Season of Forest Fire Prevention by the People's Government Of Cangnan County’ by the Director of Cangnan Emergency Management Agency Wang Zaizhong”) in could be translated character by character into Japanese as “全県域森林防火期間設定”. However, expressions such as “野外火源如何管理” cannot be translated in the same way, and must be processed accordingly and translated into Japanese as “野外の火の元が如何に処理すること”. When translating official documents of Cangnan County into Japanese, the translators must reject the preconceived thinking and native Chinese thinking, or it will lead to irreversible misunderstandings and mistakes.&lt;br /&gt;
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3. Mastery of the Equivalence of Semantic Meaning&lt;br /&gt;
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Chinese is an isolating language, in which the grammatical meaning is reflected by the order of words, while Japanese is an agglutinative language, in which auxiliary words and flexible usages of vocabulary are adopted to reflect the grammatical meaning. This requires the translators to have mastery of the equivalence of semantic meanings when translating official documents of Cangnan County into Japanese and try to achieve perfect equivalence in official document translation.&lt;br /&gt;
&lt;br /&gt;
For example, there is a expression as “全体公民必须认真贯彻‘以人为本、预防为主、积极扑救、有效消灾’的森林防灭火工作方针，一旦发现森林火灾，要立即向当地人民政府或森林防灭火指挥部办公室报告(all citizens must seriously implement the working policy of forest fire prevention and firefighting ‘people-oriented, prevention-focused, active in firefighting, effective in disaster relief’, once a forest fire is detected, it must be reported to the local people’s government or the forest fire prevention and firefighting headquarters office immediately)” in the document 《苍南县应急管理局局长王再忠关于&amp;lt;苍南县人民政府关于做好森林防火期护林防火工作的通告&amp;gt;的政策解读》(“Policy Interpretation Of ‘Notice of Doing Forest Protection and Fire Prevention during the Season of Forest Fire Prevention by the People's Government Of Cangnan County’ by the Director of Cangnan Emergency Management Agency Wang Zaizhong”). When dealing with long and complex sentences, the translator must be flexible in using translation techniques to decompose the sentences and translate them step by step, focusing on the balance between the form of the sentence and its semantic meaning. Based on this principle, the abovementioned sentence could be translated into Japanese as “人間本位、予防軸化、積極救助、有効消災という森林防火作業方針は全県民が必ず強固に守らなければならない。林に火事が発見された際、直ちに所轄人民政府や森林防火指揮部執務室に報告すること。”&lt;br /&gt;
&lt;br /&gt;
There is no doubt that, in terms of four-character idioms, allusions, new words of the era and etc., the translation of official documents of Cangnan County under the context of the Japanese language still has a long way to go, but the part that we should pay most attention to in translation is always the differences in culture between the source language and the target language. Only by keeping this basic point in mind at all times, will there be no huge mistakes being made when translating official documents of Cangnan County into Japanese.&lt;br /&gt;
&lt;br /&gt;
==='''Ⅳ. Translation of Official Documents of Cangnan County under the Context of the Korean Language'''===&lt;br /&gt;
&lt;br /&gt;
Zhejiang Province and South Korea have laid a good foundation for economic and trade cooperation projects, and a framework that is comprehensive, wide-ranging, and multi-level has been established for Zhejiang-South Korea cooperation. The advantages of the two regions are obviously complementary and the development potential for both sides and in between is huge. In September 2016, the Zhejiang China-Korea (Quzhou) Industrial Cooperation Park was approved as the first batch of “Zhejiang International Industrial Cooperation Parks” in Zhejiang Province. The total planned area is about 3,000 acres and the total planned investment is 12 billion yuan. Represented by the Zhejiang China-Korea Industrial Cooperation Park, a large number of economic and trade cooperation projects has been carried out with South Korea by Zhejiang Province. As an indispensable part of Zhejiang Province, Cangnan County is facing a huge gap in the cultural exchanges and economic cooperation with South Korea. How to elevate the level of Cangnan’s opening up to the outside world and advancing Cangnan’s economic, trade and cultural cooperation with South Korea is a question that is well worth exploring. Although Cangnan is further away from South Korea compared with regions in the north of Zhejiang, geographic location should never be a factor that hindering Cangnan’s economic, trade and cultural cooperation with South Korea. In an era of ever-deepening globalization, it is of great significance that we think about how to develop and promote the economic and trade and cultural cooperation between Cangnan and South Korea.&lt;br /&gt;
&lt;br /&gt;
Northern Zhejiang is a key area for economic, trade and cultural cooperation with South Korea. As the south gate of Zhejiang Province, if Cangnan County could open the door of economic, trade and cultural cooperation to South Korea, then this will inevitably bring extraordinary development opportunities to southern Zhejiang and make the pattern of Zhejiang and South Korea’s economic and cultural cooperation more balanced and healthy. The political status of Cangnan County is equivalent to the one of si(city), gu (district), and gun(county) in South Korea. Because of some historical reasons, South Korea is greatly influenced by Chinese culture. From the Three Kingdoms era of Joseon, to the Unified Silla Dynasty, the Wang’s Goryeo Dynasty, and the Yi’s Joseon Dynasty, the basic system of administrative divisions in South Korea is almost the same as the one in China, so the official document system of cities, districts, and counties in South Korea can be regarded as basically equivalent to the official document system of Cangnan County with only slight differences originated from the localized political and cultural traditions and the basic social condition of South Korea. Therefore, there are relatively fewer difficulties of translation when translating official documents of Cangnan County into Korean, aside from the barriers caused by Korean Hangul words. The translation of official documents of Cangnan County under the context Korean language requires attention to the following aspects:&lt;br /&gt;
&lt;br /&gt;
1. The Combination of Chinese characters and Hangul&lt;br /&gt;
&lt;br /&gt;
Modern Korean uses Hangul as the main written characters, but this does not mean that there is no place for Chinese characters in the Korean system. Since the launch of the abolition of Chinese characters movement in South Korea in the 1970s, Hangul did exactly achieved an overall penetration of every aspect of their daily life, but when it comes to important documents, Chinese characters still reserve a seat in the arena of South Korea’s history. Furthermore, a higher level of talent training is required now to meet the need of South Korea’s economic and social development, and the mastery of sinology has become, among all the necessary skills, one of the most straightforward evaluation criteria to access the qualified personnel. Thus, South Korea has restarted the Chinese character teaching movement. Nowadays, the official document system in South Korea has become one in which Hangul serves as the main language and the mixed use of Chinese characters and Hangul serves as a supplement. Just as how the mixed use of kana and Chinese characters in Japanese official documents may help in its translation, the mixed use of Chinese characters and Hangul also greatly facilitate the translation of official documents of Cangnan County into Korean. However, because Chinese characters used in Korea are composed of traditional Chinese characters and a small number of Korean self-made Chinese characters, we can not take it for granted that it is advisable to translate them word by word.&lt;br /&gt;
&lt;br /&gt;
For example, the title of the document《苍干任〔2020〕18号 王再忠等同志的任命》(“Cangnan Cadre Appointment [2020] No. 18: Appointment of Wang Zaizhong and etc.”) (the Office of CPC Cangnan Party Committee on March 27th, 2020) can be translated with the mixed use of Chinese characters and Hangul into Korean as《蒼南縣의 幹部任命〔2020〕18號 王再忠등 同志의任命》. Also, it be translated into Korean with Hangul alone as《참남현의 간부임명〔2020〕18호 왕재충등 동지의임명》.&lt;br /&gt;
&lt;br /&gt;
2. The Usage of Refined Language&lt;br /&gt;
&lt;br /&gt;
In recent years, South Korea has carried out reforms of the official document system, urging that the South Korean government agencies at all levels should use “refined(or purified) language”, that is, to write and publish official documents with words that are easy for the public to understand and have explicit meanings, reducing the cost of communication between the government and the public and, in this way, building a closer relationship between the government and the people, so that civil servants can communicate with the people more effectively. Refined language is a kind of common vernacular that differs from the official language. Although this trend of the wording of Korean official documents is not unconditional, but when compared with official documents of Cangnan County, which emphasize the solemnity and formality of official documents, this trend is the part that the translator has to pay his attention to.&lt;br /&gt;
&lt;br /&gt;
For example, when translating the expression “为加强行政规范性文件管理，切实推进依法行政，加快法治政府建设 (To strengthen the management of administrative normative documents, promote the administration in accordance with law, and accelerate the construction of a government ruled by law)” in the document《苍南县人民政府关于公布县政府及县政府办公室行政规范性文件清理结果的通知（有效）》(“Notice of the Office of the People's Government of Cangnan County on the Announcement of the Results of the Cleanup of the Administrative Normative Documents of the County Government and the County Government Offices (Effective)”) (the Office of the People's Government of Cangnan County on October 23th, 2020) , blunt expressions may not be that applicable and this expression translated into Korean in a more public-friendly way as “행정 규범적인 문서관리를 강화하기 위해, 법에따라 행정을 철저히 추진하고 법치정부의 건설을 가속화시킨다.”&lt;br /&gt;
&lt;br /&gt;
3. Mastery of the Equivalence of Semantic Meaning&lt;br /&gt;
&lt;br /&gt;
Like Japanese, Korean is also a typical agglutinative language. A sentence is formed by connecting independent words with various auxiliary words, and with a subordinating conjunction at the end of the sentence. Auxiliary words are just like glues, they exist after every subject, predicate, and object component of a Korean sentence to them together. For that these auxiliary words have no substantial meaning themselves, they must stay close to the main body in front, and a space must be put after. Therefore, when translating Chinese, which is an isolated language, into Korean, which is an agglutinative language, it is necessary to have mastery of the equivalence of the semantic meaning of the expression.&lt;br /&gt;
&lt;br /&gt;
For example, when translating the expression “全面实施全民参保计划，做好参保情况清查，提升参保信息质量，清理重复参保，稳定持续参保，减少漏保断保，实现应保尽保。(Fully implement the national social security plan, do a good job in checking the coverage of the social security, improve the quality of the collection of the information of the insured, clean up repeated insureds, stabilize the renewal of the social security, reduce the interruption of the social security, and achieve full social security coverage.)” in the document《关于做好2021年度城乡居民基本医疗保障工作的通知》(“Notice on Doing a Good Job in Basic Medical Security for Urban and Rural Residents in 2021”)( the Office of Medical Security Bureau of Cangnan County on November 5th, 2020), the translator should pay attention to the equivalence of semantic meaning of this long sentence and translated it into Korean as “전국민기본의료보험가입계획을 전면적으로 실시하고 기본의료보험가입상황을 철저히 조사하며 기본의료보험가입 정보의 질을 향상시키고 중복기본의료보험가입을 청산하며 안정적이고 지속적인 기본의료보험가입을 하며 보험누락을 줄이고 기본의료보험가입 을 실현해야 한다.”&lt;br /&gt;
&lt;br /&gt;
==='''Ⅴ. Studies of Official Document Translation and the Cause of Opening-up in Cangnan County'''===&lt;br /&gt;
&lt;br /&gt;
Based on the abovementioned basic characteristics of the official document system of Cangnan County, the notes for official documents translation under the context of the Japanese language and the notes for official documents translation under the context of the Korean language, we can see that official documents of Cangnan County is not as difficult to handle as something untranslatable. Cangnan County enjoys a good geographic location: it is located in the coast of the East China Sea, and is close to both Japan and South Korea, two strong economies in East Asia. However, Cangnan County has not yet made use of these favorable conditions to the fullest to promote cultural cooperation and trade with the two countries. Cangnan’s opening up to the outside world requires innovative thinking and an elaborate layout. Studies on the translation of official documents of Cangnan County, especially the translation of official documents under the context of the Japanese and Korean language, will help to explore the cultural spirit of the government institutions, and play an important role in building a good image of Cangnan County in East Asia and laying a foundation for Cangnan's cooperation with major countries and regions in East Asia .&lt;br /&gt;
&lt;br /&gt;
The world today is undergoing profound changes rarely in a century, and so is China. The tide of history moves on and Cangnan shall not stay out of the matter, but must follow it courageously and strive to open new doors for Cangnan's opening up to the outside world through the study of the official document translation of its own.&lt;br /&gt;
&lt;br /&gt;
===References===&lt;br /&gt;
&lt;br /&gt;
[1]Ziqi LIU. The Application of Functional Equivalence Theory in Scientific Translation：A Case Study of the Translation of Shipbuilding English[J]. CREATIVITY AND INNOVATION,2019,1(3).&lt;br /&gt;
&lt;br /&gt;
[2]Mu Dan. Discussion on Translation Activities Under the Guidance of Functional Equivalence Theory[J]. International Journal of Education and Management,2018,3(2).&lt;br /&gt;
&lt;br /&gt;
[3]李琳琳. 功能对等翻译理论与关联翻译理论比较研究[D].辽宁师范大学,2006.&lt;br /&gt;
&lt;br /&gt;
[4]赵娟廷. 汉韩公文语体对比研究[D].复旦大学,2003. &lt;br /&gt;
&lt;br /&gt;
[5]周萱. 《中国共产党怎样解决民族问题》（节选）中韩翻译报告[D].青岛大学,2017.&lt;br /&gt;
&lt;br /&gt;
[6]张利军. 《教学的游戏性研究》的汉日翻译实践报告[D].广西师范大学,2019.&lt;br /&gt;
&lt;br /&gt;
[7]栾亚琼. 《2015年山东省政府工作报告》汉日翻译实践报告[D].曲阜师范大学,2016.&lt;br /&gt;
&lt;br /&gt;
[8]占丽华. 源流与演变—日本地方公文书馆发展路径研究[D].山东大学,2020.&lt;br /&gt;
&lt;br /&gt;
[9]任清萍. 功能翻译理论视角下政府工作报告日译研究[D].外交学院,2020.&lt;br /&gt;
&lt;br /&gt;
[10]孙慧. 产业竞争力与区域经济增长[D].苏州大学,2006.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
--[[User:Wu Kai|Wu Kai]] ([[User talk:Wu Kai|talk]]) 04:45, 2 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
==The Translation Process and Methods of Translating English Long Sentences	周艺文	Zhou Yiwen==&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
===Abstract===&lt;br /&gt;
===Key words===&lt;br /&gt;
===摘要===&lt;br /&gt;
===关键词===&lt;br /&gt;
===Introduction===&lt;br /&gt;
&lt;br /&gt;
===Conclusion===&lt;br /&gt;
===Bibliography===&lt;br /&gt;
&lt;br /&gt;
==Chinese-English Translation of News Headlines From the Perspective of Skopos Theory	张维虹	Zhang Weihong==&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
==='''Abstract'''===&lt;br /&gt;
&lt;br /&gt;
==='''key words'''===&lt;br /&gt;
&lt;br /&gt;
News headlines; Skopos theory; translation&lt;br /&gt;
&lt;br /&gt;
==='''摘要'''===&lt;br /&gt;
社会的飞速发展使得人们的阅读方式发生了巨大的改变, 通过阅 读新闻标题来获取消息和了解事实, 成为大多数人的不二之选, 新闻标题 翻译也就越来越具有其必要性。 新闻标题的重要性堪比一部使人印象深刻 的电影名, 一则响亮的广告语, 一本撩人心弦的书名。 较之娱乐新闻, 时 政新闻略显严肃客观, 又因当今科技物质的飞速发展, 时政新闻的点阅数 量明显少于以消遣娱乐为目的的娱乐新闻。 怎样提高时政新闻的阅读量, 怎样使得时政新闻如同娱乐新闻一般深受广大人民的喜爱, 这不仅是新闻 编辑者们的挑战, 也是新闻翻译界的难题。 本文以德国功能派翻译目的论 为理论指导, 结合新闻学及编辑学的相关学科知识, 通过对中英时政新闻 标题的对比分析, 旨在对时政新闻标题的汉译英提出翻译策略, 让国外读者正确客观无误的了解中国的时事政策。&lt;br /&gt;
&lt;br /&gt;
==='''关键字'''===&lt;br /&gt;
&lt;br /&gt;
===Introduction===&lt;br /&gt;
&lt;br /&gt;
===Skopos Theory===&lt;br /&gt;
&lt;br /&gt;
===Features of News Headlines===&lt;br /&gt;
&lt;br /&gt;
===Chinese-English Translation Methods of News Headlines from the Skopos Perspective===&lt;br /&gt;
&lt;br /&gt;
===Conclusion===&lt;br /&gt;
&lt;br /&gt;
===Bibliography===&lt;/div&gt;</summary>
		<author><name>Song Jianru</name></author>
	</entry>
	<entry>
		<id>https://bou.de/u/index.php?title=History_of_Translation_Studies_8&amp;diff=107890</id>
		<title>History of Translation Studies 8</title>
		<link rel="alternate" type="text/html" href="https://bou.de/u/index.php?title=History_of_Translation_Studies_8&amp;diff=107890"/>
		<updated>2020-12-06T14:01:27Z</updated>

		<summary type="html">&lt;p&gt;Song Jianru: /* On the Chinese Translation of A Pale View of Hills from House’s Translation Quality Assessment Model	宋建茹	Song Jianru */&lt;/p&gt;
&lt;hr /&gt;
&lt;div&gt;这里是《翻译学史》的书稿第八部分(Part 8)。麻烦各位同学看一下已经存在的章回（样品），自己再加进去新的一个章回（就是你们的学期论文）。请也帮助同学们把他们的论文改正。这样多次修改，大家的论文会越来越好。&lt;br /&gt;
&lt;br /&gt;
学期论文（结合学期所学，撰写一篇5000以上单词的英文论文，按照专业杂志的格式，题目、摘要、关键词和参考文摘需要英中，文章英）。学期论文成绩占70%，平时成绩（含课堂表现、展示及作业）占30%。&lt;br /&gt;
&lt;br /&gt;
*Link back to course homepage: [https://bou.de/u/wiki/Introduction_to_Translation_Studies Course Homepage Intro. to TS]&lt;br /&gt;
*Link back to the final exam paper section of the course homepage: [https://bou.de/u/wiki/Introduction_to_Translation_Studies#Final_Exam_Papers Final Exam Papers]&lt;br /&gt;
*Link to other parts of the final exam papers: [https://bou.de/u/index.php?title=History_of_Translation_Studies_1 Final Exam Papers Part 1]&lt;br /&gt;
*Link to other parts of the final exam papers: [https://bou.de/u/index.php?title=History_of_Translation_Studies_2 Final Exam Papers Part 2]&lt;br /&gt;
*Link to other parts of the final exam papers: [https://bou.de/u/index.php?title=History_of_Translation_Studies_3 Final Exam Papers Part 3]&lt;br /&gt;
*Link to other parts of the final exam papers: [https://bou.de/u/index.php?title=History_of_Translation_Studies_4 Final Exam Papers Part 4]&lt;br /&gt;
*Link to other parts of the final exam papers: [https://bou.de/u/index.php?title=History_of_Translation_Studies_5 Final Exam Papers Part 5]&lt;br /&gt;
*Link to other parts of the final exam papers: [https://bou.de/u/index.php?title=History_of_Translation_Studies_6 Final Exam Papers Part 6]&lt;br /&gt;
*Link to other parts of the final exam papers: [https://bou.de/u/index.php?title=History_of_Translation_Studies_7 Final Exam Papers Part 7]&lt;br /&gt;
*Link to other parts of the final exam papers: [https://bou.de/u/index.php?title=History_of_Translation_Studies_8 Final Exam Papers Part 8]&lt;br /&gt;
*Link to other parts of the final exam papers: [https://bou.de/u/index.php?title=History_of_Translation_Studies_9 Final Exam Papers Part 9]&lt;br /&gt;
*Link to other parts of the final exam papers: [https://bou.de/u/index.php?title=History_of_Translation_Studies_10 Final Exam Papers Part 10]&lt;br /&gt;
&lt;br /&gt;
='''History of Translation'''=&lt;br /&gt;
== Study on Brand Name Translation from the Perspective of Cultural Difference	谭鑫洁	Tan Xinjie==&lt;br /&gt;
&lt;br /&gt;
==='''Abstract'''===&lt;br /&gt;
&lt;br /&gt;
== Abstract: ==&lt;br /&gt;
&lt;br /&gt;
==='''key words'''===&lt;br /&gt;
&lt;br /&gt;
==='''摘要'''===&lt;br /&gt;
&lt;br /&gt;
==='''关键字'''===&lt;br /&gt;
&lt;br /&gt;
===Complete transcript of the content of the original work ===&lt;br /&gt;
&lt;br /&gt;
===Same style and manner of writing===&lt;br /&gt;
&lt;br /&gt;
===Equivalent effect===&lt;br /&gt;
&lt;br /&gt;
===Discussion===&lt;br /&gt;
&lt;br /&gt;
===Conclusion===&lt;br /&gt;
&lt;br /&gt;
===Bibliography===&lt;br /&gt;
&lt;br /&gt;
==A Comparative Study on the Translation History in Western Countries and China	王煜	Wang Yu==&lt;br /&gt;
===摘要===&lt;br /&gt;
翻译是一种跨文化交流活动，翻译活动加快了人类文明发展步伐，减少了人们之间的沟通障碍。随着时代的变迁，中国和西方国家逐渐形成了各自的翻译史，翻译史的研究是学科建设的一项基础工程。尽管中西方翻译史在某些方面有所差异，但却都有着各自的独特性，并对人类的翻译活动产生了巨大的影响与贡献。文章将以中国和西方国家为主要对象，从二者翻译史起始，包含阶段和各阶段代表人物，影响意义，差异性出发，对二者的翻译史进行简略的对比研究。&lt;br /&gt;
&lt;br /&gt;
===关键词===&lt;br /&gt;
翻译史；西方翻译史；中国翻译史&lt;br /&gt;
&lt;br /&gt;
===Abstract===&lt;br /&gt;
Translation is an intercultural communication activity, translation activities have accelerated the development of human civilization and reduced the communication barriers between people of different countries or nations. With time goes by, things are in a state of flux and both the western and eastern countries have gradually formed their own history of translation, the study of translation history is a basic project of discipline construction. Though there are many differences among the translation histories of western countries and China, the two kinds of translation histories are still shining their own bright unique lights and have an indelible influence and contribution to human translation activities. This paper intends to make a brief comparison of translation histories between western countries and China, which includes the origins, the stages, the representatives of the stages, the significance and influence as well as the differences of the two translation histories.&lt;br /&gt;
&lt;br /&gt;
===Keywords===&lt;br /&gt;
Translation history; Translation history of the West; Translation history of China &lt;br /&gt;
&lt;br /&gt;
===1. Introduction===&lt;br /&gt;
No matter in China or in the west, translation plays an important role in knowledge-spreading. As an indispensable part of translatology, the study of translation history has made a great influence on translation activities, it has gradually become the focus of the literary and historical circles in recent years. Translation activities can be traced back to the origin of language, and the history of translation is almost as old as language itself, it is closely related to the changes in today's society. Since the 1980s, the translation studies in the mainland of China have made remarkable progress in the curriculum design of Chinese and western translation history and the compilation of related works. In the early 1980s and 1990s, there were many related works came out one after another including A brief history of Chinese Translation: the part before the May 4th Movement（《中国翻译简史-“五四”运动以前部分》） written by Zuyi Ma, A historical manuscript of Chinese translated literature （《中国翻译文学史稿》）edited by Yugang Chen, and also the A Short History of Translation in the West（《西方翻译简史》） the author of which is Zaixi Tan. Thus, it opens the gate for the compilation of Chinese and western translation history works.（谢天振，2009） The history of western translation can be divided into five stages while the Chinese study of translation has a glorious history of more than two thousand years and has experienced five climaxes. Through the comparative study of Chinese and western translation history, it will help us to have a deeper understanding of Chinese and western translation activities and thus to gather a general full view of it, which will be a positive and meaningful attempt.&lt;br /&gt;
&lt;br /&gt;
2. The Translation History of Western Countries&lt;br /&gt;
Western translation activities are rich in a long history and a multiyear span. The history of western translation can be roughly divided into three stages: the traditional stage, the modern times and the contemporary. More specifically, it can be grouped into the ancient times, the middle ages, the Renaissance period and the time after WWⅡ.&lt;br /&gt;
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2.1 The First Stage: Translation in the Ancient Times&lt;br /&gt;
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The translation history of western countries first began in the the 3rd century B.C. &amp;quot;In a broad sense, the earliest translation in the west is the Old Testament translated by 72 Jewish scholars in Alexandria, ancient Egypt, between the 3rd and 2nd centuries BC; Strictly speaking, the first western translation is the Greek Homer Epic Odyssey translated by Andronicus in Rome in the middle of the third century BC.”(谭载喜,2000) At the end of the 4th BC, during this time, the Greece began to decay and the Roman had became stronger and stronger with its military expansion. The expansion of the Roman Empire brought it into contact with the splendid Greek culture, therefore, the Romans not only conquered the Greek city, but also inherited and developed the brilliant achievements of ancient Greek culture, and then created a  splendid cultural of its own era after Greece. So soon began a large scale translation activities, the activity of translating and introducing Greek classical works probably began in this period.（刘军平,2009）Many famous translation theorists began to make their presences, namely Cicero, Quentin, Jerome and so on, also the famous Roman litterateurs like Andronicus, Naevius, Ennius, these great writers used Latin language to translate or adapt Homer’s epic or other Greece dramas. Started the translation tradition and promoted the birth and development of Roman literature.&lt;br /&gt;
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2.2 The Second Stage: Translation in the Middle Ages (4th-6th)&lt;br /&gt;
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2.3 The Third Stage: Translation in the Middle Ages (11th-12th)&lt;br /&gt;
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2.4 The Fourth Stage: Translation in the Renaissance Period&lt;br /&gt;
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2.5 The Fifth Stage: Translation after WWⅡ&lt;br /&gt;
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3. The Translation History of China--[[User:Wang Yu|Wang Yu]] ([[User talk:Wang Yu|talk]]) 08:38, 30 November 2020 (UTC)--[[User:Wang Yu|Wang Yu]] ([[User talk:Wang Yu|talk]]) 08:43, 30 November 2020 (UTC)&lt;br /&gt;
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==The Implications of Luther's Translation Principles amid Renaissance for Modern Literature Translation	方洁玲	Fang Jieling==&lt;br /&gt;
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==Translation manipulated by ideology	许静	Xu Jing==&lt;br /&gt;
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==Comparison between the History of Chinese and Western Translation   周书尧   Zhou Shuyao==&lt;br /&gt;
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'''Abstract:'''There has a long history and culture Chinese and Western translation, and translation plays an indelible role in promoting cross-cultural communication and cultural communication. This article first discusses the history of translation in China from  four stages , then discusses the five stages of western translation history , and finally compares and analyzes the similarities and differences between Chinese and Western translation histories, and puts forward some of the author's own views.&lt;br /&gt;
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'''Key words:'''The history of Chinese,The history of Western,the stages of  translation history,comparison&lt;br /&gt;
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'''摘要：'''中西方翻译历史文化源远流长，翻译在促进跨文化交流和文化传播上承担着不可磨灭的作用。本文首先从中国的四次翻译高潮论述中国的翻译史，再从西方的五次翻译高潮探讨西方的翻译史，最后对中西方翻译史的异同进行对比分析，提出一些笔者自己的看法。&lt;br /&gt;
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'''关键词：'''中国翻译史，西方翻译史，翻译高潮，对比&lt;br /&gt;
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'''Ⅰ.Introduction'''&lt;br /&gt;
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Since the 1980s, the Chinese translation studies community has made remarkable progress in the establishment of Chinese and Western translation history courses and the compilation of related works.In the 1980s and early 1990s,A Brief Introduction to the History of Translation in China from Ma Zuyi and other books of Chen Yugang and Tan Zaixi were published one after another,which raised the curtain for the compilation of Chinese and Western translation history works by the domestic translation scholars.The four stages in the history of Chinese translation have promoted the development of Chinese history, culture and society to varying degrees.The same as our country, Western translation has an age-old history.In a sense, the development of Western European civilization should first be attributed to the translators.The five stages in the history of European translation have promoted the exchanges of literature, art, science and trade between countries, and to a certain extent promoted the development of Chinese translation.In fact, when we examine the development trajectory of Chinese and Western translation activities and the evolution of translation concepts together, we find that there are some similarities between Chinese translation and Western translation.Especially in the evolution of Chinese and Western translation concepts, the two have very similar evolution laws.&lt;br /&gt;
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='''Literal and Free Translation'''=&lt;br /&gt;
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==Rethink Literal and Free Translation	彭永亮	Peng Yongliang==&lt;br /&gt;
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==On the Chinese Translation of A Pale View of Hills from House’s Translation Quality Assessment Model	宋建茹	Song Jianru==&lt;br /&gt;
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==On the Relationship among Literal Translation, Free Translation, Domestication and Foreignization	韦洪朗	Wei Honglang==&lt;br /&gt;
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==On Chinese-to-English Translation of The Summer Palace from the Perspective of Functionalist Approaches to Translation	魏亚菲	Wei Yafei==&lt;br /&gt;
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===Abstract===&lt;br /&gt;
Abstract&lt;br /&gt;
The Chinese-English translation of tourist texts, as a window for the external publicity of national history and culture, plays an important role in promoting the development of local tourism. The Summer Palace is well known for its large and priceless collection of cultural relics, which is among the first group of historical and cultural heritage sites in China to be placed under special state protection. &lt;br /&gt;
Based on the functionalist approach and the skopos rule, this paper discusses the problems existing in the translation of scenic spots in the Summer Palace from the perspectives of garden culture, historical culture and religious culture. Skopos theory holds that translation depends on communicative purpose. To achieve this goal, translators can choose different translation strategies. It is believed that the purpose of Chinese-English translation of scenic spots is to attract target readers and promote traditional culture. Therefore, when translating tourism materials, it is necessary not only to express the local cultural connotation, but also to consider the cross-cultural factors. The Chinese-English translation of the introduction of scenic spots guided by functionalist approach can make English readers have expectations of scenic spots and understand the cultural connotation of scenic spots. This paper aims to better promote the development and communication of Chinese culture and improve the level of tourism text translation in China by relying on the theory of functionalist approach.&lt;br /&gt;
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===Key words===&lt;br /&gt;
Key Words: functionalist approach，the Summer Palace，translation strategies&lt;br /&gt;
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===摘要===&lt;br /&gt;
摘 要&lt;br /&gt;
旅游资料的英译作为民族历史文化对外宣传的一道窗口,对地方旅游业的发展有着不可低估的促进作用。颐和园作为中国著名的皇家园林，具有浓厚的中国园林特色及优美的风景，同时也蕴涵着深厚文化内涵。&lt;br /&gt;
本篇旅游文本英译的分析以功能派翻译理论作为理论指导，以目的法则为主要原则，从颐和园的园林文化、历史文化和宗教文化三个角度出发对颐和园景点英译中存在的问题进行探讨。目的论认为译文取决于翻译目的，这个目的通常指的是交际目的。为达到这个目的，译者可以选择不同的翻译策略。也就是说，译者的翻译策略必须由译文的预期目的或功能决定，即所谓的“目的法则”。笔者认为景点介绍的汉英翻译的目的就是吸引译文读者以及弘扬传统文化，因此在翻译旅游资料的时候不仅要把当地的文化内涵表达出来，而且要考虑到跨文化的因素。而以功能派翻译理论为指导的景点介绍的汉英翻译，可以使英语读者通过译文产生对旅游景点的期盼，以及对景点文化内涵的理解。以颐和园景区内的翻译文本为例本，依托功能翻译理论，通过“发现问题，指出问题，解决问题”，以期更好地促进中国文化的传播与交流，提高我国现阶段旅游文本翻译的水平。&lt;br /&gt;
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===关键字===&lt;br /&gt;
关键词：功能翻译；颐和园；翻译目的；翻译策略&lt;br /&gt;
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===Introduction===&lt;br /&gt;
  Throughout the translation history at home and abroad, the literal translation and free translation have always been a heat discussion in the translation circles. Someone absolutely approve literal translation and demean free translation, even pursue a dead translation, which creates an translated text difficult to understand. While some other people absolutely agree with free translation even advocate random acts, which means a random deletion in the translation practices and creates anther entirely different text. However, there are also a number of translators who have recognized that these two translation methods are not totally opposite. So they adopt a compromise and flexible way. That means they will choose the most appropriate one depending on the text demanding. Therefore, we can deduce from it that this eclectic translation is consistent with the Contradiction view of Unity of Opposite in Materialist Dialectics. In fact, literal translation and free translation are right a set of contradictions which are both opposite and unified. They complement each other into an integral one.&lt;br /&gt;
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===Table of Contents===&lt;br /&gt;
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Table of Contents&lt;br /&gt;
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Outline&lt;br /&gt;
1.Introduction&lt;br /&gt;
2. Studies on Functionalist Approach&lt;br /&gt;
2.1 The Viewpoint of Functionalist Approach&lt;br /&gt;
2.1.1 Reiss’s Text Typology&lt;br /&gt;
2.1.2 Vermeer’s Skopos Theory&lt;br /&gt;
2.1.3 Manttari’s Theory of Translational Action&lt;br /&gt;
2.1.4 Nord’s Theory of Function plus Loyalty&lt;br /&gt;
2.2 The Application of Functionalist Approach &lt;br /&gt;
3.C-E Translation of the Summer Palace under Functionalist Approach&lt;br /&gt;
3.1 Garden Culture&lt;br /&gt;
3.2 Historical Culture &lt;br /&gt;
3.3 Religious Culture &lt;br /&gt;
4. Conclusion&lt;br /&gt;
References&lt;br /&gt;
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===Outline===&lt;br /&gt;
Outline&lt;br /&gt;
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Thesis Statement: Based on the main viewpoints of functionalist approaches to translation, this paper aims to give an analysis to C-E translation of the Summer Palace from cultural, historical and religious aspects, hoping to provide some translation strategies for other cultural attractions.&lt;br /&gt;
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1. Introduction&lt;br /&gt;
2. Studies on Functionalist Approaches&lt;br /&gt;
2.1 The Viewpoint of Functionalist Approach&lt;br /&gt;
2.1 Reiss’s Text Typology&lt;br /&gt;
2.2 Vermeer’s Skopos Theory&lt;br /&gt;
2.3 Manttari’s Theory of Translational Action&lt;br /&gt;
2.4 Nord’s Theory of Function plus Loyalty&lt;br /&gt;
2.2 The Application of Functionalist Approach&lt;br /&gt;
3. C-E Translation of the Summer Palace under Functionalist Approach&lt;br /&gt;
3.1 Garden Culture&lt;br /&gt;
3.2 Historical Culture&lt;br /&gt;
3.3 Religious Culture&lt;br /&gt;
4. Conclusion&lt;br /&gt;
&lt;br /&gt;
===1. Introduction ===&lt;br /&gt;
1. Introduction   &lt;br /&gt;
The Chinese-English translation of tourist texts is a bridge to spread the culture of classical Chinese gardens, so the accuracy of it has a direct impact on foreigners' understanding of the specific history and culture. &lt;br /&gt;
Functionalist approach has made a pioneering contribution to the translation of non-literary genres. Functional translation theory emphasizes the function of discourse, and believes that different types of discourse have different functions, so translators should choose appropriate translation strategies according to the type of source text and corresponding functions. Functionalist approach is to take the &amp;quot;skopos rule&amp;quot; as the highest standard, and any translation activity is a purposeful behavior. The ultimate goal and main function of scenic spot translation is to help people understand the main content of the scenic spot.&lt;br /&gt;
As a window for the publicity of national history and culture, the Chinese-to-English translation of tourist texts plays an important role in promoting the development of local tourism. Well known for its large and priceless collection of cultural relics, the Summer Palace was among the first group of historical and cultural heritage sites in China to be placed under special state protection. Based on the viewpoints of functionalist approach to translation, this paper aims to analyze C-E translation of the Summer Palace from cultural, historical and religious aspects, hoping to provide some translation strategies for other cultural attractions. &lt;br /&gt;
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===2. Studies on Functionalist Approaches===&lt;br /&gt;
2. Studies on Functionalist Approaches&lt;br /&gt;
Functionalism is a theory that advocates reader-centered translation, emphasizing the functions of texts and highlighting the communicative effects. It is believed that many unnecessary mistakes can be avoided and better results can be achieved by applying functionalist approach in Chinese-English translation of tourist text. &lt;br /&gt;
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===2.1 The Viewpoint of Functionalist Approaches===&lt;br /&gt;
2.1 The Viewpoint of Functionalist Approaches&lt;br /&gt;
Functionalist Translation Theory, also known as German Functionalist Translation Theory, was proposed by German scholars in the 1970s. It includes four main theories: Katharina Reiss’s Text Typology, Hans Vermeer’s Skopos Theory, Justa Holtz Manttari’s Theory of Translational Action and Christiane Nord’s Theory of Function plus Loyalty. This chapter aims to present the main ideas of this theory.&lt;br /&gt;
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===2.1.1 Reiss’s Text Typology===&lt;br /&gt;
2.1.1 Reiss’s Text Typology&lt;br /&gt;
In 1971, Reiss in her book Possibilities and Limitation of Translation Criticism first made text function as a standard of translation criticism, namelyevaluate the translated text from the relationship between the functions of the original and the translated text. She insists on the original-centered equivalence theory and holds the view that the ideal translation is to achieve the equivalence between the target text and the source text in terms of ideological content, linguistic form and communicative function. However, translation practice makes her realize that it’s difficult to achieve equivalence sometimes and that sometimes equivalence cannot be pursued. Because of the particularity of translation requirements, the function of the target text is not always the same as that of the source text. Therefore, the translator should give priority to the functional role of the target text rather than the principle of equivalence.&lt;br /&gt;
Reiss believes that in the normal situation the type of text decides the translator’s choice of a proper translation method (Reiss, 2004). Therefore, she divides text into four types: content-focused text, form-focused text, appeal-focused text and audio-media text. Content-focused text, also known as informative text, includes news reports, commercial correspondence, operating instructions, official documents, patent&lt;br /&gt;
specifications, essays, treaties, etc. For this text, the main function is to convey information revealed in language itself to readers. The emphasis is on content and topic, so the choice of language and style should serve this function. If both the source text and target text belong to informative text, the translator should represent the content and information of source text accurately and completely (Reiss, 2004)&lt;br /&gt;
Form-focused text, also known as expressive text, refers to literary works such as novels, poems and so on. “Distinct from ‘content’, which deals with what the author says, ‘form’ is concerned with how an author expresses himself” (Reiss, 2004). For expressive texts, information is only a supplement. What is dominant is the aesthetic factor. When translating such texts, the translator should pay attention to the aesthetic and artistic forms of the original text and to the differences between two cultural habits, trying to achieve the same effect as the source text. In a word, in a form-focused text the linguistic form of the source text determines the form in the target language (Reiss, 2004).&lt;br /&gt;
Appeal-focused text, also known as operative text, mainly includes notice, instruction manual, advertisement, publicity manual and so on. For operative texts, the primary task for the translator is to provoke a particular reaction on the hearers or readers to incite them to engage in specific actions, while content and form are subordinate. Therefore, to achieve the same effect, the translator need to change the content and stylistic features of the original text, try to keep the potential influential factors of the original text and seek functional equivalence (Reiss, 2004: 38-43). Audio-medial text, also known as multi-media text, refers to radio and television scripts, such as radio newscasts and reports, topical surveys and dramatic productions.&lt;br /&gt;
It is distinctive in its dependence on non-linguistic media and on graphic, acoustic, and visual kinds of expression. Only in combination with them can the whole complex literary form realize its full potential (Reiss, 2004). In conclusion, different texts determine different translation focuses and methods. In many cases, however, a text may have more than one function, which means that translators should integrate different translation strategies skillfully to achieve different functions of texts.&lt;br /&gt;
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===2.1.2 Vermeer’s Skopos Theory===&lt;br /&gt;
2.1.2 Vermeer’s Skopos Theory&lt;br /&gt;
Reiss’s student Vermeer, who broke the limitation of the theory of equivalent and took skopos to be the first criterion of translation process  proposed the key theory: Skopostheorie. According to Skopos Theory, when translating a text, the translator needs to consider the purpose of translation first and then choose the translation method according to the purpose, which means “the end justifies the means” (Nord, 2001). Vermeer believes that translation, like other human actions, is also a purposeful act. Translation often takes place in cultural backgrounds with different customs and values, so translation is not a simple equivalent transformation between languages. Skopos Theory does not focus on achieving the equivalence between the target text and the original text or the perfection of the target text, but on choosing the best translation strategy based on the analysis of the source text and the intended function of the target text. In a word, translation methods and strategies are determined by the intended purpose or function of the target text.&lt;br /&gt;
According to Skopos Theory, the first rule that all translators must follow is the Skopos Rule. Translation purpose can be divided into three categories: (1) the purpose of the translator, such as earning a living; (2) the communicative purpose of the translation, such as instructing the reader; (3) the purpose of using a particular translation method, such as the literal translation according to its structure to illustrate the peculiarities of grammatical structure in a language (Nord, 2001). In general, the communicative purpose is more important than the other two. The communicative purpose is usually determined by the initiator of the translation act, but the translator can take part in deciding. The second rule is the Coherence Rule. Coherence Rule requires that the translation conform to the criterion of intratextual coherence, which means that the translation must be accessible to recipients and meaningful in the target culture and in the communicative environment (Nord, 2001). The third rule is the Fidelity Rule. It means that there should be intertextual coherence between the source text and the target text, which means being faithful to the source text. Nevertheless, the degree and form of faithfulness lie in the target text and the degree that the translator understands the original text. Normally “Intertexual coherence is considered subordinate to intratexual coherence and both are subordinate to the Skopos rule” (Nord, 2001).&lt;br /&gt;
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===2.1.3 Manttari’s Theory of Translational Action===&lt;br /&gt;
2.1.3 Manttari’s Theory of Translational Action&lt;br /&gt;
Following Vermeer, Manttari develops Vermeer’s Skopos Theory and puts forward the Theory of Translational Action. He emphasizes three aspects: the behavior of the translation process, the role of the participants (the initiator, the translator and the target reader, etc.) and the environment (time, place and media) in which the translation process takes places. It views translation as “purpose-driven, outcome-oriented human interaction and construes the process of translation as message-transmitter compounds that involve intercultural transfer” (Mundy, 2001). According to Manttari, translation is “ a complex act to achieve a particular purpose” &lt;br /&gt;
(Nord, 2001). It is not about translating words, sentences or texts but is about guiding the intended cooperation over cultural barriers and promoting functional communication. Cooperation here means “transcultural communication” by Manttari.&lt;br /&gt;
The Theory of Translational Action attaches great importance to providing a functional communicative text for the recipient, a text suitable for the target culture in&lt;br /&gt;
form and style. Functional suitability is determined by the translator. The translator is&lt;br /&gt;
an expert in translation, whose role is to ensure the successful completion of cultural&lt;br /&gt;
transformation. In producing the target text, the analysis of the source text is necessary so that the translator can find out its structural and functional characteristics, which can be described by content and form. The need of the recipient is the decisive&lt;br /&gt;
factor for the target text.&lt;br /&gt;
In short, “the value of Manttari’s work is the placing of translation (or at least the professional non-literary translation which she describes) within its sociocultural&lt;br /&gt;
context, including the interplay between the translator and the initiating institution”&lt;br /&gt;
(Mundy, 2001).&lt;br /&gt;
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===2.1.4 Nord’s Theory of Function plus Loyalty===&lt;br /&gt;
2.1.4 Nord’s Theory of Function plus Loyalty&lt;br /&gt;
Though skopos rule changes the focus of translation from the source language text to the target language text and the target receivers, it has some limitations. One is that different readers have different expectations, and the translation purpose cannot satisfy all the expectations of the target reader. Another is that the translation purpose may sometimes be against the intention of the source language. Therefore, based on the skopos rule, Nord introduces the loyalty principle. The principle of loyalty is a supplementary principle proposed by Nord to make up for the deficiency of skopos rule. According to the explanation of Nord, it is not the relationship between the original text and the target text, nor the equivalence between the original text and the form of the target text, but the consistency between the author of the original text, the initiator of the translation, the translator and the reader of the target text, which is the principle of loyalty. The proposal of the loyalty principle makes up for the mistakes that some radical skopos translators usually make, such as omitting and rewriting, which makes skopos theory more perfect and makes skopos theory more likely to guide the translation of literary works.&lt;br /&gt;
“Function” and “loyalty” are two pillars of Nord’s functionalist approach. “Function” refers to what a text means or is intended to mean from the receiver’s point of view”, while “loyalty” means that “target-text purpose should be compatible with the original author’s intention” (Nord,2001). It emphasizes the interpersonal relationship between the translator, the source-text sender, the target-text addresses and the initiator. Function plus loyalty enables the translator to avoid the limitations of skopos rule and try to achieve a balance between translation purpose and the source-text author’s intention”(Nord,2001). That is to say, when translating the original text, the translator should take into account the readers' cultural background, knowledge level and expectation of the translation, and choose the corresponding translation strategy according to the translation requirements. If the reader wants to read a word-for-word translation of the article, then the translator must meet the reader's requirements, otherwise he must explain to the reader why he chose his own translation method. The translator's job is to weigh two different cultures instead of imposing one culture on another. &lt;br /&gt;
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===2.2The Application of Functionalist Approach to the Tourist Texts.===&lt;br /&gt;
2.2The Application of Functionalist Approach to the Tourist Texts.&lt;br /&gt;
In the 1990s, Functionalist Translation Theory was introduced to China, and since then it has been applied to translation studies by Chinese translation scholars. In his article published in 1995, Zhang Nanfeng briefly introduces Skopos theory to China for the first time, and considers that Skopos theory is referential (Zhang Nanfeng, 1995). German Functionalist Translation Theory, a paper released in1999, is the first article in China which systematically introduces German Functionalist Translation Theory (Zhong Weihe &amp;amp; Zhong Yu, 1999). Based on an overview of Functionalist Translation Theory, Zhang Meifang focuses on introducing Nord’s theory, especially on the detailed analysis of Nord’s principle of loyalty (Zhang Meifang, 2005). Famous domestic scholars, such as Liu Junping (2009), Liu Miqing (2012) and Li Wenge (2004), also introduce this theory in their books. With the rise of Functionalist Translation Theory in China, someone has compared it with other theories. Zhu Haotong compares Skopos Theory with Functional Equivalence Theory to analyze the similarities and differences between them, and further reveals that Functionalist Translation Theory inherits the reasonable part of Nida’s Functional Equivalence Theory, which is an important breakthrough and supplement to solve the problems that Functional Equivalence Theory leaves (Zhu Haotong, 2006). Some scholars also combine theory with translation practice to explore the application of Functionalist Translation Theory to translation practice. Jia Yanli and Wang Hongjun point out that Skopos Theory has its limitations, but it is still of instruction and reference value for non-literary translation texts, such as advertisements and tourism materials (Jia Yanli &amp;amp; Wang Hongjun, 2012). Li Liangchen selects several famous tourist attractions in China to translate the on-site tour-guide commentary into English. Then he improves them under the guidance of Skopos Theory and sends out questionnaires to overseas tourists for further analysis. He argues that the translation of on-site tour-guide commentary which is guided by Skopos Theory is more favorable to conveying information to foreign visitors, to promoting cultural exchanges and to improving the image of China’s tourist destinations (Li Liangchen, 2013). In Pragmatic Translation: Theory &amp;amp; Practice, Wu Feng and He Qingji introduce Functionalist Translation Theory (Wu Feng &amp;amp; He Qingji, 2008) and the characteristics of tourism text and translation skills (Wu Feng &amp;amp; He Qingji, 2008). In this book, they also discuss the controversy over the Chinese name of Functionalist Translation Theory, and holds that “功能派翻译理论” is the most appropriate Chinese translation (Wu Feng &amp;amp; He Qingji, 2008).Based on his own translation practice and under the guidance of Functionalist Translation Theory, Wu Zixuan probes into some special phenomena in the English translation of CNN newsreels. The author believes that in the translation of external publicity, we should not stick to the standard of faithfulness to the original text, but should deal with the original text properly from the perspective of achieving the purpose of translation, such as rewriting, abridging. (Wu Zixuan, 2005).&lt;br /&gt;
Functionalist approach establishes a theoretical system of diversified translation standards dominated by skopos rule. From the definition of Functionalist approach, it can be seen that the advantage of it is that the translator can get rid of the bondage of the original text, study the translation process with &amp;quot;translation purpose&amp;quot; as the starting point, and determine the translation strategies and methods. This can give full play to the translator's own initiative, flexible processing of the original text, in order to achieve the translation of the communicative function. In addition, functionalist approach requires the translation to be examined in the cultural context of the reader. The reader can accept the translation and understand the meaning of the original text through the translation, so the translation can realize the communicative function. On the basis of such advantages, functionalist approach can be used to guide the English translation of garden scenic spots, and the translator can choose a wider range of translation strategies and break out of the constraints of the original text. &lt;br /&gt;
Only by clarifying the purpose of translation can we avoid these limitations in the English translation of garden attractions. When using functionalist approach to guide the English translation of Chinese classical garden scenic spots, it is necessary to flexibly choose translation strategies and methods, give full play to the advantages of skopos theory, and achieve the balance between &amp;quot;principle of purpose&amp;quot; and &amp;quot;principle of fidelity&amp;quot; as far as possible.&lt;br /&gt;
With the deepening of globalization and cross-cultural communication, tourismis becoming a major industry in the 21st century. The development of tourism can not only promote the economic development of a country but also promote the external dissemination of national culture. Therefore, tourism translation deserves attention. Tourism text is a typical informative and operational text, and the language is unique. It is full of gorgeous words, such as four-character expressions, verses, proper nouns and so on.&lt;br /&gt;
Tourism text materials include tourism advertising, tourism brochures, scenic spots signs and so on. In this paper, we focus on the introduction of Chinese gardens’ scenic spots, which is usually colorful in language and rich in literary style. Tourism text translation belongs to applied translation, which should play a series of practical functions to publicize the image and resources of the country or place and attract overseas tourists. Therefore, the translator of tourism text must be clear about the type and function of tourism text, and to grasp the ultimate purpose of the translation. &lt;br /&gt;
On tourism text translation, the communicative purpose of the translation should be placed in a central position. Furthermore, the tourism text has both the information function and the calling function. The information function and the calling function complement each other. Only when the target language readers acquire the expected tourism information and cultural knowledge can the calling function be realized and the purpose of tourism text translation be achieved. With different translation strategies, the translated version should both expressed contains basic information, and make the tourists feel the profound of the Chinese culture from the beautiful scenery. &lt;br /&gt;
Cultural tourism has long been the focus of international tourism, and understanding Chinese culture is the main purpose of inbound tourists, so the translation of tourism texts bears the mission of cultural transmission and cultural publicity. However, due to the great differences between Chinese and English culture and language, there are many difficulties in cultural transmission in tourism text translation. China has a long and splendid history and culture. When introducing the scenic spots of cultural relics and historic sites, we usually associate with many historical figures and stories. These terms are cultural blank for most foreign tourists, but this kind of cultural experience is also the most attractive place for foreign tourists. It is of great importance to pay attention to cultural differences in tourism translation and carry out cultural transmission effectively. Chinese and English languages have different logic views, and Chinese expressions in tourism texts value decoration. English expressions tend to be clear, concise and to the point. For example, Chinese tourism texts often use a four-character lattice, which is symmetrical, while there is no corresponding four-character lattice expression in English. Therefore, in Chinese-English translation of tourism texts with frequent use of four-character phrases, it is necessary to keep in mind the objective principle of functionalist approach and give priority to cultural communication instead of rigidly adhering to form.&lt;br /&gt;
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===3. C-E Translation of the Summer Palace under Functionalist Approach===&lt;br /&gt;
3. C-E Translation of the Summer Palace under Functionalist Approach&lt;br /&gt;
By studying the specific translation strategies made by predecessors, the following steps are also adopted in this paper: first, the translation strategies are determined according to the text type, such as faithful reproduction of the original information or rewriting; Secondly, the translation strategies are determined according to the potential purpose of the translation, such as paraphrasing or deleting poems, generalizing specific expressions and transliterating proper nouns. Thirdly, the translation strategies are defined with the tourists as the center, such as adding logical words, adding explanatory information and using plain English.&lt;br /&gt;
The Summer Palace epitomizes the philosophy and practice of Chinese garden design, which played a key role in the development of this cultural form throughout the east. It is an outstanding expression of the creative art of Chinese landscape garden design, incorporating the works of humankind and nature in a harmonious whole, which was once the most important place of political and diplomatic activity for the supreme rulers of the late Qing dynasty. Based on three aspects of the Summer Palace, namely, garden culture, historical culture and religious culture, this paper discusses the problems existing in the English translation of the scenic spots of the Summer Palace and puts forward corresponding countermeasures under the guidance of the skopos rule of functionalist translation theory.&lt;br /&gt;
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===3.1 Garden culture.===&lt;br /&gt;
3.1 Garden culture. &lt;br /&gt;
The Summer Palace is a classical garden famous for its magnificence and beauty. There are many temples in the garden, and the green waves of kunming lake ripple. Landscape and humanities complement each other, containing rich natural and cultural information, reflecting the characteristics of Chinese classical gardens. The garden cultural features of the three scenic spots, namely, the hall of clouds, the foxiang pavilion and the Wenchang courtyard, are particularly outstanding. Therefore, this paper takes these three scenic spots as examples to discuss the Chinese-English translation of the introduction of the Summer Palace.&lt;br /&gt;
(1)	排云殿、佛香阁景区是颐和园内建筑布局最完整、建筑形式最丰富的中轴建筑群体，殿、阁、廊、亭、桥、坊、碑等建筑约两万平方米。从临水的云辉玉宇牌坊至排云门、排云殿、德辉殿、佛香阁、众香界、智慧海、层层升高，排列有序，气势巍峨，金碧辉煌，将园林、寺庙和宫殿融为一体。&lt;br /&gt;
Translation：This scenic spot covers an area of 20,000 square meters with an assortment of buildings such as palaces, towers, corridors, pavilions, walkways, bridges, archways and inscribed stone steles. It comprises a well-arranged group of structures, all diverse in style, located in the center of the Summer Palace garden. This complex of structures, ranging from the Glowing Clouds and Holy Land Archway on the waterside, the Gate that Dispels the Clouds, the Hall that Dispels the Clouds, the Hall of Moral Glory, and the Tower of the Fragrance of the Buddha, to the Realm of Popular Fragrance and the Sea of Wisdom Temple, were built in an orderly manner running from the foot of the hill to its top, with gardens, temples and palaces harmoniously integrated into the whole。&lt;br /&gt;
Analysis：As we all know, the design style of ancient Chinese buildings is beautiful with &amp;quot;symmetry&amp;quot;. The &amp;quot;axis&amp;quot; in hall of clouds scenic spot refers to the layout of the Summer Palace from far to near and from top to bottom, which cannot be simply understood as the center. Simply translating &amp;quot;axis&amp;quot; as &amp;quot;center&amp;quot; cannot express accurately the meaning of &amp;quot;symmetry&amp;quot;. Comparatively speaking, &amp;quot;axis&amp;quot; can better reflect the architectural style of the scenic spot.&lt;br /&gt;
(2)	从临水的云辉玉宇牌坊至排云门、排云殿、德辉殿、佛香阁、众香界、智慧海，层层升高，排列有序，气势巍峨，金碧辉煌，将园林、寺庙和宫殿融为一体。&lt;br /&gt;
Translation：These structures，including Glowing Clouds and Holy Land Archway at lake side，the Gate of Dispelling Clouds，the Hall of Dispelling Clouds，the Hall of moral Glory，and the Tower of Buddhist Incense，the Realm of Multitudinous Fragrance and the Sea of Wisdom Temple，were built in an orderly manner ranging up the hill with gardens，temples and palaces harmoniously integrated. This manifests beauty，grace and splendor，reminiscent of the loftingness and grandeur of a once mighty empire.&lt;br /&gt;
Analysis：In terms of the characteristics of language, Chinese emphasizes parataxis and four-word antithesis. When describing and naming scenes, gorgeous words and poetic words are generally chosen in Chinese. But, English emphasizes hypotaxis, on the other hand, puts more emphasis on reproducing the original appearance of things, using simple and natural words and preferring direct description. In sign translation, the English translation pays more attention to accurate, concise and lively. In the above paragraph, &amp;quot;层层升高，排列有序，将园林、寺庙和宫殿融为一体&amp;quot; is an introduction to the architectural features of foxiang pavilion, in order to make tourists have a clear understanding of the overall layout and architectural features of the scenic spot. This information is essential and can be translated into detail. However, &amp;quot;气势巍峨，金碧辉煌&amp;quot; focuses on the subjective description, and its explicit translation needs more complicated words. If this paragraph is translated in detail, it is easy to drag the content and make the key information vague. Therefore, the deletion of the English translation of this sentence will not affect the basic information of the original text.&lt;br /&gt;
(3)	主阁（文昌阁）两层，内供铜铸文昌帝君和仙童、铜骑。文昌阁与万寿山西供武圣的宿云檐象征“文武辅弼”。&lt;br /&gt;
Translation: A bronze statue of the God Wenchang, statues of gaeries, and a bronze steed were placed in the two-story pavilion. This tower is pared with the Tower of Cloud- Retaining Eaves, located to the west of the Longevity Hill, in which a statue of the Martial God was placed. The God Wenchang and the Martial God together symbolize reining of the emperor supported by scholars and warriors.&lt;br /&gt;
Analysis: Two questions arise in Chinese-English translation. First, there are two translations of wenchang pavilion in the translation: pavilion and tower, which appear in the same sign. Two different translations of the same scenic spot name tend to make foreign tourists think that it refers to different scenic spots, which may cause difficulty in understanding. Second, the translation of Wenchang pavilion into &amp;quot;Wenchang Tower&amp;quot; is against the actual architectural characteristics. In fact, the meanings of &amp;quot;pavilion&amp;quot; and &amp;quot;tower&amp;quot; have both similarities and differences. According to the Oxford dictionary, Tower means &amp;quot;a tall narrow building or part of a building, especially of a church or castle&amp;quot;, mainly referring to the tower-shaped part of a building, usually a tall and slender structure, such as the Eiffel Tower. &amp;quot;Pavilion&amp;quot; means &amp;quot;a building that is meant to be more beautiful than usual, built as a shelter in a park or used for concerts and dances&amp;quot;. The top structure of the pavilion usually has rectangles, triangles, hexagons, etc. The common feature of them is that the top is supported by columns without walls. From the external structure of Wenchang pavilion, its bottom is solid and its top is supported by columns. Therefore, the pavilion can accurately reflect the architectural characteristics of Wenchang pavilion, so I think it should be translated as Wenchang pavilion.&lt;br /&gt;
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===3.2 Historical culture. ===&lt;br /&gt;
3.2 Historical culture. &lt;br /&gt;
The accurate Chinese-English translation of the introduction of the Summer Palace not only enables foreign tourists to understand the characteristics of Chinese gardens, but also enables foreign tourists to understand the historical knowledge of a specific period of China. However, the Chinese-English translation of the Summer Palace still has problems in accurately conveying the historical background of the scenic spots, such as the English translation of Wenchang pavilion scenic spot:&lt;br /&gt;
(4)	此景区始建于清乾隆十五年，一八六零年被英法联军烧毁，光绪时按原样重建。阁结构为八面三层四重檐，通高36.44米，耸立于20米高的石造台基上，气势雄伟，是颐和园全园的构图中心。阁内供奉有铜铸金裹千手观世音菩萨站像。像高五米，重万斤，为明代万历年间所造，在八根贯通全阁上下的承重铁梨木擎天柱的衬托下，美妙庄严，熠熠生辉，有极高的文物和艺术价值。&lt;br /&gt;
Translation: The Wenchang tower was first built in 1750 and rebuilt under Emperor Guangxu after  the Anglo-French Allied Forces builted it down in 1860. The octahedral tower has three stories with four-layered eaves, altogether 36.44 meters high. Standing upright on a 20 meter-high stone foundation, it constitutes the center of the Summer Palace landscape and serves to accentuate its magnificence. A statue of the thousand-handed Guanshiyin Buddha, cast in bronze and gilded with gold, stands inside the tower. The statue, five meters high and five tons in weight, was cast during the reign of Emperor Wanli of the Ming Dynasty. Set off by the eight imposing pillars which support the tower, it glows with beauty, grandeur and brilliance. Its historical, cultural and artistic value can hardly be overstated.&lt;br /&gt;
Analysis: “始建于乾隆十五年”only was translated into “was first built in 1750” and the “光绪年间重建” was translated into “rebuilt under Emperor Guangxu”.The first sentence does not show that 1750 was the fifteenth year of the reign of emperor Qianlong, and the second sentence does not give foreign visitors the exact date of the reign of emperor Guangxu. The change of time concept and the disunity of expression easily make foreign tourists feel confused. Therefore, the translation of the time and the historical dynasties should be accurate and meticulous, and the supplementary method should be used to not only describe the dynasties clearly, but also supplement the corresponding years, so as to achieve the standardization of the translation. In this way, foreign tourists can not only be clear about the time of the event, but also understand the Chinese historical dynasties. Consider as follows: the Wenchang Pavilion was first built in 1750 during Emperor Qianlong’s reign（1735- 1795）and rebuilt in 1886 under Emperor Guangxu（1875- 1908）after the Anglo- French Allied Forces burned it down in 1860.&lt;br /&gt;
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===3.3 Religious culture. ===&lt;br /&gt;
3.3 Religious culture. &lt;br /&gt;
Many scenic spots in the Summer Palace have a strong buddhist atmosphere. While visiting the scenic spots, foreign tourists can understand the profound buddhist culture. Wenchang pavilion in the Summer Palace is the representative of Chinese religious culture.&lt;br /&gt;
(5)	主阁两层，内供铜铸文昌帝君和仙童、铜特。文昌阁与万寿山西供武圣的宿云檐象征“文武辅弼”。&lt;br /&gt;
Translation: A bronze statue of the god，Wenchang，and statues of two followers，the celestial boy，and the bronze steed，were placed in the two- storey pavilion. This tower is pared with the tower of Cloud- Retaining Eaves，located to the west of the Longevity Hill，in which a statue of the Martial God was placed. The two towers symbolize the support by both scholars and warriors to the ruling emperor.&lt;br /&gt;
Analysis: It is well known that westerners believe in theism, which refers to god as supreme . In Chinese religious culture, people believe in atheism and do not believe in the existence of god. Therefore, it is inappropriate to translate &amp;quot;文昌帝军&amp;quot; and &amp;quot;武圣&amp;quot; into &amp;quot;the god, Wenchang&amp;quot; and &amp;quot;the Martial god&amp;quot; in the translation. In fact, the &amp;quot;文昌帝军&amp;quot; was Zhang yu, an emperor of Shu of Ning kang (374). And &amp;quot;武圣&amp;quot; refers to Guan yu in history. Therefore, the simple translation of  &amp;quot;God&amp;quot; is not in line with the traditional Chinese culture, which will not only cause western tourists to misunderstand that Chinese religious tradition also believes in God, but also fail to convey Chinese historical allusions and relevant historical figures. In contrast, if &amp;quot;文昌帝军&amp;quot; is translated as &amp;quot;the emperor, Wenchang&amp;quot; and &amp;quot;武圣&amp;quot; is translated as &amp;quot;the Martial Master (Guanyu)&amp;quot;, it can more faithfully convey the history and religious culture contained in the source language. &lt;br /&gt;
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===4. Conclusion===&lt;br /&gt;
4. Conclusion&lt;br /&gt;
To sum up, Under the guidance of the skopos rule of functionalist translation theory, translators should have a cross-cultural awareness, fully understand the reading psychology and cultural appreciation needs of target language readers, and use effective translation strategies and methods to achieve the purpose of tourism text translation. Functionalist approach has made a pioneering contribution to the translation of non-literary genres. Functional translation effectively eliminates the disadvantages of traditional word-for-word translation, improves the efficiency of translation, and helps readers to grasp the meaning of the original text.&lt;br /&gt;
 The importance of the translation of the Summer Palace lies in the profound garden culture, historical culture and religious culture. The English translation is not only helpful for international friends to know more about the garden characteristics of the Summer Palace, but also helpful for spreading the long history and profound culture of China. In order to attract target readers and promote traditional Chinese culture, it is not only necessary to carefully explore Chinese culture and history, but also to use the fuctionalist approach appropriately. &lt;br /&gt;
Translation is a complicated process. Functionalist approach stresses the function of the discourse, the purpose of translation. In the practice of translation, if the translator can get rid of the bondage of the original equivalence, actively playing to subjective initiative, fully understanding the original text, depending on the purpose of discourse and adopting different translation strategies, the effect and readability of translation can be improved.&lt;br /&gt;
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===References===&lt;br /&gt;
References&lt;br /&gt;
Hans Vermmer, “Skopos and Commission in Translation Action”, in the Translation Studies Reader,ed. Chesterman, London and Network:Routledge,p.221-232. 2000.   &lt;br /&gt;
Munday, Jeremy. Introducing Translation Studies: Theories and Applications. Routledge publishing.2001.&lt;br /&gt;
Mason, “Textual Practices and Audience Design: and Interactive View of the Tourist Brrochure”. In Navarro et al.(eds.). Pragmatics at Work: The Translation of Tourist Literature. Bern: Perter Lang. 157-176.2004.&lt;br /&gt;
Nord, Text Analysis in Translation: Theory, Methodology and Didactic Application of a Model for Translation-Oriented Text Analysis. Beijing: Foreign Language Teaching and Research Press. 2006.&lt;br /&gt;
Nord, Translating as a purposeful activity. Shanghai: SFLE PRESS, 2001:27,30,32,65,245.&lt;br /&gt;
Reiss, Katharina. Translation Criticism: The Potentials &amp;amp; Limitations. Shanghai Foreign Language Education Press. Shanghai. 2004.&lt;br /&gt;
Venuti, Lawrence. The Translator’s Invisibility: A History Translation. Routledge.1995.&lt;br /&gt;
方梦之、毛忠明， 英汉—汉英应用翻译教程，上海: 上海外语教育出版社，2004.&lt;br /&gt;
金惠康，跨文化旅游翻译，中国对外翻译出版公司，2004.  &lt;br /&gt;
贾文波，应用翻译功能论，北京：中国对外翻译出版公司，2004&lt;br /&gt;
孙艺风，文化翻译的困惑与挑战，中国翻译，2016年第3期.  &lt;br /&gt;
王宏志，翻译与创作，北京大学出版社，2000.&lt;br /&gt;
吴自选，德国功能派翻译理论与 CNN 新闻短片英译，中国科技翻译, 2005.&lt;br /&gt;
谢天振，当代国外翻译理论，天津：南开大学出版社，2005.&lt;br /&gt;
张南峰，走出死胡同建立翻译学. 中国翻译, 1995.&lt;br /&gt;
仲伟合，钟钰. 德国的功能派翻译理论. 中国翻译, 1999.&lt;br /&gt;
张美芳，功能加忠诚—介评克里丝汀· 诺德的功能翻译理论.上海外国语大学学报, 2005.&lt;br /&gt;
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==Contrast between Literal Translation and Free Translation	张雪仪	Zhang Xueyi==&lt;br /&gt;
'''Abstract：'''&lt;br /&gt;
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The contrast between literal translation and free translation has always been the most discussed problem in translation studies. To compare these two translation methods, the basic point is to understand the purpose of translation. The ultimate goal of translation is to help different cultures communicate better, so that people who speak different languages can understand each other’s cultures. Due to the differences in social, historical and cultural backgrounds between languages, how to choose between the two translation strategies of literal translation and free translation requires translators to weigh the strengths and weaknesses of these two methods. This essay mainly compares literal translation and free translation between Chinese and Russian to help students and translators translate better.&lt;br /&gt;
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'''Key words：'''&lt;br /&gt;
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Translation strategies, Literal translation,Free translation &lt;br /&gt;
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'''摘要：'''&lt;br /&gt;
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直译与意译间的对比一直是翻译学中讨论度最高的问题。想要将这两种翻译方法进行对比，最基本的一点就是要明白翻译的目的是什么。翻译的最终目的在于帮助不同文化进行更好的交流，让使用不同语种的人相互理解彼此的文化。由于语种间社会历史文化背景的差异，如何在直译和意译这两种翻译策略中做出选择，就需要译者衡量两种方法的利弊。本文主要对汉语和俄语间直译和意译进行比较，以帮助学生和译者更好地进行翻译实践。&lt;br /&gt;
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'''关键词：'''&lt;br /&gt;
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翻译策略，直译，意译&lt;br /&gt;
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'''1.Introduction'''&lt;br /&gt;
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The former Soviet Union translation theorist Fedorov believed: “Translation is an activity that expresses what has been used in one language as a unified whole of content and form, and accurately and completely expressed in another language.” Translation theorist Barr Hudarov also wrote: &amp;quot;Translation is the process of changing the coherent discourse of one language into the coherent discourse of another language while maintaining its content and meaning.&amp;quot; To some extent, translation is a process of thinking re-creation, so certain standards and principles must be followed when translating. Translation standard is a measure of the quality of translation, it can guide translation practice, and it is a principle that must be followed in translation activities. Although each scholar has different opinions on the standard of translation, the final result he pursues is the same: the original text and the translated text express the same effect. In order to achieve the same effect, different translation methods have been derived, of which literal translation and free translation are the most commonly used.&lt;br /&gt;
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Russian idioms and proverbs, as the crystallization of the wisdom of the Russian nation and the immortal fossils in the Russian language, are one of the best materials for the Chinese to understand and learn Russian history, culture, and society. Due to different geographical, historical and economic conditions, the Russian and Chinese ethnic groups have formed different cultural backgrounds. These distinctive backgrounds and characteristics have caused great difficulties for Chinese learning Russian to further understand Russia. This essay studies the basic definitions of literal translation and free translation, their respective advantages and disadvantages and their mutual relations, and strive to solve how to use the translation methods of literal and free translation to properly translate Russian idioms and proverbs, and how to reflect the cultural background and language characteristics of Russian idioms and proverbs in the translation .&lt;br /&gt;
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'''2.Different views of &amp;quot;literal translation&amp;quot; and &amp;quot;free translation&amp;quot;'''&lt;br /&gt;
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In different periods and different countries, people's views on translation theory have changed a lot, but the debate about literal translation and free translation has always existed.&lt;br /&gt;
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In China, the contradiction between literal translation and free translation may initially be due to the different understanding of these two translation methods. The translator Sun Guiding believes that: literal translation is stuck to the structure of the original text and does not consider whether the Chinese is fluent and natural; while free translation is to use the inherent Chinese idioms and the most natural words and sentences as much as possible to achieve the effect of conveying the meaning of the original text. Former President of Wuhan University, Du Zuozhou, believes that literal translation means translating word by word according to the original text; free translation means translating according to the meaning of the original text, and the translation is more suitable for the common grammar of the translated language. The educator Meng Xiancheng believes that literal translation is a translation technology with different degrees of correctness. Literal translation is a translation that is faithful and correct according to the original text; free translation is a translation that summarizes the original meaning. Zhu Guangqian said: &amp;quot;The so-called 'literal translation' refers to the literal translation based on the original text. Every word and sentence are translated word by word, and the order of the words and sentences is not changed. The so-called ‘paraphrasing’ is to express the meaning of the original text in Chinese, and it does not have to be completely based on the literal and order of the original text. &amp;quot; The principle of &amp;quot;faithfulness, expressiveness and elegance&amp;quot; put forward by the modern Chinese translator Yan Fu has long been the basic principle guiding translation practice. A large number of beginners who learn foreign languages regard &amp;quot;faithfulness and expressiveness&amp;quot; as translations that are completely faithful to the original text when translating. In fact, Yan Fu's translation requirements are a guiding principle for translation based on semantics. When translating, if the structure and expression of the original text cannot be directly adopted, the sentence structure and expression must be changed according to the characteristics of the target language. In addition, there are many differences between the original language and the target language in the word order, grammar, variants and rhetoric in the translation process. In many cases, there is no direct corresponding word. This requires the translator to consider the actual semantics, background and other factors. On the basis of the original meaning of the sentence, use an appropriate method to convey the content of the original work and reproduce the language style of the original work.&lt;br /&gt;
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In the Soviet Union, under the influence of ideology, Western translation theories could not be widely disseminated, but within the Soviet Union, translation theories similar to Western translation theories have been formed and developed, and two main schools of translation theory have been further differentiated — Linguistic Translation School and Literary Translation School. To a certain extent, the dispute between these two schools also reflects the debate on literal translation and free translation among translators' groups. In terms of the principles or standards of translation, the linguistic translation school believes that an ideal translation should be an equivalent translation, first of all linguistic correspondence, that is, the translation should have the same meaning as the corresponding language or discourse unit of the original; the literary translation school believes that translation pursues artistic correspondence, and linguistic correspondence must be subordinate to artistic correspondence. Therefore, it proposes that the aesthetic standards of translation should reproduce the artistic reality reflected by the unity of the original content and form. The characteristic is to use images to translate images, that is, to create the same image in different languages. In 1953, Andrei Venediktovich Fedorov, the leader of the linguistic translation school, published his work &amp;quot;Summary of Translation Theory&amp;quot;, which was the first monograph of the Soviet Union to study translation theory from the perspective of linguistics. The author proposes that translation theory is a branch of linguistics. Since the translation of any genre work must rely on the comparison of two languages, translation problems can only be solved in the field of language. Fedorov’s view was refuted by the literary translation school represented by Ivan Alexandrovich Kashikin. The literary translation school believes that aesthetic issues are the core of literary translation theory, and translation should be regarded as a form of language art, that is, translation should be studied from the perspective of literature and art. In fact, the literary translation school emphasizes the translation of literary and artistic works, which belongs to the specific translation theory; while the research of the linguistic translation school focuses on the general translation theory, that is, the translation of all thematic works including literary works. The dispute between the two major translation theory schools of Russia and the Soviet Union provides another perspective for Chinese translators to explore the relationship between literal translation and free translation.&lt;br /&gt;
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'''3.The application of literal translation and free translation in the Chinese translation of Russian idioms'''&lt;br /&gt;
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The idioms of different nationalities are the most dynamic and expressive units at the lexical level in different languages, and they are also the units that can best reflect the characteristics of national culture in languages. The number of Russian idioms is extremely rich, it records and reflects all aspects of Russian national life. Due to the great differences in geographical locations and living customs between China and Russia, the national cultures reflected in Chinese and Russian must be quite different. One of the difficulties in idiom translation is its imagery. When translating idioms, both the meaning and the image must be considered. Although the Chinese and Russian cultures are very different, many of the commonalities of mankind, such as emotion and natural environment, have created conditions for mutual communication, mutual understanding and idiom translation between different languages.&lt;br /&gt;
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'''3.1 Literal translation'''&lt;br /&gt;
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Generally speaking, the literal translation method refers to a translation method that directly translates the original text without changing the language characteristics and style of the original text on the basis of fully respecting the meaning of the original text. Chinese translation of Russian idioms by literal translation method has the advantage of being able to intuitively and faithfully express the meaning of the idiom, maintaining the unique style and imagery of the original text: the disadvantage is that the translated idiom may not be understood by the Chinese because of China and Russia have different historical, cultural backgrounds, grammatical structures, and language world landscapes, which can easily form obstacles in the process of understanding.&lt;br /&gt;
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Translating Russian idioms by literal translation is further divided into two methods — literal translation into Chinese idioms and literal translation into non-idiom sentences or words.&lt;br /&gt;
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Literal translation of Russian idioms into Chinese idioms is suitable for the translation of Russian and Chinese idioms that are completely equivalent in image, structure, and meaning. The advantage is that it is easy to understand, and the translation is simple and fast. E.g:&lt;br /&gt;
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(1)домашнего  (своего) вора не убережешься. 家贼难防&lt;br /&gt;
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(2)знать как свои пять пальцев (видно, как на ладони) 了如指掌&lt;br /&gt;
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(3)подлить масла в огонь 火上浇油&lt;br /&gt;
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(4)как рыба в воде 如鱼得水&lt;br /&gt;
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(5)как ножом по сердцу 心如刀割&lt;br /&gt;
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(6)как гром среди ясного неба 晴天霹雳&lt;br /&gt;
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(7)на добро отвечают добром 善有善报&lt;br /&gt;
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(8)копейка рубль бережет 财从细起&lt;br /&gt;
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(9)мечты сбываются 梦想成真&lt;br /&gt;
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(10)курица всегда следует за петухом 嫁鸡随鸡&lt;br /&gt;
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(11)чего мало, того и дорого  (дорого то, что мало) 物以稀为贵(12)&lt;br /&gt;
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(12)изгонять яд с помощью яда 以毒攻毒&lt;br /&gt;
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(13)сидеть как на иголках 如坐针毡&lt;br /&gt;
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(14)действия громче слов 事实胜于雄辩&lt;br /&gt;
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(15)зарыть талант в землю 埋没人才&lt;br /&gt;
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(16)висеть на волоске 千钧一发&lt;br /&gt;
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(17)лить как из ведра 倾盆大雨&lt;br /&gt;
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The idioms in the above examples are completely equivalent in image, structure or meaning in Russian and Chinese, so Chinese idioms can be used for literal translation. &lt;br /&gt;
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In fact, in the two languages, idioms with the same image, structure, and meaning are still in the minority, so it is more common to translate Russian idioms into non-Chinese idiom sentences or vocabulary. E.g:   &lt;br /&gt;
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настоять на своем 坚持自己&lt;br /&gt;
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камень с души свалился 心里的一块石头落地&lt;br /&gt;
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связать свою судьбу 把自己的命运与……相连&lt;br /&gt;
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быть на голову 高出一头&lt;br /&gt;
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вбивать в голову 往脑子里灌&lt;br /&gt;
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блеснуть метеором 像流星一样一闪而过&lt;br /&gt;
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с мизинец 小拇指这么大&lt;br /&gt;
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It is not difficult to find that the literal translation method can completely retain the original appearance of the idiom, show the common concept of human understanding of the world, and be beneficial to the cultural exchange between China and Russia.&lt;br /&gt;
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'''3.2 Free translation'''&lt;br /&gt;
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Another method commonly used in the Chinese translation of Russian idioms is free translation. Free translation is to readjust the structure of the original text on the basis of keeping the original meaning of the idiom unchanged, and then reconstruct the Russian idiom with the way of thinking and expression in Chinese. This is because the figurative images used in many Russian idioms are inconsistent with those used in Chinese. If the original image is used in translation, it will cause a barrier to understanding. The advantage of free translation of Russian idioms is that it eliminates obstacles to understanding, but the disadvantage is that it cannot completely retain the original style and cultural characteristics. E.g:&lt;br /&gt;
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(1)В Тулу со свим самоваром не ездят.&lt;br /&gt;
直译：去图拉不用带自己的茶炊。&lt;br /&gt;
意译：多此一举&lt;br /&gt;
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(2)Честь лучше бесчестья.&lt;br /&gt;
直译：尊重比不尊重好。&lt;br /&gt;
意译：礼多人不怪。&lt;br /&gt;
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(3)словно горя с плеч&lt;br /&gt;
直译：把山从肩膀下卸下&lt;br /&gt;
意译：如释重负&lt;br /&gt;
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(4)выеденного яйца не стоит&lt;br /&gt;
直译：一个空蛋壳不值钱&lt;br /&gt;
意译：鸡毛蒜皮，一文不值&lt;br /&gt;
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(5)чужими руками жар загребать&lt;br /&gt;
直译：用别人的手将红炭火拨成一堆&lt;br /&gt;
意译：坐享其成，不劳而获&lt;br /&gt;
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(6)ни рыба, ни мясо&lt;br /&gt;
直译：没有鱼也没有肉&lt;br /&gt;
意译：不三不四，不伦不类&lt;br /&gt;
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(7)лучше синица в руках, чем журавль в небе&lt;br /&gt;
直译：天上的仙鹤不如手中的山雀&lt;br /&gt;
意译：远亲不如近邻&lt;br /&gt;
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(8)На языке мед, а под лед&lt;br /&gt;
直译：嘴上甜得像蜂蜜，心里冷得像冰&lt;br /&gt;
意译：笑里藏刀&lt;br /&gt;
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(9)И на солнце есть пятна&lt;br /&gt;
直译：太阳上也有黑点&lt;br /&gt;
意译：人无完人&lt;br /&gt;
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(10)семь раз отмерь, один раз отрежь&lt;br /&gt;
直译：测量了七次后再剪裁&lt;br /&gt;
意译：三思而后行&lt;br /&gt;
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Using free translation to translate Russian idioms requires the translator to accurately understand the meaning of the original text, because cultural differences make it impossible to literally translate. Only through the translator can an unobstructed bridge between Russian idioms and Chinese idioms be built.&lt;br /&gt;
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'''4.The application of literal translation and free translation in the Chinese translation of Russian proverbs'''&lt;br /&gt;
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There are often multiple translations of the same Russian proverb in Russian-Chinese dictionaries. On the one hand, because the translator uses different translation methods; on the other hand, because Russian proverbs have very rich connotations, a translation cannot perfectly interpret the inner meaning of the proverb. According to the context and the connotation of the proverbs, the most commonly used methods of Chinese translation of Russian proverbs are literal translation and free translation.&lt;br /&gt;
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'''4.1 Literal translation'''&lt;br /&gt;
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In Russian and Chinese languages, some proverbs not only have the same meaning or implicit meaning, but also use the same or similar figurative images to express a certain kind of the same semantics, and they are completely consistent in content and form. In this case, the equivalent translation of synonymous Chinese proverbs can convey the information contained in the original image, which not only retains the rhetorical color of the original language, but also enables the reader to perfectly understand the original text. E.g:&lt;br /&gt;
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(1)Куй железо, пока горячо. 趁热打铁。&lt;br /&gt;
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(2)Беда не приходит одна. 祸不单行。&lt;br /&gt;
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(3)Сытый голодного не разумеет. 饱汉不知饿汉饥。&lt;br /&gt;
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(4)Век живи, век учись. 活到老，学到老。&lt;br /&gt;
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(5)Выше встанешь, дальше увидишь. 站得高，看得远。&lt;br /&gt;
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(6)Лучше один раз увидеть, чем сто раз услышать. 百闻不如一见。&lt;br /&gt;
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(7)Нет дыма без огня. 无火不生烟。&lt;br /&gt;
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(8)Шила в мешке не утаишь. 口袋藏不住锥子。&lt;br /&gt;
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(9)Береги платье снову, а честь смолоду. 衣服要从新的时候爱惜，荣誉要从年轻时珍惜。&lt;br /&gt;
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(10)Выше лба уши не растут. 耳朵高不过额头。&lt;br /&gt;
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(11)Для милого друга семь верст не околица. 为了好友，多绕七里也不嫌远。&lt;br /&gt;
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(12)Как Новый год встретишь, так его и проведешь. 怎么迎新年，就怎么过一年。&lt;br /&gt;
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(13)Лучше умереть стоя, чем жить на коленях. 宁愿站着死，绝不站着生。&lt;br /&gt;
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(14)Не имей сто рублей, а имей сто друзей. 宁要一百个朋友，不要一百个卢布。&lt;br /&gt;
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По одежке встречают, по уму провожают. 迎客时看衣，送客时看才智。&lt;br /&gt;
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==Dialectical thinking in arguments between literal translation and free translation 	甘奉玉	Gan Fengyu==&lt;br /&gt;
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===Abstract===&lt;br /&gt;
  As two methods of translation, how to use literal translation and free translation has always been the focus of debate between Chinese and Western translation circles. Through the study of translation methods of literal translation and free translation at home and abroad, we can know that to some extent literal translation and free translation are two relative conceptions, so there will be word-for-word translation, that is, dead translation, and excessive free translation. However, these two are only two extremes of literal translation and free translation. In fact, although there are differences in definitions and application fields between literal translation and free translation, they are unified in common translation purpose, translation procedure and translation standard. Therefore, the two are contradictory and unified in translation activities. This is also the profound embodiment of the unity of opposites in materialist dialectics.--[[User:Gan Fengyu|Gan Fengyu]] ([[User talk:Gan Fengyu|talk]]) 07:46, 10 November 2020 (UTC)&lt;br /&gt;
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===Key words===&lt;br /&gt;
literal translation, free translation, word-for-word translation, over free translation, unity of opposites&lt;br /&gt;
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===摘要===&lt;br /&gt;
  作为翻译方法，直译(literal translation)与意译(free translation)怎样使用的问题一直是一个争论中西方翻译界不休的焦点。通过对国内外直译与意译的翻译方法的研究，我们可以得知，从某种程度而言，直译与意译是两个相对的概念, 所以才会有逐字翻译，即死译，与过度意译这两个完全对立的概念。但是，这两者只不过是直译与意译的两个极端点。其实，直译和意译虽然在概念定义，适用范围上有所差异，但却又统一于共同的翻译目的、翻译过程和翻译标准中。所以两者在翻译活动中应该是既对立又统一的矛盾体。而这也正是唯物辩证法中的对立统一矛盾观的深刻体现。--[[User:Gan Fengyu|Gan Fengyu]] ([[User talk:Gan Fengyu|talk]]) 07:50, 10 November 2020 (UTC)&lt;br /&gt;
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===关键字===&lt;br /&gt;
直译； 意译； 死译； 过度意译； 对立统一&lt;br /&gt;
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===Introduction===&lt;br /&gt;
  Throughout the translation history at home and abroad, the literal translation and free translation have always been a heat discussion in the translation circles. Someone absolutely approve literal translation and demean free translation, even pursue a dead translation, which creates an translated text difficult to understand. While some other people absolutely agree with free translation even advocate random acts, which means a random deletion in the translation practices and creates anther entirely different text. However, there are also a number of translators who have recognized that these two translation methods are not totally opposite. So they adopt a compromise and flexible way. That means they will choose the most appropriate one depending on the text demanding. Therefore, we can deduce from it that this eclectic translation is consistent with the Contradiction view of Unity of Opposite in Materialist Dialectics. In fact, literal translation and free translation are right a set of contradictions which are both opposite and unified. They complement each other into an integral one.&lt;br /&gt;
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===1.Dialectic thinking of the Unity of opposites===&lt;br /&gt;
===2.Word-for-word translation===&lt;br /&gt;
===3.Over free translation===&lt;br /&gt;
===4.Eclectic translation===&lt;br /&gt;
===5.Opposition and unity between literal translatiuon and free translation===&lt;br /&gt;
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===5.1 Opposition===&lt;br /&gt;
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===5.1.1 Opposition in definition===&lt;br /&gt;
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===5.1.2 Opposition in application fileld===&lt;br /&gt;
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===5.2 Unity===&lt;br /&gt;
===5.2.1 Unity in translation goal===&lt;br /&gt;
===5.2.2 Unity in translation procedure===&lt;br /&gt;
===5.2.3 Unity in translation standard===&lt;br /&gt;
===6.Conclusion===&lt;br /&gt;
===Bibliography===&lt;br /&gt;
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== Peter Newmark’s Improved Views on Literal Translation and Free Translation 赵茜 Zhao Xi==&lt;br /&gt;
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='''Document Translation'''=&lt;br /&gt;
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==On translation of official documents of CangNan County	吴恺	Wu Kai==&lt;br /&gt;
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On Translation of Official Documents of Cangnan County&lt;br /&gt;
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Japanese Language and Literature, School of Foreign Languages, Hunan Normal University, Wu Kai--[[User:Wu Kai|Wu Kai]] ([[User talk:Wu Kai|talk]]) 04:45, 2 December 2020 (UTC)&lt;br /&gt;
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==='''Abstract'''===&lt;br /&gt;
As one of the forefronts of Zhejiang’s opening-up cause, Cangnan County in Zhejiang Province has been enjoying a rapid development and an ever-growing degree of opening-up with lasting vitality as it’s supported by national policies and nourished by the dividends of economic globalization since China's reform and opening-up. As China has ushered in a period of major changes rarely seen in a century, Cangnan County is also facing new opportunities and challenges. Under the background of this era, Cangnan County is expected to make good use of its own advantages, especially the geographical ones—it is close to countries and regions including Japan, South Korea, and Taiwan—and should spare no efforts to achieve a higher level of opening-up, and, in turn, further promote its development. As an embodiment of the collective will of the people of Cangnan County, the official document is one of the best manifestations of its governance and stability control capabilities. For this reason, the research on how to translate official documents is of great significance for that it offers a great opportunity for Cangnan County to re-examine itself and to show the rest of the world its achievement in building a culture-enriched county.&lt;br /&gt;
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==='''Key words'''===&lt;br /&gt;
 official document translation, Cangnan County, opening-up, Japan, South Korea&lt;br /&gt;
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==='''摘要'''===&lt;br /&gt;
自中国改革开放以来，浙江省苍南县作为全浙江对外开放的前沿阵地之一，得到了国家政策支持和经济全球化红利的滋润，苍南县发展水平与对外开放程度日新月异，全县活力持久带劲。随着中国迎来“百年未有之大变局”，苍南县也面临着新的机遇和挑战，在此时代背景下，苍南县应该利用好自身优势，特别是临近日本、韩国、台湾等国家与地区的地理优势，努力开展更高层次、更高水平的对外开放事业，促进苍南更好的发展。为此，作为苍南县人民集体意志的体现，苍南县的公文就是对外展示其治理水平、稳控能力的最好的体现之一。而对于苍南县公文的如何翻译的研究，是促使苍南县重新审视自己、推进苍南人文县情传播海外的良机，意义重大。&lt;br /&gt;
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==='''关键词'''===&lt;br /&gt;
公文翻译  苍南县  对外开放  日本  韩国&lt;br /&gt;
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==='''I. System and Translation of Official Documents of Cangnan County'''===&lt;br /&gt;
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The unique official document system adopted by Chinese government agencies is a special integration of the thousands-of-years excellent political traditions in China and the essence of the organizational structure of the socialist regime. As a county-level unit in China's local administrative structure, Cangnan County has an official document system that is consistent with the national ones in general while has its own features. Official documents of Cangnan County can be basically divided into the following types of writing: resolutions, decisions, orders, bulletins, announcements, notifications, opinions, notices, reports, requests for instructions, approvals, proposals, letters, and minutes. Above-mentioned categories are collectively known as official documents. Besides, there are also some types of practical writing, including summaries, plans, notes, memos, briefings, speeches, manuals and so on, that are often used in our day-to-day work.&lt;br /&gt;
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In addition to those characteristics of the official documents that are commonly seen in China, official documents of Cangnan County also have its own features, which is mainly reflected in the aspect of proprietary terminology. Cangnan County, which used to be a part of Pingyang County in Zhejiang Province, was officially designated as a county in 1981 with the approval of the Central Government. It takes its name Cangnan, which means “on the south of the Yucang Mountain”, from its geographical location. As a relatively young county-level administrative unit in China’s administrative divisions, Cangnan County has a complex natural endowment and cultural environment, which is the reason why there are many special proprietary terms used in the official documents of Cangnan County, such as “Beautiful South Gate of Zhejiang Province”, “Southern Ouyue (an ancient kingdom in modern Wenzhou and Taizhou)” , “South Gate of Jiangsu-Zhejiang Region” and so on. Moreover, Cangnan is also the birthplace of the “Wenzhou Model”. Since the implementation of policy for the exchange of production materials and commercial grains in 1984, Cangnan has become an important base for the experiments and development of Wenzhou's private economy and market economy, and, thus, has made a significant contribution to the great cause of China's reform and opening-up.&lt;br /&gt;
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To conclude, the unity of the official document system viewed from the national scope of China and the uniqueness of the official document system viewed from the local scope of Cangnan area are both reflections of the integration of economic, political, and cultural elements. Therefore, when translating the terms and sentences in these official documents, obviously, it is almost impossible to follow general translation theories, such as Yan Fu’s “faithfulness, expressiveness and elegance” theory which applies to literature translation, and Christiane Nord’ Skopos theory which emphasizes schematic analysis. Due to the features of the official documents of Cangnan County, it is hard to imagine the consequence it will cause if those Cangnan and Chinese elements they contain are missed when translating them. Therefore, the starting point for the translation and research of Cangnan official documents should be analyzing the official document itself, but not choosing which translation theory to apply.&lt;br /&gt;
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The translation method focusing on the official documents themselves is undoubtably the one that emphasizes the content while manages to achieve a similarity in form. Thus, the translation theory that meets the requirements of official document translation in Cangnan County shall be the functional equivalence theory of the American linguist Eugene A. Nida. Eugene A. Nida argued in his theory that translation is to use the most appropriate, natural and equivalent language to reproduce the informational function of the source language both semantically and stylistically. Nida’s definition of translation specified that translation is seeking equivalence not only in lexical meaning, but also in semantics, style and literary form. Translation should convey both the denotative and connotative meaning of a message. Regarding the equivalence of translation, he believed that the equivalence consists of four parts: lexical equivalence, syntactic equivalence, textual equivalence, and stylistic equivalence. Among the four aspects, he emphasized that the meaning the core and most important part, followed by the form. The form of a text is likely to conceal the cultural connotation of the source language and may, therefore, hinder cultural exchanges. Based on the above, the reasons why the functional equivalence theory is applicable to official document translation in Cangnan County can be concluded as follows:&lt;br /&gt;
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First, the functional equivalence theory advocates that the target text should be equivalent to the source text both semantically and culturally. Official documents of Cangnan County are carriers of profound political culture with Chinese characteristics and the cultural environment in Cangnan. When translating them, in addition to showing the political consciousness and judicial authority of Cangnan government agencies, the local culture of Cangnan must also be reflected in the translations.&lt;br /&gt;
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Second, the functional equivalence theory suggests that if the lexical meanings and cultural elements cannot be taken into account at the same time, the translator then may give up the equivalence in form and try to reproduce the semantic and cultural meaning of the source text by changing the form of the sentence. There are many specialized terms with Chinese characteristics and Cangnan’s characteristics in official documents of Cangnan County. When translating them, once there is no corresponding expression in the target language, other forms of expression must be adopted to retain the meanings of those specialized terms as much as possible.&lt;br /&gt;
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Third, the functional equivalence theory proposes that if the change in form is still not enough to express the semantic and cultural meaning of the expression in the source language, the translation technique of “heavy damage” can be adopted to resolve cultural differences , so that the source language and the target language can achieve equivalence in semantic meaning. “Heavy damage” refers to the transformation of the deep structure of the source language into the surface structure of the target language, that is, expressing the cultural connotation of the source text with expressions of the target language. It cannot be ruled out that there are words and sentences in the official document of Cangnan County that cannot be translated, and when this happens, the translator can only rely on his translation techniques and understanding ability to process them creatively.&lt;br /&gt;
Above are simply macro analyses of the official document system in Cangnan County, and when it comes to specific analyses, challenges we face will only be severer.&lt;br /&gt;
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==='''II. Stylistic Features and Translation of Official Documents in Cangnan County'''===&lt;br /&gt;
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Looking at the official documents of Cangnan County from the micro level, we can work on the study of its translation based on the following characteristics.&lt;br /&gt;
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'''1. Details and Accurate'''&lt;br /&gt;
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As an officially-written document geared for the needs of our people, wording of the official documents of Cangnan County has a very specific orientation. Almost all content words have very clear meanings and connotations.&lt;br /&gt;
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For example, the sentence “经研究，县政府决定召开市对县安全生产巡查反馈会暨突出问题集中教育警示会，现将有关事宜通知如下。(As discussed, the county government decided to convene a feedback meeting on city-to-county inspections of production safety and a meeting for education and warning on outstanding issues. The relevant matters are hereby notified as follows.)” in the document 《苍南县人民政府办公室关于召开市对县安全生产巡查反馈会暨突出问题集中教育警示会的通知》(“Notice of the Office of the People's Government of Cangnan County on Convening a Feedback Meeting on City-to-County Inspections of Production Safety and A Meeting For Education and Warning On Outstanding Issues”) (the office of the People's Government of Cangnan County on June 8th, 2020) conveys several points very accurately and clearly, including the decision maker, the type, content and theme of the meeting. Therefore, special attention must be paid to the integrity of the information delivered when translating this sentence. For example, it is translated into Japanese as “討議を通じて、県政府は県の安全生産状況に対する市政府の巡査結果反映会及び顕著問題教育警告会を開催することが決定した。関連事項を以下のようにお知らせする。”&lt;br /&gt;
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'''2. Precise and Compact'''&lt;br /&gt;
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The role of official documents is to exchange formal information between the upper and the lower, the people and the officials, and the relevant departments. Therefore, the wording of the official documents must be rigorous. No slang and loose sentences should be used, and excessive use of parentheses and descriptive modifiers should be avoided. Official documents of Cangnan County follow this rule as well, in which there will never be informal expressions like daily spoken words.&lt;br /&gt;
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For example, the expression “三、决策目录施行动态管理，因工作需要增减或变更重大行政决策事项的，承办单位应按照相关规定程序提请调整。(Third, the decision catalogue shall be managed in a dynamic way, the undertaker shall submit application for adjustments in accordance with the relevant regulations if any increase/decrease or change shall be made to the major administrative decision-making matters because of the need of actual work.)” in the document《关于公布苍南县2020年度重大行政决策事项目录的通知》(“Notice on Issuing the 2020 Annual Catalogue of Major Administrative Decision-Making Matters of Cangnan County”) (the office of the People's Government of Cangnan County on Sept. 20th, 2020) When translating this sentence into Japanese, the translator shall fully considers the preciseness of the original expression, and translate it as “三つ目、戦略目録動的管理施行、仕事需要によっての増減または変更が必要な場合、請負機構は関連規定の手順に従って調整を提出しなければならない。”&lt;br /&gt;
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'''3. Programmed and Standardized'''&lt;br /&gt;
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The purpose of official documents requires a stable and routine writing program so that the official business can be conducted in an orderly manner. It is essential that the document writing is reasonably programmed. It allows the officer to know what it is and what to do at a glance if a standardized official document program is followed. The standardization of the official documents of Cangnan County can be regarded as a tricky feature in their translation.&lt;br /&gt;
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For example, the expression “各乡镇人民政府，县政府直属各单位 (the people's government of all townships and towns and all directly affiliated institutions of the people’s government of Cangnan County)” in the document《关于公布苍南县2020年度重大行政决策事项目录的通知》(“Notice on Issuing the 2020 Annual Catalogue of Major Administrative Decision-Making Matters of Cangnan County”) (the Office of the People's Government of Cangnan County on Sept. 20th, 2020) is obviously a standardized addressing of the receiving units of an official document, and it should be translated into Japanese as “各郷鎮人民政府、県政府直属の各部門”.&lt;br /&gt;
Viewing from a micro perspective, we may find that special attention should be paid to many precise details when translating those official documents. It is of great significance that, during the cause of reform and opening-up, we strike a balance between the macro level and the micro level in official document translation, which will serve as a stage for Cangnan County to show itself to Japan, South Korea and other East Asian countries and regions.&lt;br /&gt;
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==='''III. Translation of Official Documents of Cangnan County under the Context of the Japanese Language'''===&lt;br /&gt;
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Cangnan County is one of the nearest administrative units to Japan in China, and Okinawa Prefecture in Japan and Cangnan County are neighbors facing each other across the sea. Furthermore, Cangnan County itself has ports in Xiaguan, Pacao, Yanting, Dayu and other places, and has the basic conditions for conducting small transactions of freights with Okinawa. However, due to the inadequacy policies, laws and regulations, a large portion of Japan’s trade with China, especially with Zhejiang Province, is still conducted in the three port cities, namely Ningbo, Zhoushan, and Hangzhou. Cangnan’s geographical advantages have never been given to full play. To Japan, Cangnan is not a total stranger. Wenzhou City has a great influence upon Japanese culture and history. Special local products such as Wenzhou green tea and Wenzhou satsuma orange are very attractive to Japanese people. Many of the business exchanges during the Kamakura Bakufu in Japan were happened between Hakata merchants and Wenzhou people. As an important subordinate region of Wenzhou City, Cangnan County naturally has left an impression on Japanese people when it comes to China.&lt;br /&gt;
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If Cangnan hopes to lay a foundation for the future cooperation with Japan through its cause of opening up to the outside world, it is of great importance that we study the methods and techniques to make the translation of Cangnan’s official documents to meet the specific context of the Japanese language, which is also a part of the cultural exchanges that will facilitate economic and trade cooperation between Japan and China. The political status of Cangnan County is equivalent to the one of regular cities and special wards in Japan, but this does not mean that the official documents of Cangnan County can be regarded as equivalents to the official documents released by the governments of the regular cities and special wards in Japan, and there are huge differences between their respective official documents in form, wording, Cultural connotation and etc. To better translate Cangnan official documents under the context of Japanese language, the following aspects must be paid attention to:&lt;br /&gt;
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1. Detailed Comparison of Types&lt;br /&gt;
&lt;br /&gt;
In the Japanese official document system, the word “公文” is different in meaning from the word “公文” in Chinese official document system. In Chinese “公文” means government official documents, while in Japanese “公文” generally refer to legal documents that have the force of law and the term “公文書” is the one that refers to government official documents, which roughly includes “外交文書” and “起案文”, “通達” , “命令”, “許可”, “通知書” and so on . When translating official documents of Cangnan County into Japanese, attention should be paid to the transformation of the types of the official documents. The classifications of official documents in China and Japan are different from each other.&lt;br /&gt;
For example, when translating documents such as “proposal letter”, “report” and the like into Japanese, the title should be translated as “建言書” and “報告書”, while “命令(order)”, “通知(notice)”, “提案(Proposal)” and etc. need no translation and can be titled with the original characters directly as “命令”, “通知”, “提案”, and can also be further translated into “命令状”, “通知書”, “提案書”. Those reflect the characteristics of the division of the types of the official document system in Japan.&lt;br /&gt;
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2. Careful Consideration of the Translation of Chinese Characters&lt;br /&gt;
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There are a large number of Chinese characters in Japanese. This will for sure be an advantage when translating official documents of Cangnan County into Japanese, however, at the same time, this is also a huge disadvantage. After all, those Chinese characters are Japanized Chinese characters, and their meanings and usages are more or less different from the original ones in Chinese.&lt;br /&gt;
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For example, the expression “设定全县森林防火期(setting the season of forest fire prevention)” in the document 《苍南县应急管理局局长王再忠关于&amp;lt;苍南县人民政府关于做好森林防火期护林防火工作的通告&amp;gt;的政策解读》(“Policy Interpretation Of ‘Notice of Doing Forest Protection and Fire Prevention during the Season of Forest Fire Prevention by the People's Government Of Cangnan County’ by the Director of Cangnan Emergency Management Agency Wang Zaizhong”) in could be translated character by character into Japanese as “全県域森林防火期間設定”. However, expressions such as “野外火源如何管理” cannot be translated in the same way, and must be processed accordingly and translated into Japanese as “野外の火の元が如何に処理すること”. When translating official documents of Cangnan County into Japanese, the translators must reject the preconceived thinking and native Chinese thinking, or it will lead to irreversible misunderstandings and mistakes.&lt;br /&gt;
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3. Mastery of the Equivalence of Semantic Meaning&lt;br /&gt;
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Chinese is an isolating language, in which the grammatical meaning is reflected by the order of words, while Japanese is an agglutinative language, in which auxiliary words and flexible usages of vocabulary are adopted to reflect the grammatical meaning. This requires the translators to have mastery of the equivalence of semantic meanings when translating official documents of Cangnan County into Japanese and try to achieve perfect equivalence in official document translation.&lt;br /&gt;
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For example, there is a expression as “全体公民必须认真贯彻‘以人为本、预防为主、积极扑救、有效消灾’的森林防灭火工作方针，一旦发现森林火灾，要立即向当地人民政府或森林防灭火指挥部办公室报告(all citizens must seriously implement the working policy of forest fire prevention and firefighting ‘people-oriented, prevention-focused, active in firefighting, effective in disaster relief’, once a forest fire is detected, it must be reported to the local people’s government or the forest fire prevention and firefighting headquarters office immediately)” in the document 《苍南县应急管理局局长王再忠关于&amp;lt;苍南县人民政府关于做好森林防火期护林防火工作的通告&amp;gt;的政策解读》(“Policy Interpretation Of ‘Notice of Doing Forest Protection and Fire Prevention during the Season of Forest Fire Prevention by the People's Government Of Cangnan County’ by the Director of Cangnan Emergency Management Agency Wang Zaizhong”). When dealing with long and complex sentences, the translator must be flexible in using translation techniques to decompose the sentences and translate them step by step, focusing on the balance between the form of the sentence and its semantic meaning. Based on this principle, the abovementioned sentence could be translated into Japanese as “人間本位、予防軸化、積極救助、有効消災という森林防火作業方針は全県民が必ず強固に守らなければならない。林に火事が発見された際、直ちに所轄人民政府や森林防火指揮部執務室に報告すること。”&lt;br /&gt;
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There is no doubt that, in terms of four-character idioms, allusions, new words of the era and etc., the translation of official documents of Cangnan County under the context of the Japanese language still has a long way to go, but the part that we should pay most attention to in translation is always the differences in culture between the source language and the target language. Only by keeping this basic point in mind at all times, will there be no huge mistakes being made when translating official documents of Cangnan County into Japanese.&lt;br /&gt;
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==='''Ⅳ. Translation of Official Documents of Cangnan County under the Context of the Korean Language'''===&lt;br /&gt;
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Zhejiang Province and South Korea have laid a good foundation for economic and trade cooperation projects, and a framework that is comprehensive, wide-ranging, and multi-level has been established for Zhejiang-South Korea cooperation. The advantages of the two regions are obviously complementary and the development potential for both sides and in between is huge. In September 2016, the Zhejiang China-Korea (Quzhou) Industrial Cooperation Park was approved as the first batch of “Zhejiang International Industrial Cooperation Parks” in Zhejiang Province. The total planned area is about 3,000 acres and the total planned investment is 12 billion yuan. Represented by the Zhejiang China-Korea Industrial Cooperation Park, a large number of economic and trade cooperation projects has been carried out with South Korea by Zhejiang Province. As an indispensable part of Zhejiang Province, Cangnan County is facing a huge gap in the cultural exchanges and economic cooperation with South Korea. How to elevate the level of Cangnan’s opening up to the outside world and advancing Cangnan’s economic, trade and cultural cooperation with South Korea is a question that is well worth exploring. Although Cangnan is further away from South Korea compared with regions in the north of Zhejiang, geographic location should never be a factor that hindering Cangnan’s economic, trade and cultural cooperation with South Korea. In an era of ever-deepening globalization, it is of great significance that we think about how to develop and promote the economic and trade and cultural cooperation between Cangnan and South Korea.&lt;br /&gt;
&lt;br /&gt;
Northern Zhejiang is a key area for economic, trade and cultural cooperation with South Korea. As the south gate of Zhejiang Province, if Cangnan County could open the door of economic, trade and cultural cooperation to South Korea, then this will inevitably bring extraordinary development opportunities to southern Zhejiang and make the pattern of Zhejiang and South Korea’s economic and cultural cooperation more balanced and healthy. The political status of Cangnan County is equivalent to the one of si(city), gu (district), and gun(county) in South Korea. Because of some historical reasons, South Korea is greatly influenced by Chinese culture. From the Three Kingdoms era of Joseon, to the Unified Silla Dynasty, the Wang’s Goryeo Dynasty, and the Yi’s Joseon Dynasty, the basic system of administrative divisions in South Korea is almost the same as the one in China, so the official document system of cities, districts, and counties in South Korea can be regarded as basically equivalent to the official document system of Cangnan County with only slight differences originated from the localized political and cultural traditions and the basic social condition of South Korea. Therefore, there are relatively fewer difficulties of translation when translating official documents of Cangnan County into Korean, aside from the barriers caused by Korean Hangul words. The translation of official documents of Cangnan County under the context Korean language requires attention to the following aspects:&lt;br /&gt;
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1. The Combination of Chinese characters and Hangul&lt;br /&gt;
&lt;br /&gt;
Modern Korean uses Hangul as the main written characters, but this does not mean that there is no place for Chinese characters in the Korean system. Since the launch of the abolition of Chinese characters movement in South Korea in the 1970s, Hangul did exactly achieved an overall penetration of every aspect of their daily life, but when it comes to important documents, Chinese characters still reserve a seat in the arena of South Korea’s history. Furthermore, a higher level of talent training is required now to meet the need of South Korea’s economic and social development, and the mastery of sinology has become, among all the necessary skills, one of the most straightforward evaluation criteria to access the qualified personnel. Thus, South Korea has restarted the Chinese character teaching movement. Nowadays, the official document system in South Korea has become one in which Hangul serves as the main language and the mixed use of Chinese characters and Hangul serves as a supplement. Just as how the mixed use of kana and Chinese characters in Japanese official documents may help in its translation, the mixed use of Chinese characters and Hangul also greatly facilitate the translation of official documents of Cangnan County into Korean. However, because Chinese characters used in Korea are composed of traditional Chinese characters and a small number of Korean self-made Chinese characters, we can not take it for granted that it is advisable to translate them word by word.&lt;br /&gt;
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For example, the title of the document《苍干任〔2020〕18号 王再忠等同志的任命》(“Cangnan Cadre Appointment [2020] No. 18: Appointment of Wang Zaizhong and etc.”) (the Office of CPC Cangnan Party Committee on March 27th, 2020) can be translated with the mixed use of Chinese characters and Hangul into Korean as《蒼南縣의 幹部任命〔2020〕18號 王再忠등 同志의任命》. Also, it be translated into Korean with Hangul alone as《참남현의 간부임명〔2020〕18호 왕재충등 동지의임명》.&lt;br /&gt;
&lt;br /&gt;
2. The Usage of Refined Language&lt;br /&gt;
&lt;br /&gt;
In recent years, South Korea has carried out reforms of the official document system, urging that the South Korean government agencies at all levels should use “refined(or purified) language”, that is, to write and publish official documents with words that are easy for the public to understand and have explicit meanings, reducing the cost of communication between the government and the public and, in this way, building a closer relationship between the government and the people, so that civil servants can communicate with the people more effectively. Refined language is a kind of common vernacular that differs from the official language. Although this trend of the wording of Korean official documents is not unconditional, but when compared with official documents of Cangnan County, which emphasize the solemnity and formality of official documents, this trend is the part that the translator has to pay his attention to.&lt;br /&gt;
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For example, when translating the expression “为加强行政规范性文件管理，切实推进依法行政，加快法治政府建设 (To strengthen the management of administrative normative documents, promote the administration in accordance with law, and accelerate the construction of a government ruled by law)” in the document《苍南县人民政府关于公布县政府及县政府办公室行政规范性文件清理结果的通知（有效）》(“Notice of the Office of the People's Government of Cangnan County on the Announcement of the Results of the Cleanup of the Administrative Normative Documents of the County Government and the County Government Offices (Effective)”) (the Office of the People's Government of Cangnan County on October 23th, 2020) , blunt expressions may not be that applicable and this expression translated into Korean in a more public-friendly way as “행정 규범적인 문서관리를 강화하기 위해, 법에따라 행정을 철저히 추진하고 법치정부의 건설을 가속화시킨다.”&lt;br /&gt;
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3. Mastery of the Equivalence of Semantic Meaning&lt;br /&gt;
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Like Japanese, Korean is also a typical agglutinative language. A sentence is formed by connecting independent words with various auxiliary words, and with a subordinating conjunction at the end of the sentence. Auxiliary words are just like glues, they exist after every subject, predicate, and object component of a Korean sentence to them together. For that these auxiliary words have no substantial meaning themselves, they must stay close to the main body in front, and a space must be put after. Therefore, when translating Chinese, which is an isolated language, into Korean, which is an agglutinative language, it is necessary to have mastery of the equivalence of the semantic meaning of the expression.&lt;br /&gt;
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For example, when translating the expression “全面实施全民参保计划，做好参保情况清查，提升参保信息质量，清理重复参保，稳定持续参保，减少漏保断保，实现应保尽保。(Fully implement the national social security plan, do a good job in checking the coverage of the social security, improve the quality of the collection of the information of the insured, clean up repeated insureds, stabilize the renewal of the social security, reduce the interruption of the social security, and achieve full social security coverage.)” in the document《关于做好2021年度城乡居民基本医疗保障工作的通知》(“Notice on Doing a Good Job in Basic Medical Security for Urban and Rural Residents in 2021”)( the Office of Medical Security Bureau of Cangnan County on November 5th, 2020), the translator should pay attention to the equivalence of semantic meaning of this long sentence and translated it into Korean as “전국민기본의료보험가입계획을 전면적으로 실시하고 기본의료보험가입상황을 철저히 조사하며 기본의료보험가입 정보의 질을 향상시키고 중복기본의료보험가입을 청산하며 안정적이고 지속적인 기본의료보험가입을 하며 보험누락을 줄이고 기본의료보험가입 을 실현해야 한다.”&lt;br /&gt;
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==='''Ⅴ. Studies of Official Document Translation and the Cause of Opening-up in Cangnan County'''===&lt;br /&gt;
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Based on the abovementioned basic characteristics of the official document system of Cangnan County, the notes for official documents translation under the context of the Japanese language and the notes for official documents translation under the context of the Korean language, we can see that official documents of Cangnan County is not as difficult to handle as something untranslatable. Cangnan County enjoys a good geographic location: it is located in the coast of the East China Sea, and is close to both Japan and South Korea, two strong economies in East Asia. However, Cangnan County has not yet made use of these favorable conditions to the fullest to promote cultural cooperation and trade with the two countries. Cangnan’s opening up to the outside world requires innovative thinking and an elaborate layout. Studies on the translation of official documents of Cangnan County, especially the translation of official documents under the context of the Japanese and Korean language, will help to explore the cultural spirit of the government institutions, and play an important role in building a good image of Cangnan County in East Asia and laying a foundation for Cangnan's cooperation with major countries and regions in East Asia .&lt;br /&gt;
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The world today is undergoing profound changes rarely in a century, and so is China. The tide of history moves on and Cangnan shall not stay out of the matter, but must follow it courageously and strive to open new doors for Cangnan's opening up to the outside world through the study of the official document translation of its own.&lt;br /&gt;
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===References===&lt;br /&gt;
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[1]Ziqi LIU. The Application of Functional Equivalence Theory in Scientific Translation：A Case Study of the Translation of Shipbuilding English[J]. CREATIVITY AND INNOVATION,2019,1(3).&lt;br /&gt;
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[2]Mu Dan. Discussion on Translation Activities Under the Guidance of Functional Equivalence Theory[J]. International Journal of Education and Management,2018,3(2).&lt;br /&gt;
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[3]李琳琳. 功能对等翻译理论与关联翻译理论比较研究[D].辽宁师范大学,2006.&lt;br /&gt;
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[4]赵娟廷. 汉韩公文语体对比研究[D].复旦大学,2003. &lt;br /&gt;
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[5]周萱. 《中国共产党怎样解决民族问题》（节选）中韩翻译报告[D].青岛大学,2017.&lt;br /&gt;
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[6]张利军. 《教学的游戏性研究》的汉日翻译实践报告[D].广西师范大学,2019.&lt;br /&gt;
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[7]栾亚琼. 《2015年山东省政府工作报告》汉日翻译实践报告[D].曲阜师范大学,2016.&lt;br /&gt;
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[8]占丽华. 源流与演变—日本地方公文书馆发展路径研究[D].山东大学,2020.&lt;br /&gt;
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[9]任清萍. 功能翻译理论视角下政府工作报告日译研究[D].外交学院,2020.&lt;br /&gt;
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[10]孙慧. 产业竞争力与区域经济增长[D].苏州大学,2006.&lt;br /&gt;
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--[[User:Wu Kai|Wu Kai]] ([[User talk:Wu Kai|talk]]) 04:45, 2 December 2020 (UTC)&lt;br /&gt;
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==The Translation Process and Methods of Translating English Long Sentences	周艺文	Zhou Yiwen==&lt;br /&gt;
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===Abstract===&lt;br /&gt;
===Key words===&lt;br /&gt;
===摘要===&lt;br /&gt;
===关键词===&lt;br /&gt;
===Introduction===&lt;br /&gt;
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===Conclusion===&lt;br /&gt;
===Bibliography===&lt;br /&gt;
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==Chinese-English Translation of News Headlines From the Perspective of Skopos Theory	张维虹	Zhang Weihong==&lt;br /&gt;
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==='''Abstract'''===&lt;br /&gt;
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==='''key words'''===&lt;br /&gt;
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News headlines; Skopos theory; translation&lt;br /&gt;
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==='''摘要'''===&lt;br /&gt;
社会的飞速发展使得人们的阅读方式发生了巨大的改变, 通过阅 读新闻标题来获取消息和了解事实, 成为大多数人的不二之选, 新闻标题 翻译也就越来越具有其必要性。 新闻标题的重要性堪比一部使人印象深刻 的电影名, 一则响亮的广告语, 一本撩人心弦的书名。 较之娱乐新闻, 时 政新闻略显严肃客观, 又因当今科技物质的飞速发展, 时政新闻的点阅数 量明显少于以消遣娱乐为目的的娱乐新闻。 怎样提高时政新闻的阅读量, 怎样使得时政新闻如同娱乐新闻一般深受广大人民的喜爱, 这不仅是新闻 编辑者们的挑战, 也是新闻翻译界的难题。 本文以德国功能派翻译目的论 为理论指导, 结合新闻学及编辑学的相关学科知识, 通过对中英时政新闻 标题的对比分析, 旨在对时政新闻标题的汉译英提出翻译策略, 让国外读者正确客观无误的了解中国的时事政策。&lt;br /&gt;
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==='''关键字'''===&lt;br /&gt;
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===Introduction===&lt;br /&gt;
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===Skopos Theory===&lt;br /&gt;
&lt;br /&gt;
===Features of News Headlines===&lt;br /&gt;
&lt;br /&gt;
===Chinese-English Translation Methods of News Headlines from the Skopos Perspective===&lt;br /&gt;
&lt;br /&gt;
===Conclusion===&lt;br /&gt;
&lt;br /&gt;
===Bibliography===&lt;/div&gt;</summary>
		<author><name>Song Jianru</name></author>
	</entry>
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		<summary type="html">&lt;p&gt;Song Jianru: /* Song Jianru 宋建茹 */&lt;/p&gt;
&lt;hr /&gt;
&lt;div&gt;==Cao Runxin 曹润鑫==&lt;br /&gt;
The story plays with the analogy of zhang and mu. By infusing them into an imaginary “curtain,” the framed narrative engenders dialogic interplay between the narrator and the bridegroom, between the bride and the spectator, and between the public and private spaces. Zhang and mu mean different things, though they converge in the compound zhangmu. Traditionally, the word zhang denoted a canopy hung around a bed and was used to isolate an inner space in bedroom, so it can hardly be identical with the meaning of curtain. However, indirectly, it reached to the sense of “curtain” through a translation of Jerrold D. William’s (1803-57) Mrs. Caudle’s Curtain Lectures, a fiction of early nineteenth-century England. In 1915 Liu Bannong translated the title into “Zhangzhong shuofa” and published it in Zhonghua xiaoshuo jie.[	Liu Bannong, “Zhangzhong shuofa,” Zhonghua xiaoshuo jie, vol. 2, no.3 (March, 1915).  Zhou should (June, 1922).] &lt;br /&gt;
==Chang Huiyue 常慧月==&lt;br /&gt;
The “curtain lectures” refer to Mrs. Caudle’s poignant complaints and derision at her husband, mixed with familial trivialities and comic effects. &lt;br /&gt;
&lt;br /&gt;
However, the overlap of zhang and mu was crucially related to a widely circulated myth about the Chinese origins of cinema, which was perhaps invented by Zhou himself. When Western-style movie theaters began to appear in late-1900s Shanghai, he was one of the earliest moviegoers. Like other Chinese at his time he also regarded film as a kind of “shadow play” (yingxi), meaning the performance on a screen. According to Zhou, the origins of “shadow play” can be found in the famous story in the Han Dynasty (206-24, B.C.), which tells of the Emperor Wu watching lady Li, dancing and singing, through a semi-transparent curtain.&lt;br /&gt;
==Chen Han 陈涵==&lt;br /&gt;
As the anecdote goes, to console his loss of the favorite lady, a sorcerer made a curtained room and asked the emperor to stay at a distance. In the night, called by the sorcerer, the spirit appears behind the curtain, amidst the candle-light, to perform as if she is alive.[	Zhou Shoujuan, “Tan yingxi” (On shadow play), in Ziluilan ji (Collections of violet) (Shanghai: Dadong shuju, 1922) 13-14. Its earlier version “Yingxi hua” appeared in the Free Talk (Ziyou tan), the literary page in Shenbao (June 20, 1919): 15.]  Notwithstanding the historical merit of Zhou’s interpretation, what is significant here is that he reads history with a cinematic imagination, by which the terminology in everyday life changes - as occurred here the meaning of zhang (curtain) is substituted by that of mu (screen). &lt;br /&gt;
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In the mid-1910s Saturday and The Pastime (Youxi zazhi) magazines often appeared Zhou’s “film fiction” (yinxi xiaoshuo) - his accounts of what he had seen in the movie theaters. &lt;br /&gt;
==Chen Hui 陈惠==&lt;br /&gt;
By the time he wrote this love confession, Zhou published a novella The Intimate Beauty (Hongyan zhiji), in which the hero recalls his lover on the “screen memory”: after he closes his eyes, he sees her beautiful image on a “snow-white screen” (xuebai de bumu) and hears her delicate voice; when he opens his eyes, they vanish and yet leaves a three-inch photograph in his heart.[	Zhou Shoujuan. Hongyan zhiji (Zhonghua tushuguan, 1917) 64.]   However, “In the Nine-Flower Curtain” has no description of watching film, yet the narrative itself is framed by the curtain; what was shown on the “screen” was verbalized and the text was visualized. With both meanings of zhang and mu, the “curtain” can be changed into a “screen,” onto which is projected the inner space of a wedding chamber in which the author makes his confession.&lt;br /&gt;
在他写这篇爱情告白的时候，周出版了中篇小说《亲密之美》(《红颜之记》)，在这部小说中，主人公在“屏幕记忆”中回忆起了他的爱人:他闭上眼睛，在“雪白的屏幕”上看到了她美丽的形象，听到了她柔美的声音;当他睁开眼睛时，它们消失了，却在他的心里留下了一张三英寸的照片。(周秀娟《红颜智记》(中华图舒观1917)。然而，《九花帘幕》并没有对看电影的描述，叙事本身却被帘幕框住了;“屏幕”上显示的是语言，文字是可视化的。“窗帘”可以变成“屏风”，在“屏风”上投射出婚房的内部空间，作者在这里坦白。&lt;br /&gt;
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写下这篇爱情告白时，周寿娟已出版了一篇小说《亲密的美人》(《鸿雁集》)，男主人公以 &amp;quot;屏风记忆 &amp;quot;的方式回忆爱人：闭上眼睛后，在 &amp;quot;雪白的屏风&amp;quot;上看到了她的美丽形象，听到了她的娇声；睁开眼睛时，这些形象消失了，却在心里留下了一张三寸照片。 [ 周寿娟.鸿雁志集（中华图画馆，1917）64.]然而，《九花帘里》没有看电影的描写，但叙事本身却被帘子框住了，&amp;quot;屏风 &amp;quot;上显示的东西被口头化了，文字也被视觉化了。有了 &amp;quot;张 &amp;quot;和 &amp;quot;亩 &amp;quot;两个意思，&amp;quot;幕 &amp;quot;就可以变成 &amp;quot;屏&amp;quot;，在 &amp;quot;屏 &amp;quot;上投射出作者告白的婚房内部空间。--[[User:Liu Yi|Liu Yi]] ([[User talk:Liu Yi|talk]]) 10:37, 3 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
==Chen Jiangning 陈江宁==&lt;br /&gt;
“In the Nine-Flower Curtain” was visually imagined and represented in terms of the spaces divided into the inside and the outside, with the beholder within the curtain and the imagined beholders without. When Zhou fulfills his promise to his friends that he will show them his “love talk” in the Pictorial Story magazine, he makes a written tableau in Diderot’s sense, in which the beholder is absent and yet always implied.[	Jay Caplan. Framed Narratives: Diderot’s Genealogy of the Beholder (Minneapolis: University of Minnesota Press, 1985) 16. ]  Here, we refer to the notion of “beholder” not only because of the visual nature of Zhou’s fiction, but also because it helps my imposition of the complex “subjectivity” in this paper.&lt;br /&gt;
《九朵花的窗帘》以外部空间和内部空间的划分给人们视觉上的想象与呈现，旁观者在窗帘内，而想象中的旁观者则在窗帘外。周在兑现对其朋友承诺说他将会在《画报故事》杂志中给他们展示“爱情谈话”时，就按照狄德罗的感觉画了一幅画，在这幅画里没有旁观者，但却总是暗含其中。[杰伊·卡普兰。边框叙事：狄德罗的《旁观者的家谱》（明尼阿波利斯：明尼苏达大学出版社，1985年）16。]我们在这里提到周的小说中“旁观者”的概念，不仅仅是因为其视觉特点，也是因为它加深了我对这篇文章复杂的“主观性”的理解。--[[User:Chen Jiangning|Chen Jiangning]] ([[User talk:Chen Jiangning|talk]]) 01:09, 4 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
==Chen Jiaxin 陈佳欣==&lt;br /&gt;
At this juncture, if we look beyond this story merely as a signal of style change in Zhou’s love story from the tragic to comical, we might be curious at the positivity of the male voice as well as the brightness of the private space. In view of the erotic-sentimental tradition of the male gaze in private space, what does this love talk mean historically? Not only does it relate to the transformation of gender roles as well as the legitimacy of the private space in Chinese literature.&lt;br /&gt;
    &lt;br /&gt;
This transformation occurred when this male gaze is empowered ideologically and technologically. Ideologically, it is imbued with the Republican ideal of nationhood and selfhood; technologically, it is, in this case, facilitated by the structural optical perception linked to the modern inventions such as photography and cinema. &lt;br /&gt;
==Chen Jingjing 陈静静==&lt;br /&gt;
While depicting a tableau by freezing a moment in the past, Diderot disturbs his narrative by arranging the beholder as a part of the tableau. As Jay Caplan interpreted, the beholder is presented for the “psychological reason”: he functions as compensation to the loss which the family suffers as portrayed in the tableau.[	Ibid., 20-37.]  In Zhou’s case, the beholder is called for the moral reason as his presence is neutralized to legitimize his love discourse in the private space. Especially the term qinghua “In the Nine-Flower Curtain” can be traced back to his short story published in 1913. It describes a young couple meeting and then whispering at a public place, unaware of someone who takes a snapshot of their intimate scene.[	Zhou Shoujuan. “Qinghua” (Love talk), Youxi zazhi 5 (1913).] &lt;br /&gt;
==Chen Sha 陈莎==&lt;br /&gt;
It reads like a joke, yet this reportage intriguingly justifies the privacy in the public space that is a controversy of the time. The beholder plays roles of witness, voyeurist, and more importantly, sympathizer. In portraying the photographic evidence with the story of the beholder, Zhou also becomes a sympathetic beholder. &lt;br /&gt;
&lt;br /&gt;
The dialogic characteristic of this love discourse lies not only in the consumerism of literary pleasure as the core of the Butterfly periodical culture, but also in the collective ethos of Butterfly community. In explicating how a bourgeois “love community” is born from the literature of intimate sphere in eighteenth-century England, Habermas says: “Subjectivity, as the innermost core of the private, was always already oriented to an audience.”[	Jürgen Habermas, The Structural Transformation of the Public Sphere: An Inquiry into a Category of Bourgeois Society. Trans. Thomas Burger with the Assistance of Frederick Lawrence (Cambridge and Mass.: The MIT Press, 1991) 49. ] &lt;br /&gt;
==Chen Sunfu 谌孙福==&lt;br /&gt;
Zhou’s pillow talk is more than a playful response to his friends’ voyeurist curiosity, it is fulfilled as a promise of love discourse. It might embody that “the ideas of freedom, love, and cultivation of the person that grew out of the experiences of the conjugal family’s private sphere were surely more than just ideology.”[	Ibid., 48. ]&lt;br /&gt;
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As the pillow talk unfolds, a complex subjectivity emerges. Against its ideological and technological backdrop, it is rhetorically and aesthetically embodied by a double voice, the poetics of persuasion and linguistic theatricality. The latter part of the story talks more about his family history. “When I was six years old, I became an orphan.” With this pathological tone, Zhou narrates how his father dies at that time and how his widowed mother single-handedly rears up four children by her hard work as a seamstress.&lt;br /&gt;
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周瘦鹃的枕边私语不只是对他朋友们窥阴欲的一笑置之，还是他说给爱人的甜言蜜语。这表明男女私生活中反映出的自由观、爱情观和育人观不只是意识形态。[Ibid.,48]&lt;br /&gt;
&lt;br /&gt;
随着枕边私语慢慢展开，一种复杂的主观性油然而生。考虑到其意识形态和技术背景，这些枕边话通过修辞和美学手段呈现出来，如二重唱、诗歌的劝说功能以及语言学理论。故事的后半部分谈到了周瘦鹃的家族史。他说“我六岁就成了孤儿。”周瘦鹃用一种凄凉的口吻讲述自己六岁丧父，母亲辛苦做针黹活，将四个孩子拉扯大。--[[User:Chen Sunfu|Chen Sunfu]] ([[User talk:Chen Sunfu|talk]]) 02:31, 3 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
周瘦鹃的枕边私语不只是对他朋友们窥阴欲的一笑置之，还是他给爱人的甜言蜜语。这表明,男女私生活中反映出的自由观、爱情观和育人观不只是意识形态。[Ibid.,48]&lt;br /&gt;
&lt;br /&gt;
随着枕边私语慢慢展开，一种复杂的主观性油然而生。考虑到其意识形态和技术背景，这些枕边话通过修辞和美学手段呈现出来，如二重唱、诗歌的劝说功能以及语言学理论。故事的后半部分谈到了周瘦鹃的家族史。他说“我六岁就成了孤儿。”周瘦鹃用一种凄凉的口吻讲述自己六岁丧父，母亲辛苦做针黹活，将四个孩子拉扯大的往事。--[[User:Yao Cheng|Yao Cheng]] ([[User talk:Yao Cheng|talk]]) 08:24, 4 December 2020 (UTC)&lt;br /&gt;
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==Chen Yongxiang 陈永相==&lt;br /&gt;
This family story is particularly heart-rending, yet it is more than that. He goes on, “When my father died, it happened in the year of 1900. The capital Beijing was totally in chaos, and thus, unexpectedly, the familial disaster and national humiliation fell on a boy of six years old.” A sense of tragic sublimation is effectively rendered as the boy is depicted as both victim and victor in these historical disasters, owing much to the rhetoric that makes the familial and national disasters “happen” to meet, and “thus” they “both” fall on the boy. The sentences sound as if it happened simultaneously when his father died and Beijing fell, and this narration enormously affects the reader. &lt;br /&gt;
==Cheng Yusi  成于思==&lt;br /&gt;
However, strictly speaking, there is some slippage between fact and fiction: according to Zhou’s chronicle, his father died 22 days after the fall of Beijing.[	Wang Zhiyi, ed., Zhou Shoujaun yanjiu zhiliao (Tianjin renmin chubanshe, 1993) 20.] The dramatic simultaneity not merely refers the narrative strategy mixed with sentimentalism and patriotism, it reflects his own trauma as projected onto the screen memory of his childhood. Compared with other versions about his father’s death, this expression is most theatrical.  &lt;br /&gt;
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Zhou’s childhood memory stores the collective traumatic experiences. The 1900 national catastrophe - the Boxers Uprising and the European Allies’ invasion in Beijing - becomes the emblem of national shame that had deeply imprinted on the Chinese minds. By such theatrical representation of his screen memory, Zhou’s love talk not merely appeals to his bride, the wedding chamber itself is transformed into a public space.&lt;br /&gt;
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然而，严格来说，在事实和小说之间会存在一些误差：据周瘦鹃的生平记载，北京沦陷22天后，其父便亡，[王智毅，《研究资料研究资料》 (天津人民出版社，1993)20]。 戏剧性的巧合不仅指向与情感主义和爱国主义相融合的叙述策略，也将周瘦鹃的精神创伤投射到其童年的屏幕记忆之上。这种表达极具戏剧色彩，使得其余种种对其父亲之死的叙事版本黯然失色。&lt;br /&gt;
周瘦鹃的童年伤痕累累。1990年国难当头，义和团起义，欧洲列强入侵北京，国家屈辱深深植根在中国人心中。周瘦鹃戏剧性展现其屏幕记忆，表明其甜言蜜语不仅仅说给他的新娘子听，婚房也成为了公共场所。--[[User:Cheng Yusi|Cheng Yusi]] ([[User talk:Cheng Yusi|talk]]) 09:12, 4 December 2020 (UTC)&lt;br /&gt;
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==Deng Jinxia 邓锦霞==&lt;br /&gt;
Now the narrator is more aware of the presence of the public beholders. Aiming more at arousing collective pathos there inserts the scenario of his father’s death, which is also an intense moment for the author to test his rhetoric of theatricality. “When my father was dying, he was like a madman. Suddenly he jumped down from the bed and rushed out, raising his head toward heaven and shouting at the top of his lung, ‘My three sons, be heroes, join the army and fight!’ After these words, he returned to the bed and soon stopped breathing.” &lt;br /&gt;
==Ding Daifeng 丁代凤==&lt;br /&gt;
Permeated in the narrative of his family history are the characteristics of theatrical rhetoric: The period of his childhood is frozen, and his voice pretends to be childish; heavily emotionally charged words such as “tears,” “sorrow,” “bitter” are frequently appear between lines. Ordinary episodes are intensely represented with emphasis on the theatrical manners, gestures to deliver emotions at the highest pitch. The sentiments attached to the episodes tend to be collectively identified, such as his father’s death linked to the national calamity. There is excessive use of the adverbs to accumulate the force of persuasion and theatrical effect. No less noticeable is the role played by the narrator himself, who seems never hesitant to use the rhetoric of excess.&lt;br /&gt;
==Fang Jieling 方洁玲==&lt;br /&gt;
Perhaps no modern readers would feel comfortable at the author’s praise of his mother for her traditional virtue; she twice cuts off a piece of flesh from her arm and cooks it as a medicine for her ill mother and husband. “From now on, we should remember what she did and do our best to be filial to her. We should erect, in our hearts, a stele for her filial piety, and a monument for her widowhood; by this means we can make her late life a happy one.” When he repeats this to his bride as a family legend and spiritual heritage, the use of rituals to enhance his language performativity nonetheless turn the persuasion into the grotesque. But we need to be cautious at the accusation of Zhou’s promotion of the “feudal rites” (fengjian lijiao), for the rituals are only used as symbolic value serving the new social structure and ideology in the early Republican era.&lt;br /&gt;
==Gan Fengyu 甘奉玉==&lt;br /&gt;
According to the author’s love gospel, love must be mutual; this idea is embodied here through the narrative process itself: the act of telling the bride about his past as a token of trust aims to ask her to understand and trust him. While informing her of his intellectual paths in order to invite her to embrace his spiritual world, the pillow talk reveals its cultural meaning. Among other things, the story reveals himself as a human being who is promising yet ordinary, enduring yet fragile, and at the same time his family economy as unstable as unpredictable, indicating that they live in a hard time. It means that while sharing his bitter past and hopeful future, she must take up her duty and responsibility for him and his family.&lt;br /&gt;
==Gao Mingzhu 高明珠==&lt;br /&gt;
Zhou’s rhetoric of persuasion also implies that the bride is also at the center of a nuclear family, who must be subject to the new ethics. As the narrator further describes how he becomes a nationally famous novelist, due to his talent, diligence and proliferation in the “time of fiction in its full swing.” His jubilant voice echoes that of the beginning of the story while talking about how his family economy is drastically improved and afterwards the Zhous moves from the shabby old city area to the decent French concession. The narrator continues: “Ah, my phoenix lady, I have fully told you about my past. Having heard of this, you can understand what I have achieved so far is due to my bloody struggles with the hardships and difficulties, not to mention my mother who experienced as harder as thousands times than mine.” &lt;br /&gt;
==Gong Yumian 龚钰冕==&lt;br /&gt;
The sentimental imploration conveys the bourgeois ethics no less than a “modern apocalypse”: this is a hard time yet it is promising and fair: everyone can get what he deserves by God’s gift as well as hard work. &lt;br /&gt;
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Inscribed with such allegorized trauma, the pillow talk implies a fatal bond between the individual, family and country, and thence elicits the “community of love.” Under the persuasion she is more than a wife and a lover - she is treated at the same time as a citizen. By the device of double curtain stated above, the narrative space is imbued with the authorial anxiety before the private and public beholders, indicating that the private realm by no means becomes autonomous without being identified with peoplehood and nationhood.&lt;br /&gt;
==Gu Dongfang 顾东方==&lt;br /&gt;
A Republican subjectivity is embodied in this domestic space by a speech act of persuasion, and it is the sentimentalism that naturalizes all social relations, blurring the private and public boundaries, and it ultimately functions in identifying them with the nationhood. In a sense, this peculiar love talk using the first person genre amalgamates diary, love-letter, autobiography and confession and displays a particular revelation of the community of love.&lt;br /&gt;
&lt;br /&gt;
Although the latter half of this monologue is basically dominated by historical references, Zhou’s strategy of using stylistic conventions such as verbal ornaments or rhythmic parallelism shifts to an appeal to cultural convention, such as ritual and tradition. Tradition is used as both value and form. Like the scars left on the mother’s arms, ritual is infused into the narrative to such an extent that the procedure of writing is culturally encoded. &lt;br /&gt;
==Guan Qinqing 管钦清==&lt;br /&gt;
Compared to the characteristic of pursuing modern fashion in the first half of the story, here Zhou reveals more of his cultural conservatism. Rooted in the traditional “Teaching of Affection,” his love discourse aims at solving complex problems in a modern society; what separates Zhou from his contemporaries is that he does not intend to make his philosophy of love a perfect, unified one. In the “community of love” lies a paradox. Habermas says: “The jeopardy into which the idea of the community of love was thereby put, up to our own day, occupied the literature as the conflict between marriage for love and marriage for reason, that is, for economic and social considerations.”[	Habermas, 47.] &lt;br /&gt;
==Gui Yizhi 桂一枝==&lt;br /&gt;
As shown by Zhou’s own love story, he never forgot his first lover named “Violet,” and thus we come to realize that behind this pillow talk is the rueful truth: for him this is a “marriage for reason,” not a “marriage for love.” As he says to his bride, since he failed in the first love, he never had intention of making a family, and he married her in order to make his mother happy. Probably this loving experiment with baihua is a compromise for better communicating with the bride who is almost illiterate.&lt;br /&gt;
==Guo Lu 郭露==&lt;br /&gt;
'''Eileen Chang and the Modern Essay'''&lt;br /&gt;
&lt;br /&gt;
Nicole Huang&lt;br /&gt;
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'''Abstract'''&lt;br /&gt;
&lt;br /&gt;
In her preface to Honglou mengyan (Nightmare in the Red Chamber), Eileen Chang (1920-1995) recalls that the meanings of Liuyan, the title of her essay collection published in 1944 in the Japanese occupied city of Shanghai, derives from an English saying “written on water.” She further elaborates the implications of the metaphor: she does not expect her writing to endure-it should be like words written on water, or 'flowing words,' as 'liuyan' would mean literally, lingering momentarily and eventually elapsing; but she also hopes that her writing will be endowed with the spirit of 'rumors' or 'gossip'-a second literal meaning of the word 'liuyan'-flowing freely and swiftly, reaching a wide audience.&lt;br /&gt;
&lt;br /&gt;
张爱玲及现代小说&lt;br /&gt;
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黄群兰&lt;br /&gt;
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摘要&lt;br /&gt;
&lt;br /&gt;
在《红楼梦魇》的序言中，张爱玲（1920-1995）提到，1994年出版的《流言》的书名含义来自于英文谚语“written on water”。此后她还叙述了流言的深层含义：她并不希望自己的作品只是昙花一现，她想要自己的作品能够承载着“流言”的内涵，获得广泛受众。--[[User:Guo Lu|Guo Lu]] ([[User talk:Guo Lu|talk]]) 03:22, 3 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
张爱玲及现代小说&lt;br /&gt;
&lt;br /&gt;
黄群兰&lt;br /&gt;
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摘要&lt;br /&gt;
&lt;br /&gt;
在《红楼梦魇》的序言中，张爱玲（1920-1995）提到，1994年在日本侵占的上海出版的散文集《流言》的书名含义来自于英文谚语“written on water”。此后她还叙述了流言的深层隐喻：她并不希望自己的作品只是昙花一现，或者说流言的字面意义“飘走的话语”，她想要自己的作品能够承载着“流言”或“绯闻”的内涵——流言的第二个字面意义——自由自在地四处漂流，获得广泛受众。--[[User:Xu Pengfei|Xu Pengfei]] ([[User talk:Xu Pengfei|talk]]) 09:50, 3 December 2020 (UTC)Xu Pengfei&lt;br /&gt;
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==Han Haiyang 韩海洋==&lt;br /&gt;
Chang's use of a language of self-reflexivity provides a window through which the curious reader/critic can look into the rather intimate process of a creative work in the making, so much so that the creative mentality of the woman author becomes a text which is first to be deciphered. The invention of the title is characteristic of Chang's long-term effort to negotiate the boundaries between different genres of writing, and in this case, it is the distinction between critical/academic writing and the personal essay that is being questioned. Here, the mechanism behind the naming of her writing is more than just a clever pun. The title not only suggests a new style of essay writing, it also indicates a corresponding way to highlight the generic identities of this reinvented literary form. &lt;br /&gt;
==Han Wanzhen 韩宛真==&lt;br /&gt;
While words are described as flowing like water, and the essay genre is compared to a fluid construction of 'gossip' or leisurely talks, Chang's naming of her own writing here offers more than just commentaries on the practice of literary writing. More importantly, the renaming of the essay genre should be understood as the woman writer's commentary on the state of cultural production during a particular time in modern Chinese history that is characterized by enormous turmoil and disruption which resulted from the war and the occupation. &lt;br /&gt;
&lt;br /&gt;
I argue that Chang's experience of the time, the space, and the particular historical milieu of occupied Shanghai is channeled into her attempts to redefine the generic identities of the modern essay. The choice of the essay form is central to Chang's aesthetic vision.&lt;br /&gt;
==He Changqi 何长琦==&lt;br /&gt;
The writer's self-positioning in the realm of urban culture of 1940s Shanghai is exemplified in her appropriation of the genre. The essay is made into an important discursive site where the woman writer overtly challenges the literary conventions, searches for alternatives in both literary writing and practices of everyday life, and promotes herself as an important cultural figure. &lt;br /&gt;
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The modern essay also serves to contribute concrete forms to a life that appears void of any structure; in other words, Eileen Chang uses the form of the modern essay to construct an intelligible universe where one's imagination and fantasy can anchor. Detailed descriptions of everyday experience, that is, representations of cultural meanings of the material world, manifests not only a dynamic inner life but also a new social identity in formation. &lt;br /&gt;
==Hu Baihui 胡百辉==&lt;br /&gt;
My paper highlights two aspects of life that are conceptualized in Chang's essay writing, one is the space of a modern apartment as a liminal site in urban landscape, and the other is the discourse of fashion as a vital form of material consciousness. I argue that the essay genre not only becomes an open-ended and ongoing process for the woman writer in her entry into the existing order of the literary world, it also becomes the testing ground where the boundaries between the literary world and the larger social realm become unstable and ever-shifting. Not only life styles can be read as texts, a woman writer as an individual can become a concrete historical subject within the space allowed by the modern essay. Life is woven together with work, the boundaries between the private and the public are further blurred, and biographical contingencies become important textual devices in constructing a legend of a new era.&lt;br /&gt;
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本文着重论述了张爱玲散文创作中概念化的两个方面的生活：一是现代公寓空间作为城市景观的边缘场所；二是时尚作为一种重要的物质意识形式的话语。笔者认为，散文体裁不仅成为女性作家进入文学世界现有秩序的一个无止境的、持续的过程，而且成为文学世界与更大的社会领域之间的边界变得不稳定和不断变化的试验场。不仅生活方式可以作为文本来解读，女性作家作为个体也可以在现代散文所允许的空间内成为一个具体的历史主体。生活与工作交织在一起，私人与公众之间的界限进一步模糊，传记的偶然性成为构建新时代传奇的重要文本手段。--[[User:Hu Baihui|Hu Baihui]] ([[User talk:Hu Baihui|talk]]) 08:33, 4 December 2020 (UTC)&lt;br /&gt;
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==Hu Huifang 胡慧芳==&lt;br /&gt;
In her perface to Honglou mengyan (Nightmare in the Red Chamber), Eileen Chang (1920-1995) recalls that the meaning of Liuyan, the title of her essay collection published in 1944 in the Japanese occupied city of Shanghai, derives from an English saying “written on water.”  She further elaborates the implications of the metaphor: she does not expect her writing to endure – it should be like words written on water, or ‘flowing words,’ as ‘liuyan’ would mean literally, lingering momentarily and eventually elapsing; but she also hopes that her writing will be endowed with the spirit of ‘rumors’ or ‘gossip’ – a second literal meaning of the word ‘liuyan’ – flowing freely and swiftly, reaching a wide audience.[	See Chang, Nightmare in the Red Chamber (Taipei: Huangguan, 1977).  The book, containing Chang’s essays on authorship, themes, structure, character portrayal, and linguistic construction of the most renowned vernacular narrative of pre-modern China Dream in the Red Chamber (Honglou meng), is representative of her literary and artistic pursuits during her American years (1955-1995).]&lt;br /&gt;
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张爱玲（1920-1995）在对《红楼梦》的演说中回想起流言，这是她1944年在日本占领的上海发表的散文集的标题，源于英语谚语“写在水上。”她进一步阐述了这种隐喻的含义：她不希望自己的写作能忍受–就像在水面上写的单词或“流淌的单词”一样，“流言”的字面意思是暂时徘徊并最终流失。但她也希望她的写作能被赋予“谣言”或“八卦”的精神（流言的第二个字面意思），并能自由，迅速地传播，并引起广泛的听众。[参见Chang，Nightmare in the红楼（台北：皇馆，1977）。这本书包含了张的文章，涉及到《红楼梦》中前现代中国梦中最著名的白话叙事的作者身份，主题，结构，人物写照和语言结构，代表了她在文学和艺术上的追求。美国年（1955-1995）。--[[User:Hu Huifang|Hu Huifang]] ([[User talk:Hu Huifang|talk]]) 06:52, 4 December 2020 (UTC)&lt;br /&gt;
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张爱玲（1920-1995）在《红楼梦魇》一书的前言中谈到，“流言”意思源于英文谚语“写在水上，这也是她一部散文集的名字，出版于1944年在日本占领的上海后。她进一步阐述了这种隐喻的含义：她不指望自己的作品渊远流长–就像“在水面上写的文字”或“流淌的文字”一样，一如“流言”的字面意思，暂时徘徊并最终流逝，但她也希望她的写作能带有“谣言”或“八卦”的意味（流言的第二个字面意思），并能自由，迅速地传播，获得广泛的关注。[参见张爱爱玲，《红楼梦魇》（台北：皇冠出版社，1977）。这本书是张爱玲在美时期（1955-1995）对前现代中国梦中最著名的白话叙事小说《红楼梦》的研究成果，包含多篇文章，涉及《红楼梦》的作者身份，主题，结构，人物写照和语言结构，代表了她的文学和艺术追求。--[[User:Jiang Fengyi|Jiang Fengyi]] ([[User talk:Jiang Fengyi|talk]]) 10:26, 4 December 2020 (UTC)&lt;br /&gt;
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==Hu Jin 胡瑾==&lt;br /&gt;
Chang’s use of a language of self-reflexivity provides a window through which the curious reader/critic can look into the rather intimate process of a creative work in the making, so much so that the creative mentality of the woman author becomes a text which is first to be deciphered.  The invention of the title is characteristic of Chang’s long-term effort to negotiate the boundaries between different genres of writing, and in this case, it is the distinction between critical/academic writing and the personal essay that is being questioned.  Here, the mechanism behind the naming of her writing is more than just a clever pun.  The title not only suggests a new style of essay writing, it also indicates a corresponding way to highlight the generic identities of this reinvented literary form.&lt;br /&gt;
&lt;br /&gt;
张爱玲对自我反省语言的运用为好奇的读者/批评家提供了一个窗口，让他们得以深入了解正在创作中的作品的内在过程，因此，女作家的创作心理成为首先被解读的文本。书名反映了，张爱玲通过长期努力在不同写作类型之间寻求界限，在这种情况下，批评/学术写作和个人论文之间的区别受到了质疑。在这里，她作品命名背后的机制不仅仅是一个巧妙的双关语。标题不仅代表了一种新的散文写作风格，也代表了一种突出这种再造文学形式一般身份的相应方式。&lt;br /&gt;
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张爱玲对自我反省性语言的运用为好奇的读者/评论家提供了一个窗口，通过这个窗口，他们可以观察到创作过程中相当详细的过程，因此女作家的创作心态成为首先被解读的文本。书名反映了张爱玲长期以来努力探讨不同文体之间界限，在这种情况下，批评/学术写作和个人散文之间的区别受到质疑。在这里，她的作品命名方法不仅仅是一个巧妙的双关语。这个标题不仅表明了一种新的散文写作风格，而且也代表了一种相应的方式来突出这种革新的文学形式的共性特征。--[[User:Li LIli|Li LIli]] ([[User talk:Li LIli|talk]]) 10:09, 4 December 2020 (UTC)Li Lili&lt;br /&gt;
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==Ji Tiantian 纪甜甜==&lt;br /&gt;
During the writing process, the essay writer creates a structure of both containment (language captures the sentiments of a particular moment) and opening (language is unlimited because it lacks definite meaning or substance); and during the reading process, the immediacy and the transitoriness of the messages conveyed in these linguistic structures are first to be comprehended.&lt;br /&gt;
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While words are described as flowing like water, and the essay genre is compared to a fluid construction of ‘gossip’ or leisurely talks, Chang’s naming of her own writing here offers more than just commentaries on the practice of literary writing.  More importantly, the renaming of the essay genre should be understood as the woman writer’s commentary on the state of cultural production during a particular time in modern Chinese history that is characterized by enormous turmoil and disruption which resulted from the war and the occupation.[	For a standard historical account of cultural activities in occupied Shanghai, see Ke Ling, Zhuzi shengya (My Writing Career) (Taiyuan: Shanxi renmin chubanshe, 1986); also see Poshek Fu, Passivity, Resistance, and Collaboration: Intellectual Choices in Occupied Shanghai, 1937-1945 (Stanford: Stanford University Press, 1993).]&lt;br /&gt;
==Jiang Fengyi 蒋凤仪==&lt;br /&gt;
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Eileen Chang launched her writing career during the early 1940s, and her most important works, including the essays collected in Written on Water and the short stories collected in Chuanqi (Romances), were completed between 1943 and 45.  Chang’s fictional writing has been subjected to abundant critical scrutiny since the late 1960s and early 1970s when scholars such as C.T. Hsia and Shui Jing started to reclaim the significance of Eileen Chang and promote her as one of the finest and the most original writers in the scene of twentieth century Chinese literature.[	See Shui Jing’s Paozhuan ji (Casting a Brick to Attract Jade) (Taipei: Sanmin shuju, 1969) and Zhang Ailing de xiaoshuo yishu (The Fictional Art of Eileen Chang ) (Taipei: Dadi chubanshe, 1973), as well as C. T. Hsia’s Aiqing, Shehui, Xiaoshuo (Love, Society, and Fiction) (Taipei: Chunwenxue chubanshe 1970), both published in Taipei.  The three books were published in the midst of a renewed infatuation with the woman author shared by readers in Chinese-speaking communities outside of mainland China after 1949.]  But the study of Chang’s essay writing is a different story.&lt;br /&gt;
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张爱玲的创作生涯始于20世纪40年代初，她的重要作品包括散文集《流言》和短篇小说集《传奇》，均创作于1943年至45年间。虽然自20世纪60年代末70年代初以来，张爱玲的小说创作一直受大众批评，但是当时夏志清和水晶等学者已经开始重新认识张爱玲的意义，并称她为“二十世纪中国文学界最优秀、最具原创性的作家之一“【详见水晶的《抛砖记》（台北：三民书局，1969）和《张爱玲的小说艺术》（台北：大地出版社，1973）以及夏至清的《爱·社会·小说》（台北：纯文学出版社，1970），均在台北出版。这三本书的出版之时，正值1949年后中国大陆以外的华语读者对这位女作家重新产生迷恋之时。】但对张爱玲的散文写作的研究则是另一番景象。--[[User:Jiang Fengyi|Jiang Fengyi]] ([[User talk:Jiang Fengyi|talk]]) 10:02, 4 December 2020 (UTC)&lt;br /&gt;
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==Jiang Hao 姜好==&lt;br /&gt;
Since the most popular essays by Chang were written during the same period as her fictional writing, namely, between 1942 and 45, and some of her essays conveniently provided the concrete historical and biographical background against which the plot in her fictional writing was possibly designed, Chang’s essay writing has so far been read as the best commentaries to her fictional writing, particularly to the short stories collected in the acclaimed Romances.[	Wu Fuhui, among many others, argues that Eileen Chang’s essays are only interesting when read together with her short stories.  He uses the essay entitled ”Jingyu lu” (Stories from the Ashes) as an example, arguing that the essay should be read as providing the necessary historical context to our understanding of Chang’s highly acclaimed novella Qingcheng zhi lian (Romance Among the Ruins).  I disagree with Wu because the emphasis of the essay clearly lies elsewhere: it presents a social gallery of figures – a group of female college students, all from different cultural and ethnic backgrounds, whose brilliance of personality is brought out by the war.  The novella, however, focuses more on the falling apart and the reconstructing of the beauty legend.  Here the generic distinctions between fiction and essay are instrumental in piecing together the meanings of these two literary texts.  See Wu’s preface toZhang Ailing sanwen quanbian (A Complete Collection of Eileen Chang’s Essays) (Hangzhou: Zhejiang wenyi chubanshe, 1995).]  While such an approach to Chang’s essays can provide a coherent discussion of Chang’s literary writing as an entirety, it may overlook the specificities of the essay genre in the Chinese context and may also downplay the cultural significance of such formalistic experiments.&lt;br /&gt;
==Jiang Qiwei 蒋淇玮==&lt;br /&gt;
Chang’s experiments with the modern essay serve to position her at a critical moment of literary transformation in modern China.  While women writers had actively participated in both fictional and poetic writing since the early decades of this century, the essay genre had been monopolized by male writers.  Three major essay traditions had already been canonized when Eileen Chang took up the essay as a vital means of representation.  The ‘minor essay’ (xiaopin wen) tradition, represented by Zhou Zuoren and Lin Yutang, is characterized by a light and relaxing tone, a simple and elegant diction, political disengagement, wit, and a leisurely mood. &lt;br /&gt;
==Kang Haoyu 康浩宇==&lt;br /&gt;
The ‘miscellaneous essay’ (zawen) tradition, represented by Lu Xun and several generations of followers, including a group of leftist writers residing in Gudao (Isolated Island) Shanghai (1937-41), highlights intellectual sharpness and rhetoric eloquence, advocates active engagement with reality, and maintains the belief that literary writing should be employed as a powerful tool for social criticism and political intervention.  And finally, the ‘refined essay’ (meiwen) tradition, represented by Zhu Ziqing and many writers from both the Literary Studies Circle (Wenxue yanjiu hui) and the Creation Society (Chuangzao she) since the 1920s, advocates linguistic experiments, whose goal is to create a language of refinement and elegance, and imageries that embody highly aesthetic and sensual qualities.[	Most standard literary histories published in China do not attempt to distinguish between different styles of modern essay writing.  The zawen (the miscellaneous essay) tradition is often highlighted as the mainstream style for its definition of literature as social and political critique.  These standard literary histories do acknowledge the lyrical qualities of xiaopin wen and meiwen but fail to situate the practice of these alternative essay writing styles in their cultural and intellectual contexts.  See Wang Yao, Zhongguo xinwenxue shigao (History of the ”New Literature” in China), Tang Tao and Yan Jiayan, Zhongguo xiandai wenxueshi (Modern Chinese History), and Qian Liqun et al., Zhongguo xiandai wenxue sanshinian (Thirty Years of Modern Chinese Literature).]&lt;br /&gt;
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杂文派的代表人物有鲁迅及其几代追随者，包括一群上海孤岛时期（1937-41）的左翼作家。他们强调知识分子的敏锐和修辞口才，倡导积极接触现实，并坚持认为文学写作应用作社会批评和政治干预的有力工具。最后是美文派，诞生于20世纪20年代，代表人物是朱自清以及来自文学研究会和创造社的许多作家。他们倡导语言实验，旨在创造一种精致优雅的语言，以及体现高度审美和感官品质的意象。[中国出版的大多数标准文学史并不试图区分不同风格的现代散文作品。杂文经常被视作主流文体，因为它把文学定义为社会和政治批判。这些标准的文学史确实承认了小品文和美文的抒情品质，但未能将这些另类散文的写作风格实践置于他们的文化和知识背景中。参考王耀，《中国新文学史稿》，汤涛、严家炎，《中国现代文学史》，钱理群等，《中国现代文学三十年》。]--[[User:Kang Haoyu|Kang Haoyu]] ([[User talk:Kang Haoyu|talk]]) 04:04, 4 December 2020 (UTC)&lt;br /&gt;
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==Kang Lingfeng 康灵凤==&lt;br /&gt;
Most of the women writers in 1940s Shanghai experimented with essay writing.  In fact, women produced a larger quantity of essays than any other literary genre.  In addition to Eileen Chang, many women writers of the period, including Su Qing (1917-1982), Guan Lu (1908-1982), Pan Liudai (1922-?), and Shi Jimei (1920-1968), also discovered the generic fluidity embedded in the essay form.  Compared to their experiments with other literary genres, such as fiction, drama, and poetry, it is in women’s essay writing of the period that the discourses of female gender and sexuality, issues of the domestic sphere, and the structures of social institutions such as marriage are most vigorously challenged and thoroughly reformulated.  The essay genre is the most powerful literary form adopted by women writers such as Eileen Chang in their efforts to constantly redefine the boundaries between life and work, and to meticulously weave the space of private life together with the space provided by literary writing.&lt;br /&gt;
==Kong Xianghui 孔祥慧==&lt;br /&gt;
In the following sections, I will argue that the woman writer’s experience of the time, the space, and the particular historical milieu of occupied Shanghai is not only mirrored in her representation of individual experiences of the war, the occupation, and the everyday, but also in her attempts to redefine the generic identities of the modern essay and to reinvent a kind of prose language that most vividly captures the transitional as well as eccentric nature of the essay genre.  I will also argue that the choice of the essay form is central to Chang’s aesthetic vision.&lt;br /&gt;
==Kong Yanan 孔亚楠==&lt;br /&gt;
The female writer’s self-positioning in the realm of urban culture of 1940s Shanghai is exemplified in her appropriation of the genre.  I will analyze Chang’s essay writing of the period to demonstrate how the genre was made into an important discursive site where the woman writer overtly challenged the literary conventions, searched for alternatives in both literary writing and practices of everyday life, and promoted herself as an important cultural figure.  The uniqueness of this body of literary texts lies in the fact that it presents a version of women’s literature set within the context of the wartime occupation while interacting with urban commercial and print culture in 1940s Shanghai.&lt;br /&gt;
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在1940年代的上海都市文化领域中，张爱玲作为女性作家的自我定位主要体现在她对体裁的运用上。我将通过分析张爱玲的那个时代的散文作品来展示体裁如何成为一个重要的话语场，在这个场内，张爱玲公开挑战文学传统、追寻文学创作和日常生活实践中的其他选择、促使她自己成为一位著名的文化人物。这部文学作品的主体部分的独特性在于它展现了1940年代上海战争占领期交织着都市商业和印刷文化的背景下的女性文学版本。--[[User:Kong Yanan|Kong Yanan]] ([[User talk:Kong Yanan|talk]]) 14:36, 4 December 2020 (UTC)&lt;br /&gt;
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20世纪40年代的上海都市文化领域中，张爱玲作为女性作家的自我定位主要体现在体裁运用方面。我将通过分析张爱玲的那个时代的散文作品，从而来展示体裁如何成为一个重要的话语场，在这个场内，张爱玲公开挑战传统文学，追寻文学创作和日常生活实践中的其他选择，这也促使她成为一位著名的文化大师。这部文学作品的主体部分的独特性在于，它展现了20世纪40年代上海战争占领期间，都市商业和印刷文化的背景下的女性文学。--[[User:Guo Lu|Guo Lu]] ([[User talk:Guo Lu|talk]]) 01:50, 5 December 2020 (UTC)&lt;br /&gt;
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==Lei Fangyuan 雷方圆==&lt;br /&gt;
'''Essay and the aesthetics of liminality'''&lt;br /&gt;
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How, then, does Eileen Chang write the experience of war and turbulence into the transformed form of the modern essay?  While the sense of impending massive destruction is omnipresent in her essay writing of the 1940s, the representation of the specific historical situation is not delivered through any direct social and political reference to the immediate present; instead, the presence of history is often concealed under the masquerade of an aesthetic vision put together by a meditative inward gaze, an orchestra of city sounds, and an imagined border of the urban civilization endangered:&lt;br /&gt;
==Lei Kuangxi 雷旷溪==&lt;br /&gt;
Alone I sit next to a candle, thinking about the past and the present.  What I have been busy doing for the last two years will probably be shattered soon. …… I should have a sense of it.&lt;br /&gt;
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I was alone on the dusky balcony after Su Qing left.  Suddenly I saw a tall building far away, on whose edges hung a great swatch of rouge-like redness.  At first I thought it was the reflection of the setting sun on the windows, but on second glance, I realized that it was a  full moon, rising crimson above the city.  I thought to myself, “so this is what they mean by turbulent times.”  In the evening mist, the borders of Shanghai were gently rising and falling in the distance, resembling layered mountain peaks, although there are no mountains surrounding our city.&lt;br /&gt;
==Li Haiquan 李海泉==&lt;br /&gt;
I pondered the fate of many people, including myself.  I began to have a melancholy sense of what we call destiny.  Such intimations normally connote self-involvement and self-pity, but I now think that they might suggest something altogether more broad.  When the peace and security of the future finally do arrive, they will no longer belong to us; at the present moment each of us can only strive to comfort ourselves……[	See ”Wo kan Su Qing” (The Way I Look at Su Qing), in Tiandi yuekan (Heaven and Earth Monthly) 19 (April, 1945).]&lt;br /&gt;
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This impressionistic silhouette of the city is none other than the dramatic presence of modern history itself.  Here, history is visualized, flattened, and inevitably spatialized.  The image of the city and the force of history intermingle into one performative moment, instantaneously captured by the ‘I,’ the woman writer, who sits on the balcony of her private home, looking out into the distance, watching the border of the city rise and fall, observing the currents of history come and go, as if the entire setting was a mere act in a long and winding chuanqi (romance) play. &lt;br /&gt;
==Li Lili 李丽丽==&lt;br /&gt;
History in Eileen Chang’s representation becomes a narrative which rejects any deep structure or profound meaning.  Characterized by chaos and reversal, history appears to be no more than a shadowy presence in our consciousness:&lt;br /&gt;
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In this era, the old things are falling apart, while the new ones are still in formation.  Before the high tide of the era arrives, all certainty is but an illusion.  We feel that everything in our everyday life is out of order to a terrifying degree.  An individual belongs to a certain historical era, but our present era is sinking like a shadow; therefore we feel we have been deserted.  In order to prove our own existence, we want to grasp onto something that is real, something fundamental.  We then seek help from our ancient memory, the memory of human beings who have lived through various times in history.&lt;br /&gt;
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张爱玲笔下的历史成为一种拒绝任何深层结构或深层意义的叙事。历史以混乱和反转为特征，在我们的意识中似乎只不过是一个影子：&lt;br /&gt;
在这个时代，旧事物正在分崩离析，而新事物还未形成。在时代的高潮到来之前，所有确定的东西都只是一种幻觉。我们觉得我们日常生活中的每件事混乱不堪，令人害怕。每个人都属于某个历史时代，但我们现在的时代正在像影子一样消失，我们觉得自己被遗弃了。为了证明我们自己的存在，我们想要抓住一些真实的东西，一些基本的东西。然后，我们从我们古老的记忆中寻求帮助，即曾经经历过不同时期的人的记忆。--[[User:Li LIli|Li LIli]] ([[User talk:Li LIli|talk]]) 09:21, 4 December 2020 (UTC)Li Lili&lt;br /&gt;
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==Li Lingyue 李凌月==&lt;br /&gt;
Looking back helps us regain more clarity and closeness than we might gazing far into the future.  We then have a strange feeling about the reality that surrounds us.  We begin to suspect that this is an absurd and antiquated world, gloomy and bright at the same time.  Between memory and reality, there often arise unbearable discrepancies, resulting in a perplexing but subtle agitation, an intensified but indefinable struggle.[	See ”Ziji de wenzhang” (Writing of One’s Own), in Written on Water, 1944.  This translation is based on an earlier version by David Wang.  See Wang, ”Fin-de-siècle Grandeur: Contemporary Women Writers’ Vision of Taiwan,” Modern Chinese Literature 5.4 (1992) 45-65.]&lt;br /&gt;
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回首过去而不是遥望未来有助于我们重新获得更清晰、更亲近的感觉。然后我们对周围的现实有一种奇怪的感觉。我们开始怀疑这是一个荒诞而古老，阴暗而光明的世界。在记忆与现实之间，常常会产生难以忍受的差异，从而产生一种令人费解却又微妙的骚动，一种剧烈但难以言喻的斗争。[《写在水上》，1944年。此翻译是基于王大卫的早期版本。见王，“台湾当代女性作家的视野”，中国现代文学5.4（1992）45-65。]--[[User:Li Lingyue|Li Lingyue]] ([[User talk:Li Lingyue|talk]]) 05:15, 3 December 2020 (UTC)&lt;br /&gt;
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回顾过去可以帮助我们重新获得比凝视遥远的未来更清晰和亲近的感觉。我们对周围的现实有一种奇怪的感觉。我们开始怀疑，这是一个荒谬而陈旧的世界，黑暗与光明同时并存。在记忆和现实之间，常常会出现难以忍受的差异，导致一种令人困惑但微妙的激动，一种加剧但难以定义的挣扎。参见《自己的写作》，载于《水上记》，1944年。这个译本是根据王大卫的早期版本翻译的。参见王，“世纪末的宏伟:台湾当代女作家的视野”，中国现代文学5.4(1992)45-65。--[[User:Zhou Siqing|Zhou Siqing]] ([[User talk:Zhou Siqing|talk]]) 12:02, 3 December 2020 (UTC)&lt;br /&gt;
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==Li Liqin 李丽琴==&lt;br /&gt;
Here, history is no longer presented as a linearly progressing course; instead, it is broken into numerous fragments which can be reorganized and attributed with fresh meanings.  The passage quoted above demonstrates Eileen Chang’s fascination with various liminal sites, in time or in space.  Throughout her writing career, Chang has created many liminal sites, such as the illusory realm between memory and reality, the brief moment between past and present, and the intersection between life and work, fiction and poetry, stage movements and everyday events.  The best of Chang’s writing often captures these transitional moments or sites, and the subjectivity in question is often taken over by a deep sense of uncertainty:&lt;br /&gt;
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==Li Luyi 李璐伊==&lt;br /&gt;
An individual can afford to wait, but an era is transient (''cangcu'').  Things are being torn apart, and an even larger destruction is on its way.  Someday our civilization, no matter how glorious, will become the past.  I often use the word “desolation” (''huangliang'' 荒涼) because there is a premonition of impending danger underlying my thought.  &lt;br /&gt;
At such a ‘transient’ moment in history which will probably ‘sink’ like a ‘shadow’ in an instant, how, then, should an individual, in this case, a woman writer, position herself?&lt;br /&gt;
Make yourself famous as early as possible!  If success comes too late, it will not be as enjoyable. …… Hurry! Hurry! Otherwise it will be too late! Too late!&lt;br /&gt;
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一个人可以等待，一个时代却是仓促的。一切都在四分五裂，更大的毁灭即将到来。终有一天我们的文明，不论多么辉煌，都将成为过去。我经常使用“荒凉（desolation）”一词，因为我的思想中隐含着即将降临之危险的预感。在这样一个“仓促”的历史时刻——它可能会像一个“影子”般瞬间“沉没”，那么，在这种情况下，一个女性作家应该如何定位自己呢？让自己尽早出名！如果成功来得太迟，就不那么令人愉快了......快点！再快点！否则就太迟了！太迟了！--[[User:Li Luyi|Li Luyi]] ([[User talk:Li Luyi|talk]]) 11:32, 3 December 2020 (UTC)&lt;br /&gt;
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一个人或许等得起，但一个时代却是仓促的。一切都在四分五裂，更大的毁灭即将到来。终有一天，我们的文明不论曾经多么辉煌，都终将成为过去。我常使用“荒凉”一词，因为我的思想中隐含着危险的预感。在这样一个“仓促”的历史时刻——它可能会像一个“影子”般瞬间“沉没”，那么，在这种情况下，一个女性作家应该如何定位自己呢？让自己尽早出名！如果成功来得太迟，就不那么令人愉快了......快点！再快点！否则就太迟了！太迟了！--[[User:Kang Haoyu|Kang Haoyu]] ([[User talk:Kang Haoyu|talk]]) 04:12, 4 December 2020 (UTC)&lt;br /&gt;
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==Li Meng 李梦==&lt;br /&gt;
These short, choppy sentences deliver a sense of urgency.  To choose to define oneself through writing is then related to the woman writer’s understanding of the particular historical situation in 1940s Shanghai.  It is a sense that the era is only a transitional moment in human history – the end is imminent and a new historical landscape will take shape.  The imperative to make oneself famous then has to do with an urgent need to “occupy” a space in a swiftly dimishing landscape and to hold on to a moment that is constantly slipping away.  Eileen Chang’s writing then highlights a very personal moment at a time when any individual voice is likely to be shattered by the grips of the modern warfare and eventually engulfed by the ruins of history.&lt;br /&gt;
这些简短、不连贯的句子给人一种紧迫感。选择通过写作来定位自己，与张爱玲对20世纪40年代上海特殊历史境遇的认识有关。这给人的感觉是，这个时代只是人类历史的一个过渡时刻，结束迫在眉睫，新的历史景观即将形成。因为迫切需要在瞬息万变的情况下“占据”一个空间并抓住某个转瞬即逝的时刻，所以必须成名。张爱玲的作品强调了一个非常私人的时刻，在这个时刻，任何个人的声音都可能被现代战争的猛烈冲击所粉碎，并最终被历史的废墟所吞没。--[[User:Li Meng|Li Meng]] ([[User talk:Li Meng|talk]]) 05:59, 5 December 2020 (UTC)&lt;br /&gt;
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==Li Yongshan 李泳珊==&lt;br /&gt;
Here the woman writer is going against her time by seeking an appropriate literary form and an adequate literary language to capture the essence of this fleeting moment in modern Chinese history.  The new form and new language should be adequate to represent the dream-like world, the fragmented time, and the vanishing horizons of urban civilizations.&lt;br /&gt;
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Chang’s choice of the essay genre is then consistent with her unique vision of history and her fascination with what I would call ''the aesthetics of liminality''.  One cannot find a more appropriate literary genre than the modern essay to capture the liminal qualities of that specific historical milieu.  The essay is a genre that is positioned between the careful structuring of fiction and the free flow of poetry.  The essence of essay writing lies exactly in its lack of essence or its eccentricity.  The modern essay is a genre that is itself transitional.&lt;br /&gt;
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==Li Yu 李玉==&lt;br /&gt;
The liminal qualities of the modern essay are further enhanced in various textual strategies Chang uses to challenge generic identities in literary conventions.  For instance, Chang’s essay entitled “Shuangsheng” (Duet)  represents one of the most intrepid literary experiments undertaken during the period.  The influence of the roundtable talk, a prominent genre in popular culture, had penetrated the realm of literary writing.   In “Duet,” literary writing takes the form of a mini roundtable talk.  At the beginning of the essay, like most of the roundtable talks recorded in popular journals of the time, the surroundings and the atmosphere are provided in a painstakingly descriptive language.  The conversation takes place in a coffee shop, where Eileen Chang, the narrator, and Mo Meng (named Yan Ying elsewhere), Chang’s female companion, indulge themselves in coffee and pastry while starting their rambling chat about anything and everything:&lt;br /&gt;
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==Lin Min 林敏==&lt;br /&gt;
Having seated ourselves, we started chatting about a variety of things in great detail.  When our topics became more weighty, she [Mo Meng] said: “You know what, this seems a lot like a roundtable discussion.”&lt;br /&gt;
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Within the space provided by the essay, the two women then continue to talk about a variety of topics: the language of love in both China and the West, the construction of romance in different cultural contexts, gender relationships inside and outside wedlock, fashions for women of different age groups, and the distinctiveness of the Japanese mentality.  The fragmentary and all-inclusive qualities (''san'') of modern prose style (''sanwen'') had already been fully elaborated by Eileen Chang; the format of a roundtable talk coincides with the need to push the limit of modern prose style to its most eccentric, unrestrained, and far-ranging extreme.&lt;br /&gt;
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==Lin Xin 林鑫==&lt;br /&gt;
For a discussion of the roundtable talk as an important cultural genre in 1940s Shanghai, see Nicole Huang, ''Written in the Ruins: War and Domesticity in Shanghai Literature of the 1940s''.  The roundtable talk became an instrumental cultural genre in 1940s Shanghai.  It was a new form of showcasing women writers by placing words (voices) and images (descriptions of their presence, and photographs) all on display.  Major newspapers and journals of the period all used this strategy to advertise their publication, promote their circles of new writers, and take part in the construction of an expanded community put together by publishers, editors, writers, artists, and readers.&lt;br /&gt;
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The structure of this essay also bears resemblance to that of a one-act play.  The beginning passages can be viewed as stage descriptions.  The action takes place in one quiet afternoon when two protagonists are engaged in a highly performative dialogue, and theatrical effect is enhanced when dramatic moments arise from time to time throughout the recorded conversation. &lt;br /&gt;
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==Ling Zijin 凌子瑾==&lt;br /&gt;
“Wo kan Su Qing” (The Way I Look at Su Qing) presents Chang’s further effort to test the generic boundaries of the modern essay.  The author effortlessly switches back and forth between her characterization of Su Qing and a close-up of the narrative self gazing inward.  At one point in the essay, the author/narrative self pauses and admits that, in this essay devoted to Su Qing, she has actually devoted much more space to self-portrayal.  Most of the time, the essay reads like an internal monologue: the narrative self is immersed in a constantly flowing display of numerous intimate moments.  The free flowing of a sequence of random thoughts and the switch back and forth between different personas are fictional and theatrical devices used to further widen the representative capacities of the modern essay.&lt;br /&gt;
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==Liu Bo 刘博==&lt;br /&gt;
While “The Way I See Su Qing” imports fictional devices into the form ‘minor essay,’ an earlier essay entitled “Siyu” (Whispers)  demonstrates an even more radical experiment, that is, to turn the genre into a new form of autobiographical writing.  The title of the essay takes on double meanings: while ‘''siyu''’could mean ‘private talks,’ it could also mimic the lowered and fragmented voice used in talking about the most intimate moments in one’s private life.  The narrative voice in the essay whispers, murmurs, and gossips.  Nothing substantial is presented; instead, segments of life, tinted with the haziness of childhood memory, are organized in the re-invented prose form, like a stream of thoughts or a random layout of scenes.  The technique used here closely resembles montage: segments of the past are presented like flashbacks, and moments of free-association further remind the reader of the constantly blurred boundaries between memory and reality, past and present. &lt;br /&gt;
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==Liu Jinxingqi 刘金惺琦==&lt;br /&gt;
The essay entitled “Tongyan wuji” (A Childish Discourse)  presents another example of writing autobiography within the space of the modern essay.  Sometimes the way that moments of childhood memory are narrated resembles the use of close-ups in film-making.  The following episode even makes a direct reference to cinema:&lt;br /&gt;
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I stood in front of the mirror and watched my trembling face, with tears falling down in streams.  My face looked like a close-up in a movie.  I told myself, grinding my teeth: “I want revenge.  One day I will take my revenge.”&lt;br /&gt;
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Each sub-section in this essay – ‘Money,’ ‘Fashion,’ ‘Food,’ ‘Gentleman,’ and ‘Brother’ – can be viewed as one filmic long take, and there is no direct connection between them.  The entire essay is put together by a series of long takes.  Within the space of the modern essay, there appear to be many of these extended fictional or cinematic moments.  Sometimes, description of details of clothing, or simply the pattern on a piece of fabric, can contribute to the shaping of a dramatic moment, the formation of a narrative structure.  The following passage from the same essay is a good example:&lt;br /&gt;
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==Liu Liu 刘柳==&lt;br /&gt;
Japanese printed fabrics.  Each bolt is a work of art.  Each time I bring one home, before handing it over to a tailor, I repeatedly unroll it and bask in the image.  A small Burmese temple is half shielded by the leaves of a palm tree; rain is falling incessantly through the reddish brown haze of the tropics.  A pond in early summer, the water coated with a layer of green scum, above which float duckweed and fallen lilac petals, purple and white.  Seemingly a fitting scene for a song lyric set to the tune “Laments of the South of the Yang-tze” (Ai Jiangnan)……&lt;br /&gt;
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Reading some of these highly aesthetic moments in Chang’s essay writing, we might argue that it is within the space provided by the modern essay and by means of cinematic devices that the fragmentation of conventional fictional language becomes inevitable.&lt;br /&gt;
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日本的印花面料。每一根螺栓都是一件艺术品。每次带回家，在交给裁缝之前，我都会反复展开，沐浴在画面中。一座缅甸小庙被棕榈树叶半遮半掩，雨水透过热带的红褐色雾气，不停地落下。初夏的池塘，水面涂上一层绿色的水垢，上面漂浮着鸭舌草和落下的丁香花瓣，紫白相间。配上一首《哀江南赋》似乎很应景......&lt;br /&gt;
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解读张爱玲散文写作中的一些极具审美性的瞬间，我们可以说，正是在现代散文所提供的空间里，并且借助电影手段，传统小说语言的碎片化才成为必然。--[[User:Liu Liu|Liu Liu]] ([[User talk:Liu Liu|talk]]) 07:56, 3 December 2020 (UTC)&lt;br /&gt;
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日本织锦。每一匹日本织锦都是一件艺术品。每当我将一匹日本织锦带回家，我会反复展开织锦，醉心于上面的图案，然后才会交给裁缝。一座缅甸小佛寺在棕榈树叶的遮蔽下若隐若现；热带地区红褐色的雾霭之中，细雨绵绵。初夏的一方池塘里覆盖着一层绿色水垢，上面漂浮着被风吹落的丁香花瓣，白的紫的都有。配上一首《哀江南赋》似乎很应景……&lt;br /&gt;
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阅读张爱玲的散文作品，尤其是其中一些极具审美性的瞬间，我们可以说，正是在现代散文提供的空间里，并借助电影手段，传统小说语言的断层化已成必然。--[[User:Chen Sunfu|Chen Sunfu]] ([[User talk:Chen Sunfu|talk]]) 06:10, 4 December 2020 (UTC)&lt;br /&gt;
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==Liu Ou 刘欧==&lt;br /&gt;
'''Essay and the making of a new prose language'''&lt;br /&gt;
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Few writers in twentieth-century China are as persistent as Eileen Chang was in constantly experimenting with new literary language.  In her essay entitled “Ziji de wenzhang” (Writing of One’s Own), Chang retrospectively remarks on her use of a new fictional language in the novella ''Lianhuantao'' (Linked Rings):&lt;br /&gt;
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I adopted the language from traditional fiction on many occasions when writing the novella ''Chain of Rings''.  In the story, Cantonese people and foreigners who lived fifty years ago speak like figures walking out of [the world of] ''Plum in a Golden Vase'' (Jing Ping Mei), …… My original intention was: I already created a considerable distance in space by writing about a romanticized Hong Kong from the point of view of a Shanghainese; I also created a distance in time by writing about the Hong Kong of fifty years ago.  Therefore I intentionally adopted an antiquated diction to represent such a doubled displacement (''shuangchong juli''). ……&lt;br /&gt;
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==Liu Yangnuo 刘洋诺==&lt;br /&gt;
To situate the story in both a remote time and a distancing space endows the writer with abundant freedom in her choice of language.  By returning to traditional literature to search for imaginative inspiration and expressive resources, Eileen Chang has redefined, on the discursive level, the cultural as well as political connotations of the modern vernacular language.  For a modern reader who has considerable knowledge of the May Fourth literature, Chang’s fictional language presents the reader with a remote system of referentiality by using diction and narrative tone characteristic of those used in classical Chinese novels such as ''Plum in a Golden Vase'' and ''Dream of the Red Chamber''. &lt;br /&gt;
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==Liu Yi 刘艺==&lt;br /&gt;
What, then, are the characteristics of Chang’s linguistic experiments in her essay writing of the period?  The titles of both the essay collection ''Written on Water'' and the essay “Whispers” can be viewed as the author’s own commentaries on the language she has chosen for the transformed essay genre.  While literary language is compared to voices whispering, murmuring, or gossiping, and while words can eventually flow away just like water, the practice of writing then is a process of both embracing and breaking away from words, and the meanings that are presented no longer contribute to a system of enclosure.  Chang’s naming highlights the indeterminacy of literary language and directs the reader’s attention to the uncertainty embodied in both the structure of the essay and the language that it employs.&lt;br /&gt;
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In the opening passage of the essay “Tan nüren” (Talking about Women), collected in ''Written on Water'',  in a whimsical and relaxed tone, Eileen Chang cites a characterization of ‘women’ presented in a small pamphlet written by an English author:&lt;br /&gt;
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那么，张爱玲这一时期的散文创作在语言实验上有什么特点呢？ 散文集''写在水面上''和散文《私语》的标题都可以看作是作者自己对转型后的散文体裁所选择的语言的评论。 文学语言被比喻为声音的窃窃私语、喃喃自语或闲聊，虽然文字最终可以像水一样流走，但那时的写作实践是一个既拥抱文字又挣脱文字的过程，所呈现的意义不再有助于形成一个围合的体系。 张先生的命名突出了文学语言的不确定性，并引导读者注意到文章的结构和所采用的语言所体现的不确定性。&lt;br /&gt;
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张爱玲在《写在水面上》收录的《谈女人》一文的开篇，以一种异想天开的轻松语气，引用了一位英国作家写的小册子中对 &amp;quot;女人 &amp;quot;的描述。--[[User:Liu Yi|Liu Yi]] ([[User talk:Liu Yi|talk]]) 10:36, 3 December 2020 (UTC)&lt;br /&gt;
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那么，张爱玲这一时期的散文创作在语言研究方面的特点是什么？ 散文集《写在水面上》和散文《私语》的标题都可以看作是作者自己对转型后的散文体裁所选择的语言评论。 文学语言被比喻为窃窃私语、喃喃自语或闲聊，虽然文字最终可以像水一样流走，但那时的写作实践是一个既拥抱文字又挣脱文字的过程，所呈现的意义不再有助于形成一个围合的体系。 张爱玲的命名突出了文学语言的不确定性，并引导读者去注意文章的结构和所采用语言所体现的不确定性。&lt;br /&gt;
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张爱玲在《写在水面上》收录的《谈女人》一文的开篇，以一种异想天开的轻松语气，引用了一位英国作家写的小册子中对 &amp;quot;女人 &amp;quot;的描述。--[[User:Liu Yiyu|Liu Yiyu]] ([[User talk:Liu Yiyu|talk]]) 09:06, 4 December 2020 (UTC)Liu Yiyu&lt;br /&gt;
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==Liu Yiyu 刘怡瑜==&lt;br /&gt;
Westerners refer to sinister and cruel (''yinxian kebo'')  women as ‘cats.’  I ran across a pamphlet recently, written in English, entitled ''Cats'', which does nothing else except condemn women.  It is not that what is said in it has never been expressed by other people.  Interesting remarks (''juanyu'') concerning women are scattered everywhere and it is just not easy to collect them all together.  But here this pamphlet is really a compilation (''ji qi dacheng'')  [of what has been said about women]. &lt;br /&gt;
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Chang then invites her readers to accompany as she glances through a group of quotes she has selected and translated from that pamphlet, much of which is a condemnation of women’s erotic potential.  Not a single word of explicit judgment is offered throughout the essay by Chang, nor are the assumptions contained in this pamphlet about the gendered character of each individual expressly challenged.  After reading Chang’s essay, a reader might wonder to what extent has the ‘real’ author behind the masquerade of the narrative internalized such an ‘othered’ male view?&lt;br /&gt;
西方人把阴险刻薄的女人称为 &amp;quot;猫&amp;quot;。我最近看到一本小册子，是用英语写的，册子标题是《猫》。这本册子里面除了谴责女人，没有其他的内容。册子里所提的内容，也有别人提起过。有关女性的有趣言论到处都是，但是要把它们收集在一起实在不容易。不过，这本小册子确实是[关于女性的]言论的汇编(集大成)。&lt;br /&gt;
然后，张爱玲邀请读者陪着她一起读一读自己从那本小册子中选取和翻译的一组评价，其中大部分是对女性潜在情欲的谴责。在整篇文章中，张爱玲没有作出一句明确评判，也没有对这本小册子中提出的关于每个人的性别特征的假设提出明确反驳。读完了张爱玲的文章后，读者可能会问，戴了面具的叙事手法，其背后的 &amp;quot;真实 &amp;quot;作者又在多大程度上内化了这种 &amp;quot;他者 &amp;quot;的男性观？--[[User:Liu Yiyu|Liu Yiyu]] ([[User talk:Liu Yiyu|talk]]) 08:54, 4 December 2020 (UTC)Liu Yiyu&lt;br /&gt;
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西方人把阴险刻薄的女人称为 &amp;quot;猫&amp;quot;。我最近看到一本英文小册子是用英语写的，标题是《猫》。这本册子里面除了谴责女人，没有其他的内容。册子里所提的内容，也有别人提起过。有关女性的有趣言论到处都是，但是要把这些言论收集在一起实在不容易。不过，这本小册子确实是[关于女性的]言论的汇编(集大成)。&lt;br /&gt;
然后，张爱玲邀请读者陪着她一起读一读自己从那本小册子中选取和翻译的一组评价，其中大部分是对女性潜在情欲的谴责。在整篇文章中，张爱玲没有作出一句明确评判，也没有对这本小册子中提出的关于每个人的性别特征的假设提出明确反驳。读完了张爱玲的文章后，读者可能会问，戴了面具的叙事手法，其背后的 &amp;quot;真实 &amp;quot;作者又在多大程度上内化了这种 &amp;quot;他者 &amp;quot;的男性观？--[[User:Qu Miao|Qu Miao]] ([[User talk:Qu Miao|talk]]) 03:28, 5 December 2020 (UTC)&lt;br /&gt;
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==Liu Zhiwei 刘智伟==&lt;br /&gt;
And to what extent is Chang’s translation ‘faithful’ to the original text?  The original author’s name remains unmentioned in Chang’s essay, making it difficult to assess the extent to which the original ‘male’ narrative voice has been twisted or distorted by Chang’s rendition.  The narrative voice appears to be a composite in those quotes and is even more so in the rest of her essay.  One approach to reading Chang’s essay is then to regard the quotation as an integral part of the whole essay, to view it as Eileen Chang’s own linguistic construction, a construction which already contains her critique.  Within these quotes, the message is complicated, and presented in several levels.  Some of the quotes are reminiscent of an archetypal ‘male’ voice:&lt;br /&gt;
&lt;br /&gt;
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==Lou Cancan 娄灿灿==&lt;br /&gt;
This kind of fictional and temporal distance is also characteristic of Chang’s short stories written during the period.  David Wang argues that the fictional world presented in the short stories in ''Romances'' points to a remote system of referentiality for modern readers by interweaving many ”unreal” elements such as the fantastic, the grotesque, the decadent, and the dark romanticist.  See Wang, ”Nü zuojia de xiandai guihua: cong Zhang Ailing dao Su Weizhen” (Modern Ghost Narratives by Women Writers: from Eileen Chang to Su Weizhen), in ''Zhongsheng xuan-hua: sanshi yu bashi niandai de Zhongguo xiaoshuo'' (Heteroglossia: Chinese Fiction of 1930s and 1980s).&lt;br /&gt;
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这种虚构性和时代性的距离，也是他在这一时期创作的短篇故事的特点。王大卫认为，《浪漫》这一短篇故事中所呈现的虚构世界，通过交织许多“虚幻”的元素，如奇幻、怪诞、颓废、黑暗的浪漫主义，为现代读者指明了一个遥远的指称体系。参见王的《女作家的现代鬼故事:从张爱玲到苏伟真》，载于《仲生宣化:三诗于巴诗念代德中》(杂注:中国三十、八十年代小说)。--[[User:Lou Cancan|Lou Cancan]] ([[User talk:Lou Cancan|talk]]) 13:11, 4 December 2020 (UTC)&lt;br /&gt;
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这种虚构和时代的距离，也是这一时期张爱玲创作短篇故事的特点。王德威认为，《浪漫》这一短篇故事中所呈现的虚构世界，通过交织许多“虚幻”的元素，如奇幻、怪诞、颓废、黑暗的浪漫主义，为现代读者指明了一个遥远的指称体系。参见王的《“女”作家的现代“鬼”话——从张爱玲到苏伟贞》，载于《仲生宣化:三诗于巴诗念代德中》(杂注:中国三十及八十年代小说)。--[[User:Luo Weijia|Luo Weijia]] ([[User talk:Luo Weijia|talk]]) 14:01, 4 December 2020 (UTC)&lt;br /&gt;
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虚构的时代距离感也是这一时期张爱玲短篇故事的特点。王德威认为《浪漫》这一短篇故事中呈现的虚构世界，通过交织许多“非真实”元素，例如：奇幻、怪诞、堕落和黑暗浪漫主义，为现代读者指明了一个距离久远的指称系统。参见王的《“女”作家的现代“鬼”话——从张爱玲到苏伟贞》，载于《仲生宣化:三诗于巴诗念代德中》（杂注:中国三十及八十年代小说）。--[[User:Kong Yanan|Kong Yanan]] ([[User talk:Kong Yanan|talk]]) 14:59, 4 December 2020 (UTC)&lt;br /&gt;
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==Luo Weijia 罗维嘉==&lt;br /&gt;
“The physical construction of women is so exquisite; therefore, their spiritual construction is incomplete.  This is predictable.  We just cannot be over-critical of them [women].” &lt;br /&gt;
&lt;br /&gt;
“If you do not seduce a woman, she would say that you are not a man; if you do, she would say that you are not a man of the upper-class.” &lt;br /&gt;
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“The only difference between a woman and a dog is: a dog is not as spoiled as a woman is; a dog does not wear jewelry; and – thank God! – a dog does not speak!”&lt;br /&gt;
 &lt;br /&gt;
The expected readers of the pamphlet ''Cats'' are married middle-class men.  According to Eileen Chang, the original author admits that, “a man, after having just fought with his wife, would feel comforted if he reads this pamphlet before he goes to bed.”  Functioning as a psychological therapy, the expected reading process should yield pleasure which soothes grievances and unhappiness in one’s ‘actual’ life.&lt;br /&gt;
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“女人的身体构造如此精巧，所以她们的精神构造是不完整的。这是可以预见的。我们不能对她们（女性）过分挑剔。”&lt;br /&gt;
“如果你不勾引女人，她会说你不是男人；如果你这样做，她会说你不是上流社会的男人。”&lt;br /&gt;
“女人和狗的唯一区别是：狗不像女人那样娇惯；狗不戴首饰；还有——感谢上帝！–狗不会说话！”&lt;br /&gt;
短篇小说《猫》的预期读者是已婚中产阶级男子。据张爱玲所言，钱钟书认为，“一个男人刚和妻子吵架后，如果在睡觉前读这篇小说，他会获得慰藉。”预期阅读过程作为一种心理治疗，应该会产生愉悦，从而缓和一个人“实际”生活中的不快。--[[User:Luo Weijia|Luo Weijia]] ([[User talk:Luo Weijia|talk]]) 13:50, 4 December 2020 (UTC)&lt;br /&gt;
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==Luo Yuqing 罗雨晴==&lt;br /&gt;
Within this reading process, through the mediation of a narrative language, the imagined male reader takes upon the implicit point of view built in the assumed male author’s account, manipulates and appropriates the construction of the female image, and displaces his sense of anger, repression, and alienation, or his frustrated desire for control and domination, onto such a constructed image.  For a married man, the unsuccessful threats toward his wife in real life can then be successfully prosecuted on a textual level.&lt;br /&gt;
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Such a female erotic image depicted in a seemingly unambiguous male text could generate a variety of culturally coded specific meanings and gendered differences.  However, the tone of Chang’s language seems to invalidate the possibilities of applying an ideologically charged critique of these messages.  Her narrative tone is relaxed, whimsical, playful, humorous, and somewhat ironic.  The message transmitted in these quotes is impure, it has been reworked, and already contains a ‘look.’  This ‘look’ is interwoven with a sense of irony.  This is even more explicit in some of her other quotes:&lt;br /&gt;
&lt;br /&gt;
==Ma Juan 马娟==&lt;br /&gt;
“A man can flirt with a bar waitress in the squalid bar without losing his reputation; yet an upper-class woman is not even allowed to blow a kiss at a postman from afar.  We can then draw an inference that men are different from women – no matter how low they [men] bend their backs, it is never difficult for them to stand up straight again.” &lt;br /&gt;
“Generally speaking, women do not need the variety of stimulants in their lives that men do.  Therefore, we should tolerate a man if he transgresses boundaries during his leisure time, in order to enliven his weary body, [to expel] his worries, [and to accomplish] his unrealized aspirations.” &lt;br /&gt;
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==Ma Shuya 马淑雅==&lt;br /&gt;
These quotes should be understood as mainly Eileen Chang’s own rendition.  Through the ironic tone, the message becomes twisted, distorted, highly dramatized, and thereby transformed into parody and ridicule.  If Eileen Chang does seek to tease out this assumed male voice, such an attempt proceeds through the creation of a narrative distance, a sense of innuendo, a skillful rewording of the male voice, and not through any explicit charges or critiques.  The reader is left to herself to read between the lines, to speculate about the hints, and to screen out the mixed messages.&lt;br /&gt;
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==Ma Zhixing 马智星==&lt;br /&gt;
Despite the absence of an explicit criticism toward this unambiguous male voice, Eileen Chang’s presentation has revealed the fact that the male denunciation of the public effects of a female eroticism is itself manifested in an eroticized form.  Such an eroticized form has been dramatized to the extreme by Chang in her skillful rewording.  A reader would ponder whether this male denunciation addresses the danger of the placing women in public display or is itself a public display of women as eroticized subjects?  Eileen Chang’s appropriation of the male denunciation of female eroticism becomes a doubled affirmation of the much textualized eroticizing potential of female images, which makes it difficult to pin down the ‘femaleness’ of her use of literary language. &lt;br /&gt;
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==Meng Ying 孟莹==&lt;br /&gt;
Perhaps, then, to examine the ‘femaleness’ of Chang’s language is not an appropriate approach.   Nor can we confidently situate Eileen Chang into the female literary tradition of modern China, a tradition which is usually characterized by the May Fourth style of writing.  Chang’s cultural marginality, her interest in irrelevant details and domesticity, and her teasing of patriarchs and of gender relations all tempt critics to label her work with various feminine qualities.  But Eileen Chang’s voice cannot be simply categorized in a dichotomy of conventional and patriarchal speech on the one hand, and experimental and anti-patriarchal speech on the other.  It is obviously impure; it is a kind of language that occupies the space of the liminal; it is a mixed voice, both ‘male’ as well as ‘female.’  In many instances, her language appears to be the so-called “protective language,” a “neutralizing middle tongue,”  a language of concealment rather than revelation.  The mixed voices prevent us from going on to ‘genderize’ the grammar, the expression, and the diction in her writing.  Eileen Chang’s language is one of resisting the process of ‘genderizing,’ and of eliminating the possibilities of polarizing different identities. &lt;br /&gt;
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==Mo Ling 莫玲==&lt;br /&gt;
In her recent study of Eileen Chang’s fictional writing, Rey Chow defines Eileen Chang’s ‘femininity’ as predominantly associated with ”irrelevant” details.  In the picture painted by Chow, ‘detail’ carries a distinctively ‘feminine’ label and is defined as ”the sensuous, trivial, and superfluous textual presence that exists in an ambiguous relation with some larger ‘vision’ such as reform and revolution.”  Chow argues that Eileen Chang constructs a different vision of modernity and history through ”a release of sensual details whose emotional backdrop is often that of entrapment, destruction, and desolation.”  Eileen Chang’s understanding of culture, therefore, carries a ”powerfully negative affect.”  See Rey Chow, Chapter III ”Modernity and Narration: in Feminine Detail” in her ''Woman and Chinese Modernity: The Politics of Reading Between West and East'' (Minnesota and Oxford: University of Minnesota Press, 1991) 85.&lt;br /&gt;
&lt;br /&gt;
Rey Chow’s emphasis on the intricately related history of details and the feminine in the Chinese case is certainly illuminating in the sense that she suggests a new perspective to define the significance of Eileen Chang’s writing and thus a new way of critiquing the construction of a history of modern Chinese literature as a whole.&lt;br /&gt;
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在最近对张爱玲小说作品的研究中，周蕾将张爱玲的“女性气质”与不拘小节联系在一起。在周蕾的画作中，“细节”贴上了明显的“女性化”标签，带有“感性、微不足道以及在改革和革命这样的大事面前画蛇添足”的含义。“周蕾认为张爱玲创造了一种独特的视角来表现历史和现实，即释放情感细节，这些情感往往是诱惑、毁灭和隔绝，因而张爱玲对文化的理解带有一种“强烈的负面影响”。参见周蕾的著作 ''女性与中国现代性：中西方的阅读政治性''的第三章“现代性与叙事：女性化细节”（明尼苏达和牛津：明尼苏达大学出版社， 1991），第85页。&lt;br /&gt;
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周蕾对复杂的细节史与中国女性的强调是令人有所启发的，她提出了一种新的视角来界定张爱玲的作品的意义，从而为整个中国现代文学史的建构提供了一种新的评论思路。--[[User:Mo Ling|Mo Ling]] ([[User talk:Mo Ling|talk]]) 02:53, 5 December 2020 (UTC)Mo Ling&lt;br /&gt;
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==Nie Xiaolou 聂晓楼==&lt;br /&gt;
However, in Rey Chow’s categorization of Eileen Chang, a new type of femininity is classified, whose characteristics are intimate, domestic, sensuous, pre-rational, trivial, obsessed with its sexual being, yet embodying subversive strength and transgressive potentials.  This seemingly fresh and autonomous femininity does take one thing for granted, that is the unproblematized association between the female, the domestic, and trivial details.  Rey Chow’s emphasis on feminine detail may have endowed Eileen Chang’s writing with a critical power deriving from the marginal position that she is inscribed in; but to domesticate Chang, to enclose her within woman’s traditional domain of the home, could also lead to the draining of the heaviness and the other intellectual potentialities in Chang’s writing.&lt;br /&gt;
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==Ou Rong 欧蓉==&lt;br /&gt;
The terms ”protective language” and a ”neutralizing middle tongue” are lifted out of Catharine Stimpson in her discussion of Gertrude Stein’s writing.  According to Stimpson, ”Stein’s coding of sexual activities becomes a privileged and a distinguished ‘anti-language’,” that is, a language of ”anti-societies.”  Stimpson argues against some other critics’ attempts to ”adjectify” Stein’s work as ”female.”  She suggests that Stein’s language is ultimately ”impure,” it is ”linear as well as pluridimensional,” it is ”male” as well as ”female.”  Stimpson argues that Stein’s literary language is neither ”female,” nor ”an unmediated return to signifiers freely wheeling in maternal space.”  See Stimpson, ”The Somagrams of Gertrude Stein,” in ''The Female Body in Western Culture: Contemporary Perspectives'', edited by Susan Rubin Suleiman.&lt;br /&gt;
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在讨论格特鲁格·斯坦因的著作时，“保护性语言”和“中立的中性语言”一词被从凯瑟琳·斯廷普森删除。斯廷普森认为，“斯坦因对性行为的编码成为一种特权和一种独特的'反语言'，即'反社会'的语言。斯廷普森反对其他一些批评家试图将斯坦因的作品“形容”为“女性”的说法。她认为斯坦的语言最终是“不纯正的”，既是“线性的又是多维度的”，既是“男性的”又是“女性的”。斯廷普森认为，斯坦因的文学语言既不是“女性的”，也不是指“无意中回归到指代者而自由地进入母体空间”。请参见苏珊·鲁滨·苏蕾曼编辑的《当代视角下西方文化中的女性身体形象》中格特鲁德·斯坦的躯体语言。--[[User:Ou Rong|Ou Rong]] ([[User talk:Ou Rong|talk]]) 11:10, 3 December 2020 (UTC)Ou Rong&lt;br /&gt;
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在讨论格特鲁德·斯坦因的作品时，凯瑟琳·斯廷普森讨论了“保护性语言”和“中和性的中间语言”。根据斯廷普森的说法，“斯坦因对性行为的编码变成了一种特权和独特的‘反语言’”，也就是说，是一种“反社会”的语言。斯廷普森反对其他一些批评家试图将斯坦因的作品“形容为女性”。她认为斯坦因的语言最终是“有杂质的，“它是“线性也是多元维度的”，它是“男性”也是“女性”。斯廷普森认为，斯坦因的文学语言既不是“女性”，也不是“在母体空间中自由转动的能指的无中介回归”。参见斯廷普森德《当代视角下西方文化中的女性身体形象》中的格特鲁德·斯坦因的躯体语法，苏珊·鲁宾·苏莱曼主编。--[[User:Xiao yining|Xiao yining]] ([[User talk:Xiao yining|talk]]) 12:02, 3 December 2020 (UTC)Xiao Yining&lt;br /&gt;
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==Ouyang Jinglan 欧阳静兰==&lt;br /&gt;
Julia Kristeva suggests that ”the very dichotomy man/woman as an opposition between two rival entities may be understood as belonging to metaphysics”; it must be dismantled through ”the demassification of the problem of difference, which would imply, in a first phase, an apparent de-dramatization of the ‘flight to the death’ between rival groups and thus between the sexes.”  Kristeva refers to this as ”a strategy of disintegration.”  This strategy is a ”true radicalism” in such attempts ”to undo given identities, to go beyond the policy of creating counter-identifications.”  See ”Women’s Time” (translated by Alice Jardine and Harry Blake) in ''Signs'' (Autumn, 1981).&lt;br /&gt;
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==Ouyang Ling 欧阳玲==&lt;br /&gt;
Perhaps, then, to examine the ‘femaleness’ of Chang’s language is not an appropriate approach.   Nor can we confidently situate Eileen Chang into the female literary tradition of modern China, a tradition which is usually characterized by the May Fourth style of writing.  Chang’s cultural marginality, her interest in irrelevant details and domesticity, and her teasing of patriarchs and of gender relations all tempt critics to label her work with various feminine qualities.  But Eileen Chang’s voice cannot be simply categorized in a dichotomy of conventional and patriarchal speech on the one hand, and experimental and anti-patriarchal speech on the other.  It is obviously impure; it is a kind of language that occupies the space of the liminal; it is a mixed voice, both ‘male’ as well as ‘female.’  In many instances, her language appears to be the so-called “protective language,” a “neutralizing middle tongue,”  a language of concealment rather than revelation.  The mixed voices prevent us from going on to ‘genderize’ the grammar, the expression, and the diction in her writing.  Eileen Chang’s language is one of resisting the process of ‘genderizing,’ and of eliminating the possibilities of polarizing different identities.&lt;br /&gt;
&lt;br /&gt;
那么，分析张爱玲语言中的女性特征也许不是一种恰当的方法。我们无法十分肯定地说她的作品体现了近代中国文学中的女性传统，这一传统以五四文体为特征。张爱玲作品中的文化边缘性、对细枝末节的关注、蕴含的家庭特征以及对男性家长和性别关系的调侃无一不促使评论家将其打上女性特质的标签。但是我们不能将张爱玲的语言简单地划分为两个对立面：一方面是传统的父权话语，另一方面则是实验性的反父权话语，她的文学语言无疑是模糊的，是一种位于两种状态分界处之上的语言，是一种糅合了“男性”与“女性”与一身的语言。在很多情况下，她的语言都表现出一种所谓的“保护性”、“中性的口吻”，或者说是一种隐没而非彰显的语言。张爱玲的作品语言的复杂性让我们无法将其中的语法、表达以及用词性别化，这种语言正是一种抵制“性别化”过程的语言，消除了分化不同身份的可能性。--[[User:Ouyang Ling|Ouyang Ling]] ([[User talk:Ouyang Ling|talk]]) 03:40, 3 December 2020 (UTC)Ouyang Ling&lt;br /&gt;
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==Peng Dan 彭丹==&lt;br /&gt;
In Eileen Chang’s essay writing, it is finally the narration itself that becomes a site where conflicting cultural discourses meet and interact.  The narrative voice does not embody or point to any authoritative discourses: it is neither the passive receiver of a system of accomplished social customs and values containing stereotypes of passive femininity, nor a spokeswoman for a ‘progressive’ nationalist ideological agenda.  While history is viewed as transitory and fragmented, the language used to account for this history is no longer something which is ideologically or rhetorically charged.  It is not a language to account for truth and beliefs, it is a language of ‘paradox’ and ‘enigma’; it is a ‘counter-language.’  Chang’s use of language serves to recuperate a remote tradition that is incompatible to the present historical situation, and to restore a different set of voices which are inconsonant with the chorus of her time.&lt;br /&gt;
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==Peng Juan 彭娟==&lt;br /&gt;
Chang’s essay writing indicates that the coherence of a so-called women’s literary writing tradition in modern China is a mere fabrication.  The linguistic constructions in Chang’s essay writing playfully appropriate male fantasies, turning them into props in the creation of a new literary space.  By turning structures of male fantasies into narrative devices, and by transforming male voices to enhance the theatrical effect of essay writing, Eileen Chang has demonstrated a much more confident gesture in offering a critique of gendered constructions in both the larger social context and the sphere of literary writing.&lt;br /&gt;
&lt;br /&gt;
'''Essay and the Invention of Life in Wartime'''&lt;br /&gt;
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In the preface to her 1988 collection entitled '''Xuji''' (The Sequel), Eileen Chang confesses that she has been a “loyal believer” in Greta Garbo’s philosophy of life:&lt;br /&gt;
张爱玲的散文著作揭示了这样一个事实，现代中国所谓的女性文学写作传统不过是对男性文学写作传统的伪造。她的散文著作中，语言结构巧妙地借用了男性的幻想思维，将其转换为创造新文学空间的支柱。张将男性幻想结构转换为叙述手法，并且转换男性的叙述口吻，以此提高散文写作所带来的戏剧影响，在广大的社会背景条件下和文学创作方面，提出了性别结构批评，对此，她信心满满。在其1988年出版的名为《战争时代的散文与发现》一书的前言中，张爱玲坦白说，她是葛嘉丽·宝格生活哲学的忠诚信仰者。--[[User:Pengjuan|Pengjuan]] ([[User talk:Pengjuan|talk]]) 11:48, 3 December 2020 (UTC)pengjuan&lt;br /&gt;
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张爱玲的散文作品表明现代中国所谓的女性文学创作传统的一致性仅仅是捏造而已。她在散文作品的语言结构中巧妙地运用了男性的幻想，并将其转化为创造新文学空间的支柱。通过将男性幻想结构转变为叙事手法，并通过转换男性的叙述口吻来增强散文写作的戏剧效果，张爱玲在更大的社会背景和文学创作领域中以更加自信的姿态提出了性别结构批评。&lt;br /&gt;
&lt;br /&gt;
'''散文和战时的生活发现'''&lt;br /&gt;
&lt;br /&gt;
在她1988年出版的名为《续集》(The Sequel)一书的序言中，张爱玲坦诚地说她一直是葛丽泰·嘉宝人生哲学的“忠实信仰者”：--[[User:Peng Xiaoling|Peng Xiaoling]] ([[User talk:Peng Xiaoling|talk]]) 07:37, 4 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
==Peng Ruihong 彭锐宏==&lt;br /&gt;
For several decades, relying on make-up and acting skills, she [Garbo] lived the life of a recluse, seldom seen through by other people.  Her life-time belief was that “I want to live by myself.” …… Why is it that writers also have a hard time preserving the privacy of their lives?  &lt;br /&gt;
&lt;br /&gt;
These sentiments could not have been expressed back in the 1940s.  The solitude of the latter half of Chang’s life, that is, the four decades since she came to America in the fall of 1955, forms a sharp contrast to the glorious moments during the first half of the 1940s, particularly the years of 1944 and 1945, when she and Su Qing emerged in the cultural scene of Shanghai simultaneously and became brighter stars than the most acclaimed movie actresses and popular singers. &lt;br /&gt;
&lt;br /&gt;
==Peng Xiaoling 彭小玲==&lt;br /&gt;
As argued earlier, the most important players in this society-wide promotion of women intellectuals were none other than women writers themselves.  And among all literary genres, it was the modern essay that became the most powerful form of expression in women writers’ self-promotion and myth-making.  Essay served to contribute concrete forms to a life that was void of any structure; in other words, women writers such as Eileen Chang and Su Qing used the form of the modern essay to construct an intelligible universe where one’s imagination and fantasy could anchor.  Detailed descriptions of everyday experience, that is, representations of cultural meanings of the material world, manifests not only a dynamic inner life but also a new social identity in formation.  In this section I will highlight two aspects of life that are conceptualized in Chang’s essay writing, one is the space of a modern apartment as a liminal site in urban landscape, and the other is the discourse of fashion as a vital form of material consciousness.&lt;br /&gt;
&lt;br /&gt;
如前所述，在整个社会范围内提升女性知识分子最重要的参与者就是女性作家本身。在所有文学体裁中，现代散文成为女性作家自我提升和神话创造中最有力的表达形式。散文可以为没有任何结构的生活提供具体形式：换句话说，张爱玲和苏青等女性作家利用现代散文的形式，构建了一个个人想象和幻想可以驻留的可理解的宇宙。对日常经验的详细描述，即对物质世界的文化意义的陈述，不仅体现了动态的内心生活，而且体现了一种形成中的新的社会认同。在这一章中，我将着重介绍张爱玲散文写作中所概念化的生活的两个方面，一方面是作为城市景观中有限场所的现代公寓的空间，另一方面是将时尚的讲话视为物质意识的一个重要形式。--[[User:Peng Xiaoling|Peng Xiaoling]] ([[User talk:Peng Xiaoling|talk]]) 08:13, 4 December 2020 (UTC)&lt;br /&gt;
如前所述,一个社会对女性知识分子的推动,最重要的力量莫过于女性作家本身。 而在所有文学体裁中,正是现代散文成为女作家自我提升和神话创作中最有力的表现形式。 &amp;quot;散文&amp;quot;为一种没有结构的生活贡献了具体的形式,换句话说,张爱玲、苏青等女性作家用现代散文的形式,构建了一个可以理解、想象和幻想的宇宙。 对日常生活经验的详细描述,即对物质世界文化意义的表述,不仅体现了动态的内心生活,而且表现了一种孕育中的新的社会认同。 在这一章中,我将着重介绍张爱玲散文写作中概念化的生活的两个方面：一方面是作为都市景观中有限场所的现代公寓的空间,另一方面是将时尚作为物质意识的重要形态的论述。--[[User:Li Meng|Li Meng]] ([[User talk:Li Meng|talk]]) 06:20, 5 December 2020 (UTC)&lt;br /&gt;
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==Peng Yongliang 彭永亮==&lt;br /&gt;
'''Passage from apartment to street'''&lt;br /&gt;
&lt;br /&gt;
In her essay entitled “Gongyu shenghuo jiqu” (Interesting Moments in Apartment Life),  Chang depicts a spatial construction which serves as the backdrop of the formation of a new urban persona:&lt;br /&gt;
&lt;br /&gt;
I would ride the wind, returning up there,&lt;br /&gt;
but fear those marble domes and jade galleries&lt;br /&gt;
the place so high, the cold is unbearable …… &lt;br /&gt;
&lt;br /&gt;
On reading these lines, residents who live on top floors of apartment buildings will more or less shiver with fear. The higher the apartment, the colder.  Ever since the price of coal soared , radiators in apartments have become purely decorative.  The “H” on the hot water faucet is indispensable in order to perfect the bathroom design; but if you turn on the hot water tap by mistake, a hollow but grievous rumble will burst out from the “Nine Springs” (''Jiu quan'') down below.  It sounds like the very complicated and very capricious hot water pipe system in the apartment building has lost its temper.  Even if we do not provoke it, the God of thunder still makes its power felt at any moment. &lt;br /&gt;
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==Peng Yuzhi 彭育志==&lt;br /&gt;
Out of nowhere, it can set off a long and evil buzz followed by two blasting sounds, as if an airplane was circling above for a while and then dropped two bombs.  Having been terror-stricken in wartime Hong Kong, this kind of noise would always make me panic when I first returned to Shanghai.  At first the pipe was still working conscientiously; in much difficulty, it would carry some hot water all the way up to the sixth floor, accompanied by a gurgling sound.  That was still acceptable, but now it is like deafening thunder followed only by drizzle, and worse yet, all we get are just two droplets of yellow rusty mud.  But I dare not complain anymore; the unemployed can easily fly into a rage.&lt;br /&gt;
&lt;br /&gt;
What is most striking in this beginning episode of Chang’s essay is how the experience of the everyday is depicted as parallel to that of war.  War makes its metaphorical presence in daily life of an apartment dweller, serving as a trope for the erratic rhythm of an urban life style.  Chang’s depiction of the texture of an apartment life then can be read as a parable of war. &lt;br /&gt;
&lt;br /&gt;
==Qi Kai 漆凯==&lt;br /&gt;
This opening episode makes references to several archetypal war themes, including death (as in the reference to the “nine springs” or Jiu quan), the scarcity of necessities in life (such as the mentioning of high price of coal and deficiency of hot water in the apartment), and the threat of air-raid (as suggested by the narrator’s haunted memory from her years living in wartime Hong Kong).  Themes of unemployment, social unrest, and economic instability are also represented in Chang’s depiction of an animated world where one’s private space is constantly intruded by outside forces.  The author has invented a new sense of interiority in her attempt to come to terms with the topography of urban life during wartime.  The essay gives textual testimonies to two most important categories of experience in occupied Shanghai – the urban and the war; and these two categories converge precisely within the constructed space of a modern apartment.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
==Qu Miao 瞿淼==&lt;br /&gt;
See Chapter 2 for a discussion of the society-wide promotion of the two women and the women’s attempt in self-fashioning.  Su and Chang were often showcased together with famous singers, dancers, and movie actresses at the time.  See, for instance, ”Cui Chengxi wudao zuotan” (A Roundtable Discussion of Cui Chengxi’s Dance), where women writers were presented together with the Korean Dancer Cui Chengxi and a Chinese dancer named Wang Yuan.  Published in ''The Miscellany Monthly'' 12. 2 (November, 1943).  Another example is ”Nalianghui ji” (A Summer Gathering), where Eileen Chang was showcased together with the singer/movie actress Li Xianglan.  In The ''Miscellany Monthly'' 15. 5 (August, 1945).&lt;br /&gt;
&lt;br /&gt;
Originally published in ''Heaven and Earth Monthly'' 3 (December, 1943).&lt;br /&gt;
&lt;br /&gt;
These are the lines in the Song dynasty poet Su Shi’s famous song lyric written to the tune ”Shuidiao getou” (Song for the Water Tune).&lt;br /&gt;
&lt;br /&gt;
第二章讨论了这两个女人在全社会的推广以及她们在自我塑造方面的尝试。当时，苏和张经常与著名歌手、舞者和电影女演员一起表演。例如，在“崔承熙舞蹈座谈”(关于崔承熙舞蹈的圆桌讨论)中，女性作家与韩国舞蹈家崔承熙和中国舞蹈家王原一起出现。刊登在《每月杂文》12.2(1943年11月)。另一个例子是“纳凉会”(夏季聚会)，张爱玲和歌手兼电影演员李香兰一起展示在《每月杂文》15.5(1945年8月)。&lt;br /&gt;
原刊于《天地月刊》第3期(1943年12月)。&lt;br /&gt;
这些诗句是宋代诗人苏轼在著名的词作中写的“水调歌头”(Song for the Water tune)。--[[User:Qu Miao|Qu Miao]] ([[User talk:Qu Miao|talk]]) 03:24, 5 December 2020 (UTC)&lt;br /&gt;
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==Quan Meixin 全美欣==&lt;br /&gt;
This is the first time in the history of modern Chinese literature that the literary world of a woman author is so tenaciously associated with an urban life style characterized by routines in and out of a modern apartment.   In other words, the spatial specificities of a modern apartment are essential to the construction of a vision of life in wartime in Eileen Chang’s writing.  City offers many transitional territories such as hotels, stations, theaters, and cafes, which are spaces beyond the rigid categorization of inside or outside, private or public.  In Chang’s writing, the space of an apartment is presented as such a transitional site.  It is a self-contained private space, which enables a city dweller to escape the intensity of life outside the apartment when necessary.  But more importantly, an apartment is also a locus point from which one can enter into various aspects of urban culture. &lt;br /&gt;
&lt;br /&gt;
==Sagara Seydou ==&lt;br /&gt;
For Eileen Chang, who, between 1942 and 1945, spent most of her time in a flat on the top floor of a six-story apartment building not too far away from the Jing’an Temple, the modern interior space is like a picture frame, encircling the nights and days of an urban dweller who constantly looks out, from her own apartment windows, that is, a new vantage point, at the kaleidoscopic world of metropolitan Shanghai.  Living in an apartment seems to have changed ways of seeing, hearing, smelling, and feeling: not only the cityscape is presented differently – now from a new height (the windows of an apartment on the sixth floor), even sounds in the city become more vivid with the elevation of height:&lt;br /&gt;
&lt;br /&gt;
I am often amazed at how street noises can be heard so clearly from the sixth floor, as if it was all happening right beneath one’s ears.  The older we get, the farther we are separated from our childhood, and yet the memories of it and its many trivial details have gradually become more sweet and vivid.  &lt;br /&gt;
&lt;br /&gt;
==Shi Diwen 石迪文==&lt;br /&gt;
Just like our present bears imprints of the past, an interior space is constantly permeated and reshaped by the every-changing outside world.  This is a world (un)marked by blurred boundaries; liminality characterizes one’s own positioning within such an obscure realm.  And yet senses simply become more acute, and thoughts are given fresh new patterns.  Here, we are witnessing the formation a new metaphysics of the everyday:&lt;br /&gt;
&lt;br /&gt;
I like to listen to street sounds.  Those who have more refined taste would rest on their pillows and listen to wind whistling in a pine grove or the roar of ocean waves.  But it is the sound of a trolley that I must hear in order to fall asleep.  On the hills in Hong Kong, only in winter when the north wind blew on the evergreens all night would it remind me of the charming sound of a trolley.  People who have lived in an exciting city for many years do not realize what they must have in life until they have left the place.  The thoughts of a city dweller are set against a curtain of striped pattern; the light-colored stripes are running trolleys.  Like neatly paralleled currents of sounds, they continuously flow into our subconscious.  &lt;br /&gt;
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==Shi Haiyao 石海瑶==&lt;br /&gt;
For Eileen Chang, an apartment is truly the center of urban life.  Like a train station, it serves as an initial starting point, always ready to transport one’s senses into many different directions.  Chang’s aesthetics of life is then attributed with a concrete spatial form that is deeply rooted in the soil of the everyday of wartime.  If the production of popular journals in occupied Shanghai symbolizes the shaping of an imagined space,  the modern apartment is another important site on the mental map of a city under siege.  The aggression of wartime occupation has disrupted cycles of life, routines in and out of one’s own home, but new urban spaces and experiences were also created.  Here the presence of war intensifies one’s experience of the urban, crystallized in the shaping of a particular spatial form, that is, the modern apartment.&lt;br /&gt;
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==Si Yu 司妤==&lt;br /&gt;
Many feminist scholars have suggested the importance of studying spatial constructions.  They argue that by giving the inner world a form of concreteness, spatial symbols in literature are most illuminating in showing how personal experience intersects with specific cultural categories.  The study of spatial construction is then important since it is the key point in understanding women’s literature: space often serves as a vehicle by which the female protagonists attempt to launch a journey of self-discovery, which constitutes the most important part of the female experience.  See, for instance, Jessica Benjamin,  ”A Desire of One’s Own: Psychoanalytic Feminism and Intersubjective Space,” in ''Feminist Studies/Critical Studies'', edited by Teresa de Lauretis (Bloomington: Indiana University Press, 1986).&lt;br /&gt;
&lt;br /&gt;
For a discussion of other kinds of spatial constructions in 1940s Shanghai, see Wei Shaochang, ”Jiu Shanghai de tingzijian” (The Garret in Old Shanghai), published in ''Haishang wentan'' (March, 1994).  Also see a photographic history in Tang Zhenchang, ed., ''Jindai Shanghai fanhua lu'' (Modern Shanghai: The Splendor) (Hong Kong: Shangwu yinshuguan 1993.)&lt;br /&gt;
 &lt;br /&gt;
In ”Interesting Moments in Apartment Life.”&lt;br /&gt;
 &lt;br /&gt;
Ibid.&lt;br /&gt;
&lt;br /&gt;
See Nicole Huang, ''Written In the Ruins''.&lt;br /&gt;
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==Song Jianru 宋建茹==&lt;br /&gt;
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In Chang’s vision, this spatial experience is also gendered.  The image of an apartment dweller is gendered, and often female.  “It seems like only women can fully understand the advantages of life in an apartment,” Chang writes, since the household duties in an apartment are much more simplified.  Therefore, a woman can much better appreciate the numerous trivial details in life; she can even start to appreciate the gorgeous colors of fresh vegetables displayed at morning markets, and enjoy the pleasures of cooking and cleaning.  Chang’s reinvention of these daily trips is most forcefully presented in one essay entitled “Zhongguo de riye” (China: Days and Nights).  &lt;br /&gt;
&lt;br /&gt;
In Chuanqi (extended edition) (Shanghai: Shanhe tushu gongsi, 1946).（注释）&lt;br /&gt;
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在张爱玲看来，这种空间体验是有性别偏向的。公寓住户的形象也是有性别偏向的，而且通常指女性。张爱玲写道：“恐怕只有女人能够充分了解公寓生活的特殊优点”，因为公寓里的家务要简单许多。因此，女性可以更好地欣赏生活的鸡毛蒜皮；她甚至还可以欣赏早市新鲜蔬菜亮丽的颜色，享受做饭打扫房间的乐趣。张爱玲把这些日常小事再创造，有力地写在名为《中国的日夜》的散文中（中国：日日夜夜）。&lt;br /&gt;
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引自《传奇》（增订本）（上海：山河图书公司，1946）（注释）--[[User:Song Jianru|Song Jianru]] ([[User talk:Song Jianru|talk]]) 07:20, 5 December 2020 (UTC)&lt;br /&gt;
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==Su Lin  苏琳==&lt;br /&gt;
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In Chang’s own account, morning errands to the vegetable market seem to be her own tour through the part of the city that she is most attached to.  Every morning she would take the elevator down from her sixth floor apartment, emerge onto the awakening streets, mingle with the morning crowd, and progress toward the world of the magnificent colors of the early market.  Daily routines are not just bound duties that confine the everyday experiences of women; instead, they become forms of life choreographed in accordance with the distinctive rhythm of the city.  Women can finally look at them as opportunities to explore a life that is wider, brighter, and more open to a variety of new possibilities.&lt;br /&gt;
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==Tan Xingyue 谭星越==&lt;br /&gt;
&lt;br /&gt;
Life in apartment is then presented with many layers in Chang’s essay writing.  In “Daolu yi mu” (Views from the Streets), Eileen Chang also reminds the reader of the many levels of urban culture taking shape outside of the apartment, that is, on the streets.  On one level, the street scene of Shanghai is most distinctively characterized by the window displays and neon lights on Avenue Joffre:&lt;br /&gt;
&lt;br /&gt;
Designing shop windows is a fascinating job, since there is motionless drama in each display. ………  [I remember] a mid-winter night four or five years ago when my cousin and I were strolling down the Avenue Joffre, looking at shop window displays. &lt;br /&gt;
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==Tan Xinjie 谭鑫洁==&lt;br /&gt;
&lt;br /&gt;
Under neon lights, the slanted faces of those wooden beauties under slanted hats, with feathers slanting down from atop the hats.  I did not wear western suits, had no need of a hat, and did not want to buy one.  And yet I still looked at them with admiring eyes…… &lt;br /&gt;
&lt;br /&gt;
This fascination with window displays and neon lights is staged at a moment that belongs to the past – “four of five years ago.”  At the present time within the essay, a different layer of images are highlighted.  We see various street corners scattered in less prestigious neighborhoods of the metropolis.  Chang’s impressionistic depiction of the city of Shanghai contains numerous crisscrosses of small lanes and faces of ordinary people:&lt;br /&gt;
&lt;br /&gt;
”Views from the Streets,” in Heaven and Earth Monthly 4 (January, 1944). （注释）&lt;br /&gt;
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==Tan Yuanyuan 谭媛媛==&lt;br /&gt;
&lt;br /&gt;
There are many scenes on the streets that are worth another glance.  At dusk, a rickshaw is parked by the roadside, a woman is leaning against the seat, a sack in her hand, some persimmons in the sack.  The rickshaw man is squatting down on the ground, trying to light up an oil lamp.  It is getting dark, and the lamp by the woman’s feet slowly brightens.  &lt;br /&gt;
&lt;br /&gt;
Here, within the space of one essay, the images of a rickshaw man and a housewife on a small street are juxtaposed with the memory of two young women window-shopping on the extravagant Avenue Joffre.  The subtle light of an oil lamp is placed against the bright and luring rats of neon signs.&lt;br /&gt;
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街道上有许多场景值得一看。 黄昏时，一辆人力车停在路边，一个女人靠在座位上，手里拿着一个麻袋，麻袋里放着一些柿子。 这辆人力车男子蹲在地上，试图点亮一盏油灯。 天快黑了，女人脚旁的灯慢慢变亮。&lt;br /&gt;
&lt;br /&gt;
在这篇论文的空间中，在一条小街上，一辆黄包车男子和一名家庭主妇的影像并置在一起，以纪念两名年轻女子在奢侈的Joffre大街上逛街。油灯的微弱光线被放置在明亮而诱人的霓虹灯招牌上。&lt;br /&gt;
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大街上有许多景象值得一看。 黄昏时分，一辆黄包车停在路边，一位女士靠在座位上，手上的购物袋里装了一些柿子。 车夫蹲在地上，正点亮一盏油灯。 天快黑了，女士脚旁的灯光慢慢亮了起来。&lt;br /&gt;
&lt;br /&gt;
在文章的这一场景中，小街上的车夫和家庭主妇与在霞飞大道逛街的两个年轻女郎形成了鲜明的对比。油灯微弱的灯光也和绚丽夺目的霓虹灯形成了对照。--[[User:Mo Ling|Mo Ling]] ([[User talk:Mo Ling|talk]]) 03:12, 5 December 2020 (UTC)Mo Ling&lt;br /&gt;
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==Tang Bei 汤蓓==&lt;br /&gt;
&lt;br /&gt;
And the warmth and intimacy of the present set off the coldness and vastness of a moment in the past.  Here, even though there is no direct reference to the turbulent events taking place in the background of occupied Shanghai, we can nonetheless sense the presence of war in this contrast between the two time frames and the switch back and forth between different layers of urban space.  Rapid movements, swift changes, drastic transformations, and the transience of a given moment, these themes of war are represented in a most subtle and yet vivid fashion.&lt;br /&gt;
&lt;br /&gt;
==Tang Ming 唐铭==&lt;br /&gt;
&lt;br /&gt;
To carry the argument further, Chang’s sense of modernity has extended from a modernist high culture to a culture of wartime quotidian life.  The author is more interested in representing the tension between the ‘old’ and the ‘new’ surfacing in everyday routines of ordinary men and women in her city.  The intrusion of war seems to have pushed the brilliance of Avenue Joffre back into one’s dusty memory.  Here we can perceive how the experience of war and occupation has systematically changed the spatialization of modernity: modernity as a body of new urban sensibilities is now located somewhere between the grand avenue and the back alley.&lt;br /&gt;
&lt;br /&gt;
进一步说，张爱玲的现代性已经从现代主义的高等文化扩展到战时的日常生活文化。她更感兴趣的是表现在她的城市里普通男女日常生活中浮现的“旧”与“新”之间的张力。战争的入侵似乎把乔弗尔大道的辉煌推回到尘封的记忆中。在这里，我们可以看到战争和占领的经历是如何系统地改变现代性的空间化的:现代性作为一种新的城市情感体，现在位于大道和后街之间的某个地方。&lt;br /&gt;
&lt;br /&gt;
张爱玲的现代意识从现代主义的高级文化延伸到战时的平民生活文化。作者更感兴趣的是表现出她所在城市普通男女日常生活中出现的“旧”与“新”之间的紧张关系。战争的侵扰似乎把乔夫尔大街的辉煌重新推回到尘封已久的记忆中。在这里，我们可以看到战争和曾被占领的经历是如何系统地改变了现代性的空间化：现代性作为一个新的城市情感体，现在位于大街和后巷之间的某个地方。--[[User:Hu Baihui|Hu Baihui]] ([[User talk:Hu Baihui|talk]]) 08:38, 4 December 2020 (UTC)&lt;br /&gt;
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==Tang Yiran 汤伊然==&lt;br /&gt;
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–  '''Fashion talk'''  – &lt;br /&gt;
To illustrate how material imagination is essential to Chang’s aesthetics of the everyday, I will now turn to her conceptualization of fashion as an invented form of life.  Chang’s discussions of fashion demonstrate her fascination with an inner vision.  By depicting a world of light, brilliant colors, unique lines and shapes, Chang has also suggested that literary writing can be the beginning of a cultural history of things.&lt;br /&gt;
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In Chang’s fictional writing, colors, lines, surfaces, and words are often combined to form a network of intricate meanings.  Her writing is known for its meticulous attention to details, particularly clothes. &lt;br /&gt;
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==Tao Ye 陶冶==&lt;br /&gt;
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For instance, in her novella “Jinsuo ji” (Chronicle of Gilded Fetters),  through the clothes of female servants, a portrait of this old-style family is introduced.  Clothes with bright colors are set in contrast to neutral tones of modern fashion; the former becomes a symbol of the ‘past,’ which gradually recedes into the background, gorgeous, amorous, dazzling, but helplessly decaying.  Temporality of fashion serves to punctuate narrative rhythm in Chang’s fictional writing.&lt;br /&gt;
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It is in Chang’s essay writing that a discourse of fashion is passionately elaborated.  Chang’s most important essay on fashion is entitled “Gengyi ji” (A Chronicle of Changing Clothes),  in which one hundred years of Chinese history is acted out in Chang’s dramatic display of clothes in movements.&lt;br /&gt;
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In Chuanqi (Romances) (Shanghai: Za¬zhishe, 1944).（注释）&lt;br /&gt;
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In Past and Present Bi-weekly 34 (December, 1943).  Originally written in English and published in the English language journal XXth Century.（注释）&lt;br /&gt;
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==Wang Meiling 王美玲==&lt;br /&gt;
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In this world, the transformation of modern clothes can be read as a history of mentality that centers on a constant redefinition of notions such as femaleness, female beauty, and female proper conducts:&lt;br /&gt;
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Men have more freedom in their life than women do.  Yet I do not want to become a man, only because they do not have freedom [in having a variety of clothing].  &lt;br /&gt;
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Chang goes on to tease out the absurdity of gendered assumptions in cultural discourses:&lt;br /&gt;
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Clothes seem trivial and not worth mentioning.  Liu Bei once said: “Brothers are [important to each other] like hands to feet whereas their wives and children are [insignificant] like clothes.”  But for women, it is much easier to cherish their clothes than their husbands. &lt;br /&gt;
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From ”A Chronicle of Changing Clothes.”&lt;br /&gt;
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Back in the 1920s, Zhang Jingsheng already highlighted the significance of the changes of clothes/fashion, which, according to him, reflects and shapes the present state of mentalities.  See Zhang’s 1925 book entitled Mei de renshengguan (An Outlook on a Life of Beauty) as quoted in Peng Hsiao-yen, ”Sexual Enlightenment: ‘Dr. Sex’ Zhang Jingsheng and May Fourth First-Person （注释）&lt;br /&gt;
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==Wang Xuan 王轩==&lt;br /&gt;
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There was a Western writer (is it Bernard Shaw?) who once complained that when most women chose their husbands, they were not nearly as attentive and cautious as when they were selecting a hat for themselves.  The most heartless woman would lament passionately when she began to talk about “that silk gown I had last year.”&lt;br /&gt;
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Never mind whether it was Bernard Shaw or some other Western writer who made these bizarre comments about women’s apparent “lack” of judgment in choosing their own destinies and their partiality for clothes and other seemingly trivial accessories in life, for Eileen Chang, these male voices were all spelling out the similarly absurd and “ancient” logic by Liu Bei of the Three Kingdoms era (third century A.D.).&lt;br /&gt;
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Narrative Fiction.”  For Zhang Jingsheng, clothes are the extension of a female body and therefore are crucial elements in exploring female sexuality and inner psyche.  This may serve as a mediation to explain the fascination with the female clothed bodies expressed in Eileen Chang’s writing of the 1940s.（注释）&lt;br /&gt;
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For a discussion of the correlation between clothes, gender discourses, and performance culture during the first two decades of the century, see an essay by Zhou Huiling (Katharine Hui-ling Chou) entitled ”Nü yanyuan, xieshi zhuyi, ‘xin nüxing’ lunshu: Wanqing dao Wusi shiqi Zhongguo xiandai juchang zhong de xingbie biaoyan” (Actresses, Realism, and Discourse of ”New Woman”: Gendered Performances in Modern Chinese Theater from Late Qing to the May Fourth), published in ''Jindai Zhongguo funüshi yanjiu'' (Studies of Women’s History of Modern China) 4 (August, 1996).  Also see her dissertation entitled ''Staging Revolution: Actresses, Realism, and the New Woman Movement in Chinese Spoken Drama and Film, 1919-1949'' (New York University, 1997).（注释）&lt;br /&gt;
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==Wang Yu 王煜==&lt;br /&gt;
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But the essay “A Chronicle of Changing Clothes” does much more than merely tease out the gendered categories embedded in fashion discourses.  “We cannot really imagine the world of the past generations, so idle, so quiet, and so organized,” writes Eileen Chang, “during the three hundred years of Manchurian ruling of Qing dynasty, there was not even (jing) such a thing called women’s fashion!”  The use of the adverb “jing” implies an astonishment: women did not even have fashion for three hundred years, and how could anyone have endured such a misfortune!  The emphasis placed on women’s clothes seem to be a landmark that separates the modern era from the antiquated worlds.&lt;br /&gt;
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这篇文章《换衣纪事》不仅仅只是梳理出隐藏在时尚话语中的性别范畴。张爱玲写道：“我们无法想象过去几代人的世界，如此闲散，如此安静，如此井井有条，在清朝满洲统治的三百年里，竟连这样一个叫女装的东西都没有！副词“竟”，暗含着一种震惊：三百年来女人连时尚未曾有，怎么会有人能忍受这样的不幸！对女装的强调似乎是现代与过时世界的一个里程碑。--[[User:Wang Yu|Wang Yu]] ([[User talk:Wang Yu|talk]]) 06:01, 5 December 2020 (UTC)&lt;br /&gt;
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==Wang Yuan 王源==&lt;br /&gt;
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From the point of view of Eileen Chang, the lack of changes in three hundred years of China’s fashion history forms a sharp contrast to the thirty or forty years of the most recent history which, for Chang, can be read as a fascinating narrative put together by rapidly shifting patterns of women’s fashion.&lt;br /&gt;
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Chang’s account then turns history into a stage presentation.  Her impressionistic view of modern history highlights colors, lines, shapes, and moods, which are all crystallized in the changing faces of women’s clothes.  Chang’s representation of modern history through the transformation of women’s clothes has the effect of a modern museum of human fantasies, or a gallery of artifacts constantly in motion. &lt;br /&gt;
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==Wei Honglang 韦洪朗==&lt;br /&gt;
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History is turned into a fictional narrative.  More interestingly, there is no real human being moving in this narrative; shapes, colors, lines, and circles occupy the space.  Through a personification of clothes, Chang has created an animation effect in her world of changing fashion.  Clothes replace human voices; clothes become language itself.&lt;br /&gt;
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In “Views from the Streets,” Eileen Chang also describes fashion display as “motionless drama,” a notion that highlights the correlation between literature, performance art, and material culture.  By using the notion of drama as a trope, Eileen Chang has indicated that fashion, like forms of fictional narrative, is a dramatization of life, a life presented on stage.  &lt;br /&gt;
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==Wei Yafei 魏亚菲==&lt;br /&gt;
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A fashion image is a frozen historical moment, that is, a close-up of a historical moment intersecting with moments in one’s personal history.  The clothed body of a modern urban woman thereby carries the burden of history, as well as the marks of our present time.&lt;br /&gt;
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In his essay on fashion and modernity written back in 1904, Georg Simmel has already theorized the cultural and social significance of fashion in modern life.  He views fashion as a signifier of modernity and a theatricalization of social transformations.  For Simmel, fashion consciousness is vital to our conceptualization of the modern and the urban.   &lt;br /&gt;
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Georg Simmel, ”Fashion” (1904), in On Individuality and Social Forms: Selected Writings, edited and with an introduction by Donald N. Levine (Chicago: University of Chicago Press, 1971) 294-323.（注释）&lt;br /&gt;
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==Wen Sixing 文偲荇==&lt;br /&gt;
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Simmel’s essay on fashion should be read side by side with his another crucial essay written a year earlier in 1903 entitled “The Metropolis and Mental Life,” which describes the heightened level of sensory stimulation associated with the construction of modern metropolis. Fashion responds most directly and instantaneously to these changes.  Following is a frequently quoted passage from “The Metropolis and Mental Life,” which describes the essence of modern life from a physiological as well as psychological perspective:&lt;br /&gt;
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The psychological foundation, upon which the metropolitan individuality is erected, is the intensification of emotional life due to the swift and continuous shift of external and internal stimuli.&lt;br /&gt;
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西美尔那篇关于时尚的文章应该和他在1903年写的另一篇重要的文章并列阅读，那篇文章题为《大都市与精神生活》，描述了随着现代大都市的建设而提高的感官刺激水平。时尚界对这些变化的反应是最直接和即时的。下面是《都市与心理生活》中经常引用的一段话，它从生理和心理的角度描述了现代生活的本质:&lt;br /&gt;
都市个性赖以建立的心理基础，是由于外部和内部刺激的迅速、持续的转移而强化的情感生活。--[[User:Wensixing|Wensixing]] ([[User talk:Wensixing|talk]]) 09:10, 3 December 2020 (UTC)&lt;br /&gt;
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==Wen Xiaoyi 文晓艺==&lt;br /&gt;
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Man is a creature whose existence is dependent on differences, i.e., his mind is stimulated by the difference between present impressions and those which have preceded.  Lasting impressions, the slightness in their differences, the habituated regularity of their course and contrasts between them, consume, so to speak, less mental energy than the rapid telescoping of changing images, pronounced differences within what is grasped at a single glance, and the unexpectedness of violent stimuli. &lt;br /&gt;
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==Wu Kai 吴恺==&lt;br /&gt;
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To the extent that the metropolis creates these psychological conditions – with every crossing of the street, with the tempo and multiplicity of economic, occupational and social life – it creates in the sensory foundations of mental life, and in the degree of awareness necessitated by our organization as creatures dependent on differences, a deep contrast with the slower, more habitual, more smoothly flowing rhythm of the sensory-mental phase of small town and rural existence.  &lt;br /&gt;
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Simmel’s remarks can help illustrate how the discourse of fashion is situated at the center of Eileen Chang’s aesthetic vision.  But Chang has gone well beyond Simmel.  She incorporates urbanism, modernity, and femininity in her creation of fashion as a new cultural paradigm. &lt;br /&gt;
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See Simmel, ”The Metropolis and Mental Life” (1903), in On Individuality and Social Forms: Selected Writings, 325.（注释）&lt;br /&gt;
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==Wu Qi 吴琪==&lt;br /&gt;
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The fact that the power of designing such a new paradigm is in the hands of a woman makes it even more unique for her time.  More importantly, Chang’s fashion stories can also be read as parables of war.  Designing fashion and then writing about fashion are her ways to come to terms with the world at war and the city under siege.  In a world where nothing is fixed, and scenes of the present are swiftly disappearing at the very next moment, the ever-changing women’s fashion ironically becomes something that is most stable and lucid, something that can be held on to.&lt;br /&gt;
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==Wu Qiong 吴琼==&lt;br /&gt;
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In Chang’s account of wartime Hong Kong in an essay entitled “Jinyu lu” (Stories from the Ashes), she describes individual attentions to details of clothes at a critical moment when one’s own life can be smashed to pieces in no time:&lt;br /&gt;
In Hong Kong, when we first heard the news that the war had broken out, a girl classmate in my dormitory started panicking.  “What am I going to do?  I have nothing appropriate to wear!” she cried. Her family were wealthy overseas Chinese.  She had a different wardrobe for every social occasion.  From a dance party on a yacht to a formal dinner, she was always sufficiently equipped.  But she never imagined that there would be a war.&lt;br /&gt;
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张爱玲在其《烬余录》中对战时香港的记述中，她对个人服装的细节上这样描写使人对生活幻灭的重要时刻：在香港，当我们第一次听说战争爆发的新闻之时，我宿舍的一位女同学开始恐慌起来。“我该做什么？我没有合适的穿的衣服！”她哭着说。她的家人都远在海外。在各个社交场合她都有不同的服装搭配。从游艇上的舞会到正式的晚宴，她总是准备有充足的衣着。但她却从未想过这里会爆发战争。--[[User:WuQiong|WuQiong]] ([[User talk:WuQiong|talk]]) 15:21, 3 December 2020 (UTC)&lt;br /&gt;
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张爱玲在《烬余录》中讲述战时的香港时描绘到，一个人在性命攸关的时刻竟会对自己的服饰百般注意：&lt;br /&gt;
在香港，当我们第一次听说战争爆发这个消息时，我宿舍的一个女同学开始慌张。她喊道，“我该怎么办？我都没有合适的衣服穿！”她们一家是富裕的华侨。她在不同的社交场合都有自己的服饰搭配，从游艇上的舞会到一场正式的晚宴，她的服装满满当当的。但她从没想过战争会爆发。--[[User:Xu Mengdie|Xu Mengdie]] ([[User talk:Xu Mengdie|talk]]) 02:33, 4 December 2020 (UTC)Xu Mengdie&lt;br /&gt;
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==Wu Xiang 邬香==&lt;br /&gt;
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She finally managed to get hold of a big black quilted jacket which probably would not attract any attention from the air force circling above.  When it was time to flee we all went our separate ways.  I saw her again when the war was over.  She cut her hair short in the masculine Filipino style – the trend in Hong Kong at the time because a woman with that hair style could pass for a man. &lt;br /&gt;
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她终于弄到了一件黑色夹克，这件夹克可能不会引起在上空盘旋的空军的注意。逃命时我们分道扬镳了。战争结束后我又见到她了。她把头发剪成了男式的发型——当时这种发型在香港比较时髦，因为拥有此发型的女人可以替代男人。&lt;br /&gt;
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Indeed our different responses to the war are reflected in our choice of clothes.  Take Suleika for example.  A beauty from a remote town on the Malay peninsula, she was petite and dark, with dreamy eyes and slightly protruding teeth.&lt;br /&gt;
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事实上，我们对战争的不同反应体现在我们对衣服的选择上。例如苏莱卡，一位来自马来半岛偏僻小镇的美女。她娇小黝黑，有着梦幻般的眼睛和微微突出的牙齿。--[[User:Wu Xiang|Wu Xiang]] ([[User talk:Wu Xiang|talk]]) 13:51, 4 December 2020 (UTC)&lt;br /&gt;
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事实上，我们对于战争的不同反应体现在我们对服装的选择上。比如苏莱卡，一位来自马来西亚偏僻小镇的妙龄女子，她身材娇小，皮肤黝黑，有着闪闪发光的眼睛和微微突出的牙齿。--[[User:Fancy|Fancy]] ([[User talk:Fancy|talk]]) 00:35, 5 December 2020 (UTC)&lt;br /&gt;
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==Wu Yilu 吴一露==&lt;br /&gt;
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Like most girls who had a convent education, she was naive to an embarrassing degree.  She chose to major in medicine, which means that she had to learn to dissect human bodies.  But did the corpses have clothes on or not?  The question bothered her, so she was asking people about it.  This had become quite a joke around our school. &lt;br /&gt;
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A bomb landed next to our dorm, so the warden had to convince us to flee down the hill.  Even in such emergency, Suleika did not forget to pack up her most lavish clothes.  Against the well meaning advice of many wise people, she somehow managed to transport, in the midst of the gunfire, a big heavy leather trunk of clothes down the hill.&lt;br /&gt;
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她和大多数接受过修道院教育的女孩儿一样，天真无邪，却令人尴尬。她选择学医，这就意味着她必须学习解刨人体。但是尸体穿没穿衣服呢？这个问题困扰着她，于是她就一直问别人。这在我们学校成了一个大笑话。&lt;br /&gt;
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一颗炸弹落到了我们宿舍旁边，所以监狱长不得不劝我们逃下山去。苏来卡即使在这种紧急情况下也没有忘记收拾带走她那些最奢侈的衣服。她不顾许多聪明人的善意劝告，仍设法在枪林弹雨中把一箱厚重的皮衣运下山去。--[[User:Wu Yilu|Wu Yilu]] ([[User talk:Wu Yilu|talk]]) 13:23, 4 December 2020 (UTC)&lt;br /&gt;
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像大多数在修道院学习的女孩一样，她天真无邪，却又令人觉得有一丝尴尬。 她选择了医学专业，这意味着她必须学习解剖人体。 但是尸体穿没穿衣服呢？这是个困扰着她的难题，所以她一直向他人请教，以至于这已经成为我们学校的一个笑话。&lt;br /&gt;
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一枚炸弹降落在我们宿舍的旁边，所以监狱长不得不劝服我们逃下山去。即使在这样的紧急情况下，苏莱卡也没有忘记打包带走自己最奢华的衣服，完全不顾智者们的善意建议，仍然想法设法在枪林弹雨中把一箱厚重的皮衣运下山去。--[[User:Xu Jing2|Xu Jing2]] ([[User talk:Xu Jing2|talk]]) 13:56, 4 December 2020 (UTC)&lt;br /&gt;
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==Wu Zijia 吴子佳==&lt;br /&gt;
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Suleika then joined the defense force, working as a substitute nurse for the Red Cross.  She was often seen squatting on the ground, hacking firewood to light up a fire, wearing her copper red and dark green silk gown embroidered with the character “shou” (longevity).  What a waste, but for her it was all worth it.  This smart outfit endowed her with an unprecedented confidence; without that she would not have blended so well with her male colleagues. …… &lt;br /&gt;
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Here, Chang’s war stories are interwoven with talks of fashion.&lt;br /&gt;
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“Stories from the Ashes,” in ''Heaven and Earth Monthly 5'' (February, 1944).&lt;br /&gt;
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==Xiao Shuangling 肖双玲==&lt;br /&gt;
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Fashion is no longer a form of creative life that only occupies the space of leisure; rather, it becomes an essential medium through which an individual could finally comprehend the world that is otherwise incomprehensible, name the surroundings that are otherwise unnamable, and determine her own gender and ethnic identities that are otherwise indeterminate.&lt;br /&gt;
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The ending of the essay “A Chronicle of Changing Clothes” also consists of a parable:&lt;br /&gt;
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……an autumnal chill in approaching dusk as vendors at a vegetable market prepare to pack up and go home.  Fish scraps and pale green corn husks litter the ground.&lt;br /&gt;
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时尚不再是一种只占休闲空间的创意生活形式。 相反，它成为一种基本的媒介，个人可以通过该媒介最终理解原本无法理解的世界，为原本无法命名的环境命名，并确定本来无法确定的性别和种族身份。&lt;br /&gt;
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《更衣记》这篇文章的结尾也包含了一个寓言:&lt;br /&gt;
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......在临近黄昏的秋意中，蔬菜市场的小贩们准备打包回家。地上散落着鱼屑和浅绿色的玉米皮。--[[User:Xiao Shuangling|Xiao Shuangling]] ([[User talk:Xiao Shuangling|talk]]) 02:50, 5 December 2020 (UTC)Xiao Shuangling&lt;br /&gt;
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==Xiao Ting 肖婷==&lt;br /&gt;
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A child dashes over on his bike just to show off.  He gives out a shout, lets go of the handlebars, and shoots away effortlessly, swaying back and forth all the while.  At that split second, everyone on the street watches him with an indefinable admiration.  Perhaps in this life that moment of letting go is the very loveliest?  &lt;br /&gt;
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This scene seems detached from Chang’s detailed descriptions of the transformation of fashion trends, but it can be read a parable of how fashion actually functions in everyday life.  It is exactly that moment of “letting go,” that is, the moment that one gains the power and freedom to go beyond immediate material and political conditions, that captures the essence of fashion in Chang’s world.&lt;br /&gt;
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Translated by Andrew F. Jones.（注释）&lt;br /&gt;
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一个孩子骑着自行车神气地飞奔过来。他空喊了一声，双手一下松开了车把，任自行车肆意地向前冲，不断地来回摇摆。此刻，街上的人都用一种说不出的羡慕的眼神看着他。也许在这一生中，那一瞬间的放手是最可爱的？ 这一幕似乎脱离了张国荣对时尚潮流转变的描述，但却可以读出时尚在日常生活中的实际作用。恰恰是那种 &amp;quot;放手 &amp;quot;的时刻，也就是获得超越眼前物质和政治条件的力量和自由的时刻，抓住了张国荣世界中时尚的本质。 译者：安德鲁 F. 吉恩斯（注释）--[[User:Xiao Ting|Xiao Ting]] ([[User talk:Xiao Ting|talk]]) 01:55, 5 December 2020 (UTC)Xiao Ting&lt;br /&gt;
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一个小孩骑着自行车冲过来，只是为了炫耀一下自己。他大叫一声，放开车把，然后毫不费力地甩了出去，一路上来回摇晃着。在那一刹那，街上的每个人都带着一种难以形容的钦佩注视着他。也许在这一生中放手的那一刻是最可爱的? &lt;br /&gt;
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这一幕似乎脱离了张国荣对时尚潮流转变的描述，但却可以读出时尚在日常生活中的实际作用。恰恰是那种 &amp;quot;放手 &amp;quot;的时刻，也就是获得超越眼前物质和政治条件的力量和自由的时刻，抓住了张国荣世界中时尚的本质。 译者：安德鲁 F. 吉恩斯（注释）--[[User:Xiao Shuangling|Xiao Shuangling]] ([[User talk:Xiao Shuangling|talk]]) 02:59, 5 December 2020 (UTC)Xiao Shuangling&lt;br /&gt;
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==Xiao Xi 肖茜==&lt;br /&gt;
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Here the essay genre not only becomes an open-ended and ongoing process for women writers in their entry into the existing order of the literary world, it also becomes the testing ground where the boundaries between the literary world and the larger social realm become unstable and ever-shifting.  Not only life styles can be read as texts, women writers as individuals can become concrete historical subjects within the space allowed by the modern essay.  Life is woven together with work, the boundaries between the private and the public are further blurred, and biographical contingencies become important textual devices in constructing a legend of a new era.&lt;br /&gt;
&lt;br /&gt;
在这里，散文体裁不仅成为了女性作家进入文学世界的一个开放的、持续的过程，也成为了一个试验场，在这里，文坛和更大的社会领域之间的边界变得不稳定和不断变化。不仅生活方式可以被当成文章阅读，女性作家作为个体也可以在现代散文所允许的空间内成为具体的历史主体。生活与工作交织在一起，私人与公众的界限进一步模糊，传记性的偶发事件成为构筑新时代传奇的重要文本手段。--[[User:XiaoXi|XiaoXi]] ([[User talk:XiaoXi|talk]]) 09:42, 4 December 2020 (UTC)Xiao Xi&lt;br /&gt;
&lt;br /&gt;
在这里，散文体裁不仅成为女作家进入文学世界现有秩序的一个开放性的持续过程，也成为一个试验场，在这个试验场中文学世界与更大的社会领域之间的边界变得不稳定，并且不断变化。不仅生活方式可以作为文本来解读，作为个体的女作家也可以在现代散文所允许的空间内成为具体的历史主体。生活与工作交织在一起，私人与公共的界限进一步模糊，传记的偶然性成为构建新时代传奇的重要文本手段。--[[User:Wu Yilu|Wu Yilu]] ([[User talk:Wu Yilu|talk]]) 13:28, 4 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
==Xiao Yining 肖伊宁==&lt;br /&gt;
&lt;br /&gt;
'''Perspectives on Ideology in the Essay'''&lt;br /&gt;
&lt;br /&gt;
'''Zhu Ziqing, Frantz Fanon, and the Fierce White Children'''&lt;br /&gt;
&lt;br /&gt;
''Daniel A. Fried''&lt;br /&gt;
&lt;br /&gt;
'''Abstract'''&lt;br /&gt;
&lt;br /&gt;
All genres contain political possibilities, but the essay seems entitled to a particularly strong claim on politics. In the Chinese modernist context, it should be clear that one cannot understand the development of nationalism without reference to the huge body of political essays published in decades of periodicals, and equally clear that one must take stock of nationalist writings in trying to understand the generic qualities of the essay.  And within our international scholarly dialogue, it seems necessary to locate the modern Chinese essay with regard to the various postulates of postcolonial theory.&lt;br /&gt;
&lt;br /&gt;
“论文中的意识形态观点”&lt;br /&gt;
&lt;br /&gt;
“朱自清，弗朗茨·法农，和凶猛的白人孩子”&lt;br /&gt;
&lt;br /&gt;
“丹尼尔A.弗里德”&lt;br /&gt;
&lt;br /&gt;
“概要”&lt;br /&gt;
&lt;br /&gt;
所有体裁都包含政治可能性，但这篇文章似乎有权对政治提出特别强烈的主张。在中国现代主义环境中，我们应该清楚地看到，如果不参考几十年期刊上发表的大量政治文章，就无法理解民族主义的发展；同样，我们必须审视民族主义作品，试图理解这篇文章的共性。在我们的国际学术对话中，似乎有必要根据有关后殖民理论的各种假设来定位中国现代散文.&lt;br /&gt;
--[[User:Xiao yining|Xiao yining]] ([[User talk:Xiao yining|talk]]) 11:25, 3 December 2020 (UTC)Xiao Yining&lt;br /&gt;
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==Xie Fan 解帆==&lt;br /&gt;
&lt;br /&gt;
This is not easy--the relation of Chinese materials to theory has of course been debated at length, with wide disagreements over the applicability of the standard models.  Indeed, the applicability of postcolonialism to several literatures has been questioned as critiques of essentialized difference have been turned against the general conclusions of postcolonial discourse itself.  While theoretical contextualization of Chinese political essays seems necessary, there is no critical consensus on what theories to apply.&lt;br /&gt;
&lt;br /&gt;
This paper will attempt to contextualize by ignoring the oversimplified question of whether postcolonial theory is or is not applicable to Chinese modernist essays. &lt;br /&gt;
&lt;br /&gt;
==Xie Ziyi 谢子熠==&lt;br /&gt;
&lt;br /&gt;
Instead, it seeks to perform a case study in theoretical analysis of a Chinese essay which goes beyond the simple importation of “foreign” theory, to suggest the outlines of dialogue between scholars of Chinese and other anticolonial nationalisms. Specifically, it compares Zhu Ziqing's experience of a white childs gaze in the essay, “White People--God's Proud Children!” to a similar experience of Frantz Fanon recorded in his canonical ''Black Skin, White Masks''.  Using the theme of the racial others gaze as a methodological allegory, it seeks to show how these two texts can be made to “gaze” at each other, to inform each other in ways which are theoretically suggestive while respecting local difference.&lt;br /&gt;
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==Xu Jia 徐佳==&lt;br /&gt;
&lt;br /&gt;
While Zhus essay seems in many ways to perfectly invoke the most familiar tropes of “Western” theory, Zhu's reaction to the gaze is ultimately opposite to Fanon's, and demonstrates how anticolonial writing is enmeshed both in internationa lpsychological constants and local historical variables.&lt;br /&gt;
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Scholarly investigation of the modern Chinese essay as a genre demands some attention to the questions posed by postcolonial theories.  The same could be said of all genres of the period, but the essay has a special claim on postcolonialism.  All genres were used politically, but the essay was usually seen in high modern China as the prime vehicle for explicit politics, the forum best suited for debate and rebuttal, and explication of specific political programs.  &lt;br /&gt;
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==Xu Jing 许晶==&lt;br /&gt;
&lt;br /&gt;
Of course, there is no scholarly consensus in the field as to the extent to which postcolonial theories can or cannot be applied to modern Chinese literature.  For example, Rey Chow in her 1993 ''Writing Diaspora'' produced a well-known critique of the resistance to theory by scholars of Chinese literature, arguing that the claims of untheorizable Chinese particularity are merely reintroductions of an old Orientalist cultural essentialism.   Last year, Leo Lee concluded his study of Shanghai urban culture by restating the very same arguments which Chow had dismissed, making the case that theory based on native internalization of the Western “othering” gaze was not directly applicable because the Western imperialist presence in China, even in the Shanghai concession zones, never gained the colonialist control over language and education that produced such psychic disruptions in other societies. &lt;br /&gt;
&lt;br /&gt;
Rey Chow, ''Writing Diaspora: Tactics of Intervention in Contemporary Cultural Studies''. (Bloomington: Indiana University Press, 1993).（注释）&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
当然，关于后殖民理论在何种程度上可以适用于现代中国文学，学界并没有达成共识。例如，周蕾在1993年的《离散书写》中，她就中国文学学者对理论的反抗提出了一个著名的批评，她认为，不可理论化的中国特殊性，只不过是对古老的东方主义文化本质主义的重新引入。 去年，李欧梵通过重述周蕾曾否定的相同观点，结束了他对上海都市文化的研究，从而证明了该理论是基于西方“他者化”的本土内化，不能直接适用。因为在中国，哪怕是在上海租界，西方帝国主义的存在从未获得殖民主义者对语言和教育的控制，而这种控制在其他社会中造成了这种心理混乱。--[[User:Xu Jing2|Xu Jing2]] ([[User talk:Xu Jing2|talk]]) 13:57, 4 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
当然，关于后殖民理论在何种程度上可以适用于现代中国文学，学界并没有达成共识。例如，周蕾在1993年的《离散书写》中，她就中国文学研究学者对理论的反抗提出了一个著名的批评，她认为，不可理论化的中国特殊性，只不过是对老式的东方主义文化本质主义的重新引入。 去年，李欧梵通过重述周蕾曾否定的相同观点，总结了他对上海都市文化的研究，从而证明了该理论是基于西方“他者化”的本土内化，不能直接适用。因为在中国，哪怕是在上海租界，西方帝国主义从未获得殖民主义者对语言和教育的控制，然而这种控制却在其他社会中造成了这种心理混乱。&lt;br /&gt;
Rey Chow，Writing Diaspora：Tactics of Intervention in Contemporary Cultural Studies. (Bloomington: Indiana University Press, 1993).（注释）。--[[User:Xiao Ting|Xiao Ting]] ([[User talk:Xiao Ting|talk]]) 02:15, 5 December 2020 (UTC)Xiao Ting&lt;br /&gt;
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==Xu Jing 许静==&lt;br /&gt;
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We must stutter out some engagement with postcolonial theory, but how can one proceed without the safety of scholarly consensus?  One could dive into polemics, but a  decision that either theory is or isn't always applicable to Chinese literature assumes the existence of twin essentialized monoliths called “theory” and “Chinese literature.”  We need more nuanced approaches.  In fact, the terms of mainline postcolonial theory do furnish the conceptual tools with which one can derive one such approach.  The very familiar discussions of the gaze of the imperial subject toward the colonized other can be employed as a metaphor for our own predicament. &lt;br /&gt;
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==Xu Mengdie 徐梦蝶==&lt;br /&gt;
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One of the major variations on this theme, deriving from the writings of Frantz Fanon, should be familiar: by their imperial gaze, aggressor cultures try to lock their colonized subjects into a perpetual Otherdom, with the aggressor National Subject claiming for itself a transcendent metaphysical Selfhood; colonized individuals must view themselves as Other and therefore are alienated from themselves.  The solutions the discourse has found are ways in which those individuals can subvert that Otherdom in order to reclaim for themselves a new or reconstituted Selfhood.  The goal is not to fall into nativist atavism and rejection of the metropole, but to eliminate dominance and blur the margins of identity, allowing a more healthful parity in the identification dialectic between colonizer and colonized.&lt;br /&gt;
弗朗兹·法农的作品中产生了这一主题的主要变题之一，大家应该对此都很熟悉：在帝国主义的视角下，侵略者文化尝试将殖民对象封锁进永恒的他者国度，只有侵略国家自称为超验的形而上学的自我：被殖民的人必须把自己当做他者因此只能异化。对于这一问题找到的答案便是通过推翻他者国度从而为自己重建一个自我。目的不在于陷入本土主义者的返祖主义，拒绝城市，而是削弱统治，使身份边界模糊化，让殖民者和被殖民者在身份的辩证识别上有更健康的对等。--[[User:Xu Mengdie|Xu Mengdie]] ([[User talk:Xu Mengdie|talk]]) 02:06, 4 December 2020 (UTC)Xu Mengdie&lt;br /&gt;
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==Xu Pengfei 许鹏飞==&lt;br /&gt;
&lt;br /&gt;
If it is a common complaint that postcolonial theory is a creation of the metropole which should not be allowed to dominate local Chinese historical experience, the solution should not be nativist assertion of Chinese difference and superiority, with consequent ignoring of the varied experiences of imperialism from which the systems of theory have been derived.  Rather, once we reject the notion that metropolitan theory has an omniscient gaze which alone possesses the right to define the meaning of Chinese texts, we are free to see how Chinese and non-Chinese experiences of imperialism can inform each other, through their mutual attractions and tensions which complicate questions of identity.&lt;br /&gt;
&lt;br /&gt;
如果人们普遍认为后殖民理论是大都市的创造，不应让其支配中国本土的历史经验，那么解决办法就不应是本土主义武断地主张中国的差异和优越性，一直忽视理论体系是从帝国主义的各种经验是衍生出来的。相反，一旦我们拒绝了大都市理论无所不能、只有它才有权定义中文文本的含义的观点，我们就可以自由地看到，中国和非中国的帝国主义经历是如何通过它们的相互吸引和紧张关系——这使身份问题复杂化——相互交流。--[[User:Xu Pengfei|Xu Pengfei]] ([[User talk:Xu Pengfei|talk]]) 09:39, 3 December 2020 (UTC)Xu Pengfei&lt;br /&gt;
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如果人们普遍抱怨后殖民主义理论是大都会的产物，且不应允许它主导中国本土的历史经验，那么，解决的办法就不应是本土主义地宣称中国人的差异性和优越性，从而忽视理论体系所衍生的各种帝国主义的经验。相反，一旦我们摒弃了大都会理论的全知角度，那就是它独自拥有定义中国文本意义的权利，我们就可以看到中国人和非中国人的帝国主义经验如何通过他们的相互吸引和紧张关系来相互交流，而这使认知问题变得复杂。--[[User:Yang chenting|Yang chenting]] ([[User talk:Yang chenting|talk]]) 06:29, 4 December 2020 (UTC)Yang Chenting&lt;br /&gt;
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==Yang Chenting 杨晨婷==&lt;br /&gt;
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As an example of how to do this sort of theoretical application, I propose in this paper to compare Frantz Fanon's “The Fact of Blackness” (a chapter of his canonical ''Black Skin, White Masks''), with a little-known essay by Zhu Ziqing, “White People-God's Proud Children!”  Both pieces focus on the narrators' experiences of meeting the gazes of white children, and thus invoke classic themes which allow easy access to theoretical considerations even in the midst of a particularistic analysis.  And because both describe politicized experience, they avoid the old Orientalist dichotomy of Western theory vs. native experience.  Both Fanon and Zhu are equally theoretical and experiential, and they inform each other.&lt;br /&gt;
&lt;br /&gt;
作为如何进行这类理论应用的例子，我在本文中拟将弗朗茨·法农的《黑的事实》（他的典籍《黑皮肤，白面具》中的一章）与朱自清的一篇鲜为人知的文章《白种人，上帝的骄子！》进行比较。这两篇作品都聚焦于叙述者与白人儿童目光交汇的经历，因此引用了经典的主题，即使在特殊主义的分析中，也能很容易进行理论思考。而且由于两者都描述了政治化的经验，因此避免了西方理论的老东方主义与本土经验的抉择。弗朗茨和朱自清都同样具有理论性和经验性，且互相借鉴。--[[User:Yang chenting|Yang chenting]] ([[User talk:Yang chenting|talk]]) 08:35, 3 December 2020 (UTC)Yang Chenting&lt;br /&gt;
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作为如何进行这类理论应用的一个例子，笔者拟在本文中对弗朗茨·法农的《黑人的事实》(他的经典《黑皮肤，白面具》中的一个章节)与朱自清鲜为人知的文章《白种人——上帝的骄子!》进行比较。这两篇文章都聚焦于叙述者与白人儿童目光相遇的经历，因此援引了经典主题，即使在进行具象分析中，也能很容易地进行理论思考。而且因为两者都描述了政治化的经验，他们避免了西方理论与本土经验的古老东方主义之争。法农和朱自清都具有同样的理论和经验，且相互借鉴。--[[User:Li Luyi|Li Luyi]] ([[User talk:Li Luyi|talk]]) 12:12, 3 December 2020 (UTC)&lt;br /&gt;
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[[File:Example.jpg]]==Yang Hairong 杨海容==&lt;br /&gt;
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“The Fact of Blackness” is Fanon's analysis of a black man's frustration in attempting to create a viable self-identity in the France of the 1950's.  Analysis in the psychoanalytic sense, not the scientific-sociological one; or, better still, ''self-analysis'', for the chapter is cast in the form of a first-person narrative.  Fanon writes a sort of psychoanalytically fueled prose poem.  There are few objective assertions made about “the way it is”; the problem is seen from what appears to be the inside of a black man's head,  what he feels and how he reacts to the shiftingly solid front of White France arrayed against him..&lt;br /&gt;
&lt;br /&gt;
Not necesssarily Fanon's.  In his introduction, Fanon writes that in this chapter, “we observe the desperate struggles of a Negro who is driven to discover the meaning of black identity.&amp;quot;  Frantz Fanon, Black Skin, White Masks. Trans. Charles Lam Markmann (New York: Grove Press, 1967) 16.  The wording here suggests a fictional narrator.  Nonetheless, one guesses that it is a fictualized Fanon, and I will use “Fanon” as a convenience in place of “the narrator” for the remainder of this paper.（注释）&lt;br /&gt;
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“黑人事实”是法农（Fanon) 对黑人试图在1950年代的法国创造可行的自我身份的挫败感的分析。心理分析意义上的分析，不是科学社会学意义上的分析；或更好的是“自我分析”，因为本章以第一人称叙述的形式呈现。法农写了一首精神分析的散文诗。很少有人对“现状”作出客观的断言;这个问题可以从一个黑人的大脑内部看出来，他的感受，以及他对反对他的法国白人坚实的立场的反应。&lt;br /&gt;
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不一定是法农的。法农在其引言中写道，在本章中，“我们观察到黑人被迫探索黑人身份的绝望斗争。”法兰兹·范农，《黑皮肤，白色面具》，查尔斯·林·马克曼译（纽约：格罗夫出版社，1967年）16.这里的措辞暗示着一个虚构的叙述者，尽管如此，有人猜测这是一个虚构的法农，在本文的其余部分中，我将使用“范农”代替“叙述者”。 （注释）--[[User:Yang Hairong|Yang Hairong]] ([[User talk:Yang Hairong|talk]]) 02:01, 5 December 2020 (UTC)&lt;br /&gt;
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==Yang Hui 阳慧==&lt;br /&gt;
&lt;br /&gt;
Some of the most striking and most quoted parts of this narrative are Fanon's attempts to deal with the intrusive voice of the white child who cries out in fear of him:&lt;br /&gt;
&lt;br /&gt;
“Look, a Negro!”  It was an external stimulus that flicked over me as I passed by.  I made a tight smile.&lt;br /&gt;
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“Look, a Negro!” It was true.  It amused me.&lt;br /&gt;
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“Look, a Negro!”  The circle was drawing a bit tighter.  I made no secret of my amusement.&lt;br /&gt;
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“Mama, see the Negro!  I'm frightened!”  Frightened!  Frightened!  Now they were beginning to be afraid of me.  I made up my mind to laugh myself to tears, but laughter had become impossible.&lt;br /&gt;
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这段叙述中最引人注目和引用最多的部分是 Fanon 试图处理白人儿童因害怕他而大声呼喊的侵扰性声音：&lt;br /&gt;
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“看，一个黑人！”当我经过时，一种外在的刺激掠过我的心头。我笑得很紧。&lt;br /&gt;
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“看，一个黑人！”是真的。我很开心。&lt;br /&gt;
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“看，一个黑人！”圆圈越来越紧了。我毫不掩饰我的乐趣。&lt;br /&gt;
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“妈妈，看那黑鬼！我吓坏了！”害怕！害怕！现在他们开始害怕我了。我下定决心要笑得流泪，但笑已经变得不可能了。--[[User:YangHui|YangHui]] ([[User talk:YangHui|talk]]) 08:18, 3 December 2020 (UTC)&lt;br /&gt;
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这段叙述中最引人注目和最常被引用的部分，是法侬试图处理那个白人孩子因为害怕他而大叫的侵扰声音:&lt;br /&gt;
&lt;br /&gt;
“看,一个黑人!”这是一种外部刺激，当我经过时，它掠过我的头顶。我紧张地笑了笑。&lt;br /&gt;
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“看,一个黑人!”这是真的。这太好笑了。&lt;br /&gt;
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“看,一个黑人!”圆圈变得更紧了。我毫不掩饰自己的快乐。&lt;br /&gt;
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“妈妈，你看那个黑人!我害怕!”吓!吓坏了!现在他们开始害怕我了。我决定笑得流泪，但笑已经变得不可能了。--[[User:Wensixing|Wensixing]] ([[User talk:Wensixing|talk]]) 09:14, 3 December 2020 (UTC)&lt;br /&gt;
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这种叙述中一些最引人注目和被引用最多的部分是法农试图处理白人儿童因为害怕他而大声疾呼发出的侵扰声音：&lt;br /&gt;
“看，一个黑人！”这是一种外部刺激，当我经过时，它掠过我。我紧张地笑了。&lt;br /&gt;
“看，一个黑人！”这是真的。它逗乐了我。&lt;br /&gt;
“看，一个黑人！”圆圈画的更紧了。我掩饰不住快乐。&lt;br /&gt;
“妈妈，看黑人！我害怕！”害怕！害怕！现在他们开始害怕我了。我下定决心笑出眼泪，但笑声已经变得不可能了。--[[User:Zhao Xi|Zhao Xi]] ([[User talk:Zhao Xi|talk]]) 11:41, 3 December 2020 (UTC)&lt;br /&gt;
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==Yang Yi 杨逸==&lt;br /&gt;
&lt;br /&gt;
In this passage as elsewhere in the chapter, there are many voices accusing Fanon, yet the voice of the child has a special bluntness, one that hits Fanon harder.  Beneath that voice, his attempt to defend himself through an ever-increasing amusement is undone; the child unmasks his anguish.  He is for Fanon not just a historical boy, nor an empirical average of thousands of trembling boys, but a resonance of something deeper within Fanon's narrative.  Fanon does not devote an inordinate amount of space to the child, and it would be an exaggeration to say that the appearances of this child constitute the thematic center of his chapter. &lt;br /&gt;
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==Yang Yue 杨悦==&lt;br /&gt;
&lt;br /&gt;
Nonetheless, the white child does play a crucial role, as he is in fact a grotesque foil for Fanon's own exasperated narrative voice, which is a rewriting, for race, of narratives of developmental psychology.  In particular, Jacques Lacan's famous theory of the “mirror stage” is clearly its primary inspiration.  Even though Fanon never makes explicit reference to Lacan or “The Mirror Stage” in the chapter, such references are numerous in Black Skin, White Masks as a whole-there is no doubt that Fanon knew the paradigm well.  And the structure of his narrative runs suspiciously parallel to Lacan's explications, so much that it might be fair to call “The Fact of Blackness” an ironic rewriting of “The Mirror Stage.”&lt;br /&gt;
&lt;br /&gt;
==Yang Ziling 杨子泠==&lt;br /&gt;
&lt;br /&gt;
Lacan's theory is complex, moving in unexpected directions and drawing different sets of conclusions.  But all are sourced in the moment of a baby before a mirror, fascinated to discover itself for the first time.  The stage at which this critical fascination can occur lasts from the age of six to eighteen months, according to Lacan, and its primary importance is in providing the infant with a temporary shortcut to mature subjectivity.  In his words, the mirror “precipitates” the child's I in a “primordial form, before it is objectified in the dialectic of identification with the other, and before language restores to it, in the universal, its function as subject.”   &lt;br /&gt;
&lt;br /&gt;
==Yao Cheng 姚诚==--[[User:Wu Xiang|Wu Xiang]] ([[User talk:Wu Xiang|talk]]) 14:04, 4 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
In contrast, Fanon only reaches his version of the mirror stage ''after'' passing through objectification and restoration to subjectivity.  His “mirror stage” is precisely the quest for subjectivity narrated through the “plot” outlined above.  But this plot is skewed¬-consider Lacan's discussion of the mirror stage itself:&lt;br /&gt;
&lt;br /&gt;
The fact is that the total form of the body by which the subject anticipates in a mirage the maturation of his power is certainly more constituent than constituted, but in which it appears to him above all in a contrasting size (''un relief de stature'') that fixes it and in a symmetry that inverts it, in contrast with the turbulent movement that the subject feels are animating him.&lt;br /&gt;
&lt;br /&gt;
相比之下，法农只有在经过客观化并恢复到主观性后，才能“达到”他的镜像阶段。 他的“镜像阶段”正是要追求上述“情节”中描述的主体性。 但是此情节是有失偏颇的，请思考拉康对镜像阶段本身的讨论：&lt;br /&gt;
&lt;br /&gt;
事实是，主体总形式当然更多是构成成分而不是已构物，因为学科通过主体总形式在思维中预估其力量是否成熟。但是在他看来，主体首先是一个对比大小的个体（“形体突出”），这一个体将其固定并使其对称反转，这与对象感觉到正在使他动起来的湍流运动相反。--[[User:Yao Cheng|Yao Cheng]] ([[User talk:Yao Cheng|talk]]) 08:17, 4 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
相比之下，法农只有在经过客观化并恢复主观性后，才能“达到”他的镜像阶段。他的“镜像阶段”正是要追求上述“情节”中描述的主体性。 但是此情节是有失偏颇的，需要考虑拉康对镜像阶段本身的讨论：&lt;br /&gt;
 &lt;br /&gt;
实际上，主体总形式当然更多是构成成分而不是已构物，因为学科通过主体总形式在思维中预估其力量是否成熟。但是在他看来，主体首先是一个对比大小的个体（“形体突出”），这一个体将其固定并使其对称反转，这与对象感觉到正在使他动起来的湍流运动相反。--[[User:Wu Xiang|Wu Xiang]] ([[User talk:Wu Xiang|talk]]) 14:04, 4 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
==Yao Jia 姚佳==&lt;br /&gt;
&lt;br /&gt;
Fanon's mirror is of course the White.  In that mirror he is inverted, re-created as an image exactly opposite to his own reality, and it is only through that inversion, that ''perversion'' of his Self that he is allowed to know himself.  And, moreover, that inversion is ''fixed'' in the mirror, as Fanon puts it, fixed as a chemical solution is fixed by a dye.  No matter how Fanon questions, no matter what rhetorical tack he chooses to confront the mirror, it refuses to give back any other image.  Does Fanon feel a universal, rational soul animating himself?  Does he well up with the turbulence of an earth-poetry that takes him to the magic font of his humanity?  It does not matter.  The mirror is impervious and flat.  His image is fixed.&lt;br /&gt;
&lt;br /&gt;
==Yi Huan 易欢==&lt;br /&gt;
&lt;br /&gt;
Lacan tells us that the function of the mirror stage “is to establish a relation between the organism and its reality - or, as they say, between the ''Innenwelt'' and the ''Umwelt''.”   For Lacan, it is the organism itself which determines and creates the relation, it creates its reality, but Fanon feels himself to be “overdetermined from without,”  he is created by the White reality.&lt;br /&gt;
&lt;br /&gt;
That relation is an average of many different species of dominance.  But perhaps more than any other, it is the dominance of an adult over a child.  Listen again to the voices which fix Fanon: “Understand, my dear ''boy'', color prejudice is something I find entirely foreign.” &lt;br /&gt;
&lt;br /&gt;
==Yi Zichu 义子楚==&lt;br /&gt;
&lt;br /&gt;
“Gently, in the tone that one uses with a ''child'', they introduced me to the existence of a certain view that was held by certain people.”   “now and then when we are worn out by our lives in big buildings, we will turn to you as we do to our ''children''-to the innocent, the ingenuous, the spontaneous.  We will turn to you as to the ''childhood'' of the world.”  (italics mine)  The White mirror thus fixes Fanon as a perpetual infant, the Black “boy” who embodies youthful naiveté.  He knows he is in the mirror stage, he is an infant who has already read Lacan, and he is desperate to find in the mirror the image which will allow him to realize his ''I'', but the mirror always gives him back his infant inverse.  He cannot realize himself, he can never leave the mirror stage, he is ''fixed''.&lt;br /&gt;
&lt;br /&gt;
==You Yuting 游雨婷==&lt;br /&gt;
&lt;br /&gt;
The white child is thus a point of entry into the subsurface struggle of the text.  The child is Fanon's parallel and his foil: “look, a nigger, it's cold, the nigger is shivering because he is cold, the little boy is trembling because he is afraid of the nigger, the nigger is shivering with cold, the cold that goes through your bones, the handsome little boy is trembling because he thinks that the nigger is quivering with rage, the little boy throws himself into his mother's arms: Mama, the nigger's going to eat me up.”[	Fanon, 114.]  The boy mirrors Fanon, but ironically: his freedom to be afraid, his freedom even to see an Other that is not synonymous with the Self[	Fanon asserts thtat the black is not Other to the white, but his argument is that the white claims he does not need to go through identification with the black-as-Other in order to come to a realization of the Sel; on the contrary, White simply “is”; black is not-White.  But though the white does not idenify through the black Other, this of course does not mean that Fanon is asserting that the white does not identify the black as Other.] is a mockery of the boyhood which Fanon cannot escape.  One might even profitably read this mirroring as a form of mimicry. &lt;br /&gt;
&lt;br /&gt;
==Yu Ni 余妮==&lt;br /&gt;
&lt;br /&gt;
In standard postcolonial discourse, “mimicry” refers to either a pseudo-imitation forced on the colonized by the colonizer who wants the colonized to “be like” the colonizing cultural model, but not identical to it; or it can refer to deliberate ironization of such models by the colonized.  Either case results in what Homi Bhabha calls a “double vision which in disclosing the ambivalence of colonial discourse also disrupts its authority.”[	Homi Bhabha, The Location of Culture (New York: Routledge, 1994) 88.]  However, as Diana Fuss notes, “the mimicry of subversion can find itself reinforcing conventional power relations rather than eroding them.”[	Diana Fuss, Identification Papers (New York: Routledge, 195*) 147.]  Fanon's experience is just such a case - the mimicry is the white boy's, not Fanon's, and its effect is not at all disruptive, but reinforces the conventional power relations. &lt;br /&gt;
&lt;br /&gt;
==Yuan Shiqi 袁诗琦==&lt;br /&gt;
&lt;br /&gt;
The boy thinks he is in danger of assault and trembles; in fact, it is Fanon who trembled first, who is the one really exposed to violence, and who is in fact ''being assaulted'' by the boy's unwitting mimicry of his weakness.&lt;br /&gt;
&lt;br /&gt;
The white child is thus a cruel unwitting joker who offers Fanon seeming doors of rhetorical escape into maturity, then frustrates him, turns him back on himself, locks him into the image of “the childhood of the world.”  And the most destructive part is that the child does not know he is the god's mask; he screams as an innocent and can leap to the mother's arms.  Fanon screams, and the monstrous mirror stays silvery and cold: it inverts and it fixes, but it never recognizes.&lt;br /&gt;
&lt;br /&gt;
“White People-God's Proud Children!” was written in direct response to (and less than three weeks after) the “May 30 Massacre.”&lt;br /&gt;
&lt;br /&gt;
男孩认为自己有被攻击的危险，吓得发抖;事实上，首先颤抖的是法龙（Fanon），真正遭受暴力的是法龙，实际上也是法龙被男孩在不知情的情况下模仿自己的弱点所攻击。&lt;br /&gt;
因此，这个白人孩子是一个残忍的、不知情的小丑，他为法农提供了看似可以逃避语言的大门，让他走向成熟，然后让他沮丧，让他回归自我，把他锁在“世界的童年”的形象中。最可怕的是，这个孩子不知道自己是上帝的面具;他像个无辜的孩子一样尖叫，然后跳到妈妈的怀里。法农尖叫了一声，巨大的魔镜依旧银光闪闪，冰冷冰冷:它颠倒着，固定着，但永远也认不出来。&lt;br /&gt;
“白人——上帝的骄傲的孩子!”是对“5月30日大屠杀”(不到三周后)的直接回应。--[[User:Yuan SHiqi|Yuan SHiqi]] ([[User talk:Yuan SHiqi|talk]]) 03:05, 4 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
==Yuan Tianyi 袁天翼==&lt;br /&gt;
&lt;br /&gt;
In mid-May of 1925, factory workers at a Japanese plant in Shanghai went on strike, and then stormed the factory grounds, demanding back wages.  The Japanese managers shot and killed the strike leader and injured several others, prompting more general strikes at other Japanese factories by 20,000 workers.  Students soon joined the workers in protest, and several were arrested inside the foreign concessionary zone.  On May 30, the date scheduled for the trial of those arrested, 2,000 students marched on the concessionary zone demanding the release of the students and workers.  In response, British troops arrested a hundred of those assembled.  News of the new arrests spread rapidly, and by later that day, several thousand Shanghainese of different levels of society had surrounded the Nanjing Road jail where the protesters were being held, demanding their release.  At this point, the British opened fire, killing a dozen or so Chinese and wounding several dozen.&lt;br /&gt;
&lt;br /&gt;
1925年5月中旬，上海一家日本工厂工人罢工，然后冲进工厂，要求讨回工资。工厂日本经理射杀了罢工领袖，打伤数名工人，导致其他日本工厂2,0000工人发起了更大规模的罢工。学生很快加入工人抗议，随后部分学生在租界遭到逮捕。5月30日原定是遭逮捕的工人和学生受审日子，2,000学生在租界游行示威，要求释放学生和工人。作为回应，英国士兵逮捕了数百名示威者。这一消息很快传开来，当天晚些时候，几千名上海社会人士包围了关押抗议者的南京路监狱，要求释放他们。鉴于此，英军开火，射杀了十几名中国人，打伤几十中国人。--[[User:Yuan Tianyi|Yuan Tianyi]] ([[User talk:Yuan Tianyi|talk]]) 13:50, 3 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
==Yuan Yuchen 袁雨晨==&lt;br /&gt;
&lt;br /&gt;
Nationwide protests of various sorts erupted immediately, including several literary protests, two by Zhu: “Blood Song,” an incendiary poem composed on June 10, and “White People,” written nine days later.&lt;br /&gt;
&lt;br /&gt;
The essay never refers explicitly to the May 30 incident; rather, it is the narration and explication of an incident which Zhu experienced on a Shanghai city trolley.  After boarding and going to the first-class seats, Zhu sits down across from two white people, apparently a father and son.  Zhu marvels at the lovely features of the boy, who looks eleven or twelve, and then goes into an explanation of how he has been fascinated with children ever since a friendship in elementary school with a shy younger boy named Liu Jun.  He admits that he loves to stare at young children, and that he stared therefore at the white child.&lt;br /&gt;
&lt;br /&gt;
各行各业的抗议行动在全国范围内一触即发，包括了几个文学的抗议行动，其中就有朱自清的两部作品，其一是创作于6月10日的诗篇《血歌》，表现了火山爆发式的强烈情感，九天后，朱自清又写下另一篇文章《白种人——上帝的骄子》。&lt;br /&gt;
虽然这篇文章从未明确指出“五卅”惨案，但朱自清在上海的一路电车上的亲见亲闻刚好记述和解释了这次事件的情况。朱上电车之后，走进头等座里，和两个白种人并排而坐，他猜想那两人是一对父子。小男孩看上去十一二岁的样子，他惊羡于小男孩的可爱容貌，解释说自己多么想要跟这个男孩亲近，因为这让他想起了自己初中时的一个叫做刘君的玩伴，也是一个害羞的小男孩。他承认自己喜欢凝视小孩子，所以才会对这个白人小孩多看了几眼。--[[User:Yuan Yuchen|Yuan Yuchen]] ([[User talk:Yuan Yuchen|talk]]) 03:39, 5 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
==Zeng Fangyuan 曾芳缘==&lt;br /&gt;
&lt;br /&gt;
Unlike most children, disturbed by his staring, the white child appears to take no notice, but then, when he and his father are about to get off the trolley, the child flashes a violent, mimicking stare back at Zhu.  The author hears words in the stare: “There were words in his eyes: 'Hah! Yellow man, yellow chinaman, you-you go ahead and look!  You are worthy of looking at me!”  Zhu feels this stare as a physical assault, and feels first terrified, and then patriotically enraged.  He then explains his desire for a nationality-trumping universalism, but also doubts its possibility, since such a young child had already been socialized into acceptance of racist categories.  Yet he praises the child for exhibiting masculine forcefulness, and claims that this is “what makes whites white.”  Finally, he declares himself conflicted on the subject of nationalism versus universalism, ending the essay unresolved.&lt;br /&gt;
&lt;br /&gt;
与大多数孩子不一样，这个白人小孩对于朱自清的打量毫不在意，但当白人小孩和他的父亲准备下电车时，那个孩子怒目回望了朱一眼。朱从该怒视里读出：“哈，黄种人，黄种中国人，你继续看吧！你也就配看着我的份了！”朱从中感到一种身体上的攻击，一开始觉得害怕，然后带有爱国主义的愤怒喷涌而出。他在文中解释道，这样一个年幼的孩子都已经为社会所同化，接受了种族主义的范畴，虽然自己渴望国籍优先的普遍主义，但同时也怀疑这个普遍主义的可能性。然而，他赞赏这个孩子表现出的男性之力量，同时也认为这点是“白人的典型特征”。最后，他对于民族主义和普遍主义的问题上产生了矛盾，直到文末该问题也悬而未决。--[[User:Zeng Fangyuan|Zeng Fangyuan]] ([[User talk:Zeng Fangyuan|talk]]) 03:33, 4 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
和大多数的孩子不同，白人小孩起初没有注意到朱的目光，当感觉到有人在看他后，他和父亲正要下电车，接着小孩向朱回了恶狠狠的目光。朱从他的怒视中读到：“咄！黄种人，黄种的支那人，你——你看吧！你也配看我！”朱从中感觉遭到了人身攻击，首先是张皇失措，而后他的爱国热枕喷涌而出。他解释说自己盼望的是国籍优先的普遍主义，可是眼看这个孩子小小年纪就已被社会所同化，接受了种族主义，他便开始怀疑普遍主义是否还有实现的可能。然而，他对孩子展现出来的男性力量表示赞赏，“这正说明了白人之所以为白人”。最后，他陷入了民族主义和普遍主义的矛盾之中，直到结尾，文章也未给出解决的方案。--[[User:Yuan Yuchen|Yuan Yuchen]] ([[User talk:Yuan Yuchen|talk]]) 03:50, 5 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
==Zeng Liang 曾良==&lt;br /&gt;
&lt;br /&gt;
Given the Fanon-inspired traditions of Western postcolonial invocations of the Other, one might from a Western perspective expect Zhu to react to the gaze of the child with a crisis of ''personal'' identity.  This is, after all, Fanon's Odyssean quest in “The Fact of Blackness”: to negotiate or seize for himself a space for valued selfhood against the demeaning voices of White France which try to lock him into an Otherness to itself, to himself , to the possibility of humanity.  Zhu's reaction certainly fits, in name, the Self-Other trope: he experiences the white child as very White and Other.  And the incident deeply traumatic: “This sudden assault made me panic; my heart was void, on all sides there was a very heavy pressure, making me unable to breathe freely.”  But the incident does not fit the mirror-stage model as transmitted by Fanon.  &lt;br /&gt;
&lt;br /&gt;
==Zeng Xinyuan 曾心媛==&lt;br /&gt;
&lt;br /&gt;
There is no reference to psychical development, and therefore no hint that the quasi-colonialist aggression experienced through the gaze is constitutive, that it denies an authentic Chinese subjectivity to Zhu and replaces it with an ironclad Otherness to himself.&lt;br /&gt;
Rather, it confirms Zhu's sense of self by provoking an immediate nationalistic response.  After recovering from the shock of the gaze, he immediately “was filled with a pressing nationalistic feeling!”  He then reflects on the child's face and action and straightaway abstracts them into a symptom of history:&lt;br /&gt;
&lt;br /&gt;
That which made me panic and feel terrified, was that this one lording it over me, trampling me, was no one but...a ten year-old white “child”!  I always have felt that children belong to the world, and ought not to be of a single race, country, town, or family...&lt;br /&gt;
&lt;br /&gt;
==Zeng Yanhu 曾雁湖==&lt;br /&gt;
&lt;br /&gt;
But this ten year-old white child...had already understood the situation well enough to use racial advantage and national power to assault me with a thrust of his face.  This assault was actually the small shadow of multiple assaults, and his face was the small-print version of a history of Chinese foreign relations.[	Zhu Ziqing, Zhu Ziqing Quanji, Vol. 1 (Jiangsu, Jiangsu Educational Press) 45.]&lt;br /&gt;
&lt;br /&gt;
Despite our Fanon-inspired suspicions about his psychology, Zhu insists that the shock he received, the pressure, the difficulty breathing, was the result of his ''theoretical'' realization that the child was not innocent but had already been corrupted into the fabric of violence from which Sino-Western relations had been cut.  The normal, the psychological-these responses are leapt over, the incident is abstracted directly into a symptom of history.  And, at least on the surface, this fact might seem to confirm the anti-theoretical position which claims that postcolonial criticism is irrelevant to China because China never sunk into full colonial status.&lt;br /&gt;
&lt;br /&gt;
但是这个十岁的白人孩子已经非常了解这种情况了，甚至可以利用种族优势和国家权力以他的面目攻击我。 这次袭击实际上是多次袭击的一个小阴影，而他的脸则是中国对外关系史的缩影。【朱自清，朱自清全集 卷1（江苏，江苏教育出版社）45.】&lt;br /&gt;
&lt;br /&gt;
尽管我们受到法农的影响进而对他的心理学表示怀疑，但朱坚称，他受到的震惊，压力，呼吸困难是他“理论上”意识到孩子不是无辜的，而是被中西关系断绝所产生的暴力侵蚀。&lt;br /&gt;
正常的，这些心理的反应被跳过了，事件被直接抽象为历史的象征。 而且，至少从表面上看，这一事实似乎证实了反理论立场，该立场声称后殖民批评与中国无关，因为中国从未陷入完全的殖民地状态。--[[User:Fancy|Fancy]] ([[User talk:Fancy|talk]]) 15:36, 3 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
但是这个十岁的白人孩子……已经非常了解这种情况了，他可以利用种族优势和国家权力的面目攻击我。这次袭击实际上是数次袭击的影子，而他的脸则是中国对外关系史的缩影。【朱自清，朱自清全集 卷1（江苏，江苏教育出版社）45.】&lt;br /&gt;
&lt;br /&gt;
尽管我们受到法农的影响进而对他的心理学表示怀疑，朱坚称，他受到的震惊，压力和呼吸困难，是他从“理论上”认识到这个孩子不是无辜的，而是已经腐坏成中西关系已被割断的、暴力的结果。跳过正常的心理的反应，这个事件被抽象成历史的症状。而且，至少从表面上看，这一事实似乎证实了反理论立场，该主张声称后殖民批评与中国无关，因为中国从未陷入完全的殖民状况。--[[User:Zhou Shuyao|Zhou Shuyao]] ([[User talk:Zhou Shuyao|talk]]) 03:42, 4 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
==Zhang Hu 张虎==&lt;br /&gt;
 &lt;br /&gt;
One could easily derive a trajectory from comparative history to the differences in the two men's encounters with white children, a trajectory whose terms are familiar but worth rehearsing.  Fanon's Martinique was almost totally cut off from racial history, national language, and cultural identity.  Any nationalism that arose from such soil would have had to have been as a reconstruction of African identity from zero, an almost impossible task.  Therefore, Fanon's text has to start from the postcolonial present, analyzing the continuing damage of racism on subjugated black communities.  Most of China, despite the extreme cultural upheavals which it experienced in reaction to Western aggression, never sunk into full-fledged colonial status; and therefore this aggression remained for the most part an influential and traumatic margin to the mainstream development of Chinese historical identity.  There was no slavery, no tabula rasa, not even in Hong Kong and Macao, or Taiwan and “Manchuria.”  &lt;br /&gt;
&lt;br /&gt;
==Zhang Hui 张慧==&lt;br /&gt;
On the contrary, the experience of aggression undoubtedly strengthened national consciousness; and in modernist writings such as the one in question, it is rare to read a moment of experience of the Western Other as such which does not resort to some form of nationalism.&lt;br /&gt;
&lt;br /&gt;
Up to a point, this sort of analysis is useful. Certainly, it would be dangerous to move directly from historical sketches to windy declarations about the differences between African and Chinese literature.  But the standard history does happen to match the particulars of these two authors' educational trajectories.  The surface, then, of “White People” is simple and obvious in comparison with Fanon's text, forgoing psychological brooding to go straight to the main course of national pride.  &lt;br /&gt;
&lt;br /&gt;
And yet, one wonders what lurks in the essay's depths, for this is a very unusual piece in Zhu's oeuvre.&lt;br /&gt;
&lt;br /&gt;
相反，侵略的经验无疑加强了民族意识；在现代主义的著作中，如有关的著作中，很少读到对西方他者这样的经验不诉诸某种形式的民族主义的时刻。&lt;br /&gt;
&lt;br /&gt;
在某种程度上，这种分析是有用的。当然，如果直接从历史素描转向关于非洲文学和中国文学差异的风马牛不相及的宣言，是很危险的。 但标准的历史确实恰好符合这两位作家教育轨迹的特殊性。 那么，与法农的文字相比，《白衣人》的表面是简单而明显的，放弃了心理上的沉思，直奔民族自豪感的主菜。 &lt;br /&gt;
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然而，人们不禁要问，这篇文章的深处到底潜藏着什么，因为这是朱的作品中很不寻常的一篇。--[[User:Zhang Hui|Zhang Hui]] ([[User talk:Zhang Hui|talk]]) 10:54, 3 December 2020 (UTC)&lt;br /&gt;
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相反，侵略的经验无疑增强了民族意识。 在诸如此类的现代主义著作中，很少有人会读到西方他人的经历，因为这种经历不诉诸某种形式的民族主义。&lt;br /&gt;
到目前为止，这种分析是有用的。 当然，直接从历史速写转变为关于非洲和中国文学之间差异的风马牛不相及的宣言将是危险的。 但是，标准的历史确实与这两位作者的教育轨迹相吻合。 因此，“白人”的表述与法农的著作相比是简单而明显的，它放弃了对民族自豪感的直觉。&lt;br /&gt;
然而，人们不禁要问，这篇文章的深处到底潜藏着什么，因为这是朱自清的作品中很不寻常的一篇。--[[User:Zhao Xiaoyan|Zhao Xiaoyan]] ([[User talk:Zhao Xiaoyan|talk]]) 11:19, 3 December 2020 (UTC)&lt;br /&gt;
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==Zhang Ling 张玲==&lt;br /&gt;
&lt;br /&gt;
Normally, Zhu Ziqing  is one of the last authors one associates with fiery nationalism; rather, he is usually preoccupied with just the sort of psychological introspection which characterizes Fanon's text.  Furthermore, the essay was written more than a year after the original trolley ride-could the strangely quick transition from individual experience to nationalist reflection be at least partly created under the influence to retell the story in the light of the May 30 incident?&lt;br /&gt;
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If one willfully forgets about the May 30 context of the essay and focuses on the details of the incident as Zhu narrates them, then a second and separate level of interpretation opens in the essay, one much more pregnant with Fanon-like psychological trauma.  The widest portal to the inside of this essay is also its obvious crux: i.e., the white child's stare.  The key to this portal is that that stare, as it happened empirically, was complete unto itself. &lt;br /&gt;
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==Zhang Peiwen 张佩闻==&lt;br /&gt;
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It was an act, an aggressive act, unaccompanied by words.  When Zhu tells us that “there were words in his eyes,” he wants us to believe that the words came from the child himself, and in fact we can certainly believe that that is how Zhu experienced the stare, that he felt the hate speech jabbing out at him from those astonishing eyes.  But yet the language admits its paternity: not the child, but Zhu himself.  Zhu creates the meaning around the act of the stare, and his entire explication of the problem of racism is based, not upon what he hears, but upon what his unconscious hermeneutic tells him that he hears.  Whereas Fanon lives in a shadowy world of little but voices shouting, “look, a Negro!” to Zhu there are no voices at all, only a reality of trolleys and white skin and violent stares to which he himself has to supply the verbal accompaniment.&lt;br /&gt;
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==Zhang Qi 张琪==&lt;br /&gt;
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This is absolutely not to say that Zhu's experience of racism is imaginary, that he “shouldn't be so sensitive,” as racists say.  No doubt, the child was acting racistly.  But it is important to notice that the racism which Zhu attributes to the child is a simple one: the child is figured as a self-assured, mature, masculine aggressor; in fact all of these qualities which Zhu feels are surely exaggerated.  He might have suspected that prepubescent white children are somehow super-matured macho-men, but hopefully we know better.  For Zhu's stare was not the first the boy had received.  Anyone who has had the experience of living as a racial minority in a non-pluralistic society knows what it is like to be stared at constantly; this is in fact the primary condition of Fanon's experience which makes “The Fact of Blackness” possible.  &lt;br /&gt;
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==Zhang Weihong 张维虹==&lt;br /&gt;
 &lt;br /&gt;
Thus, in this regard, Fanon is perhaps closer to the boy than to Zhu; or if this is too strong, we could say that Fanon is split between the boy and Zhu, that Zhu shares with Fanon the experience of being dissected by the gaze of the aggressor culture, but that the boy shares with him the constancy of being stared at for being a racial minority.  The boy's position in China was obviously much higher than that of Fanon's in France, and therefore the stares he would have received much less negative; yet the mere fact of the constant stare itself can exert an intense psychical pressure, especially on a boy at an age at which deep doubts about his self-identity are forming.  This is not at all to excuse the real racist content of the boy's angry glare; but it does suggest that the glare was a lashing-out from a position of weakness and insecurity, rather than from the heel-grinding arrogance which Zhu assumes.&lt;br /&gt;
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==Zhang Xueyi 张雪仪==&lt;br /&gt;
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Moreover, it is Zhu who initiated this discomforting dialogue of stares.  Zhu's boy, like Fanon's, is a mimic, although his mimicry is just as problematic.  As Homi Bhabha says, “the look of surveillance returns as the displacing gaze of the disciplined, where the observer becomes the observed and 'partial representation rearticulates the whole notion of ''identity ''and alienates it from essence,”[	Bhabha, 89.] but in this case the mimic gaze is the colonizer's , and it returns precisely as the establishment of racial boundaries.  Certainly, Zhu felt this mimicry as an example of colonial aggression; it is only the boy who might have thought of the stare in Bhabha's terms, as his defense mechanism against a racially-motivated intrusion into his privacy.&lt;br /&gt;
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And Zhu's initiating stare is certainly racial (though not racist); he gloats over the boy's Caucasianness: “His white cheeks dashed with red and his long golden eyelashes revealed a peacefulness and elegance.”[	Zhu, 43.]&lt;br /&gt;
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==Zhang Yinliu 张银柳==&lt;br /&gt;
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Zhu, of course, tries to cover this fact; this is the prime rhetorical function of the discussion of Liu Jun.  Without that mini-narrative, Zhu would have had to go directly from a description of the boy's whiteness into the boy's violent reaction, thus allowing the reader to assume that Zhu's racial gaze is what produced that reaction, complicating the question of the child's aggression.  Instead, Zhu asserts a different reason why he is staring: he simply likes children, he has ever since he used to play with that little Liu Jun boy.  Zhu wants to figure his own gaze as mostly aracial and entirely beneficent, a happy celebration of innocence which is met by abrupt, mature, racist aggression, shocking him out of his reveries into a disturbed reflection on nationalism and interracial strife.&lt;br /&gt;
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Fine, so be it, Zhu's gaze is completely aracial, despite his gloating about pink cheeks and golden eyelashes.  It is not therefore simple.  Consider the bizarreness hidden in his self-justification:&lt;br /&gt;
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当然，朱试图掩盖这一事实，这是刘军谈及过的主要的修辞功能。没有那种迷你叙事，朱将不得不直接从描述男孩的苍白转变为男孩的暴力反应，从而使读者认为是因为朱的种族凝视才产生了这种反应，便复杂化了孩子的攻击性问题。相反，朱宣称自己凝视是因为不同的原因，即，他只是喜欢孩子，从那以后，他常常和小刘军一起玩。朱想把他的视线当做与种族无关的，完全善意的行为。当做对纯真的庆祝，然而却突然地遭到了形成已久的种族观念的侵袭。这使他幻想破灭，陷入了国籍和种族冲突的反思中。&lt;br /&gt;
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很好，尽管粉红的脸颊和金色的眼睫毛让他看起来有些沾沾自喜，但朱的凝视完全没带种族含义。考虑到藏在他自我争辩中的怪异，所以这并不简单。--[[User:Zhang Yinliu|Zhang Yinliu]] ([[User talk:Zhang Yinliu|talk]]) 13:14, 4 December 2020 (UTC)&lt;br /&gt;
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==Zhang Yu 张瑜==&lt;br /&gt;
I have always had the sort of temperament whereby if I saw an amusing little child, I would always want to be on intimate terms with him...When I was in the upper grades of elementary school, in the attached building for the middle grades there was a boy named Liu Jun with raven-black Western-style hair, who was truly docile, like a bird....his face was always that undisturbed and earnest, though under his skin there must have burned the fires of intimacy.  Several times I invited him to my home, but he was never willing to go; afterwards I didn't see him for two years, and then he died. I cannot forget him!  I had held his little hand, and rubbed his round chin. If I meet a young child for the first time, I naturally can't do that, that would be a little awkward; nevertheless, that's unimportant, I can look at him- once, twice, ten times, dozens of times!&lt;br /&gt;
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我向来有种癖气，见了有趣的小孩，总想和他亲热...在高等小学时，附设的初等里，有一个养着乌黑的西发的刘君，真是依人得像小鸟一般...他的脸老是那么幽静和真诚，皮下却烧着亲热的火把。我屡次让他到我家里来，他总不肯；后来两年不见，他便死了。我不能忘记他！我牵过他的小手，又摸过他的圆下巴。但若遇着陌生的小孩，我自然不能那么做，那可有些窘了；不过也不要紧，我可用我的眼睛看他——一回，两回，十回，几十回！--[[User:Zhang Yu|Zhang Yu]] ([[User talk:Zhang Yu|talk]]) 09:22, 3 December 2020 (UTC)&lt;br /&gt;
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我向来有种癖气，见了有趣的小孩，总想和他亲热……。在高等小学时，附设的初等里，有一个养着乌黑的西发的刘君，真是依人得像小鸟一般……。他的脸老是那么幽静和真诚，皮下却烧着亲热的火把。我屡次让他到我家里来，他总不肯；后来两年不见，他便死了。我不能忘记他！我牵过他的小手，又摸过他的圆下巴。但若遇着陌生的小孩，我自然不能那么做，那可有些窘了；不过也不要紧，我可用我的眼睛看他——一回，两回，十回，几十回！--[[User:Tan Yuanyuan|Tan Yuanyuan]] ([[User talk:Tan Yuanyuan|talk]]) 14:06, 3 December 2020 (UTC)&lt;br /&gt;
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==Zhang Yujie 张毓婕==&lt;br /&gt;
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Any given child probably won't pay much attention to people's eyes, so one can look at him with total freedom; it is not at all like furtive, covered glances at women.  I have in the past stared at many children I had just met, and they never once protested, at most they pulled on the hand of their mother next to them, or leant on her knee, or looked at her once or twice.  Therefore I was very bold.  This time on the trolley my old temperament came back, and I looked again and again at that white child, that young Westerner![	Zhu, 43.]&lt;br /&gt;
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''Sexuality! ''is the obvious cry which rises at the description of Liu Jun: the docility, the meekness, the holding and rubbing, the “fires of intimacy”--these elements conspire to suggest a nascent homosexuality. &lt;br /&gt;
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==Zhang Yuxing 张宇星==&lt;br /&gt;
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Little Liu is dead, now, but there are substitutes swirling all around Zhu; he cannot touch them as he touched Liu, that would be socially impossible, but as a substitute he can stare with impunity, “dozens of times.”  And the children do not protest his stares, they are docile-at most they squirm uncomfortably beneath Zhu's visual intrusion into their world.  Zhu's relationship with children is therefore predicated by his dominance of them.  He says at the opening of the paragraph that he wants to be intimate with children, but it is an intimacy of power forcing itself upon them.[	The evidence for Zhu's child-fetish is strongly corroborated by his other work.  Apart from the focus on childhood in works like the famous, “Back Silhouette” (beiying), in another essay of his, “Children,” he goes so far as to explicitly admit to physical child abuse.  ]&lt;br /&gt;
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Given these strange admissions, one sees Zhu's reaction to the white child's stare as much more complicated.  Zhu experiences the stare as racism, and probably rightly so; yet it seems clear that he is also shocked by the reversal of power involved. &lt;br /&gt;
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==Zhao Xi 赵茜==&lt;br /&gt;
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He normally enjoys the prerogative of a forced intimacy, dominating children through his gaze, and suddenly he finds, for the first time, a child that fights gaze with gaze, is able to dominate him and usurp Zhu's position as an adult, casting him down into the docility of the helpless child.  When Zhu, flabbergasted, constructs a voice to put onto the child, he may be grabbing onto the real racism present in the situation to use as a defense mechanism, changing the subject to avoid the real source of the ego-crushing which is occurring.  Zhu protests his amazement that he could be so disturbed by “just a ten year old white 'child'”; yet the entire scenario could never possibly have been played out with an adult.&lt;br /&gt;
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Fanon's child is a mirror to him, highlighting the Lacanian crisis of identification which  life in France causes him.&lt;br /&gt;
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他通常享有强迫亲密的特权，通过他的目光支配孩子，突然，他发现，第一次有孩子和他对着凝视，这凝视能控制着他，篡夺朱作为一个成年人的地位，让他处于无助孩子的温顺中。当朱陷入惊讶地，想要对这孩子说话时，他可能是抓住现实的种族主义出现在这情况下，用作防御机制，改变主题，以避免正在发生的自我粉碎的真正来源。朱对只有一个十岁的白人孩子感到如此不安，他感到惊奇。但整个场景永远不可能与一个成年人一起进行。法农的孩子如同一面镜子，突出了他在法国的生活所造成的拉康认同危机。--[[User:Zhao Xi|Zhao Xi]] ([[User talk:Zhao Xi|talk]]) 11:16, 3 December 2020 (UTC)&lt;br /&gt;
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他通常享有强迫亲密的特权，通过眼色来支配孩子，他突然发现，第一次有孩子用眼神与他对视，篡夺了朱作为成年人的地位，让他处于无助孩子的温顺中。当朱陷入惊讶地，想要对这孩子说话时，他可能是抓住现实的种族主义出现在这情况下，用作防御机制、改变主题，以避免正在发生的自我粉碎的真正来源。朱对只有十岁的一个白人孩子感到如此不安，他感到惊奇。但整个场景永远不可能与一个成年人一起。对他来说，法农的孩子如同一面镜子，暴露出法国生活中拉康认同危机对他的影响。--[[User:WuQiong|WuQiong]] ([[User talk:WuQiong|talk]]) 15:43, 3 December 2020 (UTC)&lt;br /&gt;
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==Zhao Xiaoyan 赵晓燕==&lt;br /&gt;
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If we in turn take Fanon as a mirror for Zhu Ziqing, his Lacanian analysis throws up interesting images of the incident on the Shanghai trolley.  Zhu's white boy is visually even more of a mirror image to him than Fanon's was.  The man and the boy gaze at each other across the solid divide; they mutually stare along a joint axis of domination.  Of course, Zhu does not have Fanon's psychoanalytic training: he had read some empiricist psychology, but less Freud and of course no Lacan.  He cannot wander between psychological theory and personal experience in the same fashion Fanon did.&lt;br /&gt;
如果我们反过来以法农为朱自清的镜子，他对拉卡尼亚主义的分析在上海电车上抛出有趣的事件图像。 在视觉上，朱自清的白人男孩比法农的更像是他的镜像。 男人和男孩在坚固的鸿沟上凝视着对方。 他们沿着共同的支配轴相互凝视。 当然，朱没有接受法农的心理分析训练：他读过一些经验主义者的心理学，但是很少读弗洛伊德，当然也没有拉康。 他无法像法农那样在心理理论和个人经历之间徘徊。--[[User:Zhao Xiaoyan|Zhao Xiaoyan]] ([[User talk:Zhao Xiaoyan|talk]]) 09:29, 3 December 2020 (UTC)&lt;br /&gt;
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如果我们反过来把法农当作朱自清的镜子，他的拉卡尼亚主义分析就会对上海电车事件抛出有趣的图像。 朱自清的白人男孩在视觉上甚至比法农的男孩更像他的镜像。 男人和男孩隔着坚实的鸿沟相互凝视，他们沿着共同的统治轴线相互凝视。 当然，朱德没有法农的精神分析训练：他读过一些经验主义心理学，但少读弗洛伊德，当然也没有拉卡尼亚。 他不能像法农那样在心理学理论和个人经验之间游走。--[[User:Zhang Hui|Zhang Hui]] ([[User talk:Zhang Hui|talk]]) 10:57, 3 December 2020 (UTC)&lt;br /&gt;
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But a reading of Fanon forces us to ask to what extent Zhu's trauma is a crisis of delayed issues of developmental psychology.  This is obviously a complex field which belongs properly to specialists, and one hardly feels there is enough material in this brief essay to make definitive conclusions.&lt;br /&gt;
但是对法农的阅读迫使我们问朱自清的创伤在多大程度上是发展心理学迟缓问题的危机。 显然，这是一个复杂的领域，应该属于专家，并且几乎没有人认为这篇简短的文章中有足够的材料来得出明确的结论。--[[User:Zhao Xiaoyan|Zhao Xiaoyan]] ([[User talk:Zhao Xiaoyan|talk]]) 09:29, 3 December 2020 (UTC)&lt;br /&gt;
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但对法农的解读，迫使我们要问，朱的创伤在多大程度上是发展心理学的延迟问题的危机。 这显然是一个复杂的领域，理应属于专家的范畴，在这篇简短的文章中，我们很难感觉到有足够的材料来做出明确的结论。--[[User:Zhang Hui|Zhang Hui]] ([[User talk:Zhang Hui|talk]]) 10:57, 3 December 2020 (UTC)&lt;br /&gt;
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不过，读了法农的书，我们不禁要问，朱自清的创伤究竟在多大程度上是发展心理学延迟问题的危机。这显然是一个完全属于专家研究的复杂领域。人们觉得，这篇简短的文章中没有足够的材料来让他们作出明确的结论。--[[User:Yuan Tianyi|Yuan Tianyi]] ([[User talk:Yuan Tianyi|talk]]) 13:53, 3 December 2020 (UTC)&lt;br /&gt;
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==Zheng Huajun 郑华君==&lt;br /&gt;
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But the narrative is explicitly spun out of a story of childhood; Zhu himself derives his child-fetish from the loss of the intimate and passive Liu Jun.  And Zhu's fascination with children and childhood in other essays should be an indication that something is up.  Perhaps one could establish Zhu's relation to Fanon thus: that while Fanon's experience of racism is drawn into a network of theory that links his crisis of identity to an aborted mirror-stage, Zhu Ziqing sees in the mirror of his own white child a vision of himself as prematurely woven into the fabric of power.  It is then only this sudden emergence of power in a half-nostalgic, half-sexual scopophilia which highlights the boy's whiteness and raises the questions of racial dominance and nationalist resistance.&lt;br /&gt;
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What makes Zhu feel nationalistic pride?  It is not the boy's reaction, but his race.&lt;br /&gt;
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但故事是明确地从一个童年故事中衍生出来的;朱自清的儿童迷恋源于失去了亲密而消极的刘君。而朱自清在其他文章中对儿童和童年的迷恋，应该是表明有些事情发生了。也许可以建立朱自清与法农之间的关系:法农种族主义的经历卷入了理论之网，这将他的身份危机与流产镜像阶段连接起来, 朱自清从自己的白人孩子的镜子里看到了自己过早地融入权力的一面。正是在这种半怀旧、半性恋的恋物癖中，权力的突然出现，凸显了这个男孩的白人身份，并引发了种族统治和民族主义抵抗的问题。&lt;br /&gt;
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是什么让朱感到民族自豪感?不是男孩的反应，而是他的种族。&lt;br /&gt;
--[[User:Zheng Huajun|Zheng Huajun]] ([[User talk:Zheng Huajun|talk]]) 11:43, 3 December 2020 (UTC)&lt;br /&gt;
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但这部小说的叙事显然是从一个童年故事中衍生出来的；朱自清本人从失去亲密无间、被动的刘俊身上获得了对儿童的迷恋，而他在其他散文中对儿童和童年的迷恋，应该是某种事情发生的迹象。也许有人可以这样确定朱自清与法农的关系：虽然法农的种族主义经历被纳入了一个理论网络，将他的身份危机与一个失败的镜像阶段联系起来，但朱自清在自己的白人孩子的镜子中看到了自己过早地编织在权力结构中的形象。正是在这种半怀旧、半性恋的恋物癖中，权力的突然出现，凸显了这个男孩的白人身份，并引发了种族统治和民族主义抵抗的问题。&lt;br /&gt;
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是什么让朱感到民族自豪感?不是男孩的反应，而是他的种族。--[[User:Yuan SHiqi|Yuan SHiqi]] ([[User talk:Yuan SHiqi|talk]]) 03:19, 4 December 2020 (UTC)&lt;br /&gt;
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==Zhou Luoping 周罗平==&lt;br /&gt;
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Given the way Zhu sets up his narrative, given the description of his frequent and unimpeded voyeurism of children in public spaces, one assumes that any child who stared back mockingly at Zhu would have shocked him-this child was the first to do so.  Had the child been Chinese and stared back, Zhu's experience might have been more obviously psycho-sexual in his own recounting.  The real importance of the child's whiteness is to Zhu's rational reflections over the significance of the incident.  To Zhu's mind, it was not the child's  whiteness but his resistance that was disturbing; but he locates the whiteness as the source of the child's ability to resist and to then turn resistance into domination.  He essentializes the incident: force is what makes whites white.  A gaze on a bus becomes an allegory for the sweep of modern history.&lt;br /&gt;
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==Zhou Shiqing 周诗卿==&lt;br /&gt;
&lt;br /&gt;
On reflection, the appearance of nationalism here is far more abrupt than it would have seemed in the Shanghai journal culture following the May 30 Massacre.  Is it really a defense mechanism against the revelations of his own psychology?  Is it both a defense mechanism and an expression of conscious and justified outrage over colonialist presence in Shanghai?  Is it a fiction “remembered” back onto the incident in the heat of the violent summer of 1925?  I do not mean by any of these questions to imply that somehow Zhu's nationalism is fake, or secondary, or subordinate; to do that would be to write a justification of the murder of the students on Nanjing Road.  But of all the essays and poems and short fiction published along with Zhu's essay in the two Literary Association journals (''Xiaoshuo yuebao and Wenxue zhoukan''), none but his strays so far from the event of the massacre itself in order to support the national cause.  It is legitimate to ask why.&lt;br /&gt;
&lt;br /&gt;
==Zhou Shuyao 周书尧==&lt;br /&gt;
&lt;br /&gt;
The bifurcations in Zhu's essay between experience and historiography, practice and theory thus are constituted in an odd mix of clarity and confusion.  Patriotic messages are deeply worked into the fabric of the narration of the incident, and any division between Zhu's lived experience and the big picture view of imperialism were surely invisible to any reader in the context of the essay's production.  They are invisible to us, as informed readers, but only on our first readings.   The deeper explorations of Zhu's gaze, by suggesting the possible distance of ideological historiography form the original event, merely highlight a structural division between narration and theory which splits the text at “I was filled with a pressing nationalistic feeling!”  The structural split is perfectly obvious; yet it is only after some thought about the nature of Zhu's project that it becomes noteworthy.&lt;br /&gt;
&lt;br /&gt;
因此，朱的文章中经验与史学，实践和理论之间的分歧是由清晰和混乱构成的。爱国主义的启示被深深地融入了事件的叙述之中，在这篇论文的撰写过程中，任何读者都肯定看不到朱的活生生的经验与帝国主义的大视野之间的任何分歧。作为知情的读者，它们对我们是不可见的，但仅在我们的初读时才可见。 通过暗示思想史学与原事件之间可能的距离，朱目光的更深层次的探索仅仅强调了叙事和理论之间的结构性划分，使文本分裂为“我充满了紧迫的民族主义情绪！”其中结构上的分裂非常明显； 然而，只有在对朱的项目的性质进行一些思考之后，它才值得关注。--[[User:Zhou Shuyao|Zhou Shuyao]] ([[User talk:Zhou Shuyao|talk]]) 03:16, 4 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
==Zhou Siqing 周思庆==&lt;br /&gt;
&lt;br /&gt;
This is the Zhu Ziqing who declares himself a contradiction, and he can talk back to Fanon.  His own textual complexes find their affinities in Fanon's text and the Fanonian textual systems that grew from it.  It is impossible to forget, with Fanon, the wiles of language-his flourishes are too extravagant.  Yet ''Black Skin, White Masks'' is filled with partial autobiographies.  One knows one is reading theory, but it seems to be a theory grown organically from “Antillean experience,” even when we all know better.  Though our study of Chinese literature might convince us that theory fits or does not fit Chinese experience, we should not assume that theory has a more natural and wholesome relationship with African or Indian experience, that the postcolonial debates were “derived” from fully colonial experience.  Psychoanalytic theory created Fanon's experience, and the body of theory “derived” from Fanon has even more dramatically recreated him.&lt;br /&gt;
&lt;br /&gt;
这就是那个宣称自己自我矛盾的朱自清，他可以对法农进行反驳。他自身的文本情结在法农的文本和由其发展而来的法农文本体系中找到了相似之处。人们不可能忘记法农的语言诡计——他的华丽辞藻太过夸张。然而《黑皮肤，白面具》的一些部分充满了自传性质。一个人知道自己在阅读理论，甚至当我们更了解这理论时，但这理论似乎是一个有机地从“安的列斯经验”中成长起来的，虽然我们对中国文学的研究可能会让我们相信，理论是否符合中国的经验，但我们不应该假设理论与非洲或印度的经验有更自然和健康的关系，后殖民争论是“派生”自完全的殖民经验。精神分析理论创造了法农的经验，而从法农“衍生”出来的理论体则更戏剧性地重新塑造了他。--[[User:Zhou Siqing|Zhou Siqing]] ([[User talk:Zhou Siqing|talk]]) 11:54, 3 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
==Zhou Yiwen 周艺文==&lt;br /&gt;
&lt;br /&gt;
The point of which is not to reassert the very tired discovery that theory is not experience and words not things, but to point out that the Chinese modernist friction against theory is not unique.  Insofar as we need to continue to talk about postcolonial contexts when addressing Chinese modern literature, it would be helpful to keep in perspective Chinese's non-uniqueness; to do so may help us avoid the trap of either-or questions.  Tension is healthy.  If we must dismiss with a wave our continuing urgent desire for comparison of unmediated experience, and cannot give ourselves over to the mere nodding affirmation of sloganized thought-systems, then at least the comparative and cross-cultural analysis of tension is still available to us.&lt;br /&gt;
&lt;br /&gt;
The great frustration of the work of comparison is its inability to aspire to totalisms.  However conscious we are of the danger of such aspirations, they are magnetic and insinuating.&lt;br /&gt;
&lt;br /&gt;
这里的重点并不是要重申这个老生常谈的发现，即理论不是经验，文字也不是事物，而是要指出中国现代主义与理论的摩擦并不是唯一的。在探讨中国现代文学时，如果我们需要继续探讨后殖民语境，那么审视中国的非独特性是有帮助的。这样做可以帮助我们避免陷入非此即彼的困境。对立是有益的的。如果我们必须以一种浪潮来驱散我们对未经调解的经验的比较的持续的迫切愿望，不能让我们自己沉溺于仅仅是表面肯定的口号的思想体系，那么至少对立比较和跨文化的分析对我们仍然是可用的。&lt;br /&gt;
&lt;br /&gt;
比较研究的不足在于它不能实现极权主义。虽然我们十分清楚这种想法的危险性，但还是会被吸引。--[[User:Zhou Yiwen|Zhou Yiwen]] ([[User talk:Zhou Yiwen|talk]]) 07:00, 3 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
==Zhou Yuanqu 周园曲==&lt;br /&gt;
&lt;br /&gt;
The leap from text to context is satisfying; even if one is aware of the necessity of multiple contexts, because one can choose one's school and plant one's feet and make an argument (or ignore the need for argument) that one's chosen context is the  most appropriate.  The comparison of individual works requires resignation to pettiness.  Any other permutation of works will produce different, perhaps contradictory, lessons.  For example, comparing Zhu's essay with other May 30 protest essays, such as those by Mao Dun or Zheng Zhenduo, would vastly alter our evaluation of it.  Among an infinite number of permutations of comparison, the importance of any one comparison becomes infinitesimal, and its authority to define the reception of the work shrinks commensurably.  The infinitesimal still has the potential for informing other research, but only by miracles of typological allegory.&lt;br /&gt;
&lt;br /&gt;
从文本到语境的跳跃是令人满意的，虽然我们都知道多语境的必要性，因为我们可以选择自己的派别，然后立足于这个派别，对自己选择的语境是最合适的这个论点进行论证（或者直接忽视论证的必要性）。对各个作家的作品进行比较需要极大的耐心。将不同的作品进行不同的组合将会得出不同的，或者是相互矛盾的结论。例如，将朱自清的文章与五卅运动其他的抗议文相比较，比如茅盾或者郑振铎的作品，就会极大地改变我们对朱自清的文章的评价。在无穷无尽的各种组合比较中，单一比较的重要性会变得微乎其微，其对作品接受度做出的评价的的权威性也会相应地大打折扣。这种意义微乎其微的比较仍有可能对其他研究做出贡献，但也只有在类型学中才会发挥作用。--[[User:Zhou Yuanqu|Zhou Yuanqu]] ([[User talk:Zhou Yuanqu|talk]]) 09:02, 4 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
从文本到语境的跳跃令人满意，虽然我们都知道多语境的必要性，因为我们可以选择自己的派别，然后立足于这个派别，对自己选择的语境是最合适的这个论点进行论证（或者直接忽视论证的必要性）。对各个作家的作品进行比较需要极大的耐心。将不同的作品进行不同的组合将会得出不同的，或者是相互矛盾的结论。例如，将朱自清的文章与五卅运动其他的抗议文相比较，比如茅盾或者郑振铎的作品，就会极大地改变我们对朱自清的文章的评价。在无穷无尽的各种组合比较中，单一比较的重要性会变得微乎其微，其对作品接受度做出的评价的的权威性也会相应地大打折扣。这种意义微乎其微的比较仍有可能对其他研究做出贡献，但也只有在类型学中才会发挥作用。--[[User:Lou Cancan|Lou Cancan]] ([[User talk:Lou Cancan|talk]]) 13:22, 4 December 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
==Zhou Yujuan 周玉娟==&lt;br /&gt;
&lt;br /&gt;
'''Incongruous Lyricism: Liu Baiyu, Yang Shuo and sanwen in Chinese Socialist Culture&lt;br /&gt;
'''&lt;br /&gt;
Charles A. Laughlin&lt;br /&gt;
&lt;br /&gt;
'''Abstract'''&lt;br /&gt;
&lt;br /&gt;
The popularity of both Republican period and post-Mao sanwen in contemporary Chinese literary markets indicates the importance of this genre in twentieth century Chinese literature. &lt;br /&gt;
&lt;br /&gt;
Less obvious, but no less significant, is its importance within the socialist cultural system of the Chinese Communist Party.  Ever since Chinese cultural activists began to consciously promote specific literary practices as a way of contributing to “revolution” in the late 1920s, literary prose played an important role, but at first only in the form of reportage or baogao wenxue.  Beginning in Yan’an during the War of Resistance Against Japan, however, young writers who received all or in part of their education or literary training in Communist institutions began to write prose texts that more closely resembled the xiaopin and suigan of the Republican period.  Unlike reportage, these texts featured lyrical and humorous moments without being critical of the social environment, and they were not concerned with contemporary historical events and figures. &lt;br /&gt;
&lt;br /&gt;
==Zhu Meimei 祝美梅==&lt;br /&gt;
&lt;br /&gt;
Such writing achieved prominence in the first decade of the People’s Republic of China, and in this paper I examine three writers that exemplify the characteristic techniques and strategies of the socialist literary essay:  Liu Baiyu, Qin Mu and Yang Shuo.   Liu Baiyu exemplifies how the experience of war and revolution conditioned the emergence of lyricism in socialist culture, while Qin Mu and Yang Shuo embody the maturation of this socialist lyricism in a peacetime environment.  Socialist ''sanwen'' differs from Republican period forms in its characteristically friendly yet didactic second-person rhetoric, and its tendency to build verbal monuments for national heroes.  But traces of the conspicuous individuality of Republican period ''sanwen'' lived on in the essayists of the 1950s and 60s.  This created a subtle dissonance in the texture of socialist culture that in my opinion contributed to the prominence and popularity of these writers, whose works were included in textbooks for later generations of mainland readers.&lt;br /&gt;
&lt;br /&gt;
==Zhu Suyao 朱素瑶==&lt;br /&gt;
&lt;br /&gt;
When we think of the Chinese essay we usually think of the works of Republican period liberal humanists drawing upon both Western ideas and premodern Chinese style and diction to produce a new genre that represented the artistic epitome of lyrical, colloquial prose.  Perhaps just as commonly, when we think of revolutionary literature and of writing under the Chinese communist regime, we think of realism, social critique, polemic and propaganda.  Indeed in my study of the development of reportage literature in the Republican and early PRC periods, I associate the procedures of reportage with the culture of leftism in such a way as to render the very notion of lyrical leftist nonfiction discordant if not outright absurd.  The problem is, as I was aware at the time, there are prominent authors in the PRC –  Yang Shuo, Liu Baiyu, and Qin Mu, to name only a few – who made their names almost entirely through the writing of essays (sanwen). &lt;br /&gt;
&lt;br /&gt;
==Zhu Xu 朱旭==&lt;br /&gt;
&lt;br /&gt;
At that time, I dismissed this phenomenon in the usual way:  these were communist lackeys simply parroting the ruling ideology at the bidding of culture czars.&lt;br /&gt;
&lt;br /&gt;
But even if they were, I could not account for the fact that such writing took on the form of sanwen, in many ways similar to the ''xiaopin wen'' popular the 1930s, while there was already in ''baogao wenxue'' a thriving literary nonfiction form that seemed to embody in its very form the communist vision of art and its place in society.  To put it another way, there is nothing in the logic of socialist culture as I knew it that would call for the production of ''sanwen'' as written by these authors, and we know very well that authors under socialism are not at liberty to write what they please, so I had to attribute the persistence of the ''sanwen'' form in the PRC to something inherent about ''sanwen'' and Chinese literary modernity. &lt;br /&gt;
&lt;br /&gt;
==Zou Xinyu 邹鑫雨==&lt;br /&gt;
&lt;br /&gt;
My current project intends to approach this question by comparing Chinese literary nonfiction practice in a number of different historical and cultural scenarios from the late imperial period to the present, and this presentation concerns specifically the ''sanwen'' under Chinese socialism.&lt;br /&gt;
&lt;br /&gt;
'''Socialist ''sanwen'' emerged from Communist base area writing practice''' &lt;br /&gt;
&lt;br /&gt;
Usually in the form of reportage, literary prose of the Yan’an period was concerned with dramatizing the social and spiritual superiority of regimented, collectivized life under the leadership of the Communist Party.  Such writing often relied on direct comparisons between aspects of life in ”the old society” and life in Yan’an, or the between checkered past of characters who had been rehabilitated by the Communists and their newfound belief in the socialist community and its leaders.  Though often idealized, examples given are meant to be concrete and taken as factual, and names are often named of military leaders and model laborers depicted. In this respect reportage is the most direct precursor of the lyrical essays of the People’s Republic.[	The civil war of 1946-1949 so disrupted the socialist base areas that much less of this kind of writing was produced; war correspondence once again became the order of the day]&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
我打算对从古至今不同历史文化背景下的非虚构的中国文学作品进行比较，通过这些比较来理清这一问题，而这一介绍着重关注中国社会主义下的散文。&lt;br /&gt;
&lt;br /&gt;
'''社会主义散文是从共产主义根据地写作实践中产生的'''&lt;br /&gt;
&lt;br /&gt;
延安时期的散文通常以报告文学的形式，注重对共产党领导下的制度化、集体化生活的社会和精神优越性的戏剧化描写。这类写作往往依赖于对“旧社会”生活与延安生活的直接比较，或者是对被共产党改造的人物过去的坎坷经历与他们对社会主义社会及其领导人的新信仰的直接比较。虽然常常是理想化的，但所举的例子都要具体和真实，人物经常以军队领导人和劳动模范的名字命名。在这方面，报告文学是《人民共和国》抒情散文的最直接的前身[1946-1949年的内战扰乱了社会主义根据地，这类文章的产出因此少了许多，战地书信又成了日常的工作]。&lt;/div&gt;</summary>
		<author><name>Song Jianru</name></author>
	</entry>
	<entry>
		<id>https://bou.de/u/index.php?title=20201130_trans&amp;diff=106680</id>
		<title>20201130 trans</title>
		<link rel="alternate" type="text/html" href="https://bou.de/u/index.php?title=20201130_trans&amp;diff=106680"/>
		<updated>2020-11-30T06:59:46Z</updated>

		<summary type="html">&lt;p&gt;Song Jianru: /* Song Jianru 宋建茹 */&lt;/p&gt;
&lt;hr /&gt;
&lt;div&gt;==Cao Runxin 曹润鑫==&lt;br /&gt;
A good example to illustrate this is the cuisine that is often still defined by national borders (but certainly also in even smaller regional units). The existence of Italian cuisine is undisputed, but you don't have to go to Italy to eat quite authentic Italian food. Of course, there have always been Europeanized variations of Chinese cuisine (e.g. with thickened sauces), and the Istanbul native who orders a kebab in Germany will be surprised that he is served flat bread and not a plate of cutlery.&lt;br /&gt;
&lt;br /&gt;
Eating habits, especially at breakfast, seem to be difficult to change, so that the author did not get used to the Chinese breakfast (rice soup with salty vegetable side dish) in China for years.&lt;br /&gt;
&lt;br /&gt;
这是一个很好的例子，证明美食通常是由国家特色来定义的（但也适用于更小的地区间）。意大利美食的存在是无可争议的，但是没有必要为了地道的意大利美食而专程去一趟。当然也有非常多具有欧洲特色版本的中国美食（例如加上很浓的酱汁）。在德国点烤肉串的伊斯坦布尔人，看到端上来的是面包而不是餐具，也会对此感到十分惊讶。&lt;br /&gt;
&lt;br /&gt;
饮食习惯，尤其是早餐习惯，似乎是很难被改变的。尽管这位作家在中国待了很长的时间，但还是无法适应中式早餐（白米粥配咸菜）。--[[User:Cao Runxin|Cao Runxin]] ([[User talk:Cao Runxin|talk]]) 13:55, 28 November 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
要阐明美食通常由国界定义（在较小地区中也适用），这是个很好的例子。意大利菜的存在毋庸置疑，但不一定要去意大利才能吃到地道的意大利菜。当然还一直有欧化的中国菜肴（如加上浓郁的酱汁）。在德国点烤肉串的伊斯坦布尔人，看到端上来的是面包而不是餐具，也会对此感到十分惊讶。&lt;br /&gt;
&lt;br /&gt;
饮食习惯，尤其是早餐习惯，似乎很难改变，就算作者在中国待了数年，也还是无法适应中式早餐（白米粥配咸菜）。 --[[User:Chen Han|Chen Han]] ([[User talk:Chen Han|talk]]) 08:53, 29 November 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
==Chang Huiyue 常慧月==&lt;br /&gt;
When Italian spaghetti with bolognese sauce was announced one lunchtime in the cafeteria of Beijing University, the joy was great, at least until the dish could be tasted. Obviously only the outward appearance had been preserved here, the appearance of the spaghetti largely corresponded to that which one can see in cookbooks. However, in terms of taste it was a catastrophe, the tomatoes used had obviously been understood by the cook not as vegetables but as fruit and the noodles had been overcooked for an extra long time.&lt;br /&gt;
&lt;br /&gt;
Also with the enterprises there are such cultures, German enterprises are considered e.g. in many countries as well organized. Even manufacturing processes for the same products often differ from country to country, but are increasingly standardized worldwide, especially when a company has a patented process in several countries.&lt;br /&gt;
&lt;br /&gt;
北京大学食堂将意大利肉酱面作为一道午餐，在没吃到这顿饭之前，人们还是非常开心的。显然，只有外观保留了下来，意大利面的外观看起来与食谱上非常的相似，然而，它的味道却是糟糕至极，显然，厨师将番茄当作水果而不是蔬菜来烹饪的，面条煮得时间也过长。&lt;br /&gt;
&lt;br /&gt;
同样企业中也存在这种文化。例如，德国企业在许多国家运行得有条不紊的，即使同一件产品的生产过程也因国家而异，但是在世界范围内却不断的标准化，特别是一个企业在几个国家中拥有专利过程时。--[[User:Chang Huiyue|Chang Huiyue]] ([[User talk:Chang Huiyue|talk]]) 11:25, 29 November 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
==Chen Han 陈涵==&lt;br /&gt;
This can lead to interesting national solutions when the same task is set, namely to design a street cleaning vehicle:&lt;br /&gt;
&lt;br /&gt;
当设定相同的任务时，即设计街道清洁车，这会带来有趣的国家解决方案。&lt;br /&gt;
&lt;br /&gt;
[[File:che1.jpg]]&lt;br /&gt;
&lt;br /&gt;
Street cleaning vehicle a) China&lt;br /&gt;
&lt;br /&gt;
街道清洁车 a)中国&lt;br /&gt;
&lt;br /&gt;
[[File:che2.jpg]]&lt;br /&gt;
&lt;br /&gt;
Street cleaning vehicle b)&lt;br /&gt;
&lt;br /&gt;
街道清洁车 b)&lt;br /&gt;
&lt;br /&gt;
Since the 1990s, the author has personally experienced the differences in working in a foreign Chinese software company in America (e.g. PC Express, later TwinBridge in Los Angeles), in a Chinese software company on the mainland (e.g. Suntendy, Beijing), in a German company in China and in a German-Chinese mixed company. These personal experiences flow into the present booklet.&lt;br /&gt;
&lt;br /&gt;
Thus, the term culture here is largely synonymous with tradition or philosophy, whereby tradition appears to be related to the past and philosophy often appears as reflected culture reduced to a few principles, and thus already consciously controlled and teleological. For these reasons, the author has chosen the term culture in the present context.&lt;br /&gt;
&lt;br /&gt;
20世纪90年代以来，作者亲身体验了在美国的一家中外软件公司（如PC Express，后来在洛杉矶的TwinBridge）、中国本土的一家软件公司（如北京的新天地科技有限公司(Suntendy)）、中国的一家德国公司和一家中德混合公司工作的不同之处。这些亲身经历已写入这本手册。&lt;br /&gt;
&lt;br /&gt;
因此，这里的“文化”一词在很大程度上与传统或哲学同义，传统通常与过去有关，哲学则往往反映简化为几个原则的文化，因而已经有意识地加以控制且带有目的论色彩。基于这些原因，作者在目前的语境中选择了“文化”一词。 --[[User:Chen Han|Chen Han]] ([[User talk:Chen Han|talk]]) 08:28, 29 November 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
==Chen Hui 陈惠==&lt;br /&gt;
Japanese production culture is known to us, the Chinese (here abbreviated CMPC) has hardly been investigated in literature, so this booklet has a pioneering character.&lt;br /&gt;
&lt;br /&gt;
In this booklet, the author draws on Geert Hofstede's comparative cultural model, which he discussed with him at the LMU in Munich on January 22, 2009, on fundamental observations on the Chinese economy from a macro perspective by Philip Huang, and on the results of a field study by Jianzhong Hong, Aino Pöyhönen, Kalevi Kyläheiku 1998-2000 (see bibliography). &lt;br /&gt;
 &lt;br /&gt;
This booklet was prepared to be presented at the conference &amp;quot;Beyond Japan - Values and Attitudes of Asian Production Cultures&amp;quot; in autumn 2010. The author is grateful to Dirko Thomsen, AutoUni Wolfsburg, who invited the author to contribute to the conference.&lt;br /&gt;
==Chen Jiangning 陈江宁==&lt;br /&gt;
'''Approaches/Perspectives'''&lt;br /&gt;
&lt;br /&gt;
The distinction between craftsman culture and trader culture has been established for some time. This means that in an economy, more emphasis is placed on developing products that are as perfect as possible, and constantly improving them. A dealer culture places more value on the profit that is made between the cheapest possible purchase and the most expensive possible sale. This distinction becomes clear when we examine a typical case of complaint: &lt;br /&gt;
&lt;br /&gt;
If a customer complains a product in a craftsman culture, then the salesman is concerned, offers an error free exchange product or a financial compensation and reports the product error further, sends the equipment possibly in, with the goal of letting the error, if it should occur e.g. at several devices, in principle of letting the development department eliminate the error.&lt;br /&gt;
方法/视角&lt;br /&gt;
工匠文化和商人文化的区分已经确立了有一段时间。这意味着在经济方面将会更多的精力放在开发尽可能完美的产品上，并不断地进行改善。经销商文化在尽可能以最低价格的购入和最高价格的售出之间所获得的利益上赋予更多的价值。我们在检查一个典型的投诉案例时，这种区别尤为明显：&lt;br /&gt;
&lt;br /&gt;
一位顾客若是抱怨手工艺文化中的产品，那么销售员就会考虑提供无差错交换产品或是给予经济补偿，并进一步报道产品错误， 可能会将产品送回公司以便找出错误。如果产品在好几处设备上都发生错误，原则上让开发部门消除错误。--[[User:Chen Jiangning|Chen Jiangning]] ([[User talk:Chen Jiangning|talk]]) 08:32, 29 November 2020 (UTC)--[[User:Chen Jiangning|Chen Jiangning]] ([[User talk:Chen Jiangning|talk]]) 08:38, 29 November 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
方法/观点&lt;br /&gt;
工匠文化与商人文化的区分由来已久，这意味着在一个经济体中，将产品做到尽善尽美，不断提升产品质量会得到重点关注。经销商文化则将重点放在以尽可能便宜的价格购入和进可能贵的价格售出获得收益上。我们仔细研究一个典型投诉案例时，这种区别更加显而易见:&lt;br /&gt;
在工匠文化中，顾客投诉会让店员很担忧，店员会主动退换成质量良好的商品或者给予资金赔偿，进一步通知产品的差错，尽可能地将产品送回，检验差错，如果几个产品都出现了差错，原则上会让研发部门消除差错。--[[User:Chang Huiyue|Chang Huiyue]] ([[User talk:Chang Huiyue|talk]]) 12:52, 29 November 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
==Chen Jiaxin 陈佳欣==&lt;br /&gt;
In a dealer culture the service and satisfaction of the customer is more important, here it is more important to see if the customer is angry and reacts accordingly to his complaint with apologies and compensation offers. Feedback to the manufacturer is of secondary importance. &lt;br /&gt;
&lt;br /&gt;
Here are some of the countries that fall under the relevant categories:&lt;br /&gt;
&lt;br /&gt;
Craftsmen's Culture	Retailer Culture&lt;br /&gt;
&lt;br /&gt;
Germany, France	Poland, USA, China, Korea&lt;br /&gt;
&lt;br /&gt;
Another distinction is made between production and design cultures.  &lt;br /&gt;
&lt;br /&gt;
In the 19th and 20th centuries, a production culture developed in mechanical engineering in the USA, whereas in Germany a construction culture developed.&lt;br /&gt;
&lt;br /&gt;
在经销商文化中，服务和客户的满意度更为重要，在这里，客户是否生气以及对客户的投诉做出道歉和相应的补偿就显得尤为重要。而向制造商反馈是次要的。&lt;br /&gt;
以下是一些属于相关类别的国家：&lt;br /&gt;
工匠文化       零售商文化&lt;br /&gt;
德国，法国，波兰，美国，中国，韩国&lt;br /&gt;
生产文化和设计文化之间还有另一个区别。&lt;br /&gt;
在19，20世纪，美国的机械工程发展了生产文化，而德国产生了建筑文化。    By Chen Jiaxin --[[User:Jessie Chen|Jessie Chen]] ([[User talk:Jessie Chen|talk]]) 08:06, 29 November 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
==Chen Jingjing 陈静静==&lt;br /&gt;
The experience of rationalization in the U.S. with the pioneer Frederick Winslow Taylor (1856-1915) was quickly received in Germany, among other things by establishing chairs of business administration in Berlin in 1904, Aachen in 1908 and Hanover in 1910. Accordingly, I follow Kunze in 2008 when he rejects Kothes' assertion that German production culture before 1914 is backward.&lt;br /&gt;
&lt;br /&gt;
In Germany as a culture of craftsmen, a diversification of products developed early on, which was made possible by constantly optimizing the product. Even in teams, the focus is still on the highly qualified individual who does his part of the teamwork independently and assumes responsibility.&lt;br /&gt;
&lt;br /&gt;
在德国，弗雷德里克·温斯洛·泰勒率先在美国进行了合理化的各项工作，很快就为大众所接受，其中包括在1904年在柏林，1908年在亚琛以及1910年在汉诺威依次设立了工商管理部主任。因此，我认同库恩泽（Kunze)在2008年提出的观点，当时他对科斯关于1914年之前德国生产文化落后的看法是持反对意见的。&lt;br /&gt;
&lt;br /&gt;
在德国，作为一种工匠文化，产品在早期就注重多样性，并通过不断优化来实现。即使是在团队中，焦点仍是那些高素质的人，他们独立完成团队任务并承担相应的责任。--[[User:Chen Jingjing|Chen Jingjing]] ([[User talk:Chen Jingjing|talk]]) 09:21, 28 November 2020 (UTC)Chen Jingjing&lt;br /&gt;
&lt;br /&gt;
==Chen Sha 陈莎==&lt;br /&gt;
In the USA, the goal is rather the production of a cost-effective mass product. Responsibility was delegated to teams and budget control was introduced to control these teams. However, this is more in keeping with the lawnmower principle and does not apply to the appropriateness of the individual special product or the individual employee.&lt;br /&gt;
&lt;br /&gt;
This can be illustrated in an overview:&lt;br /&gt;
&lt;br /&gt;
[[File:233.jpg]]&lt;br /&gt;
&lt;br /&gt;
在美国，目标则是生产成本低廉的大众产品。这一责任被委派给团队，并引入预算控制来控制这些团队。然而，这更符合割草机原则，并不适用于个别特殊产品或个别员工。&lt;br /&gt;
&lt;br /&gt;
这一点可以用概述加以说明:&lt;br /&gt;
&lt;br /&gt;
美国生产文化                       德国构建产品文化多样性&lt;br /&gt;
&lt;br /&gt;
委派责任给团队           &lt;br /&gt;
&lt;br /&gt;
预算控制&lt;br /&gt;
&lt;br /&gt;
新的：网络结构管理&lt;br /&gt;
&lt;br /&gt;
新的：去中心化&lt;br /&gt;
&lt;br /&gt;
波兰零售文化                        德国工匠文化&lt;br /&gt;
&lt;br /&gt;
==Chen Sunfu 谌孙福==&lt;br /&gt;
'''The Japanese Production Culture''' &lt;br /&gt;
&lt;br /&gt;
After World War II, Japan did not have as many investments available as Germany, for example, through the Marshall Plan. Out of necessity, the Japanese economy therefore did what was possible, namely an optimization of existing machines, processes and personnel. This also resulted in the development of a special national production culture, the characteristics of which can be seen in an overview:&lt;br /&gt;
&lt;br /&gt;
[[File:566.jpg]]&lt;br /&gt;
&lt;br /&gt;
日本生产文化&lt;br /&gt;
&lt;br /&gt;
二战后，日本不像德国那样通过马歇尔计划获得大量融资。出于自身需要，日本经济尽己所能，实现了现有机器、生产流程和员工的最优化。因此，一种独特的民族生产文化应运而生，其特征如下：&lt;br /&gt;
&lt;br /&gt;
现代日本生产文化&lt;br /&gt;
&lt;br /&gt;
二战后，资金匮乏，无法购置新机器=&amp;gt;现有生产流程、员工和机器的最优化&lt;br /&gt;
&lt;br /&gt;
日本生产理念=新生产技术的领头羊和现代工业化国家的标杆&lt;br /&gt;
&lt;br /&gt;
1.精益生产（无污染生产得以推广）&lt;br /&gt;
&lt;br /&gt;
2.准时生产/有序生产（高标准生产/高要求生产）&lt;br /&gt;
&lt;br /&gt;
3.质量圈/今井正明优化团队&lt;br /&gt;
&lt;br /&gt;
4.近期发展：多部门结构和去中央集权化--[[User:Chen Sunfu|Chen Sunfu]] ([[User talk:Chen Sunfu|talk]]) 01:27, 29 November 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
日本生产文化&lt;br /&gt;
&lt;br /&gt;
二战后，日本不像德国那样通过诸如马歇尔计划等契机获得大量融资。迫于经济压力，日本竭尽所能实现了现有机器、生产流程和员工的最优化。这也催生了一种独特的民族生产文化，其总体特征如下：&lt;br /&gt;
&lt;br /&gt;
现代日本生产文化&lt;br /&gt;
&lt;br /&gt;
二战后，资金匮乏，无法购置新机器=&amp;gt;现有生产流程、员工和机器的最优化&lt;br /&gt;
&lt;br /&gt;
日本生产理念=新生产技术的领头羊和现代工业化国家的标杆&lt;br /&gt;
=＞国际讨论，分析和效仿的结果&lt;br /&gt;
&lt;br /&gt;
1. 精益化生产（推广零污染生产）&lt;br /&gt;
&lt;br /&gt;
2. 准时制生产/有序生产（按需生产）&lt;br /&gt;
&lt;br /&gt;
3. 质量研讨小组/优化改善小组&lt;br /&gt;
&lt;br /&gt;
4. 近期发展：多部门结构和权力下放--[[User:Cheng Yusi|Cheng Yusi]] ([[User talk:Cheng Yusi|talk]]) 08:48, 29 November 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
==Chen Yongxiang 陈永相==&lt;br /&gt;
Today, the Japanese production philosophy is considered the pacemaker for new production technologies and the benchmark for modern industrial nations. Former Porsche boss Wendelin Wiedeking is an admirer and imitator of the Toyota Production System: &amp;quot;Toyota is synonymous with consistency&amp;quot;.   It is the international standard by which the modernity of a factory is measured.&lt;br /&gt;
&lt;br /&gt;
The basic idea of the Japanese model was that storage costs were incurred because more was produced than purchased. So technologies were developed which ensured that the product was only (re)produced when the customer bought the product (production on demand). The higher costs of producing a single item are more than compensated by the savings in intermediate storage (and, in the case of slow-moving items, final storage) of products. This procedure is successfully used today, for example, in book production.&lt;br /&gt;
&lt;br /&gt;
如今，日本的生产理念被认为是新生产技术的带头人，以及现代工业国家的基准。丰田生产体系的仰慕者和效仿者，保时捷前老板文德林•魏德金（Wendelin Wiedeking）表示：“丰田是一致性的代名词”。它是衡量工厂现代化程度的国际标准。&lt;br /&gt;
&lt;br /&gt;
日本的生产模式认为，仓储成本的产生主要是由于供大于求。因此，开发了确保仅当客户购买产品时才（再）生产产品的技术（按需生产）。生产单个产品的较高成本可以通过节省产品的中间存储（对于缓慢移动的产品为最终存储）来弥补。如今，在书籍制作等领域，该做法已成功使用。--[[User:Chen Yongxiang|Chen Yongxiang]] ([[User talk:Chen Yongxiang|talk]]) 14:00, 29 November 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
==Cheng Yusi  成于思==&lt;br /&gt;
More important, however, is the idea that there should be as few production interruptions as possible, and if so, that these should be eliminated as quickly as possible. A typical phenomenon on the construction site is that work stops because a certain part / material to be installed has not been delivered on time. In production plants, a machine in the assembly line production breaks down and the whole production is stopped. This is where the Japanese philosophy comes into play, training the individual employee to the extent that he or she can repair minor defects on their own and assigning the responsibility to them to do so. For larger defects, a central team is available.&lt;br /&gt;
&lt;br /&gt;
然而，更重要的是要尽可能不去阻碍生产活动，如果有，则需要尽快消除。一个典型的现象是工厂因为某些待安装的材料未及时运输到位导致停工。在工厂，流水线生产中一台机器出了问题，整个生产都会停止。于是，日本的生产理念便起到作用。该理念旨在训练每一名员工能够自行修复小缺陷，并承担修复的责任。至于大一点的问题，则由团队来解决。--[[User:Cheng Yusi|Cheng Yusi]] ([[User talk:Cheng Yusi|talk]]) 08:01, 29 November 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
然而，更重要的是应该尽可能减少生产中断现象，如果确实存在的话，应该尽快消除。在施工现场，由于未按时交付要安装的某些零件或材料而停工是很典型的。在生产工厂中，一旦流水线生产中的一台机器故障，整个生产都会停止。因此，日本理念开始发挥作用。工厂对单个员工进行培训，使他们可以自行修复较小的问题，并赋予相应的责任。至于较大的问题，则由中心团队来解决。--[[User:Li Liqin|Li Liqin]] ([[User talk:Li Liqin|talk]]) 02:58, 30 November 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
==Deng Jinxia 邓锦霞==&lt;br /&gt;
This motivates them to ensure that these smaller defects do not occur in the first place and not only repairs the defect, but also thinks of a way to ensure that this defect does not occur in the future, i.e. they not only repair the defect, but also the cause of the defect.&lt;br /&gt;
&lt;br /&gt;
With production on demand, interruptions in production would also be conceivable if demand were to decline. Ideally, production then adjusts, i.e. it runs correspondingly slower or faster, depending on how strong demand is at the moment. The most important thing is that production is uninterrupted and trouble-free.&lt;br /&gt;
&lt;br /&gt;
这促使他们确保这些较小的缺陷不会先出现，除了修复缺陷，还要想出一种防范此缺陷发生的方法，即，他们不仅修复缺陷，而且根除缺陷。&lt;br /&gt;
&lt;br /&gt;
在按需生产的情况下，如果需求下降，生产也可能会中断。 理想情况下，生产会进行调整，即根据当前的需求量，生产速度相应地变慢或变快。最重要的是保证生产不间断且无故障。--[[User:Deng Jinxia|Deng Jinxia]] ([[User talk:Deng Jinxia|talk]]) 15:25, 26 November 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
这促使他们确保这些小缺陷不会第一时间出现，一旦出现，不仅要修复缺陷，而且要想出避免缺陷再次发生的办法，即：他们不仅要修复缺陷，而且要找出缺陷出现的原因。&lt;br /&gt;
&lt;br /&gt;
在按需生产的情况下，如果需求下降，生产中断的情况可能会出现。 然而在理想情况下，产量会根据需求进行调整，即根据当前的需求量，生产速度相应地减慢或加快，最重要的是保证生产无间断且不发生任何故障。--[[User:Zhang Yu|Zhang Yu]] ([[User talk:Zhang Yu|talk]]) 04:27, 27 November 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
这促使他们确保这些较小的缺陷不会首先出现，并且不仅要修复缺陷，而且还考虑一种方法，来确保将来不会出现这种缺陷，即他们不仅要修复缺陷，还要解决缺陷的原因。&lt;br /&gt;
&lt;br /&gt;
在按需生产的情况下，如果需求下降，可以想象，生产也会中断。理想情况下，生产会进行调整，即根据当前需求的强劲程度，相应地降低或加快生产速度。最重要的是生产得不间断且无故障。--[[User:Gan Fengyu|Gan Fengyu]] ([[User talk:Gan Fengyu|talk]]) 07:26, 29 November 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
==Ding Daifeng 丁代凤==&lt;br /&gt;
The Japanese reward system works in a similar way for innovations introduced by individual employees involved in the production process. Here, it is important that the person who had the idea receives a relevant sum of money immediately and unbureaucratically, long before the idea is implemented.&lt;br /&gt;
&lt;br /&gt;
Another element are the quality circles or Kaizen teams. These are smaller working groups that are responsible for a small part of the production. They should meet once at the beginning and then regularly at least once a week to openly discuss suggestions for improvement. &lt;br /&gt;
&lt;br /&gt;
Recently, other Japanese elements of production culture have also been mentioned, such as multi-divisional structures and decentralization. They are also found in the American production culture.&lt;br /&gt;
&lt;br /&gt;
参与生产过程的员工可以提出自己的创新想法，日本的奖励制度与此类似。在这里，重要的是，在该想法实现之前，提出这个想法的人立即就得到一笔相关的钱，不需要重重审批。&lt;br /&gt;
&lt;br /&gt;
另一个要素是质量圈或是持续改善团队。这些是比较小的工作组，负责生产环节的一小部分。他们应该在一开始就碰个面，然后至少每周定期开一次会，公开讨论改进建议。&lt;br /&gt;
&lt;br /&gt;
最近，人们也提到了日本生产文化的其他因素，例如多部门结构和权力下放机制。它们也同样存在于美国的生产文化中。--[[User:Ding Daifeng|Ding Daifeng]] ([[User talk:Ding Daifeng|talk]]) 14:03, 27 November 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
日本的奖励制度对参与生产过程的雇员个人提出的创新也有类似的作用。在这里，重要的是，有想法的人在想法实施之前很久就能立即无官僚主义地得到一笔相关的资金。&lt;br /&gt;
&lt;br /&gt;
另一个要素是质量圈或Kaizen小组。这些是较小的工作小组，负责生产的一小部分。他们应该在开始时开一次会，然后定期至少每周开一次会，公开讨论改进的建议。&lt;br /&gt;
&lt;br /&gt;
最近，日本生产文化的其他要素也被提及，如多部门结构和分权。美国的生产文化中也有这些内容。--[[User:Liu Yi|Liu Yi]] ([[User talk:Liu Yi|talk]]) 01:58, 28 November 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
日本的奖励制度对参与生产过程的个体员工所引入的创新的运作方式与此类似。在这里，重要的是，在想法实现之前，有想法的人立即得到一笔相关的钱，而不是官僚作风。&lt;br /&gt;
另一个要素是质量循环或改善团队。这些是较小的工作组，负责生产的一小部分。他们应该在开始时开会一次，然后每周至少定期开会，公开讨论改进建议。&lt;br /&gt;
最近，日本生产文化的其他因素也被提到，例如多部门结构和权力下放。它们也存在于美国的生产文化中。--[[User:QiKai|QiKai]] ([[User talk:QiKai|talk]]) 09:47, 29 November 2020 (UTC)Qi Kai&lt;br /&gt;
&lt;br /&gt;
==Fang Jieling 方洁玲==&lt;br /&gt;
The Japanese production culture, whose optimization was born out of necessity, proved to be more competitive than the cultures of other countries, which is why it quickly became the model, even the epitome, of modern production culture, and in the 1960s and 1970s it began a worldwide triumphal march.&lt;br /&gt;
&lt;br /&gt;
'''China - Factory of the world'''  &lt;br /&gt;
&lt;br /&gt;
Today, however, China has replaced Japan and the other classic industrial nations as the factory of the world.&lt;br /&gt;
&lt;br /&gt;
[[File:fangjieling.jpg]]&lt;br /&gt;
&lt;br /&gt;
It also leads the emerging markets worldwide.&lt;br /&gt;
&lt;br /&gt;
In the projection of economic performance, Goldmann/ Sachs sees China ahead of the USA, India and Germany.&lt;br /&gt;
&lt;br /&gt;
==Gan Fengyu 甘奉玉==&lt;br /&gt;
[[File:6.jpg]]&lt;br /&gt;
&lt;br /&gt;
So China is today again (after the period 0 A.D. until about 1200 A.D.) the leading economy in the world. One of the characteristics of the Chinese production culture is its continuity. For thousands of years, China has been producing products such as silk, tea, porcelain, etc. without interruption. Even though Chinese production was not a world leader in the period 1200 to 2000 A.D., it remained at a roughly constant level for a long time before it caught up with the Industrial Revolution in a rapid development. Such a long production culture is without equal worldwide.&lt;br /&gt;
&lt;br /&gt;
因此，今天的中国再次成为世界领先的经济体（从公元0年到公元1200年）。中国生产文化的一个特点就是它的连续性。几千年来，中国一直不间断地生产丝绸、茶叶、瓷器等产品。尽管在公元1200年至2000年期间，中国的生产并不是世界领先的，但在很长一段时间内，它基本上保持在一个稳定的水平上，才赶上了工业革命的迅速发展。如此悠久的生产文化在世界范围内是无与伦比的。--[[User:Gan Fengyu|Gan Fengyu]] ([[User talk:Gan Fengyu|talk]]) 07:09, 29 November 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
==Gao Mingzhu 高明珠==&lt;br /&gt;
It is still important to bear in mind that China is once again growing to become the leading economic nation, but in this most populous country not all Chinese are yet benefiting equally from this leadership role. This is easy to see when comparing the absolute figures (e.g. GDP in country comparison or related to the growth of its own GDP) with the relative figures (GDP/capita). Here is one such comparison with the &lt;br /&gt;
&lt;br /&gt;
有一点仍然值得牢记，那就是中国正再一次成为经济领导国，但是在这个人口大国，并非所有的中国人都能从这个经济领导地位中获得相等的利益。当将绝对数据（如国内生产总值或与国内生产总值增长相关的数据）与相对数据（如人均国内生产总值）进行比较时，这种现象就很显而易见了。这里有一个类似的比较：&lt;br /&gt;
&lt;br /&gt;
[[File:7.jpg]]&lt;br /&gt;
&lt;br /&gt;
I would like to start my analysis of the importance of production culture with a few questions:&lt;br /&gt;
&lt;br /&gt;
我想由以下几个问题来引出我对生产文化的重要性的分析：&lt;br /&gt;
&lt;br /&gt;
Does the production culture have anything to do with the rapid increase? Is it perhaps the cause of the increase? &lt;br /&gt;
&lt;br /&gt;
生产文化和（经济的）快速增长之间有联系吗？它是否是（经济）增长的原因？&lt;br /&gt;
&lt;br /&gt;
Obviously, the Chinese production culture has not been an international model for modern production culture. Could the reason for this be the problem that the production culture is culture-specific? What other reasons could there be? Are these reasons justified?&lt;br /&gt;
&lt;br /&gt;
显然，中国的生产文化还没有成为当代生产文化的一个国际模板。其原因是生产文化所具有的文化特异性吗？还有其他原因吗？其他原因又是否合理呢？&lt;br /&gt;
&lt;br /&gt;
In order to find clues to answer these questions, the Chinese production culture is examined and defined below.&lt;br /&gt;
&lt;br /&gt;
为了找到回答这些问题的线索，下面对中国生产文化进行了考察与定义。--[[User:Gao Mingzhu|Gao Mingzhu]] ([[User talk:Gao Mingzhu|talk]]) 14:35, 28 November 2020 (UTC)Gao Mingzhu&lt;br /&gt;
&lt;br /&gt;
==Gong Yumian 龚钰冕==&lt;br /&gt;
'''Genuity of Chinese production culture'''&lt;br /&gt;
&lt;br /&gt;
The Silk Road has been documented since about the 5th century BCE, but gene analysis proves that it was used to trade domesticated plants and animals in both directions already about 10 millenia BCE. There is also proof of cultural exchange through this trade road. The following products manufactured in China were traded on it:&lt;br /&gt;
&lt;br /&gt;
·Silk&lt;br /&gt;
&lt;br /&gt;
·Tea&lt;br /&gt;
&lt;br /&gt;
·Spices&lt;br /&gt;
&lt;br /&gt;
·Ceramics/Porcellain&lt;br /&gt;
&lt;br /&gt;
·Jade&lt;br /&gt;
&lt;br /&gt;
·Bronze&lt;br /&gt;
&lt;br /&gt;
·Lacquerware/Paints&lt;br /&gt;
&lt;br /&gt;
·Iron&lt;br /&gt;
&lt;br /&gt;
·Paper&lt;br /&gt;
&lt;br /&gt;
·Gunpowder&lt;br /&gt;
&lt;br /&gt;
·Furs etc. &lt;br /&gt;
&lt;br /&gt;
The Silk Road was of course used in both directions, gold, precious stones and for a long time glass were imported into China. If the New Silk Road can be built with rail roads, it will lower the costs and time of shipping several times compared to the current maritime container shipping.&lt;br /&gt;
&lt;br /&gt;
中国生产文化的真实性&lt;br /&gt;
丝绸之路大约在公元前5世纪就有记载了，但是基因分析证明，大约在公元前1万年左右，丝绸之路就用来在双边贸易中，销售栽培植物与家养动物了。这条贸易之路也证明了文化交流的可能性。以下中国制造的产品在这条贸易之路上进行交易：&lt;br /&gt;
·丝绸&lt;br /&gt;
·茶叶&lt;br /&gt;
·香料 &lt;br /&gt;
·陶瓷&lt;br /&gt;
·玉器&lt;br /&gt;
·青铜器&lt;br /&gt;
·漆器&lt;br /&gt;
·铁&lt;br /&gt;
·纸&lt;br /&gt;
·火药&lt;br /&gt;
·毛皮等&lt;br /&gt;
当然，丝绸之路是双向的，黄金、宝石和玻璃很长一段时间都是从中国进口的。如果新丝绸之路能与铁路一起建成，将比目前的海运集装箱所需的运输成本和运输时间低好几倍。--[[User:Gong Yumian|Gong Yumian]] ([[User talk:Gong Yumian|talk]]) 09:21, 29 November 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
==Gu Dongfang 顾东方==&lt;br /&gt;
With the world's largest merchant ships, junks, which could hold up to 4000 tons, China also dominated maritime trade for centuries. Already in the 3rd century B.C. the Emperor's Canal was built in China for inland navigation.&lt;br /&gt;
&lt;br /&gt;
中国拥有世界上最大的商船--军舰，可容纳4000吨货物，中国也在海上贸易中占据了数百年的主导地位。早在公元前3世纪，中国就修建了皇帝运河，用于内河航运。&lt;br /&gt;
&lt;br /&gt;
[[File:gdf.jpg]]&lt;br /&gt;
&lt;br /&gt;
Previous picture: Chinese junk from the year 1804.[	John Barrow, „Travels in China: containing descriptions, observations, and comparisons, made and collected in the course of a short residence at the Imperial palace of Yuen-Min-Yuen, and on a subsequent journey through the country from Pekin to Canton“, Cambridge Scholars Publishing 12.1.2010, ISBN 9781153190947, 302 pp., p. 59.]&lt;br /&gt;
&lt;br /&gt;
[[File:gdf2.jpg]]&lt;br /&gt;
&lt;br /&gt;
Ming period junk (14th century).&lt;br /&gt;
&lt;br /&gt;
In the period from the birth of Christ until 1200 A.D., China had the highest gross domestic product in the world. Only in 1200 was China overtaken by Western Europe.&lt;br /&gt;
ing时期的垃圾（14世纪）。&lt;br /&gt;
&lt;br /&gt;
从基督诞生到公元1200年，中国的国内生产总值是世界上最高的。直到1200年，中国才被西欧超越。&lt;br /&gt;
&lt;br /&gt;
==Guan Qinqing 管钦清==&lt;br /&gt;
[[File:10.jpg]]&lt;br /&gt;
&lt;br /&gt;
Between 1200 and about 2000, China lagged far behind the West and was considered a developing country. Nevertheless, from 1700 until today, China has experienced the same population explosion as America and Europe.&lt;br /&gt;
&lt;br /&gt;
在1200年到2000年之间，中国远远落后于西方，成为发展中国家。 然而，从1700年至今，与美国和欧洲一样，中国也经历了人口爆炸。&lt;br /&gt;
&lt;br /&gt;
[[File:11.jpg]]&lt;br /&gt;
&lt;br /&gt;
While Europe ensured the food supply of the larger population at the end of the 18th century with the Industrial Revolution, China slept through this development and caught up with it in fast motion from 1900 with its first factories, from 1950 with centrally planned larger production units and from 2000 with private enterprises, at first mainly joint ventures, which led to an uneven development in the country.&lt;br /&gt;
&lt;br /&gt;
18世纪末，得益于工业革命，欧洲确保了更多人口的粮食供应。虽然在那时中国几乎处于休眠状态，但是到了20世纪，中国以迅雷不及掩耳之势赶上了欧洲：1900年，中国第一家工厂诞生；1950年，中央计划的大型生产单位出现；2000年私人企业产生，最初主要是合资企业，但这也导致了国内发展的不平衡。--[[User:Guan Qinqing|Guan Qinqing]] ([[User talk:Guan Qinqing|talk]]) 03:57, 29 November 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
==Gui Yizhi 桂一枝==&lt;br /&gt;
The example of silk production in Japan and China already reveals the first differences in the production culture:&lt;br /&gt;
&lt;br /&gt;
In Japan, a loom was introduced that was copied thousands of times without a license, thus ensuring a nationwide standard. Silk from Japan was always woven in the same way, and buyers could always rely on the same product quality.&lt;br /&gt;
&lt;br /&gt;
In China there were various independent production facilities and regional traditions. So silk from China was of a variable quality.&lt;br /&gt;
&lt;br /&gt;
Another aspect of Chinese production culture is the ethnic component: &lt;br /&gt;
&lt;br /&gt;
·Western companies have better cards in China if they use Chinese middlemen. &lt;br /&gt;
&lt;br /&gt;
·Chinese companies that are active in Africa export their entire business model including employees, cook, buildings.&lt;br /&gt;
&lt;br /&gt;
日本和中国的丝绸生产模式早已体现出了它们生产文化的第一处不同。在日本，一台纺织机引入后无需任何执照就被复制了数千台，由此保证了全国范围的生产标准。日本丝绸的编织方式都是相同的，所以顾客总是信任产品拥有同等的质量。在中国，有各式各样独立的生产设备和地方传统工艺。所以中国产的丝绸质量都参差不齐。中国生产文化的另一方面就是其名族性：如果通过中国的中间商，西方公司会通行更顺畅。活跃在非洲的中国企业会将其整个商业模式都带出去，包括其员工，厨师和公司建筑。--[[User:Gui Yizhi|Gui Yizhi]] ([[User talk:Gui Yizhi|talk]]) 05:31, 30 November 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
==Guo Lu 郭露==&lt;br /&gt;
Nevertheless, today's Chinese production culture is no longer genuine, but is also more strongly influenced by history than the Japanese Western culture.&lt;br /&gt;
&lt;br /&gt;
Even party schools at the beginning of the 21st century are commissioning business faculties of American universities to conduct management training.&lt;br /&gt;
&lt;br /&gt;
'''Made in China'''&lt;br /&gt;
&lt;br /&gt;
The label &amp;quot;Made in Germany&amp;quot; was originally a British origin label to distinguish itself from poor quality German goods. It was only later that the mark of Cain became a trademark due to the improvement in quality.&lt;br /&gt;
&lt;br /&gt;
&amp;quot;Made in China&amp;quot; stands for cheap products, low wages, poor quality, mass production and plagiarism, hierarchical management and an &amp;quot;ant-like&amp;quot; workforce.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
然而，如今中国的生产文化已不再封闭，比起日本受到西方文化的影响，中国受到历史影响的程度更深。甚至在21世纪初的党校也委托美国大学的商科对其进行管理培训。&lt;br /&gt;
&lt;br /&gt;
“中国制造”&lt;br /&gt;
&lt;br /&gt;
“德国制造”的标签原本是英国的标签，用来区别德国的劣质产品。直到后来，由于质量的提高，“德国制造”才成为商标。&lt;br /&gt;
&lt;br /&gt;
“中国制造”代表着廉价、低工资、劣质、大规模生产和剽窃、等级观念以及廉价劳动力。--[[User:Guo Lu|Guo Lu]] ([[User talk:Guo Lu|talk]]) 09:48, 27 November 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
然而，今天的中国生产文化不再纯正了，而且比日本的西方文化更受历史的影响。&lt;br /&gt;
&lt;br /&gt;
甚至连21世纪初的党校也委托美国大学的商学院进行管理培训。&lt;br /&gt;
&lt;br /&gt;
中国制造&lt;br /&gt;
&lt;br /&gt;
“德国制造”的标签原本是英国的标签，用来把本国的产品与德国的劣质产品区别开。直到后来，由于质量的提高，这个罪恶的标记才成为商标。&lt;br /&gt;
&lt;br /&gt;
“中国制造”代表着廉价产品、低工资、低质量、大规模生产、抄袭、等级管理以及像“蚁族”一样的廉价劳动力。--[[User:Ding Daifeng|Ding Daifeng]] ([[User talk:Ding Daifeng|talk]]) 14:21, 27 November 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
==Han Haiyang 韩海洋==&lt;br /&gt;
But in fact this is only an impression that applied to the first mass products in China; in the meantime the picture has changed.&lt;br /&gt;
&lt;br /&gt;
1 At the beginning of the 21st century, the labor market in China appears saturated for the first time. This is accompanied by extreme wage increases. In the meantime, one has to pay almost as much for a man-day of an engineer with comparable qualifications in China as for an engineer-man-day in western industrialized countries.&lt;br /&gt;
&lt;br /&gt;
2. The previously most important productive sector is being replaced by the service sector as the most important economic sector.&lt;br /&gt;
&lt;br /&gt;
3. Following the example of Western companies that have consistently introduced quality assurance in China, the proverbial poor quality of Chinese products is now a thing of the past. In many companies, quality assurance is now also practiced.&lt;br /&gt;
&lt;br /&gt;
但是实际上这个印象也只是停留在中国第一次大量生产的时候；在此期间的情形已经变了。&lt;br /&gt;
&lt;br /&gt;
1.在21世纪初，伴随着工资的极度增加，中国劳动市场第一次出现饱和。同时，支付给相对合格的一名中国工程师一天的工资和西方工业国家的是差不多的。&lt;br /&gt;
&lt;br /&gt;
2.之前最重要的生产部门现在已被作为经济领域中最重要的服务部门所取代。&lt;br /&gt;
&lt;br /&gt;
3.西方公司在中国一向都有质量保证的规则，中国也正在向西方学习。总所周知的劣质中国产品也已不再出现。在许多公司中，质量保证这一规则正在被实行。--[[User:Han Haiyang|Han Haiyang]] ([[User talk:Han Haiyang|talk]]) 11:14, 27 November 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
但事实上，这只是对中国第一次大规模生产的早期印象而已；与此同时，情况在不断地变化。&lt;br /&gt;
&lt;br /&gt;
1 在21世纪初，中国的劳动市场第一次接近于饱和状态，这是由于工资的急剧增加。同时，一名合格的中国工程师的工资和西方工业国家的工资是差不多的。&lt;br /&gt;
&lt;br /&gt;
2 服务业逐渐替代了早些年最重要的生产部门作为重要的经济组成部分。&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
3 中国现在也正在学习西方国家公司的质量保障规则，中国的产品很差这一传言已经成为了过去式了。如今在大部分的公司，质量保障这一规章用于实践。--[[User:Han Wanzhen|Han Wanzhen]] ([[User talk:Han Wanzhen|talk]]) 12:43, 27 November 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
==Han Wanzhen 韩宛真==&lt;br /&gt;
4. apart from the reproduction of products developed in the West, the first high-tech products that have been further developed in China (cell phones, notebooks, etc.) are already available.&lt;br /&gt;
&lt;br /&gt;
5. Chinese companies are now buying companies worldwide with the required know-how (notebook division of IBM =&amp;gt; Lenovo, Volvo etc.).&lt;br /&gt;
&lt;br /&gt;
6. with a real ravenous appetite, Chinese managers devour bestsellers that explain Western management principles and apply them with playful curiosity and great zeal, such as team meetings. Meetings in Chinese companies are now more common (5 meetings/day) than in Germany (1-2 meetings/day).&lt;br /&gt;
&lt;br /&gt;
[[File:12.jpg]]&lt;br /&gt;
&lt;br /&gt;
4，除了复制西方的产品，中国也已经有了在国内进一步发展的第一批高科技产品（手机和笔记本电脑等）。&lt;br /&gt;
&lt;br /&gt;
5，中国公司如今正在全世界地购买一些掌握技术的公司（IBM笔记本部门=&amp;gt;联想‘沃尔沃等）。&lt;br /&gt;
&lt;br /&gt;
6，由于极大地需求，中国公司的管理人员几乎把那些介绍了西方管理规则的畅销书买完了，并且带着好奇心和热情把这些规则应用于实践，比如说西方比较盛行的小组会议。如今在中国的公司，开会的频率远远高于德国（中国一天5次会议，而德国一天1-2次会议）。--[[User:Han Wanzhen|Han Wanzhen]] ([[User talk:Han Wanzhen|talk]]) 12:26, 27 November 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
4.除了再生产西方的产品，中国进一步发展的第一批高科技产品（手机，笔记本电脑等）已经可以买到。&lt;br /&gt;
&lt;br /&gt;
5.中国公司现在正在世界各地收购具备所需技术的公司（IBM的笔记本部门--联想、沃尔沃等）。&lt;br /&gt;
&lt;br /&gt;
6.由于庞大的渴求，中国公司的管理人员读完了所有讲述西方管理细则的畅销书，并带着极大的好奇心和热情将这些细则运用于实践之中，例如，小组会议。如今相较于德国公司来说，小组会议在中国公司更加的普遍。--[[User:Kong Yanan|Kong Yanan]] ([[User talk:Kong Yanan|talk]]) 05:40, 28 November 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
==He Changqi 何长琦==&lt;br /&gt;
'''Characteristics of Chinese production culture'''&lt;br /&gt;
&lt;br /&gt;
'''Hierarchy'''&lt;br /&gt;
&lt;br /&gt;
Chinese companies are traditionally strictly hierarchical, with many levels. Authority gives face. As in other countries, functions are called together with the name as titles. According to Hofstede, the yardstick for hierarchy is the power distance index.&lt;br /&gt;
&lt;br /&gt;
'''Appreciation of age''' &lt;br /&gt;
&lt;br /&gt;
In addition to hierarchies based on professional positions, age also has a corresponding authority. Older people are seldom deported to retirement homes after their retirement, but live until death in the extended family, in which they fulfill tasks until the end. The neighborhood also takes care of the elderly people by involving them in work assignments (street cleaning, support for traffic regulation) depending on their readiness.&lt;br /&gt;
“中国文化的特点”&lt;br /&gt;
&lt;br /&gt;
“等级制度”&lt;br /&gt;
传统上，中国企业等级森严，层级众多。上级领导给下级脸色看。和其他国家一样，职能与名称一起被称为头衔。按照霍夫斯泰德的说法，衡量等级制度的标准是权力距离指数。&lt;br /&gt;
&lt;br /&gt;
“尊老传统”&lt;br /&gt;
&lt;br /&gt;
除了根据工作岗位制定的等级制度外，年龄也有相应的权威性。很少有老年人在退休后被送到到养老院，他们通常会与大家庭中共同生活，承担并完成一些家庭事务，一直到去世。街坊邻居也会照顾老年人的需要，根据他们的意愿，让他们参与一些工作任务，例如打扫街道、支持交通管制等。--[[User:He Changqi|He Changqi]] ([[User talk:He Changqi|talk]]) 03:14, 30 November 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
==Hu Baihui 胡百辉==&lt;br /&gt;
The older brother automatically has a more prestigious position than the younger one. In Chinese, kinship terms are strictly separated into &amp;quot;older&amp;quot; or &amp;quot;younger&amp;quot;. The preceding adjective &amp;quot;alter&amp;quot; in the confidential form of address is an honorific. &lt;br /&gt;
&lt;br /&gt;
In business life, too, older employees are respected because of their life experience (and possibly because of the large network of relationships to be expected). &lt;br /&gt;
A positive side effect is that the experience remains in the company. New research also shows in the West: older employees are often underestimated, their experience must be used more and knowledge can be kept in the company.&lt;br /&gt;
&lt;br /&gt;
'''Concept of Face'''&lt;br /&gt;
&lt;br /&gt;
For the protection of the individual, there is the face concept, where everyone can preserve his or her honor, even if mistakes have been made or someone is inferior. For this purpose, unwritten rules (institutions) are observed in the company: No one criticizes the other person in front of others. If criticism must be exercised, then indirectly. A request is not rejected directly, there is no &amp;quot;No! The Chinese employees are particularly sensitive to the nuances, to the &amp;quot;maybe&amp;quot; and know how to classify it accordingly without being damaged.&lt;br /&gt;
&lt;br /&gt;
哥哥的地位自然比弟弟高。在汉语中，亲属称谓严格分为“长”和“幼”。前一个形容词“alter（改变）”在亲密形式中是一个敬语。&lt;br /&gt;
在商业生活中，年长的员工也会因为他们的生活经历而受到尊重（也可能是因为他们所拥有的庞大关系网）。一个积极的副作用是这种经验仍然存在于公司。新的研究还显示，西方国家的老员工往往被低估，他们的经验必须得到更多的利用，知识才能留在公司。&lt;br /&gt;
&lt;br /&gt;
”面子的概念“&lt;br /&gt;
面子这个概念是为了保护个人，每个人都可以维护自己的荣誉，即使是那些犯了错误的人或者是等级低的。为此，公司遵守不成文的规则（制度）：不要在大众面前批评别人。如果必须进行批评，那么就委婉间接的说出来。一个人的请求不会被直接拒绝，我们不会直接说“不！”中国人对此的细微差别可能会有相应的分类。--[[User:Hu Baihui|Hu Baihui]] ([[User talk:Hu Baihui|talk]]) 08:50, 27 November 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
“面子的概念&lt;br /&gt;
面子之所以存在，是为了自我保护，每个人都可以维护自己的荣誉，即使是那些犯了错误的人或者是等级低的也是如此。为此，公司有个不成文的规定：不要当众批评别人。如果必须要批评，那就婉约一点。我们不会直接拒绝别人的请求，不会直接说“不。”中国人对于这一观念极为敏感，他们“或许”知道怎样进行区分才能避免伤害。--[[User:Guo Lu|Guo Lu]] ([[User talk:Guo Lu|talk]]) 09:52, 27 November 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
==Hu Huifang 胡慧芳==&lt;br /&gt;
'''Incompetence of bosses leads to informal decision-making'''&lt;br /&gt;
&lt;br /&gt;
Traditionally, the position of General Manager, or even senior positions in Chinese companies, is preferably filled with people who can be trusted by those making the appointments. The greatest trust is given by a family relationship, somewhat less so in the case of friendship between families or between individuals, or by shared periods of life, such as being born in the same village, attending the same school, the same club, etc. Of course, professional qualifications also help to build trust, but this is only of secondary importance. &lt;br /&gt;
&lt;br /&gt;
The leadership positions of the largest state-owned enterprises in China are assigned by the party, and these positions are cobbled together with correspondingly deserving cadres. &lt;br /&gt;
&lt;br /&gt;
One consequence of this appointment policy is the widespread incompetence of leaders.&lt;br /&gt;
&lt;br /&gt;
老板的无能导致非正式的决策&lt;br /&gt;
&lt;br /&gt;
传统上，总经理的职位，甚至中国公司的高级职位，最好是由可以任命的人所信任的人。 家庭关系给人最大的信任，家庭之间或个人之间的友情或家庭生活的共同点（例如在同一个村庄出生，在同一所学校，在同一家具乐部等）则给予最大的信任。 当然，专业资格也有助于建立信任，但这仅是次要的。&lt;br /&gt;
&lt;br /&gt;
中国最大的国有企业的领导职务是由党派出的，这些职务与相应的应聘干部结合在一起。&lt;br /&gt;
&lt;br /&gt;
这项任命政策的结果是领导人普遍无能。--[[User:Hu Huifang|Hu Huifang]] ([[User talk:Hu Huifang|talk]]) 03:56, 27 November 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
老板的无能导致非正式的决策&lt;br /&gt;
传统上，中国公司的总经理职位，甚至是高级职位，最好都是那些能被任命者信任的人。最大的信任是由家庭关系给予的,或者是通过共同的生活阶段，例如出生在同一个村庄，在同一所学校，同一个俱乐部，等等。当然，职业资格也有助于建立信任，但这种信任不是特别重要。&lt;br /&gt;
中国最大的国有企业的领导职务是党指定的，这些职位是由相应的干部结合而成的。&lt;br /&gt;
这种任命政策的一个后果是领导普遍无能。--[[User:Hu Baihui|Hu Baihui]] ([[User talk:Hu Baihui|talk]]) 09:02, 27 November 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
老板的无能导致非正式的决策&lt;br /&gt;
传统上，中国公司中的总经理及高级职位通常任命者所信任的。家庭关系给人最大的信任，比如家庭之间或个人之间的友情或家庭生活的共同点（例如在同一个村庄出生，在同一所学校，在同一家具乐部等）。 当然，专业资格也有助于建立信任，但这仅是次要的。&lt;br /&gt;
&lt;br /&gt;
中国最大的国有企业的领导职务是由党派出的，这些职务与相应的干部结合在一起。&lt;br /&gt;
&lt;br /&gt;
这项任命政策的结果是领导人普遍无能。--[[User:Li Haiquan|Li Haiquan]] ([[User talk:Li Haiquan|talk]]) 09:51, 29 November 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
==Hu Jin 胡瑾==&lt;br /&gt;
In economic terms, this too is an emergency situation, especially for the bosses concerned, who are surrounded by more competent subordinates. In combination with the facial concept, the bosses thus have to hide their incompetence on the one hand and on the other hand want to keep their position, i.e. they are under enormous pressure to make the right decisions. This has led to an informal decision-making system. The boss discusses possible alternatives informally with the experts. In the end, he has obtained a broad opinion and makes the decision that seems best to him alone. The fact that the laurels are actually due to others remains unspoken; it increases the intensity of the personal relationships (renqing) of the people involved. Once the boss has made a decision and communicated it, the employees will implement it without contradiction due to the hierarchical structures.&lt;br /&gt;
从经济角度来说，这也是一个紧急情况，尤其是对那些管理着更有能力的下属的老板们来说。因此，结合表层含义，一方面，老板们不得不隐藏自己的无能，另一方面又想保住自己的位置，也就是说，他们面临着做出正确决策的巨大压力。由此产生了一个非正式的决策体系。老板与专家非正式地讨论了可能的替代方案。最终，他获得了广泛的意见，并独自做出了对他来说最好的决定。桂冠实际上是别人的，这一事实仍未明说；它深厚了相关人员间的人情关系。一旦老板做出决定并传达给员工，员工就会执行，不会因为等级结构而产生矛盾。--[[User:Hu Jin|Hu Jin]] ([[User talk:Hu Jin|talk]]) 13:50, 27 November 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
在经济领域，这也是一种紧急情况，尤其当老板手下有着更为出色的员工时。一想到面子理念，老板一方面会掩盖自己的无能，另一方面又想捍卫自己的地位。他们做出正确决策时面临巨大压力。由此产生了一个非正式的决策体系。老板和专家们随意讨论可行的替代性方案。结果是，老板听取了大量意见，做出了最利于其自身的决策。事实上，功劳属于那些默默献言的专家们。此举促进了相关人员间的人情往来。一旦老板制定并传达某个决策，员工们考虑到公司等级结构，便毫无异议地执行。--[[User:Chen Sunfu|Chen Sunfu]] ([[User talk:Chen Sunfu|talk]]) 01:46, 29 November 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
==Ji Tiantian 纪甜甜==&lt;br /&gt;
If a superior's decision is not considered correct, the subordinate may not address the boss. Rather, when the hierarchical structures do not apply (joint leisure activities or similar), an opportunity must be sought to indirectly point out the wrong decision to the boss.&lt;br /&gt;
&lt;br /&gt;
Meetings per day C &amp;gt; USA &amp;gt; D&lt;br /&gt;
&lt;br /&gt;
The frequency of meetings is much higher in China than in Germany. In the country comparison of four selected countries/regions the following order results:&lt;br /&gt;
&lt;br /&gt;
1. Hong Kong &lt;br /&gt;
&lt;br /&gt;
2. China&lt;br /&gt;
&lt;br /&gt;
3. USA&lt;br /&gt;
&lt;br /&gt;
4. Germany&lt;br /&gt;
&lt;br /&gt;
当下级认为某个上级的决定是错误的，他可能不会告知老板。然而，当层级结构不能适应（共同的休闲活动或类似问题上），下级就会寻求机会间接地将错误的决定传递给老板。&lt;br /&gt;
&lt;br /&gt;
每天的会议 C&amp;gt; USA&amp;gt; D&lt;br /&gt;
&lt;br /&gt;
中国开会的频率比德国高的多。对所选的4个国家或地区的顺序排名如下：&lt;br /&gt;
&lt;br /&gt;
1. 香港&lt;br /&gt;
&lt;br /&gt;
2. 中国&lt;br /&gt;
&lt;br /&gt;
3. 美国&lt;br /&gt;
&lt;br /&gt;
4. 德国&lt;br /&gt;
&lt;br /&gt;
==Jiang Fengyi 蒋凤仪==&lt;br /&gt;
'''Shapes of modern Chinese production culture and their causes'''&lt;br /&gt;
&lt;br /&gt;
[[File:13.jpg]]&lt;br /&gt;
&lt;br /&gt;
Modern Chinese production culture shows the following characteristics:&lt;br /&gt;
&lt;br /&gt;
1. in the area of know-how China lags behind the western industrial nations and Japan, which causes feelings of shame. Many Chinese feel that they are on the defensive and regard their country's relationship with the USA and Japan as the David's against Goliath. This results in a subjective legitimacy for broad-based industrial espionage with national interest and know-how theft.&lt;br /&gt;
&lt;br /&gt;
中国现代生产文化的形式及其原因&lt;br /&gt;
&lt;br /&gt;
专业技术：羞耻/ 防卫/ 大卫对抗歌利亚一样/ 基于国家利益的工业间谍活动 专业技术盗窃&lt;br /&gt;
&lt;br /&gt;
创新：&lt;br /&gt;
&lt;br /&gt;
竞争：&lt;br /&gt;
&lt;br /&gt;
国家管控：&lt;br /&gt;
&lt;br /&gt;
法律：&lt;br /&gt;
&lt;br /&gt;
中国现代生产文化有以下的特征：&lt;br /&gt;
&lt;br /&gt;
1. 在专业技术领域，中国落后于西方工业国家和日本，这让中国人民感到羞耻。许多中国人认为自己处于守势，中国与美国、日本的关系就像大卫对抗歌利亚一样，也因此将基于广义国家利益的工业间谍活动和专门技术盗窃视为合理。--[[User:Jiang Fengyi|Jiang Fengyi]] ([[User talk:Jiang Fengyi|talk]]) 01:21, 30 November 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
==Jiang Hao 姜好==&lt;br /&gt;
'''2. Innovation'''&lt;br /&gt;
&lt;br /&gt;
China is traditionally known as an empire of inventions, so letterpress printing, gunpowder, porcelain etc. were invented long before similar inventions were made elsewhere in the world. However, these inventions were often not brought to serial production and were produced in masses, as for example in Europe, where gunpowder led to the production of handguns and cannons. It can be exaggerated to say that gunpowder was used instead for New Year's fireworks by the nobility. This shows the Chinese characteristic of a capacity for innovation with a simultaneous lack of diffusion in the market.&lt;br /&gt;
&lt;br /&gt;
The Industrial Revolution also largely passed China by. Since China, like Europe, was experiencing a population explosion due to better hygiene and medicine, but at the same time the automation of food production did not go beyond manufactories, China fell behind in its standard of living.&lt;br /&gt;
&lt;br /&gt;
中国历来以发明帝国著称，所以活版印刷、火药、瓷器等发明的时间比世界上其他地方的类似发明要早得多。然而，这些发明往往不是批量生产的，而是大规模生产的，例如在欧洲，火药促使了手枪和大炮的生产。可以夸张地说，火药被贵族们用来代替新年的烟花。这显示了中国特色，即创新能力与市场推广能力同时不足。&lt;br /&gt;
在很大程度上工业革命也与中国擦肩而过。因为中国和欧洲一样，由于卫生和医疗条件的改善，人口激增，但与此同时，食品生产的自动化并没有超越制造业，中国的生活水平落后了。--[[User:Jiang Hao|Jiang Hao]] ([[User talk:Jiang Hao|talk]]) 01:01, 30 November 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
&amp;lt;nowiki&amp;gt;Insert non-formatted text here&amp;lt;/nowiki&amp;gt;==Jiang Qiwei 蒋淇玮==&lt;br /&gt;
&lt;br /&gt;
Traditionally, imitation has always been highly valued in China. A good copy was almost as important as the original. Thus, both the civil service examination system of previous centuries and today's school system were strongly oriented towards reproduction rather than creativity. One reason may be the enormous amount of characters that requires students to memorize for years.&lt;br /&gt;
&lt;br /&gt;
自古以来，模仿对中国来说十分重要。好的模仿同原型几乎地位相等。因此，前几个世纪的公务员考试制度和如今的学校系统都着重指向再生产而非创造。其中一个原因可能是学生在多年里需要记忆大量的人物。--[[User:Jiang Qiwei|Jiang Qiwei]] ([[User talk:Jiang Qiwei|talk]]) 01:53, 27 November 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
从古至今，中国都十分重视效仿。好的副本与原本几乎同样重要。因此，先前世纪的公务员考试制度与现今学校系统都着重强调再生产而不是创新。其原因可能是学生们在几年里需要记的人物数不胜数。--[[User:WuQiong|WuQiong]] ([[User talk:WuQiong|talk]]) 02:20, 27 November 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
自古以来，中国就十分重视模仿。好的模仿几乎和原创一样重要。因此，前几世纪的公务员考试和现在的学校体制都以再生产为导向而不是创造性。其中一个原因可能就是其要求学生花费数年时间去记大量的人物。--[[User:Han Haiyang|Han Haiyang]] ([[User talk:Han Haiyang|talk]]) 11:20, 27 November 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
自古以来，中国就十分重视模仿。好的模本几乎和原本一样重要。因此，前几个世纪的公务员考试和现在的学校系统都以再生产为导向而不是创造性。其中一个证据就是其要求学生花费数年时间去记大量的人物。--[[User:Ji Tiantian|Ji Tiantian]] ([[User talk:Ji Tiantian|talk]]) 11:39, 29 November 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
自古以来，模仿在中国一直很受重视。 一份好的副本几乎和原件一样重要。因此，前几个世纪的公务员考试制度和今天的学校制度都强烈倾向于再生产，而不是创造。其中一个原因可能是人物数量众多，需要学生长年累月的记忆。--[[User:Jiang Hao|Jiang Hao]] ([[User talk:Jiang Hao|talk]]) 01:08, 30 November 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
==Kang Haoyu 康浩宇==&lt;br /&gt;
&lt;br /&gt;
The idea of copyright is also less rooted in China than in the West.&lt;br /&gt;
&lt;br /&gt;
When the Chinese were awakened from their sleep by the cannon thunder of the 1st Opium War, there was great regret that they had not carried out their own research and development. Although physical violence was disregarded, the foreigners were envied their technical superiority and since then they have propagated the idea of learning technology from foreigners and reproducing it in order to be able to defend their own cultural values and sovereignty more effectively. This feeling of envy gave rise to an extreme motivation to both imitate the superiority of others and ultimately to outdo them.&lt;br /&gt;
&lt;br /&gt;
中国的版权意识没有西方那么深刻。&lt;br /&gt;
当中国人在第一次鸦片战争的炮声中惊醒时，他们非常遗憾没有自己的研发创造。国人虽然憎恨外国人的暴行，但仍旧羡慕他们的技术优势。从那以后，他们师夷长技，以便能够更有效地捍卫自己的文化价值观和国家主权。但这种嫉妒感催生了一种极端的动机，既模仿他人的优越感，最终在该方面又超越他人。--[[User:Kang Haoyu|Kang Haoyu]] ([[User talk:Kang Haoyu|talk]]) 03:40, 27 November 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
与西方相比，中国的版权观念不那么根深蒂固。&lt;br /&gt;
当第一次鸦片战争的炮声把中国人从睡梦中惊醒的时候，他们没有进行自己的研究和开发是非常遗憾的。即使中国人可以忽略外国侵略者的暴力，但却羡慕他们的技术优势，从那时起，他们开始宣传向外国人学习技术并加以复制，以便能够更有效地捍卫自己的文化价值观和主权。这种嫉妒感产生了一种极端的动机，既模仿别人的优越感，又最终超越别人。--[[User:Li LIli|Li LIli]] ([[User talk:Li LIli|talk]]) 05:59, 27 November 2020 (UTC)Li Lili&lt;br /&gt;
&lt;br /&gt;
==Kang Lingfeng 康灵凤==&lt;br /&gt;
'''3. Competition'''&lt;br /&gt;
&lt;br /&gt;
The toughest competition worldwide is in China. Successful products immediately find numerous imitators. As soon as an imitator can produce the product at more favorable conditions, the client switches to him. Together with state arbitrariness, this has resulted in the emergence of a typical Chinese type of company: The financial holding company as a family-owned enterprise with involvement in various industries. This enables a company to survive even if the sales market for a product suddenly collapses. In hardly any other country in the world do companies have to be as vigilant as in China, adapting products to changing customer requirements within the shortest possible time and always being one step ahead of the competition. New trends have to be recognized early and capacities have to be built up or reduced flexibly.&lt;br /&gt;
&lt;br /&gt;
Those who survive in this hard school are also prepared for more peaceful and fairer markets like those in Europe and America.&lt;br /&gt;
&lt;br /&gt;
'''3. 竞争'''&lt;br /&gt;
&lt;br /&gt;
世界上最激烈的竞争在中国。成功的产品一旦出现，马上伴随着无数的模仿者。一旦模仿者能够在更有利的条件下生产产品，客户就会转向他们。再加上国家的任意性，这形成了一种典型的中国企业类型:金融控股公司，这是一种涉及各行各业的家族企业。这使得公司即使在产品销售市场突然崩溃的情况下也能生存下来。在世界上，几乎没有哪个国家的公司需要像中国那样保持警惕，在尽可能短的时间内调整产品以适应不断变化的客户需求，并始终领先于竞争对手一步。新的趋势必须及早发现，能力必须灵活地增强减少。&lt;br /&gt;
&lt;br /&gt;
那些在这所艰苦的学校里生存下来的人，像那些在欧美市场的人一样，也为更和平、更公平的市场做好了准备。--[[User:Kang Lingfeng|Kang Lingfeng]] ([[User talk:Kang Lingfeng|talk]]) 06:02, 30 November 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
==Kong Xianghui 孔祥慧==&lt;br /&gt;
'''4. State control'''&lt;br /&gt;
&lt;br /&gt;
The reform and opening policy since 1978 has led to a predominance of foreign companies in China at the end of the 20th century. In order to protect their own industry, laws were introduced obliging companies to provide a certain percentage of their production in China locally. As a result, Chinese suppliers had to be sought who were able to contribute parts to the production chain. This promoted local industry and also the transfer of know-how. &lt;br /&gt;
&lt;br /&gt;
At the same time, foreign suppliers were also forced to follow the large companies to China if they did not want to be replaced by a Chinese company. This accelerated the settlement of foreign companies in China.&lt;br /&gt;
1978年以来的改革开放政策导致20世纪末外来企业占据了中国市场的主导地位。为了保护本国产业，中国出台了相关法律，要求外来企业必须在当地提供一定比例的产品。因此，他们必须寻找能够向生产链提供零部件的中国供应商。这促进了当地工业的发展，也促进了技术的转让。&lt;br /&gt;
与此同时，外国供应商如果不想被中国公司取代，他们就必须跟随大公司来到中国。这加快了外国公司在中国的落户。--[[User:Kong Xianghui|Kong Xianghui]] ([[User talk:Kong Xianghui|talk]]) 10:53, 27 November 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
'''4. 国家管控'''&lt;br /&gt;
&lt;br /&gt;
1978年改革开放以来，直到20世纪末，外来企业占据了中国市场的主导地位。为保护本国产业，中国出台了相关法律，要求外来企业生产产品必须有一定比例的当地产品。因此，这些公司必须寻找中国的供应商以为生产链提供零部件，这促进了当地产业发展和技术转让。&lt;br /&gt;
&lt;br /&gt;
与此同时，外国供应商如果不想被中国公司取代，他们就必须跟随大公司来到中国。这进一步加快了外国公司在中国的落户。--[[User:Zhang Yuxing|Zhang Yuxing]] ([[User talk:Zhang Yuxing|talk]]) 15:44, 27 November 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
==Kong Yanan 孔亚楠==&lt;br /&gt;
However, legislation (like the joint venture laws) and court decisions favoured domestic companies. Also, China has built up a state capitalism that sponsors industry, supports domestic industry on the world market and helps financing overseas investment. Also, copyright infringement and industrial espionage (including civil-military alliance) supports the Chinese economy. Under the Trump administration, the USA has responded with a protectionist “America first” strategy.&lt;br /&gt;
&lt;br /&gt;
'''5. Legal system'''&lt;br /&gt;
&lt;br /&gt;
The legal system in China is not independent. It acts at the behest of the state.&lt;br /&gt;
&lt;br /&gt;
Western companies came to China with superior know-how and financial power. These companies were admired in China, but at the same time a feeling of disadvantage arose with regard to their own backward industry.&lt;br /&gt;
&lt;br /&gt;
然而，法规（例如，合资企业法）以及法庭判决都有利于国内企业。中国也已经建立起一种国家资本主义，用来资助企业、支持出于世界市场中的国内企业、为海外投资提供资助。除此之外，版权侵权法规和企业情报刺探（包括军民联合）都促使中国经济发展。在特朗普的治理下，美国提出了“美国第一”的保护主义策略，以此作为回应。&lt;br /&gt;
&lt;br /&gt;
'''5.法律体系'''&lt;br /&gt;
&lt;br /&gt;
中国的法律体系不是彼此独立，互不相关的。它是应整个国家的要求而实行的。&lt;br /&gt;
西方公司带着先进的技术知识和强大的财政实力来到中国。中国欣赏这些公司，但是同时觉得这些公司会对自己国家落后的企业不利。--[[User:Kong Yanan|Kong Yanan]] ([[User talk:Kong Yanan|talk]]) 05:03, 28 November 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
中国的法律体系并非独立存在，而是顺应国家需要而实行的。&lt;br /&gt;
&lt;br /&gt;
西方公司带着先进的技术知识和强大的经济实力来到中国。中国欣赏这些公司，但又怕它们会对自己国家落后的企业不利。--[[User:Guan Qinqing|Guan Qinqing]] ([[User talk:Guan Qinqing|talk]]) 04:07, 29 November 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
==Lei Fangyuan 雷方圆==&lt;br /&gt;
As a counterbalance to this perceived weakness in relation to the large foreign corporations, the legislation was designed and the judiciary was urged to protect their own corporations.&lt;br /&gt;
&lt;br /&gt;
This puts Chinese partners in a better position when joint ventures are dissolved (often the know-how and capital goes to the owner).&lt;br /&gt;
&lt;br /&gt;
'''Necessity is the mother of invention'''&lt;br /&gt;
&lt;br /&gt;
The reason for the increase in efficiency, known worldwide as Japanese management culture or production culture, was the lack of money for new machines in Japan after World War II.&lt;br /&gt;
&lt;br /&gt;
制定立法并敦促司法机构保护本国公司，是为了平衡与大型外资企业相关的某种弱势情况。&lt;br /&gt;
&lt;br /&gt;
当合资企业解散时，这使中国合作伙伴处于更有利的位置（通常专有技术和资本都归所有者所有）。&lt;br /&gt;
&lt;br /&gt;
'``必要是发明之母'''&lt;br /&gt;
&lt;br /&gt;
效率提高的原因是，为全世界所熟知的日式管理文化或生产文化，在第二次世界大战后，缺乏资金购置新机器。--[[User:Lei Fangyuan|Lei Fangyuan]] ([[User talk:Lei Fangyuan|talk]]) 09:52, 29 November 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
制定立法并敦促司法机构保护本国公司，是为了平衡与大型外资企业相关的某种弱势情况。&lt;br /&gt;
&lt;br /&gt;
当合资企业解散时，这使中国合作伙伴处于更有利的位置（通常专有技术和资本都归所有者所有）。&lt;br /&gt;
&lt;br /&gt;
'``需求是发明之母'''&lt;br /&gt;
&lt;br /&gt;
在第二次世界大战后，日本缺乏资金购置新机器从而导致了效率的提高，这也是众所周知的日式管理文化或生产文化。--[[User:Gao Mingzhu|Gao Mingzhu]] ([[User talk:Gao Mingzhu|talk]]) 14:03, 29 November 2020 (UTC)Gao Mingzhu&lt;br /&gt;
&lt;br /&gt;
==Lei Kuangxi 雷旷溪==&lt;br /&gt;
In China, another emergency situation is also the reason for developing a separate response to the challenges of the market: it is the professional incompetence of management personnel. This has grown historically. In China, management positions are primarily given to people who can be trusted. Traditionally, the most trustworthy people in China are family members or family members of old school friends, acquaintances who come from their own village and who have indulged in the same hobbies together (see Deng Xiaoping's Bridge round or the golf acquaintances in Western lobbying) etc. Loyalty to the party plays a secondary role. In principle, members of the Communist Party have it easier in business life, cadres even easier. Membership in the People's Liberation Army plays a similar role.&lt;br /&gt;
&lt;br /&gt;
在中国，另一种紧急情况也是制定单独应对市场挑战的原因:管理人员的专业能力不足。这随历史的发展不断涌现。在中国，管理职位主要由可信赖的人担任。传统上最值得信赖的人是家庭成员或老同学的家庭成员，来自自己村庄的熟人，有共同爱好的熟人(比如邓小平的桥牌圈或西方游说中一起打的高尔夫熟人)等等。对党的忠诚是次要的。原则上，共产党员做生意很容易做起来，共产党员干部就更容易。中国人民解放军的战友也扮演着类似的角色。--[[User:Lei kuangxi|Lei kuangxi]] ([[User talk:Lei kuangxi|talk]]) 09:24, 26 November 2020 (UTC)Lei Kuangxi&lt;br /&gt;
&lt;br /&gt;
在中国，另一种紧急情况也是制定单独应对市场挑战策略的原因:管理人员的专业能力不足。这种情况随历史的发展不断涌现。在中国，管理职位主要由可信赖的人担任。在中国传统中，最值得信赖的人是自己的或老同学的家人，同村的熟人和有共同爱好的熟人(比如邓小平的桥牌圈或在西方游说中一起打高尔夫的熟人)等等。对党的忠诚是次要的。原则上，共产党员很容易把生意做起来，共产党员干部就更容易。中国人民解放军的战友关系也起着类似的作用。--[[User:Deng Jinxia|Deng Jinxia]] ([[User talk:Deng Jinxia|talk]]) 15:54, 26 November 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
==Li Haiquan 李海泉==&lt;br /&gt;
Professional competence often plays no role at all. But here, too, a generational change has taken place; the highest leadership cadres in the Central Committee often had no education or training at all in the Soviet Union at the beginning, were replaced by technocrats in the 1980s, and at the beginning of the 21st century many have an American university degree. &lt;br /&gt;
&lt;br /&gt;
In the business sector, the leadership positions of the largest Chinese state-owned enterprises are still awarded by the party to deserving cadres.&lt;br /&gt;
&lt;br /&gt;
The professional incompetence of the bosses represents a plight that must be countered in daily work with a sophisticated strategy if one does not want to be replaced by a more professionally competent boss.&lt;br /&gt;
&lt;br /&gt;
专业能力往往起不到任何作用。但这也发生了一代人的变化;最初，中央委员会的最高领导干部没有在苏联接受过教育或培训；20世纪80年代他们被技术官僚取代了；在21世纪初，他们中的许多人拥有美国大学学位。&lt;br /&gt;
&lt;br /&gt;
在商业领域，中国最大国有企业的领导干部仍由党授予。&lt;br /&gt;
&lt;br /&gt;
管理者们在职业上的无能产生了一种困境，如果你不想被一个更有专业能力的管理者取代，就必须在日常工作中采用一种复杂的策略去应对。--[[User:Li Haiquan|Li Haiquan]] ([[User talk:Li Haiquan|talk]]) 09:39, 29 November 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
专业能力不能起到任何作用。但这里也发生了世代变化；起初，中央委员会的最高领导干部往往没有在苏联受过教育或培训，在20世纪80年代被技术官僚取代，在21世纪初，许多人拥有美国大学学位。&lt;br /&gt;
&lt;br /&gt;
在商业领域，中国最大国有企业的领导职位仍然由党授予有资格的干部。&lt;br /&gt;
&lt;br /&gt;
老板在职业上的无能代表了一种困境，如果你不想被一个更有专业能力的老板所取代，就必须在日常工作中采用一种复杂的策略加以应对。--[[User:Kang Lingfeng|Kang Lingfeng]] ([[User talk:Kang Lingfeng|talk]]) 06:19, 30 November 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
==Li Lili 李丽丽==&lt;br /&gt;
This strategy consists of the following:&lt;br /&gt;
&lt;br /&gt;
·Avoiding the disclosure of own professional incompetence&lt;br /&gt;
&lt;br /&gt;
·Informal consultation and coordination with the actual experts in the company before each decision process&lt;br /&gt;
&lt;br /&gt;
·Announcement and representation of the decision by the boss alone, this decision may then also no longer be questioned&lt;br /&gt;
&lt;br /&gt;
This informal participation in the decision-making process is organized in a network which, however, in contrast to the Japanese model, is not lived out in team discussions, but rather through several face-to-face meetings between the boss and a different expert in each case, since if the boss sought the advice of a first expert in the presence of a second expert, he would lose face with the second expert. This network character is therefore very personal and usually consists of direct two-person relationships.&lt;br /&gt;
&lt;br /&gt;
该战略包括以下内容：&lt;br /&gt;
&lt;br /&gt;
·避免披露自己的职业能力不足&lt;br /&gt;
&lt;br /&gt;
·在每个决策过程之前，与公司的专家进行非正式协商和协调&lt;br /&gt;
&lt;br /&gt;
·由老板单独宣布和陈述决定后，这一决定也可能不再受到质疑&lt;br /&gt;
&lt;br /&gt;
这种非正式参与决策过程是在一个网络中组织的，然而，与日本模式不同的是，这种网络不是通过团队讨论，而是通过老板和不同专家之间的几次面对面会议来进行的，因为如果老板在第二位专家在场的情况下征求第一位专家的意见，他会在第二个专家面前丢脸。因此，这种人际网络特征非常私人，通常由直接的两人关系组成。--[[User:Li LIli|Li LIli]] ([[User talk:Li LIli|talk]]) 05:24, 27 November 2020 (UTC)Li Lili&lt;br /&gt;
&lt;br /&gt;
该策略包括以下内容：&lt;br /&gt;
&lt;br /&gt;
·避免披露自己的职业能力不足&lt;br /&gt;
&lt;br /&gt;
·在每个决策过程之前，与公司真正的专家进行非正式的协商和协调&lt;br /&gt;
&lt;br /&gt;
·由老板单独宣布和陈述决定后，这一决定也可能不再受到质疑&lt;br /&gt;
&lt;br /&gt;
这种非正式参与决策过程是在一个网络中组织的，然而，与日本模式不同的是，这种网络不是通过团队讨论，而是通过老板和不同专家之间的几次面对面会议来进行的，因为如果老板在第二位专家在场的情况下征求第一位专家的意见，他会在第二个专家面前丢脸。因此，这种人际网络特征非常私人，通常由直接的两人关系组成。--[[User:Lou Cancan|Lou Cancan]] ([[User talk:Lou Cancan|talk]]) 09:49, 27 November 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
==Li Lingyue 李凌月==&lt;br /&gt;
However, it is also possible to contact a third person who knows the second person, whereby the second person then only establishes contact and then withdraws.&lt;br /&gt;
&lt;br /&gt;
A further emergency in China is that due to the sleepy industrial revolution and the lack of information diffusion in the market, no research and development tradition of its own has been established to date. Instead of carrying out basic research for a long time, information about the state of the art of advanced competitors was obtained and attempts were made to copy and eventually outperform them. Only recently, due to enormous governmental support, e.g. in hybrid drive technology and electric motor technology, self-developed products have been created in China.&lt;br /&gt;
但是，也可以联系认识第二人的第三人，第二人随后只建立联系，然后退出。&lt;br /&gt;
中国的另一个紧急情况是，由于困乏的工业革命和市场缺乏信息传播，迄今为止还没有形成自己的研发传统。他们没有长期进行基础研究，而是获得了先进竞争对手的最新技术信息，并试图模仿并最终超越他们。直到最近，由于政府的大力支持，例如在混合动力驱动技术和电动机技术方面，中国才出现了自主研发的产品。--[[User:Li Lingyue|Li Lingyue]] ([[User talk:Li Lingyue|talk]]) 12:40, 28 November 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
但是，也可以联系认识第二个人的第三人，而第二个人只是建立联系，然后就退出。&lt;br /&gt;
中国的另一个紧急情况是，由于工业革命停滞不前，市场上缺乏信息传播，迄今为止还没有建立起自己的研发传统。在很长一段时间里，研究者们没有进行基础研究，而是获得了先进竞争对手的最新技术信息，并试图模仿他们，最终超越他们。直到最近，由于政府的大力支持，例如在混合动力驱动技术和电动机技术方面，中国才出现了自主研发的产品。--[[User:Gong Yumian|Gong Yumian]] ([[User talk:Gong Yumian|talk]]) 09:35, 29 November 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
==Li Liqin 李丽琴==&lt;br /&gt;
'''Changes in the Chinese production culture'''&lt;br /&gt;
&lt;br /&gt;
When the production site in China opened up to the global industry, the egalitarianism of the planned economy had already erased the tradition of quality assurance from the memory of the factory workers. In the decades before, they had been used to selling along with the scrap. The first factories, which produced goods in China due to the low labor costs, also delivered rejects accordingly. The foreign investors first had to reintroduce the quality assurance concept in China. Due to the strong competition in China and the orientation towards world market prices and standards, quality assurance has now been internalized in China.&lt;br /&gt;
&lt;br /&gt;
“中国生产文化的变化”&lt;br /&gt;
&lt;br /&gt;
当中国的生产基地向全球产业开放时，计划经济的平均主义使得工厂工人追求质量保证这一传统不复存在。在过去的几十年里，工人已经习惯了把废料一同出售。由于劳动力成本低廉，在中国生产商品的第一批工厂也相应地交付了废料。外国投资者须先重申质量保证的重要性，唤起中国生产商的重视。与此同时，由于中国市场的激烈竞争以及其对世界市场价格和标准的关注，质量保证在中国内部现已普及。--[[User:Li Liqin|Li Liqin]] ([[User talk:Li Liqin|talk]]) 13:28, 26 November 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
'''中国生产文化的变化'''&lt;br /&gt;
&lt;br /&gt;
在中国生产基地向全球产业开放时，计划经济的平均主义已经从工厂工人的记忆中抹去了质量保证的传统。在过去的几十年中，它们已经习惯与废料一同出售。 由于劳动力成本低廉，在中国生产商品的第一批工厂也相应地交付了废品。 外国投资者首先必须在中国重申质量保证理念。 由于中国的激烈竞争以及对世界市场价格和标准的遵循，质量保证现已在中国内部化。--[[User:Peng Xiaoling|Peng Xiaoling]] ([[User talk:Peng Xiaoling|talk]]) 06:40, 27 November 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
'''中国生产文化的变化'''&lt;br /&gt;
&lt;br /&gt;
当中国的生产基地向全球工业开放时，计划经济的平均主义已经从工厂工人的记忆中抹去了质量保证的传统。几十年里，他们已经习惯了和废品一起销售。由于劳动力成本低，第一批在中国生产商品的工厂也相应地交付了次品。外国投资者首先不得不在中国重新引入质量保证概念。由于中国市场的激烈竞争和对世界市场价格和标准的追求，质量保证在中国已经内化。--[[User:Li Lingyue|Li Lingyue]] ([[User talk:Li Lingyue|talk]]) 12:42, 28 November 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
==Li Luyi 李璐伊==&lt;br /&gt;
The originally traditional lifelong relationship with the employer, as we also know it from Japan, has now been reversed. China currently has one of the highest employee turnover rates in the world, even higher than the already high rate in the USA.&lt;br /&gt;
&lt;br /&gt;
In the period 1950 to 1980, the production culture was characterized by blind fulfillment of plans; since 1980, production has been oriented to the market.&lt;br /&gt;
Today, management concepts are as en vogue in China as political campaigns were in the past. They are read and discussed, but often misunderstood due to the lack of foreign language skills and context/background knowledge.&lt;br /&gt;
&lt;br /&gt;
通过日本我们可以知道，最初的传统终生雇佣关系现在已被颠覆。中国是目前世界上员工流动率最高的国家之一，甚至高于员工流动率本就很高的。&lt;br /&gt;
&lt;br /&gt;
在1950年至1980年期间，生产文化的特征是盲目地执行计划；自1980年以来，生产一直面向市场。 如今，管理理念在中国就像过去的政治运动一样流行。 它们被阅读和讨论，但由于缺乏外语技能和语境背景知识而常常被误解。--[[User:Li Luyi|Li Luyi]] ([[User talk:Li Luyi|talk]]) 07:59, 26 November 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
通过日本我们也可以知道，最初的传统终身雇佣关系现已被颠覆。中国是目前世界上员工流动率最高的国家之一，甚至高于员工流动率已经很高的美国。&lt;br /&gt;
&lt;br /&gt;
在20世纪50年代至80年代，生产文化的特点是盲目执行计划; 自1980年以来，生产一直面向市场。如今，在中国，管理理念就像过去的政治运动一样流行。他们被阅读和讨论，但常因为缺乏外语技能和背景知识而被误解。--[[User:Zheng Huajun|Zheng Huajun]] ([[User talk:Zheng Huajun|talk]]) 02:42, 27 November 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
==Li Meng 李梦==&lt;br /&gt;
Similar to the campaigns, the concepts are introduced with an eternal claim, but only last as long as a seasonal fashion. This type of management, which is based on current trends in management strategies, could also be called guerrilla management, following Sebastian Heilmann's concept of &amp;quot;guerrilla politics&amp;quot;.&lt;br /&gt;
&lt;br /&gt;
In China, a culture of secrecy (ID badges, access restrictions), especially among high-tech companies, is prevalent, which is exactly the same as in America. In China, this culture was simply copied from the USA, certainly also due to the findings of Chinese industrial espionage abroad that know-how, e.g. in German companies, is often insufficiently protected against access by third parties.&lt;br /&gt;
与这些运动类似，这些概念的引入具有恒久的主张，但只风靡了小段时间。 这种基于当前管理战略趋势的管理模式，也可以称为游击管理，遵循韩博天的“游击政治”概念。&lt;br /&gt;
在中国，保密文化（代表证、访问限制）是普遍存在的，尤其是在高科技公司中，这与美国完全相同。 在中国，这种文化只是简单的从美国复制而来，当然也是因为中国在国外的工业间谍活动的发现，例如技术。 在德国公司中，往往得不到充分的保护，不受第三方的访问。--[[User:Li Meng|Li Meng]] ([[User talk:Li Meng|talk]]) 16:50, 29 November 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
==Li Yongshan 李泳珊==&lt;br /&gt;
'''Roles in the Chinese production culture''' &lt;br /&gt;
&lt;br /&gt;
The central role in the Chinese production and management culture is played by the boss. This can also be seen in the comparatively high values of China's Power Distance Index.&lt;br /&gt;
&lt;br /&gt;
The specific behavior of the boss in the decision making process has already been explained above.&lt;br /&gt;
&lt;br /&gt;
In the following, the difference in the relationship between the boss and his subordinates in China and Germany will be described.&lt;br /&gt;
&lt;br /&gt;
The team member in Germany expects a target for the overall project and the specification of the assigned subarea within the project, feels responsible for the timely achievement of his own and the team goal and wants to find the way to this goal independently.&lt;br /&gt;
中国生产文化中的角色。&lt;br /&gt;
上司在中国生产和管理文化中处于核心地位。这也可以从中国权力距离指数较高的数值中看出。上司在决策过程中的具体行为在上面已经阐述了，接下来将阐述中德两国间上司与员工关系的不同。德国的组员预测了整个项目的一个目标，也对项目内被分配的负责部分进行了规划，他觉得有责任在规定时间内取得个人成果，达成小组的目标，同时也想独立完成任务。--[[User:Li Yongshan|Li Yongshan]] ([[User talk:Li Yongshan|talk]]) 05:07, 30 November 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
==Li Yu 李玉==&lt;br /&gt;
It would like to be little supervised and communicates intensively with the other team members. The team leader in Germany is rather a primus inter pares, who has a small area of responsibility as a specialist and is responsible for coordination. The success is always a success of the team.&lt;br /&gt;
&lt;br /&gt;
In China, the boss has a much higher position than the other team members. He gives each team member the individual goal and the individual steps to reach this goal. He closely monitors the progress and cares for the team members, also regarding job satisfaction and in private matters. &lt;br /&gt;
==Lin Min 林敏==&lt;br /&gt;
He expects a feedback only to him and no exchange of information between the team members. If the input of the first team member is a prerequisite for the work of the second team member, the boss himself forwards the intermediate / work results of the first to the second team member. &lt;br /&gt;
&lt;br /&gt;
The role of the employee in China is determined by the following characteristics:  He cultivates a culture of error, in which it is important not to make any mistakes of his own, and in case mistakes are made, to correct them if possible without being noticed and in case they are noticed, to at least not immediately admit the guilt. &lt;br /&gt;
==Lin Xin 林鑫==&lt;br /&gt;
In all these behaviours, the principle of face awareness applies.&lt;br /&gt;
&lt;br /&gt;
As mentioned above, the loyalty of employees to an employer in China is extremely low at the beginning of the 21st century. For a few yuan a month, workers change employers. Headhunters intercept employees at the factory gate, ask about the salary and offer correspondingly more. &lt;br /&gt;
&lt;br /&gt;
The paid passing on of information, especially about customers, suppliers, purchase prices and patents, is also considered a trivial offence. &lt;br /&gt;
Chinese companies communicate less and employees are more demotivated. This is mainly due to the high production pressure, as case studies by Hong/Pöyhönen/Kyläheiku 2006 show (see list of literature in the appendix).&lt;br /&gt;
在所有这些行为中，面孔意识的原则都同样适用。&lt;br /&gt;
如上所述，在21世纪初，中国员工对雇主的忠诚度极低。为了一个月多赚几块钱，工人们换雇主。猎头们在工厂门口拦住员工，询问他们的薪水，并相应地提供更高的薪资。&lt;br /&gt;
信息的有偿传递，尤其是关于客户、供应商、购买价格和专利的信息，也被认为是一种轻微的犯罪。中国公司缺乏沟通，员工更是没有活力。据Hong/Pöyhönen/Kyläheiku三人在2006年的案例研究表明(见附录中的文献列表)，这主要是由于生产压力高导致的。--[[User:Lin Xin|Lin Xin]] ([[User talk:Lin Xin|talk]]) 15:22, 29 November 2020 (UTC)&lt;br /&gt;
在所有这些行为中，面子意识的原则都同样适用。&lt;br /&gt;
如上所述，在21世纪初，中国员工对雇主的忠诚度极低。为了一个月多赚几块钱，工人们换雇主。猎头们在工厂门口拦住员工，询问他们的薪水，并相应地提供更高的薪资。&lt;br /&gt;
信息的有偿传递，也被认为是一种轻微的犯罪，尤其是关于客户、供应商、购买价格和专利的信息。中国公司缺乏沟通，员工更是没有活力，主要是因为生产压力高。据Hong/Pöyhönen/Kyläheiku三人在2006年的案例研究表明(见附录中的文献列表)。--[[User:Li Meng|Li Meng]] ([[User talk:Li Meng|talk]]) 16:59, 29 November 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
==Ling Zijin 凌子瑾==&lt;br /&gt;
'''The Intermezzo of Socialism from 1949-1979'''&lt;br /&gt;
&lt;br /&gt;
In the phase of socialism, the centrally planned economy applied in it blossomed as follows:&lt;br /&gt;
 &lt;br /&gt;
When the news reached the top, there was a culture of whitewashing.&lt;br /&gt;
&lt;br /&gt;
The breakup of the unions made the culture of co-determination in companies even more informal.&lt;br /&gt;
&lt;br /&gt;
'''Gaming in the Chinese production culture'''&lt;br /&gt;
&lt;br /&gt;
In China, playful experimentation is a core element of the production culture. In this way, individual management elements, but also entire foreign production philosophies can be tried out in a playful way.&lt;br /&gt;
'''1949-1979年的社会主义中期'''&lt;br /&gt;
在社会主义阶段，中央计划经济的发展是这样的:&lt;br /&gt;
当新闻登顶时，出现了一种粉饰的文化。&lt;br /&gt;
工会的解体使得公司中共同决策的文化更加非正式。&lt;br /&gt;
'''游戏在中国的生产文化'''&lt;br /&gt;
在中国，好玩的体验是生产文化的核心元素。通过这种方式，不仅单个的管理元素，整个外国生产哲学都可以以一种有趣的方式进行试验。--[[User:Ling Zijin|Ling Zijin]] ([[User talk:Ling Zijin|talk]]) 06:58, 30 November 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
==Liu Bo 刘博==&lt;br /&gt;
One of the main differences between young people in China and those in the West is that, even as young adults, they can still play hilariously without making themselves look ridiculous to others. The joy of playing is particularly unrestrained if the ambition is there to copy a foreign product as similar as possible or even to surpass it and also to implement, for example, a new management concept or a production philosophy. &lt;br /&gt;
&lt;br /&gt;
New rules of the game are accepted very quickly. The introduction of a reward system (''incentives'') for long service has led to a situation in China where it is always calculated when a change is worthwhile.&lt;br /&gt;
&lt;br /&gt;
中国的年轻人和西方的年轻人最主要的一个不同点就在于，即使已经成年了，年轻人仍然可以快乐的玩耍，别人也不会认为他们很可笑。如果野心是尽可能地模仿外国产品甚至是超越它并投入实施，例如一个新的管理概念或者生产哲学，那么玩的乐趣是无拘无束的。&lt;br /&gt;
新的游戏规则很快被接受。在中国，奖励机制的引入以及长期使用已经导致了一种问题：当这个机制需要改变的时候总是通过计算来完成。--[[User:Liubo|Liubo]] ([[User talk:Liubo|talk]]) 02:49, 29 November 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
中国的年轻人和西方的年轻人最主要的一个不同点是：即使已经成年了，他们仍然玩得滑稽可笑，但他们自己却不会使人觉得很荒唐。如果他们是立志于效仿国外同样的产品甚至是超越它并将如一个新的管理概念或者生产哲学等投入实施，那么玩的乐趣就无穷无尽。&lt;br /&gt;
&lt;br /&gt;
新的游戏规则很快就被人们所接受。在中国，奖励机制的引入以及长期使用已经造成一种局面：当需要改变的时候，总是通过计算来完成。--[[User:Majuan|Majuan]] ([[User talk:Majuan|talk]]) 08:47, 29 November 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
==Liu Jinxingqi 刘金惺琦==&lt;br /&gt;
Sustainable concepts can only be introduced if the benefits of the concept are clear. Other concepts with no discernible added value, such as alignment with the American corporate philosophy on mergers and acquisitions, are forgotten just as quickly as they were introduced, and people return to old habits.&lt;br /&gt;
&lt;br /&gt;
'''Effects on the company''' &lt;br /&gt;
&lt;br /&gt;
In China today, we find a modern production culture that is international but has its Chinese characteristics. &lt;br /&gt;
&lt;br /&gt;
It has positive and negative effects on the company&lt;br /&gt;
只有明确了可持续性概念的好处，才能引入可持续性发展的概念。 其他没有明显价值的概念，诸如与美国企业关于并购的理念，一被引入就很快地被忘记了，人们又回到了旧习惯。&lt;br /&gt;
'''对公司的影响'''在当今的中国，我们发现了一种具有国际特色但具有中国特色的现代文化产业。&lt;br /&gt;
它对公司既有正面也有负面影响：--[[User:Liu Jinxingqi|Liu Jinxingqi]] ([[User talk:Liu Jinxingqi|talk]]) 06:52, 30 November 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
只有当可持续概念的好处是明确的时候，才可以采用这种概念。其他没有明显附加价值的概念，如与美国公司并购哲学相一致，一经引入就被遗忘，人们又回到了老习惯。&lt;br /&gt;
&lt;br /&gt;
'''对公司的影响'''&lt;br /&gt;
在今天的中国，我们发现了一种具有中国特色的国际现代生产文化。&lt;br /&gt;
它对公司有积极和消极的影响--[[User:Ling Zijin|Ling Zijin]] ([[User talk:Ling Zijin|talk]]) 06:57, 30 November 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
==Liu Liu 刘柳==&lt;br /&gt;
'''Positive effects of the Chinese management and production culture (CMPC)'''&lt;br /&gt;
&lt;br /&gt;
·Networks&lt;br /&gt;
&lt;br /&gt;
·the preferential treatment of Chinese companies (e.g. in tenders, competition, within corporate groups such as joint ventures)&lt;br /&gt;
&lt;br /&gt;
·playful enthusiasm for technology&lt;br /&gt;
&lt;br /&gt;
·Brutality, which in turn promotes competition&lt;br /&gt;
&lt;br /&gt;
'''Negative effects of the Chinese management and production culture (CMPC)'''&lt;br /&gt;
&lt;br /&gt;
·through their distortion of competition &lt;br /&gt;
&lt;br /&gt;
·by promoting incompetence in management positions&lt;br /&gt;
&lt;br /&gt;
·through their priority of personal rather than non-cash benefits, which is fundamentally negative for the production culture &lt;br /&gt;
&lt;br /&gt;
·through rituals/conventions (face, criticism, status etc.)&lt;br /&gt;
&lt;br /&gt;
·intransparent state sponsoring and corruption&lt;br /&gt;
&lt;br /&gt;
'''中国管理与生产文化的积极影响(CMPC)'''&lt;br /&gt;
&lt;br /&gt;
•网络&lt;br /&gt;
&lt;br /&gt;
•中国企业的优惠待遇（例如在投标、竞争中，在合资企业等企业集团内）&lt;br /&gt;
&lt;br /&gt;
•对科技的狂热&lt;br /&gt;
&lt;br /&gt;
•残酷，这反过来又促进了竞争&lt;br /&gt;
&lt;br /&gt;
'''中国管理与生产文化的消极影响(CMPC)'''&lt;br /&gt;
&lt;br /&gt;
•扭曲竞争&lt;br /&gt;
&lt;br /&gt;
•助长管理职位的不称职&lt;br /&gt;
&lt;br /&gt;
•优先个人利益而不是非现金利益，从根本上来说对生产文化是消极的&lt;br /&gt;
&lt;br /&gt;
•仪式/惯例（面子、批评、地位等）&lt;br /&gt;
&lt;br /&gt;
•不透明的国家赞助和腐败--[[User:Liu Liu|Liu Liu]] ([[User talk:Liu Liu|talk]]) 02:48, 29 November 2020 (UTC)&lt;br /&gt;
中国管理与生产文化的积极影响(CMPC)&lt;br /&gt;
&lt;br /&gt;
•网络&lt;br /&gt;
&lt;br /&gt;
•中国企业的优惠待遇（例如在投标、竞争中，在合资企业等企业集团内）&lt;br /&gt;
&lt;br /&gt;
•激发对科技的激情&lt;br /&gt;
&lt;br /&gt;
•残酷性:反过来又促进了竞争&lt;br /&gt;
中国管理与生产文化的消极影响(CMPC)&lt;br /&gt;
&lt;br /&gt;
•恶性竞争&lt;br /&gt;
&lt;br /&gt;
•助长管理层的不称职行为&lt;br /&gt;
&lt;br /&gt;
•优先个人利益而不是非现金利益，从根本上来说对生产文化有消极影响&lt;br /&gt;
&lt;br /&gt;
•仪式/惯例（面子、批评、地位等）&lt;br /&gt;
&lt;br /&gt;
•不透明的国家赞助和腐败--[[User:Liu Yiyu|Liu Yiyu]] ([[User talk:Liu Yiyu|talk]]) 03:25, 30 November 2020 (UTC)Liu Yiyu&lt;br /&gt;
&lt;br /&gt;
==Liu Ou 刘欧==&lt;br /&gt;
The fundamental difference of the free trade zone established by China, Japan, Australia and other Asian Pacific countries in 2020 from suggestions of free trade zones involving the US or the EU is, that state-sponsoring and corruption are not restricted. Therefore China benefits most of this new free trade zone.&lt;br /&gt;
&lt;br /&gt;
'''Where is modern Chinese management and production culture (CMPC) an international role model?'''&lt;br /&gt;
&lt;br /&gt;
2020年设立的由中国、日本、澳大利亚及其他亚太地区国家组成的的自由贸易区，与建议设立的由美国或者欧盟参与的自贸区的最大不同是，前者对国家支持和贪污腐败没有约束。因此，中国从这个新贸易区受益最多。&lt;br /&gt;
&lt;br /&gt;
'''现代中国在哪些方面可以作为管理和产业文化的国际标杆？'''&lt;br /&gt;
&lt;br /&gt;
由中国、日本、澳大利亚及其他亚太地区国家在2020年设立的自由贸易区，与建议由美国或欧盟参与的自贸区的最大不同在于，前者对国家支持和贪污腐败没有约束。因此，中国从这个新贸易区受益最多。&lt;br /&gt;
&lt;br /&gt;
'''现代中国在管理和产业文化在哪些方面可以称为国际标杆？'''--[[User:Luo Weijia|Luo Weijia]] ([[User talk:Luo Weijia|talk]]) 12:32, 29 November 2020 (UTC)&lt;br /&gt;
2020年设立的由中国、日本、澳大利亚及其他亚太地区国家组成的的自由贸易区，与建议设立的由美国或者欧盟参与的自贸区的最大不同是……'''现代中国在哪些方面可以作为管理和产业文化的国际标杆？'''--[[User:Li Yongshan|Li Yongshan]] ([[User talk:Li Yongshan|talk]]) 05:10, 30 November 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
==Liu Yangnuo 刘洋诺==&lt;br /&gt;
The Chinese management and production culture (CMPC), as explained in the previous chapters, has its own characteristics that distinguish it from, for example, the Japanese or American management and production culture. Nevertheless, the CMPC is successful and manages the world's largest production market. Elements of the Japanese production culture have been successfully used worldwide to modernize production facilities. Can Chinese elements also lead to global success?&lt;br /&gt;
&lt;br /&gt;
The following 5 elements appear at least compatible on the international market:&lt;br /&gt;
&lt;br /&gt;
'''1. informal decision making through horizontal and vertical network management'''&lt;br /&gt;
&lt;br /&gt;
In China, important and unimportant decisions are seldom made by competent committees or officials, but rather are investigated informally.&lt;br /&gt;
==Liu Yi 刘艺==&lt;br /&gt;
The hierarchical position in the company of those involved in the decision-making process is irrelevant, only their professional competence. Questioning the most competent is possible because this questioning is completely detached from the honor and reward system, but takes place in a parallel world, the so-called personal relationship system (Chinese: guanxi 关系). Due to this decoupling, the responsible decision-maker does not mind questioning other, not responsible but more competent colleagues/employees/outsiders. At the same time, the colleague/employee/external is motivated to give the best possible decision support, since he can score points in the parallel world.&lt;br /&gt;
&lt;br /&gt;
The results are well-founded and accepted decisions.&lt;br /&gt;
&lt;br /&gt;
参与决策过程的人在公司中的等级地位无关紧要，只有他们的专业能力。对最有能力的人提出质疑是可能的，因为这种质疑完全脱离了荣誉和奖励系统，而是发生在一个平行的世界，即所谓的个人关系系统中。由于这种脱钩，负责任的决策者并不介意质疑其他不负责任但更有能力的同事/员工/外人。同时，同事/员工/外部人员也有动力给予尽可能好的决策支持，因为他可以在平行世界中得分。&lt;br /&gt;
&lt;br /&gt;
结果是有理有据，被接受的决策。--[[User:Liu Yi|Liu Yi]] ([[User talk:Liu Yi|talk]]) 01:57, 28 November 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
参与决策过程的人与其在公司的级别地位是不相关的，与之相关的仅仅是他的能力。质疑最有能力的人是可取的，因为这种质疑完全脱离了荣誉奖励系统，而是发生在一个平行世界，即所谓的人际关系系统中。基于关系系统的分离，决策者也就不介意质疑其他不负责任但是能力更强的同事、员工或者外人。同时，这些人也会更有动力去给予尽可能好的决策支持，因为他们会在这个平行世界中得分。&lt;br /&gt;
最终得到有理有据并且可以接受的决策。--[[User:Liu Zhiwei|Liu Zhiwei]] ([[User talk:Liu Zhiwei|talk]]) 02:49, 29 November 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
==Liu Yiyu 刘怡瑜==&lt;br /&gt;
'''2. playfully trying out new forms of production and management (attention: hermeneutics/sustainability)'''&lt;br /&gt;
&lt;br /&gt;
The play instinct in people up to old age is socially sanctioned. In phases when there is little to do in the office, a Mahjong or Go board or cards are taken out as a matter of course. Similarly, new methods, often imported from the West or Japan, are tried out with playful zeal. An incentive system, for example, challenges colleagues to earn as much capital as possible in the form of incentives in as short a time as possible. It is not unusual for hit lists to be posted in the office, so that colleagues encourage each other.&lt;br /&gt;
2.积极尝试新的生产和管理形式（注意：诠释学/可持续性）&lt;br /&gt;
老年人的游戏本能是受到社会认可的。有时候，在办公室几乎无事可做，拿出麻将、围棋牌或卡片是顺理成章的事。 同样地，也可以满怀热忱地试试从西方或者日本来的新玩法。 例如，设置激励系统，鼓励同事在尽可能短的时间内赚取尽可能多的财富。 赢家名单被张贴在办公室很常见，这样同事之间也可以互相鼓励。--[[User:Liu Yiyu|Liu Yiyu]] ([[User talk:Liu Yiyu|talk]]) 03:18, 30 November 2020 (UTC)Liu Yiyu&lt;br /&gt;
&lt;br /&gt;
==Liu Zhiwei 刘智伟==&lt;br /&gt;
But it is important to pay attention to three aspects:&lt;br /&gt;
&lt;br /&gt;
1. the actual goals should be achieved without neglecting other aspects of the work or even worsening the overall result, because the colleagues are addicted to the urge to play. The introduction of new management or production strategies is nothing new for Chinese employees, they know this from political or education-oriented campaigns (e.g. traffic education). &lt;br /&gt;
&lt;br /&gt;
The second aspect that must be kept in mind is the understanding of the corresponding philosophies. For this it is important, for example, when importing Western management culture into China, that the correct Chinese term is first found for the fashionable e.g. English expression.&lt;br /&gt;
&lt;br /&gt;
我们要重点注意以下三个方面：&lt;br /&gt;
1、最终目标的实现不能否定其他方面的工作，甚至恶化整个大局，因为同事们都沉迷于游戏。新型的管理或生产策略在中国员工看来都是见怪不怪了，他们从政治或教育运动（如交通教育）中了解到这一点。&lt;br /&gt;
二要牢记理解相关哲学。说这一点重要，是因为当重要的西方管理文化进入中国时，正确的中文术语应首要出现以顺应潮流，比如英式表达。--[[User:Liu Zhiwei|Liu Zhiwei]] ([[User talk:Liu Zhiwei|talk]]) 02:34, 29 November 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
但重要的是要注意这三个方面：&lt;br /&gt;
1.实际的目标应该在不忽视工作的其他方面的情况下实现，因为同事们都沉迷于玩乐会使整体的结果恶化。对中国员工来说，引入新的管理或生产策略并不是什么新鲜事，他们从政治或教育导向的活动（如交通教育）中已经了解到这一点。必须牢记的第二个方面是对相应的哲学方面的理解，这一点很重要，例如，在向中国引进西方管理文化时，最重要的是首先找到正确的中文术语，如英式表达。--[[User:Liubo|Liubo]] ([[User talk:Liubo|talk]]) 03:09, 29 November 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
==Lou Cancan 娄灿灿==&lt;br /&gt;
Terms that are translated incorrectly or not at all lead to success messages that a new system has been introduced, with what was understood by it being introduced instead. &lt;br /&gt;
&lt;br /&gt;
A third aspect that must be considered in this context is sustainability. Many new concepts that have been introduced are forgotten after a few weeks and the old rut has returned. Only individual, often senior employees still remember the newly introduced things and occasionally refer back to them without being able to enforce them on their employees.&lt;br /&gt;
&lt;br /&gt;
翻译不正确或根本没有翻译的术语会带来成功信息，即引入了一个新系统，而引入了该系统所理解的内容。&lt;br /&gt;
&lt;br /&gt;
在这情形下必须考虑的第三个方面是可持续性。许多引入的新概念在几周后就被遗忘而老一套又回来了。只有个别的，通常是高级员工还记得新引进的东西，偶尔也会提到，但不能强加在他们的员工身上。--[[User:Lou Cancan|Lou Cancan]] ([[User talk:Lou Cancan|talk]]) 09:40, 27 November 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
翻译错误或根本没有翻译的术语也会有所成果，其引入了一个新系统，并引入了该系统所理解的内容。--[[User:Mo Ling|Mo Ling]] ([[User talk:Mo Ling|talk]]) 14:45, 27 November 2020 (UTC)Mo Ling&lt;br /&gt;
&lt;br /&gt;
在这种情况下，可持续性是必须考虑的第三个方面。许多引入的新概念在几周后就为人们所遗忘，取而代之的是重蹈覆辙的老一套概念。只有个别人，通常是高层还记得新引进的东西，他们偶尔也会提起，但却无法强迫他们的员工也记得。--[[User:Mo Ling|Mo Ling]] ([[User talk:Mo Ling|talk]]) 14:45, 27 November 2020 (UTC)Mo Ling&lt;br /&gt;
&lt;br /&gt;
==Luo Weijia 罗维嘉==&lt;br /&gt;
A process description system that is integrated into the daily work routine (e.g. daily used computer work surface) is useful here, where the employees make or execute decisions and processes in the given paths.&lt;br /&gt;
&lt;br /&gt;
All in all, the playful approach reduces fear of contact with new things, the daily work routine is varied and the employees gain further qualifications.&lt;br /&gt;
&lt;br /&gt;
'''3. speed and flexibility in product development'''&lt;br /&gt;
&lt;br /&gt;
One of the hallmarks of the Chinese manufacturing industry is the speed at which products are cribbed and developed further, or at which they react to changing customer requirements or market conditions.&lt;br /&gt;
&lt;br /&gt;
与工作日程（例如日常使用的计算机工作界面）相结合的过程描述系统非常有用，员工可以按照给定的路径来制定或执行决策或流程。&lt;br /&gt;
&lt;br /&gt;
总而言之，游戏化的方法减少了接触新鲜事物的恐惧，工作日程多样化，员工也能进一步获得资格。&lt;br /&gt;
&lt;br /&gt;
3.产品开发的速度和灵活性&lt;br /&gt;
&lt;br /&gt;
中国制造业的一个标志是产品加工和发展的速度之快，以及它们对不断变化的客户要求或市场条件作出的快速反应。--[[User:Luo Weijia|Luo Weijia]] ([[User talk:Luo Weijia|talk]]) 12:26, 29 November 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
将过程描述系统集成到日常工作程序中(例如，日常使用的计算机工作界面)在这里是有用的，在这里雇员在给定的路径中制定或执行决策和过程。&lt;br /&gt;
总而言之，这种好玩的方式减少了人们对接触新事物的恐惧，每天的工作日程变得多样，员工们也获得了更多的资格证书。&lt;br /&gt;
“‘3。产品开发的速度和灵活性&amp;quot;&lt;br /&gt;
中国制造业的特点之一是产品被抄袭和进一步开发的速度，或者它们对不断变化的客户要求或市场条件作出反应的速度。--[[User:Peng Dan|Peng Dan]] ([[User talk:Peng Dan|talk]]) 01:46, 30 November 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
==Luo Yuqing 罗雨晴==&lt;br /&gt;
The ambition that Chinese product developers put into developing solutions for specific requirements is comparable to the play instinct described above.&lt;br /&gt;
&lt;br /&gt;
他希望中国的产品开发人员为特定需求开发解决方案，这一雄心壮志与上述游戏本能不相上下。--[[User:Luo Yuqing|Luo Yuqing]] ([[User talk:Luo Yuqing|talk]]) 11:37, 26 November 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
This high speed and flexibility strengthens the competitiveness of Chinese companies. Western companies can learn these qualities by locating in China and thus benefit from these experiences in the comparatively sluggish production location in their home countries.&lt;br /&gt;
&lt;br /&gt;
这种高速和灵活性增强了中国企业的竞争力。西方企业可以在中国开公司来学习这些品质，从经验中获益，与本国相对迟缓的生产环境来说。--[[User:Luo Yuqing|Luo Yuqing]] ([[User talk:Luo Yuqing|talk]]) 11:37, 26 November 2020 (UTC)&lt;br /&gt;
这种高速和灵活性增强了中国企业的竞争力。处在本国相对迟缓的生产环境下的西方企业可以落户中国来学习这些品质，并从这些经验中获益。--[[User:Kong Xianghui|Kong Xianghui]] ([[User talk:Kong Xianghui|talk]]) 11:07, 27 November 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
'''4. focusing on personal competence instead of things or functions'''&lt;br /&gt;
&lt;br /&gt;
4注重个人能力而不是事物或职能--[[User:Luo Yuqing|Luo Yuqing]] ([[User talk:Luo Yuqing|talk]]) 11:37, 26 November 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
Interesting and certainly typical Chinese is the fixation on people instead of the thing.&lt;br /&gt;
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有趣的是，中国人是典型的对人不对事。--[[User:Luo Yuqing|Luo Yuqing]] ([[User talk:Luo Yuqing|talk]]) 11:37, 26 November 2020 (UTC)&lt;br /&gt;
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有趣无疑的是，大凡中国人都对人不对事。--[[User:Yuan Tianyi|Yuan Tianyi]] ([[User talk:Yuan Tianyi|talk]]) 11:50, 26 November 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
==Ma Juan 马娟==&lt;br /&gt;
&lt;br /&gt;
[[File:majuan]]&lt;br /&gt;
An original feature is the logistics. As this picture illustrates, existing primitive means are exploited to the utmost. Admirable is the matter-of-course way in which the extremes are mastered.&lt;br /&gt;
&lt;br /&gt;
For a long time, production capacity in China grew faster than logistics. Only at the beginning of the 21st century are delivery services and infrastructure (highways, high-speed train connections, etc.) catching up.&lt;br /&gt;
&lt;br /&gt;
最初的特征物流。正如这张图片所示，现有的原始手段被开发到了极致，能够驾驭极端的自然方式最令人钦佩。&lt;br /&gt;
&lt;br /&gt;
过去很长一段时间，中国的生产力比物流发展更快。到21世纪初期，快递业务和基础设施（高速公路，高速铁路等）才追赶上来。--[[User:Majuan|Majuan]] ([[User talk:Majuan|talk]]) 08:25, 29 November 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
原始功能是物流。如图所示，现有的原始手段得到最大限度的利用。令人钦佩的是控制极端情况的过程方法。&lt;br /&gt;
&lt;br /&gt;
长期以来，中国的生产能力快于物流业的发展。在21世纪初，送货服务和基础设施（高速公路，高速铁路等）才开始迎头赶上。--[[User:Ou Rong|Ou Rong]] ([[User talk:Ou Rong|talk]]) 11:38, 29 November 2020 (UTC)Ou Rong&lt;br /&gt;
&lt;br /&gt;
==Ma Shuya 马淑雅==&lt;br /&gt;
'''The Freedom of Intellectual Exchange'''&lt;br /&gt;
&lt;br /&gt;
Starting to work on the modern Chinese literary essay in the 1990s, I published my Ph.D. thesis ''The History of the Chinese Essay'' in 1998. Because it was written in German, I hoped since then to raise interest in this subject in the anglophone world, too. With this volume in hand, this wish has become true. Some of the topics I dealt with in my thesis like the development of the genre, biblio-biographies of several essayists etc., are elaborated here extensively by my collegues in English and more detailed than I could do it in my first ground work in German. &lt;br /&gt;
==Ma Zhixing 马智星==&lt;br /&gt;
Moreover, this collection documents the lively discussion, which started among sinologists in the last years of the 20th century.&lt;br /&gt;
&lt;br /&gt;
I remember quite clearly, how the idea of the conference was born during a meal at the Boston AAS conference hotel with King-Fai Tam.  Leo Ou-fan Lee had helped to bring both of us together, knowing that we shared a seemingly specialized hobby, the modern Chinese essay.  King-Fai was preparing two collection of essay translations, one with essays from mainland China and one from Taiwan. The first is scheduled for publication. I prepared another collection of essays with both, Chinese original and English translation, published by The University Press Bochum half a year ago. The common intention of both of us is to make more Chinese essays available in English translations.此外，这本书还记录了20世纪末汉学家之间展开的热烈讨论。我清楚地记得，会议的想法是如何在波士顿AAS会议酒店与谭王辉共进晚餐时产生的。李欧凡（Leo Ou fan Lee）帮助我们走到了一起，因为他知道我们有一个看似特殊的爱好，那就是现代中国散文。王辉正在准备两本散文翻译集，一本是中国大陆的散文集，另一本是台湾的散文集。第一个计划出版。半年前，我准备了另一本论文集，包括中文原著和英文译本，由波鸿大学出版社出版。我们两个的共同目的是让更多的中文文章可以用英文翻译。--[[User:Zhixing ma|Zhixing ma]] ([[User talk:Zhixing ma|talk]]) 06:51, 30 November 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
==Meng Ying 孟莹==&lt;br /&gt;
King-Fai Tam and me are both fascinated of the idea of promoting this long time neglected genre and to find out more about its characteristics and the reasons of its success in the 1920s and 1930s as well as in the 1980s and 1990s. On a napkin, we outlined an AAS panel, an international conference and a volume with essays on the essay. All of these ideas are now becoming real more or less in the way we planned it: The AAS panel became an NEAAS panel at Yale, the conference took place in August 25-27, 2000 at the Academy of Euro-Asian Economy and Culture in Achern, in the Black Forest, Germany. &lt;br /&gt;
==Mo Ling 莫玲==&lt;br /&gt;
14 scholars of Chinese literature, from the States, Taiwan, the United Kingdom and Germany took part. All of them share the fascination of the phenomenon of the essay. Language was no barrier: The conference was conducted in English with the exception of a few papers in Chinese with English abstracts.&lt;br /&gt;
&lt;br /&gt;
The collection of essays on the essay are the conference proceedings in hand, this book contains extended versions of the conference papers. It was published by The University Press Bochum in December 2000. More important is the fact, that through this opportunity, we now have lively email discussions and a website with updated information on the Chinese essay.&lt;br /&gt;
&lt;br /&gt;
来自中国大陆、台湾、英国以及德国的14位研究中国文学的学者参加了此次会议。他们都分享了论文中令人着迷的表达。语言没有边界：大会虽用英文举行，但也破例宣读了部分含有英文摘要的中文论文。&lt;br /&gt;
&lt;br /&gt;
按照大会的流程，这些论文中的一部分会组成一本文集。这本文集中的文章都是大会论文的修改版，在2000年由波鸿大学出版社出版。更重要的是，通过这一契机，如今我们能进行实时邮件讨论，并且能在网站上看到不断更新的中文论文。--[[User:Mo Ling|Mo Ling]] ([[User talk:Mo Ling|talk]]) 14:02, 27 November 2020 (UTC)Mo Ling&lt;br /&gt;
&lt;br /&gt;
来自美国、中国台湾、英国和德国的14位中国文学领域的学者都参加了此次会议。他们都分享了论文中有趣的现象。语言无边界：大会除了部分论文是含有英文摘要的中文论文之外，其余都是用英文展开的。&lt;br /&gt;
&lt;br /&gt;
会议过程中的论文选集发到人们手中，这本文集中的文章都是大会论文的修改版。在2000年12月由波鸿大学出版社出版。更重要的是，通过这一契机，如今我们能借助邮件展开激烈的讨论，并且能在网站上获取不断更新的中文论文。--[[User:Yuan Yuchen|Yuan Yuchen]] ([[User talk:Yuan Yuchen|talk]]) 01:40, 28 November 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
==Mo Nan 莫南==&lt;br /&gt;
Here I would like to take the opportunity to thank the members of the organizing committee Charles Laughlin, Xinmin Liu, King-Fai Tam, and Alexandra Wagner for their great help. I very much enjoyed the discussions via email.&lt;br /&gt;
&lt;br /&gt;
A common philosophy stands behind the whole project: We want to share information, help each other and do not care about language barriers. Everybody can contribute in English or Chinese, some of us like me being non-native English speakers.&lt;br /&gt;
&lt;br /&gt;
We encourage the reader to make use of the large margins for personal notes in the awareness of pursuing a tradition dating back to the very origins of essay writing. &lt;br /&gt;
==Nie Xiaolou 聂晓楼==&lt;br /&gt;
Having most of the conference papers in hand with this book, everybody is welcomed to give a feed back. This kind of free intellectual exchange I first experienced in the States when Leo Ou-fan Lee invited me to stay from 1998-1999 as a visiting scholar at the Department of East Asian Languages and Civilizations at Harvard University.&lt;br /&gt;
&lt;br /&gt;
The contributors to this volume can only introduce and draw the attention of the readers to this Chinese genre, the joy of reading remains to the reader himself.&lt;br /&gt;
&lt;br /&gt;
M.W.&lt;br /&gt;
&lt;br /&gt;
这本书中含有大部分会议所用论文，因此，欢迎每位与会者给出反馈。我第一次进行这种自由的学术交流是在美国，当时李欧梵邀请我作为访问学者到哈佛大学东亚语言与文明系学习，时长为1998到1999年。这期期刊的撰写者只能吸引中国读者的注意力，但阅读的乐趣得靠读者自己领会。&lt;br /&gt;
&lt;br /&gt;
M.W.--[[User:Nie Xiaolou|Nie Xiaolou]] ([[User talk:Nie Xiaolou|talk]]) 03:28, 28 November 2020 (UTC)Nie Xiaolou&lt;br /&gt;
&lt;br /&gt;
本书中有大部分的会议论文，欢迎大家给予反馈。我第一次体验这种自由的知识交流是在美国，当时是1998年到1999年，李欧梵邀请我作为访问学者留在哈佛大学东亚语言与文明系学习。&lt;br /&gt;
&lt;br /&gt;
本书的编者只能介绍这种中式体裁和吸引读者对这种中式体裁的注意，而阅读的乐趣得靠读者自己领会。&lt;br /&gt;
&lt;br /&gt;
M.W.--[[User:Li Luyi|Li Luyi]] ([[User talk:Li Luyi|talk]]) 07:55, 29 November 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
==Ou Rong 欧蓉==&lt;br /&gt;
''The Flourishing of the Chinese Essay''&lt;br /&gt;
&lt;br /&gt;
Martin Woesler&lt;br /&gt;
&lt;br /&gt;
The flourishing of essay publication in the periods of accelerated modernization, the Western-influenced one (1920s/30s) and the one of liberated economical actors (1980/90s), was helped in part by the appearance of new magazines and book series that existed chiefly as vehicles for contemporary essayists.  The emergence of this media show a clear trend: the essay is a genre of overwhelming and increasing interest among Chinese authors and readers.&lt;br /&gt;
&lt;br /&gt;
There are three reasons for the increase in Chinese essay production and popularity in the mid-1990s:&lt;br /&gt;
&lt;br /&gt;
中国散文的繁荣发展&lt;br /&gt;
&lt;br /&gt;
吴漠汀&lt;br /&gt;
&lt;br /&gt;
加速建设现代化时期、西学东渐时期（1920至1930年代）、经济解放之一时期（1980至1990年代）论文出版出现繁荣发展。这在一定程度上得益于新的杂志和丛书的出现，它们主要被用作当代散文家的工具。这种媒介的出现表现出明显的趋势：于中国作者和读者而言，论文是一种压制和增长兴趣的媒介类型。&lt;br /&gt;
&lt;br /&gt;
在1990年代中期，中国的论文产量和受欢迎程度上升的三个原因是：--[[User:Ou Rong|Ou Rong]] ([[User talk:Ou Rong|talk]]) 11:27, 29 November 2020 (UTC)Ou Rong&lt;br /&gt;
&lt;br /&gt;
中国散文的繁荣发展&lt;br /&gt;
&lt;br /&gt;
吴漠汀&lt;br /&gt;
&lt;br /&gt;
加速建设现代化时期、西学东渐时期（1920至1930年代）、经济解放之一时期（1980至1990年代）论文出版出现繁荣发展。这在一定程度上得益于新的杂志和丛书的出现，它们主要被用作当代散文家的工具。这种媒介的出现表现出明显的趋势：中国作者和读者对散文这种媒介类型具有浓厚的兴趣。&lt;br /&gt;
&lt;br /&gt;
在1990年代中期，中国的论文产量和受欢迎程度上升的三个原因是:--[[User:Nie Xiaolou|Nie Xiaolou]] ([[User talk:Nie Xiaolou|talk]]) 03:36, 30 November 2020 (UTC)Nie Xiaolou&lt;br /&gt;
&lt;br /&gt;
==Ouyang Jinglan 欧阳静兰==&lt;br /&gt;
·The giddy-paced nature of current Chinese society with its demands for diverting and short texts: “[...] we live in an age of exposition”[	Donald Hall, The Contemporary Essay (New York: St.  Martin’s Press, 1984) xiii. In this textbook, Hall has chosen a wide range of contemporary American essayists.  In his introduction, Hall applies for clear writing, and active reading.]; &lt;br /&gt;
&lt;br /&gt;
·the increasing consciousness of individuality for which the essay is the most direct form of subjective expression, even more direct than the poem with its metrical and formal demands; &lt;br /&gt;
&lt;br /&gt;
·a revival of interest in discussing socio-political issues through the medium of the essay, as was the case in the 1920s/30s.&lt;br /&gt;
Because of its increasing importance, the essay can now be assigned its proper place in the canon of contemporary genres and in the history of literature.&lt;br /&gt;
==Ouyang Ling 欧阳玲==&lt;br /&gt;
In the last two decades of the 20th century, the essay has been the main communication medium between the discourse of the intelligentsia and the mass of readers of daily newspapers. Therefore we have a genre which transports ideas of the elite in small pieces and common language and functions as the link between mass and elite culture.&lt;br /&gt;
&lt;br /&gt;
December 2000&lt;br /&gt;
&lt;br /&gt;
20世纪最后20年中，小品文成了知识分子和那些读日报的普罗大众沟通的主要媒介，由此，这种文学体裁开始以小篇幅和通用语将精英分子的思想传播开来，成为了大众文化和精英文化间的纽带。--[[User:Ouyang Ling|Ouyang Ling]] ([[User talk:Ouyang Ling|talk]]) 07:02, 27 November 2020 (UTC)Ouyang Ling&lt;br /&gt;
&lt;br /&gt;
在二十世纪最后二十年中，小品文成了知识分子话语圈和日报读者群的主要沟通媒介。因此，我们拥有了一种文学体裁，这种体裁能用小篇幅传播精英分子的思想，也能充当大众文化和精英文化之间的纽带。--[[User:Quan Meixin|Quan Meixin]] ([[User talk:Quan Meixin|talk]]) 03:43, 28 November 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
==Peng Dan 彭丹==&lt;br /&gt;
'''Keynote: “Let us Assign the Essay its Proper Place in Chinese Literature!”'''&lt;br /&gt;
&lt;br /&gt;
''Martin Woesler''&lt;br /&gt;
&lt;br /&gt;
'''Abstract'''&lt;br /&gt;
&lt;br /&gt;
The literary-historical narrative told by anthologies and collections of the 20th century has drawn an incomplete picture of Chinese literature: The genre of the essay was lacking. We are used to the established narratives of C.T. Hsia, Průšek, and Anderson, which let Chinese literature appear overshadowed by its elder brother, fiction. The latter has been prized ever since the valuing of fictional literature and the vernacularization of writing in early Republican China, which followed from the master narrative established by the May 4th movement.&lt;br /&gt;
&lt;br /&gt;
Let me name a few reasons, why the essay in fact is as abundant as its prose brother, fiction, and its lyrical sister, poetry, and why it must be valued as highly:&lt;br /&gt;
主题:“让我们给这篇文章在中国文学中指定一个合适的位置!”&lt;br /&gt;
&lt;br /&gt;
吴漠汀&lt;br /&gt;
&lt;br /&gt;
摘要&lt;br /&gt;
&lt;br /&gt;
20世纪的选集和文集所讲述的文学历史叙事，勾勒出了一幅中国文学的不完整图景:缺乏散文的体裁。我们习惯于C.T. Hsia， Průšek,和Anderson建立的叙事学，这让中国文学在小说的面前显得黯然失色。民国初期，五四运动确立了主导叙事之后，小说文学的重视和写作的白话化，使后者得到了重视。&lt;br /&gt;
&lt;br /&gt;
我将列举几点原因来解释为什么散文实际上在数量上如小说和诗歌一样多，以及为什么它应该被高度重视。--[[User:Peng Dan|Peng Dan]] ([[User talk:Peng Dan|talk]]) 01:36, 30 November 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
[[Theory and Practice.docx]]==Peng Juan 彭娟==&lt;br /&gt;
•The essay had a direct impact on Chinese society throughout history. The impact of the essay genre, with its direct language, its connection to life, and its direct access to the individual reader through newspapers, was larger than the indirect effects of fiction or poetry.&lt;br /&gt;
&lt;br /&gt;
•The essay also reflects trends in society better than poetry and fiction. Individualism is expressed in the essay more directly than in the poem, which is limited in content and form. Ephemerality is reflected in the short form of the essay, which may be read in the subway on the way to work, where poems may not be so spontaneously enjoyed.&lt;br /&gt;
&lt;br /&gt;
这篇文章对整个中国社会产生了直接的影响。散文体裁的影响，它的直接语言，它与生活的联系，以及它通过报纸直接与个人读者接触，比小说或诗歌的间接影响更大。&lt;br /&gt;
这篇文章还比诗歌和小说更能反映社会趋势。个人主义在散文中比诗歌更直接地表现出来，这在内容和形式上都是有限的。短小的散文体现了短暂的生命力，可以在上班的地铁上阅读，在那里，诗歌可能不会如此自然地被欣赏。--[[User:Pengjuan|Pengjuan]] ([[User talk:Pengjuan|talk]]) 14:23, 29 November 2020 (UTC)pengjuan&lt;br /&gt;
&lt;br /&gt;
这篇文章对中国社会有着直接的历史影响。散文体裁以其简明的语言，与生活的联系，能以报纸为媒介直接影响到作为个体的读者，它比小说或诗歌所产生的间接影响更大。&lt;br /&gt;
比起诗歌和小说，这篇文章更能反映社会趋势。相较于诗歌在内容和形式上的受限，散文能将个人主义更直接地表现出来。短小精悍的散文体现了快餐文化，在上班的地铁上也方便阅读，然而诗歌却不大可能如此自然地被欣赏。--[[User:Lin Xin|Lin Xin]] ([[User talk:Lin Xin|talk]]) 15:44, 29 November 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
==Peng Ruihong 彭锐宏==&lt;br /&gt;
•The essay reaches a larger part of the population than poetry, and does not require the large amount of time spent on reading novels. The essay itself is a genre of high actuality, if not simply the genre of today.&lt;br /&gt;
&lt;br /&gt;
•The volume of essay production exceeds the volume of xiaoshuo production.&lt;br /&gt;
 &lt;br /&gt;
Can the picture of Chinese literature remain unchanged if we take the essay into consideration? As stated above, there is a large contrast between the true value and the current valuing of the essay. Let us assign the essay its proper place!&lt;br /&gt;
&lt;br /&gt;
•与诗歌相比，论文占人口的比例更大，不需要花大量时间阅读小说。论文本身是一种高度现实的类型，即使不仅仅是今天的类型。&lt;br /&gt;
 &lt;br /&gt;
•论文的产量超过小说的产量。&lt;br /&gt;
 &lt;br /&gt;
如果考虑到这篇论文，中国文学的图画能否保持不变？ 如上所述，论文的真实价值与当前价值之间存在很大的反差。让我们为论文分配适当的位置！--[[User:Peng Ruihong|Peng Ruihong]] ([[User talk:Peng Ruihong|talk]]) 09:23, 28 November 2020 (UTC)--[[User:Peng Ruihong|Peng Ruihong]] ([[User talk:Peng Ruihong|talk]]) 09:23, 28 November 2020 (UTC)&lt;br /&gt;
散文比诗歌更受欢迎，也不像小说一样要花大量时间阅读。如果散文不只是一种当代体裁的话，那么它本身也是一种高度现实性的体裁。&lt;br /&gt;
•散文的产量超过了小说的产量。&lt;br /&gt;
如果我们把散文考虑进去，那么中国文学的版块能保持不变吗?如上所述，在散文的真实价值和当前价值之间存在很大差别。让我们正确看待散文吧!--[[User:Tan Xinjie|Tan Xinjie]] ([[User talk:Tan Xinjie|talk]]) 15:38, 29 November 2020 (UTC)&lt;br /&gt;
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==Peng Xiaoling 彭小玲==&lt;br /&gt;
'''The unknown genre'''&lt;br /&gt;
&lt;br /&gt;
The literary-historical narrative told by anthologies and collections of the 20th century has drawn an incomplete picture of Chinese literature: The genre of the essay was lacking. The genre has been neglected for a long time as a genre of merit (Margouliès 1949, Schmidt-Glintzer 1990) or overlooked (McNaughton 1974, Leiden 1988-90); whereas its elder brother, fiction, has been prized ever since the valuing of fictional literature and the vernacularisation of writing in early Republican China, which followed from the master narrative established by the May 4th movement.  Modern anthologies would have the reader believe that a triumvirate of poetry, fiction and drama forms the backbone of modern Chinese literary output.&lt;br /&gt;
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'''未知的体裁'''&lt;br /&gt;
&lt;br /&gt;
由20世纪选集和文集讲述的文学历史叙事所绘画出的中国文学图景并不完整：即散文体裁的缺失。长期以来，人们有意（马古烈 1949，施密特·格林策 1990）或无意地(麦克诺顿 1974，莱顿 1988-90）忽视了这种体裁的优点：然而，自从五四运动确立主叙事、民国初期重视小说文学和创作通俗化以来，散文的兄长--小说就一直受到珍视。现代选集会让读者相信，诗歌、小说和戏剧的三足鼎立才是中国现代文学作品的支柱。--[[User:Peng Xiaoling|Peng Xiaoling]] ([[User talk:Peng Xiaoling|talk]]) 06:10, 27 November 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
···未知体裁···&lt;br /&gt;
20世纪的选集和文集所记叙的文学史，勾勒出一幅不完整的中国文学图景：散文的体裁是缺乏的。长期以来，散文作为一种功利性文体被忽视（马格里斯1949年，施寒微1990年）或被忽略（麦克诺顿1974年，莱顿1988-90年）；而它的兄长--小说，自民国初年重视小说文学和写作白话化以来，在五四运动确立的总叙事之后，一直受到重视。现代选本会让读者相信，诗歌、小说、戏剧三驾马车构成了中国现代文学创作的主干。--[[User:Yang chenting|Yang chenting]] ([[User talk:Yang chenting|talk]]) 07:12, 27 November 2020 (UTC)Yang Chenting&lt;br /&gt;
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20世纪文学选集对于中国文学史的叙述是不完整的，其中缺失了散文这一体裁。长期起来，人们有意（马古烈 1949，施密特·格林策 1990）或无意地(麦克诺顿 1974，莱顿 1988-90）地忽视了这一出色的体裁，但与此同时，由于五四运动树立起了以叙事为主的创作风格，到民国初期发展为重视小说体裁和通俗化创作，散文的兄长--小说，则一直受到重视。而现代文选则告诉读者，诗歌、小说和戏剧的三足鼎立才是中国现代文学的支柱。--[[User:Ouyang Ling|Ouyang Ling]] ([[User talk:Ouyang Ling|talk]]) 07:27, 27 November 2020 (UTC)Ouyang Ling&lt;br /&gt;
&lt;br /&gt;
==Peng Yongliang 彭永亮==&lt;br /&gt;
Two times in the 20th century the Chinese essay was flourishing, first in the 1920s and 1930s, then in the 1980s and 1990s. &lt;br /&gt;
&lt;br /&gt;
Analysis reveals a general increase in essay publication after 1979 with two peaks immediately after the 'Cultural Revolution'. The publications apparently reaching a new height in 1990. The first increase came about in the 1920s and 1930s, after which the essay's role was eclipsed by the genre of the report (''baogao wenxue'', see works of Laughlin, Klaschka). The flourishing of essay publication in the 1920/30s and 1980/90s was helped in part by the appearance of new magazines that existed chiefly as vehicles for contemporary essayists, and numerous ''sanwen congshu'' 散文丛书 (essay bookseries).  &lt;br /&gt;
&lt;br /&gt;
The increase in essay production  right after the clear-cutting of the ‘Cultural Revolution’ has been the backlog of demand, which is reflected in 1 million copies of essay collections being printed between 1980 and 1982 - only counting the collections contained in a sampling of 130 ‘representative’ books I was able to collect for a survey.&lt;br /&gt;
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==Peng Yuzhi 彭育志==&lt;br /&gt;
Thanks to the work of some major Chinese editors, the whole essay culture was compiled from magazines and newspapers and was published in a flood of anthologies since the 1970s. This boom is comparable to the cultural fever of undigging ''xiangtu'' literature, which rose in Taiwan in front of the background of the movement of self-identification and independance.&lt;br /&gt;
&lt;br /&gt;
Let me name a few reasons, why the essay  in fact is as abundant as its prose brother, fiction, and its lyrical sister, poetry, and why it must be valued as highly:&lt;br /&gt;
&lt;br /&gt;
The essay had a direct impact on Chinese society throughout history (the reform ideas from the end of the Qing dynasty through the May Fourth period with the literary theorethical pieces and the daily political ''zawen'' of Lu Xun, until today are mostly presented in essay form).&lt;br /&gt;
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得益于一些中国主要编辑的工作，整个论文文化是从杂志和报纸汇编而成的，并且自1970年代以来就被大量文集出版。这种热潮可与不加探索的乡土文学的文化热潮相提并论，乡土文学在自我认同和独立运动的背景下兴起于台湾。&lt;br /&gt;
&lt;br /&gt;
让我列举几个原因，为什么这篇文章实际上与它的散文式的兄弟，小说以及抒情式的姐妹，诗歌一样丰富，以及为什么必须如此重视它：&lt;br /&gt;
&lt;br /&gt;
这篇文章在整个历史上都对中国社会产生了直接的影响（从清末到五四期间的改革思想，包括文学理论作品和鲁迅的日常政治杂文，直到今天大多以此种形式呈现）。--[[User:Peng YuZhi|Peng YuZhi]] ([[User talk:Peng YuZhi|talk]]) 06:41, 30 November 2020 (UTC)&lt;br /&gt;
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==Qi Kai 漆凯==&lt;br /&gt;
The impact on literary reflection and theory is shown in the collection ''Modern Chinese Literary Thought'' 1996 (see Denton). The effect of the essay genre with its direct language, its connection to life (e.g. its role in the coming to terms with the cultural revolution), and its direct access to the individual reader through newspapers. This impact is larger than the indirect one of fiction or poetry.  The poem is the genre of retreat from social life, from political issues and time references.&lt;br /&gt;
	&lt;br /&gt;
Hu Shi argues, that ''poetry'' is most important in the process of modernity, since poetry rises emotions. But it relies also on images and on linguistic rhythm. Liang Qichao stresses the role of ''novel'' and ''opera'' in the changing society. But ''sanwen'' is able to name things, it reflects life, caleidoscopic. Modern subjectivity is constructed with the tool of ''sanwen''.&lt;br /&gt;
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其对文学反思和理论的影响在1996年出版的《中国现代文学思想》一书中有所体现。散文体裁的影响，其直接的语言，它与生活的联系(例如，它在与文化大革命的适应中所起的作用)，以及它通过报纸直接接触到个人读者。这种影响比小说或诗歌的间接影响更大。这首诗是一种逃避社会生活，逃避政治问题和时间的文体。&lt;br /&gt;
胡适认为，在现代性的进程中，诗歌是最重要的，因为诗歌引起了情感。但它也依赖于图像和语言节奏。梁启超强调小说和戏剧在社会变迁中的作用。但三文却能给事物命名，它反映了生命，宛如万花筒。现代主体性是以三文为工具建构的。--[[User:QiKai|QiKai]] ([[User talk:QiKai|talk]]) 09:45, 29 November 2020 (UTC)Qi Kai&lt;br /&gt;
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==Qu Miao 瞿淼==&lt;br /&gt;
The essay also reflects trends in the society better than poetry and fiction: Individualism is expressed in the essay more directly than in the poem with its limitation in content and form. Ephemerality is reflected in the short form of the essay, which may be read in the subway on the way to work, where poems may not be so spontaneously enjoyed.&lt;br /&gt;
  &lt;br /&gt;
- The essay reaches a larger part of the population than poetry, the amount of time spended on reading novels goes back, too.  The essay itself a genre of high actuality, if not simply the genre of today.&lt;br /&gt;
&lt;br /&gt;
- The essay tells us more about an author and his time than fiction or poetry, because in this genre, we encounter the author himself without metrical restrictions. We look trough authentic eyes on his contemporary society.  Many authors turned to essay writing in the later periods of their lives, like Lu Xun, Ba Jin, and Wang Meng.&lt;br /&gt;
&lt;br /&gt;
散文也比诗歌和小说更好地反映了社会潮流:个人主义在散文中比诗歌更直接地表现出来，但在内容和形式上都有一定的局限性。短暂性体现在短文的简短形式上，人们可以在上班的地铁上读到这些短文，而在地铁里，人们可能不会那么自然地欣赏诗歌。&lt;br /&gt;
&lt;br /&gt;
阅读散文的人比读诗歌的人多，花在阅读小说上的时间也可以追溯到过去。散文本身是一种高度现实性的体裁，如果不只是当今的体裁的话。&lt;br /&gt;
&lt;br /&gt;
这篇文章告诉我们更多的是关于一个作家和他的时代而不是小说或诗歌，因为在这种体裁中，我们可以不受韵律限制地见到作者本人。我们以真实的眼光看待他所处的当代社会。许多作家在他们生命的后期开始从事散文写作，如鲁迅、巴金和王孟。--[[User:Qu Miao|Qu Miao]] ([[User talk:Qu Miao|talk]]) 15:11, 29 November 2020 (UTC)&lt;br /&gt;
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==Quan Meixin 全美欣==&lt;br /&gt;
-The volume of ''essay'' production exceeds the volume of ''xiaoshuo'' production: Chinese newspapers since the 1870s on[	Shenbao, Shibao, etc. Liang Qichao sees the role of the newspaper both as liberal and authoritative: He understands the press as an institution to control the government, on the other hand he favors censorship.] and as a mass media from the early 20th century presented only one or two fictional stories in a serialized form, but invented essay columns like ''zagan'' (from which Lu Xun developed his zawen), ''suibi'' or ''suixiang'' (from which famous collections like Ba Jin's ''Suixiang'' lu derived).&lt;br /&gt;
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Let us assign the essay its proper place&lt;br /&gt;
The consequence which must be derived from the above presented contrast between value and valuing of the essay is: Let us assign the essay its proper place!  &lt;br /&gt;
&lt;br /&gt;
Taking into consideration the essay will rewrite the history of Chinese literature&lt;br /&gt;
I will name a few points to illustrate what the essay can contribute to the picture of Chinese Literature, which so far is overshadowed by fiction through the narrative of C.T. Hsia, Pršek and Anderson.&lt;br /&gt;
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“杂文”制作量超过“小说”制作量：从十九世纪七十年代起，中国报纸（申报，时报等等。梁启超认为报纸的作用既自由又权威：一方面，他认为新闻媒体是控制政府的机构，另一方面，他赞成审查制度。）作为20世纪初期的大众传播媒介，报纸以序列化形式仅展示一个或两个虚构的故事，不过它发明了杂文专栏，如“杂感 ”（鲁迅从中发展了他的杂文），和“ 随笔”或“ 随想”（从其中衍生出像巴金的《穗香路》这样的著名收藏）。&lt;br /&gt;
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让我们为杂文指定适当的位置&lt;br /&gt;
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必须从以上提出的杂文价值与评价之间的对比中得出以下结论：让我们为散文指定适当的位置！&lt;br /&gt;
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重新考虑杂文将会改写中国文学的历史&lt;br /&gt;
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我仅举几例来说明杂文对中国文学的贡献，迄今为止，由于C.T. Hsia, Prçšek and Anderson等人的叙述，小说的光芒盖过了杂文。--[[User:Quan Meixin|Quan Meixin]] ([[User talk:Quan Meixin|talk]]) 04:12, 28 November 2020 (UTC)&lt;br /&gt;
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==Sagara Seydou ==&lt;br /&gt;
We are used to established narratives, like the emergence and success of the May-Fourth literature. But this view neglects the role, that for example the yuanyang hudie pai played in the choir of different voices in the awoken intellectual debate in the beginning of this century. The May-Fourth group at that time was one voice among many and only succeeded because of its agitation and polemic in the public sphere, so we have to use new means to assign the Chinese essay its proper place. We learn from simplifiying narratives, that it is absolutely necessary to differentiate, and to reconstruct the complex time background. Having understood Chinese literature as determined by the development of fiction and poetry only, a broader understanding will change the whole appearance of Chinese literature. A scholarly endeavour is the use of modern literary theories in the approach to this genre.&lt;br /&gt;
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我们习惯于建立叙事，例如《五四》文学的出现和成功. 但是这种观点忽视了这种作用，例如，在本世纪初的激烈的学术辩论中，元阳护蝶排在不同声音的合唱团中扮演了角色. 当时的五四分之一小组是众人之中的一个声音，只有在公共领域中它的激动和争论才得以成功，因此我们必须使用新的手段来将中文论文分配给自己的位置. 我们从简化的叙述中学到，区分和重建复杂的时间背景是绝对必要的. 对中国文学的理解仅取决于小说和诗歌的发展，而更广泛的理解将改变中国文学的整体面貌. 学术上的努力是在这种类型的方法中使用现代文学理论.&lt;br /&gt;
石迪文石迪文[编辑]--[[User:Sagara Seydou 3|Sagara Seydou 3]] ([[User talk:Sagara Seydou 3|talk]]) 18:13, 29 November 2020 (UTC)&lt;br /&gt;
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==Shi Diwen 石迪文==&lt;br /&gt;
In the following, I will name two aspects (chronologically sorted by past, and modern times) to promote the argument, that the taking into consideration of the essay will rewrite the history of Chinese literature and change our current understanding of it.&lt;br /&gt;
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1. The classical and premodern essay documents Chinese philosophy, early subjectivity and still, a native Chinese tradition is questioned&lt;br /&gt;
How is the Chinese essay to be positioned historically, how did it emerge, what is its generic background? Generically, the ancestors of the essay both in China and the West are notes written in the margins of books, as well as letters and travel notes saved.  These notes differed from the canonized literature through its informal style, its expression of individuality and subjectivity, a much earlier document for subjectivity than the first autobiographical Chinese novel, ''The Dream of the Red Chamber.''&lt;br /&gt;
==Shi Haiyao 石海瑶==&lt;br /&gt;
From the very beginning, the essay was valued lower than poetry: the oldest reference[	This is older than the ones referred to in Morohashi, 5:529a / sequential page counting 5167a, and in the The Encyclopaedic Dictionary of the Chinese Language, vol. 73c / s.p.c. 6137c.] this far for the term sanwen that I found is Luo Dajing's 羅大經 (? - after 1248) statement from 1240: “Shī sāomiào tiānxià, ér sǎnwén pōjué suǒsuì júcù. 詩騷妙天下，而散文頗覺瑣碎局促。” (Poetry is moving mankind in a wonderful way, prose inquires into incoherent bagatells, is limited. Luo Dajing 14:Baihai:1). Another reproach Luo Dajing mentions, is a formal one: In comparison to the highly artistic and century-long tradition of poetic writing, the direct and often vernacular langage of the essay in his eyes had less value.&lt;br /&gt;
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从一开始，人们就认为散文的价值低于诗歌:最古老的参考文献[这比在Morohashi, 5:529a /连续页数5167a，和在中国语言的百科词典，第73卷/ s.p.c. 6137c中提到的更古老。)“散文”这个术语,我发现是罗大经提出(?- 1248年之后):“詩騷妙天下,而散文頗覺瑣碎局促”。诗歌以一种美妙的方式感化人类，散文则是不连贯的杂谈，影响有限。罗大经 14: Baihai: 1)。罗大经提出的另一种质疑则更为正式:与具有高度艺术性和百年历史的诗歌创作传统相比，在他看来，直接的、通常是白话的散文没有什么价值。--[[User:Shi Haiyao|Shi Haiyao]] ([[User talk:Shi Haiyao|talk]]) 09:19, 27 November 2020 (UTC)&lt;br /&gt;
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==Si Yu 司妤==&lt;br /&gt;
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In the West, a real 'art of the essaywriting' came up in the late 16th century as a medium for the newly reorganized knowledge. The reorganization originated from the observations of Copernicus, which destroyed the whole conception of the world of the Middle Ages.&lt;br /&gt;
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In China, particularly the debates on Buddhism in the 4th and 5th century A.D. saw the origination of a tradition of letters.  The Chinese tradition of the ''sanwen'' 散文 (essay) however, in the understanding of ''san'' 散 as to dispel, leisure, loose, relaxed, irregular, independant style, free prose, can be seen not before the detachment from the dialogue - or aphorism, which is still visible in the philosophical ''Lunyu''.  Xunzi delivered the prototype of the later essay with his philosophical treatises.&lt;br /&gt;
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在西方，真正的“文章写作的艺术”于16世纪被提出来作为新的重组知识的媒介。这种重新组织来源于哥白尼的观察，这摧毁了中世纪的所有观念。&lt;br /&gt;
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在中国，特别是公元四、五世纪对佛教的争论，导致了文学这一传统的起源。然而，中国的“散文(essay)”传统中，对“散”的理解即为驱散、空余、松散、放松、不规则的又自由的风格，在从对话中剥离出来之前不为人知的自由性散文诗或是仍能够在哲学书籍《论语》中见到的谚语。荀子通过他的哲学性论述确立了后来的散文雏形。--[[User:Si Yu|Si Yu]] ([[User talk:Si Yu|talk]]) 13:33, 28 November 2020 (UTC)&lt;br /&gt;
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==Song Jianru 宋建茹==&lt;br /&gt;
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They are an early form of philosophical didactical essays, in which general theorems are derived not only from quotations of the canonized classical works, but for the first time also from his own individual experience.  The individuality is still a main characteristic of the essay today.&lt;br /&gt;
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During the dynasties the essay manifested itself further in certain subcategories: From reading-notes written in the paper margins originated the ''biji'' 筆記 (occasional notes), flourishing in the Ming dynasty.  The marginalism is a link between Western and Chinese tradition of early essays. Occasional notes could contain private historical notes, anecdotes, communications and contemplations.  However, the consciousness of the essay as ''a genre of its own'' originated in China not before the Qing 清 dynastie, when numerous essay anthologies were compiled.&lt;br /&gt;
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他们是哲学说教文章的早期形式，其中的普通理论不仅仅引自正典作品，也是第一次源自个人经验。在今天个性仍是文章一个主要的特征。&lt;br /&gt;
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古代，随笔主要在特定的子类别中显现：写在纸边的读书笔记起源于“筆記”（偶注），兴于明朝。边际主义是早期中西随笔传统的桥梁。偶注包含私人历史笔记，轶事，通信和沉思。然而，在中国，一直到清朝许多随笔集得以汇编，随笔才被看作一种体裁。--[[User:Song Jianru|Song Jianru]] ([[User talk:Song Jianru|talk]]) 06:59, 30 November 2020 (UTC)&lt;br /&gt;
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==Su Lin  苏琳==&lt;br /&gt;
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Taking into consideration the social-historical background draws a different picture of the old society than short stories and novels: Essays are much closer to real life, since they express individual problems and experiences. Until now, the Chinese pre-''Honglou meng'' individual literature spoke only through the indirect language of poems to us. Rediscovering the essays, we have a splendid source of opinions, social-historical pictures etc.&lt;br /&gt;
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Premodern essay literature consists of much more than its most well-known example, the formally restrictive ''baguwen''. Lu Xun himself wrote some of his essays in ''baguwen'' style, but on the other hand took it as a synonym for the ancient society. Zhou Zuoren saw the rhythm of the language of the “Eight legged essay” as as appealing and intoxicating as the “pleasure of doing opium.” (Zhou Zuoren 1932c, 148).&lt;br /&gt;
从社会历史背景的角度出发，与短篇小说和长篇小说相比，散文描绘了不同的旧社会场景，其更贴近现实生活，因为它们多表达个人问题和经历。直到今日，中国前红楼梦个体文学仅仅通过诗歌的间接含义讲述，如若重新研究这些散文的话，我们便可获得更为丰富的观点以及社会历史景象。&lt;br /&gt;
前现代散文文学不仅仅包括最著名的例子-形式严格的八股文，鲁迅自己也写过一些八股文类型的散文，但另一方面他又把八股文当作古代社会的代名词。周作人认为“八股文”的语言韵律，就像“吸鸦片之乐”一样，妙趣横生、令人陶醉。(周作人1932c, 148)。--[[User:Su Lin|Su Lin]] ([[User talk:Su Lin|talk]]) 05:33, 30 November 2020 (UTC)&lt;br /&gt;
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==Tan Xingyue 谭星越==&lt;br /&gt;
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But he considered it also as a prevalent genre implicit in the modern writings as ''yang bagu'' (westernized bagu) and ''dang bagu'' (party-line bagu) (borrowing from Wu Zhihui, 71).&lt;br /&gt;
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Neo-Confucianism stressed ''wen'' (prose) as the most important tool to transmit the ''dao'' (way): ''wen yi zai dao'' 文以載道 (Literature as the carrier of the way). If we reinterprete this diction in the perspective of genre, we can say, that the essay then has been regarded as an important tool to express truth, subjectivity and Self.&lt;br /&gt;
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Liang Qichao developed a ''xin wenti'' 新文體 (new prose style), which was influenced by Western languages, but the essay became popular not before the newspapers became mass media, and the language changed into ''baihua''.&lt;br /&gt;
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但他也认为这是一种在现代作品中流行的体裁，如洋八股和党八股（吴志辉，71）。&lt;br /&gt;
理学强调文以载道。如果从体裁的角度重新解读这一措辞，我们可以说，当时的散文已被视为表达真理、主体性和自我的重要工具。&lt;br /&gt;
梁启超受西方语言的影响，发展了一种新文体，但这种文体在报纸成为大众传媒之前就开始流行起来，语言也变成了白话。&lt;br /&gt;
--[[User:Tan Xingyue|Tan Xingyue]] ([[User talk:Tan Xingyue|talk]]) 12:40, 26 November 2020 (UTC)&lt;br /&gt;
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但他也认为这是一种在现代作品中流行的体裁，如洋八股和党八股（吴志辉，71）。&lt;br /&gt;
理学强调文以载道。如果从体裁的角度重新解读这一措辞，我们可以说，当时的散文已被视为表达真理、主体性和自我的重要工具。&lt;br /&gt;
受西方语言的影响，梁启超发展了一种新文体，但这种文体在报纸成为大众传媒媒介之前就流行起来，新文体的语言也变成了白话。--[[User:Tan Yuanyuan|Tan Yuanyuan]] ([[User talk:Tan Yuanyuan|talk]]) 14:25, 26 November 2020 (UTC)&lt;br /&gt;
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==Tan Xinjie 谭鑫洁==&lt;br /&gt;
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'''2. The essay as the medium of modernity'''&lt;br /&gt;
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The essay was ''the'' genre of the modernizing society of the early 20th century. It was short, dealt with reality, there was no limitation regarding the contents, therefore it was also capable of documenting and spreading the ideas about the best form of society. It was simply the best form to transport the thoughts of the intellectual leaders of the time to the public and to create a public sphere. Imagine the May Fourth Movement without essays! Most of Lu Xun's work consists out of essays!&lt;br /&gt;
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Many writers had to define and often redefine their position and self-understanding in reaction to war and warlordism and later in the modernizing society, often burying their own ideals, in the larger perspective for the seeming “needs” of society, which also claimed the author to be one of its products.&lt;br /&gt;
2.散文作为现代媒介&lt;br /&gt;
散文是20世纪初现代化社会的一种体裁。它篇幅短，内容贴近现实且没有限制。因此它也能够记录和传播社会最好的形态思想。这是向公众传递时代知识领袖的思想最好的形式，也创造一个公共领域。想象一下没有散文的五四运动吧!想象一下鲁迅的大部分作品都不是散文！&lt;br /&gt;
为了应对战争和军阀主义，许多作家不得不定义和重新定义他们的地位和自我理解，并且在后来的现代化社会中，他们通常埋没自己的理想, 从更大的角度看待那些被作者声称是散文产物之一的社会“需求”。--[[User:Tan Xinjie|Tan Xinjie]] ([[User talk:Tan Xinjie|talk]]) 15:14, 29 November 2020 (UTC)&lt;br /&gt;
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==Tan Yuanyuan 谭媛媛==&lt;br /&gt;
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But from its very nature, the essay set new boundaries in form and content, and therefore not only survived the ideological restrictions, but also established its own critical subculture within. The essay was not only a medium of discussion and a documentation of the social-political background for us today, but also a documentation of the personal struggle of the writers finding a position in a changing environment, since the essay is “a genre of self-reflection”. Some essays even deconstructed master narratives like the one of leftist ideology, often simply by confronting it with subjective experience, reality or art. &lt;br /&gt;
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Not only the understanding of literature as a whole changes if we take into consideration the essay, also the view of single authors shifts, if we see not only their novels or poems, but also their essays.&lt;br /&gt;
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I want to mention another position on literature, which stresses the impact of literature on life, especially on the eve of revolutions - following this view, all literature is political (Jameson).(文献 无需翻译)&lt;br /&gt;
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但是从本质上说，这篇论文在形式和内容上设定了新的界限，因此不仅脱离了意识形态限制，而且在其中建立了自己的批判亚文化。这篇文章不仅是我们今天讨论的媒介和社会政治背景的记录，还是关于作家在不断变化的环境中寻找定位的个人奋斗的记录，因为这篇文章是“反思类型”。有些文章甚至像左派意识形态之一一样破坏了主叙述，通常只是将其与主观经验，现实或艺术联系起来去面对。&lt;br /&gt;
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如果我们考虑论文的话，会对文学的整体理解发生了变化，如果我们既看作者的小说诗歌作品，又看他们的论文的话，对单一作者的观点也会改变。&lt;br /&gt;
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我想提到文学的另一种立场，强调文学对生活的影响，特别是在革命前夕对生活的影响。按照这种观点，所有文学都是政治性的（詹姆森）。--[[User:Tan Yuanyuan|Tan Yuanyuan]] ([[User talk:Tan Yuanyuan|talk]]) 14:17, 26 November 2020 (UTC)&lt;br /&gt;
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==Tang Bei 汤蓓==&lt;br /&gt;
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'''The Aesthetic of Marginalism and the Impact of the West on the Chinese Essay'''&lt;br /&gt;
''Martin Woesler''&lt;br /&gt;
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'''Abstract'''&lt;br /&gt;
Chinese and Western essays derived from the notes in the margins of books. With this step from the private to the public sphere, we find the impact of subjectivity and individualism on literature. The origin of the essay has influenced the later essay tradition in its ephemeral, subjective, marginal character; its claim for understatement; the conversational and colloquial style of expression; and its eclecticism. The essay itself often deals with one subject, but this topic is looked on from different perspectives.&lt;br /&gt;
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边缘主义美学与西方对中国散文的影响&lt;br /&gt;
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吴漠汀&lt;br /&gt;
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摘要 &lt;br /&gt;
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中西散文都是从书籍空白处的注释中衍生出来的。从私人领域到公共领域，我们发现了主体性和个人主义对文学的影响。散文的起源在短暂性、主观性、边缘性方面影响了后来的散文传统， 散文主张轻描淡写，会话和口语化的表达方式以及折衷主义。 散文本身经常涉及一个主题，但这个主题是从不同的角度来看待的。--[[User:Tang Bei|Tang Bei]] ([[User talk:Tang Bei|talk]]) 05:25, 30 November 2020 (UTC)&lt;br /&gt;
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==Tang Ming 唐铭==&lt;br /&gt;
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The aesthetic of marginalism, invented by Schlette in 1977 and further developed by Pfeiffer and others in 1996, proves helpful for understanding the character of the essay. Following its methodological perspective, marginalism grants the essayist a distant view of the text body itself from the margins of the book. This enables the essayist to think unorthodoxly, the condition ''sine qua non'' of critique and protest. &lt;br /&gt;
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In my paper, I use the concept of marginalism to explain the rhetorical means of digression in Lu Xun's essays. Lu Xun seems to digress: 1) on purpose for rhetorical effects; 2) going off-target for arts’ sake; 3) as an experiment; 4) for its own sake with socio-critical side blows; 5) as understatement with surprising effects. Further I will show marginalism in the founder of Western essayism, Montaigne, and the Chinese scholar Qian Zhongshu.&lt;br /&gt;
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1977年施莱特发明、1996年菲弗等人进一步发展的边缘化主义美学，对理解本文的特点很有帮助。按照其方法论的观点，边缘主义使散文家远离书本实际对文本体本身有一种遥远的视角。这使得散文家能够非正统地思考批评和抗议的条件。&lt;br /&gt;
本文运用边际主义的概念来阐释鲁迅杂文中离题的修辞手法。鲁迅离题的目的大概是:1)故意为了修辞效果;2)为了艺术而偏离目标;3)作为实验;4)由于自身缘故，带有社会批判的一面打击;5)轻描淡写，效果惊人。此外，我将展示西方散文论创始人蒙田和中国学者钱钟书的边缘主义。&lt;br /&gt;
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--[[User:Tang Ming|Tang Ming]] ([[User talk:Tang Ming|talk]]) 01:55, 30 November 2020 (UTC)Tang Ming&lt;br /&gt;
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[http://www.example.com link title]==Tang Yiran 汤伊然==&lt;br /&gt;
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As for the dispute on whether the Chinese essay grew out of a native tradition or was influenced by Western translations, both traditions are relevant: The current form of the genre is mostly based on the influence of Western essay translations, starting from 1907. From this, there first developed a Chinese essay tradition which consciously leaned upon the Western model in language, form and terminology. Later, the Chinese essay’s own proponents succumbed to the temptation to derive a tradition of the Chinese essay from Chinese history alone. The legendary authors of the May Fourth movement considered the English essay as the father of the Chinese essay. Later, some of these authors changed their minds to support their own theories on the essay by looking for proof of a native Chinese essay tradition.&lt;br /&gt;
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中国散文是源于本土传统？还是产自西方翻译？这个问题一直是个争议。但无论如何，这两种说法本身就具关联性：自1907年起直至现在，中国散文的体裁形式主要出自西方的散文译本。从这一点来看，中国散文自发展伊始就一直在语言、形式和术语上借鉴西方模式。后来，中国散文的推行者无奈只能仅仅诉诸于中国历史来证明中国本土散文的渊源。五四运动中涌现的传奇作家认为英语散文是中国散文的起源。但之后其中一些作家改变观念，通过证明中国散文自成一家来支撑自己的散文理论。--[[User:Tang Yiran1|Tang Yiran1]] ([[User talk:Tang Yiran1|talk]]) 02:23, 28 November 2020 (UTC)&lt;br /&gt;
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翻译学 Theory and Practice(1)(5)(1)[[Media:]]&lt;br /&gt;
Wherever on earth human beings developed a high culture, the written language was its essence.  Early traces we find in the pictograms of the Near East, Latin America and China. The more the characters remind of the ontological world, the more the written language itself was an object of cult. From the Chinese we know the use of characters in the tortoise shell oracles, from the Germans in sacrificial stones.  Later, with the improvement of writing material, the first rolls were created, either from papyrus (Egypt), pergament (Europe) or bamboo (China).  Due to the expensive material, written rolls were reserved to wealthier people.  The texts were reduced to the documentation of important things.&lt;br /&gt;
无论人类在地球上哪个地方发展了高级文化，书面语言都是其精华。我们在近东、拉丁美洲和中国的象形图中发现了早期的痕迹。文字越让人联想到本体论世界，书面语言本身就越成为人们崇拜的对象。从中国人的龟甲神谕和德国人的祭祀石中，我们知道汉字的使用。后来，随着书写材料的改进，第一批卷子被创造出来，或纸莎草(埃及)，或永久(欧洲)或竹子(中国)。由于材料昂贵，书卷只有富裕的人才会使用。这些文字被简化为重要事件的文献。&lt;br /&gt;
--[[User:Tao Ye|Tao Ye]] ([[User talk:Tao Ye|talk]]) 05:30, 30 November 2020 (UTC)Tao Ye&lt;br /&gt;
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==Wang Meiling 王美玲==&lt;br /&gt;
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For the first time, it was possible not only to document events and therefore to extend the human mind and memory, but to communicate complex information from one author to another or more readers.  At this stage, the first reading notes were written.  Due to the lack of the precious writing material, the margins of the rolls were used.  Still today we find these notes as well as on early European (for example ancient Greek) rolls as well as on Chinese ones. These notes were personal thoughts about the text, explanations of places and events maybe unknown to third readers, interpretations of unclear text passages, alternatives to seemingly miswritten characters, sometimes only marks for structuring the texts, which were used as school textsoles to teach reading, too.&lt;br /&gt;
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这是第一次，不仅可以记录事件，从而扩展人类的思维和记忆，而且可以将复杂的信息从一位作者传达给另一位作者或更多的读者。在这一阶段，第一份读书笔记就此写下了。由于那时缺少珍贵的书写材料，所以用了书卷的边边角角。时至今日，我们在早期欧洲（例如古希腊）和中国的书卷上都能找到这些笔记。这些笔记是个人对于阅读文本的想法、第三方读者对于未知地方和事件的解释、对于不清晰文本段落的解释，对看似书写错误的字符的替代字符，有时只是用来构思文本的标记符号。学校也用这些笔记符号来作为课本来教授学生阅读。--[[User:Wang Meiling|Wang Meiling]] ([[User talk:Wang Meiling|talk]]) 13:24, 29 November 2020 (UTC)&lt;br /&gt;
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第一次，不仅可以记录事件，扩展人类的思维和记忆，而且可以将复杂的信息从一个作者传递给另一个或更多的读者。在这一阶段，第一份读书笔记由此形成。由于缺乏珍贵的书写材料，书卷的空白处便用来填笔记。时至今日，我们仍然可以在欧洲早期（如古希腊）以及中国的书卷上找到这些笔记。它们是个人对文本的解读，包括为第三读者对其陌生的地点、事件以及晦涩的文本段落作出解释，订正看似写错的字符，有时是为了划分文本结构，这些笔记也被学校用作教授阅读的课本。--[[User:Tang Yiran1|Tang Yiran1]] ([[User talk:Tang Yiran1|talk]]) 00:15, 30 November 2020 (UTC)&lt;br /&gt;
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==Wang Xuan 王轩==&lt;br /&gt;
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Some notes were intended for other readers, and from this in Europe and China the tradition of commentary developed. Other notes were of a private nature, personal comments to the text, not written down for other people. And both, in Europe as in China, the same evolution took place, when the authors of the notes discovered, that the notes were worth collecting. From these collections of notes they compiled short essays. These notes differed from the canonized literature through its informal style, its expression of individuality and subjectivity, a much earlier document for subjectivity than the first autobiographical Chinese novel, ''The Dream of the Red Chamber''.&lt;br /&gt;
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有些注释是为其他读者准备的，因此欧洲和中国的评论传统由此发展起来。此外，其他注释是具有私人性质的，是针对文本的个人评论，不是为别人写的。而这两者，无论在欧洲还是中国，都发生了同样的演变，当注释的作者发现这些注释值得收藏时，便会根据这些笔记汇编成短文。这些笔记与经典文学不同之处在于它的非正式文体、个性和主体性的表达，这是一个比中国第一部自传体小说《红楼梦》更早的主体性文献。--[[User:Wang Xuan|Wang Xuan]] ([[User talk:Wang Xuan|talk]]) 06:27, 30 November 2020 (UTC)Wang Xuan&lt;br /&gt;
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一些注解是为其他读者准备的，因此在欧洲和中国，注解的传统得以发展。 其他注解是私人性质的，是对文本的个人评论，不为其他人写下。 而且，在欧洲和在中国，注解的作者发现了值得收集的笔记时，发生了相同的演变。 他们将这些注解集中汇编成了短文。 这些注解与经典书籍的不同之处在于其非正式的风格，个性和主观性的表达，比第一本自传中国小说《红楼梦》早得多的主观性文献。--[[User:Peng YuZhi|Peng YuZhi]] ([[User talk:Peng YuZhi|talk]]) 06:49, 30 November 2020 (UTC)&lt;br /&gt;
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==Wang Yu 王煜==&lt;br /&gt;
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The names given to these essays reminded of their origin. In Europe they were called “marginal notes,” “marginalia,” in China “brush notes” (''biji'' 筆記, or occasional notes). They were flourishing in the Ming dynasty. They could contain private historical notes, anecdotes, communications and contemplations.  However, the consciousness of the essay as ''a genre of its own'' originated in China not before the Qing 清 dynasty, when numerous essay anthologies were compiled.&lt;br /&gt;
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All these terms for the essay, and also the term “essay” itself, which means “try, attempt,” invented by Montaigne, reflect the ephemeral, subjective, marginal character of the essay.  The term itself carried the claim for understatement, which is substantial especially when you want to express subjective, individual thoughts, in order not to seem schoolmasterly to the reader.&lt;br /&gt;
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这些文章的名字使人想起了它们的起源。在欧洲，它们被称为“旁注”、“边注”，在中国被称为“笔记”（biji筆記，或临时记录）。它们在明朝盛极一时。它们可以是私人的史料、轶事、谈话和沉思。然而，作为一种特有的体裁，人们有散文意识的时候已经是清朝过后了，当时已有大量的散文选集被编撰出来。&lt;br /&gt;
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这些文章的名字使人想起了它们的出处。在欧洲，它们被称为“边注”，“旁注”，在中国被称为“笔记”(biji筆記，或“偶注”)。它们在明朝很兴盛，可以包含私人的历史笔记、轶事、交流和沉思。然而，“自成一种”的散文意识并非起源于中国清代，当时已编撰了大量的散文选集。--[[User:Yang Hairong|Yang Hairong]] ([[User talk:Yang Hairong|talk]]) 09:09, 29 November 2020 (UTC)&lt;br /&gt;
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所有这些散文术语，以及蒙田创造出的“随笔”这个词本身，即“尝试，试图”，都反映出散文短暂的、主观的、边缘化的特点。这个词本身就带有轻描淡写的意思，尤其是当你想表达主观的个人想法时又为了不让读者觉得自己很有学究气的时候就更显得具有实质性。--[[User:Wang Yu|Wang Yu]] ([[User talk:Wang Yu|talk]]) 02:12, 28 November 2020 (UTC)&lt;br /&gt;
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==Wang Yuan 王源==&lt;br /&gt;
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From this origin, different characteristics of the essay came, which are still valid for essays today. One is the conversational style of expression, which comes while you create the sentences from the notes the very moment you are writing them down. From Greek philosophers we know that they sat relaxed in the yard, while one person was reading them their notes from the margins of the books which the philosopher transformed into sentences orally, while another person wrote it down. This also explains the colloquial character of the essays.  In fact, the whole development of ideas was based on a conversation in mind with the author of the original role, and many Greek philosophical schools knew about the importance of dialogues for the development of thoughts.&lt;br /&gt;
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从这一起源开始，文章就有了不同特点，这些特点对今天的文章依然有效。其中一个特点是对话式的表达方式，它是在你从笔记中创造出句子的同时，在你写下它们的那一刻出现的。从希腊哲学家那里我们知道，他们在院子里闲适地坐着，一人在给他们念书边上的笔记，哲学家把这些笔记转化为口头上的句子，而另一个人则把它写下来。这一过程也解释了文章的口语化特征。事实上，整个思想的发展都是建立在与原作者进行心灵对话的基础上的，许多希腊哲学流派都知道对话对思想发展的重要性。--[[User:Wang Yuan|Wang Yuan]] ([[User talk:Wang Yuan|talk]]) 06:22, 30 November 2020 (UTC)&lt;br /&gt;
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从这一起源开始，文章就有了不同特点，这些特点对今天的文章依然有效。其中一个特点是对话式的表达方式：在你从笔记中创造出句子的同时，在你写下它们的那一刻出现的。从希腊哲学家那里我们知道，他们在院子里闲适地坐着的时候，一人在给他们念书边上的笔记，哲学家把这些笔记转化为口头上的句子，而另一个人则把它写下来。这一过程也解释了文章的口语化特征。事实上，整个思想的发展都是建立在与原作者进行心灵对话的基础上的，许多希腊哲学流派都知道对话对思想发展的重要性。--[[User:Wang Xuan|Wang Xuan]] ([[User talk:Wang Xuan|talk]]) 06:31, 30 November 2020 (UTC)Wang Xuan&lt;br /&gt;
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==Wei Honglang 韦洪朗==&lt;br /&gt;
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Another characteristic of the essay is its eclecticism. While reading an original text, the educated scholar constantly thinks of quotations and links to other works. Therefore many notes consist out of references to other works.  The essay itself therefore often deals with one subject, but is looked on from different perspectives.&lt;br /&gt;
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这篇文章的另一个特点是折衷主义，即在阅读原文时，学者们经常联想与其他文章的引述和联系之处，因而有许多注释没有标注对其他作品的引用。&lt;br /&gt;
&lt;br /&gt;
这篇文章的另一个特点就是折衷主义。学者在阅读原文时，会时不时想到引用，或者与其他作品相联系。因此，许多注释都没有提到参考其他作品。这样一来，文章本来涉及一个主题，但从不同角度来看，文章就好像涉及多个主题了。&lt;br /&gt;
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In 1977 Heinz Robert Schlette developed the aesthetic of marginalism, in 1996 Klaus-Peter Pfeiffer developed this concept further.  It proves helpful for the understanding of the character of the essay. In its methodological understanding, marginalism grants the essayist a distant view from the margins of the book to the text body itself. Following Schlette, marginalism is only possible where dissident thinking is possible.  Marginalism is the private sphere left to the reader during the reading process.--[[User:XieFan|XieFan]] ([[User talk:XieFan|talk]]) 05:34, 30 November 2020 (UTC)&lt;br /&gt;
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1977年罗伯特·施莱特发展出边际主义美学说，1996年克劳斯·彼得·菲弗进一步完善该学说，这有助于对这篇文章的特征进行理解。从方法论的角度上来说，边际主义给作者提供了从书本白边回溯到文本本身的宏大视角。施莱特认为，只有政见不同，边际主义才得以存在。边际主义是在阅读过程中留给读者的私人发展空间。--[[User:Wei Honglang|Wei Honglang]] ([[User talk:Wei Honglang|talk]]) 11:19, 29 November 2020 (UTC)&lt;br /&gt;
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==Wei Yafei 魏亚菲==&lt;br /&gt;
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It is the condition sine qua non of critique and protest. A marginalist reader is one, who reads a text critically.  Also Montaigne saw himself as a marginalist (Ulke, 31 - 38).&lt;br /&gt;
&lt;br /&gt;
Let us now use the concept of marginalism to look on the 20th century Chinese essay. I choose here the example of Lu Xuns' essays.  One of Lu Xun's rhethorical means in his essays is the digression.  The digression is closely related to marginalism and essayism: &lt;br /&gt;
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In some of his essays, Lu Xun digresses from his actual subject. This phenomenon increases in his later work.  Following Wilpert, digression is one possible expression of conscious scepticism and a warning signal, that something is wrong.&lt;br /&gt;
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这是批评和抗议的必要条件。 边缘主义的读者就是带有批判性阅读文章的人。 同样，蒙田（Montaigne）视自己为边缘主义者（Ulke，31-38）。&lt;br /&gt;
&lt;br /&gt;
现在让我们用边缘主义的概念来研究20世纪中国的论文。 在这里，我以鲁迅的论文为例。 离题是鲁迅在其论文中的修辞手段之一。 题外话与边缘主义和散文主义密切相关：&lt;br /&gt;
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鲁迅在他的一些论文中偏离了他的实际主题。 这种现象在他晚期的文章中有所增加。 在威尔珀特之后，离题是有关于怀疑意识和警告信号的一种表达的可能性，即某些事情出错了。&lt;br /&gt;
--[[User:Weiyafei|Weiyafei]] ([[User talk:Weiyafei|talk]]) 09:10, 29 November 2020 (UTC)Weiyafei&lt;br /&gt;
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这是批评和抗议的必要条件。边际派读者会批判性阅读。蒙田也（Montaigne）将自己视为边缘主义者（Ulke，31-38）。&lt;br /&gt;
&lt;br /&gt;
现在我们来用边缘主义的概念研究20世纪中国的散文。在此以鲁迅的散文为例。离题是鲁迅散文的一个修辞手法。题外话与边缘主义和散文主义密切相关：&lt;br /&gt;
&lt;br /&gt;
在他的一些文章中他会偏离它的实际主题。这种现象在他随后作品中尤为显著。在威尔珀特之后，离题是怀疑意识和警告信号的一种可能性表达，即出错。--[[User:Wang Yu|Wang Yu]] ([[User talk:Wang Yu|talk]]) 01:49, 30 November 2020 (UTC)&lt;br /&gt;
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==Wen Sixing 文偲荇==&lt;br /&gt;
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Walf 1996 in his article “Marginalism in the Daoism” portrays the margi¬na¬lis¬m as an aesthetic, which in China are linked close to the tradition of scepticism of Wang Chong (27 - 97). As a youth, Lu Xun was optimistic about the impact of literature on society.  He soon lost this optimism, as documented in “Preface to ‘Call to Arms’” (Lu Xun 1922b).  Finally, he became a sceptic regarding the possibilities of literature to change society.&lt;br /&gt;
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1, digression on purpose&lt;br /&gt;
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In 1926, in his essay on “Wuchang, the Ghost of Perishable Life” (Lu Xun 1926b) Lu Xun digressed to contemporary critic on his contemporary Chen Xiying. In “Illustrations of 24 Examples of Children Piety” (Lu Xun 1926a), he protested against the slogan “Down with the colloquial language”. Lu Xun uses here historiographical and autobio¬gra¬phical essays for appeals of daily-political value.&lt;br /&gt;
&lt;br /&gt;
沃夫1996年在他的文章《道家的边缘主义》中将边缘主义描绘为一种美学，这在中国与王充(27 - 97)的怀疑主义传统密切相关。青年时期，鲁迅对文学和社会的影响持乐观态度。他很快就失去了这种乐观，正如鲁迅在他的《呐喊》序言中所描述的那样。最后，他对文学改变社会的可能性产生了怀疑。&lt;br /&gt;
1.故意离题&lt;br /&gt;
1926年，鲁迅在他的文章《武昌，生命的幽灵》(鲁迅1926b)中转移了对他同时代的陈希英的当代批评。在《24个孩子虔诚的例子的插图》(鲁迅1926a)中，他抗议“打倒白话”的口号。鲁迅在这里使用史学和自传体散文来呼吁日常政治的价值。--[[User:Wensixing|Wensixing]] ([[User talk:Wensixing|talk]]) 08:57, 26 November 2020 (UTC)&lt;br /&gt;
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1996年沃夫在他的文章《道家的边缘主义》中将边缘主义描绘为一种美学，在中国，这种边缘主义与王充(27 - 97)的怀疑主义传统密切相关。青年时期，鲁迅对文学和社会的影响持乐观态度。但这种乐观很快就消失不见，，正如鲁迅在他的《呐喊》序言中所描述的那样。最后，他对文学能否改变社会产生了怀疑。&lt;br /&gt;
1.故意离题&lt;br /&gt;
1926年，鲁迅在他的文章《武昌，生命的幽灵》(鲁迅1926b)中改变了与他同时代的陈希英的批评。在《24个孩子虔诚的例子的插图》(鲁迅1926a)中，他抗议“打倒白话”的口号。鲁迅在这里使用史学和自传体散文来呼吁日常政治的价值.--[[User:Yao Cheng|Yao Cheng]] ([[User talk:Yao Cheng|talk]]) 09:51, 26 November 2020 (UTC)&lt;br /&gt;
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1996年沃夫在他的文章《道家的边缘主义》中将边缘主义描绘为一种美学，这种边缘主义与中国的王充(27 - 97)的怀疑主义传统密切相关。青年时期，鲁迅对文学和社会的影响持乐观态度。但这种乐观很快就消失不见，正如鲁迅在《呐喊》序言中所描述的那样。最后，他对文学能否改变社会产生了怀疑。&lt;br /&gt;
1.故意离题&lt;br /&gt;
1926年，鲁迅在《无常，生命的幽灵》(鲁迅1926b)一文中改变了他对同时代的陈西滢的评判。在《24孝图》(鲁迅1926a)中，他反对“打倒白话”的口号。鲁迅在这里使用回忆性和自传体散文来呼吁白话的日常和政治的价值.--[[User:Wen Xiaoyi|Wen Xiaoyi]] ([[User talk:Wen Xiaoyi|talk]]) 05:10, 29 November 2020 (UTC)&lt;br /&gt;
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==Wen Xiaoyi 文晓艺==&lt;br /&gt;
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2, not targeted digression&lt;br /&gt;
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In May 1927, Lu Xun starts his “Morning Blossoms Picked at Dusk - Afterword,” continues to write it until July 11 (Lu Xun 1928b). It becomes a full-length essay, which again describes historiographically the character of the servant of the underworld Huo Wuchang and Si Youfen. &lt;br /&gt;
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3, Marginalism as experiment&lt;br /&gt;
In the essay “What the Youth Should Read” (Lu Xun 1919), the actual essay does not appear in the text body, but in the footnote. On a questionnaire Lu Xun answers the question about recommended literature shortly, that he never paid attention to this and therefore could not recommend anything. But he makes a footnote, where he starts writing freely. The subject of the questionnaire with the essay in the footnote corresponds parodistically to the classical “discussion” of a “subject”.&lt;br /&gt;
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2.非针对性的离题&lt;br /&gt;
从1927年5月开始，鲁迅撰写《朝花夕拾后记》直到7月11日（鲁迅 1928b）。这是一篇长篇散文，其中再次历史性地描述了活无常和死有分这两个来自阴间的人物。 &lt;br /&gt;
3.实验性边际主义&lt;br /&gt;
关于“青年应该读什么”（鲁迅1919），这篇文章没有出现在正文中，而是出现在脚注中。鲁迅在问卷中简要回答了有关推荐文学的问题，他提到自己从未关注过这一问题，因此没有什么可推荐的作品。但是他在脚注里写了一些内容。对于这个文章出现在脚注里的问卷来说，该问卷的主题与经典探讨的主题严重偏离。--[[User:Wen Xiaoyi|Wen Xiaoyi]] ([[User talk:Wen Xiaoyi|talk]]) 04:55, 29 November 2020 (UTC)&lt;br /&gt;
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2.非针对性的离题&lt;br /&gt;
从1927年5月开始，鲁迅撰写《朝花夕拾后记》直到7月11日（鲁迅 1928b）。这一长篇散文再次历史性地描述了黑白无常这两个来自阴间的人物。 &lt;br /&gt;
3.实验性边际主义&lt;br /&gt;
关于“青年应该读什么”（鲁迅1919），这篇文章没有出现在正文中，而是出现在脚注中。鲁迅在问卷中简要回答了有关推荐文学的问题，他提到自己从未关注过这一问题，因此没有什么可推荐的作品。但是他在脚注里写了一些内容。对于在这篇文章脚注中出现问卷，其主题与经典探讨的主题出现了严重偏离。&lt;br /&gt;
--[[User:Weiyafei|Weiyafei]] ([[User talk:Weiyafei|talk]]) 09:10, 29 November 2020 (UTC)Wei yafei&lt;br /&gt;
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==Wu Kai 吴恺==&lt;br /&gt;
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4, Marginalismus for its own sake with sociocritical side blows&lt;br /&gt;
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In 1924, Lu Xun writes the consciously trivial essay “My Moustache” (Lu Xun 1924). In this essay, he makes fun of the things, other people are interpreting into the shape of his moustache. After that, he writes the even more trivial essay “From the Moustache to the Teeth” (Lu Xun 1925a), where he mocks about the fact, that the readers are reproaching him with banality.&lt;br /&gt;
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5, Marginalism as understatement with surprising effect&lt;br /&gt;
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Montaigne, too, consciously introduces his essays with understatement. Lu Xun wraps explosive contents into essays, which are titled with marginal headers: In the essay “Idle Thoughts at the End of Spring” he compares the paralyzing effect of Confucianism with the poison of a dangerous wasp (Lu Xun 1925b).&lt;br /&gt;
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4、社会批判的一面打击了边缘主义&lt;br /&gt;
&lt;br /&gt;
1924年，鲁迅写了一篇自觉琐碎的散文《我的胡子》（鲁迅1924）。在这篇文章中，他调侃的事情，别人都在解读成他的胡子形状。在那之后，他写了一篇更为琐碎的文章《从胡子到牙齿》（鲁迅1925a），他嘲笑读者指责他平庸的事实。&lt;br /&gt;
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5、边缘主义是一种效果惊人的轻描淡写&lt;br /&gt;
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蒙田也有意识地低调地介绍他的文章。鲁迅把爆炸性的内容包装成随笔，这些文章的标题是边缘标题：在《春末闲思》一文中，他把儒家思想的麻痹作用比作危险黄蜂的毒药（鲁迅1925b）。--[[User:Wu Kai|Wu Kai]] ([[User talk:Wu Kai|talk]]) 11:39, 27 November 2020 (UTC)&lt;br /&gt;
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4、边缘主义本身就带有社会批判的一面&lt;br /&gt;
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1924年，鲁迅写了一篇自觉琐碎的散文《我的胡子》（鲁迅1924）。在这篇文章中，他取笑的事情，别人都解读成他的胡子形状。在那之后，他写了一篇更为琐碎的文章《从胡子到牙齿》（鲁迅1925a），他嘲笑读者指责他平庸的事实。&lt;br /&gt;
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5、边缘主义是效果惊人的轻描淡写&lt;br /&gt;
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蒙田也有意识地低调地介绍他的文章。鲁迅把爆炸性的内容包装成随笔，这些文章的标题是边缘标题：在《春末闲思》一文中，他把儒家思想的麻痹作用比作危险黄蜂的毒药（鲁迅1925b）。--[[User:Blank|Blank]] ([[User talk:Blank|talk]]) 06:14, 28 November 2020 (UTC)&lt;br /&gt;
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==Wu Qi 吴琪==&lt;br /&gt;
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In “Casual Remarks under the Shine of a Lamp” he assumes the Chinese people, that they wanted to be slaves forever, in history as well as in the future (Lu Xun 1925c). In the autobiographical essay “Lightweight Reminiscences” he explains his decision to go to study in Japan (Lu Xun 1926c).&lt;br /&gt;
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Another example for the awareness of the origin of the essay is Qian Zhongshu's essay collection ''Marginalia of Life'', Shanghai 1941. In it, Qian mocks about human failures, like hypocrisy, humorlessness and groups of people like guards of morality, charlatans, literary reviewers, etc. (see Ba Ping, 1168 - 1173).&lt;br /&gt;
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'''Questioning the genuiness of the Chinese essay'''&lt;br /&gt;
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在《灯光下的随评》中，他认为不论是过去还是将来，中国人都想成为永远的奴隶。在自传体散文《无关紧要的回忆》中，鲁迅表明他决意去日本学习。散文起源认识的另一例子是1941年钱锺书在上海发表的“围城”散文集。文中，他嘲讽人类的失败，比如伪善，缺乏幽默感，以及一群如道德卫士，江湖骗子和文学评论员等的人。--[[User:Wu Qi|Wu Qi]] ([[User talk:Wu Qi|talk]]) 09:45, 26 November 2020 (UTC)&lt;br /&gt;
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在《灯光下的随评》中，他认为中国人想成为永远的奴隶，不论是在过去还是在未来(Lu Xun 1925c)。在自传体散文《轻量回忆》中，鲁迅表明他决意去日本学习(Lu Xun 1926c)。关于这种意识的起源在文章中的体现，另一例子是1941年钱锺书在上海发表的散文集《写在人生边上》。文中，他嘲讽人类的失败，如伪善，缺乏幽默感，以及一群人如道德卫士、江湖骗子、文学批评家等等。(see Ba Ping, 1168 - 1173) 质疑中文文章的真实性--[[User:Jiang Qiwei|Jiang Qiwei]] ([[User talk:Jiang Qiwei|talk]]) 02:24, 27 November 2020 (UTC)&lt;br /&gt;
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==Wu Qiong 吴琼==&lt;br /&gt;
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To solve the dispute on whether the Chinese essay grew out of a native tradition or was influenced by Western translations, one finds both traditions relevant: The occidental essay was introduced to the writers of the literature reform movement from 1907 on by translations in Chinese (Washington Irving's essays by Lin Shu 1907, Joseph Addison's by Ma/Gan 1911). The current form of the genre is mostly based on the influence of Western essay translations (for Chinese translations of English essays in the 1980s and 1990s see appendix). First developed a Chinese essay tradition, which consciously leaned upon the Western model in language, form and terminology, its own proponents succumbed soon to the temptation to derive a tradition of the Chinese essay from Chinese history only.&lt;br /&gt;
&lt;br /&gt;
为了解决有关中国文论是起源于本土传统还是受西方翻译影响的争议，人们认为这两种传统有相通之处：从1907年开始，西方翻译就通过中文翻译引入文学改革运动的作家们的文论，（1907年林纾翻译的华盛顿欧文的文论，1911年马/甘翻译的约瑟夫·艾迪生的文论）。 该类型的当前形式主要是基于西方文论翻译的影响（有关20世纪80年代和90年代英语论文的中文翻译，请参见附录）。 首先发展了中国散文传统，有意识地在语言，形式和术语上依赖西方模式，其拥护者很快屈从于仅从中国历史中继承中国文论传统的诱惑。--[[User:WuQiong|WuQiong]] ([[User talk:WuQiong|talk]]) 01:00, 27 November 2020 (UTC)&lt;br /&gt;
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==Wu Xiang 邬香==&lt;br /&gt;
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A seemingly unbroken Chinese tradition of the native Chinese ''wenyan sanwen'' is presented in Chinese textbooks (Yu Zaichun 1978-82, Li Xishang 1985).&lt;br /&gt;
Still, the value of the native tradition of essay writing and the role of the Western influence upon it is discussed controversially among the scholars.  Some admit that Western impact played a key role in what we understand as Chinese essays nowadays: Wang Bin  1992, Fan Peisong 1993; for Western impact in general see Pršek 1964, Gálik 1966, McDougall 1971.  Other scholars think that Western influence is overestimated - Denton 1996 showed that the theoretical background was missing for understanding Western theories of literature in China, - and recommended that we understand the essay first by its national tradition.&lt;br /&gt;
&lt;br /&gt;
中国教科书中出现了一种看似无法打破“文言散文”的中国传统（于在春，1978至1982年，李喜尚1985年）。中国学者对中国传统散文写作的价值和西方对其影响仍有争议。一些人承认西方的影响对当今我们理解中国散文十分重要。（王斌，1992年,范培松，1993年；西方的总体影响参考普罗西克，1964年，盖利克，1966年，麦克杜格尔1971年）。其他学者认为西方的影响被高估了。1996年丹顿表明中国缺少理解西方文学理论的理论背景，建议我们首先按照本国传统理解散文。--[[User:Wu Xiang|Wu Xiang]] ([[User talk:Wu Xiang|talk]]) 11:49, 28 November 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
汉语教科书中出现了一种看似完整的“文言散文”中国传统（于再春，1978至1982年，李喜尚1985年）。然而，学者们对中国传统散文的价值以及西方对其影响仍有争议。有些人承认，西方的影响在我们现在所理解的中国散文中十分关键。(王斌,1992年，范培松，1993年；西方的总体影响参考普罗西克，1964年，盖利克，1966年，麦克杜格尔1971年）也有学者认为西方的影响被高估了。在1996年，丹顿指出，中国缺少理解西方文学的理论背景，并建议我们首先基于民族传统来理解散文。--[[User:Wang Meiling|Wang Meiling]] ([[User talk:Wang Meiling|talk]]) 13:55, 29 November 2020 (UTC)&lt;br /&gt;
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==Wu Yilu 吴一露==&lt;br /&gt;
&lt;br /&gt;
Later, some of these authors changed their minds to support their own theories on the essay by looking for proof of a native Chinese essay tradition: for example, Lu Xun with his theory “'Zhankai' shuo yu 'mengya' lun “展開”說與“萌芽”論” (Theory of “Starting” and “Blossoming”) came to see the fighting and critical character of the essay of the Jin Dynasty (265-420) as the 'father' of the Chinese essay, and Zhou Zuoren first the English essay (1921) and later the biji (occasional notes) of the Ming, although he still tried to integrate the English essay in his “Gonganpai yu Yingguo xiaopin 'hecheng' lun 公安派與英國小品“合 成”論” (Theory of the Synthesis of the Gongan School and the Engli¬sh Essay).&lt;br /&gt;
&lt;br /&gt;
后来，其中有些作家转变了自己的想法，他们通过寻找中国本土散文传统的证据，来支持散文中本人的理论：比如，鲁迅及其理论——“展开”说与”萌芽“论——视金朝（265-420）散文中的斗争性和批判性特征为中国“散文之父”；另外，周作人首先研究英国散文（1921），随后研究明朝笔记，但是他仍然尝试将英国散文融入自己公安派与“英国小说‘合成’论”之中。--[[User:Wu Yilu|Wu Yilu]] ([[User talk:Wu Yilu|talk]]) 07:31, 28 November 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
后来，其中有些作家改变了自己的想法，他们通过寻找一种中国本土散文传统的证据，来支撑自己的散文理论：比如，在鲁迅及其“展开说”与“萌芽论”中，将金朝（265-420）散文中的斗争性和批判性特征视为中国“散文之父”；另外，周作人首先研究英国散文（1921），随后研究明朝笔记，尽管他仍然尝试将英国散文融入自己公安派与英国小品“合成”论中。--[[User:Xu Jing2|Xu Jing2]] ([[User talk:Xu Jing2|talk]]) 12:32, 28 November 2020 (UTC)&lt;br /&gt;
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==Wu Zijia 吴子佳==&lt;br /&gt;
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How far personal opinion may influence the narrative of historical facts can be seen by the example of the legendary authors of the May Fourth movement.  All of them considered the English essay as the father of the Chinese essay: Zhou Zuoren 1921, Lu Xun 1934, the anarchist and later member of the Guomindang Wu Zhihui [1932].&lt;br /&gt;
&lt;br /&gt;
Wang Zengqi in 1993 regrets that the national Chinese tradition of the essay at the time of the 'May Fourth Movement' has not been taken up again and has not continued in contemporary essays. The Chinese essay is an accommodating object of study, because one may look to it to prove any theory of the essay.  One can find examples for each topic in almost every period, simply because the essay has a wide range of subjects.&lt;br /&gt;
&lt;br /&gt;
五四运动时期的许多作家都可以被称为传奇，他们演绎着个人的观点对叙述史实有多大的影响。所以作家都认为英文文章是中文文章的鼻祖：周作人，1921，鲁迅，1934，无政府主义者以及后来的国民党吴稚晖（1932）。&lt;br /&gt;
&lt;br /&gt;
汪曾祺1993年写到他感到很遗憾五四运动时期文学作品里的中国传统文化没有留下，当代文学作品中也没有体现，中国文学主要是用来学习的，人们主要是通过查阅其来证明其中的理论。你可以找到每一时期每个话题的例子，因为文章海纳百川。--[[User:Wu Zijia|Wu Zijia]] ([[User talk:Wu Zijia|talk]]) 09:30, 27 November 2020 (UTC)Wu Zijia&lt;br /&gt;
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五四运动时期的传奇作家可以告诉我们个人观点对史实阐述而产生的影响有多大。这些作家都认为英国散文是中国散文的鼻祖：周作人，1921，鲁迅，1934，无政府主义者以及后来的国民党吴稚晖（1932）。&lt;br /&gt;
&lt;br /&gt;
汪曾祺1993年写到他感到很遗憾，在五四运动时期文学作品中中国传统文化没有占据一席之地，在当代文学作品中也没有得到传承。中国文学适合用来学习研究，因为人们可以通过查阅来证明文章中的理论。正是因为文章海纳百川，所以你可以找到任何时期任何话题的范例。--[[User:Wu Yilu|Wu Yilu]] ([[User talk:Wu Yilu|talk]]) 07:45, 28 November 2020 (UTC)&lt;br /&gt;
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==Xiao Shuangling 肖双玲==&lt;br /&gt;
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'''Formation of Modern Subjectivity and Essay:''' &lt;br /&gt;
&lt;br /&gt;
'''Zhou Shoujuan’s  “In the Nine-Flower Curtain”'''&lt;br /&gt;
&lt;br /&gt;
'''Jianhua Chen'''&lt;br /&gt;
&lt;br /&gt;
'''Abstract'''&lt;br /&gt;
&lt;br /&gt;
How to define the modern Chinese essay? Is it modern because of using ''baihua''? Does it start from its naming of ''sanwen''? While scholars identified its origins with May Fourth literature, the complicated trends of literary modernity in the first two decades of the 20th century was neglected. Relating Zhou Shoujuan, a major figure in the Mandarin Ducks and Butterflies school, to his contribution to the formation of modern Chinese essay has to encounter the problems of literary canons in modern China. &lt;br /&gt;
&lt;br /&gt;
Zhou Shoujuan’s “In the Nine-Flower Curtain” (''Jiuhua zhang li'') reveals that this 1917 vernacular “pillow talk” (''qinghua'') in the wedding night came out of chaotic conditions of literary genre before the generic system of poetry, fiction, prose, and drama is established in the May Fourth period.&lt;br /&gt;
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如何界定现代汉语散文?是因为使用了“百花”才变得现代吗?它是从“三文”的名字开始的吗?虽然学者们将其根源归结为五四文学，但20世纪头20年文学现代性的复杂趋势却被忽视了。把鸳鸯蝴蝶派的主要人物周瘦娟与他对中国现代散文形成的贡献联系起来，必然会遇到中国现代文学经典的问题。&lt;br /&gt;
&lt;br /&gt;
周瘦娟的《九花帘》揭示了这段1917年《新婚之夜》中的白话“枕边话”（“清华”）是在“五四”时期诗歌、小说、散文、戏剧的通俗体系建立之前，从文学体裁的混乱状态中走出来的。--[[User:Xiao Shuangling|Xiao Shuangling]] ([[User talk:Xiao Shuangling|talk]]) 11:01, 26 November 2020 (UTC)Xiao Shuangling&lt;br /&gt;
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如何界定中国现代散文?是因为使用了“白话”才成为现代散文吗?“散文”这一名字出现就有了现代散文吗?当学者们将其根源归结于五四文学，便忽视了20世纪前20年文学现代化的复杂趋势。鸳鸯蝴蝶派的重要人物周瘦娟对中国现代散文的形成作出了重要贡献，但仍面临着现代中国文学经典的问题。&lt;br /&gt;
周寿鹃的《九花帐里》揭示了在五四时期诗歌、小说、散文、戏剧等整体体系尚未建立之前，1917年出版的《新婚夜》中的白话“情话”是在文学体裁混乱的情况下产生的。--[[User:Yang Yi|Yang Yi]] ([[User talk:Yang Yi|talk]]) 12:56, 26 November 2020 (UTC)&lt;br /&gt;
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==Xiao Ting 肖婷==&lt;br /&gt;
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Obsessed with first person narratives it hybridizes diary, love-letter, autobiography, and journalist reportage. I will argue that this Butterflies obsession with subjective genres in the early 20th-century lays a foundation for the growth of modern Chinese essay. &lt;br /&gt;
&lt;br /&gt;
The theatrical devices used in this work create a double self in the narrative space - the self as a performer and the self in the beholders’ gaze. This paper emphasizes that the rhetoric of theatricality is indebted to the repertoires of traditional poetry and drama, which become unavailable when the New Literature triumphs in the 1920s. &lt;br /&gt;
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Furthermore, I will elaborate how the theatricality helps to construct an early Republican subjectivity based on the divisions between the individual, family and nation-building.&lt;br /&gt;
&lt;br /&gt;
痴迷于第一人称叙事，它杂糅了日记、情书、自传和记者报道。我将认为，《蝴蝶》在20世纪初对主观文体的这种痴迷，为中国现代散文的成长奠定了基础。&lt;br /&gt;
这部作品所使用的戏剧手段在叙事空间中创造了一个双重的自我--作为表演者的自我和观看者目光中的自我。本文强调，戏剧性的修辞是依赖于传统诗歌和戏剧的剧目，而当新文学在20世纪20年代取得胜利时，这些剧目就变得不可用了。&lt;br /&gt;
此外，我还将阐述戏剧性如何帮助建构一种基于个人、家庭和国家建设之间划分的早期民国主体性。--[[User:Xiao Ting|Xiao Ting]] ([[User talk:Xiao Ting|talk]]) 11:10, 26 November 2020 (UTC)Xiao Ting&lt;br /&gt;
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由于痴迷于第一人称的叙述，它混合了日记，情诗，自传和新闻报道这些体裁。我认为 20世纪初对《蝴蝶》这种主观体裁的痴迷为中国现代散文打下了基础。&lt;br /&gt;
作品中的戏剧手段在叙述空间中创造出了双重自我- 身为表演者的自我和旁观者眼中的自我。本文强调戏剧性的修辞得益于传统诗歌和戏剧，当20世纪20年代新文学成为主流时传统诗歌和戏剧就退出了舞台。&lt;br /&gt;
此外，我将阐述戏剧性如何帮助建立一种基于个人、家庭和国家建设划分之上的早期的民国主体性。 --[[User:Xu Mengdie|Xu Mengdie]] ([[User talk:Xu Mengdie|talk]]) 07:44, 27 November 2020 (UTC)Xu Mengdie&lt;br /&gt;
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==Xiao Xi 肖茜==&lt;br /&gt;
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''Twilight is that moment of the day that foreshadows''&lt;br /&gt;
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''the night of forgetting, but that seems to slow time itself,''&lt;br /&gt;
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''an in-between state in which the last light of the day may''&lt;br /&gt;
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''still play out its ultimate marvels.'' &lt;br /&gt;
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Andreas Huyssen. ''Twilight Memories''&lt;br /&gt;
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By way of tackling the origins of modern Chinese ''sanwen'', this paper opens up a zone of “twilight memories” of literary modernity early in the twentieth century, which has recently haunted the field of modern Chinese literature. In terms of modern Chinese ''essay'' or ''prose'', how do we define this genre? Is it modern because it uses ''baihua''? Does its ''modern'' start from being called ''sanwen''? How was the May Fourth generic system established? And what were its consequences to literary history? &lt;br /&gt;
&lt;br /&gt;
Andreas Huyssen, Twilight Memories: Making Time in a Culture of Amnesia (New York and London: Routledge, 1995) 3（文献 无需翻译）&lt;br /&gt;
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Since the 1980s, searching for Chinese literary modernities other than May Fourth have continued with rigor. In this vital current of scholarly reflections on Chinese literary modernities, prominent are Milena Dolezelova-Velingerova’s emphasis on late Qing origins of modern Chinese literature (“The Origins of Modern Chinese Literature,” in Merle Goldman, ed., Modern Chinese Literature in the May Fourth Era (Cambridge and Mass.: Harvard University Press 1977) 17-36; The Turn of the Century Novel (Toronto University Press, 1981), Perry Link’s path-breaking study of the Mandarin ducks and Butterflies fiction (Mandarin Ducks and Butterflies: Popular Fiction in Early Twentieth Century China (Berkeley: University of California Press, 1981)), Liu Ts’un-yan’s advocacy of “Middle-blow Fiction” (Chinese Middle-blow Fiction: From the Ch’ing and Early Republican Era (Hong Kong: The Chinese University, 1984)), and recently David Wang’s exciting and sophisticate interpretation of late 19th-century novels (Fin-de-Siecle Splendor: Repressed Modernities of Late Qing Fiction, 1848-1911 (Stanford: Stanford University Press, 1997)). In a larger context, approximately in the same period, this basically north American academia has interacted the rapidly changed literary criticism in China - from the theories and practices of “rewriting literary history” with a revision of “twentieth-century Chinese literature” (Chen Guoqiu, ed., Zhongguo wenxueshi de xingsi (Reflections on the history of Chinese literature) (Hong Kong: Sanlian shudian, 1993).（文献，无需翻译）&lt;br /&gt;
&lt;br /&gt;
“黄昏是一天中有预兆的时刻”&lt;br /&gt;
“遗忘之夜，却似乎延缓了时间本身，”&lt;br /&gt;
“一种中间的状态，在这种状态下，可能是白天的最后一丝阳光”&lt;br /&gt;
“仍在上演它的终极奇迹。”&lt;br /&gt;
Andreas Huyssen。&lt;br /&gt;
《暮光之城》的记忆”&lt;br /&gt;
本文通过对中国现代“散文”起源的探究，开辟了20世纪初文学现代性的“朦胧记忆”区，这一“朦胧记忆”区最近一直困扰着中国现代文学领域。从现代汉语的“文章”或“散文”来看，我们如何定义这一体裁?它之所以现代是因为它使用了“白话”吗?它的“现代”是从被称为“散文”开始的吗?五四通用制度是如何建立的?它对文学史的影响是什么?&lt;br /&gt;
自20世纪80年代以来，对“五四”以外的中国文学现代性的探索一直在继续。&lt;br /&gt;
在对中国文学现代性的学术反思中，最突出的是Milena Dolezelova-Velingerova对晚清中国现代文学起源的强调(“现代中国文学的起源”，Merle Goldman, ed.，《五四时期的现代中国文学》17-36;世纪之交的小说，Perry Link对鸳鸯蝴蝶小说的开创性研究(《鸳鸯蝴蝶:二十世纪初中国的通俗小说》)，刘子彦对“中庸小说”的倡导，以及最近王大卫对19世纪晚期小说的激动人心的、复杂的解读。在一个更大的背景下，大约在同一时期，这一基本上是北美的学术界从“重写文学史”的理论和实践与《二十世纪中国文学》(陈国秋主编，《中国文学》)的修订，相互影响了迅速变化的中国文学批评。--[[User:XiaoXi|XiaoXi]] ([[User talk:XiaoXi|talk]]) 08:29, 27 November 2020 (UTC)Xiao Xi&lt;br /&gt;
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==Xiao Yining 肖伊宁==&lt;br /&gt;
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With these questions, our inquiry into the formation of modern sanwen is inevitably engaged with a process of canon formation, and perhaps this is the appropriate genre by which we can trace the birth of modern subjectivity. In analyiss of Zhou Shoujuan’s (1894-1968) “In the Nine-Flower Curtain” (Jiuhua zhang li), a vernacular autobiographical fiction published in 1917, I will reveal no more than a historical chaos of literature in which a subjectivity was constructed with complex strands in fusion and contestation. This subjectivity owed much to first person narratives Zhou had intensely experimented in his earlier writings; its double voice was not only helped by the traditional theatricality and poetics, but also linked to the modern spatial perception of cinematic representation.&lt;br /&gt;
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有了这些问题，我们对现代散文形成的探究就必然涉及到一个经典形成的过程，也许这正是我们追溯现代主体性诞生的合适体裁。通过对周寿娟（1894-1968）1917年出版的白话自传体小说《九花帘幕》的分析，我将揭示一场文学的历史混沌，在这种混沌中，用融合和争鸣的复杂线索建构了一种主体性。这种主观性在很大程度上得益于周作人在早期作品中所做的大量实验，它的双重声音不仅得益于传统的戏剧性和诗学，而且与现代电影表现的空间感知有关。--[[User:Xiao yining|Xiao yining]] ([[User talk:Xiao yining|talk]]) 07:57, 26 November 2020 (UTC)Xiao Yining&lt;br /&gt;
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随着这些问题的出现，我们对现代散文形成的探究就必然涉及到一个经典形成的过程，也许这正是我们追溯现代主体性诞生的合适体裁。通过对周瘦娟（1894-1968）1917年出版的白话自传体小说《九花帘幕》的分析，我将揭示的不过是一场文学的历史混乱，在这种混乱中，主体性是由复杂的线在融合和争鸣中建构起来的。这种主观性在很大程度上得益于周作人在早期作品中所做的大量实验，它的双重声音不仅得益于传统的戏剧性和诗学，而且与现代电影表现的空间感知有关。--[[User:Xiao Shuangling|Xiao Shuangling]] ([[User talk:Xiao Shuangling|talk]]) 11:27, 26 November 2020 (UTC)Xiao Shuangling&lt;br /&gt;
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==Xie Fan 解帆==&lt;br /&gt;
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To set the terms from the outset, the ''sanwen'' will be treated historically as a canonical category grown out of the May Fourth literature. The term ''xiaoshuo'' (fiction, small talk) by which Zhou’s work was categorized will also be historicized. Immune from the modern generic system, it was transitionally intertwined with prose, fiction, drama, and other subgenres in the repertoire of traditional literature. My analysis of the work in question aims at revealing literary modernity of the period in its own terms, rather than redeem Zhou, a key figure of the so-called “Mandarin Ducks and Butterflies school” (''Yuanyang hudie pai''), for his contribution to the birth of modern essay. Nor will I provide a generic definition of modern essay other than open up a new terrain to inquire different genealogies of literary modernity.&lt;br /&gt;
&lt;br /&gt;
从一开始“三文”就是一个从五四文学中衍生出来的经典范畴，用于历史研究。他将“小说”单独归为一类，于是“小说”这一词(小说、闲谈)也成为了历史。它不受现代通用体系的影响，与散文、小说、戏剧以及传统文学剧目中的其他子体裁交织在一起。我对这部作品的分析，只是为了揭示那个时期文学的现代性，而不是为了补偿他。他是一个所谓的“鸳鸯蝴蝶派”的关键人物，因为他对现代散文的诞生做出了贡献。我不会提供一个现代散文的一般定义，只会为文学现代性的不同谱系的探究开辟一个新的领域。--[[User:XieFan|XieFan]] ([[User talk:XieFan|talk]]) 05:26, 30 November 2020 (UTC)&lt;br /&gt;
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==Xie Ziyi 谢子熠==&lt;br /&gt;
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'''Literary Modernization: Generic and Canonical'''&lt;br /&gt;
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One of the spectacles in the literary arena of late 1990s China was the revival of the Mandarin Ducks and Butterflies (hereafter Butterfly) literature. Along with countless reprints of Butterfly fiction commercially catering to the post-socialist urban readers, there were sympathetic academic reappraisals that apparently challenged the May Fourth canon.   Since the 1980s, the rapidly changed landscape of literary criticism marked a transformation of the critical codes from “revolutionary literature” to “literary modernity.” “Pure literature” (''chun wenxue''), a core value of literary modernity, was  developed by a new generation of literary critics and academics and was ambiguously engaged with the post-socialist conditions: on the one hand, literary criticism was academically institutionalized and practiced with certain intellectual authorities; on the other hand, the “pure literature” was suspicious of its modernist poetics which implied a subversive force to the status quo.&lt;br /&gt;
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In recent few years around a dozen of scholarly-edited series of Butterfly literature appeared, not to mention other numerous compilations for commercial purpose. To mention a few: Fan Boqun, ed., Zhongguo jin xiandai tongsu zuojia pingzhuan congshu (Nanjing: Nanjing chubanshe, 1994); Fan Boqun and Fan Zijiang, eds., Yuanyang hudie-Libailiu pai jingdian xiaoshuo wenku (Nanjing: Jiangsu wenyi chubanshe, 1996); Wei Shaochang, ed., Yuanyang hudie pai libai liu xiaoshuo. (Tianjin: Chunfeng wenyi chubanshe, 1997); Yu Runqi, ed., Qingmo minchu xiaoshuo shuxi (Beijing: Zhongguo wenlian chuban gongsi, 1997). （文献，无需翻译）&lt;br /&gt;
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1990年代后期中国文学舞台上的奇观之一是文华鸭和蝴蝶（以下简称蝴蝶）文学的复兴。除了无数版的《蝴蝶小说》在商业上迎合后社会主义都市读者的小说外，还有一些富有同情心的学术评估显然挑战了“五四”教规。自1980年代以来，文学批评的格局迅速变化，标志着批判密码从“革命文学”到“文学现代性”的转变。作为文学现代性的核心价值的“纯文学”（“纯文学”）是由新一代的文学评论家和学者开发的，并与后社会主义的环境am昧地联系在一起：一方面，文学批评是在学术上制度化并在某些智力权威上实践；另一方面，“纯文学”怀疑它的现代主义诗学，这暗示着对现状的颠覆力量。&lt;br /&gt;
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在最近几年中，出现了大约十二本经过学术界编辑的蝴蝶文学系列，更不用说其他许多用于商业目的的汇编了。仅举几例：范伯群主编，《中国近代通俗作》《平传丛书》（南京：南京市出版社，1994）；范伯群和范子江，主编，《 yang阳呼迪-李白柳排经编小说说文库》（南京：江苏文艺出版社，1996）。魏绍昌主编，Yuan阳护蝶派立派刘小硕。 （天津：春风文艺出版社，1997）；于润奇编，《清末民初小说集》（北京：中国文联出版公司，1997）。--[[User:Ishikami|Ishikami]] ([[User talk:Ishikami|talk]]) 11:47, 28 November 2020 (UTC)&lt;br /&gt;
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二十世纪九十年代末中国文坛的一个奇观是鸳鸯蝴蝶（以下简称蝴蝶）文学的复兴。为了迎合后社会主义城市读者的需求，蝴蝶派小说进行了无数次的再版，还有一些富有同情心的读者也对此重新做出评价，这显然是对五四文学主义发起了挑战。20世纪80年代以来，迅速变化的文学批评格局标志着批判原则从 &amp;quot;革命文学 &amp;quot;转变为 &amp;quot;文学现代性 &amp;quot;。&amp;quot;纯文学&amp;quot;作为文学现代性的核心价值，是由新一代文学批评家和学者发展起来的，并与后社会主义条件下的文学批评进行了暧昧的交锋：一方面，文学批评在学术上被制度化，并由某些权威学者实行；另一方面，&amp;quot;纯文学 &amp;quot;对其现代主义诗学持怀疑态度，意味着它具有对现状的颠覆性力量。[[User:Xu Jia|Xu Jia]] ([[User talk:Xu Jia|talk]]) 12:46, 29 November 2020 (UTC)Xu Jia&lt;br /&gt;
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==Xu Jia 徐佳==&lt;br /&gt;
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Today, the difference between May Fourth and Butterfly was not discussed in terms of “revolutionary vs. reactionary” or “progressive vs. backward,” but rather in terms of ''ya'' (elitism, elegance) vs. ''su'' (populism, commonality). While the Butterfly scholarship carved out a critical space in the name of “popular,” the price was high: their proteges can only be canonized through the codes of May Fourth literary modernity. If what underlay the literary modernity, - the premises of progressive history or of national literature - remained unquestionable, then Butterflies can only be considered inferior.&lt;br /&gt;
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如今，五四学派与蝴蝶学派之间的区别不在于“革命与反动”或“进步与后退”，而在于“雅”（优雅的精英主义）与“俗”（具有共同性的平民主义）方面的讨论。 蝴蝶奖学金以“大众”的名义开辟了一个批判空间，但其代价是高昂的：他们的庇护者只能通过遵守五四文学现代性的规范来获得推崇。 如果说文学现代性的基础（进步的历史或民族文学的前提）仍然是不容置疑的，那么蝴蝶学者只能屈居下等。--[[User:Xu Jia|Xu Jia]] ([[User talk:Xu Jia|talk]]) 12:15, 29 November 2020 (UTC)Xu Jia&lt;br /&gt;
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==Xu Jing 许晶==&lt;br /&gt;
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For example, in his recent reevaluation of ''Yuanyang hudie pai'', Wei Shaochang, whose pathbreaking bibliography of Butterfly published in the early 1960s made a study of this school possible, affectionately called this term “a beautiful cap” (''meili de maozi''). Yet this metaphor implies a re-justification of the “cap” imposed on it by the May Fourth writers. Accordingly, Wei maintained that even the best Butterfly works, despite their accomplishments, fail to compete with Lu Xun, Mao Dun and other modern literary giants in terms of intellectual and aesthetic qualities. &lt;br /&gt;
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Furthermore, until recently scholarly interests in Butterfly never went beyond fiction.&lt;br /&gt;
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See Wei Shaochang, Wo kan Yuanyang hudie pai (My view of the Mandarin Ducks and Butterflies literature) (Taiwan: Commercial Press, 1992) 1-11. One month ago, the first international conference on Butterfly school was held at Suzhou University, China, and one of its designed events was to celebrate the publication of A History of Modern Chinese Popular Literature, an enormous and enduring project fulfilled by the Chinese department of the host university. With a massive masquerade of Butterfly literature from the late Qing to Republican era (1,500,000 characters), this book boldly claims a new theory that the modern Chinese literature is constituted by a “pair of wings” - May Fourth and Butterfly. In this revision, the literary histories heretofore are invalid since they missed the other half - the popular literature. Thus, a new correct history of modern Chinese literature was called for. Impressively, this theory was unanimously accepted by all the participants, including notable May Fourth scholars Jia Zhifang, Yan Jiayan, and Qian Gurong. 	Nevertheless, this acceptance seemed more theoretical than practical, more sympathetic than critical. The problem remained unsolved and more crucial to the future of Butterfly scholarship: How to evaluate Butterfly in terms of aesthetic values? During the conference, the debates over the term “tongsu” (popular), by which the Butterfly was labeled, revealed certain anxiety. This anxiety had some reason: if Butterfly is limited to the popular, it would be inferior to the “pure literature” (chun wenxue), and, of course, ultimately it would be subject to the elite - May Fourth. In other words, if this popular “wing” is not strong enough, the double wing theory itself would hardly hold. The hidden core of the debates is that the May Fourth canon continues to dominate the field of literary criticism.(文献，无需翻译)&lt;br /&gt;
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例如，早在1960年代初魏绍昌发表了具有开创性的鸳鸯蝴蝶派书目，使这一派别的研究成为可能。最近他对“鸳鸯蝴蝶派”重新进行了评价，将其亲切地称为“美丽的帽子”。然而，这种隐喻却暗示着五四作家对鸳鸯蝴蝶派扣上“帽子”的再一次辩护。因此，魏先生坚称，哪怕是取得成功的最出色的鸳蝶派作品，论才智，论美学，他们都无法与鲁迅，茅盾和其他现代文学巨人媲美。&lt;br /&gt;
此外，到目前为止，人们对鸳蝶派的学术兴趣从未超越小说。--[[User:Xu Jing2|Xu Jing2]] ([[User talk:Xu Jing2|talk]]) 11:10, 28 November 2020 (UTC)&lt;br /&gt;
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==Xu Jing 许静==&lt;br /&gt;
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In 1997, a new claim for Butterfly essay arose when an eight-volume series ''The Compendium of Essays by Mandarin Ducks and Butterflies school'' (Yuanyang hudie pai sanwen daxi) was published. Implicitly, by the term ''daxi'' in the title, this series contended with the May Fourth canon, as it reminded one of the well-known ''Zhongguo xin wenxue daxi'' (The Compendium of Modern Chinese Literature) in ten volumes published in 1935, which became a monumental for the May Fourth literature. In his introduction, Yuan Jin, chief-editor of this ''Compendium of Butterfly Essay'', asserts that prior to the May Fourth period Butterflies had greatly achieved in essay writings. &lt;br /&gt;
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Yuan Jin, Yuanyang hudie pai sanwen daxi: 1909-1949 (Shanghai: Dongfang chuban zhongxin, 1997) 3-4. （文献，无需翻译）&lt;br /&gt;
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1997年，《鸳鸯蝴蝶派文章汇编》（Yuanyang hudie pai sanwen daxi）八卷本丛书出版，蝴蝶文章出现了新的主张。这套丛书在书名中暗含着与五四典籍相抗衡的意思，因为它让人想起了1935年出版的著名的《中国现代文学纲要》十卷本，成为五四文学的不朽之作。这本《蝴蝶散文汇编》的主编袁锦在序言中断言，五四时期之前蝴蝶在散文创作上已经取得了很大的成就。&lt;br /&gt;
袁进，《鸳鸯湖底派三文大义》。1909-1949 (上海：东方楚岸中新，1997) 3-4。--[[User:Xu Jing|Xu Jing]] ([[User talk:Xu Jing|talk]]) 12:37, 29 November 2020 (UTC)&lt;br /&gt;
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==Xu Mengdie 徐梦蝶==&lt;br /&gt;
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Although after the 1920s most of them gradually accepted the new concept of ''sanwen'' used by May Fourth writers, they wrote in both vernacular and classical, and their essays still inherited the traditional literature, specifically the styles of ''xiaopin'' and ''biji''. Emphatic on their thematic and aesthetic characteristics as “representing quotidian life, the private feelings and tastes,” Yuan suggests that the Butterfly essay has its own literary and cultural roots. &lt;br /&gt;
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The ''Compendium of New Literature'' serves a linkage ''par excellence'', for it displays how a canon is formed by defining a genre.&lt;br /&gt;
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尽管在20世纪20年代以后，他们大多数都逐渐接受了五四作家用的“散文”这个新概念，他们既用白话文也用文言文写作，他们的文章仍然继承着传统文学，尤其是“小品”和“笔记”的风格。袁强调这些文章的主题和美学要素“体现着现代生活，私人感情，和品位，”他认为蝴蝶散文的文学性和文化都有着自己的来源。&lt;br /&gt;
《新文学纲要》起着连接伟大作品的作用，它体现了经典是如何通过定义一种文学流派而形成的。--[[User:Xu Mengdie|Xu Mengdie]] ([[User talk:Xu Mengdie|talk]]) 07:29, 27 November 2020 (UTC)Xu Mengdie&lt;br /&gt;
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虽然20世纪20年代以后，他们中的大多数人逐渐接受了“五四”作家有关“散文”的新观念，但他们既用白话文也用文言文写作，他们的文章仍然继承传统文学，特别是“小品”和“笔记”的风格。袁着重指出，《蝴蝶随笔》具有“代表日常生活、私人情感和情趣”的主题和审美特征，并认为《蝴蝶随笔》有其独特的文学和文化根源。《新文学纲要》起着连接“卓越”的作用，因为它展示了经典作品是如何通过定义一种流派而形成的。--[[User:Yuan SHiqi|Yuan SHiqi]] ([[User talk:Yuan SHiqi|talk]]) 05:08, 28 November 2020 (UTC)&lt;br /&gt;
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==Xu Pengfei 许鹏飞==&lt;br /&gt;
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As the view that the form of modern Chinese essay was born from May Fourth literary movement was still prevailing, it is necessary to see how this modern myth was made. At least, a kind of authentic definition of modern essay was explicated by Yu Dafu (1896-1945) and Zhou Zuoren (1885-1968) in their introductions to the ''sanwen'' anthologies they separately compiled for the ''Compendium''.&lt;br /&gt;
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At the time, almost two decades had elapsed since the May Fourth movement. And the New Culture, as incessantly embracing diverse isms from the West on the one hand and tortured by national and intellectual crises on the other, became more ideologically charged and consequently split into antagonistic camps.&lt;br /&gt;
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For example, Fan Peisong. Zhongguo xiandai sanwen shi (A History of Modern Chinese Essay) (Nanjing: Jiangsu jiaoyu chubanshe, 1993) 3. The first sentence: “The history of modern Chinese essay opened its curtain when the May Fourth new cultural movement started.”（文献，无需翻译）&lt;br /&gt;
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有观点任务中国现代散文的形式诞生于五四文学运动，这一观点仍然盛行，该现代迷思是如何产生的值得一看。至少，郁达夫（1896-1945）和周作人（1885-1968）在他们各自为《纲要》编撰的“散文”选集时，于引言部分给予了现代散文一个真正的定义。&lt;br /&gt;
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“五四文学运动是现代中国散文形式的诞生地”这一观点至今仍在流行，该现代迷思是如何产生的值得一看。至少，郁达夫(1896-1945)和周作人(1885-1968)在为《纲要》分别编撰的“三文”选集的引言中，对现代散文的一种真实定义进行了解释。--[[User:Yang Hairong|Yang Hairong]] ([[User talk:Yang Hairong|talk]]) 09:03, 29 November 2020 (UTC)&lt;br /&gt;
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当时，五四运动已经过去了近二十年。新文化运动一方面不断地接受来自西方的各种主义，另一方面又受到民族和知识危机的折磨，更受意识形态的控制，并因此分裂成对立的阵营。--[[User:Xu Pengfei|Xu Pengfei]] ([[User talk:Xu Pengfei|talk]]) 08:26, 26 November 2020 (UTC)Xu Pengfei&lt;br /&gt;
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==Yang Chenting 杨晨婷==&lt;br /&gt;
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As for these invited editors, their relationships (for example, between Hu Shi and Lu Xun, or between Mao Dun and Yu Dafu) were ruined by political arguments, or by personal quarrels and insults. All these, however, did not prevent them from being together to make a new literary myth. It was unlikely that they would return to the old days, yet this tremendous project certainly offered each of them a role of literary master in reshaping the May Fourth history.&lt;br /&gt;
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至于这些被邀请的编辑，他们的关系（如胡适与鲁迅的关系，茅盾与郁达夫的关系），则毁于政治争论，或个人的争吵与侮辱。然而，所有这些，都不妨碍他们在一起创造新的文学神话。他们不可能再回到从前，然而这个巨大的工程无疑给他们每个人提供了作为文学大师重塑五四历史的机会。--[[User:Yang chenting|Yang chenting]] ([[User talk:Yang chenting|talk]]) 07:06, 27 November 2020 (UTC)Yang Chenting&lt;br /&gt;
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至于这些被邀请的编辑，他们的关系(例如胡适和鲁迅的关系，茅顿和郁达夫的关系)被政治争论、个人争吵和侮辱所破坏。然而，这一切并没有阻止他们共同创造一个新的文学神话。他们不太可能回到过去的日子，但这个宏大的计划无疑让他们每个人都成为了重塑五四历史的文学大师。--[[User:XiaoXi|XiaoXi]] ([[User talk:XiaoXi|talk]]) 08:30, 27 November 2020 (UTC)Xiao Xi&lt;br /&gt;
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==Yang Hairong 杨海容==&lt;br /&gt;
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Compromises were necessary, yet, as a matter of fact, the ''Compendium'' cannot be easily assessed as a whole, for all the works included were miscellaneous and conflicted in content and form. As most editors claimed, using ''baihua'' is the hallmark for the new literature, but there was some flaw in their consensus of excluding the Butterfly School and the Shanghai School (''haipai''), for both schools also wrote in ''baihua''; rather, the exclusions implied moral bias against urbanism. It was no wonder that a great collective effort was made to reconstruct the conception of new, which itself was authoritative, at least theoretically, inbred with the ideas of progressive history, humanistic universality, and the utopian future.&lt;br /&gt;
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妥协是必要的，但事实上，《纲要》不能轻易地作为一个整体加以评估，因为所包括的都是杂七杂八的内容，并且在内容和形式上都有冲突。正如大多数编辑所说，使用白话是新文学的标志，但他们在排除蝴蝶派和上海派(haipai)的共识上有一些缺陷，因为这两个派也用白话文写作;相反，这种排除暗含了对城市主义的道德偏见。毫无疑问，人们作出了巨大的集体努力来重建“新”的概念，这个概念本身至少在理论上是权威的，它与进步的历史、人道主义的普遍性和乌托邦的未来相结合。--[[User:Yang Hairong|Yang Hairong]] ([[User talk:Yang Hairong|talk]]) 09:00, 29 November 2020 (UTC)&lt;br /&gt;
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==Yang Hui 阳慧==&lt;br /&gt;
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Thus, traced back to the moment of revolutionary departure, the new literature was portrayed as a myth of rootless origins, a timeless creation, isolated from the past; accordingly, the series presented their self-portraits as literary revolutionaries and cultural iconoclasts. In defining the modern essay, Yu Dafu can hardly figure out where the term ''sanwen'' comes from, left with a vague notion that it probably comes from the translation of the English term “prose.”&lt;br /&gt;
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As Yu stressed in his introduction, the greatest contribution the ''sanwen'' genre makes to May Fourth literature is the free expression of individualism.&lt;br /&gt;
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因此，追溯到革命离开的那一刻，新文学被描绘成一个无根起源的神话，一个与过去隔离的永恒的创造；在此基础上，以文学革命者和文化偶像派的形象展现了他们的自我形象 .在界定现代散文时，郁达夫很难找出“三文”这个词的来源，留下了一个模糊的概念，即它可能来自于英语“散文”这个词的翻译。&lt;br /&gt;
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正如余在导言中强调的那样，“三文”体裁对五四文学的最大贡献就是个人主义的自由表达。--[[User:YangHui|YangHui]] ([[User talk:YangHui|talk]]) 08:55, 26 November 2020 (UTC)&lt;br /&gt;
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因此，追溯到革命离开的那一刻，新文学被描绘成一个无根源的神话，一个与过去隔绝的永恒的创造；因此，这一系列作品呈现了他们作为文学革命者和文化偶像破坏者的自画像。郁达夫在定义现代散文时，很难弄清楚“三文”这个词的来源，只留下一个模糊的概念，认为它可能来自英语“散文”一词的翻译              &lt;br /&gt;
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正如俞正声在引言中所强调的那样，“三文”体裁对五四文学的最大贡献就是个人主义的自由表达。--[[User:Luo Yuqing|Luo Yuqing]] ([[User talk:Luo Yuqing|talk]]) 11:43, 26 November 2020 (UTC)&lt;br /&gt;
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==Yang Yi 杨逸==&lt;br /&gt;
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He is fascinated by this new and independent genre, with its multiple modes of representation and creative linguistic capacities distinct from those of fiction, poetry and drama. It is no accident that as a novelist well known for his autobiographical fiction displaying his sentimental, decadent and masochist personae, Yu believes that the essay should be a kind of self-writing in nature. In the same vein, Zhou Zuoren asserts that the modern essay was born from the linguistic shift from ''wenyan'' to ''baihua'', which of course should be attributed to the May Fourth literary achievement. He also gives the highest credit to this genre for its casualty, fluidity and flexibility - its specific capabilities of expressing the author’s own material and spiritual world.&lt;br /&gt;
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他着迷于这一新的独立的文体，其多样的表现方式和创造性的语言能力不同于小说、诗歌和戏剧。作为一个以表现自己感伤、颓废、受虐倾向的自传体小说而闻名的小说家，自然而然地，郁达夫会认为散文本质上应该是一种自我的书写。周作人同样认为，现代散文是在“文言”向“白话”的语言转换中诞生的，这当然要归功于“五四”的文学成就。他还高度赞扬了这一体裁的随意性、流动性和灵活性——这些特质可以表达出作者的物质和精神世界。--[[User:Yang Yi|Yang Yi]] ([[User talk:Yang Yi|talk]]) 12:11, 26 November 2020 (UTC)&lt;br /&gt;
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他着迷于这一新的独立文体，其具有不同于小说、诗歌和戏剧的多种表现方式和创造性的语言能力。绝非偶然，作为一个以自传体小说表现自己多愁善感、颓废和受虐倾向而著称的小说家，郁达夫认为，散文在本质上应该是一种自我的书写。同样，周作人断言，现代散文诞生于从“文言文”到“白话文”的转变，这当然应该归功于五四文学的成就。他还对这一文体的随意性、流动性和灵活性--表达作者自身物质世界和精神世界的特殊能力给予了最高的评价。--[[User:Xiao Ting|Xiao Ting]] ([[User talk:Xiao Ting|talk]]) 01:42, 27 November 2020 (UTC)Xiao Ting&lt;br /&gt;
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==Yang Yue 杨悦==&lt;br /&gt;
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In exalting the sanwen for its charismatic power, both Zhou and Yu exhibit a kind of anxiety, symbolically related to their status not only as masters of modern essay but, more interestingly, as spokesmen of May Fourth individualism. Their anxiety were charged with different motivation and rhetoric, however, for in the mid-1930s, their political and cultural stands were in stark contrast. More pessimistic to China’s internal and external crises, Zhou retreated from the revolutionary frontier of New Culture and turned to cultural conservatism. On the other hand, Yu was more inclined toward the Left Wing radicalism to redeem himself from his early decadent proclivity.&lt;br /&gt;
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在赞扬散文的魅力时，周作人和郁达夫都表现出一种焦虑，这是由于他们不仅是现代散文大师，更有趣的是，他们是五四个人主义的发言人。 然而，他们的焦虑来源于不同的动机和言辞，因为在20世纪30年代中期，他们的政治和文化立场形成了鲜明的对比。周作人对中国内忧外患更加悲观，因此他从新文化革命的前沿退隐，转向文化保守主义。另一方面，郁达夫为了弥补自己早期的颓废倾向，所以更倾向于左翼激进主义。--[[User:Yang Yue|Yang Yue]] ([[User talk:Yang Yue|talk]]) 01:33, 26 November 2020 (UTC)&lt;br /&gt;
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周瑜在提升三文的魅力时，表现出一种焦虑，象征着他们不仅是现代散文的大师，更有趣的是，他们是五四个人主义的代言人。他们的焦虑带有不同的动机和言辞，但在 1930 年代中期，他们的政治和文化立场形成了鲜明的对比。对中国的内外危机更加悲观的是，周从新文化的革命前沿退缩，转向文化保守主义。另一方面，余更倾向于左翼激进主义，以弥补自己早期的堕落倾向。--[[User:YangHui|YangHui]] ([[User talk:YangHui|talk]]) 08:57, 26 November 2020 (UTC)&lt;br /&gt;
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在赞扬散文的魅力力量时，周和郁都表现出一种焦虑，这象征着他们不仅是现代散文大师，更有趣的是，他们是“五四”个人主义的代言人。然而，他们的焦虑被归咎于不同的动机和言辞，因为在20世纪30年代中期，他们的政治和文化立场形成了鲜明的对比。周对中国内忧外患更加悲观，从新文化革命的前沿退隐，转向文化保守主义。另一方面，为了弥补自己早期的颓废倾向，俞正声更倾向于左翼激进主义。--[[User:Wensixing|Wensixing]] ([[User talk:Wensixing|talk]]) 09:03, 26 November 2020 (UTC)&lt;br /&gt;
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==Yang Ziling 杨子泠==&lt;br /&gt;
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While characterizing the modern essay in social and ideological context, Yu emphasized the essayists’ responsibility to search for a harmony between the individual, nature and society. Moreover, he pointed out that May Fourth writers have endured an intellectual ordeal as they had first embraced the individuality and finally discovered the necessity to connect it to society and collectivity thanks to their moral conscience awakened by the bloody May Thirtieth incident.   In contrast, Zhou showed a strong tendency of aestheticism and nihilism when claiming that he dislikes discussing ''sanwen'' in terms of history, political partisanship or any new isms.&lt;br /&gt;
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在描述社会和意识形态背景下的现代论文的特点时，于强调了论文家在个人，自然与社会之间寻求和谐的责任。 此外，他指出，“五四”作家首先接受了个性，然后由于血腥的“五月三十号”事件唤醒了他们的道德良心，最终发现了将其与社会和集体联系起来的必要性，因此经受了一次智力考验。 相比之下，周声称自己不喜欢在历史，政治党派或任何新思想上讨论“三文”时，表现出强烈的唯美主义和虚无主义倾向。--[[User:Yang Ziling|Yang Ziling]] ([[User talk:Yang Ziling|talk]]) 07:59, 27 November 2020 (UTC)&lt;br /&gt;
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Yu Dafu. “Daoyan,” in Zhongguo xin wenxue daxi - Sanwen er ji (Shanghai: Liangyou tushu chuban gongsi, 1935) 1-19.（文献，无需翻译）&lt;br /&gt;
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在描述社会和意识形态背景下的现代散文的特点时，于强调了散文家在个人、自然与社会之间寻求和谐的责任。 此外，他指出，“五四”作家首先接受了个性，然后由于血腥的“五月三十号”事件唤醒了他们的道德良心，最终发现了将其与社会和集体联系起来的必要性，因此经受了一次智力考验。 相比之下，周声称自己不喜欢在历史，政治党派或任何新思想上讨论“三文”时，表现出强烈的唯美主义和虚无主义倾向。--[[User:Wu Xiang|Wu Xiang]] ([[User talk:Wu Xiang|talk]]) 12:00, 28 November 2020 (UTC)&lt;br /&gt;
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==Yao Cheng 姚诚==&lt;br /&gt;
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Despite their different views, they actually shared the historical perspective in discussing the development and characteristics of modern essay, and neither of them could see beyond their own historical limits. In their reinterpreting the ''new'' literature, the history of form was encoded by the new ideology. First of all, integral with the canonical codes and process, the Compendium definitively presented the modern generic division of ''xiaoshuo'', ''shige'', ''xiju'', and ''sanwen''. Lydia Liu called this four-way division a “self-colonizing project” as these terms were perfectly translatable into “fiction,” “poetry,” “drama,” and “familiar essay,” respectively, in English. Historically, as she pointed out, the canonization of these “translated” norms of literary form radically subverted the classical canon as the legitimate source of meaning for Chinese culture and literature.&lt;br /&gt;
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尽管他们意见分歧，但在讨论现代论文的发展和其特点时，他们历史观点其实一样的，他们都无法超越自己的历史束缚。 在他们重新解释“新”文学时，形式的历史是由新意识形态编码的。 首先，与规范代码和过程集成在一起，该纲要明确地提出了“小说”，“诗歌”，“戏局”和“散文”的现代通用划分。 吕迪亚·刘（Lydia Liu）将此四分方式称为“自我殖民化项目”，因为这些术语完美地翻译成英语中的“小说”，“诗歌”，“戏剧”和“熟悉的论文”。 正如她所指出的那样，从历史上看，对这些文学形式“已译”规范的规范化从根本上颠覆了经典规范作为中国文化和文学意义的合法来源。--[[User:Yao Cheng|Yao Cheng]] ([[User talk:Yao Cheng|talk]]) 09:45, 26 November 2020 (UTC)&lt;br /&gt;
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尽管意见存在分歧，但在讨论现代论文的发展和其特点时，他们历史观点其实一样的，这些文章都无法超越自身的历史束缚。 他们在重新解释“新”文学时指出，形式的历史是由新意识形态编码而成的。 首先，该纲要将规范代码和过程融合在一起，明确地提出了“小说”，“诗歌”，“戏局”和“散文”的现代通用划分。 吕迪亚·刘（Lydia Liu）将这四种方式称为“自我殖民化项目”，这是因为这些术语能完美对应英语中的“小说”，“诗歌”，“戏剧”和“熟悉的论文”。 正如她所指出的那样，从历史上看，对这些文学形式的翻译标准规范化从根本上颠覆了经典规范作为中国文化和文学意义的合法来源。--[[User:Kang Haoyu|Kang Haoyu]] ([[User talk:Kang Haoyu|talk]]) 03:50, 27 November 2020 (UTC)&lt;br /&gt;
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==Yao Jia 姚佳==&lt;br /&gt;
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Both Yu and Zhou took this modernized generic system for granted. The genre of essay, according to Zhou, represents the finest achievement of New Literature thanks to its capacities to represent widest scopes of life and individual emotions and reflections, with multiple, sophisticate techniques and styles, yet it is succeeded lastly compared to fiction and drama. Zhou’s discontent can be heard when he traced the tradition of modern essay back to the late Ming ''xiaopin wen'', a move showing his pro-tradition revision that was arguable within the May Fourth camp.    But he treated ''sanwen'' as an integral part in the system of four genres, and his discussion of formal problems was restricted by this systemic framework.&lt;br /&gt;
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郁达夫和周作人都视这种现代化的通用体系为理所当然。在周看来，散文这种文体代表着新文学的最好成就。因为散文能够以多样的，复杂的技巧和风格体现广阔的生活视野和个人的情感与思考，它最终与小说和戏剧相比也是成功的。周的不满可以从他追溯现代散文传统到晚明时期的小品文的中寻迹。此举表明了他对传统的修正，也引发了五四阵营中的争论。但他将散文视为四种文体体系中的一个重要组成部分，对形式问题的探讨就受到了这一体系框架的制约。--[[User:Yao Jia|Yao Jia]] ([[User talk:Yao Jia|talk]]) 10:55, 26 November 2020 (UTC)&lt;br /&gt;
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郁和周都认为这种现代化的通用体系是理所当然的。 在周看来，散文代表着新文学的最佳成就，这是因为散文能够以多样，复杂的技巧和风格，展现最广泛的生活画面和个人情感和思考，最终与小说和戏剧相比较也是成功的。 周的不满体现在他追溯现代散文的传统至明晚期的“小品文”，此举表明他亲传统的修正，在五四阵营中是有争议的。 但是他将“散文”视为锶中文体系中不可或缺的一部分，他对形式问题的讨论受到这种系统框架的制约。--[[User:Yang Ziling|Yang Ziling]] ([[User talk:Yang Ziling|talk]]) 08:11, 27 November 2020 (UTC)&lt;br /&gt;
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==Yi Huan 易欢==&lt;br /&gt;
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It was with this canon of modernized generic division that both Zhou and Yu described sanwen in rational terms, defining its linguistic and literary features in order to assert its superiority to other genres. This assertion was grounded on the legitimacy of the generic system and ultimately verified the system as a scientific and organic whole. In characterizing ''sanwen''’s representational capacities, Zhou used three terms: narrating, reasoning, and expressing emotions. More elaborate was Yu’s characterization with four terms, each of which was matched with an English equivalent in parenthesis – “description,” “narration,” “exposition,” and “persuasion” or “argumentation.” A slightly variant explication was allowed when he at the same time showed his favor to other categorical terms such as the reasoning, lyricism, description, and narration.&lt;br /&gt;
借由现代化通用体系的这一正典，周和郁都从理性角度来描述散文，定义其语言学与文学特征，以确保散文优越于其他所有体裁。这一断言是基于通用体系的合理性，并且从根本上验证了这一体系是个科学的有机整体。在描述散文的代表性特征时，周用了三个词：“叙述”、“论证”和“表达情感”。而郁则使用了“描绘” &amp;quot;叙述&amp;quot;“说明”和&amp;quot;说理&amp;quot;或&amp;quot;论证&amp;quot;四个词来描绘其特征，更加详尽精致，并且每个词后，在括号里都有其相对等的英文词汇解释。但是郁认为细微不同的阐释也是允许的。以此同时，他也认同其他类别的术语表达，如推理，抒情，描写和记叙。--[[User:Yi Huan|Yi Huan]] ([[User talk:Yi Huan|talk]]) 00:06, 30 November 2020 (UTC)&lt;br /&gt;
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==Yi Zichu 义子楚==&lt;br /&gt;
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Here Zhou’s notion of ''meiwen'' (beautiful essay) invites our special attention as it is involved with his historical speculation of the genre, which nonetheless suggests something else. Citing his published articles in chronological order, Zhou shows how he had tirelessly explored ''sanwen'' as a new form and at the same time elaborated his own theory of the genre. As he says he still cherishes his original idea that essay should be as perfect as ''meiwen'', which he had advocated as early as the late 1910s.   This historical tracing seemed not only to review his insights from the mirror of history, as a matter of fact it aimed at reshaping his politics of “aesthetic essay” in the new cultural situation.&lt;br /&gt;
在这里，周的“美文”（美文）概念引起了我们的特别关注，因为这涉及到他对该类型的历史推测，但仍暗示了其他观点。 周以时间顺序引用了他发表的文章，展示了他如何孜孜不倦地探索三文作为一种新形式，同时阐述了他自己的体裁理论。 正如他所说的那样，他仍然怀着最初的想法，即论文应与《美文》一样完美，他早在1910年代末就倡导了《美文》。 这种历史追溯似乎不仅是从历史的角度回顾他的见解，事实上，其目的是在新的文化形势下重塑他关于“美学论文”的政治。&lt;br /&gt;
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==You Yuting 游雨婷==&lt;br /&gt;
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Nevertheless, Zhou’s historicity in the 1935 introduction might reveal more about his painstaking search for the ideal concept of literature if he had drawn deeper from his memory. As early as 1908, he wrote a long essay, whose importance was manifested by its title “On the Significance and Mission of Writing and the Mistakes in Recent Chinese Literary Criticism” (Lun wenzhang zhi yiyi ji qi shiming, yin ji Zhongguo jinshi lunwen zhi deshi).   It reveals his initial idea of ''meiwen'' as he had already talked about it, yet the fact that it was neglected by Zhou in 1935 might be more revelatory, for in 1908 what he really argued for was the term ''wenzhang'' (literature) rather than ''meiwen''. In other words, the excavation of Zhou’s literary past repressed by himself opens up a zone of “twilight memories” to serve my purpose.&lt;br /&gt;
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然而，如果周能从自己的记忆中汲取更多的话，他在1935年序言中的历史性可能会更多地揭示出他对文学理想的苦苦追寻。早在1908年，他就写了一篇题为《论写作的意义和使命及中国近代文学批评中的错误》的长文，他的重要性就体现在这篇长文上。正如他之前所说，这本书揭示了他对“文学性”的最初想法，但更具有启示性的是，这本书在1935年被周忽视了，因为在1908年，他真正主张的是“文学”一词，而不是“美文”。换句话说，对曾为周所压抑的文学的挖掘，打开了一个“朦胧记忆”的区域，为我的目的服务。--[[User:You Yuting|You Yuting]] ([[User talk:You Yuting|talk]]) 14:24, 27 November 2020 (UTC)&lt;br /&gt;
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然而，如果周能回忆起更多细节的话，他在1935年所作序言中的历史性可能会更多地揭示出他对理想化文学概念的苦苦追寻。早在1908年，他就写了一篇题为《论文章之义以及其使命及中国近代文学批评中的错误》的长文，其重要性正如标题所言。这本书揭示了他对美文的最初想法，但令人惊喜的是，周的这一观点早在1935年提出过，但却未得到重视。因为在1908年，他真正主张的是“文学”一词，而不是“美文”。换句话说，对周树人文学经历的挖掘为我展现了一块“暮光记忆”的区域，对本篇文章的论述大有裨益。--[[User:Zeng Fangyuan|Zeng Fangyuan]] ([[User talk:Zeng Fangyuan|talk]]) 02:07, 28 November 2020 (UTC)&lt;br /&gt;
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==Yu Ni 余妮==&lt;br /&gt;
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The essay shows how he intensely seeks a legitimate idea of literature between the terms of ''wenzhang, wenxue, and xiaoshuo'', or in a sense it epitomizes a battlefield of naming literature at the time. While sharing the contemporary intellectual consensus that literary discourse is one of the most viable medium to reshape national spirit, Zhou attempts to construct a system of literature by glorifying the idea of ''wenzhang'' which he identifies with the Latin word ''literature''. The ideal of wenzhang is embodied by artistic and affectionate expressions in archaic style (no wonder this essay was written in classical language). In order to enthrone his concept of ''wenzhang'' as a kind of new authentic classicism, he annotates the term by deriving from Western literary theories on the one hand, and on the other he combatively denounces other influential terms such as ''wenxue'' or ''xiaoshuo''.&lt;br /&gt;
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本文从文章、文学、小说三个方面表明了他在文学方面的探索。从某种意义上说，这也是当时名为文学的战场的缩影。在认同文学话语是重塑民族精神最可行的媒介之一这一当代知识分子共识的同时，周试图通过美化“Literature”这一拉丁词文学来构建文学体系。理想的文章体现在艺术和深情的表达上（难怪这篇文章是用古典语言写的）。为了使“文章”这一概念成为一种新的正宗古典主义，他一方面借鉴西方文论对“文章”进行注释，另一方面又对“文章”等其他有影响的词进行了有力的抨击，比如“文学”或“小说”。--[[User:Yu Ni|Yu Ni]] ([[User talk:Yu Ni|talk]]) 12:44, 29 November 2020 (UTC)&lt;br /&gt;
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==Yuan Shiqi 袁诗琦==&lt;br /&gt;
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Paradoxically, Zhou criticizes Liang Qichao’s notion of ''xiaoshuo'' for its utilitarian bent, yet he embraces it to such an extent that he equates it with the ''wenzhang'', lest it should be furnished with true sincerity in describing reality so as to move human emotions.   The terms ''sanwen'' and ''meiwen'' do appear, once for each, and yet were casually treated; the former means trivial and lack of aesthetic quality, and the latter is less than a concept.&lt;br /&gt;
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矛盾的是，周批评梁启超“小说”的功利主义倾向，却又欣然接受，甚至将小说与文章相提并论，惟恐文章在描写现实时表现出真诚，从而打动人心。“散文”和“美文”这两个词确实各自出现过一次，但却被随意对待;前者意味着琐碎和缺乏审美品质，后者则称不上是一个概念。--[[User:Yuan SHiqi|Yuan SHiqi]] ([[User talk:Yuan SHiqi|talk]]) 04:54, 28 November 2020 (UTC)&lt;br /&gt;
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矛盾的是，周批评梁启超的“小说”功利主义倾向，但又欣然接受，甚至将其等同于文章，惟恐它在描写现实时表现出真诚，从而打动人心。“散文”和“美文”这两个词确实都出现过一次，但都被随意对待;前者意味着琐碎且缺乏审美品质，后者则算不上是一个概念。--[[User:Zhou Luoping|Zhou Luoping]] ([[User talk:Zhou Luoping|talk]]) 02:14, 29 November 2020 (UTC)&lt;br /&gt;
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Lydia Liu, Translingual Practice: Literature, National Culture, and Translated Modernity China, 1900-1937 (Stanford: Stanford University Press, 1995) 235.&lt;br /&gt;
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Charles A. Laughlin excellently analyzed Zhou Zuoren's advocacy of late Ming xiaopin and its tension within the May Fourth literary theory in his paper &amp;quot;Legacies of Leisure: Late Imperial Influences on the 20th Century Chinese Essay&amp;quot; held at the essay conference in Achern (Germany) in August 25-27, 2000.&lt;br /&gt;
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Zhou Zuoren, “Daoyan”, in Zhongguo xin wenxue daxi, Sanwen yi ji (Shanghai: Liangyou tushu gongsi, 1935) 1-14.&lt;br /&gt;
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Zhou Zuoren, “Lun wenzhang zhi yiyi ji qi shiming, yin ji Zhongguo jinshi lunwen zhi deshi.” In Wang Yunxi, Wu Guoping, and Huang Lin, eds., Zhongguo wenlun xuan, jindai juan (Selections of Chinese literary criticism, The modern period) (Nanjing: Jiangsu wenyi chubanshe, 1996) 689-725.&lt;br /&gt;
（文献无需翻译）&lt;br /&gt;
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==Yuan Tianyi 袁天翼==&lt;br /&gt;
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Obviously, the text, with his idea and style, looked outmoded by 1935. He had lost the battle of naming. The contestation of these terms resulted in the establishment of literary hierarchy consisted by the concepts of ''wenxue'' that meant literature in general sense, and the genres of ''xiaoshuo'' and ''sanwen'' as its major constituents. While forgetting his past as a neo-classicist, Zhou’s memory was effected by the canonical process of modern division of genres. Nevertheless, dimly echoing his early neo-classical vision he rebelled against the literary division while identifying the “beautiful essay” with late Ming ''xiaopin wen'', though in the end he must remain as a modern master essayist, filled with agony and nostalgia.&lt;br /&gt;
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显然，1935年时，再回首他的这篇文章，从思想和风格来看，都已经过时了。周作人已经输掉了这场命名之战。关于这些术语的论战，直接促成了文学分层。而文学分层主要是由“文学”概念构成，并且还主要包含“小说”和“散文”这两个体裁。周作人虽然业已忘却他身为新古典主义作家的过去，不过他的思维还是受到了现代体裁划分的经典过程影响。不过，在用明朝晚期的“小品文”来判别“优美的散文”同时，简单地重复周作人反对文学层次划分的早期新古典主义思想，他也还是满腹悲伤与思乡，哪怕最终他必须捍卫自己现代散文大师的身份。&lt;br /&gt;
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==Yuan Yuchen 袁雨晨==&lt;br /&gt;
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'''Search for New Form and Subject'''&lt;br /&gt;
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While the Poetry Revolution (''shijie geming''), Prose Revolution (''wenjie geming'') and Fiction Revolution (''xiaoshuojie geming''), launched by Liang Qichao from 1899 to 1902, signified that Chinese literature entered the modern epoch, the division of literary genres emerged. The most influential and controversial was the Fiction Revolution, for it was traditionally despised yet directly linked with the mass politics that loomed at the threshold of the century. In his famous essay “On the Relationship Between Fiction and the Government of the People” (Lun xiaoshuo yu qunzhi zhi guanxi), Liang claimed that “fiction is the crowning glory of literature,” and that the “new fiction” should embody a new national soul.   This intellectual subservience to populism was not whimsical, rather the subversion of poetic reign within the hierarchy of traditional genres served a metaphor for the collapse of traditional value system.&lt;br /&gt;
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寻求新形式、新主旨&lt;br /&gt;
梁启超在1899年至1902年发动的诗界革命、文界革命和小说界革命，预示着中国文学开启了现代化的纪元，不同的文学体裁开始出现。小说界革命是影响力最大的，也最受争议，因为它历来受到鄙视，但与降临于世纪之初的群众政治有着直接联系。梁在其著名文章《论小说与群治之关系》中声称“小说是文学的无上光荣”，“新小说”应该体现一种新的民族魂。这对于有民粹主义倾向的知识分子来说，不是在异想天开，相反，它颠覆了诗歌在传统体裁等级制度下的统治地位，象征着传统价值体系的崩塌。--[[User:Yuan Yuchen|Yuan Yuchen]] ([[User talk:Yuan Yuchen|talk]]) 01:32, 28 November 2020 (UTC)&lt;br /&gt;
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寻求新形式、新主旨&lt;br /&gt;
1899年至1902年，梁启超发起的诗界革命、文界革命和小说界革命，预示着中国文学开启了现代化的纪元，开启出现不同的文学体裁。小说界革命是影响力最大的，也最受争议，因为它历来受到鄙视，但与降临于世纪之初的群众政治有着直接联系。梁在其著名文章《论小说与群治之关系》中声称“小说是文学的无上光荣”，“新小说”应该体现一种新的民族魂。这对于有民粹主义倾向的知识分子来说，不是在异想天开，相反，它颠覆了诗歌在传统体裁等级制度下的统治地位，象征着传统价值体系的崩塌。--[[User:Yu Ni|Yu Ni]] ([[User talk:Yu Ni|talk]]) 12:53, 29 November 2020 (UTC)&lt;br /&gt;
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==Zeng Fangyuan 曾芳缘==&lt;br /&gt;
As Ted Huters explicated, the transformation of prose theories in late Qing period resulted in the ascendancy of the status of “writing” (''wen'') that is closer to the modern conception of “literature” (''wenxue'').   Yet, the Fiction Revolution changed the generic course drastically. Widely anticipated for its superiority in mass education, the concept of xiaoshuo was elevated to the ontological level, as important as that of ''wen''. Although the Prose Revolution carried with it the power of “new prose style” (''xin wenti'') invented by Liang himself, it could hardly compete with the Fiction Revolution. While the “new prose style” was limited in its modes of expression, the literary contours were more vibrant with the movement of ''xiaoshuo''. Put it simply, in this period, what determined the formation of modern essay were the theory and practice of ''xiaoshuo'' rather than those of ''wen''.&lt;br /&gt;
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正如胡志德（Ted Huters）所阐明的那样，清末时期的散文理论导致“文”地位的上升，更接近于现代的“文学”概念。然而，小说革命彻底改变了通用路线。由于小说在大众教育的地位显著，小说的概念已提升到本体论的水平，与“文”的地位同等重要。虽然散文革命有梁启超提出的“新文体”，但其地位还是难以与小说革命相媲美。“新文体”在表达方式上受限，但其文学轮廓比小说革命更加鲜明。简而言之，在这个时期，决定现代散文形成的原因是小说理论和实践的出现，而非“文”理论和实践的提出。--[[User:Zeng Fangyuan|Zeng Fangyuan]] ([[User talk:Zeng Fangyuan|talk]]) 14:57, 26 November 2020 (UTC)&lt;br /&gt;
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==Zeng Liang 曾良==&lt;br /&gt;
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As a matter of fact, literary tradition was reinvented by the notion of new fiction. Contrary to Liang’s expectation, ''xin xiaoshuo'' was still entangled with its tradition; selected and combined by new rules, the tradition offered ''new fiction'' possibilities to adopt literary techniques from the West. Perhaps Liang and his followers created this ambiguity, as the ''xiaoshuo'' came from the Japanese translation of Western “fiction” or “novel” and at the same time it was mixed with traditional popular genres of drama and ''tanci'' (musical and performing story-telling). Ironically, while claiming for its capacities to represent the human realms with “complexity, penetration, vividness, and thoroughness” (''quzhe touda, linli jingzhi''), it was also offered with almost a full range of traditional literary genres for choice.&lt;br /&gt;
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实际上，文学传统是由新小说的概念再创的。与梁启超的期望相反，“新小说”仍然与其传统相联系；通过新规则的选择与结合，这一传统为“新小说”提供了接受西方文学技法的可能性。也许梁启超和他的追随者创造了这种模棱两可，因为“小说”来自于日本对西方&amp;quot;fiction“或&amp;quot;novel&amp;quot;的翻译，与此同时，它又混合了传统的流行戏剧和”弹词“（音乐和表演故事）。具有讽刺意味的是，尽管它以”复杂,渗透，生动，彻底“宣称人类领域的能力，它也出于自己的喜爱得到了一种全方位的传统文学种类。--[[User:Zeng Liang|Zeng Liang]] ([[User talk:Zeng Liang|talk]]) 07:42, 28 November 2020 (UTC)&lt;br /&gt;
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实际上，文学传统是由新小说的概念再创的。不如梁启超期待的那样，新小说仍与其传统有着千丝万缕的联系；受新规选择、结合，这一传统为新小说吸收西方文学技巧提供了可能。因为“小说”来自于日本对西方&amp;quot;fiction“或&amp;quot;novel&amp;quot;的翻译，与此同时，它又混合了传统的流行戏剧和”弹词“（音乐和表演故事），所以也许是梁启超及其追随者创造了这种模棱两可。讽刺的是，尽管新小说宣称其具有代表人类所涉及领域的能力，该能力具有“复杂性、穿透性、生动性及彻底性”，新小说同样具有几乎所有传统文学有的文学类型，供人们选择。--[[User:Zeng Xinyuan|Zeng Xinyuan]] ([[User talk:Zeng Xinyuan|talk]]) 07:27, 29 November 2020 (UTC)&lt;br /&gt;
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==Zeng Xinyuan 曾心媛==&lt;br /&gt;
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There was a tension within the “new fiction” between its lofty mission to save China and its tradition of “small talk” - fiction for popular desires. The pendulum did not go back to the “small talk” until the mid-1910s when a new wave of urban periodicals surged, this time catering to intimate space and individual pleasure. This was the time of despair and expectation, of reshaping the public and private spheres, full of conflicts between tradition and modernity in terms of social norms of love, marriage and family. New interests in romances were accompanied with the aspiration for first person narratives from the West, such as memoir, love-letter, diary, and confession. It was no accident that popular magazines and newspapers were saturated with the sad love stories, among which Xu Zhenya’s (1889-1937) ''Yu li hun'' (Jade Pearl Spirit) became a bestseller in 1914.&lt;br /&gt;
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“新小说”中有种矛盾，即既要带有拯救中国的崇高使命，又要保留迎合大众需求的“闲谈”风格的传统，这两者的矛盾。但“新小说”的风格并没有偏向“闲谈”风格，直到19世纪10年代中期，掀起了一股城市期刊的浪潮，在此期间，“新小说”倾向于有关亲密关系与个人取乐的内容。这是期望与绝望共存的时期，不仅重塑了大众和私人的范围，在社会有关爱情、婚姻和家庭方面的规定上充斥着传统与现代的冲突。对爱情小说也有新的关注，兼带着学习西方以第一人称叙述的期望，例如自传，情书，日记及忏悔。不出意外的，流行杂志与报纸上充斥着悲伤爱情故事，其中包括1914年畅销书作家徐枕雅的《玉梨魂》（1889-1937）。--[[User:Zeng Xinyuan|Zeng Xinyuan]] ([[User talk:Zeng Xinyuan|talk]]) 14:36, 28 November 2020 (UTC)&lt;br /&gt;
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==Zeng Yanhu 曾雁湖==&lt;br /&gt;
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This weird combination - a tragic romance interwoven with the author’s memory of youth and the style of archaic parallelism - seemed to attract more the refined reading public. Wu Shuangre (1884-1934), a writer also known for tragic romance, redefined the ''xiaoshuo'' as the “opposite to the big discourse (''dashuo''),” his emphasis on the ''smallness'' of fiction was urged by new desire and social needs.&lt;br /&gt;
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这种怪异的组合-悲剧性的浪漫情怀与作者对青年的记忆和古老的平行主义风格交织在一起-这似乎吸引了更多精准的读者。 吴双热（1884-1934），又是一位以悲剧性的浪漫闻名的作家，将“小说”重新定义为“与大话语（“大说”）相对”，新的欲望和社会需求促使他强调小说的“小”。--[[User:Fancy|Fancy]] ([[User talk:Fancy|talk]]) 03:11, 28 November 2020 (UTC)&lt;br /&gt;
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这种奇怪的组合-悲剧性的浪漫故事与作者对青春的记忆和古老的平行主义风格交织在一起-似乎吸引了更多精准的读者。吴双热（1884-1934），一位以悲剧性浪漫闻名的作家，将“小说”重新定义为“大篇幅（大说）的对立面”，他受到新欲的望和社会需求的敦促，强调小说的“小”。--[[User:Zhao Xi|Zhao Xi]] ([[User talk:Zhao Xi|talk]]) 06:05, 28 November 2020 (UTC)&lt;br /&gt;
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[[Media:Example.ogg]]==Zhang Hu 张虎==&lt;br /&gt;
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Zhou’s intellectual background behind his critique of Liang Qichao and Lin Shu should not be ignored. Influenced by Zhang Taiyan whom Zhou and his brother Zhou Shuren (later Lu Xun) followed during their stay in Japan, Zhou’s archaic vision of literature was based on the conviction that learning from the West by deriving from the Chinese past with deeper and wider scopes can prevent from the danger of populism and mass politics. &lt;br /&gt;
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Liang Qichao, “On the Relationship Between Fiction and the Government of the People.” Trans. Gek Nai Cheng, in Kirk Denton, ed., Modern Chinese Literary Thought, 74-81.&lt;br /&gt;
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Theodore Huters, “From Writing to Literature: The Development of Late Qing Theories of Prose.” Harvard Journal of Asiatic Studies 47 (1987) 51-90.&lt;br /&gt;
（参考文献不用翻译）&lt;br /&gt;
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周批判梁启超和林纾背后的知识背景不容忽视。周和他的兄弟周树人(后来的鲁迅)在日本期间跟随张太炎，受张太炎的影响，周对文学的陈旧看法是建立在这样一种信念之上的，即从更深更广的范围借鉴中国的过去，学习西方，以此防止出现民粹主义和大众政治的危险。--[[User:Blank|Blank]] ([[User talk:Blank|talk]]) 06:08, 28 November 2020 (UTC)&lt;br /&gt;
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周批判梁启超、林纾的学术背景不容忽视。周和他的兄弟周树人（后鲁迅）在留日期间追随章太炎，受章太炎的影响，周的古代文学观建立在这样一种信念上：即从中国过去中汲取教训，以更深刻、更广的范围学习西方，可以防止民粹主义和大众政治的危险。--[[User:Xiao yining|Xiao yining]] ([[User talk:Xiao yining|talk]]) 08:44, 29 November 2020 (UTC)Xiao Yining&lt;br /&gt;
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==Zhang Hui 张慧==&lt;br /&gt;
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See, “Zhongguo weiyi zhi wenxue bao Xin xiaoshuo” (The only literary magazine New Fiction in China). Xinmin congbao 14 (1902). When the New Fiction magazine was inaugurated in 1902, Liang and his colleagues lent its representational capacities the widest scopes of lifeworld and the richest literary resources, though in the name of “Western fiction.” The genres include popular song, rhythmic expressions such as drama and musicala storytelling.&lt;br /&gt;
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参见《中国文学史》。（中国唯一的文学杂志《新小说》）。 新民同保14（1902）。 1902年，《新小说》（New Fiction）杂志发行时，梁和他的同事们以“西方小说”的名义，将其代表能力赋予了世界最广泛的领域和最丰富的文学资源。 种类包括流行歌曲，有节奏的表现形式，例如戏剧和音乐剧故事。&lt;br /&gt;
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参见《中国唯意志文学报新小说》。（中国唯一的文学杂志《新小说》）。 新民从报14（1902）。 1902年，《新小说》（New Fiction）杂志创刊时，梁启超和他的同事们虽然打着 &amp;quot;西洋小说 &amp;quot;的旗号，将其代表能力赋予了全世界最广泛的领域和最丰富的文学资源。体裁包括流行歌曲、戏剧等韵律性的表现形式和音乐剧故事。--[[User:Zhao Xiaoyan|Zhao Xiaoyan]] ([[User talk:Zhao Xiaoyan|talk]]) 09:12, 26 November 2020 (UTC)&lt;br /&gt;
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参见《中国文学史》。（中国唯一的文学杂志《新小说》）。 新民同保14（1902）。 1902年，《新小说》（New Fiction）杂志发行时，梁和他的同事们虽以“西方小说”的名义，但将其代表能力赋予了世界最广泛的领域和最丰富的文学资源。 种类包括流行歌曲，有节奏的表现形式，例如戏剧和音乐剧故事。--[[User:You Yuting|You Yuting]] ([[User talk:You Yuting|talk]]) 14:27, 27 November 2020 (UTC)&lt;br /&gt;
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参见《中国唯意志文学报新小说》。（中国唯一的文学杂志《新小说》）。 新民从报14（1902）。1902年，《新小说》（New Fiction）杂志发行时，梁和他的同事们虽以“西方小说”的名义，但将其代表能力赋予了世界最广泛的领域和最丰富的文学资源。 种类包括流行歌曲，有节奏的表现形式，例如戏剧和音乐剧故事。--[[User:Zhang Peiwen|Zhang Peiwen]] ([[User talk:Zhang Peiwen|talk]]) 03:54, 29 November 2020 (UTC)&lt;br /&gt;
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==Zhang Ling 张玲==&lt;br /&gt;
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Zhou meticulously experimented with first person narratives in the mid-1910s. In the wake of collapse of traditional values, literature became a vent for repressed psychology, and meanwhile functioned in reordering the structures of feelings and perceptions that purported to pave a way to rebuilding national spirituality. Therefore, intellectual anxiety was attached to seeking new literary genres. At the time, Zhou was spotlighted on the literary arena with ''Saturday'' (Libailiu), a weekly popular magazine aimed to entertain and educate urban readers mainly by the principles of literary pleasure aimed to articulate and regulate desires of everyday life and consumer psychology. This boom of urban print culture signified an inversion to the previous Fiction Revolution devoted to patriotism and national ethos; its representations focused more on the private realms and individuals, revealing a clearer character of the “small talk.” In this sense, Zhou’s intense uses of first person narratives were a necessity for him to represent a kind of the autonomous individual in urban space as an integral part of the periodical culture.&lt;br /&gt;
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周在20世纪10年代中期对以第一人称来叙事进行了细致的尝试。在传统价值观瓦解后，文学成为压抑心理的发泄渠道，同时也重构了情感和观念结构，为重建民族精神铺平了道路。因此，寻求新的文学体裁必然伴随着知识分子的焦虑。当时，周以《星期六》（Libailiu）走红文坛，这是一本旨在娱乐和教育都市读者的周刊，主要以文学愉悦为原则，旨在表达和调节日常生活欲望和消费心理。这种都市印刷文化的繁荣，标志着它与以往致力于爱国主义和民族精神的小说革命发生了逆转；它的表现更多地集中在私人领域和个人身上，揭示了“闲谈”更为鲜明的特征。从这个意义上说，周对第一人称叙事的大量运用是在城市空间中表现一种自主个体的必然，是期刊文化的重要组成部分。 --[[User:Zhang Ling|Zhang Ling]] ([[User talk:Zhang Ling|talk]]) 08:19, 29 November 2020 (UTC)&lt;br /&gt;
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==Zhang Peiwen 张佩闻==&lt;br /&gt;
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“In the Nine-Flower Curtain” appeared in 1917, in the ''Pictorial Story'' (Xiaoshuo huabao) edited by Bao Tianxiao, who announced from the outset that this monthly fiction magazine aims to promote the ''baihua'' fiction. In a history of Chinese literature published in late-1950s, this story was picked out as a typical Butterfly work: “[it is] empty and poor in its content, full of meaningless words and sentences.”   However, this biased criticism neglected the fact that this short story was a pioneering ''baihua'' fiction, which appeared in a fiction magazine, which advocated the ''baihua'' prior to the May Fourth movement! &lt;br /&gt;
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《九花帘幕》出现于1971年由包天晓主编的《晓说花宝》中，他从一开始就宣布，这本小说月刊旨在推广“百花”小说。在20世纪50年代末出版的《中国文学史》中，这个故事被选为典型的蝴蝶作品:内容空洞贫乏，充满无意义的字句。然而，这种偏颇的批评忽略了这篇短篇小说是“百花”小说的先驱，它出现在一本小说杂志上，早在在五四运动之前就主张“百花”。--[[User:Zhang Peiwen|Zhang Peiwen]] ([[User talk:Zhang Peiwen|talk]]) 03:52, 29 November 2020 (UTC)&lt;br /&gt;
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1971年，《九花帘幕》在由包天晓主编的《晓说花宝》中出版，他从一开始就宣布这本小说月刊旨在推广白话小说。在20世纪50年代末出版的《中国文学史》中，这部小说被评选为一部典型的蝴蝶作品：“（这本小说）内容空洞贫乏，充满了毫无意义的字句。”然而，这种偏颇的批评忽视了这篇短篇小说是白话小说的先驱，在一本小说杂志上出版，在五四运动之前就提倡白话文！--[[User:Zhang Ling|Zhang Ling]] ([[User talk:Zhang Ling|talk]]) 08:25, 29 November 2020 (UTC)&lt;br /&gt;
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==Zhang Qi 张琪==&lt;br /&gt;
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Indeed, “In the Nine-Flower Curtain” was labeled as ''xiaoshuo'', but the notion of ''xiaoshuo'' in the teens ambiguously crossed the boundaries of old and new, and Zhou had barely the idea of modern ''sanwen''. Rather, shown by the story mixed with the elements of poetry, prose and drama, his understanding of ''xiaoshuo'' was conventional and transitional. Interestingly, some critic conceived that the notion of ''sanwen'' was stemmed from ''xiaoshuo''. In 1914, Cheng Zhi’s essay “Miscellaneous Remarks on Fiction” (Xiaoshuo conghua) holds that nowadays only ''xiaoshuo'' can do what literature can do; it is so important and enchanting that it can fulfill the task of literature while artistically expressing human emotions and aesthetic thoughts. Since all literary expressions, according to him, appeal to optic and audio perceptions, ''xiaoshuo'' contains both ''sanwen'' (prosaic) and ''yunwen'' (rhythmic) texts. The former can be the vernacular or literary language; the latter includes romance drama and rhythmic story-telling.   As the chart intricately shows, the ''sanwen'' is sandwiched: on one side it grows out of the trunk of ''xiaoshuo'', and on other side it bifurcates its own branches of literary and vernacular languages. We cannot decide to what extent this concept of ''sanwen'' can be related to that of the May Fourth generic system, yet its connotations were still valid in the Butterfly use after the 1920s.   &lt;br /&gt;
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==Zhang Weihong 张维虹==&lt;br /&gt;
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The chaotic conditions of literary genres opened up new possibilities, and “In the Nine-Flower Curtain,” as a kind of self-representation, exhibited Zhou’s obsession with subjective writings, blended with the elements of dairy, love-letter, confession, and fictional autobiography. Here, I only briefly show Zhou’s devotion to two kinds of the first person narratives - autobiography and lover-letter. These forms adopted by Zhou, no matter it belongs to the concept of ''xiaoshuo'' at the time or more to the ''sanwen'' in today’s standard, had a specific charm of lyricism and sensuality that most appealed to him. One type referred to the subgenre of autobiography - amorous memoirs - a colorful branch in Ming-Qing erotic-sentimental tradition, represented by Mao Xiang’s ''Memoirs of the Plum Shadow Studio'' (Ying mei an yiyu) and Jiang Tan’s ''Reminiscences of the Autumn Lamp'' (Qiu deng suoyi). These texts were included in an anthology titled ''Selections of Memoirs'' (Yiyu xuan) Zhou edited and published in 1920s.&lt;br /&gt;
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杂乱无章的文学体裁，开启了新的可能性，《九花帘》作为一种自我表征，展现了周作人对主观书写的执着，融合了乳品，情书，自白，虚构自传等元素。在这里，我只简单地展示了周小川对自传和情书这两种第一人称叙事的倾注。周小川所采用的这些形式，无论属于当时的“小说”概念，还是更多地属于今天的“三文”标准，都具有一种特定的抒情性和感性魅力，最能吸引周小川。一种类型是指自传的子体裁--风情回忆录--明清情色传统中的一个丰富多彩的分支，以毛翔的《梅影画室回忆录》和蒋坦的《秋灯回忆录》为代表，其中以《梅影画室回忆录》和《秋灯回忆录》为代表，以《梅影画室回忆录》为代表，以《秋灯回忆录》为代表，以《梅影画室回忆录》为代表，以《梅影画室回忆录》为代表，以《梅影画室回忆录》为代表。周小川在20世纪20年代编辑出版的《回忆录选》中收录了这些文本。&lt;br /&gt;
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==Zhang Xueyi 张雪仪==&lt;br /&gt;
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Another inspiration came from Washington Irving, whom Zhou considered a literary genius. He highly praised Irving’s ''Sketch-Book'' for its “creativity and uniqueness”; he appreciated most “Westminster Abbey,” “The Legend of Sleepy Hollow,” “The Broken Heart” and “RipVan Winkle.” Interestingly, Zhou understoods Irving through the window of Chinese literary past. He translated the ''Sketch-Book'' into the form of ''biji'', with his comments saturated with the classical poetics: “His writings are secluded and flagrant, limped and stretching far (''youxin danyuan''), like violets in flower-shrubes; they are also delicate and charming, drifting aloof (''qingqian piaoyi''), like a pen thrown into the sky becomes a capricious dragon.”&lt;br /&gt;
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另一个灵感来源于华盛顿·欧文，周认为欧文是一个文学天才。周因欧文作品《见闻札记》中的创造力和独特性高度赞扬了这部作品。周最欣赏的就是《威斯敏斯特教堂》、《沉睡谷传奇》、《破碎的心》和《瑞普·凡·温克尔》。有趣的是，周通过中国文学的窗口了解欧文。他将《见闻札记》翻译成笔记的形式，他的评论充斥着古典诗学：“他的著作隐蔽而又明目张胆的，一坡一拐而延伸得很远（“ 忧心淡远”），像灌木丛中的紫罗兰；它们既细腻又迷人，飘荡的超然感（清浅飘逸），就像扔向天空的钢笔变成了反复无常的龙。”--[[User:Zhang Xueyi|Zhang Xueyi]] ([[User talk:Zhang Xueyi|talk]]) 07:34, 29 November 2020 (UTC)&lt;br /&gt;
另一个灵感来源于华盛顿·欧文，周认为欧文是一个文学天才。其《见闻札记》一书独具创新与独特性，周高度赞扬了这部作品。周最欣赏《威斯敏斯特教堂》、《沉睡谷传奇》、《破碎的心》和《瑞普·凡·温克尔》。有趣的是，周通过过去的中国文学窗口来了解欧文。他将《见闻札记》翻译成笔记的形式，他的评论充斥着古典诗学：“他的著作隐蔽而又明目张胆的，艰难前进而又延伸得很远（“ 忧心淡远”），像灌木丛中的紫罗兰；它们既细腻又迷人，飘荡超然（清浅飘逸），就像扔向天空的笔变成了反复无常的龙。--[[User:Yi Huan|Yi Huan]] ([[User talk:Yi Huan|talk]]) 00:40, 30 November 2020 (UTC)&lt;br /&gt;
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==Zhang Yinliu 张银柳==&lt;br /&gt;
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Zhou’s mania for love-letters evinces his pursuit of the fashion, chic and commercial, in contrast to his literati personality immersed in the erotic-sentimental poetics. Raoul Findeisen rightly pointed out that the genre of love-letter enhances to codify the heterosexual love in modern Chinese literature.   This form was introduced into China hand in hand with the assimilation of Western-style customs and the idea of free communication between man and woman. At least in 1911, ''qingshu'' as a translated term for “love-letter” appeared in a funny essay “Ji qingshu zhi xinfa” (A new way to send a love-letter) in ''Shenbao''.   As a piece of passionate ''qinghua'', “In the Nine-Flower Curtain” should be connected to Zhou’s “Qingshu hua” (On love-letter), a series of essays he contributed to ''Shenbao'' in 1919. These essays talk about the world famous love stories of Napoleon, Byron, Hugo, and many others, and specifically about how they wrote love-letters. For example, amidst wars Napoleon never forgot to write to Josephine; Zhou translated his words: “I am begging you to receive my thousand kisses, and don’t give me back any of your’s, otherwise my blood will boil.”   Also with great zeal he talks about how Hugo wrote 120 letters to his fiancee Adele Forcher.  &lt;br /&gt;
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==Zhang Yu 张瑜==&lt;br /&gt;
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Known as master of the “sad love story” in the mid-1910s, he wrote numerous short stories which appeared in around a dozen periodicals and newspapers; among them a number of first person narratives were in best quality. While breaking with the traditional love discourse and modes of romance, his love stories depicted new urban subjects in newly formed public spaces such as the public park, tramcar, medical clinic, and movie theater. Most noticeable is his ''Short Stories from Famous European and American Writers'' (Oumei mingjia dianpian xiaoshuo congkan) published in 1917,  revealing his ways of dealing with the personal pronounces under chaotic conditions. Among fifty stories included, twenty-six stories belong to first person narrative. Interestingly, in all the eight vernacular texts the first person pronoun is ''wo'', and in the rest eighteen stories in classical language, the first person pronouns are variantly used between ''yu'', ''yu'' and ''wu''.&lt;br /&gt;
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作为1910年代中期描写爱情悲剧的大师，他写了许多短篇故事，并发表在众多期刊和报纸上；其中，那些以第一人称的角度叙述的故事是最好的。他打破了传统爱情故事的语言和抒情方式，他的爱情故事描述了发生在公园、电车、诊所、电影院等新式公共空间的新的城镇主体。更惹人注意的是，他的译作《欧美名家短篇小说丛刊》在1917年出版，揭示了他在嘈杂的环境中处理个人观点的方式。书中所包含的50个故事，其中26个从第一人称的角度进行叙述。有趣的是，在8篇用方言写的文本中，第一人称的代词用的是“wo”，在剩下的18篇用古典语言写的故事中，第一人称的代词多用“yu”“yu”和“wu”。--[[User:Zhang Yu|Zhang Yu]] ([[User talk:Zhang Yu|talk]]) 04:05, 27 November 2020 (UTC)&lt;br /&gt;
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==Zhang Yujie 张毓婕==&lt;br /&gt;
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This selection of ''wo'' for the vernacular seemed identical to the establishment of “I” as the male subjectivity in May Fourth literature,  but they bore different logic of modernity. Perhaps there was another kind of “translated modernity” in Zhou: the vernacular ''wo'' is not the absolute in the whole anthology. Zhou’s selected uses of the personal pronouns include not only the first person pronouns but the second and third person pronouns, showing a chaotic state of literary subject. He is more plural and playful while experimenting with both the vernacular and the classical, and one is not subject to the other. Fascinated by multiple possibilities in the new literary situations, he was more concerned with ways of using different first person pronouns to suit different modes and styles of representations, in accordance with his own linguistic sensitivity and capability.&lt;br /&gt;
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白话小说中“我”一词的选择似乎与“五四”文学中确立“ l”作为男性主观性是相同的，但是它们具有不同的现代逻辑。 在鲁迅的作品中也许还有另一种“翻译的现代性”：白话用词&amp;quot;我&amp;quot;在整个选集中不是绝对的。 周对人称代词的使用不仅包括第一人称代词，还包括第二和第三人称代词，表现出文学主体的混乱状态。 他尝试了同时使用白话文和文言文并把它们放在平等的位置，具有多元化的特点。在新的文学情境中，他着迷于多种可能性，更加致力于利用自己的敏感的语言天赋，使用不同的第一人称代词来适应各种表达方式和风格。--[[User:Zhang Yujie|Zhang Yujie]] ([[User talk:Zhang Yujie|talk]]) 10:42, 29 November 2020 (UTC)&lt;br /&gt;
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==Zhang Yuxing 张宇星==&lt;br /&gt;
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Fan Boqun pointed out that Zhou contributed to modern literature in its early phase by experimenting with psychological forms such as diary, epistoral fiction, and that his creative writings were indebted to his translation. See, “Zhu, bian, yi jie jing de ‘wenzi laogong’: Zhou Shoujuan pingzhuan” (A literary laboror in his refined achievements of writing, editing and translating: A biography of Zhou Shoujuan), in Fan Boqun, ed., Zhongguo jin xiandai tongsu zuojia pingzhuan congshu (A series of modern Chinese popular writers) vol. 4, 177. If this was a late credit to Zhou, there had been another one about his 1917 translation of Famous European and American Short Stories. In the early 1960s he wrote to his daughter revealing the fact that his 1917 translation was praised by Lu Xun and awarded by the Republican Education Bureau, and that he did not know this until he had read Zhou Zuoren’s memoir in the early 1950s. This information was revealed after his literary career was criticized as a reactionary current against the new literature.&lt;br /&gt;
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范伯群（Fan Boqun）指出，周小川（Zhou Xiaochuan）对现代文学的早期贡献在于心理文学方面，例如日记、书信体小说等，同时，他的翻译对其创作贡献极大。见“朱，卞，易节经得‘文子劳公'：《周守隽（Zhou Shoujuan)评传》”（文学工作者，在写作、编辑、翻译方面取得卓越成就:《周守隽传》），范伯群编:《中国现代通俗作家丛书》第4卷，177页。如果说这本书是周小川迟来的荣誉的话，那么他1917年翻译的欧美著名短篇小说就是他的另一荣耀。上世纪60年代初他给女儿写的信中表明，他1917年的译作受到了鲁迅的赞赏和民国教育局的嘉奖，但是这一点还是他在上世纪50年代初读周作人的回忆录中知晓的。他的文学生涯被批判为反对新文学的反动潮流后，这一信息才透露出来的。--[[User:Zhang Yuxing|Zhang Yuxing]] ([[User talk:Zhang Yuxing|talk]]) 15:35, 27 November 2020 (UTC)&lt;br /&gt;
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==Zhao Xi 赵茜==&lt;br /&gt;
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Lydia Liu deals with the use of first person pronoun wo that designates “I” as a central issue of “translated modernity” in modern Chinese literature. Along with wo becoming the only victor in the contests of first person pronouns through heavy traffic of transnational cultures, the male vernacular subjectivity is established (see Lydia Liu, 154-55).&lt;br /&gt;
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The Poetics of Persuasion“In the Nine-Flower Curtain” was the author’s “love talk” (''qinghua'') to his bride in the first night of marriage, a passionate confession of his bitter past, with sentiment and self-esteem, and meanwhile he expresses his love and hope for their conjugal life in the future. The narrative begins with a third person account of how the author’s wedding ceremony was held in ''Yeshiyuan'', one of famous public parks in the city, and how in the night his friends gathered in the wedding chamber making fun of the new couple.&lt;br /&gt;
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莉迪亚·刘指明“I”的第一人称代词“我”的运用作为现代中国文学中翻译现代化的核心问题。随着wo成为通过跨国文化在阻力很大的前进路线上第一人称代词竞赛的唯一胜利者，男性白话主体性得到了确立（见莉迪亚·刘，154-55）。&lt;br /&gt;
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《九花帐里》是作者在新婚夜晚对他新娘的情话,他充满激情,带有情绪和自尊地忏悔着他痛苦的过去，同时表达了他对未来夫妻生活的爱和希望。故事以第三人称开始叙述，描述了作者在城市著名的公园之一，也是园的婚礼是如何举行的，在新婚夜里他的朋友聚在新房里如何打趣这对新人的。 --[[User:Zhao Xi|Zhao Xi]] ([[User talk:Zhao Xi|talk]]) 04:13, 28 November 2020 (UTC)&lt;br /&gt;
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==Zhao Xiaoyan 赵晓燕==&lt;br /&gt;
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This brief opening is like the “prologue” in premodern vernacular stories, a device originated from thirteen-century drama. By this convention a stage is set for the drama of the pillow talk, predicting his theatricality. Nevertheless, with the phrase “Zhou Shoujuan says” at the very beginning, the tradition is inverted, for in old days, fiction writing is not a respectful job and the author’s name never appeared. While the vernacular storytellers were too humble to claim his authorship, literati were too proud to do so. Perhaps it was Lin Shu who self-consciously broke with the tradition as he signed his name on the novels he translated.&lt;br /&gt;
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这种简短的开场白就像前现代白话故事中的 &amp;quot;序幕&amp;quot;，这种手法源于十三世纪的戏剧。通过这个惯例，为枕边话的戏剧性搭建了一个舞台，预示着他的戏剧性。不过，一开始就用“周守娟说”这句话来颠覆了传统，因为在旧社会，写小说并不是什么尊贵的工作，作者的名字从来没有出现过。白话故事家谦虚得不敢宣称自己的作者身份，但文人却为之骄傲。也许是林纾自觉地打破了传统，他在自己翻译的小说上签上了自己的名字。--[[User:Zhao Xiaoyan|Zhao Xiaoyan]] ([[User talk:Zhao Xiaoyan|talk]]) 09:04, 26 November 2020 (UTC)&lt;br /&gt;
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这种简短的开场白就像前现代白话故事中的 &amp;quot;序幕&amp;quot;，这种手法源于十三世纪的戏剧。通过这个惯例，为枕边话的戏剧性搭建了一个舞台，预示着他的戏剧性。不过，有了开头的 &amp;quot;周寿娟说 &amp;quot;这句话，这个传统就被颠覆了，因为在旧社会，写小说并不是什么尊贵的工作，作者的名字从来没有出现过。白话故事家谦虚得不敢宣称自己的作者身份，文人却骄傲得不敢。也许是林纾自觉地打破了传统，他在自己翻译的小说上签上了自己的名字。&lt;br /&gt;
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这种简短的开场白就像前现代白话故事中的 &amp;quot;序幕&amp;quot;，其手法源于十三世纪的戏剧。通过这个惯例，作者为枕边话剧搭建了舞台，预示着他的戏剧性。不过，有了开头 &amp;quot;周寿娟说 &amp;quot;这句话，这个传统就被颠覆了，因为在旧社会，写小说并不是什么体面的工作，作者的名字从来没有出现过。白话故事家谦虚得不敢宣称自己的作者身份，文人却骄傲得不屑。也许是林纾自觉地打破了传统，他在自己翻译的小说上签上了自己的名字。--[[User:Zhang Yujie|Zhang Yujie]] ([[User talk:Zhang Yujie|talk]]) 03:52, 28 November 2020 (UTC)&lt;br /&gt;
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==Zheng Huajun 郑华君==&lt;br /&gt;
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This self-referential information at the outset is more than a self-promotion: it sets a tone of respectfulness and expectation, evoking a blissful and jubilant atmosphere for what follows. Moreover, the voice from a famous writer suggests new semantics of love and new ways of expressing love. Of course, the marriage is a new chapter in his life; it was the fashion to have a Western-style wedding (''wenming jiehun'') in a public park. The guests are celebrities, novelist, journalists and print entrepreneurs, such as Bao Tianxiao, Chen Diexian, Ding Song, indicative of a newly born social stratum recognized by the urban public.&lt;br /&gt;
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这种自我参照的信息在一开始就不仅仅是自我推销:它设定了尊重和期待的基调，为接下来的事情唤起一种幸福和欢乐的氛围。此外，一位著名作家的声音暗示了爱的新语义和表达爱的新方式。当然，婚姻是他人生的新篇章;在公园举行西式婚礼是当时的时尚。受邀的嘉宾有名人、小说家、记者和报业大亨，如鲍天晓、陈蝶仙、丁松等，他们代表着城市公认的新生社会阶层。--[[User:Zheng Huajun|Zheng Huajun]] ([[User talk:Zheng Huajun|talk]]) 02:21, 27 November 2020 (UTC)&lt;br /&gt;
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==Zhou Luoping 周罗平==&lt;br /&gt;
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When Zhou promises to satisfy his friends’ curiosity about what he said to the bride “inside the curtain” in the first night, he deliberately shifts the scene from the backdrop to the main tableau - the curtain. His wedding, albeit part of his private life, was already exposed by Bao Tianxiao and Chen Diexian who, as Zhou mentioned, had written about this event and published them in newspapers. And Zhou himself announced that his own pillow talk would appear in the ''Pictorial Story''. Aware of his privacy under the public gaze, Zhou spotlighted the “curtain” as center stage, namely in the innermost space of the chamber; this is bold and unconventional. Of the marriage rituals and symbols familiar to the Chinese, those descriptions related to the wedding chamber are most erogenous and mysterious, arousing their erotic and voyeurist desire.&lt;br /&gt;
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当周承诺满足朋友们对他在第一个晚上“在帘子里”对新娘说的话的好奇心时，他故意将场景从背景转移到主要场景——帘子上。他的婚礼虽然是他私生活的一部分，但已经被鲍天晓和陈叠贤曝光，正如周所提到的，他们写了这件事并将其发表在报纸上。周本人也宣布，他自己的枕边谈话将出现在《画报》上。在公众的注视下，周意识到自己的隐私，他把“帘子”作为中心舞台，即房间的最内部空间;这是大胆的并且是非常规的。在中国人所熟悉的婚姻仪式和象征中，涉及婚房的描述是最性感的和最神秘的，激起了他们的情欲和窥探欲。--[[User:Zhou Luoping|Zhou Luoping]] ([[User talk:Zhou Luoping|talk]]) 02:07, 29 November 2020 (UTC)&lt;br /&gt;
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==Zhou Shiqing 周诗卿==&lt;br /&gt;
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In ''Six records of a floating life'' (Fusheng liu ji), a classical autobiography, Shen Fu (1763-?) vividly depicts, “I saw by the light of our wedding candles that Yun’s figure was as slim as before. When her veil was lifted we smiled at each other. And we had shared the ceremonial cup of wine and sat down together for the wedding banquet, I secretly took her small hand under the table. It was warm and it was soft, and my heart beat uncontrollably.”   However, readers might be disappointed as there is no such details they expected. Yet to great writers, dealing with the first wedding night is a moment to play with readers’ expectation. For example, in one of Li Yu’s stories, after the bridegroom undresses the bride, he is shocked by the fact that she is a “stone woman” who lacks the sexual organ!   In ''Dream of the Red Chamber'', when Baoyu lifts the bride’s veil, he finds Baocai instead Daiyu - he is cheated by his family seniors who makes the substitute; thus the dark side of traditional marriage system is unveiled and the tragic theme of the novel reaches its climax.&lt;br /&gt;
在“浮华生活的第六记录里”(浮生六记)，一本经典自传体，沈复(1763-)生动地描绘到，“借着婚烛我看见云的身材和以前一般苗条。当她的面纱被揭开后，我们面面相觑了一下。我们喝了交杯酒，然后一道坐下加入婚宴。我暗自抓住了她在桌下小巧的手。很暖和，很柔软，我的心按耐不住地跳动着。”然而，读者可能会觉得失望，因为这里没有出现他们期待的细节描述。而对于大作家而言，描写新婚夜可以符合读者的期待。比如，在李煜的一篇故事里，新娘给新郎更衣后，他看见新娘是“铁女子”后震惊了，她没有性器官”。在“红楼梦”里面，当宝玉讲新娘的面纱揭开时，发现是宝钗而不是黛玉--他被家里的长辈欺骗了，新娘被调换了。因此，传统婚姻体制的阴暗面被揭开了，小说的悲剧性主题也达到了高潮。&lt;br /&gt;
--[[User:Zhou Shiqing|Zhou Shiqing]] ([[User talk:Zhou Shiqing|talk]]) 02:31, 29 November 2020 (UTC)Zhou Shiqing&lt;br /&gt;
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==Zhou Shuyao 周书尧==&lt;br /&gt;
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The narrator’s loving voice begins with: “My Phoenix Lady: This is the first night of our marriage, the first day to raise the curtain of our family life. Whether our chamber will be paradise or hell, the drama opens from the present; whether our life will be sad or happy, we will open our theater today.” The long and passionate pillow talk is lyrical and decorative in style, with verbal and imagery rhetorical devices such as the poetic couplets and parallel sentences, metaphors, and repetitions, blending the classical and Western-style vocabulary and grammar. The bridegroom says: &lt;br /&gt;
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From now on, you become a member of my family; your name Hu Fengjun is crowned with the surname Zhou. Since you stepped into the door of Zhou, naturally you will do something for his family. The domestic duty falls on us with weight; we should carry it together: the half of it is on my shoulder, the other half on your’s. We should become one heart in order to overcome innumerable difficulties ahead of us. My old mother needs your good service, the multiple household needs your great care. If sometimes I am worried, you should understand me, and care about me.&lt;br /&gt;
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叙述者充满爱意的声音开始说道：“我的凤凰夫人：这是我们结婚的第一晚，这是拉开我们家庭生活帷幕的第一天。无论我们的房间是天堂还是地狱，这部戏都是从现在开始的。 无论我们的生活是悲伤还是幸福，我们今天都会开始我们的剧场。”漫长而充满激情的枕边细语是抒情的和装饰性的，带有言语和意象的修辞手段，如诗对联和平行句子，隐喻和重复，融合了古典和西式的词汇和语法。&lt;br /&gt;
新郎说：从现在开始，你成为我的家人； 你胡凤君之名将冠以周姓。自你走进周家门起，你自然会为他的家人做些事情。 家务负担沉重地落在我们身上；&lt;br /&gt;
我们应该一起承担：一半在我的肩上，另一半在你的肩上。我们应该结成一颗心来克服我们面前的无数困难。 我的老母亲需要你的优质服务，&lt;br /&gt;
多户家庭需要您的精心照顾。如果有时候我感到焦虑，您应该了解我，关心我。--[[User:Zhou Shuyao|Zhou Shuyao]] ([[User talk:Zhou Shuyao|talk]]) 14:23, 29 November 2020 (UTC)&lt;br /&gt;
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==Zhou Siqing 周思庆==&lt;br /&gt;
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The most important word for husband and wife is “love,” which comes from their mutual understanding and mutual care. If we love each other until the last day of our life, we will spend our whole life in a wonderland with flower and the moon. Every second of our time is gilded with honey and sugar; everywhere in this world is as beautiful as rose. At our ears we often hear the singing birds; before our eyes we often see the flowers in smile. In four seasons, we always have bright and fantastic landscapes around us; the sky looks embroidered, even from cruel storm and frost there grows out the splendid Spring.&lt;br /&gt;
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Therefore it is truly important for a couple to love each other, and nothing else is so important. If you have a plenty of money but no love, if you are so tightly fastened by the “red string” that you cannot escape from it, then although you are still husband and wife, how can you feel any happy? Since the ancient time, countless virtuous women were victimized as such. In this first day of our marriage, we should think of a way to make our love forever: each day we should let our hearts meet and mirror each other.&lt;br /&gt;
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夫妻之间最重要的词是“爱”，它来自于彼此的理解和关心。如果我们相爱直到生命的最后一天，我们将在一个有花有月的仙境度过我们的一生。我们的每一秒都充满了甜蜜与糖;世界上任何地方都像玫瑰一样美丽。我们经常听到鸟儿在耳边歌唱;我们经常看到微笑的花朵出现在眼前。在四季中，总是有明亮的和奇妙的风景在我们周围;天空看起来像绣了花一样，即使是残酷的风暴和霜冻也会带来灿烂的春天。&lt;br /&gt;
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因此，夫妻彼此相爱是非常重要的，没有什么比这更重要了。如果你们有很多钱却没有爱情，如果你们被那根“红线”拴得死死的，那么即使你们还是夫妻，你们怎么能感到幸福呢? 自古以来，有无数贤惠的妇女成为这样的受害者。在我们结婚的第一天，我们应该想办法让我们的爱永远:每一天我们应该让我们的心相遇，彼此关照。--[[User:Zhou Siqing|Zhou Siqing]] ([[User talk:Zhou Siqing|talk]]) 09:57, 26 November 2020 (UTC)&lt;br /&gt;
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==Zhou Yiwen 周艺文==&lt;br /&gt;
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A reader of modern taste may frown at the rhetoric of excess and hyperbole, the naive self-indulgence, and the Chauvinist male voice in this early ''baihua'' prattle. But in this early modern phase, what most fascinates the contemporaries are its novelty and hybridity of diverse images and grammars; i.e. the unfamiliar is within the familiar, the modern within the traditional. Perry Link asserted that Butterfly fiction provides “psychological comfort” to the urban readers who feel the pressure of modernity.   Yet, “In the Nine-Flower Curtain” provides something more positive than the “psychological comfort”: the narrator’s persuasive voice throughout this pillow talk.&lt;br /&gt;
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具有现代品味的读者可能会对早期的白话闲聊中过分夸张的修辞、幼稚的自我放纵和沙文主义的男性声音感到不适。但在这个早期的现代阶段，最吸引同时代人的是它新奇和混杂的意象和语法;也就是说，熟悉之中带有陌生感，传统之中带有现代感。佩里·林克认为，蝴蝶小说为感到现代化压力的城市读者提供了“心理安慰”。然而，《九花帘幕》提供了比“心理安慰”更积极的东西：带有劝慰性的叙述者的语言贯穿了整个枕边谈话。--[[User:Zhou Yiwen|Zhou Yiwen]] ([[User talk:Zhou Yiwen|talk]]) 12:40, 26 November 2020 (UTC)&lt;br /&gt;
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具有现代品味的读者可能会对早期的白话闲聊中过分夸张的修辞、幼稚的自我放纵和大男子主义色彩的男性话语感到不适。但在这个早期的现代阶段，最吸引同时代人的是它新奇和混杂的意象和语法;也就是说，熟悉之中带有陌生感，传统之中带有现代感。佩里·林克认为，蝴蝶小说为感到现代化压力的城市读者提供了“心理安慰”。然而，《九花帘幕》提供了比“心理安慰”更积极的东西：带有劝慰性的叙述者的语言贯穿了整个枕边谈话。--[[User:Lou Cancan|Lou Cancan]] ([[User talk:Lou Cancan|talk]]) 09:52, 27 November 2020 (UTC)&lt;br /&gt;
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==Zhou Yuanqu 周园曲==&lt;br /&gt;
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Embedded in a kind of love philosophy mixed with late Ming discourse of passion (''qing'') and the Romantic influence from the West, this love talk asserts that true love is primarily based on mutual understanding and mutual compassion. A persuasive tone, rather than the didactic or authoritative, prevails the text, and when the persuasion itself it a crucial way to reach and fulfill true love and compassion, its effect depends on refined speech and aesthetic values. For instance, the use of rhythmic repetitions aims to be chantable and enchanting; this audio characteristic is discernibly linked to traditional poetry and drama. The variations of the parallel sentences, poetic couplet, idiomatic phrase and resonant words display the author’s grasp of the repertoire of traditional literature. The sentences “My old mother needs your good service, the multiple household needs your great care” resemble the “four-six” parallelism; the pair of colloquial phrase ''haohao'er'' (well, greatly) comes from vernacular drama or fiction. A contemporary reader might be excited by this Western-style couplet, “You are like the warm sunshine in the summer; I am the bright moon in the autumn.” Or readers may be fascinated by the fresh expression such as “We a pair of mandarin ducks were hit by the Cupiter’s arrow.”&lt;br /&gt;
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这段情话蕴含着一种爱的哲学，夹杂着晚明的激情话语和西方浪漫主义的影响，主张真爱主要是建立在相互理解和相互同情的基础上的。一种有说服力的语气，而不是说教或权威，主导着文本，而且当说服本身成为达到和实现真爱和同情的关键途径时，它的效果取决于精炼的语言和审美价值。例如，有节奏的重复的使用目的是要吟唱和迷人;这种音频特征与传统诗歌和戏剧有着明显的联系。从平行句、对联、成语、共鸣词的变化中可以看出作者对传统文学剧目的把握。“我的老母需要你的好服务，多家需要你的关怀”这句话就像“四六”的平行句;这对口语化的短语“好啊”来自于白话戏剧或小说。当代的读者看到这副西式对联可能会兴奋不已:“你像夏日里温暖的阳光;我是秋天的明月。或者读者可能会被“我们是被Cupiter 's arrow射中的一对鸳鸯”这样的新鲜表达所吸引。--[[User:Zhou Yuanqu|Zhou Yuanqu]] ([[User talk:Zhou Yuanqu|talk]]) 03:48, 30 November 2020 (UTC)&lt;br /&gt;
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==Zhou Yujuan 周玉娟==&lt;br /&gt;
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Narrative strategies are organized around the poetics of persuasion. By the resonant repetitions and variations the narrator changes his manners and tones to make his linguistic performances most persuasive. The nuanced tones range from the stronger “you should,” to the milder “naturally you will” and to the asking “do you understand.” Apart from the prosaic sentences that function in describing things or reasoning the love sermon, the parallel sentences are divided into two kinds: one addresses melodiously to the bride and the other describes lyrically the fantastic scenes.&lt;br /&gt;
叙事策略是围绕说服诗学而构成的。通过反复的共鸣，叙述者调整他的举止和语调，使他的语言表演更具有说服力。 细微的色调从较强的“您应该”到柔和的“您自然会”或 询问“您明白了吗”等等。 平行句除了在描述事物或讲述爱情之道中起作用外，平行句子还分为两种：一种是向新娘悠扬悦耳地称呼，另一种是抒情地描写梦幻般的场景。 --[[User:ZHOUYUJUAN|ZHOUYUJUAN]] ([[User talk:ZHOUYUJUAN|talk]]) 10:45, 29 November 2020 (UTC)&lt;br /&gt;
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叙事策略是围绕说服诗学而构成的。 通过反复的共鸣，叙述者改变了他的举止和语调，使他的语言表演更具说服力。细微的色调从较强的“您应该”到柔和的“您自然会”以及询问“您是否理解”等。 除了在描述事物或讲述爱情之道中起作用外，平行句子还分为两种：一种是向新娘悠扬地称呼，另一种是抒情地描写梦幻般的场景。--[[User:Zhou Shuyao|Zhou Shuyao]] ([[User talk:Zhou Shuyao|talk]]) 14:35, 29 November 2020 (UTC)&lt;br /&gt;
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==Zhu Meimei 祝美梅==&lt;br /&gt;
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In order to set role models for the bride, a gallery of world-famous women are introduced to add another dimension of the persuasive, mixed with eroticism and ethics, literary references of the East and West. Mrs. Tolstoy helps her husbands devote to and achieve in writing. Liang Hongyu, a legendary heroine who joins her husband to defeat the foreign invaders in thirteenth-century China. It is a persuasive way for a cultural balance in transnational traffic: while the latter a local patriot is internationalized, the former is internalized a la traditional “virtuous wife and good mother.”&lt;br /&gt;
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为了给新娘树立榜样，一家画廊引入了一个举世闻名的一些女性以增加说服力，并结合了情欲和伦理学，东西方的文学作为参照。 托尔斯泰夫人帮助她的丈夫投身于写作，并取得巨大成就。 传说中的女主人公梁红玉与她的丈夫一起击败了在十三世纪来中国的外国入侵者。 这是在不同国家实现文化平衡的一种有说服力的方式：后者是本地爱国者的国际化，而前者则是传统的“贤妻良母”的内在化。--[[User:Zhumeimei|Zhumeimei]] ([[User talk:Zhumeimei|talk]]) 07:15, 29 November 2020 (UTC)&lt;br /&gt;
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为了给新娘树立模范，引用了大量世界知名女性来增加另一种层面上的说服力，还夹杂着中西方文学参考书目中的色情描写和道德规范。托尔斯泰夫人帮助她的丈夫致力于写作并取得成就。梁红玉，一个具有传奇色彩的女英雄，和丈夫一起打败了十三世纪中国的入侵者。这是一种有说服力的方法，以实现跨国文化平衡。后者是为国的当地爱国人士，前者是则是为家的传统上的贤妻良母。--[[User:Zhu Suyao|Zhu Suyao]] ([[User talk:Zhu Suyao|talk]]) 03:40, 30 November 2020 (UTC)&lt;br /&gt;
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==Zhu Suyao 朱素瑶==&lt;br /&gt;
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So far the kind of masculine persuasion is tinged with pedagogy and the sublime, what follows turns to be sweet and flattery. The narrator says he received a letter from his friend, in which the bride is likened to the beautiful Spring Goddess of Greek mythology, to the sweet Julie and the noble Botia, the heroines in Shakespeare’s plays. This symbolic showcase of female world celebrities, whether it be factual or imaginary, articulate to circulate and assimilate not only modern knowledge but refined taste for urban readers; at the same time, the author shows off his familiarity with the Western novelties necessarily acquired by this fashionable writing. Also noticeable is the intertextual traffic in the circulation and assimilation of cultural information occurred in everyday urban space. While the Julia and Botia are transplanted from Lin Shu’s classical translations onto his writing, Zhou popularizes the Western classics and meanwhile elevates the vernacular.  One more tricky detail: all about these foreign literary women, as the narrator says, are from his friend’s letter in English, which adds this pillow talk a savor of exoticism and universality. By this Zhou plays out the fancy and fashion with a fashionable style in this fiction.&lt;br /&gt;
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至今男性的说服力还带有教育和至高无上的色彩，随之而来的是蜜语和恭维。叙事者说他收到一封朋友的来信，信中把新娘比作希腊神话中美丽的春天女神，比作莎士比亚戏剧中的女主角，甜美的朱莉和高贵的波蒂娅。不管这象征性的对于世界知名女性形象的表述是真或假，这不仅清晰地传达和吸收了现代知识，而且提高了都市读者的品味； 同时作者也展现出他对时髦读物中必会涵盖的西方新奇事物的熟悉。同样值得注意的是，在日常都市中，互文性在文化信息的传播和吸收中已经出现。当朱莉和波蒂娅从林纾的经典文学译文中植入到周的写作中时，他不仅推广了西方经典也提升了白话文的地位。还有一个更加棘手的细节：如叙事者所说，关于外国文学女性的一切都是来自他朋友的英文来信，信中多了枕边谈话的异国情调和大众性的味道。在这部小说中，周以一种时髦的风格演绎了花哨与时尚。--[[User:Zhu Suyao|Zhu Suyao]] ([[User talk:Zhu Suyao|talk]]) 03:09, 30 November 2020 (UTC)&lt;br /&gt;
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==Zhu Xu 朱旭==&lt;br /&gt;
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Cinematic Representation and Republican Subjectivity&lt;br /&gt;
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In this story, the ''curtain'' crucially serves thematic and formal purposes. It is a piece of furniture that is decorative and ritualistic in the innermost space of the conjugal life, yet by infusing this interior curtain with a cinematic curtain, the narrator creates an illusion of a double curtain, which facilitated his double voice. His self is represented as an individual and collective being, and at the same time speaks to the private and public audience.&lt;br /&gt;
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电影呈现和民国主体性&lt;br /&gt;
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在这个故事中，幕布在主题和形式目的表现上起到至关重要的作用。窗帘是一种在夫妻生活中最隐秘空间里具有装饰性和仪式性的家具，但通过将这种室内幕布与电影幕布融合在一起，叙述者创造了一种双重幕布的幻觉，从而为表达双重声音起到作用。他的自我表现为个人和集体的存在，同时又向私人（演员）和公众（观众）交谈。--[[User:Zhu Xu|Zhu Xu]] ([[User talk:Zhu Xu|talk]]) 09:31, 29 November 2020 (UTC)&lt;br /&gt;
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电影表现和共和主体性&lt;br /&gt;
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在这个故事中，幕布对主题和形式至关重要。幕布是一件在夫妻生活中的最隐秘空间里具有装饰性和仪式性的家具，但通过将这种室内幕布与电影幕布融合在一起，叙述者创造了一件双重幕布的幻觉，从而促进双重声音。他的自我表现为个人和集体的存在，同时又与私人和共同听众对话。--[[User:Zhang Xueyi|Zhang Xueyi]] ([[User talk:Zhang Xueyi|talk]]) 13:43, 29 November 2020 (UTC)&lt;br /&gt;
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==Zou Xinyu 邹鑫雨==&lt;br /&gt;
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The phrases “raising the curtain” (''kaimu'') and “opening our theater” (''kaichang'') are cliches for something to start, but the term ''mu'' referring to the theatrical or cinematic curtain was new, after the oral drama and film were introduced from the West at the turn of the twentieth century. Zhou’s pronouncement of opening a theater addressed to the bride sounds happy for pronouncing their new family life; also it is theatrical as the narrator consequently conjures up a “paradise” within the curtain, where birds sing and flowers smile in the spring. Nevertheless, the repetition of theater at the outset of this ''qinghua'' addresses not only to his bride - the exclusive beholder inside the curtain, but also to an audience, namely this curtain faces the implied beholders. Readers are already aware from the prologue that the author predicts to show this pillow talk to his friends. The visual characteristic of the text is inscribed by the imagery title “In the Nine-Flower Curtain,” and by the metaphor of curtain the intimate space is turned into a theater under the public watch. Against a larger cultural canvas, as a kind of imported cultural material, the curtain was applied as a new decorum in urban spaces, such as art studio, or photograph studio. Consequently, it functioned in shaping modern perception about the relations between space, life-world and work of art.&lt;br /&gt;
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“拉开帷幕”（开幕）和“开放剧场”（开场）是老生常谈的话题，但“幕”指的是戏剧或电影的帷幕，是二十世纪初从西方引进话剧和电影之后的新词。周先生说要给新娘开戏院，这听起来像是在宣告他们新家生活的幸福，同时也是戏剧性的，因为叙述者由此在幕布内想象出一个“天堂”，在那里鸟语花香，春意盎然。然而，这段情话一开始就重复的桥段不仅是给新娘即帘子里的专属看客看的，也是给观众看的，换句话说这帘子面对的是隐含的看客。读者从序言中已经知道，作者预言要把这番枕边话给朋友看。文本的视觉特征是通过意象标题“九花帘中”来刻画的，通过帘子的隐喻，私密空间变成了公众注视下的剧场。在更大的文化背景下，幕布作为一种舶来的文化材料，以一种新的装饰品被应用于城市空间，如艺术工作室，或摄影工作室。因此，幕布在塑造现代人对空间、生活世界和艺术作品之间关系的认知方面发挥了作用。--[[User:Zou Xinyu2|Zou Xinyu2]] ([[User talk:Zou Xinyu2|talk]]) 03:35, 27 November 2020 (UTC)Zou Xinyu&lt;/div&gt;</summary>
		<author><name>Song Jianru</name></author>
	</entry>
	<entry>
		<id>https://bou.de/u/index.php?title=Introduction_to_Translation_Studies&amp;diff=105422</id>
		<title>Introduction to Translation Studies</title>
		<link rel="alternate" type="text/html" href="https://bou.de/u/index.php?title=Introduction_to_Translation_Studies&amp;diff=105422"/>
		<updated>2020-11-23T00:30:07Z</updated>

		<summary type="html">&lt;p&gt;Song Jianru: /* Session 10,Topic 3: 视听翻译 Audiovisual Translation */&lt;/p&gt;
&lt;hr /&gt;
&lt;div&gt;[[Media: Nida's Functional Equivalence Theory.docx]]Quicklinks: [https://bou.de/u/wiki/uvu:Community_Portal#Frequently_asked_questions_FAQ FAQ]  [https://bou.de/u/wiki/uvu:Community_Portal Manual]&lt;br /&gt;
&lt;br /&gt;
Welcome to our course website '''Introduction to Translation Studies'''. Whenever you visit this site, please see if there is anything in English not yet translated into Chinese and make a Chinese translation beneath (one paragraph English, one paragraph Chinese). Any correction or improvement of earlier translations is welcome!&lt;br /&gt;
&lt;br /&gt;
欢迎访问我们“翻译导论课”的网页。…………&lt;br /&gt;
&lt;br /&gt;
=Organizational Things=&lt;br /&gt;
*Please register for the Course Wiki.&lt;br /&gt;
*Please prepare each session during the week before, so that you come prepared to class.&lt;br /&gt;
&lt;br /&gt;
Welcome Message on WeChat: 麻烦各位同学修改一下自己的备注，改成自己的姓名（拼音、汉字、20级、方向）就好。Welcome to our course. I am excited to meet you on Monday online on http://bit.ly/ZOOMCOURSE (573 941 6744, course). First, there are some organizational things to get everybody joining the class.&lt;br /&gt;
In preparation, please register with our course wiki http://bit.ly/WIKIREG. Username is your Pinyin Name (“Wang Jianguo” – no Chinese characters) and email, for your real name also write your Pinyin Name (Wang Jianguo), no Chinese characters. Write a sentence about yourself in the bio info. Please check the box that you abide to the Terms of Service and type in the password “wikicaptcha”. You will receive an email with a link. Please confirm the link. After confirmation, please allow a few days that I can approve your username. After that, you can access the course wiki http://bit.ly/TS_INTRO and edit the contents. You need to edit the course website every week to prepare the upcoming session. &lt;br /&gt;
Please note that you can only participate with a good internet connection, with a smart device which is able to run Zoom and with a running camera. Therefore, please make sure that you have a working device. If your phone’s camera is broken, please borrow a different phone or contact us that we can help you to get a second hand phone for free.&lt;br /&gt;
&lt;br /&gt;
=Edits=&lt;br /&gt;
Every student is required to edit something every week. This can be:&lt;br /&gt;
* Translate any English paragraph on this website from English to Chinese.&lt;br /&gt;
* Correct an earlier translation.&lt;br /&gt;
* Prepare an article (please link to from this page) and/or a powerpoint (please upload here) on a topic you will present during the semester.&lt;br /&gt;
&lt;br /&gt;
=Material=&lt;br /&gt;
Please download several pdfs with monographs and articles about translation studies history and theories from our WeChat group.&lt;br /&gt;
&lt;br /&gt;
*Bassnett, Susan. Translation studies. Routledge, 2013&lt;br /&gt;
*Bell, Roger T., and Christopher Candlin. Translation and translating: Theory and practice. Vol. 298. London: Longman, 1991 &lt;br /&gt;
*Catford, John Cunnison. A linguistic theory of translation. Oxford University Press, 1978.&lt;br /&gt;
*Chen, Fukang. &amp;quot;Zhongguo yixue lilun shi gao (A History of Chinese Translation Theory).&amp;quot; (1992).&lt;br /&gt;
*Gentzler, Edwin. Contemporary translation theories. Vol. 21. Multilingual Matters, 2001.&lt;br /&gt;
*Holmes, James S. The name and nature of translation studies. Translation Studies Section, Department of General Literary Studies, University of Amsterdam, 1975.&lt;br /&gt;
*Huang, Chending黄振定. &amp;quot;文学翻译评价的科学性及其科学论.&amp;quot; 外国语 4 (1999): 49-56.&lt;br /&gt;
*Huang, Chending 黄振定. &amp;quot;翻译学是一门人文科学.&amp;quot; 外语与外语教学 2 (1999): 33-35.&lt;br /&gt;
*Huang, Chending 黄振定.翻译学: 艺术论与科学论的统一. 上海外语教育出版社, 2008&lt;br /&gt;
*Lefevere, André, ed. Translation/history/culture: A sourcebook. Routledge, 2002.&lt;br /&gt;
*Munday, Jeremy. Introducing Translation Studies: Theories and Applications, Routledge 2013&lt;br /&gt;
*Nida, Eugene Albert, and Charles Russell Taber, eds. The theory and practice of translation. Vol. 8. Brill Archive, 1982.&lt;br /&gt;
*Nida, Eugene Albert. Toward a science of translating: with special reference to principles and procedures involved in Bible translating. Brill Archive, 1964.&lt;br /&gt;
*Pan Wenguo 潘文国. &amp;quot;当代西方的翻译学研究——兼谈 “翻译学” 的学科性问题.&amp;quot; 中国翻译 23.1 (2002): 31-34.&lt;br /&gt;
*Tan, Zaixi 谭载喜. Translation Studies 翻译学. 复旦大学出版社, 2017&lt;br /&gt;
*Toury, Gideon. &amp;quot;Descriptive Translation Studies–and beyond John Benjamins Publishing Company.&amp;quot; Amsterdam/Philadelphia (1995).&lt;br /&gt;
*Venuti, Lawrence. The translator's invisibility: A history of translation. Routledge, 2017.&lt;br /&gt;
*Wilss, Wolfram. The science of translation: problems and methods. Vol. 180. John Benjamins Pub Co, 1982. 翻译学问题与方法 Shanghai: SFLEP (2001).&lt;br /&gt;
*Xu, Jun 许钧, Mu Lei 穆雷. &amp;quot;翻译学概论 [Introduction to Translation Studies].&amp;quot; 南京: 译林出版社 10 (2009): 180-192.&lt;br /&gt;
*Xu, Jun 许钧. Translation Theories 翻译论. 湖北教育出版社, 2003&lt;br /&gt;
*Zhao, Wei 赵巍. &amp;quot;翻译学学科性质与研究方法反思.&amp;quot; 解放军外国语学院学报 28.6 (2005): 69-72.&lt;br /&gt;
&lt;br /&gt;
(We use Chicago Social Sciences Citation Style [https://www.chicagomanualofstyle.org/tools_citationguide/citation-guide-2.html Chicago Style].)&lt;br /&gt;
&lt;br /&gt;
'''Which paper or book should I read to prepare my presentation?'''&lt;br /&gt;
&lt;br /&gt;
Recommendations:&lt;br /&gt;
&lt;br /&gt;
Topic	Book/Paper&lt;br /&gt;
&lt;br /&gt;
1 Introduction	&lt;br /&gt;
&lt;br /&gt;
2 Emergence&lt;br /&gt;
*Xu, Jun 许钧, Mu Lei 穆雷. &amp;quot;翻译学概论 [Introduction to Translation Studies].&amp;quot; 南京: 译林出版社 10 (2009): 180-192.&lt;br /&gt;
*Xu, Jun 许钧. Translation Theories 翻译论. 湖北教育出版社, 2003&lt;br /&gt;
*Tan, Zaixi 谭载喜. Translation Studies 翻译学. 复旦大学出版社, 2017&lt;br /&gt;
&lt;br /&gt;
3a History of Translation &lt;br /&gt;
*3a History of Western Translation 谭载喜.西方翻译简史[M]. 北京:商务印书馆, 1991年.&lt;br /&gt;
*3b History of Translation in China – before May Fourth 马祖毅. 中国翻译简史——“五四”以前部分（修订本）[M]. 中国对外翻译出版公司，1998年.&lt;br /&gt;
*3c History of Chinese Translation Theories *陈福康.中国译学理论史稿（修订本）[M]. 上海：上海外语教育出版社，2000年.&lt;br /&gt;
&lt;br /&gt;
4 Early understanding	&lt;br /&gt;
*Holmes, James.  1972. The Name and Nature of Translation Studies. Papers on Literary Translation and Translation Studies[M]. Amsterdam:  Rodopi, 1988: 67-80.&lt;br /&gt;
*Sourcebook	Bassnett, Susan and Andre Lefevere. Translation, History and Culture: A Sourcebook[M]. London and New York：Routledge, &lt;br /&gt;
1990.&lt;br /&gt;
*Early linguistic theory	Catford, J. A Linguistic Theory of Translation[M]. London: Oxford University Press, 1965.&lt;br /&gt;
*Early important understanding	Nida, E. A. Toward a Science of Translating[M]. Leiden: E. J. Brill, 1964.&lt;br /&gt;
&lt;br /&gt;
5 Translation Studies&lt;br /&gt;
*5a Bassnett, Susan. Translation Studies[M]. London and New York: Methuen, 1980. &lt;br /&gt;
* 5b Theories Gentzler, E. Contemporary Translation Theories[M]. London and New York: Routledge, 1993.&lt;br /&gt;
*5c Western theory 刘军平. 西方翻译理论通史[M]. 武汉：武汉大学出版社，2009年.&lt;br /&gt;
*5d Contemp. West. theories	廖七一. 当代西方翻译理论探索[M]. 南京：译林出版社, 2000年.&lt;br /&gt;
&lt;br /&gt;
6 Translation Theories&lt;br /&gt;
* 许钧. 翻译论[M]. 武汉：湖北教育出版社，2003年.&lt;br /&gt;
*6a Methods	Wilss, Wolfram. The Science of Translation: Problems and Methods[M]. Gunter Narr Verlag Tubinger, 1982.&lt;br /&gt;
*6b Style	刘宓庆. 文体与翻译[M]. 北京：中国对外翻译出版公司：北京，1998年.&lt;br /&gt;
*6c Translation Studies	许钧，穆雷. 翻译学概论[M]. 南京：译林出版社，2009年.&lt;br /&gt;
*6d TS 谭载喜. 翻译学[M]. 武汉：湖北教育出版社，2000年.&lt;br /&gt;
&lt;br /&gt;
7 Theory and Practise	&lt;br /&gt;
*7a Bell, Roger T. Translation and Translating: Theory and Practice[M]. London and New York: Longman, 1991.&lt;br /&gt;
*7b Theory and Practise	Munday, Jermy. Introducing Translation Studies: Theories and Applications[M]. London and NewYork: Routledge, 2001.&lt;br /&gt;
*7c Textbook	Newmark, Peter. A Text Book of Translation[M]. UK: Prentice Hall International Ltd, 1988.&lt;br /&gt;
*7d Theory and  practice	Nida, Eugene A. and Charles R. Taber. The Theory and Practice of Translation[M]. Leiden: E. J. Brill, 1969.&lt;br /&gt;
*7e Translation Basics	刘宓庆. 翻译基础[M]. 上海：华东师范大学出版社，2008年.&lt;br /&gt;
&lt;br /&gt;
8&lt;br /&gt;
*8a “descriptive”	Toury, Gideon. Descriptive Translation Studies and Beyond[M]. Amsterdam/ Philadelphia:  John BenjaminB Publishing company, 1995.&lt;br /&gt;
*8b Culture	Toury, Gideon. Translation Across Cultures[M]. NewDelhi: Bahri Publications, 1987.&lt;br /&gt;
*8c Invisibility	Venuti, L. The Translator 's Invisibility[M]. London and NewYork: Routledge, 1995.&lt;br /&gt;
*8d Constructivism Research	易经. 翻译学体系构建研究[M]. 北京：外语教学与研究出版社，2012年.&lt;br /&gt;
&lt;br /&gt;
9 Theories&lt;br /&gt;
*9a East-West comparison	刘宓庆. 中西翻译思想比较研究[M]. 北京：中国对外翻译出版公司, 2005年.&lt;br /&gt;
*9b English-Chinese TS	蒋坚松. 英汉对比与汉译英研究[M]. 长沙：湖南人民出版社，2002年.&lt;br /&gt;
&lt;br /&gt;
=Main class project=&lt;br /&gt;
Please help to edit the publication [[History of Translation Studies]].&lt;br /&gt;
&lt;br /&gt;
=Schedule=&lt;br /&gt;
'''All sessions''': 1 9/21 Organizational things, 2 Emergence, 3 History, 4 Development, 5 Early literary examples, 6 early theories, 7 (Western) Theories, 8 Methods, 9 Style, 10 Translation Studies, 11 Theory and Practice, 12 Different Aspects, 13 East West comparison, 14 Strategies, 15 Contemporary Translation Theories, 16 Final Discussion &lt;br /&gt;
&lt;br /&gt;
==1st Session==&lt;br /&gt;
Introduction to the course. Organizational things. Working with the Wiki.&lt;br /&gt;
&lt;br /&gt;
=== Homework from Session 1 due on Sep 27, 2020 ===&lt;br /&gt;
&lt;br /&gt;
1. Every student should translate 1 sentence of a paper on Qing Translation Policies. Here is the [[20200921_trans|homework page]].&lt;br /&gt;
&lt;br /&gt;
2. Help a fellow student to improve his/her translation on that page. The final translation was once more worked over by the teacher, please check your own sentence [[20200921_trans|here]].&lt;br /&gt;
&lt;br /&gt;
3. Please pick a topic from the pdf material, the general session topics or your own thoughts to do a presentation on. For the first topics, you need to do the presentation already in 1 week!&lt;br /&gt;
&lt;br /&gt;
===Homework for later===&lt;br /&gt;
4. Write a final exam paper as a chapter of the book &amp;quot;Translation Studies&amp;quot;. It has to be a new topic, not yet used in the book. I will upload the book here later. You can participate in writing this book.&lt;br /&gt;
&lt;br /&gt;
5. Get familiar with the pdfs I send you on WeChat group as learning material.&lt;br /&gt;
&lt;br /&gt;
==2nd Session: Emergence==&lt;br /&gt;
&lt;br /&gt;
===Session 2, Topic 1: 人类起源 The emergence of translation and interpretation===&lt;br /&gt;
*Handout for download [[Media:The_emergence_of_translation_and_interpretation.doc|Global Emergence of Interpretation and Translation]] by 彭锐宏&lt;br /&gt;
*Classroom presentation for download [[Media:The_emergence_of_translation_and_interpretation_by_Peng_Ruihong.pptx|Presentation on Emergence of translation]] by 彭锐宏--[[User:Peng Ruihong|Peng Ruihong]] ([[User talk:Peng Ruihong|talk]]) 07:05, 28 September 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
===Session 2, Topic 2: 西方起源 The emergence of translation and interpretation in the West===&lt;br /&gt;
*Handout for download:[[Media:The_Emergence_of_Translation_and_Interpretation_in_Western_Countries.docx|Handout on The Emergence of Translation and Interpretation in Western Countries]]--[[User:Nie Xiaolou|Nie Xiaolou]] ([[User talk:Nie Xiaolou|talk]]) 05:43, 28 September 2020 (UTC)Nie Xiaolou by 聂晓楼&lt;br /&gt;
*Classroom presentation for download:[[Media:The_Emergence_of_Translation_and_Interpretation_in_Western_Countries.pptx|Powerpoint on The Emergence of Translation and Interpretation in Western Countries]]--[[User:Nie Xiaolou|Nie Xiaolou]] ([[User talk:Nie Xiaolou|talk]]) 05:43, 28 September 2020 (UTC)Nie Xiaolou  by 聂晓楼&lt;br /&gt;
&lt;br /&gt;
===Session 2, Topic 3: 中国起源 The emergence of translation and interpretation in China===&lt;br /&gt;
*Handout for download:[[Media:Emergence_of_translation_and_interpretation_in_China.docx| Handout on Emergence of translation and interpretation in China]]--Mashuya by 马淑雅&lt;br /&gt;
*Classroom presentation for download: [[Media:Emergence_of_translation_and_interpretation_in_China.pptx|PowerPoint on Emergence of translation and interpretation in China]]--Mashuya by 马淑雅&lt;br /&gt;
&lt;br /&gt;
===Session 2, Topic 4: 日本起源 The emergence of translation and interpretation in Japan===&lt;br /&gt;
*Handout for download: [[Media:The_Emergence_of_translation_and_interpretation_in_Japan.docx|The Emergence of translation and interpretation in Japan]] by 孟莹 --[[User:Meng Ying|Meng Ying]] ([[User talk:Meng Ying|talk]]) 16:10, 27 September 2020 (UTC)Meng Ying&lt;br /&gt;
*Classroom presentation for download: [[Media:The_Emergence_of_Translation_and_Interpretation_in_Japan.ppt|Powerpoint on the Emergence of Translation and Interpretation in Japan]] by 孟莹--[[User:Meng Ying|Meng Ying]] ([[User talk:Meng Ying|talk]]) 16:10, 27 September 2020 (UTC)Meng Ying&lt;br /&gt;
&lt;br /&gt;
===Homework from Session 2 (Sep 28, 2020), due on (Oct 5, 2020)===&lt;br /&gt;
1. Every student should translate 1 paragraph of an English book on Contemporary Chinese Literature INTO CHINESE. Link: [[20200928_trans|here]].&lt;br /&gt;
&lt;br /&gt;
2. Help a fellow student to improve his/her translation on that page. The final translation was once more worked over by the teacher, please check your own sentence [[20200928_trans|here]].&lt;br /&gt;
&lt;br /&gt;
==3rd Session: History==&lt;br /&gt;
&lt;br /&gt;
===Session 3, Topic 1:中国古代翻译史History of Translation in Ancient China===&lt;br /&gt;
*Handout for download：[[Media:Handout for History of Translation in Ancient China.doc]]--[[User:Li Yu|Li Yu]] ([[User talk:Li Yu|talk]]) 09:14, 5 October 2020 (UTC)&lt;br /&gt;
*Classroom presentation for download:[[Media: History of Translation in Ancient China.pptx]]--[[User:Li Yu|Li Yu]] ([[User talk:Li Yu|talk]]) 09:14, 5 October 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
===Session 3, Topic 2:  中国翻译史代表人物The Representatives in Chinese Translation History===&lt;br /&gt;
*Handout for download: [[Media:Chin_Trans_Hist_Rep.docx|The Representatives in Chinese Translation History]] --[[User:Majuan|Majuan]] ([[User talk:Majuan|talk]]) 11:35, 4 October 2020 (UTC)&lt;br /&gt;
*Classroom presentation for download: [[Media:....pptx|The Representatives in Chinese Translation History]] --[[User:Liu Zhiwei|Liu Zhiwei]] ([[User talk:Liu Zhiwei|talk]]) 08:36, 4 October 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
===Session 3, Topic 3: 中国翻译史的四个阶段 The Four Stages of Chinese Translation History===&lt;br /&gt;
*Handout for download: [[Media:The four stages of Chinese translation history.docx|Description of the file]] PLEASE UPLOAD by --[[User:Yu Ni|Yu Ni]] ([[User talk:Yu Ni|talk]]) 02:08, 5 October 2020 (UTC)XX&lt;br /&gt;
*Classroom presentation for download: [[Media:The_four_stages_of_Chinese_translation_history.pptx|The Four Stages of Chinese Translation History]] by --[[User:Yang chenting|Yang chenting]] ([[User talk:Yang chenting|talk]]) 16:16, 4 October 2020 (UTC)Yang Chenting&lt;br /&gt;
&lt;br /&gt;
===Session 3, Topic 4: 当代中国之翻译 Translation in Contemporary China===&lt;br /&gt;
*Handout for download: [[Media:Handout for Translation in Contemporary China.docx|Translation in today's China]] by --[[User:XieFan|XieFan]] ([[User talk:XieFan|talk]]) 02:08, 5 October 2020 (UTC)&lt;br /&gt;
*Classroom presentation for download: [[Media:Translation in Contemporary China(1).pptx|Presentation on translation in China today]] --[[User:Zhang Yuxing|Zhang Yuxing]] ([[User talk:Zhang Yuxing|talk]]) 01:05, 5 October 2020 (UTC) Zhang Yuxing by 张宇星&lt;br /&gt;
&lt;br /&gt;
==='''Homework from Session 3 (Oct 5, 2020), for Session 4 due on (Oct 12, 2020)'''===&lt;br /&gt;
&lt;br /&gt;
1. Every student should translate 1 sentence of the Introduction of the Book &amp;quot;Translation Studies&amp;quot;. &amp;lt;span style=&amp;quot;color:red&amp;quot;&amp;gt;Here is the '''[[20201005_trans|homework page]]'''&amp;lt;/span&amp;gt;.&lt;br /&gt;
&lt;br /&gt;
2. Help a fellow student to improve his/her translation on that page. The final translation was once more worked over by the teacher, please check your own sentence [[20201005_trans|here]].&lt;br /&gt;
&lt;br /&gt;
==Session 4: Development==&lt;br /&gt;
&lt;br /&gt;
===Session 4, Topic 1: 西方翻译史 Western translation history===&lt;br /&gt;
*Handout for download: [[Media:....docx|Western translation history]] by Zhou Siqing--[[User:Zhou Siqing|Zhou Siqing]] ([[User talk:Zhou Siqing|talk]]) 06:57, 5 October 2020 (UTC)&lt;br /&gt;
*Classroom presentation for download: [[Media:Western translation history.pptx|Western translation history]] by Zhang Qi [[User:Zhangqi|Zhangqi]] ([[User talk:Zhangqi|talk]]) 07:46, 12 October 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
===Session 4, Topic 2: 中国佛经翻译的发展 The Develpment of Chinese Translation of Buddhist Scriptures===&lt;br /&gt;
*Handout for download:[[Media:The Develpment of Chinese Translation of Buddhist Scriptures.docx]] by Jiang Qiwei--[[User:Jiang Qiwei|Jiang Qiwei]] ([[User talk:Jiang Qiwei|talk]]) 15:26, 10 October 2020 (UTC)&lt;br /&gt;
*Classroom presentation for download: [[Media:The Develpment of Chinese Translation of Buddhist Scriptures.ppt|The Develpment of Chinese Translation of Buddhist Scriptures]] by Hu Jin--[[User:Jiang Qiwei|Jiang Qiwei]] ([[User talk:Jiang Qiwei|talk]]) 15:26, 10 October 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
===Session 4, Topic 3:西方翻译理论史History of Western Translation Theory===&lt;br /&gt;
*Handout for download: [[Media:...docx|History of Western Translation Theory]]  by --[[User:Ji Tiantian|Ji Tiantian]] ([[User talk:Ji Tiantian|talk]]) 13:19, 4 October 2020 (UTC)XX&lt;br /&gt;
* Classroom presentation for download:[[Media:...pptx| Brief History of Western Translation Theory]]  by --[[User:Zhou Shiqing|Zhou Shiqing]] ([[User talk:Zhou Shiqing|talk]]) 13:19, 4 October 2020 (UTC)XX&lt;br /&gt;
&lt;br /&gt;
===Session 4, Topic 4:口译未来的发展 Prospect of Interpreting===&lt;br /&gt;
*Handout for download:[[Media:The Prospect of Interpreting.docx]]-by Zhang Yinliu--[[User:Zhang Yinliu|Zhang Yinliu]] ([[User talk:Zhang Yinliu|talk]]) 08:30, 12 October 2020 (UTC)&lt;br /&gt;
*Classroom presentation for download:[[Media:Prospect of Interpreting.pptx]]--[[User:WuQiong|WuQiong]] ([[User talk:WuQiong|talk]]) 08:23, 12 October 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
===Session 4, Topic 5:新中国成立后翻译的发展 Translation Development of New China===&lt;br /&gt;
*Handout for download:[[Media:Translation Development of New China.pdf]] by Li Luyi --[[User:Li Luyi|Li Luyi]] ([[User talk:Li Luyi|talk]]) 11:47, 10 October 2020 (UTC)&lt;br /&gt;
*Classroom presentation for download: [[Media:Translation Development .pptx]] by Zheng Huajun--[[User:Li Luyi|Li Luyi]] ([[User talk:Li Luyi|talk]]) 11:47, 10 October 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
===Session 4, Topic 6:圣经翻译的发展 The Development of Bible Translation===&lt;br /&gt;
*Handout for download:[[Media:The Development of Bible Translation.docx]]--[[User:Peng YuZhi|Peng YuZhi]] ([[User talk:Peng YuZhi|talk]]) 03:05, 11 October 2020 (UTC)&lt;br /&gt;
*Classroom presentation for download:[[Media:The Development of Bible Translation.pptx]] by Han Haiyang--[[User:Han Haiyang|Han Haiyang]] ([[User talk:Han Haiyang|talk]]) 02:01, 11 October 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
===Session 4, Topic 7:机器翻译的发展 The Development of Machine Translation===&lt;br /&gt;
*Handout for download:[[Media:Handout-The Development of Machine Translation.docx]] by Deng Jinxia----[[User:Deng Jinxia|Deng Jinxia]] ([[User talk:Deng Jinxia|talk]]) 12:42, 19 October 2020 (UTC)&lt;br /&gt;
*Classroom presentation for download:[[Media:PPT The Development of Machine Translation.pptx]] by Han Wanzhen--[[User:Han Wanzhen|Han Wanzhen]] ([[User talk:Han Wanzhen|talk]]) 06:31, 11 October 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
===Session 4, Topic 8:视听翻译的发展 The Development of Audiovisual Translation===&lt;br /&gt;
*Handout for download:[[Media:The Development of Audiovisual Translation-Handout.docx]]--[[User:Gong Yumian|Gong Yumian]] ([[User talk:Gong Yumian|talk]]) 16:01, 11 October 2020 (UTC)&lt;br /&gt;
*Classroom presentation for download:[[Media:The Development of Audiovisual Translation-PPT.pptx]] by Cheng Yusi--[[User:Cheng Yusi|Cheng Yusi]] ([[User talk:Cheng Yusi|talk]]) 16:04, 11 October 2020 (UTC)&lt;br /&gt;
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==='''Homework from Session 4 (Oct 12, 2020), for Session 5 due on (Oct 19, 2020)'''===&lt;br /&gt;
&lt;br /&gt;
1. Every student should translate a short passage of a paper on the Chinese essay. &amp;lt;span style=&amp;quot;color:red&amp;quot;&amp;gt;Here is the '''[[20201012_trans|homework page]]'''&amp;lt;/span&amp;gt;.&lt;br /&gt;
&lt;br /&gt;
2. Help a fellow student to improve his/her translation on that page. [[20201012_trans|here]].&lt;br /&gt;
&lt;br /&gt;
3. Take part in an online survey. The survey is currently prepared by the fellow students.&lt;br /&gt;
&lt;br /&gt;
==Session 5: ==&lt;br /&gt;
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===Session 5, Topic 1:林纾的翻译 Lin Shu's translation===&lt;br /&gt;
*Handout for download:[[Media:Translation by Lin Shu.docx]]--[[User:Xiao yining|Xiao yining]] ([[User talk:Xiao yining|talk]]) 08:50, 29 October 2020 (UTC)Xiao Yining&lt;br /&gt;
*Classroom presentation for download:[[Media:Translation by Lin Shu(After correcting).pptx]]--Xu Pengfei&lt;br /&gt;
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===Session 5, Topic 2:茅盾的翻译 Mao Dun's Translation===&lt;br /&gt;
*Handout for download:[[Media:Mao Dun's Translation.docx]]--[[User:Yuan SHiqi|Yuan SHiqi]] ([[User talk:Yuan SHiqi|talk]]) 02:44, 18 October 2020 (UTC)&lt;br /&gt;
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[[Media:translations by Mao Dun.pptx]]--[[User:Yao Jia|Yao Jia]] ([[User talk:Yao Jia|talk]]) 13:14, 1 November 2020 (UTC)&lt;br /&gt;
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===Session 5, Topic 3:严复和天演论 Yan Fu and Tianyan Lun===&lt;br /&gt;
*Handout for download:[[Media:YAN Fu and Tianyan Lun.docx]]--[[User:Yuan Yuchen|Yuan Yuchen]] ([[User talk:Yuan Yuchen|talk]]) 09:53, 18 October 2020 (UTC)Yuan Yuchen&lt;br /&gt;
*Classroom presentation for download:[[Media:YAN Fu and Tianyan Lun.pptx]]--[[User:XiaoXi|XiaoXi]] ([[User talk:XiaoXi|talk]]) 10:28, 18 October 2020 (UTC)Xiao Xi&lt;br /&gt;
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Please stick to your 5 minutes with your presentation. We are 3 presentations behind. Thank you for your cooperation.&lt;br /&gt;
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===Session 5, Topic 4:《红楼梦》的英译 The Translation of ''The Red Chamber Dreams''===&lt;br /&gt;
*Handout for download:[[Media:The Translation of ''The Red Chamber Dreams''.docx]]--[[User:Cao Runxin|Cao Runxin]] ([[User talk:Cao Runxin|talk]]) 13:38, 18 October 2020 (UTC)&lt;br /&gt;
*Classroom presentation for download:[[Media:The Translation of ''The Red Chamber Dreams''.pptx]]----[[User:Zou Xinyu2|Zou Xinyu2]] ([[User talk:Zou Xinyu2|talk]]) 03:59, 24 October 2020 (UTC)Zou Xinyu&lt;br /&gt;
&lt;br /&gt;
===Session 5, Topic 5:《圣经》的早期汉译 The Early Translation of the Bible into Chinese===&lt;br /&gt;
*Handout for download:[[Media:The Early Translation of the Bible into Chinese.docx]]--[[User:Li Lingyue|Li Lingyue]] ([[User talk:Li Lingyue|talk]]) 15:22, 18 October 2020 (UTC)&lt;br /&gt;
*Classroom presentation for download:[[Media:The Early Translation of the Bible into Chinese.ppt]]--[[User:Xu Jing2|Xu Jing2]] ([[User talk:Xu Jing2|talk]]) 14:55, 18 October 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
===Session 5, Topic 6:梁实秋的翻译 The Translation of Liang Shiqiu===&lt;br /&gt;
*Handout for download:[[Media:The Liang Shiqiu's Translation.pdf]]--[[User:ZHOUYUJUAN|ZHOUYUJUAN]]([[User talk:ZHOUYUJUAN|talk]]) 00:32, 19 October 2020 (UTC)&lt;br /&gt;
*Classroom presentation for download:[[Media: Liang Shiqiu.pdf]]--[[User:Su Lin|Su Lin]]([[User talk:Su Lin|talk]]) 00:32, 19 October 2020 (UTC)&lt;br /&gt;
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==Session 6: Early Theories==&lt;br /&gt;
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&lt;br /&gt;
==='''Homework from Session 5 (Oct 19, 2020), for Session 6 due on (Oct 26, 2020)'''===&lt;br /&gt;
&lt;br /&gt;
1. Every student should translate 1 sentence of the Introduction of the Book &amp;quot;Translation Studies&amp;quot;. &amp;lt;span style=&amp;quot;color:red&amp;quot;&amp;gt;Here is the '''[[20201019_trans|homework page]]'''&amp;lt;/span&amp;gt;.&lt;br /&gt;
&lt;br /&gt;
2. Help a fellow student to improve his/her translation on that page. The final translation was once more worked over by the teacher, please check your own sentence [[20201019_trans|here]].&lt;br /&gt;
&lt;br /&gt;
===Session 6, Topic 1: 巴斯奈特文化翻译观  The Cultural Translation Theory of Bassnett===&lt;br /&gt;
 &lt;br /&gt;
Handout for download: [[Media:The Cultural Translatioin Theory of Susan Bassnett.pdf]]--[[User:Yang Yi|Yang Yi]]([[User talk:Yang Yi|talk]]) 16:36, 24 October 2020 (UTC)&lt;br /&gt;
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Classroom presentation for download:  [[Media:Cultural Translatioin Theory of Bassnett.ppt]]--[[User:Xu Mengdie|Xu Mengdie]] ([[User talk:Xu Mengdie|talk]]) 05:07, 24 October 2020 (UTC)Xu Mengdie&lt;br /&gt;
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===Session 6, Topic 2: 中国早期代表性佛经翻译理论  Early Representative Theories of Buddhist Scriptures Translation in China===&lt;br /&gt;
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Handout for download:[[Media:Early Representative Theories of Buddhist Scriptures Translation in China.docx]]--[[User:Chen Han|Chen Han]] ([[User talk:Chen Han|talk]]) 14:23, 25 October 2020 (UTC)&lt;br /&gt;
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Classroom presentation for download:[[Media:Early Representative Theories of Buddhist Scriptures Translation in China.pptx]]--[[User:Zeng Xinyuan|Zeng Xinyuan]] ([[User talk:Zeng Xinyuan|talk]]) 00:43, 26 October 2020 (UTC)&lt;br /&gt;
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===Session 6, Topic 3: 两种西方早期翻译模式的比较分析:贺拉斯模式和杰罗姆模式  The Comparative Analysis of Two Early Western Translation Models: Horace Model and Jerome Model===&lt;br /&gt;
&lt;br /&gt;
Handout for download:[[Media:The Comparative Analysis of Two Translation Models.docx]]--[[User:Chen Jingjing|Chen Jingjing]] ([[User talk:Chen Jingjing|talk]]) 09:41, 25 October 2020 (UTC)Chen Jingjing&lt;br /&gt;
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Classroom presentation for download:[[Media:The_Comparative_Analysis_of_Two_Translation_Models.pptx]]--[[User:Gao Mingzhu|Gao Mingzhu]] ([[User talk:Gao Mingzhu|talk]]) 09:24, 25 October 2020 (UTC)Gao Mingzhu&lt;br /&gt;
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===Session 6, Topic 4: 卡特福德的《翻译的语言学理论》  A Linguistic Theory of Translation of J.C.Catford===&lt;br /&gt;
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Handout for download:[[Media:A Linguistic Theory of Translation of Catford.docx]]--[[User:Wei Honglang|Wei Honglang]] ([[User talk:Wei Honglang|talk]]) 12:30, 25 October 2020 (UTC)&lt;br /&gt;
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Classroom presentation for download:[[Media:A Linguistic Theory of Translation.pptx]]--[[User:Wen Xiaoyi|Wen Xiaoyi]] ([[User talk:Wen Xiaoyi|talk]]) 12:38, 25 October 2020 (UTC)&lt;br /&gt;
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===Session 6, Topic 5: 中西早期译论对比 The Comparison between Chinese and Western Early Translation Theories===&lt;br /&gt;
Handout for download:[[Media:Comparison of Early Translation Theories between China and the West.docx]]--[[User:QiKai|QiKai]] ([[User talk:QiKai|talk]]) 14:04, 25 October 2020 (UTC)&lt;br /&gt;
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Classroom Presentation for download:[[Media:Chinese and Western Early Theories Comparison.pptx]]--[[User:Kang Haoyu|Kang Haoyu]] ([[User talk:Kang Haoyu|talk]]) 13:26, 25 October 2020 (UTC)&lt;br /&gt;
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===Session 6, Topic 6: 系统翻译理论的早期尝试  Early Attempts at Systematic Translation Theory===&lt;br /&gt;
 &lt;br /&gt;
Handout for download: [[Media:Early Attempts at Systematic Translation Theory.docx]]--[[User:Wu Xiang|Wu Xiang]] ([[User talk:Wu Xiang|talk]]) 12:40, 25 October 2020 (UTC)&lt;br /&gt;
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Classroom presentation for download:  [[Media:Early Attempts at Systematic Translation Theory.ppt]]--[[User:Liu Yangnuo|Liu Yangnuo]] ([[User talk:Liu Yangnuo|talk]])03:52, 25 October 2020 (UTC)&lt;br /&gt;
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=Session 7: Western theories=&lt;br /&gt;
&lt;br /&gt;
===Homework from Session 6 (Oct 26, 2020), for Session 6 due on (Nov 2, 2020)===&lt;br /&gt;
&lt;br /&gt;
1. Every student should translate 1 sentence of the Introduction of the Book &amp;quot;Translation Studies&amp;quot;. &amp;lt;span style=&amp;quot;color:red&amp;quot;&amp;gt;Here is the '''[[20201026_trans|homework page]]'''&amp;lt;/span&amp;gt;.&lt;br /&gt;
&lt;br /&gt;
2. Help a fellow student to improve his/her translation on that page. The final translation was once more worked over by the teacher, please check your own sentence [[20201026_trans|here]].&lt;br /&gt;
&lt;br /&gt;
===Session 7, Topic 1: 奈达功能对等理论 Nida's Functional Equivalence Theory===&lt;br /&gt;
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Handout for download:[[Media:Nida's Functional Equivalence Theory.docx]]&lt;br /&gt;
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Classroom presentation for download:[[Media:Nida's Functional Equivalence Theory ppt.pptx]]--[[User:Kang Lingfeng|Kang Lingfeng]] ([[User talk:Kang Lingfeng|talk]]) 02:59, 2 November 2020 (UTC)&lt;br /&gt;
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===Session 7, Topic 2: 多元系统理论 Polysystem Theory===&lt;br /&gt;
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Classroom presentation for download:[[Media:Polysystem Theory ppt.pptx]]--[[User:Wu Qi|Wu Qi]] ([[User talk:Wu Qi|talk]]) 11:35, 1 November 2020 (UTC)&lt;br /&gt;
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Handout for download:[[Media:Polysystem Theory.docx]]--[[User:Chang Huiyue|Chang Huiyue]] ([[User talk:Chang Huiyue|talk]]) 11:21, 1 November 2020 (UTC)&lt;br /&gt;
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===Session 7, Topic 3： 后殖民主义翻译理论 Post-colonial Translation Theory===&lt;br /&gt;
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Handout for download:[[Media:Post-colonial Translation Theory.doc]]--[[User:Jiang Hao|Jiang Hao]] ([[User talk:Jiang Hao|talk]]) 12:27, 1 November 2020 (UTC)&lt;br /&gt;
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Classroom presentation for download:[[Media:Post-colonial Translation Theory.pptx]]--[[User:Ji Tiantian|Ji Tiantian]] ([[User talk:Ji Tiantian|talk]]) 01:29, 2 November 2020 (UTC)&lt;br /&gt;
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===Session 7, Topic 4： 布拉格学派 Prague School===&lt;br /&gt;
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Handout for download: [[Media:Prague_School-Handout.doc]]--[[User:Xu Jing|Xu Jing]] ([[User talk:Xu Jing|talk]]) 14:48, 1 November 2020 (UTC)&lt;br /&gt;
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Classroom presentation for download:[[Media:Prague School.pptx]]--[[User:You Yuting|You Yuting]] ([[User talk:You Yuting|talk]]) 14:08, 1 November 2020 (UTC)&lt;br /&gt;
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===Session 7, Topic 5： 目的论 Skopos Theory===&lt;br /&gt;
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Classroom presentation for download:[[Media:Skopos Theory.pptx]]--[[User:Wang Xuan|Wang Xuan]] ([[User talk:Wang Xuan|talk]]) 07:26, 2 November 2020 (UTC)Wang Xuan&lt;br /&gt;
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Handout for download:[[Media:Skopos Theory.docx]]--[[User:Xiao Shuangling|Xiao Shuangling]] ([[User talk:Xiao Shuangling|talk]]) 08:21, 2 November 2020 (UTC)Xiao Shuangling&lt;br /&gt;
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===Session 7, Topic 6： 语言学派 Linguistic School===&lt;br /&gt;
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Classroom presentation for download:[[Media:Linguistic School.pptx]]----[[User:Wang Yuan|Wang Yuan]] ([[User talk:Wang Yuan|talk]]) 05:26, 2 November 2020 (UTC)&lt;br /&gt;
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Handout for download: [[Media:Linguistic School-Handout.doc]]----[[User:Wang Yuan|Wang Yuan]] ([[User talk:Wang Yuan|talk]]) 05:48, 2 November 2020 (UTC)&lt;br /&gt;
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=Session 8: Methods=&lt;br /&gt;
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===Homework from Session 7 (Nov 2, 2020), for Session 8 due on (Nov 9, 2020)===&lt;br /&gt;
&lt;br /&gt;
1. Every student should translate 1 sentence of the Introduction of the Book &amp;quot;Translation Studies&amp;quot;. &amp;lt;span style=&amp;quot;color:red&amp;quot;&amp;gt;Here is the '''[[20201102_trans|homework page]]'''&amp;lt;/span&amp;gt;.&lt;br /&gt;
&lt;br /&gt;
2. Help a fellow student to improve his/her translation on that page. The final translation was once more worked over by the teacher, please check your own sentence [[20201102_trans|here]].&lt;br /&gt;
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===Session 8, Topic 1： 正说反译与反说正译 Negation===&lt;br /&gt;
Classroom presentation for download:[[Media:Negation-Gan Fengyu.pptx]][[User:Gan Fengyu|Gan Fengyu]] ([[User talk:Gan Fengyu|talk]]) 13:01, 6 November 2020 (UTC)&lt;br /&gt;
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Handout for download:[[Media:Negation.docx]]--[[User:Ding Daifeng|Ding Daifeng]] ([[User talk:Ding Daifeng|talk]]) 12:56, 6 November 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
===Session 8, Topic 2：异化策略下的翻译方法 Translation Methods of Foreignization Strategy ===&lt;br /&gt;
Classroom presentation for download:[[Media:Translation Methods of Foreignization Strategy-Zhao Xiaoyan.pptx]]--[[User:Zhao Xiaoyan|Zhao Xiaoyan]] ([[User talk:Zhao Xiaoyan|talk]]) 15:35, 7 November 2020 (UTC)&lt;br /&gt;
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Handout for download:[[Media:Translation Methods of Foreignization Strategy-Zhang Hui.docx]]--[[User:Zhang Hui|Zhang Hui]] ([[User talk:Zhang Hui|talk]]) 15:33, 7 November 2020 (UTC)&lt;br /&gt;
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===Session 8, Topic 3： 交际翻译与语义翻译 Communicative Translation and Semantic Translation===&lt;br /&gt;
Classroom presentation for download:[[Media:Communicative Translation and Semantic Translation.pptx]]by Zhang Yu--[[User:Zhang Yu|Zhang Yu]] ([[User talk:Zhang Yu|talk]]) 13:01, 6 November 2020 (UTC)&lt;br /&gt;
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Handout for download:[[Media:Semantic Translation and Communicative Translation-handout.docx]]--[[User:Tan Xingyue|Tan Xingyue]] ([[User talk:Tan Xingyue|talk]]) 13:49, 6 November 2020 (UTC)&lt;br /&gt;
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===Session 8, Topic 4： 直译与意译 Literal Translation and Free translation===&lt;br /&gt;
Classroom presentation for download:[[Media:Literal Translation and Free translation.pptx]]--[[User:Si Yu|Si Yu]] ([[User talk:Si Yu|talk]]) 15:45, 8 November 2020 (UTC)&lt;br /&gt;
Handout for download:[[Media:Literal Translation and Free translation Handout.docx]]--[[User:Wu Yilu|Wu Yilu]] ([[User talk:Wu Yilu|talk]]) 01:22, 9 November 2020 (UTC)&lt;br /&gt;
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===Session 8, Topic 5： 增译与减译 Amplification and Omission===&lt;br /&gt;
Classroom presentation for download:[[Media:Amplification and Omission.pptx]]--[[User:Li Meng|Li Meng]] ([[User talk:Li Meng|talk]]) 03:06, 9 November 2020 (UTC)&lt;br /&gt;
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Classroom handout for download:[[Media:Amplification And Omission.docx]]--[[User:Wensixing|Wensixing]] ([[User talk:Wensixing|talk]]) 05:05, 9 November 2020 (UTC)Wensixing&lt;br /&gt;
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===Session 8, Topic 6： 影视字幕的翻译方法-以《肖申克的救赎》为例 The Translation Method of Film and Television Subtitles——Taking Shawshank’s Redemption as an Example===&lt;br /&gt;
Classroom presentation for download:[[Media:The Translation Method of Film and Television Subtitles—Taking Shawshank’s Redemption as an Example.pptx]]--[[User:Liu Jinxingqi|Liu Jinxingqi]] ([[User talk:Liu Jinxingqi|talk]]) 01:21, 9 November 2020 (UTC)&lt;br /&gt;
Handout for download:[[Media:The Translation Method of Film and Television Subtitles—Taking Shawshank’s Redemption as an Example Handout.docx]]--[[User:Lin Min|Lin Min]] ([[User talk:Lin Min|talk]]) 01:16, 9 November 2020 (UTC)&lt;br /&gt;
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==Session 9: Style==&lt;br /&gt;
&lt;br /&gt;
===Homework from Session 8 (Nov 9, 2020), for Session 9 due on (Nov 16, 2020)===&lt;br /&gt;
&lt;br /&gt;
1. Every student should translate 1 sentence from the essay. &amp;lt;span style=&amp;quot;color:red&amp;quot;&amp;gt;Here is the '''[[20201116_trans|homework page]]'''&amp;lt;/span&amp;gt;.&lt;br /&gt;
&lt;br /&gt;
2. Help a fellow student to improve his/her translation on that page. The final translation was once more worked over by the teacher, please check your own sentence [[20201116_trans|here]].&lt;br /&gt;
&lt;br /&gt;
===Session 9, Topic 1: 源语风格和翻译 Style of Source Text and Translation ===&lt;br /&gt;
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Classroom handout for download:[[Media:Style of Source Text and Translation.docx]]--[[User:Kong Xianghui|Kong Xianghui]] ([[User talk:Kong Xianghui|talk]]) 06:48, 9 November 2020 (UTC)&lt;br /&gt;
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Classroom presentation for download:[[Media:Style of Source Text and Translation1.pptx]]--[[User:Kong Yanan|Kong Yanan]] ([[User talk:Kong Yanan|talk]]) 07:03, 9 November 2020 (UTC)&lt;br /&gt;
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===Session 9, Topic2 : 科技翻译 Scientific Style  ===&lt;br /&gt;
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Classroom handout for download:[[Media:Scientific Style.docx]]--[[User:Lou Cancan|Lou Cancan]] ([[User talk:Lou Cancan|talk]]) 01:42, 16 November 2020 (UTC)&lt;br /&gt;
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Classroom presentation for download:[[Media:Scientific Style.pptx]]--[[User:Luo Yuqing|Luo Yuqing]] ([[User talk:Luo Yuqing|talk]]) 01:17, 16 November 2020 (UTC)&lt;br /&gt;
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===Session 9,Topic 3:不同翻译风格对比 Comparison among Different Translation Styles ===&lt;br /&gt;
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Classroom handout for download:[[Media:Handout Session 9 Comparison among Different Translation Styles.docx]]--[[User:Guan Qinqing|Guan Qinqing]] ([[User talk:Guan Qinqing|talk]]) 14:40, 14 November 2020 (UTC)&lt;br /&gt;
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Classroom presentation for download:[[Media:Session 9 Comparison among Different Translation Styles.pptx]]--[[User:Guan Qinqing|Guan Qinqing]] ([[User talk:Guan Qinqing|talk]]) 14:40, 14 November 2020 (UTC)&lt;br /&gt;
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===Session 9,Topic 4: 文学风格可译与不可译 On Literary Style from a Translatable View and Untranslatable View===&lt;br /&gt;
Classroom handout for download:[[Media:On Literary Style from a Translatable View and Untranslatable View.docx]]--[[User:Lin Xin|Lin Xin]] ([[User talk:Lin Xin|talk]]) 04:49, 16 November 2020 (UTC)&lt;br /&gt;
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Classroom presentation for download:[[Media:On Literary Style from a Translatable View and Untranslatable View.pptx]] by Li Yongshan --[[User:Lin Xin|Lin Xin]] ([[User talk:Lin Xin|talk]]) 04:49, 16 November 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
===Session 9,Topic 5: 翻译与风格 Translation and Style ===&lt;br /&gt;
Classroom handout for download: [[Media:Translation_and_Style.docx]]--Hu Huifang&lt;br /&gt;
&lt;br /&gt;
Classroom presentation for download: [[Media:Translation_and_Style.pptx]]--Zeng Yanhu&lt;br /&gt;
&lt;br /&gt;
[[Media:Example.ogg]]==Session 10: Translation Studies==&lt;br /&gt;
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1. Every student should translate 1 sentence from the essay. &amp;lt;span style=&amp;quot;color:red&amp;quot;&amp;gt;Here is the '''[[20201123_trans|homework page]]'''&amp;lt;/span&amp;gt;.&lt;br /&gt;
&lt;br /&gt;
2. Help a fellow student to improve his/her translation on that page. The final translation was once more worked over by the teacher, please check your own sentence [[20201123_trans|here]].&lt;br /&gt;
&lt;br /&gt;
===Session 10,Topic 1: 翻译转换 Translation Shifts  ===&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
Classroom presentation for download:[[Media:Translation_Shifts.pptx]]--[[User:Luo Weijia|Luo Weijia]] ([[User talk:Luo Weijia|talk]]) 14:51, 22 November 2020 (UTC)&lt;br /&gt;
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Classroom presentation for download:[[Media:Translation_Shifts_handout.docx]]--[[User:Gui Yizhi|Gui Yizhi]] ([[User talk:Gui Yizhi|talk]]) 15:05, 22 November 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
=== Session 10,Topic 3: 视听翻译 Audiovisual Translation ===&lt;br /&gt;
Classroom handout for download：[[Media:Audiovisual Translation.docx]]--[[User:Quan Meixin|Quan Meixin]] ([[User talk:Quan Meixin|talk]]) 13:19, 22 November 2020 (UTC)&lt;br /&gt;
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Classroom presentation for download:[[Media:Audiovisual Translation.pptx]]--[[User:Song Jianru|Song Jianru]] ([[User talk:Song Jianru|talk]]) 00:26, 23 November 2020 (UTC)&lt;br /&gt;
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===Session 10,Topic 6: 不可译性及其转化策略 Untranslatability and Translation Strategies  ===&lt;br /&gt;
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Classroom handout for download：[[Media:Untranslatability and Translation Strategies.docx]]--[[User:Chen Yongxiang|Chen Yongxiang]] ([[User talk:Chen Yongxiang|talk]]) 12:03, 22 November 2020 (UTC)&lt;br /&gt;
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Classroom presentation for download:[[Media:Untranslatability &amp;amp; Translation Strategies.pptx]]--[[User:Liu Ou|Liu Ou]] ([[User talk:Liu Ou|talk]]) 12:45, 22 November 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
==Session 11: Theory and Practice==&lt;br /&gt;
==Session 12: Different Aspects==&lt;br /&gt;
==Session 13: East West comparison==&lt;br /&gt;
==Session 14: Strategies==&lt;br /&gt;
==Session 15: Contemporary Translation Theories==&lt;br /&gt;
==Session 16: Final Discussion==&lt;br /&gt;
&lt;br /&gt;
==List of topics for presentations and handouts in class==&lt;br /&gt;
1 Emergence: &lt;br /&gt;
孟莹: 日本起源, 聂晓楼: 西方起源, 马淑雅: 中国起源, 彭锐宏: 人类起源&lt;br /&gt;
&lt;br /&gt;
2 History: &lt;br /&gt;
周思庆 张琪: 西方翻译史; 马娟 刘智伟: 历史上中国著名的翻译家; 解帆 张宇星: 现当代中国翻译演变; 凌子瑾 李玉: 中国古代翻译史; 杨晨婷 余妮: 中国近代翻译史; 周诗卿 纪甜甜: 西方翻译理论简史&lt;br /&gt;
 &lt;br /&gt;
3 Development: &lt;br /&gt;
韩宛真 邓锦霞: 机器翻译的发展;  蒋淇玮 胡瑾：中国佛经翻译的发展; 吴琼 张银柳: 口译未来的发展; 成于思 龚钰冕: 翻译实践的发展; 郑华君 李璐伊: 新中国成立后翻译的发展; 韩海洋 彭育志：圣经翻译的发展&lt;br /&gt;
&lt;br /&gt;
4 Early Literary Examples: &lt;br /&gt;
许鹏飞 肖伊宁: 林纾的翻译; 许晶 李凌月; 袁诗琦 姚佳; 邹鑫雨 曹润鑫:《红楼梦》的英译; 袁雨晨 肖茜: 严复和《天演论》; 苏琳 周玉娟&lt;br /&gt;
&lt;br /&gt;
5 Early Theories: &lt;br /&gt;
徐梦蝶 杨逸; 陈涵 曾心媛; 陈静静 高明珠; 文晓艺 韦洪朗: 严复与林纾的翻译理论; 康浩宇 漆凯: 玄奘翻译理论; 刘洋诺 邬香: 系统翻译理论的早期尝试&lt;br /&gt;
&lt;br /&gt;
6 (Western) Theories: &lt;br /&gt;
康灵凤 莫南: 功能对等理论; 吴琪 常慧月：多元系统理论; 纪甜甜 姜好: 后殖民翻译理论; 许静 游雨婷; 布拉格学派; 肖双玲 王轩: 目的论; 李丽丽 王源: 语言学派&lt;br /&gt;
&lt;br /&gt;
7 Methods: &lt;br /&gt;
甘奉玉 丁代凤; 赵晓燕 张慧: 异化策略下的翻译方法; 张瑜 谭星越: 语义翻译和交际翻译; 吴一露 司妤: 直译和意译; 文偲荇 李梦: 增译和减译; 林敏 刘金惺琦&lt;br /&gt;
&lt;br /&gt;
8 Style: &lt;br /&gt;
孔祥慧 孔亚楠; 罗雨晴 娄灿灿; 管钦清：不同翻译风格对比； 林鑫 李泳珊：文学风格可译与不可译; 曾雁湖 胡慧芳&lt;br /&gt;
&lt;br /&gt;
9 Translation Studies: &lt;br /&gt;
罗维嘉 桂一枝; 彭小玲 彭丹; 全美欣 宋建茹:视听翻译;石迪文 易欢; 姚诚 张虎：中英语态对比及其翻译策略; 刘欧 陈永相：不可译性及其转化策略&lt;br /&gt;
&lt;br /&gt;
10 Theory and Practice: &lt;br /&gt;
彭娟 陶冶; 吴子佳 雷旷溪: 归化异化在翻译中的实践; 汤蓓  王美玲; 蒋凤仪 顾东方; 周园曲 祝美梅;  阳慧 张佩闻; &lt;br /&gt;
&lt;br /&gt;
11 Different Aspects: &lt;br /&gt;
周艺文 陈佳欣; 谭鑫洁 魏亚菲; 张毓婕 杨海容; &lt;br /&gt;
&lt;br /&gt;
12 East West Comparison: &lt;br /&gt;
唐铭 欧蓉; 谭媛媛 刘艺: 中西翻译发展史及比较; 杨悦 义子楚: 中西文化差异对翻译的影响; 肖婷 徐佳;  莫玲 袁天翼; 陈莎 陈江宁：中西方思维方式差异对翻译的影响。&lt;br /&gt;
&lt;br /&gt;
13 Strategies: &lt;br /&gt;
吴恺 马智星: 阿拉伯大征服时代与翻译学; 汤伊然 杨子泠(劳伦斯·韦努蒂的异化翻译策略); 彭永亮 谢子熠&lt;br /&gt;
&lt;br /&gt;
14 Contemporary translation Theories: &lt;br /&gt;
Sagara Seydo Nguyen, Thuy Hien (Helen)&lt;br /&gt;
&lt;br /&gt;
==List of Topics for final exam papers in Translation Studies==&lt;br /&gt;
&lt;br /&gt;
学期论文（结合学期所学，撰写一篇5000以上单词的英文论文，按照专业杂志的格式，题目、摘要、关键词和参考文摘需要英中，文章英）。学期论文成绩占70%，平时成绩（含课堂表现、展示及作业）占30%。&lt;br /&gt;
&lt;br /&gt;
Ideas&lt;br /&gt;
*literal vs. free&lt;br /&gt;
*Faithful/loyal/foreignization/alienation/exotization vs. domestication/localization&lt;br /&gt;
*unit of translation&lt;br /&gt;
*contrastive analysis&lt;br /&gt;
*the equivalence problem (functional, dynamic)&lt;br /&gt;
*translatability vs untranslatability &lt;br /&gt;
*SLT vs TLT relation&lt;br /&gt;
*translation types, strategies, styles, methods&lt;br /&gt;
*communication factors, translator role in social setting&lt;br /&gt;
*cognitive factors&lt;br /&gt;
*machine translation&lt;br /&gt;
*translation quality assessment&lt;br /&gt;
*translation ethics / manipulation etc.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
Suggested topics for final exam papers (chapters of book on translation studies)&lt;br /&gt;
&lt;br /&gt;
Each student needs to prepare one small topic for a 5-min. classroom presentation (with a fellow student, who writes a handout about it) and needs to find a topic for a chapter of a book on Translation Studies. Alternatively to the classroom presentation, the student can also assist the teacher by preparing class, sorting the wiki page etc.&lt;br /&gt;
&lt;br /&gt;
Here is the link to the list: [[Topics in Translation Studies]]&lt;br /&gt;
&lt;br /&gt;
Please write your paper as a chapter of the book directly into the book manuscript here: [[History of Translation Studies]].&lt;br /&gt;
&lt;br /&gt;
Sample papers (you can find these papers also on the Webpage [[History of Translation Studies]])&lt;br /&gt;
* A Comparative Study between Functional Equivalence Theory and Skopos Theory and My thoughts on the Two Theories&lt;br /&gt;
* An Analysis of the Book of Contemporary Translation Theories and Introducing Translation Studies: Theories and Applications&lt;br /&gt;
* Comparative Study on Functional Equivalence Theory and Skopos Theroy&lt;br /&gt;
* Comparison of Derrida’s and Benjamin’s Translation View&lt;br /&gt;
* Impacts of Western Translation Theories on The Translator’s Guide to Chinglish&lt;br /&gt;
* On the Comparison between &amp;quot;Sublimation&amp;quot; an &amp;quot;Functonal Equivalence&amp;quot; Theories&lt;br /&gt;
* Study on Gladys’ Translation of The Border Town from the Perspective of Translation Aesthetics&lt;br /&gt;
* The Translation of Culture-loaded Words in Chinese-English Communication&lt;br /&gt;
* Translators' Views on Translation Influence Their Translation Behavior&lt;br /&gt;
&lt;br /&gt;
=Benefits=&lt;br /&gt;
This course is registered as a &amp;quot;EU Expert&amp;quot; diploma supplement course. Collect 10 such courses during your study and you receive a certificate by the Jean Monnet Chair.&lt;/div&gt;</summary>
		<author><name>Song Jianru</name></author>
	</entry>
	<entry>
		<id>https://bou.de/u/index.php?title=File:Audiovisual_Translation.pptx&amp;diff=105421</id>
		<title>File:Audiovisual Translation.pptx</title>
		<link rel="alternate" type="text/html" href="https://bou.de/u/index.php?title=File:Audiovisual_Translation.pptx&amp;diff=105421"/>
		<updated>2020-11-23T00:28:31Z</updated>

		<summary type="html">&lt;p&gt;Song Jianru: &lt;/p&gt;
&lt;hr /&gt;
&lt;div&gt;&lt;/div&gt;</summary>
		<author><name>Song Jianru</name></author>
	</entry>
	<entry>
		<id>https://bou.de/u/index.php?title=Introduction_to_Translation_Studies&amp;diff=105420</id>
		<title>Introduction to Translation Studies</title>
		<link rel="alternate" type="text/html" href="https://bou.de/u/index.php?title=Introduction_to_Translation_Studies&amp;diff=105420"/>
		<updated>2020-11-23T00:26:26Z</updated>

		<summary type="html">&lt;p&gt;Song Jianru: /* Session 10,Topic 3: 视听翻译 Audiovisual Translation */&lt;/p&gt;
&lt;hr /&gt;
&lt;div&gt;[[Media: Nida's Functional Equivalence Theory.docx]]Quicklinks: [https://bou.de/u/wiki/uvu:Community_Portal#Frequently_asked_questions_FAQ FAQ]  [https://bou.de/u/wiki/uvu:Community_Portal Manual]&lt;br /&gt;
&lt;br /&gt;
Welcome to our course website '''Introduction to Translation Studies'''. Whenever you visit this site, please see if there is anything in English not yet translated into Chinese and make a Chinese translation beneath (one paragraph English, one paragraph Chinese). Any correction or improvement of earlier translations is welcome!&lt;br /&gt;
&lt;br /&gt;
欢迎访问我们“翻译导论课”的网页。…………&lt;br /&gt;
&lt;br /&gt;
=Organizational Things=&lt;br /&gt;
*Please register for the Course Wiki.&lt;br /&gt;
*Please prepare each session during the week before, so that you come prepared to class.&lt;br /&gt;
&lt;br /&gt;
Welcome Message on WeChat: 麻烦各位同学修改一下自己的备注，改成自己的姓名（拼音、汉字、20级、方向）就好。Welcome to our course. I am excited to meet you on Monday online on http://bit.ly/ZOOMCOURSE (573 941 6744, course). First, there are some organizational things to get everybody joining the class.&lt;br /&gt;
In preparation, please register with our course wiki http://bit.ly/WIKIREG. Username is your Pinyin Name (“Wang Jianguo” – no Chinese characters) and email, for your real name also write your Pinyin Name (Wang Jianguo), no Chinese characters. Write a sentence about yourself in the bio info. Please check the box that you abide to the Terms of Service and type in the password “wikicaptcha”. You will receive an email with a link. Please confirm the link. After confirmation, please allow a few days that I can approve your username. After that, you can access the course wiki http://bit.ly/TS_INTRO and edit the contents. You need to edit the course website every week to prepare the upcoming session. &lt;br /&gt;
Please note that you can only participate with a good internet connection, with a smart device which is able to run Zoom and with a running camera. Therefore, please make sure that you have a working device. If your phone’s camera is broken, please borrow a different phone or contact us that we can help you to get a second hand phone for free.&lt;br /&gt;
&lt;br /&gt;
=Edits=&lt;br /&gt;
Every student is required to edit something every week. This can be:&lt;br /&gt;
* Translate any English paragraph on this website from English to Chinese.&lt;br /&gt;
* Correct an earlier translation.&lt;br /&gt;
* Prepare an article (please link to from this page) and/or a powerpoint (please upload here) on a topic you will present during the semester.&lt;br /&gt;
&lt;br /&gt;
=Material=&lt;br /&gt;
Please download several pdfs with monographs and articles about translation studies history and theories from our WeChat group.&lt;br /&gt;
&lt;br /&gt;
*Bassnett, Susan. Translation studies. Routledge, 2013&lt;br /&gt;
*Bell, Roger T., and Christopher Candlin. Translation and translating: Theory and practice. Vol. 298. London: Longman, 1991 &lt;br /&gt;
*Catford, John Cunnison. A linguistic theory of translation. Oxford University Press, 1978.&lt;br /&gt;
*Chen, Fukang. &amp;quot;Zhongguo yixue lilun shi gao (A History of Chinese Translation Theory).&amp;quot; (1992).&lt;br /&gt;
*Gentzler, Edwin. Contemporary translation theories. Vol. 21. Multilingual Matters, 2001.&lt;br /&gt;
*Holmes, James S. The name and nature of translation studies. Translation Studies Section, Department of General Literary Studies, University of Amsterdam, 1975.&lt;br /&gt;
*Huang, Chending黄振定. &amp;quot;文学翻译评价的科学性及其科学论.&amp;quot; 外国语 4 (1999): 49-56.&lt;br /&gt;
*Huang, Chending 黄振定. &amp;quot;翻译学是一门人文科学.&amp;quot; 外语与外语教学 2 (1999): 33-35.&lt;br /&gt;
*Huang, Chending 黄振定.翻译学: 艺术论与科学论的统一. 上海外语教育出版社, 2008&lt;br /&gt;
*Lefevere, André, ed. Translation/history/culture: A sourcebook. Routledge, 2002.&lt;br /&gt;
*Munday, Jeremy. Introducing Translation Studies: Theories and Applications, Routledge 2013&lt;br /&gt;
*Nida, Eugene Albert, and Charles Russell Taber, eds. The theory and practice of translation. Vol. 8. Brill Archive, 1982.&lt;br /&gt;
*Nida, Eugene Albert. Toward a science of translating: with special reference to principles and procedures involved in Bible translating. Brill Archive, 1964.&lt;br /&gt;
*Pan Wenguo 潘文国. &amp;quot;当代西方的翻译学研究——兼谈 “翻译学” 的学科性问题.&amp;quot; 中国翻译 23.1 (2002): 31-34.&lt;br /&gt;
*Tan, Zaixi 谭载喜. Translation Studies 翻译学. 复旦大学出版社, 2017&lt;br /&gt;
*Toury, Gideon. &amp;quot;Descriptive Translation Studies–and beyond John Benjamins Publishing Company.&amp;quot; Amsterdam/Philadelphia (1995).&lt;br /&gt;
*Venuti, Lawrence. The translator's invisibility: A history of translation. Routledge, 2017.&lt;br /&gt;
*Wilss, Wolfram. The science of translation: problems and methods. Vol. 180. John Benjamins Pub Co, 1982. 翻译学问题与方法 Shanghai: SFLEP (2001).&lt;br /&gt;
*Xu, Jun 许钧, Mu Lei 穆雷. &amp;quot;翻译学概论 [Introduction to Translation Studies].&amp;quot; 南京: 译林出版社 10 (2009): 180-192.&lt;br /&gt;
*Xu, Jun 许钧. Translation Theories 翻译论. 湖北教育出版社, 2003&lt;br /&gt;
*Zhao, Wei 赵巍. &amp;quot;翻译学学科性质与研究方法反思.&amp;quot; 解放军外国语学院学报 28.6 (2005): 69-72.&lt;br /&gt;
&lt;br /&gt;
(We use Chicago Social Sciences Citation Style [https://www.chicagomanualofstyle.org/tools_citationguide/citation-guide-2.html Chicago Style].)&lt;br /&gt;
&lt;br /&gt;
'''Which paper or book should I read to prepare my presentation?'''&lt;br /&gt;
&lt;br /&gt;
Recommendations:&lt;br /&gt;
&lt;br /&gt;
Topic	Book/Paper&lt;br /&gt;
&lt;br /&gt;
1 Introduction	&lt;br /&gt;
&lt;br /&gt;
2 Emergence&lt;br /&gt;
*Xu, Jun 许钧, Mu Lei 穆雷. &amp;quot;翻译学概论 [Introduction to Translation Studies].&amp;quot; 南京: 译林出版社 10 (2009): 180-192.&lt;br /&gt;
*Xu, Jun 许钧. Translation Theories 翻译论. 湖北教育出版社, 2003&lt;br /&gt;
*Tan, Zaixi 谭载喜. Translation Studies 翻译学. 复旦大学出版社, 2017&lt;br /&gt;
&lt;br /&gt;
3a History of Translation &lt;br /&gt;
*3a History of Western Translation 谭载喜.西方翻译简史[M]. 北京:商务印书馆, 1991年.&lt;br /&gt;
*3b History of Translation in China – before May Fourth 马祖毅. 中国翻译简史——“五四”以前部分（修订本）[M]. 中国对外翻译出版公司，1998年.&lt;br /&gt;
*3c History of Chinese Translation Theories *陈福康.中国译学理论史稿（修订本）[M]. 上海：上海外语教育出版社，2000年.&lt;br /&gt;
&lt;br /&gt;
4 Early understanding	&lt;br /&gt;
*Holmes, James.  1972. The Name and Nature of Translation Studies. Papers on Literary Translation and Translation Studies[M]. Amsterdam:  Rodopi, 1988: 67-80.&lt;br /&gt;
*Sourcebook	Bassnett, Susan and Andre Lefevere. Translation, History and Culture: A Sourcebook[M]. London and New York：Routledge, &lt;br /&gt;
1990.&lt;br /&gt;
*Early linguistic theory	Catford, J. A Linguistic Theory of Translation[M]. London: Oxford University Press, 1965.&lt;br /&gt;
*Early important understanding	Nida, E. A. Toward a Science of Translating[M]. Leiden: E. J. Brill, 1964.&lt;br /&gt;
&lt;br /&gt;
5 Translation Studies&lt;br /&gt;
*5a Bassnett, Susan. Translation Studies[M]. London and New York: Methuen, 1980. &lt;br /&gt;
* 5b Theories Gentzler, E. Contemporary Translation Theories[M]. London and New York: Routledge, 1993.&lt;br /&gt;
*5c Western theory 刘军平. 西方翻译理论通史[M]. 武汉：武汉大学出版社，2009年.&lt;br /&gt;
*5d Contemp. West. theories	廖七一. 当代西方翻译理论探索[M]. 南京：译林出版社, 2000年.&lt;br /&gt;
&lt;br /&gt;
6 Translation Theories&lt;br /&gt;
* 许钧. 翻译论[M]. 武汉：湖北教育出版社，2003年.&lt;br /&gt;
*6a Methods	Wilss, Wolfram. The Science of Translation: Problems and Methods[M]. Gunter Narr Verlag Tubinger, 1982.&lt;br /&gt;
*6b Style	刘宓庆. 文体与翻译[M]. 北京：中国对外翻译出版公司：北京，1998年.&lt;br /&gt;
*6c Translation Studies	许钧，穆雷. 翻译学概论[M]. 南京：译林出版社，2009年.&lt;br /&gt;
*6d TS 谭载喜. 翻译学[M]. 武汉：湖北教育出版社，2000年.&lt;br /&gt;
&lt;br /&gt;
7 Theory and Practise	&lt;br /&gt;
*7a Bell, Roger T. Translation and Translating: Theory and Practice[M]. London and New York: Longman, 1991.&lt;br /&gt;
*7b Theory and Practise	Munday, Jermy. Introducing Translation Studies: Theories and Applications[M]. London and NewYork: Routledge, 2001.&lt;br /&gt;
*7c Textbook	Newmark, Peter. A Text Book of Translation[M]. UK: Prentice Hall International Ltd, 1988.&lt;br /&gt;
*7d Theory and  practice	Nida, Eugene A. and Charles R. Taber. The Theory and Practice of Translation[M]. Leiden: E. J. Brill, 1969.&lt;br /&gt;
*7e Translation Basics	刘宓庆. 翻译基础[M]. 上海：华东师范大学出版社，2008年.&lt;br /&gt;
&lt;br /&gt;
8&lt;br /&gt;
*8a “descriptive”	Toury, Gideon. Descriptive Translation Studies and Beyond[M]. Amsterdam/ Philadelphia:  John BenjaminB Publishing company, 1995.&lt;br /&gt;
*8b Culture	Toury, Gideon. Translation Across Cultures[M]. NewDelhi: Bahri Publications, 1987.&lt;br /&gt;
*8c Invisibility	Venuti, L. The Translator 's Invisibility[M]. London and NewYork: Routledge, 1995.&lt;br /&gt;
*8d Constructivism Research	易经. 翻译学体系构建研究[M]. 北京：外语教学与研究出版社，2012年.&lt;br /&gt;
&lt;br /&gt;
9 Theories&lt;br /&gt;
*9a East-West comparison	刘宓庆. 中西翻译思想比较研究[M]. 北京：中国对外翻译出版公司, 2005年.&lt;br /&gt;
*9b English-Chinese TS	蒋坚松. 英汉对比与汉译英研究[M]. 长沙：湖南人民出版社，2002年.&lt;br /&gt;
&lt;br /&gt;
=Main class project=&lt;br /&gt;
Please help to edit the publication [[History of Translation Studies]].&lt;br /&gt;
&lt;br /&gt;
=Schedule=&lt;br /&gt;
'''All sessions''': 1 9/21 Organizational things, 2 Emergence, 3 History, 4 Development, 5 Early literary examples, 6 early theories, 7 (Western) Theories, 8 Methods, 9 Style, 10 Translation Studies, 11 Theory and Practice, 12 Different Aspects, 13 East West comparison, 14 Strategies, 15 Contemporary Translation Theories, 16 Final Discussion &lt;br /&gt;
&lt;br /&gt;
==1st Session==&lt;br /&gt;
Introduction to the course. Organizational things. Working with the Wiki.&lt;br /&gt;
&lt;br /&gt;
=== Homework from Session 1 due on Sep 27, 2020 ===&lt;br /&gt;
&lt;br /&gt;
1. Every student should translate 1 sentence of a paper on Qing Translation Policies. Here is the [[20200921_trans|homework page]].&lt;br /&gt;
&lt;br /&gt;
2. Help a fellow student to improve his/her translation on that page. The final translation was once more worked over by the teacher, please check your own sentence [[20200921_trans|here]].&lt;br /&gt;
&lt;br /&gt;
3. Please pick a topic from the pdf material, the general session topics or your own thoughts to do a presentation on. For the first topics, you need to do the presentation already in 1 week!&lt;br /&gt;
&lt;br /&gt;
===Homework for later===&lt;br /&gt;
4. Write a final exam paper as a chapter of the book &amp;quot;Translation Studies&amp;quot;. It has to be a new topic, not yet used in the book. I will upload the book here later. You can participate in writing this book.&lt;br /&gt;
&lt;br /&gt;
5. Get familiar with the pdfs I send you on WeChat group as learning material.&lt;br /&gt;
&lt;br /&gt;
==2nd Session: Emergence==&lt;br /&gt;
&lt;br /&gt;
===Session 2, Topic 1: 人类起源 The emergence of translation and interpretation===&lt;br /&gt;
*Handout for download [[Media:The_emergence_of_translation_and_interpretation.doc|Global Emergence of Interpretation and Translation]] by 彭锐宏&lt;br /&gt;
*Classroom presentation for download [[Media:The_emergence_of_translation_and_interpretation_by_Peng_Ruihong.pptx|Presentation on Emergence of translation]] by 彭锐宏--[[User:Peng Ruihong|Peng Ruihong]] ([[User talk:Peng Ruihong|talk]]) 07:05, 28 September 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
===Session 2, Topic 2: 西方起源 The emergence of translation and interpretation in the West===&lt;br /&gt;
*Handout for download:[[Media:The_Emergence_of_Translation_and_Interpretation_in_Western_Countries.docx|Handout on The Emergence of Translation and Interpretation in Western Countries]]--[[User:Nie Xiaolou|Nie Xiaolou]] ([[User talk:Nie Xiaolou|talk]]) 05:43, 28 September 2020 (UTC)Nie Xiaolou by 聂晓楼&lt;br /&gt;
*Classroom presentation for download:[[Media:The_Emergence_of_Translation_and_Interpretation_in_Western_Countries.pptx|Powerpoint on The Emergence of Translation and Interpretation in Western Countries]]--[[User:Nie Xiaolou|Nie Xiaolou]] ([[User talk:Nie Xiaolou|talk]]) 05:43, 28 September 2020 (UTC)Nie Xiaolou  by 聂晓楼&lt;br /&gt;
&lt;br /&gt;
===Session 2, Topic 3: 中国起源 The emergence of translation and interpretation in China===&lt;br /&gt;
*Handout for download:[[Media:Emergence_of_translation_and_interpretation_in_China.docx| Handout on Emergence of translation and interpretation in China]]--Mashuya by 马淑雅&lt;br /&gt;
*Classroom presentation for download: [[Media:Emergence_of_translation_and_interpretation_in_China.pptx|PowerPoint on Emergence of translation and interpretation in China]]--Mashuya by 马淑雅&lt;br /&gt;
&lt;br /&gt;
===Session 2, Topic 4: 日本起源 The emergence of translation and interpretation in Japan===&lt;br /&gt;
*Handout for download: [[Media:The_Emergence_of_translation_and_interpretation_in_Japan.docx|The Emergence of translation and interpretation in Japan]] by 孟莹 --[[User:Meng Ying|Meng Ying]] ([[User talk:Meng Ying|talk]]) 16:10, 27 September 2020 (UTC)Meng Ying&lt;br /&gt;
*Classroom presentation for download: [[Media:The_Emergence_of_Translation_and_Interpretation_in_Japan.ppt|Powerpoint on the Emergence of Translation and Interpretation in Japan]] by 孟莹--[[User:Meng Ying|Meng Ying]] ([[User talk:Meng Ying|talk]]) 16:10, 27 September 2020 (UTC)Meng Ying&lt;br /&gt;
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===Homework from Session 2 (Sep 28, 2020), due on (Oct 5, 2020)===&lt;br /&gt;
1. Every student should translate 1 paragraph of an English book on Contemporary Chinese Literature INTO CHINESE. Link: [[20200928_trans|here]].&lt;br /&gt;
&lt;br /&gt;
2. Help a fellow student to improve his/her translation on that page. The final translation was once more worked over by the teacher, please check your own sentence [[20200928_trans|here]].&lt;br /&gt;
&lt;br /&gt;
==3rd Session: History==&lt;br /&gt;
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===Session 3, Topic 1:中国古代翻译史History of Translation in Ancient China===&lt;br /&gt;
*Handout for download：[[Media:Handout for History of Translation in Ancient China.doc]]--[[User:Li Yu|Li Yu]] ([[User talk:Li Yu|talk]]) 09:14, 5 October 2020 (UTC)&lt;br /&gt;
*Classroom presentation for download:[[Media: History of Translation in Ancient China.pptx]]--[[User:Li Yu|Li Yu]] ([[User talk:Li Yu|talk]]) 09:14, 5 October 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
===Session 3, Topic 2:  中国翻译史代表人物The Representatives in Chinese Translation History===&lt;br /&gt;
*Handout for download: [[Media:Chin_Trans_Hist_Rep.docx|The Representatives in Chinese Translation History]] --[[User:Majuan|Majuan]] ([[User talk:Majuan|talk]]) 11:35, 4 October 2020 (UTC)&lt;br /&gt;
*Classroom presentation for download: [[Media:....pptx|The Representatives in Chinese Translation History]] --[[User:Liu Zhiwei|Liu Zhiwei]] ([[User talk:Liu Zhiwei|talk]]) 08:36, 4 October 2020 (UTC)&lt;br /&gt;
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===Session 3, Topic 3: 中国翻译史的四个阶段 The Four Stages of Chinese Translation History===&lt;br /&gt;
*Handout for download: [[Media:The four stages of Chinese translation history.docx|Description of the file]] PLEASE UPLOAD by --[[User:Yu Ni|Yu Ni]] ([[User talk:Yu Ni|talk]]) 02:08, 5 October 2020 (UTC)XX&lt;br /&gt;
*Classroom presentation for download: [[Media:The_four_stages_of_Chinese_translation_history.pptx|The Four Stages of Chinese Translation History]] by --[[User:Yang chenting|Yang chenting]] ([[User talk:Yang chenting|talk]]) 16:16, 4 October 2020 (UTC)Yang Chenting&lt;br /&gt;
&lt;br /&gt;
===Session 3, Topic 4: 当代中国之翻译 Translation in Contemporary China===&lt;br /&gt;
*Handout for download: [[Media:Handout for Translation in Contemporary China.docx|Translation in today's China]] by --[[User:XieFan|XieFan]] ([[User talk:XieFan|talk]]) 02:08, 5 October 2020 (UTC)&lt;br /&gt;
*Classroom presentation for download: [[Media:Translation in Contemporary China(1).pptx|Presentation on translation in China today]] --[[User:Zhang Yuxing|Zhang Yuxing]] ([[User talk:Zhang Yuxing|talk]]) 01:05, 5 October 2020 (UTC) Zhang Yuxing by 张宇星&lt;br /&gt;
&lt;br /&gt;
==='''Homework from Session 3 (Oct 5, 2020), for Session 4 due on (Oct 12, 2020)'''===&lt;br /&gt;
&lt;br /&gt;
1. Every student should translate 1 sentence of the Introduction of the Book &amp;quot;Translation Studies&amp;quot;. &amp;lt;span style=&amp;quot;color:red&amp;quot;&amp;gt;Here is the '''[[20201005_trans|homework page]]'''&amp;lt;/span&amp;gt;.&lt;br /&gt;
&lt;br /&gt;
2. Help a fellow student to improve his/her translation on that page. The final translation was once more worked over by the teacher, please check your own sentence [[20201005_trans|here]].&lt;br /&gt;
&lt;br /&gt;
==Session 4: Development==&lt;br /&gt;
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===Session 4, Topic 1: 西方翻译史 Western translation history===&lt;br /&gt;
*Handout for download: [[Media:....docx|Western translation history]] by Zhou Siqing--[[User:Zhou Siqing|Zhou Siqing]] ([[User talk:Zhou Siqing|talk]]) 06:57, 5 October 2020 (UTC)&lt;br /&gt;
*Classroom presentation for download: [[Media:Western translation history.pptx|Western translation history]] by Zhang Qi [[User:Zhangqi|Zhangqi]] ([[User talk:Zhangqi|talk]]) 07:46, 12 October 2020 (UTC)&lt;br /&gt;
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===Session 4, Topic 2: 中国佛经翻译的发展 The Develpment of Chinese Translation of Buddhist Scriptures===&lt;br /&gt;
*Handout for download:[[Media:The Develpment of Chinese Translation of Buddhist Scriptures.docx]] by Jiang Qiwei--[[User:Jiang Qiwei|Jiang Qiwei]] ([[User talk:Jiang Qiwei|talk]]) 15:26, 10 October 2020 (UTC)&lt;br /&gt;
*Classroom presentation for download: [[Media:The Develpment of Chinese Translation of Buddhist Scriptures.ppt|The Develpment of Chinese Translation of Buddhist Scriptures]] by Hu Jin--[[User:Jiang Qiwei|Jiang Qiwei]] ([[User talk:Jiang Qiwei|talk]]) 15:26, 10 October 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
===Session 4, Topic 3:西方翻译理论史History of Western Translation Theory===&lt;br /&gt;
*Handout for download: [[Media:...docx|History of Western Translation Theory]]  by --[[User:Ji Tiantian|Ji Tiantian]] ([[User talk:Ji Tiantian|talk]]) 13:19, 4 October 2020 (UTC)XX&lt;br /&gt;
* Classroom presentation for download:[[Media:...pptx| Brief History of Western Translation Theory]]  by --[[User:Zhou Shiqing|Zhou Shiqing]] ([[User talk:Zhou Shiqing|talk]]) 13:19, 4 October 2020 (UTC)XX&lt;br /&gt;
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===Session 4, Topic 4:口译未来的发展 Prospect of Interpreting===&lt;br /&gt;
*Handout for download:[[Media:The Prospect of Interpreting.docx]]-by Zhang Yinliu--[[User:Zhang Yinliu|Zhang Yinliu]] ([[User talk:Zhang Yinliu|talk]]) 08:30, 12 October 2020 (UTC)&lt;br /&gt;
*Classroom presentation for download:[[Media:Prospect of Interpreting.pptx]]--[[User:WuQiong|WuQiong]] ([[User talk:WuQiong|talk]]) 08:23, 12 October 2020 (UTC)&lt;br /&gt;
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===Session 4, Topic 5:新中国成立后翻译的发展 Translation Development of New China===&lt;br /&gt;
*Handout for download:[[Media:Translation Development of New China.pdf]] by Li Luyi --[[User:Li Luyi|Li Luyi]] ([[User talk:Li Luyi|talk]]) 11:47, 10 October 2020 (UTC)&lt;br /&gt;
*Classroom presentation for download: [[Media:Translation Development .pptx]] by Zheng Huajun--[[User:Li Luyi|Li Luyi]] ([[User talk:Li Luyi|talk]]) 11:47, 10 October 2020 (UTC)&lt;br /&gt;
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===Session 4, Topic 6:圣经翻译的发展 The Development of Bible Translation===&lt;br /&gt;
*Handout for download:[[Media:The Development of Bible Translation.docx]]--[[User:Peng YuZhi|Peng YuZhi]] ([[User talk:Peng YuZhi|talk]]) 03:05, 11 October 2020 (UTC)&lt;br /&gt;
*Classroom presentation for download:[[Media:The Development of Bible Translation.pptx]] by Han Haiyang--[[User:Han Haiyang|Han Haiyang]] ([[User talk:Han Haiyang|talk]]) 02:01, 11 October 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
===Session 4, Topic 7:机器翻译的发展 The Development of Machine Translation===&lt;br /&gt;
*Handout for download:[[Media:Handout-The Development of Machine Translation.docx]] by Deng Jinxia----[[User:Deng Jinxia|Deng Jinxia]] ([[User talk:Deng Jinxia|talk]]) 12:42, 19 October 2020 (UTC)&lt;br /&gt;
*Classroom presentation for download:[[Media:PPT The Development of Machine Translation.pptx]] by Han Wanzhen--[[User:Han Wanzhen|Han Wanzhen]] ([[User talk:Han Wanzhen|talk]]) 06:31, 11 October 2020 (UTC)&lt;br /&gt;
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===Session 4, Topic 8:视听翻译的发展 The Development of Audiovisual Translation===&lt;br /&gt;
*Handout for download:[[Media:The Development of Audiovisual Translation-Handout.docx]]--[[User:Gong Yumian|Gong Yumian]] ([[User talk:Gong Yumian|talk]]) 16:01, 11 October 2020 (UTC)&lt;br /&gt;
*Classroom presentation for download:[[Media:The Development of Audiovisual Translation-PPT.pptx]] by Cheng Yusi--[[User:Cheng Yusi|Cheng Yusi]] ([[User talk:Cheng Yusi|talk]]) 16:04, 11 October 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
==='''Homework from Session 4 (Oct 12, 2020), for Session 5 due on (Oct 19, 2020)'''===&lt;br /&gt;
&lt;br /&gt;
1. Every student should translate a short passage of a paper on the Chinese essay. &amp;lt;span style=&amp;quot;color:red&amp;quot;&amp;gt;Here is the '''[[20201012_trans|homework page]]'''&amp;lt;/span&amp;gt;.&lt;br /&gt;
&lt;br /&gt;
2. Help a fellow student to improve his/her translation on that page. [[20201012_trans|here]].&lt;br /&gt;
&lt;br /&gt;
3. Take part in an online survey. The survey is currently prepared by the fellow students.&lt;br /&gt;
&lt;br /&gt;
==Session 5: ==&lt;br /&gt;
&lt;br /&gt;
===Session 5, Topic 1:林纾的翻译 Lin Shu's translation===&lt;br /&gt;
*Handout for download:[[Media:Translation by Lin Shu.docx]]--[[User:Xiao yining|Xiao yining]] ([[User talk:Xiao yining|talk]]) 08:50, 29 October 2020 (UTC)Xiao Yining&lt;br /&gt;
*Classroom presentation for download:[[Media:Translation by Lin Shu(After correcting).pptx]]--Xu Pengfei&lt;br /&gt;
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===Session 5, Topic 2:茅盾的翻译 Mao Dun's Translation===&lt;br /&gt;
*Handout for download:[[Media:Mao Dun's Translation.docx]]--[[User:Yuan SHiqi|Yuan SHiqi]] ([[User talk:Yuan SHiqi|talk]]) 02:44, 18 October 2020 (UTC)&lt;br /&gt;
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[[Media:translations by Mao Dun.pptx]]--[[User:Yao Jia|Yao Jia]] ([[User talk:Yao Jia|talk]]) 13:14, 1 November 2020 (UTC)&lt;br /&gt;
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===Session 5, Topic 3:严复和天演论 Yan Fu and Tianyan Lun===&lt;br /&gt;
*Handout for download:[[Media:YAN Fu and Tianyan Lun.docx]]--[[User:Yuan Yuchen|Yuan Yuchen]] ([[User talk:Yuan Yuchen|talk]]) 09:53, 18 October 2020 (UTC)Yuan Yuchen&lt;br /&gt;
*Classroom presentation for download:[[Media:YAN Fu and Tianyan Lun.pptx]]--[[User:XiaoXi|XiaoXi]] ([[User talk:XiaoXi|talk]]) 10:28, 18 October 2020 (UTC)Xiao Xi&lt;br /&gt;
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Please stick to your 5 minutes with your presentation. We are 3 presentations behind. Thank you for your cooperation.&lt;br /&gt;
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===Session 5, Topic 4:《红楼梦》的英译 The Translation of ''The Red Chamber Dreams''===&lt;br /&gt;
*Handout for download:[[Media:The Translation of ''The Red Chamber Dreams''.docx]]--[[User:Cao Runxin|Cao Runxin]] ([[User talk:Cao Runxin|talk]]) 13:38, 18 October 2020 (UTC)&lt;br /&gt;
*Classroom presentation for download:[[Media:The Translation of ''The Red Chamber Dreams''.pptx]]----[[User:Zou Xinyu2|Zou Xinyu2]] ([[User talk:Zou Xinyu2|talk]]) 03:59, 24 October 2020 (UTC)Zou Xinyu&lt;br /&gt;
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===Session 5, Topic 5:《圣经》的早期汉译 The Early Translation of the Bible into Chinese===&lt;br /&gt;
*Handout for download:[[Media:The Early Translation of the Bible into Chinese.docx]]--[[User:Li Lingyue|Li Lingyue]] ([[User talk:Li Lingyue|talk]]) 15:22, 18 October 2020 (UTC)&lt;br /&gt;
*Classroom presentation for download:[[Media:The Early Translation of the Bible into Chinese.ppt]]--[[User:Xu Jing2|Xu Jing2]] ([[User talk:Xu Jing2|talk]]) 14:55, 18 October 2020 (UTC)&lt;br /&gt;
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===Session 5, Topic 6:梁实秋的翻译 The Translation of Liang Shiqiu===&lt;br /&gt;
*Handout for download:[[Media:The Liang Shiqiu's Translation.pdf]]--[[User:ZHOUYUJUAN|ZHOUYUJUAN]]([[User talk:ZHOUYUJUAN|talk]]) 00:32, 19 October 2020 (UTC)&lt;br /&gt;
*Classroom presentation for download:[[Media: Liang Shiqiu.pdf]]--[[User:Su Lin|Su Lin]]([[User talk:Su Lin|talk]]) 00:32, 19 October 2020 (UTC)&lt;br /&gt;
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==Session 6: Early Theories==&lt;br /&gt;
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&lt;br /&gt;
==='''Homework from Session 5 (Oct 19, 2020), for Session 6 due on (Oct 26, 2020)'''===&lt;br /&gt;
&lt;br /&gt;
1. Every student should translate 1 sentence of the Introduction of the Book &amp;quot;Translation Studies&amp;quot;. &amp;lt;span style=&amp;quot;color:red&amp;quot;&amp;gt;Here is the '''[[20201019_trans|homework page]]'''&amp;lt;/span&amp;gt;.&lt;br /&gt;
&lt;br /&gt;
2. Help a fellow student to improve his/her translation on that page. The final translation was once more worked over by the teacher, please check your own sentence [[20201019_trans|here]].&lt;br /&gt;
&lt;br /&gt;
===Session 6, Topic 1: 巴斯奈特文化翻译观  The Cultural Translation Theory of Bassnett===&lt;br /&gt;
 &lt;br /&gt;
Handout for download: [[Media:The Cultural Translatioin Theory of Susan Bassnett.pdf]]--[[User:Yang Yi|Yang Yi]]([[User talk:Yang Yi|talk]]) 16:36, 24 October 2020 (UTC)&lt;br /&gt;
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Classroom presentation for download:  [[Media:Cultural Translatioin Theory of Bassnett.ppt]]--[[User:Xu Mengdie|Xu Mengdie]] ([[User talk:Xu Mengdie|talk]]) 05:07, 24 October 2020 (UTC)Xu Mengdie&lt;br /&gt;
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===Session 6, Topic 2: 中国早期代表性佛经翻译理论  Early Representative Theories of Buddhist Scriptures Translation in China===&lt;br /&gt;
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Handout for download:[[Media:Early Representative Theories of Buddhist Scriptures Translation in China.docx]]--[[User:Chen Han|Chen Han]] ([[User talk:Chen Han|talk]]) 14:23, 25 October 2020 (UTC)&lt;br /&gt;
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Classroom presentation for download:[[Media:Early Representative Theories of Buddhist Scriptures Translation in China.pptx]]--[[User:Zeng Xinyuan|Zeng Xinyuan]] ([[User talk:Zeng Xinyuan|talk]]) 00:43, 26 October 2020 (UTC)&lt;br /&gt;
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===Session 6, Topic 3: 两种西方早期翻译模式的比较分析:贺拉斯模式和杰罗姆模式  The Comparative Analysis of Two Early Western Translation Models: Horace Model and Jerome Model===&lt;br /&gt;
&lt;br /&gt;
Handout for download:[[Media:The Comparative Analysis of Two Translation Models.docx]]--[[User:Chen Jingjing|Chen Jingjing]] ([[User talk:Chen Jingjing|talk]]) 09:41, 25 October 2020 (UTC)Chen Jingjing&lt;br /&gt;
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Classroom presentation for download:[[Media:The_Comparative_Analysis_of_Two_Translation_Models.pptx]]--[[User:Gao Mingzhu|Gao Mingzhu]] ([[User talk:Gao Mingzhu|talk]]) 09:24, 25 October 2020 (UTC)Gao Mingzhu&lt;br /&gt;
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===Session 6, Topic 4: 卡特福德的《翻译的语言学理论》  A Linguistic Theory of Translation of J.C.Catford===&lt;br /&gt;
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Handout for download:[[Media:A Linguistic Theory of Translation of Catford.docx]]--[[User:Wei Honglang|Wei Honglang]] ([[User talk:Wei Honglang|talk]]) 12:30, 25 October 2020 (UTC)&lt;br /&gt;
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Classroom presentation for download:[[Media:A Linguistic Theory of Translation.pptx]]--[[User:Wen Xiaoyi|Wen Xiaoyi]] ([[User talk:Wen Xiaoyi|talk]]) 12:38, 25 October 2020 (UTC)&lt;br /&gt;
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===Session 6, Topic 5: 中西早期译论对比 The Comparison between Chinese and Western Early Translation Theories===&lt;br /&gt;
Handout for download:[[Media:Comparison of Early Translation Theories between China and the West.docx]]--[[User:QiKai|QiKai]] ([[User talk:QiKai|talk]]) 14:04, 25 October 2020 (UTC)&lt;br /&gt;
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Classroom Presentation for download:[[Media:Chinese and Western Early Theories Comparison.pptx]]--[[User:Kang Haoyu|Kang Haoyu]] ([[User talk:Kang Haoyu|talk]]) 13:26, 25 October 2020 (UTC)&lt;br /&gt;
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===Session 6, Topic 6: 系统翻译理论的早期尝试  Early Attempts at Systematic Translation Theory===&lt;br /&gt;
 &lt;br /&gt;
Handout for download: [[Media:Early Attempts at Systematic Translation Theory.docx]]--[[User:Wu Xiang|Wu Xiang]] ([[User talk:Wu Xiang|talk]]) 12:40, 25 October 2020 (UTC)&lt;br /&gt;
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Classroom presentation for download:  [[Media:Early Attempts at Systematic Translation Theory.ppt]]--[[User:Liu Yangnuo|Liu Yangnuo]] ([[User talk:Liu Yangnuo|talk]])03:52, 25 October 2020 (UTC)&lt;br /&gt;
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=Session 7: Western theories=&lt;br /&gt;
&lt;br /&gt;
===Homework from Session 6 (Oct 26, 2020), for Session 6 due on (Nov 2, 2020)===&lt;br /&gt;
&lt;br /&gt;
1. Every student should translate 1 sentence of the Introduction of the Book &amp;quot;Translation Studies&amp;quot;. &amp;lt;span style=&amp;quot;color:red&amp;quot;&amp;gt;Here is the '''[[20201026_trans|homework page]]'''&amp;lt;/span&amp;gt;.&lt;br /&gt;
&lt;br /&gt;
2. Help a fellow student to improve his/her translation on that page. The final translation was once more worked over by the teacher, please check your own sentence [[20201026_trans|here]].&lt;br /&gt;
&lt;br /&gt;
===Session 7, Topic 1: 奈达功能对等理论 Nida's Functional Equivalence Theory===&lt;br /&gt;
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Handout for download:[[Media:Nida's Functional Equivalence Theory.docx]]&lt;br /&gt;
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Classroom presentation for download:[[Media:Nida's Functional Equivalence Theory ppt.pptx]]--[[User:Kang Lingfeng|Kang Lingfeng]] ([[User talk:Kang Lingfeng|talk]]) 02:59, 2 November 2020 (UTC)&lt;br /&gt;
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===Session 7, Topic 2: 多元系统理论 Polysystem Theory===&lt;br /&gt;
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Classroom presentation for download:[[Media:Polysystem Theory ppt.pptx]]--[[User:Wu Qi|Wu Qi]] ([[User talk:Wu Qi|talk]]) 11:35, 1 November 2020 (UTC)&lt;br /&gt;
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Handout for download:[[Media:Polysystem Theory.docx]]--[[User:Chang Huiyue|Chang Huiyue]] ([[User talk:Chang Huiyue|talk]]) 11:21, 1 November 2020 (UTC)&lt;br /&gt;
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===Session 7, Topic 3： 后殖民主义翻译理论 Post-colonial Translation Theory===&lt;br /&gt;
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Handout for download:[[Media:Post-colonial Translation Theory.doc]]--[[User:Jiang Hao|Jiang Hao]] ([[User talk:Jiang Hao|talk]]) 12:27, 1 November 2020 (UTC)&lt;br /&gt;
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Classroom presentation for download:[[Media:Post-colonial Translation Theory.pptx]]--[[User:Ji Tiantian|Ji Tiantian]] ([[User talk:Ji Tiantian|talk]]) 01:29, 2 November 2020 (UTC)&lt;br /&gt;
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===Session 7, Topic 4： 布拉格学派 Prague School===&lt;br /&gt;
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Handout for download: [[Media:Prague_School-Handout.doc]]--[[User:Xu Jing|Xu Jing]] ([[User talk:Xu Jing|talk]]) 14:48, 1 November 2020 (UTC)&lt;br /&gt;
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Classroom presentation for download:[[Media:Prague School.pptx]]--[[User:You Yuting|You Yuting]] ([[User talk:You Yuting|talk]]) 14:08, 1 November 2020 (UTC)&lt;br /&gt;
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===Session 7, Topic 5： 目的论 Skopos Theory===&lt;br /&gt;
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Classroom presentation for download:[[Media:Skopos Theory.pptx]]--[[User:Wang Xuan|Wang Xuan]] ([[User talk:Wang Xuan|talk]]) 07:26, 2 November 2020 (UTC)Wang Xuan&lt;br /&gt;
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Handout for download:[[Media:Skopos Theory.docx]]--[[User:Xiao Shuangling|Xiao Shuangling]] ([[User talk:Xiao Shuangling|talk]]) 08:21, 2 November 2020 (UTC)Xiao Shuangling&lt;br /&gt;
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===Session 7, Topic 6： 语言学派 Linguistic School===&lt;br /&gt;
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Classroom presentation for download:[[Media:Linguistic School.pptx]]----[[User:Wang Yuan|Wang Yuan]] ([[User talk:Wang Yuan|talk]]) 05:26, 2 November 2020 (UTC)&lt;br /&gt;
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Handout for download: [[Media:Linguistic School-Handout.doc]]----[[User:Wang Yuan|Wang Yuan]] ([[User talk:Wang Yuan|talk]]) 05:48, 2 November 2020 (UTC)&lt;br /&gt;
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=Session 8: Methods=&lt;br /&gt;
&lt;br /&gt;
===Homework from Session 7 (Nov 2, 2020), for Session 8 due on (Nov 9, 2020)===&lt;br /&gt;
&lt;br /&gt;
1. Every student should translate 1 sentence of the Introduction of the Book &amp;quot;Translation Studies&amp;quot;. &amp;lt;span style=&amp;quot;color:red&amp;quot;&amp;gt;Here is the '''[[20201102_trans|homework page]]'''&amp;lt;/span&amp;gt;.&lt;br /&gt;
&lt;br /&gt;
2. Help a fellow student to improve his/her translation on that page. The final translation was once more worked over by the teacher, please check your own sentence [[20201102_trans|here]].&lt;br /&gt;
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===Session 8, Topic 1： 正说反译与反说正译 Negation===&lt;br /&gt;
Classroom presentation for download:[[Media:Negation-Gan Fengyu.pptx]][[User:Gan Fengyu|Gan Fengyu]] ([[User talk:Gan Fengyu|talk]]) 13:01, 6 November 2020 (UTC)&lt;br /&gt;
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Handout for download:[[Media:Negation.docx]]--[[User:Ding Daifeng|Ding Daifeng]] ([[User talk:Ding Daifeng|talk]]) 12:56, 6 November 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
===Session 8, Topic 2：异化策略下的翻译方法 Translation Methods of Foreignization Strategy ===&lt;br /&gt;
Classroom presentation for download:[[Media:Translation Methods of Foreignization Strategy-Zhao Xiaoyan.pptx]]--[[User:Zhao Xiaoyan|Zhao Xiaoyan]] ([[User talk:Zhao Xiaoyan|talk]]) 15:35, 7 November 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
Handout for download:[[Media:Translation Methods of Foreignization Strategy-Zhang Hui.docx]]--[[User:Zhang Hui|Zhang Hui]] ([[User talk:Zhang Hui|talk]]) 15:33, 7 November 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
===Session 8, Topic 3： 交际翻译与语义翻译 Communicative Translation and Semantic Translation===&lt;br /&gt;
Classroom presentation for download:[[Media:Communicative Translation and Semantic Translation.pptx]]by Zhang Yu--[[User:Zhang Yu|Zhang Yu]] ([[User talk:Zhang Yu|talk]]) 13:01, 6 November 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
Handout for download:[[Media:Semantic Translation and Communicative Translation-handout.docx]]--[[User:Tan Xingyue|Tan Xingyue]] ([[User talk:Tan Xingyue|talk]]) 13:49, 6 November 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
===Session 8, Topic 4： 直译与意译 Literal Translation and Free translation===&lt;br /&gt;
Classroom presentation for download:[[Media:Literal Translation and Free translation.pptx]]--[[User:Si Yu|Si Yu]] ([[User talk:Si Yu|talk]]) 15:45, 8 November 2020 (UTC)&lt;br /&gt;
Handout for download:[[Media:Literal Translation and Free translation Handout.docx]]--[[User:Wu Yilu|Wu Yilu]] ([[User talk:Wu Yilu|talk]]) 01:22, 9 November 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
===Session 8, Topic 5： 增译与减译 Amplification and Omission===&lt;br /&gt;
Classroom presentation for download:[[Media:Amplification and Omission.pptx]]--[[User:Li Meng|Li Meng]] ([[User talk:Li Meng|talk]]) 03:06, 9 November 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
Classroom handout for download:[[Media:Amplification And Omission.docx]]--[[User:Wensixing|Wensixing]] ([[User talk:Wensixing|talk]]) 05:05, 9 November 2020 (UTC)Wensixing&lt;br /&gt;
&lt;br /&gt;
===Session 8, Topic 6： 影视字幕的翻译方法-以《肖申克的救赎》为例 The Translation Method of Film and Television Subtitles——Taking Shawshank’s Redemption as an Example===&lt;br /&gt;
Classroom presentation for download:[[Media:The Translation Method of Film and Television Subtitles—Taking Shawshank’s Redemption as an Example.pptx]]--[[User:Liu Jinxingqi|Liu Jinxingqi]] ([[User talk:Liu Jinxingqi|talk]]) 01:21, 9 November 2020 (UTC)&lt;br /&gt;
Handout for download:[[Media:The Translation Method of Film and Television Subtitles—Taking Shawshank’s Redemption as an Example Handout.docx]]--[[User:Lin Min|Lin Min]] ([[User talk:Lin Min|talk]]) 01:16, 9 November 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
==Session 9: Style==&lt;br /&gt;
&lt;br /&gt;
===Homework from Session 8 (Nov 9, 2020), for Session 9 due on (Nov 16, 2020)===&lt;br /&gt;
&lt;br /&gt;
1. Every student should translate 1 sentence from the essay. &amp;lt;span style=&amp;quot;color:red&amp;quot;&amp;gt;Here is the '''[[20201116_trans|homework page]]'''&amp;lt;/span&amp;gt;.&lt;br /&gt;
&lt;br /&gt;
2. Help a fellow student to improve his/her translation on that page. The final translation was once more worked over by the teacher, please check your own sentence [[20201116_trans|here]].&lt;br /&gt;
&lt;br /&gt;
===Session 9, Topic 1: 源语风格和翻译 Style of Source Text and Translation ===&lt;br /&gt;
&lt;br /&gt;
Classroom handout for download:[[Media:Style of Source Text and Translation.docx]]--[[User:Kong Xianghui|Kong Xianghui]] ([[User talk:Kong Xianghui|talk]]) 06:48, 9 November 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
Classroom presentation for download:[[Media:Style of Source Text and Translation1.pptx]]--[[User:Kong Yanan|Kong Yanan]] ([[User talk:Kong Yanan|talk]]) 07:03, 9 November 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
===Session 9, Topic2 : 科技翻译 Scientific Style  ===&lt;br /&gt;
&lt;br /&gt;
Classroom handout for download:[[Media:Scientific Style.docx]]--[[User:Lou Cancan|Lou Cancan]] ([[User talk:Lou Cancan|talk]]) 01:42, 16 November 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
Classroom presentation for download:[[Media:Scientific Style.pptx]]--[[User:Luo Yuqing|Luo Yuqing]] ([[User talk:Luo Yuqing|talk]]) 01:17, 16 November 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
===Session 9,Topic 3:不同翻译风格对比 Comparison among Different Translation Styles ===&lt;br /&gt;
&lt;br /&gt;
Classroom handout for download:[[Media:Handout Session 9 Comparison among Different Translation Styles.docx]]--[[User:Guan Qinqing|Guan Qinqing]] ([[User talk:Guan Qinqing|talk]]) 14:40, 14 November 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
Classroom presentation for download:[[Media:Session 9 Comparison among Different Translation Styles.pptx]]--[[User:Guan Qinqing|Guan Qinqing]] ([[User talk:Guan Qinqing|talk]]) 14:40, 14 November 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
===Session 9,Topic 4: 文学风格可译与不可译 On Literary Style from a Translatable View and Untranslatable View===&lt;br /&gt;
Classroom handout for download:[[Media:On Literary Style from a Translatable View and Untranslatable View.docx]]--[[User:Lin Xin|Lin Xin]] ([[User talk:Lin Xin|talk]]) 04:49, 16 November 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
Classroom presentation for download:[[Media:On Literary Style from a Translatable View and Untranslatable View.pptx]] by Li Yongshan --[[User:Lin Xin|Lin Xin]] ([[User talk:Lin Xin|talk]]) 04:49, 16 November 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
===Session 9,Topic 5: 翻译与风格 Translation and Style ===&lt;br /&gt;
Classroom handout for download: [[Media:Translation_and_Style.docx]]--Hu Huifang&lt;br /&gt;
&lt;br /&gt;
Classroom presentation for download: [[Media:Translation_and_Style.pptx]]--Zeng Yanhu&lt;br /&gt;
&lt;br /&gt;
[[Media:Example.ogg]]==Session 10: Translation Studies==&lt;br /&gt;
&lt;br /&gt;
1. Every student should translate 1 sentence from the essay. &amp;lt;span style=&amp;quot;color:red&amp;quot;&amp;gt;Here is the '''[[20201123_trans|homework page]]'''&amp;lt;/span&amp;gt;.&lt;br /&gt;
&lt;br /&gt;
2. Help a fellow student to improve his/her translation on that page. The final translation was once more worked over by the teacher, please check your own sentence [[20201123_trans|here]].&lt;br /&gt;
&lt;br /&gt;
===Session 10,Topic 1: 翻译转换 Translation Shifts  ===&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
Classroom presentation for download:[[Media:Translation_Shifts.pptx]]--[[User:Luo Weijia|Luo Weijia]] ([[User talk:Luo Weijia|talk]]) 14:51, 22 November 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
Classroom presentation for download:[[Media:Translation_Shifts_handout.docx]]--[[User:Gui Yizhi|Gui Yizhi]] ([[User talk:Gui Yizhi|talk]]) 15:05, 22 November 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
=== Session 10,Topic 3: 视听翻译 Audiovisual Translation ===&lt;br /&gt;
Classroom handout for download：[[Media:Audiovisual Translation.docx]]--[[User:Quan Meixin|Quan Meixin]] ([[User talk:Quan Meixin|talk]]) 13:19, 22 November 2020 (UTC)&lt;br /&gt;
Classroom presentation for download:[[Media:Audiovisual Translation.pptx]]--[[User:Song Jianru|Song Jianru]] ([[User talk:Song Jianru|talk]]) 00:26, 23 November 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
===Session 10,Topic 6: 不可译性及其转化策略 Untranslatability and Translation Strategies  ===&lt;br /&gt;
&lt;br /&gt;
Classroom handout for download：[[Media:Untranslatability and Translation Strategies.docx]]--[[User:Chen Yongxiang|Chen Yongxiang]] ([[User talk:Chen Yongxiang|talk]]) 12:03, 22 November 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
Classroom presentation for download:[[Media:Untranslatability &amp;amp; Translation Strategies.pptx]]--[[User:Liu Ou|Liu Ou]] ([[User talk:Liu Ou|talk]]) 12:45, 22 November 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
==Session 11: Theory and Practice==&lt;br /&gt;
==Session 12: Different Aspects==&lt;br /&gt;
==Session 13: East West comparison==&lt;br /&gt;
==Session 14: Strategies==&lt;br /&gt;
==Session 15: Contemporary Translation Theories==&lt;br /&gt;
==Session 16: Final Discussion==&lt;br /&gt;
&lt;br /&gt;
==List of topics for presentations and handouts in class==&lt;br /&gt;
1 Emergence: &lt;br /&gt;
孟莹: 日本起源, 聂晓楼: 西方起源, 马淑雅: 中国起源, 彭锐宏: 人类起源&lt;br /&gt;
&lt;br /&gt;
2 History: &lt;br /&gt;
周思庆 张琪: 西方翻译史; 马娟 刘智伟: 历史上中国著名的翻译家; 解帆 张宇星: 现当代中国翻译演变; 凌子瑾 李玉: 中国古代翻译史; 杨晨婷 余妮: 中国近代翻译史; 周诗卿 纪甜甜: 西方翻译理论简史&lt;br /&gt;
 &lt;br /&gt;
3 Development: &lt;br /&gt;
韩宛真 邓锦霞: 机器翻译的发展;  蒋淇玮 胡瑾：中国佛经翻译的发展; 吴琼 张银柳: 口译未来的发展; 成于思 龚钰冕: 翻译实践的发展; 郑华君 李璐伊: 新中国成立后翻译的发展; 韩海洋 彭育志：圣经翻译的发展&lt;br /&gt;
&lt;br /&gt;
4 Early Literary Examples: &lt;br /&gt;
许鹏飞 肖伊宁: 林纾的翻译; 许晶 李凌月; 袁诗琦 姚佳; 邹鑫雨 曹润鑫:《红楼梦》的英译; 袁雨晨 肖茜: 严复和《天演论》; 苏琳 周玉娟&lt;br /&gt;
&lt;br /&gt;
5 Early Theories: &lt;br /&gt;
徐梦蝶 杨逸; 陈涵 曾心媛; 陈静静 高明珠; 文晓艺 韦洪朗: 严复与林纾的翻译理论; 康浩宇 漆凯: 玄奘翻译理论; 刘洋诺 邬香: 系统翻译理论的早期尝试&lt;br /&gt;
&lt;br /&gt;
6 (Western) Theories: &lt;br /&gt;
康灵凤 莫南: 功能对等理论; 吴琪 常慧月：多元系统理论; 纪甜甜 姜好: 后殖民翻译理论; 许静 游雨婷; 布拉格学派; 肖双玲 王轩: 目的论; 李丽丽 王源: 语言学派&lt;br /&gt;
&lt;br /&gt;
7 Methods: &lt;br /&gt;
甘奉玉 丁代凤; 赵晓燕 张慧: 异化策略下的翻译方法; 张瑜 谭星越: 语义翻译和交际翻译; 吴一露 司妤: 直译和意译; 文偲荇 李梦: 增译和减译; 林敏 刘金惺琦&lt;br /&gt;
&lt;br /&gt;
8 Style: &lt;br /&gt;
孔祥慧 孔亚楠; 罗雨晴 娄灿灿; 管钦清：不同翻译风格对比； 林鑫 李泳珊：文学风格可译与不可译; 曾雁湖 胡慧芳&lt;br /&gt;
&lt;br /&gt;
9 Translation Studies: &lt;br /&gt;
罗维嘉 桂一枝; 彭小玲 彭丹; 全美欣 宋建茹:视听翻译;石迪文 易欢; 姚诚 张虎：中英语态对比及其翻译策略; 刘欧 陈永相：不可译性及其转化策略&lt;br /&gt;
&lt;br /&gt;
10 Theory and Practice: &lt;br /&gt;
彭娟 陶冶; 吴子佳 雷旷溪: 归化异化在翻译中的实践; 汤蓓  王美玲; 蒋凤仪 顾东方; 周园曲 祝美梅;  阳慧 张佩闻; &lt;br /&gt;
&lt;br /&gt;
11 Different Aspects: &lt;br /&gt;
周艺文 陈佳欣; 谭鑫洁 魏亚菲; 张毓婕 杨海容; &lt;br /&gt;
&lt;br /&gt;
12 East West Comparison: &lt;br /&gt;
唐铭 欧蓉; 谭媛媛 刘艺: 中西翻译发展史及比较; 杨悦 义子楚: 中西文化差异对翻译的影响; 肖婷 徐佳;  莫玲 袁天翼; 陈莎 陈江宁：中西方思维方式差异对翻译的影响。&lt;br /&gt;
&lt;br /&gt;
13 Strategies: &lt;br /&gt;
吴恺 马智星: 阿拉伯大征服时代与翻译学; 汤伊然 杨子泠(劳伦斯·韦努蒂的异化翻译策略); 彭永亮 谢子熠&lt;br /&gt;
&lt;br /&gt;
14 Contemporary translation Theories: &lt;br /&gt;
Sagara Seydo Nguyen, Thuy Hien (Helen)&lt;br /&gt;
&lt;br /&gt;
==List of Topics for final exam papers in Translation Studies==&lt;br /&gt;
&lt;br /&gt;
学期论文（结合学期所学，撰写一篇5000以上单词的英文论文，按照专业杂志的格式，题目、摘要、关键词和参考文摘需要英中，文章英）。学期论文成绩占70%，平时成绩（含课堂表现、展示及作业）占30%。&lt;br /&gt;
&lt;br /&gt;
Ideas&lt;br /&gt;
*literal vs. free&lt;br /&gt;
*Faithful/loyal/foreignization/alienation/exotization vs. domestication/localization&lt;br /&gt;
*unit of translation&lt;br /&gt;
*contrastive analysis&lt;br /&gt;
*the equivalence problem (functional, dynamic)&lt;br /&gt;
*translatability vs untranslatability &lt;br /&gt;
*SLT vs TLT relation&lt;br /&gt;
*translation types, strategies, styles, methods&lt;br /&gt;
*communication factors, translator role in social setting&lt;br /&gt;
*cognitive factors&lt;br /&gt;
*machine translation&lt;br /&gt;
*translation quality assessment&lt;br /&gt;
*translation ethics / manipulation etc.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
Suggested topics for final exam papers (chapters of book on translation studies)&lt;br /&gt;
&lt;br /&gt;
Each student needs to prepare one small topic for a 5-min. classroom presentation (with a fellow student, who writes a handout about it) and needs to find a topic for a chapter of a book on Translation Studies. Alternatively to the classroom presentation, the student can also assist the teacher by preparing class, sorting the wiki page etc.&lt;br /&gt;
&lt;br /&gt;
Here is the link to the list: [[Topics in Translation Studies]]&lt;br /&gt;
&lt;br /&gt;
Please write your paper as a chapter of the book directly into the book manuscript here: [[History of Translation Studies]].&lt;br /&gt;
&lt;br /&gt;
Sample papers (you can find these papers also on the Webpage [[History of Translation Studies]])&lt;br /&gt;
* A Comparative Study between Functional Equivalence Theory and Skopos Theory and My thoughts on the Two Theories&lt;br /&gt;
* An Analysis of the Book of Contemporary Translation Theories and Introducing Translation Studies: Theories and Applications&lt;br /&gt;
* Comparative Study on Functional Equivalence Theory and Skopos Theroy&lt;br /&gt;
* Comparison of Derrida’s and Benjamin’s Translation View&lt;br /&gt;
* Impacts of Western Translation Theories on The Translator’s Guide to Chinglish&lt;br /&gt;
* On the Comparison between &amp;quot;Sublimation&amp;quot; an &amp;quot;Functonal Equivalence&amp;quot; Theories&lt;br /&gt;
* Study on Gladys’ Translation of The Border Town from the Perspective of Translation Aesthetics&lt;br /&gt;
* The Translation of Culture-loaded Words in Chinese-English Communication&lt;br /&gt;
* Translators' Views on Translation Influence Their Translation Behavior&lt;br /&gt;
&lt;br /&gt;
=Benefits=&lt;br /&gt;
This course is registered as a &amp;quot;EU Expert&amp;quot; diploma supplement course. Collect 10 such courses during your study and you receive a certificate by the Jean Monnet Chair.&lt;/div&gt;</summary>
		<author><name>Song Jianru</name></author>
	</entry>
	<entry>
		<id>https://bou.de/u/index.php?title=20201123_trans&amp;diff=104875</id>
		<title>20201123 trans</title>
		<link rel="alternate" type="text/html" href="https://bou.de/u/index.php?title=20201123_trans&amp;diff=104875"/>
		<updated>2020-11-19T14:36:59Z</updated>

		<summary type="html">&lt;p&gt;Song Jianru: /* Tan Xingyue 谭星越 */&lt;/p&gt;
&lt;hr /&gt;
&lt;div&gt;==Cao Runxin 曹润鑫==&lt;br /&gt;
History of Chinese Studies &lt;br /&gt;
&lt;br /&gt;
国际汉学史&lt;br /&gt;
&lt;br /&gt;
Martin Woesler 吳漠汀 (Witten/Herdecke University, Peking Normal University 德國維籐大學，中國北京師範大學)&lt;br /&gt;
&lt;br /&gt;
Abstract: The roots of Chinese Studies lie as early as Chinese people started to reflect on parts of Chinese culture, which was as early as Chinese culture emerged. Especially foreign people defined Chinese culture distinctly in separation of their own culture, like ancient Greek philosophers and early delegations from the Roman Empire.&lt;br /&gt;
==Chang Huiyue 常慧月==&lt;br /&gt;
From the very beginning, Western Scholars of Chinese Studies were closely cooperating with Chinese partners, so that Chinese Studies cannot be limited to Overseas Chinese Studies. Merchants went beyond their trade business and created travel reports and first translations of Chinese literature. Missionaries for the first time studied systematically the Chinese language and culture, translated the Chinese Classics and Four Books into Latin.&lt;br /&gt;
==Chen Han 陈涵==&lt;br /&gt;
Their idealized descriptions of China stimulated the Chinoisérie and the positive reception of China among philosophers of the enlightenment, which saw China as a secular empire. Then, the China-image turned to the worse with Western scholars ascribing China a static nature creating the so-called “Great Divergence”. &lt;br /&gt;
==Chen Hui 陈惠==&lt;br /&gt;
This narrative was challenged in the early 1980s with the start of the Opening and Reform Policy. Finally colleges and professorships were established first in the West and then in China. Today, Chinese Studies in the West and in China are enriching each other and are inseparably connected.&lt;br /&gt;
&lt;br /&gt;
Key Words: Chinese Studies, Sinology, Hanxue, Guoxue, delegations, philosophers, merchants, travel reports, translations, missionaries, enlightenment, Chinoisérie, Great Divergence&lt;br /&gt;
==Chen Jiangning 陈江宁==&lt;br /&gt;
Definition 定義&lt;br /&gt;
&lt;br /&gt;
Chinese Studies, also called Sinology (in German: Sinologie) or China Studies (in German: Chinawissenschaften, Chinakunde), is the academic discipline to study China in its geography, history, society, culture(s), language(s), literature(s) etc. It is mainly divided into the study of ancient and premodern China and of modern and contemporary China.&lt;br /&gt;
==Chen Jiaxin 陈佳欣==&lt;br /&gt;
In the Chinese language, internationally the term “Hanxue” is used (first used in Japan as kangaku漢學/汉学, parallely to the term “Hanyu” 漢語/汉语 for Chinese). The term is not meant discriminative against non-Han minorities, since we have terms like “Hanyu” or “Germanic Studies” (the Germans were an ethnic tribe of many in todays Deutschland). In Chinese, domestically more often the terms “guoxue” 國學/国学 or “Zhongguo xue” 中國學 etc. are used. &lt;br /&gt;
==Chen Jingjing 陈静静==&lt;br /&gt;
There is a trend to divide Chinese Studies in sub disciplines dealing with traditional or modern China, while the term “Sinology” is more often applied to the traditional part. In quantity, scholars dealing with traditional China become less and those dealing with modern or contemporary China more. Of course, there are other exotic terms for phenomena related to China or Chinese people, like the term “Tang People Street” 唐人街 for Chinatowns. &lt;br /&gt;
==Chen Sha 陈莎==&lt;br /&gt;
Some Chinese scholars interpret the term “Hanxue” as reserved for the study of China by foreigners, implying often that the real “guoxue” could only be conducted by Chinese scholars, arguing you need to grow up in China in order to understand it. However, confronted with the case of overseas Chinese scholars or Western scholars growing up and working in China, the limitation of this racist distinction becomes obvious. &lt;br /&gt;
==Chen Sunfu 谌孙福==&lt;br /&gt;
Although in history we have rare examples of foreigners who were able to study China without Chinese partners (starting with language teachers) or without visiting the country, and Chinese Studies today often is conducted by mixed teams of domestic and foreign scholars.&lt;br /&gt;
==Chen Yongxiang 陈永相==&lt;br /&gt;
The discipline itself, as established at universities, had a natural focus on language and literature (philology). Today, we have a broad range of sub disciplines like Chinese literature [epigraphy], language, culture, philosophy/ethics/aesthetics, history, political science, sociology, economy) 中国文学[金石学]，语言，文化，哲学、伦理学、美学、历史、政治学、社会学、经济学&lt;br /&gt;
==Cheng Yusi  成于思==&lt;br /&gt;
Emergence&lt;br /&gt;
Although the first university professorships as we know them today were established only in the 1814, we find the origins of Chinese Studies in early descriptions of China by philosophers. That the empires knew early about each other is proven by delegations, exchanged even two thousand years ago between the Roman Empire and China.&lt;br /&gt;
==Deng Jinxia 邓锦霞==&lt;br /&gt;
Later we have records and first translations of travelling merchants (Marco Polo lived in the 13th century and travelled on land and by ship) and then by missionaries (starting with the 16th century). Later we have western philosophers (like Leibniz) and reports in journals dedicated to China.&lt;br /&gt;
==Ding Daifeng 丁代凤==&lt;br /&gt;
The first scholarly view on China had the Christian missionaries, who studied Chinese language and culture in China. Therefore, the first translations of Chinese classics were done into Latin. The term “sinology” since the Latin term “sina” for China seems to point to the Qin Dynastie since 221 BCE. The main purpose of the missionaries was to baptize and therefore they also translated the bible into Chinese and reported on the so far mostly unknown China to Europe, reports which met a huge interest and demand in Europe.&lt;br /&gt;
==Fang Jieling 方洁玲==&lt;br /&gt;
Resources 资源&lt;br /&gt;
&lt;br /&gt;
There are a lot of national histories of Chinese Studies so far, but no detailed international or global history (see references).&lt;br /&gt;
The Overseas Chinese Studies Center 海外漢學研究中心 at Peking Foreign Language University 北京外語大學 under the leadership of Zhang Xiping張西平 has been renamed in the 2010s to Research Center for the Study of Chinese Culture 中國文化研究中心#. Here a list of works on the History of Sinology:&lt;br /&gt;
==Gan Fengyu 甘奉玉==&lt;br /&gt;
First contacts: Trade (without written documents)&lt;br /&gt;
&lt;br /&gt;
Genetic evidence shows that there were trade relations from Mesopotamia to Europe and China as early as 11000 BCE (cows, horses) and 10000 BCE (crops). &lt;br /&gt;
China very early became an export region, as we can trace the genes of animals back to China 10000 BCE (pigs), 8000 BCE (chicken), and of silk cloth 5000 BCE.&lt;br /&gt;
==Gao Mingzhu 高明珠==&lt;br /&gt;
The Emergence of Chinese Studies: Philosophers&lt;br /&gt;
Aristotle (384-322 BC) writes in the 4th century BC: “Those who live in a cold climate and in Europe are full of spirit, but wanting in intelligence and skill; and therefore they retain comparative freedom, but have no political organization, and are incapable of ruling over others. Whereas the natives of Asia are intelligent and inventive, but they are wanting in spirit, and therefore they are always in a state of subjection and slavery.”[ 	Aristoteles: Politeia, Book VII, Part VII, translated by Benjamin Jowett, http://evans-experientialism. freewebspace.com/aristotle_politics07.htm, last visited Dec 5, 2010. In German: „Die Völkerschaften nämlich, welche innerhalb der kalten Gegenden in Europa wohnen, sind zwar voll Muth, aber weniger mit Geist und Kunstfertigkeit begabt. Daher behaupten sie zwar leichter ihre Freiheit, aber sie sind zur Bildung staatsbürgerlicher Gemeinwesen untüchtig [...]. Die Völkerschaften Asiens dagegen sind klugen und kunstfertigen Geistes, aber ohne Muth. Daher leben sie in Unterwürfigkeit und Sklaverei.“, from: Aristoteles: Werke. Griechisch und Deutsch, vol. 6, ed. by Franz Susemihl, Aalen 1978 (Reprint of the edition Leipzig 1879), p. 409.]&lt;br /&gt;
亚里士多德（公元前384年-公元前322年）在公元前4世纪写到：“那些生活在欧洲寒冷气候里的人们，他们充满灵感但是缺乏智慧和技巧；所以虽然他们保留了相对的自由，但却没有政治组织，也没有能力管理其他人。然而，亚洲人聪明而善于发明，但是他们缺乏勇气，所以他们总是顺从和被奴役。” [ 	亚里士多德：《政治学》，第七卷，第七部分，由本杰明·乔伊特翻译，http://evans-experientialism. freewebspace.com/aristotle_politics07.htm，访问日期2010年12月5日。德语原文为： „Die Völkerschaften nämlich, welche innerhalb der kalten Gegenden in Europa wohnen, sind zwar voll Muth, aber weniger mit Geist und Kunstfertigkeit begabt. Daher behaupten sie zwar leichter ihre Freiheit, aber sie sind zur Bildung staatsbürgerlicher Gemeinwesen untüchtig [...]. Die Völkerschaften Asiens dagegen sind klugen und kunstfertigen Geistes, aber ohne Muth. Daher leben sie in Unterwürfigkeit und Sklaverei.“，引自：《亚里士多德作品集-希腊人和德国人》，第六卷，由Franz Susemihl, Aalen在1978年出版（1879年在莱比锡再版），第409页。]&lt;br /&gt;
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==Gong Yumian 龚钰冕==&lt;br /&gt;
The Emergence of Religious Missions with the Study of China as a by-product&lt;br /&gt;
Between 1593-1607 the Spanish Dominican mission in Manila operated a press and produced 4 books on Christian belief. &lt;br /&gt;
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1593-1607西班牙多明我会使团在马尼拉经营的出版社出版了4本基于基督教信仰的书&lt;br /&gt;
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In 1583 the influential Jesuit Matteo Ricci arrived in Canton and spent the rest of his life in China.&lt;br /&gt;
&lt;br /&gt;
1583利玛窦（耶稣会会士）抵达广州，在中国度过余生。&lt;br /&gt;
==Gu Dongfang 顾东方==&lt;br /&gt;
Interest by European emperors in the beginning of the 18th century&lt;br /&gt;
In France, the study of China and the Chinese language began with the patronage of Louis XIV. In 1711, he appointed a young Chinese, Arcadio Huang to catalog the royal collection of Chinese texts. Huang was assisted by Étienne Fourmont, who published a Chinese grammar in 1742.&lt;br /&gt;
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在法国，对中国和中国语言的研究始于路易十四的赞助。在1711，他任命了一位年轻的中国人Arcadio Huang对皇家藏书的中文文本进行目录整理。黄的助手艾蒂安Fourmont，在1742年发表了一本中国语法书。&lt;br /&gt;
==Guan Qinqing 管钦清==&lt;br /&gt;
In 1732 a missionary priest of the Sacred Congregation &amp;quot;De propaganda fide&amp;quot; from the kingdom of Naples, Matteo Ripa (1692–1746), created in Naples the first Sinology School of the European Continent: the &amp;quot;Chinese Institute&amp;quot;, the first nucleus of what would become today's Università degli studi di Napoli L'Orientale, or Naples Eastern University. Ripa had worked as a painter and copper-engraver at the imperial court of the Kangxi Emperor between 1711 and 1723. Ripa returned to Naples from China with four young Chinese Christians, all teachers of their native language and formed the Institute sanctioned by Pope Clement XII to teach Chinese to missionaries and thus advance the propagation of Christianity in China.&lt;br /&gt;
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1732年，来自那不勒斯的传布信仰圣部的传教牧师Matteo Ripa马国贤（1692–1746），在那不勒斯创建了欧洲大陆的第一个汉学学校：“中国学院”，它后来成为了今天的那不勒斯东方大学。马国贤曾在1711和1723之间担任康熙皇帝的宫廷画家和雕刻师。马国贤从中国回到那不勒斯时，带回了四个年轻的中国基督徒。他们都是汉语教师，组建了学院，在教皇克莱门特十二世的批准下向牧师们教授中文，从而推进了基督教在中国的传播。&lt;br /&gt;
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==Gui Yizhi 桂一枝==&lt;br /&gt;
Chinoiserie&lt;br /&gt;
&lt;br /&gt;
Chinese objects of art as symbols of Chinese cultural tradition early spread to Europe, reaching the peak in the 18th century during the period of Chinoisérie“中国风”. Fascinated Collectors saved several artefacts for following generations. Their selection criteria allow to approach the guiding aesthetic principles behind their fascination. European imitations of these artefacts show in their similarities and differences to the originals and to the own cultural traditions the principles they followed to catch the reason for the experienced exoticism during the consumption of the cultural goods. Imitated imitated Chinese-style architecture, imitated Chinese paintings and imitated characters in paintings, tattoos and design, reveal what principles Westerners believed to guide Chinese traditional art.&lt;br /&gt;
&lt;br /&gt;
作为中国传统文化象征的中国艺术品很早就传播到了欧洲，在“中国风”时期达到了顶峰。对此十分着迷的收藏家们为后人保存了几件文物。他们的选择标准很接近他们所欣赏的指导性美学原则。欧洲的工艺模仿品表明了他们自己的文化传统和原型的相似性和差异性，他们遵循的原则符合在文化商品的消费过程中对异国情调的体验。在绘画、纹身和设计方面的模仿特点、模仿中国风格的建筑和仿作的中国画，揭示了西方人眼里的中国传统艺术的指导原则。&lt;br /&gt;
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==Guo Lu 郭露==&lt;br /&gt;
Europe: Enlightened Philosophers end of the 18th century 欧洲：第18世紀末的启蒙哲学家&lt;br /&gt;
&lt;br /&gt;
During the enlightenment process in Europe, philosophers in their search for a vision of a world without religious control, discovered China and wanted to understand it as a secular ideal alternative to Europe. (Leibniz: Novissima Sinica, The Orphan of Zhao, Voltaire: wrote play “L'orphelin de la Chine” portrait of Confucius, Giambattista Vico.&lt;br /&gt;
&lt;br /&gt;
启蒙哲学家在欧洲汉学（莱布尼茨：《中国近事》，伏尔泰：《赵氏孤儿》、孔子肖像，维柯。&lt;br /&gt;
&lt;br /&gt;
1789-… Enlightened philosophers: Saw China as an enlightened kingdom with ethics instead of church and religion&lt;br /&gt;
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1789…启蒙哲学家：看到中国作为一个有伦理的开明王国而不是教会和宗教伦理&lt;br /&gt;
&lt;br /&gt;
一个不受宗教控制的世界时&lt;br /&gt;
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在欧洲的启蒙运动中，哲学家们在寻找一个不受宗教控制的世界时，了解到了中国这一国度，并将其视为欧洲脱离世俗的替代品。（莱尼兹：诺威西玛·辛尼卡，《赵氏孤儿》，伏尔泰：写下孔子朱安·巴蒂斯塔·维柯的剧本《中国的左撇子》。--[[User:Guo Lu|Guo Lu]] ([[User talk:Guo Lu|talk]]) 02:18, 19 November 2020 (UTC)&lt;br /&gt;
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一个不受宗教控制的世界时&lt;br /&gt;
在欧洲启蒙运动的进程中，哲学家们在寻找一个不受宗教控制的世界时，发现了中国，并希望可以将其视为欧洲脱离世俗理想替代品。莱尼兹：诺威西玛·辛尼卡，《赵氏孤儿》，伏尔泰：写下孔子朱安·巴蒂斯塔·维柯的剧本《中国的左撇子》 --[[User:Kong Xianghui|Kong Xianghui]] ([[User talk:Kong Xianghui|talk]]) 09:10, 19 November 2020 (UTC)&lt;br /&gt;
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==Han Haiyang 韩海洋==&lt;br /&gt;
Europe: Professorships&lt;br /&gt;
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The study of Assyriology and Egyptology developed before the serious study of China because of their connections to the Bible; the study of Indology represented a breakthrough in the development of linguistics. Chinese texts, perhaps because they did not have these connections, were the last to be studied in European universities until around 1860 except in France (Zurndorfer, China Bibliography 1999 p. 6, quoted from Wikipedia “Sinology”, August 6, 2018).&lt;br /&gt;
&lt;br /&gt;
由于和圣经的紧密联系，亚述学、埃及学的研究在正规的中国研究前发展充分；印度学研究代表了语言学发展的突破口。可能是因为中国文本和它们没有联系，所以直到1860左右，它才成为除了法国外的欧洲大学最后的研究对象。&lt;br /&gt;
==Han Wanzhen 韩宛真==&lt;br /&gt;
The first college to study Chinese was established in Italy. At the Academy in St. Petersburg in Russia, on March 23, 1741, the lecturer 伊拉利昂·罗索欣 started to teach Chinese Studies. He was also part of a mission sent to emperor Kangxi in Qing Dynasty.&lt;br /&gt;
==He Changqi 何长琦==&lt;br /&gt;
On December 11, 1814, the first Professorship of Chinese and Manchu was established at the Collège de France, the sinologist 雷慕莎 Jean-Pierre Abel-Rémusat, who taught himself Chinese, filled the position, becoming the first professor of Chinese in Europe. By then the first Russian Sinologist, Nikita Bichurin, had been living in Beijing for ten years. &lt;br /&gt;
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1814年，研究中国和满族的讲学席位在法国的大学成立。雷慕莎自学了中文，占据了这一位置，成为了欧洲第一个汉学教授。而之后的第一个俄罗斯汉学家尼基塔·比丘林则曾在北京生活了十年。&lt;br /&gt;
==Hu Baihui 胡百辉==&lt;br /&gt;
Abel-Rémusat's counterparts in England and Germany were Samuel Kidd (1797–1843) and Wilhelm Schott (1807–1889) respectively, though the first important secular sinologists in these two countries were James Legge and Hans Georg Conon von der Gabelentz. Scholars like Legge often relied on the work of ethnic Chinese scholars such as Wang Tao (Zurndorfer, China Bibliography 1999 p. 8-14, quoted from Wikipedia “Sinology”, August 6, 2018).&lt;br /&gt;
&lt;br /&gt;
雷慕莎的同仁分别有英国的Samuel Kidd（1797–1843）和德国的Wilhelm Schott（1807–1889），虽然在这两个国家头等重要的世俗汉学家是理雅各和加贝伦茨。理雅各等学者常常依靠华人学者如王韬等人的作品。&lt;br /&gt;
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阿贝尔·雷穆萨在英国和德国的同行分别是塞缪尔·基德（Samuel Kidd，1797-1843）和威廉·肖特（Wilhelm Schott，1807-1889），不过这两个国家最早出现的重要世俗汉学家是詹姆斯·莱格和汉斯·格奥尔格·科农·冯·德加布伦茨。像莱格这样的学者经常依赖于像王韬这样的华裔学者的作品。--[[User:Hu Baihui|Hu Baihui]] ([[User talk:Hu Baihui|talk]]) 03:08, 19 November 2020 (UTC)&lt;br /&gt;
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==Hu Huifang 胡慧芳==&lt;br /&gt;
Stanislas Julien served as the Chair of Chinese at the Collège de France for over 40 years, starting his studies with Rémusat and succeeding him in 1833. not only of classical texts but also works of vernacular literature, and for his knowledge of Manchu. Édouard Chavannes succeeded to the position after the death of Marquis d'Hervey-Saint-Denys in 1893. Chavannes pursued broad interests in history as well as language (Zurndorfer, China Bibliography 1999 p. 8-14, quoted from Wikipedia “Sinology”, August 6, 2018).&lt;br /&gt;
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儒莲担任法兰西学院的汉学教授超过40年，他与雷慕莎一起开始他的研究，并在1833年继承了雷慕莎的工作。他以不仅针对古典文学、而且涉猎白话文学作品的翻译工作和和对满族的了解而闻名。沙畹在德理文于1893去世后继承了他的位置，沙畹在历史和语言领域上兴趣广泛。&lt;br /&gt;
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斯塔尼斯拉斯·朱利安（Stanislas Julien）在法兰西学院（Collègede France）担任中文主席40多年，从雷穆萨（Rémusat）开始学习，并于1833年继任。他不仅学习古典文学作品，还学习白话文学作品，并了解满族。 爱德华·沙畹在1893年侯爵·圣赫尔·圣丹尼斯（Marquis d'Hervey-Saint-Denys）去世后继任。沙畹追求历史和语言的广泛利益（Zurndorfer，中国参考书目1999年第8-14页，引自Wikipedia“ Sinology”， 2018年8月6日）。--[[User:Hu Huifang|Hu Huifang]] ([[User talk:Hu Huifang|talk]]) 09:13, 19 November 2020 (UTC)&lt;br /&gt;
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Rulian served as a professor of Sinology at the French Academy for more than 40 years. He started his research with Remusa and inherited Remusa's work in 1833. He is famous for his translation work not only for classical literature, but also for vernacular literary works and his understanding of Manchu. Chavannes  inherited his position after De Liwen died in 1893.  Chavannes has a wide range of interests in history and language. --[[User:Hu Huifang|Hu Huifang]] ([[User talk:Hu Huifang|talk]]) 09:13, 19 November 2020 (UTC)&lt;br /&gt;
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==Hu Jin 胡瑾==&lt;br /&gt;
After the Opium war 1840, the Department of Oriental Studies at Cambridge University and the SOAS/London University were established.&lt;br /&gt;
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In 1875, Leiden University in the Netherlands started and in 1890 the sinologist 考狄 founded the first academic journal by Westerners on China, the Toung Pao 通报.&lt;br /&gt;
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1840年鸦片战争后，剑桥大学东方研究院和英国伦敦大学亚非学院成立。&lt;br /&gt;
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1875年，荷兰莱顿大学成立，1890年，汉学家考狄创办了第一个由西方人撰写的关于中国的学术期刊—《通报》。--[[User:Hu Jin|Hu Jin]] ([[User talk:Hu Jin|talk]]) 13:10, 19 November 2020 (UTC)&lt;br /&gt;
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==Ji Tiantian 纪甜甜==&lt;br /&gt;
In 1912, Richard Wilhelm, who had lived in China for about 30 years, taught at the Friedrich Wilhelm University in Frankfurt and established a Chinese Seminar “中国学社” and together with Beiping’s Furen University the journal华裔学志.&lt;br /&gt;
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At the end of the 19th century, in Sweden the University of Gotheburg established East Asian Language and Culture Seminar, starting with Sven Hedin, who explored Western China, followed by the the Chinese linguist 高本汉.&lt;br /&gt;
==Jiang Fengyi 蒋凤仪==&lt;br /&gt;
The image of China as an essentially Confucian society conveyed by Jesuit scholars dominated Western thought in these times. While some in Europe learned to speak Chinese, most studied written classical Chinese. These scholars were in what is called the “commentarial tradition” through critical annotated translation. &lt;br /&gt;
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在那个时候，中国在西方的形象在本质上是以耶稣会学者传达的儒家社会为主。在欧洲，有些人学学习说中文，大多数人则学写书面文言文。这些学者们通过批判的注释性翻译处在了所谓的“注释传统”。&lt;br /&gt;
==Jiang Hao 姜好==&lt;br /&gt;
This emphasis on translating classical texts inhibited the use of social science methodology or comparing these texts of other traditions. One scholar described this type of sinology as “philological hairsplitting” preoccupied with marginal or curious aspects  (Zurndorfer, China Bibliography 1999 p. 14-15, quoted from Wikipedia “Sinology”, August 6, 2018). Secular scholars gradually came to outnumber missionaries, and in the 20th century sinology slowly gained a substantial presence in Western universities.&lt;br /&gt;
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这种强调翻译经典文本的做法阻碍了社会科学方法论的使用或与其他传统的文本的比较。有学者称这类汉学描述为专注于边缘或好奇方面的“语言学上的吹毛求疵”。世俗学者逐渐多于传教士，并在西方大学为20世纪的汉学慢慢积累了实质性存在。&lt;br /&gt;
==Jiang Qiwei 蒋淇玮==&lt;br /&gt;
Sinology in Germany 德国的汉学&lt;br /&gt;
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Today, in Germany there are about 30 universities and universities of applied sciences with Chinese Studies..&lt;br /&gt;
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Since the beginning of the 19th century, people started to conduct research on China. In 1829–1831, the orientalist Carl Friedrich Neumann bought 12,000 Chinese books in Canton, which he shipped to Munich and which became the foundation of the East Asian Collection of the Bavarian State Library as well as the Berlin State Library. Since 1833 Wilhelm Schott taught Chinese and Chinese philosophy in Berlin. &lt;br /&gt;
==Kang Haoyu 康浩宇==&lt;br /&gt;
Pioneering research on China were the geological-geographical research trips by Ferdinand von Richthofen since the early 1860s. In 1887 the first Chinese language classes and sinological classes started at the Seminar for Oriental languages in Berlin. In 1889, the first German Chair of Sinology was established at the University of Leipzig, the first full professor was Hans Georg Conon von der Gabelentz. In 1912 the 2nd chair was established in Berlin with J. J. M. de Groot and in 1914 at the Colonial Institute in Hamburg with Otto Franke.&lt;br /&gt;
==Kang Lingfeng 康灵凤==&lt;br /&gt;
During colonial times, in which the German Empire held the Chinese colony “Kiautschou”, the interest in Chinese culture grew. The exile of many Chinese scientists in the period of National Socialism harmed the German Sinology sustainably. Since the opening up of the People's Republic of China in the 1980s, Sinology in Germany is no longer among the orchid subjects and new students of Sinology have good job prospects. &lt;br /&gt;
==Kong Xianghui 孔祥慧==&lt;br /&gt;
The change of attitude among early China experts with the example of the early reception of the Red Chamber Dreams&lt;br /&gt;
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The Red Chamber Dreams shortly after publication in 1791 spread fast among the foreigners’ community including Robert Morrison (who incorporated parts of it into his language teaching material and dictionary already by 1813-1815).&lt;br /&gt;
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早期中国专家态度的转变-以早期接受《红楼梦》为例&lt;br /&gt;
《红楼梦》在1791年出版后不久，就在国外迅速传播包括罗伯特·莫里森（Robert Morrison）。罗伯特·莫里森（Robert Morrison）早在1813年至1815年就将其部分内容纳入了他的语言教材和词典中。--[[User:Kong Xianghui|Kong Xianghui]] ([[User talk:Kong Xianghui|talk]]) 08:59, 19 November 2020 (UTC)&lt;br /&gt;
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==Kong Yanan 孔亚楠==&lt;br /&gt;
The novel also was made known in partial translation both in English and French (by John Francis Davis) in Europe in 1819. However, for a few decades, the Western reviews of the book were mostly negative, revealing an ethnocentric approach, valuing Chinese literature below Western literature. &lt;br /&gt;
==Lei Fangyuan 雷方圆==&lt;br /&gt;
It took almost a century to get to know each other better, to change attitudes from ethnocentric to dialectical, to stop exploiting the novel and to come to the insight that Chinese literature with Dream as one of its masterpieces was not only comparable to other world literatures but also could bring value to Western readers (Mayers 1867).&lt;br /&gt;
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经过几乎一个世纪，双方增进了解，并从“民族中心主义”的优越感向辩证思想转变，停止利用小说互相攻击，开始深入了解中国文学，不仅将《红楼梦》这类杰作与其他世界文学相比较，而且，更重要的是将价值观带给西方读者。（梅辉立(Mayers) 1867年）。&lt;br /&gt;
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==Lei Kuangxi 雷旷溪==&lt;br /&gt;
Main Controversies&lt;br /&gt;
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a) The Great Divergence&lt;br /&gt;
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One of the main controversies in Chinese Studies is that for a long time China appeared economically backward (compared to Western European nations). Sociologists (Marx), philosophers (Hegel), economists (Kenneth Pomeranz: The Great Divergence) and sinologists tried to explain this with the static nature of Chinese economy due to Confucianism. &lt;br /&gt;
==Li Haiquan 李海泉==&lt;br /&gt;
Scholars have questioned this: Angus Maddison suggested that China was leading (rotating ranks with India) by GDP from 0 to 1550 so that the current development was a return to old status. Philipp C.C. Huang concentrated on rural developments and argued that only the concentration of production capibilities during the socialist reforms laid the foundation for today’s Chinese economical miracle. Today, sinologists argue that Confucianism is one of the main reasons for the economical miracle.&lt;br /&gt;
==Li Lili 李丽丽==&lt;br /&gt;
“The Chinese have as a general characteristic, a remarkable skill in imitation, which is exercised not merely in daily life, but also in art. They have not yet succeeded in representing the beautiful, as beautiful; for in their painting, perspective and shadow are wanting.&lt;br /&gt;
&lt;br /&gt;
“总之，这个民族有种罕见的模仿能力，这不仅体现在他们的日常生活中，也用运到了艺术创作当中。美作为美的事物去展示对于这个民族来说并不成功，因为在绘画中缺少了透视和阴影。&lt;br /&gt;
&lt;br /&gt;
中国人有一个总体特征，那就是其超凡脱俗的模仿能力。这不仅体现在他们的日常生活中，也运用到了艺术创作当中。由于其绘画中缺乏透视法和阴影，他们无法淋漓尽致地表现出事物的美。--[[User:Mo Ling|Mo Ling]] ([[User talk:Mo Ling|talk]]) 14:28, 18 November 2020 (UTC)Mo Ling&lt;br /&gt;
&lt;br /&gt;
==Li Lingyue 李凌月==&lt;br /&gt;
And although a Chinese painter copies European pictures (as the Chinese do everything else) correctly; although he observes accurately how many scales a carp has; how many indentations there are in the leaves of a tree; what is the form of various trees, and how the branches bend; - the Exalted, the Ideal and Beautiful is not the domain of his art and skill. The Chinese are, on the other hand, too proud to learn anything from Europeans, although they must often recognize their superiority.” &lt;br /&gt;
Hegel, The Philosophy of History (transl. J. Sibree, p. 155)&lt;br /&gt;
&lt;br /&gt;
即使中国画家原封不动地模仿欧洲的绘画，如若他知道鲤鱼有多少鳞片……，崇高的、理想的、美的事物也不是他的艺术土壤和擅长之处。” 黑格爾，《历史哲学讲演录》&lt;br /&gt;
==Li Liqin 李丽琴==&lt;br /&gt;
b) Chinese and Western scholarship&lt;br /&gt;
&lt;br /&gt;
Traditional Chinese education (focusing on self development and social harmony) differed much from Western scholarship (search for truth and universal human values). Chinese scholars of guoxue often do not recognize Western scholars of Hanxue as their colleagues. Today there are trends to return to Confucian education, teaching and scholarship in China, taking the Hanlin academy as example (see: Hong Kong College).&lt;br /&gt;
&lt;br /&gt;
b）中西学问&lt;br /&gt;
&lt;br /&gt;
中西方在传统教育方面又很大不同，前者侧重于追求自我发展和社会和谐，后者寻求真理和普世价值观。中国国学学者通常不把西方汉学学者当作同行。如今，儒家教育以及儒学研究在中国如火如荼，以翰林书院为例（见：香港大学）。--[[User:Li Liqin|Li Liqin]] ([[User talk:Li Liqin|talk]]) 07:19, 18 November 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
b）中西学术&lt;br /&gt;
中国传统教育（注重自我发展和社会和谐）与西方学术（追求真理和普遍的人类价值）有很大不同。中国国学学者往往不承认西方汉学学者是他们的同僚。今天，中国教育有向儒学教育回归的趋势，以翰林院为例（参见：香港大学）。--[[User:Hu Baihui|Hu Baihui]] ([[User talk:Hu Baihui|talk]]) 03:17, 19 November 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
==Li Luyi 李璐伊==&lt;br /&gt;
Also Traditional Chinese Medicine has continued to be an alternative to Western medicine, although the general grouping into Yin and Yang has been proven to be arbitrary since objects/organs etc. historically were assigned to Yang for a time and to Yin at other times. However, acupuncture has been recognized by Western medicine to be effective. Western reproach towards Chinese scholarship is that it is not conducted in a free environment.&lt;br /&gt;
&lt;br /&gt;
==Li Meng 李梦==&lt;br /&gt;
From Ethnocentrism and Exoticism to Universalism and Dialogue: &lt;br /&gt;
the General Trend of Chinese Studies in the West - &lt;br /&gt;
A Case Study of the Early Western Reception of Red Chamber Dreams&lt;br /&gt;
&lt;br /&gt;
从种族中心主义和异国主义到普遍主义和对话：&lt;br /&gt;
西方中国学之总趋势——以《红楼梦》早期西方接受为例&lt;br /&gt;
&lt;br /&gt;
Martin Woesler &lt;br /&gt;
(Witten/Herdecke University, Peking Normal University, Nanking Normal University)&lt;br /&gt;
&lt;br /&gt;
Abstract&lt;br /&gt;
“Chinese Studies” (Sinology, Chinakunde, Études Chinoises etc.) in general from its origins until today sees a main trend from ethnocentrism and exoticism to universalism and dialogue. Undergoing historical periods of Chinoisérie and then China-bashing during imperialist and colonialist times, Chinese Studies at universities and in associations like the German China Association has established a more objective view on China. &lt;br /&gt;
摘要&lt;br /&gt;
“汉学” （又名“国学”、“中国学” 等等）自起源至今，大体上经过这样一条发展主线：从种族中心主义和追求异域风情发展至普世主义和对话机制。在经过中国风(Chinoisérie)时代，到批判和抨击中国（China-bashing）的帝国主义和殖民主义时代之后，汉学在大学和学术协会（如德中协会）里建立了一个对中国更为客观的看法。&lt;br /&gt;
&lt;br /&gt;
==Li Yongshan 李泳珊==&lt;br /&gt;
Ethnocentrism is still existing among Western sinologists today and has to be fought. Still, the contemporary trends globalization, digitalization and travel freedom offer the current generation of sinologists so far unseen possibilities of international cooperation, promising extremely fruitful especially between distant cultures like China and the West. &lt;br /&gt;
但是，在当代西方汉学家中间仍然还存在民族中心主义，我们需要为此而抗争。随着全球化、数字化和“出境自由行”这三种当代趋向的出现，新一代汉学家获得了前所未见的国际合作可能，特别像是中西间如此大跨度的文化差异，其国际合作的前景和潜力更是无可估量。&lt;br /&gt;
&lt;br /&gt;
==Li Yu 李玉==&lt;br /&gt;
Key words&lt;br /&gt;
Ethnocentrism, Exoticism, Universalism, Chinese Studies, German China Association, universal values, Gregor Paul, cooperation, China and the West&lt;br /&gt;
&lt;br /&gt;
關鍵詞&lt;br /&gt;
宗族中心主義、異國主義、普遍主義、漢學/中國學、德中協會、普遍價值觀、Gregor Paul、合作、中國與西方&lt;br /&gt;
&lt;br /&gt;
When we define an academic category like “Chinese Studies”, we pay respect to the fact that the world historically has developed differently in different regions. &lt;br /&gt;
&lt;br /&gt;
==Lin Min 林敏==&lt;br /&gt;
Of course the world was far less connected than today, with slow carriers like horses and ships and often bad or risky infrastructure like roads. Therefore it appears on first sight that these regions have developed their culture, their civilization and even first written languages on their own, independently. &lt;br /&gt;
&lt;br /&gt;
==Lin Xin 林鑫==&lt;br /&gt;
The oldest evidence of written civilizations, dating back around 3500 years BC, we find in the fertile crescent Mesopotamia with the clay tablets of the Sumerer. A little bit later there is evidence in Ancient Egypt, then in Proto-India and finally also in China. &lt;br /&gt;
&lt;br /&gt;
==Ling Zijin 凌子瑾==&lt;br /&gt;
But the more we explore history, the more fascinating evidence comes to light that these seemingly independently developing regions have had more trade relations and exchange of ideas than seems likely bearing in mind mobility: The Silk Road is not only rediscovered and reevaluated historically, but also rebuilt as a political agenda today. We today find early evidence of European civilizations in America and Asia as well as the Chinese civilization also in America and Europe. &lt;br /&gt;
&lt;br /&gt;
==Liu Bo 刘博==&lt;br /&gt;
Cultural Science is more influenced by its subject than other sciences, since we are part of it and cannot leave it to examine it. The history of cultural science has developed from the first times of intercultural encounters to today’s life, in which cultures are mixed and people understand each other as being part of different cultures simultaneously.&lt;br /&gt;
&lt;br /&gt;
==Liu Jinxingqi 刘金惺琦==&lt;br /&gt;
However, there will always be differentiation between cultures, simply because the trends of integration and separation occur at the same time.&lt;br /&gt;
&lt;br /&gt;
When there is different cultures, there is an interest in comparing these. This medal has two sides. As soon as you start to compare, you may value. Cultural encounters happened before there were experts or a whole discipline.&lt;br /&gt;
&lt;br /&gt;
==Liu Liu 刘柳==&lt;br /&gt;
So the first comparisons between cultures were ethnocentric: You compared whatever you encountered as “other”, “foreign” or “alien”, to your own culture. This was often accompanied with feelings. There was both, the feeling of fear of the unknown and curiosness in the exotic.&lt;br /&gt;
&lt;br /&gt;
==Liu Ou 刘欧==&lt;br /&gt;
You may categorize civilizations into so-called “high civilizations” and “low civilizations”, into “developed” and “underdeveloped” cultures. This was an ethnocentric approach in the age of cultural relativism. Today in the age of post-growth economy and after tragic experiences of colonialization and missionization, we know that each culture is equal and cannot be ranked to be higher or lower, of more or less value than the other.&lt;br /&gt;
&lt;br /&gt;
==Liu Yangnuo 刘洋诺==&lt;br /&gt;
While very early there were historians collecting knowledge from travel reports or official delegations visiting foreign cultures, in the middle ages handbooks collected the knowledge to describe different cultures. Even the Romans had words for the Chinese (Seres in the North and Sinae in the South) and attributed to Asian-looking people certain characteristics of behaviour, attitudes, value systems, beliefs, morals and character. &lt;br /&gt;
&lt;br /&gt;
==Liu Yi 刘艺==&lt;br /&gt;
The first in-depth analysis of the Chinese culture through Western people came not with the merchants, but with the Jesuits. How few was known about China can be seen from the fact, that only the Jesuits managed to clarify, that the myth of the two empires, Tartary and Kitai/Cathay, in fact both were the same (China). &lt;br /&gt;
&lt;br /&gt;
==Liu Yiyu 刘怡瑜==&lt;br /&gt;
However, the Jesuit’s approach was still ethnocentric and cultural relativist, because by portraying (like Du Halde) China as a seemingly ideal state suitable for mission work, they contributed to subjective views on China. &lt;br /&gt;
&lt;br /&gt;
Around 1720 presumably the French Jesuit Jean-François Noëlas even translated the Dao de jing into Latin.[	Collani, Claudia von, Harald Holz, Konrad Wegmann eds. Uroffenbarung und Daoismus: jesuitische Missionshermeneutik des Daoismus. Europ. University Press, 2008. [Partial retranslation Chinese-Latin-German.]] &lt;br /&gt;
&lt;br /&gt;
==Liu Zhiwei 刘智伟==&lt;br /&gt;
The translation turns out to deviate from the original in the way that we suddenly find the Christian trinity god in it.&lt;br /&gt;
&lt;br /&gt;
This is the starting point of an ethnocentric tradition to read the self and the own into the other and the alien, instead of respecting the other as a value by itself and allowing it to even challenge the own beliefs. &lt;br /&gt;
&lt;br /&gt;
==Lou Cancan 娄灿灿==&lt;br /&gt;
Even the German Christian missionary and sinologist Richard Wilhelm used a Christian language (belief, heavens’ doors, life after death etc.) in his influential 1919 Taoteking translation and in 1925 he translated “god” into the Analects of Confucius.&lt;br /&gt;
&lt;br /&gt;
The missionaries baptized the seemingly “backward” aborigines in several continents, sometimes supported by the sword.&lt;br /&gt;
&lt;br /&gt;
==Luo Weijia 罗维嘉==&lt;br /&gt;
A lot of cultures, considered less “developed”, were heavily influenced or even destroyed and extinguished. Earlier, the “Warriors of the Cross” even fought wars and devastated complete regions.&lt;br /&gt;
&lt;br /&gt;
The other aspect, the exotization of the other was expressed by the way the first Chinese people who came to Europe were received: They were passed on at tea meetings and gazed at like animals.&lt;br /&gt;
&lt;br /&gt;
==Luo Yuqing 罗雨晴==&lt;br /&gt;
Soon Chinese goods became the symbol of the exotic. Chinese porcellain and nick-nacks, even Chinese-style buildings were recreated in Europe. The fever-like admiration of a China image, which certainly was not the true China, is called Chinoiserie. The Chinoiserie even involved European philosophers like Voltaire and Leibniz, who compared China to an ideal country without religion and still moral values, represented by a wise emperor. &lt;br /&gt;
&lt;br /&gt;
==Ma Juan 马娟==&lt;br /&gt;
In Europe, the first experts on Chinese culture were entrusted with the task to explain the Chinese culture no longer from the ethnocentric viewpoint, but from a scientific one: Professorships at universities were established. Their early translations show traces of admiration of the exotic. Chinoiserie was also countered by Européerie in China. &lt;br /&gt;
&lt;br /&gt;
==Ma Shuya 马淑雅==&lt;br /&gt;
However, this phase did only last as long as it fit to European politics. As soon as the import of colonial goods (and resources) became an economic factor, the (wrong) image of the ideal China changed into a negative one (similarly wrong). Not only mission and belief were motifs to look down on the Chinese culture, but also the comparison of economic development and living standards. &lt;br /&gt;
&lt;br /&gt;
==Ma Zhixing 马智星==&lt;br /&gt;
Hegel continued the ethnocentric view on China with his ranking of cultures. Although Confucius already had developed a “Golden Rule” principle comparable to Kant’s “Categorical Imperative”, Hegel declared Chinese philosophy as inferior to European philosophy, and even saw a geographical step by step development from Confucius over Buddha, Zarathustra, the ancient Greek and the Roman philosophy, leading to the European philosophy.&lt;br /&gt;
&lt;br /&gt;
==Meng Ying 孟莹==&lt;br /&gt;
A ladder only second by the Arab philosophy. At the turn from the 19th to the 20th century, China was suddenly considered as static, as “the sick man of Asia”. Actually semi-colonialism in China helped to hinder development there. &lt;br /&gt;
&lt;br /&gt;
Rereading the reviews of Chinese literature in contemporary Western journals, it is astonishing, how disrespectful even men of letters treated Chinese literature, even during a time, when it was not yet available in translation, so that it is save to say that ethnocentric attitude prevailed over knowledge.&lt;br /&gt;
&lt;br /&gt;
==Mo Ling 莫玲==&lt;br /&gt;
This can be proven by the many mistakes you can find in the reviews (Morrison: the book was of low literary quality, but written in Peking dialect and therefore useful as language learning material; Gützlaff: the protagonist Baoyu is a petulant woman; Giles: the words “Red Chamber Dreams do not appear in the book” etc.).&lt;br /&gt;
&lt;br /&gt;
错误百出的评论可以证明这一点（马礼逊：这本书没什么文采，但由于它是用北京方言所写，因而可以作为语言学习材料；居茨拉夫：主角宝玉真是一个爱耍小性子的女人；贾尔斯：“红楼梦没有在书中出现过”等等。）。--[[User:Mo Ling|Mo Ling]] ([[User talk:Mo Ling|talk]]) 14:17, 18 November 2020 (UTC)Mo Ling&lt;br /&gt;
&lt;br /&gt;
==Mo Nan 莫南==&lt;br /&gt;
Also, the tradition of the title translation as “Dream of the Red Chamber” can be traced back to the origins of the better translation as “Red Chamber Dreams”, sacrificed by Francis Davis finally in favor of the powerful tool of Morrison’s dictionary calling it “Dream of the Red Chamber”.&lt;br /&gt;
&lt;br /&gt;
==Nie Xiaolou 聂晓楼==&lt;br /&gt;
Here, the exotic was used to make fun of China. Barrow introduces an excerpt, describing the outward appearance of Baoyu and Xifeng, translated by Francis Davis into English, explicitely for the reason to “amuse the beaux and belles”. Francis Davis himself picks two poems from the novel for translation, but not for its own sake, but to use them as a proof for his own (minority) opinion that the Chinese poetry knew a certain, “descriptive” function of poems in novels. &lt;br /&gt;
&lt;br /&gt;
==Ou Rong 欧蓉==&lt;br /&gt;
In 1815 Macao Reverend Robert Morrison (1782-1834) coined the Western translation of the novel’s title by mentioning it in his Dictionary of the Chinese Language as “dreams of the red chamber.”[	He explained the character “妙” as in the novel’s character “妙玉 Meaou yǔh [Miao Yu]” as “the admirable gem, name of one of the female characters in the novel called 紅樓夢 the dreams of the red chamber”, see Robert Morrison: A Dictionary of the Chinese language in three parts, Macao: East India Company Press 1815, vol. I., 930 pp., here p. 614, left column. 24 years after the print edition was published, this is the first mention and translation of the novel’s title into a Western language known so far. If no earlier occurrence is found it means that Morrison created a translation which has lasted until today almost unchanged.] He chose the plural, which was quite reasonable as there are many dreams in the novel. It appears that 27 years later the plural “dreams” was turned into the singular “dream,” which sounds a bit more general and is therefore also a reasonable translation. &lt;br /&gt;
&lt;br /&gt;
==Ouyang Jinglan 欧阳静兰==&lt;br /&gt;
''Red Chamber Dreams'' is the most common translation in English and, in its variations, in all Western languages so far.&lt;br /&gt;
&lt;br /&gt;
In 1817 Rev. Robert Morrison published a book for studying Chinese,[	Robert Morrison, A view of China for philological purposes: containing a sketch of Chinese Chronology, Geography, Government, Religion &amp;amp; Customs, designed for the use of persons who study the Chinese language, Macao: East Asia Company Press, 1817, 141 S., hier S. 120-121.] in which he recommended “''Dreams of the Red Chamber''” as beginner readings, together with the novel Hao qiu zhuan, which was available mostly in English and partly in Portuguese by 1719, and fully in English by 1761. Both were written in colloquial style.&lt;br /&gt;
&lt;br /&gt;
==Ouyang Ling 欧阳玲==&lt;br /&gt;
Morrison claims that ''Dream'' was written in Peking dialect. This does not hold true, since the author’s family Cao came from the South and many people in the novel have Nanking dialect sprinkles. In fact, the highly artful and intentional switch of dialects and sociolects contributed to the later fame of the novel. Morrison’s mistake developed its own tradition.[	Even in 1995, you could read that the ''Dreams'' is written in Peking dialect, cf. Shu Changshan, Die Rezeption Thomas Manns in China, 1995, Frankfurt: Lang, 326 pp. At least Tong Yao, Die Vielfältigkeit der Literatur, 2006 mentions both Peking and Nanking dialects.]&lt;br /&gt;
&lt;br /&gt;
马礼逊称《红楼梦》是用北京方言写的，但他的说法并不属实，因为书的作者曹雪芹其实是南方人，书中很多角色有时候还会说南京方言。实际上，书中地方方言和社会方言的切换十分巧妙，也是作者有意而为之，这也是此作品之后享有盛名的原因之一。马礼逊的这一错误还持续了很长一段时间。[ 甚至到了1995年仍有人说《红楼梦》是用北京方言写成。]--[[User:Ouyang Ling|Ouyang Ling]] ([[User talk:Ouyang Ling|talk]]) 11:07, 18 November 2020 (UTC)Ouyang Ling&lt;br /&gt;
&lt;br /&gt;
马礼逊认为，《红楼梦》是用北京方言写的，但他的说法并不属实，《红楼梦》的作者曹雪芹其实是南方人，书中很多角色在某些场合甚至还会说南京方言。实际上，书中地方方言和社会方言的切换十分巧妙，这是作者有意而为之，也是《红楼梦》在后来享有盛名的原因之一。马礼逊的这一错误还持续了很长一段时间。[ 甚至到了1995年时，仍有人认为《红楼梦》是用北京方言写成。]--[[User:Guo Lu|Guo Lu]] ([[User talk:Guo Lu|talk]]) 02:22, 19 November 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
==Peng Dan 彭丹==&lt;br /&gt;
Barrow mentioned the title “[...] a Chinese novel called Hung-low-Mung, or, The Red Chamber Dreams” on June 4, 1819, in the Quarterly Review. He inserted this （导言）reference into a review[	My own findings, so far not discussed in 20th century hongxue, and published first in October 2010. John Barrow, “Art. IV Narrative of a Journey in the Interior of China, and of a Voyage to and from that Country, in the Years 1816 and 1817; containing an Account of the most interesting Transactions of Lord Amherst's Embassy to the Court of Pekin, and Observations on the Countries which it visited. By Clarke Abel F.L.S. London 1818”, in: William Gifford ed., Quarterly Review 21:41 (January 1819) S. 67-91, hier S. 79-80. This edition appeared (only by) June 4, 1819 with 13,000 copies. The author follows here the argumentation of the assignment to the author Barrow due to the following indications: “Gentleman's Magazine (Mar. 1844), 246-47. The article's author refers to #415 and #438 (including a specific reference), both of which are on the same topic and are by Barrow. Cf. also the discussion of infanticide (p.76) and Raffles's account of Java reviewed by Barrow in #422. In his Q[uarterly] R[eview] articles, it was Barrow's signature practice to refer to his own works,  see  “Quarterly Review Archive” http:// www.rc.umd.edu/reference/qr/index/41.html, last visited Dec 5, 2010.] of Clarke Abel’s report of a journey through China.[	Clarke Abel, Narrative of a Journey in the Interior of China, and of a Voyage to and from that Country, in the Years 1816 and 1817; containing an Account of the most interesting Transactions of Lord Amherst's Embassy to the Court of Pekin, and Observations on the Countries which it visited, F.L.S. London 1818.] He interrupted his review with an excursus on the uniform appearance and static nature of the Chinese, in line with the contemporary China-bashing of Herder and Hegel. &lt;br /&gt;
&lt;br /&gt;
==Peng Juan 彭娟==&lt;br /&gt;
For contemporary Europeans, the Chinese appeared abnormally uniform and simple in their clothes and appearance. They would not be subordinated to the tyranny of fashion; their culture was static. In order to entertain the “belles and beaux of Great Britain,” Barrow provides a foil to this general impression by quoting the descriptions of the garments and anatomy of two characters, Wang Xifeng and Jia Baoyu, from chapter 3 of J. Davis’ translation of Dream. &lt;br /&gt;
&lt;br /&gt;
==Peng Ruihong 彭锐宏==&lt;br /&gt;
In fact the graphic comparisons given in these descriptions were simply strange to Europeans of that time, since they apparently did not correspond to the European’s own ideal of beauty.&lt;br /&gt;
&lt;br /&gt;
Even in 1842 Gützlaff criticized: “the author [makes] many protestations of his inability to do justice to the subject, which indeed is the only truth in the book […] the style is without any art […] whosoever wishes to familiarize himself with the manner of speaking the northern court dialect, may peruse this work with advantage”[	“Amongst the novels of the Chinese, this work holds a decidedly high rank. The author, after making many protestations of his inability to do justice to the subject, which indeed is the only truth in the book […] Having brought this tedious story to a conclusion, in expressing our opinion about the literary merits of the performance, we may say that the style is without any art, being literally the spoken language of the higher classes in the northern provinces. Some words that are used in a sense different from that in ordinary writings, and others are formed for the occasion, to express provincial sounds. But after reading one volume the sense is easily understood, and whosoever wishes to familiarize himself with the manner of speaking the northern court dialect, may peruse this work with advantage.” ibid., p. 273.]&lt;br /&gt;
&lt;br /&gt;
==Peng Xiaoling 彭小玲==&lt;br /&gt;
In 1867, 78 years after the first Chinese printed edition, we find a first real in-depth review of two pages by William Frederick Mayers:[	William Frederick Mayers, in: Notes and Queries (Dec 31, 1867) pp. 167-168, here p. 167. Mayers was Chinese secretary of the British Legation at Peking. He gives also short extracts in translation: 	&lt;br /&gt;
“Vast as is Heaven above or Earth below –	&lt;br /&gt;
Sighs may such limits fill for passion vainly past	&lt;br /&gt;
Grieve for the senseless youth, the hapless maiden’s woe !	&lt;br /&gt;
Not oft is love’s light pledge redeem’ed at last ! ” (p. 167) […]	&lt;br /&gt;
Vain to be soft in temper, mild in ways,	&lt;br /&gt;
Fair as the fairest … (p. 168)	&lt;br /&gt;
[…]	&lt;br /&gt;
Not often shines	&lt;br /&gt;
thy longings too are vain ! ” (p. 168)].]&lt;br /&gt;
&lt;br /&gt;
“If it be lawful to avow a feeling approaching to enthusiasm for any Chinese production, The Hung Low Mêng 紅樓夢 or ‘Dreams of the Red Chamber’ is beyond possibility of cavil the work for which genuine admiration may be expressed.&lt;br /&gt;
&lt;br /&gt;
1867年，即第一本中文印刷版出版78年之后，我们对梅辉立的两页进行了首次真正的深入回顾：[梅辉立，在：中日释疑（1867年12月31日）,第167-168页，此处第167页。梅辉立曾担任英国使馆驻北京的中国秘书。他还给出了一些翻译中的简要摘录：&lt;br /&gt;
“天堂之上或地狱之下都很广阔–&lt;br /&gt;
叹息可能会限制过去的激情&lt;br /&gt;
为无知的青年，不幸的少女而悲伤！&lt;br /&gt;
最后，爱的誓言不是经常被兑现的！ ”（第167页）[…]&lt;br /&gt;
不会脾气柔和，方式温和，&lt;br /&gt;
公平为最公平…（第168页）&lt;br /&gt;
[…]&lt;br /&gt;
不常发光&lt;br /&gt;
你的渴望也是徒劳的！ ” (第168页)].]&lt;br /&gt;
&lt;br /&gt;
“如果公然宣称对任一中国作品充满热情的感觉是合法的，那么要对红楼梦或‘Dreams of the Red Chamber’的无端指摘表示真正的钦佩是不可能的。--[[User:Peng Xiaoling|Peng Xiaoling]] ([[User talk:Peng Xiaoling|talk]]) 13:37, 19 November 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
==Peng Yongliang 彭永亮==&lt;br /&gt;
What, in English literature, the writings of Thackeray and Bulwer are in comparison with the wearisome and unskilful productions of previous generations, such is the Hung Low Mêng when compared with the works of fiction that have emanated from other Chinese authors. &lt;br /&gt;
&lt;br /&gt;
==Peng Yuzhi 彭育志==&lt;br /&gt;
Human character in its complex variety of shades, the intricacies of family relations, the force of passion and the torture of disappointed yearnings after love are pourtrayed with a degree of skill and knowledge such as in truth suggests a resemblance with the two great master-spirits of English romance; &lt;br /&gt;
&lt;br /&gt;
==Qi Kai 漆凯==&lt;br /&gt;
whilst, as in Nature's own drama of existence, the reflections of storm and sunshine are closely interlaced, and the lighter thread of comedy runs side by side with the dark main-strand of a story which opens with the omens of sorrow and is conducted to a tearful end.&lt;br /&gt;
&lt;br /&gt;
==Qu Miao 瞿淼==&lt;br /&gt;
If, at the same time, a faint – a very faint – tinge of the supernatural is allowed to show itself in the conception of the tale, this is not only in full accord with the inclinations of the people for whom the work is written, but is also far less obtrusive than the similar element which pervades more than one of our own most celebrated fictions. […]”&lt;br /&gt;
&lt;br /&gt;
==Quan Meixin 全美欣==&lt;br /&gt;
Reading through almost 80 years of reviews, during which more and more chapters of the novel became available, the ethnocentric attitude gradually changes to the scientific one and finally, with Mayr’s review of 1867 to a dialectic one, not only admitting that the Chinese novel was a piece of world literature, but even leaving open the possibility that it surpassed literary achievements of the own culture.&lt;br /&gt;
&lt;br /&gt;
==Sagara Seydou ==&lt;br /&gt;
This process certainly has been brought to a good end with the establishment of further diversified Chinese Studies in Europe and the USA, with the role of overseas Chinese at American universities, with further translations especially through Franz Kuhn in the 1930s and with the establishment of the German China Association in the 1950s. &lt;br /&gt;
&lt;br /&gt;
==Shi Diwen 石迪文==&lt;br /&gt;
&lt;br /&gt;
During its 60 years of history, the German China Association (next to the developing chairs of Chinese Studies at universities and next to other organizations dealing with China like friendship associations and Confucius Institutes) has helped to overcome prejudices, cultural relativism with diversity and tolerance. This is especially challenging, because the cultures and languages are quite distant and German media and internet community tends to bash China.&lt;br /&gt;
&lt;br /&gt;
During the last 20 years, the German China Association was shaped through its prolific president, Gregor Paul, who has shaped the prestige of the Association with his sharp and precise analysis of a common logic in China and the West as well as universal values, including human rights, worth to strive for both in the West and in China. &lt;br /&gt;
&lt;br /&gt;
==Shi Haiyao 石海瑶==&lt;br /&gt;
&lt;br /&gt;
His entertaining and informative lectures used a rhethoric often referring to persuasive conventional wisdom, e.g. that differences often come from different opinions instead of a difference of the nature of the things, as can be seen from a quarrel with his wife about what both remembered had happened the day before. Paul is a consequent logician and a real universalist and he has added to Germany’s international reputation as “the land of poets and thinkers”.&lt;br /&gt;
&lt;br /&gt;
The process of doing more justice to China today culminates in the cooperation between Chinese and Western scholars at international conferences, in research projects or international book projects like “A Harvard Literary History of Modern China”.&lt;br /&gt;
&lt;br /&gt;
==Si Yu 司妤==&lt;br /&gt;
&lt;br /&gt;
Europeans (and later US-Americans) have made a contribution to Chinese Studies in general. They were influenced heavily by the idealizers (Jesuits, European philosophers of the enlightenment) and by China-bashers (Hegel, the German emperor...). It took 100 years for a Chinese piece of world literature to be recognized as such in Europe. But today, Chinese literature and culture is recognized with the Nobel Prize and Confucius Institutes do successful work in the whole work promoting and exporting Chinese culture abroad.&lt;br /&gt;
&lt;br /&gt;
However, we should not overestimate the European contribution. There are still examples of ethnocentrism, even of religiously motivated reading of things into Chinese literature. One of these examples is the 10 volume ''History of Chinese Literature'' published in Bonn. &lt;br /&gt;
&lt;br /&gt;
==Song Jianru 宋建茹==&lt;br /&gt;
&lt;br /&gt;
In two volumes, the one about the origins of Chinese literature and the one on Chinese poetry, a German sinologist, who formerly was a priest, defines, that the origin of Chinese literature lies in the dialogue of the author with god. This reminds us again of the Jesuit reading of things into Chinese texts, it reminds us of the attempts, to impose your own culture on other seemingly backward cultures, in this case even the try to impose the Western god on the Chinese culture of a time, when China had a totally different understanding of the world and of heaven than that of a Christian god. The emergence of Chinese literature comes from songs, speeches and paintings, from the wish to document events, family etc., but not from an encounter with god.&lt;br /&gt;
&lt;br /&gt;
其中的两卷，一卷关于中国文学的起源，另一卷关于中国的诗歌。有位曾担任过牧师的德国汉学家认为，中国文学源于作家与上帝的对话。这让我们再次想起耶稣会教士对中文文本的解读，他们试图将其自身文化强加到其他看似落后的文化上。在这本书中，这位汉学家甚至试图把西方的上帝强加到某一时期的中国文化上，尽管中国对世界和天堂的理解与西方完全不同。其实，中国文学兴于诗歌、演讲和绘画，把美好愿景和文献记载世代相传，而非源自与上帝的邂逅。--[[User:Song Jianru|Song Jianru]] ([[User talk:Song Jianru|talk]]) 13:20, 19 November 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
==Su Lin  苏琳==&lt;br /&gt;
&lt;br /&gt;
The same German sinologist retranslated the Analects, attributed to Confucius, and translated some of the more than 50 occurrences of “heaven” or “demon/ghost” with the term “god”.  &lt;br /&gt;
&lt;br /&gt;
Experts on Confucius also quote the few passages, where Confucius addresses the question of the supranatural like ghosts etc. and analyze that Confucius may have been at best not interested or even negative about the belief in ghosts, while he was positive about the social stability and peace rituals brought for the people.&lt;br /&gt;
&lt;br /&gt;
This reminds us of the fact, that it is to us to make sure that ethnocentrism is still existing today and that science is a field that needs to be aware of and cautious about it. And it needs courage to speak out against it.&lt;br /&gt;
&lt;br /&gt;
==Tan Xingyue 谭星越==&lt;br /&gt;
&lt;br /&gt;
“We were wrong” – Coming to terms &lt;br /&gt;
with failed master narratives of Chinese Studies&lt;br /&gt;
“我们错了”——汉学应对主流叙事传统&lt;br /&gt;
&lt;br /&gt;
Martin Woesler 吴漠汀&lt;br /&gt;
&lt;br /&gt;
Abstract&lt;br /&gt;
摘要&lt;br /&gt;
&lt;br /&gt;
We, the international scholars of Chinese Studies, apologize for two main misinterpretations of China. 1. The master narrative of Jesuits and others who tried to proof the Western Christian god in ancient Chinese texts. As a tool, they used a distortion of the Chinese texts by manipulated translation. &lt;br /&gt;
&lt;br /&gt;
我们是中国研究的国际学者，对中国的两个主要误解道歉。 1.耶稣会士和其他人在古代中国文本中试图证明西方基督教之神的主要叙事。作为一种工具，他们通过操纵翻译来歪曲中文文本。&lt;br /&gt;
&lt;br /&gt;
“我们错了”---学会接受错误的汉学主流叙述&lt;br /&gt;
&lt;br /&gt;
吴漠汀&lt;br /&gt;
&lt;br /&gt;
摘要&lt;br /&gt;
&lt;br /&gt;
我们作为汉学的海外学者，要向中国道歉，因为我们在两个方面误读了中国。1. 耶稣会教士和其他人的主流叙事试图证明古代中国作品存在西方的基督教上帝。他们通过操纵翻译来歪解中国作品。--[[User:Song Jianru|Song Jianru]] ([[User talk:Song Jianru|talk]]) 14:36, 19 November 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
==Tan Xinjie 谭鑫洁==&lt;br /&gt;
&lt;br /&gt;
2. The master narrative of the stagnation of China, sometimes claimed to be inherent and systemic, often reasoned with Confucianism. This narrative was a dogma for 150 years between 1830 and 1980. The disruptive economic development since 1978 has proven this narrative wrong, Confucianism is seen as one reason for the economic miracle. &lt;br /&gt;
&lt;br /&gt;
2.关于中国停滞的主要叙述，有时被称为固有的和系统性的，常常用儒家思想来推理。这种叙述是1830年至1980年间150年的教条。自1978年以来的破坏性经济发展证明了这种叙事错误，儒家思想被视为经济奇迹的一个原因。&lt;br /&gt;
&lt;br /&gt;
2.中国停滞的主要叙述有时是内在的、系统的，通常由儒家思想所论证。这种叙述是1830年至1980年间150年的教条。自1978年以来的破坏性经济发展证明了这种叙述是错误的，而儒家思想被视为经济奇迹的原因之一。--[[User:Peng Xiaoling|Peng Xiaoling]] ([[User talk:Peng Xiaoling|talk]]) 01:31, 19 November 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
==Tan Yuanyuan 谭媛媛==&lt;br /&gt;
&lt;br /&gt;
3. The master narrative of the Great Proletarian Cultural Revolution as a successful Communist reform. During the 1970s, Western sinologists abandoned basic principles of neutrality, distance and fact-seeking and, based on propaganda, enthusiastically celebrated the Cultural Revolution and became dedicated followers of Mao Zedong, holding up the Little Red Book.&lt;br /&gt;
&lt;br /&gt;
无产阶级文化大革命的主要叙事是成功的共产主义改革。在20世纪70年代，西方汉学家放弃了中立，距离和事实寻求的基本原则，并在宣传的基础上，热烈地庆祝文化大革命，成为毛泽东的忠实粉丝，举起小红皮书。相信中国宣传的意愿部分是出于将中国理想化为一种模式的愿望，这种模式可以为西方社会的改革指明方向。&lt;br /&gt;
&lt;br /&gt;
主述将无产阶级文化大革命（文革）描述为共产党的一场成功改革。20世纪70年代，西方汉学家放弃了中立、保持距离、实事求是的基本原则，并在宣传的基础上，热衷于庆祝文化大革命，高举小红书，成为毛泽东的忠实追随者。--[[User:Tan Yuanyuan|Tan Yuanyuan]] ([[User talk:Tan Yuanyuan|talk]]) 10:40, 19 November 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
==Tang Bei 汤蓓==&lt;br /&gt;
&lt;br /&gt;
The readiness to believe in the Chinese propaganda was partly motivated by the wish to idealize China into a model which could show the way for a reform of Western societies.&lt;br /&gt;
&lt;br /&gt;
相信中国宣传的意愿部分是出于将中国理想化为一种模式的愿望，这种模式可以为西方社会的改革指明方向。&lt;br /&gt;
&lt;br /&gt;
==Tang Ming 唐铭==&lt;br /&gt;
&lt;br /&gt;
Key words&lt;br /&gt;
&lt;br /&gt;
关键词&lt;br /&gt;
&lt;br /&gt;
Apology, errors, mistakes, manipulation, ethnocentrism, eurocentrism, master narratives, Chinese Studies, sinology, coming to terms with the past&lt;br /&gt;
&lt;br /&gt;
道歉，错误，错误，操纵，种族中心主义，欧洲中心主义，大师叙事，中国研究，汉学，与过去达成协议&lt;br /&gt;
&lt;br /&gt;
==Tang Yiran 汤伊然==&lt;br /&gt;
&lt;br /&gt;
1. God in China上帝在中国&lt;br /&gt;
&lt;br /&gt;
Human beings develop ancestor worship, complemented by natural religions. The natural religions established a layer of shamans who interpreted the will of the natural gods. &lt;br /&gt;
&lt;br /&gt;
人类发展祖先崇拜，辅以自然宗教。自然宗教建立了一套解释自然神灵意志的法则。&lt;br /&gt;
&lt;br /&gt;
==Tao Ye 陶冶==&lt;br /&gt;
&lt;br /&gt;
In India, the layer of priests of the Vedan religion alienated from the people, because the religious texts of Vedan religion brought a conservating effect to language, texts were canonized and finally not understood by ordinary people any more. &lt;br /&gt;
&lt;br /&gt;
在印度，Vedan宗教的神职人员与人民疏远，因为Vedan宗教的宗教文本对语言产生了保护作用，文本被册封，最后不再为普通人所理解。&lt;br /&gt;
&lt;br /&gt;
==Wang Meiling 王美玲==&lt;br /&gt;
&lt;br /&gt;
Finally, only the Vedan priests could understand the Vedan texts any more. This was the start of the so-called “anti-religious” start of Buddishm.&lt;br /&gt;
&lt;br /&gt;
最后，只有Vedan牧师才能理解Vedan文本。这是Buddishm所谓的“反宗教”起源的开始。&lt;br /&gt;
&lt;br /&gt;
==Wang Xuan 王轩==&lt;br /&gt;
&lt;br /&gt;
Due to the alienation of people and the religious texts and its priests, Buddha was able to establish Buddhism. He claimed that every individual was able to find his or her own way to self-perception and spiritual liberation (nirvana). &lt;br /&gt;
&lt;br /&gt;
由于人与宗教文本及其祭司的异化，佛陀能够建立佛教。他声称每个人都能找到自己的自我认知和精神解放的方式（涅槃）。&lt;br /&gt;
&lt;br /&gt;
==Wang Yu 王煜==&lt;br /&gt;
&lt;br /&gt;
Although Buddha did not abandon priests, he established the new tradition that masters would have their disciples and these could overcome their masters. Also, Buddha destroyed the perfectionism of the almighty god by claiming that the life of imperfect men simply was much more interesting. &lt;br /&gt;
&lt;br /&gt;
虽然佛陀没有放弃传教者，但他建立了新的传统，即主人会有他们的门徒，这些人可以推翻他们的主人。此外，佛陀通过声称不完美男人的生活更加有趣，摧毁了全能神的完美主义。&lt;br /&gt;
&lt;br /&gt;
==Wang Yuan 王源==&lt;br /&gt;
&lt;br /&gt;
In China, ancestor worship has kept its dominant role until today. Although there was the age of shamans, since several millenia every family clan had its own tradition of ancestor worship. It was believed that the ancestors in heaven watched over and influenced the lives of their descendants on earth. &lt;br /&gt;
&lt;br /&gt;
在中国，祖先崇拜一直保持其主导地位，直到今天。虽然萨满有年龄，由于几千年来每个家族都有自己的祖先崇拜传统。据信，天上的祖先观看并影响了他们在地球上的后代的生活。&lt;br /&gt;
&lt;br /&gt;
==Wei Honglang 韦洪朗==&lt;br /&gt;
&lt;br /&gt;
So the most important unit were family clans. Even rulers used fire cracks and characters inscribed in turtle shells or cattle bones to communicate with the ancestors and to predict the future. &lt;br /&gt;
&lt;br /&gt;
所以最重要的单位是家族。甚至统治者也使用火龟纹和龟壳或牛骨上的字符来与祖先交流并预测未来。&lt;br /&gt;
&lt;br /&gt;
==Wei Yafei 魏亚菲==&lt;br /&gt;
&lt;br /&gt;
However, when the dynasty changed and a new ethnic group took over, they could not claim the ancestors to be their relatives any more, so the shangdi concept was replaced by heaven (tian) and related understandings like “son of heaven”, “mandate of heaven” etc., supllying them with legitimization of power. &lt;br /&gt;
&lt;br /&gt;
然而，当王朝改变并且一个新的族群接管时，他们不能再宣称祖先是他们的亲戚，所以上帝的概念被天堂（天）和相关的理解所取代，如“天堂之子”，“任务”天国等等，用权力合法化来贬低他们。&lt;br /&gt;
&lt;br /&gt;
==Wen Sixing 文偲荇==&lt;br /&gt;
&lt;br /&gt;
Although there were mythical divine creatures, the understanding of gods was not developed as distinct and authoritative as in Europe and Egypt. Egypt and Europe both further developed from multi theism to mono theism.&lt;br /&gt;
&lt;br /&gt;
虽然有神话般的神圣生物，但对神的理解并没有像欧洲和埃及那样发展出独特和权威。埃及和欧洲都从多神论到单一神论进一步发展。&lt;br /&gt;
&lt;br /&gt;
==Wen Xiaoyi 文晓艺==&lt;br /&gt;
&lt;br /&gt;
Theism established a layer of priests, occupying the role of mediators between god and men. Since every uncontrolled authority abuses its power, these mediators gained earthly wealth and took advantage of their control over people by abuse of their work force and even sexual abuse. &lt;br /&gt;
&lt;br /&gt;
有神论建立了一套祭祀法则，成为了神与人之间调解者的角色。由于每个不受控制的权威都滥用权力，这些调解人获得了人间的财富，并利用他们对工作人员的滥用甚至性虐待来控制他们。&lt;br /&gt;
&lt;br /&gt;
==Wu Kai 吴恺==&lt;br /&gt;
&lt;br /&gt;
In Europe, the power was divided among the rulers and the church, represented by the pope, the cardinals, the bishops and the priests. &lt;br /&gt;
&lt;br /&gt;
在欧洲，权力在统治者和教会之间分配，由教皇，红衣主教，主教和神父代表。&lt;br /&gt;
&lt;br /&gt;
==Wu Qi 吴琪==&lt;br /&gt;
&lt;br /&gt;
Since religion in general claims to be valid for all of menkind, when new territories were discovered in East Asia and Africa, the missionaries tried to enlarge the territorium under their control by forcing locals to accept European religions and societal development models like modernization and economical development. &lt;br /&gt;
&lt;br /&gt;
由于宗教一般声称对所有人都有效，当在东亚和非洲发现新的领土时，传教士试图通过迫使当地人接受欧洲宗教和现代化和经济发展等社会发展模式，来扩大其控制下的领土。&lt;br /&gt;
&lt;br /&gt;
==Wu Qiong 吴琼==&lt;br /&gt;
&lt;br /&gt;
After the first missionaries arrived in China and saw that the exchange was positive for both sides, they also developed a motivation to keep the missionaries alive, which was a second motivation for them. &lt;br /&gt;
&lt;br /&gt;
在第一批传教士抵达中国，并看到双方的交流是积极的之后，他们也发展了一种让传教士活动的动力，这是他们的第二个动机。 &lt;br /&gt;
&lt;br /&gt;
==Wu Xiang 邬香==&lt;br /&gt;
&lt;br /&gt;
Since the Christian religion is a religion revealed in divine texts, the missionaries had a strong motivation to find evidence in the classical Chinese texts that the Christian god also existed there. So among the first texts, they selected, translated and sorted were the canonized texts. A good example is the Daodejing which they translated in a distorted way, allowing them to proof the existence of the Christian god in China.&lt;br /&gt;
&lt;br /&gt;
由于基督教是一种神圣文本中所揭示的宗教，传教士有强烈的动机在中国古典文本中找到证据，证明基督教的神也存在于那里。 因此，在第一批文本中，他们选择、翻译和排序的是册封文本。一个很好的例子就是《道德经》，他们以扭曲的方式翻译，使他们能够证明中国基督教神的存在。&lt;br /&gt;
&lt;br /&gt;
==Wu Yilu 吴一露==&lt;br /&gt;
&lt;br /&gt;
This was the first major mistake, the attitude of Europeans to find evidence of their European god in Chinese roots. This attidtude lead to translation practises abandoning the basic rules of the profession: &lt;br /&gt;
&lt;br /&gt;
这是第一个重大错误，即欧洲人在中国人根源中找到欧洲神的证据的态度。这种原因导致翻译实践放弃了专业的基本规则：&lt;br /&gt;
&lt;br /&gt;
==Wu Zijia 吴子佳==&lt;br /&gt;
&lt;br /&gt;
Terms, concepts and ideas sounding familiar were forcibly changed into the original European meaning. However, the published translations did only show a slight influence of this practise, the main translations, e.g. of the Daodejing first were not published, but discussed internally. &lt;br /&gt;
&lt;br /&gt;
熟悉的术语、概念和想法被强制改变，具有原欧洲意义。但是，已发表的翻译并没有受太大影响，主要翻译，例如最初没有发表的《道德经》，在内部进行了讨论。--[[User:Wu Zijia|Wu Zijia]] ([[User talk:Wu Zijia|talk]]) 03:25, 19 November 2020 (UTC)Wu Zijia&lt;br /&gt;
&lt;br /&gt;
==Xiao Shuangling 肖双玲==&lt;br /&gt;
&lt;br /&gt;
The outcome of the discussion was that the deviations in the translations would have to go too far and ultimately that there was no proof of the Christian god in ancient Chinese texts. &lt;br /&gt;
&lt;br /&gt;
讨论的结果是，翻译中的偏差必须走得太远，最终在中国古代文本中没有基督教之神的证据。&lt;br /&gt;
&lt;br /&gt;
==Xiao Ting 肖婷==&lt;br /&gt;
&lt;br /&gt;
Nonetheless, since then several missionaries, priests (Richard Wilhelm) and sinologists (Wolfgang Kubin) still tend to translate the Chinese concept of “heaven” into concepts familiar to Europeans like “god”. &lt;br /&gt;
&lt;br /&gt;
尽管如此，从那时起，几位传教士，牧师（理查德威廉）和汉学家（顾彬）仍然倾向于将中国的“天堂”概念翻译成欧洲人熟悉的概念，如“上帝”。&lt;br /&gt;
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==Xiao Xi 肖茜==&lt;br /&gt;
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This is wrong and we as sinologists, apologize to the Chinese citizens for this eurocentric approach. We hope to overcome this historical mistake by cooperation with our Chinese colleagues.&lt;br /&gt;
&lt;br /&gt;
这是错误的，我们作为汉学家，为这种以欧洲为中心的方法向中国公民道歉。我们希望通过与中国同事的合作修正这一历史错误。&lt;br /&gt;
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==Xiao Yining 肖伊宁==&lt;br /&gt;
&lt;br /&gt;
All institutionalization develops inertia, the Chinese society was very instituionalized, therefore the Christianization in general failed. However, he secondary aims of the missions, to bring the European understanding of societal development (development of economy, health, education bringing about progress and modernization) were a success.&lt;br /&gt;
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所有制度化都发展了惯性，中国社会非常机构化，因此基督教化总体上失败了。 然而，他的使命的次要目标，使欧洲对社会发展的理解（经济、健康、教育带来进步和现代化）的成功是成功的。&lt;br /&gt;
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==Xie Fan 解帆==&lt;br /&gt;
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The missionaries translated European books of knowledge into Chinese and therefore practically performed a knowledge transfer. Also the learning of foreign languages enhanced.&lt;br /&gt;
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传教士将欧洲知识书籍翻译成中文，因此实际上执行了知识 传递。 外语学习也得到了加强。&lt;br /&gt;
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==Xie Ziyi 谢子熠==&lt;br /&gt;
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During history, the authoritarian rule was replaced by democracies. In China, this was the case with the establishment of the Republic of China in 1912. During history, the power of the church was also restrained with protestant reformism.&lt;br /&gt;
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在历史上，专制统治被民主取代。 在中国，1912年中华民国成立就是这种情况。在历史上，教会的权力也受到新教改良主义的制约。&lt;br /&gt;
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==Xu Jia 徐佳==&lt;br /&gt;
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Religions are more or less tolerant regarding people believing in different religions or regarding atheists. Islam in average is less tolerant the Christianity. &lt;br /&gt;
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宗教对于相信不同宗教或无神论者的人或多或少都是宽容的。平均而言，伊斯兰教对基督教的宽容度较低。&lt;br /&gt;
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==Xu Jing 许晶==&lt;br /&gt;
&lt;br /&gt;
Since two millenia, Europe has been dominated by Christianity and China mostly by ancestor worship, with a huge tolerance towards Buddhism, Daoism and other forms of religious practises. &lt;br /&gt;
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自两千年以来，欧洲一直由基督教和中国主导，主要是祖先崇拜，对佛教、道教和其他形式的宗教活动有着巨大的容忍。&lt;br /&gt;
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==Xu Jing 许静==&lt;br /&gt;
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2. Stagnant China停滞的中国&lt;br /&gt;
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Times when international China watchers (scholars, philosophers) and China experts (merchants, missionaries, members of delegations, scholars) idealized China (Chinoiserie) and when they demonized her (stagnation, Yellow peril) followed each other. &lt;br /&gt;
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国际中国观察家（学者、哲学家）和中国专家（商人、传教士、代表团成员、学者）理想化中国（中国风）以及妖魔化她（停滞、黄祸）的时代相互依存。&lt;br /&gt;
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==Xu Mengdie 徐梦蝶==&lt;br /&gt;
&lt;br /&gt;
Western Sinology has long declared the &amp;quot;stagnation&amp;quot; in China as being “without an alternative” and as “being caused by Confucianism”. However, China showed a disruptive economical development since 1978, which proves this narrative wrong. Now also the Chinese &amp;quot;economic miracle&amp;quot; is explained by the Western sinologists with Confucianism.  &lt;br /&gt;
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西方汉学早就宣称中国的“停滞”是“没有其他选择”和“由儒学引起的”。 然而，自1978年以来，中国显示出飞速的经济发展，证明这种说法是错误的。 现在中国的“经济奇迹”也被西方汉学家用儒学解释了。&lt;br /&gt;
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==Xu Pengfei 许鹏飞==&lt;br /&gt;
&lt;br /&gt;
Now is the time for Western Sinology to admit its historical mistake and to overcome the eurocentric and racist dogma of “stagnation” by diversification. The exchange with Chinese colleagues like here at the congress offers a good opportunity to do so.&lt;br /&gt;
&lt;br /&gt;
现在是西方汉学承认其历史错误、克服多元化“停滞”的欧洲中心和种族主义教条的时候了。在这里与大会上的中国同事交流提供了一个很好的机会。&lt;br /&gt;
&lt;br /&gt;
==Yang Chenting 杨晨婷==&lt;br /&gt;
&lt;br /&gt;
With the overall turn from admiring China to demonizing China, also Hegel started to judge on China as a “stagnant” empire. &lt;br /&gt;
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随着从钦佩中国到妖魔化中国的整体转变，黑格尔也开始判断中国是一个“停滞不前”的帝国。&lt;br /&gt;
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==Yang Hairong 杨海容==&lt;br /&gt;
&lt;br /&gt;
Although he found evidence that Confucius had invented the Golden Rule, he described China as the lowest stage of a stairways to the world Geist# with Berlin at the top. His condemnation of China was taken over by Marx who condemned China too. &lt;br /&gt;
&lt;br /&gt;
尽管他发现了孔子发明黄金法则的证据，但他将中国描述为通往世界精神阶梯的最低阶段，而柏林位居榜首。他对中国的谴责也被谴责中国的马克思所接管。&lt;br /&gt;
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==Yang Hui 阳慧==&lt;br /&gt;
&lt;br /&gt;
There were several narratives establishing a Great Divergence or arguing for little divergences during the early stage of globalization. However, new rediscoveries of ancient Chinese translations of Western books of knowledge and new statistics of sugar consumption (which was for the most time higher in China than in Europe) question these narratives today.&lt;br /&gt;
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在全球化的早期阶段，有几种叙述形成了一种大分歧或争论很少的分歧。 然而，中国古代西方知识翻译的新发现以及食糖消费的新统计数据（这在中国的时间比欧洲最高）在今天质疑这些叙述。&lt;br /&gt;
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==Yang Yi 杨逸==&lt;br /&gt;
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==Yang Yue 杨悦==&lt;br /&gt;
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==Yang Ziling 杨子泠==&lt;br /&gt;
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==Yao Cheng 姚诚==&lt;br /&gt;
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==Yao Jia 姚佳==&lt;br /&gt;
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==Yi Huan 易欢==&lt;br /&gt;
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==Yi Zichu 义子楚==&lt;br /&gt;
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==You Yuting 游雨婷==&lt;br /&gt;
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==Yu Ni 余妮==&lt;br /&gt;
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==Yuan Shiqi 袁诗琦==&lt;br /&gt;
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==Yuan Tianyi 袁天翼==&lt;br /&gt;
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==Yuan Yuchen 袁雨晨==&lt;br /&gt;
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==Zeng Fangyuan 曾芳缘==&lt;br /&gt;
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==Zeng Liang 曾良==&lt;br /&gt;
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==Zeng Xinyuan 曾心媛==&lt;br /&gt;
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==Zeng Yanhu 曾雁湖==&lt;br /&gt;
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==Zhang Hu 张虎==&lt;br /&gt;
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==Zhang Hui 张慧==&lt;br /&gt;
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==Zhang Ling 张玲==&lt;br /&gt;
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==Zhang Peiwen 张佩闻==&lt;br /&gt;
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==Zhang Qi 张琪==&lt;br /&gt;
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==Zhang Weihong 张维虹==&lt;br /&gt;
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==Zhang Xueyi 张雪仪==&lt;br /&gt;
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==Zhang Yinliu 张银柳==&lt;br /&gt;
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==Zhang Yu 张瑜==&lt;br /&gt;
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==Zhang Yujie 张毓婕==&lt;br /&gt;
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==Zhang Yuxing 张宇星==&lt;br /&gt;
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==Zhao Xi 赵茜==&lt;br /&gt;
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==Zhao Xiaoyan 赵晓燕==&lt;br /&gt;
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==Zheng Huajun 郑华君==&lt;br /&gt;
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==Zhou Luoping 周罗平==&lt;br /&gt;
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==Zhou Shiqing 周诗卿==&lt;br /&gt;
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==Zhou Shuyao 周书尧==&lt;br /&gt;
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==Zhou Siqing 周思庆==&lt;br /&gt;
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==Zhou Yiwen 周艺文==&lt;br /&gt;
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==Zhou Yuanqu 周园曲==&lt;br /&gt;
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==Zhou Yujuan 周玉娟==&lt;br /&gt;
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==Zhu Meimei 祝美梅==&lt;br /&gt;
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==Zhu Suyao 朱素瑶==&lt;br /&gt;
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==Zhu Xu 朱旭==&lt;br /&gt;
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==Zou Xinyu 邹鑫雨==&lt;/div&gt;</summary>
		<author><name>Song Jianru</name></author>
	</entry>
	<entry>
		<id>https://bou.de/u/index.php?title=20201123_trans&amp;diff=104869</id>
		<title>20201123 trans</title>
		<link rel="alternate" type="text/html" href="https://bou.de/u/index.php?title=20201123_trans&amp;diff=104869"/>
		<updated>2020-11-19T13:20:26Z</updated>

		<summary type="html">&lt;p&gt;Song Jianru: /* Song Jianru 宋建茹 */&lt;/p&gt;
&lt;hr /&gt;
&lt;div&gt;==Cao Runxin 曹润鑫==&lt;br /&gt;
History of Chinese Studies &lt;br /&gt;
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国际汉学史&lt;br /&gt;
&lt;br /&gt;
Martin Woesler 吳漠汀 (Witten/Herdecke University, Peking Normal University 德國維籐大學，中國北京師範大學)&lt;br /&gt;
&lt;br /&gt;
Abstract: The roots of Chinese Studies lie as early as Chinese people started to reflect on parts of Chinese culture, which was as early as Chinese culture emerged. Especially foreign people defined Chinese culture distinctly in separation of their own culture, like ancient Greek philosophers and early delegations from the Roman Empire.&lt;br /&gt;
==Chang Huiyue 常慧月==&lt;br /&gt;
From the very beginning, Western Scholars of Chinese Studies were closely cooperating with Chinese partners, so that Chinese Studies cannot be limited to Overseas Chinese Studies. Merchants went beyond their trade business and created travel reports and first translations of Chinese literature. Missionaries for the first time studied systematically the Chinese language and culture, translated the Chinese Classics and Four Books into Latin.&lt;br /&gt;
==Chen Han 陈涵==&lt;br /&gt;
Their idealized descriptions of China stimulated the Chinoisérie and the positive reception of China among philosophers of the enlightenment, which saw China as a secular empire. Then, the China-image turned to the worse with Western scholars ascribing China a static nature creating the so-called “Great Divergence”. &lt;br /&gt;
==Chen Hui 陈惠==&lt;br /&gt;
This narrative was challenged in the early 1980s with the start of the Opening and Reform Policy. Finally colleges and professorships were established first in the West and then in China. Today, Chinese Studies in the West and in China are enriching each other and are inseparably connected.&lt;br /&gt;
&lt;br /&gt;
Key Words: Chinese Studies, Sinology, Hanxue, Guoxue, delegations, philosophers, merchants, travel reports, translations, missionaries, enlightenment, Chinoisérie, Great Divergence&lt;br /&gt;
==Chen Jiangning 陈江宁==&lt;br /&gt;
Definition 定義&lt;br /&gt;
&lt;br /&gt;
Chinese Studies, also called Sinology (in German: Sinologie) or China Studies (in German: Chinawissenschaften, Chinakunde), is the academic discipline to study China in its geography, history, society, culture(s), language(s), literature(s) etc. It is mainly divided into the study of ancient and premodern China and of modern and contemporary China.&lt;br /&gt;
==Chen Jiaxin 陈佳欣==&lt;br /&gt;
In the Chinese language, internationally the term “Hanxue” is used (first used in Japan as kangaku漢學/汉学, parallely to the term “Hanyu” 漢語/汉语 for Chinese). The term is not meant discriminative against non-Han minorities, since we have terms like “Hanyu” or “Germanic Studies” (the Germans were an ethnic tribe of many in todays Deutschland). In Chinese, domestically more often the terms “guoxue” 國學/国学 or “Zhongguo xue” 中國學 etc. are used. &lt;br /&gt;
==Chen Jingjing 陈静静==&lt;br /&gt;
There is a trend to divide Chinese Studies in sub disciplines dealing with traditional or modern China, while the term “Sinology” is more often applied to the traditional part. In quantity, scholars dealing with traditional China become less and those dealing with modern or contemporary China more. Of course, there are other exotic terms for phenomena related to China or Chinese people, like the term “Tang People Street” 唐人街 for Chinatowns. &lt;br /&gt;
==Chen Sha 陈莎==&lt;br /&gt;
Some Chinese scholars interpret the term “Hanxue” as reserved for the study of China by foreigners, implying often that the real “guoxue” could only be conducted by Chinese scholars, arguing you need to grow up in China in order to understand it. However, confronted with the case of overseas Chinese scholars or Western scholars growing up and working in China, the limitation of this racist distinction becomes obvious. &lt;br /&gt;
==Chen Sunfu 谌孙福==&lt;br /&gt;
Although in history we have rare examples of foreigners who were able to study China without Chinese partners (starting with language teachers) or without visiting the country, and Chinese Studies today often is conducted by mixed teams of domestic and foreign scholars.&lt;br /&gt;
==Chen Yongxiang 陈永相==&lt;br /&gt;
The discipline itself, as established at universities, had a natural focus on language and literature (philology). Today, we have a broad range of sub disciplines like Chinese literature [epigraphy], language, culture, philosophy/ethics/aesthetics, history, political science, sociology, economy) 中国文学[金石学]，语言，文化，哲学、伦理学、美学、历史、政治学、社会学、经济学&lt;br /&gt;
==Cheng Yusi  成于思==&lt;br /&gt;
Emergence&lt;br /&gt;
Although the first university professorships as we know them today were established only in the 1814, we find the origins of Chinese Studies in early descriptions of China by philosophers. That the empires knew early about each other is proven by delegations, exchanged even two thousand years ago between the Roman Empire and China.&lt;br /&gt;
==Deng Jinxia 邓锦霞==&lt;br /&gt;
Later we have records and first translations of travelling merchants (Marco Polo lived in the 13th century and travelled on land and by ship) and then by missionaries (starting with the 16th century). Later we have western philosophers (like Leibniz) and reports in journals dedicated to China.&lt;br /&gt;
==Ding Daifeng 丁代凤==&lt;br /&gt;
The first scholarly view on China had the Christian missionaries, who studied Chinese language and culture in China. Therefore, the first translations of Chinese classics were done into Latin. The term “sinology” since the Latin term “sina” for China seems to point to the Qin Dynastie since 221 BCE. The main purpose of the missionaries was to baptize and therefore they also translated the bible into Chinese and reported on the so far mostly unknown China to Europe, reports which met a huge interest and demand in Europe.&lt;br /&gt;
==Fang Jieling 方洁玲==&lt;br /&gt;
Resources 资源&lt;br /&gt;
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There are a lot of national histories of Chinese Studies so far, but no detailed international or global history (see references).&lt;br /&gt;
The Overseas Chinese Studies Center 海外漢學研究中心 at Peking Foreign Language University 北京外語大學 under the leadership of Zhang Xiping張西平 has been renamed in the 2010s to Research Center for the Study of Chinese Culture 中國文化研究中心#. Here a list of works on the History of Sinology:&lt;br /&gt;
==Gan Fengyu 甘奉玉==&lt;br /&gt;
First contacts: Trade (without written documents)&lt;br /&gt;
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Genetic evidence shows that there were trade relations from Mesopotamia to Europe and China as early as 11000 BCE (cows, horses) and 10000 BCE (crops). &lt;br /&gt;
China very early became an export region, as we can trace the genes of animals back to China 10000 BCE (pigs), 8000 BCE (chicken), and of silk cloth 5000 BCE.&lt;br /&gt;
==Gao Mingzhu 高明珠==&lt;br /&gt;
The Emergence of Chinese Studies: Philosophers&lt;br /&gt;
Aristotle (384-322 BC) writes in the 4th century BC: “Those who live in a cold climate and in Europe are full of spirit, but wanting in intelligence and skill; and therefore they retain comparative freedom, but have no political organization, and are incapable of ruling over others. Whereas the natives of Asia are intelligent and inventive, but they are wanting in spirit, and therefore they are always in a state of subjection and slavery.”[ 	Aristoteles: Politeia, Book VII, Part VII, translated by Benjamin Jowett, http://evans-experientialism. freewebspace.com/aristotle_politics07.htm, last visited Dec 5, 2010. In German: „Die Völkerschaften nämlich, welche innerhalb der kalten Gegenden in Europa wohnen, sind zwar voll Muth, aber weniger mit Geist und Kunstfertigkeit begabt. Daher behaupten sie zwar leichter ihre Freiheit, aber sie sind zur Bildung staatsbürgerlicher Gemeinwesen untüchtig [...]. Die Völkerschaften Asiens dagegen sind klugen und kunstfertigen Geistes, aber ohne Muth. Daher leben sie in Unterwürfigkeit und Sklaverei.“, from: Aristoteles: Werke. Griechisch und Deutsch, vol. 6, ed. by Franz Susemihl, Aalen 1978 (Reprint of the edition Leipzig 1879), p. 409.]&lt;br /&gt;
亚里士多德（公元前384年-公元前322年）在公元前4世纪写到：“那些生活在欧洲寒冷气候里的人们，他们充满灵感但是缺乏智慧和技巧；所以虽然他们保留了相对的自由，但却没有政治组织，也没有能力管理其他人。然而，亚洲人聪明而善于发明，但是他们缺乏勇气，所以他们总是顺从和被奴役。” [ 	亚里士多德：《政治学》，第七卷，第七部分，由本杰明·乔伊特翻译，http://evans-experientialism. freewebspace.com/aristotle_politics07.htm，访问日期2010年12月5日。德语原文为： „Die Völkerschaften nämlich, welche innerhalb der kalten Gegenden in Europa wohnen, sind zwar voll Muth, aber weniger mit Geist und Kunstfertigkeit begabt. Daher behaupten sie zwar leichter ihre Freiheit, aber sie sind zur Bildung staatsbürgerlicher Gemeinwesen untüchtig [...]. Die Völkerschaften Asiens dagegen sind klugen und kunstfertigen Geistes, aber ohne Muth. Daher leben sie in Unterwürfigkeit und Sklaverei.“，引自：《亚里士多德作品集-希腊人和德国人》，第六卷，由Franz Susemihl, Aalen在1978年出版（1879年在莱比锡再版），第409页。]&lt;br /&gt;
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==Gong Yumian 龚钰冕==&lt;br /&gt;
The Emergence of Religious Missions with the Study of China as a by-product&lt;br /&gt;
Between 1593-1607 the Spanish Dominican mission in Manila operated a press and produced 4 books on Christian belief. &lt;br /&gt;
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1593-1607西班牙多明我会使团在马尼拉经营的出版社出版了4本基于基督教信仰的书&lt;br /&gt;
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In 1583 the influential Jesuit Matteo Ricci arrived in Canton and spent the rest of his life in China.&lt;br /&gt;
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1583利玛窦（耶稣会会士）抵达广州，在中国度过余生。&lt;br /&gt;
==Gu Dongfang 顾东方==&lt;br /&gt;
Interest by European emperors in the beginning of the 18th century&lt;br /&gt;
In France, the study of China and the Chinese language began with the patronage of Louis XIV. In 1711, he appointed a young Chinese, Arcadio Huang to catalog the royal collection of Chinese texts. Huang was assisted by Étienne Fourmont, who published a Chinese grammar in 1742.&lt;br /&gt;
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在法国，对中国和中国语言的研究始于路易十四的赞助。在1711，他任命了一位年轻的中国人Arcadio Huang对皇家藏书的中文文本进行目录整理。黄的助手艾蒂安Fourmont，在1742年发表了一本中国语法书。&lt;br /&gt;
==Guan Qinqing 管钦清==&lt;br /&gt;
In 1732 a missionary priest of the Sacred Congregation &amp;quot;De propaganda fide&amp;quot; from the kingdom of Naples, Matteo Ripa (1692–1746), created in Naples the first Sinology School of the European Continent: the &amp;quot;Chinese Institute&amp;quot;, the first nucleus of what would become today's Università degli studi di Napoli L'Orientale, or Naples Eastern University. Ripa had worked as a painter and copper-engraver at the imperial court of the Kangxi Emperor between 1711 and 1723. Ripa returned to Naples from China with four young Chinese Christians, all teachers of their native language and formed the Institute sanctioned by Pope Clement XII to teach Chinese to missionaries and thus advance the propagation of Christianity in China.&lt;br /&gt;
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1732年，来自那不勒斯的传布信仰圣部的传教牧师Matteo Ripa马国贤（1692–1746），在那不勒斯创建了欧洲大陆的第一个汉学学校：“中国学院”，它后来成为了今天的那不勒斯东方大学。马国贤曾在1711和1723之间担任康熙皇帝的宫廷画家和雕刻师。马国贤从中国回到那不勒斯时，带回了四个年轻的中国基督徒。他们都是汉语教师，组建了学院，在教皇克莱门特十二世的批准下向牧师们教授中文，从而推进了基督教在中国的传播。&lt;br /&gt;
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==Gui Yizhi 桂一枝==&lt;br /&gt;
Chinoiserie&lt;br /&gt;
&lt;br /&gt;
Chinese objects of art as symbols of Chinese cultural tradition early spread to Europe, reaching the peak in the 18th century during the period of Chinoisérie“中国风”. Fascinated Collectors saved several artefacts for following generations. Their selection criteria allow to approach the guiding aesthetic principles behind their fascination. European imitations of these artefacts show in their similarities and differences to the originals and to the own cultural traditions the principles they followed to catch the reason for the experienced exoticism during the consumption of the cultural goods. Imitated imitated Chinese-style architecture, imitated Chinese paintings and imitated characters in paintings, tattoos and design, reveal what principles Westerners believed to guide Chinese traditional art.&lt;br /&gt;
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作为中国传统文化象征的中国艺术品很早就传播到了欧洲，在“中国风”时期达到了顶峰。对此十分着迷的收藏家们为后人保存了几件文物。他们的选择标准很接近他们所欣赏的指导性美学原则。欧洲的工艺模仿品表明了他们自己的文化传统和原型的相似性和差异性，他们遵循的原则符合在文化商品的消费过程中对异国情调的体验。在绘画、纹身和设计方面的模仿特点、模仿中国风格的建筑和仿作的中国画，揭示了西方人眼里的中国传统艺术的指导原则。&lt;br /&gt;
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==Guo Lu 郭露==&lt;br /&gt;
Europe: Enlightened Philosophers end of the 18th century 欧洲：第18世紀末的启蒙哲学家&lt;br /&gt;
&lt;br /&gt;
During the enlightenment process in Europe, philosophers in their search for a vision of a world without religious control, discovered China and wanted to understand it as a secular ideal alternative to Europe. (Leibniz: Novissima Sinica, The Orphan of Zhao, Voltaire: wrote play “L'orphelin de la Chine” portrait of Confucius, Giambattista Vico.&lt;br /&gt;
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启蒙哲学家在欧洲汉学（莱布尼茨：《中国近事》，伏尔泰：《赵氏孤儿》、孔子肖像，维柯。&lt;br /&gt;
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1789-… Enlightened philosophers: Saw China as an enlightened kingdom with ethics instead of church and religion&lt;br /&gt;
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1789…启蒙哲学家：看到中国作为一个有伦理的开明王国而不是教会和宗教伦理&lt;br /&gt;
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一个不受宗教控制的世界时&lt;br /&gt;
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在欧洲的启蒙运动中，哲学家们在寻找一个不受宗教控制的世界时，了解到了中国这一国度，并将其视为欧洲脱离世俗的替代品。（莱尼兹：诺威西玛·辛尼卡，《赵氏孤儿》，伏尔泰：写下孔子朱安·巴蒂斯塔·维柯的剧本《中国的左撇子》。--[[User:Guo Lu|Guo Lu]] ([[User talk:Guo Lu|talk]]) 02:18, 19 November 2020 (UTC)&lt;br /&gt;
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一个不受宗教控制的世界时&lt;br /&gt;
在欧洲启蒙运动的进程中，哲学家们在寻找一个不受宗教控制的世界时，发现了中国，并希望可以将其视为欧洲脱离世俗理想替代品。莱尼兹：诺威西玛·辛尼卡，《赵氏孤儿》，伏尔泰：写下孔子朱安·巴蒂斯塔·维柯的剧本《中国的左撇子》 --[[User:Kong Xianghui|Kong Xianghui]] ([[User talk:Kong Xianghui|talk]]) 09:10, 19 November 2020 (UTC)&lt;br /&gt;
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==Han Haiyang 韩海洋==&lt;br /&gt;
Europe: Professorships&lt;br /&gt;
&lt;br /&gt;
The study of Assyriology and Egyptology developed before the serious study of China because of their connections to the Bible; the study of Indology represented a breakthrough in the development of linguistics. Chinese texts, perhaps because they did not have these connections, were the last to be studied in European universities until around 1860 except in France (Zurndorfer, China Bibliography 1999 p. 6, quoted from Wikipedia “Sinology”, August 6, 2018).&lt;br /&gt;
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由于和圣经的紧密联系，亚述学、埃及学的研究在正规的中国研究前发展充分；印度学研究代表了语言学发展的突破口。可能是因为中国文本和它们没有联系，所以直到1860左右，它才成为除了法国外的欧洲大学最后的研究对象。&lt;br /&gt;
==Han Wanzhen 韩宛真==&lt;br /&gt;
The first college to study Chinese was established in Italy. At the Academy in St. Petersburg in Russia, on March 23, 1741, the lecturer 伊拉利昂·罗索欣 started to teach Chinese Studies. He was also part of a mission sent to emperor Kangxi in Qing Dynasty.&lt;br /&gt;
==He Changqi 何长琦==&lt;br /&gt;
On December 11, 1814, the first Professorship of Chinese and Manchu was established at the Collège de France, the sinologist 雷慕莎 Jean-Pierre Abel-Rémusat, who taught himself Chinese, filled the position, becoming the first professor of Chinese in Europe. By then the first Russian Sinologist, Nikita Bichurin, had been living in Beijing for ten years. &lt;br /&gt;
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1814年，研究中国和满族的讲学席位在法国的大学成立。雷慕莎自学了中文，占据了这一位置，成为了欧洲第一个汉学教授。而之后的第一个俄罗斯汉学家尼基塔·比丘林则曾在北京生活了十年。&lt;br /&gt;
==Hu Baihui 胡百辉==&lt;br /&gt;
Abel-Rémusat's counterparts in England and Germany were Samuel Kidd (1797–1843) and Wilhelm Schott (1807–1889) respectively, though the first important secular sinologists in these two countries were James Legge and Hans Georg Conon von der Gabelentz. Scholars like Legge often relied on the work of ethnic Chinese scholars such as Wang Tao (Zurndorfer, China Bibliography 1999 p. 8-14, quoted from Wikipedia “Sinology”, August 6, 2018).&lt;br /&gt;
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雷慕莎的同仁分别有英国的Samuel Kidd（1797–1843）和德国的Wilhelm Schott（1807–1889），虽然在这两个国家头等重要的世俗汉学家是理雅各和加贝伦茨。理雅各等学者常常依靠华人学者如王韬等人的作品。&lt;br /&gt;
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阿贝尔·雷穆萨在英国和德国的同行分别是塞缪尔·基德（Samuel Kidd，1797-1843）和威廉·肖特（Wilhelm Schott，1807-1889），不过这两个国家最早出现的重要世俗汉学家是詹姆斯·莱格和汉斯·格奥尔格·科农·冯·德加布伦茨。像莱格这样的学者经常依赖于像王韬这样的华裔学者的作品。--[[User:Hu Baihui|Hu Baihui]] ([[User talk:Hu Baihui|talk]]) 03:08, 19 November 2020 (UTC)&lt;br /&gt;
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==Hu Huifang 胡慧芳==&lt;br /&gt;
Stanislas Julien served as the Chair of Chinese at the Collège de France for over 40 years, starting his studies with Rémusat and succeeding him in 1833. not only of classical texts but also works of vernacular literature, and for his knowledge of Manchu. Édouard Chavannes succeeded to the position after the death of Marquis d'Hervey-Saint-Denys in 1893. Chavannes pursued broad interests in history as well as language (Zurndorfer, China Bibliography 1999 p. 8-14, quoted from Wikipedia “Sinology”, August 6, 2018).&lt;br /&gt;
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儒莲担任法兰西学院的汉学教授超过40年，他与雷慕莎一起开始他的研究，并在1833年继承了雷慕莎的工作。他以不仅针对古典文学、而且涉猎白话文学作品的翻译工作和和对满族的了解而闻名。沙畹在德理文于1893去世后继承了他的位置，沙畹在历史和语言领域上兴趣广泛。&lt;br /&gt;
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斯塔尼斯拉斯·朱利安（Stanislas Julien）在法兰西学院（Collègede France）担任中文主席40多年，从雷穆萨（Rémusat）开始学习，并于1833年继任。他不仅学习古典文学作品，还学习白话文学作品，并了解满族。 爱德华·沙畹在1893年侯爵·圣赫尔·圣丹尼斯（Marquis d'Hervey-Saint-Denys）去世后继任。沙畹追求历史和语言的广泛利益（Zurndorfer，中国参考书目1999年第8-14页，引自Wikipedia“ Sinology”， 2018年8月6日）。--[[User:Hu Huifang|Hu Huifang]] ([[User talk:Hu Huifang|talk]]) 09:13, 19 November 2020 (UTC)&lt;br /&gt;
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Rulian served as a professor of Sinology at the French Academy for more than 40 years. He started his research with Remusa and inherited Remusa's work in 1833. He is famous for his translation work not only for classical literature, but also for vernacular literary works and his understanding of Manchu. Chavannes  inherited his position after De Liwen died in 1893.  Chavannes has a wide range of interests in history and language. --[[User:Hu Huifang|Hu Huifang]] ([[User talk:Hu Huifang|talk]]) 09:13, 19 November 2020 (UTC)&lt;br /&gt;
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==Hu Jin 胡瑾==&lt;br /&gt;
After the Opium war 1840, the Department of Oriental Studies at Cambridge University and the SOAS/London University were established.&lt;br /&gt;
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In 1875, Leiden University in the Netherlands started and in 1890 the sinologist 考狄 founded the first academic journal by Westerners on China, the Toung Pao 通报.&lt;br /&gt;
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1840年鸦片战争后，剑桥大学东方研究院和英国伦敦大学亚非学院成立。&lt;br /&gt;
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1875年，荷兰莱顿大学成立，1890年，汉学家考狄创办了第一个由西方人撰写的关于中国的学术期刊—《通报》。--[[User:Hu Jin|Hu Jin]] ([[User talk:Hu Jin|talk]]) 13:10, 19 November 2020 (UTC)&lt;br /&gt;
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==Ji Tiantian 纪甜甜==&lt;br /&gt;
In 1912, Richard Wilhelm, who had lived in China for about 30 years, taught at the Friedrich Wilhelm University in Frankfurt and established a Chinese Seminar “中国学社” and together with Beiping’s Furen University the journal华裔学志.&lt;br /&gt;
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At the end of the 19th century, in Sweden the University of Gotheburg established East Asian Language and Culture Seminar, starting with Sven Hedin, who explored Western China, followed by the the Chinese linguist 高本汉.&lt;br /&gt;
==Jiang Fengyi 蒋凤仪==&lt;br /&gt;
The image of China as an essentially Confucian society conveyed by Jesuit scholars dominated Western thought in these times. While some in Europe learned to speak Chinese, most studied written classical Chinese. These scholars were in what is called the “commentarial tradition” through critical annotated translation. &lt;br /&gt;
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在那个时候，中国在西方的形象在本质上是以耶稣会学者传达的儒家社会为主。在欧洲，有些人学学习说中文，大多数人则学写书面文言文。这些学者们通过批判的注释性翻译处在了所谓的“注释传统”。&lt;br /&gt;
==Jiang Hao 姜好==&lt;br /&gt;
This emphasis on translating classical texts inhibited the use of social science methodology or comparing these texts of other traditions. One scholar described this type of sinology as “philological hairsplitting” preoccupied with marginal or curious aspects  (Zurndorfer, China Bibliography 1999 p. 14-15, quoted from Wikipedia “Sinology”, August 6, 2018). Secular scholars gradually came to outnumber missionaries, and in the 20th century sinology slowly gained a substantial presence in Western universities.&lt;br /&gt;
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这种强调翻译经典文本的做法阻碍了社会科学方法论的使用或与其他传统的文本的比较。有学者称这类汉学描述为专注于边缘或好奇方面的“语言学上的吹毛求疵”。世俗学者逐渐多于传教士，并在西方大学为20世纪的汉学慢慢积累了实质性存在。&lt;br /&gt;
==Jiang Qiwei 蒋淇玮==&lt;br /&gt;
Sinology in Germany 德国的汉学&lt;br /&gt;
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Today, in Germany there are about 30 universities and universities of applied sciences with Chinese Studies..&lt;br /&gt;
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Since the beginning of the 19th century, people started to conduct research on China. In 1829–1831, the orientalist Carl Friedrich Neumann bought 12,000 Chinese books in Canton, which he shipped to Munich and which became the foundation of the East Asian Collection of the Bavarian State Library as well as the Berlin State Library. Since 1833 Wilhelm Schott taught Chinese and Chinese philosophy in Berlin. &lt;br /&gt;
==Kang Haoyu 康浩宇==&lt;br /&gt;
Pioneering research on China were the geological-geographical research trips by Ferdinand von Richthofen since the early 1860s. In 1887 the first Chinese language classes and sinological classes started at the Seminar for Oriental languages in Berlin. In 1889, the first German Chair of Sinology was established at the University of Leipzig, the first full professor was Hans Georg Conon von der Gabelentz. In 1912 the 2nd chair was established in Berlin with J. J. M. de Groot and in 1914 at the Colonial Institute in Hamburg with Otto Franke.&lt;br /&gt;
==Kang Lingfeng 康灵凤==&lt;br /&gt;
During colonial times, in which the German Empire held the Chinese colony “Kiautschou”, the interest in Chinese culture grew. The exile of many Chinese scientists in the period of National Socialism harmed the German Sinology sustainably. Since the opening up of the People's Republic of China in the 1980s, Sinology in Germany is no longer among the orchid subjects and new students of Sinology have good job prospects. &lt;br /&gt;
==Kong Xianghui 孔祥慧==&lt;br /&gt;
The change of attitude among early China experts with the example of the early reception of the Red Chamber Dreams&lt;br /&gt;
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The Red Chamber Dreams shortly after publication in 1791 spread fast among the foreigners’ community including Robert Morrison (who incorporated parts of it into his language teaching material and dictionary already by 1813-1815).&lt;br /&gt;
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早期中国专家态度的转变-以早期接受《红楼梦》为例&lt;br /&gt;
《红楼梦》在1791年出版后不久，就在国外迅速传播包括罗伯特·莫里森（Robert Morrison）。罗伯特·莫里森（Robert Morrison）早在1813年至1815年就将其部分内容纳入了他的语言教材和词典中。--[[User:Kong Xianghui|Kong Xianghui]] ([[User talk:Kong Xianghui|talk]]) 08:59, 19 November 2020 (UTC)&lt;br /&gt;
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==Kong Yanan 孔亚楠==&lt;br /&gt;
The novel also was made known in partial translation both in English and French (by John Francis Davis) in Europe in 1819. However, for a few decades, the Western reviews of the book were mostly negative, revealing an ethnocentric approach, valuing Chinese literature below Western literature. &lt;br /&gt;
==Lei Fangyuan 雷方圆==&lt;br /&gt;
It took almost a century to get to know each other better, to change attitudes from ethnocentric to dialectical, to stop exploiting the novel and to come to the insight that Chinese literature with Dream as one of its masterpieces was not only comparable to other world literatures but also could bring value to Western readers (Mayers 1867).&lt;br /&gt;
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经过几乎一个世纪，双方增进了解，并从“民族中心主义”的优越感向辩证思想转变，停止利用小说互相攻击，开始深入了解中国文学，不仅将《红楼梦》这类杰作与其他世界文学相比较，而且，更重要的是将价值观带给西方读者。（梅辉立(Mayers) 1867年）。&lt;br /&gt;
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==Lei Kuangxi 雷旷溪==&lt;br /&gt;
Main Controversies&lt;br /&gt;
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a) The Great Divergence&lt;br /&gt;
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One of the main controversies in Chinese Studies is that for a long time China appeared economically backward (compared to Western European nations). Sociologists (Marx), philosophers (Hegel), economists (Kenneth Pomeranz: The Great Divergence) and sinologists tried to explain this with the static nature of Chinese economy due to Confucianism. &lt;br /&gt;
==Li Haiquan 李海泉==&lt;br /&gt;
Scholars have questioned this: Angus Maddison suggested that China was leading (rotating ranks with India) by GDP from 0 to 1550 so that the current development was a return to old status. Philipp C.C. Huang concentrated on rural developments and argued that only the concentration of production capibilities during the socialist reforms laid the foundation for today’s Chinese economical miracle. Today, sinologists argue that Confucianism is one of the main reasons for the economical miracle.&lt;br /&gt;
==Li Lili 李丽丽==&lt;br /&gt;
“The Chinese have as a general characteristic, a remarkable skill in imitation, which is exercised not merely in daily life, but also in art. They have not yet succeeded in representing the beautiful, as beautiful; for in their painting, perspective and shadow are wanting.&lt;br /&gt;
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“总之，这个民族有种罕见的模仿能力，这不仅体现在他们的日常生活中，也用运到了艺术创作当中。美作为美的事物去展示对于这个民族来说并不成功，因为在绘画中缺少了透视和阴影。&lt;br /&gt;
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中国人有一个总体特征，那就是其超凡脱俗的模仿能力。这不仅体现在他们的日常生活中，也运用到了艺术创作当中。由于其绘画中缺乏透视法和阴影，他们无法淋漓尽致地表现出事物的美。--[[User:Mo Ling|Mo Ling]] ([[User talk:Mo Ling|talk]]) 14:28, 18 November 2020 (UTC)Mo Ling&lt;br /&gt;
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==Li Lingyue 李凌月==&lt;br /&gt;
And although a Chinese painter copies European pictures (as the Chinese do everything else) correctly; although he observes accurately how many scales a carp has; how many indentations there are in the leaves of a tree; what is the form of various trees, and how the branches bend; - the Exalted, the Ideal and Beautiful is not the domain of his art and skill. The Chinese are, on the other hand, too proud to learn anything from Europeans, although they must often recognize their superiority.” &lt;br /&gt;
Hegel, The Philosophy of History (transl. J. Sibree, p. 155)&lt;br /&gt;
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即使中国画家原封不动地模仿欧洲的绘画，如若他知道鲤鱼有多少鳞片……，崇高的、理想的、美的事物也不是他的艺术土壤和擅长之处。” 黑格爾，《历史哲学讲演录》&lt;br /&gt;
==Li Liqin 李丽琴==&lt;br /&gt;
b) Chinese and Western scholarship&lt;br /&gt;
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Traditional Chinese education (focusing on self development and social harmony) differed much from Western scholarship (search for truth and universal human values). Chinese scholars of guoxue often do not recognize Western scholars of Hanxue as their colleagues. Today there are trends to return to Confucian education, teaching and scholarship in China, taking the Hanlin academy as example (see: Hong Kong College).&lt;br /&gt;
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b）中西学问&lt;br /&gt;
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中西方在传统教育方面又很大不同，前者侧重于追求自我发展和社会和谐，后者寻求真理和普世价值观。中国国学学者通常不把西方汉学学者当作同行。如今，儒家教育以及儒学研究在中国如火如荼，以翰林书院为例（见：香港大学）。--[[User:Li Liqin|Li Liqin]] ([[User talk:Li Liqin|talk]]) 07:19, 18 November 2020 (UTC)&lt;br /&gt;
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b）中西学术&lt;br /&gt;
中国传统教育（注重自我发展和社会和谐）与西方学术（追求真理和普遍的人类价值）有很大不同。中国国学学者往往不承认西方汉学学者是他们的同僚。今天，中国教育有向儒学教育回归的趋势，以翰林院为例（参见：香港大学）。--[[User:Hu Baihui|Hu Baihui]] ([[User talk:Hu Baihui|talk]]) 03:17, 19 November 2020 (UTC)&lt;br /&gt;
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==Li Luyi 李璐伊==&lt;br /&gt;
Also Traditional Chinese Medicine has continued to be an alternative to Western medicine, although the general grouping into Yin and Yang has been proven to be arbitrary since objects/organs etc. historically were assigned to Yang for a time and to Yin at other times. However, acupuncture has been recognized by Western medicine to be effective. Western reproach towards Chinese scholarship is that it is not conducted in a free environment.&lt;br /&gt;
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==Li Meng 李梦==&lt;br /&gt;
From Ethnocentrism and Exoticism to Universalism and Dialogue: &lt;br /&gt;
the General Trend of Chinese Studies in the West - &lt;br /&gt;
A Case Study of the Early Western Reception of Red Chamber Dreams&lt;br /&gt;
&lt;br /&gt;
从种族中心主义和异国主义到普遍主义和对话：&lt;br /&gt;
西方中国学之总趋势——以《红楼梦》早期西方接受为例&lt;br /&gt;
&lt;br /&gt;
Martin Woesler &lt;br /&gt;
(Witten/Herdecke University, Peking Normal University, Nanking Normal University)&lt;br /&gt;
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Abstract&lt;br /&gt;
“Chinese Studies” (Sinology, Chinakunde, Études Chinoises etc.) in general from its origins until today sees a main trend from ethnocentrism and exoticism to universalism and dialogue. Undergoing historical periods of Chinoisérie and then China-bashing during imperialist and colonialist times, Chinese Studies at universities and in associations like the German China Association has established a more objective view on China. &lt;br /&gt;
摘要&lt;br /&gt;
“汉学” （又名“国学”、“中国学” 等等）自起源至今，大体上经过这样一条发展主线：从种族中心主义和追求异域风情发展至普世主义和对话机制。在经过中国风(Chinoisérie)时代，到批判和抨击中国（China-bashing）的帝国主义和殖民主义时代之后，汉学在大学和学术协会（如德中协会）里建立了一个对中国更为客观的看法。&lt;br /&gt;
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==Li Yongshan 李泳珊==&lt;br /&gt;
Ethnocentrism is still existing among Western sinologists today and has to be fought. Still, the contemporary trends globalization, digitalization and travel freedom offer the current generation of sinologists so far unseen possibilities of international cooperation, promising extremely fruitful especially between distant cultures like China and the West. &lt;br /&gt;
但是，在当代西方汉学家中间仍然还存在民族中心主义，我们需要为此而抗争。随着全球化、数字化和“出境自由行”这三种当代趋向的出现，新一代汉学家获得了前所未见的国际合作可能，特别像是中西间如此大跨度的文化差异，其国际合作的前景和潜力更是无可估量。&lt;br /&gt;
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==Li Yu 李玉==&lt;br /&gt;
Key words&lt;br /&gt;
Ethnocentrism, Exoticism, Universalism, Chinese Studies, German China Association, universal values, Gregor Paul, cooperation, China and the West&lt;br /&gt;
&lt;br /&gt;
關鍵詞&lt;br /&gt;
宗族中心主義、異國主義、普遍主義、漢學/中國學、德中協會、普遍價值觀、Gregor Paul、合作、中國與西方&lt;br /&gt;
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When we define an academic category like “Chinese Studies”, we pay respect to the fact that the world historically has developed differently in different regions. &lt;br /&gt;
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==Lin Min 林敏==&lt;br /&gt;
Of course the world was far less connected than today, with slow carriers like horses and ships and often bad or risky infrastructure like roads. Therefore it appears on first sight that these regions have developed their culture, their civilization and even first written languages on their own, independently. &lt;br /&gt;
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==Lin Xin 林鑫==&lt;br /&gt;
The oldest evidence of written civilizations, dating back around 3500 years BC, we find in the fertile crescent Mesopotamia with the clay tablets of the Sumerer. A little bit later there is evidence in Ancient Egypt, then in Proto-India and finally also in China. &lt;br /&gt;
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==Ling Zijin 凌子瑾==&lt;br /&gt;
But the more we explore history, the more fascinating evidence comes to light that these seemingly independently developing regions have had more trade relations and exchange of ideas than seems likely bearing in mind mobility: The Silk Road is not only rediscovered and reevaluated historically, but also rebuilt as a political agenda today. We today find early evidence of European civilizations in America and Asia as well as the Chinese civilization also in America and Europe. &lt;br /&gt;
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==Liu Bo 刘博==&lt;br /&gt;
Cultural Science is more influenced by its subject than other sciences, since we are part of it and cannot leave it to examine it. The history of cultural science has developed from the first times of intercultural encounters to today’s life, in which cultures are mixed and people understand each other as being part of different cultures simultaneously.&lt;br /&gt;
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==Liu Jinxingqi 刘金惺琦==&lt;br /&gt;
However, there will always be differentiation between cultures, simply because the trends of integration and separation occur at the same time.&lt;br /&gt;
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When there is different cultures, there is an interest in comparing these. This medal has two sides. As soon as you start to compare, you may value. Cultural encounters happened before there were experts or a whole discipline.&lt;br /&gt;
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==Liu Liu 刘柳==&lt;br /&gt;
So the first comparisons between cultures were ethnocentric: You compared whatever you encountered as “other”, “foreign” or “alien”, to your own culture. This was often accompanied with feelings. There was both, the feeling of fear of the unknown and curiosness in the exotic.&lt;br /&gt;
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==Liu Ou 刘欧==&lt;br /&gt;
You may categorize civilizations into so-called “high civilizations” and “low civilizations”, into “developed” and “underdeveloped” cultures. This was an ethnocentric approach in the age of cultural relativism. Today in the age of post-growth economy and after tragic experiences of colonialization and missionization, we know that each culture is equal and cannot be ranked to be higher or lower, of more or less value than the other.&lt;br /&gt;
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==Liu Yangnuo 刘洋诺==&lt;br /&gt;
While very early there were historians collecting knowledge from travel reports or official delegations visiting foreign cultures, in the middle ages handbooks collected the knowledge to describe different cultures. Even the Romans had words for the Chinese (Seres in the North and Sinae in the South) and attributed to Asian-looking people certain characteristics of behaviour, attitudes, value systems, beliefs, morals and character. &lt;br /&gt;
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==Liu Yi 刘艺==&lt;br /&gt;
The first in-depth analysis of the Chinese culture through Western people came not with the merchants, but with the Jesuits. How few was known about China can be seen from the fact, that only the Jesuits managed to clarify, that the myth of the two empires, Tartary and Kitai/Cathay, in fact both were the same (China). &lt;br /&gt;
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==Liu Yiyu 刘怡瑜==&lt;br /&gt;
However, the Jesuit’s approach was still ethnocentric and cultural relativist, because by portraying (like Du Halde) China as a seemingly ideal state suitable for mission work, they contributed to subjective views on China. &lt;br /&gt;
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Around 1720 presumably the French Jesuit Jean-François Noëlas even translated the Dao de jing into Latin.[	Collani, Claudia von, Harald Holz, Konrad Wegmann eds. Uroffenbarung und Daoismus: jesuitische Missionshermeneutik des Daoismus. Europ. University Press, 2008. [Partial retranslation Chinese-Latin-German.]] &lt;br /&gt;
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==Liu Zhiwei 刘智伟==&lt;br /&gt;
The translation turns out to deviate from the original in the way that we suddenly find the Christian trinity god in it.&lt;br /&gt;
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This is the starting point of an ethnocentric tradition to read the self and the own into the other and the alien, instead of respecting the other as a value by itself and allowing it to even challenge the own beliefs. &lt;br /&gt;
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==Lou Cancan 娄灿灿==&lt;br /&gt;
Even the German Christian missionary and sinologist Richard Wilhelm used a Christian language (belief, heavens’ doors, life after death etc.) in his influential 1919 Taoteking translation and in 1925 he translated “god” into the Analects of Confucius.&lt;br /&gt;
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The missionaries baptized the seemingly “backward” aborigines in several continents, sometimes supported by the sword.&lt;br /&gt;
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==Luo Weijia 罗维嘉==&lt;br /&gt;
A lot of cultures, considered less “developed”, were heavily influenced or even destroyed and extinguished. Earlier, the “Warriors of the Cross” even fought wars and devastated complete regions.&lt;br /&gt;
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The other aspect, the exotization of the other was expressed by the way the first Chinese people who came to Europe were received: They were passed on at tea meetings and gazed at like animals.&lt;br /&gt;
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==Luo Yuqing 罗雨晴==&lt;br /&gt;
Soon Chinese goods became the symbol of the exotic. Chinese porcellain and nick-nacks, even Chinese-style buildings were recreated in Europe. The fever-like admiration of a China image, which certainly was not the true China, is called Chinoiserie. The Chinoiserie even involved European philosophers like Voltaire and Leibniz, who compared China to an ideal country without religion and still moral values, represented by a wise emperor. &lt;br /&gt;
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==Ma Juan 马娟==&lt;br /&gt;
In Europe, the first experts on Chinese culture were entrusted with the task to explain the Chinese culture no longer from the ethnocentric viewpoint, but from a scientific one: Professorships at universities were established. Their early translations show traces of admiration of the exotic. Chinoiserie was also countered by Européerie in China. &lt;br /&gt;
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==Ma Shuya 马淑雅==&lt;br /&gt;
However, this phase did only last as long as it fit to European politics. As soon as the import of colonial goods (and resources) became an economic factor, the (wrong) image of the ideal China changed into a negative one (similarly wrong). Not only mission and belief were motifs to look down on the Chinese culture, but also the comparison of economic development and living standards. &lt;br /&gt;
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==Ma Zhixing 马智星==&lt;br /&gt;
Hegel continued the ethnocentric view on China with his ranking of cultures. Although Confucius already had developed a “Golden Rule” principle comparable to Kant’s “Categorical Imperative”, Hegel declared Chinese philosophy as inferior to European philosophy, and even saw a geographical step by step development from Confucius over Buddha, Zarathustra, the ancient Greek and the Roman philosophy, leading to the European philosophy.&lt;br /&gt;
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==Meng Ying 孟莹==&lt;br /&gt;
A ladder only second by the Arab philosophy. At the turn from the 19th to the 20th century, China was suddenly considered as static, as “the sick man of Asia”. Actually semi-colonialism in China helped to hinder development there. &lt;br /&gt;
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Rereading the reviews of Chinese literature in contemporary Western journals, it is astonishing, how disrespectful even men of letters treated Chinese literature, even during a time, when it was not yet available in translation, so that it is save to say that ethnocentric attitude prevailed over knowledge.&lt;br /&gt;
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==Mo Ling 莫玲==&lt;br /&gt;
This can be proven by the many mistakes you can find in the reviews (Morrison: the book was of low literary quality, but written in Peking dialect and therefore useful as language learning material; Gützlaff: the protagonist Baoyu is a petulant woman; Giles: the words “Red Chamber Dreams do not appear in the book” etc.).&lt;br /&gt;
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错误百出的评论可以证明这一点（马礼逊：这本书没什么文采，但由于它是用北京方言所写，因而可以作为语言学习材料；居茨拉夫：主角宝玉真是一个爱耍小性子的女人；贾尔斯：“红楼梦没有在书中出现过”等等。）。--[[User:Mo Ling|Mo Ling]] ([[User talk:Mo Ling|talk]]) 14:17, 18 November 2020 (UTC)Mo Ling&lt;br /&gt;
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==Mo Nan 莫南==&lt;br /&gt;
Also, the tradition of the title translation as “Dream of the Red Chamber” can be traced back to the origins of the better translation as “Red Chamber Dreams”, sacrificed by Francis Davis finally in favor of the powerful tool of Morrison’s dictionary calling it “Dream of the Red Chamber”.&lt;br /&gt;
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==Nie Xiaolou 聂晓楼==&lt;br /&gt;
Here, the exotic was used to make fun of China. Barrow introduces an excerpt, describing the outward appearance of Baoyu and Xifeng, translated by Francis Davis into English, explicitely for the reason to “amuse the beaux and belles”. Francis Davis himself picks two poems from the novel for translation, but not for its own sake, but to use them as a proof for his own (minority) opinion that the Chinese poetry knew a certain, “descriptive” function of poems in novels. &lt;br /&gt;
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==Ou Rong 欧蓉==&lt;br /&gt;
In 1815 Macao Reverend Robert Morrison (1782-1834) coined the Western translation of the novel’s title by mentioning it in his Dictionary of the Chinese Language as “dreams of the red chamber.”[	He explained the character “妙” as in the novel’s character “妙玉 Meaou yǔh [Miao Yu]” as “the admirable gem, name of one of the female characters in the novel called 紅樓夢 the dreams of the red chamber”, see Robert Morrison: A Dictionary of the Chinese language in three parts, Macao: East India Company Press 1815, vol. I., 930 pp., here p. 614, left column. 24 years after the print edition was published, this is the first mention and translation of the novel’s title into a Western language known so far. If no earlier occurrence is found it means that Morrison created a translation which has lasted until today almost unchanged.] He chose the plural, which was quite reasonable as there are many dreams in the novel. It appears that 27 years later the plural “dreams” was turned into the singular “dream,” which sounds a bit more general and is therefore also a reasonable translation. &lt;br /&gt;
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==Ouyang Jinglan 欧阳静兰==&lt;br /&gt;
''Red Chamber Dreams'' is the most common translation in English and, in its variations, in all Western languages so far.&lt;br /&gt;
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In 1817 Rev. Robert Morrison published a book for studying Chinese,[	Robert Morrison, A view of China for philological purposes: containing a sketch of Chinese Chronology, Geography, Government, Religion &amp;amp; Customs, designed for the use of persons who study the Chinese language, Macao: East Asia Company Press, 1817, 141 S., hier S. 120-121.] in which he recommended “''Dreams of the Red Chamber''” as beginner readings, together with the novel Hao qiu zhuan, which was available mostly in English and partly in Portuguese by 1719, and fully in English by 1761. Both were written in colloquial style.&lt;br /&gt;
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==Ouyang Ling 欧阳玲==&lt;br /&gt;
Morrison claims that ''Dream'' was written in Peking dialect. This does not hold true, since the author’s family Cao came from the South and many people in the novel have Nanking dialect sprinkles. In fact, the highly artful and intentional switch of dialects and sociolects contributed to the later fame of the novel. Morrison’s mistake developed its own tradition.[	Even in 1995, you could read that the ''Dreams'' is written in Peking dialect, cf. Shu Changshan, Die Rezeption Thomas Manns in China, 1995, Frankfurt: Lang, 326 pp. At least Tong Yao, Die Vielfältigkeit der Literatur, 2006 mentions both Peking and Nanking dialects.]&lt;br /&gt;
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马礼逊称《红楼梦》是用北京方言写的，但他的说法并不属实，因为书的作者曹雪芹其实是南方人，书中很多角色有时候还会说南京方言。实际上，书中地方方言和社会方言的切换十分巧妙，也是作者有意而为之，这也是此作品之后享有盛名的原因之一。马礼逊的这一错误还持续了很长一段时间。[ 甚至到了1995年仍有人说《红楼梦》是用北京方言写成。]--[[User:Ouyang Ling|Ouyang Ling]] ([[User talk:Ouyang Ling|talk]]) 11:07, 18 November 2020 (UTC)Ouyang Ling&lt;br /&gt;
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马礼逊认为，《红楼梦》是用北京方言写的，但他的说法并不属实，《红楼梦》的作者曹雪芹其实是南方人，书中很多角色在某些场合甚至还会说南京方言。实际上，书中地方方言和社会方言的切换十分巧妙，这是作者有意而为之，也是《红楼梦》在后来享有盛名的原因之一。马礼逊的这一错误还持续了很长一段时间。[ 甚至到了1995年时，仍有人认为《红楼梦》是用北京方言写成。]--[[User:Guo Lu|Guo Lu]] ([[User talk:Guo Lu|talk]]) 02:22, 19 November 2020 (UTC)&lt;br /&gt;
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==Peng Dan 彭丹==&lt;br /&gt;
Barrow mentioned the title “[...] a Chinese novel called Hung-low-Mung, or, The Red Chamber Dreams” on June 4, 1819, in the Quarterly Review. He inserted this （导言）reference into a review[	My own findings, so far not discussed in 20th century hongxue, and published first in October 2010. John Barrow, “Art. IV Narrative of a Journey in the Interior of China, and of a Voyage to and from that Country, in the Years 1816 and 1817; containing an Account of the most interesting Transactions of Lord Amherst's Embassy to the Court of Pekin, and Observations on the Countries which it visited. By Clarke Abel F.L.S. London 1818”, in: William Gifford ed., Quarterly Review 21:41 (January 1819) S. 67-91, hier S. 79-80. This edition appeared (only by) June 4, 1819 with 13,000 copies. The author follows here the argumentation of the assignment to the author Barrow due to the following indications: “Gentleman's Magazine (Mar. 1844), 246-47. The article's author refers to #415 and #438 (including a specific reference), both of which are on the same topic and are by Barrow. Cf. also the discussion of infanticide (p.76) and Raffles's account of Java reviewed by Barrow in #422. In his Q[uarterly] R[eview] articles, it was Barrow's signature practice to refer to his own works,  see  “Quarterly Review Archive” http:// www.rc.umd.edu/reference/qr/index/41.html, last visited Dec 5, 2010.] of Clarke Abel’s report of a journey through China.[	Clarke Abel, Narrative of a Journey in the Interior of China, and of a Voyage to and from that Country, in the Years 1816 and 1817; containing an Account of the most interesting Transactions of Lord Amherst's Embassy to the Court of Pekin, and Observations on the Countries which it visited, F.L.S. London 1818.] He interrupted his review with an excursus on the uniform appearance and static nature of the Chinese, in line with the contemporary China-bashing of Herder and Hegel. &lt;br /&gt;
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==Peng Juan 彭娟==&lt;br /&gt;
For contemporary Europeans, the Chinese appeared abnormally uniform and simple in their clothes and appearance. They would not be subordinated to the tyranny of fashion; their culture was static. In order to entertain the “belles and beaux of Great Britain,” Barrow provides a foil to this general impression by quoting the descriptions of the garments and anatomy of two characters, Wang Xifeng and Jia Baoyu, from chapter 3 of J. Davis’ translation of Dream. &lt;br /&gt;
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==Peng Ruihong 彭锐宏==&lt;br /&gt;
In fact the graphic comparisons given in these descriptions were simply strange to Europeans of that time, since they apparently did not correspond to the European’s own ideal of beauty.&lt;br /&gt;
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Even in 1842 Gützlaff criticized: “the author [makes] many protestations of his inability to do justice to the subject, which indeed is the only truth in the book […] the style is without any art […] whosoever wishes to familiarize himself with the manner of speaking the northern court dialect, may peruse this work with advantage”[	“Amongst the novels of the Chinese, this work holds a decidedly high rank. The author, after making many protestations of his inability to do justice to the subject, which indeed is the only truth in the book […] Having brought this tedious story to a conclusion, in expressing our opinion about the literary merits of the performance, we may say that the style is without any art, being literally the spoken language of the higher classes in the northern provinces. Some words that are used in a sense different from that in ordinary writings, and others are formed for the occasion, to express provincial sounds. But after reading one volume the sense is easily understood, and whosoever wishes to familiarize himself with the manner of speaking the northern court dialect, may peruse this work with advantage.” ibid., p. 273.]&lt;br /&gt;
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==Peng Xiaoling 彭小玲==&lt;br /&gt;
In 1867, 78 years after the first Chinese printed edition, we find a first real in-depth review of two pages by William Frederick Mayers:[	William Frederick Mayers, in: Notes and Queries (Dec 31, 1867) pp. 167-168, here p. 167. Mayers was Chinese secretary of the British Legation at Peking. He gives also short extracts in translation: 	&lt;br /&gt;
“Vast as is Heaven above or Earth below –	&lt;br /&gt;
Sighs may such limits fill for passion vainly past	&lt;br /&gt;
Grieve for the senseless youth, the hapless maiden’s woe !	&lt;br /&gt;
Not oft is love’s light pledge redeem’ed at last ! ” (p. 167) […]	&lt;br /&gt;
Vain to be soft in temper, mild in ways,	&lt;br /&gt;
Fair as the fairest … (p. 168)	&lt;br /&gt;
[…]	&lt;br /&gt;
Not often shines	&lt;br /&gt;
thy longings too are vain ! ” (p. 168)].]&lt;br /&gt;
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“If it be lawful to avow a feeling approaching to enthusiasm for any Chinese production, The Hung Low Mêng 紅樓夢 or ‘Dreams of the Red Chamber’ is beyond possibility of cavil the work for which genuine admiration may be expressed.&lt;br /&gt;
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1867年，即第一本中文印刷版出版78年之后，我们对梅辉立的两页进行了首次真正的深入回顾：[梅辉立，在：中日释疑（1867年12月31日）,第167-168页，此处第167页。梅辉立曾担任英国使馆驻北京的中国秘书。他还给出了一些翻译中的简要摘录：&lt;br /&gt;
“Vast as is Heaven above or Earth below –	&lt;br /&gt;
Sighs may such limits fill for passion vainly past	&lt;br /&gt;
Grieve for the senseless youth, the hapless maiden’s woe !	&lt;br /&gt;
Not oft is love’s light pledge redeem’ed at last ! ” (p. 167) […]	&lt;br /&gt;
Vain to be soft in temper, mild in ways,	&lt;br /&gt;
Fair as the fairest … (p. 168)	&lt;br /&gt;
[…]	&lt;br /&gt;
Not often shines	&lt;br /&gt;
thy longings too are vain ! ” (p. 168)].]&lt;br /&gt;
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“如果公然宣称对任一中国作品充满热情的感觉是合法的，那么要对红楼梦或‘Dreams of the Red Chamber’的无端指摘表示真正的钦佩是不可能的。--[[User:Peng Xiaoling|Peng Xiaoling]] ([[User talk:Peng Xiaoling|talk]]) 01:21, 19 November 2020 (UTC)&lt;br /&gt;
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==Peng Yongliang 彭永亮==&lt;br /&gt;
What, in English literature, the writings of Thackeray and Bulwer are in comparison with the wearisome and unskilful productions of previous generations, such is the Hung Low Mêng when compared with the works of fiction that have emanated from other Chinese authors. &lt;br /&gt;
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==Peng Yuzhi 彭育志==&lt;br /&gt;
Human character in its complex variety of shades, the intricacies of family relations, the force of passion and the torture of disappointed yearnings after love are pourtrayed with a degree of skill and knowledge such as in truth suggests a resemblance with the two great master-spirits of English romance; &lt;br /&gt;
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==Qi Kai 漆凯==&lt;br /&gt;
whilst, as in Nature's own drama of existence, the reflections of storm and sunshine are closely interlaced, and the lighter thread of comedy runs side by side with the dark main-strand of a story which opens with the omens of sorrow and is conducted to a tearful end.&lt;br /&gt;
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==Qu Miao 瞿淼==&lt;br /&gt;
If, at the same time, a faint – a very faint – tinge of the supernatural is allowed to show itself in the conception of the tale, this is not only in full accord with the inclinations of the people for whom the work is written, but is also far less obtrusive than the similar element which pervades more than one of our own most celebrated fictions. […]”&lt;br /&gt;
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==Quan Meixin 全美欣==&lt;br /&gt;
Reading through almost 80 years of reviews, during which more and more chapters of the novel became available, the ethnocentric attitude gradually changes to the scientific one and finally, with Mayr’s review of 1867 to a dialectic one, not only admitting that the Chinese novel was a piece of world literature, but even leaving open the possibility that it surpassed literary achievements of the own culture.&lt;br /&gt;
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==Sagara Seydou ==&lt;br /&gt;
This process certainly has been brought to a good end with the establishment of further diversified Chinese Studies in Europe and the USA, with the role of overseas Chinese at American universities, with further translations especially through Franz Kuhn in the 1930s and with the establishment of the German China Association in the 1950s. &lt;br /&gt;
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==Shi Diwen 石迪文==&lt;br /&gt;
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During its 60 years of history, the German China Association (next to the developing chairs of Chinese Studies at universities and next to other organizations dealing with China like friendship associations and Confucius Institutes) has helped to overcome prejudices, cultural relativism with diversity and tolerance. This is especially challenging, because the cultures and languages are quite distant and German media and internet community tends to bash China.&lt;br /&gt;
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During the last 20 years, the German China Association was shaped through its prolific president, Gregor Paul, who has shaped the prestige of the Association with his sharp and precise analysis of a common logic in China and the West as well as universal values, including human rights, worth to strive for both in the West and in China. &lt;br /&gt;
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==Shi Haiyao 石海瑶==&lt;br /&gt;
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His entertaining and informative lectures used a rhethoric often referring to persuasive conventional wisdom, e.g. that differences often come from different opinions instead of a difference of the nature of the things, as can be seen from a quarrel with his wife about what both remembered had happened the day before. Paul is a consequent logician and a real universalist and he has added to Germany’s international reputation as “the land of poets and thinkers”.&lt;br /&gt;
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The process of doing more justice to China today culminates in the cooperation between Chinese and Western scholars at international conferences, in research projects or international book projects like “A Harvard Literary History of Modern China”.&lt;br /&gt;
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==Si Yu 司妤==&lt;br /&gt;
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Europeans (and later US-Americans) have made a contribution to Chinese Studies in general. They were influenced heavily by the idealizers (Jesuits, European philosophers of the enlightenment) and by China-bashers (Hegel, the German emperor...). It took 100 years for a Chinese piece of world literature to be recognized as such in Europe. But today, Chinese literature and culture is recognized with the Nobel Prize and Confucius Institutes do successful work in the whole work promoting and exporting Chinese culture abroad.&lt;br /&gt;
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However, we should not overestimate the European contribution. There are still examples of ethnocentrism, even of religiously motivated reading of things into Chinese literature. One of these examples is the 10 volume ''History of Chinese Literature'' published in Bonn. &lt;br /&gt;
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==Song Jianru 宋建茹==&lt;br /&gt;
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In two volumes, the one about the origins of Chinese literature and the one on Chinese poetry, a German sinologist, who formerly was a priest, defines, that the origin of Chinese literature lies in the dialogue of the author with god. This reminds us again of the Jesuit reading of things into Chinese texts, it reminds us of the attempts, to impose your own culture on other seemingly backward cultures, in this case even the try to impose the Western god on the Chinese culture of a time, when China had a totally different understanding of the world and of heaven than that of a Christian god. The emergence of Chinese literature comes from songs, speeches and paintings, from the wish to document events, family etc., but not from an encounter with god.&lt;br /&gt;
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其中的两卷，一卷关于中国文学的起源，另一卷关于中国的诗歌。有位曾担任过牧师的德国汉学家认为，中国文学源于作家与上帝的对话。这让我们再次想起耶稣会教士对中文文本的解读，他们试图将其自身文化强加到其他看似落后的文化上。在这本书中，这位汉学家甚至试图把西方的上帝强加到某一时期的中国文化上，尽管中国对世界和天堂的理解与西方完全不同。其实，中国文学兴于诗歌、演讲和绘画，把美好愿景和文献记载世代相传，而非源自与上帝的邂逅。--[[User:Song Jianru|Song Jianru]] ([[User talk:Song Jianru|talk]]) 13:20, 19 November 2020 (UTC)&lt;br /&gt;
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==Su Lin  苏琳==&lt;br /&gt;
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The same German sinologist retranslated the Analects, attributed to Confucius, and translated some of the more than 50 occurrences of “heaven” or “demon/ghost” with the term “god”.  &lt;br /&gt;
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Experts on Confucius also quote the few passages, where Confucius addresses the question of the supranatural like ghosts etc. and analyze that Confucius may have been at best not interested or even negative about the belief in ghosts, while he was positive about the social stability and peace rituals brought for the people.&lt;br /&gt;
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This reminds us of the fact, that it is to us to make sure that ethnocentrism is still existing today and that science is a field that needs to be aware of and cautious about it. And it needs courage to speak out against it.&lt;br /&gt;
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==Tan Xingyue 谭星越==&lt;br /&gt;
&lt;br /&gt;
“We were wrong” – Coming to terms &lt;br /&gt;
with failed master narratives of Chinese Studies&lt;br /&gt;
“我们错了”——汉学应对主流叙事传统&lt;br /&gt;
&lt;br /&gt;
Martin Woesler 吴漠汀&lt;br /&gt;
&lt;br /&gt;
Abstract&lt;br /&gt;
摘要&lt;br /&gt;
&lt;br /&gt;
We, the international scholars of Chinese Studies, apologize for two main misinterpretations of China. 1. The master narrative of Jesuits and others who tried to proof the Western Christian god in ancient Chinese texts. As a tool, they used a distortion of the Chinese texts by manipulated translation. &lt;br /&gt;
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我们是中国研究的国际学者，对中国的两个主要误解道歉。 1.耶稣会士和其他人在古代中国文本中试图证明西方基督教之神的主要叙事。作为一种工具，他们通过操纵翻译来歪曲中文文本。 &lt;br /&gt;
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==Tan Xinjie 谭鑫洁==&lt;br /&gt;
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2. The master narrative of the stagnation of China, sometimes claimed to be inherent and systemic, often reasoned with Confucianism. This narrative was a dogma for 150 years between 1830 and 1980. The disruptive economic development since 1978 has proven this narrative wrong, Confucianism is seen as one reason for the economic miracle. &lt;br /&gt;
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2.关于中国停滞的主要叙述，有时被称为固有的和系统性的，常常用儒家思想来推理。这种叙述是1830年至1980年间150年的教条。自1978年以来的破坏性经济发展证明了这种叙事错误，儒家思想被视为经济奇迹的一个原因。&lt;br /&gt;
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2.中国停滞的主要叙述有时是内在的、系统的，通常由儒家思想所论证。这种叙述是1830年至1980年间150年的教条。自1978年以来的破坏性经济发展证明了这种叙述是错误的，而儒家思想被视为经济奇迹的原因之一。--[[User:Peng Xiaoling|Peng Xiaoling]] ([[User talk:Peng Xiaoling|talk]]) 01:31, 19 November 2020 (UTC)&lt;br /&gt;
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==Tan Yuanyuan 谭媛媛==&lt;br /&gt;
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3. The master narrative of the Great Proletarian Cultural Revolution as a successful Communist reform. During the 1970s, Western sinologists abandoned basic principles of neutrality, distance and fact-seeking and, based on propaganda, enthusiastically celebrated the Cultural Revolution and became dedicated followers of Mao Zedong, holding up the Little Red Book.&lt;br /&gt;
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无产阶级文化大革命的主要叙事是成功的共产主义改革。在20世纪70年代，西方汉学家放弃了中立，距离和事实寻求的基本原则，并在宣传的基础上，热烈地庆祝文化大革命，成为毛泽东的忠实粉丝，举起小红皮书。相信中国宣传的意愿部分是出于将中国理想化为一种模式的愿望，这种模式可以为西方社会的改革指明方向。&lt;br /&gt;
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主述将无产阶级文化大革命（文革）描述为共产党的一场成功改革。20世纪70年代，西方汉学家放弃了中立、保持距离、实事求是的基本原则，并在宣传的基础上，热衷于庆祝文化大革命，高举小红书，成为毛泽东的忠实追随者。--[[User:Tan Yuanyuan|Tan Yuanyuan]] ([[User talk:Tan Yuanyuan|talk]]) 10:40, 19 November 2020 (UTC)&lt;br /&gt;
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==Tang Bei 汤蓓==&lt;br /&gt;
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The readiness to believe in the Chinese propaganda was partly motivated by the wish to idealize China into a model which could show the way for a reform of Western societies.&lt;br /&gt;
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相信中国宣传的意愿部分是出于将中国理想化为一种模式的愿望，这种模式可以为西方社会的改革指明方向。&lt;br /&gt;
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==Tang Ming 唐铭==&lt;br /&gt;
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Key words&lt;br /&gt;
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关键词&lt;br /&gt;
&lt;br /&gt;
Apology, errors, mistakes, manipulation, ethnocentrism, eurocentrism, master narratives, Chinese Studies, sinology, coming to terms with the past&lt;br /&gt;
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道歉，错误，错误，操纵，种族中心主义，欧洲中心主义，大师叙事，中国研究，汉学，与过去达成协议&lt;br /&gt;
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==Tang Yiran 汤伊然==&lt;br /&gt;
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1. God in China上帝在中国&lt;br /&gt;
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Human beings develop ancestor worship, complemented by natural religions. The natural religions established a layer of shamans who interpreted the will of the natural gods. &lt;br /&gt;
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人类发展祖先崇拜，辅以自然宗教。自然宗教建立了一套解释自然神灵意志的法则。&lt;br /&gt;
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==Tao Ye 陶冶==&lt;br /&gt;
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In India, the layer of priests of the Vedan religion alienated from the people, because the religious texts of Vedan religion brought a conservating effect to language, texts were canonized and finally not understood by ordinary people any more. &lt;br /&gt;
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在印度，Vedan宗教的神职人员与人民疏远，因为Vedan宗教的宗教文本对语言产生了保护作用，文本被册封，最后不再为普通人所理解。&lt;br /&gt;
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==Wang Meiling 王美玲==&lt;br /&gt;
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Finally, only the Vedan priests could understand the Vedan texts any more. This was the start of the so-called “anti-religious” start of Buddishm.&lt;br /&gt;
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最后，只有Vedan牧师才能理解Vedan文本。这是Buddishm所谓的“反宗教”起源的开始。&lt;br /&gt;
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==Wang Xuan 王轩==&lt;br /&gt;
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Due to the alienation of people and the religious texts and its priests, Buddha was able to establish Buddhism. He claimed that every individual was able to find his or her own way to self-perception and spiritual liberation (nirvana). &lt;br /&gt;
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由于人与宗教文本及其祭司的异化，佛陀能够建立佛教。他声称每个人都能找到自己的自我认知和精神解放的方式（涅槃）。&lt;br /&gt;
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==Wang Yu 王煜==&lt;br /&gt;
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Although Buddha did not abandon priests, he established the new tradition that masters would have their disciples and these could overcome their masters. Also, Buddha destroyed the perfectionism of the almighty god by claiming that the life of imperfect men simply was much more interesting. &lt;br /&gt;
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虽然佛陀没有放弃传教者，但他建立了新的传统，即主人会有他们的门徒，这些人可以推翻他们的主人。此外，佛陀通过声称不完美男人的生活更加有趣，摧毁了全能神的完美主义。&lt;br /&gt;
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==Wang Yuan 王源==&lt;br /&gt;
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In China, ancestor worship has kept its dominant role until today. Although there was the age of shamans, since several millenia every family clan had its own tradition of ancestor worship. It was believed that the ancestors in heaven watched over and influenced the lives of their descendants on earth. &lt;br /&gt;
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在中国，祖先崇拜一直保持其主导地位，直到今天。虽然萨满有年龄，由于几千年来每个家族都有自己的祖先崇拜传统。据信，天上的祖先观看并影响了他们在地球上的后代的生活。&lt;br /&gt;
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==Wei Honglang 韦洪朗==&lt;br /&gt;
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So the most important unit were family clans. Even rulers used fire cracks and characters inscribed in turtle shells or cattle bones to communicate with the ancestors and to predict the future. &lt;br /&gt;
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所以最重要的单位是家族。甚至统治者也使用火龟纹和龟壳或牛骨上的字符来与祖先交流并预测未来。&lt;br /&gt;
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==Wei Yafei 魏亚菲==&lt;br /&gt;
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However, when the dynasty changed and a new ethnic group took over, they could not claim the ancestors to be their relatives any more, so the shangdi concept was replaced by heaven (tian) and related understandings like “son of heaven”, “mandate of heaven” etc., supllying them with legitimization of power. &lt;br /&gt;
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然而，当王朝改变并且一个新的族群接管时，他们不能再宣称祖先是他们的亲戚，所以上帝的概念被天堂（天）和相关的理解所取代，如“天堂之子”，“任务”天国等等，用权力合法化来贬低他们。&lt;br /&gt;
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==Wen Sixing 文偲荇==&lt;br /&gt;
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Although there were mythical divine creatures, the understanding of gods was not developed as distinct and authoritative as in Europe and Egypt. Egypt and Europe both further developed from multi theism to mono theism.&lt;br /&gt;
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虽然有神话般的神圣生物，但对神的理解并没有像欧洲和埃及那样发展出独特和权威。埃及和欧洲都从多神论到单一神论进一步发展。&lt;br /&gt;
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==Wen Xiaoyi 文晓艺==&lt;br /&gt;
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Theism established a layer of priests, occupying the role of mediators between god and men. Since every uncontrolled authority abuses its power, these mediators gained earthly wealth and took advantage of their control over people by abuse of their work force and even sexual abuse. &lt;br /&gt;
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有神论建立了一套祭祀法则，成为了神与人之间调解者的角色。由于每个不受控制的权威都滥用权力，这些调解人获得了人间的财富，并利用他们对工作人员的滥用甚至性虐待来控制他们。&lt;br /&gt;
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==Wu Kai 吴恺==&lt;br /&gt;
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In Europe, the power was divided among the rulers and the church, represented by the pope, the cardinals, the bishops and the priests. &lt;br /&gt;
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在欧洲，权力在统治者和教会之间分配，由教皇，红衣主教，主教和神父代表。&lt;br /&gt;
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==Wu Qi 吴琪==&lt;br /&gt;
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Since religion in general claims to be valid for all of menkind, when new territories were discovered in East Asia and Africa, the missionaries tried to enlarge the territorium under their control by forcing locals to accept European religions and societal development models like modernization and economical development. &lt;br /&gt;
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由于宗教一般声称对所有人都有效，当在东亚和非洲发现新的领土时，传教士试图通过迫使当地人接受欧洲宗教和现代化和经济发展等社会发展模式，来扩大其控制下的领土。&lt;br /&gt;
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==Wu Qiong 吴琼==&lt;br /&gt;
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After the first missionaries arrived in China and saw that the exchange was positive for both sides, they also developed a motivation to keep the missionaries alive, which was a second motivation for them. &lt;br /&gt;
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在第一批传教士抵达中国，并看到双方的交流是积极的之后，他们也发展了一种让传教士活动的动力，这是他们的第二个动机。 &lt;br /&gt;
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==Wu Xiang 邬香==&lt;br /&gt;
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Since the Christian religion is a religion revealed in divine texts, the missionaries had a strong motivation to find evidence in the classical Chinese texts that the Christian god also existed there. So among the first texts, they selected, translated and sorted were the canonized texts. A good example is the Daodejing which they translated in a distorted way, allowing them to proof the existence of the Christian god in China.&lt;br /&gt;
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由于基督教是一种神圣文本中所揭示的宗教，传教士有强烈的动机在中国古典文本中找到证据，证明基督教的神也存在于那里。 因此，在第一批文本中，他们选择、翻译和排序的是册封文本。一个很好的例子就是《道德经》，他们以扭曲的方式翻译，使他们能够证明中国基督教神的存在。&lt;br /&gt;
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==Wu Yilu 吴一露==&lt;br /&gt;
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This was the first major mistake, the attitude of Europeans to find evidence of their European god in Chinese roots. This attidtude lead to translation practises abandoning the basic rules of the profession: &lt;br /&gt;
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这是第一个重大错误，即欧洲人在中国人根源中找到欧洲神的证据的态度。这种原因导致翻译实践放弃了专业的基本规则：&lt;br /&gt;
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==Wu Zijia 吴子佳==&lt;br /&gt;
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Terms, concepts and ideas sounding familiar were forcibly changed into the original European meaning. However, the published translations did only show a slight influence of this practise, the main translations, e.g. of the Daodejing first were not published, but discussed internally. &lt;br /&gt;
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熟悉的术语、概念和想法被强制改变，具有原欧洲意义。但是，已发表的翻译并没有受太大影响，主要翻译，例如最初没有发表的《道德经》，在内部进行了讨论。--[[User:Wu Zijia|Wu Zijia]] ([[User talk:Wu Zijia|talk]]) 03:25, 19 November 2020 (UTC)Wu Zijia&lt;br /&gt;
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==Xiao Shuangling 肖双玲==&lt;br /&gt;
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The outcome of the discussion was that the deviations in the translations would have to go too far and ultimately that there was no proof of the Christian god in ancient Chinese texts. &lt;br /&gt;
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讨论的结果是，翻译中的偏差必须走得太远，最终在中国古代文本中没有基督教之神的证据。&lt;br /&gt;
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==Xiao Ting 肖婷==&lt;br /&gt;
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Nonetheless, since then several missionaries, priests (Richard Wilhelm) and sinologists (Wolfgang Kubin) still tend to translate the Chinese concept of “heaven” into concepts familiar to Europeans like “god”. &lt;br /&gt;
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尽管如此，从那时起，几位传教士，牧师（理查德威廉）和汉学家（顾彬）仍然倾向于将中国的“天堂”概念翻译成欧洲人熟悉的概念，如“上帝”。&lt;br /&gt;
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==Xiao Xi 肖茜==&lt;br /&gt;
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This is wrong and we as sinologists, apologize to the Chinese citizens for this eurocentric approach. We hope to overcome this historical mistake by cooperation with our Chinese colleagues.&lt;br /&gt;
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这是错误的，我们作为汉学家，为这种以欧洲为中心的方法向中国公民道歉。我们希望通过与中国同事的合作修正这一历史错误。&lt;br /&gt;
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==Xiao Yining 肖伊宁==&lt;br /&gt;
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All institutionalization develops inertia, the Chinese society was very instituionalized, therefore the Christianization in general failed. However, he secondary aims of the missions, to bring the European understanding of societal development (development of economy, health, education bringing about progress and modernization) were a success.&lt;br /&gt;
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所有制度化都发展了惯性，中国社会非常机构化，因此基督教化总体上失败了。 然而，他的使命的次要目标，使欧洲对社会发展的理解（经济、健康、教育带来进步和现代化）的成功是成功的。&lt;br /&gt;
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==Xie Fan 解帆==&lt;br /&gt;
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The missionaries translated European books of knowledge into Chinese and therefore practically performed a knowledge transfer. Also the learning of foreign languages enhanced.&lt;br /&gt;
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传教士将欧洲知识书籍翻译成中文，因此实际上执行了知识 传递。 外语学习也得到了加强。&lt;br /&gt;
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==Xie Ziyi 谢子熠==&lt;br /&gt;
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During history, the authoritarian rule was replaced by democracies. In China, this was the case with the establishment of the Republic of China in 1912. During history, the power of the church was also restrained with protestant reformism.&lt;br /&gt;
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在历史上，专制统治被民主取代。 在中国，1912年中华民国成立就是这种情况。在历史上，教会的权力也受到新教改良主义的制约。&lt;br /&gt;
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==Xu Jia 徐佳==&lt;br /&gt;
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Religions are more or less tolerant regarding people believing in different religions or regarding atheists. Islam in average is less tolerant the Christianity. &lt;br /&gt;
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宗教对于相信不同宗教或无神论者的人或多或少都是宽容的。平均而言，伊斯兰教对基督教的宽容度较低。&lt;br /&gt;
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==Xu Jing 许晶==&lt;br /&gt;
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Since two millenia, Europe has been dominated by Christianity and China mostly by ancestor worship, with a huge tolerance towards Buddhism, Daoism and other forms of religious practises. &lt;br /&gt;
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自两千年以来，欧洲一直由基督教和中国主导，主要是祖先崇拜，对佛教、道教和其他形式的宗教活动有着巨大的容忍。&lt;br /&gt;
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==Xu Jing 许静==&lt;br /&gt;
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2. Stagnant China停滞的中国&lt;br /&gt;
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Times when international China watchers (scholars, philosophers) and China experts (merchants, missionaries, members of delegations, scholars) idealized China (Chinoiserie) and when they demonized her (stagnation, Yellow peril) followed each other. &lt;br /&gt;
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国际中国观察家（学者、哲学家）和中国专家（商人、传教士、代表团成员、学者）理想化中国（中国风）以及妖魔化她（停滞、黄祸）的时代相互依存。&lt;br /&gt;
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==Xu Mengdie 徐梦蝶==&lt;br /&gt;
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Western Sinology has long declared the &amp;quot;stagnation&amp;quot; in China as being “without an alternative” and as “being caused by Confucianism”. However, China showed a disruptive economical development since 1978, which proves this narrative wrong. Now also the Chinese &amp;quot;economic miracle&amp;quot; is explained by the Western sinologists with Confucianism.  &lt;br /&gt;
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西方汉学早就宣称中国的“停滞”是“没有其他选择”和“由儒学引起的”。 然而，自1978年以来，中国显示出飞速的经济发展，证明这种说法是错误的。 现在中国的“经济奇迹”也被西方汉学家用儒学解释了。&lt;br /&gt;
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==Xu Pengfei 许鹏飞==&lt;br /&gt;
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Now is the time for Western Sinology to admit its historical mistake and to overcome the eurocentric and racist dogma of “stagnation” by diversification. The exchange with Chinese colleagues like here at the congress offers a good opportunity to do so.&lt;br /&gt;
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现在是西方汉学承认其历史错误、克服多元化“停滞”的欧洲中心和种族主义教条的时候了。在这里与大会上的中国同事交流提供了一个很好的机会。&lt;br /&gt;
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==Yang Chenting 杨晨婷==&lt;br /&gt;
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With the overall turn from admiring China to demonizing China, also Hegel started to judge on China as a “stagnant” empire. &lt;br /&gt;
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随着从钦佩中国到妖魔化中国的整体转变，黑格尔也开始判断中国是一个“停滞不前”的帝国。&lt;br /&gt;
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==Yang Hairong 杨海容==&lt;br /&gt;
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Although he found evidence that Confucius had invented the Golden Rule, he described China as the lowest stage of a stairways to the world Geist# with Berlin at the top. His condemnation of China was taken over by Marx who condemned China too. &lt;br /&gt;
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尽管他发现了孔子发明黄金法则的证据，但他将中国描述为通往世界精神阶梯的最低阶段，而柏林位居榜首。他对中国的谴责也被谴责中国的马克思所接管。&lt;br /&gt;
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==Yang Hui 阳慧==&lt;br /&gt;
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There were several narratives establishing a Great Divergence or arguing for little divergences during the early stage of globalization. However, new rediscoveries of ancient Chinese translations of Western books of knowledge and new statistics of sugar consumption (which was for the most time higher in China than in Europe) question these narratives today.&lt;br /&gt;
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在全球化的早期阶段，有几种叙述形成了一种大分歧或争论很少的分歧。 然而，中国古代西方知识翻译的新发现以及食糖消费的新统计数据（这在中国的时间比欧洲最高）在今天质疑这些叙述。&lt;br /&gt;
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==Yang Yi 杨逸==&lt;br /&gt;
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==Yang Yue 杨悦==&lt;br /&gt;
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==Yang Ziling 杨子泠==&lt;br /&gt;
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==Yao Cheng 姚诚==&lt;br /&gt;
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==Yao Jia 姚佳==&lt;br /&gt;
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==Yi Huan 易欢==&lt;br /&gt;
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==Yi Zichu 义子楚==&lt;br /&gt;
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==You Yuting 游雨婷==&lt;br /&gt;
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==Yu Ni 余妮==&lt;br /&gt;
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==Yuan Shiqi 袁诗琦==&lt;br /&gt;
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==Yuan Tianyi 袁天翼==&lt;br /&gt;
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==Yuan Yuchen 袁雨晨==&lt;br /&gt;
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==Zeng Fangyuan 曾芳缘==&lt;br /&gt;
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==Zeng Liang 曾良==&lt;br /&gt;
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==Zeng Xinyuan 曾心媛==&lt;br /&gt;
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==Zeng Yanhu 曾雁湖==&lt;br /&gt;
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==Zhang Hu 张虎==&lt;br /&gt;
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==Zhang Hui 张慧==&lt;br /&gt;
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==Zhang Ling 张玲==&lt;br /&gt;
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==Zhang Peiwen 张佩闻==&lt;br /&gt;
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==Zhang Qi 张琪==&lt;br /&gt;
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==Zhang Weihong 张维虹==&lt;br /&gt;
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==Zhang Xueyi 张雪仪==&lt;br /&gt;
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==Zhang Yinliu 张银柳==&lt;br /&gt;
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==Zhang Yu 张瑜==&lt;br /&gt;
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==Zhang Yujie 张毓婕==&lt;br /&gt;
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==Zhang Yuxing 张宇星==&lt;br /&gt;
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==Zhao Xi 赵茜==&lt;br /&gt;
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==Zhao Xiaoyan 赵晓燕==&lt;br /&gt;
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==Zheng Huajun 郑华君==&lt;br /&gt;
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==Zhou Luoping 周罗平==&lt;br /&gt;
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==Zhou Shiqing 周诗卿==&lt;br /&gt;
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==Zhou Shuyao 周书尧==&lt;br /&gt;
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==Zhou Siqing 周思庆==&lt;br /&gt;
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==Zhou Yiwen 周艺文==&lt;br /&gt;
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==Zhou Yuanqu 周园曲==&lt;br /&gt;
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==Zhou Yujuan 周玉娟==&lt;br /&gt;
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==Zhu Meimei 祝美梅==&lt;br /&gt;
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==Zhu Suyao 朱素瑶==&lt;br /&gt;
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==Zhu Xu 朱旭==&lt;br /&gt;
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==Zou Xinyu 邹鑫雨==&lt;/div&gt;</summary>
		<author><name>Song Jianru</name></author>
	</entry>
	<entry>
		<id>https://bou.de/u/index.php?title=20201116_trans&amp;diff=104240</id>
		<title>20201116 trans</title>
		<link rel="alternate" type="text/html" href="https://bou.de/u/index.php?title=20201116_trans&amp;diff=104240"/>
		<updated>2020-11-14T07:37:31Z</updated>

		<summary type="html">&lt;p&gt;Song Jianru: /* Shi Haiyao 石海瑶 */&lt;/p&gt;
&lt;hr /&gt;
&lt;div&gt;==Cao Runxin 曹润鑫==&lt;br /&gt;
'''WOESLER, Martin'''&lt;br /&gt;
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'''Prof. Dr. Martin Woesler (University Rome III/Witten University)'''&lt;br /&gt;
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'''The Waves of the Stone –''' &lt;br /&gt;
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'''Early Reception Between Instrumentalization and Exoticization'''&lt;br /&gt;
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'''Abstract'''&lt;br /&gt;
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The fame of the ''Dream of the Red Chamber'' spread quickly not across Asia, but also to Europe and the USA. This paper introduces the roles and motifs of different actors in the early distribution, like merchants, Western embassies, Chinese teachers of Western missionaries, missionaries themselves, translators, early Sinologists as well as literary critics. I introduce judgements on the novel before it was available in translation.&lt;br /&gt;
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==Chang Huiyue 常慧月==&lt;br /&gt;
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As motifs I identify exoticization (joy of otherness of fashion and dressing, customs), universalization (world literature), the instrumentalization of the novel as evidence for own hypotheses on literature (Davis’ poetry), the instrumentalization for language learning etc. I show a change of motifs over time from exoticization and instrumentalization for proving inferiority to Western novels to accepting the novel as part of world literature and a masterpiece of Chinese culture with a special value in documenting Chinese society. Of special interest are misunderstandings (Gützlaff) and deviations from the original (Kuhn, Minford).&lt;br /&gt;
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==Chen Han 陈涵==&lt;br /&gt;
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'''Key words'''&lt;br /&gt;
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Dream of the Red Chamber, Western translation, Western dissemination, Western reception, instrumentalization, exotization, deviation&lt;br /&gt;
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'''First (unproven) experiences of young Cao Xueqin with foreign literature'''&lt;br /&gt;
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In 1947 the graduate student Huang Long from then Jinling University quoted the following passage from the book Dragon's Imperial Kingdom, which he claimed to have borrowed from the Central Library (today’s Nanking Library), in which William Winston ‘remembers’ an encounter of his grandfather Philip Winston with Cao Xueqin:&lt;br /&gt;
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==Chen Hui 陈惠==&lt;br /&gt;
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&amp;quot;The imperial kingdom was symbolized by a five-clawed golden dragon, a legendary reptile nonexistent since Creation. Of her indigenous produces shantung commanded the broadest popularity. This rendered her to merit the credit ‚Land of Silk’ in the Orient. There has been cherished as our precious heirloom a piece of home-spun fabric with an ornamental pattern of &amp;quot;dragon and phoenix&amp;quot; manufactured at Kiangning Textile Mill. It survived fires and swords. During my grandfather Philip's sojourn in China for trade in textiles, he contracted an acquaintance with Mr. Tsao Fu, the then Superintendent of Kiangning Textile Mill, and at the latter's request served as an initiator of textile technology.&lt;br /&gt;
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==Chen Jiangning 陈江宁==&lt;br /&gt;
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The host was hospitality incarnate and oftentimes indited extempore verses in token of rapport. As a reply, my grandfather delivered Biblical sermons and gave a graphic narration of Shakespeare's dramas. For audience he had merely those other than the juvenile and feminine. On the score of eavesdropping, Tsao’s pampered son suffered a lashing and castigation&amp;quot;.[ 	Philip Winston: Dragon's Imperial Kingdom, Douglas 1874, p. 53. Quoted from: 吴新雷, 黄进德《曹雪芹江南家世考》，福建人民出版社, 1983, 304 pp., here pp. 103-104. See also:馬幼垣（Yau-Woon Ma）《實事與構想: 中國小說史論釋》，聯經出版事業股份有限公司, 2007年，384页。See also: 周汝昌《曹雪芹新传》外文出版社(1992)²1997, 353pp., here p. 101.]&lt;br /&gt;
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==Chen Jiaxin 陈佳欣==&lt;br /&gt;
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If this encounter has been made up, it shows how much effort Redology invested to come to new findings, if not, it may explain some of the special characteristics of the novel never seen in Chinese literature before.&lt;br /&gt;
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'''Status of the book before its publication'''&lt;br /&gt;
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Between 1754 and 1771 we have one new manuscript version per year in average and almost each manuscript carries new comments mostly from 脂砚斋 or from 畸笏叟. The author died on Feb 1, 1764, which did not end the commenting on the manuscripts.&lt;br /&gt;
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==Chen Jingjing 陈静静==&lt;br /&gt;
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The book was not officially published, but that did not prevented it from dissemination, as manuscript fragments were handed around since the 1750s and the novel was known to many scholars before its publication in 1791.&lt;br /&gt;
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The preface to the 2nd edition in 1792 also points to the fact, that there had been a “long” tradition of scholarly research of the book and comments. These comments had not been taken over for the 1st and 2nd edition.&lt;br /&gt;
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==Chen Sha 陈莎==&lt;br /&gt;
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'''From inofficial manuscript versions to the printed book'''&lt;br /&gt;
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One of the reasons why the book was not printed was that it was (wrongly) considered either sexually explicite literature (淫书) or against Confucianism, which could only passed on in manuscript versions. &lt;br /&gt;
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Gao E claims in his preface of 1791, that he had heared before 1771 from this novel and that he checked whether it was against Confucianism, but could not find anything like this in it, so that it could be published.&lt;br /&gt;
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==Chen Sunfu 谌孙福==&lt;br /&gt;
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“One of the best works of fiction in Chinese literature was supposed to have been written by a member of this sect, and was suppressed by the Emperor because of offensive references to the reigning family contained in it. It was called the ‘Hung Lou Meng,’ or ‘Dream of the Red Chamber,’ and it resembles a large number of fairy tales threaded together rather than a modern novel. By an ingenious substitution of false characters, words, occasionally throughout certain portions of the work—something like incorrect spelling —the imperial interdict was evaded, and it has continued in print and popularity down to the present day. Foreign students of Chinese commonly read a portion of it, the smooth and excellent style making it an invaluable text-book.”[ 	See: He Tianyue 何天爵: ''The real Chinese question'' (真正的中国问题), New York: Dodd，Mead &amp;amp; Co. 1900, 386 pp., here p. 109.]&lt;br /&gt;
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==Chen Yongxiang 陈永相==&lt;br /&gt;
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'''Preparations of the 1st book edition'''&lt;br /&gt;
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Gao E worked with Cheng Weiyuan, who ran the publishing house Suzhou Cuiwen Press (苏州萃文书屋). &lt;br /&gt;
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According to the preface to the 1791 edition by Cheng Weiyuan, different 80 chapter manuscript versions were already circulating, some were sold for a high price at the Temple Market, others were copied by readers. Since the 80 chapter manuscript versions already contained content lists with 120 chapter headlines, he searched for and found (as he pretended) the 120 chapters.&lt;br /&gt;
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==Cheng Yusi  成于思==&lt;br /&gt;
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In the preface to the first printed edition he already refers to an existing number of readers, who share the love of the book with him. Also his description that some readers took over the effort to copy the book by handwriting shows that an early fan culture existed even before the printed version appeared.&lt;br /&gt;
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Also, Cheng Weiyuan keeps the question of the authorship open, but points directly to Cao Xueqin, who claimed to have worked 10 years on the novel and rewritten it five times. The rewriting may refer to the production of new manuscript versions reflecting the ideas of the commentators.&lt;br /&gt;
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==Deng Jinxia 邓锦霞==&lt;br /&gt;
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'''1st Book edition 1791:''' 程甲本 Cheng A edition&lt;br /&gt;
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According to the preface to the 2nd edition 1792, these early fans were called collectors and the 1st edition was produced with movable characters, which was faster than the woodblock print. The book contained 99 illustrations and more than 100 copies were printed. The first edition might have been printed in Peking at the end of 1791, the 2nd in early 1792 in Suzhou, leaving 72 days between the two editions, which may show that the Peking edition was sold out immediately. The 1791 edition was also soon translated into Mongolian: 蒙古王府本 Menggu ben.&lt;br /&gt;
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'''1791年第一版:''' 程甲本 &lt;br /&gt;
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根据1792年第二版的序言，这些早期的粉丝被称为收藏家。第一版采用可移动的字符制作，这比木刻版画要快。 该书包含99幅插图，被印刷了一百多本。 第一版可能于1791年底在北京印刷，第二版于1792年初在苏州印刷。两版之间相隔72天，这或许表明北京印刷版立即被抢购一空。 1791年版也很快被译成蒙古文：蒙古王府本。--[[User:Deng Jinxia|Deng Jinxia]] ([[User talk:Deng Jinxia|talk]]) 05:18, 13 November 2020 (UTC)&lt;br /&gt;
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'''1791年第一版:''' 程甲本 &lt;br /&gt;
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根据1792年第二版的序言，这些早期的粉丝被称为收藏家。第一版采用活字印刷制作，这比木刻印刷要快。 该书包含99幅插图，印刷了一百多本。 第一版可能于1791年底在北京印刷，第二版于1792年初在苏州印刷。两版之间相隔72天，这或许表明北京的这一版一经印刷立即被抢购一空。 1791年版也很快被译成蒙古文：蒙古王府本。--[[User:Xu Pengfei|Xu Pengfei]] ([[User talk:Xu Pengfei|talk]]) 05:32, 13 November 2020 (UTC)Xu Pengfei&lt;br /&gt;
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==Ding Daifeng 丁代凤==&lt;br /&gt;
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'''2nd Book edition in 1792:''' 程乙本 Cheng B edition&lt;br /&gt;
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A second edition, with ‘corrections’ some consider mistakes today, was published in 1792 in Suzhou and sold well too. The 2nd edition claims to have removed many mistakes of the 1st edition.[ 	For an overview of the comparison of the two editions please refer to: 《《红楼梦》程乙本版本研究综述》，王丽敏，河南教育学院学报 (哲学社会科学版) Vol．33.] One of the differences is that the 程乙本 Cheng B edition changed expressions in ancient wenyan to more contemporary ones, like “索” was turned into “要”, “趁” into “赶”, “题” into “写”, “端” into “头”, “闻得” into “听见”, “记挂” into “惦记”, “殊不知” into “那里知道” etc., but not in every case. Altogether they changed roughly 20,000 characters.&lt;br /&gt;
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1792年第二版：程乙本&lt;br /&gt;
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第二版于1792年在苏州出版，也取得了很好的销量。在第二版当中，做出了一些修正，尽管这些修正在如今被认为是错误的。第二版声称修正了第一版中的诸多错误。[关于两个版本比较的概述，请参阅：《《红楼梦》程乙本版本研究综述》，王丽敏，河南教育学院学报 (哲学社会科学版) Vol．33.]不同点之一是程乙本将一些古文言文表达转化为了更为现代的表达，比如将“索”改成了“要”，“趁”改成了“赶”，“题”改成了“写”，“端”改成了“头”，“闻得”改成了“听见”，“记挂”改成了“惦记”，“殊不知”改成了“那里知道”等,但它并没有对所有的表达进行修改。修改字数总计约达20000。--[[User:Ding Daifeng|Ding Daifeng]] ([[User talk:Ding Daifeng|talk]]) 06:40, 13 November 2020 (UTC)&lt;br /&gt;
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==Fang Jieling 方洁玲==&lt;br /&gt;
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There is also a change of the list of confiscated goods. What might have been the reason in this particular case to change the list of confiscated goods for the Cheng B edition? The list in the Jiaben is a documentation of richness and therefore lets the confiscation seem to be justified because of unjustified enrichment. In the Yiben, the list starts with mostly religious items like, Buddha statues, this lets the confiscation appear unjustified and shifts the sympathies of the reader towards the family. In the late 18th century, there was a turn towards Buddhism.&lt;br /&gt;
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==Gan Fengyu 甘奉玉==&lt;br /&gt;
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Many umlegitimized copies appeared. The book was delivered to Korea and shipped to Japan, where it was read in its original language.&lt;br /&gt;
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The novel created a wave of interest in China comparable to the one of ''The Sorrows of the Young Werther'' in Europe since 1774. The first edition, printed in 1791 in Peking in a small number of copies (estimates range between 4 and 400) was soon sold out.&lt;br /&gt;
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很多非法盗版书出现，盗版书籍运到韩国后，又转海运到日本，在那里，人们阅读的却又是原文。&lt;br /&gt;
小说在中国引起了一波兴趣浪潮，堪比欧洲1774年以来的《少年维特的烦恼》浪潮。1791年，北京 印刷了第一版，数量很少（大约4-400本），很快就一售而空。--[[User:Gan Fengyu|Gan Fengyu]] ([[User talk:Gan Fengyu|talk]]) 03:25, 14 November 2020 (UTC)&lt;br /&gt;
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==Gao Mingzhu 高明珠==&lt;br /&gt;
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Some scholars assume a suicide wave among readers who identified with Lin Daiyu. Many readers discussed whether they identified more with Lin Daiyu or with Xue Baochai, a discussion that lasts until today. &lt;br /&gt;
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==Gong Yumian 龚钰冕==&lt;br /&gt;
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'''Spreading to Japan and Korea'''&lt;br /&gt;
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Captain王开泰 Wang Kaitai delivered 18 copies of a 9-volume edition of the Dream on December 9, 1793 to Japan, as we can prove in a store list of a Nanking ship arriving in长崎港Nagasaki (which started on November 3 in 乍浦 Zhapu): „红楼梦 九部十八套“.[ 	From 发货账本, quoted from: 《红楼梦 》在日本.] We know of an early mentioning of the Dream by the Korean author ''Lee'', ''Kyu-Kyung''李圭景 ( 1788- ? 李圭景(이규경)) in the 1830s.[ 	From 《五洲衍文长笺散稿》卷七《小说 辩证说》, quoted from: 《红楼梦》在韩国的流传和翻译.]&lt;br /&gt;
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There were early (partial) translations of the novel into Manchurian.&lt;br /&gt;
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==Gu Dongfang 顾东方==&lt;br /&gt;
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'''Early Western notions of the book'''&lt;br /&gt;
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The novel also caught the attention of Europeans living in China, like the missionaries, who started to translate parts of it into Western languages, as well as the British embassies to China, who collected also Chinese literature, brought it back to Europe or engaged in translation or dissemination. &lt;br /&gt;
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==Guan Qinqing 管钦清==&lt;br /&gt;
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The book seems to have run out of stock often and needed to be purchased from other cities, whereever it was available, like in about 1812 in Canton: Robert Morrison, a missionary who worked in Macao, may have been pointed by his Chinese tutor to the novel. In 1816 he published a dialogue between a student (maybe himself) and his Chinese tutor pointing to the time before December 1812, when he translated parts of the novel and therefore had a copy: &lt;br /&gt;
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==Gui Yizhi 桂一枝==&lt;br /&gt;
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Student: “What is the best book for students to read?” – [...suggestion of ''Daxue''.] Tutor: [...] to read the Hung-low-mung will do very well. – Student: I have not seen the Hung-low-mung, have you seen it? – Tutor: I have not brought it with me, but if you wish to see it, I will write to Canton, and present it to you. Student: “Very good. I will trouble you to write for it.” – Tutor: “I will do so.” – Student: “How many volumes are there in the Hung-low-mung?” – Tutor: “Twenty volumes in all. In this book, the phraseology is entirely that of Peking.”[ 	From: “Dialogue V”, in: 《中文对话与单句》''Dialogues and Detached Sentences in the Chinese Language, with a free and verbal translation in English, collected from various sources'', Macao: East India Company Press 1816. [Chinese parts left out in this quotation.]] &lt;br /&gt;
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==Guo Lu 郭露==&lt;br /&gt;
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Between December 1812 and February 1813, Robert Morrison translated parts of chapter 4 and send it to Great Britain. He published entries about the Dream in his dictionary, of which the first volume appeared in 1815[	《华英字典》''A Dictionary of the Chinese language in three parts'', Macao: East India Company Press 1815, vol. I 930 pp., the novel title is mentioned in volume I:614.] and more translation excerpts, e.g. from chapters 4 and 39, in his 1816 textbook edition.[ 	《中文对话与单句》''Dialogues and Detached Sentences in the Chinese Language, with a free and verbal translation in English, collected from various sources'', Macao: East India Company Press 1816, e.g. pp. 194-200.] &lt;br /&gt;
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==Han Haiyang 韩海洋==&lt;br /&gt;
&lt;br /&gt;
Only 23 years of its publication, the novel already was part of the canonized Chinese literature of fiction and Robert Morrison used excerpts of it for his text books to teach Westerners Chinese, as well as expressions from it for his dictionary and sent letters with excerpt translations to Europe, for an intended 2nd vol. of his ''Horæ Sinicæ'' which never was realized.&lt;br /&gt;
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The first British Embassies to China (among them especially Charles Bowra, John Francis Davies) also collected literature and among it the ''Dream of the Red Chamber''. &lt;br /&gt;
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==Han Wanzhen 韩宛真==&lt;br /&gt;
&lt;br /&gt;
'''Early translation history in the West'''&lt;br /&gt;
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In 1819, the first excerpt translations were published in Europe, in English (by John Francis Davis) and in French (by Davis, further translated by Bruguière). Significantly, they were published hidden in other larger works, in the English case, it was a Travel Report by Clarke Abel,[ 	约翰．巴罗（John Barrow）：“Art. IV Narrative of a Journey in the Interior of China, and of a Voyage to and from that Country, in the Years 1816 and 1817; containing an Account of the most interesting Transactions of Lord Amherst's Embassy to the Court of Peking, and Observations on the Countries which it visited. By Clarke Abel F.L.S. London 1818”，见：William Gifford（主编）, Quarterly Review 21:41 (1819年1月) 见第67-91页，特见第79-80页。这份期刊于1819年6月4号发行，总发行量13000份。笔者在这里参照了以下的索引并最终确定作者: „Gentleman's Magazine (Mar. 1844), 246-47. The article's author refers to #415 and #438 (including a specific reference), both of which are on the same topic and are by Barrow. Cf. also the discussion of infanticide (p. 76) and Raffles's account of Java reviewed by Barrow in #422. In his QR articles, it was Barrow's signature practice to refer to his own works.“, 参考„Quarterly Review Archive“ http://www.rc.umd.edu/reference/qr/index/41.html。] and in the French case, it was a Chinese drama, La-song-euil.[ 	“Rêves de la Chambre rouge”, 见：»Avant-propos du traducteur francais«, 见: 安托萬．安德烈．包儒略(Antoine-André Bruguière), ''Lao-seng-eul'' [老生兒], ''Comédie Chinoise, suivie de San-iu-leou, ou Les trois étages consacrés, conte moral ; Traduits du chinois en anglais, par J. F. Davis de la factorerie de Canlon ; et de l'anglais en français, par A. Bruguière de Sorsum; avec additions du traducteur'', 巴黎: Rey et Gravier / 伦敦 A. B. Dulau &amp;amp; Co. 1819 年, 227 页, 第141-164页, 见第150-151页。]&lt;br /&gt;
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==He Changqi 何长琦==&lt;br /&gt;
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These excerpt translations were done by John Francis Davis, he translated excerpts from chapter 3 and they were published by John Barrow in Great Britain and by Bruguière in France, both in 1819. Further translations were in 1846 by Robert Thom, excerpts of chapter 6, in 1868-69 Edward Charles Bowra chapters 1-8, in 1892-93 Henry Bencraft Joly chapters 1-56, in 1927 Liang-Chih Wang chapters 1-95, in 1929/1958 Wang Chi-chen an abridged full version, in 1958 Florence McHugh &amp;amp; Isabel McHugh a further translation from the abridged German version of 1938 by Franz Kuhn. &lt;br /&gt;
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==Hu Baihui 胡百辉==&lt;br /&gt;
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Regarding these translations, both the translation quality as well as the quality of the English used did not reach the status of world literature. Regarding full translations, we have in the 1960s Bramwell Seaton Bonsall, in 1973-1986 Hawkes/Minford and in 1978-1980 Yang/Yang. Among all the translators who embarked on this endeavour, only Hawkes (1923-2009) and Minford (1946-) achieved the goal to produce a translation which clearly falls into the categorization of world literature, the others, as Gladys Yang stated, “were a poor shadow of the original”.[ 	Yang 1980 3:621-622.]&lt;br /&gt;
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==Hu Huifang 胡慧芳==&lt;br /&gt;
&lt;br /&gt;
'''Early Misunderstandings'''&lt;br /&gt;
&lt;br /&gt;
Before the novel was available in translation, we find a lot of misunderstandings and negative judgements on the novel: Morrison considered the novel to have been written in “Peking Dialect”, this mistake developed its own tradition.[	Even in 1995, you could read that the Dreams is written in Peking dialect, cf. Shu Changshan, Die Rezeption Thomas Manns in China, 1995, Frankfurt: Lang, 326 pp. At least Tong Yao, Die Vielfältigkeit der Literatur, 2006 mentions both Peking and Nanking dialects.] In 1842 Gützlaff[ 	“''Dreams in the Red Chamber''”, Friedrich August Gützlaff (1803-1851), “《紅樓夢》Hung Lau Mung, or Dreams in the Red Chamber; a novel. 20 vols. Noticed by a Correspondent”, in: ''Chinese Repository'', issue 11 (1842) 266-273.] introduced the protagonist as „the lady Páuyu“ (p. 268), even “a very petulant woman” (p. 270) and “busy lady” (p. 272), and took Jia Yucun贾雨村 (instead of Jia Zheng 贾政) as Baoyu’s father.&lt;br /&gt;
&lt;br /&gt;
在小说被翻译出版之前，我们发现了很多关于小说的误解和负面判断：莫里森认为小说是用“北京话”写的，这个错误发展了它自己的传统。[即使在1995年，您也可以阅读 梦是用北京话写的，参见 舒常山，《死神的托马斯·曼斯》，中国，1995年，法兰克福：郎，326页。至少通瑶（《文学之路》，2006年）同时提到了北京方言和南京话。 弗里德里希·奥古斯特·古兹拉夫（Friedrich AugustGützlaff，1803-1851年），《《红楼梦》》 一本小说。 20卷 通讯员注意到”，在：中国资料库，第11版（1842）266-273。]中将主角介绍为“夫人帕尤”（第268页），甚至是“一个非常挑剔的女人”（第270页），以及“ （第272页），并以贾雨村贾雨村（而不是贾政贾政）为宝玉的父亲。--[[User:Hu Huifang|Hu Huifang]] ([[User talk:Hu Huifang|talk]]) 02:19, 14 November 2020 (UTC)&lt;br /&gt;
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==Hu Jin 胡瑾==&lt;br /&gt;
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Also his overall judgement is “in expressing our opinion about the literary merits of the performance, we may say that the style is without any art, being literally the spoken language of the higher classes in the northern provinces.” and he recommends it for language learning (p. 273). Even in 1900, Herbert Allen Giles introduced the novel as have been written in “Peking dialect” and attributed to Cao Xueqin “of the 17th cent.”[ 	“HUNG-LOU-MENG: 紅樓夢 A famous Chinese novel in the Peking dialect, popularly known as the Dream of the Red Chamber, dealing chiefly with events of domestic life which are very graphically described, and attributed to Ts'ao Hsiieh-ch'in of the 17th cent.” See: Herbert Allen Giles, ''A glossary of reference on subjects connected with the Far East'', 1900, pp. 127-128]&lt;br /&gt;
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此外，他的总体判断是“在表达我们对文学价值的意见时，我们可以说，这种风格没有任何艺术，实际上是北方各省较高阶层的口语。”他建议将它用于语言学习(第273页)。甚至在1900年，翟理斯介绍说这部小说是用“北京话”写成的，被认为是17世纪曹雪芹的代表作.【紅樓夢：一部以北京话写成的中国著名小说，俗称《红楼梦》，主要描写家庭生活中的琐事，描写生动形象，被认为是十七世纪曹雪芹的主要作品。参考:赫伯特·艾伦·翟里斯，《远东相关主题参考词汇》，1900年，第127-128页]】--[[User:Hu Jin|Hu Jin]] ([[User talk:Hu Jin|talk]]) 04:08, 14 November 2020 (UTC)&lt;br /&gt;
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==Ji Tiantian 纪甜甜==&lt;br /&gt;
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Also he claimed that the title “红楼梦” would be “a term which is not found anywhere in the text”,[ 	Giles 1885.] therefore was figurative and should be translated as “A Vision of Wealth and Power”. Actually the expression is found several times in the text, even in the title of chapter 25 and Baoyu actually very often falls asleep and dreams in the red bed-chambers of his female relatives and friends.&lt;br /&gt;
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==Jiang Fengyi 蒋凤仪==&lt;br /&gt;
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'''Early Reception of the novel in the West'''&lt;br /&gt;
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We first must credit pioneers like J. Davis, who not only tried to systematize Chinese poetry with examples from the ''Red Chamber Dreams'', but also sent the first translations of the novel out in the world and made it known in America and Europe just a decade after it has been published in China. Some sinologists used the story simply as a good example for learning Chinese (Morrison, Thom).&lt;br /&gt;
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==Jiang Hao 姜好==&lt;br /&gt;
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One can conclude that the ''Red Chamber Dreams'' transported a differentiated image of China, of fashion, of hair and clothes (Barrow, Bruguière, Goldsmith), of human relations (Goldsmith), and of a highly developed language. In this language, some poetical expressions were only understandable to those who had a broad knowledge of Chinese culture. The finesse of the differentiated use of the dialects according to the respective characters in the novel was simply overlooked (Morrison, Gützlaff, Thom) and only discovered much later. &lt;br /&gt;
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==Jiang Qiwei 蒋淇玮==&lt;br /&gt;
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The first phase of the Western reception was ethnocentric, partially due to the China-bashing of philosophers like Montesquieu, Herder, Hegel and to the imperialist spirit of contemporary Europe. The judgments on the novel are mostly driven by argumentation strategies; that is, the novel is used as a tool to prove one’s own existing attitudes. The novel is exploited to argue for: &lt;br /&gt;
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==Kang Haoyu 康浩宇==&lt;br /&gt;
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-	exoticism (J. Davis, Barrow, Bruguière)&lt;br /&gt;
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-	the inferiority of Chinese literature (Gützlaff, Langdon Davies, Harte, Giles, Headland)&lt;br /&gt;
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-	polarization by confronting opposite conceptions like ideal of beauty etc. (Goldsmith)&lt;br /&gt;
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-	to proof own hypotheses, like a self-made categorization of Chinese poetry (J. Davis)&lt;br /&gt;
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In this beginning phase, most comparisons were done within Chinese literature (Gützlaff: best of Chinese literature but inferior to Western literature, later: best of Chinese literature).&lt;br /&gt;
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-  异国情调（J.戴维斯，巴罗，布鲁基耶）&lt;br /&gt;
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-  中国文学的劣势（古兹拉夫，兰登戴维斯，哈特，贾尔斯，海德兰）&lt;br /&gt;
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-  通过对立的概念实现两极分化，如理想之美。（戈尔登史密斯）&lt;br /&gt;
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-  证明自己的假设，就像中国诗歌的自我分类（J.戴维斯）&lt;br /&gt;
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在最开始的阶段，大多数的比较都是关于中国文学的。（古兹拉夫：最好的中国文学，但不及西方文学，后来:最好的中国文学）--[[User:Kang Haoyu|Kang Haoyu]] ([[User talk:Kang Haoyu|talk]]) 15:01, 13 November 2020 (UTC)&lt;br /&gt;
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-异国情调（J.戴维斯，巴罗，布鲁基耶）&lt;br /&gt;
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-中国文学的劣势（古茨拉夫，兰登·戴维斯，哈特，吉尔斯，海德兰）&lt;br /&gt;
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-通过概念的对立来实现两极分化，如理想之美等。（戈德史密斯）&lt;br /&gt;
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-证明自己的假设，例如对中国诗歌的自我归类（J.戴维斯）&lt;br /&gt;
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在这个开始阶段，大多数比较都是在中国文学中进行的（古茨拉夫：中国文学最好，但次于西方文学，后来：中国文学最好）。--[[User:Peng Xiaoling|Peng Xiaoling]] ([[User talk:Peng Xiaoling|talk]]) 00:57, 14 November 2020 (UTC)&lt;br /&gt;
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==Kang Lingfeng 康灵凤==&lt;br /&gt;
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However, when Herder revised his China perception, and when the still inadequate perception of China called for a more differentiated image, the first translated extracts of this rich novel of manners helped to change the perception of China.&lt;br /&gt;
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Finally ''Dream'' was compared to Western literature (Erkes, Wilhelm), was enshrined in the temple of world literature and was assigned attributes that added value to the Western reading experience (Clemons: “slowing down”).&lt;br /&gt;
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==Kong Xianghui 孔祥慧==&lt;br /&gt;
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'''Motifs for judgements'''&lt;br /&gt;
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As motifs for the early judgements mentioned above, I identify exoticization (joy of otherness of fashion and dressing, customs), universalization (world literature), the instrumentalization of the novel as evidence for own hypotheses on literature (Davis’ poetry), the instrumentalization for language learning etc.&lt;br /&gt;
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There is a change of motifs over time from exoticization and instrumentalization for proving inferiority to Western novels to accepting the novel as part of world literature and a masterpiece of Chinese culture with a special value in documenting Chinese society.&lt;br /&gt;
判断的主题&lt;br /&gt;
作为上述提及的早期判断的主题，我确定了小说的异国化（时尚和穿着的别样喜乐，习俗），普遍化（世界文学），小说的工具化作为文学假设的证据（如戴维斯的诗歌），以及小说的工具化用于语言学习等。&lt;br /&gt;
随着时间的推移，小说主题也发生了变化，从异国化和工具化证明西方小说的劣势，到接受小说作为世界文学的一部分以及可以记录中国社会的具有独特价值的中国文化杰作。--[[User:Kong Xianghui|Kong Xianghui]] ([[User talk:Kong Xianghui|talk]]) 13:06, 13 November 2020 (UTC)&lt;br /&gt;
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判断主题&lt;br /&gt;
上述提到的早起判断主题，我认为小说的异国化（别样的时尚穿着，习俗带来的乐趣），普遍化（世界文学），工具化，证实了我们对文学（戴维斯诗歌）的假设，也证实了语言学习工具化。&lt;br /&gt;
随着时间的推移，小说主题从异国化变成工具化，证实了本身不如西方小说，接受小说是世界文学的一部分，也接受中国文化杰作在记录中国社会方面有一种独特价值。--[[User:Gan Fengyu|Gan Fengyu]] ([[User talk:Gan Fengyu|talk]]) 03:11, 14 November 2020 (UTC)&lt;br /&gt;
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==Kong Yanan 孔亚楠==&lt;br /&gt;
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'''The novel title'''&lt;br /&gt;
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The book title changed from the first translations as “Red Chamber Dreams” to singular “Dream” in 1843 by德明 (А. И. Коваńко / A. I. Kovańko)[ 	„Traumgesicht auf dem rothen Thurm“, see&amp;gt; 德明 А. И. Коваńко (1808-1870, trans.): „''Chun-lou-men'' (‚Traumgesicht auf dem rothen Thurm‘) oder ‚Geschichte des Steins‘（《石头记》）. Tschen-schi-in erfährt im Traume die Wiederbelebung des Steins; Zja-jui-zun verliebt sich in seiner Armuth in eine schöne Magd.“ , in: ''Das Ausland'', Munich 26 (1843) 198-199, 201-203.] and in 1846 by Robert Thom[ 	Robert Thom 羅伯聃, “Extract from the Hung-low-mung, chapter VI”, in: Robert Thom, 《正音撮要》 The Chinese speaker. Extracts from works written in the Mandarin language, as spoken at Peking. Compiled for the use of students, by Robert Thom, Esq., H. M. Consul at Ningpo. Part I, Ningpo: Presbyterian Mission Press 1846, pp. 62-89].&lt;br /&gt;
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'''小说名'''&lt;br /&gt;
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书名刚开始翻译为“红楼梦”（Red Chamber Dreams），1843年德明将其译成了单数“梦”（Dream）。1846年，羅伯聃也将其译为单数形式。--[[User:Kong Yanan|Kong Yanan]] ([[User talk:Kong Yanan|talk]]) 11:33, 13 November 2020 (UTC)&lt;br /&gt;
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==Lei Fangyuan 雷方圆==&lt;br /&gt;
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Many scholars have discussed the question if it was more appropriate to call the novel “Story of the Stone” instead of “Dream of the Red Chamber”. Arguments for the latter are that the first printed edition and most of the printed editions afterwards carried this title, so that it reached its fame and was read under this title until today, there was also at least one 120-chapter manuscript copy, the 《乾隆抄本百二十回紅樓夢》Qianlong 120 chapter manuscript; with this title circulating before. However, e.g. the Hawkes/Minford translation and the German Schwarz/Woesler translation use both titles with “also called” in between.&lt;br /&gt;
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许多学者都讨论过这样一个问题，即这部小说是否应该叫 &amp;quot;石头的故事 &amp;quot;而不是 &amp;quot;红楼梦 &amp;quot;更合适。支持后者的论点是，第一版印刷版和之后的大部分印刷版都使用这个书名，所以它有了自己的名气，直到今天还用这个书名，至少还有一个120章的手抄本，即乾隆抄本百二十回红楼梦；之前流传着这个书名。不过，如霍克斯/明福译本和德国施瓦兹/沃斯勒译本都使用这两个书名，中间有 &amp;quot;也叫&amp;quot;。--[[User:Lei Fangyuan|Lei Fangyuan]] ([[User talk:Lei Fangyuan|talk]]) 07:02, 13 November 2020 (UTC)&lt;br /&gt;
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许多学者都讨论过一个问题，即把这部小说起名为《石头记》 相比《红楼梦》而言是否更为合适。支持后者的人认为，第一版和之后的大多数印刷版已经有《红楼梦》这个名字了，所以名气传播开来，直至今日人们读到的还是这个书名，至少还有一个一百二十回的手抄稿，即《乾隆抄本百二十回红楼梦》，之前就流传这个书名。不过，在霍克斯/明福译本和德国施瓦茨/沃斯勒译本中，两个书名都用到了，之间含有“亦称”两字。--[[User:Yuan Yuchen|Yuan Yuchen]] ([[User talk:Yuan Yuchen|talk]]) 09:16, 13 November 2020 (UTC)&lt;br /&gt;
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==Lei Kuangxi 雷旷溪==&lt;br /&gt;
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Some scholars argue that the German title ''Traum der Roten Kammer'' was grammatically and logically not correct in German, but you need more than a grammar teacher’s imagination to find the answer why this title prevailed: A book title, especially a poetic one of a work of literature, does not at all have to be grammatically correct or logical, the title is simply assigned with the first translations and translators and then naturally develops in the cultural field over time.&lt;br /&gt;
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一些学者认为,德译版本《红楼梦》的标题“Traum der Roten Kammer”在德语中的语法和逻辑不正确,但是要找到这个标题为什么盛行，光靠语法老师的想象力是不够的:书名,尤其是像诗歌文学作品,并不需要一定在语法或逻辑上正确,标题只是简单地由最初翻译版本和译者指定的，然后随着时间的推移自然地在文化领域发展。--[[User:Lei kuangxi|Lei kuangxi]] ([[User talk:Lei kuangxi|talk]]) 03:50, 13 November 2020 (UTC)Lei Kuangxi&lt;br /&gt;
&lt;br /&gt;
一些学者认为，《红楼梦》标题的德版译文Traum der Roten Kammer在德语的语法和逻辑上是不正确的，但想到找到这个标题为什么流行的答案，光拥有跟语法老师一样的想象力是不够的:书名，尤其是文学作品充满诗意的书名，根本不需要语法正确或有逻辑，标题只是简单地由最初的译文和译者定下来，然后自然而然地随着时间的推移在文化领域发展。--[[User:Ding Daifeng|Ding Daifeng]] ([[User talk:Ding Daifeng|talk]]) 07:05, 13 November 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
一些学者认为,德译版本《红楼梦》的标题“Traum der Roten Kammer”在德语的语法和逻辑方面有误，,但是要找到这个标题为什么盛行的原因，光靠语法老师的想象力是不够的:书名,尤其是像诗歌文学作品的书名,不必在语法或逻辑上正确,因为标题由最初翻译版本和译者指定的，然后随着时间的推移自然地在文化领域发展。--[[User:Li LIli|Li LIli]] ([[User talk:Li LIli|talk]]) 11:31, 13 November 2020 (UTC)Li Lili&lt;br /&gt;
&lt;br /&gt;
==Li Haiquan 李海泉==&lt;br /&gt;
&lt;br /&gt;
Language development exactly works like this: New, seemingly incorrect forms of expressions come into existence, and become correct and a part of language simply because they are used. All translation decisions need to be balanced: They do not have to adhere only to a word-by-word translation, or to logic or grammar, but to what is a common expression or broadly accepted. &lt;br /&gt;
&lt;br /&gt;
==Li Lili 李丽丽==&lt;br /&gt;
&lt;br /&gt;
There are historical settings which influence these historical decisions, like the existence of the English translation title “Dream of the Red Chamber” at that time. Other reasons are that “Traum der” is simply shorter than “Träume im/vom roten Anwesen”, while the reader will still associate the logically correct meaning behind it. The word “Kammer” at the time when the novel was first published in Chinese was linked to luxurious rooms e.g. in castles, so very much appropriate. And the “red” is a leitmotiv.&lt;br /&gt;
有一些历史背景影响着这些历史决定，比如当时英译本《红楼梦》的存在。另一个原因是“Traum der”比“Träume im/vom roten Anwesen”短，而读者会联想到其背后逻辑上正确的含义。当该小说第一次以中文出版时，“坎默”一词指豪华的房间（如城堡），非常恰当。“红色”是主旨。--[[User:Li LIli|Li LIli]] ([[User talk:Li LIli|talk]]) 11:20, 13 November 2020 (UTC)Li Lili&lt;br /&gt;
&lt;br /&gt;
有一些历史背景会影响这些历史决定，例如当时“红楼梦”标题的英文翻译。另一原因是“ Traum der”短于“Träumeim / vom roten Anwesen”，而读者仍会联想到其背后逻辑上正确的含义。当小说首次以中文出版时，“ Kammer”一词指豪华的房间（如城堡），这是非常恰当的，因为“红色”是主旨。--[[User:Kong Xianghui|Kong Xianghui]] ([[User talk:Kong Xianghui|talk]]) 13:17, 13 November 2020 (UTC)&lt;br /&gt;
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==Li Lingyue 李凌月==&lt;br /&gt;
&lt;br /&gt;
To pay tribute to historical developments of becoming a well-known expression, in the German edition, the mentioning of “rote Kammer” was capitalized into “Rote Kammer” in the new edition, very much alike “Red Chamber” in English at the very beginning of the English translation history.&lt;br /&gt;
为了纪念历史的发展成为一个众所周知的表达，在德语版中，“rote Kammer”在新版中被大写为“Rote Kammer”，非常类似于英语翻译史开始时的英版红楼梦。--[[User:Li Lingyue|Li Lingyue]] ([[User talk:Li Lingyue|talk]]) 04:30, 14 November 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
==Li Liqin 李丽琴==&lt;br /&gt;
&lt;br /&gt;
'''80 or 120 chapters'''&lt;br /&gt;
&lt;br /&gt;
The First European Conference on the Dream of the Red Chamber in Bonn 1992 agreed that the 120 chapter version was the authoritative one because it was simply the version under which the novel reached its fame and is best known among readers. Publishing houses argue that a fragment is harder to sell. Also, the part of Cao Xueqin in the last 40 chapters is not finally enligthened, and I always recommend to stick to the editors claims until falsification, therefore we should at least assume Cao’s authorship of the last 40 chapter titles and maybe even some parts of the text.&lt;br /&gt;
&lt;br /&gt;
“80章还是120章”&lt;br /&gt;
&lt;br /&gt;
第一届以红楼梦为主题的欧洲会议于1992年在波恩举行，会议上，专家们一致认为120章的版本更具权威性。原因是这个版本在世界上广为流传，在读者中广为人知。出版社认为，单独把书的某几个章节拎出来是很难出售的。此外，曹雪芹撰写的最后40章中部分内容并没有被最终确定下来，因此我始终建议坚持编者的主张，直到被篡改为止。基于此，我们至少应承认曹雪芹拥有最后40章甚至是部分文本的著作权。--[[User:Li Liqin|Li Liqin]] ([[User talk:Li Liqin|talk]]) 09:37, 13 November 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
'''80章还是120章'''&lt;br /&gt;
&lt;br /&gt;
第一届以红楼梦为主题的欧洲会坛于1992年在波恩举办。与会者一致认为120章的版本是权威版本，因为这个版本使红楼梦声名远扬、广为人知。出版社认为取其中几章出版成书，销量会更惨淡。曹雪芹撰写的最后40章是否出版最终也没有确定。我会一直坚持编者的观点，直到这本小说被改动后出版。因此，我们至少应该承认曹雪芹对于最后40章甚至是部分文本的著作权。--[[User:Kong Yanan|Kong Yanan]] ([[User talk:Kong Yanan|talk]]) 12:09, 13 November 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
==Li Luyi 李璐伊==&lt;br /&gt;
&lt;br /&gt;
How far other contributors have come close to or deviated from Cao’s original intent for the last 40 chapters may stay object of research. However, they seem to have been successful, because the 120-chapter has prevailed historically, also in its translations, and found the acceptance of the readership.&lt;br /&gt;
&lt;br /&gt;
'''Deviations from the original'''&lt;br /&gt;
&lt;br /&gt;
Kuhn, successful and critizised, with his Adapting and Foreignizing, very pleasing but ever-the-same-style translations of so different novels like Shuihuzhuan, Xiyouji and Hongloumeng is history and today one among many translations and more and more readers are able to read the Hongloumeng in other languages like English or even in Chinese.&lt;br /&gt;
&lt;br /&gt;
==Li Meng 李梦==&lt;br /&gt;
&lt;br /&gt;
Kuhn mentions to have used two specific copies of the original work. There are scholars who doubted that he really used the copies he indicated, because they could not be found. I see no reason to doubt Kuhn’s statement, it is more likely that he used grey editions which are not registered and maybe cannot be found any more.&lt;br /&gt;
&lt;br /&gt;
'''1st deviation by Minford: The explicit episode about the human-ghostly intercourse, chapter 102'''&lt;br /&gt;
&lt;br /&gt;
This episode is a black humour one, where Wu Gui’s wife has “a little bit a cold”, takes the wrong medicine and dies.&lt;br /&gt;
&lt;br /&gt;
==Li Yongshan 李泳珊==&lt;br /&gt;
&lt;br /&gt;
At this passage, it looks like we have the opposite case as in the second example: In the Chinese original the whole sentence “enjoyed her at inordinate length” is missing.&lt;br /&gt;
 &lt;br /&gt;
程甲本: 那媳妇子本有些感冒着了，日间吃错了药，晚上吴贵到家，已死在炕上。外面的人因那媳妇子不妥当，便都说妖怪爬过墙吸了精去死的。&lt;br /&gt;
&lt;br /&gt;
程乙本: 那媳妇子本有些感冒着了，日间吃错了药，晚上吴贵到家，已死在炕上。外面的人因那媳妇子不大妥当，便说妖怪爬过墙来吸了精去死的。&lt;br /&gt;
&lt;br /&gt;
Minford: Because of her reputation for promiscuity, other members of the household staff concluded that a spirit must have climbed over the Garden wall, enjoyed her at inordinate length, and finally sucked the sap' out of her.&lt;br /&gt;
&lt;br /&gt;
==Li Yu 李玉==&lt;br /&gt;
&lt;br /&gt;
The sentence seems to be made up by John Minford. It is the explicit report of a sexual intercourse between a ghost and a woman, which ended, when the ghost sucked the lifeblood out of her. Minford does not only extend this brief report about the death of a woman by adding a sexual intercourse between a human and a non-human, which is inappropriate or abnormal by itself, but stresses the abnormality even by characterizing this intercourse in more detail, as taking “inordinate” long. &lt;br /&gt;
&lt;br /&gt;
==Lin Min 林敏==&lt;br /&gt;
&lt;br /&gt;
Originally, Cao/Gao had only very briefly reported on Wu Gui’s wife’s death. They mentioned the natural cause of death, that she had taken the wrong medicine. However, since most of the strokes of fate in this novel are explained as to be motivated through moral retaliation, Cao/Gao describe her as “promiscuous”. In the logic of moral retaliation, she earns to die. The ghost then would be the executor. But still he only is described as climbing over the wall and sucking the lifeblood out of her.&lt;br /&gt;
&lt;br /&gt;
==Lin Xin 林鑫==&lt;br /&gt;
&lt;br /&gt;
Minford adds an action, which leads further than Cao/Gao wrote. This action still is connected to the story, it even drives its authority from Wu Gui’s wife’s promiscuous way of living. The scene might have stimulated the readers’ fantasy, but not necessarily in the direction of Minfords account. Did Minford simply give his fancy full scope? He might also have been encouraged to interpret this scene the way he did because of the parallel scene with the mirror in chapter 12, where Jia Rui also has inordinate often sexual intercourse with the ghost of Xifeng, and gradually loses his lifeblood until he dies on a large patch of semen.&lt;br /&gt;
&lt;br /&gt;
==Ling Zijin 凌子瑾==&lt;br /&gt;
&lt;br /&gt;
After Minford had altered the original, the original ending of that scene did not fit any more: The action of killing her by sucking the lifeblood out of her comes too abrupt. In one subordinate clause they enjoy their sex and even inappropriately long, and in the next he kills her, which is by itself also outrageous. So Minford had to step into the original text sentence and add the adverb “finally” in order to bring it into a chronological and resultative relation.&lt;br /&gt;
&lt;br /&gt;
==Liu Bo 刘博==&lt;br /&gt;
&lt;br /&gt;
Kuhn and Schwartz/Woesler have translated this passage without these additions and did not elaborate possible fantasies.&lt;br /&gt;
&lt;br /&gt;
The effect of Minfords addition is, that the episode becomes more interesting, scandalous and sexually explicit.&lt;br /&gt;
&lt;br /&gt;
In order to find out, what made Minford add this information, we should consider not only the original, but also a then existing translation. Minford in his preface thanked Yang Xianyi for his help with his own translation Hawkes/Minford 4:30. When we look at the Yang/Yang translation, we find the adding already there: &lt;br /&gt;
&lt;br /&gt;
==Liu Jinxingqi 刘金惺琦==&lt;br /&gt;
&lt;br /&gt;
Yang/Yang: Outsiders, knowing her bad reputation, claimed that a monster had climbed over the wall to enjoy her until she died of exhaustion.&lt;br /&gt;
&lt;br /&gt;
This translation in many respects is not so accurate. The couple Yang/Yang uses more general words, leaving out the causal conjunction “because” [she was known for promiscuity]. For 不[大]妥当 (promiscuity) they even use the more general “bad reputation”, and maybe in order to compensate for the lacking sexual connotation in this, they added “to enjoy her”, which we do not find in the Chinese original text.&lt;br /&gt;
&lt;br /&gt;
==Liu Liu 刘柳==&lt;br /&gt;
&lt;br /&gt;
And they already prepare the way for Minford’s “finally” by adding the “until”. As the whole Yang/Yang translation uses simpler words, 妖怪 is translated as “monster” instead of “ghost”. Since immediately before this episode the garden is described as being the home of ghosts, he latter might have been the better expression. Also the “death of exhaustion” is an interpretation, the Chinese text only reads “sucked the lifeblood out of her”.&lt;br /&gt;
&lt;br /&gt;
他们也将闵福德的“finally”(最后)一词改为“until”(直到)。杨戴夫妇的整个译文用的都是相对简单的词，如“妖怪”译成“monster”(怪兽)而不是“ghost”(幽灵)。在上一个片段中，杨戴夫妇将花园描述成幽灵的家，所以用后者(ghost)表达或许更好。同样，“死于精疲力竭”只是一种解释，在中文文本中只解作“吸干她的生命之血”。--[[User:Liu Liu|Liu Liu]] ([[User talk:Liu Liu|talk]]) 09:17, 13 November 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
他们也将闵福德的“finally”(最后)一词改为“until”(直到)。杨戴夫妇的整个译文用的都是相对简单的词，如“妖怪”译成“monster”(怪兽)而不是“ghost”(幽灵)。但就在上一个片段中，花园描述为幽灵的家，所以用后者(ghost)表达或许更好。同样，“死于精疲力竭”只是一种解释，在中文文本中只解作“吸干她的生命之血”。--[[User:Kang Haoyu|Kang Haoyu]] ([[User talk:Kang Haoyu|talk]]) 15:07, 13 November 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
==Liu Ou 刘欧==&lt;br /&gt;
&lt;br /&gt;
So it seems that Minford has decided to keep the deviation of Yang/Yang, which is disloyal to the original and therefore falls under category c. However it may protect the Yang/Yang translation from discovery of its same deviation, since only people fluent in both languages will be able to discover it. Was Minford’s disloyalty to the original and his loyalty to his fellow translators a conspiracy? Or did Minford not directly translate from the Chinese, but simply improve the Yang/Yang translation? Since he uses “spirit” instead of “monster”, he still seems to have been conscious about everything and seems to have consciously decided to keep the Yang/Yang deviation for the mentioned possible reasons.&lt;br /&gt;
&lt;br /&gt;
==Liu Yangnuo 刘洋诺==&lt;br /&gt;
&lt;br /&gt;
'''2nd deviation by Minford: The explicit episode on the first attempt of the rape of the nun Miaoyu, chapter 111'''&lt;br /&gt;
&lt;br /&gt;
In chapter 111, we find another anecdote, where thieves invade Rongguofu and steal chests of treasures. On their way, they discover the appealing nun Miaoyu and start a first attempt to rape her. The exact passage reads in both editions:&lt;br /&gt;
&lt;br /&gt;
程甲本and程乙本: 又欺上屋俱是女人，且又畏惧，正要踹进门去，因听外面有人进来追赶，所以贼众上房。&lt;br /&gt;
&lt;br /&gt;
==Liu Yi 刘艺==&lt;br /&gt;
&lt;br /&gt;
Yang/Yang: The thieves had known that there were no men in the house. While in Hsi-Chun’s courtyard they had peeped through the window and been inflamed by the sight of a ravishing nun. As there were only terrified women inside, they were about to kick down the door when they heard the night-watch rushing in after them and promptly climbed up the roof.&lt;br /&gt;
&lt;br /&gt;
Minford: After the main part of their mission was accomplished, the thieves, knowing how unprotected the Jia mansion was, had been casually snooping around in Xi-chun's courtyard, and had caught a glimpse there of a very attractive young nun, which had put all sorts of mischievous ideas into their heads.&lt;br /&gt;
&lt;br /&gt;
杨/阳:贼人早知屋内没有男人。在熙春的院子里时，他们曾从窗外偷看，看到一个淫荡的尼姑，就被激怒了。由于里面只有被吓坏的女人，他们正要踹门，却听到守夜人跟着冲进来，于是立即爬上屋顶。&lt;br /&gt;
&lt;br /&gt;
明福:在完成了主要部分的任务后，盗贼们知道贾府是多么的没有防范，就在熙春的院子里随意地窥探，在那里瞥见了一个很有魅力的年轻尼姑，这让他们产生了各种恶作剧的想法。--[[User:Liu Yi|Liu Yi]] ([[User talk:Liu Yi|talk]]) 08:02, 13 November 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
==Liu Yiyu 刘怡瑜==&lt;br /&gt;
&lt;br /&gt;
They knew that the apartment was unguarded save by a handful of scared old women, and were about to kick the door in and put an abrupt end to Adamantina's meditations when they heard the sound of footsteps corning from outside and escaped onto the roof-top.&lt;br /&gt;
&lt;br /&gt;
Minford has added a sentence here. We see that the original did not contain this sexually explicit clause, therefore the deviation does not fall under category a. We can also exclude the possibility that Minford used an earlier edition which might have been censored in the more prudish socialist era, since we have the original Cheng-Gao edition from 1791/1792.&lt;br /&gt;
&lt;br /&gt;
==Liu Zhiwei 刘智伟==&lt;br /&gt;
&lt;br /&gt;
Minford’s extra sentence also does not exist in the translations Yang/Yang, Kuhn, nor in the later Schwartz/Woesler.&lt;br /&gt;
&lt;br /&gt;
In the Chinese original, the emerging sexual tension, stimulating the readers fantasy of a rape, is stopped immediately, when the kicking in of the door already at the beginning of this sentence is relieved by the wording “正要” were just about to… &lt;br /&gt;
&lt;br /&gt;
We can also exclude the category b. here, because it is not possible to read one subordinate clause more into the original.&lt;br /&gt;
&lt;br /&gt;
==Lou Cancan 娄灿灿==&lt;br /&gt;
&lt;br /&gt;
Might it have been a necessary explanation, which Minford did not want to explain in an annotation and therefore had to integrate into the text? This, we can also exclude, since from the context it is explicitly clear why they wanted to kick in the door. &lt;br /&gt;
&lt;br /&gt;
In order to understand Minford’s intention, we should ask what effect this wilful addition of this sentence has on the reader? First, this sexually arousing scene becomes longer. This gives the reader more time to develop fantasies, what might happen. Minford adds a sentence which expresses exactly these fantasies: When the men enter the room, Miaoyu will stop her meditation.&lt;br /&gt;
&lt;br /&gt;
==Luo Weijia 罗维嘉==&lt;br /&gt;
&lt;br /&gt;
The shifting of the perspective to the woman adds to the sexual tension. Both, the active men and the so far passive woman are now mentioned and can act in the fantasies of the reader. Even the end of passivity of the woman is associated, when Minford explicitly states that the meditation will end. And he stresses again the brutal aspect of this scene, using the word “abrupt”.&lt;br /&gt;
&lt;br /&gt;
The novel is mostly very implicit and connotative, it uses metaphors like “wind and rain game”  for describing sexual intercourse. Having explored the effects, Minford achieved with his deviation, one might guess, that the intention was to make this episode more explicit, to sexually arouse the readers.&lt;br /&gt;
&lt;br /&gt;
==Luo Yuqing 罗雨晴==&lt;br /&gt;
&lt;br /&gt;
This can be seen as disloyal to the original and its author, and it maybe seen as loyal to the profit of the press and the royalties.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
'''Sequels'''&lt;br /&gt;
&lt;br /&gt;
Many other authors also were inspired by the author and wrote a sequel to the novel. Soon, the novel was broadly accepted as another novel of the format of “四大奇书 Si da qi shu” and, since times became more strict regarding pornographic literature, replaced the ''Jin Ping Mei''. Already three years after the appearance, the Suoyin-School was founded and speculations began about the author and if the story had a real background. Please refer to the table of sequels in the attachment.&lt;br /&gt;
&lt;br /&gt;
==Ma Juan 马娟==&lt;br /&gt;
&lt;br /&gt;
'''Spreading of the novel to Russia'''&lt;br /&gt;
&lt;br /&gt;
In 1832, a member  of the Russian Orthodox Mission in China (俄国驻北京宗教使团学员)  brought a manuscript copy of the Story of the Stone back to Russia. It had 35 vols. (currently in the St. Petersburg branch of the Russian Scientific Oriental Institute). Another member of the Mission, А. И. Коваńко, used the pen name 德明 to introduce part of the first chapter to the West. &lt;br /&gt;
&lt;br /&gt;
'''Reevaluation in Late Qing and status in the Cultural Revolution'''&lt;br /&gt;
&lt;br /&gt;
==Ma Shuya 马淑雅==&lt;br /&gt;
&lt;br /&gt;
Wang Guowei improved the status of the novel since 1885,  he saw it as one of the most important pieces of Chinese literature, and the discussions of Hu Shi and Yu Pingbo. &lt;br /&gt;
&lt;br /&gt;
During the Cultural Revolution, the Dream of the Red Chamber was forbidden again.&lt;br /&gt;
&lt;br /&gt;
'''Spreading in Germany'''&lt;br /&gt;
&lt;br /&gt;
The total number of copies published between 1932 and 1977 is 89335 volumes, the ''Jin Ping Mei'' 《金瓶梅》 reached between 1930 and 1977 175000 vols.  Der Traum der Roten Kammer rangiert auf Platz 4 der Welt-Bestsellerliste. &lt;br /&gt;
&lt;br /&gt;
'''References'''&lt;br /&gt;
&lt;br /&gt;
[Please refer to the full bibliographic references in the footnotes for now.]&lt;br /&gt;
&lt;br /&gt;
==Ma Zhixing 马智星==&lt;br /&gt;
&lt;br /&gt;
'''Report'''&lt;br /&gt;
&lt;br /&gt;
'''3rd International Dream of the Red Chamber Conference in Europe'''&lt;br /&gt;
&lt;br /&gt;
''Martin Woesler''&lt;br /&gt;
&lt;br /&gt;
On November 7-8, 2015, the in¬ter¬national conference “Celebrating Cao Xue¬qin’s 300th anniversary - 3rd International ''Dream of the Red Chamber'' Conference Europe” was hosted at Folkwang University of Arts, Essen/Germany and organized by Martin Woesler. The Cao Xueqin Society (Peking) and the European Dream of the Red Chamber Society (Bochum) invited 30 speakers from the USA, Australia, Asia (Hong Kong, Taiwan, Korea), Europe (Germany, Hungary, Norway, Slovakia, Switzerland) and China (from the cities of Peking, Shanghai, Chengdu). Sponsor was the Beijing Cao Xueqin Culture Development Foundation. &lt;br /&gt;
&lt;br /&gt;
==Meng Ying 孟莹==&lt;br /&gt;
&lt;br /&gt;
In the greetings, Cultural Attaché Chinese Embassy Berlin Chen Ping, Essen Folkwang University of Arts’ chancellor Michael Fricke and Essen mayor Thomas Kufen expressed their gratitude and their feelings of great honor to host this 3rd international conference in Europe on Cao and his novel after the first two conferences in Bonn/Germany 1992 and Olomouc/Czech Republic 2014. Vice Minister Hu Deping, president of the Peking Cao Xueqin Society, said this conference offered the rare opportunity of sharing findings among experts from China and experts from the rest of the world, opening opportunities for further cooperation.&lt;br /&gt;
&lt;br /&gt;
==Mo Ling 莫玲==&lt;br /&gt;
&lt;br /&gt;
Martin Woesler welcomed the participants in his function as president of the European Dream of the Red Chamber Society. He expressed his satisfaction with the high quality of the contributions submitted from all over the world, including 10 written contributions, a selection of which would be published in the ''European Journal of Sinology''. Duan Jiangli announced that a selection of the Chinese papers will be published in the ''Cao Xueqin Research''.&lt;br /&gt;
&lt;br /&gt;
作为欧洲红学会的主席，吴漠汀热烈欢迎所有参会者。他非常满意对来自世界各地的10篇高质量的书面稿件，其中一部分将在《欧洲汉学杂志》上发表。段江力宣布，中国论文选集将在《曹雪芹研究》上发表。--[[User:Mo Ling|Mo Ling]] ([[User talk:Mo Ling|talk]]) 07:26, 13 November 2020 (UTC)Mo Ling&lt;br /&gt;
&lt;br /&gt;
作为欧洲红学会的主席，吴漠汀热烈欢迎所有参会者。对于来自世界各地的10篇高质量的书面稿件，他表示十分满意，其中一部分将在《欧洲汉学杂志》上发表。段江力宣布，精选的中国论文将会在《曹雪芹研究》上发表。--[[User:Tan Xingyue|Tan Xingyue]] ([[User talk:Tan Xingyue|talk]]) 15:20, 13 November 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
==Mo Nan 莫南==&lt;br /&gt;
&lt;br /&gt;
Hu Deping opened the first panel on studies on the author (Caoxue) with a discussion of the banner identity of Cao Xueqin, he stressed the imperial proximity of his even plain white banner and his high social status. Hu sees descriptions of Cao asking to put drinks on his tab as a proof of his trustworthiness due to his steady imperial stipend. Fan Zhibin in his contribution interpreted Cao’s status lower. Hu Deping expressed his skepticism towards the authenticity of any findings of cultural relicts after the 1970s attributed to Cao. But he pointed at the fact, that two places in the Old Summer Palace are called like the Daguan yuan itself (‘Daguan’) or like a place in it.&lt;br /&gt;
&lt;br /&gt;
==Nie Xiaolou 聂晓楼==&lt;br /&gt;
&lt;br /&gt;
Ellen B. Widmer (Wellesley College) analyzed the characterization of Cao as a dramatic character in the sequel ''Hou Honglou meng''. Zhang Shucai (Peking) explained further the findings on social status of aristocratic families and banner people close to the imperial court, with an analysis of the Han and Manchu heritages. Zhan Song (Peking) also reflected on the ethnic identity, when he introduced ''Honglou meng''-critics among Qing Eight Banner people. Duan Qiming (Peking) approached the family history from Cao Yin’s “''Beihong fuji''”, showing connections to author and novel. &lt;br /&gt;
&lt;br /&gt;
==Ou Rong 欧蓉==&lt;br /&gt;
&lt;br /&gt;
Ling Hon Lam (Berkeley) opened the 2nd panel “Studies on the novel” with an analysis of the difference of the reading culture in the novel and its sequels. Since the habit of ‘reading silently’ changed at the beginning of Qing to ‘reading aloud’, the silent reading is prominent in the novel and the out loud reading is prominent in the sequels as well as in the last 40 chapters. Duan Jiangli (Peking) introduced the different handwritten comments in the manuscript versions and stressed the importance of the early Zhi Yanzhai commentary. Zhou Wenye (Peking) presented a tool to compare and analyze the different manuscript versions including comments and the different print versions of the novel.&lt;br /&gt;
&lt;br /&gt;
==Ouyang Jinglan 欧阳静兰==&lt;br /&gt;
&lt;br /&gt;
Up to three versions can be displayed simultaneously with the differences highlighted. He demonstrated how to prove which kind of relation certain versions had and what suggested that, in certain cases, there must still exist a missing edition. He favored the Cheng B edition over the Cheng A edition, since the corrections were mostly improvements. He also argued that there were many intermediate editions, even between Cheng A and B, since all surplus printed pages were used for later editions. Zhang Hui (Hong Kong) introduced the novel in a different media form, the drama, focusing on one example of a drama adaption.&lt;br /&gt;
&lt;br /&gt;
==Ouyang Ling 欧阳玲==&lt;br /&gt;
&lt;br /&gt;
Marina Čarnogurská (Slovakia), translator of the Slovakian full translation, argued that the last 40 chapters were authored not by Gao E, but maybe even by Cao Xueqin. General consent among the participants was that Gao might have had a more editorial function and some parts of the last 40 chapters might have been written by Cao.&lt;br /&gt;
&lt;br /&gt;
In the 3rd panel “Interdisciplinary/Intertextual Approaches”, Shang Wei (Columbia University/USA) presented insights into visual culture in Qing dynasty and argued that there was a strong European influence in the Manchu court, which is traceable in the novel and influenced Cao Xueqin.&lt;br /&gt;
&lt;br /&gt;
玛丽娜·乔阿诺古尔斯卡（斯洛伐克）是斯洛伐克语译本的译者，她认为书的后四十章的作者不是高鹗，而是曹雪芹。参会人员也一致同意，高鹗更多的只是负责编写，后四十章的创作实际是曹雪芹完成的。&lt;br /&gt;
&lt;br /&gt;
在第三场主题为“跨学科/跨文本方法”的座谈会上，尚伟（美国哥伦比亚大学）提出了关于清朝时期视觉文化的一些观点，他认为满洲朝廷受欧洲文化影响颇深，这种影响在曹雪芹的小说中也有迹可循。--[[User:Ouyang Ling|Ouyang Ling]] ([[User talk:Ouyang Ling|talk]]) 06:27, 13 November 2020 (UTC)Ouyang Ling&lt;br /&gt;
&lt;br /&gt;
玛丽娜·乔阿诺古尔斯卡Marina Čarnogurská(斯洛伐克)认为，最后40章的作者不是高鄂，甚至可能是曹雪芹。与会代表普遍认为，高娥可能有更多的编辑功能，最后40章的部分内容可能是曹雪芹写的。&lt;br /&gt;
&lt;br /&gt;
在第三板块 &amp;quot;跨学科/跨文本方法 &amp;quot;中，尚伟（美国哥伦比亚大学）提出了对清代视觉文化的见解，认为满族宫廷中存在着强烈的欧洲影响，这在小说中是有迹可循的，并影响了曹雪芹。--[[User:Liu Yi|Liu Yi]] ([[User talk:Liu Yi|talk]]) 08:04, 13 November 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
==Peng Dan 彭丹==&lt;br /&gt;
&lt;br /&gt;
Kam Louie (Hong Kong) compared the novel with Three Kingdoms in regard to masculinity, homo-sociality and class, arguing how Jia Baoyu’s homo-erotic friendships were perceived differently depending on times and lenses. Louise P. Edwards (Australia) explored an aestheticized masculinity in clothing, dress and decoration as described in the novel. Karl-Heinz Pohl (Trier/Ger¬many) analyzed Buddhist thoughts in the novel with the example of several wisdoms from the “Heart Sutra”, he showed pro¬xi¬mi¬ty between Buddhist and Daoist thoughts. Harro von Senger (Frei¬burg/ Ger¬¬many) compared supraplanning (in China traditionally ‘''moulüe''’) in the novel and the German family tragedy ‘Nibelun¬gen¬lied’.&lt;br /&gt;
&lt;br /&gt;
==Peng Juan 彭娟==&lt;br /&gt;
&lt;br /&gt;
Zhu Ping (Peking) introduced the historical background of drama culture at the time of Kangxi, Yongzheng (the time the novel was written), and Qianlong. Kristina Schröder (Zurich/Switzerland) ex¬plained references of early illustrations of the novel with the ‘Romance of the West Chamber’ with the example of Wang Xilian ordering flowers to blossom. Stefan Mess¬mann (Budapest/Hungary) asked from the legal perspective, if the Marxist dream of equality had been achieved. Laura Bing Han (Trier) compared the novel and the ‘Buddenbrooks’ regarding philosophical dua¬lism.&lt;br /&gt;
&lt;br /&gt;
==Peng Ruihong 彭锐宏==&lt;br /&gt;
&lt;br /&gt;
Panel 4 introduced the novel’s in¬ter¬national dissemination, and here Martin Woesler (Witten/Germany, Rome/Italy) ana¬lyzed the changing reception of the novel by early Western translators and recipients. The novel was instrumentalized (e.g. for language learning) and exoticized. Wu Wei (Oslo/Norway, Heidelberg/Ger¬many) explored the color symbolism of ‘redness’ in novel. &lt;br /&gt;
&lt;br /&gt;
第4小组介绍了小说的国际传播，马丁·怀斯勒（Martin Woesler）（威滕/德国，罗马/意大利）分析了早期西方译者和接受者对小说的接受态度。 这本小说被工具化（例如用于语言学习）并被异化。 Wu Wei（奥斯陆/挪威，海德堡/德国）探索小说中“红色”的色彩象征。&lt;br /&gt;
&lt;br /&gt;
The translations were dealt with in panel 5, Daniela Zhang Cziráková (Slovakia) in-tro¬duced the Czech and Slovak translations of the novel. He Jun (Chengdu) introduced German excerpt translations before Franz Kuhn and Khoo An Ny (Fudan Shanghai) the state of translations in Malaysia.&lt;br /&gt;
&lt;br /&gt;
在第5小组中讨论了译文，其中Daniela ZhangCziráková（斯洛伐克）介绍了该小说的捷克语和斯洛伐克语翻译。 何俊（成都）在弗朗兹·库恩（Franz Kuhn）和邱安妮（Kou An Ny）（复旦上海）介绍马来西亚的翻译状况之前，先介绍了德国的摘录翻译。--[[User:Peng Ruihong|Peng Ruihong]] ([[User talk:Peng Ruihong|talk]]) 05:54, 14 November 2020 (UTC)--[[User:Peng Ruihong|Peng Ruihong]] ([[User talk:Peng Ruihong|talk]]) 05:54, 14 November 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
==Peng Xiaoling 彭小玲==&lt;br /&gt;
&lt;br /&gt;
General consent of the participants was that the 120 chapter version was the most authoritative one and that the title ''Dream of the Red Chamber'' was more common than its alternative title ''Story of the Stone''.&lt;br /&gt;
&lt;br /&gt;
Wei Lingzhi (Peking) introduced results of a 2015 representative survey among Chinese readers about the novel and the author proving its unbroken popularity and high esteem. Regarding translations, the Hawkes/Minford translation was preferred over Yang/Yang.&lt;br /&gt;
&lt;br /&gt;
==Peng Yongliang 彭永亮==&lt;br /&gt;
&lt;br /&gt;
All participants praised the importance of the recently published full translations in German and other languages and welcomed the opportunity to share their findings especially between Chinese and non-Chinese scholars. The choreographer Shen Fang-yu and the dramaturg Martin Woesler also presented a taping of the Folkwang Dance Studio Performance “REDCHAMBERDREAM”. &lt;br /&gt;
&lt;br /&gt;
For further information please refer to the conference website http://china-studies. com.&lt;br /&gt;
&lt;br /&gt;
'''World Citizen Lu Xun:''' &lt;br /&gt;
&lt;br /&gt;
'''Critical reception of European Culture by Lu Xun with the examples of Nazi cultural politics and of the Nobel Prize'''&lt;br /&gt;
&lt;br /&gt;
'''世界公民魯迅：魯迅批判性地接受歐洲文化——以納粹文化政治與諾貝爾獎為例'''&lt;br /&gt;
&lt;br /&gt;
'''''Martin Woesler 吳漠汀'''''&lt;br /&gt;
&lt;br /&gt;
Witten/Herdecke University 北京師範大學&lt;br /&gt;
&lt;br /&gt;
==Peng Yuzhi 彭育志==&lt;br /&gt;
&lt;br /&gt;
Abstract&lt;br /&gt;
&lt;br /&gt;
Lu Xun was well aware of global politics in culture, as proven by documents discovered a few years ago. Three days after the book burning in Berlin on May 10, 1933, Lu Xun, as a Member of the Executive Board  of the “China League for Civil Rights,” protested the “brutal terror and reaction” of Nazi Germany. Lu Xun took action and submitted an official protest to the German Consulate in Shanghai, which was taken seriously by the Nazi diplomats. He protested the racist suppression of Jewish authors while his own piece of world literature, “A Madman’s Diary” (1918), would have been considered “degenerate art” if published in Germany. In June 1933, he proved his in-depth understanding of Nazi crimes, especially the book-burning, humiliation and deportation of writers, in two essays. &lt;br /&gt;
&lt;br /&gt;
==Qi Kai 漆凯==&lt;br /&gt;
&lt;br /&gt;
因近年来所新发现的文物资料，鲁迅很深刻的意識到和瞭解了全球文化政治。柏林焚书案（1933年5月10日）发生的第三天，鲁迅做为“中国民权保障同盟”委员会成员，抗议德国纳粹“残忍的恐怖行径”。鲁迅立刻展开行动，向德国驻上海使领馆提出抗议（当时该处已经由德国纳粹接管）。他抗议纳粹对犹太作家的压制，当时他自己的世界文学作品“狂人日记”在德国也被看作是“变态艺术”。1933年6月，他通过2篇杂文，深刻论证了德国纳粹的罪行，特别是焚烧书籍、羞辱和驱逐作家等。&lt;br /&gt;
&lt;br /&gt;
In an earlier incident, when he was asked to accept a nomination for the Nobel Prize of Literature in 1927, he refused, not only out of personal modesty, but also because of global political considerations. &lt;br /&gt;
&lt;br /&gt;
他曾于1927年被提名为诺贝尔文学奖的候选人，但是他拒绝了，不仅是个人的谦逊，也是考量到当时的全球政治环境。&lt;br /&gt;
&lt;br /&gt;
==Qu Miao 瞿淼==&lt;br /&gt;
&lt;br /&gt;
Both cases show a different side of Lu Xun’s Reception of European Culture: He was not just an admiring, importing, translator of European culture who was influenced by it (as seen in his own life and work). Instead, his reception was more complex and critical; he applied universal moral standards, as defined by civil and human rights, which he referred to.&lt;br /&gt;
&lt;br /&gt;
两个例子展现了鲁迅对于欧洲文化接受的不同面：他不仅是一位令人尊敬、重要的受欧洲文化影响的翻译者（参见他的生平和作品）。另一方面，他对西方文化的接受也是复杂而批判性的；他遵循普世价值观，如他所定义的公民权利和人权。&lt;br /&gt;
&lt;br /&gt;
This makes Lu Xun a world citizen, one who cannot simply be claimed by certain parties or nations.&lt;br /&gt;
&lt;br /&gt;
综上所述，鲁迅是一位世界公民，这不是哪个政党或者民族可以对他简简单单下定论的。&lt;br /&gt;
&lt;br /&gt;
==Quan Meixin 全美欣==&lt;br /&gt;
&lt;br /&gt;
'''Introduction''''''简介'''&lt;br /&gt;
&lt;br /&gt;
Beginning with his earliest student years in 1902-1903, Lu Xun became an important translator of foreign literature (Jules Verne: ''Journey to the Moon, Twenty Thousand Leagues under the Sea'').  In March 1906, he decided to give up the study of Western medicine in order to become a writer; to cure the Chinese people’s minds instead of their physical illnesses. During his lifetime, Lu Xun was torn between his hope that he could turn Chinese people’s lives to the better and his disappointment that a writer’s works alone were not powerful enough to actually change things or to instigate people to change them. &lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
==Sagara Seydou ==&lt;br /&gt;
&lt;br /&gt;
In 1917, when his friend Qian Xuantong asked him to contribute to the new radical magazine ''New Youth'' (founded by Chen Duxiu), Lu Xun responded: &amp;quot;Imagine an iron house: without windows or doors, utterly indestructible, and full of sound sleepers – all about to suffocate to death. Let them die in their sleep, and they will feel nothing. Is it right to cry out, to rouse the light sleepers among them, causing them inconsolable agony before they die?&amp;quot; In spite of this opinion, in 1918 he still wrote his first story published under his name; “A Madman’s Diary.”&lt;br /&gt;
&lt;br /&gt;
==Shi Diwen 石迪文==&lt;br /&gt;
&lt;br /&gt;
It was a social-critical short story which reached world literature level, with one fictional element placed in a realistic setting (influenced by Gogol and parallel to Kafka’s stories using a similar technique). He placed his hopes on the next generation, as we know from the last lines “A Madman’s Diary:” “Save the children....” We also know that Lu Xun engaged in political activities, starting, perhaps, with his support of the Tongmenghui in Japan and by developing plans to educate politically active students etc.&lt;br /&gt;
&lt;br /&gt;
==Shi Haiyao 石海瑶==&lt;br /&gt;
&lt;br /&gt;
So while Lu Xun was at first concerned with China, he understood the signs of the times and was anxious to get additional education in Western sciences. He absorbed Western knowledge, learned several European languages and was an important translator of Western literature, e.g. in 1909 he published a book with translated Eastern European stories in Japan. While Lu Xun’s target was the Chinese people, he was very well aware that backwardness in China could only be overcome by learning from the West, especially from Europe.&lt;br /&gt;
&lt;br /&gt;
因此，虽然鲁迅最初关心的是中国，但他明白这个时代的迹象，并急于接受西方科学方面的进修深造。他研究了西方知识，学习了几门欧洲语言，还成为了西方文学的著名翻译家。例如，1909年，他在日本出版了一本东欧故事的译著。虽然鲁迅的目标读者是中国人民，但他深知，中国的落后只能通过向西方学习，特别是向欧洲学习来克服。--[[User:Shi Haiyao|Shi Haiyao]] ([[User talk:Shi Haiyao|talk]]) 06:18, 14 November 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
因此，尽管最初鲁迅担忧中国命运，但他清楚地认识到时代的迹象，并急于出国深造，学习西方科学知识。他从西方知识汲取养分，学习了几门欧洲语言，还成为了一位著名的西方文学翻译家。比如，1909年，他在日本出版了他翻译的东欧故事集。虽然鲁迅的目标读者是中国人民，但他深知，中国只有向西方学习，尤其是向欧洲学习，才能摆脱落后的局面。--[[User:Song Jianru|Song Jianru]] ([[User talk:Song Jianru|talk]]) 07:37, 14 November 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
==Si Yu 司妤==&lt;br /&gt;
&lt;br /&gt;
Because of Lu Xun’s extremely critical attitude and his concern for China, the Communist Party and patriots in China claimed to have him in their “pocket.” However, although Lu Xun’s target was China, his measurement scale and means were international universal principles and he was too fierce a protester to be in anyone’s “pocket.” He was active in different political initiatives – such as the China League for Civil Rights (中國民權保障同盟) and the later Leagues of Left-Wing Writers (although some members accused him of being a Right-Wing writer). &lt;br /&gt;
&lt;br /&gt;
==Song Jianru 宋建茹==&lt;br /&gt;
&lt;br /&gt;
He did not become a member of the Chinese Communist Party, but instead quarreled with Communists ideologists. In 1935, he declined to write a pro-Communist novel.  Shortly before his death, he wrote: “Forget about me, and care about your own life – you're a fool if you don't.” In spite of this, the Party posthumously made him a Communist Party Member and Mao Zedong wrote the calligraphy above his tomb.&lt;br /&gt;
&lt;br /&gt;
Denton, Kirk (2002), Lu Xun Biography, MCLC Resource Center.&lt;br /&gt;
&lt;br /&gt;
他没有加入中国共产党，反而拒绝接受共产党的意识形态。1935年，他婉言谢绝写一部支持共产党的小说。他去世前不久写道：“忘掉我，管自己的生活---倘不，那就真是糊涂虫。”尽管这样，共产党在鲁迅死后仍将其算作中共党员，毛泽东为其亲笔题写墓碑。&lt;br /&gt;
&lt;br /&gt;
Denton, Kirk (2002), Lu Xun Biography, MCLC Resource Center.--[[User:Song Jianru|Song Jianru]] ([[User talk:Song Jianru|talk]]) 07:06, 14 November 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
==Su Lin  苏琳==&lt;br /&gt;
&lt;br /&gt;
'''Westernization?'''&lt;br /&gt;
&lt;br /&gt;
Did Lu Xun trough his Western education and translations of Western literature simply fully supported a ‘Westernization’ of China (全盤西化)? This can be disproven with the following examples: his criticism of Nazi crimes and his decline of the Nobel Prize. His critical mind and intellectual capacities did not allow him simple answers to complex questions.&lt;br /&gt;
&lt;br /&gt;
Only three days after the book burning in Berlin (May 10, 1933), Lu Xun protested at the Shanghai Consulate against Nazi Germany. This shows his extreme awareness of international politics and the nature of societies.&lt;br /&gt;
鲁迅是否通过他的西方教育和西方文学翻译来完全支持中国的“全盘西化”？ 以下例子可以证明这一点：他对纳粹罪行的批评和对诺贝尔奖的拒绝。 他的批判性思维和智力能力使他无法简单地回答复杂的问题。在柏林焚书事件发生的三天后（1933年5月10日），鲁迅在上海领事馆抗议德国纳粹，这表明他对国际政治和社会性质的极致认识。--[[User:Su Lin|Su Lin]] ([[User talk:Su Lin|talk]]) 02:01, 14 November 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
==Tan Xingyue 谭星越==&lt;br /&gt;
&lt;br /&gt;
The reaction of the Vice General Consul in his report to the German Embassy in Peking  shows that the German Consulate engaged in counter propaganda and denied the allegations, referring even to their support of the Jewish community in Shanghai. While the world was still asleep, Lu Xun already understood and criticized Nazi anti-writer politics in Germany. It took the rest of the world almost a decade more to “wake up.” Even Nazi Germany’s invasion of Poland in 1939 did not “wake up” other countries, enabling Nazi Germany to conduct further surprise attacks (blitzkrieg) in Western Europe (Netherlands, Belgium, France etc.).&lt;br /&gt;
&lt;br /&gt;
在给德国驻北京大使馆的报告中，副总领事的反应表明，德国领事馆反对这些宣传，并否认有关指控，甚至拒绝承认他们支持上海的犹太社区。当世界还在沉睡的时候，鲁迅已经理解并批判德国的纳粹反作家政治。而世界上其他的国家花了将近10年的时间才“醒悟”，甚至1939年纳粹德国入侵波兰的事件也没能“唤醒”其他国家，这使得纳粹德国能够在西欧（荷兰、比利时、法国等）发动进一步的突然袭击（闪电战）。--[[User:Tan Xingyue|Tan Xingyue]] ([[User talk:Tan Xingyue|talk]]) 15:08, 13 November 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
==Tan Xinjie 谭鑫洁==&lt;br /&gt;
&lt;br /&gt;
Lu Xun was well able to distinguish between positive and negative parts of European culture, which leads to the question: which moral standards did he actually live up to? The thesis of this paper is that he oriented himself to abstract universal human values and morals. As proof, the following details of Lu Xun’s protests are examined.&lt;br /&gt;
&lt;br /&gt;
鲁迅对于欧洲文化的态度究竟是积极还是消极的呢？这也引出另一个问题：他到底遵循哪一种道德价值观？本文将论证，鲁迅遵循的是普世价值观。&lt;br /&gt;
&lt;br /&gt;
鲁迅能够很好地区分欧洲文化中积极和消极的部分，这就引出了一个问题：他究竟遵循的是哪些道德标准？本文将论证：鲁迅遵循的是抽象的人类普世价值和道德。本文将从鲁迅的抗议宣言中分析论证。--[[User:Xiao Ting|Xiao Ting]] ([[User talk:Xiao Ting|talk]]) 03:09, 13 November 2020 (UTC)Xiao Ting&lt;br /&gt;
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鲁迅能够很好地区分欧洲文化的正面和负面的部分，从而也引出了问题：他到底遵循的是什么样的道德标准？本文的理论是以鲁迅对人类的普世价值和道德理念为主。鲁迅的声明中列出的细节都真实可考。--[[User:WuQiong|WuQiong]] ([[User talk:WuQiong|talk]]) 09:40, 13 November 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
==Tan Yuanyuan 谭媛媛==&lt;br /&gt;
&lt;br /&gt;
'''Lu Xun’s in-depth and early understanding of Nazi crimes'''&lt;br /&gt;
&lt;br /&gt;
On July 11 and 16, 1933,  Lu Xun (using his pseudonyms) published two essays against Nazi crimes – about the book burning in China and Germany. As shown by this immediate response, Lu Xun was quick to retrieve information and form a judgment – independent of regionalism and dependent only upon universal moral values.&lt;br /&gt;
&lt;br /&gt;
Lovell, Julia. &amp;quot;Introduction&amp;quot;. In ''Lu Xun: The Real story of Ah-Q and Other Tales of China, The Complete Fiction of Lu Xun''. England: Penguin Classics. 2009. ISBN 978-0-140-45548-9, here pp. xxx.&lt;br /&gt;
&lt;br /&gt;
Silvia Kettelhut: G''eschäfte übernommen: Deutsches Konsulat, Shanghai, Impressionen aus 150 Jahren,'' Shanghai 2006.&lt;br /&gt;
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“鲁迅早期对纳粹罪行的深入了解”&lt;br /&gt;
&lt;br /&gt;
1933年7月11日至16日，鲁迅（使用化名）发表了两篇反对纳粹罪行的文章，该书在中德两国畅销。正如这一即时反应所表明的那样，鲁迅迅速地获取信息并作出判断——独立于区域主义，仅依赖于普遍的道德价值观。--[[User:Tan Yuanyuan|Tan Yuanyuan]] ([[User talk:Tan Yuanyuan|talk]]) 12:36, 13 November 2020 (UTC)&lt;br /&gt;
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==Tang Bei 汤蓓==&lt;br /&gt;
&lt;br /&gt;
In his essay “The Book burning in China and Germany” (dated June 28 and published July 11, 1933), Lu Xun, under the penname Ru Niu, compares Qin Shihuangdi’s book burning with the one by Hitler. He points out that the emperor did not burn books on agriculture and medicine and instead still accepted pluralism. Polemically he criticizes his Chinese colleagues for not understanding that the threat by Hitler is a threat to freedom in general.  Lu Xun directly addresses the German dictator Hitler as “Mr. Hitler.”&lt;br /&gt;
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==Tang Ming 唐铭==&lt;br /&gt;
&lt;br /&gt;
In the second essay, “Surplus of Knowledge” (dated July 12 and published July 16, 1933) he compares a recent agricultural crisis in China following a “harvest surplus” and the demand to abandon the learning of theories in favor of learning practical things with the demand in Nazi Germany to abandon liberal and pluralistic education. Polemically he calls the German imprisonment of students in labor camps a “solution to the unemployment problem.” He demands that China get rid of knowledge, insisting that people should become fatalist and opportunist. &lt;br /&gt;
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==Tang Yiran 汤伊然==&lt;br /&gt;
&lt;br /&gt;
Lu Xun early had studied the German philosopher Nietzsche, who was also pocketed by the Nazis, and wanted to study abroad in Germany. His critical reflection of Nazi German situation shows that he could also be extremely critical against Germany and was able to judge it according to universal values.他对纳粹德国现状的批判显示，他有能力根据普世价值来对纳粹德国做出评判。&lt;br /&gt;
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==Tao Ye 陶冶==&lt;br /&gt;
&lt;br /&gt;
'''The China League for Civil Rights'''&lt;br /&gt;
&lt;br /&gt;
The China League for Civil Rights was established with the outspoken goal to free prisoners from Guomindang (GMD) imprisonment. Prominent among members of the League was Song Qingling (left-wing GMD), the widow of Sun Yat-sen, who broke with Qiang Kai-shek in 1927 – when the GMD turned more and more repressive. The Communists also had massive losses after 1927 and went underground. Lu Xun was the most prolific member of the League.&lt;br /&gt;
&lt;br /&gt;
==Wang Meiling 王美玲==&lt;br /&gt;
&lt;br /&gt;
In 1931, Song Qingling returned to Shanghai from Europe and headed a campaign to rescue a foreign couple  detained without trial by the GMD. I did not find evidence that she knew that the couple were Comintern agents; the campaign did not address their identity. It concentrated on the legal aspects of the detainment.&lt;br /&gt;
&lt;br /&gt;
==Wang Xuan 王轩==&lt;br /&gt;
&lt;br /&gt;
An early stage of this part of the study including the translation of the two essays into German has been published as “Der Protest des chinesischen Intellektuellen Lu Xun gegen Nazi-Verbrechen”, in: ''Bulletin of the German China Association'' 54 (2010) 119 pp., pp. 53-58, ISSN 1436-8048. This first essay was published as Ru Niu 孺牛 [Lu Xun]: 华德焚书异同论 (Discussion of Parellels and Differences of the Book Burning in China and Germany), July 11, 1933, 申报 Shen Bao, 自由谈 (Free Talks), German translation by Martin Woesler as “ Die Bücherverbrennungen in China und Deutschland Diskussion der Gemeinsamkeiten und Unterschiede ” in: ''Bulletin of the German China Association'' 54 (2010) 53-55.&lt;br /&gt;
&lt;br /&gt;
==Wang Yu 王煜==&lt;br /&gt;
&lt;br /&gt;
This second essay was published as Yu Ming 虞明 [Lu Xun]: “智识过剩 (Surplus of Knowledge)“, dated July 12, 1933, ''Shen Bao'' am 16.7.1933, English translation in: ''Lu Xun, Selected Works'', Übers. Yang Xianyi, Gladys Yang, Bd. 3, S. 324f., 1st ed 1959/1960, 2nd ed. 1964 p. 289-290, 3rd ed. 1980 p. 324 f., 4th ed. 2003 (Peking: Foreign Languages Press), German translation by Martin Woesler as “Wissensüberschuss” in: ''Bulletin of the German China Association 54'' (2010) 56-58.&lt;br /&gt;
&lt;br /&gt;
==Wang Yuan 王源==&lt;br /&gt;
&lt;br /&gt;
The couple Paul and Gertrud Ruegg is also known as Mr. and Mrs. Hilaire Noulens. Ruegg's public role was secretary-general of the Pan-Pacific Trade Union, an international agent for organizing the Chinese labour movement. His secret role was secretary of the Comintern's Far Eastern Bureau in Shanghai. In June 1930, the couple was first arrested by the police in the International Settlement, and then turned over to GMD authorities. See: Jinxing Chen: “The Rise and Fall of the China League for Civil Rights”, in: ''China Review'' Vol. 6, No. 2, Special Issue on: WTO and China's Financial Development (Fall 2006), pp. 121-147.&lt;br /&gt;
&lt;br /&gt;
Bruun, Ole, and Michael Jacobsen. ''Human rights and Asian values: Contesting national identities and cultural representations in Asia''. Vol. 6. Psychology Press, 2000.&lt;br /&gt;
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==Wei Honglang 韦洪朗==&lt;br /&gt;
&lt;br /&gt;
In the League’s press conference in Shanghai, on 30 December 1932, Cai Yuanpei referred to J. J. Rousseau and said that the League would not be placed in the pocket of any political party.  The League was very active in publishing statements, sending telegrams to foreign governments in about half a dozen cases and seeing government officials on behalf of the imprisonment of intellectuals out of political reasons.&lt;br /&gt;
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On May 13, 1933, Ms. Song Qingling announced her visit to the German Vice General Consul, Richard Behrend, in Shanghai, and representatives of the League – including its president Song Qingling, Cai Yuanpei, Lu Xun, Yang Xing¬fo (Yang Quan) – submitted the following protest note. &lt;br /&gt;
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==Wei Yafei 魏亚菲==&lt;br /&gt;
&lt;br /&gt;
Transcription, from Kettelhut 2006 pp. 155-158. Source: PA AA (Political Archive of the Foreign Office / Politisches Archiv des Auswärtigen Amtes) R 98440.&lt;br /&gt;
&lt;br /&gt;
Submission of the protest note to Vice General Consulate Behrend by the Board of the China League of Civil Rights, including the widow of Sun Yat-sen, Song Qingling, the president of Academia Si¬ni¬ca, Cai Yuanpei, Lu Xun and the Vice President of Academia Sinica, Yang Xing¬fo (Yang Quan). Wood block print by Zhao Yannian 趙延年 (born 1924) 1956. Not displayed in the wood block print are the writers Lin Yutang, Agnes Smedley und Harold Isaacs, which, according to the report of the Consulate, were also present.  Lin Yutang was also not mentioned by the Chinese press. &lt;br /&gt;
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==Wen Sixing 文偲荇==&lt;br /&gt;
&lt;br /&gt;
The vice consul took the protest seriously and submitted the letter to Peking, accompanied with a report in which he described Ms Song Qingling as the head of the League and listed Lu Xun as “the famous writer” and leading fighter for the “New Chinese Language Movement.”  &lt;br /&gt;
&lt;br /&gt;
Song Qingling, about a month after the visit at the Consulate, on June 17, 1933 sent a telegram to “Chancellor Hitler” demanding the immediate release of political prisoners.&lt;br /&gt;
&lt;br /&gt;
For the involvement of foreigners in the League see Chen Jinxing 2006 and others.&lt;br /&gt;
&lt;br /&gt;
Report by Behrendt for the German Embassy Peking dated May 15, 1933, see Kettelhut 2006.&lt;br /&gt;
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==Wen Xiaoyi 文晓艺==&lt;br /&gt;
&lt;br /&gt;
The reaction from Berlin was that they should try to influence Song Qingling. The reply from the German diplomats in China was that it had been tried earlier and another attempt would probably be counter-productive since Ms. Song was close to the Communists.&lt;br /&gt;
&lt;br /&gt;
The League did not survive long. Hu Shi won the leadership of the Peking arm of the League. His critical review of a prison report led to some tensions within the League, leading to the dissolvement of the Peking arm. In the end, Yang Quan, the Secretary General, was assassinated by GMD, while Song Qingling received a letter with a bullet in it – forcing her to hide.  All of this combined into a fatal blow to the League. Chen Jinxing (2006), however, suspects that tensions within the League (e.g. with Hu Shi) helped its dissolution. &lt;br /&gt;
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==Wu Kai 吴恺==&lt;br /&gt;
&lt;br /&gt;
As the most prolific member of the league, Lu Xun’s active, and prominent, participation in the League’s protests shows his devotion to the principles of universal human rights – reaching beyond concern only for his countrymen.鲁迅的抗议显示了他普世人权的原则。&lt;br /&gt;
&lt;br /&gt;
Price, Ruth. ''The Lives of Agnes Smedley''. OUP USA, 2005.&lt;br /&gt;
&lt;br /&gt;
Chen, Jinxing: “The Rise and Fall of the China League for Civil Rights”, in: ''China Review'' Vol. 6, No. 2, Special Issue on: WTO and China's Financial Development (Fall 2006), pp. 121-147.&lt;br /&gt;
&lt;br /&gt;
==Wu Qi 吴琪==&lt;br /&gt;
&lt;br /&gt;
'''The Nobel Prize of Literature'''&lt;br /&gt;
&lt;br /&gt;
In 1926, “The True Story of Ah Q” was translated by Jing Yinyu into French. In September 1927, Peking University Professor Liu Bannong suggested to Sven Hedish (member of the Swedish Academy) that Lu Xun be considered for laureateship. Nobel Prize Laureate Kenzaburō Ōe called Lu Xun &amp;quot;The greatest writer Asia produced in the twentieth century.&amp;quot;  In the 1920s, 1915 Nobel Laureate Romain Rolland introduced Chinese literature to the world. In 1927, he especially recommended Lu Xun and his story “Ah Q.”&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
==Wu Qiong 吴琼==&lt;br /&gt;
&lt;br /&gt;
Lu Xun rejected the nomination in a letter to his former student and confidante, Tai Jingnong, with the following reasoning: “There are a lot of better writers than me in the world and they can’t get it.” He further said “I think there is nobody truly deserving the Nobel Prize in China. It would be better for Sweden to ignore us. It would only encourage Chinese egotism, causing them to believe they could really parallel those great foreign writers if yellow-skinned people were given preferential consideration. The result would not be good at all.”  (Eventually, the prize was awarded to Sinclair Lewis.)&lt;br /&gt;
&lt;br /&gt;
鲁迅在给之前的学生兼知己台静农的回信中拒绝了提名，理由是：“世界上有太多比我更优秀的作家，他们都不能获此殊荣，”他接着说道“我认为中国还没人能获诺贝尔奖，瑞典方最好是忽略掉我们。如果给黄种人优待，这只会让中国人盈盈自满，认为自己可以与外国优秀作家相提并论。结果并不如是。“（最终，奖项颁给了辛克莱·刘易斯）。--[[User:WuQiong|WuQiong]] ([[User talk:WuQiong|talk]]) 09:21, 13 November 2020 (UTC)&lt;br /&gt;
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鲁迅在给他旧时的学生兼知己，台静农的一封回信中拒绝了提名，理由如下：“世界上比我好的作家有很多，他们尚没有获此殊荣。”他又说：“我觉得在中国没有人真配得上诺贝尔奖。瑞典要是不把我们考虑在内那是最好。如果黄种人享有优待的话，只会徒增中国人的自大，让他们觉得自己真的能比肩那些伟大的外国作家。这可不是什么好事。”（最后，获奖者为辛克莱·刘易斯）。--[[User:Xu Mengdie|Xu Mengdie]] ([[User talk:Xu Mengdie|talk]]) 11:05, 13 November 2020 (UTC)Xu Mengdie&lt;br /&gt;
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==Wu Xiang 邬香==&lt;br /&gt;
&lt;br /&gt;
Lu Xun was well acquainted with many famous foreign writers. During these days, he personally met several, such as Agnes Smedley, Harold Isaacs, and Bernhard Shaw. Therefore, Lu Xun had an understanding of the domestic political implications of the Nobel Prize; of awarding such a prize to a national literature which was still under development and had not yet reached a satisfying level. He understood that the effect of such an award would be to increase Chinese egotism. So he sacrificed his own honor in order not to send the wrong signal; in order to not discourage Chinese literature by receiving mercy from the international community, but instead to encourage its further development so that it might eventually reach the level of the “great foreign writers.”&lt;br /&gt;
&lt;br /&gt;
鲁迅与许多著名的外国作家很熟。在这些日子里，他亲自见了几个人，如艾格尼丝·史沫特莱、哈罗德·艾萨克斯和伯恩哈德·肖。因此，鲁迅对诺贝尔文学奖的国内政治含义有了一个认识，即把诺贝尔奖颁给一个尚处于发展阶段、尚未达到令人满意水平的民族文学。他明白这样一个奖项的效果会增加中国人的自负。因此，为了不发出错误的信号他牺牲了自己的荣誉，；为了不让中国文学受到国际社会的怜悯而气馁，而是鼓励中国文学进一步发展，使之最终达到“伟大的外国作家”的水平。--[[User:Wu Xiang|Wu Xiang]] ([[User talk:Wu Xiang|talk]]) 15:10, 13 November 2020 (UTC)&lt;br /&gt;
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==Wu Yilu 吴一露==&lt;br /&gt;
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Biography of Sven Hedin (1865-1952), see George Kish, ''To the Heart of Asia: The Life of Sven Hedin'' (Ann Arbor: University of Michigan Press, 1984). Hedin was in Beijing in late 1926 and early 1927 seeking government permission for an exploration to Mongolia (''ibid.'', p. 114). Quoted after: Wang, B. [汪宝荣]. (2011). Lu Xun's fiction in English translation: the early years. (Thesis). University of Hong Kong, Pokfulam, Hong Kong SAR. Retrieved from http://dx.doi.org/10.5353/th_b4696908 (in the following: Wang 2011).&lt;br /&gt;
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斯文·赫丁传见诸于乔治·基什撰写的《亚洲的心脏：斯文·赫丁的一生》（阿安伯：密歇根大学出版社，1984）。1926年年末以及1927年年初，赫丁在北京为得到可以让他蒙古进行勘探的政治许可（同上，第114页）。引用：Wang，B.[王宝荣].（2011）。鲁迅小说英文版：早年。（论文）香港特别行政区波克富兰大学。引用于 http://dx.doi.org/10.5353/th_b4696908 （如下：王，2011）。--[[User:Wu Yilu|Wu Yilu]] ([[User talk:Wu Yilu|talk]]) 08:42, 13 November 2020 (UTC)&lt;br /&gt;
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==Wu Zijia 吴子佳==&lt;br /&gt;
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Lu Xun 鲁迅, “Zhi Tai Jingnong” 致台静农, 25 Sept. 1927, rpt. in ''LXQJ'' 12: 73-74. See a penetrating discussion of Lu Xun’s international stature and Nobel candidacy in Paul B. Foster, “The Ironic Inflation of Chinese National Character: Lu Xun’s International Reputation, Romain Rolland’s Critique of ‘The True Story of Ah Q,’ and the Nobel Prize”, ''Modern Chinese Literature and Culture'', 13.1 (Spring, 2001): 140-168. Interestingly, Foster suggests that Lu Xun may have contributed to the publicity which eventually led to the suggestion that he be nominated for a Nobel Prize. Quoted after: Wang 2011.&lt;br /&gt;
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==Xiao Shuangling 肖双玲==&lt;br /&gt;
&lt;br /&gt;
This shows that Lu Xun was modest and aware of the global position of Chinese literature, and that he had a vision for its development.这些显示鲁迅很谦逊，其在中国文学的得到世界的认可，同时，他的视野也促进了中国文学的发展。 Who would decline a Nobel Prize? Only someone with principles more important than the Nobel Prize. Lu Xun firmly believed in universal values, against which even the Nobel Prize had to step back. 鲁迅相信普世价值观，为此甚至可以拒绝诺贝尔奖。These principles were universal values, with the aim to lead Chinese literature, as a whole, to world level instead of singling out anybody to let the people further “sleep in their iron house.”&lt;br /&gt;
&lt;br /&gt;
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This shows that Lu Xun was modest and aware of the global position of Chinese literature, and that he had a vision for its development.&lt;br /&gt;
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这表明鲁迅很谦逊，对中国文学的国际地位有着清醒的认识，对中国文学的发展有着远见卓识。&lt;br /&gt;
&lt;br /&gt;
Who would decline a Nobel Prize? Only someone with principles more important than the Nobel Prize. Lu Xun firmly believed in universal values, against which even the Nobel Prize had to step back. &lt;br /&gt;
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谁会拒绝诺贝尔奖？除非他的原则比诺贝尔奖更为重要。鲁迅坚信普世价值，即使诺贝尔奖也不得不在这一价值面前退让。&lt;br /&gt;
&lt;br /&gt;
These principles were universal values, with the aim to lead Chinese literature, as a whole, to world level instead of singling out anybody to let the people further “sleep in their iron house.”&lt;br /&gt;
&lt;br /&gt;
这些原则是普世价值，旨在把中国文学作为一个整体，带到世界水平，而不是挑出一个人，然后让其他人继续“睡在铁屋子里”。--[[User:Xiao Shuangling|Xiao Shuangling]] ([[User talk:Xiao Shuangling|talk]]) 09:40, 13 November 2020 (UTC)Xiao Shuangling&lt;br /&gt;
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==Xiao Ting 肖婷==&lt;br /&gt;
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Several researchers have also interpreted the incident. Foster (2001) pointed to Romain Rolland’s role.  Wang (2011) blames the bad quality of the French translation of “Ah Q” by Jing Yinyu as contributing to the fact that Lu Xun was not awarded the Nobel Prize. However, Romain Rolland, 1915 Nobel Prize Laureate, praised this French translation and also supported a Nobel Prize for Lu Xun. Gloria Davies recounts further incidents around this matter.&lt;br /&gt;
&lt;br /&gt;
一些研究人员也对该事件进行了解释。福斯特（2001）指出罗曼-罗兰德的作用。王晓东（2011）称景印宇的《阿Q正传》法译本质量不过关，是导致鲁迅没有获得诺贝尔奖的原因。然而，1915年诺贝尔奖获得者罗曼-罗兰德对这一法译本大加赞赏，也支持为鲁迅设立诺贝尔奖。格洛丽亚-戴维斯还讲述了与此事相关的其他事件。--[[User:Xiao Ting|Xiao Ting]] ([[User talk:Xiao Ting|talk]]) 03:01, 13 November 2020 (UTC)Xiao Ting&lt;br /&gt;
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一些研究人员也对此事进行了解释。福斯特（2001）指出罗曼·罗兰（Romain Rolland）在其中的作用。 王晓东（2011）认为景印宇的《阿Q正传》法译本质量不过关，导致鲁迅未获得诺贝尔奖。 然而，1915年诺贝尔奖获得者罗曼·罗兰（Romain Rolland）对这一法译本大加赞赏，并支持鲁迅获得诺贝尔奖。 格洛丽亚·戴维斯（Gloria Davies）讲述了有关此事的后续事件。--[[User:Deng Jinxia|Deng Jinxia]] ([[User talk:Deng Jinxia|talk]]) 05:41, 13 November 2020 (UTC)&lt;br /&gt;
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一些研究人员也对此事进行了解释。福斯特（2001）指出罗曼·罗兰（Romain Rolland）在其中的作用。 王晓东（2011）将鲁迅未获得诺贝尔奖的原因归咎于景印宇的《阿Q正传》法译本质量不过关。然而，1915年诺贝尔奖获得者罗曼·罗兰（Romain Rolland）对这一法译本大加赞赏，并支持鲁迅获得诺贝尔奖。 格洛丽亚·戴维斯（Gloria Davies）讲述了有关此事的后续事件。--[[User:Xiao Shuangling|Xiao Shuangling]] ([[User talk:Xiao Shuangling|talk]]) 09:54, 13 November 2020 (UTC)Xiao Shuangling&lt;br /&gt;
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==Xiao Xi 肖茜==&lt;br /&gt;
&lt;br /&gt;
'''Conclusion: Universalism'''&lt;br /&gt;
&lt;br /&gt;
Lu Xun was very much involved in daily politics in China and fought several fights with other intellectuals and even the Communist Party publically by the means of ''zawen'' (critical essays). For us today, these fights about small and sometimes strange issues seem to characterize its actors as caught in provinciality. However, he was universal – both in his political understanding (recognizing German domestic suppression much earlier than many others and suspecting that even the Nobel Prize could be understood as a tool of mercy towards the underdeveloped nation of China) as well as in his literature. While he wrote literary pieces of the same level as Franz Kafka, he was producing world literature in a climate which was – despite all daily chaos – freer than the one in Germany. &lt;br /&gt;
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==Xiao Yining 肖伊宁==&lt;br /&gt;
&lt;br /&gt;
Criticism of suspected political motifs behind a Noble Prize for him and of the human rights violations in Germany show that Lu Xun was neither an advocate of total westernization nor that he oriented himself towards the West as a contrast foil for China. He placed nothing less than universal values as the contrast foil to China. True, also the League of Left-wing Writers was a short-lived daily-policy tool within China (Lu Xun himself said, it “may not last long”),  but it represented universal values. He also referred to the children. This was another way of distancing himself from daily politics as he pointed to existential and universal ideals like future, hope, another chance and new people who are innocent; not pre-educated and burdened with the past.&lt;br /&gt;
&lt;br /&gt;
==Xie Fan 解帆==&lt;br /&gt;
&lt;br /&gt;
Paul B. Foster, “The Ironic Inflation of Chinese National Character: Lu Xun’s International Reputation, Romain Rolland’s Critique of ‘The True Story of Ah Q,’ and the Nobel Prize”, ''Modern Chinese Literature and Culture'', 13.1 (Spring, 2001): 141.&lt;br /&gt;
&lt;br /&gt;
保罗·B·福斯特:中国民族个性的膨胀讽刺地表现为鲁迅享有国际声誉，罗曼·罗兰批判《阿Q正传》获诺贝尔奖，以及《现代中国文学与文化》，13.1（春，2001）：141。--[[User:XieFan|XieFan]] ([[User talk:XieFan|talk]]) 09:48, 13 November 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
Jeffrey Wasserstrom: “All I see Around Me is the Same Old Darkness: Gloria Davies on Lu Xun”, Nov 4, 2013, https://goo.gl/HgqmCe. See also Gloria Davies, ''Lu Xun’s Revolution'', Harvard University Press:2012.&lt;br /&gt;
&lt;br /&gt;
杰夫瑞.瓦瑟施特伦：“我看到周围都是像鲁迅笔下的格洛丽亚·戴维斯一样古老的黑暗”，2013年11月4日，https://goo.gl/HgqmCe。参见《鲁迅的革命》中的格洛丽亚·戴维斯，哈佛大学出版社2012年版。--[[User:XieFan|XieFan]] ([[User talk:XieFan|talk]]) 09:48, 13 November 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
==Xie Ziyi 谢子熠==&lt;br /&gt;
&lt;br /&gt;
Lu Xun’s reception of Western culture was not uncritical; he was shaped by both his heritage education and his Western education, applying universal standards to the Chinese development - a Chinese man with universal values – a true citizen of the world.鲁迅并非“全盘西化”，他的价值观受到传统教育和西方教育的影响，用普世价值来判斷中国发展——一个具有普世价值的中国人——一个真正的世界公民。&lt;br /&gt;
&lt;br /&gt;
==Xu Jia 徐佳==&lt;br /&gt;
&lt;br /&gt;
'''Appendix: Lu Xun’s two essays in Chinese&lt;br /&gt;
&lt;br /&gt;
智识过剩'''&lt;br /&gt;
虞明&lt;br /&gt;
 &lt;br /&gt;
世界因为生产过剩，所以闹经济恐慌。虽然同时有三千万以上的工人挨饿，但 是粮食过剩仍旧是“客观现实”，否则美国不会赊借麦粉给我们，我们也不会 “丰收成灾”。&lt;br /&gt;
然而智识也会过剩的，智识过剩，恐慌就更大了。据说中国现行教育在乡间提 倡愈甚，则农村之破产愈速。这大概是智识的丰收成灾了。美国因为棉花 贱，所以在铲棉田了。中国却应当铲智识。这是西洋传来的妙法。&lt;br /&gt;
西洋人是能干的。五六年前，德国就嚷着大学生太多了，一些政治家和教育 家，大声疾呼的劝告青年不要进大学。现在德国是不但劝告，而且实行铲除智识 了：例如放火烧毁一些书籍，叫作家把自己的文稿吞进肚子去，还有，就是把一群 群的大学生关在营房里做苦工，这叫做“解决失业问题”。&lt;br /&gt;
中国不是也嚷着文法科的大学生过剩吗？其实何止文法科。&lt;br /&gt;
就是中学生也太多了。要用“严厉的”会考制度，像铁扫帚似的——刷， 刷，刷，把大多数的智识青年刷回“民间”去。&lt;br /&gt;
智识过剩何以会闹恐慌？中国不是百分之八九十的人还不识字吗？然而智识过 剩始终是“客观现实”，而由此而来的恐慌，也是“客观现实”。智识太多了，不是心 活，就是心软。&lt;br /&gt;
心活就会胡思乱想，心软就不肯下辣手。结果，不是自己不镇静，就是妨害别 人的镇静。于是灾祸就来了。所以智识非铲除不可。&lt;br /&gt;
然而单是铲除还是不够的。必须予以适合实用之教育，第一，是命理学——要乐 天知命，命虽然苦，但还是应当乐。第二，是识相学——要“识相点”，知道点近代武 器的利害。至少，这两种适合实用的学问是要赶快提倡的。&lt;br /&gt;
提倡的方法很简单：—— 古代一个哲学家反驳唯心论，他说，你要是怀疑这碗麦饭的物质是否存在，那最好 请你吃下去，看饱不饱。现在譬如说罢，要叫人懂得电学，最好是使他触电，看痛 不痛；要叫人知道飞机等类的效用，最好是在他头上驾起飞机，掷下炸弹，看死不死 ……&lt;br /&gt;
&lt;br /&gt;
有了这样的实用教育，智识就不过剩了。亚门！&lt;br /&gt;
&lt;br /&gt;
七月十二日。&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
==Xu Jing 许晶==&lt;br /&gt;
&lt;br /&gt;
Lu Xun to Tai Jingnong, 12 February 1933, Lu Xun shuxinji (Collected Correspondence of Lu Xun) (Beijing: Renmin wenxue chubanshe, 1976), Vol. 1, p. 354; Zou Taofen, Taofen wenji (Collected Works of Taofen) (Hong Kong: Joint Publishing Co. Ltd., 1957), Vol. 1, p. 73.&lt;br /&gt;
&lt;br /&gt;
《鲁迅致台静农》，1933年2月12日，鲁迅书信集（鲁迅合集）（北京：人民文学出版社，1976），第1卷，第354页；邹韬奋文集（韬奋合集）（香港：联合出版社集团，1957），第1卷，第73页。--[[User:Xu Jing2|Xu Jing2]] ([[User talk:Xu Jing2|talk]]) 08:51, 13 November 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
==Xu Jing 许静==&lt;br /&gt;
'''华德焚书异同论''' &lt;br /&gt;
&lt;br /&gt;
孺牛&lt;br /&gt;
&lt;br /&gt;
德国的希特拉先生们一烧书，中国和日本的论者们都比之于秦始皇。然而秦始皇实在冤枉得很，他的吃亏是在二世而亡，一班帮闲们都替新主子去讲他的坏话了。&lt;br /&gt;
&lt;br /&gt;
==Xu Mengdie 徐梦蝶==&lt;br /&gt;
不错，秦始皇烧过书，烧书是为了统一思想。但他没有烧掉农书和医书；他收罗许多别国的“客卿”，并不专重“秦的思想”，倒是博采各种的思想的。&lt;br /&gt;
Exactly, First Emperor of Qin had burned books to unify thoughts. Yet, books for agriculture and medicine were saved; he had embraced many guest officials from other states and was open to all kinds of ideas without only holding &amp;quot;thought's in Qin State&amp;quot; as highly esteemed.--[[User:Xu Mengdie|Xu Mengdie]] ([[User talk:Xu Mengdie|talk]]) 02:51, 13 November 2020 (UTC) Xu Mengdie&lt;br /&gt;
&lt;br /&gt;
It is true that Qin Shihuang burned books to unify his thoughts. But he did not burn down agricultural and medical books; he collected many &amp;quot;alienministers&amp;quot; from other countries, and did not focus exclusively on &amp;quot;Qin's thoughts&amp;quot;, but collected various ideas.--[[User:Zhao Xiaoyan|Zhao Xiaoyan]] ([[User talk:Zhao Xiaoyan|talk]]) 07:40, 13 November 2020 (UTC)&lt;br /&gt;
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==Xu Pengfei 许鹏飞==&lt;br /&gt;
秦人重小儿；始皇之母，赵女也，赵重妇人，所以我们从“剧秦”的遗文中，也看不见轻贱女人的痕迹。&lt;br /&gt;
&lt;br /&gt;
People in the state of Qin  attached great importance to children, while the state of Zhao emphasized women. And the mother of First Emperor of Qin is a woman from country Zhao. Therefore, we see no trace of contempt for women even in literature which depreciated Qin.--[[User:Xu Pengfei|Xu Pengfei]] ([[User talk:Xu Pengfei|talk]]) 05:22, 13 November 2020 (UTC)Xu Pengfei&lt;br /&gt;
&lt;br /&gt;
==Yang Chenting 杨晨婷==&lt;br /&gt;
希特拉先生们却不同了，他所烧的首先是“非德国思想”的书，没有容纳客卿的魄力；其次是关于性的书，这就是毁灭以科学来研究性道德的解放，结果必将使妇 人和小儿沉沦在往古的地位，见不到光明。而可比于秦始皇的车同轨，书同文……之类的大事业，他们一点也做不到。&lt;br /&gt;
&lt;br /&gt;
==Yang Hairong 杨海容==&lt;br /&gt;
阿剌伯人攻陷亚历山德府的时 候，就烧掉了那里的图书馆，那理论是：如果那些书籍所讲的道理，和《可兰经》相同，则已有《可兰经》，无须留了；倘使不同，则是异端，不该留了。这 才是希特拉先生们的嫡派祖师——虽然阿剌伯人也是“非德国的”——和秦的烧书，是不能比较的。&lt;br /&gt;
&lt;br /&gt;
==Yang Hui 阳慧==&lt;br /&gt;
但是结果往往和英雄们的豫算不同。始皇想皇帝传至万世，而偏偏二世而亡，赦免了农书和医书，而秦以前的这一类书，现在却偏偏一部也不剩。&lt;br /&gt;
&lt;br /&gt;
==Yang Yi 杨逸==&lt;br /&gt;
希特拉先生一上台，烧书，打犹太人，不可一世，连这里的黄脸干儿们，也听得兴高彩烈，向被压迫者大加嘲笑，对讽刺文字放出讽刺的冷箭来——到 底还明白的冷冷的讯问道：你们究竟要自由不要？不自由，无宁死。现在你们为什么不去拚死呢？&lt;br /&gt;
&lt;br /&gt;
==Yang Yue 杨悦==&lt;br /&gt;
这回是不必二世，只有半年，希特拉先生的门徒 们在奥国一被禁止，连党徽也改成三色玫瑰了。最有趣的是因为不准叫口号，大家就以手遮嘴，用了“掩口式”。&lt;br /&gt;
&lt;br /&gt;
==Yang Ziling 杨子泠==&lt;br /&gt;
这真是一个大讽刺。刺的是谁，不问也 罢，但可见讽刺也还不是“梦呓”，质之黄脸干儿们，不知以为何如？六月二十八日。&lt;br /&gt;
&lt;br /&gt;
==Yao Cheng 姚诚==&lt;br /&gt;
When we define an academic category like &amp;quot;Chinese studies&amp;quot;, we pay respect to the fact that the world historically has developed differently in different regions. Of course the world was far less connected than today, with slow carriers like horses and ships and often bad or risky infrastructure  like roads.&lt;br /&gt;
&lt;br /&gt;
在定义诸如“中国研究”之类的学术类别时，我们要尊重这一事实：从历史上看，全球不同地区发展轨迹不同。当然，那是马匹和船只等运输工具速度慢，马路等基础设施经常是破烂不堪或有造成事故的风险，当时世界的联系远比现在低。--[[User:Yao Cheng|Yao Cheng]] ([[User talk:Yao Cheng|talk]]) 14:54, 13 November 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
在定义诸如“中国研究”之类的学术类别时，我们要尊重这一事实：从历史上看，全球不同地区发展轨迹不同。当然，那是马匹和船只等运输工具速度慢，马路等基础设施经常是破烂不堪或有造成事故的风险，当时世界的联系远没有现在紧密。--[[User:Wu Xiang|Wu Xiang]] ([[User talk:Wu Xiang|talk]]) 15:20, 13 November 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
==Yao Jia 姚佳==&lt;br /&gt;
Therefore it appears on first sight that these regions have developed their culture, their civilization and even first written languages on their own, independently. The oldest evidence of written civilizations, dating back around 3500 years BC, we find in the fertile crescent Mesopotamia with the clay tablets of the Sumerer. A little bit later there is evidence in Ancient Egypt, then in Proto-India and finally also in China.&lt;br /&gt;
&lt;br /&gt;
==Yi Huan 易欢==&lt;br /&gt;
But the more we explore history, the more fascinating evidence comes to light that these seemingly independently developing regions have had more trade relations and exchange of ideas than seems likely bearing in mind mobility: The Silk Road is not only rediscovered and reevaluated historically, but also rebuilt as a political agenda today.&lt;br /&gt;
&lt;br /&gt;
==Yi Zichu 义子楚==&lt;br /&gt;
We today find early evidence of European civilizations in America and Asia as well as the Chinese civilization also in America and Europe.&lt;br /&gt;
&lt;br /&gt;
Cultural Science is more influenced by its subject than other sciences, since we are part of it and cannot leave it to examine it. The history of cultural science has developed from the first times of intercultural encounters to today’s life, in which cultures are mixed and people understand each other as being part of different cultures simultaneously.&lt;br /&gt;
&lt;br /&gt;
今天，我们发现了美洲和亚洲欧洲文明以及美洲和欧洲中华文明的早期证据。&lt;br /&gt;
与其他科学相比，文化科学受其学科影响更大，因为我们是文化科学的一部分，便不能利用它去研究其本身。文化科学的历史已经从第一次跨文化的相遇发展到今天的生活，在这种文化中，文化是混杂的，彼此理解的人们同时又是不同文化的一部分。--[[User:Yi Zichu|Yi Zichu]] ([[User talk:Yi Zichu|talk]]) 03:22, 14 November 2020 (UTC)&lt;br /&gt;
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==You Yuting 游雨婷==&lt;br /&gt;
However, there will always be differentiation between cultures, simply because the trends of integration and separation occur at the same time.&lt;br /&gt;
&lt;br /&gt;
When there is different cultures, there is an interest in comparing these. This medal has two sides. As soon as you start to compare, you may value. Cultural encounters happened before there were experts or a whole discipline.&lt;br /&gt;
&lt;br /&gt;
然而文化之间总是会有差异的，因为融合和分离的趋势是同时发生的。&lt;br /&gt;
当存在不同的文化时，比较这些文化是有意义的。这个奖牌有两面。一旦你开始比较，你可能会珍惜。文化交流发生在专家或整个学科出现之前。--[[User:You Yuting|You Yuting]] ([[User talk:You Yuting|talk]]) 13:41, 13 November 2020 (UTC)&lt;br /&gt;
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然而，文化之间总是存在差异，只是因为融合和分离的趋势同时出现。&lt;br /&gt;
当存在不同的文化时，将这些文化做对比是有意义的。这枚奖牌有两面性。一旦你开始比较，你可能会重视。在文化专家或整个学科出现之前，文化交流就已经发生了。 --[[User:Zhang Ling|Zhang Ling]] ([[User talk:Zhang Ling|talk]]) 14:20, 13 November 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
然而，文化之间总是存在差异，仅仅是因为融合和分离的趋势同时出现。&lt;br /&gt;
当存在不同的文化时，将这些文化做对比是有意义的。这枚奖牌有两面性。一旦你开始比较，你可能会重视。在文化专家或整个学科出现之前，文化交流就已经发生了。--[[User:Li Lingyue|Li Lingyue]] ([[User talk:Li Lingyue|talk]]) 04:34, 14 November 2020 (UTC)&lt;br /&gt;
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==Yu Ni 余妮==&lt;br /&gt;
So the first comparisons between cultures were ethnocentric: You compared whatever you encountered as “other”, “foreign” or “alien”, to your own culture. This was often accompanied with feelings. There was both, the feeling of fear of the unknown and curiosness in the exotic.&lt;br /&gt;
&lt;br /&gt;
==Yuan Shiqi 袁诗琦==&lt;br /&gt;
You may categorize civilizations into so-called “high civilizations” and “low civilizations”, into “developed” and “underdeveloped” cultures. This was an ethnocentric approach in the age of cultural relativism. Today in the age of post-growth economy and after tragic experiences of colonialization and missionization, we know that each culture is equal and cannot be ranked to be higher or lower, of more or less value than the other.&lt;br /&gt;
&lt;br /&gt;
你可以把各种文明分为“高等文明”、“低等文明”、“发达文明”和“不发达文明”。这是文化相对主义时代的一种民族中心主义方法。在经济后增长的今天，在经历了殖民和传教的悲惨经历之后，我们知道，每一种文化都是平等的，不能比较，没有一种文化文化比另一种文化更高级或更低级、更具价值或更少价值。--[[User:Yuan SHiqi|Yuan SHiqi]] ([[User talk:Yuan SHiqi|talk]]) 08:00, 13 November 2020 (UTC)&lt;br /&gt;
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你可以将文明划分为“高等文明”、“低等文明”、“发达文明”和“不发达文明”。这是文化相对主义时代民族中心主义的分法。人类在经历了殖民和传教的悲惨经历之后，在经济后增长的今天，我们知道，每一种文化都是平等的，没有高低贵贱之分。--[[User:Tan Yuanyuan|Tan Yuanyuan]] ([[User talk:Tan Yuanyuan|talk]]) 12:42, 13 November 2020 (UTC)&lt;br /&gt;
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==Yuan Tianyi 袁天翼==&lt;br /&gt;
While very early there were historians collecting knowledge from travel reports or official delegations visiting foreign cultures, in the middle ages handbooks collected the knowledge to describe different cultures. Even the Romans had words for the Chinese (Seres in the North and Sinae in the South) and attributed to Asian-looking people certain characteristics of behaviour, attitudes, value systems, beliefs, morals and character.&lt;br /&gt;
&lt;br /&gt;
虽然很早以前，有历史学家从旅行报告中或者从政府代表团造访异域文化时候汲取知识，但是中世纪的时候指南书籍都是到处搜集知识来描述不同文化的。哪怕是罗马人也有描述中国人的词语（罗马北方称为Sere，南方称为Sinae），他们还把行为、态度、价值体系、信仰、道德和性格这些特定特征与长有亚洲外貌的人联系在一起。--[[User:Yuan Tianyi|Yuan Tianyi]] ([[User talk:Yuan Tianyi|talk]]) 10:08, 13 November 2020 (UTC)&lt;br /&gt;
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==Yuan Yuchen 袁雨晨==&lt;br /&gt;
The first in-depth analysis of the Chinese culture through Western people came not with the merchants, but with the Jesuits. How few was known about China can be seen from the fact, that only the Jesuits managed to clarify, that the myth of the two empires, Tartary and Kitai/Cathay, in fact both were the same (China).&lt;br /&gt;
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首次通过西方人来深入分析中国文化，不是由商人发起的，而是耶稣会。过去鲜少有人真正了解中国，只有耶稣会设法澄清关于两个帝国的神话，实际上，鞑靼和契丹所指一样，都是指的中国。&lt;br /&gt;
--[[User:Yuan Yuchen|Yuan Yuchen]] ([[User talk:Yuan Yuchen|talk]]) 09:02, 13 November 2020 (UTC)&lt;br /&gt;
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首次深入分析中国文化的西方人不是商人，而是耶稣信徒。了解中国的人有多么少，我们可以从这个事实中看出来：只有耶稣信徒能够分清鞑靼和契丹这两大帝国的神话。实际上这两者都是指中国。--[[User:Yuan Tianyi|Yuan Tianyi]] ([[User talk:Yuan Tianyi|talk]]) 10:43, 13 November 2020 (UTC)&lt;br /&gt;
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==Zeng Fangyuan 曾芳缘==&lt;br /&gt;
However, the Jesuit’s approach was still ethnocentric and cultural relativist, because by portraying (like Du Halde) China as a seemingly ideal state suitable for mission work, they contributed to subjective views on China.&lt;br /&gt;
&lt;br /&gt;
然而，耶稣会的分析方法仍然带有种族中心主义和文化相对论的思想。因为通过将中国描绘成一个看起来像是适合进行宣教工作的理想国家（比如杜赫德神父的作品），他们对中国的观点带有主观色彩。--[[User:Zeng Fangyuan|Zeng Fangyuan]] ([[User talk:Zeng Fangyuan|talk]]) 10:43, 13 November 2020 (UTC)&lt;br /&gt;
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然而，耶稣会士的分析方法仍然带有种族中心主义和文化相对主义的思想。因为他们带着主观色彩看待中国，所以将中国描绘成一个看似适合进行宣教的理想国度（比如杜赫德神父的作品）。--[[User:Zhang Yu|Zhang Yu]] ([[User talk:Zhang Yu|talk]]) 13:18, 13 November 2020 (UTC)&lt;br /&gt;
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==Zeng Liang 曾良==&lt;br /&gt;
Around 1720 presumably the French Jesuit Jean-François Noëlas even translated the Dao de jing into Latin.[	Collani, Claudia von, Harald Holz, Konrad Wegmann eds. Uroffenbarung und Daoismus: jesuitische Missionshermeneutik des Daoismus. Europ. University Press, 2008. [Partial retranslation Chinese-Latin-German.]] The translation turns out to deviate from the original in the way that we suddenly find the Christian trinity god in it.&lt;br /&gt;
==Zeng Xinyuan 曾心媛==&lt;br /&gt;
This is the starting point of an ethnocentric tradition to read the self and the own into the other and the alien, instead of respecting the other as a value by itself and allowing it to even challenge the own beliefs. Even the German Christian missionary and sinologist Richard Wilhelm used a Christian language (belief, heavens’ doors, life after death etc.) in his influential 1919 Taoteking translation and in 1925 he translated “god” into the Analects of Confucius.&lt;br /&gt;
==Zeng Yanhu 曾雁湖==&lt;br /&gt;
The missionaries baptized the seemingly “backward” aborigines in several continents, sometimes supported by the sword. A lot of cultures, considered less “developed”, were heavily influenced or even destroyed and extinguished. Earlier, the “Warriors of the Cross” even fought wars and devastated complete regions.&lt;br /&gt;
==Zhang Hu 张虎==&lt;br /&gt;
The other aspect, the exotization of the other was expressed by the way the first Chinese people who came to Europe were received: They were passed on at tea meetings and gazed at like animals. Soon Chinese goods became the symbol of the exotic. Chinese porcellain and nick-nacks, even Chinese-style buildings were recreated in Europe. &lt;br /&gt;
==Zhang Hui 张慧==&lt;br /&gt;
The fever-like admiration of a China image, which certainly was not the true China, is called Chinoiserie. The Chinoiserie even involved European philosophers like Voltaire and Leibniz, who compared China to an ideal country without religion and still moral values, represented by a wise emperor.&lt;br /&gt;
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对中国形象的狂热崇拜，当然不是真正的中国，被称为中国风。 中国艺术甚至与伏尔泰和莱布尼兹（Leibniz）之类的欧洲哲学家相提并论，他们将中国比作一个没有宗教信仰和道德价值观的理想国家，以一个明智的皇帝为代表。--[[User:Zhang Hui|Zhang Hui]] ([[User talk:Zhang Hui|talk]]) 07:46, 13 November 2020 (UTC)&lt;br /&gt;
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对中国形象的狂热崇拜被称为“中国风”,这当然不是真正的中国。甚至连伏尔泰和莱布尼茨这样的欧洲哲学家也认同这种中国风这种观念，他们把中国比作一个没有宗教和道德价值观的理想国家，由一个明智的皇帝代表。--[[User:You Yuting|You Yuting]] ([[User talk:You Yuting|talk]]) 13:44, 13 November 2020 (UTC)&lt;br /&gt;
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==Zhang Ling 张玲==&lt;br /&gt;
In Europe, the first experts on Chinese culture were entrusted with the task to explain the Chinese culture no longer from the ethnocentric viewpoint, but from a scientific one: Professorships at universities were established. Their early translations show traces of admiration of the exotic. Chinoiserie was also countered by Européerie in China. However, this phase did only last as long as it fit to European politics.&lt;br /&gt;
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在欧洲，第一批研究中国文化的专家被委以重任，不再从民族中心主义的观点来解释中国文化，而是从科学的角度来解释: 大学里设立了教授职位。他们早期的翻译显示出对异国情调的赞赏。在中国的欧洲人也反对“中国风”。然而，这一阶段只会在符合欧洲政治的情况下持续。 --[[User:Zhang Ling|Zhang Ling]] ([[User talk:Zhang Ling|talk]]) 14:12, 13 November 2020 (UTC)&lt;br /&gt;
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在欧洲，第一批研究中国文化的专家被委以重任，她们开始不再从民族中心主义的观点，而是从科学的角度来解释中国文化：在大学里设立了教授职位。他们早期的翻译显示出对异国情调的赞赏。在中国的欧洲人也反对“中国风”。然而，这一阶段只会在符合欧洲政治的情况下持续。--[[User:Yao Cheng|Yao Cheng]] ([[User talk:Yao Cheng|talk]]) 14:58, 13 November 2020 (UTC)&lt;br /&gt;
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==Zhang Peiwen 张佩闻==&lt;br /&gt;
As soon as the import of colonial goods (and resources) became an economic factor, the (wrong) image of the ideal China changed into a negative one (similarly wrong). Not only mission and belief were motifs to look down on the Chinese culture, but also the comparison of economic development and living standards. &lt;br /&gt;
==Zhang Qi 张琪==&lt;br /&gt;
Hegel continued the ethnocentric view on China with his ranking of cultures. Although Confucius already had developed a “Golden Rule” principle comparable to Kant’s “Categorical Imperative”, Hegel declared Chinese philosophy as inferior to European philosophy, and even saw a geographical step by step development from Confucius over Buddha, Zarathustra, the ancient Greek and the Roman philosophy, leading to the European philosophy. &lt;br /&gt;
==Zhang Weihong 张维虹==&lt;br /&gt;
A ladder only second by the Arab philosophy. At the turn from the 19th to the 20th century, China was suddenly considered as static, as “the sick man of Asia”. Actually semi-colonialism in China helped to hinder development there. &lt;br /&gt;
==Zhang Xueyi 张雪仪==Rereading the reviews of Chinese literature in contemporary Western journals, it is astonishing, how disrespectful even men of letters treated Chinese literature, even during a time, when it was not yet available in translation, so that it is save to say that ethnocentric attitude prevailed over knowledge. &lt;br /&gt;
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==Zhang Yinliu 张银柳==&lt;br /&gt;
This can be proven by the many mistakes you can find in the reviews (Morrison: the book was of low literary quality, but written in Peking dialect and therefore useful as language learning material; Gützlaff: the protagonist Baoyu is a petulant woman; Giles: the words “Red Chamber Dreams do not appear in the book” etc.). Also, the tradition of the title translation as “Dream of the Red Chamber” can be traced back to the origins of the better translation as “Red Chamber Dreams”, sacrificed by Francis Davis finally in favor of the powerful tool of Morrison’s dictionary calling it “Dream of the Red Chamber”.&lt;br /&gt;
==Zhang Yu 张瑜==&lt;br /&gt;
Here, the exotic was used to make fun of China. Barrow introduces an excerpt, describing the outward appearance of Baoyu and Xifeng, translated by Francis Davis into English, explicitely for the reason to “amuse the beaux and belles”. Francis Davis himself picks two poems from the novel for translation, but not for its own sake, but to use them as a proof for his own (minority) opinion that the Chinese poetry knew a certain, “descriptive” function of poems in novels.&lt;br /&gt;
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在这里，这种异域文化常用来取笑中国。巴罗引用了一段描述宝玉和熙凤外貌的文本，弗朗西斯·戴维斯将其翻译成英文版本，很明显其意图是取笑书中的“美人”。弗朗西斯·戴维斯从小说中选了两首诗进行翻译，但他不仅仅是为了这两首诗，而是为了用这两首诗证明自己（少数人）的观点，他认为我们对中国诗有一定了解之后，我们就自然会了解诗歌在小说中的描述性作用。--[[User:Zhang Yu|Zhang Yu]] ([[User talk:Zhang Yu|talk]]) 13:01, 13 November 2020 (UTC)&lt;br /&gt;
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==Zhang Yujie 张毓婕==&lt;br /&gt;
In 1815 Macao Reverend Robert Morrison (1782-1834) coined the Western translation of the novel’s title by mentioning it in his Dictionary of the Chinese Language as “dreams of the red chamber.”[	He explained the character “妙” as in the novel’s character “妙玉 Meaou yǔh [Miao Yu]” as “the admirable gem, name of one of the female characters in the novel called 紅樓夢 the dreams of the red chamber”, see Robert Morrison: A Dictionary of the Chinese language in three parts, Macao: East India Company Press 1815, vol. I., 930 pp., here p. 614, left column. 24 years after the print edition was published, this is the first mention and translation of the novel’s title into a Western language known so far. If no earlier occurrence is found it means that Morrison created a translation which has lasted until today almost unchanged.] &lt;br /&gt;
==Zhang Yuxing 张宇星==&lt;br /&gt;
In 1815 Macao Reverend Robert Morrison (1782-1834) coined the Western translation of the novel’s title by mentioning it in his Dictionary of the Chinese Language as “dreams of the red chamber.”[	He explained the character “妙” as in the novel’s character “妙玉 Meaou yǔh [Miao Yu]” as “the admirable gem, name of one of the female characters in the novel called 紅樓夢 the dreams of the red chamber”, see Robert Morrison: A Dictionary of the Chinese language in three parts, Macao: East India Company Press 1815, vol. I., 930 pp., here p. 614, left column. 24 years after the print edition was published, this is the first mention and translation of the novel’s title into a Western language known so far. If no earlier occurrence is found it means that Morrison created a translation which has lasted until today almost unchanged.] He chose the plural, which was quite reasonable as there are many dreams in the novel. It appears that 27 years later the plural “dreams” was turned into the singular “dream,” which sounds a bit more general and is therefore also a reasonable translation. Red Chamber Dreams is the most common translation in English and, in its variations, in all Western languages so far.&lt;br /&gt;
==Zhao Xi 赵茜==&lt;br /&gt;
He chose the plural, which was quite reasonable as there are many dreams in the novel. It appears that 27 years later the plural “dreams” was turned into the singular “dream,” which sounds a bit more general and is therefore also a reasonable translation. Red Chamber Dreams is the most common translation in English and, in its variations, in all Western languages so far.&lt;br /&gt;
==Zhao Xiaoyan 赵晓燕==&lt;br /&gt;
In 1817 Rev. Robert Morrison published a book for studying Chinese,[	Robert Morrison, A view of China for philological purposes: containing a sketch of Chinese Chronology, Geography, Government, Religion &amp;amp; Customs, designed for the use of persons who study the Chinese language, Macao: East Asia Company Press, 1817, 141 S., hier S. 120-121.] in which he recommended “Dreams of the Red Chamber” as beginner readings, together with the novel Hao qiu zhuan, which was available mostly in English and partly in Portuguese by 1719, and fully in English by 1761. Both were written in colloquial style.&lt;br /&gt;
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1817年，罗伯特·莫里森牧师出版了一本研究汉语的书，[罗伯特·莫里森，从语言学的角度看中国：包含中国年表，地理，政府，宗教和习俗的梗概，旨在供学习汉语的人使用。 澳门：东亚公司出版社，1817年，141 S.，hier S. 120-121。]，其中他推荐《红楼梦》作为初学者阅读，包括小说《好逑传》，这本小说到1719年大部分都是用英语撰写，部分用葡萄牙语撰写，到1761年全部变成了英文版。两种语言都是口语化的。--[[User:Zhao Xiaoyan|Zhao Xiaoyan]] ([[User talk:Zhao Xiaoyan|talk]]) 07:33, 13 November 2020 (UTC)&lt;br /&gt;
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1817年，启罗伯特·莫里森牧师出版了一本学习中文的书,[罗伯特·莫里森,从语言学的角度看中国:包含中国年表、地理、政府、宗教和习俗,旨在供学习汉语的人使用,澳门:东亚公司出版社,1817年,141 S., hier S. 120-121.] 在这本书中，他推荐《红楼梦》和小说《好逑传》作为初学者读物。到1719年，《好逑传》主要以英文出版，部分以葡萄牙文出版，到1761年完全以英文出版。两者都是用口语化的。--[[User:Zhang Hui|Zhang Hui]] ([[User talk:Zhang Hui|talk]]) 07:53, 13 November 2020 (UTC)&lt;br /&gt;
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==Zheng Huajun 郑华君==&lt;br /&gt;
Morrison claims that Dream was written in Peking dialect. This does not hold true, since the author’s family Cao came from the South and many people in the novel have Nanking dialect sprinkles. In fact, the highly artful and intentional switch of dialects and sociolects contributed to the later fame of the novel. Morrison’s mistake developed its own tradition.[	Even in 1995, you could read that the Dreams is written in Peking dialect, cf. Shu Changshan, Die Rezeption Thomas Manns in China, 1995, Frankfurt: Lang, 326 pp. At least Tong Yao, Die Vielfältigkeit der Literatur, 2006 mentions both Peking and Nanking dialects.]&lt;br /&gt;
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莫里森声称《梦》是用北京方言写成的。但事实并非如此，因为作者曹家来自南方，小说中的许多人物都有南京方言的点缀。事实上，方言和社会语的高度巧妙和有意的转换为这部小说后来的名声做出了贡献。莫里森的错误发展了自己的传统。[即使在1995年，大家也可以读到“《梦》是用北京方言写的”，参见舒长山、托马斯·曼斯的《中国的梦》（1995），法兰克福:朗，326页。至少佟耀《文学之声》（2006）同时提到了北京方言和南京方言。]--[[User:Zheng Huajun|Zheng Huajun]] ([[User talk:Zheng Huajun|talk]]) 05:23, 13 November 2020 (UTC)&lt;br /&gt;
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==Zhou Luoping 周罗平==&lt;br /&gt;
Barrow mentioned the title “[...] a Chinese novel called Hung-low-Mung, or, The Red Chamber Dreams” on June 4, 1819, in the Quarterly Review. He inserted this reference into a review[	My own findings, so far not discussed in 20th century hongxue, and published first in October 2010. John Barrow, “Art. IV Narrative of a Journey in the Interior of China, and of a Voyage to and from that Country, in the Years 1816 and 1817; containing an Account of the most interesting Transactions of Lord Amherst's Embassy to the Court of Pekin, and Observations on the Countries which it visited. By Clarke Abel F.L.S. London 1818”, in: William Gifford ed., Quarterly Review 21:41 (January 1819) S. 67-91, hier S. 79-80. This edition appeared (only by) June 4, 1819 with 13,000 copies. The author follows here the argumentation of the assignment to the author Barrow due to the following indications: “Gentleman's Magazine (Mar. 1844), 246-47. The article's author refers to #415 and #438 (including a specific reference), both of which are on the same topic and are by Barrow. Cf. also the discussion of infanticide (p. 76) and Raffles's account of Java reviewed by Barrow in #422. In his Q[uarterly] R[eview] articles, it was Barrow's signature practice to refer to his own works,  see  “Quarterly Review Archive” http://www.rc.umd.edu/ reference/qr/index/41.html, last visited March 10, 2018.] of Clarke Abel’s report of a journey through China.[	Clarke Abel, Narrative of a Journey in the Interior of China, and of a Voyage to and from that Country, in the Years 1816 and 1817; containing an Account of the most interesting Transactions of Lord Amherst's Embassy to the Court of Pekin, and Observations on the Countries which it visited, F.L.S. London 1818.] &lt;br /&gt;
==Zhou Shiqing 周诗卿==&lt;br /&gt;
He interrupted his review with an excursus on the uniform appearance and static nature of the Chinese, in line with the contemporary China-bashing of Herder and Hegel. For contemporary Europeans, the Chinese appeared abnormally uniform and simple in their clothes and appearance. &lt;br /&gt;
==Zhou Shuyao 周书尧==&lt;br /&gt;
They would not be subordinated to the tyranny of fashion; their culture was static. In order to entertain the “belles and beaux of Great Britain,” Barrow provides a foil to this general impression by quoting the descriptions of the garments and anatomy of two characters, Wang Xifeng and Jia Baoyu, from chapter 3 of J. Davis’ translation of Dream. &lt;br /&gt;
==Zhou Siqing 周思庆==&lt;br /&gt;
In fact the graphic comparisons given in these descriptions were simply strange to Europeans of that time, since they apparently did not correspond to the European’s own ideal of beauty.&lt;br /&gt;
Even in 1842 Gützlaff criticized: “the author [makes] many protestations of his inability to do justice to the subject, which indeed is the only truth in the book […] the style is without any art […] whosoever wishes to familiarize himself with the manner of speaking the northern court dialect, may peruse this work with advantage”[	“Amongst the novels of the Chinese, this work holds a decidedly high rank. The author, after making many protestations of his inability to do justice to the subject, which indeed is the only truth in the book […] Having brought this tedious story to a conclusion, in expressing our opinion about the literary merits of the performance, we may say that the style is without any art, being literally the spoken language of the higher classes in the northern provinces. Some words that are used in a sense different from that in ordinary writings, and others are formed for the occasion, to express provincial sounds. But after reading one volume the sense is easily understood, and whosoever wishes to familiarize himself with the manner of speaking the northern court dialect, may peruse this work with advantage.” ibid., p. 273.]&lt;br /&gt;
==Zhou Yiwen 周艺文==&lt;br /&gt;
In 1867, 78 years after the first Chinese printed edition, we find a first real in-depth review of two pages by William Frederick Mayers:[	William Frederick Mayers, in: Notes and Queries (Dec 31, 1867) pp. 167-168, here p. 167. Mayers was Chinese secretary of the British Legation at Peking. He gives also short extracts in translation: 	&lt;br /&gt;
“Vast as is Heaven above or Earth below –&lt;br /&gt;
Sighs may such limits fill for passion vainly past	&lt;br /&gt;
Grieve for the senseless youth, the hapless maiden’s woe !	&lt;br /&gt;
Not oft is love’s light pledge redeem’ed at last ! ” (p. 167) […]	&lt;br /&gt;
Vain to be soft in temper, mild in ways,	&lt;br /&gt;
Fair as the fairest … (p. 168)	&lt;br /&gt;
[…]	&lt;br /&gt;
Not often shines	&lt;br /&gt;
thy longings too are vain ! ” (p. 168)].]&lt;br /&gt;
==Zhou Yuanqu 周园曲==&lt;br /&gt;
“If it be lawful to avow a feeling approaching to enthusiasm for any Chinese production, The Hung Low Mêng 紅樓夢 or ‘Dreams of the Red Chamber’ is beyond possibility of cavil the work for which genuine admiration may be expressed. What, in English literature, the writings of Thackeray and Bulwer are in comparison with the wearisome and unskilful productions of previous generations, such is the Hung Low Mêng when compared with the works of fiction that have emanated from other Chinese authors.&lt;br /&gt;
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如果能够依法公开宣布我们对于任何一部中国作品近乎狂热的喜爱，红楼梦将无可挑剔地成为一部最值得对其倾诉真挚仰慕之情的作品。英国文学中，萨克雷和布尔沃的之前的作品与萨克雷和沃尔本人的作品相比显得乏味而笨拙，中国其他作家的作品和《红楼梦》相比也是如此。--[[User:Zhou Yuanqu|Zhou Yuanqu]] ([[User talk:Zhou Yuanqu|talk]]) 09:29, 13 November 2020 (UTC)&lt;br /&gt;
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==Zhou Yujuan 周玉娟==&lt;br /&gt;
manated from other Chinese authors. Human character in its complex variety of shades, the intricacies of family relations, the force of passion and the torture of disappointed yearnings after love are pourtrayed with a degree of skill and knowledge such as in truth suggests a resemblance with the two great master-spirits of English romance; whilst, as in Nature's own drama of existence, the reflections of storm and sunshine are closely interlaced, and the lighter thread of comedy runs side by side with the dark main-strand of a story which opens with the omens of sorrow and is conducted to a tearful end. If, at the same time, a faint – a very faint – tinge of the supernatural is allowed to show itself in the conception of the tale, this is not only in full accord with the inclinations of the people for whom the work is written, but is also far less obtrusive than the similar element which pervades more than one of our own most celebrated fictions. […]”&lt;br /&gt;
Reading through almost 80 years of reviews, during which more and more chapters of the novel became available, the ethnocentric attitude gradually changes to the scientific one and finally, with Mayr’s review of 1867 to a dialectic one, not only admitting that the Chinese novel was a piece of world literature, but even leaving open the possibility that it surpassed literary achievements of the own culture. This process certainly has been brought to a good end with the establishment of further diversified Chinese Studies in Europe and the USA, with the role of overseas Chinese at American universities, with further translations especially through Franz Kuhn in the 1930s and with the establishment of the German China Association in the 1950s. &lt;br /&gt;
==Zhu Meimei 祝美梅==&lt;br /&gt;
During its 60 years of history, the German China Association (next to the developing chairs of Chinese Studies at universities and next to other organizations dealing with China like friendship associations and Confucius Institutes) has helped to overcome prejudices, cultural relativism with diversity and tolerance. This is especially challenging, because the cultures and languages are quite distant and German media and internet community tends to bash China.&lt;br /&gt;
==Zhu Suyao 朱素瑶==&lt;br /&gt;
During the last 20 years, the German China Association was shaped through its prolific president, Gregor Paul, who has shaped the prestige of the Association with his sharp and precise analysis of a common logic in China and the West as well as universal values, including human rights, worth to strive for both in the West and in China. His entertaining and informative lectures used a rhethoric often referring to persuasive conventional wisdom, e.g. that differences often come from different opinions instead of a difference of the nature of the things, as can be seen from a quarrel with his wife about what both remembered had happened the day before.&lt;br /&gt;
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在过去20年间，德中协会是由其多产的主席格雷戈·保罗所塑造，他通过尖锐又精准地分析中西方的共同逻辑，以及分析包括中西方都值得为之奋斗的人权在内的普世价值，从而树立了协会的威望。他运用修辞手法进行寓教于乐的演讲，往往是关于一些具有说服力的传统大智慧。比如，分歧往往源于观点的不同而非事物性质的不同，这点从保罗和其妻子关于昨天发生之事的争论中可看出。--[[User:Zhu Suyao|Zhu Suyao]] ([[User talk:Zhu Suyao|talk]]) 12:37, 13 November 2020 (UTC)&lt;br /&gt;
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==Zhu Xu 朱旭==&lt;br /&gt;
Paul is a consequent logician and a real universalist and he has added to Germany’s international reputation as “the land of poets and thinkers”.&lt;br /&gt;
The process of doing more justice to China today culminates in the cooperation between Chinese and Western scholars at international conferences, in research projects or international book projects like A New Literary History of Modern China, Harvard University Press 2017.&lt;br /&gt;
==Zou Xinyu 邹鑫雨==&lt;br /&gt;
Europeans (and later US-Americans) have made a contribution to Chinese Studies in general. They were influenced heavily by the idealizers (Jesuits, European philosophers of the enlightenment) and by China-bashers (Hegel, the German emperor...). It took 100 years for a Chinese piece of world literature to be recognized as such in Europe. But today, Chinese literature and culture is recognized with the Nobel Prize and Confucius Institutes do successful work in the whole work promoting and exporting Chinese culture abroad.&lt;br /&gt;
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总体而言，欧洲人（以及后来的美国人）为“中国学”做出了贡献。 “中国学”曾受到理想主义者（耶稣会士，欧洲启蒙哲学家）和批判中国以赢取政治筹码者（黑格尔，德国皇帝……）的严重影响，中国的一部世界文学历时百年才被欧洲认可。但是今天，中国文学和文化获得了诺贝尔奖，孔子学院在促进向外传播中国文化的工作中取得了成功。--[[User:Zou Xinyu2|Zou Xinyu2]] ([[User talk:Zou Xinyu2|talk]]) 09:37, 13 November 2020 (UTC)Zou Xinyu&lt;br /&gt;
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==Volunteer==&lt;br /&gt;
However, we should not overestimate the European contribution. There are still examples of ethnocentrism, even of religiously motivated reading of things into Chinese literature. One of these examples is the 10 volume History of Chinese Literature published in Bonn. In two volumes, the one about the origins of Chinese literature and the one on Chinese poetry, a German sinologist, who formerly was a priest, defines, that the origin of Chinese literature lies in the dialogue of the author with god.&lt;br /&gt;
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然而，我们不应高估欧洲的贡献。现在仍然有民族中心主义的例子，甚至是出于宗教动机对中国文学作品的解读。在波恩出版的10卷《中国文学史》就是其中之一。德国汉学家在《中国文学起源论》和《中国诗歌论》两卷中，曾任神父的汉学家对中国文学的起源进行了界定:中国文学的起源在于作者与上帝的对话。--[[User:Zheng Huajun|Zheng Huajun]] ([[User talk:Zheng Huajun|talk]]) 05:27, 13 November 2020 (UTC)&lt;br /&gt;
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==Volunteer==&lt;br /&gt;
This reminds us again of the Jesuit reading of things into Chinese texts, it reminds us of the attempts, to impose your own culture on other seemingly backward cultures, in this case even the try to impose the Western god on the Chinese culture of a time, when China had a totally different understanding of the world and of heaven than that of a Christian god. The emergence of Chinese literature comes from songs, speeches and paintings, from the wish to document events, family etc., but not from an encounter with god.&lt;br /&gt;
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这再次让我们想起耶稣会会士对于中国经文的解读；想起我们试图强加自身的文化于其他看似落后的文化上，当时中国对世界和天堂的理解完全不同于基督教的上帝，在这种情况下我们甚至试图把西方的上帝强加于一个时代的中国文化上。中国文学起源于歌曲，演说和画作；源于期望记录事件，家庭等，而非起源于与上帝的邂逅。--[[User:Zhu Suyao|Zhu Suyao]] ([[User talk:Zhu Suyao|talk]]) 14:33, 13 November 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
==Volunteer==&lt;br /&gt;
The same German sinologist retranslated the Analects, attributed to Confucius, and translated some of the more than 50 occurrences of “heaven” or “demon/ghost” with the term “god”.[	Here Wolfgang Kubin stands in the tradition of Jean-François Noëlas 1720 and Richard Wilhelm 1925, see: Konfuzius: Gespräche. Transl. Richard Wilhelm. In Kubin’s commentary in the beginning of his identically titled book (Konfuzius: Gespräche Diederichs 2011), he justifies his reading of god into the Analects (p. 10). He translates “shen” as “gods” (p. 215) and claims, Confucius was sacrificing to the gods (p. 30), he understands „guishen“ as „demon and god“ or „spirit and god“ and “tian” as “god of heaven”, “supreme god”,  (p. 213).] &lt;br /&gt;
&lt;br /&gt;
==Volunteer==&lt;br /&gt;
Experts on Confucius also quote the few passages, where Confucius addresses the question of the supranatural like ghosts etc. and analyze that Confucius may have been at best not interested or even negative about the belief in ghosts, while he was positive about the social stability and peace rituals brought for the people.&lt;br /&gt;
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This reminds us of the fact, that it is to us to make sure that ethnocentrism is still existing today and that science is a field that needs to be aware of and cautious about it. And it needs courage to speak out against it.&lt;br /&gt;
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孔子专家也引用了一些段落,在这些段落中孔子探讨了像是鬼魂之类的超自然的问题。专家们分析认为孔子充其量可能是不感兴趣,甚至对鬼魂的存在持否定态度，尽管他对仪式给人们带来的社会稳定和和平持积极态度。&lt;br /&gt;
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这提醒我们一个事实：我们十分确信种族中心主义在今天仍然存在并且科学是需要注意和谨慎的领域，而公开反对它需要勇气。--[[User:Yuan SHiqi|Yuan SHiqi]] ([[User talk:Yuan SHiqi|talk]]) 08:12, 13 November 2020 (UTC)&lt;br /&gt;
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孔子专家也引用了几段话，其中孔子谈到了像鬼这样的超自然问题。并分析说，孔子对鬼神信仰顶多是不感兴趣，甚至是消极的，尽管他对社会稳定和为人民带来的和平仪式是积极的。&lt;br /&gt;
这提醒了我们一个事实，那就是，我们要确保种族中心主义在今天仍然存在，科学是一个需要意识到并谨慎对待的领域。公开反对它需要勇气。--[[User:Hu Jin|Hu Jin]] ([[User talk:Hu Jin|talk]]) 04:15, 14 November 2020 (UTC)&lt;/div&gt;</summary>
		<author><name>Song Jianru</name></author>
	</entry>
	<entry>
		<id>https://bou.de/u/index.php?title=20201116_trans&amp;diff=104238</id>
		<title>20201116 trans</title>
		<link rel="alternate" type="text/html" href="https://bou.de/u/index.php?title=20201116_trans&amp;diff=104238"/>
		<updated>2020-11-14T07:12:18Z</updated>

		<summary type="html">&lt;p&gt;Song Jianru: /* Song Jianru 宋建茹 */&lt;/p&gt;
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&lt;div&gt;==Cao Runxin 曹润鑫==&lt;br /&gt;
'''WOESLER, Martin'''&lt;br /&gt;
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'''Prof. Dr. Martin Woesler (University Rome III/Witten University)'''&lt;br /&gt;
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'''The Waves of the Stone –''' &lt;br /&gt;
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'''Early Reception Between Instrumentalization and Exoticization'''&lt;br /&gt;
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'''Abstract'''&lt;br /&gt;
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The fame of the ''Dream of the Red Chamber'' spread quickly not across Asia, but also to Europe and the USA. This paper introduces the roles and motifs of different actors in the early distribution, like merchants, Western embassies, Chinese teachers of Western missionaries, missionaries themselves, translators, early Sinologists as well as literary critics. I introduce judgements on the novel before it was available in translation.&lt;br /&gt;
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==Chang Huiyue 常慧月==&lt;br /&gt;
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As motifs I identify exoticization (joy of otherness of fashion and dressing, customs), universalization (world literature), the instrumentalization of the novel as evidence for own hypotheses on literature (Davis’ poetry), the instrumentalization for language learning etc. I show a change of motifs over time from exoticization and instrumentalization for proving inferiority to Western novels to accepting the novel as part of world literature and a masterpiece of Chinese culture with a special value in documenting Chinese society. Of special interest are misunderstandings (Gützlaff) and deviations from the original (Kuhn, Minford).&lt;br /&gt;
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==Chen Han 陈涵==&lt;br /&gt;
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'''Key words'''&lt;br /&gt;
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Dream of the Red Chamber, Western translation, Western dissemination, Western reception, instrumentalization, exotization, deviation&lt;br /&gt;
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'''First (unproven) experiences of young Cao Xueqin with foreign literature'''&lt;br /&gt;
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In 1947 the graduate student Huang Long from then Jinling University quoted the following passage from the book Dragon's Imperial Kingdom, which he claimed to have borrowed from the Central Library (today’s Nanking Library), in which William Winston ‘remembers’ an encounter of his grandfather Philip Winston with Cao Xueqin:&lt;br /&gt;
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==Chen Hui 陈惠==&lt;br /&gt;
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&amp;quot;The imperial kingdom was symbolized by a five-clawed golden dragon, a legendary reptile nonexistent since Creation. Of her indigenous produces shantung commanded the broadest popularity. This rendered her to merit the credit ‚Land of Silk’ in the Orient. There has been cherished as our precious heirloom a piece of home-spun fabric with an ornamental pattern of &amp;quot;dragon and phoenix&amp;quot; manufactured at Kiangning Textile Mill. It survived fires and swords. During my grandfather Philip's sojourn in China for trade in textiles, he contracted an acquaintance with Mr. Tsao Fu, the then Superintendent of Kiangning Textile Mill, and at the latter's request served as an initiator of textile technology.&lt;br /&gt;
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==Chen Jiangning 陈江宁==&lt;br /&gt;
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The host was hospitality incarnate and oftentimes indited extempore verses in token of rapport. As a reply, my grandfather delivered Biblical sermons and gave a graphic narration of Shakespeare's dramas. For audience he had merely those other than the juvenile and feminine. On the score of eavesdropping, Tsao’s pampered son suffered a lashing and castigation&amp;quot;.[ 	Philip Winston: Dragon's Imperial Kingdom, Douglas 1874, p. 53. Quoted from: 吴新雷, 黄进德《曹雪芹江南家世考》，福建人民出版社, 1983, 304 pp., here pp. 103-104. See also:馬幼垣（Yau-Woon Ma）《實事與構想: 中國小說史論釋》，聯經出版事業股份有限公司, 2007年，384页。See also: 周汝昌《曹雪芹新传》外文出版社(1992)²1997, 353pp., here p. 101.]&lt;br /&gt;
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==Chen Jiaxin 陈佳欣==&lt;br /&gt;
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If this encounter has been made up, it shows how much effort Redology invested to come to new findings, if not, it may explain some of the special characteristics of the novel never seen in Chinese literature before.&lt;br /&gt;
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'''Status of the book before its publication'''&lt;br /&gt;
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Between 1754 and 1771 we have one new manuscript version per year in average and almost each manuscript carries new comments mostly from 脂砚斋 or from 畸笏叟. The author died on Feb 1, 1764, which did not end the commenting on the manuscripts.&lt;br /&gt;
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==Chen Jingjing 陈静静==&lt;br /&gt;
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The book was not officially published, but that did not prevented it from dissemination, as manuscript fragments were handed around since the 1750s and the novel was known to many scholars before its publication in 1791.&lt;br /&gt;
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The preface to the 2nd edition in 1792 also points to the fact, that there had been a “long” tradition of scholarly research of the book and comments. These comments had not been taken over for the 1st and 2nd edition.&lt;br /&gt;
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==Chen Sha 陈莎==&lt;br /&gt;
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'''From inofficial manuscript versions to the printed book'''&lt;br /&gt;
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One of the reasons why the book was not printed was that it was (wrongly) considered either sexually explicite literature (淫书) or against Confucianism, which could only passed on in manuscript versions. &lt;br /&gt;
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Gao E claims in his preface of 1791, that he had heared before 1771 from this novel and that he checked whether it was against Confucianism, but could not find anything like this in it, so that it could be published.&lt;br /&gt;
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==Chen Sunfu 谌孙福==&lt;br /&gt;
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“One of the best works of fiction in Chinese literature was supposed to have been written by a member of this sect, and was suppressed by the Emperor because of offensive references to the reigning family contained in it. It was called the ‘Hung Lou Meng,’ or ‘Dream of the Red Chamber,’ and it resembles a large number of fairy tales threaded together rather than a modern novel. By an ingenious substitution of false characters, words, occasionally throughout certain portions of the work—something like incorrect spelling —the imperial interdict was evaded, and it has continued in print and popularity down to the present day. Foreign students of Chinese commonly read a portion of it, the smooth and excellent style making it an invaluable text-book.”[ 	See: He Tianyue 何天爵: ''The real Chinese question'' (真正的中国问题), New York: Dodd，Mead &amp;amp; Co. 1900, 386 pp., here p. 109.]&lt;br /&gt;
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==Chen Yongxiang 陈永相==&lt;br /&gt;
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'''Preparations of the 1st book edition'''&lt;br /&gt;
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Gao E worked with Cheng Weiyuan, who ran the publishing house Suzhou Cuiwen Press (苏州萃文书屋). &lt;br /&gt;
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According to the preface to the 1791 edition by Cheng Weiyuan, different 80 chapter manuscript versions were already circulating, some were sold for a high price at the Temple Market, others were copied by readers. Since the 80 chapter manuscript versions already contained content lists with 120 chapter headlines, he searched for and found (as he pretended) the 120 chapters.&lt;br /&gt;
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==Cheng Yusi  成于思==&lt;br /&gt;
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In the preface to the first printed edition he already refers to an existing number of readers, who share the love of the book with him. Also his description that some readers took over the effort to copy the book by handwriting shows that an early fan culture existed even before the printed version appeared.&lt;br /&gt;
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Also, Cheng Weiyuan keeps the question of the authorship open, but points directly to Cao Xueqin, who claimed to have worked 10 years on the novel and rewritten it five times. The rewriting may refer to the production of new manuscript versions reflecting the ideas of the commentators.&lt;br /&gt;
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==Deng Jinxia 邓锦霞==&lt;br /&gt;
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'''1st Book edition 1791:''' 程甲本 Cheng A edition&lt;br /&gt;
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According to the preface to the 2nd edition 1792, these early fans were called collectors and the 1st edition was produced with movable characters, which was faster than the woodblock print. The book contained 99 illustrations and more than 100 copies were printed. The first edition might have been printed in Peking at the end of 1791, the 2nd in early 1792 in Suzhou, leaving 72 days between the two editions, which may show that the Peking edition was sold out immediately. The 1791 edition was also soon translated into Mongolian: 蒙古王府本 Menggu ben.&lt;br /&gt;
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'''1791年第一版:''' 程甲本 &lt;br /&gt;
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根据1792年第二版的序言，这些早期的粉丝被称为收藏家。第一版采用可移动的字符制作，这比木刻版画要快。 该书包含99幅插图，被印刷了一百多本。 第一版可能于1791年底在北京印刷，第二版于1792年初在苏州印刷。两版之间相隔72天，这或许表明北京印刷版立即被抢购一空。 1791年版也很快被译成蒙古文：蒙古王府本。--[[User:Deng Jinxia|Deng Jinxia]] ([[User talk:Deng Jinxia|talk]]) 05:18, 13 November 2020 (UTC)&lt;br /&gt;
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'''1791年第一版:''' 程甲本 &lt;br /&gt;
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根据1792年第二版的序言，这些早期的粉丝被称为收藏家。第一版采用活字印刷制作，这比木刻印刷要快。 该书包含99幅插图，印刷了一百多本。 第一版可能于1791年底在北京印刷，第二版于1792年初在苏州印刷。两版之间相隔72天，这或许表明北京的这一版一经印刷立即被抢购一空。 1791年版也很快被译成蒙古文：蒙古王府本。--[[User:Xu Pengfei|Xu Pengfei]] ([[User talk:Xu Pengfei|talk]]) 05:32, 13 November 2020 (UTC)Xu Pengfei&lt;br /&gt;
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==Ding Daifeng 丁代凤==&lt;br /&gt;
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'''2nd Book edition in 1792:''' 程乙本 Cheng B edition&lt;br /&gt;
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A second edition, with ‘corrections’ some consider mistakes today, was published in 1792 in Suzhou and sold well too. The 2nd edition claims to have removed many mistakes of the 1st edition.[ 	For an overview of the comparison of the two editions please refer to: 《《红楼梦》程乙本版本研究综述》，王丽敏，河南教育学院学报 (哲学社会科学版) Vol．33.] One of the differences is that the 程乙本 Cheng B edition changed expressions in ancient wenyan to more contemporary ones, like “索” was turned into “要”, “趁” into “赶”, “题” into “写”, “端” into “头”, “闻得” into “听见”, “记挂” into “惦记”, “殊不知” into “那里知道” etc., but not in every case. Altogether they changed roughly 20,000 characters.&lt;br /&gt;
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1792年第二版：程乙本&lt;br /&gt;
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第二版于1792年在苏州出版，也取得了很好的销量。在第二版当中，做出了一些修正，尽管这些修正在如今被认为是错误的。第二版声称修正了第一版中的诸多错误。[关于两个版本比较的概述，请参阅：《《红楼梦》程乙本版本研究综述》，王丽敏，河南教育学院学报 (哲学社会科学版) Vol．33.]不同点之一是程乙本将一些古文言文表达转化为了更为现代的表达，比如将“索”改成了“要”，“趁”改成了“赶”，“题”改成了“写”，“端”改成了“头”，“闻得”改成了“听见”，“记挂”改成了“惦记”，“殊不知”改成了“那里知道”等,但它并没有对所有的表达进行修改。修改字数总计约达20000。--[[User:Ding Daifeng|Ding Daifeng]] ([[User talk:Ding Daifeng|talk]]) 06:40, 13 November 2020 (UTC)&lt;br /&gt;
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==Fang Jieling 方洁玲==&lt;br /&gt;
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There is also a change of the list of confiscated goods. What might have been the reason in this particular case to change the list of confiscated goods for the Cheng B edition? The list in the Jiaben is a documentation of richness and therefore lets the confiscation seem to be justified because of unjustified enrichment. In the Yiben, the list starts with mostly religious items like, Buddha statues, this lets the confiscation appear unjustified and shifts the sympathies of the reader towards the family. In the late 18th century, there was a turn towards Buddhism.&lt;br /&gt;
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==Gan Fengyu 甘奉玉==&lt;br /&gt;
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Many umlegitimized copies appeared. The book was delivered to Korea and shipped to Japan, where it was read in its original language.&lt;br /&gt;
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The novel created a wave of interest in China comparable to the one of ''The Sorrows of the Young Werther'' in Europe since 1774. The first edition, printed in 1791 in Peking in a small number of copies (estimates range between 4 and 400) was soon sold out.&lt;br /&gt;
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很多非法盗版书出现，盗版书籍运到韩国后，又转海运到日本，在那里，人们阅读的却又是原文。&lt;br /&gt;
小说在中国引起了一波兴趣浪潮，堪比欧洲1774年以来的《少年维特的烦恼》浪潮。1791年，北京 印刷了第一版，数量很少（大约4-400本），很快就一售而空。--[[User:Gan Fengyu|Gan Fengyu]] ([[User talk:Gan Fengyu|talk]]) 03:25, 14 November 2020 (UTC)&lt;br /&gt;
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==Gao Mingzhu 高明珠==&lt;br /&gt;
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Some scholars assume a suicide wave among readers who identified with Lin Daiyu. Many readers discussed whether they identified more with Lin Daiyu or with Xue Baochai, a discussion that lasts until today. &lt;br /&gt;
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==Gong Yumian 龚钰冕==&lt;br /&gt;
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'''Spreading to Japan and Korea'''&lt;br /&gt;
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Captain王开泰 Wang Kaitai delivered 18 copies of a 9-volume edition of the Dream on December 9, 1793 to Japan, as we can prove in a store list of a Nanking ship arriving in长崎港Nagasaki (which started on November 3 in 乍浦 Zhapu): „红楼梦 九部十八套“.[ 	From 发货账本, quoted from: 《红楼梦 》在日本.] We know of an early mentioning of the Dream by the Korean author ''Lee'', ''Kyu-Kyung''李圭景 ( 1788- ? 李圭景(이규경)) in the 1830s.[ 	From 《五洲衍文长笺散稿》卷七《小说 辩证说》, quoted from: 《红楼梦》在韩国的流传和翻译.]&lt;br /&gt;
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There were early (partial) translations of the novel into Manchurian.&lt;br /&gt;
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==Gu Dongfang 顾东方==&lt;br /&gt;
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'''Early Western notions of the book'''&lt;br /&gt;
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The novel also caught the attention of Europeans living in China, like the missionaries, who started to translate parts of it into Western languages, as well as the British embassies to China, who collected also Chinese literature, brought it back to Europe or engaged in translation or dissemination. &lt;br /&gt;
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==Guan Qinqing 管钦清==&lt;br /&gt;
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The book seems to have run out of stock often and needed to be purchased from other cities, whereever it was available, like in about 1812 in Canton: Robert Morrison, a missionary who worked in Macao, may have been pointed by his Chinese tutor to the novel. In 1816 he published a dialogue between a student (maybe himself) and his Chinese tutor pointing to the time before December 1812, when he translated parts of the novel and therefore had a copy: &lt;br /&gt;
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==Gui Yizhi 桂一枝==&lt;br /&gt;
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Student: “What is the best book for students to read?” – [...suggestion of ''Daxue''.] Tutor: [...] to read the Hung-low-mung will do very well. – Student: I have not seen the Hung-low-mung, have you seen it? – Tutor: I have not brought it with me, but if you wish to see it, I will write to Canton, and present it to you. Student: “Very good. I will trouble you to write for it.” – Tutor: “I will do so.” – Student: “How many volumes are there in the Hung-low-mung?” – Tutor: “Twenty volumes in all. In this book, the phraseology is entirely that of Peking.”[ 	From: “Dialogue V”, in: 《中文对话与单句》''Dialogues and Detached Sentences in the Chinese Language, with a free and verbal translation in English, collected from various sources'', Macao: East India Company Press 1816. [Chinese parts left out in this quotation.]] &lt;br /&gt;
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==Guo Lu 郭露==&lt;br /&gt;
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Between December 1812 and February 1813, Robert Morrison translated parts of chapter 4 and send it to Great Britain. He published entries about the Dream in his dictionary, of which the first volume appeared in 1815[	《华英字典》''A Dictionary of the Chinese language in three parts'', Macao: East India Company Press 1815, vol. I 930 pp., the novel title is mentioned in volume I:614.] and more translation excerpts, e.g. from chapters 4 and 39, in his 1816 textbook edition.[ 	《中文对话与单句》''Dialogues and Detached Sentences in the Chinese Language, with a free and verbal translation in English, collected from various sources'', Macao: East India Company Press 1816, e.g. pp. 194-200.] &lt;br /&gt;
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==Han Haiyang 韩海洋==&lt;br /&gt;
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Only 23 years of its publication, the novel already was part of the canonized Chinese literature of fiction and Robert Morrison used excerpts of it for his text books to teach Westerners Chinese, as well as expressions from it for his dictionary and sent letters with excerpt translations to Europe, for an intended 2nd vol. of his ''Horæ Sinicæ'' which never was realized.&lt;br /&gt;
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The first British Embassies to China (among them especially Charles Bowra, John Francis Davies) also collected literature and among it the ''Dream of the Red Chamber''. &lt;br /&gt;
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==Han Wanzhen 韩宛真==&lt;br /&gt;
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'''Early translation history in the West'''&lt;br /&gt;
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In 1819, the first excerpt translations were published in Europe, in English (by John Francis Davis) and in French (by Davis, further translated by Bruguière). Significantly, they were published hidden in other larger works, in the English case, it was a Travel Report by Clarke Abel,[ 	约翰．巴罗（John Barrow）：“Art. IV Narrative of a Journey in the Interior of China, and of a Voyage to and from that Country, in the Years 1816 and 1817; containing an Account of the most interesting Transactions of Lord Amherst's Embassy to the Court of Peking, and Observations on the Countries which it visited. By Clarke Abel F.L.S. London 1818”，见：William Gifford（主编）, Quarterly Review 21:41 (1819年1月) 见第67-91页，特见第79-80页。这份期刊于1819年6月4号发行，总发行量13000份。笔者在这里参照了以下的索引并最终确定作者: „Gentleman's Magazine (Mar. 1844), 246-47. The article's author refers to #415 and #438 (including a specific reference), both of which are on the same topic and are by Barrow. Cf. also the discussion of infanticide (p. 76) and Raffles's account of Java reviewed by Barrow in #422. In his QR articles, it was Barrow's signature practice to refer to his own works.“, 参考„Quarterly Review Archive“ http://www.rc.umd.edu/reference/qr/index/41.html。] and in the French case, it was a Chinese drama, La-song-euil.[ 	“Rêves de la Chambre rouge”, 见：»Avant-propos du traducteur francais«, 见: 安托萬．安德烈．包儒略(Antoine-André Bruguière), ''Lao-seng-eul'' [老生兒], ''Comédie Chinoise, suivie de San-iu-leou, ou Les trois étages consacrés, conte moral ; Traduits du chinois en anglais, par J. F. Davis de la factorerie de Canlon ; et de l'anglais en français, par A. Bruguière de Sorsum; avec additions du traducteur'', 巴黎: Rey et Gravier / 伦敦 A. B. Dulau &amp;amp; Co. 1819 年, 227 页, 第141-164页, 见第150-151页。]&lt;br /&gt;
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==He Changqi 何长琦==&lt;br /&gt;
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These excerpt translations were done by John Francis Davis, he translated excerpts from chapter 3 and they were published by John Barrow in Great Britain and by Bruguière in France, both in 1819. Further translations were in 1846 by Robert Thom, excerpts of chapter 6, in 1868-69 Edward Charles Bowra chapters 1-8, in 1892-93 Henry Bencraft Joly chapters 1-56, in 1927 Liang-Chih Wang chapters 1-95, in 1929/1958 Wang Chi-chen an abridged full version, in 1958 Florence McHugh &amp;amp; Isabel McHugh a further translation from the abridged German version of 1938 by Franz Kuhn. &lt;br /&gt;
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==Hu Baihui 胡百辉==&lt;br /&gt;
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Regarding these translations, both the translation quality as well as the quality of the English used did not reach the status of world literature. Regarding full translations, we have in the 1960s Bramwell Seaton Bonsall, in 1973-1986 Hawkes/Minford and in 1978-1980 Yang/Yang. Among all the translators who embarked on this endeavour, only Hawkes (1923-2009) and Minford (1946-) achieved the goal to produce a translation which clearly falls into the categorization of world literature, the others, as Gladys Yang stated, “were a poor shadow of the original”.[ 	Yang 1980 3:621-622.]&lt;br /&gt;
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==Hu Huifang 胡慧芳==&lt;br /&gt;
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'''Early Misunderstandings'''&lt;br /&gt;
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Before the novel was available in translation, we find a lot of misunderstandings and negative judgements on the novel: Morrison considered the novel to have been written in “Peking Dialect”, this mistake developed its own tradition.[	Even in 1995, you could read that the Dreams is written in Peking dialect, cf. Shu Changshan, Die Rezeption Thomas Manns in China, 1995, Frankfurt: Lang, 326 pp. At least Tong Yao, Die Vielfältigkeit der Literatur, 2006 mentions both Peking and Nanking dialects.] In 1842 Gützlaff[ 	“''Dreams in the Red Chamber''”, Friedrich August Gützlaff (1803-1851), “《紅樓夢》Hung Lau Mung, or Dreams in the Red Chamber; a novel. 20 vols. Noticed by a Correspondent”, in: ''Chinese Repository'', issue 11 (1842) 266-273.] introduced the protagonist as „the lady Páuyu“ (p. 268), even “a very petulant woman” (p. 270) and “busy lady” (p. 272), and took Jia Yucun贾雨村 (instead of Jia Zheng 贾政) as Baoyu’s father.&lt;br /&gt;
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在小说被翻译出版之前，我们发现了很多关于小说的误解和负面判断：莫里森认为小说是用“北京话”写的，这个错误发展了它自己的传统。[即使在1995年，您也可以阅读 梦是用北京话写的，参见 舒常山，《死神的托马斯·曼斯》，中国，1995年，法兰克福：郎，326页。至少通瑶（《文学之路》，2006年）同时提到了北京方言和南京话。 弗里德里希·奥古斯特·古兹拉夫（Friedrich AugustGützlaff，1803-1851年），《《红楼梦》》 一本小说。 20卷 通讯员注意到”，在：中国资料库，第11版（1842）266-273。]中将主角介绍为“夫人帕尤”（第268页），甚至是“一个非常挑剔的女人”（第270页），以及“ （第272页），并以贾雨村贾雨村（而不是贾政贾政）为宝玉的父亲。--[[User:Hu Huifang|Hu Huifang]] ([[User talk:Hu Huifang|talk]]) 02:19, 14 November 2020 (UTC)&lt;br /&gt;
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==Hu Jin 胡瑾==&lt;br /&gt;
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Also his overall judgement is “in expressing our opinion about the literary merits of the performance, we may say that the style is without any art, being literally the spoken language of the higher classes in the northern provinces.” and he recommends it for language learning (p. 273). Even in 1900, Herbert Allen Giles introduced the novel as have been written in “Peking dialect” and attributed to Cao Xueqin “of the 17th cent.”[ 	“HUNG-LOU-MENG: 紅樓夢 A famous Chinese novel in the Peking dialect, popularly known as the Dream of the Red Chamber, dealing chiefly with events of domestic life which are very graphically described, and attributed to Ts'ao Hsiieh-ch'in of the 17th cent.” See: Herbert Allen Giles, ''A glossary of reference on subjects connected with the Far East'', 1900, pp. 127-128]&lt;br /&gt;
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此外，他的总体判断是“在表达我们对文学价值的意见时，我们可以说，这种风格没有任何艺术，实际上是北方各省较高阶层的口语。”他建议将它用于语言学习(第273页)。甚至在1900年，翟理斯介绍说这部小说是用“北京话”写成的，被认为是17世纪曹雪芹的代表作.【紅樓夢：一部以北京话写成的中国著名小说，俗称《红楼梦》，主要描写家庭生活中的琐事，描写生动形象，被认为是十七世纪曹雪芹的主要作品。参考:赫伯特·艾伦·翟里斯，《远东相关主题参考词汇》，1900年，第127-128页]】--[[User:Hu Jin|Hu Jin]] ([[User talk:Hu Jin|talk]]) 04:08, 14 November 2020 (UTC)&lt;br /&gt;
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==Ji Tiantian 纪甜甜==&lt;br /&gt;
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Also he claimed that the title “红楼梦” would be “a term which is not found anywhere in the text”,[ 	Giles 1885.] therefore was figurative and should be translated as “A Vision of Wealth and Power”. Actually the expression is found several times in the text, even in the title of chapter 25 and Baoyu actually very often falls asleep and dreams in the red bed-chambers of his female relatives and friends.&lt;br /&gt;
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==Jiang Fengyi 蒋凤仪==&lt;br /&gt;
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'''Early Reception of the novel in the West'''&lt;br /&gt;
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We first must credit pioneers like J. Davis, who not only tried to systematize Chinese poetry with examples from the ''Red Chamber Dreams'', but also sent the first translations of the novel out in the world and made it known in America and Europe just a decade after it has been published in China. Some sinologists used the story simply as a good example for learning Chinese (Morrison, Thom).&lt;br /&gt;
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==Jiang Hao 姜好==&lt;br /&gt;
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One can conclude that the ''Red Chamber Dreams'' transported a differentiated image of China, of fashion, of hair and clothes (Barrow, Bruguière, Goldsmith), of human relations (Goldsmith), and of a highly developed language. In this language, some poetical expressions were only understandable to those who had a broad knowledge of Chinese culture. The finesse of the differentiated use of the dialects according to the respective characters in the novel was simply overlooked (Morrison, Gützlaff, Thom) and only discovered much later. &lt;br /&gt;
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==Jiang Qiwei 蒋淇玮==&lt;br /&gt;
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The first phase of the Western reception was ethnocentric, partially due to the China-bashing of philosophers like Montesquieu, Herder, Hegel and to the imperialist spirit of contemporary Europe. The judgments on the novel are mostly driven by argumentation strategies; that is, the novel is used as a tool to prove one’s own existing attitudes. The novel is exploited to argue for: &lt;br /&gt;
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==Kang Haoyu 康浩宇==&lt;br /&gt;
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-	exoticism (J. Davis, Barrow, Bruguière)&lt;br /&gt;
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-	the inferiority of Chinese literature (Gützlaff, Langdon Davies, Harte, Giles, Headland)&lt;br /&gt;
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-	polarization by confronting opposite conceptions like ideal of beauty etc. (Goldsmith)&lt;br /&gt;
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-	to proof own hypotheses, like a self-made categorization of Chinese poetry (J. Davis)&lt;br /&gt;
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In this beginning phase, most comparisons were done within Chinese literature (Gützlaff: best of Chinese literature but inferior to Western literature, later: best of Chinese literature).&lt;br /&gt;
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-  异国情调（J.戴维斯，巴罗，布鲁基耶）&lt;br /&gt;
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-  中国文学的劣势（古兹拉夫，兰登戴维斯，哈特，贾尔斯，海德兰）&lt;br /&gt;
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-  通过对立的概念实现两极分化，如理想之美。（戈尔登史密斯）&lt;br /&gt;
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-  证明自己的假设，就像中国诗歌的自我分类（J.戴维斯）&lt;br /&gt;
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在最开始的阶段，大多数的比较都是关于中国文学的。（古兹拉夫：最好的中国文学，但不及西方文学，后来:最好的中国文学）--[[User:Kang Haoyu|Kang Haoyu]] ([[User talk:Kang Haoyu|talk]]) 15:01, 13 November 2020 (UTC)&lt;br /&gt;
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-异国情调（J.戴维斯，巴罗，布鲁基耶）&lt;br /&gt;
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-中国文学的劣势（古茨拉夫，兰登·戴维斯，哈特，吉尔斯，海德兰）&lt;br /&gt;
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-通过概念的对立来实现两极分化，如理想之美等。（戈德史密斯）&lt;br /&gt;
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-证明自己的假设，例如对中国诗歌的自我归类（J.戴维斯）&lt;br /&gt;
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在这个开始阶段，大多数比较都是在中国文学中进行的（古茨拉夫：中国文学最好，但次于西方文学，后来：中国文学最好）。--[[User:Peng Xiaoling|Peng Xiaoling]] ([[User talk:Peng Xiaoling|talk]]) 00:57, 14 November 2020 (UTC)&lt;br /&gt;
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==Kang Lingfeng 康灵凤==&lt;br /&gt;
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However, when Herder revised his China perception, and when the still inadequate perception of China called for a more differentiated image, the first translated extracts of this rich novel of manners helped to change the perception of China.&lt;br /&gt;
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Finally ''Dream'' was compared to Western literature (Erkes, Wilhelm), was enshrined in the temple of world literature and was assigned attributes that added value to the Western reading experience (Clemons: “slowing down”).&lt;br /&gt;
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==Kong Xianghui 孔祥慧==&lt;br /&gt;
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'''Motifs for judgements'''&lt;br /&gt;
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As motifs for the early judgements mentioned above, I identify exoticization (joy of otherness of fashion and dressing, customs), universalization (world literature), the instrumentalization of the novel as evidence for own hypotheses on literature (Davis’ poetry), the instrumentalization for language learning etc.&lt;br /&gt;
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There is a change of motifs over time from exoticization and instrumentalization for proving inferiority to Western novels to accepting the novel as part of world literature and a masterpiece of Chinese culture with a special value in documenting Chinese society.&lt;br /&gt;
判断的主题&lt;br /&gt;
作为上述提及的早期判断的主题，我确定了小说的异国化（时尚和穿着的别样喜乐，习俗），普遍化（世界文学），小说的工具化作为文学假设的证据（如戴维斯的诗歌），以及小说的工具化用于语言学习等。&lt;br /&gt;
随着时间的推移，小说主题也发生了变化，从异国化和工具化证明西方小说的劣势，到接受小说作为世界文学的一部分以及可以记录中国社会的具有独特价值的中国文化杰作。--[[User:Kong Xianghui|Kong Xianghui]] ([[User talk:Kong Xianghui|talk]]) 13:06, 13 November 2020 (UTC)&lt;br /&gt;
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判断主题&lt;br /&gt;
上述提到的早起判断主题，我认为小说的异国化（别样的时尚穿着，习俗带来的乐趣），普遍化（世界文学），工具化，证实了我们对文学（戴维斯诗歌）的假设，也证实了语言学习工具化。&lt;br /&gt;
随着时间的推移，小说主题从异国化变成工具化，证实了本身不如西方小说，接受小说是世界文学的一部分，也接受中国文化杰作在记录中国社会方面有一种独特价值。--[[User:Gan Fengyu|Gan Fengyu]] ([[User talk:Gan Fengyu|talk]]) 03:11, 14 November 2020 (UTC)&lt;br /&gt;
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==Kong Yanan 孔亚楠==&lt;br /&gt;
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'''The novel title'''&lt;br /&gt;
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The book title changed from the first translations as “Red Chamber Dreams” to singular “Dream” in 1843 by德明 (А. И. Коваńко / A. I. Kovańko)[ 	„Traumgesicht auf dem rothen Thurm“, see&amp;gt; 德明 А. И. Коваńко (1808-1870, trans.): „''Chun-lou-men'' (‚Traumgesicht auf dem rothen Thurm‘) oder ‚Geschichte des Steins‘（《石头记》）. Tschen-schi-in erfährt im Traume die Wiederbelebung des Steins; Zja-jui-zun verliebt sich in seiner Armuth in eine schöne Magd.“ , in: ''Das Ausland'', Munich 26 (1843) 198-199, 201-203.] and in 1846 by Robert Thom[ 	Robert Thom 羅伯聃, “Extract from the Hung-low-mung, chapter VI”, in: Robert Thom, 《正音撮要》 The Chinese speaker. Extracts from works written in the Mandarin language, as spoken at Peking. Compiled for the use of students, by Robert Thom, Esq., H. M. Consul at Ningpo. Part I, Ningpo: Presbyterian Mission Press 1846, pp. 62-89].&lt;br /&gt;
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'''小说名'''&lt;br /&gt;
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书名刚开始翻译为“红楼梦”（Red Chamber Dreams），1843年德明将其译成了单数“梦”（Dream）。1846年，羅伯聃也将其译为单数形式。--[[User:Kong Yanan|Kong Yanan]] ([[User talk:Kong Yanan|talk]]) 11:33, 13 November 2020 (UTC)&lt;br /&gt;
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==Lei Fangyuan 雷方圆==&lt;br /&gt;
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Many scholars have discussed the question if it was more appropriate to call the novel “Story of the Stone” instead of “Dream of the Red Chamber”. Arguments for the latter are that the first printed edition and most of the printed editions afterwards carried this title, so that it reached its fame and was read under this title until today, there was also at least one 120-chapter manuscript copy, the 《乾隆抄本百二十回紅樓夢》Qianlong 120 chapter manuscript; with this title circulating before. However, e.g. the Hawkes/Minford translation and the German Schwarz/Woesler translation use both titles with “also called” in between.&lt;br /&gt;
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许多学者都讨论过这样一个问题，即这部小说是否应该叫 &amp;quot;石头的故事 &amp;quot;而不是 &amp;quot;红楼梦 &amp;quot;更合适。支持后者的论点是，第一版印刷版和之后的大部分印刷版都使用这个书名，所以它有了自己的名气，直到今天还用这个书名，至少还有一个120章的手抄本，即乾隆抄本百二十回红楼梦；之前流传着这个书名。不过，如霍克斯/明福译本和德国施瓦兹/沃斯勒译本都使用这两个书名，中间有 &amp;quot;也叫&amp;quot;。--[[User:Lei Fangyuan|Lei Fangyuan]] ([[User talk:Lei Fangyuan|talk]]) 07:02, 13 November 2020 (UTC)&lt;br /&gt;
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许多学者都讨论过一个问题，即把这部小说起名为《石头记》 相比《红楼梦》而言是否更为合适。支持后者的人认为，第一版和之后的大多数印刷版已经有《红楼梦》这个名字了，所以名气传播开来，直至今日人们读到的还是这个书名，至少还有一个一百二十回的手抄稿，即《乾隆抄本百二十回红楼梦》，之前就流传这个书名。不过，在霍克斯/明福译本和德国施瓦茨/沃斯勒译本中，两个书名都用到了，之间含有“亦称”两字。--[[User:Yuan Yuchen|Yuan Yuchen]] ([[User talk:Yuan Yuchen|talk]]) 09:16, 13 November 2020 (UTC)&lt;br /&gt;
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==Lei Kuangxi 雷旷溪==&lt;br /&gt;
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Some scholars argue that the German title ''Traum der Roten Kammer'' was grammatically and logically not correct in German, but you need more than a grammar teacher’s imagination to find the answer why this title prevailed: A book title, especially a poetic one of a work of literature, does not at all have to be grammatically correct or logical, the title is simply assigned with the first translations and translators and then naturally develops in the cultural field over time.&lt;br /&gt;
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一些学者认为,德译版本《红楼梦》的标题“Traum der Roten Kammer”在德语中的语法和逻辑不正确,但是要找到这个标题为什么盛行，光靠语法老师的想象力是不够的:书名,尤其是像诗歌文学作品,并不需要一定在语法或逻辑上正确,标题只是简单地由最初翻译版本和译者指定的，然后随着时间的推移自然地在文化领域发展。--[[User:Lei kuangxi|Lei kuangxi]] ([[User talk:Lei kuangxi|talk]]) 03:50, 13 November 2020 (UTC)Lei Kuangxi&lt;br /&gt;
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一些学者认为，《红楼梦》标题的德版译文Traum der Roten Kammer在德语的语法和逻辑上是不正确的，但想到找到这个标题为什么流行的答案，光拥有跟语法老师一样的想象力是不够的:书名，尤其是文学作品充满诗意的书名，根本不需要语法正确或有逻辑，标题只是简单地由最初的译文和译者定下来，然后自然而然地随着时间的推移在文化领域发展。--[[User:Ding Daifeng|Ding Daifeng]] ([[User talk:Ding Daifeng|talk]]) 07:05, 13 November 2020 (UTC)&lt;br /&gt;
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一些学者认为,德译版本《红楼梦》的标题“Traum der Roten Kammer”在德语的语法和逻辑方面有误，,但是要找到这个标题为什么盛行的原因，光靠语法老师的想象力是不够的:书名,尤其是像诗歌文学作品的书名,不必在语法或逻辑上正确,因为标题由最初翻译版本和译者指定的，然后随着时间的推移自然地在文化领域发展。--[[User:Li LIli|Li LIli]] ([[User talk:Li LIli|talk]]) 11:31, 13 November 2020 (UTC)Li Lili&lt;br /&gt;
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==Li Haiquan 李海泉==&lt;br /&gt;
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Language development exactly works like this: New, seemingly incorrect forms of expressions come into existence, and become correct and a part of language simply because they are used. All translation decisions need to be balanced: They do not have to adhere only to a word-by-word translation, or to logic or grammar, but to what is a common expression or broadly accepted. &lt;br /&gt;
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==Li Lili 李丽丽==&lt;br /&gt;
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There are historical settings which influence these historical decisions, like the existence of the English translation title “Dream of the Red Chamber” at that time. Other reasons are that “Traum der” is simply shorter than “Träume im/vom roten Anwesen”, while the reader will still associate the logically correct meaning behind it. The word “Kammer” at the time when the novel was first published in Chinese was linked to luxurious rooms e.g. in castles, so very much appropriate. And the “red” is a leitmotiv.&lt;br /&gt;
有一些历史背景影响着这些历史决定，比如当时英译本《红楼梦》的存在。另一个原因是“Traum der”比“Träume im/vom roten Anwesen”短，而读者会联想到其背后逻辑上正确的含义。当该小说第一次以中文出版时，“坎默”一词指豪华的房间（如城堡），非常恰当。“红色”是主旨。--[[User:Li LIli|Li LIli]] ([[User talk:Li LIli|talk]]) 11:20, 13 November 2020 (UTC)Li Lili&lt;br /&gt;
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有一些历史背景会影响这些历史决定，例如当时“红楼梦”标题的英文翻译。另一原因是“ Traum der”短于“Träumeim / vom roten Anwesen”，而读者仍会联想到其背后逻辑上正确的含义。当小说首次以中文出版时，“ Kammer”一词指豪华的房间（如城堡），这是非常恰当的，因为“红色”是主旨。--[[User:Kong Xianghui|Kong Xianghui]] ([[User talk:Kong Xianghui|talk]]) 13:17, 13 November 2020 (UTC)&lt;br /&gt;
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==Li Lingyue 李凌月==&lt;br /&gt;
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To pay tribute to historical developments of becoming a well-known expression, in the German edition, the mentioning of “rote Kammer” was capitalized into “Rote Kammer” in the new edition, very much alike “Red Chamber” in English at the very beginning of the English translation history.&lt;br /&gt;
为了纪念历史的发展成为一个众所周知的表达，在德语版中，“rote Kammer”在新版中被大写为“Rote Kammer”，非常类似于英语翻译史开始时的英版红楼梦。--[[User:Li Lingyue|Li Lingyue]] ([[User talk:Li Lingyue|talk]]) 04:30, 14 November 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
==Li Liqin 李丽琴==&lt;br /&gt;
&lt;br /&gt;
'''80 or 120 chapters'''&lt;br /&gt;
&lt;br /&gt;
The First European Conference on the Dream of the Red Chamber in Bonn 1992 agreed that the 120 chapter version was the authoritative one because it was simply the version under which the novel reached its fame and is best known among readers. Publishing houses argue that a fragment is harder to sell. Also, the part of Cao Xueqin in the last 40 chapters is not finally enligthened, and I always recommend to stick to the editors claims until falsification, therefore we should at least assume Cao’s authorship of the last 40 chapter titles and maybe even some parts of the text.&lt;br /&gt;
&lt;br /&gt;
“80章还是120章”&lt;br /&gt;
&lt;br /&gt;
第一届以红楼梦为主题的欧洲会议于1992年在波恩举行，会议上，专家们一致认为120章的版本更具权威性。原因是这个版本在世界上广为流传，在读者中广为人知。出版社认为，单独把书的某几个章节拎出来是很难出售的。此外，曹雪芹撰写的最后40章中部分内容并没有被最终确定下来，因此我始终建议坚持编者的主张，直到被篡改为止。基于此，我们至少应承认曹雪芹拥有最后40章甚至是部分文本的著作权。--[[User:Li Liqin|Li Liqin]] ([[User talk:Li Liqin|talk]]) 09:37, 13 November 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
'''80章还是120章'''&lt;br /&gt;
&lt;br /&gt;
第一届以红楼梦为主题的欧洲会坛于1992年在波恩举办。与会者一致认为120章的版本是权威版本，因为这个版本使红楼梦声名远扬、广为人知。出版社认为取其中几章出版成书，销量会更惨淡。曹雪芹撰写的最后40章是否出版最终也没有确定。我会一直坚持编者的观点，直到这本小说被改动后出版。因此，我们至少应该承认曹雪芹对于最后40章甚至是部分文本的著作权。--[[User:Kong Yanan|Kong Yanan]] ([[User talk:Kong Yanan|talk]]) 12:09, 13 November 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
==Li Luyi 李璐伊==&lt;br /&gt;
&lt;br /&gt;
How far other contributors have come close to or deviated from Cao’s original intent for the last 40 chapters may stay object of research. However, they seem to have been successful, because the 120-chapter has prevailed historically, also in its translations, and found the acceptance of the readership.&lt;br /&gt;
&lt;br /&gt;
'''Deviations from the original'''&lt;br /&gt;
&lt;br /&gt;
Kuhn, successful and critizised, with his Adapting and Foreignizing, very pleasing but ever-the-same-style translations of so different novels like Shuihuzhuan, Xiyouji and Hongloumeng is history and today one among many translations and more and more readers are able to read the Hongloumeng in other languages like English or even in Chinese.&lt;br /&gt;
&lt;br /&gt;
==Li Meng 李梦==&lt;br /&gt;
&lt;br /&gt;
Kuhn mentions to have used two specific copies of the original work. There are scholars who doubted that he really used the copies he indicated, because they could not be found. I see no reason to doubt Kuhn’s statement, it is more likely that he used grey editions which are not registered and maybe cannot be found any more.&lt;br /&gt;
&lt;br /&gt;
'''1st deviation by Minford: The explicit episode about the human-ghostly intercourse, chapter 102'''&lt;br /&gt;
&lt;br /&gt;
This episode is a black humour one, where Wu Gui’s wife has “a little bit a cold”, takes the wrong medicine and dies.&lt;br /&gt;
&lt;br /&gt;
==Li Yongshan 李泳珊==&lt;br /&gt;
&lt;br /&gt;
At this passage, it looks like we have the opposite case as in the second example: In the Chinese original the whole sentence “enjoyed her at inordinate length” is missing.&lt;br /&gt;
 &lt;br /&gt;
程甲本: 那媳妇子本有些感冒着了，日间吃错了药，晚上吴贵到家，已死在炕上。外面的人因那媳妇子不妥当，便都说妖怪爬过墙吸了精去死的。&lt;br /&gt;
&lt;br /&gt;
程乙本: 那媳妇子本有些感冒着了，日间吃错了药，晚上吴贵到家，已死在炕上。外面的人因那媳妇子不大妥当，便说妖怪爬过墙来吸了精去死的。&lt;br /&gt;
&lt;br /&gt;
Minford: Because of her reputation for promiscuity, other members of the household staff concluded that a spirit must have climbed over the Garden wall, enjoyed her at inordinate length, and finally sucked the sap' out of her.&lt;br /&gt;
&lt;br /&gt;
==Li Yu 李玉==&lt;br /&gt;
&lt;br /&gt;
The sentence seems to be made up by John Minford. It is the explicit report of a sexual intercourse between a ghost and a woman, which ended, when the ghost sucked the lifeblood out of her. Minford does not only extend this brief report about the death of a woman by adding a sexual intercourse between a human and a non-human, which is inappropriate or abnormal by itself, but stresses the abnormality even by characterizing this intercourse in more detail, as taking “inordinate” long. &lt;br /&gt;
&lt;br /&gt;
==Lin Min 林敏==&lt;br /&gt;
&lt;br /&gt;
Originally, Cao/Gao had only very briefly reported on Wu Gui’s wife’s death. They mentioned the natural cause of death, that she had taken the wrong medicine. However, since most of the strokes of fate in this novel are explained as to be motivated through moral retaliation, Cao/Gao describe her as “promiscuous”. In the logic of moral retaliation, she earns to die. The ghost then would be the executor. But still he only is described as climbing over the wall and sucking the lifeblood out of her.&lt;br /&gt;
&lt;br /&gt;
==Lin Xin 林鑫==&lt;br /&gt;
&lt;br /&gt;
Minford adds an action, which leads further than Cao/Gao wrote. This action still is connected to the story, it even drives its authority from Wu Gui’s wife’s promiscuous way of living. The scene might have stimulated the readers’ fantasy, but not necessarily in the direction of Minfords account. Did Minford simply give his fancy full scope? He might also have been encouraged to interpret this scene the way he did because of the parallel scene with the mirror in chapter 12, where Jia Rui also has inordinate often sexual intercourse with the ghost of Xifeng, and gradually loses his lifeblood until he dies on a large patch of semen.&lt;br /&gt;
&lt;br /&gt;
==Ling Zijin 凌子瑾==&lt;br /&gt;
&lt;br /&gt;
After Minford had altered the original, the original ending of that scene did not fit any more: The action of killing her by sucking the lifeblood out of her comes too abrupt. In one subordinate clause they enjoy their sex and even inappropriately long, and in the next he kills her, which is by itself also outrageous. So Minford had to step into the original text sentence and add the adverb “finally” in order to bring it into a chronological and resultative relation.&lt;br /&gt;
&lt;br /&gt;
==Liu Bo 刘博==&lt;br /&gt;
&lt;br /&gt;
Kuhn and Schwartz/Woesler have translated this passage without these additions and did not elaborate possible fantasies.&lt;br /&gt;
&lt;br /&gt;
The effect of Minfords addition is, that the episode becomes more interesting, scandalous and sexually explicit.&lt;br /&gt;
&lt;br /&gt;
In order to find out, what made Minford add this information, we should consider not only the original, but also a then existing translation. Minford in his preface thanked Yang Xianyi for his help with his own translation Hawkes/Minford 4:30. When we look at the Yang/Yang translation, we find the adding already there: &lt;br /&gt;
&lt;br /&gt;
==Liu Jinxingqi 刘金惺琦==&lt;br /&gt;
&lt;br /&gt;
Yang/Yang: Outsiders, knowing her bad reputation, claimed that a monster had climbed over the wall to enjoy her until she died of exhaustion.&lt;br /&gt;
&lt;br /&gt;
This translation in many respects is not so accurate. The couple Yang/Yang uses more general words, leaving out the causal conjunction “because” [she was known for promiscuity]. For 不[大]妥当 (promiscuity) they even use the more general “bad reputation”, and maybe in order to compensate for the lacking sexual connotation in this, they added “to enjoy her”, which we do not find in the Chinese original text.&lt;br /&gt;
&lt;br /&gt;
==Liu Liu 刘柳==&lt;br /&gt;
&lt;br /&gt;
And they already prepare the way for Minford’s “finally” by adding the “until”. As the whole Yang/Yang translation uses simpler words, 妖怪 is translated as “monster” instead of “ghost”. Since immediately before this episode the garden is described as being the home of ghosts, he latter might have been the better expression. Also the “death of exhaustion” is an interpretation, the Chinese text only reads “sucked the lifeblood out of her”.&lt;br /&gt;
&lt;br /&gt;
他们也将闵福德的“finally”(最后)一词改为“until”(直到)。杨戴夫妇的整个译文用的都是相对简单的词，如“妖怪”译成“monster”(怪兽)而不是“ghost”(幽灵)。在上一个片段中，杨戴夫妇将花园描述成幽灵的家，所以用后者(ghost)表达或许更好。同样，“死于精疲力竭”只是一种解释，在中文文本中只解作“吸干她的生命之血”。--[[User:Liu Liu|Liu Liu]] ([[User talk:Liu Liu|talk]]) 09:17, 13 November 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
他们也将闵福德的“finally”(最后)一词改为“until”(直到)。杨戴夫妇的整个译文用的都是相对简单的词，如“妖怪”译成“monster”(怪兽)而不是“ghost”(幽灵)。但就在上一个片段中，花园描述为幽灵的家，所以用后者(ghost)表达或许更好。同样，“死于精疲力竭”只是一种解释，在中文文本中只解作“吸干她的生命之血”。--[[User:Kang Haoyu|Kang Haoyu]] ([[User talk:Kang Haoyu|talk]]) 15:07, 13 November 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
==Liu Ou 刘欧==&lt;br /&gt;
&lt;br /&gt;
So it seems that Minford has decided to keep the deviation of Yang/Yang, which is disloyal to the original and therefore falls under category c. However it may protect the Yang/Yang translation from discovery of its same deviation, since only people fluent in both languages will be able to discover it. Was Minford’s disloyalty to the original and his loyalty to his fellow translators a conspiracy? Or did Minford not directly translate from the Chinese, but simply improve the Yang/Yang translation? Since he uses “spirit” instead of “monster”, he still seems to have been conscious about everything and seems to have consciously decided to keep the Yang/Yang deviation for the mentioned possible reasons.&lt;br /&gt;
&lt;br /&gt;
==Liu Yangnuo 刘洋诺==&lt;br /&gt;
&lt;br /&gt;
'''2nd deviation by Minford: The explicit episode on the first attempt of the rape of the nun Miaoyu, chapter 111'''&lt;br /&gt;
&lt;br /&gt;
In chapter 111, we find another anecdote, where thieves invade Rongguofu and steal chests of treasures. On their way, they discover the appealing nun Miaoyu and start a first attempt to rape her. The exact passage reads in both editions:&lt;br /&gt;
&lt;br /&gt;
程甲本and程乙本: 又欺上屋俱是女人，且又畏惧，正要踹进门去，因听外面有人进来追赶，所以贼众上房。&lt;br /&gt;
&lt;br /&gt;
==Liu Yi 刘艺==&lt;br /&gt;
&lt;br /&gt;
Yang/Yang: The thieves had known that there were no men in the house. While in Hsi-Chun’s courtyard they had peeped through the window and been inflamed by the sight of a ravishing nun. As there were only terrified women inside, they were about to kick down the door when they heard the night-watch rushing in after them and promptly climbed up the roof.&lt;br /&gt;
&lt;br /&gt;
Minford: After the main part of their mission was accomplished, the thieves, knowing how unprotected the Jia mansion was, had been casually snooping around in Xi-chun's courtyard, and had caught a glimpse there of a very attractive young nun, which had put all sorts of mischievous ideas into their heads.&lt;br /&gt;
&lt;br /&gt;
杨/阳:贼人早知屋内没有男人。在熙春的院子里时，他们曾从窗外偷看，看到一个淫荡的尼姑，就被激怒了。由于里面只有被吓坏的女人，他们正要踹门，却听到守夜人跟着冲进来，于是立即爬上屋顶。&lt;br /&gt;
&lt;br /&gt;
明福:在完成了主要部分的任务后，盗贼们知道贾府是多么的没有防范，就在熙春的院子里随意地窥探，在那里瞥见了一个很有魅力的年轻尼姑，这让他们产生了各种恶作剧的想法。--[[User:Liu Yi|Liu Yi]] ([[User talk:Liu Yi|talk]]) 08:02, 13 November 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
==Liu Yiyu 刘怡瑜==&lt;br /&gt;
&lt;br /&gt;
They knew that the apartment was unguarded save by a handful of scared old women, and were about to kick the door in and put an abrupt end to Adamantina's meditations when they heard the sound of footsteps corning from outside and escaped onto the roof-top.&lt;br /&gt;
&lt;br /&gt;
Minford has added a sentence here. We see that the original did not contain this sexually explicit clause, therefore the deviation does not fall under category a. We can also exclude the possibility that Minford used an earlier edition which might have been censored in the more prudish socialist era, since we have the original Cheng-Gao edition from 1791/1792.&lt;br /&gt;
&lt;br /&gt;
==Liu Zhiwei 刘智伟==&lt;br /&gt;
&lt;br /&gt;
Minford’s extra sentence also does not exist in the translations Yang/Yang, Kuhn, nor in the later Schwartz/Woesler.&lt;br /&gt;
&lt;br /&gt;
In the Chinese original, the emerging sexual tension, stimulating the readers fantasy of a rape, is stopped immediately, when the kicking in of the door already at the beginning of this sentence is relieved by the wording “正要” were just about to… &lt;br /&gt;
&lt;br /&gt;
We can also exclude the category b. here, because it is not possible to read one subordinate clause more into the original.&lt;br /&gt;
&lt;br /&gt;
==Lou Cancan 娄灿灿==&lt;br /&gt;
&lt;br /&gt;
Might it have been a necessary explanation, which Minford did not want to explain in an annotation and therefore had to integrate into the text? This, we can also exclude, since from the context it is explicitly clear why they wanted to kick in the door. &lt;br /&gt;
&lt;br /&gt;
In order to understand Minford’s intention, we should ask what effect this wilful addition of this sentence has on the reader? First, this sexually arousing scene becomes longer. This gives the reader more time to develop fantasies, what might happen. Minford adds a sentence which expresses exactly these fantasies: When the men enter the room, Miaoyu will stop her meditation.&lt;br /&gt;
&lt;br /&gt;
==Luo Weijia 罗维嘉==&lt;br /&gt;
&lt;br /&gt;
The shifting of the perspective to the woman adds to the sexual tension. Both, the active men and the so far passive woman are now mentioned and can act in the fantasies of the reader. Even the end of passivity of the woman is associated, when Minford explicitly states that the meditation will end. And he stresses again the brutal aspect of this scene, using the word “abrupt”.&lt;br /&gt;
&lt;br /&gt;
The novel is mostly very implicit and connotative, it uses metaphors like “wind and rain game”  for describing sexual intercourse. Having explored the effects, Minford achieved with his deviation, one might guess, that the intention was to make this episode more explicit, to sexually arouse the readers.&lt;br /&gt;
&lt;br /&gt;
==Luo Yuqing 罗雨晴==&lt;br /&gt;
&lt;br /&gt;
This can be seen as disloyal to the original and its author, and it maybe seen as loyal to the profit of the press and the royalties.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
'''Sequels'''&lt;br /&gt;
&lt;br /&gt;
Many other authors also were inspired by the author and wrote a sequel to the novel. Soon, the novel was broadly accepted as another novel of the format of “四大奇书 Si da qi shu” and, since times became more strict regarding pornographic literature, replaced the ''Jin Ping Mei''. Already three years after the appearance, the Suoyin-School was founded and speculations began about the author and if the story had a real background. Please refer to the table of sequels in the attachment.&lt;br /&gt;
&lt;br /&gt;
==Ma Juan 马娟==&lt;br /&gt;
&lt;br /&gt;
'''Spreading of the novel to Russia'''&lt;br /&gt;
&lt;br /&gt;
In 1832, a member  of the Russian Orthodox Mission in China (俄国驻北京宗教使团学员)  brought a manuscript copy of the Story of the Stone back to Russia. It had 35 vols. (currently in the St. Petersburg branch of the Russian Scientific Oriental Institute). Another member of the Mission, А. И. Коваńко, used the pen name 德明 to introduce part of the first chapter to the West. &lt;br /&gt;
&lt;br /&gt;
'''Reevaluation in Late Qing and status in the Cultural Revolution'''&lt;br /&gt;
&lt;br /&gt;
==Ma Shuya 马淑雅==&lt;br /&gt;
&lt;br /&gt;
Wang Guowei improved the status of the novel since 1885,  he saw it as one of the most important pieces of Chinese literature, and the discussions of Hu Shi and Yu Pingbo. &lt;br /&gt;
&lt;br /&gt;
During the Cultural Revolution, the Dream of the Red Chamber was forbidden again.&lt;br /&gt;
&lt;br /&gt;
'''Spreading in Germany'''&lt;br /&gt;
&lt;br /&gt;
The total number of copies published between 1932 and 1977 is 89335 volumes, the ''Jin Ping Mei'' 《金瓶梅》 reached between 1930 and 1977 175000 vols.  Der Traum der Roten Kammer rangiert auf Platz 4 der Welt-Bestsellerliste. &lt;br /&gt;
&lt;br /&gt;
'''References'''&lt;br /&gt;
&lt;br /&gt;
[Please refer to the full bibliographic references in the footnotes for now.]&lt;br /&gt;
&lt;br /&gt;
==Ma Zhixing 马智星==&lt;br /&gt;
&lt;br /&gt;
'''Report'''&lt;br /&gt;
&lt;br /&gt;
'''3rd International Dream of the Red Chamber Conference in Europe'''&lt;br /&gt;
&lt;br /&gt;
''Martin Woesler''&lt;br /&gt;
&lt;br /&gt;
On November 7-8, 2015, the in¬ter¬national conference “Celebrating Cao Xue¬qin’s 300th anniversary - 3rd International ''Dream of the Red Chamber'' Conference Europe” was hosted at Folkwang University of Arts, Essen/Germany and organized by Martin Woesler. The Cao Xueqin Society (Peking) and the European Dream of the Red Chamber Society (Bochum) invited 30 speakers from the USA, Australia, Asia (Hong Kong, Taiwan, Korea), Europe (Germany, Hungary, Norway, Slovakia, Switzerland) and China (from the cities of Peking, Shanghai, Chengdu). Sponsor was the Beijing Cao Xueqin Culture Development Foundation. &lt;br /&gt;
&lt;br /&gt;
==Meng Ying 孟莹==&lt;br /&gt;
&lt;br /&gt;
In the greetings, Cultural Attaché Chinese Embassy Berlin Chen Ping, Essen Folkwang University of Arts’ chancellor Michael Fricke and Essen mayor Thomas Kufen expressed their gratitude and their feelings of great honor to host this 3rd international conference in Europe on Cao and his novel after the first two conferences in Bonn/Germany 1992 and Olomouc/Czech Republic 2014. Vice Minister Hu Deping, president of the Peking Cao Xueqin Society, said this conference offered the rare opportunity of sharing findings among experts from China and experts from the rest of the world, opening opportunities for further cooperation.&lt;br /&gt;
&lt;br /&gt;
==Mo Ling 莫玲==&lt;br /&gt;
&lt;br /&gt;
Martin Woesler welcomed the participants in his function as president of the European Dream of the Red Chamber Society. He expressed his satisfaction with the high quality of the contributions submitted from all over the world, including 10 written contributions, a selection of which would be published in the ''European Journal of Sinology''. Duan Jiangli announced that a selection of the Chinese papers will be published in the ''Cao Xueqin Research''.&lt;br /&gt;
&lt;br /&gt;
作为欧洲红学会的主席，吴漠汀热烈欢迎所有参会者。他非常满意对来自世界各地的10篇高质量的书面稿件，其中一部分将在《欧洲汉学杂志》上发表。段江力宣布，中国论文选集将在《曹雪芹研究》上发表。--[[User:Mo Ling|Mo Ling]] ([[User talk:Mo Ling|talk]]) 07:26, 13 November 2020 (UTC)Mo Ling&lt;br /&gt;
&lt;br /&gt;
作为欧洲红学会的主席，吴漠汀热烈欢迎所有参会者。对于来自世界各地的10篇高质量的书面稿件，他表示十分满意，其中一部分将在《欧洲汉学杂志》上发表。段江力宣布，精选的中国论文将会在《曹雪芹研究》上发表。--[[User:Tan Xingyue|Tan Xingyue]] ([[User talk:Tan Xingyue|talk]]) 15:20, 13 November 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
==Mo Nan 莫南==&lt;br /&gt;
&lt;br /&gt;
Hu Deping opened the first panel on studies on the author (Caoxue) with a discussion of the banner identity of Cao Xueqin, he stressed the imperial proximity of his even plain white banner and his high social status. Hu sees descriptions of Cao asking to put drinks on his tab as a proof of his trustworthiness due to his steady imperial stipend. Fan Zhibin in his contribution interpreted Cao’s status lower. Hu Deping expressed his skepticism towards the authenticity of any findings of cultural relicts after the 1970s attributed to Cao. But he pointed at the fact, that two places in the Old Summer Palace are called like the Daguan yuan itself (‘Daguan’) or like a place in it.&lt;br /&gt;
&lt;br /&gt;
==Nie Xiaolou 聂晓楼==&lt;br /&gt;
&lt;br /&gt;
Ellen B. Widmer (Wellesley College) analyzed the characterization of Cao as a dramatic character in the sequel ''Hou Honglou meng''. Zhang Shucai (Peking) explained further the findings on social status of aristocratic families and banner people close to the imperial court, with an analysis of the Han and Manchu heritages. Zhan Song (Peking) also reflected on the ethnic identity, when he introduced ''Honglou meng''-critics among Qing Eight Banner people. Duan Qiming (Peking) approached the family history from Cao Yin’s “''Beihong fuji''”, showing connections to author and novel. &lt;br /&gt;
&lt;br /&gt;
==Ou Rong 欧蓉==&lt;br /&gt;
&lt;br /&gt;
Ling Hon Lam (Berkeley) opened the 2nd panel “Studies on the novel” with an analysis of the difference of the reading culture in the novel and its sequels. Since the habit of ‘reading silently’ changed at the beginning of Qing to ‘reading aloud’, the silent reading is prominent in the novel and the out loud reading is prominent in the sequels as well as in the last 40 chapters. Duan Jiangli (Peking) introduced the different handwritten comments in the manuscript versions and stressed the importance of the early Zhi Yanzhai commentary. Zhou Wenye (Peking) presented a tool to compare and analyze the different manuscript versions including comments and the different print versions of the novel.&lt;br /&gt;
&lt;br /&gt;
==Ouyang Jinglan 欧阳静兰==&lt;br /&gt;
&lt;br /&gt;
Up to three versions can be displayed simultaneously with the differences highlighted. He demonstrated how to prove which kind of relation certain versions had and what suggested that, in certain cases, there must still exist a missing edition. He favored the Cheng B edition over the Cheng A edition, since the corrections were mostly improvements. He also argued that there were many intermediate editions, even between Cheng A and B, since all surplus printed pages were used for later editions. Zhang Hui (Hong Kong) introduced the novel in a different media form, the drama, focusing on one example of a drama adaption.&lt;br /&gt;
&lt;br /&gt;
==Ouyang Ling 欧阳玲==&lt;br /&gt;
&lt;br /&gt;
Marina Čarnogurská (Slovakia), translator of the Slovakian full translation, argued that the last 40 chapters were authored not by Gao E, but maybe even by Cao Xueqin. General consent among the participants was that Gao might have had a more editorial function and some parts of the last 40 chapters might have been written by Cao.&lt;br /&gt;
&lt;br /&gt;
In the 3rd panel “Interdisciplinary/Intertextual Approaches”, Shang Wei (Columbia University/USA) presented insights into visual culture in Qing dynasty and argued that there was a strong European influence in the Manchu court, which is traceable in the novel and influenced Cao Xueqin.&lt;br /&gt;
&lt;br /&gt;
玛丽娜·乔阿诺古尔斯卡（斯洛伐克）是斯洛伐克语译本的译者，她认为书的后四十章的作者不是高鹗，而是曹雪芹。参会人员也一致同意，高鹗更多的只是负责编写，后四十章的创作实际是曹雪芹完成的。&lt;br /&gt;
&lt;br /&gt;
在第三场主题为“跨学科/跨文本方法”的座谈会上，尚伟（美国哥伦比亚大学）提出了关于清朝时期视觉文化的一些观点，他认为满洲朝廷受欧洲文化影响颇深，这种影响在曹雪芹的小说中也有迹可循。--[[User:Ouyang Ling|Ouyang Ling]] ([[User talk:Ouyang Ling|talk]]) 06:27, 13 November 2020 (UTC)Ouyang Ling&lt;br /&gt;
&lt;br /&gt;
玛丽娜·乔阿诺古尔斯卡Marina Čarnogurská(斯洛伐克)认为，最后40章的作者不是高鄂，甚至可能是曹雪芹。与会代表普遍认为，高娥可能有更多的编辑功能，最后40章的部分内容可能是曹雪芹写的。&lt;br /&gt;
&lt;br /&gt;
在第三板块 &amp;quot;跨学科/跨文本方法 &amp;quot;中，尚伟（美国哥伦比亚大学）提出了对清代视觉文化的见解，认为满族宫廷中存在着强烈的欧洲影响，这在小说中是有迹可循的，并影响了曹雪芹。--[[User:Liu Yi|Liu Yi]] ([[User talk:Liu Yi|talk]]) 08:04, 13 November 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
==Peng Dan 彭丹==&lt;br /&gt;
&lt;br /&gt;
Kam Louie (Hong Kong) compared the novel with Three Kingdoms in regard to masculinity, homo-sociality and class, arguing how Jia Baoyu’s homo-erotic friendships were perceived differently depending on times and lenses. Louise P. Edwards (Australia) explored an aestheticized masculinity in clothing, dress and decoration as described in the novel. Karl-Heinz Pohl (Trier/Ger¬many) analyzed Buddhist thoughts in the novel with the example of several wisdoms from the “Heart Sutra”, he showed pro¬xi¬mi¬ty between Buddhist and Daoist thoughts. Harro von Senger (Frei¬burg/ Ger¬¬many) compared supraplanning (in China traditionally ‘''moulüe''’) in the novel and the German family tragedy ‘Nibelun¬gen¬lied’.&lt;br /&gt;
&lt;br /&gt;
==Peng Juan 彭娟==&lt;br /&gt;
&lt;br /&gt;
Zhu Ping (Peking) introduced the historical background of drama culture at the time of Kangxi, Yongzheng (the time the novel was written), and Qianlong. Kristina Schröder (Zurich/Switzerland) ex¬plained references of early illustrations of the novel with the ‘Romance of the West Chamber’ with the example of Wang Xilian ordering flowers to blossom. Stefan Mess¬mann (Budapest/Hungary) asked from the legal perspective, if the Marxist dream of equality had been achieved. Laura Bing Han (Trier) compared the novel and the ‘Buddenbrooks’ regarding philosophical dua¬lism.&lt;br /&gt;
&lt;br /&gt;
==Peng Ruihong 彭锐宏==&lt;br /&gt;
&lt;br /&gt;
Panel 4 introduced the novel’s in¬ter¬national dissemination, and here Martin Woesler (Witten/Germany, Rome/Italy) ana¬lyzed the changing reception of the novel by early Western translators and recipients. The novel was instrumentalized (e.g. for language learning) and exoticized. Wu Wei (Oslo/Norway, Heidelberg/Ger¬many) explored the color symbolism of ‘redness’ in novel. &lt;br /&gt;
&lt;br /&gt;
第4小组介绍了小说的国际传播，马丁·怀斯勒（Martin Woesler）（威滕/德国，罗马/意大利）分析了早期西方译者和接受者对小说的接受态度。 这本小说被工具化（例如用于语言学习）并被异化。 Wu Wei（奥斯陆/挪威，海德堡/德国）探索小说中“红色”的色彩象征。&lt;br /&gt;
&lt;br /&gt;
The translations were dealt with in panel 5, Daniela Zhang Cziráková (Slovakia) in-tro¬duced the Czech and Slovak translations of the novel. He Jun (Chengdu) introduced German excerpt translations before Franz Kuhn and Khoo An Ny (Fudan Shanghai) the state of translations in Malaysia.&lt;br /&gt;
&lt;br /&gt;
在第5小组中讨论了译文，其中Daniela ZhangCziráková（斯洛伐克）介绍了该小说的捷克语和斯洛伐克语翻译。 何俊（成都）在弗朗兹·库恩（Franz Kuhn）和邱安妮（Kou An Ny）（复旦上海）介绍马来西亚的翻译状况之前，先介绍了德国的摘录翻译。--[[User:Peng Ruihong|Peng Ruihong]] ([[User talk:Peng Ruihong|talk]]) 05:54, 14 November 2020 (UTC)--[[User:Peng Ruihong|Peng Ruihong]] ([[User talk:Peng Ruihong|talk]]) 05:54, 14 November 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
==Peng Xiaoling 彭小玲==&lt;br /&gt;
&lt;br /&gt;
General consent of the participants was that the 120 chapter version was the most authoritative one and that the title ''Dream of the Red Chamber'' was more common than its alternative title ''Story of the Stone''.&lt;br /&gt;
&lt;br /&gt;
Wei Lingzhi (Peking) introduced results of a 2015 representative survey among Chinese readers about the novel and the author proving its unbroken popularity and high esteem. Regarding translations, the Hawkes/Minford translation was preferred over Yang/Yang.&lt;br /&gt;
&lt;br /&gt;
==Peng Yongliang 彭永亮==&lt;br /&gt;
&lt;br /&gt;
All participants praised the importance of the recently published full translations in German and other languages and welcomed the opportunity to share their findings especially between Chinese and non-Chinese scholars. The choreographer Shen Fang-yu and the dramaturg Martin Woesler also presented a taping of the Folkwang Dance Studio Performance “REDCHAMBERDREAM”. &lt;br /&gt;
&lt;br /&gt;
For further information please refer to the conference website http://china-studies. com.&lt;br /&gt;
&lt;br /&gt;
'''World Citizen Lu Xun:''' &lt;br /&gt;
&lt;br /&gt;
'''Critical reception of European Culture by Lu Xun with the examples of Nazi cultural politics and of the Nobel Prize'''&lt;br /&gt;
&lt;br /&gt;
'''世界公民魯迅：魯迅批判性地接受歐洲文化——以納粹文化政治與諾貝爾獎為例'''&lt;br /&gt;
&lt;br /&gt;
'''''Martin Woesler 吳漠汀'''''&lt;br /&gt;
&lt;br /&gt;
Witten/Herdecke University 北京師範大學&lt;br /&gt;
&lt;br /&gt;
==Peng Yuzhi 彭育志==&lt;br /&gt;
&lt;br /&gt;
Abstract&lt;br /&gt;
&lt;br /&gt;
Lu Xun was well aware of global politics in culture, as proven by documents discovered a few years ago. Three days after the book burning in Berlin on May 10, 1933, Lu Xun, as a Member of the Executive Board  of the “China League for Civil Rights,” protested the “brutal terror and reaction” of Nazi Germany. Lu Xun took action and submitted an official protest to the German Consulate in Shanghai, which was taken seriously by the Nazi diplomats. He protested the racist suppression of Jewish authors while his own piece of world literature, “A Madman’s Diary” (1918), would have been considered “degenerate art” if published in Germany. In June 1933, he proved his in-depth understanding of Nazi crimes, especially the book-burning, humiliation and deportation of writers, in two essays. &lt;br /&gt;
&lt;br /&gt;
==Qi Kai 漆凯==&lt;br /&gt;
&lt;br /&gt;
因近年来所新发现的文物资料，鲁迅很深刻的意識到和瞭解了全球文化政治。柏林焚书案（1933年5月10日）发生的第三天，鲁迅做为“中国民权保障同盟”委员会成员，抗议德国纳粹“残忍的恐怖行径”。鲁迅立刻展开行动，向德国驻上海使领馆提出抗议（当时该处已经由德国纳粹接管）。他抗议纳粹对犹太作家的压制，当时他自己的世界文学作品“狂人日记”在德国也被看作是“变态艺术”。1933年6月，他通过2篇杂文，深刻论证了德国纳粹的罪行，特别是焚烧书籍、羞辱和驱逐作家等。&lt;br /&gt;
&lt;br /&gt;
In an earlier incident, when he was asked to accept a nomination for the Nobel Prize of Literature in 1927, he refused, not only out of personal modesty, but also because of global political considerations. &lt;br /&gt;
&lt;br /&gt;
他曾于1927年被提名为诺贝尔文学奖的候选人，但是他拒绝了，不仅是个人的谦逊，也是考量到当时的全球政治环境。&lt;br /&gt;
&lt;br /&gt;
==Qu Miao 瞿淼==&lt;br /&gt;
&lt;br /&gt;
Both cases show a different side of Lu Xun’s Reception of European Culture: He was not just an admiring, importing, translator of European culture who was influenced by it (as seen in his own life and work). Instead, his reception was more complex and critical; he applied universal moral standards, as defined by civil and human rights, which he referred to.&lt;br /&gt;
&lt;br /&gt;
两个例子展现了鲁迅对于欧洲文化接受的不同面：他不仅是一位令人尊敬、重要的受欧洲文化影响的翻译者（参见他的生平和作品）。另一方面，他对西方文化的接受也是复杂而批判性的；他遵循普世价值观，如他所定义的公民权利和人权。&lt;br /&gt;
&lt;br /&gt;
This makes Lu Xun a world citizen, one who cannot simply be claimed by certain parties or nations.&lt;br /&gt;
&lt;br /&gt;
综上所述，鲁迅是一位世界公民，这不是哪个政党或者民族可以对他简简单单下定论的。&lt;br /&gt;
&lt;br /&gt;
==Quan Meixin 全美欣==&lt;br /&gt;
&lt;br /&gt;
'''Introduction''''''简介'''&lt;br /&gt;
&lt;br /&gt;
Beginning with his earliest student years in 1902-1903, Lu Xun became an important translator of foreign literature (Jules Verne: ''Journey to the Moon, Twenty Thousand Leagues under the Sea'').  In March 1906, he decided to give up the study of Western medicine in order to become a writer; to cure the Chinese people’s minds instead of their physical illnesses. During his lifetime, Lu Xun was torn between his hope that he could turn Chinese people’s lives to the better and his disappointment that a writer’s works alone were not powerful enough to actually change things or to instigate people to change them. &lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
==Sagara Seydou ==&lt;br /&gt;
&lt;br /&gt;
In 1917, when his friend Qian Xuantong asked him to contribute to the new radical magazine ''New Youth'' (founded by Chen Duxiu), Lu Xun responded: &amp;quot;Imagine an iron house: without windows or doors, utterly indestructible, and full of sound sleepers – all about to suffocate to death. Let them die in their sleep, and they will feel nothing. Is it right to cry out, to rouse the light sleepers among them, causing them inconsolable agony before they die?&amp;quot; In spite of this opinion, in 1918 he still wrote his first story published under his name; “A Madman’s Diary.”&lt;br /&gt;
&lt;br /&gt;
==Shi Diwen 石迪文==&lt;br /&gt;
&lt;br /&gt;
It was a social-critical short story which reached world literature level, with one fictional element placed in a realistic setting (influenced by Gogol and parallel to Kafka’s stories using a similar technique). He placed his hopes on the next generation, as we know from the last lines “A Madman’s Diary:” “Save the children....” We also know that Lu Xun engaged in political activities, starting, perhaps, with his support of the Tongmenghui in Japan and by developing plans to educate politically active students etc.&lt;br /&gt;
&lt;br /&gt;
==Shi Haiyao 石海瑶==&lt;br /&gt;
&lt;br /&gt;
So while Lu Xun was at first concerned with China, he understood the signs of the times and was anxious to get additional education in Western sciences. He absorbed Western knowledge, learned several European languages and was an important translator of Western literature, e.g. in 1909 he published a book with translated Eastern European stories in Japan. While Lu Xun’s target was the Chinese people, he was very well aware that backwardness in China could only be overcome by learning from the West, especially from Europe.&lt;br /&gt;
&lt;br /&gt;
因此，虽然鲁迅最初关心的是中国，但他明白这个时代的迹象，并急于接受西方科学方面的进修深造。他研究了西方知识，学习了几门欧洲语言，还成为了西方文学的著名翻译家。例如，1909年，他在日本出版了一本东欧故事的译著。虽然鲁迅的目标读者是中国人民，但他深知，中国的落后只能通过向西方学习，特别是向欧洲学习来克服。--[[User:Shi Haiyao|Shi Haiyao]] ([[User talk:Shi Haiyao|talk]]) 06:18, 14 November 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
==Si Yu 司妤==&lt;br /&gt;
&lt;br /&gt;
Because of Lu Xun’s extremely critical attitude and his concern for China, the Communist Party and patriots in China claimed to have him in their “pocket.” However, although Lu Xun’s target was China, his measurement scale and means were international universal principles and he was too fierce a protester to be in anyone’s “pocket.” He was active in different political initiatives – such as the China League for Civil Rights (中國民權保障同盟) and the later Leagues of Left-Wing Writers (although some members accused him of being a Right-Wing writer). &lt;br /&gt;
&lt;br /&gt;
==Song Jianru 宋建茹==&lt;br /&gt;
&lt;br /&gt;
He did not become a member of the Chinese Communist Party, but instead quarreled with Communists ideologists. In 1935, he declined to write a pro-Communist novel.  Shortly before his death, he wrote: “Forget about me, and care about your own life – you're a fool if you don't.” In spite of this, the Party posthumously made him a Communist Party Member and Mao Zedong wrote the calligraphy above his tomb.&lt;br /&gt;
&lt;br /&gt;
Denton, Kirk (2002), Lu Xun Biography, MCLC Resource Center.&lt;br /&gt;
&lt;br /&gt;
他没有加入中国共产党，反而拒绝接受共产党的意识形态。1935年，他婉言谢绝写一部支持共产党的小说。他去世前不久写道：“忘掉我，管自己的生活---倘不，那就真是糊涂虫。”尽管这样，共产党在鲁迅死后仍将其算作中共党员，毛泽东为其亲笔题写墓碑。&lt;br /&gt;
&lt;br /&gt;
Denton, Kirk (2002), Lu Xun Biography, MCLC Resource Center.--[[User:Song Jianru|Song Jianru]] ([[User talk:Song Jianru|talk]]) 07:06, 14 November 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
==Su Lin  苏琳==&lt;br /&gt;
&lt;br /&gt;
'''Westernization?'''&lt;br /&gt;
&lt;br /&gt;
Did Lu Xun trough his Western education and translations of Western literature simply fully supported a ‘Westernization’ of China (全盤西化)? This can be disproven with the following examples: his criticism of Nazi crimes and his decline of the Nobel Prize. His critical mind and intellectual capacities did not allow him simple answers to complex questions.&lt;br /&gt;
&lt;br /&gt;
Only three days after the book burning in Berlin (May 10, 1933), Lu Xun protested at the Shanghai Consulate against Nazi Germany. This shows his extreme awareness of international politics and the nature of societies.&lt;br /&gt;
鲁迅是否通过他的西方教育和西方文学翻译来完全支持中国的“全盘西化”？ 以下例子可以证明这一点：他对纳粹罪行的批评和对诺贝尔奖的拒绝。 他的批判性思维和智力能力使他无法简单地回答复杂的问题。在柏林焚书事件发生的三天后（1933年5月10日），鲁迅在上海领事馆抗议德国纳粹，这表明他对国际政治和社会性质的极致认识。--[[User:Su Lin|Su Lin]] ([[User talk:Su Lin|talk]]) 02:01, 14 November 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
==Tan Xingyue 谭星越==&lt;br /&gt;
&lt;br /&gt;
The reaction of the Vice General Consul in his report to the German Embassy in Peking  shows that the German Consulate engaged in counter propaganda and denied the allegations, referring even to their support of the Jewish community in Shanghai. While the world was still asleep, Lu Xun already understood and criticized Nazi anti-writer politics in Germany. It took the rest of the world almost a decade more to “wake up.” Even Nazi Germany’s invasion of Poland in 1939 did not “wake up” other countries, enabling Nazi Germany to conduct further surprise attacks (blitzkrieg) in Western Europe (Netherlands, Belgium, France etc.).&lt;br /&gt;
&lt;br /&gt;
在给德国驻北京大使馆的报告中，副总领事的反应表明，德国领事馆反对这些宣传，并否认有关指控，甚至拒绝承认他们支持上海的犹太社区。当世界还在沉睡的时候，鲁迅已经理解并批判德国的纳粹反作家政治。而世界上其他的国家花了将近10年的时间才“醒悟”，甚至1939年纳粹德国入侵波兰的事件也没能“唤醒”其他国家，这使得纳粹德国能够在西欧（荷兰、比利时、法国等）发动进一步的突然袭击（闪电战）。--[[User:Tan Xingyue|Tan Xingyue]] ([[User talk:Tan Xingyue|talk]]) 15:08, 13 November 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
==Tan Xinjie 谭鑫洁==&lt;br /&gt;
&lt;br /&gt;
Lu Xun was well able to distinguish between positive and negative parts of European culture, which leads to the question: which moral standards did he actually live up to? The thesis of this paper is that he oriented himself to abstract universal human values and morals. As proof, the following details of Lu Xun’s protests are examined.&lt;br /&gt;
&lt;br /&gt;
鲁迅对于欧洲文化的态度究竟是积极还是消极的呢？这也引出另一个问题：他到底遵循哪一种道德价值观？本文将论证，鲁迅遵循的是普世价值观。&lt;br /&gt;
&lt;br /&gt;
鲁迅能够很好地区分欧洲文化中积极和消极的部分，这就引出了一个问题：他究竟遵循的是哪些道德标准？本文将论证：鲁迅遵循的是抽象的人类普世价值和道德。本文将从鲁迅的抗议宣言中分析论证。--[[User:Xiao Ting|Xiao Ting]] ([[User talk:Xiao Ting|talk]]) 03:09, 13 November 2020 (UTC)Xiao Ting&lt;br /&gt;
&lt;br /&gt;
鲁迅能够很好地区分欧洲文化的正面和负面的部分，从而也引出了问题：他到底遵循的是什么样的道德标准？本文的理论是以鲁迅对人类的普世价值和道德理念为主。鲁迅的声明中列出的细节都真实可考。--[[User:WuQiong|WuQiong]] ([[User talk:WuQiong|talk]]) 09:40, 13 November 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
==Tan Yuanyuan 谭媛媛==&lt;br /&gt;
&lt;br /&gt;
'''Lu Xun’s in-depth and early understanding of Nazi crimes'''&lt;br /&gt;
&lt;br /&gt;
On July 11 and 16, 1933,  Lu Xun (using his pseudonyms) published two essays against Nazi crimes – about the book burning in China and Germany. As shown by this immediate response, Lu Xun was quick to retrieve information and form a judgment – independent of regionalism and dependent only upon universal moral values.&lt;br /&gt;
&lt;br /&gt;
Lovell, Julia. &amp;quot;Introduction&amp;quot;. In ''Lu Xun: The Real story of Ah-Q and Other Tales of China, The Complete Fiction of Lu Xun''. England: Penguin Classics. 2009. ISBN 978-0-140-45548-9, here pp. xxx.&lt;br /&gt;
&lt;br /&gt;
Silvia Kettelhut: G''eschäfte übernommen: Deutsches Konsulat, Shanghai, Impressionen aus 150 Jahren,'' Shanghai 2006.&lt;br /&gt;
&lt;br /&gt;
“鲁迅早期对纳粹罪行的深入了解”&lt;br /&gt;
&lt;br /&gt;
1933年7月11日至16日，鲁迅（使用化名）发表了两篇反对纳粹罪行的文章，该书在中德两国畅销。正如这一即时反应所表明的那样，鲁迅迅速地获取信息并作出判断——独立于区域主义，仅依赖于普遍的道德价值观。--[[User:Tan Yuanyuan|Tan Yuanyuan]] ([[User talk:Tan Yuanyuan|talk]]) 12:36, 13 November 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
==Tang Bei 汤蓓==&lt;br /&gt;
&lt;br /&gt;
In his essay “The Book burning in China and Germany” (dated June 28 and published July 11, 1933), Lu Xun, under the penname Ru Niu, compares Qin Shihuangdi’s book burning with the one by Hitler. He points out that the emperor did not burn books on agriculture and medicine and instead still accepted pluralism. Polemically he criticizes his Chinese colleagues for not understanding that the threat by Hitler is a threat to freedom in general.  Lu Xun directly addresses the German dictator Hitler as “Mr. Hitler.”&lt;br /&gt;
&lt;br /&gt;
==Tang Ming 唐铭==&lt;br /&gt;
&lt;br /&gt;
In the second essay, “Surplus of Knowledge” (dated July 12 and published July 16, 1933) he compares a recent agricultural crisis in China following a “harvest surplus” and the demand to abandon the learning of theories in favor of learning practical things with the demand in Nazi Germany to abandon liberal and pluralistic education. Polemically he calls the German imprisonment of students in labor camps a “solution to the unemployment problem.” He demands that China get rid of knowledge, insisting that people should become fatalist and opportunist. &lt;br /&gt;
&lt;br /&gt;
==Tang Yiran 汤伊然==&lt;br /&gt;
&lt;br /&gt;
Lu Xun early had studied the German philosopher Nietzsche, who was also pocketed by the Nazis, and wanted to study abroad in Germany. His critical reflection of Nazi German situation shows that he could also be extremely critical against Germany and was able to judge it according to universal values.他对纳粹德国现状的批判显示，他有能力根据普世价值来对纳粹德国做出评判。&lt;br /&gt;
&lt;br /&gt;
==Tao Ye 陶冶==&lt;br /&gt;
&lt;br /&gt;
'''The China League for Civil Rights'''&lt;br /&gt;
&lt;br /&gt;
The China League for Civil Rights was established with the outspoken goal to free prisoners from Guomindang (GMD) imprisonment. Prominent among members of the League was Song Qingling (left-wing GMD), the widow of Sun Yat-sen, who broke with Qiang Kai-shek in 1927 – when the GMD turned more and more repressive. The Communists also had massive losses after 1927 and went underground. Lu Xun was the most prolific member of the League.&lt;br /&gt;
&lt;br /&gt;
==Wang Meiling 王美玲==&lt;br /&gt;
&lt;br /&gt;
In 1931, Song Qingling returned to Shanghai from Europe and headed a campaign to rescue a foreign couple  detained without trial by the GMD. I did not find evidence that she knew that the couple were Comintern agents; the campaign did not address their identity. It concentrated on the legal aspects of the detainment.&lt;br /&gt;
&lt;br /&gt;
==Wang Xuan 王轩==&lt;br /&gt;
&lt;br /&gt;
An early stage of this part of the study including the translation of the two essays into German has been published as “Der Protest des chinesischen Intellektuellen Lu Xun gegen Nazi-Verbrechen”, in: ''Bulletin of the German China Association'' 54 (2010) 119 pp., pp. 53-58, ISSN 1436-8048. This first essay was published as Ru Niu 孺牛 [Lu Xun]: 华德焚书异同论 (Discussion of Parellels and Differences of the Book Burning in China and Germany), July 11, 1933, 申报 Shen Bao, 自由谈 (Free Talks), German translation by Martin Woesler as “ Die Bücherverbrennungen in China und Deutschland Diskussion der Gemeinsamkeiten und Unterschiede ” in: ''Bulletin of the German China Association'' 54 (2010) 53-55.&lt;br /&gt;
&lt;br /&gt;
==Wang Yu 王煜==&lt;br /&gt;
&lt;br /&gt;
This second essay was published as Yu Ming 虞明 [Lu Xun]: “智识过剩 (Surplus of Knowledge)“, dated July 12, 1933, ''Shen Bao'' am 16.7.1933, English translation in: ''Lu Xun, Selected Works'', Übers. Yang Xianyi, Gladys Yang, Bd. 3, S. 324f., 1st ed 1959/1960, 2nd ed. 1964 p. 289-290, 3rd ed. 1980 p. 324 f., 4th ed. 2003 (Peking: Foreign Languages Press), German translation by Martin Woesler as “Wissensüberschuss” in: ''Bulletin of the German China Association 54'' (2010) 56-58.&lt;br /&gt;
&lt;br /&gt;
==Wang Yuan 王源==&lt;br /&gt;
&lt;br /&gt;
The couple Paul and Gertrud Ruegg is also known as Mr. and Mrs. Hilaire Noulens. Ruegg's public role was secretary-general of the Pan-Pacific Trade Union, an international agent for organizing the Chinese labour movement. His secret role was secretary of the Comintern's Far Eastern Bureau in Shanghai. In June 1930, the couple was first arrested by the police in the International Settlement, and then turned over to GMD authorities. See: Jinxing Chen: “The Rise and Fall of the China League for Civil Rights”, in: ''China Review'' Vol. 6, No. 2, Special Issue on: WTO and China's Financial Development (Fall 2006), pp. 121-147.&lt;br /&gt;
&lt;br /&gt;
Bruun, Ole, and Michael Jacobsen. ''Human rights and Asian values: Contesting national identities and cultural representations in Asia''. Vol. 6. Psychology Press, 2000.&lt;br /&gt;
&lt;br /&gt;
==Wei Honglang 韦洪朗==&lt;br /&gt;
&lt;br /&gt;
In the League’s press conference in Shanghai, on 30 December 1932, Cai Yuanpei referred to J. J. Rousseau and said that the League would not be placed in the pocket of any political party.  The League was very active in publishing statements, sending telegrams to foreign governments in about half a dozen cases and seeing government officials on behalf of the imprisonment of intellectuals out of political reasons.&lt;br /&gt;
&lt;br /&gt;
On May 13, 1933, Ms. Song Qingling announced her visit to the German Vice General Consul, Richard Behrend, in Shanghai, and representatives of the League – including its president Song Qingling, Cai Yuanpei, Lu Xun, Yang Xing¬fo (Yang Quan) – submitted the following protest note. &lt;br /&gt;
&lt;br /&gt;
==Wei Yafei 魏亚菲==&lt;br /&gt;
&lt;br /&gt;
Transcription, from Kettelhut 2006 pp. 155-158. Source: PA AA (Political Archive of the Foreign Office / Politisches Archiv des Auswärtigen Amtes) R 98440.&lt;br /&gt;
&lt;br /&gt;
Submission of the protest note to Vice General Consulate Behrend by the Board of the China League of Civil Rights, including the widow of Sun Yat-sen, Song Qingling, the president of Academia Si¬ni¬ca, Cai Yuanpei, Lu Xun and the Vice President of Academia Sinica, Yang Xing¬fo (Yang Quan). Wood block print by Zhao Yannian 趙延年 (born 1924) 1956. Not displayed in the wood block print are the writers Lin Yutang, Agnes Smedley und Harold Isaacs, which, according to the report of the Consulate, were also present.  Lin Yutang was also not mentioned by the Chinese press. &lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
==Wen Sixing 文偲荇==&lt;br /&gt;
&lt;br /&gt;
The vice consul took the protest seriously and submitted the letter to Peking, accompanied with a report in which he described Ms Song Qingling as the head of the League and listed Lu Xun as “the famous writer” and leading fighter for the “New Chinese Language Movement.”  &lt;br /&gt;
&lt;br /&gt;
Song Qingling, about a month after the visit at the Consulate, on June 17, 1933 sent a telegram to “Chancellor Hitler” demanding the immediate release of political prisoners.&lt;br /&gt;
&lt;br /&gt;
For the involvement of foreigners in the League see Chen Jinxing 2006 and others.&lt;br /&gt;
&lt;br /&gt;
Report by Behrendt for the German Embassy Peking dated May 15, 1933, see Kettelhut 2006.&lt;br /&gt;
&lt;br /&gt;
==Wen Xiaoyi 文晓艺==&lt;br /&gt;
&lt;br /&gt;
The reaction from Berlin was that they should try to influence Song Qingling. The reply from the German diplomats in China was that it had been tried earlier and another attempt would probably be counter-productive since Ms. Song was close to the Communists.&lt;br /&gt;
&lt;br /&gt;
The League did not survive long. Hu Shi won the leadership of the Peking arm of the League. His critical review of a prison report led to some tensions within the League, leading to the dissolvement of the Peking arm. In the end, Yang Quan, the Secretary General, was assassinated by GMD, while Song Qingling received a letter with a bullet in it – forcing her to hide.  All of this combined into a fatal blow to the League. Chen Jinxing (2006), however, suspects that tensions within the League (e.g. with Hu Shi) helped its dissolution. &lt;br /&gt;
&lt;br /&gt;
==Wu Kai 吴恺==&lt;br /&gt;
&lt;br /&gt;
As the most prolific member of the league, Lu Xun’s active, and prominent, participation in the League’s protests shows his devotion to the principles of universal human rights – reaching beyond concern only for his countrymen.鲁迅的抗议显示了他普世人权的原则。&lt;br /&gt;
&lt;br /&gt;
Price, Ruth. ''The Lives of Agnes Smedley''. OUP USA, 2005.&lt;br /&gt;
&lt;br /&gt;
Chen, Jinxing: “The Rise and Fall of the China League for Civil Rights”, in: ''China Review'' Vol. 6, No. 2, Special Issue on: WTO and China's Financial Development (Fall 2006), pp. 121-147.&lt;br /&gt;
&lt;br /&gt;
==Wu Qi 吴琪==&lt;br /&gt;
&lt;br /&gt;
'''The Nobel Prize of Literature'''&lt;br /&gt;
&lt;br /&gt;
In 1926, “The True Story of Ah Q” was translated by Jing Yinyu into French. In September 1927, Peking University Professor Liu Bannong suggested to Sven Hedish (member of the Swedish Academy) that Lu Xun be considered for laureateship. Nobel Prize Laureate Kenzaburō Ōe called Lu Xun &amp;quot;The greatest writer Asia produced in the twentieth century.&amp;quot;  In the 1920s, 1915 Nobel Laureate Romain Rolland introduced Chinese literature to the world. In 1927, he especially recommended Lu Xun and his story “Ah Q.”&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
==Wu Qiong 吴琼==&lt;br /&gt;
&lt;br /&gt;
Lu Xun rejected the nomination in a letter to his former student and confidante, Tai Jingnong, with the following reasoning: “There are a lot of better writers than me in the world and they can’t get it.” He further said “I think there is nobody truly deserving the Nobel Prize in China. It would be better for Sweden to ignore us. It would only encourage Chinese egotism, causing them to believe they could really parallel those great foreign writers if yellow-skinned people were given preferential consideration. The result would not be good at all.”  (Eventually, the prize was awarded to Sinclair Lewis.)&lt;br /&gt;
&lt;br /&gt;
鲁迅在给之前的学生兼知己台静农的回信中拒绝了提名，理由是：“世界上有太多比我更优秀的作家，他们都不能获此殊荣，”他接着说道“我认为中国还没人能获诺贝尔奖，瑞典方最好是忽略掉我们。如果给黄种人优待，这只会让中国人盈盈自满，认为自己可以与外国优秀作家相提并论。结果并不如是。“（最终，奖项颁给了辛克莱·刘易斯）。--[[User:WuQiong|WuQiong]] ([[User talk:WuQiong|talk]]) 09:21, 13 November 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
鲁迅在给他旧时的学生兼知己，台静农的一封回信中拒绝了提名，理由如下：“世界上比我好的作家有很多，他们尚没有获此殊荣。”他又说：“我觉得在中国没有人真配得上诺贝尔奖。瑞典要是不把我们考虑在内那是最好。如果黄种人享有优待的话，只会徒增中国人的自大，让他们觉得自己真的能比肩那些伟大的外国作家。这可不是什么好事。”（最后，获奖者为辛克莱·刘易斯）。--[[User:Xu Mengdie|Xu Mengdie]] ([[User talk:Xu Mengdie|talk]]) 11:05, 13 November 2020 (UTC)Xu Mengdie&lt;br /&gt;
&lt;br /&gt;
==Wu Xiang 邬香==&lt;br /&gt;
&lt;br /&gt;
Lu Xun was well acquainted with many famous foreign writers. During these days, he personally met several, such as Agnes Smedley, Harold Isaacs, and Bernhard Shaw. Therefore, Lu Xun had an understanding of the domestic political implications of the Nobel Prize; of awarding such a prize to a national literature which was still under development and had not yet reached a satisfying level. He understood that the effect of such an award would be to increase Chinese egotism. So he sacrificed his own honor in order not to send the wrong signal; in order to not discourage Chinese literature by receiving mercy from the international community, but instead to encourage its further development so that it might eventually reach the level of the “great foreign writers.”&lt;br /&gt;
&lt;br /&gt;
鲁迅与许多著名的外国作家很熟。在这些日子里，他亲自见了几个人，如艾格尼丝·史沫特莱、哈罗德·艾萨克斯和伯恩哈德·肖。因此，鲁迅对诺贝尔文学奖的国内政治含义有了一个认识，即把诺贝尔奖颁给一个尚处于发展阶段、尚未达到令人满意水平的民族文学。他明白这样一个奖项的效果会增加中国人的自负。因此，为了不发出错误的信号他牺牲了自己的荣誉，；为了不让中国文学受到国际社会的怜悯而气馁，而是鼓励中国文学进一步发展，使之最终达到“伟大的外国作家”的水平。--[[User:Wu Xiang|Wu Xiang]] ([[User talk:Wu Xiang|talk]]) 15:10, 13 November 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
==Wu Yilu 吴一露==&lt;br /&gt;
&lt;br /&gt;
Biography of Sven Hedin (1865-1952), see George Kish, ''To the Heart of Asia: The Life of Sven Hedin'' (Ann Arbor: University of Michigan Press, 1984). Hedin was in Beijing in late 1926 and early 1927 seeking government permission for an exploration to Mongolia (''ibid.'', p. 114). Quoted after: Wang, B. [汪宝荣]. (2011). Lu Xun's fiction in English translation: the early years. (Thesis). University of Hong Kong, Pokfulam, Hong Kong SAR. Retrieved from http://dx.doi.org/10.5353/th_b4696908 (in the following: Wang 2011).&lt;br /&gt;
&lt;br /&gt;
斯文·赫丁传见诸于乔治·基什撰写的《亚洲的心脏：斯文·赫丁的一生》（阿安伯：密歇根大学出版社，1984）。1926年年末以及1927年年初，赫丁在北京为得到可以让他蒙古进行勘探的政治许可（同上，第114页）。引用：Wang，B.[王宝荣].（2011）。鲁迅小说英文版：早年。（论文）香港特别行政区波克富兰大学。引用于 http://dx.doi.org/10.5353/th_b4696908 （如下：王，2011）。--[[User:Wu Yilu|Wu Yilu]] ([[User talk:Wu Yilu|talk]]) 08:42, 13 November 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
==Wu Zijia 吴子佳==&lt;br /&gt;
&lt;br /&gt;
Lu Xun 鲁迅, “Zhi Tai Jingnong” 致台静农, 25 Sept. 1927, rpt. in ''LXQJ'' 12: 73-74. See a penetrating discussion of Lu Xun’s international stature and Nobel candidacy in Paul B. Foster, “The Ironic Inflation of Chinese National Character: Lu Xun’s International Reputation, Romain Rolland’s Critique of ‘The True Story of Ah Q,’ and the Nobel Prize”, ''Modern Chinese Literature and Culture'', 13.1 (Spring, 2001): 140-168. Interestingly, Foster suggests that Lu Xun may have contributed to the publicity which eventually led to the suggestion that he be nominated for a Nobel Prize. Quoted after: Wang 2011.&lt;br /&gt;
&lt;br /&gt;
==Xiao Shuangling 肖双玲==&lt;br /&gt;
&lt;br /&gt;
This shows that Lu Xun was modest and aware of the global position of Chinese literature, and that he had a vision for its development.这些显示鲁迅很谦逊，其在中国文学的得到世界的认可，同时，他的视野也促进了中国文学的发展。 Who would decline a Nobel Prize? Only someone with principles more important than the Nobel Prize. Lu Xun firmly believed in universal values, against which even the Nobel Prize had to step back. 鲁迅相信普世价值观，为此甚至可以拒绝诺贝尔奖。These principles were universal values, with the aim to lead Chinese literature, as a whole, to world level instead of singling out anybody to let the people further “sleep in their iron house.”&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
This shows that Lu Xun was modest and aware of the global position of Chinese literature, and that he had a vision for its development.&lt;br /&gt;
&lt;br /&gt;
这表明鲁迅很谦逊，对中国文学的国际地位有着清醒的认识，对中国文学的发展有着远见卓识。&lt;br /&gt;
&lt;br /&gt;
Who would decline a Nobel Prize? Only someone with principles more important than the Nobel Prize. Lu Xun firmly believed in universal values, against which even the Nobel Prize had to step back. &lt;br /&gt;
&lt;br /&gt;
谁会拒绝诺贝尔奖？除非他的原则比诺贝尔奖更为重要。鲁迅坚信普世价值，即使诺贝尔奖也不得不在这一价值面前退让。&lt;br /&gt;
&lt;br /&gt;
These principles were universal values, with the aim to lead Chinese literature, as a whole, to world level instead of singling out anybody to let the people further “sleep in their iron house.”&lt;br /&gt;
&lt;br /&gt;
这些原则是普世价值，旨在把中国文学作为一个整体，带到世界水平，而不是挑出一个人，然后让其他人继续“睡在铁屋子里”。--[[User:Xiao Shuangling|Xiao Shuangling]] ([[User talk:Xiao Shuangling|talk]]) 09:40, 13 November 2020 (UTC)Xiao Shuangling&lt;br /&gt;
&lt;br /&gt;
==Xiao Ting 肖婷==&lt;br /&gt;
&lt;br /&gt;
Several researchers have also interpreted the incident. Foster (2001) pointed to Romain Rolland’s role.  Wang (2011) blames the bad quality of the French translation of “Ah Q” by Jing Yinyu as contributing to the fact that Lu Xun was not awarded the Nobel Prize. However, Romain Rolland, 1915 Nobel Prize Laureate, praised this French translation and also supported a Nobel Prize for Lu Xun. Gloria Davies recounts further incidents around this matter.&lt;br /&gt;
&lt;br /&gt;
一些研究人员也对该事件进行了解释。福斯特（2001）指出罗曼-罗兰德的作用。王晓东（2011）称景印宇的《阿Q正传》法译本质量不过关，是导致鲁迅没有获得诺贝尔奖的原因。然而，1915年诺贝尔奖获得者罗曼-罗兰德对这一法译本大加赞赏，也支持为鲁迅设立诺贝尔奖。格洛丽亚-戴维斯还讲述了与此事相关的其他事件。--[[User:Xiao Ting|Xiao Ting]] ([[User talk:Xiao Ting|talk]]) 03:01, 13 November 2020 (UTC)Xiao Ting&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
一些研究人员也对此事进行了解释。福斯特（2001）指出罗曼·罗兰（Romain Rolland）在其中的作用。 王晓东（2011）认为景印宇的《阿Q正传》法译本质量不过关，导致鲁迅未获得诺贝尔奖。 然而，1915年诺贝尔奖获得者罗曼·罗兰（Romain Rolland）对这一法译本大加赞赏，并支持鲁迅获得诺贝尔奖。 格洛丽亚·戴维斯（Gloria Davies）讲述了有关此事的后续事件。--[[User:Deng Jinxia|Deng Jinxia]] ([[User talk:Deng Jinxia|talk]]) 05:41, 13 November 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
一些研究人员也对此事进行了解释。福斯特（2001）指出罗曼·罗兰（Romain Rolland）在其中的作用。 王晓东（2011）将鲁迅未获得诺贝尔奖的原因归咎于景印宇的《阿Q正传》法译本质量不过关。然而，1915年诺贝尔奖获得者罗曼·罗兰（Romain Rolland）对这一法译本大加赞赏，并支持鲁迅获得诺贝尔奖。 格洛丽亚·戴维斯（Gloria Davies）讲述了有关此事的后续事件。--[[User:Xiao Shuangling|Xiao Shuangling]] ([[User talk:Xiao Shuangling|talk]]) 09:54, 13 November 2020 (UTC)Xiao Shuangling&lt;br /&gt;
&lt;br /&gt;
==Xiao Xi 肖茜==&lt;br /&gt;
&lt;br /&gt;
'''Conclusion: Universalism'''&lt;br /&gt;
&lt;br /&gt;
Lu Xun was very much involved in daily politics in China and fought several fights with other intellectuals and even the Communist Party publically by the means of ''zawen'' (critical essays). For us today, these fights about small and sometimes strange issues seem to characterize its actors as caught in provinciality. However, he was universal – both in his political understanding (recognizing German domestic suppression much earlier than many others and suspecting that even the Nobel Prize could be understood as a tool of mercy towards the underdeveloped nation of China) as well as in his literature. While he wrote literary pieces of the same level as Franz Kafka, he was producing world literature in a climate which was – despite all daily chaos – freer than the one in Germany. &lt;br /&gt;
&lt;br /&gt;
==Xiao Yining 肖伊宁==&lt;br /&gt;
&lt;br /&gt;
Criticism of suspected political motifs behind a Noble Prize for him and of the human rights violations in Germany show that Lu Xun was neither an advocate of total westernization nor that he oriented himself towards the West as a contrast foil for China. He placed nothing less than universal values as the contrast foil to China. True, also the League of Left-wing Writers was a short-lived daily-policy tool within China (Lu Xun himself said, it “may not last long”),  but it represented universal values. He also referred to the children. This was another way of distancing himself from daily politics as he pointed to existential and universal ideals like future, hope, another chance and new people who are innocent; not pre-educated and burdened with the past.&lt;br /&gt;
&lt;br /&gt;
==Xie Fan 解帆==&lt;br /&gt;
&lt;br /&gt;
Paul B. Foster, “The Ironic Inflation of Chinese National Character: Lu Xun’s International Reputation, Romain Rolland’s Critique of ‘The True Story of Ah Q,’ and the Nobel Prize”, ''Modern Chinese Literature and Culture'', 13.1 (Spring, 2001): 141.&lt;br /&gt;
&lt;br /&gt;
保罗·B·福斯特:中国民族个性的膨胀讽刺地表现为鲁迅享有国际声誉，罗曼·罗兰批判《阿Q正传》获诺贝尔奖，以及《现代中国文学与文化》，13.1（春，2001）：141。--[[User:XieFan|XieFan]] ([[User talk:XieFan|talk]]) 09:48, 13 November 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
Jeffrey Wasserstrom: “All I see Around Me is the Same Old Darkness: Gloria Davies on Lu Xun”, Nov 4, 2013, https://goo.gl/HgqmCe. See also Gloria Davies, ''Lu Xun’s Revolution'', Harvard University Press:2012.&lt;br /&gt;
&lt;br /&gt;
杰夫瑞.瓦瑟施特伦：“我看到周围都是像鲁迅笔下的格洛丽亚·戴维斯一样古老的黑暗”，2013年11月4日，https://goo.gl/HgqmCe。参见《鲁迅的革命》中的格洛丽亚·戴维斯，哈佛大学出版社2012年版。--[[User:XieFan|XieFan]] ([[User talk:XieFan|talk]]) 09:48, 13 November 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
==Xie Ziyi 谢子熠==&lt;br /&gt;
&lt;br /&gt;
Lu Xun’s reception of Western culture was not uncritical; he was shaped by both his heritage education and his Western education, applying universal standards to the Chinese development - a Chinese man with universal values – a true citizen of the world.鲁迅并非“全盘西化”，他的价值观受到传统教育和西方教育的影响，用普世价值来判斷中国发展——一个具有普世价值的中国人——一个真正的世界公民。&lt;br /&gt;
&lt;br /&gt;
==Xu Jia 徐佳==&lt;br /&gt;
&lt;br /&gt;
'''Appendix: Lu Xun’s two essays in Chinese&lt;br /&gt;
&lt;br /&gt;
智识过剩'''&lt;br /&gt;
虞明&lt;br /&gt;
 &lt;br /&gt;
世界因为生产过剩，所以闹经济恐慌。虽然同时有三千万以上的工人挨饿，但 是粮食过剩仍旧是“客观现实”，否则美国不会赊借麦粉给我们，我们也不会 “丰收成灾”。&lt;br /&gt;
然而智识也会过剩的，智识过剩，恐慌就更大了。据说中国现行教育在乡间提 倡愈甚，则农村之破产愈速。这大概是智识的丰收成灾了。美国因为棉花 贱，所以在铲棉田了。中国却应当铲智识。这是西洋传来的妙法。&lt;br /&gt;
西洋人是能干的。五六年前，德国就嚷着大学生太多了，一些政治家和教育 家，大声疾呼的劝告青年不要进大学。现在德国是不但劝告，而且实行铲除智识 了：例如放火烧毁一些书籍，叫作家把自己的文稿吞进肚子去，还有，就是把一群 群的大学生关在营房里做苦工，这叫做“解决失业问题”。&lt;br /&gt;
中国不是也嚷着文法科的大学生过剩吗？其实何止文法科。&lt;br /&gt;
就是中学生也太多了。要用“严厉的”会考制度，像铁扫帚似的——刷， 刷，刷，把大多数的智识青年刷回“民间”去。&lt;br /&gt;
智识过剩何以会闹恐慌？中国不是百分之八九十的人还不识字吗？然而智识过 剩始终是“客观现实”，而由此而来的恐慌，也是“客观现实”。智识太多了，不是心 活，就是心软。&lt;br /&gt;
心活就会胡思乱想，心软就不肯下辣手。结果，不是自己不镇静，就是妨害别 人的镇静。于是灾祸就来了。所以智识非铲除不可。&lt;br /&gt;
然而单是铲除还是不够的。必须予以适合实用之教育，第一，是命理学——要乐 天知命，命虽然苦，但还是应当乐。第二，是识相学——要“识相点”，知道点近代武 器的利害。至少，这两种适合实用的学问是要赶快提倡的。&lt;br /&gt;
提倡的方法很简单：—— 古代一个哲学家反驳唯心论，他说，你要是怀疑这碗麦饭的物质是否存在，那最好 请你吃下去，看饱不饱。现在譬如说罢，要叫人懂得电学，最好是使他触电，看痛 不痛；要叫人知道飞机等类的效用，最好是在他头上驾起飞机，掷下炸弹，看死不死 ……&lt;br /&gt;
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有了这样的实用教育，智识就不过剩了。亚门！&lt;br /&gt;
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七月十二日。&lt;br /&gt;
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==Xu Jing 许晶==&lt;br /&gt;
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Lu Xun to Tai Jingnong, 12 February 1933, Lu Xun shuxinji (Collected Correspondence of Lu Xun) (Beijing: Renmin wenxue chubanshe, 1976), Vol. 1, p. 354; Zou Taofen, Taofen wenji (Collected Works of Taofen) (Hong Kong: Joint Publishing Co. Ltd., 1957), Vol. 1, p. 73.&lt;br /&gt;
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《鲁迅致台静农》，1933年2月12日，鲁迅书信集（鲁迅合集）（北京：人民文学出版社，1976），第1卷，第354页；邹韬奋文集（韬奋合集）（香港：联合出版社集团，1957），第1卷，第73页。--[[User:Xu Jing2|Xu Jing2]] ([[User talk:Xu Jing2|talk]]) 08:51, 13 November 2020 (UTC)&lt;br /&gt;
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==Xu Jing 许静==&lt;br /&gt;
'''华德焚书异同论''' &lt;br /&gt;
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孺牛&lt;br /&gt;
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德国的希特拉先生们一烧书，中国和日本的论者们都比之于秦始皇。然而秦始皇实在冤枉得很，他的吃亏是在二世而亡，一班帮闲们都替新主子去讲他的坏话了。&lt;br /&gt;
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==Xu Mengdie 徐梦蝶==&lt;br /&gt;
不错，秦始皇烧过书，烧书是为了统一思想。但他没有烧掉农书和医书；他收罗许多别国的“客卿”，并不专重“秦的思想”，倒是博采各种的思想的。&lt;br /&gt;
Exactly, First Emperor of Qin had burned books to unify thoughts. Yet, books for agriculture and medicine were saved; he had embraced many guest officials from other states and was open to all kinds of ideas without only holding &amp;quot;thought's in Qin State&amp;quot; as highly esteemed.--[[User:Xu Mengdie|Xu Mengdie]] ([[User talk:Xu Mengdie|talk]]) 02:51, 13 November 2020 (UTC) Xu Mengdie&lt;br /&gt;
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It is true that Qin Shihuang burned books to unify his thoughts. But he did not burn down agricultural and medical books; he collected many &amp;quot;alienministers&amp;quot; from other countries, and did not focus exclusively on &amp;quot;Qin's thoughts&amp;quot;, but collected various ideas.--[[User:Zhao Xiaoyan|Zhao Xiaoyan]] ([[User talk:Zhao Xiaoyan|talk]]) 07:40, 13 November 2020 (UTC)&lt;br /&gt;
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==Xu Pengfei 许鹏飞==&lt;br /&gt;
秦人重小儿；始皇之母，赵女也，赵重妇人，所以我们从“剧秦”的遗文中，也看不见轻贱女人的痕迹。&lt;br /&gt;
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People in the state of Qin  attached great importance to children, while the state of Zhao emphasized women. And the mother of First Emperor of Qin is a woman from country Zhao. Therefore, we see no trace of contempt for women even in literature which depreciated Qin.--[[User:Xu Pengfei|Xu Pengfei]] ([[User talk:Xu Pengfei|talk]]) 05:22, 13 November 2020 (UTC)Xu Pengfei&lt;br /&gt;
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==Yang Chenting 杨晨婷==&lt;br /&gt;
希特拉先生们却不同了，他所烧的首先是“非德国思想”的书，没有容纳客卿的魄力；其次是关于性的书，这就是毁灭以科学来研究性道德的解放，结果必将使妇 人和小儿沉沦在往古的地位，见不到光明。而可比于秦始皇的车同轨，书同文……之类的大事业，他们一点也做不到。&lt;br /&gt;
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==Yang Hairong 杨海容==&lt;br /&gt;
阿剌伯人攻陷亚历山德府的时 候，就烧掉了那里的图书馆，那理论是：如果那些书籍所讲的道理，和《可兰经》相同，则已有《可兰经》，无须留了；倘使不同，则是异端，不该留了。这 才是希特拉先生们的嫡派祖师——虽然阿剌伯人也是“非德国的”——和秦的烧书，是不能比较的。&lt;br /&gt;
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==Yang Hui 阳慧==&lt;br /&gt;
但是结果往往和英雄们的豫算不同。始皇想皇帝传至万世，而偏偏二世而亡，赦免了农书和医书，而秦以前的这一类书，现在却偏偏一部也不剩。&lt;br /&gt;
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==Yang Yi 杨逸==&lt;br /&gt;
希特拉先生一上台，烧书，打犹太人，不可一世，连这里的黄脸干儿们，也听得兴高彩烈，向被压迫者大加嘲笑，对讽刺文字放出讽刺的冷箭来——到 底还明白的冷冷的讯问道：你们究竟要自由不要？不自由，无宁死。现在你们为什么不去拚死呢？&lt;br /&gt;
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==Yang Yue 杨悦==&lt;br /&gt;
这回是不必二世，只有半年，希特拉先生的门徒 们在奥国一被禁止，连党徽也改成三色玫瑰了。最有趣的是因为不准叫口号，大家就以手遮嘴，用了“掩口式”。&lt;br /&gt;
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==Yang Ziling 杨子泠==&lt;br /&gt;
这真是一个大讽刺。刺的是谁，不问也 罢，但可见讽刺也还不是“梦呓”，质之黄脸干儿们，不知以为何如？六月二十八日。&lt;br /&gt;
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==Yao Cheng 姚诚==&lt;br /&gt;
When we define an academic category like &amp;quot;Chinese studies&amp;quot;, we pay respect to the fact that the world historically has developed differently in different regions. Of course the world was far less connected than today, with slow carriers like horses and ships and often bad or risky infrastructure  like roads.&lt;br /&gt;
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在定义诸如“中国研究”之类的学术类别时，我们要尊重这一事实：从历史上看，全球不同地区发展轨迹不同。当然，那是马匹和船只等运输工具速度慢，马路等基础设施经常是破烂不堪或有造成事故的风险，当时世界的联系远比现在低。--[[User:Yao Cheng|Yao Cheng]] ([[User talk:Yao Cheng|talk]]) 14:54, 13 November 2020 (UTC)&lt;br /&gt;
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在定义诸如“中国研究”之类的学术类别时，我们要尊重这一事实：从历史上看，全球不同地区发展轨迹不同。当然，那是马匹和船只等运输工具速度慢，马路等基础设施经常是破烂不堪或有造成事故的风险，当时世界的联系远没有现在紧密。--[[User:Wu Xiang|Wu Xiang]] ([[User talk:Wu Xiang|talk]]) 15:20, 13 November 2020 (UTC)&lt;br /&gt;
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==Yao Jia 姚佳==&lt;br /&gt;
Therefore it appears on first sight that these regions have developed their culture, their civilization and even first written languages on their own, independently. The oldest evidence of written civilizations, dating back around 3500 years BC, we find in the fertile crescent Mesopotamia with the clay tablets of the Sumerer. A little bit later there is evidence in Ancient Egypt, then in Proto-India and finally also in China.&lt;br /&gt;
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==Yi Huan 易欢==&lt;br /&gt;
But the more we explore history, the more fascinating evidence comes to light that these seemingly independently developing regions have had more trade relations and exchange of ideas than seems likely bearing in mind mobility: The Silk Road is not only rediscovered and reevaluated historically, but also rebuilt as a political agenda today.&lt;br /&gt;
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==Yi Zichu 义子楚==&lt;br /&gt;
We today find early evidence of European civilizations in America and Asia as well as the Chinese civilization also in America and Europe.&lt;br /&gt;
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Cultural Science is more influenced by its subject than other sciences, since we are part of it and cannot leave it to examine it. The history of cultural science has developed from the first times of intercultural encounters to today’s life, in which cultures are mixed and people understand each other as being part of different cultures simultaneously.&lt;br /&gt;
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今天，我们发现了美洲和亚洲欧洲文明以及美洲和欧洲中华文明的早期证据。&lt;br /&gt;
与其他科学相比，文化科学受其学科影响更大，因为我们是文化科学的一部分，便不能利用它去研究其本身。文化科学的历史已经从第一次跨文化的相遇发展到今天的生活，在这种文化中，文化是混杂的，彼此理解的人们同时又是不同文化的一部分。--[[User:Yi Zichu|Yi Zichu]] ([[User talk:Yi Zichu|talk]]) 03:22, 14 November 2020 (UTC)&lt;br /&gt;
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==You Yuting 游雨婷==&lt;br /&gt;
However, there will always be differentiation between cultures, simply because the trends of integration and separation occur at the same time.&lt;br /&gt;
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When there is different cultures, there is an interest in comparing these. This medal has two sides. As soon as you start to compare, you may value. Cultural encounters happened before there were experts or a whole discipline.&lt;br /&gt;
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然而文化之间总是会有差异的，因为融合和分离的趋势是同时发生的。&lt;br /&gt;
当存在不同的文化时，比较这些文化是有意义的。这个奖牌有两面。一旦你开始比较，你可能会珍惜。文化交流发生在专家或整个学科出现之前。--[[User:You Yuting|You Yuting]] ([[User talk:You Yuting|talk]]) 13:41, 13 November 2020 (UTC)&lt;br /&gt;
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然而，文化之间总是存在差异，只是因为融合和分离的趋势同时出现。&lt;br /&gt;
当存在不同的文化时，将这些文化做对比是有意义的。这枚奖牌有两面性。一旦你开始比较，你可能会重视。在文化专家或整个学科出现之前，文化交流就已经发生了。 --[[User:Zhang Ling|Zhang Ling]] ([[User talk:Zhang Ling|talk]]) 14:20, 13 November 2020 (UTC)&lt;br /&gt;
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然而，文化之间总是存在差异，仅仅是因为融合和分离的趋势同时出现。&lt;br /&gt;
当存在不同的文化时，将这些文化做对比是有意义的。这枚奖牌有两面性。一旦你开始比较，你可能会重视。在文化专家或整个学科出现之前，文化交流就已经发生了。--[[User:Li Lingyue|Li Lingyue]] ([[User talk:Li Lingyue|talk]]) 04:34, 14 November 2020 (UTC)&lt;br /&gt;
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==Yu Ni 余妮==&lt;br /&gt;
So the first comparisons between cultures were ethnocentric: You compared whatever you encountered as “other”, “foreign” or “alien”, to your own culture. This was often accompanied with feelings. There was both, the feeling of fear of the unknown and curiosness in the exotic.&lt;br /&gt;
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==Yuan Shiqi 袁诗琦==&lt;br /&gt;
You may categorize civilizations into so-called “high civilizations” and “low civilizations”, into “developed” and “underdeveloped” cultures. This was an ethnocentric approach in the age of cultural relativism. Today in the age of post-growth economy and after tragic experiences of colonialization and missionization, we know that each culture is equal and cannot be ranked to be higher or lower, of more or less value than the other.&lt;br /&gt;
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你可以把各种文明分为“高等文明”、“低等文明”、“发达文明”和“不发达文明”。这是文化相对主义时代的一种民族中心主义方法。在经济后增长的今天，在经历了殖民和传教的悲惨经历之后，我们知道，每一种文化都是平等的，不能比较，没有一种文化文化比另一种文化更高级或更低级、更具价值或更少价值。--[[User:Yuan SHiqi|Yuan SHiqi]] ([[User talk:Yuan SHiqi|talk]]) 08:00, 13 November 2020 (UTC)&lt;br /&gt;
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你可以将文明划分为“高等文明”、“低等文明”、“发达文明”和“不发达文明”。这是文化相对主义时代民族中心主义的分法。人类在经历了殖民和传教的悲惨经历之后，在经济后增长的今天，我们知道，每一种文化都是平等的，没有高低贵贱之分。--[[User:Tan Yuanyuan|Tan Yuanyuan]] ([[User talk:Tan Yuanyuan|talk]]) 12:42, 13 November 2020 (UTC)&lt;br /&gt;
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==Yuan Tianyi 袁天翼==&lt;br /&gt;
While very early there were historians collecting knowledge from travel reports or official delegations visiting foreign cultures, in the middle ages handbooks collected the knowledge to describe different cultures. Even the Romans had words for the Chinese (Seres in the North and Sinae in the South) and attributed to Asian-looking people certain characteristics of behaviour, attitudes, value systems, beliefs, morals and character.&lt;br /&gt;
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虽然很早以前，有历史学家从旅行报告中或者从政府代表团造访异域文化时候汲取知识，但是中世纪的时候指南书籍都是到处搜集知识来描述不同文化的。哪怕是罗马人也有描述中国人的词语（罗马北方称为Sere，南方称为Sinae），他们还把行为、态度、价值体系、信仰、道德和性格这些特定特征与长有亚洲外貌的人联系在一起。--[[User:Yuan Tianyi|Yuan Tianyi]] ([[User talk:Yuan Tianyi|talk]]) 10:08, 13 November 2020 (UTC)&lt;br /&gt;
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==Yuan Yuchen 袁雨晨==&lt;br /&gt;
The first in-depth analysis of the Chinese culture through Western people came not with the merchants, but with the Jesuits. How few was known about China can be seen from the fact, that only the Jesuits managed to clarify, that the myth of the two empires, Tartary and Kitai/Cathay, in fact both were the same (China).&lt;br /&gt;
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首次通过西方人来深入分析中国文化，不是由商人发起的，而是耶稣会。过去鲜少有人真正了解中国，只有耶稣会设法澄清关于两个帝国的神话，实际上，鞑靼和契丹所指一样，都是指的中国。&lt;br /&gt;
--[[User:Yuan Yuchen|Yuan Yuchen]] ([[User talk:Yuan Yuchen|talk]]) 09:02, 13 November 2020 (UTC)&lt;br /&gt;
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首次深入分析中国文化的西方人不是商人，而是耶稣信徒。了解中国的人有多么少，我们可以从这个事实中看出来：只有耶稣信徒能够分清鞑靼和契丹这两大帝国的神话。实际上这两者都是指中国。--[[User:Yuan Tianyi|Yuan Tianyi]] ([[User talk:Yuan Tianyi|talk]]) 10:43, 13 November 2020 (UTC)&lt;br /&gt;
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==Zeng Fangyuan 曾芳缘==&lt;br /&gt;
However, the Jesuit’s approach was still ethnocentric and cultural relativist, because by portraying (like Du Halde) China as a seemingly ideal state suitable for mission work, they contributed to subjective views on China.&lt;br /&gt;
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然而，耶稣会的分析方法仍然带有种族中心主义和文化相对论的思想。因为通过将中国描绘成一个看起来像是适合进行宣教工作的理想国家（比如杜赫德神父的作品），他们对中国的观点带有主观色彩。--[[User:Zeng Fangyuan|Zeng Fangyuan]] ([[User talk:Zeng Fangyuan|talk]]) 10:43, 13 November 2020 (UTC)&lt;br /&gt;
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然而，耶稣会士的分析方法仍然带有种族中心主义和文化相对主义的思想。因为他们带着主观色彩看待中国，所以将中国描绘成一个看似适合进行宣教的理想国度（比如杜赫德神父的作品）。--[[User:Zhang Yu|Zhang Yu]] ([[User talk:Zhang Yu|talk]]) 13:18, 13 November 2020 (UTC)&lt;br /&gt;
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==Zeng Liang 曾良==&lt;br /&gt;
Around 1720 presumably the French Jesuit Jean-François Noëlas even translated the Dao de jing into Latin.[	Collani, Claudia von, Harald Holz, Konrad Wegmann eds. Uroffenbarung und Daoismus: jesuitische Missionshermeneutik des Daoismus. Europ. University Press, 2008. [Partial retranslation Chinese-Latin-German.]] The translation turns out to deviate from the original in the way that we suddenly find the Christian trinity god in it.&lt;br /&gt;
==Zeng Xinyuan 曾心媛==&lt;br /&gt;
This is the starting point of an ethnocentric tradition to read the self and the own into the other and the alien, instead of respecting the other as a value by itself and allowing it to even challenge the own beliefs. Even the German Christian missionary and sinologist Richard Wilhelm used a Christian language (belief, heavens’ doors, life after death etc.) in his influential 1919 Taoteking translation and in 1925 he translated “god” into the Analects of Confucius.&lt;br /&gt;
==Zeng Yanhu 曾雁湖==&lt;br /&gt;
The missionaries baptized the seemingly “backward” aborigines in several continents, sometimes supported by the sword. A lot of cultures, considered less “developed”, were heavily influenced or even destroyed and extinguished. Earlier, the “Warriors of the Cross” even fought wars and devastated complete regions.&lt;br /&gt;
==Zhang Hu 张虎==&lt;br /&gt;
The other aspect, the exotization of the other was expressed by the way the first Chinese people who came to Europe were received: They were passed on at tea meetings and gazed at like animals. Soon Chinese goods became the symbol of the exotic. Chinese porcellain and nick-nacks, even Chinese-style buildings were recreated in Europe. &lt;br /&gt;
==Zhang Hui 张慧==&lt;br /&gt;
The fever-like admiration of a China image, which certainly was not the true China, is called Chinoiserie. The Chinoiserie even involved European philosophers like Voltaire and Leibniz, who compared China to an ideal country without religion and still moral values, represented by a wise emperor.&lt;br /&gt;
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对中国形象的狂热崇拜，当然不是真正的中国，被称为中国风。 中国艺术甚至与伏尔泰和莱布尼兹（Leibniz）之类的欧洲哲学家相提并论，他们将中国比作一个没有宗教信仰和道德价值观的理想国家，以一个明智的皇帝为代表。--[[User:Zhang Hui|Zhang Hui]] ([[User talk:Zhang Hui|talk]]) 07:46, 13 November 2020 (UTC)&lt;br /&gt;
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对中国形象的狂热崇拜被称为“中国风”,这当然不是真正的中国。甚至连伏尔泰和莱布尼茨这样的欧洲哲学家也认同这种中国风这种观念，他们把中国比作一个没有宗教和道德价值观的理想国家，由一个明智的皇帝代表。--[[User:You Yuting|You Yuting]] ([[User talk:You Yuting|talk]]) 13:44, 13 November 2020 (UTC)&lt;br /&gt;
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==Zhang Ling 张玲==&lt;br /&gt;
In Europe, the first experts on Chinese culture were entrusted with the task to explain the Chinese culture no longer from the ethnocentric viewpoint, but from a scientific one: Professorships at universities were established. Their early translations show traces of admiration of the exotic. Chinoiserie was also countered by Européerie in China. However, this phase did only last as long as it fit to European politics.&lt;br /&gt;
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在欧洲，第一批研究中国文化的专家被委以重任，不再从民族中心主义的观点来解释中国文化，而是从科学的角度来解释: 大学里设立了教授职位。他们早期的翻译显示出对异国情调的赞赏。在中国的欧洲人也反对“中国风”。然而，这一阶段只会在符合欧洲政治的情况下持续。 --[[User:Zhang Ling|Zhang Ling]] ([[User talk:Zhang Ling|talk]]) 14:12, 13 November 2020 (UTC)&lt;br /&gt;
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在欧洲，第一批研究中国文化的专家被委以重任，她们开始不再从民族中心主义的观点，而是从科学的角度来解释中国文化：在大学里设立了教授职位。他们早期的翻译显示出对异国情调的赞赏。在中国的欧洲人也反对“中国风”。然而，这一阶段只会在符合欧洲政治的情况下持续。--[[User:Yao Cheng|Yao Cheng]] ([[User talk:Yao Cheng|talk]]) 14:58, 13 November 2020 (UTC)&lt;br /&gt;
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==Zhang Peiwen 张佩闻==&lt;br /&gt;
As soon as the import of colonial goods (and resources) became an economic factor, the (wrong) image of the ideal China changed into a negative one (similarly wrong). Not only mission and belief were motifs to look down on the Chinese culture, but also the comparison of economic development and living standards. &lt;br /&gt;
==Zhang Qi 张琪==&lt;br /&gt;
Hegel continued the ethnocentric view on China with his ranking of cultures. Although Confucius already had developed a “Golden Rule” principle comparable to Kant’s “Categorical Imperative”, Hegel declared Chinese philosophy as inferior to European philosophy, and even saw a geographical step by step development from Confucius over Buddha, Zarathustra, the ancient Greek and the Roman philosophy, leading to the European philosophy. &lt;br /&gt;
==Zhang Weihong 张维虹==&lt;br /&gt;
A ladder only second by the Arab philosophy. At the turn from the 19th to the 20th century, China was suddenly considered as static, as “the sick man of Asia”. Actually semi-colonialism in China helped to hinder development there. &lt;br /&gt;
==Zhang Xueyi 张雪仪==Rereading the reviews of Chinese literature in contemporary Western journals, it is astonishing, how disrespectful even men of letters treated Chinese literature, even during a time, when it was not yet available in translation, so that it is save to say that ethnocentric attitude prevailed over knowledge. &lt;br /&gt;
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==Zhang Yinliu 张银柳==&lt;br /&gt;
This can be proven by the many mistakes you can find in the reviews (Morrison: the book was of low literary quality, but written in Peking dialect and therefore useful as language learning material; Gützlaff: the protagonist Baoyu is a petulant woman; Giles: the words “Red Chamber Dreams do not appear in the book” etc.). Also, the tradition of the title translation as “Dream of the Red Chamber” can be traced back to the origins of the better translation as “Red Chamber Dreams”, sacrificed by Francis Davis finally in favor of the powerful tool of Morrison’s dictionary calling it “Dream of the Red Chamber”.&lt;br /&gt;
==Zhang Yu 张瑜==&lt;br /&gt;
Here, the exotic was used to make fun of China. Barrow introduces an excerpt, describing the outward appearance of Baoyu and Xifeng, translated by Francis Davis into English, explicitely for the reason to “amuse the beaux and belles”. Francis Davis himself picks two poems from the novel for translation, but not for its own sake, but to use them as a proof for his own (minority) opinion that the Chinese poetry knew a certain, “descriptive” function of poems in novels.&lt;br /&gt;
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在这里，这种异域文化常用来取笑中国。巴罗引用了一段描述宝玉和熙凤外貌的文本，弗朗西斯·戴维斯将其翻译成英文版本，很明显其意图是取笑书中的“美人”。弗朗西斯·戴维斯从小说中选了两首诗进行翻译，但他不仅仅是为了这两首诗，而是为了用这两首诗证明自己（少数人）的观点，他认为我们对中国诗有一定了解之后，我们就自然会了解诗歌在小说中的描述性作用。--[[User:Zhang Yu|Zhang Yu]] ([[User talk:Zhang Yu|talk]]) 13:01, 13 November 2020 (UTC)&lt;br /&gt;
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==Zhang Yujie 张毓婕==&lt;br /&gt;
In 1815 Macao Reverend Robert Morrison (1782-1834) coined the Western translation of the novel’s title by mentioning it in his Dictionary of the Chinese Language as “dreams of the red chamber.”[	He explained the character “妙” as in the novel’s character “妙玉 Meaou yǔh [Miao Yu]” as “the admirable gem, name of one of the female characters in the novel called 紅樓夢 the dreams of the red chamber”, see Robert Morrison: A Dictionary of the Chinese language in three parts, Macao: East India Company Press 1815, vol. I., 930 pp., here p. 614, left column. 24 years after the print edition was published, this is the first mention and translation of the novel’s title into a Western language known so far. If no earlier occurrence is found it means that Morrison created a translation which has lasted until today almost unchanged.] &lt;br /&gt;
==Zhang Yuxing 张宇星==&lt;br /&gt;
In 1815 Macao Reverend Robert Morrison (1782-1834) coined the Western translation of the novel’s title by mentioning it in his Dictionary of the Chinese Language as “dreams of the red chamber.”[	He explained the character “妙” as in the novel’s character “妙玉 Meaou yǔh [Miao Yu]” as “the admirable gem, name of one of the female characters in the novel called 紅樓夢 the dreams of the red chamber”, see Robert Morrison: A Dictionary of the Chinese language in three parts, Macao: East India Company Press 1815, vol. I., 930 pp., here p. 614, left column. 24 years after the print edition was published, this is the first mention and translation of the novel’s title into a Western language known so far. If no earlier occurrence is found it means that Morrison created a translation which has lasted until today almost unchanged.] He chose the plural, which was quite reasonable as there are many dreams in the novel. It appears that 27 years later the plural “dreams” was turned into the singular “dream,” which sounds a bit more general and is therefore also a reasonable translation. Red Chamber Dreams is the most common translation in English and, in its variations, in all Western languages so far.&lt;br /&gt;
==Zhao Xi 赵茜==&lt;br /&gt;
He chose the plural, which was quite reasonable as there are many dreams in the novel. It appears that 27 years later the plural “dreams” was turned into the singular “dream,” which sounds a bit more general and is therefore also a reasonable translation. Red Chamber Dreams is the most common translation in English and, in its variations, in all Western languages so far.&lt;br /&gt;
==Zhao Xiaoyan 赵晓燕==&lt;br /&gt;
In 1817 Rev. Robert Morrison published a book for studying Chinese,[	Robert Morrison, A view of China for philological purposes: containing a sketch of Chinese Chronology, Geography, Government, Religion &amp;amp; Customs, designed for the use of persons who study the Chinese language, Macao: East Asia Company Press, 1817, 141 S., hier S. 120-121.] in which he recommended “Dreams of the Red Chamber” as beginner readings, together with the novel Hao qiu zhuan, which was available mostly in English and partly in Portuguese by 1719, and fully in English by 1761. Both were written in colloquial style.&lt;br /&gt;
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1817年，罗伯特·莫里森牧师出版了一本研究汉语的书，[罗伯特·莫里森，从语言学的角度看中国：包含中国年表，地理，政府，宗教和习俗的梗概，旨在供学习汉语的人使用。 澳门：东亚公司出版社，1817年，141 S.，hier S. 120-121。]，其中他推荐《红楼梦》作为初学者阅读，包括小说《好逑传》，这本小说到1719年大部分都是用英语撰写，部分用葡萄牙语撰写，到1761年全部变成了英文版。两种语言都是口语化的。--[[User:Zhao Xiaoyan|Zhao Xiaoyan]] ([[User talk:Zhao Xiaoyan|talk]]) 07:33, 13 November 2020 (UTC)&lt;br /&gt;
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1817年，启罗伯特·莫里森牧师出版了一本学习中文的书,[罗伯特·莫里森,从语言学的角度看中国:包含中国年表、地理、政府、宗教和习俗,旨在供学习汉语的人使用,澳门:东亚公司出版社,1817年,141 S., hier S. 120-121.] 在这本书中，他推荐《红楼梦》和小说《好逑传》作为初学者读物。到1719年，《好逑传》主要以英文出版，部分以葡萄牙文出版，到1761年完全以英文出版。两者都是用口语化的。--[[User:Zhang Hui|Zhang Hui]] ([[User talk:Zhang Hui|talk]]) 07:53, 13 November 2020 (UTC)&lt;br /&gt;
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==Zheng Huajun 郑华君==&lt;br /&gt;
Morrison claims that Dream was written in Peking dialect. This does not hold true, since the author’s family Cao came from the South and many people in the novel have Nanking dialect sprinkles. In fact, the highly artful and intentional switch of dialects and sociolects contributed to the later fame of the novel. Morrison’s mistake developed its own tradition.[	Even in 1995, you could read that the Dreams is written in Peking dialect, cf. Shu Changshan, Die Rezeption Thomas Manns in China, 1995, Frankfurt: Lang, 326 pp. At least Tong Yao, Die Vielfältigkeit der Literatur, 2006 mentions both Peking and Nanking dialects.]&lt;br /&gt;
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莫里森声称《梦》是用北京方言写成的。但事实并非如此，因为作者曹家来自南方，小说中的许多人物都有南京方言的点缀。事实上，方言和社会语的高度巧妙和有意的转换为这部小说后来的名声做出了贡献。莫里森的错误发展了自己的传统。[即使在1995年，大家也可以读到“《梦》是用北京方言写的”，参见舒长山、托马斯·曼斯的《中国的梦》（1995），法兰克福:朗，326页。至少佟耀《文学之声》（2006）同时提到了北京方言和南京方言。]--[[User:Zheng Huajun|Zheng Huajun]] ([[User talk:Zheng Huajun|talk]]) 05:23, 13 November 2020 (UTC)&lt;br /&gt;
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==Zhou Luoping 周罗平==&lt;br /&gt;
Barrow mentioned the title “[...] a Chinese novel called Hung-low-Mung, or, The Red Chamber Dreams” on June 4, 1819, in the Quarterly Review. He inserted this reference into a review[	My own findings, so far not discussed in 20th century hongxue, and published first in October 2010. John Barrow, “Art. IV Narrative of a Journey in the Interior of China, and of a Voyage to and from that Country, in the Years 1816 and 1817; containing an Account of the most interesting Transactions of Lord Amherst's Embassy to the Court of Pekin, and Observations on the Countries which it visited. By Clarke Abel F.L.S. London 1818”, in: William Gifford ed., Quarterly Review 21:41 (January 1819) S. 67-91, hier S. 79-80. This edition appeared (only by) June 4, 1819 with 13,000 copies. The author follows here the argumentation of the assignment to the author Barrow due to the following indications: “Gentleman's Magazine (Mar. 1844), 246-47. The article's author refers to #415 and #438 (including a specific reference), both of which are on the same topic and are by Barrow. Cf. also the discussion of infanticide (p. 76) and Raffles's account of Java reviewed by Barrow in #422. In his Q[uarterly] R[eview] articles, it was Barrow's signature practice to refer to his own works,  see  “Quarterly Review Archive” http://www.rc.umd.edu/ reference/qr/index/41.html, last visited March 10, 2018.] of Clarke Abel’s report of a journey through China.[	Clarke Abel, Narrative of a Journey in the Interior of China, and of a Voyage to and from that Country, in the Years 1816 and 1817; containing an Account of the most interesting Transactions of Lord Amherst's Embassy to the Court of Pekin, and Observations on the Countries which it visited, F.L.S. London 1818.] &lt;br /&gt;
==Zhou Shiqing 周诗卿==&lt;br /&gt;
He interrupted his review with an excursus on the uniform appearance and static nature of the Chinese, in line with the contemporary China-bashing of Herder and Hegel. For contemporary Europeans, the Chinese appeared abnormally uniform and simple in their clothes and appearance. &lt;br /&gt;
==Zhou Shuyao 周书尧==&lt;br /&gt;
They would not be subordinated to the tyranny of fashion; their culture was static. In order to entertain the “belles and beaux of Great Britain,” Barrow provides a foil to this general impression by quoting the descriptions of the garments and anatomy of two characters, Wang Xifeng and Jia Baoyu, from chapter 3 of J. Davis’ translation of Dream. &lt;br /&gt;
==Zhou Siqing 周思庆==&lt;br /&gt;
In fact the graphic comparisons given in these descriptions were simply strange to Europeans of that time, since they apparently did not correspond to the European’s own ideal of beauty.&lt;br /&gt;
Even in 1842 Gützlaff criticized: “the author [makes] many protestations of his inability to do justice to the subject, which indeed is the only truth in the book […] the style is without any art […] whosoever wishes to familiarize himself with the manner of speaking the northern court dialect, may peruse this work with advantage”[	“Amongst the novels of the Chinese, this work holds a decidedly high rank. The author, after making many protestations of his inability to do justice to the subject, which indeed is the only truth in the book […] Having brought this tedious story to a conclusion, in expressing our opinion about the literary merits of the performance, we may say that the style is without any art, being literally the spoken language of the higher classes in the northern provinces. Some words that are used in a sense different from that in ordinary writings, and others are formed for the occasion, to express provincial sounds. But after reading one volume the sense is easily understood, and whosoever wishes to familiarize himself with the manner of speaking the northern court dialect, may peruse this work with advantage.” ibid., p. 273.]&lt;br /&gt;
==Zhou Yiwen 周艺文==&lt;br /&gt;
In 1867, 78 years after the first Chinese printed edition, we find a first real in-depth review of two pages by William Frederick Mayers:[	William Frederick Mayers, in: Notes and Queries (Dec 31, 1867) pp. 167-168, here p. 167. Mayers was Chinese secretary of the British Legation at Peking. He gives also short extracts in translation: 	&lt;br /&gt;
“Vast as is Heaven above or Earth below –&lt;br /&gt;
Sighs may such limits fill for passion vainly past	&lt;br /&gt;
Grieve for the senseless youth, the hapless maiden’s woe !	&lt;br /&gt;
Not oft is love’s light pledge redeem’ed at last ! ” (p. 167) […]	&lt;br /&gt;
Vain to be soft in temper, mild in ways,	&lt;br /&gt;
Fair as the fairest … (p. 168)	&lt;br /&gt;
[…]	&lt;br /&gt;
Not often shines	&lt;br /&gt;
thy longings too are vain ! ” (p. 168)].]&lt;br /&gt;
==Zhou Yuanqu 周园曲==&lt;br /&gt;
“If it be lawful to avow a feeling approaching to enthusiasm for any Chinese production, The Hung Low Mêng 紅樓夢 or ‘Dreams of the Red Chamber’ is beyond possibility of cavil the work for which genuine admiration may be expressed. What, in English literature, the writings of Thackeray and Bulwer are in comparison with the wearisome and unskilful productions of previous generations, such is the Hung Low Mêng when compared with the works of fiction that have emanated from other Chinese authors.&lt;br /&gt;
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如果能够依法公开宣布我们对于任何一部中国作品近乎狂热的喜爱，红楼梦将无可挑剔地成为一部最值得对其倾诉真挚仰慕之情的作品。英国文学中，萨克雷和布尔沃的之前的作品与萨克雷和沃尔本人的作品相比显得乏味而笨拙，中国其他作家的作品和《红楼梦》相比也是如此。--[[User:Zhou Yuanqu|Zhou Yuanqu]] ([[User talk:Zhou Yuanqu|talk]]) 09:29, 13 November 2020 (UTC)&lt;br /&gt;
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==Zhou Yujuan 周玉娟==&lt;br /&gt;
manated from other Chinese authors. Human character in its complex variety of shades, the intricacies of family relations, the force of passion and the torture of disappointed yearnings after love are pourtrayed with a degree of skill and knowledge such as in truth suggests a resemblance with the two great master-spirits of English romance; whilst, as in Nature's own drama of existence, the reflections of storm and sunshine are closely interlaced, and the lighter thread of comedy runs side by side with the dark main-strand of a story which opens with the omens of sorrow and is conducted to a tearful end. If, at the same time, a faint – a very faint – tinge of the supernatural is allowed to show itself in the conception of the tale, this is not only in full accord with the inclinations of the people for whom the work is written, but is also far less obtrusive than the similar element which pervades more than one of our own most celebrated fictions. […]”&lt;br /&gt;
Reading through almost 80 years of reviews, during which more and more chapters of the novel became available, the ethnocentric attitude gradually changes to the scientific one and finally, with Mayr’s review of 1867 to a dialectic one, not only admitting that the Chinese novel was a piece of world literature, but even leaving open the possibility that it surpassed literary achievements of the own culture. This process certainly has been brought to a good end with the establishment of further diversified Chinese Studies in Europe and the USA, with the role of overseas Chinese at American universities, with further translations especially through Franz Kuhn in the 1930s and with the establishment of the German China Association in the 1950s. &lt;br /&gt;
==Zhu Meimei 祝美梅==&lt;br /&gt;
During its 60 years of history, the German China Association (next to the developing chairs of Chinese Studies at universities and next to other organizations dealing with China like friendship associations and Confucius Institutes) has helped to overcome prejudices, cultural relativism with diversity and tolerance. This is especially challenging, because the cultures and languages are quite distant and German media and internet community tends to bash China.&lt;br /&gt;
==Zhu Suyao 朱素瑶==&lt;br /&gt;
During the last 20 years, the German China Association was shaped through its prolific president, Gregor Paul, who has shaped the prestige of the Association with his sharp and precise analysis of a common logic in China and the West as well as universal values, including human rights, worth to strive for both in the West and in China. His entertaining and informative lectures used a rhethoric often referring to persuasive conventional wisdom, e.g. that differences often come from different opinions instead of a difference of the nature of the things, as can be seen from a quarrel with his wife about what both remembered had happened the day before.&lt;br /&gt;
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在过去20年间，德中协会是由其多产的主席格雷戈·保罗所塑造，他通过尖锐又精准地分析中西方的共同逻辑，以及分析包括中西方都值得为之奋斗的人权在内的普世价值，从而树立了协会的威望。他运用修辞手法进行寓教于乐的演讲，往往是关于一些具有说服力的传统大智慧。比如，分歧往往源于观点的不同而非事物性质的不同，这点从保罗和其妻子关于昨天发生之事的争论中可看出。--[[User:Zhu Suyao|Zhu Suyao]] ([[User talk:Zhu Suyao|talk]]) 12:37, 13 November 2020 (UTC)&lt;br /&gt;
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==Zhu Xu 朱旭==&lt;br /&gt;
Paul is a consequent logician and a real universalist and he has added to Germany’s international reputation as “the land of poets and thinkers”.&lt;br /&gt;
The process of doing more justice to China today culminates in the cooperation between Chinese and Western scholars at international conferences, in research projects or international book projects like A New Literary History of Modern China, Harvard University Press 2017.&lt;br /&gt;
==Zou Xinyu 邹鑫雨==&lt;br /&gt;
Europeans (and later US-Americans) have made a contribution to Chinese Studies in general. They were influenced heavily by the idealizers (Jesuits, European philosophers of the enlightenment) and by China-bashers (Hegel, the German emperor...). It took 100 years for a Chinese piece of world literature to be recognized as such in Europe. But today, Chinese literature and culture is recognized with the Nobel Prize and Confucius Institutes do successful work in the whole work promoting and exporting Chinese culture abroad.&lt;br /&gt;
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总体而言，欧洲人（以及后来的美国人）为“中国学”做出了贡献。 “中国学”曾受到理想主义者（耶稣会士，欧洲启蒙哲学家）和批判中国以赢取政治筹码者（黑格尔，德国皇帝……）的严重影响，中国的一部世界文学历时百年才被欧洲认可。但是今天，中国文学和文化获得了诺贝尔奖，孔子学院在促进向外传播中国文化的工作中取得了成功。--[[User:Zou Xinyu2|Zou Xinyu2]] ([[User talk:Zou Xinyu2|talk]]) 09:37, 13 November 2020 (UTC)Zou Xinyu&lt;br /&gt;
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==Volunteer==&lt;br /&gt;
However, we should not overestimate the European contribution. There are still examples of ethnocentrism, even of religiously motivated reading of things into Chinese literature. One of these examples is the 10 volume History of Chinese Literature published in Bonn. In two volumes, the one about the origins of Chinese literature and the one on Chinese poetry, a German sinologist, who formerly was a priest, defines, that the origin of Chinese literature lies in the dialogue of the author with god.&lt;br /&gt;
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然而，我们不应高估欧洲的贡献。现在仍然有民族中心主义的例子，甚至是出于宗教动机对中国文学作品的解读。在波恩出版的10卷《中国文学史》就是其中之一。德国汉学家在《中国文学起源论》和《中国诗歌论》两卷中，曾任神父的汉学家对中国文学的起源进行了界定:中国文学的起源在于作者与上帝的对话。--[[User:Zheng Huajun|Zheng Huajun]] ([[User talk:Zheng Huajun|talk]]) 05:27, 13 November 2020 (UTC)&lt;br /&gt;
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==Volunteer==&lt;br /&gt;
This reminds us again of the Jesuit reading of things into Chinese texts, it reminds us of the attempts, to impose your own culture on other seemingly backward cultures, in this case even the try to impose the Western god on the Chinese culture of a time, when China had a totally different understanding of the world and of heaven than that of a Christian god. The emergence of Chinese literature comes from songs, speeches and paintings, from the wish to document events, family etc., but not from an encounter with god.&lt;br /&gt;
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这再次让我们想起耶稣会会士对于中国经文的解读；想起我们试图强加自身的文化于其他看似落后的文化上，当时中国对世界和天堂的理解完全不同于基督教的上帝，在这种情况下我们甚至试图把西方的上帝强加于一个时代的中国文化上。中国文学起源于歌曲，演说和画作；源于期望记录事件，家庭等，而非起源于与上帝的邂逅。--[[User:Zhu Suyao|Zhu Suyao]] ([[User talk:Zhu Suyao|talk]]) 14:33, 13 November 2020 (UTC)&lt;br /&gt;
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==Volunteer==&lt;br /&gt;
The same German sinologist retranslated the Analects, attributed to Confucius, and translated some of the more than 50 occurrences of “heaven” or “demon/ghost” with the term “god”.[	Here Wolfgang Kubin stands in the tradition of Jean-François Noëlas 1720 and Richard Wilhelm 1925, see: Konfuzius: Gespräche. Transl. Richard Wilhelm. In Kubin’s commentary in the beginning of his identically titled book (Konfuzius: Gespräche Diederichs 2011), he justifies his reading of god into the Analects (p. 10). He translates “shen” as “gods” (p. 215) and claims, Confucius was sacrificing to the gods (p. 30), he understands „guishen“ as „demon and god“ or „spirit and god“ and “tian” as “god of heaven”, “supreme god”,  (p. 213).] &lt;br /&gt;
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==Volunteer==&lt;br /&gt;
Experts on Confucius also quote the few passages, where Confucius addresses the question of the supranatural like ghosts etc. and analyze that Confucius may have been at best not interested or even negative about the belief in ghosts, while he was positive about the social stability and peace rituals brought for the people.&lt;br /&gt;
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This reminds us of the fact, that it is to us to make sure that ethnocentrism is still existing today and that science is a field that needs to be aware of and cautious about it. And it needs courage to speak out against it.&lt;br /&gt;
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孔子专家也引用了一些段落,在这些段落中孔子探讨了像是鬼魂之类的超自然的问题。专家们分析认为孔子充其量可能是不感兴趣,甚至对鬼魂的存在持否定态度，尽管他对仪式给人们带来的社会稳定和和平持积极态度。&lt;br /&gt;
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这提醒我们一个事实：我们十分确信种族中心主义在今天仍然存在并且科学是需要注意和谨慎的领域，而公开反对它需要勇气。--[[User:Yuan SHiqi|Yuan SHiqi]] ([[User talk:Yuan SHiqi|talk]]) 08:12, 13 November 2020 (UTC)&lt;br /&gt;
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孔子专家也引用了几段话，其中孔子谈到了像鬼这样的超自然问题。并分析说，孔子对鬼神信仰顶多是不感兴趣，甚至是消极的，尽管他对社会稳定和为人民带来的和平仪式是积极的。&lt;br /&gt;
这提醒了我们一个事实，那就是，我们要确保种族中心主义在今天仍然存在，科学是一个需要意识到并谨慎对待的领域。公开反对它需要勇气。--[[User:Hu Jin|Hu Jin]] ([[User talk:Hu Jin|talk]]) 04:15, 14 November 2020 (UTC)&lt;/div&gt;</summary>
		<author><name>Song Jianru</name></author>
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		<id>https://bou.de/u/index.php?title=20201116_trans&amp;diff=104237</id>
		<title>20201116 trans</title>
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		<summary type="html">&lt;p&gt;Song Jianru: /* Song Jianru 宋建茹 */&lt;/p&gt;
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&lt;div&gt;==Cao Runxin 曹润鑫==&lt;br /&gt;
'''WOESLER, Martin'''&lt;br /&gt;
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'''Prof. Dr. Martin Woesler (University Rome III/Witten University)'''&lt;br /&gt;
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'''The Waves of the Stone –''' &lt;br /&gt;
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'''Early Reception Between Instrumentalization and Exoticization'''&lt;br /&gt;
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'''Abstract'''&lt;br /&gt;
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The fame of the ''Dream of the Red Chamber'' spread quickly not across Asia, but also to Europe and the USA. This paper introduces the roles and motifs of different actors in the early distribution, like merchants, Western embassies, Chinese teachers of Western missionaries, missionaries themselves, translators, early Sinologists as well as literary critics. I introduce judgements on the novel before it was available in translation.&lt;br /&gt;
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==Chang Huiyue 常慧月==&lt;br /&gt;
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As motifs I identify exoticization (joy of otherness of fashion and dressing, customs), universalization (world literature), the instrumentalization of the novel as evidence for own hypotheses on literature (Davis’ poetry), the instrumentalization for language learning etc. I show a change of motifs over time from exoticization and instrumentalization for proving inferiority to Western novels to accepting the novel as part of world literature and a masterpiece of Chinese culture with a special value in documenting Chinese society. Of special interest are misunderstandings (Gützlaff) and deviations from the original (Kuhn, Minford).&lt;br /&gt;
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==Chen Han 陈涵==&lt;br /&gt;
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'''Key words'''&lt;br /&gt;
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Dream of the Red Chamber, Western translation, Western dissemination, Western reception, instrumentalization, exotization, deviation&lt;br /&gt;
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'''First (unproven) experiences of young Cao Xueqin with foreign literature'''&lt;br /&gt;
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In 1947 the graduate student Huang Long from then Jinling University quoted the following passage from the book Dragon's Imperial Kingdom, which he claimed to have borrowed from the Central Library (today’s Nanking Library), in which William Winston ‘remembers’ an encounter of his grandfather Philip Winston with Cao Xueqin:&lt;br /&gt;
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==Chen Hui 陈惠==&lt;br /&gt;
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&amp;quot;The imperial kingdom was symbolized by a five-clawed golden dragon, a legendary reptile nonexistent since Creation. Of her indigenous produces shantung commanded the broadest popularity. This rendered her to merit the credit ‚Land of Silk’ in the Orient. There has been cherished as our precious heirloom a piece of home-spun fabric with an ornamental pattern of &amp;quot;dragon and phoenix&amp;quot; manufactured at Kiangning Textile Mill. It survived fires and swords. During my grandfather Philip's sojourn in China for trade in textiles, he contracted an acquaintance with Mr. Tsao Fu, the then Superintendent of Kiangning Textile Mill, and at the latter's request served as an initiator of textile technology.&lt;br /&gt;
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==Chen Jiangning 陈江宁==&lt;br /&gt;
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The host was hospitality incarnate and oftentimes indited extempore verses in token of rapport. As a reply, my grandfather delivered Biblical sermons and gave a graphic narration of Shakespeare's dramas. For audience he had merely those other than the juvenile and feminine. On the score of eavesdropping, Tsao’s pampered son suffered a lashing and castigation&amp;quot;.[ 	Philip Winston: Dragon's Imperial Kingdom, Douglas 1874, p. 53. Quoted from: 吴新雷, 黄进德《曹雪芹江南家世考》，福建人民出版社, 1983, 304 pp., here pp. 103-104. See also:馬幼垣（Yau-Woon Ma）《實事與構想: 中國小說史論釋》，聯經出版事業股份有限公司, 2007年，384页。See also: 周汝昌《曹雪芹新传》外文出版社(1992)²1997, 353pp., here p. 101.]&lt;br /&gt;
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==Chen Jiaxin 陈佳欣==&lt;br /&gt;
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If this encounter has been made up, it shows how much effort Redology invested to come to new findings, if not, it may explain some of the special characteristics of the novel never seen in Chinese literature before.&lt;br /&gt;
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'''Status of the book before its publication'''&lt;br /&gt;
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Between 1754 and 1771 we have one new manuscript version per year in average and almost each manuscript carries new comments mostly from 脂砚斋 or from 畸笏叟. The author died on Feb 1, 1764, which did not end the commenting on the manuscripts.&lt;br /&gt;
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==Chen Jingjing 陈静静==&lt;br /&gt;
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The book was not officially published, but that did not prevented it from dissemination, as manuscript fragments were handed around since the 1750s and the novel was known to many scholars before its publication in 1791.&lt;br /&gt;
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The preface to the 2nd edition in 1792 also points to the fact, that there had been a “long” tradition of scholarly research of the book and comments. These comments had not been taken over for the 1st and 2nd edition.&lt;br /&gt;
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==Chen Sha 陈莎==&lt;br /&gt;
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'''From inofficial manuscript versions to the printed book'''&lt;br /&gt;
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One of the reasons why the book was not printed was that it was (wrongly) considered either sexually explicite literature (淫书) or against Confucianism, which could only passed on in manuscript versions. &lt;br /&gt;
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Gao E claims in his preface of 1791, that he had heared before 1771 from this novel and that he checked whether it was against Confucianism, but could not find anything like this in it, so that it could be published.&lt;br /&gt;
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==Chen Sunfu 谌孙福==&lt;br /&gt;
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“One of the best works of fiction in Chinese literature was supposed to have been written by a member of this sect, and was suppressed by the Emperor because of offensive references to the reigning family contained in it. It was called the ‘Hung Lou Meng,’ or ‘Dream of the Red Chamber,’ and it resembles a large number of fairy tales threaded together rather than a modern novel. By an ingenious substitution of false characters, words, occasionally throughout certain portions of the work—something like incorrect spelling —the imperial interdict was evaded, and it has continued in print and popularity down to the present day. Foreign students of Chinese commonly read a portion of it, the smooth and excellent style making it an invaluable text-book.”[ 	See: He Tianyue 何天爵: ''The real Chinese question'' (真正的中国问题), New York: Dodd，Mead &amp;amp; Co. 1900, 386 pp., here p. 109.]&lt;br /&gt;
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==Chen Yongxiang 陈永相==&lt;br /&gt;
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'''Preparations of the 1st book edition'''&lt;br /&gt;
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Gao E worked with Cheng Weiyuan, who ran the publishing house Suzhou Cuiwen Press (苏州萃文书屋). &lt;br /&gt;
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According to the preface to the 1791 edition by Cheng Weiyuan, different 80 chapter manuscript versions were already circulating, some were sold for a high price at the Temple Market, others were copied by readers. Since the 80 chapter manuscript versions already contained content lists with 120 chapter headlines, he searched for and found (as he pretended) the 120 chapters.&lt;br /&gt;
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==Cheng Yusi  成于思==&lt;br /&gt;
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In the preface to the first printed edition he already refers to an existing number of readers, who share the love of the book with him. Also his description that some readers took over the effort to copy the book by handwriting shows that an early fan culture existed even before the printed version appeared.&lt;br /&gt;
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Also, Cheng Weiyuan keeps the question of the authorship open, but points directly to Cao Xueqin, who claimed to have worked 10 years on the novel and rewritten it five times. The rewriting may refer to the production of new manuscript versions reflecting the ideas of the commentators.&lt;br /&gt;
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==Deng Jinxia 邓锦霞==&lt;br /&gt;
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'''1st Book edition 1791:''' 程甲本 Cheng A edition&lt;br /&gt;
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According to the preface to the 2nd edition 1792, these early fans were called collectors and the 1st edition was produced with movable characters, which was faster than the woodblock print. The book contained 99 illustrations and more than 100 copies were printed. The first edition might have been printed in Peking at the end of 1791, the 2nd in early 1792 in Suzhou, leaving 72 days between the two editions, which may show that the Peking edition was sold out immediately. The 1791 edition was also soon translated into Mongolian: 蒙古王府本 Menggu ben.&lt;br /&gt;
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'''1791年第一版:''' 程甲本 &lt;br /&gt;
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根据1792年第二版的序言，这些早期的粉丝被称为收藏家。第一版采用可移动的字符制作，这比木刻版画要快。 该书包含99幅插图，被印刷了一百多本。 第一版可能于1791年底在北京印刷，第二版于1792年初在苏州印刷。两版之间相隔72天，这或许表明北京印刷版立即被抢购一空。 1791年版也很快被译成蒙古文：蒙古王府本。--[[User:Deng Jinxia|Deng Jinxia]] ([[User talk:Deng Jinxia|talk]]) 05:18, 13 November 2020 (UTC)&lt;br /&gt;
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'''1791年第一版:''' 程甲本 &lt;br /&gt;
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根据1792年第二版的序言，这些早期的粉丝被称为收藏家。第一版采用活字印刷制作，这比木刻印刷要快。 该书包含99幅插图，印刷了一百多本。 第一版可能于1791年底在北京印刷，第二版于1792年初在苏州印刷。两版之间相隔72天，这或许表明北京的这一版一经印刷立即被抢购一空。 1791年版也很快被译成蒙古文：蒙古王府本。--[[User:Xu Pengfei|Xu Pengfei]] ([[User talk:Xu Pengfei|talk]]) 05:32, 13 November 2020 (UTC)Xu Pengfei&lt;br /&gt;
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==Ding Daifeng 丁代凤==&lt;br /&gt;
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'''2nd Book edition in 1792:''' 程乙本 Cheng B edition&lt;br /&gt;
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A second edition, with ‘corrections’ some consider mistakes today, was published in 1792 in Suzhou and sold well too. The 2nd edition claims to have removed many mistakes of the 1st edition.[ 	For an overview of the comparison of the two editions please refer to: 《《红楼梦》程乙本版本研究综述》，王丽敏，河南教育学院学报 (哲学社会科学版) Vol．33.] One of the differences is that the 程乙本 Cheng B edition changed expressions in ancient wenyan to more contemporary ones, like “索” was turned into “要”, “趁” into “赶”, “题” into “写”, “端” into “头”, “闻得” into “听见”, “记挂” into “惦记”, “殊不知” into “那里知道” etc., but not in every case. Altogether they changed roughly 20,000 characters.&lt;br /&gt;
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1792年第二版：程乙本&lt;br /&gt;
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第二版于1792年在苏州出版，也取得了很好的销量。在第二版当中，做出了一些修正，尽管这些修正在如今被认为是错误的。第二版声称修正了第一版中的诸多错误。[关于两个版本比较的概述，请参阅：《《红楼梦》程乙本版本研究综述》，王丽敏，河南教育学院学报 (哲学社会科学版) Vol．33.]不同点之一是程乙本将一些古文言文表达转化为了更为现代的表达，比如将“索”改成了“要”，“趁”改成了“赶”，“题”改成了“写”，“端”改成了“头”，“闻得”改成了“听见”，“记挂”改成了“惦记”，“殊不知”改成了“那里知道”等,但它并没有对所有的表达进行修改。修改字数总计约达20000。--[[User:Ding Daifeng|Ding Daifeng]] ([[User talk:Ding Daifeng|talk]]) 06:40, 13 November 2020 (UTC)&lt;br /&gt;
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==Fang Jieling 方洁玲==&lt;br /&gt;
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There is also a change of the list of confiscated goods. What might have been the reason in this particular case to change the list of confiscated goods for the Cheng B edition? The list in the Jiaben is a documentation of richness and therefore lets the confiscation seem to be justified because of unjustified enrichment. In the Yiben, the list starts with mostly religious items like, Buddha statues, this lets the confiscation appear unjustified and shifts the sympathies of the reader towards the family. In the late 18th century, there was a turn towards Buddhism.&lt;br /&gt;
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==Gan Fengyu 甘奉玉==&lt;br /&gt;
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Many umlegitimized copies appeared. The book was delivered to Korea and shipped to Japan, where it was read in its original language.&lt;br /&gt;
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The novel created a wave of interest in China comparable to the one of ''The Sorrows of the Young Werther'' in Europe since 1774. The first edition, printed in 1791 in Peking in a small number of copies (estimates range between 4 and 400) was soon sold out.&lt;br /&gt;
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很多非法盗版书出现，盗版书籍运到韩国后，又转海运到日本，在那里，人们阅读的却又是原文。&lt;br /&gt;
小说在中国引起了一波兴趣浪潮，堪比欧洲1774年以来的《少年维特的烦恼》浪潮。1791年，北京 印刷了第一版，数量很少（大约4-400本），很快就一售而空。--[[User:Gan Fengyu|Gan Fengyu]] ([[User talk:Gan Fengyu|talk]]) 03:25, 14 November 2020 (UTC)&lt;br /&gt;
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==Gao Mingzhu 高明珠==&lt;br /&gt;
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Some scholars assume a suicide wave among readers who identified with Lin Daiyu. Many readers discussed whether they identified more with Lin Daiyu or with Xue Baochai, a discussion that lasts until today. &lt;br /&gt;
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==Gong Yumian 龚钰冕==&lt;br /&gt;
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'''Spreading to Japan and Korea'''&lt;br /&gt;
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Captain王开泰 Wang Kaitai delivered 18 copies of a 9-volume edition of the Dream on December 9, 1793 to Japan, as we can prove in a store list of a Nanking ship arriving in长崎港Nagasaki (which started on November 3 in 乍浦 Zhapu): „红楼梦 九部十八套“.[ 	From 发货账本, quoted from: 《红楼梦 》在日本.] We know of an early mentioning of the Dream by the Korean author ''Lee'', ''Kyu-Kyung''李圭景 ( 1788- ? 李圭景(이규경)) in the 1830s.[ 	From 《五洲衍文长笺散稿》卷七《小说 辩证说》, quoted from: 《红楼梦》在韩国的流传和翻译.]&lt;br /&gt;
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There were early (partial) translations of the novel into Manchurian.&lt;br /&gt;
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==Gu Dongfang 顾东方==&lt;br /&gt;
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'''Early Western notions of the book'''&lt;br /&gt;
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The novel also caught the attention of Europeans living in China, like the missionaries, who started to translate parts of it into Western languages, as well as the British embassies to China, who collected also Chinese literature, brought it back to Europe or engaged in translation or dissemination. &lt;br /&gt;
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==Guan Qinqing 管钦清==&lt;br /&gt;
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The book seems to have run out of stock often and needed to be purchased from other cities, whereever it was available, like in about 1812 in Canton: Robert Morrison, a missionary who worked in Macao, may have been pointed by his Chinese tutor to the novel. In 1816 he published a dialogue between a student (maybe himself) and his Chinese tutor pointing to the time before December 1812, when he translated parts of the novel and therefore had a copy: &lt;br /&gt;
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==Gui Yizhi 桂一枝==&lt;br /&gt;
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Student: “What is the best book for students to read?” – [...suggestion of ''Daxue''.] Tutor: [...] to read the Hung-low-mung will do very well. – Student: I have not seen the Hung-low-mung, have you seen it? – Tutor: I have not brought it with me, but if you wish to see it, I will write to Canton, and present it to you. Student: “Very good. I will trouble you to write for it.” – Tutor: “I will do so.” – Student: “How many volumes are there in the Hung-low-mung?” – Tutor: “Twenty volumes in all. In this book, the phraseology is entirely that of Peking.”[ 	From: “Dialogue V”, in: 《中文对话与单句》''Dialogues and Detached Sentences in the Chinese Language, with a free and verbal translation in English, collected from various sources'', Macao: East India Company Press 1816. [Chinese parts left out in this quotation.]] &lt;br /&gt;
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==Guo Lu 郭露==&lt;br /&gt;
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Between December 1812 and February 1813, Robert Morrison translated parts of chapter 4 and send it to Great Britain. He published entries about the Dream in his dictionary, of which the first volume appeared in 1815[	《华英字典》''A Dictionary of the Chinese language in three parts'', Macao: East India Company Press 1815, vol. I 930 pp., the novel title is mentioned in volume I:614.] and more translation excerpts, e.g. from chapters 4 and 39, in his 1816 textbook edition.[ 	《中文对话与单句》''Dialogues and Detached Sentences in the Chinese Language, with a free and verbal translation in English, collected from various sources'', Macao: East India Company Press 1816, e.g. pp. 194-200.] &lt;br /&gt;
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==Han Haiyang 韩海洋==&lt;br /&gt;
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Only 23 years of its publication, the novel already was part of the canonized Chinese literature of fiction and Robert Morrison used excerpts of it for his text books to teach Westerners Chinese, as well as expressions from it for his dictionary and sent letters with excerpt translations to Europe, for an intended 2nd vol. of his ''Horæ Sinicæ'' which never was realized.&lt;br /&gt;
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The first British Embassies to China (among them especially Charles Bowra, John Francis Davies) also collected literature and among it the ''Dream of the Red Chamber''. &lt;br /&gt;
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==Han Wanzhen 韩宛真==&lt;br /&gt;
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'''Early translation history in the West'''&lt;br /&gt;
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In 1819, the first excerpt translations were published in Europe, in English (by John Francis Davis) and in French (by Davis, further translated by Bruguière). Significantly, they were published hidden in other larger works, in the English case, it was a Travel Report by Clarke Abel,[ 	约翰．巴罗（John Barrow）：“Art. IV Narrative of a Journey in the Interior of China, and of a Voyage to and from that Country, in the Years 1816 and 1817; containing an Account of the most interesting Transactions of Lord Amherst's Embassy to the Court of Peking, and Observations on the Countries which it visited. By Clarke Abel F.L.S. London 1818”，见：William Gifford（主编）, Quarterly Review 21:41 (1819年1月) 见第67-91页，特见第79-80页。这份期刊于1819年6月4号发行，总发行量13000份。笔者在这里参照了以下的索引并最终确定作者: „Gentleman's Magazine (Mar. 1844), 246-47. The article's author refers to #415 and #438 (including a specific reference), both of which are on the same topic and are by Barrow. Cf. also the discussion of infanticide (p. 76) and Raffles's account of Java reviewed by Barrow in #422. In his QR articles, it was Barrow's signature practice to refer to his own works.“, 参考„Quarterly Review Archive“ http://www.rc.umd.edu/reference/qr/index/41.html。] and in the French case, it was a Chinese drama, La-song-euil.[ 	“Rêves de la Chambre rouge”, 见：»Avant-propos du traducteur francais«, 见: 安托萬．安德烈．包儒略(Antoine-André Bruguière), ''Lao-seng-eul'' [老生兒], ''Comédie Chinoise, suivie de San-iu-leou, ou Les trois étages consacrés, conte moral ; Traduits du chinois en anglais, par J. F. Davis de la factorerie de Canlon ; et de l'anglais en français, par A. Bruguière de Sorsum; avec additions du traducteur'', 巴黎: Rey et Gravier / 伦敦 A. B. Dulau &amp;amp; Co. 1819 年, 227 页, 第141-164页, 见第150-151页。]&lt;br /&gt;
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==He Changqi 何长琦==&lt;br /&gt;
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These excerpt translations were done by John Francis Davis, he translated excerpts from chapter 3 and they were published by John Barrow in Great Britain and by Bruguière in France, both in 1819. Further translations were in 1846 by Robert Thom, excerpts of chapter 6, in 1868-69 Edward Charles Bowra chapters 1-8, in 1892-93 Henry Bencraft Joly chapters 1-56, in 1927 Liang-Chih Wang chapters 1-95, in 1929/1958 Wang Chi-chen an abridged full version, in 1958 Florence McHugh &amp;amp; Isabel McHugh a further translation from the abridged German version of 1938 by Franz Kuhn. &lt;br /&gt;
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==Hu Baihui 胡百辉==&lt;br /&gt;
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Regarding these translations, both the translation quality as well as the quality of the English used did not reach the status of world literature. Regarding full translations, we have in the 1960s Bramwell Seaton Bonsall, in 1973-1986 Hawkes/Minford and in 1978-1980 Yang/Yang. Among all the translators who embarked on this endeavour, only Hawkes (1923-2009) and Minford (1946-) achieved the goal to produce a translation which clearly falls into the categorization of world literature, the others, as Gladys Yang stated, “were a poor shadow of the original”.[ 	Yang 1980 3:621-622.]&lt;br /&gt;
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==Hu Huifang 胡慧芳==&lt;br /&gt;
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'''Early Misunderstandings'''&lt;br /&gt;
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Before the novel was available in translation, we find a lot of misunderstandings and negative judgements on the novel: Morrison considered the novel to have been written in “Peking Dialect”, this mistake developed its own tradition.[	Even in 1995, you could read that the Dreams is written in Peking dialect, cf. Shu Changshan, Die Rezeption Thomas Manns in China, 1995, Frankfurt: Lang, 326 pp. At least Tong Yao, Die Vielfältigkeit der Literatur, 2006 mentions both Peking and Nanking dialects.] In 1842 Gützlaff[ 	“''Dreams in the Red Chamber''”, Friedrich August Gützlaff (1803-1851), “《紅樓夢》Hung Lau Mung, or Dreams in the Red Chamber; a novel. 20 vols. Noticed by a Correspondent”, in: ''Chinese Repository'', issue 11 (1842) 266-273.] introduced the protagonist as „the lady Páuyu“ (p. 268), even “a very petulant woman” (p. 270) and “busy lady” (p. 272), and took Jia Yucun贾雨村 (instead of Jia Zheng 贾政) as Baoyu’s father.&lt;br /&gt;
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在小说被翻译出版之前，我们发现了很多关于小说的误解和负面判断：莫里森认为小说是用“北京话”写的，这个错误发展了它自己的传统。[即使在1995年，您也可以阅读 梦是用北京话写的，参见 舒常山，《死神的托马斯·曼斯》，中国，1995年，法兰克福：郎，326页。至少通瑶（《文学之路》，2006年）同时提到了北京方言和南京话。 弗里德里希·奥古斯特·古兹拉夫（Friedrich AugustGützlaff，1803-1851年），《《红楼梦》》 一本小说。 20卷 通讯员注意到”，在：中国资料库，第11版（1842）266-273。]中将主角介绍为“夫人帕尤”（第268页），甚至是“一个非常挑剔的女人”（第270页），以及“ （第272页），并以贾雨村贾雨村（而不是贾政贾政）为宝玉的父亲。--[[User:Hu Huifang|Hu Huifang]] ([[User talk:Hu Huifang|talk]]) 02:19, 14 November 2020 (UTC)&lt;br /&gt;
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==Hu Jin 胡瑾==&lt;br /&gt;
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Also his overall judgement is “in expressing our opinion about the literary merits of the performance, we may say that the style is without any art, being literally the spoken language of the higher classes in the northern provinces.” and he recommends it for language learning (p. 273). Even in 1900, Herbert Allen Giles introduced the novel as have been written in “Peking dialect” and attributed to Cao Xueqin “of the 17th cent.”[ 	“HUNG-LOU-MENG: 紅樓夢 A famous Chinese novel in the Peking dialect, popularly known as the Dream of the Red Chamber, dealing chiefly with events of domestic life which are very graphically described, and attributed to Ts'ao Hsiieh-ch'in of the 17th cent.” See: Herbert Allen Giles, ''A glossary of reference on subjects connected with the Far East'', 1900, pp. 127-128]&lt;br /&gt;
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此外，他的总体判断是“在表达我们对文学价值的意见时，我们可以说，这种风格没有任何艺术，实际上是北方各省较高阶层的口语。”他建议将它用于语言学习(第273页)。甚至在1900年，翟理斯介绍说这部小说是用“北京话”写成的，被认为是17世纪曹雪芹的代表作.【紅樓夢：一部以北京话写成的中国著名小说，俗称《红楼梦》，主要描写家庭生活中的琐事，描写生动形象，被认为是十七世纪曹雪芹的主要作品。参考:赫伯特·艾伦·翟里斯，《远东相关主题参考词汇》，1900年，第127-128页]】--[[User:Hu Jin|Hu Jin]] ([[User talk:Hu Jin|talk]]) 04:08, 14 November 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
==Ji Tiantian 纪甜甜==&lt;br /&gt;
&lt;br /&gt;
Also he claimed that the title “红楼梦” would be “a term which is not found anywhere in the text”,[ 	Giles 1885.] therefore was figurative and should be translated as “A Vision of Wealth and Power”. Actually the expression is found several times in the text, even in the title of chapter 25 and Baoyu actually very often falls asleep and dreams in the red bed-chambers of his female relatives and friends.&lt;br /&gt;
&lt;br /&gt;
==Jiang Fengyi 蒋凤仪==&lt;br /&gt;
&lt;br /&gt;
'''Early Reception of the novel in the West'''&lt;br /&gt;
&lt;br /&gt;
We first must credit pioneers like J. Davis, who not only tried to systematize Chinese poetry with examples from the ''Red Chamber Dreams'', but also sent the first translations of the novel out in the world and made it known in America and Europe just a decade after it has been published in China. Some sinologists used the story simply as a good example for learning Chinese (Morrison, Thom).&lt;br /&gt;
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==Jiang Hao 姜好==&lt;br /&gt;
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One can conclude that the ''Red Chamber Dreams'' transported a differentiated image of China, of fashion, of hair and clothes (Barrow, Bruguière, Goldsmith), of human relations (Goldsmith), and of a highly developed language. In this language, some poetical expressions were only understandable to those who had a broad knowledge of Chinese culture. The finesse of the differentiated use of the dialects according to the respective characters in the novel was simply overlooked (Morrison, Gützlaff, Thom) and only discovered much later. &lt;br /&gt;
&lt;br /&gt;
==Jiang Qiwei 蒋淇玮==&lt;br /&gt;
&lt;br /&gt;
The first phase of the Western reception was ethnocentric, partially due to the China-bashing of philosophers like Montesquieu, Herder, Hegel and to the imperialist spirit of contemporary Europe. The judgments on the novel are mostly driven by argumentation strategies; that is, the novel is used as a tool to prove one’s own existing attitudes. The novel is exploited to argue for: &lt;br /&gt;
&lt;br /&gt;
==Kang Haoyu 康浩宇==&lt;br /&gt;
&lt;br /&gt;
-	exoticism (J. Davis, Barrow, Bruguière)&lt;br /&gt;
&lt;br /&gt;
-	the inferiority of Chinese literature (Gützlaff, Langdon Davies, Harte, Giles, Headland)&lt;br /&gt;
&lt;br /&gt;
-	polarization by confronting opposite conceptions like ideal of beauty etc. (Goldsmith)&lt;br /&gt;
&lt;br /&gt;
-	to proof own hypotheses, like a self-made categorization of Chinese poetry (J. Davis)&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
In this beginning phase, most comparisons were done within Chinese literature (Gützlaff: best of Chinese literature but inferior to Western literature, later: best of Chinese literature).&lt;br /&gt;
&lt;br /&gt;
-  异国情调（J.戴维斯，巴罗，布鲁基耶）&lt;br /&gt;
&lt;br /&gt;
-  中国文学的劣势（古兹拉夫，兰登戴维斯，哈特，贾尔斯，海德兰）&lt;br /&gt;
&lt;br /&gt;
-  通过对立的概念实现两极分化，如理想之美。（戈尔登史密斯）&lt;br /&gt;
&lt;br /&gt;
-  证明自己的假设，就像中国诗歌的自我分类（J.戴维斯）&lt;br /&gt;
&lt;br /&gt;
在最开始的阶段，大多数的比较都是关于中国文学的。（古兹拉夫：最好的中国文学，但不及西方文学，后来:最好的中国文学）--[[User:Kang Haoyu|Kang Haoyu]] ([[User talk:Kang Haoyu|talk]]) 15:01, 13 November 2020 (UTC)&lt;br /&gt;
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-异国情调（J.戴维斯，巴罗，布鲁基耶）&lt;br /&gt;
&lt;br /&gt;
-中国文学的劣势（古茨拉夫，兰登·戴维斯，哈特，吉尔斯，海德兰）&lt;br /&gt;
&lt;br /&gt;
-通过概念的对立来实现两极分化，如理想之美等。（戈德史密斯）&lt;br /&gt;
&lt;br /&gt;
-证明自己的假设，例如对中国诗歌的自我归类（J.戴维斯）&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
在这个开始阶段，大多数比较都是在中国文学中进行的（古茨拉夫：中国文学最好，但次于西方文学，后来：中国文学最好）。--[[User:Peng Xiaoling|Peng Xiaoling]] ([[User talk:Peng Xiaoling|talk]]) 00:57, 14 November 2020 (UTC)&lt;br /&gt;
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==Kang Lingfeng 康灵凤==&lt;br /&gt;
&lt;br /&gt;
However, when Herder revised his China perception, and when the still inadequate perception of China called for a more differentiated image, the first translated extracts of this rich novel of manners helped to change the perception of China.&lt;br /&gt;
&lt;br /&gt;
Finally ''Dream'' was compared to Western literature (Erkes, Wilhelm), was enshrined in the temple of world literature and was assigned attributes that added value to the Western reading experience (Clemons: “slowing down”).&lt;br /&gt;
&lt;br /&gt;
==Kong Xianghui 孔祥慧==&lt;br /&gt;
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'''Motifs for judgements'''&lt;br /&gt;
&lt;br /&gt;
As motifs for the early judgements mentioned above, I identify exoticization (joy of otherness of fashion and dressing, customs), universalization (world literature), the instrumentalization of the novel as evidence for own hypotheses on literature (Davis’ poetry), the instrumentalization for language learning etc.&lt;br /&gt;
&lt;br /&gt;
There is a change of motifs over time from exoticization and instrumentalization for proving inferiority to Western novels to accepting the novel as part of world literature and a masterpiece of Chinese culture with a special value in documenting Chinese society.&lt;br /&gt;
判断的主题&lt;br /&gt;
作为上述提及的早期判断的主题，我确定了小说的异国化（时尚和穿着的别样喜乐，习俗），普遍化（世界文学），小说的工具化作为文学假设的证据（如戴维斯的诗歌），以及小说的工具化用于语言学习等。&lt;br /&gt;
随着时间的推移，小说主题也发生了变化，从异国化和工具化证明西方小说的劣势，到接受小说作为世界文学的一部分以及可以记录中国社会的具有独特价值的中国文化杰作。--[[User:Kong Xianghui|Kong Xianghui]] ([[User talk:Kong Xianghui|talk]]) 13:06, 13 November 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
判断主题&lt;br /&gt;
上述提到的早起判断主题，我认为小说的异国化（别样的时尚穿着，习俗带来的乐趣），普遍化（世界文学），工具化，证实了我们对文学（戴维斯诗歌）的假设，也证实了语言学习工具化。&lt;br /&gt;
随着时间的推移，小说主题从异国化变成工具化，证实了本身不如西方小说，接受小说是世界文学的一部分，也接受中国文化杰作在记录中国社会方面有一种独特价值。--[[User:Gan Fengyu|Gan Fengyu]] ([[User talk:Gan Fengyu|talk]]) 03:11, 14 November 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
==Kong Yanan 孔亚楠==&lt;br /&gt;
&lt;br /&gt;
'''The novel title'''&lt;br /&gt;
&lt;br /&gt;
The book title changed from the first translations as “Red Chamber Dreams” to singular “Dream” in 1843 by德明 (А. И. Коваńко / A. I. Kovańko)[ 	„Traumgesicht auf dem rothen Thurm“, see&amp;gt; 德明 А. И. Коваńко (1808-1870, trans.): „''Chun-lou-men'' (‚Traumgesicht auf dem rothen Thurm‘) oder ‚Geschichte des Steins‘（《石头记》）. Tschen-schi-in erfährt im Traume die Wiederbelebung des Steins; Zja-jui-zun verliebt sich in seiner Armuth in eine schöne Magd.“ , in: ''Das Ausland'', Munich 26 (1843) 198-199, 201-203.] and in 1846 by Robert Thom[ 	Robert Thom 羅伯聃, “Extract from the Hung-low-mung, chapter VI”, in: Robert Thom, 《正音撮要》 The Chinese speaker. Extracts from works written in the Mandarin language, as spoken at Peking. Compiled for the use of students, by Robert Thom, Esq., H. M. Consul at Ningpo. Part I, Ningpo: Presbyterian Mission Press 1846, pp. 62-89].&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
'''小说名'''&lt;br /&gt;
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书名刚开始翻译为“红楼梦”（Red Chamber Dreams），1843年德明将其译成了单数“梦”（Dream）。1846年，羅伯聃也将其译为单数形式。--[[User:Kong Yanan|Kong Yanan]] ([[User talk:Kong Yanan|talk]]) 11:33, 13 November 2020 (UTC)&lt;br /&gt;
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==Lei Fangyuan 雷方圆==&lt;br /&gt;
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Many scholars have discussed the question if it was more appropriate to call the novel “Story of the Stone” instead of “Dream of the Red Chamber”. Arguments for the latter are that the first printed edition and most of the printed editions afterwards carried this title, so that it reached its fame and was read under this title until today, there was also at least one 120-chapter manuscript copy, the 《乾隆抄本百二十回紅樓夢》Qianlong 120 chapter manuscript; with this title circulating before. However, e.g. the Hawkes/Minford translation and the German Schwarz/Woesler translation use both titles with “also called” in between.&lt;br /&gt;
&lt;br /&gt;
许多学者都讨论过这样一个问题，即这部小说是否应该叫 &amp;quot;石头的故事 &amp;quot;而不是 &amp;quot;红楼梦 &amp;quot;更合适。支持后者的论点是，第一版印刷版和之后的大部分印刷版都使用这个书名，所以它有了自己的名气，直到今天还用这个书名，至少还有一个120章的手抄本，即乾隆抄本百二十回红楼梦；之前流传着这个书名。不过，如霍克斯/明福译本和德国施瓦兹/沃斯勒译本都使用这两个书名，中间有 &amp;quot;也叫&amp;quot;。--[[User:Lei Fangyuan|Lei Fangyuan]] ([[User talk:Lei Fangyuan|talk]]) 07:02, 13 November 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
许多学者都讨论过一个问题，即把这部小说起名为《石头记》 相比《红楼梦》而言是否更为合适。支持后者的人认为，第一版和之后的大多数印刷版已经有《红楼梦》这个名字了，所以名气传播开来，直至今日人们读到的还是这个书名，至少还有一个一百二十回的手抄稿，即《乾隆抄本百二十回红楼梦》，之前就流传这个书名。不过，在霍克斯/明福译本和德国施瓦茨/沃斯勒译本中，两个书名都用到了，之间含有“亦称”两字。--[[User:Yuan Yuchen|Yuan Yuchen]] ([[User talk:Yuan Yuchen|talk]]) 09:16, 13 November 2020 (UTC)&lt;br /&gt;
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==Lei Kuangxi 雷旷溪==&lt;br /&gt;
&lt;br /&gt;
Some scholars argue that the German title ''Traum der Roten Kammer'' was grammatically and logically not correct in German, but you need more than a grammar teacher’s imagination to find the answer why this title prevailed: A book title, especially a poetic one of a work of literature, does not at all have to be grammatically correct or logical, the title is simply assigned with the first translations and translators and then naturally develops in the cultural field over time.&lt;br /&gt;
&lt;br /&gt;
一些学者认为,德译版本《红楼梦》的标题“Traum der Roten Kammer”在德语中的语法和逻辑不正确,但是要找到这个标题为什么盛行，光靠语法老师的想象力是不够的:书名,尤其是像诗歌文学作品,并不需要一定在语法或逻辑上正确,标题只是简单地由最初翻译版本和译者指定的，然后随着时间的推移自然地在文化领域发展。--[[User:Lei kuangxi|Lei kuangxi]] ([[User talk:Lei kuangxi|talk]]) 03:50, 13 November 2020 (UTC)Lei Kuangxi&lt;br /&gt;
&lt;br /&gt;
一些学者认为，《红楼梦》标题的德版译文Traum der Roten Kammer在德语的语法和逻辑上是不正确的，但想到找到这个标题为什么流行的答案，光拥有跟语法老师一样的想象力是不够的:书名，尤其是文学作品充满诗意的书名，根本不需要语法正确或有逻辑，标题只是简单地由最初的译文和译者定下来，然后自然而然地随着时间的推移在文化领域发展。--[[User:Ding Daifeng|Ding Daifeng]] ([[User talk:Ding Daifeng|talk]]) 07:05, 13 November 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
一些学者认为,德译版本《红楼梦》的标题“Traum der Roten Kammer”在德语的语法和逻辑方面有误，,但是要找到这个标题为什么盛行的原因，光靠语法老师的想象力是不够的:书名,尤其是像诗歌文学作品的书名,不必在语法或逻辑上正确,因为标题由最初翻译版本和译者指定的，然后随着时间的推移自然地在文化领域发展。--[[User:Li LIli|Li LIli]] ([[User talk:Li LIli|talk]]) 11:31, 13 November 2020 (UTC)Li Lili&lt;br /&gt;
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==Li Haiquan 李海泉==&lt;br /&gt;
&lt;br /&gt;
Language development exactly works like this: New, seemingly incorrect forms of expressions come into existence, and become correct and a part of language simply because they are used. All translation decisions need to be balanced: They do not have to adhere only to a word-by-word translation, or to logic or grammar, but to what is a common expression or broadly accepted. &lt;br /&gt;
&lt;br /&gt;
==Li Lili 李丽丽==&lt;br /&gt;
&lt;br /&gt;
There are historical settings which influence these historical decisions, like the existence of the English translation title “Dream of the Red Chamber” at that time. Other reasons are that “Traum der” is simply shorter than “Träume im/vom roten Anwesen”, while the reader will still associate the logically correct meaning behind it. The word “Kammer” at the time when the novel was first published in Chinese was linked to luxurious rooms e.g. in castles, so very much appropriate. And the “red” is a leitmotiv.&lt;br /&gt;
有一些历史背景影响着这些历史决定，比如当时英译本《红楼梦》的存在。另一个原因是“Traum der”比“Träume im/vom roten Anwesen”短，而读者会联想到其背后逻辑上正确的含义。当该小说第一次以中文出版时，“坎默”一词指豪华的房间（如城堡），非常恰当。“红色”是主旨。--[[User:Li LIli|Li LIli]] ([[User talk:Li LIli|talk]]) 11:20, 13 November 2020 (UTC)Li Lili&lt;br /&gt;
&lt;br /&gt;
有一些历史背景会影响这些历史决定，例如当时“红楼梦”标题的英文翻译。另一原因是“ Traum der”短于“Träumeim / vom roten Anwesen”，而读者仍会联想到其背后逻辑上正确的含义。当小说首次以中文出版时，“ Kammer”一词指豪华的房间（如城堡），这是非常恰当的，因为“红色”是主旨。--[[User:Kong Xianghui|Kong Xianghui]] ([[User talk:Kong Xianghui|talk]]) 13:17, 13 November 2020 (UTC)&lt;br /&gt;
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==Li Lingyue 李凌月==&lt;br /&gt;
&lt;br /&gt;
To pay tribute to historical developments of becoming a well-known expression, in the German edition, the mentioning of “rote Kammer” was capitalized into “Rote Kammer” in the new edition, very much alike “Red Chamber” in English at the very beginning of the English translation history.&lt;br /&gt;
为了纪念历史的发展成为一个众所周知的表达，在德语版中，“rote Kammer”在新版中被大写为“Rote Kammer”，非常类似于英语翻译史开始时的英版红楼梦。--[[User:Li Lingyue|Li Lingyue]] ([[User talk:Li Lingyue|talk]]) 04:30, 14 November 2020 (UTC)&lt;br /&gt;
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==Li Liqin 李丽琴==&lt;br /&gt;
&lt;br /&gt;
'''80 or 120 chapters'''&lt;br /&gt;
&lt;br /&gt;
The First European Conference on the Dream of the Red Chamber in Bonn 1992 agreed that the 120 chapter version was the authoritative one because it was simply the version under which the novel reached its fame and is best known among readers. Publishing houses argue that a fragment is harder to sell. Also, the part of Cao Xueqin in the last 40 chapters is not finally enligthened, and I always recommend to stick to the editors claims until falsification, therefore we should at least assume Cao’s authorship of the last 40 chapter titles and maybe even some parts of the text.&lt;br /&gt;
&lt;br /&gt;
“80章还是120章”&lt;br /&gt;
&lt;br /&gt;
第一届以红楼梦为主题的欧洲会议于1992年在波恩举行，会议上，专家们一致认为120章的版本更具权威性。原因是这个版本在世界上广为流传，在读者中广为人知。出版社认为，单独把书的某几个章节拎出来是很难出售的。此外，曹雪芹撰写的最后40章中部分内容并没有被最终确定下来，因此我始终建议坚持编者的主张，直到被篡改为止。基于此，我们至少应承认曹雪芹拥有最后40章甚至是部分文本的著作权。--[[User:Li Liqin|Li Liqin]] ([[User talk:Li Liqin|talk]]) 09:37, 13 November 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
'''80章还是120章'''&lt;br /&gt;
&lt;br /&gt;
第一届以红楼梦为主题的欧洲会坛于1992年在波恩举办。与会者一致认为120章的版本是权威版本，因为这个版本使红楼梦声名远扬、广为人知。出版社认为取其中几章出版成书，销量会更惨淡。曹雪芹撰写的最后40章是否出版最终也没有确定。我会一直坚持编者的观点，直到这本小说被改动后出版。因此，我们至少应该承认曹雪芹对于最后40章甚至是部分文本的著作权。--[[User:Kong Yanan|Kong Yanan]] ([[User talk:Kong Yanan|talk]]) 12:09, 13 November 2020 (UTC)&lt;br /&gt;
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==Li Luyi 李璐伊==&lt;br /&gt;
&lt;br /&gt;
How far other contributors have come close to or deviated from Cao’s original intent for the last 40 chapters may stay object of research. However, they seem to have been successful, because the 120-chapter has prevailed historically, also in its translations, and found the acceptance of the readership.&lt;br /&gt;
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'''Deviations from the original'''&lt;br /&gt;
&lt;br /&gt;
Kuhn, successful and critizised, with his Adapting and Foreignizing, very pleasing but ever-the-same-style translations of so different novels like Shuihuzhuan, Xiyouji and Hongloumeng is history and today one among many translations and more and more readers are able to read the Hongloumeng in other languages like English or even in Chinese.&lt;br /&gt;
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==Li Meng 李梦==&lt;br /&gt;
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Kuhn mentions to have used two specific copies of the original work. There are scholars who doubted that he really used the copies he indicated, because they could not be found. I see no reason to doubt Kuhn’s statement, it is more likely that he used grey editions which are not registered and maybe cannot be found any more.&lt;br /&gt;
&lt;br /&gt;
'''1st deviation by Minford: The explicit episode about the human-ghostly intercourse, chapter 102'''&lt;br /&gt;
&lt;br /&gt;
This episode is a black humour one, where Wu Gui’s wife has “a little bit a cold”, takes the wrong medicine and dies.&lt;br /&gt;
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==Li Yongshan 李泳珊==&lt;br /&gt;
&lt;br /&gt;
At this passage, it looks like we have the opposite case as in the second example: In the Chinese original the whole sentence “enjoyed her at inordinate length” is missing.&lt;br /&gt;
 &lt;br /&gt;
程甲本: 那媳妇子本有些感冒着了，日间吃错了药，晚上吴贵到家，已死在炕上。外面的人因那媳妇子不妥当，便都说妖怪爬过墙吸了精去死的。&lt;br /&gt;
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程乙本: 那媳妇子本有些感冒着了，日间吃错了药，晚上吴贵到家，已死在炕上。外面的人因那媳妇子不大妥当，便说妖怪爬过墙来吸了精去死的。&lt;br /&gt;
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Minford: Because of her reputation for promiscuity, other members of the household staff concluded that a spirit must have climbed over the Garden wall, enjoyed her at inordinate length, and finally sucked the sap' out of her.&lt;br /&gt;
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==Li Yu 李玉==&lt;br /&gt;
&lt;br /&gt;
The sentence seems to be made up by John Minford. It is the explicit report of a sexual intercourse between a ghost and a woman, which ended, when the ghost sucked the lifeblood out of her. Minford does not only extend this brief report about the death of a woman by adding a sexual intercourse between a human and a non-human, which is inappropriate or abnormal by itself, but stresses the abnormality even by characterizing this intercourse in more detail, as taking “inordinate” long. &lt;br /&gt;
&lt;br /&gt;
==Lin Min 林敏==&lt;br /&gt;
&lt;br /&gt;
Originally, Cao/Gao had only very briefly reported on Wu Gui’s wife’s death. They mentioned the natural cause of death, that she had taken the wrong medicine. However, since most of the strokes of fate in this novel are explained as to be motivated through moral retaliation, Cao/Gao describe her as “promiscuous”. In the logic of moral retaliation, she earns to die. The ghost then would be the executor. But still he only is described as climbing over the wall and sucking the lifeblood out of her.&lt;br /&gt;
&lt;br /&gt;
==Lin Xin 林鑫==&lt;br /&gt;
&lt;br /&gt;
Minford adds an action, which leads further than Cao/Gao wrote. This action still is connected to the story, it even drives its authority from Wu Gui’s wife’s promiscuous way of living. The scene might have stimulated the readers’ fantasy, but not necessarily in the direction of Minfords account. Did Minford simply give his fancy full scope? He might also have been encouraged to interpret this scene the way he did because of the parallel scene with the mirror in chapter 12, where Jia Rui also has inordinate often sexual intercourse with the ghost of Xifeng, and gradually loses his lifeblood until he dies on a large patch of semen.&lt;br /&gt;
&lt;br /&gt;
==Ling Zijin 凌子瑾==&lt;br /&gt;
&lt;br /&gt;
After Minford had altered the original, the original ending of that scene did not fit any more: The action of killing her by sucking the lifeblood out of her comes too abrupt. In one subordinate clause they enjoy their sex and even inappropriately long, and in the next he kills her, which is by itself also outrageous. So Minford had to step into the original text sentence and add the adverb “finally” in order to bring it into a chronological and resultative relation.&lt;br /&gt;
&lt;br /&gt;
==Liu Bo 刘博==&lt;br /&gt;
&lt;br /&gt;
Kuhn and Schwartz/Woesler have translated this passage without these additions and did not elaborate possible fantasies.&lt;br /&gt;
&lt;br /&gt;
The effect of Minfords addition is, that the episode becomes more interesting, scandalous and sexually explicit.&lt;br /&gt;
&lt;br /&gt;
In order to find out, what made Minford add this information, we should consider not only the original, but also a then existing translation. Minford in his preface thanked Yang Xianyi for his help with his own translation Hawkes/Minford 4:30. When we look at the Yang/Yang translation, we find the adding already there: &lt;br /&gt;
&lt;br /&gt;
==Liu Jinxingqi 刘金惺琦==&lt;br /&gt;
&lt;br /&gt;
Yang/Yang: Outsiders, knowing her bad reputation, claimed that a monster had climbed over the wall to enjoy her until she died of exhaustion.&lt;br /&gt;
&lt;br /&gt;
This translation in many respects is not so accurate. The couple Yang/Yang uses more general words, leaving out the causal conjunction “because” [she was known for promiscuity]. For 不[大]妥当 (promiscuity) they even use the more general “bad reputation”, and maybe in order to compensate for the lacking sexual connotation in this, they added “to enjoy her”, which we do not find in the Chinese original text.&lt;br /&gt;
&lt;br /&gt;
==Liu Liu 刘柳==&lt;br /&gt;
&lt;br /&gt;
And they already prepare the way for Minford’s “finally” by adding the “until”. As the whole Yang/Yang translation uses simpler words, 妖怪 is translated as “monster” instead of “ghost”. Since immediately before this episode the garden is described as being the home of ghosts, he latter might have been the better expression. Also the “death of exhaustion” is an interpretation, the Chinese text only reads “sucked the lifeblood out of her”.&lt;br /&gt;
&lt;br /&gt;
他们也将闵福德的“finally”(最后)一词改为“until”(直到)。杨戴夫妇的整个译文用的都是相对简单的词，如“妖怪”译成“monster”(怪兽)而不是“ghost”(幽灵)。在上一个片段中，杨戴夫妇将花园描述成幽灵的家，所以用后者(ghost)表达或许更好。同样，“死于精疲力竭”只是一种解释，在中文文本中只解作“吸干她的生命之血”。--[[User:Liu Liu|Liu Liu]] ([[User talk:Liu Liu|talk]]) 09:17, 13 November 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
他们也将闵福德的“finally”(最后)一词改为“until”(直到)。杨戴夫妇的整个译文用的都是相对简单的词，如“妖怪”译成“monster”(怪兽)而不是“ghost”(幽灵)。但就在上一个片段中，花园描述为幽灵的家，所以用后者(ghost)表达或许更好。同样，“死于精疲力竭”只是一种解释，在中文文本中只解作“吸干她的生命之血”。--[[User:Kang Haoyu|Kang Haoyu]] ([[User talk:Kang Haoyu|talk]]) 15:07, 13 November 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
==Liu Ou 刘欧==&lt;br /&gt;
&lt;br /&gt;
So it seems that Minford has decided to keep the deviation of Yang/Yang, which is disloyal to the original and therefore falls under category c. However it may protect the Yang/Yang translation from discovery of its same deviation, since only people fluent in both languages will be able to discover it. Was Minford’s disloyalty to the original and his loyalty to his fellow translators a conspiracy? Or did Minford not directly translate from the Chinese, but simply improve the Yang/Yang translation? Since he uses “spirit” instead of “monster”, he still seems to have been conscious about everything and seems to have consciously decided to keep the Yang/Yang deviation for the mentioned possible reasons.&lt;br /&gt;
&lt;br /&gt;
==Liu Yangnuo 刘洋诺==&lt;br /&gt;
&lt;br /&gt;
'''2nd deviation by Minford: The explicit episode on the first attempt of the rape of the nun Miaoyu, chapter 111'''&lt;br /&gt;
&lt;br /&gt;
In chapter 111, we find another anecdote, where thieves invade Rongguofu and steal chests of treasures. On their way, they discover the appealing nun Miaoyu and start a first attempt to rape her. The exact passage reads in both editions:&lt;br /&gt;
&lt;br /&gt;
程甲本and程乙本: 又欺上屋俱是女人，且又畏惧，正要踹进门去，因听外面有人进来追赶，所以贼众上房。&lt;br /&gt;
&lt;br /&gt;
==Liu Yi 刘艺==&lt;br /&gt;
&lt;br /&gt;
Yang/Yang: The thieves had known that there were no men in the house. While in Hsi-Chun’s courtyard they had peeped through the window and been inflamed by the sight of a ravishing nun. As there were only terrified women inside, they were about to kick down the door when they heard the night-watch rushing in after them and promptly climbed up the roof.&lt;br /&gt;
&lt;br /&gt;
Minford: After the main part of their mission was accomplished, the thieves, knowing how unprotected the Jia mansion was, had been casually snooping around in Xi-chun's courtyard, and had caught a glimpse there of a very attractive young nun, which had put all sorts of mischievous ideas into their heads.&lt;br /&gt;
&lt;br /&gt;
杨/阳:贼人早知屋内没有男人。在熙春的院子里时，他们曾从窗外偷看，看到一个淫荡的尼姑，就被激怒了。由于里面只有被吓坏的女人，他们正要踹门，却听到守夜人跟着冲进来，于是立即爬上屋顶。&lt;br /&gt;
&lt;br /&gt;
明福:在完成了主要部分的任务后，盗贼们知道贾府是多么的没有防范，就在熙春的院子里随意地窥探，在那里瞥见了一个很有魅力的年轻尼姑，这让他们产生了各种恶作剧的想法。--[[User:Liu Yi|Liu Yi]] ([[User talk:Liu Yi|talk]]) 08:02, 13 November 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
==Liu Yiyu 刘怡瑜==&lt;br /&gt;
&lt;br /&gt;
They knew that the apartment was unguarded save by a handful of scared old women, and were about to kick the door in and put an abrupt end to Adamantina's meditations when they heard the sound of footsteps corning from outside and escaped onto the roof-top.&lt;br /&gt;
&lt;br /&gt;
Minford has added a sentence here. We see that the original did not contain this sexually explicit clause, therefore the deviation does not fall under category a. We can also exclude the possibility that Minford used an earlier edition which might have been censored in the more prudish socialist era, since we have the original Cheng-Gao edition from 1791/1792.&lt;br /&gt;
&lt;br /&gt;
==Liu Zhiwei 刘智伟==&lt;br /&gt;
&lt;br /&gt;
Minford’s extra sentence also does not exist in the translations Yang/Yang, Kuhn, nor in the later Schwartz/Woesler.&lt;br /&gt;
&lt;br /&gt;
In the Chinese original, the emerging sexual tension, stimulating the readers fantasy of a rape, is stopped immediately, when the kicking in of the door already at the beginning of this sentence is relieved by the wording “正要” were just about to… &lt;br /&gt;
&lt;br /&gt;
We can also exclude the category b. here, because it is not possible to read one subordinate clause more into the original.&lt;br /&gt;
&lt;br /&gt;
==Lou Cancan 娄灿灿==&lt;br /&gt;
&lt;br /&gt;
Might it have been a necessary explanation, which Minford did not want to explain in an annotation and therefore had to integrate into the text? This, we can also exclude, since from the context it is explicitly clear why they wanted to kick in the door. &lt;br /&gt;
&lt;br /&gt;
In order to understand Minford’s intention, we should ask what effect this wilful addition of this sentence has on the reader? First, this sexually arousing scene becomes longer. This gives the reader more time to develop fantasies, what might happen. Minford adds a sentence which expresses exactly these fantasies: When the men enter the room, Miaoyu will stop her meditation.&lt;br /&gt;
&lt;br /&gt;
==Luo Weijia 罗维嘉==&lt;br /&gt;
&lt;br /&gt;
The shifting of the perspective to the woman adds to the sexual tension. Both, the active men and the so far passive woman are now mentioned and can act in the fantasies of the reader. Even the end of passivity of the woman is associated, when Minford explicitly states that the meditation will end. And he stresses again the brutal aspect of this scene, using the word “abrupt”.&lt;br /&gt;
&lt;br /&gt;
The novel is mostly very implicit and connotative, it uses metaphors like “wind and rain game”  for describing sexual intercourse. Having explored the effects, Minford achieved with his deviation, one might guess, that the intention was to make this episode more explicit, to sexually arouse the readers.&lt;br /&gt;
&lt;br /&gt;
==Luo Yuqing 罗雨晴==&lt;br /&gt;
&lt;br /&gt;
This can be seen as disloyal to the original and its author, and it maybe seen as loyal to the profit of the press and the royalties.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
'''Sequels'''&lt;br /&gt;
&lt;br /&gt;
Many other authors also were inspired by the author and wrote a sequel to the novel. Soon, the novel was broadly accepted as another novel of the format of “四大奇书 Si da qi shu” and, since times became more strict regarding pornographic literature, replaced the ''Jin Ping Mei''. Already three years after the appearance, the Suoyin-School was founded and speculations began about the author and if the story had a real background. Please refer to the table of sequels in the attachment.&lt;br /&gt;
&lt;br /&gt;
==Ma Juan 马娟==&lt;br /&gt;
&lt;br /&gt;
'''Spreading of the novel to Russia'''&lt;br /&gt;
&lt;br /&gt;
In 1832, a member  of the Russian Orthodox Mission in China (俄国驻北京宗教使团学员)  brought a manuscript copy of the Story of the Stone back to Russia. It had 35 vols. (currently in the St. Petersburg branch of the Russian Scientific Oriental Institute). Another member of the Mission, А. И. Коваńко, used the pen name 德明 to introduce part of the first chapter to the West. &lt;br /&gt;
&lt;br /&gt;
'''Reevaluation in Late Qing and status in the Cultural Revolution'''&lt;br /&gt;
&lt;br /&gt;
==Ma Shuya 马淑雅==&lt;br /&gt;
&lt;br /&gt;
Wang Guowei improved the status of the novel since 1885,  he saw it as one of the most important pieces of Chinese literature, and the discussions of Hu Shi and Yu Pingbo. &lt;br /&gt;
&lt;br /&gt;
During the Cultural Revolution, the Dream of the Red Chamber was forbidden again.&lt;br /&gt;
&lt;br /&gt;
'''Spreading in Germany'''&lt;br /&gt;
&lt;br /&gt;
The total number of copies published between 1932 and 1977 is 89335 volumes, the ''Jin Ping Mei'' 《金瓶梅》 reached between 1930 and 1977 175000 vols.  Der Traum der Roten Kammer rangiert auf Platz 4 der Welt-Bestsellerliste. &lt;br /&gt;
&lt;br /&gt;
'''References'''&lt;br /&gt;
&lt;br /&gt;
[Please refer to the full bibliographic references in the footnotes for now.]&lt;br /&gt;
&lt;br /&gt;
==Ma Zhixing 马智星==&lt;br /&gt;
&lt;br /&gt;
'''Report'''&lt;br /&gt;
&lt;br /&gt;
'''3rd International Dream of the Red Chamber Conference in Europe'''&lt;br /&gt;
&lt;br /&gt;
''Martin Woesler''&lt;br /&gt;
&lt;br /&gt;
On November 7-8, 2015, the in¬ter¬national conference “Celebrating Cao Xue¬qin’s 300th anniversary - 3rd International ''Dream of the Red Chamber'' Conference Europe” was hosted at Folkwang University of Arts, Essen/Germany and organized by Martin Woesler. The Cao Xueqin Society (Peking) and the European Dream of the Red Chamber Society (Bochum) invited 30 speakers from the USA, Australia, Asia (Hong Kong, Taiwan, Korea), Europe (Germany, Hungary, Norway, Slovakia, Switzerland) and China (from the cities of Peking, Shanghai, Chengdu). Sponsor was the Beijing Cao Xueqin Culture Development Foundation. &lt;br /&gt;
&lt;br /&gt;
==Meng Ying 孟莹==&lt;br /&gt;
&lt;br /&gt;
In the greetings, Cultural Attaché Chinese Embassy Berlin Chen Ping, Essen Folkwang University of Arts’ chancellor Michael Fricke and Essen mayor Thomas Kufen expressed their gratitude and their feelings of great honor to host this 3rd international conference in Europe on Cao and his novel after the first two conferences in Bonn/Germany 1992 and Olomouc/Czech Republic 2014. Vice Minister Hu Deping, president of the Peking Cao Xueqin Society, said this conference offered the rare opportunity of sharing findings among experts from China and experts from the rest of the world, opening opportunities for further cooperation.&lt;br /&gt;
&lt;br /&gt;
==Mo Ling 莫玲==&lt;br /&gt;
&lt;br /&gt;
Martin Woesler welcomed the participants in his function as president of the European Dream of the Red Chamber Society. He expressed his satisfaction with the high quality of the contributions submitted from all over the world, including 10 written contributions, a selection of which would be published in the ''European Journal of Sinology''. Duan Jiangli announced that a selection of the Chinese papers will be published in the ''Cao Xueqin Research''.&lt;br /&gt;
&lt;br /&gt;
作为欧洲红学会的主席，吴漠汀热烈欢迎所有参会者。他非常满意对来自世界各地的10篇高质量的书面稿件，其中一部分将在《欧洲汉学杂志》上发表。段江力宣布，中国论文选集将在《曹雪芹研究》上发表。--[[User:Mo Ling|Mo Ling]] ([[User talk:Mo Ling|talk]]) 07:26, 13 November 2020 (UTC)Mo Ling&lt;br /&gt;
&lt;br /&gt;
作为欧洲红学会的主席，吴漠汀热烈欢迎所有参会者。对于来自世界各地的10篇高质量的书面稿件，他表示十分满意，其中一部分将在《欧洲汉学杂志》上发表。段江力宣布，精选的中国论文将会在《曹雪芹研究》上发表。--[[User:Tan Xingyue|Tan Xingyue]] ([[User talk:Tan Xingyue|talk]]) 15:20, 13 November 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
==Mo Nan 莫南==&lt;br /&gt;
&lt;br /&gt;
Hu Deping opened the first panel on studies on the author (Caoxue) with a discussion of the banner identity of Cao Xueqin, he stressed the imperial proximity of his even plain white banner and his high social status. Hu sees descriptions of Cao asking to put drinks on his tab as a proof of his trustworthiness due to his steady imperial stipend. Fan Zhibin in his contribution interpreted Cao’s status lower. Hu Deping expressed his skepticism towards the authenticity of any findings of cultural relicts after the 1970s attributed to Cao. But he pointed at the fact, that two places in the Old Summer Palace are called like the Daguan yuan itself (‘Daguan’) or like a place in it.&lt;br /&gt;
&lt;br /&gt;
==Nie Xiaolou 聂晓楼==&lt;br /&gt;
&lt;br /&gt;
Ellen B. Widmer (Wellesley College) analyzed the characterization of Cao as a dramatic character in the sequel ''Hou Honglou meng''. Zhang Shucai (Peking) explained further the findings on social status of aristocratic families and banner people close to the imperial court, with an analysis of the Han and Manchu heritages. Zhan Song (Peking) also reflected on the ethnic identity, when he introduced ''Honglou meng''-critics among Qing Eight Banner people. Duan Qiming (Peking) approached the family history from Cao Yin’s “''Beihong fuji''”, showing connections to author and novel. &lt;br /&gt;
&lt;br /&gt;
==Ou Rong 欧蓉==&lt;br /&gt;
&lt;br /&gt;
Ling Hon Lam (Berkeley) opened the 2nd panel “Studies on the novel” with an analysis of the difference of the reading culture in the novel and its sequels. Since the habit of ‘reading silently’ changed at the beginning of Qing to ‘reading aloud’, the silent reading is prominent in the novel and the out loud reading is prominent in the sequels as well as in the last 40 chapters. Duan Jiangli (Peking) introduced the different handwritten comments in the manuscript versions and stressed the importance of the early Zhi Yanzhai commentary. Zhou Wenye (Peking) presented a tool to compare and analyze the different manuscript versions including comments and the different print versions of the novel.&lt;br /&gt;
&lt;br /&gt;
==Ouyang Jinglan 欧阳静兰==&lt;br /&gt;
&lt;br /&gt;
Up to three versions can be displayed simultaneously with the differences highlighted. He demonstrated how to prove which kind of relation certain versions had and what suggested that, in certain cases, there must still exist a missing edition. He favored the Cheng B edition over the Cheng A edition, since the corrections were mostly improvements. He also argued that there were many intermediate editions, even between Cheng A and B, since all surplus printed pages were used for later editions. Zhang Hui (Hong Kong) introduced the novel in a different media form, the drama, focusing on one example of a drama adaption.&lt;br /&gt;
&lt;br /&gt;
==Ouyang Ling 欧阳玲==&lt;br /&gt;
&lt;br /&gt;
Marina Čarnogurská (Slovakia), translator of the Slovakian full translation, argued that the last 40 chapters were authored not by Gao E, but maybe even by Cao Xueqin. General consent among the participants was that Gao might have had a more editorial function and some parts of the last 40 chapters might have been written by Cao.&lt;br /&gt;
&lt;br /&gt;
In the 3rd panel “Interdisciplinary/Intertextual Approaches”, Shang Wei (Columbia University/USA) presented insights into visual culture in Qing dynasty and argued that there was a strong European influence in the Manchu court, which is traceable in the novel and influenced Cao Xueqin.&lt;br /&gt;
&lt;br /&gt;
玛丽娜·乔阿诺古尔斯卡（斯洛伐克）是斯洛伐克语译本的译者，她认为书的后四十章的作者不是高鹗，而是曹雪芹。参会人员也一致同意，高鹗更多的只是负责编写，后四十章的创作实际是曹雪芹完成的。&lt;br /&gt;
&lt;br /&gt;
在第三场主题为“跨学科/跨文本方法”的座谈会上，尚伟（美国哥伦比亚大学）提出了关于清朝时期视觉文化的一些观点，他认为满洲朝廷受欧洲文化影响颇深，这种影响在曹雪芹的小说中也有迹可循。--[[User:Ouyang Ling|Ouyang Ling]] ([[User talk:Ouyang Ling|talk]]) 06:27, 13 November 2020 (UTC)Ouyang Ling&lt;br /&gt;
&lt;br /&gt;
玛丽娜·乔阿诺古尔斯卡Marina Čarnogurská(斯洛伐克)认为，最后40章的作者不是高鄂，甚至可能是曹雪芹。与会代表普遍认为，高娥可能有更多的编辑功能，最后40章的部分内容可能是曹雪芹写的。&lt;br /&gt;
&lt;br /&gt;
在第三板块 &amp;quot;跨学科/跨文本方法 &amp;quot;中，尚伟（美国哥伦比亚大学）提出了对清代视觉文化的见解，认为满族宫廷中存在着强烈的欧洲影响，这在小说中是有迹可循的，并影响了曹雪芹。--[[User:Liu Yi|Liu Yi]] ([[User talk:Liu Yi|talk]]) 08:04, 13 November 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
==Peng Dan 彭丹==&lt;br /&gt;
&lt;br /&gt;
Kam Louie (Hong Kong) compared the novel with Three Kingdoms in regard to masculinity, homo-sociality and class, arguing how Jia Baoyu’s homo-erotic friendships were perceived differently depending on times and lenses. Louise P. Edwards (Australia) explored an aestheticized masculinity in clothing, dress and decoration as described in the novel. Karl-Heinz Pohl (Trier/Ger¬many) analyzed Buddhist thoughts in the novel with the example of several wisdoms from the “Heart Sutra”, he showed pro¬xi¬mi¬ty between Buddhist and Daoist thoughts. Harro von Senger (Frei¬burg/ Ger¬¬many) compared supraplanning (in China traditionally ‘''moulüe''’) in the novel and the German family tragedy ‘Nibelun¬gen¬lied’.&lt;br /&gt;
&lt;br /&gt;
==Peng Juan 彭娟==&lt;br /&gt;
&lt;br /&gt;
Zhu Ping (Peking) introduced the historical background of drama culture at the time of Kangxi, Yongzheng (the time the novel was written), and Qianlong. Kristina Schröder (Zurich/Switzerland) ex¬plained references of early illustrations of the novel with the ‘Romance of the West Chamber’ with the example of Wang Xilian ordering flowers to blossom. Stefan Mess¬mann (Budapest/Hungary) asked from the legal perspective, if the Marxist dream of equality had been achieved. Laura Bing Han (Trier) compared the novel and the ‘Buddenbrooks’ regarding philosophical dua¬lism.&lt;br /&gt;
&lt;br /&gt;
==Peng Ruihong 彭锐宏==&lt;br /&gt;
&lt;br /&gt;
Panel 4 introduced the novel’s in¬ter¬national dissemination, and here Martin Woesler (Witten/Germany, Rome/Italy) ana¬lyzed the changing reception of the novel by early Western translators and recipients. The novel was instrumentalized (e.g. for language learning) and exoticized. Wu Wei (Oslo/Norway, Heidelberg/Ger¬many) explored the color symbolism of ‘redness’ in novel. &lt;br /&gt;
&lt;br /&gt;
第4小组介绍了小说的国际传播，马丁·怀斯勒（Martin Woesler）（威滕/德国，罗马/意大利）分析了早期西方译者和接受者对小说的接受态度。 这本小说被工具化（例如用于语言学习）并被异化。 Wu Wei（奥斯陆/挪威，海德堡/德国）探索小说中“红色”的色彩象征。&lt;br /&gt;
&lt;br /&gt;
The translations were dealt with in panel 5, Daniela Zhang Cziráková (Slovakia) in-tro¬duced the Czech and Slovak translations of the novel. He Jun (Chengdu) introduced German excerpt translations before Franz Kuhn and Khoo An Ny (Fudan Shanghai) the state of translations in Malaysia.&lt;br /&gt;
&lt;br /&gt;
在第5小组中讨论了译文，其中Daniela ZhangCziráková（斯洛伐克）介绍了该小说的捷克语和斯洛伐克语翻译。 何俊（成都）在弗朗兹·库恩（Franz Kuhn）和邱安妮（Kou An Ny）（复旦上海）介绍马来西亚的翻译状况之前，先介绍了德国的摘录翻译。--[[User:Peng Ruihong|Peng Ruihong]] ([[User talk:Peng Ruihong|talk]]) 05:54, 14 November 2020 (UTC)--[[User:Peng Ruihong|Peng Ruihong]] ([[User talk:Peng Ruihong|talk]]) 05:54, 14 November 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
==Peng Xiaoling 彭小玲==&lt;br /&gt;
&lt;br /&gt;
General consent of the participants was that the 120 chapter version was the most authoritative one and that the title ''Dream of the Red Chamber'' was more common than its alternative title ''Story of the Stone''.&lt;br /&gt;
&lt;br /&gt;
Wei Lingzhi (Peking) introduced results of a 2015 representative survey among Chinese readers about the novel and the author proving its unbroken popularity and high esteem. Regarding translations, the Hawkes/Minford translation was preferred over Yang/Yang.&lt;br /&gt;
&lt;br /&gt;
==Peng Yongliang 彭永亮==&lt;br /&gt;
&lt;br /&gt;
All participants praised the importance of the recently published full translations in German and other languages and welcomed the opportunity to share their findings especially between Chinese and non-Chinese scholars. The choreographer Shen Fang-yu and the dramaturg Martin Woesler also presented a taping of the Folkwang Dance Studio Performance “REDCHAMBERDREAM”. &lt;br /&gt;
&lt;br /&gt;
For further information please refer to the conference website http://china-studies. com.&lt;br /&gt;
&lt;br /&gt;
'''World Citizen Lu Xun:''' &lt;br /&gt;
&lt;br /&gt;
'''Critical reception of European Culture by Lu Xun with the examples of Nazi cultural politics and of the Nobel Prize'''&lt;br /&gt;
&lt;br /&gt;
'''世界公民魯迅：魯迅批判性地接受歐洲文化——以納粹文化政治與諾貝爾獎為例'''&lt;br /&gt;
&lt;br /&gt;
'''''Martin Woesler 吳漠汀'''''&lt;br /&gt;
&lt;br /&gt;
Witten/Herdecke University 北京師範大學&lt;br /&gt;
&lt;br /&gt;
==Peng Yuzhi 彭育志==&lt;br /&gt;
&lt;br /&gt;
Abstract&lt;br /&gt;
&lt;br /&gt;
Lu Xun was well aware of global politics in culture, as proven by documents discovered a few years ago. Three days after the book burning in Berlin on May 10, 1933, Lu Xun, as a Member of the Executive Board  of the “China League for Civil Rights,” protested the “brutal terror and reaction” of Nazi Germany. Lu Xun took action and submitted an official protest to the German Consulate in Shanghai, which was taken seriously by the Nazi diplomats. He protested the racist suppression of Jewish authors while his own piece of world literature, “A Madman’s Diary” (1918), would have been considered “degenerate art” if published in Germany. In June 1933, he proved his in-depth understanding of Nazi crimes, especially the book-burning, humiliation and deportation of writers, in two essays. &lt;br /&gt;
&lt;br /&gt;
==Qi Kai 漆凯==&lt;br /&gt;
&lt;br /&gt;
因近年来所新发现的文物资料，鲁迅很深刻的意識到和瞭解了全球文化政治。柏林焚书案（1933年5月10日）发生的第三天，鲁迅做为“中国民权保障同盟”委员会成员，抗议德国纳粹“残忍的恐怖行径”。鲁迅立刻展开行动，向德国驻上海使领馆提出抗议（当时该处已经由德国纳粹接管）。他抗议纳粹对犹太作家的压制，当时他自己的世界文学作品“狂人日记”在德国也被看作是“变态艺术”。1933年6月，他通过2篇杂文，深刻论证了德国纳粹的罪行，特别是焚烧书籍、羞辱和驱逐作家等。&lt;br /&gt;
&lt;br /&gt;
In an earlier incident, when he was asked to accept a nomination for the Nobel Prize of Literature in 1927, he refused, not only out of personal modesty, but also because of global political considerations. &lt;br /&gt;
&lt;br /&gt;
他曾于1927年被提名为诺贝尔文学奖的候选人，但是他拒绝了，不仅是个人的谦逊，也是考量到当时的全球政治环境。&lt;br /&gt;
&lt;br /&gt;
==Qu Miao 瞿淼==&lt;br /&gt;
&lt;br /&gt;
Both cases show a different side of Lu Xun’s Reception of European Culture: He was not just an admiring, importing, translator of European culture who was influenced by it (as seen in his own life and work). Instead, his reception was more complex and critical; he applied universal moral standards, as defined by civil and human rights, which he referred to.&lt;br /&gt;
&lt;br /&gt;
两个例子展现了鲁迅对于欧洲文化接受的不同面：他不仅是一位令人尊敬、重要的受欧洲文化影响的翻译者（参见他的生平和作品）。另一方面，他对西方文化的接受也是复杂而批判性的；他遵循普世价值观，如他所定义的公民权利和人权。&lt;br /&gt;
&lt;br /&gt;
This makes Lu Xun a world citizen, one who cannot simply be claimed by certain parties or nations.&lt;br /&gt;
&lt;br /&gt;
综上所述，鲁迅是一位世界公民，这不是哪个政党或者民族可以对他简简单单下定论的。&lt;br /&gt;
&lt;br /&gt;
==Quan Meixin 全美欣==&lt;br /&gt;
&lt;br /&gt;
'''Introduction''''''简介'''&lt;br /&gt;
&lt;br /&gt;
Beginning with his earliest student years in 1902-1903, Lu Xun became an important translator of foreign literature (Jules Verne: ''Journey to the Moon, Twenty Thousand Leagues under the Sea'').  In March 1906, he decided to give up the study of Western medicine in order to become a writer; to cure the Chinese people’s minds instead of their physical illnesses. During his lifetime, Lu Xun was torn between his hope that he could turn Chinese people’s lives to the better and his disappointment that a writer’s works alone were not powerful enough to actually change things or to instigate people to change them. &lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
==Sagara Seydou ==&lt;br /&gt;
&lt;br /&gt;
In 1917, when his friend Qian Xuantong asked him to contribute to the new radical magazine ''New Youth'' (founded by Chen Duxiu), Lu Xun responded: &amp;quot;Imagine an iron house: without windows or doors, utterly indestructible, and full of sound sleepers – all about to suffocate to death. Let them die in their sleep, and they will feel nothing. Is it right to cry out, to rouse the light sleepers among them, causing them inconsolable agony before they die?&amp;quot; In spite of this opinion, in 1918 he still wrote his first story published under his name; “A Madman’s Diary.”&lt;br /&gt;
&lt;br /&gt;
==Shi Diwen 石迪文==&lt;br /&gt;
&lt;br /&gt;
It was a social-critical short story which reached world literature level, with one fictional element placed in a realistic setting (influenced by Gogol and parallel to Kafka’s stories using a similar technique). He placed his hopes on the next generation, as we know from the last lines “A Madman’s Diary:” “Save the children....” We also know that Lu Xun engaged in political activities, starting, perhaps, with his support of the Tongmenghui in Japan and by developing plans to educate politically active students etc.&lt;br /&gt;
&lt;br /&gt;
==Shi Haiyao 石海瑶==&lt;br /&gt;
&lt;br /&gt;
So while Lu Xun was at first concerned with China, he understood the signs of the times and was anxious to get additional education in Western sciences. He absorbed Western knowledge, learned several European languages and was an important translator of Western literature, e.g. in 1909 he published a book with translated Eastern European stories in Japan. While Lu Xun’s target was the Chinese people, he was very well aware that backwardness in China could only be overcome by learning from the West, especially from Europe.&lt;br /&gt;
&lt;br /&gt;
因此，虽然鲁迅最初关心的是中国，但他明白这个时代的迹象，并急于接受西方科学方面的进修深造。他研究了西方知识，学习了几门欧洲语言，还成为了西方文学的著名翻译家。例如，1909年，他在日本出版了一本东欧故事的译著。虽然鲁迅的目标读者是中国人民，但他深知，中国的落后只能通过向西方学习，特别是向欧洲学习来克服。--[[User:Shi Haiyao|Shi Haiyao]] ([[User talk:Shi Haiyao|talk]]) 06:18, 14 November 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
==Si Yu 司妤==&lt;br /&gt;
&lt;br /&gt;
Because of Lu Xun’s extremely critical attitude and his concern for China, the Communist Party and patriots in China claimed to have him in their “pocket.” However, although Lu Xun’s target was China, his measurement scale and means were international universal principles and he was too fierce a protester to be in anyone’s “pocket.” He was active in different political initiatives – such as the China League for Civil Rights (中國民權保障同盟) and the later Leagues of Left-Wing Writers (although some members accused him of being a Right-Wing writer). &lt;br /&gt;
&lt;br /&gt;
==Song Jianru 宋建茹==&lt;br /&gt;
&lt;br /&gt;
He did not become a member of the Chinese Communist Party, but instead quarreled with Communists ideologists. In 1935, he declined to write a pro-Communist novel.  Shortly before his death, he wrote: “Forget about me, and care about your own life – you're a fool if you don't.” In spite of this, the Party posthumously made him a Communist Party Member and Mao Zedong wrote the calligraphy above his tomb.&lt;br /&gt;
&lt;br /&gt;
Denton, Kirk (2002), Lu Xun Biography, MCLC Resource Center.&lt;br /&gt;
&lt;br /&gt;
他没有加入中国共产党，反而拒绝接受共产党的意识形态。1935年，他婉言谢绝写一部支持共产党的小说。他去世前不久写道：“忘掉我，管自己的生活---倘不，那就真是糊涂虫。”尽管这样，共产党在鲁迅死后仍将其算作中共党员，毛泽东也在他墓碑上为他题了字。--[[User:Song Jianru|Song Jianru]] ([[User talk:Song Jianru|talk]]) 07:06, 14 November 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
==Su Lin  苏琳==&lt;br /&gt;
&lt;br /&gt;
'''Westernization?'''&lt;br /&gt;
&lt;br /&gt;
Did Lu Xun trough his Western education and translations of Western literature simply fully supported a ‘Westernization’ of China (全盤西化)? This can be disproven with the following examples: his criticism of Nazi crimes and his decline of the Nobel Prize. His critical mind and intellectual capacities did not allow him simple answers to complex questions.&lt;br /&gt;
&lt;br /&gt;
Only three days after the book burning in Berlin (May 10, 1933), Lu Xun protested at the Shanghai Consulate against Nazi Germany. This shows his extreme awareness of international politics and the nature of societies.&lt;br /&gt;
鲁迅是否通过他的西方教育和西方文学翻译来完全支持中国的“全盘西化”？ 以下例子可以证明这一点：他对纳粹罪行的批评和对诺贝尔奖的拒绝。 他的批判性思维和智力能力使他无法简单地回答复杂的问题。在柏林焚书事件发生的三天后（1933年5月10日），鲁迅在上海领事馆抗议德国纳粹，这表明他对国际政治和社会性质的极致认识。--[[User:Su Lin|Su Lin]] ([[User talk:Su Lin|talk]]) 02:01, 14 November 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
==Tan Xingyue 谭星越==&lt;br /&gt;
&lt;br /&gt;
The reaction of the Vice General Consul in his report to the German Embassy in Peking  shows that the German Consulate engaged in counter propaganda and denied the allegations, referring even to their support of the Jewish community in Shanghai. While the world was still asleep, Lu Xun already understood and criticized Nazi anti-writer politics in Germany. It took the rest of the world almost a decade more to “wake up.” Even Nazi Germany’s invasion of Poland in 1939 did not “wake up” other countries, enabling Nazi Germany to conduct further surprise attacks (blitzkrieg) in Western Europe (Netherlands, Belgium, France etc.).&lt;br /&gt;
&lt;br /&gt;
在给德国驻北京大使馆的报告中，副总领事的反应表明，德国领事馆反对这些宣传，并否认有关指控，甚至拒绝承认他们支持上海的犹太社区。当世界还在沉睡的时候，鲁迅已经理解并批判德国的纳粹反作家政治。而世界上其他的国家花了将近10年的时间才“醒悟”，甚至1939年纳粹德国入侵波兰的事件也没能“唤醒”其他国家，这使得纳粹德国能够在西欧（荷兰、比利时、法国等）发动进一步的突然袭击（闪电战）。--[[User:Tan Xingyue|Tan Xingyue]] ([[User talk:Tan Xingyue|talk]]) 15:08, 13 November 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
==Tan Xinjie 谭鑫洁==&lt;br /&gt;
&lt;br /&gt;
Lu Xun was well able to distinguish between positive and negative parts of European culture, which leads to the question: which moral standards did he actually live up to? The thesis of this paper is that he oriented himself to abstract universal human values and morals. As proof, the following details of Lu Xun’s protests are examined.&lt;br /&gt;
&lt;br /&gt;
鲁迅对于欧洲文化的态度究竟是积极还是消极的呢？这也引出另一个问题：他到底遵循哪一种道德价值观？本文将论证，鲁迅遵循的是普世价值观。&lt;br /&gt;
&lt;br /&gt;
鲁迅能够很好地区分欧洲文化中积极和消极的部分，这就引出了一个问题：他究竟遵循的是哪些道德标准？本文将论证：鲁迅遵循的是抽象的人类普世价值和道德。本文将从鲁迅的抗议宣言中分析论证。--[[User:Xiao Ting|Xiao Ting]] ([[User talk:Xiao Ting|talk]]) 03:09, 13 November 2020 (UTC)Xiao Ting&lt;br /&gt;
&lt;br /&gt;
鲁迅能够很好地区分欧洲文化的正面和负面的部分，从而也引出了问题：他到底遵循的是什么样的道德标准？本文的理论是以鲁迅对人类的普世价值和道德理念为主。鲁迅的声明中列出的细节都真实可考。--[[User:WuQiong|WuQiong]] ([[User talk:WuQiong|talk]]) 09:40, 13 November 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
==Tan Yuanyuan 谭媛媛==&lt;br /&gt;
&lt;br /&gt;
'''Lu Xun’s in-depth and early understanding of Nazi crimes'''&lt;br /&gt;
&lt;br /&gt;
On July 11 and 16, 1933,  Lu Xun (using his pseudonyms) published two essays against Nazi crimes – about the book burning in China and Germany. As shown by this immediate response, Lu Xun was quick to retrieve information and form a judgment – independent of regionalism and dependent only upon universal moral values.&lt;br /&gt;
&lt;br /&gt;
Lovell, Julia. &amp;quot;Introduction&amp;quot;. In ''Lu Xun: The Real story of Ah-Q and Other Tales of China, The Complete Fiction of Lu Xun''. England: Penguin Classics. 2009. ISBN 978-0-140-45548-9, here pp. xxx.&lt;br /&gt;
&lt;br /&gt;
Silvia Kettelhut: G''eschäfte übernommen: Deutsches Konsulat, Shanghai, Impressionen aus 150 Jahren,'' Shanghai 2006.&lt;br /&gt;
&lt;br /&gt;
“鲁迅早期对纳粹罪行的深入了解”&lt;br /&gt;
&lt;br /&gt;
1933年7月11日至16日，鲁迅（使用化名）发表了两篇反对纳粹罪行的文章，该书在中德两国畅销。正如这一即时反应所表明的那样，鲁迅迅速地获取信息并作出判断——独立于区域主义，仅依赖于普遍的道德价值观。--[[User:Tan Yuanyuan|Tan Yuanyuan]] ([[User talk:Tan Yuanyuan|talk]]) 12:36, 13 November 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
==Tang Bei 汤蓓==&lt;br /&gt;
&lt;br /&gt;
In his essay “The Book burning in China and Germany” (dated June 28 and published July 11, 1933), Lu Xun, under the penname Ru Niu, compares Qin Shihuangdi’s book burning with the one by Hitler. He points out that the emperor did not burn books on agriculture and medicine and instead still accepted pluralism. Polemically he criticizes his Chinese colleagues for not understanding that the threat by Hitler is a threat to freedom in general.  Lu Xun directly addresses the German dictator Hitler as “Mr. Hitler.”&lt;br /&gt;
&lt;br /&gt;
==Tang Ming 唐铭==&lt;br /&gt;
&lt;br /&gt;
In the second essay, “Surplus of Knowledge” (dated July 12 and published July 16, 1933) he compares a recent agricultural crisis in China following a “harvest surplus” and the demand to abandon the learning of theories in favor of learning practical things with the demand in Nazi Germany to abandon liberal and pluralistic education. Polemically he calls the German imprisonment of students in labor camps a “solution to the unemployment problem.” He demands that China get rid of knowledge, insisting that people should become fatalist and opportunist. &lt;br /&gt;
&lt;br /&gt;
==Tang Yiran 汤伊然==&lt;br /&gt;
&lt;br /&gt;
Lu Xun early had studied the German philosopher Nietzsche, who was also pocketed by the Nazis, and wanted to study abroad in Germany. His critical reflection of Nazi German situation shows that he could also be extremely critical against Germany and was able to judge it according to universal values.他对纳粹德国现状的批判显示，他有能力根据普世价值来对纳粹德国做出评判。&lt;br /&gt;
&lt;br /&gt;
==Tao Ye 陶冶==&lt;br /&gt;
&lt;br /&gt;
'''The China League for Civil Rights'''&lt;br /&gt;
&lt;br /&gt;
The China League for Civil Rights was established with the outspoken goal to free prisoners from Guomindang (GMD) imprisonment. Prominent among members of the League was Song Qingling (left-wing GMD), the widow of Sun Yat-sen, who broke with Qiang Kai-shek in 1927 – when the GMD turned more and more repressive. The Communists also had massive losses after 1927 and went underground. Lu Xun was the most prolific member of the League.&lt;br /&gt;
&lt;br /&gt;
==Wang Meiling 王美玲==&lt;br /&gt;
&lt;br /&gt;
In 1931, Song Qingling returned to Shanghai from Europe and headed a campaign to rescue a foreign couple  detained without trial by the GMD. I did not find evidence that she knew that the couple were Comintern agents; the campaign did not address their identity. It concentrated on the legal aspects of the detainment.&lt;br /&gt;
&lt;br /&gt;
==Wang Xuan 王轩==&lt;br /&gt;
&lt;br /&gt;
An early stage of this part of the study including the translation of the two essays into German has been published as “Der Protest des chinesischen Intellektuellen Lu Xun gegen Nazi-Verbrechen”, in: ''Bulletin of the German China Association'' 54 (2010) 119 pp., pp. 53-58, ISSN 1436-8048. This first essay was published as Ru Niu 孺牛 [Lu Xun]: 华德焚书异同论 (Discussion of Parellels and Differences of the Book Burning in China and Germany), July 11, 1933, 申报 Shen Bao, 自由谈 (Free Talks), German translation by Martin Woesler as “ Die Bücherverbrennungen in China und Deutschland Diskussion der Gemeinsamkeiten und Unterschiede ” in: ''Bulletin of the German China Association'' 54 (2010) 53-55.&lt;br /&gt;
&lt;br /&gt;
==Wang Yu 王煜==&lt;br /&gt;
&lt;br /&gt;
This second essay was published as Yu Ming 虞明 [Lu Xun]: “智识过剩 (Surplus of Knowledge)“, dated July 12, 1933, ''Shen Bao'' am 16.7.1933, English translation in: ''Lu Xun, Selected Works'', Übers. Yang Xianyi, Gladys Yang, Bd. 3, S. 324f., 1st ed 1959/1960, 2nd ed. 1964 p. 289-290, 3rd ed. 1980 p. 324 f., 4th ed. 2003 (Peking: Foreign Languages Press), German translation by Martin Woesler as “Wissensüberschuss” in: ''Bulletin of the German China Association 54'' (2010) 56-58.&lt;br /&gt;
&lt;br /&gt;
==Wang Yuan 王源==&lt;br /&gt;
&lt;br /&gt;
The couple Paul and Gertrud Ruegg is also known as Mr. and Mrs. Hilaire Noulens. Ruegg's public role was secretary-general of the Pan-Pacific Trade Union, an international agent for organizing the Chinese labour movement. His secret role was secretary of the Comintern's Far Eastern Bureau in Shanghai. In June 1930, the couple was first arrested by the police in the International Settlement, and then turned over to GMD authorities. See: Jinxing Chen: “The Rise and Fall of the China League for Civil Rights”, in: ''China Review'' Vol. 6, No. 2, Special Issue on: WTO and China's Financial Development (Fall 2006), pp. 121-147.&lt;br /&gt;
&lt;br /&gt;
Bruun, Ole, and Michael Jacobsen. ''Human rights and Asian values: Contesting national identities and cultural representations in Asia''. Vol. 6. Psychology Press, 2000.&lt;br /&gt;
&lt;br /&gt;
==Wei Honglang 韦洪朗==&lt;br /&gt;
&lt;br /&gt;
In the League’s press conference in Shanghai, on 30 December 1932, Cai Yuanpei referred to J. J. Rousseau and said that the League would not be placed in the pocket of any political party.  The League was very active in publishing statements, sending telegrams to foreign governments in about half a dozen cases and seeing government officials on behalf of the imprisonment of intellectuals out of political reasons.&lt;br /&gt;
&lt;br /&gt;
On May 13, 1933, Ms. Song Qingling announced her visit to the German Vice General Consul, Richard Behrend, in Shanghai, and representatives of the League – including its president Song Qingling, Cai Yuanpei, Lu Xun, Yang Xing¬fo (Yang Quan) – submitted the following protest note. &lt;br /&gt;
&lt;br /&gt;
==Wei Yafei 魏亚菲==&lt;br /&gt;
&lt;br /&gt;
Transcription, from Kettelhut 2006 pp. 155-158. Source: PA AA (Political Archive of the Foreign Office / Politisches Archiv des Auswärtigen Amtes) R 98440.&lt;br /&gt;
&lt;br /&gt;
Submission of the protest note to Vice General Consulate Behrend by the Board of the China League of Civil Rights, including the widow of Sun Yat-sen, Song Qingling, the president of Academia Si¬ni¬ca, Cai Yuanpei, Lu Xun and the Vice President of Academia Sinica, Yang Xing¬fo (Yang Quan). Wood block print by Zhao Yannian 趙延年 (born 1924) 1956. Not displayed in the wood block print are the writers Lin Yutang, Agnes Smedley und Harold Isaacs, which, according to the report of the Consulate, were also present.  Lin Yutang was also not mentioned by the Chinese press. &lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
==Wen Sixing 文偲荇==&lt;br /&gt;
&lt;br /&gt;
The vice consul took the protest seriously and submitted the letter to Peking, accompanied with a report in which he described Ms Song Qingling as the head of the League and listed Lu Xun as “the famous writer” and leading fighter for the “New Chinese Language Movement.”  &lt;br /&gt;
&lt;br /&gt;
Song Qingling, about a month after the visit at the Consulate, on June 17, 1933 sent a telegram to “Chancellor Hitler” demanding the immediate release of political prisoners.&lt;br /&gt;
&lt;br /&gt;
For the involvement of foreigners in the League see Chen Jinxing 2006 and others.&lt;br /&gt;
&lt;br /&gt;
Report by Behrendt for the German Embassy Peking dated May 15, 1933, see Kettelhut 2006.&lt;br /&gt;
&lt;br /&gt;
==Wen Xiaoyi 文晓艺==&lt;br /&gt;
&lt;br /&gt;
The reaction from Berlin was that they should try to influence Song Qingling. The reply from the German diplomats in China was that it had been tried earlier and another attempt would probably be counter-productive since Ms. Song was close to the Communists.&lt;br /&gt;
&lt;br /&gt;
The League did not survive long. Hu Shi won the leadership of the Peking arm of the League. His critical review of a prison report led to some tensions within the League, leading to the dissolvement of the Peking arm. In the end, Yang Quan, the Secretary General, was assassinated by GMD, while Song Qingling received a letter with a bullet in it – forcing her to hide.  All of this combined into a fatal blow to the League. Chen Jinxing (2006), however, suspects that tensions within the League (e.g. with Hu Shi) helped its dissolution. &lt;br /&gt;
&lt;br /&gt;
==Wu Kai 吴恺==&lt;br /&gt;
&lt;br /&gt;
As the most prolific member of the league, Lu Xun’s active, and prominent, participation in the League’s protests shows his devotion to the principles of universal human rights – reaching beyond concern only for his countrymen.鲁迅的抗议显示了他普世人权的原则。&lt;br /&gt;
&lt;br /&gt;
Price, Ruth. ''The Lives of Agnes Smedley''. OUP USA, 2005.&lt;br /&gt;
&lt;br /&gt;
Chen, Jinxing: “The Rise and Fall of the China League for Civil Rights”, in: ''China Review'' Vol. 6, No. 2, Special Issue on: WTO and China's Financial Development (Fall 2006), pp. 121-147.&lt;br /&gt;
&lt;br /&gt;
==Wu Qi 吴琪==&lt;br /&gt;
&lt;br /&gt;
'''The Nobel Prize of Literature'''&lt;br /&gt;
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In 1926, “The True Story of Ah Q” was translated by Jing Yinyu into French. In September 1927, Peking University Professor Liu Bannong suggested to Sven Hedish (member of the Swedish Academy) that Lu Xun be considered for laureateship. Nobel Prize Laureate Kenzaburō Ōe called Lu Xun &amp;quot;The greatest writer Asia produced in the twentieth century.&amp;quot;  In the 1920s, 1915 Nobel Laureate Romain Rolland introduced Chinese literature to the world. In 1927, he especially recommended Lu Xun and his story “Ah Q.”&lt;br /&gt;
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==Wu Qiong 吴琼==&lt;br /&gt;
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Lu Xun rejected the nomination in a letter to his former student and confidante, Tai Jingnong, with the following reasoning: “There are a lot of better writers than me in the world and they can’t get it.” He further said “I think there is nobody truly deserving the Nobel Prize in China. It would be better for Sweden to ignore us. It would only encourage Chinese egotism, causing them to believe they could really parallel those great foreign writers if yellow-skinned people were given preferential consideration. The result would not be good at all.”  (Eventually, the prize was awarded to Sinclair Lewis.)&lt;br /&gt;
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鲁迅在给之前的学生兼知己台静农的回信中拒绝了提名，理由是：“世界上有太多比我更优秀的作家，他们都不能获此殊荣，”他接着说道“我认为中国还没人能获诺贝尔奖，瑞典方最好是忽略掉我们。如果给黄种人优待，这只会让中国人盈盈自满，认为自己可以与外国优秀作家相提并论。结果并不如是。“（最终，奖项颁给了辛克莱·刘易斯）。--[[User:WuQiong|WuQiong]] ([[User talk:WuQiong|talk]]) 09:21, 13 November 2020 (UTC)&lt;br /&gt;
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鲁迅在给他旧时的学生兼知己，台静农的一封回信中拒绝了提名，理由如下：“世界上比我好的作家有很多，他们尚没有获此殊荣。”他又说：“我觉得在中国没有人真配得上诺贝尔奖。瑞典要是不把我们考虑在内那是最好。如果黄种人享有优待的话，只会徒增中国人的自大，让他们觉得自己真的能比肩那些伟大的外国作家。这可不是什么好事。”（最后，获奖者为辛克莱·刘易斯）。--[[User:Xu Mengdie|Xu Mengdie]] ([[User talk:Xu Mengdie|talk]]) 11:05, 13 November 2020 (UTC)Xu Mengdie&lt;br /&gt;
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==Wu Xiang 邬香==&lt;br /&gt;
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Lu Xun was well acquainted with many famous foreign writers. During these days, he personally met several, such as Agnes Smedley, Harold Isaacs, and Bernhard Shaw. Therefore, Lu Xun had an understanding of the domestic political implications of the Nobel Prize; of awarding such a prize to a national literature which was still under development and had not yet reached a satisfying level. He understood that the effect of such an award would be to increase Chinese egotism. So he sacrificed his own honor in order not to send the wrong signal; in order to not discourage Chinese literature by receiving mercy from the international community, but instead to encourage its further development so that it might eventually reach the level of the “great foreign writers.”&lt;br /&gt;
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鲁迅与许多著名的外国作家很熟。在这些日子里，他亲自见了几个人，如艾格尼丝·史沫特莱、哈罗德·艾萨克斯和伯恩哈德·肖。因此，鲁迅对诺贝尔文学奖的国内政治含义有了一个认识，即把诺贝尔奖颁给一个尚处于发展阶段、尚未达到令人满意水平的民族文学。他明白这样一个奖项的效果会增加中国人的自负。因此，为了不发出错误的信号他牺牲了自己的荣誉，；为了不让中国文学受到国际社会的怜悯而气馁，而是鼓励中国文学进一步发展，使之最终达到“伟大的外国作家”的水平。--[[User:Wu Xiang|Wu Xiang]] ([[User talk:Wu Xiang|talk]]) 15:10, 13 November 2020 (UTC)&lt;br /&gt;
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==Wu Yilu 吴一露==&lt;br /&gt;
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Biography of Sven Hedin (1865-1952), see George Kish, ''To the Heart of Asia: The Life of Sven Hedin'' (Ann Arbor: University of Michigan Press, 1984). Hedin was in Beijing in late 1926 and early 1927 seeking government permission for an exploration to Mongolia (''ibid.'', p. 114). Quoted after: Wang, B. [汪宝荣]. (2011). Lu Xun's fiction in English translation: the early years. (Thesis). University of Hong Kong, Pokfulam, Hong Kong SAR. Retrieved from http://dx.doi.org/10.5353/th_b4696908 (in the following: Wang 2011).&lt;br /&gt;
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斯文·赫丁传见诸于乔治·基什撰写的《亚洲的心脏：斯文·赫丁的一生》（阿安伯：密歇根大学出版社，1984）。1926年年末以及1927年年初，赫丁在北京为得到可以让他蒙古进行勘探的政治许可（同上，第114页）。引用：Wang，B.[王宝荣].（2011）。鲁迅小说英文版：早年。（论文）香港特别行政区波克富兰大学。引用于 http://dx.doi.org/10.5353/th_b4696908 （如下：王，2011）。--[[User:Wu Yilu|Wu Yilu]] ([[User talk:Wu Yilu|talk]]) 08:42, 13 November 2020 (UTC)&lt;br /&gt;
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==Wu Zijia 吴子佳==&lt;br /&gt;
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Lu Xun 鲁迅, “Zhi Tai Jingnong” 致台静农, 25 Sept. 1927, rpt. in ''LXQJ'' 12: 73-74. See a penetrating discussion of Lu Xun’s international stature and Nobel candidacy in Paul B. Foster, “The Ironic Inflation of Chinese National Character: Lu Xun’s International Reputation, Romain Rolland’s Critique of ‘The True Story of Ah Q,’ and the Nobel Prize”, ''Modern Chinese Literature and Culture'', 13.1 (Spring, 2001): 140-168. Interestingly, Foster suggests that Lu Xun may have contributed to the publicity which eventually led to the suggestion that he be nominated for a Nobel Prize. Quoted after: Wang 2011.&lt;br /&gt;
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==Xiao Shuangling 肖双玲==&lt;br /&gt;
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This shows that Lu Xun was modest and aware of the global position of Chinese literature, and that he had a vision for its development.这些显示鲁迅很谦逊，其在中国文学的得到世界的认可，同时，他的视野也促进了中国文学的发展。 Who would decline a Nobel Prize? Only someone with principles more important than the Nobel Prize. Lu Xun firmly believed in universal values, against which even the Nobel Prize had to step back. 鲁迅相信普世价值观，为此甚至可以拒绝诺贝尔奖。These principles were universal values, with the aim to lead Chinese literature, as a whole, to world level instead of singling out anybody to let the people further “sleep in their iron house.”&lt;br /&gt;
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This shows that Lu Xun was modest and aware of the global position of Chinese literature, and that he had a vision for its development.&lt;br /&gt;
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这表明鲁迅很谦逊，对中国文学的国际地位有着清醒的认识，对中国文学的发展有着远见卓识。&lt;br /&gt;
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Who would decline a Nobel Prize? Only someone with principles more important than the Nobel Prize. Lu Xun firmly believed in universal values, against which even the Nobel Prize had to step back. &lt;br /&gt;
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谁会拒绝诺贝尔奖？除非他的原则比诺贝尔奖更为重要。鲁迅坚信普世价值，即使诺贝尔奖也不得不在这一价值面前退让。&lt;br /&gt;
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These principles were universal values, with the aim to lead Chinese literature, as a whole, to world level instead of singling out anybody to let the people further “sleep in their iron house.”&lt;br /&gt;
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这些原则是普世价值，旨在把中国文学作为一个整体，带到世界水平，而不是挑出一个人，然后让其他人继续“睡在铁屋子里”。--[[User:Xiao Shuangling|Xiao Shuangling]] ([[User talk:Xiao Shuangling|talk]]) 09:40, 13 November 2020 (UTC)Xiao Shuangling&lt;br /&gt;
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==Xiao Ting 肖婷==&lt;br /&gt;
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Several researchers have also interpreted the incident. Foster (2001) pointed to Romain Rolland’s role.  Wang (2011) blames the bad quality of the French translation of “Ah Q” by Jing Yinyu as contributing to the fact that Lu Xun was not awarded the Nobel Prize. However, Romain Rolland, 1915 Nobel Prize Laureate, praised this French translation and also supported a Nobel Prize for Lu Xun. Gloria Davies recounts further incidents around this matter.&lt;br /&gt;
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一些研究人员也对该事件进行了解释。福斯特（2001）指出罗曼-罗兰德的作用。王晓东（2011）称景印宇的《阿Q正传》法译本质量不过关，是导致鲁迅没有获得诺贝尔奖的原因。然而，1915年诺贝尔奖获得者罗曼-罗兰德对这一法译本大加赞赏，也支持为鲁迅设立诺贝尔奖。格洛丽亚-戴维斯还讲述了与此事相关的其他事件。--[[User:Xiao Ting|Xiao Ting]] ([[User talk:Xiao Ting|talk]]) 03:01, 13 November 2020 (UTC)Xiao Ting&lt;br /&gt;
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一些研究人员也对此事进行了解释。福斯特（2001）指出罗曼·罗兰（Romain Rolland）在其中的作用。 王晓东（2011）认为景印宇的《阿Q正传》法译本质量不过关，导致鲁迅未获得诺贝尔奖。 然而，1915年诺贝尔奖获得者罗曼·罗兰（Romain Rolland）对这一法译本大加赞赏，并支持鲁迅获得诺贝尔奖。 格洛丽亚·戴维斯（Gloria Davies）讲述了有关此事的后续事件。--[[User:Deng Jinxia|Deng Jinxia]] ([[User talk:Deng Jinxia|talk]]) 05:41, 13 November 2020 (UTC)&lt;br /&gt;
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一些研究人员也对此事进行了解释。福斯特（2001）指出罗曼·罗兰（Romain Rolland）在其中的作用。 王晓东（2011）将鲁迅未获得诺贝尔奖的原因归咎于景印宇的《阿Q正传》法译本质量不过关。然而，1915年诺贝尔奖获得者罗曼·罗兰（Romain Rolland）对这一法译本大加赞赏，并支持鲁迅获得诺贝尔奖。 格洛丽亚·戴维斯（Gloria Davies）讲述了有关此事的后续事件。--[[User:Xiao Shuangling|Xiao Shuangling]] ([[User talk:Xiao Shuangling|talk]]) 09:54, 13 November 2020 (UTC)Xiao Shuangling&lt;br /&gt;
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==Xiao Xi 肖茜==&lt;br /&gt;
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'''Conclusion: Universalism'''&lt;br /&gt;
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Lu Xun was very much involved in daily politics in China and fought several fights with other intellectuals and even the Communist Party publically by the means of ''zawen'' (critical essays). For us today, these fights about small and sometimes strange issues seem to characterize its actors as caught in provinciality. However, he was universal – both in his political understanding (recognizing German domestic suppression much earlier than many others and suspecting that even the Nobel Prize could be understood as a tool of mercy towards the underdeveloped nation of China) as well as in his literature. While he wrote literary pieces of the same level as Franz Kafka, he was producing world literature in a climate which was – despite all daily chaos – freer than the one in Germany. &lt;br /&gt;
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==Xiao Yining 肖伊宁==&lt;br /&gt;
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Criticism of suspected political motifs behind a Noble Prize for him and of the human rights violations in Germany show that Lu Xun was neither an advocate of total westernization nor that he oriented himself towards the West as a contrast foil for China. He placed nothing less than universal values as the contrast foil to China. True, also the League of Left-wing Writers was a short-lived daily-policy tool within China (Lu Xun himself said, it “may not last long”),  but it represented universal values. He also referred to the children. This was another way of distancing himself from daily politics as he pointed to existential and universal ideals like future, hope, another chance and new people who are innocent; not pre-educated and burdened with the past.&lt;br /&gt;
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==Xie Fan 解帆==&lt;br /&gt;
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Paul B. Foster, “The Ironic Inflation of Chinese National Character: Lu Xun’s International Reputation, Romain Rolland’s Critique of ‘The True Story of Ah Q,’ and the Nobel Prize”, ''Modern Chinese Literature and Culture'', 13.1 (Spring, 2001): 141.&lt;br /&gt;
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保罗·B·福斯特:中国民族个性的膨胀讽刺地表现为鲁迅享有国际声誉，罗曼·罗兰批判《阿Q正传》获诺贝尔奖，以及《现代中国文学与文化》，13.1（春，2001）：141。--[[User:XieFan|XieFan]] ([[User talk:XieFan|talk]]) 09:48, 13 November 2020 (UTC)&lt;br /&gt;
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Jeffrey Wasserstrom: “All I see Around Me is the Same Old Darkness: Gloria Davies on Lu Xun”, Nov 4, 2013, https://goo.gl/HgqmCe. See also Gloria Davies, ''Lu Xun’s Revolution'', Harvard University Press:2012.&lt;br /&gt;
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杰夫瑞.瓦瑟施特伦：“我看到周围都是像鲁迅笔下的格洛丽亚·戴维斯一样古老的黑暗”，2013年11月4日，https://goo.gl/HgqmCe。参见《鲁迅的革命》中的格洛丽亚·戴维斯，哈佛大学出版社2012年版。--[[User:XieFan|XieFan]] ([[User talk:XieFan|talk]]) 09:48, 13 November 2020 (UTC)&lt;br /&gt;
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==Xie Ziyi 谢子熠==&lt;br /&gt;
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Lu Xun’s reception of Western culture was not uncritical; he was shaped by both his heritage education and his Western education, applying universal standards to the Chinese development - a Chinese man with universal values – a true citizen of the world.鲁迅并非“全盘西化”，他的价值观受到传统教育和西方教育的影响，用普世价值来判斷中国发展——一个具有普世价值的中国人——一个真正的世界公民。&lt;br /&gt;
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==Xu Jia 徐佳==&lt;br /&gt;
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'''Appendix: Lu Xun’s two essays in Chinese&lt;br /&gt;
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智识过剩'''&lt;br /&gt;
虞明&lt;br /&gt;
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世界因为生产过剩，所以闹经济恐慌。虽然同时有三千万以上的工人挨饿，但 是粮食过剩仍旧是“客观现实”，否则美国不会赊借麦粉给我们，我们也不会 “丰收成灾”。&lt;br /&gt;
然而智识也会过剩的，智识过剩，恐慌就更大了。据说中国现行教育在乡间提 倡愈甚，则农村之破产愈速。这大概是智识的丰收成灾了。美国因为棉花 贱，所以在铲棉田了。中国却应当铲智识。这是西洋传来的妙法。&lt;br /&gt;
西洋人是能干的。五六年前，德国就嚷着大学生太多了，一些政治家和教育 家，大声疾呼的劝告青年不要进大学。现在德国是不但劝告，而且实行铲除智识 了：例如放火烧毁一些书籍，叫作家把自己的文稿吞进肚子去，还有，就是把一群 群的大学生关在营房里做苦工，这叫做“解决失业问题”。&lt;br /&gt;
中国不是也嚷着文法科的大学生过剩吗？其实何止文法科。&lt;br /&gt;
就是中学生也太多了。要用“严厉的”会考制度，像铁扫帚似的——刷， 刷，刷，把大多数的智识青年刷回“民间”去。&lt;br /&gt;
智识过剩何以会闹恐慌？中国不是百分之八九十的人还不识字吗？然而智识过 剩始终是“客观现实”，而由此而来的恐慌，也是“客观现实”。智识太多了，不是心 活，就是心软。&lt;br /&gt;
心活就会胡思乱想，心软就不肯下辣手。结果，不是自己不镇静，就是妨害别 人的镇静。于是灾祸就来了。所以智识非铲除不可。&lt;br /&gt;
然而单是铲除还是不够的。必须予以适合实用之教育，第一，是命理学——要乐 天知命，命虽然苦，但还是应当乐。第二，是识相学——要“识相点”，知道点近代武 器的利害。至少，这两种适合实用的学问是要赶快提倡的。&lt;br /&gt;
提倡的方法很简单：—— 古代一个哲学家反驳唯心论，他说，你要是怀疑这碗麦饭的物质是否存在，那最好 请你吃下去，看饱不饱。现在譬如说罢，要叫人懂得电学，最好是使他触电，看痛 不痛；要叫人知道飞机等类的效用，最好是在他头上驾起飞机，掷下炸弹，看死不死 ……&lt;br /&gt;
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有了这样的实用教育，智识就不过剩了。亚门！&lt;br /&gt;
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七月十二日。&lt;br /&gt;
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==Xu Jing 许晶==&lt;br /&gt;
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Lu Xun to Tai Jingnong, 12 February 1933, Lu Xun shuxinji (Collected Correspondence of Lu Xun) (Beijing: Renmin wenxue chubanshe, 1976), Vol. 1, p. 354; Zou Taofen, Taofen wenji (Collected Works of Taofen) (Hong Kong: Joint Publishing Co. Ltd., 1957), Vol. 1, p. 73.&lt;br /&gt;
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《鲁迅致台静农》，1933年2月12日，鲁迅书信集（鲁迅合集）（北京：人民文学出版社，1976），第1卷，第354页；邹韬奋文集（韬奋合集）（香港：联合出版社集团，1957），第1卷，第73页。--[[User:Xu Jing2|Xu Jing2]] ([[User talk:Xu Jing2|talk]]) 08:51, 13 November 2020 (UTC)&lt;br /&gt;
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==Xu Jing 许静==&lt;br /&gt;
'''华德焚书异同论''' &lt;br /&gt;
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孺牛&lt;br /&gt;
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德国的希特拉先生们一烧书，中国和日本的论者们都比之于秦始皇。然而秦始皇实在冤枉得很，他的吃亏是在二世而亡，一班帮闲们都替新主子去讲他的坏话了。&lt;br /&gt;
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==Xu Mengdie 徐梦蝶==&lt;br /&gt;
不错，秦始皇烧过书，烧书是为了统一思想。但他没有烧掉农书和医书；他收罗许多别国的“客卿”，并不专重“秦的思想”，倒是博采各种的思想的。&lt;br /&gt;
Exactly, First Emperor of Qin had burned books to unify thoughts. Yet, books for agriculture and medicine were saved; he had embraced many guest officials from other states and was open to all kinds of ideas without only holding &amp;quot;thought's in Qin State&amp;quot; as highly esteemed.--[[User:Xu Mengdie|Xu Mengdie]] ([[User talk:Xu Mengdie|talk]]) 02:51, 13 November 2020 (UTC) Xu Mengdie&lt;br /&gt;
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It is true that Qin Shihuang burned books to unify his thoughts. But he did not burn down agricultural and medical books; he collected many &amp;quot;alienministers&amp;quot; from other countries, and did not focus exclusively on &amp;quot;Qin's thoughts&amp;quot;, but collected various ideas.--[[User:Zhao Xiaoyan|Zhao Xiaoyan]] ([[User talk:Zhao Xiaoyan|talk]]) 07:40, 13 November 2020 (UTC)&lt;br /&gt;
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==Xu Pengfei 许鹏飞==&lt;br /&gt;
秦人重小儿；始皇之母，赵女也，赵重妇人，所以我们从“剧秦”的遗文中，也看不见轻贱女人的痕迹。&lt;br /&gt;
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People in the state of Qin  attached great importance to children, while the state of Zhao emphasized women. And the mother of First Emperor of Qin is a woman from country Zhao. Therefore, we see no trace of contempt for women even in literature which depreciated Qin.--[[User:Xu Pengfei|Xu Pengfei]] ([[User talk:Xu Pengfei|talk]]) 05:22, 13 November 2020 (UTC)Xu Pengfei&lt;br /&gt;
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==Yang Chenting 杨晨婷==&lt;br /&gt;
希特拉先生们却不同了，他所烧的首先是“非德国思想”的书，没有容纳客卿的魄力；其次是关于性的书，这就是毁灭以科学来研究性道德的解放，结果必将使妇 人和小儿沉沦在往古的地位，见不到光明。而可比于秦始皇的车同轨，书同文……之类的大事业，他们一点也做不到。&lt;br /&gt;
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==Yang Hairong 杨海容==&lt;br /&gt;
阿剌伯人攻陷亚历山德府的时 候，就烧掉了那里的图书馆，那理论是：如果那些书籍所讲的道理，和《可兰经》相同，则已有《可兰经》，无须留了；倘使不同，则是异端，不该留了。这 才是希特拉先生们的嫡派祖师——虽然阿剌伯人也是“非德国的”——和秦的烧书，是不能比较的。&lt;br /&gt;
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==Yang Hui 阳慧==&lt;br /&gt;
但是结果往往和英雄们的豫算不同。始皇想皇帝传至万世，而偏偏二世而亡，赦免了农书和医书，而秦以前的这一类书，现在却偏偏一部也不剩。&lt;br /&gt;
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==Yang Yi 杨逸==&lt;br /&gt;
希特拉先生一上台，烧书，打犹太人，不可一世，连这里的黄脸干儿们，也听得兴高彩烈，向被压迫者大加嘲笑，对讽刺文字放出讽刺的冷箭来——到 底还明白的冷冷的讯问道：你们究竟要自由不要？不自由，无宁死。现在你们为什么不去拚死呢？&lt;br /&gt;
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==Yang Yue 杨悦==&lt;br /&gt;
这回是不必二世，只有半年，希特拉先生的门徒 们在奥国一被禁止，连党徽也改成三色玫瑰了。最有趣的是因为不准叫口号，大家就以手遮嘴，用了“掩口式”。&lt;br /&gt;
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==Yang Ziling 杨子泠==&lt;br /&gt;
这真是一个大讽刺。刺的是谁，不问也 罢，但可见讽刺也还不是“梦呓”，质之黄脸干儿们，不知以为何如？六月二十八日。&lt;br /&gt;
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==Yao Cheng 姚诚==&lt;br /&gt;
When we define an academic category like &amp;quot;Chinese studies&amp;quot;, we pay respect to the fact that the world historically has developed differently in different regions. Of course the world was far less connected than today, with slow carriers like horses and ships and often bad or risky infrastructure  like roads.&lt;br /&gt;
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在定义诸如“中国研究”之类的学术类别时，我们要尊重这一事实：从历史上看，全球不同地区发展轨迹不同。当然，那是马匹和船只等运输工具速度慢，马路等基础设施经常是破烂不堪或有造成事故的风险，当时世界的联系远比现在低。--[[User:Yao Cheng|Yao Cheng]] ([[User talk:Yao Cheng|talk]]) 14:54, 13 November 2020 (UTC)&lt;br /&gt;
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在定义诸如“中国研究”之类的学术类别时，我们要尊重这一事实：从历史上看，全球不同地区发展轨迹不同。当然，那是马匹和船只等运输工具速度慢，马路等基础设施经常是破烂不堪或有造成事故的风险，当时世界的联系远没有现在紧密。--[[User:Wu Xiang|Wu Xiang]] ([[User talk:Wu Xiang|talk]]) 15:20, 13 November 2020 (UTC)&lt;br /&gt;
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==Yao Jia 姚佳==&lt;br /&gt;
Therefore it appears on first sight that these regions have developed their culture, their civilization and even first written languages on their own, independently. The oldest evidence of written civilizations, dating back around 3500 years BC, we find in the fertile crescent Mesopotamia with the clay tablets of the Sumerer. A little bit later there is evidence in Ancient Egypt, then in Proto-India and finally also in China.&lt;br /&gt;
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==Yi Huan 易欢==&lt;br /&gt;
But the more we explore history, the more fascinating evidence comes to light that these seemingly independently developing regions have had more trade relations and exchange of ideas than seems likely bearing in mind mobility: The Silk Road is not only rediscovered and reevaluated historically, but also rebuilt as a political agenda today.&lt;br /&gt;
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==Yi Zichu 义子楚==&lt;br /&gt;
We today find early evidence of European civilizations in America and Asia as well as the Chinese civilization also in America and Europe.&lt;br /&gt;
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Cultural Science is more influenced by its subject than other sciences, since we are part of it and cannot leave it to examine it. The history of cultural science has developed from the first times of intercultural encounters to today’s life, in which cultures are mixed and people understand each other as being part of different cultures simultaneously.&lt;br /&gt;
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今天，我们发现了美洲和亚洲欧洲文明以及美洲和欧洲中华文明的早期证据。&lt;br /&gt;
与其他科学相比，文化科学受其学科影响更大，因为我们是文化科学的一部分，便不能利用它去研究其本身。文化科学的历史已经从第一次跨文化的相遇发展到今天的生活，在这种文化中，文化是混杂的，彼此理解的人们同时又是不同文化的一部分。--[[User:Yi Zichu|Yi Zichu]] ([[User talk:Yi Zichu|talk]]) 03:22, 14 November 2020 (UTC)&lt;br /&gt;
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==You Yuting 游雨婷==&lt;br /&gt;
However, there will always be differentiation between cultures, simply because the trends of integration and separation occur at the same time.&lt;br /&gt;
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When there is different cultures, there is an interest in comparing these. This medal has two sides. As soon as you start to compare, you may value. Cultural encounters happened before there were experts or a whole discipline.&lt;br /&gt;
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然而文化之间总是会有差异的，因为融合和分离的趋势是同时发生的。&lt;br /&gt;
当存在不同的文化时，比较这些文化是有意义的。这个奖牌有两面。一旦你开始比较，你可能会珍惜。文化交流发生在专家或整个学科出现之前。--[[User:You Yuting|You Yuting]] ([[User talk:You Yuting|talk]]) 13:41, 13 November 2020 (UTC)&lt;br /&gt;
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然而，文化之间总是存在差异，只是因为融合和分离的趋势同时出现。&lt;br /&gt;
当存在不同的文化时，将这些文化做对比是有意义的。这枚奖牌有两面性。一旦你开始比较，你可能会重视。在文化专家或整个学科出现之前，文化交流就已经发生了。 --[[User:Zhang Ling|Zhang Ling]] ([[User talk:Zhang Ling|talk]]) 14:20, 13 November 2020 (UTC)&lt;br /&gt;
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然而，文化之间总是存在差异，仅仅是因为融合和分离的趋势同时出现。&lt;br /&gt;
当存在不同的文化时，将这些文化做对比是有意义的。这枚奖牌有两面性。一旦你开始比较，你可能会重视。在文化专家或整个学科出现之前，文化交流就已经发生了。--[[User:Li Lingyue|Li Lingyue]] ([[User talk:Li Lingyue|talk]]) 04:34, 14 November 2020 (UTC)&lt;br /&gt;
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==Yu Ni 余妮==&lt;br /&gt;
So the first comparisons between cultures were ethnocentric: You compared whatever you encountered as “other”, “foreign” or “alien”, to your own culture. This was often accompanied with feelings. There was both, the feeling of fear of the unknown and curiosness in the exotic.&lt;br /&gt;
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==Yuan Shiqi 袁诗琦==&lt;br /&gt;
You may categorize civilizations into so-called “high civilizations” and “low civilizations”, into “developed” and “underdeveloped” cultures. This was an ethnocentric approach in the age of cultural relativism. Today in the age of post-growth economy and after tragic experiences of colonialization and missionization, we know that each culture is equal and cannot be ranked to be higher or lower, of more or less value than the other.&lt;br /&gt;
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你可以把各种文明分为“高等文明”、“低等文明”、“发达文明”和“不发达文明”。这是文化相对主义时代的一种民族中心主义方法。在经济后增长的今天，在经历了殖民和传教的悲惨经历之后，我们知道，每一种文化都是平等的，不能比较，没有一种文化文化比另一种文化更高级或更低级、更具价值或更少价值。--[[User:Yuan SHiqi|Yuan SHiqi]] ([[User talk:Yuan SHiqi|talk]]) 08:00, 13 November 2020 (UTC)&lt;br /&gt;
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你可以将文明划分为“高等文明”、“低等文明”、“发达文明”和“不发达文明”。这是文化相对主义时代民族中心主义的分法。人类在经历了殖民和传教的悲惨经历之后，在经济后增长的今天，我们知道，每一种文化都是平等的，没有高低贵贱之分。--[[User:Tan Yuanyuan|Tan Yuanyuan]] ([[User talk:Tan Yuanyuan|talk]]) 12:42, 13 November 2020 (UTC)&lt;br /&gt;
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==Yuan Tianyi 袁天翼==&lt;br /&gt;
While very early there were historians collecting knowledge from travel reports or official delegations visiting foreign cultures, in the middle ages handbooks collected the knowledge to describe different cultures. Even the Romans had words for the Chinese (Seres in the North and Sinae in the South) and attributed to Asian-looking people certain characteristics of behaviour, attitudes, value systems, beliefs, morals and character.&lt;br /&gt;
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虽然很早以前，有历史学家从旅行报告中或者从政府代表团造访异域文化时候汲取知识，但是中世纪的时候指南书籍都是到处搜集知识来描述不同文化的。哪怕是罗马人也有描述中国人的词语（罗马北方称为Sere，南方称为Sinae），他们还把行为、态度、价值体系、信仰、道德和性格这些特定特征与长有亚洲外貌的人联系在一起。--[[User:Yuan Tianyi|Yuan Tianyi]] ([[User talk:Yuan Tianyi|talk]]) 10:08, 13 November 2020 (UTC)&lt;br /&gt;
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==Yuan Yuchen 袁雨晨==&lt;br /&gt;
The first in-depth analysis of the Chinese culture through Western people came not with the merchants, but with the Jesuits. How few was known about China can be seen from the fact, that only the Jesuits managed to clarify, that the myth of the two empires, Tartary and Kitai/Cathay, in fact both were the same (China).&lt;br /&gt;
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首次通过西方人来深入分析中国文化，不是由商人发起的，而是耶稣会。过去鲜少有人真正了解中国，只有耶稣会设法澄清关于两个帝国的神话，实际上，鞑靼和契丹所指一样，都是指的中国。&lt;br /&gt;
--[[User:Yuan Yuchen|Yuan Yuchen]] ([[User talk:Yuan Yuchen|talk]]) 09:02, 13 November 2020 (UTC)&lt;br /&gt;
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首次深入分析中国文化的西方人不是商人，而是耶稣信徒。了解中国的人有多么少，我们可以从这个事实中看出来：只有耶稣信徒能够分清鞑靼和契丹这两大帝国的神话。实际上这两者都是指中国。--[[User:Yuan Tianyi|Yuan Tianyi]] ([[User talk:Yuan Tianyi|talk]]) 10:43, 13 November 2020 (UTC)&lt;br /&gt;
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==Zeng Fangyuan 曾芳缘==&lt;br /&gt;
However, the Jesuit’s approach was still ethnocentric and cultural relativist, because by portraying (like Du Halde) China as a seemingly ideal state suitable for mission work, they contributed to subjective views on China.&lt;br /&gt;
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然而，耶稣会的分析方法仍然带有种族中心主义和文化相对论的思想。因为通过将中国描绘成一个看起来像是适合进行宣教工作的理想国家（比如杜赫德神父的作品），他们对中国的观点带有主观色彩。--[[User:Zeng Fangyuan|Zeng Fangyuan]] ([[User talk:Zeng Fangyuan|talk]]) 10:43, 13 November 2020 (UTC)&lt;br /&gt;
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然而，耶稣会士的分析方法仍然带有种族中心主义和文化相对主义的思想。因为他们带着主观色彩看待中国，所以将中国描绘成一个看似适合进行宣教的理想国度（比如杜赫德神父的作品）。--[[User:Zhang Yu|Zhang Yu]] ([[User talk:Zhang Yu|talk]]) 13:18, 13 November 2020 (UTC)&lt;br /&gt;
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==Zeng Liang 曾良==&lt;br /&gt;
Around 1720 presumably the French Jesuit Jean-François Noëlas even translated the Dao de jing into Latin.[	Collani, Claudia von, Harald Holz, Konrad Wegmann eds. Uroffenbarung und Daoismus: jesuitische Missionshermeneutik des Daoismus. Europ. University Press, 2008. [Partial retranslation Chinese-Latin-German.]] The translation turns out to deviate from the original in the way that we suddenly find the Christian trinity god in it.&lt;br /&gt;
==Zeng Xinyuan 曾心媛==&lt;br /&gt;
This is the starting point of an ethnocentric tradition to read the self and the own into the other and the alien, instead of respecting the other as a value by itself and allowing it to even challenge the own beliefs. Even the German Christian missionary and sinologist Richard Wilhelm used a Christian language (belief, heavens’ doors, life after death etc.) in his influential 1919 Taoteking translation and in 1925 he translated “god” into the Analects of Confucius.&lt;br /&gt;
==Zeng Yanhu 曾雁湖==&lt;br /&gt;
The missionaries baptized the seemingly “backward” aborigines in several continents, sometimes supported by the sword. A lot of cultures, considered less “developed”, were heavily influenced or even destroyed and extinguished. Earlier, the “Warriors of the Cross” even fought wars and devastated complete regions.&lt;br /&gt;
==Zhang Hu 张虎==&lt;br /&gt;
The other aspect, the exotization of the other was expressed by the way the first Chinese people who came to Europe were received: They were passed on at tea meetings and gazed at like animals. Soon Chinese goods became the symbol of the exotic. Chinese porcellain and nick-nacks, even Chinese-style buildings were recreated in Europe. &lt;br /&gt;
==Zhang Hui 张慧==&lt;br /&gt;
The fever-like admiration of a China image, which certainly was not the true China, is called Chinoiserie. The Chinoiserie even involved European philosophers like Voltaire and Leibniz, who compared China to an ideal country without religion and still moral values, represented by a wise emperor.&lt;br /&gt;
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对中国形象的狂热崇拜，当然不是真正的中国，被称为中国风。 中国艺术甚至与伏尔泰和莱布尼兹（Leibniz）之类的欧洲哲学家相提并论，他们将中国比作一个没有宗教信仰和道德价值观的理想国家，以一个明智的皇帝为代表。--[[User:Zhang Hui|Zhang Hui]] ([[User talk:Zhang Hui|talk]]) 07:46, 13 November 2020 (UTC)&lt;br /&gt;
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对中国形象的狂热崇拜被称为“中国风”,这当然不是真正的中国。甚至连伏尔泰和莱布尼茨这样的欧洲哲学家也认同这种中国风这种观念，他们把中国比作一个没有宗教和道德价值观的理想国家，由一个明智的皇帝代表。--[[User:You Yuting|You Yuting]] ([[User talk:You Yuting|talk]]) 13:44, 13 November 2020 (UTC)&lt;br /&gt;
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==Zhang Ling 张玲==&lt;br /&gt;
In Europe, the first experts on Chinese culture were entrusted with the task to explain the Chinese culture no longer from the ethnocentric viewpoint, but from a scientific one: Professorships at universities were established. Their early translations show traces of admiration of the exotic. Chinoiserie was also countered by Européerie in China. However, this phase did only last as long as it fit to European politics.&lt;br /&gt;
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在欧洲，第一批研究中国文化的专家被委以重任，不再从民族中心主义的观点来解释中国文化，而是从科学的角度来解释: 大学里设立了教授职位。他们早期的翻译显示出对异国情调的赞赏。在中国的欧洲人也反对“中国风”。然而，这一阶段只会在符合欧洲政治的情况下持续。 --[[User:Zhang Ling|Zhang Ling]] ([[User talk:Zhang Ling|talk]]) 14:12, 13 November 2020 (UTC)&lt;br /&gt;
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在欧洲，第一批研究中国文化的专家被委以重任，她们开始不再从民族中心主义的观点，而是从科学的角度来解释中国文化：在大学里设立了教授职位。他们早期的翻译显示出对异国情调的赞赏。在中国的欧洲人也反对“中国风”。然而，这一阶段只会在符合欧洲政治的情况下持续。--[[User:Yao Cheng|Yao Cheng]] ([[User talk:Yao Cheng|talk]]) 14:58, 13 November 2020 (UTC)&lt;br /&gt;
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==Zhang Peiwen 张佩闻==&lt;br /&gt;
As soon as the import of colonial goods (and resources) became an economic factor, the (wrong) image of the ideal China changed into a negative one (similarly wrong). Not only mission and belief were motifs to look down on the Chinese culture, but also the comparison of economic development and living standards. &lt;br /&gt;
==Zhang Qi 张琪==&lt;br /&gt;
Hegel continued the ethnocentric view on China with his ranking of cultures. Although Confucius already had developed a “Golden Rule” principle comparable to Kant’s “Categorical Imperative”, Hegel declared Chinese philosophy as inferior to European philosophy, and even saw a geographical step by step development from Confucius over Buddha, Zarathustra, the ancient Greek and the Roman philosophy, leading to the European philosophy. &lt;br /&gt;
==Zhang Weihong 张维虹==&lt;br /&gt;
A ladder only second by the Arab philosophy. At the turn from the 19th to the 20th century, China was suddenly considered as static, as “the sick man of Asia”. Actually semi-colonialism in China helped to hinder development there. &lt;br /&gt;
==Zhang Xueyi 张雪仪==Rereading the reviews of Chinese literature in contemporary Western journals, it is astonishing, how disrespectful even men of letters treated Chinese literature, even during a time, when it was not yet available in translation, so that it is save to say that ethnocentric attitude prevailed over knowledge. &lt;br /&gt;
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==Zhang Yinliu 张银柳==&lt;br /&gt;
This can be proven by the many mistakes you can find in the reviews (Morrison: the book was of low literary quality, but written in Peking dialect and therefore useful as language learning material; Gützlaff: the protagonist Baoyu is a petulant woman; Giles: the words “Red Chamber Dreams do not appear in the book” etc.). Also, the tradition of the title translation as “Dream of the Red Chamber” can be traced back to the origins of the better translation as “Red Chamber Dreams”, sacrificed by Francis Davis finally in favor of the powerful tool of Morrison’s dictionary calling it “Dream of the Red Chamber”.&lt;br /&gt;
==Zhang Yu 张瑜==&lt;br /&gt;
Here, the exotic was used to make fun of China. Barrow introduces an excerpt, describing the outward appearance of Baoyu and Xifeng, translated by Francis Davis into English, explicitely for the reason to “amuse the beaux and belles”. Francis Davis himself picks two poems from the novel for translation, but not for its own sake, but to use them as a proof for his own (minority) opinion that the Chinese poetry knew a certain, “descriptive” function of poems in novels.&lt;br /&gt;
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在这里，这种异域文化常用来取笑中国。巴罗引用了一段描述宝玉和熙凤外貌的文本，弗朗西斯·戴维斯将其翻译成英文版本，很明显其意图是取笑书中的“美人”。弗朗西斯·戴维斯从小说中选了两首诗进行翻译，但他不仅仅是为了这两首诗，而是为了用这两首诗证明自己（少数人）的观点，他认为我们对中国诗有一定了解之后，我们就自然会了解诗歌在小说中的描述性作用。--[[User:Zhang Yu|Zhang Yu]] ([[User talk:Zhang Yu|talk]]) 13:01, 13 November 2020 (UTC)&lt;br /&gt;
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==Zhang Yujie 张毓婕==&lt;br /&gt;
In 1815 Macao Reverend Robert Morrison (1782-1834) coined the Western translation of the novel’s title by mentioning it in his Dictionary of the Chinese Language as “dreams of the red chamber.”[	He explained the character “妙” as in the novel’s character “妙玉 Meaou yǔh [Miao Yu]” as “the admirable gem, name of one of the female characters in the novel called 紅樓夢 the dreams of the red chamber”, see Robert Morrison: A Dictionary of the Chinese language in three parts, Macao: East India Company Press 1815, vol. I., 930 pp., here p. 614, left column. 24 years after the print edition was published, this is the first mention and translation of the novel’s title into a Western language known so far. If no earlier occurrence is found it means that Morrison created a translation which has lasted until today almost unchanged.] &lt;br /&gt;
==Zhang Yuxing 张宇星==&lt;br /&gt;
In 1815 Macao Reverend Robert Morrison (1782-1834) coined the Western translation of the novel’s title by mentioning it in his Dictionary of the Chinese Language as “dreams of the red chamber.”[	He explained the character “妙” as in the novel’s character “妙玉 Meaou yǔh [Miao Yu]” as “the admirable gem, name of one of the female characters in the novel called 紅樓夢 the dreams of the red chamber”, see Robert Morrison: A Dictionary of the Chinese language in three parts, Macao: East India Company Press 1815, vol. I., 930 pp., here p. 614, left column. 24 years after the print edition was published, this is the first mention and translation of the novel’s title into a Western language known so far. If no earlier occurrence is found it means that Morrison created a translation which has lasted until today almost unchanged.] He chose the plural, which was quite reasonable as there are many dreams in the novel. It appears that 27 years later the plural “dreams” was turned into the singular “dream,” which sounds a bit more general and is therefore also a reasonable translation. Red Chamber Dreams is the most common translation in English and, in its variations, in all Western languages so far.&lt;br /&gt;
==Zhao Xi 赵茜==&lt;br /&gt;
He chose the plural, which was quite reasonable as there are many dreams in the novel. It appears that 27 years later the plural “dreams” was turned into the singular “dream,” which sounds a bit more general and is therefore also a reasonable translation. Red Chamber Dreams is the most common translation in English and, in its variations, in all Western languages so far.&lt;br /&gt;
==Zhao Xiaoyan 赵晓燕==&lt;br /&gt;
In 1817 Rev. Robert Morrison published a book for studying Chinese,[	Robert Morrison, A view of China for philological purposes: containing a sketch of Chinese Chronology, Geography, Government, Religion &amp;amp; Customs, designed for the use of persons who study the Chinese language, Macao: East Asia Company Press, 1817, 141 S., hier S. 120-121.] in which he recommended “Dreams of the Red Chamber” as beginner readings, together with the novel Hao qiu zhuan, which was available mostly in English and partly in Portuguese by 1719, and fully in English by 1761. Both were written in colloquial style.&lt;br /&gt;
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1817年，罗伯特·莫里森牧师出版了一本研究汉语的书，[罗伯特·莫里森，从语言学的角度看中国：包含中国年表，地理，政府，宗教和习俗的梗概，旨在供学习汉语的人使用。 澳门：东亚公司出版社，1817年，141 S.，hier S. 120-121。]，其中他推荐《红楼梦》作为初学者阅读，包括小说《好逑传》，这本小说到1719年大部分都是用英语撰写，部分用葡萄牙语撰写，到1761年全部变成了英文版。两种语言都是口语化的。--[[User:Zhao Xiaoyan|Zhao Xiaoyan]] ([[User talk:Zhao Xiaoyan|talk]]) 07:33, 13 November 2020 (UTC)&lt;br /&gt;
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1817年，启罗伯特·莫里森牧师出版了一本学习中文的书,[罗伯特·莫里森,从语言学的角度看中国:包含中国年表、地理、政府、宗教和习俗,旨在供学习汉语的人使用,澳门:东亚公司出版社,1817年,141 S., hier S. 120-121.] 在这本书中，他推荐《红楼梦》和小说《好逑传》作为初学者读物。到1719年，《好逑传》主要以英文出版，部分以葡萄牙文出版，到1761年完全以英文出版。两者都是用口语化的。--[[User:Zhang Hui|Zhang Hui]] ([[User talk:Zhang Hui|talk]]) 07:53, 13 November 2020 (UTC)&lt;br /&gt;
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==Zheng Huajun 郑华君==&lt;br /&gt;
Morrison claims that Dream was written in Peking dialect. This does not hold true, since the author’s family Cao came from the South and many people in the novel have Nanking dialect sprinkles. In fact, the highly artful and intentional switch of dialects and sociolects contributed to the later fame of the novel. Morrison’s mistake developed its own tradition.[	Even in 1995, you could read that the Dreams is written in Peking dialect, cf. Shu Changshan, Die Rezeption Thomas Manns in China, 1995, Frankfurt: Lang, 326 pp. At least Tong Yao, Die Vielfältigkeit der Literatur, 2006 mentions both Peking and Nanking dialects.]&lt;br /&gt;
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莫里森声称《梦》是用北京方言写成的。但事实并非如此，因为作者曹家来自南方，小说中的许多人物都有南京方言的点缀。事实上，方言和社会语的高度巧妙和有意的转换为这部小说后来的名声做出了贡献。莫里森的错误发展了自己的传统。[即使在1995年，大家也可以读到“《梦》是用北京方言写的”，参见舒长山、托马斯·曼斯的《中国的梦》（1995），法兰克福:朗，326页。至少佟耀《文学之声》（2006）同时提到了北京方言和南京方言。]--[[User:Zheng Huajun|Zheng Huajun]] ([[User talk:Zheng Huajun|talk]]) 05:23, 13 November 2020 (UTC)&lt;br /&gt;
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==Zhou Luoping 周罗平==&lt;br /&gt;
Barrow mentioned the title “[...] a Chinese novel called Hung-low-Mung, or, The Red Chamber Dreams” on June 4, 1819, in the Quarterly Review. He inserted this reference into a review[	My own findings, so far not discussed in 20th century hongxue, and published first in October 2010. John Barrow, “Art. IV Narrative of a Journey in the Interior of China, and of a Voyage to and from that Country, in the Years 1816 and 1817; containing an Account of the most interesting Transactions of Lord Amherst's Embassy to the Court of Pekin, and Observations on the Countries which it visited. By Clarke Abel F.L.S. London 1818”, in: William Gifford ed., Quarterly Review 21:41 (January 1819) S. 67-91, hier S. 79-80. This edition appeared (only by) June 4, 1819 with 13,000 copies. The author follows here the argumentation of the assignment to the author Barrow due to the following indications: “Gentleman's Magazine (Mar. 1844), 246-47. The article's author refers to #415 and #438 (including a specific reference), both of which are on the same topic and are by Barrow. Cf. also the discussion of infanticide (p. 76) and Raffles's account of Java reviewed by Barrow in #422. In his Q[uarterly] R[eview] articles, it was Barrow's signature practice to refer to his own works,  see  “Quarterly Review Archive” http://www.rc.umd.edu/ reference/qr/index/41.html, last visited March 10, 2018.] of Clarke Abel’s report of a journey through China.[	Clarke Abel, Narrative of a Journey in the Interior of China, and of a Voyage to and from that Country, in the Years 1816 and 1817; containing an Account of the most interesting Transactions of Lord Amherst's Embassy to the Court of Pekin, and Observations on the Countries which it visited, F.L.S. London 1818.] &lt;br /&gt;
==Zhou Shiqing 周诗卿==&lt;br /&gt;
He interrupted his review with an excursus on the uniform appearance and static nature of the Chinese, in line with the contemporary China-bashing of Herder and Hegel. For contemporary Europeans, the Chinese appeared abnormally uniform and simple in their clothes and appearance. &lt;br /&gt;
==Zhou Shuyao 周书尧==&lt;br /&gt;
They would not be subordinated to the tyranny of fashion; their culture was static. In order to entertain the “belles and beaux of Great Britain,” Barrow provides a foil to this general impression by quoting the descriptions of the garments and anatomy of two characters, Wang Xifeng and Jia Baoyu, from chapter 3 of J. Davis’ translation of Dream. &lt;br /&gt;
==Zhou Siqing 周思庆==&lt;br /&gt;
In fact the graphic comparisons given in these descriptions were simply strange to Europeans of that time, since they apparently did not correspond to the European’s own ideal of beauty.&lt;br /&gt;
Even in 1842 Gützlaff criticized: “the author [makes] many protestations of his inability to do justice to the subject, which indeed is the only truth in the book […] the style is without any art […] whosoever wishes to familiarize himself with the manner of speaking the northern court dialect, may peruse this work with advantage”[	“Amongst the novels of the Chinese, this work holds a decidedly high rank. The author, after making many protestations of his inability to do justice to the subject, which indeed is the only truth in the book […] Having brought this tedious story to a conclusion, in expressing our opinion about the literary merits of the performance, we may say that the style is without any art, being literally the spoken language of the higher classes in the northern provinces. Some words that are used in a sense different from that in ordinary writings, and others are formed for the occasion, to express provincial sounds. But after reading one volume the sense is easily understood, and whosoever wishes to familiarize himself with the manner of speaking the northern court dialect, may peruse this work with advantage.” ibid., p. 273.]&lt;br /&gt;
==Zhou Yiwen 周艺文==&lt;br /&gt;
In 1867, 78 years after the first Chinese printed edition, we find a first real in-depth review of two pages by William Frederick Mayers:[	William Frederick Mayers, in: Notes and Queries (Dec 31, 1867) pp. 167-168, here p. 167. Mayers was Chinese secretary of the British Legation at Peking. He gives also short extracts in translation: 	&lt;br /&gt;
“Vast as is Heaven above or Earth below –&lt;br /&gt;
Sighs may such limits fill for passion vainly past	&lt;br /&gt;
Grieve for the senseless youth, the hapless maiden’s woe !	&lt;br /&gt;
Not oft is love’s light pledge redeem’ed at last ! ” (p. 167) […]	&lt;br /&gt;
Vain to be soft in temper, mild in ways,	&lt;br /&gt;
Fair as the fairest … (p. 168)	&lt;br /&gt;
[…]	&lt;br /&gt;
Not often shines	&lt;br /&gt;
thy longings too are vain ! ” (p. 168)].]&lt;br /&gt;
==Zhou Yuanqu 周园曲==&lt;br /&gt;
“If it be lawful to avow a feeling approaching to enthusiasm for any Chinese production, The Hung Low Mêng 紅樓夢 or ‘Dreams of the Red Chamber’ is beyond possibility of cavil the work for which genuine admiration may be expressed. What, in English literature, the writings of Thackeray and Bulwer are in comparison with the wearisome and unskilful productions of previous generations, such is the Hung Low Mêng when compared with the works of fiction that have emanated from other Chinese authors.&lt;br /&gt;
&lt;br /&gt;
如果能够依法公开宣布我们对于任何一部中国作品近乎狂热的喜爱，红楼梦将无可挑剔地成为一部最值得对其倾诉真挚仰慕之情的作品。英国文学中，萨克雷和布尔沃的之前的作品与萨克雷和沃尔本人的作品相比显得乏味而笨拙，中国其他作家的作品和《红楼梦》相比也是如此。--[[User:Zhou Yuanqu|Zhou Yuanqu]] ([[User talk:Zhou Yuanqu|talk]]) 09:29, 13 November 2020 (UTC)&lt;br /&gt;
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==Zhou Yujuan 周玉娟==&lt;br /&gt;
manated from other Chinese authors. Human character in its complex variety of shades, the intricacies of family relations, the force of passion and the torture of disappointed yearnings after love are pourtrayed with a degree of skill and knowledge such as in truth suggests a resemblance with the two great master-spirits of English romance; whilst, as in Nature's own drama of existence, the reflections of storm and sunshine are closely interlaced, and the lighter thread of comedy runs side by side with the dark main-strand of a story which opens with the omens of sorrow and is conducted to a tearful end. If, at the same time, a faint – a very faint – tinge of the supernatural is allowed to show itself in the conception of the tale, this is not only in full accord with the inclinations of the people for whom the work is written, but is also far less obtrusive than the similar element which pervades more than one of our own most celebrated fictions. […]”&lt;br /&gt;
Reading through almost 80 years of reviews, during which more and more chapters of the novel became available, the ethnocentric attitude gradually changes to the scientific one and finally, with Mayr’s review of 1867 to a dialectic one, not only admitting that the Chinese novel was a piece of world literature, but even leaving open the possibility that it surpassed literary achievements of the own culture. This process certainly has been brought to a good end with the establishment of further diversified Chinese Studies in Europe and the USA, with the role of overseas Chinese at American universities, with further translations especially through Franz Kuhn in the 1930s and with the establishment of the German China Association in the 1950s. &lt;br /&gt;
==Zhu Meimei 祝美梅==&lt;br /&gt;
During its 60 years of history, the German China Association (next to the developing chairs of Chinese Studies at universities and next to other organizations dealing with China like friendship associations and Confucius Institutes) has helped to overcome prejudices, cultural relativism with diversity and tolerance. This is especially challenging, because the cultures and languages are quite distant and German media and internet community tends to bash China.&lt;br /&gt;
==Zhu Suyao 朱素瑶==&lt;br /&gt;
During the last 20 years, the German China Association was shaped through its prolific president, Gregor Paul, who has shaped the prestige of the Association with his sharp and precise analysis of a common logic in China and the West as well as universal values, including human rights, worth to strive for both in the West and in China. His entertaining and informative lectures used a rhethoric often referring to persuasive conventional wisdom, e.g. that differences often come from different opinions instead of a difference of the nature of the things, as can be seen from a quarrel with his wife about what both remembered had happened the day before.&lt;br /&gt;
&lt;br /&gt;
在过去20年间，德中协会是由其多产的主席格雷戈·保罗所塑造，他通过尖锐又精准地分析中西方的共同逻辑，以及分析包括中西方都值得为之奋斗的人权在内的普世价值，从而树立了协会的威望。他运用修辞手法进行寓教于乐的演讲，往往是关于一些具有说服力的传统大智慧。比如，分歧往往源于观点的不同而非事物性质的不同，这点从保罗和其妻子关于昨天发生之事的争论中可看出。--[[User:Zhu Suyao|Zhu Suyao]] ([[User talk:Zhu Suyao|talk]]) 12:37, 13 November 2020 (UTC)&lt;br /&gt;
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==Zhu Xu 朱旭==&lt;br /&gt;
Paul is a consequent logician and a real universalist and he has added to Germany’s international reputation as “the land of poets and thinkers”.&lt;br /&gt;
The process of doing more justice to China today culminates in the cooperation between Chinese and Western scholars at international conferences, in research projects or international book projects like A New Literary History of Modern China, Harvard University Press 2017.&lt;br /&gt;
==Zou Xinyu 邹鑫雨==&lt;br /&gt;
Europeans (and later US-Americans) have made a contribution to Chinese Studies in general. They were influenced heavily by the idealizers (Jesuits, European philosophers of the enlightenment) and by China-bashers (Hegel, the German emperor...). It took 100 years for a Chinese piece of world literature to be recognized as such in Europe. But today, Chinese literature and culture is recognized with the Nobel Prize and Confucius Institutes do successful work in the whole work promoting and exporting Chinese culture abroad.&lt;br /&gt;
&lt;br /&gt;
总体而言，欧洲人（以及后来的美国人）为“中国学”做出了贡献。 “中国学”曾受到理想主义者（耶稣会士，欧洲启蒙哲学家）和批判中国以赢取政治筹码者（黑格尔，德国皇帝……）的严重影响，中国的一部世界文学历时百年才被欧洲认可。但是今天，中国文学和文化获得了诺贝尔奖，孔子学院在促进向外传播中国文化的工作中取得了成功。--[[User:Zou Xinyu2|Zou Xinyu2]] ([[User talk:Zou Xinyu2|talk]]) 09:37, 13 November 2020 (UTC)Zou Xinyu&lt;br /&gt;
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==Volunteer==&lt;br /&gt;
However, we should not overestimate the European contribution. There are still examples of ethnocentrism, even of religiously motivated reading of things into Chinese literature. One of these examples is the 10 volume History of Chinese Literature published in Bonn. In two volumes, the one about the origins of Chinese literature and the one on Chinese poetry, a German sinologist, who formerly was a priest, defines, that the origin of Chinese literature lies in the dialogue of the author with god.&lt;br /&gt;
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然而，我们不应高估欧洲的贡献。现在仍然有民族中心主义的例子，甚至是出于宗教动机对中国文学作品的解读。在波恩出版的10卷《中国文学史》就是其中之一。德国汉学家在《中国文学起源论》和《中国诗歌论》两卷中，曾任神父的汉学家对中国文学的起源进行了界定:中国文学的起源在于作者与上帝的对话。--[[User:Zheng Huajun|Zheng Huajun]] ([[User talk:Zheng Huajun|talk]]) 05:27, 13 November 2020 (UTC)&lt;br /&gt;
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==Volunteer==&lt;br /&gt;
This reminds us again of the Jesuit reading of things into Chinese texts, it reminds us of the attempts, to impose your own culture on other seemingly backward cultures, in this case even the try to impose the Western god on the Chinese culture of a time, when China had a totally different understanding of the world and of heaven than that of a Christian god. The emergence of Chinese literature comes from songs, speeches and paintings, from the wish to document events, family etc., but not from an encounter with god.&lt;br /&gt;
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这再次让我们想起耶稣会会士对于中国经文的解读；想起我们试图强加自身的文化于其他看似落后的文化上，当时中国对世界和天堂的理解完全不同于基督教的上帝，在这种情况下我们甚至试图把西方的上帝强加于一个时代的中国文化上。中国文学起源于歌曲，演说和画作；源于期望记录事件，家庭等，而非起源于与上帝的邂逅。--[[User:Zhu Suyao|Zhu Suyao]] ([[User talk:Zhu Suyao|talk]]) 14:33, 13 November 2020 (UTC)&lt;br /&gt;
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==Volunteer==&lt;br /&gt;
The same German sinologist retranslated the Analects, attributed to Confucius, and translated some of the more than 50 occurrences of “heaven” or “demon/ghost” with the term “god”.[	Here Wolfgang Kubin stands in the tradition of Jean-François Noëlas 1720 and Richard Wilhelm 1925, see: Konfuzius: Gespräche. Transl. Richard Wilhelm. In Kubin’s commentary in the beginning of his identically titled book (Konfuzius: Gespräche Diederichs 2011), he justifies his reading of god into the Analects (p. 10). He translates “shen” as “gods” (p. 215) and claims, Confucius was sacrificing to the gods (p. 30), he understands „guishen“ as „demon and god“ or „spirit and god“ and “tian” as “god of heaven”, “supreme god”,  (p. 213).] &lt;br /&gt;
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==Volunteer==&lt;br /&gt;
Experts on Confucius also quote the few passages, where Confucius addresses the question of the supranatural like ghosts etc. and analyze that Confucius may have been at best not interested or even negative about the belief in ghosts, while he was positive about the social stability and peace rituals brought for the people.&lt;br /&gt;
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This reminds us of the fact, that it is to us to make sure that ethnocentrism is still existing today and that science is a field that needs to be aware of and cautious about it. And it needs courage to speak out against it.&lt;br /&gt;
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孔子专家也引用了一些段落,在这些段落中孔子探讨了像是鬼魂之类的超自然的问题。专家们分析认为孔子充其量可能是不感兴趣,甚至对鬼魂的存在持否定态度，尽管他对仪式给人们带来的社会稳定和和平持积极态度。&lt;br /&gt;
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这提醒我们一个事实：我们十分确信种族中心主义在今天仍然存在并且科学是需要注意和谨慎的领域，而公开反对它需要勇气。--[[User:Yuan SHiqi|Yuan SHiqi]] ([[User talk:Yuan SHiqi|talk]]) 08:12, 13 November 2020 (UTC)&lt;br /&gt;
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孔子专家也引用了几段话，其中孔子谈到了像鬼这样的超自然问题。并分析说，孔子对鬼神信仰顶多是不感兴趣，甚至是消极的，尽管他对社会稳定和为人民带来的和平仪式是积极的。&lt;br /&gt;
这提醒了我们一个事实，那就是，我们要确保种族中心主义在今天仍然存在，科学是一个需要意识到并谨慎对待的领域。公开反对它需要勇气。--[[User:Hu Jin|Hu Jin]] ([[User talk:Hu Jin|talk]]) 04:15, 14 November 2020 (UTC)&lt;/div&gt;</summary>
		<author><name>Song Jianru</name></author>
	</entry>
	<entry>
		<id>https://bou.de/u/index.php?title=20201102_trans&amp;diff=103459</id>
		<title>20201102 trans</title>
		<link rel="alternate" type="text/html" href="https://bou.de/u/index.php?title=20201102_trans&amp;diff=103459"/>
		<updated>2020-11-06T15:08:24Z</updated>

		<summary type="html">&lt;p&gt;Song Jianru: /* Xu Jia 徐佳 */&lt;/p&gt;
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&lt;div&gt;==Cao Runxin 曹润鑫==&lt;br /&gt;
'''On the Comparison between &amp;quot;Sublimation&amp;quot; an &amp;quot;Functonal Equivalence&amp;quot; Theories'''&lt;br /&gt;
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'''Abstract''': Qian Zhongshu and Eugene Nida are outstanding and renowned translators in the history of Chinese and Western translation respectively. It is believed that Mr.Qian’s “Sublimation” theory and Nida’s “Functional Equivalence” theories have a broad and profound impact on Chinese and Western translation theories and practices. This paper will recognize the theoretical value of these two theories from the dialectical point of view by comparing the similarities and differences between “Sublimation” and “Functional Equivalence”. It aims to better apply translation theory to translation practice, and advocate us to view Chinese and Western translation theories from a historical and contradictory perspective, and thus making Translation Studies become more systematic and scientific.&lt;br /&gt;
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'''Key words''': sublimation; functional equivalence; Qian Zhongshu; Eugene Nida&lt;br /&gt;
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==Chang Huiyue 常慧月==&lt;br /&gt;
'''Introduction''':&lt;br /&gt;
As a famous master of literature, translation and academy, Qian Zhongshu is considered as “the Kunlun Mountain of culture” by many scholars on account of his remarkable achievements and a wide range of knowledge. His literary masterpieces include “Pipe-awl Chapters” , “Discourses on Art”, “Seven Patches”, “Selected Essays of Qian Zhongshu”, “Fortress Besieged” and so on. What’s more, he proposed “Sublimation” theory in translation field, which does great contribution to traditional Chinese translation theory and make Translation Studies more systematic. As Chinese scholar Chen Fukang said: “He (Qian) has made a great many outstanding achievements in some important fields like literature and academic research. Although the discussion on translation is only a carved railing in his academic palace, it can have a huge impact in the field of translation studies.” (Chen Fukang 2000: 417).&lt;br /&gt;
==Chen Han 陈涵==&lt;br /&gt;
Eugene Nida is a famous American contemporary linguist and translation theorist. He has been devoted to the translation of the Bible and has summarized a set of translation theories from his own translation practice. The core point of his translation theory is “Functional Equivalence” (initially called “Dynamic Equivalence”). From his point of view, “Functional Equivalence” is to refer to the type of equivalent reflected in a TT which seeks to adapt the function of the original to suit the specific context in and for which it was produced” (Shuttleworth &amp;amp; Cowie, 2004: 64).&lt;br /&gt;
==Chen Hui 陈惠==&lt;br /&gt;
It requires that the translation should focus on the meaning and spirit of the original text, instead of being constrained by formal correspondence. According to this theory, he deems that the translation must have four criteria: (1) conveying meaning; (2) expressing spirit; (3) natural and smooth wording; (4) similar receptor response. In his book “From one language to another”, he replaced “Dynamic Equivalence” with “Functional Equivalence” and put forward two levels of meaning, say, referential meaning and associative meaning.&lt;br /&gt;
==Chen Jiangning 陈江宁==&lt;br /&gt;
'''1.The theoretical origin of “Sublimation” and “Functional Equivalence”'''&lt;br /&gt;
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'''1.1 The theoretical origin of “Sublimation”'''&lt;br /&gt;
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The idea of Qian Zhongshu’s translation theory of “Sublimation” comes from his book “Lin Shu's Translation” written in 1963 and “The Pipe-awl Chapters” published by Zhonghua Book Company in 1979. He proposed that the process of translation is actually a process of employing “enticement”, avoiding “misinformation” and pursuing “sublimation”.&lt;br /&gt;
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1.“化境”及“功能对等”理论起源&lt;br /&gt;
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1.1 “化境”理论起源&lt;br /&gt;
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钱钟书在1963年写过一本书，名为《林纾翻译》，并于1979年在中华书局出版了“锥管集”，正是这两部作品让他想到了“化境”这一翻译理论。钱钟书认为翻译过程实际上就是运用“诱惑”，避免“误用”，以及追求“化境”的过程。--[[User:Chen Jiangning|Chen Jiangning]] ([[User talk:Chen Jiangning|talk]]) 10:31, 4 November 2020 (UTC)--[[User:Chen Jiangning|Chen Jiangning]] ([[User talk:Chen Jiangning|talk]]) 02:42, 5 November 2020 (UTC)&lt;br /&gt;
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1.“化境”和“功能对等”的理论起源&lt;br /&gt;
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1.1 “化境”的理论起源&lt;br /&gt;
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钱钟书在1963年写下的《林纾的翻译》以及1979年中华书局出版的《管锥集》中提及“化境说”这一翻译理论。他认为翻译的过程实际上是遵循“化”，避免“讹”，以及追求“化境”的过程。--[[User:Zhang Yu|Zhang Yu]] ([[User talk:Zhang Yu|talk]]) 06:45, 5 November 2020 (UTC)&lt;br /&gt;
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==Chen Jiaxin 陈佳欣==&lt;br /&gt;
Then he pointed out: “The highest ideal of literary translation is ‘sublimation’. When you translate the literary works from one language to another, you can not only avoid the trace of stiffness and awkward expressions resulting from the different habits of language use, but also completely preserve the flavor of the original. Then we can say, that's the realization of ‘Sublimation’ ” (Qian Zhongshu, 2002: 77). According to his explanation, it can be easily seen that the core of his translation theory is “Sublimation”.&lt;br /&gt;
==Chen Jingjing 陈静静==&lt;br /&gt;
What’s more, we can extract 3 levels of “Hua” (Sublimation) from his theory, the first is to transform the source text to target text, and then use the domesticating method to make the source language be naturally and smoothly expressed in target language without any transparent feeling of translation caused by the differences of culture and language. Finally, it is the ultimate goal of “Sublimation” that is to say, “the transmigration of souls”, replacing the external shell and retaining the inner spirit and style without the slightest deviation. In other words, a translation should cleave to the original with such fidelity that it would not read like a translation, for a literature work in its own language will never read as though it were through a process of translation (Kao, 1975: 8-9). &lt;br /&gt;
==Chen Sha 陈莎==&lt;br /&gt;
'''1.2 The theoretical origin of “Functional Equivalence”'''&lt;br /&gt;
Nida first proposed the concept of dynamic equivalence in the 1964 book “Toward s Science of Translating”. He believed that there were two kinds of equivalence in translation, namely formal equivalence and dynamic equivalence. Specifically, formal equivalence is the “quality of a translation in which the features of the form of the source text have been mechanically reproduced in the receptor language”. &lt;br /&gt;
==Chen Sunfu 谌孙福==&lt;br /&gt;
On the contrary, dynamic equivalence is the quality which characterizes a translation in which “the message of the original text has been so transported into the receptor language that the response of the receptor is essentially like that of the original receptors” (Nida &amp;amp; Taber, 1982: 200-201). Nida’s translation theory has its origin from his own translation practice of the Bible, in which he emphasized the communicative function of translation from the perspective of semantics and information theory.&lt;br /&gt;
==Chen Yongxiang 陈永相==&lt;br /&gt;
What's more, he regarded translation as interlingual translation, and he stressed the importance of paying attention to the receptors' response, in order to pursue the standard that target readers could have the same response as the original readers. In his book “From one language to another”, he changed the term “Dynamic Equivalence” to “Functional Equivalence” and he emphasized that we should try to achieve formal equivalence on the basis of the accordant information conveyed from the source text to the target language. In addition, he divided the translation process into three steps, say, “analysis, transfer, restructuring and check”. Through these four steps, the original information can be accurately conveyed, the response of the target receptors is also concerned, and the purpose of communication will be well achieved.&lt;br /&gt;
==Cheng Yusi  成于思==&lt;br /&gt;
'''2.Similarities and differences between “Sublimation” and “Functional Equivalence”'''&lt;br /&gt;
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'''2.1 Similarities between “Sublimation” and “Functional Equivalence”'''&lt;br /&gt;
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(1) The same concern for the translation processes: As we mentioned above, Mr. Qian Zhongshu proposed that the process of translation is actually a process of employing “enticement”, avoiding “misinformation” and pursuing “sublimation”. To put them specifically, “enticement” refers to the role that plays in cultural exchanges by means of translation.&lt;br /&gt;
==Deng Jinxia 邓锦霞==&lt;br /&gt;
In this sense, translation can be regarded as a guide that will lead target readers to understand the original language and culture and to better understand foreign excellent works. This process is of great significance because If the readers have little interest in the source language culture and foreign literature; then the translation works will lose its value. So we can say that translation is not only a conversion of two languages, but also a collision between different cultures and thoughts.&lt;br /&gt;
==Ding Daifeng 丁代凤==&lt;br /&gt;
The so-called term “Misinformation” refers to the distortion and wrong expression of the translation. Since “Misinformation” is the inevitable shortcoming of translation, no matter how excellent a translator is and no matter how smooth his translations are, he can not avoid making mistakes of one sort or another in one way or another, but he can exhaust every means to reduce misinformation to its minimum (Yu Chengfa,2003: 43). This is due to the gap between different languages, the gap between the translator's understanding, the style of writing and the form of original content, and even the gap between the translator's comprehension and his ability of expression.&lt;br /&gt;
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所谓的“讹”是指在翻译过程中对原文的歪曲和错误表达。由于“讹”在翻译中是无法避免的，无论一个译者多么优秀，无论他的译文多么流畅，他都不能避免以这样或那样的方式犯这样或那样的错误，但他可以用尽一切手段使原文信息得到最大程度的呈现(余承法，2003: 43)。这是由于不同语言之间的差异，译者理解事物方式的差异，写作风格与原文内容形式的差异，甚至译者理解能力与表达能力的差异。--[[User:Ding Daifeng|Ding Daifeng]] ([[User talk:Ding Daifeng|talk]]) 03:41, 6 November 2020 (UTC)&lt;br /&gt;
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==Fang Jieling 方洁玲==&lt;br /&gt;
The final step is called “Hua Jing”; here “Hua” means “Sublimation”,which is the highest ideal of literary translation and also the ultimate goal of translation processes. A translator should try to figure out what the original writer means and ponder over what he imagines so so to immerge oneself with the writer(Luo Xinzhang, 1984: 511). Qian Zhongshu's explanation of the process of translation is the essential condition for the realization of “Sublimation” (Hua). Therefore, when doing translation practice, the translator has to make each step be well prepared, which requires a high standard of the translator's ability and quality. &lt;br /&gt;
==Gan Fengyu 甘奉玉==&lt;br /&gt;
Similarly, based on the theory of “functional equivalence”, Nida proposed a “four-step model” of the translation process from the perspective of linguistics, namely, “Analysis, Transfer, Restructuring and Check”. Nida and Taber claim that all languages have between six and a dozen basic kernel structures and “agree far more on the level of kernels than on the level of more elaborate structures” such as word order. First of all, “Analysis” denotes that we have to analyze the surface structure of the source text and then to master the grammatical meaning of the sentence, in other words, the referential meaning and connotative meaning of the source text.&lt;br /&gt;
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同样，奈达基于“功能对等”理论，从语言学角度，提出翻译过程“四步模型”：分析，迁移，重构，检验。奈达和泰伯提出：所有语言都有6～12中基本内核结构，并且，他们在内核层面的一致性远远大于其在更详细结构层面，比如词序上的一致性。首先，“分析”指的是我们要先分析原文本的表面结构，再掌握句子的语法意义，换句话说，就是掌握原文本的概念意义和内涵意义。--[[User:Gan Fengyu|Gan Fengyu]] ([[User talk:Gan Fengyu|talk]]) 03:48, 4 November 2020 (UTC)&lt;br /&gt;
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同样，奈达基于“功能对等”理论，从语言学角度提出翻译过程的“四步模型”，即“分析、转换、重组、检验”。奈达和泰伯认为所有语言都有六到十二种基本核心结构，它们在核心层面上比在更复杂的结构层次上更一致”，比如词序的一致性。首先，“分析”指我们必须分析源文本的表层结构，再掌握句子的语法意义，换句话说，就是指源文本的指称意义和内涵意义。--[[User:Zeng Liang|Zeng Liang]] ([[User talk:Zeng Liang|talk]]) 14:22, 5 November 2020 (UTC)&lt;br /&gt;
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==Gao Mingzhu 高明珠==&lt;br /&gt;
In order to convey the original information correctly, the translator must analyze the text from surface structure to the deep structure. Then, “Transfer”, it means that the translator renders the analyzed source text to the target text. This step contains the conversion of two different language symbols and language forms, and it is also an exchange of different thinking modes. Next, “Restructuring” is the re-processing and re-creation of the original text, in which the translator will translate the original text into the target one that conforms to the expression of the target language, getting rid of the constraints of the surface structure of the original text, thus further excavating the meaning of the deep structure.&lt;br /&gt;
==Gong Yumian 龚钰冕==&lt;br /&gt;
Restructuring is thus defined as forward translation, or in other words the process which is the reverse of back-transformation (Shuttleworth &amp;amp; Cowie, 2004: 145). Last but not least, &amp;quot;Check&amp;quot; refers to the process of comparing the text of the original language with the target language so as to avoid semantic errors in the translation works, and pursue the maximum equivalence between the content of the target text and the content of the original text. Nida and Taber’s own description of the process (1969: 63–9) emphasizes the ‘scientific and practical’ advantages of this method compared to any attempt to draw up a fully comprehensive list of equivalences between specific pairs of SL and TL systems (Jeremy Munday, 2016: 63). &lt;br /&gt;
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==Gu Dongfang 顾东方==&lt;br /&gt;
(2)The same concern for the response of the target readers: Since ancient times, the domestic and foreign translators have different opinions on the criteria of excellent translation. Yan Fu proposed his famous three-character guideline, namely, “Faithfulness, Expressiveness and Elegance” in his translation work “Evolution and Ethics and Other Essays”. Similarly, western translator Alexander Fraser Tytler put forward the “Three principles of translation”. To put it simply, that the translation should give a complete transcript of the ideas of the original work; that the style and manner of writing should be of the same character as that of the original; that the translation should have all the ease of the original composition.&lt;br /&gt;
==Guan Qinqing 管钦清==&lt;br /&gt;
From the analysis of Yan Fu’s and Tytler’s description of translation criteria, we can see the fact that the study of the principles and standards of translation is precisely the translator’s emphasis on the target readers, and also reflects the translator’s sense of responsibility for the target culture. Qian Zhongshu's “Sublimation” theory stressed that translators should guide our readers to read foreign literary works or let our readers be attracted by the foreign culture and introduce foreign writers to them.&lt;br /&gt;
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从严复和泰勒对翻译标准的描述中我们可以看出，译者研究翻译原则和标准正是其重视译入语读者、对译入语文化充满责任感的体现。钱钟书的“化境”论强调译者应该引导我们的读者阅读外国文学作品，或者让读者受到外国文化感染，了解外国作家。--[[User:Guan Qinqing|Guan Qinqing]] ([[User talk:Guan Qinqing|talk]]) 12:01, 6 November 2020 (UTC)&lt;br /&gt;
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==Gui Yizhi 桂一枝==&lt;br /&gt;
“Sublimation” is not only a standard for translation, but also a reflection of translators’ care for the target readers. Mr. Qian said: “The translation should be faithful to the original work, so that it does not read like a translation work, because the original work will never be read like a translation in the situation of source culture.” A good translation can stimulate the reader's curiosity about the original work and also give the reader the enjoyment of beauty. What’s more, Mr. Qian also commented the three principles proposed by Yan Fu: &lt;br /&gt;
==Guo Lu 郭露==&lt;br /&gt;
“Faithfulness in translation should include expressiveness and elegance. Expressiveness gives full scope to faithfulness, and elegance is not just to adore expressiveness. To convey the original in the same style---that is faithfulness. ...Many have come to understand that a translation is not supposed to beautify or polish to attain elegance. Yet few have realized that a translation has to give up the words for the spirit. A translation can be intelligible without being faithful to the original, yet can be faithful to the original without being intelligible to the reader.”(Qian Zhongshu, 1986: 1101)&lt;br /&gt;
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“翻译理论当中的信还应包括达和雅。达基于信，但雅并不非靠达才能实现。信是指用统一的风格传递原文信息。许多人认为，翻译中的雅需要靠辞藻的堆砌才能实现。但是很少有人意识到，为保持原文的风格，是需要舍弃对词语的修饰的。即使不忠实于原文，译文也可以清楚明了，但倘若读者读不懂译文，就算不上信。”（钱钟书，1986:1101）--[[User:Guo Lu|Guo Lu]] ([[User talk:Guo Lu|talk]]) 12:01, 3 November 2020 (UTC)&lt;br /&gt;
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翻译中，信应当包含达和雅。达可以充分实现信，但只有达，就不能实现雅。相同风格传达原文信息—这就是信…很多人已经逐渐意识到：翻译不该为了雅，而堆砌辞藻，美化译文。但很少有人认识到：翻译得舍弃这些修饰词来译出原文精神。译文即使不忠于原文，也能明白易懂，但忠于原文，读者反而读不懂了。--[[User:Gan Fengyu|Gan Fengyu]] ([[User talk:Gan Fengyu|talk]]) 03:27, 4 November 2020 (UTC)&lt;br /&gt;
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==Han Haiyang 韩海洋==&lt;br /&gt;
In the meanwhile, Nida deemed that the accuracy of the translation depends on the extent to which the ordinary readers correctly understand the original text, that is, whether the target reader can obtain similar or identical feelings when reading the translation works. The purpose of “functional equivalence” is to satisfy the communication needs of the readers. In order to achieve this goal, we have to change the form of the original text if it is necessary and consider the reader's acceptance of the translation work. &lt;br /&gt;
==Han Wanzhen 韩宛真==&lt;br /&gt;
Nida's “Functional Equivalence” requires not only the faithfulness to the original text, but also the accountability to the target readers and the original readers. Nida describes various “scientific approaches to meaning” related to work that had been carried out by theorists in semantics and pragmatics. Central to Nida's work is the move away from the old idea that a word has a fixed meaning and towards a functional definition of meaning in which a word acquires meaning through its context and can produce varying responses according to culture. &lt;br /&gt;
==He Changqi 何长琦==&lt;br /&gt;
From what we has discussed above, we can see that both Nida’s “Functional Equivalence” and Qian Zhongshu’s “Sublimation” must take the reader’s reaction into consideration. Therefore, as a standard for translation, these theories avoid mechanical textual equivalence and bilingual conversion, which promotes the development of translation practice.&lt;br /&gt;
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(3)The Domesticating tendency of the two theories: As we mentioned in the very beginning, Mr. Qian’s “Sublimation”(化) theory has three meanings, namely “Transfer”(转化), “Domesticating”(归化) and “Sublimation”(化境).&lt;br /&gt;
==Hu Baihui 胡百辉==&lt;br /&gt;
It can be seen easily that “Domesticating” is a bridge connecting the transformation of source text and the realization of Sublimation in target language. In the book “Seven Patches”, he wrote: “whether the target version is ‘European-oriented’ or ‘Chinese-oriented’, the translation is always based on the language system from the original country to the language system of the target country(2002: 78). Although he did not explicitly state whether the translation should be “domestication-oriented” or “foreignization-oriented”, he compared the translation to the “reincarnation” of the original and regarded that the translation was an “out form” of the original.&lt;br /&gt;
==Hu Huifang 胡慧芳==&lt;br /&gt;
In addition, he appreciates Lin Shu’s translation works, and comments that he would rather read Lin Shu’s translation than read Haggard’s original text. In this way, Mr. Qian Zhongshu seems to prefer the text of “Chinese-oriented” style, which demonstrates the tendency of “Domestication”. In the theory of “Functional Equivalence”, Nida advocates the use of the expression habits of the target language to transform the original text. He believes that language is the means of communication, and communication is the ultimate goal and an important role of translation, so he pays more attention to the receptors' response to the target text. &lt;br /&gt;
==Hu Jin 胡瑾==&lt;br /&gt;
In the book “Seven Patches”, he wrote: “whether the target version is ‘European-oriented’ or ‘Chinese-oriented’, the translation is always based on the language system from the original country to the language system of the target country(2002: 78). Although he did not explicitly state whether the translation should be “domestication-oriented” or “foreignization-oriented”, he compared the translation to the “reincarnation” of the original and regarded that the translation was an “out form” of the original.&lt;br /&gt;
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在《七个补丁》一书中，他写道:“无论目标版本是‘面向欧洲’还是‘面向中国’，翻译总是基于从原国家到目标国家的语言系统(2002: 78)。虽然他没有明确说明翻译应该是“归化”还是“异化”，但他把翻译比作原作的“转世”，认为翻译是原作的“变形”。--[[User:Hu Jin|Hu Jin]] ([[User talk:Hu Jin|talk]]) 05:18, 6 November 2020 (UTC)&lt;br /&gt;
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==Ji Tiantian 纪甜甜==&lt;br /&gt;
In order to allow the target readers to accept the translation, it is necessary to make the translation correspond to the cultural traditions and language habits of the target language. At the same time, the translator has to make the translation natural and smooth under the premise of ensuring loyalty. Nida's “Domesticating” translation tendency can be seen from the above view. Please look at the following example:&lt;br /&gt;
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==Jiang Fengyi 蒋凤仪==&lt;br /&gt;
S: “white as snow”&lt;br /&gt;
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T: “白如木棉花” or “白如鹭毛” or “白如蘑菇”&lt;br /&gt;
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From the point of view of traditional translation standards, the above example runs counter to the original information. However, for those who have never seen snow will never know what snow is alike, and therefore he can't understand what &amp;quot;white as snow&amp;quot; means. Through the strategy of “Domestication”, the target readers can have a similar response to the original readers, so as to better achieve the purpose of communication.&lt;br /&gt;
==Jiang Hao 姜好==&lt;br /&gt;
'''2.2 Differences between “Sublimation” and “Functional Equivalence”'''&lt;br /&gt;
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(1) Different theoretical basis: Qian Zhongshu's “Sublimation” theory is based on Yan Fu’s criteria of translation “Faithfulness, Expressiveness and Elegance”, which is the development of Chinese traditional translation theory. Qian Zhongshu's “Sublimation” theory has pushed the study of translation to the extreme of art from the category of aesthetics. Eventually, the “Sublimation” theory was included in the course of the development of Chinese translation thought, say, “Case - Seeking faithfulness - Spiritual likeness - the Sublimation”. &lt;br /&gt;
==Jiang Qiwei 蒋淇玮==&lt;br /&gt;
These four concepts, are independent, but also interconnected. They developed gradually to constitute a whole translation system and this whole system works as an important part of our traditional translation theory (Luo Xinzhang, 2009: 20).&lt;br /&gt;
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Nida’s “functional equivalence” was established on the basis of his Bible translation practice. Under the guidance of Chomsky’s transform-generating grammar, Nida’s functional equivalence requires that the translator analyze the given text from the surface structure to the deep structure; then transform it from the deep structure of the original text to the deep structure of the target text, and finally adjust the target language structure to obtain the surface structure of the translated version.&lt;br /&gt;
==Kang Haoyu 康浩宇==&lt;br /&gt;
From a series of steps, we can see that the hierarchical and theoretical property of translation studies, so Nida put forward his opinion that translation could be considered as a science. Qian Zhongshu thought that the translated works could surpass the original works and sometimes even should be much better than the original; while Nida did not choose the advantageous version between the original and the target text- his more emphasis goes to the equivalence between the two languages and the response of the target receptors thus more priorities were given to the communicative function.&lt;br /&gt;
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从这一系列步骤中，我们可以看出翻译学的层次性和理论性。因此奈达提出了他的观点，即翻译可以称为一门科学。钱钟书则认为译作不仅可以超越原著，有时甚至比原著还要好得多；尽管奈达没有表明在原文和译文哪个要更好，但他更强调两种语言之间的对等和目标受众的反应，因此更重视翻译的交际功能。--[[User:Kang Haoyu|Kang Haoyu]] ([[User talk:Kang Haoyu|talk]]) 13:00, 6 November 2020 (UTC)&lt;br /&gt;
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==Kang Lingfeng 康灵凤==&lt;br /&gt;
(2)Different scopes of their application: “Huajing” (Sublimation) was proposed by Mr. Qian Zhongshu for literary translation standards; hence it may be more appropriate for the translation of literary genre. He considered that translator should “break through” the barriers of cultural differences and make the translation “surpass” the original work. However, it seems unreasonable for the translations of applied styles which relates to politics, economics, law, trade, etc. In addition, some scholars believe that Mr. Qian’s “Sublimation” has over-emphasized the mystery of art and has become a vague standard that could be hard to reach (Gao Huali, 2009: 154).&lt;br /&gt;
==Kong Xianghui 孔祥慧==&lt;br /&gt;
The “highest ideal” of the literary translation he described will inevitably produce the problems of “Misinformation”, which would limit the scope of application of “Sublimation”. Despite the fact that scholars and experts of one generation after another have made their fruitful efforts to shed light on “Sublimation” from various aspects, it remains theoretical unexplainable and practical unattainable, like “an attic, in the air” to many people in the translation circle (Yu Chengfa, 2003: 8)&lt;br /&gt;
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他所描述的文学翻译的“最高理想”会不可避免地产生“信息错误”的问题，而这将限制“升华”的应用范围。 尽管一代又一代的学者和专家做出了卓有成效的努力去从各个方面阐明“升华”，但对很多翻译圈的人来说，“升华”还是无法从理论上解释和实践实现的，这就像“阁楼上的空中”。 （于成发，2003：8）--[[User:Kong Xianghui|Kong Xianghui]] ([[User talk:Kong Xianghui|talk]]) 04:31, 6 November 2020 (UTC)&lt;br /&gt;
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他所描述的文学翻译的“最高理想”会不可避免地产生“信息错误”的问题，而这些问题将限制“化境”的应用范围。 尽管一代又一代的专家学者努力从各个方面阐明“化境”，并取得了成果，但对很多翻译圈的人来说，“化境”还是如同“空中阁楼一般”，仍旧无法从理论上解释并通过实践来实现。--[[User:Kang Haoyu|Kang Haoyu]] ([[User talk:Kang Haoyu|talk]]) 13:06, 6 November 2020 (UTC)&lt;br /&gt;
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==Kong Yanan 孔亚楠==&lt;br /&gt;
On the contrary, Nida’s translation of Bible carries religious culture with integrity and solemnity. He preached to people from all walks of life in order to spread the will of God; therefore, his translation must not only meet the needs of the aristocracy, but also the needs of ordinary people who lack knowledge of religious culture. The target readers of the “functional equivalence” theory is the masses from all walks of life in the society, and its range of application is more practical. Nida’s equivalence of translation is derived from the translation practice of the Bible.&lt;br /&gt;
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与此相反，奈达对于圣经中宗教文化的翻译带有统一和肃穆的色彩。为了传播上帝的意志，他向各行各业的人们传道；因此，奈达对于圣经的翻译不仅要达到贵族们的要求，还要满足缺乏宗教文化知识的普通公民的需要。“功能对等”理论的目标读者是来自各行各业的大众，其适用范围更趋于实践。奈达的翻译的对等理论来源于圣经的翻译实践。--[[User:Kong Yanan|Kong Yanan]] ([[User talk:Kong Yanan|talk]]) 07:32, 4 November 2020 (UTC)&lt;br /&gt;
与此相反，奈达对于圣经的翻译带有统一和庄严的宗教文化色彩。他向各行各业的人传道是为了传播上帝的旨意；正因如此，奈达的翻译不仅要满足上流社会的需要，还要让那些缺乏宗教文化知识的普通大众对此有一定的了解。“功能对等”理论的目标读者是来自社会各阶层的群众，其适用范围也更加实际。奈达的功能对等理论起源于圣经的翻译实践。--[[User:Chen Jiangning|Chen Jiangning]] ([[User talk:Chen Jiangning|talk]]) 03:00, 5 November 2020 (UTC)&lt;br /&gt;
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==Lei Fangyuan 雷方圆==&lt;br /&gt;
As we know, western languages have a lot in common in culture and words of expression, so Nida’s “equivalence” is relatively easy to achieve between two European languages. In English-Chinese translation, it may be more difficult to achieve complete “equivalence”, because Chinese and English belong to different language systems, and their cultures are rather divergent. Nida strictly divides the translation steps into four, which can be used as a practical translation method to guide the translation of some scientific and technical articles, announcements, and application articles. For literary genres, such as the translation of poetry and prose, the translator's creativity may be more important. It is difficult to convey the literary nature of the original text by mechanical methods and steps.&lt;br /&gt;
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众所周知，西方语言在文化和表达方面有许多共通之处，因此奈达的“对等”理论在两种欧洲语言之间相对容易实现。在英汉翻译中，因为汉语和英语属于不同语言系统，并且文化差异较大，所以很难实现完全的“对等”。奈达将翻译步骤严格地划分成四个部分，可视为一种实用性的翻译方法，用于指导一些科技文、公告和应用文的翻译。就文学体裁而言，像诗歌和散文翻译，译者的创造力可能更为重要，用机械的方法和步骤是很难传达原文的文学性的。--[[User:Lei Fangyuan|Lei Fangyuan]] ([[User talk:Lei Fangyuan|talk]]) 12:06, 4 November 2020 (UTC)&lt;br /&gt;
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众所周知，西方语言在文化和表达方面有许多共通之处，因此奈达的“对等”理论在两种欧洲语言之间相对容易实现。而在英汉翻译中，汉语和英语属于不同语言系统，并且文化差异较大，所以很难实现完全的“对等”。奈达将翻译严格地划分成四个步骤，这可视为一种用于指导一些科技文、公告和应用文翻译的实用性翻译方法。就文学体裁而言，像诗歌和散文翻译，译者的创造力可能更为重要，用机械的方法和步骤是很难传达原文的文学性的。--[[User:Kong Xianghui|Kong Xianghui]] ([[User talk:Kong Xianghui|talk]]) 04:37, 6 November 2020 (UTC)&lt;br /&gt;
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众所周知，西方语言在文化和表达方面有许多共通之处，因此奈达的“对等”理论在两种欧洲语言之间相对容易实现。因为汉语和英语属于不同的语言系统，并且两者文化差异较大，所以在英汉翻译中很难实现完全的“对等”。奈达将翻译严格地划分为四个步骤，可视为一种实用性的翻译方法，用于指导一些科技文、公告和应用文的翻译。就文学体裁而言，像诗歌和散文翻译，译者的创造力可能更为重要，用机械的方法和步骤是很难传达原文的文学性的。--[[User:Qu Miao|Qu Miao]] ([[User talk:Qu Miao|talk]]) 09:03, 6 November 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
==Lei Kuangxi 雷旷溪==&lt;br /&gt;
'''3.A Critical Understanding of “Sublimation” and “Functional Equivalence”'''&lt;br /&gt;
&lt;br /&gt;
'''3.1 Is “Sublimation” faithful ?'''&lt;br /&gt;
&lt;br /&gt;
According to traditional translation theory, the translator is always regarded as the &amp;quot;servant&amp;quot; of both the original and the translated text. He must be faithful to the original author while concerning the target readers. Xu Jun (2003: 321) wrote in his book “On Translation”: “Three points are often emphasized in traditional translation theory: first of all, translators should not incorporate their own subjective thoughts in translation; then they should not express their individuality in translation; in the end, translators should render the text on the basis of original message, and loyally follow the thoughts of the original writer.&lt;br /&gt;
&lt;br /&gt;
3.A 对“化境”和“功能对等”的批判性理解&lt;br /&gt;
&lt;br /&gt;
3.1 “化境”一说法忠实原文吗？&lt;br /&gt;
&lt;br /&gt;
根据传统的翻译理论，译者一直被认为是原文和译文的“仆人”。他必须要忠实原文，在表达出原作者的意思的同时也要考虑目标读者。徐俊（2003：321）在他的书《论翻译》中写道“传统翻译理论中经常强调三点:第一，译者在翻译中不应纳入自己的主观思想。第二，不应该在翻译中表现出译者个人的情感特点。第三，译者应在原文的基础上进行翻译，忠实于原文作者的思想。”--[[User:Lei kuangxi|Lei kuangxi]] ([[User talk:Lei kuangxi|talk]]) 02:59, 6 November 2020 (UTC)Lei Kuangxi&lt;br /&gt;
&lt;br /&gt;
3.A 对“化境”和“功能对等”的批判性理解&lt;br /&gt;
&lt;br /&gt;
3.1 “化境”就是忠实原文吗？&lt;br /&gt;
&lt;br /&gt;
根据传统的翻译理论，译者总是被认为是原文和译文的“仆人”。在关注目标读者的同时，他必须忠实于原作者。许俊(2003: 321)在《论翻译》一书中写道:“传统的翻译理论往往强调三点:首先，译者在翻译中不应纳入自己的主观思想；其次，他们不应该在翻译中表达自己的个性；最后，译者应该在原文的基础上翻译文本，并忠实地遵循原作者的思想。--[[User:Hu Jin|Hu Jin]] ([[User talk:Hu Jin|talk]]) 05:28, 6 November 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
==Li Haiquan 李海泉==&lt;br /&gt;
From the analysis of Qian Zhongshu’s “Sublimation” theory, it is clear to see that he is more inclined to the translation strategy of “Domestication”, which emphasizes that the target version can surpass the source text. He, himself appreciates Lin Shu’s translation works, because of their common advocacy and similar historical background. From the point of view of historical materialism, “social existence determines social consciousness, and social consciousness has an adverse effect on social existence.” For example, Lin Shu was living in a closed country and at that time , Qing Dynasty was extremely arrogant or even ignorant.&lt;br /&gt;
==Li Lili 李丽丽==&lt;br /&gt;
His style and characteristics of the translation were naturally influenced by this national sentiment. Therefore, his translation had tendency to “Domestication” or even an unfaithful translation. Qian Zhongshu lived in a period of prosperity in literature and art since the establishment of People's Republic of China and at that time Chairman Mao proposed the policy of “All flowers blossoming and hundreds of schools contending (百花齐放，百家争鸣). So our Chinese people were overflowing high spirit and proud emotion; some translators’ translation works are more inclined to take the advantages of “Domestication” and make the translation work more excellent than the original one. &lt;br /&gt;
==Li Lingyue 李凌月==&lt;br /&gt;
Such a translation strategy will be somewhat “disloyal” to the original text, and will not “sincerely imitate” the original text as Lu Xun advocates from his “Foreignization” method. It is difficult to concretely implement “Sublimation” theory, because it has become an “unattainable” goal. Whether the translation should be “Chinese-oriented” or “European-oriented”; be “faithful” or “creative”, and whether the translator should be “visible” or “invisible” in translation are all difficult standards to measure since these factors are inevitably affected by the subjective and historical objectivity of the translator.&lt;br /&gt;
&lt;br /&gt;
这种翻译策略对原文有些许“不忠”，不会像鲁迅所倡导的“异化”方法那样“真诚地模仿”原文。“升华”理论很难具体实施，因为它已经成为一个“无法实现”的目标。翻译是“汉化”还是“欧化”；是“忠实”还是“创新”，而译者在翻译中究竟是“有形”还是“无形”都是难以衡量的标准，因为这些因素不可避免地受到译者主观和历史客观性的影响。--[[User:Li Lingyue|Li Lingyue]] ([[User talk:Li Lingyue|talk]]) 10:09, 4 November 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
这种翻译策略对原文或有“不实”，或不像鲁迅所倡导的“异化”方法那样“真挚地模仿”原文。要具体应用“化境”理论还有点难度，因为它已成为一个“遥不可及”的目标。翻译应该是“汉化”还是“欧化”，是“忠实“还是”创新“；译者在译文中应该”现身“还是”隐形“，这些标准都难以衡量，因为这些都不可避免的受到译者主观和历史客观性的影响。--[[User:WuQiong|WuQiong]] ([[User talk:WuQiong|talk]]) 08:24, 5 November 2020 (UTC)&lt;br /&gt;
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==Li Liqin 李丽琴==&lt;br /&gt;
Is “Sublimation” really a faithful translation to the original text? Perhaps just as Mr. Qian himself said: “The translator’s ability to use his native language is more flexible and smooth than the original author’s ‘source language’ and that is what always happens in the history of translation.” We can consider that such “disloyal” is “faithful” in a certain sense.&lt;br /&gt;
&lt;br /&gt;
“化境”是否能做到忠实于原文本呢？或许正如钱钟书先生所说：“ 译者在使用母语时往往比使用原作者的源语言更加灵活通顺，这种情况在翻译史中是很常见的。” 在某种程度上，我们认为这种“不忠”就是忠实于原文。--[[User:Li Liqin|Li Liqin]] ([[User talk:Li Liqin|talk]]) 02:47, 4 November 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
“化境”真的是忠实原文的一种翻译方法吗？也许就如钱钟书先生所说的那样：“相较于原作者的源语言，译者运用其母语的能力要更加灵活通顺。”而这就是翻译历史上经常出现的现象。我们可以认为这样的“不忠实”其实是特定意义下的“忠实”。--[[User:Yang chenting|Yang chenting]] ([[User talk:Yang chenting|talk]]) 07:50, 4 November 2020 (UTC)Yang Chenting&lt;br /&gt;
&lt;br /&gt;
==Li Luyi 李璐伊==&lt;br /&gt;
'''3.2  Problems of Nida’s “Functional Equivalence”''' &lt;br /&gt;
&lt;br /&gt;
The questions of meaning, equivalence and translatability became a constant theme of translation studies in the 1960s and were tackled by a new ‘scientific’ approach followed by one of the most important figures in translation studies, the American Eugene Nida. Eugene Nida’s theory of translation developed from his own practical work from the 1940s onwards when he was translating and organizing the translation of the Bible, training often inexperienced translators who worked in the field.&lt;br /&gt;
&lt;br /&gt;
==Li Meng 李梦==&lt;br /&gt;
As for Nida's “functional equivalence” theory, praise and opposition to his theory are always existing in the translation circle. Some people think that the theory is a representative of the science of translation science and has a good guiding role in translation practice. However, there are also some scholars who disagree with this theory and for example Peter Newmark is one of its critics. He believed that Nida’s equivalence theory takes the reader too seriously, but sometimes sacrifices the actually original thoughts of the writer. It is also doubtful whether “functional equivalence” can be applied to the original texts of various subjects.&lt;br /&gt;
&lt;br /&gt;
==Li Yongshan 李泳珊==&lt;br /&gt;
If the translator partially pursue “functional equivalence”, which will makes it difficult for the target readers to fully understand the original cultural information and it is not conducive to the mutual communication between different countries and cultures. For the above example: if we render “White as snow” as “白如鹭毛”, target readers may understand the meaning of the original author, but they still have no idea of what the word “snow” actually means.&lt;br /&gt;
&lt;br /&gt;
==Li Yu 李玉==&lt;br /&gt;
This has become a situation where we cannot get two things at the same time, or in Chinese “鱼和熊掌不可兼得”. However, If the original text is literally translated as “white as snow”, then the translator continues to explain what substance a “snow” is and what characteristics it may have and why we say its color is as white as egret’s feathers.&lt;br /&gt;
&lt;br /&gt;
==Lin Min 林敏==&lt;br /&gt;
In this way, not only can the readers of the translation work have the same response as the readers of the original, but also it is conducive for them to learn to understand new things and new concepts, which will gradually promote the communication of different cultures and the mutual interests of different countries.&lt;br /&gt;
&lt;br /&gt;
==Lin Xin 林鑫==&lt;br /&gt;
'''4.Conclusion'''&lt;br /&gt;
&lt;br /&gt;
Mr. Qian Zhongshu’s “Sublimation” theory and Nida’s “Functional Equivalence” respectively represent huge progress in Chinese and Western translation studies, and they played an important role for the reference of translation studies and practice. Their theory is likened a treasure-house that requires more investigation and more exploration. Their theory is likened a treasure-house that requires more investigation and more exploration. Furthermore, we must learn their theories with a critical view, so as to strive for innovation and establishment of a new era for translation studies.&lt;br /&gt;
&lt;br /&gt;
==Ling Zijin 凌子瑾==&lt;br /&gt;
'''Translators' Views on Translation Influence Their Translation Behavior'''&lt;br /&gt;
&lt;br /&gt;
A translator plays an essential role in the translation process. Translators’ views on translation is their understanding of translation, embodied in their translation strategies and value orientations, which are different from each other due to their social and cultural context and also their personal experience and philosophy. And “translation behavior”, in a broad sense, includes the translators’ linguistic translation behavior and the social transcend-translation behavior. In a narrow sense, it only means the translators’ translation as a “pure” translator (Zhou 18).&lt;br /&gt;
&lt;br /&gt;
==Liu Bo 刘博==&lt;br /&gt;
The “translator behavior” in this thesis is a broad one, that is, translators’ translation behavior can be influenced by their social and cultural context, their motivations for translation, their views on translation and the linguistic translatability of the SL and their translation competence (Xu Jun 199-254). Specifically, the translation behavior we will discuss is “what to translate (what works they translated)” and “how to translate (their translation principles)”.&lt;br /&gt;
&lt;br /&gt;
==Liu Jinxingqi 刘金惺琦==&lt;br /&gt;
According to A. Lefevere, ideology and poetics together dictate the translation strategy and the solution to specific problems (39). The translators’ view on translation, as a part of the translators’ ideology, exert a great influence on their translation behavior. &lt;br /&gt;
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So how is translation behavior associated with translator’s views?&lt;br /&gt;
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From the very beginning the research of translation was limited in a certain extent, and then there were some scholars starting to study on the relationship between translation and other systems, including Even-Zohar, Bassett, Lefevere and Venuti.&lt;br /&gt;
&lt;br /&gt;
==Liu Liu 刘柳==&lt;br /&gt;
'''I.Some Previous Studies''' &lt;br /&gt;
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A.Even-Zohar’s Polysystem&lt;br /&gt;
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According to ''Introducing Translation Studies'':&lt;br /&gt;
 &lt;br /&gt;
“Polysysten theory was developed in the 1970s by the Israeli scholar Itamar Even-Zohar borrowing ideas from the Russian Formalists of the 1920s and the Czech structuralists of the 1930s and 1940s . . . For the Formalists, a literary work was not studied in isolation but as part of a literary system . . . Literature is thus part of the social, cultural, literary and historical framework . . .” (Munday 165).&lt;br /&gt;
&lt;br /&gt;
==Liu Ou 刘欧==&lt;br /&gt;
In 1978, Even-Zohar in his “The position of translated literature within the literary polysystem”, first gives a new term, the polysystem (Even-Zohar 22), emphasizing the translated literature operates as a system in itself: &lt;br /&gt;
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(1)in the way the TL culture selects works for translation;&lt;br /&gt;
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(2)in the way translation norms, behavior and policies are influenced by other co-systems (Even-Zohar 22).&lt;br /&gt;
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Thus, translation is not isolated, but associated with other systems, for instance, the TL culture. And the ST that chosen by a culture correspond to the organized system rather than arbitrary decisions made by individuals. Also translation works occupies different position in different cultures and has something to do with the position of the national literature.&lt;br /&gt;
&lt;br /&gt;
==Liu Yangnuo 刘洋诺==&lt;br /&gt;
B.Bassett and Lefevere&lt;br /&gt;
&lt;br /&gt;
Later, “Bassett and Lefevere go beyond language and focus on the interaction between translation and culture, on the way in which culture impacts and constrains translation and on ‘the larger issues of context, history and convention (11)’ ” (Munday 192).&lt;br /&gt;
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C.Lefevere: Rewriting and Manipulation&lt;br /&gt;
&lt;br /&gt;
Furthermore, “Lefevere focuses particularly on the examination of ‘very concrete factors’ that systemically govern the reception, acceptance or rejection of literary texts; that is, ‘issues such as power, ideology, institution and manipulation (2)'.&lt;br /&gt;
&lt;br /&gt;
==Liu Yi 刘艺==&lt;br /&gt;
The people involved in such power positions are the ones Lefevere sees as ‘rewriting’ literature and governing its consumption by the general public. The motivation for such rewriting can be ideological (conforming to or rebelling against the dominant ideology) or poetological (conforming to or rebelling against the dominant/preferred poetics)” (Munday 194). And translation is the most obviously recognizable type of rewriting (Lefevere 9). &lt;br /&gt;
&lt;br /&gt;
Translator’s view on translation, for example, reflecting the translators’ ideology, can conform to or rebel against the social dominant ideology.&lt;br /&gt;
&lt;br /&gt;
参与这种权力地位的人，就是莱弗维尔认为的 &amp;quot;改写 &amp;quot;文学并支配大众消费的人。这种改写的动机可以是意识形态的（顺应或反抗主流意识形态），也可以是诗学的（顺应或反抗主流/偏好的诗学）&amp;quot;（Munday 194）。而翻译是最明显可识别的重写类型（Lefevere 9）。&lt;br /&gt;
&lt;br /&gt;
例如，译者的翻译观，反映了译者的意识形态，可以顺应或反抗社会主流意识形态。--[[User:Liu Yi|Liu Yi]] ([[User talk:Liu Yi|talk]]) 00:16, 6 November 2020 (UTC)&lt;br /&gt;
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==Liu Yiyu 刘怡瑜==&lt;br /&gt;
For Lefevere, the literary system in which translation functions is controlled by two main factors, which are: (1) professionals within the literary system, who partly determine the dominant poetics; and (2) patronage outside the literary system, which partly determines the ideology.&lt;br /&gt;
The “professionals within the literary system” include translators themselves, who decide on the poetics and at times influence the ideology of the translated text (Munday 194).&lt;br /&gt;
&lt;br /&gt;
Thus, the role of translator is essential and the translator’s ideology have an great influence on the translation text and the text reader.&lt;br /&gt;
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==Liu Zhiwei 刘智伟==&lt;br /&gt;
“For Lefevere, the most important consideration is the ideological one. In this case, it refers to the translator’s ideology or the ideology imposed upon the translator by patronage. The poetological consideration refers to the dominant poetics in the TL culture. Together, ideology and poetics dictate the translation strategy and the solution to specific problems” (Munday 197). &lt;br /&gt;
&lt;br /&gt;
D.Venuti&lt;br /&gt;
&lt;br /&gt;
Then Venuti insists that the scope of translation studies needs to be broadened to take account of the value-driven nature of the sociocultural framework.&lt;br /&gt;
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==Lou Cancan 娄灿灿==&lt;br /&gt;
“Norms may be in the first instance linguistic or literary, but they will also include a diverse range of domestic values, beliefs, and social representations which carry ideological force in serving the interests of specific groups. And they are always housed in the social institutions where translations are produced and enlisted in cultural and political agendas” (29). &lt;br /&gt;
&lt;br /&gt;
Munday suggests, the groups and social institutions to which Venuti refers would include the various players in the publishing industry as a whole . . . Each of these players has a particular position and role within the dominant cultural and political agendas of their time and place. The translators themselves are part of that culture, which they can either accept or rebel against (217).&lt;br /&gt;
&lt;br /&gt;
==Luo Weijia 罗维嘉==&lt;br /&gt;
Therefore, being part of the culture, translators are influenced by the social and patronage ideology, and the poetics. Nevertheless, translators more or less enjoys some autonomy. For example, translators’ views on translation, i.e. the understanding of translation, can be conformed to or rebellious against the culture. And then their views on translation, influence their specific translation behavior such as the works they choose to translate and their translation principles. Next are three examples for us to discuss how the translators’ views on translation immediately influence their translation behaviors.&lt;br /&gt;
&lt;br /&gt;
==Luo Yuqing 罗雨晴==&lt;br /&gt;
To narrow the differences of the social ideology down, three translators in modern period of China (after 1949) will be discussed in this thesis. However, because they are born in different climate and stage of the society, no doubt that they have distinctive world outlook from each other, resulting in their distinctive views on translation. But focus will still be on the influence exerted by their views on their translation behavior.&lt;br /&gt;
&lt;br /&gt;
==Ma Juan 马娟==&lt;br /&gt;
II.Three Examples in Modern Period of China&lt;br /&gt;
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A.Xu Yuanchong (1921-): Translation is translators’ responsibility. &lt;br /&gt;
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For Xu Yuanchong, Chinese translators have a responsibility to translate the foreign masterpieces into Chinese and Chinese excellent works of literature into foreign languages, in order to introduce the advanced ideas to China and also bring the foreigners the splendid culture of China, during which the world will be more culturally rich and diversely civilized.&lt;br /&gt;
&lt;br /&gt;
==Ma Shuya 马淑雅==&lt;br /&gt;
In this case, Xu Yuanchong further puts forward that the histories and evolution of the two cultures are very different from each other, with distinct advantages and disadvantages If they can learn the strong points from each other to offset their weakness, they can both be improved. In this respect, translation can be considered as a rivalry between two different cultures. The translation can even surpass the original work. If we make full use of the advantages of one culture to perfect another , the culture of all the humanity will be developed. This is the ultimate goal of the translator (“Surpass” 47). Based on this view, Xu Yuanchong proposed the Rivalry Theory and the Theory of Advantage.&lt;br /&gt;
&lt;br /&gt;
==Ma Zhixing 马智星==&lt;br /&gt;
Therefore, in order to exchange the advantages between cultures, the foreign works Xu Yuanchong had translated are some western masterpieces includes: ''Madame Bovary'', ''Le Rouge et le Noir'', ''Jean Christophe'', etc. And also some Chinese classical works especially the classical Chinese poetry: ''150 Tang Poems'', ''100 Tang and Song Poems'', ''300 Poems Chinois Classiques'', ''Selected Poems of Mao Zedong'', ''The Romance of Western Bower'', ''Earth-shaking Songs'' (the selected poems written by Chinese modern revolutionists), etc.&lt;br /&gt;
&lt;br /&gt;
==Meng Ying 孟莹==&lt;br /&gt;
By translating the essence of one culture and ideology into another languages, he demonstrates our advantages and at the same time offers Chinese people the opportunities to enjoy the classics of another culture.&lt;br /&gt;
&lt;br /&gt;
Xu Yuanchong’s view on translation also influences his translation principles. Take the first sentence of ''Jean Christophe'' as an example:&lt;br /&gt;
&lt;br /&gt;
Le grondement du fleuve monte derrére la maison. (Jean Christophe)&lt;br /&gt;
&lt;br /&gt;
From behind the house rises the murmuring of the river. (English)&lt;br /&gt;
&lt;br /&gt;
江声浩荡，自屋后上升。(Fu Lei)&lt;br /&gt;
&lt;br /&gt;
江流滚滚，声震屋后。(Xu Yuanchong)&lt;br /&gt;
&lt;br /&gt;
==Mo Ling 莫玲==&lt;br /&gt;
The french word “grondement” means “roaring” or “murmuring” in English. The English translation seems to be coherent in the paragraph and the following content. However, as to the whole work, Xu Yuanchong considers that “浩荡” in Fu Lei’s translation is more powerful and symbolic of the spectacular river cutting through Europe, and some readers even take Fu Lei’s translation as “the classical opening sentence” of the work, which proves it a translation that surpasses the original one.&lt;br /&gt;
&lt;br /&gt;
法语中的“grondement”在英语中的意思为“咆哮”或是“低吼”。在段落中和接下来的语境中英语翻译的版本似乎都是比较合理的。然而，就通篇文章来看，许渊冲认为傅雷翻译的“浩荡”更加形象地描绘出了这条横跨欧洲的大河的力量。一些读者甚至把傅雷翻译的版本当作这一作品的经典开头，这也从侧面表明傅雷的译文的确比原始翻译版本好。--[[User:Mo Ling|Mo Ling]] ([[User talk:Mo Ling|talk]]) 15:03, 5 November 2020 (UTC)Mo Ling&lt;br /&gt;
&lt;br /&gt;
法语单词“grondement”在英语中的意思是“咆哮”或“喃喃自语”。英文版译文在段落之间和以下内容中似乎是连贯的。但是，就整个作品来看，许渊冲认为傅雷在其译文中所使用的“浩荡”一词更具力量，能更加形象地描绘这条横贯欧洲的壮观河流，有些读者甚至将傅雷的译文当成了这一作品的“经典开篇句”，证明了其译文已经超越了原作。--[[User:Ding Daifeng|Ding Daifeng]] ([[User talk:Ding Daifeng|talk]]) 03:58, 6 November 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
==Mo Nan 莫南==&lt;br /&gt;
And then Xu Yuanchong also translated this sentence (as above), replacing “浩荡” with “滚滚” for its more similar sound to “grondement”. And “声震屋后” is also a symbol of the impact of the great achievement of the musician in the work (Yang et.al 35-38). Here appears another translation principle of Xu Yuanchong: “literary translation is art (''Art 20'')” and “beauty in three aspects”, namely, “beauty in sense, beauty in sound and beauty in form”, having developed Lu Xun as well as Lin Yutang’s theory of beauty.&lt;br /&gt;
&lt;br /&gt;
==Nie Xiaolou 聂晓楼==&lt;br /&gt;
This is the reason why Xu Yuanchong emphasizes the similar sound of “滚滚” to “grondement”. Another example is still a sentence in ''Jean Christophe'': &lt;br /&gt;
&lt;br /&gt;
Il marchait sur le monde. (''Jean Christophe'')&lt;br /&gt;
&lt;br /&gt;
他踏着全世界直立着。（鲁迅）&lt;br /&gt;
&lt;br /&gt;
他顶天立地的在世界上走着。（傅雷）&lt;br /&gt;
&lt;br /&gt;
(qtd. “Re-creation” 222)&lt;br /&gt;
&lt;br /&gt;
Which translation corresponds to the original best? Lu Xun’s translation is similar in from while Fu Lei’s is in style. In this case, Xu Yuanchong considers there is one solution, that is to change the question as “Which translation is more beautiful and delightful for readers?”&lt;br /&gt;
&lt;br /&gt;
==Ou Rong 欧蓉==&lt;br /&gt;
He also quotes “Qu’ importe celui qui crée? Il’y a de réel que ce qu’on crée” said by Romain Rolland to indicate that the translator ought to make the translation more of art to give readers an enjoyment of beauty rather than to captiously keep the author’s style. So he is in favor of Fu Lei’s translation.&lt;br /&gt;
&lt;br /&gt;
The last example goes to the translation of the last sentence of ''Uprising Songs'' (《起义歌》) written by Sun Zhongshan, collected in ''Earth-shaking Songs'':&lt;br /&gt;
&lt;br /&gt;
==Ouyang Jinglan 欧阳静兰==&lt;br /&gt;
顶天立地奇男子，要把乾坤扭转过来。(''Uprising Songs'')&lt;br /&gt;
&lt;br /&gt;
Heroes of indomitable spirit, arise! &lt;br /&gt;
&lt;br /&gt;
Let us transform the old world and reverse the tide! (previous translation)&lt;br /&gt;
&lt;br /&gt;
Heroes who would move heaven and earth, arise! (Xu Yuanchong)&lt;br /&gt;
&lt;br /&gt;
Xu Yuanchong suggests that in the previous translation, translating “顶天立地” only into “indomitable spirit” is in want of the image of “天” and “地”. Also, as it were, the readers cannot enjoy the beauty of the SL, which is thus a failure in the rivalry of two cultures. So he translated the sentence as above, keeping the impression of “天地” to have the readers appreciate the beauty of the original work, in other words, to win the rivalry between the ST and TT (“Re-creation” 221-222).&lt;br /&gt;
&lt;br /&gt;
==Ouyang Ling 欧阳玲==&lt;br /&gt;
For Xu Yuanchong the translation is an art, a rivalry between tow cultures, so the classics works of western world and China are chosen and the feeling of beauty in the translation is emphasized. The translation not only should be faithful to the original, but also be powerful and infectious to readers, even giving an much more profound impression than the original work.&lt;br /&gt;
&lt;br /&gt;
B.Liu Zhongde (1914-): Translation is a way to make foreign masterpieces to serve China.&lt;br /&gt;
&lt;br /&gt;
许渊冲认为翻译是一种艺术，也是两种文化的碰撞，所以他选择翻译那些中西经典作品并且强调翻译要体现美感。翻译不仅要忠实于原文，还要能影响并感染读者，让他们产生比对原作品更深刻的印象。&lt;br /&gt;
&lt;br /&gt;
B.刘重德（1914-）：翻译外国著作是为服务于中国。--Ouyang Ling&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
许渊冲认为,翻译既是一种艺术，也是两种文化的碰撞，所以他选择翻译那些中西方经典作品，并强调在翻译的同时，还要体现译文的美感。翻译不仅要忠实于原文，还要能够感染读者，让他们对译文产生比对原作品更深刻的印象。&lt;br /&gt;
&lt;br /&gt;
B.刘重德（1914-）：翻译是为外国著作服务于中国。--[[User:Guo Lu|Guo Lu]] ([[User talk:Guo Lu|talk]]) 12:23, 3 November 2020 (UTC)&lt;br /&gt;
许渊冲认为翻译是一种艺术，是两种文化间的碰撞。所以在翻译选材时，他选择那些中西方经典作品，并强调翻译应当体现译文的美感。翻译不仅要忠实原文，还要有魅力感染读者，让他们对译作产生比对原作更深刻的印象。--[[User:Zhang Peiwen|Zhang Peiwen]] ([[User talk:Zhang Peiwen|talk]]) 07:22, 4 November 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
==Peng Dan 彭丹==&lt;br /&gt;
In order to make the western masterpieces more popular in China, Liu Zhongde decided to devote himself to a career in translation. By translating the western works into Chinese, as far as he concerns, the advanced thoughts can serve Chinese intellectuals and further improve the whole country. He was the first person who introduced Jane Austin’s ''Emma'' to China. But he were not satisfied with his first translation of ''Emma'' and at last in 1990s he re-translated it and corrected the errors he had made, which reflected his spirit of improving himself constantly and his rigorous scholarship (Ten 178 ).&lt;br /&gt;
&lt;br /&gt;
==Peng Juan 彭娟==&lt;br /&gt;
Thus, most works Liu Zhongde translated were the western classics such as ''Uncle Tom’s Cabin'', ''Confessions of an English Opium-Eater'', ''Emma'', ''Darwin'', etc. He seldom translated Chinese works into English. &lt;br /&gt;
&lt;br /&gt;
In order to convey to the Chinese readers the exact ideas and original style and content of the ST, Liu Zhongde puts much emphasis on the “closeness” of the translation. He says the translator should always remember what he is working at is a literacy work written by somebody else and try his utmost to turn his translation into a work of art which is in conformity with the thought, feeling and style of the original.&lt;br /&gt;
&lt;br /&gt;
==Peng Ruihong 彭锐宏==&lt;br /&gt;
Thus, the translation will be as moving and vivid as the original work and the reader may be aesthetically entertained as well (''Ten'' 122-123). &lt;br /&gt;
&lt;br /&gt;
Therefore he developed from Yan Fu’s three principles－“信达雅 (faithfulness, expressiveness and elegance)” into “信达切 (faithfulness, expressiveness and closeness)” as a set of principles for translation reference: “The style of your translation must correspond, or at least, be close, to that of the original you are working at . . . the ideological content, linguistic expression and stylistic characteristics of a literary work constitute a unified entity, and the translator should reproduce the three elements as a whole” (''Ten'' 122).&lt;br /&gt;
&lt;br /&gt;
==Peng Xiaoling 彭小玲==&lt;br /&gt;
Being different from Xuyuanchong, Liu Zhongde holds that “literary translation has a double nature. That’s to say, on the one hand, it is a science with its own laws and methods and on the other, it is an art” (''Ten'' 2).&lt;br /&gt;
&lt;br /&gt;
So how exactly does Liu Zhongde’s views on translation influence his translation principles? There are two examples as follows.&lt;br /&gt;
&lt;br /&gt;
Here is a translation of “回乡偶书” by Liu Zhongde:&lt;br /&gt;
&lt;br /&gt;
回乡偶书 &lt;br /&gt;
少小离家老大回，乡音无改鬓毛衰。&lt;br /&gt;
儿童相见不相识，笑问客从何处来。&lt;br /&gt;
(the original poem)&lt;br /&gt;
&lt;br /&gt;
Homecoming&lt;br /&gt;
I left home quite young, and I come back very old.&lt;br /&gt;
My accent remains the same, but my hair turns gray.&lt;br /&gt;
Kids don’t know me when one another we behold.&lt;br /&gt;
“Where do you come from?” with a smile to me they say.&lt;br /&gt;
(Liu Zhongde’s translation)&lt;br /&gt;
&lt;br /&gt;
和许渊冲不同，刘重德认为“文学翻译具有双重性。也就是说，“一方面，它是一门有自己规律和方法的科学，另一方面，它又是一门艺术”（''Ten'' 2)。&lt;br /&gt;
&lt;br /&gt;
那么，刘重德的翻译观点究竟是如何影响他的翻译原则呢？有以下两个示例。&lt;br /&gt;
&lt;br /&gt;
这是刘重德对《回乡偶书》一诗的翻译。&lt;br /&gt;
&lt;br /&gt;
回乡偶书 &lt;br /&gt;
少小离家老大回，乡音无改鬓毛衰。&lt;br /&gt;
儿童相见不相识，笑问客从何处来。&lt;br /&gt;
(原诗)&lt;br /&gt;
&lt;br /&gt;
Homecoming&lt;br /&gt;
I left home quite young, and I come back very old.&lt;br /&gt;
My accent remains the same, but my hair turns gray.&lt;br /&gt;
Kids don’t know me when one another we behold.&lt;br /&gt;
“Where do you come from?” with a smile to me they say.&lt;br /&gt;
(刘重德的译文)--[[User:Peng Xiaoling|Peng Xiaoling]] ([[User talk:Peng Xiaoling|talk]]) 08:15, 6 November 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
==Peng Yongliang 彭永亮==&lt;br /&gt;
This translation adapts so well the style and features of TT to the ST that it seems to be an original work written by Liu Zhongde himself. We can appreciate the same meaning and emotion the original work expresses. The TT keeps the the same number of lines just as the ST: each of the sentence has 12 syllables. The rhyme pattern of ST is also kept: the first line rhymes with the third, and the second with the forth. The TT is exactly an expression of sound, form and sense of the ST (Jiang 196-197).&lt;br /&gt;
&lt;br /&gt;
==Peng Yuzhi 彭育志==&lt;br /&gt;
The next two examples are from Liu Zhongde’s re-translation of ''Emma'':&lt;br /&gt;
&lt;br /&gt;
(1)The truth is, Harriet, that my playing is Just good enough to be praised, but Jane Fairfax’s is much beyond it.&lt;br /&gt;
&lt;br /&gt;
事实是，赫蕊埃特，我的弹奏恰恰好到值得称赞，但简·凡凡可斯的弹奏却是神乎其技了。(Previous translation)&lt;br /&gt;
&lt;br /&gt;
事实是，赫蕊埃特，我的弹奏恰恰好到值得称赞，但简·凡凡可斯的弹奏却大大超过我的弹奏。(Liu Zhongde)&lt;br /&gt;
&lt;br /&gt;
“神乎其技” in the previous translation does not correspond to the plain style of “much beyond it” in ST. It is true that a Chinese four-character-word can embody a complex meaning, but the style it can be applied to is supposed to be formal and academic. In this sentence, the style of “神乎其技” is not appropriate at all, while a simpler word should be used. Thus Liu Zhongde replaced “神乎其技” with “大大超过我的弹奏”.&lt;br /&gt;
&lt;br /&gt;
==Qi Kai 漆凯==&lt;br /&gt;
(2)“Just as they always do-very vulgar.”&lt;br /&gt;
&lt;br /&gt;
还不是像他们平常那样——俗不可耐。(Previous translation)&lt;br /&gt;
&lt;br /&gt;
还不是像他们平常那样——很庸俗。(Liu Zhongde) &lt;br /&gt;
&lt;br /&gt;
(Jiang 278-279)&lt;br /&gt;
&lt;br /&gt;
The four-character-word “俗不可耐” in the previous translation does not conform to the plain or colloquial style of ST, either, just like “神乎其技” mentioned above. Liu Zhongde changed it into “庸俗” to be in line with the original style.&lt;br /&gt;
&lt;br /&gt;
==Qu Miao 瞿淼==&lt;br /&gt;
For Liu Zhongde, translation is a science, a way for Chinese to learn the advantages of westerners, thus the western masterpieces are selected by him and the “closeness” in translation is underlined to convey the closet meaning and style of the original. &lt;br /&gt;
&lt;br /&gt;
C.Li Jihong (1980-): Translation after all is one of the material production activities of human beings.&lt;br /&gt;
&lt;br /&gt;
对于刘重德来说，翻译是一种科学，是一种中国人学习西方人长处的方式，因此他选择西方杰作来翻译，并强调译作的“切”，以此来切实地传达原文意思和风格。&lt;br /&gt;
李继宏（1980-）：翻译终究是一种人类的素材生产活动。--[[User:Qu Miao|Qu Miao]] ([[User talk:Qu Miao|talk]]) 09:00, 6 November 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
==Quan Meixin 全美欣==&lt;br /&gt;
As to Li Jihong, translation after all is one of the material production activities of human beings. In an article called “The Literary Translation Should Keep Pace with the Times: The Translation Speed and Pay” against the view of another translator, Shi Kangqiang, he says that the pay of translation in the new period is different from that of the old times, mainly because of the translation tools which belonging to the production tools, have already  been developed today into computers, digital data, Internet, etc. As a result, the translation speed is supposed to be improved. Therefore, a professional translator nowadays can definitely earn a decent life by translating 1000 words each hour, 8 hours a day. And for every 1000 words they can earn 60 ''yuan''.&lt;br /&gt;
&lt;br /&gt;
==Sagara Seydou ==&lt;br /&gt;
&lt;br /&gt;
The article aims to oppose to Shi Kangqiang’s opinion that the appalling pay translators receive influence the quality of the translation, but it also reveals Li Lihong’s view on translation from his borrowing lots of economic theories and activities, numbers, calculation of the pay to support his opinion, his favors to the publishers’ increasing reward on the sales of the translation work and his announcement that he have translated ''The Kite Runner'' (written by Khaled Hosseini), 195190 words, for only 10 days, 15 hours a day.&lt;br /&gt;
&lt;br /&gt;
==Shi Diwen 石迪文==&lt;br /&gt;
&lt;br /&gt;
In this article he also says: “Any responsible translators will not translate for the personal income,” but he adds next, “ In fact, the support for his translation is the letters from readers, in addition to the high income.” Although the total contradiction in his saying is confusing, it still can be inferred that money is an important motivation for his translation, if not the most important one. &lt;br /&gt;
&lt;br /&gt;
==Shi Haiyao 石海瑶==&lt;br /&gt;
&lt;br /&gt;
The works Li Jihong translated are foreign classics such as ''Le Petit Prince'', ''The Old Man and the Sea'', ''Animal Farm'', ''The Great Gatsby'', ''Walden'', ''The Moon and Sixpence'', ''Pride and Prejudice'' and ''The Sound and Fury''. However, all those works and the values of them have already been well received in China, with several translations in market. &lt;br /&gt;
&lt;br /&gt;
To begin with the work that he have translated “for only 10 days, 15 hours a day” as he says, ''The Kite Runner'' written by Khaled Hosseini:&lt;br /&gt;
&lt;br /&gt;
==Si Yu 司妤==&lt;br /&gt;
&lt;br /&gt;
(1)We left the old man on the steps of that building. I meant to take him up on his offer, come back and see if he’d unearthed any more stories about my mother. But I never saw him again (Hosseini 251).&lt;br /&gt;
&lt;br /&gt;
我们离开了坐在那座房子台阶上的老人。我原想带他到他的办公室去，看看他能否想起更多关于我妈妈的事情。但我再也没有见到他 (Li 243)。&lt;br /&gt;
&lt;br /&gt;
In this text, “take somebody. up on something” means “to accept an offer, an invitation that somebody has made 接受（提议或邀请）” in ''Phrasal Verbs Dictionary'' (438). Also according to the whole context, the old man, a beggar, had been a colleague of “my” mother who I had never met. He told me a story about “my” mother and promised me more details about her: “ The old man smiled. ‘I’ll try to remember and that’s a promise. Come back and find me ’ (Hosseini 250).”&lt;br /&gt;
&lt;br /&gt;
==Song Jianru 宋建茹==&lt;br /&gt;
&lt;br /&gt;
It can be inferred that the old man offered the narrator a chance to know more about his mother. Thus, the “offer” means “邀请” instead of “办公室 (office)”. What’s more, It seems like the word “offer” is misread as “office” by the translator. Perhaps the translator is too busy translating as fast as possible to check his translation carefully.&lt;br /&gt;
&lt;br /&gt;
我们可以推断出，这位老人给了叙述者一个了解他母亲更多信息的机会。因此，“offer”的意思是“邀请”，而不是“办公室 (office)”。此外，“offer”这个词似乎是被译者误读成了“office”。也许是译者忙着尽快翻译，而没有仔细检查他的译文是否正确。--[[User:Song Jianru|Song Jianru]] ([[User talk:Song Jianru|talk]]) 14:48, 6 November 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
==Su Lin  苏琳==&lt;br /&gt;
&lt;br /&gt;
(2)“Your job today is to pass gas. You do that and we can start feeding you liquids. No fart, no food.” He laughed again (Hosseini 297). &lt;br /&gt;
&lt;br /&gt;
“你今天的工作是排便。你完成之后我们才能开始喂你吃流食。不见粪便，不给食物。”他又哈哈大笑 (Li 287)。&lt;br /&gt;
&lt;br /&gt;
The speaker was a staff in hospital, and he was asking the patient who had just come to himself from a surgery “to pass gas”. The relevant meaning of “gas” in ''The New Oxford Illustrated English-Chinese Dictionary'' is “[物理]气体、瓦斯” (726), of “pass” is “通过” (1338). And “fart” as a noun means “放屁 (emit wind from the anus)” (632). In conclusion, “排便” does not correspond to the original meaning of the ST. So the translation can be righted as “你今天的工作是排气。你完成之后我们才能开始喂你吃流食。不放屁，不给食物。” This is also a very small and simple mistake. The translator should be more cautious about translating.&lt;br /&gt;
&lt;br /&gt;
==Tan Xingyue 谭星越==&lt;br /&gt;
&lt;br /&gt;
This summer holiday I have read another book translated by Li Jihong: The Moon and Sixpence written by William Somerset Maugham, and also find some odd translation and neglect. Here are two examples:&lt;br /&gt;
&lt;br /&gt;
(1)“Do you think it’s likely that a man will do any good when he starts at your age? Most men begin painting at eighteen.”&lt;br /&gt;
&lt;br /&gt;
“I can learn quicker than I could when I was eighteen (Mauguam 48).”&lt;br /&gt;
&lt;br /&gt;
你认为一个人从你这个年纪开始学画能学得好吗？大多数人从十八岁就开始画了。”&lt;br /&gt;
&lt;br /&gt;
“如果我今年十八岁，我可以学得快一些 (Li 54)。” &lt;br /&gt;
&lt;br /&gt;
The second sentence, a very simple one, means that even if “I” am old now, I can learn even quicker than I could when I was at eighteen. In Chinese it can be translated as, for instance, “我能比我十八岁的时候学得还快.” But Li’s translation “如果我今年十八岁，我可以学得快一些” means “I can learn quicker if I were eighteen,” which has a totally different meaning from the ST.&lt;br /&gt;
&lt;br /&gt;
==Tan Xinjie 谭鑫洁==&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
(2)...for they felt themselves freemen of a country whose frontiers include them all, the great country of Cockaigne (Mauguam 169).&lt;br /&gt;
&lt;br /&gt;
因为他们觉得大家都是自由民，同属于想象中的天堂之国 (Li 203)。&lt;br /&gt;
&lt;br /&gt;
According to Encyclopedia Britannica, “Cockaigne, also spelled Cockayne, imaginary land of extreme luxury and ease where physical comforts and pleasures are always immediately at hand. References to Cockaigne are especially prominent in medieval European lore. These accounts describe rivers of wine, houses built of cake and barley sugar, streets paved with pastry, and shops that gratuitously give goods to everyone.&lt;br /&gt;
&lt;br /&gt;
==Tan Yuanyuan 谭媛媛==&lt;br /&gt;
&lt;br /&gt;
Roast geese wander about inviting people to eat them, and buttered larks fall from the skies like manna.” Being ignorant of the rich meaning of this word, Li Jihong translated it to “天堂之国” without any explanation. In fact, in this book, Li Jihong adds 206 explanatory notes for the  words like “Shakespeare (莎士比亚)”, “Balzac (巴尔扎克)” and “Footnote (生丁)”, however, “Cockaigne” is not included.&lt;br /&gt;
&lt;br /&gt;
烤鹅徘徊着邀请人们吃掉自己，黄油百灵像甘露一样从天上落下。” 李积宏不知道这个词的丰富含义，没有任何解释就将其翻译成“天堂之国”。 实际上，在本书中，李继宏为“莎士比亚”，“巴尔扎克”和“生丁”等词添加了206个解释性注释，但其中不包括“鸡尾酒”。--[[User:Tan Yuanyuan|Tan Yuanyuan]] ([[User talk:Tan Yuanyuan|talk]]) 09:01, 6 November 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
烤鹅徘徊着邀请人们吃掉自己，黄油百灵像甘露一样从天上落下。”李积宏不知道这个词的丰富含义，没有任何解释就将其翻译成“天堂之国”。事实上,在这本书中,李继宏为“莎士比亚”，“巴尔扎克”和“生丁”等词添加了206个解释性注释，但其中不包括“鸡尾酒”。--[[User:XiaoXi|XiaoXi]] ([[User talk:XiaoXi|talk]]) 11:38, 6 November 2020 (UTC)Xiao Xi&lt;br /&gt;
&lt;br /&gt;
==Tang Bei 汤蓓==&lt;br /&gt;
&lt;br /&gt;
Li Jihong’s translation is popular for his elaborate introduction of the work and explanatory notes, which as he says, can help readers to understand the work easier. And some famous people also recommend his translations for his translation is more understandable than others. However, as far as I am concerned, being understandable is not the essence of a translation. &lt;br /&gt;
&lt;br /&gt;
==Tang Ming 唐铭==&lt;br /&gt;
&lt;br /&gt;
From Xu Yuanchong and Liu Zhongde we know there are various translation principles, for instance the former’s “beauty in three aspects: sense, sound and form” and the latter’s “faithfulness, expressiveness and closeness”, nevertheless, the “faithfulness” to the original is emphasized.    &lt;br /&gt;
&lt;br /&gt;
III.Conclusion&lt;br /&gt;
&lt;br /&gt;
This is how the views of translation influence the translators’ behavior, specifically the translation work choosing and their translation principles demonstrated by the translation examples of the three translators.&lt;br /&gt;
&lt;br /&gt;
==Tang Yiran 汤伊然==&lt;br /&gt;
&lt;br /&gt;
For Xu Yuanchong the translation is an art, a rivalry between tow cultures, so the classics works of western world and China are chosen and the feeling of beauty in the translation is emphasized; while for Liu Zhongde, translation is a science, a way for Chinese to learn the advantages of westerners, thus the western masterpieces are selected and the “closeness” in translation is underlined to convey the closet meaning and style of the original. In fact, for both of them translation should be a responsibility that should be treated serious by translators, while as for Li Jihong, translation is just a production activity, a tool to make money or to gain the population, fame and the sense of superiority. Therefore, the economic effect and the speed is highlighted, the minor mistakes were made, and the translator’s personality was manifested so much that it even overshadowed the style and meaning of the original work. &lt;br /&gt;
&lt;br /&gt;
==Tao Ye 陶冶==&lt;br /&gt;
&lt;br /&gt;
For those responsible translators, their translations, imprinted all their individual ideology, experience and reflection, almost like an original work, are supposed to be a special thing. As Thomas C. Foster puts at the end of his How to Read Literature Like a Professor, “My favorite was the apology to the poem itself: ‘Well, little book, you’re not that much but you’re the best I could make you. Now you’ll just have to make your way in the world as best you can. Fare thee well.’” (129), a lot of care and attachment will be taken to the work you made, whatever it is, a poem, a fiction or a translation work. Only if you devote yourself to the translation with painstaking effort, can the translation be respected and appreciated by your readers.&lt;br /&gt;
&lt;br /&gt;
==Wang Meiling 王美玲==&lt;br /&gt;
&lt;br /&gt;
Fu Lei had ever said, “translation should be based on the knowledge of art: without a sensitive soul, earnest sympathy, appropriate appreciation, relative social experience or sufficient common sense (i.e. broad knowledge), a translator neither will understand the original work thoroughly nor grasp the essence of it” (qtd. Xu Jun 253). Because that translators’ views on translation have a great influence on his translation, he should first be earnest to “translation”, and then be diligent, especially when the translation work is carrying the weight of the original work. For translators, translation is never a individual activity, but a responsibility to the author, the SL culture, the reader, the TL culture and eventually themselves.&lt;br /&gt;
&lt;br /&gt;
==Wang Xuan 王轩==&lt;br /&gt;
&lt;br /&gt;
'''Work Cited'''（文献不需要翻译）&lt;br /&gt;
&lt;br /&gt;
胡塞尼· 卡勒德. (Hosseini, Khaled). 《追风筝的人》 (''The Kite Runner''). 李继宏译 (Tran. Li Jihong). 上海: 上海人民出版社, 2008.  &lt;br /&gt;
&lt;br /&gt;
蒋坚松 (Jiang Jiansong) 彭利元 (Peng Liyuan), ed. 《刘重德翻译思想及其他》(''Liu Zhongde’s Tanslation Theories and Others''). 长沙(Changsha): 湖南师范大学出版社 (Hunan Normal University Press), 2003. Print.&lt;br /&gt;
&lt;br /&gt;
李继宏 (Li Jihong), 《文学翻译也需与时俱进：谈谈翻译速度和稿酬问题》 (“The Literary Translation Should Keep Pace With the Times: The Translation Speed and Pay”). 豆瓣网 (douban). 13 Jan. 2013 &amp;lt;https://site.douban.com/179084/widget/articles/10191245/article/23864139/?dt_dapp=1&amp;gt; &lt;br /&gt;
&lt;br /&gt;
刘重德 (Liu Zhongde), ed.《文学翻译十讲》(''Ten Lectures on Literary Translation''). 北京(Beijing): 中国对外翻译出版社 (China Duiwai Translation Press), 2000. Print.&lt;br /&gt;
&lt;br /&gt;
毛姆·威廉. (Maugham, William). 《月亮和六便士》 (''The Moon an Sixpence'').李继宏译 (Trans. Li Jihong). 天津 (Tianjin): 天津人民出版社 (Tianjin Renmin Press), 2018. Print. &lt;br /&gt;
&lt;br /&gt;
许钧. (Xu Jun).《翻译论》(''Translation Theory''). 武汉 (Wuhan)： 湖北教育出版社 (Hubei Education Press), 2003. Print.  &lt;br /&gt;
&lt;br /&gt;
许渊冲. (Xu Yuanchong). 《译文能否胜过原文》(“Can the Translation Surpass the Original”). 《教学研究》(''Teaching Method Research''), no. 2 (1982): 39-47.&lt;br /&gt;
---. ed.《再创作与翻译风格》(“Re-creation and Translation Style”). 《文学与翻译》 (''Literature and Translation''). 北京 (Beijing)：北京大学出版社 (Beijing University Press), 2016. 221-229. Print.&lt;br /&gt;
&lt;br /&gt;
---.《翻译的艺术》(''The Art of Translation''). 北京 (Beijing): 五洲传播出版社 (Wuzhou Chuanbo Press), 2006. Print.&lt;br /&gt;
&lt;br /&gt;
杨绛(Yang Jiang), 李文俊 (Li Wenjun, et al.) 等. 《一本书和一个世界》(''A Book and A World''). 北京 (Beijing): 昆仑出版社 (Kun Lun Press), 2005: 35-38. Print.&lt;br /&gt;
周领顺. (Zhou Lingshun). 《译者行为批评：理论框架》(''A Theoretical Framework for Translator Behavior Criticism''). 北京 (Beijing)：商务印书馆 (The Commercial Press), 2014. Print.&lt;br /&gt;
&lt;br /&gt;
Bassnett, S. and A. Lefevere. ''Translation History and Culture''. London and New York: Pinter, 1990. Print.&lt;br /&gt;
&lt;br /&gt;
Cockaigne. ''Encyclopedia Britannica''. 27 Jun. 2013. Web. 17 Nov. 2019 &amp;lt;https://www.britannica.com/topic/Cockaigne &amp;gt;&lt;br /&gt;
&lt;br /&gt;
Even-Zohar, Itamar. The position of translated literature within the literary polysystem. ''Papers in Historical Poetics''. Tel Aviv: The Porter Institute, 1978. 21-7. Print.&lt;br /&gt;
&lt;br /&gt;
Fart. ''The New Oxford Illustrated English-Chinese Dictionary''. Beijing: Renmin University of China, 2004. Print.   &lt;br /&gt;
 &lt;br /&gt;
Foster. C. Thomas. ''How to Read Literature Like a Professor''. New York: HarperCollins Publishers Inc. 2003. Print. &lt;br /&gt;
&lt;br /&gt;
Hosseini, Khaled. The Kite Runner. New York: The Berkley Publishing Group, 2003. Print. &lt;br /&gt;
&lt;br /&gt;
Lefevere, A. ''Translation, Rewriting and the Manipulation of Literary Fame''. London and New York: Routledge, 1992a. Print.&lt;br /&gt;
&lt;br /&gt;
Maugham, William. ''The Moon an Sixpence''. London: Pan Books Ltd, 1974. Print.&lt;br /&gt;
&lt;br /&gt;
Munday, Jeremy. ''Introducing Translation Studies''. New York: Routledge, 2012. Print.&lt;br /&gt;
&lt;br /&gt;
Take sb. up on sth.” ''Phrasal Verbs Dictionary''. 2013. Beijing: Foreign Language Teaching and Research Publishing Co., Ltd, 2017. Print.&lt;br /&gt;
&lt;br /&gt;
Venuti. L. The Scandals of Translation: ''Towards an Ethics of Difference''. London and New York: Routledge, 1998. Print.&lt;br /&gt;
&lt;br /&gt;
Contemporary Translation Studies&lt;br /&gt;
'''An Analysis of the Book of ''Contemporary Translation Theories'' and ''Introducing Translation Studies: Theories and Applications'''''&lt;br /&gt;
&lt;br /&gt;
'''摘要：'''爱德温·根茨勒的《当代翻译理论》和杰米里·芒迪的《介绍翻译理论：理论与实践》被视为翻译史上不可多得的巨作。本文通过对两本巨著的介绍之后，节选了其中有名的翻译理论即尤金·奈达的形式对等理论和功能对等理论以及亚历山大 弗雷泽·泰特勒和严复的翻译原则进行比较，来阐述了翻译的基本准则。通过对比尤金·奈达的形式对等和功能对等理论，找出其优缺点并结合适当的例子，有利于读者把握奈达的翻译思想来更好地指导其翻译实践。同时，通过分析亚历山大 弗雷泽·泰特勒的翻译原则的优缺点再将其与严复的翻译理论做比较，有利于读者理解中西方翻译的差异，来更好地理解在跨文化的语境中如何做好翻译。&lt;br /&gt;
&lt;br /&gt;
'''关键词：'''爱德温·根茨勒、《当代翻译理论》、杰米里·芒迪、《介绍翻译理论：理论与实践》、尤金·奈达、形式对等、功能对等、亚历山大·弗雷泽·泰特勒、严复、翻译原则 &lt;br /&gt;
&lt;br /&gt;
==Wang Yu 王煜==&lt;br /&gt;
&lt;br /&gt;
'''Abstract:''' ''Edwin'' Gentzler’s ''Contemporary Translation Theories'' and Jeremy Munday’s ''Introducing Translation studies: Theories and Applications'' are both regarded as the masterpieces in the discipline of translation. After giving a brief introduction of these two great works, this paper tends to select the famous translation theories from the book namely Eugene Nida’s formal equivalence and functional equivalence and the translation principles of Alexander Fraser Tytler and Yan Fu to define the basic principles of translation. &lt;br /&gt;
&lt;br /&gt;
==Wang Yuan 王源==&lt;br /&gt;
&lt;br /&gt;
After analyzing the Nida’s theories of formal equivalence and functional equivalence, it is better for the readers to understand the Nida’s translation ideas to better guide him in the translation practice by combining the concrete examples to illustrate its advantages and disadvantages. In the meantime, by analyzing the advantages and disadvantages of Tytler’s translation principles and the comparison between the translation principles of Tytler and Yan Fu, it’s better for the readers to understand the influence of difference in the eastern and western cultures on translation. In such a way, it’s better for the translators to do the translation practice in the cross-cultural situation.&lt;br /&gt;
 &lt;br /&gt;
==Wei Honglang 韦洪朗==&lt;br /&gt;
&lt;br /&gt;
'''Key words:''' ''Edwin'' Gentzler; ''Contemporary Translation Theories''; Jeremy Munday; ''Introducing Translation Studies: Theories and Applications''; Eugene Nida; Formal Equivalence; Functional Equivalence; Alexander Fraser Tytler; Yan Fu; Translation Principles&lt;br /&gt;
&lt;br /&gt;
'''Introduction:''&lt;br /&gt;
&lt;br /&gt;
In this essay, it presents the author’s understanding of the two books: ''Contemporary Translation Theories'' and ''Introducing Translation Studies: Theories and Applications''. After a brief introduction of these two books, this paper tends to concentrate on the discussion of four important translation theories. &lt;br /&gt;
&lt;br /&gt;
==Wei Yafei 魏亚菲==&lt;br /&gt;
&lt;br /&gt;
This paper will be divided into three parts. Firstly, after a brief introduction of the great book: ''Contemporary Translation Theories'', and then it will focus on the analyzing of the Eugne Nida’s two famous translation theories namely formal equivalence and dynamic equivalence. By giving out its definition, it’s easier to find the advantage and disadvantage of these two concepts. Then, this paper will go on introducing briefly the Chomsky’s translation studies. And then it will find some commonness and distinction in Nida’s and Chomsky’s opinions in translation. &lt;br /&gt;
&lt;br /&gt;
==Wen Sixing 文偲荇==&lt;br /&gt;
&lt;br /&gt;
This paper will be divided into three parts. Firstly, after a brief introduction of the great book: ''Contemporary Translation Theories'', and then it will focus on the analyzing of the Eugne Nida’s two famous translation theories namely formal equivalence and dynamic equivalence. By giving out its definition, it’s easier to find the advantage and disadvantage of these two concepts. Then, this paper will go on introducing briefly the Chomsky’s translation studies. And then it will find some commonness and distinction in Nida’s and Chomsky’s opinions in translation. &lt;br /&gt;
&lt;br /&gt;
==Wen Xiaoyi 文晓艺==&lt;br /&gt;
&lt;br /&gt;
'''I Analysis of the book ''Contemporary Translation Theories'''''&lt;br /&gt;
&lt;br /&gt;
Recently, it is a great pleasure to read a very famous book called ''Contemporary Translation Theories'' whose author is called Edwin Gentzler. The second edition of this book has received great success. The publication of this book is significant to the global translation study academia. “Since the mid-19th century, translation theory has maderapid progress, Edwin Gentzler finds out what is useful and rejects what is useless on the translation of today's theories in this book”(Li 2014:111). &lt;br /&gt;
&lt;br /&gt;
==Wu Kai 吴恺==&lt;br /&gt;
&lt;br /&gt;
He also makes a Detailed description in detail several major schools of translation:The North American Translation Workshop, the “Science” of Translation, Early Translation Studies, the Polysystem Translation and Deconstruction. In this book, it presents what is happening in different parts within the discipline. “Gentzler uses his provoke thinking viewpoint to trace the development of literary translation studies from the American translation workshop program, through the polysystems research to deconstruction and postcolonial translation theory and beyond”(Xu  and Wang 2000:42).&lt;br /&gt;
&lt;br /&gt;
他还详细介绍了几种主要的翻译学派：北美翻译研讨会，翻译的“科学”，早期的翻译研究，多元系统翻译和解构。 在这本书中还介绍了该学科不同部分的情况。“根茨勒用他发散的思维观点，从美国翻译研讨会计划，到从解构主义和后殖民翻译理论及以后的多元系统研究来追溯文学翻译研究的发展”--[[User:Wu Kai|Wu Kai]] ([[User talk:Wu Kai|talk]]) 12:03, 6 November 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
==Wu Qi 吴琪==&lt;br /&gt;
&lt;br /&gt;
This book not only provides us with a deep way of theorizing the translation but also is effectively a translation practice . At the end of this book, he also points out the future of translation and sends his positive attitude about the translation’s future. The author turns a whole number of the complex theoretical material into accessible language, so that everyone who doesn’t read any books about translation can read this book freely. Apart from that, each chapter in this book is separated so you can read each chapter alone without relying on your understanding of the other chapters. By this way, it is more convenient for us to find the topic of translation that we are interested in to read and find valuable informationfor us. Gentzler’s book provides us with a precise analysis about what the translation school achieved so far and gives his insight into the future of translation.&lt;br /&gt;
&lt;br /&gt;
==Wu Qiong 吴琼==&lt;br /&gt;
&lt;br /&gt;
“This book stands as a continuing translation textbook with some of the most important theories in the field such as “the same aesthetic experience, dynamic equivalence, corresponding literary function, or the deconstruction theory of Derrida”(Li  2014:112). Despite distinct focus, each theory is completed by a conceptual framework that thinks original existence and an understanding of it in the target society. At present, “all translation theories have kept rigid distinction between original texts and their translations text”(Xu and Wang 2000:43).  &lt;br /&gt;
&lt;br /&gt;
In the chapter 2, this book introduces the American translation workshop. In this chapter, it mainly introduces the A. Richard’s new criticism and translation, Ezra Pound’s theory of luminous details, Frederic Will’s the paradox of translation and Lawrence Venuti’s rethinking translation.&lt;br /&gt;
&lt;br /&gt;
“这本书是翻译教材的续本，涵盖了此领域最重要的理论，例如‘相同美感经历、动态对等、相应的文学功能，以及德里达的结构理论‘。尽管有不同的重点，但每种理论都是在思考初始存在和了解目的社会的概念框架中形成的。如今，‘所有的翻译理论对于原文和译文的区分都很生硬。‘“&lt;br /&gt;
&lt;br /&gt;
在第二章，这本书介绍了美国翻译工作坊。这一章主要介绍了A.里查德的新批判主义和翻译，艾滋拉庞德的细节翻译理论，弗雷德里克翻译和劳伦斯韦努蒂的反思翻译。--[[User:WuQiong|WuQiong]] ([[User talk:WuQiong|talk]]) 08:05, 5 November 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
==Wu Xiang 邬香==&lt;br /&gt;
&lt;br /&gt;
In it workshop, “it emphasizes that translation is a marginal activity, not considered as a proper field of study”(Gentzler 2001:5). However, as time goes by, the process of growth and acceptance of translation boost when many translation courses and workshops were being offered at many universities. There appears many works about this translation workshop but it does not have many books about the translation theories. “In this workshop, the personal opinions may offer some help, but it still lacks the consistent theory to support translation”(Gentzler 2001:44). &lt;br /&gt;
&lt;br /&gt;
==Wu Yilu 吴一露==&lt;br /&gt;
&lt;br /&gt;
Therefore, it needs urgently a classified theory for the translation and it yields the coming of the “science” of translation. In this book, it mainly introduces Eugene Nida’s formal equivalence and dynamic equivalence and Noam Chomsky’s syntactic structure and generative-transformation grammar. Here, it will illustrate my understanding of these two concepts about formal equivalence and dynamic equivalence. Edwin Gentzler illustrated the concept of dynamic equivalence in his book ''Contemporary Translation Theories'', ''Translating consists in reproducing in the receptor language the closest natural equivalent of the source language message, first in terms of meaning and secondly in terms of style. The relationship between the target language receptor and the target text should generally be equivalent to that between the source language receptor and the source text''(2001:48).   &lt;br /&gt;
&lt;br /&gt;
==Wu Zijia 吴子佳==&lt;br /&gt;
&lt;br /&gt;
In the dynamic equivalence, Nida focus on the correspondence of the feeling between the target language and the receptor and the source language and the learner. By his understanding, these two feeling should be the similar. More specifically, “dynamic equivalence considers more about the relationship between the reader and the information, which means that the target reader's response to the target text should be the same as that of the source reader's response to the source text”(Liu 2012:242). “Any foreignness and translationese should be avoided in the target text”(Ju 2000:203). Now, it will &lt;br /&gt;
list the advantages of dynamic equivalence. &lt;br /&gt;
&lt;br /&gt;
==Xiao Shuangling 肖双玲==&lt;br /&gt;
&lt;br /&gt;
“On the one hand, the dynamic equivalence is “somewhat like the free translationwhich emphasizes the translation should achieve the same effect instead of being limitedin the content and form” (Li  2014:112). “It concentrates on the correct way of translating the content of the original text”(Shakernia 2013:2). On the other hand, “it focuses on readers' reaction and analyzes the translation process from the viewpoint of target readers”(Nida 1995:225). In this way, translation is not a single activity, but more social elements are added to make the translation concrete and specific. Moreover, in the dynamic equivalence, due to its classified translation principle it is more suitable to the translation of technology and science essays.&lt;br /&gt;
&lt;br /&gt;
“一方面，动态对等和意译有点像，它强调的是翻译应达到原文一样的效果，而不应受到原文内容和格式的限制。” (Li  2014:112).“它侧重于翻译原文内容的正确方式”(Shakernia 2013:2)另一方面，“它注重读者的反应，并从目标读者的角度分析翻译过程。”(Nida 1995:225)从这方面来看，翻译并不是一项单一的活动，它增加了更多的社会元素从而使翻译更加明确和具体。此外，由于动态对等理论中的分类翻译原则，这一理论更适用于科技类文章的翻译。--[[User:Xiao Shuangling|Xiao Shuangling]] ([[User talk:Xiao Shuangling|talk]]) 07:20, 6 November 2020 (UTC)Xiao Shuangling&lt;br /&gt;
&lt;br /&gt;
“一方面，动态对等和意译有点相似，它强调译文实现和原文同样的效果，而不受限于原文内容和格式。” (Li  2014:112).“它侧重于翻译原文内容的正确方式”(Shakernia 2013:2)另一方面，“它注重读者反应，并从目标读者角度来分析翻译过程。”(Nida 1995:225)从这方面来看，翻译并不是一项单一的活动，通过增加更多社会元素,翻译变得更加明确更加具体。此外，由于动态对等理论中的分类翻译原则，这一理论更适用于科技类文章的翻译。--[[User:Yao Cheng|Yao Cheng]] ([[User talk:Yao Cheng|talk]]) 10:52, 6 November 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
==Xiao Ting 肖婷==&lt;br /&gt;
&lt;br /&gt;
The dynamic equivalence provides us a detailed rule of translation during our process of translation so when we translate, we can find the reasonable principles to rely on. These essays should be more formal and official.&lt;br /&gt;
&lt;br /&gt;
However, although the dynamic equivalence has gained a lot of praises it still deserves some limitations. Firstly, “it is just a language conversion and ignores the cultural information taken by the language, resulting in cultural domestication”(Liu 2012: 245). In fact, cultural differences are objective and can not be inevitable, and no one can avoid them.&lt;br /&gt;
&lt;br /&gt;
动态对等理论为我们在翻译过程中提供了具体的翻译规则，这就让我们在翻译时有法可依，有理可据。这些文章应该是比较正规和正式的。&lt;br /&gt;
然而，虽然动态对等理论享誉良多，我们也应对其进行一定的限制。首先，“它只是一种语言转换，忽略了语言承载的文化，导致了文化驯化的现象”（刘2012:245）。事实上，文化差异是客观存在的，谁也无法避免。--[[User:Xiao Ting|Xiao Ting]] ([[User talk:Xiao Ting|talk]]) 09:29, 5 November 2020 (UTC)Xiao Ting&lt;br /&gt;
&lt;br /&gt;
动态对等为我们在翻译过程中提供了一个详细的翻译规则，以便在翻译过程中找到合理的翻译原则。这些文章应该更加正规和正式。&lt;br /&gt;
&lt;br /&gt;
然而，尽管动态对等理论得到了广泛的赞誉，但仍存在一些局限性。首先，“它只是一种语言转换，忽略了语言所承载的文化信息，导致了文化归化”（刘2012:245）。事实上，文化差异是客观存在的，不可能被避免，任何人都无法避免。--[[User:Xiao yining|Xiao yining]] ([[User talk:Xiao yining|talk]]) 12:34, 5 November 2020 (UTC)Xiao Yining&lt;br /&gt;
&lt;br /&gt;
==Xiao Xi 肖茜==&lt;br /&gt;
&lt;br /&gt;
If you have to maintain a dynamic equivalent translation, it will definitely have a negative impact on cultural communication. For example, “‘dongfeng’ is a positive image in Chinese culture while in western society it thinks the west wind is goodmorality”( Shakerni 2013:2) Therefore, it is strange that Shelley's singing of the west wind is translated into &amp;quot;ode to the east wind&amp;quot;, because it will hinder the Chinese readers' understanding of the western world.&lt;br /&gt;
如果要保持动态对等的翻译，势必会对文化交流产生负面影响。例如,“在中华文化中‘东风’是一个积极的形象，在西方社会认为西风是良好品德”(Shakerni 2013:2)因此,奇怪的是雪莱的西风的歌唱是翻译成“歌唱东风”,因为它会阻碍中国读者对西方世界的了解。--[[User:XiaoXi|XiaoXi]] ([[User talk:XiaoXi|talk]]) 11:33, 6 November 2020 (UTC)Xiao Xi&lt;br /&gt;
&lt;br /&gt;
如果要坚持动态对等翻译，这势必会对文化交流产生负面影响。例如，“东风”在中国文化中是一个积极的形象，而西方社会则认为西风代表着良好的道德”（Shakerni 2013:2），因此，将雪莱的《西风颂》翻译成《东风颂》就非常奇怪，因为这会阻碍中国读者对西方世界的了解。--[[User:Zhang Ling|Zhang Ling]] ([[User talk:Zhang Ling|talk]]) 12:06, 6 November 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
==Xiao Yining 肖伊宁==&lt;br /&gt;
&lt;br /&gt;
What's more, to judge whether the target readers have similar effects is uncertain and unpractical because they are different in gender, age,educational background and life experience, etc. Strictly speaking, the reader's response is a variable that cannot be regarded as equivalent to the standard effect. Finally, dynamicequivalence information in the text does well, just like the Bible, but it is difficult to realize literary translation, text language is different from general language.&lt;br /&gt;
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此外，由于目标读者在性别、年龄、学历、生活经历等方面的差异，判断目标读者是否具有相似的效果是不确定和不现实的。严格地说，读者的反应是一个变量，不能被视作等同于标准效应。最后，文本中的动态对等信息做得很好，就像圣经一样，但是却很难实现文学翻译，文本语言不同于一般语言。--[[User:Xiao yining|Xiao yining]] ([[User talk:Xiao yining|talk]]) 12:28, 5 November 2020 (UTC)Xiao Yining&lt;br /&gt;
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更重要的是，由于目标读者的性别、年龄、教育背景、生活经历等不同，判断他们是否具有相似的效应是不确定的，也是不现实的。严格来说，读者的反应是一个变量，无法将其视为等同于标准效果。最后，文本中的动态对等信息做得很好，就像《圣经》一样，但很难实现文学翻译，文本语言与一般语言不同。--[[User:Liu Yi|Liu Yi]] ([[User talk:Liu Yi|talk]]) 00:19, 6 November 2020 (UTC)&lt;br /&gt;
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==Xie Fan 解帆==&lt;br /&gt;
&lt;br /&gt;
Dynamic equivalence, as a concept, puts an .an overly narrow focus on the response of the active hearers, perhaps sometimes at the expense of other factors which are also crucial to adequate translation, such as the accuracy of the message, the uniqueness of the original historical setting. &lt;br /&gt;
&lt;br /&gt;
Next, it will list the definition of formal equivalence. “Formal equivalence is simple and source-oriented. It is like a word for word literal translation”(Shakernia 2013:2). Formal equivalence concentrates on the message itself, in both form and content. &lt;br /&gt;
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==Xie Ziyi 谢子熠==&lt;br /&gt;
&lt;br /&gt;
“One is concerned that the message in the receptor language should match asclosely as possible the different elements in the source language”(Shakernia 2013:3).The use of formal equivalents might at times have serious implications in the target text since the translation will not be easily understood by the target readership. For example, “in the translation of the sentence of greet others  with a holy kiss, these two different equivalence can have distinctly different translation”(Shakernia 2013:3).&lt;br /&gt;
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==Xu Jia 徐佳==&lt;br /&gt;
&lt;br /&gt;
In the formal equivalence translation, we need to translate it into the translation of saying hello to others with a holy kiss. But it seems strange to others because what’s the meaning of holy kiss. Then, we need to add one explanation of holy kiss which is in the ''old testament'' the holly kiss is usually treated as a usual way to greet others.&lt;br /&gt;
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在讲求形式对等的翻译中，我们要把这句话译为“用圣洁的亲吻和别人打招呼”，可这样的译文似乎有些奇怪，因为读者不明白何为“圣洁的亲吻”。因此，我们需要对此进行解释——在《旧约》中，“圣洁的亲吻”是人们常用的问好方式。--[[User:Xu Jia|Xu Jia]] ([[User talk:Xu Jia|talk]]) 13:03, 6 November 2020 (UTC)Xu Jia&lt;br /&gt;
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在形式对等的翻译中，我们要把这句话译为向他人圣吻问安。但这对读者来说似乎有些奇怪，因为他们不知道圣吻是什么意思。所以我们需要对圣吻进行解释，即在《旧约》中，圣吻通常是人们常用的问好方式。--[[User:Song Jianru|Song Jianru]] ([[User talk:Song Jianru|talk]]) 15:08, 6 November 2020 (UTC)&lt;br /&gt;
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==Xu Jing 许晶==&lt;br /&gt;
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However, in the dynamic equivalence, we need not to take the correspondence of the structure into consideration. We only need to pay attention to the reaction of receptorsof language. We can translate it into the translation of shaking hands with others enthusiastically. From the above example, it’s clear to find the focus of these two equivalences is very different therefore the translation can be different. &lt;br /&gt;
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==Xu Jing 许静==&lt;br /&gt;
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Here, it will try to figure out the advantages and disadvantages of formal equivalence.  One of the most distinguished advantage of the formal equivalence is that in this translation, “the formal equivalence is keenly oriented towards the source language structure, which exerts strong language influence in determining accuracy and Correctness”(Nida 1995:223).&lt;br /&gt;
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在此，将试着弄清形式对等的优缺点。形式对等最突出的优点之一是，在这种翻译中，&amp;quot;形式对等更加注重源语结构，强调了翻译的准确性&amp;quot;。(Nida 1995:223)。--[[User:Xu Jing|Xu Jing]] ([[User talk:Xu Jing|talk]]) 05:49, 6 November 2020 (UTC)&lt;br /&gt;
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在此，将试图找出形式对等的优缺点。形式对等最显著的优势之一是，在该翻译中，“形式对等以源语言结构为导向，这对语言的准确性和正确性产生强烈的影响”(Nida 1995:223)。--[[User:Xiao Shuangling|Xiao Shuangling]] ([[User talk:Xiao Shuangling|talk]]) 07:38, 6 November 2020 (UTC)Xiao Shuangling&lt;br /&gt;
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==Xu Mengdie 徐梦蝶==&lt;br /&gt;
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Because the formal equivalence emphasizes the completetranscript of the original text’s content and form so it will have the consistent structure of the original text.Another advantage of formal equivalence is that it put much focus on the accuracy.Because in such translation theory, the target language will try to find a equivalent in the source language. &lt;br /&gt;
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==Xu Pengfei 许鹏飞==&lt;br /&gt;
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For example, in the sentence of “Please fetch me a glass of water” when translating it into Chinese, we will try to find each word equivalent in Chinese. We will try to find each word such as “please”“fetch”“me” and so on. Then we can find the equivalent in Chinese which can be transliterated into Chinese as “Qing gei wo yi bei shui”. Apart from that, let’s move on  to the disadvantages of formal equivalence&lt;br /&gt;
&lt;br /&gt;
例如，在把“Please fetch me a glass of water”这个句子译成中文的时候，我们会尽量找到每个词对应的中文词汇。我们会尝试找到每个词，如“请”，“拿来”，“我”等。在汉语中我们可以找到对应的音译为“qing gei wo yi bei shui”。除此之外，让我们看看形式对等有哪些缺点。--[[User:Xu Pengfei|Xu Pengfei]] ([[User talk:Xu Pengfei|talk]]) 12:35, 5 November 2020 (UTC)Xu Pengfei&lt;br /&gt;
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例如，当我们把” Please fetch me a glass of water”这句话翻译成中文时，我们会尽量找到每个词在中文中所对应的词汇。我们会尝试找到每个词，例如“请”，“拿来”，“我”等等。然后我们就可以找到其在中文中所对应的词汇，将其音译为“请给我一杯水”。除此之外，让我们再来看看形式对应的缺点。--[[User:Yang Yue|Yang Yue]] ([[User talk:Yang Yue|talk]]) 14:17, 5 November 2020 (UTC)&lt;br /&gt;
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==Yang Chenting 杨晨婷==&lt;br /&gt;
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One of the obvious disadvantage of the formal equivalence is that sometimes it will neglect the intent of the original text. Because the formal equivalence isreferred as to the literal translation and in such way it may overlook the author’s intent. For example, we often hear Chinese people say:“Ni chi le ma?” In fact, it’s a way to greetpeople in Chinese custom while we cannot translate it into English as “Have you eat your dinner or lunch?”. Instead we should translate it into English as “Hello!”or “Hi!”&lt;br /&gt;
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形式对等一个很明显的缺点就是有时候会忽视原文的意图。因为形式对等也被称之为直译，而作者的意图就有可能被忽视掉了。举例来说，我们经常会听到中国人问，“你吃了吗？实际上这是中国打招呼的一种习惯，那么我们就不能把它翻译成英语的“Have you eat your dinner or lunch?”， 而是要译成“Hello！”或者“Hi！”--[[User:Yang chenting|Yang chenting]] ([[User talk:Yang chenting|talk]]) 09:22, 3 November 2020 (UTC)Yang Chenting&lt;br /&gt;
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形式对等的一个明显的缺点是有时会忽略原文的意图。因为形式对等也被称之为直译，这样可能会忽略作者的意图。例如，我们经常听到中国人说：“你吃了吗？实际上这是中国打招呼的一种习惯，那么我们就不能把它翻译成英语的“Have you eat your dinner or lunch?”， 而是要译成“Hello！”或者“Hi！&amp;quot;--[[User:Li Lingyue|Li Lingyue]] ([[User talk:Li Lingyue|talk]]) 10:15, 4 November 2020 (UTC)&lt;br /&gt;
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==Yang Hairong 杨海容==&lt;br /&gt;
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Among these two theories, Nida puts the dynamic equivalence in the first place. It has been viewed as his core contribution to the modern translation filed. “Nida pays attention to readers' response and advocates replacing the expression of foreign culture in the original text with the expression habit of the receiving language, namely, domestication”(Nida 1995:224). &lt;br /&gt;
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==Yang Hui 阳慧==&lt;br /&gt;
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By far, “Nida has achieved a lot in translation study. He simplifies Chomsky’s theory and adopts only the later two part of the model in order to validate his science”(Gentzler 2001:52). “He is aware of the nature of a practice-oriented approach, attempts to scientifically validate his methodology and apply it to translation as a whole” (Panou 2013: 1) . &lt;br /&gt;
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==Yang Yi 杨逸==&lt;br /&gt;
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In this chapter, it also talks about Noam Chomsky’s contribution to the linguistic and translation. In Chomsky’s opinion, the linguistic is a study of science and we can apply many linguistic principles to translation, therefore, the translation can also be said a study of science. Among the Noam Chomsky’s contribution is his transformational-generative grammar. “It is a theory that talks about why people can talk and how people can learn new sentences. It is a theory about language ability. Chomsky holds his opinion that basics and transformation form grammar” (Zhou 2019:5).&lt;br /&gt;
本章还讨论了诺姆·乔姆斯基(Noam Chomsky)对语言学和翻译的贡献。在乔姆斯基看来，语言学是一门科学的研究，我们可以把许多语言学的原则应用到翻译中，因此，翻译也可以说是一门科学的研究。诺姆·乔姆斯基的贡献之一是他提出的“转换生成语法”。“这个理论探讨了人们为什么会说话以及人们如何学习新句子。它是一种关于语言能力的理论。乔姆斯基认为基础和转换构成语法。”(周2019:5)--[[User:Yang Yi|Yang Yi]] ([[User talk:Yang Yi|talk]]) 12:00, 5 November 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
在本章中还讨论了诺姆·乔姆斯基(Noam Chomsky)对语言学和翻译的贡献。在乔姆斯基看来，语言学是一门科学的研究，我们可以把许多语言学的原则应用到翻译中，因此，翻译也可以说是一门科学的研究。诺姆·乔姆斯基的贡献之一是他提出的“转换生成语法”。“这个理论探讨了人们为什么能够说话以及人们如何学习新句子。它是一种关于语言能力的理论。乔姆斯基认为基础部分和转换过程构成了语法。”--[[User:Xu Pengfei|Xu Pengfei]] ([[User talk:Xu Pengfei|talk]]) 12:34, 5 November 2020 (UTC)Xu Pengfei&lt;br /&gt;
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==Yang Yue 杨悦==&lt;br /&gt;
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The basics form deep structure and deep structure transforms to surface structure. Word’s meaning belongs to deep structure . Besides, “he thinks thatlanguage is a unique human natural constitution. Language ability should be more focused on not rather language behavior”(Zhou 2019:6). “The TG Grammar tries to reveal the unity of particular grammars and universal grammars, to explore the universal rules with the hope of revealing the human cognitive system and the essential nature of human being”(Zhu 2018:241).&lt;br /&gt;
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基础形成深层结构，深层结构进而转化成表层结构。词义归属于深层结构。除此之外，“他认为语言是人类独特的自然构成，我们应该更加关注语言能力而不是语言行为”（Zhou 2019: 6）。“TG语法试图揭示特定语法和普遍语法的统一性，探索普遍规则，以期揭示人类的认知系统和人类的本质”（Zhu 2018: 241）。--[[User:Yang Yue|Yang Yue]] ([[User talk:Yang Yue|talk]]) 14:09, 5 November 2020 (UTC)&lt;br /&gt;
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基础形成深层结构，深层结构转换为表层结构。词义属于深层结构。此外，“他认为语言是人类独特的自然构成。应该更多地关注语言能力而不是语言行为”（Zhou 2019：6）。 “ TG语法试图揭示特定语法和普遍语法的统一性，探索普遍规则，以期揭示人类的认知系统和人类的本质。”--[[User:Tan Yuanyuan|Tan Yuanyuan]] ([[User talk:Tan Yuanyuan|talk]]) 09:05, 6 November 2020 (UTC)&lt;br /&gt;
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==Yang Ziling 杨子泠==&lt;br /&gt;
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Both Chomsky and Nida believe that deep, coherent and unified entity exists behind whatever manifestation language takes. However, there exists some difference between their opinions. “Chomsky would not jump to conclusions based on correlations between just two languages, nor assume that a grammar to a particular to one language would work systematically for another” (Li 2011:395). While Nida holds the belief that deep structure and transformatio-nal rules which is divorced from all the problems of translation are similar across languages. All in all, these two great persons all make a big contribution to translation and their theories are still widely used today.&lt;br /&gt;
&lt;br /&gt;
==Yao Cheng 姚诚==&lt;br /&gt;
&lt;br /&gt;
'''II Analysis of ''Introducing Translation Studies: Theories and Applications''''' &lt;br /&gt;
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As for the second book: ''Introducing Translation Studies: Theories and Applications'' , it is a very populary book which has undergone through the fourth edition. ''Introducing Translation Studies: Theories and Applications'' remains the definitive guide to the theories and concepts that make up the field of translation studies. This fourth edition has been fully revised and continues to provide a balanced and detailed guide to the theoretical landscape. “Each theory is applied to a wide range of languages, including Bengali, Chinese, English, French, German, Italian, Punjabi, Portuguese and Spanish”(Liu and Deng 2010:54).&lt;br /&gt;
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分析：翻译研究概论：理论与应用&lt;br /&gt;
“翻译研究概论：理论与应用”是第二本书。这本书出版了四次，非常受欢迎。 《翻译研究概论：理论与应用》仍是翻译研究领域相关理论和概念的权威指南。 第四版已经过全面修订，并继续为理论界提供均衡而详细的指南。 “每种理论都适用于多种语言，如孟加拉语，中文，英语，法语，德语，意大利语，葡萄牙语，旁遮普语，葡萄牙语和西班牙语”--[[User:Yao Cheng|Yao Cheng]] ([[User talk:Yao Cheng|talk]]) 10:39, 6 November 2020 (UTC)&lt;br /&gt;
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'''分析'' 翻译研究概论：理论与应用''''' &lt;br /&gt;
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至于第二本书《翻译研究概论：理论与应用》。这本书出版了四次，非常受欢迎。 《翻译研究概论：理论与应用》仍是翻译研究领域相关理论和概念的权威指南。 第四版已经过全面修订，并继续为理论界提供均衡而详细的指南。 “每种理论都适用于多种语言，如孟加拉语、中文、英语、法语、德语、意大利语、葡萄牙语、旁遮普语、葡萄牙语和西班牙语”--[[User:Wu Kai|Wu Kai]] ([[User talk:Wu Kai|talk]]) 12:14, 6 November 2020 (UTC)&lt;br /&gt;
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==Yao Jia 姚佳==&lt;br /&gt;
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It starts with the definition of translation and then presents us the translation theory before the twentieth century to the modern translation theory. It focus on many important translation theories such as systematic translation theory, polysystem theory translation, functional theories of translation, and so on. There are three reasons why I like this book very much. Firstly, this book is full of content which is arranged carefully and skillfully for the readers to read. It contain an introductory table clearly presenting key terms and ideas, the main text, describing in detail the models and issues under discussion, an illustrative case study, which applies and evaluates the main model of the chapter, suggestions for further reading, a brief evaluative summary of the chapter and a series of discussion and research points to stimulate further thought and research.&lt;br /&gt;
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==Yi Huan 易欢==&lt;br /&gt;
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I am extremely fond of the case study in this book which is also a unique feature of this book. In the case study, it will list a related case about the translation issue in this chapter for readers to think and then this book provide us with a discussion of case studies for us to reflect our thinking. I think it’s a good way for us to relate the knowledge of book into reality which it’s more helpful and useful for us to remember the knowledge in the book. And by applying our knowledge to the real problem in reality, it’s more helpful for us truly understand the essence of translation studies. &lt;br /&gt;
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==Yi Zichu 义子楚==&lt;br /&gt;
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Secondly, there are a large number of charts are cited, and the names of the charts are listed on a special page after the table of contents at the front of the book for easy reference. In this way, it is easier for readers to absorb  much information contained in the charts. In the meantime, it is clear for the readers to relate the knowledge with the information in the charts. It is also a good way to sort out the large number of information in an ordered way for the readers to have a quick way to absorb the information. &lt;br /&gt;
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==You Yuting 游雨婷==&lt;br /&gt;
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Thirdly, the book includes an appendix to the web sites relevant to translation studies before the final notes and index. These include two web sites that publish information about conferences, recent publications and research, six web sites for international translation journals and four web sites for translation organizations that often contain useful links. In this way, it becomes much easier for the readers to search the information on the websites for further reading and studying.&lt;br /&gt;
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第三，在最后的注释和索引之前，书中囊括了一个与翻译研究相关的网站的附录。这些网站包括两个发布会议、最新出版物和研究信息的网站，六个国际翻译期刊网站和四个通常包含有用链接的翻译组织网站。这样，读者能够更容易地在网站上搜索信息，进行进一步的阅读和学习。--[[User:You Yuting|You Yuting]] ([[User talk:You Yuting|talk]]) 10:29, 5 November 2020 (UTC)&lt;br /&gt;
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第三，在最后注释和索引之前，该书包括与翻译研究相关的网站附录。其中包括两个公布会议信息、最近的出版物和研究的网站、六个国际翻译期刊网站和四个经常包含有用链接的翻译组织网站。这样，读者就更容易在网上搜索信息，以便进一步阅读和学习。--[[User:Zhao Xi|Zhao Xi]] ([[User talk:Zhao Xi|talk]]) 05:12, 6 November 2020 (UTC)&lt;br /&gt;
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==Yu Ni 余妮==&lt;br /&gt;
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Now, let’s move on to talk about the content of this book. In the second chapter, this book lists the debate about the word-for-word and sense-for-sense translation which is debate that dominated much of translation theory. “Faithful translation” is an attempt to reach a compromise between the two. Many great translators object to word-for-word translation and they advocate the sense-for-sense translation”(Munday 2013:18). &lt;br /&gt;
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==Yuan Shiqi 袁诗琦==&lt;br /&gt;
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For example, Cicero oppose the word-for-word translation strongly by saying “that I did not hold it necessary to render word for word, but I preserved the general style and force of the language”(Munday 2013:19). “The issues of free and literal translation were for over a thousand years with the translation of the Bible and other religious and philosophical texts”(Munday 2013:22). As for the translation of Bible, there must mention the Martin Luther whose major influence is made by his translation of the ''New Testament'' and later the ''Old Testament''.&lt;br /&gt;
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==Yuan Tianyi 袁天翼==&lt;br /&gt;
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Martin Luther advocates the revolutionary nature of translation. “At that time, the Bible was only available in Europe in a Latin translation. This meant that the majority of the people had no access to the Bible in their native languages”(Stolt 2014:373). He is concerned with the German readers. “Here, he supports the idea of using of “pure, clear German and the building of new languages in translation. Therefore, he used a non-literal translation in his translation of Bible”(Stolt 2014:373). Also, his use of a regional yet socially broad dialect went a long way to reinforcing that form of the German language as standard.&lt;br /&gt;
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马丁·路德（Martin Luther）呼吁对翻译的本质进行根本性变革。“在那个年代，欧洲人只能阅读到《圣经》的拉丁文译本。这就意味着大多数人无法阅读到母语版本的《圣经》。”(Stolt 2014:373). 斯托尔特（Stolt）尤为关注德国读者。此处，他支持“在翻译中使用纯粹、清晰的德语，也支持在翻译中构建新的语言”。因此，斯托尔特在他自己翻译的《圣经》译本中使用了非文学翻译方法。(Stolt 2014:373). 斯托尔特虽然使用的是一种方言，但是这种方言在社会上使用甚广。他意在促使在翻译中使用德语，开创这样一种新的标准，不过他花费了漫长的时间。--[[User:Yuan Tianyi|Yuan Tianyi]] ([[User talk:Yuan Tianyi|talk]]) 02:48, 5 November 2020 (UTC)&lt;br /&gt;
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==Yuan Yuchen 袁雨晨==&lt;br /&gt;
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“His aim is to keep communication with readers and listeners, but the audience for his new translation of the scriptures was composed not of scholars but plain speakers of vernacular German”(Stolt 2014:374). And thanks to Martin Luther’s efforts of translating Bible, the Germany people now could read Bible freely. Later, the book talks about the translation principle of Dryden, Dolet and Tytler. Here it will put emphasize on the Tytler’s translation principles. As for Dolet has five translation principles while Tytler proposes his three translation rules. &lt;br /&gt;
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==Zeng Fangyuan 曾芳缘==&lt;br /&gt;
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They are the translation should give a complete transcript of the ideas of the original work. Secondly, the style and manner of writing should be of the same character with that of the original. Thirdly, the translation should have all the ease of the original composition.” (Munday 2013:26) Here, we can see that Tytler pursues the balance between the source language and target language. The translator must have the capacity of employing the exact manner and skill in translating his target language.&lt;br /&gt;
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==Zeng Liang 曾良==&lt;br /&gt;
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For example, “there are two sentences which express the same meaning but they are different in their writing style”(Xi 2009:41). One is on Monday morning, the park is usually crowded with too many people. The other is on Monday morning, the park attracts many people. It’s obvious that the first sentence is in a negative mood while the second sentence is in a positive mood. These two sentences all convey the same meaning but they differs each other in the mood and style. To be a good translator, you need to be skillful in bringing the same style of the source language to the target language.&lt;br /&gt;
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例如，“两个句子表达相同的含义，但是它们的写作风格不同”（习 2009:41）。一个句子是“星期一早上，公园通常人满为患”，另一个是“星期一早上，公园吸引了很多人”。显然，第一句语气消极，而第二句语气积极。这两句都传达相同的含义，但语气和风格不一。要成为一名优秀的译者，你需要熟练地将源语的风格引入到目的语中。--[[User:Zeng Liang|Zeng Liang]] ([[User talk:Zeng Liang|talk]]) 08:34, 5 November 2020 (UTC)&lt;br /&gt;
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例如，“有两个句子表达相同的意思，但它们的写作风格不同”(习 2009:41)。一个是在星期一早上，公园里通常挤满了人。另一个是周一早上，公园吸引了很多人。很明显，第一句表达消极的情绪，而第二句是表达积极的情绪。这两个句子表达的意思相同，但语气和风格却不同。要成为一名优秀的译者，你需要善于将源语言的相同风格引入目标语言。--[[User:You Yuting|You Yuting]] ([[User talk:You Yuting|talk]]) 10:33, 5 November 2020 (UTC)&lt;br /&gt;
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==Zeng Xinyuan 曾心媛==&lt;br /&gt;
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The advantages of his translation principle are as follows. First of all, “he abandons the traditional translation idea of dichotomies and he tries not to use these controversial term such as literal translation, free translation to give his translation rules a better and clear way to present”(Bie and Huang 2007:164). Here, in his translation principles, we cannot see the mentioning of the literal translation and free translation which can cause misunderstanding in the translation studies.&lt;br /&gt;
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==Zeng Yanhu 曾雁湖==&lt;br /&gt;
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Secondly, “he clarifies and extends people’s understanding of the metaphor that translators are painters. In his opinion, he advocates that the job of a translator is distinct different from the painter” (Bie and Huang 2007: 166). Although the translator does not use the same color as the original, he must give his &amp;quot;picture&amp;quot; the same power and effect. The translator cannot copy the original style, but must use his own style to translate the perfect script. The more he studies a imitation, the less his copy will reflect the ease and spirit of the original. &lt;br /&gt;
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==Zhang Hu 张虎==&lt;br /&gt;
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Now, let’s move on to talk about the disadvantages of his translation principles. Tytler’s translation thoughts are mainly on the base of his exact experience and subjective observation. “Some people even say that the book just looks like a textbook addressing the translation arts. In the meantime, from his translation theories, we can know that he imitates other translator’s theory, especially Dryden”(Firdaus 2012:285). For example, his first principle “That the translation should give a complete transcript of the ideas of the original work, which is almost same as the Campbell’s accurately reproduce the original meaning”(Firdaus 2012:286). &lt;br /&gt;
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==Zhang Hui 张慧==&lt;br /&gt;
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Tytler, “points out that the three principles are in a necessary order. The order arrangement is appropriate, natural and is arranged according to their importance to the translation which cannot change casually”(Firdaus 2012:287). In this way, we can concluded that his idea that if in a case of need to sacrifice a certain principle, the translator should notice the importance of order of translation principle. The translator cannot try to get a beautiful and fluent translation at the expense of the faithful translation of the script. Tytler’s translation has exerted great influence on the later translation studies and left a big influence on the later translators such as our Chinese great translator-Yan Fu.&lt;br /&gt;
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泰特勒指出，“这三个原则有一个必要的顺序。 顺序安排适当，自然，并根据其对翻译的重要性进行安排的，不能随便更改。”（Firdaus 2012：287）。 这样，我们可以得出结论，他的想法是，在需要牺牲某种原则的情况下，翻译者应注意翻译原则顺序的重要性。 译者不能以牺牲原文翻译的忠实性为代价来获得优美流畅的译文。 泰特勒的翻译对后来的翻译研究产生了很大的影响，对后来的译者，例如我们中国的伟大译者严复，也产生了很大的影响。--[[User:Zhang Hui|Zhang Hui]] ([[User talk:Zhang Hui|talk]]) 07:36, 5 November 2020 (UTC)&lt;br /&gt;
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泰特勒指出，这三个原则有一个必要的顺序。 顺序安排需要适当、自然、并根据其对不能随便更改的翻译的重要性进行安排”（Firdaus 2012：287）。 这样，我们可以得出结论，他的想法是，在需要牺牲某种原则的情况下，翻译者应注意翻译原则顺序的重要性。 译者不能以牺牲原文翻译的忠实性为代价来获得优美流畅的翻译。 泰特勒的翻译对后来的翻译研究产生了很大的影响，对后来的译者，例如我们的中国伟大译者严复，也产生了很大的影响。--[[User:Zhao Xiaoyan|Zhao Xiaoyan]] ([[User talk:Zhao Xiaoyan|talk]]) 07:56, 5 November 2020 (UTC)&lt;br /&gt;
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==Zhang Ling 张玲==&lt;br /&gt;
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Here, it will list the Yan Fu’s translation theories and then we can have a brief comparison between Yan Fu’s translation principles and Tytler’s translation principles. “Yan Fu is our Chinese great scholar and translator, most famous for introducing western ideas, including Darwin’s natural selection to China in the late 19th century”(Wang 2008:70). Just as Shi Chunrang and Zhao Wei proposed their opinions in their essay ''Thoughts on Yan Fu's “Faithfulness, Expressiveness and Elegance” and Tytler's Three Principles—a Case Study of Comparative Translation'' that Yan Fu proposed three difficulties in translation: faithfulness, expressiveness and elegance in the preface to his translation of ''Evolution and Ethnic''.&lt;br /&gt;
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这里我们将列出严复的翻译理论，然后我们可以对严复的翻译原则和泰勒的翻译原则作一个简单的比较。“严复是中国伟大的学者和翻译家，他将19世纪末达尔文的自然选择学说等西方思想引入中国，并因此声名鹊起。”（王2008:70）正如史春兰、赵薇在《论严复的“信达雅”和泰勒的翻译三原则——以比较翻译为例》中提出的观点一样，严复在其译著《天演论》的序言中提出了翻译的三大难点：信、达、雅。 --[[User:Zhang Ling|Zhang Ling]] ([[User talk:Zhang Ling|talk]]) 12:00, 6 November 2020 (UTC)&lt;br /&gt;
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==Zhang Peiwen 张佩闻==&lt;br /&gt;
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“Faithfulness” means the full and complete conveying or transmission of the original content or thought. It emphasizes the right way of expressing content of the original source. “Expressiveness” demands that the version must be clear and follow without any grammatical mistakes or confused logic and sense. The translation should convey freely the content of the original source. “Elegance” means that the target translation should be similar to the source text in style(2005:96).&lt;br /&gt;
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It means that the mood of the target translation should be almost same as the source language. By analyzing carefully, it’s clear to find there are many things in common between these two translation theories.&lt;br /&gt;
“信”意味着对原文或者原意的一种全方面完整的表达或者转换。“信”要求巧妙地表达出原文意思。“达”要求译文清楚，在语法和逻辑上没有错误。译文要灵活地表达原文的内容。“雅”意味着译文和原文在风格上有相似性。也就是说，译文的措辞要和原文尽可能相似。仔细分析就会发现，这两种翻译理论很明显有着许多相似的地方。--[[User:Zhang Peiwen|Zhang Peiwen]] ([[User talk:Zhang Peiwen|talk]]) 07:05, 4 November 2020 (UTC)&lt;br /&gt;
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“信”意指全面透彻地传达原文本、原思想。“信”强调用正确方式表达出源信息的内容。“达”要求译文必须表意清晰，没有任何语法错误，没有混淆逻辑，没有混淆时态。“达”还要求译文必须自如地传达源信息的内容。“雅”指目的译文必须在风格上与原文本类似。(2005:96)--[[User:Yuan Tianyi|Yuan Tianyi]] ([[User talk:Yuan Tianyi|talk]]) 03:02, 5 November 2020 (UTC)&lt;br /&gt;
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==Zhang Qi 张琪==&lt;br /&gt;
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Firstly, “the first principle and second principle of Tytler are the same as the saying that translation should be faithful to the source language’s content and mood which is similar to the first principle of Yan Fu that emphasizes on the full and complete conveying of the original content”(Shi and Zhao 2005:97). Secondly, these two translation theories all focus on stressing the conveying the thought and content of the source language. And the translation should be available for people to read. “These two theories all emphasize on the conveying the complete transcript of the source text”(Shi and Zhao 2005:98). &lt;br /&gt;
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==Zhang Weihong 张维虹==&lt;br /&gt;
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It’s clear to see many differences between these two translation theories. Firstly, “they are different in thinking mode. Yan Fu does not make a clear and detailed explanation of his translation theory. Instead it relies on others’ explanation of his translation theory”(Xi 2009:41). Just as a saying, “Everything is clear without saying a word”. To better understand Yan Fu’s translation theory, we need to have the associated “relation and reflection about the great thought of our great ancestors. &lt;br /&gt;
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==Zhang Xueyi 张雪仪==&lt;br /&gt;
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As we all know, “traditional Chinese mode of thinking is perceptual which tends to make the theory obscure and received. However, westerners attach great importance to rational thinking which makes the theory more concrete”(Shi and Zhao 2005:98). The thinking mode of western is putting emphasize on the rational thinking and it emphasizes one’s rational understanding of the objects and people. Also, “it concentrates on the formal explanation of the objects and people”(Shi and Zhao 2005:98). Therefore, the Tytler’s three translation principles all give respect to the object to the original text. &lt;br /&gt;
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==Zhang Yinliu 张银柳==&lt;br /&gt;
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And it repeatedly emphasizes on the importance of the original text and treat the original text as it start point. Apart from that, it also gives the literal explanation in a detailed way. In this way, after analyzing the different thinking between the western and eastern, we can say that Yan Fu do not give a literal explanation of his translation principle. Thus, we can say that his translation principle understands tacitly. &lt;br /&gt;
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Secondly,“they are distinctly different in the importance. Since the three principles of faithfulness, expressiveness and elegance are presented, the importance of them has not been clearly classified”(Shi  and Zhao 2005:99). &lt;br /&gt;
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==Zhang Yu 张瑜==&lt;br /&gt;
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One of the most important features of Yan Fu’s translation standard is its ambiguous semantic meaning. But in fact, “Yan Fu put emphasizes on the free translation and he proposed the principle of expressiveness to support the principle of faithfulness”(Xi 2009:41). “Since during the process of translation, except adhering to the expressiveness of the original text, the principle of faithfulness is the most difficult task to finish as to the conveying the original text’s mode and style”(Xi 2009:42). Therefore, we can draw a conclusion that principle of expressiveness is vital in his three principles and then is the expressiveness and the last is elegance.&lt;br /&gt;
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严复翻译标准的最大特点之一是语义含混。但事实上，“严复偏重于意译，为达，即所以为信也”（席，2009:41）。因为在翻译的过程中，传达原文的形式和风格时，除了追求原文的“达”，其次求“信”亦大难矣（席，2009:42）。因此，我们可以得出一个结论：求信乃译事之根本，其次求“达”，最后求“雅”。--[[User:Zhang Yu|Zhang Yu]] ([[User talk:Zhang Yu|talk]]) 06:31, 5 November 2020 (UTC)&lt;br /&gt;
严复翻译标准的一个重要的特征是语义模糊。但事实上，“严复偏重于意译，为达，即所以为信也。”（席，2009:41）“因为在翻译的过程中，传达原文的形式和风格时，除了追求原文的‘达’，其次‘信’亦大难矣。”（席，2009:42）因此，我们可以得出结论，在他的三个原则中，求“信”乃译事之根本，其次求“达”，最后求“雅”。--[[User:Yang Yi|Yang Yi]] ([[User talk:Yang Yi|talk]]) 12:19, 5 November 2020 (UTC)&lt;br /&gt;
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==Zhang Yujie 张毓婕==&lt;br /&gt;
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We should stick to the general principle of “original meaning”, only then can we have a reasonable logic to give an order on the importance of “faithfulness, expressiveness and elegance”. “While Tytler thinks the order of his three principles is suitable, natural and could not be changed”(Wang 2008:71). Tytler proposes that we can make the conveying the faithful translation of the content at the expense to pursue the beautiful and fluent translation of the original text. &lt;br /&gt;
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==Zhang Yuxing 张宇星==&lt;br /&gt;
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“If we must give up one of principles he proposes, he advises that we can give up the least important principle namely the third principle”(Wang 2008:71). In other words, it is the first sacrifice of the original “style and effectiveness”. What's more, the style and mood of the original painting must be conveyed in order to convey a faithful picture of the sense. &lt;br /&gt;
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Thirdly, “these two translation theories are different in the aspect of value orientation. The reason of this difference is due to the difference in the academic tradition of the emphasizing on the practice and theory level of the east and west”(Wang 2008:73). &lt;br /&gt;
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==Zhao Xi 赵茜==&lt;br /&gt;
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As is known to all, traditional Chinese translation paid more attention to practice rather than theory. The idea of translation should guide translation practice and should be of reference value. Yan Fu's “faithfulness, expressiveness and elegance” was originally used to describe the difficulty of translation, not as a translation standard. He summed it up from his own practice and was concerned with practice rather than theory. However, western translator put practice and theory at the same level. Tytler's three principles are three levels of difficulties in detail, from the content loyal to distinct style.&lt;br /&gt;
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众所周知，中国传统翻译更注重实践而非理论。翻译思想应指导翻译实践，具有参考价值。严复的“信达雅”起初是用于描述翻译中的困难，而不是作为翻译标准。他从自己的实践中总结，关心的是实践而非理论。然而，西方译者把实践和理论放在同一层次上。泰特勒的三原则是三个层面的困难，从内容忠实到鲜明的风格。--[[User:Zhao Xi|Zhao Xi]] ([[User talk:Zhao Xi|talk]]) 05:08, 6 November 2020 (UTC)&lt;br /&gt;
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众所周知，中国的传统翻译重实践而轻理论，认为翻译思想应指导实践并具备参考价值。严复的“信达雅”原本是用于描述翻译的困难，而不是作为翻译标准。他从自己的实践经验中进行总结，关心的是实践而非理论。然而，西方译者把实践和理论置于同等地位。泰特勒的三原则对三个层次的困难作了详细描述，包括从内容的忠实到不同的风格。--[[User:Peng Xiaoling|Peng Xiaoling]] ([[User talk:Peng Xiaoling|talk]]) 08:34, 6 November 2020 (UTC)&lt;br /&gt;
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==Zhao Xiaoyan 赵晓燕==&lt;br /&gt;
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The reflected logical form is clear and obvious, which is significantly different from the implicit three translation principles of “faithfulness, expressiveness and elegance”. “Western translation theories focus on detailed analysis, rational abstraction and theoretical deduction, and pay attention to logical organization, hierarchy and clarity of content in language expression”(Wang 2008:73). Influenced by traditional philosophy, western translation theories have a strong sense of subject and object throughout the whole process. Taking “expressiveness” as an example, Yan Fu's “expressiveness” and Tytler's third principle “translation should have all the ease of the original composition” have roughly the same meaning, but it’s obvious that they are different in thinking mode.&lt;br /&gt;
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所反映的逻辑形式清晰而明显，与隐含的“信、达、雅”的翻译原则有明显的不同。 “西方翻译理论侧重于详细的分析，合理的抽象和理论演绎，并注重语言表达中逻辑的组织、层次和清晰度”（Wang 2008：73）。 在传统哲学的影响下，西方翻译理论在整个过程中具有强烈的主体客体感。 以“达”为例，严复的“达”和泰特勒的第三条原则“翻译应还原译文原始结构”具有大致相同的含义，但显然它们的思维方式是不同的。--[[User:Zhao Xiaoyan|Zhao Xiaoyan]] ([[User talk:Zhao Xiaoyan|talk]]) 07:36, 5 November 2020 (UTC)&lt;br /&gt;
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所反映的逻辑形式清晰而明显，与隐含的“信、达、雅”三个翻译原则有明显的不同。 “西方翻译理论侧重于详细的分析，合理的抽象和理论演绎，并注重语言表达中逻辑的组织，层次和清晰度”（Wang 2008：73）。 在传统哲学的影响下，西方翻译理论在整个过程中具有强烈的主观客体感。 以“达”为例，严复的“达”和泰特勒的第三条原则“翻译应还原译文的原始结构”具有大致相同的含义，但显然它们的思维方式是不同的。--[[User:Zhang Hui|Zhang Hui]] ([[User talk:Zhang Hui|talk]]) 07:48, 5 November 2020 (UTC)&lt;br /&gt;
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==Zheng Huajun 郑华君==&lt;br /&gt;
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“The Chinese adopt a thought pattern of intuition and understanding while the Englishmen follow a thought pattern of logic and reason, which makes a profound impact on each language”(Chen 2012:126). To this extent, the difference between understanding and rational thinking, as well as the degree of respect for the original text can be best reflected. At last, “these two translation theories are distinct in their motivation. Yan Fu’s criterion is purposeful which aims to attract the elite’s attention”(Wang 2008:73). The literature works that Yan Fu translated from the western world are mainly the great and famous work in the period of western capitalism.&lt;br /&gt;
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==Zhou Luoping 周罗平==&lt;br /&gt;
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“He fully understand this mode of thinking is difficult for the Chinese intellectuals at that time so in this way, he need to make the translation principles easier for the Chinese intellectuals to absorb”(Chen 2012:127). In this regard, he chose this way of spreading his translation ideas which makes his translation principles purposeful. While Tylter just wants to make the whole translation system more systematic and cover content, form and text these three aspects. “His aim in his translation principle is simply trying to make his translation principle known by people and suggest a reasonable translation principle for translators to follow”(Xi 2009:42). &lt;br /&gt;
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==Zhou Shiqing 周诗卿==&lt;br /&gt;
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'''III Comparison between the book of ''Contemporary Translation Theories'' and  ''Introducing Translation Studies: Theories and Applications''''' &lt;br /&gt;
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'''1.From the aspect of arrangement of the content'''&lt;br /&gt;
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Both of these two books all take the line of main translation workshops as its main chapter and then list its contribution to illustrate the content. “In the ''contemporary translation studies'', the author compare the translation group’s advantages and weakness and then give out his own understanding of the study of the translation group” (Li :2014 111).”&lt;br /&gt;
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==Zhou Shuyao 周书尧==&lt;br /&gt;
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In the ''Introducing Translation Studies: Theories and Applications'' , the author lists the introduction of each translation workshop’s contribution and achievement to translation” (Liu and Deng 2010:54). While these two books’ difference in arrangement is that in the book ''Introducing Translation Studies: Theories and Applications'' adds a case study to extend the readers’ inflection about the translation study listed in the book. Apart from that, this book also adds the discussion of case study, summary, further reading and discussion and research points into the book which are lack in the ''Contemporary Translation Studies''. &lt;br /&gt;
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==Zhou Siqing 周思庆==&lt;br /&gt;
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These added parts to the book ''Introducing Translation Studies: Theories and Applications'' helps extend the readers’ personal study and help the readers relate the theoretical knowledge with the translation practices. &lt;br /&gt;
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'''2.From the content of the material'''&lt;br /&gt;
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Both of the books all list the major contribution of each translation workshop but they differ in their focus and approach. In the ''contemporary Translation Theories'', the author will “analyze the advantage and weakness of the each translation workshop and then study the interrelationship between these translation workshops and at last describe the importance of each translation theory to the world and then pose its questions to the presupposition of each translation theory”(Li 2014:111).&lt;br /&gt;
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==Zhou Yiwen 周艺文==&lt;br /&gt;
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While in the ''Introducing Translation Studies: Theories and Applications'', the author firstly gives a brief introduction of the chapter content and then illustrates the introduction of each translation workshop in a detailed way. To make the book in a more precise way, the author also lists the summary, case study, discussion of study, further reading and discussion and research points in his book to make the readers to have a more comprehensive way of the book. &lt;br /&gt;
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==Zhou Yuanqu 周园曲==&lt;br /&gt;
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Apart from that, these two books all take a method of incorporating the theories and practices into the whole.  In these two books, each book all include the material of theories and practices as its contents. For some important parts, the authors all give out their questions in the book. For example, in the ''Contemporary Translation Theories'',&lt;br /&gt;
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==Zhou Yujuan 周玉娟==&lt;br /&gt;
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the author poses his question about Pound’s translation idea“ Was he talking about intuition, guessing the author’s original intention, or something else?(Gentzler 2001:20) After this question, the author gives out his opinions about Pound’s translation idea emphasizing the translator should both inside a tradition and outside any institutionalized logic.&lt;br /&gt;
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作者对庞德的翻译思想提出了疑问：”“他是在谈论直觉，揣测作者的意愿，还是在做什么?”(Gentzler 2001:20)&lt;br /&gt;
继这个问题之后，作者就庞德的翻译思想提出了自己的观点，强调译者既应该在传统之内，也应该在任何制度化逻辑之外。--[[User:ZHOUYUJUAN|ZHOUYUJUAN]] ([[User talk:ZHOUYUJUAN|talk]]) 07:43, 6 November 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
==Zhu Meimei 祝美梅==&lt;br /&gt;
&lt;br /&gt;
While this point of asking question in the ''Introducing Translation Studies: Theories and Applications'' is more obvious. At the end of each chapter, the author will give several questions in his part of discussion and research points. Some of these questions can find the answers in the textbook while some will require the readers to do some additional researches.&lt;br /&gt;
&lt;br /&gt;
在“翻译研究导论：理论与应用”提问题这一点上更为明显。 在每一章的末尾，作者将在讨论和研究要点中提出几个问题。 这些问题中的一些可以在教科书中找到答案，而另一些则需要读者进行其他研究。--[[User:Zhumeimei|Zhumeimei]] ([[User talk:Zhumeimei|talk]]) 07:49, 5 November 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
在“翻译研究导论：理论与应用”提出问题这一点上尤为显著。在章节末，作者会在讨论部分和研究要点上给出他的几个问题。这些问题中的一些可以在课本中找到答案，而另一些则需要读者做一些额外的研究。--[[User:ZHOUYUJUAN|ZHOUYUJUAN]] ([[User talk:ZHOUYUJUAN|talk]]) 07:50, 6 November 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
==Zhu Suyao 朱素瑶==&lt;br /&gt;
&lt;br /&gt;
'''Conclusion:'''&lt;br /&gt;
&lt;br /&gt;
All in all, after this paper’s careful introduction of these two books and detailed analyzing of the translation theories, it hopes to help the readers to have better understanding of these two books. &lt;br /&gt;
&lt;br /&gt;
==Zhu Xu 朱旭==&lt;br /&gt;
&lt;br /&gt;
After the deep analysis of the two theories of Nida’s translation theories and the comparison between Tytler’s three translation principles and Yan Fu’s translation rules, it’s better for the readers to understand the basic rule of translation. &lt;br /&gt;
&lt;br /&gt;
==Zou Xinyu 邹鑫雨==&lt;br /&gt;
&lt;br /&gt;
And also after analyzing the two big translation theories, it’s clear to draw a conclusion that to be able to be a good translator, the translator should not only be skillful in adapting to two kinds of different language and also he needs to have the solid translation practice experiences. He needs to have the complete transcript of the original text by conveying the content of the original text, but also he should imitate the style and mood of the original text.&lt;/div&gt;</summary>
		<author><name>Song Jianru</name></author>
	</entry>
	<entry>
		<id>https://bou.de/u/index.php?title=20201102_trans&amp;diff=103456</id>
		<title>20201102 trans</title>
		<link rel="alternate" type="text/html" href="https://bou.de/u/index.php?title=20201102_trans&amp;diff=103456"/>
		<updated>2020-11-06T14:48:34Z</updated>

		<summary type="html">&lt;p&gt;Song Jianru: /* Song Jianru 宋建茹 */&lt;/p&gt;
&lt;hr /&gt;
&lt;div&gt;==Cao Runxin 曹润鑫==&lt;br /&gt;
'''On the Comparison between &amp;quot;Sublimation&amp;quot; an &amp;quot;Functonal Equivalence&amp;quot; Theories'''&lt;br /&gt;
&lt;br /&gt;
'''Abstract''': Qian Zhongshu and Eugene Nida are outstanding and renowned translators in the history of Chinese and Western translation respectively. It is believed that Mr.Qian’s “Sublimation” theory and Nida’s “Functional Equivalence” theories have a broad and profound impact on Chinese and Western translation theories and practices. This paper will recognize the theoretical value of these two theories from the dialectical point of view by comparing the similarities and differences between “Sublimation” and “Functional Equivalence”. It aims to better apply translation theory to translation practice, and advocate us to view Chinese and Western translation theories from a historical and contradictory perspective, and thus making Translation Studies become more systematic and scientific.&lt;br /&gt;
&lt;br /&gt;
'''Key words''': sublimation; functional equivalence; Qian Zhongshu; Eugene Nida&lt;br /&gt;
&lt;br /&gt;
==Chang Huiyue 常慧月==&lt;br /&gt;
'''Introduction''':&lt;br /&gt;
As a famous master of literature, translation and academy, Qian Zhongshu is considered as “the Kunlun Mountain of culture” by many scholars on account of his remarkable achievements and a wide range of knowledge. His literary masterpieces include “Pipe-awl Chapters” , “Discourses on Art”, “Seven Patches”, “Selected Essays of Qian Zhongshu”, “Fortress Besieged” and so on. What’s more, he proposed “Sublimation” theory in translation field, which does great contribution to traditional Chinese translation theory and make Translation Studies more systematic. As Chinese scholar Chen Fukang said: “He (Qian) has made a great many outstanding achievements in some important fields like literature and academic research. Although the discussion on translation is only a carved railing in his academic palace, it can have a huge impact in the field of translation studies.” (Chen Fukang 2000: 417).&lt;br /&gt;
==Chen Han 陈涵==&lt;br /&gt;
Eugene Nida is a famous American contemporary linguist and translation theorist. He has been devoted to the translation of the Bible and has summarized a set of translation theories from his own translation practice. The core point of his translation theory is “Functional Equivalence” (initially called “Dynamic Equivalence”). From his point of view, “Functional Equivalence” is to refer to the type of equivalent reflected in a TT which seeks to adapt the function of the original to suit the specific context in and for which it was produced” (Shuttleworth &amp;amp; Cowie, 2004: 64).&lt;br /&gt;
==Chen Hui 陈惠==&lt;br /&gt;
It requires that the translation should focus on the meaning and spirit of the original text, instead of being constrained by formal correspondence. According to this theory, he deems that the translation must have four criteria: (1) conveying meaning; (2) expressing spirit; (3) natural and smooth wording; (4) similar receptor response. In his book “From one language to another”, he replaced “Dynamic Equivalence” with “Functional Equivalence” and put forward two levels of meaning, say, referential meaning and associative meaning.&lt;br /&gt;
==Chen Jiangning 陈江宁==&lt;br /&gt;
'''1.The theoretical origin of “Sublimation” and “Functional Equivalence”'''&lt;br /&gt;
&lt;br /&gt;
'''1.1 The theoretical origin of “Sublimation”'''&lt;br /&gt;
&lt;br /&gt;
The idea of Qian Zhongshu’s translation theory of “Sublimation” comes from his book “Lin Shu's Translation” written in 1963 and “The Pipe-awl Chapters” published by Zhonghua Book Company in 1979. He proposed that the process of translation is actually a process of employing “enticement”, avoiding “misinformation” and pursuing “sublimation”.&lt;br /&gt;
&lt;br /&gt;
1.“化境”及“功能对等”理论起源&lt;br /&gt;
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1.1 “化境”理论起源&lt;br /&gt;
&lt;br /&gt;
钱钟书在1963年写过一本书，名为《林纾翻译》，并于1979年在中华书局出版了“锥管集”，正是这两部作品让他想到了“化境”这一翻译理论。钱钟书认为翻译过程实际上就是运用“诱惑”，避免“误用”，以及追求“化境”的过程。--[[User:Chen Jiangning|Chen Jiangning]] ([[User talk:Chen Jiangning|talk]]) 10:31, 4 November 2020 (UTC)--[[User:Chen Jiangning|Chen Jiangning]] ([[User talk:Chen Jiangning|talk]]) 02:42, 5 November 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
1.“化境”和“功能对等”的理论起源&lt;br /&gt;
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1.1 “化境”的理论起源&lt;br /&gt;
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钱钟书在1963年写下的《林纾的翻译》以及1979年中华书局出版的《管锥集》中提及“化境说”这一翻译理论。他认为翻译的过程实际上是遵循“化”，避免“讹”，以及追求“化境”的过程。--[[User:Zhang Yu|Zhang Yu]] ([[User talk:Zhang Yu|talk]]) 06:45, 5 November 2020 (UTC)&lt;br /&gt;
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==Chen Jiaxin 陈佳欣==&lt;br /&gt;
Then he pointed out: “The highest ideal of literary translation is ‘sublimation’. When you translate the literary works from one language to another, you can not only avoid the trace of stiffness and awkward expressions resulting from the different habits of language use, but also completely preserve the flavor of the original. Then we can say, that's the realization of ‘Sublimation’ ” (Qian Zhongshu, 2002: 77). According to his explanation, it can be easily seen that the core of his translation theory is “Sublimation”.&lt;br /&gt;
==Chen Jingjing 陈静静==&lt;br /&gt;
What’s more, we can extract 3 levels of “Hua” (Sublimation) from his theory, the first is to transform the source text to target text, and then use the domesticating method to make the source language be naturally and smoothly expressed in target language without any transparent feeling of translation caused by the differences of culture and language. Finally, it is the ultimate goal of “Sublimation” that is to say, “the transmigration of souls”, replacing the external shell and retaining the inner spirit and style without the slightest deviation. In other words, a translation should cleave to the original with such fidelity that it would not read like a translation, for a literature work in its own language will never read as though it were through a process of translation (Kao, 1975: 8-9). &lt;br /&gt;
==Chen Sha 陈莎==&lt;br /&gt;
'''1.2 The theoretical origin of “Functional Equivalence”'''&lt;br /&gt;
Nida first proposed the concept of dynamic equivalence in the 1964 book “Toward s Science of Translating”. He believed that there were two kinds of equivalence in translation, namely formal equivalence and dynamic equivalence. Specifically, formal equivalence is the “quality of a translation in which the features of the form of the source text have been mechanically reproduced in the receptor language”. &lt;br /&gt;
==Chen Sunfu 谌孙福==&lt;br /&gt;
On the contrary, dynamic equivalence is the quality which characterizes a translation in which “the message of the original text has been so transported into the receptor language that the response of the receptor is essentially like that of the original receptors” (Nida &amp;amp; Taber, 1982: 200-201). Nida’s translation theory has its origin from his own translation practice of the Bible, in which he emphasized the communicative function of translation from the perspective of semantics and information theory.&lt;br /&gt;
==Chen Yongxiang 陈永相==&lt;br /&gt;
What's more, he regarded translation as interlingual translation, and he stressed the importance of paying attention to the receptors' response, in order to pursue the standard that target readers could have the same response as the original readers. In his book “From one language to another”, he changed the term “Dynamic Equivalence” to “Functional Equivalence” and he emphasized that we should try to achieve formal equivalence on the basis of the accordant information conveyed from the source text to the target language. In addition, he divided the translation process into three steps, say, “analysis, transfer, restructuring and check”. Through these four steps, the original information can be accurately conveyed, the response of the target receptors is also concerned, and the purpose of communication will be well achieved.&lt;br /&gt;
==Cheng Yusi  成于思==&lt;br /&gt;
'''2.Similarities and differences between “Sublimation” and “Functional Equivalence”'''&lt;br /&gt;
&lt;br /&gt;
'''2.1 Similarities between “Sublimation” and “Functional Equivalence”'''&lt;br /&gt;
&lt;br /&gt;
(1) The same concern for the translation processes: As we mentioned above, Mr. Qian Zhongshu proposed that the process of translation is actually a process of employing “enticement”, avoiding “misinformation” and pursuing “sublimation”. To put them specifically, “enticement” refers to the role that plays in cultural exchanges by means of translation.&lt;br /&gt;
==Deng Jinxia 邓锦霞==&lt;br /&gt;
In this sense, translation can be regarded as a guide that will lead target readers to understand the original language and culture and to better understand foreign excellent works. This process is of great significance because If the readers have little interest in the source language culture and foreign literature; then the translation works will lose its value. So we can say that translation is not only a conversion of two languages, but also a collision between different cultures and thoughts.&lt;br /&gt;
==Ding Daifeng 丁代凤==&lt;br /&gt;
The so-called term “Misinformation” refers to the distortion and wrong expression of the translation. Since “Misinformation” is the inevitable shortcoming of translation, no matter how excellent a translator is and no matter how smooth his translations are, he can not avoid making mistakes of one sort or another in one way or another, but he can exhaust every means to reduce misinformation to its minimum (Yu Chengfa,2003: 43). This is due to the gap between different languages, the gap between the translator's understanding, the style of writing and the form of original content, and even the gap between the translator's comprehension and his ability of expression.&lt;br /&gt;
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所谓的“讹”是指在翻译过程中对原文的歪曲和错误表达。由于“讹”在翻译中是无法避免的，无论一个译者多么优秀，无论他的译文多么流畅，他都不能避免以这样或那样的方式犯这样或那样的错误，但他可以用尽一切手段使原文信息得到最大程度的呈现(余承法，2003: 43)。这是由于不同语言之间的差异，译者理解事物方式的差异，写作风格与原文内容形式的差异，甚至译者理解能力与表达能力的差异。--[[User:Ding Daifeng|Ding Daifeng]] ([[User talk:Ding Daifeng|talk]]) 03:41, 6 November 2020 (UTC)&lt;br /&gt;
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==Fang Jieling 方洁玲==&lt;br /&gt;
The final step is called “Hua Jing”; here “Hua” means “Sublimation”,which is the highest ideal of literary translation and also the ultimate goal of translation processes. A translator should try to figure out what the original writer means and ponder over what he imagines so so to immerge oneself with the writer(Luo Xinzhang, 1984: 511). Qian Zhongshu's explanation of the process of translation is the essential condition for the realization of “Sublimation” (Hua). Therefore, when doing translation practice, the translator has to make each step be well prepared, which requires a high standard of the translator's ability and quality. &lt;br /&gt;
==Gan Fengyu 甘奉玉==&lt;br /&gt;
Similarly, based on the theory of “functional equivalence”, Nida proposed a “four-step model” of the translation process from the perspective of linguistics, namely, “Analysis, Transfer, Restructuring and Check”. Nida and Taber claim that all languages have between six and a dozen basic kernel structures and “agree far more on the level of kernels than on the level of more elaborate structures” such as word order. First of all, “Analysis” denotes that we have to analyze the surface structure of the source text and then to master the grammatical meaning of the sentence, in other words, the referential meaning and connotative meaning of the source text.&lt;br /&gt;
&lt;br /&gt;
同样，奈达基于“功能对等”理论，从语言学角度，提出翻译过程“四步模型”：分析，迁移，重构，检验。奈达和泰伯提出：所有语言都有6～12中基本内核结构，并且，他们在内核层面的一致性远远大于其在更详细结构层面，比如词序上的一致性。首先，“分析”指的是我们要先分析原文本的表面结构，再掌握句子的语法意义，换句话说，就是掌握原文本的概念意义和内涵意义。--[[User:Gan Fengyu|Gan Fengyu]] ([[User talk:Gan Fengyu|talk]]) 03:48, 4 November 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
同样，奈达基于“功能对等”理论，从语言学角度提出翻译过程的“四步模型”，即“分析、转换、重组、检验”。奈达和泰伯认为所有语言都有六到十二种基本核心结构，它们在核心层面上比在更复杂的结构层次上更一致”，比如词序的一致性。首先，“分析”指我们必须分析源文本的表层结构，再掌握句子的语法意义，换句话说，就是指源文本的指称意义和内涵意义。--[[User:Zeng Liang|Zeng Liang]] ([[User talk:Zeng Liang|talk]]) 14:22, 5 November 2020 (UTC)&lt;br /&gt;
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==Gao Mingzhu 高明珠==&lt;br /&gt;
In order to convey the original information correctly, the translator must analyze the text from surface structure to the deep structure. Then, “Transfer”, it means that the translator renders the analyzed source text to the target text. This step contains the conversion of two different language symbols and language forms, and it is also an exchange of different thinking modes. Next, “Restructuring” is the re-processing and re-creation of the original text, in which the translator will translate the original text into the target one that conforms to the expression of the target language, getting rid of the constraints of the surface structure of the original text, thus further excavating the meaning of the deep structure.&lt;br /&gt;
==Gong Yumian 龚钰冕==&lt;br /&gt;
Restructuring is thus defined as forward translation, or in other words the process which is the reverse of back-transformation (Shuttleworth &amp;amp; Cowie, 2004: 145). Last but not least, &amp;quot;Check&amp;quot; refers to the process of comparing the text of the original language with the target language so as to avoid semantic errors in the translation works, and pursue the maximum equivalence between the content of the target text and the content of the original text. Nida and Taber’s own description of the process (1969: 63–9) emphasizes the ‘scientific and practical’ advantages of this method compared to any attempt to draw up a fully comprehensive list of equivalences between specific pairs of SL and TL systems (Jeremy Munday, 2016: 63). &lt;br /&gt;
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==Gu Dongfang 顾东方==&lt;br /&gt;
(2)The same concern for the response of the target readers: Since ancient times, the domestic and foreign translators have different opinions on the criteria of excellent translation. Yan Fu proposed his famous three-character guideline, namely, “Faithfulness, Expressiveness and Elegance” in his translation work “Evolution and Ethics and Other Essays”. Similarly, western translator Alexander Fraser Tytler put forward the “Three principles of translation”. To put it simply, that the translation should give a complete transcript of the ideas of the original work; that the style and manner of writing should be of the same character as that of the original; that the translation should have all the ease of the original composition.&lt;br /&gt;
==Guan Qinqing 管钦清==&lt;br /&gt;
From the analysis of Yan Fu’s and Tytler’s description of translation criteria, we can see the fact that the study of the principles and standards of translation is precisely the translator’s emphasis on the target readers, and also reflects the translator’s sense of responsibility for the target culture. Qian Zhongshu's “Sublimation” theory stressed that translators should guide our readers to read foreign literary works or let our readers be attracted by the foreign culture and introduce foreign writers to them.&lt;br /&gt;
&lt;br /&gt;
从严复和泰勒对翻译标准的描述中我们可以看出，译者研究翻译原则和标准正是其重视译入语读者、对译入语文化充满责任感的体现。钱钟书的“化境”论强调译者应该引导我们的读者阅读外国文学作品，或者让读者受到外国文化感染，了解外国作家。--[[User:Guan Qinqing|Guan Qinqing]] ([[User talk:Guan Qinqing|talk]]) 12:01, 6 November 2020 (UTC)&lt;br /&gt;
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==Gui Yizhi 桂一枝==&lt;br /&gt;
“Sublimation” is not only a standard for translation, but also a reflection of translators’ care for the target readers. Mr. Qian said: “The translation should be faithful to the original work, so that it does not read like a translation work, because the original work will never be read like a translation in the situation of source culture.” A good translation can stimulate the reader's curiosity about the original work and also give the reader the enjoyment of beauty. What’s more, Mr. Qian also commented the three principles proposed by Yan Fu: &lt;br /&gt;
==Guo Lu 郭露==&lt;br /&gt;
“Faithfulness in translation should include expressiveness and elegance. Expressiveness gives full scope to faithfulness, and elegance is not just to adore expressiveness. To convey the original in the same style---that is faithfulness. ...Many have come to understand that a translation is not supposed to beautify or polish to attain elegance. Yet few have realized that a translation has to give up the words for the spirit. A translation can be intelligible without being faithful to the original, yet can be faithful to the original without being intelligible to the reader.”(Qian Zhongshu, 1986: 1101)&lt;br /&gt;
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“翻译理论当中的信还应包括达和雅。达基于信，但雅并不非靠达才能实现。信是指用统一的风格传递原文信息。许多人认为，翻译中的雅需要靠辞藻的堆砌才能实现。但是很少有人意识到，为保持原文的风格，是需要舍弃对词语的修饰的。即使不忠实于原文，译文也可以清楚明了，但倘若读者读不懂译文，就算不上信。”（钱钟书，1986:1101）--[[User:Guo Lu|Guo Lu]] ([[User talk:Guo Lu|talk]]) 12:01, 3 November 2020 (UTC)&lt;br /&gt;
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翻译中，信应当包含达和雅。达可以充分实现信，但只有达，就不能实现雅。相同风格传达原文信息—这就是信…很多人已经逐渐意识到：翻译不该为了雅，而堆砌辞藻，美化译文。但很少有人认识到：翻译得舍弃这些修饰词来译出原文精神。译文即使不忠于原文，也能明白易懂，但忠于原文，读者反而读不懂了。--[[User:Gan Fengyu|Gan Fengyu]] ([[User talk:Gan Fengyu|talk]]) 03:27, 4 November 2020 (UTC)&lt;br /&gt;
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==Han Haiyang 韩海洋==&lt;br /&gt;
In the meanwhile, Nida deemed that the accuracy of the translation depends on the extent to which the ordinary readers correctly understand the original text, that is, whether the target reader can obtain similar or identical feelings when reading the translation works. The purpose of “functional equivalence” is to satisfy the communication needs of the readers. In order to achieve this goal, we have to change the form of the original text if it is necessary and consider the reader's acceptance of the translation work. &lt;br /&gt;
==Han Wanzhen 韩宛真==&lt;br /&gt;
Nida's “Functional Equivalence” requires not only the faithfulness to the original text, but also the accountability to the target readers and the original readers. Nida describes various “scientific approaches to meaning” related to work that had been carried out by theorists in semantics and pragmatics. Central to Nida's work is the move away from the old idea that a word has a fixed meaning and towards a functional definition of meaning in which a word acquires meaning through its context and can produce varying responses according to culture. &lt;br /&gt;
==He Changqi 何长琦==&lt;br /&gt;
From what we has discussed above, we can see that both Nida’s “Functional Equivalence” and Qian Zhongshu’s “Sublimation” must take the reader’s reaction into consideration. Therefore, as a standard for translation, these theories avoid mechanical textual equivalence and bilingual conversion, which promotes the development of translation practice.&lt;br /&gt;
&lt;br /&gt;
(3)The Domesticating tendency of the two theories: As we mentioned in the very beginning, Mr. Qian’s “Sublimation”(化) theory has three meanings, namely “Transfer”(转化), “Domesticating”(归化) and “Sublimation”(化境).&lt;br /&gt;
==Hu Baihui 胡百辉==&lt;br /&gt;
It can be seen easily that “Domesticating” is a bridge connecting the transformation of source text and the realization of Sublimation in target language. In the book “Seven Patches”, he wrote: “whether the target version is ‘European-oriented’ or ‘Chinese-oriented’, the translation is always based on the language system from the original country to the language system of the target country(2002: 78). Although he did not explicitly state whether the translation should be “domestication-oriented” or “foreignization-oriented”, he compared the translation to the “reincarnation” of the original and regarded that the translation was an “out form” of the original.&lt;br /&gt;
==Hu Huifang 胡慧芳==&lt;br /&gt;
In addition, he appreciates Lin Shu’s translation works, and comments that he would rather read Lin Shu’s translation than read Haggard’s original text. In this way, Mr. Qian Zhongshu seems to prefer the text of “Chinese-oriented” style, which demonstrates the tendency of “Domestication”. In the theory of “Functional Equivalence”, Nida advocates the use of the expression habits of the target language to transform the original text. He believes that language is the means of communication, and communication is the ultimate goal and an important role of translation, so he pays more attention to the receptors' response to the target text. &lt;br /&gt;
==Hu Jin 胡瑾==&lt;br /&gt;
In the book “Seven Patches”, he wrote: “whether the target version is ‘European-oriented’ or ‘Chinese-oriented’, the translation is always based on the language system from the original country to the language system of the target country(2002: 78). Although he did not explicitly state whether the translation should be “domestication-oriented” or “foreignization-oriented”, he compared the translation to the “reincarnation” of the original and regarded that the translation was an “out form” of the original.&lt;br /&gt;
&lt;br /&gt;
在《七个补丁》一书中，他写道:“无论目标版本是‘面向欧洲’还是‘面向中国’，翻译总是基于从原国家到目标国家的语言系统(2002: 78)。虽然他没有明确说明翻译应该是“归化”还是“异化”，但他把翻译比作原作的“转世”，认为翻译是原作的“变形”。--[[User:Hu Jin|Hu Jin]] ([[User talk:Hu Jin|talk]]) 05:18, 6 November 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
==Ji Tiantian 纪甜甜==&lt;br /&gt;
In order to allow the target readers to accept the translation, it is necessary to make the translation correspond to the cultural traditions and language habits of the target language. At the same time, the translator has to make the translation natural and smooth under the premise of ensuring loyalty. Nida's “Domesticating” translation tendency can be seen from the above view. Please look at the following example:&lt;br /&gt;
&lt;br /&gt;
==Jiang Fengyi 蒋凤仪==&lt;br /&gt;
S: “white as snow”&lt;br /&gt;
&lt;br /&gt;
T: “白如木棉花” or “白如鹭毛” or “白如蘑菇”&lt;br /&gt;
&lt;br /&gt;
From the point of view of traditional translation standards, the above example runs counter to the original information. However, for those who have never seen snow will never know what snow is alike, and therefore he can't understand what &amp;quot;white as snow&amp;quot; means. Through the strategy of “Domestication”, the target readers can have a similar response to the original readers, so as to better achieve the purpose of communication.&lt;br /&gt;
==Jiang Hao 姜好==&lt;br /&gt;
'''2.2 Differences between “Sublimation” and “Functional Equivalence”'''&lt;br /&gt;
&lt;br /&gt;
(1) Different theoretical basis: Qian Zhongshu's “Sublimation” theory is based on Yan Fu’s criteria of translation “Faithfulness, Expressiveness and Elegance”, which is the development of Chinese traditional translation theory. Qian Zhongshu's “Sublimation” theory has pushed the study of translation to the extreme of art from the category of aesthetics. Eventually, the “Sublimation” theory was included in the course of the development of Chinese translation thought, say, “Case - Seeking faithfulness - Spiritual likeness - the Sublimation”. &lt;br /&gt;
==Jiang Qiwei 蒋淇玮==&lt;br /&gt;
These four concepts, are independent, but also interconnected. They developed gradually to constitute a whole translation system and this whole system works as an important part of our traditional translation theory (Luo Xinzhang, 2009: 20).&lt;br /&gt;
&lt;br /&gt;
Nida’s “functional equivalence” was established on the basis of his Bible translation practice. Under the guidance of Chomsky’s transform-generating grammar, Nida’s functional equivalence requires that the translator analyze the given text from the surface structure to the deep structure; then transform it from the deep structure of the original text to the deep structure of the target text, and finally adjust the target language structure to obtain the surface structure of the translated version.&lt;br /&gt;
==Kang Haoyu 康浩宇==&lt;br /&gt;
From a series of steps, we can see that the hierarchical and theoretical property of translation studies, so Nida put forward his opinion that translation could be considered as a science. Qian Zhongshu thought that the translated works could surpass the original works and sometimes even should be much better than the original; while Nida did not choose the advantageous version between the original and the target text- his more emphasis goes to the equivalence between the two languages and the response of the target receptors thus more priorities were given to the communicative function.&lt;br /&gt;
&lt;br /&gt;
从这一系列步骤中，我们可以看出翻译学的层次性和理论性。因此奈达提出了他的观点，即翻译可以称为一门科学。钱钟书则认为译作不仅可以超越原著，有时甚至比原著还要好得多；尽管奈达没有表明在原文和译文哪个要更好，但他更强调两种语言之间的对等和目标受众的反应，因此更重视翻译的交际功能。--[[User:Kang Haoyu|Kang Haoyu]] ([[User talk:Kang Haoyu|talk]]) 13:00, 6 November 2020 (UTC)&lt;br /&gt;
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==Kang Lingfeng 康灵凤==&lt;br /&gt;
(2)Different scopes of their application: “Huajing” (Sublimation) was proposed by Mr. Qian Zhongshu for literary translation standards; hence it may be more appropriate for the translation of literary genre. He considered that translator should “break through” the barriers of cultural differences and make the translation “surpass” the original work. However, it seems unreasonable for the translations of applied styles which relates to politics, economics, law, trade, etc. In addition, some scholars believe that Mr. Qian’s “Sublimation” has over-emphasized the mystery of art and has become a vague standard that could be hard to reach (Gao Huali, 2009: 154).&lt;br /&gt;
==Kong Xianghui 孔祥慧==&lt;br /&gt;
The “highest ideal” of the literary translation he described will inevitably produce the problems of “Misinformation”, which would limit the scope of application of “Sublimation”. Despite the fact that scholars and experts of one generation after another have made their fruitful efforts to shed light on “Sublimation” from various aspects, it remains theoretical unexplainable and practical unattainable, like “an attic, in the air” to many people in the translation circle (Yu Chengfa, 2003: 8)&lt;br /&gt;
&lt;br /&gt;
他所描述的文学翻译的“最高理想”会不可避免地产生“信息错误”的问题，而这将限制“升华”的应用范围。 尽管一代又一代的学者和专家做出了卓有成效的努力去从各个方面阐明“升华”，但对很多翻译圈的人来说，“升华”还是无法从理论上解释和实践实现的，这就像“阁楼上的空中”。 （于成发，2003：8）--[[User:Kong Xianghui|Kong Xianghui]] ([[User talk:Kong Xianghui|talk]]) 04:31, 6 November 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
他所描述的文学翻译的“最高理想”会不可避免地产生“信息错误”的问题，而这些问题将限制“化境”的应用范围。 尽管一代又一代的专家学者努力从各个方面阐明“化境”，并取得了成果，但对很多翻译圈的人来说，“化境”还是如同“空中阁楼一般”，仍旧无法从理论上解释并通过实践来实现。--[[User:Kang Haoyu|Kang Haoyu]] ([[User talk:Kang Haoyu|talk]]) 13:06, 6 November 2020 (UTC)&lt;br /&gt;
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==Kong Yanan 孔亚楠==&lt;br /&gt;
On the contrary, Nida’s translation of Bible carries religious culture with integrity and solemnity. He preached to people from all walks of life in order to spread the will of God; therefore, his translation must not only meet the needs of the aristocracy, but also the needs of ordinary people who lack knowledge of religious culture. The target readers of the “functional equivalence” theory is the masses from all walks of life in the society, and its range of application is more practical. Nida’s equivalence of translation is derived from the translation practice of the Bible.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
与此相反，奈达对于圣经中宗教文化的翻译带有统一和肃穆的色彩。为了传播上帝的意志，他向各行各业的人们传道；因此，奈达对于圣经的翻译不仅要达到贵族们的要求，还要满足缺乏宗教文化知识的普通公民的需要。“功能对等”理论的目标读者是来自各行各业的大众，其适用范围更趋于实践。奈达的翻译的对等理论来源于圣经的翻译实践。--[[User:Kong Yanan|Kong Yanan]] ([[User talk:Kong Yanan|talk]]) 07:32, 4 November 2020 (UTC)&lt;br /&gt;
与此相反，奈达对于圣经的翻译带有统一和庄严的宗教文化色彩。他向各行各业的人传道是为了传播上帝的旨意；正因如此，奈达的翻译不仅要满足上流社会的需要，还要让那些缺乏宗教文化知识的普通大众对此有一定的了解。“功能对等”理论的目标读者是来自社会各阶层的群众，其适用范围也更加实际。奈达的功能对等理论起源于圣经的翻译实践。--[[User:Chen Jiangning|Chen Jiangning]] ([[User talk:Chen Jiangning|talk]]) 03:00, 5 November 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
==Lei Fangyuan 雷方圆==&lt;br /&gt;
As we know, western languages have a lot in common in culture and words of expression, so Nida’s “equivalence” is relatively easy to achieve between two European languages. In English-Chinese translation, it may be more difficult to achieve complete “equivalence”, because Chinese and English belong to different language systems, and their cultures are rather divergent. Nida strictly divides the translation steps into four, which can be used as a practical translation method to guide the translation of some scientific and technical articles, announcements, and application articles. For literary genres, such as the translation of poetry and prose, the translator's creativity may be more important. It is difficult to convey the literary nature of the original text by mechanical methods and steps.&lt;br /&gt;
&lt;br /&gt;
众所周知，西方语言在文化和表达方面有许多共通之处，因此奈达的“对等”理论在两种欧洲语言之间相对容易实现。在英汉翻译中，因为汉语和英语属于不同语言系统，并且文化差异较大，所以很难实现完全的“对等”。奈达将翻译步骤严格地划分成四个部分，可视为一种实用性的翻译方法，用于指导一些科技文、公告和应用文的翻译。就文学体裁而言，像诗歌和散文翻译，译者的创造力可能更为重要，用机械的方法和步骤是很难传达原文的文学性的。--[[User:Lei Fangyuan|Lei Fangyuan]] ([[User talk:Lei Fangyuan|talk]]) 12:06, 4 November 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
众所周知，西方语言在文化和表达方面有许多共通之处，因此奈达的“对等”理论在两种欧洲语言之间相对容易实现。而在英汉翻译中，汉语和英语属于不同语言系统，并且文化差异较大，所以很难实现完全的“对等”。奈达将翻译严格地划分成四个步骤，这可视为一种用于指导一些科技文、公告和应用文翻译的实用性翻译方法。就文学体裁而言，像诗歌和散文翻译，译者的创造力可能更为重要，用机械的方法和步骤是很难传达原文的文学性的。--[[User:Kong Xianghui|Kong Xianghui]] ([[User talk:Kong Xianghui|talk]]) 04:37, 6 November 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
众所周知，西方语言在文化和表达方面有许多共通之处，因此奈达的“对等”理论在两种欧洲语言之间相对容易实现。因为汉语和英语属于不同的语言系统，并且两者文化差异较大，所以在英汉翻译中很难实现完全的“对等”。奈达将翻译严格地划分为四个步骤，可视为一种实用性的翻译方法，用于指导一些科技文、公告和应用文的翻译。就文学体裁而言，像诗歌和散文翻译，译者的创造力可能更为重要，用机械的方法和步骤是很难传达原文的文学性的。--[[User:Qu Miao|Qu Miao]] ([[User talk:Qu Miao|talk]]) 09:03, 6 November 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
==Lei Kuangxi 雷旷溪==&lt;br /&gt;
'''3.A Critical Understanding of “Sublimation” and “Functional Equivalence”'''&lt;br /&gt;
&lt;br /&gt;
'''3.1 Is “Sublimation” faithful ?'''&lt;br /&gt;
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According to traditional translation theory, the translator is always regarded as the &amp;quot;servant&amp;quot; of both the original and the translated text. He must be faithful to the original author while concerning the target readers. Xu Jun (2003: 321) wrote in his book “On Translation”: “Three points are often emphasized in traditional translation theory: first of all, translators should not incorporate their own subjective thoughts in translation; then they should not express their individuality in translation; in the end, translators should render the text on the basis of original message, and loyally follow the thoughts of the original writer.&lt;br /&gt;
&lt;br /&gt;
3.A 对“化境”和“功能对等”的批判性理解&lt;br /&gt;
&lt;br /&gt;
3.1 “化境”一说法忠实原文吗？&lt;br /&gt;
&lt;br /&gt;
根据传统的翻译理论，译者一直被认为是原文和译文的“仆人”。他必须要忠实原文，在表达出原作者的意思的同时也要考虑目标读者。徐俊（2003：321）在他的书《论翻译》中写道“传统翻译理论中经常强调三点:第一，译者在翻译中不应纳入自己的主观思想。第二，不应该在翻译中表现出译者个人的情感特点。第三，译者应在原文的基础上进行翻译，忠实于原文作者的思想。”--[[User:Lei kuangxi|Lei kuangxi]] ([[User talk:Lei kuangxi|talk]]) 02:59, 6 November 2020 (UTC)Lei Kuangxi&lt;br /&gt;
&lt;br /&gt;
3.A 对“化境”和“功能对等”的批判性理解&lt;br /&gt;
&lt;br /&gt;
3.1 “化境”就是忠实原文吗？&lt;br /&gt;
&lt;br /&gt;
根据传统的翻译理论，译者总是被认为是原文和译文的“仆人”。在关注目标读者的同时，他必须忠实于原作者。许俊(2003: 321)在《论翻译》一书中写道:“传统的翻译理论往往强调三点:首先，译者在翻译中不应纳入自己的主观思想；其次，他们不应该在翻译中表达自己的个性；最后，译者应该在原文的基础上翻译文本，并忠实地遵循原作者的思想。--[[User:Hu Jin|Hu Jin]] ([[User talk:Hu Jin|talk]]) 05:28, 6 November 2020 (UTC)&lt;br /&gt;
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==Li Haiquan 李海泉==&lt;br /&gt;
From the analysis of Qian Zhongshu’s “Sublimation” theory, it is clear to see that he is more inclined to the translation strategy of “Domestication”, which emphasizes that the target version can surpass the source text. He, himself appreciates Lin Shu’s translation works, because of their common advocacy and similar historical background. From the point of view of historical materialism, “social existence determines social consciousness, and social consciousness has an adverse effect on social existence.” For example, Lin Shu was living in a closed country and at that time , Qing Dynasty was extremely arrogant or even ignorant.&lt;br /&gt;
==Li Lili 李丽丽==&lt;br /&gt;
His style and characteristics of the translation were naturally influenced by this national sentiment. Therefore, his translation had tendency to “Domestication” or even an unfaithful translation. Qian Zhongshu lived in a period of prosperity in literature and art since the establishment of People's Republic of China and at that time Chairman Mao proposed the policy of “All flowers blossoming and hundreds of schools contending (百花齐放，百家争鸣). So our Chinese people were overflowing high spirit and proud emotion; some translators’ translation works are more inclined to take the advantages of “Domestication” and make the translation work more excellent than the original one. &lt;br /&gt;
==Li Lingyue 李凌月==&lt;br /&gt;
Such a translation strategy will be somewhat “disloyal” to the original text, and will not “sincerely imitate” the original text as Lu Xun advocates from his “Foreignization” method. It is difficult to concretely implement “Sublimation” theory, because it has become an “unattainable” goal. Whether the translation should be “Chinese-oriented” or “European-oriented”; be “faithful” or “creative”, and whether the translator should be “visible” or “invisible” in translation are all difficult standards to measure since these factors are inevitably affected by the subjective and historical objectivity of the translator.&lt;br /&gt;
&lt;br /&gt;
这种翻译策略对原文有些许“不忠”，不会像鲁迅所倡导的“异化”方法那样“真诚地模仿”原文。“升华”理论很难具体实施，因为它已经成为一个“无法实现”的目标。翻译是“汉化”还是“欧化”；是“忠实”还是“创新”，而译者在翻译中究竟是“有形”还是“无形”都是难以衡量的标准，因为这些因素不可避免地受到译者主观和历史客观性的影响。--[[User:Li Lingyue|Li Lingyue]] ([[User talk:Li Lingyue|talk]]) 10:09, 4 November 2020 (UTC)&lt;br /&gt;
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这种翻译策略对原文或有“不实”，或不像鲁迅所倡导的“异化”方法那样“真挚地模仿”原文。要具体应用“化境”理论还有点难度，因为它已成为一个“遥不可及”的目标。翻译应该是“汉化”还是“欧化”，是“忠实“还是”创新“；译者在译文中应该”现身“还是”隐形“，这些标准都难以衡量，因为这些都不可避免的受到译者主观和历史客观性的影响。--[[User:WuQiong|WuQiong]] ([[User talk:WuQiong|talk]]) 08:24, 5 November 2020 (UTC)&lt;br /&gt;
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==Li Liqin 李丽琴==&lt;br /&gt;
Is “Sublimation” really a faithful translation to the original text? Perhaps just as Mr. Qian himself said: “The translator’s ability to use his native language is more flexible and smooth than the original author’s ‘source language’ and that is what always happens in the history of translation.” We can consider that such “disloyal” is “faithful” in a certain sense.&lt;br /&gt;
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“化境”是否能做到忠实于原文本呢？或许正如钱钟书先生所说：“ 译者在使用母语时往往比使用原作者的源语言更加灵活通顺，这种情况在翻译史中是很常见的。” 在某种程度上，我们认为这种“不忠”就是忠实于原文。--[[User:Li Liqin|Li Liqin]] ([[User talk:Li Liqin|talk]]) 02:47, 4 November 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
“化境”真的是忠实原文的一种翻译方法吗？也许就如钱钟书先生所说的那样：“相较于原作者的源语言，译者运用其母语的能力要更加灵活通顺。”而这就是翻译历史上经常出现的现象。我们可以认为这样的“不忠实”其实是特定意义下的“忠实”。--[[User:Yang chenting|Yang chenting]] ([[User talk:Yang chenting|talk]]) 07:50, 4 November 2020 (UTC)Yang Chenting&lt;br /&gt;
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==Li Luyi 李璐伊==&lt;br /&gt;
'''3.2  Problems of Nida’s “Functional Equivalence”''' &lt;br /&gt;
&lt;br /&gt;
The questions of meaning, equivalence and translatability became a constant theme of translation studies in the 1960s and were tackled by a new ‘scientific’ approach followed by one of the most important figures in translation studies, the American Eugene Nida. Eugene Nida’s theory of translation developed from his own practical work from the 1940s onwards when he was translating and organizing the translation of the Bible, training often inexperienced translators who worked in the field.&lt;br /&gt;
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==Li Meng 李梦==&lt;br /&gt;
As for Nida's “functional equivalence” theory, praise and opposition to his theory are always existing in the translation circle. Some people think that the theory is a representative of the science of translation science and has a good guiding role in translation practice. However, there are also some scholars who disagree with this theory and for example Peter Newmark is one of its critics. He believed that Nida’s equivalence theory takes the reader too seriously, but sometimes sacrifices the actually original thoughts of the writer. It is also doubtful whether “functional equivalence” can be applied to the original texts of various subjects.&lt;br /&gt;
&lt;br /&gt;
==Li Yongshan 李泳珊==&lt;br /&gt;
If the translator partially pursue “functional equivalence”, which will makes it difficult for the target readers to fully understand the original cultural information and it is not conducive to the mutual communication between different countries and cultures. For the above example: if we render “White as snow” as “白如鹭毛”, target readers may understand the meaning of the original author, but they still have no idea of what the word “snow” actually means.&lt;br /&gt;
&lt;br /&gt;
==Li Yu 李玉==&lt;br /&gt;
This has become a situation where we cannot get two things at the same time, or in Chinese “鱼和熊掌不可兼得”. However, If the original text is literally translated as “white as snow”, then the translator continues to explain what substance a “snow” is and what characteristics it may have and why we say its color is as white as egret’s feathers.&lt;br /&gt;
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==Lin Min 林敏==&lt;br /&gt;
In this way, not only can the readers of the translation work have the same response as the readers of the original, but also it is conducive for them to learn to understand new things and new concepts, which will gradually promote the communication of different cultures and the mutual interests of different countries.&lt;br /&gt;
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==Lin Xin 林鑫==&lt;br /&gt;
'''4.Conclusion'''&lt;br /&gt;
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Mr. Qian Zhongshu’s “Sublimation” theory and Nida’s “Functional Equivalence” respectively represent huge progress in Chinese and Western translation studies, and they played an important role for the reference of translation studies and practice. Their theory is likened a treasure-house that requires more investigation and more exploration. Their theory is likened a treasure-house that requires more investigation and more exploration. Furthermore, we must learn their theories with a critical view, so as to strive for innovation and establishment of a new era for translation studies.&lt;br /&gt;
&lt;br /&gt;
==Ling Zijin 凌子瑾==&lt;br /&gt;
'''Translators' Views on Translation Influence Their Translation Behavior'''&lt;br /&gt;
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A translator plays an essential role in the translation process. Translators’ views on translation is their understanding of translation, embodied in their translation strategies and value orientations, which are different from each other due to their social and cultural context and also their personal experience and philosophy. And “translation behavior”, in a broad sense, includes the translators’ linguistic translation behavior and the social transcend-translation behavior. In a narrow sense, it only means the translators’ translation as a “pure” translator (Zhou 18).&lt;br /&gt;
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==Liu Bo 刘博==&lt;br /&gt;
The “translator behavior” in this thesis is a broad one, that is, translators’ translation behavior can be influenced by their social and cultural context, their motivations for translation, their views on translation and the linguistic translatability of the SL and their translation competence (Xu Jun 199-254). Specifically, the translation behavior we will discuss is “what to translate (what works they translated)” and “how to translate (their translation principles)”.&lt;br /&gt;
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==Liu Jinxingqi 刘金惺琦==&lt;br /&gt;
According to A. Lefevere, ideology and poetics together dictate the translation strategy and the solution to specific problems (39). The translators’ view on translation, as a part of the translators’ ideology, exert a great influence on their translation behavior. &lt;br /&gt;
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So how is translation behavior associated with translator’s views?&lt;br /&gt;
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From the very beginning the research of translation was limited in a certain extent, and then there were some scholars starting to study on the relationship between translation and other systems, including Even-Zohar, Bassett, Lefevere and Venuti.&lt;br /&gt;
&lt;br /&gt;
==Liu Liu 刘柳==&lt;br /&gt;
'''I.Some Previous Studies''' &lt;br /&gt;
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A.Even-Zohar’s Polysystem&lt;br /&gt;
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According to ''Introducing Translation Studies'':&lt;br /&gt;
 &lt;br /&gt;
“Polysysten theory was developed in the 1970s by the Israeli scholar Itamar Even-Zohar borrowing ideas from the Russian Formalists of the 1920s and the Czech structuralists of the 1930s and 1940s . . . For the Formalists, a literary work was not studied in isolation but as part of a literary system . . . Literature is thus part of the social, cultural, literary and historical framework . . .” (Munday 165).&lt;br /&gt;
&lt;br /&gt;
==Liu Ou 刘欧==&lt;br /&gt;
In 1978, Even-Zohar in his “The position of translated literature within the literary polysystem”, first gives a new term, the polysystem (Even-Zohar 22), emphasizing the translated literature operates as a system in itself: &lt;br /&gt;
&lt;br /&gt;
(1)in the way the TL culture selects works for translation;&lt;br /&gt;
&lt;br /&gt;
(2)in the way translation norms, behavior and policies are influenced by other co-systems (Even-Zohar 22).&lt;br /&gt;
&lt;br /&gt;
Thus, translation is not isolated, but associated with other systems, for instance, the TL culture. And the ST that chosen by a culture correspond to the organized system rather than arbitrary decisions made by individuals. Also translation works occupies different position in different cultures and has something to do with the position of the national literature.&lt;br /&gt;
&lt;br /&gt;
==Liu Yangnuo 刘洋诺==&lt;br /&gt;
B.Bassett and Lefevere&lt;br /&gt;
&lt;br /&gt;
Later, “Bassett and Lefevere go beyond language and focus on the interaction between translation and culture, on the way in which culture impacts and constrains translation and on ‘the larger issues of context, history and convention (11)’ ” (Munday 192).&lt;br /&gt;
&lt;br /&gt;
C.Lefevere: Rewriting and Manipulation&lt;br /&gt;
&lt;br /&gt;
Furthermore, “Lefevere focuses particularly on the examination of ‘very concrete factors’ that systemically govern the reception, acceptance or rejection of literary texts; that is, ‘issues such as power, ideology, institution and manipulation (2)'.&lt;br /&gt;
&lt;br /&gt;
==Liu Yi 刘艺==&lt;br /&gt;
The people involved in such power positions are the ones Lefevere sees as ‘rewriting’ literature and governing its consumption by the general public. The motivation for such rewriting can be ideological (conforming to or rebelling against the dominant ideology) or poetological (conforming to or rebelling against the dominant/preferred poetics)” (Munday 194). And translation is the most obviously recognizable type of rewriting (Lefevere 9). &lt;br /&gt;
&lt;br /&gt;
Translator’s view on translation, for example, reflecting the translators’ ideology, can conform to or rebel against the social dominant ideology.&lt;br /&gt;
&lt;br /&gt;
参与这种权力地位的人，就是莱弗维尔认为的 &amp;quot;改写 &amp;quot;文学并支配大众消费的人。这种改写的动机可以是意识形态的（顺应或反抗主流意识形态），也可以是诗学的（顺应或反抗主流/偏好的诗学）&amp;quot;（Munday 194）。而翻译是最明显可识别的重写类型（Lefevere 9）。&lt;br /&gt;
&lt;br /&gt;
例如，译者的翻译观，反映了译者的意识形态，可以顺应或反抗社会主流意识形态。--[[User:Liu Yi|Liu Yi]] ([[User talk:Liu Yi|talk]]) 00:16, 6 November 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
==Liu Yiyu 刘怡瑜==&lt;br /&gt;
For Lefevere, the literary system in which translation functions is controlled by two main factors, which are: (1) professionals within the literary system, who partly determine the dominant poetics; and (2) patronage outside the literary system, which partly determines the ideology.&lt;br /&gt;
The “professionals within the literary system” include translators themselves, who decide on the poetics and at times influence the ideology of the translated text (Munday 194).&lt;br /&gt;
&lt;br /&gt;
Thus, the role of translator is essential and the translator’s ideology have an great influence on the translation text and the text reader.&lt;br /&gt;
&lt;br /&gt;
==Liu Zhiwei 刘智伟==&lt;br /&gt;
“For Lefevere, the most important consideration is the ideological one. In this case, it refers to the translator’s ideology or the ideology imposed upon the translator by patronage. The poetological consideration refers to the dominant poetics in the TL culture. Together, ideology and poetics dictate the translation strategy and the solution to specific problems” (Munday 197). &lt;br /&gt;
&lt;br /&gt;
D.Venuti&lt;br /&gt;
&lt;br /&gt;
Then Venuti insists that the scope of translation studies needs to be broadened to take account of the value-driven nature of the sociocultural framework.&lt;br /&gt;
&lt;br /&gt;
==Lou Cancan 娄灿灿==&lt;br /&gt;
“Norms may be in the first instance linguistic or literary, but they will also include a diverse range of domestic values, beliefs, and social representations which carry ideological force in serving the interests of specific groups. And they are always housed in the social institutions where translations are produced and enlisted in cultural and political agendas” (29). &lt;br /&gt;
&lt;br /&gt;
Munday suggests, the groups and social institutions to which Venuti refers would include the various players in the publishing industry as a whole . . . Each of these players has a particular position and role within the dominant cultural and political agendas of their time and place. The translators themselves are part of that culture, which they can either accept or rebel against (217).&lt;br /&gt;
&lt;br /&gt;
==Luo Weijia 罗维嘉==&lt;br /&gt;
Therefore, being part of the culture, translators are influenced by the social and patronage ideology, and the poetics. Nevertheless, translators more or less enjoys some autonomy. For example, translators’ views on translation, i.e. the understanding of translation, can be conformed to or rebellious against the culture. And then their views on translation, influence their specific translation behavior such as the works they choose to translate and their translation principles. Next are three examples for us to discuss how the translators’ views on translation immediately influence their translation behaviors.&lt;br /&gt;
&lt;br /&gt;
==Luo Yuqing 罗雨晴==&lt;br /&gt;
To narrow the differences of the social ideology down, three translators in modern period of China (after 1949) will be discussed in this thesis. However, because they are born in different climate and stage of the society, no doubt that they have distinctive world outlook from each other, resulting in their distinctive views on translation. But focus will still be on the influence exerted by their views on their translation behavior.&lt;br /&gt;
&lt;br /&gt;
==Ma Juan 马娟==&lt;br /&gt;
II.Three Examples in Modern Period of China&lt;br /&gt;
&lt;br /&gt;
A.Xu Yuanchong (1921-): Translation is translators’ responsibility. &lt;br /&gt;
&lt;br /&gt;
For Xu Yuanchong, Chinese translators have a responsibility to translate the foreign masterpieces into Chinese and Chinese excellent works of literature into foreign languages, in order to introduce the advanced ideas to China and also bring the foreigners the splendid culture of China, during which the world will be more culturally rich and diversely civilized.&lt;br /&gt;
&lt;br /&gt;
==Ma Shuya 马淑雅==&lt;br /&gt;
In this case, Xu Yuanchong further puts forward that the histories and evolution of the two cultures are very different from each other, with distinct advantages and disadvantages If they can learn the strong points from each other to offset their weakness, they can both be improved. In this respect, translation can be considered as a rivalry between two different cultures. The translation can even surpass the original work. If we make full use of the advantages of one culture to perfect another , the culture of all the humanity will be developed. This is the ultimate goal of the translator (“Surpass” 47). Based on this view, Xu Yuanchong proposed the Rivalry Theory and the Theory of Advantage.&lt;br /&gt;
&lt;br /&gt;
==Ma Zhixing 马智星==&lt;br /&gt;
Therefore, in order to exchange the advantages between cultures, the foreign works Xu Yuanchong had translated are some western masterpieces includes: ''Madame Bovary'', ''Le Rouge et le Noir'', ''Jean Christophe'', etc. And also some Chinese classical works especially the classical Chinese poetry: ''150 Tang Poems'', ''100 Tang and Song Poems'', ''300 Poems Chinois Classiques'', ''Selected Poems of Mao Zedong'', ''The Romance of Western Bower'', ''Earth-shaking Songs'' (the selected poems written by Chinese modern revolutionists), etc.&lt;br /&gt;
&lt;br /&gt;
==Meng Ying 孟莹==&lt;br /&gt;
By translating the essence of one culture and ideology into another languages, he demonstrates our advantages and at the same time offers Chinese people the opportunities to enjoy the classics of another culture.&lt;br /&gt;
&lt;br /&gt;
Xu Yuanchong’s view on translation also influences his translation principles. Take the first sentence of ''Jean Christophe'' as an example:&lt;br /&gt;
&lt;br /&gt;
Le grondement du fleuve monte derrére la maison. (Jean Christophe)&lt;br /&gt;
&lt;br /&gt;
From behind the house rises the murmuring of the river. (English)&lt;br /&gt;
&lt;br /&gt;
江声浩荡，自屋后上升。(Fu Lei)&lt;br /&gt;
&lt;br /&gt;
江流滚滚，声震屋后。(Xu Yuanchong)&lt;br /&gt;
&lt;br /&gt;
==Mo Ling 莫玲==&lt;br /&gt;
The french word “grondement” means “roaring” or “murmuring” in English. The English translation seems to be coherent in the paragraph and the following content. However, as to the whole work, Xu Yuanchong considers that “浩荡” in Fu Lei’s translation is more powerful and symbolic of the spectacular river cutting through Europe, and some readers even take Fu Lei’s translation as “the classical opening sentence” of the work, which proves it a translation that surpasses the original one.&lt;br /&gt;
&lt;br /&gt;
法语中的“grondement”在英语中的意思为“咆哮”或是“低吼”。在段落中和接下来的语境中英语翻译的版本似乎都是比较合理的。然而，就通篇文章来看，许渊冲认为傅雷翻译的“浩荡”更加形象地描绘出了这条横跨欧洲的大河的力量。一些读者甚至把傅雷翻译的版本当作这一作品的经典开头，这也从侧面表明傅雷的译文的确比原始翻译版本好。--[[User:Mo Ling|Mo Ling]] ([[User talk:Mo Ling|talk]]) 15:03, 5 November 2020 (UTC)Mo Ling&lt;br /&gt;
&lt;br /&gt;
法语单词“grondement”在英语中的意思是“咆哮”或“喃喃自语”。英文版译文在段落之间和以下内容中似乎是连贯的。但是，就整个作品来看，许渊冲认为傅雷在其译文中所使用的“浩荡”一词更具力量，能更加形象地描绘这条横贯欧洲的壮观河流，有些读者甚至将傅雷的译文当成了这一作品的“经典开篇句”，证明了其译文已经超越了原作。--[[User:Ding Daifeng|Ding Daifeng]] ([[User talk:Ding Daifeng|talk]]) 03:58, 6 November 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
==Mo Nan 莫南==&lt;br /&gt;
And then Xu Yuanchong also translated this sentence (as above), replacing “浩荡” with “滚滚” for its more similar sound to “grondement”. And “声震屋后” is also a symbol of the impact of the great achievement of the musician in the work (Yang et.al 35-38). Here appears another translation principle of Xu Yuanchong: “literary translation is art (''Art 20'')” and “beauty in three aspects”, namely, “beauty in sense, beauty in sound and beauty in form”, having developed Lu Xun as well as Lin Yutang’s theory of beauty.&lt;br /&gt;
&lt;br /&gt;
==Nie Xiaolou 聂晓楼==&lt;br /&gt;
This is the reason why Xu Yuanchong emphasizes the similar sound of “滚滚” to “grondement”. Another example is still a sentence in ''Jean Christophe'': &lt;br /&gt;
&lt;br /&gt;
Il marchait sur le monde. (''Jean Christophe'')&lt;br /&gt;
&lt;br /&gt;
他踏着全世界直立着。（鲁迅）&lt;br /&gt;
&lt;br /&gt;
他顶天立地的在世界上走着。（傅雷）&lt;br /&gt;
&lt;br /&gt;
(qtd. “Re-creation” 222)&lt;br /&gt;
&lt;br /&gt;
Which translation corresponds to the original best? Lu Xun’s translation is similar in from while Fu Lei’s is in style. In this case, Xu Yuanchong considers there is one solution, that is to change the question as “Which translation is more beautiful and delightful for readers?”&lt;br /&gt;
&lt;br /&gt;
==Ou Rong 欧蓉==&lt;br /&gt;
He also quotes “Qu’ importe celui qui crée? Il’y a de réel que ce qu’on crée” said by Romain Rolland to indicate that the translator ought to make the translation more of art to give readers an enjoyment of beauty rather than to captiously keep the author’s style. So he is in favor of Fu Lei’s translation.&lt;br /&gt;
&lt;br /&gt;
The last example goes to the translation of the last sentence of ''Uprising Songs'' (《起义歌》) written by Sun Zhongshan, collected in ''Earth-shaking Songs'':&lt;br /&gt;
&lt;br /&gt;
==Ouyang Jinglan 欧阳静兰==&lt;br /&gt;
顶天立地奇男子，要把乾坤扭转过来。(''Uprising Songs'')&lt;br /&gt;
&lt;br /&gt;
Heroes of indomitable spirit, arise! &lt;br /&gt;
&lt;br /&gt;
Let us transform the old world and reverse the tide! (previous translation)&lt;br /&gt;
&lt;br /&gt;
Heroes who would move heaven and earth, arise! (Xu Yuanchong)&lt;br /&gt;
&lt;br /&gt;
Xu Yuanchong suggests that in the previous translation, translating “顶天立地” only into “indomitable spirit” is in want of the image of “天” and “地”. Also, as it were, the readers cannot enjoy the beauty of the SL, which is thus a failure in the rivalry of two cultures. So he translated the sentence as above, keeping the impression of “天地” to have the readers appreciate the beauty of the original work, in other words, to win the rivalry between the ST and TT (“Re-creation” 221-222).&lt;br /&gt;
&lt;br /&gt;
==Ouyang Ling 欧阳玲==&lt;br /&gt;
For Xu Yuanchong the translation is an art, a rivalry between tow cultures, so the classics works of western world and China are chosen and the feeling of beauty in the translation is emphasized. The translation not only should be faithful to the original, but also be powerful and infectious to readers, even giving an much more profound impression than the original work.&lt;br /&gt;
&lt;br /&gt;
B.Liu Zhongde (1914-): Translation is a way to make foreign masterpieces to serve China.&lt;br /&gt;
&lt;br /&gt;
许渊冲认为翻译是一种艺术，也是两种文化的碰撞，所以他选择翻译那些中西经典作品并且强调翻译要体现美感。翻译不仅要忠实于原文，还要能影响并感染读者，让他们产生比对原作品更深刻的印象。&lt;br /&gt;
&lt;br /&gt;
B.刘重德（1914-）：翻译外国著作是为服务于中国。--Ouyang Ling&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
许渊冲认为,翻译既是一种艺术，也是两种文化的碰撞，所以他选择翻译那些中西方经典作品，并强调在翻译的同时，还要体现译文的美感。翻译不仅要忠实于原文，还要能够感染读者，让他们对译文产生比对原作品更深刻的印象。&lt;br /&gt;
&lt;br /&gt;
B.刘重德（1914-）：翻译是为外国著作服务于中国。--[[User:Guo Lu|Guo Lu]] ([[User talk:Guo Lu|talk]]) 12:23, 3 November 2020 (UTC)&lt;br /&gt;
许渊冲认为翻译是一种艺术，是两种文化间的碰撞。所以在翻译选材时，他选择那些中西方经典作品，并强调翻译应当体现译文的美感。翻译不仅要忠实原文，还要有魅力感染读者，让他们对译作产生比对原作更深刻的印象。--[[User:Zhang Peiwen|Zhang Peiwen]] ([[User talk:Zhang Peiwen|talk]]) 07:22, 4 November 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
==Peng Dan 彭丹==&lt;br /&gt;
In order to make the western masterpieces more popular in China, Liu Zhongde decided to devote himself to a career in translation. By translating the western works into Chinese, as far as he concerns, the advanced thoughts can serve Chinese intellectuals and further improve the whole country. He was the first person who introduced Jane Austin’s ''Emma'' to China. But he were not satisfied with his first translation of ''Emma'' and at last in 1990s he re-translated it and corrected the errors he had made, which reflected his spirit of improving himself constantly and his rigorous scholarship (Ten 178 ).&lt;br /&gt;
&lt;br /&gt;
==Peng Juan 彭娟==&lt;br /&gt;
Thus, most works Liu Zhongde translated were the western classics such as ''Uncle Tom’s Cabin'', ''Confessions of an English Opium-Eater'', ''Emma'', ''Darwin'', etc. He seldom translated Chinese works into English. &lt;br /&gt;
&lt;br /&gt;
In order to convey to the Chinese readers the exact ideas and original style and content of the ST, Liu Zhongde puts much emphasis on the “closeness” of the translation. He says the translator should always remember what he is working at is a literacy work written by somebody else and try his utmost to turn his translation into a work of art which is in conformity with the thought, feeling and style of the original.&lt;br /&gt;
&lt;br /&gt;
==Peng Ruihong 彭锐宏==&lt;br /&gt;
Thus, the translation will be as moving and vivid as the original work and the reader may be aesthetically entertained as well (''Ten'' 122-123). &lt;br /&gt;
&lt;br /&gt;
Therefore he developed from Yan Fu’s three principles－“信达雅 (faithfulness, expressiveness and elegance)” into “信达切 (faithfulness, expressiveness and closeness)” as a set of principles for translation reference: “The style of your translation must correspond, or at least, be close, to that of the original you are working at . . . the ideological content, linguistic expression and stylistic characteristics of a literary work constitute a unified entity, and the translator should reproduce the three elements as a whole” (''Ten'' 122).&lt;br /&gt;
&lt;br /&gt;
==Peng Xiaoling 彭小玲==&lt;br /&gt;
Being different from Xuyuanchong, Liu Zhongde holds that “literary translation has a double nature. That’s to say, on the one hand, it is a science with its own laws and methods and on the other, it is an art” (''Ten'' 2).&lt;br /&gt;
&lt;br /&gt;
So how exactly does Liu Zhongde’s views on translation influence his translation principles? There are two examples as follows.&lt;br /&gt;
&lt;br /&gt;
Here is a translation of “回乡偶书” by Liu Zhongde:&lt;br /&gt;
&lt;br /&gt;
回乡偶书 &lt;br /&gt;
少小离家老大回，乡音无改鬓毛衰。&lt;br /&gt;
儿童相见不相识，笑问客从何处来。&lt;br /&gt;
(the original poem)&lt;br /&gt;
&lt;br /&gt;
Homecoming&lt;br /&gt;
I left home quite young, and I come back very old.&lt;br /&gt;
My accent remains the same, but my hair turns gray.&lt;br /&gt;
Kids don’t know me when one another we behold.&lt;br /&gt;
“Where do you come from?” with a smile to me they say.&lt;br /&gt;
(Liu Zhongde’s translation)&lt;br /&gt;
&lt;br /&gt;
和许渊冲不同，刘重德认为“文学翻译具有双重性。也就是说，“一方面，它是一门有自己规律和方法的科学，另一方面，它又是一门艺术”（''Ten'' 2)。&lt;br /&gt;
&lt;br /&gt;
那么，刘重德的翻译观点究竟是如何影响他的翻译原则呢？有以下两个示例。&lt;br /&gt;
&lt;br /&gt;
这是刘重德对《回乡偶书》一诗的翻译。&lt;br /&gt;
&lt;br /&gt;
回乡偶书 &lt;br /&gt;
少小离家老大回，乡音无改鬓毛衰。&lt;br /&gt;
儿童相见不相识，笑问客从何处来。&lt;br /&gt;
(原诗)&lt;br /&gt;
&lt;br /&gt;
Homecoming&lt;br /&gt;
I left home quite young, and I come back very old.&lt;br /&gt;
My accent remains the same, but my hair turns gray.&lt;br /&gt;
Kids don’t know me when one another we behold.&lt;br /&gt;
“Where do you come from?” with a smile to me they say.&lt;br /&gt;
(刘重德的译文)--[[User:Peng Xiaoling|Peng Xiaoling]] ([[User talk:Peng Xiaoling|talk]]) 08:15, 6 November 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
==Peng Yongliang 彭永亮==&lt;br /&gt;
This translation adapts so well the style and features of TT to the ST that it seems to be an original work written by Liu Zhongde himself. We can appreciate the same meaning and emotion the original work expresses. The TT keeps the the same number of lines just as the ST: each of the sentence has 12 syllables. The rhyme pattern of ST is also kept: the first line rhymes with the third, and the second with the forth. The TT is exactly an expression of sound, form and sense of the ST (Jiang 196-197).&lt;br /&gt;
&lt;br /&gt;
==Peng Yuzhi 彭育志==&lt;br /&gt;
The next two examples are from Liu Zhongde’s re-translation of ''Emma'':&lt;br /&gt;
&lt;br /&gt;
(1)The truth is, Harriet, that my playing is Just good enough to be praised, but Jane Fairfax’s is much beyond it.&lt;br /&gt;
&lt;br /&gt;
事实是，赫蕊埃特，我的弹奏恰恰好到值得称赞，但简·凡凡可斯的弹奏却是神乎其技了。(Previous translation)&lt;br /&gt;
&lt;br /&gt;
事实是，赫蕊埃特，我的弹奏恰恰好到值得称赞，但简·凡凡可斯的弹奏却大大超过我的弹奏。(Liu Zhongde)&lt;br /&gt;
&lt;br /&gt;
“神乎其技” in the previous translation does not correspond to the plain style of “much beyond it” in ST. It is true that a Chinese four-character-word can embody a complex meaning, but the style it can be applied to is supposed to be formal and academic. In this sentence, the style of “神乎其技” is not appropriate at all, while a simpler word should be used. Thus Liu Zhongde replaced “神乎其技” with “大大超过我的弹奏”.&lt;br /&gt;
&lt;br /&gt;
==Qi Kai 漆凯==&lt;br /&gt;
(2)“Just as they always do-very vulgar.”&lt;br /&gt;
&lt;br /&gt;
还不是像他们平常那样——俗不可耐。(Previous translation)&lt;br /&gt;
&lt;br /&gt;
还不是像他们平常那样——很庸俗。(Liu Zhongde) &lt;br /&gt;
&lt;br /&gt;
(Jiang 278-279)&lt;br /&gt;
&lt;br /&gt;
The four-character-word “俗不可耐” in the previous translation does not conform to the plain or colloquial style of ST, either, just like “神乎其技” mentioned above. Liu Zhongde changed it into “庸俗” to be in line with the original style.&lt;br /&gt;
&lt;br /&gt;
==Qu Miao 瞿淼==&lt;br /&gt;
For Liu Zhongde, translation is a science, a way for Chinese to learn the advantages of westerners, thus the western masterpieces are selected by him and the “closeness” in translation is underlined to convey the closet meaning and style of the original. &lt;br /&gt;
&lt;br /&gt;
C.Li Jihong (1980-): Translation after all is one of the material production activities of human beings.&lt;br /&gt;
&lt;br /&gt;
对于刘重德来说，翻译是一种科学，是一种中国人学习西方人长处的方式，因此他选择西方杰作来翻译，并强调译作的“切”，以此来切实地传达原文意思和风格。&lt;br /&gt;
李继宏（1980-）：翻译终究是一种人类的素材生产活动。--[[User:Qu Miao|Qu Miao]] ([[User talk:Qu Miao|talk]]) 09:00, 6 November 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
==Quan Meixin 全美欣==&lt;br /&gt;
As to Li Jihong, translation after all is one of the material production activities of human beings. In an article called “The Literary Translation Should Keep Pace with the Times: The Translation Speed and Pay” against the view of another translator, Shi Kangqiang, he says that the pay of translation in the new period is different from that of the old times, mainly because of the translation tools which belonging to the production tools, have already  been developed today into computers, digital data, Internet, etc. As a result, the translation speed is supposed to be improved. Therefore, a professional translator nowadays can definitely earn a decent life by translating 1000 words each hour, 8 hours a day. And for every 1000 words they can earn 60 ''yuan''.&lt;br /&gt;
&lt;br /&gt;
==Sagara Seydou ==&lt;br /&gt;
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The article aims to oppose to Shi Kangqiang’s opinion that the appalling pay translators receive influence the quality of the translation, but it also reveals Li Lihong’s view on translation from his borrowing lots of economic theories and activities, numbers, calculation of the pay to support his opinion, his favors to the publishers’ increasing reward on the sales of the translation work and his announcement that he have translated ''The Kite Runner'' (written by Khaled Hosseini), 195190 words, for only 10 days, 15 hours a day.&lt;br /&gt;
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==Shi Diwen 石迪文==&lt;br /&gt;
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In this article he also says: “Any responsible translators will not translate for the personal income,” but he adds next, “ In fact, the support for his translation is the letters from readers, in addition to the high income.” Although the total contradiction in his saying is confusing, it still can be inferred that money is an important motivation for his translation, if not the most important one. &lt;br /&gt;
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==Shi Haiyao 石海瑶==&lt;br /&gt;
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The works Li Jihong translated are foreign classics such as ''Le Petit Prince'', ''The Old Man and the Sea'', ''Animal Farm'', ''The Great Gatsby'', ''Walden'', ''The Moon and Sixpence'', ''Pride and Prejudice'' and ''The Sound and Fury''. However, all those works and the values of them have already been well received in China, with several translations in market. &lt;br /&gt;
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To begin with the work that he have translated “for only 10 days, 15 hours a day” as he says, ''The Kite Runner'' written by Khaled Hosseini:&lt;br /&gt;
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==Si Yu 司妤==&lt;br /&gt;
&lt;br /&gt;
(1)We left the old man on the steps of that building. I meant to take him up on his offer, come back and see if he’d unearthed any more stories about my mother. But I never saw him again (Hosseini 251).&lt;br /&gt;
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我们离开了坐在那座房子台阶上的老人。我原想带他到他的办公室去，看看他能否想起更多关于我妈妈的事情。但我再也没有见到他 (Li 243)。&lt;br /&gt;
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In this text, “take somebody. up on something” means “to accept an offer, an invitation that somebody has made 接受（提议或邀请）” in ''Phrasal Verbs Dictionary'' (438). Also according to the whole context, the old man, a beggar, had been a colleague of “my” mother who I had never met. He told me a story about “my” mother and promised me more details about her: “ The old man smiled. ‘I’ll try to remember and that’s a promise. Come back and find me ’ (Hosseini 250).”&lt;br /&gt;
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==Song Jianru 宋建茹==&lt;br /&gt;
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It can be inferred that the old man offered the narrator a chance to know more about his mother. Thus, the “offer” means “邀请” instead of “办公室 (office)”. What’s more, It seems like the word “offer” is misread as “office” by the translator. Perhaps the translator is too busy translating as fast as possible to check his translation carefully.&lt;br /&gt;
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我们可以推断出，这位老人给了叙述者一个了解他母亲更多信息的机会。因此，“offer”的意思是“邀请”，而不是“办公室 (office)”。此外，“offer”这个词似乎是被译者误读成了“office”。也许是译者忙着尽快翻译，而没有仔细检查他的译文是否正确。--[[User:Song Jianru|Song Jianru]] ([[User talk:Song Jianru|talk]]) 14:48, 6 November 2020 (UTC)&lt;br /&gt;
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==Su Lin  苏琳==&lt;br /&gt;
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(2)“Your job today is to pass gas. You do that and we can start feeding you liquids. No fart, no food.” He laughed again (Hosseini 297). &lt;br /&gt;
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“你今天的工作是排便。你完成之后我们才能开始喂你吃流食。不见粪便，不给食物。”他又哈哈大笑 (Li 287)。&lt;br /&gt;
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The speaker was a staff in hospital, and he was asking the patient who had just come to himself from a surgery “to pass gas”. The relevant meaning of “gas” in ''The New Oxford Illustrated English-Chinese Dictionary'' is “[物理]气体、瓦斯” (726), of “pass” is “通过” (1338). And “fart” as a noun means “放屁 (emit wind from the anus)” (632). In conclusion, “排便” does not correspond to the original meaning of the ST. So the translation can be righted as “你今天的工作是排气。你完成之后我们才能开始喂你吃流食。不放屁，不给食物。” This is also a very small and simple mistake. The translator should be more cautious about translating.&lt;br /&gt;
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==Tan Xingyue 谭星越==&lt;br /&gt;
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This summer holiday I have read another book translated by Li Jihong: The Moon and Sixpence written by William Somerset Maugham, and also find some odd translation and neglect. Here are two examples:&lt;br /&gt;
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(1)“Do you think it’s likely that a man will do any good when he starts at your age? Most men begin painting at eighteen.”&lt;br /&gt;
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“I can learn quicker than I could when I was eighteen (Mauguam 48).”&lt;br /&gt;
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你认为一个人从你这个年纪开始学画能学得好吗？大多数人从十八岁就开始画了。”&lt;br /&gt;
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“如果我今年十八岁，我可以学得快一些 (Li 54)。” &lt;br /&gt;
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The second sentence, a very simple one, means that even if “I” am old now, I can learn even quicker than I could when I was at eighteen. In Chinese it can be translated as, for instance, “我能比我十八岁的时候学得还快.” But Li’s translation “如果我今年十八岁，我可以学得快一些” means “I can learn quicker if I were eighteen,” which has a totally different meaning from the ST.&lt;br /&gt;
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==Tan Xinjie 谭鑫洁==&lt;br /&gt;
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(2)...for they felt themselves freemen of a country whose frontiers include them all, the great country of Cockaigne (Mauguam 169).&lt;br /&gt;
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因为他们觉得大家都是自由民，同属于想象中的天堂之国 (Li 203)。&lt;br /&gt;
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According to Encyclopedia Britannica, “Cockaigne, also spelled Cockayne, imaginary land of extreme luxury and ease where physical comforts and pleasures are always immediately at hand. References to Cockaigne are especially prominent in medieval European lore. These accounts describe rivers of wine, houses built of cake and barley sugar, streets paved with pastry, and shops that gratuitously give goods to everyone.&lt;br /&gt;
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==Tan Yuanyuan 谭媛媛==&lt;br /&gt;
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Roast geese wander about inviting people to eat them, and buttered larks fall from the skies like manna.” Being ignorant of the rich meaning of this word, Li Jihong translated it to “天堂之国” without any explanation. In fact, in this book, Li Jihong adds 206 explanatory notes for the  words like “Shakespeare (莎士比亚)”, “Balzac (巴尔扎克)” and “Footnote (生丁)”, however, “Cockaigne” is not included.&lt;br /&gt;
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烤鹅徘徊着邀请人们吃掉自己，黄油百灵像甘露一样从天上落下。” 李积宏不知道这个词的丰富含义，没有任何解释就将其翻译成“天堂之国”。 实际上，在本书中，李继宏为“莎士比亚”，“巴尔扎克”和“生丁”等词添加了206个解释性注释，但其中不包括“鸡尾酒”。--[[User:Tan Yuanyuan|Tan Yuanyuan]] ([[User talk:Tan Yuanyuan|talk]]) 09:01, 6 November 2020 (UTC)&lt;br /&gt;
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烤鹅徘徊着邀请人们吃掉自己，黄油百灵像甘露一样从天上落下。”李积宏不知道这个词的丰富含义，没有任何解释就将其翻译成“天堂之国”。事实上,在这本书中,李继宏为“莎士比亚”，“巴尔扎克”和“生丁”等词添加了206个解释性注释，但其中不包括“鸡尾酒”。--[[User:XiaoXi|XiaoXi]] ([[User talk:XiaoXi|talk]]) 11:38, 6 November 2020 (UTC)Xiao Xi&lt;br /&gt;
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==Tang Bei 汤蓓==&lt;br /&gt;
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Li Jihong’s translation is popular for his elaborate introduction of the work and explanatory notes, which as he says, can help readers to understand the work easier. And some famous people also recommend his translations for his translation is more understandable than others. However, as far as I am concerned, being understandable is not the essence of a translation. &lt;br /&gt;
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==Tang Ming 唐铭==&lt;br /&gt;
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From Xu Yuanchong and Liu Zhongde we know there are various translation principles, for instance the former’s “beauty in three aspects: sense, sound and form” and the latter’s “faithfulness, expressiveness and closeness”, nevertheless, the “faithfulness” to the original is emphasized.    &lt;br /&gt;
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III.Conclusion&lt;br /&gt;
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This is how the views of translation influence the translators’ behavior, specifically the translation work choosing and their translation principles demonstrated by the translation examples of the three translators.&lt;br /&gt;
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==Tang Yiran 汤伊然==&lt;br /&gt;
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For Xu Yuanchong the translation is an art, a rivalry between tow cultures, so the classics works of western world and China are chosen and the feeling of beauty in the translation is emphasized; while for Liu Zhongde, translation is a science, a way for Chinese to learn the advantages of westerners, thus the western masterpieces are selected and the “closeness” in translation is underlined to convey the closet meaning and style of the original. In fact, for both of them translation should be a responsibility that should be treated serious by translators, while as for Li Jihong, translation is just a production activity, a tool to make money or to gain the population, fame and the sense of superiority. Therefore, the economic effect and the speed is highlighted, the minor mistakes were made, and the translator’s personality was manifested so much that it even overshadowed the style and meaning of the original work. &lt;br /&gt;
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==Tao Ye 陶冶==&lt;br /&gt;
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For those responsible translators, their translations, imprinted all their individual ideology, experience and reflection, almost like an original work, are supposed to be a special thing. As Thomas C. Foster puts at the end of his How to Read Literature Like a Professor, “My favorite was the apology to the poem itself: ‘Well, little book, you’re not that much but you’re the best I could make you. Now you’ll just have to make your way in the world as best you can. Fare thee well.’” (129), a lot of care and attachment will be taken to the work you made, whatever it is, a poem, a fiction or a translation work. Only if you devote yourself to the translation with painstaking effort, can the translation be respected and appreciated by your readers.&lt;br /&gt;
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==Wang Meiling 王美玲==&lt;br /&gt;
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Fu Lei had ever said, “translation should be based on the knowledge of art: without a sensitive soul, earnest sympathy, appropriate appreciation, relative social experience or sufficient common sense (i.e. broad knowledge), a translator neither will understand the original work thoroughly nor grasp the essence of it” (qtd. Xu Jun 253). Because that translators’ views on translation have a great influence on his translation, he should first be earnest to “translation”, and then be diligent, especially when the translation work is carrying the weight of the original work. For translators, translation is never a individual activity, but a responsibility to the author, the SL culture, the reader, the TL culture and eventually themselves.&lt;br /&gt;
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==Wang Xuan 王轩==&lt;br /&gt;
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'''Work Cited'''（文献不需要翻译）&lt;br /&gt;
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胡塞尼· 卡勒德. (Hosseini, Khaled). 《追风筝的人》 (''The Kite Runner''). 李继宏译 (Tran. Li Jihong). 上海: 上海人民出版社, 2008.  &lt;br /&gt;
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蒋坚松 (Jiang Jiansong) 彭利元 (Peng Liyuan), ed. 《刘重德翻译思想及其他》(''Liu Zhongde’s Tanslation Theories and Others''). 长沙(Changsha): 湖南师范大学出版社 (Hunan Normal University Press), 2003. Print.&lt;br /&gt;
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李继宏 (Li Jihong), 《文学翻译也需与时俱进：谈谈翻译速度和稿酬问题》 (“The Literary Translation Should Keep Pace With the Times: The Translation Speed and Pay”). 豆瓣网 (douban). 13 Jan. 2013 &amp;lt;https://site.douban.com/179084/widget/articles/10191245/article/23864139/?dt_dapp=1&amp;gt; &lt;br /&gt;
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刘重德 (Liu Zhongde), ed.《文学翻译十讲》(''Ten Lectures on Literary Translation''). 北京(Beijing): 中国对外翻译出版社 (China Duiwai Translation Press), 2000. Print.&lt;br /&gt;
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毛姆·威廉. (Maugham, William). 《月亮和六便士》 (''The Moon an Sixpence'').李继宏译 (Trans. Li Jihong). 天津 (Tianjin): 天津人民出版社 (Tianjin Renmin Press), 2018. Print. &lt;br /&gt;
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许钧. (Xu Jun).《翻译论》(''Translation Theory''). 武汉 (Wuhan)： 湖北教育出版社 (Hubei Education Press), 2003. Print.  &lt;br /&gt;
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许渊冲. (Xu Yuanchong). 《译文能否胜过原文》(“Can the Translation Surpass the Original”). 《教学研究》(''Teaching Method Research''), no. 2 (1982): 39-47.&lt;br /&gt;
---. ed.《再创作与翻译风格》(“Re-creation and Translation Style”). 《文学与翻译》 (''Literature and Translation''). 北京 (Beijing)：北京大学出版社 (Beijing University Press), 2016. 221-229. Print.&lt;br /&gt;
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---.《翻译的艺术》(''The Art of Translation''). 北京 (Beijing): 五洲传播出版社 (Wuzhou Chuanbo Press), 2006. Print.&lt;br /&gt;
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杨绛(Yang Jiang), 李文俊 (Li Wenjun, et al.) 等. 《一本书和一个世界》(''A Book and A World''). 北京 (Beijing): 昆仑出版社 (Kun Lun Press), 2005: 35-38. Print.&lt;br /&gt;
周领顺. (Zhou Lingshun). 《译者行为批评：理论框架》(''A Theoretical Framework for Translator Behavior Criticism''). 北京 (Beijing)：商务印书馆 (The Commercial Press), 2014. Print.&lt;br /&gt;
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Bassnett, S. and A. Lefevere. ''Translation History and Culture''. London and New York: Pinter, 1990. Print.&lt;br /&gt;
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Cockaigne. ''Encyclopedia Britannica''. 27 Jun. 2013. Web. 17 Nov. 2019 &amp;lt;https://www.britannica.com/topic/Cockaigne &amp;gt;&lt;br /&gt;
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Even-Zohar, Itamar. The position of translated literature within the literary polysystem. ''Papers in Historical Poetics''. Tel Aviv: The Porter Institute, 1978. 21-7. Print.&lt;br /&gt;
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Fart. ''The New Oxford Illustrated English-Chinese Dictionary''. Beijing: Renmin University of China, 2004. Print.   &lt;br /&gt;
 &lt;br /&gt;
Foster. C. Thomas. ''How to Read Literature Like a Professor''. New York: HarperCollins Publishers Inc. 2003. Print. &lt;br /&gt;
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Hosseini, Khaled. The Kite Runner. New York: The Berkley Publishing Group, 2003. Print. &lt;br /&gt;
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Lefevere, A. ''Translation, Rewriting and the Manipulation of Literary Fame''. London and New York: Routledge, 1992a. Print.&lt;br /&gt;
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Maugham, William. ''The Moon an Sixpence''. London: Pan Books Ltd, 1974. Print.&lt;br /&gt;
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Munday, Jeremy. ''Introducing Translation Studies''. New York: Routledge, 2012. Print.&lt;br /&gt;
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Take sb. up on sth.” ''Phrasal Verbs Dictionary''. 2013. Beijing: Foreign Language Teaching and Research Publishing Co., Ltd, 2017. Print.&lt;br /&gt;
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Venuti. L. The Scandals of Translation: ''Towards an Ethics of Difference''. London and New York: Routledge, 1998. Print.&lt;br /&gt;
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Contemporary Translation Studies&lt;br /&gt;
'''An Analysis of the Book of ''Contemporary Translation Theories'' and ''Introducing Translation Studies: Theories and Applications'''''&lt;br /&gt;
&lt;br /&gt;
'''摘要：'''爱德温·根茨勒的《当代翻译理论》和杰米里·芒迪的《介绍翻译理论：理论与实践》被视为翻译史上不可多得的巨作。本文通过对两本巨著的介绍之后，节选了其中有名的翻译理论即尤金·奈达的形式对等理论和功能对等理论以及亚历山大 弗雷泽·泰特勒和严复的翻译原则进行比较，来阐述了翻译的基本准则。通过对比尤金·奈达的形式对等和功能对等理论，找出其优缺点并结合适当的例子，有利于读者把握奈达的翻译思想来更好地指导其翻译实践。同时，通过分析亚历山大 弗雷泽·泰特勒的翻译原则的优缺点再将其与严复的翻译理论做比较，有利于读者理解中西方翻译的差异，来更好地理解在跨文化的语境中如何做好翻译。&lt;br /&gt;
&lt;br /&gt;
'''关键词：'''爱德温·根茨勒、《当代翻译理论》、杰米里·芒迪、《介绍翻译理论：理论与实践》、尤金·奈达、形式对等、功能对等、亚历山大·弗雷泽·泰特勒、严复、翻译原则 &lt;br /&gt;
&lt;br /&gt;
==Wang Yu 王煜==&lt;br /&gt;
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'''Abstract:''' ''Edwin'' Gentzler’s ''Contemporary Translation Theories'' and Jeremy Munday’s ''Introducing Translation studies: Theories and Applications'' are both regarded as the masterpieces in the discipline of translation. After giving a brief introduction of these two great works, this paper tends to select the famous translation theories from the book namely Eugene Nida’s formal equivalence and functional equivalence and the translation principles of Alexander Fraser Tytler and Yan Fu to define the basic principles of translation. &lt;br /&gt;
&lt;br /&gt;
==Wang Yuan 王源==&lt;br /&gt;
&lt;br /&gt;
After analyzing the Nida’s theories of formal equivalence and functional equivalence, it is better for the readers to understand the Nida’s translation ideas to better guide him in the translation practice by combining the concrete examples to illustrate its advantages and disadvantages. In the meantime, by analyzing the advantages and disadvantages of Tytler’s translation principles and the comparison between the translation principles of Tytler and Yan Fu, it’s better for the readers to understand the influence of difference in the eastern and western cultures on translation. In such a way, it’s better for the translators to do the translation practice in the cross-cultural situation.&lt;br /&gt;
 &lt;br /&gt;
==Wei Honglang 韦洪朗==&lt;br /&gt;
&lt;br /&gt;
'''Key words:''' ''Edwin'' Gentzler; ''Contemporary Translation Theories''; Jeremy Munday; ''Introducing Translation Studies: Theories and Applications''; Eugene Nida; Formal Equivalence; Functional Equivalence; Alexander Fraser Tytler; Yan Fu; Translation Principles&lt;br /&gt;
&lt;br /&gt;
'''Introduction:''&lt;br /&gt;
&lt;br /&gt;
In this essay, it presents the author’s understanding of the two books: ''Contemporary Translation Theories'' and ''Introducing Translation Studies: Theories and Applications''. After a brief introduction of these two books, this paper tends to concentrate on the discussion of four important translation theories. &lt;br /&gt;
&lt;br /&gt;
==Wei Yafei 魏亚菲==&lt;br /&gt;
&lt;br /&gt;
This paper will be divided into three parts. Firstly, after a brief introduction of the great book: ''Contemporary Translation Theories'', and then it will focus on the analyzing of the Eugne Nida’s two famous translation theories namely formal equivalence and dynamic equivalence. By giving out its definition, it’s easier to find the advantage and disadvantage of these two concepts. Then, this paper will go on introducing briefly the Chomsky’s translation studies. And then it will find some commonness and distinction in Nida’s and Chomsky’s opinions in translation. &lt;br /&gt;
&lt;br /&gt;
==Wen Sixing 文偲荇==&lt;br /&gt;
&lt;br /&gt;
This paper will be divided into three parts. Firstly, after a brief introduction of the great book: ''Contemporary Translation Theories'', and then it will focus on the analyzing of the Eugne Nida’s two famous translation theories namely formal equivalence and dynamic equivalence. By giving out its definition, it’s easier to find the advantage and disadvantage of these two concepts. Then, this paper will go on introducing briefly the Chomsky’s translation studies. And then it will find some commonness and distinction in Nida’s and Chomsky’s opinions in translation. &lt;br /&gt;
&lt;br /&gt;
==Wen Xiaoyi 文晓艺==&lt;br /&gt;
&lt;br /&gt;
'''I Analysis of the book ''Contemporary Translation Theories'''''&lt;br /&gt;
&lt;br /&gt;
Recently, it is a great pleasure to read a very famous book called ''Contemporary Translation Theories'' whose author is called Edwin Gentzler. The second edition of this book has received great success. The publication of this book is significant to the global translation study academia. “Since the mid-19th century, translation theory has maderapid progress, Edwin Gentzler finds out what is useful and rejects what is useless on the translation of today's theories in this book”(Li 2014:111). &lt;br /&gt;
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==Wu Kai 吴恺==&lt;br /&gt;
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He also makes a Detailed description in detail several major schools of translation:The North American Translation Workshop, the “Science” of Translation, Early Translation Studies, the Polysystem Translation and Deconstruction. In this book, it presents what is happening in different parts within the discipline. “Gentzler uses his provoke thinking viewpoint to trace the development of literary translation studies from the American translation workshop program, through the polysystems research to deconstruction and postcolonial translation theory and beyond”(Xu  and Wang 2000:42).&lt;br /&gt;
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他还详细介绍了几种主要的翻译学派：北美翻译研讨会，翻译的“科学”，早期的翻译研究，多元系统翻译和解构。 在这本书中还介绍了该学科不同部分的情况。“根茨勒用他发散的思维观点，从美国翻译研讨会计划，到从解构主义和后殖民翻译理论及以后的多元系统研究来追溯文学翻译研究的发展”--[[User:Wu Kai|Wu Kai]] ([[User talk:Wu Kai|talk]]) 12:03, 6 November 2020 (UTC)&lt;br /&gt;
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==Wu Qi 吴琪==&lt;br /&gt;
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This book not only provides us with a deep way of theorizing the translation but also is effectively a translation practice . At the end of this book, he also points out the future of translation and sends his positive attitude about the translation’s future. The author turns a whole number of the complex theoretical material into accessible language, so that everyone who doesn’t read any books about translation can read this book freely. Apart from that, each chapter in this book is separated so you can read each chapter alone without relying on your understanding of the other chapters. By this way, it is more convenient for us to find the topic of translation that we are interested in to read and find valuable informationfor us. Gentzler’s book provides us with a precise analysis about what the translation school achieved so far and gives his insight into the future of translation.&lt;br /&gt;
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==Wu Qiong 吴琼==&lt;br /&gt;
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“This book stands as a continuing translation textbook with some of the most important theories in the field such as “the same aesthetic experience, dynamic equivalence, corresponding literary function, or the deconstruction theory of Derrida”(Li  2014:112). Despite distinct focus, each theory is completed by a conceptual framework that thinks original existence and an understanding of it in the target society. At present, “all translation theories have kept rigid distinction between original texts and their translations text”(Xu and Wang 2000:43).  &lt;br /&gt;
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In the chapter 2, this book introduces the American translation workshop. In this chapter, it mainly introduces the A. Richard’s new criticism and translation, Ezra Pound’s theory of luminous details, Frederic Will’s the paradox of translation and Lawrence Venuti’s rethinking translation.&lt;br /&gt;
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“这本书是翻译教材的续本，涵盖了此领域最重要的理论，例如‘相同美感经历、动态对等、相应的文学功能，以及德里达的结构理论‘。尽管有不同的重点，但每种理论都是在思考初始存在和了解目的社会的概念框架中形成的。如今，‘所有的翻译理论对于原文和译文的区分都很生硬。‘“&lt;br /&gt;
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在第二章，这本书介绍了美国翻译工作坊。这一章主要介绍了A.里查德的新批判主义和翻译，艾滋拉庞德的细节翻译理论，弗雷德里克翻译和劳伦斯韦努蒂的反思翻译。--[[User:WuQiong|WuQiong]] ([[User talk:WuQiong|talk]]) 08:05, 5 November 2020 (UTC)&lt;br /&gt;
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==Wu Xiang 邬香==&lt;br /&gt;
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In it workshop, “it emphasizes that translation is a marginal activity, not considered as a proper field of study”(Gentzler 2001:5). However, as time goes by, the process of growth and acceptance of translation boost when many translation courses and workshops were being offered at many universities. There appears many works about this translation workshop but it does not have many books about the translation theories. “In this workshop, the personal opinions may offer some help, but it still lacks the consistent theory to support translation”(Gentzler 2001:44). &lt;br /&gt;
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==Wu Yilu 吴一露==&lt;br /&gt;
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Therefore, it needs urgently a classified theory for the translation and it yields the coming of the “science” of translation. In this book, it mainly introduces Eugene Nida’s formal equivalence and dynamic equivalence and Noam Chomsky’s syntactic structure and generative-transformation grammar. Here, it will illustrate my understanding of these two concepts about formal equivalence and dynamic equivalence. Edwin Gentzler illustrated the concept of dynamic equivalence in his book ''Contemporary Translation Theories'', ''Translating consists in reproducing in the receptor language the closest natural equivalent of the source language message, first in terms of meaning and secondly in terms of style. The relationship between the target language receptor and the target text should generally be equivalent to that between the source language receptor and the source text''(2001:48).   &lt;br /&gt;
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==Wu Zijia 吴子佳==&lt;br /&gt;
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In the dynamic equivalence, Nida focus on the correspondence of the feeling between the target language and the receptor and the source language and the learner. By his understanding, these two feeling should be the similar. More specifically, “dynamic equivalence considers more about the relationship between the reader and the information, which means that the target reader's response to the target text should be the same as that of the source reader's response to the source text”(Liu 2012:242). “Any foreignness and translationese should be avoided in the target text”(Ju 2000:203). Now, it will &lt;br /&gt;
list the advantages of dynamic equivalence. &lt;br /&gt;
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==Xiao Shuangling 肖双玲==&lt;br /&gt;
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“On the one hand, the dynamic equivalence is “somewhat like the free translationwhich emphasizes the translation should achieve the same effect instead of being limitedin the content and form” (Li  2014:112). “It concentrates on the correct way of translating the content of the original text”(Shakernia 2013:2). On the other hand, “it focuses on readers' reaction and analyzes the translation process from the viewpoint of target readers”(Nida 1995:225). In this way, translation is not a single activity, but more social elements are added to make the translation concrete and specific. Moreover, in the dynamic equivalence, due to its classified translation principle it is more suitable to the translation of technology and science essays.&lt;br /&gt;
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“一方面，动态对等和意译有点像，它强调的是翻译应达到原文一样的效果，而不应受到原文内容和格式的限制。” (Li  2014:112).“它侧重于翻译原文内容的正确方式”(Shakernia 2013:2)另一方面，“它注重读者的反应，并从目标读者的角度分析翻译过程。”(Nida 1995:225)从这方面来看，翻译并不是一项单一的活动，它增加了更多的社会元素从而使翻译更加明确和具体。此外，由于动态对等理论中的分类翻译原则，这一理论更适用于科技类文章的翻译。--[[User:Xiao Shuangling|Xiao Shuangling]] ([[User talk:Xiao Shuangling|talk]]) 07:20, 6 November 2020 (UTC)Xiao Shuangling&lt;br /&gt;
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“一方面，动态对等和意译有点相似，它强调译文实现和原文同样的效果，而不受限于原文内容和格式。” (Li  2014:112).“它侧重于翻译原文内容的正确方式”(Shakernia 2013:2)另一方面，“它注重读者反应，并从目标读者角度来分析翻译过程。”(Nida 1995:225)从这方面来看，翻译并不是一项单一的活动，通过增加更多社会元素,翻译变得更加明确更加具体。此外，由于动态对等理论中的分类翻译原则，这一理论更适用于科技类文章的翻译。--[[User:Yao Cheng|Yao Cheng]] ([[User talk:Yao Cheng|talk]]) 10:52, 6 November 2020 (UTC)&lt;br /&gt;
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==Xiao Ting 肖婷==&lt;br /&gt;
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The dynamic equivalence provides us a detailed rule of translation during our process of translation so when we translate, we can find the reasonable principles to rely on. These essays should be more formal and official.&lt;br /&gt;
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However, although the dynamic equivalence has gained a lot of praises it still deserves some limitations. Firstly, “it is just a language conversion and ignores the cultural information taken by the language, resulting in cultural domestication”(Liu 2012: 245). In fact, cultural differences are objective and can not be inevitable, and no one can avoid them.&lt;br /&gt;
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动态对等理论为我们在翻译过程中提供了具体的翻译规则，这就让我们在翻译时有法可依，有理可据。这些文章应该是比较正规和正式的。&lt;br /&gt;
然而，虽然动态对等理论享誉良多，我们也应对其进行一定的限制。首先，“它只是一种语言转换，忽略了语言承载的文化，导致了文化驯化的现象”（刘2012:245）。事实上，文化差异是客观存在的，谁也无法避免。--[[User:Xiao Ting|Xiao Ting]] ([[User talk:Xiao Ting|talk]]) 09:29, 5 November 2020 (UTC)Xiao Ting&lt;br /&gt;
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动态对等为我们在翻译过程中提供了一个详细的翻译规则，以便在翻译过程中找到合理的翻译原则。这些文章应该更加正规和正式。&lt;br /&gt;
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然而，尽管动态对等理论得到了广泛的赞誉，但仍存在一些局限性。首先，“它只是一种语言转换，忽略了语言所承载的文化信息，导致了文化归化”（刘2012:245）。事实上，文化差异是客观存在的，不可能被避免，任何人都无法避免。--[[User:Xiao yining|Xiao yining]] ([[User talk:Xiao yining|talk]]) 12:34, 5 November 2020 (UTC)Xiao Yining&lt;br /&gt;
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==Xiao Xi 肖茜==&lt;br /&gt;
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If you have to maintain a dynamic equivalent translation, it will definitely have a negative impact on cultural communication. For example, “‘dongfeng’ is a positive image in Chinese culture while in western society it thinks the west wind is goodmorality”( Shakerni 2013:2) Therefore, it is strange that Shelley's singing of the west wind is translated into &amp;quot;ode to the east wind&amp;quot;, because it will hinder the Chinese readers' understanding of the western world.&lt;br /&gt;
如果要保持动态对等的翻译，势必会对文化交流产生负面影响。例如,“在中华文化中‘东风’是一个积极的形象，在西方社会认为西风是良好品德”(Shakerni 2013:2)因此,奇怪的是雪莱的西风的歌唱是翻译成“歌唱东风”,因为它会阻碍中国读者对西方世界的了解。--[[User:XiaoXi|XiaoXi]] ([[User talk:XiaoXi|talk]]) 11:33, 6 November 2020 (UTC)Xiao Xi&lt;br /&gt;
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如果要坚持动态对等翻译，这势必会对文化交流产生负面影响。例如，“东风”在中国文化中是一个积极的形象，而西方社会则认为西风代表着良好的道德”（Shakerni 2013:2），因此，将雪莱的《西风颂》翻译成《东风颂》就非常奇怪，因为这会阻碍中国读者对西方世界的了解。--[[User:Zhang Ling|Zhang Ling]] ([[User talk:Zhang Ling|talk]]) 12:06, 6 November 2020 (UTC)&lt;br /&gt;
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==Xiao Yining 肖伊宁==&lt;br /&gt;
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What's more, to judge whether the target readers have similar effects is uncertain and unpractical because they are different in gender, age,educational background and life experience, etc. Strictly speaking, the reader's response is a variable that cannot be regarded as equivalent to the standard effect. Finally, dynamicequivalence information in the text does well, just like the Bible, but it is difficult to realize literary translation, text language is different from general language.&lt;br /&gt;
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此外，由于目标读者在性别、年龄、学历、生活经历等方面的差异，判断目标读者是否具有相似的效果是不确定和不现实的。严格地说，读者的反应是一个变量，不能被视作等同于标准效应。最后，文本中的动态对等信息做得很好，就像圣经一样，但是却很难实现文学翻译，文本语言不同于一般语言。--[[User:Xiao yining|Xiao yining]] ([[User talk:Xiao yining|talk]]) 12:28, 5 November 2020 (UTC)Xiao Yining&lt;br /&gt;
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更重要的是，由于目标读者的性别、年龄、教育背景、生活经历等不同，判断他们是否具有相似的效应是不确定的，也是不现实的。严格来说，读者的反应是一个变量，无法将其视为等同于标准效果。最后，文本中的动态对等信息做得很好，就像《圣经》一样，但很难实现文学翻译，文本语言与一般语言不同。--[[User:Liu Yi|Liu Yi]] ([[User talk:Liu Yi|talk]]) 00:19, 6 November 2020 (UTC)&lt;br /&gt;
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==Xie Fan 解帆==&lt;br /&gt;
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Dynamic equivalence, as a concept, puts an .an overly narrow focus on the response of the active hearers, perhaps sometimes at the expense of other factors which are also crucial to adequate translation, such as the accuracy of the message, the uniqueness of the original historical setting. &lt;br /&gt;
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Next, it will list the definition of formal equivalence. “Formal equivalence is simple and source-oriented. It is like a word for word literal translation”(Shakernia 2013:2). Formal equivalence concentrates on the message itself, in both form and content. &lt;br /&gt;
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==Xie Ziyi 谢子熠==&lt;br /&gt;
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“One is concerned that the message in the receptor language should match asclosely as possible the different elements in the source language”(Shakernia 2013:3).The use of formal equivalents might at times have serious implications in the target text since the translation will not be easily understood by the target readership. For example, “in the translation of the sentence of greet others  with a holy kiss, these two different equivalence can have distinctly different translation”(Shakernia 2013:3).&lt;br /&gt;
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==Xu Jia 徐佳==&lt;br /&gt;
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In the formal equivalence translation, we need to translate it into the translation of saying hello to others with a holly kiss. But it seems strange to others because what’s the meaning of holy kiss. Then, we need to add one explanation of holy kiss which is in the ''old testament'' the holly kiss is usually treated as a usual way to greet others.&lt;br /&gt;
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在讲求形式对等的翻译中，我们要把这句话译为“用圣洁的亲吻和别人打招呼”，可这样的译文似乎有些奇怪，因为读者不明白何为“圣洁的亲吻”。因此，我们需要对此进行解释——在《旧约》中，“圣洁的亲吻”是人们常用的问好方式。--[[User:Xu Jia|Xu Jia]] ([[User talk:Xu Jia|talk]]) 13:03, 6 November 2020 (UTC)Xu Jia&lt;br /&gt;
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==Xu Jing 许晶==&lt;br /&gt;
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However, in the dynamic equivalence, we need not to take the correspondence of the structure into consideration. We only need to pay attention to the reaction of receptorsof language. We can translate it into the translation of shaking hands with others enthusiastically. From the above example, it’s clear to find the focus of these two equivalences is very different therefore the translation can be different. &lt;br /&gt;
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==Xu Jing 许静==&lt;br /&gt;
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Here, it will try to figure out the advantages and disadvantages of formal equivalence.  One of the most distinguished advantage of the formal equivalence is that in this translation, “the formal equivalence is keenly oriented towards the source language structure, which exerts strong language influence in determining accuracy and Correctness”(Nida 1995:223).&lt;br /&gt;
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在此，将试着弄清形式对等的优缺点。形式对等最突出的优点之一是，在这种翻译中，&amp;quot;形式对等更加注重源语结构，强调了翻译的准确性&amp;quot;。(Nida 1995:223)。--[[User:Xu Jing|Xu Jing]] ([[User talk:Xu Jing|talk]]) 05:49, 6 November 2020 (UTC)&lt;br /&gt;
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在此，将试图找出形式对等的优缺点。形式对等最显著的优势之一是，在该翻译中，“形式对等以源语言结构为导向，这对语言的准确性和正确性产生强烈的影响”(Nida 1995:223)。--[[User:Xiao Shuangling|Xiao Shuangling]] ([[User talk:Xiao Shuangling|talk]]) 07:38, 6 November 2020 (UTC)Xiao Shuangling&lt;br /&gt;
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==Xu Mengdie 徐梦蝶==&lt;br /&gt;
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Because the formal equivalence emphasizes the completetranscript of the original text’s content and form so it will have the consistent structure of the original text.Another advantage of formal equivalence is that it put much focus on the accuracy.Because in such translation theory, the target language will try to find a equivalent in the source language. &lt;br /&gt;
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==Xu Pengfei 许鹏飞==&lt;br /&gt;
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For example, in the sentence of “Please fetch me a glass of water” when translating it into Chinese, we will try to find each word equivalent in Chinese. We will try to find each word such as “please”“fetch”“me” and so on. Then we can find the equivalent in Chinese which can be transliterated into Chinese as “Qing gei wo yi bei shui”. Apart from that, let’s move on  to the disadvantages of formal equivalence&lt;br /&gt;
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例如，在把“Please fetch me a glass of water”这个句子译成中文的时候，我们会尽量找到每个词对应的中文词汇。我们会尝试找到每个词，如“请”，“拿来”，“我”等。在汉语中我们可以找到对应的音译为“qing gei wo yi bei shui”。除此之外，让我们看看形式对等有哪些缺点。--[[User:Xu Pengfei|Xu Pengfei]] ([[User talk:Xu Pengfei|talk]]) 12:35, 5 November 2020 (UTC)Xu Pengfei&lt;br /&gt;
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例如，当我们把” Please fetch me a glass of water”这句话翻译成中文时，我们会尽量找到每个词在中文中所对应的词汇。我们会尝试找到每个词，例如“请”，“拿来”，“我”等等。然后我们就可以找到其在中文中所对应的词汇，将其音译为“请给我一杯水”。除此之外，让我们再来看看形式对应的缺点。--[[User:Yang Yue|Yang Yue]] ([[User talk:Yang Yue|talk]]) 14:17, 5 November 2020 (UTC)&lt;br /&gt;
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==Yang Chenting 杨晨婷==&lt;br /&gt;
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One of the obvious disadvantage of the formal equivalence is that sometimes it will neglect the intent of the original text. Because the formal equivalence isreferred as to the literal translation and in such way it may overlook the author’s intent. For example, we often hear Chinese people say:“Ni chi le ma?” In fact, it’s a way to greetpeople in Chinese custom while we cannot translate it into English as “Have you eat your dinner or lunch?”. Instead we should translate it into English as “Hello!”or “Hi!”&lt;br /&gt;
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形式对等一个很明显的缺点就是有时候会忽视原文的意图。因为形式对等也被称之为直译，而作者的意图就有可能被忽视掉了。举例来说，我们经常会听到中国人问，“你吃了吗？实际上这是中国打招呼的一种习惯，那么我们就不能把它翻译成英语的“Have you eat your dinner or lunch?”， 而是要译成“Hello！”或者“Hi！”--[[User:Yang chenting|Yang chenting]] ([[User talk:Yang chenting|talk]]) 09:22, 3 November 2020 (UTC)Yang Chenting&lt;br /&gt;
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形式对等的一个明显的缺点是有时会忽略原文的意图。因为形式对等也被称之为直译，这样可能会忽略作者的意图。例如，我们经常听到中国人说：“你吃了吗？实际上这是中国打招呼的一种习惯，那么我们就不能把它翻译成英语的“Have you eat your dinner or lunch?”， 而是要译成“Hello！”或者“Hi！&amp;quot;--[[User:Li Lingyue|Li Lingyue]] ([[User talk:Li Lingyue|talk]]) 10:15, 4 November 2020 (UTC)&lt;br /&gt;
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==Yang Hairong 杨海容==&lt;br /&gt;
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Among these two theories, Nida puts the dynamic equivalence in the first place. It has been viewed as his core contribution to the modern translation filed. “Nida pays attention to readers' response and advocates replacing the expression of foreign culture in the original text with the expression habit of the receiving language, namely, domestication”(Nida 1995:224). &lt;br /&gt;
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==Yang Hui 阳慧==&lt;br /&gt;
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By far, “Nida has achieved a lot in translation study. He simplifies Chomsky’s theory and adopts only the later two part of the model in order to validate his science”(Gentzler 2001:52). “He is aware of the nature of a practice-oriented approach, attempts to scientifically validate his methodology and apply it to translation as a whole” (Panou 2013: 1) . &lt;br /&gt;
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==Yang Yi 杨逸==&lt;br /&gt;
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In this chapter, it also talks about Noam Chomsky’s contribution to the linguistic and translation. In Chomsky’s opinion, the linguistic is a study of science and we can apply many linguistic principles to translation, therefore, the translation can also be said a study of science. Among the Noam Chomsky’s contribution is his transformational-generative grammar. “It is a theory that talks about why people can talk and how people can learn new sentences. It is a theory about language ability. Chomsky holds his opinion that basics and transformation form grammar” (Zhou 2019:5).&lt;br /&gt;
本章还讨论了诺姆·乔姆斯基(Noam Chomsky)对语言学和翻译的贡献。在乔姆斯基看来，语言学是一门科学的研究，我们可以把许多语言学的原则应用到翻译中，因此，翻译也可以说是一门科学的研究。诺姆·乔姆斯基的贡献之一是他提出的“转换生成语法”。“这个理论探讨了人们为什么会说话以及人们如何学习新句子。它是一种关于语言能力的理论。乔姆斯基认为基础和转换构成语法。”(周2019:5)--[[User:Yang Yi|Yang Yi]] ([[User talk:Yang Yi|talk]]) 12:00, 5 November 2020 (UTC)&lt;br /&gt;
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在本章中还讨论了诺姆·乔姆斯基(Noam Chomsky)对语言学和翻译的贡献。在乔姆斯基看来，语言学是一门科学的研究，我们可以把许多语言学的原则应用到翻译中，因此，翻译也可以说是一门科学的研究。诺姆·乔姆斯基的贡献之一是他提出的“转换生成语法”。“这个理论探讨了人们为什么能够说话以及人们如何学习新句子。它是一种关于语言能力的理论。乔姆斯基认为基础部分和转换过程构成了语法。”--[[User:Xu Pengfei|Xu Pengfei]] ([[User talk:Xu Pengfei|talk]]) 12:34, 5 November 2020 (UTC)Xu Pengfei&lt;br /&gt;
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==Yang Yue 杨悦==&lt;br /&gt;
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The basics form deep structure and deep structure transforms to surface structure. Word’s meaning belongs to deep structure . Besides, “he thinks thatlanguage is a unique human natural constitution. Language ability should be more focused on not rather language behavior”(Zhou 2019:6). “The TG Grammar tries to reveal the unity of particular grammars and universal grammars, to explore the universal rules with the hope of revealing the human cognitive system and the essential nature of human being”(Zhu 2018:241).&lt;br /&gt;
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基础形成深层结构，深层结构进而转化成表层结构。词义归属于深层结构。除此之外，“他认为语言是人类独特的自然构成，我们应该更加关注语言能力而不是语言行为”（Zhou 2019: 6）。“TG语法试图揭示特定语法和普遍语法的统一性，探索普遍规则，以期揭示人类的认知系统和人类的本质”（Zhu 2018: 241）。--[[User:Yang Yue|Yang Yue]] ([[User talk:Yang Yue|talk]]) 14:09, 5 November 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
基础形成深层结构，深层结构转换为表层结构。词义属于深层结构。此外，“他认为语言是人类独特的自然构成。应该更多地关注语言能力而不是语言行为”（Zhou 2019：6）。 “ TG语法试图揭示特定语法和普遍语法的统一性，探索普遍规则，以期揭示人类的认知系统和人类的本质。”--[[User:Tan Yuanyuan|Tan Yuanyuan]] ([[User talk:Tan Yuanyuan|talk]]) 09:05, 6 November 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
==Yang Ziling 杨子泠==&lt;br /&gt;
&lt;br /&gt;
Both Chomsky and Nida believe that deep, coherent and unified entity exists behind whatever manifestation language takes. However, there exists some difference between their opinions. “Chomsky would not jump to conclusions based on correlations between just two languages, nor assume that a grammar to a particular to one language would work systematically for another” (Li 2011:395). While Nida holds the belief that deep structure and transformatio-nal rules which is divorced from all the problems of translation are similar across languages. All in all, these two great persons all make a big contribution to translation and their theories are still widely used today.&lt;br /&gt;
&lt;br /&gt;
==Yao Cheng 姚诚==&lt;br /&gt;
&lt;br /&gt;
'''II Analysis of ''Introducing Translation Studies: Theories and Applications''''' &lt;br /&gt;
&lt;br /&gt;
As for the second book: ''Introducing Translation Studies: Theories and Applications'' , it is a very populary book which has undergone through the fourth edition. ''Introducing Translation Studies: Theories and Applications'' remains the definitive guide to the theories and concepts that make up the field of translation studies. This fourth edition has been fully revised and continues to provide a balanced and detailed guide to the theoretical landscape. “Each theory is applied to a wide range of languages, including Bengali, Chinese, English, French, German, Italian, Punjabi, Portuguese and Spanish”(Liu and Deng 2010:54).&lt;br /&gt;
&lt;br /&gt;
分析：翻译研究概论：理论与应用&lt;br /&gt;
“翻译研究概论：理论与应用”是第二本书。这本书出版了四次，非常受欢迎。 《翻译研究概论：理论与应用》仍是翻译研究领域相关理论和概念的权威指南。 第四版已经过全面修订，并继续为理论界提供均衡而详细的指南。 “每种理论都适用于多种语言，如孟加拉语，中文，英语，法语，德语，意大利语，葡萄牙语，旁遮普语，葡萄牙语和西班牙语”--[[User:Yao Cheng|Yao Cheng]] ([[User talk:Yao Cheng|talk]]) 10:39, 6 November 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
'''分析'' 翻译研究概论：理论与应用''''' &lt;br /&gt;
&lt;br /&gt;
至于第二本书《翻译研究概论：理论与应用》。这本书出版了四次，非常受欢迎。 《翻译研究概论：理论与应用》仍是翻译研究领域相关理论和概念的权威指南。 第四版已经过全面修订，并继续为理论界提供均衡而详细的指南。 “每种理论都适用于多种语言，如孟加拉语、中文、英语、法语、德语、意大利语、葡萄牙语、旁遮普语、葡萄牙语和西班牙语”--[[User:Wu Kai|Wu Kai]] ([[User talk:Wu Kai|talk]]) 12:14, 6 November 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
==Yao Jia 姚佳==&lt;br /&gt;
&lt;br /&gt;
It starts with the definition of translation and then presents us the translation theory before the twentieth century to the modern translation theory. It focus on many important translation theories such as systematic translation theory, polysystem theory translation, functional theories of translation, and so on. There are three reasons why I like this book very much. Firstly, this book is full of content which is arranged carefully and skillfully for the readers to read. It contain an introductory table clearly presenting key terms and ideas, the main text, describing in detail the models and issues under discussion, an illustrative case study, which applies and evaluates the main model of the chapter, suggestions for further reading, a brief evaluative summary of the chapter and a series of discussion and research points to stimulate further thought and research.&lt;br /&gt;
&lt;br /&gt;
==Yi Huan 易欢==&lt;br /&gt;
&lt;br /&gt;
I am extremely fond of the case study in this book which is also a unique feature of this book. In the case study, it will list a related case about the translation issue in this chapter for readers to think and then this book provide us with a discussion of case studies for us to reflect our thinking. I think it’s a good way for us to relate the knowledge of book into reality which it’s more helpful and useful for us to remember the knowledge in the book. And by applying our knowledge to the real problem in reality, it’s more helpful for us truly understand the essence of translation studies. &lt;br /&gt;
&lt;br /&gt;
==Yi Zichu 义子楚==&lt;br /&gt;
&lt;br /&gt;
Secondly, there are a large number of charts are cited, and the names of the charts are listed on a special page after the table of contents at the front of the book for easy reference. In this way, it is easier for readers to absorb  much information contained in the charts. In the meantime, it is clear for the readers to relate the knowledge with the information in the charts. It is also a good way to sort out the large number of information in an ordered way for the readers to have a quick way to absorb the information. &lt;br /&gt;
&lt;br /&gt;
==You Yuting 游雨婷==&lt;br /&gt;
&lt;br /&gt;
Thirdly, the book includes an appendix to the web sites relevant to translation studies before the final notes and index. These include two web sites that publish information about conferences, recent publications and research, six web sites for international translation journals and four web sites for translation organizations that often contain useful links. In this way, it becomes much easier for the readers to search the information on the websites for further reading and studying.&lt;br /&gt;
&lt;br /&gt;
第三，在最后的注释和索引之前，书中囊括了一个与翻译研究相关的网站的附录。这些网站包括两个发布会议、最新出版物和研究信息的网站，六个国际翻译期刊网站和四个通常包含有用链接的翻译组织网站。这样，读者能够更容易地在网站上搜索信息，进行进一步的阅读和学习。--[[User:You Yuting|You Yuting]] ([[User talk:You Yuting|talk]]) 10:29, 5 November 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
第三，在最后注释和索引之前，该书包括与翻译研究相关的网站附录。其中包括两个公布会议信息、最近的出版物和研究的网站、六个国际翻译期刊网站和四个经常包含有用链接的翻译组织网站。这样，读者就更容易在网上搜索信息，以便进一步阅读和学习。--[[User:Zhao Xi|Zhao Xi]] ([[User talk:Zhao Xi|talk]]) 05:12, 6 November 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
==Yu Ni 余妮==&lt;br /&gt;
&lt;br /&gt;
Now, let’s move on to talk about the content of this book. In the second chapter, this book lists the debate about the word-for-word and sense-for-sense translation which is debate that dominated much of translation theory. “Faithful translation” is an attempt to reach a compromise between the two. Many great translators object to word-for-word translation and they advocate the sense-for-sense translation”(Munday 2013:18). &lt;br /&gt;
&lt;br /&gt;
==Yuan Shiqi 袁诗琦==&lt;br /&gt;
&lt;br /&gt;
For example, Cicero oppose the word-for-word translation strongly by saying “that I did not hold it necessary to render word for word, but I preserved the general style and force of the language”(Munday 2013:19). “The issues of free and literal translation were for over a thousand years with the translation of the Bible and other religious and philosophical texts”(Munday 2013:22). As for the translation of Bible, there must mention the Martin Luther whose major influence is made by his translation of the ''New Testament'' and later the ''Old Testament''.&lt;br /&gt;
&lt;br /&gt;
==Yuan Tianyi 袁天翼==&lt;br /&gt;
&lt;br /&gt;
Martin Luther advocates the revolutionary nature of translation. “At that time, the Bible was only available in Europe in a Latin translation. This meant that the majority of the people had no access to the Bible in their native languages”(Stolt 2014:373). He is concerned with the German readers. “Here, he supports the idea of using of “pure, clear German and the building of new languages in translation. Therefore, he used a non-literal translation in his translation of Bible”(Stolt 2014:373). Also, his use of a regional yet socially broad dialect went a long way to reinforcing that form of the German language as standard.&lt;br /&gt;
&lt;br /&gt;
马丁·路德（Martin Luther）呼吁对翻译的本质进行根本性变革。“在那个年代，欧洲人只能阅读到《圣经》的拉丁文译本。这就意味着大多数人无法阅读到母语版本的《圣经》。”(Stolt 2014:373). 斯托尔特（Stolt）尤为关注德国读者。此处，他支持“在翻译中使用纯粹、清晰的德语，也支持在翻译中构建新的语言”。因此，斯托尔特在他自己翻译的《圣经》译本中使用了非文学翻译方法。(Stolt 2014:373). 斯托尔特虽然使用的是一种方言，但是这种方言在社会上使用甚广。他意在促使在翻译中使用德语，开创这样一种新的标准，不过他花费了漫长的时间。--[[User:Yuan Tianyi|Yuan Tianyi]] ([[User talk:Yuan Tianyi|talk]]) 02:48, 5 November 2020 (UTC)&lt;br /&gt;
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==Yuan Yuchen 袁雨晨==&lt;br /&gt;
&lt;br /&gt;
“His aim is to keep communication with readers and listeners, but the audience for his new translation of the scriptures was composed not of scholars but plain speakers of vernacular German”(Stolt 2014:374). And thanks to Martin Luther’s efforts of translating Bible, the Germany people now could read Bible freely. Later, the book talks about the translation principle of Dryden, Dolet and Tytler. Here it will put emphasize on the Tytler’s translation principles. As for Dolet has five translation principles while Tytler proposes his three translation rules. &lt;br /&gt;
&lt;br /&gt;
==Zeng Fangyuan 曾芳缘==&lt;br /&gt;
&lt;br /&gt;
They are the translation should give a complete transcript of the ideas of the original work. Secondly, the style and manner of writing should be of the same character with that of the original. Thirdly, the translation should have all the ease of the original composition.” (Munday 2013:26) Here, we can see that Tytler pursues the balance between the source language and target language. The translator must have the capacity of employing the exact manner and skill in translating his target language.&lt;br /&gt;
&lt;br /&gt;
==Zeng Liang 曾良==&lt;br /&gt;
&lt;br /&gt;
For example, “there are two sentences which express the same meaning but they are different in their writing style”(Xi 2009:41). One is on Monday morning, the park is usually crowded with too many people. The other is on Monday morning, the park attracts many people. It’s obvious that the first sentence is in a negative mood while the second sentence is in a positive mood. These two sentences all convey the same meaning but they differs each other in the mood and style. To be a good translator, you need to be skillful in bringing the same style of the source language to the target language.&lt;br /&gt;
&lt;br /&gt;
例如，“两个句子表达相同的含义，但是它们的写作风格不同”（习 2009:41）。一个句子是“星期一早上，公园通常人满为患”，另一个是“星期一早上，公园吸引了很多人”。显然，第一句语气消极，而第二句语气积极。这两句都传达相同的含义，但语气和风格不一。要成为一名优秀的译者，你需要熟练地将源语的风格引入到目的语中。--[[User:Zeng Liang|Zeng Liang]] ([[User talk:Zeng Liang|talk]]) 08:34, 5 November 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
例如，“有两个句子表达相同的意思，但它们的写作风格不同”(习 2009:41)。一个是在星期一早上，公园里通常挤满了人。另一个是周一早上，公园吸引了很多人。很明显，第一句表达消极的情绪，而第二句是表达积极的情绪。这两个句子表达的意思相同，但语气和风格却不同。要成为一名优秀的译者，你需要善于将源语言的相同风格引入目标语言。--[[User:You Yuting|You Yuting]] ([[User talk:You Yuting|talk]]) 10:33, 5 November 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
==Zeng Xinyuan 曾心媛==&lt;br /&gt;
&lt;br /&gt;
The advantages of his translation principle are as follows. First of all, “he abandons the traditional translation idea of dichotomies and he tries not to use these controversial term such as literal translation, free translation to give his translation rules a better and clear way to present”(Bie and Huang 2007:164). Here, in his translation principles, we cannot see the mentioning of the literal translation and free translation which can cause misunderstanding in the translation studies.&lt;br /&gt;
&lt;br /&gt;
==Zeng Yanhu 曾雁湖==&lt;br /&gt;
&lt;br /&gt;
Secondly, “he clarifies and extends people’s understanding of the metaphor that translators are painters. In his opinion, he advocates that the job of a translator is distinct different from the painter” (Bie and Huang 2007: 166). Although the translator does not use the same color as the original, he must give his &amp;quot;picture&amp;quot; the same power and effect. The translator cannot copy the original style, but must use his own style to translate the perfect script. The more he studies a imitation, the less his copy will reflect the ease and spirit of the original. &lt;br /&gt;
&lt;br /&gt;
==Zhang Hu 张虎==&lt;br /&gt;
&lt;br /&gt;
Now, let’s move on to talk about the disadvantages of his translation principles. Tytler’s translation thoughts are mainly on the base of his exact experience and subjective observation. “Some people even say that the book just looks like a textbook addressing the translation arts. In the meantime, from his translation theories, we can know that he imitates other translator’s theory, especially Dryden”(Firdaus 2012:285). For example, his first principle “That the translation should give a complete transcript of the ideas of the original work, which is almost same as the Campbell’s accurately reproduce the original meaning”(Firdaus 2012:286). &lt;br /&gt;
&lt;br /&gt;
==Zhang Hui 张慧==&lt;br /&gt;
&lt;br /&gt;
Tytler, “points out that the three principles are in a necessary order. The order arrangement is appropriate, natural and is arranged according to their importance to the translation which cannot change casually”(Firdaus 2012:287). In this way, we can concluded that his idea that if in a case of need to sacrifice a certain principle, the translator should notice the importance of order of translation principle. The translator cannot try to get a beautiful and fluent translation at the expense of the faithful translation of the script. Tytler’s translation has exerted great influence on the later translation studies and left a big influence on the later translators such as our Chinese great translator-Yan Fu.&lt;br /&gt;
&lt;br /&gt;
泰特勒指出，“这三个原则有一个必要的顺序。 顺序安排适当，自然，并根据其对翻译的重要性进行安排的，不能随便更改。”（Firdaus 2012：287）。 这样，我们可以得出结论，他的想法是，在需要牺牲某种原则的情况下，翻译者应注意翻译原则顺序的重要性。 译者不能以牺牲原文翻译的忠实性为代价来获得优美流畅的译文。 泰特勒的翻译对后来的翻译研究产生了很大的影响，对后来的译者，例如我们中国的伟大译者严复，也产生了很大的影响。--[[User:Zhang Hui|Zhang Hui]] ([[User talk:Zhang Hui|talk]]) 07:36, 5 November 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
泰特勒指出，这三个原则有一个必要的顺序。 顺序安排需要适当、自然、并根据其对不能随便更改的翻译的重要性进行安排”（Firdaus 2012：287）。 这样，我们可以得出结论，他的想法是，在需要牺牲某种原则的情况下，翻译者应注意翻译原则顺序的重要性。 译者不能以牺牲原文翻译的忠实性为代价来获得优美流畅的翻译。 泰特勒的翻译对后来的翻译研究产生了很大的影响，对后来的译者，例如我们的中国伟大译者严复，也产生了很大的影响。--[[User:Zhao Xiaoyan|Zhao Xiaoyan]] ([[User talk:Zhao Xiaoyan|talk]]) 07:56, 5 November 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
==Zhang Ling 张玲==&lt;br /&gt;
&lt;br /&gt;
Here, it will list the Yan Fu’s translation theories and then we can have a brief comparison between Yan Fu’s translation principles and Tytler’s translation principles. “Yan Fu is our Chinese great scholar and translator, most famous for introducing western ideas, including Darwin’s natural selection to China in the late 19th century”(Wang 2008:70). Just as Shi Chunrang and Zhao Wei proposed their opinions in their essay ''Thoughts on Yan Fu's “Faithfulness, Expressiveness and Elegance” and Tytler's Three Principles—a Case Study of Comparative Translation'' that Yan Fu proposed three difficulties in translation: faithfulness, expressiveness and elegance in the preface to his translation of ''Evolution and Ethnic''.&lt;br /&gt;
&lt;br /&gt;
这里我们将列出严复的翻译理论，然后我们可以对严复的翻译原则和泰勒的翻译原则作一个简单的比较。“严复是中国伟大的学者和翻译家，他将19世纪末达尔文的自然选择学说等西方思想引入中国，并因此声名鹊起。”（王2008:70）正如史春兰、赵薇在《论严复的“信达雅”和泰勒的翻译三原则——以比较翻译为例》中提出的观点一样，严复在其译著《天演论》的序言中提出了翻译的三大难点：信、达、雅。 --[[User:Zhang Ling|Zhang Ling]] ([[User talk:Zhang Ling|talk]]) 12:00, 6 November 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
==Zhang Peiwen 张佩闻==&lt;br /&gt;
&lt;br /&gt;
“Faithfulness” means the full and complete conveying or transmission of the original content or thought. It emphasizes the right way of expressing content of the original source. “Expressiveness” demands that the version must be clear and follow without any grammatical mistakes or confused logic and sense. The translation should convey freely the content of the original source. “Elegance” means that the target translation should be similar to the source text in style(2005:96).&lt;br /&gt;
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It means that the mood of the target translation should be almost same as the source language. By analyzing carefully, it’s clear to find there are many things in common between these two translation theories.&lt;br /&gt;
“信”意味着对原文或者原意的一种全方面完整的表达或者转换。“信”要求巧妙地表达出原文意思。“达”要求译文清楚，在语法和逻辑上没有错误。译文要灵活地表达原文的内容。“雅”意味着译文和原文在风格上有相似性。也就是说，译文的措辞要和原文尽可能相似。仔细分析就会发现，这两种翻译理论很明显有着许多相似的地方。--[[User:Zhang Peiwen|Zhang Peiwen]] ([[User talk:Zhang Peiwen|talk]]) 07:05, 4 November 2020 (UTC)&lt;br /&gt;
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“信”意指全面透彻地传达原文本、原思想。“信”强调用正确方式表达出源信息的内容。“达”要求译文必须表意清晰，没有任何语法错误，没有混淆逻辑，没有混淆时态。“达”还要求译文必须自如地传达源信息的内容。“雅”指目的译文必须在风格上与原文本类似。(2005:96)--[[User:Yuan Tianyi|Yuan Tianyi]] ([[User talk:Yuan Tianyi|talk]]) 03:02, 5 November 2020 (UTC)&lt;br /&gt;
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==Zhang Qi 张琪==&lt;br /&gt;
&lt;br /&gt;
Firstly, “the first principle and second principle of Tytler are the same as the saying that translation should be faithful to the source language’s content and mood which is similar to the first principle of Yan Fu that emphasizes on the full and complete conveying of the original content”(Shi and Zhao 2005:97). Secondly, these two translation theories all focus on stressing the conveying the thought and content of the source language. And the translation should be available for people to read. “These two theories all emphasize on the conveying the complete transcript of the source text”(Shi and Zhao 2005:98). &lt;br /&gt;
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==Zhang Weihong 张维虹==&lt;br /&gt;
&lt;br /&gt;
It’s clear to see many differences between these two translation theories. Firstly, “they are different in thinking mode. Yan Fu does not make a clear and detailed explanation of his translation theory. Instead it relies on others’ explanation of his translation theory”(Xi 2009:41). Just as a saying, “Everything is clear without saying a word”. To better understand Yan Fu’s translation theory, we need to have the associated “relation and reflection about the great thought of our great ancestors. &lt;br /&gt;
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==Zhang Xueyi 张雪仪==&lt;br /&gt;
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As we all know, “traditional Chinese mode of thinking is perceptual which tends to make the theory obscure and received. However, westerners attach great importance to rational thinking which makes the theory more concrete”(Shi and Zhao 2005:98). The thinking mode of western is putting emphasize on the rational thinking and it emphasizes one’s rational understanding of the objects and people. Also, “it concentrates on the formal explanation of the objects and people”(Shi and Zhao 2005:98). Therefore, the Tytler’s three translation principles all give respect to the object to the original text. &lt;br /&gt;
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==Zhang Yinliu 张银柳==&lt;br /&gt;
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And it repeatedly emphasizes on the importance of the original text and treat the original text as it start point. Apart from that, it also gives the literal explanation in a detailed way. In this way, after analyzing the different thinking between the western and eastern, we can say that Yan Fu do not give a literal explanation of his translation principle. Thus, we can say that his translation principle understands tacitly. &lt;br /&gt;
&lt;br /&gt;
Secondly,“they are distinctly different in the importance. Since the three principles of faithfulness, expressiveness and elegance are presented, the importance of them has not been clearly classified”(Shi  and Zhao 2005:99). &lt;br /&gt;
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==Zhang Yu 张瑜==&lt;br /&gt;
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One of the most important features of Yan Fu’s translation standard is its ambiguous semantic meaning. But in fact, “Yan Fu put emphasizes on the free translation and he proposed the principle of expressiveness to support the principle of faithfulness”(Xi 2009:41). “Since during the process of translation, except adhering to the expressiveness of the original text, the principle of faithfulness is the most difficult task to finish as to the conveying the original text’s mode and style”(Xi 2009:42). Therefore, we can draw a conclusion that principle of expressiveness is vital in his three principles and then is the expressiveness and the last is elegance.&lt;br /&gt;
&lt;br /&gt;
严复翻译标准的最大特点之一是语义含混。但事实上，“严复偏重于意译，为达，即所以为信也”（席，2009:41）。因为在翻译的过程中，传达原文的形式和风格时，除了追求原文的“达”，其次求“信”亦大难矣（席，2009:42）。因此，我们可以得出一个结论：求信乃译事之根本，其次求“达”，最后求“雅”。--[[User:Zhang Yu|Zhang Yu]] ([[User talk:Zhang Yu|talk]]) 06:31, 5 November 2020 (UTC)&lt;br /&gt;
严复翻译标准的一个重要的特征是语义模糊。但事实上，“严复偏重于意译，为达，即所以为信也。”（席，2009:41）“因为在翻译的过程中，传达原文的形式和风格时，除了追求原文的‘达’，其次‘信’亦大难矣。”（席，2009:42）因此，我们可以得出结论，在他的三个原则中，求“信”乃译事之根本，其次求“达”，最后求“雅”。--[[User:Yang Yi|Yang Yi]] ([[User talk:Yang Yi|talk]]) 12:19, 5 November 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
==Zhang Yujie 张毓婕==&lt;br /&gt;
&lt;br /&gt;
We should stick to the general principle of “original meaning”, only then can we have a reasonable logic to give an order on the importance of “faithfulness, expressiveness and elegance”. “While Tytler thinks the order of his three principles is suitable, natural and could not be changed”(Wang 2008:71). Tytler proposes that we can make the conveying the faithful translation of the content at the expense to pursue the beautiful and fluent translation of the original text. &lt;br /&gt;
&lt;br /&gt;
==Zhang Yuxing 张宇星==&lt;br /&gt;
&lt;br /&gt;
“If we must give up one of principles he proposes, he advises that we can give up the least important principle namely the third principle”(Wang 2008:71). In other words, it is the first sacrifice of the original “style and effectiveness”. What's more, the style and mood of the original painting must be conveyed in order to convey a faithful picture of the sense. &lt;br /&gt;
&lt;br /&gt;
Thirdly, “these two translation theories are different in the aspect of value orientation. The reason of this difference is due to the difference in the academic tradition of the emphasizing on the practice and theory level of the east and west”(Wang 2008:73). &lt;br /&gt;
&lt;br /&gt;
==Zhao Xi 赵茜==&lt;br /&gt;
&lt;br /&gt;
As is known to all, traditional Chinese translation paid more attention to practice rather than theory. The idea of translation should guide translation practice and should be of reference value. Yan Fu's “faithfulness, expressiveness and elegance” was originally used to describe the difficulty of translation, not as a translation standard. He summed it up from his own practice and was concerned with practice rather than theory. However, western translator put practice and theory at the same level. Tytler's three principles are three levels of difficulties in detail, from the content loyal to distinct style.&lt;br /&gt;
&lt;br /&gt;
众所周知，中国传统翻译更注重实践而非理论。翻译思想应指导翻译实践，具有参考价值。严复的“信达雅”起初是用于描述翻译中的困难，而不是作为翻译标准。他从自己的实践中总结，关心的是实践而非理论。然而，西方译者把实践和理论放在同一层次上。泰特勒的三原则是三个层面的困难，从内容忠实到鲜明的风格。--[[User:Zhao Xi|Zhao Xi]] ([[User talk:Zhao Xi|talk]]) 05:08, 6 November 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
众所周知，中国的传统翻译重实践而轻理论，认为翻译思想应指导实践并具备参考价值。严复的“信达雅”原本是用于描述翻译的困难，而不是作为翻译标准。他从自己的实践经验中进行总结，关心的是实践而非理论。然而，西方译者把实践和理论置于同等地位。泰特勒的三原则对三个层次的困难作了详细描述，包括从内容的忠实到不同的风格。--[[User:Peng Xiaoling|Peng Xiaoling]] ([[User talk:Peng Xiaoling|talk]]) 08:34, 6 November 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
==Zhao Xiaoyan 赵晓燕==&lt;br /&gt;
&lt;br /&gt;
The reflected logical form is clear and obvious, which is significantly different from the implicit three translation principles of “faithfulness, expressiveness and elegance”. “Western translation theories focus on detailed analysis, rational abstraction and theoretical deduction, and pay attention to logical organization, hierarchy and clarity of content in language expression”(Wang 2008:73). Influenced by traditional philosophy, western translation theories have a strong sense of subject and object throughout the whole process. Taking “expressiveness” as an example, Yan Fu's “expressiveness” and Tytler's third principle “translation should have all the ease of the original composition” have roughly the same meaning, but it’s obvious that they are different in thinking mode.&lt;br /&gt;
&lt;br /&gt;
所反映的逻辑形式清晰而明显，与隐含的“信、达、雅”的翻译原则有明显的不同。 “西方翻译理论侧重于详细的分析，合理的抽象和理论演绎，并注重语言表达中逻辑的组织、层次和清晰度”（Wang 2008：73）。 在传统哲学的影响下，西方翻译理论在整个过程中具有强烈的主体客体感。 以“达”为例，严复的“达”和泰特勒的第三条原则“翻译应还原译文原始结构”具有大致相同的含义，但显然它们的思维方式是不同的。--[[User:Zhao Xiaoyan|Zhao Xiaoyan]] ([[User talk:Zhao Xiaoyan|talk]]) 07:36, 5 November 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
所反映的逻辑形式清晰而明显，与隐含的“信、达、雅”三个翻译原则有明显的不同。 “西方翻译理论侧重于详细的分析，合理的抽象和理论演绎，并注重语言表达中逻辑的组织，层次和清晰度”（Wang 2008：73）。 在传统哲学的影响下，西方翻译理论在整个过程中具有强烈的主观客体感。 以“达”为例，严复的“达”和泰特勒的第三条原则“翻译应还原译文的原始结构”具有大致相同的含义，但显然它们的思维方式是不同的。--[[User:Zhang Hui|Zhang Hui]] ([[User talk:Zhang Hui|talk]]) 07:48, 5 November 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
==Zheng Huajun 郑华君==&lt;br /&gt;
&lt;br /&gt;
“The Chinese adopt a thought pattern of intuition and understanding while the Englishmen follow a thought pattern of logic and reason, which makes a profound impact on each language”(Chen 2012:126). To this extent, the difference between understanding and rational thinking, as well as the degree of respect for the original text can be best reflected. At last, “these two translation theories are distinct in their motivation. Yan Fu’s criterion is purposeful which aims to attract the elite’s attention”(Wang 2008:73). The literature works that Yan Fu translated from the western world are mainly the great and famous work in the period of western capitalism.&lt;br /&gt;
&lt;br /&gt;
==Zhou Luoping 周罗平==&lt;br /&gt;
&lt;br /&gt;
“He fully understand this mode of thinking is difficult for the Chinese intellectuals at that time so in this way, he need to make the translation principles easier for the Chinese intellectuals to absorb”(Chen 2012:127). In this regard, he chose this way of spreading his translation ideas which makes his translation principles purposeful. While Tylter just wants to make the whole translation system more systematic and cover content, form and text these three aspects. “His aim in his translation principle is simply trying to make his translation principle known by people and suggest a reasonable translation principle for translators to follow”(Xi 2009:42). &lt;br /&gt;
&lt;br /&gt;
==Zhou Shiqing 周诗卿==&lt;br /&gt;
&lt;br /&gt;
'''III Comparison between the book of ''Contemporary Translation Theories'' and  ''Introducing Translation Studies: Theories and Applications''''' &lt;br /&gt;
&lt;br /&gt;
'''1.From the aspect of arrangement of the content'''&lt;br /&gt;
&lt;br /&gt;
Both of these two books all take the line of main translation workshops as its main chapter and then list its contribution to illustrate the content. “In the ''contemporary translation studies'', the author compare the translation group’s advantages and weakness and then give out his own understanding of the study of the translation group” (Li :2014 111).”&lt;br /&gt;
&lt;br /&gt;
==Zhou Shuyao 周书尧==&lt;br /&gt;
&lt;br /&gt;
In the ''Introducing Translation Studies: Theories and Applications'' , the author lists the introduction of each translation workshop’s contribution and achievement to translation” (Liu and Deng 2010:54). While these two books’ difference in arrangement is that in the book ''Introducing Translation Studies: Theories and Applications'' adds a case study to extend the readers’ inflection about the translation study listed in the book. Apart from that, this book also adds the discussion of case study, summary, further reading and discussion and research points into the book which are lack in the ''Contemporary Translation Studies''. &lt;br /&gt;
&lt;br /&gt;
==Zhou Siqing 周思庆==&lt;br /&gt;
&lt;br /&gt;
These added parts to the book ''Introducing Translation Studies: Theories and Applications'' helps extend the readers’ personal study and help the readers relate the theoretical knowledge with the translation practices. &lt;br /&gt;
&lt;br /&gt;
'''2.From the content of the material'''&lt;br /&gt;
&lt;br /&gt;
Both of the books all list the major contribution of each translation workshop but they differ in their focus and approach. In the ''contemporary Translation Theories'', the author will “analyze the advantage and weakness of the each translation workshop and then study the interrelationship between these translation workshops and at last describe the importance of each translation theory to the world and then pose its questions to the presupposition of each translation theory”(Li 2014:111).&lt;br /&gt;
&lt;br /&gt;
==Zhou Yiwen 周艺文==&lt;br /&gt;
&lt;br /&gt;
While in the ''Introducing Translation Studies: Theories and Applications'', the author firstly gives a brief introduction of the chapter content and then illustrates the introduction of each translation workshop in a detailed way. To make the book in a more precise way, the author also lists the summary, case study, discussion of study, further reading and discussion and research points in his book to make the readers to have a more comprehensive way of the book. &lt;br /&gt;
&lt;br /&gt;
==Zhou Yuanqu 周园曲==&lt;br /&gt;
&lt;br /&gt;
Apart from that, these two books all take a method of incorporating the theories and practices into the whole.  In these two books, each book all include the material of theories and practices as its contents. For some important parts, the authors all give out their questions in the book. For example, in the ''Contemporary Translation Theories'',&lt;br /&gt;
&lt;br /&gt;
==Zhou Yujuan 周玉娟==&lt;br /&gt;
&lt;br /&gt;
the author poses his question about Pound’s translation idea“ Was he talking about intuition, guessing the author’s original intention, or something else?(Gentzler 2001:20) After this question, the author gives out his opinions about Pound’s translation idea emphasizing the translator should both inside a tradition and outside any institutionalized logic.&lt;br /&gt;
&lt;br /&gt;
作者对庞德的翻译思想提出了疑问：”“他是在谈论直觉，揣测作者的意愿，还是在做什么?”(Gentzler 2001:20)&lt;br /&gt;
继这个问题之后，作者就庞德的翻译思想提出了自己的观点，强调译者既应该在传统之内，也应该在任何制度化逻辑之外。--[[User:ZHOUYUJUAN|ZHOUYUJUAN]] ([[User talk:ZHOUYUJUAN|talk]]) 07:43, 6 November 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
==Zhu Meimei 祝美梅==&lt;br /&gt;
&lt;br /&gt;
While this point of asking question in the ''Introducing Translation Studies: Theories and Applications'' is more obvious. At the end of each chapter, the author will give several questions in his part of discussion and research points. Some of these questions can find the answers in the textbook while some will require the readers to do some additional researches.&lt;br /&gt;
&lt;br /&gt;
在“翻译研究导论：理论与应用”提问题这一点上更为明显。 在每一章的末尾，作者将在讨论和研究要点中提出几个问题。 这些问题中的一些可以在教科书中找到答案，而另一些则需要读者进行其他研究。--[[User:Zhumeimei|Zhumeimei]] ([[User talk:Zhumeimei|talk]]) 07:49, 5 November 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
在“翻译研究导论：理论与应用”提出问题这一点上尤为显著。在章节末，作者会在讨论部分和研究要点上给出他的几个问题。这些问题中的一些可以在课本中找到答案，而另一些则需要读者做一些额外的研究。--[[User:ZHOUYUJUAN|ZHOUYUJUAN]] ([[User talk:ZHOUYUJUAN|talk]]) 07:50, 6 November 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
==Zhu Suyao 朱素瑶==&lt;br /&gt;
&lt;br /&gt;
'''Conclusion:'''&lt;br /&gt;
&lt;br /&gt;
All in all, after this paper’s careful introduction of these two books and detailed analyzing of the translation theories, it hopes to help the readers to have better understanding of these two books. &lt;br /&gt;
&lt;br /&gt;
==Zhu Xu 朱旭==&lt;br /&gt;
&lt;br /&gt;
After the deep analysis of the two theories of Nida’s translation theories and the comparison between Tytler’s three translation principles and Yan Fu’s translation rules, it’s better for the readers to understand the basic rule of translation. &lt;br /&gt;
&lt;br /&gt;
==Zou Xinyu 邹鑫雨==&lt;br /&gt;
&lt;br /&gt;
And also after analyzing the two big translation theories, it’s clear to draw a conclusion that to be able to be a good translator, the translator should not only be skillful in adapting to two kinds of different language and also he needs to have the solid translation practice experiences. He needs to have the complete transcript of the original text by conveying the content of the original text, but also he should imitate the style and mood of the original text.&lt;/div&gt;</summary>
		<author><name>Song Jianru</name></author>
	</entry>
	<entry>
		<id>https://bou.de/u/index.php?title=20201026_trans&amp;diff=102585</id>
		<title>20201026 trans</title>
		<link rel="alternate" type="text/html" href="https://bou.de/u/index.php?title=20201026_trans&amp;diff=102585"/>
		<updated>2020-10-31T15:29:52Z</updated>

		<summary type="html">&lt;p&gt;Song Jianru: /* Si Yu 司妤 */&lt;/p&gt;
&lt;hr /&gt;
&lt;div&gt;==Cao Runxin 曹润鑫==&lt;br /&gt;
'''The Translation of Culture-loaded Words in Chinese-English Communication'''&lt;br /&gt;
&lt;br /&gt;
As we all know, translation plays an important role in intercultural communication. A good translator can help to promote the communication between two different cultures. With the process of globalization, intercultural communication is becoming more and more frequent. However, there exist plenty of cultural differences between different cultures, especially between the East and the West. Cultural differences make it hard for translators to translate well. Culture-loaded words belong to one of the differences between different cultures. Therefore, it is of great significance to be aware of the appropriate translation of culture-loaded words. This is because it can help translators translate better and thus make two different cultures communicate better.&lt;br /&gt;
&lt;br /&gt;
汉英交流中文化词汇的翻译&lt;br /&gt;
&lt;br /&gt;
众所周知，翻译在跨文化交流中发挥着重要的作用。一位好的译者能帮助促进两种不同文化间的交流。在全球化进程下，跨文化交流变得越发频繁。但是不同文化之间,尤其是东西方文化间存在很大差异。因为文化差异的存在，译者很难翻译到位。具有文化色彩的词属于文化差异之一。因此，了解文化词汇如何适当翻译十分有必要，这样能更好帮助译者翻译，从而使两种不同文化进行更好的交流。--[[User:Cao Runxin|Cao Runxin]] ([[User talk:Cao Runxin|talk]]) 13:58, 31 October 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
==Chang Huiyue 常慧月==&lt;br /&gt;
'''1 The Definition of Culture-loaded Words'''&lt;br /&gt;
&lt;br /&gt;
Before discussing what are culture-loaded words, we should know what is culture first. “Culture, in a broad sense, means the total way of life of a people, including the patterns of belief, customs, objects, institutions, techniques, and language that characterizes the life of the human community. As culture is so inclusive, it permeates virtually every aspect of human life and influences predominantly people’s behavior, including linguistic behavior.&lt;br /&gt;
&lt;br /&gt;
1.文化负载词的定义&lt;br /&gt;
&lt;br /&gt;
在谈论什么是文化负载词之前，我们应该先知道什么是文化。“从广义上来讲，文化意味着人类的整个生活方式，包括信仰、习俗、目标、制度、技术、语言等具有人类群体特征的模式。由于文化包罗万象，所以它在无形中渗入了人类生活的各个方面，明显地影响了人类行为，包括语言行为。--[[User:Chang Huiyue|Chang Huiyue]] ([[User talk:Chang Huiyue|talk]]) 10:44, 30 October 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
1、文化负载词的定义&lt;br /&gt;
&lt;br /&gt;
我们在探讨文化负载词之前，首先要了解何为文化。“从广义上来说，文化意味着一个民族的整个生活方式，包括信仰、风俗、目标、体系、技术以及具有人类群体生活特征的语言。由于文化具有很强的包容性，它贯穿于人类生活的方方面面，深刻影响着人们的行为，其中包括语言行为。”--[[User:Ji Tiantian|Ji Tiantian]] ([[User talk:Ji Tiantian|talk]]) 11:21, 30 October 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
==Chen Han 陈涵==&lt;br /&gt;
In a narrow sense, culture may refer to local or specific practice, beliefs or customs, which can mostly be found in folk culture, enterprise culture or food culture etc.” (Dai Weidong 2002:127) Culture is learned by human beings. A child is born without any certain kind of culture. A child gets its culture through learning. For example, a Chinese kid will speak, act and think like a Chinese if it grows up in China. An American kid will speak, act and think like an American if it is raised in the United States. Meanwhile, if a Chinese kid is raised by an American family in the USA, he will think, act and speak like American people do and vice versa.&lt;br /&gt;
==Chen Hui 陈惠==&lt;br /&gt;
Culture is owned by all the social members. The special behavior and habit of a single person is not culture because it is not owned by every member of the society. Culture can be transmitted from generation to generation. During the transmission, culture will also develop. “Generally speaking, there are two types of culture: material and spiritual. While material culture, as the term itself suggests, is concrete, substantial and observable. Most of spiritual culture, the products of mind (ideologies, beliefs, values and concepts of time and space, for example), is abstract, ambiguous, and hidden.&lt;br /&gt;
==Chen Jiangning 陈江宁==&lt;br /&gt;
In contrast with nature in the sense of what is born and grows, culture refers to what has been grown and brought up with, in other words, what can be nurtured. Culture, especially material culture, is reproduced and preserved through the maintaining of beliefs, traditions, education and other institutional mechanisms, meanwhile, it changes slowly with the development of the society.” (Dai Weidong 2002:178-201）。&lt;br /&gt;
与自然界相比，文化指的是已经成长和长大的东西，而自然指的是天生的东西，也就是说，文化是可以用来培育的东西。文化，尤其是物质文化，通过维持信仰，传统，教育以及其他制度机制得以再生与保留，与此同时，文化缓慢地改变着社会的发展。（戴炜栋 2002;178-201）--[[User:Chen Jiangning|Chen Jiangning]] ([[User talk:Chen Jiangning|talk]]) 09:12, 31 October 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
==Chen Jiaxin 陈佳欣==&lt;br /&gt;
“Language is one of the most fundamental systems of culture, with the function of storing, describing, expressing and disseminating culture. As the basic unit of language, word is of course the most direct reflection of culture. Culture-loaded words refer to the words, phrases, and idioms only contained in a culture. These words reflect the uniqueness of certain nations. This kind of uniqueness develops from the long historical process.” (Liao Qiyi 2002:232) Culture-loaded words can make a distinction between two different cultures.&lt;br /&gt;
==Chen Jingjing 陈静静==&lt;br /&gt;
Culture-loaded words can also reflect a country’s social background, financial base and culture in a certain period of time. During different historical periods, different culture-loaded words occur. Different countries differ from each other because every country has its uniqueness that makes it special. Ordinarily speaking, a literary work, which shows a lot of national characteristics, contains plenty of culture-loaded words. Culture-loaded words make it difficult for translators to translate.&lt;br /&gt;
&lt;br /&gt;
文化负载词也能反映出一个国家在某段时期内的社会背景，经济基础及文化状况。不同的历史时期会出现不同的文化负载词。不同国家各具差异是因为每个国家都有其独特之处便也就显得与众不同。一般来说，一部带有民族特色的文学作品会包含大量的文化负载词，而这会使得译者在翻译时无从下手。--[[User:Chen Jingjing|Chen Jingjing]] ([[User talk:Chen Jingjing|talk]]) 08:08, 31 October 2020 (UTC)Chen Jingjing&lt;br /&gt;
文化负载词同样能够反映出一个国家在某段时期的社会背景，经济基础以及文化状况。在不同的历史时期，出现的文化负载词也不尽相同。之所以不同国家间存在差异，是因为每个国家都有让其变得特别的独到之处。一般来说，一部文学作品，若是带有鲜明的民族特色，通常会包含大量的文化负载词，而这其中的文化负载词会使得译者在翻译过程中困难重重。--[[User:Chen Jiangning|Chen Jiangning]] ([[User talk:Chen Jiangning|talk]]) 12:12, 31 October 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
==Chen Sha 陈莎==&lt;br /&gt;
'''2 Difficulties in the Translation of Culture-loaded Words'''&lt;br /&gt;
&lt;br /&gt;
Every country has its own cultural origin. And “every nation has its own cultural focus. So its vocabulary always develops according to the cultural focus and becomes more and more detailed and complex.” (Liao Qiyi 2002:232)As we all know, Chinese culture and western culture have different origins. Chinese culture came from the Chinese mainland. There exist two big rivers, the Yellow River and the Huanghe River, across China. So Chinese people fed themselves by fishing, hunting and farming. The vast territory provided Chinese people enough resources to support themselves.&lt;br /&gt;
&lt;br /&gt;
==Chen Sunfu 谌孙福==&lt;br /&gt;
The lofty mountains and high ranges, on the one hand, protected ancient China from the invasion of other countries, while on the other hand, also prevented China from communicating with other countries. Therefore, Chinese people is more conservative and emphasize harmony. &lt;br /&gt;
&lt;br /&gt;
“There is a great difference of the physio geographic condition between China and the western countries, especially the relationship between sea and land. If we say that Chinese civilization came from the land, western civilization came from the sea.”(Huang Yongyuan and Zhang Jing 2011:237)&lt;br /&gt;
&lt;br /&gt;
巍峨的群山一方面保护古中国免受别国入侵，另一方面却阻碍了中国与其他国家沟通往来。因此，中国人更为保守，更强调和谐。&lt;br /&gt;
“中国和西方国家在地理环境上存在显著差异，尤其是海陆关系。如果说中国文明源于陆地，西方文明则兴于海洋。”（黄永源，张静 2011:237）--[[User:Chen Sunfu|Chen Sunfu]] ([[User talk:Chen Sunfu|talk]]) 06:22, 30 October 2020 (UTC)&lt;br /&gt;
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巍巍群山一方面保护古代中国免受他国侵扰，另一方面却阻碍了中国与其他国家交流来往。因此，中国人更为保守，强调和谐。 “中国和西方国家地理环境差异显著，尤其是海陆关系。如果说中国文明源于陆地，西方文明则兴于海洋。”（黄永源，张静 2011:237）--[[User:Kang Lingfeng|Kang Lingfeng]] ([[User talk:Kang Lingfeng|talk]]) 13:44, 30 October 2020 (UTC)&lt;br /&gt;
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==Chen Yongxiang 陈永相==&lt;br /&gt;
Europe is surrounded by the sea on the west, south and north, and borders on Asia in the east. The whole Europe continent is close to the sea, and the maritime climate is very significant. As the cradle of Western culture, the ancient Greece, was more connected with the sea. Greece was transportation center of the eastern Mediterranean. It had many ports and mountains but had a barren land. This kind of condition forced the ancient Greeks to operate maritime trade very early to support themselves. Therefore, people from western countries are easy to accept foreign cultures.&lt;br /&gt;
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欧洲的西部，南部和北部群海环绕，东部与亚洲接壤。整个欧洲大陆与海洋紧密联系，海洋性气候明显。作为西方文化的发源地，古希腊与海洋的联系极为紧密。希腊作为地中海东部的交通运输中心，港口众多，但群山连绵，土地贫瘠。在这种情况下，古希腊人为谋求生计，很早便开始了海上贸易。因此，西方国家的人们对异地文化的接受度很高。&lt;br /&gt;
--[[User:Chen Yongxiang|Chen Yongxiang]] ([[User talk:Chen Yongxiang|talk]]) 11:42, 31 October 2020 (UTC)&lt;br /&gt;
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==Cheng Yusi  成于思==&lt;br /&gt;
China’s national spirit is different from that of the western countries. For example, China’s definition of “dragon” is so far away from that of the western countries. “The dragon, in Chinese myths and legends, is a kind of god . It is a symbol of the Chinese nation. The Chinese all call themselves &amp;quot;the descendants of the dragon&amp;quot;; it is also a symbol of the ancient imperial power, and the emperors of all ages considered themselves to be the true dragon. Each feature of the dragon represents an advantage.&lt;br /&gt;
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中国的民族精神和西方国家不同。比如中国对“龙”的定义就和西方大相径庭。在中国的神话传说中，龙是一种神仙。龙是中华民族的象征。中国人都称呼自己为“龙的传人”。此外，龙也是古代帝王权力的象征，各朝各代的皇帝都认为自己就是龙的化身。总之，龙的特点是正面的。--[[User:Cheng Yusi|Cheng Yusi]] ([[User talk:Cheng Yusi|talk]]) 15:21, 31 October 2020 (UTC)&lt;br /&gt;
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==Deng Jinxia 邓锦霞==&lt;br /&gt;
The wide forehead represents intelligence, the sword-like eyebrows represent courage, the tiger eyes represent majesty, the lion nose represents prosperity, the horse teeth represent diligence and kindness, the crocodile mouth represents swallowing, the shrimp mustache represents free water absorption , the cattle ears represent the leadership, the antlers represent health and longevity, the fish and clam represent defense, the camel head represents drought resisting, the eagle claws represent the ability to fly, and the snake neck represents the ability of accomplishing a task with ease. &lt;br /&gt;
==Ding Daifeng 丁代凤==&lt;br /&gt;
The Chinese dragon can be said to be a favorite to Chinese people. In the Western world, the dragon is called Drakon in Greek, Dragon in English, and Draco is in Latin. The dragon is a derogatory term in the West and a symbol of evil. In Western mythology, the dragon is the demon that makes people fear. The Bible illustrates dragon as a demon, and the devil Satan, who is opposite to God, is called the &amp;quot;great dragon&amp;quot;; the Old Dragon is the Devil, or Satan. In a biological perspective, dragon is a kind of particularly ferocious animal. In many cases, western literature describes the dragon as a monster to be eradicated by the hero.”(Huang Yongyuan and Zhangjing 2011:238)&lt;br /&gt;
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中国龙可以说是中国人的最爱。在西方世界，龙在希腊语中叫Drakon，在英语中叫dragon，在拉丁语中叫Draco。龙在西方是贬义词，是邪恶的象征。在西方神话中，龙是让人恐惧的恶魔。《圣经》把龙说成是恶魔，与神相对的恶魔撒旦则称为“巨龙”；古龙是魔鬼，或撒旦。从生物学的角度来看，龙是一种特别凶猛的动物。在许多情况下，西方文学把龙描写成了一种需要英雄铲除的怪物。”(黄永元、张静，2011:238)--[[User:Ding Daifeng|Ding Daifeng]] ([[User talk:Ding Daifeng|talk]]) 03:06, 31 October 2020 (UTC)&lt;br /&gt;
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==Fang Jieling 方洁玲==&lt;br /&gt;
Apart from the examples above, there are still many example containing different meanings in different countries because of cultural differences. For example, the color “red” represents happiness, auspiciousness and success. This is because the color red came from the sun. Ancient Chinese people worshiped the sun. Thus, when getting married, Chinese bride’s wedding dress is red. People will hang red lanterns and paste red couplets in Spring festival. However, in western countries, although they have words like, “red-letter day” and “the red carpet”, which contain positive meanings, the color “red” is a kind of taboo.&lt;br /&gt;
==Gan Fengyu 甘奉玉==&lt;br /&gt;
In English, the color “red” is the association of fire and blood. It represents the radical and violent revolutions. So many English phrases containing red have negative meaning, like red-headed, red-light district, red-handed, red ruin, red ink, in the red etc. Similarly, the color “white” contains different meanings in the East and the West. In western countries, white means innocence, honesty, kindness and so on. When getting married, the bride will white wedding dress.&lt;br /&gt;
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在英语中，“红色”与火和血液相关，代表激进暴力革命。所以，很多含有“红色”的英语句子都有消极意义，比如 red-headed(生气的)，red-light district(红灯区)，red-handed(血淋淋的，当场抓获)，red ruin(火灾)，red ink(财政赤字)，in the red(负债亏空)等。同样，“白色”在东西方国家的意义也不尽相同。在西方国家，白色意味着纯洁，诚实，善良等。新娘结婚时就会穿白色婚纱。--[[User:Gan Fengyu|Gan Fengyu]] ([[User talk:Gan Fengyu|talk]]) 12:58, 29 October 2020 (UTC)&lt;br /&gt;
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在英语中，“红色”与火和血液有关，它代表着激进的暴力革命。因此，许多包含“红色”的英文词组都含有消极意义，如red-headed（急躁的），red-light district（红灯区，即城镇中的妓院区），red-handed（手染血的，正在作案的），red ruin（火灾），red ink（赤字），in the red（亏损）等。与此相似的是，“白色”在东、西方国家的意义也不尽相同。它在西方国家意味着纯洁、诚实、善良等。结婚时，新娘会穿白色婚纱。--[[User:Zeng Liang|Zeng Liang]] ([[User talk:Zeng Liang|talk]]) 13:33, 29 October 2020 (UTC)&lt;br /&gt;
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==Gao Mingzhu 高明珠==&lt;br /&gt;
Although the color white contains the meaning of purity and innocence, like “白衣天使”(white angel) which represents doctors and nurses in Chinese, white is a kind of taboo color in China. The color white represents death and ill omen. When a family member died, they will hang white cloth inside and outside the house. We can also realize the different meanings of the same word in different countries. For instance, the word “狗”(dog) contains a negative meaning. However, in western countries, dog always contains a positive meaning, like a lucky dog.&lt;br /&gt;
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尽管白色有纯洁、无辜之意，例如“白衣天使”四字在汉语中就代表医护人员，但白色在中国是一种禁忌色，它代表着死亡以及疾病的征兆。如果有人去世，其家人会在房子内外挂上白布。由此我们也可以意识到，同一词汇在不同的国家有着不同的意思。例如，汉字“狗”带有贬义。然而在西方国家，狗通常是褒义词，如“a lucky dog”意为“幸运儿”。--[[User:Gao Mingzhu|Gao Mingzhu]] ([[User talk:Gao Mingzhu|talk]]) 13:47, 30 October 2020 (UTC)Gao Mingzhu&lt;br /&gt;
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尽管白色含有纯洁和天真之意，如汉语中形容医护人员的词语“白衣天使”，但在中国，白色是很忌讳的，它通常表示死亡和不祥之兆。当亲人离世，其家人会在屋里屋外悬挂白布。在不同国家，同一词语的含义也不尽相同。如汉字“狗”带有贬义。但在西方国家，狗是褒义词，如“a lucky dog”（幸运儿）。&lt;br /&gt;
--[[User:Chen Yongxiang|Chen Yongxiang]] ([[User talk:Chen Yongxiang|talk]]) 12:04, 31 October 2020 (UTC)&lt;br /&gt;
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==Gong Yumian 龚钰冕==&lt;br /&gt;
'''3 Approaches to Translate Culture-loaded Words'''&lt;br /&gt;
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Under the great progress of globalization, different cultures have more accesses to communicate with each other. According to Eugene Nida, “Translating consists in reproducing in the receptor language the closest natural equivalent of the source-language message, first in terms of meaning and secondly in terms of style.” (Nida Eugene A and Charles Taber R 1969:13) “Ordinarily speaking, there are three approaches to translate culture-loaded words, namely foreignization, domestication and translation compensation.&lt;br /&gt;
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3.文化负载词的翻译方法&lt;br /&gt;
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在全球化的巨大进步下，不同文化之间有更多的交流机会。 根据尤金·奈达（Eugene Nida）的说法，“翻译是指在译语中用最切近而又自然的对等语再现原语的信息，首先在语义上，其次在文体上。” （尤金·奈达和查尔斯·泰伯（Charles Taber R）1969：13）“通常来说，翻译文化负载词的方法有三种，即异化，归化和翻译补偿。--[[User:Gong Yumian|Gong Yumian]] ([[User talk:Gong Yumian|talk]]) 04:40, 29 October 2020 (UTC)&lt;br /&gt;
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3.文化负载词的翻译方法&lt;br /&gt;
在全球化的巨大影响之下，不同的文化之间的交流变得更加频繁。根据尤金·奈达来说“翻译包括以接受者的语言来再现源语言消息的最接近的自然等价物，首先是在含义方面，其次是在风格方面。” （Nida Eugene A和Charles Taber R 1969：13）“通常来说，翻译文化单词的方法有三种，即异化，归化和翻译补偿。--[[User:Han Wanzhen|Han Wanzhen]] ([[User talk:Han Wanzhen|talk]]) 07:06, 29 October 2020 (UTC)&lt;br /&gt;
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==Gu Dongfang 顾东方==&lt;br /&gt;
The translation of culture-loaded words belongs to the micro aspect of cultural translation. In the context of globalization, the fundamental standpoint of exploring the translation approach is to preserve the unique cultural significance carried by culture-loaded words, which determines that we should use foreignization and translation compensation as the main translation approaches to translation culture-loaded words”.(Wang Xiang 2017:75)&lt;br /&gt;
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文化负载词的翻译属于文化翻译的微观方面。在全球化的背景下，探索翻译方法的根本立场是要保留文化负载词所承载的独特文化意义，这就决定了我们应该将外化和翻译补偿作为翻译文化负载词的主要翻译方法。&amp;quot;(王翔 2017:75)&lt;br /&gt;
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翻译文化负载词属于文化翻译的微观方面。在全球化背景下，保留文化负载词所承载的独特文化意义，是我们在探究翻译方法时的基本立场，所以我们翻译文化负载词时，应该把异化和翻译补偿作为主要翻译方法。&amp;quot;--[[User:Gan Fengyu|Gan Fengyu]] ([[User talk:Gan Fengyu|talk]]) 12:34, 29 October 2020 (UTC)&lt;br /&gt;
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==Guan Qinqing 管钦清==&lt;br /&gt;
'''3.1 Foreignization'''&lt;br /&gt;
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Venuti(1995: 20) considers the foreignizing method to be ‘an ethnodeviant pressure on target language cultural values to register the linguistic and cultural difference of the foreign text, sending the reader abroad’. It is ‘highly desirable’, he says, in an effort ‘to restrain the ethnocentric violence of translation’. In other words, the foreignizing method can restrain the ‘violently’ domesticating cultural values of the English-language world.&lt;br /&gt;
==Gui Yizhi 桂一枝==&lt;br /&gt;
The foreignizing method of translating, a strategy Venuti also terms ‘resistancy’ (1995: 305-6), is a non-fluent or estranging translation style designed to make visible the presence of the translator by highlighting the foreign identity of the ST and protecting it from the ideological dominance of the target culture.&lt;br /&gt;
Foreignization can preserve the uniqueness of the source language’s culture because respecting the source language culture is starting point. Compared with domestication approach, foreignization considers more about the source language’s cultural background and is more faithful to the source language’s culture. &lt;br /&gt;
==Guo Lu 郭露==&lt;br /&gt;
It can keep the exotic flavor of the source language text. However, foreignization is not a perfect translation approach. If the translation doesn’t pay enough attention, the foreignization approach will be abused easily. If the translator misuse the foreignization approach, the target text will be awkward and hard to understand.&lt;br /&gt;
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异化能保存源文文本的特有风格。然而，异化也不是万能的，一不小心就容易使用不当。而一旦没有用好异化，译文就会变得晦涩难懂。--[[User:Guo Lu|Guo Lu]] ([[User talk:Guo Lu|talk]]) 07:42, 28 October 2020 (UTC)&lt;br /&gt;
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异化能够保留原文本的异域特色。然而，异化也不是万能的，译者稍不注意就会误用，导致原文本晦涩难懂。--[[User:Li Liqin|Li Liqin]] ([[User talk:Li Liqin|talk]]) 08:08, 28 October 2020 (UTC)&lt;br /&gt;
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尽管异化能够保留原文的异国特色，但是它不算是一个完美的翻译发法。如果稍不注意，异化就会被译者滥用。甚者，出现误用的话，译文就会变得晦涩难懂。--[[User:Han Haiyang|Han Haiyang]] ([[User talk:Han Haiyang|talk]]) 08:21, 30 October 2020 (UTC)&lt;br /&gt;
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==Han Haiyang 韩海洋==&lt;br /&gt;
The food culture contains great national characteristics. It shows the creative spirit and unique style of the Chinese nation. The words related to the food culture are rich in Chinese culture. Many examples of using foreignization approach can be found in the translation of traditional Chinese food. Firstly, the translation of traditional Chinese food can be related to Chinese allusions. Let’s take the translation of Yuanxiao or Tang-yuan(glue pudding) as an example.&lt;br /&gt;
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中国美食文化具有极强的民族特色，它展现了中国的创造精神和独特的风格。中国文化里有许多与美食文化相关的词汇，它们大多数在翻译中都会采用异化的翻译方法。首先，传统中国美食的翻译和中国典故有极大的联系。就拿元宵或者汤圆来举例。--[[User:Han Haiyang|Han Haiyang]] ([[User talk:Han Haiyang|talk]]) 08:13, 30 October 2020 (UTC)&lt;br /&gt;
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饮食文化具有很强的民族特色。体现了中华民族的创造精神和独特风格。在中国文化中，与饮食文化有关的词汇非常丰富。在中国传统食品的翻译中，运用异化翻译方法的例子很多。首先，中国传统食物的翻译会与中国典故有关。让我们以“汤圆”的翻译为例。--[[User:Wensixing|Wensixing]] ([[User talk:Wensixing|talk]]) 09:56, 30 October 2020 (UTC)&lt;br /&gt;
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饮食文化极具民族特色。它展示了中华民族的创新精神和独特风格。在中国文化中，有许多与饮食文化相关的词汇。在中国传统食物的翻译中，可以找到许多使用异化法来翻译的例子。首先，中国传统食物的翻译可能与中国典故有关。让我们以元宵或汤圆的翻译为例。--[[User:Ding Daifeng|Ding Daifeng]] ([[User talk:Ding Daifeng|talk]]) 03:12, 31 October 2020 (UTC)&lt;br /&gt;
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饮食文化极具民族特色。它展示了中华民族的创新精神和独特风格。中国文化中关于美食的词汇极其丰富。我们在传统食物翻译中可以找到很多异化翻译的例子。首先，这些翻译都与中国典故有关。让我们先以元宵（或者汤圆）举例。--[[User:Liu Zhiwei|Liu Zhiwei]] ([[User talk:Liu Zhiwei|talk]]) 08:51, 31 October 2020 (UTC)&lt;br /&gt;
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==Han Wanzhen 韩宛真==&lt;br /&gt;
“It’s said that a lady-in-waiting called Yuanxiao during the Han dynasty missed her parents so much that she cried with tears in her face every single day. In order to help her, a minister named Dongfang Shuo lied to Emperor of the Han dynasty that the god of fire with the order of the Jade Emperor would burn Changan(the Capital of China in Han dynasty) on the 15th of the first lunar month. The solution to avoid this disaster was to ask the lady-in-waiting named Yuanxiao to make Tang-yuan, the favorite food of the god of fire, and to ask all the people in Changan to hang lanterns.&lt;br /&gt;
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据说,在汉朝一位名叫元宵的侍女，非常想念她的父母，以至于她每天以泪洗面。为了帮助她，一位名叫东方朔的大臣向皇帝撒谎，说火神接到玉皇大帝的命令将会在农历正月十五烧掉长安（汉朝中国的首都）。避免这个灾难的解决方法是：让这个名叫元宵的女士制作火神最喜欢的事物汤圆，并且要求长安所有人挂灯笼。--[[User:Han Wanzhen|Han Wanzhen]] ([[User talk:Han Wanzhen|talk]]) 07:01, 29 October 2020 (UTC)&lt;br /&gt;
据说汉代有个叫元霄的侍女，非常想念自己的父母，每天都哭得泪流满面。有一位叫东方朔的大臣为了帮助她，于是向汉朝皇帝撒谎说，火神奉玉帝之命，将于正月十五焚烧长安（汉朝首都）。避免这场灾难的解决办法就是让那个叫元霄的侍女做火神最爱吃的汤圆，并让长安所有的人都挂灯笼。--[[User:Jiang Hao|Jiang Hao]] ([[User talk:Jiang Hao|talk]]) 07:48, 29 October 2020 (UTC)&lt;br /&gt;
据说在汉代有位叫做元宵的侍女因为过度思念父母而终日以泪洗面。一位名为东方朔的大臣为了帮助她而向皇上撒谎道，火神奉玉皇大帝的旨意，将于正月十五于长安（汉朝的首都）纵火。解决办法就是让这位叫做元宵的侍女做汤圆-火神最喜欢的食物- 并且要全长安的老百姓都悬挂灯笼。--[[User:Fancy|Fancy]] ([[User talk:Fancy|talk]]) 09:00, 29 October 2020 (UTC)&lt;br /&gt;
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==He Changqi 何长琦==&lt;br /&gt;
Emperor Wu approved this plan. Finally, the girl named Yuanxiao met her parents. Thus, the tradition of Lantern Festival ( pronounced Yuanxiao Jie in Chinese, “jie” in Chinese means festival) appeared.” ( Xu Xianling and Li Xiangzhaung 2005:230) Therefore, if we translate the Chinese food “元宵” into Yuanxiao by the foreignization approach instead of translating into the glue pudding, the special Chinese culture in the food can be preserved well.&lt;br /&gt;
==Hu Baihui 胡百辉==&lt;br /&gt;
Secondly, the translation of Chinese food can be related to Chinese customs. Chinese people eat special traditional food in special Chinese festivals. For instance, people will eat double-ninth cake on the Double Ninth Festival. The Double Ninth Festival is on the 9th day of the 9th lunar month. The translation of double-ninth cake can keep the traditional Chinese culture well. Thirdly，the translation of traditional Chinese food can be related with Chinese people’s appreciation of beauty.&lt;br /&gt;
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其次，中餐名的翻译与中国的风俗习惯有关。中国人在特殊的中国节日吃特殊的传统食物。例如，人们会在重阳节吃重阳糕。重阳节在农历九月初九。重阳糕的翻译能很好地保留中国传统文化。第三，中国传统美食的翻译与中国人的审美情趣有关。--[[User:Hu Baihui|Hu Baihui]] ([[User talk:Hu Baihui|talk]]) 07:25, 28 October 2020 (UTC)&lt;br /&gt;
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第二，中餐名的翻译与风俗习惯息息相关。中国人在重要的节日里会吃特定的传统食物。例如，在农历九月初九也就是重阳节吃重阳糕。重阳糕的名称的翻译很好地保留了中国传统文化。第三，中国传统美食的翻译还与中国人的审美情趣有关。--[[User:Guo Lu|Guo Lu]] ([[User talk:Guo Lu|talk]]) 07:45, 28 October 2020 (UTC)&lt;br /&gt;
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==Hu Huifang 胡慧芳==&lt;br /&gt;
For example, “the Chinese cuisine ‘鸟语花香’, can be translated into ‘Singing Birds and Fragrant Flowers(Steamed mandarin fish and bird-shaped shrimps)’’ and ‘青龙过海’ can be translated into ‘Green Dragons Crossing the Sea(Soup with green onion)’”. (Zhang Jiachen 2014:106) By using the foreignization approach, this kind of translation can preserve the beautiful image of these cuisines and the explanatory note can also prevent foreigners from being confused. What’s more, the translation of some Chinese cuisine can be related to the traditional Chinese medical science.&lt;br /&gt;
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例如，“中国菜'鸟语花香'可以翻译成'唱歌的鸟和香花（（鱼和鸟形虾）'，'青龙过海'可以翻译成'绿色的龙穿越大海'（ 葱汤）'”。 （张家臣2014：106）通过使用异化方法，这种翻译可以保留这些美食的美丽形象，解释性说明也可以防止外国人感到困惑。 而且，某些中餐的翻译可能与传统中医科学有关。--[[User:Hu Huifang|Hu Huifang]] ([[User talk:Hu Huifang|talk]]) 08:48, 28 October 2020 (UTC)&lt;br /&gt;
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例如，“中国菜'鸟语花香'可以翻译成'唱歌的鸟和芬芳的花（（鱼和鸟形虾）'，'青龙过海'可以翻译成'青色的龙穿越大海'（ 葱汤）'”。 （张家臣2014：106）异化保留了这些美食的优美意象，通过解释说明菜名，外国人也不会感到困惑。 此外，某些中餐的翻译可能与传统中医科学有关。--[[User:Yao Cheng|Yao Cheng]] ([[User talk:Yao Cheng|talk]]) 11:37, 28 October 2020 (UTC)&lt;br /&gt;
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==Hu Jin 胡瑾==&lt;br /&gt;
For example, “‘八珍食品’ can be translated into ‘Eight Delicacies (Stimulate your baby’s appetite and better his or her growth) and ‘当归生姜羊肉汤’ can be translated into ‘ Angelica Ginger Lamb Soup(Replenish your blood and warm your spleen and stomach)’”.  (Zhang Jiachen 2014:106) Translating in this way can pass the traditional Chinese medical culture to readers.&lt;br /&gt;
==Ji Tiantian 纪甜甜==&lt;br /&gt;
Although the foreignization approach can be of great help to pass the source language’s culture to the target readers, it requires the translator’s great knowledge between the two cultures. Therefore, translators have to do a good preparation before translating.&lt;br /&gt;
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'''3.2 Translation compensation'''&lt;br /&gt;
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George Steiner divides the process of translation into four parts and “By ensuring the translation is possible, compensation is the last step in the whole procedure”.(2001: 176) It should be acknowledged that translation compensation occurs and accompanies translation activity as early as cultural difference exists. It possesses a history as long as translation activity does.&lt;br /&gt;
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异化在帮助译者更好地向读者传递源语文化的同时，要求译者精通两种文化。因此，译者在译前必须做好充足的准备。&lt;br /&gt;
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3.2 翻译补偿&lt;br /&gt;
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乔治·斯坦纳把翻译过程分成四个部分，“为确保翻译的合理性，补偿成为翻译的最后一步”。（2001：176）早在文化差异产生之初，翻译补偿就伴随着翻译活动应运而生。只要有翻译活动，就会有翻译补偿。--[[User:Ji Tiantian|Ji Tiantian]] ([[User talk:Ji Tiantian|talk]]) 10:58, 30 October 2020 (UTC)&lt;br /&gt;
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虽然异化法对于将源语言文化传递给读者颇具成效，但是此法也要求译者具有丰富的双语文化知识。因此，在翻译之前，译者需要做好充足的准备。&lt;br /&gt;
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3.2翻译补偿法&lt;br /&gt;
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乔治·斯坦纳将翻译的过程分为四个部分。“要确保翻译的可行性，补偿法是整个过程的最后一步”（2001：176）。应该认识到，补偿法出现在翻译活动中，并且伴随着翻译活动，与文化差异的存在一样早。与和翻译活动一样，它确实有着久远的历史。--[[User:Chang Huiyue|Chang Huiyue]] ([[User talk:Chang Huiyue|talk]]) 11:15, 30 October 2020 (UTC)&lt;br /&gt;
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==Jiang Fengyi 蒋凤仪==&lt;br /&gt;
Scholar Mona Baker holds the view that compensation is a translation skill, which can be applied when “target language is impossible to directly make up for the losses in meaning, language style or emotional force”.(1992: 33) Due to the translation difficulties caused by cultural default and cultural differences, translators have to employ different compensation strategies to make sure their translation outcome can be totally understood by the TL readers. Hervey and Higgins divided translation compensation mainly into four kinds, namely compensation in kind, compensation by splitting, compensation by merging and compensation in place.&lt;br /&gt;
==Jiang Hao 姜好==&lt;br /&gt;
The translation compensation approach can be often used to translate the name of Chinese teas. China is the birthplace of tea culture. The record about tea appeared in the era of Shennong about 4700 years ago. Since ancient times, the tradition of providing to guests has been preserved. There are various kinds of teas in China like Longjing tea from Hangzhou , Oolong tea from Fujian etc. Chinese tea culture are also involved in Chinese Confucianism, Buddhism, Taoism and so on. Chinese tea culture is a treasure in traditional Chinese culture.&lt;br /&gt;
翻译补偿法常用于中国茶名的翻译。中国是茶文化的发源地。关于茶的记载出现在距今约4700年前的神农时代。自古以来，中国一直保留着邀请客人品茶的传统。中国的茶叶种类繁多，如杭州的龙井茶、福建的乌龙茶等。中国茶文化还涉及中国儒家、佛教、道教等。中国茶文化是中国传统文化中的瑰宝。--[[User:Jiang Hao|Jiang Hao]] ([[User talk:Jiang Hao|talk]]) 07:44, 29 October 2020 (UTC)&lt;br /&gt;
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翻译补偿法常用于翻译中国茶名。中国是茶文化的发源地。关于茶的最早文字记载来自距今约4700年前的神农时代。自古以来，中国一直保留着以茶待客的传统。中国的茶叶种类繁多，有杭州的龙井茶、福建的乌龙茶等。中国茶文化还涉及中国儒家、佛教、道教等文化。茶文化是中国传统文化的瑰宝。--[[User:Kang Haoyu|Kang Haoyu]] ([[User talk:Kang Haoyu|talk]]) 15:46, 29 October 2020 (UTC)&lt;br /&gt;
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==Jiang Qiwei 蒋淇玮==&lt;br /&gt;
Chinese and English belong to different language systems. There are great differences between the two languages. Due to the different social environment , life style and vocabulary, sometimes it is impossible for translators to achieve complete equivalence. Chinese people’s ways to name teas are various. Sometimes, the Chinese character “茶” (tea in English) doesn’t even exit in the name of a tea. For example, some teas exhibited in the China Tea Museum in Hangzhou, like “羊岩勾青”(Yangyan Gouqing), “庐山云雾”(Lushan Yunwu), the names of these teas don’t contain the character of tea. &lt;br /&gt;
==Kang Haoyu 康浩宇==&lt;br /&gt;
If translators show the English names of these teas to the target readers without explanation, readers may feel confused. Sometimes, the names of some teas are the same as the names of other stuff. For example, “ ‘茉莉花茶’ is translated into Jasmine Tea. This kind of translation mixes the tea name with the flower name. Actually, ‘茉莉花茶’ is a kind of green tea which has the aroma of jasmine. Some kind of ‘茉莉花茶’ contains jasmine flower, some don’t. Similarly, ‘竹叶青’ is translated into Bamboo Leaf Green and ‘玉露’ is translated into Jade Dew.&lt;br /&gt;
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如果译者在不加解释的情况下向目标读者展示这些茶的英文名称，读者可能会感到困惑。一些情况下，某些茶的名字和其他事物的名字是一样的。例如，“茉莉花茶”被翻译成“Jasmine Tea”。这种翻译把茶名和花名混在一起。实际上，茉莉花茶是一种有茉莉花香的绿茶。有些茉莉花茶含有茉莉花，而有些却没有。同样，“竹叶青”被翻译成“Bamboo Leaf Green”，“玉露”被翻译成“Jade Dew”。--[[User:Kang Haoyu|Kang Haoyu]] ([[User talk:Kang Haoyu|talk]]) 15:37, 29 October 2020 (UTC)&lt;br /&gt;
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如果译者不对这些茶的英文名称加以解释，读者可能会感到疑惑。一些情况下，某些茶的名字其实取自别的事物。例如，“茉莉花茶”被翻译成“Jasmine Tea”。这种翻译把茶名和花名混在一起。实际上，茉莉花茶是一种有茉莉花香的绿茶。有些茉莉花茶含有茉莉花，而有些却没有。同样，“竹叶青”被翻译成“Bamboo Leaf Green”、“玉露”被翻译成“Jade Dew”也是不准确的。--Ouyang Ling&lt;br /&gt;
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==Kang Lingfeng 康灵凤==&lt;br /&gt;
Although the translation of these names of teas used the literal translation approach and realized the verbal equivalence, translators neglected the features of the teas. This kind of translation will mislead the target reader to think of ‘竹叶青’ as the tea made of bamboo leaves and ‘玉露’ as the tea made of jade and dew, which is totally impossible”. (Cui Shan 2019:125) The translation of tea names is also a part of intercultural communication. It can directly influence the transmission of Chinese culture in the world and can also influence the business result.&lt;br /&gt;
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即使茶名的翻译采用直译法，实现了言语对等，但是译者忽视了茶的特点，这种翻译会误导目标读者把“竹叶青”看作是竹叶制成的茶，把“玉露”看作是美玉和露珠制成的茶，这是完全不可能的。(崔山 2019: 125)茶名的翻译也是跨文化交际的一部分，它能够直接影响中国文化在世界的传播，也可以影响商业结果。--[[User:Kang Lingfeng|Kang Lingfeng]] ([[User talk:Kang Lingfeng|talk]]) 13:43, 30 October 2020 (UTC)&lt;br /&gt;
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==Kong Xianghui 孔祥慧==&lt;br /&gt;
If a translator doesn’t pay enough attention to the cultural differences, it may lead to bad consequences. For example, a Chinese tea called “龙虎斗” was translated into “The Fighting Between Dragon and Tiger ”.Although the translation kept the verbal meaning of the tea, it violated the western taboo. This is because dragon is referred as a kind of evil and fierce beast. A reader without the knowledge of Chinese culture will have the image of two fierce beasts fighting and killing each other when reading the translation of the tea.&lt;br /&gt;
翻译人员如果不够关注文化差异，就可能会导致一些不良后果。例如，一种名为“龙虎斗”的中国茶被翻译为“The Fighting Between Dragon and Tiger ”。这种翻译尽管保留了茶的字面意义，但它却违反了西方的禁忌。因为龙在西方被认为是一种邪恶且凶猛的野兽。所以当不了解中国文化的读者看到这个翻译时想到的是两只凶猛的野兽互相搏斗残杀的画面。--[[User:Kong Xianghui|Kong Xianghui]] ([[User talk:Kong Xianghui|talk]]) 11:41, 28 October 2020 (UTC)&lt;br /&gt;
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如果译者对文化差异不够重视，可能会导致不良后果。例如，将一种名为“龙虎斗”的中国茶译为“The Fighting Between Dragon and Tiger”，虽然该翻译保留了这种茶的字面意义，但却违反了西方的禁忌。这是因为人们把龙视为一种邪恶而凶猛的野兽，一个不懂中国文化的读者在阅读茶的翻译时，会联想到两个凶猛的野兽互相残杀的形象。--[[User:Gong Yumian|Gong Yumian]] ([[User talk:Gong Yumian|talk]]) 02:36, 30 October 2020 (UTC)&lt;br /&gt;
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==Kong Yanan 孔亚楠==&lt;br /&gt;
The target reader will feel uncomfortable to read the name of the tea, let alone buy and drink it. “珠茶” is a kind of special tea from Shaoxing, Zhejiang Province. It is round and bullet-shaped. So it was translated into “gun power”. This kind of translation can easily make people think about the violent images of war. Therefore, when being sold to India, Indian purchasers strongly asked the seller to change the translation of the tea name.&lt;br /&gt;
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目标读者一看到这个茶名，就会感到不舒服，更不用说去买茶来喝了。“珠茶”是一种特殊的茶，产于浙江绍兴。这种茶圆圆的，形似弹丸，所以它被翻译成了“gun power”.这种翻译能轻易地使人们联想到战争中可怕的画面。因此，当这种茶在印度销售时，当地顾客强烈要求卖家换掉茶名的译法。--[[User:Kong Yanan|Kong Yanan]] ([[User talk:Kong Yanan|talk]]) 12:08, 28 October 2020 (UTC)&lt;br /&gt;
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对目的语读者来说，这个茶的译名光是读起来就让人很不舒服了，更不用说会买来喝了。“珠茶”是浙江绍兴的名茶，茶叶呈圆形，形似子弹。所以有人将其翻译成&amp;quot;gun power&amp;quot;(字面意思是“火炮的威力”).这样的翻译很容易让人想起战争中的暴力场面。因此，当“珠茶”在印度售卖的时候，当地顾客强烈要求卖家更换“珠茶”的译名。--[[User:Zhou Yiwen|Zhou Yiwen]] ([[User talk:Zhou Yiwen|talk]]) 03:17, 29 October 2020 (UTC)&lt;br /&gt;
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==Lei Fangyuan 雷方圆==&lt;br /&gt;
Due to cultural differences, sometimes literal translation cannot express the true meaning of the tea name well. During this circumstance, translator should compensate the important information under the verbal meaning of the tea name. This kind of purpose can be achieved through the explanation of connotation under the tea name. Let’s take the tea names we have mentioned in the last paragraph as an example.&lt;br /&gt;
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由于文化差异，有时直译不能较好地表达出茶名的真正含义。在这种情况下，译者应当补充字面意思下的重要信息。这种目的可以通过解释茶名的隐含意义来实现。让我们以上一段提到的茶名为例。--[[User:Lei Fangyuan|Lei Fangyuan]] ([[User talk:Lei Fangyuan|talk]]) 10:49, 29 October 2020 (UTC)&lt;br /&gt;
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由于文化差异，有时直译不能很好地表达茶名的真谛。在这种情况下，译者应该对茶名的字面意义的重要信息进行补充。这可以通过阐释茶名的隐含意义来实现。让我们以上一段提到的茶名为例。--[[User:Li LIli|Li LIli]] ([[User talk:Li LIli|talk]]) 13:22, 29 October 2020 (UTC)Li Lili&lt;br /&gt;
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==Lei Kuangxi 雷旷溪==&lt;br /&gt;
According to the background information of the tea “玉露”, “ the shape of the tea is round and its color is white like jade. So it’s better to translate ‘玉露’ into ‘Jade-green Tea’ instead of ‘Jade Dew’”. (Cui Shan 2019:126) This kind of translation can show the color and type of the tea. It is more acceptable and less confusing for the target readers.&lt;br /&gt;
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根据“玉露”茶的背景信息，“这种茶叶的形状是圆的，并且其颜色洁白如玉石，所以最好是把玉露茶翻译为 ‘Jade-green Tea’ 而不是 ‘Jade Dew’”。(Cui Shan 2019:126)这样翻译可以展示出茶的颜色和种类。这也让受众读者们更容易理解和接受，也减少了混淆茶类的几率。--[[User:Lei kuangxi|Lei kuangxi]] ([[User talk:Lei kuangxi|talk]]) 05:17, 30 October 2020 (UTC)Lei Kuangxi&lt;br /&gt;
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根据“玉露”茶的背景信息，“这种茶的形状是圆的，且其颜色洁白如玉，所以最好是把玉露茶翻译为 ‘Jade-green Tea’ 而不是 ‘Jade Dew’”。(Cui Shan 2019:126)这样翻译可以展示出茶的颜色和种类。这也让受众读者们更容易接受且不至于太困惑。--[[User:Si Yu|Si Yu]] ([[User talk:Si Yu|talk]]) 13:12, 31 October 2020 (UTC)&lt;br /&gt;
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==Li Haiquan 李海泉==&lt;br /&gt;
Similarly, “‘茉莉花茶’ can be translated into ‘Jasmine Scented Tea’ instead of ‘Jasmine Tea’ and ‘竹叶青’ can be translated into ‘Bamboo-Leaf-Shaped Green Tea’ instead of ‘Bamboo Leaf ’”. (Cui Shan, 2019:126) “Jasmine Scented Tea” can show the true features of the tea and distinguish the tea from jasmine flower. And “Bamboo-Leaf-Shaped Green Tea” can tell the target readers the type and features of the tea and stop misleading readers to think of it as the tea made of bamboo leaves.&lt;br /&gt;
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同样,“茉莉花茶”可以翻译成“Jasmine Scented Tea”,而不是“Jasmine Tea”;“竹叶青”可以翻译成“Bamboo-Leaf-Shaped”,而不是“Bamboo Leaf”。(崔山2019:126)“Jasmine Scented Tea”译文可以体现茶的真实特征，并将茶与茉莉花区分开来。而“Bamboo-Leaf-Shaped Green Tea”译文可以告诉目标读者茶叶的类型和特点，而避免读者误认为竹叶青是竹叶制成的。--[[User:Li Haiquan|Li Haiquan]] ([[User talk:Li Haiquan|talk]]) 12:09, 28 October 2020 (UTC)&lt;br /&gt;
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==Li Lili 李丽丽==&lt;br /&gt;
'''4 Untranslatability of Culture-loaded Words'''&lt;br /&gt;
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Catford thought that untranslatability is caused by the target language’s lack of lexical or syntactical substitute. Different languages differ from each other in the phonetic, grammatical, semantic, pragmatic aspect etc. When translating culture-loaded words, it is hard for translator to translate the culture behind these words in a perfect way. For example, “纸老虎” is translated into “Paper Tiger” in English.&lt;br /&gt;
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‘4种文化相关词的不可译性’&lt;br /&gt;
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卡特福德认为，不可译性是由于目的语缺乏词汇或句法替代物造成的。不同的语言在语音、语法、语义、语用等方面都存在差异，在翻译文化相关词时，译者很难完美地翻译这些词背后的文化。例如，“纸老虎”在英语中被翻译成“纸老虎”。--[[User:Li LIli|Li LIli]] ([[User talk:Li LIli|talk]]) 13:16, 29 October 2020 (UTC)Li Lili&lt;br /&gt;
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4.文化负载词的不可译性&lt;br /&gt;
卡特福德认为不可译性是由目标语中缺少词法或句法替代物造成的。不同的语言在语音、语法、语义、语用等方面都不相同。当翻译文化负载词时，译者要想完美地译出词语背后的文化含义是很难的。例如：“纸老虎”就被直译成英语“Paper Tiger”。--[[User:Majuan|Majuan]] ([[User talk:Majuan|talk]]) 12:23, 30 October 2020 (UTC)&lt;br /&gt;
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==Li Lingyue 李凌月==&lt;br /&gt;
But if people don’t have a knowledge of Chinese culture, when they read the phrase “paper tiger”, they will think of it as a kind of artistic work. Similarly, “八股文” is translated into “Eight-part Essay”. When people read this kind of translation, they will only think of it as a kind of article containing eight parts. They cannot understand the moral imprisonment this kind of writing style brought to Chinese people.&lt;br /&gt;
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但是，如果人们不了解中国文化，当他们读到“纸老虎”这个词时，他们会认为它是一种艺术作品。同样，“八股文”也被翻译成“八章文”。当人们读到这种翻译时，他们只会把它看作是一篇包含八个部分的文章。他们无法理解这种写作风格给中国人带来的道德禁锢。--[[User:Li Lingyue|Li Lingyue]] ([[User talk:Li Lingyue|talk]]) 04:09, 31 October 2020 (UTC)&lt;br /&gt;
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但是，如果人们不了解中国文化，当他们读到“纸老虎”这个词时，他们会认为它是一种艺术作品。同样，“八股文”也被翻译成“八段话的文章”。当人们读到这种翻译时，他们只会把它看作是一篇包含八个部分的文章。他们无法理解这种写作风格给中国人带来的道德禁锢。--[[User:Li Meng|Li Meng]] ([[User talk:Li Meng|talk]]) 04:19, 31 October 2020 (UTC)&lt;br /&gt;
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==Li Liqin 李丽琴==&lt;br /&gt;
When the famous sinologist David Hawkes was translating the famous Chinese novel ''A Dream of Red Mansions'', he translated a servant girl in the novel called “紫鹃” into “Nightingale” instead of “cuckoo”. This is because the word “cuckoo” in western countries can be used to refer the woman who cheated in a relationship. In the novel, “紫鹃” is a quite innocent girl.&lt;br /&gt;
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在翻译中国著名小说《红楼梦》时，著名汉学家大卫·霍克斯把书中一个名为“紫娟”的女仆翻译成“夜莺(nightingale)”而不是“杜鹃(cuckoo)”。他这样做的原因是，在西方国家，“杜鹃(cuckoo)”通常指在感情中背信弃义的女方，而《红楼梦》中的“紫娟”是个天真烂漫的女孩儿。--[[User:Li Liqin|Li Liqin]] ([[User talk:Li Liqin|talk]]) 08:39, 28 October 2020 (UTC)&lt;br /&gt;
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著名汉学家大卫·霍克斯在翻译中国著名小说《红楼梦》时，把书中一个名为“紫娟”的女仆翻译成“夜莺(nightingale)”而不是“杜鹃(cuckoo)”。他之所以如此翻译是因为在西方国家，“杜鹃(cuckoo)”通常指在感情中背信弃义的女方，而《红楼梦》中的“紫娟”却是个天真无邪的女孩儿。--[[User:Kong Xianghui|Kong Xianghui]] ([[User talk:Kong Xianghui|talk]]) 11:52, 28 October 2020 (UTC)&lt;br /&gt;
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==Li Luyi 李璐伊==&lt;br /&gt;
So the word “cuckoo”, although is literally equivalent to “紫鹃”, it was still not chosen by David Hawkes to be the girl’s name. In English, “nightingale” refers to a small brown bird, the male of which has a beautiful song. It can also refer people who can sing beautifully. Although the translator avoided cultural conflict by translating “紫鹃” into “Nightingale”, “nightingale” still cannot show the innocence of that girl.&lt;br /&gt;
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因此，“杜鹃（cuckoo）”一词虽然在字面上相当于“紫鹃”，但大卫·霍克斯并未将其作为那个女孩的名字。在英语中，“夜莺（nightingale）”指的是一种棕色的小鸟，其雄鸟的鸣唱婉转动人，所以它也可以指那些歌声动听的人。尽管译者通过将“紫鹃”译为“夜莺”来避免了文化冲突，但“夜莺（nightingale）”仍然无法体现出那个女孩的天真无邪。--[[User:Li Luyi|Li Luyi]] ([[User talk:Li Luyi|talk]]) 10:08, 30 October 2020 (UTC)&lt;br /&gt;
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==Li Meng 李梦==&lt;br /&gt;
Sometimes, translators will borrow words from other cultures to help themselves translate better. For example, translators translate “a beauty in ancient China named Xi Shi into ‘Chinese Cleopatra’. However, Cleopatra is more like the first and the only female emperor in Chinese history Wu Zetian in Chinese people’s mind to western people.&lt;br /&gt;
有时,翻译者会借用其他文化中的词汇来帮助自己更好地翻译。 例如,翻译家将&amp;quot;中国古代的美女西施翻译成'中国的埃及艳后'。 然而,在西方人的心目中,埃及艳后更像中国历史上第一位也是唯一一位女皇帝——武则天。--[[User:Li Meng|Li Meng]] ([[User talk:Li Meng|talk]]) 04:13, 31 October 2020 (UTC)&lt;br /&gt;
有时，译者会借用其他文化的词汇来帮助自己更好地翻译。例如，译者把“中国古代一位名叫西施的美人”翻译成“中国埃及艳后”。但是，对于西方人来说，埃及艳后更像是中国历史上第一位也是唯一一位女性皇帝武则天。--[[User:Li Lingyue|Li Lingyue]] ([[User talk:Li Lingyue|talk]]) 04:18, 31 October 2020 (UTC)&lt;br /&gt;
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==Li Yongshan 李泳珊==&lt;br /&gt;
In Chinese phrase ‘蝙蝠迎宾’， the word ‘蝙蝠’ is translated into ‘bird’ in English instead of ‘bat’. This is because bat represents vampires in western culture. This kind of translation avoided the violation of western taboo. But it also doesn’t translate the inner ‘happiness’ behind the phrase in Chinese culture.”(Chen Junming 2013:29)&lt;br /&gt;
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==Li Yu 李玉==&lt;br /&gt;
Catford thought the cultural untranslatability was caused by the lack of the target target culture’s relevant situational features to the source language’s culture. Cultural untranslatability comes from cultural differences. Although it is hard to translate culture-loaded words into target language in a perfect way, translators still need to try to discover the translation of culture-loaded words. Translators can also add some explanations after the translated sentences or words to make the meaning and culture behind the source language text be understood by target readers.&lt;br /&gt;
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==Lin Min 林敏==&lt;br /&gt;
'''5 The Interpreter’s Translation of Culture-loaded Words'''&lt;br /&gt;
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Unlike translators, interpreters have much shorter time to translate. Sometimes, it is a great challenge for interpreters to translate in such a short time. As we have discussed above, culture-loaded words make it hard for translators to translate. So during the interpreting, it may be even harder for interpreters to translate utterances with culture-loaded words. An interpreter’s translation can be divided into three steps, namely comprehension, de-verbalization and reformulation. If an interpreter wants to interpret successfully, he should understand what the speaker has said.&lt;br /&gt;
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==Lin Xin 林鑫==&lt;br /&gt;
The interpreter will keep the content of what the speaker just said in his mind. During step two, the interpreter will forget the structure of these linguistic signs which formed what the speaker said and only remembers the ideas these linguistics signs wanted to express. During the last step, the interpreter uses another language to form new utterances to express the speaker’s ideas. The interpreter has to try to express all the information the speaker mentioned as possible and the interpreter also needs to try to make the translated language easy to be understood by target hearers.&lt;br /&gt;
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==Ling Zijin 凌子瑾==&lt;br /&gt;
The striking feature of interpreting is its timeliness. Since the interpreter’s memory is limited, interpretation is more about translating the overall meaning of the discourse. Sometimes interpreters have to identify the key information of someone’s utterances and discard the unimportant information. The approach we have discussed above can also be used to interpret. For example, the interpreter can use literal translation approach to translate.&lt;br /&gt;
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==Liu Bo 刘博==&lt;br /&gt;
By using the literal translation approach, “ ‘莫道今年春将尽，明年春色倍欢人。我期待着明年中国和世界都会变得更好’，can be translated into ‘Do not regret that the spring is departing, come next year as it will be twice as enchanting. I really hope to see that next year in China and in the whole world people will be better off.’”(Guo Huiqing 2018:94)&lt;br /&gt;
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通过使用直译法，“ '莫道今年春将尽,明年春色倍欢人.我期待着明年中国和世界都会变得更好',可以翻译为‘不要为春天的离去而遗憾，来年它将会加倍迷人’我真心希望看到，明年中国乃至全世界人民的生活会更好。”--[[User:Liubo|Liubo]] ([[User talk:Liubo|talk]]) 00:35, 30 October 2020 (UTC)&lt;br /&gt;
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依据直译法，我们可以将“ '莫道今年春将尽,明年春色倍欢人.我期待着明年中国和世界都会变得更好' 翻译成 ’不要因为春天的离去而遗憾，来年它将更加迷人。我衷心希望看到中国乃至世界人民明年生活更加美好。”--[[User:Yang Yue|Yang Yue]] ([[User talk:Yang Yue|talk]]) 01:34, 30 October 2020 (UTC)&lt;br /&gt;
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==Liu Jinxingqi 刘金惺琦==&lt;br /&gt;
It’s worth mentioning that interpreters have to translate in a limited time. So when confronting some special expression that is hard to find the equivalent in the target language. They will try to explain the meaning of these expression. For example, the interpreter can translate “ ‘山重水复疑无路，柳暗花明又一村’ into ‘After encountering all kinds of difficulties and experiencing all kinds of hardships, at the end of the day we will see light at the end of tunnel’”.(Guo Huiqing 2018:95)&lt;br /&gt;
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==Liu Liu 刘柳==&lt;br /&gt;
This expression is from ancient Chinese poet Tao Yuanming’s poem. This sentence just express the scenery of the countryside. But combing the poem with the utterances the speaker has said, the interpreter translates the sentence into the translation above. This kind of explanation approach can be often used in interpreting.&lt;br /&gt;
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这句话出自中国古代诗人陶渊明的诗。它只描述了乡村风光，但译者用诗人的说话方式来梳理这首诗，就把这句话翻译成了上述译文。这种翻译方法在口译中很常用。--[[User:Liu Liu|Liu Liu]] ([[User talk:Liu Liu|talk]]) 11:28, 29 October 2020 (UTC)&lt;br /&gt;
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这个表达出自中国古代诗人陶渊明的诗。虽然这句话只是描述了乡村的风景。但是，当把这首诗和说话人所说的话结合起来，译者就把这句话翻译成上述译文。这种翻译方法在口译中经常使用。--[[User:Liubo|Liubo]] ([[User talk:Liubo|talk]]) 00:40, 30 October 2020 (UTC)&lt;br /&gt;
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这句话出自中国古代诗人陶渊明的诗，它只描述了乡村风光。但译者结合发言人的话来理解这首诗，将这句话翻译成了上述译文。这种翻译方法在口译中经常使用。--[[User:Xu Jia|Xu Jia]] ([[User talk:Xu Jia|talk]]) 11:03, 31 October 2020 (UTC)Xu Jia&lt;br /&gt;
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==Liu Ou 刘欧==&lt;br /&gt;
Translation and interpreting share a lot in common like the approaches to translate. But interpreting has the feature of timeliness while translation doesn’t. This feature brings more challenges for interpreters to translate. It requires interpreter to have to quick response and a better sensibility to cultural differences.&lt;br /&gt;
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==Liu Yangnuo 刘洋诺==&lt;br /&gt;
'''6 Conclusion'''&lt;br /&gt;
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“Since the knowledge and beliefs that constitute a people’s culture are habitually encoded and transmitted in the language of the people, it is extremely difficult to separate the two. On the one hand, language as an integral part of human being, permeates his thinking and way of viewing the world, language both expresses and embodies cultural reality. On the other, language, as a product of culture, helps perpetuate the culture, and the changes in language uses reflect the cultural changes in return.” (Dai Weidong 2002:130)&lt;br /&gt;
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==Liu Yi 刘艺==&lt;br /&gt;
Language and culture are interdependent during the process of evolution. Language belongs to culture. Translators, who translate the information from one language to another, have the responsibility to promote the communication between different countries. A good translator can help the transmission of cultures. The cultural differences among different countries lead to different culture-loaded words in different countries. The reason why we call a culture-loaded word a culture-loaded word is because it contains the special meaning of a culture.&lt;br /&gt;
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在进化过程中，语言和文化是相互依存的。语言属于文化。翻译人员将信息从一种语言翻译成另一种语言，有责任促进不同国家之间的交流。一个好的翻译可以帮助文化的传承。由于不同国家的文化差异，导致不同国家的文化负载词不同。我们之所以称文化负载词为文化负载词，是因为它包含了一种文化的特殊含义。--[[User:Liu Yi|Liu Yi]] ([[User talk:Liu Yi|talk]]) 01:09, 30 October 2020 (UTC)&lt;br /&gt;
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语言和文化在进化过程中相互依存。语言属于文化。译者将信息从一种语言传递到另一种语言时，有责任促进不同国家间的沟通交流。一个好的译者能促进文化传播。不同国家间的文化差异使得其文化负载词也大不相同。文化负载词因囊括了文化的特殊含义而得名。--[[User:Chen Sunfu|Chen Sunfu]] ([[User talk:Chen Sunfu|talk]]) 06:20, 30 October 2020 (UTC)&lt;br /&gt;
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==Liu Yiyu 刘怡瑜==&lt;br /&gt;
It is exactly this kind of uniqueness which makes a culture different from other cultures. Although culture-loaded words make it hard for translators to translate well, translators still have to find strategies to overcome this kind of difficulty. As long as cultural differences exist, culture-loaded words will still be there. As a bridge between two language or even two cultures, translators still have to work hard to discover better approaches to translate culture-loaded words well. If translators can translate better, the cultural communication between two countries will be better.&lt;br /&gt;
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==Liu Zhiwei 刘智伟==&lt;br /&gt;
'''A Comparative Study between Functional Equivalence Theory and Skopos Theory and My thoughts on the Two Theories'''&lt;br /&gt;
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'''(1)Introduction'''&lt;br /&gt;
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'''1.1. Functional Equivalence Theory'''&lt;br /&gt;
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In 1964, Eugene Nida, the famous American linguist and ''Bible'' Translator, first put forward the notion of “dynamic equivalence” in his book ''Toward a Science of Translating''. According to Nida, “dynamic equivalence” refers to “ the closest natural equivalence to the source language message(Tan Zaixi, 1984: 10)”.&lt;br /&gt;
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功能对等理论与目的论的比较研究及对两种理论的思考&lt;br /&gt;
（1）简介&lt;br /&gt;
1.1 功能对等理论&lt;br /&gt;
1964年，美国著名语言学家、《圣经》翻译家尤金·奈达在《翻译的科学探索》一书中首次提出了“动态对等”的概念。奈达认为，“动态对等”是指“与源语言信息最接近的自然对等（谭载喜，1984:10）”。--[[User:Liu Zhiwei|Liu Zhiwei]] ([[User talk:Liu Zhiwei|talk]]) 09:02, 31 October 2020 (UTC)&lt;br /&gt;
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==Lou Cancan 娄灿灿==&lt;br /&gt;
In saying this, Nida means to appeal translators to put emphasis on expressing to the target readers both the messages conveyed in the source language and the forms and styles of the original text. Later, he realizes the name “dynamic equivalence” may confuse some translation learners and they may think he only focuses on translating the content and meaning of the source text and ignores its form and style, he then changes the name of “dynamic equivalence” into “functional equivalence”.&lt;br /&gt;
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==Luo Weijia 罗维嘉==&lt;br /&gt;
Nida thinks that the response made by the target language receptor to the target text should generally be equivalent to the response made by the source language receptor to the source text, so when the translator cannot retain both the form and the content of the original text, he or she should give priority to the content of the original text and change the form of the source text.&lt;br /&gt;
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奈达认为，译文接受者对译文的反应一般应等同于原语接受者对原文的反应，因此当译者不能同时保留原文的形式和内容时，应以原文内容为准更改源文本的格式。--[[User:Luo Weijia|Luo Weijia]] ([[User talk:Luo Weijia|talk]]) 03:12, 29 October 2020 (UTC)&lt;br /&gt;
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奈达认为，读者对译文的反应应与源语读者对原文的反应大致相同，因此当译者不能同时保留源语的形式和内容时，应优先考虑原文内容，改变源文本形式。--[[User:Zhang Yu|Zhang Yu]] ([[User talk:Zhang Yu|talk]]) 13:53, 29 October 2020 (UTC)&lt;br /&gt;
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==Luo Yuqing 罗雨晴==&lt;br /&gt;
And in response to questions like how and to what degree the translator can change the form of the original text, Nida then points out that in translation, there are four aspects in dynamic equivalence, namely, lexical equivalence, syntactic equivalence, textual equivalence and stylistic equivalence respectively. If a translator can convey the language form, the content and the style of the source text in natural target language, and make the target readers give the same response to the target text as the source language made to the original text, then his translation can be said to have achieved the maximal equivalence.&lt;br /&gt;
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==Ma Juan 马娟==&lt;br /&gt;
On the other hand, if a translation only transmit the content of the original text generally, then the translation can be said to have achieved the minimal equivalence. &lt;br /&gt;
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'''1.2. Skopos Theory'''&lt;br /&gt;
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Skopos theory was first put forward by Hans Vermeer in his book ''Framework for a General Translation Theory'' in 1978. According to Skopos theory, translation means to “'''produce a text at target setting for a target purpose and target addressee in target circumstances'''”(Liu Junping, 2009: 377). Based on this definition, Vermeer Hans concludes the three rules of Skopos theory, which are skopos rule, coherence rule and loyalty rule.&lt;br /&gt;
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从另一方面来说，如果一个原文本的翻译仅仅只是传达了文本大概的内容，那我们只能说这个翻译只实现了原文本与目标文本最小的对等。&lt;br /&gt;
1.2.目的论&lt;br /&gt;
目的论最先是汉斯弗米尔在1978年在他的书《普通翻译理论框架》中提出来的。根据目的论，翻译就是“为目标目的和目标环境中的目标地址设定目标文本”（刘俊平，2009:377）。以此定义为基础， 弗米尔汉斯总结得出目的论的三个原则，分别为目的原则、连贯原则和忠诚原则。--[[User:Majuan|Majuan]] ([[User talk:Majuan|talk]]) 12:08, 30 October 2020 (UTC)&lt;br /&gt;
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从另一方面来说，如果一个文本的翻译仅仅传达了原文本的大概内容，那我们只能说这个翻译只实现了原文本与目标文本最小的对等。&lt;br /&gt;
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1.2.目的论&lt;br /&gt;
目的论最先是汉斯弗米尔在1978年在其书《普通翻译理论框架》中提出来的。根据目的论，翻译就是“为目标目的和目标环境中的目标地址设定目标文本”（刘俊平，2009:377）。以此定义为基础， 弗米尔汉斯总结得出目的论的三个原则，分别为目的原则、连贯原则和忠诚原则。--[[User:Mashuya|Mashuya]] ([[User talk:Mashuya|talk]]) 09:29, 31 October 2020 (UTC)Ma Shuya&lt;br /&gt;
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==Ma Shuya 马淑雅==&lt;br /&gt;
Firstly, skopos rule, or purpose principle, is the primary principle to be followed in translation. It holds that the purpose to be achieved of the target text determines the whole process of translation, including the choice of the translator in translation skills and strategies, and that all translation activities are determined by its purpose. Generally speaking, the skopos rule has under its umbrella three types of purposes: the first one is the basic purpose of the translator; the second is the communicative purpose of the translation; and the third is the purpose of specific translation strategies or means. But at most of times, “purpose” refers to the communicative purpose of the translation.&lt;br /&gt;
首先，目的规则或目的原则是翻译中要遵循的主要原则。 它认为，目标文本要达到的目的决定了翻译的整个过程，包括翻译者在翻译技巧和策略上的选择，并且所有翻译活动均由其目的决定。 一般来说，目的规则具有三类目的：第一个是译者的基本目的；第二个是译者的基本目的。 第二是翻译的交际目的； 第三是特定翻译策略或手段的目的。 但在大多数情况下，“目的”是指翻译的交际目的。--[[User:Mashuya|Mashuya]] ([[User talk:Mashuya|talk]]) 09:25, 31 October 2020 (UTC)Ma Shuya&lt;br /&gt;
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==Ma Zhixing 马智星==&lt;br /&gt;
Secondly, coherence rule, also called intra-textual coherence, means that the translation must be understandable and readable to the receptors, and meaningful in the communicative environment of the target culture and the target text.&lt;br /&gt;
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Thirdly, fidelity rule, which means that there should be inter-textual coherence between the source text and the target text. Inter-textual coherence is similar to what is usually called “信” or “be faithful to the original text”.&lt;br /&gt;
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==Meng Ying 孟莹==&lt;br /&gt;
In the traditional translation theory, “faithfulness” is always regarded as the basic translation standard to obey, but in Skopos theory, to what degree the form and style of the target text should be faithful to the original text totally depends on the purpose of the translation and the translator’s understanding of the source text.&lt;br /&gt;
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Under Vermeer’ s Skopos theory, the skopos rule is the most important rule among the three rules, the coherence rule the second important, and the fidelity rule the least important. This indicates that in Skopos theory, the end justifies the means(Liu Junping, 2009: 377-378)&lt;br /&gt;
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==Mo Ling 莫玲==&lt;br /&gt;
'''II.Similarities and Differences'''&lt;br /&gt;
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'''2.1. The Similarities between the Two Theories'''&lt;br /&gt;
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'''2.1.1. Both Attach Great Importance to the Target Receptor’s Status'''&lt;br /&gt;
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Functional Equivalence Theory is a receptor-oriented theory. As revealed by Nida’s definition of translation, that “translation consists in reproducing in the receptor language the closest natural equivalence of the source language, first in terms of meaning and second in terms of style”, Functional Equivalence Theory emphasizes that the primary aim of translation is such that the target text should bring the target receptors the similar or same response as the response made by receptors in the source language.&lt;br /&gt;
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'''II.相同点与不同点'''&lt;br /&gt;
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'''2.1. 两种理论的相同点'''&lt;br /&gt;
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'''2.1.1. 同样重视目标受众的身份'''&lt;br /&gt;
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功能对等理论以受众为导向,正如奈达对翻译的定义那样，翻译就是目标语用最自然和对等的语言从语义到文体再现源语的信息。功能对等理论强调，翻译的首要目的是使译文给目标语读者带来与源语中读者相似或相同的反应。--[[User:Mo Ling|Mo Ling]] ([[User talk:Mo Ling|talk]]) 09:17, 28 October 2020 (UTC)Mo Ling&lt;br /&gt;
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II 相似与不同之处&lt;br /&gt;
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2.1 两种理论的相似之处&lt;br /&gt;
2.1.1. 同样高度重视目标受众的身份&lt;br /&gt;
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功能对等理论是以受众为导向的。正如奈达对翻译的定义阐述的那样“翻译是以最贴近源语的自然对等方式重塑受众语言，首先要考虑其含义，再次是翻译风格“，功能对等理论强调翻译的首要目标是译文要还原受众在源语中获得的相似或相同的反应。--[[User:WuQiong|WuQiong]] ([[User talk:WuQiong|talk]]) 03:32, 30 October 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
==Mo Nan 莫南==&lt;br /&gt;
Besides, to bring to the readers a similar or same response, Nida even put forward that, if it is necessary, different target texts should be made according to the needs of different receptors. All of the two points reflects that in Functional Equivalence Theory, the target receptor’s status is very important.&lt;br /&gt;
&lt;br /&gt;
While the Skopos theory, too, put the reader’s needs on a high status. Of the three rules in Skopos theory, the most important one is skopos rule, which includes three purposes, the basic purpose of the translator, the communicative purpose of the translation, and the purpose of specific translation strategies or means.&lt;br /&gt;
&lt;br /&gt;
==Nie Xiaolou 聂晓楼==&lt;br /&gt;
However, to take all the three purposes into consideration, a translator must first know what and who the target text serves, so he or she can immediately know the purpose of the translation task and do a corresponding and qualified translation. This, on the other hand, also means that in Skopos theory, the target reader’s needs indirectly determine the purpose of the translation, so it is also given priority to by the translator.&lt;br /&gt;
&lt;br /&gt;
==Ou Rong 欧蓉==&lt;br /&gt;
'''2.1.2. Both Emphasize the Communicative Function of Translation'''&lt;br /&gt;
&lt;br /&gt;
Under the Functional Equivalence Theory, the translation should achieve a functional equivalence, bringing the target readers the roughly same experience and making them give the responses as the receptors in the source language culture. In doing this, the translator is in fact trying to achieve the communicative function of the original text by shortening the distance of the source text receptors and the target text receptors, which, on the other hand, means that the process of translation is a communicative process between the original language culture and the culture of the target language.&lt;br /&gt;
&lt;br /&gt;
==Ouyang Jinglan 欧阳静兰==&lt;br /&gt;
In Skopos theory, of the three purposes under the skopos rule, the communicative purpose is regarded as the most important purpose of a target text. Skopos theory holds that translation is a communicative activity with a purpose, and the process of translation is determined by the intended function or purpose of the target text.&lt;br /&gt;
&lt;br /&gt;
==Ouyang Ling 欧阳玲==&lt;br /&gt;
'''2.2 The Differences between the Two Theories'''&lt;br /&gt;
&lt;br /&gt;
'''2.2.1. Different Status of the Source Language and the Target Language'''&lt;br /&gt;
&lt;br /&gt;
From the perspective of Functional Equivalence Theory, a good translation achieving the goal of translation not only needs to provide another message similar to the original message conveyed in the source text, but also needs to clearly reflect the meaning and intention of the original text, bringing to the target readers similar or even same effects and making them give a same response.&lt;br /&gt;
&lt;br /&gt;
'''2.2 两种理论的差异'''&lt;br /&gt;
&lt;br /&gt;
'''2.2.1 源语言和目的语言的地位差异'''&lt;br /&gt;
&lt;br /&gt;
功能对等理论认为，好的翻译不仅要传达与源文相似的信息，还要清晰地反映源文的意义和目的，在目标读者身上产生类似的效果，使他们对译文作出同样的反应。--Ouyang Ling&lt;br /&gt;
&lt;br /&gt;
'''2.2 两种理论之间的差异'''&lt;br /&gt;
&lt;br /&gt;
'''2.2.1 原语和目的语之间的地位差异'''&lt;br /&gt;
&lt;br /&gt;
功能对等理论认为，好的翻译不仅要传达与原文相似的信息，还要清晰地反映原文的意义和目的，使目的语读者获取与原文读者类似或相同的效果，使他们对译文作出同样的反应。--[[User:Tan Xingyue|Tan Xingyue]] ([[User talk:Tan Xingyue|talk]]) 10:50, 29 October 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
==Peng Dan 彭丹==&lt;br /&gt;
From this point, one can easily see that Functional Equivalence Theory is centered on the original text, which, to some degree, reflects that Functional Equivalence still put the source language on a high status. The status of the target language is secondary to the source language as the choice of the words, sentence structures of the target text still heavily depend on the source text.&lt;br /&gt;
&lt;br /&gt;
==Peng Juan 彭娟==&lt;br /&gt;
Skopos theory, on the other hand, gets rid of the point of view of the traditional text-centered translation theory, and focuses on the function and purpose of the target text. From the perspective of Skopos theory, a successful translation is not one that places the original text in a sacred and unattainable position. Vermeer further put forward the view of “subverting the source language” in Skopos theory. He stated that “the linguistic and stylistic features of the original text are no longer the only criteria to measure the translation”.&lt;br /&gt;
在另一方面，目的论摒弃了传统的以文本为中心的翻译理论，聚焦于目的语文本的功能和目的。从目的论的角度出发，成功的翻译并不是把原文本置于神圣不可及的地位。维米尔在目的论中进一步提出了“颠覆源语言”的观点。他指出，“原文的语言和文体特征不再是衡量翻译的唯一标准”。--[[User:Pengjuan|Pengjuan]] ([[User talk:Pengjuan|talk]]) 11:13, 30 October 2020 (UTC)pengjuan&lt;br /&gt;
&lt;br /&gt;
==Peng Ruihong 彭锐宏==&lt;br /&gt;
All of these reflect that the source text enjoys a relatively low status in Skopos theory compared with its status in Functional Equivalence Theory. Besides, from the three rules of Skopos theory, one can easily know that, the most important one is the skopos rule, then the coherence of the target text, namely the intra-textual coherence and finally the fidelity of the target text to the source text, namely the inter-textual coherence. Therefore, we can see that the status of the source language actually lower than the target language in Skopos theory, which is different from the case in Functional Equivalence Theory.&lt;br /&gt;
&lt;br /&gt;
所有这些反映出，源文本在目的语理论中的地位与其在功能对等理论中的地位相比，处于较低的地位。 此外，从目的论的三个规则中，我们可以很容易地知道，最重要的一个是目的论规则，然后是目标文本的连贯性，即文本内部的连贯性，最后是目标文本对原文的忠诚度。 文本，即文本间的连贯性。 因此，我们可以看到目的语言中源语言的状态实际上低于目标语言，这与功能对等理论中的情况有所不同。--[[User:Peng Ruihong|Peng Ruihong]] ([[User talk:Peng Ruihong|talk]]) 02:15, 30 October 2020 &lt;br /&gt;
&lt;br /&gt;
所有这些都反映出，相比于在功能对等理论中的地位，源文本在目的论中的地位相对较低。此外，在目的论的三原则中，我们很容易可以发现，最重要的原则是目的论原则，目标文本的连贯性原则即文本内部的连贯性次之，最后是目标文本对原文的忠实度也就是文本间的连贯性。因此，我们可以看到在目的论中源语言的地位实际上是低于目标语言的，而这与功能对等理论中的情况则有所不同。--[[User:Chen Jingjing|Chen Jingjing]] ([[User talk:Chen Jingjing|talk]]) 08:36, 31 October 2020 (UTC)Chen Jingjing&lt;br /&gt;
&lt;br /&gt;
==Peng Xiaoling 彭小玲==&lt;br /&gt;
'''2.2.2. Different Translation Principles'''&lt;br /&gt;
&lt;br /&gt;
Nida believes that equivalence is the goal of translation. His translation standard is that the target text should be faithful to the original text in terms of content and style while also being expressive in the eyes of the target readers. As put forward by Nida that, “translation consists in reproducing in the receptor language the closest natural equivalence of the source language, first in terms of meaning and second in terms of style”, the translation standard of Functional Equivalence Theory include “equivalence”, which is the equivalence of meaning and style, namely be faithful to the meaning and style of the source text.&lt;br /&gt;
&lt;br /&gt;
'''2.2.2. 不同的翻译原则'''&lt;br /&gt;
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奈达认为翻译的目标是对等。他的翻译标准是，译文既要在内容和文体上忠实于原文，同时在目的语读者看来又是通顺的。正如奈达所提出的，“翻译就是在目的语中用最贴切、最自然的对等语再现源语的信息，首先是语义对等，其次是文体对等”，功能对等理论的翻译标准包括“对等”， 也就是语义和文体的对等，即忠实于原文的语义和文体。--[[User:Peng Xiaoling|Peng Xiaoling]] ([[User talk:Peng Xiaoling|talk]]) 01:03, 29 October 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
'''2.2.2. 不同的翻译原则'''&lt;br /&gt;
奈达认为翻译的目标是对等。他的翻译标准是，译文既要在内容和文体上忠实于原文，同时又要在目的语读者看来是通顺的。正如奈达所提出的，“翻译就是在目的语中用最贴切、最自然的对等语再现源语的信息，首先要达到语义对等，其次要达到文体对等”，功能对等理论的翻译标准包括“对等”， 也就是语义和文体的对等，即忠实于原文的语义和文体。--[[User:Qu Miao|Qu Miao]] ([[User talk:Qu Miao|talk]]) 16:59, 30 October 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
==Peng Yongliang 彭永亮==&lt;br /&gt;
Besides, in front of “equivalence”, there is also a word “natural”, which means the target text should be fluent and be in conformity with the habits of the target culture, namely “expressiveness” in traditional translation theory.&lt;br /&gt;
&lt;br /&gt;
In Skopos theory, however, “faithfulness” is no longer regarded as the primary translation criteria. As Skopos theory judges the success of a translation by its intended purpose, which reflects the requirements of the target readers.&lt;br /&gt;
&lt;br /&gt;
==Peng Yuzhi 彭育志==&lt;br /&gt;
However, as the requirements of the readers are different, Skopos theory advocates the diversification of translation standards. Only when the communicative purpose of the translation requires the translation to have the same communicative function as the original text, equivalence becomes the standard of the translation process. Otherwise, the translation may be very different from the original text in its style and form.&lt;br /&gt;
&lt;br /&gt;
然而，由于读者的需求不同，所以目的论提倡翻译标准的多样化。唯有要求译文和原文具有相同的交际功能时，对等性才成为翻译过程的标准。否则，译文将可能在风格和形式上与原文有极大差异。--[[User:Peng YuZhi|Peng YuZhi]] ([[User talk:Peng YuZhi|talk]]) 13:59, 28 October 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
然而，由于读者需求不同，因此目的论提倡翻译标准多样化。唯有要求译文和原文具有相同的交际功能时，对等才成为翻译过程的标准。否则，译文将可能在风格和形式上与原文有极大差异。--[[User:Luo Weijia|Luo Weijia]] ([[User talk:Luo Weijia|talk]]) 03:27, 29 October 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
==Qi Kai 漆凯==&lt;br /&gt;
'''2.2.3. Different Translation Skills and Translation Strategies Used in the Translation Process'''&lt;br /&gt;
&lt;br /&gt;
In Functional Equivalence Theory, as determined by its definition for translation, the translation skills and strategies used in the translation process are all for one common goal, which is to bring the target readers the roughly same or same response. In order to achieve the aim, some translation skills are frequently used under the Functional Equivalence Theory, including literal translation, liberal translation, domestication and borrowing translation.&lt;br /&gt;
&lt;br /&gt;
==Qu Miao 瞿淼==&lt;br /&gt;
And among all these translation skills, domestication and borrowing translation are two translation strategies most favorably advocated by Functional Equivalence Theory. Here, I will list the translation of a phrase to briefly explain the reason why the two translation skills are often used in translation process. We all know that to grow like mushrooms is an English phrase which means to rapidly grow or increase in number. It vividly describes the scene that after the incessant rain in London, the explosive growth of the mushrooms.&lt;br /&gt;
而在众多翻译技巧中，功能对等理论最推崇的两个是归化和借译。这里我会列举出一个短语的两个翻译版本，以此来简要解释为什么这两种翻译技巧在翻译过程中最为常用。我们都知道“grow like mushrooms”是一个表示快速生长或者数量迅速增长的短语。这个短语生动地描写出了伦敦绵绵细雨后蘑菇猛长的景象。--[[User:Qu Miao|Qu Miao]] ([[User talk:Qu Miao|talk]]) 16:56, 30 October 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
==Quan Meixin 全美欣==&lt;br /&gt;
While in China, there is also a similar phrase “雨后春笋”, to describe the scene that after a spring rain, the bamboo shoots sprout overnight in the forest. Therefore, when doing a E-C translation, the translator often uses domestication and translate “to grow like mushrooms” into “雨后春笋”, so as to enable the Chinese readers give a same response as English readers did.&lt;br /&gt;
&lt;br /&gt;
==Sagara Seydou ==&lt;br /&gt;
However, Skopos theory is different. In Skopos theory, the end justifies the means, which means all the translation skills and strategies are determined by the purpose and use of the target text as well as the reader it serves. Therefore, it usually adopts different translation strategies to meet different translation purposes.Translators can freely choose the translation skills he wants to use, whether it is literal translation or liberal translation, domestication or foreignization, transliteration or borrowing translation, even simplifying translation and reduction translation, in consideration of the author's writing intention, the theme of the original text, the translator’s purpose and the needs of the readers.&lt;br /&gt;
&lt;br /&gt;
==Shi Diwen 石迪文==&lt;br /&gt;
Here, I want to firstly compare the difference between Functional Equivalence Theory and Skopos theory in dealing with content with cultural characteristics. As I wrote before, the Functional Equivalence Theory emphasizes the same response between the original readers and the target readers and the presence of a natural text to the target readers, so it prefers to use the existed words, phrases, and cultural images in the target language to replace the expressions in the original text, which explains why domestication and borrowing translation are often use under the theory -- that is because by using the two ways, functional equivalence can be achieved. &lt;br /&gt;
&lt;br /&gt;
==Shi Haiyao 石海瑶==&lt;br /&gt;
However, in Skopos theory, the translator enjoys a higher degree of freedom. He can select translation skills flexibly according to the skopos of the text. For example, when it comes to cultural translation, the translator should carefully consider the cultural differences between the two languages and have full understanding of the purpose and usage of the original text. If the purpose of a translated text is to diffuse the language characteristics of the original author, the author’s writing intention, or the language characteristics of the source language culture, then the translator can adopt the strategy of foreignization or the strategy of literal translation with some annotations in the target text to help the target readers better understand a foreign concept.&lt;br /&gt;
&lt;br /&gt;
然而，据目的论，译者的自由度更高，可根据文章目的灵活选用翻译技巧。例如，在做文化类翻译时，译员应仔细考量源语和目的语的文化差异，并全面理解原文的目的和作用。如果译文的目的是为了传播原作作者的语言特色，写作意图或者源语文化特征，那么译者可采用异化或直译的翻译策略，并在译文中加以注释，以便目的语读者更好理解外来概念。--[[User:Shi Haiyao|Shi Haiyao]] ([[User talk:Shi Haiyao|talk]]) 07:35, 31 October 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
==Si Yu 司妤==&lt;br /&gt;
For example, in order to maintain the cultural characteristics of Chinese, the Chinese proverb “谋事在人，成事在天” should be translated as “man proposals, heaven disposes.&amp;quot; instead of “man proposals, God disposes”.&lt;br /&gt;
&lt;br /&gt;
比如，为了保持中文的文化特征，中文谚语“谋事在人，成事在天”应该翻译为“man proposals，heaven disposes.”而不是“man proposals, God disposes.&amp;quot;--[[User:Si Yu|Si Yu]] ([[User talk:Si Yu|talk]]) 12:51, 31 October 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
比如，为了保留中文的文化特征，中国的谚语“谋事在人，成事在天”应该译为“man proposes，heaven disposes.”，而不是“man proposes, God disposes”。--[[User:Song Jianru|Song Jianru]] ([[User talk:Song Jianru|talk]]) 15:29, 31 October 2020 (UTC)&lt;br /&gt;
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==Song Jianru 宋建茹==&lt;br /&gt;
This is because the translator wants foreign people to know our beliefs -- we Chinese believe in Heaven rather than God. At the same time, sometimes, to meet the needs of some special readers, simplifying translation and reduction translation are also used in the translation process. For example, there are some publishers in China which publish the simplified version of those foreign classics to meet the the children’s needs in reading.&lt;br /&gt;
&lt;br /&gt;
这是因为译者想要其他国家的人了解我们的信仰---我们中国人相信老天而非上帝。同时，有时为了迎合一些特定群体的需求，翻译过程中会把翻译简化或删减。比如，中国一些出版社为满足孩子们阅读的需求而出版一些外国名著的简化版本。--[[User:Song Jianru|Song Jianru]] ([[User talk:Song Jianru|talk]]) 15:17, 31 October 2020 (UTC)&lt;br /&gt;
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==Su Lin  苏琳==&lt;br /&gt;
'''2.2.4. Different Status of the Translator'''&lt;br /&gt;
&lt;br /&gt;
In what Nida thinks of, the translator is only a cultural envoy, transmitting the idea of a culture to people in another culture. Nida believes that as the second source of information, the translator’s role is mainly to convey the original author’s intention to the readers. Therefore, the translator must understand what the original author thinks. The translator’s role is mainly to convey the original author’s intention to the readers. &lt;br /&gt;
&lt;br /&gt;
[[Media:Example.ogg]]==Tan Xingyue 谭星越==&lt;br /&gt;
In addition, the translator should not introduce any personal ideas into the translation of the original text, no matter whether the original point of view is consistent with his own. “The translator should not intervene in, edit or rewrite the original text even if it has shortcomings and errors, nor should he improve the original text even if he has the ability”(Tan Zaixi, 1984). Of course, we can critically accept Nida’s words. When there are obvious mistakes in the original text (such as the original text not conforming to the facts), we should correct them in the translation.&lt;br /&gt;
&lt;br /&gt;
此外，无论原文的观点是否与自己的观点一致，译者不应在原文翻译中引入任何个人观点。“即使原文有缺点和错误，译者也不应干预、编辑或重写原文，即使有能力也不可改良原文”（谭载喜，1984）。当然，我们可以批判性地接受奈达的观点。当原文有明显的错误（如原文与事实不符）时，应在翻译中加以纠正。--[[User:Tan Xingyue|Tan Xingyue]] ([[User talk:Tan Xingyue|talk]]) 10:40, 29 October 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
此外，无论原文的观点是否与自己的观点一致，译者不应在对原文的翻译中引入任何个人观点。“即使原文存在缺点和错误，译者也不应干预、编辑或重写原文；即使译者有能力，也不能对原文做出改进”（谭载喜，1984）。当然，我们可以批判性地接受奈达的观点。当原文有明显的错误（如原文与事实不符）时，应在翻译中加以纠正。--[[User:Yuan SHiqi|Yuan SHiqi]] ([[User talk:Yuan SHiqi|talk]]) 14:44, 29 October 2020 (UTC)&lt;br /&gt;
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==Tan Xinjie 谭鑫洁==&lt;br /&gt;
Skopos theory improves the position of translator. The translator is the receptor of the original text and transmits the information of the original text to the reader. Skopos theory allows the translator to determine the faithfulness of the translation to the source text and determine the proportion of the faithfulness of the target text to the original text. It adopts the translation strategies such as “modification, abridgement and reduction”, and denies that there is only one “correct or best” translation of the source language. &lt;br /&gt;
&lt;br /&gt;
==Tan Yuanyuan 谭媛媛==&lt;br /&gt;
Therefore, the translator has more freedom in the process of translation, and can transfer the original text according to the needs, expectations and knowledge background of the readers, so as to achieve the purpose of a translation task.&lt;br /&gt;
&lt;br /&gt;
'''2.2.5. Different translation processes'''&lt;br /&gt;
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In order to achieve functional equivalence, Nida proposed the famous back translation theory by referring to the concepts of core sentence, non-core sentence and transformation. In Functional Equivalence Theory, translation is a complicated process, which includes four stages: analysis, transfer, reconstruction and test (Tan Zaixi, 1984, 144).&lt;br /&gt;
&lt;br /&gt;
因此，翻译人员在翻译过程中具有更大的自由，可以根据读者的需求，期望和知识背景来传递原文，从而达到翻译任务的目的。&lt;br /&gt;
&lt;br /&gt;
'''2.2.5.不同的翻译过程'''&lt;br /&gt;
&lt;br /&gt;
为了达到功能对等，奈达通过引用核心句，非核心句和转换的概念，提出了著名的逆向翻译理论。 在功能对等理论中，翻译是一个复杂的过程，包括四个阶段：分析，转移，重构和测试（谭载喜，1984，144）。&lt;br /&gt;
--[[User:Tan Yuanyuan|Tan Yuanyuan]] ([[User talk:Tan Yuanyuan|talk]]) 08:34, 30 October 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
==Tang Bei 汤蓓==&lt;br /&gt;
Specifically speaking, as far as Nida is concerned, when doing a translation task, the translator needs to transform the original text from the surface structure to the deep structure or pseudo-deep structure on the basis of grammatical and semantic analysis, and then translate the deep structure or pseudo-deep structure of the original text to the deep structure of the target text, and finally from the deep structure of the target text to the surface structure of the target text. After the translation is done, the translator needs to re-examine and test the translation.(Peng Changjiang, 2017: 09)&lt;br /&gt;
&lt;br /&gt;
==Tang Ming 唐铭==&lt;br /&gt;
Skopos theory, however, unlike the Functional Equivalence Theory, it does not put forward specific translation procedures. The Skopos theory does not give detailed guidelines for the translation of words, phrases, paragraphs and texts, but it do gives some guidance to the translator from the macro perspective, giving the translator more autonomy to do translation and enabling them freely translate a text.&lt;br /&gt;
然而，目的论不同于功能对等理论，它没有提出具体的翻译步骤。目的论没有对词语、短语、段落和文本的翻译给出详细的指导，但它从宏观的角度给予译者一定的启示，赋予译者更多的翻译自主权，使译者能够自由地翻译文本。&lt;br /&gt;
--[[User:Tang Ming|Tang Ming]] ([[User talk:Tang Ming|talk]]) 07:51, 28 October 2020 (UTC)Tang Ming&lt;br /&gt;
&lt;br /&gt;
然而，不同于功能对等论，目的论并未提出明确的翻译流程。对于词，短语，段落和文本的翻译，目的论虽然没有详细的准则，但它从宏观角度给予了一些指导，从而赋予译者更多的自主权，使他们能够自由地翻译文本。--[[User:Peng YuZhi|Peng YuZhi]] ([[User talk:Peng YuZhi|talk]]) 14:36, 28 October 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
==Tang Yiran 汤伊然==&lt;br /&gt;
'''III.My Thoughts on the Two Theories''' &lt;br /&gt;
&lt;br /&gt;
'''3.1. My thought on Functional Equivalence Theory'''&lt;br /&gt;
&lt;br /&gt;
'''3.1.1. Strengths and Contributions of Functional Equivalence Theory'''&lt;br /&gt;
&lt;br /&gt;
Firstly, the Functional Equivalence Theory brings modern linguistics, communication studies, information theory, semiotics and aesthetics into the field of translation. From the macro perspective, it breaks through the limitations of the traditional thoughts on translation and provides a new perspective for translation research. It studies translation in a more detailed way from multiple perspectives, applies new thoughts, concepts and methods to translation studies, and provides many new methods for translation research. Besides, it also lays a solid foundation for modern translation studies. &lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
==Tao Ye 陶冶==&lt;br /&gt;
Secondly, it must be emphasized that, Functional Equivalence Theory has given many constructive suggestions to translators. From a micro perspective, Functional Equivalence Theory has solved the long-standing dispute between literal translation and liberal translation.&lt;br /&gt;
&lt;br /&gt;
==Wang Meiling 王美玲==&lt;br /&gt;
&lt;br /&gt;
It requires the translator use the target language to reproduce the meaning of the source language as fully as possible in different language structures, thus both breaking the restrictions of traditional word-for-word translation and limiting the free and random play of the translator. To some extent, Functional Equivalence Theory has greatly promoted the translation of some types of literary works, such as the translation of prose, help avoiding the creation of many pseudo–translation and translationese cases.&lt;br /&gt;
&lt;br /&gt;
==Wang Xuan 王轩==&lt;br /&gt;
At the same time, it eases the argument of domestication and foreignization from the perspective of language and culture, and seeks the balance point of domestication and foreignization from the perspective of multiple disciplines.&lt;br /&gt;
&lt;br /&gt;
Thirdly, Functional Equivalence Theory provides with the target readers a chance to know other country’s culture in their own language.&lt;br /&gt;
&lt;br /&gt;
同时，其缓解了语言学方面的归化和异化之间争论，从多学科的角度寻求归化与异化之间的平衡点。&lt;br /&gt;
第三，功能对等理论给读者提供了用母语了解他国文化的机会。--[[User:Wang Xuan|Wang Xuan]] ([[User talk:Wang Xuan|talk]]) 10:27, 28 October 2020 (UTC)Wang Xuan&lt;br /&gt;
&lt;br /&gt;
同时，在语言和文化角度，这缓解了归化和异化之间的争论，并从多学科的角度寻求归化与异化之间的平衡点。&lt;br /&gt;
第三，功能对等理论给目标读者提供了用母语了解他国文化的机会。--[[User:Li Haiquan|Li Haiquan]] ([[User talk:Li Haiquan|talk]]) 12:22, 28 October 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
同时，它从语言和文化的角度缓和了归化和异化的争论，并从多学科的角度找到了规划和异化的平衡点。&lt;br /&gt;
第三，功能对等理论为目标读者提供了用母语了解其他国家文化的机会。--[[User:Wu Qi|Wu Qi]] ([[User talk:Wu Qi|talk]]) 14:26, 29 October 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
==Wang Yu 王煜==&lt;br /&gt;
Traditionally, translation is to transform the original language that are different from ours into the familiar language that we use. It can let the people who have not learned a foreign language also understand and appreciate the message under some phrases written in a foreign language. For example, if one has no common sense in English, he will regard “a piece of cake” as “一块蛋糕”. This example reflects the culture gap between the people of two countries.&lt;br /&gt;
&lt;br /&gt;
传统上意义上讲，翻译就是把不同于我们的源语言转换成我们所使用的熟悉的语言。它可以让没有学过外语的人也能理解和欣赏一些用外语写的短语所要传达的信息。比如，如果一个人没有英语常识，他就会把“小菜一碟”认为是“一块蛋糕”。这个例子反映了两国人民之间的文化差异。--[[User:Wang Yu|Wang Yu]] ([[User talk:Wang Yu|talk]]) 05:11, 30 October 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
==Wang Yuan 王源==&lt;br /&gt;
Good translation is one that overcomes these culture gaps and turn them into what the target readers is familiar with. So, it is better for the translator use the Functional Equivalence Theory to translate “a piece of cake” with the well-known Chinese proverb “小菜一碟” .   &lt;br /&gt;
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'''3.1.2. Deficiency of Functional Equivalence Theory'''&lt;br /&gt;
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Although Functional Equivalence Theory has made many contributions to the translation studies, it is not without its deficiencies. Here I list three disadvantages of it.&lt;br /&gt;
&lt;br /&gt;
好的翻译能克服这些文化代沟并将其转化为受众所熟悉的内容。因此，译者最好能运用功能对等理论将“ a piece of cake” 翻译成著名的中国谚语“小菜一碟”。&lt;br /&gt;
&lt;br /&gt;
3.1.2  功能对等理论的不足&lt;br /&gt;
&lt;br /&gt;
尽管功能对等理论在翻译研究中做出许多贡献，它也不是没有其缺陷。 这里我列举了它的三个缺点。--[[User:Wang Yuan|Wang Yuan]] ([[User talk:Wang Yuan|talk]]) 10:45, 29 October 2020 (UTC)--[[User:Wang Yuan|Wang Yuan]] ([[User talk:Wang Yuan|talk]]) 10:45, 29 October 2020 (UTC)&lt;br /&gt;
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==Wei Honglang 韦洪朗==&lt;br /&gt;
First, Nida’s Functional Equivalence Theory is concluded from the translation of the ''Bible''. It is, in fact, cannot be a guideline for all kinds of translation. For example, some texts, including some articles with profound historic significance and cultural characteristics, some scientific articles, some lyrical articles, movie subtitles, government reports, actually need different translation standards. Functional Equivalence Theory can play an important role in appropriate fields, but it is not universal or omnipotent rule. Though, in fact, there is nothing omnipotent and flawless in the world. &lt;br /&gt;
&lt;br /&gt;
==Wei Yafei 魏亚菲==&lt;br /&gt;
 Functional Equivalence Theory can play an important role in appropriate area. If it is used in the right place, it can help the translator present a more brilliant translation.&lt;br /&gt;
Second, the Functional Equivalence Theory requires the target text to be written in a “common language”, which should be understood by the less educated readers and accepted by the readers with high literacy, but this turns out to be very difficult to achieve in practice. It can be said that the requirements of this theory are way too demanding. &lt;br /&gt;
&lt;br /&gt;
==Wen Sixing 文偲荇==&lt;br /&gt;
Although this is a goal worth pursuing, it is nearly impossible to achieve, as even in the same country, different knowledge levels, different regional cultures and even different life experiences will lead to different understanding abilities.&lt;br /&gt;
&lt;br /&gt;
In addition, Nida also ignores an important thing, that is, culture is very complex. The generation, evolution and creation of each nation and its culture are different from each other. Some cultural images in foreign works may be something the other country’s readers have never seen and cannot understand. In translation process, it is certainly ideal if the translator can find a corresponding cultural object in the target culture.&lt;br /&gt;
虽然这是一个值得追求的目标，但几乎不可能实现，即使在同一个国家，不同的知识水平，不同的地域文化，甚至不同的生活经历都会导致不同的理解能力。&lt;br /&gt;
此外，奈达还忽略了一件重要的事情，那就是，文化是非常复杂的。每个民族及其文化的产生、演变和创造都是不同的。外国作品中的一些文化意象可能是其他国家的读者从未见过、无法理解的。在翻译过程中，译者能在目的文化中找到与之对应的文化对象当然是更为理想的。--[[User:Wensixing|Wensixing]] ([[User talk:Wensixing|talk]]) 09:50, 30 October 2020 (UTC)&lt;br /&gt;
尽管这是一个值得追求的目标，但是这几乎是不可能达到的。即使在同一个国家，不同的知识水平、地域文化甚至生活经历都可能产生不同的理解能力。此外，奈达还忽略了文化复杂性这一重要事实。每个国家以及它的文化的传承、发展和创造都是不同的。一些外国作品中的文化意象可能对另一个国家的读者来说是完全陌生和无法理解的。在翻译过程中，译者能在目标文化中找到与之对应的文化对象当然是更为理想的。--[[User:Wen Xiaoyi|Wen Xiaoyi]] ([[User talk:Wen Xiaoyi|talk]]) 11:44, 30 October 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
==Wen Xiaoyi 文晓艺==&lt;br /&gt;
But at most of times, it is in fact very difficult for the translator to find such a substitute. This makes the so called “functional equivalence” very difficult to achieve, and even show its loopholes -- which is also a difficulty in translation process -- it is usually difficult for translators to translate and explain certain words with special cultural meanings. In fact, the differences between different cultures are absolute and inevitable, while the similarities are rare and precious.&lt;br /&gt;
但是，在大多数情况下，对译者来说，找到那样一个令人满意的代替物是一件十分困难的事。这就使得“功能对能”很难到达，成为了翻译过程中的一个难题。这甚至显示出“功能对等”的缺陷，它让译者在翻译和解释某些文化负载词时感到十分困惑。实际上，文化差异是绝对的和不可避免的，而文化的相似性却是极少的。--[[User:Wen Xiaoyi|Wen Xiaoyi]] ([[User talk:Wen Xiaoyi|talk]]) 11:34, 30 October 2020 (UTC)&lt;br /&gt;
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==Wu Kai 吴恺==&lt;br /&gt;
For example, in order to avoid the danger and inauspicious emotions of the word “red” in western culture, some British translators translate the original title of the book 《红楼梦》 into “''The Story of the Stone''”. This kind of translation, however, fails to transmit the message of a rich, luxurious, dreamy life hidden in the original book name, let alone bring the western readers the same response. &lt;br /&gt;
&lt;br /&gt;
'''3.1.3. My Point of View towards Functional Equivalence Theory'''&lt;br /&gt;
&lt;br /&gt;
例如，为了避免西方文化中“红色”一词的危险性和不恰当的情感，一些英国翻译人员将《红楼梦》一书的原标题翻译成《石头的故事》。然而，这种翻译无法传达隐藏在原始书名中的丰富，奢华，梦幻般的生活的信息，更不用说给西方读者带来同样的阅读反馈了。&lt;br /&gt;
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&lt;br /&gt;
'''3.1.3.我对功能对等理论的观点'''--[[User:Wu Kai|Wu Kai]] ([[User talk:Wu Kai|talk]]) 14:22, 30 October 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
例如，为了避免西方文化中“红色”一词的危险性和不恰当的情感，一些英国翻译人员将《红楼梦》一书的原标题翻译成《石头记》。然而，这种翻译无法传达隐藏在原始书名中的丰富，奢华，梦幻般的生活的信息，更不用说给西方读者带来同样的阅读反馈了。--[[User:Ishikami|Ishikami]] ([[User talk:Ishikami|talk]]) 14:34, 30 October 2020 (UTC)&lt;br /&gt;
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==Wu Qi 吴琪==&lt;br /&gt;
The great influence of Functional Equivalence Theory on the whole translation field is obvious to all, but it is not a universal theory. The advantages and disadvantages of the theory of functional equivalence should be treated in a dialectical way. Functional Equivalence Theory is the product of a particular historical period, and it may have some inconsistencies with contemporary translation theories. Therefore, we should take a comprehensive view of Nida’s translation theory. On the whole, Nida’s translation thought can be regarded as a bright gem in the treasure house of western translation studies.&lt;br /&gt;
&lt;br /&gt;
我们虽然都清楚功能对等理论对于整个翻译学的深远影响，但是它并不是一个普遍适用的理论。我们必须辩证地看待功能对等理论的优缺点。因为它是特定历史时期的产物，所以它与现代翻译理论可能前后矛盾。因此我们要用全面的观点看待奈达的翻译理论。总的来说，奈达的翻译思想是西方翻译研究宝库中的璀璨明珠。--[[User:Wu Qi|Wu Qi]] ([[User talk:Wu Qi|talk]]) 07:56, 28 October 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
功能对等理论对整个翻译领域的深远影响是有目共睹的，但其并非是一个能普遍适用的理论。因此，我们必须要辩证地看待功能对等理论的优缺点。由于该理论是特定历史时期的产物，它与当代翻译理论可能存在一些不一致的地方。因此，我们应该全面地看待尼达的翻译理论。总的来说，奈达的翻译思想是西方翻译研究宝库中的璀璨明珠。--[[User:Xiao Ting|Xiao Ting]] ([[User talk:Xiao Ting|talk]]) 10:01, 28 October 2020 (UTC)Xiao Ting&lt;br /&gt;
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==Wu Qiong 吴琼==&lt;br /&gt;
'''3.2. My thoughts on Skopos Theory''' &lt;br /&gt;
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'''3.2.1. Strengths and Contributions of Skopos Theory'''&lt;br /&gt;
&lt;br /&gt;
Skopos theory has many advantages. First of all, as a major breakthrough in the study of contemporary western translation theory, Skopos theory breaks the limitations of Functional Equivalence Theory at the linguistic level and puts forward a translation standard dominated by skopos principle. Skopos theory provides the translator with another perspective in translation practice, which is more conducive to the choice of translation strategies.&lt;br /&gt;
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3.2 我对目的论的看法&lt;br /&gt;
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3.2.1 目的论的长处与贡献&lt;br /&gt;
&lt;br /&gt;
目的论有很多优势。首先，目的论作为当代西方翻译理论研究的重要突破，突破了语用层次上的功能对等理论的局限并在目的论原理的基础上提高了翻译的标准。目的论为译者在翻译实践中提供了另一种视角，这比起翻译策略要更具备可行性。--[[User:WuQiong|WuQiong]] ([[User talk:WuQiong|talk]]) 02:38, 30 October 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
目的论有许多优势。首先，该理论作为当代西方翻译理论的突破，打破了功能对等理论在语言层次上的局限性，并提出了受目的论原则主导的翻译标准。目的论为译者提供了另一个视角来进行翻译实践，这一视角让翻译策略的选择变得更加多元化。--[[User:Zeng Fangyuan|Zeng Fangyuan]] ([[User talk:Zeng Fangyuan|talk]]) 08:21, 30 October 2020 (UTC)&lt;br /&gt;
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==Wu Xiang 邬香==&lt;br /&gt;
Secondly, Skopos theory focuses on the requirements of the translation client, points out the influence of the client on the translation process, and breaks the limitation of traditional translation theory, which only takes the original author, the translator and the target reader into consideration. From this perspective, Skopos theory can be called a real breakthrough in the history of translation studies.&lt;br /&gt;
&lt;br /&gt;
其次，目的论着眼于需要翻译的客户需求，指出客户对翻译过程产生的影响，打破了传统翻译理论的局限性。传统翻译理论只考虑了原作者、译者和目的语读者。从这个角度来看，目的翻译理论可以说是翻译研究史上的真正突破。--[[User:Wu Xiang|Wu Xiang]] ([[User talk:Wu Xiang|talk]]) 14:11, 30 October 2020 (UTC)&lt;br /&gt;
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其次，目的论强调了翻译客户的要求，指出了翻译客户对翻译过程的影响，突破了传统翻译理论只考虑原文作者、译者和目的读者的局限。从这个角度看，目的论可以说是翻译史上一个真正的突破。--[[User:XiaoXi|XiaoXi]] ([[User talk:XiaoXi|talk]]) 15:07, 31 October 2020 (UTC)Xiao Xi&lt;br /&gt;
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==Wu Yilu 吴一露==&lt;br /&gt;
Thirdly, Skopos theory emphasizes the initiative and participation of the translator, and holds that the original text mainly plays the role of providing information. Therefore, it shifts the focus of translation from faithful reproducing the source text to the creation of the translation. It overthrows the central position of the original text and establishes the central position of the target text and the translator, which gives all translation learners and researchers a new insight towards translation studies.&lt;br /&gt;
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==Wu Zijia 吴子佳==&lt;br /&gt;
Finally, Skopos theory further studies the development of translation from the perspective of culture. From the perspective of Skopos theory, translation is a kind of cultural comparison and a kind of cross-cultural communication in a certain cultural context, which benefits the target readers a lot.&lt;br /&gt;
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最后，目的论从文化角度更深层次地探究翻译的发展，从目的论的角度来看，翻译是在某一特定文化背景下的文化对比与跨文化交流，这对目的语言的读者是很有帮助的。--[[User:Wu Zijia|Wu Zijia]] ([[User talk:Wu Zijia|talk]]) 04:00, 30 October 2020 (UTC)Wu Zijia&lt;br /&gt;
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最后，目的论从文化角度进一步研究翻译的发展。目的论视角下的翻译是在一种特定的文化背景下的文化对比和跨文化交际，这对目的语的读者大有裨益。--[[User:Wu Xiang|Wu Xiang]] ([[User talk:Wu Xiang|talk]]) 14:09, 30 October 2020 (UTC)&lt;br /&gt;
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==Xiao Shuangling 肖双玲==&lt;br /&gt;
'''3.2.2. Deficiency of Skopos Theory'''&lt;br /&gt;
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However, all thing is not perfect, Skopos theory is no exception, of course.&lt;br /&gt;
&lt;br /&gt;
Firstly, Skopos theory allows the translator to rewrite the original text to a certain extent, but it does not indicate the extent to which the translator can rewrite the original text. It gives the translator too much freedom, which may let the translator easily translate the source text out of its context.&lt;br /&gt;
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3.2.2.目的论的不足之处&lt;br /&gt;
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然而，万物皆不完美，目的论当然也不例外。&lt;br /&gt;
&lt;br /&gt;
首先，目的论允许翻译人员对原文进行一定程度上的改写，但它并没有指出翻译人员可以在多大程度上对原文进行改写。它给译者太多的自由发展空间，这很容易使译者在翻译时脱离原文语境。--[[User:Xiao Shuangling|Xiao Shuangling]] ([[User talk:Xiao Shuangling|talk]]) 09:15, 28 October 2020 (UTC)Xiao Shuangling&lt;br /&gt;
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'''3.2.2. 目的论的缺陷'''&lt;br /&gt;
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万事万物皆有不足，目的论当然也不例外。&lt;br /&gt;
&lt;br /&gt;
首先，目的论允许译者在某种程度上改写原文，但并没有指出可以改写到何种程度。它给予译者太多的自由，容易让译者在翻译时脱离原文语境。--[[User:Peng Xiaoling|Peng Xiaoling]] ([[User talk:Peng Xiaoling|talk]]) 01:04, 29 October 2020 (UTC)&lt;br /&gt;
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3.2.2 目的论的不足&lt;br /&gt;
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然而，万事皆有不足之处，目的论自然也不例外。&lt;br /&gt;
&lt;br /&gt;
首先，目的论允许译者在一定程度上改写原文，却没有告知译者可以改写到何种程度。该理论给予译者过多自由，而这很容易会让译者在翻译时脱离原文语境--[[User:Wang Yuan|Wang Yuan]] ([[User talk:Wang Yuan|talk]]) 10:57, 29 October 2020 (UTC)。&lt;br /&gt;
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==Xiao Ting 肖婷==&lt;br /&gt;
Besides, the original meaning and usage of the source text may be distorted if the translator unscrupulously use every means in order to achieve the so-called “purpose of translation”. Accordingly, the translator will fall into the whirlpool of random translation, which may violate the intention of the original text.&lt;br /&gt;
&lt;br /&gt;
Secondly, the Skopos theory overemphasizes the purpose of translation, the purpose of the translator and the purpose of the target language, so that the translator may easily change or omit many stylistic features of the original text in the target text.&lt;br /&gt;
&lt;br /&gt;
此外，若译者为了达到所谓的 &amp;quot;翻译目的&amp;quot;，不择手段，就可能会歪曲原文的意思和不符合原文本的用法。 相应地，译者就会陷入胡乱翻译的境地，这就可能会违背原文本的意图。&lt;br /&gt;
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其次，目的论过分强调翻译的目的、译者的目的和目标语言中的目的，因此，译者很容易在目标文本中改掉或省略原文本中的许多特色。--[[User:Xiao Ting|Xiao Ting]] ([[User talk:Xiao Ting|talk]]) 08:55, 28 October 2020 (UTC)XiaoTing&lt;br /&gt;
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此外，如果译者为达到所谓的“翻译目的”，不择手段，那么原文的含义和用法就会被歪曲。相应地，译者也会陷入滥译的漩涡之中，这可能会违背原文的目的，&lt;br /&gt;
&lt;br /&gt;
其次，目的论过度强调了翻译的目的、译者的目的以及目的语的目的，因此，译者很容易在译文中改变或者省略掉许多原文中存在的文体特征。--[[User:Xiao Shuangling|Xiao Shuangling]] ([[User talk:Xiao Shuangling|talk]]) 09:53, 28 October 2020 (UTC)Xiao Shuangling &lt;br /&gt;
&lt;br /&gt;
此外，如果译者为了达到所谓的“翻译目的”，肆无忌惮地利用各种手段，源文本的原意和用法可能会被扭曲。因此，译者将陷入随机翻译的漩涡，这可能违背原文的意图。&lt;br /&gt;
&lt;br /&gt;
其次，目的论过分强调翻译的目的、译者的目的和目标语言的目的，使译者很容易在目标文本中改变或省略原文的许多文体特征。--[[User:Zhao Xi|Zhao Xi]] ([[User talk:Zhao Xi|talk]]) 13:41, 28 October 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
==Xiao Xi 肖茜==&lt;br /&gt;
This makes it not suitable for some styles of text, such as poems. Because if a translator translates a poem into a prose or a descriptive passages out of the purpose of the translation client, he or she may be better said to rewrite or recreate something than translate. After all, translation is based on the original text, otherwise it cannot be called translation.&lt;br /&gt;
&lt;br /&gt;
Last but not least, there are tens of thousands of readers. To meet the needs of different people, a translation must adopt multiple standards.&lt;br /&gt;
这使得它不适合某些文体，比如诗歌。因为如果翻译者出于迎合翻译读者的目的，将诗歌翻译成散文或描写段落，他或她可能更像是重写或重新创造一些东西，而不是翻译。翻译毕竟是基于原文的，否则就不能称之为翻译。&lt;br /&gt;
最后但并非最不重要的是，它有成千上万的读者。为了满足不同人群的需要，翻译必须采用多种标准。--[[User:XiaoXi|XiaoXi]] ([[User talk:XiaoXi|talk]]) 15:03, 31 October 2020 (UTC)Xiao Xi&lt;br /&gt;
&lt;br /&gt;
==Xiao Yining 肖伊宁==&lt;br /&gt;
When there are contradictions among various standards, the translator will be at a loss and the multiple standards will be equal to no standards. For example, if a translator receives the mission of the translation client that he should translate a song faithfully but also retain the beauty of the original text for both the children and adults to appreciate it, then the translator may feel hard to do the translation task with the three contradictory translation requirements.   &lt;br /&gt;
 &lt;br /&gt;
当各种标准之间出现矛盾时，译者就会无所适从，多重标准就相当于没有标准。例如,如果一个译者接收到翻译客户的翻译任务,他不仅应该忠实地翻译这首歌，同时也要保留原始文本的美，让儿童和成人都能欣赏，那么在这三个相互矛盾的翻译要求下，译者可能会感觉完成翻译任务十分困难。&lt;br /&gt;
&lt;br /&gt;
'''3.2.3. My Point of View towards Skopos Theory'''&lt;br /&gt;
&lt;br /&gt;
3.2.3.我对目的论的看法&lt;br /&gt;
--[[User:Xiao yining|Xiao yining]] ([[User talk:Xiao yining|talk]]) 10:09, 29 October 2020 (UTC)Xiao Yining&lt;br /&gt;
&lt;br /&gt;
当各种标准之间存在矛盾时，翻译者将茫然无措，多重标准就等同于没有标准。 例如，如果译者接到翻译客户的任务，他不但要忠实地翻译这首歌曲，而且还要保留原始文本的美感，让儿童和成人均能欣赏，面对这三重矛盾的翻译要求，译员可能会觉得很难完成任务。--[[User:ZHOUYUJUAN|ZHOUYUJUAN]] ([[User talk:ZHOUYUJUAN|talk]]) 01:55, 30 October 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
==Xie Fan 解帆==&lt;br /&gt;
There are more or less deficiencies in every translation theory, and Skopos theory is no exception. To some extent, the shortcomings of Skopos theory mentioned above are also a major feature of it. It is this distinctive theoretical feature that can make it stand out in many translation theories and attract the attention of many scholars and translation enthusiasts. The author believes that the contribution of Skopos theory to the development of translation theory and its guiding significance in translation practice is far greater than its shortcomings and deficiencies.&lt;br /&gt;
&lt;br /&gt;
==Xie Ziyi 谢子熠==&lt;br /&gt;
People should treat it with a more objective and rational attitude and let it play its due role in the field of translation. Generally speaking, the Skopos theory put forward by Hans Vermeer is regarded as a major theoretical breakthrough in the study of western translation theory, and it also plays an important role in guiding the successful translation practice.&lt;br /&gt;
&lt;br /&gt;
'''IV.Conclusion'''&lt;br /&gt;
&lt;br /&gt;
Through the above comparison, we find that both Functional Equivalence Theory and Skopos theory have their own advantages and disadvantages, and their differences are greater than their similarities.&lt;br /&gt;
&lt;br /&gt;
人们应该以更加客观和理性的态度对待它，并让它在翻译领域中发挥应有的作用。 一般来说，汉斯·维米尔（Hans Vermeer）提出的目的论是西方翻译理论研究的重大理论突破，对指导成功的翻译实践也起着重要的作用。&lt;br /&gt;
&lt;br /&gt;
'''四，结论'''&lt;br /&gt;
&lt;br /&gt;
通过以上比较，我们发现功能对等理论和目的论都有各自的优势和劣势，两者之间的差异大于相似之处。--[[User:Ishikami|Ishikami]] ([[User talk:Ishikami|talk]]) 14:30, 30 October 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
人们应该以更加客观和理性的态度对待它，并让它在翻译领域中发挥应有的作用。 一般来说，汉斯·维米尔提出的翻译目的论是西方翻译理论研究的重大理论突破，对成功的翻译实践具有重要的指导作用。&lt;br /&gt;
&lt;br /&gt;
'''四，结论'''&lt;br /&gt;
&lt;br /&gt;
通过以上的比较，我们发现功能对等理论和目的论各有优缺点，其差异大于相似性。--[[User:Wu Kai|Wu Kai]] ([[User talk:Wu Kai|talk]]) 14:38, 30 October 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
==Xu Jia 徐佳==&lt;br /&gt;
Functional equivalence pays attention to the equivalence between the form and content of the translation and the original text as well as the reader’s response. Skopos theory can solve some problems that can not be solved by Functional Equivalence Theory and widen the research perspective of translation theory, which is to some extent the inheritance and development of Functional Equivalence Theory. The scope of application of the two is different, but both of them have their own unique excellencies.&lt;br /&gt;
&lt;br /&gt;
功能对等不仅强调译文与原文在形式与内容上的对等，也旨在实现读者反应上的对等。目的论可以解决一些功能对等理论无法解决的问题，同时拓宽了翻译理论的研究视角，某种程度上来说是对功能对等理论的继承与发展。这两种理论虽然应用范围不同，但各有优点。--[[User:Xu Jia|Xu Jia]] ([[User talk:Xu Jia|talk]]) 11:06, 31 October 2020 (UTC)Xu Jia&lt;br /&gt;
&lt;br /&gt;
==Xu Jing 许晶==&lt;br /&gt;
'''Comparative Study on Functional Equivalence Theory and Skopos Theory'''&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
'''Introduction'''&lt;br /&gt;
&lt;br /&gt;
'''Research background'''&lt;br /&gt;
&lt;br /&gt;
Contemporary western translation theories are flourishing, providing a new perspective for translation studies. In the 1960s, Eugene A. Nida proposed a translation theory based on reader response, namely &amp;quot;functional equivalence theory&amp;quot;. With the development of the times, people have further understanding of the complex phenomenon of translation. The theory of equivalence sets the translation within the scope of the language level.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
'''功能对等理论与目的论的比较研究'''&lt;br /&gt;
&lt;br /&gt;
'''引言'''&lt;br /&gt;
&lt;br /&gt;
'''研究背景'''&lt;br /&gt;
&lt;br /&gt;
当代西方翻译理论正蓬勃发展，为翻译研究提供了全新的视角。 在上个世纪六十年代，尤金·奈达（Eugene A. Nida）提出了一种基于读者反应的翻译理论，即“功能对等理论”。 随着时代的发展，人们对复杂的翻译现象有了更加深入的了解。 对等论将翻译置于语言层面的范畴中。--[[User:Xu Jing2|Xu Jing2]] ([[User talk:Xu Jing2|talk]]) 06:46, 29 October 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
==Xu Jing 许静==&lt;br /&gt;
However, the essence of translation is not only the conversion of pure language, but also the communication between different cultures based on language form. In the 1970s, translation studies oriented to the target language culture appeared in the West, breaking the traditional translation theory of textual centralism, which made the translator pay more attention to the translation and the target language receivers, the social and communicative functions of the translation. The German functionalist translation theory got rid of the shackles of the equivalence theory that prevailed at that time, broadened the field of translation theory research.&lt;br /&gt;
&lt;br /&gt;
==Xu Mengdie 徐梦蝶==&lt;br /&gt;
'''Significance of the study'''&lt;br /&gt;
&lt;br /&gt;
By comparing the differences and similarities of these two translation theory, it can deepen our understanding of them. Therefore, when we do translation, we can choose the most appropriate translation theory to guide us to translate according to the specific situation. So it is very necessary to make a comparison between functional equivalence theory and skopos theory.&lt;br /&gt;
&lt;br /&gt;
'''Layout of this chapter'''&lt;br /&gt;
&lt;br /&gt;
This thesis will be divided into three chapters. In the first chapter, a brief introduction of functional equivalence will be presented, such as the definition of functional equivalence, and its four criteria: conveying information; conveying the spirit and style of the original work; fluent language; and similar reader response.&lt;br /&gt;
&lt;br /&gt;
该研究的重要性&lt;br /&gt;
&lt;br /&gt;
通过对比这两个翻译理论的异同，可以加深我们对它们的理解。因此，当我们在翻译的时候，可以根据具体情况选择最合适的翻译理论来对翻译进行指导。所以，将功能对等理论和目的论进行对比是非常必要的。&lt;br /&gt;
&lt;br /&gt;
章节布局&lt;br /&gt;
&lt;br /&gt;
本文将分为三个章节。第一章节简要介绍了功能对等，例如功能对等的定义和它的四个标准：传递信息；传达原文精神和风格；语言流畅；相似的读者反应。--[[User:Xu Mengdie|Xu Mengdie]] ([[User talk:Xu Mengdie|talk]]) 11:43, 28 October 2020 (UTC)Xu Mengdie&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
'''研究意义'''&lt;br /&gt;
&lt;br /&gt;
通过比较这两种翻译理论的异同，可以加深我们对它们的理解。 因此，在翻译的过程中，我们可以根据具体情况，选择恰当的翻译理论来协助我们进行翻译。所以，将功能对等理论与目的论进行比较是非常必要的。&lt;br /&gt;
&lt;br /&gt;
'''章节布局'''&lt;br /&gt;
&lt;br /&gt;
本文将分为三个章节。第一章节简要介绍功能对等理论，例如功能对等的定义和它的四个标准：传达原文信息；传达原文精神和风貌；语言通顺；读者反映相似。--[[User:Xu Jing2|Xu Jing2]] ([[User talk:Xu Jing2|talk]]) 07:27, 29 October 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
==Xu Pengfei 许鹏飞==&lt;br /&gt;
The second chapter involves three parts, that is, the development of skopos theory; the definition of skopos theory and the three rules of skopos theory. The final chapter falls into two part: the differences and similarities between these two theories.&lt;br /&gt;
第二章包括三个部分：目的论的发展、目的论的定义和目的论的三个原则。最后一章分为两部分：这两个理论的不同和相同之处。&lt;br /&gt;
'''1. A brief introduction of Functional equivalence theory'''&lt;br /&gt;
1.功能对等理论的简介&lt;br /&gt;
'''1.1 The definition of functional equivalence theory'''&lt;br /&gt;
1.1功能对等理论的定义&lt;br /&gt;
Functional equivalence theory is the core of the famous American translator Eugene Nida’s translation theory. It attaches great importance to the response of the target language receivers, that is, the target language receiver and the source language receiver produce the same viewing response.&lt;br /&gt;
功能对等理论是著名美国译者尤金·奈达翻译理论的核心部分。该理论重视目标语接受者的反应，也就是说，目标语接受者和原语言接受者的阅读反应一致。--[[User:Xu Pengfei|Xu Pengfei]] ([[User talk:Xu Pengfei|talk]]) 08:32, 28 October 2020 (UTC)Xu Pengfei&lt;br /&gt;
&lt;br /&gt;
The second chapter involves three parts, that is, the development of skopos theory; the definition of skopos theory and the three rules of skopos theory. The final chapter falls into two part: the differences and similarities between these two theories.&lt;br /&gt;
&lt;br /&gt;
第二章分为三个部分，即目的论的发展、目的论的定义和目的论的三条规则。最后一章分为两个部分：两种理论的异同。&lt;br /&gt;
&lt;br /&gt;
'''1. A brief introduction of Functional equivalence theory'''&lt;br /&gt;
&lt;br /&gt;
1.功能对等理论的简介&lt;br /&gt;
&lt;br /&gt;
'''1.1 The definition of functional equivalence theory'''&lt;br /&gt;
&lt;br /&gt;
1.1功能对等理论的定义&lt;br /&gt;
&lt;br /&gt;
Functional equivalence theory is the core of the famous American translator Eugene Nida’s translation theory. It attaches great importance to the response of the target language receivers, that is, the target language receiver and the source language receiver produce the same viewing response.&lt;br /&gt;
&lt;br /&gt;
功能对等理论是著名美国译者尤金·奈达翻译理论的核心部分。该理论重视目标语接受者的反应，也就是说，目标语接受者和原语言接受者的阅读反应一致。--[[User:Xiao yining|Xiao yining]] ([[User talk:Xiao yining|talk]]) 10:12, 29 October 2020 (UTC)Xiao Yining&lt;br /&gt;
&lt;br /&gt;
==Yang Chenting 杨晨婷==&lt;br /&gt;
He holds that translation should not only ensure the correctness of information exchange and achieve information equivalence in lexical sense, but also take into account the cultural background and behavioral patterns of the target language receiver and achieve information equivalence in style, semantics and other aspects in the process of translation, that is, to achieve functional equivalence of language. In the process of translation, we should not only consider the formal factors such as vocabulary and grammar, but also pay attention to the linguistic factors such as context, culture and social background, which are very important to translation.&lt;br /&gt;
&lt;br /&gt;
他认为翻译不光要确保信息传递的正确性以及词语意义上的信息对等，也要在翻译的过程中考虑目标读者的文化背景和行为习惯，在风格，语义以及其他方面实现信息对等，这就是说，要实现语言的功能对等。在翻译的过程中，我们不能只考虑一些经常出现的因素，比如说，词汇和语法，也要注意一些语言学的因素，比如说文本，文化，社会背景等，而这对于翻译来说至关重要。--[[User:Yang chenting|Yang chenting]] ([[User talk:Yang chenting|talk]]) 09:02, 28 October 2020 (UTC) Yang Chenting&lt;br /&gt;
&lt;br /&gt;
他认为翻译不仅是为了保证交换信息的正确性，实现词汇层面上的信息对等，也需要考虑目的语接受者的文化背景和行为习惯，在翻译过程中实现风格、语义和其它方面的功能对等，也就是实现语言的功能对等。在翻译的过程中，我们不仅需要考虑词汇和语法等形式因素，还需要注意到例如语境、文化和社会背景等对翻译很重要的语言因素。--[[User:Xu Mengdie|Xu Mengdie]] ([[User talk:Xu Mengdie|talk]]) 12:05, 28 October 2020 (UTC)Xu Mengdie&lt;br /&gt;
&lt;br /&gt;
==Yang Hairong 杨海容==&lt;br /&gt;
Nida’s definition of translation indicates that translation is not only equivalence in lexical sense, but also equivalence in semantics, text and style. The information conveyed by translation includes both surface lexical information and deep cultural information. This kind of “dynamic equivalence” includes four aspects: 1. lexical equivalence；2. syntactic equivalence；3. textual equivalence；4. stylistic   equivalence. Among these four aspects, Nida believes that “meaning is the most important and form is the second”(张春柏，1998：50).&lt;br /&gt;
&lt;br /&gt;
'''1.2 The criteria of functional equivalence theory'''&lt;br /&gt;
&lt;br /&gt;
Nida’s functional equivalence translation theory has four criteria (Nida, 2001:117): &lt;br /&gt;
&lt;br /&gt;
'''1.2.1 Conveying information'''&lt;br /&gt;
&lt;br /&gt;
==Yang Hui 阳慧==&lt;br /&gt;
The “information” includes all kinds of information conveyed by the original language: semantics, style, literary image, scene and psychological effect. In the theory of functional equivalence, the criterion of “conveying information” means that the target language information conveyed by the translator to the target language receiver should be basically the same as the original text information conveyed by the original author to the target language receiver. &lt;br /&gt;
&lt;br /&gt;
Example: “presidential historian...”&lt;br /&gt;
&lt;br /&gt;
“总统的史学家......”&lt;br /&gt;
&lt;br /&gt;
It is not clear that the message conveyed by “presidential historian” to Chinese readers is not the same as that conveyed by “presidential historian” to English readers. However, according to Nida’s functional equivalence theory, the translator translates it into “研究总统的历史学家” by adding words, so that Chinese readers can correctly understand the true meaning of “presidential historian” in the original text.&lt;br /&gt;
&lt;br /&gt;
==Yang Yi 杨逸==&lt;br /&gt;
&lt;br /&gt;
'''1.2.2 Conveying the spirit and style of the original work'''&lt;br /&gt;
 &lt;br /&gt;
From Nida’s point of view, translation is to reproduce the original text in the most natural way in the target language, first of all, meaning, then spiritual style, so that the receivers of the translated text can produce basically the same psychological response as the receivers of the original text.&lt;br /&gt;
 &lt;br /&gt;
Example:“来吧，朋友!”&lt;br /&gt;
&lt;br /&gt;
==Yang Yue 杨悦==&lt;br /&gt;
&lt;br /&gt;
It is a column broadcast by CCTV. If translated into “come on, friends!”, it seems to be close to the original in form, as a column is not solemn enough. And “solemnity” is the style of “来吧，朋友！”in the original Chinese text, which should be reproduced in the translation. Therefore, “A time to make friends” is quite different from the original Chinese in form, but it accurately conveys the spiritual style of the original to the target readers.&lt;br /&gt;
 &lt;br /&gt;
'''1.2.3 Fluent language: fully in line with the norms and conventions of the target language'''&lt;br /&gt;
&lt;br /&gt;
这是中央电视台播出的一档栏目。如果将其译为“come on, friends!“，在形式上似乎与原文相似，但作为一档栏目名还不够庄重。“庄重”展现了原中文名“来吧，朋友！”的风格，应在翻译中再现。因此，” A time to make friends”虽然在形式上与原文大相庭径，但却准确地讲原文的精神内涵传达给了读者。&lt;br /&gt;
&lt;br /&gt;
“1.2.3 流利的语言：即完全符合目的语的规范和准则。”--[[User:Yang Yue|Yang Yue]] ([[User talk:Yang Yue|talk]]) 01:27, 30 October 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
这是央视播出的一档节目。如果将其翻译成“come on，friends！”，在形式上似乎与原名相似，但作为一档节目名还不够庄重。而“庄重”正是原中文名“来吧，朋友！”所展现的风格，应当在翻译中再现。因此，译为“A time to make friends（交友时光）”虽然在形式上与原名大相径庭，但是却准确的将原名的精神风貌传达给了目的语读者。&lt;br /&gt;
1.2.3 语言流利：即完全符合目的语的规范和习惯。--[[User:Li Luyi|Li Luyi]] ([[User talk:Li Luyi|talk]]) 12:09, 30 October 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
==Yang Ziling 杨子泠==&lt;br /&gt;
&lt;br /&gt;
This criterion means that, on the premise of conveying the information and spiritual style of the original text, the process of translation should not be constrained by the linguistic form and structure of the original text, and should grasp the connotation and spirit of the original text.&lt;br /&gt;
 &lt;br /&gt;
Example：“车来了！”&lt;br /&gt;
 &lt;br /&gt;
“Here comes the car / truck / bus / minibus / lorry / taxi!”&lt;br /&gt;
&lt;br /&gt;
==Yao Cheng 姚诚==&lt;br /&gt;
&lt;br /&gt;
In Chinese, the category word “car” is used to replace any form of vehicle. But this method is not found in English. On the contrary, English is accustomed to using specific vocabulary. Therefore, when translating similar Chinese into English, it is necessary to make clear the means of transportation and to translate the specific means of transportation according to the habits of English expression. If you cross the street, remind your peers to say “车来了！”You should translate it into “Be careful!” according to English expression habits, so that English readers can really understand the meaning of the original text.&lt;br /&gt;
&lt;br /&gt;
汉语中的范畴词“车”可用来替换任何类型的车辆，但是英语不能这样。相反，英语习惯使用确切词。因此，把相似的汉语词汇翻译成英语词汇时，必须搞清楚交通工具的具体意义，然后根据英语表达习惯，翻译成具体的英语交通工具名称。如果你过马路时，提醒你的同伴“车来了” 。应该根据英语表达习惯，将“车来了”翻译成“当心”，这样英语读者才能真正理解原文的意义。--[[User:Yao Cheng|Yao Cheng]] ([[User talk:Yao Cheng|talk]]) 11:47, 28 October 2020 (UTC)&lt;br /&gt;
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&lt;br /&gt;
汉语中，范畴词“车”用来指任何类型的车。但英语中没有这种用法。与此相反，英语习惯使用具体词。因此，当将汉语翻译成英语时，有必要弄清交通运输的各种各样的方式，并根据英语表达的习惯将其用具体的词翻译出来。当你过马路时，提醒你的同伴说“车来了！”根据英语表达习惯，你应该将“车来了！”翻译成“当心！”这样英语读者才能真正理解原文的意思。--[[User:Kong Yanan|Kong Yanan]] ([[User talk:Kong Yanan|talk]]) 12:53, 28 October 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
==Yao Jia 姚佳==&lt;br /&gt;
&lt;br /&gt;
'''1.2.4 Similar reader responses'''&lt;br /&gt;
 &lt;br /&gt;
The first two standards focus on the transmission of linguistic information, content and style, while the latter two focus on the acceptability of the translation to the audience：The relationship between the target reader and the target text should be basically the same as that between the original reader and the target text, so as to achieve the spiritual fit between the translator and the original author, thus enabling the target reader to get the same feelings as the original reader.&lt;br /&gt;
Example: “as white as snow.”&lt;br /&gt;
&lt;br /&gt;
==Yi Huan 易欢==&lt;br /&gt;
&lt;br /&gt;
It can sometimes be translated into “very white” because people in the translated culture may not know what snow is. We can also translate “to grow like mushroom” into “如雨后春笋般地成长起来”, because “mushroom” means exactly the same in English as“春笋”in Chinese.&lt;br /&gt;
 &lt;br /&gt;
'''Ⅱ. A brief introduction of Skopos theory'''&lt;br /&gt;
&lt;br /&gt;
==Yi Zichu 义子楚==&lt;br /&gt;
&lt;br /&gt;
Skopos theory is the core concept of German functionalist theory, which is put forward by Hans. J. Vermeer. Skopos theory holds that the purpose of translation determines the translation methods and strategies that are to be employed. Vermeer thinks that translators should follow three basic rules in the process of their translation, which are respectively skopos theory, coherence theory and fidelity theory.&lt;br /&gt;
 &lt;br /&gt;
'''2.1 The development of Skopos theory'''&lt;br /&gt;
&lt;br /&gt;
==You Yuting 游雨婷==&lt;br /&gt;
&lt;br /&gt;
Before the 1970s, the focus of translation studies was equivalence. In fact, this kind of equivalence was hard to achieve because the differences between cultures are hard to eliminate. In order to solve this problem, translation theorists put forward new theories, using functional and communicative methods to study translation. In this context, functionalist skopos theory continues to develop, and boldly shakes off the bondage of equivalence, taking the skopos as the general principle.&lt;br /&gt;
20世纪70年代以前，翻译研究的焦点是对等。但实际上，这种对等是很难实现的，因为文化之间的差异是很难消除的。为了解决这一问题，翻译理论家们提出了新的理论，运用功能和交际的方法来研究翻译。在此背景下，功能目的论不断发展，大胆地摆脱了对等的束缚，以目的论作为一般原则。--[[User:You Yuting|You Yuting]] ([[User talk:You Yuting|talk]]) 14:52, 29 October 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
在20世纪70年代以前，翻译研究的重点是对等。 实际上，由于很难消除文化之间的差异，因此很难实现这种对等。 为了解决这个问题，翻译理论家提出了新的理论，运用功能性和交际性的方法来研究翻译。 在这种情况下，功能主义的目的论继续发展，并以目的为一般原则大胆地摆脱了对等的束缚。--[[User:Zhang Hui|Zhang Hui]] ([[User talk:Zhang Hui|talk]]) 01:31, 30 October 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
20世纪70年代以前，翻译研究的重点在于对等。事实上，这种对等很难实现，因为文化之间的差异是很难消除的。为了解决这一问题，翻译理论家们提出了新的理论，运用功能和交际的方法来研究翻译。在这种背景下，功能主义目的论不断发展，并以目的为总原则大胆地摆脱了对等的束缚。--[[User:Yu Ni|Yu Ni]] ([[User talk:Yu Ni|talk]]) 03:27, 31 October 2020 (UTC)&lt;br /&gt;
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==Yu Ni 余妮==&lt;br /&gt;
&lt;br /&gt;
So translation is examined in the framework of behavioral theory and intercultural communication, which opens a new path for the world translation theories, including the Chinese translation (Li Changshuan, 2009:11). The development of skopos theory has experienced the following four stages:&lt;br /&gt;
 &lt;br /&gt;
The first stage: Katharina Reiss firstly introduced the concept of equivalence into translation criticism, proposing the prototype of functionalist theory.&lt;br /&gt;
&lt;br /&gt;
因此，在行为理论和跨文化交际的框架下对翻译进行研究，这为世界翻译理论，包括汉语翻译开辟了一条新的道路（李长川，2009:11）。目的论的发展经历了以下四个阶段：&lt;br /&gt;
第一阶段：凯瑟琳娜·赖斯首先将对等概念引入翻译批评，提出了功能翻译理论的原型。--[[User:Yu Ni|Yu Ni]] ([[User talk:Yu Ni|talk]]) 03:17, 31 October 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
==Yuan Shiqi 袁诗琦==&lt;br /&gt;
&lt;br /&gt;
On the one hand, Reiss still insisted on the equivalence theory with the original text as the center, and pointed out that the ideal translation should be equivalent to the original text from the conceptual content, language form and communicative function. She believed that the ideal translation should be comprehensive communicative translation. On the other hand, Reiss also realized that some equivalence is impossible. For example, the translation and the original text have different functions. In this case, Reiss believes that the translator should give priority to the functional characteristics of the translation rather than the equivalence principle (Zhang Jinglan, 2004:1). Reiss's research laid the foundation for skopos theory.&lt;br /&gt;
一方面，瑞斯（Reiss）仍然坚持以原文为中心的对等理论，并指出理想的翻译应从概念内容、语言形式和交际功能等方面与原文对等。她认为理想的翻译应该是全面的交际翻译。另一方面，瑞斯(Reiss)也意识到某种对等是不可能的。例如，译文和原文有不同的功能。在这种情况下，瑞斯(Reiss)认为译者应该优先考虑译文的功能特征，而不是对等原则。(张景兰，2004:1) 瑞斯(Reiss)的研究为目的论奠定了基础。--[[User:Yuan SHiqi|Yuan SHiqi]] ([[User talk:Yuan SHiqi|talk]]) 14:26, 29 October 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
==Yuan Tianyi 袁天翼==&lt;br /&gt;
&lt;br /&gt;
The second stage: Reiss’s student Hans J. Vermeer proposed skopos theory, taking the skopos of the translation as the paramount principle during the process of translation. Vermeer believed that translation is a kind of human behavior, and any kind of human behavior is purposeful, so the purpose of translation should be determined before the translation begins. Vermeer thinks that translation should be based on the original text, and translation is a purposeful behavior that must be completed by negotiation. In addition, translation must follow three basic rules, of which the skopos rule is the most important. After these three rules are put forward, the criteria for judging the good or bad translation are no longer “equivalence”, but whether the translation fully achieves the expected goal of translation or not.&lt;br /&gt;
&lt;br /&gt;
第二阶段：瑞斯（Reiss）的学生汉斯·J.·福尔米尔（Hans J. Vermeer）提出了目的论。根据这一理论，翻译的目的成为翻译过程中最重要的原则。福尔米尔认为，翻译是一种人类活动，而正因为任何一种人类活动都是带有目的的，因此翻译的目的应该在翻译开始之前就决定下来。福尔米尔还认为，翻译应该从原文章出发，是一种必须通过协商而完成的有目的的人类行为。此外，翻译活动必须遵循三个基本原则，其中目的原则是最重要的。在提出这三大原则后，评判翻译好坏的标准不再是“对等”，取而代之的是：翻译是否完全达到了预期目标。&lt;br /&gt;
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==Yuan Yuchen 袁雨晨==&lt;br /&gt;
&lt;br /&gt;
The third stage: Based on communication theory and action theory, Holz-Manttari proposed translational action. Translational action views translation as purpose-driven, outcome-oriented human interaction and focuses on the process of translation as message-transmitter compounds involving intercultural transfer (Jeremy Munday, 2001:77). Translation is a communicative process involving a series of roles and players Manttari regards text as a pure tool for achieving communicative function, and believes that its inherent value is completely subordinate to its purpose.&lt;br /&gt;
&lt;br /&gt;
第三阶段：霍尔兹·曼塔利在交际理论和行为理论的基础上提出了翻译行为论。翻译行为论是把翻译视为受目的驱使、以翻译结果为导向的人与人之间的相互作用，聚焦于将翻译过程当作复合信息传递物在不同文化间的转移。（杰里米·芒迪，2001：77）。翻译是一个交际的过程，牵涉到一系列的角色和参与者。曼塔利把文本看成是实现交际功能的纯理论工具，认为文本的内在价值完全服务于其目的。--[[User:Yuan Yuchen|Yuan Yuchen]] ([[User talk:Yuan Yuchen|talk]]) 14:41, 29 October 2020 (UTC)&lt;br /&gt;
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第三阶段。在交流理论和行动理论的基础上，霍尔兹·曼塔利提出了翻译行动。翻译行动将翻译看作是以目的为导向、以结果为目的的人际互动，并把翻译过程看作是涉及跨文化传递的信息传递化合物（杰里米·芒迪，2001：77）。翻译是一个涉及一系列角色和角色的交际过程曼塔里将文本视为实现交际功能的纯粹工具，认为文本的内在价值完全服从于其目的。 --[[User:Liu Yi|Liu Yi]] ([[User talk:Liu Yi|talk]]) 01:22, 30 October 2020 (UTC)&lt;br /&gt;
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==Zeng Fangyuan 曾芳缘==&lt;br /&gt;
&lt;br /&gt;
The translator only needs to be responsible for the purpose environment, and the target text can be completely independent of the original text, thus further developing the functionalist translation theory.&lt;br /&gt;
&lt;br /&gt;
译者仅需对目标语言负责，且目的语文本应该完全独立于源语文本，这就进一步发展了功能主义翻译理论。&lt;br /&gt;
&lt;br /&gt;
The fourth stage: Christane Nord comprehensively summarized and perfected the functionalist theory. Nord proposed the principle of &amp;quot;function plus loyalty&amp;quot;, which systematically elucidates the internal and external factors that need to be considered in text analysis of translation, and how to formulate a translation strategy that is consistent with the purpose of translation based on the original text.&lt;br /&gt;
&lt;br /&gt;
第四阶段：克里斯蒂安·诺德全面地总结并完善了功能理论，他提出“功能加忠诚”的概念，这一概念系统的阐明了翻译文本分析中需要考虑的内外部要素，以及基于源语文本提出符合翻译目的的翻译策略的方法。&lt;br /&gt;
--[[User:Zeng Fangyuan|Zeng Fangyuan]] ([[User talk:Zeng Fangyuan|talk]]) 07:59, 30 October 2020 (UTC)&lt;br /&gt;
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==Zeng Liang 曾良==&lt;br /&gt;
&lt;br /&gt;
'''2.2 The definition of skopos'''&lt;br /&gt;
 &lt;br /&gt;
Skopos theory was originally put forward by the German scholar Han J. Vermeer in 1978. “Skopos is a Greek word for 'aim' or 'purpose' and was introduced into translation theory by Vermeer as a technical term for the purpose of a translation and of the action of translating”(Munday, 2001: 78).&lt;br /&gt;
&lt;br /&gt;
2.2 目的论的定义&lt;br /&gt;
 &lt;br /&gt;
目的论最初由德国学者汉斯·弗米尔于1978年提出。“skopos是一个希腊词汇，意为‘目标’或‘目的’，弗米尔出于翻译和翻译行动的目的将其作为一个技术术语引入到翻译理论中。--[[User:Zeng Liang|Zeng Liang]] ([[User talk:Zeng Liang|talk]]) 13:01, 29 October 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
2.2 目的论的定义&lt;br /&gt;
目的论最初由德国学者汉斯·弗米尔于1978年提出。“skopos”是一个希腊词汇，意为“目标”或“目的”，弗米尔出于翻译和翻译行为的目的将其作为一个专业术语引用到翻译理论中。--[[User:Yuan Yuchen|Yuan Yuchen]] ([[User talk:Yuan Yuchen|talk]]) 14:43, 29 October 2020 (UTC)&lt;br /&gt;
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==Zeng Xinyuan 曾心媛==&lt;br /&gt;
&lt;br /&gt;
Translation actions have many purposes, but Vermeer divides them into three categories: translator’s basic purpose, such as make a living; the target text’s communicative purpose, like enlightening the readers; and the purpose realized by selecting some special translation strategies or steps, for example, translating one language word by word aims to show the structure feature of this language. Generally speaking, the skopos theory refers to the communicative purpose of the source text.&lt;br /&gt;
&lt;br /&gt;
==Zeng Yanhu 曾雁湖==&lt;br /&gt;
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'''2.3 Three basic rules of skopos theory'''&lt;br /&gt;
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In this part, a detailed analysis of these rules will be presented with examples.&lt;br /&gt;
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'''2.3.1 The skopos rule'''&lt;br /&gt;
 &lt;br /&gt;
In the three rules of Skopos theory, Skopos theory is the prime principle to be followed in any translation. Vermeer explains this rule as follows:&lt;br /&gt;
&lt;br /&gt;
2.3 目的论的三条基本规则&lt;br /&gt;
这部分将通过例子来呈现对于这些规则的具体分析。&lt;br /&gt;
&lt;br /&gt;
2.3.1 翻译目的规则&lt;br /&gt;
在目的论的三条规则中，目的论是任何翻译都应遵循的主要原则。维米尔关于此规则的解释如下：--[[User:Fancy|Fancy]] ([[User talk:Fancy|talk]]) 08:19, 29 October 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
2.3 目的论的三条基本规则&lt;br /&gt;
这部分将通过示例对这些规则进行详细分析。&lt;br /&gt;
&lt;br /&gt;
2.3.1 翻译目的规则&lt;br /&gt;
在目的论的三条规则中，目的论是任何翻译都应遵循的首要原则。维米尔关于此规则的解释如下：--[[User:You Yuting|You Yuting]] ([[User talk:You Yuting|talk]]) 14:57, 29 October 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
2.3 目的论的三条基本规则&lt;br /&gt;
这部分将通过示例对这些规则进行详细分析。&lt;br /&gt;
&lt;br /&gt;
2.3.1 翻译目的规则&lt;br /&gt;
在目的论的三条规则中，目的论需遵循的首要原则。弗米尔关于此规则的解释如下：--[[User:Zhang Yuxing|Zhang Yuxing]] ([[User talk:Zhang Yuxing|talk]]) 14:41, 31 October 2020 (UTC)&lt;br /&gt;
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==Zhang Hu 张虎==&lt;br /&gt;
 &lt;br /&gt;
''Each text is produced for a given purpose and should serve this purpose. The skopos rule thus reads as follows: translate/interpret/speak/write in a way that enables your text/translation to function in the situation in which it is used and with the people who want to use it and precisely in the way they want it to function.''(Vermeer, 1988:20)  &lt;br /&gt;
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==Zhang Hui 张慧==&lt;br /&gt;
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Therefore, skopos theory believes that any translation action is determined by the purpose of the translation. That is to say, “The ends justify the means” (Reiss &amp;amp;Vermeer, 1984:101) the purpose of translation determines the translation methods and strategies.&lt;br /&gt;
 &lt;br /&gt;
Example: I wear nothing but a few drops of Channel No.5&lt;br /&gt;
 &lt;br /&gt;
无限芬芳的超脱，点滴即可创造。&lt;br /&gt;
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因此，目的论认为任何翻译动作都是由翻译目的决定的。也就是说，“只要目的正确，可以不择手段”(Reiss &amp;amp;Vermeer, 1984:101)，翻译的目的决定了翻译方法和策略。--[[User:Zhang Hui|Zhang Hui]] ([[User talk:Zhang Hui|talk]]) 01:24, 30 October 2020 (UTC)&lt;br /&gt;
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因此，目的论认为任何翻译行为都是由翻译目的决定的。也就是说，“只要目的正确，可以不择手段”(Reiss &amp;amp;Vermeer, 1984:101)，翻译的目的决定了翻译方法和策略。--[[User:Zhang Yujie|Zhang Yujie]] ([[User talk:Zhang Yujie|talk]]) 09:18, 31 October 2020 (UTC)&lt;br /&gt;
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==Zhang Ling 张玲==&lt;br /&gt;
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If using the literal translation, this sentence can be translated as “我什么都不穿，除了滴几滴香奈儿五号”. However, this kind of translation extremely lacks of beauty and there is no more elegance. Considering that the ultimate goal of advertisement is to induce consumers to buy the products and services it promotes. This advertisement adopts free translation and combines with Chinese traditional culture, which makes it like a ancient poem with quaint charm. It not only expresses the meaning of the advertisement, but also injects the characteristics of art, thus letting Channel No.s full of magic. It satisfies some people's pursuit high quality of life, and also makes consumers deeply impressed. So it can be called a successful translation.&lt;br /&gt;
&lt;br /&gt;
如果采用直译的方法，这个句子可译为“我什么都不穿，除了滴几滴香奈儿五号”。但这样的译文没有一点美感，也就谈不上雅致。鉴于广告的最终目的是诱导消费者购买其所推销的产品和服务，这则广告采用意译的方法，结合中国传统文化，使之像一首古诗，韵味古朴。它既表达了广告的含义，又注入了艺术的特质，让香奈儿五号香水充满了魔力，满足了一些人对高品质生活的追求，也给消费者留下了深刻的印象。因此可以称之为成功的翻译。 --[[User:Zhang Ling|Zhang Ling]] ([[User talk:Zhang Ling|talk]]) 08:37, 29 October 2020 (UTC)&lt;br /&gt;
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==Zhang Peiwen 张佩闻==&lt;br /&gt;
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'''2.3.2 The coherence rule'''&lt;br /&gt;
 &lt;br /&gt;
Coherence rule is also called intratextual coherence rule. It holds that the translated text must be coherent, readable and acceptable. In other words, the TT receivers can understand the TT according to their cultural and intellectual background. Any text is a provider of information and functions, but the information and functions are not always obvious from a linguistic point of view.&lt;br /&gt;
通顺原则&lt;br /&gt;
通顺原则又叫文体内部通顺原则。这一原则下，文本内容必须通顺，读得懂并且合乎情理。换句话说，译文读者读译文时，可以结合自身已有的知识文化背景来理解译文。任何一种文本都能传递信息，有它自己的功能。但是从语言学角度来讲，文本背后要表达的信息和功能并不能被读者一眼看出。--[[User:Zhang Peiwen|Zhang Peiwen]] ([[User talk:Zhang Peiwen|talk]]) 07:46, 28 October 2020 (UTC)&lt;br /&gt;
2.3.2 连贯性原则&lt;br /&gt;
连贯性原则又叫文内连贯原则。这一原则要求译文必须具有连贯性、可读性以及可接受性。也就是说，译文接受者能够根据自身文化和知识背景理解译文。任意一篇文本都能传递信息有其功能，但从语言学角度来看，文本的信息和功能不是一直都一目了然的。--[[User:Xu Pengfei|Xu Pengfei]] ([[User talk:Xu Pengfei|talk]]) 08:42, 28 October 2020 (UTC)Xu Pengfei&lt;br /&gt;
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==Zhang Qi 张琪==&lt;br /&gt;
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The translator selects aspects and components that serve the purpose according to the skopos rule, and then translates the source text through language processing to make the translated text become a new information provider. In the language processing process, translators must be concerned that translation is readable and understandable in the translated language. Only the translation is meaningful in the communicative context of the TL receivers can the culture and information of the source text be effectively transmitted to the target language readers.&lt;br /&gt;
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Example: Enchanting medieval house with five acres of delightful gardens.&lt;br /&gt;
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这里是迷人的中世纪住宅，外有五英亩的美丽花园。&lt;br /&gt;
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==Zhang Weihong 张维虹==&lt;br /&gt;
&lt;br /&gt;
This is a part of the travel propaganda. In order to ensure that translation is smooth and coherent, the original prepositional phrase is changed into a complete sentence with a subject-predicate structure, which doesn’t make the relationship among sentences appear loose.&lt;br /&gt;
 &lt;br /&gt;
'''2.3.3 The fidelity rule'''&lt;br /&gt;
&lt;br /&gt;
&amp;lt;nowiki&amp;gt;Insert non-formatted text here&amp;lt;/nowiki&amp;gt;==Zhang Xueyi 张雪仪==&lt;br /&gt;
&lt;br /&gt;
Fidelity rule is also called inter-textual coherence and states that there must be coherence between the ST and the TT. It is similar to the “faithfulness” of Yan Fu’s theory. Fidelity rule maintains the status of the original text and constrains translation actions of different translation purpose. However, the concept of Fidelity rule is relative. The form and degree of faithfulness is determined by the purpose of translation and the translators’ understanding of the original text.&lt;br /&gt;
 &lt;br /&gt;
Example: Free entry into farm, Dogs on lead.  &lt;br /&gt;
 &lt;br /&gt;
OPEN DAILY: 1 March--30 November 10:00 am--5:00 pm&lt;br /&gt;
 &lt;br /&gt;
农场免费进入，宠物狗请带好狗绳。&lt;br /&gt;
 &lt;br /&gt;
开放时间：3月1日--11月30日 上午10点--下午五点&lt;br /&gt;
&lt;br /&gt;
忠实原则也称为语际连贯法则，它指出源文本和目标文本之间必须有连贯性。这与严复的“信”原则有相似之处。忠实原则可保持原文的状态，并限制不同翻译目的的翻译行为。然而，忠实原则的概念是相对的。“信”的形式和程度取决于翻译的目的和译者对原文的理解。&lt;br /&gt;
例如：免费进入农场，带狗请牵绳&lt;br /&gt;
开放时间：3月1日—11月30日 上午10点—下午5点--[[User:Zhang Xueyi|Zhang Xueyi]] ([[User talk:Zhang Xueyi|talk]]) 15:32, 30 October 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
==Zhang Yinliu 张银柳==&lt;br /&gt;
&lt;br /&gt;
The time, place and various precautions in the travel text are very important, because the error of this kind of information will bring unnecessary trouble to the tourists. Therefore, the translation, according to the fidelity rule, faithfully and effectively conveys the original information to the reader for the purpose of facilitating the tourists.&lt;br /&gt;
 &lt;br /&gt;
There exists a hierarchical order of these rules. The skopos rule is the most important one and other two rules are subordinate to it. At the same time, the fidelity rule is also subordinate to the coherence rule.&lt;br /&gt;
 &lt;br /&gt;
'''Ⅲ. Comparative study on Nida's functional equivalence theory and functionalist skopos theory'''&lt;br /&gt;
&lt;br /&gt;
==Zhang Yu 张瑜==&lt;br /&gt;
&lt;br /&gt;
This chapter will mainly discuss the differences and similarities between functional equivalence theory and skopos theory.&lt;br /&gt;
 &lt;br /&gt;
'''3.1 The differences'''&lt;br /&gt;
 &lt;br /&gt;
'''3.1.1 Different theoretical basis'''&lt;br /&gt;
 &lt;br /&gt;
The early equivalence theory was directly influenced by American structuralist linguistics and human linguistics. Later, Nida combined translation studies with the syntactic structure analysis method, semantic component analysis method and Chomsky's transformational-generative grammar that were popular in the United States in the 1940s and 1950s, took structural analysis of language expressions and translation procedures, and injected fresh blood into translation studies (Chen Gang, 2011: 145). Using communication theory and cross-cultural content as the starting point, Nida revised Chomsky's deep transfermation grammar, paid attention to the psychology of information receivers, and stimulated the potential of information receivers as much as possible.&lt;br /&gt;
&lt;br /&gt;
本章将主要讨论功能对等理论和目的论的异同。&lt;br /&gt;
&lt;br /&gt;
3.1 差异&lt;br /&gt;
   &lt;br /&gt;
3.1.1 理论基础的差异&lt;br /&gt;
&lt;br /&gt;
美国的结构主义语言学和人类语言学直接影响了早期的对等理论。后来，奈达将翻译研究与词义结构分析法、语义成分分析法、以及二十世纪四五十年代流行于美国的乔姆斯基的转换生成语法相结合，并在语言表达和翻译过程中采用结构分析，这些都为翻译研究注入新鲜血液（陈刚，2011:45）。将翻译传播理论和跨文化内涵的运用作为起点，奈达更正了乔姆斯基的深度转换语法理论，反而更加注重信息接受者的心理，同时也尽可能地激发接受者的潜能。--[[User:Zhang Yu|Zhang Yu]] ([[User talk:Zhang Yu|talk]]) 15:17, 28 October 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
本章将主要讨论功能对等理论与目的论之间的异同。&lt;br /&gt;
&lt;br /&gt;
3.1差异&lt;br /&gt;
&lt;br /&gt;
3.1.1不同的理论基础&lt;br /&gt;
&lt;br /&gt;
早期的对等理论直接受到美国结构主义语言学和人类语言学的影响。 后来，奈达将翻译研究与二十世纪四五十年代在美国流行的句法结构分析方法、语义成分分析方法和乔姆斯基的转换生成语法相结合，对语言表达和翻译过程进行了结构分析，为翻译研究注入了新鲜血液（陈刚，2011：145）。 奈达以传播理论和跨文化内容为起点，修订了乔姆斯基的深层转换语法，关注信息接收者的心理，并尽可能地激发了信息接收者的潜力。--[[User:Zhao Xiaoyan|Zhao Xiaoyan]] ([[User talk:Zhao Xiaoyan|talk]]) 00:58, 30 October 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
==Zhang Yujie 张毓婕==&lt;br /&gt;
&lt;br /&gt;
German skopos theory is an emerging school in the late 1970s. It criticizes that the translation theory based on linguistic school pays much attention to form, and is developed on the basis of  communication theory, information theory, behavior theory, discourse linguistics, and text theory. Based on the behavior theory, Skopos theory proposes the concept of translation action, which extends translation to a new field. That is to say, translation is a kind of purposeful and conscious intercultural communication action of human.&lt;br /&gt;
&lt;br /&gt;
目的论于20世纪70年代末起源于德国。它批判了基于语言学的翻译理论，认为其过于注重形式，并在传播理论，信息理论，行为主义理论，语篇语言学和文本理论的基础上发展而来。基于行为主义理论，目的论提出翻译行为的概念，将翻译引入了新的领域。也就是说，它将翻译视作是人类有目的、有意识的跨文化交流活动。--[[User:Zhang Yujie|Zhang Yujie]] ([[User talk:Zhang Yujie|talk]]) 09:12, 31 October 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
==Zhang Yuxing 张宇星==&lt;br /&gt;
&lt;br /&gt;
As the name suggests, Skopos theory regards translation activities as a kind of &amp;quot;action&amp;quot;, and any action has its goals or skopos. One of the representatives of the skopos theory, Hans J. Vermeer, summarizes the essence of skopos theory in a concise language: the ends justify the means, that is, the purpose of translation determines the translation process.&lt;br /&gt;
 &lt;br /&gt;
'''3.1.2 Different translation principles and standards'''&lt;br /&gt;
&lt;br /&gt;
顾名思义，目的论认为翻译活动是一种“行动”，任何行动都有其目标或目的。目的论的代表人物之一汉斯•J•维米尔用简洁的语言概括了目的论的精髓:目的决定方式，即翻译的目的决定翻译过程。&lt;br /&gt;
&lt;br /&gt;
3.1.2不同的翻译原则和标准--[[User:Zhang Yuxing|Zhang Yuxing]] ([[User talk:Zhang Yuxing|talk]]) 14:36, 31 October 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
==Zhao Xi 赵茜==&lt;br /&gt;
&lt;br /&gt;
Nida's functional equivalence refers to “the closest natural equivalence to the source language information”. “Natural” here means that the translation must conform to the language and culture of the target language, in line with the context and the requirements of the target receivers. &amp;quot;Equivalence&amp;quot; here, he clearly stated that it is not &amp;quot;equivalence&amp;quot; in mathematics, but &amp;quot;approximation&amp;quot;, that is, the approximation of functional equivalence from varying degrees.&lt;br /&gt;
&lt;br /&gt;
奈达的功能对等理论是指对源语信息最切近的自然对等。“自然”在这里的意思是译文必须遵守目的语的语言和文化，与目标读者的语境和需求相一致。奈达清楚说明了，这里的“对等”并非是数学上的“相等”，但“近似”是指不同程度的功能对等的近似。--[[User:Zhao Xi|Zhao Xi]] ([[User talk:Zhao Xi|talk]]) 13:32, 28 October 2020 (UTC)&lt;br /&gt;
奈达的功能对等理论指的是“对源语信息最切近的自然对等”。此处的“自然”指的是翻译必须遵从目的语的语言和文化，与语境相一致，并且满足目标读者的需求。奈达清晰地阐明了这里的“对等”并非数学意义上的“相等”，但“近似”是不同程度的功能对等。--[[User:Zhou Siqing|Zhou Siqing]] ([[User talk:Zhou Siqing|talk]]) 11:16, 29 October 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
==Zhao Xiaoyan 赵晓燕==&lt;br /&gt;
&lt;br /&gt;
From the above Nida’s dynamic equivalence theory, the translator must conform to four criteria in order to achieve &amp;quot;close and natural equivalence&amp;quot;: (1) conveying meaning; (2) conveying the spirit and style of the original work; (3) fluent; (4) similar reader responses. In order to achieve these four standards, there will be contradictions between content and form from time to time. It is either the content giving way to form, or the form giving way to content. The two form a unified whole.&lt;br /&gt;
&lt;br /&gt;
根据奈达的动态对等理论，译者必须遵循以下四条规则以实现“贴切而自然的对等”：（1）传达意思；（2）传达原作的精神和风格：（3）流畅；（4）使读者产生相似的反应。 为了实现以上四条标准，内容和形式会产生一次又一次的冲突。 有时内容要让步于形式，有时形式需让步于内容。两者构成了一个统一体。--[[User:Zhao Xiaoyan|Zhao Xiaoyan]] ([[User talk:Zhao Xiaoyan|talk]]) 00:48, 30 October 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
根据奈达的动态对等理论，为了达到“接近自然的对等”，译者必须遵循四个标准：（1）传达意义；（2）传达原作的精神和风格；（3）流畅；（4）读者思维。为了达到这四个标准，内容和形式之间会经常出现矛盾：要么是内容让位给形式，要么是形式让位给内容。这二者构成一个统一的整体。--[[User:Zheng Huajun|Zheng Huajun]] ([[User talk:Zheng Huajun|talk]]) 01:13, 30 October 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
==Zheng Huajun 郑华君==&lt;br /&gt;
&lt;br /&gt;
Skopos theory advocates that translation should follow three rules: the skopos rule, the coherence rule and the fidelity rule, of which the skopos rule is the highest principle. The main purpose is to make the translation achieve the expected function of the target language receivers in the target language environment. In addition to the highest principle, the translation must follow the coherence rule and the fidelity rule. The former requires the translation to be &amp;quot;coherent within the text,&amp;quot; that is, the translation needs to meet the communication context and cultural background of the target language so that the target reader can understand.&lt;br /&gt;
目的论主张翻译应遵循三条原则：目的性原则、连贯性原则和忠实性原则，其中目的性原则是最高原则。其主要目的是使译文在目的语环境中达到目的语接受者的预期功能。除了遵循最高原则外，翻译还必须遵循连贯原则和忠实原则。前者要求译文“语内连贯”，即译文需要符合目的语的交际语境和文化背景，以便译文读者能够理解。--[[User:Zheng Huajun|Zheng Huajun]] ([[User talk:Zheng Huajun|talk]]) 01:00, 30 October 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
目的论主张翻译应遵循三个规则：目的性原则、连贯性原则和忠实性原则，其中目的性原则是最高原则。其主要目的是使译文在目标语言环境中达到目标语言接受者的预期功能。 除了最高原则外，翻译还必须遵循连贯性原则和忠实性规则。前者要求译文要“语内连贯”，即翻译需要满足目标语言的交际语境和文化背景，以便目标读者可以理解。--[[User:Tan Yuanyuan|Tan Yuanyuan]] ([[User talk:Tan Yuanyuan|talk]]) 08:41, 30 October 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
==Zhou Luoping 周罗平==&lt;br /&gt;
&lt;br /&gt;
The latter requires the translation to be coherent between the ST and the TT. That is, the translation should try to imitate the original text, whether it is formal imitation or content imitation is permissible, which depends on the purpose of the translation. The latter two rules are subordinate to the highest rule-- the skopos rule.&lt;br /&gt;
 &lt;br /&gt;
But this also makes the translation theorists produce questions. Is the translator free to do anything for the purpose? Then Nord put forward the theory of “function plus loyalty”. &lt;br /&gt;
&lt;br /&gt;
==Zhou Shiqing 周诗卿==&lt;br /&gt;
&lt;br /&gt;
Nord believes that &amp;quot;there is no translation without the original text&amp;quot;, and free rewriting does not belong to translation; &amp;quot;Translators should be responsible for both the original text and the translation environment, and be responsible for both the sender of the original information and the recipient of the translation.&amp;quot; This responsibility of the translator is &amp;quot;loyalty&amp;quot;(Zhang Meifang, 2005:60-65). The principle of &amp;quot;function plus loyalty&amp;quot; avoids the skopos theory to go to extremes, and complements skopos theory, highlighting the responsibility of translators, and limiting the translator's freedom. Because the skopos theory believes that the success of the translation is judged by whether the expected purpose of the source text is realized or not, and the expectation also reflects the requirements of the target language reader. Since the target language readers reflect differently, so the translation standard of the skopos theory is also diversified.&lt;br /&gt;
&lt;br /&gt;
==Zhou Shuyao 周书尧==&lt;br /&gt;
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'3.1.3 Different cultural directions'''&lt;br /&gt;
 &lt;br /&gt;
Nida tried to overcome the cultural difference and eliminate the cultural atmosphere in the source text. His theory is mainly oriented to the original text. That is, the source language culture, emphasizing the consistency of cultural environment between the source language and the target language. At the same time, Nida is a support of language commonality. His theory reflects the translation thought of structuralist linguistics, that is, the &amp;quot;mirror reflection&amp;quot; of the objective world and the universality of language expression. The translators’ full imitation and the independence of express the value of their culture, especially the cultural consistency of the target language culture and the source language culture.&lt;br /&gt;
&lt;br /&gt;
==Zhou Siqing 周思庆==&lt;br /&gt;
&lt;br /&gt;
Vermeer regards translation as a purposeful action, firstly in its outcome, that is, the target text. The target text is oriented towards the target culture, and the target culture determines the suitability of the target text. Therefore, Skopos theory believes that Translation is an irreversible transmission of information to the source language culture or language in the target culture. There is no intermediate position, it is intercultural communication action, and it is communicative and cultural. In addition, Skopos theory is oriented to the context of macro-postmodern culture, especially the habits, traditions and norms of the target language culture (Fan Derui, 2019:67).&lt;br /&gt;
 &lt;br /&gt;
'''3.2 The Similarities'''&lt;br /&gt;
弗美尔把翻译看做一种有目的的行为，第一是因为它的结果，也就是目的语。目的语是文化导向的，而目的语的文化决定目的语的适合性。因此，目的论认为翻译是一种针对源语文化或目的语文化的不可逆的信息传递。不存在中间立场，这是一种跨文化的交际行为，是交流的，也是文化的。此外，目的论以宏观后现代文化为导向，特别是目的语文化的习惯，传统和规范。（范德瑞 2019:67）&lt;br /&gt;
'''3.2 相似之处'''--[[User:Zhou Siqing|Zhou Siqing]] ([[User talk:Zhou Siqing|talk]]) 11:01, 29 October 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
==Zhou Yiwen 周艺文==&lt;br /&gt;
&lt;br /&gt;
The target text is oriented towards the target culture, and the target culture determines the suitability of the target text. Therefore, Skopos theory believes that Translation is an irreversible transmission of information to the source language culture or language in the target culture. There is no intermediate position, it is intercultural communication action, and it is communicative and cultural. In addition, Skopos theory is oriented to the context of macro-postmodern culture, especially the habits, traditions and norms of the target language culture (Fan Derui, 2019:67).&lt;br /&gt;
 &lt;br /&gt;
'''3.2 The Similarities'''&lt;br /&gt;
 &lt;br /&gt;
'''3.2.1 Both are a combination of translation and language function'''&lt;br /&gt;
&lt;br /&gt;
译文以目的文化为导向，目的语文化决定了译文是否合适。因此，目的论认为翻译是一种不可逆转的源语文化的信息传递或目的语文化中的语言传递。翻译没有中间媒介，它是跨文化交际行为，是交际性和文化性行为。此外，目的论的导向是宏观的后现代文化语境，特别是目的语文化的习惯、传统和规范(范德瑞，2019:67)。&lt;br /&gt;
&lt;br /&gt;
3.2相似性&lt;br /&gt;
&lt;br /&gt;
3.2.1两者都是翻译和语言功能的结合&lt;br /&gt;
--[[User:Zhou Yiwen|Zhou Yiwen]] ([[User talk:Zhou Yiwen|talk]]) 02:36, 29 October 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
译文面向目的语文化，目的语文化决定了译文的适用性。因此，目的论认为翻译是一种信息到源语文化或目的语文化中语言的传递，而这种传递是不可逆转的。翻译没有中间立场，它是跨文化交际行为，是交际性和文化性行为。此外，目的论面向后现代文化的宏观语境，尤其是目的语文化的习惯、传统和规范(范德瑞，2019:67)。&lt;br /&gt;
&lt;br /&gt;
3.2相似之处&lt;br /&gt;
&lt;br /&gt;
3.2.1两者都是翻译和语言功能的结合&lt;br /&gt;
--[[User:Zhang Ling|Zhang Ling]] ([[User talk:Zhang Ling|talk]]) 08:59, 29 October 2020 (UTC)&lt;br /&gt;
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==Zhou Yuanqu 周园曲==&lt;br /&gt;
&lt;br /&gt;
The skopos theory represented by Hans J. Vermeer and Christane Nord, and the functional equivalence theory of Nida are put forward by different schools in different periods, but there are still many internal connections and intercommunity. There is no doubt that both have their rationality of existence and show progress in their translation activities of their respective periods. Whether it is &amp;quot;skopos theory&amp;quot; or &amp;quot;functional equivalence theory&amp;quot;, both their ultimate goals are to achieve smooth communication between different languages and reduce misunderstandings and conflicts arising from information exchange. In particular, both combine translation with language functions, focusing on the role of language functions in translation. Skopos theorists believe that translation is a purposeful communicative activity, and the translation process is determined by the expected function or purpose of the translation. This purpose is to a great extent influenced by the target receivers and the context and cultural background of the target receivers. &lt;br /&gt;
&lt;br /&gt;
==Zhou Yujuan 周玉娟==&lt;br /&gt;
&lt;br /&gt;
Therefore, the translator should decide the choice of the original text information, the use of the translation strategy and the expression of the translation according to the requirements of the clients, combined with the purpose of the translation and the specific situation of the target receivers&lt;br /&gt;
 &lt;br /&gt;
Nida also put forward the translation principle of functional equivalence from the perspective of language function, and also combines translation with language functions. He pointed out that due to the differences in language and culture, it is impossible for translation to obtain the formal equivalence between the source text and the target text, but only functional equivalence. Although the expressions of various languages are different, they have the same expressive power and have the same or similar language functions, that is, expressive, cognitive, interpersonal, informative, imperative, empathetic, sympathetic, empathy and aesthetic function. If the translation of these aspects is basically the same, then the functional equivalence of translation is achieved. According to this, he put forward that &amp;quot;the preservation of the original content must change the form, the degree of change, and must depend on different languages in the distance between language and cultural.&amp;quot;&lt;br /&gt;
&lt;br /&gt;
因此，译者应根据客户的要求，结合翻译目的和目标接受者的具体情况，来决定原文信息的取舍、翻译策略的应运和译文的表达。&lt;br /&gt;
&lt;br /&gt;
尼达还从语言功能的角度提出了功能对等的翻译原则，并将翻译与语言功能相结合。他指出，由于语言和文化的差异，翻译不可能得到原文和译文之间的形式上对等，而只能得到功能对等。各种语言的表达方式虽然不同，但它们具有相同的表达能力和相同或相似的语言功能，即表达功能、认知功能、人际功能、信息功能、命令功能、移情功能、同情功能、移情功能和审美功能。如果这些方面的翻译基本相同，那么就实现了翻译的功能对等。根据这一观点，他提出“原始内容的保留必须改变形式，改变程度，必须依赖于不同语言在语言和文化之间的差距。”--[[User:ZHOUYUJUAN|ZHOUYUJUAN]] ([[User talk:ZHOUYUJUAN|talk]]) 01:46, 30 October 2020 (UTC)&lt;br /&gt;
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==Zhu Meimei 祝美梅==&lt;br /&gt;
&lt;br /&gt;
In order to produce efficacy, the adjustment of the translation from form to content is the specific application of functional ideas. However, Nida did not develop further in the direction of functionalism, but still focused on the concept of equivalence. Therefore, his theory is fundamentally different from the views of the German functional translation school.&lt;br /&gt;
 &lt;br /&gt;
'''3.2.2 Both emphasize the role of the readers and the intelligibility of the translation.'''&lt;br /&gt;
 &lt;br /&gt;
Vermeer believes that the recipients of the translation, that is, the readers, as an important part of the translation requirements, is one of the most important factors in determining the purpose of translation; the target language receivers is the recipient or listener of the translated text with the knowledge, expectation and communication needs of his own specific culture world.&lt;br /&gt;
&lt;br /&gt;
为了产生一定效果，翻译时对形式和内容的调整，就是功能理论的应用。 但是，奈达并没有往功能主义的方向上进一步发展，而是专注于对等概念。 因此，他的理论从根本上不同于德国功能翻译学派的观点。&lt;br /&gt;
 &lt;br /&gt;
'''3.2.2都强调读者的角色和翻译的可读性。'''&lt;br /&gt;
 &lt;br /&gt;
维米尔（Vermeer）认为，翻译的接受者，即读者，是翻译要求的重要组成部分，是确定翻译目的的最重要因素之一。 目标语言的接收者是译文的接收者或听众，具有自己特定文化圈的知识，期望和交流需求。--[[User:Zhumeimei|Zhumeimei]] ([[User talk:Zhumeimei|talk]]) 07:33, 31 October 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
==Zhu Suyao 朱素瑶==&lt;br /&gt;
&lt;br /&gt;
Translation is the text in the environment of the target language produced for the purpose of the target language and the reader of the target language in the context of the target language. In addition, the coherence rule of skopos theory emphasizes that the translation must meet the criteria of &amp;quot;coherence within the text&amp;quot; that is, only the text is fully understood by the recipient can they make sense. It can be seen that the skopos theory emphasizes the role of the readers and the intelligibility of the translation.&lt;br /&gt;
 &lt;br /&gt;
Nida's functional equivalence theory is also readers-oriented. Nida believes that the research object of translation is the reader; the recipient is not a passive target of language communication, but an active participant in communicative activities. The reader's response is the only criterion for judging the quality of the translation. Therefore, the translation must be fluent and understandable. In order to achieve the intelligibility of the translation, it is even possible to delete parts that the reader cannot understand, such as metaphors.&lt;br /&gt;
&lt;br /&gt;
==Zhu Xu 朱旭==&lt;br /&gt;
&lt;br /&gt;
'''Conclusion'''&lt;br /&gt;
 &lt;br /&gt;
By comparatively analyzing Eugene Nida's functional equivalence theory and the German functionalist skopos theory, skopos theory critically inherited the rational factors of Nida's functional equivalence theory, and abandoned its irrational part. Skopos theory gets rid of the shackles of equivalence theory, breaking the traditional perspective of single translation studies, turning attention to the study of other relevant factors in translation activities other than language. Skopos theory broke through the framework of equivalence translation theory, and proposed a theoretical system of diversification of translation standards led by the skopos rule. The diversification of translation standards makes the function closer to reality. This is clearly more scientific, more operative and more versatile than Nida's theory that takes functional equivalence as the sole criterion.&lt;br /&gt;
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结语&lt;br /&gt;
&lt;br /&gt;
通过比较分析奈达的功能对等理论和德国功能主义目的论，笔者发现目的论批判性地继承了奈达功能对等理论的理性因素，并且抛弃了其中的非理性部分。翻译目的论摆脱了对等理论的束缚，打破了传统的单一翻译研究视角，转而关注语言以外的翻译活动中其他相关因素的研究。目的论突破了等效翻译理论的框架，提出了以目的论为主导的翻译标准多元化的理论体系。翻译标准的多样化让翻译功能更贴近现实。这显然比奈达以功能对等为唯一标准的理论更科学、更有效、更通用。--[[User:Zhu Xu|Zhu Xu]] ([[User talk:Zhu Xu|talk]]) 03:05, 31 October 2020 (UTC)&lt;br /&gt;
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==Zou Xinyu 邹鑫雨==&lt;br /&gt;
&lt;br /&gt;
Moreover, compared with the traditional language translation theory that emphasizes the internal study of translation, Skopos theory denies that translation is a simple language conversion, and pays more attention to the external of translation. Compared with Nida, Skopos theory are more concerned with the humanity and sociality of translation activities. In addition, the Skopos theory shifts the focus of translation from the reproduction of the original text to the more challenging creation of target text, which enhances the active participation of the translator as the main body of the translation, overturning the center status of the original text, and establishing the central status of the target text and the translator. The functionalist skopos theory puts translation in a dynamic cultural context, emphasizing the translator's active intervention. Therefore, it solves some problems that the functional equivalence theory fails to solve, broadens the research perspective of traditional translation theory, is a major breakthrough and important supplement to the functional equivalence theory, and erects a distinctive flag in modern translation theory.&lt;/div&gt;</summary>
		<author><name>Song Jianru</name></author>
	</entry>
	<entry>
		<id>https://bou.de/u/index.php?title=20201026_trans&amp;diff=102583</id>
		<title>20201026 trans</title>
		<link rel="alternate" type="text/html" href="https://bou.de/u/index.php?title=20201026_trans&amp;diff=102583"/>
		<updated>2020-10-31T15:17:33Z</updated>

		<summary type="html">&lt;p&gt;Song Jianru: /* Song Jianru 宋建茹 */&lt;/p&gt;
&lt;hr /&gt;
&lt;div&gt;==Cao Runxin 曹润鑫==&lt;br /&gt;
'''The Translation of Culture-loaded Words in Chinese-English Communication'''&lt;br /&gt;
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As we all know, translation plays an important role in intercultural communication. A good translator can help to promote the communication between two different cultures. With the process of globalization, intercultural communication is becoming more and more frequent. However, there exist plenty of cultural differences between different cultures, especially between the East and the West. Cultural differences make it hard for translators to translate well. Culture-loaded words belong to one of the differences between different cultures. Therefore, it is of great significance to be aware of the appropriate translation of culture-loaded words. This is because it can help translators translate better and thus make two different cultures communicate better.&lt;br /&gt;
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汉英交流中文化词汇的翻译&lt;br /&gt;
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众所周知，翻译在跨文化交流中发挥着重要的作用。一位好的译者能帮助促进两种不同文化间的交流。在全球化进程下，跨文化交流变得越发频繁。但是不同文化之间,尤其是东西方文化间存在很大差异。因为文化差异的存在，译者很难翻译到位。具有文化色彩的词属于文化差异之一。因此，了解文化词汇如何适当翻译十分有必要，这样能更好帮助译者翻译，从而使两种不同文化进行更好的交流。--[[User:Cao Runxin|Cao Runxin]] ([[User talk:Cao Runxin|talk]]) 13:58, 31 October 2020 (UTC)&lt;br /&gt;
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==Chang Huiyue 常慧月==&lt;br /&gt;
'''1 The Definition of Culture-loaded Words'''&lt;br /&gt;
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Before discussing what are culture-loaded words, we should know what is culture first. “Culture, in a broad sense, means the total way of life of a people, including the patterns of belief, customs, objects, institutions, techniques, and language that characterizes the life of the human community. As culture is so inclusive, it permeates virtually every aspect of human life and influences predominantly people’s behavior, including linguistic behavior.&lt;br /&gt;
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1.文化负载词的定义&lt;br /&gt;
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在谈论什么是文化负载词之前，我们应该先知道什么是文化。“从广义上来讲，文化意味着人类的整个生活方式，包括信仰、习俗、目标、制度、技术、语言等具有人类群体特征的模式。由于文化包罗万象，所以它在无形中渗入了人类生活的各个方面，明显地影响了人类行为，包括语言行为。--[[User:Chang Huiyue|Chang Huiyue]] ([[User talk:Chang Huiyue|talk]]) 10:44, 30 October 2020 (UTC)&lt;br /&gt;
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1、文化负载词的定义&lt;br /&gt;
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我们在探讨文化负载词之前，首先要了解何为文化。“从广义上来说，文化意味着一个民族的整个生活方式，包括信仰、风俗、目标、体系、技术以及具有人类群体生活特征的语言。由于文化具有很强的包容性，它贯穿于人类生活的方方面面，深刻影响着人们的行为，其中包括语言行为。”--[[User:Ji Tiantian|Ji Tiantian]] ([[User talk:Ji Tiantian|talk]]) 11:21, 30 October 2020 (UTC)&lt;br /&gt;
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==Chen Han 陈涵==&lt;br /&gt;
In a narrow sense, culture may refer to local or specific practice, beliefs or customs, which can mostly be found in folk culture, enterprise culture or food culture etc.” (Dai Weidong 2002:127) Culture is learned by human beings. A child is born without any certain kind of culture. A child gets its culture through learning. For example, a Chinese kid will speak, act and think like a Chinese if it grows up in China. An American kid will speak, act and think like an American if it is raised in the United States. Meanwhile, if a Chinese kid is raised by an American family in the USA, he will think, act and speak like American people do and vice versa.&lt;br /&gt;
==Chen Hui 陈惠==&lt;br /&gt;
Culture is owned by all the social members. The special behavior and habit of a single person is not culture because it is not owned by every member of the society. Culture can be transmitted from generation to generation. During the transmission, culture will also develop. “Generally speaking, there are two types of culture: material and spiritual. While material culture, as the term itself suggests, is concrete, substantial and observable. Most of spiritual culture, the products of mind (ideologies, beliefs, values and concepts of time and space, for example), is abstract, ambiguous, and hidden.&lt;br /&gt;
==Chen Jiangning 陈江宁==&lt;br /&gt;
In contrast with nature in the sense of what is born and grows, culture refers to what has been grown and brought up with, in other words, what can be nurtured. Culture, especially material culture, is reproduced and preserved through the maintaining of beliefs, traditions, education and other institutional mechanisms, meanwhile, it changes slowly with the development of the society.” (Dai Weidong 2002:178-201）。&lt;br /&gt;
与自然界相比，文化指的是已经成长和长大的东西，而自然指的是天生的东西，也就是说，文化是可以用来培育的东西。文化，尤其是物质文化，通过维持信仰，传统，教育以及其他制度机制得以再生与保留，与此同时，文化缓慢地改变着社会的发展。（戴炜栋 2002;178-201）--[[User:Chen Jiangning|Chen Jiangning]] ([[User talk:Chen Jiangning|talk]]) 09:12, 31 October 2020 (UTC)&lt;br /&gt;
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==Chen Jiaxin 陈佳欣==&lt;br /&gt;
“Language is one of the most fundamental systems of culture, with the function of storing, describing, expressing and disseminating culture. As the basic unit of language, word is of course the most direct reflection of culture. Culture-loaded words refer to the words, phrases, and idioms only contained in a culture. These words reflect the uniqueness of certain nations. This kind of uniqueness develops from the long historical process.” (Liao Qiyi 2002:232) Culture-loaded words can make a distinction between two different cultures.&lt;br /&gt;
==Chen Jingjing 陈静静==&lt;br /&gt;
Culture-loaded words can also reflect a country’s social background, financial base and culture in a certain period of time. During different historical periods, different culture-loaded words occur. Different countries differ from each other because every country has its uniqueness that makes it special. Ordinarily speaking, a literary work, which shows a lot of national characteristics, contains plenty of culture-loaded words. Culture-loaded words make it difficult for translators to translate.&lt;br /&gt;
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文化负载词也能反映出一个国家在某段时期内的社会背景，经济基础及文化状况。不同的历史时期会出现不同的文化负载词。不同国家各具差异是因为每个国家都有其独特之处便也就显得与众不同。一般来说，一部带有民族特色的文学作品会包含大量的文化负载词，而这会使得译者在翻译时无从下手。--[[User:Chen Jingjing|Chen Jingjing]] ([[User talk:Chen Jingjing|talk]]) 08:08, 31 October 2020 (UTC)Chen Jingjing&lt;br /&gt;
文化负载词同样能够反映出一个国家在某段时期的社会背景，经济基础以及文化状况。在不同的历史时期，出现的文化负载词也不尽相同。之所以不同国家间存在差异，是因为每个国家都有让其变得特别的独到之处。一般来说，一部文学作品，若是带有鲜明的民族特色，通常会包含大量的文化负载词，而这其中的文化负载词会使得译者在翻译过程中困难重重。--[[User:Chen Jiangning|Chen Jiangning]] ([[User talk:Chen Jiangning|talk]]) 12:12, 31 October 2020 (UTC)&lt;br /&gt;
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==Chen Sha 陈莎==&lt;br /&gt;
'''2 Difficulties in the Translation of Culture-loaded Words'''&lt;br /&gt;
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Every country has its own cultural origin. And “every nation has its own cultural focus. So its vocabulary always develops according to the cultural focus and becomes more and more detailed and complex.” (Liao Qiyi 2002:232)As we all know, Chinese culture and western culture have different origins. Chinese culture came from the Chinese mainland. There exist two big rivers, the Yellow River and the Huanghe River, across China. So Chinese people fed themselves by fishing, hunting and farming. The vast territory provided Chinese people enough resources to support themselves.&lt;br /&gt;
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==Chen Sunfu 谌孙福==&lt;br /&gt;
The lofty mountains and high ranges, on the one hand, protected ancient China from the invasion of other countries, while on the other hand, also prevented China from communicating with other countries. Therefore, Chinese people is more conservative and emphasize harmony. &lt;br /&gt;
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“There is a great difference of the physio geographic condition between China and the western countries, especially the relationship between sea and land. If we say that Chinese civilization came from the land, western civilization came from the sea.”(Huang Yongyuan and Zhang Jing 2011:237)&lt;br /&gt;
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巍峨的群山一方面保护古中国免受别国入侵，另一方面却阻碍了中国与其他国家沟通往来。因此，中国人更为保守，更强调和谐。&lt;br /&gt;
“中国和西方国家在地理环境上存在显著差异，尤其是海陆关系。如果说中国文明源于陆地，西方文明则兴于海洋。”（黄永源，张静 2011:237）--[[User:Chen Sunfu|Chen Sunfu]] ([[User talk:Chen Sunfu|talk]]) 06:22, 30 October 2020 (UTC)&lt;br /&gt;
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巍巍群山一方面保护古代中国免受他国侵扰，另一方面却阻碍了中国与其他国家交流来往。因此，中国人更为保守，强调和谐。 “中国和西方国家地理环境差异显著，尤其是海陆关系。如果说中国文明源于陆地，西方文明则兴于海洋。”（黄永源，张静 2011:237）--[[User:Kang Lingfeng|Kang Lingfeng]] ([[User talk:Kang Lingfeng|talk]]) 13:44, 30 October 2020 (UTC)&lt;br /&gt;
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==Chen Yongxiang 陈永相==&lt;br /&gt;
Europe is surrounded by the sea on the west, south and north, and borders on Asia in the east. The whole Europe continent is close to the sea, and the maritime climate is very significant. As the cradle of Western culture, the ancient Greece, was more connected with the sea. Greece was transportation center of the eastern Mediterranean. It had many ports and mountains but had a barren land. This kind of condition forced the ancient Greeks to operate maritime trade very early to support themselves. Therefore, people from western countries are easy to accept foreign cultures.&lt;br /&gt;
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欧洲的西部，南部和北部群海环绕，东部与亚洲接壤。整个欧洲大陆与海洋紧密联系，海洋性气候明显。作为西方文化的发源地，古希腊与海洋的联系极为紧密。希腊作为地中海东部的交通运输中心，港口众多，但群山连绵，土地贫瘠。在这种情况下，古希腊人为谋求生计，很早便开始了海上贸易。因此，西方国家的人们对异地文化的接受度很高。&lt;br /&gt;
--[[User:Chen Yongxiang|Chen Yongxiang]] ([[User talk:Chen Yongxiang|talk]]) 11:42, 31 October 2020 (UTC)&lt;br /&gt;
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==Cheng Yusi  成于思==&lt;br /&gt;
China’s national spirit is different from that of the western countries. For example, China’s definition of “dragon” is so far away from that of the western countries. “The dragon, in Chinese myths and legends, is a kind of god . It is a symbol of the Chinese nation. The Chinese all call themselves &amp;quot;the descendants of the dragon&amp;quot;; it is also a symbol of the ancient imperial power, and the emperors of all ages considered themselves to be the true dragon. Each feature of the dragon represents an advantage.&lt;br /&gt;
==Deng Jinxia 邓锦霞==&lt;br /&gt;
The wide forehead represents intelligence, the sword-like eyebrows represent courage, the tiger eyes represent majesty, the lion nose represents prosperity, the horse teeth represent diligence and kindness, the crocodile mouth represents swallowing, the shrimp mustache represents free water absorption , the cattle ears represent the leadership, the antlers represent health and longevity, the fish and clam represent defense, the camel head represents drought resisting, the eagle claws represent the ability to fly, and the snake neck represents the ability of accomplishing a task with ease. &lt;br /&gt;
==Ding Daifeng 丁代凤==&lt;br /&gt;
The Chinese dragon can be said to be a favorite to Chinese people. In the Western world, the dragon is called Drakon in Greek, Dragon in English, and Draco is in Latin. The dragon is a derogatory term in the West and a symbol of evil. In Western mythology, the dragon is the demon that makes people fear. The Bible illustrates dragon as a demon, and the devil Satan, who is opposite to God, is called the &amp;quot;great dragon&amp;quot;; the Old Dragon is the Devil, or Satan. In a biological perspective, dragon is a kind of particularly ferocious animal. In many cases, western literature describes the dragon as a monster to be eradicated by the hero.”(Huang Yongyuan and Zhangjing 2011:238)&lt;br /&gt;
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中国龙可以说是中国人的最爱。在西方世界，龙在希腊语中叫Drakon，在英语中叫dragon，在拉丁语中叫Draco。龙在西方是贬义词，是邪恶的象征。在西方神话中，龙是让人恐惧的恶魔。《圣经》把龙说成是恶魔，与神相对的恶魔撒旦则称为“巨龙”；古龙是魔鬼，或撒旦。从生物学的角度来看，龙是一种特别凶猛的动物。在许多情况下，西方文学把龙描写成了一种需要英雄铲除的怪物。”(黄永元、张静，2011:238)--[[User:Ding Daifeng|Ding Daifeng]] ([[User talk:Ding Daifeng|talk]]) 03:06, 31 October 2020 (UTC)&lt;br /&gt;
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==Fang Jieling 方洁玲==&lt;br /&gt;
Apart from the examples above, there are still many example containing different meanings in different countries because of cultural differences. For example, the color “red” represents happiness, auspiciousness and success. This is because the color red came from the sun. Ancient Chinese people worshiped the sun. Thus, when getting married, Chinese bride’s wedding dress is red. People will hang red lanterns and paste red couplets in Spring festival. However, in western countries, although they have words like, “red-letter day” and “the red carpet”, which contain positive meanings, the color “red” is a kind of taboo.&lt;br /&gt;
==Gan Fengyu 甘奉玉==&lt;br /&gt;
In English, the color “red” is the association of fire and blood. It represents the radical and violent revolutions. So many English phrases containing red have negative meaning, like red-headed, red-light district, red-handed, red ruin, red ink, in the red etc. Similarly, the color “white” contains different meanings in the East and the West. In western countries, white means innocence, honesty, kindness and so on. When getting married, the bride will white wedding dress.&lt;br /&gt;
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在英语中，“红色”与火和血液相关，代表激进暴力革命。所以，很多含有“红色”的英语句子都有消极意义，比如 red-headed(生气的)，red-light district(红灯区)，red-handed(血淋淋的，当场抓获)，red ruin(火灾)，red ink(财政赤字)，in the red(负债亏空)等。同样，“白色”在东西方国家的意义也不尽相同。在西方国家，白色意味着纯洁，诚实，善良等。新娘结婚时就会穿白色婚纱。--[[User:Gan Fengyu|Gan Fengyu]] ([[User talk:Gan Fengyu|talk]]) 12:58, 29 October 2020 (UTC)&lt;br /&gt;
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在英语中，“红色”与火和血液有关，它代表着激进的暴力革命。因此，许多包含“红色”的英文词组都含有消极意义，如red-headed（急躁的），red-light district（红灯区，即城镇中的妓院区），red-handed（手染血的，正在作案的），red ruin（火灾），red ink（赤字），in the red（亏损）等。与此相似的是，“白色”在东、西方国家的意义也不尽相同。它在西方国家意味着纯洁、诚实、善良等。结婚时，新娘会穿白色婚纱。--[[User:Zeng Liang|Zeng Liang]] ([[User talk:Zeng Liang|talk]]) 13:33, 29 October 2020 (UTC)&lt;br /&gt;
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==Gao Mingzhu 高明珠==&lt;br /&gt;
Although the color white contains the meaning of purity and innocence, like “白衣天使”(white angel) which represents doctors and nurses in Chinese, white is a kind of taboo color in China. The color white represents death and ill omen. When a family member died, they will hang white cloth inside and outside the house. We can also realize the different meanings of the same word in different countries. For instance, the word “狗”(dog) contains a negative meaning. However, in western countries, dog always contains a positive meaning, like a lucky dog.&lt;br /&gt;
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尽管白色有纯洁、无辜之意，例如“白衣天使”四字在汉语中就代表医护人员，但白色在中国是一种禁忌色，它代表着死亡以及疾病的征兆。如果有人去世，其家人会在房子内外挂上白布。由此我们也可以意识到，同一词汇在不同的国家有着不同的意思。例如，汉字“狗”带有贬义。然而在西方国家，狗通常是褒义词，如“a lucky dog”意为“幸运儿”。--[[User:Gao Mingzhu|Gao Mingzhu]] ([[User talk:Gao Mingzhu|talk]]) 13:47, 30 October 2020 (UTC)Gao Mingzhu&lt;br /&gt;
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尽管白色含有纯洁和天真之意，如汉语中形容医护人员的词语“白衣天使”，但在中国，白色是很忌讳的，它通常表示死亡和不祥之兆。当亲人离世，其家人会在屋里屋外悬挂白布。在不同国家，同一词语的含义也不尽相同。如汉字“狗”带有贬义。但在西方国家，狗是褒义词，如“a lucky dog”（幸运儿）。&lt;br /&gt;
--[[User:Chen Yongxiang|Chen Yongxiang]] ([[User talk:Chen Yongxiang|talk]]) 12:04, 31 October 2020 (UTC)&lt;br /&gt;
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==Gong Yumian 龚钰冕==&lt;br /&gt;
'''3 Approaches to Translate Culture-loaded Words'''&lt;br /&gt;
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Under the great progress of globalization, different cultures have more accesses to communicate with each other. According to Eugene Nida, “Translating consists in reproducing in the receptor language the closest natural equivalent of the source-language message, first in terms of meaning and secondly in terms of style.” (Nida Eugene A and Charles Taber R 1969:13) “Ordinarily speaking, there are three approaches to translate culture-loaded words, namely foreignization, domestication and translation compensation.&lt;br /&gt;
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3.文化负载词的翻译方法&lt;br /&gt;
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在全球化的巨大进步下，不同文化之间有更多的交流机会。 根据尤金·奈达（Eugene Nida）的说法，“翻译是指在译语中用最切近而又自然的对等语再现原语的信息，首先在语义上，其次在文体上。” （尤金·奈达和查尔斯·泰伯（Charles Taber R）1969：13）“通常来说，翻译文化负载词的方法有三种，即异化，归化和翻译补偿。--[[User:Gong Yumian|Gong Yumian]] ([[User talk:Gong Yumian|talk]]) 04:40, 29 October 2020 (UTC)&lt;br /&gt;
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3.文化负载词的翻译方法&lt;br /&gt;
在全球化的巨大影响之下，不同的文化之间的交流变得更加频繁。根据尤金·奈达来说“翻译包括以接受者的语言来再现源语言消息的最接近的自然等价物，首先是在含义方面，其次是在风格方面。” （Nida Eugene A和Charles Taber R 1969：13）“通常来说，翻译文化单词的方法有三种，即异化，归化和翻译补偿。--[[User:Han Wanzhen|Han Wanzhen]] ([[User talk:Han Wanzhen|talk]]) 07:06, 29 October 2020 (UTC)&lt;br /&gt;
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==Gu Dongfang 顾东方==&lt;br /&gt;
The translation of culture-loaded words belongs to the micro aspect of cultural translation. In the context of globalization, the fundamental standpoint of exploring the translation approach is to preserve the unique cultural significance carried by culture-loaded words, which determines that we should use foreignization and translation compensation as the main translation approaches to translation culture-loaded words”.(Wang Xiang 2017:75)&lt;br /&gt;
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文化负载词的翻译属于文化翻译的微观方面。在全球化的背景下，探索翻译方法的根本立场是要保留文化负载词所承载的独特文化意义，这就决定了我们应该将外化和翻译补偿作为翻译文化负载词的主要翻译方法。&amp;quot;(王翔 2017:75)&lt;br /&gt;
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翻译文化负载词属于文化翻译的微观方面。在全球化背景下，保留文化负载词所承载的独特文化意义，是我们在探究翻译方法时的基本立场，所以我们翻译文化负载词时，应该把异化和翻译补偿作为主要翻译方法。&amp;quot;--[[User:Gan Fengyu|Gan Fengyu]] ([[User talk:Gan Fengyu|talk]]) 12:34, 29 October 2020 (UTC)&lt;br /&gt;
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==Guan Qinqing 管钦清==&lt;br /&gt;
'''3.1 Foreignization'''&lt;br /&gt;
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Venuti(1995: 20) considers the foreignizing method to be ‘an ethnodeviant pressure on target language cultural values to register the linguistic and cultural difference of the foreign text, sending the reader abroad’. It is ‘highly desirable’, he says, in an effort ‘to restrain the ethnocentric violence of translation’. In other words, the foreignizing method can restrain the ‘violently’ domesticating cultural values of the English-language world.&lt;br /&gt;
==Gui Yizhi 桂一枝==&lt;br /&gt;
The foreignizing method of translating, a strategy Venuti also terms ‘resistancy’ (1995: 305-6), is a non-fluent or estranging translation style designed to make visible the presence of the translator by highlighting the foreign identity of the ST and protecting it from the ideological dominance of the target culture.&lt;br /&gt;
Foreignization can preserve the uniqueness of the source language’s culture because respecting the source language culture is starting point. Compared with domestication approach, foreignization considers more about the source language’s cultural background and is more faithful to the source language’s culture. &lt;br /&gt;
==Guo Lu 郭露==&lt;br /&gt;
It can keep the exotic flavor of the source language text. However, foreignization is not a perfect translation approach. If the translation doesn’t pay enough attention, the foreignization approach will be abused easily. If the translator misuse the foreignization approach, the target text will be awkward and hard to understand.&lt;br /&gt;
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异化能保存源文文本的特有风格。然而，异化也不是万能的，一不小心就容易使用不当。而一旦没有用好异化，译文就会变得晦涩难懂。--[[User:Guo Lu|Guo Lu]] ([[User talk:Guo Lu|talk]]) 07:42, 28 October 2020 (UTC)&lt;br /&gt;
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异化能够保留原文本的异域特色。然而，异化也不是万能的，译者稍不注意就会误用，导致原文本晦涩难懂。--[[User:Li Liqin|Li Liqin]] ([[User talk:Li Liqin|talk]]) 08:08, 28 October 2020 (UTC)&lt;br /&gt;
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尽管异化能够保留原文的异国特色，但是它不算是一个完美的翻译发法。如果稍不注意，异化就会被译者滥用。甚者，出现误用的话，译文就会变得晦涩难懂。--[[User:Han Haiyang|Han Haiyang]] ([[User talk:Han Haiyang|talk]]) 08:21, 30 October 2020 (UTC)&lt;br /&gt;
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==Han Haiyang 韩海洋==&lt;br /&gt;
The food culture contains great national characteristics. It shows the creative spirit and unique style of the Chinese nation. The words related to the food culture are rich in Chinese culture. Many examples of using foreignization approach can be found in the translation of traditional Chinese food. Firstly, the translation of traditional Chinese food can be related to Chinese allusions. Let’s take the translation of Yuanxiao or Tang-yuan(glue pudding) as an example.&lt;br /&gt;
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中国美食文化具有极强的民族特色，它展现了中国的创造精神和独特的风格。中国文化里有许多与美食文化相关的词汇，它们大多数在翻译中都会采用异化的翻译方法。首先，传统中国美食的翻译和中国典故有极大的联系。就拿元宵或者汤圆来举例。--[[User:Han Haiyang|Han Haiyang]] ([[User talk:Han Haiyang|talk]]) 08:13, 30 October 2020 (UTC)&lt;br /&gt;
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饮食文化具有很强的民族特色。体现了中华民族的创造精神和独特风格。在中国文化中，与饮食文化有关的词汇非常丰富。在中国传统食品的翻译中，运用异化翻译方法的例子很多。首先，中国传统食物的翻译会与中国典故有关。让我们以“汤圆”的翻译为例。--[[User:Wensixing|Wensixing]] ([[User talk:Wensixing|talk]]) 09:56, 30 October 2020 (UTC)&lt;br /&gt;
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饮食文化极具民族特色。它展示了中华民族的创新精神和独特风格。在中国文化中，有许多与饮食文化相关的词汇。在中国传统食物的翻译中，可以找到许多使用异化法来翻译的例子。首先，中国传统食物的翻译可能与中国典故有关。让我们以元宵或汤圆的翻译为例。--[[User:Ding Daifeng|Ding Daifeng]] ([[User talk:Ding Daifeng|talk]]) 03:12, 31 October 2020 (UTC)&lt;br /&gt;
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饮食文化极具民族特色。它展示了中华民族的创新精神和独特风格。中国文化中关于美食的词汇极其丰富。我们在传统食物翻译中可以找到很多异化翻译的例子。首先，这些翻译都与中国典故有关。让我们先以元宵（或者汤圆）举例。--[[User:Liu Zhiwei|Liu Zhiwei]] ([[User talk:Liu Zhiwei|talk]]) 08:51, 31 October 2020 (UTC)&lt;br /&gt;
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==Han Wanzhen 韩宛真==&lt;br /&gt;
“It’s said that a lady-in-waiting called Yuanxiao during the Han dynasty missed her parents so much that she cried with tears in her face every single day. In order to help her, a minister named Dongfang Shuo lied to Emperor of the Han dynasty that the god of fire with the order of the Jade Emperor would burn Changan(the Capital of China in Han dynasty) on the 15th of the first lunar month. The solution to avoid this disaster was to ask the lady-in-waiting named Yuanxiao to make Tang-yuan, the favorite food of the god of fire, and to ask all the people in Changan to hang lanterns.&lt;br /&gt;
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据说,在汉朝一位名叫元宵的侍女，非常想念她的父母，以至于她每天以泪洗面。为了帮助她，一位名叫东方朔的大臣向皇帝撒谎，说火神接到玉皇大帝的命令将会在农历正月十五烧掉长安（汉朝中国的首都）。避免这个灾难的解决方法是：让这个名叫元宵的女士制作火神最喜欢的事物汤圆，并且要求长安所有人挂灯笼。--[[User:Han Wanzhen|Han Wanzhen]] ([[User talk:Han Wanzhen|talk]]) 07:01, 29 October 2020 (UTC)&lt;br /&gt;
据说汉代有个叫元霄的侍女，非常想念自己的父母，每天都哭得泪流满面。有一位叫东方朔的大臣为了帮助她，于是向汉朝皇帝撒谎说，火神奉玉帝之命，将于正月十五焚烧长安（汉朝首都）。避免这场灾难的解决办法就是让那个叫元霄的侍女做火神最爱吃的汤圆，并让长安所有的人都挂灯笼。--[[User:Jiang Hao|Jiang Hao]] ([[User talk:Jiang Hao|talk]]) 07:48, 29 October 2020 (UTC)&lt;br /&gt;
据说在汉代有位叫做元宵的侍女因为过度思念父母而终日以泪洗面。一位名为东方朔的大臣为了帮助她而向皇上撒谎道，火神奉玉皇大帝的旨意，将于正月十五于长安（汉朝的首都）纵火。解决办法就是让这位叫做元宵的侍女做汤圆-火神最喜欢的食物- 并且要全长安的老百姓都悬挂灯笼。--[[User:Fancy|Fancy]] ([[User talk:Fancy|talk]]) 09:00, 29 October 2020 (UTC)&lt;br /&gt;
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==He Changqi 何长琦==&lt;br /&gt;
Emperor Wu approved this plan. Finally, the girl named Yuanxiao met her parents. Thus, the tradition of Lantern Festival ( pronounced Yuanxiao Jie in Chinese, “jie” in Chinese means festival) appeared.” ( Xu Xianling and Li Xiangzhaung 2005:230) Therefore, if we translate the Chinese food “元宵” into Yuanxiao by the foreignization approach instead of translating into the glue pudding, the special Chinese culture in the food can be preserved well.&lt;br /&gt;
==Hu Baihui 胡百辉==&lt;br /&gt;
Secondly, the translation of Chinese food can be related to Chinese customs. Chinese people eat special traditional food in special Chinese festivals. For instance, people will eat double-ninth cake on the Double Ninth Festival. The Double Ninth Festival is on the 9th day of the 9th lunar month. The translation of double-ninth cake can keep the traditional Chinese culture well. Thirdly，the translation of traditional Chinese food can be related with Chinese people’s appreciation of beauty.&lt;br /&gt;
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其次，中餐名的翻译与中国的风俗习惯有关。中国人在特殊的中国节日吃特殊的传统食物。例如，人们会在重阳节吃重阳糕。重阳节在农历九月初九。重阳糕的翻译能很好地保留中国传统文化。第三，中国传统美食的翻译与中国人的审美情趣有关。--[[User:Hu Baihui|Hu Baihui]] ([[User talk:Hu Baihui|talk]]) 07:25, 28 October 2020 (UTC)&lt;br /&gt;
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第二，中餐名的翻译与风俗习惯息息相关。中国人在重要的节日里会吃特定的传统食物。例如，在农历九月初九也就是重阳节吃重阳糕。重阳糕的名称的翻译很好地保留了中国传统文化。第三，中国传统美食的翻译还与中国人的审美情趣有关。--[[User:Guo Lu|Guo Lu]] ([[User talk:Guo Lu|talk]]) 07:45, 28 October 2020 (UTC)&lt;br /&gt;
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==Hu Huifang 胡慧芳==&lt;br /&gt;
For example, “the Chinese cuisine ‘鸟语花香’, can be translated into ‘Singing Birds and Fragrant Flowers(Steamed mandarin fish and bird-shaped shrimps)’’ and ‘青龙过海’ can be translated into ‘Green Dragons Crossing the Sea(Soup with green onion)’”. (Zhang Jiachen 2014:106) By using the foreignization approach, this kind of translation can preserve the beautiful image of these cuisines and the explanatory note can also prevent foreigners from being confused. What’s more, the translation of some Chinese cuisine can be related to the traditional Chinese medical science.&lt;br /&gt;
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例如，“中国菜'鸟语花香'可以翻译成'唱歌的鸟和香花（（鱼和鸟形虾）'，'青龙过海'可以翻译成'绿色的龙穿越大海'（ 葱汤）'”。 （张家臣2014：106）通过使用异化方法，这种翻译可以保留这些美食的美丽形象，解释性说明也可以防止外国人感到困惑。 而且，某些中餐的翻译可能与传统中医科学有关。--[[User:Hu Huifang|Hu Huifang]] ([[User talk:Hu Huifang|talk]]) 08:48, 28 October 2020 (UTC)&lt;br /&gt;
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例如，“中国菜'鸟语花香'可以翻译成'唱歌的鸟和芬芳的花（（鱼和鸟形虾）'，'青龙过海'可以翻译成'青色的龙穿越大海'（ 葱汤）'”。 （张家臣2014：106）异化保留了这些美食的优美意象，通过解释说明菜名，外国人也不会感到困惑。 此外，某些中餐的翻译可能与传统中医科学有关。--[[User:Yao Cheng|Yao Cheng]] ([[User talk:Yao Cheng|talk]]) 11:37, 28 October 2020 (UTC)&lt;br /&gt;
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==Hu Jin 胡瑾==&lt;br /&gt;
For example, “‘八珍食品’ can be translated into ‘Eight Delicacies (Stimulate your baby’s appetite and better his or her growth) and ‘当归生姜羊肉汤’ can be translated into ‘ Angelica Ginger Lamb Soup(Replenish your blood and warm your spleen and stomach)’”.  (Zhang Jiachen 2014:106) Translating in this way can pass the traditional Chinese medical culture to readers.&lt;br /&gt;
==Ji Tiantian 纪甜甜==&lt;br /&gt;
Although the foreignization approach can be of great help to pass the source language’s culture to the target readers, it requires the translator’s great knowledge between the two cultures. Therefore, translators have to do a good preparation before translating.&lt;br /&gt;
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'''3.2 Translation compensation'''&lt;br /&gt;
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George Steiner divides the process of translation into four parts and “By ensuring the translation is possible, compensation is the last step in the whole procedure”.(2001: 176) It should be acknowledged that translation compensation occurs and accompanies translation activity as early as cultural difference exists. It possesses a history as long as translation activity does.&lt;br /&gt;
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异化在帮助译者更好地向读者传递源语文化的同时，要求译者精通两种文化。因此，译者在译前必须做好充足的准备。&lt;br /&gt;
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3.2 翻译补偿&lt;br /&gt;
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乔治·斯坦纳把翻译过程分成四个部分，“为确保翻译的合理性，补偿成为翻译的最后一步”。（2001：176）早在文化差异产生之初，翻译补偿就伴随着翻译活动应运而生。只要有翻译活动，就会有翻译补偿。--[[User:Ji Tiantian|Ji Tiantian]] ([[User talk:Ji Tiantian|talk]]) 10:58, 30 October 2020 (UTC)&lt;br /&gt;
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虽然异化法对于将源语言文化传递给读者颇具成效，但是此法也要求译者具有丰富的双语文化知识。因此，在翻译之前，译者需要做好充足的准备。&lt;br /&gt;
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3.2翻译补偿法&lt;br /&gt;
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乔治·斯坦纳将翻译的过程分为四个部分。“要确保翻译的可行性，补偿法是整个过程的最后一步”（2001：176）。应该认识到，补偿法出现在翻译活动中，并且伴随着翻译活动，与文化差异的存在一样早。与和翻译活动一样，它确实有着久远的历史。--[[User:Chang Huiyue|Chang Huiyue]] ([[User talk:Chang Huiyue|talk]]) 11:15, 30 October 2020 (UTC)&lt;br /&gt;
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==Jiang Fengyi 蒋凤仪==&lt;br /&gt;
Scholar Mona Baker holds the view that compensation is a translation skill, which can be applied when “target language is impossible to directly make up for the losses in meaning, language style or emotional force”.(1992: 33) Due to the translation difficulties caused by cultural default and cultural differences, translators have to employ different compensation strategies to make sure their translation outcome can be totally understood by the TL readers. Hervey and Higgins divided translation compensation mainly into four kinds, namely compensation in kind, compensation by splitting, compensation by merging and compensation in place.&lt;br /&gt;
==Jiang Hao 姜好==&lt;br /&gt;
The translation compensation approach can be often used to translate the name of Chinese teas. China is the birthplace of tea culture. The record about tea appeared in the era of Shennong about 4700 years ago. Since ancient times, the tradition of providing to guests has been preserved. There are various kinds of teas in China like Longjing tea from Hangzhou , Oolong tea from Fujian etc. Chinese tea culture are also involved in Chinese Confucianism, Buddhism, Taoism and so on. Chinese tea culture is a treasure in traditional Chinese culture.&lt;br /&gt;
翻译补偿法常用于中国茶名的翻译。中国是茶文化的发源地。关于茶的记载出现在距今约4700年前的神农时代。自古以来，中国一直保留着邀请客人品茶的传统。中国的茶叶种类繁多，如杭州的龙井茶、福建的乌龙茶等。中国茶文化还涉及中国儒家、佛教、道教等。中国茶文化是中国传统文化中的瑰宝。--[[User:Jiang Hao|Jiang Hao]] ([[User talk:Jiang Hao|talk]]) 07:44, 29 October 2020 (UTC)&lt;br /&gt;
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翻译补偿法常用于翻译中国茶名。中国是茶文化的发源地。关于茶的最早文字记载来自距今约4700年前的神农时代。自古以来，中国一直保留着以茶待客的传统。中国的茶叶种类繁多，有杭州的龙井茶、福建的乌龙茶等。中国茶文化还涉及中国儒家、佛教、道教等文化。茶文化是中国传统文化的瑰宝。--[[User:Kang Haoyu|Kang Haoyu]] ([[User talk:Kang Haoyu|talk]]) 15:46, 29 October 2020 (UTC)&lt;br /&gt;
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==Jiang Qiwei 蒋淇玮==&lt;br /&gt;
Chinese and English belong to different language systems. There are great differences between the two languages. Due to the different social environment , life style and vocabulary, sometimes it is impossible for translators to achieve complete equivalence. Chinese people’s ways to name teas are various. Sometimes, the Chinese character “茶” (tea in English) doesn’t even exit in the name of a tea. For example, some teas exhibited in the China Tea Museum in Hangzhou, like “羊岩勾青”(Yangyan Gouqing), “庐山云雾”(Lushan Yunwu), the names of these teas don’t contain the character of tea. &lt;br /&gt;
==Kang Haoyu 康浩宇==&lt;br /&gt;
If translators show the English names of these teas to the target readers without explanation, readers may feel confused. Sometimes, the names of some teas are the same as the names of other stuff. For example, “ ‘茉莉花茶’ is translated into Jasmine Tea. This kind of translation mixes the tea name with the flower name. Actually, ‘茉莉花茶’ is a kind of green tea which has the aroma of jasmine. Some kind of ‘茉莉花茶’ contains jasmine flower, some don’t. Similarly, ‘竹叶青’ is translated into Bamboo Leaf Green and ‘玉露’ is translated into Jade Dew.&lt;br /&gt;
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如果译者在不加解释的情况下向目标读者展示这些茶的英文名称，读者可能会感到困惑。一些情况下，某些茶的名字和其他事物的名字是一样的。例如，“茉莉花茶”被翻译成“Jasmine Tea”。这种翻译把茶名和花名混在一起。实际上，茉莉花茶是一种有茉莉花香的绿茶。有些茉莉花茶含有茉莉花，而有些却没有。同样，“竹叶青”被翻译成“Bamboo Leaf Green”，“玉露”被翻译成“Jade Dew”。--[[User:Kang Haoyu|Kang Haoyu]] ([[User talk:Kang Haoyu|talk]]) 15:37, 29 October 2020 (UTC)&lt;br /&gt;
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如果译者不对这些茶的英文名称加以解释，读者可能会感到疑惑。一些情况下，某些茶的名字其实取自别的事物。例如，“茉莉花茶”被翻译成“Jasmine Tea”。这种翻译把茶名和花名混在一起。实际上，茉莉花茶是一种有茉莉花香的绿茶。有些茉莉花茶含有茉莉花，而有些却没有。同样，“竹叶青”被翻译成“Bamboo Leaf Green”、“玉露”被翻译成“Jade Dew”也是不准确的。--Ouyang Ling&lt;br /&gt;
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==Kang Lingfeng 康灵凤==&lt;br /&gt;
Although the translation of these names of teas used the literal translation approach and realized the verbal equivalence, translators neglected the features of the teas. This kind of translation will mislead the target reader to think of ‘竹叶青’ as the tea made of bamboo leaves and ‘玉露’ as the tea made of jade and dew, which is totally impossible”. (Cui Shan 2019:125) The translation of tea names is also a part of intercultural communication. It can directly influence the transmission of Chinese culture in the world and can also influence the business result.&lt;br /&gt;
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即使茶名的翻译采用直译法，实现了言语对等，但是译者忽视了茶的特点，这种翻译会误导目标读者把“竹叶青”看作是竹叶制成的茶，把“玉露”看作是美玉和露珠制成的茶，这是完全不可能的。(崔山 2019: 125)茶名的翻译也是跨文化交际的一部分，它能够直接影响中国文化在世界的传播，也可以影响商业结果。--[[User:Kang Lingfeng|Kang Lingfeng]] ([[User talk:Kang Lingfeng|talk]]) 13:43, 30 October 2020 (UTC)&lt;br /&gt;
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==Kong Xianghui 孔祥慧==&lt;br /&gt;
If a translator doesn’t pay enough attention to the cultural differences, it may lead to bad consequences. For example, a Chinese tea called “龙虎斗” was translated into “The Fighting Between Dragon and Tiger ”.Although the translation kept the verbal meaning of the tea, it violated the western taboo. This is because dragon is referred as a kind of evil and fierce beast. A reader without the knowledge of Chinese culture will have the image of two fierce beasts fighting and killing each other when reading the translation of the tea.&lt;br /&gt;
翻译人员如果不够关注文化差异，就可能会导致一些不良后果。例如，一种名为“龙虎斗”的中国茶被翻译为“The Fighting Between Dragon and Tiger ”。这种翻译尽管保留了茶的字面意义，但它却违反了西方的禁忌。因为龙在西方被认为是一种邪恶且凶猛的野兽。所以当不了解中国文化的读者看到这个翻译时想到的是两只凶猛的野兽互相搏斗残杀的画面。--[[User:Kong Xianghui|Kong Xianghui]] ([[User talk:Kong Xianghui|talk]]) 11:41, 28 October 2020 (UTC)&lt;br /&gt;
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如果译者对文化差异不够重视，可能会导致不良后果。例如，将一种名为“龙虎斗”的中国茶译为“The Fighting Between Dragon and Tiger”，虽然该翻译保留了这种茶的字面意义，但却违反了西方的禁忌。这是因为人们把龙视为一种邪恶而凶猛的野兽，一个不懂中国文化的读者在阅读茶的翻译时，会联想到两个凶猛的野兽互相残杀的形象。--[[User:Gong Yumian|Gong Yumian]] ([[User talk:Gong Yumian|talk]]) 02:36, 30 October 2020 (UTC)&lt;br /&gt;
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==Kong Yanan 孔亚楠==&lt;br /&gt;
The target reader will feel uncomfortable to read the name of the tea, let alone buy and drink it. “珠茶” is a kind of special tea from Shaoxing, Zhejiang Province. It is round and bullet-shaped. So it was translated into “gun power”. This kind of translation can easily make people think about the violent images of war. Therefore, when being sold to India, Indian purchasers strongly asked the seller to change the translation of the tea name.&lt;br /&gt;
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目标读者一看到这个茶名，就会感到不舒服，更不用说去买茶来喝了。“珠茶”是一种特殊的茶，产于浙江绍兴。这种茶圆圆的，形似弹丸，所以它被翻译成了“gun power”.这种翻译能轻易地使人们联想到战争中可怕的画面。因此，当这种茶在印度销售时，当地顾客强烈要求卖家换掉茶名的译法。--[[User:Kong Yanan|Kong Yanan]] ([[User talk:Kong Yanan|talk]]) 12:08, 28 October 2020 (UTC)&lt;br /&gt;
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对目的语读者来说，这个茶的译名光是读起来就让人很不舒服了，更不用说会买来喝了。“珠茶”是浙江绍兴的名茶，茶叶呈圆形，形似子弹。所以有人将其翻译成&amp;quot;gun power&amp;quot;(字面意思是“火炮的威力”).这样的翻译很容易让人想起战争中的暴力场面。因此，当“珠茶”在印度售卖的时候，当地顾客强烈要求卖家更换“珠茶”的译名。--[[User:Zhou Yiwen|Zhou Yiwen]] ([[User talk:Zhou Yiwen|talk]]) 03:17, 29 October 2020 (UTC)&lt;br /&gt;
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==Lei Fangyuan 雷方圆==&lt;br /&gt;
Due to cultural differences, sometimes literal translation cannot express the true meaning of the tea name well. During this circumstance, translator should compensate the important information under the verbal meaning of the tea name. This kind of purpose can be achieved through the explanation of connotation under the tea name. Let’s take the tea names we have mentioned in the last paragraph as an example.&lt;br /&gt;
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由于文化差异，有时直译不能较好地表达出茶名的真正含义。在这种情况下，译者应当补充字面意思下的重要信息。这种目的可以通过解释茶名的隐含意义来实现。让我们以上一段提到的茶名为例。--[[User:Lei Fangyuan|Lei Fangyuan]] ([[User talk:Lei Fangyuan|talk]]) 10:49, 29 October 2020 (UTC)&lt;br /&gt;
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由于文化差异，有时直译不能很好地表达茶名的真谛。在这种情况下，译者应该对茶名的字面意义的重要信息进行补充。这可以通过阐释茶名的隐含意义来实现。让我们以上一段提到的茶名为例。--[[User:Li LIli|Li LIli]] ([[User talk:Li LIli|talk]]) 13:22, 29 October 2020 (UTC)Li Lili&lt;br /&gt;
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==Lei Kuangxi 雷旷溪==&lt;br /&gt;
According to the background information of the tea “玉露”, “ the shape of the tea is round and its color is white like jade. So it’s better to translate ‘玉露’ into ‘Jade-green Tea’ instead of ‘Jade Dew’”. (Cui Shan 2019:126) This kind of translation can show the color and type of the tea. It is more acceptable and less confusing for the target readers.&lt;br /&gt;
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根据“玉露”茶的背景信息，“这种茶叶的形状是圆的，并且其颜色洁白如玉石，所以最好是把玉露茶翻译为 ‘Jade-green Tea’ 而不是 ‘Jade Dew’”。(Cui Shan 2019:126)这样翻译可以展示出茶的颜色和种类。这也让受众读者们更容易理解和接受，也减少了混淆茶类的几率。--[[User:Lei kuangxi|Lei kuangxi]] ([[User talk:Lei kuangxi|talk]]) 05:17, 30 October 2020 (UTC)Lei Kuangxi&lt;br /&gt;
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根据“玉露”茶的背景信息，“这种茶的形状是圆的，且其颜色洁白如玉，所以最好是把玉露茶翻译为 ‘Jade-green Tea’ 而不是 ‘Jade Dew’”。(Cui Shan 2019:126)这样翻译可以展示出茶的颜色和种类。这也让受众读者们更容易接受且不至于太困惑。--[[User:Si Yu|Si Yu]] ([[User talk:Si Yu|talk]]) 13:12, 31 October 2020 (UTC)&lt;br /&gt;
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==Li Haiquan 李海泉==&lt;br /&gt;
Similarly, “‘茉莉花茶’ can be translated into ‘Jasmine Scented Tea’ instead of ‘Jasmine Tea’ and ‘竹叶青’ can be translated into ‘Bamboo-Leaf-Shaped Green Tea’ instead of ‘Bamboo Leaf ’”. (Cui Shan, 2019:126) “Jasmine Scented Tea” can show the true features of the tea and distinguish the tea from jasmine flower. And “Bamboo-Leaf-Shaped Green Tea” can tell the target readers the type and features of the tea and stop misleading readers to think of it as the tea made of bamboo leaves.&lt;br /&gt;
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同样,“茉莉花茶”可以翻译成“Jasmine Scented Tea”,而不是“Jasmine Tea”;“竹叶青”可以翻译成“Bamboo-Leaf-Shaped”,而不是“Bamboo Leaf”。(崔山2019:126)“Jasmine Scented Tea”译文可以体现茶的真实特征，并将茶与茉莉花区分开来。而“Bamboo-Leaf-Shaped Green Tea”译文可以告诉目标读者茶叶的类型和特点，而避免读者误认为竹叶青是竹叶制成的。--[[User:Li Haiquan|Li Haiquan]] ([[User talk:Li Haiquan|talk]]) 12:09, 28 October 2020 (UTC)&lt;br /&gt;
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==Li Lili 李丽丽==&lt;br /&gt;
'''4 Untranslatability of Culture-loaded Words'''&lt;br /&gt;
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Catford thought that untranslatability is caused by the target language’s lack of lexical or syntactical substitute. Different languages differ from each other in the phonetic, grammatical, semantic, pragmatic aspect etc. When translating culture-loaded words, it is hard for translator to translate the culture behind these words in a perfect way. For example, “纸老虎” is translated into “Paper Tiger” in English.&lt;br /&gt;
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‘4种文化相关词的不可译性’&lt;br /&gt;
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卡特福德认为，不可译性是由于目的语缺乏词汇或句法替代物造成的。不同的语言在语音、语法、语义、语用等方面都存在差异，在翻译文化相关词时，译者很难完美地翻译这些词背后的文化。例如，“纸老虎”在英语中被翻译成“纸老虎”。--[[User:Li LIli|Li LIli]] ([[User talk:Li LIli|talk]]) 13:16, 29 October 2020 (UTC)Li Lili&lt;br /&gt;
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4.文化负载词的不可译性&lt;br /&gt;
卡特福德认为不可译性是由目标语中缺少词法或句法替代物造成的。不同的语言在语音、语法、语义、语用等方面都不相同。当翻译文化负载词时，译者要想完美地译出词语背后的文化含义是很难的。例如：“纸老虎”就被直译成英语“Paper Tiger”。--[[User:Majuan|Majuan]] ([[User talk:Majuan|talk]]) 12:23, 30 October 2020 (UTC)&lt;br /&gt;
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==Li Lingyue 李凌月==&lt;br /&gt;
But if people don’t have a knowledge of Chinese culture, when they read the phrase “paper tiger”, they will think of it as a kind of artistic work. Similarly, “八股文” is translated into “Eight-part Essay”. When people read this kind of translation, they will only think of it as a kind of article containing eight parts. They cannot understand the moral imprisonment this kind of writing style brought to Chinese people.&lt;br /&gt;
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但是，如果人们不了解中国文化，当他们读到“纸老虎”这个词时，他们会认为它是一种艺术作品。同样，“八股文”也被翻译成“八章文”。当人们读到这种翻译时，他们只会把它看作是一篇包含八个部分的文章。他们无法理解这种写作风格给中国人带来的道德禁锢。--[[User:Li Lingyue|Li Lingyue]] ([[User talk:Li Lingyue|talk]]) 04:09, 31 October 2020 (UTC)&lt;br /&gt;
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但是，如果人们不了解中国文化，当他们读到“纸老虎”这个词时，他们会认为它是一种艺术作品。同样，“八股文”也被翻译成“八段话的文章”。当人们读到这种翻译时，他们只会把它看作是一篇包含八个部分的文章。他们无法理解这种写作风格给中国人带来的道德禁锢。--[[User:Li Meng|Li Meng]] ([[User talk:Li Meng|talk]]) 04:19, 31 October 2020 (UTC)&lt;br /&gt;
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==Li Liqin 李丽琴==&lt;br /&gt;
When the famous sinologist David Hawkes was translating the famous Chinese novel ''A Dream of Red Mansions'', he translated a servant girl in the novel called “紫鹃” into “Nightingale” instead of “cuckoo”. This is because the word “cuckoo” in western countries can be used to refer the woman who cheated in a relationship. In the novel, “紫鹃” is a quite innocent girl.&lt;br /&gt;
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在翻译中国著名小说《红楼梦》时，著名汉学家大卫·霍克斯把书中一个名为“紫娟”的女仆翻译成“夜莺(nightingale)”而不是“杜鹃(cuckoo)”。他这样做的原因是，在西方国家，“杜鹃(cuckoo)”通常指在感情中背信弃义的女方，而《红楼梦》中的“紫娟”是个天真烂漫的女孩儿。--[[User:Li Liqin|Li Liqin]] ([[User talk:Li Liqin|talk]]) 08:39, 28 October 2020 (UTC)&lt;br /&gt;
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著名汉学家大卫·霍克斯在翻译中国著名小说《红楼梦》时，把书中一个名为“紫娟”的女仆翻译成“夜莺(nightingale)”而不是“杜鹃(cuckoo)”。他之所以如此翻译是因为在西方国家，“杜鹃(cuckoo)”通常指在感情中背信弃义的女方，而《红楼梦》中的“紫娟”却是个天真无邪的女孩儿。--[[User:Kong Xianghui|Kong Xianghui]] ([[User talk:Kong Xianghui|talk]]) 11:52, 28 October 2020 (UTC)&lt;br /&gt;
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==Li Luyi 李璐伊==&lt;br /&gt;
So the word “cuckoo”, although is literally equivalent to “紫鹃”, it was still not chosen by David Hawkes to be the girl’s name. In English, “nightingale” refers to a small brown bird, the male of which has a beautiful song. It can also refer people who can sing beautifully. Although the translator avoided cultural conflict by translating “紫鹃” into “Nightingale”, “nightingale” still cannot show the innocence of that girl.&lt;br /&gt;
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因此，“杜鹃（cuckoo）”一词虽然在字面上相当于“紫鹃”，但大卫·霍克斯并未将其作为那个女孩的名字。在英语中，“夜莺（nightingale）”指的是一种棕色的小鸟，其雄鸟的鸣唱婉转动人，所以它也可以指那些歌声动听的人。尽管译者通过将“紫鹃”译为“夜莺”来避免了文化冲突，但“夜莺（nightingale）”仍然无法体现出那个女孩的天真无邪。--[[User:Li Luyi|Li Luyi]] ([[User talk:Li Luyi|talk]]) 10:08, 30 October 2020 (UTC)&lt;br /&gt;
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==Li Meng 李梦==&lt;br /&gt;
Sometimes, translators will borrow words from other cultures to help themselves translate better. For example, translators translate “a beauty in ancient China named Xi Shi into ‘Chinese Cleopatra’. However, Cleopatra is more like the first and the only female emperor in Chinese history Wu Zetian in Chinese people’s mind to western people.&lt;br /&gt;
有时,翻译者会借用其他文化中的词汇来帮助自己更好地翻译。 例如,翻译家将&amp;quot;中国古代的美女西施翻译成'中国的埃及艳后'。 然而,在西方人的心目中,埃及艳后更像中国历史上第一位也是唯一一位女皇帝——武则天。--[[User:Li Meng|Li Meng]] ([[User talk:Li Meng|talk]]) 04:13, 31 October 2020 (UTC)&lt;br /&gt;
有时，译者会借用其他文化的词汇来帮助自己更好地翻译。例如，译者把“中国古代一位名叫西施的美人”翻译成“中国埃及艳后”。但是，对于西方人来说，埃及艳后更像是中国历史上第一位也是唯一一位女性皇帝武则天。--[[User:Li Lingyue|Li Lingyue]] ([[User talk:Li Lingyue|talk]]) 04:18, 31 October 2020 (UTC)&lt;br /&gt;
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==Li Yongshan 李泳珊==&lt;br /&gt;
In Chinese phrase ‘蝙蝠迎宾’， the word ‘蝙蝠’ is translated into ‘bird’ in English instead of ‘bat’. This is because bat represents vampires in western culture. This kind of translation avoided the violation of western taboo. But it also doesn’t translate the inner ‘happiness’ behind the phrase in Chinese culture.”(Chen Junming 2013:29)&lt;br /&gt;
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==Li Yu 李玉==&lt;br /&gt;
Catford thought the cultural untranslatability was caused by the lack of the target target culture’s relevant situational features to the source language’s culture. Cultural untranslatability comes from cultural differences. Although it is hard to translate culture-loaded words into target language in a perfect way, translators still need to try to discover the translation of culture-loaded words. Translators can also add some explanations after the translated sentences or words to make the meaning and culture behind the source language text be understood by target readers.&lt;br /&gt;
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==Lin Min 林敏==&lt;br /&gt;
'''5 The Interpreter’s Translation of Culture-loaded Words'''&lt;br /&gt;
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Unlike translators, interpreters have much shorter time to translate. Sometimes, it is a great challenge for interpreters to translate in such a short time. As we have discussed above, culture-loaded words make it hard for translators to translate. So during the interpreting, it may be even harder for interpreters to translate utterances with culture-loaded words. An interpreter’s translation can be divided into three steps, namely comprehension, de-verbalization and reformulation. If an interpreter wants to interpret successfully, he should understand what the speaker has said.&lt;br /&gt;
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==Lin Xin 林鑫==&lt;br /&gt;
The interpreter will keep the content of what the speaker just said in his mind. During step two, the interpreter will forget the structure of these linguistic signs which formed what the speaker said and only remembers the ideas these linguistics signs wanted to express. During the last step, the interpreter uses another language to form new utterances to express the speaker’s ideas. The interpreter has to try to express all the information the speaker mentioned as possible and the interpreter also needs to try to make the translated language easy to be understood by target hearers.&lt;br /&gt;
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==Ling Zijin 凌子瑾==&lt;br /&gt;
The striking feature of interpreting is its timeliness. Since the interpreter’s memory is limited, interpretation is more about translating the overall meaning of the discourse. Sometimes interpreters have to identify the key information of someone’s utterances and discard the unimportant information. The approach we have discussed above can also be used to interpret. For example, the interpreter can use literal translation approach to translate.&lt;br /&gt;
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==Liu Bo 刘博==&lt;br /&gt;
By using the literal translation approach, “ ‘莫道今年春将尽，明年春色倍欢人。我期待着明年中国和世界都会变得更好’，can be translated into ‘Do not regret that the spring is departing, come next year as it will be twice as enchanting. I really hope to see that next year in China and in the whole world people will be better off.’”(Guo Huiqing 2018:94)&lt;br /&gt;
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通过使用直译法，“ '莫道今年春将尽,明年春色倍欢人.我期待着明年中国和世界都会变得更好',可以翻译为‘不要为春天的离去而遗憾，来年它将会加倍迷人’我真心希望看到，明年中国乃至全世界人民的生活会更好。”--[[User:Liubo|Liubo]] ([[User talk:Liubo|talk]]) 00:35, 30 October 2020 (UTC)&lt;br /&gt;
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依据直译法，我们可以将“ '莫道今年春将尽,明年春色倍欢人.我期待着明年中国和世界都会变得更好' 翻译成 ’不要因为春天的离去而遗憾，来年它将更加迷人。我衷心希望看到中国乃至世界人民明年生活更加美好。”--[[User:Yang Yue|Yang Yue]] ([[User talk:Yang Yue|talk]]) 01:34, 30 October 2020 (UTC)&lt;br /&gt;
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==Liu Jinxingqi 刘金惺琦==&lt;br /&gt;
It’s worth mentioning that interpreters have to translate in a limited time. So when confronting some special expression that is hard to find the equivalent in the target language. They will try to explain the meaning of these expression. For example, the interpreter can translate “ ‘山重水复疑无路，柳暗花明又一村’ into ‘After encountering all kinds of difficulties and experiencing all kinds of hardships, at the end of the day we will see light at the end of tunnel’”.(Guo Huiqing 2018:95)&lt;br /&gt;
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==Liu Liu 刘柳==&lt;br /&gt;
This expression is from ancient Chinese poet Tao Yuanming’s poem. This sentence just express the scenery of the countryside. But combing the poem with the utterances the speaker has said, the interpreter translates the sentence into the translation above. This kind of explanation approach can be often used in interpreting.&lt;br /&gt;
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这句话出自中国古代诗人陶渊明的诗。它只描述了乡村风光，但译者用诗人的说话方式来梳理这首诗，就把这句话翻译成了上述译文。这种翻译方法在口译中很常用。--[[User:Liu Liu|Liu Liu]] ([[User talk:Liu Liu|talk]]) 11:28, 29 October 2020 (UTC)&lt;br /&gt;
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这个表达出自中国古代诗人陶渊明的诗。虽然这句话只是描述了乡村的风景。但是，当把这首诗和说话人所说的话结合起来，译者就把这句话翻译成上述译文。这种翻译方法在口译中经常使用。--[[User:Liubo|Liubo]] ([[User talk:Liubo|talk]]) 00:40, 30 October 2020 (UTC)&lt;br /&gt;
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这句话出自中国古代诗人陶渊明的诗，它只描述了乡村风光。但译者结合发言人的话来理解这首诗，将这句话翻译成了上述译文。这种翻译方法在口译中经常使用。--[[User:Xu Jia|Xu Jia]] ([[User talk:Xu Jia|talk]]) 11:03, 31 October 2020 (UTC)Xu Jia&lt;br /&gt;
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==Liu Ou 刘欧==&lt;br /&gt;
Translation and interpreting share a lot in common like the approaches to translate. But interpreting has the feature of timeliness while translation doesn’t. This feature brings more challenges for interpreters to translate. It requires interpreter to have to quick response and a better sensibility to cultural differences.&lt;br /&gt;
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==Liu Yangnuo 刘洋诺==&lt;br /&gt;
'''6 Conclusion'''&lt;br /&gt;
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“Since the knowledge and beliefs that constitute a people’s culture are habitually encoded and transmitted in the language of the people, it is extremely difficult to separate the two. On the one hand, language as an integral part of human being, permeates his thinking and way of viewing the world, language both expresses and embodies cultural reality. On the other, language, as a product of culture, helps perpetuate the culture, and the changes in language uses reflect the cultural changes in return.” (Dai Weidong 2002:130)&lt;br /&gt;
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==Liu Yi 刘艺==&lt;br /&gt;
Language and culture are interdependent during the process of evolution. Language belongs to culture. Translators, who translate the information from one language to another, have the responsibility to promote the communication between different countries. A good translator can help the transmission of cultures. The cultural differences among different countries lead to different culture-loaded words in different countries. The reason why we call a culture-loaded word a culture-loaded word is because it contains the special meaning of a culture.&lt;br /&gt;
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在进化过程中，语言和文化是相互依存的。语言属于文化。翻译人员将信息从一种语言翻译成另一种语言，有责任促进不同国家之间的交流。一个好的翻译可以帮助文化的传承。由于不同国家的文化差异，导致不同国家的文化负载词不同。我们之所以称文化负载词为文化负载词，是因为它包含了一种文化的特殊含义。--[[User:Liu Yi|Liu Yi]] ([[User talk:Liu Yi|talk]]) 01:09, 30 October 2020 (UTC)&lt;br /&gt;
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语言和文化在进化过程中相互依存。语言属于文化。译者将信息从一种语言传递到另一种语言时，有责任促进不同国家间的沟通交流。一个好的译者能促进文化传播。不同国家间的文化差异使得其文化负载词也大不相同。文化负载词因囊括了文化的特殊含义而得名。--[[User:Chen Sunfu|Chen Sunfu]] ([[User talk:Chen Sunfu|talk]]) 06:20, 30 October 2020 (UTC)&lt;br /&gt;
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==Liu Yiyu 刘怡瑜==&lt;br /&gt;
It is exactly this kind of uniqueness which makes a culture different from other cultures. Although culture-loaded words make it hard for translators to translate well, translators still have to find strategies to overcome this kind of difficulty. As long as cultural differences exist, culture-loaded words will still be there. As a bridge between two language or even two cultures, translators still have to work hard to discover better approaches to translate culture-loaded words well. If translators can translate better, the cultural communication between two countries will be better.&lt;br /&gt;
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==Liu Zhiwei 刘智伟==&lt;br /&gt;
'''A Comparative Study between Functional Equivalence Theory and Skopos Theory and My thoughts on the Two Theories'''&lt;br /&gt;
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'''(1)Introduction'''&lt;br /&gt;
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'''1.1. Functional Equivalence Theory'''&lt;br /&gt;
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In 1964, Eugene Nida, the famous American linguist and ''Bible'' Translator, first put forward the notion of “dynamic equivalence” in his book ''Toward a Science of Translating''. According to Nida, “dynamic equivalence” refers to “ the closest natural equivalence to the source language message(Tan Zaixi, 1984: 10)”.&lt;br /&gt;
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功能对等理论与目的论的比较研究及对两种理论的思考&lt;br /&gt;
（1）简介&lt;br /&gt;
1.1 功能对等理论&lt;br /&gt;
1964年，美国著名语言学家、《圣经》翻译家尤金·奈达在《翻译的科学探索》一书中首次提出了“动态对等”的概念。奈达认为，“动态对等”是指“与源语言信息最接近的自然对等（谭载喜，1984:10）”。--[[User:Liu Zhiwei|Liu Zhiwei]] ([[User talk:Liu Zhiwei|talk]]) 09:02, 31 October 2020 (UTC)&lt;br /&gt;
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==Lou Cancan 娄灿灿==&lt;br /&gt;
In saying this, Nida means to appeal translators to put emphasis on expressing to the target readers both the messages conveyed in the source language and the forms and styles of the original text. Later, he realizes the name “dynamic equivalence” may confuse some translation learners and they may think he only focuses on translating the content and meaning of the source text and ignores its form and style, he then changes the name of “dynamic equivalence” into “functional equivalence”.&lt;br /&gt;
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==Luo Weijia 罗维嘉==&lt;br /&gt;
Nida thinks that the response made by the target language receptor to the target text should generally be equivalent to the response made by the source language receptor to the source text, so when the translator cannot retain both the form and the content of the original text, he or she should give priority to the content of the original text and change the form of the source text.&lt;br /&gt;
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奈达认为，译文接受者对译文的反应一般应等同于原语接受者对原文的反应，因此当译者不能同时保留原文的形式和内容时，应以原文内容为准更改源文本的格式。--[[User:Luo Weijia|Luo Weijia]] ([[User talk:Luo Weijia|talk]]) 03:12, 29 October 2020 (UTC)&lt;br /&gt;
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奈达认为，读者对译文的反应应与源语读者对原文的反应大致相同，因此当译者不能同时保留源语的形式和内容时，应优先考虑原文内容，改变源文本形式。--[[User:Zhang Yu|Zhang Yu]] ([[User talk:Zhang Yu|talk]]) 13:53, 29 October 2020 (UTC)&lt;br /&gt;
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==Luo Yuqing 罗雨晴==&lt;br /&gt;
And in response to questions like how and to what degree the translator can change the form of the original text, Nida then points out that in translation, there are four aspects in dynamic equivalence, namely, lexical equivalence, syntactic equivalence, textual equivalence and stylistic equivalence respectively. If a translator can convey the language form, the content and the style of the source text in natural target language, and make the target readers give the same response to the target text as the source language made to the original text, then his translation can be said to have achieved the maximal equivalence.&lt;br /&gt;
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==Ma Juan 马娟==&lt;br /&gt;
On the other hand, if a translation only transmit the content of the original text generally, then the translation can be said to have achieved the minimal equivalence. &lt;br /&gt;
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'''1.2. Skopos Theory'''&lt;br /&gt;
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Skopos theory was first put forward by Hans Vermeer in his book ''Framework for a General Translation Theory'' in 1978. According to Skopos theory, translation means to “'''produce a text at target setting for a target purpose and target addressee in target circumstances'''”(Liu Junping, 2009: 377). Based on this definition, Vermeer Hans concludes the three rules of Skopos theory, which are skopos rule, coherence rule and loyalty rule.&lt;br /&gt;
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从另一方面来说，如果一个原文本的翻译仅仅只是传达了文本大概的内容，那我们只能说这个翻译只实现了原文本与目标文本最小的对等。&lt;br /&gt;
1.2.目的论&lt;br /&gt;
目的论最先是汉斯弗米尔在1978年在他的书《普通翻译理论框架》中提出来的。根据目的论，翻译就是“为目标目的和目标环境中的目标地址设定目标文本”（刘俊平，2009:377）。以此定义为基础， 弗米尔汉斯总结得出目的论的三个原则，分别为目的原则、连贯原则和忠诚原则。--[[User:Majuan|Majuan]] ([[User talk:Majuan|talk]]) 12:08, 30 October 2020 (UTC)&lt;br /&gt;
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从另一方面来说，如果一个文本的翻译仅仅传达了原文本的大概内容，那我们只能说这个翻译只实现了原文本与目标文本最小的对等。&lt;br /&gt;
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1.2.目的论&lt;br /&gt;
目的论最先是汉斯弗米尔在1978年在其书《普通翻译理论框架》中提出来的。根据目的论，翻译就是“为目标目的和目标环境中的目标地址设定目标文本”（刘俊平，2009:377）。以此定义为基础， 弗米尔汉斯总结得出目的论的三个原则，分别为目的原则、连贯原则和忠诚原则。--[[User:Mashuya|Mashuya]] ([[User talk:Mashuya|talk]]) 09:29, 31 October 2020 (UTC)Ma Shuya&lt;br /&gt;
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==Ma Shuya 马淑雅==&lt;br /&gt;
Firstly, skopos rule, or purpose principle, is the primary principle to be followed in translation. It holds that the purpose to be achieved of the target text determines the whole process of translation, including the choice of the translator in translation skills and strategies, and that all translation activities are determined by its purpose. Generally speaking, the skopos rule has under its umbrella three types of purposes: the first one is the basic purpose of the translator; the second is the communicative purpose of the translation; and the third is the purpose of specific translation strategies or means. But at most of times, “purpose” refers to the communicative purpose of the translation.&lt;br /&gt;
首先，目的规则或目的原则是翻译中要遵循的主要原则。 它认为，目标文本要达到的目的决定了翻译的整个过程，包括翻译者在翻译技巧和策略上的选择，并且所有翻译活动均由其目的决定。 一般来说，目的规则具有三类目的：第一个是译者的基本目的；第二个是译者的基本目的。 第二是翻译的交际目的； 第三是特定翻译策略或手段的目的。 但在大多数情况下，“目的”是指翻译的交际目的。--[[User:Mashuya|Mashuya]] ([[User talk:Mashuya|talk]]) 09:25, 31 October 2020 (UTC)Ma Shuya&lt;br /&gt;
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==Ma Zhixing 马智星==&lt;br /&gt;
Secondly, coherence rule, also called intra-textual coherence, means that the translation must be understandable and readable to the receptors, and meaningful in the communicative environment of the target culture and the target text.&lt;br /&gt;
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Thirdly, fidelity rule, which means that there should be inter-textual coherence between the source text and the target text. Inter-textual coherence is similar to what is usually called “信” or “be faithful to the original text”.&lt;br /&gt;
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==Meng Ying 孟莹==&lt;br /&gt;
In the traditional translation theory, “faithfulness” is always regarded as the basic translation standard to obey, but in Skopos theory, to what degree the form and style of the target text should be faithful to the original text totally depends on the purpose of the translation and the translator’s understanding of the source text.&lt;br /&gt;
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Under Vermeer’ s Skopos theory, the skopos rule is the most important rule among the three rules, the coherence rule the second important, and the fidelity rule the least important. This indicates that in Skopos theory, the end justifies the means(Liu Junping, 2009: 377-378)&lt;br /&gt;
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==Mo Ling 莫玲==&lt;br /&gt;
'''II.Similarities and Differences'''&lt;br /&gt;
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'''2.1. The Similarities between the Two Theories'''&lt;br /&gt;
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'''2.1.1. Both Attach Great Importance to the Target Receptor’s Status'''&lt;br /&gt;
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Functional Equivalence Theory is a receptor-oriented theory. As revealed by Nida’s definition of translation, that “translation consists in reproducing in the receptor language the closest natural equivalence of the source language, first in terms of meaning and second in terms of style”, Functional Equivalence Theory emphasizes that the primary aim of translation is such that the target text should bring the target receptors the similar or same response as the response made by receptors in the source language.&lt;br /&gt;
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'''II.相同点与不同点'''&lt;br /&gt;
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'''2.1. 两种理论的相同点'''&lt;br /&gt;
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'''2.1.1. 同样重视目标受众的身份'''&lt;br /&gt;
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功能对等理论以受众为导向,正如奈达对翻译的定义那样，翻译就是目标语用最自然和对等的语言从语义到文体再现源语的信息。功能对等理论强调，翻译的首要目的是使译文给目标语读者带来与源语中读者相似或相同的反应。--[[User:Mo Ling|Mo Ling]] ([[User talk:Mo Ling|talk]]) 09:17, 28 October 2020 (UTC)Mo Ling&lt;br /&gt;
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II 相似与不同之处&lt;br /&gt;
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2.1 两种理论的相似之处&lt;br /&gt;
2.1.1. 同样高度重视目标受众的身份&lt;br /&gt;
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功能对等理论是以受众为导向的。正如奈达对翻译的定义阐述的那样“翻译是以最贴近源语的自然对等方式重塑受众语言，首先要考虑其含义，再次是翻译风格“，功能对等理论强调翻译的首要目标是译文要还原受众在源语中获得的相似或相同的反应。--[[User:WuQiong|WuQiong]] ([[User talk:WuQiong|talk]]) 03:32, 30 October 2020 (UTC)&lt;br /&gt;
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==Mo Nan 莫南==&lt;br /&gt;
Besides, to bring to the readers a similar or same response, Nida even put forward that, if it is necessary, different target texts should be made according to the needs of different receptors. All of the two points reflects that in Functional Equivalence Theory, the target receptor’s status is very important.&lt;br /&gt;
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While the Skopos theory, too, put the reader’s needs on a high status. Of the three rules in Skopos theory, the most important one is skopos rule, which includes three purposes, the basic purpose of the translator, the communicative purpose of the translation, and the purpose of specific translation strategies or means.&lt;br /&gt;
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==Nie Xiaolou 聂晓楼==&lt;br /&gt;
However, to take all the three purposes into consideration, a translator must first know what and who the target text serves, so he or she can immediately know the purpose of the translation task and do a corresponding and qualified translation. This, on the other hand, also means that in Skopos theory, the target reader’s needs indirectly determine the purpose of the translation, so it is also given priority to by the translator.&lt;br /&gt;
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==Ou Rong 欧蓉==&lt;br /&gt;
'''2.1.2. Both Emphasize the Communicative Function of Translation'''&lt;br /&gt;
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Under the Functional Equivalence Theory, the translation should achieve a functional equivalence, bringing the target readers the roughly same experience and making them give the responses as the receptors in the source language culture. In doing this, the translator is in fact trying to achieve the communicative function of the original text by shortening the distance of the source text receptors and the target text receptors, which, on the other hand, means that the process of translation is a communicative process between the original language culture and the culture of the target language.&lt;br /&gt;
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==Ouyang Jinglan 欧阳静兰==&lt;br /&gt;
In Skopos theory, of the three purposes under the skopos rule, the communicative purpose is regarded as the most important purpose of a target text. Skopos theory holds that translation is a communicative activity with a purpose, and the process of translation is determined by the intended function or purpose of the target text.&lt;br /&gt;
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==Ouyang Ling 欧阳玲==&lt;br /&gt;
'''2.2 The Differences between the Two Theories'''&lt;br /&gt;
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'''2.2.1. Different Status of the Source Language and the Target Language'''&lt;br /&gt;
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From the perspective of Functional Equivalence Theory, a good translation achieving the goal of translation not only needs to provide another message similar to the original message conveyed in the source text, but also needs to clearly reflect the meaning and intention of the original text, bringing to the target readers similar or even same effects and making them give a same response.&lt;br /&gt;
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'''2.2 两种理论的差异'''&lt;br /&gt;
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'''2.2.1 源语言和目的语言的地位差异'''&lt;br /&gt;
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功能对等理论认为，好的翻译不仅要传达与源文相似的信息，还要清晰地反映源文的意义和目的，在目标读者身上产生类似的效果，使他们对译文作出同样的反应。--Ouyang Ling&lt;br /&gt;
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'''2.2 两种理论之间的差异'''&lt;br /&gt;
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'''2.2.1 原语和目的语之间的地位差异'''&lt;br /&gt;
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功能对等理论认为，好的翻译不仅要传达与原文相似的信息，还要清晰地反映原文的意义和目的，使目的语读者获取与原文读者类似或相同的效果，使他们对译文作出同样的反应。--[[User:Tan Xingyue|Tan Xingyue]] ([[User talk:Tan Xingyue|talk]]) 10:50, 29 October 2020 (UTC)&lt;br /&gt;
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==Peng Dan 彭丹==&lt;br /&gt;
From this point, one can easily see that Functional Equivalence Theory is centered on the original text, which, to some degree, reflects that Functional Equivalence still put the source language on a high status. The status of the target language is secondary to the source language as the choice of the words, sentence structures of the target text still heavily depend on the source text.&lt;br /&gt;
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==Peng Juan 彭娟==&lt;br /&gt;
Skopos theory, on the other hand, gets rid of the point of view of the traditional text-centered translation theory, and focuses on the function and purpose of the target text. From the perspective of Skopos theory, a successful translation is not one that places the original text in a sacred and unattainable position. Vermeer further put forward the view of “subverting the source language” in Skopos theory. He stated that “the linguistic and stylistic features of the original text are no longer the only criteria to measure the translation”.&lt;br /&gt;
在另一方面，目的论摒弃了传统的以文本为中心的翻译理论，聚焦于目的语文本的功能和目的。从目的论的角度出发，成功的翻译并不是把原文本置于神圣不可及的地位。维米尔在目的论中进一步提出了“颠覆源语言”的观点。他指出，“原文的语言和文体特征不再是衡量翻译的唯一标准”。--[[User:Pengjuan|Pengjuan]] ([[User talk:Pengjuan|talk]]) 11:13, 30 October 2020 (UTC)pengjuan&lt;br /&gt;
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==Peng Ruihong 彭锐宏==&lt;br /&gt;
All of these reflect that the source text enjoys a relatively low status in Skopos theory compared with its status in Functional Equivalence Theory. Besides, from the three rules of Skopos theory, one can easily know that, the most important one is the skopos rule, then the coherence of the target text, namely the intra-textual coherence and finally the fidelity of the target text to the source text, namely the inter-textual coherence. Therefore, we can see that the status of the source language actually lower than the target language in Skopos theory, which is different from the case in Functional Equivalence Theory.&lt;br /&gt;
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所有这些反映出，源文本在目的语理论中的地位与其在功能对等理论中的地位相比，处于较低的地位。 此外，从目的论的三个规则中，我们可以很容易地知道，最重要的一个是目的论规则，然后是目标文本的连贯性，即文本内部的连贯性，最后是目标文本对原文的忠诚度。 文本，即文本间的连贯性。 因此，我们可以看到目的语言中源语言的状态实际上低于目标语言，这与功能对等理论中的情况有所不同。--[[User:Peng Ruihong|Peng Ruihong]] ([[User talk:Peng Ruihong|talk]]) 02:15, 30 October 2020 &lt;br /&gt;
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所有这些都反映出，相比于在功能对等理论中的地位，源文本在目的论中的地位相对较低。此外，在目的论的三原则中，我们很容易可以发现，最重要的原则是目的论原则，目标文本的连贯性原则即文本内部的连贯性次之，最后是目标文本对原文的忠实度也就是文本间的连贯性。因此，我们可以看到在目的论中源语言的地位实际上是低于目标语言的，而这与功能对等理论中的情况则有所不同。--[[User:Chen Jingjing|Chen Jingjing]] ([[User talk:Chen Jingjing|talk]]) 08:36, 31 October 2020 (UTC)Chen Jingjing&lt;br /&gt;
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==Peng Xiaoling 彭小玲==&lt;br /&gt;
'''2.2.2. Different Translation Principles'''&lt;br /&gt;
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Nida believes that equivalence is the goal of translation. His translation standard is that the target text should be faithful to the original text in terms of content and style while also being expressive in the eyes of the target readers. As put forward by Nida that, “translation consists in reproducing in the receptor language the closest natural equivalence of the source language, first in terms of meaning and second in terms of style”, the translation standard of Functional Equivalence Theory include “equivalence”, which is the equivalence of meaning and style, namely be faithful to the meaning and style of the source text.&lt;br /&gt;
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'''2.2.2. 不同的翻译原则'''&lt;br /&gt;
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奈达认为翻译的目标是对等。他的翻译标准是，译文既要在内容和文体上忠实于原文，同时在目的语读者看来又是通顺的。正如奈达所提出的，“翻译就是在目的语中用最贴切、最自然的对等语再现源语的信息，首先是语义对等，其次是文体对等”，功能对等理论的翻译标准包括“对等”， 也就是语义和文体的对等，即忠实于原文的语义和文体。--[[User:Peng Xiaoling|Peng Xiaoling]] ([[User talk:Peng Xiaoling|talk]]) 01:03, 29 October 2020 (UTC)&lt;br /&gt;
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'''2.2.2. 不同的翻译原则'''&lt;br /&gt;
奈达认为翻译的目标是对等。他的翻译标准是，译文既要在内容和文体上忠实于原文，同时又要在目的语读者看来是通顺的。正如奈达所提出的，“翻译就是在目的语中用最贴切、最自然的对等语再现源语的信息，首先要达到语义对等，其次要达到文体对等”，功能对等理论的翻译标准包括“对等”， 也就是语义和文体的对等，即忠实于原文的语义和文体。--[[User:Qu Miao|Qu Miao]] ([[User talk:Qu Miao|talk]]) 16:59, 30 October 2020 (UTC)&lt;br /&gt;
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==Peng Yongliang 彭永亮==&lt;br /&gt;
Besides, in front of “equivalence”, there is also a word “natural”, which means the target text should be fluent and be in conformity with the habits of the target culture, namely “expressiveness” in traditional translation theory.&lt;br /&gt;
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In Skopos theory, however, “faithfulness” is no longer regarded as the primary translation criteria. As Skopos theory judges the success of a translation by its intended purpose, which reflects the requirements of the target readers.&lt;br /&gt;
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==Peng Yuzhi 彭育志==&lt;br /&gt;
However, as the requirements of the readers are different, Skopos theory advocates the diversification of translation standards. Only when the communicative purpose of the translation requires the translation to have the same communicative function as the original text, equivalence becomes the standard of the translation process. Otherwise, the translation may be very different from the original text in its style and form.&lt;br /&gt;
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然而，由于读者的需求不同，所以目的论提倡翻译标准的多样化。唯有要求译文和原文具有相同的交际功能时，对等性才成为翻译过程的标准。否则，译文将可能在风格和形式上与原文有极大差异。--[[User:Peng YuZhi|Peng YuZhi]] ([[User talk:Peng YuZhi|talk]]) 13:59, 28 October 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
然而，由于读者需求不同，因此目的论提倡翻译标准多样化。唯有要求译文和原文具有相同的交际功能时，对等才成为翻译过程的标准。否则，译文将可能在风格和形式上与原文有极大差异。--[[User:Luo Weijia|Luo Weijia]] ([[User talk:Luo Weijia|talk]]) 03:27, 29 October 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
==Qi Kai 漆凯==&lt;br /&gt;
'''2.2.3. Different Translation Skills and Translation Strategies Used in the Translation Process'''&lt;br /&gt;
&lt;br /&gt;
In Functional Equivalence Theory, as determined by its definition for translation, the translation skills and strategies used in the translation process are all for one common goal, which is to bring the target readers the roughly same or same response. In order to achieve the aim, some translation skills are frequently used under the Functional Equivalence Theory, including literal translation, liberal translation, domestication and borrowing translation.&lt;br /&gt;
&lt;br /&gt;
==Qu Miao 瞿淼==&lt;br /&gt;
And among all these translation skills, domestication and borrowing translation are two translation strategies most favorably advocated by Functional Equivalence Theory. Here, I will list the translation of a phrase to briefly explain the reason why the two translation skills are often used in translation process. We all know that to grow like mushrooms is an English phrase which means to rapidly grow or increase in number. It vividly describes the scene that after the incessant rain in London, the explosive growth of the mushrooms.&lt;br /&gt;
而在众多翻译技巧中，功能对等理论最推崇的两个是归化和借译。这里我会列举出一个短语的两个翻译版本，以此来简要解释为什么这两种翻译技巧在翻译过程中最为常用。我们都知道“grow like mushrooms”是一个表示快速生长或者数量迅速增长的短语。这个短语生动地描写出了伦敦绵绵细雨后蘑菇猛长的景象。--[[User:Qu Miao|Qu Miao]] ([[User talk:Qu Miao|talk]]) 16:56, 30 October 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
==Quan Meixin 全美欣==&lt;br /&gt;
While in China, there is also a similar phrase “雨后春笋”, to describe the scene that after a spring rain, the bamboo shoots sprout overnight in the forest. Therefore, when doing a E-C translation, the translator often uses domestication and translate “to grow like mushrooms” into “雨后春笋”, so as to enable the Chinese readers give a same response as English readers did.&lt;br /&gt;
&lt;br /&gt;
==Sagara Seydou ==&lt;br /&gt;
However, Skopos theory is different. In Skopos theory, the end justifies the means, which means all the translation skills and strategies are determined by the purpose and use of the target text as well as the reader it serves. Therefore, it usually adopts different translation strategies to meet different translation purposes.Translators can freely choose the translation skills he wants to use, whether it is literal translation or liberal translation, domestication or foreignization, transliteration or borrowing translation, even simplifying translation and reduction translation, in consideration of the author's writing intention, the theme of the original text, the translator’s purpose and the needs of the readers.&lt;br /&gt;
&lt;br /&gt;
==Shi Diwen 石迪文==&lt;br /&gt;
Here, I want to firstly compare the difference between Functional Equivalence Theory and Skopos theory in dealing with content with cultural characteristics. As I wrote before, the Functional Equivalence Theory emphasizes the same response between the original readers and the target readers and the presence of a natural text to the target readers, so it prefers to use the existed words, phrases, and cultural images in the target language to replace the expressions in the original text, which explains why domestication and borrowing translation are often use under the theory -- that is because by using the two ways, functional equivalence can be achieved. &lt;br /&gt;
&lt;br /&gt;
==Shi Haiyao 石海瑶==&lt;br /&gt;
However, in Skopos theory, the translator enjoys a higher degree of freedom. He can select translation skills flexibly according to the skopos of the text. For example, when it comes to cultural translation, the translator should carefully consider the cultural differences between the two languages and have full understanding of the purpose and usage of the original text. If the purpose of a translated text is to diffuse the language characteristics of the original author, the author’s writing intention, or the language characteristics of the source language culture, then the translator can adopt the strategy of foreignization or the strategy of literal translation with some annotations in the target text to help the target readers better understand a foreign concept.&lt;br /&gt;
&lt;br /&gt;
然而，据目的论，译者的自由度更高，可根据文章目的灵活选用翻译技巧。例如，在做文化类翻译时，译员应仔细考量源语和目的语的文化差异，并全面理解原文的目的和作用。如果译文的目的是为了传播原作作者的语言特色，写作意图或者源语文化特征，那么译者可采用异化或直译的翻译策略，并在译文中加以注释，以便目的语读者更好理解外来概念。--[[User:Shi Haiyao|Shi Haiyao]] ([[User talk:Shi Haiyao|talk]]) 07:35, 31 October 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
==Si Yu 司妤==&lt;br /&gt;
For example, in order to maintain the cultural characteristics of Chinese, the Chinese proverb “谋事在人，成事在天” should be translated as “man proposals, heaven disposes.&amp;quot; instead of “man proposals, God disposes”.&lt;br /&gt;
&lt;br /&gt;
比如，为了保持中文的文化特征，中文谚语“谋事在人，成事在天”应该翻译为“man proposals，heaven disposes.”而不是“man proposals, God disposes.&amp;quot;--[[User:Si Yu|Si Yu]] ([[User talk:Si Yu|talk]]) 12:51, 31 October 2020 (UTC)&lt;br /&gt;
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==Song Jianru 宋建茹==&lt;br /&gt;
This is because the translator wants foreign people to know our beliefs -- we Chinese believe in Heaven rather than God. At the same time, sometimes, to meet the needs of some special readers, simplifying translation and reduction translation are also used in the translation process. For example, there are some publishers in China which publish the simplified version of those foreign classics to meet the the children’s needs in reading.&lt;br /&gt;
&lt;br /&gt;
这是因为译者想要其他国家的人了解我们的信仰---我们中国人相信老天而非上帝。同时，有时为了迎合一些特定群体的需求，翻译过程中会把翻译简化或删减。比如，中国一些出版社为满足孩子们阅读的需求而出版一些外国名著的简化版本。--[[User:Song Jianru|Song Jianru]] ([[User talk:Song Jianru|talk]]) 15:17, 31 October 2020 (UTC)&lt;br /&gt;
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==Su Lin  苏琳==&lt;br /&gt;
'''2.2.4. Different Status of the Translator'''&lt;br /&gt;
&lt;br /&gt;
In what Nida thinks of, the translator is only a cultural envoy, transmitting the idea of a culture to people in another culture. Nida believes that as the second source of information, the translator’s role is mainly to convey the original author’s intention to the readers. Therefore, the translator must understand what the original author thinks. The translator’s role is mainly to convey the original author’s intention to the readers. &lt;br /&gt;
&lt;br /&gt;
[[Media:Example.ogg]]==Tan Xingyue 谭星越==&lt;br /&gt;
In addition, the translator should not introduce any personal ideas into the translation of the original text, no matter whether the original point of view is consistent with his own. “The translator should not intervene in, edit or rewrite the original text even if it has shortcomings and errors, nor should he improve the original text even if he has the ability”(Tan Zaixi, 1984). Of course, we can critically accept Nida’s words. When there are obvious mistakes in the original text (such as the original text not conforming to the facts), we should correct them in the translation.&lt;br /&gt;
&lt;br /&gt;
此外，无论原文的观点是否与自己的观点一致，译者不应在原文翻译中引入任何个人观点。“即使原文有缺点和错误，译者也不应干预、编辑或重写原文，即使有能力也不可改良原文”（谭载喜，1984）。当然，我们可以批判性地接受奈达的观点。当原文有明显的错误（如原文与事实不符）时，应在翻译中加以纠正。--[[User:Tan Xingyue|Tan Xingyue]] ([[User talk:Tan Xingyue|talk]]) 10:40, 29 October 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
此外，无论原文的观点是否与自己的观点一致，译者不应在对原文的翻译中引入任何个人观点。“即使原文存在缺点和错误，译者也不应干预、编辑或重写原文；即使译者有能力，也不能对原文做出改进”（谭载喜，1984）。当然，我们可以批判性地接受奈达的观点。当原文有明显的错误（如原文与事实不符）时，应在翻译中加以纠正。--[[User:Yuan SHiqi|Yuan SHiqi]] ([[User talk:Yuan SHiqi|talk]]) 14:44, 29 October 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
==Tan Xinjie 谭鑫洁==&lt;br /&gt;
Skopos theory improves the position of translator. The translator is the receptor of the original text and transmits the information of the original text to the reader. Skopos theory allows the translator to determine the faithfulness of the translation to the source text and determine the proportion of the faithfulness of the target text to the original text. It adopts the translation strategies such as “modification, abridgement and reduction”, and denies that there is only one “correct or best” translation of the source language. &lt;br /&gt;
&lt;br /&gt;
==Tan Yuanyuan 谭媛媛==&lt;br /&gt;
Therefore, the translator has more freedom in the process of translation, and can transfer the original text according to the needs, expectations and knowledge background of the readers, so as to achieve the purpose of a translation task.&lt;br /&gt;
&lt;br /&gt;
'''2.2.5. Different translation processes'''&lt;br /&gt;
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In order to achieve functional equivalence, Nida proposed the famous back translation theory by referring to the concepts of core sentence, non-core sentence and transformation. In Functional Equivalence Theory, translation is a complicated process, which includes four stages: analysis, transfer, reconstruction and test (Tan Zaixi, 1984, 144).&lt;br /&gt;
&lt;br /&gt;
因此，翻译人员在翻译过程中具有更大的自由，可以根据读者的需求，期望和知识背景来传递原文，从而达到翻译任务的目的。&lt;br /&gt;
&lt;br /&gt;
'''2.2.5.不同的翻译过程'''&lt;br /&gt;
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为了达到功能对等，奈达通过引用核心句，非核心句和转换的概念，提出了著名的逆向翻译理论。 在功能对等理论中，翻译是一个复杂的过程，包括四个阶段：分析，转移，重构和测试（谭载喜，1984，144）。&lt;br /&gt;
--[[User:Tan Yuanyuan|Tan Yuanyuan]] ([[User talk:Tan Yuanyuan|talk]]) 08:34, 30 October 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
==Tang Bei 汤蓓==&lt;br /&gt;
Specifically speaking, as far as Nida is concerned, when doing a translation task, the translator needs to transform the original text from the surface structure to the deep structure or pseudo-deep structure on the basis of grammatical and semantic analysis, and then translate the deep structure or pseudo-deep structure of the original text to the deep structure of the target text, and finally from the deep structure of the target text to the surface structure of the target text. After the translation is done, the translator needs to re-examine and test the translation.(Peng Changjiang, 2017: 09)&lt;br /&gt;
&lt;br /&gt;
==Tang Ming 唐铭==&lt;br /&gt;
Skopos theory, however, unlike the Functional Equivalence Theory, it does not put forward specific translation procedures. The Skopos theory does not give detailed guidelines for the translation of words, phrases, paragraphs and texts, but it do gives some guidance to the translator from the macro perspective, giving the translator more autonomy to do translation and enabling them freely translate a text.&lt;br /&gt;
然而，目的论不同于功能对等理论，它没有提出具体的翻译步骤。目的论没有对词语、短语、段落和文本的翻译给出详细的指导，但它从宏观的角度给予译者一定的启示，赋予译者更多的翻译自主权，使译者能够自由地翻译文本。&lt;br /&gt;
--[[User:Tang Ming|Tang Ming]] ([[User talk:Tang Ming|talk]]) 07:51, 28 October 2020 (UTC)Tang Ming&lt;br /&gt;
&lt;br /&gt;
然而，不同于功能对等论，目的论并未提出明确的翻译流程。对于词，短语，段落和文本的翻译，目的论虽然没有详细的准则，但它从宏观角度给予了一些指导，从而赋予译者更多的自主权，使他们能够自由地翻译文本。--[[User:Peng YuZhi|Peng YuZhi]] ([[User talk:Peng YuZhi|talk]]) 14:36, 28 October 2020 (UTC)&lt;br /&gt;
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==Tang Yiran 汤伊然==&lt;br /&gt;
'''III.My Thoughts on the Two Theories''' &lt;br /&gt;
&lt;br /&gt;
'''3.1. My thought on Functional Equivalence Theory'''&lt;br /&gt;
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'''3.1.1. Strengths and Contributions of Functional Equivalence Theory'''&lt;br /&gt;
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Firstly, the Functional Equivalence Theory brings modern linguistics, communication studies, information theory, semiotics and aesthetics into the field of translation. From the macro perspective, it breaks through the limitations of the traditional thoughts on translation and provides a new perspective for translation research. It studies translation in a more detailed way from multiple perspectives, applies new thoughts, concepts and methods to translation studies, and provides many new methods for translation research. Besides, it also lays a solid foundation for modern translation studies. &lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
==Tao Ye 陶冶==&lt;br /&gt;
Secondly, it must be emphasized that, Functional Equivalence Theory has given many constructive suggestions to translators. From a micro perspective, Functional Equivalence Theory has solved the long-standing dispute between literal translation and liberal translation.&lt;br /&gt;
&lt;br /&gt;
==Wang Meiling 王美玲==&lt;br /&gt;
&lt;br /&gt;
It requires the translator use the target language to reproduce the meaning of the source language as fully as possible in different language structures, thus both breaking the restrictions of traditional word-for-word translation and limiting the free and random play of the translator. To some extent, Functional Equivalence Theory has greatly promoted the translation of some types of literary works, such as the translation of prose, help avoiding the creation of many pseudo–translation and translationese cases.&lt;br /&gt;
&lt;br /&gt;
==Wang Xuan 王轩==&lt;br /&gt;
At the same time, it eases the argument of domestication and foreignization from the perspective of language and culture, and seeks the balance point of domestication and foreignization from the perspective of multiple disciplines.&lt;br /&gt;
&lt;br /&gt;
Thirdly, Functional Equivalence Theory provides with the target readers a chance to know other country’s culture in their own language.&lt;br /&gt;
&lt;br /&gt;
同时，其缓解了语言学方面的归化和异化之间争论，从多学科的角度寻求归化与异化之间的平衡点。&lt;br /&gt;
第三，功能对等理论给读者提供了用母语了解他国文化的机会。--[[User:Wang Xuan|Wang Xuan]] ([[User talk:Wang Xuan|talk]]) 10:27, 28 October 2020 (UTC)Wang Xuan&lt;br /&gt;
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同时，在语言和文化角度，这缓解了归化和异化之间的争论，并从多学科的角度寻求归化与异化之间的平衡点。&lt;br /&gt;
第三，功能对等理论给目标读者提供了用母语了解他国文化的机会。--[[User:Li Haiquan|Li Haiquan]] ([[User talk:Li Haiquan|talk]]) 12:22, 28 October 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
同时，它从语言和文化的角度缓和了归化和异化的争论，并从多学科的角度找到了规划和异化的平衡点。&lt;br /&gt;
第三，功能对等理论为目标读者提供了用母语了解其他国家文化的机会。--[[User:Wu Qi|Wu Qi]] ([[User talk:Wu Qi|talk]]) 14:26, 29 October 2020 (UTC)&lt;br /&gt;
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==Wang Yu 王煜==&lt;br /&gt;
Traditionally, translation is to transform the original language that are different from ours into the familiar language that we use. It can let the people who have not learned a foreign language also understand and appreciate the message under some phrases written in a foreign language. For example, if one has no common sense in English, he will regard “a piece of cake” as “一块蛋糕”. This example reflects the culture gap between the people of two countries.&lt;br /&gt;
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传统上意义上讲，翻译就是把不同于我们的源语言转换成我们所使用的熟悉的语言。它可以让没有学过外语的人也能理解和欣赏一些用外语写的短语所要传达的信息。比如，如果一个人没有英语常识，他就会把“小菜一碟”认为是“一块蛋糕”。这个例子反映了两国人民之间的文化差异。--[[User:Wang Yu|Wang Yu]] ([[User talk:Wang Yu|talk]]) 05:11, 30 October 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
==Wang Yuan 王源==&lt;br /&gt;
Good translation is one that overcomes these culture gaps and turn them into what the target readers is familiar with. So, it is better for the translator use the Functional Equivalence Theory to translate “a piece of cake” with the well-known Chinese proverb “小菜一碟” .   &lt;br /&gt;
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'''3.1.2. Deficiency of Functional Equivalence Theory'''&lt;br /&gt;
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Although Functional Equivalence Theory has made many contributions to the translation studies, it is not without its deficiencies. Here I list three disadvantages of it.&lt;br /&gt;
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好的翻译能克服这些文化代沟并将其转化为受众所熟悉的内容。因此，译者最好能运用功能对等理论将“ a piece of cake” 翻译成著名的中国谚语“小菜一碟”。&lt;br /&gt;
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3.1.2  功能对等理论的不足&lt;br /&gt;
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尽管功能对等理论在翻译研究中做出许多贡献，它也不是没有其缺陷。 这里我列举了它的三个缺点。--[[User:Wang Yuan|Wang Yuan]] ([[User talk:Wang Yuan|talk]]) 10:45, 29 October 2020 (UTC)--[[User:Wang Yuan|Wang Yuan]] ([[User talk:Wang Yuan|talk]]) 10:45, 29 October 2020 (UTC)&lt;br /&gt;
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==Wei Honglang 韦洪朗==&lt;br /&gt;
First, Nida’s Functional Equivalence Theory is concluded from the translation of the ''Bible''. It is, in fact, cannot be a guideline for all kinds of translation. For example, some texts, including some articles with profound historic significance and cultural characteristics, some scientific articles, some lyrical articles, movie subtitles, government reports, actually need different translation standards. Functional Equivalence Theory can play an important role in appropriate fields, but it is not universal or omnipotent rule. Though, in fact, there is nothing omnipotent and flawless in the world. &lt;br /&gt;
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==Wei Yafei 魏亚菲==&lt;br /&gt;
 Functional Equivalence Theory can play an important role in appropriate area. If it is used in the right place, it can help the translator present a more brilliant translation.&lt;br /&gt;
Second, the Functional Equivalence Theory requires the target text to be written in a “common language”, which should be understood by the less educated readers and accepted by the readers with high literacy, but this turns out to be very difficult to achieve in practice. It can be said that the requirements of this theory are way too demanding. &lt;br /&gt;
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==Wen Sixing 文偲荇==&lt;br /&gt;
Although this is a goal worth pursuing, it is nearly impossible to achieve, as even in the same country, different knowledge levels, different regional cultures and even different life experiences will lead to different understanding abilities.&lt;br /&gt;
&lt;br /&gt;
In addition, Nida also ignores an important thing, that is, culture is very complex. The generation, evolution and creation of each nation and its culture are different from each other. Some cultural images in foreign works may be something the other country’s readers have never seen and cannot understand. In translation process, it is certainly ideal if the translator can find a corresponding cultural object in the target culture.&lt;br /&gt;
虽然这是一个值得追求的目标，但几乎不可能实现，即使在同一个国家，不同的知识水平，不同的地域文化，甚至不同的生活经历都会导致不同的理解能力。&lt;br /&gt;
此外，奈达还忽略了一件重要的事情，那就是，文化是非常复杂的。每个民族及其文化的产生、演变和创造都是不同的。外国作品中的一些文化意象可能是其他国家的读者从未见过、无法理解的。在翻译过程中，译者能在目的文化中找到与之对应的文化对象当然是更为理想的。--[[User:Wensixing|Wensixing]] ([[User talk:Wensixing|talk]]) 09:50, 30 October 2020 (UTC)&lt;br /&gt;
尽管这是一个值得追求的目标，但是这几乎是不可能达到的。即使在同一个国家，不同的知识水平、地域文化甚至生活经历都可能产生不同的理解能力。此外，奈达还忽略了文化复杂性这一重要事实。每个国家以及它的文化的传承、发展和创造都是不同的。一些外国作品中的文化意象可能对另一个国家的读者来说是完全陌生和无法理解的。在翻译过程中，译者能在目标文化中找到与之对应的文化对象当然是更为理想的。--[[User:Wen Xiaoyi|Wen Xiaoyi]] ([[User talk:Wen Xiaoyi|talk]]) 11:44, 30 October 2020 (UTC)&lt;br /&gt;
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==Wen Xiaoyi 文晓艺==&lt;br /&gt;
But at most of times, it is in fact very difficult for the translator to find such a substitute. This makes the so called “functional equivalence” very difficult to achieve, and even show its loopholes -- which is also a difficulty in translation process -- it is usually difficult for translators to translate and explain certain words with special cultural meanings. In fact, the differences between different cultures are absolute and inevitable, while the similarities are rare and precious.&lt;br /&gt;
但是，在大多数情况下，对译者来说，找到那样一个令人满意的代替物是一件十分困难的事。这就使得“功能对能”很难到达，成为了翻译过程中的一个难题。这甚至显示出“功能对等”的缺陷，它让译者在翻译和解释某些文化负载词时感到十分困惑。实际上，文化差异是绝对的和不可避免的，而文化的相似性却是极少的。--[[User:Wen Xiaoyi|Wen Xiaoyi]] ([[User talk:Wen Xiaoyi|talk]]) 11:34, 30 October 2020 (UTC)&lt;br /&gt;
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==Wu Kai 吴恺==&lt;br /&gt;
For example, in order to avoid the danger and inauspicious emotions of the word “red” in western culture, some British translators translate the original title of the book 《红楼梦》 into “''The Story of the Stone''”. This kind of translation, however, fails to transmit the message of a rich, luxurious, dreamy life hidden in the original book name, let alone bring the western readers the same response. &lt;br /&gt;
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'''3.1.3. My Point of View towards Functional Equivalence Theory'''&lt;br /&gt;
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例如，为了避免西方文化中“红色”一词的危险性和不恰当的情感，一些英国翻译人员将《红楼梦》一书的原标题翻译成《石头的故事》。然而，这种翻译无法传达隐藏在原始书名中的丰富，奢华，梦幻般的生活的信息，更不用说给西方读者带来同样的阅读反馈了。&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
'''3.1.3.我对功能对等理论的观点'''--[[User:Wu Kai|Wu Kai]] ([[User talk:Wu Kai|talk]]) 14:22, 30 October 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
例如，为了避免西方文化中“红色”一词的危险性和不恰当的情感，一些英国翻译人员将《红楼梦》一书的原标题翻译成《石头记》。然而，这种翻译无法传达隐藏在原始书名中的丰富，奢华，梦幻般的生活的信息，更不用说给西方读者带来同样的阅读反馈了。--[[User:Ishikami|Ishikami]] ([[User talk:Ishikami|talk]]) 14:34, 30 October 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
==Wu Qi 吴琪==&lt;br /&gt;
The great influence of Functional Equivalence Theory on the whole translation field is obvious to all, but it is not a universal theory. The advantages and disadvantages of the theory of functional equivalence should be treated in a dialectical way. Functional Equivalence Theory is the product of a particular historical period, and it may have some inconsistencies with contemporary translation theories. Therefore, we should take a comprehensive view of Nida’s translation theory. On the whole, Nida’s translation thought can be regarded as a bright gem in the treasure house of western translation studies.&lt;br /&gt;
&lt;br /&gt;
我们虽然都清楚功能对等理论对于整个翻译学的深远影响，但是它并不是一个普遍适用的理论。我们必须辩证地看待功能对等理论的优缺点。因为它是特定历史时期的产物，所以它与现代翻译理论可能前后矛盾。因此我们要用全面的观点看待奈达的翻译理论。总的来说，奈达的翻译思想是西方翻译研究宝库中的璀璨明珠。--[[User:Wu Qi|Wu Qi]] ([[User talk:Wu Qi|talk]]) 07:56, 28 October 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
功能对等理论对整个翻译领域的深远影响是有目共睹的，但其并非是一个能普遍适用的理论。因此，我们必须要辩证地看待功能对等理论的优缺点。由于该理论是特定历史时期的产物，它与当代翻译理论可能存在一些不一致的地方。因此，我们应该全面地看待尼达的翻译理论。总的来说，奈达的翻译思想是西方翻译研究宝库中的璀璨明珠。--[[User:Xiao Ting|Xiao Ting]] ([[User talk:Xiao Ting|talk]]) 10:01, 28 October 2020 (UTC)Xiao Ting&lt;br /&gt;
&lt;br /&gt;
==Wu Qiong 吴琼==&lt;br /&gt;
'''3.2. My thoughts on Skopos Theory''' &lt;br /&gt;
&lt;br /&gt;
'''3.2.1. Strengths and Contributions of Skopos Theory'''&lt;br /&gt;
&lt;br /&gt;
Skopos theory has many advantages. First of all, as a major breakthrough in the study of contemporary western translation theory, Skopos theory breaks the limitations of Functional Equivalence Theory at the linguistic level and puts forward a translation standard dominated by skopos principle. Skopos theory provides the translator with another perspective in translation practice, which is more conducive to the choice of translation strategies.&lt;br /&gt;
&lt;br /&gt;
3.2 我对目的论的看法&lt;br /&gt;
&lt;br /&gt;
3.2.1 目的论的长处与贡献&lt;br /&gt;
&lt;br /&gt;
目的论有很多优势。首先，目的论作为当代西方翻译理论研究的重要突破，突破了语用层次上的功能对等理论的局限并在目的论原理的基础上提高了翻译的标准。目的论为译者在翻译实践中提供了另一种视角，这比起翻译策略要更具备可行性。--[[User:WuQiong|WuQiong]] ([[User talk:WuQiong|talk]]) 02:38, 30 October 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
目的论有许多优势。首先，该理论作为当代西方翻译理论的突破，打破了功能对等理论在语言层次上的局限性，并提出了受目的论原则主导的翻译标准。目的论为译者提供了另一个视角来进行翻译实践，这一视角让翻译策略的选择变得更加多元化。--[[User:Zeng Fangyuan|Zeng Fangyuan]] ([[User talk:Zeng Fangyuan|talk]]) 08:21, 30 October 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
==Wu Xiang 邬香==&lt;br /&gt;
Secondly, Skopos theory focuses on the requirements of the translation client, points out the influence of the client on the translation process, and breaks the limitation of traditional translation theory, which only takes the original author, the translator and the target reader into consideration. From this perspective, Skopos theory can be called a real breakthrough in the history of translation studies.&lt;br /&gt;
&lt;br /&gt;
其次，目的论着眼于需要翻译的客户需求，指出客户对翻译过程产生的影响，打破了传统翻译理论的局限性。传统翻译理论只考虑了原作者、译者和目的语读者。从这个角度来看，目的翻译理论可以说是翻译研究史上的真正突破。--[[User:Wu Xiang|Wu Xiang]] ([[User talk:Wu Xiang|talk]]) 14:11, 30 October 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
其次，目的论强调了翻译客户的要求，指出了翻译客户对翻译过程的影响，突破了传统翻译理论只考虑原文作者、译者和目的读者的局限。从这个角度看，目的论可以说是翻译史上一个真正的突破。--[[User:XiaoXi|XiaoXi]] ([[User talk:XiaoXi|talk]]) 15:07, 31 October 2020 (UTC)Xiao Xi&lt;br /&gt;
&lt;br /&gt;
==Wu Yilu 吴一露==&lt;br /&gt;
Thirdly, Skopos theory emphasizes the initiative and participation of the translator, and holds that the original text mainly plays the role of providing information. Therefore, it shifts the focus of translation from faithful reproducing the source text to the creation of the translation. It overthrows the central position of the original text and establishes the central position of the target text and the translator, which gives all translation learners and researchers a new insight towards translation studies.&lt;br /&gt;
&lt;br /&gt;
==Wu Zijia 吴子佳==&lt;br /&gt;
Finally, Skopos theory further studies the development of translation from the perspective of culture. From the perspective of Skopos theory, translation is a kind of cultural comparison and a kind of cross-cultural communication in a certain cultural context, which benefits the target readers a lot.&lt;br /&gt;
&lt;br /&gt;
最后，目的论从文化角度更深层次地探究翻译的发展，从目的论的角度来看，翻译是在某一特定文化背景下的文化对比与跨文化交流，这对目的语言的读者是很有帮助的。--[[User:Wu Zijia|Wu Zijia]] ([[User talk:Wu Zijia|talk]]) 04:00, 30 October 2020 (UTC)Wu Zijia&lt;br /&gt;
&lt;br /&gt;
最后，目的论从文化角度进一步研究翻译的发展。目的论视角下的翻译是在一种特定的文化背景下的文化对比和跨文化交际，这对目的语的读者大有裨益。--[[User:Wu Xiang|Wu Xiang]] ([[User talk:Wu Xiang|talk]]) 14:09, 30 October 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
==Xiao Shuangling 肖双玲==&lt;br /&gt;
'''3.2.2. Deficiency of Skopos Theory'''&lt;br /&gt;
&lt;br /&gt;
However, all thing is not perfect, Skopos theory is no exception, of course.&lt;br /&gt;
&lt;br /&gt;
Firstly, Skopos theory allows the translator to rewrite the original text to a certain extent, but it does not indicate the extent to which the translator can rewrite the original text. It gives the translator too much freedom, which may let the translator easily translate the source text out of its context.&lt;br /&gt;
&lt;br /&gt;
3.2.2.目的论的不足之处&lt;br /&gt;
&lt;br /&gt;
然而，万物皆不完美，目的论当然也不例外。&lt;br /&gt;
&lt;br /&gt;
首先，目的论允许翻译人员对原文进行一定程度上的改写，但它并没有指出翻译人员可以在多大程度上对原文进行改写。它给译者太多的自由发展空间，这很容易使译者在翻译时脱离原文语境。--[[User:Xiao Shuangling|Xiao Shuangling]] ([[User talk:Xiao Shuangling|talk]]) 09:15, 28 October 2020 (UTC)Xiao Shuangling&lt;br /&gt;
&lt;br /&gt;
'''3.2.2. 目的论的缺陷'''&lt;br /&gt;
&lt;br /&gt;
万事万物皆有不足，目的论当然也不例外。&lt;br /&gt;
&lt;br /&gt;
首先，目的论允许译者在某种程度上改写原文，但并没有指出可以改写到何种程度。它给予译者太多的自由，容易让译者在翻译时脱离原文语境。--[[User:Peng Xiaoling|Peng Xiaoling]] ([[User talk:Peng Xiaoling|talk]]) 01:04, 29 October 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
3.2.2 目的论的不足&lt;br /&gt;
&lt;br /&gt;
然而，万事皆有不足之处，目的论自然也不例外。&lt;br /&gt;
&lt;br /&gt;
首先，目的论允许译者在一定程度上改写原文，却没有告知译者可以改写到何种程度。该理论给予译者过多自由，而这很容易会让译者在翻译时脱离原文语境--[[User:Wang Yuan|Wang Yuan]] ([[User talk:Wang Yuan|talk]]) 10:57, 29 October 2020 (UTC)。&lt;br /&gt;
&lt;br /&gt;
==Xiao Ting 肖婷==&lt;br /&gt;
Besides, the original meaning and usage of the source text may be distorted if the translator unscrupulously use every means in order to achieve the so-called “purpose of translation”. Accordingly, the translator will fall into the whirlpool of random translation, which may violate the intention of the original text.&lt;br /&gt;
&lt;br /&gt;
Secondly, the Skopos theory overemphasizes the purpose of translation, the purpose of the translator and the purpose of the target language, so that the translator may easily change or omit many stylistic features of the original text in the target text.&lt;br /&gt;
&lt;br /&gt;
此外，若译者为了达到所谓的 &amp;quot;翻译目的&amp;quot;，不择手段，就可能会歪曲原文的意思和不符合原文本的用法。 相应地，译者就会陷入胡乱翻译的境地，这就可能会违背原文本的意图。&lt;br /&gt;
&lt;br /&gt;
其次，目的论过分强调翻译的目的、译者的目的和目标语言中的目的，因此，译者很容易在目标文本中改掉或省略原文本中的许多特色。--[[User:Xiao Ting|Xiao Ting]] ([[User talk:Xiao Ting|talk]]) 08:55, 28 October 2020 (UTC)XiaoTing&lt;br /&gt;
&lt;br /&gt;
此外，如果译者为达到所谓的“翻译目的”，不择手段，那么原文的含义和用法就会被歪曲。相应地，译者也会陷入滥译的漩涡之中，这可能会违背原文的目的，&lt;br /&gt;
&lt;br /&gt;
其次，目的论过度强调了翻译的目的、译者的目的以及目的语的目的，因此，译者很容易在译文中改变或者省略掉许多原文中存在的文体特征。--[[User:Xiao Shuangling|Xiao Shuangling]] ([[User talk:Xiao Shuangling|talk]]) 09:53, 28 October 2020 (UTC)Xiao Shuangling &lt;br /&gt;
&lt;br /&gt;
此外，如果译者为了达到所谓的“翻译目的”，肆无忌惮地利用各种手段，源文本的原意和用法可能会被扭曲。因此，译者将陷入随机翻译的漩涡，这可能违背原文的意图。&lt;br /&gt;
&lt;br /&gt;
其次，目的论过分强调翻译的目的、译者的目的和目标语言的目的，使译者很容易在目标文本中改变或省略原文的许多文体特征。--[[User:Zhao Xi|Zhao Xi]] ([[User talk:Zhao Xi|talk]]) 13:41, 28 October 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
==Xiao Xi 肖茜==&lt;br /&gt;
This makes it not suitable for some styles of text, such as poems. Because if a translator translates a poem into a prose or a descriptive passages out of the purpose of the translation client, he or she may be better said to rewrite or recreate something than translate. After all, translation is based on the original text, otherwise it cannot be called translation.&lt;br /&gt;
&lt;br /&gt;
Last but not least, there are tens of thousands of readers. To meet the needs of different people, a translation must adopt multiple standards.&lt;br /&gt;
这使得它不适合某些文体，比如诗歌。因为如果翻译者出于迎合翻译读者的目的，将诗歌翻译成散文或描写段落，他或她可能更像是重写或重新创造一些东西，而不是翻译。翻译毕竟是基于原文的，否则就不能称之为翻译。&lt;br /&gt;
最后但并非最不重要的是，它有成千上万的读者。为了满足不同人群的需要，翻译必须采用多种标准。--[[User:XiaoXi|XiaoXi]] ([[User talk:XiaoXi|talk]]) 15:03, 31 October 2020 (UTC)Xiao Xi&lt;br /&gt;
&lt;br /&gt;
==Xiao Yining 肖伊宁==&lt;br /&gt;
When there are contradictions among various standards, the translator will be at a loss and the multiple standards will be equal to no standards. For example, if a translator receives the mission of the translation client that he should translate a song faithfully but also retain the beauty of the original text for both the children and adults to appreciate it, then the translator may feel hard to do the translation task with the three contradictory translation requirements.   &lt;br /&gt;
 &lt;br /&gt;
当各种标准之间出现矛盾时，译者就会无所适从，多重标准就相当于没有标准。例如,如果一个译者接收到翻译客户的翻译任务,他不仅应该忠实地翻译这首歌，同时也要保留原始文本的美，让儿童和成人都能欣赏，那么在这三个相互矛盾的翻译要求下，译者可能会感觉完成翻译任务十分困难。&lt;br /&gt;
&lt;br /&gt;
'''3.2.3. My Point of View towards Skopos Theory'''&lt;br /&gt;
&lt;br /&gt;
3.2.3.我对目的论的看法&lt;br /&gt;
--[[User:Xiao yining|Xiao yining]] ([[User talk:Xiao yining|talk]]) 10:09, 29 October 2020 (UTC)Xiao Yining&lt;br /&gt;
&lt;br /&gt;
当各种标准之间存在矛盾时，翻译者将茫然无措，多重标准就等同于没有标准。 例如，如果译者接到翻译客户的任务，他不但要忠实地翻译这首歌曲，而且还要保留原始文本的美感，让儿童和成人均能欣赏，面对这三重矛盾的翻译要求，译员可能会觉得很难完成任务。--[[User:ZHOUYUJUAN|ZHOUYUJUAN]] ([[User talk:ZHOUYUJUAN|talk]]) 01:55, 30 October 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
==Xie Fan 解帆==&lt;br /&gt;
There are more or less deficiencies in every translation theory, and Skopos theory is no exception. To some extent, the shortcomings of Skopos theory mentioned above are also a major feature of it. It is this distinctive theoretical feature that can make it stand out in many translation theories and attract the attention of many scholars and translation enthusiasts. The author believes that the contribution of Skopos theory to the development of translation theory and its guiding significance in translation practice is far greater than its shortcomings and deficiencies.&lt;br /&gt;
&lt;br /&gt;
==Xie Ziyi 谢子熠==&lt;br /&gt;
People should treat it with a more objective and rational attitude and let it play its due role in the field of translation. Generally speaking, the Skopos theory put forward by Hans Vermeer is regarded as a major theoretical breakthrough in the study of western translation theory, and it also plays an important role in guiding the successful translation practice.&lt;br /&gt;
&lt;br /&gt;
'''IV.Conclusion'''&lt;br /&gt;
&lt;br /&gt;
Through the above comparison, we find that both Functional Equivalence Theory and Skopos theory have their own advantages and disadvantages, and their differences are greater than their similarities.&lt;br /&gt;
&lt;br /&gt;
人们应该以更加客观和理性的态度对待它，并让它在翻译领域中发挥应有的作用。 一般来说，汉斯·维米尔（Hans Vermeer）提出的目的论是西方翻译理论研究的重大理论突破，对指导成功的翻译实践也起着重要的作用。&lt;br /&gt;
&lt;br /&gt;
'''四，结论'''&lt;br /&gt;
&lt;br /&gt;
通过以上比较，我们发现功能对等理论和目的论都有各自的优势和劣势，两者之间的差异大于相似之处。--[[User:Ishikami|Ishikami]] ([[User talk:Ishikami|talk]]) 14:30, 30 October 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
人们应该以更加客观和理性的态度对待它，并让它在翻译领域中发挥应有的作用。 一般来说，汉斯·维米尔提出的翻译目的论是西方翻译理论研究的重大理论突破，对成功的翻译实践具有重要的指导作用。&lt;br /&gt;
&lt;br /&gt;
'''四，结论'''&lt;br /&gt;
&lt;br /&gt;
通过以上的比较，我们发现功能对等理论和目的论各有优缺点，其差异大于相似性。--[[User:Wu Kai|Wu Kai]] ([[User talk:Wu Kai|talk]]) 14:38, 30 October 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
==Xu Jia 徐佳==&lt;br /&gt;
Functional equivalence pays attention to the equivalence between the form and content of the translation and the original text as well as the reader’s response. Skopos theory can solve some problems that can not be solved by Functional Equivalence Theory and widen the research perspective of translation theory, which is to some extent the inheritance and development of Functional Equivalence Theory. The scope of application of the two is different, but both of them have their own unique excellencies.&lt;br /&gt;
&lt;br /&gt;
功能对等不仅强调译文与原文在形式与内容上的对等，也旨在实现读者反应上的对等。目的论可以解决一些功能对等理论无法解决的问题，同时拓宽了翻译理论的研究视角，某种程度上来说是对功能对等理论的继承与发展。这两种理论虽然应用范围不同，但各有优点。--[[User:Xu Jia|Xu Jia]] ([[User talk:Xu Jia|talk]]) 11:06, 31 October 2020 (UTC)Xu Jia&lt;br /&gt;
&lt;br /&gt;
==Xu Jing 许晶==&lt;br /&gt;
'''Comparative Study on Functional Equivalence Theory and Skopos Theory'''&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
'''Introduction'''&lt;br /&gt;
&lt;br /&gt;
'''Research background'''&lt;br /&gt;
&lt;br /&gt;
Contemporary western translation theories are flourishing, providing a new perspective for translation studies. In the 1960s, Eugene A. Nida proposed a translation theory based on reader response, namely &amp;quot;functional equivalence theory&amp;quot;. With the development of the times, people have further understanding of the complex phenomenon of translation. The theory of equivalence sets the translation within the scope of the language level.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
'''功能对等理论与目的论的比较研究'''&lt;br /&gt;
&lt;br /&gt;
'''引言'''&lt;br /&gt;
&lt;br /&gt;
'''研究背景'''&lt;br /&gt;
&lt;br /&gt;
当代西方翻译理论正蓬勃发展，为翻译研究提供了全新的视角。 在上个世纪六十年代，尤金·奈达（Eugene A. Nida）提出了一种基于读者反应的翻译理论，即“功能对等理论”。 随着时代的发展，人们对复杂的翻译现象有了更加深入的了解。 对等论将翻译置于语言层面的范畴中。--[[User:Xu Jing2|Xu Jing2]] ([[User talk:Xu Jing2|talk]]) 06:46, 29 October 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
==Xu Jing 许静==&lt;br /&gt;
However, the essence of translation is not only the conversion of pure language, but also the communication between different cultures based on language form. In the 1970s, translation studies oriented to the target language culture appeared in the West, breaking the traditional translation theory of textual centralism, which made the translator pay more attention to the translation and the target language receivers, the social and communicative functions of the translation. The German functionalist translation theory got rid of the shackles of the equivalence theory that prevailed at that time, broadened the field of translation theory research.&lt;br /&gt;
&lt;br /&gt;
==Xu Mengdie 徐梦蝶==&lt;br /&gt;
'''Significance of the study'''&lt;br /&gt;
&lt;br /&gt;
By comparing the differences and similarities of these two translation theory, it can deepen our understanding of them. Therefore, when we do translation, we can choose the most appropriate translation theory to guide us to translate according to the specific situation. So it is very necessary to make a comparison between functional equivalence theory and skopos theory.&lt;br /&gt;
&lt;br /&gt;
'''Layout of this chapter'''&lt;br /&gt;
&lt;br /&gt;
This thesis will be divided into three chapters. In the first chapter, a brief introduction of functional equivalence will be presented, such as the definition of functional equivalence, and its four criteria: conveying information; conveying the spirit and style of the original work; fluent language; and similar reader response.&lt;br /&gt;
&lt;br /&gt;
该研究的重要性&lt;br /&gt;
&lt;br /&gt;
通过对比这两个翻译理论的异同，可以加深我们对它们的理解。因此，当我们在翻译的时候，可以根据具体情况选择最合适的翻译理论来对翻译进行指导。所以，将功能对等理论和目的论进行对比是非常必要的。&lt;br /&gt;
&lt;br /&gt;
章节布局&lt;br /&gt;
&lt;br /&gt;
本文将分为三个章节。第一章节简要介绍了功能对等，例如功能对等的定义和它的四个标准：传递信息；传达原文精神和风格；语言流畅；相似的读者反应。--[[User:Xu Mengdie|Xu Mengdie]] ([[User talk:Xu Mengdie|talk]]) 11:43, 28 October 2020 (UTC)Xu Mengdie&lt;br /&gt;
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&lt;br /&gt;
'''研究意义'''&lt;br /&gt;
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通过比较这两种翻译理论的异同，可以加深我们对它们的理解。 因此，在翻译的过程中，我们可以根据具体情况，选择恰当的翻译理论来协助我们进行翻译。所以，将功能对等理论与目的论进行比较是非常必要的。&lt;br /&gt;
&lt;br /&gt;
'''章节布局'''&lt;br /&gt;
&lt;br /&gt;
本文将分为三个章节。第一章节简要介绍功能对等理论，例如功能对等的定义和它的四个标准：传达原文信息；传达原文精神和风貌；语言通顺；读者反映相似。--[[User:Xu Jing2|Xu Jing2]] ([[User talk:Xu Jing2|talk]]) 07:27, 29 October 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
==Xu Pengfei 许鹏飞==&lt;br /&gt;
The second chapter involves three parts, that is, the development of skopos theory; the definition of skopos theory and the three rules of skopos theory. The final chapter falls into two part: the differences and similarities between these two theories.&lt;br /&gt;
第二章包括三个部分：目的论的发展、目的论的定义和目的论的三个原则。最后一章分为两部分：这两个理论的不同和相同之处。&lt;br /&gt;
'''1. A brief introduction of Functional equivalence theory'''&lt;br /&gt;
1.功能对等理论的简介&lt;br /&gt;
'''1.1 The definition of functional equivalence theory'''&lt;br /&gt;
1.1功能对等理论的定义&lt;br /&gt;
Functional equivalence theory is the core of the famous American translator Eugene Nida’s translation theory. It attaches great importance to the response of the target language receivers, that is, the target language receiver and the source language receiver produce the same viewing response.&lt;br /&gt;
功能对等理论是著名美国译者尤金·奈达翻译理论的核心部分。该理论重视目标语接受者的反应，也就是说，目标语接受者和原语言接受者的阅读反应一致。--[[User:Xu Pengfei|Xu Pengfei]] ([[User talk:Xu Pengfei|talk]]) 08:32, 28 October 2020 (UTC)Xu Pengfei&lt;br /&gt;
&lt;br /&gt;
The second chapter involves three parts, that is, the development of skopos theory; the definition of skopos theory and the three rules of skopos theory. The final chapter falls into two part: the differences and similarities between these two theories.&lt;br /&gt;
&lt;br /&gt;
第二章分为三个部分，即目的论的发展、目的论的定义和目的论的三条规则。最后一章分为两个部分：两种理论的异同。&lt;br /&gt;
&lt;br /&gt;
'''1. A brief introduction of Functional equivalence theory'''&lt;br /&gt;
&lt;br /&gt;
1.功能对等理论的简介&lt;br /&gt;
&lt;br /&gt;
'''1.1 The definition of functional equivalence theory'''&lt;br /&gt;
&lt;br /&gt;
1.1功能对等理论的定义&lt;br /&gt;
&lt;br /&gt;
Functional equivalence theory is the core of the famous American translator Eugene Nida’s translation theory. It attaches great importance to the response of the target language receivers, that is, the target language receiver and the source language receiver produce the same viewing response.&lt;br /&gt;
&lt;br /&gt;
功能对等理论是著名美国译者尤金·奈达翻译理论的核心部分。该理论重视目标语接受者的反应，也就是说，目标语接受者和原语言接受者的阅读反应一致。--[[User:Xiao yining|Xiao yining]] ([[User talk:Xiao yining|talk]]) 10:12, 29 October 2020 (UTC)Xiao Yining&lt;br /&gt;
&lt;br /&gt;
==Yang Chenting 杨晨婷==&lt;br /&gt;
He holds that translation should not only ensure the correctness of information exchange and achieve information equivalence in lexical sense, but also take into account the cultural background and behavioral patterns of the target language receiver and achieve information equivalence in style, semantics and other aspects in the process of translation, that is, to achieve functional equivalence of language. In the process of translation, we should not only consider the formal factors such as vocabulary and grammar, but also pay attention to the linguistic factors such as context, culture and social background, which are very important to translation.&lt;br /&gt;
&lt;br /&gt;
他认为翻译不光要确保信息传递的正确性以及词语意义上的信息对等，也要在翻译的过程中考虑目标读者的文化背景和行为习惯，在风格，语义以及其他方面实现信息对等，这就是说，要实现语言的功能对等。在翻译的过程中，我们不能只考虑一些经常出现的因素，比如说，词汇和语法，也要注意一些语言学的因素，比如说文本，文化，社会背景等，而这对于翻译来说至关重要。--[[User:Yang chenting|Yang chenting]] ([[User talk:Yang chenting|talk]]) 09:02, 28 October 2020 (UTC) Yang Chenting&lt;br /&gt;
&lt;br /&gt;
他认为翻译不仅是为了保证交换信息的正确性，实现词汇层面上的信息对等，也需要考虑目的语接受者的文化背景和行为习惯，在翻译过程中实现风格、语义和其它方面的功能对等，也就是实现语言的功能对等。在翻译的过程中，我们不仅需要考虑词汇和语法等形式因素，还需要注意到例如语境、文化和社会背景等对翻译很重要的语言因素。--[[User:Xu Mengdie|Xu Mengdie]] ([[User talk:Xu Mengdie|talk]]) 12:05, 28 October 2020 (UTC)Xu Mengdie&lt;br /&gt;
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==Yang Hairong 杨海容==&lt;br /&gt;
Nida’s definition of translation indicates that translation is not only equivalence in lexical sense, but also equivalence in semantics, text and style. The information conveyed by translation includes both surface lexical information and deep cultural information. This kind of “dynamic equivalence” includes four aspects: 1. lexical equivalence；2. syntactic equivalence；3. textual equivalence；4. stylistic   equivalence. Among these four aspects, Nida believes that “meaning is the most important and form is the second”(张春柏，1998：50).&lt;br /&gt;
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'''1.2 The criteria of functional equivalence theory'''&lt;br /&gt;
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Nida’s functional equivalence translation theory has four criteria (Nida, 2001:117): &lt;br /&gt;
&lt;br /&gt;
'''1.2.1 Conveying information'''&lt;br /&gt;
&lt;br /&gt;
==Yang Hui 阳慧==&lt;br /&gt;
The “information” includes all kinds of information conveyed by the original language: semantics, style, literary image, scene and psychological effect. In the theory of functional equivalence, the criterion of “conveying information” means that the target language information conveyed by the translator to the target language receiver should be basically the same as the original text information conveyed by the original author to the target language receiver. &lt;br /&gt;
&lt;br /&gt;
Example: “presidential historian...”&lt;br /&gt;
&lt;br /&gt;
“总统的史学家......”&lt;br /&gt;
&lt;br /&gt;
It is not clear that the message conveyed by “presidential historian” to Chinese readers is not the same as that conveyed by “presidential historian” to English readers. However, according to Nida’s functional equivalence theory, the translator translates it into “研究总统的历史学家” by adding words, so that Chinese readers can correctly understand the true meaning of “presidential historian” in the original text.&lt;br /&gt;
&lt;br /&gt;
==Yang Yi 杨逸==&lt;br /&gt;
&lt;br /&gt;
'''1.2.2 Conveying the spirit and style of the original work'''&lt;br /&gt;
 &lt;br /&gt;
From Nida’s point of view, translation is to reproduce the original text in the most natural way in the target language, first of all, meaning, then spiritual style, so that the receivers of the translated text can produce basically the same psychological response as the receivers of the original text.&lt;br /&gt;
 &lt;br /&gt;
Example:“来吧，朋友!”&lt;br /&gt;
&lt;br /&gt;
==Yang Yue 杨悦==&lt;br /&gt;
&lt;br /&gt;
It is a column broadcast by CCTV. If translated into “come on, friends!”, it seems to be close to the original in form, as a column is not solemn enough. And “solemnity” is the style of “来吧，朋友！”in the original Chinese text, which should be reproduced in the translation. Therefore, “A time to make friends” is quite different from the original Chinese in form, but it accurately conveys the spiritual style of the original to the target readers.&lt;br /&gt;
 &lt;br /&gt;
'''1.2.3 Fluent language: fully in line with the norms and conventions of the target language'''&lt;br /&gt;
&lt;br /&gt;
这是中央电视台播出的一档栏目。如果将其译为“come on, friends!“，在形式上似乎与原文相似，但作为一档栏目名还不够庄重。“庄重”展现了原中文名“来吧，朋友！”的风格，应在翻译中再现。因此，” A time to make friends”虽然在形式上与原文大相庭径，但却准确地讲原文的精神内涵传达给了读者。&lt;br /&gt;
&lt;br /&gt;
“1.2.3 流利的语言：即完全符合目的语的规范和准则。”--[[User:Yang Yue|Yang Yue]] ([[User talk:Yang Yue|talk]]) 01:27, 30 October 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
这是央视播出的一档节目。如果将其翻译成“come on，friends！”，在形式上似乎与原名相似，但作为一档节目名还不够庄重。而“庄重”正是原中文名“来吧，朋友！”所展现的风格，应当在翻译中再现。因此，译为“A time to make friends（交友时光）”虽然在形式上与原名大相径庭，但是却准确的将原名的精神风貌传达给了目的语读者。&lt;br /&gt;
1.2.3 语言流利：即完全符合目的语的规范和习惯。--[[User:Li Luyi|Li Luyi]] ([[User talk:Li Luyi|talk]]) 12:09, 30 October 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
==Yang Ziling 杨子泠==&lt;br /&gt;
&lt;br /&gt;
This criterion means that, on the premise of conveying the information and spiritual style of the original text, the process of translation should not be constrained by the linguistic form and structure of the original text, and should grasp the connotation and spirit of the original text.&lt;br /&gt;
 &lt;br /&gt;
Example：“车来了！”&lt;br /&gt;
 &lt;br /&gt;
“Here comes the car / truck / bus / minibus / lorry / taxi!”&lt;br /&gt;
&lt;br /&gt;
==Yao Cheng 姚诚==&lt;br /&gt;
&lt;br /&gt;
In Chinese, the category word “car” is used to replace any form of vehicle. But this method is not found in English. On the contrary, English is accustomed to using specific vocabulary. Therefore, when translating similar Chinese into English, it is necessary to make clear the means of transportation and to translate the specific means of transportation according to the habits of English expression. If you cross the street, remind your peers to say “车来了！”You should translate it into “Be careful!” according to English expression habits, so that English readers can really understand the meaning of the original text.&lt;br /&gt;
&lt;br /&gt;
汉语中的范畴词“车”可用来替换任何类型的车辆，但是英语不能这样。相反，英语习惯使用确切词。因此，把相似的汉语词汇翻译成英语词汇时，必须搞清楚交通工具的具体意义，然后根据英语表达习惯，翻译成具体的英语交通工具名称。如果你过马路时，提醒你的同伴“车来了” 。应该根据英语表达习惯，将“车来了”翻译成“当心”，这样英语读者才能真正理解原文的意义。--[[User:Yao Cheng|Yao Cheng]] ([[User talk:Yao Cheng|talk]]) 11:47, 28 October 2020 (UTC)&lt;br /&gt;
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&lt;br /&gt;
汉语中，范畴词“车”用来指任何类型的车。但英语中没有这种用法。与此相反，英语习惯使用具体词。因此，当将汉语翻译成英语时，有必要弄清交通运输的各种各样的方式，并根据英语表达的习惯将其用具体的词翻译出来。当你过马路时，提醒你的同伴说“车来了！”根据英语表达习惯，你应该将“车来了！”翻译成“当心！”这样英语读者才能真正理解原文的意思。--[[User:Kong Yanan|Kong Yanan]] ([[User talk:Kong Yanan|talk]]) 12:53, 28 October 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
==Yao Jia 姚佳==&lt;br /&gt;
&lt;br /&gt;
'''1.2.4 Similar reader responses'''&lt;br /&gt;
 &lt;br /&gt;
The first two standards focus on the transmission of linguistic information, content and style, while the latter two focus on the acceptability of the translation to the audience：The relationship between the target reader and the target text should be basically the same as that between the original reader and the target text, so as to achieve the spiritual fit between the translator and the original author, thus enabling the target reader to get the same feelings as the original reader.&lt;br /&gt;
Example: “as white as snow.”&lt;br /&gt;
&lt;br /&gt;
==Yi Huan 易欢==&lt;br /&gt;
&lt;br /&gt;
It can sometimes be translated into “very white” because people in the translated culture may not know what snow is. We can also translate “to grow like mushroom” into “如雨后春笋般地成长起来”, because “mushroom” means exactly the same in English as“春笋”in Chinese.&lt;br /&gt;
 &lt;br /&gt;
'''Ⅱ. A brief introduction of Skopos theory'''&lt;br /&gt;
&lt;br /&gt;
==Yi Zichu 义子楚==&lt;br /&gt;
&lt;br /&gt;
Skopos theory is the core concept of German functionalist theory, which is put forward by Hans. J. Vermeer. Skopos theory holds that the purpose of translation determines the translation methods and strategies that are to be employed. Vermeer thinks that translators should follow three basic rules in the process of their translation, which are respectively skopos theory, coherence theory and fidelity theory.&lt;br /&gt;
 &lt;br /&gt;
'''2.1 The development of Skopos theory'''&lt;br /&gt;
&lt;br /&gt;
==You Yuting 游雨婷==&lt;br /&gt;
&lt;br /&gt;
Before the 1970s, the focus of translation studies was equivalence. In fact, this kind of equivalence was hard to achieve because the differences between cultures are hard to eliminate. In order to solve this problem, translation theorists put forward new theories, using functional and communicative methods to study translation. In this context, functionalist skopos theory continues to develop, and boldly shakes off the bondage of equivalence, taking the skopos as the general principle.&lt;br /&gt;
20世纪70年代以前，翻译研究的焦点是对等。但实际上，这种对等是很难实现的，因为文化之间的差异是很难消除的。为了解决这一问题，翻译理论家们提出了新的理论，运用功能和交际的方法来研究翻译。在此背景下，功能目的论不断发展，大胆地摆脱了对等的束缚，以目的论作为一般原则。--[[User:You Yuting|You Yuting]] ([[User talk:You Yuting|talk]]) 14:52, 29 October 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
在20世纪70年代以前，翻译研究的重点是对等。 实际上，由于很难消除文化之间的差异，因此很难实现这种对等。 为了解决这个问题，翻译理论家提出了新的理论，运用功能性和交际性的方法来研究翻译。 在这种情况下，功能主义的目的论继续发展，并以目的为一般原则大胆地摆脱了对等的束缚。--[[User:Zhang Hui|Zhang Hui]] ([[User talk:Zhang Hui|talk]]) 01:31, 30 October 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
20世纪70年代以前，翻译研究的重点在于对等。事实上，这种对等很难实现，因为文化之间的差异是很难消除的。为了解决这一问题，翻译理论家们提出了新的理论，运用功能和交际的方法来研究翻译。在这种背景下，功能主义目的论不断发展，并以目的为总原则大胆地摆脱了对等的束缚。--[[User:Yu Ni|Yu Ni]] ([[User talk:Yu Ni|talk]]) 03:27, 31 October 2020 (UTC)&lt;br /&gt;
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==Yu Ni 余妮==&lt;br /&gt;
&lt;br /&gt;
So translation is examined in the framework of behavioral theory and intercultural communication, which opens a new path for the world translation theories, including the Chinese translation (Li Changshuan, 2009:11). The development of skopos theory has experienced the following four stages:&lt;br /&gt;
 &lt;br /&gt;
The first stage: Katharina Reiss firstly introduced the concept of equivalence into translation criticism, proposing the prototype of functionalist theory.&lt;br /&gt;
&lt;br /&gt;
因此，在行为理论和跨文化交际的框架下对翻译进行研究，这为世界翻译理论，包括汉语翻译开辟了一条新的道路（李长川，2009:11）。目的论的发展经历了以下四个阶段：&lt;br /&gt;
第一阶段：凯瑟琳娜·赖斯首先将对等概念引入翻译批评，提出了功能翻译理论的原型。--[[User:Yu Ni|Yu Ni]] ([[User talk:Yu Ni|talk]]) 03:17, 31 October 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
==Yuan Shiqi 袁诗琦==&lt;br /&gt;
&lt;br /&gt;
On the one hand, Reiss still insisted on the equivalence theory with the original text as the center, and pointed out that the ideal translation should be equivalent to the original text from the conceptual content, language form and communicative function. She believed that the ideal translation should be comprehensive communicative translation. On the other hand, Reiss also realized that some equivalence is impossible. For example, the translation and the original text have different functions. In this case, Reiss believes that the translator should give priority to the functional characteristics of the translation rather than the equivalence principle (Zhang Jinglan, 2004:1). Reiss's research laid the foundation for skopos theory.&lt;br /&gt;
一方面，瑞斯（Reiss）仍然坚持以原文为中心的对等理论，并指出理想的翻译应从概念内容、语言形式和交际功能等方面与原文对等。她认为理想的翻译应该是全面的交际翻译。另一方面，瑞斯(Reiss)也意识到某种对等是不可能的。例如，译文和原文有不同的功能。在这种情况下，瑞斯(Reiss)认为译者应该优先考虑译文的功能特征，而不是对等原则。(张景兰，2004:1) 瑞斯(Reiss)的研究为目的论奠定了基础。--[[User:Yuan SHiqi|Yuan SHiqi]] ([[User talk:Yuan SHiqi|talk]]) 14:26, 29 October 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
==Yuan Tianyi 袁天翼==&lt;br /&gt;
&lt;br /&gt;
The second stage: Reiss’s student Hans J. Vermeer proposed skopos theory, taking the skopos of the translation as the paramount principle during the process of translation. Vermeer believed that translation is a kind of human behavior, and any kind of human behavior is purposeful, so the purpose of translation should be determined before the translation begins. Vermeer thinks that translation should be based on the original text, and translation is a purposeful behavior that must be completed by negotiation. In addition, translation must follow three basic rules, of which the skopos rule is the most important. After these three rules are put forward, the criteria for judging the good or bad translation are no longer “equivalence”, but whether the translation fully achieves the expected goal of translation or not.&lt;br /&gt;
&lt;br /&gt;
第二阶段：瑞斯（Reiss）的学生汉斯·J.·福尔米尔（Hans J. Vermeer）提出了目的论。根据这一理论，翻译的目的成为翻译过程中最重要的原则。福尔米尔认为，翻译是一种人类活动，而正因为任何一种人类活动都是带有目的的，因此翻译的目的应该在翻译开始之前就决定下来。福尔米尔还认为，翻译应该从原文章出发，是一种必须通过协商而完成的有目的的人类行为。此外，翻译活动必须遵循三个基本原则，其中目的原则是最重要的。在提出这三大原则后，评判翻译好坏的标准不再是“对等”，取而代之的是：翻译是否完全达到了预期目标。&lt;br /&gt;
&lt;br /&gt;
==Yuan Yuchen 袁雨晨==&lt;br /&gt;
&lt;br /&gt;
The third stage: Based on communication theory and action theory, Holz-Manttari proposed translational action. Translational action views translation as purpose-driven, outcome-oriented human interaction and focuses on the process of translation as message-transmitter compounds involving intercultural transfer (Jeremy Munday, 2001:77). Translation is a communicative process involving a series of roles and players Manttari regards text as a pure tool for achieving communicative function, and believes that its inherent value is completely subordinate to its purpose.&lt;br /&gt;
&lt;br /&gt;
第三阶段：霍尔兹·曼塔利在交际理论和行为理论的基础上提出了翻译行为论。翻译行为论是把翻译视为受目的驱使、以翻译结果为导向的人与人之间的相互作用，聚焦于将翻译过程当作复合信息传递物在不同文化间的转移。（杰里米·芒迪，2001：77）。翻译是一个交际的过程，牵涉到一系列的角色和参与者。曼塔利把文本看成是实现交际功能的纯理论工具，认为文本的内在价值完全服务于其目的。--[[User:Yuan Yuchen|Yuan Yuchen]] ([[User talk:Yuan Yuchen|talk]]) 14:41, 29 October 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
第三阶段。在交流理论和行动理论的基础上，霍尔兹·曼塔利提出了翻译行动。翻译行动将翻译看作是以目的为导向、以结果为目的的人际互动，并把翻译过程看作是涉及跨文化传递的信息传递化合物（杰里米·芒迪，2001：77）。翻译是一个涉及一系列角色和角色的交际过程曼塔里将文本视为实现交际功能的纯粹工具，认为文本的内在价值完全服从于其目的。 --[[User:Liu Yi|Liu Yi]] ([[User talk:Liu Yi|talk]]) 01:22, 30 October 2020 (UTC)&lt;br /&gt;
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==Zeng Fangyuan 曾芳缘==&lt;br /&gt;
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The translator only needs to be responsible for the purpose environment, and the target text can be completely independent of the original text, thus further developing the functionalist translation theory.&lt;br /&gt;
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译者仅需对目标语言负责，且目的语文本应该完全独立于源语文本，这就进一步发展了功能主义翻译理论。&lt;br /&gt;
&lt;br /&gt;
The fourth stage: Christane Nord comprehensively summarized and perfected the functionalist theory. Nord proposed the principle of &amp;quot;function plus loyalty&amp;quot;, which systematically elucidates the internal and external factors that need to be considered in text analysis of translation, and how to formulate a translation strategy that is consistent with the purpose of translation based on the original text.&lt;br /&gt;
&lt;br /&gt;
第四阶段：克里斯蒂安·诺德全面地总结并完善了功能理论，他提出“功能加忠诚”的概念，这一概念系统的阐明了翻译文本分析中需要考虑的内外部要素，以及基于源语文本提出符合翻译目的的翻译策略的方法。&lt;br /&gt;
--[[User:Zeng Fangyuan|Zeng Fangyuan]] ([[User talk:Zeng Fangyuan|talk]]) 07:59, 30 October 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
==Zeng Liang 曾良==&lt;br /&gt;
&lt;br /&gt;
'''2.2 The definition of skopos'''&lt;br /&gt;
 &lt;br /&gt;
Skopos theory was originally put forward by the German scholar Han J. Vermeer in 1978. “Skopos is a Greek word for 'aim' or 'purpose' and was introduced into translation theory by Vermeer as a technical term for the purpose of a translation and of the action of translating”(Munday, 2001: 78).&lt;br /&gt;
&lt;br /&gt;
2.2 目的论的定义&lt;br /&gt;
 &lt;br /&gt;
目的论最初由德国学者汉斯·弗米尔于1978年提出。“skopos是一个希腊词汇，意为‘目标’或‘目的’，弗米尔出于翻译和翻译行动的目的将其作为一个技术术语引入到翻译理论中。--[[User:Zeng Liang|Zeng Liang]] ([[User talk:Zeng Liang|talk]]) 13:01, 29 October 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
2.2 目的论的定义&lt;br /&gt;
目的论最初由德国学者汉斯·弗米尔于1978年提出。“skopos”是一个希腊词汇，意为“目标”或“目的”，弗米尔出于翻译和翻译行为的目的将其作为一个专业术语引用到翻译理论中。--[[User:Yuan Yuchen|Yuan Yuchen]] ([[User talk:Yuan Yuchen|talk]]) 14:43, 29 October 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
==Zeng Xinyuan 曾心媛==&lt;br /&gt;
&lt;br /&gt;
Translation actions have many purposes, but Vermeer divides them into three categories: translator’s basic purpose, such as make a living; the target text’s communicative purpose, like enlightening the readers; and the purpose realized by selecting some special translation strategies or steps, for example, translating one language word by word aims to show the structure feature of this language. Generally speaking, the skopos theory refers to the communicative purpose of the source text.&lt;br /&gt;
&lt;br /&gt;
==Zeng Yanhu 曾雁湖==&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
'''2.3 Three basic rules of skopos theory'''&lt;br /&gt;
 &lt;br /&gt;
In this part, a detailed analysis of these rules will be presented with examples.&lt;br /&gt;
 &lt;br /&gt;
'''2.3.1 The skopos rule'''&lt;br /&gt;
 &lt;br /&gt;
In the three rules of Skopos theory, Skopos theory is the prime principle to be followed in any translation. Vermeer explains this rule as follows:&lt;br /&gt;
&lt;br /&gt;
2.3 目的论的三条基本规则&lt;br /&gt;
这部分将通过例子来呈现对于这些规则的具体分析。&lt;br /&gt;
&lt;br /&gt;
2.3.1 翻译目的规则&lt;br /&gt;
在目的论的三条规则中，目的论是任何翻译都应遵循的主要原则。维米尔关于此规则的解释如下：--[[User:Fancy|Fancy]] ([[User talk:Fancy|talk]]) 08:19, 29 October 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
2.3 目的论的三条基本规则&lt;br /&gt;
这部分将通过示例对这些规则进行详细分析。&lt;br /&gt;
&lt;br /&gt;
2.3.1 翻译目的规则&lt;br /&gt;
在目的论的三条规则中，目的论是任何翻译都应遵循的首要原则。维米尔关于此规则的解释如下：--[[User:You Yuting|You Yuting]] ([[User talk:You Yuting|talk]]) 14:57, 29 October 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
2.3 目的论的三条基本规则&lt;br /&gt;
这部分将通过示例对这些规则进行详细分析。&lt;br /&gt;
&lt;br /&gt;
2.3.1 翻译目的规则&lt;br /&gt;
在目的论的三条规则中，目的论需遵循的首要原则。弗米尔关于此规则的解释如下：--[[User:Zhang Yuxing|Zhang Yuxing]] ([[User talk:Zhang Yuxing|talk]]) 14:41, 31 October 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
==Zhang Hu 张虎==&lt;br /&gt;
 &lt;br /&gt;
''Each text is produced for a given purpose and should serve this purpose. The skopos rule thus reads as follows: translate/interpret/speak/write in a way that enables your text/translation to function in the situation in which it is used and with the people who want to use it and precisely in the way they want it to function.''(Vermeer, 1988:20)  &lt;br /&gt;
&lt;br /&gt;
==Zhang Hui 张慧==&lt;br /&gt;
&lt;br /&gt;
Therefore, skopos theory believes that any translation action is determined by the purpose of the translation. That is to say, “The ends justify the means” (Reiss &amp;amp;Vermeer, 1984:101) the purpose of translation determines the translation methods and strategies.&lt;br /&gt;
 &lt;br /&gt;
Example: I wear nothing but a few drops of Channel No.5&lt;br /&gt;
 &lt;br /&gt;
无限芬芳的超脱，点滴即可创造。&lt;br /&gt;
&lt;br /&gt;
因此，目的论认为任何翻译动作都是由翻译目的决定的。也就是说，“只要目的正确，可以不择手段”(Reiss &amp;amp;Vermeer, 1984:101)，翻译的目的决定了翻译方法和策略。--[[User:Zhang Hui|Zhang Hui]] ([[User talk:Zhang Hui|talk]]) 01:24, 30 October 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
因此，目的论认为任何翻译行为都是由翻译目的决定的。也就是说，“只要目的正确，可以不择手段”(Reiss &amp;amp;Vermeer, 1984:101)，翻译的目的决定了翻译方法和策略。--[[User:Zhang Yujie|Zhang Yujie]] ([[User talk:Zhang Yujie|talk]]) 09:18, 31 October 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
==Zhang Ling 张玲==&lt;br /&gt;
&lt;br /&gt;
If using the literal translation, this sentence can be translated as “我什么都不穿，除了滴几滴香奈儿五号”. However, this kind of translation extremely lacks of beauty and there is no more elegance. Considering that the ultimate goal of advertisement is to induce consumers to buy the products and services it promotes. This advertisement adopts free translation and combines with Chinese traditional culture, which makes it like a ancient poem with quaint charm. It not only expresses the meaning of the advertisement, but also injects the characteristics of art, thus letting Channel No.s full of magic. It satisfies some people's pursuit high quality of life, and also makes consumers deeply impressed. So it can be called a successful translation.&lt;br /&gt;
&lt;br /&gt;
如果采用直译的方法，这个句子可译为“我什么都不穿，除了滴几滴香奈儿五号”。但这样的译文没有一点美感，也就谈不上雅致。鉴于广告的最终目的是诱导消费者购买其所推销的产品和服务，这则广告采用意译的方法，结合中国传统文化，使之像一首古诗，韵味古朴。它既表达了广告的含义，又注入了艺术的特质，让香奈儿五号香水充满了魔力，满足了一些人对高品质生活的追求，也给消费者留下了深刻的印象。因此可以称之为成功的翻译。 --[[User:Zhang Ling|Zhang Ling]] ([[User talk:Zhang Ling|talk]]) 08:37, 29 October 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
==Zhang Peiwen 张佩闻==&lt;br /&gt;
&lt;br /&gt;
'''2.3.2 The coherence rule'''&lt;br /&gt;
 &lt;br /&gt;
Coherence rule is also called intratextual coherence rule. It holds that the translated text must be coherent, readable and acceptable. In other words, the TT receivers can understand the TT according to their cultural and intellectual background. Any text is a provider of information and functions, but the information and functions are not always obvious from a linguistic point of view.&lt;br /&gt;
通顺原则&lt;br /&gt;
通顺原则又叫文体内部通顺原则。这一原则下，文本内容必须通顺，读得懂并且合乎情理。换句话说，译文读者读译文时，可以结合自身已有的知识文化背景来理解译文。任何一种文本都能传递信息，有它自己的功能。但是从语言学角度来讲，文本背后要表达的信息和功能并不能被读者一眼看出。--[[User:Zhang Peiwen|Zhang Peiwen]] ([[User talk:Zhang Peiwen|talk]]) 07:46, 28 October 2020 (UTC)&lt;br /&gt;
2.3.2 连贯性原则&lt;br /&gt;
连贯性原则又叫文内连贯原则。这一原则要求译文必须具有连贯性、可读性以及可接受性。也就是说，译文接受者能够根据自身文化和知识背景理解译文。任意一篇文本都能传递信息有其功能，但从语言学角度来看，文本的信息和功能不是一直都一目了然的。--[[User:Xu Pengfei|Xu Pengfei]] ([[User talk:Xu Pengfei|talk]]) 08:42, 28 October 2020 (UTC)Xu Pengfei&lt;br /&gt;
&lt;br /&gt;
==Zhang Qi 张琪==&lt;br /&gt;
&lt;br /&gt;
The translator selects aspects and components that serve the purpose according to the skopos rule, and then translates the source text through language processing to make the translated text become a new information provider. In the language processing process, translators must be concerned that translation is readable and understandable in the translated language. Only the translation is meaningful in the communicative context of the TL receivers can the culture and information of the source text be effectively transmitted to the target language readers.&lt;br /&gt;
 &lt;br /&gt;
Example: Enchanting medieval house with five acres of delightful gardens.&lt;br /&gt;
 &lt;br /&gt;
这里是迷人的中世纪住宅，外有五英亩的美丽花园。&lt;br /&gt;
&lt;br /&gt;
==Zhang Weihong 张维虹==&lt;br /&gt;
&lt;br /&gt;
This is a part of the travel propaganda. In order to ensure that translation is smooth and coherent, the original prepositional phrase is changed into a complete sentence with a subject-predicate structure, which doesn’t make the relationship among sentences appear loose.&lt;br /&gt;
 &lt;br /&gt;
'''2.3.3 The fidelity rule'''&lt;br /&gt;
&lt;br /&gt;
&amp;lt;nowiki&amp;gt;Insert non-formatted text here&amp;lt;/nowiki&amp;gt;==Zhang Xueyi 张雪仪==&lt;br /&gt;
&lt;br /&gt;
Fidelity rule is also called inter-textual coherence and states that there must be coherence between the ST and the TT. It is similar to the “faithfulness” of Yan Fu’s theory. Fidelity rule maintains the status of the original text and constrains translation actions of different translation purpose. However, the concept of Fidelity rule is relative. The form and degree of faithfulness is determined by the purpose of translation and the translators’ understanding of the original text.&lt;br /&gt;
 &lt;br /&gt;
Example: Free entry into farm, Dogs on lead.  &lt;br /&gt;
 &lt;br /&gt;
OPEN DAILY: 1 March--30 November 10:00 am--5:00 pm&lt;br /&gt;
 &lt;br /&gt;
农场免费进入，宠物狗请带好狗绳。&lt;br /&gt;
 &lt;br /&gt;
开放时间：3月1日--11月30日 上午10点--下午五点&lt;br /&gt;
&lt;br /&gt;
忠实原则也称为语际连贯法则，它指出源文本和目标文本之间必须有连贯性。这与严复的“信”原则有相似之处。忠实原则可保持原文的状态，并限制不同翻译目的的翻译行为。然而，忠实原则的概念是相对的。“信”的形式和程度取决于翻译的目的和译者对原文的理解。&lt;br /&gt;
例如：免费进入农场，带狗请牵绳&lt;br /&gt;
开放时间：3月1日—11月30日 上午10点—下午5点--[[User:Zhang Xueyi|Zhang Xueyi]] ([[User talk:Zhang Xueyi|talk]]) 15:32, 30 October 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
==Zhang Yinliu 张银柳==&lt;br /&gt;
&lt;br /&gt;
The time, place and various precautions in the travel text are very important, because the error of this kind of information will bring unnecessary trouble to the tourists. Therefore, the translation, according to the fidelity rule, faithfully and effectively conveys the original information to the reader for the purpose of facilitating the tourists.&lt;br /&gt;
 &lt;br /&gt;
There exists a hierarchical order of these rules. The skopos rule is the most important one and other two rules are subordinate to it. At the same time, the fidelity rule is also subordinate to the coherence rule.&lt;br /&gt;
 &lt;br /&gt;
'''Ⅲ. Comparative study on Nida's functional equivalence theory and functionalist skopos theory'''&lt;br /&gt;
&lt;br /&gt;
==Zhang Yu 张瑜==&lt;br /&gt;
&lt;br /&gt;
This chapter will mainly discuss the differences and similarities between functional equivalence theory and skopos theory.&lt;br /&gt;
 &lt;br /&gt;
'''3.1 The differences'''&lt;br /&gt;
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'''3.1.1 Different theoretical basis'''&lt;br /&gt;
 &lt;br /&gt;
The early equivalence theory was directly influenced by American structuralist linguistics and human linguistics. Later, Nida combined translation studies with the syntactic structure analysis method, semantic component analysis method and Chomsky's transformational-generative grammar that were popular in the United States in the 1940s and 1950s, took structural analysis of language expressions and translation procedures, and injected fresh blood into translation studies (Chen Gang, 2011: 145). Using communication theory and cross-cultural content as the starting point, Nida revised Chomsky's deep transfermation grammar, paid attention to the psychology of information receivers, and stimulated the potential of information receivers as much as possible.&lt;br /&gt;
&lt;br /&gt;
本章将主要讨论功能对等理论和目的论的异同。&lt;br /&gt;
&lt;br /&gt;
3.1 差异&lt;br /&gt;
   &lt;br /&gt;
3.1.1 理论基础的差异&lt;br /&gt;
&lt;br /&gt;
美国的结构主义语言学和人类语言学直接影响了早期的对等理论。后来，奈达将翻译研究与词义结构分析法、语义成分分析法、以及二十世纪四五十年代流行于美国的乔姆斯基的转换生成语法相结合，并在语言表达和翻译过程中采用结构分析，这些都为翻译研究注入新鲜血液（陈刚，2011:45）。将翻译传播理论和跨文化内涵的运用作为起点，奈达更正了乔姆斯基的深度转换语法理论，反而更加注重信息接受者的心理，同时也尽可能地激发接受者的潜能。--[[User:Zhang Yu|Zhang Yu]] ([[User talk:Zhang Yu|talk]]) 15:17, 28 October 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
本章将主要讨论功能对等理论与目的论之间的异同。&lt;br /&gt;
&lt;br /&gt;
3.1差异&lt;br /&gt;
&lt;br /&gt;
3.1.1不同的理论基础&lt;br /&gt;
&lt;br /&gt;
早期的对等理论直接受到美国结构主义语言学和人类语言学的影响。 后来，奈达将翻译研究与二十世纪四五十年代在美国流行的句法结构分析方法、语义成分分析方法和乔姆斯基的转换生成语法相结合，对语言表达和翻译过程进行了结构分析，为翻译研究注入了新鲜血液（陈刚，2011：145）。 奈达以传播理论和跨文化内容为起点，修订了乔姆斯基的深层转换语法，关注信息接收者的心理，并尽可能地激发了信息接收者的潜力。--[[User:Zhao Xiaoyan|Zhao Xiaoyan]] ([[User talk:Zhao Xiaoyan|talk]]) 00:58, 30 October 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
==Zhang Yujie 张毓婕==&lt;br /&gt;
&lt;br /&gt;
German skopos theory is an emerging school in the late 1970s. It criticizes that the translation theory based on linguistic school pays much attention to form, and is developed on the basis of  communication theory, information theory, behavior theory, discourse linguistics, and text theory. Based on the behavior theory, Skopos theory proposes the concept of translation action, which extends translation to a new field. That is to say, translation is a kind of purposeful and conscious intercultural communication action of human.&lt;br /&gt;
&lt;br /&gt;
目的论于20世纪70年代末起源于德国。它批判了基于语言学的翻译理论，认为其过于注重形式，并在传播理论，信息理论，行为主义理论，语篇语言学和文本理论的基础上发展而来。基于行为主义理论，目的论提出翻译行为的概念，将翻译引入了新的领域。也就是说，它将翻译视作是人类有目的、有意识的跨文化交流活动。--[[User:Zhang Yujie|Zhang Yujie]] ([[User talk:Zhang Yujie|talk]]) 09:12, 31 October 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
==Zhang Yuxing 张宇星==&lt;br /&gt;
&lt;br /&gt;
As the name suggests, Skopos theory regards translation activities as a kind of &amp;quot;action&amp;quot;, and any action has its goals or skopos. One of the representatives of the skopos theory, Hans J. Vermeer, summarizes the essence of skopos theory in a concise language: the ends justify the means, that is, the purpose of translation determines the translation process.&lt;br /&gt;
 &lt;br /&gt;
'''3.1.2 Different translation principles and standards'''&lt;br /&gt;
&lt;br /&gt;
顾名思义，目的论认为翻译活动是一种“行动”，任何行动都有其目标或目的。目的论的代表人物之一汉斯•J•维米尔用简洁的语言概括了目的论的精髓:目的决定方式，即翻译的目的决定翻译过程。&lt;br /&gt;
&lt;br /&gt;
3.1.2不同的翻译原则和标准--[[User:Zhang Yuxing|Zhang Yuxing]] ([[User talk:Zhang Yuxing|talk]]) 14:36, 31 October 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
==Zhao Xi 赵茜==&lt;br /&gt;
&lt;br /&gt;
Nida's functional equivalence refers to “the closest natural equivalence to the source language information”. “Natural” here means that the translation must conform to the language and culture of the target language, in line with the context and the requirements of the target receivers. &amp;quot;Equivalence&amp;quot; here, he clearly stated that it is not &amp;quot;equivalence&amp;quot; in mathematics, but &amp;quot;approximation&amp;quot;, that is, the approximation of functional equivalence from varying degrees.&lt;br /&gt;
&lt;br /&gt;
奈达的功能对等理论是指对源语信息最切近的自然对等。“自然”在这里的意思是译文必须遵守目的语的语言和文化，与目标读者的语境和需求相一致。奈达清楚说明了，这里的“对等”并非是数学上的“相等”，但“近似”是指不同程度的功能对等的近似。--[[User:Zhao Xi|Zhao Xi]] ([[User talk:Zhao Xi|talk]]) 13:32, 28 October 2020 (UTC)&lt;br /&gt;
奈达的功能对等理论指的是“对源语信息最切近的自然对等”。此处的“自然”指的是翻译必须遵从目的语的语言和文化，与语境相一致，并且满足目标读者的需求。奈达清晰地阐明了这里的“对等”并非数学意义上的“相等”，但“近似”是不同程度的功能对等。--[[User:Zhou Siqing|Zhou Siqing]] ([[User talk:Zhou Siqing|talk]]) 11:16, 29 October 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
==Zhao Xiaoyan 赵晓燕==&lt;br /&gt;
&lt;br /&gt;
From the above Nida’s dynamic equivalence theory, the translator must conform to four criteria in order to achieve &amp;quot;close and natural equivalence&amp;quot;: (1) conveying meaning; (2) conveying the spirit and style of the original work; (3) fluent; (4) similar reader responses. In order to achieve these four standards, there will be contradictions between content and form from time to time. It is either the content giving way to form, or the form giving way to content. The two form a unified whole.&lt;br /&gt;
&lt;br /&gt;
根据奈达的动态对等理论，译者必须遵循以下四条规则以实现“贴切而自然的对等”：（1）传达意思；（2）传达原作的精神和风格：（3）流畅；（4）使读者产生相似的反应。 为了实现以上四条标准，内容和形式会产生一次又一次的冲突。 有时内容要让步于形式，有时形式需让步于内容。两者构成了一个统一体。--[[User:Zhao Xiaoyan|Zhao Xiaoyan]] ([[User talk:Zhao Xiaoyan|talk]]) 00:48, 30 October 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
根据奈达的动态对等理论，为了达到“接近自然的对等”，译者必须遵循四个标准：（1）传达意义；（2）传达原作的精神和风格；（3）流畅；（4）读者思维。为了达到这四个标准，内容和形式之间会经常出现矛盾：要么是内容让位给形式，要么是形式让位给内容。这二者构成一个统一的整体。--[[User:Zheng Huajun|Zheng Huajun]] ([[User talk:Zheng Huajun|talk]]) 01:13, 30 October 2020 (UTC)&lt;br /&gt;
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==Zheng Huajun 郑华君==&lt;br /&gt;
&lt;br /&gt;
Skopos theory advocates that translation should follow three rules: the skopos rule, the coherence rule and the fidelity rule, of which the skopos rule is the highest principle. The main purpose is to make the translation achieve the expected function of the target language receivers in the target language environment. In addition to the highest principle, the translation must follow the coherence rule and the fidelity rule. The former requires the translation to be &amp;quot;coherent within the text,&amp;quot; that is, the translation needs to meet the communication context and cultural background of the target language so that the target reader can understand.&lt;br /&gt;
目的论主张翻译应遵循三条原则：目的性原则、连贯性原则和忠实性原则，其中目的性原则是最高原则。其主要目的是使译文在目的语环境中达到目的语接受者的预期功能。除了遵循最高原则外，翻译还必须遵循连贯原则和忠实原则。前者要求译文“语内连贯”，即译文需要符合目的语的交际语境和文化背景，以便译文读者能够理解。--[[User:Zheng Huajun|Zheng Huajun]] ([[User talk:Zheng Huajun|talk]]) 01:00, 30 October 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
目的论主张翻译应遵循三个规则：目的性原则、连贯性原则和忠实性原则，其中目的性原则是最高原则。其主要目的是使译文在目标语言环境中达到目标语言接受者的预期功能。 除了最高原则外，翻译还必须遵循连贯性原则和忠实性规则。前者要求译文要“语内连贯”，即翻译需要满足目标语言的交际语境和文化背景，以便目标读者可以理解。--[[User:Tan Yuanyuan|Tan Yuanyuan]] ([[User talk:Tan Yuanyuan|talk]]) 08:41, 30 October 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
==Zhou Luoping 周罗平==&lt;br /&gt;
&lt;br /&gt;
The latter requires the translation to be coherent between the ST and the TT. That is, the translation should try to imitate the original text, whether it is formal imitation or content imitation is permissible, which depends on the purpose of the translation. The latter two rules are subordinate to the highest rule-- the skopos rule.&lt;br /&gt;
 &lt;br /&gt;
But this also makes the translation theorists produce questions. Is the translator free to do anything for the purpose? Then Nord put forward the theory of “function plus loyalty”. &lt;br /&gt;
&lt;br /&gt;
==Zhou Shiqing 周诗卿==&lt;br /&gt;
&lt;br /&gt;
Nord believes that &amp;quot;there is no translation without the original text&amp;quot;, and free rewriting does not belong to translation; &amp;quot;Translators should be responsible for both the original text and the translation environment, and be responsible for both the sender of the original information and the recipient of the translation.&amp;quot; This responsibility of the translator is &amp;quot;loyalty&amp;quot;(Zhang Meifang, 2005:60-65). The principle of &amp;quot;function plus loyalty&amp;quot; avoids the skopos theory to go to extremes, and complements skopos theory, highlighting the responsibility of translators, and limiting the translator's freedom. Because the skopos theory believes that the success of the translation is judged by whether the expected purpose of the source text is realized or not, and the expectation also reflects the requirements of the target language reader. Since the target language readers reflect differently, so the translation standard of the skopos theory is also diversified.&lt;br /&gt;
&lt;br /&gt;
==Zhou Shuyao 周书尧==&lt;br /&gt;
&lt;br /&gt;
'3.1.3 Different cultural directions'''&lt;br /&gt;
 &lt;br /&gt;
Nida tried to overcome the cultural difference and eliminate the cultural atmosphere in the source text. His theory is mainly oriented to the original text. That is, the source language culture, emphasizing the consistency of cultural environment between the source language and the target language. At the same time, Nida is a support of language commonality. His theory reflects the translation thought of structuralist linguistics, that is, the &amp;quot;mirror reflection&amp;quot; of the objective world and the universality of language expression. The translators’ full imitation and the independence of express the value of their culture, especially the cultural consistency of the target language culture and the source language culture.&lt;br /&gt;
&lt;br /&gt;
==Zhou Siqing 周思庆==&lt;br /&gt;
&lt;br /&gt;
Vermeer regards translation as a purposeful action, firstly in its outcome, that is, the target text. The target text is oriented towards the target culture, and the target culture determines the suitability of the target text. Therefore, Skopos theory believes that Translation is an irreversible transmission of information to the source language culture or language in the target culture. There is no intermediate position, it is intercultural communication action, and it is communicative and cultural. In addition, Skopos theory is oriented to the context of macro-postmodern culture, especially the habits, traditions and norms of the target language culture (Fan Derui, 2019:67).&lt;br /&gt;
 &lt;br /&gt;
'''3.2 The Similarities'''&lt;br /&gt;
弗美尔把翻译看做一种有目的的行为，第一是因为它的结果，也就是目的语。目的语是文化导向的，而目的语的文化决定目的语的适合性。因此，目的论认为翻译是一种针对源语文化或目的语文化的不可逆的信息传递。不存在中间立场，这是一种跨文化的交际行为，是交流的，也是文化的。此外，目的论以宏观后现代文化为导向，特别是目的语文化的习惯，传统和规范。（范德瑞 2019:67）&lt;br /&gt;
'''3.2 相似之处'''--[[User:Zhou Siqing|Zhou Siqing]] ([[User talk:Zhou Siqing|talk]]) 11:01, 29 October 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
==Zhou Yiwen 周艺文==&lt;br /&gt;
&lt;br /&gt;
The target text is oriented towards the target culture, and the target culture determines the suitability of the target text. Therefore, Skopos theory believes that Translation is an irreversible transmission of information to the source language culture or language in the target culture. There is no intermediate position, it is intercultural communication action, and it is communicative and cultural. In addition, Skopos theory is oriented to the context of macro-postmodern culture, especially the habits, traditions and norms of the target language culture (Fan Derui, 2019:67).&lt;br /&gt;
 &lt;br /&gt;
'''3.2 The Similarities'''&lt;br /&gt;
 &lt;br /&gt;
'''3.2.1 Both are a combination of translation and language function'''&lt;br /&gt;
&lt;br /&gt;
译文以目的文化为导向，目的语文化决定了译文是否合适。因此，目的论认为翻译是一种不可逆转的源语文化的信息传递或目的语文化中的语言传递。翻译没有中间媒介，它是跨文化交际行为，是交际性和文化性行为。此外，目的论的导向是宏观的后现代文化语境，特别是目的语文化的习惯、传统和规范(范德瑞，2019:67)。&lt;br /&gt;
&lt;br /&gt;
3.2相似性&lt;br /&gt;
&lt;br /&gt;
3.2.1两者都是翻译和语言功能的结合&lt;br /&gt;
--[[User:Zhou Yiwen|Zhou Yiwen]] ([[User talk:Zhou Yiwen|talk]]) 02:36, 29 October 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
译文面向目的语文化，目的语文化决定了译文的适用性。因此，目的论认为翻译是一种信息到源语文化或目的语文化中语言的传递，而这种传递是不可逆转的。翻译没有中间立场，它是跨文化交际行为，是交际性和文化性行为。此外，目的论面向后现代文化的宏观语境，尤其是目的语文化的习惯、传统和规范(范德瑞，2019:67)。&lt;br /&gt;
&lt;br /&gt;
3.2相似之处&lt;br /&gt;
&lt;br /&gt;
3.2.1两者都是翻译和语言功能的结合&lt;br /&gt;
--[[User:Zhang Ling|Zhang Ling]] ([[User talk:Zhang Ling|talk]]) 08:59, 29 October 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
==Zhou Yuanqu 周园曲==&lt;br /&gt;
&lt;br /&gt;
The skopos theory represented by Hans J. Vermeer and Christane Nord, and the functional equivalence theory of Nida are put forward by different schools in different periods, but there are still many internal connections and intercommunity. There is no doubt that both have their rationality of existence and show progress in their translation activities of their respective periods. Whether it is &amp;quot;skopos theory&amp;quot; or &amp;quot;functional equivalence theory&amp;quot;, both their ultimate goals are to achieve smooth communication between different languages and reduce misunderstandings and conflicts arising from information exchange. In particular, both combine translation with language functions, focusing on the role of language functions in translation. Skopos theorists believe that translation is a purposeful communicative activity, and the translation process is determined by the expected function or purpose of the translation. This purpose is to a great extent influenced by the target receivers and the context and cultural background of the target receivers. &lt;br /&gt;
&lt;br /&gt;
==Zhou Yujuan 周玉娟==&lt;br /&gt;
&lt;br /&gt;
Therefore, the translator should decide the choice of the original text information, the use of the translation strategy and the expression of the translation according to the requirements of the clients, combined with the purpose of the translation and the specific situation of the target receivers&lt;br /&gt;
 &lt;br /&gt;
Nida also put forward the translation principle of functional equivalence from the perspective of language function, and also combines translation with language functions. He pointed out that due to the differences in language and culture, it is impossible for translation to obtain the formal equivalence between the source text and the target text, but only functional equivalence. Although the expressions of various languages are different, they have the same expressive power and have the same or similar language functions, that is, expressive, cognitive, interpersonal, informative, imperative, empathetic, sympathetic, empathy and aesthetic function. If the translation of these aspects is basically the same, then the functional equivalence of translation is achieved. According to this, he put forward that &amp;quot;the preservation of the original content must change the form, the degree of change, and must depend on different languages in the distance between language and cultural.&amp;quot;&lt;br /&gt;
&lt;br /&gt;
因此，译者应根据客户的要求，结合翻译目的和目标接受者的具体情况，来决定原文信息的取舍、翻译策略的应运和译文的表达。&lt;br /&gt;
&lt;br /&gt;
尼达还从语言功能的角度提出了功能对等的翻译原则，并将翻译与语言功能相结合。他指出，由于语言和文化的差异，翻译不可能得到原文和译文之间的形式上对等，而只能得到功能对等。各种语言的表达方式虽然不同，但它们具有相同的表达能力和相同或相似的语言功能，即表达功能、认知功能、人际功能、信息功能、命令功能、移情功能、同情功能、移情功能和审美功能。如果这些方面的翻译基本相同，那么就实现了翻译的功能对等。根据这一观点，他提出“原始内容的保留必须改变形式，改变程度，必须依赖于不同语言在语言和文化之间的差距。”--[[User:ZHOUYUJUAN|ZHOUYUJUAN]] ([[User talk:ZHOUYUJUAN|talk]]) 01:46, 30 October 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
==Zhu Meimei 祝美梅==&lt;br /&gt;
&lt;br /&gt;
In order to produce efficacy, the adjustment of the translation from form to content is the specific application of functional ideas. However, Nida did not develop further in the direction of functionalism, but still focused on the concept of equivalence. Therefore, his theory is fundamentally different from the views of the German functional translation school.&lt;br /&gt;
 &lt;br /&gt;
'''3.2.2 Both emphasize the role of the readers and the intelligibility of the translation.'''&lt;br /&gt;
 &lt;br /&gt;
Vermeer believes that the recipients of the translation, that is, the readers, as an important part of the translation requirements, is one of the most important factors in determining the purpose of translation; the target language receivers is the recipient or listener of the translated text with the knowledge, expectation and communication needs of his own specific culture world.&lt;br /&gt;
&lt;br /&gt;
为了产生一定效果，翻译时对形式和内容的调整，就是功能理论的应用。 但是，奈达并没有往功能主义的方向上进一步发展，而是专注于对等概念。 因此，他的理论从根本上不同于德国功能翻译学派的观点。&lt;br /&gt;
 &lt;br /&gt;
'''3.2.2都强调读者的角色和翻译的可读性。'''&lt;br /&gt;
 &lt;br /&gt;
维米尔（Vermeer）认为，翻译的接受者，即读者，是翻译要求的重要组成部分，是确定翻译目的的最重要因素之一。 目标语言的接收者是译文的接收者或听众，具有自己特定文化圈的知识，期望和交流需求。--[[User:Zhumeimei|Zhumeimei]] ([[User talk:Zhumeimei|talk]]) 07:33, 31 October 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
==Zhu Suyao 朱素瑶==&lt;br /&gt;
&lt;br /&gt;
Translation is the text in the environment of the target language produced for the purpose of the target language and the reader of the target language in the context of the target language. In addition, the coherence rule of skopos theory emphasizes that the translation must meet the criteria of &amp;quot;coherence within the text&amp;quot; that is, only the text is fully understood by the recipient can they make sense. It can be seen that the skopos theory emphasizes the role of the readers and the intelligibility of the translation.&lt;br /&gt;
 &lt;br /&gt;
Nida's functional equivalence theory is also readers-oriented. Nida believes that the research object of translation is the reader; the recipient is not a passive target of language communication, but an active participant in communicative activities. The reader's response is the only criterion for judging the quality of the translation. Therefore, the translation must be fluent and understandable. In order to achieve the intelligibility of the translation, it is even possible to delete parts that the reader cannot understand, such as metaphors.&lt;br /&gt;
&lt;br /&gt;
==Zhu Xu 朱旭==&lt;br /&gt;
&lt;br /&gt;
'''Conclusion'''&lt;br /&gt;
 &lt;br /&gt;
By comparatively analyzing Eugene Nida's functional equivalence theory and the German functionalist skopos theory, skopos theory critically inherited the rational factors of Nida's functional equivalence theory, and abandoned its irrational part. Skopos theory gets rid of the shackles of equivalence theory, breaking the traditional perspective of single translation studies, turning attention to the study of other relevant factors in translation activities other than language. Skopos theory broke through the framework of equivalence translation theory, and proposed a theoretical system of diversification of translation standards led by the skopos rule. The diversification of translation standards makes the function closer to reality. This is clearly more scientific, more operative and more versatile than Nida's theory that takes functional equivalence as the sole criterion.&lt;br /&gt;
&lt;br /&gt;
结语&lt;br /&gt;
&lt;br /&gt;
通过比较分析奈达的功能对等理论和德国功能主义目的论，笔者发现目的论批判性地继承了奈达功能对等理论的理性因素，并且抛弃了其中的非理性部分。翻译目的论摆脱了对等理论的束缚，打破了传统的单一翻译研究视角，转而关注语言以外的翻译活动中其他相关因素的研究。目的论突破了等效翻译理论的框架，提出了以目的论为主导的翻译标准多元化的理论体系。翻译标准的多样化让翻译功能更贴近现实。这显然比奈达以功能对等为唯一标准的理论更科学、更有效、更通用。--[[User:Zhu Xu|Zhu Xu]] ([[User talk:Zhu Xu|talk]]) 03:05, 31 October 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
==Zou Xinyu 邹鑫雨==&lt;br /&gt;
&lt;br /&gt;
Moreover, compared with the traditional language translation theory that emphasizes the internal study of translation, Skopos theory denies that translation is a simple language conversion, and pays more attention to the external of translation. Compared with Nida, Skopos theory are more concerned with the humanity and sociality of translation activities. In addition, the Skopos theory shifts the focus of translation from the reproduction of the original text to the more challenging creation of target text, which enhances the active participation of the translator as the main body of the translation, overturning the center status of the original text, and establishing the central status of the target text and the translator. The functionalist skopos theory puts translation in a dynamic cultural context, emphasizing the translator's active intervention. Therefore, it solves some problems that the functional equivalence theory fails to solve, broadens the research perspective of traditional translation theory, is a major breakthrough and important supplement to the functional equivalence theory, and erects a distinctive flag in modern translation theory.&lt;/div&gt;</summary>
		<author><name>Song Jianru</name></author>
	</entry>
	<entry>
		<id>https://bou.de/u/index.php?title=20201019_trans&amp;diff=101586</id>
		<title>20201019 trans</title>
		<link rel="alternate" type="text/html" href="https://bou.de/u/index.php?title=20201019_trans&amp;diff=101586"/>
		<updated>2020-10-24T08:49:46Z</updated>

		<summary type="html">&lt;p&gt;Song Jianru: /* Su Lin  苏琳 */&lt;/p&gt;
&lt;hr /&gt;
&lt;div&gt;==Cao Runxin 曹润鑫==&lt;br /&gt;
Acknowledgement&lt;br /&gt;
&lt;br /&gt;
I am indebted to the more than 300 students of the Master Course &amp;quot;Introduction to Translation Studies&amp;quot; conducted in the two fall terms 2019/2020 and 2020/2021 at Hunan Normal University, Foreign Studies College. They have enriched this monograph with their ideas, their creativity and the top students even have contributed short passages to this book on single aspects. They have also helped to arrange that the monograph could appear in different languages simultaneously.&lt;br /&gt;
The Foreign Studies College is one of the top places of Translation and Interpreting Studies in China.&lt;br /&gt;
&lt;br /&gt;
致谢&lt;br /&gt;
&lt;br /&gt;
我衷心感谢在湖南师范大学外国语学院两个秋季学期（2019/2020和2020/2021）开设的“翻译学概论”硕士学位课程的300多名学生。他们用自己的想法和创造力丰富了这本专著的内容，尖子生们甚至还为书中的章节撰写了简短的文章。这些学生还负责将这本专著翻译成不同的语言。湖南师范大学外国语学院在中国翻译与口译研究的顶尖领域具有一席之地。--[[User:Cao Runxin|Cao Runxin]] ([[User talk:Cao Runxin|talk]]) 03:40, 24 October 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
==Chang Huiyue 常慧月==&lt;br /&gt;
Foreword&lt;br /&gt;
&lt;br /&gt;
Interpretation theories and interpretation studies are as old as human languages, since interpretation practise is not just necessary between full fledged languages, but is practised as soon as two different individuals meet, like a grandmother and her grandchild. The first lay interpreters naturally reflected on their interpreting work and this was the start of theories and studies. As soon as written language was invented, critical reflection also started and with it translation theories and translation studies.&lt;br /&gt;
==Chen Han 陈涵==&lt;br /&gt;
The first thoughts about transponing the meaning of one language into a similar one of another language were prescriptive with precepts and principles, sometimes exaggerated into dogma and people not adhering to them being tortured or murdered.&lt;br /&gt;
&lt;br /&gt;
In the 1960s, the translation studies started to become aware of itself as an academic discipline.&lt;br /&gt;
==Chen Hui 陈惠==&lt;br /&gt;
'''I. Introduction'''&lt;br /&gt;
&lt;br /&gt;
Translating sets forth on its journey a long time ago. It has been over 2200 years since Livius Andronicus translated Homer’s Odyssey from Greek into Latin around 250 BC, which is the earliest activity of translating from recorded history. Throughout history, translation is not only involved in politics,culture, religion, language and so forth, but also keeps changing as times and social conditions roll on. On grounds of the changes of targets and contents of translation history, considering the specific periods of people’s apprehension of translation and the roles translation plays in society of different times, researchers divided the history of western translation into 3 parts, translation of religious materials, translation of literary classics and translation of non-literary materials. &lt;br /&gt;
==Chen Jiangning 陈江宁==&lt;br /&gt;
The division of western translation history varies from person to person in circles of translation. Generally speaking, from about 250 BC when people translated ''Septuagint'' into Greek to the 16th century when the translation of the Bible prevailed,  it is the historical period of translating religious materials, followed by period of translation of literature mainly from literary classics and great works of social sciences.(Wu &amp;amp; Shu 2011:76) After the Second World War, however, translation of non-literary and practical materials began to exert influence as a major force.在翻译界，人们对西方翻译史的划分各不相同。一般来说，从大约公元前250年，人们把《圣经旧约》翻译成希腊语，到十六世纪圣经翻译的盛行，这一时期是宗教素材翻译的历史时期，紧随其后的是文学翻译时期，主要以文学经典著作以及社会科学巨著为主。（吴&amp;amp;纾 2011:76）但是，第二次世界大战以后，非文学翻译和实用材料的翻译开始发挥主要作用。--[[User:Chen Jiangning|Chen Jiangning]] ([[User talk:Chen Jiangning|talk]]) 01:48, 24 October 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
西方翻译史的划分在翻译界因人而异。一般来说，从公元前250年左右，人们把《圣经旧约》翻译成希腊语，到16世纪圣经翻译开始盛行。这一时期是宗教素材翻译的历史性时期，其次是主要以文学经典和社会科学巨著为素材的翻译时期。(吴淑仪，2011：76)第二次世界大战后，非文学材料和实用材料的翻译开始作为主力产生影响。--[[User:Liubo|Liubo]] ([[User talk:Liubo|talk]]) 07:43, 24 October 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
==Chen Jiaxin 陈佳欣==&lt;br /&gt;
In the west, studies on translation practices and theories have walked through the recorded history of over two thousand years, which is very close to the one in China. Nevertheless, China had made little progress with translation studies because of closed-door policy. Before years around 1980s, the systematic study on theories of western translation had been left incomplete in China, where few books and papers related were published. And even in the western countries, there existed similar situations. However, studies on theories of western translation has made appreciable development since 1980s, especially the books on history of western translation theory written by Rener, Robinson, etc.&lt;br /&gt;
&amp;lt;nowiki&amp;gt;&amp;lt;/nowiki&amp;gt;==Chen Jingjing 陈静静==&lt;br /&gt;
These books and materials are indisputably of great value for us to take a closer look at theories of western translation, yet it is very hard for people of Chinese cultures to search, unearth and analyse the history of translation theories in the backgrounds of western cultures. As Tan Zaixi put it in his book ''The Brief History of Western Translation'', “From ancient times, translation in the west has been proceeding for over two thousand years, along with extraordinary translators and divergent theories, which can not be expound within twenty or thirty thousand words.”(Tan 1991:1) And for translation studies as a independent discipline, it is a very meaningful job to study translation and its theories from all over the world, which includes the western translation theories.&lt;br /&gt;
&lt;br /&gt;
在我对西方翻译理论进行更为深入的了解过程中，这些书和材料无疑有着极大的价值，然而对于中国文化背景的人来说，在西方文化背景下查找，挖掘以及分析翻译理论发展历史是非常不容易的。正如谭载喜在《西方翻译简史》中所提到的那样：“从古至今，西方翻译和杰出翻译家及不同翻译理论已经经历了2000多年的历史，仅用2万或是3万字是阐述不清楚的。”（谭 1991:1）翻译学作为一门独立学科对于研究翻译和世界各国翻译理论（包括西方翻译理论）是极具意义的。--[[User:Chen Jingjing|Chen Jingjing]] ([[User talk:Chen Jingjing|talk]]) 06:40, 23 October 2020 (UTC)Chen Jingjing&lt;br /&gt;
这些书籍和资料无疑对我们深入研究西方翻译理论具有重要价值，但对于中国文化界人士来说，在西方文化背景下对翻译理论的历史进行探索、发掘和分析是非常困难的。正如谭载喜在其《西方翻译简史》中所写：“西方翻译从古至今已有两千多年的历史，有着杰出的译者和不同的理论，这不是两三万字就能解释清楚的。”(谭1991:1)翻译研究作为一门独立的学科，研究包括西方翻译理论在内的世界各国的翻译及其理论，是一项非常有意义的工作。--[[User:Chen Sha|Chen Sha]] ([[User talk:Chen Sha|talk]]) 01:53, 24 October 2020 (UTC)&lt;br /&gt;
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==Chen Sha 陈莎==&lt;br /&gt;
Accordingly, while studying the history of western translation theories, we must understand the necessity of describing the development of western translation theories in a proper way and figure out how they are classified, especially for theories of modern and contemporary times. Based on the fundamental way of studying translation or ideologies of various schools, now people would usually divide translation studies into literary school, linguistic school and cultural school.&lt;br /&gt;
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因此，在研究西方翻译理论的历史时，我们必须认识到正确描述西方翻译理论发展及明确其分类的必要性，尤其是近现代的翻译理论。基于研究翻译或各流派的意识形态的基本方式，现在人们通常会将翻译研究分为文学学派、语言学派和文化学派。--[[User:Chen Sha|Chen Sha]] ([[User talk:Chen Sha|talk]]) 01:32, 24 October 2020 (UTC)&lt;br /&gt;
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因此，我们在研究西方翻译理论发展史时，必须明白合理描述西方翻译理论发展并弄清其分类（尤其是现代西方翻译理论和当代西方翻译理论）的必要性。基于翻译学研究的基本方法和各大学派的意识形态，当今的翻译学研究可分为文学学派、语言学学派和文化学派。--[[User:Chen Sunfu|Chen Sunfu]] ([[User talk:Chen Sunfu|talk]]) 02:13, 24 October 2020 (UTC)&lt;br /&gt;
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因此，在研究西方翻译理论发展史的时候，我们必须深谙，用合理方式描述西方翻译理论的发展，弄清楚如何将翻译理论分类，是非常必要的。在研究现代和当代翻译理论的时候，更需要如此。基于各流派研究翻译或者意识形态的基本方式，人们现在通常把翻译研究分为文学学派、语言学派和文化学派。--[[User:Yuan Tianyi|Yuan Tianyi]] ([[User talk:Yuan Tianyi|talk]]) 02:27, 24 October 2020 (UTC)&lt;br /&gt;
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==Chen Sunfu 谌孙福==&lt;br /&gt;
The literary school includes the traditional philological approach and the hermernutic approach; the linguistic school consists of the equivalence approach, the functional approach and the cognitive approach; the cultural school covers translation studies approach, deconstruction approach, feminism approach, post-colonial approach and the integrated approach, of which translation studies approach can be further divided into polysystem theory, the norm theory and the manipulation theory. By contributing new thoughts to this discussion, the study aims to reach more consensus among translation studies scholars in this aspect.&lt;br /&gt;
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文学学派包括传统的语文学方法和解释学方法；语言学学派包括对等法、功能法和认知学方法；文化学派涵盖翻译学研究方法、解构法、女性主义方法、后殖民主义方法和合成法。其中翻译学研究方法又可再分为多元系统理论、标准理论和控制理论。上述理论为本研究提供了很多新理念。故本研究旨在让翻译学研究者在这一方面达成更多共识。--[[User:Chen Sunfu|Chen Sunfu]] ([[User talk:Chen Sunfu|talk]]) 02:05, 24 October 2020 (UTC)&lt;br /&gt;
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==Chen Yongxiang 陈永相==&lt;br /&gt;
'''II. School Classification''' &lt;br /&gt;
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Beyond dispute, it’s practicable that people describe the history of western translation theories by dividing them into different schools in light of theories and ideologies of translation studies. With the modernization and integration of economy in western society, western translation theories also begin to get over the hurdles in the way of mutual development and blur the distinction among nationalities, which makes it harder to owe some ideology or theory of translation to a certain country or area. For instance, Gideon Toury was famous in the west but lived in Israel.&lt;br /&gt;
==Cheng Yusi  成于思==&lt;br /&gt;
In contrast, when some ideology or theory is proposed by someone in some place, it can probably be responded to or supported by scholars from all corners of the world. They hold it up totally out of agreement with the points someone makes, not necessarily where the points come from. Another example, Eugene A. Nida, who put forward the idea of “functional equivalence”, is American, but Kade, who is his supporter, comes from German. Therefore, it might be easier to understand the present situation and trends of western translation theories from levels of translation schools and ideologies, especially for theories of contemporary and modern times.&lt;br /&gt;
==Deng Jinxia 邓锦霞==&lt;br /&gt;
As one would expect, it is just one of the methods to classify western translation theories on the basis of translation schools or ideologies. From a perspective of historical development, it would be a more traditional way to classify western translation theories by times and nations. This diachronic way of studying it helps to organize the historical materials clearly and make profitable comparisons among traditions and characteristics of translation theories among western countries and regions, which enables people to understand the distribution and trends of western translation theories with an open mind. On the other hand, the diachronic way also describes the divergence and amalgamation of western translation theories.&lt;br /&gt;
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正如人们所期望的那样，它只是根据翻译学派或意识形态对西方翻译理论进行分类的方法之一。 从历史发展的角度来看，将西方翻译理论按时间和国家分类是一种更为传统的方法。 这种历时性的研究方法有助于清晰地整理历史资料，并在西方国家和地区之间对翻译理论的传统和特征进行有益的比较，使人们能够以开放的思想来理解西方翻译理论的分布和趋势。 另一方面，历时性方法也表现了西方翻译理论的分歧和融合。--[[User:Deng Jinxia|Deng Jinxia]] ([[User talk:Deng Jinxia|talk]]) 05:52, 24 October 2020 (UTC)&lt;br /&gt;
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==Ding Daifeng 丁代凤==&lt;br /&gt;
To give an example, the debate between free and literal translation never ends during which the eclecticism occurred and then literal translation was overtaken by free translation; the transfer from regarding the words as translation units to viewing sentences, discourses and even the whole passages as translation units... and so on. Despite that, as for studies on western translation theories, it is not the best way to do it only by a certain means. If we completely choose the way of describing the history of western translation theories by dividing them into different schools in light of theories and ideologies of translation studies, the relation between translation theories and specific cultural environment of society may be ambiguous and so is the relation between diachronic and synchronic development of translation.&lt;br /&gt;
==Fang Jieling 方洁玲==&lt;br /&gt;
If we only decide on a more traditional way to classify western translation theories by times and nations, our research and description will inevitably be in need of subjects of translation theories. To avoid such deficiencies, we must adopt a way combining both means mentioned above to study western translation theories. In other words, we must take into consideration not only the historical connection between theories and ideas of translation but also the relation of translation theories with the specific social and cultural environment. Only by doing so, our research would be able to describe the whole process of western translation theories from an objective perspective. &lt;br /&gt;
==Gan Fengyu 甘奉玉==&lt;br /&gt;
From what we have mentioned above, we view western translation theories from two sides. First, we view it from the respect of historical development steadily. Cicero, was the first translation theorist in the west during times of Roman empire. As a rhetorician and orator, he categorized translation into ones by “ut interpres” and “ut orator” for the first time. Translation by “ut interpres” means translation of no creativity but translation by “ut orator” means translation of creativity which may even rival the original.&lt;br /&gt;
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根据上诉所言，我们可以从两方面看待翻译理论。首先：我们从历史发展角度来看，西塞罗是罗马帝国时期，第一个西方翻译理论家。西塞罗是个修辞学家，也是个演说家，他第一次把翻译分成“解释员”式和“演说家”式。“解释员”式翻译在翻译过程中没有创造性,而“演说家式”翻译富有创造性，这种译文甚至能媲美原文。--[[User:Gan Fengyu|Gan Fengyu]] ([[User talk:Gan Fengyu|talk]]) 02:16, 23 October 2020 (UTC)&lt;br /&gt;
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如上所述，我们可以从两方面看待翻译理论。首先，我们从历史发展角度来看，西塞罗是罗马帝国时期，第一个西方翻译理论家。作为修辞学家，同时也是演说家，西塞罗第一次把翻译分成“解说员”式和“演说家”式。“解说员”式翻译在翻译过程中没有创造性,而“演说家式”翻译富有创造性，甚至可能媲美原文。--[[User:Peng YuZhi|Peng YuZhi]] ([[User talk:Peng YuZhi|talk]]) 02:12, 24 October 2020 (UTC)&lt;br /&gt;
通过如上所述，我们可以从两方面看待西方翻译理论。 首先，从历史稳定发展的角度看，西塞罗是罗马帝国时期的第一位西方翻译理论家。作为一名修辞家和演说家，西塞罗首次将翻译分为“解说员”式和“演说家”式。前者的翻译意味着翻译过程中没有创造性的翻译，而后者的翻译则包含创造性翻译，这样的翻译甚至能与原文相媲美。--[[User:Chen Jiangning|Chen Jiangning]] ([[User talk:Chen Jiangning|talk]]) 02:30, 24 October 2020 (UTC)&lt;br /&gt;
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根据上诉所言，我们可以从两方面看待西方翻译理论。首先是历史发展的角度。西塞罗是罗马帝国时期第一个西方翻译理论家。他不仅是个修辞学家，也是个演说家，首次把翻译分成“解释员”式和“演说家”式。“解释员”式翻译在翻译过程中没有创造性,而“演说家式”翻译富有创造性，这种译文甚至能媲美原文。--[[User:Kang Haoyu|Kang Haoyu]] ([[User talk:Kang Haoyu|talk]]) 02:22, 24 October 2020 (UTC)&lt;br /&gt;
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==Gao Mingzhu 高明珠==&lt;br /&gt;
As a matter of fact, Cicero put forward two fundamental ways of translating and pioneered the study of theories and methods of translation. Since Cicero’s studies on translation, western translation theories have been dealing with arguments between free translation and literal translation, word-for-word translation and excessively free translation, faithfulness and unfaithfulness and so forth.&lt;br /&gt;
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实际上，西塞罗提出了两种基本翻译方法，是翻译理论研究和翻译方法研究的先锋。自西塞罗的翻译研究开始，西方翻译理论在意译还是直译、字对字的翻译还是大篇幅意译、遵循忠实原则还是不忠实原则等方面众说纷纭。--[[User:Gao Mingzhu|Gao Mingzhu]] ([[User talk:Gao Mingzhu|talk]]) 11:18, 22 October 2020 (UTC)Gao Mingzhu&lt;br /&gt;
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实际上，西塞罗提出了两种基本翻译方法，率先研究翻译理论和翻译方法。自从西塞罗进行翻译研究后，西方翻译理论就意译与直译、逐字翻译与过度意译、忠实与不忠实等方面一直争论不休。--[[User:Gan Fengyu|Gan Fengyu]] ([[User talk:Gan Fengyu|talk]]) 01:54, 23 October 2020 (UTC)&lt;br /&gt;
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事实上，西塞罗提出了两种基本的翻译方法并且率先进行了翻译理论和翻译方法的研究。自从西塞罗进行了翻译的研究以后，西方翻译理论就意译与直译、逐字翻译与过度意译、忠实与不忠等问题一直争论不休。--[[User:Han Wanzhen|Han Wanzhen]] ([[User talk:Han Wanzhen|talk]]) 07:30, 24 October 2020 (UTC)&lt;br /&gt;
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==Gong Yumian 龚钰冕==&lt;br /&gt;
Besides Cicero, there are an abundance of excellent translation theorists in western translation history, who have proposed assorted theories and ideas from different angles in different times. In ancient times, aside from Cicero’s categorization of “literal translation” and “free translation”, Marcus Fabius Quintlianus thought that the target ought to compete with the original; St. Jerome believed that people were supposed to follow the rules of literal translation when translating ''the Bible'' and use free translation when it came to literary classics; St. Augustine held the view that translation was inspired by God.&lt;br /&gt;
==Gu Dongfang 顾东方==&lt;br /&gt;
In the Middle Ages, Manlius Boethius promoted the literal translation that would rather keep “faithful” than “elegant”; Dante was of the opinion that “works of literature are untranslatable”. During the Renaissance, Desiderius Erasmus believed that translation was not a subjection to authority of religious beliefs and translation of ''the Bible'' depended on the language of a translator; Martin Luther held the view of humanism that texts must be rendered in the people’s language; Etienne Dolet reckoned that people translated on “five principles” of understanding the content of the original, being proficient in the original language and the target language, avoiding word-for-word translation, expounding in simple languages and focusing on the style of the target text.&lt;br /&gt;
==Guan Qinqing 管钦清==&lt;br /&gt;
From the 17th to 19th century, Charles Batteux was of the opinion that author was the master and translator was the servant, whose work were not allowed to be amplified, to omit and change the wording of the original; John Dryden categorized translating into metaphrase, paraphrase and imitation and he thought translation was some kind of art; Tytler put forward three principles that the target reflected the ideas exactly the original conveyed, the style and skills the target used should be of the same characteristics of the original and the target should be as expressive as the original; Friedrich Schleiermacher made a distinction between translation and interpretation, literal translation and mechanical translation; Humboldt believed his theories that language decided the translatability and untranslatability of the world; Matthew Arnold thought whether a translation was good or not depended on the experts; Francis W. Newman had the idea that it were common readers, not the experts,who determined the criteria of translation.&lt;br /&gt;
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从17世纪到19世纪，不少翻译家谈到了原作者与译者之间的关系，夏尔·巴托便是其中之一。在他看来，原作者应为主人，译者为仆人。但凡放大译者职能、遗漏或篡改原文文意等行为，都是不被允许的；约翰·德莱顿将翻译分为直译、意译和拟译，他认为翻译是一种艺术；泰特勒推演出翻译的三条原则，即1）译文应当准确反映出原文想表达的意义；2）译文中采用的风格和技巧应当与原文一致；3）译文应当像原文一样具有感染力。弗里德里希·施莱尔马赫将口译和笔译、直译和机翻区别开来；洪保德认为语言决定了可译性或不可译性；马修·阿诺德觉得一篇译文的好坏与否掌握在评判专家手中；而纽曼则认为制定翻译标准的不是专家们，而是普通读者。--[[User:Guan Qinqing|Guan Qinqing]] ([[User talk:Guan Qinqing|talk]]) 11:20, 22 October 2020 (UTC)&lt;br /&gt;
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==Gui Yizhi 桂一枝==&lt;br /&gt;
In the 20th century, we have Fedolov’s theories that people should study translation theories from linguistics first and translation theories is categorized into history, introduction and arguments of translation; we have Roman Jakobson’s three classification of interlingual translation, intralingual translation and intersemiotic translation; we have Levy’s thoughts that “translating should make reader have an illusion of the original”, “translating is a deciding process”; we have Gachechiladze’s theories on literary translation that “translation is always a artistic and realistic reflection of the original” and “ translation of literature and art is a artistic work”; &lt;br /&gt;
==Guo Lu 郭露==&lt;br /&gt;
we have Carford’s theories of linguistics that translation should reach an equivalence of context; Nida thought “translating is a science”, “translating is communicating” and there exists equivalence between the readers of the original and the target; Mounin’s view of modern linguistics on translation theories; emphasized that the target needed to break the limits of the original. All the thoughts and ideas mentioned above have constituted the most essential parts of western translation theories.&lt;br /&gt;
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卡福德认为翻译需追求文本对等；奈达认为翻译是一门科学也是一门交际，原文读者和译文读者应获得同样的理解；缪宁认为当代语言学在于翻译理论；保尔•瓦雷里认为译文需打破原文的限制。各翻译家的见解构成了西方翻译主要理论。--[[User:Guo Lu|Guo Lu]] ([[User talk:Guo Lu|talk]]) 07:00, 22 October 2020 (UTC)&lt;br /&gt;
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卡福德的语言学理论认为，翻译需追求文本对等；奈达认为翻译是一门科学也是一门交际，好的译文应当使译文读者与原文读者有同样的反应；缪宁则从现代语言学角度来分析翻译理论；保尔·瓦雷认为译文需打破原文的束缚。上述各见解构成了西方翻译的基本理论。--[[User:Li Liqin|Li Liqin]] ([[User talk:Li Liqin|talk]]) 07:14, 22 October 2020 (UTC)&lt;br /&gt;
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卡福德的语言学理论认为，翻译应文本对等；奈达认为翻译是一门科学也是一门交际，好的译文应当使译文读者与原文读者有同样的反应；缪宁则从现代语言学角度来分析翻译理论；保尔·瓦雷认为译文需打破原文的束缚。上述观点是西方翻译理论的主要观点。--[[User:Li LIli|Li LIli]] ([[User talk:Li LIli|talk]]) 07:46, 22 October 2020 (UTC)Li Lili&lt;br /&gt;
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==Han Haiyang 韩海洋==&lt;br /&gt;
Furthermore, we could look at the whole system of western translation theories from the other side, which is the schools of ideology. There are two branches of it: translation theories of literature and art and linguistics theories of translation. The school of translation of literature and art stems from the early drama by Terentius in Ancient Rome, ucceeded by Levy and Gachechiladze in modern times, and continues to thrive in the 21st century.&lt;br /&gt;
==Han Wanzhen 韩宛真==&lt;br /&gt;
People of this branch perceive translation as a kind of literary art, which draws attention to recreation of literature. Theorists have been discussing the defects and merits between faithfulness and unfaithfulness, word-for-word translation and excessively free translation, literal translation and free translation and so on. Besides, they also foreground the purposes and effects of translation. They stress both the original and the literary attributes of the language of it., as well as the idiomatic expression and tradition of literature of the original that people must respect whiling translating. They not only zero in on the style and literariness of the text very much but the talent of literature a translator or interpreter should possess.&lt;br /&gt;
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这个分支的人把翻译作为一种文学艺术，引起了人们对文学娱乐的关注。理论家们一直在讨论忠实与不忠、逐字翻译和过度自由翻译、直译和自由翻译之间的缺陷和优点。除此之外，他们也强调翻译的目的和效果。他们也都强调翻译语言的原创性和文学性，以及成语性词语。在翻译时，人们必须尊重原始表达和文学传统。他们不仅非常重视文本的风格和文学性，而且笔译或者口译人员应具备文学才能。--[[User:Han Wanzhen|Han Wanzhen]] ([[User talk:Han Wanzhen|talk]]) 07:18, 24 October 2020 (UTC)&lt;br /&gt;
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==He Changqi 何长琦==&lt;br /&gt;
The school of linguistic theories of translation is from Augustine and people of traditional linguistics or philology in Ancient Rome to various schools of modern linguistics in the 20th and 21st century. For this situation, the core lies in language. People of this school, who think that the goal of translating is to reach the equivalence between the original and the target, combine translation theories with analysis of semantic and syntactic functions and talk on issues of translation from the characteristics of structure and sentence-making skills of a language so as to show how the equivalent texts are made from words, grammars and other features of a language.&lt;br /&gt;
==Hu Baihui 胡百辉==&lt;br /&gt;
From either branches we can see that they have their own advantages and disadvantages. Translation theories of literature and art give an emphasis to the purposes and results of translating and the artistic effects from a macroscopic view, but neither pay much heed to practical process of translating and skills of using a language nor care about whether the target and the original reach the equivalence of structures. Linguistics theories of translation is also not spotless because some theories don’t stress the aesthetic functions and ignore the recurrences of works of literature and art. They mostly focus on the structure of a language to and theoretically are limited to word, sentence or syntax only, which disregards the main structure of a text and the structure of discourse and the cultural features to a larger extent.&lt;br /&gt;
==Hu Huifang 胡慧芳==&lt;br /&gt;
However, no matter it is the branch of translation theories of literature and art or linguistics theories of translation, they are not completely isolated but complement each other. Although either of two branches has its own shortcomings, there is no translation theorist of literature and art who could talk about the artistic value of literary works divorced from linguistic issues; there is no theorist of linguistics who could be immersed in linguistic structures of a text without issues of aesthetics.&lt;br /&gt;
==Hu Jin 胡瑾==&lt;br /&gt;
'''III. About ''The Translator’s Guide to Chinglish'''''&lt;br /&gt;
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Joan Pinkham, a professional translator from the U.S., published the book ''The Translator’s Guide to Chinglish'' in 2000. She worked for the Foreign Languages Press and Central Compilation and Translation Bureau in China for 8 years from 1980s to 1990s. It is one of the few books by westerners that systematically discuss the “Chinglish” issues in China. In the years working for the Foreign Languages Press and Central Compilation and Translation Bureau, her job was to revise and polish the drafts from Chinese translators, which was inevitably affected by Chinese and mindset of Chinese people. For that reason, Pinkham got to know many English translations with “Chinese characteristics” and wrote this book.&lt;br /&gt;
==Ji Tiantian 纪甜甜==&lt;br /&gt;
''The Translator’s Guide to Chinglish'' consists of three parts, Unnecessary Words, Sentence Structure and Supplementary Examples, which reveal lots of mistakes Chinese translators tend to make. &lt;br /&gt;
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First of all let’s take a look at examples given in the fist chapter:&lt;br /&gt;
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promoting the cause of peaceful reunification;&lt;br /&gt;
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reforms in the sphere of economy;&lt;br /&gt;
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to ensure a relationship of close cooperation between.&lt;br /&gt;
==Jiang Fengyi 蒋凤仪==&lt;br /&gt;
Phrases like these can often be seen in some English papers or periodicals and they seem to make sense to English learners or translators in China. But the author regards them as negative examples in the first chapter of the first part, Unnecessary Nouns. The author mentioned that “Many of these nouns are easy to recognize. They are plainly redundant because their sense is already included or implied in some other element of sentence.”(Liu 2002:34)   in the book. Here the author perceives nouns like “cause”, “sphere” and “relationship” as “category nouns”, which are the general nouns that sever only to introduce a specific noun to follow. &lt;br /&gt;
==Jiang Hao 姜好==&lt;br /&gt;
Let’s take the first phrase as an example. In such constructions, the first noun announces the category of the second; in this case, it tells the readers that “promoting” falls into the category of “cause.” That is something they already know. Accordingly, the first noun should be deleted: “ promoting peaceful reunification.”(Pinkham 2000:16)  It is the same for other two examples. What’s more, the first chapter also involves “Unnecessary Verbs.” Examples are as follows:&lt;br /&gt;
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to bring about a change in this state of affairs;&lt;br /&gt;
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until China realizes its modernization;&lt;br /&gt;
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trying to entice the Korean army to launch an attack against them.&lt;br /&gt;
==Jiang Qiwei 蒋淇玮==&lt;br /&gt;
“Like unnecessary nouns, most unnecessary verbs in Chinglish occur in phrases. Usually they are combined with nouns (plus the inevitable articles and prepositions that nouns bring with them).”(Pinkham 2000:34) The commonest type is phrases like these. As for “to bring about a change in this state of affairs”, here the verb (“bring about”) is a weak, colorless, all purpose word having no very specific meaning of its own, while the real action is expressed in the noun(“change”). Since the verb is not contributing anything to the sense, it can be edited out: “change this state of affairs.”&lt;br /&gt;
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“与赘余的名词类似，中式英语中大多数赘余的动词也出现在短语中，且通常和名词同时出现（以及依附于名词又必不可少的冠词和介词）。” （平卡姆 2000:34） 最常见的类型见以下短语。在短语“为这种情况带来改变”中，动词“带来”显得无力、无趣、缺乏具体含义，而名词“改变”传达出了具体的动作。鉴于这个动词没有起到达意的作用，可将其删去得到短语“改变这种情况”。--[[User:Jiang Qiwei|Jiang Qiwei]] ([[User talk:Jiang Qiwei|talk]]) 13:42, 22 October 2020 (UTC)&lt;br /&gt;
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==Kang Haoyu 康浩宇==&lt;br /&gt;
In the second chapter, the author talks about Unnecessary Modifiers, which is not a problem easy to cope with for Chinese translators because it covers the issue of whether they should be used and using the modifiers properly. Five types of unnecessary modifiers are listed, redundant modifiers, self-evident modifiers, intensifiers, qualifiers and cliches. But the author especially points out that it is not appropriate to revise some accepted phrases, which are related to some national policies, even if they have unnecessary modifiers in the sentences, because this may cover political affairs.&lt;br /&gt;
作者在第二章中论述了非必要的修饰语。要知道，是否应该使用以及如何正确使用这些修饰语，对中国译者来说并非易事。本章列举了五类非必要修饰语，分别是赘余修饰语，废话（不言而喻）修饰语，加强词，限定词和套话。但作者同时也指出，一些与国家政治有关的短语如果已被认同，即便句子里面有非必要限定词，也不要轻易去修改了，因为这可能涉及政治事务。--[[User:Kang Haoyu|Kang Haoyu]] ([[User talk:Kang Haoyu|talk]]) 01:48, 24 October 2020 (UTC)&lt;br /&gt;
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==Kang Lingfeng 康灵凤==&lt;br /&gt;
In the third and forth chapter the author talks on Redundant Twins and Saying the Same Thing Twice. For instance, views and opinions, help and assistance, stir up and incite, sentiments and feelings, prudent and cautious. The author classifies the redundant words into three groups according to the relation between synonyms and clauses and offers corresponding reversion. And she adds that examples of redundant synonyms are too many to list even for native English speakers; for example, rules and regulations, bits and pieces, by leaps and bounds, betwixt and between, by hook or by crook, huffing and puffing.&lt;br /&gt;
==Kong Xianghui 孔祥慧==&lt;br /&gt;
After centuries of development, these phrases are now accepted by native English speakers or learners probably because of their jaunty alliteration or rhythm. But the author believes that these phrases unavoidably “exert an influence not only on native speakers of English (including foreign polishers) but on Chinese translators as well, reinforcing the habits of their own language. No doubt this influence contributes to the abundance of twins in Chinglish.”&lt;br /&gt;
==Kong Yanan 孔亚楠==&lt;br /&gt;
The first chapter of the second part is mainly about The Noun Plague. Here the author shows a draft: “The prolongation of the existence of this temple is due to the solidity of its construction.” She also gives a revision: “The temple has endured because it was solidly built.” The first version contains four abstract nouns, while the second has none. Not only do the nouns make the statement nearly twice as long, but they also make it pretentious, wooden and hard to understand.(Pinkham 2000:56) Yet, the author doesn’t think that “noun plague” only occurs in Chinglish but in English by native speakers, especially in theses and government documents where abstract nouns can often be seen, because they want their theses or documents to seem more “authoritative” or “scientific.”&lt;br /&gt;
==Lei Fangyuan 雷方圆==&lt;br /&gt;
The author thinks this is a dangerous trend which we should all fight against. And she advocates to use more verbs, gerunds or adverbs instead of abstract nouns. From the eighth to the twelfth chapter, the author gives some instruction to tell English learners and translators in China how to get rid of the mindset of Chinglish by putting pronouns and antecedents first, then the adjuncts and its purposes, in a logical way. The eighth chapter discussed the improper collocation of pronouns and antecedents. In this condition, personal pronouns, relative pronouns or demonstrative pronouns show up without antecedents or are too far away from antecedents.&lt;br /&gt;
==Lei Kuangxi 雷旷溪==&lt;br /&gt;
This is exactly what the uncertainty and lack of rigor of Chinese has brought about. The ninth chapter mainly talks about where we should set phrases or clause in an English sentence. The author is of the opinion that translators should pay attention to where the phrases or clauses are in a sentence so that the logic is clear and key points are highlighted. She also thinks that the phrases or clauses ought to modify what is close to them, otherwise in the sentence may occur the illogical parts. In addition, to stress the key points, the most important information should be imparted at the end of a sentence. &lt;br /&gt;
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==Li Haiquan 李海泉==&lt;br /&gt;
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'''IV. Discussion'''&lt;br /&gt;
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From Introduction and School Classification, we have leaned that in western translation history, there are traditionally two branches: translation theories of literature and art and linguistics theories of translation. In 1959, the book, ''On Linguistic Aspects of Translation'' by Roman Jakobson, analyzed comprehensively the relation bewteen language and translation, the importance of translation and some existing problems of translating from an angle of linguistics, which had made groundbreaking contribution to linguistics theories of translation. Eugene A. Nida put forward a concept of “Translating is science” and he also applied Theory of Communication into translation on the basis of linguistics, believing that translating is communicating. &lt;br /&gt;
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==Li Lili 李丽丽==&lt;br /&gt;
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He proposed the principle of “Dynamic Equivalence” and further submitted “Functional Equivalence” from the perspective of social linguistics and communicative function of language, which was instrumental in modern history of translation theories in the west as well. Nonetheless, Nida’s theories paid too much heed to content rather than form. To make up the deficiency, Peter Newmark put forward “Communicative Translation” and “Semantic Translation.” The former aimed at restructuring the language of the target in order to make it expressive and underline the effects of information; the latter emphasized the formal resemblance between the original and the target.&lt;br /&gt;
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他提出了“动态对等”原则，并从社会语言学和语言交际功能的角度提出了“功能对等”，这在西方现代翻译理论史上也具有重要意义。尽管如此，奈达的理论过于注重内容而非形式。为了弥补这一不足，纽马克提出了“交际翻译”和“语义翻译”，交际翻译旨在重构目标语的语言，使之具有表现力，突出信息的作用；而语义翻译强调原文与译文形式上的相似性。--[[User:Li LIli|Li LIli]] ([[User talk:Li LIli|talk]]) 01:21, 21 October 2020 (UTC)Li Lili&lt;br /&gt;
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他提出了“动态对等”原则，并从社会语言学和交际功能的角度进一步发展提出了“功能对等”原则，这在西方现代翻译理论史上也具有指导意义。然而，奈达的理论过于注重内容而非形式。为了弥补这一不足，纽马克提出了“交际翻译”和“语义翻译”，交际翻译旨在重构目标语的语言，使之具有表现力，突出信息的作用；而语义翻译强调原文与译文形式上的相似性。--[[User:Xu Pengfei|Xu Pengfei]] ([[User talk:Xu Pengfei|talk]]) 09:20, 21 October 2020 (UTC)Xu Pengfei&lt;br /&gt;
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他提出了“动态对等”原则，并从社会语言学和语言交际功能的角度提出了“功能对等”的原则，这在西方现代翻译理论史上也具有重要意义。尽管如此，奈达的理论过于注重内容而非形式。为了弥补这一不足，纽马克提出了“交际翻译”和“语义翻译”，前者旨在重构目标语的语言，使之具有表现力，突出信息的作用；后者强调原文与译文形式上的相似性。--[[User:Xiao yining|Xiao yining]] ([[User talk:Xiao yining|talk]]) 12:22, 21 October 2020 (UTC)Xiao Yining&lt;br /&gt;
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==Li Lingyue 李凌月==&lt;br /&gt;
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From theories and ideas above, the core issue they care about is how the source language is transferred into the target language and “equivalence” is what they have in common. Katharina Reiss, Hans Vermeer, Justa Holz-Manttari and Christiane Nord from Germany started to use communicative theories, theories of communication, discourse linguistics and ideology of aesthetics to switch the focus of their studies from source texts to target texts, which made it an influential school in international translation circles. &lt;br /&gt;
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==Li Liqin 李丽琴==&lt;br /&gt;
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In 1971 in the book ''Translation and Limitations in Translation Criticism'', Reiss’s functional theories of translation was in embryonic state, where she believed that translation should reach equivalence in respects of conceptual content, forms of language and communication and name it “integral communicative performance.” In practice, however, she realized that the equivalence was not what people expected so relation between function of the original and the target was the priority.&lt;br /&gt;
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在1971年出版的《翻译批评的可能性与局限性》一书中，赖斯的翻译功能理论暂处于萌芽状态。在此书中，他提出翻译应当在思想内容、语言形式和交际功能等方面达到对等，这样的翻译才可以称为“完整的交际行为”。然而，她意识到在实践中，人们并不期待这种对等状态，因此应该把源语与目的语功能之间的关系放在首位。--[[User:Li Liqin|Li Liqin]] ([[User talk:Li Liqin|talk]]) 07:43, 22 October 2020 (UTC)&lt;br /&gt;
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在1971年出版的《翻译批评：潜力与制约》一书中，赖斯的翻译功能派理论思想暂处于萌芽状态。在此书中，她提出翻译在概念性的内容、语言形式和交际功能上与原文对等，她称这种翻译为“综合性交际翻译”。然而，在实践中，她意识到这种对等并不是人们所期待的那样，因此应该把源语与目的语功能之间的关系放在首位。--[[User:Zhang Yu|Zhang Yu]] ([[User talk:Zhang Yu|talk]]) 12:25, 23 October 2020 (UTC)&lt;br /&gt;
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==Li Luyi 李璐伊==&lt;br /&gt;
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Hans Vermeer proposed skopos theory for that matter, which looked on translating as a process with purposes and results of the original. The skopos theory has three rules: skopos rule, coherence rule and fidelity rule. Skopos rule is considered as the primary one. It means that in the context and culture of target language, translation ought to work in a way exactly the recipient of target language expects and the purpose of translation actions determines the whole process of translating, that is, “the end justifies the means.”&lt;br /&gt;
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==Li Meng 李梦==&lt;br /&gt;
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Coherence rule is that translation must accord with the standard of intratextual coherence, which means that translation has readability and acceptability to the recipient and makes sense in communicative context and culture of the target language. The fidelity rule means that there exists intertextual coherence between the original and the target. This is actually what other theories have talked about faithfulness in translation but the faithfulness depends on the purpose of the target and how translator understand the original. &lt;br /&gt;
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==Li Yongshan 李泳珊==&lt;br /&gt;
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Here we also have talked about the book The Translator’s Guide to Chinglish. This book has discussed some problems English learners and translators in China have in grammar and vocabulary. For discourse and semantics, there also exits some issues. And the author is American who has the typical mindset of the west and is able to find out some problems of translation by Chinese translators. And the author tends to revise those translations in an aspect of linguistics theories of translation.&lt;br /&gt;
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==Li Yu 李玉==&lt;br /&gt;
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 For example:&lt;br /&gt;
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the editorial calls on the Chinese people to fully implement the CPC’s basic line, deepen reform and further opening to the outside, so as to further push forward the political, economic and social development of the country in a steady way;&lt;br /&gt;
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The author revises it into:&lt;br /&gt;
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the editorial calls on the Chinese people to implement the CPC’s basic line, deepen the reform, and promote the opening to the outside, so as to steadily push forward the political, economic and social development of the country.&lt;br /&gt;
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==Lin Min 林敏==&lt;br /&gt;
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In this sentence, “fully” is deleted because the author thinks it is unnecessary for its sense can be taken for granted: policies should always be fully carried out. If the word conveys something more specific in Chinese, that must be spelled out for the reader of English. We must say, for example, “to implement CPC’s basic line in all its aspects,” or “in every respect.”&lt;br /&gt;
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==Lin Xin 林鑫==&lt;br /&gt;
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As for “further”, it is obvious that at this point in history any push given to development will be a “further” push. The repetition of “further” in the draft is particularly undesirable because the word is used in two different senses. It appears first as a verb (“to further opening”), then immediately after as an adverb (“to further push ahead”), so that the reader is obliged to go back and read the sentence again in order to make sense of it.(Pinkham 2000:74)&lt;br /&gt;
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==Ling Zijin 凌子瑾==&lt;br /&gt;
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Even though the author doesn’t talk on any translation theories directly in her book, her discussion on Chinglish and the revision she offers do involve some translation criteria, for example, domestication and foreignization. Translating is the transfer process from one language to another, during which it carries wide backgrounds of culture. To be specific, it is also the process of transferring cultures among each one. In general, there are two ways when it comes to this process: domestication and foreignization.&lt;br /&gt;
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==Liu Bo 刘博==&lt;br /&gt;
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Domestication is that features of the original are abandoned, that is to say, characteristics of translation follow ones of the target, which would, to some degree, make it easier to understand for recipients of the target language and contributory to culture exchanges. Foreignization is that translator translates in a way the original does, translation remaining characteristics of the original language.&lt;br /&gt;
归化就是摒弃原文的特征，即翻译的特征遵循译文的特点，这在一定程度上使译文的读者更容易理解，也有助于文化交流。异化是指译者以原文的方式进行翻译，保留原文的特征--[[User:Liubo|Liubo]] ([[User talk:Liubo|talk]]) 07:36, 24 October 2020 (UTC)。&lt;br /&gt;
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==Liu Jinxingqi 刘金惺琦==&lt;br /&gt;
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The author defines “Chinglish” as “Chinglish, of course, is that misshapen, hybrid language that is neither English nor Chinese but that might be described as ‘English with Chinese characteristics’”in the book. And she also points out that “this book is intended to help them turn their work into real English such as might have been written by an educated native English speaker of the language.” It means that the author is in favor of domestication during the process of translating.&lt;br /&gt;
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==Liu Liu 刘柳==&lt;br /&gt;
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Here’s an another example: &lt;br /&gt;
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we should draw up correct development and construction plans for all these zones;&lt;br /&gt;
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The author revises it into:&lt;br /&gt;
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we should draw up correct plans for the development of all these zones.&lt;br /&gt;
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The author thinks that two large abstractions plainly used here mean the same thing. And to avoid using the noun “development” as an adjective, we should say: “ for the development of all these zones.” That would be the simplest, most natural word order in English.(Pinkham 2000:87)&lt;br /&gt;
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再举一个例子：我们应该为所有这些区域制定正确的开发建设规划。作者将其修改为：我们应该为所有这些区域的发展制定正确的规划。作者认为这里所使用的两个大的抽象概念是一个意思。为了避免把名词“发展”用作形容词，我们应该说：“为了所有这些区域的发展”。这是英语中最简单、最自然的词序。--[[User:Liu Liu|Liu Liu]] ([[User talk:Liu Liu|talk]]) 12:29, 22 October 2020 (UTC)&lt;br /&gt;
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再举一个例子：我们应该为所有区域拟订正确的开发建设的计划。作者将其修改为：我们应该为所有区域的发展拟订正确的计划。作者认为这里所使用的两个大的抽象概念意思相同，为了避免把名词“发展”用作形容词，我们应该说：“为了所有区域的发展”，这才是英语中最简单、最自然的词序。--[[User:Jiang Qiwei|Jiang Qiwei]] ([[User talk:Jiang Qiwei|talk]]) 13:58, 22 October 2020 (UTC)&lt;br /&gt;
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==Liu Ou 刘欧==&lt;br /&gt;
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'''V. Conclusion'''&lt;br /&gt;
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In summary, ''A Brief History of Western Translation Theories'' by Tan Zaixi recounts the history of western translation theories from ancient times by introducing main characters, translation works, translation schools and other events in the west in historical stages. The book also takes preliminary analysis and discussion into development between theories and practices of translation. There are two different directions in terms of translation theories in the west: translation theories of literature and art and linguistics theories of translation. &lt;br /&gt;
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==Liu Yangnuo 刘洋诺==&lt;br /&gt;
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The former one extends from the ancient dramas to modern translations. In this regard, translation is considered as literary art, which focuses on recreation of the original. Theorist mostly emphasize culture, style and literariness of the target and the literary talent of the translator. The latter direction is linguistics theories of translation, which combine theories with semantics and syntax, and believe that translating should reach semantic equivalence between the original and the target through vocabulary, grammar and skills of using a language. &lt;br /&gt;
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==Liu Yi 刘艺==&lt;br /&gt;
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In the long term, linguistics theories of translation has had predominance of studies of modern translation theories. Theorists hold the view that translation studies ranges from applied linguistics and contrastive linguistics and is closely related to semantics, along with literature and art studies, sociology, anthropology, psychology, theories of communication and so forth.&lt;br /&gt;
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长期以来，语言学的翻译理论在现代翻译理论的研究中占有主导地位。理论家认为，翻译研究的范围包括应用语言学和对比语言学，与语义学以及文学艺术研究、社会学、人类学、心理学、传播理论等密切相关。--[[User:Liu Yi|Liu Yi]] ([[User talk:Liu Yi|talk]]) 14:16, 23 October 2020 (UTC)&lt;br /&gt;
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从长远来看，翻译语言学理论在现代翻译理论研究中占主导地位。理论家认为，翻译研究不仅涉及应用语言学和对比语言学，而且还与语义学以及文学和艺术研究，社会学，人类学，心理学，传播理论等密切相关。--[[User:Deng Jinxia|Deng Jinxia]] ([[User talk:Deng Jinxia|talk]]) 05:59, 24 October 2020 (UTC)&lt;br /&gt;
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长期以来，语言学理论在现代翻译理论中占有主导地位。理论学家认为翻译研究包含应用语言学和对比语言学，同时也与语义学、文学艺术研究、社会学、人类学、心理学、传播理论等相关联。--[[User:Liu Zhiwei|Liu Zhiwei]] ([[User talk:Liu Zhiwei|talk]]) 07:20, 24 October 2020 (UTC)&lt;br /&gt;
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==Liu Yiyu 刘怡瑜==&lt;br /&gt;
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''The Translator’s Guide to Chinglish'' by Joan Pinkham summarizes the evidence of the common issues in English translation, which are ones translators in China are usually neglectful of. As Jacques Barzun, Dean of the Graduate Faculties of Columbia University, put it, “The clarity of her explanation is equaled only by the deftness with which she states the point of the English usages and the simplicity of the revisions made in faulty sentences.&lt;br /&gt;
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琼·平卡姆所著的《中式英语之鉴》总结了中国翻译常见问题的例证，这些问题是中国译者常常所忽略的。哥伦比亚大学研究生院院长雅克·巴尔赞表示，“琼的论证清晰明了，灵活熟练，在阐述英语用法要点和指出错误句修订的简洁性方面也是如此。”--[[User:Liu Yiyu|Liu Yiyu]] ([[User talk:Liu Yiyu|talk]]) 08:57, 23 October 2020 (UTC)Liu Yiyu&lt;br /&gt;
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琼·平卡姆所著的《中式英语之鉴》总结了英语翻译中常见的问题的例证，而这些问题正是中国的翻译者通常所忽视的。正如哥伦比亚大学研究生院院长雅克·巴尔赞所言：&amp;quot;她的解释之清晰，只有她对英语用法的阐述之灵巧和对错误句子的修改之简洁才能与之媲美。--[[User:Liu Yi|Liu Yi]] ([[User talk:Liu Yi|talk]]) 14:19, 23 October 2020 (UTC)&lt;br /&gt;
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==Liu Zhiwei 刘智伟==&lt;br /&gt;
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I know of no books as well adapted as hers to the needs of clumsy writers.” Even though the author doesn’t talk on any translation theories directly in her book, her discussion on Chinglish and the revision she offers do involve some translation criteria and the author tends to uphold domestication in this book. And we can’t deny that as a professional translator from America, with the typical western mindset, the author is inevitably influenced in the spectacular background of western translation history.More importantly, the two books this article refers to have demonstrated that theories must be applied into practice, guide practice and reveal the objective patters inside translating, otherwise theories would lose its vitality.&lt;br /&gt;
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据我所知，没有一本书能像她的书那样，满足一些笨拙作家的需求。”虽然本书作者没有在书里直接谈及翻译理论，但她对于中式英语的讨论及修订中就涉及了一些翻译原则，同时她在书中也倾向于支持归化。我们不得不承认，作为一名具有西式典型谦逊特点的美籍专业译者，这个作者难免受到西方翻译史背景的影响。而更为重要的是这本杂志提及到的两本书都提出：理论必须付诸实践、指导实践并揭示翻译的客观模式，否则理论将失去生机活力。--[[User:Liu Zhiwei|Liu Zhiwei]] ([[User talk:Liu Zhiwei|talk]]) 07:44, 24 October 2020 (UTC)&lt;br /&gt;
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References:&lt;br /&gt;
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[1]巫阿苗,束学军.西方翻译理论流派划分探索.[J].合肥工业大学学报.2011.12.25&lt;br /&gt;
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[2]谭载喜.西方翻译简史.[M].北京.商务印书馆.1991.05&lt;br /&gt;
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[3]刘银燕.中式英语, 你在使用吗?——《中式英语之鉴》评介.[J].外语教学.2002.09.30&lt;br /&gt;
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[4]-[8] Joan Pinkham.The Translator’s Guide to Chinglish. [M].北京。外语教学与研究出版社.2000.05&lt;br /&gt;
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主要参考书目:《西方翻译简史》、《中式英语之鉴》&lt;br /&gt;
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==Lou Cancan 娄灿灿==&lt;br /&gt;
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'''Derrida and Benjamin'''&lt;br /&gt;
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'''Comparison of Derrida’s and Benjamin’s Translation View'''&lt;br /&gt;
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'''1.Pure Language and Difference'''&lt;br /&gt;
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In its essence, translation is a kind of linguistic activity. Therefore, all translation theories involve linguistic issues. Benjamin has presumed a perfect original language as the origin of subsistent languages in real world after summarizing the deflects of subsistent languages. This original language is from God, and has full creativity and cognition, in which, language and spirit, meaning and form, signifier and signified have been united to show the truth through self-manifestation.&lt;br /&gt;
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“德里达和本杰明。”&lt;br /&gt;
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&amp;quot;德里达和本雅明翻译观的比较&amp;quot;&lt;br /&gt;
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&amp;quot;纯粹的语言和差异&amp;quot;&lt;br /&gt;
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翻译本质上是一种语言活动。因此，所有的翻译理论都涉及到语言问题。本雅明在总结现存语言偏差的基础上，假设有一种完美的原始语言作为现实世界中现存语言的起源。这种原始的语言来自上帝，具有充分的创造性和认知能力，其中，语言与精神、意义与形式、能指与所指有机地结合在一起，通过表现自我以展现真理。--[[User:Lou Cancan|Lou Cancan]] ([[User talk:Lou Cancan|talk]]) 07:54, 23 October 2020 (UTC)&lt;br /&gt;
德里达和本杰明&lt;br /&gt;
德里达和本杰明翻译观的比较&lt;br /&gt;
纯语言与差异&lt;br /&gt;
翻译本质上是一种语言活动。因此，所有的翻译理论都涉及到语言问题。本杰明在总结现存语言偏差的基础上，假设有一种完美的原始语言作为现实世界中现存语言的起源。这种原始的语言来自上帝，具有充分的创造性和认知能力，其中，语言与精神、意义与形式、能指与所指有机地结合在一起，通过表现自我以展现真理。--[[User:Mashuya|Mashuya]] ([[User talk:Mashuya|talk]]) 07:30, 24 October 2020 (UTC)MaShuya&lt;br /&gt;
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==Luo Weijia 罗维嘉==&lt;br /&gt;
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Benjamin has pointed out that with the corruption of human, the language has no longer been one but multiple. Naming language has corrupted into the abstract conceptual language. '''(Cao Danhong 6)''' In this way, it descended to instrumental signs. It refers to things in various manual systems but it can never covey the universality through self-manifestation, so the relationship between the human and world has changed from the intersubjectivity into subject-object dichotomy where human dominates.'''(Wei Jiangang &amp;amp; Sun Yingchun 75)'''&lt;br /&gt;
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本雅明指出，由于人类进化，语言已不再只有一种，而是多种多样。命名语言遭到破坏，成为抽象概念性语言。（曹丹红）这样，语言就从命名语言降为符号语言，指各种人工系统中的事物，但永远不能通过自我表现来追求普遍性，因此人与世界的关系从主体间性转变为由人主导的主客体二分法。（魏建刚，孙迎春）--[[User:Luo Weijia|Luo Weijia]] ([[User talk:Luo Weijia|talk]]) 07:55, 22 October 2020 (UTC)&lt;br /&gt;
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本杰明指出，由于人类的堕落，语言已不再只有一种，而是多种多样的。命名语言遭到破坏，成为抽象概念性语言。（曹丹红）这样，语言就降为指示符号，指各种人工系统中的事物，但永远不能通过自我表现来追求普遍性，因此人与世界的关系从主体间性转变为由人主导的主客体二分法。（魏建刚，孙迎春）--[[User:Qu Miao|Qu Miao]] ([[User talk:Qu Miao|talk]]) 02:41, 23 October 2020 (UTC)&lt;br /&gt;
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==Luo Yuqing 罗雨晴==&lt;br /&gt;
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In another word, due to language descended from the original “being” into lower “having”. Therefore, it has become the synonyms of “abstract”, “judgement” and “meaning”. Language has never been a medium but a kind of means used in communication of “subjects” '''(Wohlfarth 27)'''. As a result, meaning has been the external reference out of sign itself, instead of spirits of self-manifestation of pure language. &lt;br /&gt;
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==Ma Juan 马娟==&lt;br /&gt;
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And the relationship between signified and signifier is actually external instead of being original, direct and internal. Paul De Man has said that we think we use our language freely. We feel comfortable and familiar with the dwelling place within our language, in which we thought we weren’t alienated, but we don’t notice that this kind of alienation has been shown strongly in our relationship with our original language. It has been disintegrated already, which bring a special alienation, a peculiar pain. '''(Paul De Man, 99)'''&lt;br /&gt;
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==Ma Shuya 马淑雅==&lt;br /&gt;
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Benjamin has set the transcendental existence of pure language in order to make the path of salvation to human clear, that’s to say to find the lost pure language is to unite the world together. Benjamin thinks that, all practical languages have a common origin and among themselves a kind of affinity that goes beyond the history. As, Benjamin once said, “The reference of pure language just like each language that exists as an entirety, is identical.&lt;br /&gt;
本杰明为了使人类的救赎之路更明晰而设定了纯语言的先验存在，这就是说，找到遗失的纯语言是将整个世界统一。 本杰明认为，所有实用语言都有一个共同的渊源，并且彼此之间有着超越历史的紧密关联。 正如本杰明曾经说过的：“纯语言的引用就像实体存在的某种语言一样。--[[User:Mashuya|Mashuya]] ([[User talk:Mashuya|talk]]) 07:25, 24 October 2020 (UTC)MaShuya&lt;br /&gt;
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==Ma Zhixing 马智星==&lt;br /&gt;
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However, this reference cannot be achieved through one single language, but through the complement of various languages” '''(Benjamin 61)''' That’s to say, if we want to reconstruct pure language, we have to eliminated the external relationship of linguistic reference and restore the identical relationship between spirit and language, which means to promote the linguistic reference of all languages to form an integral complementary, which call duty on translation.&lt;br /&gt;
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==Meng Ying 孟莹==&lt;br /&gt;
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Only through translation can the mode of reference of source language enter into the target language. Therefore, to Benjamin, the significance of translation is not to covey the basic meaning and content of source language but the changes to both languages after translation, thereby translation can make us to know more about the differences and complementation of each language.&lt;br /&gt;
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==Mo Ling 莫玲==&lt;br /&gt;
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What is different between Benjamin and Derrida is that Derrida has invented the concept of “la differánce&amp;quot;, which uses infinitely flowing stream of meaning to overthrow the western logocentrism. Thereout, it has assured the translation view that advocates difference and opposes the identity. Derrida has pointed out that la differánce is the precondition of possibility of multiple meanings so that meaning is the result of its moving. While meaning cannot precedes la differánce, there would be no existence of pure and completely identical origin of meaning, just like what the Babel story reminds us. '''(Davis 10)'''&lt;br /&gt;
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班杰明与德里达的不同之处在于，后者提出了“差异”这一概念，它以无限变换的意义流来推翻了西方的逻各斯中心主义。由此，提倡差异、反对同一性的翻译观得以确立。德里达指出:差异是多义可能性的前提，意义是多义运动的结果。虽然意义不能凌驾于差异，但也不会存在纯粹的、完全相同的意义起源，正如圣经故事所示的那样。--[[User:Mo Ling|Mo Ling]] ([[User talk:Mo Ling|talk]]) 04:28, 23 October 2020 (UTC)Mo Ling&lt;br /&gt;
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班杰明与德里达的不同之处在于，后者提出了“差异”这一概念，它以意义是无限流动的观点推翻了西方的逻各斯中心主义。由此，提倡差异、反对同一性的翻译观得以确立。德里达指出:差异为多义提供了可能性，意义是多义运动的结果。意义不能凌驾于差异，与此同时，也不会存在纯粹的、完全相同的意义起源，这正如巴别塔的故事所示的那样。（戴维斯，第十页）--Ouyang Ling&lt;br /&gt;
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本雅明与德里达的不同之处在于，后者提出了“差异”这一概念，它以意义是无限流动的观点推翻了西方逻各斯中心主义。由此，提倡差异、反对同一性的翻译观得以确立。德里达指出:差异是多义的先决条件，因此意义是多义运动的结果。意义不能凌驾于差异，与此同时，也不会存在纯粹的、完全相同的意义起源，这正如巴别塔的故事所示。（戴维斯，第十页）--[[User:Luo Weijia|Luo Weijia]] ([[User talk:Luo Weijia|talk]]) 07:35, 23 October 2020 (UTC)&lt;br /&gt;
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==Mo Nan 莫南==&lt;br /&gt;
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In another word, as meaning is in la differánce so that there cannot be any conceptual or theoretic systems no matter it is in one language or in several languages. Meaning always presents its fluidity, uncertainty and diversity. We cannot make meaning independent of language nor can we make language independent of meaning. On the contrary, meaning is already in language so meaning is the linguistic meaning.&lt;br /&gt;
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==Nie Xiaolou 聂晓楼==&lt;br /&gt;
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Due to the language is so complicated, fickle, ambiguous and different with itself, thus, meaning is also unclear ambiguous and even mysterious. '''(Cai Xinle 200)''' What we can discuss is only the relationship of difference instead of the transcendental identity. In Derrida’s view, word is in a dynamic state, we can only understand it, describe it or listen to its voice in such a dynamic condition. &lt;br /&gt;
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==Ou Rong 欧蓉==&lt;br /&gt;
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If we must establish an origin, the difference will be it. Derrida has regarded the difference as the origin, aiming to explain that in the very beginning where meaning formed, that’s to say the source has already had initial difference among meanings. The so-called purity has been contaminated and the source is rather complicated. '''(Zhu Gang 20)'''&lt;br /&gt;
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==Ouyang Jinglan 欧阳静兰==&lt;br /&gt;
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Derrida and Benjamin all oppose to structural linguistic view. What is different is that Benjamin opposed the human control and domination of language by emphasizing the identity of language and spirit. We’d rather to say that it’s opposed to structuralism but to the opposite relation between the subject and object. In essence, Benjamin is not against the concepts like structure, order, and center etc. He just opposes the structure, order and center etc. that are based on the interference to language done by the subject-object relationship, emphasizing that language will not be constrained by the fetter of any subject-object relationship.&lt;br /&gt;
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==Ouyang Ling 欧阳玲==&lt;br /&gt;
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If we consider more carefully, he doesn’t disapprove the logocentrism completely as he just emphasizes that logocentrism cannot be constructed and learned by the subject and object relation. It must be built and realized by the way of unintentionality or the “presence” of logos will be delusive. On the contrary, Derrida is refusing any metaphysics during the process of his deconstruction of any conceptual system. In his opinion, Benjamin has not cast off the set pattern of logocentrism because Benjamin’s “Pure language” is still a construction of a concept, no matter how transcendental and absolute identity it is.&lt;br /&gt;
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通过进一步的思考，我们会发现本雅明并不是完全不认同逻各斯中心主义，他强调不能仅依靠主客体关系来构建和学习逻各斯中心主义，必须通过非目的性的方式建立起逻各斯，否则逻各斯的存在将毫无意义。与之相对的，德里达则反对在概念系统的解构中一切形而上学的观念，他认为本雅明提出的“纯语言”观点是又一形而上学概念的构建，不论此概念体现出了超验主义或是绝对同一性，它都没有丢弃逻各斯中心主义的固定模式。--Ouyang Ling&lt;br /&gt;
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如果我们更仔细地想想，我们会发现本雅明并非完全反对逻各斯中心主义，他只是强调不能依靠主客体关系来构建和学习该中心主义，我们必须通过非故意的方式建立起逻各斯中心主义，否则它只会迷惑人。相反，德里达在解构任何概念系统的过程中拒绝任何形而上学的观点。他认为本杰明并没有摆脱逻各斯中心主义的模式，因为无论本杰明的&amp;quot;纯语言&amp;quot;达到何种程度的超验性和绝对同一性，它仍然是概念构建。--[[User:Wu Qi|Wu Qi]] ([[User talk:Wu Qi|talk]]) 14:48, 22 October 2020 (UTC)&lt;br /&gt;
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==Peng Dan 彭丹==&lt;br /&gt;
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Videlicet, if God were the person who deconstructs, we would see that rationality dominates everything and logos will be the deconstruction in the speaker’s status. It would not be the deconstruction of deconstruction. Once there is an unshakable center, logos will take the domination and everything will obey the authority in the center. Therefore, in order to avoid constructing any central system or structure, Derrida take the difference as the origin of everything. &lt;br /&gt;
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==Peng Juan 彭娟==&lt;br /&gt;
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There will be no identity and everything is constantly reproducing and differentiating, so it presents nothing but difference. At any moment, it’s different from others as well as itself. In this way, the identity doesn’t exist. All we can observe is the dynamic stuff, which constantly changes.&lt;br /&gt;
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==Peng Ruihong 彭锐宏==&lt;br /&gt;
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'''2. Metaphrase and Relevant Translation'''&lt;br /&gt;
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As Benjamin and Derrida has different linguistic view, their comprehension about the translation criterion are also different from each other’s. Benjamin thinks that in various languages, the ultimate essence, pure language, is only relevant to the linguistic factors and its changes. In linguistic works, it bears heavy alien meaning. Translation’s unique function is to make the pure language get rid of this heavy burden, to turn the symbolic action into symbolic objects itself, to make the pure language reoccur during the linguistic transition. '''(Benjamin, 67)'''&lt;br /&gt;
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==Peng Xiaoling 彭小玲==&lt;br /&gt;
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In other words, real languages, without exception, refer to things externally. To recover the identity of language and spirit, we must let the language to break the shackle of meaning while the effects of translation are to make the two languages free of the heavy burden by making the modes of reference of the two languages complementary of each other. To judge whether translation of a work is successful is to observe the combination of signifier and signified of language.&lt;br /&gt;
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换句话说，纯语言全都指代外部事物。要恢复语言和精神的同一性，我们必须让语言打破意义的枷锁，而翻译的作用是通过让两种语言的指代方式互补从而摆脱这种繁重的负担。判断作品的翻译是否成功，就要观察语言能指和所指的组合关系。--[[User:Peng Xiaoling|Peng Xiaoling]] ([[User talk:Peng Xiaoling|talk]]) 09:13, 21 October 2020 (UTC)&lt;br /&gt;
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换句话说，纯语言全都指代外部事物。要恢复语言和精神的同一性，我们必须让语言打破意义的枷锁。翻译所要达到的效果就是利用两种语言之间的互补，让这两种语言从翻译的束缚中解放出来。判断一篇翻译作品是否成功，就是看其语言能指和所指之间的组合关系。--[[User:Wang Xuan|Wang Xuan]] ([[User talk:Wang Xuan|talk]]) 01:46, 22 October 2020 (UTC)Wang Xuan&lt;br /&gt;
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==Peng Yongliang 彭永亮==&lt;br /&gt;
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Benjamin thinks Hölderlin’s translation work is the perfect sample of for instance, his works are almost perfect transition of texts because they are absolutely literal translation and metaphrase but also not readable. It dismembered the sentences, leading to the consequence that meaning is missing. '''(Paul De Man 104)''' To Benjamin, the translation that gets the language out of the shackle of meaning, and makes the language manifest itself to covey the spirits is the best translation. &lt;br /&gt;
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==Peng Yuzhi 彭育志==&lt;br /&gt;
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Anyway, translation has to turn back to language itself, to the reference of language, to reach pure language commonly shared by the two languages by complementing the modes of reference of source language and target language. Benjamin declares that the interlinear version of Babel is the prototype of all translation due to the reason that Babel is the words of God, which are so true that language identifies with spirit.&lt;br /&gt;
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无论如何，翻译必须回归语言本身，回到语言的指称中去，直达纯语言。这种纯语言通过源语和目的语指称模式的互补而由这两种语言所共享。本雅明称，不同文字隔行对照版的巴别，是所有翻译的原型。因为巴别是上帝的语言，它是绝对正确的，因而它即是精神。--[[User:Peng YuZhi|Peng YuZhi]] ([[User talk:Peng YuZhi|talk]]) 13:00, 21 October 2020 (UTC)&lt;br /&gt;
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无论如何，翻译必须回归语言本身，回到语言的指称中，去达到所谓的纯语言。这种纯语言就是通过源语和目的语指称模式的互补，并由这两种语言所共有。本雅明认为，隔行对照版的巴别塔就是所有翻译的原型。这是因为巴别塔是上帝的语言，它是绝对正确的， 与精神保持一致。--[[User:Wu Yilu|Wu Yilu]] ([[User talk:Wu Yilu|talk]]) 03:08, 22 October 2020 (UTC)&lt;br /&gt;
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==Qi Kai 漆凯==&lt;br /&gt;
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Derrida is totally different from Benjamin’s proposition that he proposes the relevant translation. In general, “relevant” is the best translation in Derrida’s view, which is also the sort of translation expected by people. It’s a kind of translation that fulfills its duty and finishes its mission. It’s that kind of translation that finds the most comparatively accurate words for the expressions in the source text, that language used is the most correct, appropriate, relevant, direct and apropos…&lt;br /&gt;
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==Qu Miao 瞿淼==&lt;br /&gt;
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Obviously, Derrida is trying to use a series of words to set standard for the best translation or the ideal translation. What’ a pity is that many scholars believe the literal meaning that such is what set by Derrida, ignoring the implication. '''(Wang Yingchong 15)''' However, if we reflect on the “relevant”, we can hardly make what it means clear, and Derrida himself has made no ostension on “relevant”, thus, this is actually the word game of Derrida that meaning being not assured makes translation impossible.&lt;br /&gt;
很明显，德里达正努力用一系列的词设立一个标准，来鉴定最好的翻译或者最理想的翻译。遗憾的是 ，许多学者都认为德里达所定义的字面意义忽略了暗含意义（王英冲 15）。然而，如果我们仔细考虑“相关性”，就很难弄清楚意思，而德里达本人并未明确定义“相关性”，因此，意义的不确定使翻译不可能，这实际上是德里达的语言游戏。--[[User:Qu Miao|Qu Miao]] ([[User talk:Qu Miao|talk]]) 02:33, 23 October 2020 (UTC)&lt;br /&gt;
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显而易见，德里达在尝试用一些词来设立一个标准，从而来评判出最佳翻译或者最理想的翻译。遗憾的是 ，许多学者都认为德里达所定义的标准在字面意义上忽略了其内在意义。（王英冲 15）。然而，如果我们仔细考虑“相关性”，就很难弄清楚意思。而德里达本人并未明确定义“相关性”，因此，意义的不确定使得翻译不可能存在，这实际上是德里达的文字游戏。--[[User:Liu Yiyu|Liu Yiyu]] ([[User talk:Liu Yiyu|talk]]) 09:03, 23 October 2020 (UTC)Liu Yiyu&lt;br /&gt;
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==Quan Meixin 全美欣==&lt;br /&gt;
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With the trick of the untranslatability of the word “relevant”, Derrida implies the deconstruction of his standard of translation. What Derrida really wants to express is that if there was a standard of translation, and the standard would work as the same, then would the standard still support itself? The untranslatability of “relevant” has already told us the untranslatability, not mentioning the translation standard. In Derrida’s point of view, meaning is already the delayed presence, leading to the result that translation is a debt that translator can never pay off, a mission that translator can never finish. Therefore, can text really not be translated?&lt;br /&gt;
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==Sagara Seydou ==&lt;br /&gt;
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Derrida says that we have to know what relevant translation is, what relevant translation means and what the essence of translation is, its mission, ultimate purpose and final mission. On one hand, relevant translation, no matter wrong or right, is generally better than irrelevant translation, and is likely to be viewed as the best translation. The definition of translation skopostheorie and the definition of the essence of realization in translation are contained in the definition of relevant translation. Therefore, the question that what relevant translation is goes back to what translation is or what should the translation be. While what the translation should be seems to be equal to what the possible best translation would be. '''(Derrida 429)'''&lt;br /&gt;
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==Shi Diwen 石迪文==&lt;br /&gt;
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Therefore, Derrida’s discussion about the standard of translation goes back to the translatability and untranslatability. Actually, what Derrida wants to prove is that translation itself is a paradox, that is, just in the untranslatability can translation exist and go on. The original text always owes to translation, and constantly summons translation, and in a larger sense, anything meaningful calls for interpretation. '''(Wang Yingchong 17).''' Whereas, the good translation or the translation standard can only be discussed in absolute translatability; pursuit of translation in absolute untranslatability will be nonsense, and it can only be infinitely approached but never reached as once it become absolute translatability, which means translation presents the meaning in limitless differánce in presence, the identity occurs, then the translation will be unnecessary. &lt;br /&gt;
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==Shi Haiyao 石海瑶==&lt;br /&gt;
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In short, Derrida and Benjamin have different view on translation. Benjamin worships metaphrase through which two languages can supplement each other’s referential pattern to manifest the pure language, whose spirits are the best translation. While Derrida plays a small fraud that he sets relevant translation as translation criterion but he doesn’t make it clear, in which way he indicates his ideas of untranslatability and that pursuit of translation in absolute untranslatability will be nonsense, and it can only be infinitely approached but never reached.&lt;br /&gt;
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==Si Yu 司妤==&lt;br /&gt;
'''3. Afterlife and Rebirth'''&lt;br /&gt;
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Benjamin also differs most from Derrida in the insight of the relationship between the original work and translation work. In Benjamin’s perspective, the purpose of translation is to promote the complementation of referential modes of different languages so as to restore the identity. Therefore, translation work is never the copy or reappearance of the original work, but the supplement and succession of the original work and in turn, original work can only rely on its translation work to refresh its vitality and go on its subsistence. &lt;br /&gt;
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==Song Jianru 宋建茹==&lt;br /&gt;
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Various forms of life closely correlate with biological phenomena though it has no great significance to biological phenomena. Translation work grows out of original work or we’d rather say it originates from the afterlife. Due to the fact that original work precedes the translation work, and in the range of world literature, no great works meets a perfect translator when its author is still alive, so translation work only marks the continuity of the original work. '''(Benjamin 76)''' Benjamin has regarded the original work as vigorous organism so that translation is viewed as the continuity of original work, which is also the afterlife of original work. Benjamin stresses that life is a historical concept instead of the existential concept. Life doesn’t limit within biological body. Only when we view life as a historical process of organism survival, can the concept of life be understood correctly.&lt;br /&gt;
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不同的生活方式与生物现象密切相关，尽管前者对后者影响不大。译作源于原作，或者我们可以说译作源于原作的来世。由于原作先于译作而存在，世界文学中的伟大作品在其作者在世时都遇不到完美译员，因此译作仅仅标志着原作在延续。（班杰明76）班杰明把原作看作充满活力的有机体，因而译文视为原作的延续，也就是原作的来世。班杰明强调，生命是一个历史概念，而非存在主义概念。生命不受限于生物体而存在。只有当我们把生命看作有机体存活的历史进程，生命的概念才能得以正确理解。--[[User:Song Jianru|Song Jianru]] ([[User talk:Song Jianru|talk]]) 08:15, 24 October 2020 (UTC)&lt;br /&gt;
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==Su Lin  苏琳==&lt;br /&gt;
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With this sense, translation work being the continuity of original work can be comprehended. Those that was flashy will corrupt and those that was fashionable will become old. So does the linguistic form. The linguistic form of the original work will die out with time passing by, but the life of original work will not die with the existential form of original work. With the help of translation work, the life of original work will be continued, updated and expanded, thus being constantly succeeded in its life history. Hence, translation was like the source of rejuvenation. '''(Kramer 24)'''&lt;br /&gt;
在这个意义下，我们可以理解翻译作品是对原作的延续。那些浮华的终将腐败，那些时尚的也终将落伍。语言学的形式也是如此。原作的语言形式会随着时间的流逝而褪去，但原作的生命却不会因它的存在形式消亡，在翻译这项工作的扶持下，原作的生命得以延续、更新和扩展，从而在其生命史上不断取得成功。因此，翻译就像是复兴的源泉。--[[User:Su Lin|Su Lin]] ([[User talk:Su Lin|talk]]) 15:10, 23 October 2020 (UTC)&lt;br /&gt;
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从这个意义上讲，我们可以把译作理解为原作的延续。那些浮华俗丽的译作将会腐化，那些时尚流行的将会落伍。译作的语言形式也是如此。随着时间的流逝，原作的语言形式将会逐渐消失，但原作的生命却不会随其存在形式而消亡。译作使得原作的生命得以延续，得以更新，得以延伸，因而原作能在其生命历程中不断取得成功。因此，翻译就好比是活力之源。--[[User:Song Jianru|Song Jianru]] ([[User talk:Song Jianru|talk]]) 08:49, 24 October 2020 (UTC)&lt;br /&gt;
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==Tan Xingyue 谭星越==&lt;br /&gt;
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The final purpose of language is to meet our needs to show that the relation among languages is quite close. Translation cannot reveal or build such hidden relation, but translation can reoccur it by intensification and embryotic appearance. Right through the expression of embryotic form, it makes relation among languages reoccur. (Benjamin,60) Accordingly, translation is not the birth of original work nor the death of original work but the living on of the original. It’s the birth after death and death after birth. In this way, Benjamin has assured the position of the original work which is higher than the translation work, on which the original work depends to continue its life. Translation can never be equal to the original work because only the original language has the vigor to embody the fruit of pure language.&lt;br /&gt;
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语言的最终目的是满足我们的需求，以展示语言之间的关系是非常密切的。翻译不能揭示或建立这种隐藏的关系，但翻译可以通过强化和再生的形式重现这种关系。正是通过再生形式的表达，使语言之间的关系得以重现。（本杰明，60）因此，译作不是原作的诞生，也不是原作的消亡，而是原作生命的延续。译作成为原作永恒的来世。这样，本雅明就确定了原作的地位高于译作，而原作依靠译作得以继续生存。译作不可能等同于原作，因为只有原作才有活力体现纯语言的成果。--[[User:Tan Xingyue|Tan Xingyue]] ([[User talk:Tan Xingyue|talk]]) 15:20, 21 October 2020 (UTC)&lt;br /&gt;
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语言的最终目的是满足我们的需求，以展示语言之间的关系是非常密切的。翻译不能揭示或建立这种隐藏的关系，但翻译可以通过强化和再生的形式重现这种关系。正是通过再生形式的表达，使语言之间的关系得以重现。（本杰明，60）因此，译作不是原作的诞生，也不是原作的消亡，而是原作生命的延续。译作是生死的轮回。这样，本杰明就确定了原作的地位高于译作，而原作依靠译作得以继续生存。译作不可能等同于原作，因为只有原作才有活力体现纯语言的成果。--[[User:Lou Cancan|Lou Cancan]] ([[User talk:Lou Cancan|talk]]) 13:20, 23 October 2020 (UTC)&lt;br /&gt;
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==Tan Xinjie 谭鑫洁==&lt;br /&gt;
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Compared to that, Derrida thinks that translation work is the rebirth of the original work and notes that there are two implications in “rebirth”, which are given by “Fortleben and Uberleben” in Benjamin’s The Task of Translator, indicating that life will continue, consistent and survival continues, but it also indicates resurrection after death. Derrida emphasizes that original work has equal and independent position with translation work, which are complementary for each other. If the original text calls for supplement, that’s because it’s not flawless, complete, entire and self-identified. The original texts to be translated fell into exile from the very beginning. '''(Derrida 2003)''' &lt;br /&gt;
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==Tan Yuanyuan 谭媛媛==&lt;br /&gt;
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All in all, Derrida and Benjamin have shown their distinctive comprehension about the original work and translation work. Benjamin has claimed that translation work is the afterlife of original work and original work also depends on translation to continue its life. Due to the fact that only the original work can deliver birth to pure language, although the very relations among languages can be reoccurred in translation work, original work ranks first. Derrida holds another opinion that the two, original work and translation work are equal and complementary.&lt;br /&gt;
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总之，德里达和本杰明对原作和翻译工作表现出了他们独特的理解。本雅明曾说，翻译是原作的来世，原作也要靠翻译来延续其生命。由于只有原作才能表达出纯语言，虽然语言之间的关系可以在翻译工作中重现，但原作是排在第一位的。德里达则持另一种观点，认为原作和翻译工作二者是平等互补的关系。--[[User:Tan Yuanyuan|Tan Yuanyuan]] ([[User talk:Tan Yuanyuan|talk]]) 02:29, 24 October 2020 (UTC)&lt;br /&gt;
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==Tang Bei 汤蓓==&lt;br /&gt;
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Secondly, on the aspect of the author, deconstructivism emphasizes the intertextuality instead of the author, declaring that God was already dead and trying to overthrow the concept that author is the source of meaning from the ground level, so translation views of deconstructivism denies the originality of the author and even the copyright of the author(Jiang Xiaohua &amp;amp; Zhang Jinghua 42). However, Benjamin advocates the originality of the author. Though he has not mentioned the issues about author’s copyright, we can infer from the emphasis of originality of original work and creativity of the author that he should admit the copyright of the author.&lt;br /&gt;
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==Tang Ming 唐铭==&lt;br /&gt;
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Thirdly, on the aspect of translator, translation view of deconstructivism places the translator in the equal position of author, but at the meantime, it denies the creativity and copyright of translator. What Derrida does is to completely ignore the subjectivity of translator but focus on text. On the contrary, Benjamin does not only emphasize the position of translator and consider that translator contributes creativity as well as author, which just differs in the way of wok and he also points it out that the success of translation depends on the ability of translator.&lt;br /&gt;
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==Tang Yiran 汤伊然==&lt;br /&gt;
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Fourthly, on the aspect of translation work, translation view of deconstructivism has eliminated the difference between the original work and translation work, believing that original work and translation work supplements each other and coexists with each other; the original work lives on with the help of translation work while the translation work becomes independent text because it succeeds the semantic differánce of the original work. &lt;br /&gt;
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==Tao Ye 陶冶==&lt;br /&gt;
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Fifthly, on the aspect of translation criterion, translation view of deconstructivism has deconstructed the traditional translation view that seeks loyalty and equivalence and it has deconstructed the comprehension, extraction and transmission proposed by itself. '''(Wang Yingchong 18)''' As a result, it has treated the translatability and untranslatability in an equal way, indicating that any text can be translatable and untranslatable. Accordingly, the criterion of translation has been dissolved. Compared to Derrida, Benjamin prefers literal translation, advocating that we should promote the supplement of the referential modes of original work and translation work in the general purpose of realizing pure language. &lt;br /&gt;
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==Wang Meiling 王美玲==&lt;br /&gt;
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'''Translation Aesthetics&lt;br /&gt;
Study on Gladys’ Translation of The Border Town from the Perspective of Translation Aesthetics'''&lt;br /&gt;
Translation, especially literary translation, is a creative activity in nature. Translation is the pursuit of beauty and truth, and it involves philosophical concerns. Aesthetics, the study of beauty, is an eternal theme of Chinese literature. Ever since the emergence of translation, aesthetics and translation have been closely bonded together. Translation Aesthetics is a perfect combination of translation and aesthetics.&lt;br /&gt;
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==Wang Xuan 王轩==&lt;br /&gt;
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'''1 About Translation Aesthetics'''&lt;br /&gt;
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翻译美学&lt;br /&gt;
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Translation Aesthetics is to analyze, explain and solve the aesthetic problems emerging in interlingual conversion. Its main contents are aesthetic subjects, aesthetic objects, the aesthetic subject’s experience of aesthetic objects, the methods of representing beauty in translating process, the criteria of translation aesthetics and so forth.&lt;br /&gt;
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翻译美学是分析、解读并且解决不同语种对话间出现的问题，主要包括美学主体、美学客体、美学主体的客体经验、翻译过程中传递美的途径、翻译美学标准等等。&lt;br /&gt;
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'''1.1 Development of Translation Aesthetics in China'''&lt;br /&gt;
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中国的翻译美学发展脉络--[[User:Wang Xuan|Wang Xuan]] ([[User talk:Wang Xuan|talk]]) 01:20, 22 October 2020 (UTC)Wang Xuan&lt;br /&gt;
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翻译美学是分析、解释和解决语言转换中出现的美学问题。它的主要包括美学主体、美学对象、审美主体的对象经验、翻译过程中表达美的方式以及翻译美学标准等。--[[User:Yang Yue|Yang Yue]] ([[User talk:Yang Yue|talk]]) 02:41, 22 October 2020 (UTC)&lt;br /&gt;
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翻译美学用于分析、解读和解决语言转换中出现的美学问题，主要包括美学主体、美学客体、审美体验、在翻译过程中如何呈现美感以及翻译美学标准等等。--[[User:Guan Qinqing|Guan Qinqing]] ([[User talk:Guan Qinqing|talk]]) 11:28, 22 October 2020 (UTC)&lt;br /&gt;
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==Wang Yu 王煜==&lt;br /&gt;
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The traditional translation theory in China originated from the translation of Buddhist scriptures more than 1700 years ago. Chinese translation theory has a close relationship with philosophy and aesthetics. In China, aesthetic thoughts have a long history. Confucius, Mencius, Laozi and other famous ancient thinkers put forward their views on aesthetics. In the process of the formation and development of literary translation, ancient aesthetic thoughts provided the ideological basis for it. Classical aesthetic thoughts made subtle influence on Chinese literary translation theories. The translation theories which contain classical aesthetics are naturally different from other countries' translation theories.&lt;br /&gt;
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中国传统翻译理论起源于1700多年前的佛经翻译。该理论与哲学、美学有着紧密的联系。在中国，美学思想有着悠久的历史。孔子、孟子、老子等古代著名思想家都曾提出自己的美学观。古代美学思想为文学翻译的形成和发展过程提供了思想基础。古典美学思想对中国文学翻译理论产生了潜移默化的影响。这种包含古典美学思想的翻译理论与其他国家的翻译理论有着天然的区别。--[[User:Wang Yu|Wang Yu]] ([[User talk:Wang Yu|talk]]) 08:28, 21 October 2020 (UTC)&lt;br /&gt;
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中国传统翻译理论起源于1700多年前的佛经翻译,而这种翻译理论同哲学、美学有着密切的联系。在中国，美学思想有着悠久的历史。孔子、孟子、老子等古代著名思想家都提出了自己的美学观。并且在文学翻译的形成和发展过程中，古典美学思想为其提供了思想基础，产生了潜移默化的影响。因此，这种包含古典美学思想的翻译理论自然不同于其他国家的翻译理论。--[[User:Peng Xiaoling|Peng Xiaoling]] ([[User talk:Peng Xiaoling|talk]]) 09:35, 21 October 2020 (UTC)&lt;br /&gt;
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==Wang Yuan 王源==&lt;br /&gt;
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According to Liu Miqing, “Aesthetic constituents of source text can be classified into two systems: formal aesthetic constituents and non-formal aesthetic constituents.”[4]. Formal aesthetic system include the scope of phonetics, morphology and syntax. While the non-formal aesthetic system is non-material, non-natural sensible. It is an indefinite, non-quantitative system. So it is also called “fuzzy sets” or “sets of fuzziness”. All kinds of beauty in the two systems are aesthetic objects, which we will experience in translation.&lt;br /&gt;
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基于刘宓庆的翻译理论，“源文本的美学成分可以分为两个系统：正式美学成分和非正式美学成分。”【4】.正式美学系统包括语音学、形态学和句法学的范畴。而非正式美学系统则是非物质、非自然的内容。这是一种不明确，非量化的系统。因此它也被称之为“模糊集”或者“集的模糊性”。在这两个系统中的所有种类的美都是美学目标，而这一体验则会在翻译中体现出来。--[[User:Wang Yuan|Wang Yuan]] ([[User talk:Wang Yuan|talk]]) 14:47, 21 October 2020 (UTC)&lt;br /&gt;
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刘宓庆认为，“源文本的审美客体可以分为两个系统：形式系统和非形式系统。”【4】.形式系统包括语音学、形态学和句法学的范畴。而非形式系统则包含非物质、非自然的成分，它是一种不明确，非量化的系统。因此它也被称之为“审美模糊集”或者“集的模糊性”。在这两个系统中，不同种类的美都属于审美客体，这也是我们在翻译中将要感受到的。--[[User:Tan Xingyue|Tan Xingyue]] ([[User talk:Tan Xingyue|talk]]) 15:39, 21 October 2020 (UTC)&lt;br /&gt;
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==Wei Honglang 韦洪朗==&lt;br /&gt;
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Yan Fu, a Chinese scholar, once put forward the theory of faithfulness, expressiveness and elegance, and Qian Zhongshu also put forward the theory of transformation, and so on. All these theories reflect the influence of classical aesthetics on Chinese writers. Reviewing its development, it is not difficult to find that almost all Chinese translation theories have their aesthetic origin. &lt;br /&gt;
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==Wei Yafei 魏亚菲==&lt;br /&gt;
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'''1.2 Lin Yutang’s theory of Translation Aesthetics'''&lt;br /&gt;
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In 1933, Lin Yutang put forward three principles for translation: faithfulness, smoothness and beauty in the article of On Translation. The three principles of translation represent three responsibilities respectively: that toward the original author, that toward the reader, and that toward art. Here, fidelity becomes threefold. It is not only the fidelity to the original author, but also fidelity to the target reader and to art. In Lin Yutang’s opinion, translation is a kind of art. The main difference between art and science is that science is guided by the rule, while art is not. As for the standard of beauty in translation, he thought that “Every writing has its beauty in sound, meaning, spirit and style.”&lt;br /&gt;
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==Wen Sixing 文偲荇==&lt;br /&gt;
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[1] The ideal translator should make his work an art. He should love it with the heart of art, be careful with it and regard translation as fine art. Especially when translating literary works, translator should pay more attention to the beauty of words. Lin Yutang believes that the most important thing in literary translation is to embody the style of the original work. That is, “not only what it says, but also how to say it”. From this point of view, Lin Yutang's translation thought is mainly aimed at literary translation. Among his three translation principles (faithfulness, smoothness and beauty), the third principle--beauty is regarded as the most important point in literary translation. Therefore, Lin Yutang's translation thought is also recognized as “translation of aesthetics” by some scholars.&lt;br /&gt;
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理想的译者应该使他的翻译成为一种艺术。他应该以一种艺术之心去爱它，小心对待他，并且将翻译当成艺术。尤其是在翻译文学作品的时候，译者应当花更多心思在词汇的优美与否上。林语堂认为在文学作品翻译时最重要的事是体现作品的风格。也就是说，“不仅是看他说了什么，还要看他怎么说的。”从这个角度来看，林语堂的翻译思想主要着眼于文学翻译。在他的三个翻译原则（忠实性，流畅性，和优美程度），第三原则——优美程度，则被看作文学作品翻译中最重要的一点。因此林语堂的翻译思想也被一些学者视为“美学的翻译”。&lt;br /&gt;
--[[User:Wensixing|Wensixing]] ([[User talk:Wensixing|talk]]) 07:34, 21 October 2020 (UTC)&lt;br /&gt;
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理想的译者应该让自己的译文成为一件艺术作品。他/她应该以一颗艺术之心去爱它，小心照料，并且将翻译当成艺术。尤其是在翻译文学作品的时候，译者应当花更多心思在选词优美上。林语堂认为，文学作品翻译时最重要的事莫过于体现作品的风格。也就是说，“不仅是体现原文的内容，还要体现其表达方式。”从这个角度来看，林语堂的翻译思想主要着眼于文学翻译。在他的三个翻译标准（忠实，通顺，美）中，其中第三条美的标准，便成为文学作品翻译中最重要的一条标准。因此林语堂的翻译思想也被一些学者视为“美学的翻译”。&lt;br /&gt;
--[[User:Zeng Fangyuan|Zeng Fangyuan]] ([[User talk:Zeng Fangyuan|talk]]) 08:16, 21 October 2020 (UTC)&lt;br /&gt;
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==Wen Xiaoyi 文晓艺==&lt;br /&gt;
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So in the article of '''On Translation''' written by Lin Yutang, the main content is about the discussion on translation standards, and the core idea of the full text is that translation is an art. The most important thing in literary translation is to express the beauty of the original work, and to embody the original author's “how to say” in the translation. At the same time, Lin Yutang also affirmed that translation is creation. The translation with beauty features can make the original work be loved by the readers in the foreign culture, spread widely to the other countries, and achieve its equivalent effect in the source language environment to the greatest extent, which is the greatest responsibility and loyalty to the original text, the author, the readers and the art.&lt;br /&gt;
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==Wu Kai 吴恺==&lt;br /&gt;
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'''1.3 Liu Miqing’s theory of Translation Aesthetics'''&lt;br /&gt;
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In 1995, Liu Miqing offers a theoretical framework of Translation Aesthetics in detail in his book An Introduction to Translation Aesthetics. “Translation Aesthetics refers to the study on aesthetic object (the source text and the target text), the aesthetic subject (translators and readers) and aesthetic activities in translation, such as aesthetic judgments, aesthetic appreciation, and creative aesthetic representation in translation.”[2]&lt;br /&gt;
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1.3刘宓庆的翻译美学理论&lt;br /&gt;
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1995年，刘宓庆在其著作《翻译美学理论》中详细介绍了翻译美学的理论框架。“翻译美学是指对翻译中审美对象（原文和译文）、审美主体（译者和读者）以及翻译中的审美活动的研究，如翻译中的审美判断、审美欣赏和创造性的审美表现。”[2]--[[User:Wu Kai|Wu Kai]] ([[User talk:Wu Kai|talk]]) 12:26, 23 October 2020 (UTC)&lt;br /&gt;
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1.3 刘宓庆的翻译美学理论&lt;br /&gt;
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1995年，刘宓庆在《翻译美学导论》一书中详细阐述了翻译美学的理论框架。“翻译美学是指对翻译中的审美客体(原文和译文)、审美主体(译者和读者)和审美活动的研究，如审美判断、审美欣赏、翻译中的创造性审美表征等。”--[[User:Xiao Shuangling|Xiao Shuangling]] ([[User talk:Xiao Shuangling|talk]]) 02:26, 24 October 2020 (UTC)Xiao Shuangling&lt;br /&gt;
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==Wu Qi 吴琪==&lt;br /&gt;
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“Aesthetic object (AO) refers to the objective matters that human's aesthetic activity targets at.[3] However, not everything in the objective world is aesthetic object. For instance, The Book of Songs on the bookshelf is not an aesthetic object until translator buys and translate it. In the aesthetic process, the translator appreciate the beauty in sound, beauty in form and beauty in sense in the book.&lt;br /&gt;
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审美客体（AO）是指人们审美活动所针对的客观事物。【3】然而，在客观世界里，并非所有事物都是审美对象。例如，书架上的诗经只有被译者买下并翻译了，才是一个审美对象。再审美过程中，译者欣赏到了这本书的音美、形美、意美。--[[User:Wu Qi|Wu Qi]] ([[User talk:Wu Qi|talk]]) 14:42, 21 October 2020 (UTC)&lt;br /&gt;
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审美对象（AO）是指人们在审美活动中所针对的客观事物。【3】然而，在客观世界里并非所有事物均是审美对象。比如，书架上的诗经只有在被译者买下并翻译之后才能称之为审美对象。在审美过程中，译者体会到了这本书的音美，形美和意美。--[[User:Wang Yuan|Wang Yuan]] ([[User talk:Wang Yuan|talk]]) 14:58, 21 October 2020 (UTC)&lt;br /&gt;
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==Wu Qiong 吴琼==&lt;br /&gt;
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It clings to the aesthetic constituents and the aesthetic effects of the ST. If one pursues or analyzes the beauty in translation without adequate consideration of the ST, it equals to fish in the air and yields nothing but vainness. The attribute of TAO is different from the attribute of AO. On the one hand, it is attached to the aesthetic composition of SL. That is to say, translator cannot add something that is not in the aesthetic constituents of ST.&lt;br /&gt;
审美客体与源语翻译的审美因素及其效果紧密相关。如果一个人追求或分析翻译之美而未曾妥当考虑结构化文本，那就像是鱼在天空那样颗粒无收、徒劳无功。翻译的审美客体因素与审美客体因素是不同的。一方面，翻译审美客体要考虑到源语的审美组成。即译者不能凭空添加不符合结构化文本审美组成的成分--[[User:WuQiong|WuQiong]] ([[User talk:WuQiong|talk]]) 01:46, 23 October 2020 (UTC)。&lt;br /&gt;
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==Wu Xiang 邬香==&lt;br /&gt;
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According to Liu Miqing, “Aesthetic constituents of source text can be classified into two systems: formal aesthetic constituents and non-formal aesthetic constituents.”[4]. Formal aesthetic system include the scope of phonetics, morphology and syntax. While the non-formal aesthetic system is non-material, non-natural sensible. It is an indefinite, non-quantitative system. So it is also called “fuzzy sets” or “sets of fuzziness”. All kinds of beauty in the two systems are aesthetic objects, which we will experience in translation.&lt;br /&gt;
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==Wu Yilu 吴一露==&lt;br /&gt;
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The aesthetic subject (AS) refers to people who carry out aesthetic appreciation activity on the aesthetic object; and translation aesthetic subject (TAS) refers to the translator. When translating, translator plays a dual role. For one thing, he is the recipient of the SL text who should first decode the aesthetic information in the SL text. In this process, his role is both passive and subjective. For another, he is identified as the creator of the target text. Being so, he undertakes the task of aesthetic representation to the target text readers. Hence he ought to play his dynamic role as the aesthetic subject.&lt;br /&gt;
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审美主体是指对审美客体进行审美欣赏活动的人;翻译审美主体则指的是译者。在翻译中，译者扮演着双重角色。一方面，他作为文本的接受者，首先要对文本中的美学信息进行解码。在这个过程中，他的角色既是被动的，也是主观的。另一方面，他也是目标文本的创造者。所以，他承担着对目标文本读者进行审美再现这一任务。因此，他应该发挥自己作为审美主体的能动作用。--[[User:Wu Yilu|Wu Yilu]] ([[User talk:Wu Yilu|talk]]) 02:47, 22 October 2020 (UTC)&lt;br /&gt;
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审美主体是指对审美客体进行审美欣赏活动的人;翻译审美主体则指的是译者。在翻译中，译者扮演着双重角色。一方面，他作为文本的接受者，首先要对文本中的美学信息进行解码。在这个过程中，他的角色既是被动的，也是主观的。另一方面，他也是目标文本的创造者。所以，他承担着对目标文本读者进行审美再现这一任务。因此，译者应该发挥自己作为审美主体的能动作用。--[[User:Xu Jing|Xu Jing]] ([[User talk:Xu Jing|talk]]) 09:52, 22 October 2020 (UTC)&lt;br /&gt;
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==Wu Zijia 吴子佳==&lt;br /&gt;
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Comparing Lin Yutang’s theory with Liu Miqin’s theory, we can find that their thoughts have something in common. They both agree that Translation Aesthetics plays a significant role in translation, especially literary translation. Lin Yutang believes that literary translation is a creative art with beauty as its soul, so translators should always keep a heart of beauty-pursuit during the process of translating. While Liu Miqing offers a theoretical framework of Translation Aesthetics in detail. He regards source language and target language as aesthetic objects, treats translators as aesthetic subjects, and constructs basic framework of Translation Aesthetics in a dynamic role of subject and object.&lt;br /&gt;
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==Xiao Shuangling 肖双玲==&lt;br /&gt;
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'''2 A case study of The Border Town from the perspective of Translation Aesthetics'''&lt;br /&gt;
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''The Border Town'' is Shen Congwen’s masterpiece, which is also the supporting pillar for him to construct Xiangxi. He adopted a pristine love story to display the pursuit of his ideal life. The love story set in a town of Hunan province which is beside Sichuan province. In the 1930s, it is a quite tranquil place without lots of people in rural area. People there live a simple and honest life. The language of the novel is simple, deep, implicit and subtle, and it is in harmony with the content. It contains rich poetic feelings and produces a beautiful and graceful beauty.&lt;br /&gt;
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2.从翻译美学的角度看《边城》个案研究&lt;br /&gt;
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《边城》是沈从文的代表作，也是他建设湘西的支柱。他通过一个纯朴的爱情故事来表现他对理想生活的追求。这个爱情故事发生在湖南省的一个小镇，与四川省相邻。在20世纪30年代，由于没有什么人住在农村，这是一个相当安静的地方。那里的人过着简单而又实在的生活。小说的语言简单，深邃，含蓄而又微妙，与内容融为一体。它给人以诗情画意般的感受，产生了一种优雅美。--[[User:Xiao Shuangling|Xiao Shuangling]] ([[User talk:Xiao Shuangling|talk]]) 02:17, 24 October 2020 (UTC)Xiao Shuangling&lt;br /&gt;
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2.从翻译美学的角度看《边城》个案研究&lt;br /&gt;
《边城》是沈从文的代表作，也是他建设湘西的主要作品。他通过一个纯朴的爱情故事表现了他对理想生活的追求。这个爱情故事发生在与四川省交界的一个湖南小镇。那是20世纪30年代里的一个人少宁静的乡村地区，村里的人过着简单而又实在的生活。小说的语言朴实，深邃，含蓄而又微妙，与其内容相得益彰。它给人以诗情画意般的感受，散发着一种优雅美。--[[User:Xiao Ting|Xiao Ting]] ([[User talk:Xiao Ting|talk]]) 04:10, 24 October 2020 (UTC)Xiao Ting&lt;br /&gt;
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==Xiao Ting 肖婷==&lt;br /&gt;
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Literary translation is a very important part in translation studies, and it’s a complicated process that requires many different skills. On the one hand, the aesthetic style and aesthetic feeling are very necessary for the author to compose his work. Therefore, the translator should pick up the literary words to transform the aesthetic sense of the source text in the process of translation. On the other hand, literary translation is the representations of all-round artistic quality which can make the target reader get the similar appreciation of the original beauty in the context of the target language. In this part, a case study is conducted in detail based on Gladys Yang’s English translation of ''The Border Town'' from the perspective of Translation Aesthetics.&lt;br /&gt;
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文学翻译是翻译研究中非常重要的一个环节，它也是一个复杂的过程，需要很多不同的技巧。 一方面，作者在创作过程中，审美风格和审美感受的揉入是非常必要的。 因此，译者在翻译的过程中，要拾掇好文学词汇，转化源文本的美感。 另一方面，文学翻译是全方位艺术品质的表现，它可以使目标读者在目标语言的语境中得到类似于原作美感的欣赏体验。 在这部分，从翻译美学的角度，以格莱迪 杨的英译版《边城》为基础，进行了详细的分析。--[[User:Xiao Ting|Xiao Ting]] ([[User talk:Xiao Ting|talk]]) 03:05, 22 October 2020 (UTC)Xiao Ting&lt;br /&gt;
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文学翻译是翻译研究中非常重要的一部分，这是一个复杂的过程，需要运用很多不同的技巧。 一方面，作者在创作过程中，审美风格和审美感受的揉入是非常必要的。 因此，译者在翻译的过程中，要精心挑选文学词汇来转化源文本的美感。 另一方面，文学翻译是全方位艺术品质的表现，它可以使目标读者在目标语言的语境中也能欣赏到类似于原作的美感。 在这方面有一个专题研究：从翻译美学的角度，以格莱迪杨的英译版《边城》为基础，对其进行了详尽的分析。--[[User:Mo Ling|Mo Ling]] ([[User talk:Mo Ling|talk]]) 04:41, 23 October 2020 (UTC)Mo Ling&lt;br /&gt;
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==Xiao Xi 肖茜==&lt;br /&gt;
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The combination of translation theory and aesthetics is traditional Chinese feature, and Translation Aesthetics carry forward traditional translation theory. With the increasingly close communication between China and other countries, Chinese classical aesthetics and Western aesthetics have developed a certain degree of integration, which is also a special form of mutual learning between China and the West in a sense. This kind of reference promotes the development and application of Translation Aesthetics.&lt;br /&gt;
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==Xiao Yining 肖伊宁==&lt;br /&gt;
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The aesthetic subject (AS) refers to people who carry out aesthetic appreciation activity on the aesthetic object; and translation aesthetic subject (TAS) refers to the translator. When translating, translator plays a dual role. For one thing, he is the recipient of the SL text who should first decode the aesthetic information in the SL text. In this process, his role is both passive and subjective. For another, he is identified as the creator of the target text. Being so, he undertakes the task of aesthetic representation to the target text readers. Hence he ought to play his dynamic role as the aesthetic subject.&lt;br /&gt;
审美主体是指对审美客体进行审美欣赏活动的人;翻译审美主体指的是译者。在翻译中，译者扮演着双重角色。一方面，作为文本的接受者，他首先要对文本中的审美信息进行解码。在这个过程中，他的角色既有被动的，也有主观的。另一方面，他被认为是目标文本的创造者。因此，他承担着对目标文本读者进行审美再现的任务。因此，他应该发挥自己作为审美主体的能动作用。--[[User:Xiao yining|Xiao yining]] ([[User talk:Xiao yining|talk]]) 12:17, 21 October 2020 (UTC)Xiao Yining&lt;br /&gt;
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审美主体指的是审美活动的执行者；所以翻译审美主体就是译者。译者在翻译中有着双重角色。其一，作为原文文本的接收者，他首先需要解码原文中的审美信息。在这个过程中，他同时扮演主观和被动的角色。其二，人们认为他是目标文本的创作者。因此，他承担了为目标读者实现审美再现的任务。所以，作为审美主体，译者的角色是能动的。--[[User:Xu Mengdie|Xu Mengdie]] ([[User talk:Xu Mengdie|talk]]) 12:47, 21 October 2020 (UTC)Xu Mengdie&lt;br /&gt;
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==Xie Fan 解帆==&lt;br /&gt;
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There is a doubt that why Benjamin insists that the fruit of pure language is on the original work’s side, as we mentioned in the beginning that Benjamin want to realize the identity of language and spirit through exhausting all the referential modes of all languages, and making them melt with each other. Though translation is the living-on of original work which just like the baby from a mother, affiliated to the original. Why the final result will be on the original side still needs our attention. During the differánce of texts, original text can become the translation of former text while the translation can be the original text of later text, thus the chain of textual differánce are built.&lt;br /&gt;
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==Xie Ziyi 谢子熠==&lt;br /&gt;
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However, in Benjamin’s points, translation work is the afterlife of original work doesn’t mean it’s the end of original work’s life nor that translation work replaces the original one to be an independent organism. Benjamin stresses that continuity of life doesn’t pay much attention to the survival of organism, which means that translation is a medium that pushes the original’s life process, a medium that provides a chance for the continuity of original’s life instead of substitution. The mission of translation is to promote the original work’s linguistic life growing until it ripens and fruit the pure language.&lt;br /&gt;
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==Xu Jia 徐佳==&lt;br /&gt;
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The relationship of the two can only be understood in the whole purpose of realizing pure language. What Benjamin expects is through constant translation, we can make the referential modes of original work and translation work interflow until we exhaust all the referential modes to realize the final identity of language and spirit in entity. To the relationship of original work and translation work, Benjamin interprets from the perspective of organism and survival. &lt;br /&gt;
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==Xu Jing 许晶==&lt;br /&gt;
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Whereas, Benjamin stresses that translation is the continuity and supplement of original life but at the same time, he disapproves the independence of translation work as the effect of translation work is only to promote the growth of “pure language” existing in original work and translation itself contains no organism of pure language so translation work has not been equipped with translatability.&lt;br /&gt;
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==Xu Jing 许静==&lt;br /&gt;
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Except for paying attention to the elements of translation, translation aims to find out the ways to produce wonderful works and principles in assessing the quality of translation. Generally speaking, Translation Aesthetics does research on translation theory and practice from the perspective of aesthetics. Its major task is to analyze and elucidate the aesthetic principles, with which we can guide translation practices and assess the literary translation. Moreover, a satisfying version needs some other elements, such as the aesthetic experience of a translator, comprehension of source text, and evaluation and reproduction of beauty.&lt;br /&gt;
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翻译除了关注翻译要素外，还要弄清楚用什么方法可以创造出精彩的作品，有哪些原则可以用来评价翻译作品的质量。 一般来说，翻译美学是从美学的角度对翻译理论和实践进行研究的。 它的主要任务是分析和阐明美学原则，用这些原则来指导翻译实践，评价文学翻译。 此外，一个满意的翻译版本还需要一些其他要素，如译者的审美体验、对源文本的理解、对美的评价和再现等。--[[User:Xu Jing|Xu Jing]] ([[User talk:Xu Jing|talk]]) 09:44, 22 October 2020 (UTC)&lt;br /&gt;
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==Xu Mengdie 徐梦蝶==&lt;br /&gt;
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In aesthetics, aesthetic subject and aesthetic object are two concepts and two categories that cannot be separated. There is a dialectical relationship between them. Therefore, a qualified translator should possess the dual characters as the translation aesthetic subject: objectivity and subjectivity.&lt;br /&gt;
在美学中，审美主体和审美客体是两个不可分割的概念和范畴。两者之间存在一种辩证关系。因此，一名合格的译者应该具备翻译审美主体的双重特征：主观性和客观性。--[[User:Xu Mengdie|Xu Mengdie]] ([[User talk:Xu Mengdie|talk]]) 12:29, 21 October 2020 (UTC)Xu Mengdie&lt;br /&gt;
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在美学范畴中，审美主体和客体是两个不可分割的概念。主体和客体之间存在一种辩证关系。因此，一名合格的译者应具备翻译审美主体的双重特征：主观性和客观性。--[[User:Guo Lu|Guo Lu]] ([[User talk:Guo Lu|talk]]) 07:03, 22 October 2020 (UTC)&lt;br /&gt;
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==Xu Pengfei 许鹏飞==&lt;br /&gt;
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If there are no rhymes in the original, translators should not add rhymes. If there is no irony in the original, translator should not add irony. If there is no hyperbole, translator should not add hyperbole, and so on. On the other hand, it has flexibility for aesthetic subject. In some circumstances, we can’t find an appropriate word to translate which is in line with the ST. Under these circumstances, we should translate it in a flexible way.&lt;br /&gt;
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如果原文中没有押韵，译者不应自己添加；如果原文中没有讽刺，译者不应自己添加；如果原文中没有夸张，译者也不应自己添加，以此类推。另一方面，出于美学考虑翻译具有灵活性。在某些情况下，我们无法找到合适的与原文相符的词来翻译。在这些情况下，我们应当用灵活的方式来翻译。--[[User:Xu Pengfei|Xu Pengfei]] ([[User talk:Xu Pengfei|talk]]) 09:21, 21 October 2020 (UTC)Xu Pengfei&lt;br /&gt;
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如果原文中没有押韵，译者不应该添加押韵；如果原文中没有反语，译者不应该添加反语；如果原文中没有夸张，译者（也）不应该自行添加夸张，等等。另一方面，美学主体具有灵活性。在某些情况下，我们无法找到某个合适的与原文相符的词来翻译。在这些情况下，我们（就）应当用灵活的方式来翻译。&lt;br /&gt;
--[[User:Wensixing|Wensixing]] ([[User talk:Wensixing|talk]]) 07:40, 21 October 2020 (UTC)&lt;br /&gt;
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==Yang Chenting 杨晨婷==&lt;br /&gt;
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These beauty in various forms is called “aesthetic object”. Translation aesthetic object (TAO) is the source text (ST) which the translator is about to translate. But not every source text can be TAO. For example, if the source text is inconsistent, empty and has no value to translate, it cannot be translation aesthetic object. TAO possesses aesthetic values and is designed to satisfy human's aesthetic needs.&lt;br /&gt;
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不同形式的美都是“美学对象”。翻译美学对象（TAO）就是译者需要进行翻译的原文（ST）。但并不是所有的原文都是翻译审美对象。例如，如果原文自相矛盾，语言空洞，没有翻译的价值的话，它就不是一个翻译美学对象。翻译美学对象不仅需要具备美学价值，还需要迎合人类的美学需要。--[[User:Yang chenting|Yang chenting]] ([[User talk:Yang chenting|talk]]) 02:37, 23 October 2020 (UTC)Yang Chenting&lt;br /&gt;
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这些形式各异的美被称为“审美对象”。翻译审美对象（TAO）就是译者需要进行翻译的原文（ST）。但并不是所有的原文都是翻译审美对象。例如，如果原文自相矛盾，语言空洞，没有翻译的价值的话，它就不是一个翻译审美对象。翻译审美对象不仅需要具备美学价值，还需要旨在满足人类的审美需要。--[[User:Wu Kai|Wu Kai]] ([[User talk:Wu Kai|talk]]) 12:33, 23 October 2020 (UTC)&lt;br /&gt;
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==Yang Hairong 杨海容==&lt;br /&gt;
&lt;br /&gt;
'''2.1 Beauty in sound'''&lt;br /&gt;
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Sound is one of the fundamental forms which carries the aesthetic information of language, either in poetry, drama or fiction. Guided by the principle of preserving the beauty on the phonetic beauty as much as possible without hindering readers’ understanding, Gladys Yang not only reproduces the original rhyme but also tries to preserve the original sound effect of the onomatopoeias.&lt;br /&gt;
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2.1声美&lt;br /&gt;
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声音是承载诗歌，戏剧或小说中语言美感信息的基本形式之一。 在不妨碍读者理解的前提下，和尽可能在语音美中保留美的原则指导下，杨韵诗不仅再现了原韵，而且还试图保留拟声词的原声效果。--[[User:Yang Hairong|Yang Hairong]] ([[User talk:Yang Hairong|talk]]) 01:48, 22 October 2020 (UTC)&lt;br /&gt;
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在诗歌，戏剧或小说中，声音是承载着语言审美信息的基本形式之一。在不妨碍读者理解的前提下，格拉迪斯·杨（Gladys Yang）原则上尽可能保持语音的美感，不仅再现了原韵，而且还设法保留了拟声词的原声效果。--[[User:Yuan Yuchen|Yuan Yuchen]] ([[User talk:Yuan Yuchen|talk]]) 15:27, 22 October 2020 (UTC)&lt;br /&gt;
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无论是在诗歌、喜剧还是小说中，声音都是传递语言美的信息的基本形式之一。在遵循尽可能保留语音美且不影响读者理解原文的原则上，戴乃迭（Gladys Yang）不仅还原了原本的韵律，还设法保留了原稳重拟声词的声音效果。--[[User:WuQiong|WuQiong]] ([[User talk:WuQiong|talk]]) 01:55, 23 October 2020 (UTC)&lt;br /&gt;
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==Yang Hui 阳慧==&lt;br /&gt;
'''2.1.1 Rhyme'''&lt;br /&gt;
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Generally speaking, rhymes are applied into songs and poems. However, it doesn't mean there is no rhyme in fictions. Technical fiction writers also attempt to select word and phrase patterns so as to make their works imbued with a regular beat. In regard to fiction, rhyme refers to the general way in which a passage moves and flows. “Rhythm, the beauty in sound, often takes the form of wave movement in prose”[5].&lt;br /&gt;
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韵律&lt;br /&gt;
一般说来，韵脚被应用到歌曲和诗歌中。然而，这并不意味着小说中没有押韵。技术小说作家也试图选择词语和短语模式，以使他们的作品充满规律的节拍。在小说方面，韵脚指的是一篇文章移动和流动的一般方式。“节奏，声音中的美，常以散文中的波浪运动的形式” [5]--[[User:YangHui|YangHui]] ([[User talk:YangHui|talk]]) 11:57, 23 October 2020 (UTC)&lt;br /&gt;
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2.1.1 韵律&lt;br /&gt;
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一般来说，歌曲和诗歌中会有韵律。但这并不意味着小说中没有韵律。技法小说作家也试图选择词句模式，使作品充满规律的节拍。就小说而言，韵律指的是段落迁移和流动的一般方式。&amp;quot;节奏，是声音中的美，在散文中往往以波浪运动的形式出现&amp;quot;。--[[User:Tan Yuanyuan|Tan Yuanyuan]] ([[User talk:Tan Yuanyuan|talk]]) 02:49, 24 October 2020 (UTC)&lt;br /&gt;
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==Yang Yi 杨逸==&lt;br /&gt;
To be specific, rhyme is a linguistic phenomenon referring to the repetition of the same or similar syllable sounds. It is achieved by the means of repetition, phrase structure, sentence structure and pause. The function of rhyme is mainly of the aesthetic aspect and the semantic meaning. On the one hand, the use of rhyme adds musicality to the literary .On the other hand, it arouses the readers' resonance and satisfaction. Since the rhythmic features contribute greatly to the aesthetic flavor, translators should take them into consideration and try to present the rhyme in the source text.&lt;br /&gt;
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（中英举例不用翻译）&lt;br /&gt;
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Example 1: 无人过渡时，等着祖父又不来，便尽只反复温习这些女孩子的神气，且轻轻的无所谓的唱着：“白鸡关出老虎咬人，不咬别人，团总的小姐派第一……大姐戴副金簪子，二姐戴副银钏子，只有我三妹没得什么戴，耳朵上长年蜜条豆芽菜。”[6]&lt;br /&gt;
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Translation: When no one comes she waits for her grandfather, and when he fails to come she compares the looks of the girls and chants softly: The tiger eats the captain’s daughter first; Most girls have gold and silver for their hair; Poor Emerald is the one who comes off worst-No trinkets, nothing but beansprouts to wear![7]&lt;br /&gt;
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==Yang Yue 杨悦==&lt;br /&gt;
This folk song sings Cuicui’s heart at that moment. The density of the rhythm contributes a lot to the reflection of Cuicui’s mood. Owing to the poor condition in her family, she could only admire the landlord's daughter's dress and ornaments. The sound / i / and / ai / repeat five times and emerge in different positions of the original text.&lt;br /&gt;
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那时，这首民歌唱出了翠翠的心声。紧密的节奏有助于反映翠翠的情绪。由于家庭条件恶劣，她只能羡慕地主家女儿的衣服和饰品呢。/ i / and / ai / 音重复了五次，并出现在了原始文本的不同位置。--[[User:Yang Yue|Yang Yue]] ([[User talk:Yang Yue|talk]]) 02:30, 22 October 2020 (UTC)&lt;br /&gt;
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==Yang Ziling 杨子泠==&lt;br /&gt;
When singing, people should open and narrow their mouths forming a beautiful rhythmical meter. In Chinese the sound / i / vividly imitates the sound of weeping, and / ai / is like the sound of sighing. So the shift of the rhyme produces a sort of self-mockery effect to the audience, meanwhile arouses deep sympathy toward the pure girl in the readers’ heart.&lt;br /&gt;
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==Yao Cheng 姚诚==&lt;br /&gt;
'''2.1.2 Onomatopoeia'''&lt;br /&gt;
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Onomatopoeia means that an object or something is related to some actions which can be imitated by some vivid words. It is one of the rhetorical devices that are widely used in literary works, which makes great efforts to let speech sound vivid and lifelike. There are plenty of onomatopoeias in English and Chinese, though they have different expression forms, they are all used to imitate the sound. Onomatopoetic words can add interest to the work, which also can create aesthetic effect in literary works.&lt;br /&gt;
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'''2.1.2 拟声'''&lt;br /&gt;
拟声指与能用生动词语来模仿的动作相关的对象或物体。它是文学作品中广泛使用的修辞手段之一，通过不懈努力，让声音听起来生动逼真。 中英文中有许多拟声词，虽然表达形式不同，但都用来模仿声音。 拟声词可以增加作品的趣味性，也可以在文学作品中创造美学效果。--[[User:Yao Cheng|Yao Cheng]] ([[User talk:Yao Cheng|talk]]) 14:45, 21 October 2020 (UTC)&lt;br /&gt;
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拟声是指用一些生动的词汇来模仿某个对象或与动作相关的物体。拟声是在文学作品中广泛运用的修辞手法之一，尽其所能地让演讲听起来更加生动形象。在英语和中文中都有大量的拟声词，尽管它们的表达方式不同，但都用来模仿声音。拟声词能让作品更具趣味性，也可以在文学作品中创造美学效果。--[[User:WuQiong|WuQiong]] ([[User talk:WuQiong|talk]]) 02:06, 23 October 2020 (UTC)&lt;br /&gt;
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==Yao Jia 姚佳==&lt;br /&gt;
The onomatopoeias in ''The Border Town'' demonstrate readers with a lively picture and put them in the scene by themselves. Meanwhile, the use of the onomatopoeias also enhances the aesthetic effect of Shen’s literal expressions. It is fortunate that in many cases English and Chinese onomatopoeias can be inter-translated.&lt;br /&gt;
《边城》中的拟声词将栩栩如生的画面呈于读者眼前，而且能让读者置身其中。同时，拟声词的运用也增强了沈从文文字表达的审美效果。幸运的是，在很多情况下，英语和汉语的拟声词可以互译。--[[User:Yao Jia|Yao Jia]] ([[User talk:Yao Jia|talk]]) 13:45, 21 October 2020 (UTC)&lt;br /&gt;
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通过使用拟声词，《边城》将栩栩如生的画面呈现在读者眼前，让读者仿佛置身其中。同时，运用拟声词也增强了沈氏文学表达中的美学效果。英汉拟声词在很多情况下可以互译，这实属大幸。--[[User:Yao Cheng|Yao Cheng]] ([[User talk:Yao Cheng|talk]]) 14:54, 21 October 2020 (UTC)&lt;br /&gt;
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==Yi Huan 易欢==&lt;br /&gt;
However, sometimes it is impossible to achieve. So it is often hard for aesthetic subjects to render the onomatopoeias accurately and appropriately. In some translations, Gladys Yang has selected appropriate onomatopoeias of other appropriate words not only to imitate the sound but also to denote the original meanings. In the end, the description becomes more concrete and vivid, as it is showed in examples.&lt;br /&gt;
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'''（中英文举例不用翻译）'''&lt;br /&gt;
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Example 2: 那黄狗汪汪的吠着，受了惊似的绕屋乱走，有人过渡时，便随船渡过东岸且跑到那小山头向城里一方面大吠。[8]&lt;br /&gt;
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Translation: Barking wildly, he dashes round the house. Next time, passengers are ferried across he follows them up the east bank and races up the hill overlooking town, yapping frantically.[9]&lt;br /&gt;
然而，有时也很难实现拟声词的英汉互译。因此，对审美主体来说，将拟声词译得精准无误而又恰到好处，这是十分困难的。在戴乃迭的一些翻译中，他会在合适的词语中挑选出合适的拟声词，这不仅模仿了声音形象还传达了原意。最后，这段描写就会更加明确具体，栩栩如生。正如下面例子所示，--[[User:Yi Huan|Yi Huan]] ([[User talk:Yi Huan|talk]]) 09:35, 22 October 2020 (UTC)&lt;br /&gt;
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==Yi Zichu 义子楚==&lt;br /&gt;
'''（中英文举例不用翻译）'''&lt;br /&gt;
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Example 3: 黄狗为了表示同主人的意见一致，也在翠翠身边汪汪的吠着。[10]&lt;br /&gt;
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Translation: To show his agreement, Brownie sets up a furious barking.[11]&lt;br /&gt;
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In the two examples, there are three “吠”(fèi, meaning bark)，which is as a modifier of the verb “叫”. In the first translation, Gladys uses “barking wildly” to show the dog’s scare. And the second one is translated into “yapping frantically”, which shows that it’s on duty. And the third one is “furious barking” to show its anger. In Chinese, we can only use different adverbs to modify the same verb. However, the same character in Chinese is translated into three different expressions. In this way, the target readers can understand the original clearly.&lt;br /&gt;
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==You Yuting 游雨婷==&lt;br /&gt;
'''2.2 Beauty in lexis'''&lt;br /&gt;
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Beauty in lexis is associated with word choice, register, and collocation, and there are many rhetorical devices that contribute to the formal beauty on the lexical level, such as euphemism, zeugma, oxymoron, etc. Shen Congwen, with deep affection to his hometown, writes his fiction in a language as genuine and beautiful as the frontier folk songs in his hometown. His language, which has also enriched the modern vernacularism in China, is imbued with metaphors, local jokes and ballads.&lt;br /&gt;
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词汇美与词的选择、语域和搭配有关，词汇层面的形式美有许多修辞手段，如委婉表达、对格法、矛盾修饰法等。沈从文怀着对家乡的深厚感情，用家乡边塞民歌一样真挚美丽的语言，撰写了自己的小说。他的语言中充满了隐喻、地方笑话和民谣，也丰富了中国的现代白话文化。--[[User:You Yuting|You Yuting]] ([[User talk:You Yuting|talk]]) 01:35, 23 October 2020 (UTC)&lt;br /&gt;
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词汇美&lt;br /&gt;
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词美与词的选择、配位、搭配有关，在词汇层面上，委婉语、理喻、矛盾修辞等修辞手段对形式美有很大贡献。沈从文对家乡有着深厚的感情，他的小说创作语言真实而优美，就像他家乡的边民歌曲。他的语言，也丰富了中国的现代魔术，充满了隐喻，地方笑话和歌谣。--[[User:YangHui|YangHui]] ([[User talk:YangHui|talk]]) 12:00, 23 October 2020 (UTC)&lt;br /&gt;
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==Yu Ni 余妮==&lt;br /&gt;
As for the aesthetic representation on the lexical level, Yang’s English translation have done a satisfactory job in that she attempts to retain the aesthetic features of original lexis as much as possible, though when it comes to the lexis loaded with heavy cultural connotations, due to the cultural untranslatability, the translator has employed domestication to avoid misunderstanding.&lt;br /&gt;
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'''（中英文举例不用翻译）'''&lt;br /&gt;
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Example 4: 翠翠在风日里长着，故把皮肤变得黑黑的，触目为青山绿水，故眸子清明如水晶。自然既长养她且教育她，为人天真活泼，处处俨然如一只小怪兽。人又那么乖，如山头黄麂一样，从不想到残忍事情，从不发愁，从不动气。[12]&lt;br /&gt;
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Translation: Wind and sun have tanned this growing girl’s skin，her eyes rest on green hills are as clear as crystal. Nature is her mother and teacher, making her innocent, lively and untamed as some small wild creature. She has the gentleness of a fawn and seems not to know the meaning of cruelty, anxiety or anger.[13]&lt;br /&gt;
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==Yuan Shiqi 袁诗琦==&lt;br /&gt;
Shen Congwen's description of Cuicui is based on the perfect combination of a pure little girl and nature. Shen Congwen used “dark black” to describe the natural and healthy skin color of Cuicui. She described the clear and bright eyes of Cuicui as “as clear as crystal”. Only through the description of skin and eyes, the youthful image of Cuicui was vivid. In translation, like “small wild creature” and “fawn”, it shows the lively side of Cuicui.&lt;br /&gt;
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沈从文对翠翠的描写是基于单纯小女孩与自然的完美结合。沈从文用“黑”来形容翠翠自然健康的肤色。他形容翠翠清澈明亮的眼睛“像水晶一样清澈”。只有通过对皮肤和眼睛的描写，翠翠青春的形象才显得生动。在翻译中，“小野兽”和“小鹿”这样的词，展现了翠翠活泼的一面。--[[User:Yuan SHiqi|Yuan SHiqi]] ([[User talk:Yuan SHiqi|talk]]) 08:59, 21 October 2020 (UTC)&lt;br /&gt;
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沈从文对翠翠的描写是基于单纯小女孩与自然的完美结合。他用“黝黑”一词来形容翠翠自然健康的肤色，用“像水晶一样清澈”来形容翠翠清澈明亮的眼睛。也只有通过对皮肤和眼睛的描写，翠翠青春的形象才显得生动。在译本中，像“小野兽”和“小鹿”这样的表达也展现了翠翠活泼可爱的一面。--[[User:Zhou Yiwen|Zhou Yiwen]] ([[User talk:Zhou Yiwen|talk]]) 09:25, 21 October 2020 (UTC)&lt;br /&gt;
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==Yuan Tianyi 袁天翼==&lt;br /&gt;
Therefore, whether or not the aesthetic value of the source language image can be reproduced in the translation becomes the key to the reader's ability to understand Cuicui’s character. For example, “dark black” Gladys Yang uses “tanned” to indicate that her skin is a natural and healthy beauty after the sun has shined.&lt;br /&gt;
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因此，译文中源语言形象的美学价值是否能重现，成为了读者理解翠翠性格的关键。比如，格拉迪斯·杨（Gladys Yang）使用“晒黑的”（tanned）这个词来表示自己的皮肤经过阳光的照射以后产生了一种自然美与健康美。--[[User:Yuan Tianyi|Yuan Tianyi]] ([[User talk:Yuan Tianyi|talk]]) 09:57, 21 October 2020 (UTC)&lt;br /&gt;
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因此，原文中的美学价值能否在译文中再现成为了读者能否理解翠翠性格的关键。例如，格拉迪斯·杨（Gladys Yang）使用 “tanned”一词来表示“dark black&amp;quot;（晒黑的），以描述她的皮肤经过太阳照射后，是一种健康自然的美。--[[User:Yang chenting|Yang chenting]] ([[User talk:Yang chenting|talk]]) 02:42, 23 October 2020 (UTC)Yang Chenting&lt;br /&gt;
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==Yuan Yuchen 袁雨晨==&lt;br /&gt;
'''2.3 Beauty in form'''&lt;br /&gt;
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Like sound and lexis transmitting beauty, syntax and paragraphs also carry lots of aesthetic information. There are many differences existing in Chinese and English sentence structures. Chinese sentence is like a bamboo that all structures come out from the base, while English sentence is like a grape tree with branches from the stem and twigs from the branches and the clauses are strictly arranged by the grammatical rules.&lt;br /&gt;
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2.3形式美&lt;br /&gt;
就像传达美的声音和词语一样，句法和段落也携带着大量的审美信息。汉语和英语在句子结构上存在很大的差异。汉语句子就像竹子一样，所有结构是从地底冒出来。而英语句子就像一棵葡萄树，无论是从枝干到主干，还是从主干到枝干，从句严格按照语法规则整合而成。--[[User:Yuan Yuchen|Yuan Yuchen]] ([[User talk:Yuan Yuchen|talk]]) 15:25, 22 October 2020 (UTC)&lt;br /&gt;
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==Zeng Fangyuan 曾芳缘==&lt;br /&gt;
Sentences can express a comprehensive meaning and carries certain aesthetic information. The successful translation is always with a figure, and most works have their own way of using figures of speech to form their own characteristic style. Thus the beauty in form came into being.&lt;br /&gt;
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句子可以表达一个完整的意思，并带有一定的美学信息。成功的翻译常常具有一个轮廓，而且大多数作品都有各自运用修辞手法的方式，从而形成其独有的风格。因此，形式美变应运而生了。--[[User:Zeng Fangyuan|Zeng Fangyuan]] ([[User talk:Zeng Fangyuan|talk]]) 07:52, 21 October 2020 (UTC)&lt;br /&gt;
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句子可以表意完整，并带有一定的美学信息。成功的翻译通常会运用修辞，大多数作品都有自己适用的修辞手法，从而形成其独有风格。因此，形式美变应运而生。--[[User:Yao Jia|Yao Jia]] ([[User talk:Yao Jia|talk]]) 14:15, 21 October 2020 (UTC)&lt;br /&gt;
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==Zeng Liang 曾良==&lt;br /&gt;
Structural balance and harmony is one of the basic aesthetic principles, and it is obtained with the use of right rhetorical devices. Here the author chooses three typical rhetorical devices: antithesis, parallelism and repetition to express the beauty of sentences in translation. What’s more, the three rhetorical devices have been used in Shen’s ''The Border Town''.&lt;br /&gt;
&lt;br /&gt;
结构平衡与和谐是基本的美学原则之一，它是通过正确使用修辞手法而获得的。在此，作者选择三种典型的修辞手法：对比、排比和反复来表达翻译中的句子之美。此外，这三种修辞手法已经在沈从文的《边城》中得以使用。--[[User:Zeng Liang|Zeng Liang]] ([[User talk:Zeng Liang|talk]]) 02:58, 23 October 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
结构的平衡与和谐是美学的基本原则之一，它是通过正确的修辞手法来实现的。在翻译中，为了表达句子之美，作者选择了三种典型的修辞手法:对偶、排比和重复。此外，这三种修辞手法在《边城》中也有所运用。--[[User:Su Lin|Su Lin]] ([[User talk:Su Lin|talk]]) 07:45, 24 October 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
==Zeng Xinyuan 曾心媛==&lt;br /&gt;
'''2.3.1 Parallelism'''&lt;br /&gt;
&lt;br /&gt;
Parallelism is to use repetition in equivalent positions to enhance language expression and pay attention to emphasis, clarity and coherence of opinions. In parallel construction, it is necessary for writers to balance word with word, phrase with phrase, clause with clause, and sentence with sentence. At the same time, importance of grammar should be concerned to strengthen coherence of the sentence. In terms of the syntactic level, parallelism is a sprightly succinct rhetorical device.&lt;br /&gt;
&lt;br /&gt;
==Zeng Yanhu 曾雁湖==&lt;br /&gt;
The identical meaning, structure or tone appeals to the readers’ eyes and ears, and heightens the readers’ aesthetic experience. It is one of the valid ways to satisfy aesthetic demands of language: balance and concordance in structure, while rhythm and harmony in tonality. The aesthetic information in parallelism is largely showed in the reoccurrence of a specific pattern, which carries lots of aesthetic value to make the original more lively and impressive. So it is widely employed in literary works. There’s no exception in ''The'' ''Border Town''.&lt;br /&gt;
&lt;br /&gt;
==Zhang Hu 张虎==&lt;br /&gt;
'''（中英举例不用翻译）'''&lt;br /&gt;
&lt;br /&gt;
Look at the example:&lt;br /&gt;
&lt;br /&gt;
Example 5: 这事情在本地人并不希奇，边地俗语说：“火是各处可烧的，水是各处可流的，日月是各处可照的，爱情是可各处可到的。”[14]&lt;br /&gt;
&lt;br /&gt;
Translation: There is nothing strange in these parts, where folk have a saying, “There is no place on earth where fire cannot spread, water flow, sun and moon shine, or love make its way.”[15]&lt;br /&gt;
&lt;br /&gt;
In this example, the same concise and symmetric sentence structure reoccurred many times. The repetition “各处可”(meaning everywhere) produces rhythm, making the sentence read like a song. By comparing love to fire, water, the sun and the moon, it vividly depicts the honesty, and straightforwardness of the local people.&lt;br /&gt;
&lt;br /&gt;
==Zhang Hui 张慧==&lt;br /&gt;
In Gladys’ version, she transforms the original parallel structure into a simple sentence and an attributive clause. Concise as it is, it isn’t in line with the writer’s intention and obviously disobeys the style of the original. Although it has transmitted the meaning of the original sentences, it fails to render the aesthetic features of this local saying.&lt;br /&gt;
&lt;br /&gt;
在格莱迪斯的版本中，她将原来的并列结构转化为一个简单的句子和一个归属句。虽然简洁，但并不符合作者的意图，显然不符合原文的风格。虽然它传递了原句的意思，但却没有渲染出这个地方俗语的审美特征。--[[User:Zhang Hui|Zhang Hui]] ([[User talk:Zhang Hui|talk]]) 09:15, 21 October 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
在格莱迪斯的版本中，她将原来的并列结构转化为一个简单的句子和一个从属句。虽然简洁，但并不符合作者的意图，显然违背了原文的风格。虽然它传递了原句的意思，但却没有译出这个地方俗语的审美特征。--[[User:Zhao Xiaoyan|Zhao Xiaoyan]] ([[User talk:Zhao Xiaoyan|talk]]) 09:18, 21 October 2020 (UTC)&lt;br /&gt;
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在格莱迪斯的译文中，她将原文的平行结构转换成了一个简单句带从属句的句型结构。尽管译文读来较为简洁，但却不符合作者的意图，并且明显违背了原作的风格。虽然传递出了原文的含义，但却没有译出地方俗语的审美特征。--[[User:Zhou Yuanqu|Zhou Yuanqu]] ([[User talk:Zhou Yuanqu|talk]]) 09:35, 23 October 2020 (UTC)&lt;br /&gt;
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==Zhang Ling 张玲==&lt;br /&gt;
'''2.3.2 Antithesis'''&lt;br /&gt;
&lt;br /&gt;
Antithesis, a rhetoric technique with symmetric form and harmonious tonality, is designed to illustrate different things or aspects of the identical thing by comparison, and the symmetric components can replenish and contrast each other.&lt;br /&gt;
&lt;br /&gt;
2.3.2 对照&lt;br /&gt;
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对照一种形式对称、语调和谐的修辞手法，旨在通过比较来说明同一事物的不同之处或不同方面，对称的部分可以互相补充和对比。 --[[User:Zhang Ling|Zhang Ling]] ([[User talk:Zhang Ling|talk]]) 01:23, 24 October 2020 (UTC)&lt;br /&gt;
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==Zhang Peiwen 张佩闻==&lt;br /&gt;
'''（中英举例不用翻译）'''&lt;br /&gt;
&lt;br /&gt;
Look at the example below.&lt;br /&gt;
&lt;br /&gt;
Example 6: 轻轻的自言自语：“每只船要有个码头，每只雀儿得有个巢。”[16]&lt;br /&gt;
&lt;br /&gt;
Translation: “Boats have a wharf, birds have a nest.” he murmurs.[17]&lt;br /&gt;
&lt;br /&gt;
In this sentence, “船”(chuán, meaning boat) and “雀儿”(què ér, meaning bird), “码头”(mǎ tóu, meaning wharf ) and “巢”(cháo, meaning nest) in the Chineses version make an antithesis with each other, and it is well balanced in form. The writer expresses the grandpa’s care to Cuicui. Gladys’s version is structurally well-balanced. However, the utilization of the word “have” in English version fails to show the strong sense of belonging, reducing the aesthetic value of the original. If she use “need” to replace it, I think the aesthetic enjoyment could be realized better.&lt;br /&gt;
&lt;br /&gt;
请看下面的例子&lt;br /&gt;
例6: 轻轻的自言自语：“每只船要有个码头，每只雀儿得有个巢。”[16]&lt;br /&gt;
&lt;br /&gt;
Translation: “Boats have a wharf, birds have a nest.” he murmurs.[17]&lt;br /&gt;
在这个句子中，船”(chuán, meaning boat) and “雀儿”(què ér, meaning bird), “码头”(mǎ tóu, meaning wharf ) and “巢”(cháo, meaning nest) 这几个词都符合对偶的形式，在形式上也非常的平衡。作者用这样一句话体现了爷爷对翠翠的关心。格拉迪斯的版本在结构上很平衡。然而，“have”这个词，在英文中使用时更强调“占有，归属”，这会让句子失去原有的美感。如果作者用“need”一词来代替“have”，橘子便会更赋有美感。--[[User:Zhang Peiwen|Zhang Peiwen]] ([[User talk:Zhang Peiwen|talk]]) 11:34, 23 October 2020 (UTC)&lt;br /&gt;
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==Zhang Qi 张琪==&lt;br /&gt;
'''2.3.3 Repetition'''&lt;br /&gt;
&lt;br /&gt;
From the word of repetition, we know that the same word can be used several times in one sentence. The main function of this rhetoric is to emphasize some things or information. It may help to produce strong aesthetic effect. In The Border Town, Shen Congwen employs repetition deliberately to achieve his purpose of emotive intensification. The intensive repetition can be used as a powerful thematic device.&lt;br /&gt;
&lt;br /&gt;
==Zhang Weihong 张维虹==&lt;br /&gt;
'''（中英举例不用翻译）'''&lt;br /&gt;
&lt;br /&gt;
Here is an example:&lt;br /&gt;
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Example 7: 老船夫说：“翠翠我看了个好碾坊，碾盘是新的，水车是新的，屋上稻草也是新的！”[18]&lt;br /&gt;
&lt;br /&gt;
Translation: “Emerald,” he tells her, “I've just seen a fine mill. Brand-new from the millstone and water-wheel to the thatch on the roof.”[19]&lt;br /&gt;
&lt;br /&gt;
This sentence vividly reproduces grandfather's psychological state after he has visited the new mill. The repetition of “是新的”(meaning new) for three times echoes each other to highlight how the mill knocks the breath out of grandpa, and strengthen his envy and longing for the mill. Gladys translates it into “Brand-new from... to...”&lt;br /&gt;
&lt;br /&gt;
这句话生动地再现了爷爷参观完新磨坊后的心理状态。“是新的”三次重复，相互呼应，凸显爷爷看到磨坊后的惊讶，强调其对磨坊的羡慕与憧憬。格拉迪斯（Gladys）将其译成“全新的”。&lt;br /&gt;
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==Zhang Xueyi 张雪仪==&lt;br /&gt;
Though it fails to keep the symmetric form of the original, it still succeeds in recreating the particular aesthetic effect of the original text. The inverted sentence pattern, the shifted perspective and the emphatic words make up for the loss of the repetition to great extent. Meanwhile, the concise and paralleled sentence structure represents the aesthetic information of the original more appropriately.&lt;br /&gt;
&lt;br /&gt;
==Zhang Yinliu 张银柳==&lt;br /&gt;
'''2.4 Beauty in image'''&lt;br /&gt;
&lt;br /&gt;
Image in the literary text refers to the output of the subjective intrinsic emotion of the author and the extrinsic objective substances or the incarnation of emotion produced out of language narration. It is the unity of finity and infinity, the unity of the latent and the outstanding.&lt;br /&gt;
&lt;br /&gt;
2.4 意象美&lt;br /&gt;
&lt;br /&gt;
文学文本中的意象是指作者的主观内在情感和外在客观物质的输出，或者是由语言叙述产生的情感的化身。 它是无限与无限的统一，潜伏与卓越的统一。--[[User:Zhang Yinliu|Zhang Yinliu]] ([[User talk:Zhang Yinliu|talk]]) 16:17, 23 October 2020 (UTC)&lt;br /&gt;
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==Zhang Yu 张瑜==&lt;br /&gt;
'''（中英举例不用翻译）'''&lt;br /&gt;
&lt;br /&gt;
Example 8: 翠翠温习着两次过节所见所闻的一切，心中很快乐，好像目前有一个东西，同早间在床上闭了眼睛所看到的那种捉摸不定的黄葵花一样，这东西仿佛明朗地在眼前，却看不准，抓不住。[20]&lt;br /&gt;
&lt;br /&gt;
Translation: Going over two festivals in her mind, happily savoring what she had seen and heard, Emerald has the same sensation as when she closed her eyes in bed in the morning and sees yellow sunflowers just out of reach. Something exciting lies ahead as yet indistinct and intangible, but too lovely to let go.[21]&lt;br /&gt;
&lt;br /&gt;
This sentence is a psychological description of Cuicui. She recalled the days of last two Dragon Boat Festivals when she encountered Nuosong. Her heart was filled with unnamable expectation. She wished to see Nuosong again.&lt;br /&gt;
&lt;br /&gt;
这句话是翠翠的心理描写。当她遇到傩送时，她回忆起前两次端午节。她的心充满不可名状的期待。她希望能再次遇到傩送。--[[User:Zhang Yu|Zhang Yu]] ([[User talk:Zhang Yu|talk]]) 13:25, 21 October 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
这句话是对翠翠的心理描述。她回忆起前两次端午遇到傩送的日子。她的心里充满了难以形容的期待。她希望能再见到诺宋。--[[User:You Yuting|You Yuting]] ([[User talk:You Yuting|talk]]) 01:53, 23 October 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
这句话是对翠翠的心理描写。当她回忆起前两次端午节遇到傩送的情景时，心里满是莫名的期待。她多希望能再次见到傩送啊。--[[User:Zhang Yujie|Zhang Yujie]] ([[User talk:Zhang Yujie|talk]]) 03:12, 24 October 2020 (UTC)&lt;br /&gt;
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==Zhang Yujie 张毓婕==&lt;br /&gt;
The above sentence describes the sprout of love in Cuicui’s heart which is implicit but brings her sweetness and dream.&lt;br /&gt;
&lt;br /&gt;
这句话描绘了翠翠心中爱意的萌发，这种爱虽含蓄，却能给她带来甜蜜和希望。--[[User:Zhang Yujie|Zhang Yujie]] ([[User talk:Zhang Yujie|talk]]) 03:00, 24 October 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
这句话描述了翠翠心中爱情的萌芽，这萌芽虽然含蓄，却给她带来了甜蜜和憧憬。--[[User:Zheng Huajun|Zheng Huajun]] ([[User talk:Zheng Huajun|talk]]) 08:05, 24 October 2020 (UTC)&lt;br /&gt;
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==Zhang Yuxing 张宇星==&lt;br /&gt;
The image “黄葵花”(huáng kuí huā, meaning yellow sunflower) symbolizes that the love has planted its seed in Cuicui’s heart, and is in full blossoms which brings Cuicui happiness and which she would like to pluck. In the translated versions, Yang makes uses of literal translation by preserving the image of “黄葵花”and puts it into “yellow sunflower”.&lt;br /&gt;
&lt;br /&gt;
==Zhao Xi 赵茜==&lt;br /&gt;
With the help of the context, it is easy for the target readers to understand the image of “yellow sunflower” and acquire the implicit aesthetic value in it in Yang’s version.&lt;br /&gt;
&lt;br /&gt;
在语境的帮助下，译文读者理解“黄葵花”的意境以及获取杨的译文中其暗含的审美价值是轻而易举的。--[[User:Zhao Xi|Zhao Xi]] ([[User talk:Zhao Xi|talk]]) 05:43, 21 October 2020 (UTC)&lt;br /&gt;
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在语境的帮助下，目标读者易于理解“黄葵花”的形象，并获取杨译文中隐含的审美价值。--[[User:Yuan SHiqi|Yuan SHiqi]] ([[User talk:Yuan SHiqi|talk]]) 09:08, 21 October 2020 (UTC)&lt;br /&gt;
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在语境的帮助下，译文读者很容易理解杨的译本中的“黄葵花”形象，并获得其中隐含的审美价值。 --[[User:Zhu Suyao|Zhu Suyao]] ([[User talk:Zhu Suyao|talk]]) 06:02, 23 October 2020 (UTC)&lt;br /&gt;
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==Zhao Xiaoyan 赵晓燕==&lt;br /&gt;
It depicts the hope and happiness in Cuicui’s heart and brings the same enjoyment to target readers as it does to the source readers.&lt;br /&gt;
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这描述了翠翠内心的希望和幸福，也给目标语读者带来和源语读者相同的感受。--[[User:Zhao Xiaoyan|Zhao Xiaoyan]] ([[User talk:Zhao Xiaoyan|talk]]) 09:12, 21 October 2020 (UTC)&lt;br /&gt;
这描写了翠翠心中的希望和幸福，给目标读者带来和源语读者相同的感受。--[[User:Zhang Hui|Zhang Hui]] ([[User talk:Zhang Hui|talk]]) 09:17, 21 October 2020 (UTC)&lt;br /&gt;
这体现出了翠翠内心的期望和喜悦，同时也让目标语读者与源语读者有相同的感受。--[[User:Zhang Peiwen|Zhang Peiwen]] ([[User talk:Zhang Peiwen|talk]]) 11:38, 23 October 2020 (UTC)&lt;br /&gt;
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==Zheng Huajun 郑华君==&lt;br /&gt;
'''2.5 Beauty in ideorealm'''&lt;br /&gt;
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Artistic ideorealm is defined as an artistic realm in lyric poetry and other literary works, which is an integration of subjective emotion and objective images and feelings.&lt;br /&gt;
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2.5意境美&lt;br /&gt;
意境是指抒情诗和其他文学作品中主观情感和客观形象、情感结合的一种艺术境界。--[[User:Zheng Huajun|Zheng Huajun]] ([[User talk:Zheng Huajun|talk]]) 08:01, 24 October 2020 (UTC)&lt;br /&gt;
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==Zhou Luoping 周罗平==&lt;br /&gt;
It is characterized as beautiful and implicit as a traditional Chinese painting, which can evoke readers’ association and imagination, and surpasses the concrete vision and ascends an extensive artistic space.&lt;br /&gt;
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==Zhou Shiqing 周诗卿==&lt;br /&gt;
'''（中英举例不用翻译）'''&lt;br /&gt;
&lt;br /&gt;
Example 9: 由四川过湖南去，靠东有一条官路。这官路将近湘西边境到了一个地方名为‘茶峒’的小山城时，有一小溪，溪边有座白色小塔，塔下住了一户单独的人家。这人家只一个老人，一个女孩子，一只黄狗。[22]&lt;br /&gt;
&lt;br /&gt;
Translation: The highway running east from Sichuan to Hunan comes, just west of the border, to Chadong, a small town in the hills. Nearby a stream flows past a small pagoda, at the foot of which lives a solitary household: an old man, a girl, and a dog.[23]&lt;br /&gt;
&lt;br /&gt;
This is the first paragraph of the novel. Like telling a story, it is slow and plain. From what Shen Congwen has described, we can see that he has a special writing style which expresses the beauty of nature.&lt;br /&gt;
这是小说的第一段。像讲故事一样，娓娓道来、平铺直叙。根据沈从文的描述，我们发现他对于表现自然之美有着独特的写作风格。--[[User:Zhou Shiqing|Zhou Shiqing]] ([[User talk:Zhou Shiqing|talk]]) 15:23, 21 October 2020 (UTC)Zhou Shiqing 周诗卿&lt;br /&gt;
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==Zhou Shuyao 周书尧==&lt;br /&gt;
Here, the writer uses seven “一”(yī, meaning one) in all, and every one describes different images. What’s more, “一”represents Shen’s melancholy aesthetic sentiment and creation view.&lt;br /&gt;
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==Zhou Siqing 周思庆==&lt;br /&gt;
Shen uses the rhetorical device of anadiplosis which means repeating the ending words of the precedent sentence in the following sentence. This kind of discourse progression mode is not only good for the coherence of narrative and understanding of discourse but also full of interest.&lt;br /&gt;
深使用顶针的修辞手法，这种修辞指的是在下一句中重复上一句的尾字。这种语篇推进的模式不仅有利于叙述的连贯和语篇的理解，而且富有趣味。--[[User:Zhou Siqing|Zhou Siqing]] ([[User talk:Zhou Siqing|talk]]) 02:05, 21 October 2020 (UTC)&lt;br /&gt;
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沈使用顶针的修辞手法，顶针是指在下一句中重复上一句的尾词。这种语篇推进模式不仅对叙述的连贯性和语篇的理解有益，而且趣味盎然。--[[User:Zhao Xi|Zhao Xi]] ([[User talk:Zhao Xi|talk]]) 05:17, 21 October 2020 (UTC)&lt;br /&gt;
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==Zhou Yiwen 周艺文==&lt;br /&gt;
Gladys thoroughly adverts to the aesthetic connotation and narrative techniques contain in “一” of the original text and strive for “formal similarity” and “spiritual similarity”. In sentence structure, Gladys retains the anadiplosis rhetorical device like “一”.&lt;br /&gt;
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&lt;br /&gt;
格拉迪斯特别注重审美内涵和叙事技巧在原文中包含于一，努力达到“形似”和“神似”。在句子结构上，格拉迪斯也保留了顶真修辞手法。--[[User:Zhou Yiwen|Zhou Yiwen]] ([[User talk:Zhou Yiwen|talk]]) 08:52, 21 October 2020 (UTC)&lt;br /&gt;
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格拉迪斯特别注重原文“一”所蕴含的美学内涵和叙事技巧，力求达到“形似”和“神似”。在句子结构上，格拉迪斯保留了“一”这样的顶真修辞手法。--[[User:Zhu Xu|Zhu Xu]] ([[User talk:Zhu Xu|talk]]) 08:49, 22 October 2020 (UTC)&lt;br /&gt;
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==Zhou Yuanqu 周园曲==&lt;br /&gt;
More importantly, the static beauty of the original text has been changed into dynamic beauty by the recreation of the translator. To sum up, the whole translation is simple and fluent which correspond to the intangible and solitary artistic conception in the original text.&lt;br /&gt;
&lt;br /&gt;
更值得一提的是，通过译者的再创造，原文的静态美被转换成了动态美。总的说来，整段译文简洁而又流畅，没有破坏原文孤独朦胧的意境。--[[User:Zhou Yuanqu|Zhou Yuanqu]] ([[User talk:Zhou Yuanqu|talk]]) 09:36, 23 October 2020 (UTC)&lt;br /&gt;
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更重要的是，经过译者的再创造，原文的静态美变成了动态美。总的来说，整个译文简洁流畅，与原文中无形而孤独的意境相对应。  --[[User:Zhang Ling|Zhang Ling]] ([[User talk:Zhang Ling|talk]]) 01:30, 24 October 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
==Zhou Yujuan 周玉娟==&lt;br /&gt;
'''（中英举例不用翻译）'''&lt;br /&gt;
&lt;br /&gt;
Example 10: 那首歌声音既极柔和，快乐中又微带忧郁，唱完了歌，翠翠觉得心上有一丝儿凄凉。她想起秋末酬神还愿时田坪中的火燎同鼓角。远处鼓声已起来了，她知道绘有朱红长线的龙船这时节已下河了。细雨依然落个不止，溪面一片烟.[24]&lt;br /&gt;
&lt;br /&gt;
Translation: This gay, haunting melody has an undertone of sadness, making Emerald feel a pang of loneliness. Her thoughts fly to the bonfires and drumming in the fields to welcome the spirits at the end of autumn. Meanwhile drums sound up in the distance. The long crimson dragon boats will soon be staring their race. A light rain falls steadily, the stream is misted over.[25]&lt;br /&gt;
&lt;br /&gt;
In this example, Gladys’ translation almost reaches the realm of “spirit likeness”. In the wording, she not only carefully uses some expressive words but blends her own aesthetic attitude and aesthetic ideas into translation. Cuicui has stirred her love since she met Nousong two years ago on Dragon Boat Festival.&lt;br /&gt;
&lt;br /&gt;
==Zhu Meimei 祝美梅==&lt;br /&gt;
Henceforth, she has a load in her mind, which is nothing to do with her grandfather. Dragon Boat Festival comes again, and Cuicui sits alone on the ferryboat, waiting for her grandfather. Then she go to see the dragon boat race together with him in town, where she may meet Nuosong again.&lt;br /&gt;
&lt;br /&gt;
因此，她便有了一桩心事，这件事不关祖父。龙舟节再次到了，翠翠一人坐在渡船上，等着祖父。然后他们一起进城去看龙舟比赛，在那里她可能再次碰到挪送。--[[User:Zhumeimei|Zhumeimei]] ([[User talk:Zhumeimei|talk]]) 02:09, 24 October 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
==Zhu Suyao 朱素瑶==&lt;br /&gt;
The example above come about after Cuicui chanted a folk song on the ferryboat. The lonely and gloomy scenic description to some degree symbolizes that Cuicui’s love will end in tragedy. The repetition, though merely a few characters, forms an echo which achieves the artistic effect of inexhaustible sadness and sympathy of the readers toward Cuicui.&lt;br /&gt;
&lt;br /&gt;
上述例子中的事情发生在翠翠在渡船上吟唱起了民谣之后。这冷清孤寂的景象描写在一定程度上象征了翠翠的爱情将以悲剧结尾。尽管只有寥寥几个字，而其重复引起的共鸣就实现了艺术效果，引发了读者对翠翠无尽的悲伤与同情。--[[User:Zhu Suyao|Zhu Suyao]] ([[User talk:Zhu Suyao|talk]]) 01:48, 23 October 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
上述例子发生于翠翠在渡筏上吟唱民谣之后。这孤寂阴郁的景象描写在一定程度上象征了翠翠的爱情将以悲剧结尾。尽管寥寥数语，但这重复引起了共鸣，实现了读者对翠翠无尽悲伤与同情的艺术效果。--[[User:Zeng Liang|Zeng Liang]] ([[User talk:Zeng Liang|talk]]) 03:20, 23 October 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
==Zhu Xu 朱旭==&lt;br /&gt;
'''3  Conclusion'''&lt;br /&gt;
&lt;br /&gt;
After the research and analysis, the author has found that Translation Aesthetics can be regarded as a criteria to evaluate literary works. The unique aesthetic characteristics in literature indicate that Translation Aesthetics is an effective and practical theory to analyze literature translation. A good literary translation should fully express the literary features and artistic connotations of literary works, embody the aesthetic value of the works, and make the readers realize the infinite charm of oriental art and the great vitality of literary works.&lt;br /&gt;
&lt;br /&gt;
==Zou Xinyu 邹鑫雨==&lt;br /&gt;
On the one hand, it is necessary to reproduce the linguistic features of literary works in a proper and flexible way. On the other hand, it is necessary to take into account the cognitive level and understanding ability of readers in different countries, so as to maximize the aesthetic charm of literary works.&lt;br /&gt;
&lt;br /&gt;
一来，要用恰到好处，灵活应变的方式再现文学作品的语言特点。再者，要考虑到不同国家读者的认知水平和理解能力，使文学作品的美学魅力发挥到极致。--[[User:Zou Xinyu2|Zou Xinyu2]] ([[User talk:Zou Xinyu2|talk]]) 09:47, 23 October 2020 (UTC)Zou Xinyu&lt;br /&gt;
&lt;br /&gt;
一方面，有必要用恰到好处，灵活应变的方式再现文学作品的语言特征。 另一方面，有必要考虑不同国家读者的认知水平和理解能力，使文学作品的美学魅力发挥到极致。--[[User:Zhang Yinliu|Zhang Yinliu]] ([[User talk:Zhang Yinliu|talk]]) 16:21, 23 October 2020 (UTC)&lt;/div&gt;</summary>
		<author><name>Song Jianru</name></author>
	</entry>
	<entry>
		<id>https://bou.de/u/index.php?title=20201019_trans&amp;diff=101582</id>
		<title>20201019 trans</title>
		<link rel="alternate" type="text/html" href="https://bou.de/u/index.php?title=20201019_trans&amp;diff=101582"/>
		<updated>2020-10-24T08:15:38Z</updated>

		<summary type="html">&lt;p&gt;Song Jianru: /* Song Jianru 宋建茹 */&lt;/p&gt;
&lt;hr /&gt;
&lt;div&gt;==Cao Runxin 曹润鑫==&lt;br /&gt;
Acknowledgement&lt;br /&gt;
&lt;br /&gt;
I am indebted to the more than 300 students of the Master Course &amp;quot;Introduction to Translation Studies&amp;quot; conducted in the two fall terms 2019/2020 and 2020/2021 at Hunan Normal University, Foreign Studies College. They have enriched this monograph with their ideas, their creativity and the top students even have contributed short passages to this book on single aspects. They have also helped to arrange that the monograph could appear in different languages simultaneously.&lt;br /&gt;
The Foreign Studies College is one of the top places of Translation and Interpreting Studies in China.&lt;br /&gt;
&lt;br /&gt;
致谢&lt;br /&gt;
&lt;br /&gt;
我衷心感谢在湖南师范大学外国语学院两个秋季学期（2019/2020和2020/2021）开设的“翻译学概论”硕士学位课程的300多名学生。他们用自己的想法和创造力丰富了这本专著的内容，尖子生们甚至还为书中的章节撰写了简短的文章。这些学生还负责将这本专著翻译成不同的语言。湖南师范大学外国语学院在中国翻译与口译研究的顶尖领域具有一席之地。--[[User:Cao Runxin|Cao Runxin]] ([[User talk:Cao Runxin|talk]]) 03:40, 24 October 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
==Chang Huiyue 常慧月==&lt;br /&gt;
Foreword&lt;br /&gt;
&lt;br /&gt;
Interpretation theories and interpretation studies are as old as human languages, since interpretation practise is not just necessary between full fledged languages, but is practised as soon as two different individuals meet, like a grandmother and her grandchild. The first lay interpreters naturally reflected on their interpreting work and this was the start of theories and studies. As soon as written language was invented, critical reflection also started and with it translation theories and translation studies.&lt;br /&gt;
==Chen Han 陈涵==&lt;br /&gt;
The first thoughts about transponing the meaning of one language into a similar one of another language were prescriptive with precepts and principles, sometimes exaggerated into dogma and people not adhering to them being tortured or murdered.&lt;br /&gt;
&lt;br /&gt;
In the 1960s, the translation studies started to become aware of itself as an academic discipline.&lt;br /&gt;
==Chen Hui 陈惠==&lt;br /&gt;
'''I. Introduction'''&lt;br /&gt;
&lt;br /&gt;
Translating sets forth on its journey a long time ago. It has been over 2200 years since Livius Andronicus translated Homer’s Odyssey from Greek into Latin around 250 BC, which is the earliest activity of translating from recorded history. Throughout history, translation is not only involved in politics,culture, religion, language and so forth, but also keeps changing as times and social conditions roll on. On grounds of the changes of targets and contents of translation history, considering the specific periods of people’s apprehension of translation and the roles translation plays in society of different times, researchers divided the history of western translation into 3 parts, translation of religious materials, translation of literary classics and translation of non-literary materials. &lt;br /&gt;
==Chen Jiangning 陈江宁==&lt;br /&gt;
The division of western translation history varies from person to person in circles of translation. Generally speaking, from about 250 BC when people translated ''Septuagint'' into Greek to the 16th century when the translation of the Bible prevailed,  it is the historical period of translating religious materials, followed by period of translation of literature mainly from literary classics and great works of social sciences.(Wu &amp;amp; Shu 2011:76) After the Second World War, however, translation of non-literary and practical materials began to exert influence as a major force.在翻译界，人们对西方翻译史的划分各不相同。一般来说，从大约公元前250年，人们把《圣经旧约》翻译成希腊语，到十六世纪圣经翻译的盛行，这一时期是宗教素材翻译的历史时期，紧随其后的是文学翻译时期，主要以文学经典著作以及社会科学巨著为主。（吴&amp;amp;纾 2011:76）但是，第二次世界大战以后，非文学翻译和实用材料的翻译开始发挥主要作用。--[[User:Chen Jiangning|Chen Jiangning]] ([[User talk:Chen Jiangning|talk]]) 01:48, 24 October 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
西方翻译史的划分在翻译界因人而异。一般来说，从公元前250年左右，人们把《圣经旧约》翻译成希腊语，到16世纪圣经翻译开始盛行。这一时期是宗教素材翻译的历史性时期，其次是主要以文学经典和社会科学巨著为素材的翻译时期。(吴淑仪，2011：76)第二次世界大战后，非文学材料和实用材料的翻译开始作为主力产生影响。--[[User:Liubo|Liubo]] ([[User talk:Liubo|talk]]) 07:43, 24 October 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
==Chen Jiaxin 陈佳欣==&lt;br /&gt;
In the west, studies on translation practices and theories have walked through the recorded history of over two thousand years, which is very close to the one in China. Nevertheless, China had made little progress with translation studies because of closed-door policy. Before years around 1980s, the systematic study on theories of western translation had been left incomplete in China, where few books and papers related were published. And even in the western countries, there existed similar situations. However, studies on theories of western translation has made appreciable development since 1980s, especially the books on history of western translation theory written by Rener, Robinson, etc.&lt;br /&gt;
&amp;lt;nowiki&amp;gt;&amp;lt;/nowiki&amp;gt;==Chen Jingjing 陈静静==&lt;br /&gt;
These books and materials are indisputably of great value for us to take a closer look at theories of western translation, yet it is very hard for people of Chinese cultures to search, unearth and analyse the history of translation theories in the backgrounds of western cultures. As Tan Zaixi put it in his book ''The Brief History of Western Translation'', “From ancient times, translation in the west has been proceeding for over two thousand years, along with extraordinary translators and divergent theories, which can not be expound within twenty or thirty thousand words.”(Tan 1991:1) And for translation studies as a independent discipline, it is a very meaningful job to study translation and its theories from all over the world, which includes the western translation theories.&lt;br /&gt;
&lt;br /&gt;
在我对西方翻译理论进行更为深入的了解过程中，这些书和材料无疑有着极大的价值，然而对于中国文化背景的人来说，在西方文化背景下查找，挖掘以及分析翻译理论发展历史是非常不容易的。正如谭载喜在《西方翻译简史》中所提到的那样：“从古至今，西方翻译和杰出翻译家及不同翻译理论已经经历了2000多年的历史，仅用2万或是3万字是阐述不清楚的。”（谭 1991:1）翻译学作为一门独立学科对于研究翻译和世界各国翻译理论（包括西方翻译理论）是极具意义的。--[[User:Chen Jingjing|Chen Jingjing]] ([[User talk:Chen Jingjing|talk]]) 06:40, 23 October 2020 (UTC)Chen Jingjing&lt;br /&gt;
这些书籍和资料无疑对我们深入研究西方翻译理论具有重要价值，但对于中国文化界人士来说，在西方文化背景下对翻译理论的历史进行探索、发掘和分析是非常困难的。正如谭载喜在其《西方翻译简史》中所写：“西方翻译从古至今已有两千多年的历史，有着杰出的译者和不同的理论，这不是两三万字就能解释清楚的。”(谭1991:1)翻译研究作为一门独立的学科，研究包括西方翻译理论在内的世界各国的翻译及其理论，是一项非常有意义的工作。--[[User:Chen Sha|Chen Sha]] ([[User talk:Chen Sha|talk]]) 01:53, 24 October 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
==Chen Sha 陈莎==&lt;br /&gt;
Accordingly, while studying the history of western translation theories, we must understand the necessity of describing the development of western translation theories in a proper way and figure out how they are classified, especially for theories of modern and contemporary times. Based on the fundamental way of studying translation or ideologies of various schools, now people would usually divide translation studies into literary school, linguistic school and cultural school.&lt;br /&gt;
&lt;br /&gt;
因此，在研究西方翻译理论的历史时，我们必须认识到正确描述西方翻译理论发展及明确其分类的必要性，尤其是近现代的翻译理论。基于研究翻译或各流派的意识形态的基本方式，现在人们通常会将翻译研究分为文学学派、语言学派和文化学派。--[[User:Chen Sha|Chen Sha]] ([[User talk:Chen Sha|talk]]) 01:32, 24 October 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
因此，我们在研究西方翻译理论发展史时，必须明白合理描述西方翻译理论发展并弄清其分类（尤其是现代西方翻译理论和当代西方翻译理论）的必要性。基于翻译学研究的基本方法和各大学派的意识形态，当今的翻译学研究可分为文学学派、语言学学派和文化学派。--[[User:Chen Sunfu|Chen Sunfu]] ([[User talk:Chen Sunfu|talk]]) 02:13, 24 October 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
因此，在研究西方翻译理论发展史的时候，我们必须深谙，用合理方式描述西方翻译理论的发展，弄清楚如何将翻译理论分类，是非常必要的。在研究现代和当代翻译理论的时候，更需要如此。基于各流派研究翻译或者意识形态的基本方式，人们现在通常把翻译研究分为文学学派、语言学派和文化学派。--[[User:Yuan Tianyi|Yuan Tianyi]] ([[User talk:Yuan Tianyi|talk]]) 02:27, 24 October 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
==Chen Sunfu 谌孙福==&lt;br /&gt;
The literary school includes the traditional philological approach and the hermernutic approach; the linguistic school consists of the equivalence approach, the functional approach and the cognitive approach; the cultural school covers translation studies approach, deconstruction approach, feminism approach, post-colonial approach and the integrated approach, of which translation studies approach can be further divided into polysystem theory, the norm theory and the manipulation theory. By contributing new thoughts to this discussion, the study aims to reach more consensus among translation studies scholars in this aspect.&lt;br /&gt;
&lt;br /&gt;
文学学派包括传统的语文学方法和解释学方法；语言学学派包括对等法、功能法和认知学方法；文化学派涵盖翻译学研究方法、解构法、女性主义方法、后殖民主义方法和合成法。其中翻译学研究方法又可再分为多元系统理论、标准理论和控制理论。上述理论为本研究提供了很多新理念。故本研究旨在让翻译学研究者在这一方面达成更多共识。--[[User:Chen Sunfu|Chen Sunfu]] ([[User talk:Chen Sunfu|talk]]) 02:05, 24 October 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
==Chen Yongxiang 陈永相==&lt;br /&gt;
'''II. School Classification''' &lt;br /&gt;
&lt;br /&gt;
Beyond dispute, it’s practicable that people describe the history of western translation theories by dividing them into different schools in light of theories and ideologies of translation studies. With the modernization and integration of economy in western society, western translation theories also begin to get over the hurdles in the way of mutual development and blur the distinction among nationalities, which makes it harder to owe some ideology or theory of translation to a certain country or area. For instance, Gideon Toury was famous in the west but lived in Israel.&lt;br /&gt;
==Cheng Yusi  成于思==&lt;br /&gt;
In contrast, when some ideology or theory is proposed by someone in some place, it can probably be responded to or supported by scholars from all corners of the world. They hold it up totally out of agreement with the points someone makes, not necessarily where the points come from. Another example, Eugene A. Nida, who put forward the idea of “functional equivalence”, is American, but Kade, who is his supporter, comes from German. Therefore, it might be easier to understand the present situation and trends of western translation theories from levels of translation schools and ideologies, especially for theories of contemporary and modern times.&lt;br /&gt;
==Deng Jinxia 邓锦霞==&lt;br /&gt;
As one would expect, it is just one of the methods to classify western translation theories on the basis of translation schools or ideologies. From a perspective of historical development, it would be a more traditional way to classify western translation theories by times and nations. This diachronic way of studying it helps to organize the historical materials clearly and make profitable comparisons among traditions and characteristics of translation theories among western countries and regions, which enables people to understand the distribution and trends of western translation theories with an open mind. On the other hand, the diachronic way also describes the divergence and amalgamation of western translation theories.&lt;br /&gt;
&lt;br /&gt;
正如人们所期望的那样，它只是根据翻译学派或意识形态对西方翻译理论进行分类的方法之一。 从历史发展的角度来看，将西方翻译理论按时间和国家分类是一种更为传统的方法。 这种历时性的研究方法有助于清晰地整理历史资料，并在西方国家和地区之间对翻译理论的传统和特征进行有益的比较，使人们能够以开放的思想来理解西方翻译理论的分布和趋势。 另一方面，历时性方法也表现了西方翻译理论的分歧和融合。--[[User:Deng Jinxia|Deng Jinxia]] ([[User talk:Deng Jinxia|talk]]) 05:52, 24 October 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
==Ding Daifeng 丁代凤==&lt;br /&gt;
To give an example, the debate between free and literal translation never ends during which the eclecticism occurred and then literal translation was overtaken by free translation; the transfer from regarding the words as translation units to viewing sentences, discourses and even the whole passages as translation units... and so on. Despite that, as for studies on western translation theories, it is not the best way to do it only by a certain means. If we completely choose the way of describing the history of western translation theories by dividing them into different schools in light of theories and ideologies of translation studies, the relation between translation theories and specific cultural environment of society may be ambiguous and so is the relation between diachronic and synchronic development of translation.&lt;br /&gt;
==Fang Jieling 方洁玲==&lt;br /&gt;
If we only decide on a more traditional way to classify western translation theories by times and nations, our research and description will inevitably be in need of subjects of translation theories. To avoid such deficiencies, we must adopt a way combining both means mentioned above to study western translation theories. In other words, we must take into consideration not only the historical connection between theories and ideas of translation but also the relation of translation theories with the specific social and cultural environment. Only by doing so, our research would be able to describe the whole process of western translation theories from an objective perspective. &lt;br /&gt;
==Gan Fengyu 甘奉玉==&lt;br /&gt;
From what we have mentioned above, we view western translation theories from two sides. First, we view it from the respect of historical development steadily. Cicero, was the first translation theorist in the west during times of Roman empire. As a rhetorician and orator, he categorized translation into ones by “ut interpres” and “ut orator” for the first time. Translation by “ut interpres” means translation of no creativity but translation by “ut orator” means translation of creativity which may even rival the original.&lt;br /&gt;
&lt;br /&gt;
根据上诉所言，我们可以从两方面看待翻译理论。首先：我们从历史发展角度来看，西塞罗是罗马帝国时期，第一个西方翻译理论家。西塞罗是个修辞学家，也是个演说家，他第一次把翻译分成“解释员”式和“演说家”式。“解释员”式翻译在翻译过程中没有创造性,而“演说家式”翻译富有创造性，这种译文甚至能媲美原文。--[[User:Gan Fengyu|Gan Fengyu]] ([[User talk:Gan Fengyu|talk]]) 02:16, 23 October 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
如上所述，我们可以从两方面看待翻译理论。首先，我们从历史发展角度来看，西塞罗是罗马帝国时期，第一个西方翻译理论家。作为修辞学家，同时也是演说家，西塞罗第一次把翻译分成“解说员”式和“演说家”式。“解说员”式翻译在翻译过程中没有创造性,而“演说家式”翻译富有创造性，甚至可能媲美原文。--[[User:Peng YuZhi|Peng YuZhi]] ([[User talk:Peng YuZhi|talk]]) 02:12, 24 October 2020 (UTC)&lt;br /&gt;
通过如上所述，我们可以从两方面看待西方翻译理论。 首先，从历史稳定发展的角度看，西塞罗是罗马帝国时期的第一位西方翻译理论家。作为一名修辞家和演说家，西塞罗首次将翻译分为“解说员”式和“演说家”式。前者的翻译意味着翻译过程中没有创造性的翻译，而后者的翻译则包含创造性翻译，这样的翻译甚至能与原文相媲美。--[[User:Chen Jiangning|Chen Jiangning]] ([[User talk:Chen Jiangning|talk]]) 02:30, 24 October 2020 (UTC)&lt;br /&gt;
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根据上诉所言，我们可以从两方面看待西方翻译理论。首先是历史发展的角度。西塞罗是罗马帝国时期第一个西方翻译理论家。他不仅是个修辞学家，也是个演说家，首次把翻译分成“解释员”式和“演说家”式。“解释员”式翻译在翻译过程中没有创造性,而“演说家式”翻译富有创造性，这种译文甚至能媲美原文。--[[User:Kang Haoyu|Kang Haoyu]] ([[User talk:Kang Haoyu|talk]]) 02:22, 24 October 2020 (UTC)&lt;br /&gt;
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==Gao Mingzhu 高明珠==&lt;br /&gt;
As a matter of fact, Cicero put forward two fundamental ways of translating and pioneered the study of theories and methods of translation. Since Cicero’s studies on translation, western translation theories have been dealing with arguments between free translation and literal translation, word-for-word translation and excessively free translation, faithfulness and unfaithfulness and so forth.&lt;br /&gt;
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实际上，西塞罗提出了两种基本翻译方法，是翻译理论研究和翻译方法研究的先锋。自西塞罗的翻译研究开始，西方翻译理论在意译还是直译、字对字的翻译还是大篇幅意译、遵循忠实原则还是不忠实原则等方面众说纷纭。--[[User:Gao Mingzhu|Gao Mingzhu]] ([[User talk:Gao Mingzhu|talk]]) 11:18, 22 October 2020 (UTC)Gao Mingzhu&lt;br /&gt;
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实际上，西塞罗提出了两种基本翻译方法，率先研究翻译理论和翻译方法。自从西塞罗进行翻译研究后，西方翻译理论就意译与直译、逐字翻译与过度意译、忠实与不忠实等方面一直争论不休。--[[User:Gan Fengyu|Gan Fengyu]] ([[User talk:Gan Fengyu|talk]]) 01:54, 23 October 2020 (UTC)&lt;br /&gt;
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事实上，西塞罗提出了两种基本的翻译方法并且率先进行了翻译理论和翻译方法的研究。自从西塞罗进行了翻译的研究以后，西方翻译理论就意译与直译、逐字翻译与过度意译、忠实与不忠等问题一直争论不休。--[[User:Han Wanzhen|Han Wanzhen]] ([[User talk:Han Wanzhen|talk]]) 07:30, 24 October 2020 (UTC)&lt;br /&gt;
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==Gong Yumian 龚钰冕==&lt;br /&gt;
Besides Cicero, there are an abundance of excellent translation theorists in western translation history, who have proposed assorted theories and ideas from different angles in different times. In ancient times, aside from Cicero’s categorization of “literal translation” and “free translation”, Marcus Fabius Quintlianus thought that the target ought to compete with the original; St. Jerome believed that people were supposed to follow the rules of literal translation when translating ''the Bible'' and use free translation when it came to literary classics; St. Augustine held the view that translation was inspired by God.&lt;br /&gt;
==Gu Dongfang 顾东方==&lt;br /&gt;
In the Middle Ages, Manlius Boethius promoted the literal translation that would rather keep “faithful” than “elegant”; Dante was of the opinion that “works of literature are untranslatable”. During the Renaissance, Desiderius Erasmus believed that translation was not a subjection to authority of religious beliefs and translation of ''the Bible'' depended on the language of a translator; Martin Luther held the view of humanism that texts must be rendered in the people’s language; Etienne Dolet reckoned that people translated on “five principles” of understanding the content of the original, being proficient in the original language and the target language, avoiding word-for-word translation, expounding in simple languages and focusing on the style of the target text.&lt;br /&gt;
==Guan Qinqing 管钦清==&lt;br /&gt;
From the 17th to 19th century, Charles Batteux was of the opinion that author was the master and translator was the servant, whose work were not allowed to be amplified, to omit and change the wording of the original; John Dryden categorized translating into metaphrase, paraphrase and imitation and he thought translation was some kind of art; Tytler put forward three principles that the target reflected the ideas exactly the original conveyed, the style and skills the target used should be of the same characteristics of the original and the target should be as expressive as the original; Friedrich Schleiermacher made a distinction between translation and interpretation, literal translation and mechanical translation; Humboldt believed his theories that language decided the translatability and untranslatability of the world; Matthew Arnold thought whether a translation was good or not depended on the experts; Francis W. Newman had the idea that it were common readers, not the experts,who determined the criteria of translation.&lt;br /&gt;
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从17世纪到19世纪，不少翻译家谈到了原作者与译者之间的关系，夏尔·巴托便是其中之一。在他看来，原作者应为主人，译者为仆人。但凡放大译者职能、遗漏或篡改原文文意等行为，都是不被允许的；约翰·德莱顿将翻译分为直译、意译和拟译，他认为翻译是一种艺术；泰特勒推演出翻译的三条原则，即1）译文应当准确反映出原文想表达的意义；2）译文中采用的风格和技巧应当与原文一致；3）译文应当像原文一样具有感染力。弗里德里希·施莱尔马赫将口译和笔译、直译和机翻区别开来；洪保德认为语言决定了可译性或不可译性；马修·阿诺德觉得一篇译文的好坏与否掌握在评判专家手中；而纽曼则认为制定翻译标准的不是专家们，而是普通读者。--[[User:Guan Qinqing|Guan Qinqing]] ([[User talk:Guan Qinqing|talk]]) 11:20, 22 October 2020 (UTC)&lt;br /&gt;
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==Gui Yizhi 桂一枝==&lt;br /&gt;
In the 20th century, we have Fedolov’s theories that people should study translation theories from linguistics first and translation theories is categorized into history, introduction and arguments of translation; we have Roman Jakobson’s three classification of interlingual translation, intralingual translation and intersemiotic translation; we have Levy’s thoughts that “translating should make reader have an illusion of the original”, “translating is a deciding process”; we have Gachechiladze’s theories on literary translation that “translation is always a artistic and realistic reflection of the original” and “ translation of literature and art is a artistic work”; &lt;br /&gt;
==Guo Lu 郭露==&lt;br /&gt;
we have Carford’s theories of linguistics that translation should reach an equivalence of context; Nida thought “translating is a science”, “translating is communicating” and there exists equivalence between the readers of the original and the target; Mounin’s view of modern linguistics on translation theories; emphasized that the target needed to break the limits of the original. All the thoughts and ideas mentioned above have constituted the most essential parts of western translation theories.&lt;br /&gt;
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卡福德认为翻译需追求文本对等；奈达认为翻译是一门科学也是一门交际，原文读者和译文读者应获得同样的理解；缪宁认为当代语言学在于翻译理论；保尔•瓦雷里认为译文需打破原文的限制。各翻译家的见解构成了西方翻译主要理论。--[[User:Guo Lu|Guo Lu]] ([[User talk:Guo Lu|talk]]) 07:00, 22 October 2020 (UTC)&lt;br /&gt;
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卡福德的语言学理论认为，翻译需追求文本对等；奈达认为翻译是一门科学也是一门交际，好的译文应当使译文读者与原文读者有同样的反应；缪宁则从现代语言学角度来分析翻译理论；保尔·瓦雷认为译文需打破原文的束缚。上述各见解构成了西方翻译的基本理论。--[[User:Li Liqin|Li Liqin]] ([[User talk:Li Liqin|talk]]) 07:14, 22 October 2020 (UTC)&lt;br /&gt;
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卡福德的语言学理论认为，翻译应文本对等；奈达认为翻译是一门科学也是一门交际，好的译文应当使译文读者与原文读者有同样的反应；缪宁则从现代语言学角度来分析翻译理论；保尔·瓦雷认为译文需打破原文的束缚。上述观点是西方翻译理论的主要观点。--[[User:Li LIli|Li LIli]] ([[User talk:Li LIli|talk]]) 07:46, 22 October 2020 (UTC)Li Lili&lt;br /&gt;
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==Han Haiyang 韩海洋==&lt;br /&gt;
Furthermore, we could look at the whole system of western translation theories from the other side, which is the schools of ideology. There are two branches of it: translation theories of literature and art and linguistics theories of translation. The school of translation of literature and art stems from the early drama by Terentius in Ancient Rome, ucceeded by Levy and Gachechiladze in modern times, and continues to thrive in the 21st century.&lt;br /&gt;
==Han Wanzhen 韩宛真==&lt;br /&gt;
People of this branch perceive translation as a kind of literary art, which draws attention to recreation of literature. Theorists have been discussing the defects and merits between faithfulness and unfaithfulness, word-for-word translation and excessively free translation, literal translation and free translation and so on. Besides, they also foreground the purposes and effects of translation. They stress both the original and the literary attributes of the language of it., as well as the idiomatic expression and tradition of literature of the original that people must respect whiling translating. They not only zero in on the style and literariness of the text very much but the talent of literature a translator or interpreter should possess.&lt;br /&gt;
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这个分支的人把翻译作为一种文学艺术，引起了人们对文学娱乐的关注。理论家们一直在讨论忠实与不忠、逐字翻译和过度自由翻译、直译和自由翻译之间的缺陷和优点。除此之外，他们也强调翻译的目的和效果。他们也都强调翻译语言的原创性和文学性，以及成语性词语。在翻译时，人们必须尊重原始表达和文学传统。他们不仅非常重视文本的风格和文学性，而且笔译或者口译人员应具备文学才能。--[[User:Han Wanzhen|Han Wanzhen]] ([[User talk:Han Wanzhen|talk]]) 07:18, 24 October 2020 (UTC)&lt;br /&gt;
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==He Changqi 何长琦==&lt;br /&gt;
The school of linguistic theories of translation is from Augustine and people of traditional linguistics or philology in Ancient Rome to various schools of modern linguistics in the 20th and 21st century. For this situation, the core lies in language. People of this school, who think that the goal of translating is to reach the equivalence between the original and the target, combine translation theories with analysis of semantic and syntactic functions and talk on issues of translation from the characteristics of structure and sentence-making skills of a language so as to show how the equivalent texts are made from words, grammars and other features of a language.&lt;br /&gt;
==Hu Baihui 胡百辉==&lt;br /&gt;
From either branches we can see that they have their own advantages and disadvantages. Translation theories of literature and art give an emphasis to the purposes and results of translating and the artistic effects from a macroscopic view, but neither pay much heed to practical process of translating and skills of using a language nor care about whether the target and the original reach the equivalence of structures. Linguistics theories of translation is also not spotless because some theories don’t stress the aesthetic functions and ignore the recurrences of works of literature and art. They mostly focus on the structure of a language to and theoretically are limited to word, sentence or syntax only, which disregards the main structure of a text and the structure of discourse and the cultural features to a larger extent.&lt;br /&gt;
==Hu Huifang 胡慧芳==&lt;br /&gt;
However, no matter it is the branch of translation theories of literature and art or linguistics theories of translation, they are not completely isolated but complement each other. Although either of two branches has its own shortcomings, there is no translation theorist of literature and art who could talk about the artistic value of literary works divorced from linguistic issues; there is no theorist of linguistics who could be immersed in linguistic structures of a text without issues of aesthetics.&lt;br /&gt;
==Hu Jin 胡瑾==&lt;br /&gt;
'''III. About ''The Translator’s Guide to Chinglish'''''&lt;br /&gt;
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Joan Pinkham, a professional translator from the U.S., published the book ''The Translator’s Guide to Chinglish'' in 2000. She worked for the Foreign Languages Press and Central Compilation and Translation Bureau in China for 8 years from 1980s to 1990s. It is one of the few books by westerners that systematically discuss the “Chinglish” issues in China. In the years working for the Foreign Languages Press and Central Compilation and Translation Bureau, her job was to revise and polish the drafts from Chinese translators, which was inevitably affected by Chinese and mindset of Chinese people. For that reason, Pinkham got to know many English translations with “Chinese characteristics” and wrote this book.&lt;br /&gt;
==Ji Tiantian 纪甜甜==&lt;br /&gt;
''The Translator’s Guide to Chinglish'' consists of three parts, Unnecessary Words, Sentence Structure and Supplementary Examples, which reveal lots of mistakes Chinese translators tend to make. &lt;br /&gt;
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First of all let’s take a look at examples given in the fist chapter:&lt;br /&gt;
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promoting the cause of peaceful reunification;&lt;br /&gt;
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reforms in the sphere of economy;&lt;br /&gt;
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to ensure a relationship of close cooperation between.&lt;br /&gt;
==Jiang Fengyi 蒋凤仪==&lt;br /&gt;
Phrases like these can often be seen in some English papers or periodicals and they seem to make sense to English learners or translators in China. But the author regards them as negative examples in the first chapter of the first part, Unnecessary Nouns. The author mentioned that “Many of these nouns are easy to recognize. They are plainly redundant because their sense is already included or implied in some other element of sentence.”(Liu 2002:34)   in the book. Here the author perceives nouns like “cause”, “sphere” and “relationship” as “category nouns”, which are the general nouns that sever only to introduce a specific noun to follow. &lt;br /&gt;
==Jiang Hao 姜好==&lt;br /&gt;
Let’s take the first phrase as an example. In such constructions, the first noun announces the category of the second; in this case, it tells the readers that “promoting” falls into the category of “cause.” That is something they already know. Accordingly, the first noun should be deleted: “ promoting peaceful reunification.”(Pinkham 2000:16)  It is the same for other two examples. What’s more, the first chapter also involves “Unnecessary Verbs.” Examples are as follows:&lt;br /&gt;
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to bring about a change in this state of affairs;&lt;br /&gt;
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until China realizes its modernization;&lt;br /&gt;
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trying to entice the Korean army to launch an attack against them.&lt;br /&gt;
==Jiang Qiwei 蒋淇玮==&lt;br /&gt;
“Like unnecessary nouns, most unnecessary verbs in Chinglish occur in phrases. Usually they are combined with nouns (plus the inevitable articles and prepositions that nouns bring with them).”(Pinkham 2000:34) The commonest type is phrases like these. As for “to bring about a change in this state of affairs”, here the verb (“bring about”) is a weak, colorless, all purpose word having no very specific meaning of its own, while the real action is expressed in the noun(“change”). Since the verb is not contributing anything to the sense, it can be edited out: “change this state of affairs.”&lt;br /&gt;
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“与赘余的名词类似，中式英语中大多数赘余的动词也出现在短语中，且通常和名词同时出现（以及依附于名词又必不可少的冠词和介词）。” （平卡姆 2000:34） 最常见的类型见以下短语。在短语“为这种情况带来改变”中，动词“带来”显得无力、无趣、缺乏具体含义，而名词“改变”传达出了具体的动作。鉴于这个动词没有起到达意的作用，可将其删去得到短语“改变这种情况”。--[[User:Jiang Qiwei|Jiang Qiwei]] ([[User talk:Jiang Qiwei|talk]]) 13:42, 22 October 2020 (UTC)&lt;br /&gt;
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==Kang Haoyu 康浩宇==&lt;br /&gt;
In the second chapter, the author talks about Unnecessary Modifiers, which is not a problem easy to cope with for Chinese translators because it covers the issue of whether they should be used and using the modifiers properly. Five types of unnecessary modifiers are listed, redundant modifiers, self-evident modifiers, intensifiers, qualifiers and cliches. But the author especially points out that it is not appropriate to revise some accepted phrases, which are related to some national policies, even if they have unnecessary modifiers in the sentences, because this may cover political affairs.&lt;br /&gt;
作者在第二章中论述了非必要的修饰语。要知道，是否应该使用以及如何正确使用这些修饰语，对中国译者来说并非易事。本章列举了五类非必要修饰语，分别是赘余修饰语，废话（不言而喻）修饰语，加强词，限定词和套话。但作者同时也指出，一些与国家政治有关的短语如果已被认同，即便句子里面有非必要限定词，也不要轻易去修改了，因为这可能涉及政治事务。--[[User:Kang Haoyu|Kang Haoyu]] ([[User talk:Kang Haoyu|talk]]) 01:48, 24 October 2020 (UTC)&lt;br /&gt;
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==Kang Lingfeng 康灵凤==&lt;br /&gt;
In the third and forth chapter the author talks on Redundant Twins and Saying the Same Thing Twice. For instance, views and opinions, help and assistance, stir up and incite, sentiments and feelings, prudent and cautious. The author classifies the redundant words into three groups according to the relation between synonyms and clauses and offers corresponding reversion. And she adds that examples of redundant synonyms are too many to list even for native English speakers; for example, rules and regulations, bits and pieces, by leaps and bounds, betwixt and between, by hook or by crook, huffing and puffing.&lt;br /&gt;
==Kong Xianghui 孔祥慧==&lt;br /&gt;
After centuries of development, these phrases are now accepted by native English speakers or learners probably because of their jaunty alliteration or rhythm. But the author believes that these phrases unavoidably “exert an influence not only on native speakers of English (including foreign polishers) but on Chinese translators as well, reinforcing the habits of their own language. No doubt this influence contributes to the abundance of twins in Chinglish.”&lt;br /&gt;
==Kong Yanan 孔亚楠==&lt;br /&gt;
The first chapter of the second part is mainly about The Noun Plague. Here the author shows a draft: “The prolongation of the existence of this temple is due to the solidity of its construction.” She also gives a revision: “The temple has endured because it was solidly built.” The first version contains four abstract nouns, while the second has none. Not only do the nouns make the statement nearly twice as long, but they also make it pretentious, wooden and hard to understand.(Pinkham 2000:56) Yet, the author doesn’t think that “noun plague” only occurs in Chinglish but in English by native speakers, especially in theses and government documents where abstract nouns can often be seen, because they want their theses or documents to seem more “authoritative” or “scientific.”&lt;br /&gt;
==Lei Fangyuan 雷方圆==&lt;br /&gt;
The author thinks this is a dangerous trend which we should all fight against. And she advocates to use more verbs, gerunds or adverbs instead of abstract nouns. From the eighth to the twelfth chapter, the author gives some instruction to tell English learners and translators in China how to get rid of the mindset of Chinglish by putting pronouns and antecedents first, then the adjuncts and its purposes, in a logical way. The eighth chapter discussed the improper collocation of pronouns and antecedents. In this condition, personal pronouns, relative pronouns or demonstrative pronouns show up without antecedents or are too far away from antecedents.&lt;br /&gt;
==Lei Kuangxi 雷旷溪==&lt;br /&gt;
This is exactly what the uncertainty and lack of rigor of Chinese has brought about. The ninth chapter mainly talks about where we should set phrases or clause in an English sentence. The author is of the opinion that translators should pay attention to where the phrases or clauses are in a sentence so that the logic is clear and key points are highlighted. She also thinks that the phrases or clauses ought to modify what is close to them, otherwise in the sentence may occur the illogical parts. In addition, to stress the key points, the most important information should be imparted at the end of a sentence. &lt;br /&gt;
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==Li Haiquan 李海泉==&lt;br /&gt;
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'''IV. Discussion'''&lt;br /&gt;
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From Introduction and School Classification, we have leaned that in western translation history, there are traditionally two branches: translation theories of literature and art and linguistics theories of translation. In 1959, the book, ''On Linguistic Aspects of Translation'' by Roman Jakobson, analyzed comprehensively the relation bewteen language and translation, the importance of translation and some existing problems of translating from an angle of linguistics, which had made groundbreaking contribution to linguistics theories of translation. Eugene A. Nida put forward a concept of “Translating is science” and he also applied Theory of Communication into translation on the basis of linguistics, believing that translating is communicating. &lt;br /&gt;
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==Li Lili 李丽丽==&lt;br /&gt;
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He proposed the principle of “Dynamic Equivalence” and further submitted “Functional Equivalence” from the perspective of social linguistics and communicative function of language, which was instrumental in modern history of translation theories in the west as well. Nonetheless, Nida’s theories paid too much heed to content rather than form. To make up the deficiency, Peter Newmark put forward “Communicative Translation” and “Semantic Translation.” The former aimed at restructuring the language of the target in order to make it expressive and underline the effects of information; the latter emphasized the formal resemblance between the original and the target.&lt;br /&gt;
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他提出了“动态对等”原则，并从社会语言学和语言交际功能的角度提出了“功能对等”，这在西方现代翻译理论史上也具有重要意义。尽管如此，奈达的理论过于注重内容而非形式。为了弥补这一不足，纽马克提出了“交际翻译”和“语义翻译”，交际翻译旨在重构目标语的语言，使之具有表现力，突出信息的作用；而语义翻译强调原文与译文形式上的相似性。--[[User:Li LIli|Li LIli]] ([[User talk:Li LIli|talk]]) 01:21, 21 October 2020 (UTC)Li Lili&lt;br /&gt;
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他提出了“动态对等”原则，并从社会语言学和交际功能的角度进一步发展提出了“功能对等”原则，这在西方现代翻译理论史上也具有指导意义。然而，奈达的理论过于注重内容而非形式。为了弥补这一不足，纽马克提出了“交际翻译”和“语义翻译”，交际翻译旨在重构目标语的语言，使之具有表现力，突出信息的作用；而语义翻译强调原文与译文形式上的相似性。--[[User:Xu Pengfei|Xu Pengfei]] ([[User talk:Xu Pengfei|talk]]) 09:20, 21 October 2020 (UTC)Xu Pengfei&lt;br /&gt;
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他提出了“动态对等”原则，并从社会语言学和语言交际功能的角度提出了“功能对等”的原则，这在西方现代翻译理论史上也具有重要意义。尽管如此，奈达的理论过于注重内容而非形式。为了弥补这一不足，纽马克提出了“交际翻译”和“语义翻译”，前者旨在重构目标语的语言，使之具有表现力，突出信息的作用；后者强调原文与译文形式上的相似性。--[[User:Xiao yining|Xiao yining]] ([[User talk:Xiao yining|talk]]) 12:22, 21 October 2020 (UTC)Xiao Yining&lt;br /&gt;
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==Li Lingyue 李凌月==&lt;br /&gt;
&lt;br /&gt;
From theories and ideas above, the core issue they care about is how the source language is transferred into the target language and “equivalence” is what they have in common. Katharina Reiss, Hans Vermeer, Justa Holz-Manttari and Christiane Nord from Germany started to use communicative theories, theories of communication, discourse linguistics and ideology of aesthetics to switch the focus of their studies from source texts to target texts, which made it an influential school in international translation circles. &lt;br /&gt;
&lt;br /&gt;
==Li Liqin 李丽琴==&lt;br /&gt;
&lt;br /&gt;
In 1971 in the book ''Translation and Limitations in Translation Criticism'', Reiss’s functional theories of translation was in embryonic state, where she believed that translation should reach equivalence in respects of conceptual content, forms of language and communication and name it “integral communicative performance.” In practice, however, she realized that the equivalence was not what people expected so relation between function of the original and the target was the priority.&lt;br /&gt;
&lt;br /&gt;
在1971年出版的《翻译批评的可能性与局限性》一书中，赖斯的翻译功能理论暂处于萌芽状态。在此书中，他提出翻译应当在思想内容、语言形式和交际功能等方面达到对等，这样的翻译才可以称为“完整的交际行为”。然而，她意识到在实践中，人们并不期待这种对等状态，因此应该把源语与目的语功能之间的关系放在首位。--[[User:Li Liqin|Li Liqin]] ([[User talk:Li Liqin|talk]]) 07:43, 22 October 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
在1971年出版的《翻译批评：潜力与制约》一书中，赖斯的翻译功能派理论思想暂处于萌芽状态。在此书中，她提出翻译在概念性的内容、语言形式和交际功能上与原文对等，她称这种翻译为“综合性交际翻译”。然而，在实践中，她意识到这种对等并不是人们所期待的那样，因此应该把源语与目的语功能之间的关系放在首位。--[[User:Zhang Yu|Zhang Yu]] ([[User talk:Zhang Yu|talk]]) 12:25, 23 October 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
==Li Luyi 李璐伊==&lt;br /&gt;
&lt;br /&gt;
Hans Vermeer proposed skopos theory for that matter, which looked on translating as a process with purposes and results of the original. The skopos theory has three rules: skopos rule, coherence rule and fidelity rule. Skopos rule is considered as the primary one. It means that in the context and culture of target language, translation ought to work in a way exactly the recipient of target language expects and the purpose of translation actions determines the whole process of translating, that is, “the end justifies the means.”&lt;br /&gt;
&lt;br /&gt;
==Li Meng 李梦==&lt;br /&gt;
&lt;br /&gt;
Coherence rule is that translation must accord with the standard of intratextual coherence, which means that translation has readability and acceptability to the recipient and makes sense in communicative context and culture of the target language. The fidelity rule means that there exists intertextual coherence between the original and the target. This is actually what other theories have talked about faithfulness in translation but the faithfulness depends on the purpose of the target and how translator understand the original. &lt;br /&gt;
&lt;br /&gt;
==Li Yongshan 李泳珊==&lt;br /&gt;
&lt;br /&gt;
Here we also have talked about the book The Translator’s Guide to Chinglish. This book has discussed some problems English learners and translators in China have in grammar and vocabulary. For discourse and semantics, there also exits some issues. And the author is American who has the typical mindset of the west and is able to find out some problems of translation by Chinese translators. And the author tends to revise those translations in an aspect of linguistics theories of translation.&lt;br /&gt;
&lt;br /&gt;
==Li Yu 李玉==&lt;br /&gt;
&lt;br /&gt;
 For example:&lt;br /&gt;
&lt;br /&gt;
the editorial calls on the Chinese people to fully implement the CPC’s basic line, deepen reform and further opening to the outside, so as to further push forward the political, economic and social development of the country in a steady way;&lt;br /&gt;
&lt;br /&gt;
The author revises it into:&lt;br /&gt;
&lt;br /&gt;
the editorial calls on the Chinese people to implement the CPC’s basic line, deepen the reform, and promote the opening to the outside, so as to steadily push forward the political, economic and social development of the country.&lt;br /&gt;
&lt;br /&gt;
==Lin Min 林敏==&lt;br /&gt;
&lt;br /&gt;
In this sentence, “fully” is deleted because the author thinks it is unnecessary for its sense can be taken for granted: policies should always be fully carried out. If the word conveys something more specific in Chinese, that must be spelled out for the reader of English. We must say, for example, “to implement CPC’s basic line in all its aspects,” or “in every respect.”&lt;br /&gt;
&lt;br /&gt;
==Lin Xin 林鑫==&lt;br /&gt;
&lt;br /&gt;
As for “further”, it is obvious that at this point in history any push given to development will be a “further” push. The repetition of “further” in the draft is particularly undesirable because the word is used in two different senses. It appears first as a verb (“to further opening”), then immediately after as an adverb (“to further push ahead”), so that the reader is obliged to go back and read the sentence again in order to make sense of it.(Pinkham 2000:74)&lt;br /&gt;
&lt;br /&gt;
==Ling Zijin 凌子瑾==&lt;br /&gt;
&lt;br /&gt;
Even though the author doesn’t talk on any translation theories directly in her book, her discussion on Chinglish and the revision she offers do involve some translation criteria, for example, domestication and foreignization. Translating is the transfer process from one language to another, during which it carries wide backgrounds of culture. To be specific, it is also the process of transferring cultures among each one. In general, there are two ways when it comes to this process: domestication and foreignization.&lt;br /&gt;
&lt;br /&gt;
==Liu Bo 刘博==&lt;br /&gt;
&lt;br /&gt;
Domestication is that features of the original are abandoned, that is to say, characteristics of translation follow ones of the target, which would, to some degree, make it easier to understand for recipients of the target language and contributory to culture exchanges. Foreignization is that translator translates in a way the original does, translation remaining characteristics of the original language.&lt;br /&gt;
归化就是摒弃原文的特征，即翻译的特征遵循译文的特点，这在一定程度上使译文的读者更容易理解，也有助于文化交流。异化是指译者以原文的方式进行翻译，保留原文的特征--[[User:Liubo|Liubo]] ([[User talk:Liubo|talk]]) 07:36, 24 October 2020 (UTC)。&lt;br /&gt;
&lt;br /&gt;
==Liu Jinxingqi 刘金惺琦==&lt;br /&gt;
&lt;br /&gt;
The author defines “Chinglish” as “Chinglish, of course, is that misshapen, hybrid language that is neither English nor Chinese but that might be described as ‘English with Chinese characteristics’”in the book. And she also points out that “this book is intended to help them turn their work into real English such as might have been written by an educated native English speaker of the language.” It means that the author is in favor of domestication during the process of translating.&lt;br /&gt;
&lt;br /&gt;
==Liu Liu 刘柳==&lt;br /&gt;
&lt;br /&gt;
Here’s an another example: &lt;br /&gt;
&lt;br /&gt;
we should draw up correct development and construction plans for all these zones;&lt;br /&gt;
&lt;br /&gt;
The author revises it into:&lt;br /&gt;
&lt;br /&gt;
we should draw up correct plans for the development of all these zones.&lt;br /&gt;
&lt;br /&gt;
The author thinks that two large abstractions plainly used here mean the same thing. And to avoid using the noun “development” as an adjective, we should say: “ for the development of all these zones.” That would be the simplest, most natural word order in English.(Pinkham 2000:87)&lt;br /&gt;
&lt;br /&gt;
再举一个例子：我们应该为所有这些区域制定正确的开发建设规划。作者将其修改为：我们应该为所有这些区域的发展制定正确的规划。作者认为这里所使用的两个大的抽象概念是一个意思。为了避免把名词“发展”用作形容词，我们应该说：“为了所有这些区域的发展”。这是英语中最简单、最自然的词序。--[[User:Liu Liu|Liu Liu]] ([[User talk:Liu Liu|talk]]) 12:29, 22 October 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
再举一个例子：我们应该为所有区域拟订正确的开发建设的计划。作者将其修改为：我们应该为所有区域的发展拟订正确的计划。作者认为这里所使用的两个大的抽象概念意思相同，为了避免把名词“发展”用作形容词，我们应该说：“为了所有区域的发展”，这才是英语中最简单、最自然的词序。--[[User:Jiang Qiwei|Jiang Qiwei]] ([[User talk:Jiang Qiwei|talk]]) 13:58, 22 October 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
==Liu Ou 刘欧==&lt;br /&gt;
&lt;br /&gt;
'''V. Conclusion'''&lt;br /&gt;
&lt;br /&gt;
In summary, ''A Brief History of Western Translation Theories'' by Tan Zaixi recounts the history of western translation theories from ancient times by introducing main characters, translation works, translation schools and other events in the west in historical stages. The book also takes preliminary analysis and discussion into development between theories and practices of translation. There are two different directions in terms of translation theories in the west: translation theories of literature and art and linguistics theories of translation. &lt;br /&gt;
&lt;br /&gt;
==Liu Yangnuo 刘洋诺==&lt;br /&gt;
&lt;br /&gt;
The former one extends from the ancient dramas to modern translations. In this regard, translation is considered as literary art, which focuses on recreation of the original. Theorist mostly emphasize culture, style and literariness of the target and the literary talent of the translator. The latter direction is linguistics theories of translation, which combine theories with semantics and syntax, and believe that translating should reach semantic equivalence between the original and the target through vocabulary, grammar and skills of using a language. &lt;br /&gt;
&lt;br /&gt;
==Liu Yi 刘艺==&lt;br /&gt;
&lt;br /&gt;
In the long term, linguistics theories of translation has had predominance of studies of modern translation theories. Theorists hold the view that translation studies ranges from applied linguistics and contrastive linguistics and is closely related to semantics, along with literature and art studies, sociology, anthropology, psychology, theories of communication and so forth.&lt;br /&gt;
&lt;br /&gt;
长期以来，语言学的翻译理论在现代翻译理论的研究中占有主导地位。理论家认为，翻译研究的范围包括应用语言学和对比语言学，与语义学以及文学艺术研究、社会学、人类学、心理学、传播理论等密切相关。--[[User:Liu Yi|Liu Yi]] ([[User talk:Liu Yi|talk]]) 14:16, 23 October 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
从长远来看，翻译语言学理论在现代翻译理论研究中占主导地位。理论家认为，翻译研究不仅涉及应用语言学和对比语言学，而且还与语义学以及文学和艺术研究，社会学，人类学，心理学，传播理论等密切相关。--[[User:Deng Jinxia|Deng Jinxia]] ([[User talk:Deng Jinxia|talk]]) 05:59, 24 October 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
长期以来，语言学理论在现代翻译理论中占有主导地位。理论学家认为翻译研究包含应用语言学和对比语言学，同时也与语义学、文学艺术研究、社会学、人类学、心理学、传播理论等相关联。--[[User:Liu Zhiwei|Liu Zhiwei]] ([[User talk:Liu Zhiwei|talk]]) 07:20, 24 October 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
==Liu Yiyu 刘怡瑜==&lt;br /&gt;
&lt;br /&gt;
''The Translator’s Guide to Chinglish'' by Joan Pinkham summarizes the evidence of the common issues in English translation, which are ones translators in China are usually neglectful of. As Jacques Barzun, Dean of the Graduate Faculties of Columbia University, put it, “The clarity of her explanation is equaled only by the deftness with which she states the point of the English usages and the simplicity of the revisions made in faulty sentences.&lt;br /&gt;
&lt;br /&gt;
琼·平卡姆所著的《中式英语之鉴》总结了中国翻译常见问题的例证，这些问题是中国译者常常所忽略的。哥伦比亚大学研究生院院长雅克·巴尔赞表示，“琼的论证清晰明了，灵活熟练，在阐述英语用法要点和指出错误句修订的简洁性方面也是如此。”--[[User:Liu Yiyu|Liu Yiyu]] ([[User talk:Liu Yiyu|talk]]) 08:57, 23 October 2020 (UTC)Liu Yiyu&lt;br /&gt;
&lt;br /&gt;
琼·平卡姆所著的《中式英语之鉴》总结了英语翻译中常见的问题的例证，而这些问题正是中国的翻译者通常所忽视的。正如哥伦比亚大学研究生院院长雅克·巴尔赞所言：&amp;quot;她的解释之清晰，只有她对英语用法的阐述之灵巧和对错误句子的修改之简洁才能与之媲美。--[[User:Liu Yi|Liu Yi]] ([[User talk:Liu Yi|talk]]) 14:19, 23 October 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
==Liu Zhiwei 刘智伟==&lt;br /&gt;
&lt;br /&gt;
I know of no books as well adapted as hers to the needs of clumsy writers.” Even though the author doesn’t talk on any translation theories directly in her book, her discussion on Chinglish and the revision she offers do involve some translation criteria and the author tends to uphold domestication in this book. And we can’t deny that as a professional translator from America, with the typical western mindset, the author is inevitably influenced in the spectacular background of western translation history.More importantly, the two books this article refers to have demonstrated that theories must be applied into practice, guide practice and reveal the objective patters inside translating, otherwise theories would lose its vitality.&lt;br /&gt;
&lt;br /&gt;
据我所知，没有一本书能像她的书那样，满足一些笨拙作家的需求。”虽然本书作者没有在书里直接谈及翻译理论，但她对于中式英语的讨论及修订中就涉及了一些翻译原则，同时她在书中也倾向于支持归化。我们不得不承认，作为一名具有西式典型谦逊特点的美籍专业译者，这个作者难免受到西方翻译史背景的影响。而更为重要的是这本杂志提及到的两本书都提出：理论必须付诸实践、指导实践并揭示翻译的客观模式，否则理论将失去生机活力。--[[User:Liu Zhiwei|Liu Zhiwei]] ([[User talk:Liu Zhiwei|talk]]) 07:44, 24 October 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
References:&lt;br /&gt;
&lt;br /&gt;
[1]巫阿苗,束学军.西方翻译理论流派划分探索.[J].合肥工业大学学报.2011.12.25&lt;br /&gt;
&lt;br /&gt;
[2]谭载喜.西方翻译简史.[M].北京.商务印书馆.1991.05&lt;br /&gt;
&lt;br /&gt;
[3]刘银燕.中式英语, 你在使用吗?——《中式英语之鉴》评介.[J].外语教学.2002.09.30&lt;br /&gt;
&lt;br /&gt;
[4]-[8] Joan Pinkham.The Translator’s Guide to Chinglish. [M].北京。外语教学与研究出版社.2000.05&lt;br /&gt;
&lt;br /&gt;
主要参考书目:《西方翻译简史》、《中式英语之鉴》&lt;br /&gt;
&lt;br /&gt;
==Lou Cancan 娄灿灿==&lt;br /&gt;
&lt;br /&gt;
'''Derrida and Benjamin'''&lt;br /&gt;
&lt;br /&gt;
'''Comparison of Derrida’s and Benjamin’s Translation View'''&lt;br /&gt;
&lt;br /&gt;
'''1.Pure Language and Difference'''&lt;br /&gt;
&lt;br /&gt;
In its essence, translation is a kind of linguistic activity. Therefore, all translation theories involve linguistic issues. Benjamin has presumed a perfect original language as the origin of subsistent languages in real world after summarizing the deflects of subsistent languages. This original language is from God, and has full creativity and cognition, in which, language and spirit, meaning and form, signifier and signified have been united to show the truth through self-manifestation.&lt;br /&gt;
&lt;br /&gt;
“德里达和本杰明。”&lt;br /&gt;
&lt;br /&gt;
&amp;quot;德里达和本雅明翻译观的比较&amp;quot;&lt;br /&gt;
&lt;br /&gt;
&amp;quot;纯粹的语言和差异&amp;quot;&lt;br /&gt;
&lt;br /&gt;
翻译本质上是一种语言活动。因此，所有的翻译理论都涉及到语言问题。本雅明在总结现存语言偏差的基础上，假设有一种完美的原始语言作为现实世界中现存语言的起源。这种原始的语言来自上帝，具有充分的创造性和认知能力，其中，语言与精神、意义与形式、能指与所指有机地结合在一起，通过表现自我以展现真理。--[[User:Lou Cancan|Lou Cancan]] ([[User talk:Lou Cancan|talk]]) 07:54, 23 October 2020 (UTC)&lt;br /&gt;
德里达和本杰明&lt;br /&gt;
德里达和本杰明翻译观的比较&lt;br /&gt;
纯语言与差异&lt;br /&gt;
翻译本质上是一种语言活动。因此，所有的翻译理论都涉及到语言问题。本杰明在总结现存语言偏差的基础上，假设有一种完美的原始语言作为现实世界中现存语言的起源。这种原始的语言来自上帝，具有充分的创造性和认知能力，其中，语言与精神、意义与形式、能指与所指有机地结合在一起，通过表现自我以展现真理。--[[User:Mashuya|Mashuya]] ([[User talk:Mashuya|talk]]) 07:30, 24 October 2020 (UTC)MaShuya&lt;br /&gt;
&lt;br /&gt;
==Luo Weijia 罗维嘉==&lt;br /&gt;
&lt;br /&gt;
Benjamin has pointed out that with the corruption of human, the language has no longer been one but multiple. Naming language has corrupted into the abstract conceptual language. '''(Cao Danhong 6)''' In this way, it descended to instrumental signs. It refers to things in various manual systems but it can never covey the universality through self-manifestation, so the relationship between the human and world has changed from the intersubjectivity into subject-object dichotomy where human dominates.'''(Wei Jiangang &amp;amp; Sun Yingchun 75)'''&lt;br /&gt;
&lt;br /&gt;
本雅明指出，由于人类进化，语言已不再只有一种，而是多种多样。命名语言遭到破坏，成为抽象概念性语言。（曹丹红）这样，语言就从命名语言降为符号语言，指各种人工系统中的事物，但永远不能通过自我表现来追求普遍性，因此人与世界的关系从主体间性转变为由人主导的主客体二分法。（魏建刚，孙迎春）--[[User:Luo Weijia|Luo Weijia]] ([[User talk:Luo Weijia|talk]]) 07:55, 22 October 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
本杰明指出，由于人类的堕落，语言已不再只有一种，而是多种多样的。命名语言遭到破坏，成为抽象概念性语言。（曹丹红）这样，语言就降为指示符号，指各种人工系统中的事物，但永远不能通过自我表现来追求普遍性，因此人与世界的关系从主体间性转变为由人主导的主客体二分法。（魏建刚，孙迎春）--[[User:Qu Miao|Qu Miao]] ([[User talk:Qu Miao|talk]]) 02:41, 23 October 2020 (UTC)&lt;br /&gt;
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==Luo Yuqing 罗雨晴==&lt;br /&gt;
&lt;br /&gt;
In another word, due to language descended from the original “being” into lower “having”. Therefore, it has become the synonyms of “abstract”, “judgement” and “meaning”. Language has never been a medium but a kind of means used in communication of “subjects” '''(Wohlfarth 27)'''. As a result, meaning has been the external reference out of sign itself, instead of spirits of self-manifestation of pure language. &lt;br /&gt;
&lt;br /&gt;
==Ma Juan 马娟==&lt;br /&gt;
&lt;br /&gt;
And the relationship between signified and signifier is actually external instead of being original, direct and internal. Paul De Man has said that we think we use our language freely. We feel comfortable and familiar with the dwelling place within our language, in which we thought we weren’t alienated, but we don’t notice that this kind of alienation has been shown strongly in our relationship with our original language. It has been disintegrated already, which bring a special alienation, a peculiar pain. '''(Paul De Man, 99)'''&lt;br /&gt;
&lt;br /&gt;
==Ma Shuya 马淑雅==&lt;br /&gt;
&lt;br /&gt;
Benjamin has set the transcendental existence of pure language in order to make the path of salvation to human clear, that’s to say to find the lost pure language is to unite the world together. Benjamin thinks that, all practical languages have a common origin and among themselves a kind of affinity that goes beyond the history. As, Benjamin once said, “The reference of pure language just like each language that exists as an entirety, is identical.&lt;br /&gt;
本杰明为了使人类的救赎之路更明晰而设定了纯语言的先验存在，这就是说，找到遗失的纯语言是将整个世界统一。 本杰明认为，所有实用语言都有一个共同的渊源，并且彼此之间有着超越历史的紧密关联。 正如本杰明曾经说过的：“纯语言的引用就像实体存在的某种语言一样。--[[User:Mashuya|Mashuya]] ([[User talk:Mashuya|talk]]) 07:25, 24 October 2020 (UTC)MaShuya&lt;br /&gt;
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==Ma Zhixing 马智星==&lt;br /&gt;
&lt;br /&gt;
However, this reference cannot be achieved through one single language, but through the complement of various languages” '''(Benjamin 61)''' That’s to say, if we want to reconstruct pure language, we have to eliminated the external relationship of linguistic reference and restore the identical relationship between spirit and language, which means to promote the linguistic reference of all languages to form an integral complementary, which call duty on translation.&lt;br /&gt;
&lt;br /&gt;
==Meng Ying 孟莹==&lt;br /&gt;
&lt;br /&gt;
Only through translation can the mode of reference of source language enter into the target language. Therefore, to Benjamin, the significance of translation is not to covey the basic meaning and content of source language but the changes to both languages after translation, thereby translation can make us to know more about the differences and complementation of each language.&lt;br /&gt;
&lt;br /&gt;
==Mo Ling 莫玲==&lt;br /&gt;
&lt;br /&gt;
What is different between Benjamin and Derrida is that Derrida has invented the concept of “la differánce&amp;quot;, which uses infinitely flowing stream of meaning to overthrow the western logocentrism. Thereout, it has assured the translation view that advocates difference and opposes the identity. Derrida has pointed out that la differánce is the precondition of possibility of multiple meanings so that meaning is the result of its moving. While meaning cannot precedes la differánce, there would be no existence of pure and completely identical origin of meaning, just like what the Babel story reminds us. '''(Davis 10)'''&lt;br /&gt;
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班杰明与德里达的不同之处在于，后者提出了“差异”这一概念，它以无限变换的意义流来推翻了西方的逻各斯中心主义。由此，提倡差异、反对同一性的翻译观得以确立。德里达指出:差异是多义可能性的前提，意义是多义运动的结果。虽然意义不能凌驾于差异，但也不会存在纯粹的、完全相同的意义起源，正如圣经故事所示的那样。--[[User:Mo Ling|Mo Ling]] ([[User talk:Mo Ling|talk]]) 04:28, 23 October 2020 (UTC)Mo Ling&lt;br /&gt;
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班杰明与德里达的不同之处在于，后者提出了“差异”这一概念，它以意义是无限流动的观点推翻了西方的逻各斯中心主义。由此，提倡差异、反对同一性的翻译观得以确立。德里达指出:差异为多义提供了可能性，意义是多义运动的结果。意义不能凌驾于差异，与此同时，也不会存在纯粹的、完全相同的意义起源，这正如巴别塔的故事所示的那样。（戴维斯，第十页）--Ouyang Ling&lt;br /&gt;
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本雅明与德里达的不同之处在于，后者提出了“差异”这一概念，它以意义是无限流动的观点推翻了西方逻各斯中心主义。由此，提倡差异、反对同一性的翻译观得以确立。德里达指出:差异是多义的先决条件，因此意义是多义运动的结果。意义不能凌驾于差异，与此同时，也不会存在纯粹的、完全相同的意义起源，这正如巴别塔的故事所示。（戴维斯，第十页）--[[User:Luo Weijia|Luo Weijia]] ([[User talk:Luo Weijia|talk]]) 07:35, 23 October 2020 (UTC)&lt;br /&gt;
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==Mo Nan 莫南==&lt;br /&gt;
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In another word, as meaning is in la differánce so that there cannot be any conceptual or theoretic systems no matter it is in one language or in several languages. Meaning always presents its fluidity, uncertainty and diversity. We cannot make meaning independent of language nor can we make language independent of meaning. On the contrary, meaning is already in language so meaning is the linguistic meaning.&lt;br /&gt;
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==Nie Xiaolou 聂晓楼==&lt;br /&gt;
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Due to the language is so complicated, fickle, ambiguous and different with itself, thus, meaning is also unclear ambiguous and even mysterious. '''(Cai Xinle 200)''' What we can discuss is only the relationship of difference instead of the transcendental identity. In Derrida’s view, word is in a dynamic state, we can only understand it, describe it or listen to its voice in such a dynamic condition. &lt;br /&gt;
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==Ou Rong 欧蓉==&lt;br /&gt;
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If we must establish an origin, the difference will be it. Derrida has regarded the difference as the origin, aiming to explain that in the very beginning where meaning formed, that’s to say the source has already had initial difference among meanings. The so-called purity has been contaminated and the source is rather complicated. '''(Zhu Gang 20)'''&lt;br /&gt;
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==Ouyang Jinglan 欧阳静兰==&lt;br /&gt;
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Derrida and Benjamin all oppose to structural linguistic view. What is different is that Benjamin opposed the human control and domination of language by emphasizing the identity of language and spirit. We’d rather to say that it’s opposed to structuralism but to the opposite relation between the subject and object. In essence, Benjamin is not against the concepts like structure, order, and center etc. He just opposes the structure, order and center etc. that are based on the interference to language done by the subject-object relationship, emphasizing that language will not be constrained by the fetter of any subject-object relationship.&lt;br /&gt;
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==Ouyang Ling 欧阳玲==&lt;br /&gt;
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If we consider more carefully, he doesn’t disapprove the logocentrism completely as he just emphasizes that logocentrism cannot be constructed and learned by the subject and object relation. It must be built and realized by the way of unintentionality or the “presence” of logos will be delusive. On the contrary, Derrida is refusing any metaphysics during the process of his deconstruction of any conceptual system. In his opinion, Benjamin has not cast off the set pattern of logocentrism because Benjamin’s “Pure language” is still a construction of a concept, no matter how transcendental and absolute identity it is.&lt;br /&gt;
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通过进一步的思考，我们会发现本雅明并不是完全不认同逻各斯中心主义，他强调不能仅依靠主客体关系来构建和学习逻各斯中心主义，必须通过非目的性的方式建立起逻各斯，否则逻各斯的存在将毫无意义。与之相对的，德里达则反对在概念系统的解构中一切形而上学的观念，他认为本雅明提出的“纯语言”观点是又一形而上学概念的构建，不论此概念体现出了超验主义或是绝对同一性，它都没有丢弃逻各斯中心主义的固定模式。--Ouyang Ling&lt;br /&gt;
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如果我们更仔细地想想，我们会发现本雅明并非完全反对逻各斯中心主义，他只是强调不能依靠主客体关系来构建和学习该中心主义，我们必须通过非故意的方式建立起逻各斯中心主义，否则它只会迷惑人。相反，德里达在解构任何概念系统的过程中拒绝任何形而上学的观点。他认为本杰明并没有摆脱逻各斯中心主义的模式，因为无论本杰明的&amp;quot;纯语言&amp;quot;达到何种程度的超验性和绝对同一性，它仍然是概念构建。--[[User:Wu Qi|Wu Qi]] ([[User talk:Wu Qi|talk]]) 14:48, 22 October 2020 (UTC)&lt;br /&gt;
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==Peng Dan 彭丹==&lt;br /&gt;
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Videlicet, if God were the person who deconstructs, we would see that rationality dominates everything and logos will be the deconstruction in the speaker’s status. It would not be the deconstruction of deconstruction. Once there is an unshakable center, logos will take the domination and everything will obey the authority in the center. Therefore, in order to avoid constructing any central system or structure, Derrida take the difference as the origin of everything. &lt;br /&gt;
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==Peng Juan 彭娟==&lt;br /&gt;
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There will be no identity and everything is constantly reproducing and differentiating, so it presents nothing but difference. At any moment, it’s different from others as well as itself. In this way, the identity doesn’t exist. All we can observe is the dynamic stuff, which constantly changes.&lt;br /&gt;
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==Peng Ruihong 彭锐宏==&lt;br /&gt;
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'''2. Metaphrase and Relevant Translation'''&lt;br /&gt;
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As Benjamin and Derrida has different linguistic view, their comprehension about the translation criterion are also different from each other’s. Benjamin thinks that in various languages, the ultimate essence, pure language, is only relevant to the linguistic factors and its changes. In linguistic works, it bears heavy alien meaning. Translation’s unique function is to make the pure language get rid of this heavy burden, to turn the symbolic action into symbolic objects itself, to make the pure language reoccur during the linguistic transition. '''(Benjamin, 67)'''&lt;br /&gt;
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==Peng Xiaoling 彭小玲==&lt;br /&gt;
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In other words, real languages, without exception, refer to things externally. To recover the identity of language and spirit, we must let the language to break the shackle of meaning while the effects of translation are to make the two languages free of the heavy burden by making the modes of reference of the two languages complementary of each other. To judge whether translation of a work is successful is to observe the combination of signifier and signified of language.&lt;br /&gt;
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换句话说，纯语言全都指代外部事物。要恢复语言和精神的同一性，我们必须让语言打破意义的枷锁，而翻译的作用是通过让两种语言的指代方式互补从而摆脱这种繁重的负担。判断作品的翻译是否成功，就要观察语言能指和所指的组合关系。--[[User:Peng Xiaoling|Peng Xiaoling]] ([[User talk:Peng Xiaoling|talk]]) 09:13, 21 October 2020 (UTC)&lt;br /&gt;
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换句话说，纯语言全都指代外部事物。要恢复语言和精神的同一性，我们必须让语言打破意义的枷锁。翻译所要达到的效果就是利用两种语言之间的互补，让这两种语言从翻译的束缚中解放出来。判断一篇翻译作品是否成功，就是看其语言能指和所指之间的组合关系。--[[User:Wang Xuan|Wang Xuan]] ([[User talk:Wang Xuan|talk]]) 01:46, 22 October 2020 (UTC)Wang Xuan&lt;br /&gt;
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==Peng Yongliang 彭永亮==&lt;br /&gt;
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Benjamin thinks Hölderlin’s translation work is the perfect sample of for instance, his works are almost perfect transition of texts because they are absolutely literal translation and metaphrase but also not readable. It dismembered the sentences, leading to the consequence that meaning is missing. '''(Paul De Man 104)''' To Benjamin, the translation that gets the language out of the shackle of meaning, and makes the language manifest itself to covey the spirits is the best translation. &lt;br /&gt;
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==Peng Yuzhi 彭育志==&lt;br /&gt;
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Anyway, translation has to turn back to language itself, to the reference of language, to reach pure language commonly shared by the two languages by complementing the modes of reference of source language and target language. Benjamin declares that the interlinear version of Babel is the prototype of all translation due to the reason that Babel is the words of God, which are so true that language identifies with spirit.&lt;br /&gt;
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无论如何，翻译必须回归语言本身，回到语言的指称中去，直达纯语言。这种纯语言通过源语和目的语指称模式的互补而由这两种语言所共享。本雅明称，不同文字隔行对照版的巴别，是所有翻译的原型。因为巴别是上帝的语言，它是绝对正确的，因而它即是精神。--[[User:Peng YuZhi|Peng YuZhi]] ([[User talk:Peng YuZhi|talk]]) 13:00, 21 October 2020 (UTC)&lt;br /&gt;
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无论如何，翻译必须回归语言本身，回到语言的指称中，去达到所谓的纯语言。这种纯语言就是通过源语和目的语指称模式的互补，并由这两种语言所共有。本雅明认为，隔行对照版的巴别塔就是所有翻译的原型。这是因为巴别塔是上帝的语言，它是绝对正确的， 与精神保持一致。--[[User:Wu Yilu|Wu Yilu]] ([[User talk:Wu Yilu|talk]]) 03:08, 22 October 2020 (UTC)&lt;br /&gt;
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==Qi Kai 漆凯==&lt;br /&gt;
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Derrida is totally different from Benjamin’s proposition that he proposes the relevant translation. In general, “relevant” is the best translation in Derrida’s view, which is also the sort of translation expected by people. It’s a kind of translation that fulfills its duty and finishes its mission. It’s that kind of translation that finds the most comparatively accurate words for the expressions in the source text, that language used is the most correct, appropriate, relevant, direct and apropos…&lt;br /&gt;
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==Qu Miao 瞿淼==&lt;br /&gt;
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Obviously, Derrida is trying to use a series of words to set standard for the best translation or the ideal translation. What’ a pity is that many scholars believe the literal meaning that such is what set by Derrida, ignoring the implication. '''(Wang Yingchong 15)''' However, if we reflect on the “relevant”, we can hardly make what it means clear, and Derrida himself has made no ostension on “relevant”, thus, this is actually the word game of Derrida that meaning being not assured makes translation impossible.&lt;br /&gt;
很明显，德里达正努力用一系列的词设立一个标准，来鉴定最好的翻译或者最理想的翻译。遗憾的是 ，许多学者都认为德里达所定义的字面意义忽略了暗含意义（王英冲 15）。然而，如果我们仔细考虑“相关性”，就很难弄清楚意思，而德里达本人并未明确定义“相关性”，因此，意义的不确定使翻译不可能，这实际上是德里达的语言游戏。--[[User:Qu Miao|Qu Miao]] ([[User talk:Qu Miao|talk]]) 02:33, 23 October 2020 (UTC)&lt;br /&gt;
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显而易见，德里达在尝试用一些词来设立一个标准，从而来评判出最佳翻译或者最理想的翻译。遗憾的是 ，许多学者都认为德里达所定义的标准在字面意义上忽略了其内在意义。（王英冲 15）。然而，如果我们仔细考虑“相关性”，就很难弄清楚意思。而德里达本人并未明确定义“相关性”，因此，意义的不确定使得翻译不可能存在，这实际上是德里达的文字游戏。--[[User:Liu Yiyu|Liu Yiyu]] ([[User talk:Liu Yiyu|talk]]) 09:03, 23 October 2020 (UTC)Liu Yiyu&lt;br /&gt;
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==Quan Meixin 全美欣==&lt;br /&gt;
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With the trick of the untranslatability of the word “relevant”, Derrida implies the deconstruction of his standard of translation. What Derrida really wants to express is that if there was a standard of translation, and the standard would work as the same, then would the standard still support itself? The untranslatability of “relevant” has already told us the untranslatability, not mentioning the translation standard. In Derrida’s point of view, meaning is already the delayed presence, leading to the result that translation is a debt that translator can never pay off, a mission that translator can never finish. Therefore, can text really not be translated?&lt;br /&gt;
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==Sagara Seydou ==&lt;br /&gt;
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Derrida says that we have to know what relevant translation is, what relevant translation means and what the essence of translation is, its mission, ultimate purpose and final mission. On one hand, relevant translation, no matter wrong or right, is generally better than irrelevant translation, and is likely to be viewed as the best translation. The definition of translation skopostheorie and the definition of the essence of realization in translation are contained in the definition of relevant translation. Therefore, the question that what relevant translation is goes back to what translation is or what should the translation be. While what the translation should be seems to be equal to what the possible best translation would be. '''(Derrida 429)'''&lt;br /&gt;
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==Shi Diwen 石迪文==&lt;br /&gt;
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Therefore, Derrida’s discussion about the standard of translation goes back to the translatability and untranslatability. Actually, what Derrida wants to prove is that translation itself is a paradox, that is, just in the untranslatability can translation exist and go on. The original text always owes to translation, and constantly summons translation, and in a larger sense, anything meaningful calls for interpretation. '''(Wang Yingchong 17).''' Whereas, the good translation or the translation standard can only be discussed in absolute translatability; pursuit of translation in absolute untranslatability will be nonsense, and it can only be infinitely approached but never reached as once it become absolute translatability, which means translation presents the meaning in limitless differánce in presence, the identity occurs, then the translation will be unnecessary. &lt;br /&gt;
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==Shi Haiyao 石海瑶==&lt;br /&gt;
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In short, Derrida and Benjamin have different view on translation. Benjamin worships metaphrase through which two languages can supplement each other’s referential pattern to manifest the pure language, whose spirits are the best translation. While Derrida plays a small fraud that he sets relevant translation as translation criterion but he doesn’t make it clear, in which way he indicates his ideas of untranslatability and that pursuit of translation in absolute untranslatability will be nonsense, and it can only be infinitely approached but never reached.&lt;br /&gt;
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==Si Yu 司妤==&lt;br /&gt;
'''3. Afterlife and Rebirth'''&lt;br /&gt;
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Benjamin also differs most from Derrida in the insight of the relationship between the original work and translation work. In Benjamin’s perspective, the purpose of translation is to promote the complementation of referential modes of different languages so as to restore the identity. Therefore, translation work is never the copy or reappearance of the original work, but the supplement and succession of the original work and in turn, original work can only rely on its translation work to refresh its vitality and go on its subsistence. &lt;br /&gt;
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==Song Jianru 宋建茹==&lt;br /&gt;
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Various forms of life closely correlate with biological phenomena though it has no great significance to biological phenomena. Translation work grows out of original work or we’d rather say it originates from the afterlife. Due to the fact that original work precedes the translation work, and in the range of world literature, no great works meets a perfect translator when its author is still alive, so translation work only marks the continuity of the original work. '''(Benjamin 76)''' Benjamin has regarded the original work as vigorous organism so that translation is viewed as the continuity of original work, which is also the afterlife of original work. Benjamin stresses that life is a historical concept instead of the existential concept. Life doesn’t limit within biological body. Only when we view life as a historical process of organism survival, can the concept of life be understood correctly.&lt;br /&gt;
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不同的生活方式与生物现象密切相关，尽管前者对后者影响不大。译作源于原作，或者我们可以说译作源于原作的来世。由于原作先于译作而存在，世界文学中的伟大作品在其作者在世时都遇不到完美译员，因此译作仅仅标志着原作在延续。（班杰明76）班杰明把原作看作充满活力的有机体，因而译文视为原作的延续，也就是原作的来世。班杰明强调，生命是一个历史概念，而非存在主义概念。生命不受限于生物体而存在。只有当我们把生命看作有机体存活的历史进程，生命的概念才能得以正确理解。--[[User:Song Jianru|Song Jianru]] ([[User talk:Song Jianru|talk]]) 08:15, 24 October 2020 (UTC)&lt;br /&gt;
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==Su Lin  苏琳==&lt;br /&gt;
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With this sense, translation work being the continuity of original work can be comprehended. Those that was flashy will corrupt and those that was fashionable will become old. So does the linguistic form. The linguistic form of the original work will die out with time passing by, but the life of original work will not die with the existential form of original work. With the help of translation work, the life of original work will be continued, updated and expanded, thus being constantly succeeded in its life history. Hence, translation was like the source of rejuvenation. '''(Kramer 24)'''&lt;br /&gt;
在这个意义下，我们可以理解翻译作品是对原作的延续。那些浮华的终将腐败，那些时尚的也终将落伍。语言学的形式也是如此。原作的语言形式会随着时间的流逝而褪去，但原作的生命却不会因它的存在形式消亡，在翻译这项工作的扶持下，原作的生命得以延续、更新和扩展，从而在其生命史上不断取得成功。因此，翻译就像是复兴的源泉。--[[User:Su Lin|Su Lin]] ([[User talk:Su Lin|talk]]) 15:10, 23 October 2020 (UTC)&lt;br /&gt;
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==Tan Xingyue 谭星越==&lt;br /&gt;
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The final purpose of language is to meet our needs to show that the relation among languages is quite close. Translation cannot reveal or build such hidden relation, but translation can reoccur it by intensification and embryotic appearance. Right through the expression of embryotic form, it makes relation among languages reoccur. (Benjamin,60) Accordingly, translation is not the birth of original work nor the death of original work but the living on of the original. It’s the birth after death and death after birth. In this way, Benjamin has assured the position of the original work which is higher than the translation work, on which the original work depends to continue its life. Translation can never be equal to the original work because only the original language has the vigor to embody the fruit of pure language.&lt;br /&gt;
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语言的最终目的是满足我们的需求，以展示语言之间的关系是非常密切的。翻译不能揭示或建立这种隐藏的关系，但翻译可以通过强化和再生的形式重现这种关系。正是通过再生形式的表达，使语言之间的关系得以重现。（本杰明，60）因此，译作不是原作的诞生，也不是原作的消亡，而是原作生命的延续。译作成为原作永恒的来世。这样，本雅明就确定了原作的地位高于译作，而原作依靠译作得以继续生存。译作不可能等同于原作，因为只有原作才有活力体现纯语言的成果。--[[User:Tan Xingyue|Tan Xingyue]] ([[User talk:Tan Xingyue|talk]]) 15:20, 21 October 2020 (UTC)&lt;br /&gt;
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语言的最终目的是满足我们的需求，以展示语言之间的关系是非常密切的。翻译不能揭示或建立这种隐藏的关系，但翻译可以通过强化和再生的形式重现这种关系。正是通过再生形式的表达，使语言之间的关系得以重现。（本杰明，60）因此，译作不是原作的诞生，也不是原作的消亡，而是原作生命的延续。译作是生死的轮回。这样，本杰明就确定了原作的地位高于译作，而原作依靠译作得以继续生存。译作不可能等同于原作，因为只有原作才有活力体现纯语言的成果。--[[User:Lou Cancan|Lou Cancan]] ([[User talk:Lou Cancan|talk]]) 13:20, 23 October 2020 (UTC)&lt;br /&gt;
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==Tan Xinjie 谭鑫洁==&lt;br /&gt;
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Compared to that, Derrida thinks that translation work is the rebirth of the original work and notes that there are two implications in “rebirth”, which are given by “Fortleben and Uberleben” in Benjamin’s The Task of Translator, indicating that life will continue, consistent and survival continues, but it also indicates resurrection after death. Derrida emphasizes that original work has equal and independent position with translation work, which are complementary for each other. If the original text calls for supplement, that’s because it’s not flawless, complete, entire and self-identified. The original texts to be translated fell into exile from the very beginning. '''(Derrida 2003)''' &lt;br /&gt;
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==Tan Yuanyuan 谭媛媛==&lt;br /&gt;
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All in all, Derrida and Benjamin have shown their distinctive comprehension about the original work and translation work. Benjamin has claimed that translation work is the afterlife of original work and original work also depends on translation to continue its life. Due to the fact that only the original work can deliver birth to pure language, although the very relations among languages can be reoccurred in translation work, original work ranks first. Derrida holds another opinion that the two, original work and translation work are equal and complementary.&lt;br /&gt;
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总之，德里达和本杰明对原作和翻译工作表现出了他们独特的理解。本雅明曾说，翻译是原作的来世，原作也要靠翻译来延续其生命。由于只有原作才能表达出纯语言，虽然语言之间的关系可以在翻译工作中重现，但原作是排在第一位的。德里达则持另一种观点，认为原作和翻译工作二者是平等互补的关系。--[[User:Tan Yuanyuan|Tan Yuanyuan]] ([[User talk:Tan Yuanyuan|talk]]) 02:29, 24 October 2020 (UTC)&lt;br /&gt;
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==Tang Bei 汤蓓==&lt;br /&gt;
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Secondly, on the aspect of the author, deconstructivism emphasizes the intertextuality instead of the author, declaring that God was already dead and trying to overthrow the concept that author is the source of meaning from the ground level, so translation views of deconstructivism denies the originality of the author and even the copyright of the author(Jiang Xiaohua &amp;amp; Zhang Jinghua 42). However, Benjamin advocates the originality of the author. Though he has not mentioned the issues about author’s copyright, we can infer from the emphasis of originality of original work and creativity of the author that he should admit the copyright of the author.&lt;br /&gt;
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==Tang Ming 唐铭==&lt;br /&gt;
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Thirdly, on the aspect of translator, translation view of deconstructivism places the translator in the equal position of author, but at the meantime, it denies the creativity and copyright of translator. What Derrida does is to completely ignore the subjectivity of translator but focus on text. On the contrary, Benjamin does not only emphasize the position of translator and consider that translator contributes creativity as well as author, which just differs in the way of wok and he also points it out that the success of translation depends on the ability of translator.&lt;br /&gt;
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==Tang Yiran 汤伊然==&lt;br /&gt;
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Fourthly, on the aspect of translation work, translation view of deconstructivism has eliminated the difference between the original work and translation work, believing that original work and translation work supplements each other and coexists with each other; the original work lives on with the help of translation work while the translation work becomes independent text because it succeeds the semantic differánce of the original work. &lt;br /&gt;
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==Tao Ye 陶冶==&lt;br /&gt;
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Fifthly, on the aspect of translation criterion, translation view of deconstructivism has deconstructed the traditional translation view that seeks loyalty and equivalence and it has deconstructed the comprehension, extraction and transmission proposed by itself. '''(Wang Yingchong 18)''' As a result, it has treated the translatability and untranslatability in an equal way, indicating that any text can be translatable and untranslatable. Accordingly, the criterion of translation has been dissolved. Compared to Derrida, Benjamin prefers literal translation, advocating that we should promote the supplement of the referential modes of original work and translation work in the general purpose of realizing pure language. &lt;br /&gt;
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==Wang Meiling 王美玲==&lt;br /&gt;
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'''Translation Aesthetics&lt;br /&gt;
Study on Gladys’ Translation of The Border Town from the Perspective of Translation Aesthetics'''&lt;br /&gt;
Translation, especially literary translation, is a creative activity in nature. Translation is the pursuit of beauty and truth, and it involves philosophical concerns. Aesthetics, the study of beauty, is an eternal theme of Chinese literature. Ever since the emergence of translation, aesthetics and translation have been closely bonded together. Translation Aesthetics is a perfect combination of translation and aesthetics.&lt;br /&gt;
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==Wang Xuan 王轩==&lt;br /&gt;
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'''1 About Translation Aesthetics'''&lt;br /&gt;
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翻译美学&lt;br /&gt;
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Translation Aesthetics is to analyze, explain and solve the aesthetic problems emerging in interlingual conversion. Its main contents are aesthetic subjects, aesthetic objects, the aesthetic subject’s experience of aesthetic objects, the methods of representing beauty in translating process, the criteria of translation aesthetics and so forth.&lt;br /&gt;
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翻译美学是分析、解读并且解决不同语种对话间出现的问题，主要包括美学主体、美学客体、美学主体的客体经验、翻译过程中传递美的途径、翻译美学标准等等。&lt;br /&gt;
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'''1.1 Development of Translation Aesthetics in China'''&lt;br /&gt;
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中国的翻译美学发展脉络--[[User:Wang Xuan|Wang Xuan]] ([[User talk:Wang Xuan|talk]]) 01:20, 22 October 2020 (UTC)Wang Xuan&lt;br /&gt;
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翻译美学是分析、解释和解决语言转换中出现的美学问题。它的主要包括美学主体、美学对象、审美主体的对象经验、翻译过程中表达美的方式以及翻译美学标准等。--[[User:Yang Yue|Yang Yue]] ([[User talk:Yang Yue|talk]]) 02:41, 22 October 2020 (UTC)&lt;br /&gt;
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翻译美学用于分析、解读和解决语言转换中出现的美学问题，主要包括美学主体、美学客体、审美体验、在翻译过程中如何呈现美感以及翻译美学标准等等。--[[User:Guan Qinqing|Guan Qinqing]] ([[User talk:Guan Qinqing|talk]]) 11:28, 22 October 2020 (UTC)&lt;br /&gt;
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==Wang Yu 王煜==&lt;br /&gt;
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The traditional translation theory in China originated from the translation of Buddhist scriptures more than 1700 years ago. Chinese translation theory has a close relationship with philosophy and aesthetics. In China, aesthetic thoughts have a long history. Confucius, Mencius, Laozi and other famous ancient thinkers put forward their views on aesthetics. In the process of the formation and development of literary translation, ancient aesthetic thoughts provided the ideological basis for it. Classical aesthetic thoughts made subtle influence on Chinese literary translation theories. The translation theories which contain classical aesthetics are naturally different from other countries' translation theories.&lt;br /&gt;
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中国传统翻译理论起源于1700多年前的佛经翻译。该理论与哲学、美学有着紧密的联系。在中国，美学思想有着悠久的历史。孔子、孟子、老子等古代著名思想家都曾提出自己的美学观。古代美学思想为文学翻译的形成和发展过程提供了思想基础。古典美学思想对中国文学翻译理论产生了潜移默化的影响。这种包含古典美学思想的翻译理论与其他国家的翻译理论有着天然的区别。--[[User:Wang Yu|Wang Yu]] ([[User talk:Wang Yu|talk]]) 08:28, 21 October 2020 (UTC)&lt;br /&gt;
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中国传统翻译理论起源于1700多年前的佛经翻译,而这种翻译理论同哲学、美学有着密切的联系。在中国，美学思想有着悠久的历史。孔子、孟子、老子等古代著名思想家都提出了自己的美学观。并且在文学翻译的形成和发展过程中，古典美学思想为其提供了思想基础，产生了潜移默化的影响。因此，这种包含古典美学思想的翻译理论自然不同于其他国家的翻译理论。--[[User:Peng Xiaoling|Peng Xiaoling]] ([[User talk:Peng Xiaoling|talk]]) 09:35, 21 October 2020 (UTC)&lt;br /&gt;
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==Wang Yuan 王源==&lt;br /&gt;
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According to Liu Miqing, “Aesthetic constituents of source text can be classified into two systems: formal aesthetic constituents and non-formal aesthetic constituents.”[4]. Formal aesthetic system include the scope of phonetics, morphology and syntax. While the non-formal aesthetic system is non-material, non-natural sensible. It is an indefinite, non-quantitative system. So it is also called “fuzzy sets” or “sets of fuzziness”. All kinds of beauty in the two systems are aesthetic objects, which we will experience in translation.&lt;br /&gt;
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基于刘宓庆的翻译理论，“源文本的美学成分可以分为两个系统：正式美学成分和非正式美学成分。”【4】.正式美学系统包括语音学、形态学和句法学的范畴。而非正式美学系统则是非物质、非自然的内容。这是一种不明确，非量化的系统。因此它也被称之为“模糊集”或者“集的模糊性”。在这两个系统中的所有种类的美都是美学目标，而这一体验则会在翻译中体现出来。--[[User:Wang Yuan|Wang Yuan]] ([[User talk:Wang Yuan|talk]]) 14:47, 21 October 2020 (UTC)&lt;br /&gt;
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刘宓庆认为，“源文本的审美客体可以分为两个系统：形式系统和非形式系统。”【4】.形式系统包括语音学、形态学和句法学的范畴。而非形式系统则包含非物质、非自然的成分，它是一种不明确，非量化的系统。因此它也被称之为“审美模糊集”或者“集的模糊性”。在这两个系统中，不同种类的美都属于审美客体，这也是我们在翻译中将要感受到的。--[[User:Tan Xingyue|Tan Xingyue]] ([[User talk:Tan Xingyue|talk]]) 15:39, 21 October 2020 (UTC)&lt;br /&gt;
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==Wei Honglang 韦洪朗==&lt;br /&gt;
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Yan Fu, a Chinese scholar, once put forward the theory of faithfulness, expressiveness and elegance, and Qian Zhongshu also put forward the theory of transformation, and so on. All these theories reflect the influence of classical aesthetics on Chinese writers. Reviewing its development, it is not difficult to find that almost all Chinese translation theories have their aesthetic origin. &lt;br /&gt;
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==Wei Yafei 魏亚菲==&lt;br /&gt;
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'''1.2 Lin Yutang’s theory of Translation Aesthetics'''&lt;br /&gt;
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In 1933, Lin Yutang put forward three principles for translation: faithfulness, smoothness and beauty in the article of On Translation. The three principles of translation represent three responsibilities respectively: that toward the original author, that toward the reader, and that toward art. Here, fidelity becomes threefold. It is not only the fidelity to the original author, but also fidelity to the target reader and to art. In Lin Yutang’s opinion, translation is a kind of art. The main difference between art and science is that science is guided by the rule, while art is not. As for the standard of beauty in translation, he thought that “Every writing has its beauty in sound, meaning, spirit and style.”&lt;br /&gt;
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==Wen Sixing 文偲荇==&lt;br /&gt;
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[1] The ideal translator should make his work an art. He should love it with the heart of art, be careful with it and regard translation as fine art. Especially when translating literary works, translator should pay more attention to the beauty of words. Lin Yutang believes that the most important thing in literary translation is to embody the style of the original work. That is, “not only what it says, but also how to say it”. From this point of view, Lin Yutang's translation thought is mainly aimed at literary translation. Among his three translation principles (faithfulness, smoothness and beauty), the third principle--beauty is regarded as the most important point in literary translation. Therefore, Lin Yutang's translation thought is also recognized as “translation of aesthetics” by some scholars.&lt;br /&gt;
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理想的译者应该使他的翻译成为一种艺术。他应该以一种艺术之心去爱它，小心对待他，并且将翻译当成艺术。尤其是在翻译文学作品的时候，译者应当花更多心思在词汇的优美与否上。林语堂认为在文学作品翻译时最重要的事是体现作品的风格。也就是说，“不仅是看他说了什么，还要看他怎么说的。”从这个角度来看，林语堂的翻译思想主要着眼于文学翻译。在他的三个翻译原则（忠实性，流畅性，和优美程度），第三原则——优美程度，则被看作文学作品翻译中最重要的一点。因此林语堂的翻译思想也被一些学者视为“美学的翻译”。&lt;br /&gt;
--[[User:Wensixing|Wensixing]] ([[User talk:Wensixing|talk]]) 07:34, 21 October 2020 (UTC)&lt;br /&gt;
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理想的译者应该让自己的译文成为一件艺术作品。他/她应该以一颗艺术之心去爱它，小心照料，并且将翻译当成艺术。尤其是在翻译文学作品的时候，译者应当花更多心思在选词优美上。林语堂认为，文学作品翻译时最重要的事莫过于体现作品的风格。也就是说，“不仅是体现原文的内容，还要体现其表达方式。”从这个角度来看，林语堂的翻译思想主要着眼于文学翻译。在他的三个翻译标准（忠实，通顺，美）中，其中第三条美的标准，便成为文学作品翻译中最重要的一条标准。因此林语堂的翻译思想也被一些学者视为“美学的翻译”。&lt;br /&gt;
--[[User:Zeng Fangyuan|Zeng Fangyuan]] ([[User talk:Zeng Fangyuan|talk]]) 08:16, 21 October 2020 (UTC)&lt;br /&gt;
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==Wen Xiaoyi 文晓艺==&lt;br /&gt;
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So in the article of '''On Translation''' written by Lin Yutang, the main content is about the discussion on translation standards, and the core idea of the full text is that translation is an art. The most important thing in literary translation is to express the beauty of the original work, and to embody the original author's “how to say” in the translation. At the same time, Lin Yutang also affirmed that translation is creation. The translation with beauty features can make the original work be loved by the readers in the foreign culture, spread widely to the other countries, and achieve its equivalent effect in the source language environment to the greatest extent, which is the greatest responsibility and loyalty to the original text, the author, the readers and the art.&lt;br /&gt;
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==Wu Kai 吴恺==&lt;br /&gt;
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'''1.3 Liu Miqing’s theory of Translation Aesthetics'''&lt;br /&gt;
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In 1995, Liu Miqing offers a theoretical framework of Translation Aesthetics in detail in his book An Introduction to Translation Aesthetics. “Translation Aesthetics refers to the study on aesthetic object (the source text and the target text), the aesthetic subject (translators and readers) and aesthetic activities in translation, such as aesthetic judgments, aesthetic appreciation, and creative aesthetic representation in translation.”[2]&lt;br /&gt;
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1.3刘宓庆的翻译美学理论&lt;br /&gt;
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1995年，刘宓庆在其著作《翻译美学理论》中详细介绍了翻译美学的理论框架。“翻译美学是指对翻译中审美对象（原文和译文）、审美主体（译者和读者）以及翻译中的审美活动的研究，如翻译中的审美判断、审美欣赏和创造性的审美表现。”[2]--[[User:Wu Kai|Wu Kai]] ([[User talk:Wu Kai|talk]]) 12:26, 23 October 2020 (UTC)&lt;br /&gt;
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1.3 刘宓庆的翻译美学理论&lt;br /&gt;
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1995年，刘宓庆在《翻译美学导论》一书中详细阐述了翻译美学的理论框架。“翻译美学是指对翻译中的审美客体(原文和译文)、审美主体(译者和读者)和审美活动的研究，如审美判断、审美欣赏、翻译中的创造性审美表征等。”--[[User:Xiao Shuangling|Xiao Shuangling]] ([[User talk:Xiao Shuangling|talk]]) 02:26, 24 October 2020 (UTC)Xiao Shuangling&lt;br /&gt;
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==Wu Qi 吴琪==&lt;br /&gt;
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“Aesthetic object (AO) refers to the objective matters that human's aesthetic activity targets at.[3] However, not everything in the objective world is aesthetic object. For instance, The Book of Songs on the bookshelf is not an aesthetic object until translator buys and translate it. In the aesthetic process, the translator appreciate the beauty in sound, beauty in form and beauty in sense in the book.&lt;br /&gt;
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审美客体（AO）是指人们审美活动所针对的客观事物。【3】然而，在客观世界里，并非所有事物都是审美对象。例如，书架上的诗经只有被译者买下并翻译了，才是一个审美对象。再审美过程中，译者欣赏到了这本书的音美、形美、意美。--[[User:Wu Qi|Wu Qi]] ([[User talk:Wu Qi|talk]]) 14:42, 21 October 2020 (UTC)&lt;br /&gt;
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审美对象（AO）是指人们在审美活动中所针对的客观事物。【3】然而，在客观世界里并非所有事物均是审美对象。比如，书架上的诗经只有在被译者买下并翻译之后才能称之为审美对象。在审美过程中，译者体会到了这本书的音美，形美和意美。--[[User:Wang Yuan|Wang Yuan]] ([[User talk:Wang Yuan|talk]]) 14:58, 21 October 2020 (UTC)&lt;br /&gt;
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==Wu Qiong 吴琼==&lt;br /&gt;
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It clings to the aesthetic constituents and the aesthetic effects of the ST. If one pursues or analyzes the beauty in translation without adequate consideration of the ST, it equals to fish in the air and yields nothing but vainness. The attribute of TAO is different from the attribute of AO. On the one hand, it is attached to the aesthetic composition of SL. That is to say, translator cannot add something that is not in the aesthetic constituents of ST.&lt;br /&gt;
审美客体与源语翻译的审美因素及其效果紧密相关。如果一个人追求或分析翻译之美而未曾妥当考虑结构化文本，那就像是鱼在天空那样颗粒无收、徒劳无功。翻译的审美客体因素与审美客体因素是不同的。一方面，翻译审美客体要考虑到源语的审美组成。即译者不能凭空添加不符合结构化文本审美组成的成分--[[User:WuQiong|WuQiong]] ([[User talk:WuQiong|talk]]) 01:46, 23 October 2020 (UTC)。&lt;br /&gt;
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==Wu Xiang 邬香==&lt;br /&gt;
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According to Liu Miqing, “Aesthetic constituents of source text can be classified into two systems: formal aesthetic constituents and non-formal aesthetic constituents.”[4]. Formal aesthetic system include the scope of phonetics, morphology and syntax. While the non-formal aesthetic system is non-material, non-natural sensible. It is an indefinite, non-quantitative system. So it is also called “fuzzy sets” or “sets of fuzziness”. All kinds of beauty in the two systems are aesthetic objects, which we will experience in translation.&lt;br /&gt;
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==Wu Yilu 吴一露==&lt;br /&gt;
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The aesthetic subject (AS) refers to people who carry out aesthetic appreciation activity on the aesthetic object; and translation aesthetic subject (TAS) refers to the translator. When translating, translator plays a dual role. For one thing, he is the recipient of the SL text who should first decode the aesthetic information in the SL text. In this process, his role is both passive and subjective. For another, he is identified as the creator of the target text. Being so, he undertakes the task of aesthetic representation to the target text readers. Hence he ought to play his dynamic role as the aesthetic subject.&lt;br /&gt;
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审美主体是指对审美客体进行审美欣赏活动的人;翻译审美主体则指的是译者。在翻译中，译者扮演着双重角色。一方面，他作为文本的接受者，首先要对文本中的美学信息进行解码。在这个过程中，他的角色既是被动的，也是主观的。另一方面，他也是目标文本的创造者。所以，他承担着对目标文本读者进行审美再现这一任务。因此，他应该发挥自己作为审美主体的能动作用。--[[User:Wu Yilu|Wu Yilu]] ([[User talk:Wu Yilu|talk]]) 02:47, 22 October 2020 (UTC)&lt;br /&gt;
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审美主体是指对审美客体进行审美欣赏活动的人;翻译审美主体则指的是译者。在翻译中，译者扮演着双重角色。一方面，他作为文本的接受者，首先要对文本中的美学信息进行解码。在这个过程中，他的角色既是被动的，也是主观的。另一方面，他也是目标文本的创造者。所以，他承担着对目标文本读者进行审美再现这一任务。因此，译者应该发挥自己作为审美主体的能动作用。--[[User:Xu Jing|Xu Jing]] ([[User talk:Xu Jing|talk]]) 09:52, 22 October 2020 (UTC)&lt;br /&gt;
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==Wu Zijia 吴子佳==&lt;br /&gt;
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Comparing Lin Yutang’s theory with Liu Miqin’s theory, we can find that their thoughts have something in common. They both agree that Translation Aesthetics plays a significant role in translation, especially literary translation. Lin Yutang believes that literary translation is a creative art with beauty as its soul, so translators should always keep a heart of beauty-pursuit during the process of translating. While Liu Miqing offers a theoretical framework of Translation Aesthetics in detail. He regards source language and target language as aesthetic objects, treats translators as aesthetic subjects, and constructs basic framework of Translation Aesthetics in a dynamic role of subject and object.&lt;br /&gt;
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==Xiao Shuangling 肖双玲==&lt;br /&gt;
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'''2 A case study of The Border Town from the perspective of Translation Aesthetics'''&lt;br /&gt;
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''The Border Town'' is Shen Congwen’s masterpiece, which is also the supporting pillar for him to construct Xiangxi. He adopted a pristine love story to display the pursuit of his ideal life. The love story set in a town of Hunan province which is beside Sichuan province. In the 1930s, it is a quite tranquil place without lots of people in rural area. People there live a simple and honest life. The language of the novel is simple, deep, implicit and subtle, and it is in harmony with the content. It contains rich poetic feelings and produces a beautiful and graceful beauty.&lt;br /&gt;
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2.从翻译美学的角度看《边城》个案研究&lt;br /&gt;
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《边城》是沈从文的代表作，也是他建设湘西的支柱。他通过一个纯朴的爱情故事来表现他对理想生活的追求。这个爱情故事发生在湖南省的一个小镇，与四川省相邻。在20世纪30年代，由于没有什么人住在农村，这是一个相当安静的地方。那里的人过着简单而又实在的生活。小说的语言简单，深邃，含蓄而又微妙，与内容融为一体。它给人以诗情画意般的感受，产生了一种优雅美。--[[User:Xiao Shuangling|Xiao Shuangling]] ([[User talk:Xiao Shuangling|talk]]) 02:17, 24 October 2020 (UTC)Xiao Shuangling&lt;br /&gt;
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2.从翻译美学的角度看《边城》个案研究&lt;br /&gt;
《边城》是沈从文的代表作，也是他建设湘西的主要作品。他通过一个纯朴的爱情故事表现了他对理想生活的追求。这个爱情故事发生在与四川省交界的一个湖南小镇。那是20世纪30年代里的一个人少宁静的乡村地区，村里的人过着简单而又实在的生活。小说的语言朴实，深邃，含蓄而又微妙，与其内容相得益彰。它给人以诗情画意般的感受，散发着一种优雅美。--[[User:Xiao Ting|Xiao Ting]] ([[User talk:Xiao Ting|talk]]) 04:10, 24 October 2020 (UTC)Xiao Ting&lt;br /&gt;
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==Xiao Ting 肖婷==&lt;br /&gt;
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Literary translation is a very important part in translation studies, and it’s a complicated process that requires many different skills. On the one hand, the aesthetic style and aesthetic feeling are very necessary for the author to compose his work. Therefore, the translator should pick up the literary words to transform the aesthetic sense of the source text in the process of translation. On the other hand, literary translation is the representations of all-round artistic quality which can make the target reader get the similar appreciation of the original beauty in the context of the target language. In this part, a case study is conducted in detail based on Gladys Yang’s English translation of ''The Border Town'' from the perspective of Translation Aesthetics.&lt;br /&gt;
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文学翻译是翻译研究中非常重要的一个环节，它也是一个复杂的过程，需要很多不同的技巧。 一方面，作者在创作过程中，审美风格和审美感受的揉入是非常必要的。 因此，译者在翻译的过程中，要拾掇好文学词汇，转化源文本的美感。 另一方面，文学翻译是全方位艺术品质的表现，它可以使目标读者在目标语言的语境中得到类似于原作美感的欣赏体验。 在这部分，从翻译美学的角度，以格莱迪 杨的英译版《边城》为基础，进行了详细的分析。--[[User:Xiao Ting|Xiao Ting]] ([[User talk:Xiao Ting|talk]]) 03:05, 22 October 2020 (UTC)Xiao Ting&lt;br /&gt;
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文学翻译是翻译研究中非常重要的一部分，这是一个复杂的过程，需要运用很多不同的技巧。 一方面，作者在创作过程中，审美风格和审美感受的揉入是非常必要的。 因此，译者在翻译的过程中，要精心挑选文学词汇来转化源文本的美感。 另一方面，文学翻译是全方位艺术品质的表现，它可以使目标读者在目标语言的语境中也能欣赏到类似于原作的美感。 在这方面有一个专题研究：从翻译美学的角度，以格莱迪杨的英译版《边城》为基础，对其进行了详尽的分析。--[[User:Mo Ling|Mo Ling]] ([[User talk:Mo Ling|talk]]) 04:41, 23 October 2020 (UTC)Mo Ling&lt;br /&gt;
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==Xiao Xi 肖茜==&lt;br /&gt;
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The combination of translation theory and aesthetics is traditional Chinese feature, and Translation Aesthetics carry forward traditional translation theory. With the increasingly close communication between China and other countries, Chinese classical aesthetics and Western aesthetics have developed a certain degree of integration, which is also a special form of mutual learning between China and the West in a sense. This kind of reference promotes the development and application of Translation Aesthetics.&lt;br /&gt;
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==Xiao Yining 肖伊宁==&lt;br /&gt;
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The aesthetic subject (AS) refers to people who carry out aesthetic appreciation activity on the aesthetic object; and translation aesthetic subject (TAS) refers to the translator. When translating, translator plays a dual role. For one thing, he is the recipient of the SL text who should first decode the aesthetic information in the SL text. In this process, his role is both passive and subjective. For another, he is identified as the creator of the target text. Being so, he undertakes the task of aesthetic representation to the target text readers. Hence he ought to play his dynamic role as the aesthetic subject.&lt;br /&gt;
审美主体是指对审美客体进行审美欣赏活动的人;翻译审美主体指的是译者。在翻译中，译者扮演着双重角色。一方面，作为文本的接受者，他首先要对文本中的审美信息进行解码。在这个过程中，他的角色既有被动的，也有主观的。另一方面，他被认为是目标文本的创造者。因此，他承担着对目标文本读者进行审美再现的任务。因此，他应该发挥自己作为审美主体的能动作用。--[[User:Xiao yining|Xiao yining]] ([[User talk:Xiao yining|talk]]) 12:17, 21 October 2020 (UTC)Xiao Yining&lt;br /&gt;
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审美主体指的是审美活动的执行者；所以翻译审美主体就是译者。译者在翻译中有着双重角色。其一，作为原文文本的接收者，他首先需要解码原文中的审美信息。在这个过程中，他同时扮演主观和被动的角色。其二，人们认为他是目标文本的创作者。因此，他承担了为目标读者实现审美再现的任务。所以，作为审美主体，译者的角色是能动的。--[[User:Xu Mengdie|Xu Mengdie]] ([[User talk:Xu Mengdie|talk]]) 12:47, 21 October 2020 (UTC)Xu Mengdie&lt;br /&gt;
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==Xie Fan 解帆==&lt;br /&gt;
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There is a doubt that why Benjamin insists that the fruit of pure language is on the original work’s side, as we mentioned in the beginning that Benjamin want to realize the identity of language and spirit through exhausting all the referential modes of all languages, and making them melt with each other. Though translation is the living-on of original work which just like the baby from a mother, affiliated to the original. Why the final result will be on the original side still needs our attention. During the differánce of texts, original text can become the translation of former text while the translation can be the original text of later text, thus the chain of textual differánce are built.&lt;br /&gt;
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==Xie Ziyi 谢子熠==&lt;br /&gt;
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However, in Benjamin’s points, translation work is the afterlife of original work doesn’t mean it’s the end of original work’s life nor that translation work replaces the original one to be an independent organism. Benjamin stresses that continuity of life doesn’t pay much attention to the survival of organism, which means that translation is a medium that pushes the original’s life process, a medium that provides a chance for the continuity of original’s life instead of substitution. The mission of translation is to promote the original work’s linguistic life growing until it ripens and fruit the pure language.&lt;br /&gt;
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==Xu Jia 徐佳==&lt;br /&gt;
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The relationship of the two can only be understood in the whole purpose of realizing pure language. What Benjamin expects is through constant translation, we can make the referential modes of original work and translation work interflow until we exhaust all the referential modes to realize the final identity of language and spirit in entity. To the relationship of original work and translation work, Benjamin interprets from the perspective of organism and survival. &lt;br /&gt;
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==Xu Jing 许晶==&lt;br /&gt;
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Whereas, Benjamin stresses that translation is the continuity and supplement of original life but at the same time, he disapproves the independence of translation work as the effect of translation work is only to promote the growth of “pure language” existing in original work and translation itself contains no organism of pure language so translation work has not been equipped with translatability.&lt;br /&gt;
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==Xu Jing 许静==&lt;br /&gt;
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Except for paying attention to the elements of translation, translation aims to find out the ways to produce wonderful works and principles in assessing the quality of translation. Generally speaking, Translation Aesthetics does research on translation theory and practice from the perspective of aesthetics. Its major task is to analyze and elucidate the aesthetic principles, with which we can guide translation practices and assess the literary translation. Moreover, a satisfying version needs some other elements, such as the aesthetic experience of a translator, comprehension of source text, and evaluation and reproduction of beauty.&lt;br /&gt;
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翻译除了关注翻译要素外，还要弄清楚用什么方法可以创造出精彩的作品，有哪些原则可以用来评价翻译作品的质量。 一般来说，翻译美学是从美学的角度对翻译理论和实践进行研究的。 它的主要任务是分析和阐明美学原则，用这些原则来指导翻译实践，评价文学翻译。 此外，一个满意的翻译版本还需要一些其他要素，如译者的审美体验、对源文本的理解、对美的评价和再现等。--[[User:Xu Jing|Xu Jing]] ([[User talk:Xu Jing|talk]]) 09:44, 22 October 2020 (UTC)&lt;br /&gt;
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==Xu Mengdie 徐梦蝶==&lt;br /&gt;
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In aesthetics, aesthetic subject and aesthetic object are two concepts and two categories that cannot be separated. There is a dialectical relationship between them. Therefore, a qualified translator should possess the dual characters as the translation aesthetic subject: objectivity and subjectivity.&lt;br /&gt;
在美学中，审美主体和审美客体是两个不可分割的概念和范畴。两者之间存在一种辩证关系。因此，一名合格的译者应该具备翻译审美主体的双重特征：主观性和客观性。--[[User:Xu Mengdie|Xu Mengdie]] ([[User talk:Xu Mengdie|talk]]) 12:29, 21 October 2020 (UTC)Xu Mengdie&lt;br /&gt;
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在美学范畴中，审美主体和客体是两个不可分割的概念。主体和客体之间存在一种辩证关系。因此，一名合格的译者应具备翻译审美主体的双重特征：主观性和客观性。--[[User:Guo Lu|Guo Lu]] ([[User talk:Guo Lu|talk]]) 07:03, 22 October 2020 (UTC)&lt;br /&gt;
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==Xu Pengfei 许鹏飞==&lt;br /&gt;
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If there are no rhymes in the original, translators should not add rhymes. If there is no irony in the original, translator should not add irony. If there is no hyperbole, translator should not add hyperbole, and so on. On the other hand, it has flexibility for aesthetic subject. In some circumstances, we can’t find an appropriate word to translate which is in line with the ST. Under these circumstances, we should translate it in a flexible way.&lt;br /&gt;
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如果原文中没有押韵，译者不应自己添加；如果原文中没有讽刺，译者不应自己添加；如果原文中没有夸张，译者也不应自己添加，以此类推。另一方面，出于美学考虑翻译具有灵活性。在某些情况下，我们无法找到合适的与原文相符的词来翻译。在这些情况下，我们应当用灵活的方式来翻译。--[[User:Xu Pengfei|Xu Pengfei]] ([[User talk:Xu Pengfei|talk]]) 09:21, 21 October 2020 (UTC)Xu Pengfei&lt;br /&gt;
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如果原文中没有押韵，译者不应该添加押韵；如果原文中没有反语，译者不应该添加反语；如果原文中没有夸张，译者（也）不应该自行添加夸张，等等。另一方面，美学主体具有灵活性。在某些情况下，我们无法找到某个合适的与原文相符的词来翻译。在这些情况下，我们（就）应当用灵活的方式来翻译。&lt;br /&gt;
--[[User:Wensixing|Wensixing]] ([[User talk:Wensixing|talk]]) 07:40, 21 October 2020 (UTC)&lt;br /&gt;
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==Yang Chenting 杨晨婷==&lt;br /&gt;
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These beauty in various forms is called “aesthetic object”. Translation aesthetic object (TAO) is the source text (ST) which the translator is about to translate. But not every source text can be TAO. For example, if the source text is inconsistent, empty and has no value to translate, it cannot be translation aesthetic object. TAO possesses aesthetic values and is designed to satisfy human's aesthetic needs.&lt;br /&gt;
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不同形式的美都是“美学对象”。翻译美学对象（TAO）就是译者需要进行翻译的原文（ST）。但并不是所有的原文都是翻译审美对象。例如，如果原文自相矛盾，语言空洞，没有翻译的价值的话，它就不是一个翻译美学对象。翻译美学对象不仅需要具备美学价值，还需要迎合人类的美学需要。--[[User:Yang chenting|Yang chenting]] ([[User talk:Yang chenting|talk]]) 02:37, 23 October 2020 (UTC)Yang Chenting&lt;br /&gt;
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这些形式各异的美被称为“审美对象”。翻译审美对象（TAO）就是译者需要进行翻译的原文（ST）。但并不是所有的原文都是翻译审美对象。例如，如果原文自相矛盾，语言空洞，没有翻译的价值的话，它就不是一个翻译审美对象。翻译审美对象不仅需要具备美学价值，还需要旨在满足人类的审美需要。--[[User:Wu Kai|Wu Kai]] ([[User talk:Wu Kai|talk]]) 12:33, 23 October 2020 (UTC)&lt;br /&gt;
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==Yang Hairong 杨海容==&lt;br /&gt;
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'''2.1 Beauty in sound'''&lt;br /&gt;
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Sound is one of the fundamental forms which carries the aesthetic information of language, either in poetry, drama or fiction. Guided by the principle of preserving the beauty on the phonetic beauty as much as possible without hindering readers’ understanding, Gladys Yang not only reproduces the original rhyme but also tries to preserve the original sound effect of the onomatopoeias.&lt;br /&gt;
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2.1声美&lt;br /&gt;
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声音是承载诗歌，戏剧或小说中语言美感信息的基本形式之一。 在不妨碍读者理解的前提下，和尽可能在语音美中保留美的原则指导下，杨韵诗不仅再现了原韵，而且还试图保留拟声词的原声效果。--[[User:Yang Hairong|Yang Hairong]] ([[User talk:Yang Hairong|talk]]) 01:48, 22 October 2020 (UTC)&lt;br /&gt;
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在诗歌，戏剧或小说中，声音是承载着语言审美信息的基本形式之一。在不妨碍读者理解的前提下，格拉迪斯·杨（Gladys Yang）原则上尽可能保持语音的美感，不仅再现了原韵，而且还设法保留了拟声词的原声效果。--[[User:Yuan Yuchen|Yuan Yuchen]] ([[User talk:Yuan Yuchen|talk]]) 15:27, 22 October 2020 (UTC)&lt;br /&gt;
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无论是在诗歌、喜剧还是小说中，声音都是传递语言美的信息的基本形式之一。在遵循尽可能保留语音美且不影响读者理解原文的原则上，戴乃迭（Gladys Yang）不仅还原了原本的韵律，还设法保留了原稳重拟声词的声音效果。--[[User:WuQiong|WuQiong]] ([[User talk:WuQiong|talk]]) 01:55, 23 October 2020 (UTC)&lt;br /&gt;
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==Yang Hui 阳慧==&lt;br /&gt;
'''2.1.1 Rhyme'''&lt;br /&gt;
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Generally speaking, rhymes are applied into songs and poems. However, it doesn't mean there is no rhyme in fictions. Technical fiction writers also attempt to select word and phrase patterns so as to make their works imbued with a regular beat. In regard to fiction, rhyme refers to the general way in which a passage moves and flows. “Rhythm, the beauty in sound, often takes the form of wave movement in prose”[5].&lt;br /&gt;
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韵律&lt;br /&gt;
一般说来，韵脚被应用到歌曲和诗歌中。然而，这并不意味着小说中没有押韵。技术小说作家也试图选择词语和短语模式，以使他们的作品充满规律的节拍。在小说方面，韵脚指的是一篇文章移动和流动的一般方式。“节奏，声音中的美，常以散文中的波浪运动的形式” [5]--[[User:YangHui|YangHui]] ([[User talk:YangHui|talk]]) 11:57, 23 October 2020 (UTC)&lt;br /&gt;
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2.1.1 韵律&lt;br /&gt;
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一般来说，歌曲和诗歌中会有韵律。但这并不意味着小说中没有韵律。技法小说作家也试图选择词句模式，使作品充满规律的节拍。就小说而言，韵律指的是段落迁移和流动的一般方式。&amp;quot;节奏，是声音中的美，在散文中往往以波浪运动的形式出现&amp;quot;。--[[User:Tan Yuanyuan|Tan Yuanyuan]] ([[User talk:Tan Yuanyuan|talk]]) 02:49, 24 October 2020 (UTC)&lt;br /&gt;
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==Yang Yi 杨逸==&lt;br /&gt;
To be specific, rhyme is a linguistic phenomenon referring to the repetition of the same or similar syllable sounds. It is achieved by the means of repetition, phrase structure, sentence structure and pause. The function of rhyme is mainly of the aesthetic aspect and the semantic meaning. On the one hand, the use of rhyme adds musicality to the literary .On the other hand, it arouses the readers' resonance and satisfaction. Since the rhythmic features contribute greatly to the aesthetic flavor, translators should take them into consideration and try to present the rhyme in the source text.&lt;br /&gt;
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（中英举例不用翻译）&lt;br /&gt;
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Example 1: 无人过渡时，等着祖父又不来，便尽只反复温习这些女孩子的神气，且轻轻的无所谓的唱着：“白鸡关出老虎咬人，不咬别人，团总的小姐派第一……大姐戴副金簪子，二姐戴副银钏子，只有我三妹没得什么戴，耳朵上长年蜜条豆芽菜。”[6]&lt;br /&gt;
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Translation: When no one comes she waits for her grandfather, and when he fails to come she compares the looks of the girls and chants softly: The tiger eats the captain’s daughter first; Most girls have gold and silver for their hair; Poor Emerald is the one who comes off worst-No trinkets, nothing but beansprouts to wear![7]&lt;br /&gt;
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==Yang Yue 杨悦==&lt;br /&gt;
This folk song sings Cuicui’s heart at that moment. The density of the rhythm contributes a lot to the reflection of Cuicui’s mood. Owing to the poor condition in her family, she could only admire the landlord's daughter's dress and ornaments. The sound / i / and / ai / repeat five times and emerge in different positions of the original text.&lt;br /&gt;
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那时，这首民歌唱出了翠翠的心声。紧密的节奏有助于反映翠翠的情绪。由于家庭条件恶劣，她只能羡慕地主家女儿的衣服和饰品呢。/ i / and / ai / 音重复了五次，并出现在了原始文本的不同位置。--[[User:Yang Yue|Yang Yue]] ([[User talk:Yang Yue|talk]]) 02:30, 22 October 2020 (UTC)&lt;br /&gt;
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==Yang Ziling 杨子泠==&lt;br /&gt;
When singing, people should open and narrow their mouths forming a beautiful rhythmical meter. In Chinese the sound / i / vividly imitates the sound of weeping, and / ai / is like the sound of sighing. So the shift of the rhyme produces a sort of self-mockery effect to the audience, meanwhile arouses deep sympathy toward the pure girl in the readers’ heart.&lt;br /&gt;
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==Yao Cheng 姚诚==&lt;br /&gt;
'''2.1.2 Onomatopoeia'''&lt;br /&gt;
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Onomatopoeia means that an object or something is related to some actions which can be imitated by some vivid words. It is one of the rhetorical devices that are widely used in literary works, which makes great efforts to let speech sound vivid and lifelike. There are plenty of onomatopoeias in English and Chinese, though they have different expression forms, they are all used to imitate the sound. Onomatopoetic words can add interest to the work, which also can create aesthetic effect in literary works.&lt;br /&gt;
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'''2.1.2 拟声'''&lt;br /&gt;
拟声指与能用生动词语来模仿的动作相关的对象或物体。它是文学作品中广泛使用的修辞手段之一，通过不懈努力，让声音听起来生动逼真。 中英文中有许多拟声词，虽然表达形式不同，但都用来模仿声音。 拟声词可以增加作品的趣味性，也可以在文学作品中创造美学效果。--[[User:Yao Cheng|Yao Cheng]] ([[User talk:Yao Cheng|talk]]) 14:45, 21 October 2020 (UTC)&lt;br /&gt;
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拟声是指用一些生动的词汇来模仿某个对象或与动作相关的物体。拟声是在文学作品中广泛运用的修辞手法之一，尽其所能地让演讲听起来更加生动形象。在英语和中文中都有大量的拟声词，尽管它们的表达方式不同，但都用来模仿声音。拟声词能让作品更具趣味性，也可以在文学作品中创造美学效果。--[[User:WuQiong|WuQiong]] ([[User talk:WuQiong|talk]]) 02:06, 23 October 2020 (UTC)&lt;br /&gt;
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==Yao Jia 姚佳==&lt;br /&gt;
The onomatopoeias in ''The Border Town'' demonstrate readers with a lively picture and put them in the scene by themselves. Meanwhile, the use of the onomatopoeias also enhances the aesthetic effect of Shen’s literal expressions. It is fortunate that in many cases English and Chinese onomatopoeias can be inter-translated.&lt;br /&gt;
《边城》中的拟声词将栩栩如生的画面呈于读者眼前，而且能让读者置身其中。同时，拟声词的运用也增强了沈从文文字表达的审美效果。幸运的是，在很多情况下，英语和汉语的拟声词可以互译。--[[User:Yao Jia|Yao Jia]] ([[User talk:Yao Jia|talk]]) 13:45, 21 October 2020 (UTC)&lt;br /&gt;
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通过使用拟声词，《边城》将栩栩如生的画面呈现在读者眼前，让读者仿佛置身其中。同时，运用拟声词也增强了沈氏文学表达中的美学效果。英汉拟声词在很多情况下可以互译，这实属大幸。--[[User:Yao Cheng|Yao Cheng]] ([[User talk:Yao Cheng|talk]]) 14:54, 21 October 2020 (UTC)&lt;br /&gt;
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==Yi Huan 易欢==&lt;br /&gt;
However, sometimes it is impossible to achieve. So it is often hard for aesthetic subjects to render the onomatopoeias accurately and appropriately. In some translations, Gladys Yang has selected appropriate onomatopoeias of other appropriate words not only to imitate the sound but also to denote the original meanings. In the end, the description becomes more concrete and vivid, as it is showed in examples.&lt;br /&gt;
&lt;br /&gt;
'''（中英文举例不用翻译）'''&lt;br /&gt;
&lt;br /&gt;
Example 2: 那黄狗汪汪的吠着，受了惊似的绕屋乱走，有人过渡时，便随船渡过东岸且跑到那小山头向城里一方面大吠。[8]&lt;br /&gt;
&lt;br /&gt;
Translation: Barking wildly, he dashes round the house. Next time, passengers are ferried across he follows them up the east bank and races up the hill overlooking town, yapping frantically.[9]&lt;br /&gt;
然而，有时也很难实现拟声词的英汉互译。因此，对审美主体来说，将拟声词译得精准无误而又恰到好处，这是十分困难的。在戴乃迭的一些翻译中，他会在合适的词语中挑选出合适的拟声词，这不仅模仿了声音形象还传达了原意。最后，这段描写就会更加明确具体，栩栩如生。正如下面例子所示，--[[User:Yi Huan|Yi Huan]] ([[User talk:Yi Huan|talk]]) 09:35, 22 October 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
==Yi Zichu 义子楚==&lt;br /&gt;
'''（中英文举例不用翻译）'''&lt;br /&gt;
&lt;br /&gt;
Example 3: 黄狗为了表示同主人的意见一致，也在翠翠身边汪汪的吠着。[10]&lt;br /&gt;
&lt;br /&gt;
Translation: To show his agreement, Brownie sets up a furious barking.[11]&lt;br /&gt;
&lt;br /&gt;
In the two examples, there are three “吠”(fèi, meaning bark)，which is as a modifier of the verb “叫”. In the first translation, Gladys uses “barking wildly” to show the dog’s scare. And the second one is translated into “yapping frantically”, which shows that it’s on duty. And the third one is “furious barking” to show its anger. In Chinese, we can only use different adverbs to modify the same verb. However, the same character in Chinese is translated into three different expressions. In this way, the target readers can understand the original clearly.&lt;br /&gt;
&lt;br /&gt;
==You Yuting 游雨婷==&lt;br /&gt;
'''2.2 Beauty in lexis'''&lt;br /&gt;
&lt;br /&gt;
Beauty in lexis is associated with word choice, register, and collocation, and there are many rhetorical devices that contribute to the formal beauty on the lexical level, such as euphemism, zeugma, oxymoron, etc. Shen Congwen, with deep affection to his hometown, writes his fiction in a language as genuine and beautiful as the frontier folk songs in his hometown. His language, which has also enriched the modern vernacularism in China, is imbued with metaphors, local jokes and ballads.&lt;br /&gt;
&lt;br /&gt;
词汇美与词的选择、语域和搭配有关，词汇层面的形式美有许多修辞手段，如委婉表达、对格法、矛盾修饰法等。沈从文怀着对家乡的深厚感情，用家乡边塞民歌一样真挚美丽的语言，撰写了自己的小说。他的语言中充满了隐喻、地方笑话和民谣，也丰富了中国的现代白话文化。--[[User:You Yuting|You Yuting]] ([[User talk:You Yuting|talk]]) 01:35, 23 October 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
词汇美&lt;br /&gt;
&lt;br /&gt;
词美与词的选择、配位、搭配有关，在词汇层面上，委婉语、理喻、矛盾修辞等修辞手段对形式美有很大贡献。沈从文对家乡有着深厚的感情，他的小说创作语言真实而优美，就像他家乡的边民歌曲。他的语言，也丰富了中国的现代魔术，充满了隐喻，地方笑话和歌谣。--[[User:YangHui|YangHui]] ([[User talk:YangHui|talk]]) 12:00, 23 October 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
==Yu Ni 余妮==&lt;br /&gt;
As for the aesthetic representation on the lexical level, Yang’s English translation have done a satisfactory job in that she attempts to retain the aesthetic features of original lexis as much as possible, though when it comes to the lexis loaded with heavy cultural connotations, due to the cultural untranslatability, the translator has employed domestication to avoid misunderstanding.&lt;br /&gt;
&lt;br /&gt;
'''（中英文举例不用翻译）'''&lt;br /&gt;
&lt;br /&gt;
Example 4: 翠翠在风日里长着，故把皮肤变得黑黑的，触目为青山绿水，故眸子清明如水晶。自然既长养她且教育她，为人天真活泼，处处俨然如一只小怪兽。人又那么乖，如山头黄麂一样，从不想到残忍事情，从不发愁，从不动气。[12]&lt;br /&gt;
&lt;br /&gt;
Translation: Wind and sun have tanned this growing girl’s skin，her eyes rest on green hills are as clear as crystal. Nature is her mother and teacher, making her innocent, lively and untamed as some small wild creature. She has the gentleness of a fawn and seems not to know the meaning of cruelty, anxiety or anger.[13]&lt;br /&gt;
&lt;br /&gt;
==Yuan Shiqi 袁诗琦==&lt;br /&gt;
Shen Congwen's description of Cuicui is based on the perfect combination of a pure little girl and nature. Shen Congwen used “dark black” to describe the natural and healthy skin color of Cuicui. She described the clear and bright eyes of Cuicui as “as clear as crystal”. Only through the description of skin and eyes, the youthful image of Cuicui was vivid. In translation, like “small wild creature” and “fawn”, it shows the lively side of Cuicui.&lt;br /&gt;
&lt;br /&gt;
沈从文对翠翠的描写是基于单纯小女孩与自然的完美结合。沈从文用“黑”来形容翠翠自然健康的肤色。他形容翠翠清澈明亮的眼睛“像水晶一样清澈”。只有通过对皮肤和眼睛的描写，翠翠青春的形象才显得生动。在翻译中，“小野兽”和“小鹿”这样的词，展现了翠翠活泼的一面。--[[User:Yuan SHiqi|Yuan SHiqi]] ([[User talk:Yuan SHiqi|talk]]) 08:59, 21 October 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
沈从文对翠翠的描写是基于单纯小女孩与自然的完美结合。他用“黝黑”一词来形容翠翠自然健康的肤色，用“像水晶一样清澈”来形容翠翠清澈明亮的眼睛。也只有通过对皮肤和眼睛的描写，翠翠青春的形象才显得生动。在译本中，像“小野兽”和“小鹿”这样的表达也展现了翠翠活泼可爱的一面。--[[User:Zhou Yiwen|Zhou Yiwen]] ([[User talk:Zhou Yiwen|talk]]) 09:25, 21 October 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
==Yuan Tianyi 袁天翼==&lt;br /&gt;
Therefore, whether or not the aesthetic value of the source language image can be reproduced in the translation becomes the key to the reader's ability to understand Cuicui’s character. For example, “dark black” Gladys Yang uses “tanned” to indicate that her skin is a natural and healthy beauty after the sun has shined.&lt;br /&gt;
&lt;br /&gt;
因此，译文中源语言形象的美学价值是否能重现，成为了读者理解翠翠性格的关键。比如，格拉迪斯·杨（Gladys Yang）使用“晒黑的”（tanned）这个词来表示自己的皮肤经过阳光的照射以后产生了一种自然美与健康美。--[[User:Yuan Tianyi|Yuan Tianyi]] ([[User talk:Yuan Tianyi|talk]]) 09:57, 21 October 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
因此，原文中的美学价值能否在译文中再现成为了读者能否理解翠翠性格的关键。例如，格拉迪斯·杨（Gladys Yang）使用 “tanned”一词来表示“dark black&amp;quot;（晒黑的），以描述她的皮肤经过太阳照射后，是一种健康自然的美。--[[User:Yang chenting|Yang chenting]] ([[User talk:Yang chenting|talk]]) 02:42, 23 October 2020 (UTC)Yang Chenting&lt;br /&gt;
&lt;br /&gt;
==Yuan Yuchen 袁雨晨==&lt;br /&gt;
'''2.3 Beauty in form'''&lt;br /&gt;
&lt;br /&gt;
Like sound and lexis transmitting beauty, syntax and paragraphs also carry lots of aesthetic information. There are many differences existing in Chinese and English sentence structures. Chinese sentence is like a bamboo that all structures come out from the base, while English sentence is like a grape tree with branches from the stem and twigs from the branches and the clauses are strictly arranged by the grammatical rules.&lt;br /&gt;
&lt;br /&gt;
2.3形式美&lt;br /&gt;
就像传达美的声音和词语一样，句法和段落也携带着大量的审美信息。汉语和英语在句子结构上存在很大的差异。汉语句子就像竹子一样，所有结构是从地底冒出来。而英语句子就像一棵葡萄树，无论是从枝干到主干，还是从主干到枝干，从句严格按照语法规则整合而成。--[[User:Yuan Yuchen|Yuan Yuchen]] ([[User talk:Yuan Yuchen|talk]]) 15:25, 22 October 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
==Zeng Fangyuan 曾芳缘==&lt;br /&gt;
Sentences can express a comprehensive meaning and carries certain aesthetic information. The successful translation is always with a figure, and most works have their own way of using figures of speech to form their own characteristic style. Thus the beauty in form came into being.&lt;br /&gt;
&lt;br /&gt;
句子可以表达一个完整的意思，并带有一定的美学信息。成功的翻译常常具有一个轮廓，而且大多数作品都有各自运用修辞手法的方式，从而形成其独有的风格。因此，形式美变应运而生了。--[[User:Zeng Fangyuan|Zeng Fangyuan]] ([[User talk:Zeng Fangyuan|talk]]) 07:52, 21 October 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
句子可以表意完整，并带有一定的美学信息。成功的翻译通常会运用修辞，大多数作品都有自己适用的修辞手法，从而形成其独有风格。因此，形式美变应运而生。--[[User:Yao Jia|Yao Jia]] ([[User talk:Yao Jia|talk]]) 14:15, 21 October 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
==Zeng Liang 曾良==&lt;br /&gt;
Structural balance and harmony is one of the basic aesthetic principles, and it is obtained with the use of right rhetorical devices. Here the author chooses three typical rhetorical devices: antithesis, parallelism and repetition to express the beauty of sentences in translation. What’s more, the three rhetorical devices have been used in Shen’s ''The Border Town''.&lt;br /&gt;
&lt;br /&gt;
结构平衡与和谐是基本的美学原则之一，它是通过正确使用修辞手法而获得的。在此，作者选择三种典型的修辞手法：对比、排比和反复来表达翻译中的句子之美。此外，这三种修辞手法已经在沈从文的《边城》中得以使用。--[[User:Zeng Liang|Zeng Liang]] ([[User talk:Zeng Liang|talk]]) 02:58, 23 October 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
结构的平衡与和谐是美学的基本原则之一，它是通过正确的修辞手法来实现的。在翻译中，为了表达句子之美，作者选择了三种典型的修辞手法:对偶、排比和重复。此外，这三种修辞手法在《边城》中也有所运用。--[[User:Su Lin|Su Lin]] ([[User talk:Su Lin|talk]]) 07:45, 24 October 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
==Zeng Xinyuan 曾心媛==&lt;br /&gt;
'''2.3.1 Parallelism'''&lt;br /&gt;
&lt;br /&gt;
Parallelism is to use repetition in equivalent positions to enhance language expression and pay attention to emphasis, clarity and coherence of opinions. In parallel construction, it is necessary for writers to balance word with word, phrase with phrase, clause with clause, and sentence with sentence. At the same time, importance of grammar should be concerned to strengthen coherence of the sentence. In terms of the syntactic level, parallelism is a sprightly succinct rhetorical device.&lt;br /&gt;
&lt;br /&gt;
==Zeng Yanhu 曾雁湖==&lt;br /&gt;
The identical meaning, structure or tone appeals to the readers’ eyes and ears, and heightens the readers’ aesthetic experience. It is one of the valid ways to satisfy aesthetic demands of language: balance and concordance in structure, while rhythm and harmony in tonality. The aesthetic information in parallelism is largely showed in the reoccurrence of a specific pattern, which carries lots of aesthetic value to make the original more lively and impressive. So it is widely employed in literary works. There’s no exception in ''The'' ''Border Town''.&lt;br /&gt;
&lt;br /&gt;
==Zhang Hu 张虎==&lt;br /&gt;
'''（中英举例不用翻译）'''&lt;br /&gt;
&lt;br /&gt;
Look at the example:&lt;br /&gt;
&lt;br /&gt;
Example 5: 这事情在本地人并不希奇，边地俗语说：“火是各处可烧的，水是各处可流的，日月是各处可照的，爱情是可各处可到的。”[14]&lt;br /&gt;
&lt;br /&gt;
Translation: There is nothing strange in these parts, where folk have a saying, “There is no place on earth where fire cannot spread, water flow, sun and moon shine, or love make its way.”[15]&lt;br /&gt;
&lt;br /&gt;
In this example, the same concise and symmetric sentence structure reoccurred many times. The repetition “各处可”(meaning everywhere) produces rhythm, making the sentence read like a song. By comparing love to fire, water, the sun and the moon, it vividly depicts the honesty, and straightforwardness of the local people.&lt;br /&gt;
&lt;br /&gt;
==Zhang Hui 张慧==&lt;br /&gt;
In Gladys’ version, she transforms the original parallel structure into a simple sentence and an attributive clause. Concise as it is, it isn’t in line with the writer’s intention and obviously disobeys the style of the original. Although it has transmitted the meaning of the original sentences, it fails to render the aesthetic features of this local saying.&lt;br /&gt;
&lt;br /&gt;
在格莱迪斯的版本中，她将原来的并列结构转化为一个简单的句子和一个归属句。虽然简洁，但并不符合作者的意图，显然不符合原文的风格。虽然它传递了原句的意思，但却没有渲染出这个地方俗语的审美特征。--[[User:Zhang Hui|Zhang Hui]] ([[User talk:Zhang Hui|talk]]) 09:15, 21 October 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
在格莱迪斯的版本中，她将原来的并列结构转化为一个简单的句子和一个从属句。虽然简洁，但并不符合作者的意图，显然违背了原文的风格。虽然它传递了原句的意思，但却没有译出这个地方俗语的审美特征。--[[User:Zhao Xiaoyan|Zhao Xiaoyan]] ([[User talk:Zhao Xiaoyan|talk]]) 09:18, 21 October 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
在格莱迪斯的译文中，她将原文的平行结构转换成了一个简单句带从属句的句型结构。尽管译文读来较为简洁，但却不符合作者的意图，并且明显违背了原作的风格。虽然传递出了原文的含义，但却没有译出地方俗语的审美特征。--[[User:Zhou Yuanqu|Zhou Yuanqu]] ([[User talk:Zhou Yuanqu|talk]]) 09:35, 23 October 2020 (UTC)&lt;br /&gt;
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==Zhang Ling 张玲==&lt;br /&gt;
'''2.3.2 Antithesis'''&lt;br /&gt;
&lt;br /&gt;
Antithesis, a rhetoric technique with symmetric form and harmonious tonality, is designed to illustrate different things or aspects of the identical thing by comparison, and the symmetric components can replenish and contrast each other.&lt;br /&gt;
&lt;br /&gt;
2.3.2 对照&lt;br /&gt;
&lt;br /&gt;
对照一种形式对称、语调和谐的修辞手法，旨在通过比较来说明同一事物的不同之处或不同方面，对称的部分可以互相补充和对比。 --[[User:Zhang Ling|Zhang Ling]] ([[User talk:Zhang Ling|talk]]) 01:23, 24 October 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
==Zhang Peiwen 张佩闻==&lt;br /&gt;
'''（中英举例不用翻译）'''&lt;br /&gt;
&lt;br /&gt;
Look at the example below.&lt;br /&gt;
&lt;br /&gt;
Example 6: 轻轻的自言自语：“每只船要有个码头，每只雀儿得有个巢。”[16]&lt;br /&gt;
&lt;br /&gt;
Translation: “Boats have a wharf, birds have a nest.” he murmurs.[17]&lt;br /&gt;
&lt;br /&gt;
In this sentence, “船”(chuán, meaning boat) and “雀儿”(què ér, meaning bird), “码头”(mǎ tóu, meaning wharf ) and “巢”(cháo, meaning nest) in the Chineses version make an antithesis with each other, and it is well balanced in form. The writer expresses the grandpa’s care to Cuicui. Gladys’s version is structurally well-balanced. However, the utilization of the word “have” in English version fails to show the strong sense of belonging, reducing the aesthetic value of the original. If she use “need” to replace it, I think the aesthetic enjoyment could be realized better.&lt;br /&gt;
&lt;br /&gt;
请看下面的例子&lt;br /&gt;
例6: 轻轻的自言自语：“每只船要有个码头，每只雀儿得有个巢。”[16]&lt;br /&gt;
&lt;br /&gt;
Translation: “Boats have a wharf, birds have a nest.” he murmurs.[17]&lt;br /&gt;
在这个句子中，船”(chuán, meaning boat) and “雀儿”(què ér, meaning bird), “码头”(mǎ tóu, meaning wharf ) and “巢”(cháo, meaning nest) 这几个词都符合对偶的形式，在形式上也非常的平衡。作者用这样一句话体现了爷爷对翠翠的关心。格拉迪斯的版本在结构上很平衡。然而，“have”这个词，在英文中使用时更强调“占有，归属”，这会让句子失去原有的美感。如果作者用“need”一词来代替“have”，橘子便会更赋有美感。--[[User:Zhang Peiwen|Zhang Peiwen]] ([[User talk:Zhang Peiwen|talk]]) 11:34, 23 October 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
==Zhang Qi 张琪==&lt;br /&gt;
'''2.3.3 Repetition'''&lt;br /&gt;
&lt;br /&gt;
From the word of repetition, we know that the same word can be used several times in one sentence. The main function of this rhetoric is to emphasize some things or information. It may help to produce strong aesthetic effect. In The Border Town, Shen Congwen employs repetition deliberately to achieve his purpose of emotive intensification. The intensive repetition can be used as a powerful thematic device.&lt;br /&gt;
&lt;br /&gt;
==Zhang Weihong 张维虹==&lt;br /&gt;
'''（中英举例不用翻译）'''&lt;br /&gt;
&lt;br /&gt;
Here is an example:&lt;br /&gt;
&lt;br /&gt;
Example 7: 老船夫说：“翠翠我看了个好碾坊，碾盘是新的，水车是新的，屋上稻草也是新的！”[18]&lt;br /&gt;
&lt;br /&gt;
Translation: “Emerald,” he tells her, “I've just seen a fine mill. Brand-new from the millstone and water-wheel to the thatch on the roof.”[19]&lt;br /&gt;
&lt;br /&gt;
This sentence vividly reproduces grandfather's psychological state after he has visited the new mill. The repetition of “是新的”(meaning new) for three times echoes each other to highlight how the mill knocks the breath out of grandpa, and strengthen his envy and longing for the mill. Gladys translates it into “Brand-new from... to...”&lt;br /&gt;
&lt;br /&gt;
这句话生动地再现了爷爷参观完新磨坊后的心理状态。“是新的”三次重复，相互呼应，凸显爷爷看到磨坊后的惊讶，强调其对磨坊的羡慕与憧憬。格拉迪斯（Gladys）将其译成“全新的”。&lt;br /&gt;
&lt;br /&gt;
==Zhang Xueyi 张雪仪==&lt;br /&gt;
Though it fails to keep the symmetric form of the original, it still succeeds in recreating the particular aesthetic effect of the original text. The inverted sentence pattern, the shifted perspective and the emphatic words make up for the loss of the repetition to great extent. Meanwhile, the concise and paralleled sentence structure represents the aesthetic information of the original more appropriately.&lt;br /&gt;
&lt;br /&gt;
==Zhang Yinliu 张银柳==&lt;br /&gt;
'''2.4 Beauty in image'''&lt;br /&gt;
&lt;br /&gt;
Image in the literary text refers to the output of the subjective intrinsic emotion of the author and the extrinsic objective substances or the incarnation of emotion produced out of language narration. It is the unity of finity and infinity, the unity of the latent and the outstanding.&lt;br /&gt;
&lt;br /&gt;
2.4 意象美&lt;br /&gt;
&lt;br /&gt;
文学文本中的意象是指作者的主观内在情感和外在客观物质的输出，或者是由语言叙述产生的情感的化身。 它是无限与无限的统一，潜伏与卓越的统一。--[[User:Zhang Yinliu|Zhang Yinliu]] ([[User talk:Zhang Yinliu|talk]]) 16:17, 23 October 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
==Zhang Yu 张瑜==&lt;br /&gt;
'''（中英举例不用翻译）'''&lt;br /&gt;
&lt;br /&gt;
Example 8: 翠翠温习着两次过节所见所闻的一切，心中很快乐，好像目前有一个东西，同早间在床上闭了眼睛所看到的那种捉摸不定的黄葵花一样，这东西仿佛明朗地在眼前，却看不准，抓不住。[20]&lt;br /&gt;
&lt;br /&gt;
Translation: Going over two festivals in her mind, happily savoring what she had seen and heard, Emerald has the same sensation as when she closed her eyes in bed in the morning and sees yellow sunflowers just out of reach. Something exciting lies ahead as yet indistinct and intangible, but too lovely to let go.[21]&lt;br /&gt;
&lt;br /&gt;
This sentence is a psychological description of Cuicui. She recalled the days of last two Dragon Boat Festivals when she encountered Nuosong. Her heart was filled with unnamable expectation. She wished to see Nuosong again.&lt;br /&gt;
&lt;br /&gt;
这句话是翠翠的心理描写。当她遇到傩送时，她回忆起前两次端午节。她的心充满不可名状的期待。她希望能再次遇到傩送。--[[User:Zhang Yu|Zhang Yu]] ([[User talk:Zhang Yu|talk]]) 13:25, 21 October 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
这句话是对翠翠的心理描述。她回忆起前两次端午遇到傩送的日子。她的心里充满了难以形容的期待。她希望能再见到诺宋。--[[User:You Yuting|You Yuting]] ([[User talk:You Yuting|talk]]) 01:53, 23 October 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
这句话是对翠翠的心理描写。当她回忆起前两次端午节遇到傩送的情景时，心里满是莫名的期待。她多希望能再次见到傩送啊。--[[User:Zhang Yujie|Zhang Yujie]] ([[User talk:Zhang Yujie|talk]]) 03:12, 24 October 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
==Zhang Yujie 张毓婕==&lt;br /&gt;
The above sentence describes the sprout of love in Cuicui’s heart which is implicit but brings her sweetness and dream.&lt;br /&gt;
&lt;br /&gt;
这句话描绘了翠翠心中爱意的萌发，这种爱虽含蓄，却能给她带来甜蜜和希望。--[[User:Zhang Yujie|Zhang Yujie]] ([[User talk:Zhang Yujie|talk]]) 03:00, 24 October 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
这句话描述了翠翠心中爱情的萌芽，这萌芽虽然含蓄，却给她带来了甜蜜和憧憬。--[[User:Zheng Huajun|Zheng Huajun]] ([[User talk:Zheng Huajun|talk]]) 08:05, 24 October 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
==Zhang Yuxing 张宇星==&lt;br /&gt;
The image “黄葵花”(huáng kuí huā, meaning yellow sunflower) symbolizes that the love has planted its seed in Cuicui’s heart, and is in full blossoms which brings Cuicui happiness and which she would like to pluck. In the translated versions, Yang makes uses of literal translation by preserving the image of “黄葵花”and puts it into “yellow sunflower”.&lt;br /&gt;
&lt;br /&gt;
==Zhao Xi 赵茜==&lt;br /&gt;
With the help of the context, it is easy for the target readers to understand the image of “yellow sunflower” and acquire the implicit aesthetic value in it in Yang’s version.&lt;br /&gt;
&lt;br /&gt;
在语境的帮助下，译文读者理解“黄葵花”的意境以及获取杨的译文中其暗含的审美价值是轻而易举的。--[[User:Zhao Xi|Zhao Xi]] ([[User talk:Zhao Xi|talk]]) 05:43, 21 October 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
在语境的帮助下，目标读者易于理解“黄葵花”的形象，并获取杨译文中隐含的审美价值。--[[User:Yuan SHiqi|Yuan SHiqi]] ([[User talk:Yuan SHiqi|talk]]) 09:08, 21 October 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
在语境的帮助下，译文读者很容易理解杨的译本中的“黄葵花”形象，并获得其中隐含的审美价值。 --[[User:Zhu Suyao|Zhu Suyao]] ([[User talk:Zhu Suyao|talk]]) 06:02, 23 October 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
==Zhao Xiaoyan 赵晓燕==&lt;br /&gt;
It depicts the hope and happiness in Cuicui’s heart and brings the same enjoyment to target readers as it does to the source readers.&lt;br /&gt;
&lt;br /&gt;
这描述了翠翠内心的希望和幸福，也给目标语读者带来和源语读者相同的感受。--[[User:Zhao Xiaoyan|Zhao Xiaoyan]] ([[User talk:Zhao Xiaoyan|talk]]) 09:12, 21 October 2020 (UTC)&lt;br /&gt;
这描写了翠翠心中的希望和幸福，给目标读者带来和源语读者相同的感受。--[[User:Zhang Hui|Zhang Hui]] ([[User talk:Zhang Hui|talk]]) 09:17, 21 October 2020 (UTC)&lt;br /&gt;
这体现出了翠翠内心的期望和喜悦，同时也让目标语读者与源语读者有相同的感受。--[[User:Zhang Peiwen|Zhang Peiwen]] ([[User talk:Zhang Peiwen|talk]]) 11:38, 23 October 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
==Zheng Huajun 郑华君==&lt;br /&gt;
'''2.5 Beauty in ideorealm'''&lt;br /&gt;
&lt;br /&gt;
Artistic ideorealm is defined as an artistic realm in lyric poetry and other literary works, which is an integration of subjective emotion and objective images and feelings.&lt;br /&gt;
&lt;br /&gt;
2.5意境美&lt;br /&gt;
意境是指抒情诗和其他文学作品中主观情感和客观形象、情感结合的一种艺术境界。--[[User:Zheng Huajun|Zheng Huajun]] ([[User talk:Zheng Huajun|talk]]) 08:01, 24 October 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
==Zhou Luoping 周罗平==&lt;br /&gt;
It is characterized as beautiful and implicit as a traditional Chinese painting, which can evoke readers’ association and imagination, and surpasses the concrete vision and ascends an extensive artistic space.&lt;br /&gt;
&lt;br /&gt;
==Zhou Shiqing 周诗卿==&lt;br /&gt;
'''（中英举例不用翻译）'''&lt;br /&gt;
&lt;br /&gt;
Example 9: 由四川过湖南去，靠东有一条官路。这官路将近湘西边境到了一个地方名为‘茶峒’的小山城时，有一小溪，溪边有座白色小塔，塔下住了一户单独的人家。这人家只一个老人，一个女孩子，一只黄狗。[22]&lt;br /&gt;
&lt;br /&gt;
Translation: The highway running east from Sichuan to Hunan comes, just west of the border, to Chadong, a small town in the hills. Nearby a stream flows past a small pagoda, at the foot of which lives a solitary household: an old man, a girl, and a dog.[23]&lt;br /&gt;
&lt;br /&gt;
This is the first paragraph of the novel. Like telling a story, it is slow and plain. From what Shen Congwen has described, we can see that he has a special writing style which expresses the beauty of nature.&lt;br /&gt;
这是小说的第一段。像讲故事一样，娓娓道来、平铺直叙。根据沈从文的描述，我们发现他对于表现自然之美有着独特的写作风格。--[[User:Zhou Shiqing|Zhou Shiqing]] ([[User talk:Zhou Shiqing|talk]]) 15:23, 21 October 2020 (UTC)Zhou Shiqing 周诗卿&lt;br /&gt;
&lt;br /&gt;
==Zhou Shuyao 周书尧==&lt;br /&gt;
Here, the writer uses seven “一”(yī, meaning one) in all, and every one describes different images. What’s more, “一”represents Shen’s melancholy aesthetic sentiment and creation view.&lt;br /&gt;
&lt;br /&gt;
==Zhou Siqing 周思庆==&lt;br /&gt;
Shen uses the rhetorical device of anadiplosis which means repeating the ending words of the precedent sentence in the following sentence. This kind of discourse progression mode is not only good for the coherence of narrative and understanding of discourse but also full of interest.&lt;br /&gt;
深使用顶针的修辞手法，这种修辞指的是在下一句中重复上一句的尾字。这种语篇推进的模式不仅有利于叙述的连贯和语篇的理解，而且富有趣味。--[[User:Zhou Siqing|Zhou Siqing]] ([[User talk:Zhou Siqing|talk]]) 02:05, 21 October 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
沈使用顶针的修辞手法，顶针是指在下一句中重复上一句的尾词。这种语篇推进模式不仅对叙述的连贯性和语篇的理解有益，而且趣味盎然。--[[User:Zhao Xi|Zhao Xi]] ([[User talk:Zhao Xi|talk]]) 05:17, 21 October 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
==Zhou Yiwen 周艺文==&lt;br /&gt;
Gladys thoroughly adverts to the aesthetic connotation and narrative techniques contain in “一” of the original text and strive for “formal similarity” and “spiritual similarity”. In sentence structure, Gladys retains the anadiplosis rhetorical device like “一”.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
格拉迪斯特别注重审美内涵和叙事技巧在原文中包含于一，努力达到“形似”和“神似”。在句子结构上，格拉迪斯也保留了顶真修辞手法。--[[User:Zhou Yiwen|Zhou Yiwen]] ([[User talk:Zhou Yiwen|talk]]) 08:52, 21 October 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
格拉迪斯特别注重原文“一”所蕴含的美学内涵和叙事技巧，力求达到“形似”和“神似”。在句子结构上，格拉迪斯保留了“一”这样的顶真修辞手法。--[[User:Zhu Xu|Zhu Xu]] ([[User talk:Zhu Xu|talk]]) 08:49, 22 October 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
==Zhou Yuanqu 周园曲==&lt;br /&gt;
More importantly, the static beauty of the original text has been changed into dynamic beauty by the recreation of the translator. To sum up, the whole translation is simple and fluent which correspond to the intangible and solitary artistic conception in the original text.&lt;br /&gt;
&lt;br /&gt;
更值得一提的是，通过译者的再创造，原文的静态美被转换成了动态美。总的说来，整段译文简洁而又流畅，没有破坏原文孤独朦胧的意境。--[[User:Zhou Yuanqu|Zhou Yuanqu]] ([[User talk:Zhou Yuanqu|talk]]) 09:36, 23 October 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
更重要的是，经过译者的再创造，原文的静态美变成了动态美。总的来说，整个译文简洁流畅，与原文中无形而孤独的意境相对应。  --[[User:Zhang Ling|Zhang Ling]] ([[User talk:Zhang Ling|talk]]) 01:30, 24 October 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
==Zhou Yujuan 周玉娟==&lt;br /&gt;
'''（中英举例不用翻译）'''&lt;br /&gt;
&lt;br /&gt;
Example 10: 那首歌声音既极柔和，快乐中又微带忧郁，唱完了歌，翠翠觉得心上有一丝儿凄凉。她想起秋末酬神还愿时田坪中的火燎同鼓角。远处鼓声已起来了，她知道绘有朱红长线的龙船这时节已下河了。细雨依然落个不止，溪面一片烟.[24]&lt;br /&gt;
&lt;br /&gt;
Translation: This gay, haunting melody has an undertone of sadness, making Emerald feel a pang of loneliness. Her thoughts fly to the bonfires and drumming in the fields to welcome the spirits at the end of autumn. Meanwhile drums sound up in the distance. The long crimson dragon boats will soon be staring their race. A light rain falls steadily, the stream is misted over.[25]&lt;br /&gt;
&lt;br /&gt;
In this example, Gladys’ translation almost reaches the realm of “spirit likeness”. In the wording, she not only carefully uses some expressive words but blends her own aesthetic attitude and aesthetic ideas into translation. Cuicui has stirred her love since she met Nousong two years ago on Dragon Boat Festival.&lt;br /&gt;
&lt;br /&gt;
==Zhu Meimei 祝美梅==&lt;br /&gt;
Henceforth, she has a load in her mind, which is nothing to do with her grandfather. Dragon Boat Festival comes again, and Cuicui sits alone on the ferryboat, waiting for her grandfather. Then she go to see the dragon boat race together with him in town, where she may meet Nuosong again.&lt;br /&gt;
&lt;br /&gt;
因此，她便有了一桩心事，这件事不关祖父。龙舟节再次到了，翠翠一人坐在渡船上，等着祖父。然后他们一起进城去看龙舟比赛，在那里她可能再次碰到挪送。--[[User:Zhumeimei|Zhumeimei]] ([[User talk:Zhumeimei|talk]]) 02:09, 24 October 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
==Zhu Suyao 朱素瑶==&lt;br /&gt;
The example above come about after Cuicui chanted a folk song on the ferryboat. The lonely and gloomy scenic description to some degree symbolizes that Cuicui’s love will end in tragedy. The repetition, though merely a few characters, forms an echo which achieves the artistic effect of inexhaustible sadness and sympathy of the readers toward Cuicui.&lt;br /&gt;
&lt;br /&gt;
上述例子中的事情发生在翠翠在渡船上吟唱起了民谣之后。这冷清孤寂的景象描写在一定程度上象征了翠翠的爱情将以悲剧结尾。尽管只有寥寥几个字，而其重复引起的共鸣就实现了艺术效果，引发了读者对翠翠无尽的悲伤与同情。--[[User:Zhu Suyao|Zhu Suyao]] ([[User talk:Zhu Suyao|talk]]) 01:48, 23 October 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
上述例子发生于翠翠在渡筏上吟唱民谣之后。这孤寂阴郁的景象描写在一定程度上象征了翠翠的爱情将以悲剧结尾。尽管寥寥数语，但这重复引起了共鸣，实现了读者对翠翠无尽悲伤与同情的艺术效果。--[[User:Zeng Liang|Zeng Liang]] ([[User talk:Zeng Liang|talk]]) 03:20, 23 October 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
==Zhu Xu 朱旭==&lt;br /&gt;
'''3  Conclusion'''&lt;br /&gt;
&lt;br /&gt;
After the research and analysis, the author has found that Translation Aesthetics can be regarded as a criteria to evaluate literary works. The unique aesthetic characteristics in literature indicate that Translation Aesthetics is an effective and practical theory to analyze literature translation. A good literary translation should fully express the literary features and artistic connotations of literary works, embody the aesthetic value of the works, and make the readers realize the infinite charm of oriental art and the great vitality of literary works.&lt;br /&gt;
&lt;br /&gt;
==Zou Xinyu 邹鑫雨==&lt;br /&gt;
On the one hand, it is necessary to reproduce the linguistic features of literary works in a proper and flexible way. On the other hand, it is necessary to take into account the cognitive level and understanding ability of readers in different countries, so as to maximize the aesthetic charm of literary works.&lt;br /&gt;
&lt;br /&gt;
一来，要用恰到好处，灵活应变的方式再现文学作品的语言特点。再者，要考虑到不同国家读者的认知水平和理解能力，使文学作品的美学魅力发挥到极致。--[[User:Zou Xinyu2|Zou Xinyu2]] ([[User talk:Zou Xinyu2|talk]]) 09:47, 23 October 2020 (UTC)Zou Xinyu&lt;br /&gt;
&lt;br /&gt;
一方面，有必要用恰到好处，灵活应变的方式再现文学作品的语言特征。 另一方面，有必要考虑不同国家读者的认知水平和理解能力，使文学作品的美学魅力发挥到极致。--[[User:Zhang Yinliu|Zhang Yinliu]] ([[User talk:Zhang Yinliu|talk]]) 16:21, 23 October 2020 (UTC)&lt;/div&gt;</summary>
		<author><name>Song Jianru</name></author>
	</entry>
	<entry>
		<id>https://bou.de/u/index.php?title=20201012_trans&amp;diff=100572</id>
		<title>20201012 trans</title>
		<link rel="alternate" type="text/html" href="https://bou.de/u/index.php?title=20201012_trans&amp;diff=100572"/>
		<updated>2020-10-16T14:45:25Z</updated>

		<summary type="html">&lt;p&gt;Song Jianru: /* Mo Ling 莫玲 */&lt;/p&gt;
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&lt;div&gt;Back to course homepage.&lt;br /&gt;
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Welcome to the webpage of the homework of 2020 10 12.&lt;br /&gt;
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==Cao Runxin 曹润鑫==&lt;br /&gt;
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Harvard Lecture&lt;br /&gt;
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On the 20th Century Chinese Essay&lt;br /&gt;
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Modern Chinese Literature &lt;br /&gt;
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And the Essay Genre: &lt;br /&gt;
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A New Perspective&lt;br /&gt;
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In this paper, I will not recount the contents and propose interpretations of any essays, nor will I outline the main topics or styles of essaywriting in China, but I would like to take the opportunity to reflect a little bit on the phenomenon of the genre itself and discuss some conclusions and hypotheses with the attentive and critical audience which can be found at only a few places on earth, EALC at Harvard definitely being one of them.&lt;br /&gt;
On the handout, you will find an overview of the structure of my argument.&lt;br /&gt;
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1. The unknown genre&lt;br /&gt;
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The literary-historical narrative told by anthologies and collections of the 20th century has drawn an incomplete picture of Chinese literature: The genre of the essay was lacking.&lt;br /&gt;
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==Chang Huiyue 常慧月==&lt;br /&gt;
&lt;br /&gt;
In my paper I will ask, if the picture of literature can remain unchanged, if we take into consideration also the essay. The genre has been neglected for a long time as a genre of merit (Margouliès 1949, Schmidt-Glintzer 1990) or overlooked (McNaughton 1974, Leiden 1988-90, McDougall 1998); whereas its elder brother, fiction, has been prized ever since the valuing of fictional literature and the vernacularisation of writing in early Republican China, which followed from the master narrative established by the May 4th movement.  Modern anthologies would have the reader believe that a triumvirate of poetry, fiction and drama forms the backbone of modern Chinese literary output.&lt;br /&gt;
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Excursion: Defining the essay &lt;br /&gt;
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As a non-fictional subjective representation in a free form&lt;br /&gt;
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==Chen Han 陈涵==&lt;br /&gt;
&lt;br /&gt;
Similar to international literature, the basic subdivision of literature in China in general is one in three types: epic (with xiaoshuo (fiction), sanwen (non-fictional prose)), lyrics (shige) and drama (xiqu).  Though there is no pure epic form, fiction and prose are often jointly addressed with the Chinese term &amp;quot;wu yunwen&amp;quot; which corresponds to the term &amp;quot;epic&amp;quot; in the West. The types may be distinguished roughly by their nature in the following way: In the epic, bygone events are retold, a broad, filled story dominates the foreground.  In the lyrics, the reader is encouraged to feel the current sensations and often confessionlike feelings of the poet.  The drama recalls a self-contained action directly in monologue or dialogue and in this way unburdens the re-creative imagination of the readers/spectators through it.  The essay as a genre of the epic is a detached non-fictional subjective representation in a free form.&lt;br /&gt;
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==Chen Hui 陈惠==&lt;br /&gt;
&amp;quot;Essay&amp;quot;, Chinese mostly ''sanwen'' 散文[	The choice of the term “''sanwen''” instead of “''suibi''” (familiar essay) or “''xiaopinwen''” (short literary piece) is of course arbitrary, but it corresponds to the present usage. In about 200 essay collections and histories between 1949 and 1996 known to the author, ''sanwen'' turned out to be the common expression, ''xiaopin'' was used only in one out of 25 essay titles of the PR China, in one out of 14 Taiwanese, and one out of ten Hong Kong publications.], is a genre term for shorter, self-contained non-fictional prose texts, in which the author tries to mediate individual experiences on an object or a question out of subjective I-perspective.  This it tries associatively and from different sides, not as a text for daily use, but with artistic or educationally demanding means of language, nevertheless in an accessible form.  The resource is mastered by the essayist sovereignly and the topic is seen in a larger context and can even be presented humorously.  Freedom in form and content is essential for the essay.&lt;br /&gt;
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==Chen Jiangning 陈江宁==&lt;br /&gt;
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Different perspectives range in the international genre of the essay: Genres are primarily divisions of literature through the scholarship of literature for specialized contemplation and in order to be able to compare similar texts more easily.  On the other hand, a subcategorization in numerous small entities, like Zheng Mingli does with the essay, questions the sense of such subdivisioning in reference to hermeneutic findings.  One must also stay aware of the changing nature of literature itself and the relativity of the scientific perspective, which is still a timely one, even if its accepted internationally.&lt;br /&gt;
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Regional deviations seem less important for the essay than for established genres like short stories, novels etc., and far less important than for poems.&lt;br /&gt;
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散文的国际体裁存在不同的观点：体裁主要是文学的分支，通过对文本的分析以进行专门的思考，同时能够更加容易地对相似的文本进行比较。另一方面，许多小的字符实体都存在次范畴化，以郑明礼处理文章为例，他对那些有关于文本解释的分支所得到的发现的合理性提出质疑。人们也必须要意识到文学本身不断变化的特征以及科学观点的相对性，及时已经为国际所接受，这一观点仍然具有时间局限性。对于散文来说，地域偏差的重要性似乎比诸如短篇小说、长篇小说等既定体裁的重要性要小，其对诗歌的重要性就更小了--[[User:Chen Jiangning|Chen Jiangning]] ([[User talk:Chen Jiangning|talk]]) 04:26, 16 October 2020 (UTC)。&lt;br /&gt;
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就散文的体裁而言，国际上存在不同的观点。体裁主要是文学的分支，其凭借文学知识进行专门的思考，以便能更加容易地对相似的文本进行比较。另一方面，以郑明礼对散文的处理为例，许多小实体的次范畴化对解释性发现的细分的意义提出了质疑。人们也必须意识到文学本身不断变化的特性以及科学观点的相对性，即使已经为国际所接受，也仍然具有时间局限性。--[[User:Chen Sha|Chen Sha]] ([[User talk:Chen Sha|talk]]) 08:12, 16 October 2020 (UTC)&lt;br /&gt;
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==Chen Jiaxin 陈佳欣==&lt;br /&gt;
&lt;br /&gt;
All these other genres are seen as international genres. My hypothesis, that the Chinese and the Western essay also belong to the same international genre maybe proved by the crosscultural mutualities both in form and content.&lt;br /&gt;
&lt;br /&gt;
In the 21st century, the world is growing together and culture is mainly determined by the grade of modernization.  The Chinese essay, as we find it in newspapers today, has taken on the form and content of the Western essay and is aimed at a target group comparable to that of the Western essay.  This is a second hint that the modern Chinese essay belongs to the international genre of the essay. Even though the translation of ''duanpian xiaoshuo'' 短篇小說 with short stories is commonly accepted, both are less closely related than the Western essay and its Chinese counterpart.&lt;br /&gt;
所有其他体裁都被视作国际体裁。我认为中国散文和西方散文属于同一国际体裁，或许这一点能够通过其形式和内容的跨文化多样性来证明。&lt;br /&gt;
在全球化发展的21世纪，文化主要由现代化的程度决定。当今报纸上的中国散文采用西方散文的形式和内容，其目标人群也类似。这再次暗示了中国现代散文属于散文的国际体裁。即使中国短篇小说的翻译和西方短篇小说是被广泛接受的，但相较于西方散文和中国散文而言，它们之间的联系没有那么紧密。 By Chen Jiaxin --[[User:Jessie Chen|Jessie Chen]] ([[User talk:Jessie Chen|talk]]) 11:35, 16 October 2020 (UTC)&lt;br /&gt;
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其他所有体裁都被视作国际体裁。我认为中国散文和西方散文同属国际体裁，这一点或许能够通过二者在形式和内容上的跨文化关系来证明。 在21世纪，世界各地的关联更加紧密，文化主要由现代化程度决定。如今报纸上中国散文的形式和内容与西方散文一致，目标人群也类似，这再次证明了中国现代散文属于散文的国际体裁。尽管短篇小说的译作被广泛接受，但不如西方散文和中国散文联系紧密。--[[User:Jiang Qiwei|Jiang Qiwei]] ([[User talk:Jiang Qiwei|talk]]) 14:15, 16 October 2020 (UTC)&lt;br /&gt;
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==Chen Jingjing 陈静静==&lt;br /&gt;
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The definition, which I developed out of a sample of more than 5000 modern Chinese essays, fits also the special international understanding of the essay (following Bolz 1992 13:269-272 on the development of the western essay; Butrym 1989 on the theory of the western essay). &lt;br /&gt;
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Besides the trend towards a globalized society, first expressed in Zhou Zuoren's call to adopt the English essay style, there are special local characteristics of the Chinese essay. How is the Chinese essay to determine culturally, what makes it &amp;quot;Chinese&amp;quot;? In the occidental essay the ''form'' seems to be a more important criterion of differentiation than in its Chinese counterpart. In China even those texts are included, which have only a similar content, but cross the borders of the formal generical framework.&lt;br /&gt;
我从5000多篇现代中国散文的样本中得出这一定义，而其也同样适用于对散文的国际化角度的特殊理解（紧随Bolz 1992 13:269-271 关于西方散文的发展；Butryn 1985 关于西方散文的理论）&lt;br /&gt;
社会全球化这一趋势在周作人采用英文散文风格的号召中首次提出，除此之外，中国散文还具有一些特别的当地特色。中国散文如何确定文化背景，是什么使之中国化？相比之中国散文，形式在西方散文中似乎是一种更为重要的区分标准。在中国散文中，即使是那些只是内容相仿但不在形式通用框架范围内的文章也包含在内。--[[User:Chen Jingjing|Chen Jingjing]] ([[User talk:Chen Jingjing|talk]]) 14:44, 16 October 2020 (UTC)Chen Jingjing&lt;br /&gt;
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==Chen Sha 陈莎==&lt;br /&gt;
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This can be shown with Zheng Mingli, who subcategorises the &amp;quot;unfinished diary&amp;quot; or the &amp;quot;unfinished letter&amp;quot;.  Those texts belong - within the Western context - to texts of personal use and therefor to the non-fictional prose works.  Only after they have been altered into essays (Zheng Mingli: &amp;quot;essay in diary form&amp;quot; and &amp;quot;essay in letter form&amp;quot;), they are accepted as essays.  &lt;br /&gt;
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The Chinese understanding of the genre &lt;br /&gt;
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Is tendencially broader&lt;br /&gt;
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This tendencial broader understanding of the essay in China can be traced back directly to the connotation, that the term ''sanwen'' possesses in Chinese: ''wú yùnwén'' 無韻文 &amp;quot;non-rhythmic prose&amp;quot;, which originally meant all non-fictional prose.  In this broader meaning, also texts for personal or everyday use are included.  However I deal only with ''sanwen'' in the narrower meaning &amp;quot;short literary essay pieces&amp;quot;.&lt;br /&gt;
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郑明礼表明了这一点，并对“未完成的日记”或“未完成的信件”进一步进行了分类。在西方的语境中，那些文本属于个人使用的文本，因此也属于非小说性散文作品。这些文本只有在被改成散文之后（郑明礼：“日记形式的散文”和“信件形式的散文”），才能作为散文为人们所接受。&lt;br /&gt;
中国对于体裁的理解偏泛化&lt;br /&gt;
在中国，对散文的这种偏泛化的理解可以追溯到中文中“散文”这一术语的内涵意义。散文，即无韵文，原本表示所有的非小说性散文，从广义上来看，也包括个人使用或日常使用的文本。然而，我只涉及狭义上的散文，即“短篇文学散文”。--[[User:Chen Sha|Chen Sha]] ([[User talk:Chen Sha|talk]]) 08:11, 16 October 2020 (UTC)&lt;br /&gt;
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==Chen Sunfu 谌孙福==&lt;br /&gt;
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Further differences are that Chinese essays often have ideological contents and show stylistic characteristics like repetitions and the usage of sayings.  &lt;br /&gt;
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The Chinese essay is booming again &lt;br /&gt;
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In the 1980s and 1990s&lt;br /&gt;
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Analysis reveals a general increase in essay publication after 1979 with two peaks immediately after the 'Cultural Revolution'. The publications apparently reaching a new height in 1990. The first increase came about in the 1920s and 1930s, after which the essay's role was eclipsed by the genre of the report (''baogao wenxue'' 報告文學).[	Klaschka 1998.] The flourishing of essay publication in the 1920/30s and 1980/90s was helped in part by the appearance of new magazines that existed chiefly as vehicles for contemporary essayists, and numerous ''sanwen congshu'' 散文叢書 (essay bookseries). &lt;br /&gt;
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==Chen Yongxiang 陈永相==&lt;br /&gt;
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The increase in essay production  right after the clear-cutting of the ‘Cultural Revolution’ has been the backlog of demand, which is reflected in 1 million copies of essay collections being printed between 1980 and 1982 - only counting the collections contained in a sampling of 130 ‘representative’ books I was able to collect for a survey.&lt;br /&gt;
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Thanks to the work of some major Chinese editors, the whole essay culture was compiled from magazines and newspapers and was published in a flood of anthologies since the 1970s. This boom is comparable to the cultural fever of undigging ''xiangtu'' 鄉土 literature, which rose in Taiwan in front of the background of the movement of self-identification and independance.&lt;br /&gt;
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==Cheng Yusi  成于思==&lt;br /&gt;
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Why is the essay as abundant as fiction?&lt;br /&gt;
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Let me name a few reasons, why the essay  in fact is as abundant as its prose brother, fiction, and its lyrical sister, poetry, and why it must be valued as highly:&lt;br /&gt;
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- The essay had a direct impact on Chinese society throughout history (the reform ideas from the end of the Qing dynasty through the May Fourth period with the literary theorethical pieces and the daily political ''zawen'' 雜文 of Lu Xun, until today are mostly presented in essay form). The impact on literary reflection and theory is shown in the collection &amp;quot;Modern Chinese Literary Thought&amp;quot; 1996. &lt;br /&gt;
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==Deng Jinxia 邓锦霞==&lt;br /&gt;
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The effect of the essay genre with its direct language, its connection to life (e.g. its role in the coming to terms with the cultural revolution), and its direct access to the individual reader through newspapers. This impact is larger than the indirect one of fiction or poetry.  The poem is the genre of retreat from social life, from political issues and time references.&lt;br /&gt;
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Hu Shi argues, that ''poetry'' is most important in the process of modernity, since poetry rises emotions. But it relies also on images and on linguistic rhythm. Liang Qichao stresses the role of ''novel'' and ''opera'' in the changing society. But ''sanwen'' is able to name things, it reflects life, caleidoscopic. Modern subjectivity is constructed with the tool of ''sanwen''.&lt;br /&gt;
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散文体裁的影响体现在其直接的语言，与生活的联系（例如，在文化大革命中的作用）和通过报纸直接接触个人读者的特性中。这种影响大于小说或诗歌的间接影响。 诗歌是一种不涉及社会生活，政治问题和时间参照的体裁。&lt;br /&gt;
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胡适认为，“诗”在现代化中最为重要，因为诗引起人们的情感。但是它也依赖于图像和语言节奏。梁启超强调了“小说”和“歌剧”在不断变化的社会中的作用。但是“散文”是能够命名事物的，它反映了生命，是千变万化的。现代主体性是由散文工具建构的。--[[User:Deng Jinxia|Deng Jinxia]] ([[User talk:Deng Jinxia|talk]]) 15:47, 15 October 2020 (UTC)&lt;br /&gt;
散文体裁的影响体现在其直接的语言，与生活的联系（例如，在文化大革命中的作用）和通过报纸直接接触个人读者的特性中。这种影响大于小说或诗歌的间接影响。 诗歌是一种不涉及社会生活，政治问题和时间参照的体裁。&lt;br /&gt;
胡适认为，“诗”在现代化中最为重要，因为诗引起人们的情感。但是它也依赖于意象和语言韵律。梁启超强调了“小说”和“歌剧”在不断变化的社会中的作用。但是“散文”是能够命名事物的，它反映了生命，是千变万化的。现代主体性是由散文工具建构的。--[[User:Mashuya|Mashuya]] ([[User talk:Mashuya|talk]]) 17:58, 15 October 2020 (UTC)MaShuya&lt;br /&gt;
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==Ding Daifeng 丁代凤==&lt;br /&gt;
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- The essay also reflects trends in the society better than poetry and fiction: Individualism is expressed in the essay more directly than in the poem with its limitation in content and form. Ephemerality is reflected in the short form of the essay, which may be read in the subway on the way to work, where poems may not be so spontaneously enjoyed.  &lt;br /&gt;
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- The essay reaches a larger part of the population than poetry, the amount of time spended on reading novels goes back, too.  The essay itself a genre of high actuality, if not simply ''the'' genre of today.&lt;br /&gt;
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==Fang Jieling 方洁玲==&lt;br /&gt;
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- The essay tells us more about an author and his time than fiction or poetry, because in this genre, we encounter the author himself without metrical restrictions. We look trough authentic eyes on his contemporary society.  Many authors turned to essay writing in the later periods of their lifes, like Lu Xun, Ba Jin, and Wang Meng.&lt;br /&gt;
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- The volume of ''essay'' production exceeds the volume of ''xiaoshuo'' 小說 production: Chinese newspapers since the 1870s on[	Shenbao, Shibao etc. Liang Qichao sees the role of the newspaper both as liberal and authoritative: He understands the press as an institution to control the government, on the other hand he favors censorship.] and as a mass media from the early 20th century presented only one or two fictional stories in a serialized form, but invented essay columns like ''zagan'' 雜感 (from which Lu Xun developed his zawen), ''suibi'' 隨筆 or ''suixiang'' 隨想 (from which famous collections like Ba Jin's ''Suixiang lu'' 隨想錄 derived).&lt;br /&gt;
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==Gan Fengyu 甘奉玉==&lt;br /&gt;
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Let us assign the essay its proper place&lt;br /&gt;
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The consequence which must be driven from the above presented contrast between value and valuing of the essay is: Let us assign the essay its proper place!  I will describe the beginnings of the discovery of the essay.&lt;br /&gt;
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Despite the increase in essay writing from 1979 on, it took a decade for the first theoretical reflections on this phenomenon to appear. It took another decade before the international scholarship of Chinese Studies became aware of the phenomenon of the essay.  &lt;br /&gt;
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In the 1980s, Chinese scholarship made a first major approach to reflect on essay literature by writing essay histories and collecting papers, which concentrated first on the essayistic work of single authors like Lu Xun.&lt;br /&gt;
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让散文用于用武之地吧。&lt;br /&gt;
上述中，散文价值与重视散文程度之间，反差明显，这势必导致一个结果：散文要有用武之地！接下来我将阐述散文是如何开始受到重视的。&lt;br /&gt;
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尽管从1979年起，散文写作量有所增加，但首次从理论上反思这一现象思却花了十年时间，然后又花了十年，国际中文学术界才开始意识到散文现象。&lt;br /&gt;
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20世纪80年代，中国学术界通过写散文历史，征集论文的形式，第一次反思散文文学。这首先集中体现在鲁迅等个别作家的散文作品中。--[[User:Gan Fengyu|Gan Fengyu]] ([[User talk:Gan Fengyu|talk]]) 04:53, 15 October 2020 (UTC)&lt;br /&gt;
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让散文处在它应在的位置吧。&lt;br /&gt;
上述中，散文价值与重视散文程度之间，反差明显，这势必导致一个结果：让散文处在它应在的位置吧！接下来我将阐述散文是如何开始受到重视的。&lt;br /&gt;
尽管从1979年起，散文写作量有所增加，但首次从理论上反思这一现象思却花了十年时间，然后又过了十年，国际中文学术界才开始意识到散文现象。&lt;br /&gt;
20世纪80年代，中国学术界第一次以写随笔史、征集论文的方式来反思散文文学，这首先集中在鲁迅等个别作家的散文作品上。--[[User:Li Lingyue|Li Lingyue]] ([[User talk:Li Lingyue|talk]]) 05:39, 15 October 2020 (UTC)&lt;br /&gt;
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==Gao Mingzhu 高明珠==&lt;br /&gt;
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Also two essay conferences in the 1990s showed no move towards international scholarship. Not before 1995 did international scholarship started to use common philological methods to explore single essayists (on Gaylord Leung [Liang Xihua] 梁錫華 Kubin 1995, on Wang Meng 王蒙 Woesler 1995, on Liu Zaifu 劉再復 Mansberg 1995 [unpublished]) or essays of groups (on xīnyučpài 新月派 Wagner 1996).&lt;br /&gt;
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Not before the second half of the 1990s, did a history of the Chinese essay using the means of Western philology appear (Woesler 1998) and for the first time, the essay was included in Western anthologies of literature as a genre equal to fiction and poetry (''The Columbia Anthology of Modern Chinese Literature 1995, Modern Chinese Literary Thought'' 1996).&lt;br /&gt;
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90年代的两次论文会议也没有显示出国际学术的发展趋势。直到1995年，国际学术界才开始使用通用的语言学方法来研究单个散文家(1995年盖洛德梁(梁西华)•顾宾,王蒙•沃斯勒,刘再复•曼斯堡(未发表))或者散文学派(1996年新月派)。&lt;br /&gt;
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直到二十世纪九十年代中后期，用西方语言学撰写中国散文的历史才开始（开拓者沃斯勒1998年），散文也第一次作为一种与小说、诗歌并列的文学体裁被收录到西方文学选集中（《哥伦比亚现代中国文学选集1995年版》《现代中国文学思想1996年版》）。--[[User:Gao Mingzhu|Gao Mingzhu]] ([[User talk:Gao Mingzhu|talk]]) 00:55, 16 October 2020 (UTC)Gao Mingzhu                             &lt;br /&gt;
二十世纪九十年代末的两次论文会议也没有显示出国际学术界会朝什么趋势发展。直到1995年，国际学术界才开始用通用语言学的方法来研究每一位散文家(1995年盖洛德梁(梁西华)•顾宾,王蒙•沃斯勒,刘再复•曼斯堡(未发表))或者散文学派(1996年新月派)。  &lt;br /&gt;
直到二十世纪九十年代后半叶，根据西方语言学理论而撰写的中国散文才初次登上历史的舞台。（沃斯勒1998年），散文也第一次作为一种文学体裁收录到西方文学选集中，和小说、诗歌并列。（《哥伦比亚现代中国文学选集1995年版》《现代中国文学思想1996年版》）。--[[User:Chen Jiangning|Chen Jiangning]] ([[User talk:Chen Jiangning|talk]]) 04:48, 16 October 2020 (UTC)&lt;br /&gt;
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==Gong Yumian 龚钰冕==&lt;br /&gt;
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Regarding the valuing of essays in China, Taiwan and the West, there are regional differences: In the States, essays are often chosen according to Western taste and totally unknown authors are given as much space as established ones.  In Taiwan, Lu Xun has been banned for a long time, but today, in my survey, which Chinese essayists are printed the most in the 1990s, he ranks 16th. If one only take modern authors into account, he even ranks 12th.  Hong Kong literature on Yu Guangzhong has been censored by Huang Weiliang in favor for the first (see Lin Yaode 1989:50), and Wang Meng has been overestimated in the People’s Republic of China due to his political post.&lt;br /&gt;
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==Gu Dongfang 顾东方==&lt;br /&gt;
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Still it remains a ''desideratum'' to get the most important Chinese essays in Western translation. Currently at least three essay collections in English translation are in the reviewing process (Tam King-Fai, Woesler) or already published (Pollard 1999). Pollard's selection is a highly subjective and eclective choice of essays, covering even the premodern essay. This year, scholars will meet on a first international conference on the essay (Achern, Germany August 25-26). In the years to come, a new ''Bonn History of Chinese Literature'' will grant the essay its proper place with two to three volumes only dedicated to the ''biji, youji'' and other essays. &lt;br /&gt;
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==Guan Qinqing 管钦清==&lt;br /&gt;
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Taking into consideration the essay &lt;br /&gt;
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将散文考虑在内&lt;br /&gt;
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Will rewrite the history of Chinese literature&lt;br /&gt;
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这将会改写中国文学的历史&lt;br /&gt;
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I will give a few hints, what the essay can contribute to the picture of Chinese Literature, which so far is overshadowed by fiction through the narrative of C.T. Hsia, Prusek and Anderson.&lt;br /&gt;
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我将会为大家提供一些思路：在夏志清、普实克和安德森这些大家的眼里，散文至今掩盖在小说的光芒之下。那么这篇文章又能为中国文学带来怎样的惊喜呢？&lt;br /&gt;
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We are used to established narratives, like the emergence and success of the May-Fourth literature. But this view neglects the role, that for example the ''yuanyang hudie pai'' played in the choir of different voices in the awoken intellectual debate in the beginning of this century. The May-Fourth group at that time was one voice among many and only succeeded because of its agitation and polemic in the public sphere, so we have to use new means to assign the Chinese essay its proper place.&lt;br /&gt;
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正如五四文学的出现且大获成功，我们已经习惯了叙述既定的事实。但是这个观点忽视了本世纪初像“鸳鸯蝴蝶派”等的这些学派在“百家争鸣”中所起到的重要作用。当时的五四派只是众多派系中的一个，他们之所以成功，是因为他们擅长于在公共场合鼓动群众，引发争议。因此，要正确定位中国散文，我们必须采取新的方式。--[[User:Guan Qinqing|Guan Qinqing]] ([[User talk:Guan Qinqing|talk]]) 14:19, 16 October 2020 (UTC)&lt;br /&gt;
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==Gui Yizhi 桂一枝==&lt;br /&gt;
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We learn from simplifiying narratives, that it is absolutely necessary to differentiate, and to reconstruct the complex time background. Having understood Chinese literature as determined by the development of fiction and poetry only, a broader understanding will change the whole appearance of Chinese literature. A scholarly endeavour is the use of modern literary theories in the approach to this genre.&lt;br /&gt;
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In the following, I will name three aspects (chronologically sorted by past, modern and contemporary time) to hold the argument, that the taking into consideration of the essay will rewrite the history of Chinese literature and change our current understanding of it.&lt;br /&gt;
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==Guo Lu 郭露==&lt;br /&gt;
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The classical and premodern essay &lt;br /&gt;
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Documents Chinese philosophy, early subjectivity &lt;br /&gt;
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And still, a native Chinese tradition is questioned&lt;br /&gt;
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How is the Chinese essay to be positioned historically, how did it emerge, what is its generic background? Generically, the ancestors of the essay are both in China and the West notes written on the margins of books, they are letters and travel notes.  These notes differed from the canonized literature through its informal style, its expression of individuality und subjectivity, a much earlier document for subjectivity than the first autobiographical Chinese novel, ''The Dream of the Red Chamber''.&lt;br /&gt;
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==Han Haiyang 韩海洋==&lt;br /&gt;
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From the very beginning, the essay was valued lower than poetry: the oldest reference[	This is older than the ones referred to in the ''Large Chinese Dictionary'' of Morohashi (Morohashi undated) and in the ''Encyclopaedic Dictionary of the Chinese Language'' 1966.] this far for the term ''sanwen'' that I found is Luo Dajing's statement from 1240: &amp;quot;詩騷妙天下，而散文頗覺瑣碎局促 Shī sāo miào tiānxià, ér sǎnwén pōjué suǒsuì júcù&amp;quot; (Poetry is moving mankind in a wonderful way, prose inquires into incoherent bagatels, is limited.) (''Helin yulu''). Another reproach Luo Dajing mentions, is a formal one: In comparison to the highly artistic and century-long tradition of poetic writing, the direct and often vernacular langage of the essay in his eyes had less value.&lt;br /&gt;
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==Han Wanzhen 韩宛真==&lt;br /&gt;
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In the West, a real 'art of the essaywriting' came up in the late 16th century as a medium for the newly reorganized knowledge. The reorganization originated from the observations of Kopernikus, which destroyed the whole conception of the world of the Middle Age.&lt;br /&gt;
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In China, particularly the debates on Buddhism in the 4th and 5th century A.D. saw the origination of a tradition of letters.  The Chinese tradition of the ''sanwen'' 散文 (essay) however, in the understanding of sǎn 散 as (to dispel, leisure, loose, relaxed, irregular, independant style, free prose, can be seen not before the detachment from the dialogue - or aphorism, which is still visible in the philosophical ''Lunyu''.  Xunzi delivered the prototype of the later essay with his philosophical treatises.&lt;br /&gt;
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==He Changqi 何长琦==&lt;br /&gt;
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They are an early form of philosophical didactical essays, in which general theorems are derived not only from quotations of the canonized classical works, but for the first time also from his own individual experience. The individuality is still a main characteristic of the essay today.&lt;br /&gt;
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During the dynasties the essay manifested itself further in certain subcategories: From reading-notes written at the paper margins originated the ''biji'' 筆記 (occasional notes), flourishing in the Ming Dynasty.  The marginalism is a link between Western and Chinese tradition of early essays. Occasional notes could contain private historical notes, anecdotes, communications and contemplations.  However, the consciousness of the essay as a ''genre of its own'' originated in China not before the Qing 清 dynastie, when numerous essay anthologies were compiled.&lt;br /&gt;
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==Hu Baihui 胡百辉==&lt;br /&gt;
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Taking into consideration the social-historical background draws a different picture of the old society than short stories and novels: Essays are much closer to real life, since they express individual problems and experiences. Until now, the Chinese pre-''Hongloumeng'' individual literature spoke only through the indirect language of poems to us. Rediscovering the essays, we have a splendid source of opinions, social-historical pictures etc.&lt;br /&gt;
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Premodern essay literature consists of much more than its most well-known example, the formally restrictive baguwen. Lu Xun himself wrote some of his essays in ''baguwen'' style, but on the other hand took it as a synonym for the ancient society. Zhou Zuoren saw the rhythm of the language of the &amp;quot;Eight legged essay&amp;quot; as as appealing and intoxicating as the &amp;quot;pleasure of doing opium.'' (Zhou 1932:148). &lt;br /&gt;
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==Hu Huifang 胡慧芳==&lt;br /&gt;
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But he considered it also as a prevalent genre implicit in the modern writings as ''yang bagu'' (westernized bagu) and ''dang bagu'' (party-line bagu) (borrowing from Wu Zhihui, Zhou Yuanliu:71).&lt;br /&gt;
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Neo-Confucianism stressed ''wen'' (prose) as the most important tool to transmit the dao (way): ''Wenyi zai dao'' (Literature as the carrier of the way). If we reinterprete this diction in the perspective of genre, we can say, that the essay then has been regarded as an important tool to express truth, subjectivity and Self.&lt;br /&gt;
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Liang Qichao developed a ''xīn wéntǐ'' 新文體 (new prose style), which was influenced by Western languages, but the essay became popular not before the newspapers became mass media, and the language changed into ''baihua''.&lt;br /&gt;
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==Hu Jin 胡瑾==&lt;br /&gt;
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The essay as the medium of modernity, &lt;br /&gt;
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The questioning of the genuiness of the Chinese essay&lt;br /&gt;
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To solve first of all the dispute on whether the Chinese essay grew out of a native tradition or was influenced by Western translations, one finds both traditions relevant: The occidental essay was introduced to the writers of the literature reform movement from 1907 on by translations in Chinese (Lin Shu: ''Irving'' 1907, ''Addison'' 1911). The current form of the genre is mostly based on the influence of Western essay translations. First developed a Chinese essay tradition, which consciously leaned upon the Western model in language, form and terminology, its own proponents succumbed soon to the temptation to derive a tradition of the Chinese essay from Chinese history only.&lt;br /&gt;
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==Ji Tiantian 纪甜甜==&lt;br /&gt;
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A seemingly unbroken Chinese tradition of the native Chinese ''wenyan sanwen'' is presented in Chinese textbooks (Yu Zaichun 1978-82, Li Xishang 1985).&lt;br /&gt;
Still, the value of the native tradition of essay writing and the role of the Western influence upon it is discussed controversially among the scholars. Some admit that Western impact played a key role in what we understand as Chinese essays nowadays: Wang Bin  1992, Fan Peisong 1993; for Western impact in general see Průšek 1964, Gálik 1966, McDougall 1971.  Other scholars think that Western influence is overestimated - Denton 1996 showed that the theoretical background was missing for understanding Western theories of literature in China, - and recommended that we understand the essay first by its national tradition. &lt;br /&gt;
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==Jiang Fengyi 蒋凤仪==&lt;br /&gt;
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How far personal opinion may influence the narrative of historical facts can be seen by the example of the legendary authors of the May Fourth movement.  All of them considered the English essay as the father of the Chinese essay: Zhou Zuoren 1921, Lu Xun 1933, the anarchist and later member of the Guomindang Wu Zhihui [1934].  Later, some of these authors changed their minds to support their own theories on the essay by looking for proof of a native Chinese essay tradition: for example, Lu Xun with his theory &amp;quot;“Zhǎnkāi” shuō yǔ “méngyá” lùn “展開”說與“萌芽”論&amp;quot; (Theory of &amp;quot;Starting&amp;quot; and &amp;quot;Blossoming&amp;quot;) came to see the fighting and critical character of the essay of the Jin dynasty (265 - 420) as the 'father' of the Chinese essay, and Zhou Zuoren first the English essay (1921) and later the ''biji'' (occasional notes) of the Ming, although he still tried to integrate the English essay in his &amp;quot;公安派與英國小品“合成”論 Gōng'ānpài yǔ Yīngguó xiǎopǐn “héchéng” lùn&amp;quot; (Theory of the Synthesis of the Gongan School and the English Essay).  &lt;br /&gt;
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==Jiang Hao 姜好==&lt;br /&gt;
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Wang Zengqi regrets that the national Chinese tradition of the essay at the time of the 'May Fourth Movement' has not been taken up again and has not continued in contemporary essays (Wang Zengqi 1993). The Chinese essay is an accommodating object of study, because one may look to it to prove any theory of the essay.  One can find examples for each topic in almost every period, simply because the essay has a wide range of subjects.&lt;br /&gt;
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When Zhou Zuoren showed that only seven months after the incident at Marco Polo bridge it was again possible to write about a candy seller[	Siehe Zhou Zuoren: &amp;quot;''Mai tang'' 賣糖&amp;quot; (Über Bonbonverkauf), in: ''Yao wei ji'' 藥味集 (Sammlung bitterer Geschmack), Peking 北京: Beijing xinmin yinshuju 北京新民印書局 (Pekinger Buchladen Neues Volk) 1942.3.20, Nachdruck: Hongkong 香港: Shiyong shuju 使用書局 (Praxisverlag) 1973.6, S. 126 - 131, englische Übersetzung u.d.T. &amp;quot;Candy selling&amp;quot; von Wolff: ''Chou Tso-jen'' 1971, S. 92 - 95 [Datiert auf 25.2.1938 mit einem Nachspann vom 28.]] (1924), he was critizised as &amp;quot;paralyzing&amp;quot; (Lu Xun 1934, Zhu Zhaoluo 1943).[	Vgl. Lu Xun: &amp;quot;''Die Krise des freien Essays''&amp;quot; 1934 und Zhu Zhaoluo: &amp;quot;''Tan xiaopinwen'' 談小品文&amp;quot; (Über den freien Essay), in: ''Yiwen zazhi'' Bd 1 (1943.8, Heft 2).] &lt;br /&gt;
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==Jiang Qiwei 蒋淇玮==&lt;br /&gt;
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When he wrote a piece on the &amp;quot;Fly&amp;quot;, he was reproached with dealing with subjects of minor importance. Reproaches like this lie in the very nature of the genre, since ''marginalism'' is substantial to the essay. The mentioned formal reproach of Luo Dajing can be found again in the 1990s, Hong Kong students critisized the literary style as it appears in Ba Jins &amp;quot;Thoughts&amp;quot; (Suixiang lu) as too direct and too less artful. But this perspective does not recognize the very nature of the essay, which is a very individual expression of an author's thoughts and not bound to tradition, and therefore much more free also in content.&lt;br /&gt;
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他曾在《Fly》上登过一篇文章，却被指责文章主题不深刻。类似的指责体现了这一流派的本质，因为这类文章的实质是边际主义。之前提到的对罗大经的公开指责在90年代重演了，香港学生批评巴金《随想录》的文学风格，认为其平直有余，艺术不足，但这一观点并未抓到这篇文章的本质。《随想录》表达的是作者的个人思想，不受传统的桎梏，故而在内容上更加自由。--[[User:Jiang Qiwei|Jiang Qiwei]] ([[User talk:Jiang Qiwei|talk]]) 13:56, 16 October 2020 (UTC)&lt;br /&gt;
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==Kang Haoyu 康浩宇==&lt;br /&gt;
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The essay - from its very nature free and independant - almost disappeared in the time of the Cultural Revolution and - except for the ideologically influenced essays - had a hard struggle between Yan'an and the loss of moral legitimacy by the leadership in 1989.&lt;br /&gt;
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The essay was ''the'' genre of the modernizing society of the early 20th century. Many writers had to define and often redefine their position and self-understanding in reaction to war and warlordism and later in the modernizing society, often burying their own ideals, in the larger perspective for the seeming &amp;quot;needs&amp;quot; of society, which also claimed the author to be one of its products. But from its very nature, the essay set new boundaries in form and content, and therefore not only survived the ideological restrictions, but also established its own critical subculture within. &lt;br /&gt;
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==Kang Lingfeng 康灵凤==&lt;br /&gt;
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The essay was not only a medium of discussion and a documentation of the social-political background for us today, but also a documentation of the personal struggle of the writers finding a position in a changing environment, since the essay is &amp;quot;a genre of self-reflection&amp;quot;. Some essays even deconstructed master narratives like the one of leftist ideology, often simply by confronting it with subjective experience, reality or art.[	I want to mention another position on literature, which stresses the impact of literature on life, especially on the eve of revolutions - following this view, all literature is political (Jameson).]&lt;br /&gt;
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==Kong Xianghui 孔祥慧==&lt;br /&gt;
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Not only the understanding of literature as a whole changes if we take into consideration the essay, also the view of single authors shifts, if we see not only their novels or poems, but also their essays. I mention only Zhou Zuoren. His ideas connected him[	Like for example Zhu Ziqing and Ba Jin.] spiritually to his contemporary collegues in Europe, Japan and America, but these where ideas for which China turned out to be not yet ready. At that time, China had taken a road which led away from progress, wealth, freedom and spiritual enlightenment. The consequences have yet to be overcome.&lt;br /&gt;
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==Kong Yanan 孔亚楠==&lt;br /&gt;
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''In 1927, Chinese literature has taken the form of 'engaged literature'.[	The 'mainstream' writers took an affirmative approach in their writing, whereas the other writers formed a minority.  The individual authors did not necessarily belong to either one of these groups throughout their life, but may have moved between them.  Since the essay is a medium which enables the individual to express thoughts directly, the writers chosen for this paper can be classified according to their position.]  The topical development of political essays sees a shift from the enlightenment-educational essay, which emerged in 1907, to the daily-political essays in the 1920-30s, further to anti-Japanese propaganda in the 1940s and ideological propaganda in the 1950s and 1960s.''&lt;br /&gt;
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==Lei Fangyuan 雷方圆==&lt;br /&gt;
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''In the 1980/90s, the discussion of politics of daily interest form a smaller part than in the 1920/30s. In the 1980s all genres including poems and essays were used for the critic against the master narrative of Communism or the Maoist understanding of art as serving ideology. Whilst the 1980s saw a revival of political issues in terms of discussion on the best system of society, (also in literature in general and in film) to a mere unpolitical and again more philosophical-moral theme spectrum in the 1990s, where essayists define their role, first of all to counterpart the consume-orientation of the masses.[Yu Guangzhong's essay &amp;quot;The wolves are coming&amp;quot; shows that the ideological perspective did not only harm mainland essaywriting.] The essay seems to be the only genre in China which has kept its educational claim with the exception of essays which claim to be &amp;quot;art pourt l'art&amp;quot;.''&lt;br /&gt;
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在20世纪80/90年代，与20世纪20/30年代相比，对日常关注的政治的讨论只占了一小部分。在20世纪80年代，包括诗歌和散文在内的所有体裁都被用来批判共产主义的总体叙事或毛派对艺术作为意识形态服务的理解。在20世纪80年代，关于最佳社会制度的讨论（包括一般文学和电影方面）正在复苏。到20世纪90年代，纯粹是非政治性的和更为哲学的--道德主题谱，散文家定义了他们的主题。角色，首先是与大众的消费取向相对应。（余光中的“狼来了”一文表明意识形态视角不仅仅损害大陆散文写作。）这篇散文似乎是中国唯一保留其教育主张的体裁，但被称为“艺术宝库”的散文除外。--[[User:Lei Fangyuan|Lei Fangyuan]] ([[User talk:Lei Fangyuan|talk]]) 08:41, 15 October 2020 (UTC)&lt;br /&gt;
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在20世纪80/90年代，关于日常利益的政治讨论比20/30年代少了一部分。在80年代，包括诗歌和散文在内的所有流派都被用来批评共产主义的主要叙事,或者批判将毛派艺术为服务意识形态。虽然在20世纪80年代，关于社会最佳制度的讨论（包括一般文学和电影），但到了90年代，散文家们定义了他们的角色，政治议题又重新回到了一个非政治的、又一次更具哲理性的道德主题谱系中，首先要与大众的消费取向相对应。余光中的《狼来了》表明，意识形态的视角不仅伤害了大陆的散文，而且似乎是中国唯一一个保持教育主张的体裁，除了那些号称“艺术散文”的除外。&lt;br /&gt;
--[[User:Li LIli|Li LIli]] ([[User talk:Li LIli|talk]]) 13:34, 15 October 2020 (UTC)Li Lili&lt;br /&gt;
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==Lei Kuangxi 雷旷溪==&lt;br /&gt;
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''The topical development of the unpolitical essay starts with the everyday-topics of Zhu Ziqing (&amp;quot;Shuo meng 說夢&amp;quot; On dreams in: Zhu Ziqing 1928) and Zhou Zuoren from 1917 (My own garden 9.1923, &amp;quot;The Fly&amp;quot; 1924, &amp;quot;Reading on the Toilet&amp;quot; 1936), with a caesura 1927, when the political essays became the main stream, until the late 1930s, when the unpolitical essay was eliminated totally by the anti-Japanese movement. It didn't recover until the 1970s, when life turned back to normality and normal things became topics of interest because of their long absence. Again in the 1990s, the unpolitical essay boomed also due to less interest in political issues and the need for a new orientation in the new found world of mass consumerism.''&lt;br /&gt;
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==Li Haiquan 李海泉==&lt;br /&gt;
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I mentioned the lack of translations in Western languages. One of the reasons might be the impression of some scholars that many of the Chinese essays were just propaganda.  This might be true for the 1940s and even the 1950s, but nowadays this has changed, as the overwhelming majority of publications prove.  This demands a closer look: Since 1949, politically affirmative literature has been encouraged by the government, resulting in a statistical paradox: not the affirmative authors and their texts form the majority of the essayists read in the 1990s, but the critical essayists, whose texts oppose the order to serve politics through their apolitical, sometimes even defiant character. In the 1990s, the texts of 1920s/1930s Republican China are still as often reprinted as their contemporary counterparts. &lt;br /&gt;
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==Li Lili 李丽丽==&lt;br /&gt;
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Obviously we can conclude that the politically affirmative essay of the 1950s only survived in special political essay collections and is no longer written by famous contemporary authors nor read by the Chinese audience in the beginning of the 21st century.&lt;br /&gt;
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Taking into account of a genre shifts the whole perspective on literature, taking into account the essayistic works of an author shifts also the view of the author. I will name only one author as an example for a modern essayist:ZHOU ZUOREN.&lt;br /&gt;
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I mentioned already his theoretical contribution to the Chinese essayism, but still, his essays have been neglected until the 1980s. The reason does not lie in literary quality, but in political valuing. The master narrative of the offical literary history of the People's Republic on Zhou Zuoren is, that the theoretical May Fourth genius &amp;quot;degenerated&amp;quot; and later became a &amp;quot;traitor&amp;quot;.&lt;br /&gt;
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显然，我们可以得出这样的结论：20世纪50年代的政治肯定性文章只存在于专门的政治散文集中，而在21世纪初，著名作家不会去写这些文章，观众也不会阅读这些文章。&lt;br /&gt;
考虑到一个体裁的变化，会影响总体的文学观点，考虑到一个作家的散文作品，也改变了这个作家的观点。我只为现代的散文列举一位作家：周作人。&lt;br /&gt;
我已经提到了他对中国散文主义的理论贡献，但是直到80年代，他的散文一直被忽视，原因不在于文学品质，而在于政治价值。《中华人民共和国官场文学史》对周作人的主要叙述是：五四理论天才“堕落”，后来沦为“叛徒”。--[[User:Li LIli|Li LIli]] ([[User talk:Li LIli|talk]]) 13:13, 15 October 2020 (UTC)Li Lili&lt;br /&gt;
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显然，我们可以得出这样的结论：20世纪50年代的政治肯定性文章只存在于专门的政治散文集中，而在21世纪初，当代著名的作家不会去写这些文章，观众也不会阅读这些文章。 考虑到体裁的变化，会改变总体的文学观点，而作家的散文作品，也改变这个作家的观点，因此我只列举一位作家作为现代散文家之例：周作人。 我已经提到了他对中国散文主义的理论贡献，但是直到20世纪80年代，他的散文一直被忽视，原因不在于其文学品质，而在于其政治价值。《中华人民共和国官场文学史》对周作人的主要叙述是：五四理论天才“堕落”，后来沦为“叛徒”。--[[User:Yuan SHiqi|Yuan SHiqi]] ([[User talk:Yuan SHiqi|talk]]) 14:13, 15 October 2020 (UTC)&lt;br /&gt;
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==Li Lingyue 李凌月==&lt;br /&gt;
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Publishing in the Japanese sponsored magazines ''Reminiscences'', and ''Chinese Literature'', he was blamed together with Zhu Pu and Yuan Xi of collaboration. An unanswered question is, why another author, who published there, Zhang Ailing, was never reproached with collaboratorship. The difference between all of them is that Zhang Ailing tried to avoid political committments, whereas Zhou felt guilty, Zhu justified it and Yuan simply accepted it.&lt;br /&gt;
In his small literary pieces, Zhou tried to aesthetizise the little things of the everyday life out of the subjective experience of his private space.  The major contribution of Zhou Zuoren is, that he set the turning point in Chinese essay writing with his call for writing short literary pieces (''Meiwen'' 1921).&lt;br /&gt;
在日本主办的杂志《追忆》和《中国文学》上发表文章，他被指责与朱璞和袁熙合作。一个悬而未决的问题是，为什么在那里发表文章的另一位作家张爱玲从未因合作而受到指责。二者的不同之处在于，张爱玲试图逃避政治委员会，而周则感到内疚，朱则为之辩护，袁则干脆接受了。在他的文学小短篇中，周试图从私人空间的主观体验中，将日常生活中的琐事审美化。周作人的主要贡献在于，通过号召写文学短篇，开创了中国散文创作的转折点。（美文1921）。--[[User:Li Lingyue|Li Lingyue]] ([[User talk:Li Lingyue|talk]]) 05:30, 15 October 2020 (UTC)&lt;br /&gt;
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因为在日本主办的杂志《追忆》和《中国文学》上发表了文章，他受到指责与朱璞和袁熙合作。一个悬而未决的问题是，为什么在那里发表文章的另一位作家张爱玲从未因合作而受到指责。二者的不同之处在于，张爱玲试图逃避政治委员会，而周却感到内疚，朱则为之辩护，袁是干脆接受了。在他的文学小短篇中，周试图从私人空间的主观体验中，将日常生活中的琐事审美化。周作人的主要贡献在于，通过号召写文学短篇，开创了中国散文创作的转折点。（美文1921）--[[User:Liu Yiyu|Liu Yiyu]] ([[User talk:Liu Yiyu|talk]]) 08:31, 15 October 2020 (UTC)Liu Yiyu&lt;br /&gt;
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在日本主办的杂志《追忆》和《中国文学》上发表文章，他被指责与朱璞和袁熙合作。一个悬而未决的问题是，为什么在那里发表文章的另一位作家张爱玲从未因合作而受到指责。二者的不同之处在于，张爱玲试图逃避政治委员会，而周恩来则感到内疚，朱镕基则为之辩护，袁则干脆接受了。在小品创作中，周作人试图从私人空间的主观体验中，将日常生活中的琐事审美化。周作人的主要贡献在于，他以《文学短篇》的号召，开创了中国散文创作的转折点（梅文1921）。--[[User:Ling Zijin|Ling Zijin]] ([[User talk:Ling Zijin|talk]]) 14:21, 15 October 2020 (UTC)&lt;br /&gt;
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==Li Liqin 李丽琴==&lt;br /&gt;
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In foreign literature there is the so-called ''lunwen'' 論文 (treatise), which is roughly divided into two groups: the reflecting ones, piping 批评 (critical), are scientific articles. The others are ''jishu'' 記述 (descriptive) and ''yishuxing'' 藝術性 (artistic), they are also called ''meiwen'' 美文 (aesthetic essay). Within these texts, one can distinguish between ''xushi'' 敘事 (narrative) and ''shuqing'' 抒情 (lyric). But there are also mixed texts. [...] I hope that the aesthetical essay is encouraged to come back, and will open up a new field for the New Literature. Wouldn’t that be wonderful?&lt;br /&gt;
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With these words from the essay &amp;quot;''The aesthetic essay''&amp;quot; this new vernacular form was defined.  This starting point founded a whole new tradition of essay writing in China. Contemporary writers called this piece the &amp;quot;king of essays&amp;quot;.&lt;br /&gt;
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在外国文献中，所谓的“论文”大概分为两类：一类是反思批评性质的科学文章，另一类是具有艺术性的记述文章（也叫做“美文”）。我们能够区分叙事文和抒情文，但也有些文章抒情与叙事两者兼而有之。我希望美文能够重新焕发光彩，为新文学的发展开创新局面。何乐不为呢？&lt;br /&gt;
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在这篇文章中，“美学”有了新的定义。这一出发点为中国论文写作开创了一种全新的写作传统。当代作家们将此文称为“论文之王”。--[[User:Li Liqin|Li Liqin]] ([[User talk:Li Liqin|talk]]) 09:00, 16 October 2020 (UTC)&lt;br /&gt;
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==Li Luyi 李璐伊==&lt;br /&gt;
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In order to bring this new form to his compatriots, he tried to find similiarities with the ''xiaopinwen'' of the Ming dynasty. He further discussed these thoughts in his essay theory. In his own essays, he profited a lot from ancient ''suibi''. Later he further developed his literary theory towards an up and down of two trends. In the modernizing society, he advocated the liberation of women and asked to &amp;quot;treat children as full subjects with their own external and internal lives&amp;quot; and to &amp;quot;make children the essence of children's literature&amp;quot; (Zhou 1923).  He promoted the baguwen and the independance of literature from politics and effected the literary scene and the development towards a modern Chinese society especially between 1917 and 1938.&lt;br /&gt;
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为了把这种新形势带给他的同胞，他试图寻找其与明代小品文的相似之处。他在自己的散文理论中进一步论述了这些思想。且他的散文从古代“随笔”中受益颇多。后来，他的文学理论又进一步发展，并在两个倾向间摇摆不定。在现代化社会中，他主张妇女解放，要求“把儿童看做一个完整的主体，有其自身的外在生命和内在生命”，“使儿童成为儿童文学的精髓”（周 1923）。在1917年至1938年间，他促进了八股文的发展和文学之于政治的独立性，并影响了文坛和中国近代社会的发展。--[[User:Li Luyi|Li Luyi]] ([[User talk:Li Luyi|talk]]) 03:01, 16 October 2020 (UTC)&lt;br /&gt;
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==Li Meng 李梦==&lt;br /&gt;
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With this theoretical foundation and his own vo'luÉminous essayistic work, Zhou Zuoren through the example of his own form of short literary pieces within this genre, fought at that stage of the development of his literary theory like Benjamin Henri Constant de Rebecque 130 years ago in France for the idea &amp;quot;l'art pour l'art&amp;quot;, for individuality and independance of the writer, for disinterested literature. The jugdment, that Zhou was an apolitical author cannot be proved with his essays.  Instead, he wanted his abstinence of political statement to be understood as a political statement by itself. &lt;br /&gt;
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Benjamin Henri Constant de Rebecque (1767 - 1830) war französischer Romanschriftsteller und liberaler Politiker, der neben der Freiheit der Kunst nach der Französischen Revolution die Einführung der konstitutionellen Monarchie nach englischem Vorbild forderte.&lt;br /&gt;
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==Li Yongshan 李泳珊==&lt;br /&gt;
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Siehe Journal (10.2.1804). Die &amp;quot;Kunst um der Kunst willen&amp;quot; propagierte die Zweckfreiheit der Kunst. Im Gegensatz dazu versteht sich die engagierte Literatur. Die Parallele zwischen Zhou Zuorens Literaturverständnis und dem Konzept &amp;quot;Kunst um der Kunst willen&amp;quot; zieht auch Wolff: Chou Tso-jen 1971, S. 84.&lt;br /&gt;
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Siehe Zhou Zuoren: Der Ursprung der neuen chinesischen Literatur 1934, S. 95 - 98; vgl. auch Chen Zizhan: Vorträge zur chinesischen Literaturgeschichte 1937, Bd 3, pp. 416 - 422, besonders S. 422. Hinweis in: H. Martin: &amp;quot;Liang Qichao on Poetry Reform&amp;quot; 1996, Bd 1, S. 213.&lt;br /&gt;
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For him, literature was a mean not for revolution, but for resistance (Zhou 1929:180-181).  In fact he saw himself as ‘patriotic underground fighter’ and looked at the collaboration with the Japanese puppet regime as a forced one, following his attempted assasination, through which his driver had lost his life.  His own concept of essay writing served less the needs of the building of a nation-state and comes closer to the ideal of the individual. &lt;br /&gt;
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==Li Yu 李玉==&lt;br /&gt;
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How broadly his enlightenment concept might have been accepted in the West, China was simply not ready for this modern concept then, instead it had to give way to a politically manipulated literature and to a dark period first under different warlords, then in the civil and Anti-Japanese war, finally under communist regime, which lasts until the 21st century. &lt;br /&gt;
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&amp;quot;I don't really know why, but I am feeling as if I am born into a dark age. I admit, that our forests are not inhabited by dragons, tigers and wolves, but shapeless &amp;quot;monsters&amp;quot; and &amp;quot;goblins&amp;quot; are still creeping around and try to swallow our souls. [...] What alarms me most, is the absence of freedom in this prison, into which we writers have been thrown.&amp;quot; &lt;br /&gt;
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==Lin Min 林敏==&lt;br /&gt;
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Confronting tradition and progress in the essay ''&amp;quot;Ancestor Worship&amp;quot;'', he is in favor of the latter, since past could only become present through changes (Zhou 1919:7-8). &lt;br /&gt;
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Regarding Zhou Zuoren, I want to correct the official assessment of the People’s Republic, that his work would have experienced a caesura in 1938.  In order to explain his opposition of the propaganda to build up national heroes about 1937 and his collaboration from 1939, it has been said officially, that his thoughts had &amp;quot;duoluo 墮落&amp;quot; (degenerated) at that time (Zhu Jinshun 1990:59). In fact, this caesura, namely the change in the style and subject in his essays on literature, art etc. to ''zhengjing'' 正經 (serious, intentional essays), and ''xianshi'' 閑適 (essays for one’s own enjoyment) is located not before his outlawing through Mao Zedong (1942), and his arrest through the Guomindang (1945).&lt;br /&gt;
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==Lin Xin 林鑫==&lt;br /&gt;
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Therefore not the Japanese suppressors are responsible for the retreat of this great writer, but his Chinese compatriots'.  &lt;br /&gt;
On the basis of the stigma of the 'traitor', he has been undervalued until now.  That his work in the 1990s is almost as often published as Lu Xun's and Zhu Ziqing's shows that his texts finally experience a more positive literaric evaluation through the audience, which now must be registered also by scholars.&lt;br /&gt;
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Another example of a misread Zhou Zuoren is his short essay on ''&amp;quot;The Fly&amp;quot;'',  where he describes his changing attitude towards flies, which he had played with as child but later disgusted when he learned about their danger of passing on diseases.  ''”The fly”'' shows Zhou Zuoren’s strength to describe details and make them a real topic by recalling memories on them or describing a change of perspective on them. &lt;br /&gt;
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==Ling Zijin 凌子瑾==&lt;br /&gt;
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Siehe Zhou Zuoren: &amp;quot;''Cangying'' 蒼蠅&amp;quot; (Die Stubenfliege), in: ''Chenbao fujuan'' 晨報副鐫 (Beilage zur Morgenpost) (1924.7.13). Eine Zusammenfassung des Inhalts findet sich in: Yu Daxiang (Hg.): ''Auswahllexikon chinesischer Essays mit Inhaltsangaben und Analysen'' 1993.&lt;br /&gt;
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Zhou summarized the philosophical wisdom he learnt from this, that people did not judge on things objectively, but were likely to praise or damn things. The official reading reproaches Zhou that he &amp;quot;saw only the fly and not the cosmos&amp;quot;, a quotation of the young Zhou about a position he himself clearly opposed.&lt;br /&gt;
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Siehe ''Vollständige chinesische Anthologie der Wissenschaften - Bd Chinesische Literatur'' 1988, Bd 2, S. 1300. Dies spielt auf den Essay &amp;quot;''Cangying'' 蒼蠅&amp;quot; (Die Stubenfliege), in: Zhou Zuoren: ''Zhi Tang. Sammlung'' 1933 an.&lt;br /&gt;
见周作人：《仓皇传》，载《晨报附录》（1924.7.13）。其内容摘要见：于大祥：《汉语散文选词与内容分析》，1993年。              &lt;br /&gt;
周恩来总结了他从中学到的哲学智慧：人们并不客观地评价事物，而是通过褒贬。官方的解读指责周恩来“只看到苍蝇，没有看到宇宙”，这是年轻的周恩来关于他自己明确反对的立场的一句话。              《中国科学全集-中国文学》1988年，第2版，第1300页。这是在散文《苍鹰》（短篇小说）上演的，在：周作人：“智堂”。1933年收藏。--[[User:Ling Zijin|Ling Zijin]] ([[User talk:Ling Zijin|talk]]) 14:14, 15 October 2020 (UTC)&lt;br /&gt;
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见周作人：《仓皇传》，载《晨报附录》（1924.7.13）。其内容摘要见：于大祥：《汉语散文选词与内容分析》，1993年。 &lt;br /&gt;
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周恩来总结了他从中学到的哲学智慧：人们并不客观地评价事物，而是倾向于褒贬事物。官方的解读指责周恩来认为他“只看到苍蝇，没有看到宇宙”，这是年轻的周恩来关于他自己明确反对的立场的一句话。              &lt;br /&gt;
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《中国科学全集-中国文学》1988年，第2版，第1300页。这是在散文《苍蝇》（短篇小说）上演的，1933年藏于在周作人《知堂文集》。--[[User:Xu Pengfei|Xu Pengfei]] ([[User talk:Xu Pengfei|talk]]) 14:55, 15 October 2020 (UTC)许鹏飞&lt;br /&gt;
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==Liu Bo 刘博==&lt;br /&gt;
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His ability to chat about the more pleasent things in life is displayed in his essay ”Birds’ twitter”.  In ”Peking ''cakes and sweet-meat''” and in ”''Wild vegetable of my home region''”, Zhou Zuoren shows his ability to make the reader feel at home at a region, where he feels at home himself, by describing the customs and special regional food. &lt;br /&gt;
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His piece ”Bitter rain” shows the atmosphere, for what his essays had been labelled ”bitter tea”: There remains a taste in one’s mouth after reading. If you compare Lu Xun’s ''”On tea drinking”'' (Yang/Yang 1961 3:325-326) with Zhou Zuoren’s essay with the same title, you see the difference of ”short and to the point” and ”eloquent and well-read”. ''”First love”'' is more hilarious. &lt;br /&gt;
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==Liu Jinxingqi 刘金惺琦==&lt;br /&gt;
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The essay ''”Three different ways to die”'' shows that Zhou Zuoren can compete with his elder brother in sarcasm. Lu Xun's essay on the same subject, the massacre on March 18, 1926, was a sight. Zhou asks for the ”best” way to die and favors the short and painless one. In ”''On alcohol''” and ''”The awning bunk boat”'' Zhou Zuoren continues the tradition of late Ming ''biji''.&lt;br /&gt;
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''What is the state of contemporary essay writing in China? Its position should be brought into its proper relationship to recent approaches, perspectives and terms of categorization, like post-modernist elements, post-colonial thinking, deconstructivism etc.''&lt;br /&gt;
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==Liu Liu 刘柳==&lt;br /&gt;
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The increase of the essay production after the ‘Cultural Revolution’ might be explained with the ability of the essay, to express personal experiences much more authentically than other genres because of its immanent claim of historical truth.  But the essay is not a guarantee for objective truth: In the same time it is subjective, the essayist mediates his image consciously.  This restricts the reported truth to a subjective one and bears the risk of a consciously “corrected” truth.  The individualism of the Republican era has been based on the common feeling to stand at a historical turning point and directed towards common targets like the creation of a New Literature and a new Chinese society.&lt;br /&gt;
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“文化大革命”后散文创作的增加可能与散文的能力有关。由于其对历史真相的内在要求，相比于其他体裁，它能更真实地表达个人经历。但是散文并不能保证事实的客观性，它同样具有主观性：散文家会下意识地调解自我形象。那么，这就将已报道的事实限制在一个主观范围内，它同时也承担着下意识地纠正事实的风险。共和国时期的个人主义处于一个历史转折点，它基于共同情感指向共同的目标，如创作新文学，创造一个全新的中国社会。--[[User:Liu Liu|Liu Liu]] ([[User talk:Liu Liu|talk]]) 13:19, 15 October 2020 (UTC)&lt;br /&gt;
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“文化大革命”之后散文创作的增加可能与散文的功能有关。由于散文对历史真相的内在要求，相较于其他体裁，它能更真实地表达个人经历。 但是散文并不是客观真理的保证，它同时具有主观性：散文家会有意识地调整自我形象。这就使已报道的事实带有主观性，并承担事实被有意识地“纠正”的风险。 民国时期的个人主义基于处于历史转折点这种同感的基础上建立，并朝着建立新文学和新中国社会等共同目标迈进。--[[User:Deng Jinxia|Deng Jinxia]] ([[User talk:Deng Jinxia|talk]]) 16:25, 15 October 2020 (UTC)&lt;br /&gt;
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==Liu Ou 刘欧==&lt;br /&gt;
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In the 1980s and especially in the 1990s, individualism asks for a critical reflection on the satisfaction of personal consumption needs and tries to give personal orientation, essayists plead for moral virtues (Wang Meng: &amp;quot;''Anxiang'' 安詳&amp;quot; (Serene) 1992, &amp;quot;''Zuohao ni ziji de shi'' 做好你自己的 事&amp;quot; (First make your own things in a good way) 1994). These essays, mainly published in newspapers and magazines, are widely read by people in the rapidly changing, anonymous, alienating and consume-oriented mass cultural society.&lt;br /&gt;
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Other essays in the 1980s and 1990s are in a kind of new subjectivism targeted away from contemporary contradictions but apply to the feelings of the audience by creating an either positive (''&amp;quot;Shanxi opera&amp;quot;'', Jia Pingwa 1984) or negative world (''&amp;quot;The nightmare&amp;quot;'', Si Yu 1995).&lt;br /&gt;
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二十世纪80年代，特别是90年代，个人主义要求对满足个人消费需求的思想进行批判性反思，并努力寻求个人目标。小说家提倡道德美德，(王蒙: 安详1992，做好你自己的事，1994)。这些文章主要发表在报纸和杂志上，在当时激荡、虚幻、疏远和消费主义盛行的大众文化氛围中，被读者广泛阅读。这一时期的其他作品，出现了一种新的主观主义色彩，它们逃避当下的矛盾，给读者营勾勒出由积极色彩(《秦腔》, 贾平凹 1984)和消极色彩(《噩梦》,思域 1995) 共同构成的世界。&lt;br /&gt;
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在20世纪80年代，尤其是90年代间，个人主义要求对满足个人消费需求进行批判性评价，并且尽量表现出个人意向，评论家讲究道德品质。（王蒙: 安详1992，做好你自己的事，1994)。这些散文主要在报纸和杂志出版，为生活在迅速变化、陌生疏离且以消费为主的大众文化社会中的人们广泛阅读。同期其他的散文作品是以崭新面孔出现的、规避时下矛盾的主观主义，却能给读者创造出或积极(《秦腔》, 贾平凹 1984)或消极的世界。(《噩梦》,思域 1995)--[[User:WuQiong|WuQiong]] ([[User talk:WuQiong|talk]]) 13:17, 15 October 2020 (UTC)&lt;br /&gt;
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==Liu Yangnuo 刘洋诺==&lt;br /&gt;
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From the essay, we can see contemporary trends of literature, which are also reasons for the increase in volume of this genre in the 1990s:&lt;br /&gt;
- The giddy-paced nature of current Chinese society with its demands for diverting and short texts: “[...] we live in an age of exposition” (Hall 1984:xiii); &lt;br /&gt;
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- The increasing consciousness of individuality for which the essay is the most direct form of subjective expression, even more direct than the poem with its metrical and formal demands; &lt;br /&gt;
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- A revival of interest in discussing social-political issues through the medium of the essay, as was the case in the 1920s/30s.&lt;br /&gt;
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==Liu Yi 刘艺==&lt;br /&gt;
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- The banality of everyday life becomes conscious through becoming a literary topic, most commonly in the genre of everyday life, the essay.&lt;br /&gt;
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- The De-ideologization of Chinese society. Today not the governmentally demanded affirmative texts stand at the forefront, but unpolitical essays, mostly dating from the Republican era, especially from the years 1923 to 1928.  This observation is supported by the results of the mentioned statistical analysis.  The mostly read political essays after 1949 are critical essays.[Ba Jin for example complains in &amp;quot;Remembering Xiao San&amp;quot; about the death of his wife in the 'Cultural Revolution'.]&lt;br /&gt;
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平庸的日常生活因为变成了文学话题而变得有意思，最常见的就是日常生活体裁，即论文。--[[User:Liu Yi|Liu Yi]] ([[User talk:Liu Yi|talk]]) 13:46, 15 October 2020 (UTC)&lt;br /&gt;
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日常生活的平庸性通过成为文学话题而变得有意识，最常见的是日常生活体裁，即论文。--[[User:Zhang Hui|Zhang Hui]] ([[User talk:Zhang Hui|talk]]) 14:10, 15 October 2020 (UTC)&lt;br /&gt;
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-中国社会的去意识形态化。 今天，不是政府要求的平权文本站在最前列，而是非政治性文章，主要是共和时代，尤其是1923年至1928年。上述统计分析结果支持这项研究。 1949年后最受欢迎的政治文章是批判性文章。例如，巴金在“纪念萧三”中抱怨“文化大革命”中妻子的去世。--[[User:Liu Yi|Liu Yi]] ([[User talk:Liu Yi|talk]]) 13:46, 15 October 2020 (UTC)&lt;br /&gt;
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中国社会的去意识形态化。 今天，不是政府要求的平权文本站在最前列，而是非政治性文章，主要是共和时代，尤其是1923年至1928年。这篇观察得到上述统计分析结果的支持。 1949年后最受欢迎的政治文章是批判性文章。例如，巴金在“纪念萧三”中抱怨“文化大革命”中妻子的去世。--[[User:Zhang Hui|Zhang Hui]] ([[User talk:Zhang Hui|talk]]) 14:10, 15 October 2020 (UTC)&lt;br /&gt;
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==Liu Yiyu 刘怡瑜==&lt;br /&gt;
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- Regarding the compiling of essay collections: For the most often selected essays in the People’s Republic, Taiwan and Hong Kong, moral and aesthetic criteria seem to have underlain. This is a sign of the increasing independence of the editors of essay anthologies from governmental or ideological handicaps, and for the increasing commercialization of the publishing houses with an orientation toward customers (former: &amp;quot;readers&amp;quot;). &lt;br /&gt;
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- The criteria for essay best sellers in the P.R. of China are the following: In the most often printed essay ''&amp;quot;The Back View&amp;quot;'', filial piety is the driving factor, parallelistic and repetitive structures in the atmospherical nebulous &amp;quot;The Moonlit Lotus Pond&amp;quot;, both written by Zhu Ziqing, whose style easily may seem mannerist to the Western reader. Nostalgic home feelings are the emotional identification element in ''&amp;quot;Wild vegetables of my home region&amp;quot;'' by Wang Zengqi. Therefore one can state, that moving essays form the top.&lt;br /&gt;
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有关散文集的编纂:对于中华人民共和国(包括台湾和香港在内)的常选散文来说，其大部分的道德和美学标准似乎都有所隐藏。这是一个信号，意味着散文选集的编辑者在摆脱政府或者意识形态上的阻碍，独立性变得越来越强，也意味着出版社以客户(之前称之为“读者”)为导向，逐渐商业化。&lt;br /&gt;
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中华人民共和国的畅销散文标准如下:常选印刷散文《背影》，孝顺主题是其畅销的主要原因。《荷塘月色》的内容氛围朦胧，文章结构具有平行性和重复性。这两本书的作者都是朱自清，他的写作风格对于西方读者来说易被视为矫揉造作。思家情绪是汪曾祺的《故乡的野菜》一文中的感情特征元素。因此可以说，畅销榜首均为感人散文。--[[User:Liu Yiyu|Liu Yiyu]] ([[User talk:Liu Yiyu|talk]]) 08:32, 15 October 2020 (UTC)Liu Yiyu&lt;br /&gt;
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-关于文集的编纂：对于最常入选文集的中国(包括台湾和香港)散文，似乎存在着潜在的道德和美学标准。这是文集编辑越来越独立于政府或意识形态障碍的标志，也是出版社以客户(之前称之为“读者”)为导向，日益商业化的一个标志。&lt;br /&gt;
-在中国，畅销文集的标准是：常选印刷散文《背影》中，孝道是驱动因素，同样是朱自清作品的《荷塘月色》，氛围朦胧中的平行重复结构，在西方读者看来似乎很矫揉造作。怀旧的故乡情怀是汪曾祺《故乡野菜》中的情感认同元素。因此，我们可以说，感人肺腑的文章位居畅销榜首。--[[User:Xiao yining|Xiao yining]] ([[User talk:Xiao yining|talk]]) 16:35, 15 October 2020 (UTC)Xiao Yining&lt;br /&gt;
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==Liu Zhiwei 刘智伟==&lt;br /&gt;
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- ''In the latter half of the 1990s, the master narrator himself seems to be lost within the subjectivity of individuals and everyday's profaneity and banality of a more and more formally organized but substantially empty citylife. Time loses worth, since more and more of the daily acctivities are filled with mechanical and autistic actions.  In the 1990s, the essayistic culture of political criticism of the 1980s has vanished, the only political replique is the patriotism, for example expressed in the 1996 published monograph'' China can say no! – Possibilities for politics and emotions in the period after the cold war (''No!'' 1996).&lt;br /&gt;
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- ''The reason that we do not find post-modernist essays in the sense of post-modernist fiction lies in the directness of the essay: The essay as a genre is a chat between author and reader and not an object d'art which wants to give cause for different interpretations or which would depend on exceptional form or contents or even quotations of pre-modern characteristics in order to make it an distinguishable object d'art.'' &lt;br /&gt;
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==Lou Cancan 娄灿灿==&lt;br /&gt;
&lt;br /&gt;
''Also trends like the use of ordinary language, which one finds in novels since 1993'' (''Jia Pingwa'', Feidu; ''Gu Cheng'', Yingger) and New Borderlessness[''Xin zhuangtai xiaoshuo'' 新狀態小說 (''new borderless fiction'') with Chen Dong 韓東, Lu Yang 魯羊, Zhu Wen 朱文, Lin Bai 林白, Chen Liang 陳梁, Zhang Mei 張梅.]  ''since 1995, cannot be proven in the essaywriting.''[Post-colonialist thinking (Williams et al. 1994), which is to be seen as part of the social-political discourse, appears in essays, especially in the less critical political, but patriotic essays of the 1990s. Kafkaism helps us understand the essay &amp;quot;The nightmare&amp;quot;, where Si Yu appears as a deconstructionist, the I-narrator even is drawn near to suicide.]&lt;br /&gt;
&lt;br /&gt;
“还有一些趋势，如在1993年以后的小说中发现的日常语言的使用”(&amp;quot;贾平凹&amp;quot;,《废都》;“顾城”,《英儿》)和新无边界化【陈东,鲁羊,朱文,林白,陈梁,张梅新狀態小說(“新小说无国界”)】，自1995年以来，就无法在论文写作中得到证实。[后殖民主义思维(Williams et al. 1994)，被视为社会政治话语的一部分，出现在散文中，特别是在20世纪90年代不那么具有批判性的政治但爱国主义的散文中。卡夫卡主义帮助我们理解了《噩梦》这篇文章，在这篇文章中Si Yu似乎是一位解构主义者，第一人称叙述的我甚至几乎自杀。--[[User:Lou Cancan|Lou Cancan]] ([[User talk:Lou Cancan|talk]]) 05:57, 16 October 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
==Luo Weijia 罗维嘉==&lt;br /&gt;
&lt;br /&gt;
- Also the fictional realism David Der-Wei Wang sees in Lao She, Mao Dun and Shen Congwen, proves helpful for the understanding of some essays, one being ''&amp;quot;The Small Dog Baodi&amp;quot;'', written by Ba Jin 1981, in which the author turns into a narrator who recounts the memories of the 'Cultural Revolution' in allegoric instead of in descriptive truth as before (''&amp;quot;In memoriam of Xiao Shan II&amp;quot;'', Ba Jin 1984). Similar is the concept of imaginery nostalgia, as Wang calls the fictional truth in Shen Congwen's work (David Der-Wei Wang 1992), helpful for the reading of Wang Zengqi's ''&amp;quot;Rain in Kunming&amp;quot;'' as well as for Jia Pingwa's ''&amp;quot;Shanxi opera&amp;quot;''.[And maybe for Xie Bingxins reflections on her experience as one of the chosen voluntaries of the Wuhan military academy: She insisted to remain a lifelong &amp;quot;woman soldier&amp;quot; .]&lt;br /&gt;
&lt;br /&gt;
==Luo Yuqing 罗雨晴==&lt;br /&gt;
&lt;br /&gt;
- The Schwarcz' concept of ''personal grief'' expressed in a ''metaphorical discourse'' helps us to understand how Ba Jin was able to overcome the ''truth of being'' he was known for, only to reach a more convincing ''fictional truth'' through the metaphor of his dog Baodi.&lt;br /&gt;
&lt;br /&gt;
DISCUSSION: IS THE GENRE OF THE ESSAY &lt;br /&gt;
THE FORM OF LITERARY EXPRESSION IN 21ST CENTURY CHINA?&lt;br /&gt;
&lt;br /&gt;
Regarding the future of the Chinese literature, we can only speculate. But out the risk of being wild and provocative, I would like to suggest some questions for considering the place of the essay in the field of Chinese literature and literary studies.&lt;br /&gt;
&lt;br /&gt;
==Ma Juan 马娟==&lt;br /&gt;
&lt;br /&gt;
- People have less time for actions like reading, and get used to reduced visualized information through the Internet. Will the brevity of the essay make it the ideal medium?&lt;br /&gt;
&lt;br /&gt;
- If the Chinese people are rediscovering their individuality, will the essay allow them to express individual thoughts more directly?&lt;br /&gt;
&lt;br /&gt;
- Modern societies are characterized by TV culture, mass consumption, and the loss of consciousness of one's own tradition, often partly due to the American impact on national cultures. Is the essay less bound to the restrictions of tradition, especially compared to the poem and thus more adaptable to the modern phenomenon of mass consumption?&lt;br /&gt;
&lt;br /&gt;
==Ma Shuya 马淑雅==&lt;br /&gt;
&lt;br /&gt;
- The alienation and the anonymity of citylife worldwide, in China is combined with a loss of traditional values like ideology, family, solidarity etc. in favor of the concept of profit for oneself, - if this has produced a longing for new orientation, will it possibly be filled by morally guiding essays or nationalistic thinking?&lt;br /&gt;
&lt;br /&gt;
Source: Lecture at Harvard University, Cambridge, MA USA, March 14, 2000&lt;br /&gt;
&lt;br /&gt;
REFERENCES&lt;br /&gt;
&lt;br /&gt;
Ba Jin 1981 Ba Jin, &amp;quot;''Xiao gou Baodi'' 小狗包第&amp;quot; (The small dog Baodi), in ''Tansuo ji'' 抻坰摩 (Inquiries), Hong Kong 香港 4.1981 [Series ''Suixiang lu'' 隨想錄 (Thoughts) vol. 2]&lt;br /&gt;
&lt;br /&gt;
在全球范围内城市生活的疏远性与匿名性，则与意识形态、家庭、集体荣誉感等传统价值观的缺失相联系，是以个人利益至上的观念为基础的。如果其产生了对某种新方向的渴望，那它的内容会是引领道德观念的文章和民族主义思想吗？&lt;br /&gt;
来源：MA USA，剑桥，在哈佛大学的演讲，2000年3月14日。&lt;br /&gt;
引：巴金，1981，《小狗包弟》，抻坰摩，香港，1981，《随想录》。--[[User:Mashuya|Mashuya]] ([[User talk:Mashuya|talk]]) 17:51, 15 October 2020 (UTC)MaShuya&lt;br /&gt;
&lt;br /&gt;
在中国，全球范围内都存在的城市生活的疏远性与匿名性，则与意识形态、家庭、团结等传统价值观的缺失相联系，这些价值观是支持个人利益至上的观念的。如果其产生了对某种新方向的渴望，那它的内容会是引领道德观念的文章和民族主义思想吗？&lt;br /&gt;
来源：MA USA，剑桥，在哈佛大学的演讲，2000年3月14日。&lt;br /&gt;
参考：&lt;br /&gt;
巴金，1981，《小狗包弟》，抻坰摩，香港，1981，《随想录》系列，卷2。--[[User:Lou Cancan|Lou Cancan]] ([[User talk:Lou Cancan|talk]]) 06:08, 16 October 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
==Ma Zhixing 马智星==&lt;br /&gt;
&lt;br /&gt;
Bolz 1992 Norbert Bolz: ''&amp;quot;Essay&amp;quot;'', in Walther Killy, ed., ''Literaturlexikon'', 15 vols., München: Bertelsmann 1992&lt;br /&gt;
&lt;br /&gt;
Butrym 1989 Alexander J. Butrym, ''&amp;quot;Introduction&amp;quot;'', in Butrym, ed., ''Essays on the Essay - Redifining the Genre'', Athens etc.: The University of Georgia Press 1989&lt;br /&gt;
&lt;br /&gt;
Denton 1996 Kirk A.  Denton, ed., ''Modern Chinese Literary Thought.  Writings on Literature 1893 - 1945'', Stanford University Press 1996, 554 S.&lt;br /&gt;
&lt;br /&gt;
Fan Peisong 1993 Fan Peisong 範培松, ''Zhongguo xiandai sanwen shi'' 中國現代散文史 (History of the Modern Chinese Essay), Nanking 南京: Jiangsu jiaoyu chubanshe 江蘇教育出版社 (Paedagogic Press Jiangsu) 9.1993, 626 S.&lt;br /&gt;
&lt;br /&gt;
==Meng Ying 孟莹==&lt;br /&gt;
&lt;br /&gt;
Gálik 1966 Marián Gálik, &amp;quot;''On the Influence of Foreign Ideas on Chinese Literary Criticism, 1898   1904''&amp;quot;, in ''Asian and African Studies,'' Bratislava: Department of Oriental Studies of the Slovak Academy of Sciences, 2 (1966) 38-48&lt;br /&gt;
&lt;br /&gt;
Hall 1984 Donald Hall, ''The contemporary essay'', New York: St.  Martin’s Press 1984, 488 pp [In this textbook, Hall has chosen a wide range of contemporary american essayists (34, each is presented with one text), among them many women writers like Alison Lurie, Frances FitzGerald, Diane Johnson and Annie Dillard.  The authors are presented with a short biographical overview.  In his introduction, Hall applies for clear writing, and active reading.] &lt;br /&gt;
&lt;br /&gt;
==Mo Ling 莫玲==&lt;br /&gt;
&lt;br /&gt;
Jia Pingwa 1984 Jia Pingwa, &amp;quot;''Qin qiang'' 秦腔&amp;quot; (Shanxi opera), in ''Renmin wenxue'' 人民日報 (Folksliterature) (5.1984)&lt;br /&gt;
&lt;br /&gt;
Kubin 1995 Wolfgang Kubin, &amp;quot;Das aschene Herz oder Der Sieg des Lebens. Der Hongkonger Essayist Gaylord Leung (The Ashen Heart or The Victory of Life. The Hong Kong Essayist Gaylord Leung)&amp;quot;, in ''minima sinica'' 1 (1995) pp.  100-114&lt;br /&gt;
&lt;br /&gt;
Leiden 1988-90 ''A Selective Guide to Chinese Literature. 1900 - 1949'', 4 Bde, Leiden 1988 - 1990 [Only on novels, fiction anthologies, poetry collections and drama.]&lt;br /&gt;
&lt;br /&gt;
贾平凹 1984年，秦腔，人民日报，1984年5月版&lt;br /&gt;
&lt;br /&gt;
沃尔夫冈·库宾，《灰心还是生命的胜利》，1995年，香港散文家梁家辉（灰心还是生命的胜利），《袖珍汉学》，第100-114页&lt;br /&gt;
&lt;br /&gt;
莱顿，1988-1990《中国文学精选指南》，1900 - 1949，[仅限小说、小说选集、诗集和戏剧。]--[[User:Mo Ling|Mo Ling]] ([[User talk:Mo Ling|talk]]) 02:14, 16 October 2020 (UTC)Mo Ling&lt;br /&gt;
&lt;br /&gt;
贾平凹. 《秦腔》, 人民日报, 1984.5.&lt;br /&gt;
&lt;br /&gt;
沃尔夫冈·库宾. 《灰心还是生命的胜利---香港散文家梁锡华》，1995年，袖珍汉学，第100-114页&lt;br /&gt;
&lt;br /&gt;
莱顿. 《中国文学精选指南1900-1949》. 1988-1990 [仅限小说、小说选集、诗集和戏剧。]--[[User:Song Jianru|Song Jianru]] ([[User talk:Song Jianru|talk]]) 14:45, 16 October 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
==Mo Nan 莫南==&lt;br /&gt;
&lt;br /&gt;
Lin Yaode 1989 Lin Yaode 林耀德, ''Shuangmu he .  shi nai de'' 雙目合．視乃得 (You need two eyes to see), in ''Guannian duihua'' 觀念對話 (Dialogue of ideas), Taipeh 臺北: Han'guang wenhua shiye gufen youxian gongsi 漢光文化事業股份有限公司 (Shining Chinese Cultureworks Corp.) 8.1989, 266 pp, p 49-77 [A very critical interview with the Taiwanese author Yu Guangzhong.]&lt;br /&gt;
&lt;br /&gt;
Lu Xun 1933 [missing, will be added in a later edition]&lt;br /&gt;
&lt;br /&gt;
==Nie Xiaolou 聂晓楼==&lt;br /&gt;
&lt;br /&gt;
Lu Xun 1934 Lu Xun, &amp;quot;''Xiaopinwen de weiji'' 小品文的危機&amp;quot; (The crisis of the short literary piece), in ''Nanqiang beidiao ji'' 南腔北調集 (Mixed Accents) 1934[?] [Dated 1933. Lu Xun writes, &amp;quot;''Sanwen'' 散文 (essay) and ''xiaopin'' 小品 (short literary pieces) are presumably more successful than novels, traditional operas and poems. They contain of course also struggle and fight. Because they often take English ''suibi'' 隨筆 (essays) as their example, they are also humorous and distinguished.&amp;quot; Following Lee's 1985 :287 terminology, the title reads &amp;quot;''The Crisis of the Literary Essay''&amp;quot;.]&lt;br /&gt;
&lt;br /&gt;
==Ou Rong 欧蓉==&lt;br /&gt;
&lt;br /&gt;
Luo Dajing ca. 1240 Luo Dajing 羅大經 (? - after 1248), ''Helin yulu'' 鶴林玉露 (Forest of cranes and jade dew), in ''Baibu congshu'' 百部叢書 (Book series in 100 vols.) tao 套 14, ce 冊 1&lt;br /&gt;
&lt;br /&gt;
Mansberg 1995 Anja Mansberg, ''Essays aus dem Exil: Liu Zaifu - ein chinesischer Intellektueller in Amerika, Schweden und Kanada'' (Essays from Exile: Liu Zaifu - a Chinese intellectual in America, Sweden and Canada), Ruhr University Bochum 1995 [Unpublished master thesis.] &lt;br /&gt;
&lt;br /&gt;
==Ouyang Jinglan 欧阳静兰==&lt;br /&gt;
&lt;br /&gt;
Margouliès 1949 Margouliès, G., ''Histoire de la littérature chinoise (prose) (History of the Chinese Literature (Prose))'', Paris: Payot 1949 [Contains only a few pages on the essay.]&lt;br /&gt;
&lt;br /&gt;
McDougall 1971 Bonnie S. McDougall, ''The Introduction of Western Literary Theories into China, 1919 - 1925, Tokyo'': Center for East Asian Cultural Studies 1971 ''(East Asian Cultural Studies Series'' 14-15) &lt;br /&gt;
&lt;br /&gt;
McNaughton 1974 William McNaughton, ed., ''Chinese Literature. An Antholo-gy from the earliest times to the present day'', Rutland, Vermont, Tokyo: Charles E. Tuttle Co. 1974, 836 S. [Although it says &amp;quot;literature&amp;quot; in the title, it contains no essays, only &amp;quot;fiction&amp;quot; and &amp;quot;verse&amp;quot;.]&lt;br /&gt;
&lt;br /&gt;
==Ouyang Ling 欧阳玲==&lt;br /&gt;
&lt;br /&gt;
Mei/Wu 1996 Mei Jian 美女建, Wu Weigong 吳為公, eds., ''Zhu Ziqing nianpu'' 朱自清年譜 (Biographical chronic of Zhu Ziqing), Hefei 合肥: Anhui jiaoyu chubanshe 安徽教育出版社 (Education Press Anhui) 5.1996, 361 pp.&lt;br /&gt;
&lt;br /&gt;
Morohashi undated Morohashi, Tetsuji 諸橋轍次, ''Dai Kan-wa jiten'' 大漢和辭典 (Large Chinese Dictionary), Taipei 臺北 undated, vol. 1-13&lt;br /&gt;
&lt;br /&gt;
==Peng Dan 彭丹==&lt;br /&gt;
&lt;br /&gt;
Pollard 1985 David E. Pollard, &amp;quot;''Lu Xun's Zawen''&amp;quot;, in Leo O. Lee: ''Lu Xun and his Legacy'' 1985, pp. 54-89&lt;br /&gt;
&lt;br /&gt;
Průšek 1964 Jaroslav Pršek, &amp;quot;''A Confrontation of Traditional Oriental Literature with Modern European Literature in the Context of the Chinese Literary Revolution&amp;quot;, in Archiv Orientalni 32'' (1964) 365-375. &lt;br /&gt;
&lt;br /&gt;
==Peng Juan 彭娟==&lt;br /&gt;
&lt;br /&gt;
Si Yu 1995 Si Yu 斯妤, &amp;quot;Mengyan 夢魘&amp;quot; (The nightmare), in Si Yu 斯妤, Li Hong 李紅, eds., ''Dangdai nüxing sanwen suibi jingcui - qingxinxiang gao (sanwen juan)'' 當代女性散文隨筆精 粹—傾心相告（散文 卷） (Choice of Essays and Familiar Essays of Contemporary Women Authors - Opening One's Heart - Essay Vol.), Peking 北京: Zhongguo qingnian chubanshe 中國青年出版社 (Chinese Youth Press) 6.1995, 392 pp, 130-134&lt;br /&gt;
&lt;br /&gt;
==Peng Ruihong 彭锐宏==&lt;br /&gt;
&lt;br /&gt;
Schmidt-Glintzer 1990 Hellwig Schmidt-Glintzer, ''Geschichte der chinesischen Literatur'', Bern etc.: Scherz 1990, 686 pp. [Contains altogether only a few pages on the essay.] &lt;br /&gt;
&lt;br /&gt;
Tam King-Fai [announced] Tam King-Fai, The Chinese xiaopinwen [working title], New York: Columbia University Press [This collection has been announced for 1999.] &lt;br /&gt;
&lt;br /&gt;
Wagner 1996 Alexandra Wagner, ''Bildnisse des Selbst: die Neumondschule und der moderne chinesische Essay'' (Alexandra Wagner: Images of Self: The Crescent Moon Society and the Chinese Essay), Dortmund: Projekt Verlag 1996 [Reihe Edition ''cathay'' Bd 15]&lt;br /&gt;
&lt;br /&gt;
==Peng Xiaoling 彭小玲==&lt;br /&gt;
&lt;br /&gt;
Wang Bin 1992 Wang Bin 王彬, &amp;quot;''Essay de youfa Essay''的誘發&amp;quot; (The origin of the essay), in ''Beijing wenxue'' 北京文學 (Peking literature) (10.11.1992, issue 11) 66-68&lt;br /&gt;
&lt;br /&gt;
Wang Zengqi 1993 Wang Zengqi 汪曾祺, &amp;quot;''Dangdai sanwen daxi zongxu'' 當代散文大系總序&amp;quot; (Preface to the Compendium of the field of the contemporary essay), in ''Dangdai zuojia pinglun'' 當代作家評論 (Critical review of contemporary authors) (25.1.1993, issue 1) 8-9&lt;br /&gt;
&lt;br /&gt;
Wu Zhihui [1934] Wu Zhihui as cited by Zhou Zuoren in ''Der Ursprung der modernen chinesischen Literatur'' (The Sources of Modern Chinese Literature) 1934, 71-72&lt;br /&gt;
&lt;br /&gt;
Wang Bin 1992 Wang Bin 王彬, &amp;quot;&amp;quot;''Essay de youfa Essay''&amp;quot;的誘發&amp;quot; (散文的起源), 载于 &amp;quot;''Beijing wenxue''&amp;quot; 北京文學 (北京文学)（1992.11.10, 第11期）66-68&lt;br /&gt;
&lt;br /&gt;
Wang Zengqi 1993 Wang Zengqi 汪曾祺, &amp;quot;&amp;quot;''Dangdai sanwen daxi zongxu''&amp;quot; 當代散文大系總序&amp;quot; （当代散文纲要序言）, 载于 &amp;quot;''Dangdai zuojia pinglun''&amp;quot; 當代作家評論 (当代作家评论) (1993.1.25, 第1期) 8-9&lt;br /&gt;
&lt;br /&gt;
Wu Zhihui [1934] 周作人在 &amp;quot;''Der Ursprung der modernen chinesischen Literatur''&amp;quot; (中国现代文学起源) 中引用吴志辉的著作 1934, 71-72--[[User:Peng Xiaoling|Peng Xiaoling]] ([[User talk:Peng Xiaoling|talk]]) 03:36, 16 October 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
==Peng Yongliang 彭永亮==&lt;br /&gt;
&lt;br /&gt;
Zhou Zuoren 1921 Zhou Zuoren, &amp;quot;''Meiwen'' 美文 (Belle lettre), in: ''Beijing chenbao fukan'' 北京晨報副刊 (Supplement to Peking Morning Post) (8.6.1921) [&amp;quot;It appears to me, that the English literature has had its greatest success in the field of the belle-lettre.&amp;quot;, ibid.] &lt;br /&gt;
&lt;br /&gt;
Zhu Jinshun 1990 Zhu Jinshun 朱金順, ed., ''Wusi sanwen shi jia'' 五四散文十家 (10 Essayists of the 'May-Fourth-Movement'), Peking 北京: Baihua wenyi chubanshe 百花文藝出版 社 (100 Flowers Literature and Art Press) 12.1990, 221 pp. [&amp;quot;1938 dao 1945, shi Zhou Zuoren zui bu guangcai de shiqi, zuo le hanjian 1938到1945是周作人最不光彩的時 期，做了漢奸&amp;quot;, p. 59]&lt;br /&gt;
&lt;br /&gt;
==Peng Yuzhi 彭育志==&lt;br /&gt;
&lt;br /&gt;
Zhu Ziqing 1928 Zhu Ziqing, &amp;quot;''Beiying'' 背影&amp;quot; (The back view), in ''Beiying'' 背影 (The back view), Shanghai 上海: Kaiming shudian 開明書店 (Kaiming Bookstore) (10.1928) 像1948&lt;br /&gt;
&lt;br /&gt;
Yale lecture on the 20th Century Chinese Essay &lt;br /&gt;
&lt;br /&gt;
A Survey of the Genre and New Insights Into the Essayists Ba Jin, Zhou Zuoren, Zhu Ziqing&lt;br /&gt;
&lt;br /&gt;
朱自清1928  背影 上海 開明書店 (10.1928) 1948&lt;br /&gt;
&lt;br /&gt;
耶鲁大学关于20世纪中国小品文的讲座&lt;br /&gt;
&lt;br /&gt;
对小品文作家巴金，周作人，朱自清体裁和新解的总体研究--[[User:Peng YuZhi|Peng YuZhi]] ([[User talk:Peng YuZhi|talk]]) 10:20, 16 October 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
朱自清1928年《背影》，上海開明書店 (1928年10月) 1948年&lt;br /&gt;
&lt;br /&gt;
耶鲁大学关于20世纪中国散文的讲座&lt;br /&gt;
&lt;br /&gt;
从流派和新视角探究散文作家巴金、周作和朱自清--[[User:Shi Diwen|Shi Diwen]] ([[User talk:Shi Diwen|talk]]) 11:40, 16 October 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
==Qi Kai 漆凯==&lt;br /&gt;
&lt;br /&gt;
The narrative established by literary histories[Hsia] and anthologies has drawn a distorted picture of 20th century Chinese literature: The genre of the essay was almost ignored. In my paper I will demonstrate, how the picture of three authors change, if we take into consideration also some of their esayistic work. Here I choose the example of the critical political essay. The essay tells us more about an author than fiction or poetry, because in this genre, we encounter the author himself without metrical restrictions.&lt;br /&gt;
&lt;br /&gt;
==Qu Miao 瞿淼==&lt;br /&gt;
&lt;br /&gt;
In 1927, when the writers were threatened by a massacre among leftists by the National People's Party in Shanghai, a whole generation of writers found a common base in communist ideology, formally expressed in 1930 in the foundation of the &amp;quot;League of Left-Wing Writers&amp;quot;. &lt;br /&gt;
&lt;br /&gt;
==Quan Meixin 全美欣==&lt;br /&gt;
&lt;br /&gt;
Many writers had to define and often redefine their position and self-understanding in reaction to the changing political climate, often burying their own ideals, in the larger perspective for the seeming &amp;quot;needs&amp;quot; of society, which also claimed the author to be one of its products. This struggle of finding a position in a politicized environment is best documen¬ted in the essay --- &amp;quot;a genre of self-reflection&amp;quot;. Moreover, by its very nature, the essay overcomes boundaries of form and content. Therefore there are more essays than there is fiction free from political thoughts. Some essayists even went a step further, deconstructed the master narrative of leftist ideology, like the three writers I will talk about today.&lt;br /&gt;
&lt;br /&gt;
许多作家不得不定义或者经常重新定义他们的位置和应对政治环境改变的自我理解，经常隐藏自己的观点，最大程度迎合社会的“需求”，这个社会宣称作家是其产品之一。在一篇散文——“自我反省的类型”中记录了作家在这种政治环境中寻求一席之地的努力。同时，就其本质而言，这篇散文克服了形式与内容的障碍。因此，与小说相比，有更多的散文不受政治思想的约束。一些散文家甚至更进了一步，解构了左派意识形态中最重要的叙述技巧，我今天要谈论的三位作家就是如此。--[[User:Quan Meixin|Quan Meixin]] ([[User talk:Quan Meixin|talk]]) 13:52, 16 October 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
==Sagara Seydou ==&lt;br /&gt;
&lt;br /&gt;
The master narrative of the offical literary history of the People's Republic on Zhou Zuoren is, that a sophisticated May Fourth genius &amp;quot;degenerated&amp;quot; and later became a national &amp;quot;traitor&amp;quot;. Zhou's writings were officially considered bad literature, a total elimina-tion of his texts was only prevented, because of the fame of his brother, who became a state author posthumously through the valuing of Mao Zedong. Actually the reception of his essays reaches a new climax now, in the essay collections of the 1990s, his essays rank 3rd, as I was able to proof with a survey of 5000 essays. [] That makes clear that his political engagement had no effect on the brilliance of his literary works.&lt;br /&gt;
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==Shi Diwen 石迪文==&lt;br /&gt;
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[All rankings refer to the survey results published in my books on the Chinese essay: Martin Woesler, ed., ''The Modern Chinese Literary Essay - Defining the Chinese Self in the 20th Century - Conference Volume'', Bochum: European University Press ²2003, 327 pp., ISBN 3-934453-15-5, € 35.79; Martin Woesler, ed., ''The Chinese Essay in The 20th Century'' - , Bochum: European University Press ²2003, 496 (xlii, 205, 229) pp., ISBN 3-934453-14-7, € 25.00; and in German: Martin Woesler (Hg., Übers.), ''Ausgewählte chinesische Essays des 20. Jahrhunderts in Übersetzung'', Bo¬chum: Europäischer Universitätsverlag ²2003, 300 S.; ISBN 3-932329-05-8, € 15.29; Martin Woesler, ''Geschichte des chinesischen Essays in Moderne und Gegenwart'' (3 volumes), Bo¬chum: Europäischer Universitätsverlag ²2003, xiii, 900 S., 3-932329-04-X, € 46.00.]&lt;br /&gt;
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【所有排名出自本人所著的关于中国文学作品的书籍，参考了上面的研究结果：吴漠汀著《中国现代文学散文集-定义20世纪的中国式自我-会议录》，波鸿市欧洲大学出版社2003年出版，327页，ISBN码3-934453-15-5，价格35.79欧元；吴漠汀著《二十世纪中国散文集》，波鸿市欧洲大学出版社2003年出版，496页（xlii, 205, 229），ISBN码3-934453-14-7，25欧元；吴漠汀著《翻译的二十世纪·中国的论文选集》，波鸿市欧洲大学出版社2003年出版，300页，ISBN码3-932329-05-8, 价格15.29欧元；吴漠汀著《中国近现代散文史》（三册），波鸿市欧洲大学出版社2003年出版，13，900页，ISBN码3-932329-04-X，价格46欧元。】--[[User:Shi Diwen|Shi Diwen]] ([[User talk:Shi Diwen|talk]]) 11:32, 16 October 2020 (UTC)&lt;br /&gt;
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==Shi Haiyao 石海瑶==&lt;br /&gt;
The official assessment of the People's Republic is that Zhou's work experienced a caesura in 1938 due to his &amp;quot;degeneration&amp;quot; and opposition against the patriotic campaign.  Zhou kept trying to aesthetizise the little things of the everyday out of the subjective experience of his private space his whole life, only seven months after the incident at Marco Polo bridge he showed that it was again possible to write about a candy seller for which he had been critizised as &amp;quot;paralyzing&amp;quot; But there was indeed a caesura, namely the change in style and subject in his essays on literature, art etc. to zhèngjiang and xiánshì(essays for one’s own enjoyment).&lt;br /&gt;
&lt;br /&gt;
==Si Yu 司妤==&lt;br /&gt;
But this change is located not before his outlawing through Mao Zedong (1942), and his arrest by the Guomindang (1945).  Therefore not the Japanese suppressors should be made responsible for the retreat of this great writer, but his Chinese compatriots.  &lt;br /&gt;
So the first correction of the narrative is, that his literature was not effected by socio-political circumstances in quality, but in contents. And there is a second master narrative on Zhou Zuoren, which says that he was an apolitical author. Actually, he wanted his abstinence of political statement to be understood as a political statement by itself.&lt;br /&gt;
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==Song Jianru 宋建茹==&lt;br /&gt;
For him, literature was a mean not for revolution, but for resistance[ (Zhou 1929:180-181).]. In the modernizing society, he advocated the liberation of women and asked to &amp;quot;treat children as full subjects with their own external and internal lives&amp;quot; and to &amp;quot;make children the essence of children's literature&amp;quot;[(Zhou 1923).], literature should make the society more humane.&lt;br /&gt;
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对他来说，文学不是革命的途径，而是反抗的手段(周 1929: 180-181)。现代化社会中，他提倡妇女解放，要求要把孩子当作有外在生活和内在生活的完整主体看待，使孩子成为儿童文学的实质(周 1923)，文学应该使社会更人性化。--[[User:Song Jianru|Song Jianru]] ([[User talk:Song Jianru|talk]]) 14:19, 16 October 2020 (UTC)&lt;br /&gt;
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==Su Lin  苏琳==&lt;br /&gt;
The second example, where a reading of some of his essays lets us rediscover the author is Ba Jin: He is known for his practical essays with anarchistic and communist background in the 1930s and 40s, for his opportunistic self-criticism, self-censorship[(The Family in 1951)] and the accusation of a writers' collegue during the cultural revolution. After the 'Cultural Revolution' he seemed to emerge as a righteous character[(1982 Yi pian xuwen).], when he claimed to have done all this under pressure. He then devoted his essays to the working up of the trauma of the 'Cultural Revolution', for example in the self-accusing essay series Random Thoughts.[(Suixianglu) The essays of the 1980s are more autobiographical, and deal with literature and questions for society nowadays. Due to the very nature of the essay, we can look through his &amp;quot;Random Thoughts&amp;quot; into the soul of Ba Jin..]&lt;br /&gt;
第二个例子是阅读巴金的文章能使我们对巴金有新的认识：他以二十世纪三十年代和四十年代下具有无政府主义和共产主义背景的实用文章，机会主义的自我批评，自我审查（1951年《家》），以及在文革时期对同事的指控闻名。“文革”之后，他似乎成为了一个正直的人（1982年 《序跋集》）。他声称自己当时是出于所有的压力才做这些事的。此后他的散文致力于“文革”的创伤，如随想系列自诉散文。（《随想录》）二十世纪八十年代的散文更具有自传性，涉及了文学和当今社会的问题。由于散文本身的实质，我们可以透过巴金的“随想”窥见巴金本人的灵魂。--[[User:Su Lin|Su Lin]] ([[User talk:Su Lin|talk]]) 15:28, 15 October 2020 (UTC)&lt;br /&gt;
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==Tan Xingyue 谭星越==&lt;br /&gt;
Since they were seldom reprinted, two of Ba Jin’s critical essays &amp;quot;Independent Thoughts&amp;quot; and &amp;quot;Writers’ Courage and Sense of Duty&amp;quot;, dating 1956 and 1962 were overlooked. With them, Ba Jin turns out to be a lifelong independant writer. The two essays were criticised. He had to deny their contents and later they were censored. Even nowadays, these texts are not easy to find in anthologies and dictionaries in the P.R.C. and Taiwan.&lt;br /&gt;
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==Tan Xinjie 谭鑫洁==&lt;br /&gt;
&amp;quot;Independant Thoughts&amp;quot; dated 1956, propagates the freedom of the individual and of thoughts. This essay was written in the '100-Flower-Movement', when criticism was induced officially. Ba Jin corresponded only to the 'mainstream', although his criticism was unusually sharp. Much more distinctly directed against the 'mainstream' was the second text, which I want to introduce shortly.&lt;br /&gt;
&lt;br /&gt;
==Tan Yuanyuan 谭媛媛==&lt;br /&gt;
&amp;quot;Writers’ Courage and Sense of Duty&amp;quot;, a speech at the second Shanghai congress of writers and artists in early 1962, has later been censored at seven striking places. In it, Ba Jin&amp;quot;judges very hard about himself and his collegues: At different campaigns against literary works they would have followed the political demands opportunistically and therefore were traitors. The second target of Ba Jin's criticism were the censors and critics, who would posess more power than the writers and that without legitimation. Ba Jin interpreted Mao's Yan'an speeches on art and literature in the way, that writers should themselves take over responsibility.&lt;br /&gt;
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1962年初第二届上海作家和艺术家大会上巴金的演讲“作家的勇气和责任心”，后来在七个地方被审。 在这个演讲中，巴金对自己和他的同行进行了批判：在反对文学作品的各种运动中，他们投机地响应了政治要求，因而可称为叛徒。巴金批判的第二个对象是审查员和评论家，他们不按规定，拥有比作家有更大的权力。巴金用这样的方式诠释了毛主席在延安关于艺术和文学演讲中的精神，即作家应该自己承担责任。--[[User:Tan Yuanyuan|Tan Yuanyuan]] ([[User talk:Tan Yuanyuan|talk]]) 02:48, 16 October 2020 (UTC)&lt;br /&gt;
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1962年初,巴金在第二届上海作家和艺术家大会上关于“作家的勇气和责任心”的演讲，不久之后便遭到七个地方的审查。 在演讲中，巴金对自己和同行进行了批判：在各种反对文学作品的运动中，他们投机地响应了政治要求而可称为叛徒。巴金批判的第二个对象是审查员和评论家，因为他们可以违背律法，拥有比作家有更大的权力。巴金以这样的方式诠释了毛主席在延安关于艺术和文学演讲中的精神，即作家应该自己承担责任。--[[User:Peng Xiaoling|Peng Xiaoling]] ([[User talk:Peng Xiaoling|talk]]) 04:07, 16 October 2020 (UTC)&lt;br /&gt;
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==Tang Bei 汤蓓==&lt;br /&gt;
&amp;quot;The Small Dog Baodi&amp;quot; as a metaphorical discourse on Ba Jin's personal grief&lt;br /&gt;
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Although Ba Jin is regarded together with Bing Xin as one of the representatives of Republican literature, the more important part of his essayistic work seems to lie after 1949[	 (Random Thoughts 1978-86, see Ba Jin 1988).]. Publishing from Hong Kong since 1979, he has spoken out loudly in opposition and in trying to help ease the trauma associated with the 'Cultural Revolution'.&lt;br /&gt;
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==Tang Ming 唐铭==&lt;br /&gt;
One of this essays is the story-like &amp;quot;Small Dog Baodi&amp;quot;. Written in 1980, the author remembers his dog, which he had received two decades ago from a Swedish person and which he loved after a while. When the 'Red Gards' raged, the dog was in danger. Ba Jin describes in detail the fate of the animal and his own resignation, when he learned that he could not protect the dog. In order to save him from a torturous death, he finally submitted the dog in 1966 for medical experiments. Revisiting his garden after the 'Cultural Revolution', he remembers painfully how his wife had played here with the dog. I would like to show six points of interpretation:&lt;br /&gt;
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==Tang Yiran 汤伊然==&lt;br /&gt;
1, The dog is a metaphor. In the beginning Ba Jin seems to report the fate of a dog with relevance only to his owner. But soon it becomes clear that Ba Jin actually mediates to the reader the cruelty of the 'Cultural Revolution'. The reader wonders, &amp;quot;if they did this with an innocent dog, what did they do with men, whom they considered guilty?&amp;quot; Ba Jin analogizes himself with the dog, when he sees himself liying on the dissection table. Even Baodi's death is useful, he serves science - could a man be more altruistic?&lt;br /&gt;
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==Tao Ye 陶冶==&lt;br /&gt;
2, Ba Jin expresses the pain of the loss of his wife through the dog. Not before the very end of the essay, Ba Jin mentions his wife in painful remembrance, who became ill and died during those ten years. In the essay &amp;quot;In Memoriam Xio Shn&amp;quot;,which appeared earlier in the collection, he had confessed severe feelings of guilt regarding her death, what haunted him into his dreams. He claimed, that they had withwithhold her medical treatment because of him.&lt;br /&gt;
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3, The essay is an accusation of the 'Cultural Revolution'. The not-mentioning of the 'Cultural Revolution' as the reason for his wife's death makes the pain the more accusatory, especially in front of the comparable unimportant doglife. His terrifying awareness is the powerlessness - he was not able to protect his dog nor his wife. Ba Jin actually wants to illustrate the powerlessness of the individual in front of collective cruelty.&lt;br /&gt;
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==Wang Meiling 王美玲==&lt;br /&gt;
4, The significance of this way to deal with the 'Cultural Revolution'. If one compares the mentioned essay with others of the year 1979, it lied within the common trend of criticizing the 'Cultural Revolution'. But there were also authors like Bing Xin denied the 'Cultural Revolution' - soon after its end, she used similar titles for her books than before - in order to pretend continuity. Wang Meng worked up the 'Cultural Revolution' in a humoristic way - Ba Jin's essays stand out of these, because of their relentlessness and confessing character.&lt;br /&gt;
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==Wang Xuan 王轩==&lt;br /&gt;
5, The use of rhetorical means. Ba Jin pretends to be a simple documentarist &amp;quot;I expect from literature [...] that it tells the truth.&amp;quot;. In fact he is known for his direct and accusing truth, sometimes his literary style is critizised as too direct and too less artful (a reproach from Hong Kong students). In &amp;quot;The Small Dog Baodi&amp;quot; he is using literary means to create emotion in his readers. He uses composition and rhetoric means like animation. The dog Baodi allegorically shows the injustice and inhumanity of the 'Cultural Revolution'. Here, Ba Jin turns into a narrator who recounts the memories of the 'Cultural Revolution' in allegoric instead of in descriptive truth as before[	 (&amp;quot;In memoriam Xiao Shan&amp;quot;).]. He is longing for a fictional truth, instead of the truth of being in the sense of Thomas Aquinas. The fictional realism Wang Der-wei sees in Lao She, Mao Dun and Shen Congwen, proofs helpful for the understanding of this piece.[	Similar is the concept of imaginery nostalgia, as the fictional truth in Shen Congwen is called (David Der-Wei Wang 1992), helpful for the reading of Wang Zengqi's &amp;quot;Rain in Kunming&amp;quot; as well as for Jia Pingwa's &amp;quot;Shanxi opera&amp;quot;..]&lt;br /&gt;
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修辞手法的使用。巴金自称是纪实小说家：“我希望从文学中获取事实的真相。”确实，巴金的文字也是出了名的犀利、直接，甚至有时他的文学风格受到批评，说是太直接而缺乏艺术性（一位香港学生提出的质疑）。在巴金的小说《小狗包弟》中，他用了一些文学方法来让读者产生共鸣，比如小作文的形式和动漫插图这样的手段。借用包弟这只小狗，以寓言的方式，深刻揭露了“文化大革命”的不公与残酷。在文中，巴金一改作者身份，以寓言和反讽的形式，化为一名叙述者，平静地回忆起“文革”的事情，而非如往常的文章一样，平铺直述真相。（《怀念萧珊》）巴金太渴望寻求一种小说的真相了，而非托马斯·阿奎那式的真相。王德威在作家老舍、茅盾和沈从文的作品中看到的一种小说现实主义证明了对我们理解巴金这篇文章有所帮助。（类似情况还有沈从文提出的想象思乡这一概念，对于理解汪曾祺的《昆明的雨》和贾平凹的《秦腔》也是很有帮助的。）--[[User:Wang Xuan|Wang Xuan]] ([[User talk:Wang Xuan|talk]]) 07:48, 15 October 2020 (UTC)Wang Xuan&lt;br /&gt;
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==Wang Yu 王煜==&lt;br /&gt;
6, Ba Jin's personal grief is much more persuading in the metaphor of the dog than in his direct accusing essays. As Vera Schwarcz (1996) points out&lt;br /&gt;
&amp;quot;To speak too much of grief is to blunt its edge. It might even make us deaf to the cry that sparked discourse about suffering in the first place. A cold, calculating intelligence cannot grasp the rough contours of grief. [...] To preserve the significance of personal suffering in public life we need a more indirect approach; one that accepts and, indeed, nourishes AMBIGUITY. This, in the words of Cynthia Ozick, is the discrete province of METAPHOR, &amp;quot;the reciprocal agent, the universalizing force that makes it possible to envision the stranger's heart.&amp;quot; [...]&lt;br /&gt;
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==Wang Yuan 王源==&lt;br /&gt;
She also mentions that &amp;quot;[...] absence of talk -- or, rather modest use of metaphorical discourse -- serve us better in the presence of massive grief.&amp;quot;&lt;br /&gt;
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To sum up, Ba Jin turns out not to be the self-censorer, who tried to make his literature fit into the communist ideology. Instead he was a lifelong fighter for the freedom of speech and the independancy of literature from politics, who spoke out whenever he had the opportunity without endangering himself. He also no longer appears as the &amp;quot;uneducated&amp;quot; writer of simple truth, as he leads us to believe. Yet he has achieved a high rhethoric of fictional truth and is able to transmit his personal grief even more persuadingly in a metaphorical discourse throught the metaphor of the dog Baodi.&lt;br /&gt;
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==Wei Honglang 韦洪朗==&lt;br /&gt;
A third example, where an author shows another face in his essays is Zhu Ziqing. He is known as the author of the most often reprinted story-like Chinese essay &amp;quot;Back View&amp;quot; (Beiying), a standard school text. The success of this essay lies in the fact, that it applies to filial pity. From the reported fare-well scene with his father at the train station, he learned that his father loved him and that he had grown-up too now. This self-reflective essay helped Zhu to find himself through the observation of the other (here his father).&lt;br /&gt;
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==Wei Yafei 魏亚菲==&lt;br /&gt;
The 2nd often printed essay is also from Zhu. Parallelistic and repetitive structures are the driving factor in the atmospherical nebulous lyrical landscape desription &amp;quot;The Moonlit Lotus Pond&amp;quot;, whose style easily may seem mannerist to the Western reader.&lt;br /&gt;
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Zhu Ziqing supposedly opposed all political engagement and, wrote about unspectacular things.  In Taiwan he became a type of substitute for the categorically refused state writer of the People’s Republic, Lu Xun, mainly because of Zhu’s supposed political independence.&lt;br /&gt;
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I would like to show with three examples that Zhu had absolutely clear political ideas: He had taken part in the demonstration March 18, 1926, which ended in a massacre. Zhu described this in &amp;quot;Report On the Massacre of the Government&amp;quot;[(Zhizhengfu da tusha ji).].&lt;br /&gt;
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==Wen Sixing 文偲荇==&lt;br /&gt;
Shots were still being fired, and the entrance of the east gate was packed with people. [...] Pushing and shoving, we climbed over them with great effort. We must have lost our senses then, not seeing, to our shame, the grotesqueness of our action. [...] I was still walking on top of the people. No one dared to miss a single step, filing through the gate that divided safety from danger, one that would give us life or take our lives away. [...] My efforts finally brought me down to the ground, sealing my fate as I rolled down from the human pile. [...] I learned later that some of the people by the gate were dead, killed by the pistol squad firing from the other side of the gate. When I recall stepping over dead bodies, I cannot help but tremble with fear. [...]&lt;br /&gt;
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枪声仍在继续，东门的入口处站满了人...推推搡搡，我们尽力爬到了人群上，我们一定是失去了理智，没有看到自己行为的怪诞不经，这十分耻辱...我仍在人群顶上游走，没人敢落下哪怕一步——为了穿过那扇隔开生与死的大门，那扇会使我们获得生机，也可能（直接）夺去我们的生命的大门...我的努力最终使我回到了地面，当我从人堆上滚下来时，我的命运就尘埃落定了...后来我才知道那扇门边的一些人已经死了——是被大门另一边的手枪打死的 ，（自此）每当我会想起自己踏过死尸的情景，我都会禁不住害怕得发抖...                         &lt;br /&gt;
--[[User:Wensixing|Wensixing]] ([[User talk:Wensixing|talk]]) 12:49, 16 October 2020 (UTC)&lt;br /&gt;
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==Wen Xiaoyi 文晓艺==&lt;br /&gt;
From this experience, Zhu addresses directly the repsonsible political leaders:&lt;br /&gt;
Duan Qirui[ 段祺瑞.], you must think about it! [...] How could we explain this to the world? [...] Granted, Duan Qirui and others could commit such atrocities without a thought; but how could we, the people of China, face the world with such a shameless government? [...] We, [...], must ask, „So many were killed—what should we do?“&lt;br /&gt;
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==Wu Kai 吴恺==&lt;br /&gt;
In contrast, Lu Xun has portrayed the same massacre with sighing undertone and Zhou Zuoren bitter-humorously in his &amp;quot;Ways to die&amp;quot;[ (Si fa).] - in which he finds &amp;quot;to be shot&amp;quot; the best method to die. The supposedly less politically engaged Zhu shows here more engagement.&lt;br /&gt;
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相比之下，鲁迅在叹为观止的惨剧中描绘了同样的大屠杀，而周作人在他的《死亡之道》中悲惨地描绘着，他发现“被枪杀”是最好的死亡方法。 据说政治上较少参与的朱同志在这里表现出更多的参与。--[[User:Wu Kai|Wu Kai]] ([[User talk:Wu Kai|talk]]) 14:23, 16 October 2020 (UTC)&lt;br /&gt;
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The essay &amp;quot;Facing the New China&amp;quot;[(Xin Zhongguo zai wang zhong).] is Zhu's political manifest: He asks for democracy, enlightenment and an increase of the education level.&lt;br /&gt;
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《面向新中国》是朱同志的政治宣言：他要求注重民主、启蒙和提高教育水平。--[[User:Wu Kai|Wu Kai]] ([[User talk:Wu Kai|talk]]) 14:23, 16 October 2020 (UTC)&lt;br /&gt;
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China has to be born again through democratization. [...] The people should express their own will, concentrate on their own strength. Every level of administration should build up on the expressed will and strength of the people and struggle for the majority and its greatest happiness. This means that the people govern, the people own, the people enjoy.&lt;br /&gt;
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中国必须通过实现人民民主来重生。……应该要保障人民自由表达自己的意愿，团结人民的力量。各级行政机关都要以人民的意志和力量为基础，为多数人及其最大的幸福而奋斗。这意味着人民当政监督，人民当家作主，人民享有幸福。--[[User:Wu Kai|Wu Kai]] ([[User talk:Wu Kai|talk]]) 14:23, 16 October 2020 (UTC)&lt;br /&gt;
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==Wu Qi 吴琪==&lt;br /&gt;
A few weeks before his death, he demanded in the speech &amp;quot;Today's duty of the Intellectuals&amp;quot;[(Zhishifenzi jintian de renwu).] the participation of the intellectual in the struggle for a better society.&lt;br /&gt;
在去世前的几个星期，他在一场演讲上对“知识分子今天的任务”提出要求，知识分子应该为社会变得更加美好而奋力努力。--[[User:Wu Qi|Wu Qi]] ([[User talk:Wu Qi|talk]]) 02:42, 16 October 2020 (UTC)&lt;br /&gt;
在他逝世的几周之前，他在“知识分子今天的任务”这一演讲中提出要求：建设一个更加美好的社会需要知识分子的参与。--[[User:Wu Yilu|Wu Yilu]] ([[User talk:Wu Yilu|talk]]) 12:39, 16 October 2020 (UTC)&lt;br /&gt;
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With only a handful of essays I have demonstrated,  that the picture of these three authors changes substantially, if we read carefully also their less known essayistic work. Imagine now how the picture of 20th century Chinese literature might change, if the literary histories and anthologies would not only tell the history of drama, fiction and poetry, but would also grant the essay its proper place. The following part of my paper are results of my monograph on the 20th century Chinese essay.&lt;br /&gt;
我只展示了几篇文章，如果我们仔细阅读他们不太出名的散文作品，这三位作者的形象会发生很大变化。现在想象一下，如果文学历史和作品选集不仅能体现戏剧、小说和诗歌的历史，还能赋予这篇散文合适的地位。那么20世纪中国文学的图景将会如何变化。本文接下来的部分是我的专著中关于20世纪中国散文的结论。--[[User:Wu Qi|Wu Qi]] ([[User talk:Wu Qi|talk]]) 02:42, 16 October 2020 (UTC)&lt;br /&gt;
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==Wu Qiong 吴琼==&lt;br /&gt;
The essay boom as a mirror reflecting growing individuality, participation in the public sphere, and the giddy-paced character of modern Chinese society&lt;br /&gt;
散文的流行犹如一面镜子，反映出日益增长的个性、公共领域的参与度以及现代中国社会的步调节奏。--[[User:WuQiong|WuQiong]] ([[User talk:WuQiong|talk]]) 03:29, 15 October 2020 (UTC)&lt;br /&gt;
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散文的流行犹如一面镜子,反映出人们日益增长的个性、公共领域的参与度以及现代中国社会令人眩晕的快节奏。--[[User:Wang Xuan|Wang Xuan]] ([[User talk:Wang Xuan|talk]]) 08:11, 15 October 2020 (UTC)Wang Xuan&lt;br /&gt;
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Acquiring an overview of the essay and assessing its essence has required extensive research in bookstores and libraries, in the People's Republic of China（including Taiwan and Hong Kong) and the United States for available resources in the form of essay book collections as well as secondary literature dealing with the essay.&lt;br /&gt;
要理解论文概述并评估其本质，需要在中国(包括大陆、台湾、香港）和美国的书店及图书馆进行大量研究，以获取论文集和二手文献等可用资源。--[[User:WuQiong|WuQiong]] ([[User talk:WuQiong|talk]]) 13:19, 15 October 2020 (UTC)&lt;br /&gt;
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要理解论文概述并评估其本质，需要在书店，图书馆，中华人民共和国，（包括台湾和香港）和美国境内，获取论文集和二手文献，借助可用资源进行广泛研究。--[[User:Gan Fengyu|Gan Fengyu]] ([[User talk:Gan Fengyu|talk]]) 03:59, 15 October 2020 (UTC)&lt;br /&gt;
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要理解论文概述并评估其本质，需要在中国大陆、中国台湾、中国香港的书店、图书馆和美国的书店、图书馆进行大量研究，以此获取与论文相关的文集和二手文献资源。--[[User:Wang Xuan|Wang Xuan]] ([[User talk:Wang Xuan|talk]]) 08:11, 15 October 2020 (UTC)Wang Xuan&lt;br /&gt;
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想要读懂这篇论文的综述并理解其内涵，我们需要在中国境内外以及美国的书店和图书馆获取与本论文相关的论文集和二手文献，利用可用资源开展广泛研究。--[[User:Guan Qinqing|Guan Qinqing]] ([[User talk:Guan Qinqing|talk]]) 14:41, 16 October 2020 (UTC)&lt;br /&gt;
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==Wu Xiang 邬香==&lt;br /&gt;
I built a database for a statistical analysis to rank more than 5000 essays and 1400 essayists. It turned out that out of the top 60 most famous Chinese essays only 14 had been translated into English so far. The forthcoming collection of Tam King-fai adds 4 and my own one the remaining 42.&lt;br /&gt;
我建立了一个用于统计分析的数据库，对5000多篇论文和1400名散文家进行排名。结果发现，在60篇最著名的中国散文中，到目前为止只有14篇被翻译成英文。接下来将收录谭景辉的四篇文章及我剩余42篇文章中的一篇。&lt;br /&gt;
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Analysis reveals a general increase in essay publication after 1979 with two peaks immediately after the 'Cultural Revolution'. The publications apparently reaching a new height in 1990. The first increase came about in the 1920s and 1930s, after which the essay's role was eclipsed by the genre of the report[(baogao wenxue) (Klaschka 1998).].&lt;br /&gt;
分析显示，1979年以后，中国的散文出版量普遍增加，文革后出现了两个增长高峰。这些出版物在1990年显然达到了一个新的高度。第一次增长大约出现在20世纪20和30年代，此后散文的作用为报告所取代。【（报告文学），克拉普1998年译 】--[[User:Wu Xiang|Wu Xiang]] ([[User talk:Wu Xiang|talk]]) 11:01, 16 October 2020 (UTC)&lt;br /&gt;
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==Wu Yilu 吴一露==&lt;br /&gt;
The flourishing of essay publication in the 1920/30s and 1980/90s was helped in part by the appearance of new magazines that existed chiefly as vehicles for contemporary essayists, and numerous essay bookseries[sanwen congshu 散文叢書.].&lt;br /&gt;
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The reason for the increase in essay production, which we can date right after the clear-cutting of the ‘Cultural Revolution’ has been the backlog of demand, which is reflected in 1 million copies of essay collections being printed between 1980 and 1982 - only counting the collections contained in the sampling of 130 ‘representative’ books I was able to collect for the survey.  There are three reasons for the increase in Chinese essay production and popularity in the mid-1990s:&lt;br /&gt;
二十世纪二三十年代和八九十年代散文出版繁荣兴盛，部分是因为出现了新的杂志，而这些杂志的存在成了当代散文家和许许多多散文丛书发文的渠道[散文丛书]&lt;br /&gt;
1980年至1982年之间有一百万份散文集印刷出来，这个数字只包含了我调查中能够收集到的130本具有代表性的书籍样本，反映了散文出版增加的原因是需求得不到满足，而这一原因我们可以追溯到文化大革命的肃清时期。在20世纪90年代中期，中国散文创作的增加和流行有三大原因。--[[User:Wu Yilu|Wu Yilu]] ([[User talk:Wu Yilu|talk]]) 12:32, 16 October 2020 (UTC)&lt;br /&gt;
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==Wu Zijia 吴子佳==&lt;br /&gt;
1, The giddy-paced nature of current Chinese society with its demands for diverting and short texts, as Hall has put it: “[...] we live in an age of exposition”[(Hall 1984:xiii).].&lt;br /&gt;
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2, The increasing consciousness of individuality for which the essay is the most direct form of subjective expression, even more direct than the poem with its metrical and formal demands. &lt;br /&gt;
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3, A revival of interest in discussing socio-political issues through the medium of the essay, as was the case in the 1920s/30s.&lt;br /&gt;
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==Xiao Shuangling 肖双玲==&lt;br /&gt;
If we look carefully at essay collections not only published in the United States, but also in Hong Kong, Taiwan and the People’s Republic, we find the following three reasons for the under- and overestimation of single essayists or essays which correspond to regional differences:&lt;br /&gt;
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1, EXOTIC In the United States, essays are often chosen according to Western taste and totally unknown authors are given as much space as established ones.&lt;br /&gt;
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如果我们仔细研究那些不仅是在美国出版的散文集，同样也研究在香港、台湾和中国内地出版的散文集，我们发现，与地区差异相对应的个体散文家或散文被低估或高估的原因有以下三个:&lt;br /&gt;
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1.外部原因：在美国，散文通常根据西方人的品位来选择的，完全不知名的作家和知名的作家享有同等的待遇。--[[User:Xiao Shuangling|Xiao Shuangling]] ([[User talk:Xiao Shuangling|talk]]) 09:01, 15 October 2020 (UTC)Xiao Shuangling&lt;br /&gt;
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如果我们仔细研究那些散文集，包括美国出版的，香港、台湾和中国内地出版的，我们会发现个体散文家或散文被高估或被低估的原因与地区相对应的有以下三个:&lt;br /&gt;
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1.外部原因：在美国，散文通常根据西方人的品位来选择的，完全不知名的作家和知名的作家享有同等的待遇。--[[User:Zhao Xiaoyan|Zhao Xiaoyan]] ([[User talk:Zhao Xiaoyan|talk]]) 13:38, 15 October 2020 (UTC)&lt;br /&gt;
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==Xiao Ting 肖婷==&lt;br /&gt;
2, SOCIO-POLITICAL In Taiwan, Lu Xun has been banned for a long time, but today, as the mentioned survey proofs, he ranks 12th among modern authors there.  Wang Meng has been overestimated in the People’s Republic of China due to his political post.&lt;br /&gt;
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3, PERSONAL Hong Kong literature on Yu Guangzhong has been censored by his disciple Huang Weiliang in favor for Yu.[(see Lin Yaode 1989:50).]&lt;br /&gt;
Having named reasons for the essay boom and for the support for and the suppression of different actors in the cultural field of the essay, I would like to finish my paper by naming a few trends of the essay as they appear at the eve of the century.&lt;br /&gt;
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2.社会政治原因。鲁迅的作品在台湾被禁读很长一段时间了，然而，如上述提及的调查证明显示，他在台湾近代作家排名12位。王蒙因其政治文章在中国一直受到过度吹捧。&lt;br /&gt;
3.个人原因。香港余光中的作品，在其弟子黄维梁的审查后并得到了颂扬。&lt;br /&gt;
在列出了文坛繁荣的原因和为什么有些作家在文坛受吹捧，而有些却遭到贬低之后，我将以介绍上世纪末散文发展的几个趋势作为文章的结尾。--[[User:Xiao Shuangling|Xiao Shuangling]] ([[User talk:Xiao Shuangling|talk]]) 09:35, 15 October 2020 (UTC)Xiao Ting&lt;br /&gt;
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2.社会政治原因： 在台湾，鲁迅曾被封禁过很长一段时间。但如今，正如上述调查证据所示，他名列台湾现代作家第12位。王蒙由于其在中国的政治地位，一直受到过度追捧。&lt;br /&gt;
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3.个人原因：为了支持余光中，其弟子黄维梁对有关余光中的香港文学作品进行了审查。&lt;br /&gt;
在列举了散文繁荣的原因，以及散文文化领域对不同行动者的支持和打压之后，我想通过列举本世纪初散文出现的几个趋势来完成我的论文。--[[User:Xiao Shuangling|Xiao Shuangling]] ([[User talk:Xiao Shuangling|talk]]) 09:35, 15 October 2020 (UTC)Xiao Shuangling&lt;br /&gt;
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2.社会政治原因  鲁迅的作品在台湾被禁读了很长一段时间。但如今，正如所提及的调查证实的那样，鲁迅在台湾现代作家排行榜中位列第十二。王蒙因其政治性的文章在中国一直被人高看。--[[User:Zhao Xi|Zhao Xi]] ([[User talk:Zhao Xi|talk]]) 16:34, 15 October 2020 (UTC)&lt;br /&gt;
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3.个人原因  为支持余光中，他的弟子黄维梁对其香港文学作品进行了审查。在介绍了散文繁荣发展的原因，以及在散文文化领域对不同作家的支持和打压后，我想在论文结尾部分介绍关于上世纪末散文发展出现的一些趋势。--[[User:Zhao Xi|Zhao Xi]] ([[User talk:Zhao Xi|talk]]) 16:34, 15 October 2020 (UTC)&lt;br /&gt;
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==Xiao Xi 肖茜==&lt;br /&gt;
The topical development of political essays sees a shift from the enlightenment-educational essay, which emerged in 1907, to the daily-political essays in the 1920-30s, further to anti-Japanese propaganda in the 1940s and ideological propaganda in the 1950s and 1960s. Whilst the 1980s saw a revival of political issues in terms of discussion on the best system of society, (also in literature in general and in film) to a mere unpolitical and again more philosophical-moral theme spectrum in the 1990s, where essayists define their role, first of all to counterpart the consumer-orientation of the masses.  The essay seems to be the only genre in China which has kept its educational claim with the exception of essays which claim to be &amp;quot;art pourt l'art&amp;quot;.&lt;br /&gt;
政治散文的主题发展经历了从1907年的启蒙教育散文到1920-30年代的日常政治散文，再到40年代的抗日宣传和50 - 60年代的意识形态宣传的转变。而1980年代的复兴政治问题的讨论社会的最好的体系,(一般也在文学和电影)在1990年代，主题的范围是非政治的而又有更多哲学道德的,散文家定义了他们的角色，首先是与以消费者为导向的大众相对应。在中国，散文似乎是唯一保留其教育主张的体裁，除了那些声称是“艺术为了艺术”的散文。--[[User:XiaoXi|XiaoXi]] ([[User talk:XiaoXi|talk]]) 15:16, 15 October 2020 (UTC)Xiao Xi&lt;br /&gt;
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摘要政治散文的专题发展是从 1907 年兴起的启蒙教育散文向 1920-30 年代的日常政治散文的转变，进一步发展到 1940 年代的抗日宣传和 20 世纪 50 年代和 60 年代的思想宣传。20 世纪 80 年代，在讨论社会的最佳制度时，政治问题又出现了复苏，(也包括在一般的文学和电影中) 在 20 世纪 90 年代变成了纯粹的非政治性和更具哲学性的-道德主题，在那里，散文家定义了他们的角色，首先是要与大众的消费取向相对应。这篇文章似乎是中国唯一保留其教育主张的体裁，但声称是“艺术院”的论文除外。--[[User:YangHui|YangHui]] ([[User talk:YangHui|talk]]) 01:00, 16 October 2020 (UTC)&lt;br /&gt;
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==Xiao Yining 肖伊宁==&lt;br /&gt;
The topical development of the unpolitical essay starts with the everyday-topics of Zhu Ziqing (&amp;quot;On dreams&amp;quot;[&amp;quot;Shuo meng 說夢&amp;quot; On dreams in: Zhu Ziqing 1928.]) and Zhou Zuoren from 1917 (&amp;quot;My own garden&amp;quot;[9.1923.], &amp;quot;The Fly&amp;quot;[1924.], &amp;quot;Reading on the Toilet&amp;quot;[1936.]), with a caesura 1927, when the political essays became the main stream, until the late 1930s, when the unpolitical essay was eliminated totally by the anti-Japanese movement.&lt;br /&gt;
非政治性文章主题的发展始于1917年的朱自清（《说梦》 [1928]）和周作人的（《我的花园》[ 9.1923]《苍蝇》 [1924]和《茅厕阅读》[1936]），并于1927年搁置了一阵子，当时政治论文成为主流，直到1930年代末，非政治性散文完全被抗日运动淘汰掉了。&lt;br /&gt;
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It didn't recover until the 1970s, when life turned back to normality and normal things became topics of interest because of their long absence. Again in the 1990s, the unpolitical essay boomed also due to less interest in political issues and the need for a new orientation in the newly encountered world of mass consumerism.&lt;br /&gt;
直到20世纪70年代，它才恢复过来，那时生活恢复了正常，因为长期没有正常的事物，所以正常的事物也成了人们感兴趣的话题。同样由于人们对政治问题的兴趣减少，以及在新遇到的大众消费主义世界中需要一个新的方向，非政治性文章在20世纪90年代蓬勃发展。--[[User:Xiao yining|Xiao yining]] ([[User talk:Xiao yining|talk]]) 15:49, 15 October 2020 (UTC)Xiao Yining&lt;br /&gt;
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==Xie Fan 解帆==&lt;br /&gt;
In the end of this century not the governmentally demanded affirmative texts stand at the forefront, but unpolitical essays, mostly dating from the Republican era, especially from the years 1923 to 1928.  This observation is supported by the results of the mentioned statistical analysis.  Among the upper list places of the political essay after 1949 there are critical essays.   For the most often selected essays in the People’s Republic, Taiwan and Hong Kong, moral and aesthetic criteria seem to have underlain.&lt;br /&gt;
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站在本世纪末前沿的不是政府要求的权威文件，而是与政治无关的散文，这些文章大多可以追溯到民国时期，尤其是从1923年到1928年间。上述统计分析证实了这一观察结果。在1949年以后的政论文中，居于前列的是批评散文。在中国，包括台湾地区和香港地区在内发表的选集，似乎都以道德和审美标准为基础。--[[User:XieFan|XieFan]] ([[User talk:XieFan|talk]]) 07:41, 16 October 2020 (UTC)&lt;br /&gt;
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在本世纪末，站在前沿的不是政府要求的有积极影响的文章，而是与政治无关的文章，这些文章大多数可以追溯到民国时期，尤其是1923年至1928年。这一个观察结果可由上述提到的统计分析证实。在1949年的以后的政论文中，居于前列的是批评文。在中国，包括台湾和香港在内发表的选集，似乎都以道德和审美为标准。--[[User:Wu Xiang|Wu Xiang]] ([[User talk:Wu Xiang|talk]]) 11:22, 16 October 2020 (UTC)&lt;br /&gt;
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==Xie Ziyi 谢子熠==&lt;br /&gt;
A sign for the increasing independence of the editors of essay anthologies from governmental or ideological handicaps, and for the increasing commercialization of the publishing houses with an orientation for customers (former: &amp;quot;readers&amp;quot;).  Following the emotional essays of Zhu Ziqing who rank 1st and 2nd, nostalgia is the element of emotional identification in &amp;quot;Wild vegetables of my home region&amp;quot; by Zhou Zuoren, which ranks 3rd[Compare to Jia Pingwa's &amp;quot;Moon traces&amp;quot;, which ranks 11, and Ba Jin's &amp;quot;Paradise for Birds&amp;quot;, which ranks 19.]. Therefore one can state, that moving essays form the top.&lt;br /&gt;
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这标志着文集编辑越来越独立于政府或意识形态的阻碍，也标志着以客户为导向的出版社越来越商业化。怀旧是继排名第一和第二的朱自清的情感小品之后，周作人的《家乡野菜》排名第三(与排名11的贾平凹的《月亮痕迹》和排名19的巴金的《鸟的乐园》相比)的情感认同元素。因此，我们可以说，感人的散文是最重要的。--[[User:Ishikami|Ishikami]] ([[User talk:Ishikami|talk]]) 15:49, 15 October 2020 (UTC)&lt;br /&gt;
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这标志着散文选集的编辑越来越不顾政府或意识形态的阻碍，也标志着以客户为导向(过去是以读者为导向)的出版社越来越商业化。就怀旧主题而言,排名前二的是朱自清的书怀抒情散文，周作人的《故乡的野菜》中的怀旧是情感认同的元素，该作品位列第三。贾平凹的《月迹》排名第11位，巴金的《鸟的天堂》排名第19位。由此可见，感人的散文是最重要的。--[[User:Yuan Yuchen|Yuan Yuchen]] ([[User talk:Yuan Yuchen|talk]]) 01:10, 16 October 2020 (UTC)&lt;br /&gt;
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这标志着散文选集的编辑越来越不顾政府或意识形态的阻碍，也标志着以客户为导向(过去是以读者为导向)的出版社越来越商业化。就怀旧主题而言,排名前二的是朱自清的抒怀抒情散文，然而周作人的《故乡的野菜》中的怀旧是情感认同的元素，该作品位列第三。贾平凹的《月迹》排名第11位，巴金的《鸟的天堂》则排名第19位。由此可见，感人的散文是最重要的。--[[User:Wu Kai|Wu Kai]] ([[User talk:Wu Kai|talk]]) 14:31, 16 October 2020 (UTC)&lt;br /&gt;
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==Xu Jia 徐佳==&lt;br /&gt;
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In 1927, Chinese literature took the form of 'engaged literature'.  In the 1980/90s, the discussion of politics in daily interest form a smaller part than in the 1920/30s. In the 1980s all genres including poems and essays were used for the critic against the master narrative of Communism or the Maoist understanding of art as serving ideology.&lt;br /&gt;
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1927年，中国文学出现了“介入文学”的形式。到了20世纪八九十年代，文学作品中对政治问题的关注和讨论比二三十年代要少，那时包括诗歌和小品文在内的所有文学体裁都在抨击共产主义和毛派艺术思想，因为这些内容的宣扬都是为意识形态服务的。--[[User:Xu Jia|Xu Jia]] ([[User talk:Xu Jia|talk]]) 09:22, 15 October 2020 (UTC)Xu Jia&lt;br /&gt;
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1972年，中国文学出现了一种文学形式——“介入文学”。到了二十世纪八九十年代，文学作品中对政治问题的讨论相较二三十年代要少很多。那时，包括诗歌和散文在内的所有体裁都是为意识形态所服务的，它们都在抨击共产主义以及毛派艺术思想。--[[User:Yang Yue|Yang Yue]] ([[User talk:Yang Yue|talk]]) 13:16, 15 October 2020 (UTC)&lt;br /&gt;
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1927年，中国文学出现了“参与文学”的形式。 与二十世纪二三十年代相比，在二十世纪八九十年代，有关日常利益的政治讨论只占很小的一部分。 在1980年代，包括诗歌和散文在内的所有流派都被批评家用来反对共产主义的主要叙事，或者反对毛派艺术思想。--[[User:Liu Yi|Liu Yi]] ([[User talk:Liu Yi|talk]]) 13:53, 15 October 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
1927年，中国文学出现新形式，那就是“钦定文学”。二十世纪八九十年代的人对于日息政治学的议论不如二十世纪二三十年代人那么多。二十世纪八十年代，包括诗歌和散文在内的所有文学体裁，都用于批判一种主流宣传，那就是共产主义或者毛泽东思想视角所理解的所谓“艺术服务于意识形态”。--[[User:Yuan Tianyi|Yuan Tianyi]] ([[User talk:Yuan Tianyi|talk]]) 14:36, 15 October 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
==Xu Jing 许晶==&lt;br /&gt;
In the later half of the 1990s, the master narrator himself seems to be lost within the subjectivity of individuals and everyday's profaneity and banality of a more and more formally organized but substantially empty citylife. In the 1990s, the essayistic culture of political criticism of the 1980s has vanished, the only remiscent element left is the patriotism.[Trends like the use of ordinary language, which one finds in novels since 1993 (Jia Pingwa, Feidu; Gu Cheng, Yingger) and New Borderlessness since 1995, cannot be proven in the essaywriting.	&lt;br /&gt;
The reason that we do not find post-modernist essays in the sense of post-modernist fiction lies in the directness of the essay: The essay as a genre is a chat between author and reader and not an object d'art which wants to give cause for different interpretations or which would depend on exceptional form or contents or even quotations of pre-modern characteristics in order to make it an distinguishable object d'art.]&lt;br /&gt;
&lt;br /&gt;
==Xu Jing 许静==&lt;br /&gt;
References&lt;br /&gt;
&lt;br /&gt;
Vera Schwarcz 1996, Vera Schwarcz, &amp;quot;The pain of sorrow: public uses of personal grief in modern China&amp;quot;, in Daedalus: Journal of the American Academy of Arts and Sciences (Winter 1996)&lt;br /&gt;
&lt;br /&gt;
Ba Jin 1982，Ba Jin:&amp;quot;Yi feng huixin&amp;quot;(A response letter(26.10.1982)), in:Bing zhongji(On the sick-bed),Hongkong 1984(?)(Reihe Suixiang lu(Thoughts) Bd 4),147 pp.,in the following:Ba Jin:On the sick-bed 1984,reprinted in:Ba Jin: Thoughts under time 1978-1986,vol.4 On the sick-bed, S.19-23&lt;br /&gt;
&lt;br /&gt;
参考文献&lt;br /&gt;
&lt;br /&gt;
Vera Schwarcz 1996, Vera Schwarcz, &amp;quot;The pain of sorrow: public uses of personal grief in modern China&amp;quot;, in Daedalus: Journal of the American Academy of Arts and Sciences (Winter 1996)&lt;br /&gt;
&lt;br /&gt;
巴金1982年，巴金：《一封回信》(1982年10月26日)，载于：《病中集》，香港1984年(?)(随想录Bd 4)，147页，以下：巴金：《病中集》，1984年，转载于：巴金。 巴金：《再思录》1978-1986,第4卷，《病中集》，第19-23页。&lt;br /&gt;
&lt;br /&gt;
==Xu Mengdie 徐梦蝶==&lt;br /&gt;
Ba Jin 1982a, Ba Jin: &amp;quot;Yi pian xuwen&amp;quot; (A preface)  [dated 1982.9/10], in: Ba Jin:On the sick-bed 1984&lt;br /&gt;
&lt;br /&gt;
Ba Jin 1956,Ba Jin:&amp;quot;Duli sikao&amp;quot;(Think independantly),in:Li Jisheng, Li Xiaolin (eds):Ba Jin liushi nian wenxuan (1927-1986),Suixiang lu, zagan,sanwen, xuba, yanjiang, shuxin&lt;br /&gt;
(Ba Jin. Selected Works from 60 years (1927 - 1986), Thoughts, mixed feelings, essays, prefaces, speeches, letters),Shanghai: Shanghai wenyi chubanshe(Literature and Art Press Shanghai), 1986.12,S.461-462 [Dated 1956.]&lt;br /&gt;
巴金1982年 “一篇序文”[1982.9/10] ：《病中集》1984&lt;br /&gt;
巴金 1956年 “独立思考”，李济生，李小林（编）：60年文选（1927-1986），随想录，杂感散文，序跋，演讲，书信（巴金 60年文选选文（1927-1986），随想，杂感，散文，序言，演讲，书信），上海：上海文艺出版社, 1986.12,S.461-462 [日期 1956.]--[[User:Xu Mengdie|Xu Mengdie]] ([[User talk:Xu Mengdie|talk]]) 15:19, 15 October 2020 (UTC)Xu Mengdie&lt;br /&gt;
&lt;br /&gt;
==Xu Pengfei 许鹏飞==&lt;br /&gt;
Ba Jin 1962, &amp;quot;Zuojia de yongqi yu zerenxin&amp;quot; (Encouragement and responsibility of the writer)1962;the essay of Zhou Zuoren:&amp;quot;Wenxue tan&amp;quot;(On Literature),has been published in:Tan long ji(On Dragons. A collection), Shanghai:Kaiming shudian(Kaiming Bookstore)1927.12,reprint:Hongkong:Shiyong shuju(Practical Press)1972.1,310 S.,S.165-167&lt;br /&gt;
&lt;br /&gt;
巴金 1962，“作家的勇气与责任心”1962；周作人的文章“文学谈”初版于《谈龙集》，上海开明书店1927年12月，再版于香港实用书局1972.1,310 S.,S.165-167--[[User:Xu Pengfei|Xu Pengfei]] ([[User talk:Xu Pengfei|talk]]) 14:59, 15 October 2020 (UTC)Xu Pengfei&lt;br /&gt;
&lt;br /&gt;
巴金 1962，《作家的勇气与责任心》1962；周作人的文章《文学谈》初版于《谈龙集》，上海开明书店1927年12月，再版于香港实用书局1972.1,310 S.,S.165-167--[[User:Yang Hairong|Yang Hairong]] ([[User talk:Yang Hairong|talk]]) 09:35, 16 October 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
Zhou Zuoren 1919, Zhou Zuoren, &amp;quot;Zuxian chongbai 1919 (Ancestor Worship),&amp;quot; in Early Essays, op.cit., pp. 7-8&lt;br /&gt;
&lt;br /&gt;
周作人1919，周作人，“祖先崇拜1919”，收录于《早期散文集》op.cit., pp. 7-8--[[User:Xu Pengfei|Xu Pengfei]] ([[User talk:Xu Pengfei|talk]]) 14:59, 15 October 2020 (UTC)Xu Pengfei&lt;br /&gt;
&lt;br /&gt;
==Yang Chenting 杨晨婷==&lt;br /&gt;
Zhou Zuoren 1920:Zhou Zuoren, Xin wenxue de yaoqiu&amp;quot;(The demand of the New Literature) [lecture],in Beiping shaonian xuehui (Beiping youth conference)1920.1.6,in:Zhang Ruoying:Xin wenxue yuandong shi ziliao(Material on the history of the New Literature movement),Shanghai:Guangming shuju (Guangming bookstore)(1934.9 ²1936.9, 291-296&lt;br /&gt;
&lt;br /&gt;
周作人 1920：周作人，新文学的要求（新文学的要求），北平少年学会（北平少年学会），1920.1.6：张若英：《新文学运动史资料》（《新文学运动史资料》）， 上海：光明书局（光明书局）（1934.9-1936.9， 291-296）--[[User:Yang chenting|Yang chenting]] ([[User talk:Yang chenting|talk]]) 09:18, 16 October 2020 (UTC)Yang Chenting&lt;br /&gt;
&lt;br /&gt;
==Yang Hairong 杨海容==&lt;br /&gt;
Zhou Zuoren 1923, Zhou Zuoren: Yanzhicao ba (Preface to Yu Pingbo's Yanzhicao), in: Yongri ji (Book of Eternal Day), Shanghai: Beixin shuju 1929, 180-181&lt;br /&gt;
&lt;br /&gt;
Zhou Zuoren 1929, Zhou Zuoren: Ertong de shu (The books of children), in: Chenbao fukan (1923.8.17)&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
周作人，1923年，周作人：《燕子草》（于平伯《燕子草》序），发表于：《永日记》，上海：北新书局1929，180-181--[[User:Yang Hairong|Yang Hairong]] ([[User talk:Yang Hairong|talk]]) 09:28, 16 October 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
周作人1929年，周作人：《童书》（儿童书籍），载于：陈宝福刊（1923.8.17）--[[User:Yang Hairong|Yang Hairong]] ([[User talk:Yang Hairong|talk]]) 09:28, 16 October 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
==Yang Hui 阳慧==&lt;br /&gt;
Zhou Zuoren yuanliu, Zhou Zuoren: Zhongguo xin wenxue de yuanliu (Sources of New Chinese Literature), p 71&lt;br /&gt;
&lt;br /&gt;
Zhou Zuoren 1932, Zhou Zuoren: Lun baguwen 1932, in: Kanyun ji p. 148&lt;br /&gt;
&lt;br /&gt;
Source: NEAAS annual meeting 10/09/1999 New Haven (Yale University)&lt;br /&gt;
&lt;br /&gt;
周作人，周作人：“中国新文学源流”，第 71 页。&lt;br /&gt;
&lt;br /&gt;
1932 年 周作人，周作人： 1932 年的伦八国文，收录：《看云记》，第148页。&lt;br /&gt;
&lt;br /&gt;
资料来源： NEAAS 第 10/09/1999 次年会 (耶鲁大学）。--[[User:YangHui|YangHui]] ([[User talk:YangHui|talk]]) 00:52, 16 October 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
周作人：《中国新文学的源流》第71页。&lt;br /&gt;
&lt;br /&gt;
周作人 1932：1932年作《论八股文》，选自《看云集》第148页&lt;br /&gt;
&lt;br /&gt;
资料来源：1999年9月10日纽黑文市耶鲁大学NEAAS年会--[[User:Wu Qi|Wu Qi]] ([[User talk:Wu Qi|talk]]) 09:23, 16 October 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
周作人：《中国新文学潮流》，第71页&lt;br /&gt;
周作人，1932：《论八股文》，收录：《看云记》，第148页&lt;br /&gt;
资料来源：1999年9月10日NEAAS年会--[[User:Yang chenting|Yang chenting]] ([[User talk:Yang chenting|talk]]) 09:29, 16 October 2020 (UTC)Yang Chenting&lt;br /&gt;
&lt;br /&gt;
==Yang Yi 杨逸==&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
'''Appendix: Translation&lt;br /&gt;
&lt;br /&gt;
Lu Xun (1881 - 1936)''' &lt;br /&gt;
&lt;br /&gt;
Lu Xun fought with his zawen for intellectual freedom, but in 1930 joined the leftist movement when he founded the &amp;quot;League of Leftist Writers&amp;quot;.  Despite this, his posthumous glorification as a communist writer by Mao Zedong goes too far.&lt;br /&gt;
附录：翻译&lt;br /&gt;
鲁迅（1881-1936）&lt;br /&gt;
鲁迅用他的杂文为知识自由而斗争，但是在1930年他加入了左派运动并成立“左派作家联盟”。尽管如此，毛泽东在他死后称赞他为共产主义作家有些过头了。--[[User:Yang Yi|Yang Yi]] ([[User talk:Yang Yi|talk]]) 06:58, 16 October 2020 (UTC)&lt;br /&gt;
“附录：翻译&lt;br /&gt;
鲁迅（1881-1936）”&lt;br /&gt;
鲁迅以杂文为知识自由而斗争，但是，他却在1930年参与左翼运动并成立“左派作家联盟”。尽管如此，在他死后，毛泽东仍称他为共产主义作家，这一赞誉就有些过头了。--[[User:Yi Huan|Yi Huan]] ([[User talk:Yi Huan|talk]]) 13:02, 16 October 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
==Yang Yue 杨悦==&lt;br /&gt;
&lt;br /&gt;
Let us put an end to the far dispersed translation of ''zawen'' as &amp;quot;critical essays&amp;quot; by reconstructing Lu Xuns own understanding of the term ''zawen'', which he invented from ''zagan'': He includes also dialogues, fables and essay poems in it. Therefore a more adequate term for ''zawen'' is &amp;quot;miscellaneous essays&amp;quot;.&lt;br /&gt;
&lt;br /&gt;
让我们通过重构鲁迅自己对“杂文”一词的理解，来结束“杂文”作为“评论性散文“的散乱翻译。“杂文”一词出自鲁迅的《杂感》，其中还包括对话、寓言和散文诗。因此，用”杂文“一词来称呼较为合适。--[[User:Yang Yue|Yang Yue]] ([[User talk:Yang Yue|talk]]) 13:06, 15 October 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
让我们通过重构鲁迅对“杂文”这一术语的理解，来结束“杂文”作为“批判性散文”的胡乱翻译。“杂文”一词出自鲁迅的《杂感》:鲁迅也把对话、寓言和散文诗包括到杂文的范畴里。因此，用“混杂的散文”来称呼“杂文”这一术语更合适。--[[User:Zhou Siqing|Zhou Siqing]] ([[User talk:Zhou Siqing|talk]]) 14:02, 15 October 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
让我们通过重构鲁迅自身对“杂文”这一名词的理解，来结束“杂文”作为“批评性散文”的散乱翻译。“杂文”一词出于鲁迅的《杂感》，鲁迅（同时）也把对话、寓言和散文诗一起包括到了此范畴里。因此，用“混杂文章”这一术语来称呼“杂文”更为适宜。&lt;br /&gt;
--[[User:Wensixing|Wensixing]] ([[User talk:Wensixing|talk]]) 13:00, 16 October 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
==Yang Ziling 杨子泠==&lt;br /&gt;
&lt;br /&gt;
Two observations in his late essays shall be mentioned here: Lu Xun mainly consciously uses the rhetoric mean of digression. His essays of his last two years are more conciliatory again: He uses an unctious style (Leung 1981 even called it metrical) like before in his essay on Liu Zhenhe. In his last essay collection, which might be his best one (here I agree with Pollard 1985 81, Lee 1987 125), Lu Xun appears detached. Here he writes in a ''xiaopin wen'' style (”Flying over”, Lu Xun 1939) - similar to that one of his younger brother, develops understanding and sympathy for an actress being driven to suicide (“On the saying ‘Rumors are frightening’ ”, Lu Xun 1937a), even Confucius finds mercy in front of the graceful eyes of the old Lu Xun (”Confucius in contemporary China”, Lu Xun 1937b), who has been aware of his coming death, since he made his will a few months before his death (&amp;quot;''Death''&amp;quot;, Lu Xun 1957 VI:496, trans. quoted from Yang/Yang 1961 4:291-296).&lt;br /&gt;
&lt;br /&gt;
==Yao Cheng 姚诚==&lt;br /&gt;
&lt;br /&gt;
I seem to have thought out quite a few items for my family, among which were:&lt;br /&gt;
&lt;br /&gt;
1.​Don't accept a cent from anyone for the funeral. This does not apply to old friends.&lt;br /&gt;
&lt;br /&gt;
2.​Get the whole thing over quickly, have me buried and be done with it.&lt;br /&gt;
&lt;br /&gt;
3.​Do nothing in the way of commemoration.&lt;br /&gt;
&lt;br /&gt;
4.​Forget me and look after your own affairs if you don't, you are just too silly.&lt;br /&gt;
&lt;br /&gt;
5.​When the child grows up, if he has no gifts let him take some small job to make a living. On no account let him become a writer or artist in name alone.&lt;br /&gt;
&lt;br /&gt;
6.​Don't take other people's promises seriously.&lt;br /&gt;
&lt;br /&gt;
7.​Never mix with people who injure others but who oppose revenge and advocate tolerance.&lt;br /&gt;
&lt;br /&gt;
我似乎已经为我家人考虑了很多问题，其中包括：&lt;br /&gt;
&lt;br /&gt;
1.不接受任何人的葬礼礼金。 这一点不适用于老朋友。&lt;br /&gt;
&lt;br /&gt;
2.迅速完成整个葬礼，把我埋了就完事了。&lt;br /&gt;
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3.不做任何纪念活动。&lt;br /&gt;
&lt;br /&gt;
4.把我忘了然后照顾好自己。如果不这样做，那就太傻了。&lt;br /&gt;
&lt;br /&gt;
5.孩子长大后，如果他没有任何天赋，就让他从事一些小工作来谋生。 绝对不要让他去做作家或艺术家。&lt;br /&gt;
&lt;br /&gt;
6，不要认真对待别人的诺言。&lt;br /&gt;
&lt;br /&gt;
7，切勿与伤害他人但反对报仇和提倡宽容的人混在一起。--[[User:Yao Cheng|Yao Cheng]] ([[User talk:Yao Cheng|talk]]) 10:06, 16 October 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
==Yao Jia 姚佳==&lt;br /&gt;
&lt;br /&gt;
There were other items, too, but I have forgotten them. I remember also that during a fever I recalled that when a European is dying there is usually some sort of ceremony in which he asks pardon of others and pardons them. Now I have a great many enemies, and what should my answer. be if some modernized person asked me my views on this? After some thought I decided: Let them go on hating me. I shall not forgive a single one of them either.&lt;br /&gt;
&lt;br /&gt;
==Yi Huan 易欢==&lt;br /&gt;
&lt;br /&gt;
No such ceremony took place, however, and I did not draw up a will. I simply lay there in silence, struck sometimes by a more pressing thought: If this Is dying, it isn't really painful. It may not be quite like this at the end, of course; but still, since this happens only once in a lifetime, I can take it.... Later, however, there came a change for the better. And now I am wondering whether this was really the state just before dying: a man really dying may not have Such ideas. What it will be like, though, I still don't know.&lt;br /&gt;
然而，并没有举行那样一场仪式，我也没有起草遗嘱。我只是躺在那里，静默不语，一种更为压迫的想法不时地冲击着我：如果这就是将死之际，那确实也并非让人悲痛欲绝。当然，最后真正的死亡可能并不是如此，但一生也只经历一次死亡时刻，我也仍能这样想象。但是后来情况有所好转。现在我正思索着：一个真正垂死之人并不会有任何想法，这是不是就是死亡前的真实状况呢。尽管，死亡将会是怎样，我仍然搞不清楚。--[[User:Yi Huan|Yi Huan]] ([[User talk:Yi Huan|talk]]) 12:31, 16 October 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
==Yi Zichu 义子楚==&lt;br /&gt;
&lt;br /&gt;
Regarding the influence of Lu Xuns essayistic work, there are four things to state: His essays were bestsellers during his lifetime. They were regarded as masterpieces for a whole generation of essayists. They were posthumously embraced by Mao Zedong, who called Lu Xun in succession of the discredited Confucius &amp;quot;wise man of the present&amp;quot; (Mao 1970 5:281), and who used his essays for propanda purpose. They outnumber by far the publications of other essayists until the 1990s, consequently, Lu Xun must be considered as the most important essayist of 20th century China.&lt;br /&gt;
&lt;br /&gt;
关于鲁迅文学作品的影响力，有四件事要说：他一生中所写的文章都十分畅销，都被认为是那一代文学家之中的著作。毛泽东推崇他死后的作品，并称鲁迅为继孔子之后的“当代智者”，也使用他的文章来进行宣传。直到20世纪90年代，他的文章在数量上仍远远超过其他作家。鲁迅被认为是中国20世纪最重要的作家。--[[User:Yi Zichu|Yi Zichu]] ([[User talk:Yi Zichu|talk]]) 03:57, 16 October 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
关于鲁迅文学作品的影响力，这里提四点：他的文章在那个时代十分畅销；他的文章被认为是那整整一代文学家之中的典范；鲁迅去世后，毛泽东称其为继孔子之后的“当代智者”，对他的作品十分认可，并用于政治宣传；20世纪90年代以前，他的文章出版数量远远超过其他作家。基于上，鲁迅当之无愧为中国20世纪最重要的作家。--[[User:Xu Jing|Xu Jing]] ([[User talk:Xu Jing|talk]]) 11:57, 16 October 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
==You Yuting 游雨婷==&lt;br /&gt;
&lt;br /&gt;
Lu Xun’s strength lies in his ability to affect people effectively. A good example of his ability is the essay ”On ‘Fraternal Nations Are Shocked’ ”, in which he recounts recent well known political events and stirs people’s patriotism through rhetorical figures like sharpening and exaggeration, and through appeal to solidarity in front of a picture of horror drawn by himself. Since I found an acceptable translations already existing, we did not take the translation into this collection, but mention, where the reader may find these texts both in Chinese and English.&lt;br /&gt;
&lt;br /&gt;
鲁迅的力量在于他能够有效地影响人们。展现他能力的一个很好的例子是他写的“关于‘兄弟国家都震惊了’”这篇文章，在这里他叙述了最近众所周知的政治事件，并通过尖锐和夸张的修辞手法煽动人们的爱国主义，通过自己画的一幅恐怖的画而呼吁团结。由于我已经找到了一个可接受的译本，所以我们没有把它放进这个合集，而是提到读者在哪里可以找到这些中文和英文的文本。--[[User:You Yuting|You Yuting]] ([[User talk:You Yuting|talk]]) 03:06, 16 October 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
鲁迅的力量在于他能有力地影响人们。文章《“友邦惊诧”论》就体现了他的这一能力。他在这篇文章里讲述了当时广为人知的新近政治事件，并通过尖锐和夸张的修辞手法、通过在他画的一幅恐怖画前呼吁团结，来煽动人们的爱国主义。由于我已经找到了一个可行的译本，所以我们没有在这个合集里再放出译本，而只是提醒读者在哪里可以找到这些中文和英文的译本。--[[User:Yang Yi|Yang Yi]] ([[User talk:Yang Yi|talk]]) 07:21, 16 October 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
==Yu Ni 余妮==&lt;br /&gt;
&lt;br /&gt;
Another Lu Xun, the philosophical thinker, appears in the second essay ”Commemorating to forget”. Lu Xun essays are the ones which are read most often until today. The fact that most of his essays are available in English translation already, shows his international acceptance as the greatest Chinese essayist of the first half of the 20th century.&lt;br /&gt;
&lt;br /&gt;
Lu Xun (1881 - 1936)&lt;br /&gt;
&lt;br /&gt;
Weile wangque de jinian 7./8.2.[1932]&lt;br /&gt;
&lt;br /&gt;
'''Commemorating to Forget'''&lt;br /&gt;
&lt;br /&gt;
==Yuan Shiqi 袁诗琦==&lt;br /&gt;
&lt;br /&gt;
I have long wanted to write something, to commemorate those young writers. This is merely out of the sorrow and indignation that has been afflicting me for the past two years. I wish, with my words of remembrance, I could shake off my grief and  relax. To speak frankly, I would try to forget them.&lt;br /&gt;
&lt;br /&gt;
我一直想写点东西来纪念那些年轻的作家。这仅仅是出于过去两年来一直折磨我的悲伤和愤慨。我希望，通过我的回忆，我可以摆脱自己的悲伤然后放松自己。坦白地说，我会试着忘记它们的。--[[User:Yuan SHiqi|Yuan SHiqi]] ([[User talk:Yuan SHiqi|talk]]) 13:59, 15 October 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
我一直想着写点什么来纪念那些年轻的作家。这只是出于我过去两年的悲伤和愤慨。我希望，通过用文字来回忆，我可以摆脱悲伤，放松下来。坦白讲，我会尽力忘记他们。--[[User:Xu Mengdie|Xu Mengdie]] ([[User talk:Xu Mengdie|talk]]) 15:43, 15 October 2020 (UTC)Xu Mengdie&lt;br /&gt;
&lt;br /&gt;
==Yuan Tianyi 袁天翼==&lt;br /&gt;
&lt;br /&gt;
This time two years ago, that is, the late night of February 7th or the early morning of 8th, 1931, was the time when our five young writers were murdered simultaneously. At that time, newspapers in Shanghai did not dare to report the murder. Or perhaps they did not want, or did not care, to report it. There were only some noncommittal words in ''Literature and Art News''. In its 11th issue (May 25th), Mr. Lin Mang wrote an article entitled ''Impressions on Bai Mang'', in which he said:&lt;br /&gt;
&lt;br /&gt;
两年前的现在，也就是1931年2月7号深夜或者8号早晨，我们的五位年轻作家同时遭到谋杀。当时，上海报社不敢报道谋杀消息。也可能是他们并不想报道，亦或是不屑于报道。只有《文学与艺术新闻》对其进行了一些含糊的评论。在此杂志第11期（5月25号）上，林莽写了一篇标题为《白盲印象》的文章，提到：--[[User:Yuan Tianyi|Yuan Tianyi]] ([[User talk:Yuan Tianyi|talk]]) 14:36, 15 October 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
==Yuan Yuchen 袁雨晨==&lt;br /&gt;
&lt;br /&gt;
”He wrote many poems. He also translated several poems of the Hungarian poet Petöfi. Lu Xun, the editor of ''Torrents'', obtained his manuscripts and wrote to him to ask for a meeting. But he did not feel like meeting famous people. Therefore, Lu Xun came to find him in person, and made great efforts to encourage him on literary work. But he could not just sit in room writing, so he went off on his way again. Shortly, he was arrested once more…&amp;quot;&lt;br /&gt;
&lt;br /&gt;
“他做了很多诗，也翻译了匈牙利诗人裴多菲的几首诗。时任《奔流》的编辑鲁迅收到了他的投稿后写信请他见一面。但他不愿意去见名人，因此鲁迅只好亲自去找他，并极力鼓励其继续文学创作。但他始终不能只坐在房间里写作，因此他又走了，不久后，他再次被捕。……”--[[User:Yuan Yuchen|Yuan Yuchen]] ([[User talk:Yuan Yuchen|talk]]) 01:05, 16 October 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
“他做了很多诗，也翻译了匈牙利诗人裴多菲的几首诗。时任《奔流》编辑的鲁迅收到了他的投稿后写信请他见一面。但他不愿意去见名人，因此鲁迅只好亲自去找他，并极力鼓励其继续文学创作。但他始终不能拘在房间里写作，因此他又回到老样子，不久后，他再次被捕。……”--[[User:Tan Yuanyuan|Tan Yuanyuan]] ([[User talk:Tan Yuanyuan|talk]]) 02:54, 16 October 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
==Zeng Fangyuan 曾芳缘==&lt;br /&gt;
&lt;br /&gt;
Our relations described in this article are not in fact accurate. Bai Mang was not that proud. He did come to my home, but not because I asked to meet him. I was not proud either, to rashly write to summon an unacquainted contributor. The reason for our meet was very common. The article he contributed, ''Biography of Petöfi'', was a translation from German. I wrote to ask for the original, which was published in the front of a poetry anthology. It was not convenient to mail the anthology, so he delivered it himself. He looked in his twenties, with a decorous face and a swarthy complexion. I could not remember our talks, except that he said his last name was Xu, born in Xiangshan. I asked him why the lady who took care of his mail had such a strange name (I forget in what way it was strange). He said she liked the strange romantic name, and that he was not getting along well with her any more. This is the only episode I can remember.&lt;br /&gt;
&lt;br /&gt;
这篇文章所描述的我们的关系并非事实。白莽并没有那么傲慢，他曾经到过我的住所，但并不是因为我要求与他会面；我也没有那么高傲，对于一个素未相识的投稿者，会轻率的写信召集他来我的住所。我们见面的原因很简单，那时他投稿的《彼得斐传》是由德语译成的，我便写信求它的原文。而原文是刊登在诗集里的，邮寄不便，于是白莽亲自送来了。他看起来二十多岁，面容端正，肤色黝黑，与他的对话我不记得了，只想起他说自己姓徐，象山（浙江省宁波市象山县）人。我问他为何给他代收信的女士名字如此奇怪（我忘了是怎么个怪法），他说自己喜欢奇怪又浪漫的名字，还说当时与那位女士的关系不再亲密了。这是我唯一能回忆起的画面。--[[User:Zeng Fangyuan|Zeng Fangyuan]] ([[User talk:Zeng Fangyuan|talk]]) 01:05, 16 October 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
==Zeng Liang 曾良==&lt;br /&gt;
&lt;br /&gt;
At night, I roughly compared the translation with the original. In addition to several errors, there was a purposeful twist in his translation. It seemed that he did not like the word &amp;quot;nationalist poet&amp;quot;, all of which he changed into &amp;quot;people's poet&amp;quot;. The next day I got a letter from him, saying that he regretted to have met me, because he spoke a lot while I spoke very little and coldly, so that he felt suppressed. I promptly wrote back to explain that it was common for people not to talk much at their first meet. I also told him that he should not have distorted the original based on his own preferences. Since his book was left with me, I gave him two books in my own collection and asked him whether he could translate several more poems. He did make some translations and brought them to me. We talked a little more than the first time. The biography and the poems were published in volume 2 (5), the last book, of Torrents.&lt;br /&gt;
&lt;br /&gt;
晚上，我将译文和原文进行了粗略的比较。除了几个错误外，他有意将他的译文转换了一下。他似乎不喜欢“民族主义诗人”这个用词，所以他用“人民诗人”来替换。第二天我收到他的一封信，信中说到他后悔与我见面，理由是他说得太多，而我说得很少，表现得很冷淡，让他感到压抑。我立马给他回信解释说，人们在初次见面时不怎么说话是很常见的。我还告诉他，他不应该根据自己的喜好歪曲原著。因为他的书留给了我，我把自己收藏的两本书给了他，问他是否能再翻译几首诗。他的确做了一些翻译并把它们带给了我。这次我们比初次见面时多聊了一点。传记和诗歌发表在托雷茨的最后一本书的第二卷第五节。--[[User:Zeng Liang|Zeng Liang]] ([[User talk:Zeng Liang|talk]]) 04:01, 16 October 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
==Zeng Xinyuan 曾心媛==&lt;br /&gt;
&lt;br /&gt;
The third time we met was on a hot day. There was a knock at the door and I went to answer it. It was Bai Mang, in a thick gown, sweating. We could not help laughing together. Only then did he tell me that he was a revolutionist, just arrested and released. All of his clothes and books were taken away, including the two books I gave him. The gown he wore was borrowed from a friend. He must wear a gown, but did not have a thinner one, so he had to sweat like that. I think this may be the &amp;quot; arrested again&amp;quot; mentioned in Mr. Lin Mang's article.&lt;br /&gt;
&lt;br /&gt;
==Zeng Yanhu 曾雁湖==&lt;br /&gt;
&lt;br /&gt;
I was happy about his release and paid his contribution fee at once so that he could buy a thin gown. Meanwhile I lamented my books, which fell into the hands of the police; they were really pearls thrown into darkness. The two books, one essay and another poem collections, were quite ordinary. The German translator claimed that he made the collections. There was nothing as comprehensive as these even in Hungry. They are printed in ''Reclam's Universal-Bibliothek'', very widespread and barely worth a dollar in Germany. For me, however, they are very precious. Because 30 years ago when I loved Petöfi, I asked Wanshan Bookstore to buy them from Germany. At that time, I was very nervous when making the request, afraid that they would refuse me due to the low price. Later, I just brought them with me, but passions changed with experiences and I had no desire to translate them. This time I decided to give them to a young man who loved Petöfi's poems just as I had done, so that the books could find a good niche. Therefore, I seriously asked Rou Shi to take them to him. It is so bad that they fell into the hands of those ignorant cops.&lt;br /&gt;
&lt;br /&gt;
==Zhang Hu 张虎==&lt;br /&gt;
&lt;br /&gt;
The reason why I never invite to meet contributors is not only out of modesty, but also to save the trouble. From my experiences I know that young people, especially literary young people, are mostly sensitive and self-esteemed. Misunderstandings could arise easily, so I would rather avoid meeting them, still less entrust them with personal matters. However, there was one person in Shanghai whom I not only could talk and laugh freely with, but also dare to entrust my personal matters to. That was Rou Shi, who delivered my books to Bai Mang.&lt;br /&gt;
&lt;br /&gt;
==Zhang Hui 张慧==&lt;br /&gt;
&lt;br /&gt;
I cannot remember when and where I first met Rou Shi. He seemed to have said that he had attended my lectures in Peking. That should be eight or nine years ago. I also forget how we started to have dealings. He lived in Jingyunli, four or five gates away from my home. Somehow we started to have contact. Perhaps in our first meeting he said his last name was Zhao, first name, Pingfu [fourth tone]. He also talked about the overbearing bullies of his hometown. A local despotic gentry ordered him to stop using his name because it would be a good name for that gentry's son. Therefore, I suspect that his original name was Pingfu [second tone], meaning steady and blissful, which would be to the liking of that gentry, who may not be so interested in the word &amp;quot;fu&amp;quot; [fourth tone]. His hometown was Ninghai, Taizhou, which was revealed by his hard-boned spirit of Taizhou. He was also a little pedantic, which could sometimes suddenly remind me of a similar famous writer, Fang Xiaoru.&lt;br /&gt;
&lt;br /&gt;
我记不得我第一次见到石柔是在何时何地了。他似乎说他参加了我在北京的演讲。那应该是八九年前。我也忘记了我们是如何开始交往的。他住在离我家四五公里的景云里。我们不知何故开始联系。也许在我们第一次会议上，他说他姓赵，叫平富。他也谈到了家乡的令人难以忍受的霸凌行为。一个当地专制的士绅命令他停止使用他的名字，因为那对于他儿子来说是个好名字。因此，我猜测他原来的名字是平福，意思是稳定而幸福，这可能是那个士绅喜欢的，他可能对“富”这个字不那么感兴趣。他的家乡是台州宁海，这从他顽强的台州精神中可以看出来。他还是个书呆子，有时会突然令我想起一个类似的著名作家，方孝孺。--[[User:Zhang Hui|Zhang Hui]] ([[User talk:Zhang Hui|talk]]) 14:02, 15 October 2020 (UTC)&lt;br /&gt;
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我记不得我第一次见到石柔是在何时何地了。他似乎说他参加了我在北京的演讲。那应该是八九年前。我也忘记了我们是怎么开始有了交集。他住在离我家四五公里的景云里。不知怎么地，我们开始联系。也许在我们第一次会议上，他说他姓赵，叫平富。他也谈到了家乡的令人难以忍受的霸凌行为。当地一个的霸道乡绅在给儿子取名字的时候看上了他的名字，就迫使他改了名字。因此，我猜测他的原名应该是是平福，意思是稳定而幸福，这可能是那个乡绅喜欢的，他可能对“富”这个字不那么感兴趣。他的家乡是台州宁海，这从他倔强的台州性子中可以看出来。他有点像个书呆子的样子有时会让我猛然想起一个跟他有相似之处的著名作家，方孝孺。--[[User:Zhou Yiwen|Zhou Yiwen]] ([[User talk:Zhou Yiwen|talk]]) 15:32, 15 October 2020 (UTC)&lt;br /&gt;
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==Zhang Ling 张玲==&lt;br /&gt;
&lt;br /&gt;
He hid at home, writing and translating. We had contacts for some time and became quite agreeable. Then we established Zhaohua Publishing House with several other congenial young people. The aim was to introduce the literature of east and north Europe and foreign woodblock painting, because we all considered it necessary to foster powerful, plain literature and arts. Following this theme, we proceeded to print ''Zhaohua Bimonthly'', ''Modern World Short Story Anthology'', ''Art and Literary Zhaohua''. Only one of the works, ''Selected Works on Luguhonger'', was printed to attack the &amp;quot;artist&amp;quot; of Shanghai, that was, a paper tiger as Ye Lingfeng.&lt;br /&gt;
&lt;br /&gt;
==Zhang Peiwen 张佩闻==&lt;br /&gt;
&lt;br /&gt;
Rou Shi, however, did not have any money. He borrowed over 200 yuan. In addition to buying paper, he carried on most editing and chores such as contacting Printing Bureau, drafting and proofreading. But he was often not satisfied with his work, knitting his brows when talking about it. His old works had some flavor of pessimism, but in fact he believed that humans are basically good. When I sometimes said how humans can cheat others, betray friends, suck blood, he would, his forehead glistening, widen his near-sighted eyes and protested, &amp;quot;Is it true? Are they really so bad to do it?…&amp;quot;&lt;br /&gt;
&lt;br /&gt;
==Zhang Qi 张琪==&lt;br /&gt;
&lt;br /&gt;
Unfortunately, Zhaohua Publishing House went bankrupt shortly. I do not want to mention the reasons. In sum, Rou Shi's idealist head bumped into the wall. Aside from wasted energy, he had to borrow 100 yuan to pay for paper costs. Later, he had less doubt on my assertion of &amp;quot;human hearts are dangerous.&amp;quot; Yet he sometimes would sigh, &amp;quot;Is it really true?…&amp;quot; However, he still believed that humans are basically good.&lt;br /&gt;
&lt;br /&gt;
==Zhang Weihong 张维虹==&lt;br /&gt;
&lt;br /&gt;
To get some money back, he sent his share of the books from Zhaohua Publishing House to Mingri Bookstore and Guanghua Bookstore. Meanwhile, he did his utmost to do translations in order to pay back the loans. Hence came the works sold to Commercial Publishing House, ''Short Story Collection of Denmark'' and Gorky's ''The Work of the Artamonovs''. I guess that these translations were burned by the cops last year.&lt;br /&gt;
&lt;br /&gt;
==Zhang Xueyi 张雪仪==&lt;br /&gt;
&lt;br /&gt;
His pedantry gradually changed a little. Finally he dared to walk along with his female town folks or friends, but the distance between them would be at least three or four feet. This was not good at all. Whenever I met him on the street and saw a young pretty woman three or four feet from him, I would suspect it was his friend. But when he walked together with me, he would be very close, virtually holding me by the arm, for fear that I be killed by a bus or trolley. I would also worry about his near-sightedness while he was taking care of me. Thus, both of us had to worry all the way. Therefore, if I could, I would avoid going out together with him. Seeing him exhausting made me exhausted too.&lt;br /&gt;
&lt;br /&gt;
==Zhang Yinliu 张银柳==&lt;br /&gt;
&lt;br /&gt;
No matter from old morality, or new morality, he would select and carry on whatever may harm himself to benefit others.&lt;br /&gt;
&lt;br /&gt;
At last, he decided to change. Once he clearly told me that he should change the content and style of future works. I said it might be difficult. For example, was it possible for a man accustomed to using knives to switch to using sticks? He answered plainly: I can learn to do it!&lt;br /&gt;
&lt;br /&gt;
无论是从旧道德观念还是新道德观念看，他总是选择做那些损己利人的事。&lt;br /&gt;
最终，他决定做出改变。一次，他明确地告诉我，他应该改变自己将来工作的内容和工作方式。我说那可能会很困难。比如，对一个习惯了用刀的人，你让他换成用棍子，这有可能吗？他直截了当的说，我可以学！--[[User:Zhang Yinliu|Zhang Yinliu]] ([[User talk:Zhang Yinliu|talk]]) 13:58, 15 October 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
无论是从旧道德观念还是新道德观念看，他总是选择做那些损己利人的事。&lt;br /&gt;
最终，他决定做出改变。&lt;br /&gt;
Once he clearly told me that he should change the content and style of future works.有一次，他明确地告诉我他要改变自己作品的内容和风格。&lt;br /&gt;
我说那可能会很困难。比如，对一个习惯了用刀的人，你让他换成用棍子，这有可能吗？他直截了当的说，我可以学！--[[User:Li Luyi|Li Luyi]] ([[User talk:Li Luyi|talk]]) 03:20, 16 October 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
无论是旧道德还是新道德,他总是选择做那些损己利人的事。&lt;br /&gt;
最终，他决定做出改变。一次，他明确地告诉我，在以后的作品里他要改变内容和风格。我说那可能会很困难。比如，对一个习惯了用刀的人，你让他换成用棍子，这有可能吗？他直截了当的说，我可以学！--[[User:You Yuting|You Yuting]] ([[User talk:You Yuting|talk]]) 03:11, 16 October 2020 (UTC)&lt;br /&gt;
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==Zhang Yu 张瑜==&lt;br /&gt;
&lt;br /&gt;
He was not saying empty words; he truly started to learn. He brought a friend to visit me, Ms. Feng Jian. We --[[User:Zeng Fangyuan|Zeng Fangyuan]] ([[User talk:Zeng Fangyuan|talk]]) 01:29, 16 October 2020 (UTC)had some talks, but I was still unfamiliar with her. I suspected that she was a little romantic, too eager to gain success. I also suspected that Rou Shi's recent plan to write big novels was out of her initiative. But I also suspect myself: perhaps Rou Shi's previous determined answer revealed my scar of laziness, so I unconsciously work off my anger on her. In fact, I was no better than the sensitive and self-esteemed literary youth whom I was afraid to meet.&lt;br /&gt;
&lt;br /&gt;
She was weak in constitution, and not pretty.&lt;br /&gt;
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他没有说假话，他真的开始学习了。他带了一个朋友来看望我，她是冯剑女士，我们交谈了几句，但我仍然对她感到很陌生。我怀疑她有一些富于幻想、急于求成；我也怀疑柔石最近写小说的计划超出她的预期；但是我也怀疑我自己：或许柔石之前肯定的回答显得我很懒惰，所以我下意识地消除了自己对她的怒火。事实上，我和那些我害怕遇到的文学青年一样敏感、一样自大。&lt;br /&gt;
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她体质弱，其貌不扬。--[[User:Zhang Yu|Zhang Yu]] ([[User talk:Zhang Yu|talk]]) 15:11, 15 October 2020 (UTC)&lt;br /&gt;
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柔石说的不是空话，他真的开始学习了。他还带了一个朋友来拜访我，她便是冯铿女士，我们交谈了几句，但我还是与她不交心。我怀疑她有点富于幻想、急于求成；我也怀疑柔石最近计划写长篇巨作的想法是出于她的主张；但是我也怀疑我自己：或许柔石之前坚定的回答揭露了我懒惰的伤疤，所以我不自觉地迁怒于那位女士身上。事实上，我和那些我害怕遇到的文学青年一样敏感、一样自大。&lt;br /&gt;
&lt;br /&gt;
她体质弱，其貌不扬。&lt;br /&gt;
--[[User:Zeng Fangyuan|Zeng Fangyuan]] ([[User talk:Zeng Fangyuan|talk]]) 01:29, 16 October 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
==Zhang Yujie 张毓婕==&lt;br /&gt;
&lt;br /&gt;
Not until the establishment of the Leftist Alliance did I realize that the Bai Mang, whom I had already known, was the Yin Fu who wrote poems for ''Pioneers''. Once in a conference I brought a book to give him. It was a German translation of a China travels written by an American journalist. I had intended nothing but for him to practice his German with this book. However, he did not come. So I had to ask Rou Shi to deliver it again to him.&lt;br /&gt;
&lt;br /&gt;
Before long, they were arrested together. My book was seized and fell into the hands of the idiot pigs again.&lt;br /&gt;
&lt;br /&gt;
==Zhang Yuxing 张宇星==&lt;br /&gt;
&lt;br /&gt;
Mingri Bookstore planned to publish a magazine and invited Rou Shi to be an editor. He accepted it. The bookstore also wanted to print my translation, and dispatched him to inquire about royalty. I gave him a copy of the contract that I had made with Beixin Bookstore. He stuck it into his pocket and hurried away. It was the night of January 16, 1931. Who would expect this to be our last meet, our parting forever!&lt;br /&gt;
&lt;br /&gt;
==Zhao Xi 赵茜==&lt;br /&gt;
&lt;br /&gt;
The second day, he was arrested in a meeting, with my printing contract in his pocket. It was said that the police was searching me. The contract was very clear, but I did not want to explain in those unclear places. I remember there was an eminent monk in ''Biography of Yue'', who &amp;quot;nirvanaed&amp;quot; when the searching guys just arrived at the gate of his monastery. The maxim he left behind, &amp;quot;?? came from the east, while I go to the west,&amp;quot; was the only good approach for a slave to escape from misery, since it would be hard to have a &amp;quot;swordsman&amp;quot; to help him. I was not an eminent monk, without the ability to nirvana but having the desire to live, so I escaped.&lt;br /&gt;
&lt;br /&gt;
第二天，他在会议上被逮捕，口袋里装着我的打印合约。据说，警察正在搜寻我。 这合约非常清晰，但我不想在不清不楚的地方做解释。我记得在《岳的自传》中有位高僧，当搜查的人就在寺院门口时，他也逃走了。 “？？从东边来，那我要去西边。”这句他所留下的格言，对一个奴隶来说，是摆脱痛苦唯一可行的方法，因为很难会有个“剑客”去帮助他。我并不是一位高僧，没有涅槃重生的能力，但有求生的渴望，所以我逃走了。--[[User:Zhao Xi|Zhao Xi]] ([[User talk:Zhao Xi|talk]]) 15:56, 15 October 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
第二天，他在开会时被逮捕了，口袋里还有我的打印合同。据说警察正在搜捕我。合同写得很清楚，但是我不想在那不明不白的地方解释。我记得在《岳传》中有一位高僧，搜查人员刚到寺院门口，他就逃离了。他留了一句格言:““你们从东边来，那我去西边”于奴隶而言，这是逃脱苦难的唯一好办法，因为很难有一个“剑客”会来帮助他。我不是高僧，没有涅槃重生的能力，但有求生的欲望，所以我逃了出来。--[[User:ZHOUYUJUAN|ZHOUYUJUAN]] ([[User talk:ZHOUYUJUAN|talk]]) 05:51, 16 October 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
==Zhao Xiaoyan 赵晓燕==&lt;br /&gt;
&lt;br /&gt;
That night, I burned my friends' old letters and fled to an inn with my wife and child. After a few days, rumors came that I was arrested, or killed. There was, however, very little news about Rou Shi. Some said he was brought by the cops to Mingri Bookstore and asked whether he was an editor; others said he was brought to Beixin Bookstore to confirm his identity. He was handcuffed, which indicated the severity of the case. But nobody knew what a case it was.&lt;br /&gt;
&lt;br /&gt;
When he was in jail, I saw two of his letters addressed to his town folks. The first one was as follows:&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
当天晚上，我烧掉了朋友之前给我寄的一些信件，然后和妻子孩子逃到了一家旅馆。 几天后，流言四起，说我已经被逮捕或是被杀害了。 然而，却没有几条石柔的消息。 有人说他被警察带到了明日书店，问他是不是一名编辑；还有人说他被带到了北新书店去验证身份。警察给他带上了手铐，这足以说明事情的严重性。 但是没有一个人知道这件事是什么。&lt;br /&gt;
&lt;br /&gt;
当他入狱的时候，我看到了他写给家乡人的两封信，信的内容如下：--[[User:Zhao Xiaoyan|Zhao Xiaoyan]] ([[User talk:Zhao Xiaoyan|talk]]) 13:27, 15 October 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
当天晚上，我烧掉了朋友之前给我寄的一些信件，然后和妻子孩子逃到了一家旅馆。 几天后，流言四起，说我已经被逮捕或是被杀害了。 然而，却没有几条石柔的消息。 有人说他被警察带到了明日书店，问他是不是一名编辑；还有人说他被带到了北新书店去验证身份。警察给他带上了手铐，这足以说明事情的严重性。 但是没有一个人知道这件事是什么。&lt;br /&gt;
&lt;br /&gt;
当他入狱的时候，我看到了他写给家乡人的两封信，第一封信的内容如下：--[[User:Zhang Yinliu|Zhang Yinliu]] ([[User talk:Zhang Yinliu|talk]]) 14:02, 15 October 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
==Zheng Huajun 郑华君==&lt;br /&gt;
&lt;br /&gt;
&amp;quot;35 prisoners and I (including 7 females) arrived in Longhua yesterday. We were handcuffed last night, which breaks the customs that political offenders should not be handcuffed. This is a big case, and I'm afraid I won't be released very soon. Please take care of my bookstore business for me. The situation is OK; I can learn German from Yin Fu. Please tell this to Mr. Zhou and tell him not to worry. We're not tortured. For several times the police asked for Mr. Zhou's address, but how do I know it! Don't worry for me. Best regards, Zhao Shaoxiong 1/24.&amp;quot;&lt;br /&gt;
&lt;br /&gt;
These are the words on the front.&lt;br /&gt;
&lt;br /&gt;
&amp;quot;Please bring me two or three iron bowls. If you're not allowed to see me, please let them be delivered to Zhao Shaoxiong.&amp;quot;&lt;br /&gt;
&lt;br /&gt;
These are the words on the back.&lt;br /&gt;
&lt;br /&gt;
==Zhou Luoping 周罗平==&lt;br /&gt;
&lt;br /&gt;
His spirit did not change. He worked even harder on German; he was thinking of me, just like we walked together in the street. But there were some mistakes in his letter. Political offenders being handcuffed was not started from them. He had been thinking highly of the government, believing that civilization ended at, and cruelty started from, them. It was in fact wrong. Indeed, his second letter was a lot different, with very bitter words and the report that Ms. Feng's face had been swollen. It is a pity that I did not copy down the letter. Many rumors popped up, saying that he could be ransomed, or he had been sent to Nanking. Nothing was confirmed, while there were more and more letters to inquire about me. My mother fell into illness in Peking due to anxiety. I had to reply to those letters to clear my situation. This lasted for about 20 days.&lt;br /&gt;
&lt;br /&gt;
==Zhou Shiqing 周诗卿==&lt;br /&gt;
&lt;br /&gt;
It turned colder and colder. I wonder whether Rou Shi had quilts in prison. We had them. Did he get the iron bowls?… Suddenly, some reliable news came that Rou Shi, together with 23 other people, had been killed in Longhua Police Station at he night of February 7th or the morning of the 8th. He was shot with 10 bullets.&lt;br /&gt;
&lt;br /&gt;
So that's how things stood!&lt;br /&gt;
天气越来越冷了。我不知道柔石在监狱里面是不是有被褥。我们盖了被子。他拿到铁饭碗了吗？。。。。。。突然，一些可靠消息传来，柔石和其他23人于2月7号晚上或8号上午在龙华警察蜀被杀。身上被射杀10颗子弹。&lt;br /&gt;
--[[User:Zhou Shiqing|Zhou Shiqing]] ([[User talk:Zhou Shiqing|talk]]) 10:06, 16 October 2020 (UTC)Zhou Shiqing&lt;br /&gt;
天气越来越冷了。我不知道柔石在监狱里面是不是有被褥。我们盖了被子。他拿到铁饭碗了吗？。。。。。。突然，传来一些可靠消息，2月7号晚上或8号上午在龙华警察蜀,柔石和其他23人被杀，柔石本人身中10颗子弹。&lt;br /&gt;
实际情况就是这样。--[[User:Yao Cheng|Yao Cheng]] ([[User talk:Yao Cheng|talk]]) 10:19, 16 October 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
==Zhou Shuyao 周书尧==&lt;br /&gt;
&lt;br /&gt;
In a late night, I stood in the yard of an inn, junk surrounding me. People were all sleeping, including my wife and child. I, with a heavy heart, feel that I have lost very good friends, and China has lost very good youth. I turned silent out of sorrow and indignation, but my old habits arise from silence, and I compose the following words:&lt;br /&gt;
&lt;br /&gt;
==Zhou Siqing 周思庆==&lt;br /&gt;
&lt;br /&gt;
Accustomed to spending spring at night,&lt;br /&gt;
&lt;br /&gt;
I, with greying temples, flee with my wife and child.&lt;br /&gt;
&lt;br /&gt;
In dreams are my mother's tears,&lt;br /&gt;
&lt;br /&gt;
While the government flags switch on the city wall.&lt;br /&gt;
&lt;br /&gt;
习惯了在夜晚度过春天，&lt;br /&gt;
我，灰色的庙堂旁，带着妻儿逃离。&lt;br /&gt;
梦中萦绕着母亲的热泪，&lt;br /&gt;
当政府的旗帜挂上城墙。--[[User:Zhou Siqing|Zhou Siqing]] ([[User talk:Zhou Siqing|talk]]) 13:46, 15 October 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
==Zhou Yiwen 周艺文==&lt;br /&gt;
&lt;br /&gt;
Enduring the pain that my friends turn into ghosts,&lt;br /&gt;
&lt;br /&gt;
I indignantly compose poems, facing the forest of swords.&lt;br /&gt;
&lt;br /&gt;
But there is nowhere to write, and I had to lower my brows,&lt;br /&gt;
&lt;br /&gt;
The moonlight is shining on my black clothes.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
忍受着失去朋友的痛苦，&lt;br /&gt;
&lt;br /&gt;
我愤慨地写诗，面对剑林。&lt;br /&gt;
&lt;br /&gt;
却无处可写，无奈低头，&lt;br /&gt;
&lt;br /&gt;
月光正照在我的黑色衣服上。--[[User:Zhou Yiwen|Zhou Yiwen]] ([[User talk:Zhou Yiwen|talk]]) 15:05, 15 October 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
==Zhou Yuanqu 周园曲==&lt;br /&gt;
&lt;br /&gt;
But in China, there is nowhere to write; things are shackled tighter than a tin. I remember that Rou Shi went back to his hometown at the end of that year and lived for quite some time. His friends blamed him after he came back to Shanghai. He said to me with sadness and anger that his mother had been blind and wanted him to stay for a few more days. How could he leave right away? I understand the blind mother's affection to her son, and the son's attachment to his mother. When ''Beidou'' was initiated, I had wanted to write something about Rou Shi. But I could not, so I had to select a woodcut by Madam Käthe Kollwitz. It was entitled &amp;quot;Sacrifice,&amp;quot; which depicted how a mother sadly offered her son. Only I know this was a commemoration to Rou Shi.&lt;br /&gt;
&lt;br /&gt;
==Zhou Yujuan 周玉娟==&lt;br /&gt;
&lt;br /&gt;
Among the other four writers murdered, Li Weisen was the one I had never met; Hu Yepin I only met once in Shanghai, and we had a little talk. A more familiar one was Bai Mang, also named Yin Fu, who had written to me and contributed to my magazine. But I cannot find his letters anywhere. Perhaps they were all burned on the night of the seventeenth, when I did not know that Bai Mang had also been arrested. ''The Petöfi Poetry Anthology'' is still with me. I looked through it and found nothing special except a four-line translation in pen beside a poem ''Wahlspruch'':&lt;br /&gt;
&lt;br /&gt;
在被谋杀的其他四位作家中，李伟森是我从谋面之人。我在上海只见过胡也频一面，我们聊了一会儿。还有一个比较熟悉的人叫白莽，也叫殷夫。他给我写过信，也给我的杂志投过稿。但是我到处都找不到他的信。大概在17号晚上都被烧毁了吧，当时我还不知晓白莽也被捕了。我拿着佩托菲诗集，浏览了一下，除了一首名为“ Wahlspruch”诗旁边的四行笔译之外，没发现什么特别之处。--[[User:ZHOUYUJUAN|ZHOUYUJUAN]] ([[User talk:ZHOUYUJUAN|talk]]) 02:20, 16 October 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
==Zhu Meimei 祝美梅==&lt;br /&gt;
&lt;br /&gt;
&amp;quot;Life is precious, while love is even more valuable.&lt;br /&gt;
&lt;br /&gt;
But both I can give up, for the sake of freedom.&amp;quot;&lt;br /&gt;
&lt;br /&gt;
On the second page was written &amp;quot;Xu Peigen&amp;quot;, which I suspect to be his real name.&lt;br /&gt;
&lt;br /&gt;
==Zhu Suyao 朱素瑶==&lt;br /&gt;
&lt;br /&gt;
This day two years ago, I was hiding in an inn while they were marching towards the execution ground. This day last year, I fled to the British Concession, while they had long been buried nowhere. This day this year, I am sitting in my old home, while everyone is sleeping, including my wife and child. Once again, with a heavy heart, I feel that I have lost very good friends, and China has lost very good youth. I turned silent out of sorrow and indignation, but my old habits arise from silence, and I compose the above words.&lt;br /&gt;
&lt;br /&gt;
==Zhu Xu 朱旭==&lt;br /&gt;
&lt;br /&gt;
It is hard to write in current China. When I read Xiang Ziqi's ''Remembering the Past'' in my youth, I was wondering why he only wrote a few lines, just beginning and yet ending immediately. Now I understand.&lt;br /&gt;
&lt;br /&gt;
==Zou Xinyu 邹鑫雨==&lt;br /&gt;
&lt;br /&gt;
It is not that the young are writing commemoration for the old. During the past thirty years, I had witnessed many young people shed their blood, which has accumulated such that I cannot breathe under it. The only thing I can do is to use my pen to write a few lines. This is like digging a hole from the mud to sustain my last gasps. What kind of a world this is! The night is long, so is the way. I had better forget and be silent. I believe, however, even if it is not me, somebody will remember them and talk about them in the future….&lt;br /&gt;
&lt;br /&gt;
February 7th-8th&lt;/div&gt;</summary>
		<author><name>Song Jianru</name></author>
	</entry>
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